Hellbound: Hellraiser II Page #6

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

carefully decorated.

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.

BROWNING:

(muttering)

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.

KIRSTY:

I...I had a visitor.

KYLE:

What?

KIRSTY:

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!

KYLE:

(Carefully)

Kirsty, I'm sorry... don't

understand. I...

KIRSTY:

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.

KYLE:

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.

KIRSTY:

Help. No, no-one can help. I

just want someone to listen

or I WILL go crazy.

KYLE:

If anyone can help, HE can.

KIRSTY turns and gives KYLE a strange look as he opens the door.

KIRSTY:

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.

MALAHIDE:

(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.

KYLE:

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.

KIRSTY:

It must have been going on

forever...

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

door.

MALAHIDE's voice pulls her back.

MALAHIDE:

Kirsty...?

KIRSTY snaps back and continues to speak in a more normal voice.

KIRSTY:

But the part I know about,

That must have started with

my Uncle Frank...

MALAHIDE:

Then let us speak of it ...

DISSOLVE TO:

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.

DISSOLVE TO:

37 INT. MALAHIDE'S HALLWAY TWILIGHT

The TRACK continues along the hallway and into the OBSESSION

ROOM.

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

hospital.

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

particular.

Rate this script:4.8 / 4 votes