A Parade of Human Oddities

Inside the Londinium set that is Jules’ tinker workshop I spy small tintypes called memento mori, hundreds of them hanging on the wall.  Memento mori or more appropriately, memorial portraiture were in fact Victorian post-mortem photographs.  With the advent of photography originating in the daguerreotype in 1839, portraiture was made available to the middle class.  People of all walks of life could have an image of their beloved. Sometimes families had only one image of their endearing relative.  And sometimes that image was made after they died.  Because the infant mortality rate was so high in those times a lot of these memento mori are of dead children.  Some are ghoulishly propped up with irises painted on their closed lifeless eyes and a favorite toy placed in hand.  Others have been arranged to look as though they are in ‘eternal slumber’.  These glass plates and tintypes are morbid and reflect the socio-cultural mourning attitudes of the time. And yet, like a car accident you can’t help but look.  In the later Victorian era corpses were photographed and memorialized in their coffins. Some of the most famous daguerreotypes are the field photography of Matthew Brady and the infamous images of dead civil war soldiers on the fields of Gettysburg and Antietam. A bit less infamous are the post-mortem photographs of the five slain prostitutes that Jack the Ripper murdered.

This is Jules’ livelihood and an important clue to his character.  The invention of photography also ushered in an odd version of voyeurism as previously discussed in an earlier entry.  It is believed by many American Indians that cameras steal a part of the soul and incarcerate it in the processed image.  Could there be something to that?  The mere fact that these one-of-a-kind photographs are hanging by the hundreds in Jules’ workshop leads me to believe that he is collecting souls, if you will.  Not actual numinous spirits but the captured tokens held so dear by loved ones. Perhaps he is trying to feel close to something thru the collecting of these images. The first time I was made aware of memorial portraiture was in the movie The Others with Nicole Kidman.  About halfway to two thirds thru the film she discovers a photo album in one of the rooms filled with post-mortem portraits.  This is when she realizes that the servants she hired are really dead people.  Brilliant!  Jules’ real talent seems to lie in his skillful capturing of moving images…of people dying.  Violently. 

Three different rooms, three different sets.  The only room not in use today is the bathroom and the hallway.  The first set is in the parlor and has been built and designed to look like a part of the outside of a sideshow complete with hand painted sideshow banners advertising not only Jules Whitby and his Magic Lantern Show but also the Elephant Man (who, by the way was on display in 1888 in the slums across the street from the London Royal Hospital and for a brief moment in time considered a possible suspect in the murders.)  David Lynch’s brilliant film, The Elephant Man is one of my absolute favorite movies of all time and truly seems to capture the attitudes and grim reality of London without all the saturated color of the Merchant Ivory ventures. 

This exquisite set is really only a pick-up shot as we watch Richard move from the dinner scene thru Hyde Park and stumble into the sideshow tents.  Further inside the Fort Greene Brooklyn brownstone the furniture in the bedroom has been moved into storage for the day and the walls draped in canvas with fly doors and flaps.  There are five extras hired for the day, patrons of the magic lantern show and a hand picked rabble of ne-erdowells.  Jules stands behind his podium cranking his zoopraxiscope and presenting his collection of images to a paying audience.  For a penny or two people could wander into alleyways and watch what was called ‘actualities’. With Edison and his Kinetiscope these actualities turned into nickelodeons.  For a nickel patrons could watch a fictional story like The Great Train Robbery in a theatre setting.  So began the world of cinema.

