HELLRAISER: HELLSEEKER
Written by
Carl Dupre
10/27/2000
INT. CAR DRIVING DOWN COUNTRY ROAD - DAY
KIRSTY GOODING looks out the passenger window as the trees go
whizzing past. She's attractive, late twenties, warmly
sophisticated. Something makes her smile. She turns to the
driver and thinks real hard as she says this.
KIRSTY
Okay. Cubic root of nine thousand two
hundred and sixty one.
TREVOR is her husband, late twenties as well. God gave him
brains and beauty. He has used them both prodigiously.
TREVOR
Twenty one. Why do we have to do this now
Kirsty?
KIRSTY
Shut up and play darling. Your turn.
TREVOR
Five hundred ninety two thousand seven
hundred and four.
KIRSTY
Uh... eighty two?
TREVOR
Eighty four.
Kirsty takes a calculator out of her purse and double checks
the math.
KIRSTY
You win! Okay pull over.
TREVOR
(looking at his watch)
But... I thought...
KIRSTY
(laughing)
If what I've heard is true this could be
the last time for a long long time.
Besides we've got a whole seven minutes
before the next one. Clock's ticking.
Tick-tock...
Trevor waits a moment to see if she's kidding.
KIRSTY
(through clenched teeth)
PULL OVER NOW.
(CONTINUED)
2.
CONTINUED:
Then pulls over to the side of the road. Kirsty reaches over,
quickly unzips his pants immediately goes down on Trevor OUT
OF FRAME. He reacts accordingly. A little pleasure, utter
shock.
KIRSTY'S VOICE
(from BELOW FRAME)
Honey what's wrong?
Kirsty rises INTO FRAME once again.
TREVOR
What isn't wrong? Why are you doing this
anyway?
KIRSTY
(self-conscious)
I'm... I'm doing a very special thing
here. And you can't even ... respond?
TREVOR
Sorry honey the present situation isn't
exactly fodder for an erection. Shouldn't
we be getting to the hospital?
FULL ON Kirsty. For the first time WE SEE her big pregnant
belly sticking out. She looks at Trevor innocently.
KIRSTY
I was going to keep breathing you know.
You think I'm an amateur or something?
Trevor stuffs himself back in his pants, puts the car in gear
and presses the accelerator.
TREVOR
Just concentrate on the task at hand
please. Listen to me. You should be
giving ME this lecture.
KIRSTY
You've been cheating on me haven't you?
TREVOR
Yes I had a quickie with the neighbor
during your last contraction.
KIRSTY
Roughly two thirds of married men who
cheat start during the eighth month of
their wives' first pregnancy.
(CONTINUED)
3.
CONTINUED: (2)
TREVOR
I would never cheat on you. Not while
you're pregnant now you know that.
KIRSTY
(features tightening)
Okay... uh oh here comes another one.
TREVOR
Share the pain Kirsty.
She takes Trevor's hand and squeezes as hard as she can. IN
CLOSE UP WE SEE:
A SOLVED RUBIC'S CUBE sitting between them.
Do we need this vision of the solved rubics cube?
EXT. ROAD - DAY
The car is approaching a bridge.
INT. CAR - DAY
Trevor takes his hand off the wheel to look at his watch.
TREVOR (CONT'D)
One fifteen.
KIRSTY
(in dire pain)
Oh God...... Trevor, I think my water
just broke.
Trevor grabs the wheel again. Kirsty GASPS.
KIRSTY (CONT'D)
Oh my God. It's coming out.
TREVOR
What?
KIRSTY
THE BABY IS COMING OUT! I CAN FEEL IT!
SONOFABITCH IT HURTS!! AAAGGGGHHH!!!
Trevor looks at her, trying to stay calm.
TREVOR
Okay Kirsty don't panic. Just keep
breathing! DON'T PANIC! Put the seat back
and hold on to something. Were almost
there!
(CONTINUED)
4.
CONTINUED:
Kristy's hand moves down the along side the seat between the
door and she plunges back with the seat. She looks at Trevor
wide eyed.
Shes about to give birth in a Chevrolet.
KIRSTY
OH MY GOD TREVOR! It hurts!! (breathing
heavily) oh my God, Oh my God. Trevor,
It's coming out.
TREVOR
This isn't happening.
Kristy starts to convulse with pain. She begins to tremble
and her arms flail about in an attempt to ease her
discomfort. She grabs Trevors arm for support.
TREVOR
Honey, take it easy. Your gonna be
alright.
Kristy becomes more violent, kicking her legs up onto the
dashboard. She starts grabbing Trevors arm a little more
violently, causing Trevors to weave a bit on the road as he
recoils.
EXT. CAR DRIVING DOWN COUNTRY ROAD - DAY
The car lunges to the side of the road and weaves a bit in
the gravel. Up ahead a bridge approaches.
INT. CAR - DAY
Trevor regains control of the car.
TREVOR (cont'd)
Kristy! Take it easy. everythings gonna
be alright. Com'on, start the breathing,
with me... come on. One, two-three, and
blow..
Trevor starts the lamanns method alone, as Kristy appears to
have passed out from the pain. She has her head leaned away
from him and is limp in the passengers seat.
TREVOR (cont'd)
Krist. Honey. Kristy!
Kristy doesn't answer. Trevors puts his arm on her and
shakes her. She doesn't react.
(CONTINUED)
5.
CONTINUED:
TREVOR (cont'd)
Kristy! Honey wake up!
Trevors attention is now on his unconscious wife rather than
the two lane road which stretches across the bridge.
TREVOR (cont'd)
Honey, wake up. Please wake up.
And with that Kristy's does exactly that. She lunges toward
him in a violent spasm and scares the shit out of him (and
us) which causes Trevor to now completely lose control of the
car.
INT./EXT. CAR - DAY
The rest is a blur...
... Trevor loses control of the steering wheel... Kirsty
SCREAMS... Their car skids from one side of the bridge to the
other-careening toward the guardrail- SMASH!
The car is plummeting toward the river below. Trevor and
Kirsty brace themselves. The car hits the surface...
INT. RIVER, UNDERWATER - DAY
Trevor flounders through a disoriented flurry of bubbles. He
breaks the surface and gasps for air. Getting his bearings
he see the car bobbing on the surface, the current is
separating him from his wife.
Treading water, he looks out at the car and there she is
trapped inside...
Kirsty
Still belted to her seat. Her eyes are wide with desperation,
breath quickening, sinking fast... Kristy pounds the window
with her hands, trying to get out. She's trapped.
Apparently giving in, she presses a hand against the
windshield just before the car disappears under the
surface...
EXT. SHORE - DAY
Trevor paddles hard to the shore. Exhausted, he crawls onto
the shore underneath the bridge they just jumped.
Trevor stands trying to process what just happened in the
last fifteen seconds. He screams out for his wife, and to
what has just happened.
(CONTINUED)
6.
CONTINUED:
TREVOR
Kristy!
Kristy!
Trevor drops to his knee's in distress.
TREVOR (cont'd)
Oh my God, Kristy! Please Kristy.
(frantically) I'm so sorry, Kristy.
He hears something from above and looks up. A chunk of the
bashed-up guardrail from the bridge has just snapped off and
is sailing right down toward him-
TREVOR BLACKS OUT JUST AS THE THING HITS HIM
WHITE LIGHT FLOODS HIS VISION...
INT. HOSPITAL ROOM - DAY
Trevor's eyes blink open, darting left and right. He is on a
bed, his head bandaged.
AN ANGULAR NURSE ENTERS the room, walking up to Trevor's bed.
TREVOR
Where is she...? Where's Kirsty?
The Nurse grabs Trevor's right arm and straps it to the side
of the bed. She isn't exactly one of God's gentler creatures.
TREVOR
Hey, what are you-
She moves to Trevor's legs, strapping them down as well, then
his other arm.
By now SEVERAL SURGEONS ENTER the room, features obscured by
surgical masks.
The Nurse fastens a clamp around Trevor's head, attaches it
to the bed.
Trevor is completely discombobulated. The surgeons gather
behind Trevor's bed.
CLOSE ON TREVOR'S FACE as he struggles to see what's
happening back there but it's useless.
(CONTINUED)
7.
CONTINUED:
He cannot move a muscle. He hears a sickening SAWING noise
and his eyes bulge in horror.
WIDE as the doctors calmly lift Trevor's freshly sawed
cranium from his head exposing his brain. The CHIEF SURGEON-
a large unshaven man with magnifying lens alreaday in place
make his eyes enormous and his face grotesquely distorted. He
walks up, presented with a tray full of evenly arranged pins.
He cranks up the magnification of his lenes which make his
eyes appear even larger. Though no one speaks his name his
name tag reads Dr. Barker.
TREVOR
What are you people doing?!
The Chief Surgeon takes one of the pins and gently pushes
into a Trevor's frontal lobe.
TREVOR (CONT'D)
What's happening to-!
Trevor's eyes glaze over and his jaw relaxes. The chief
surgeon speaks in an english accent.
CHIEF SURGEON
As you can see I just accessed the speech
center, temporarily shutting down all
verbal ability.
As the Chief Surgeon continues he takes several more pins off
the tray.
CHIEF SURGEON (CONT'D)
The goal is find the exact point in the
brain where moral decisions are made, the
place where right and wrong is
distinguished. In exploring this Morality
Center I will most likely be triggering
memories, disrupting the unconscious. Our
patient may experience some distress
during the proceedings but they are not
due to pain. It is merely our patient-
recalling his past...
Chief Surgeon slips another pin into Trevors exposed brain.
CHIEF SURGEON (cont'd)
As he was thrown into the lake, where the
beast and the false prophet had been
thrown.
The Chief Surgeon voice lowers and his eyes turn black. The
eye magification no at a hideous level, showing jet black
eyes.
(CONTINUED)
8.
CONTINUED: (2)
CHIEF SURGEON (cont'd)
Where you will be tormented day and night
for ever and ever. (rev.20:10)
Trevor looks at the frowning nurse who is watching over him.
Chief Surgeon sticks a needle into another spot on Trevor's
brain.
TREVOR'S POV: The nurse is suddenly a pale gargoyle with
blackened eyes.
Trevor opens his mouth to scream and-
-IN A BURST OF WHITE LIGHT, AN ANGELIC WOMAN is now standing
before him. She is bathed in a haze of white light.
ANGELIC WOMAN
Well? What do say Trevor? Que pasa?
Trevor relaxes. His bindings are gone. The gargoyle nurse is
gone. The surgeons are gone. And his brain is sitting safely
within his inviolated skull, upon which now sit a few
electrodes. The bandage is no longer there.
But from his pain wracked expression we know the pain in his
head is still very real. He reaches for his head, makes sure
its all intact.
TREVOR
Where do I start?
ANGELIC WOMAN
How's the old noggin? Any change in the
intensity?
She touches him gently.
ANGELIC WOMAN (cont'd)
Can you describe the pains?
Trevor looks up. The angelic woman smiles back at him. She's
in scrubs, a stethoscope dangling from her neck. Trevor
winces.
TREVOR
I'm not sure. How about a jackhammer in
the Occipital lobe?
She picks up a pad and scribbles something on it. Trevor
notices she's wearing a nameplate. Dr. ALLISON DORMERE.
(CONTINUED)
9.
CONTINUED: (3)
TREVOR
Are you a dream too?
ALLISON
Still hallucinating as well. Hmm...
TREVOR
What just happened to me anyway? It
looked like a dream but it felt like
reality.
ALLISON
It's the morphine Trevor. You're on so
much of it, you could be asleep and
dreaming even with your eyes wide open.
Terevors quickly recalls the accident. Fearing the worst.
TREVOR
Where's Kirsty? Where's my wife?
ALLISON
(confused)
Your wife...?
AN OLDER DOCTOR walks in. AMBROSE. He gives Trevor an icy
look, then looks at Trevor's chart.
ALLISON
(to Ambrose)
Still a little hazy. He's still in pain
too, even after the morphine. I recommend
we admit him. At least for another day...
(leaning in, sotto)
He just asked for his wife...
AMBROSE
Well I can't find any abnormalities. I
think we're ready for discharge.
ALLISON
But, Dr. Ambrose-
AMBROSE
(looking up at Trevor)
I think it's time to ween you off these
painkillers too. Wouldn't want you to
develop a dependency to them. You might
do things like come to the hospital for
no reason other than to get a fix,
wouldn't you?
(CONTINUED)
10.
CONTINUED: (4)
Ambrose gives Trevor a fatherly smile then EXITS, not even
looking at Allison. Allison watches him go, then turns back
to Trevor... then smiles perkily.
ALLISON
Well looks like you're going home! Hope
you brought your bus pass.
INT. BUS - NIGHT
Trevor starts nodding out. The bus is practically empty. TWO
BLACK CHILDREN a boy and a girl sit across from Trevor. A
CREEPY OLD WOMAN sits further back, knitting something.
A CHURCH BELL RINGING causes Trevor to wake again up, wincing
at the sound. As the church passes the BELL becomes louder
and louder.
Trevor hears LAUGHTER and looks up at the children. The girl
and her brother seem to be play-fighting over a toy they hold
between them. Trevor looks at the toy getting stretched this
way and that.
TREVOR
Do you kids mind keeping it down?
The creepy old woman speaks up.
OLD WOMAN
Aww let them be. They're only kids.
Trevor notices what the Old Woman is knitting is a baby's
bootie. As the children continue to laugh at him Trevor
stares at the bootie tears welling up.
INT. TREVOR'S APT. - NIGHT
Trevor lives in a dingy place, one step up from poverty-
level. Funny thing is this used to be a nicer place. We see
remnants of a feminine touch long since past. Dirty dishes
sit in the sink. A cockroach skitters across the kitchenette.
Trevor sits at his TV playing an extremely violent videogame.
We're talking heads getting blown off, bodies exploding,
limbs being severed. As the end ends a DEMONIC VOICE chuckles
from the TV.
DEMONIC VOICE FROM TV
YOU LOSE...
The screen flashes TRY AGAIN? Trevor takes a swig of beer and
sits back in the easy chair looking at something atop the TV.
A picture of Kirsty.
11.
INT. TREVOR'S KITCHEN - NIGHT
Trevor looks through an old photo album. Pictures of him and
Kirsty. Some pictures of him. A lot of pictures of Kirsty.
Smiles, smiles, smiles...
He stops at one close up of them mugging at a camera they've
pointed on themselves. All we see is their faces, the rest is
dark and blurry, except for one thing. A small shadowy object
Kirsty is holding.
EXT. CUBIC ROUTE ACTUARIAL RESEARCH - DAY
Dressed in a button down shirt and tie, Trevor walks up to
the pale utilitarian box-like structure.
INT. CUBIC ROUTE, BULLPEN - DAY
It is a maze of cubicles iced by harsh fluorescence. It is a
mill of data research, where the TAPPING of fingers on
computer keypads never ends...
INT. TREVOR'S CUBICLE - DAY
... no thanks to Trevor, who has already resumed his head-in-
hands position at his desk. He rubs his eyes, seemingly
blinded by the screen staring back at him.
A MAN Trevor's age rolls up on his office chair beside
Trevor, banging into the desk. BRET. Trevor's co-worker and
cubicle mate.
BRET
Trevor what is the metric probability of
you getting any work done at all today?
TREVOR
Hey Bret. Christ, my head feels like a
split coconut.
BRET
Dude there is a track on the carpet
between here and the bathroom. It was
made by your ass. You've been dragging it
all fucking week.
What happened to you yesterday?
