- today
A high-tech, unusually immersive remake of a vintage British film sends Hollywood A-list star Brandy Friday into another dimension, where she must stick to the script if she ever wants to make it home.
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00:00:00You
00:00:30Keyworth Pictures invites you to Hotel Reverie.
00:00:44Renowned Dr. Alex Palmer encounters tragic heiress Clara Rice.
00:00:49Wait, another scotch, please.
00:00:51And for yourself.
00:00:52Thank you. A black rose.
00:00:54A rose for a rose.
00:00:55A piano standing silent always makes me so melancholy.
00:01:03It's silly, I know.
00:01:04If it's Claude Luna, what?
00:01:06It's Claude Luna, she'll have.
00:01:08Yet even as their affection grows, the pair are unaware
00:01:11Clara's fiendish husband, Claude, is plotting her death.
00:01:15My accursed wife has more lives than a damn cat.
00:01:18She dies tonight.
00:01:20Don't move.
00:01:21Oh! Oh, my goodness!
00:01:25So, your studio, Keyworth Pictures, has the most incredible back catalog.
00:01:48Noir thrillers, wartime romances, caper comedies, an unrivaled collection of heritage media.
00:01:55By heritage, you mean old?
00:01:57I mean, uh, vintage.
00:01:59You have a great reputation.
00:02:01Fifty years ago, yes.
00:02:03Look, I know you're trying to blow smoke up my ass, but let's be real.
00:02:06My stages are empty.
00:02:07We're up to our knockers in debt.
00:02:09I was in Cannes last week, trying to sell our library to some streamers, and they were NFI.
00:02:14NFI?
00:02:15It's a non-fungible, uh...
00:02:16Not fucking interested.
00:02:18The Keyworth brand is not what it was.
00:02:21We're going under, and everybody knows it.
00:02:23Well, I believe with your prestige content...
00:02:26Please don't call it content.
00:02:28It makes me heave.
00:02:29Okay.
00:02:30Okay.
00:02:30I'm...
00:02:31I'm sorry.
00:02:32Prestige movies.
00:02:34Dreams.
00:02:35Classics.
00:02:36Like, Hotel Reverie.
00:02:39I'll be yours forevermore.
00:02:42My father's favorite.
00:02:44And mine.
00:02:45But try telling that to the public.
00:02:47I think you'll find them.
00:02:48NFI.
00:02:49Well, you know, what's the point of watching an old movie starring Ralph Redwell
00:02:53when you could watch a new movie starring Ryan Gosling or...
00:02:58Ryan Reynolds?
00:03:00Yeah.
00:03:00But they're way out of my price league.
00:03:03Well, what if I told you my company has an affordable way to take a shuttered classic
00:03:10like Hotel Reverie and almost instantly recast the lead with a contemporary Hollywood star?
00:03:15We can't...
00:03:16Oh, you will be able to afford, because you'll only need 96 minutes of their time.
00:03:22You're going to use one of those AI paint boxes and deepfake Ryan over...
00:03:27What we're proposing isn't fake.
00:03:30It's real.
00:03:33Oh, you've intrigued me.
00:03:36So which Ryan we call him first?
00:03:37Hey, Brandi.
00:03:48Listen.
00:03:49The studio are chasing.
00:03:50I'm telling you.
00:03:51I just love this project for you right now.
00:03:54We all do.
00:03:55And hey, the money's off the chart.
00:03:57Call me when you get a chance.
00:03:59Bye now.
00:04:00Bye-bye.
00:04:00No.
00:04:07Oh, whoa now.
00:04:07Do you read the material?
00:04:09Lola's in almost every scene.
00:04:10It's a big role.
00:04:11It's a big supporting role.
00:04:12Backing up Mr. Lead Dude again.
00:04:15Hey.
00:04:16Ha.
00:04:17You get lead roles.
00:04:19Yeah, for Sundance Misery Porn.
00:04:21You don't want to play those roles anymore either?
00:04:22I'm saying I'm tired of my only available options being noble victim or fuckable sidekick.
00:04:31I can't control which box the world wants to put you in.
00:04:34It's the same box and I'm sick of it.
00:04:38You know I got into this to be other things, right?
00:04:40To express other things.
00:04:43Like what?
00:04:43Like something romantic.
00:04:48This is romantic.
00:04:50For the lead guy.
00:04:51I don't want to be pursued.
00:04:53Why can't I pursue?
00:04:56Huh?
00:04:58I just want something magical, timeless, something I can escape into.
00:05:07Are you talking career or personal life?
00:05:11Both.
00:05:11Where's my Casablanca?
00:05:15Where's my brief encounter?
00:05:19Come on.
