06 Missing scenes :: Hellbound ::::
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This article is from the Hellraiser movie FAQ, by Mario Moeller and Kalle Paulsson karl-pau@dsv.su.se with numerous contributions by others.
06 Missing scenes :: Hellbound ::::
:: [Different wording when Dr Channard is talking about the mind being
a labyrinth, it's paths plainly visible ... etc]
CHANNARD: We can bring them back properly more often than scientific
orthodoxy dictates, ladies and gentlemen. And the knife, far
from the enemy of analysis, is often its greatest ally in solving
the puzzles of psychosis. Analysis isolates and massages.
Surgery pinpoints and corrects . . . though you've got to know
what you're doing, of course . . . some things are obvious. Here,
for example . . . are the optical motor nerve control centres.
Now. This case. A deeply-buried psychosis severe enough to
produce frighteningly frequent hysteria and aggression. Incurable.
Say others. Not so. Analysis isolates. The knife exposes.
Medication controls. And then, ladies and gentlemen, we REBUILD.
With all the care and knowledge that our years of training
have given us . . . WE BRING THEM BACK.
:: [When Kyle gives Kirsty the pills ("they're only to help you ... sleep!")
the dialogue is different]
KYLE : Anyway, let's concentrate on you for a moment. Wanna suck on
this for me?
Kirsty looks up at him sharply. He is proffering a pill and grinning
facetiously.
KIRSTY : Hey, good joke, Kyle. Do you always come on to the mentally
ill?
Kyle's face falls. He blushes. Pressing the pills into Kirsty's hand,
he backs off to the door, apologising.
KYLE : Shit. Sorry. Here's the pills. Red face. Door. Bye.
Kyle exists hurriedly, closing the door behind him. Kirsty grins.
She looks at the pill for a second or two and then puts it firmly back
in the box. Realising there is no bedside table, she puts the box on the
wooden chair.
KIRSTY : Jesus, I'm glad I'm not paying for this place.
<goes to bed - meets Larry>
:: [when Dr. Channard is bandaging Julia, we see her in a following shot
wearing a gown . . where does this come from?]
A scene missing is the shopping mall scene, where we see Dr. Channard
buy the gown, and return it to Julia, who looks in the mirror, trying
it on.
:: [just before Dr. Channard gets turned into a Cenobite, he tells Julia he
wants to go back.]
CHANNARD: Enough. God, that's enough. We HAVE to go back.
JULIA : Go back? What on Earth makes you think we can go back?
CHANNARD: I want to go back!
JULIA : Sorry, friend. No day trips to Hell. Here you are. Here you
stay. And forward the only way to go.
:: [Kirsty meets her father, Larry, in Hell] (The 'surgeons scene')
When Kirsty walks through the door of 55 Lodovico Street in Hell,
instead of being in the 'burning room' where she meets Frank and Julia,
she finds herself in 'The Brother's' room, which is a plain room
with a small table on which lie a hand of cards and a soiled ashtray.
Over the far wall is a mattress, and to the side of this is a latticed
wooden screen, hiding Frank and Larry who are joined form the elbow
down to the wrist like that of siamese twins. When they see Kirsty,
they begin to fight; at one stage their free hands each have hold of
the other man by the throat and are rolling along one of the walls,
each trying to establish some dominant grip. They smash violently
against one of the walls in the room, which gives and they fall
through into the next room, which is the 'Knife Room'.
The Knife Room is a small room, and, with the exception of
the doorway to the 'Brother's room', every inch of the walls is covered
with sharp and deadly-looking double-bladed knives (ie. one blade is
buried in the wall up to a central hilt/handle and the other blade
just out menacingly into the room)
FRANK: How convenient.
(Kirsty comes through and gasps as she sees the walls.)
LARRY: Stay there baby. Don't come in.
FRANK: Yes. Stay there. I'll be with you in a minute.
(Larry and Frank trade blows)
Larry manages to impale Frank onto the knives, and then pulls a knife
from the wall and with one vicious slice, separates himself from his
brother. At this stage, Julia enters and says her bit about the family
reunion. Larry and Kirsty manage to leave, and Julia pulls Frank's heart
out (this part is the same as in the movie).