In Londinium this early actuality, however, is of Richard wounded as he stumbles into the street on that first snowy night as Victoria comes to his aid.  The grainy black and white images glide across the blank canvas as Jules narrates a fictional story eerily similar to the East End killings.  He implies that the young woman (Victoria) is a victim and that the dark man (Richard) is about to do ‘unspeakable’ things to her.  “Did she take her own life…or did he.” Jules poses to the entranced audience of ruffians.  It gives me pause.  Is he foretelling the future or spinning a dramatic yarn. One of the ruffians is Dr. Stephens.  In the opening scene of the movie Dr. Stephens approaches Jules, “I think you can contribute a great deal to the field of medicine.” He says. Almost immediately I wonder if Jules will be supplying the good doctor with cadavers.  However the good doctor’s desires are more sinister and include the capturing of images of dying bodies. I watch Whit playing Richard and the dots he seems to connect via emotional streams.  I wonder how I would feel to have an intensely intimate moment captured on a device and then displayed for all to see.  I would feel violated in a way and quite vulnerable.  I can see this progression in Richard as he watches the cold faces of the strangers taking in the moving pictures of he and Victoria connecting on a soul level.  He can go one of two ways:  Overcome the obstacles before him and take action or harden himself to cover his insecurities.  I am torn, I am fascinated by the villain in him but I want him to be the hero.  I want him to do the right thing but I’m not sure what the ‘right’ thing is yet.

 I am momentarily distracted as the other sideshow begins.  Ed, our last minute extra is dressed in a morning suit and bowler and wanders in and out of the show tent in take after take.  Thom is assistant directing and after each take Ed asks, “How was that Thom?  Did that look okay?”

“It looked fine, Ed.  Don’t over think it.” Thom replies.

“Good note.”  Ed says smirking and moving to his first mark.  The director calls action, the extras are choreographed and move as planned.  Ed looks natural.  Once the director yells CUT!  Ed feigns nervous anxiety. “Thom?  Was that a one good?”

“Yeah, Ed. It was fine.  You’re just walking in and out of the tent with purpose.  Ask yourself where are you going and where are you coming from.” Thom says growing exasperated.

“Isn’t it ‘where I’m coming from’ first, then ‘where I’m going’?” Ed replies.

“Whatever you’re doing it’s working, Ed.  Everybody first mark.” Thom orders.

“He puts me at ease.” I hear Ed say to another extra trying to stifle a giggle.  Murray just nods and takes his place.

Richard must know that he is being set-up or used in some clandestine scheme and he plans to unravel the mysterious machinations that put him and Victoria in peril.  The next set is located in part of the kitchen.  Jules’ Tinker shop had to be temporarily moved in order to create the other sets.  Richard tails Jules and finds him in an alley yard with a prostitute.  Whit, looking sinister and lethal approaches Jules as the hooker skitters away frightened.  Richard pays Jules to show him how his invention works.  Once inside Richard discovers a plethora of substances in Jules’ workshop:  Cyanide, Arsenic, Nicotine, all lethal poisons, by the way, as well as proper chemicals for film developing.  Jules claims the poisons are for ‘killing the rats’.  But Richard knows better.  They end up drinking quite a bit.  A little liquor creates a braggart and show-off I always say.  And Jules is no different.  When plied with alcohol and flattery Jules is happy to reveal his ‘actualities’.  Richard holds the celluloid images in his hand and marvels at the technology involved.  He tries to buy the image of he and Victoria on that snowy night and when Jules refuses Richard decides he will figure out another way to possess the film.

The Actor Whisperer

I wake to find Justin jumping on the end of our bed.  It is Saturday and the weekend has begun for him.  My wife is oblivious.  She went out with ‘the girls’ the night before and the hangover that is due to arrive in an hour or two is still dormant. I bribe my son with fruit roll-ups and a bag of skittles to stop the infernal wave motion.  “We don’t want mommy to throw up in the bed.  Because that means daddy will HAVE to do laundry and he doesn’t have time.” I say.  Wrong!  The kid jumps higher and faster making me have to pull a sumo move on the squirt.  Once on the floor and during the morning cartoons he devours the sugar remuneration and I plan my escape back to the film set.  This could be grounds for divorce since I am not making any money for being there.  I know my wife is thinking that she gets a ‘get outta jail free’ card meaning she doesn’t have to baby-sit after a bender, but this isn’t Kansas, my friends, and Glenda is NOT coming.  She’ll have to wait for the rainbow to show up on Monday.  I’m gonna catch holy hell for it, I know.

