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Calendar Events / Announcements '17 I / Re: Memories of Thayer David
« on: March 08, 2017, 02:22:50 AM »
That sounds even less familiar. I may not have it. But I suppose I'll see once I get the chance to look...
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69 EXT: JEFF'S STUDIO - NIGHT 69 LONG SHOT It is the following evening. It is raining. From the bluff above we see Jeff's studio. A road runs along the bluff. A STATION WAGON ENTERS THE SHOT. Its headlights are on. It drives until it is parallel to the lighted studio. It stops at a winding path that leads down the rugged descent to the house itself. CAMERA PANS TO CLOSE UP of the driver of the car. NANCY HODIAK is a pretty matron. She looks from the car window down at the house. 70 INT: JEFF'S STUDIO 70 TIGHT SHOT of an oil portrait of Nancy Hodiak. The CAMERA TRUCKS AROUND the portrait and WIDENS TO INCLUDE Jeff adjusting a new wire on the back of the frame. Maggie watches him. MAGGIE We'll never discuss David. I know it. And it's not David we need to talk about -- it's their attitude. I'm not doing any good in that house. That's why -- She stops. Jeff quits working, looks at her. JEFF That's why what? MAGGIE I'm going to give my notice tonight. He starts to come to her. MAGGIE Go back to Boston -- Jeff takes her in his arms. JEFF I won't let you do that. She looks up at him. They kiss. There is a knock at the door. JEFF Damn! It's Nancy Hodiak. I'll talk you out of it later. Maggie smiles, shakes her head. He won't be able to. He opens the door. 71 JEFF 71 Come in, Nancy. It's all ready. MRS. HODIAK Hello, Jeff, Maggie. She goes to the portrait, admiring it. |
Jeff smiles. Starts to wrap it. 72 EXT: JEFF'S STUDIO - NIGHT 72 LONG SHOT LONG LENS from the bluff, as if someone were standing there, looking down at the studio. The door to the cottage opens. Light spills out as Mrs. Hodiak, carrying the wrapped portrait, and Jeff can be seen in the door. There is a flash of light- ning, a CRACK OF THUNDER. We see Jeff close the door. SLOW ZOOM down to Mrs. Hodiak, as she starts up the path to her car. Lightning flashes. The CAMERA HOLDS HER TIGHT, as she climbs. There is the NOISE OF BUSHES BEING PUSHED APART, TWIGS STEPPED ON. She hears this, stops, frowns, looks around. The CAMERA PANS the dense undergrowth. Mrs. Hodiak starts to walk faster. The NOISE SEEMS TO FOLLOW HER. She looks over her shoulder. She is positive that there is someone -- or something -- in the undergrowth. She runs up the twisting path. She drops the picture. 73 PORTRAIT - CLOSE UP 73 as booted foot steps on it ripping through it. 74 NANCY HODIAK - CLOSE UP 74 LONG LENS HOLDS HER TIGHT as she runs toward camera. WHIP PULL BACK to WIDE ANGLE showing that CAMERA IS SHOOTING THROUGH car window which FRAMES her as she runs for the car and into a TIGHT SHOT as she yanks 74 CONTD CONTD 74 open the door and jumps in. lightning and THUNDER CRASH as she frantically locks her side of the car. As she reaches across to lock the other door, it violently swings open, as the CAMERA ZOOMS IN on her terrified, horrified face. She SCREAMS. 75 EXT: BLUFF - NIGHT 75 HIGH ANGLE Police cars are parked around Mrs. Hodiak's station wagon. An ambulance is parked farther away. A covered stretcher is being picked off the ground by two white uniformed ATTENDANTS. They start for the ambulance. Mrs. Hodiak's car doors are open. The rain is pouring down. As Mrs. Hodiak's body is placed in the ambulance CUT TO: 76 PORTRAIT - CLOSE UP 76 It is ripped and muddied. During the following, CAMERA TRUCKS BACK to show Jeff holding the portrait. Maggie is with him. They are holding umbrellas and talking to a POLICEMAN. |
68A Roger exits. She turns to them. X back to Maggie CAROLYN He'll feel differently in the morning, Maggie. Maggie turns away. Jeff looks at Carolyn. Leave it to him. Carolyn nods. Exits. 68B Jeff crosses to her. She does not turn to him. MAGGIE It's an impossible situation. She crosses away. 68C. (CONT'D) go | v MAGGIE I have to, Jeff. I'm not doing any good here. He follows her. JEFF Maggie He turns her to him. They look at each other. JEFF |
JEFF W c He kisses her. W |