Larry, Kirsty, and Tiffany make their way back to the hospital (this
all is exactly the same way as the movie, except with the addition of
Larry). They make it back into Tiffany's room at the hospital, where
the flowers which seemed to be in full bloom before their trip to Hell
now seem long dead (to appear that they have been in Hell for a VERY
long time). Larry then falls ill and collapses to the floor. Tiffany
rushes to the door and calls help, a minute later Larry is being wheeled
out to the elevator, and back down to the Maintenance level.
Larry is wheeled right down the corridor, through a set of double doors
at the end, which leads into the pre-op room. Another set of doors
is in this room in which Larry is wheeled, but Kirsty and Tiffany are
told to stay put.
As the doors close, Kirsty turns to Tiffany, expecting a long wait before
anyone comes to speak to them. Surprisingly, though, the doors open
again almost immediately and two figures step through. They are masked
and gowned in surgical green and very little of them is visible.
KIRSTY : Is he going to be all right?
SURGEON : No. He's not going to be all right.
KIRSTY : Wh..
SURGEON : No. He's going to die. He's got a ruptured aorta. He's going
to die in agony.
As he makes this speech, the mask of his colleague stains rapidly with
blood, as if it is literally pouring from its mouth. Simultaneously,
his own mask is slowly pierced by a score of nails bursting through from
beneath. The first surgeon pulls the mask and cap away from its face -
it is Pinhead. His colleague does the same. It is the female cenobite.
KIRSTY : Oh, fuck.
She's had too much experience with these two to hesitate. She grabs
Tiffany's arm and bursts through the double doors to the corridor.
As Kirsty and Tiffany are being chased by the Cenobites back to the
elevator, the overhead pipes begin to drip blood, instead of water. They
reach the elevator and tumble into it before the Cenobites manage
to catch them. They start going up in the elevator, and reach the
ground floor. As the elevator door opens, Chatterer lunges at them from
outside. Kirsty screams, but because of the eagerness of his lunge they
are able to get around him as his impetus carries him to the back of
the elevator. The doors begin to close, and Chatterer turns to come back
out at them, putting his hand out. The doors close on his fingers, and
slice them off.
Kirsty and Tiffany run back and the movie now continues from the scene
where the hospital ward is filled with patients trying to open the
box (and where the evil Dr. Channard comes through the window and says
"the Doctor is in").
:: [After Pinhead is killed and his throat sliced open, there is a small
scene as Kirsty and Tiffany burst out into the corridor and almost
fall over the patient in the wheelchair]
PATIENT: So what, girly? It's OK for an ego-trip but it just doesn't
get the job done.
Shaking their heads at the insanity, they run up the corridor.
:: [At the end when we see Kirsty and Tiffany walk up the garden path
out of the hospital, only Tiffany goes - Kirsty stays behind with
her father who is making a rapid recovery]
KIRSTY : So. What're you going to do? Open up a games-shop somewhere?
Sell jigsaw puzzles?
TIFFANY: Oh, yeah.
KIRSTY : Well . . . g'bye.
TIFFANY: It's been Hell.
Tiffany turns and walks down the long path to the hospital gates. Kirsty
turns and re-enters the institute. The camera tracks back to the window
of the recovery room and we watch through the window as Kirsty enters
the room. She bends to kiss her father's cheek. Larry slips an arm
around her shoulders and they embrace. The camera moves away again.
:: [Different ending; instead of the pillar rising out of the mattress,
Julia does!]
Julia is fully fleshed, fully skinned, and fully dressed. She is in
a replica of the dress Channard bought for her, but this one is jet
black. She looks fabulous. As the workman stands open-mouthed, her
feet clear the mattress. But they don't stop there. She slows to a
graceful halt about six inches above the mattress. She stretches and
flexes her arms sensually. Then her head swivels and her excited,
aroused eyes meet those of the workman.
JULIA: I'm Julia. Love me.
Suddenly, her head tips back and, accompanied by Julia's delighted
laughter, a wide beam of Hell's black light flies at the ceiling from her
open mouth. Instantaneously, it spills across the ceiling and falls,
like a fountain of blood, across the screen. Complete blackness, THE
CREDITS ROLL.
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