I arrive to find Whit decked out in Ripper guise looking dapper and a bit dangerous.  It is the first scene of the day and the set looks amazing.  Once again the art department has outdone itself.  They have created a tinker’s workshop with bare brick walls in the center of their brownstone parlor.  It is outfitted complete with wood burning stove, crappy cot and reels and reels of celluloid, tins, cores, camera equipment, glass plates, camera obscuras, cogs, wheels, metal thingamajiggies and whatchamadoodles.  Things you might find in Edison’s Black Maria or Henry Ford’s garage.  In the scene Richard has just killed Jules and returns to Jules’ workshop to confiscate any and all film content that might be incriminating.  Since he is on the run he does not take the time to look at anything and begins to cram the reels of celluloid into this leather satchel.  Thom slates.  Pat is behind the camera; Ed is on sound holding the boom.  The director sits behind the set walls and watches the monitor.  ACTION!  I watch as the first take unfolds.  Richards enters quickly.  He puts down his knife and begins packing his bag with all the film reels he can find.  He goes to another pie safe and begins cramming the tins and film into his case.  It’s taking a while, I think to myself.  It’s taking too long.  I notice the director’s shoulders are moving and realize she is laughing uncontrollably.  CUT! She says.  I hear Thom burst out in laughter.  Whit stands there blankly with tentacles of film poking and flowing out of his bag onto the floor.  He looks like a stoned Sigmund the Sea monster. Thom and Ed cannot straighten up.  “What are you?  Ursula the Sea Witch”. Thom chides.  That is exactly what he looks like.  “Let’s get rid of some of these tins and rolls of film.”  Thom says in between breaths.  “It’s not too incriminating---waltzing out of Jules’ workshop with evidence trailing behind,” Ed demurs. The art department gets rid of over half the detritus Whit has to gather.  Thankfully this speeds up the scene.  As we begin our second take Stewart Walker arrives and moves quietly into wardrobe.  When we break Whit says, “I thought I was going to lose my ever-lovin’ mind!  It seemed like the film tins were multiplying like a virus as I was collecting them.  Then I thought ‘keep going until cut’.  I knew there was no way in hell I was going to fit all those tins into this bag AND the celluloid.”   

“Maybe if you smoke another doob you might get it all crammed in there.”  Ed says laughing.

“I’m not high or post-high…today.”  Whit confirms.  “I don’t do that anymore.  I gotta work, man.” 

We set up for the next scene.  Richard has come upon Jules in the park with a corpse.  They hear footsteps and make a run for Jules’ studio.  Once inside, Richard is determined to see what Jules has been shooting.  Jules accommodates and threads up his zoopraxiscope.  The film footage is of Charles in a not very platonic embrace with Vincent in a back alley. This confirms the arranged marriage between Charles and Victoria for the audience. This does not bode well for anyone involved except Jules.  Richard is curious as to why Jules has the evidence.  Jules explains that he will hold the celluloid for ransom and if the Thorntons won’t pay then he will exhibit the scandalous scene at the World’s Fair.  Richard has been known to have sticky fingers and it is referred to in various scenes.  He puts them to good use and pinches the priceless footage.  Then the sepia toned images of Victoria move across the canvas screen.  Richard is moved by her likeness and Jules notices that the sometime dodger he has befriended has a ‘thing’ for her.  He uses that information to his advantage.  Stewart is the epitome of a professional actor.  He has great questions and works toward solving problems on the set in terms of character issues with the director.  They have a wonderful rapport and he gives his all in a performance.  Because of sound issues the actors must react to non-existent film footage.  There is a question about eye-line and the director moves in to adjust.  Thom suggests a point of reference whereupon Ed declares.

“Ya know Thom is great for those kinds of recommendations.  I call him the actor whisperer because he has great tips.”  Ed says.  I truly think I am about to pee my pants.

“If I could get you to shut the frig up then I really would be an actor---boom pole man whisperer.” Thom replies a bit miffed.

“You know I’m just joking with you.” Ed says smiling.

“Keep it up.” Thom says growing more ruffled.

“Watch this.”  Ed says.  “I bet I can make him stomp out to the stoop.”  This is what my grandmother would call throwing a turd in the punchbowl.