Bret eyes Trevor suspiciously. Then smiling...
BRET (cont'd)
You never came back after lunch. Did you
get a piece o'ass, you bastard?
(CONTINUED)
12.
CONTINUED:
TREVOR
Give me a break. I checked back into the
hospital- amongst other things.
BRET
Hospital? You haven't been to the
hospital since uh...
TREVOR
Since what?
BRET
(getting uncomfortable)
Look never mind. Just get some numbers
going- any numbers at all will due. The
hills have eyes remember?
Bret casually gestures to a surveillance camera overhead that
sweeps across the room like a prison spotlight.
BRET (CONT'D)
I'm just looking out for ya.
Bret slides back over to his work station.
Trevor puts his hands on the computer keys and starts to
type. A jolt of pain rips through his cranium forcing him to
stop. Bret stops typing and breathes an exasperated SIGH.
BRET
Sixty five point three percent of all
headaches are due to low sugar levels in
the bloodstream Trevor.
A light bulb seems to go off over Trevor's head.
INT. BREAK ROOM - DAY
Inside the narrow room blasted in fluorescent light, Trevor
eyes a vending machine, examining its wares. He peruses the
sundry sugary snacks, looking for just the right fix.
It's so quiet in here we can almost hear his head pounding in
pain. He shuts his eyes. A couple of the fluorescent bulbs
over his head wink out and the rest flicker weakly.
When Trevor opens his eyes again he notices the room has
gotten considerably darker. He looks up at the weakening
lights and grunts in disgust.
(CONTINUED)
13.
CONTINUED:
The light is just dim enough now so that he can't see what's
in the vending machine. He goes right up to the glass and
peers into the machine, using his hand as a visor. This
strain on his eyes intensifies his headache.
It's still pretty murky inside the glass case. Trevor squints
and just when he thinks he can read a wrapper on... what is
it? A candy bar?-
A PALE HAND suddenly presses against the glass from inside
the machine. Trevor jolts backwards. The hand is gone. But in
the reflection of the glass Trevor notices someone has been
standing behind him. He whirls around-
-and is face to face with our worst nightmare: PINHEAD.
PINHEAD
It's too late.
Pinhead lashes out at Trevor striking his face with a clawed
hand the rips his face clean off. The lights are back up as
Trevor slams against the machine and grabs his face. It's
still there!
Where Pinhead was standing is THE WOMAN who just slapped him.
WOMAN
SNAP OUT OF IT!
She is attractive and studious. Her sensible business attire
can't hide a very curvaceous body. This is Trevor's
supervisor GWEN.
GWEN
Jesus what the hell was that? It's like
you saw a ghost or something.
Trevor slowly peers into the vending machine. Nope. Nobody
here but your average every-day candy bars. Trevor is
dumbfounded.
GWEN (CONT'D)
(angrily)
Come on speak up, Gooding, I'm trying to
run a business here. I can't have people
flipping out in the break room when they
should be slaving away at their desks.
TREVOR
Sorry I just kind of... spaced for a
second there.
(CONTINUED)
14.
CONTINUED: (2)
GWEN
Well don't let it happen again. Or I may
have to spank you.
Gwen grins sinfully at Trevor and pushes his shoulders back
against the vending machine. Before he realizes it, she's
kissing him real hard. He gently ducks out from under her,
freeing himself.
GWEN (CONT'D)
Get back here, junior bean counter. This
is your supervisor speaking.
TREVOR
Please, Gwen. You're- you're all over me.
GWEN
How do you think you got this job, cock?
(cozying up to him)
Mmm. I'm still tingling all over from our
little midnight swim.
Trevor looks constipated. He has no recollection of this.
Gwen strokes his face.
GWEN (CONT'D)
What's wrong, Trev?
TREVOR
Nothing, look. Gwen I really like you-
GWEN
And it shows. Least it did last night at
the quarry. In a big way.
Trevor gently pushes her off him again.
TREVOR
Please you're going way too fast for me
here.
GWEN
YOU'RE giving ME a speeding ticket? Mr.
Mario Andretti himself?
TREVOR
Gwen, my wife's dead.
GWEN
Oh I see. That again. Trevor? I realize
it must be hard. But Christ how long does
it take someone to move on?
(CONTINUED)
15.
CONTINUED: (3)
TREVOR
That was cold...
GWEN
No, making another woman compete with
someone who's been dead eight months.
That's cold.
This goes through Trevor like a shot. EIGHT MONTHS!
Here we go- Dolly in zoom out! In Close up of Trevor we...
FLASHBACK
QUICK FLASHES of Kirsty's hand pounding on the windshield,
the car sinking into the lake, a quick cut of a dark figure
with a bright ring, and shots of two naked bodies slamming
against each other in climax course through Trevor's mind.
Finally, over the images of erotica we hear Gwens voice as
one of the characters.
GWEN (cont'd)
Yeah, Trevor thats it. Thats it.
And back in the real world, Trevor is now locking lips with a
very ready Gwen. His hand is up her skirt. He stops abruptly
and pulls back.
TREVOR
I'm sorry Gwen. I don't know what's
happening to me. (zipping up) I think
it's the painkillers, really.
Gwen rolls her eyes. She re-adjusts her self and now getting
a little pissy. She's heard this one before.
TREVOR (CONT'D)
They mess with my head. Yesterday gets
blacked out and a memory from months ago
is played out in vivid technicolor. Like
the accident just happened you know?
Gwen softens up. Trevor is so earnest, so vulnerable.
GWEN
Why don't you let me take you out
tonight? I promise to make it the most
memorable night of your life.
She kisses him. He braces himself. She grabs his butt, then
goes for the door.
(CONTINUED)
16.
CONTINUED: (4)
GWEN (CONT'D)
Pick you up round seven. And Gooding? Get
some fucking work done.
INT. TREVOR'S CUBICLE - DAY
Trevor relentlessly crunches numbers at his computer. He
pauses a moment to stretch and rubs his eyes. A PING from his
computer announces he has an INTEROFFICE MEMO- FILE ATTACHED.
Trevor goes to the mailbox on his screen, clicks.
Up comes a jpeg slideshow. Each picture is of Gwen dressed in
a piece of sexy lingerie. The caption underneath reads WORK
HARDER. Looking around his cubicle, he then takes another
look at the jpeg. Trevor stands up in the cubicle and we see
him peer the outer office looking for Gwen. He sits back
down. Embarrassed Trevor closes the memo at least for now.
TREVOR'S PHONE RINGS. Startleing him(and us). He picks it up.
TREVOR
(into phone)
You got Trevor.
MAN'S VOICE
(from phone)
Trevor hi this is Detective Lange from
homicide. It's about your wife.
Push in on to a bewildered Trevor.
INT. LANGE'S OFFICE, HOMICIDE - DAY
It is a dank crumbling room. A place where sunlight is not
welcome. DETECTIVE LANGE, a handsome graying gentleman who's
plagued with a chronic case of post nasal drip, sits at his
desk.
Trevor sits across from him. Behind Trevor is another empty
desk.
As Lange speaks he SNIFFS wetly every so often.
LANGE
(to Trevor)
Thanks for coming down Mr. Gooding. Has
your head healed okay by now?
TREVOR
Where's my wife?
LANGE
Okay then. Here's the scoop.
(CONTINUED)
17.
CONTINUED:
Lange takes out nasal drops and squeezes some in each nostril
as he speaks.
LANGE (CONT'D) (cont'd)
We still haven't been able to locate your
the body in that river. And missing
persons turned up some evidence that
qualified the disappearance as foul play.
TREVOR
What evidence?
LANGE
For one thing there were no skid marks on
that bridge, the tires were all intact,
from what we could tell, nothing wrong
internally with the vehicle either. Like
the car had been driven off the bridge
intentionally.
TREVOR
It should all in the report. I told you
guys everything. She was giving birth in
the fucking car. She grabbed the wheel
and I lost control.
LANGE
I did read that, yes. (flipping through
the report) What hospital were you going
to? I mean the Lodovico Street Bridge
isn't exactly on the way to Mercy
General.
Trevor looks numb, unable to answer. Lange poker faced,
keeps looking through the reoport.
LANGE (CON'T) (cont'd)
Listen we really are at a stalemate here
until we find the body itself. Is there
any way you did not tell missing persons
everything that happened just before that
accident?
TREVOR
Why wouldn't I tell you everything?
(impatiently) Look, I've been fully
cooperative...
(quick to add)
... to my recollection.
(CONTINUED)
18.
CONTINUED: (2)
LANGE
I'm sorry Mr. Gooding, I meant no
disrespect. I'm just doing my job here,
OK? I mean between your head injury and
the fact that you are on very strong pain
medication, you might not be remembering
a few details about the crash which might
help us here.
Lange takes a deep hit of the nasal spray.
LANGE (cont'd)
What you're recalling could be a
fabrication you've made up about it. Do
you follow?
CLOSE ON TREVOR'S FACE as he wrestles with this notion.
FLASH BACK:
INT. TREVOR'S CAR - DAY
Kirsty's eyes are closed. She is motionless. Trevor tries to
look at her while watching the road at the same time.
TREVOR
Kirsty. Jesus, wake up!
This time she doesn't wake up.
EXT. ROAD - DAY
The car fishtails. Trevor loses control and the car skids
from one side of the bridge to the other- careening toward
the guardrail- SMASH!
The car is plummeting toward the river below... The car hits
the surface...
INT. UNDERWATER - DAY
Trevor flounders through a disoriented flurry of bubbles. He
swims up to the passenger door and tries the handle. It won't
give. Unable to breathe Trevor finally swims up...
EXT. SHORE - DAY
He breaks the surface and crawls onto the shore...
He looks out at the car to where she should be trapped
inside...
(CONTINUED)
19.
CONTINUED:
Trevors eyes are wide with desperation, breath quickening,
The car is sinking fast...
He looks at the car and calls out, but there is no Kristy
insight.
The car disappears under the surface...
Trevor hears something from above and looks up. A chunk of
the bashed-up guardrail is sailing right down toward him-
TREVOR BLACKS OUT JUST AS THE THING HITS HIM
INT. LANGE'S OFFICE - DAY
LANGE
Mr. Gooding? You still in there?
Trevor blinks and looks around him. Lange is sitting just
where they were when he saw him last. Only now there's a very
wary look on his face. Whoa.
TREVOR
Uhh. Yes detective, sorry. Just trying to
recollect, you know?
Lange nods.
TREVOR (CONT'D)
Okay. From what I remember now, maybe my
wife was thrown from the car when it hit
the water. Maybe she wasn't trapped
inside.
Lange checks the report again. He believes Trevor...or does
he?
LANGE'S VOICE
That's a start. I'll tell the people
trawling the river maybe it makes a
difference maybe not. Thanks for your
help Trevor. If we have any more
questions you'll get a call from myself
or my partner Detective Givens.
Lange stands up and backs up awkwardly to a file behind his
desk. Trevor stares at him suspiciously.
TREVOR
You guys know something I don't?
(CONTINUED)
20.
CONTINUED:
LANGE
All things considered we probably know a
lot less than you do. Have a good
afternoon, Mr. Gooding.
Trevor exits, both men maintain eye contact as the door
closes between him.
EXT. BUS STOP - NIGHT
The bus pulls up to the curb. Trevor climbs out and starts
walking down the empty street. As soon as the bus pulls away,
the only sound heard is Trevor's footsteps.
POV BEHIND TREVOR: We see Trevor's back from a slight
distance. Someone is following him.
Sensing this, Trevor looks behind him. Nothing but an empty
sidewalk. Trevor hurries his pace, almost there at his
apartment building. He glances behind him again. Nope, nobody
there... then suddenly-
-A DARK FIGURE passes under a streetlight on the opposite
side of the street. Trevor turns a corner no picking up the
pace a little. The DARK FIGURE follows, it picks up it's pace
as well.
Trevors walks an d approaches a small alley way. Should he
take this home?
A enraged Pitbull nearly rips his nose off as it Barks and
lunges to the end of a heavy chain leash. Trevor (and us)
about piss our pant's. The dog continues barking, Trevor
regains his composure. Suddenly the dogs attention moves
toward the direction of the DARK FIGURE. Amazingly, it stops
barking and actually cowers back into the shadows.
Spooked, Trevor rushes up to:
EXT. TREVOR'S APT. - NIGHT
He hurries up to his apartment building and lets himself in.
INT. TREVOR'S APT. - NIGHT
He looks out on the street.
The figure is walking up the building opposite his. It's
features are shrouded in shadow, but it is definitely staring
at Trevor, who slams the apartment door behind him. He peers
out at the street from inside the front hall.
The figure is gone.
(CONTINUED)
21.
CONTINUED:
Trevors looks around the apartment. He opens the fridge, it
lights up the darkened room. He grabs one of the three items
sitting on the wire racks. About to twist off the cap off a
cold beer, when a light out his window urges him to
investigate. He draws the curtain open and GASPS.
POV OUT WINDOW: Staring back at him, from a dimly lit window
in the apartment building across the street, is the SHADOWY
MAN that followed Trevor home.
The man's face is shrouded in shadows but Trevor can see he's
holding something bundled up in a blanket. The light in the
window winks out, rendering it dark again.
Trevor can almost still see the figure somewhere in the
darkness still gazing at him.
Trevor looks a little sick all of a sudden, like he can't
breathe.
THE BELL FROM A DISTANT CATHEDRAL begins to peel. BONG...
BONG... BONG...
Trevor opens his mouth to draw in a breath but instead spits
out a massive amount of water!
BONG... BONG... BONG...
Trevor falls to the ground, arms and legs thrashing, heaving
up mouthfuls of water. Trevor is drowning...
BONG... BONG... BONG...
In the puddles of water, we see bits of debris: leaves,
pebbles, etc. Finally, a hideous eel-like creature's head
pokes out of Trevor's gaping mouth- it escapes and slithers
across the floor, up the window sill and out into the night.
-the ringing bell stops abruptly and he takes in a humongous
lungful of sweet oxygen. He then notices he is completely
dry. Stunned, he looks about him.
Trevor is now laying on the easychair, nursing a beer. His
videogame is flashing PLAY AGAIN? Whoa.
The BING-BONG! of his doorbell startles him.
Trevor gets the door to find a striking young GOTHIC WOMAN on
the other side. Black hair, lipstick, fingernails. She smiles
(too brightly for someone with such somber appointments) then
summarily lifts her shirt to just below her breasts for
Trevor.
(CONTINUED)
22.
CONTINUED: (2)
GOTHIC WOMAN
Here it is, what do you think?
Trevor looks down at her stomach, the lower half of which
contains tattoos which just break the surface of her jeans.
At its center is a navel pierced with a studded black pearl,
which Gothic Woman then plays with. Trevor looks a little
confused.
GOTHIC WOMAN (CONT'D)
I saw it on the counter, looked at the
name and the rest is history. It's like,
named after me. Well...?
TREVOR
(getting uncomfortable)
Oh. Uh... it's beautiful. I'm sorry, I've
just been having a weird day...
TAWNY
I totally understand. Listen I don't know
if you're into incense but, I bought
some, it's called Witching Hour. To
inhale it is to love it. I mean the
stuff'll clear your head big time. Come
on over, I'll burn some for you. If you
can't sleep tonight...
She jabs a thumb down the hall behind her.
TAWNY (CONT'D)
... knock on my door, I'm a total
insomniac.
TREVOR
No, thanks I've got a... a date tonight-
His eyes roaming her, he finally finds a tattoo on her
shoulder reading:
TREVOR (CONT'D)
-Tawny.
TAWNY
(eyebrows raised)
Whew. You bounce right back don't you?
TREVOR
What do you mean?
TAWNY
Didn't your like... whole life get
totalled last week?
(CONTINUED)
23.
CONTINUED: (3)
TREVOR
Last week...
TAWNY
The car accident? Any of this ringing a
bell?
Trevor eyes her nervously then:
TREVOR
It's not that kind of date.
TAWNY
Hey even if it is more power to ya.
(awkwardly)
Alrighty then. Have a good time.
Tawny ambles off to her apartment. Trevor closes the door and
leans against it. He slides down the door and covers his face
with his hands. Another headache coming on.
INT. TREVOR'S APT. - SEVEN THIRTY
Trevor paces in his living room. Looks at watch. Then the
door. Still no sign of Gwen.
INT. TREVOR'S APT. - DAY
Trevor rummages through a closet. Reaching up to a shelf
above him, he tugs at a big cardboard box and pulls. The
entire box comes crashing down and out spill about fifty VHS
tapes, all hand-labeled: KIRSTY & TREVOR, then the date.
He puts one in the VCR, hits play...
It's his wedding video. Trevor watches the festivity of the
wedding ON THE SCREEN, he smiles for the first time.
The wedding portion of the tape ends and a not-so-clean edit
takes us into the honeymoon.
CLOSE ON THE TV SCREEN:
INT. TREVOR'S APT. - NIGHT
Trevor holds the camera on Kristy who is under the covers in
a generic hotel room. She looks into camera as Trevor adjusts
focus and squares up the frame.
KIRSTY
Well Trevor. It's been one year. Three
hundred sixty five days.
(CONTINUED)
24.
CONTINUED:
TREVOR (OFF CAMERA)
Eight thousand seven hundred sixty hours.
Five hundred twenty five thousand...
Kirsty watches Trevor roam the room. She very comfortable on
camera.
KIRSTY
How does feel to be Mr. Kirsty Hughes for
a whole year.
TREVOR (OFF CAMERA)
In a word? Lucrative.
KIRSTY
The best business decision if you ever
made I'll bet.
TREVOR (OFF CAMERA)
Enjoyable too. The merger never even felt
work for one second.
KIRSTY
You know what the family lawyer told me
one our wedding day?
TREVOR (OFF CAMERA)
What?
KIRSTY
Never to put you in my will.
TREVOR (OFF CAMERA)
Really? Why?
KIRSTY
Because you'd be staying with me for me
and not because you'd get rich if I died
for some reason.
TREVOR
But you had more wisdom than to listen to
a false prophet
KIRSTY
There is no wisdom, no insight, no plan
(prvb 21:30)
They share a moment. Kristy stares at him quietly through
the camera.
(CONTINUED)
25.
CONTINUED: (2)
KIRSTY (CONT'D)
And besides, I thought, to hell with
it... it's okay if you only married me
for my money.
TREVOR (OFF CAMERA)
Really, why's that?
KIRSTY
I only married you for your body.
They laugh. The camera now looks away from Kristy and into
Trevors suitcase. Trevors pulls out a wrapped present. A
small tightly wrappped, perfectly square gift.
KIRSTY (CONT'D)
What are you doing?
The camera now back on Kristy. And the present comes up into
frame.
TREVOR (OFF CAMERA)
Happy Anniversary, Mrs. Gooding.
KIRSTY
For me? Trevor! How romantic! Come here,
you.
The camera begins to wobble as Trevor climbs onto the bed.
Its lands sideways, and we see sheets and covers rustling,
accompanied by the sound of giggling and kissing.
The tape ends. SNOW.
INT. TREVOR'S APT. - NIGHT
FROM THE COUCH Trevor watches this...Any of this ringing a
bell?
BING BONG!
Trevor gets up and pops the tape out.
BING BONG!
He slowly walks toward the door. He opens it to find a pitch
dark hallway.
TREVOR
Hello? Who's out there?
GWEN suddenly comes out of the darkness clamping her mouth
onto his and examining his tonsils with her tongue.
(CONTINUED)
26.
CONTINUED:
GWEN
Sorry I'm late dear.
Trevor looks like he'd be more turned on sitting bare-assed
on an autopsy table.
TREVOR
Gwen you scared the living shit out of
me.
She pushes him toward the chair and sits him in it.
GWEN
You are turning into an old fuddy duddy.
Shoe.
Gwen puts one foot on his chest.
GWEN (CONT'D)
Come on don't make me beat you.
Trevor pulls the shoe off.
GWEN (CONT'D)
Other shoe.
Trevor does the same for the other leg.
GWEN (CONT'D)
Good boy.
(looking around)
Where's is it?
TREVOR
What?
GWEN
Our little toy. You usually have it up
and running by now.
TREVOR
Do I really want to know what you're
talking about?
SMASH CUT TO:
A VIDEOCAMERA ON A TRIPOD TAPING GWEN KISSING TREVOR ON THE
EASY CHAIR.
The cable from the camera runs all the way to the TV where WE
SEE what's happening as well.
(CONTINUED)
27.
CONTINUED:
It's intense. Gwen is on top. Gwen aggressively pulls
Trevor's shirt off then goes for his belt. Trevor suddenly
grabs her hands.
GWEN
You're kidding me.
TREVOR
I'm sorry Gwen. I just can't.
Gwen climbs off the chair and throws her jacket back on.
GWEN
You have definitely got a screw loose,
Trevor. Goodbye.
Stuffing her feet in her shoes, Gwen's out the door.
Trevor SIGHS, relieved the attack is finally over.
About to turn the TV off and stow away his camera. He looks
at the TV and freezes.
THE IMAGE ON THE TV shows that Gwen is still there,
undressing Trevor. Only video Trevor is giving in, kissing
her back, pulling her clothes off.
Trevor looks at the camera. The red "record" light is
flashing. Trevor turns back to the TV walking closer and
closer to the screen.
TREVOR
What the hell?
He waves a hand in front of the camera and his hand actually
appears on the TV in front of the sex image.
TREVOR WATCHES
Trevor and Gwen make love in video. Video Trevor turns to the
the camera (to Trevor) and gives a menacing smile.
Video Trevor looks back up at Gwen, who smiles down at him
carnivorously. She licks her lips.
VIDEO GWEN
There's one thing I should have told you
right from the beginning Trevor.
Video Trevor doesn't see a knife she manages to slip out of
her purse.
(CONTINUED)
28.
CONTINUED: (2)
VIDEO GWEN (CONT'D)
I like it pretty rough.
To Trevor's shock Gwen suddenly drags the knife right across
his throat. Blood shoots up at Gwen's grinning face. Blood
pours out of Trevor's mouth and down his chest.
FROM THE COLOR SCREEN Trevor, having just seen himself get
murdered, shouts:
INT. HOSPITAL ROOM - DAY
TREVOR
No!
Allison stands above him Bic razor in her gloved hand. The
bottom half of Trevor's face is covered with shaving cream.
ALLISON
Sorry I thought you were going to stay
under longer.
His face is clean shaven, a little shaving cream remains
around his chin. He now has several electrodes attached to
his cranium. They're connected to an EEG which BEEPS LOUDLY.
The noise bothers Trevor. His eyes dart this way and that. He
focuses on the Bic razor.
TREVOR
What's happening to me? What are you
doing?
ALLISON
You came in for your EEG. You fell asleep
and well, I took the liberty of...I'm
sorry. You looked like a wreck Trevor.
Trevor seems to like the attention.
TREVOR
I just had the most vivid dream. I was
sure I was dying.
ALLISON
Well you can relax now you are quite
alive. And as long as you're awake, chin
up.
Trevor puts his chin up and Allison continues shaving his
neck. Trevor studies her face.
(CONTINUED)
29.
CONTINUED:
ALLISON (CONT'D)
Well? What do you say Trevor? Que pasa?
TREVOR
(groggily)
Let me see. Oh yeah. My head feels like
it's going through a meat grinder. I'm
not sure if I'm dreaming or...
ALLISON
(interupting) That `poor me' attitude doesn't suit
you Trevor. Listen, I don't mean to sound like
Pollyanna but things could be worse. There's one
good thing about coming so near to the end of ones
life. Everything is new and exciting, like your
seeing it for the first time.
You might see things a litlle differently from now
on.
TREVOR
Your insight is enlightening.
ALLISON
No wisdom, no insight, no plan.
Allison gives him a wink, disarming Trevor.
TREVOR
My wife said that exact same sentence to
me the day we got married. She even
winked too.
Allison smiles and puts her hand on his.
ALLISON
Do you use this wife thing to hit on all
the interns?
TREVOR
(smiling)
No... just you.
Allison wipes his face clean with a towel.
ALLISON
There. Just like a baby's butt.
Allison gets up, grabs a clipboard starts filling out a
report. Trevor stares at her.
(CONTINUED)
30.
CONTINUED: (2)
TREVOR
Allison? Why can't remember what happened
to my wife? Is it something I'm on
that's... that's making me forget?
ALLISON
Easy there Trevor. You need to relax.
TREVOR
No I need to remember. Look whatever it
is take me off it. I can handle pain. I
can't handle not knowing...
ALLISON
You need to get better first Trevor. Way
better.
(scribbling in the chart)
It's okay to miss somebody. It's okay to
still love someone after they're gone.
But you've got to quit blaming yourself
okay...? Okay?
Allison looks up and notices Trevor's body has slackened, his
eyes empty. She drops the clipboard and starts snapping her
fingers over his eyes.
ALLISON
Trevor?
He is unconscious. A LOUD STEADY BUZZ sounds from one of the
machines behind her as blood begins to leak out of Trevor's
ear. Allison jumps up and hits call button above Trevor's
bed.
ALLISON (CONT'D)
CODE BLUE!
She yanks Trevor's johnnie down, wheels a defribulator over
to his dying body and grabs the paddles.
ALLISON (CONT'D)
It's okay Trevor I'm coming for you.
Allison rubs the paddles together, presses the paddles
against Trevor's chest and-
INT. TREVOR'S APT. - DAY
-Trevor sits bolt upright in his bed. His alarm clock is
making that same BUZZING noise.
(CONTINUED)
31.
CONTINUED:
Trevor is completely disoriented. He sees a note laying next
to him on the bed. It says ìYou're an animal baby... you-know-
who...î He finally looks at the clock. Seven forty five.
TREVOR
Shit, I'm gonna be late!
INT. TREVOR'S CUBICLE - DAY
Trevor is on his computer typing madly. ON THE SCREEN WE SEE
he has accessed the local newspaper. He calls up an article
reading: ACCIDENT LEAVES ONE HOSPITALIZED ANOTHER MISSING.
He looks at a newspaper picture of the bridge, which is
humming with rescue activity.
Trevor's head is pounding. He goes into his desk drawer and
pulls out a bottle of aspirin.
Trevor empties the last of the bottle's six tablets into his
hand, downs them, chases them with what's left of an economy
sized bottle of Mylanta. Trevor can't seem to even look at
his computer screen. He hears a DING-DING and looks up.
He has an instant office message waiting. Trevor clicks OK.
The instant message reads: ìIT'S TOO LATE.î Trevor rapidly
types up. ìWHO IS THIS.î The same message is repeated. ìIT'S
TOO LATE. IT'S TOO LATE. IT'S TOO LATE.î
Trevor stands up and looks around mazelike structure of
cubicles as far as he can see. All of his co-workers are
slaving away on their keypads. Trevor sits back down and
cancels the instant message. He ruminates for a moment.
From behind Bret's fingers TAPPING on the keyboard seem to
get louder, more frustrated. They finally stop and Bret
stretches momentarily.
BRET
Must be nice.
TREVOR
What?
BRET
Getting paid for doing shit.
Bret goes back to work again, fingers HAMMERING away.
TREVOR
Come on, Bret.
(CONTINUED)
32.
CONTINUED:
BRET
Seriously man, you oughta work for the
government. You've got the sense of
urgency for it.
Trevor himself begins to type, slowly, reluctantly.
TREVOR
Look, I'm doing my best considering okay?
BRET
Hey if the boss doesn't notice who cares
right? Just slack all the live long day
if you want.
TREVOR
The boss won't notice me doing a bad job
because I'm not. Even if the boss thought
I was slacking I'd know right away.
BRET
Yeah, how's that?
TREVOR
(smug)
I have my connections
BRET
Really? Do tell.
TREVOR
(smiling)
Gwen.
Bret freezes. He then looks at Trevor, eyes bulging.
BRET
GWEN?
TREVOR
I crap you not. She was all over me
yesterday in the break room. And she was
a total machine last night too.
BRET
You were supposed to have a date with
Gwen last night? GWEN DEARDON? The
supervisor?
TREVOR
Serious as a heart attack my friend. I
think she literally fucked me brains out.
(CONTINUED)
33.
CONTINUED: (2)
BRET
(super sarcastic)
Wow that's quite a feat Trevor
congratulations. Must be really tough to
get your brains fucked out by a CORPSE.
Trevor stops and looks at Bret.
TREVOR
What are you talking about?
BRET
Me? This is your sick joke man. Gwen was
murdered here six months ago. The
security guard found her all over her
office. Her head was in the waste paper
basket. Her stomach was in the filing
cabinet. Her ass was on the copy
machine...
Trevor is speechless.
BRET (CONT'D)
They never found the sicko who did it...
remember?
Trevor still can't speak. He goes into his computer mailbox
and re-opens the file he'd received from ìYou Know Who.î
He stifles a scream when he sees the jpegs have changed. Sure
they're still of Gwen. Pieces of her swimming in puddles of
her own blood. Where it once said ìWork harderî it now says
ìPolice File.î
TREVOR
(to himself)
Jesus Christ...
Trevor looks behind him to make sure Bret hasn't seen any of
this. He's facing his own computer typing away.
BRET
Man are you ever out of the loop. Either
that or you've got the worst sense of
humor this side of Jeffrey Dahmer. What
is your problem anyway?
Trevor quickly deletes the entire file. Finally...
(CONTINUED)
34.
CONTINUED: (3)
TREVOR
Honestly Bret? I think I lost my mind.
And now I'm finding pieces of it, like
pieces of a wrecked car, scattered on
the side of the road.
A beat.
BRET
Bud you need to decompress. I told you
you came back to work too soon after the
accident.
Trevor says nothing.
BRET (CONT'D)
Hey you know what Trev? I'm going to hook
you up man. Here...
Bret wheels across the cubicle on his chair and hands
something to Trevor. It's an oddly designed postcard bearing
some sort of voodoo mask. The font is faux-Oriental, the kind
they use for Chinese take-out menus. He looks closer. It's an
appointment card for an acupuncturist. Sage.
BRET (CONT'D)
This woman will take one look at you and
know exactly what you need.
INT. SAGE'S OFFICE - DAY
A chart of all the puncture points on the human body is
tacked to the wall.
Trevor lies on the table. SAGE, a gorgeous ethereal Indian
woman is at the far end, hovering over the soles of his feet,
sticking pins into the appropriate places. She looks up at
him slyly.
SAGE
These headaches you've been getting. Do
they happen in conjunction with the
hallucinations?
Sage walks over to one of the cabinets, gathering more
acupuncture needles. Trevor can't help but notice her shapely
body, her feline gait. Sage throws a sultry glance over her
shoulder at him, prompting him to finally answer her
question.
TREVOR
(unsure of himself)
Yes, sort of.
(MORE)
(CONTINUED)
35.
CONTINUED:
TREVOR (cont'd)
My head's been in constant pain since
the... accident. And the pain increases
whenever I, uh... slip into another, I
don't know what to call them...
