57 Days in Redemption, part 2

DAY 28 - Mon., 1/3/94: Call was 6:30 am. New year, nice day, not too cold. From 9:15 to 10:45 am, scene of The Kid's wedding party leaving the Monte Carlo afterwards. I'm WAY in the background drinking booze with Burl (guy in the top hat). Originally, I was placed there with Burl and Bob Elliot but Bob was re-placed closer to the camera. From 11:50 am to 12:50 pm, Steadi-Cam shot of same scene. This time they moved Burl, so I was left alone with no drinking buddies. So far in the background that it didn't really matter. Just ad-libbed. Nothing for me after lunch. Wrap at 4:40 pm.

DAY 29 - Tue., 1/4/94: Call was 6:30 am. Another nice one, rather cool in the morning, but supposed to get warm. Tucson forecast: 78 degrees. Quite a crowd today. All morning shot scene right after The Kid's wedding. In one angle, I come in from off-camera, then rush camera-right to left to join crowd congratulating couple in front of the Monte Carlo. In another shot, I'm inside the Monte Carlo among a group that comes OUT to join the congratulatory crowd. After lunch we started shooting the Ellen vs. Cort gunfight. In the master shot (a brief shot of both approaching their positions in the street), I'm across from the Pigeon's Nest (Herod is on the porch), camera-right and even with Cort. This will be continued. Wrap at 5:30 pm.

DAY 30 - Wed., 1/5/94: Call was 6:30 am. By the time we got on set, the wind had picked up. All morning, more angles on the Ellen vs. Cort gunfight, including no-draw when the clock strikes. Herod is giving them a countdown from 10 to draw or the Councillors will kill them both. Cort draws on one and fires, Ellen falls. I'm in the same place (see yesterday) throughout. Windy, blowing dust (natural). Could it be stirring up negative ions or something? People seem to be irritable and short-tempered. Even I have less patience with the crowds, lines and assholes (people were crashing lines last night). After lunch, sat around until about 4:30 pm, then another shot of same. Wrap was about 5:30 pm. We're told that Sam Raimi is sick, so no work Thursday or Friday.

DAY 31 - Sun., 1/9/94: Call was 6:30 am. Another big crowd. 7:45 am - finally got through the lines. Pissed, because, when I got to where there was only one person ahead of me in the make-up line, Jim sent me to the main make-up trailer. There were about 6 people in that line. After 2 of them got in and 2 line-crashers, they sent us back to the other trailer where there was now a line of 6-8 waiting! Had to go through the make-up line 3 times! Also extra pissed just because the Redemption Flu is still getting to me. In fact, was feeling it yesterday. Went to bed at 6:00 pm last night! Nothing for me before lunch (except one false alarm, but it was OK because I feel out of it today). Nada after lunch until 3:30 pm (good, because by then I felt better - like working). Did end of same scene, where Cort rushes Herod who meets him with a derringer. He's knocked out by Ratsy after landing a couple of punches on the Coucillors, kicking Mike Stone in the balls. I'm in the same place.

DAY 32 - Thurs., 1/13/94: Call was 8:00 am. Beautiful day. 40 extras working. About 12 or 12:30 pm - Scene where Cort is taken to Fee's Gunshop to get a gun for his first gunfight. Dolly shot. I'm on north side, start on bench, then go up to Mark Bustamonte at the hitching post [west end of saloon] to wager on the fight. Have beer and cigar. More of same after lunch. Wrap was around 5:15 pm.

