Black screen, credits on white.

MUSIC: "New Born" by Muse. Plays throughout titles, with title "To Hell And Back" fading up as heavy bass line kicks in. As drum beat starts:

A busy office party in full swing. The setting is a large, well-furnished office, and the camera finds itself suddenly placed in the middle of a heaving mass of dancing bodies, some drinking, some smoking, some laughing, some kissing, but the noise of everyone talking is deafening. The camera pushes through all these people as though it were a fellow partygoer making his way somewhere. Then, a hand holding precariously onto two glasses of beer appears below the camera, held by whoever's eyes we are looking through. People make eye contact with the camera and greet it as it walks past. We approach a cluster of people sat down by a large set of windows in one slightly quieter corner of the office.

Early twenties, dressed in a hybrid of neo-goth and skater rock clothes, looking nervous in this party situation full of trendy people. Average height and build, Chris has jet-black hair with a slight blue tint to it, and is carefully weaving through the crowds over to:

Also early twenties, long, black hair, dressed more obviously goth than Chris. Chatting and laughing with other office girls, waiting for Chris to arrive with the drinks. LUCAS is also part of the group, fashionably dressed, slick hair, immaculately shaved - the consummate image of corporate-sponsored beauty. He is a little too close to Rachel for Chris's liking, and as he arrives he throws a protective arm around her - my property.

Chris smiles amiably at the waiting crowd of faces, throwing as many looking daggers as he can at Lucas: this project was all his idea, and Lucas has a good background of stealing other people's ideas. He really didn't want him to find out about this. He takes a sip from his beer, puts in on a nearby table and continues.

The camera pulls back from this group as Chris talks and sweeps through the crowd again to stop on two MEN stood in the corner. Dressed smartly, as though they were executives of this company. People move near them, dancing or getting drinks, but no-one seems to actually come too close to them, as though some kind of invisible shield is turning people away at the last moment. They are watching Lucas in action over by Chris.

The camera leaves them both again, swings near Chris, who is doing an enthusiastic air guitar impression as he describes his idea. Lucas is staring at Rachel, who keeps meeting his gaze but looking away. She likes Lucas, but is going out with Chris. The camera comes to rest against a window looking out over the inner city lights.

A slower song is playing. Several couples are leaning against each other for support in the dancing area, the sort of slumped drunken slow dance that always pops up if parties go on late enough. The two Men in the corner have not moved, and we follow their gaze back round to Chris. He is sat by himself, making a list in a little pocket notebook. Lucas walks over. Chris glances up but doesn't acknowledge him.

Chris's head snaps up. How does Lucas know about that?

He gets up and walks away, as Rachel wanders back over to where Chris is sitting. She is clearly a little worse for the wear drunkenness-wise, and flops down by Chris with a daft alcohol-fuelled smile on her face.

She gives him a sloppy kiss on one cheek and giggles. Chris's face is like stone.

He gets up, grabbing Rachel's hand and lifting her up too. They walk out the main party through a pair of swinging doors, past Lucas stood by the two Men. He smiles and waves at Rachel, who waves back as Chris leads her out the door.

STAY on Lucas and the Men.

Lucas walks out to observe Chris and Rachel from a distance. As he walks off, we can see that neither of the Men are making a reflection in the windows behind them, nor are they casting any shadows.

Chris is rowing with an increasingly exasperated Rachel.

She pauses, trying to think through the haze of the night's partying. At that moment, Lucas, who has been keeping an eye on them both throughout this heated exchange, pops his head round the door and calls to Rachel.

Lucas leaves. His work here is done. Chris turns slowly to look at Rachel - it looks like she set him up. She is still looking at where Lucas appeared from in confusion - telling who about what? She hasn't done anything, but Chris doesn't look ready to listen.

Fuming but trying not to show it, Chris walks down the corridor towards the exit. As soon as the doors close after him, who should pop out again but Lucas, pulling on his coat. He sees Rachel, who is standing a before, looking pretty pissed off, and walks over to her. She sees him coming and throws a mean look at him.

Rachel suddenly looks a little less certain. Mary was standing by them, that much is true. Can Lucas be trusted?

Lucas mimes zipping his lips closed. Rachel manages a half-hearted smile - of course she can trust him!

The two leave together.

Chris is driving along, with "Damaged" by Fear Factory blasting out of the stereo - typical male anger-diffusion therapy. He plays steering wheel bongos furiously to the beat. After a few moments, he hangs his head and pulls the car over to a stop. Thinks for a moment. He was too harsh on her. He checks over his shoulder, then U-turns the car to head back the other way towards the party, turning the stereo down.

Chris's car drives back down the street, and takes a turn to the left. An instant later, Lucas's car comes out of the next street down and turns onto the main road, driving past where Chris just turned and missing him by about a second.

Ever the smoothie, Lucas has some late-night jazz playing - mellow Jools Holland-esque stuff. Rachel is looking out the window, not really focusing on anything. Lucas looks over to her, then back with a smile. Easy money.

Rachel looks shocked. That's not the version of events she was told.

They drive on. Lucas allows himself a tiny smile, which vanishes before Rachel can see it.

Chris has arrived back at the office. From the windows a few floors up, we can see the lights of the party, which is winding down. A few people are moving in and out of the building as he heads back inside.

Chris jogs up the steps, greeting people as he passes them. He pauses to ask two girls:

They shake their heads and carry on downstairs. Chris gets to the floor with the party.

Chris walks in through the swing doors. There are only about five people left. The place looks like a bomb site - empty cups and glasses, party streamers hanging everywhere, but no Rachel. Chris looks round some more as the two Men, sat quietly in one corner enjoying a cigar, notice his entrance and stand up sharply.

Moving unnoticed through the room as before, they sidle up to Chris, and the First Man takes his car keys as the Second tips over a rubbish bin in front of Chris. Chris walks straight into it and trips over. As he hits the deck, the two Men disappear back out through the doors.

The two Men are seen by Chris's car, the hood up, fiddling around with the engine. After a few moments, they close the lid, leave the keys in the gutter next to the car and walk O.S.

Chris rouses one of the slumbering girls from the group Rachel was with earlier. She blinks a few times until she realises who it is.

Chris lets her go and she slumps back down mid-sentence. A steely look in his eyes, he races back to his car.

Establish.

Lucas is filling a glass for Rachel with red wine. The lights are turned down a little, and some kind of bland easy listening tune drifts around in the b.g. Lucas puts the wine down and sits on a plush leather sofa as Rachel, seated in one of the other chairs, absently sips her wine. Lucas's house displays all the typical trappings of success - wide screen TV, expensive stereo, a few drooping plants - affluent bachelor pad. Lucas is eyeing Rachel up - he knows what he wants. She just wants somewhere to chill out while Chris is still stomping around.

She takes another gulp of wine. Lucas sips his, still keeping his eyes locked on her. He knows something she doesn't about the wine.

Chris is rooting round in the gutter underneath his car, looking for his keys, getting increasingly covered with the flotsam and jetsam of a typical weekend night - fast food cartons, beer cans, cigarette ends. He stands at last, the keys triumphantly wrapped round his finger. He pulls away a chunk of someone's abandoned kebab meal from them and gets into the car. A few turns of the ignition bring only stuttering noises from the car, however, and with a quick bang of frustration on the steering wheel he gets out again, walks to the hood and lifts it up to see what is wrong.

As before, except Lucas and Rachel now share the same sofa. Her body language makes her look a bit more relaxed in his company. All thoughts of meeting up with Chris seem to be far from her mind as she and Lucas laugh and joke a little more. The camera dollys slowly across this scene without stopping, into the blackness of the wall on the side of the room.

The blackness from before becomes the black hood of Chris's car as we pull back from it. Chris is walking round back into the car, now covered with grease and oil as well as all the filth from the gutter. He slams the door and tries the engine again, which this time fires up. A relieved Chris finally gets on his way.

We dolly across the scene as before, except now the room is empty. The music still plays in the b.g. but the empty wine glasses are left on the coffee table in front of the sofa. As we finish our move across the scene, the music comes to a stop.

Rachel is sat on Lucas's bed, visibly more giggly. Lucas is standing over by the window, looking out into the night sky as if searching for something. A TV set is on but neither are watching it. The room is furnished in the same kind of style as downstairs - subtle black and gold colours, dripping with all the touches a good salary can afford. Another bottle of wine lies open next to the bed, and Rachel holds a glass as she talks.

Rachel grins, her eyes a little glazed by now. She leans back on the bed a little as Lucas walks over. He's got her right where he wants and he knows it. She, on the other hand, is enjoying the attention and is also feeling a lot more attracted to Lucas than Chris right now - the little something he added to her wine is helping as well. Lucas stalks over to her and sits by her on the bed. Still giggling occasionally, her smile doesn't fade as Lucas leans in for a kiss..

Chris is blasting along to Lucas's house, not in the best of moods and not overjoyed at the prospect of his childhood enemy spending time alone with his girl. "(sic)" by Slipknot is roaring out of the speakers. Chris is psyching himself up for a confrontation.

Chris's car blazes down the street, filled on each side with hordes of night clubbers, trendy people and revellers.

Lucas is now lying on top of Rachel, though both are still fully clothed, as their kissing gets more intense. She doesn't appear to be resisting at all. We pull back from them and focus on the wine glass next to the bed.

It is drained, but gathering in the bottom of the glass we can see a small mound of powder of some sort. Looks like Lucas has been slipping something into Rachel's drinks.

Chris pulls up outside Lucas's. He glances at the outside of the house. Lights are on upstairs but not downstairs - not a good sign. Gritting his teeth, he gets out of his car and heads for the door.

Chris looks around for any signs of activity. He hasn't spoken yet, keen to keep the element of surprise. He hears a noise from upstairs and his head snaps up to look at the top floor.