Sage comes back to him, several needles in one hand. She
looks into his eyes.
SAGE
Dreams?
TREVOR
I was going to say dimensions. But I
guess technically they are dreams.
SAGE
You should always listen to your
subconscious. It's trying to tell you
something about your waking life.
Sage begins applying the needles fluidly to his upper body
now.
TREVOR (CONT'D)
But I never feel like I'm sleeping. It's
sort of, waking narcolepsy. I'll be
somewhere and then-
(snapping his fingers)
-it's like I was never wherever I was to
begin with I was really somewhere else
entirely.
Sage puts the last needle in. For the first time Trevor
actually feels a releief of pressure in his head.
TREVOR (cont'd)
Ok, whatever that was...do it again.
That just set me free of the worlds
longest head ache. Is this making any
sense?
SAGE (CONT'D)
None whatsoever. Now just relax. Let the
needles do the driving.
A PHONE OUTSIDE THE OFFICE RINGS. Sage looks up at the door.
SAGE (CONT'D)
(patting his cheek)
Don't go anywhere. I'll be right back.
Trevor watches Sage EXIT the office. He lies there a moment,
bathing in warm sunshine. He is relaxed, pain free.
(CONTINUED)
36.
CONTINUED: (2)
Behind him, an acupuncture anatomy chart on the wall. Which
begins to change its shape. It morphs (or economically
changes) into PINHEAD.
Trevor is oblivious as PINHEAD approaches, doll eyes
betraying no feeling whatsoever. Then, Pinhead reaches up to
his head and begins pulling out one of those infamous pins.
It takes a while to come out.
Because it is a foot long. Once out, the needle drips with
black ooze.
Trevor hears a noise and believes its Sage who's reentered
the room.
TREVOR
I'm thinking this might just be what I
needed.
Pinhead speaks but in Sages voice. As he pushes on of the
pins into the tip Trevors skin in his back .
PINHEAD
No matter what happens just remember...
Before Trevor can react, Pinhead suddenly jabs the pin down
into Trevor's back, pinning him to the table! It sears his
skin. In Pinheads recognizable voice...
PINHEAD (CONT'D)
We're all here for you Trevor.
As Trevor reels in terror, Pinhead pulls another foot long
needle from his head and thrusts this one into his neck! WE
SEE the needle come right out the other side, nailing itself
into the table. Trevor can't believe he's still alive!
Pinhead pulls one more out, aims this one at Trevor's arm,
and swings down.
quick cuts:
INT. HOSPITAL ROOM - DAY
Allison pokes Trevor's arm with a hypodermic. She places a
reassuring hand on his chest. Machines behind her are PINGING
and BUZZING like crazy. Allison looks a little worried.
ALLISON
Shh. It's okay. Go back to sleep.
Allison blurs out of focus...
(CONTINUED)
37.
CONTINUED:
... then briefly comes back into focus...
... only now it's A MAN INSIDE A DARKENED ROOM.
INT. DARKENED ROOM - DAY
TREVOR'S POV: Buried in the murky shadow, all that can be
seen are his hands, lit by a shaft of sunlight beaming
through a blinded window. A ring on the man's left pinky
finger glimmers eerily, almost too much. We saw this man in
an earlier FLASHBACK
He's holding something. The cube. He speaks in an ECHOED and
DISTORTED VOICE.
DARKENED MAN
I know. Divorce isn't good enough.
Abandonment isn't good enough. There's
only one way to do it and do it cleanly,
without leaving a trace of evidence.
The darkened man pushes the cube across the desk towards us.
DARKENED MAN (CONT'D)
Open this and your problem will disappear
forever. And no one will ever suspect
you. A word of caution though. A certain
side effect of the box. Pleasure.
Pleasures that would redefine the
parameters of sensation.
Trevors picks up the cube.
DARKENED MAN (CONT'D)
Once the cube is opened there is no
turning back. Ever.
A LOUD BUZZING NOISE BEGINS drowning out the darkened man's
words as we:
dissolve to:
INT. TREVOR'S BEDROOM - DAY
Trevor quietly wakes up to the sound of his alarm BUZZING
again. He stares at the ceiling.
INT. OFFICE BUILDING - DAY
Trevor pushes through the front doors and a RECEPTIONIST
greets him with a big smile and a business card.
(CONTINUED)
38.
CONTINUED:
RECEPTIONIST
Afternoon doll-face. Hey, a police
detective was just here to see you.
(looking at the card)
Some guy named Givens.
She hands the card to him batting her eyelashes. Trevor looks
at the card as she checks out his package. Trevor reads the
word HOMICIDE.
TREVOR
Uh thanks this looks a little important.
Could you let the folks upstairs know
I'll be late?
RECEPTIONIST
For you bubbalicious?
(winking)
I'd lay across a bed of nails.
Trevor walks back OUT and the receptionist watches him go.
Another female employee walks by staring at Trevor. She looks
at the receptionist and they both nod in agreement.
RECEPTIONIST (CONT'D)
You know it girl. That ass is a three-
hummer baby. Mmm-mmm-mmm.
INT. LANGE'S OFFICE - DAY
Same office only Trevor is sitting at the other desk across
from a hawklike MAN who is playing with a yoyo. This is
GIVENS. If good cop bad cop is the scheme here, he's the
latter.
TREVOR
I'm sorry. I still... I don't understand
how this is a homicide case. I mean
nobody was murdered here... Her body's
been missing for I don't know how long
now and...
GIVENS
What did you just say?
TREVOR
I said she's been missing for-
GIVENS
No. No you said HER BODY's been missing.
TREVOR
What's the difference?
(CONTINUED)
39.
CONTINUED:
GIVENS
Last time anybody saw this woman she was
alive. You seem to certain she's dead.
TREVOR
(tearing up)
I saw her drowning inside the car,
detective.
GIVENS
I read up on you, man. You're a smart guy
aren't you? I mean with numbers. Right?
TREVOR
You could say that.
GIVENS
Zero's a number right?
TREVOR
As in one minus one equals zero yes.
Where are you going with this?
GIVENS
How many zeros was your wife worth?
Brow furrowing, Trevor stands up.
TREVOR
I need to talk to my attorney. Now.
Givens pushes his phone toward Trevor, who takes it and dials
furiously. Givens remains poker-faced. Trevor dials a number.
TREVOR (CONT'D)
(into phone)
Yes I need LARRY ELLIS' office please.
He says the lawyer's name like it's supposed to intimidate
Givens. He couldn't care less.
TREVOR (CONT'D)
(a beat)
Yeah this is Trevor Gooding I need to
speak with Larry... Trevor...? Kirsty
Gooding's husband...?
(another beat)
I see do you know when he'll be out that
meeting? Fine I'll uh... call back
then... Okay you give him the message and
he'll call me that's great.
(CONTINUED)
40.
CONTINUED: (2)
With that Trevor hangs up the phone and EXITS the office.
Givens BUSTS OUT LAUGHING.
INT. TREVOR'S CUBICLE - DAY
Trevor types bitterly on the computer crunching numbers like
a madman.
BRET
I don't know what pissed you off but it's
nice to see you getting the job done for
a change.
INT. TREVOR'S APT. - NIGHT
Trevor plays his videogame with venom. The cries of his kills
emanate from the TV, building to a crescendo. Finally we hear
a WOMAN'S VOICE come from the TV.
WOMAN'S VOICE
I'M SAVED! MY HERO!
Trevor flicks the REPLAY button.
INT. TREVOR'S APT. - NIGHT
Trevor stares at the self-taken picture of him and his wife
mugging at the camera. What is it that Kirsty is holding?
INT. TREVOR'S APT. - NIGHT
The TV is on. Trevor flips through the channels. He stops on
the Nature Channel. A goat is casually munching on some nuts
and berries.
ANNNOUNCER'S VOICE
(from TV)
-at the dawning of the agrarian age
goat's milk would be considered a
suitable substitute for a mother's breast
milk. And the sacrifice of a goat would
appease an angry god and ensure a
bountiful harvest. But in time the ritual
would become associated with less
hallowed purposes.
HEADLINE: CHURCH DESECRATED WITH BLOOD OF GOAT, LAMB
ANNNOUNCER'S VOICE (CONT'D)
Goat's blood is said to hold supernatural
properties linked to black magic.
(MORE)
(CONTINUED)
41.
CONTINUED:
ANNNOUNCER'S VOICE (CONT'D)
In conjunction with the pentangle- the
five pointed star- the spilling of goat's
blood is considered to be either an
aphrodisiac that can be used in demonic
orgies, or a means by which a high priest
may summon Satan himself.
AN ILLUSTRATION of a goat with many eyes appears on the
screen.
ANNNOUNCER'S VOICE (CONT'D)
(from TV)
The Book of Revelations speaks of the
anti-Christ as the beast with many eyes.
For centuries illustrators have chosen a
goat to represent this beast.
His eyes hurting too much to watch any more, Trevor turns the
TV off. Out of sheer instinct he suddenly turns to look-
-OUT HIS WINDOW:
The apartment across the street is lit. A STRANGE FIGURE is
standing in the window.
Trevor jumps up and rushes over to his window. He looks OUT
at that same shadowy man he saw earlier. The man's face is
still obscured and is still holding something in a blanket.
Squinting Trevor is able to make out what it is:
A SLEEPING BABY. The stranger pulls the baby's blanket over
the baby's angelic face. Then the light in that apartment
goes out abruptly.
Trevor stares at the darkened window breathing heavily. Is
the stranger still in there, watching Trevor in the dark?
Trevor cannot tell.
A SUDDEN KNOCKING AT THE DOOR makes him flinch.
Trevor goes to the door, opens it to find:
TAWNY. Only now she's dressed in a skintight black rubber
dress. She smiles accentuating a fresh coat of black
lipstick.
TAWNY
Hey. Can I borrow something?
TREVOR
Uh... sure, Tawny... what?
TAWNY
You.
(CONTINUED)
42.
CONTINUED: (2)
Tawny grabs the back of his neck, pulling him to her as she
kisses him deeply. She grabs his collar and pulls him out to
the hallway.
INT. HALLWAY - NIGHT
She turns around, leading Trevor through the hall like a
horse. A very confused horse.
TREVOR
Tawny? What's- what are you doing?
TAWNY
YOU!
Trevor eyes her gorgeous body and decides not to resist quite
so much.
INT. TAWNY'S KITCHEN - NIGHT
Trevor leans against the counter, sipping at a glass of wine
nervously. Right next to him, Tawny's at the stove, stirring
a pot of something dark and bubbly. She looks up at him,
smiling seductively. But Trevor's still a few lengths behind.
TAWNY
You okay?
TREVOR
I'm, uh, not sure... Feeling kind of
weird actually.
TAWNY
Really?
Tawny grabs Trevor's balls and he jumps away as if jolted by
a cattle-prod.
TAWNY (CONT'D)
I'm kinda feeling nuts myself!
TREVOR
I've never said this to a woman before
but can't we talk a little bit before
grabbing at each other?
TAWNY
(grinning)
God. Sometimes you can be such an animal.
Other times you are the ultimate tease...
She holds up a spoonful of what she's been stirring. It looks
like stew.
(CONTINUED)
43.
CONTINUED:
TAWNY (CONT'D)
Taste this.
Keeping a hand below his waist Trevor leans toward the spoon,
tastes, licks his lips. Then squints.
TREVOR
Wow. That's good. Lots of capers, huh?
TAWNY
For starters. It's also got fennel,
asparagus, olives, some more of mother
nature's aphrodisiacs... Back in college,
me and my roommates used to call it hard-
on stew.
TREVOR
Not a very appetizing name.
TAWNY
Have some more.
Trevor takes another sip of it.
TAWNY (CONT'D)
If you ever smelled this coming from our
dorm room, you knew one of us was in
there getting laid.
TREVOR
You must have been very proud of
yourselves...
TAWNY
It's getting hot in here.
Tawny summarily unzips her rubber dress and whips it off.
Trevor is speechless.
Tawny's body is covered with bites and bruises.
TREVOR
Jesus... who did that to you?
Tawny BUSTS OUT LAUGHING.
TAWNY
You're kidding right?
Trevor shakes his head no.
(CONTINUED)
44.
CONTINUED: (2)
TAWNY (CONT'D)
You did! God, you are funny tonight.
Tawny approaches Trevor who tenses up.
TAWNY (CONT'D)
Almost like I'm with somebody else.
Trevor starts looking very ill.
TREVOR
Tawny I think I'm going to be sick.
TAWNY
Well now there's a compliment.
Trevor grabs his stomach, lurching over. He can't breath.
Trevor looks up at Tawny. But it is no longer her. Tawny has
changed into something else entirely.
A CENOBITE.
The Cenobite rips Trevor's shirt open, and we can see
movement within his abdomen. Like a baby kicking. Whatever's
in their shoots up expanding Trevor's chest cavity.
The Cenobite pins Trevor to the wall and hovers in his face
as if about to kiss him.
Before Trevor can scream he is choking. The Cenobite watches
with glee as something begins to move up into Trevor's
throat, expanding his neck, forcing his jaws open and
finally...
... a BLACK EEL pokes its head out of Trevor's mouth. The
Cenobite opens its own mouth and the eel starts to crawl
inside it. Meanwhile Trevor's about to pass out from
asphyxiation when-
INT. HOSPITAL ROOM - DAY
-he takes a deep grateful breath through an oxygen mask. The
various pieces of monitoring equipment around him are BEEPING
and PINGING like slot machines.
Allison walks around the room pressing buttons that silent
each machine one by one, then walks up to the bed, looking
surprisingly calm.
ALLISON
Sorry about that. There was a blockage in
your oxygen hose. Won't happen again,
promise.
(CONTINUED)
45.
CONTINUED:
Trevor looks relieved. Shell-shocked but relieved.
TREVOR
I'm certainly keeping you busy huh?
ALLISON
(smiling)
Too bad I hate my job...
She strokes his forehead.
ALLISON (CONT'D)
Feeling better now?
Trevor shakes his head.
TREVOR
These hallucinations I'm having. I think
they're more like memories coming back to
me in a strange way.
ALLISON
Well that's not necessarily a bad thing
is it?
TREVOR
If they're blocked memories... I'm
starting to realize the reason why I
blocked them out. Allison I think I
really... screwed everything up.
ALLISON
Shh. Don't blame yourself Trevor. Please.
TREVOR
I miss her. I miss my wife.
Trevor takes her hand. Allison looks briefly around her
then... climbs onto the bed with him.
ALLISON
If you need to cry, go ahead. I won't
tell.
Holding her hand to his face, Trevor closes his eyes,
squeezing out a tear.
CLOSE ON TREVOR'S FACE. WE start to NOTICE subtle differences
about Allison's hand. It is very pale, the fingernails black.
Trevor opens his eyes.
46.
INT. TAWNY'S APARTMENT, BEDROOM - MORNING
He is now lying on Tawny's bed, which is surrounded by unlit
candles. Sunlight streams through her open window. It is her
hand he is holding to his face. The rest of her is sitting
under the sheet, covered head propped against the headboard.
Trevor drops her hand and it falls lifelessly to the bed
beside him. Breathing quickening he reaches up to the black
silk sheet covering her head. He yanks it back and covers his
mouth in horror.
She's been bound to the bed and gagged with a white cloth
that is soaked with blood. A deep vertical incision has been
made in her neck, collarbone to chin and her tongue is pulled
through the wound so it sticks out the bottom of her jaw. And
that's just for starters.
