leans forward, peering into the camera, then pulls back sharply and
beckons O.S. to left as he swings the door closed again.
More BOOTSTEPS approach from the left. We hear brief, low-pitched and
urgent WHISPERS from beyond the door.
is opened again, and MAJOR STORMONT HARRISON and a uniformed Confederate
SOLDIER have joined WILLIAM in the narrow corridor.
MAJOR HARRISON, an aging North Carolinian gentleman in civilian finery,
turns from WILLIAM towards the camera, leans forward and braces on his
legs, hands mid-thigh.
The camera angles up towards the ceiling and a single, very loud GUNSHOT
rings out. The camera jerks once, sharply, THE SCREEN flashes deep red,
and suddenly we are looking upwards inside the WALL CAVITY of the house,
dimly lit from below. O.S. we hear the DOOR close again.
INT./EXT. THE MANSION AND BEYOND - NIGHT (CONTINUOUS)
As the camera rises vertically in the wall-space, the OPENING TITLE MUSIC
begins and the OPENING CREDITS begin to appear. The camera then drifts
into the roofspace of the mansion, turns horizontally and passes through
a rough brick wall into an attic crowded with strange objects and suffused
in an unearthly radiance. As it moves along the length of the attic,
slowly picking up speed and beginning to swing from side to side,
creatures, floating glyphs and half-human faces emerge from the attic's
contents like psychedelic hallucinations, increasing in intensity and
becoming more animated as the camera progresses. Just as it seems the
room must come to an end, the camera's swing-to-the-right takes it out
through the roof itself, spinning dizzyingly, the mansion and countryside
below barely glimpsed, into a night sky alight with stars.
Still turning, the camera arrows upward towards the supernaturally
dazzling Milky Way, as the atmosphere thins and falls behind. The MAIN
TITLES appear as the camera dives towards the heart of the galaxy, the
distant stars approaching much too fast. Then suddenly the camera swoops
upwards again in a long curve and begins to skim over what is now clearly
a broad, black, still expanse of water with the stars reflected in its
surface. Now the great, dark gash in the side of the Milky Way has become
a long, narrow runway on the lake's surface, with an even blacker hole,
a frozen whirlpool of night, waiting at its end. When the camera reaches
this hole, it tips down into it, falling into an abyssal darkness as the
final CREDITS run.
Far below, a twinkle of orange light appears, and grows quickly into a
warm blaze of burning wood and coals. Just before the camera falls into
this fire, it swings upwards once again and emerges from the hearth of a
small smoking room where three men, one of whom is MAJOR HARRISON, shake
hands and drink over a tableful of maps, ledgers and documents. The
camera, moving like a small bird, circles the room before plunging
through the wall above the door opposite the hearth, along the top of a
short passage, through a second wall and into a well illuminated hall
where a small crowd of men, nearly half in military uniform, sit or
stand around a large oak table. They are in the process of a toast, and
as the camera swoops and dives through the crowd, heading towards a
corridor opposite, we hear: