Hellbound: Hellraiser II Page #21

CLOSE UP on a hand picking up the re-structured BOX from the

corridor floor they have just left.

103 INT. CORRIDORS/LABYRINTH

The sucking force is growing stronger by the second. Not only is

LARRY's right hand losing its grip on the edge of the wall, but

his left arm - stretched tight as it clings to KIRSTY and, via

her, TIFFANY - is bleeding profusely again.

Suddenly, JULIA appears at the top of the corridor next to LARRY.

In her hand is the white diamond BOX that KIRSTY had let drop.

She stays just out of range of the sucking wind. She stares at

LARRY's weakening fingers and smiles.

JULIA:

Oh, poor Larry. You never

could hold on to anything

for very long, could you?

Suddenly, audaciously, his face set in a scowl of anger, LARRY

lets go of the wall. Before she realises what is happening, he

has grabbed JULIA's wrist and pulled her off her feet into the

corridor. He lets go almost immediately and with a superhuman

effort grabs at the corner again before the wind can claim him

and the girls.

JULIA is not so lucky; without support or foothold, she is seized

by the wind and hurtles to the gap in the wall.

She manages to brake herself by flinging her arms out to either

side of her. For a moment she is hold there and then the pressure

begins to draw her in.

In her left hand she still holds the BOX, but her right hand is

only a few inches from TIFFANY's left.

TIFFANY reaches her hand to her, not knowing JULIA as the others

do. Their fingers just manage to interlock when JULIA's face

registers a disbelieving shock.

There is a terrible ripping sound. JULIA's new skin, so recently

gained, is giving up its hold and has ripped right up the spine.

JULIA is drawn from it.

JULIA:

NOOOOOOOOOO!

With a final, slurping sound, the skinned woman slips from the

skin and disappears down the new corridor.

The momentary break in tension allows LARRY to make one last

effort. He rounds the corner and pulls the girls after him.

TIFFANY, finally, realising what has happened, screams in terror

and disgust, especially when she looks at what she has brought round

the corner in her hand. She drops JULIA's skin to the floor as

the three of them scramble to their feet and begin to run again.

Still clutched in the skin's hollow fingers is the white diamond BOX.

As they turn another corner, they see, very far in the distance,

a glimmer of light. TIFFANY points excitedly.

KIRSTY:

My God, it's her room!

LARRY:

Let's go!

He starts urging the girls down the corridor - a long and very

narrow one - but KIRSTY shows some resistance.

KIRSTY:

No. No, there's something

wrong...

Before they can discuss it, a new rushing sound is heard. They

look back.

Hurtling towards them is the ENGINEER from HELLRAISER.

TIFFANY screams.

LARRY:

Jesus. O.K. No more arguments.

Just RUN!

They begin one last panic-fuelled run down the narrow corridor,

the ENGINEER at their heels.

The sequence is equivalent to KIRSTY's pursuit by the ENGINEER in

HELLRAISER, the twist here being that as they approach the entrance

into TIFFANY's room the walls of the corridor, already thin, begin

to close together.

LARRY is bringing up the rear (the corridor is now so narrow only

single file is possible) and he can almost feel the ENGINEER'S

breath on his neck.

LARRY:

Go. Go. Go. Go. Go!!

Finally, almost impossibly, they reach the gap in the wall.

TIFFANY tumbles through, then KIRSTY, and finally LARRY. Less

than a micro-second after LARRY has made it, the walls seal

themselves.

104 INT. TIFFANY'S ROOM (2nd VERSION) DAY

As we see clearly the room they have come into, we perhaps share

the feeling that KIRSTY expressed in the corridor; Something Is

Wrong.

The tiles that make up the floor are patterned as before but the

individual tiles are larger. The room itself seems more spacious,

the ceiling higher.

There is a bowl of flowers by the window. The flowers were in

full bloom before their trip to Hell but now they seem long dead.

The audience have to notice most of this for themselves because

LARRY, KIRSTY, and TIFFANY are too relieved by, and tired from,

their escape to take this in immediately. LARRY seats himself in

the chair, KIRSTY perches on the end of TIFFANY's bed. TIFFANY

however walks straight across to her window. She is the first to

notice anything. She stares at the flowers.

KIRSTY:

Tiffany ... ?

KIRSTY rises from the bed and joins TIFFANY by the window.

KIRSTY:

But these were ... Daddy?

LARRY rises to his feet. Just as he stands, a fleeting expression

of bewilderment crosses his face. He strokes at his right arm

with an unconscious gesture as he crosses the room.

KIRSTY doesn't look at her father right away.

KIRSTY:

These flowers. I saw them just...

She looks at her father. A sea of sweat has broken out on his

brow and face as he stares intensely at the flowers. KIRSTY's

voice slows, begins to trail off.

KIRSTY:

...the day ...before... yesterday

Daddy? Daddy!

LARRY's eyes close. His entire face screws up as if an

excruciating pain just hit him. He clamps his arm across his

chest, the hands clutching his shoulders. He opens his eyes and

looks at KIRSTY for a second, his expression one of surprise.

Then his eyes roll up into the sockets and he collapses to the

floor.

TIFFANY has hardly had time to turn from the bowl of flowers

before KIRSTY is kneeling by her father.

KIRSTY:

Daddy!

LARRY is unconscious. TIFFANY gasps. KIRSTY looks up at her.

KIRSTY:

Get help.

TIFFANY's eyes widen. She rushes to the door and disappears into

the corridor. Within two seconds we hear an emergency alarm go

off and TIFFANY re-enters the room.

KIRSTY:

Pass me a pillow.

TIFFANY does so and KIRSTY places it under the head of LARRY,

whose lips are now blue and who is breathing very shallowly.

KIRSTY looks up at TIFFANY, despair in her eyes.

KIRSTY:

What do you do? I just don't

know what to do.

TIFFANY shakes her head helplessly.

Suddenly, the door to the room flies open and two INTERNS - maybe

Stan and Ollie from the carnival sequence - come in, complete with

stretcher and gurney. They assess the situation with a glance and

it is serious enough to make one of them break their professional

silence.

INTERN:

Coronary arrest. Let's be quick.

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