It stars William Holden and Lee Grant, with Jonathan Scott-Taylor, Robert Foxworth, Lew Ayres, Sylvia Sidney, Lance Henriksen, Ian Hendry, and Leo McKern.

When Morgan expresses scepticism, Bugenhagen takes him to a local ruin to see the mural of Yigael's Wall, which was said to have been drawn by a monk who had visions of the Antichrist as he would appear from birth to adulthood.

Morgan believes him upon seeing Damien's face painted on the mural, but both he and Bugenhagen are buried alive after the ruins abruptly collapse.

Over the following days, a number of other bizarre incidents surrounding the Thorn family occur: a photojournalist who tried to interview Richard after seeing Yigael's Wall (and Damien in person) is run over by a truck after being blinded by a raven attack, a senior manager of Thorn Industries (a corporation owned by the family) drowns in a frozen lake, and two other employees are suffocated by toxic fumes following an unexpected gas leak at a factory plant.

The doctor later discovers that Damien's marrow cells resemble those of a jackal, but is killed by a falling elevator cable before he can report his findings.

Dr. Warren, the museum's curator and Richard's friend, opens it and finds the sacred daggers, along with a letter by Bugenhagen explaining that Damien is the Antichrist.

Shaken by his son's death, Richard goes to New York City to see a half-crazed Warren before being taken to the rail yard, where Yigael's Wall is being stored in a cargo carrier.

Years later he commented that if he had written the story for the second Omen, he would have set it the day after the first installment, with Damien a child living in the White House.

With Seltzer turning down Omen II, producer Harvey Bernhard duly outlined the story himself, and Stanley Mann was hired to write the screenplay.

[3] Harvey Bernhard cited a demonstrative instance where Hodges spent half a day's filming setting up a single shot of Damien coming from the stone pillars at the far end of the garden on the Thorn Estate in order to place a bonfire in the foreground.

The site's consensus states: "Damien dishes out ghoulish scares and a Biblical body count to generate some morbid fun, but this repetitious sequel lacks the sophistication of its predecessor.

"[11] Vincent Canby of The New York Times wrote, "Perhaps my resistance has given out but Damien—Omen II, though it's as foolish as the first film, is rather more fun to watch and sometimes very stylish-looking.

"[12] Variety wrote, "Damien is obviously wearing out his welcome, but presold interest and a couple of gruesome, ghastly death scenes should shore up business for the summer.

"[15] Charles Champlin of the Los Angeles Times wrote, "For all its slavish copying of the original, 'Damien — Omen II' plays differently.

"[16] Richard Combs of The Monthly Film Bulletin wrote, "The main trouble with the Evil One as a protagonist is that his opposition never looks very convincing—and like its predecessor, Omen II is based on a rather lame structure in which successive individuals discover something amiss about Damien and then meet an inexorably bloody end.

[22] After Harvey Bernhard had finished writing the story outline and was given the green light to start the production, the first person he contacted was Jerry Goldsmith because of the composer's busy schedule.

Goldsmith composed a largely different main title theme for Omen II, albeit one that utilises Latin phrases as "Ave Satani" had done.

Goldsmith's Omen II score allows eerie choral effects and unusual electronic sound designs to take precedence over the piano and Gothic chanting.

[citation needed] Unlike The Omen (and The Final Conflict), Jerry Goldsmith's score was recorded in the US, with the soundtrack album re-recorded in Britain for financial reasons.

[citation needed] Lionel Newman conducted both the film and album versions; Varèse Sarabande later released an expanded CD including both, the liner notes of which explain the reasons behind the re-recording (a short-lived union rule meant that musicians had to be paid the full amount for the film and album use if the soundtrack was released on LP, doubling their fee.

Some sections of the film's soundtrack – the tapes of which were thought lost for many years – were discovered to have warped in storage and have noticeable and uncorrectable flaws.