:37:18
Good evening, Mr. Constantine!
:37:23
Good evening!
:37:33
-Care to tell me what we're doing tomorrow?
-Sure.
:37:38
Mike, l want an incredibly long, slow shot...
:37:42
dolly slowly through the two rooms.
:37:45
Since this is the scene of
two brutal murders...
:37:48
our approach must be a complete contrast.
:37:53
lf we make it quick and snappy,
and it's cut around afterwards...
:37:57
the audience will never get the feeling
that a murder takes time...
:38:03
that it's not so simple.
:38:07
The woman must know at once
she's going to die. She just stares.
:38:11
After a time...
:38:13
she begins to cry.
:38:15
l want to dolly into the house with Eddie,
stay behind him a while and observe...
:38:20
how the minister reacts to his appearance.
:38:24
When the minister stands up,
we travel in with Eddie.
:38:27
He speaks about his mandate,
and honour and so on.
:38:33
We dolly back to a long shot.
Then the murder's committed.
:38:40
Maybe we pan to the woman first.
She's standing in the doorway, watching.
:38:44
She's speechless and retreats.
:38:46
Then a slow pan to Eddie.
:38:49
The minister is murdered.
:38:52
Eddie looks for the woman,
goes out of picture.
:38:55
Camera stays on the minister,
then pans past...
:38:58
old oil paintings...