Hellbound: Hellraiser II Page #18

Suddenly, the room, previously full of slow movements and

tension, is full of furious, violent action as the fused brothers

kick, tear, and punch at each other in a paroxysm of killing

hatred.

91 INT. THE CENTRE OF HELL

MALAHIDE and JULIA are at the end of a corridor. They turn into

an open space. A vast open space. It is desert-like in its

expanse, almost vanishing into infinity at its furthest reaches.

It is criss-crossed by catwalks, on one of which MALAHIDE and

JULIA now stand. Beside these catwalks, the ground falls away

into mile-deep, dark, abysses.

Above the catwalks, dominating the huge space, is the master of

the labyrinth.

The master, LEVIATHAN, is a monumentally huge, white, multi-

faceted diamond, spinning on its own axis, entirely unsupported

by any physical means, above its territory.

Apart from its very immensity, the most unsettling thing about

LEVIATHAN are the beams of black light that shine out from the

corners of all its many facets. Due to the fast spinning, these

beams shoot and swoop around the chamber, like a negative laser

display of dazzling complexity.

The sound that has been in the corridors is now magnified. It is

the sound of LEVIATHAN's breath.

MALAHIDE has walked the last few yards like a man in shock. Now

a black beam strikes his face and images of horror flash before

his eyes at almost subliminal speed. His face suddenly crumbles

into an expression of incredulous terror, he makes a noise

halfway between screaming and retching, and drops to his knees by

the edge of the catwalk.

Unfortunately, this allows him to look down into LEVIATHAN's pit.

Looking down with him, we are given a sudden and vertiginously

sickening realization of Hell's immensities. There is a drop of

miles visible down the pit and, all the way down, as far as the

eye can see, there are other catwalks cutting across the pit at

various angles.

MALAHIDE looks back up, his scream renewed by his sight of the

pit. Two or three of the beams of black light flit across his

face, filling his eyes with more subliminal images of horror as they

pass; a child, a knife, and a dead animal; a naked woman whose

private parts are made of sharp, oily, metal; perfect hands

ending in crumbling, leprous fingers.

Suddenly, LEVIATHAN stops spinning. Effortlessly. Instantly. Two

more beams are projected at MALAHIDE but, as they come within a

few yards of him, they become writhing pink limbs that fly out,

sieze MALAHIDE and lift him into the air. He screams out.

MALAHIDE:

No! No! Julia! Help me!

MALAHIDE is held in the air as JULIA replies.

JULIA:

But you WANTED this. You wanted

to SEE. You wanted to KNOW. And

here it is. The heart of Hell.

Leviathan.

As she says this two of the thing's facets part to reveal a raw

and gaping cavity lined with angry, sore-looking purple flesh

directly behind the dangling MALAHIDE.

The purple and pink walls of this flesh gash peel apart and open

in various places to reveal blades, hooks and needles at the end

of various vestigial limbs.

The limbs holding MALAHIDE draw him back inexorably into this

cavity.

He has one last moment to meet JULIA's eyes.

JULIA:

Why do you think I was allowed

to go back? For YOU? No, it

wanted souls. And I brought you.

And you wanted to KNOW. Now you're

both happy.

MALAHIDE is now held within the walls of the gash. He opens his

mouth for one final scream but one of the tiny needle-topped

limbs flies at his mouth and sews his lips together with heavy

blue wire before he can utter it.

His eyes widen in both agony and horror.

JULIA smiles.

JULIA:

Goodbye, Doctor. It's been real.

The gash heals itself, closing MALAHIDE within.

Despite the gash having closed over MALAHIDE, the leathery flesh

that covers that area is a mass of movement, ripples and bumps.

Small rips and gashes appear and disappear on its surface, allowing

us occasional and partial glimpses of MALAHIDE and what is

happening to him.

At one stage MALAHIDE's hand and forearm appear. A long deep,

running cut has been made down the arm and the flesh peeled and

folded back, revealing the meat and the muscle beneath. As we

watch, two of the tiny operating limbs sew the flaps of flesh,

still folded back, to the rest of the arm, leaving the wound open

and un-healable.

Another gash opens and MALAHIDE's face is visible. Here too the

needles are at work, diving into and out of his flesh in a

complicated sewing pattern that is finally pulled together

beneath one ear, leaving MALAHIDE's features permanently pulled

out of shape and decorated with running stitches of metal wire.

Again, MALAHIDE's torso appears, naked. Two large triangular

blades make deep parallel slashes down his chest. Two different

limbs appear but these have sucker-like tips rather than metallic

ones. They fasten onto the new cuts, as if battening. Instead

they are injecting - as becomes apparent when MALAHIDE's skin

turns blue.

The blueness, the conscious disfigurement, and the almost

decorative open wounds should serve to convey that what is

happening to MALAHIDE is not simply torture; he is being

transformed into a CENOBITE.

JULIA watches with avid interest.

92 INT. BROTHERS' ROOM

LARRY and FRANK are fighting furiously, tumbling around the

room. LARRY is fuelled by righteous anger and revenge but FRANK

has had more experience of dirty fighting.

At one stage their free hands each have hold of the other man by

the throat and are rolling along one of the walls, each trying to

establish the dominant grip.

They smash violently against one of the walls in the room. It

gives and they fall through into the next room.

93 INT. KNIFE ROOM

This is a small square room. With the exception of the doorway

to the BROTHERS ROOM, every inch of the walls is covered

with sharp and deadly-looking double-bladed knives -ie One blade

is buried in the wall up to a central hilt/handle and the other

blade juts out menacingly into the room.

The two brothers tumble into the room. Their grips loosened by

their fall through the wall, they land on the floor and

rise to their feet, staring at each other but taking in

the vicious nature of the room as well.

FRANK:

How convenient.

KIRSTY comes through and gasps as she sees the walls.

LARRY:

Stay there, baby. Don't

come in.

FRANK:

Yes. Stay there. I'll be with

you in a minute.

LARRY and FRANK trade blows.

FRANK lands a powerful blow to LARRY's jaw. It straightens LARRY

up and FRANK slams the flat of his hand against his brother's chest.

LARRY flies backwards. He flings out his arm to balance

himself but he is nearer to the wall than he thinks and the

impetus of his fall drives his arm onto the knives.

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