HELLRAISER II by Peter Atkins - November 1, 1987 Second Draft
HELLRAISER II : HELLBOUND
Screenplay by Peter Atkins
Original Story by Clive Barker
November 1, 1987
The screen is composed of large, straight-edge areas of black
and white that rest against each other in a manner that suggests
some kind of pattern, without making a final sense; it is as if
we are too close to something that, could we see it from a
distance, would be clear to us.
These areas shift and change - both their own shape and their
relationship to their neighbors. New patterns are being made,
new solutions found - but they are just beyond our comprehension.
The effect should be aesthetically pleasing but simultaneously
frustrating and, perhaps, a little unsettling.
Shortly into this sequence, and subsequently inter-cut
throughout, we begin to see, in FLASHBACK, the story of
HELLRAISER. Arriving first as very short shock-images, these
brief sections eventually convey to the audience all the
necessary emotional and narrative information they will need to
understand the background to HELLBOUND.
Meanwhile, the black and white shapes are still moving, the
unseen patterns still shifting.
Over this constantly mobile background, the TITLES begin to
As the TITLES unroll, another change comes over the puzzle pieces
behind them. Where before they moved and related only in two
dimensions, gradually we see that they are now claiming depth as
well. The puzzle we are looking at is now a three-dimensional
one. The pieces are now solid blocks of various geometric
shapes, locking together, moving apart, finding their final
Finally, as the TITLES come to their conclusion, the camera pulls
back until we can see clearly what we have been looking at. As
the final piece clicks into positions we see it is THE LAMENT
CONFIGURATION from HELLRAISER.
The closed box rests before our eyes a moment and then the circle
in the centre of the side that faces us gives way to an image
of a dusty street with a market. Simultaneous to this, the camera
TRACKS into this image until it fills the screen
2 EXT A STREET BAZAAR DAY
The TRACK continues up through the market and then turns through
the stalls to find a store behind them. As we TRACK through the
store's doorway, we pass through a beaded curtain that
momentarily reminds us of the TORTURE ROOM in HELLRAISER.
3 INT. STORE DAY
Once we are in the store itself, though, this impression disappears.
It is an ordinary, slightly seedy, junk shop.
The stall seems to sell an odd mixture of items; native trinkets
share space with second-hand items from European colonists. These
second-hand goods give us some sense of period. They suggest the
late 'twenties/early 'thirties. This is reinforced by the
sounds coming from one of them, an old-fashioned mahogany-cased
wireless. A foreign voice speaks from it in a language we don't
understand, though perhaps the words "BBC world service" are
discerned in the middle, and then a dance-hall tune of the period
begins to play. (Depending on availability, it would be nice to
have something relevant - 'I'll follow my Secret Heart', perhaps,
or 'Dancing in the Dark'.)
Into shot comes an ENGLISH OFFICER. His uniform, too, suggests
the 'twenties, the last days of Empire. He is tall, thin, and
dark-haired, but at no stage do we see his face clearly. He
stands in front of the stall.
The TRADER suddenly stands behind the counter. He has been
crouched beneath it, as if checking or preparing something. He
is a big, impressive-looking black man. His face is totally
impassive as he stares at his customer.
Neither of the men speak. Obviously, a deal has already been
struck and today is the pay-off.
The OFFICER, a little arrogantly - suggesting racist contempt,
slaps down a bag of gold on the stall's counter.
Keeping his eyes firmly on the OFFICER, he reaches beneath him
and brings something up from under the counter and places it In
the OFFICER'S outstretched hand. He is holding a LAMENT
The OFFICER turns and leaves. The camera TRACKS out of the store,
looking at the TRADER as he watches the departing OFFICER.
4 INT THE OFFICER'S QUANSETT HUT DAY
It is typical of temporary military quarters, complete with a
curved ceiling of corrugated material. It is stripped of furniture.
The blinds are down.
The OFFICER, still in uniform, sits cross-legged, the BOX held
He is already well into the solving process and very soon after
the shot begins the BOX begins to speed its own solution.
Finally, two sections of the BOX shoot upwards and begin to peel
apart from each other, ready to reveal its secret.
The OFFICER, suddenly nervous, drops the BOX and scuttles back
across the floor to stare at it. The BOX lands upright, its
extended parts still open above it. For a beat of two, nothing
happens. We become aware of the OFFICER'S pulse, throbbing
excitedly on the soundtrack.
5 INT THE OFFICER'S QUANSETT HUT DAY OFFICER'S P.O.V.
Slowly we, the camera, and the OFFICER, move towards the still,
silent, but menacing BOX.
We approach it until finally we are above it, looking down into
the opening it has made in itself. There is undefined movement
Suddenly, something flies up directly at us. We glimpse it only
briefly, but enough to see its nature. Unlike the hooks that
flaw at FRANK in HELLRAISER, this is more organic than metallic.
Pink and flesh-like but on a long gray-blue stalk, it
flies upward, its lips peeling apart gapingly to reveal scores of
yellow, discoloured, and viciously sharp teeth-like hooks.
The OFFICER screams and the screen begins to take on a red tint
so that, just as the thing is about to fill the screen
with its hungry mouth, the entire screen turns red.
The red screen is held for a second and then suddenly becomes
6 INT BLACK SPACE
The black screen continues and, rising slowly from it and falling
back slowly into it, in a dream-like, surrealistic manner, come
various images of the OFFICER'S torment/pleasure in Hell.
By various camera tricks, such as step-printing or optical
blurring, his face is still not clearly seen, but is seen enough
for us to see his sensual, almost orgasmic responses to what is
being done to him.
Cuts appear spontaneously across his face, leaving a grid like
crisscross pattern of wounds.
Finally, a disembodied hand gripping a hammer drives nails into
each corner formed by these wounds and, as the face comes into
full view for the first time, we realize who this is. It is
PINHEAD from HELLRAISER.
PINHEAD'S completed face floats on the blackness and stares out
(echoed & slow)
Kirsty, come to daddy
The tiny silence following PINHEAD's words is shattered by a
piercing and terrified scream.
7 INT HOSPITAL ROOM NIGHT
The scream continues, but the blackness is replaced by KIRSTY's
anguished face; it is she who is screaming. The scream subsides,
replaced by breathless panting accompanied by rapid eye movement.
Ah, you're awake. Good.
We pull out to see that KIRSTY is sitting up, fully dressed, on a
hospital bed. RONSON, a police detective, sits on a plain wooden
chair, which is the only other piece of furniture in the room.
The walls are bare save for a piece of primitive art on one wall,
and, on another, a circular barred window looking out.
RONSON stands up and walks to the foot of the bed. He rests his
hand on the bed's metal frame and smiles a perfunctory smile.
Tell you what - we'll make a
deal. I'll tell you what I
know, then you tell me what
you know. O.K.?
KIRSTY is still re-orienting herself. She blinks a few times
and then focuses on RONSON's hands gripping the bed.
KIRSTY looks up at RONSON's face and then around at the room.
Where am I?
You're in the Malahide Institute.
It's a psychiatric hospital. But, hey,
don't feel judged - it was just
the nearest place to bring you.
Remember? You and your boyfriend... ?
Don't worry. He's O.K. We sent him
home hours ago. Jeez, what a story.
He puts a cigarette in his mouth and lights it.
What was it, kid? Smack? Angel dust?
Don't tell me acid's back in fashion?
What are you talking about? Who
Oh, excuse me...
RONSON reaches in his jacket and flashes an I.D.
Ronson. Homicide. I'm this
district's slash and dash expert.
Made a career of the nasty ones.
That's why I was at your
Dad's house. Jesus, what a mess.
KIRSTY'S eyes prick with tears. She looks away from RONSON.
KIRSTY (to herself)
8 INT JUNK ROOM LODOVICO STREET NIGHT
CORTEZ, a POLICE OFFICER, shifts some unpacked crates to
allow a closer look at the shriveled and deformed corpse of one
of FRANK and JULIA'S victims.
CORTEZ prods at the corpse with his night-stick, attempting
to turn it over. A stream of maggots pours from the mouth and
the cavity that used to be its throat.
CORTEZ jumps back in disgust and knocks against one of the
several wardrobes in the cluttered room. Another corpse flies
out at him, as decayed and flvblown as the first.
CORTEZ draws his gun and empties it blowing the corpses
head off, scattering flesh, mucus, and bone - but no blood -
everywhere before realizing it is already dead.
He realises what he has done and lowers his weapon sheepishly.
9 INT. HOSPITAL ROOM DAY
RONSON is sitting back in the chair, looking at the now slightly
We got two missing people
and a house full of corpses.
He holds out his hand towards KIRSTY in a theatrical manner.
Talk to me.
KIRSTY swings her legs off the bad, but remains sitting on it,
her feet on the floor. She doesn't look directly at RONSON but
begins to take in the (few) details of the room for the first
I thought Steve had talked
Oh, pardon me. I obviously didn't
convey my hesitation to take his
story at face-value. No, YOU
talk to me. But - do me a favor? -
none of this DEMONS crap.
KIRSTY closes her eyes, almost wincing, as memory comes.
KIRSTY opens her eyes. Consciously, she slows the rhythm of the
He talked about Demons, huh?
KIRSTY turns her head to look directly at RONSON.
It's true. All of it. It's all true.
RONSON stares at her, impressed by her conviction and intensity.
There is a second of shared silence.
Suddenly, a shocking ELECTRONIC CRACKLE shatters the mood. RONSON
starts, then realises it is the radio at his belt. He snatches it
up and speaks into it.
10 INT BEDROOM LODOVICO STREET NIGHT
Another OFFICER, KUCICH, is standing, radio in hand, by the
blood-stained mattress. CORTEZ stands beside him, gun now safely
Kucich here,sir. We just found another one,
though it suffered a little...
KUCICH looks at CORTEZ, who looks embarrassed.
...er, accidental damage in discovery.
Anyway, just about the only portable
evidence we've got here - apart from
human remains - is the mattress. Looks
like someone was messed up real bad
11 INT HOSPITAL ROOM NIGHT
Can we send it downtown?
RONSON throws KIRSTY a look of exasperation with his colleague.
The camera stays on KIRSTY's face as RONSON speaks.
What the hell are you asking me
for? Tag it. Move it.
KIRSTY (to herself)
The mattress... The mattress... JULIA.
Without waiting for a reply, RONSON switches the radio off and
clips it back to his belt.
12 INT BEDROOM 55 STREET NIGHT
We are looking at the mattress. KUCICH has left the room.
CORTEZ draws a pad from his packet. The pad is stapled, and
the staple has been badly inserted and is not closed property.
In the act of tearing a label from the pad, CORTEZ catches
his thumb on the staple.
The label is adhesive-backed. CORTEZ licks it and presses
it on the mattress. He writes on it - 55L/E1. As he stands up
from doing this, a single drop of blood from his thumb lands on
the mattress. (It is important that we see it is only a single
drop - and nothing like the amount LARRY spilled on the
CORTEZ leaves the room to fetch a colleague to help him
move the mattress. We move in to see the drop of blood disappear
very quickly into the mattress, as if it is being sucked in.
As this happens, we hear on the soundtrack the faintest RUMBLE.
13 INT OPERATING ROOM NIGHT
A somewhat antiquated and frightening operating room, filled
with machines, monitors, and surgical instruments. The corners of
the room fall away to shadow.
Sitting upright in the centre of the room is a FEMALE PATIENT.
She is awake and staring out at the camera. Twin probes/clamps
are in each of her ears to hold her in place. Her head is shaved
and the skin on the back of her head has been cut open and peeled
apart. The flaps of the skin are held away from the area being
worked on by four clamps. (we never actually see round to the
exposed brain itself)
Immediately behind her, and probing with professional skill and
coolness into her exposed brain, is DOCTOR MALAHIDE. He is in
his late forties and looks like all the great doctors look -
rational, civilized, competent, and powerful. There is an
intensity in his eyes and the lines of his face though that
suggests something more than normal.
The room has several attentive listeners and observers, but the
one nearest to MALAHIDE is his personal student/assistant KYLE
MACRAE, young, conventionally good-looking, with an open,
MALAHIDE is holding forth on the secrets of his trade, several times
looking away from his patient while still working on her, to make
sure his audience understand his points.
We can bring them back properly
more often than scientific orthodoxy
dictates, ladies and gentlemen. And
the knife, far from the enemy of
of analysis, is often its greatest
ally in solving the puzzles of
psychosis. Analysis isolates and
massages. Surgery pinpoints and
corrects. ... though you've got to
know what you're doing, of course...
Polite laughter from several students.
Some things are obvious. Here,
for example, ...
He prods in at a specific area.
...are the optical motor nerve
The PATIENT begins to blink in time with MALAHIDE'S prodding.
The affect is half-comical, half-distressing. Perhaps MALAHIDE
carries it on just that half-second too long for innocent
demonstration. But the students give impressed murmurs anyway.
Now. This case. A deeply-buried
psychosis severe enough to produce
frighteningly frequent hysteria and
aggression. Incurable. Say others. Not so.
Analysis isolates. The knife
exposes. Medication controls.
As he speaks, MALAHIDE injects a syringe directly into the
PATIENT's brain. Her face spasms momentarily.
MALAHIDE stands back slightly. His face is serene, calm, and
He takes a small, motorised drill and sets to work on the brain.
And then, ladies and gentlemen, we
REBUILD. With all the care and
knowledge that our years of training
have given us ...
He looks around at them all, smiling slightly.
... WE BRING THEM BACK.
The students murmur their approval. Perhaps they even applaud.
MALAHIDE acknowledges their reaction with a modest nod.
Suddenly, an intercom on the wall cuts in.
Dr. Malahide, the new arrival is
awake, and appears very distressed.
MALAHIDE steps back briskly and begins to peel his cloves off.
He nods at a nearby student.
My part in this is over. You
may tidy up for me. Kyle, you
come with me.
MALAHIDE and KYLE leave the room.
14 INT HOSPITAL ROOM NIGHT
KIRSTY has her hands over her face and is shaking. RONSON stands
and crosses to her. He takes her hand from her face and calms
Easy, easy. Whatever happened,
whatever you saw, it's not here
I saw it...him. But I got away.
