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
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
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.