He bounds over to the stairs and hops up them two at a time.

Chris gets to the top floor. The noises are coming from one of the three rooms on this floor, where the door is ajar. Chris paces over to it, afraid of what he may see. He gets to the door and gently pushes it open a little.

The shock doesn't immediately register, but after a few moments the colour drains from his face. We can almost see the moment his heart bursts. His head drops, and he silently walks away from the door.

Chris gets to the door and walks out without looking back, slamming it behind him.

Rachel stops what she is doing and looks around, having heard the door slam. Lucas notices and stops too.

With a little difficulty they extract themselves from each other. Lucas pulls on a silk dressing gown and passes another to Rachel. Lucas leaves the room. Rachel sits up in the bed for a moment, her head still reeling. She puts her hand to her forehead for a moment, then her head suddenly snaps up.

She leaps up too and follows Lucas out of the room.

Chris is sat behind the wheel of his car. He starts the engine and starts to cry for a second, swallowing the tears as he guns the engine and starts a three-point turn to manoeuvre off the drive.

Lucas is looking out through one of the windows overlooking the drive, watching Chris get ready to drive away. Rachel joins him at the window. It only takes her a second to recognise Chris's car and realise that he has seen what has happened.

She bangs on the window in a futile attempt to get his attention as he drives away. Next to her, Lucas allows himself a small grin as he turns and heads back to the bedroom. Rachel is now crying too, her makeup starting to smear as she looks out the window after Chris.

Lucas sits back down on the bed, adjusting his hair in a mirror nearby. Rachel walks back in, visibly very upset. Lucas looks up at her as she comes in, waiting for her next move.

Rachel stands, seething for a moment, then starts to gather up her clothes from their pile on the floor by the bed. Lucas just watches her with a grin. His work here is done.

Rachel stops and goes silent, her clothes gathered up in her arms. Lucas is still looking at her calmly. Rachel knows she's not entirely without blame for all this, but she didn't want to lose Chris over it. The tears start to come back, and her lips trembles as she heads out the door.

Rachel dares not speak as she hustles out. Lucas lounges back on his bed like the proverbial cat that got the cream, and lights up a big cigar from a box by the bed.

Pulling on her top to finish getting dressed, Rachel throws open the front door and walks out, leaving the dressing gown on the floor behind her.

The phone rings. Lucas answers it.

He puts the phone down, picks up a remote control and turns the TV volume up.

Similarly loud, nasty music to before is playing as Chris tears down the motorway. There is a general absence of other traffic, although city lights can be seen in the distance behind him. A window is open. Tears are still streaking his face as he changes between sorrow, anger, rage and heartbreak as he drives. Suddenly, he grabs the tape from the radio and throws it out the window. The radio comes on with a blast of garbled mid-frequency radio chatter before he locates another tape and slams it home. "Filth Pig" by Ministry comes on. Chris continues to drive.

Rachel approaches a bus stop along Lucas's road as a late bus rolls up. She jogs for it and gets on board.

She slumps down in a seat, her head pressed against the window. Outside, it starts to rain. Other night people are on the bus with her. In front of Rachel, a black hooded top clothed young rocker is listening to his Walkman. The song is the same as the one playing in Chris's car, and in sync with the music we:

Aerial shot as Chris's car weaves between the parked trucks at the stop. The cafe itself is a single-storey building framed by large windows, offering a good view of the surrounding motorway and countryside. Chris parks up, leaps out of his car and races indoors.

A departing trucker holds the door open for Chris as he races in, shaking off his coat from the rain. He looks around. The place is fairly quiet. Three or four lonely drivers sit around, drinking coffee and tucking into hot meals, and a couple sit in larger groups chatting away. Chris heads for the counter and attracts the waitresses attention. She is middle-aged but attractive in a rough diamond kind of way, giving the impression that she is a kind of angel for the wandering souls that end up in here. She smiles as Chris speaks.

Her philosophical statement catches Chris by surprise - not the kind of chatter he was expecting. She grins as she notices his reaction, getting his coffee ready at the same time.

Chris takes it and sits down at a table for four. The tables are divided by neck-high partitions into pseudo-booths. Chris slides into the far corner and runs a hand through his hair, trying to smooth out the brain underneath. His phone rings, and he lifts it to look at it.

Rachel is trying to call him. He turns it off.

Rachel takes the phone away from her ear, looks at the display then shoves it back in her bag, angry at Chris ignoring her. She needs to talk to him right now.

Chris puts his phone away too, and is startled by a voice coming from a few chairs along.

Chris looks up to see the Stranger, who he swears wasn't there a second ago. Chris double takes to check, then goes back to his coffee. The Stranger is dressed in a long black duster coat, and a variety of fading and tattered clothes beneath it - an old rocker t-shirt, battered denims, lots of jangling silver things.

The Stranger has an ever-present slight grin to his face. Chris stares at him for a long beat. Does this guy know what happened tonight? Chris opens his mouth to speak, but the stranger interrupts.

The Stranger pauses. Chris takes a sip from his coffee, waiting for the guy to finish.

Chris looks like he understands. He nods solemnly. The Stranger leans back in his chair. Chris looks down to take another sip of his coffee, but when he looks back the Stranger is gone. Chris, alarmed, looks round the cafe a few times to see where the Stranger went, but he is nowhere to be seen. More than a little confused, he drains the last of his coffee and heads out.

Chris stops again, looks back round. Jean is quietly washing up the coffee mugs, not looking at him. She glances up and sees him standing there, and smiles at him. Chris returns the smile, but accompanies it with a big frown as his fevered mind tries to work out what is going on. He turns and leaves.

Chris dashes back into his car through the rain and jumps in.

Inside, he picks up an A to Z and flicks through a few pages, before tossing the book onto the back seat and starting the car. He'll make his own route up. As the engine roars into life, "Ain't My Bitch" by Metallica starts on the radio. With a grin, Chris pulls out of the car park and back onto the motorway.

Through the windows, Jean and the reappeared Stranger watch Chris head out.

The Stranger looks out the windows as the camera pans to follow Jean as she places a clean coffee mug back under the counter. When she walks back to the same spot as before, the Stranger is gone. She doesn't react to his disappearance.

Chris continues to speed along. It is still a pitch black night, still raining, and there are still very few cars around. The road ahead seems to stretch on to infinity, in that way that only motorways at night can do. Chris's car suddenly slams its brakes on and screeches to a halt, veering off sharply into the escape road and stopping. Chris leaps out of the car and stares, dumbstruck, at a sign ahead of him.

Chris slowly gets back into his car.

Chris looks a little shaken. Something weird is definitely going on here. His hands massage the steering wheel as he tries to clear his head.

Chris reaches for the radio and turns it on. We hear a few seconds of the Twilight Zone theme before he switches it off again. With a shake of his head, he starts the car and drives on.

Chris drives along, but starts to slow again.

Chris looks out through the rain-splashed windscreen with wide eyes at the sign that flashes past:

Chris drives along - the road he is on is pitch dark, unlit by any street lamps. The motorway becomes more distant as he travels, and the rain dies down as well. Soon, it is eerily silent, and the road starts to curve to the right, with what lies ahead hidden by hills running parallel to the road. Chris is driving pretty slowly, and comes to a stop when he sees the Tunnel.

Chris looks down at his phone.

No signal. The display is dead. No chance to call for help. Chris puts it back down, stares at the tunnel ahead of him for a long beat, then guns the engine into life, and with a screech of smoking tires races into the tunnel. He slams on the radio, "Little Horn" by Marilyn Manson plays, and it continues throughout the following scenes.

Chris's car screams down into the tunnel. The lights flash by overhead in a blur. He continues to drive along for a while, with the tunnel dipping, cresting and curving with no obvious end in sight.

Chris glances into his rear-view mirror, then double-takes into it. We see the mirror, with his widening eyes reflected in it, before we:

And we can now see what Chris saw - a huge ball of fire is rolling down the tunnel after him. Filling the tunnel behind from road to ceiling, its surface is covered with waves of near-liquid flames, spitting and hissing as it moves. It also appears to be gaining on him. We see Chris speed up, but the ball of fire keeps gaining.

Chris keeps looking over his shoulder, getting more frantic.

The ball of fire closes. Chunks of red hot flame from it are now splashing off the rear windscreen of Chris's car. We then intercut both scenes with increasingly rapid cuts back and forth.

As he looks out at the approaching fireball.

As the fireball closes.

The ball of flame now fills the entire view out of the back windscreen. Gouts of flame from it are streaking past the car, and the roaring sound it is making begins to drown out the radio. Up ahead, Chris can see what looks like a solid black wall ahead - dead end. He puts his foot down and screams in defiance as the fire gets closer and closer..

Chris's car suddenly shoots out onto a road, the fireball gone from behind him but the rear of the car visibly scorched and blackened by it. He has appeared on a busy city street, surrounded by other cars on both sides, and framed by a packed network of towering buildings. As Chris's car splutters along, drawing slowly to a halt, we can look around a bit better. The streets are packed with people milling around, and others are hanging out of the windows and openings in the buildings higher up. Walkways, paths and balconies intercross the street on a variety of levels, making a veritable spaghetti junction of human traffic. Everything is bathed in a crimson glow. Rocky outcrops can be seen all around the city in the distance. Chris's car, now trailing smoke, pulls over at the roadside. People move out of its way. Chris climbs out and leans against it, trying to catch his breath. He looks up and around.

Chris's eyes dart around as he scans the scene around him, taking in the warped, unnatural building designs, the cacophony of noise made by the huge crowds of people milling around, and the faces of some of the citizens walking around and over him - some look normal, if a little rugged and mean, but then we start to pick out tall, horned people, people with fangs, obviously inhuman skin colourings and patterns, claws, wings, tails - in short, demons. Lots of them.