When Trevor looks down he gags when he sees her ribcage has
been opened like a set of French doors and her insides
sitting in her lap.
The coup de grace? Trevor now sees he is covered with blood.
HERS.
INT. TREVOR'S APT., BATHROOM - DAY
Trevor splashes his face with cold water, trying to get his
composure back. He stares at the water rushing down the drain
for a moment. His breathing stabilizes He finally looks up at
his reflection in the mirror...
... to see PINHEAD staring back at him.
Trevor jolts backward in shock and does a double take. It's
him now, looking completely unhinged.
Outside the PHONE RINGS. The answering machine picks up with
a BEEP.
LANGE'S VOICE
(from answering machine)
This is Lange. We need to talk as soon as
possible. It's about your little...
dilemma. Give me a call.
INT. HALLWAY - DAY
Cleaned up now Trevor carefully makes his way back to Tawny's
apartment. He tries the door. It's locked. This can't be
right. He jiggles the door knob violently, then finally KICKS
the door.
(CONTINUED)
47.
CONTINUED:
Suddenly-
-TAWNY answers the door, looking utterly pissed off. Though
still in Goth mode, she's dressed much more conservatively
now.
TAWNY
Can I help you?
TREVOR
Tawny... I- you're-
Trevor goes to embrace her. She shrinks back, startled.
TAWNY
Whoa, I have serious space issues, dude.
What do you want?
TREVOR
I... think we need to talk, there's
something really strange going on...
TAWNY
(a look of recognition)
Hey you're the guy from down the hall.
TREVOR
Come on, quit fucking around. Listen it's
about... what we did together last night.
TAWNY
(utterly shocked)
WHAT?!
A VERY DEEP VOICE comes from somewhere behind her.
VOICE
Who the fuck is that?
TAWNY
It's that guy from down the hall. He
thinks we did something with him last
night.
TREVOR
Who's- who's in there with you...?
Tawny looks aghast.
TAWNY
Are you cracking up or something?
(CONTINUED)
48.
CONTINUED: (2)
Suddenly an enormous BRUTE of a MAN, wide as he is tall
ENTERS the doorway. He's wearing a black tee, black jeans
and, Trevor can't help notice, black nail polish... on
fingers and toes. Obviously Tawny's significant other.
BRUTE
What can we do for you, chief?
TREVOR
I... who are you?
Brute takes a sideward step through the doorway, forcing
Trevor back two steps.
BRUTE
You know Tawny, you better know me, pal.
TREVOR
Okay. I don't want any trouble. I was
mistaken... I'll see you later.
BRUTE
Much.
Trevor turns and hurries off. Brute turns to Tawny who shrugs
and makes a twirly motion at her temple. The two go back into
her apartment.
INT. TREVOR'S APT. - DAY
Trevor paces in his apartment telephone to his ear. He lets
out a heavy breath and looks at his watch. Finally:
OPERATOR (V.O.)
City police main switchboard how may I
direct your call?
TREVOR
You already asked me that ten minutes ago
just before you put me on hold. I'm
looking for defective- I mean Detective
Lange.
OPERATOR
Oh he and his partner just stepped out to
lunch, can I-?
Trevor hangs up.
49.
INT. BUS - DAY
Trevor sits at the front of the bus agitated. He folds and
unfolds Detective Lange's business card in his hands like
some frustrated Origami artist.
The SIREN from a passing ambulance drills his ears. The
irritating sound eventually fades away but the pain in his
head is still there.
The BONGING of a distant cathedral's bell makes him pause. He
looks around.
Toward the rear and sees a familiar old lady knitting a
baby's bootie. He looks again. The bootie is bright red and
dripping... blood? Trevor follows the strand of bright red
wool down to their source:
A DYING GOAT laying under the seat. It's insides have been
ripped out. Its veins and tendons are serving as the old
lady's yarn.
Trevor's eyes bolt back up to the old woman. She continues
HUMMING sweetly, her lap speckled with goat's blood. Trevor
pulls the wire and an OBNOXIOUS BUZZING goes off. Trevor
hurries up to the bus driver as the bus pulls over.
TREVOR
Just open the doors I'll jump off.
BUS DRIVER
Not while the bus is moving, sir.
Trevor clutches his head in pain and waits for the bus to
stop. The doors open. He jumps off, knees nearly buckling
from the pain. He looks up as the bus speeds off.
IN THE REAR WINDOW the little black girl seen earlier pops
up. She's holding her little doll. She pushes a clothespin
into its head. Blood drips from the puncture. At the same
time Trevor feels an incredible pain sear through his head.
He squints at the bus again. The little girl is gone.
INT. LANGE'S OFFICE - DAY
Lange is at his desk eating a sandwich. Trevor comes in
angrier than a hornet in a beehive.
TREVOR
Where's my wife Detective Lange? What the
hell did you do with her?!
(CONTINUED)
50.
CONTINUED:
LANGE
Mr. Gooding I assure you we are doing
everything within our-
TREVOR
Why did you leave me that message?
LANGE
I don't know what you're talking about.
Trevor SLAMS his hand down on Lange's desk and gets right in
his face.
TREVOR
LIAR!
Trevor immediately turns around and walks OUT.
INT. LARRY ELLIS' OFFICE - DAY
LARRY ELLIS is a somber but handsome young attorney. At
present he at his desk poring through several books on child
custody law. He makes notes on a pad beside him as he talks.
LARRY
(not looking up)
Basically they know where your wife's
body is and they're not telling you as a
tactic to get you to confess? Yet neither
of them has come out and told you that
you're a suspect. Is that what you're
trying to say?
Trevor sits on the other side of the humongous office in a
chair so big it practically swallows him whole.
TREVOR
Look Larry I know you never thought too
much of me. And I know this all sounds a
little fucked up.
LARRY
A little? Try unbelievably.
TREVOR
I swear these guys are like playing
mindgames with me. I think they got a
hold of my e-mail address at work too.
Larry is not buying this for a nanosecond. He trims some
brown leaves off a small plant as he speaks.
(CONTINUED)
51.
CONTINUED:
LARRY
Trevor barring the more outrageous
aspects of your claim you are not the
only widower the police have questioned
when foul play is suspected.
TREVOR
Hey ninety five point three percent of
all murders are committed by either a
spouse, a direct relative or a close
friend that's common knowledge. But this
wasn't murder it was an accident-
LARRY
(concentrating on his notes)
And as far as hiding a body goes? I find
it hard to believe even the dirtiest of
cops would keep a victim's remains hidden
simply to get someone to confess. It's
absolutely preposterous. Now I'm not
saying I don't believe you,
I'm....ambiguous. There's quite alot of
money behind all this.
TREVOR
How much do I stand to inherit if Kirsty
is presumed dead?
Larry sighs and walks over to his desk. He presses a button
on his intercom.
LARRY
Rosie can you bring in the Gooding
papers?
ASSISTANT'S VOICE
(from intercom)
Right away Mr. Ellis.
TREVOR
Uh. Ballpark would be fine Larry.
LARRY
In the vicinity of eight million four
hundred fifty thousand. Or is it sixty-
TREVOR
What happens if I'm convicted of Kirsty's
murder?
LARRY
Well they'd have to prove it in a court
of law for one thing-
(CONTINUED)
52.
CONTINUED: (2)
TREVOR
Please Larry. Pretend you like me and
humor me.
LARRY
Seeing you were her sole benefactor, and
I'm the executive of the will, Kirsty's
entire estate would have to be donated to
the city.
TREVOR
Hello? City? Cops? It's a fucking
conspiracy!
LARRY
Pardon my glibness Trevor but you sound
like a raving lunatic. The next time you
seek counsel it should be of the
psychiatric type. You're obviously on the
verge of some nervous collapse.
TREVOR
Thanks for your concern Larry. And fuck
you too.
Trevor gets up and heads for the door.
LARRY
(to Trevor's back)
I never thought your late wife was the
sharpest knife in the drawer. But
marrying you was the dumbest thing she
ever did!
On his way out Trevor nearly runs down Larry's ASSISTANT who
was just coming IN with a large file. Trevor's gone.
INT. CAB - DAY
Trevor looks despondently out the window. The cab stops and
Trevor hands some money to the CABBIE up front.
TREVOR
You can go. I'm going to be here a while.
EXT. BRIDGE - DAY
Trevor gets out of the cab, which drives off leaving him on
the bridge looking down at the water below.
53.
EXT. BELOW BRIDGE - DAY
Police tape FLAPS between the trees. Other than that there is
no sign of an investigation. Trevor walks out of the woods on
the shore, through the police tape and to the water's edge.
He begins to walk the shore looking out at the still water.
He scans the area where the water meets the land, trying to
remember.
Something on the surface few feet away catches his eye. It's
a rock sticking up. No it's something else. Trevor walks
right up to the water and puts his feet on a couple of large
rocks breaking the surface. He bends down and looks at...
THE CORNER OF A BLACK CUBE. He quickly reaches down, tries to
pick it up. It seems to be stuck just below the surface.
Trevor pulls harder and finally it gives. Trevor slowly lifts
the black cube out of the water and GASPS when he sees-
-A WHITE WATERLOGGED HAND CLUTCHING IT FROM BELOW!
Trevor GASPS and lets go. And just as the cube (along with
its owner) SPLASH under the surface-
-ANOTHER WHITE HAND breaks the surface grabbing Trevor's
wrist!
As Trevor Struggles he looks up to see the dark figure
standing above him holding a rock over his head. Just as he
swings down towards Trevors head-
smash cut to:
INT. ALLISON'S OFFICE - DAY
Trevor jumps scaring the hell out of Allison who has just
gotten done taking his pulse.
ALLISON
Jesus I wish you would stop doing that.
Trevor looks down at himself. He's on an examination table in
his normal clothes not a hospital johnnie. That's a good
sign.
TREVOR
Allison...
Trevor tries to put his thoughts together.
(CONTINUED)
54.
CONTINUED:
ALLISON
Well Trevor? What have you got to say for
yourself? Que pasa?
TREVOR
(voice quivering)
Allison we have GOT to talk about this
medication you've got me on.
ALLISON
I'm all over it.
Allison shines a penlight in his eye.
ALLISON (CONT'D)
Blink.
Trevor blinks. Satisfied, Allison sits on the bed next to
Trevor and takes his hand.
ALLISON (CONT'D)
Okay. What we're going to do is up the
Topomax to two per day instead of one,
see if that takes care of these
hallucinatory seizures you've been
having. The extra Topomax won't interfere
with the painkillers either but... You're
going to be thrilled to hear this part
but we have been told by some patients it
affects the memory somewhat...
TREVOR
(weary)
Really? Does it affect the memory?
Allison looks concerned. Then her features soften.
ALLISON
You're one tough cookie, Trevor Gooding.
You keep coming back to your corner for a
quick fix up then go right back out into
the ring for another round.
TREVOR
Some call it resilience. Others,
stupidity.
Allison lets a lapse in the conversation last too long. That
look of concern returns as she lingers on his face. She's
trying to say something.
TREVOR (CONT'D)
Everything okay Allison?
(CONTINUED)
55.
CONTINUED: (2)
ALLISON
(surprised at her own emotional
outflow)
Of course, yes.
TREVOR
The way you just looked at me...
ALLISON
I know, my bedside manner's horrendous.
Allison finishes writing a few notes, and Trevors rolls down
his sleves. He's intrigued.
TREVOR
So, I'm done. Thats it for today?
ALLISON
All finished.
Neither of them want this visit to be over.
TREVOR (cont'd)
How bout some lunch?
INT. CAFETERIA - DAY
The two share the end of an empty cafeteria table, eating off
pastel colored trays.
TREVOR
Think about it. In the entire world
where's the most life-threatening place
you could possibly be at any given
moment.
ALLISON
I don't know... Beirut? New Orleans?
TREVOR
Hint. It's not a geographical location.
ALLISON
I'm stumped.
TREVOR
It's inside a moving car.
ALLISON
Bull...
(CONTINUED)
56.
CONTINUED:
TREVOR
I've got numbers to back me up. Over the
course of one year more Americans die in
car accidents than did during the entire
span of World War II.
ALLISON
Okay so... what's the safest place?
TREVOR
Statistically speaking? Inside a moving
bus.
Allison LAUGHS.
TREVOR (CONT'D)
Millions of people around the world get
on busses every day. When was the last
time you heard of anybody anywhere dying
on a public transit bus?
ALLISON
Okay Mr. Statistics I've got one for you.
What's the most common cause of death for
adults over the age of eighteen?
TREVOR
Please. Heart attack. That was easy
street.
ALLISON
Second most common?
TREVOR
Skin cancer.
ALLISON
Eighty third most common.
TREVOR
Pitbull attacks.
ALLISON
You just made that up.
TREVOR
Like you're gonna check.
They both chuckle, Trevor's expression gets serious. After a
moment of silence.
ALLISON
Where you two happy together?
(CONTINUED)
57.
CONTINUED: (2)
TREVOR
We startred off to be. She was, I guess I
was. I just sort of....butchered up the
relationship somehow. (to himself) Bad
choice of words.
ALLISON
I understand, I think. Other women?
TREVOR
Yeah. It's like I was a different guy
then I am today. I can't remember that
guy. I see these women, they think I'm
someone else, and I'm not that guy
anymore. I'm not sure who Kristy knew.
ALLISON
You were unfaithful, it sounds like your
confessing.
TREVOR
I did more then that.
Allison reaches accross the table for Trevors hand. A quiet
moment.
ALLISON
Com'on. How bout some fresh air?
EXT. HOSPITAL ROOF - DAY
Trevor and Allison sit in a couple of chairs looking out at
the other rooftops around them.
TREVOR
Lucky for us these chairs happened to be
here.
ALLISON
Oh I knew about the chairs already. This
is where the emphysema patients come to
sneak cigarettes.
She points to the ground at myriad butts scattered at their
feet. Trevor smiles and looks at his hands.
ALLISON (CONT'D)
Don't tell me. Kirsty used to smoke?
TREVOR
No. She just would have loved it up
here... Allison when I was under... did I
ever talk?
(CONTINUED)
58.
CONTINUED:
ALLISON
Sure plenty of times.
TREVOR
Was there anything I said that made you
stop and wonder, you know, "where did
that come from?"
ALLISON
Sure plenty of times.
TREVOR
Well?
ALLISON
Trevor if someone is talking from a sleep
state they are obviously dreaming. So
practically everything say is going to
sound strange.
TREVOR
Did I ever talk about the accident?
ALLISON
No.
TREVOR
Did I ever talk about Kirsty?
ALLISON
No. But at one point you did repeat
something though. A phrase. You must have
been having this recurring dream, you
just kept saying this one thing over and
over
TREVOR
What was it?
ALLISON
You said, "Jealousy arouses a husbands
fury, and he will show no mercy when he
takes revenge." (Proverbs 6:34) Does that
mean anything to you Trevor?
TREVOR
It means I have alot more questions.
Trevor stares off into the distance.
ALLISON
Times up for today. I've got to get back.
(CONTINUED)
59.
CONTINUED: (2)
Allison SMILES and pats Trevor's knee. He melts and puts his
hand on hers. She slowly takes it away and fixes her hair.
TREVOR (CONT'D)
Sorry.
ALLISON
If it makes you feel better that took
every ounce of self control I had.
Trevor, I never date patients.
TREVOR
I understand... I won't-
ALLISON
No you don't understand. That's why I've
been fighting to get you better. So you
wouldn't be a patient anymore.
TREVOR
Why didn't you tell me sooner? I would
have switched doctors!