00:05:20British romance?
00:05:211940s?
00:05:22Classic?
00:05:23Like Hotel Reverie?
00:05:24Yes.
00:05:25Hotel Reverie.
00:05:27I'll be yours forevermore.
00:05:28Is that where that line comes from?
00:05:30The iconic final line?
00:05:32Yeah.
00:05:33Hey, I knew the line, not the movie.
00:05:35But the weird thing is, this is the second time this is coming up this morning.
00:05:37What do you mean?
00:05:38The studio.
00:05:39Keyword something.
00:05:40They're doing some kind of reboot.
00:05:42They're remaking Hotel Reverie?
00:05:43Yeah, with a high-tech shooting style.
00:05:45They want an A-lister for the male lead.
00:05:47To play Alex, Dr. Palmer?
00:05:48I want to do it.
00:05:50It's a male lead.
00:05:51So they can't flip it?
00:05:53Have a woman play the lead?
00:05:54They want a Ryan.
00:05:55One of the Ryans.
00:05:56Tell them I want to do this.
00:05:58So I'm afraid Ryan's a no.
00:06:00Which one?
00:06:01Both of them.
00:06:02Oh, sorry.
00:06:03Did you say that they don't have to talk British?
00:06:05They could be American?
00:06:06Didn't get that far.
00:06:08Also, Timothee Chalamet's unavail.
00:06:10Chris Hemsworth didn't connect with the material.
00:06:12And Donald Glover says thanks for thinking of him, but he has a family commitment.
00:06:16So they're all wet and dry.
00:06:17Sorry?
00:06:18Is there really not one A-lister who's curious?
00:06:21Well, you won't believe this, but Brandy Friday's team says she's interested.
00:06:29Holy shit, Brandy Friday?
00:06:31She big?
00:06:33She's huge.
00:06:34She's available?
00:06:35I tried to explain it's not the Clara role, but...
00:06:37Well, could we make it the Clara role?
00:06:40That's the thing.
00:06:41They said she's only interested if she plays the lead.
00:06:44Well, that's just brilliant.
00:06:48Ready.
00:07:13Ready?
00:07:14Should I just pretend it's a normal call?
00:07:16Yes.
00:07:17Right.
00:07:18Here we go.
00:07:21I realise I'm waiting for it to ring, but it's not connected, is it?
00:07:25No.
00:07:28Gosh, I'm such a fool.
00:07:31Right. I'll imagine it's ringing.
00:07:36Hello. Arise the Cher residence.
00:07:39To whom am I speaking?
00:07:44I... I...
00:07:46Oh, God damn it.
00:07:49Well, it's just so hard when there's no one on the other end.
00:07:52From the top.
00:07:53Take two.
00:07:55Hello. Arise the Cher residence.
00:07:59To whom am I...
00:08:00Rockinghamshire, England.
00:08:05An outpouring of grief as actress Dorothy Chambers is found dead at home.
00:08:10The cause of death? An overdose of sleeping pills.
00:08:13The reclusive beauty never married and was well known to be troubled by pernicious gossips surrounding her personal life.
00:08:20Oh, hi.
00:08:27Hey.
00:08:27This is for you.
00:08:29It needs a signature just here.
00:08:31Oh, sure.
00:08:33Sorry, I shouldn't, but...
00:08:35I really love that movie you were in about the secret CIA agent.
00:08:40He was so good.
00:08:42Are you still with that actor, James?
00:08:44Uh, no. We're not together anymore.
00:08:45Oh.
00:08:46He was so good in that movie about the pilot that saves...
00:08:49Oh, gotta take this.
00:08:51Okay.
00:08:51Don't let the gate hit you.
00:08:52Hey.
00:08:56Great news. You got it.
00:08:58Got what?
00:08:59At the lead in Hotel Reverie. I guess they're gonna flip it.
00:09:02Yes!
00:09:02Okay, so look. It's a straight offer, so they're sending materials over to you.
00:09:06Oh, yeah. I think I just got those.
00:09:08They say they're gonna need you in the studio next Monday. That's in England.
00:09:13Wait, they start filming next Monday?
00:09:15Uh, no. They say no. It's some kind of test.
00:09:17Who's playing Clara?
00:09:19Seems that's confidential, but it's all laid out for you in that info pack.
00:09:23Pepe from Streamberry is here.
00:09:25Wait, wait. Laid out where?
00:09:27Yeah. Oh, congratulations again. Okay, look. I gotta go. Bye, bye, bye.
00:09:31Okay. Thanks.
00:09:37Drop your weapon.
00:09:40Shoot him! He's trying to kill me!
00:09:43Wait. I know that man. He diagnosed my allergy.