“Leave him alone.” I say. “We have to go outside later and it is hotter than the hinges of hell outside.”  It is true.  The humidity is unbearable and Fort Greene Park yawns before us.

“Ya know, Thom.  You make sandwiches a lot like you give acting tips.  You think you could make me a double decker when we break?” Ed says trying not to laugh.  Thom stares at him with seething anger.  The murmur of the set diminishes and Thom slowly and dramatically saunters off a la Bette Davis. “I’m going out for a smoke.” He says and sure enough he stomps outside to our wonder and glee.

The newbie of the day arrives.  It is Tristan O’connor.  She is playing Rose, one of the prostitutes in the film.  Stephanie takes her in to make-up and by the time she exits wardrobe it is dark enough outside for us to make our way to the local park.  We have a couple of extra crew people to handle the makeshift light boxes courtesy of Patrick.  The dew point is so high even at 9Pm that we are all mostly drenched in sweat.  We rig up out mechanical SFX apparatus to Tristan.  She accepts a pull from an unseen (off camera) stranger.  And as she tips it back the knife slides effortlessly across her throat.  I’m not sure if I wrote about this is a prior entry but our crew rigged an exterminator can with ever smaller clear plastic hoses affixed behind the latex wound glued to the actress’s throat.  Once the knife pulls away the pressure of the can is released creating a spray of fake blood and the subsequent ‘bleeding out’.  It looks so real that I find my stomach beginning to turn.  That is a direct compliment to Tristan who performed the death throes with great acumen.  She falls to the ground and bleeds out.  It is gruesome and almost too real.  Richard is in the park at the same time.  I can’t figure out if he is the killer or just in the vicinity.  When he comes upon Jules arranging the corpse for his camera I wonder if HE is the killer, the first snuff film director.  I also question why Richard doesn’t go straight to the police with the information and eyewitness account if he is not the killer.  Why would he be protecting Jules?  I know why Jules would be protecting Richard. Money. It is all so seedy and unsettling and truly makes me wonder what stratagems go on in the mind of a psychopath.  I find myself trying to walk in those guys shoes to figure out who dunnit.  I know one thing for sure. I don’t like their shoes… 

Secret's in the Sauce

I am lured back to the Londinium set with promises of Barbeque from the Smoke Joint for lunch and the once in a lifetime opportunity to see Thom as Inspector McNeely die onscreen.  I’m not sure how it will all play out as Whit and Ed only hinted at what is on tap for the day.  Absolutely intrigued, I show up early.  Thom’s other scenes were shot three weeks prior (see The Inspector Calls entry).  Pat shows me the shooting schedule and the whole day is finishing up Thom’s scenes for the movie.  EXCELLENT!  His character is quite unlikable and being something of a villain in this film I relish at the how, what and where of his demise.  Ed and the other crewmembers begin laying down the dolly track.  Technically it is a tough move since the whole contraption has to move smoothly over the tracks/threshold of the pocket doors in the house.  Patrick is trying to keep it as fluid as possible and a last minute adjustment is made.  The guys try and make a ramp out of some plywood to create a low grade.  The few extras are on their way I am told.  Whit is in make-up and Thom is in costume.  Ashley, the wardrobe mistress looks pale and anxious.

“What’s up?” I ask concerned.

“We’ve got a problem.”  She says.

“Will it prevent us from shooting today?” I ask.

“I hope not,” She says on the verge of tears,

“Jesus, it can’t be that bad.  What’s going on?” 

“The vest he wore three weeks ago?  Well, it got messed up at the cleaners so I ordered another one like it from the ebay store I found it on, but they sent a small and he wears a large.” She says growing evermore gray.  The only thing I can do is laugh. 

“Don’t tell him.” I say trying to contain my amusement.

“This isn’t funny, Sean!” She admonishes.

“Is there a continuity issue?  If not, find another vest.” I say.

“It has to be the same vest.” Ashley says and then she disappears onto the set looking for the director.  I watch as Thom slips the said vest on and his face contorts in confusion.  I jab Ed in the ribs and point.  Ed smiles, stops and watches.  Thom looks up and says, “This can’t be the same vest.”