DAY 33 - Mon., 1/17/94: Call was 8:30 am. A small crew today. Heard 25, but seems like fewer. Got my hair trimmed this morning for the first time since day one. About 11 am, started shooting Scene 15, inside the saloon at 9:00 am [in the story]. Ellen enters. Herod is at the bar with some Councillors. Dog Kelly, still chained to a wagon wheel, challenges Ellen to a gunfight. I'm passed out (drunk, asleep) at a table in front of the bar. When Horace announces "Kelly fights the Lady at 7:00 tonight", I briefly come to, look at the tote-board, then drop my head back down on the table. Expect to be shooting this scene all day. Nothing for me after lunch until 6:40 pm as they were shooting closeups and other angles. Just before dark, they released everyone who wan't in this scene, leaving only 4 or 5 of us. I played horseshoes with a crew guy named Gary. When I was down 16-6, I said I'd start my comback now. Did. Tied him at 16-16, but lost at last light, 21-16. At 6:40 pm, worked the last shot of Scene 15 and of the day. Wore my "Darkman" cap. Sam Raimi goes "Where did you get that hat?" Earlier, in the morning, got on a first-name basis with some of the other AD's, since Jim was sick and left the set about 10 am, including John Cameron, the 1st AD on this as he was on "Army of Darkness". Asked him, if I really fell asleep [while playing passed-out on the table] would someone wake me for lunch and would I need to say the magic words. He looked puzzled and I said "Klaatu Borada Nikto". He laughed and said "Oh, you saw it! Now you know what kind of nut you're working with". I said "That makes 2 or 3 of 'em". All in all, a really great day.

DAY 34 - Wed., 1/19/94: Call was 7:30 am. Beautiful day. Forecast is for 80 degrees in Tucson [Mescal is about 2,000 feet higher in elevation than Tucson]. Small crew of extras. Nothing for me in the morning. Was taken to set, but not used (was the "extra" extra) in a saloon scene with Spotted Horse bragging about all the bullets he has taken. Did a couple of shots in the saloon after lunch, one where Doc enters as Councillors take out an old Mexican to kill him. I cross from camera-left to right. Another where Ellen gets up from a table. I stand with Scott between the camera and Ellen's table. We're talking, smoking, laughing and drinking. One of a few asked to stay late, but not among those used. Wrap at 7:40 pm.

DAY 35 - Thurs., 1/20/94: Call was 7:30 am. Another gorgeous morning with a small extra crew. Nothing for me all morning. Nothing for me after lunch. Never set foot on the set today. Wrapped earlier than those who were working, just after 6:00 pm.

DAY 36 - Fri., 1/21/94: Call was 7:30 am. From 10:40 am to 12:30 pm - Scene in saloon right after gunfight between Ellen and Eugene Dred (earlier, in the rain). I start near Spotted Horse looking out a window (camera-right). I watch Ellen enter and cross to the bar, then sit down at a table with Larry. Dred enters and fires, exploding the glass in Ellen's hand. I'm right in front of him, right in the line of fire. I (and almost everybody) hit the deck. Good scene. After lunch, continuation of scene. I start on my hands and knees under the table. Originally, they cheated me so close to Eugene Dred (to block the wires running to him) that they said I would get blood splattered on me from the squibs. After adjustments, they moved me back around, even beyond my original place (but closer to the camera). Stayed there while Ellen fans off 3 shots into Dred. Later, a continuation of scene where Ellen exits the saloon with stunned look on her face. As she approaches me (she would have walked right into me), I get to my feet, get out of her way and watch her as she exits. Wrap at 6:55 pm. NOTE: Where I have been during all of the elements of the scene which starts in the saloon while Eugene Dred is upstairs raping the young girl who, earlier, had befriended Ellen, then she and Dred fight it out in the street (in the rain), she shoots him in the crotch, then, refusing to finish him off, goes into the saloon, Dred enters, fires at Ellen, she returns fire, killing Dred who is thrown through the saloon doors onto the porch in front, then Ellen exits the saloon while some scavengers scramble to pilfer Dred's body:

I'm NOT in the saloon while Dred is upstairs.

I'm in the street, on the porch of Kid Fee's Gunshop, during the actual gunfight (in the rain).

I'm in the saloon immediately after the gunfight to watch Ellen enter, and during the gunplay there.

I run into frame from down the porch to pilfer Dred's body outside the saloon.

[the strange thing is that I'm seen in all three places in the movie]

DAY 37 - Sun., 1/23/94: Call was 6:30 am. Many extras today (heard 90) to do pickups for the Herod vs. Ace Hanlon gunfight. Managed to catch the first van, got to base camp before 6:30 am and beat the lines. Ready by 7:15 am. Nothing for me all morning. From 2:30 to 3:00 pm, in re-shoot of sloseup of Kid's gun firing (Kid vs. Herod now) with computerized camera dolly. Did nothing but stand on the same mark for the shot, then back to base camp. That was all. Wrap was 5:30 pm.