00:09:47Arrest the other man!
00:09:49No!
00:09:51No!
00:09:51No! Let's see more!
00:09:52Out!
00:09:53No! Let's see more!
00:09:53Out! Let's see more!
00:09:54Out!
00:10:01Stay with me.
00:10:02Promise me you'll stay.
00:10:07I'll be yours.
00:10:09Forevermore.
00:10:10I'll be yours forevermore.
00:10:30I'll be yours forevermore.
00:10:32I just need to get this up and running.
00:10:42There we go.
00:10:43Powering up in a few minutes.
00:10:45Jack.
00:10:45Give me two seconds.
00:10:47Jack.
00:10:48Yeah?
00:10:49No liquids near the tech. Isn't that your mantra?
00:10:51Oh.
00:10:53Sorry.
00:10:53She's late.
00:10:54She's late.
00:10:55She's late.
00:10:57Her driver said she's stuck in traffic.
00:10:59You've only got this stage for two more hours.
00:11:01It's leased to some Swedes who are shooting a Luro commercial.
00:11:04You said we had three hours.
00:11:06No?
00:11:06I said I'd ask for three.
00:11:08Hey.
00:11:09Hi.
00:11:10Oh.
00:11:11Miss Friday.
00:11:14Judith Keyworth.
00:11:16Goodness.
00:11:17Can I tell you how thrilled we are that you're doing this?
00:11:21Oh.
00:11:21It's my pleasure.
00:11:22I love old movies.
00:11:24I'm sure.
00:11:26Meet the young lady who I've entrusted with my studio's life.
00:11:31Uh.
00:11:32That's Kimmy.
00:11:32Project leader.
00:11:33Um, and can I just say I've been a fan of you since Zodiac Suite.
00:11:37You saw Zodiac Suite?
00:11:39I did.
00:11:40Off-Broadway when I was back in NYU.
00:11:42Oh, wow.
00:11:42And then I worked.
00:11:45Yes.
00:11:45Anyway.
00:11:46Anyway.
00:11:46Yes.
00:11:47We, uh, let's, let's, uh, let's dive on in.
00:11:50Okay.
00:11:50So, you know, the Redream, how it works.
00:11:54Re what?
00:11:54Uh, Redream, the system that we're using.
00:11:59You got the info pack, right?
00:12:01Info pack?
00:12:02I...
00:12:02You got the script in the movie.
00:12:05Yeah, read the script, watched the movie.
00:12:06There was a USB stick in there, too, with the info pack on it.
00:12:12You didn't see that?
00:12:14Uh, no.
00:12:16Uh.
00:12:20Do you know your lines, right?
00:12:24Sure.
00:12:24Come with me.
00:12:29We're making the movie right now, in real time, like theater.
00:12:33Redream is a system that we're using.
00:12:35It ingests a movie and all of its surrounding material, screenplay, casting reels, dailies,
00:12:40all of it.
00:12:40And it creates an entirely self-sufficient, fictive dimension in which we immerse you in.
00:12:44Can you slow down a little bit, please?
00:12:46Yeah.
00:12:47I feel like this is, like, very overwhelming, right?
00:12:49Why don't you lie down?
00:12:50Lie down and, uh, make yourself comfortable.
00:12:53What's up, you?
00:12:54Hold still.
00:12:55I'm just gonna attach this mesmerizer.
00:12:57Mesmerizer?
00:12:58Yeah, it's a nickname for a synaptic, fictive interface.
00:13:02It's whatever.
00:13:03I don't know what you're saying.
00:13:04Yeah.
00:13:05Um, when you're in there, everyone and everything except you will be in stasis until the opening
00:13:10titles roll, which would give you a minute to adjust.
00:13:13Adjust to what?
00:13:14You're a pro.
00:13:16Just say your lines.
00:13:17Hit the story beats, and if we get too far off arc, we'll just pull you out.
00:13:20That won't happen, though.
00:13:21You know?
00:13:24Oh.
00:13:28Executing run time.
00:13:34And syncing realms.
00:13:58Oh, my God.
00:14:07Okay, how we doing in there?
00:14:30I'll be giving you direction.
00:14:32Randy?
00:14:32This is insane.
00:14:33I mean, is this the original movie set?
00:14:36Yeah.
00:14:38It's a little intense in there first.
00:14:41Oh, you think?
00:14:42I mean, black and white.
00:14:44Look, we got about 90 seconds until we roll the credits, so head for the table, the one
00:14:50with the newspaper behind the piano.
00:14:51Like in the opening scene?
00:14:53Exactly.
00:14:54There's, like, frozen people?
00:14:56Yeah.
