Hellbound: Hellraiser II Page #23

The door flies open. CHATTERER II lunges in at them.

KIRSTY screams, but because of the eagerness of his lunge they

are able to get around him as his impetus carries him to the back

of the elevator.

112 INT. HOSPITAL CORRIDOR DAY

The door begins to close as the girls straighten up in the

corridor and as CHATTERER II turns around to come back out at

them.

He tries to put his hand out to stop the door closing, but

succeeds only in trapping his fingers in the door.

KIRSTY, as soon as the doors began to close, had hit the DOWN

button. Now, she squeals with horror as she realises what is

about to happen.

The elevator begins to descend - we can tell this because

CHATTERER II's fingers move down to the floor and are then

sliced off.

The GIRLS run off down the corridor.

KIRSTY:

This way. Short cut.

They turn into a set of double doors leading to a large ward.

113 INT. LARGE WARD DAY

KIRSTY and TIFFANY enter the ward at a run and then slow down to

a confused and horrified walk.

Every bed in the ward is occupied, some by men, some by women,

and every patient has in their hands, and is busily working on, a

LAMENT CONFIGURATION.

Despite this collective work-in, the BOXES obviously still have

the vicious characteristics they have previously demonstrated

when used individually - as is witnessed by the ten or so patients

who are struggling on with their work despite having one or two

hooks and chains connecting their flesh to their BOX.

KIRSTY and TIFFANY move slowly down the room, a look of

incredulity on both their faces.

KIRSTY:

Oh, Christ. This isn't just

personal anymore.

TIFFANY nods slowly, her eyes flicking back and forth across the

ward.

Suddenly, the wheelchair patient from the earlier scene in this

ward, who has been between two of the beds on one side of

the ward, cuts across the GIRLS' path. He too has a BOX on his

lap. As he passes in front of them, he looks at them, giggles in

an unmistakably insane fashion, and gives them a conspiratorial

wink. Then he simply proceeds to the other side of the ward.

A second or so after this, as the GIRLS edge down the middle of

the room, they hear a rushing sound behind the double doors they

are heading towards.

Suddenly, the doors slam open and revealed in the doorway is

MALAHIDE.

But he is not standing there. He is hovering about two feet off

the floor. The umbilical limb that connects him to LEVIATHAN is

still at the back of his skull. His face is contorted in a grin

of manic glee as he floats three or four feet into the ward.

MALAHIDE:

The Doctor is in!

He laughs, and the sound is far from human. KIRSTY and TIFFANY

stare at him.

TIFFANY:

Oh, sh*t.

KIRSTY looks sharply at TIFFANY for a second, as if she is about

to comment on her re-found voice, but instead simply nods. She

takes her friend's hand and the GIRLS begin to walk very slowly

backwards to the far end of the ward.

MALAHIDE is too enraptured of his new power to pay attention to

specific victims and so makes no move to stop the GIRLS' slow

retreat.

Suddenly his palms erupt into a writhing mass of tentacle-like

limbs as his head tips back to emit a wide band of LEVIATHAN's

black light at the ceiling, accompanied by, renewed inhuman

laughter.

Taking this as their cue, the GIRLS turn and bolt for the doors

at the far and of the ward and exit through them.

The limbs extrude from MALAHIDE's palms only twelve inches or so

and are all quite thin, but they all have independent movement

and they all have various surgical-like, gleaming tips. MALAHIDE

floats over to the nearest bed. He looks at the patient and then

looks at the bladed tips of his new limbs and, as if addressing

them, speaks.

MALAHIDE:

I recommend amputation.

There is another burst of laughter as the limbs fly at the

patient, writhing, twitching, slashing, and slicing.

114 INT. HOSPITAL CORRIDOR DAY

The GIRLS run wildly along the corridor, not knowing MALAHIDE is

working his way through his former patients. They come to another

door and pause. They look back down the corridor to ensure they

are not visible as they hide and KIRSTY pushes the door open with

the flat of her hand behind her. Carefully, still looking down

the corridor, they back into the room and let the door close.

115 INT. HOSPITAL/TORTURE ROOM DAY

CLOSE UP on the GIRLS' faces as the door closes in front of them.

KIRSTY lets out a breath. Then they hear the rattling sound behind

them. They swing round and the camera pulls out to take in the room.

It is like the TORTURE ROOM in HELLRAISER. The walls are black,

the floor slimy, and the room filled with chains, hooks, and

torture-pillars. And, in the room and staring at the GIRLS, are

the four CENOBITES.

PINHEAD glances theatrically around the room, as if checking

something.

PINHEAD:

Oh. No Boxes. Such a shame.

FEMALE CENOBITE:

No more delays, Kirsty. No more

teasing. Time to play.

PINHEAD:

Time to play.

KIRSTY looks at his unforgiving face and then her eyes suddenly

widen as she thinks Of something.

KIRSTY:

Wait!

PINHEAD:

No more deals, Kirsty. It's

your flesh we want to experience,

not your skill at bargaining.

KIRSTY:

No deals! Just information.

Information. Free of charge.

No strings. Just information.

PINHEAD:

Go on. But trick us again,

child, and your suffering will

be legendary even in Hell.

Carefully, making no fast movements, KIRSTY reaches into her

pocket where she placed the photograph from MALAHIDE's OBSESSION

ROOM. She brings out the picture that she realized earlier was

of PINHEAD and hands it to him.

He takes hold of it and looks, his face registering nothing.

PINHEAD:

What is this? Someone else

you think escaped us, like

Frank?

KIRSTY:

No, No, this one didn't escape.

You told me you'd always been

in Hell. You were wrong. Look

at it. LOOK. IT'S YOU.

PINHEAD:

Nonsense, I...

KIRSTY:

It's you! You HAVEN'T always

been as you are. You were

HUMAN. Remember. Remember

all your confusions. Think!

The FEMALE CENOBITE strides across the room.

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