Original subtitles

MAN: That'll be the first thing that we do. FINCHER: Okay.

MAN: And then we'll do the caskets when the sun gets higher...

...as previously discussed.

FINCHER: Very good.

FINCHER: Have the kid embracing his parents, Mr. and Mrs. Gateau.

And they-- And he turns and he gets onto the train.

And the train pulls away.

This is them saying goodbye, and he goes off.

And I’m putting a little blue back here, that's left of the building.

MIRANDA: So it has to cover from the pipe over to the train right here.

Just this section, so I can continue the town.

And I need photo geometry of this, photogrammetry.

When we're shooting the guy getting on the train, when he jumps on the train...

...we'll have a local engine that will move the train away.

-The steam engine itself? FINCHER: No, no, two different tracks.

-Steam engine, non-steam engine. -Right.

Steam engine is over here. Steam engine doesn't move in the first shot.

In picture, this train does not move, okay?

However, it will reposition, move not in picture...

...but when we do the changeover for the coffins.

So it's either Monday, Tuesday, train station, Wednesday here...

...or Monday, Tuesday here, Wednesday, Thursday, train station.

[SPEAKING INDISTINCTLY]

FINCHER: She reads. He has no vision.

-The letter may have been addressed to him. MIRANDA: No Braille.

FINCHER: Okay, so she goes into the kitchen...

...she brings out supper, he comes in, he sits down...

...then she brings out this letter, she reads the letter.

We see it from this side, we see it from this side.

Over, over. Single, single.

Probably a wide POV...

...as he walks over and shuts the door and goes to bed.

MAN: See the back of the marker. FINCHER: Okay.

MAN: It'll be railed in. A little railed-in area.

FINCHER: Okay. And how many headstones? MAN: There will be....

I think we have three or four within the family plot.

-Okay. -Then we're gonna have other headstones...

-Out. -...dissipating out.

Okay, so your right side of frame is probably that tree behind you.

And your left side of frame is splitting the gazebo.

MAN: Got it. FINCHER: Okay.

So we have two alternatives.

One is this frame.

And the other one is down there on the corner.

So we'll turn this into the train station.

Paint out "Impartial Administration of Justice."

MAN: What's the finish, is that, like, a satin?

BURT: Some of the columns are glossy only because we primed them.

They're coming down, though. Everything will be even.

-And then this will be plastered. MAN: Yup.

And painted. Maybe what we should do, since this is a closet...

...is if we could get some period electrical boxes or things...

...to have in here as well, so--

MAN: Brand-new period electrical boxes. -Exactly. We'll make them look brand new.

So then that way, we have the winder here.

We do have to clean that winder up so it looks new.

As new as possible.

MAN: The question is, whether or not we're gonna do this for real...

...or just do this CG.

There's an inscription around there, coming across to here.

-Edge to edge. -Edge to edge.

We'll cover that edge and we have a floater back here.

And we have a floater back here, coming back.

Yeah, that's what we talked about. We're still talking about that.

[SPEAKING INDISTINCTLY]

MAN 1: Ten cars, is that enough, David? FINCHER: I think so.

We'll have cars parked here and we'll have a couple cars going by.

Cars parked there.

-What I wanna do is have him run past her. MAN 2: Okay, great.

And then we're gonna see him running off. And I wanna have shadows.

I wanna have, eventually, his shadow...

...and the shadows of people against this wall.

We see them because there's cars out there.

Then I would put in-- I would put a couple of things out in here, a couple of cars.

MAN: Yup. -I-- We'll have to look--

Do a drawing, see what 15 cars looks like. It may be too many. Um....

So the tent will be in here.

Now, for the inside, we need--

I would like to expose this and the master when the sun--

When there is just blue light in the sky.

We're like 9000, 12,000 Kelvin.

So we just have that with the tent and the lights on inside.

But I’m gonna need to be able to keep a little bit of the skylight...

...when we're inside, under that.

-So if you just put a soft light... -It’s canvas, right?

...just so we can feel that. It can even be a tad low...

...or something like that. So the master is here.

And we see a couple of kids playing near the opening in the doors...

...and they'll kind of run off. We'll have cars parked here.

And all the people are sort of packed in there.

We'll have strings of clear-glass bulbs inside.

What kind of practicals would you like to have in the tree?

I'd like to see those wooden T's with just the--

Not the elaborate street lamp, but like a China hat or something on it.

BURT: Okay. -So it just feels like....

So it just feels like it's put here, because people--

It's like a fairground.

It goes out of that shot. And then we put two shots here.

Then we see a street car coming along the closer track, right?

And then we need it to stop right at this curb.

It has to start up pretty quick. I mean, it can't end up being a miniseries.

MAN: And, finally....

So I’m talking about from here, it would be great if we get--

I need both these sides done.

If you can clean out the turf...

...away from the tracks by like a foot on either side...

...so they look like they're still in use.

And then we'll dig up all this dirt.

And I need it to go to where that next street is, okay?

And then we'd sit down here, looking into this little river area.

I would need these bushes to kind of go away. I don't like those ones.

And I like the kind of rawness Of jungle back there...

...but all this has to get kind of cleaned up and sparkly shine.

So a three shot is a master looking this way.

Which is basically over Benjamin, two, and inside Benjamin, two...