ALLISON
Just get better okay?
She caresses his face then looks at her watch.
ALLISON (CONT'D)
I have to get back to work. And so do
you.
INT. OFFICE BUILDING - DAY
Trevor walks through the maze of cubicles a big smile on his
face. He's actually having a good day.
INT. TREVOR'S CUBICLE - DAY
Bret's already looking up at Trevor as he ENTERS.
TREVOR
Don't say a word, Bret.
Trevor's smile disappears when he sees someone's already
sitting in his chair. LANGE. He's on Trevor's computer
surfing the internet.
BRET
(to Lange)
Guess I'll leave you two alone.
(CONTINUED)
60.
CONTINUED:
LANGE
(concentrating on the computer)
Nice chatting with ya.
Bret gets up and LEAVES as Trevor approaches Lange.
LANGE (CONT'D)
Sorry I'm in your seat aren't I?
TREVOR
No please make yourself at home.
Trevor sits in Bret's chair as Lange logs off and swivels to
face Trevor.
LANGE
How's everything, Mr. Gooding?
TREVOR
Can't we dispense with the games for
once?
LANGE
I thought you loved games.
TREVOR
I'll just stay out of this conversation
until you come out and tell me why you've
disrupted me at work.
LANGE
You and your wife were playing a game
shortly before you got into that car
accident weren't you?
TREVOR
Where is she? Where is my wife?
Lange shakes his head and pulls something else out of his
pocket. It's The Cube sealed in a ziploc. Trevor cannot
conceal a feeling of dread.
LANGE
We found this curious little object not
too far from the site of the accident. No
prints but forensics scraped a little
dark residue that was caked on one of the
corners. It was blood Trevor. Matched
some blood we took off your car seat too.
Can you tell me anything about it?
(CONTINUED)
61.
CONTINUED: (2)
TREVOR
(to Lange)
It looks familiar. I think it was in the
car...
LANGE
Gee you think so?
Lange puts the cube back in his pocket and stands up.
LANGE (CONT'D)
Sorry to take up your time like that
Trevor. Don't work too hard. Oh, before I
forget. I talked your neighbor out of
pressing charges.
TREVOR
What?
LANGE
The whackjob in the black lipstick who
lives down the hall? She wanted you
arrested for harassment. I told her to
chill out and smoke a joint. I'd look the
other way as long as she did you know?
TREVOR
Thanks.
LANGE
We're all here for you Trevor.
Lange gets up and EXITS. Trevor satys seated, after a beat he
stands up looking over his cubicle and sees DET. GIVENS
staring back at him from the door. Trevors sits back down.
Trevor suddenly clutches his head as if it's been killing him
this whole time. He goes to his chair picks up the phone and
dials.
RECORDING (V.O.)
(from phone)
We're sorry the number you have has
either been disconnected or no longer in
service. If you feel you have reached
this recording in error-
Trevor hangs up. We can almost hear his head throbbing in
pain.
He turns around and there's BRET LEANING AGAINST his desk
eating a frozen yogurt. Staring at Trevor.
(CONTINUED)
62.
CONTINUED: (3)
BRET
Frogurt guy's here. They're all out
chocolate vanilla swirl or I'd have
gotten you one.
TREVOR
I'm sure you would have.
Bret nods, tosses the frozen yogurt container out and sits
down.
BRET
Hey if you're not doing anything I'd like
to buy you a beer after work. Be just
like old times.
TREVOR
What's the occasion?
BRET
I quit. Today's my last day.
This hits Trevor like a ton of bricks.
INT. PUB - DAY
The place is practically empty. Bret and Trevor play darts
and work on a pitcher of beer. Country Western plays on the
jukebox.
BRET
I've got a better offer. More time off. A
sort of career shift, more in the
engineering line of work.
TREVOR
How much time off?
BRET
As much as he feels like. Its a much more
pleasurable line of work.
TREVOR
As much as he likes?
BRET
Yahtzee. Were all in this together Trev.
Trevor there are people who are doing
exactly what we're doing but they don't
need to wear a tie, punch a clock or have
some tight assed supervisor breathing
down their necks. Its all about the
pleasure Trevor!
(CONTINUED)
63.
CONTINUED:
TREVOR
So you're just packing it up just like
that?
BRET
Almost that fast. I got a few loose ends
to tie up first. Came into a shitload of
money recently. I've always wanted to go
to take a trip. We're just gonna walk
into the airport and decide right then
and there.
TREVOR
Yeah? You and who else?
BRET
Someone special.
Bret throws a dart with extra mph. It misses the board
entirely and hits the wall. Trevor winces in pain suddenly.
He touches his head and looks at his fingers. Fresh blood.
FLASHBACK
Trevor in the car in the water. Thrashing about, he bleeding
from his head in the flashback as well. Where's Kristy? He
looks in the passenger seat. She's gone.
Trevor takes the cube from the man with the ring. He fumbles
with the puzzle box in the darkness.
CU box. It starts to move.
Trevor driving with Kristy, She's going down on him while
he's driving.
KIRSTY
Okay pull over.
TREVOR
(looking at his watch)
But... I thought...
Trevor waits a moment to see if she's kidding.
KIRSTY
(through clenched teeth)
PULL OVER NOW.
The car comes to a stop.
(CONTINUED)
64.
CONTINUED: (2)
Trevor gets the goods while he watches himself in the rear
view mirror.
Someone approaches. Trevor zips up, pulls Kristy up out of
his lap. Its a cenobite.
Trevor screams and opens the door of the car to make a
frantic exit. He dive out onto the pavement and looks back.
All is quiet. He's alone a quiet road.
He stands up and into an eerie world of slow motion . Trevor
looks up the road and back to find-
A beautiful vision of Allison walking toward him. Walking
gracefully, she approaches Trevor. Raises her hand to his
face. Trevor smiles, then slowly looks back towards the car.
Inside the car he see's Kristy playing with the puzzle box.
Trevors calls out to her.
TREVOR
Kristy noooo!
And he makes a move toward the car, as the box comes to life.
This stops Trevor in his tracks, and he looks toward Allison.
Who is now PINHEAD.
PINHEAD
There is no reprieve for you. Not even in
her. She's only a vision I'm afraid.
Tervors looks dumbfounded.
PINHEAD (cont'd)
The truth hurts doesn't it?
END FLASHBACK
INT. PUB - DAY
Trevor raises his head from the bar. The beers are there but
Bret is gone. Trevors stares at himself in the mirror
opposite the bar. He looks like shit. He thinks hard about
the flashback.
Out the door he goes.
65.
EXT. PAY PHONE - NIGHT
-Trevor's holding the phone up to his ear agitated beyond
belief. He'd pace if he could. Instead he just fumes.
TREVOR
(into phone)
Yes I'm trying to reach one of your
interns... Allison Dormere...? She works
in the emergency room there... What do
you mean...? I just saw her today... Yes
I'm sure she works there I've been in and
out of that place five times in the last
month...! Well good day to you too
asshole!
-CLOSE UP on Trevor's hand searching through the D's in the
white pages. He slams the book shut in frustration.
-He's on the phone again.
TREVOR (CONT'D)
No such listing...? Could you at least
tell me IF she has an unlisted number...?
What do you mean there are no Dormeres at
all there have to be...! WELL LOOK AGAIN!
(a beat, more timidly)
H-hello?
Trevor SLAMS the phone down and touches his head again. He
looks at his hand. The blood is gone. But the headache is
back. Its crippling at this point. He's at his wits end. He
reaches into his pocket and finds Pages card. Maybe as a last
resort?
THE PHONE RINGS. IT RINGS AGAIN. Trevor presses his palm
against his eye. Trevor picks up the phone.
TREVOR (CONT'D)
(into phone)
Hello?
WIMPERING VOICE
(from phone)
Goodbye...
TREVOR
Kirsty?
WIMPERING VOICE
You miserable sonofabitch!
DIAL TONE.
66.
EXT. SAGE'S BUILDING - NIGHT
Trevor is out of breath as he walks up to the last resort.
The entrance to Sage's building. The front door is locked. He
presses a three digit code on the alarm box. RING. RING. The
phone picks up. He's deperate.
SAGE'S VOICE
Hello?
TREVOR
Sage it's me Trevor. You've got to help
me.
INT. SAGE'S OFFICE - NIGHT
Trevor's head hits the pillow on the acupuncture table.
TREVOR
The feeling is very distinct. It's like
somebody stuck a shard of glass through
my eye and it's embedded halfway into my
brain.
Sage nods, patient look on her face.
SAGE
Trevor your body has been completely
healed. All the nerve endings have
repaired themselves. If there is any pain
in your head it's... in your head.
TREVOR
Jeez it's getting awful crowded in there.
SAGE
You are physically better. It's your soul
that still hurts.
Sage grabs a bunch of needles from the table.
SAGE (CONT'D)
My teacher told me once there's a
puncture point on your body that can lock
your soul within it, even after you're
dead. So that when you die you're trapped
inside your body, watching it corrode for
all eternity.
TREVOR
Look, whatever your Marharagi, told you,
forget. You've got to get this fuckin
pain to stop.
(CONTINUED)
67.
CONTINUED:
SAGE
It was an analogy. Your soul is locked up
inside you. You need to free it Trevor.
You've blocked it from the healing
process. That's what we need to do now.
Heal your soul. And to do that I you have
to give in utterly and without any
hesitation or doubt. Do you know what I
mean by giving in? It's about trust. Do
you trust me implicitly?
TREVOR
I don't even know what's real and what
isn't how can I trust anyone?
SAGE
You can trust me. Your wife is dead and
you need to move past that. And the only
way to move past something completely is
to go straight through it, not around it.
Surrender yourself to your wife's death.
Let it chew you up and spit you back out
on the other side. It's the only way you
can become whole again.
Sage looks Trevor dead in the eye.
SAGE (CONT'D)
Are you ready?
TREVOR
I surrender...
Trevor closes his eyes
A MONTAGE
of Sage dimming the lights so that the room is nice and
dark... placing needles into Trevor's body... his
shoulders... his chest... his neck... his legs... his face...
Trevor finally opens his eyes to find...
... he's completely naked on Sage's table! And she's making
love to his body, which is now filled with needles!
TREVOR (CONT'D)
Wait... what the hell is this...
SAGE
(whispering)
Surrender yourself... surrender
yourself...
(CONTINUED)
68.
CONTINUED: (2)
She holds up a small chunk of ice and begins rubbing it on
Trevor's chest. He catches his breath at the cold and begins
to shiver.
INT. CAR - DAY
Trevor wakes up shivering. He is in the passenger seat, head
resting against a baby blanket. A hand touches his...
... Kirsty's.
TREVOR
Kirsty... Kirsty?
KIRSTY
It's okay it was just a nightmare that's
all.
Trevor looks at Kirsty. She is breathtakingly beautiful.
TREVOR
You're alive...
KIRSTY
Yes. Now go back to sleep. You're driving
the rest of the way to gramma's remember?
Trevor looks in the back and for the first time sees an
INFANT GIRL sleeping in a car seat behind him.
KIRSTY (CONT'D)
Trevor I've decided we have got to agree
on a name before we reach my mother's.
This poor kid's going to be starting
preschool as student x if we don't make
up our minds. So, I've been thinking,
what about Daisy?
TREVOR
(looking at the baby)
It's perfect.
KIRSTY
Well that was easy all of a sudden.
Trevor looks back at Kirsty.
TREVOR
Kirsty... I'm glad you're alive.
THE SIREN FROM AN APPROACHING AMBULANCE GETS LOUDER AND
LOUDER, piercing Trevor's ears.
(CONTINUED)
69.
CONTINUED:
Trevor winces in pain and blocks his ears from the noise.
Kirsty looks at him, puzzled. He can only read her lips:
"Honey what's wrong? Honey?"
INT. AMBULANCE - NIGHT
Trevor's eye rivet open again. A PARAMEDIC is snapping his
fingers in front of them. Another paramedic is readying a
hypodermic.
PARAMEDIC
Can you hear me? Just nod.
Trevor nods.
PARAMEDIC (CONT'D)
Do you know where you are?
TREVOR
Ambulance.
PARAMEDIC
We're just gonna take some blood here.
The other paramedic sticks a needle in Trevor's arm.
PARAMEDIC (CONT'D)
You know what day it is?
Trevor shakes his head. The paramedic holds up two fingers.
PARAMEDIC (CONT'D)
Okay how many fingers am I holding up?
TREVOR
Two.
PARAMEDIC
Can you follow them?
Paramedic moves his hand left to right. Trevor keeps his eyes
on it.
PARAMEDIC (CONT'D)
Perfect. Hey you remember what happened
back there?
TREVOR
You mean... when the car went off the
bridge?
PARAMEDIC
(laughing)
Wow you are out of it.
(MORE)
(CONTINUED)
70.
CONTINUED:
PARAMEDIC (cont'd)
No it was nothing that extreme. You were
riding on the bus and just collapsed onto
the floor. Out cold. Remember being on a
bus now?
TREVOR
No... maybe... I don't know.
PARAMEDIC
It's cool. Here we are.
The ambulance comes to a stop.
INT. EMERGENCY ROOM - NIGHT
A couple of orderlies wheel Trevor into the exact room he's
been coming to this whole time. The orderlies EXIT and who
should ENTER but Dr. Ambrose... and the ANGULAR NURSE who
readied him for the brain surgery at the beginning.
DR. AMBROSE
Hello I'm Dr...
TREVOR
Ambrose. I know.
DR. AMBROSE
Have we met?
TREVOR
I've been in here before.
DR. AMBROSE
Take no offense Trevor. I see many
patients a day and have an awful memory.
TREVOR
Join the club.
Ambrose holds a penlight up to each of Trevor's eyes and
nods.
DR. AMBROSE (CONT'D)
Right. Trevor you just had a seizure
brought on by a severe migraine. Things
could be much worse. In the next few days
you need to take plenty of aspirin, stay
out of the sun and make sure you've had
at least eight glasses of water by the
time you go to bed at night.
Trevor just stares at Dr. Ambrose.
(CONTINUED)
71.
CONTINUED:
DR. AMBROSE (CONT'D)
Why don't you relax for the next couple
of hours? Barring any relapses you should
be able to go home after that.
TREVOR
Where's Allison?
Dr. Ambrose looks a little confused.
DR. AMBROSE
Who's Allison?
TREVOR
Allison Dormere. Your intern.
Ambrose looks at the nurse, who shrugs, then back at Trevor.
DR. AMBROSE
Uh we have no intern by that name here
Mr. Gooding. Listen I'll be back in a few
hours to check up on you meantime relax
try not to move around too much.
Ambrose pats Trevor's shoulder congenially and WALKS OUT.
NURSE
There there Trevor. Get some sleep.
Trevor tenses when the nurse smiles.
NURSE (CONT'D)
If you need anything give myself or any
of the nurses a call okay? We're-
TREVOR
Don't tell me. ëWe're all here for you
Trevor' right? Go ahead say it! You know
you want to!
The nurse looks taken aback.
NURSE
What the hell are you talking about...?
Trevor suddenly jumps up yanking electrodes and IV tubes from
his body. The nurse is back to normal and very disconcerted.
NURSE (CONT'D)
Trevor! Mr. Gooding lay back down-
Trevor runs out of the woman mowing the woman down in his
tracks.
72.
INT. HOSPITAL HALLWAYS - NIGHT
Trevor rushes down the halls of the hospital nearly knocking
down Dr. Ambrose.
DR. AMBROSE
Hey!
