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In The Heat of the Night. Mississippi shot in Ohio — a similar effect to that of Eyes Wide Shut in which Kubrick shoots Manhattan in London. The style is Realism but it is shot in a location where realism is not possible, askew, creating this dreamlike effect, Ohio if it was Mississippi too.

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While the story occurs in a place where it is hot [MS] the film was shot somewhere it is cold [OH] […] the three scenes at the opening which focus on Poitier’s hands […] a SODA motif (Delores and fountain drinks –Sam, fountain drinks and pie– Ralph keeping Sam’s pie) […] trains and earth moving/ agricultural equipment– curious portrait of the cotton field with black cotton pickers and machines together in the rows–

A sort of interior searing pain (but no heat) it warns one away from turning further and begins a feeling of sickness in the rest of the body, which lingers even after the turning has stopped.

A tearing pain (but nothing being torn) and is almost a feeling of cold; as if a scab beneath the knee cap were taken off, ripped off, and raw skin exposed suddenly exposed to the air.

The feeling that the knee, formerly simply itself, like a stone is itself, was now a cavernous space- filled area of locking tubes with male and female parts, and the parts could easily become detached.

The connection between a pain on one part of the body to an unrelated pain on another part of the body — at times, like a triangle was made of the lines between them and between them and the mind — only the “acuteness” of the angles are determined by the sharpness of the pains. (The degrees of the angle of this triangle are determined by the degrees of the experienced pain.)

Their syncopation, where the throb of the one will answer the strum of the other, a violin and drum.

An accident resulted in a sharp pain which, nearly two months later, has diminished enough to inspire confidence that the diminishing of the pain implies a healing of the damage — then suddenly, but also gradually– it is gone and forgotten.