Here’s a photo someone on the yahoo group uploaded today, apparently from the filming of How Much A Pound Is Albatross? They point out the script binder on the car, and the lights on the windscreen for close up shots.
Interesting to compare it with that reunion pose below, from 1989.
I like this scene. When Buz shouts out to Tod ‘Please don’t, buddy, I love you’, but he says 'I love ya’ not 'you’ because he’s a guy and guys say 'I love ya’ just like they thump each other a lot when they hug, so that no one gets the wrong idea. But it’s too late, because we’ve already got the wrong idea - and besides, just look at that clinch. No thumping there. Probably because Tod would fall to his death, but that’s by the by. They’re going to go back to their room and they’re going to have, Oh-my-god-you-almost-died-but-you-didn’t emotional relief sex.
The rules of the song meme - put your ipod on shuffle. Write a piece inspired by each song that comes up as it plays. Stop when the song finishes. Simple.
(NB. I cannot write Buz’s dialogue. I can barely write Tod’s. I have fifteen years of channeling Spock and Star Trek. I don’t have that store of knowledge for these two :-( )
1. Concerto in Do Maggiore, Rv 444 – Allegro Molto – Vivaldi (2:47)
The scenery was a blur. Every imperfection in the road jolted through the chassis and pushed up through the leather of the seats, making Tod’s teeth rattle.
‘Hey, come on, tiger,’ he said eventually. His hand was braced on the dash, not that that would help if they came to a sudden stop. ‘You’ve got a right to be angry, but I don’t want to die – not quite yet.’
‘I’m not trying to die,’ Buz said through clenched teeth. The air was whipping at his hair, smoothing it back from his head. His eyes were burning.
‘Then easy off the gas, buddy,’ Tod urged him. ‘I know some things were said that should never have been said, but you can’t run away on an open road – not from words. Not from people’s minds.’
1. Tod answers the door in some very nifty pyjamas, and Carrie runs into his arms, crying out that someone’s after her – but he can’t see anyone in the stairwell outside.
2. She thinks there’s a curse on the money she has. It must seem so, after living a life of poverty.
Tod seems pretty lively considering how hard it usually is to get him to wake up. Maybe he was waiting up for Buz?
3. And speak of the devil… Tod opens the door as if it’s a masked hoodlum outside – but no, it’s just Buz, rather surprised at his welcome.
4. ‘A doorman at five o’clock in the morning?’ he asks Tod. When he turns and sees Carrie he’s even more surprised. There’s a look of, ‘Tod, you old dog,’ on his face.
5. Carrie knows exactly what he’s thinking, and is ashamed.
6. There’s no end of insinuation in Buz’s looks. Raised eyebrows, glances between Tod and Carrie. All he says is, ‘How about some – er – scrambled eggs?’ But it is obvious in these early episodes that Buz may be a Good Guy, but he’s No Gentleman. He’s thinking the business of the night is over and it’s time to get to breakfast. Good on you, Tod, and all that jazz.
7. I have to say, I rather like Buz in this scene. You get the sense he’s a little tipsy. When Tod asks if he saw anyone outside he replies, ‘This is the witching hour. The night people have dug in and the day people are waiting for the message – six o’clock alarm.’ (I suppose that makes Buz an anomaly) ‘How do you like ’em?’ he asks Carrie glibly. ‘Hard, or runny?’
8. Obviously the glib mention of eggs was too much for Carrie. Finding herself holding four thousand dollars, being scared off the boat by Gant, chased by a stranger, and then suspected to be of loose morals by Buz – she starts to sob and rushes to Tod. Buz probably seems like something of a bastard to her right now. You get the feeling Tod isn’t sure what to do with an underage girl in a flimsy dress hugging him in his nightclothes.
9. Buz is still wondering what’s going on.
10. Tod gives Buz a look. Perhaps one day they’ll park up in that Corvette for a few minutes and Tod will teach Buz some tact. Buz offers Carrie waffles, instead, but I don’t imagine that goes down any better.
1. Sandy races up the board jetty, running his own kind of race now.
2. And Tod is suddenly the hero driving the speedboat.
3. Everything is the noise of engines and the feel of speed and spraying water.
4. And Tod is winning!! Tod is victorious! He catches the other boats from behind and pulls ahead as if they were carts and he was in the Corvette.
5. So we’re left with the image of the boats and Tod winning, and his voiceover.
‘Whoever fights the future has a mortal enemy. A faceless enemy, because the future has no being of its own. It steals its being from each man and once it’s tricked him of his secrets it appears outside him, a predator he must meet. But it can be met and it can be vanquished, if only you reach out for it with open arms and a hungry heart.