And I took the box. And I solved
it. And they came.
She stares directly at RONSON, daring him to disbelieve.
RONSON stares back, perhaps a glimmer of belief in his eyes.
On the soundtrack, the sudden and shocking sound of a door being
slammed open and hitting the wall.
KIRSTY screams. Even RONSON is startled.
In the doorway are DOCTOR MALAHIDE and KYLE. MALAHIDE advances
into the room, smiling apologetically as he does so.
Sorry. Must get that door
fixed. Detective Ronson?
MALAHIDE holds his hand out, as RONSON nods in response.
I am Doctor Malahide.
The man shake hands. MALAHIDE gestures behind him.
My assistant, Kyle Macrae. And
this must be Kirsty?
MALAHIDE speaks quickly, as if to get the formalities out of the
way. As he says her name, he smiles benignly at KIRSTY who,
still distraught from her memories and shocked at the slamming of
the door, simply stares at him.
MALAHIDE turns his attention back to RONSON, drawing him away and
speaking to him in a lower voice.
Meanwhile, KYLE walks over to KIRSTY and smiles at her - long
enough to embarrass her into smiling back.
I've read the boy's statement.
Quite the adventure they
believe they had. I'd like to talk
to her alone. Do you think ... ?
RONSON looks over his shoulder at KIRSTY. He then looks
carefully at MALAHIDE and then nods slowly.
Mmmm. O.K. Frankly, I think
she's more your territory than
RONSON looks back at KIRSTY.
Kirsty. Doctor Malahide's going
to look after you now. Maybe we
could talk some more tomorrow.
KIRSTY nods vaguely and then, just as RONSON reaches the door,
calls out to him.
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.
Uh...excuse me a moment.
He follows to the door and stands in the doorway, looking down
15 INT HOSPITAL CORRIDOR NIGHT
RONSON stands before a set of double-doors, talking to a
MALAHIDE comes into view, walking swiftly, and instantly talks
over their conversation.
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
So...You're Kirsty, huh?
You a doctor, too?
KYLE smiles again.
Nearly a doctor. I'm Kyle
Macrae. Call me Kyle.
KIRSTY draws a deep breath, temporarily calmed. She even manages
MALAHIDE re-enters the room.
KIRSTY looks at him warily.
The cop. He didn't believe me.
I suspect not. But that
doesn't necessarily mean
you're wrong, does it?
Do you believe me?
MALAHIDE offers a re-assuring laugh.
Well, I don't know yet.
However, you're not lying.
YOU believe this is the truth.
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.
Sorry, Dr. Malahide. But it's
Tiffany. She's escaped ... again.
He looks down at KIRSTY.
I'm sorry, Kirsty. Kyle will
come back with something to
help you sleep. We shall speak
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
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-
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.
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
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,
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
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.
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
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
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
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 raises his hand in apology.
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
Sad, huh? She's been here
six months. Her name's TIFFANY.
What's the matter with her?
Almost complete withdrawal. She
hasn't said a word for nearly
God, that's terrible.
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.
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
Hey, good joke, Kyle. Do you
always come on to the mentally
KYLE's face falls. He blushes. Pressing the pills into KIRSTY's
hand, he backs off to the door, apologising.
Shit. 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.
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.
(under her breath)
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
Her eyes full of tears, she stretches out her arm and touches the
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
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.
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.
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.
105 years and he still doesn't
know my name.
31 INT. HOSPITAL CORRIDOR DAY
MALAHIDE walks swiftly down the corridor in which we saw him talk
to RONSON earlier, but this time the camera follows him through
the double doors and further down the corridor.
He enters an elevator and the doors close in front of him.
32 INT. BASEMENT CORRIDOR DAY
MALAHIDE exits the elevator into a lower corridor, one not so
We are in the area in which the more deeply disturbed of the
Institute's patients live.
The rooms are smaller, closer together, and there is an
observation panel set in each door.
MALAHIDE looks into the first four rooms.
In the first, a middle-aged, overweight woman sits completely
motionless in the middle of the floor. She is dressed in a
shapeless white robe and is sitting crosslegged. Her head is
shaven, her eyes are rolled completely up into the sockets so
that only white shows.
In the second, a very thin man of about thirty is pressed as
tight as he can be into one corner of the room. His hair is long
and he has a full beard. He is naked but not unadorned - his body
and much of his cell wall is smeared in excrement.
In the third, a man of about MALAHIDE'S age-stands in the centre
of the room. He is of normal build but his head is shaved. His
face, scalp, and hands are covered in self-inflicted and
amaterurish tattoos- all of crosses. He is dressed in T-shirt and
jeans. With both hands he holds aloft a silver crucifix, pointing
it in all directions, as if under constant siege by Devils. He
mutters prayers and invocations constantly.
In the fourth, a man in his early twenties restrained in a
strait-jacket. He shuffles around on the call-floor, his eyes
twitching and flitting from one part of his body to another.
Get them off me. Get them off me.
Off-camera, we hear the sound of KIRSTY's sobbing - which bridges
the CUT TO:
33 INT. HOSPITAL ROOM DAY
KYLE enters, having heard KIRSTY crying. She is sitting with her
legs over the side of the bed with her face in her hands.
KYLE immediately sits next to her and puts an arm around her
shoulder. He doesn't force her to speak. He lets her let the
tears out. Finally, she looks up.
I...I had a visitor.
Oh, Jesus. I can't explain. It's
...it's. I don't know how to
help! I have to save him and I
don't know how to help!
Kirsty, I'm sorry... don't
I know. No-one can. But I have to save
him. Where's the other doctor? He said
He'd listen. He promised.
KYLE responds quickly to this. His faith in MALAHIDE is
strong, despite that curious incident of the previous night when
MALAHIDE followed RONSON out of the room.
Dr. Malahide. Yes. Look, I'll
fetch him. You take it easy.
I'm sure he can help.
KYLE stands up, making soothing motions with his hands, and heads
for the door.
Help. No, no-one can help. I
just want someone to listen
or I WILL go crazy.
If anyone can help, HE can.
KIRSTY turns and gives KYLE a strange look as he opens the door.
Yeah? He got a ticket to Hell?
34 INT. HOSPITAL CORRIDOR DAY
We TRACK with KYLE down the corridor, eventually reaching an
impressive door, which is slightly ajar. Even before we reach it,
we hear MALAHIDE's voice. He is clearly on the phone. Because of
the nature of what he is hearing, KYLE pauses when he reaches the
door, listening with a confused expression on his face.
(off-camera & gradually fading up)
Officer Kucich? Yes, Doctor
Malahide. You've spoken to
Ronson? Yes ... That's right.
The mattress ... No, I'll meet
you by the side entrance. No, no,
my HOUSE. Yes, let me make that
clear. The house, NOT the hospital.
... Yes ... Fine, and thank you.
We hear the phone click. KYLE waits a moment and then walks
swiftly through the door, speaking as he does so.
Doctor Malahide ... ?
35 INT. HOSPITAL ROOM DAY
KIRSTY'S face fills the screen. Her voice is slightly dreamy, as
if she is still trying to understand herself the story she is
about to tell.
It must have been going on
Her voice trails off. We pull out to see KIRSTY sitting up on her
bed. MALAHIDE on the wooden chair, and KYLE standing by the
MALAHIDE's voice pulls her back.
KIRSTY snaps back and continues to speak in a more normal voice.
But the part I know about,
That must have started with
my Uncle Frank...
Then let us speak of it ...
36 EXT. MALAHIDE's HOUSE TWILIGHT
We TRACK in slowly towards a modern house that we will learn is
MALAHIDE'S, up the drive, towards the front door.
37 INT. MALAHIDE'S HALLWAY TWILIGHT
The TRACK continues along the hallway and into the OBSESSION
38 INT. OBSESSION ROOM NIGHT
The TRACK continues.
The room is dim, lit only by stray shafts of moonlight.
On the floor in the centre of the room is the mattress.
The TRACK stops. A main light is clicked on and MALAHIDE moves
into shot. MALAHIDE pours himself a scotch from the decanter that
sits on the writing table and approaches the mattress.
He is clearly very, excited. He walks around the mattress two or
three times, never taking his eyes off it.
He walks back to the writing table, throws his drink back, puts
the glass down and leaves the room.
39 EXT. MALAHIDE'S HOUSE NIGHT
MALAHIDE leaves through his front door and walks toward the
40 INT. OBSESSION ROOM NIGHT
After a few seconds silence we hear a repeated clicking sound, as
if something is being forced, followed by a louder snap and the
sound of a sash window being opened.
The curtains balloon inwards, part, and KYLE steps into the room.
He stands still for a moment, as if making sure he is alone, and
then begins to take in his surroundings.
The room is entirely devoted to MALAHIDE'S secret obsession -
with the Paranormal in general and the Lament Configuration in
It is a fair-sized, square shaped room. Prints, paintings, and
photographs cover the walls. All of these pictures relate in some
way to his obsession; photographs of ghost-sightings; portraits
of magicians from Cagliostro to Crowley; prints of arcane symbols
and pentagrams, etc.
Specifically, we recognize a print that resembles very closely
the jigsaw he has had TIFFANY recently solve. Also, there are
framed diagrams (which look very old) of the Lament Configuration
-Both open and closed.
On a long, low table there are three glass cases. In each of
these cases is a Lament Configuration. On each case is a small
label giving a location, a date of acquisition, and a number -
which we may assume to be the number of deaths attributable to
that specific box.
These labels read: CAIRO 3/4/'59 7
LYONS 6/2/'72 4
NEW YORK 12/3/'81 5
There are also, on a small desk-top bookshelf on a writing table,
editions of MALAHIDE'S own books. He seems to have spent his
career publicly denying what he is privately obsessed with -
because the books titles include 'Possession: Not Demons but
Disease','The Myth of the Diabolic', and 'The Internal Inferno'.
Jesus Christ. Jee-sus-kerr-ist!
We assume he has visited MALAHIDE'S house before, but he has
clearly never seen this room.
He stares at the mattress with incredulity, as if he still can't
believe his superior has had it brought here. Then he begins to
look around the room in more detail. He approaches the glass
cases and bends slightly to look at their contents.
KYLE shakes his head.
41 INT. BASEMENT CORRIDOR NIGHT
MALAHIDE walks past a bank of meters and huge circuit breakers on
his way to the lower and of the corridor, by the cells
of the very disturbed. He stops by the cell of the man in the
strait-jacket. We hear from the outside the familiar muttering of
BROWNING. MALAHIDE enters the call.
42 INT. BROWNING'S CELL NIGHT
As MALAHIDE enters, BROWNING looks at him. His eyes demand, not
plead, and he speaks through clenched teeth.
Get them off me. Get. Them.
43 INT. OBSESSION ROOM NIGHT
KYLE is rooting through the drawers in the writing table.
Generally the contents are unremarkable - handwritten notes, a
few patients case-files etc. - but in one of the drawers he
finds a black ring-binder which he takes out and lays on the
It is a book of faces. There are about fifteen sheets in the
binder. Some of them are genuine photographic prints, some
photocopies of original photos. They range widely in age, race,
and sex. They are all full-face portraits. Chronologically, the
range is extensive too. Some pictures (generally photocopies)
appear to date from the earliest days of photography, the late
1880's, others have an Edwardian appearance, or suggest the
1920's. Only one or two seem to be less than thirty years old.
KYLE flicks back and forward in the book, wondering on the
significance of these people.
He is lost in the musings when the click of the front door tells
him MALAHIDE has returned.
KYLE closes the book and quickly slips it back into the drawer.
He heads rapidly for the window he came in through but realises
MALAHIDE is too close for him to open it and make good his
escape. Instead he stands between the window and the curtains,
pulling the latter closed over him.
MALAHIDE enters the room, leading BROWNING who is still strait-
44 INT. BEHIND THE CURTAIN NIGHT
We see KYLE standing very still in the limited space behind the
curtains. It is clearly seen that, given the thoroughness with
which he closed the curtains and his immobile position, he is
unable to see what is happening in the room. He can hear, but not
45 INT. OBSESSION ROOM NIGHT
MALAHIDE leads BROWNING across to the mattress. Standing beside
it, he unbuckles and removes the strait-jacket from his patient.
BROWNING, beneath the strait-jacket, is naked to the waist. His
arms and cheat are a mass of scars of various age and size.
MALAHIDE gestures to the mattress. Now that his arms are free,
BROWNING is scratching furiously.
Mr. Browning. Please, lie down.
BROWNING lies down, still scratching, trust and hope in his eyes.
46 INT. OBSESSION ROOM BROWNING'S DELUSION (BROWNING'S P.O.V.)
As if looking through BROWNING's eyes, we see his body stretched
out before us on the mattress.
The naked chest and arms are covered with raised lumps, red and
As his scratching arms attack these lumps, they break open,
revealing vile black insects that have hatched beneath his skin.
BROWNING brushes these away while he scratches at the remaining
47 INT. OBSESSION ROOM NIGHT
BROWNING has already re-opened some of the more recent scars, and
blood slowly rises to the surface of his skin.
MALAHIDE walks over to his writing tableland goes into one of
He produces an old-fashioned cut-throat razor and walks back to
Here. This will help.
He proffers the razor. BROWNING siezes it. MALAHIDE steps back
quickly, a mixture of anticipation and apprehension on his face.
BROWNING slashes at his body and left arm with a short, sharp,
slicing motions. In his mind, he is lancing the cysts that
contain the tormenting insects. In reality, he is inflicting
horrifying damage on himself.
Blood pours from the multitude of wounds, running over his body
and down onto the mattress.
Suddenly, without any preliminaries, two painfully thin, flayed,
mucus-covered arms shoot out of the mattress, one on either side
of the still-busy BROWNING.
They wrap themselves tightly across his chest and crush him
tightly to the mattress, as a head, similarly wasted, oozes out
of the mattress to the side of BROWNING's head.
Beneath his delusions, BROWNING suddenly has an inkling of what is
happening to him. His eyes widen and his mouth opens ready to
emit a scream but the monster beneath him forces a hand over his
mouth as it buries its face into the soft flesh of his neck.
