Hellbound: Hellraiser II Page #26

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.

KIRSTY:

So. What're you going to do?

Open up a games-shop somewhere?

Sell jigsaw puzzles?

TIFFANY gives a smile.

TIFFANY:

Oh, yeah.

There is a slightly awkward pause.

KIRSTY:

Well ... G'bye.

TIFFANY:

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 institute.

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.

WORKMAN:

So whose was all this sh*t?

The camera reaches the doorway of the OBSESSION ROOM as an

answering voice is heard.

2nd. WORKMAN

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

room.

2nd. WORKMAN

... 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.

JULIA:

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

screen.

COMPLETE BLACKNESS.

THE CREDITS ROLL

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