1. That moment of realisation. Have you noticed how different Buz’s face looks when he can see? Less – flat – or something.
2-3. He can’t believe his eyes – literally. As he realises he starts to sob.
I love this scene, from him pulling her into the alcove to the end. It’s just perfect, and oddly heart wrenching.
4. She reaches out her hand as she hears him crying, and he realises and grabs it and rubs it to warm it. There’s such tenderness in this.
5. ‘Don’t cry, baby. It’s all right,’ he tells her.
She is like a little child here, held in his arms, and it seems that all his feelings for her are spilling over.
‘I didn’t want to hurt you. I didn’t want to hurt you,’ she murmurs.
‘I never could have made it without you, baby,’ he cries. ‘I drew my strength from you.’
‘I didn’t want to hurt you,’ she repeats as if it’s a litany.
‘How could you hurt me?’ he asks. ‘How could you hurt me because you loved me?’
6. She shushes him, and pleads, ‘Don’t cry.’
Damn, I wish they could carry on after this episode for a bit, instead of Buz getting back in that car and driving away. Is it wrong to wish his sight hadn’t come back just so they could be together? I think he might have reconsidered his feelings after this.
7. ‘Don’t you understand?’ he sobs. ‘I’m crying because I can see.’
She seems too far gone from the shock and the cold to properly understand, to take in what he’s saying.
8. Oh my god, the acting here is just sublime. (sorry for gushing. But just watch it instead of reading this.)
‘Celia, I can see,’ he repeats. ‘I’m looking at you, and – the tears.’ And he touches her tears, and then his own. ‘Celia, I can – I can taste tears. I can – I can touch tears. But I’m crying because I can see the tears that I’m crying.’
He keeps stroking her face and looking at her.
9. And he rests his head against hers, stroking her cheek and sobbing against her. Oh lord… *Anna dies of the adorableness*
10. So, perhaps this is the next day, perhaps more time has passed. Everyone’s lined up to say goodbye to Buz. It’s all very believable as he takes his leave of each one in turn. He tweaks his Braille instructor’s nose and calls him, ‘Baby.’
1. Buz notices that Tod is more than a little distracted.
2. ‘What’s the matter? Don’t you like the outfit?’ Buz asks in a dull voice. ‘Very chique. All the swampers dress to the teeth. Like you say, if you don’t – no teeth.’
I wonder if Buz is impossible to stand when he’s depressed. I imagine he might be.
3. ‘This isn’t just another girl, is it?’ Tod asks. Oh, Buz, you are so lost… ‘Cheer up. Look, it’s a big thing. It should happen to me. Buz, sooner or later it was bound to happen, the way we’ve been kicking around. One day you’ll walk around a corner and, bingo, there she is, size 10, the look in her eye, and all the chemistry going, and in one big flash you see your future.’
4. Buz seems so troubled by it all. Is it her, is it the thought of settling down? Poor guy. He’s fallen in love with a millstone.
5. ‘Well, we’ve got twelve hundred bucks in theDenveraccount. Half of that is yours. Whatever we make here, we split fifty-fifty,’ Tod says cheerily. Then he adds with intense feeling, ‘I’d fly a grapefruit crate from one end of this valley to the other ten hours a day if it would help you get started, and if it would get Christina smiling again.’
Now, that’s friendship. In Even Stones Have Eyes Tod offers Buz one of his eyes – if he could, that is. Dammit, Buz, you can’t give up friendship like that for a worn out chanteuse who’s never going to be happy with you.
‘And if anything bugs you,’ Tod tells him, ‘well, you call me. I’ll spray it down with tep.’
NO BUZ, DON’T GO WITH CHRISTINA!!
6. Meanwhile, inside… Summers is ignoring the fact the doctor says he shouldn’t fly because his blood count is ‘forty percent of normal.’ Summers makes tea with his gloves on and tells Mrs Windus a tale about the war. Presumably the plan is to charm her with so much Britishness that she forgets about his blood count.
7. Mrs Windus tells him she’ll shut the field down. ‘How do you think Jack will feel about that?’ Summers asks. Interesting use of tense there… But to stop her closing the business, Summers determines to dust with sulphur.
8. Mrs Windus tries to stop him, but there’s nothing she can do.
9. Skeats obeys Summers rather than Mrs Windus. Buz’s reaction shot reminds us of the seriousness of all this. Suddenly I’m wondering who Skeats and Summers are working for – Mrs Windus or her husband’s ghost?
10. Buz tries to speak to Summers but Summers tells him, ‘No words, Murdock.’ There’s a sense that he’s passing the baton on to Buz. They don’t need to speak because he’s hoping that Buz will take his place.