DAY 38 - Mon., 1/24/94: Call was 12:00 noon. New schedule. More like my normal operating hours. Splits for a while, noon to midnight. From 4 pm to lunch, scene in the saloon at the beginning of the Day of the Dead celebration. Horace announces the start of the gunfight competition. I'm on the balcony, camera-left side of the railing. I stay there throughout this shot to block a light. From 7:30 to 10:15 pm, more of the same. From 10:45 to 11:30 pm, crowd outside partying seen (out of focus) through the saloon windows. Bonfire. I'm one of 5 torch-bearers meandering through the crowd. 11:50 pm, pizza from the Quik Pik. 1:10 am, more torch-bearing. Wrap at 1:45 am.

DAY 39 - Tues., 1/25/94: Call was 1:30 pm. Storm moving in. Very windy. Forecast is for wind, rain and cold. Body clock not reset...set alarm for 11:45 am, but woke at 10 am (went to bed at 4:30 am). From 4 to 6:30 pm, more saloon stuff. Dolly shot of Herod's point of view entering saloon. I'm on the landing of the staircase, next to Sgt. Cantrell, looking at tote-board, then retreat up the stairs as Herod approaches. Next shot, Ace Hanlon and another gunfighter dressed in black face off. I'm back at the same railing at the top of the stairs, next to Virgil Sparks (the Pride of Texas) and two whores, again blocking a light or something. From about 9 to 10 pm, more torch-bearing outside. Like last night, but colder and windier. Never did rain any and wind died down late in the afternoon, but temperature dropped and there is still some wind. Wore longjohns. From 10:30 to 11 pm, more torch-bearing, as before but in only one take. 11:45pm to 12:30 am, more of the same. A short break back at base camp, then more of the same until 1:40 am (a lot of walking back and forth, base camp to set). Wrap was at 1:52 am.

DAY 40 - Wed., 1/26/94: Call was 2:30 pm. Sunny, but windy and quite cool. 4:30 to 7 pm, more shots of the "Herod enters the gunfight contest" scene. Same as before (yesterday, but different angles), where I start on the landing, camera-right of the tote-board, next to Sgt. Cantrell, then retreat up the stairs as Herod approaches. Keith David (Sgt. Cantrell) and I, since we have been placed together a couple of times now, him in a Yankee uniform and I as a Confederate, have developed a little bit of business of our own. We occasionally give each other glances as if to say "I'm not quite sure I completely trust you". This is fun. During the times mentioned (4:30 to 7 pm) did two shots with some time waiting in town for camera reset. At about 7:45 pm, a DPS helicopter arrives. One of the extras, Frank, an older guy who resembled and walked like a penguin, died of a heart attack. As soon as the chopper takes off, we're immediately taken to the set for another shot during the "Day of the Dead" celebration. Was deeply struck by the irony. The title of the movie. The particular celebration going on. However, on the set (it was, by far, the quietest the set has been with everyone out there) found out that the initial report had been inaccurate. Jack was not dead when air-vac'ed out. Word is he has a 50-50 chance. Heard at lunch that he had died after all. Was a nice guy. Walked like a penguin because, as a POW in WWII, the Japenese cut off all his toes. Still...the irony. 10 to 10:45 pm. Official word via Jim. Frank Pilney died at the hospital after about 30 minutes. 11:50pm to 12:45 am, more inside the saloon. Wide shot starting with Herod's entrance. I do my same business, maybe barely in frame, camera-right. Shot went beyond my action as Cort is dragged in, has dialogue with Herod, rope is slung upward toward a beam. I'm well out of frame by then. 1:30 to 3:30 am, stayed on set and did torch-bearing now and then. Arctic parka works. Cold. They let us stay inside the Monte Carlo with some heaters. Is it because they had been marching us back and forth frequently for a few days and Frank dropped dead (the Set Nurse, Pat, said "He was dead when he hit the ground") on the way back to the trailers from doing a saloon scene? Wrap was 3:30 am.