We cut back to Chris and pull back to reveal more of the outlook of the city as Chris, dazed and confused, looks all around him. We pull out past the buildings, as a few winged creatures fly past, out past a large, central tower rising up from what appears to be the centre of the city, until we hover above the mountain range that circles the entire, red city. Gouts of flame leap up from many different places, and the circular city sits on our screen for a second, before we:

Chris is still looking around. He stops a MAN, looking rough, who is walking past.

The man stares at him for a beat, then bursts into laughter and walks away shaking his head. Chris continues looking round until a gloved hand slaps down on his shoulder, and he spins round to face the owner of it. It is the Stranger, beaming down on Chris.

Rachel steps off the bus and walks along a street for a few moments, turning into the path leading up to a modest apartment block. She uses her key to open the front door and heads up the stairs.

STAY ON the outside of the apartments, pulling back as a car rolls up and stops on the far side of the street.

Lucas watches Rachel head inside. Looking over his shoulder, we se the light in her apartment come on, and Rachel walk up to and close the curtains. Lucas lights another cigar and smiles to himself. All part of his plan.

Chris is sat, slumped and dejected, at a table in the crowded bar. The background atmosphere and noise is something like Hieronymous Bosch meets the Mos Eisley Cantina - demons, imps, goblins, zombies, monsters, humans, animals and ghosts milling around like it was any other rowdy, popular watering hole. From the bar, the Stranger pushes his way over to the table, before putting down a shot glass in front of both of them. A tiny wisp of flame dances around on top of the drink for a few seconds, then jumps up and onto the table, pauses for a moment then scampers away. The Stranger watches it go with disappointment, downing his own identical drink before his flame gets away.

Chris looks around at the bar - the characters filling it, the minor bar brawls kicking off, the drinks of pure fire, the TV showing wrestlers hacking each other with sharp weapons, and the tiny winged imps taking drinks to people's tables, and turns back to the Stranger with a raised eyebrow.

He stands, followed by Chris, and the two walk out, seconds before a large demon is hurled into their table, breaking it in half. As the two leave, a Wild West style bar brawl breaks out behind them.

Showing all the classic signs of a girl in a bad mood, Rachel is wearing a baggy red and black striped jumper, curled up on the big squashy sofa, watching TV and eating from a big tub of ice cream with a large spoon. She keeps trying to call Chris but gets no response. Her makeup has been cleaned up but not off entirely. Their apartment is filled with piles of stuff in fairly well-organised stacks - his videos, books and computer games, her magazines, clothes and bags, both co-existing nicely. Doors leading off to a small kitchen unit and a bedroom are visible behind Rachel. There is a knock at the door. She gets up to answer it.

Rachel opens the door. Lucas is standing there, smoking a cigar like he was the ruler of the world. Rachel goes cold when she sees him. She doesn't want him around to remind her of things right now.

Rachel tries to close the door but Lucas jams his foot in the frame. Rachel opens the door again, visibly much angrier.

He reaches out and grabs her hair, quick as a flash. Rachel screams and leaps back, pulling out a clump of hair from her head. Lucas stops to look at it for a moment as Rachel scrambles for the door. Lucas moves towards her, seeming to float above the ground, the sofa and dining table being pushed out of his way as he gets to them. Rachel tears out the door and heads for the stairs, gasping in panicked breaths.

She turns to see Lucas slowly walking out of her apartment towards her, a murderous look in his eyes. Time to go.

She starts to run down the stairs, but Lucas races forward, jumps over the handrail and lands perfectly in front of her. Rachel screams and runs back up the stairs, but Lucas is too quick for her, and grabs her again as she puts one foot on the top floor.

With one movement he spins her round and throws her down the stairs.

Rachel bounces down the steps, hitting each one heavily. After a few moments of falling, she stops making any noises. She impacts at the bottom of one flight with enough momentum to send her all the way down the next set, to land in a heap at the bottom, facing the main doors. A woman on the ground floor opens her door to see what is going on, and is met by Rachel coming to a stop off the stairs. The woman screams. Looking at Rachel, we can see she is hurt badly. Her eyes are open but glazed, and she is cut and bleeding in several places. She doesn't seem to be breathing. We hear the woman downstairs calling an ambulance.

We close on Rachel as the woman's voice fades out.

Lucas is looking down on the battered body of Rachel. He is still grinning. We are looking straight down from a little way above his head.

He steps back out of frame, but we start to dolly down slowly, spiralling as we close right up to Rachel's eyes, moving until the blackness of her pupil fills the screen.

The Pit. Blackness all around. We pull back and see Rachel, lying in the same position as she was at the bottom of the stairs. She lies still but appears to be falling, as some locks of her hair and parts of her clothes are fluttering as though she was drifting slowly downwards. Nothing but blackness all around her.

Rachel is in cardiac arrest. She is lying on a stretcher in the back of a speeding ambulance, attended to by two frantically working paramedics. They talk quickly, and the camera sweeps from side to side to keep up with their movements. The noise of the siren and the ambulance's engine is drowned out by the flat tone of Rachel's flatlining heart monitor. The paramedics are attempting a heart massage and pumping air, but nothing seems to be working. With their frantic efforts still going on, we zoom right up to Rachel's eyes as before, and into her pupils to:

Rachel stirs a little, trying to respond to the paramedic's efforts to resuscitate her. Suddenly, everything around her is lit by a brilliant white flash, and Rachel convulses to one side. Another flash follows, and she writhes again, but still does not recover.

The paramedics are trying to shock Rachel's heart back into action, but it doesn't seem to be working. A round of heart massage follows, but while one paramedic administers the oxygen, the other shakes his head and seems to admit defeat. They look at her for a moment, then one reaches out to switch off the heart monitor.

Finally, Rachel stirs as if coming round. She sits up, having no visible means of support, seeming to float in midair. She still seems to be drifting downwards slowly, and as we watch her sit up, many tiny pinpricks of white light start to punch through the blackness around her. She looks around, not knowing what is going on. The points of light are multiplying rapidly, and a larger, more prominent white light begins to shine down on her from above. She looks up, awe and wonder in her eyes. Little balls of white light, almost like snow, begin to drift down towards her. She smiles, and tries to reach out to touch one. As she does so, things take a turn for the worse. The light around her suddenly fades away again, and the points of white light start to become a deep blood red colour. Rachel looks around her, not knowing what is going on, until suddenly she falls. As though whatever invisible platform was beneath her was suddenly taken away, Rachel begins to plummet downwards at a terrific speed, the light around her becoming more exclusively red as she falls. She begins to scream, and we watch as she falls towards what appears to be the bottom of the Pit, a large, gaping hole surrounded by fire. The other side to it cannot be seen through the flames, but she is powerless to stop herself falling straight through it. The flames part for a second to allow her through before closing up after her, like she is being swallowed.

We see what looks like a pig farm, minus the pigs, in what is now recognisably a part of Hell - the red sky, mountains in the background, architecture and people. Here, filling the crudely-made pig pens are hordes of people of all shapes, colours and sizes, shuffling around and waiting for whatever fate is in store for them. Rachel's scream can be heard before she plummets down onto the top of a large slide, designed to break her fall, and she comes to a stop at its base nearly a hundred feet after she joined it. Gulping in deep breaths of air, she is manhandled to her feet by two burly men. She looks up.

Classic horned demons. One wears a tattered nametag that says: "Hi! I'm Rathamos." Rachel screams.

They drag the still screaming Rachel over to one of the pens, pull open the gate and shove her inside. The guards then close the gate and walk back over to wait by the slide once more. A short, fat demon with a muddy clipboard stalks over to Rachel's holding pen, takes a pen that appears to have been carved from bone, and licks it once before speaking.

Standing immediately around Rachel are: a businessman with a knife wound over his heart, a fat man with obviously fatal high blood pressure, a thin student with the sunken eyes of a drug abuser, and a traffic warden with a prominent gunshot wound to his head. The businessman speaks up first.

Rachel stands silently, trying to let all of this sink in. The Short Demon stands in front of her and finds the relevant page on his clipboard.

More demon guards appear and herd Rachel and the others out of the pens like they were animals. Which, to these demons, they are. Rachel is looking around desperately, trying to find a way out. No luck. Their section of Hell is barricaded by solid walls and barriers of fire, and patrolled by demon guards with large, nasty looking dog-like animals. The new arrivals are led into a large building, and once inside the doors are pulled shut behind them.

Chris is walking along with the Stranger. He sees various sights of Hell as he passes along a row of shops, hotels, bars and entertainment centres - imps running round people's feet, banks of TV screens in shop windows displaying scenes of fire and damnation, demons of all shapes and sizes wandering around. A fly buzzes round his head, and Chris swats at it to make it go. They pass a man dressed in typical angel garb - white cape and sandals, but his wings are frayed and tattered. A hand-written cardboard sign next to him reads "Fallen Angel - Please Give Generously." Chris tosses some change out of his pocket at the angel as the Stranger walks on.

The Stranger heads inside, Chris follows. What they do not notice are the two Men from the office party, Lucas's accomplices, standing on the other side of the road, watching them intently.

The two Men cross the street and enter the bar.

Rachel's parents are fairly well-to-do people, and have a nicely furnished house. They are both seated and watching the TV when the phone rings. Rachel's mother goes to answer it.

A shocked hand covers her mouth as Rachel's mother reacts to being told her daughter is dead. Her father looks over from the sofa to see what is wrong, heading over and taking the phone away from Rachel's mother as it drops from her unresponsive fingers.