...and then turn around, sliver of Ota.

The antique gun shop is fine.

The Martin Lawrence Gallery, you have to do something with.

Um, James Cohen's sign has to come down.

You know, on the left side, you gotta go as far as, like, the fleur-de-lis flag.

DALTON: Okay. -And then this side...

...all the signage goes away and....

-So we're cool. -Right.

And this is dust, so it's still no wet-down, it's gonna be dusty-looking and pretty dry.

Okay, but where's our bench?

Our bench, I thought it was gonna be there.

But if we do the bench there, that's where we are right now.

-Oh, is that where we are? -That's where we are now.

-Last time, we talked about doing it here. FINCHER: Either way.

WAGNER: Daisy and Benjamin, getting on the tug.

FINCHER: Not here. -Not here. Over by the tug, okay?

Then we go over to the tug and shoot towards the tug...

...and towards the water for Scene 75.

Captain Mike and Benjamin meet.

Mr. Daws talks about getting hit by lightning.

We shoot that. After we get that...

...we come here for a cheated reverse of that scene...

...looking in this direction, as if the tug is right behind me...

...and if the water is right behind me. The tug is moving over to the next location.

We shoot out this area, then a company move.

That's the plan for the day, Monday, November 13th.

She's coming on back there.

The camera pulls up this way and we're not seeing that there's a table.

I understand, but if we cut that whole courtyard...

...which is a big fucking to-do, it still may be fucking cheaper...

...then buying all those deck replacements across the street.

Prove it to me. Then prove it to me. Then prove it to me, Vincent.

WOMAN: Hello. How are you?

Okay, so then we have an upright piano here. He's playing piano.

And so we will start on that and we'll come over and they'll either be here...

...or wherever this table makes the most sense.

But with this space, there's gonna be a curtain, a velvet curtain.

And close off this room off of that room.

So, what we can do is tent the back in black.

We can get a little bit of bounce, a little bit of light through there.

[SPEAKING INDISTINCTLY]

Yeah, so the shot's here and he's up on the top of the pitch.

And, boom, he gets hit, then he just slides down the thing...

...and falls into a pad over here.

And this is an actor? I mean, you already passed him, I take it?

-No, it's a stunt guy. -Oh, great, good.

-It’s gonna be a guy who's-- -Okay.

So there's that, boom.

Then he will have literally parked his tractor, and it'll get struck by lightning right there.

Or he'll be getting off his tractor, and he'll be literally washing his hands...

...when he gets struck by lightning. So it's this:

So the tractor won't go. We don't have to matte that yet.

Or am I to tow it? You say it might have even--

If he was falling while it's moving, I'll have to have control--

I just don't know how I’m gonna get him out...

...without him, like, leaping like George P. Cosmatos.

I think it's, literally, it's gotta be like a guy being punished for doing absolutely nothing.

It's like you just go, "Oh, the poor fucker."

I mean, it's almost like if he was washing his hands at the sink...

...and he got struck by lightning there, you just go, "That's just so awesome."

Okay, we have two sequences here in Calais.

The first one is getting into an ambulance. Is that what we decided?

BURT: A warming-truck ambulance? -A warming truck.

She's coming into it or...?

No, she's just sitting there, and these reporters are kind of--

[PHONE RINGING]

So the right of frame is the green tree on the left.

And the left of frame is the little buoy there or whatever that is.

Like that, and the truck's in here. And then the second shot...

...late in the day...

...she comes to shore. Actually, light like this would be perfect.

But she comes to shore as a 80-what-year-old woman?

She comes out in full prosthetic makeup.

-She's 68 years old. FINCHER: She's coming out.

There should be a boat out there. And she comes on to the beach successfully...

...and somebody comes over with a big--

WAGNER: James Brown cape.

[LAUGHING]

James Brown. He goes...

...yeah, with a big, peaked, vampire collar.

MAN: Number.

[SPEAKING INDISTINCTLY]

[CHATTERING]

So the notion is they walk along here. They walk up.

We track with them. We bring them up onto the gazebo.

We're gonna have a railing here, so they'll be back here.

--in total silhouette. You need to get light into the back...

...onto this little lake thing.

WAGNER: Lake Pontchartrain house, Thomas wheeling.

--as far as they can go, which is right about here.

Then he's gonna hoist him up and hump him out to the pier.

And that should be blue.

You know, 9000 Kelvin, like predawn.

Or, you know, almost no light.

-Headlights. MIRANDA: Okay.

FINCHER: And a horn.

So he walks in, there's a party going on, we'll not see this.

He'll come in. Right about here is where he'll run into Daisy.

Actually, probably run into Daisy right off the elevator.

-And do the doors need to open to reveal? -Yeah.

Well, they, you know, see through the slats.

Yeah, it'll cut.

Then she gets grabbed and kissed, then leads them over to here.

This is where the party is taking place.

He follows her into here, so we need a track with them.

And then we'll probably end the track right between those two columns...

...then we'll bring him in to here.

Then we'll watch from his POV as she walks off.

I'll have a little bit of coverage with her. She comes back.

I'll be tracking with her, as she dances with the people.

And then she turns around and it's sort of medium.

And I have his POV. And then I go to her POV and he's left.

And that's the scene.