Two legs now rise from the oozing slime that the bloodstains on
the mattress have become. They too wrap themselves around
BROWNING so that he is held tight.
Finally, with titanic effort, he gathers enough momentum to roll
completely free of the mattress and falls to the floor beside it.
The thing on his back now is pulling free from the bed of
bubbling, frothing slime that the mattress now is with a sliding,
The monster's face is now deep in the flesh of his throat, and
even as BROWNING forces himself up first onto one knee and then,
very unsteadily, onto his feet, we can see him wasting away - his
face losing its fullness and colour, his chest sinking in on
The creature, which is still wrapped around him and clinging
tight is, unlike him, growing in stature by the second. Muscles
are inflating, arteries pumping more vigorously, and flesh itself
Its horrific thin-ness when it first appeared effectively unsexed
it but now, as its regeneration continues, the fullness of its
hips, the roundness of its thighs, and the sacs of fat and muscle
that bloom above its ribs confirm its female nature. If there was
any doubt that this was JULIA, it is now disappearing.
BROWNING is now nearly a walking corpse and it is the strength of
his will alone that allows him to take a few faltering steps with
JULIA still enveloping him. With the desperate strength with which
she clings to him and the way her legs are wrapped around his
hips, it is like an obscenely perverse parody of sexual passion.
MALAHIDE has been watching all this with an incredible mix of
emotions playing across his face. Still human enough to feel both
fear and disgust at what is happening he is nevertheless awe
struck and exhilarated. He has waited all his life for such an
irrefutable demonstration of the power and the truth of the
Similarly, the scientist in him is fascinated by the living
anatomy lessons that JULIA's regeneration and BROWNING rapid
With one last dying effort, the now-almost-husk-like BROWNING
breaks JULIA'S grip and makes a futile step forward as she falls
from him. He totters towards the curtains.
Just as the audience think he will pull them down with him,
revealing KYLE, JULIA grabs his ankle and pulls. He falls back to
48 INT. BEHIND THE CURTAINS NIGHT
The loud noise of BROWNING's fall renews KYLE's resolve to see
what is going on. Carefully, he shifts his position so that he
can see through a small gap in the curtains.
49 INT. KYLE'S P.O.V. NIGHT
KYLE may have heard one or two strange and unpleasant noises but
BROWNING has not screamed nor JULIA spoken; nothing has prepared
him for what he sees - a skinned woman sucking out what life
remains from the dried husk of a psychotic man.
50 INT. BEHIND THE CURTAINS NIGHT
KYLE's head jerks back, shaking as if he's just had an electric
shock. His mouth moves but no sound emerges.
His terror simultaneously urging speed and silence, KYLE gingerly
maneuvers himself out of the window.
51 INT. OBSESSION ROOM NIGHT
JULIA lies back satisfied on the floor. She looks up weakly at
Her voice is perfect. MALAHIDE stares at her, his fascination
intense. He crosses the few yards that separate them. He looks at
her, lying beside the hollow shell that was CHEYNEY. Her eyes
stare back, brilliant, sparkling, alive.
MALAHIDE realises her temporary vulnerability; all the life force
she has absorbed from BROWNING has made up her body, but it will
take some moments for the strength to return to her.
Fascinated and sympathetic as he is however he cannot yet quite
brine himself to touch this creature. Instead he moves the
mattress nearer to her, allowing her to crawl back onto it and
lie down again.
MALAHIDE stares down at her. He attempts a smile, but is too
nervous to make it convincing. He is trembling slightly. This
contact with the beyond is something he has dreamt of for years,
but nevertheless the physical reality is overwhelming.
JULIA treats him to the approximation of a smile. She is far from
She studies herself. Her figure is fully formed, her womanliness
undeniable. All she is missing is a skin. She stretches her arms.
She lifts her legs. She writhes on the bed in pleasure, like an X-
ray photograph of a calendar girl.
MALAHIDE stares at her, following the sensual movements of her
body. He swallows, a little embarrassed by his response to the
naked display he is privileged to watch.
JULIA'S eyes twinkle at him.
Don't be embarrassed. You're
She looks away and continues her stretching and wiggling, more
conscious of it now as an erotic display.
The strength has flooded through her body as she rises to her
feet, and stops off the mattress, smiling at MALAHIDE.
MALAHIDE backs away from her as she moves towards him, doing his
best to return her smile.
After a few steps, JULIA stops and simply stares into MALAHIDE'S
eyes. He too stops and returns the gaze. The camera circles them
slowly several times, studying them - the dressed, nervous man
and skinned, confident woman.
MALAHIDE says nothing. Perhaps he swallows nervously. The camera
continues its circling movements. The scene FADES TO BLACK and
JULIA begins to laugh, small, sensual giggles at first building
finally as the blackness comes into an almost hysterical
crescendo of raucous joy.
52 INT. HOSPITAL ROOM NIGHT
KIRSTY is again lying on her back on top of the bed. She is a
stark contrast to JULIA. No display. No laughter.
Her eyes are open and red-rimmed from weeping now. There is also
All the more jarring, then, the sudden sound of someone fumbling
at the handle of KIRSTY'S door.
Her eyes widen in alarm and she flings herself off the bed,
scanning the room for anything that can be used as a weapon.
There is nothing but the chair and she she has all but lifted it
aloft when she sees that it is KYLE, who comes into the room.
Shit, Kyle. This is getting to
be a habit. What is it, some
kind of shock-therapy?
She was angry, relieved, and amused when she realized it was KYLE
and all these showed in her voice and face. Now they drop away
completely, replaced by a nervous apprehension as she becomes
aware of the blank horror on his face.
Oh, Jesus. What is it?
KYLE opens his mouth a few times, as if unsure what to say.
It's all true.
53 INT. TIFFANY'S ROOM NIGHT
TIFFANY walks around her room, staring at her completed puzzles -
those on the wall and the one on the floor - and waiting for the
54 EXT. MALAHIDE'S HOUSE DAY
A simple shot tells us it is the next morning.
55 INT. OBSESSION ROOM MALAHIDE'S HOUSE DAY
MALAHIDE , dressed in a black suit, is in the room, staring at
the empty mattress. We TRACK with him through to his LIVING ROOM.
56 INT. LIVING ROOM MALAHIDE'S HOUSE DAY
In contrast to the secret and private obsession room, this room
is the tasteful and upmarket room of the successful professional.
It is a long spacious room with modern furniture and white walls.
The walls are mostly free of decoration save for two or three
large canvases of abstract art.
The longest wall is broken up only by a low circular table, which
rests against it about half way down. On this table is a very
simple black vase containing a spray of beautiful white lilies.
Above this vase on the wall is a large frameless mirror.
As MALAHIDE enters, the first thing he sees is a bloody palm-
print on one of his white walls. He blinks at it and looks down
into the room. We CUT TO;
JULIA. At first it seems she is staring at the lilies, but as we
TRACK around her, we realise she is staring at the reflection of
her skinned self.
Her face snarls at herself, she roars with rage, forms her hand
into a fist and shatters the mirror.
MALAHIDE rushes towards her. She swings round and freezes him
with a glance.
They hold their positions for a moment, MALAHIDE nervous and
JULIA furious, and then JULIA makes herself relax. She sighs,
takes a few deep breaths, and then speaks.
57 INT. LIVING ROOM MALAHIDE'S HOUSE DAY
CLOSE UP on a strangely Art Deco electric fan heater, with bright
red coils emitting waves of heat.
We pull out to see MALAHIDE standing by the table with the flowers.
There is now a half-full glass of wine on the table, along with
an ashtray where a cigarette burns away ignored. A pack of
cigarettes is now visible in the breast pocket of MALAHIDE's jacket.
JULIA enters the room and closes the door behind her. She is
dressed in one of MALAHIDE'S suits. It is a light weight suit of
white linen, a suit for expensive holidays in hot countries.
She crosses the room to the table; pausing slightly in the centre
of the room, to allow MALAHIDE to look at her.
MALAHIDE'S nervousness has retreated a little, he manages to
smile. He nods his head slowly a few times.
Yes... Yes. You look...
Surreal? Strange? Nightmarish?
No. You look...
He pauses, lost for words.
JULIA doesn't wait for an answer. She crosses to the table and
takes up his glass of wine. She downs it in one.
MALAHIDE stares at her, a little surprised.
Yes, I still like WINE ...
She smiles strangely at him and then moves closer. Slowly,
keeping her eyes on his, she reaches into his breast pocket
for his packet of cigarettes and places one in her mouth.
... and more.
For a moment, MALAHIDE's face is stone. Then, slowly, he returns
her smile and, drawing his lighter, lights her cigarette.
58 INT. SHOPPING MALL DAY
A large multi-level shopping complex obviously up-market and
We see MALAHIDE, riding up one on the central escalators, looking
around him as he does so, as if searching for a specific shop.
He reaches the next level and begins to walk along one of the
several avenues that lead away from the central square containing
He walks past several shops, looking in their windows; a chic
specialty shop, a window full of clocks, a cutler's. Finally,
he stops in front of one. He stares at its display window.
The window is classily minimal. There is in fact only one dress
in it. It is an exquisite white cocktail gown. The gown is full
length but quite tight-fitting, merely flaring a little from
below the knee, and has a halter-neck.
MALAHIDE walks into the shop.
59 INT. MALAHIDE'S BEDROOM DAY
We are looking at a reflection of MALAHIDE in the large mirror
that covers the inside of his wardrobe door. His real hand and
his reflected hand come together at the edge of the door and tip
it slightly, changing the image that the mirror shows us.
Now we see JULIA. She is in the dress from the shop in the mall.
It is a perfect fit and shows her figure off very well. Being a
halter-neck, however, her skinned arms and shoulders are
completely bare. Also, it is quite low cut at the front, exposing
a fair degree of visceral cleavage, and at the back.
JULIA turns fully around in front of the mirror examining herself
from every angle. Her mood is unreadable until she speaks.
MALAHIDE does so. He understands and tries to console her..
It's a beautiful dress...
59 INT. LIVING ROOM MALAHIDE'S HOUSE DAY
CLOSE UP MALAHIDE'S hands applying wide, white, surgical
bandages to JULIA.
We pull out as MALAHIDE steps away from JULIA. They are both
standing in the middle of the living room floor.
JULIA'S arms, torso, and head are now completely enclosed in
neatly and professionally applied bandages. There are three slits
for her eyes and mouth but apart from these she is completely
covered. Over these she is still wearing the white dress.
JULIA lifts her arms slightly to look at them and then touches her
bandaged face. She turns towards MALAHIDE. The camera begins the
same circling movement it made around them the previous night.
MALAHIDE'S nervousness has practically disappeared. He has helped
this woman. He has bandaged her and dressed her. He is slightly
in awe of her, but it is now tinged with excitement, not fear.
The camera's circling grows faster.
JULIA walks towards him, slowly raising her hands. When she is
close enough her hands cup his cheeks. She pulls him towards her,
and, tipping her head to one side, kisses him. Her body moulds
itself to his.
She leans her head back. Were they have kissed blood has pressed
up onto the bandage from her skinned flesh. It looks like smeared
MALAHIDE puts his arms around her waist. They kiss tenderly.
Slowly, almost nervously, he lowers his hands until they rest on
her buttocks and presses her in towards him. They begin to spin
themselves now, echoing the camera movements.
They cross the room, kissing blindly, until they come to rest
against the wall that bears JULIA's bloody palm print. JULIA
twists their bodies so that MALAHIDE is pressed against the wall,
and begins to move her hips forcefully and sensually against
The camera is stationary now, watching without movement as
MALAHIDE begins to raise JULIA's dress up her legs, her hand
on his wrist, helping and encouraging.
About halfway up the thigh, the bandaging disappears and the
raw flesh is exposed.
The kissing and the fumbling continue until they are making
fast and violent love against the wall.
His hands clutch tightly at her hips and he pulls his face away
from the kissing to loan it on her shoulder so that we see his
face as it grimaces in ecstasy.
He cries out and shudders and slowly both their movements stop.
He strokes at her back gently and their bodies relax.
Now all we need is a skin.
60 INT. BATHROOM KYLE'S APARTMENT DAY
CLOSE UP on shower jets hitting KIRSTY's face and naked
Her eyes are closed, but she smiles in pleasure as the water
A knocking is heard. KIRSTY moves her head out of the water's
path and shouts.
61 INT. KYLE'S APARTMENT DAY
It is basically a studio apartment - everything except the bathroom
facilities is in the one room. There is a sofa - with sheets and
blankets on it - a bed, a dining/all-purpose table with two
chairs, shelves full of records and books, and a small working
desk against one of the walls. The desk is weighed down by text
books and notes and, tacked to the wall above it, are medical prints,
some of the brain and central nervous system, but also two fullcoloured
anatomical prints - one of a man and one of a woman. They could
almost be portraits of JULIA and FRANK.
KYLE, fully dressed, is standing by the bathroom door, his hand
still in a knocking position.
Kirsty? You 0. K.?
The bathroom door opens and KIRSTY Comes into the main room,
dressed in a toweling robe that is clearly a 'hers' not a 'his'.
She crosses the room to a mirror, rubbing at her wet hair with a
No bad dreams.
So you slept O.K.?
KIRSTY gestures at the sofa.
As much as that bed of
KYLE glances meaningfully at the bed as he replies.
Well, the sofa isn't often used
for sleeping on...
Oh yeah? On your own a lot,
Like the robe?
KIRSTY returns the smile via the mirror.
KYLE crosses the room to sit at his dining table. Empty coffee
cups, the remnants of a loaf and some cheese suggests their
breakfast was simple and finished some time ago.
KIRSTY gathers her clothes from by the sofa and moves back into
the bathroom to dress.
KYLE waits a few moments and then speaks.
I think I need to talk. About
what I saw.
KIRSTY emerges, fully dressed, her hair still damp.
You thought I was crazy, didn't
KYLE spreads his hands wide.
Jesus, yes! What do you expect.
I mean, God, I still do! It's
just that now I'm crazy too.
He grins wryly. KIRSTY moves to the sofa and sits down.
And you're sure it was a woman?
God, I wish I could say no.
This is going to do terrible
things to my attitude, you know.
