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Later: The real estate agent's corpse is dragged across the kitchen and down the stairs, leaving a wide streak of blood; the close-up of blood on the wooden floor is suddenly interrupted by a sponge coming into frame. We wonder for a half-sec if Dr. Freudstein is actually cleaning up after himself, but then see the floor's being cleaned by Anna, throwing down a big mop and bucket. But is she cleaning the blood or was the blood gone before she started cleaning or is she in league with Dr. Freudstein or is Lucy just hallucinating and by now shrugging it all off (or is it dead bat blood). Anna gives her an enigmatic look that could mean a) what does it look like, genius. Since a lot of these signifiers all come from mysteries Italian filmmakers are used to conveying the 'everyone's a suspect with the same approximate build, male and female' suspicions. It even continues with the implication Anna is bringing a tray of coffee into Norman at this desk, but instead in the reverse shot after her muffled voice we realize it's Lucy and shortly after all that's forgotten when we see it's Lucy behind the tray - and that whole aspect evaporates. They can argue that since nothing comes of it, plot-wise, one can argue it's just a waste of time that goes nowhere, Fulci fooling around with the bag of enigmatic stare tricks so beloved of Italian genre filmmakers and French film theorists. But one can argue to the genius of that - for it generates a sense of paranoia and unease if you submit to it, that helps amp up the shocks to come as they seem further and further afield but in actuality are remarkably blunt and close to home, like tricking us into looking at a car driving from far away and then after our eyes have adjusted, stabbing us in the throat from behind with a scissors. Fulci critics wouldn't dare say Hitchcock wastes our time with the Melanie Daniels'-Mitch Brenner meet-cute romance in The Birds or Marion Crane's embezzlement in Psycho. Well, Fulci does the same thing within the confines of wordless stares. Earlier, seeing she's stressed out over the move, husband Norman asks if Lucy's taken her pills (we never learn what they are or hear of them again). Put strong acid in her Valiums and play weird tape recordings of dead husband's voice under her bed (as they do in The Big Cube) and you can get her to jump off the roof into the sea while you're safely miles away with perfect alibis. After the incident in the kitchen with the staring and blood mopping, both parents are out and Anna is alone in the house with Bob, who's playing with his remote control car in the living room, the setting for another of the film's inexorable but natural progressions from one small thing to another until the trap swing shut. First Bob's the car turns a corner toward the kitchen out of his sight; Bob turns the corner wondering why it hasn't driven back; it's gone and there's no sound of it revving; the basement door, which is usually locked, is wide open however. Bob goes down into the gloom to look for it and disappears from view. A moment later Anna comes into frame and calls to him; he doesn't answer.
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Will Robinson, I will tell you a joke. Guide See also The Original â€śCosmic Corkscrewâ€ť by Michael A. Burstein First publication: Analog, Jun 1998 A science fiction writer goes back to 1938 to make a copy of Asimovâ€™s first story before it is lost. I looked at the copy of â€śCosmic Corkscrewâ€ť I held in my hand, and I looked at the Chronobox. An Eloi Silver Medal Winner Twice Upon a Yesterday aka The Man with Rain in His Shoes, aka If Only by Rafa Russo (Maria Ripoll, director) First release: 30 Aug 1998 A year after he left his long-time girlfriend for a fling, actor Victor Bukowski hits rock bottom and desperately wants her back on the eve of her wedding to another. So, when two Spanish rubbishmen find him falling down drunk into a trash bin, they send him back in time for a second chance. And then I tried to go back to Sylvia, but it was too late. Guide An Eloi Honorable Mention â€śTime Gypsyâ€ť by Ellen Klages First publication: Bending the Landscape: Original Gay and Lesbian Writing, Sep 1998 Thirty-year-old Dr. Carol McCullough, a physics post-doc at Berkeley, worships Sara Baxter Clarke, a rare woman physicist who died in 1956 before she could present her paper giving an argument for a practical tempokinetics. I'm offering to send you back in time to attend the 1956 International Conference for Experimental Physics. An Eloi Bronze Medal Winner â€śThe Truth about Weenaâ€ť by David J. Lake First publication: Dreaming Down-Under, Sep 1998 David Lake is a noted scholar on Wells and author of Darwin and Doom: H. . Wells and the Time Machine wherein he notes that Wells knew of the paradoxes involved in time travel, but did n â€™ t want to address them in what he saw as a serious story about social trends. So, Lake says, his own Weena story is a shot at showing â€śwhat really happens in backward time travel,â€ť which in this case is a model where backward time travel causes the universe to split. Lake handles the idea consistently, although for me, Lakeâ€™s afterward to the story fails to fully acknowledge the history of the split-universe idea, and the afterward does not give sufficient credit to single timeline alternatives. On the other hand, I love stories that tell us what truly happened in another well-known story, and Lake handles that well, telling us in the voice of the original narrator about what truly happened to the Traveller (for so it will be convenient to speak of him) after he first returned to 1891 and subsequently set out to rescue Weena. Well, in its hitherto published form it was partly fiction, because at the timeâ€”1895â€”I could not write the full truth.
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