Trevor races as fast as his feet can carry him easily losing
Dr. Ambrose.
INT. OTHER WING - NIGHT
Trevor runs down a corridor through another doorway and into
another wing of the hospital entirely. He arrives at the door
to Allison's office and throws it open. It's actually a
janitor's closet.
EXT. HOSPITAL ROOF - NIGHT
Dressed in janitorial garb, Trevor bursts open the stairwell
door and comes out on the roof.
An OLD MAN in a johnnie is sitting in one of the chairs not
too far away. An oxygen tube trails from his nose to an
oxygen tank at his feet.
OLD MAN
(wheezing)
Okay ya caught me.
He brings a cigarette to his lips and takes a long drag.
OLD MAN (CONT'D)
Least let me finish will ya? Got one puff
left.
TREVOR
I don't work here.
OLD MAN
Music to my ears.
The old man lights a fresh cigarette with the one he's just
finished.
Trevor turns to go back and THERE'S ALLISON standing in the
doorway.
ALLISON
Trevor. I heard you were looking for me.
Is everything all right?
(CONTINUED)
73.
CONTINUED:
TREVOR
Allison! Am I glad to see you!
(changing his tone) No... everything's
not right. Not at all.
ALLISON
Come here.
Allison holds him. The old smoker turns and watches with
curiosity.
TREVOR
Allison I think I did some very, very bad
things. I mean very bad.
ALLISON
Trevor things like this happen to people
who experience temporary memory loss.
Everybody does things they regret. You
just couldn't remember doing these things
and now you are so it's a shock to the
system. I'm telling you. You will never
get better if you keep blaming yourself
for your wife's death.
TREVOR
Maybe I wasn't responsible for the car
accident...
The old man calls out to Trevor wheezily.
OLD MAN
Hey buddy!
TREVOR
(ignoring him)
... but I'm starting to think I was... I
was going to...
OLD MAN
Hey buddy!
Trevor turns to the old man.
TREVOR
What do you want?!
OLD MAN
(wheezing)
Who the hell are you talking to?
Trevor turns and Allison is gone. Vanished into thin air.
74.
INT. BUS - NIGHT
Trevor sits at the front of an empty bus rubbing his head. He
stares at the spot where the creepy old lady knitting the
baby's bootie used to sit. He looks under the seat. There is
nothing there.
The HYDRAULICS HISS as the bus comes to a stop.
BUS DRIVER
This is it mister.
Trevor gets up and hurries off giving the driver a cursory
glance. The driver doesn't look at Trevor as he speaks.
BUS DRIVER (CONT'D)
Have a good night now.
Trevor EXITS the bus.
EXT. BUS STOP - NIGHT
Trevor steps out of the bus and faces the ROMAN CATHOLIC
CATHEDRAL. He ascends the steps.
INT. CONFESSIONAL - NIGHT
Trevor sits in the booth across from the tiny screen, behind
which is a VERY TIRED PRIEST who is still in his pajamas.
TREVOR
I don't know what I'm doing here. I'm not
even Catholic. I just had to tell
somebody. It's like, ever since my wife
died I don't know what I've actually done
or what I've imagined. But I do know if
one tenth of what's happening to me is
reality... I've done some really awful
things in my life. Things that I've... I
guess I've blocked out...
PRIEST
What things do you think you've done?
TREVOR
Wow. Let's see. So many sins so little
time. For starters I was responsible for
the death my wife who by the way was
carrying my unborn child. That was so I
could collect her eight million dollar
estate. I think I killed several women I
was having mindless sex with behind her
back.
(MORE)
(CONTINUED)
75.
CONTINUED:
TREVOR (cont'd)
But I did those murders just for the hell
of it. Finally... I think I made some
kind of deal with the devil and now he's
come to collect my soul. Only he's
decided to mess with my head first. How
many Hail Marys do you recommend for that
one father?
PRIEST
Trevor I'm sure you killed no one. You
are very distraught over your wife's
death and rightfully so. You did the
right thing by confessing to me here
tonight. And you should keep praying for
the wisdom that will set your soul at
ease. That being said, you are still in a
highly emotional state right now. It
might do you some good to get some
professional help. Confess to them the
way you confessed to me. In time you'll
probably find that the real killer has
already been caught. Or better yet...
that these murders never happened at all.
TREVOR
But I saw these women. I saw their
mutilated bodies. I saw their ghosts. I
just know it happened I can feel it...
PRIEST
All you've got is the here and the now
Trevor. That's all anyone really has.
Maybe this will make things easier to
understand. A man goes to sleep every
night and has recurring dream that he's a
butterfly. In time he begins to wonder if
he might actually be a butterfly who
dreams he's a man. And at the end of the
day does it even matter? All these events
you're describing. How can you be sure
any of them really happened?
TREVOR
But that's what I need. To be sure... to
be absolutely sure...
PRIEST
Shh. It's okay son. There is but one
truth. One thing you can be absolutely
sure of. And that thing is this:
The priest moves closer to the screen.
(CONTINUED)
76.
CONTINUED: (2)
PRIEST (CONT'D)
WE'RE ALL HERE FOR YOU TREVOR.
The Priest begins to chuckle ominously.
Resisting the urge to scream Trevor bolts out of the
confessional...
INT. CATHEDRAL - NIGHT
Trevor rushes out of the confessional. THE CATHEDRAL BELL
begins to CLANG. Eardrums getting battered by the RINGING
Trevor blocks his ears and rushes toward the exit-
-coming face to face with a gargoyle blocking his path.
PINHEAD. Though he speaks softly his voice is heard easily
over the bell.
PINHEAD
Still in the dark I see?
TREVOR
Who are you?
PINHEAD
Poor Trevor.
TREVOR
This game is over do you hear me?
PINHEAD
I hear everything. And soon you will know
everything. More than you ever wanted I
can guarantee that. But I want you to
think for a minute first. Think about all
you've seen. All the clues you've been
given.
Pinhead opens his cloak revealing the darkness within. To
Trevor's shock his sucked right into this void inside
Pinhead.
INT. CUBIC ROUTE ACTUARIAL RESEARCH, BULLPEN - NIGHT
Trevor is thrust into the interior of his office building.
Everyone's gone for the day. The only light is coming in from
streetlights outside. Trevor races past the cubicles running
out into a hallway.
He looks down one end then the other... where he sees an
office light is on. He cautiously approaches the office.
He looks inside.
77.
INT. GWEN'S OFFICE - DAY
Gwen's hacked up body is strewn about the office. Her arms
are atop the filing cabinet. Legs under her desk. Ass on the
copier.
Trevor hears someone coming. He looks down the hall to see A
FLASHLIGHT BEAM TURN THE CORNER, blinding him. It's bearer
begins running toward Trevor.
Trevor bolts the other direction heading for the exit. He
pushes the door open and slams it behind him only he's not
still outside yet...
INT. TAWNY'S APARTMENT, BEDROOM - NIGHT
Tawny lies on the bed, dead, tongue sticking out of her neck,
ribcage violated.
Trevor hears someone coming toward the bedroom can see the
flashlight beam jittering as its bearer approaches.
Trevor rushes toward the window, opens it and leaps out onto
the fire escape.
EXT. APT. BUILDING - NIGHT
Trevor's about to climb down the fire escape when he is
bathed in the flashlight's beam from inside. Trevor looks
down and sees a garbage dumpster full of trash bags below. He
jumps.
Trevor sails down three stories and lands in the dumpster. He
climbs out and runs to the street as fast as he can. He races
down the sidewalk trying to get his bearings at the same
time.
Hearing footsteps from behind Trevor turns to see:
The Stranger in the Window not half a block behind Trevor,
keeping Trevor's pace. Then... Trevor stops. And turns.
The Stranger stops as well. This has never happened before.
Trevor shouts down the empty street.
TREVOR (CONT'D)
WHO ARE YOU!
His voice echoes off the darkened buildings.
The Stranger stands there. Trevor begins walking toward him,
blood in his eyes. The Stranger backs away.
(CONTINUED)
78.
CONTINUED:
Trevor bolts into a run and the Stranger takes off running
the other way.
The stranger darts into an alley.
INT. ALLEY - NIGHT
Trevor runs into the alley, seeing no signs of the stranger.
The end of the alley is pitch black.
TREVOR
WHERE'S MY WIFE?!
Trevor hears something at the end of the alley. He grabs a
broken bottle out of a garbage can and heads toward the
darkness. Trevor's teeth are bared now.
TREVOR (CONT'D)
WHERE'S MY WIFE!?
Something GLISTENS in the dark just before the razor sharp
edge of a switchblade touches his left jugular. Trevor
freezes. OUT OF THE SHADOWS comes... BRET.
TREVOR (CONT'D)
Bret... what the fuck...?
BRET
Tonight was supposed to be the night,
Trevor. Remember? I couldn't believe you
went through five dart games and didn't
even joke about it.
TREVOR
Bret. What the hell is going on?
BRET
We were gonna be millionaires you said.
Nobody'd suspect a thing. I had never
even met her. No connection. Then you
went and had that fucking car accident.
TREVOR
Bret you are making no sense whatsoever.
BRET
I followed her Trevor. I got to know her
life. And what a boring one it was. Six
a.m. gym, nine a.m. trendy coffee shop,
noon bookstore, one soap operas, four
o'clock news, five wait for Trevor to
come home. And wait and wait and wait.
Nine o'clock get ready for bed.
(MORE)
(CONTINUED)
79.
CONTINUED:
BRET (cont'd)
Ten o'clock fall asleep in front of the
TV. She did that every day I followed
her. Every single day. While you were out
fucking your concubines. Every day I felt
more and more bad for her, man. And hated
you more and more.
Trevor is absolutely speechless.
BRET (CONT'D)
Then I find out you're having nooners
with my GWEN. That was all I could take.
I didn't want to kill your wife anymore.
I wanted to kill you. Even before that
little accident I decided to do it on the
day we'd set aside for her.
Bret presses the blade against Trevor's neck a little harder,
drawing a rivulet of blood.
BRET (CONT'D)
But now that ain't gonna happen either. I
fell in love with Kirsty Trevor. The day
she died it was like my soul had been
ripped from my body. Not just because I
lost someone I loved. It's because the
child inside her... was mine.
Bret then puts the knife to his neck.
TREVOR
No!
Bret drags the knife across his own jugulars slicing them
open. Blood pours out of his smiling mouth. Then something
really weird happens. Cuts begin to open up all over Bret's
face and his hands. Blood pouring to the ground in buckets.
Bret lifelessly falls into the pool of blood... Before he can
process what's just happened, Trevor hears a NOISE behind him
and turns to see... several of those slithering sewer
monsters coming toward him, surrounding him.
And behind them, SEVERAL SILHOUETTED FIGURES walking slowly
toward him. We don't need three guesses to figure out who
they are... CENOBITES.
Panicking Trevor reaches down and grabs the knife out of
Bret's hand and readies himself for the inevitable attack
when-
-the BLINDING LIGHT FROM A POLICE car illuminates the alley.
First Trevor notices the sewer monsters are gone.
(CONTINUED)
80.
CONTINUED: (2)
Then the figures we thought were Cenobites are actually LANGE
and several police officers. Lange looks disappointed.
LANGE
Okay Trevor. Put the knife down.
Trevor does so. TWO COPS rush up to Trevor and one swings his
baton down just over Trevor's eye- CRACK!
LIGHTS OUT.
INT. POLICE CRUISER - NIGHT
Trevor's nose has been bleeding. His eye is black and blue
his lip cut. Trevor looks out the window. The streets are
deserted, foreign.
Trevor looks at the rear view mirror. The cop staring back at
him averts his gaze. Trevor thinks he sees something crawl
into the cop's eye.
Lange sits next to the cop, staring back at Trevor. He takes
out his antihistamine and sprays some up his nose.
INT. POLICE STATION LOBBY - NIGHT
The doors burst open and the two cops, Lange escorts Trevor
IN.
The lobby is entirely deserted. Trevor looks around. There
are cups of coffee sitting on desks, jackets thrown over
backs of chairs. Signs of a recently bustling workplace that
has vacated.
INT. CHECK-IN - NIGHT
The cops hustle Trevor up to a counter, finger print him, sit
him in a chair. One of them sits at a computer terminal.
Despite being indoors both cops keep their sunglasses on.
COP#1
Full name?
TREVOR
Trevor Alan Gooding.
COP#1
Age?
TREVOR
Thirty one.
(beat)
(MORE)
(CONTINUED)
81.
CONTINUED:
TREVOR (cont'd)
Don't you guys ever take your sunglasses
off?
smaSH CUT TO:
INT. HALLWAY - NIGHT
The cops hurry Trevor down a dank corridor toward a line up
room. Trevor sneaks a peek inside one of the rooms.
INSIDE THE DOORWAY: TWO DETECTIVES have some HAPLESS SOUL
strapped to some odd looking electrical contraption.
HAPLESS SOUL
I told you I don't know!
DETECTIVE#1
Wrong answer!
Detective#1 hits a button and a shock races through the
Hapless Soul's body. Just then the other detective notices
Trevor looking in and SLAMS the door shut.
The trio comes to the line up room.
INT. LINE UP ANTEROOM - NIGHT
Trevor is shoved into the cramped booth-like room with four
other strange looking MEN who all stare at him. Silence for a
moment then:
A LOUD BUZZ is heard and the door on the other side of room
opens.
COP#1
Single file.
Trevor follows the other men. The MAN just ahead of Trevor
turns to him.
MAN
We're all here for you Trevor.
COP#1
NO TALKING!
INT. LINE UP ROOM - NIGHT
Trevor walks IN with the rest of the gentlemen. Hugging the
nearest wall they go up a small set of stairs onto a stage.
Trevor hears Lange's VOICE overhead.
LANGE'S VOICE
Stop and face the mirror!
(CONTINUED)
82.
CONTINUED:
The five men do as they're told, facing a large two-way
mirror on the opposite wall. An awkward moment.
LANGE'S VOICE (CONT'D)
Thank you!
The door to the room opens again and Trevor turns, leading
the other men back through the anteroom.
INT. HALLWAY - NIGHT
The cops hustle Trevor out into the hallway. The next door
down opens and out come two more detectives and... TAWNY'S
BOYFRIEND, the brute, looking fit to be tied. He sees Trevor
and fills with rage.
BRUTE
I hope they fry your ass mutherfucker!
He lunges at Trevor. It takes the detectives he's with and
two more cops to keep him from pummeling Trevor. As Trevor's
lead away the brute begins to sob uncontrollably.
BRUTE (CONT'D)
(to Trevor)
YOU'RE GONNA BURN IN HELL!!
COP#1
Got quite a fan club don't you, hotshot?
INT. INTERROGATION ROOM - NIGHT
Trevor sits at a tape recorder. Lange sits across from him.
TREVOR
For the last time. I honestly don't know
how any of them died...
Lange stands, squirting antihistamine in his nose. He nods at
Trevor and WALKS OUT. No sooner has the door closed when it
opens again and Givens walks IN. Givens gets right in
Trevor's face.
GIVENS
Now I want you to tell me what you
remember happening- in your own words-
exactly the way you told Detective Lange.
But this time I want you to make one
small adjustment.
TREVOR
What's that?
(CONTINUED)
83.
CONTINUED:
Givens whirls around revealing Lange's face on the back of
his head!
LANGE
DON'T FUCKING LIE TO ME!
Trevor thinks a moment. He is absolutely numb. He smiles a
little insanely.
TREVOR
I did it. I killed them all. I confess.
