Wednesday, January 9, 2019

Blackthorne--Episode 85




image from arizonabarndance.com


Blackthorne

Cinemagenic Eighty-Five

Dosado

“That’s the way God made her--sunshine mixed
with a little hurricane.”--Country song lyrics.

1(medium wide-shot) They stopped at the foot of
the Grange steps. Chatawa was tied next to Thor’s
black. The Appaloosa whinied, and his eyes calmed 
when he recognized Buck. Salina climbed up the
few stairs, her petticoats rustling, and sat on the top
step. She folded her gloved hands on her lap and
waited. Buck stroked the stallion’s neck.
2(sound cue) musical tumult emitting from inside.
3(close-up) Salina, around a small smile: Is that
the horse people say Bronson stole from you?,
admiring both the horse and the man before her.
4(two shot) Buck: More or less. We call him 
Chatawa.
Salina: I think that’s Paulie’s saddle. I’m surprised
he would ride a horse like that.
Buck: Yeah, me too.
He walked up to her, forcing a grin. She stood up.
He held out his elbow, and motioned to the door
with his other hand. Salina placed her arm in his,
twirled around, and they entered the open doors.
5(cut to a reverse shot) as they entered the Grange.
Next to the entrance was a long table loaded with
pistols, rifles and knives.
6(most of the shots for this interior will be done
with a steadicam).
An older woman with rosy cheeks and a flowered
dress was checking the weapons.
7(sound cue) music and crowd noise heightened.
8(three-shot) Salina: Good evening, Mrs. Hart.
Mrs. Hart: Hello, Salina. Don’t you look lovely?
Would your gentleman friend please check his
weapons?
Buck unbuckled his gun belt and plunked the 
Thunderer and the sawed off shotgun down with
the rest of the deadly iron.
9(jump cut close-up) of the big stack of guns.
Buck check his hat with the lady too.
10(overhead crane wide-shot) Inside the large
barn-like hall, a huge knot of people churned
all over the floor, and lined the sides.
11(close up) Buck’s eyes.
12(medium wide shot) He saw Joe Hop first.
The sheriff sat on the edge of a hastily erected
bandstand.
13(medium close-up) Hop’s blue eyes sparkled.
He was hatless, like most of the men in the room;
his sleeves were rolled up on his denim shirt, and
his big arms were folded across his chest. He was 
still wearing his handgun, and the holster was tied
down. His sheriff’s badge glinted in the light.
14(cut to a wide shot) His deputy stood across the
room, leaning against a post; tall and shy, his wide
shoulders and thin arms comfortable. He, too, wore
his pistol. 
15(tighten the shot) The bandstand platform stood
at the far end of the room. Bales of pungent dusty
hay sat to each side of it for decoration. Barrels,
boxes, benches and chairs were occupied by folks
down both sides of the room to the front door. 
Kerosene lanterns hung hot by the dozens.
16(dolly toward the bandstand) A lean red-headed
farmer in a brown plaid shirt, wearing a bright red
neckerchief, called the dances. He was middle-
aged, and his damp hair hung on his forehead. He
had a large Adam’s apple that bobbed up and down
as he growled out the steps: Heel, toe and dosey-doe.
 17(tighten the shot) There were four musicians on
the platform behind him. Three older men and a boy.
A tossle-haired blond kid in bibbed overalls, and no
shoes, playing an accordion. A bearded older man
played the fiddle. A short fat man played the banjo,
and a very tall reed thin man played the harmonica.
18(cut to medium two-shot) Buck and Salina were
clapping their hands, while others who could not, or
would not dance, stamped their boots to the tempo.
19(jump cut roving the room) dancers whirling, hands
clapping, feet tapping.
20(sound cue) loud music, whooping, stomping, 
whistling and wahooing.
21(cut to a medium wide shot) To the right of the 
bandstand was a waist-high table covered with a
linen tablecloth, and in the middle of it sat a fancy
bowl of moss green punch. Behind it stood Henry
Wallace and Johnny Eagle, as servers. Wallace
was talking excitedly, using his hands, holding
Johnny’s attention. Henry wore an old black suit,
and it still fit him well.
22(cut to close-up) Buck’s face, looking to his left.



Glenn Buttkus

Posted over at dVerse Poets Pub OL

8 comments:

rob kistner said...

I find it fascinating to read your Blackthorne episodes. I hadn't read you in quite a while, I think I have read 7-8 recent episodes, so I don't know many of the plot elements. Do you have a brief synopsis of it printed anywhere? Is this from a screenplay you wrote in the past or are actively writing? Are you seeking to see it as a movie? I am interested. What a complex undertaking my man, very damned cool!

Glenn Buttkus said...

Rob--I have an unpublished novel written in 1967. I began rewriting it as a screenplay several years ago. All 85 episodes are available in my blog archives. As you know, actual screenplays are bare bones outlines. I created "Cinemagenic Poetry" that presents the entire film experience. I direct it, and make all the decisions; quite a delicious conceit actually.

Grace said...

Well I am glad they are having a good time. The ending though, made me think, why?

Enjoyed this chapter Glenn ~ Have a good week.

Sanaa Rizvi said...

Oh oh I feel as though something big is about to happen here and wonder exactly whom or what Buck is looking at? The level of excitement is building!!💜

Jade Li said...

Well we know the "stolen" horse (don't know the backstory on it but will try to find out if there is ever time to look in your archives) belongs to the guy Buck has lifted the lady from, yet he hasn't surfaced in this scene, which, as you know, is tantalizing ;) I like the idea, and your execution, of "cinemagenic poetry".

One more thing: why haven't you published it (if it's info you care to share)?

Kim Russell said...

As you know, I enjoy Blackthorne immensely, Glenn, the darkness and light of the dialogue and the directions. This is a gorgeous scene, with a different feel to it. I love the banter between Buck and Salina, and the small details that tell us a lot about Salina’s character, such as her petticoats rustling and the way she folds her gloved hands. The focus on the table loaded with weapons is ominous and I like the way you describe the hall briefly as ‘a huge knot of people churned all over the floor, and lined the sides’ and then zoom in on the sheriff – also ominous. The sounds of loud music, whooping, stomping, whistling and wahooing really bring the scene to life. But what a cliffhanger – I want to know what Buck’s looking at!

Truedessa said...

Another great segment Glenn. You truly create visual magic with your words. I know trouble is bound to happen before evening ends ;)

brudberg said...

Oh.. love the ambiance, but I do expect something bad to happen...

where is Thor?