DAY 41 - Thurs., 1/27/94: Call was 3:30 pm. Weather is OK, but supposed to worsen. Until lunch, more shots of the scene where Cort is dragged into the saloon and "hung". I'm still at the top of the stairs. Worked in the saloon all day, so didn't make notes along the way. Long day, got paid for 13.75 hours. On the balcony, camera-right of the chalkboard, through the Cort-on-chair-with-noose scene. When the clock strikes and Horace announces the contest entries are closed and free drinks, all us outlaws whoop and holler and fire our pistols in the air. Did this between 3:45 am and wrap at 5:20 am. (Jonathon Gill, who plays Spotted Horse, with the assistance of Michael Carlos, did an Indian ritual to honor Jack Pilney. It was on set, in the saloon sometime before lunch. It was touching and meaningful.

DAY 42 - Fri., 1/28/94: Call was 4:30 pm. Snowing fairly heavily. Some accumulation already. 8:15 to 9:20 pm, camera inside saloon. I'm outside torch-bearing. Wet, muddy. Stopped snowing around sundown. Not too cold, but could be if the sky clears. Joking about the "Redemption Mud Festival" and "Visit Beautiful Lake Heord, we're putting in the marina tomorrow". Left my pistol inside a building to be safe and dry. Picked it up on the way back to base camp and dropped it into the mud. Cleaning it now. After lunch (toward midnight) more torch-bearing. More of the same, off and on, throughout the night. Became an awesome visual spectacle with fog, rising steam, smoke, the moon, etc. Wrap was at 4:38 am.

DAY 43 - Mon., 1/31/94: Call was 5:00 pm. To be partially clad in the Bordello tonight, I'm told. Glen [Ralston, in Wardrobe] is issuing longjohns. Small group of extras tonight. Glen ran out of longjohns large enough, so get to wear my undershirt (the one from my usual wardrobe), pants, hat and boots. Nothing but sitting and waiting until lunch. 1:45 am, called to set. I ended up in the lobby/bar of the Bordello. Ellen enters. Steadi-Cam leads her into the Bordello as she looks for Cort. I'm near the entrance. As the Steadi-Cam passes me (I stayed back to make room for it), I step in and, by the time I'm in frame, I'm talking and laughing with two whores on a couch, camera-right. Scene is quick and busy. Glen (from Wardrobe) is dressed as a councillor with guns. He's near the front door. John Cameron is the new Bordello owner and is dressed fancy with a mustache and goatee. Ellen shoves him into the bar as she passes. I later told him he looked "marvelous" and asked if that was a Klaatu Borada Necktie he was wearing. Backing up a bit, since I was late for breakfast, I went to Craft Service for food earlier. While I was there, Sam Raimi came in. I was wearing my Darkman cap. I told him it would be so cool if he would sign it. He said he'd be glad to anytime. Wrap was about 4:40 am.

DAY 44 - Tue., 2/1/94: Call was 4:30 pm. 85 extras today. Big street celebration scene. About 8 to 9:30 pm, more torch-bearing in the street. About 12 to 1:30 am, surreal scene with Ellen walking through the alley with all kinds of stuff happening, like a whip breaking glass, a fist fight, shooting, Eugene Dred dragging a woman out the back door of the saloon, masked men, torch-bearers, etc. I'm the last torch-bearer as we run through the scene, camera-right to left, screaming like banshees. Torch-bearing is challenging tonight with swirling wind and lots of flammable material like crepe paper hanging overhead, etc. From 3:30 am to wrap, Ellen rounds the corner, walks up the saloon alley. I'm torch-bearing in the crowd. Carnival atmosphere. Camera, on dolly with crane, ends up at the shooting gallery [Injun Bob's]. Got very cold. Reminded me of 2 cold nights shooting the wedding reception for the last episode of The Young Riders, especially when they played the same (and same recording of, I think) the very same waltz-like ditty they used in that YR scene. Wrap was 5:45 am.

