Frame 6

The sky gives way to a watercolor mist blanketing in and around the headstones of the dead.

What occurs within? What is about to?

The air is wet, the edges unclear. No horizon betrays the ground; all barriers are softened and become passive.  The mind can roam.  What dominates now is time and trees and stars.

Here is first evidence of what is so effective about Hoopes' watercolor approach.  This atmosphere has motion as it takes it's position amongst and above the stones to wisp and dissipate to and fro along the tracks of the trees and lines of the church to the stars.  Depth is complemented with the effective wash in front of the branch's silhouette in the tree to the right, the bolder edge of the gravestone foreground center, and the absence of edge in the headstone to the right.

In this retouch a light source is implied behind the structures represented.  Whether of paranormal origin or something so practical as a side entrance stooplight matters not - it saturates the world presented before us with mystery and awed anticipation - and works to build depth behind and to the left of the church.

The structure behind the clock tower in the frame prior is missing from here on out.  The silhouette reads better without it.  If it was an error, did Hoopes just not have the time or desire to ammend frame 5?

The clock face is much smaller in proportion to the structure than it was in the prior frame.  In this retouch it is desaturated to white.  What was in the frame before was a focus on time and it's harbinger; the focus moves away from that now to put the herald in context within the midnight mist of of the graves about it.  Our geography is now established;  we are in a church graveyard.