don't be foolish
Cut!
Elsa
you're playing the words - don't deliver the line,
deliver what's behind it
That's not how the line was yesterday
Yesterday doesn't exist
the line could be from a tooth powder
I want what's underneath
alright back to one. Camera
camera rolling
sound
sound rolling
Action!
don't be foolish
Cut!
I need that touch to be slower
more delicate
that touch comes from the feeling
and you just told me to play the subtext
if I slow it down it won't be real
then make it real slower
so, feelings have a speed limit?
only when they're in close up
funny, I thought you wanted authenticity
not choreography
the lens doesn't care about your sincerity
if the gesture looks like a slap in a soft focus
then perhaps the lens should direct
and we can all go home early
alright
slower, more delicate and real, if that pleases you
camera!
camera rolling
Sound!
sound rolling
action!
don't be foolish
cut!
quieter Elsa
it's a close up not a Broadway matinee
what was that?
there are roosters on stage 7
we have a problem
alright five minute break
Makeup freshening
is this for reverse angles?
honey I don't know
hello again
we're not sure yet if it's the reverse coverage
or still the same shot
but I'll freshen you up just in case
you were absolutely fantastic
partnering Miss Rosenthal
I couldn't take my eyes off you!
I'll quickly adjust the tone,
add a touch of blush and we'll be all set
taking down a bit of shine with this blotting paper
They always overwrite these scenes
How am I supposed to concentrate on the character?
I know
The rewrites, the rushed takes—I hate it as much as you do
Do you?
Because it feels like I’m discovering a new script every morning with my coffee
Listen. It’s not me.
Blue Lamp is breathing down our necks. They have five films in post...
tiding up your brows just a bit
Ah, yes. The mighty Blue Lamp Pictures.
Should I act faster too, so we can produce three more films this week?
No need to act faster, Elsa. Just… quieter
Quieter, faster. Anything else?
Perhaps I should mime the part to save time on dialogue?
Honey, I’m sorry. I didn’t mean to…
you know how much we all love you! you are our star.
Blue Lamp is outperforming us. But they don’t have you
And that’s why we’re not making five films a week—we’re making this one count.
Flattery won't fix the script, you know.
Give me lines that stay the same for longer than a day.
now touch your pancake to even things out
don't worry just smoothing, not layering
Elsa, I’ve been watching the rushes. I need more suspense there
Not just the words—let the space between them feel heavier
It’s not what you say. It’s what you don’t.
And when you speak it’s more of a whispering.
is the blue lamp whisper too?
or is it just our grand new philosophy?
I’m sure if we whisper first,
they'll do the same. Look at last year
we have 'Marble and Steam' -
Blue Lamp follows with ‘Daughters of Athena.’
We produce ‘The Harpy’s Mercy,’
they counter with ‘Adrift Without Wings.’
We release “Pirates in Disguise”,
they roll out “Jester in disguise”.
brilliant. What’s next?
We make a film about mirrors, and they release one about reflections.
just a sweep of powder
a sweep of Rouge
I think we're done
and now I'll go to another star
I might go back to you
we have another person to fix your hair
but I think you don't need it
it's pretty well
but even if no one comes I can help with your hair
right
first two lamps are still heating up
which ones?
stage left near the entrance
they're cooking the extras
throw some diffusion over them
and another thing: those rugs for the train set,
they sent us wrong color, should we send them back?
no, no time for that
I'll deal with it, I have someone
oh and sound department
say there's not enough space to hide the microphones
when we get to the train set
I'll have a look, but remind them
it's their job
to find the space, not mine.
sure
there's a censorship problem with the script
they flagged the part where they talk about the outline
it's absurd!
They say it’s too suggestive,
might be interpreted as anti-authority.
it's just a coded phrase between spies!
they don't want codes,
they are saying if we don't change it
we'll lose part of the funding
and where do they expect us to cut now?
the train set
seriously?
what else?
Miss Rosenthal wants to reshoot the dinner scene
really?
she locked herself in her dressing room
won't answer
tell her I'll replace her
she's got a contract for three more pictures
not a problem
oh and tell her to quit lifting her chin
like she's in a silent picture
we're past those days
Miss Bleumir is ready for rehearsal
she's in makeup now, hair is nearly done
But since they’re are both in the scene, what do we do?
who's on makeup today?
Annie
ask Annie to sit in for Elsa
there's barely any dialogue
she just needs to take the spot
sure
Alright everyone! let's get back to it, this is a rehearsal
not a performance
but let's pretend we know the difference
the low murmur of the room shifts
eyes are drawn to the entrance
as the countess strides in
wrapped in a midnight blue silk gown
she moves like...
Where's my dress?
right where's the blue silk gown?
the blue silk gown? it's... in an hour or two
she moves like she owns the place
exuding the kind of presence that commands attention
without a word, she sweeps her gaze across the room
and upon spotting Celine and SW
makes her way toward them
Ah! just two people I hope to find!
don't just say the line
you were hoping to find this person
I need to see this in your eyes
this is the only one who matters right?
okay
Of course
Ah! just two people I hope to find!
very good but don't disregard Celine
we can't let the audience suspect she's in the way
just... you know
right
Ah! just two people I hope to find!
she reaches the table
placing her gloved hand on the back of an empty chair
before tilting her head slightly
um tell me
will you both be taking the Cairo Rxpress as well?
SW
why do you ask?
because I do love a good journey
and something tells me
this one will be particularly eventful
she signals a waiter
with a graceful flick of her fingers
champagne darling!
no matter where one he's headed
one should travel in style
very good now
one more time without my corrections
right from... just the two people
from jus#jhnio8i9800-
from 'just the two people i hoped to find'
yeah
Ah! just two people I hope to find!
tell me
will you both be taking the Cairo Express as well?
stop! what's wrong with that light?
uh it's been flickering all day
problem solved
now let's do from... let's start from... from the beginning
yeah
okay yeah
Ah! just two people I hope to find!
Dinner break!
I suppose we have a break
does this outline need to be so obvious?
Elsa!
it's 'have to be obvious' not 'need to be' - that's the line
yes but 'have' feels too stiff, 'need' is softer, it's better
don't you agree ?
it's supposed to be stiff
the character is biting a little not caressing
maybe she should caress a little?
people remember softness more than stiffness
just say the line fine
fine
and drop your chin
does this outline have to be so obvious?
too loud
it's a rehearsal, we're not recording sound
No. But I can still hear you with my eyes
does this outline have to be so obvious?
Elsa you're yelling
does this outline have to be so obvious?
this is not about the outline
does this outline have to be so obvious ?
what was that?
does this outline have to be so obvious?
better but still not quite... whatever keep going...
does this outline have to be so obvious?
now you're just torturing it
you are torturing me!
the line isn't the problem Elsa
it's the spirit behind it
does this outline have to be so obvious?
better but now your sarcasm is too loud
does this outline have to be so obvious
if we stretch this out any longer
we'll be rehearsing straight into next week
we've got a train set waiting for us
you know time is money
this is because of you not me!
the studio's got a peculiar taste and it's casting
I say that much ...
Alright take 5 - if you wanna run the lines now's the time
excuse me may I help you with the rehearsal?
alright I'll do all the parts and you do you
you you your part
interior: private club night
haze of cigar smoke lingers
beneath the gilded chandeliers
the air hums with quiet conversations
the clink of crystal glasses
and the occasional burst of laughter
from figures draped in evening finery
At a corner table, CELINE and SW sit
in the dim glow of a table lamp,
their posture casual but their eyes ever-watchful.
alright your text
this isn't the safest place for conversations