DAY 45 - Wed., 2/2/94: Call was 5:30 pm. More of same as yesterday, but forecast is for not as cold or windy. Cloudy at 6:00 pm. First, from about 7:45 to 8:15 pm, partying people in the street in front of Injun Bob's Shooting Gallery. Old town Doctor seen in center. I'm one of 5 torch-bearers roaming. A propane heater (like the ones used for heat in Craft Service, etc.) is mounted, heat side up, below and in front of the lens for effect. Nothing else for me before lunch. 1:00 am, worked in saloon with Second Unit. Stunt-double for Cort (R.J.) runs in (scene was he was thrown in) across floor into chair which breaks. Camera A is low dolly shot along floor. Camera B is on the landing looking down. My feet (only part seen) are in the foreground for Camera A, camera-left and nearest to where Cort ends up (very close to the camera). Should get some Nike commercials for this! Done at 1:45 am, then straight to the street scene continuing where we left off last night at shooting gallery. The Kid and Eugene Dred almost get into a gunfight, but Herod breaks it up by shooting from his house. Crowd scatters. I have torch and make one cross in background. Done at 2:45 am. From 3:30 to 4:45 am, Dred and The Kid confrontation at the shooting gallery. I have a torch. Watch, leave, return, watch, leave. About 6:10 am, taken to set, another angle on The Kid in his confrontation with Dred at shooting gallery. Did as before with torch until light in sky. Wrap at 7:05 am.

DAY 46 - Thurs., 2/3/94: Call was 7:00 pm. Small group tonight. Nothing for me before lunch. About 2 to 2:30 am, out to set to record wild audio tracks, including cheers, boos, applause, talking, murmuring, shock/surprise, etc. This was fun. 3:45 to 4:50 am, more fun. a shot of a group of us firing our guns in the air at midnight for the start of the festivities in the street (between the Old Bank Saloon and the Tatoo Parlor) with the clock tower (showing 12:00 and with Councillors) in the background. There are maybe 15 to 20 of us with Mark Bustamonte in the foreground and Jake and a new guy, both from firearms, at the rear of the group and raised, standing on apple crates. They are the only ones to have 2 pistols each. I'm in the center and rear (because I'm tall) of the rest of the group and in front of the 2 from firearms. Camera booms during the shot, but I believe it only sees our arms, hands and guns. Maybe the top of a few heads. Did 3 takes with 6 rounds (brass, very much smoother than the plastic blanks we were given in the saloon last week. Got a couple of empty rounds from the new guy who was loading and unloading my pistol, which works great. Also, half-loads this time instead of the quarter-loads we used last week) each time. We were told to (not just asked if we wanted to) wear ear protection. I did on the first take, but it very much detracted from the overall experience, so removed them for the other two takes. No problem. Not that loud. Enjoyed, but wish we would have done a few more takes. Wrap was at 4:50 am.

DAY 47 - Fri., 2/4/94: Call was 4:30 pm. Warm, but windy. Hope it dies down by dark. Nothing for me before lunch. Never worked at all the entire night. Never even put on my boots. Never strapped on my 6-shooter. Never put on my Confederate Hat (wore the Darkman cap). Played a lot of electronic poker. 1 am, started playing Cribbage with Bill Richards. Soon, the bus driver picked up a guitar that someone had brought in and laid into a series of lively tunes. From truckin' songs to Eagles and even did the Moody Blues' "Never Comes the Day"! He's good. Jim came in and wrapped all but 3 or 4 of us, me included, at 3 am. Thought we'd have to forcibly take the bus driver away from the guitar kicking and screaming. Also, for the first time I started to feel the dread, the knowledge that I will feel very, very sad when all this is over. I am emotionally attached to this movie. It has touched me very depply. I've loved every minute. Even if I get as, or more, involved in future projects, The Quick and the Dead will always be special. It's because I love this movie. I'm sure I would love it if I were to just see it having had nothing to do with it. The final wrap is drawing near, but there is still more precious time to savor my outlaw life in Redemption.

DAY 48 - Wed., 2/9/94: Call was 9:00 am. Gray, overcast, damp, cool. I'm told we'll be shooting interiors today, as were cancelled yesterday due to rain. Wouldn't you know, after they went to so much trouble and expense to make it rain when the weather was beautiful, now that they need good weather, it's rainy. About 12 to 2 pm, went to set but not used (we're all with Second Unit today, with First Unit filming at the cemetary). Finally got the chance to snap some pix around town. Hung around set all afternoon, inside saloon for crowd-reacts to announcements of opening of gunfight competition. Was in the last shot in foreground as above is announced, along with free drinks, food and women, and Gutzon signing up a Swedish Champion. It was like a film school project, i.e., Second Unit folks were like wanabe directors, director of photography, etc. Wrap was at 7:45 pm.