He hangs the phone up. Rachel's mother, growing gradually more emotional, leans against the wall and slides down into a squatting position on the floor. Her father, tears in her eyes, kneels next to her and throws his arms around her. Rachel's mother buries her head in his arms and sobs uncontrollably. The camera pans across from the, into the blackness of the wall, where we:

Lucas is relaxing in a bath filled to the brim with luxurious bubbles. His bathroom is a lavish as the rest of his house. A television set faces the bath, and Lucas has the remote for that in one hand and the phone in the other.

Chris is in another bar, but this time looks a lot happier. Loud, Sixties rock and roll music blares out from the sound system, and the walls are plastered with Rock Cafe style memorabilia, all noticeably from dead musicians, notably those with more hell-raising lifestyles. As Chris and the Stranger takes their seats at the bar, Chris sees why this place is called the "King's Inn" - the staff are all Elvis impersonators. Fat ones, tall ones, skinny ones, Chinese ones, black ones - all dressed to resemble Elvis at various stages in his career. None of them look like him in any other respect than the clothes. A fat Elvis, barman's towel over one shoulder, stands before them to take their drinks. He talks with a bad take on Elvis's trademark Deep South drawl.

He heads off to get the drinks. Chris takes a sweeping look around - taking in the Elvis bar staff, rock and roll decorations and human/demon clientele. He turns back to the bar, shaking his head in disbelief but grinning widely. He looks over to the Stranger, who is grinning back.

Barman Elvis brings back their drinks. They are two small shot glasses, filled with a swirling red liquid, each topped with a small, wispy ghost that begins to sing "Amazing Grace," harmonising with one another. Chris looks from his drink to the Stranger in disbelief.

The Stranger downs his drink and gulps appreciatively. Chris cautiously lifts his glass to his lips, then closes his eyes and knocks it back, bracing himself for some kind of hellish aftertaste. After a long beat, he opens one eye, then the other, checks he's still in one piece. Then he slams the glass back down onto the counter.

The Stranger walks over to one of a row of three pool tables in one corner. The cues on offer range from jet black, spiked, blood red or otherwise Hellish down to standard, real world cues. Chris takes one of these, and the Stranger takes one of the jet black ones.

Chris looks down, and sees a small, cube shaped imp, coloured blue, with large domed divots in all his sides. The Stranger holds the tip of his cue down next to the chalk imp, who hops onto the end of it, rubs himself round in a circle a few times, then hops off. The Stranger blows the excess dust away and starts to arrange the balls. Chris, a little uncertain, does the same, fascinated as the chalk imp rubs himself on the end of his cue.

He lines up and takes his shot, blasting the cue ball into the assembled balls with such force that one shatters and two fly off the table.

Chris grins again and lines up a shot. A fly buzzes past him. As he hits the cue ball, we go to a:

Rolling back with the cue ball, looking straight at it as it heads for the other balls, we see it hit another ball. We then follow that new ball down into the blackness of the pocket.

The darkness is broken as a door opens in the middle of our view - we are looking out from inside one of the trays that hold the bodies. A mortuary attendant outside the tray pulls us out into the open.

We see the attendant pull the tray all the way out. Rachel's parents are here, accompanied by two police officers and another detective. The parents cling to one another as the attendant prepares to pull back the sheet covering the body.

It is Rachel. She is a little bruised, but otherwise just looks at peace - her skin is deathly pale, her eyes closed. Rachel's mother convulses and sobs into her husband's arms again; Rachel's father tries to remain strong, and just nods a few times before averting his eyes too. The attendant gently and respectfully pulls the sheet back over Rachel's body and then slides the drawer back into its place.

The police officers and detective retire to a far corner of the room, leaving Rachel's father to comfort his wife. They talk quietly so as not to be overheard.

The police officers leave as the detective watches the grieving parents a while longer.

As before, except Chris and the Stranger's pool game has attracted a large crowd of cheering revellers. The humans are cheering for Chris, while the demons egg on the Stranger. Each player has one ball left before the black - the table is littered with the fragments of shattered balls. Chris is smoking a cigarette to aid his concentration as he lines up for another shot. Money is slapped back and forth between hands as furious betting on the winner takes place. "Long Tall Sally" starts over the jukebox to appreciative off camera roars. Chris lines up his shot...

Looking at it from along Chris's cue, we see the tip of the cue pull forward and back twice as Chris lines the shot up. Then - whack! He hits it. we travel with the ball as it streaks towards the one spot ball left for Chris, hitting it and sending it slamming into the far pocket. The cue ball rolls back but leaves the Stranger a tough shot.

The crowd claps its appreciation. Chris stands back and folds his arms, looking confident.

The Stranger crouches low next to the table, his eyes scanning for the right angle. He finds it. Standing, aiming and shooting in one fluid motion, his stripe ball hits the corner pocket and disintegrates before the crowd have chance to even react. A cheer goes round the group. Chris throws his head back and laughs, clearly having a great time. The Stranger chalks up his cue, watching Chris carefully with a glint in his eye. He knows he's winning the young man over. We then sweep over his shoulder, past the pool tables and over to a table against one wall. The two Men are there.

We pull back over to the pool table. Chris is lining up his shot on the black 8-ball. Before he can shoot, a large, hairy, clawed hand slams down onto the edge of the table. The crowd falls silent. Chris, still crouched in the shooting position, follows the arm back up to its owner.

We follow the arm, similarly hairy, up to the body and head of its owner, a tall, muscular, furry demon, his mouth a classic fang-filled devil's face. He glares at Chris.

The demon picks his hand up. Deadpan, Chris looks across to the Stranger.

Chris returns to his aim. The crowd falls silent, as does the music and the background bar noise. Chris's face is a mask of concentration. He readies the shot, then takes it.

Now looking a little worse for the wear after the battering it has taken this match. It's a slow shot, and with agonisingly low speed we follow from a little above and behind the ball as it gently connects with the black, which we then follow as it rolls steadily towards the pocket. It hovers on the edge for a beat... the crowd audibly holds it breath... then it plops out of sight.

They both leave. The two Men swivel their heads to watch them leave, then silently get up and follow.

Lucas kneels before an ornately carved and heavily decorated shrine. The statue before him is of an obviously hellish god - many arms, monstrous face, huge wings, etc. Around it are the traces of previous offerings, blood stains and incense sticks. Lucas hastily prepares the shrine and then murmurs a few prayers as he leans back and closes his eyes.

The room shakes a little around him, and while Lucas and the shrine stay as they were, the walls and room around him dissolve, melting away to reveal a fiery pit all around him. Lucas keeps his eyes closed throughout. The incense sticks burn more fiercely, almost like flares, and a guttural, booming voice comes in.

His eyes flick open.

As before. The fiery pit is gone, the room is normal. Lucas quickly blows out the incense, gets up and hurries upstairs. There is work to be done.

Rachel sits on a long bench, flanked either side by other dead people waiting their turn to enter the system. She appears to be sat in an ordinary office, although one where the decorator was listening to a few too many Cannibal Corpse albums - the furniture is tattered and falling apart, the pictures on the wall show the aftermath of earthquakes, plane crashes and landslides, and the magazines have titles like: HELL TODAY, DEATH, SINNERS WEEKLY and THE FOUR HORSEMEN - FACT AND FICTION. Rachel, still confused as ever, looks up and down the row. She is in a long waiting room, and the bench to her right side stretches off round a corner, out of her sight. It is full. To her left, she is about five places from the front. At the head of the room is a desk, behind which sits the SECRETARY, a bored looking woman dressed in severe Fifties-style office garb. The desktop is covered with files, folders, photos and other paperwork, which is added to and removed by small, flying imps bringing new files in and taking old files away. A depressed looking MAN sits before the desk, his eyes at the floor as the Secretary reads from his file. A window behind her, through covered by a blind, shows glimpses of the Hell City landscape outside. A row of doors, marked 1-10, line up opposite the bench.

The Man puts his head back in his hands. The Secretary writes a few notes on his file, then passes it back to him.

The Man sniffs dejectedly, gets up and walks to the door. It opens as he approaches, but as he goes to step through he finds there is nothing on the other side. He plummets off screen with a quick yelp, before the door slams shut behind him. All we got a glimpse of outside the door was a room full of fire. The bench shuffles along a little. Rachel is looking around now, getting more frantic as she gets closer to the head of the queue. As the next in line, a richly dressed woman holding onto the blackened skeleton of a small dog steps up, a shadow falls over Rachel. She looks up, as do those around her.

It is another demon guard, this one with a badge saying "I'm Jazagel. Feel Free To Ask." He looks at Rachel, then at his clipboard, then up at her again as though confirming something.

She stands and follows him as he walks out, past the bench, and up to an unmarked part of the wall. He opens a secret panel, exposing a small numeric pad with runes instead of numbers, and then types in a code. As a hidden door beeps, hisses and slides open, revealing a tunnel on the other side, Jazagel turns back to Rachel with a wry grin.

He heads into the corridor. She hops in, turning to watch the door close after her. It seals with another hiss.

Chris and the Stranger are sat inside a packed strip club. We are looking across the far edge of the stage at them, and the legs of the dancing act can be seen parading back and forth in front of them from time to time. Chris wears a shocked expression on his face throughout this scene. Robert Palmer's "Addicted To Love" blasts out during the scene. The Stranger, like all the other cheering patrons in the club, is knocking back a beer labelled "Bloodweiser" and whooping every time the stripper walks up and down. He leans over and shouts into Chris's ear, neither of them taking their eyes off the stage.

From off screen, a white feather boa suddenly lands on Chris's shoulder. He stares dumbfounded at it, follows it back up to its owner, and smiles as the boa is slowly dragged back away from him.

