Hellbound: Hellraiser II Page #4

KIRSTY:

Wait! The mattress. You've got

to destroy it. She DIED on it,

you see. The mattress. It's

haunted now. She can come back...

like Frank. SHE CAN COME BACK.

RONSON smiles helplessly at her, then glances at MALAHIDE with a

"you see what I mean" expression, and leaves the room.

KIRSTY (to herself)

The mattress ...

MALAHIDE stares at her briefly, with a strange expression on his

face and then abruptly follows RONSON through the door.

KIRSTY is too absorbed to notice this odd behavior, but KYLE

stares incredulously as MALAHIDE leaves the room.

KYLE:

Uh...excuse me a moment.

He follows to the door and stands in the doorway, looking down

the corridor.

15 INT HOSPITAL CORRIDOR NIGHT

RONSON stands before a set of double-doors, talking to a

UNIFORMED OFFICER.

MALAHIDE comes into view, walking swiftly, and instantly talks

over their conversation.

MALAHIDE:

Detective. I'll be able to help

this girl. But I need your assistance ...

16 INT HOSPITAL CORRIDOR NIGHT

Looking back at the corridor, we see the door to KIRSTY'S room

ajar, and KYLE standing by it looking down.

17 INT HOSPITAL CORRIDOR NIGHT (KYLE' P.O.V)

A LONG SHOT of MALAHIDE and RONSON. KYLE, and we, are too far

away to hear what is said, but MALAHIDE in nodding and gesturing

emphatically, as if persuading RONSON of something.

18 INT HOSPITAL ROOM NIGHT

KYLE returns into the room and closes the door. His expression is

puzzled, troubled. Then he remembers there is a patient here and

he smiles.

KYLE:

So...You're Kirsty, huh?

KIRSTY:

You a doctor, too?

KYLE smiles again.

KYLE:

Nearly a doctor. I'm Kyle

Macrae. Call me Kyle.

KIRSTY draws a deep breath, temporarily calmed. She even manages

a smile.

KIRSTY:

Hi, Kyle.

MALAHIDE re-enters the room.

MALAHIDE:

Now, Kirsty...

KIRSTY looks at him warily.

KIRSTY:

The cop. He didn't believe me.

MALAHIDE:

I suspect not. But that

doesn't necessarily mean

you're wrong, does it?

KIRSTY:

Do you believe me?

MALAHIDE offers a re-assuring laugh.

MALAHIDE:

Well, I don't know yet.

However, you're not lying.

YOU believe this is the truth.

KIRSTY:

It IS the truth.

Suddenly, the door opens again. An INTERN is standing there. For

the briefest of moments, MALAHIDE looks furious and then,

catching himself, assumes his calm demeanor.

MALAHIDE:

Well?

INTERN:

Sorry, Dr. Malahide. But it's

Tiffany. She's escaped ... again.

MALAHIDE sighs.

MALAHIDE:

Very Well.

He looks down at KIRSTY.

KIRSTY:

I'm sorry, Kirsty. Kyle will

come back with something to

help you sleep. We shall speak

tomorrow.

MALAHIDE and KYLE follow the intern from the room, KYLE giving a

last friendly smile as the door closes behind them.

19 EXT. CARNIVAL NIGHT

We are staring down the midway of a deserted carnival. On either

side, stalls and rides beckon to pleasures that their locked

doors and tarpaulin-draped entrances deny. A light rain is

falling.

A huge wooden cut-out of a grinning clown dominates one stall

while the sign beneath him seems to state the ethos of the whole

place; LOTS 'O' FUN.

Another has a banner proclaiming FREAK SHOW, with the subheading

YOU'LL GASP AT THE GEEK!

On the horizon in the distance, almost denying the reality of

what we are seeing, tower vast cranes of unimaginable height

while beyond them impossibly huge oil-drums squat against the

moon-bright but cloudy sky.

Into shot, and running down the midway, comes a girl, TIFFANY.

TIFFANY is a girl in her early teens but looks younger

then her years due to her boyish figure and her slightly over-

delicate features.

For the last months, TIFFANY has been finding ways out of the

institute and making her way here, where she has one special

obsession, which we will soon see.

Following her into shot, but many yards behind, come two INTERNS

from the Institute. They contrast each other almost comically,

one being tall and plump while the other is smaller and thinner.

They're not quite the Stan and Ollie of the medical world but

with some serious rehearsal they could get there.

1st INTERN

Oh, Jesus -she's gonna make it.

Even as the first INTERN says this, we see TIFFANY make a sharp

left turn into a stall entrance.

20 EXT. HALL OF MIRRORS ENTRANCE NIGHT

A front view of the stall into which TIFFANY has run. The large

sign above it proclaims 'HALL OF MIRRORS' and a smaller sign

perched above a distorting mirror to one side of the entrance

says 'YOU'LL BE AMAZED'.

The two INTERNS enter at a run.

21 INT. HALL OF MIRRORS NIGHT

There follows a hopelessly one-sided pursuit through the

mirror maze as TIFFANY effortlessly eludes the two INTERNS.

There are three major facets to this sequence;

1) Comic relief - as the two interns make fools of themselves.

There could even be a room of distorting mirrors where the thin

INTERN becomes fat and the fat one thin.

2) TIFFANY'S ease and expertise with patterns and puzzles.

3) Confusion of the audience's sense of the real and the unreal.

This goes on long enough for us to realise the 1ST INTERN was

right to worry, how long TIFFANY could elude them. Then,

jarringly, as the screen is full of reflected TIFFANYS

there suddenly appears amongst them a single image of

MALAHIDE.

Everything stops.

The image of MALAHIDE (and we shouldn't he sure yet if we're

looking at a reflection or the real man) puts its hands out,

palms up.

MALAHIDE:

Tiffany. Come.

All the TIFFANYS move quietly toward him until they all disappear

from view. Then the real TIFFANY comes into shot, her back to us,

and walks toward what we now see to be the real MALAHIDE, who is

standing in a doorway deliberately framed like a mirror to

confuse the customers.

TIFFANY places her hands docilely on to MALAHIDE's outstretched

ones.

22 INT. HOSPITAL ROOM NIGHT

KIRSTY has been dozing fitfully, but is awakened by strange

noises. At first terrified, she slowly realises it is simply

someone being put in the room next door.

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