Hellraiser A Screenplay By Clive Barker.pdf

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HELLRAISER
A Screenplay
by
Clive Barker
(C)
Clive Barker 28.7.86
Paragan Film Productions Ltd
115 Flood Street,
London. SW3
01-352-4195
1
1
TITLE SEQUENCE
In darkness, a blood-curdling cacophony: the squeal
of unoiled winches, the rasp of hooks and razors
being sharpened; and worse, the howl of tormented
souls. Above this din one particular victim yells
for mercy - a mixture of tears and roars of rage.
By degrees his incoherent pleas are drowned out by
the surrounding tumult, until without warning his
voice pierces the confusion afresh - this time
reduced to naked scream.
And with the sound, an image.
A house: Number 55, Lodovico Street, an old, three
storey, late Victorian house, with gaunt trees lining
its overgrown garden. Its curtains are drawn, there
is newspaper over its top window. The titles begin
to run, as we approach the house down the driveway.
We move inside, to the hallway.
louder now.
The cries are
Room by room, we explore the empty house, while the
titles continue to run. It has been left empty for
many years, though much of its furniture remains,
covered in dust-sheets. On the mantelpiece of one room,
a plaster saint. In the kitchen, evidence of life
here. Opened tins; bread; bottles of spirits; a
glass.
We move upstairs, gliding along the corridor of the
lower landing. The din is furious now. On the
floor of one room, a makeshift bed: blankets strewn;
an open suitcase; more liquor.
We move up a flight and approach a room off the upper
landing, the door of which is ajar. The light
within swings backwards and forwards, spilling into
the passageway.
As we reach the door, the screams from within halt
abruptly.
We can hear a bell now, which has been pealing
steadily throughout this opening sequence.
As we move through the door, the titles end.
2
INT.
TORTURE ROOM
NIGHT
The bare bulbs in
disorienting us.
disappearing with
are swinging back
the room we've entered swing violently,
There are chains - dozens of them –
the darkness of the ceiling: all
and forth. Some end in hooks, with
2
2
Continued
pieces of skin and sinew adhering; some are serrated,
others simply drip blood.
The bell tolls on.
On the blood-spattered floor, a box, some six inches
square, which resembles an elaborate Chinese puzzle
box. Later, we'll learn its name and function.
It's called the Lament Configuration, and it's a
way to raise Hell. Literally. For now, it remains
an enigma.
A hand, its flesh systematically pierced with needles,
reaches down and picks the box up.
In close up we see just what an elaborate construction
it is, made up of sliding panels and mysterious
chambers. It is open at present, its polished
innards exposed. Out of it, a banal melody, played
on a hidden mechanism. The hands, which belong to
one of the demons - a Cenobite - move over the box.
CENOBITE
(unseen)
It's over ...
Delicately, the hands begin to reconstruct the box,
sliding the well-oiled parts back into place, the
tune simplifying with each manoeuvre.
The room is getting darker.
into the gloom.
The chains are disappearing
We see tantalizing glimpses of other figures, turning
from the light and fading into the darkness. We catch
sight of monstrous faces, but only for the briefest
of moments. Then they're gone.
The box is almost returned to its unopened condition.
The last sounds to fade are the tune from the box,
and the bell.
It tolls on as the final panel of the box is slid
into place.
The light stops swinging. The panel clicks.
stops.
The tune
At last, a long shot of the room. At the far end the
window is covered with yellowed newspapers. There is
dust settling through the air.
Otherwise it is empty.
3
2
Continued
The bell fades.
It's as if nothing ever happened here.
Except ...
Somewhere, very quietly, a creaking that could be
the sound of floorboards, or the low, agonized gasp
of a thing barely alive.
3
INT.
HALLWAY
DAY
The wind is blaring as we watch the door of Number
55. From the doorstep, voices. One is that of
LARRY COTTON, the other his wife JULIA. Clearly
LARRY is attempting to get inside. We hear the
sound of keys tried in the lock.
LARRY
It's one of these.
JULIA
We're going to freeze to death.
0.K.
0.K.
LARRY
The sound of another key tried in the lock.
JULIA
Maybe somebody changed the lock.
LARRY
(slightly irritated)
Like who?
JULIA
Just a thought –
Ah!
The key is turned.
Success.
The door swings open.
Voila!
We see the pair on the doorstep. LARRY is an American
in his early forties, an attractive man who has lost
his edge in recent years. He looks harassed; he smirks
LARRY
LARRY
4
3
Continued
too much. A little, but significant, corner of him
is utterly defeated. JULIA, his wife, is English:
and looks perhaps ten years his junior. She is
beautiful, but her face betrays a barely buried
unhappiness. Life has disappointed her too, of
late: and LARRY has been a major part of their
disappointment.
Well.
LARRY
This is it.
They step over the threshold.
4
INT.
UPPER LANDING
DAY
The door of the Torture Room creaks, as the wind blows
it opens an inch. From downstairs, we hear JULIA's
voice.
JULIA
It smells damp.
LARRY
It's just been empty a while.
5
INT.
HALLWAY
DAY
LARRY slams the front door.
6
INT.
UPPER LANDING
DAY
The Torture Room door creaks closed again.
LARRY
(from below)
Besides, it's an old house.
7
INT.
HALLWAY
DAY
He stands in the hallway, not certain which way to
go from here.
JULIA
How long since you were here?
LARRY
The best part of ten years.
LARRY picks up some mail - circulars mostly – from
behind the door, then leads JULIA through from the
hallway to explore the ground floor.

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