A bra with three cups flies off the stage and lands on Chris's head. The crowd roars its approval as Chris bursts out with laughter again. The Stranger shakes his head and chuckles, taking another swig of his beer. He likes the guy, thinks he'll be a good addition to the numbers. The stripper leaves the stage as the crowd gives her a standing ovation. The Stranger taps Chris on the arm and motions for the two of them to leave. They get up and walk out. Chris wolf whistles over his shoulder as they walk out, and notices a fly on his shoulder which he brushes away.

The two stagger out onto the main street. the busy red light district is filled with the usual mixed residence of Hell City, plus prostitutes of all descriptions enticing customers into their bars, strip clubs and brothels. Chris and the Stranger seem to be a little worse for the wear now, but the Stranger has one last surprise in store. He motions for Chris to follow him down a little side street off the noisy main road.

They walk down the alley for a few moments before emerging into a small square. Facing them is a small building with one door, simply named "The Bar Chord." Soft music is emanating from within.

He walks inside, pushing the front door open. We get a blast of music as the door opens and closes. Chris stands for a moment, shakes his head to clear it, then takes a deep breath and follows the Stranger in.

STAY ON the square as the two Men appear at the far end of the alley and watch Chris go in. They exchange a glance.

They leave. The camera sweeps back over to the door and flies at it, pushing it open and taking us inside.

Chris walks down a rickety set of steps into a low ceilinged, Cavern Club style establishment. Stonework for the walls, old fashioned wooden tables and chairs, low lighting, a neon-lit bar in one wall, and at the far end of the club, a stage with a cheesy glittery curtain at its rear. A single microphone is on stage, illuminated by a spotlight mounted in the ceiling. A video screen is mounted up in one corner, ready to show the audience the words so they can join in. The place is pretty full, but a lot quieter than everywhere else. A soft haze of smoke from both cigarettes and smouldering demons fills the air. Chris joins the Stranger at the bar.

The bartender, an octopus-like demon, nods and uses four of his arms at once to mix the drink in seconds. He places the two glasses down. Chris peers at his - it looks suspiciously like a shot glass full of blood.

In unison, they tap their glasses on the bar and knock them back. Chris looks surprised at the taste.

The house lights dim and there is a ripple of applause from the crowd. Chris and the Stranger prop themselves against the bar to get a better look. From behind the curtain steps a beautiful WOMAN, slim and slinky, with long raven black hair down past her waist and elaborate Egyptian-princess style makeup. She is wearing a black dress that glitters with sequins as she shuffles up to the mic.

The soft backing of "Ordinary World" by Duran Duran fades up to the crowd's applause. She starts to sashay from side to side in time with the music, her eyes looking down as she gets into the rhythm. Chris is captivated. Booth begins to sing, a slightly husky but wonderfully soulful rendition of the song. In true cheesy karaoke style, the words roll by on the screen behind her. As she continues, the Stranger whispers into Chris's ear.

The Stranger slips away. We STAY ON him as he walks round one side of the bar, going to a payphone just behind a wall. The stage can be seen, out of focus, over his shoulder. He dials a number without paying, but it connects anyway.

Close up shot of the end of a phone receiver, and the lips of another demon speaking.

The Stranger hangs up and walks back round to Chris, who is cheering and clapping wildly as Booth takes a bow, having finished her song. She speaks into the mike.

Booth slinks off the stage Morticia Addams style. Chris wanders over to the other side of the stage where EDDIE, the karaoke demon sits. Eddie is a cat-like demon with an eyepatch and numerous scars and scratches. He is counting out a wad of money as Chris approaches.

Chris grins back and walks back over to the bar.

Chris turns to look back over to the bar as Booth wanders up and calls the bartender over.

The bartender starts preparing her drink. Booth looks over and sees Chris and the Stranger smiling at her. She grins back and holds out her hand. Her speaking voice is as husky and alluring as her singing.

Booth takes a sip from her drink, a yellow-green cocktail, modestly garnished.

Taking her drink, she shuffles away. Chris lets out the deep breath he's been holding as the Stranger pats him on the back.

He stares down at the bar. Thinking about Rachel brings back painful memories - he doesn't know that she's dead but he's still got that last image of her with Lucas rattling round . The Stranger nudges Chris in the arm in a comradely way.

There is a continuous and loud knocking at Lucas's front door. He walks across the hall to answer it.

He opens the door. The two Men are there. They exchange a look before speaking.

The two Men wander off. Lucas shuts the door and rubs his face with his hands.

Lucas walks back into the living room.

Chris takes the mic to a round of applause.

Laughter. Chris smiles too.

The opening melody of "Enjoy The Silence" plays. Several crowd members cheer as they recognise it. Chris sings the first few lines. As he continues, we pull back from the stage and over to the bar, where the Stranger stands next to Booth, now dressed in more casual clothes.

Booth turns back to watch Chris. The camera moves closer to her, pulling right forward into the blackness of her hair.

Pull back from the blackness, which is revealed to be a pot of ink on a desk. Pull back further to see the whole scene. Rachel is sat in front of the desk, which is manned by Jazagel from before. All around them stretch similar desks attending to people. Imps fly back and forth overhead carrying messages around. Windows mounted in the high walls filter in red light into the room. The high ceiling cannot be seen, but imps keep flying downwards from it as though there is an exit hole up there. Rachel watches Jazagel as he leafs through her file, and takes out a small pair of pince-nez. She tries to look away as he unsuccessfully tries to balance them on the end of his snout a few times.

Rachel, her mouth hanging open, tries to think of what to say. She can't. She slumps back in her chair, defeated by a system she never thought she'd encounter.

He whistles. A small imp, out of breath, lands on the table. Jazagel scribbles out a note.

Jazagel finishes the note and rolls it up. It's bigger than the imp itself. The imp looks at the letter, then throws a pleading look at Jazagel, before taking off with a resigned sigh and picking the letter up with its claws. Rachel watches the imp struggle to gain altitude as it heads for the ceiling.

A tall demon stands by Rachel. She looks up at him, then throws her hands into the air in resignation. She gets up and is led away by Athmos. Jazagel calls over to the next applicant.

A stocky man in a military uniform sits down.

Chris, the Stranger and Booth are walking along. The streets are quieter now, and they are walking into what looks like a residential district, with lots of tall hotel buildings with signs reading: ROOMS, COFFINS, PITS TO RENT. The Stranger motions to one, and they all head inside.

The hotel is furnished inside like a quaint English seaside Bed & Breakfast. A kindly looking old woman is behind the reception desk. The three approach her.

Passes Chris a key. He takes it, checks the number, and turns to Booth and the Stranger.

Chris watches her go, confused. He turns back to the Old Woman.

Chris turns to leave.

She goes back to her work. Chris throws her a look as he heads up the stairs.

Chris enters the room. It is as quaint and nice as the reception area. Something about this doesn't seem right - why is it so nice in the middle of Hell? He shrugs, takes off his coat and sits down on the bed. Feeling his wallet in his pocket, he takes it out. He opens it up and his picture of him and Rachel together falls out.

The two are crammed into a photo booth somewhere. Happier days. Chris holds the photo and smiles. We sweep over his shoulder and look out the window, where we look out over the "seafront" - waves of lava lap gently against a rocky shore of red-hot rocks just like a normal seaside. Even with the same gentle swirling noise.

The same view, but as we pull back, we enter a different room, and over the shoulder of Rachel, who is stood looking out of the window. She is in a clean, sanitised waiting room, decorated in an attempt to make it more homely. A few other people are in there with her. She twirls a Styrofoam cup listlessly in one hand. A voice from behind her makes her turn.

She turns to see a nervous looking man, with large bags under his eyes and a thick film of sweat covering his face. He smiles bravely at her.

A well-built black man, trying vainly to read an issue of "HELL TODAY" in one corner, sucks his breath in to show sympathy.

The three are startled as Jazagel bursts into the room, trying to hold on to three files at once and looking pretty flustered. He sits down and closes the door to the room.

Jazagel picks up his files and blusters out of the room again. Rachel returns to her window.

Rachel looks around. The Nervous Man and the Black Man are sat quietly. She turns back to the window.

Rachel looks down. There is a small, jet black bug standing on the windowsill. It appears to be looking back up at her. Rachel cautiously leans towards it.

Wilton takes off and buzzes out through a small crack in the window. Rachel shakes her head in disbelief.

Chris is asleep. We pull up to the window.

Wilton, now recognisable as the fly that was following Chris earlier, scrambles into the room through a small chip in the window. He takes residence on the window sill and clears his throat.

Chris jolts awake. He sits up in the bed with a shout. Rubbing his eyes, he looks around for the source of the call. He sees Wilton pacing up and down on the windowsill, groans, and makes to swat him.

Chris jumps back in shock.

Wilton buzzes up and out of the room. Chris watches him go, dumbfounded.

Lucas, dressed in swish clothes, is entertaining a small crowd, mainly women, at what looks like an upper class dinner party. They are all stood in a large, rich ballroom, surrounded by other guests. The background hum of conversation is complimented by the live loungecore piano, bass and saxophone band playing.

This is the punchline. The guests roar with laughter.

Lucas takes a gulp of his wine glass and starts again. We see that a young, pretty woman is making eyes at him. Lucas keeps effortlessly catching her gaze. Another hunt is on the cards. We pull back to see none other than the two Men in one corner, making themselves not noticed as before.

Their plot forming, they look back over to Lucas.

The next morning. The Stranger and Booth, dressed in beach shirts and shorts and carrying towels and beach gear, walk through the main doors as Chris, pulling on his jacket, races downstairs, with Wilton buzzing in the air in front of him.

Booth, understanding the serious look in Chris's eyes, follows him without question. The Stranger stays in the reception, waving his arms at the two of them as they race out.

