Hellbound: Hellraiser II Page #5

She waits until activity has ceased and then moves to her door.

It is unlocked. She moves out into the corridor.

23 INT. HOSPITAL CORRIDOR NIGHT

Looking warily from side to side, KIRSTY edges out into the

corridor, along it, and then stops by the door of the adjoining

room.

24 INT. TIFFANY'S ROOM NIGHT C.U.

A hand fits a piece of jig-saw puzzle into the space it belongs.

We know it is a jig-saw by the shape of the pieces, but it is

clearly not the conventional type - a picturesque photo - because

all we can see at this close-up angle are large areas of black

and white.

25 INT. TIFFANY'S ROOM NIGHT

We now see that the puzzle is on the floor of a room of a similar

size to KIRSTY'S. It is slightly more decorated; It has curtains

and wallpaper. And a tiled floor. Sitting cross-legged on the

floor next to the puzzle is TIFFANY.

The puzzle, which we can now see more clearly, is an intricate

abstract design in black and white. There are several pieces

still un-fitted but TIFFANY is working steadily, efficiently, and

with complete concentration.

On a wall behind her there is a visual record of her progress

over the last few months. Sealed in plastic by staff members are.

Puzzles she has solved, with dates marking her advancement. They

begin with the simplest wood block animals usually given to very

small children. passing through photo-puzzles of increasing

difficulty, and culminating in one or two other examples of the

kind of complicated pattern-work she is involved in now.

26 INT. HOSPITAL CORRIDOR NIGHT

We pull out to see that this is KIRSTY'S P.O.V. from the glass

panel in the door of TIFFANY'S room.

TIFFANY looks up at one point and eye-contact is made. KIRSTY

gives a tentative smile and a small wave. TIFFANY stares at her.

The stare is long but unresponsive and finally TIFFANY returns to

the puzzle.

KIRSTY has her back to us and the camera is quite close in when a

hand suddenly moves into shot and touches her shoulder.

KIRSTY jumps back in alarm, fear on her face. But it is only

KYLE.

KYLE raises his hand in apology.

KYLE:

Oh, Jesus, I'm sorry. God, if

anyone should know not to do that,

it's me. I'm sorry. O.K.?

KIRSTY nods and gives a nervous smile. KYLE, still embarrassed by

his foolishness and eager to change the subject, nods towards the

glass panel.

KYLE:

Sad, huh? She's been here

six months. Her name's TIFFANY.

KIRSTY:

What's the matter with her?

KYLE:

Almost complete withdrawal. She

hasn't said a word for nearly

two years.

KIRSTY:

God, that's terrible.

KYLE:

Yeah. Doctor Malahide's got her

doing these jig-saws and things,

though. Says it's helping to

bring her out.

KYLE ushers KIRSTY back into her own room.

27 INT. HOSPITAL ROOM DAY

As he closes the door to KIRSTY's room, KYLE reaches into the

pocket of his lab-coat and produces a small box of pills.

KYLE:

Anyway, let's concentrate on

you for a moment. Wanna suck

on this for me?

KIRSTY looks up at him sharply. He is proffering a pill and

grinning facetiously.

KIRSTY:

Hey, good joke, Kyle. Do you

always come on to the mentally

ill?

KYLE's face falls. He blushes. Pressing the pills into KIRSTY's

hand, he backs off to the door, apologising.

KYLE:

Sh*t. Sorry. Here's the

pills. Red face. Door. Bye.

He exits hurriedly, closing the door behind him. KIRSTY grins

despite herself. She looks at the pill for a second or two and

then puts it firmly back in the box. Realising there is no

bedside table, she puts the box on the wooden chair.

KIRSTY:

Jesus, I'm glad I'm not paying

for this place.

She is about to lie down on the bed, when she senses something is

wrong in the room.

KIRSTY is instantly tense again. She swings her head to the side

and tenses in horror, stifling a scream.

In the corner of the room, against the wall lying in a pool of

blood, is her skinned father LARRY.

KIRSTY emits a pained moan of pure anguish as she realises what

she is looking at.

KIRSTY:

(under her breath)

Daddy...

The thing in the corner raises its arm weakly from its side and

begins to write on the wall in its own blood.

It writes :
I AM IN HELL; HELP ME.

KIRSTY covers her eyes with her hands and begins to sob.

KIRSTY takes her hands from her eyes.

The figure has gone. The pool of blood has disappeared. But, on

the wall the words remain.

KIRSTY makes herself rise from the bed and walk slowly across the

room.

Her eyes full of tears, she stretches out her arm and touches the

word 'I'.

As her fingers make contact, the words instantly disappear.

She presses her bloodied finger quickly to her lips before that

last trace of her father can vanish, too.

28 INT. TIFFANY'S ROOM NIGHT

TIFFANY is still sitting up cross-legged, weeping. Her puzzle is

completed.

29 EXT. THE INSTITUTE DAY

Basically an establishing shot to show it is the next morning but

it also serves to show MALAHIDE walking briskly to work. His suit

is tasteful and simple, but discreetly expensive-looking. He

walks with purpose and looks straight ahead, acknowledging only

with polite nods the respectful greetings of various JUNIOR

DOCTORS and NURSES he passes on his way. He enters the institute.

We should also see several patients being walked, or wheeled,

around by STAFF during this shot.

MALAHIDE:

(off-camera)

And how are we feeling today...?

30 INT. LARGE WARD DAY

This is a large, traditional hospital ward with a line of beds

down each long wall and a wide central aisle.

Nearly all of the beds are occupied and, at the far end of the

ward, there is a male patient in a wheelchair.

All the PATIENTS' eyes turn immediately and happily to MALAHIDE

as he crosses the room, continuing his speech.

MALAHIDE:

Better? Good.

He-doesn't stop his progress but walks straight through the room

and into the corridor.

As the door closes behind him the WHEELCHAIR PATIENT scowls.

W/CHAIR PATIENT

105 years and he still doesn't

know my name.

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