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Hellbound: Hellraiser II
- R
- Year:
- 1988
- 97 min
- 1,550 Views
FADE IN:
1 TITLES
The screen is composed of large, straight-edge areas of black
and white that rest against each other in a manner that suggests
some kind of pattern, without making a final sense; it is as if
we are too close to something that, could we see it from a
distance, would be clear to us.
These areas shift and change - both their own shape and their
relationship to their neighbors. New patterns are being made,
new solutions found - but they are just beyond our comprehension.
The effect should be aesthetically pleasing but simultaneously
frustrating and, perhaps, a little unsettling.
Shortly into this sequence, and subsequently inter-cut
throughout, we begin to see, in FLASHBACK, the story of
HELLRAISER. Arriving first as very short shock-images, these
brief sections eventually convey to the audience all the
necessary emotional and narrative information they will need to
understand the background to HELLBOUND.
Meanwhile, the black and white shapes are still moving, the
unseen patterns still shifting.
Over this constantly mobile background, the TITLES begin to
appear.
As the TITLES unroll, another change comes over the puzzle pieces
behind them. Where before they moved and related only in two
dimensions, gradually we see that they are now claiming depth as
well. The puzzle we are looking at is now a three-dimensional
one. The pieces are now solid blocks of various geometric
shapes, locking together, moving apart, finding their final
position.
Finally, as the TITLES come to their conclusion, the camera pulls
back until we can see clearly what we have been looking at. As
the final piece clicks into positions we see it is THE LAMENT
CONFIGURATION from HELLRAISER.
The closed box rests before our eyes a moment and then the circle
in the centre of the side that faces us gives way to an image
of a dusty street with a market. Simultaneous to this, the camera
TRACKS into this image until it fills the screen
The TRACK continues up through the market and then turns through
the stalls to find a store behind them. As we TRACK through the
store's doorway, we pass through a beaded curtain that
momentarily reminds us of the TORTURE ROOM in HELLRAISER.
3 INT. STORE DAY
Once we are in the store itself, though, this impression disappears.
It is an ordinary, slightly seedy, junk shop.
The stall seems to sell an odd mixture of items; native trinkets
share space with second-hand items from European colonists. These
second-hand goods give us some sense of period. They suggest the
late 'twenties/early 'thirties. This is reinforced by the
sounds coming from one of them, an old-fashioned mahogany-cased
wireless. A foreign voice speaks from it in a language we don't
understand, though perhaps the words "BBC world service" are
discerned in the middle, and then a dance-hall tune of the period
begins to play. (Depending on availability, it would be nice to
have something relevant - 'I'll follow my Secret Heart', perhaps,
or 'Dancing in the Dark'.)
Into shot comes an ENGLISH OFFICER. His uniform, too, suggests
the 'twenties, the last days of Empire. He is tall, thin, and
dark-haired, but at no stage do we see his face clearly. He
stands in front of the stall.
The TRADER suddenly stands behind the counter. He has been
crouched beneath it, as if checking or preparing something. He
is a big, impressive-looking black man. His face is totally
impassive as he stares at his customer.
Neither of the men speak. Obviously, a deal has already been
struck and today is the pay-off.
The OFFICER, a little arrogantly - suggesting racist contempt,
slaps down a bag of gold on the stall's counter.
Keeping his eyes firmly on the OFFICER, he reaches beneath him
and brings something up from under the counter and places it In
the OFFICER'S outstretched hand. He is holding a LAMENT
CONFIGURATION.
The OFFICER turns and leaves. The camera TRACKS out of the store,
looking at the TRADER as he watches the departing OFFICER.
4 INT THE OFFICER'S QUANSETT HUT DAY
It is typical of temporary military quarters, complete with a
curved ceiling of corrugated material. It is stripped of furniture.
The blinds are down.
The OFFICER, still in uniform, sits cross-legged, the BOX held
before him.
He is already well into the solving process and very soon after
the shot begins the BOX begins to speed its own solution.
Finally, two sections of the BOX shoot upwards and begin to peel
apart from each other, ready to reveal its secret.
The OFFICER, suddenly nervous, drops the BOX and scuttles back
across the floor to stare at it. The BOX lands upright, its
extended parts still open above it. For a beat of two, nothing
happens. We become aware of the OFFICER'S pulse, throbbing
excitedly on the soundtrack.
5 INT THE OFFICER'S QUANSETT HUT DAY OFFICER'S P.O.V.
Slowly we, the camera, and the OFFICER, move towards the still,
silent, but menacing BOX.
We approach it until finally we are above it, looking down into
the opening it has made in itself. There is undefined movement
inside.
Suddenly, something flies up directly at us. We glimpse it only
briefly, but enough to see its nature. Unlike the hooks that
flaw at FRANK in HELLRAISER, this is more organic than metallic.
Pink and flesh-like but on a long gray-blue stalk, it
flies upward, its lips peeling apart gapingly to reveal scores of
yellow, discoloured, and viciously sharp teeth-like hooks.
The OFFICER screams and the screen begins to take on a red tint
so that, just as the thing is about to fill the screen
with its hungry mouth, the entire screen turns red.
The red screen is held for a second and then suddenly becomes
complete blackness.
The black screen continues and, rising slowly from it and falling
back slowly into it, in a dream-like, surrealistic manner, come
various images of the OFFICER'S torment/pleasure in Hell.
By various camera tricks, such as step-printing or optical
blurring, his face is still not clearly seen, but is seen enough
for us to see his sensual, almost orgasmic responses to what is
being done to him.
Cuts appear spontaneously across his face, leaving a grid like
crisscross pattern of wounds.
Finally, a disembodied hand gripping a hammer drives nails into
each corner formed by these wounds and, as the face comes into
full view for the first time, we realize who this is. It is
PINHEAD from HELLRAISER.
PINHEAD'S completed face floats on the blackness and stares out
at us.
PINHEAD:
(echoed & slow)
Kirsty, come to daddy
The tiny silence following PINHEAD's words is shattered by a
piercing and terrified scream.
The scream continues, but the blackness is replaced by KIRSTY's
anguished face; it is she who is screaming. The scream subsides,
replaced by breathless panting accompanied by rapid eye movement.
RONSON:
(off camera)
Ah, you're awake. Good.
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"Hellbound: Hellraiser II" Scripts.com. STANDS4 LLC, 2024. Web. 6 Sep. 2024. <https://www.scripts.com/script/hellbound:_hellraiser_ii_657>.
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