Hellbound: Hellraiser II Page #25

TIFFANY:

I'm scared.

KIRSTY:

No. Don't let it. You've

come this far.

The GIRLS press on. Whether LEVIATHAN is oblivious to their

presence or simply doesn't consider them a threat, the beams stop

striking the GIRLS' faces. Nevertheless, the mood remains

ominous. The audience should feel something is about to happen.

They are six feet from the lip of the catwalk. TIFFANY kneels

and, holding the white diamond BOX in front of her, begins to

move her fingers over it. The music box tune begins to play as

the BOX begins to move.

That 'something' that the audience was waiting to happen,

suddenly does; MALAHIDE flies up from the abyss beside the

catwalk. The vastness of the limb that seals him to LEVIATHAN is

now directly apparent; instead of merging into black light, the

limb itself trails through the air over the huge distance to

LEVIATHAN itself.

One of the limbs from MALAHIDE's palms flies out and knocks the

BOX from TIFFANY's hands. It rolls perilously close to the edge

of the catwalk.

KIRSTY grabs TIFFANY and, dragging her to her feet, pulls her

further back down the catwalk as MALAHIDE floats to a landing

between them and the BOX.

MALAHIDE:

Ah, girls. And how are we

feeling today?

The blades on the end of his limbs twitch eagerly.

MALAHIDE:

You have your whole lives

behind you now.

The limbs fly forward. KIRSTY screams and both girls run up

the catwalk.

About halfway back up, however, TIFFANY stops, turns around, and

begins to walk back. KIRSTY calls out.

KIRSTY:

Tiffany! No!

The camera stays with TIFFANY as she makes her way back. KIRSTY's

voice stays on the soundtrack for a time, imploring her friend to

turn back and then simply stops. This should be abrupt enough to

make the audience notice but smooth enough to avoid their

attention leaving TIFFANY.

MALAHIDE waits, happy to see a patient so keen on the knife.

Very slowly, TIFFANY moves forward, inch by slow inch. This is

something she HAS to do; the expression on her face is not

determination but terror. And MALAHIDE is very happy to encourage

this.

MALAHIDE:

Surgery is open, Tiffany.

What was today's agenda?

His scalpels flick in the air, making small slicing motions.

MALAHIDE:

Ah, yes. Evisceration.

Still TIFFANY comes forward, closer and closer until she is

surely close enough to be grabbed.

Suddenly, she is grabbed. But from behind, and by a human hand.

TIFFANY gasps, and turns to see who has seized her. She screams.

It is JULIA.

The limbs retract into MALAHIDE's palms. He smiles.

JULIA:

Doctor. I've missed you.

JULIA, having presumably just replaced her skin, is not quite as

perfect as before; there are bloody lines like scars beneath her

ears and chin as if the skin required some adjustment before

being put on.

JULIA moves forward, her left arm still holding TIFFANY, her

smile returning MALAHIDE'S.

MALAHIDE:

I knew you'd come back.

JULIA:

I'm a girl who keeps her promises.

JULIA is right next to MALAHIDE now. Smoothly, she releases her

grip on TIFFANY and embraces MALAHIDE sensuously. He returns the

embrace. They kiss.

Unseen, TIFFANY moves to the edge of the catwalk and picks up the

BOX. Her fingers move over it, finding its solution. Suddenly,

LEVIATHAN's breath becomes a roar of anger and fear.

MALAHIDE breaks away from his kiss, his face a mixture of

confusion and rage. JULIA plants both hands in the middle of his

chest and pushes. He falls over the lip of the catwalk but,

almost before he drops from sight, he is suddenly pulled

backwards through the air, screaming, as LEVIATHAN's limb

retracts. JULIA jumps back. shouting.

JULIA:

Do it, Tiffany! Do it!

TIFFANY's fingers fly over the BOX and suddenly we see what is

happening. The mountain-like LEVIATHAN is following the movements

of the small replica in TIFFANY's hands. As TIFFANY inverts the

new configuration back towards a closed BOX, LEVIATHAN too is

being twisted and turned. Being closed.

The whole centre of Hell shakes as if suffering a mild

earthquake. JULIA and TIFFANY almost lose their footing, but

TIFFANY continues working. She is nearly, there. LEVIATHAN is

halfway between its white diamond, majesty and a huge closed BOX.

TIFFANY takes her hands from the BOX. It is done. The larger BOX

operates a few seconds behind it's control, so that we can inter-

cut the final sliding and creaking into position with the

following human drama;

As LEVIATHAN makes its final closing, the mild tremors of before

become larger. Hell shakes violently and this time TIFFANY does

lose her footing. She looks set to tumble into the vast abyss to

the side of the catwalk but just manages to catch hold of the edge

with one hand. The small BOX flies from her hand and hurtles down

into the miles of blackness below. TIFFANY dangles over the edge,

her feet kicking wildly for a foothold that doesn't exist.

Suddenly, a hand extends to her. She looks up. It is JULIA. For a

second, nothing happens.

JULIA:

Trust me.

TIFFANY lifts one hand off the edge and grabs at JULIA's

proffered wrist.

JULIA begins to pull up and for a moment it seems the crisis is

over. Then a terrible and familiar ripping noise is heard: The

skin of the arm that TIFFANY clings to begins to rip free at the

shoulder. Gradually, like a shirt's threads unraveling, it

comes off. TIFFANY's weight pulls it clear like a very long and

very tasteless evening glove and it seems she will finally make

the long drop. At the final second, as the arm-skin comes off,

the entire skin flies from the body and falls with its arm into

the abyss. TIFFANY screams. She is going to die.

But suddenly the two arms that have Just lost their skin fly out

again and catch her fingers. TIFFANY is hauled over the edge and

staggers to her feet, staring into the-bloodied face of KIRSTY,

who had donned JULIA's skin to help her friend.

The two girls share a quick and joyous embrace and then run

rapidly up the catwalk. The camera stays with LEVIATHAN.

The rumbling stops. And the mountainous BOX creaks into its final,

sealed position.

FADE OUT:

FADE IN:

120 INT. RECOVERY ROOM DAY

CLOSE UP on a bowl of beautiful flowers, sitting on a shelf in

the recovery room.

The camera TRACKS out to let us see LARRY, pale, drawn, but

basically okay, in the room's single bad. He is wired up to

various drips and monitors.

Sunlight is flooding into the room from a window and the camera

continues its TRACK up to and through this window to;

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