Hellbound: Hellraiser II Page #24

FEMALE CENOBITE:

Enough!

She raises her hand towards KIRSTY. PINHEAD's arm flies out and

stops her.

PINHEAD:

Wait!

He is staring at the photograph, that great immobile brow finally

puckering, as if something is stirring.

PINHEAD:

I...remember.

KIRSTY:

You were ALL human!

The other three CENOBITES stop moving and stare at KIRSTY. Any

advances they were making on KIRSTY or TIFFANY stop as the same

dim, distant, recollection begins to stir within them.

Suddenly, the door bursts open. MALAHIDE is there, still

floating, his voice still a mixture of hideous threat and

insane joy.

MALAHIDE:

Tiffany. Come.

He turns his palms downwards, mirroring his gesture in the hall

of mirrors.

TIFFANY lets out a moan of terror and shakes her head.

One of the snake-like limbs from MALAHIDE's palms flies towards

TIFFANY's face. Before anybody can react, its scalpel tip has

sliced an inch or so off several strands of her hair.

MALAHIDE:

Tiffany. Come.

KIRSTY throws her arms around the cowering TIFFANY and snarls at

her tormentor.

KIRSTY:

Leave her alone, you a**hole!

MALAHIDE makes no reply, but suddenly several more limbs fly

towards the GIRLS and begin to weave in front of KIRSTY's face

like snakes awaiting their moment.

At this stage, the camera CUTS TO the watching PINHEAD. He lets

the photograph of his past life flutter to the floor.

MALAHIDE looks up at the tiny noise this makes and his eyes meet

PINHEAD'S. He turns more fully to face PINHEAD and the other

CENOBITES who are now standing with their leader, and a strange

smile crosses his face

MALAHIDE:

Oh,good. A fight.

Suddenly, the air is full of flying chains. MALAHIDE is hooked

everywhere. It is like a high-speed version of FRANK's final re-

capture in HELLRAISER. The chains start tugging almost instantly.

Is MALAHIDE about to be ripped apart?

With contemptuous, dismissive speed, the limbs that ooze from

MALAHIDE's palms have sliced the chains to pieces and, almost

before we have time to realise that, three of them have

lengthened, thickened, and hardened and have skewered the FEMALE

CENOBITE, CHATTERER II, and BUTTERBALL to the walls.

The three limbs detatch themselves from MALAHIDE. The three

CENOBITES are all well above the floor, pinned and twitching like

the rats in FRANK's attic.

As they die, they suddenly revert; there are three human corpses

on the walls of the room. A woman, a fat man, and a little boy.

MALAHIDE smiles. Be looks at PINHEAD again and advances. Suddenly

a heavy torture pillar smashes into him, knocking him slightly

off-balance.

PINHEAD is backing across the room, weaving pillars in front of

him as he moves. MALAHIDE moves forward, knocking them out of the

way. As each pillar is knocked aside, PINHEAD's face is more and

more human. Finally, when the face we see is nearly that of the

ENGLISH OFFICER from the opening, he turns his head slightly away

from the advancing MALAHIDE and finds KIRSTY's eyes. A look

passes between them. Understanding? Gratitude? Friendship?

Whatever emotion lies beneath it, it is clearly a cue and

KIRSTY and TIFFANY make a break for it, bursting through the

door. Simultaneously to this, MALAHIDE and PINHEAD find each

other's eyes a final time. For a second, everything is still then

a single bladed limb flies across the space between them and

neatly and calmly slices PINHEAD's throat open. The thin red line

becomes a torrent of blood and the former lord of Hell falls dead

at the feet of his successor.

116 INT. HOSPITAL CORRIDOR DAY

KIRSTY and TIFFANY burst out into the corridor and almost fall

over the PATIENT IN THE WHEELCHAIR.

PATIENT:

So what, girls? It's O.K.

for an ego-trip but it

doesn't got the job done.

Shaking their heads at the insanity, they run up the corridor.

TIFFANY looks slightly distracted and when she speaks it is half

to herself.

TIFFANY:

I have to go back. Or it'll

never stop.

KIRSTY:

(Confused)

What are you talking...

TIFFANY:

(to herself)

I've got to finish it.

KIRSTY:

Finish what?

Even as KIRSTY says this, TIFFANY has moved past her and is

resuming her run down the corridor.

KIRSTY:

Tiffany! Wait!

KIRSTY starts after her friend.

They turn back into the main section of the corridor that contains

their own rooms, TIFFANY still four or five yards in front of

KIRSTY.

TIFFANY reaches her room. The door is open. She goes in. A second

later, KIRSTY follows.

117 INT. TIFFANY'S ROOM DAY

KIRSTY enters the room. It is as we last saw it except that

the walls have re-parted to give onto the corridors of Hell.

Carefully and slowly, KIRSTY moves across to the entrance and

looks down it. She is rewarded with the sight of TIFFANY just

disappearing at the far end of the first corridor. With a

grimace, KIRSTY follows her in.

118 INT. CORRIDOR/LABYRINTH

TIFFANY's skill at finding her way through puzzles means the

GIRLS are soon in the murkier corridors close to the Centre.

Hell seems angrier now, steam is issuing in jets from the

corridor walls, the cries of children are heard faintly on the

soundtrack, LEVIATHAN's breathing is more dominant, perhaps the

light is even pulsing in time with it.

KIRSTY is still several yards behind TIFFANY. TIFFANY takes a

corner and is out of sight for a second or so . KIRSTY dashes

around the corner to find TIFFANY staring with distress at

something on the floor.

It is the skin ripped off JULIA by the vacuum tunnel earlier.

KIRSTY:

Oh, gross.

TIFFANY bends down and retrieves the white diamond BOX from the

empty fingers.

KIRSTY:

What are you doing? What are WE doing?

TIFFANY looks at the BOX in her hand. When she speaks, it is not

to KIRSTY but to herself.

TIFFANY:

I can't do it here. I have to

go to it.

119 INT. THE CENTRE OF HELL

LEVIATHAN spins and fires light in the centre, his machine-like

breathing drowning all other sound. We are looking down the

catwalk as KIRSTY and TIFFANY approach its edge.

The beams of black light wash across their faces, as they passed

over MALAHIDE's in the earlier scene. Images of horror freeze

momentarily before them and then pass on, only to be replaced by

others.

Rate this script:4.8 / 4 votes