KIRSTY grins at him.
Don't worry about it. Your
attitude sucks anyway.
Hey, so for it. Don't let pity
stop you. I'm down. Nail me.
For a moment, they laugh together but then stop. KIRSTY stares
downward and then suddenly bursts into tears.
What can I do? How can I
KYLE joins her on the sofa. He offers an arm but she shakes it
The box. I need the box.
The box? Like in your story?
Like in his house?
KIRSTY's tears suddenly stop. She looks at KYLE.
The Boxes. In the House. I
What do you mean?
The boxes! I TOLD you.
You DIDN'T tell me. Do you
mean Malahide's got...
Yeah. The things you were
KIRSTY heads instantly for KYLE'S door.
KYLE runs across the room and puts a restraining hand on his
Wait a minute. What do you mean,
'I'm going?' TO the HOUSE?
KIRSTY nods and pulls at the door handle.
Get out of the way.
Are you crazy?
I don't know, Kyle. You're the
fucking expert. Now get out of
Because I'm going to get my father!
Tears start to her eyes and she stares at KYLE defiantly. Then
she repeats, more softly;
I'm going to get my father.
There is a two-second silence between them as they stare at each
Finally, Kyle backs away from the door, raising a finger.
Two seconds. Just two seconds.
He rushes across the room, grabs a jacket, and moves back to the
O.K. Let's go.
Kyle, you don't have...
I KNOW I don't have to. It's
just my time of the month to be a
complete fucking idiot. O.K.?
KIRSTY stares at him, her face at first blank then suffused with
emotion. She leans across and plants a chaste kiss on his lips
then pulls back. There is a beat while they simply stare at each
other and suddenly they are tight in each other's arms, kissing
fervently. But the kiss is fuelled, not by passion, but by fear
and their mutual need for human solace in the face of the
As the kiss continues, the camera pulls back from them.
62 INT. THE BLOOD-BOUDOIR DAY
CLOSE UP as JULIA (still bandaged) and MALAHIDE come together for
a kiss. They part and, as JULIA moves across the room, the camera
begins a long TRACK around the room.
First, it reaches a naked GIRL. As catatonic as TIFFANY, she says
nothing but her eyes betray her terror. Her hands are tied above
JULIA moves in towards the girl, her eyes glittering with an alien
hunger beneath their gauze mask. As she nears the girl, the TRACK
passes them and moves through the room.
MALAHIDE has done his mistress proud. It had been an empty
upstairs room (no furniture, bare floorboards) but now it
resembles a nightmarish cross between a butcher's shop and a
The camera slowly reveals, as it TRACKS, that there are seven
more people in the room. Seven dead people. Dried-out husks.
The TRACKING is now completing its circle around the room. After
the corpses, we return to JULIA and the GIRL - but the GIRL too
is now a hollow, dried-out shell.
JULIA moves back into the centre of the room and stands still.
MALAHIDE crosses the room to her quickly, drawing a wicked-
looking kitchen knife from his pocket as he does so. He reaches
JULIA and raises the knife to her face.
With one swift, precise movement, he slices the bandages across
the side of her face. JULIA raises her hand and pulls the mask
The camera sweeps in toward her as she does this until her face
is in CLOSE UP as the bandage-mask is pulled aside.
Her face is perfect.
63 EXT. MALAHIDE'S HOUSE DAY
MALAHIDE emerges from his front door. He is still in his black
suit and looks every inch the respectable professional. He looks
neither left nor right but moves straight off, a busy man with
things to do.
A few seconds after he has gone off-camera, KYLE and KIRSTY
emerge from around the corner of the house.
KYLE gestures to KIRSTY to follow him and leads her around to the
window he broke in through on the previous night.
64 INT. OBSESSION ROOM DAY
The room is much as we saw it last.
The window slides up and KYLE pulls himself into the room. He
looks around it carefully. Sure that the monster he saw the
previous night is no longer in the room, he helps KIRSTY in
through the window.
KIRSTY's eyes go at once to the three LAMENT CONFIGURATIONS in
the glass cases. She crosses the room eagerly.
KYLE rushes after her and stops her opening one of the cases.
Wait! The .. thing ...
I want to be sure it's
KIRSTY nods and KYLE leaves the room.
65 INT. STAIRS/LANDING MALAHIDE'S HOUSE DAY
KYLE advances carefully, and slowly, from the stairs onto the
landing. He looks about him at every step he takes.
Ahead of him on the landing is a door, which is very slightly
He advances gingerly down the landing to the door.
When he reaches it, he pauses. We see his face working as he
ponders his choices -should he push it open inch by slow inch, or
slam it inwards quickly?
Very slowly he moves his hand towards the door. The camera
matches his movement, moving in on his hand, the door, and the
His fingertips are less than an inch from touching the door when
another hand shoots into view and grabs his wrist.
JULIA has crept up beside him on the landing while all his
attention was on the door.
KYLE swings round in horror, his mouth opening to scream when he
sees that JULIA has her other hand to her mouth, her finger at
her lips in a silencing gesture.
There is of course, nothing for him to recognize from the
monstrous vision of the previous night. JULIA's arms, chest, and
face are completely re-skinned now. All KYLE sees is a beautiful
stranger in a white dress.
Sssh. I think it's still here.
What? The...The thing?
Yes. I had to stop you going in
there because I knew you'd cry
out. Any normal person would.
It ...It's just TERRIBLE.
Is it in there?
No. Not now.
KYLE swallows, nods, and gently, pushes the door open. He walks
into the room.
66 INT. THE BLOOD-BOUDOIR DAY
The camera follows KYLE into the room. He reaches the middle
before horror and disgust stop him.
He hears a click behind him and turns to see JULIA has come into
the room and closes the door behind her. She looks at KYLE.
Was I right? Is it terrible?
KYLE stares all around him. All eight victims have been sucked
dry. He is surrounded by dead husks.
His face is ghastly. He looks like he is about to faint. He nods.
His voice is a cracked whisper.
Yes. Yes, it's terrible.
JULIA crosses the room rapidly towards him. Her face is a
picture of concern.
Oh. You look awful. You poor
boy. Come here...
As she speaks, JULIA's arms are opening out to him. KYLE sees the
comfort offered and advances towards her, too.
As they come together, the camera moves around them and we see,
for the first time, that JULIA is still incomplete; Her entire
back is still glistening raw flesh, the naked bones of the spine
still clearly visible.
Their arms go around each other just as JULIA completes her
...Come to Mother ...
As KYLE's hands touch the sticky, mucoid meat of her shoulders,
it is instantly clear to him what has happened. For a moment he
freezes in terror.
His arms fly from her and he throws his head back. But JULIA is
very strong now and her grip does not relax.
Kyle's expression is a mixture of terror and confusion as he
stares into the beautiful face of the monster.
JULIA smiles at him, a hungry, aroused smile.
What's your name?
KYLE can hardly speak for fear.
She raised one hand from his back to the back of his head and
presses his face to hers.
JULIA plays it exactly as a sensual, passionate kiss, her mouth
wide open, her head moving rhythmically and sinuously.
KYLE's reaction is somewhat different; his arms flail in panic
(though only from the elbow - JULIA'S grip prevents anything
more) and his head makes jerking, backward movements against her
The camera moves around the embracing couple until it is behind
The back of her gown, as we know, is extremely low. As the kiss
continues, we see skin creeping above the line of the gown at the
base of her spine and gradually flowing up her back until finally
it meets and blends perfectly with ragged and raw edges of the
skin at her neck and shoulders. JULIA is complete again.
While this process has been going on, KYLE has been dying slowly
and horribly in her arms, his lifeforce being sucked into her
through their open mouths. His body, by the time her back is
completely formed, is shrunken, hollow, and dried up.
JULIA takes her arms from around the corpse of KYLE and steps
back, allowing the husk to fall to the floor.
JULIA licks her lips and looks down, not without affection, at
the dead KYLE. She smiles.
Thank you, Kyle.
67 INT. OBSESSION ROOM DAY
KIRSTY has found the black ring-binder and laid it on the
She has separated one of the photographs from the others and laid
it out on the table beside the binder. It is the ENGLISH OFFICER
from the opening sequence. KIRSTY has obviously recognized something
familiar in it but she can't quite grasp it completely.
She is still puzzling over it when she suddenly realises that
several minutes have elapsed since KYLE left her there. Her
head straightens up and her puzzled look is replaced by a
slightly worried one.
She folds up the photograph and puts it in her pocket.
She crosses to the door and opens it. She does not go through it
immediately but stands in the doorway for a moment, her hand
still on the door, cocking her head slightly as if listening.
She can't hear anything, but she regards that as a bad sign, not
a good one. She leaves the room.
68 INT. STAIRS/LANDING DAY
KIRSTY makes her way up the stairs. Unlike KYLE a little earlier
she moves up them quite quickly and advances onto the landing.
When she is on the landing and looking at the closed door to
JULIA's Boudoir she stops, standing still and staring at the
KIRSTY suppresses a shudder. She bites her lip, takes two or
three deep breaths, crosses to the door firmly, and flings it
open, moving into the room even as she does so.
69 INT. THE BLOOD-BOUDOIR DAY
KIRSTY moves three or four steps into the room and then stops
dead. The door swings shut behind her.
KIRSTY's eyes flick left and right, taking in the sickening
details of the room's contents, and then stare straight ahead,
focusing on the figure in white which is turning around to face
JULIA completes her turn and looks at KIRSTY completely
impassively for a moment. Then her mouth opens up into a smile of
welcome - but there is nothing but hate in her eyes.
Kirsty! How nice of
you to drop in.
JULIA glances meaningfully at the dead thing that lies beside her
feet and then back at KIRSTY.
You have surprisingly good taste in men.
KIRSTY's fear and disgust are momentarily displaced by a furious
rage as she realises what JULIA has done. Her face erupts into
anger and she screams out.
Kyle! No! I'll kill you,
She flings herself across the room at JULIA even as she speaks.
JULIA is completely unphased by this attack and simply raises one
arm. She siezes the wrist of the arm that KIRSTY has raised into
a clenched fist and effortlessly throws KIRSTY bodily back across
the room. We realise for the first time the immense physical
strength that JULIA now possesses.
KIRSTY smashes into the door and falls to a sitting position
against it. She is shaken and slightly hurt enough not to get to
her feet immediately but she stares at JULIA with undimmed
JULIA throws a look halfway between a smile and a sneer.
Oh, you can try it, you
little bitch. I'd love you
to try it. But I'm not just
the woman I was.
What, you mean you're something
more than a whore with a vicious
I mean I'm something more than
human, you little shit!
JULIA snaps this first line but then holds her anger in check.
She shakes her head and an amused smile plays across her lips.
Oh, Kirsty. They didn't tell
you, did they? I'm afraid
they've changed the rules of
the fairy tale; I'm no longer
just the wicked step-mother.
The smile disappears and she delivers the next line with an
utterly straight face. It is, after all, the truth.
Now I'm the Evil Queen.
The hatred and the heat returns to her voice.
So come on; Take your best
shot, Snow White.
KIRSTY scrambles to her feet and again charges at JULIA.
JULIA steps forward to meet her advance and delivers a single
back-handed swipe across KIRSTY's face with such force that not
only is the girl knocked off her feet but is actually knocked
KIRSTY rolls onto her back and lies at JULIA's feet.
JULIA stares down at the unconscious body. When it was awake, it
was KIRSTY and her attitude to it was based on personal enmity.
Now, it is simply another body and she judges it differently; it
is firm, full, healthy, and young. We see the expression on her
face change from hatred and triumph to pure appetite. She licks
her lips and her eyes glisten. She begins to bend slightly
The door to the room opens. JULIA straightens up and looks as
MALAHIDE stands in the doorway. Her eyebrows question this
A second later, and it is explained. He leads TIFFANY into the
70 INT. OBSESSION ROOM DAY
TIFFANY sits cross-legged in the middle of the floor. She appears
to be alone in the room. Cradled in her lap is a Lament
Configuration, taken from one of the glass cases on the low
On a wall behind TIFFANY, one of the large prints that previously
hung there has been taken down.
Revealed in the space behind it is a large mirror. The camera
moves in towards this mirror.
71 INT. OBSESSION ROOM ALCOVE DAY
MALAHIDE and JULIA stand in a tiny and completely bare room. On the
wall in front of them is a large window through which we see a
back-view of TIFFANY in the obsession room.
72 INT. OBSESSION ROOM DAY
TIFFANY looks around the room generally and then turns her
attention completely to the LAMENT CONFIGURATION.
She picks it up and turns it around in her hands, studying each
of its faces intently.
She begins trying to move the interlinked pieces within it. At
first she has no success; the box appears to be one solid
construction with no internal movement possible.
She stops her attempts and studies it again for a moment, her face
still impassive. Then she gives a tiny smile and begins again.
Her movements are faster now, less tentative.
Suddenly, there is a click and one of the panels on-the box
slides out slightly. The little music-box tune begins to play.
To TIFFANY this is a marvelous reward - something the jigsaw
never offered - and she lets out a little sound in response,
somewhere between a sigh and a delighted giggle. It tempts her to
even greater skill and her delighted fingers fly over the box.
Another panel moves. Then two more. The tune is prettier and
73 INT. OBSESSION ROOM ALCOVE DAY
MALAHIDE stares fixedly through the window, nervous but terribly
excited. He is breathing rapidly and shallowly.
Through the glass, TIFFANY's success continues. Small flashes of
intense blue light begin to buzz around the box. The room grows
darker and cracks begin to appear in its walls.
JULIA seems quietly amused - both by what is going on in the room
and by MALAHIDE's heated response to it. She glances from one to
the other, her eyes twinkling.
You're sure this is what you
MALAHIDE doesn't take his eyes from the window.
It's what I've ALWAYS
wanted. A view of ...
He pauses. Perhaps he is being ungallant. He turns slightly
towards JULIA and takes her hand.
You were almost enough, Julia
but...I have to see. I have to
JULIA smiles indulgently. She nods.
Oh, I quite understand.
74 INT. OBSESSION ROOM DAY
TIFFANY is completely engrossed in the box. She seems blissfully
unaware of the changes taking place in the room.
The cracks have widened in the walls and, in some places, pieces
of plaster have fallen away, revealing the slats beneath.
Blue light begins to stream into the room, ignoring the geography
of what should lie beyond its walls. Where the light comes
through the slats, it is as broad beams of light, given contrast
by the shadows of the slats. But it also comes through the
smaller cracks and enters the room in intensely bright and very
thin beams that criss-cross through the room almost like a laser
Suddenly, TIFFANY's solution is complete. The central core of the
box rises up and twists itself around into its final position.
75 INT. OBSESSION ROOM ALCOVE DAY
MALAHIDE takes an almost involuntary step backward. His
excitement has now reached the pitch where it is beyond obvious
physical manifestation. He is perfectly still, his face perfectly
She's done it.
She certainly has.
It certainly is.
MALAHIDE turns away to meet her eyes.
There is a beat or two where absolutely nothing happens.
The mirror explodes inwards into the alcove.
76 INT. OBSESSION ROOM DAY
The room is filled with smoke and suffused with blue light.
Two of the walls simply part physically, revealing entrances into
the corridors of Hell. These corridors are lined with gray walls
and seem to run for a great distance.
TIFFANY still sits cross-legged in the middle of the floor,
staring about her in astonishment.
Surrounding her, in various parts of the room, are the four
CENOBITES from HELLRAISER.
The FEMALE CENOBITE smiles and advances towards TIFFANY.
The leader of the CENOBITES, PINHEAD raises a hand.
The FEMALE stops and looks questioningly at PINHEAD.
PINHEAD, at a more leisurely pace, crosses towards TIFFANY and
looks down at her. She stares back at him, the remnants of her
insanity a temporary defense against fear, her face registering
PINHEAD looks up.
The FEMALE looks across at him.
PINHEAD shakes his head.
He glances down at TIFFANY again.
It is not HANDS that call us...
He looks up and stares directly at the shattered two-way mirror.
... It is DESIRE.
77 INT. OBSESSION ROOM ALCOVE DAY
The wall opposite the shattered mirror has also opened up to
reveal a way into Hell.
MALAHIDE and JULIA are no longer in the alcove.
We hear the ringing of their footsteps. They are making their way
down the corridor.
78 INT. OBSESSION ROOM DAY
The four CENOBITES have gone.
TIFFANY looks around the room again. She stares from one entrance
to the other. Her manner is reminiscent of when she is making
decisions during her solving of puzzles.
79 INT. BLOOD-BOUDOIR DAY
KIRSTY is still on the floor in the boudoir of blood. This room
too is now suffused with blue light and smoke. There are no
gateways to Hell in the walls but there are several cracks in the
plaster and these appear to be spreading.
KIRSTY moans and opens her eyes gingerly. She puts a hand to her
face, rubbing at the place where JULIA hit her.
Still a little groggy, she lifts herself slowly to a sitting
position, her legs stretched out. Only when she has blinked a few
times, shaken her head, and rubbed her jaw again, does full
consciousness return - at which point she looks quickly about the
room ( possibly expecting another attack from JULIA) and notices
the light and the smoke.
She has been in this atmosphere before. She knows precisely what
it means. Her mouth opens and her eyes grow nervous again.
KIRSTY scrambles quickly to her feet and rushes through the door
to the stairs.
80 INT. OBSESSION ROOM DAY
KIRSTY enters the room just as TIFFANY is about to go down one of
the corridors. KIRSTY screams at her.
TIFFANY stops, startled, and looks at the doorway and KIRSTY.
KIRSTY raises her hands in a placatory gesture and speaks more
KIRSTY begins to move into the room slowly and shakes her head
Hey, remember me? From the
hospital? I was in the next room?
KIRSTY is rewarded with a small recognizing smile from TIFFANY,
KIRSTY returns the smile.
You don't want to go down
there. You REALLY don't
want to go down there.
TIFFANY turns her head once more to look down the corridor and
then turns back to KIRSTY. For a second it looks as if KIRSTY's
persuasions have succeeded, but MALAHIDE's training has been too
thorough; TIFFANY knows a puzzle when she sees one. She smiles
once more at KIRSTY and then suddenly turns and disappears into
KIRSTY stands still for a moment, as if she can't quite believe
that TIFFANY has done it. She shakes her head - half in disbelief
and half in despair.
Pausing only to pick up the LAMENT CONFIGURATION from where
TIFFANY has left it on the floor, She heads straight for the
corridor and follows TIFFANY in.
81 INT. CORRIDORS/LABYRINTH
We are looking straight down one of the very long corridors of
It has the same architecture as the corridor that appeared in the
hospital room in HELLRAISER; walls of stained gray stone broken
up by vaguely medieval-looking arches.
KIRSTY comes into view, walking away from the camera. Ahead of
her, at an illogically far distance given that she entered the
corridor only seconds before KIRSTY, is TIFFANY.
KIRSTY breaks into a slight run, and calls out to the girl.
Her voice has an unpleasant ring in the acoustics of these
corridors and echos horribly. KIRSTY pulls a face and doesn't
shout again. She increases her pace slightly.
Suddenly TIFFANY makes a sharp turn and enters an intersecting
corridor. KIRSTY is forced to increase her speed even more.
KIRSTY too makes the turn into another corridor. Even as she does
so, she sees TIFFANY disappearing again into yet another
KIRSTY follows and, again, the same thing happens.
This happens several times and, always, KIRSTY never quite loses
sight of TIFFANY but never quite catches up with her either.
In short, TIFFANY's instincts were absolutely right; this too is
another puzzle. The girls are lost in a concrete maze, full of
twists and turns and labyrinthine windings.
After enough turns have been made to completely confuse KIRSTY's
sense of direction, she makes a final turn into one corridor and
sees something different.
At the end of this corridor is a blinding white light. As soon as
KIRSTY sees the light, the air is filled with beautiful
TIFFANY disappears into the light as soon as KIRSTY sees it.
Despite the light, despite the birdsong, KIRSTY is still
suspicious and shouts out.
Tiffany! Don't trust it! Don't
But it is too late. The girl is gone. KIRSTY follows-and vanishes
into the light.
82 INT. CORRIDORS/LABYRINTH
JULIA and MALAHIDE are seen in the corridors of the labyrinth.
MALAHIDE's face is full of delight. He is absolutely the
JULIA, on the other hand, walks with the brisk assurance of one
on familiar territory.
The corridors that MALAHIDE sees are different to KIRSTY'S; they
are grotto-like, dotted with stalactites and stalagmites and not
immediately unattractive. The walls contain portals of a glass-
like substance at random intervals that emit blooming lights of
different colors and MALAHIDE peers eagerly into several of these.
In one, the view is like an aquarium. An alien fish swims past his
eyes. Its body resembles a human brain but it has pincer-like claws.
MALAHIDE presses his hand against the glass as the thing comes nearer.
Suddenly, from within its body, the thing produces a perfect
human forearm and hand and meets MALAHIDE's hand on the other
side of the glass.
MALAHIDE starts slightly but then keeps his hand there. He is
turning his head to call JULIA's attention to this marvel when
the thing suddenly forms a fist and begins to beat against the
glass with tremendous force.
MALAHIDE jumps back sharply, but the thing shatters the glass and
leaps out at him. He gasps and runs up the corridor, the thing
hopping after him on its one hand.
As they pass JULIA, she tuts with the slightly exasperated but
indulgent tone of a parent or a teacher. She steps on the thing,
squashing it flat. It emits a horrible death-cry.
Do be careful.
83 INT. HELL'S SITTING ROOM DAY
White light fills the screen and KIRSTY steps through it into
view. Instantly the White light contracts and disappears.
KIRSTY finds herself standing in a beautiful family sitting room.
The room is bathed in the warm light of a perfect summer's day.
The birdsong KIRSTY heard earlier continues but is, if anything,
even more melodic, even more sweet.
The room is vaguely Edwardian in its decor; real wood furnishings
and decorative porcelain ornaments. There is a large wooden
dresser, on top of which are many photographs in old-fashioned
Despite herself, KIRSTY cannot resist a smile of pure pleasure at
the appearance of the room.
She touches some of the furniture, as if to assure herself it is
She approaches the dresser and picks up one of the large framed
photographs. She gasps in pleasure.
We see the photograph. It is a family group and looks to be have
been taken ten to twenty years ago. It is of a man, a woman, and
a young girl of four or five.
The man is clearly LARRY, albeit a younger version, and the
little girl has dark, thick, slightly curly hair - just like
KIRSTY'S. The woman is beautiful and has similar hair to her
KIRSTY's eyes prick with tears - but they are clearly tears of
happy memories. She smiles.
KIRSTY puts down the photograph of her family and looks around
the room again. A troubled look crosses her face.
Despite the aparent Summer light in the room, KIRSTY suddenly
realises what it is that is odd.
She looks from wall to wall with mounting distress on her face.
There are no windows in the room. And no door.
At this point, the odd discordant note in the birdsong becomes
apparent. It is nothing too obvious at the moment - the total
effect is simply less sweet than it was.
KIRSTY looks back at the photograph and snatches it up, with a
look of concern.
The photograph has changed. It is now a wedding photo. The
wedding of LARRY and JULIA.
Suddenly the photograph begins to bleed. Blood pours from the
paper itself, pressing up and smearing against the glass-so that
it is momentarily framed blood, without a single trace of the
picture showing. The blood begins to escape out of the frame,
trickling over the lip that holds the glass in place and dripping
onto KIRSTY's fingers.
With a cry of horror, KIRSTY drops the frame. It lands on the
floor and the glass shatters. The blood continues to flow. In
fact, now that the glass does not restrain it, it fairly
fountains out, spreading across the floor.
KIRSTY steps back and glances at the dresser. Blood is flowing
from every frame, pooling on the dresser and overflowing onto the
By now, the discordant elements in the birdsong are very much
predominant and, as KIRSTY sweeps all the frames off the dresser
and onto the floor with a scream of anguish, the birdsong gives
way completely to a hideous, dissonant shrieking.
KIRSTY throws her hands to her ears.
She rushes at one of the walls and begins beating it with her
The walls are soft and pulpy and give slightly as her fists
strike, like flabby flesh. KIRSTY stands back in disgust.
The wall visibly bruises before her eyes, swelling and purpling.
The light in the room, like the birdsong, has changed utterly. It
is not dark, but simply dull, featureless, and depressing.
KIRSTY turns away in disgust and finds that the whole room has
given in to decay. The sofas and chairs are mildewed and rotten,
the wooden furniture is ridden with woodworm and rot. A skinned rat
runs across the room beside the buckled and chipped skirting board.
A rotten leg gives way under a small chest and the bottom drawer
spills out, freeing a whole family of quite large spiders which
run wildly across the floor.
Suddenly the room begins to fill with smoke, churned up by an
ever-increasing intensity of wind. The smoke obscures the screen.
84 INT. BARE CHAMBER HELL
The smoke and wind subside but not entirely.
KIRSTY is standing in exactly the same position in a room of
exactly the same proportions, but which is completely empty and
which has walls of the same gray stone that the corridors do.
Suddenly, rising up from behind KIRSTY, comes PINHEAD.
Ah, Kirsty. And we thought
we'd lost you.
KIRSTY swings round in terror. As the mist continues to clear,
she sees, advancing to join PINHEAD, the FEMALE CENOBITE and the
CHATTERER. Beyond them, it is now revealed, that this chamber has
no fourth wall; it gives directly onto the corridors
So sweet of you to come back.
KIRSTY begins to work furiously at the BOX she has brought from
MALAHIDE's house. It sent them away at the end of HELLRAISER.
She obviously hopes it will work again.
PINHEAD raises a hand and the box simply flies out of KIRSTY's
hands and hovers in the air between them. KIRSTY stares, open-
How can it send us back, child?
We're already here. And so are you.
Suddenly PINHEAD works at the box himself - by remote control and
with dazzling skill.
He turns the box rapidly through positions KIRSTY and we have
never seen before - even opening it out at one stage into a
large, two-dimensional square. Finally, it closes itself down -
but in a wholly new shape; a white, multi-faceted, diamond shape
- and drops back into KIRSTY's hands.
He stares at KIRSTY and makes a small gesture with his brow. It
is ALMOST cute. If anything, it resembles the cocky, aren't-I-
clever look STEVE gave KIRSTY after swallowing the cigarette in
HELLRAISER. Then his face assumes its normal deadly blankness.
KIRSTY shakes her head dumbly and begins to back into a corner,
hoping that if they converge on her, she might just be able to
slip around them and get back to the labyrinth.
No! You... You can't! It wasn't
me...I didn't do it! I didn't
open the box!
Didn't open the box. And what was it
last time? Didn't know what the box
was. And yet we DO keep finding each
other, don't we?
Oh, Kirsty; so eager to play, so
reluctant to admit it.
Perhaps you're teasing us. Are
you teasing us?
To some extent, KIRSTY's ploy is working. The CENOBITES are
moving closer together as they advance to the corner in which she
But I didn't open it! I didn't!
Then why are you here?
I've come for my father!
KIRSTY shouts this with brave defiance. PINHEAD laughs in
response, a very unattractive sound.
But he's in his own Hell, child
And quite unreachable.
Suddenly KIRSTY makes her break shouting out as she does so.
I don't believe you!
It seems for a moment she has succeeded. She swings around the
side of the CENOBITES and begins to run across the chamber.
The CENOBITES do not move but suddenly, from nowhere a hook flies
across the room, attached to a metal chain. The hook buries
itself in the wall only inches in front of KIRSTY's face, the
chain pulled tight and barring her path. The wall begins to
The CENOBITES turn to face her, but make no attempt to cross the
room to her new position.
But it's true, He is his own Hell.
Just as you are in yours.
And what about you?
PINHEAD almost smiles at the naivete of the question.
It's different for us.
We've always been here.
We have no more surprises.
Suddenly, as quickly as it came, the hook withdraws from the wall
and flies back into nothingness.
PINHEAD puts out his hand in an expansive gesture.
But, please; feel free.
Explore. We'll always
85 INT. CORRIDOR
KIRSTY can't quite believe this but she has no intention of
questioning it. She runs into the corridor and away, with
PINHEAD's last words echoing after her.
