Hellbound: Hellraiser II Page #8

The creature, which is still wrapped around him and clinging

tight is, unlike him, growing in stature by the second. Muscles

are inflating, arteries pumping more vigorously, and flesh itself

filling out.

Its horrific thin-ness when it first appeared effectively unsexed

it but now, as its regeneration continues, the fullness of its

hips, the roundness of its thighs, and the sacs of fat and muscle

that bloom above its ribs confirm its female nature. If there was

any doubt that this was JULIA, it is now disappearing.

BROWNING is now nearly a walking corpse and it is the strength of

his will alone that allows him to take a few faltering steps with

JULIA still enveloping him. With the desperate strength with which

she clings to him and the way her legs are wrapped around his

hips, it is like an obscenely perverse parody of sexual passion.

MALAHIDE has been watching all this with an incredible mix of

emotions playing across his face. Still human enough to feel both

fear and disgust at what is happening he is nevertheless awe

struck and exhilarated. He has waited all his life for such an

irrefutable demonstration of the power and the truth of the

supernatural.

Similarly, the scientist in him is fascinated by the living

anatomy lessons that JULIA's regeneration and BROWNING rapid

decay offer.

With one last dying effort, the now-almost-husk-like BROWNING

breaks JULIA'S grip and makes a futile step forward as she falls

from him. He totters towards the curtains.

Just as the audience think he will pull them down with him,

revealing KYLE, JULIA grabs his ankle and pulls. He falls back to

the floor.

48 INT. BEHIND THE CURTAINS NIGHT

The loud noise of BROWNING's fall renews KYLE's resolve to see

what is going on. Carefully, he shifts his position so that he

can see through a small gap in the curtains.

49 INT. KYLE'S P.O.V. NIGHT

KYLE may have heard one or two strange and unpleasant noises but

BROWNING has not screamed nor JULIA spoken; nothing has prepared

him for what he sees - a skinned woman sucking out what life

remains from the dried husk of a psychotic man.

50 INT. BEHIND THE CURTAINS NIGHT

KYLE's head jerks back, shaking as if he's just had an electric

shock. His mouth moves but no sound emerges.

KYLE:

(mimed)

Jesus Christ!

His terror simultaneously urging speed and silence, KYLE gingerly

maneuvers himself out of the window.

51 INT. OBSESSION ROOM NIGHT

JULIA lies back satisfied on the floor. She looks up weakly at

MALAHIDE.

JULIA:

Help me.

Her voice is perfect. MALAHIDE stares at her, his fascination

intense. He crosses the few yards that separate them. He looks at

her, lying beside the hollow shell that was CHEYNEY. Her eyes

stare back, brilliant, sparkling, alive.

JULIA:

Help Me.

MALAHIDE realises her temporary vulnerability; all the life force

she has absorbed from BROWNING has made up her body, but it will

take some moments for the strength to return to her.

Fascinated and sympathetic as he is however he cannot yet quite

brine himself to touch this creature. Instead he moves the

mattress nearer to her, allowing her to crawl back onto it and

lie down again.

MALAHIDE stares down at her. He attempts a smile, but is too

nervous to make it convincing. He is trembling slightly. This

contact with the beyond is something he has dreamt of for years,

but nevertheless the physical reality is overwhelming.

JULIA treats him to the approximation of a smile. She is far from

nervous.

She studies herself. Her figure is fully formed, her womanliness

undeniable. All she is missing is a skin. She stretches her arms.

She lifts her legs. She writhes on the bed in pleasure, like an X-

ray photograph of a calendar girl.

MALAHIDE stares at her, following the sensual movements of her

body. He swallows, a little embarrassed by his response to the

naked display he is privileged to watch.

JULIA'S eyes twinkle at him.

JULIA:

Don't be embarrassed. You're

my friend.

She looks away and continues her stretching and wiggling, more

conscious of it now as an erotic display.

The strength has flooded through her body as she rises to her

feet, and stops off the mattress, smiling at MALAHIDE.

MALAHIDE backs away from her as she moves towards him, doing his

best to return her smile.

After a few steps, JULIA stops and simply stares into MALAHIDE'S

eyes. He too stops and returns the gaze. The camera circles them

slowly several times, studying them - the dressed, nervous man

and skinned, confident woman.

JULIA:

Well?

MALAHIDE says nothing. Perhaps he swallows nervously. The camera

continues its circling movements. The scene FADES TO BLACK and

JULIA begins to laugh, small, sensual giggles at first building

finally as the blackness comes into an almost hysterical

crescendo of raucous joy.

52 INT. HOSPITAL ROOM NIGHT

KIRSTY is again lying on her back on top of the bed. She is a

stark contrast to JULIA. No display. No laughter.

Her eyes are open and red-rimmed from weeping now. There is also

complete silence.

All the more jarring, then, the sudden sound of someone fumbling

at the handle of KIRSTY'S door.

Her eyes widen in alarm and she flings herself off the bed,

scanning the room for anything that can be used as a weapon.

There is nothing but the chair and she she has all but lifted it

aloft when she sees that it is KYLE, who comes into the room.

KIRSTY:

Sh*t, Kyle. This is getting to

be a habit. What is it, some

kind of shock-therapy?

She was angry, relieved, and amused when she realized it was KYLE

and all these showed in her voice and face. Now they drop away

completely, replaced by a nervous apprehension as she becomes

aware of the blank horror on his face.

KIRSTY:

Oh, Jesus. What is it?

KYLE opens his mouth a few times, as if unsure what to say.

KYLE:

It's all true.

53 INT. TIFFANY'S ROOM NIGHT

TIFFANY walks around her room, staring at her completed puzzles -

those on the wall and the one on the floor - and waiting for the

next one.

FADE OUT:

FADE IN:

54 EXT. MALAHIDE'S HOUSE DAY

A simple shot tells us it is the next morning.

55 INT. OBSESSION ROOM MALAHIDE'S HOUSE DAY

MALAHIDE , dressed in a black suit, is in the room, staring at

the empty mattress. We TRACK with him through to his LIVING ROOM.

56 INT. LIVING ROOM MALAHIDE'S HOUSE DAY

In contrast to the secret and private obsession room, this room

is the tasteful and upmarket room of the successful professional.

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