DAY 49 - Thurs., 2/10/94: Call was 8:00 am. Thick fog over the area today. As we pulled into the road leading to the set, couldn't even see the town or base camp from there. 65 extras today. About 10 am to 1:45 pm, shots of final gunfight, Herod vs. Cort. I'm camera-right (when looking toward Herod's house) in front of and east of the Tatoo Parlor. Two angles shot before lunch. 3 to 3:40 pm, another angle of same. 4:50 to 5:05 pm, more of same. Wrap at 5:05 pm.

DAY 50 - Fri., 2/11/94: Call was 6:30 am. Huge crowd today. Oh, well...at least I'm here. 9:45 am, not in the first group to go to set (they're not seeing the south side of the street where my position is), they're back now. Got some pix of me with Pat Hingle and Roberts Blossom, also Bill Richards with the same. 10:40 to 11:30 am, went to the set but not used - Jim's saving me as a "safety", but seems like the lowliest job on set: standby extra. After lunch, on set all afternoon. More angles, same scene, same place. Then, more foot-shots with Second Unit in the saloon - Herod's entrance with his spurs. 4:30 pm, thought it would be a wrap but, instead, back to the saloon for wild audio tracks for the "opening of competition/signing up gunfighters" scene. Wrap was at 5:10 pm.

DAY 51 - Sun., 2/13/94: Call was 6:00 am. Cold morning. Don't feel well. Felt like shit all day yesterday. Neck doesn't hurt as much today, but feel like it's the Redemption Flu, Part Deux. Nothing for me before lunch. I knew this would happen! I told you so! Bruce Campbell is on set today for that cameo I know he'd be here to make. Around 3 pm, a few extras taken to the set for a shot of The Kid's wedding scene to include Bruce Campbell. Felt better after 9 hours rest, so went to the set "to get some sodas from Craft Service". Saw Bruce Campbell, but all were busy with rehearsals, so couln't get his or Sam Raimi's signatures on my "Darkman" cap (bought a white pen to write on the black cap). Went back to bas camp. Restless, so went to armory to give Frank a copy of the photo I took of him. Heard on the radio that they were rolling on set. Went back. Then everyone went to the set about 4 pm. Did a shot of just prior to The Kid vs. Herod gunfight. Bruce Campbell will be seen in the crowd of onlookers. Prior to shooting, he signed my cap, but had to send for a sharpie because he had trouble with the white pen. Also got photo of him (wearing the "Darkman" cap) and me. Was fun. Wrap was just before 5 pm.

DAY 52 - Mon., 2/14/94: Call was 6:30 am. Some clouds, could have potential, warmer, not as windy. Gitting tired of the large crowd. Nothing for me before lunch - they're doing pickups of the Lady vs. Dog Kelly gunfight, where I was seen in an earlier shot on the Boarding House balcony with Doc, Keith David and whores. Couldn't be cheated in, so didn't work. At lunch call, all the extras went to the set for a group photo taken by the Set Photographer. Worked one brief shot after lunch, same scene. I'm on the Boarding House balcony with Doc, two whores (different ones this time). Nothing else for me today. Wrap was at 5:35 pm.

DAY 53 - Sun., 2/20/94: Call was 7:00 am. Weather OK. Lots of extras. To work through Wed. Could be the last. Makes me not mind the crowds so much. Nothing for me all morning. Bummed. Hoped to be present for the explosions, but hear only 3 worked. Odds were against me, I guess. Nothing at all for me after lunch. Beginning to think I won't be used at all in this scene (aftermanth of final gunfight and explosions), let alone the role I had requested, and am fated to spend the rest of my time on this movie sitting on my butt. Bummed. Wrap was at 6:06 pm.

DAY 54 - Mon., 2/21/94: Call was 6:30 am. Just like yesterday, but cloud cover keeping the air warmer. President's Day - today's Confederate joke: I'll be circulating a petition later to get Jefferson Davis included. Nothing for me before lunch, worked on Income Taxes. Nothing after lunch. Wrap was at 5:50 pm.