... we have Eternity to
know your flesh!
Delighted CENOBITE laughter follows her back into the labyrinth.
KIRSTY drops the transformed BOX into her pocket as she
begins running through the corridors again. The labyrinth
seems tighter now - the corridors shorter, the turns sharper.
Corner after corner we see KIRSTY turn.
Accompanying this tightening, the light in the corridors becomes
gradually murkier - not quite dark, more like the oppressive
colourlessness that descends before a thunderstorm breaks.
Occasionally there are little hissing noises from the walls
themselves, which are accompanied by small jets of dull and heavy
smoke escaping between the bricks.
Over all this, there grows in volume on the soundtrack a
rhythmic, labored, resonant sound - a sound somewhere between
breathing and machinery.
Suddenly, as KIRSTY turns one more corner, a hand reaches out to
KIRSTY throws herself back against the far wall of the corridor,
unsure whether to fight or flee. Then her face relaxes. It is
86 INT. CORRIDORS/LABYRINTH
In another corridor within the labyrinth, MALAHIDE and JULIA are
They too have found their way into the inner sections. They too
are in tighter, sharper corridors where the light is distressing.
They too hear the machine-like breathing noise. And what is
revealed behind the portals in the corridor walls is less
ambiguous in its unpleasantness; in one we see CHATTERER in some
Hell's equivalent of a beauty salon. He is being re-made. This
involves the scar tissue being manually peeled from the upper
part of his face to reveal beneath small, vicious, human eyes.
MALAHIDE's attitude has begun to change, as well. His nervousness
now clearly outweighs his delight. He' rushes on to the next
If the last room was a beauty salon, this is the orgy room. But
the orgy is very strange. It is a very dark room, filled with a
faint layer of smoke. In the background, a bound man is having
his chest licked by a kneeling woman. She pulls her face back for
a moment. Her tongue is horrifically long and studded with short,
sharp blades. The man's chest is stripped of skin where she has
been attending him. His face is a picture of ecstasy.
In the foreground, three people are buried up to their waists in
the floor. They are naked. The one in the middle is a woman, the
other two, men. The one in front of her faces her, the one behind
has his back to her back. They are all very, close. The men have
various hooks in their chests, connected by chains to the unseen
walls and their faces are impassive. The woman is unwounded and
her head flicks back and forth, as if in the grip of a sexual
climax of stunning ferocity. The movements of her head keep the
details of her features blurred until, finally, it turns to give
MALAHIDE a three-quarter profile and holds its position, its
mouth open, its eyes half-closed in pleasure. It is JULIA's face.
MALAHIDE gasps and pulls back from the portal. The camera TRACKS
back to reveal that JULIA is still in the corridor, just a few
yards in front of him
Come. I have such sights to show you.
MALAHIDE shakes his head crazily from side to side and begins to
JULIA looks at him and walks toward him slowly. She smiles. She
strokes his cheek. She moves closer, gently slipping her arms around
him and molding her body to his. She extends her tongue and licks
lightly at his lower lip. He opens his mouth and returns the
kiss, pressing her body more firmly to him. The kiss becomes
87 INT. CORRIDORS/LABYRINTH
KIRSTY and TIFFANY are now walking together.
KIRSTY is talking to her as calmly as her sense of urgency will
Do you see? You were RIGHT.
This IS a puzzle, too. But
WE'RE CAUGHT in the puzzle.
KIRSTY stops walking and catches hold of TIFFANY's arm. TIFFANY
stops, looks at the hand holding her arm, and then looks into
TIFFANY smiles directly at KIRSTY and then returns her nod.
TIFFANY nods again, more emphatically.
KIRSTY throws her arms around TIFFANY and hugs her.
88 INT. CORRIDORS/LABYRINTH
JULIA is leading MALAHIDE down a corridor which has intersections
every few yards on both of its sides.
JULIA walks past these shadowed entrances without pause, without
a single sidelong glance. She is clearly confident, clearly back
on her own turf.
MALAHIDE, on the other hand, glances nervously into every one
before moving on.
There is also one last portal he looks into. He is gazing into
a room where the floor is a vast, seething pool of maggots.
Suddenly, something breaks the surface. It would doubtless scream
were its mouth not full of maggots. It is BROWNING. His nightmare
has come true; his skin is producing the maggots in a constant,
spewing flow from numerous sores that pack his face.
MALAHIDE turns away and calls to JULIA.
Enough. God, that's enough. We
HAVE to go back.
JULIA smiles at him.
Go back? What an earth makes
you think we can go back?
MALAHIDE's jaw drops.
I want to go back!
Sorry, friend. No day trips to
Hell. Here you are. Here you
stay. And forward the only way
JULIA turns back and walks an down the corridor.
MALAHIDE, with a glance back at the maggot pool, turns after the
now departing JULIA.
89 INT. CORRIDORS/LABYRINTH
KIRSTY and TIFFANY are walking warily along a corridor when,
suddenly, the corridor wall parts with a roar. Both girls jump,
and TIFFANY cries out.
A new, and very narrow corridor has been revealed. The GIRLS
stare down it. It culminates in a door. Despite being set in a
blank gray stone wall, the door is normal. But frightening -
because it is an exact replica of the front door of 55 LODOVICO
STREET, LARRY's house.
Before KIRSTY can react to this, a voice issues from beyond the
KIRSTY stops dead in her tracks. She looks at the door and
moves toward it, walking slowly down the corridor. TIFFANY
Only a low moan comes from behind the door.
Tiffany. Wait here. If I'm
not back real soon - get
out. Get home.
Leaving TIFFANY in the corridor, KIRSTY opens the door and steps
90 INT. THE BROTHERS' ROOM
The door that KIRSTY opens gives directly on to a room.
Like the SITTING ROOM earlier this appears to be an ordinary room
and not a stone wall chamber.
It's wall-papered walls were once white but are now yellowed and
old. Overhead there is an equally ancient four bladed wooden fan
that turns sluggishly.
In the middle of the floor is a small low table of vaguely
On this table lie a hand of cards, face down, an empty and cloudy
tumbler, and a soiled ashtray.
Over by the far wall (the wall opposite to that containing the
door) there is a mattress on the floor. A body like shape on this
mattress is obscured by a heavy blanket that covers it.
To the side of the mattress a latticed wooden screen stands,
hiding whatever is behind it from those entering the room. If the
atmosphere of the room reminds us of anything it is of the seedy
bazaar where FRANK first bought the LAMENT CONFIGURATION.
We are looking at the door as it opens inwards and KIRSTY slowly
and nervously walks into the room.
KIRSTY advances into the room. She stares at the mattress ahead
of her. Above it written in blood on the wall, is the message she
saw in her vision. I AM IN HELL:HELP ME.
A low moan comes from the far end of the room. KIRSTY assumes it
issues from the figure hidden beneath the blanket and walks
nearer, lifting her arm in readiness to remove the blanket.
Daddy. It's Kirsty...
There is no response. KIRSTY arrives at the mattress and pulls
the blanket back. She leaps backwards, her hand at her mouth
stifling a scream.
Lying on the bed is a husk like figure, vaguely female in shape.
Despite its appearance of long decay, it is dressed in vaguely
sexual garments of leather. Suddenly, the eyes pop open,
revealing a vague remnant of life.
KIRSTY hurriedly, throws the blanket back over it.
A voice issues into the room. It sounds like LARRY but, as we
shall see, it is not.
No. Over here. Behind the
KIRSTY walks carefully around the screen, giving it a wide berth
in case of a trick.
There is a figure standing against the wall behind the screen. It
is deeply shadowed by the screen itself but is clearly male.
KIRSTY gulps back a sob and her eyes fill with tears.
The figure leans slowly into the light, speaking as he does
That's it, baby. Come to
KIRSTY stands still. There is a second where her face registers
nothing. Then she screams.
it is her UNCLE FRANK, back in his skin and dressed in white
shirt and jeans.
FRANK chuckles. KIRSTY backs away from him into the room. FRANK
puts out his right hand in a placatory gesture. KIRSTY realises
he is not moving after her. She also sees that his body is
curiously angled, the left side still in the deep shadow cast by
the screen. Is there something else there? Something she can't
quite see? FRANK's voice stops her wondering.
What's the matter, Kirsty?
It's only Frank. It's only
KIRSTY's anger at being tricked wins over her fear and distress
and she shouts at FRANK in fury.
I should have known! I should've
known he wouldn't be here! This
place is only for filth like you!
Oh, right. Daddy's died and gone
to heaven, eh?
Shit. Bull. Shit
FRANK pauses and smiles. Then he begins to move more fully into
the room, shifting his weight as he does so and dragging what was
hidden into the light. KIRSTY screams again.
FRANK's white shirt is cut off at the left shoulder. His arm is
bare and, from the elbow down to the wrist, joined to another
forearm. The flesh is completely fused, like that of siamese
twins. As FRANK moves into the room, the owner of the other arm
is revealed. It is his brother, LARRY. KIRSTY's father.
LARRY, like his brother, is dressed in a white shirt (cut off at
one shoulder) and jeans and, like his brother, has his skin back.
His face is frozen into a permanent expression of terror and he
seems incapable of any independent movement, simply being pulled
along by FRANK.
KIRSTY steps back in horror.
See? He's here. You should learn
to believe your Uncle Frank.
No! He SHOULDN'T be here! It
SHOULD'VE been a trick!
'Fraid not, baby. He belongs here.
With me. We're the same. Brothers.
Equal and opposite. Pure appetite.
Pure banality. Too much feeling.
None at all.
KIRSTY's fear of FRANK is now outweighed by her contempt for his
You're full of shit, Frank Cotton.
My Dad wasn't like that at all.
He could feel. He could love. He
KIRSTY's voice breaks.
He...he loved me.
Don't waste your tears. Look
Her hatred for FRANK gives KIRSTY her strength back.
He loved me, you bastard! He
Loved me, he loved my mother.
He even loved that bitch you
betrayed him with!
FRANK begins to move towards KIRSTY again, LARRY dragging behind
Ah, Julia. She hasn't been to
see me recently. That's why
it's so nice to have you
here, baby. Daddy's little girl.
So pretty when she's upset. Come
FRANK is very close to her, now. KIRSTY attempts to run across
the room. FRANK siezes her arm and throws her back against the
wall. He moves in close and presses against her. His voice is
midway between arousal and anger.
Now don't be naughty, Kirsty. Or
I'll have to punish you first.
Perhaps you'd like that. Would
you like that?
KIRSTY screams and stares pleadingly, at the still frozen LARRY.
Daddy! Daddy! I love you! Help me!
I'm your Daddy now, Kirsty.
FRANK leans in to kiss the terrified KIRSTY.
Suddenly, a hand appears at FRANK's throat and hurls him off
KIRSTY. It is LARRY, roused by his daughter's cries.
Get your fucking hands off
my daughter, you bastard!
Suddenly, the room, previously full of slow movements and
tension, is full of furious, violent action as the fused brothers
kick, tear, and punch at each other in a paroxysm of killing
91 INT. THE CENTRE OF HELL
MALAHIDE and JULIA are at the end of a corridor. They turn into
an open space. A vast open space. It is desert-like in its
expanse, almost vanishing into infinity at its furthest reaches.
It is criss-crossed by catwalks, on one of which MALAHIDE and
JULIA now stand. Beside these catwalks, the ground falls away
into mile-deep, dark, abysses.
Above the catwalks, dominating the huge space, is the master of
The master, LEVIATHAN, is a monumentally huge, white, multi-
faceted diamond, spinning on its own axis, entirely unsupported
by any physical means, above its territory.
Apart from its very immensity, the most unsettling thing about
LEVIATHAN are the beams of black light that shine out from the
corners of all its many facets. Due to the fast spinning, these
beams shoot and swoop around the chamber, like a negative laser
display of dazzling complexity.
The sound that has been in the corridors is now magnified. It is
the sound of LEVIATHAN's breath.
MALAHIDE has walked the last few yards like a man in shock. Now
a black beam strikes his face and images of horror flash before
his eyes at almost subliminal speed. His face suddenly crumbles
into an expression of incredulous terror, he makes a noise
halfway between screaming and retching, and drops to his knees by
the edge of the catwalk.
Unfortunately, this allows him to look down into LEVIATHAN's pit.
Looking down with him, we are given a sudden and vertiginously
sickening realization of Hell's immensities. There is a drop of
miles visible down the pit and, all the way down, as far as the
eye can see, there are other catwalks cutting across the pit at
MALAHIDE looks back up, his scream renewed by his sight of the
pit. Two or three of the beams of black light flit across his
face, filling his eyes with more subliminal images of horror as they
pass; a child, a knife, and a dead animal; a naked woman whose
private parts are made of sharp, oily, metal; perfect hands
ending in crumbling, leprous fingers.
Suddenly, LEVIATHAN stops spinning. Effortlessly. Instantly. Two
more beams are projected at MALAHIDE but, as they come within a
few yards of him, they become writhing pink limbs that fly out,
sieze MALAHIDE and lift him into the air. He screams out.
No! No! Julia! Help me!
MALAHIDE is held in the air as JULIA replies.
But you WANTED this. You wanted
to SEE. You wanted to KNOW. And
here it is. The heart of Hell.
As she says this two of the thing's facets part to reveal a raw
and gaping cavity lined with angry, sore-looking purple flesh
directly behind the dangling MALAHIDE.
The purple and pink walls of this flesh gash peel apart and open
in various places to reveal blades, hooks and needles at the end
of various vestigial limbs.
The limbs holding MALAHIDE draw him back inexorably into this
He has one last moment to meet JULIA's eyes.
Why do you think I was allowed
to go back? For YOU? No, it
wanted souls. And I brought you.
And you wanted to KNOW. Now you're
MALAHIDE is now held within the walls of the gash. He opens his
mouth for one final scream but one of the tiny needle-topped
limbs flies at his mouth and sews his lips together with heavy
blue wire before he can utter it.
His eyes widen in both agony and horror.
Goodbye, Doctor. It's been real.
The gash heals itself, closing MALAHIDE within.
