Hellbound: Hellraiser II Page #11

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

her.

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

bordello.

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

away.

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.

KYLE:

Wait! The .. thing ...

I want to be sure it's

not here.

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

ajar.

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

space between.

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.

JULIA:

Sssh. I think it's still here.

KYLE:

What? The...The thing?

JULIA nods.

JULIA:

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.

KYLE:

Is it in there?

JULIA:

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.

JULIA:

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.

KYLE:

Yes. Yes, it's terrible.

JULIA crosses the room rapidly towards him. Her face is a

picture of concern.

JULIA:

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

speech;

JULIA:

...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.

JULIA:

What's your name?

KYLE can hardly speak for fear.

KYLE:

Kyle...

JULIA:

I'm JULIA.

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

pressing hand.

The camera moves around the embracing couple until it is behind

JULIA.

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.

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