Hellbound: Hellraiser II Page #14

KIRSTY is rewarded with a small recognizing smile from TIFFANY,

KIRSTY returns the smile.

KIRSTY:

You don't want to go down

there. You REALLY don't

want to go down there.

TIFFANY turns her head once more to look down the corridor and

then turns back to KIRSTY. For a second it looks as if KIRSTY's

persuasions have succeeded, but MALAHIDE's training has been too

thorough; TIFFANY knows a puzzle when she sees one. She smiles

once more at KIRSTY and then suddenly turns and disappears into

the corridor.

KIRSTY stands still for a moment, as if she can't quite believe

that TIFFANY has done it. She shakes her head - half in disbelief

and half in despair.

KIRSTY:

Jesus Christ.

Pausing only to pick up the LAMENT CONFIGURATION from where

TIFFANY has left it on the floor, She heads straight for the

corridor and follows TIFFANY in.

81 INT. CORRIDORS/LABYRINTH

We are looking straight down one of the very long corridors of

Hell.

It has the same architecture as the corridor that appeared in the

hospital room in HELLRAISER; walls of stained gray stone broken

up by vaguely medieval-looking arches.

KIRSTY comes into view, walking away from the camera. Ahead of

her, at an illogically far distance given that she entered the

corridor only seconds before KIRSTY, is TIFFANY.

KIRSTY breaks into a slight run, and calls out to the girl.

KIRSTY:

Tiffany. Wait!

Her voice has an unpleasant ring in the acoustics of these

corridors and echos horribly. KIRSTY pulls a face and doesn't

shout again. She increases her pace slightly.

Suddenly TIFFANY makes a sharp turn and enters an intersecting

corridor. KIRSTY is forced to increase her speed even more.

KIRSTY too makes the turn into another corridor. Even as she does

so, she sees TIFFANY disappearing again into yet another

intersection.

KIRSTY follows and, again, the same thing happens.

This happens several times and, always, KIRSTY never quite loses

sight of TIFFANY but never quite catches up with her either.

In short, TIFFANY's instincts were absolutely right; this too is

another puzzle. The girls are lost in a concrete maze, full of

twists and turns and labyrinthine windings.

After enough turns have been made to completely confuse KIRSTY's

sense of direction, she makes a final turn into one corridor and

sees something different.

At the end of this corridor is a blinding white light. As soon as

KIRSTY sees the light, the air is filled with beautiful

birdsong.

TIFFANY disappears into the light as soon as KIRSTY sees it.

Despite the light, despite the birdsong, KIRSTY is still

suspicious and shouts out.

KIRSTY:

Tiffany! Don't trust it! Don't

Trust it!

But it is too late. The girl is gone. KIRSTY follows-and vanishes

into the light.

82 INT. CORRIDORS/LABYRINTH

JULIA and MALAHIDE are seen in the corridors of the labyrinth.

MALAHIDE's face is full of delight. He is absolutely the

enchanted visitor.

JULIA, on the other hand, walks with the brisk assurance of one

on familiar territory.

The corridors that MALAHIDE sees are different to KIRSTY'S; they

are grotto-like, dotted with stalactites and stalagmites and not

immediately unattractive. The walls contain portals of a glass-

like substance at random intervals that emit blooming lights of

different colors and MALAHIDE peers eagerly into several of these.

In one, the view is like an aquarium. An alien fish swims past his

eyes. Its body resembles a human brain but it has pincer-like claws.

MALAHIDE presses his hand against the glass as the thing comes nearer.

Suddenly, from within its body, the thing produces a perfect

human forearm and hand and meets MALAHIDE's hand on the other

side of the glass.

MALAHIDE starts slightly but then keeps his hand there. He is

turning his head to call JULIA's attention to this marvel when

the thing suddenly forms a fist and begins to beat against the

glass with tremendous force.

MALAHIDE jumps back sharply, but the thing shatters the glass and

leaps out at him. He gasps and runs up the corridor, the thing

hopping after him on its one hand.

As they pass JULIA, she tuts with the slightly exasperated but

indulgent tone of a parent or a teacher. She steps on the thing,

squashing it flat. It emits a horrible death-cry.

JULIA:

Do be careful.

83 INT. HELL'S SITTING ROOM DAY

White light fills the screen and KIRSTY steps through it into

view. Instantly the White light contracts and disappears.

KIRSTY finds herself standing in a beautiful family sitting room.

The room is bathed in the warm light of a perfect summer's day.

The birdsong KIRSTY heard earlier continues but is, if anything,

even more melodic, even more sweet.

The room is vaguely Edwardian in its decor; real wood furnishings

and decorative porcelain ornaments. There is a large wooden

dresser, on top of which are many photographs in old-fashioned

brass frames.

Despite herself, KIRSTY cannot resist a smile of pure pleasure at

the appearance of the room.

She touches some of the furniture, as if to assure herself it is

real.

She approaches the dresser and picks up one of the large framed

photographs. She gasps in pleasure.

We see the photograph. It is a family group and looks to be have

been taken ten to twenty years ago. It is of a man, a woman, and

a young girl of four or five.

The man is clearly LARRY, albeit a younger version, and the

little girl has dark, thick, slightly curly hair - just like

KIRSTY'S. The woman is beautiful and has similar hair to her

daughter.

KIRSTY's eyes prick with tears - but they are clearly tears of

happy memories. She smiles.

KIRSTY:

Mommy...

KIRSTY puts down the photograph of her family and looks around

the room again. A troubled look crosses her face.

Despite the aparent Summer light in the room, KIRSTY suddenly

realises what it is that is odd.

She looks from wall to wall with mounting distress on her face.

There are no windows in the room. And no door.

At this point, the odd discordant note in the birdsong becomes

apparent. It is nothing too obvious at the moment - the total

effect is simply less sweet than it was.

KIRSTY looks back at the photograph and snatches it up, with a

look of concern.

The photograph has changed. It is now a wedding photo. The

wedding of LARRY and JULIA.

Suddenly the photograph begins to bleed. Blood pours from the

paper itself, pressing up and smearing against the glass-so that

it is momentarily framed blood, without a single trace of the

picture showing. The blood begins to escape out of the frame,

trickling over the lip that holds the glass in place and dripping

onto KIRSTY's fingers.

With a cry of horror, KIRSTY drops the frame. It lands on the

floor and the glass shatters. The blood continues to flow. In

fact, now that the glass does not restrain it, it fairly

fountains out, spreading across the floor.

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