Despite the gash having closed over MALAHIDE, the leathery flesh
that covers that area is a mass of movement, ripples and bumps.
Small rips and gashes appear and disappear on its surface, allowing
us occasional and partial glimpses of MALAHIDE and what is
happening to him.
At one stage MALAHIDE's hand and forearm appear. A long deep,
running cut has been made down the arm and the flesh peeled and
folded back, revealing the meat and the muscle beneath. As we
watch, two of the tiny operating limbs sew the flaps of flesh,
still folded back, to the rest of the arm, leaving the wound open
Another gash opens and MALAHIDE's face is visible. Here too the
needles are at work, diving into and out of his flesh in a
complicated sewing pattern that is finally pulled together
beneath one ear, leaving MALAHIDE's features permanently pulled
out of shape and decorated with running stitches of metal wire.
Again, MALAHIDE's torso appears, naked. Two large triangular
blades make deep parallel slashes down his chest. Two different
limbs appear but these have sucker-like tips rather than metallic
ones. They fasten onto the new cuts, as if battening. Instead
they are injecting - as becomes apparent when MALAHIDE's skin
The blueness, the conscious disfigurement, and the almost
decorative open wounds should serve to convey that what is
happening to MALAHIDE is not simply torture; he is being
transformed into a CENOBITE.
JULIA watches with avid interest.
92 INT. BROTHERS' ROOM
LARRY and FRANK are fighting furiously, tumbling around the
room. LARRY is fuelled by righteous anger and revenge but FRANK
has had more experience of dirty fighting.
At one stage their free hands each have hold of the other man by
the throat and are rolling along one of the walls, each trying to
establish the dominant grip.
They smash violently against one of the walls in the room. It
gives and they fall through into the next room.
93 INT. KNIFE ROOM
This is a small square room. With the exception of the doorway
to the BROTHERS ROOM, every inch of the walls is covered
with sharp and deadly-looking double-bladed knives -ie One blade
is buried in the wall up to a central hilt/handle and the other
blade juts out menacingly into the room.
The two brothers tumble into the room. Their grips loosened by
their fall through the wall, they land on the floor and
rise to their feet, staring at each other but taking in
the vicious nature of the room as well.
KIRSTY comes through and gasps as she sees the walls.
Stay there, baby. Don't
Yes. Stay there. I'll be with
you in a minute.
LARRY and FRANK trade blows.
FRANK lands a powerful blow to LARRY's jaw. It straightens LARRY
up and FRANK slams the flat of his hand against his brother's chest.
LARRY flies backwards. He flings out his arm to balance
himself but he is nearer to the wall than he thinks and the
impetus of his fall drives his arm onto the knives.
LARRY cries out. FRANK grins and prepares to force his wounded
brother completely onto the knives.
Suddenly KIRSTY flies across the room at FRANK and beats at his
back with her fists.
FRANK snarls and, without turning around completely, flings her
away from him. KIRSTY goes flying but lands just safely short of
the deadly walls.
LARRY, in the pause KIRSTY gave him and galvanized by her example,
has found more strength. He pulls his arm painfully forward, clear
of the knives, and throws himself to the side, forcing FRANK onto
the knives. With a vicious push, LARRY impales his brother
FRANK howls, loud and long.
Without pausing, LARRY pulls a knife free from the wall and, with
one vicious slice, separates himself from his brother.
LARRY rushes to KIRSTY and helps her to her feet. They embrace.
There is a cry of horror off-camera. We pull out. TIFFANY has
followed her friend. She stares in shock at LARRY's wounded arm
and at the impaled FRANK.
94 INT. THE CENTRE OF HELL
JULIA is being given more glimpses of the transforming MALAHIDE.
The major surgery seems to be complete. There are no spinning
blades of needles in sight as the gashes open. MALAHIDE's head is
completely bald and his face, like the rest of his skin is blue.
The only new sophistications are that his upper and lower eyelids
have been stretched wide and stapled to his face and forehead,
and that a new mouth has been sliced into what was his cheek
before his features were pulled permanently to one side.
Over the sound of LEVIATHAN's breath and the CENOBITE
machinery still at work on MALAHIDE, FRANK's howl is heard.
JULIA's head turns to the direction of this new sound.
She turns away without a backward glance and moves back into the
95 INT. THE KNIFE ROOM
FRANK is still impaled on the knives, but his anguished howl has
Become small whimpers of complaint (with, given his history with
the CENOBITES, perhaps the tiniest note of pleasure in there,
KIRSTY, LARRY and TIFFANY are now gathered together to one side
of the room near the door that leads to the corridor. They should
leave, but a kind of sick fascination keeps them watching FRANK.
FRANK realises only leverage will pull him free of the knives and
lifts his forearms up as much as they are free to.
He turns his palms to face the knives and, with a growl of self-
encouragement, drives them deeply onto the knives so that he can
begin to push the rest of his impaled body backwards.
It takes several seconds and much pain for him to succeed, but
succeed he does. He flops backwards into the room.
Several of the knives have stayed in him, rather than the wall -
his chest is decorated, or armed, with many blades.
Just as FRANK begins to stand, and just as LARRY and the girls
snap out of it and are about to leave, the door from the CONVEYOR
BELT ROOM opens and JULIA walks into the room.
KIRSTY and LARRY gasp. FRANK gives a slow smile.
Well, well. All my family
together again. How very
I knew you'd come.
Yes. You're a girl who
remembers her promises.
Oh, I do. I do.
FRANK grins, his grin taking in LARRY, KIRSTY and TIFFANY as well
as JULIA. He extends an arm to JULIA.
And I know how much I mean
to you. Come here.
JULIA does not move.
Come here. Kiss me. And
He glances meaningfully at the others, perhaps stroking a blade
of one of the knives in his chest.
... we'll have a real family
Suddenly, surprisingly, LARRY laughs. He is genuinely amused.
Jesus Christ, FRANK. I don't
believe you. You don't know
her at all do you? You still
think you're in charge.
JULIA still has not moved.
Of course I am. She BELONGS
JULIA begins to cross the room to him.
For God's sake! He KILLED you!
JULIA doesn't pause. FRANK grins.
She's forgiven me that. Haven't
JULIA is now next to him.
Do you really need to ask?
JULIA glances at the knives. FRANK shrugs.
Just a small inconvenience, babe.
JULIA shifts position so she is standing behind him. She wraps
her arms around him, one stroking his belly, the other across his
shoulders. FRANK leans his head back and twists it slightly.
JULIA removes her arm from his stomach and slips it behind him.
Nothing happens for a second and then, suddenly, FRANK's whole
body spasms. We almost think it may be with pleasure until he
breaks from the kiss and we see the confused expression on his
face - and the blood bubbling at his mouth.
There is a ripping, bursting sound and JULIA's hand emerges from
his chest, covered in his blood. Clutched in her hand is his
ruptured, still pumping heart.
Jesus! Out. Out!
He shepherds the girls quickly through the door to the corridor.
FRANK's body begins to twitch. JULIA holds it tightly.
96 INT CORRIDORS/LABYRINTH
They reach the end of the corridor. It terminates in a T-
TIFFANY automatically heads in one direction. KIRSTY makes to
follow, but LARRY hesitates.
Wait a minute. Why are we
following her? Who is this?
This is Tiffany
... She's good at puzzles.
They take the turn TIFFANY has indicated.
97 INT THE KNIFE ROOM
JULIA still holds FRANK tight.
Slowly, she raises the hand which holds his heart until it is in
front of his face. FRANK's eyes are glassing over but he can
Nothing personal, babe.
Without ceremony, she bursts the heart with one quick squeeze.
100 INT THE CENTRE OF HELL
LARRY, KIRSTY and TIFFANY come running toward the camera.
Initially oblivious to the fact that the corridor they were
running along has widened and the walls retreated. Suddenly,
they come to a stunned halt together, staring ahead of them with
Oh. My. God.
The camera moves around them to take in what they see. They are
of course in the central chamber of LEVIATHAN.
LEVIATHAN is spinning again, the black beams flying around the
TIFFANY screams. KIRSTY grabs her.
Tiffany, listen. You've solved
it. But we've got to solve it
the OTHER way. See? See?
We've got to get out.
TIFFANY is frozen.
LEVIATHAN spins, the beams fly.
Please! Tiffany, Please!
Get us out! Take us home,
TIFFANY nods. They are just about to leave when LEVIATHAN stops
A large beam flies down , carrying an object which lands on the
catwalk before the HUMANS, who all take a step or two backwards.
The beam withdraws.
The object at first resembles a large and bloody plastic bag, but
then internal movement begins to rip at this covering. Hands
appear out of the rips and complete the removal. We realise that
the bag-like thing was a kind of caul, a membranous after-birth
that some creatures produce their young in.
The thing inside completes its escape and stands clear of the
shredded caul. Like a new-born child, it is stained and soiled
with amiotic fluids and blood. But it is not a new born child.
It is a NEW CENOBITE. And it used to be MALAHIDE. The
transformation we caught glimpses of is now complete. Its skin
is entirely blue, its head entirely bald. The decorative wounds
and tortures we saw being applied are all present; its flesh is
peeled back in various places, its features are threaded and
distorted by, wire, its eyelids are stapled open.
For a second it stands and regards the HUMANS before it.
TIFFANY gasps in recognition.
KIRSTY too knows what it was.
For some reason, KIRSTY draws from her pocket the photo she took
from the OBSESSION ROOM. She stares at it.
Jesus Christ! Of course ...
The MALAHIDE CENOBITE stretches its arms and flexes its fingers.
And to think I hesitated ...
It looks at the HUMANS again, its gaze finally settling on the
still shocked TIFFANY.
Tiffany. Come. I have a whole new
world of puzzles for you to enjoy ...
It reaches out its hand to her.
A whole new world of pleasures
for you to endure.
TIFFANY, confused and used to obeying her doctor's voice,
tentatively stretches out her arm to meet the MALAHIDE
LARRY suddenly walks between TIFFANY and MALAHIDE. The
expression on his face is strange; it is not fear, nor defiance.
It is simpler than that. He is really, really pissed off.
No. I've had enough of this shit.
Who the hell are you?
LARRY waves a hand at her, but keeps his eyes on
Never mind. Never mind.
He points a finger at MALAHIDE's face, which is attempting a
version of PINHEAD's imposing glacial stars, but frankly, isn't
quite making it.
Fuck you and the horse you rode in on.
Suddenly, he forms a fist with his unwounded arm and smashes it
straight into MALAHIDE's face. MALAHIDE is completely decked.
LARRY grabs TIFFANY by the shoulders and speaks
urgently to her.
O.K. You've done it before. You
can do it again. GET US OUT OF
The three of them run back up the catwalk.
LEVIATHAN spins wildly and a myriad of black beams flow from it.
As they shine into the catwalk they become limbs like those that
captured MALAHIDE, but all with different tips; some are organic,
vicious mouths, some are hooks or blades, some are faces, some
are (as if LEVIATHAN Is too angry to be thinking straight)
The limbs fly up the catwalk, but the HUMANS have gained too
great a start. The limbs retract rapidly into the black lights.
MALAHIDE staggers to his feet, just as LEVIATHAN re-directs its
energy into forming and projecting one much fatter limb. It is
dirty pink and segmented, like a vast earthworm. The end peels
back as it flies toward MALAHIDE, revealing a cruel, metallic,
and rapidly-spinning surgical saw.
Just as MALAHIDE stands up straight, the limb smashes into the
back of his skull. There is a distressing WHIRRING noise as
the limb seals itself fleshily to MALAHIDE's skull and the former
surgeon twitches and dances in horrible involuntary movements as
LEVIATHAN takes over what little mind remains.
101 INT CORRIDORS/LABYRINTH
KIRSTY, TIFFANY and LARRY are running, TIFFANY making the
decisions as to direction.
Down one corridor, blades and knives jut out from the opposite
walls at random intervals and they have to weave at high speed
between them. They negotiate the corridor successfully but, just
as KIRSTY, bringing up the rear, emerges from it, she stumbles
and half-falls. The re-structured BOX falls from her pocket and
rolls back a few feet up the corridor.
TIFFANY, who is nearest to her, helps her to her feet and, as she
does so, catches sight of the BOX (or white diamond, as it is
now). She makes as it to go and get it. KIRSTY holds her arm.
No. Come on. We have to get
out of here.
TIFFANY moves away with KIRSTY, but not without a backward glance
and a puzzled expression.
They all make another turning. Suddenly, when they are about
halfway down this next corridor, a new gap opens up behind them
in the wall and a terrible sucking noise is heard. Corridor
debris disappears into the vacuum.
Luckily, LARRY has reached the end of the corridor and grasps the
corner with one hand, seizing KIRSTY's hand with the other.
KIRSTY grabs TIFFANY and the three of them flatten themselves
against the wall, fighting against the suction. The force is
tremendous and LARRY's finger are slowly losing hold.
102 INT. CORRIDORS/LABYRINTH
CLOSE UP on a hand picking up the re-structured BOX from the
corridor floor they have just left.
103 INT. CORRIDORS/LABYRINTH
The sucking force is growing stronger by the second. Not only is
LARRY's right hand losing its grip on the edge of the wall, but
his left arm - stretched tight as it clings to KIRSTY and, via
her, TIFFANY - is bleeding profusely again.
Suddenly, JULIA appears at the top of the corridor next to LARRY.
In her hand is the white diamond BOX that KIRSTY had let drop.
She stays just out of range of the sucking wind. She stares at
LARRY's weakening fingers and smiles.
Oh, poor Larry. You never
could hold on to anything
for very long, could you?
Suddenly, audaciously, his face set in a scowl of anger, LARRY
lets go of the wall. Before she realises what is happening, he
has grabbed JULIA's wrist and pulled her off her feet into the
corridor. He lets go almost immediately and with a superhuman
effort grabs at the corner again before the wind can claim him
and the girls.
JULIA is not so lucky; without support or foothold, she is seized
by the wind and hurtles to the gap in the wall.
She manages to brake herself by flinging her arms out to either
side of her. For a moment she is hold there and then the pressure
begins to draw her in.
In her left hand she still holds the BOX, but her right hand is
only a few inches from TIFFANY's left.
