Hellbound: Hellraiser II Page #16

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

touch her.

KIRSTY throws herself back against the far wall of the corridor,

unsure whether to fight or flee. Then her face relaxes. It is

TIFFANY.

86 INT. CORRIDORS/LABYRINTH

In another corridor within the labyrinth, MALAHIDE and JULIA are

walking.

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

portal.

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

JULIA:

Come. I have such sights to show you.

MALAHIDE shakes his head crazily from side to side and begins to

back away.

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

quite passionate.

87 INT. CORRIDORS/LABYRINTH

KIRSTY and TIFFANY are now walking together.

KIRSTY is talking to her as calmly as her sense of urgency will

allow.

KIRSTY:

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

KIRSTY's eyes.

KIRSTY:

Yeah?

TIFFANY smiles directly at KIRSTY and then returns her nod.

KIRSTY:

Yeah?

TIFFANY nods again, more emphatically.

KIRSTY:

Yeah!

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.

MALAHIDE:

Enough. God, that's enough. We

HAVE to go back.

JULIA smiles at him.

JULIA:

Go back? What an earth makes

you think we can go back?

MALAHIDE's jaw drops.

MALAHIDE:

I want to go back!

JULIA:

Sorry, friend. No day trips to

Hell. Here you are. Here you

stay. And forward the only way

to go.

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

door.

VOICE:

Kirsty!

KIRSTY stops dead in her tracks. She looks at the door and

moves toward it, walking slowly down the corridor. TIFFANY

follows.

KIRSTY:

(Very Tentatively)

Daddy...?

Only a low moan comes from behind the door.

KIRSTY:

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

in.

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

Eastern design.

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