“There’s only one of them like it.” Ed says trying very hard not to giggle.  “Just like you.”

“This is definitely not the same vest.  It fit fine three weeks ago.  Ashley!” He yells.

Whit exits wardrobe.  I tell him what’s happened.

“No way, dude.  This is going to be fun!” He says.  One of the extras has arrived.  It happens to be Patrick’s mother, Mary.  She looks perfect as a café patron in a Victorian restaurant.  The other extra calls and talks to Patrick.  He’s stuck on a stalled train coming in from Long Island.  

“Ed!  It’s your debut.  Get into costume.”  The director says.  I fill in again as the dolly grip.

Whit is on his first mark trying hard to concentrate and not break into laughter.  Thom is seated at the café table still trying to button the vest.  

“So, should I set the plate down and nod to you?  Or should I nod first and say something like, ‘Guv’nah’ in, like a Cockney? or an Irish accent?”  Ed asks.  Thom is still fumbling with the buttons trying to close the vest. 

“Ed, I cannot think about that right now.  I’m having a wardrobe malfunction.” He says growing more frustrated.  Patrick is manning the dolly.  Mary is seated at another table with Ed’s back to camera.  Thom motions for the director to come over.  Together they finally get the vest closed.  ACTION!  Whit saunters in and begins a dialogue with the Inspector.  A few threats are exchanged. Whit leans in close and says, ‘bon appetite’ and exits.  The dolly slowly moves in as the Inspector realizes something is very, very wrong.  He begins to cough and choke and gasp for air and finally dives face first into his food.  PING, PING, PING!  It sounds like a pocketful of change had hit the floor.  Every button on the vest pops off the fabric as if hurled from a slingshot.  Everyone falls over themselves in laughter.  Including Thom.  He is a good sport and laughs, too.  How could he not?   We move the dolly back to its first mark.  Ashley comes in and quickly tacks the buttons on and then pins and double pins the vest shut.  It looks great.  ACTION!  The director calls.  Whit enters again and they do the scene. Then as Whit exits the dolly hits a bump and stops.  Suddenly Mary looks at Patrick and says, “Are you comin’ or not, Honey?”

“Ma!  Do not stop what you’re doing until the director yells ‘cut’.” He explains.

“Well I’m doing my best work and I can see out of the corner of my eye that you’ve stopped, honey.”

“Ma!  Did you hear what I said.” Patrick instructs.  Once again, the dolly is set. ACTION! Whit and Thom do their scene.  Whit exits as Thom times his death by poison according to the speed of the dolly.  He chokes and dies at the table.  Suddenly Mary jumps up and waves a white handkerchief moving quickly to Thom’s body.  She motions for Ed to come to his aid never saying a word.

“CUT!” The director yells.  “What are you doing?” Patrick asks his mother. “This isn’t The Great Train Robbery. What’s with the handkerchief?”

“You told me not to talk until she yells cut, honey.” She explains.  The director takes Mary aside and gives her a few notes. Something clicks and Mary is excited. “I’m ready.” She says.  We reset the dolly.  ACTION!  Whit enters and does the scene with Thom.  Thom dies at his table.  The dolly move is a success and Mary is engaged in conversation with Ed at their table.  Perfect!  PRINT! 

