bb:
Very bizarre seeming, Hucka D. I don’t like the blood splatter.
Hucka D.:
Neither do they (!). The splatter stands for the red rock and the pointy stick beside it. The rock is blood, true. True Blood.
bb:
Is it simply the noise that bothered them?
Hucka D.:
No. They want to…
bb:
Communicate.
Hucka D.:
Yes. All Seeing Eye. Colorado. Seal. Highlighted Snoopy Nose, like in Shot 61, I believe you’ve numbered it.
bb:
Numbered by someone else.
Hucka D.:
That shot was influenced by The Bills directly.
bb:
Interesting.
Hucka D.:
It is (!) How did they do that?
bb:
Let’s see: *noise* was highlighted by visuals in that shot.
Hucka D.:
Correct, good. Dog. Good dog.
bb:
So The Bill are trying to tell me through this that they did those mistakes in 61.
Hucka D.:
61 is highlighted elsewhere. Rat, for example. And Andromeda[ Strain].
—–
12:06pm:
bb:
So back to the collage (now finished, I believe). The hand is an alien one, seeming to emerge from the rhododendron to deposit the namesake red rock on the ice bank. Red is also on the hand in the form of (fake) blood, as in a movie. The collaged hand is that of not Jack Nicholson’s, as you would imagine if you knew the related scene from The Shining, but Stanley Kubrick’s himself. This is the broad scene…
http://en.wikipedia.org/wiki/The_Shining_%28film%29
Danny writes “REDЯUM” in lipstick on the bathroom door. When Wendy sees this in the bedroom mirror, the letters spell out “MURDƎЯ”. Jack begins to chop through the door leading to his family’s living quarters with a fire axe. Wendy frantically sends Danny out through the bathroom window, but it will not open sufficiently for her to fit through it herself. Jack then starts chopping through the bathroom door as Wendy screams in horror. He leers through the hole he has made, shouting “Here’s Johnny!”, but backs off after Wendy slashes his hand with a butcher knife.
Hearing the engine of the snowcat Hallorann has borrowed to get up the mountain, Jack leaves the room.
… and this is the part about it being Kubrick’s hand that reaches through the door, and from a specific source…
http://www.davidicke.com/forum/showthread.php?t=205856&page=47
After Wendy Torrence has managed to get Danny out of the window, her husband breaches the Bathroom Door and removes the panel closest to the door-handle. After some theatrics, he reaches into the Bathroom to try and turn the key to the Door. Wendy Torrence strikes his Hand with her knife – and his Hand is left with a fairly sizable slash mark. Given the significance of what I have recently described in relation to this Bathroom Scene, it is appropriate to note that the Hand we see entering the gap in the Bathroom Door does not belong to Jack Nicholson, it is actually Stanley Kubrick’s. This point was raised in one of the ‘Makings Of’ “The Shining” – the speaker citing the rationale that ‘he just wanted to do it himself for some reason’. I believe the reason he chose to use his own Hand has been clearly explained by the details in Key 6. His own personal appearance in this scene might be the last known instance of him appearing in one of his films. The only other instance I know of occurred twenty years prior to “The Shining”, when it’s believed he made a brief appearance in Lolita, disguised as Humbert, crossing the threshold into Clare Quilty’s mansion. As far as I know these are the only two occasions when Stanley Kubrick ‘put himself in the picture’.
Hucka D.:
The hand is then alien to the actors in the film — it’s the maker of the film’s instead. And this is the same for the situation in Frank Park. It’s the maker of the park. True.
bb:
Hmmm (again).
Hucka D.:
Do you not believe me?
bb:
Not sure, Hucka. Can you explain more?
Hucka D.:
The park — parks — are a virtual reality, just like a film. The “director” reaching through and displaying his own hand for those that know is a telling sign. Just like in The Shining for Kubrick’s hand, as your mata has guessed. He knows more than he’s letting on( however).
bb:
Let’s see… the red rock is like the splattered blood from the suddenly slashed or cut hand. It’s not a deep wound on the hand in the movie. The splatter even seems to make a meaningful pattern, and I’ve directly transferred this splatter into the collage. Lucy from Peanuts pulls a football away from Charlie Brown, making him fall down. But in the collage, Charlie is missing, although his “air trail” is still mainly present. In depositing the red rock on the bank, the hand risked exposure, and is slashed.
Hucka D.:
The rock *is* the slash.
bb (looking again):
Okay, thinking more down to earth, I could have slipped on that ice on the bridge, just as Charlie Brown (missing) did when Lucy yanked the football away. So it’s me that could have slipped and been hurt. Not slashed probably but still hurt.
Hucka D.:
Yes. But probably not as well.
bb:
Okay… the slip is a *reverse* of the blood splatter. It *slips back* onto the hand.
Hucka D.:
Correct (?)
bb:
In the collage, nothing is hurt, is injured. The injury is reversed back onto the hand. The “director’s” hand then retreats back through the broken door panel — unharmed. The All Seeing Eye is probably that of the same entity. As Kubrick probably created the film mistake over Snoopy’s nose, so we have the same type of effect in Collage 12 here.
Hucka D.:
The title is “Rats!”.
bb:
Thanks for that. Snoopy’s image comes directly from the Peanuts curtain in shot 61 — the same kind of curtain, I mean (and not a direct cull from that scene). Next might be the separation and categorization of black and white rocks. Black and white and then red all over. Red Rock.
Hucka D.:
Correction. The title is “Red Rock”. Sorry.
bb:
That’s okay. “Rats!” may be used later.
Hucka D.:
Apologies once more.
bb:
It’s okay; don’t worry( about it).
Hucka D.:
Black and white rocks next, then!
(12:23: larger ring effect on Peanuts curtain drape as dr. closes case; Snoopy’s nose highlighted)