Rachel is pacing back and forth by the large barbed wire barriers, in an area similar to where she landed in Hell yesterday. Wilton has told her to be here. Patrolling demon guards don't really give her a second look. There are a few other stragglers wandering around. Rachel looks up and sees Chris, Booth and the Stranger running towards her down a street that leads up to the edge of the Dead Zone enclosure. Her face lifts and she runs to the edge of the barriers.

As Chris gets closer, he sees that she is okay. Booth and the Stranger suddenly skid to a halt a few feet away from the fence. With a look to each other, the Stranger braces himself as though about o catch something heavy. Chris runs right up to the fence that Rachel is pressed as close to as she can. As he gets to within an inch of it, it suddenly erupts into flames, and an unseen force catapults Chris backwards. The waiting Stranger braces his fall and catches him.

Chris walks more slowly up to the barriers. Rachel, stretching her hands out to him, watches as he steps up to within a few inches, then stops. Chris takes half a step forward and the flames start to build up outside the fence again. Realising this is as far as he can go, he stops to talk to Rachel.

Chris tries to reach out to touch her, but the firewall flares up again to stop him. Sadly, they both retract their hands. Rachel is crying.

Chris steps back to Booth and the Stranger, not wanting to take his eyes off Rachel.

Wilton buzzes away. STAY ON Wilton as we watch him fly up into the air, dodging passing demons and imps, until the huge central tower looms up in front of us. He heads for it.

Chris turns back to look at Rachel, but she is being herded back inside by one of the guards. Steeling himself, Chris sets out.

The Tower stretches up out of view as we look up it. There are several smaller towers and steeples peeling off from the main structure, and the flying traffic of Hell City seems to circulate from here too. It is guarded at the bottom by two huge, mean looking demons, but they nod and step aside as the Stranger approaches.

One of the demons holds open the main double door. The group walks in. STAY ON the outside as the door is closed behind them.

The group walks in. Wilton buzzes over. The ground floor is a long passageway, longer than the external dimensions of the Tower suggested - this place obviously has a TARDIS-like mentality when it comes to interior space. The walls are decorated with large, imposing portraits which glare down on the group. Flaming torches line the corridor. An ageing BUTLER, dressed in black and white suit, ambles towards them.

The Butler turns and walks down the corridor. Chris follows, with Booth and the Stranger behind.

The Butler shuffles away and soon disappears into the darkness around the passageway. The group appears to be waiting at a dead end. They look around for a second, until a loud swoosh noise, followed by a heavy thud, makes them all jump. Then, a metal door appears before them, which slides open to reveal the inside of a lift. The BELLBOY, a small demon squeezed into an ill-fitting red bellboy's outfit, has one hand over the lever to send the lift up and down.

The group step warily into the plain, metal lift.

The doors quickly snap shut, and wrenching the level to the right, the bellboy sends the lift hurtling upwards. The group visibly strain against the G-forces.

As suddenly as it started, the lift lurches to a gut-wrenching stop. The group is thrown to the floor. Calmly, the bellboy turns to them.

The doors slide open onto what looks like a smoky nightclub bar. All sorts of humans and demons mill around. Booth and the Stranger look at each other.

He leaps out. Booth sighs and steps out, turning to Chris as she leaves.

They exchange smiles as the lift doors close. The lift travels up for a few more seconds.

The lift stops and the doors open.

Chris gingerly steps out. The Bellboy shuts the doors and slams the lift down to the bottom. Chris listens to it go.

Looking around, we can see we are in a private audience chamber, which has the appearance of a study in a very rich house. A desk and large leather chair, its back to us, is at the far end of the long room, which Chris walks towards. Framed pictures on the wall show various scenes of death and destruction. Mounted animal heads, both from this world and our own, also line the walls, along with a wicked array of weapons from guns to swords. A plume of cigar smoke is rising from the other side of the chair. A roaring fire is behind it, and above the fireplace stands a huge portrait. The man in the chair speaks.

Chris pulls up to a stop, wondering what to say.

Chris now looks very confused. To answer his question, the man in the chair spins round, revealing that he is on the phone.

The Man in the chair notices Chris at last, who doesn't know what to make of it all. The Man is tall, thin and stately featured, in his fifties with slicked back greying hair, still a generous head of it too. He is dressed in a tightly cut black pinstripe suit, with red stripes and lining all over. A crimson shirt and a black tie top off the outfit. He is the Devil. He speaks.

The Devil stands and motions for Chris to follow him. The Devil walks over to a large and ornate door to the left of his desk, and fiddles in his pocket for a key. Opening the door, he walks through. Chris follows, but whispers to Wilton before he enters.

Wilton buzzes away. Chris walks through the door.

Chris joins the Devil looking out over Hell City. They are at the top of the Tower, and have an excellent panoramic view of most of the city. Chris looks down.

Straight down. A very, very, very, very, very long way. Vertigo-esque dizzying camerawork.

Chris snaps his head back as though he's just been slapped. The Devil, still smoking a fat cigar, looks over and smirks.

The Devil looks proudly out over his city, and waves an arm to cover all we can see.

Wilton buzzes in. The Nervous Man is alone.

Wilton buzzes past and out of the room. STAY ON Nervous Man as he kicks his heels, waiting to be seen.

An arm around him, the Devil leads Chris into the Private Hell room. At first, all Chris can see as they walk in to the rocky cavern is a walkway stretching off in front of him, and a dim red light from below. Chris looks around.

The Devil holds back, waiting to see Chris's reaction. Chris walks forward until he is on the walkway, then looks down. We pull back quickly with a rush of air as we look out over the whole chamber. Below us are countless thousands of small rooms, with a network of criss-crossed walkways over the top of them. Demon guards patrol them, checking down on the inhabitants of the chambers below.

We pan across several of these small rooms, passing through the walls each time to see the next. In the first, a man is surrounded by wasp's nests, and he is surrounded by an angry swarm which won't leave him, no matter how much he swats at them. Next along, a man faces a group of hippies, clothed in tie-dye and all, singing some sort of happy folk song at him. The man is on the ground, his arms round his head, screaming for them to stop. In the next room, a chubby, well-dressed woman is trying to reach up to grab at plates of food above her, but a group of imps are flying above her, jerking the plates up out of her reach every time. Finally, a heavily tattooed man is surrounded by small children, all with bloodstained clothes and holding tiny knives, who are stabbing him with the knives a little at a time. The man cannot fight them off.

Chris looks at the Devil. He is pleasant, admittedly, but there is a power and authority behind his words that makes it clear he is not someone to mess with. Chris nods solemnly and follows as the Devil leads them both out.

Next, the two enter a library, with high shelves filled with a multitude of books running on for miles on both sides. Large, rolling ladders staffed by official-looking demons roll back and forth on these, taking books out and replacing them with others. Chris's sense of awe keeps him looking round while the Devil walks on. Chris notices he is being left behind and jogs to catch up.

The Devil pulls a thick, dusty volume from one shelf and carries it under his arm as the two walk on.

The Devil points to a door marked "READING ROOM." He follows the Devil in.

A small, comfy room, with a bar staffed by a waiter demon, and a few small tables, chairs and book rests. The Devil sits down at one and motions for Chris to take the other. They sit. The Devil puts on a pair of reading glasses and leafs through to a section where he stops.

The Devil gets up, Chris follows.

Back with Lucas at the party. We are looking into an empty room for a few seconds, before the door opens and Lucas, followed by the girl who was looking at him earlier, sneak in. They close the door quietly behind each other and sneak over to the window. The room appears to be some kind of study, with expensive desks, tables and seats, one of which the girl throws Lucas down into. She starts to unzip her dress as Lucas takes off his suit jacket and starts unbuttoning his shirt. Looks like he's found a replacement for Rachel already.

The two Men walk up to the door and listen in. Sounds of the chair moving around and occasional gasps as Lucas and the girl get acquainted come from within. The two Men lean away from the door.

They both turn back to the door. The girl's cries get more intense.

STAY ON the door and the noises beyond as the two Men drift away again.

The Devil leads Chris into a large stone-walled room, with a portcullis at one end. Booth and the Stranger, who are waiting here, stand up and head for Chris as he comes in.

Booth and the Stranger react at the sound and then sight of the Devil - they almost bow respectfully.

The Stranger pats Chris's arm to try and encourage him. Chris does not look overjoyed at the prospect of the test.

Everyone except Chris retires to the side of the chamber.

The portcullis rises slowly, its tortured screeching noise echoing around the chamber. The Stranger winces at the noise. They all watch to see what will appear through the portcullis. Nothing for along beat, then the thud of heavy footsteps. Chris turns to look at the Devil.

A huge, green, spiky WAR DEMON is pacing through the gate towards Chris. Its long tail swishes from side to side, tipped by a wicked-looking barb, and it holds in its hands a large double-headed axe. Chris looks shocked and more than a little afraid.

Chris throws a questioning look at the Devil, but has no time to move before the War Demon charges at him, knocking him over. Chris rolls to the side to avoid its axe, which slams into the ground where Chris's head was. Scrambling to his feet, Chris looks from side to side to find something to use, but the Demon slams into him again, knocking him into a roll. Chris gets back up. The Demon is on him, and the two start trading punches. The Demon blocks all of Chris's blows, hitting him a few times for good measure. Chris is now very scared. He backs away from the monster, which continues to advance, snarling and spitting. Chris tries to think.

The Demon hits him again, knocking the wind out of him. Chris roars as he sinks to his knees, but notices the Demon hesitate for a second as he shouts. An idea hits him. He rolls to avoid the Demon's next blow, then stands up straight. Looking the Demon right in the eye, he stares at it, unblinking, and waits for the Demon to make its move. Seeing this new found determination, the Demon suddenly looks less secure in its position, and circles Chris cautiously, waving the axe but not trying to hit him. Chris, his eyes still locked with the Demon, takes a step forward and shouts, a sort of war cry. The Demon backs away, suddenly looking as scared as Chris was a few moments ago.

He nods to himself and grins - Chris has the answer.

Now he senses he knows what to do.

The Demon, drooling in its highly strung state, garbles something unintelligible at him.

He charges the Demon, which, faced with a threat to its key weapon, namely fear, turns tail and runs back out of the room. Chris laughs and sinks to the floor, exhausted. The Stranger and Booth run over to congratulate him. The Devil, clapping, steps over.

The Devil gets up and leaves the room through the open portcullis. Chris is helped up by Booth and the Stranger before he follows too.

We see the door open and Lucas slip out, adjusting his crooked bowtie before walking away. As the door slowly swings closed, we can see the girl he was with earlier slumped dead in the chair, an ugly slash mark across her neck and blood covering the front of her dress. The door swings closed and blocks her from our view.

The group enters. The room is similar to the previous one, except there is a door at the far end instead of the portcullis. The Devil stands by the door, then turns to face the room. Chris and the others wait expectantly.

He waves his hands, and a pentagram materialises in the centre of the room, on the floor. Its edges glow in sync with the Devil's arm movements, and as he focuses an altar rises up with two books on it. Both are open. Two imps float down, and hold a pot which they position over the books. We cannot see what is inside, but the steam rising off it suggests it is hot and very nasty. A tiny droplet of red liquid spills from its edge, hits the floor and melts straight through it in seconds. Chris and the Stranger exchange looks and gulp loudly.

Chris walks up to the altar and looks at the books. One is in English. The other is in some kind of arcane script, which Chris cannot decipher. He squints at it for a few seconds, then shakes his head and looks up to the Devil.

Chris, panicked, looks back down at the books. He makes a few attempts to read the arcane book, but cannot. Then, he looks up. We can almost see the lightbulb flick on over his head. He turns to the Stranger and Booth.

She drags the Stranger over to the altar. Chris counts down from three, then they begin reading - Chris reads the English book, Booth and the Stranger read from the arcane one. Booth seems to know it a little better than the Stranger. The imps hovering overhead look down, wicked looks on their faces as they prepare to drop the contents of the pot onto the trio, but at the last moment, they suddenly look at one another, and pop out of sight along with the pot in a little puff of yellow smoke. Chris sighs with relief and slams his book closed.

He opens the door and motions for Chris to go through. Booth and the Stranger make to follow, when the Devil stops them both.

The room is completely dark. Chris walks in, and then the Devil closes the door behind him. Chris looks round, but he is alone. A spotlight comes on in the centre of the room, and Chris walks into it, shielding his eyes as he looks upwards. A voice from above talks to him.

The light gets brighter, then flares up. Chris suddenly jerks in pain, as though he has just been punched. Another flash of the light, and he jerks again. A multitude of whispering voices suddenly start up.

The voices talk continuously. Chris covers his ears as they get louder. As he looks round, the walls of the room suddenly come to life, all displaying large moving images of Lucas and Rachel in bed together. The images run in a loop, and the sounds of the two of them together join in with the voices.

Chris puts his hand before his nose as though an evil smell is wafting into the room.

Chris begins to spit as though something nasty is in his mouth.

Everything stops and goes quiet. The light fades, the voices stop, and the smells, tastes and noises stop as well. Chris removes his hands from his head and looks around. Slowly, a few feet before him, a bed fades into view. Rachel and Lucas are naked on top of it, still having sex. The noise they make is the only sound in the room until the voices start up again.

Chris hangs his head while the vision of Lucas and Rachel goes on before him. He is in tears now, overwhelmed by what he has just had to experience. Then, he understands what he must do.

Unsteady, he walks right up to the vision. The two on the bed do not see him - they are too busy with each other. Chris reaches a hand out towards Rachel very slowly, the tears still streaming down his face. At last, he touches her. At once, the vision fades away. The spotlight reappears. Chris walks underneath it and looks upwards as before.

Something floats down from the light. Chris reaches up to it and grabs it - it is a handkerchief.

Chris laughs and dries his eyes.

The door swings open and the light fades. Chris walks out the door.

The others wait as Chris walks out. The Stranger looks relieved when he sees Chris is okay. Booth slinks up to him and hugs him.

The group turn in unison and look off screen.

The two Men exchange a look. Their smiles fade for a moment before they turn back to the group.

The two Men turn and walk out. They are gone for a beat when Wilton buzzes back in and lands on Chris's outstretched hand.

The Devil strides out of the room, followed by the others.

Seated in plush leather chairs in the study as before, the Devil is sat behind his desk scribbling on a roll of parchment. Chris sits in front of the desk, while Booth and the Stranger sit on a sofa in the b.g. looking around at the pictures on the wall. The Devil fills out a form and holds it out for Chris to read. He looks it over, then leans back heavily in his chair. This is a big decision.

Chris looks thoughtfully at the contract for a few moments, then takes a deep breath and signs it. The Devil smiles, nods and takes it back, rolling it up and putting it in a chute by his desk, where it whooshes out of sight.

The Devil nods solemnly.

The Stranger swells with pride at this compliment. Booth grins.

Wilton buzzes over and lands on the Devil's desk.

He buzzes away. Chris stands, turns to Booth and the Stranger, who also stand.

We look at the tunnel entrance to Hell City. Chris's car is sat facing it. The atmosphere invokes memories of the closing scenes of Back To The Future. Chris gets into his car, which is still charred from his encounter with the fireball on the way in. The Stranger rides shotgun, with Booth in the back. The Devil leans in the driver's window to talk to Chris. A small crowd of humans and demons has gathered to watch.

The car rolls forward. The Devil stands and lights another cigar as he watches them go. Chris revs the engine as he gets to the tunnel entrance. Then, in a flash of showmanship, he smokes the rear tires before blasting up the tunnel and out of view, to appreciative cheers from the crowd.

Chris turns to the Stranger.

He slams in a tape and cranks the volume up. "Jesus Built My Hot Rod" by Ministry kicks in.

To the music, we see Chris's car speed up the tunnel.

Chris's car roars out the entrance, taking off slightly due to the ramp at the entrance and the speed he hits it at. The underbelly of the car sparks as it hits the road again. The two Men are waiting a little way away, so Chris slows up and cruises over to them.

Still wearing the same Death's Head grins, the two Men shuffle over. Chris winds the window down and stops the tape.

Chris switches the tape back on and screeches away towards Lucas's house. The two Men watch him go.

They slink off camera.

As before. Lucas has the shrine and incense set up. As he kneels and closes his eyes, the walls dissolve as before and he is back in the pit. The voice speaks to him.

The walls dissolve back into the shrine. Lucas opens his eyes and gets up. There is a knock at his door.

Lucas goes to the door and opens it. It is the two Men.

The Men exchange a look and step inside.

The car races along a deserted road. It shoots past a lay-by where a police car is hidden.

The lone officer inside has his speed trap camera set-up pointing out the windscreen. It registers Chris's car as it flies past at 78 m.p.h. The officer starts his engine up and pulls out, switching on his siren.

Chris looks in his mirror and sees the police car on his tail.

Chris's car indicates and starts to pull over. The police car does the same.

The officer calls headquarters on his radio.

We see the female radio operator before her computer console. It is late in the typically-furnished office, and there are only two other operators with her. She types the registration into her console.

The warrant for Chris's arrest suddenly flashes up, and a reference to his suspicion of murder.

The operator suddenly looks worried. She calls back into her radio.

The two cars are just coming to a stop.

He gets out.

Through the rear window, we can see the officer coming over.

The officer stops a few feet away,. his gun ready.

Chris rolls his eyes and steps out.

The trio step out. The officer has his gun trained on them, so they reflexively raise their hands.

They turn and do as he asks. The officer moves across to handcuff Chris, but as he approaches, Booth begins humming a lullaby melody under her breath. The officer starts to move more slowly, as though the humming is affecting him. Chris and the Stranger exchange puzzled looks. Booth turns slowly to face the officer, still humming under her breath. The officer seems entranced by Booth's voice as she moves closer. Singing softly under her breath, she stares deep into his eyes and slowly moves her hands up to hold either side of his face. Still singing and staring, she holds the officer as his eyes flutter closed and he drops gently to the floor. Chris and the Stranger watch in amazement as Booth lays the officer down and stops singing.

They jump back into the car and race off. STAY ON the sleeping officer as his radio crackles, trying to get through to him.

Lucas is knocking the furniture over, smashing picture frames, breaking plant pots and the like. The two Men are doing similarly destructive things in the background.

Chris's car pulls up slowly. The music and headlights are off. Looking over to the house, we can just make out Lucas and the two Men trashing the living room.

They get out of the car.

As before, with Lucas and the two Men smashing the place up. The doorbell rings. They all stop dead. Lucas turns to the Men.

He goes out. As he leaves, the two Men exchange glances and draw long, curved knives. The knives start to hiss and steam in the open air.

Lucas carefully opens the door. Booth is stood there, shivering, looking like she's been in a car accident.

Lucas escorts her in and pushes the front door closed. Before she can see, he nudges the door to the living room closed. They walk into the kitchen.

Booth sits on a chair next to the central work surface in the kitchen, which is lined on all sides by large cupboards. A perfect, executive efficient kitchen. Lucas brings her a cup of coffee and wraps a blanket round her shoulders. She takes both, shivering for added effect. Lucas eyes up his next victim greedily as he makes himself a drink.

Chris and the Stranger dart past outside the window. Booth sees but tries not to register it, going back to her coffee.

The Stranger jimmies the window open, and he slides it up carefully so that the two can get in. As Chris climbs through, it starts to slip, and will surely fall with a crash until:

Lucas watches Booth sip her coffee, eyeing her up and down. He moves to get a little closer, when the two Men burst in.

