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.
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
2 EXT A STREET BAZAAR DAY
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.