DAY 55 - Tues., 2/22/94: Call was 6:30 am. Pretty much the same conditions as yesterday. Intend to take care of unfinished business today. Nothing before lunch, but roamed some more, got pix of stump of Herod's house burning. Late in the afternoon (maybe 3:30 or 4 pm) FINALLY got to work in the aftermath scene. Stand just east (camera-right) of the Tatoo Parlor between and just behind KC and the Mountain Man. Herod is on the ground, wounded. Ellen walks up to him, he cries for help, offers money. She kicks him, starts to walk away, he reaches for his gun, she spins and fires into him, then tosses the badge to Cort. Wrap was at 6:15 pm.

DAY 56 - Wed., 2/23/94: Call was 6:30 am. Same weatherwise and otherwise. Chillier early in the morning, but forecast is for warmer later. Nothing before lunch. After lunch I finally managed to grab Sam Raimi long enough for him to sign my "Darkman" cap. He said that he'd seen me in the rushes and that he'd be seeing me again on the cutting room floor (ha-ha). I said that I'd adorned some of the finest cutting room floors in the business. Also told him it was a privilege and an extreme pleasure to have been involved in this project (he had said initially that it was an honor to sign my cap...I said the honor was all mine), and that I'd loved every minute. Can't remember what he said after that or how the encounter ended. Also forgot that I had my "Darkman" videotape in my pocket even though I had reached into the same pocket and felt around the tape to get the felt-tip marker for him to use. Must have been a bit nervous and excited. Really admire this guy. Later in the afternoon (and after getting many pix including "after" pix of destroyed buildings, me and Al Pisarro, the SFX guy, in front of some of his handywork, Sharon Stone on horseback and Gene Hackman riding an ATV) went to the set for the last shot (of the day, the movie, and, probably, for my work and life in Redemption). Ellen rides out of town, through flaming and smoking dbris, into a firey and smokey sunset. Background folks come into the street from both sides to watch her. Several takes were printed. I'm always coming in, delayed, from camera-left side in the foreground of a wide, long shot. In one version (last one shot, at the suggestion of Mark Bustamonte when Sam directed us to happily wave and cheer) I walk slowly to the middle of the street (as in other takes), then salute. Wrap was around 5:30 pm.

DAY 57 - Thurs., 2/24/94: Call was 6:30 am. Assume it's the last day. Weather is nice and sunny. Nothing special for breakfast. Got through wardrobe, hair and makeup and all is just like any other day. First thing - we go to the set, to what's left of the Old Bank Saloon, to finish the wild audio tracks we started some time ago. Did one, then interrupted for the Main Unit which needed audio for a shot down the street. Sat around and scavenged the debris of Herod's house for probably a couple of hours. Finally completed audio tracks about 12:30 pm. Hung around after lunch for a few hours. Thought we were done, but that they were letting us remain there the rest of the day so we could make a couple of extra bucks. However, a few were taken to the set to work. Around 4:30 pm, the rest of us were called to the set. Most actually worked on a different angle on Cort when Ellen tosses him the badge and rides out. I was barely out of this shot both in space and time, so just hung out. final wrap for us was pronounced just before 6 pm. Noel (Mountain Man) asked me to take a photo (with his camera) of him with Sara Addington [Second Assistant Director] and John Cameron. I did, telling them to say "Klaatu Borada Kikto" instead of "cheese". Thought of getting the same photo of them and myself, but...shit!!...thinking initially that I was going to be in the last shot, I had left my camera on the other side of the street! Too bad, could probably have also got a photo with Sam Raimi. Oh well! Shook hand with, and said goodbye to, Sara, John and, as the last thing I did on the streets of Redemption, Sam Raimi. Now, I hate long goodbyes, especially when there are about 100 people to say goodby to. Also, in this kind of situation, I feel the need to just get it over with and get on with the next phase of my life (Post-Redemption). Therefore, I got throught checkouts, onto a van and to the parking lot as quickly as possible, keeping the emotional farewells to a minimum. Left Mescal and got onto the freeway just in time to literally drive off into the sunset. A fitting, although cliche, ending to my life and times in Redemption. 57 days! Quite and experience. Quite an adventure.

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