INT. POLICE STATION HALLWAY - NIGHT
Still handcuffed Trevor is escorted toward the detention area
by the cops in the sunglasses. He's silently praying he'll
wake up from this one somehow. No such luck. Trevor and the
cops round a corner and there's Lange running up to them.
LANGE
(to the cops)
Quick detour through the morgue boys.
Lange leads them to a set of elevators.
TREVOR
Morgue...?
LANGE
That's right Trevor. The timing was
impeccable wasn't it? It's been eight
months two weeks and three days but we
finally found the body. Just need you to
ID it for us.
TREVOR
Where was it?
LANGE (CONT'D)
That's the weird part. It just magically
turned up in the river less than thirty
yards from where the car had landed. Like
somebody put it there while we weren't
looking.
The elevator doors open and they get in.
INT. ELEVATOR - NIGHT
It's a long ride down. Nobody speaks.
Trevor looks at the cops in the sunglasses. One of them takes
his pair off. His eye sockets are empty. We can see brain.
(CONTINUED)
84.
CONTINUED:
The cop cleans his shades then his mouth smiles at Trevor
before he puts the sunglasses back on.
Finally the doors open. Lange unlocks Trevor's handcuffs and
the cops push him out the door into a dark corridor.
INT. DARK CORRIDOR - NIGHT
Trevor looks back to see Lange and the cops staring back at
him.
LANGE
Just keep walking Trevor. You can't miss
it.
One of the cops waves bye-bye to him. And with that the
elevator doors shut.
Trevor turns around and faces the long corridor. He begins
his hike towards its end where an ominous set of double doors
awaits.
He arrives at them and pushes them open.
INT. MORGUE - NIGHT
As soon as the doors open fluorescent lights flicker overhead
illuminating two walls of metal drawers and between them: a
large slab of marble upon which rests a human form covered
with a sheet. Trevor ENTERS.
He makes his way toward the body and stares at it.
A low WHEEZING noise coming from a dark corner just beyond
the slab distracts him. Trevor looks and freezes when he
sees:
THE GOAT laying on the floor in a pool of blood. It's still
breathing. One of the goat's slatted eyes is staring at
Trevor as if begging for mercy. A STRANGE RIPPING NOISE is
heard. The goat MEWLS in pain then its eye rolls up. Dead.
The animal's body begins to quiver as a tiny wound on its
back widens spitting out streams of blood.
Trevor begins to back away as the wound stretches open,
giving birth to a rising form...
PINHEAD. He rises completely from the goat, stepping out of
the wound. He is red with blood for a second. Then his skin
and robe absorb the blood like a sponge. Pinhead approaches
Trevor blocking him from the body on the slab.
(CONTINUED)
85.
CONTINUED:
PINHEAD
How is our little student doing? Has he
learned his lesson yet?
TREVOR
I don't know who you are or what you
want. I just want to know what's under
that sheet...
PINHEAD
Use your mind for something other than
numbers dear Trevor. Think about people
for a change. People other than yourself.
Like the women you slept with behind your
wife's back. You were always so confident
you had covered your tracks. Always
confident your wife actually believed
your fervent denials? Part of you must
have known she would find out.
flaSH BACK:
INT. GWEN'S OFFICE - NIGHT
Gwen has Trevor on her desk riding him like a hobby horse.
Rain pounds against her window.
EXT. CUBIC ROUTE ACTUARIAL RESEARCH - NIGHT
Kirsty sits inside the car looking up at the window, eyes
narrowing.
PINHEAD (O.S.)
Jealousy arouses a spouse's fury.
And no mercy will be shown when that
revenge is given.
INT. TREVOR'S APT. - NIGHT
Rubbing the baby that's growing inside her, Kirsty sits in
front of the TV watching Trevor having yet another romantic
rendezvous with TAWNY.
THE TV SCREEN DISSOLVES to Trevor in bed with yet another
woman... and another... and another...
BACK TO:
INT. MORGUE - NIGHT
That fatal BELL begins to TOLL. With each peel the walls of
the morgue shakes. It's walls begin to rumble and crack.
(CONTINUED)
86.
CONTINUED:
PINHEAD
Even a mind as narcissistic as yours
must have wondered: What unspeakable acts
was your wife committing behind YOUR
back?
EXT. WOODS - NIGHT
LOW ANGLE UP AT: Kirsty, Trevor's lovely wife, raising a rock
above her.
KIRSTY
(to camera)
Goodbye you miserable sonofabitch!
And SLAMMING a rock down on us.
bacK TO:
INT. MORGUE - NIGHT
TREVOR
What's under that sheet...?
PINHEAD
You probably don't remember the night we
played. Your first year as husband and
wife.
flASH BACK:
INT. TREVOR'S APT., BEDROOM - NIGHT
Trevor and a very pregnant Kirsty sit on their bed, passing
the cube back and forth. Trevor's the one with the magic
touch. The cube begins to open in his hands. Kirsty's eyes
light up as she watches...
PINHEAD (V.O.)
It must have seemed like we were
uninvited guests crashing your little
celebration.
ON the walls as shadows begin to flail in pain and panic. OFF
SCREEN SCREAMS are heard as blood begins to shower the walls
of the bedroom.
PINHEAD (V.O.)
But someone was expecting us Trevor. And
everything went according to plan.
baCK TO:
87.
INT. MORGUE - NIGHT
PINHEAD
We were about to come for Kirsty. When we
were offered a deal. We don't usually
consider bargains but this one was too
good to pass up. A tribute to the
resourcefulness of a parent hellbent on
protecting its spawn. The deal we were
offered was this: three more souls in
exchange for the life of the unborn child
inside Kirsty. The three souls had
already been picked out. Needless to say
we were very impressed.
The lights dim. Drawers behind Pinhead begin to open. We see
Gwen's body, Tawny's, Sage's, Bonnie's.
PINHEAD (CONT'D)
Two of your favorite companions, most
supple and delicious as you already know.
And the man you had at one time conspired
to kill Kirsty with. Until you found out
she was with child.
smASH CUT TO:
QUICK IMAGES of Gwen, Tawny, and Bret being rent to pieces by
the Cenobites, SCREAMING in vain.
INT. MORGUE - NIGHT
PINHEAD (CONT'D)
They were all real screamers too. We had
a blast. And there was one more. You've
seen many things you wished you hadn't.
Many nightmares from which you never
awoke. They were all clues in our little
puzzle. Can you guess now Trevor? Can you
guess the fifth soul chosen for us to
torment in this little agreement?
The lights flicker overhead, reddening with each strobe.
Hundreds of those little sewer monsters come slithering out
of the cracks in the walls, racing toward Trevor. He doesn't
care.
TREVOR
WHAT'S UNDER THE SHEET?
(CONTINUED)
88.
CONTINUED:
PINHEAD
(smiling)
Welcome to the worst nightmare of them
all, Trevor. Reality.
Pinhead grabs the sheet and whips it back.
Trevor's jaw drops in disbelief.
IT'S TREVOR'S BODY. It is blue, bloated and mutilated. The
corpse's skull has a massive crack in it.
TREVOR (CONT'D)
No... no...
flASH BACK:
INT. LANGE'S OFFICE - DAY
Kirsty sits across from Lange, who slides the cube across the
desk towards her.
LANGE
Open this and your problem will disappear
forever. And no one will ever suspect
you.
INT. CAR - DAY
Kirsty drives. Trevor sits in the passenger seat, in the same
position we saw him in during his last flashback. Only now it
is clear the reason his head is resting on the baby blanket
is to keep his brains from spilling out his split open skull.
ON KIRSTY'S HAND holding his. It is now covered with blood.
KIRSTY
Shhh it's okay.
EXT. BRIDGE - DAY
The car goes off the bridge landing in the water. Kirsty's
head breaks the surface. She watches the car sink into the
river.
baCK TO:
INT. MORGUE
Trevor stares at his own dead body in utter disbelief. The
sewer monsters begin crawling up his legs. Pinhead smiles.
TREVOR (CONT'D)
NOOO!!
(CONTINUED)
89.
CONTINUED:
The scream ECHOES over Trevor's dead self, which seems so
tranquil in contrast. HOLD on the corpse. After a beat the
bells stop, as does the rumbling and the cracking. The lights
brighten. Serenity. Then:
KIRSTY'S VOICE
Yes. Yes that's him.
REVERSE ANGLE on Kirsty looking down at the corpse wiping her
eyes. She looks over to the other side of the body where
Trevor and Pinhead had been standing. Where now DETECTIVE
LANGE and the coroner DR. AMBROSE had been standing.
The two gentlemen look at each other.
LANGE
Well I guess that's it then. Thank you
Mrs. Gooding I realize that must have
been tough.
Lange escorts Kirsty to the door. They EXIT but not before
Kirsty gives her late husband a parting glance. Ambrose
covers Trevor's body and looks OFF CAMERA.
DR. AMBROSE
Alrighty. Let's get started folks.
REVERSE on two other DOCTORS who are busying themselves
collecting instrument. ALLISON and SAGE. They walk over to
Trevor's body and get to work. Sage sticks a needle in
Trevor's arm.
SAGE
Collecting 40ccs of serum...
AMBROSE
Examining cranial fracture...
Allison at his side, Ambrose checks the wound on Trevor's
head, pauses to look inside Trevor's eyes.
TREVOR'S POV: Ambrose closing the eyelid again.
AMBROSE (CONT'D)
Checking oral cavity for blockage...
Ambrose opens Trevor's mouth.
AMBROSE (CONT'D)
And we have a winner...
Ambrose pulls a long black dead lamprey out of Trevor's
mouth. Looks at the slippery creature for a moment.
(CONTINUED)
90.
CONTINUED: (2)
ALLISON
Looks like an eel of some kind.
AMBROSE
Guess it was murder after all.
SAGE
Yeah all we need is the eel's motive.
Allison holds out a large freezer bag, into which Ambrose
dumps the dead lamprey.
ALLISON
I still don't get it. He's been missing
for almost eight months. But this body
hasn't been dead more than twenty four
hours.
DR. AMBROSE
Makes you wonder what he was up to
between the time he disappeared and when
he died.
Allison walks right up to the corpse's face.
ALLISON
Well? What do you say Trevor? Que pasa?
DR. AMBROSE
(shivering)
Allison what on earth possesses you to
converse with cadavers?
SAGE
(looking at Trevor's corpse)
It's simple, Dr. Ambrose. What if there
is no afterlife? What happens when we
die? Do we just stay stuck inside your
bodies for eternity watching ourselves
decompose?
AMBROSE
I'm not following this...
ALLISON
Well if that's the case... wouldn't you
want someone to talk to you like a normal
human being one last time?
AMBROSE
You two are creeping me out. And I'm a
coroner.
(CONTINUED)
91.
CONTINUED: (3)
Allison fixes a stray lock of hair on Trevor's forehead.
QUICK CUTS: Allison slipping a tag on Trevor's toe; sliding
Trevor's body into the morgue drawer; her hand turning the
lock on the drawer.
ALLISON (O.S.)
Adios amigo.
INT. LANGE'S OFFICE - DAY
Lange sits across from Kirsty, who signs some paperwork on
Lange's desk.
KIRSTY
I would have come in sooner but I had an
important errand to run last night. Out
of town. Figures you'd find his body the
minute I decide to go off somewhere.
LANGE
Well you made it down here that's the
important part. Thank you for your
patience Mrs. Gooding.
She nods teary eyed. She slides the paperwork across his desk
and gets up to leave.
LANGE (CONT'D)
One last thing... When they found him he
was holding something. Not to get too
graphic but they had to wrench it from
his hand.
Lange reaches under his desk then stands revealing:
THE CUBE inside a ziploc bag. Lange and Kirsty exchange a
knowing glance.
LANGE (CONT'D)
Figured you might want it.
KIRSTY
Of course. That was my... last
anniversary present to him.
LANGE
A token to remember him by now. Goodbye
Mrs. Gooding.
She takes the cube.
(CONTINUED)
92.
CONTINUED:
KIRSTY
Thank you detective.
Lange takes out his nasal sprayer as she walks OUT. She
closes the door behind her and Lange looks up at the closed
door. He sticks the sprayer up his nose.
INT. POLICE STATION HALLWAY - DAY
Kirsty walks toward the exit. On her way she passes a trash
can. She discretely tosses the cube into it and rubs her
hands together.
EXT. POLICE STATION - DAY
The birds are chirping. The sun is shining. Kirsty Gooding
walks out the door and takes a breath of fresh air. She skips
down the steps of the police station toward the street. She
stops in the middle of the sidewalk looking both ways.
A SHADOW COMES up behind her. It's the STRANGER Trevor had
seen out his window. He grabs her shoulder startling Kirsty.
She turns to see LARRY ELLIS, shit-eating grin on his face.
He's holding an eight month old BABY. The one he was drawing.
LARRY
Looking for someone, Kirsty?
KIRSTY
(taking the baby)
You bet I was.
Kirsty plants a multitude of smothering kisses on the
laughing child as A NANNY comes up behind Larry pushing a
stroller. Kirsty gently places the baby in it.
KIRSTY (CONT'D)
(to Nanny)
Okay we're on our way. Remember her-
NANNY
Lactose intolerance. I've stocked the
fridge with Lactaid.
KIRSTY
See you in a couple of weeks. You've got
my cell number right?
The Nanny pushes the stroller away, nodding, waving good-bye.
Larry smiles as he watches the baby go.
(CONTINUED)
93.
CONTINUED:
LARRY
Daisy is getting so big.
(beat)
I still can't believe HE was her father.
Kirsty smiles to herself.
KIRSTY
Counselor can we not mention HIM anymore.
Can we just start spending HIS money
instead.
They walk slowly toward the curb.
LARRY
I've always wanted to go to Madagascar.
KIRSTY
You mean the place with bats?
LARRY
They're called flying lemurs.
KIRSTY
Yeah that sounds like a real blast...
They put their arms around each other.
KIRSTY (cont'd)
I've been thinking about it. This has to
have been the best eight months of my
life.
Larry sees a cab and rushes out to hail it.
LARRY (CONT'D)
TAXI!
Something out the corner of her eye scares Kirsty. She turns
to see Lange standing there.
LANGE
You forgot something.
Lange holds up the cube she tossed out. Kirsty's expression
falls. But... how...?
KIRSTY
Oh. Thank you.
Kirsty takes the cube.
(CONTINUED)
94.
CONTINUED: (2)
LANGE (CONT'D)
No Mrs. Gooding.
Lange turns and Kirsty's shock there's Givens' face... on the
back of Lange's head!
GIVENS
Thank YOU.
Givens smiles at her then walks away. She slowly walks toward
the cab where Larry has opened the door for her.
LARRY
After you my dear.
INT. CAB - DAY
Kirsty slides into the cab looking at the cube in despair.
Larry slides in after her.
LARRY
(to the cabbie)
Airport please.
He grabs Kirsty's knee. She just stares at the cube.
LARRY (CONT'D) (cont'd)
What's up?
Larry looks down at the cube. It has magically risen from her
palms and begun to rearrange itself in that way we've come to
know and love so well.
The cabbie, looking back at the sight, slowly slides the
window between the driver and passenger compartments shut.
KIRSTY
Time, Larry. Time's up.
EXT. CAB - DAY
As the cab drives off into traffic we see LIGHT FLICKER from
within it. The cab passes a cathedral. Its BELL BEGINS TO
TOLL.
BONG
BONG
BONG
BONG
| Hellraiser: Hellseeker
Writers : Carl Dupre Clive Barker
Genres : Horror
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