TIFFANY reaches her hand to her, not knowing JULIA as the others
do. Their fingers just manage to interlock when JULIA's face
registers a disbelieving shock.
There is a terrible ripping sound. JULIA's new skin, so recently
gained, is giving up its hold and has ripped right up the spine.
JULIA is drawn from it.
With a final, slurping sound, the skinned woman slips from the
skin and disappears down the new corridor.
The momentary break in tension allows LARRY to make one last
effort. He rounds the corner and pulls the girls after him.
TIFFANY, finally, realising what has happened, screams in terror
and disgust, especially when she looks at what she has brought round
the corner in her hand. She drops JULIA's skin to the floor as
the three of them scramble to their feet and begin to run again.
Still clutched in the skin's hollow fingers is the white diamond BOX.
As they turn another corner, they see, very far in the distance,
a glimmer of light. TIFFANY points excitedly.
My God, it's her room!
He starts urging the girls down the corridor - a long and very
narrow one - but KIRSTY shows some resistance.
No. No, there's something
Before they can discuss it, a new rushing sound is heard. They
Hurtling towards them is the ENGINEER from HELLRAISER.
Jesus. O.K. No more arguments.
They begin one last panic-fuelled run down the narrow corridor,
the ENGINEER at their heels.
The sequence is equivalent to KIRSTY's pursuit by the ENGINEER in
HELLRAISER, the twist here being that as they approach the entrance
into TIFFANY's room the walls of the corridor, already thin, begin
to close together.
LARRY is bringing up the rear (the corridor is now so narrow only
single file is possible) and he can almost feel the ENGINEER'S
breath on his neck.
Go. Go. Go. Go. Go!!
Finally, almost impossibly, they reach the gap in the wall.
TIFFANY tumbles through, then KIRSTY, and finally LARRY. Less
than a micro-second after LARRY has made it, the walls seal
104 INT. TIFFANY'S ROOM (2nd VERSION) DAY
As we see clearly the room they have come into, we perhaps share
the feeling that KIRSTY expressed in the corridor; Something Is
The tiles that make up the floor are patterned as before but the
individual tiles are larger. The room itself seems more spacious,
the ceiling higher.
There is a bowl of flowers by the window. The flowers were in
full bloom before their trip to Hell but now they seem long dead.
The audience have to notice most of this for themselves because
LARRY, KIRSTY, and TIFFANY are too relieved by, and tired from,
their escape to take this in immediately. LARRY seats himself in
the chair, KIRSTY perches on the end of TIFFANY's bed. TIFFANY
however walks straight across to her window. She is the first to
notice anything. She stares at the flowers.
Tiffany ... ?
KIRSTY rises from the bed and joins TIFFANY by the window.
But these were ... Daddy?
LARRY rises to his feet. Just as he stands, a fleeting expression
of bewilderment crosses his face. He strokes at his right arm
with an unconscious gesture as he crosses the room.
KIRSTY doesn't look at her father right away.
These flowers. I saw them just...
She looks at her father. A sea of sweat has broken out on his
brow and face as he stares intensely at the flowers. KIRSTY's
voice slows, begins to trail off.
...the day ...before... yesterday
LARRY's eyes close. His entire face screws up as if an
excruciating pain just hit him. He clamps his arm across his
chest, the hands clutching his shoulders. He opens his eyes and
looks at KIRSTY for a second, his expression one of surprise.
Then his eyes roll up into the sockets and he collapses to the
TIFFANY has hardly had time to turn from the bowl of flowers
before KIRSTY is kneeling by her father.
LARRY is unconscious. TIFFANY gasps. KIRSTY looks up at her.
TIFFANY's eyes widen. She rushes to the door and disappears into
the corridor. Within two seconds we hear an emergency alarm go
off and TIFFANY re-enters the room.
Pass me a pillow.
TIFFANY does so and KIRSTY places it under the head of LARRY,
whose lips are now blue and who is breathing very shallowly.
KIRSTY looks up at TIFFANY, despair in her eyes.
What do you do? I just don't
know what to do.
TIFFANY shakes her head helplessly.
Suddenly, the door to the room flies open and two INTERNS - maybe
Stan and Ollie from the carnival sequence - come in, complete with
stretcher and gurney. They assess the situation with a glance and
it is serious enough to make one of them break their professional
Coronary arrest. Let's be quick.
They are good at their job - within seconds LARRY is secured on
the gurney and they head for the door, KIRSTY and TIFFANY behind
them. The following exchanges are spoken on the move.
Is he going to be 0.K.?
We just can't say.
O.R.'s on standby. They'll
do what they can.
But it's bad?
The INTERNS exchange a glance and decide honesty is best.
(gently but flatly)
Yeah. It's bad.
105 INT. ELEVATOR DAY
The elevator is uncomfortably full, KIRSTY and TIFFANY squashed
up against the back while the INTERNS hold the gurney in the
The elevator is descending. The ride seems to take longer than it
should, even though they are going to basement level;like the
look of TIFFANY's room, it's ALMOST normal but just different
enough to make us slightly uneasy in an un-focused way.
Eventually, though, it does come to a stop. TIFFANY squeezes
KIRSTY's shoulder sympathetically (NOTE. RE: TIFFANY's character
- it should be clear to the audience by this stage that, though
she is still mute, TIFFANY is now a responsive, more rounded
The INTERNS wheel the gurney out of the elevator and the girls
106 INT. BASEMENT CORRIDOR DAY
The basement corridor is long, cavernous, and not very pleasant.
It has a grimier, more uncared-for look than the upper floors and
the high ceiling is covered with an intricate system of naked
pipes and conduits.
The INTERNS wheel LARRY down this corridor, going so fast that
KIRSTY and TIFFANY are continually breaking into a trot to keep
up with them.
At the far and of the corridor are a set of double doors. The
nearer they all get to these doors, the tackier the corridor
seems to become. The walls now have pipes running over them, as
well as the ceiling, and several of these pipes are dripping
water into small pools on the corridor floor. The sound of these
drips is artificially loud on the soundtrack.
Finally, the doors are reached and the INTERNS, LARRY, KIRSTY and
TIFFANY disappear through them.
107 INT. PRE-OP ROOM DAY
This is a small ante-room to the operating room which is beyond a
further set of double doors. Without ceremony the two INTERNS
pass straight across this room to those doors and wheel the
gurney through, one of them throwing back a parting remark to
Wait out here. A doctor
will talk to you when
we know more.
The double doors part and close, giving just a glimpse of the
operating room beyond, all lights, monitors and whirring machinery,
and the several gowned and masked experts attending to LARRY.
As the doors close, KIRSTY turns to TIFFANY, expecting a long
wait before anyone comes to speak to them. Surprisingly, though,
the doors open again almost immediately and two figures step
through. They, too, are masked and gowned in surgical green and
very little of them is visible.
Is he going to be all right?
1st GOWNED FIGURE
(matter of factly)
No. He's not going to be
KIRSTY staggers visibly, shocked by this bluntness.
1st GOWNED FIGURE
No. He's going to die. He's got
a ruptured aorta. He's going to
die in agony.
As he makes this speech, the mask of his colleague stains rapidly
with blood, as if it is literally pouring from its mouth.
Simultaneously, his own mask is slowly pierced by a score of nails
bursting through from beneath.
The 1st GOWNED FIGURE pulls the mask and cap away from its face -
It is PINHEAD. His colleague does the same. It is the FEMALE
She's had too much experience with these two to hesitate. She
grabs TIFFANY's arm and bursts through the double doors to the
108 INT. BASEMENT CORRIDOR DAY
We are now looking along the corridor in the other direction -
back towards the elevator.
KIRSTY and TIFFANY come into shot, running rapidly along the
As they make their way, a rumbling, flatulent sound is heard from
the overhead pipes and they all begin to drip blood not water.
We hear the sound of the doors flying open behind them.
KIRSTY and TIFFANY reach the elevator. KIRSTY presses frantically
on the call button, while TIFFANY looks behind them with
The sound of steadily-pacing, purposeful feet is heard coming up
the corridor, getting louder, coming closer.
KIRSTY begins hammering on the closed elevator doors. TIFFANY
stifles a cry with her hand.
Suddenly, the doors fly open. KIRSTY and TIFFANY tumble into the
109 INT. BASEMENT CORRIDOR DAY (GIRLS' P.O.V.)
We see the door-frame of the elevator and the floor buttons
beside it and, looking down the corridor through the open
elevator doors, PINHEAD and the FEMALE CENOBITE marching towards
We also see KIRSTY'S finger jabbing frantically at the floor
buttons. The doors are not closing. The CENOBITES are getting
Finally, just as PINHEAD breaks from his determined but medium-
paced stride and speeds up eagerly for the last two or three
yards, extending his arm as he does so, the door slams shut
across our vision and we hear the elevator machinery start up.
110 INT. ELEVATOR DAY
KIRSTY leans against the back wall of the elevator, breathing
heavily. TIFFANY stands very still in the middle, a frozen
expression of fear on her face.
Faster, you bastard, faster!
She slams her fist against the elevator wall. The elevator
stops. Its lights flicker.
Oh, Jesus. I'm sorry. I'm
sorry. I didn't mean it.
The elevator starts again.
It's 0.K. They can't beat an
elevator. Not upstairs. It'll be O.K.
The lift stops, but this time it's where they want it. KIRSTY's
finger hesitates over the DOOR OPEN button.
It'll be O.K.
She presses the button.
111 INT. HOSPITAL CORRIDOR DAY (GIRLS P.O.V.)
We are looking at the closed elevator door. When it opens we
will be looking down the corridor on the main hospital floor -
the floor with the girls' rooms on.
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
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
The GIRLS run off down the corridor.
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
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.
Oh, Christ. This isn't just
TIFFANY nods slowly, her eyes flicking back and forth across the
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
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.
The Doctor is in!
He laughs, and the sound is far from human. KIRSTY and TIFFANY
stare at him.
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
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
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
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
Oh. No Boxes. Such a shame.
No more delays, Kirsty. No more
teasing. Time to play.
Time to play.
KIRSTY looks at his unforgiving face and then her eyes suddenly
widen as she thinks Of something.
No more deals, Kirsty. It's
your flesh we want to experience,
not your skill at bargaining.
No deals! Just information.
Information. Free of charge.
No strings. Just information.
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.
What is this? Someone else
you think escaped us, like
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.
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.
She raises her hand towards KIRSTY. PINHEAD's arm flies out and
He is staring at the photograph, that great immobile brow finally
puckering, as if something is stirring.
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
He turns his palms downwards, mirroring his gesture in the hall
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.
KIRSTY throws her arms around the cowering TIFFANY and snarls at
Leave her alone, you asshole!
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
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
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.
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
I have to go back. Or it'll
What are you talking...
I've got to finish it.
Even as KIRSTY says this, TIFFANY has moved past her and is
resuming her run down the corridor.
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
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.
TIFFANY bends down and retrieves the white diamond BOX from the
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.
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
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
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.
Ah, girls. And how are we
The blades on the end of his limbs twitch eagerly.
You have your whole lives
behind you now.
The limbs fly forward. KIRSTY screams and both girls run up
About halfway back up, however, TIFFANY stops, turns around, and
begins to walk back. KIRSTY calls out.
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
Surgery is open, Tiffany.
What was today's agenda?
His scalpels flick in the air, making small slicing motions.
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.
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.
I knew you'd come back.
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.
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.
TIFFANY lifts one hand off the edge and grabs at JULIA's
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,
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;
121 EXT. HOSPITAL MAIN ENTRANCE DAY
KIRSTY is kissing TIFFANY on the cheek. TIFFANY is dressed in
smart clothes and has a small traveling bag in her hand.
So. What're you going to do?
Open up a games-shop somewhere?
Sell jigsaw puzzles?
TIFFANY gives a smile.
There is a slightly awkward pause.
Well ... G'bye.
It's been Hell.
They share a rueful knowing smile, like the smile of soldiers
back from a war who say goodbye on a dockside and know they will
never meet again.
TIFFANY turns and walks down the long path to the hospital gates.
KIRSTY watches her for a few moments and then turns and re-enters
The camera TRACKS back to the window of the RECOVERY ROOM and we
watch through the window as KIRSTY enters the room. She bends to
kiss her father's cheek. LARRY slips an arm around her shoulders
and they embrace. The camera moves away again.
122 INT. HALLWAY MALAHIDE's HOUSE DAY
The camera TRACKS slowly up MALAHIDE's hallway. The hallway is
lined with packing cases filled with items from the house. A
WORKMAN is shoving something into one of the cases. As the camera
moves past him, he speaks.
So whose was all this shit?
The camera reaches the doorway of the OBSESSION ROOM as an
answering voice is heard.
Not our problem...
The TRACK continues into -
123 INT. OBSESSION ROOM DAY
and we see the 2nd. WORKMAN. He is crouching over the mattress
which is still in the middle of the floor of the otherwise empty
... Gimme a hand with this.
Almost faster than the eye can register it, a hand shoots out
from the mattress and grabs his wrist.
He has about half a second to issue a strangled shout and then,
hideously quickly, a matter of two seconds or so, his body is
drained of all life and the dried husk collapses to the floor.
The first WORKMAN appears hurriedly in the doorway and then
freezes, an awestruck expression on his face.
JULIA is rising, headfirst and upright, from the centre of the
mattress. The movement is smooth, magical, unsettling. It is
graceful but not slow.
JULIA is fully fleshed, fully skinned, and fully dressed. She is
in a replica of the dress MALAHIDE bought for her, but this one
is jet black. She looks fabulous.
As the WORKMAN stands open-mouthed, her feet clear the mattress.
But they don't stop there. She slows to a graceful halt about six
inches above the mattress. She stretches and flexes her arms
sensually. Than her head swivels and her excited, aroused eyes
meet those of the WORKMAN.
I'm Julia. Love me.
Suddenly, her head tips back and, accompanied by JULIA's
delighted laughter, a wide beam of Hell's black light flies at
the ceiling from her open mouth. Instantaneously, it spills
across the ceiling and falls,like a fountain of blood, across the
THE CREDITS ROLL