We stop for lunch and gorge ourselves on Barbeque.  Outside in the backyard the crew has built three quarters of a jail cell out of wooden flats. It is incredibly impressive.  The director informs me that the sound design will be crucial in making the scene work.  The walls made of faux stone make me think of the Tower of London.  Ed and a few other crewmembers wet down the stonewalls so that they glisten on camera and evoke that dank feeling.  We have to wait until it gets dark before the scene can be shot.  As the afternoon wears on it gets increasingly hot and extremely humid.  Luckily there are no wardrobe malfunctions for the actors.  Whit has been a bit roughed up and has blood on his cheek, hands and cuffs.  He has been arrested in Saint James Park for the murder of another prostitute. The Metropolitan police believe they have their ‘Ripper’.  And it is a coup for Inspector McNeely who has been gathering clues throughout the film.  McNeely has sadistic tendencies so his malevolence matches the viciousness of the crime.  It seems he has something against Richard---some sort of personal vendetta.  Whit and Thom take their places.  Thom’s hair has been blown straight as continuity-wise that is how it has appeared before in prior scenes.  This time the jib arm is employed and Patrick is trying to get the move down.  As we shoot take after take, Thom’s hair starts curling up in the high humidity.  “Where’s make-up!”  Thom shouts as his Shirley Temple curls sprout.  “Oh God!  This isn’t happening.” The director says.  Stephanie runs onto set with a brush and some product.  A spritz, spritz here, a squirt, squirt there and his hair is straight again.  The camera starts to move and slowly Thom’s hair starts curling as the scene progresses. CUT!  “We have to do something with his hair.” The director says.  She’s been even keeled through the shoot so far but now I can see some cracks in her calm veneer.  Everyone is sweating.  It is 9:00PM, eighty-six degrees with, no joke, ninety-five percent humidity.  Stephanie tries to plaster the curls straight with extra hold hairspray.  You know, the kind your mom or grama used to keep the beehive doo intact.  Aqua Net, I believe.  A fog of chemicals surrounds Thom.  ACTION!  Whit and Thom get through the scene with Stephanie only feet away to tame the wild hair.  Round about midnight we finish much to the appreciation of the neighbors.

 

Did Someone Say Muuurder?

I show up in Prospect Park near the boathouse to help the Londinium crew with their first scene of the day. It is gorgeous out and not too hot, although that could change as the day wears on. Thom informs me that the scene is between Richard and another actress playing an actress in the film as they have a clandestine meeting in a tunnel. ‘Lisa’ is playing Ophelia in the Royal Court’s production of Hamlet and has slipped away during rehearsals to meet with him. When he produces a coin her rehearsals slip by the wayside. The last thing we see are Richard and Lisa walking away together sealing a deal that may be of the flesh. In a previous scene (see All of Brooklyn’s a Stage entry), Catherine (Judy) performs Queen Gertrude’s monologue from Hamlet. The dots begin to connect. Catherine knows this young woman Lisa, played wonderfully and with great sensitivity by Cooper Harris. That thought and the sexual game-playing begs the question: Is Catherine involved in this rendezvous? Is she also involved in the outcome? As the camera tilts upward a man watches the pair from his perch on the bridge. The whole thing is creepy. Parks (or woods) and murder seem to have struck a deal in a hotter than normal place in hell. That’s why it seems the brambles and brush seem to belch up more corpses than other locales. Whit is dressed in his top hat and frock coat looking dashing. As he channels Richard he oozes with charisma and I can see why these women will over rule their better judgment to go along with him. It’s the Ted Bundy effect. I am instructed to stand on the other side of the lake with a walkie-talkie and convey instructions from the AD who is just of camera in the woods. I can see Whit and Cooper chatting for a moment and then the Director steps in and gives a few notes. We wait a moment until she can get around the lake and take her place in front of the video tap. ACTION! She says. ACTION! I say into the walkie. ACTION I hear Thom’s voice echo through the woods on the side of the lake. Lisa, stunned, dirty and unkempt wanders a bit aimlessly towards the water. She has been attacked and apparently suffered some kind of trauma. She hums a child’s nursery rhyme and then plants herself at the water’s edge. Still humming, she dips her hands in the water and the dots really connect in this thick skull ‘o mine. Lisa and Ophelia are the same---contemplating suicidal thoughts from different traumatic events. And so I am stunned when we move to the next set-up and Cooper goes into SFX make-up and wardrobe. She makes a lovely corpse with a huge slash across her neck from ear to ear. She is wearing a medieval robe and Jules is placing different types of flowers in her stiffening hands. Flowers that Gertrude makes reference to in her Shakespearian monologue. The jib arm is assembled, Cooper is laid out in the grass and Jules straightens her robe before taking a post-mortem image of her with his motion picture camera. Murder? Did someone say Murder? Who Dunnit!? Was it Richard? Was it Jules? Or was it the voyeuristic man on the bridge?

