Hellbound: Hellraiser II Page #7

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'.

KYLE:

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.

KYLE:

Oh, sh*t.

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.

BROWNING:

Get them off me. Get. Them.

Off. Me.

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

table.

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-

jacketed.

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

see.

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.

MALAHIDE:

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

painful-looking.

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

lumps.

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

the drawers.

He produces an old-fashioned cut-throat razor and walks back to

BROWNING:

MALAHIDE:

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,

slurping sound.

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

itself.

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