Lucas and the First Man leave. The Second Man smiles at Booth, who grins back.

Lucas, fetching a sword from its hanging on the wall, creeps up the staircase, followed by the First Man.

They get to the top floor. Lucas creeps towards the bedroom. The First Man raises his dagger to stab him in the back, but in a blur Lucas spins and runs the Man through with his sword.

The First Man wears a shocked expression as he crumples to the floor. Lucas looks around, ready for the next attack, as the Stranger bursts out of a doorway next to him, grappling Lucas to the ground. They fight. Booth and the Second Man come running up the stairs. Chris walks over as the Stranger holds Lucas to the floor. Chris squats down close to Lucas's head as he struggles.

Lucas looks troubled. He knows they're onto him now, especially if they know his true name. But he has a few tricks left.

He starts to shudder and convulse. Booth backs away, throwing a warning glance to Chris, who starts to back away too. The Stranger tries vainly to keep Lucas pinned down, but there is a loud crash and he is thrown off, into Chris. The two of them fall. The whole landing starts to shake, and we can see black storm clouds gathering at high speed through the windows. The glass in the windows starts to crack, and the lights all over the house start to pop and shower hot glass everywhere. Lucas, stands, still convulsing, as crackles of energy start to lance out from him, burning holes in the walls and doors. Chris and the others scramble for cover.

A howling wind kicks up, knocking everyone off their feet. As they watch, Lucas skin starts to boil and bubble, before peeling away in chunks to reveal black, spiky demon skin underneath. His head is the last to go, distorting and tearing as a head like a dragon's forces its way out. A huge pair of black wings unfold from Grazazel's back, and he raises his head to the sky with an unearthly howl.

Revealed, Grazazel stands before them. The wind and rumbling still goes on all around. Grazazel stands at nine feet tall, with black armoured skin, long claws on his hands and a dragon-like head full of dripping, razor-sharp teeth. His wings flap a few times as he looks down on Chris and the Stranger. He stamps his foot once on the floor. The landing begins to buckle. Chris and the Stranger look at each other before the floor gives way and they are all dumped into the hallway.

Chris, the Stranger, Booth and the Second Man fall, along with a big chunk of the landing floor above, heavily into the centre of the hallway. Grazazel flaps his wings as he lowers himself slowly into the middle of the room. Chris and the others scramble to their feet, diving for cover as Grazazel breathes fire at the group, blasting the surviving furniture to pieces and tearing ragged scorch marks along the walls. Chris and the Stranger hide behind the staircase as Grazazel stomps around.

They look over the corner of the staircase into the centre of the room. Booth is stood to one side of Grazazel, singing softly and swaying from side to side. She is trying to entrance Grazazel, and it seems to be working. The wind is sending Booth's hair flowing out all around her, adding to the hypnotic effect as she sways. Grazazel goes quiet as he watches her, his ragged breathing slowing down as his head starts to move in time with her movements. They see the Second Man creeping up in the blind spot of Grazazel, readying his dagger. He lunges and stabs the demon in the leg. Grazazel howls in pain and lashes out, striking Booth and slamming her heavily into the far wall. The Stranger leaps after her.

Grazazel turns back to the Second Man, who is trying to pull his dagger from the demon's leg. Grazazel roars at the Man before grabbing his head in one hand, and his body in the other, and with a sickening crunch pulling the two apart. The diversion over, he spins to face Chris. Grazazel's face twists into what is almost a smile as he roars and charges at Chris. Chris dives out of the way, and runs as blasts of fire track him around the room. The Stranger drags the unconscious Booth out of the way, looking round for a diversion. He grabs a nearby chunk of the landing floor and hurls it at Grazazel, catching the demon on the side of his head. Grazazel roars and turns to face the Stranger. Chris races up the staircase, an idea forming.

Through the hole below, we can see Grazazel stalking over to the Stranger. Looking around, Chris sees the body of the First Man is still up here, the curved knife in his hand. Chris grabs it, but it is so cold he cries in pain and drops it.

Grazazel roars again, as Chris tears off a few strips of the First Man's clothes to wrap round his hand. He takes the knife and looks down the hole.

We can see Grazazel has his back to us, approaching the Stranger who is trying to fend off the demon by lobbing chunks of masonry at him.

Chris looks back up. What can he do? Thinking fast, he lowers himself through the gaping hole in the floor. Grazazel is beneath him.

Chris swings as best he can and launches himself at Grazazel's back, landing squarely between the wings and throwing an arm round the demon's neck for support. Grazazel screams and thrashes from side to side, flapping his wings to try and lose Chris. Hanging on for dear life, Chris pulls himself up until he can see over the demon's shoulder. The Stranger is still throwing rocks, but one of Grazazel's claws still lashes the side of Chris's face.

With one last effort, he raises the dagger and plunges it into Grazazel's chest, right up to the hilt. The demon howls and spins round, throwing Chris off and into the wall.

The knife starts to glow and smoke heavily as it fulfils its purpose.

Thrashing more violently, his skin starts to bulge as though he is exploding from within. Smoke bellows out of the demon's mouth, and he begins to cough great mouthfuls of black bile as the knife takes effect. With one final scream, he collapses to the floor and lies still, the smoking slowly dying down.

The light behind the demon's eyes dies out. He is dead.

Booth, the Stranger and the badly hurt Chris pick themselves up and stagger over to the demon. Booth is winded but otherwise okay. Chris limps painfully over.

Chris turns to smile, but they all leap back with a start as the demon's arm flops down onto the floor. A convulsive movement, nothing more.

They watch the body for a beat, before a low humming noise is heard. A black shadow starts to form on one wall, and from it step the Devil and four other demons. The demons start to gather up Grazazel, while the Devil walks over to the trio on the floor.

He helps them up. They follow the Devil and his demons through the shadow on the wall, which closes behind them.

With an anguished groan, the house gives up and collapses in on itself into a pile of rubble.

A crowd of heckling demons and humans have gathered to watch the show - Grazazel, dead on Earth but alive again in Hell, is shackled and standing on top of a wooden platform in the centre of the square, surrounded by heavily armed demons. The Devil, holding a roll of parchment, walks up onto the stage, followed by Chris, Rachel and the others, bandaged to show their injuries. He raises his hands for silence. Grazazel glares at them all.

The crowd cheers. Grazazel flinches as things are thrown at him.

More cheers. Rachel whispers to Chris.

They talk as the Devil continues his speech.

The Devil brings Chris to the front of the stage. He waves; more cheers. The Devil signals for Grazazel to be led away, and he is booed and pelted by stones as he is led off. The Devil turns to Chris, holding up the roll of parchment.

They laugh. The Devil chomps down on a big cigar and leads the group away. We sweep over to Grazazel, who looks over to see Chris. He snarls with barely contained rage. He's planning something.

The Devil walks Chris and Rachel over to the tunnel entrance. A gleaming, Harley-Davidson from Hell bike is waiting there. Chris looks from it to the Devil and back again.

The Stranger coughs behind him. Chris turns to see the Stranger whistling innocently, Booth in his arms. Booth grins and shakes her head, points up to the Stranger. Chris smiles and nods his understanding. He walks over to the bike, turns it on and revs it a few times.

Chris and Rachel wave to them as Chris rides the bike up and into the Tunnel. STAY ON the Stranger as Wilton buzzes in and lands.

Chris rides out of view.

Four demon guards are trying to force Grazazel into the main door of the detention centre, when with a roar he spins round, surprising them and knocking them to the ground. A blast of fire breath all around gets them out of the way, before he swoops off to fly after Chris.

The crowd register their shock as Grazazel flies overhead.

The Devil looks up in concern as Grazazel swoops down.

The demon runs over to the control booth next to the tunnel entrance, and starts a set of firewall barriers lowering over the entrance. The Devil watches as Grazazel swoops down onto the booth, tears the screaming demon out and tries to raise the barriers. He stops. He looks down slowly to see a silver sword blade protruding from his chest. He stares stupidly at the wound and slides forward, off the blade. We pull back to see the Devil, calmly holding a cigar in one had, his sword in the other.

As he slides forward, smearing black blood over the booth controls. Just before he slides to the floor, he manages to hit a button marked: "Fire Control." Then he hits the deck.

Chris and Rachel speed along on the motorbike. Chris looks very happy to be on his way back out at last. "Driver Down" by Nine Inch Nails plays. Rachel hears something behind them. She turns.

The fireball, in all its terrifying, screaming glory, tears round the corner of the Tunnel after them! The song reaches the first crashing guitar riff.

She screams and turns his head round to see it approaching.

They race up the tunnel. The fireball gets closer and closer - they have a head start, but is it enough? The fireball keeps gaining despite the engine of the bike howling as it is pushed to its limits. Rachel presses herself close to Chris as the heat from it starts to effect them both. Little wisps of flame start to spit out past the bike, some catching on Rachel and Chris's clothes. She frantically swats them out.

The fireball is right on them now, but ahead we can see the exit. It's going to be close. Chris leans right down and tries to squeeze some extra power out of the bike as the thundering noise of the fireball drowns out the bike's engine. Rachel starts to scream as she is nearly singed by it, when:

The bike screams out onto the late night motorway like a bat out of Hell, smoke pouring from its overworked engine. Chris brakes, skidding the bike to a halt. The music, by now in the piano only outro, fades out. They both gasp for breath, covered in sweat, as they look back over their shoulder.

The entrance fades out before their very eyes, as if it was never there.

Chris revs up the bike and drives away from us towards the city lights in the distance. "Bat Out Of Hell" by Meatloaf plays over the end credits, which roll up as Chris and Rachel disappear into the distance.