That question remains unanswered through most of the movie.

We pack up quickly and caravan back to the Brooklyn brownstone where another scene between Richard and a prostitute takes place. I hang out as Whit changes costume.

“So isn’t Judy in this scene?” I ask.

“No man.” He says distracted.

“It says here in the sides that she’s behind that screen watching.” I continue.

“Dude we already shot that. Don’t you remember?” He replies.

“That’s a bummer.” I mumble.

“She was shot out yesterday.” Whit adds as he starts tying his shoelaces.

“WHAT? And no one told me?” I bellow. The indignity of not being notified! “But I didn’t get to say goodbye.” I whimper foolishly.

“You’ll see her at the screening.” Whit says as he picks up his script and looks it over with a seering intensity. Elisa Gierasch shows up to wardrobe. She will be playing Gert, the prostitute that Richard rustles up at the behest of Catherine and her voyeuristic game-playing. At that moment the Director taps me on the shoulder and says I have to clear set. Again, they are shooting a sensitive scene and she wants to close the set to all non-essential crew. Damn! I wish I could ‘Hollywood’ a light or hold a boom pole or wrangle cables or something. I look over the sides as I am relegated to the stoop with Ed.

“I think it’s time for a five minute power nap.” He says.

“It says plainly that Richard ‘fornicates’ with the prostitute while Catherine looks on.” I say to no one in particular. And then I watch as Ed stretches his six foot plus frame out on one of the steps and closes his eyes for a minute.

“Jees. Someone is gonna think you’re dead or passed out.” I warn.

“Not if you stay right where you are.” He replies. “If the landlord comes by tell him I had a diabetic sinking spell and I’m waiting for my insulin to kick in.”

“No way!” I exclaim. “I don’t want anyone calling an ambulance!”

“You’re a little high strung, aren’t ya, Sean.” He says. “If someone comes by I’ll jump up.” In thirty seconds flat Ed is snoring and I nervously read the New York Times on my blackberry. We look like a couple of swells on skid row. As we all know by now I am writing these blog entries well after the shoot. And since I am continuing to write even after the wrap of the film I have been given the opportunity to watch a few edited scenes as they come about. I got the chance to watch the edited scene of Richard and Gert and it is truly provocative. I have to give credit to the director who has created a seductive, sensual movie with no nudity. Some of the actors who have been given the opportunity of a sneak peek think that they have seen nudity but the reality is that there isn’t any. The power of the mind is amazing and a lot more visceral when you ‘think’ you’ve seen something that in turn creates a scintillating type of emotion. Elisa is stunning. She has ‘it’. ‘It’ is that quality that made Lauren Bacall a film classic. The smoky come hither look is innate. It cannot be learned. The scene might make some people uncomfortable but the director is fine with that. “I want people to feel something when they watch this story and if it happens to be uncomfortable then they’re paying attention.” She says.

We break for a meal and wait for Keith to arrive for the last scene of the day. In this scene Richard arrives to an interview with Charles Thornton. In a previous scene Charles asks Catherine if she can refer a starving artist to paint his wife’s portrait. She suggests Richard. Once again the dots start to connect this time on screen. Richard is led to a parlor by a servant to wait for Charles. He begins observing the pictures and mementos on the fireplace mantle. At the very end he is stunned to find an image of the kind woman who tended to him on that fateful snowy night in the street. It is Victoria. His face melts into hers as he remembers that night. It seems as though fate has stepped in and brought them together. Charles interrupts Richard’s daydream and the two men sum each other up. This is the first hint we have as to why Charles is in an arranged marriage. Charles decides to hire Richard at which point Richard suggests that it might speed things up if he is able to meet Mrs. Thornton. Mrs. Thornton, by the way, does not know Richard’s name and has no idea that she is about to be reunited with him in her very own home. And so the dots keep connecting until the whole picture blooms before our very eyes!