00:14:56They'll unpause when the titles start.
00:14:58And when they do, just remember that, to them, this is real.
00:15:03They think that they're real people living in a real world.
00:15:07So who are they going to think I am?
00:15:08They'll just think you're Alex Palmer, doctor of tropical medicine.
00:15:12Who's a middle-aged British white guy?
00:15:15Right.
00:15:15That's not who they'll see.
00:15:16They will see and hear you as you are.
00:15:19And they'll just accept that you're Alex Palmer, the character in the story.
00:15:25Okay, so to them, Dr. Palmer is a black woman just rolling up in 1940-whatever, and it's
00:15:30just fine?
00:15:32That's fine.
00:15:33It's fine?
00:15:34Yes.
00:15:35That's fine.
00:15:35It's fine.
00:15:37They're AIs.
00:15:38They're constructs.
00:15:39They only know the parameters of the story and the character names.
00:15:43I know it sounds crazy.
00:15:44It won't even cross their minds.
00:15:46Okay.
00:15:47Just, uh, keep the story going.
00:15:49If you say your lines, we're all good.
00:15:52Good luck.
00:15:58Get the newspaper.
00:16:00Okay.
00:16:05Arc ready?
00:16:07Feedback ready?
00:16:08Supervision ready?
00:16:10Forecasting ready?
00:16:11Prep titles.
00:16:12Titles prepped.
00:16:13Simulation running.
00:16:20Five, four, three, two, one.
00:16:24And action.
00:16:26Titles rolling.
00:16:29Exterior.
00:16:30Hotel.
00:16:31Night.
00:16:34Clara inbound.
00:16:38Yes, it's Dorothy Chambers.
00:16:52Stop staring.
00:16:59Clara speaks in three, two, one.
00:17:02Excuse me.
00:17:04Wait.
00:17:05Now, what do you want?
00:17:06May I have a seat at your table?
00:17:08It's awfully crowded in here.
00:17:09I was hoping...
00:17:10I do not understand.
00:17:12Which seat do you wish to take?
00:17:13Keep the paper up, Brandy.
00:17:15Perhaps that one.
00:17:16That one?
00:17:18Is for mon petit bonbon.
00:17:20Oh.
00:17:21Bonbon does not sit on the ground.
00:17:24Do you, bonbon?
00:17:25Okay, Brandy, you're up.
00:17:31Ma'am.
00:17:33I have a spare seat.
00:17:35And I can assure you, no bonbon.
00:17:36I couldn't impose.
00:17:38I could use the company.
00:17:39It's a very different flavor than dear old Ralphie.
00:17:44Alex Palmer.
00:17:45Clara Reisler-Share.
00:17:47Reisler-Share?
00:17:49That's half the alphabet.
00:17:51All in sync.
00:17:54She's word perfect.
00:17:55Well, Le Cher comes courtesy of my husband, who's French.
00:17:58Story on track.
00:17:59Yeah, Le Cher.
00:18:00Claude.
00:18:01Sorry to disappoint you.
00:18:02Will Claude be joining us?
00:18:04No, no.
00:18:05Claude has work commitments.
00:18:07He holds an important role in the business.
00:18:08The business?
00:18:10Oh, my father's business, Rice Holdings.
00:18:12Oh, my.
00:18:13I didn't realize you were THE Clara Rice.
00:18:16Oh, yes.
00:18:17The Clara Rice.
00:18:18It's heir to the Rice Empire.
00:18:19Exposition delivered.
00:18:20What brings you to Cairo?
00:18:22I'm giving a talk at the School of Medicine.
00:18:25You're a surgeon?
00:18:26Just a doctor.
00:18:28Albeit one who knows an absurd amount about tropical diseases.
00:18:31Backstory deployed.
00:18:32Dreadful, yes.
00:18:32Hitting all our beats.
00:18:34Dreadful, yes.
00:18:34Accomplished, I'm not so sure.
00:18:36Oh, waiter.
00:18:36Another scotch breeze.
00:18:38And for yourself?
00:18:40A black rose.
00:18:41Ah.
00:18:42A rose for a rose.
00:18:45Attraction building.
00:18:46Something of a tradition for me.
00:18:47One scotch and one black rose.
00:18:50For C-R-S.
00:18:52Murder attempt number one imminent.
00:18:57Black rose created.
00:18:59I repeat, black rose has been created.
00:19:01Oh, dear.
00:19:02What's wrong?
00:19:03Oh, nothing really.
00:19:04Just the piano.
00:19:06A piano standing silent always makes me melancholy.
00:19:09Silly, I know.
00:19:09Say a pianist walked in right now.
00:19:14What would you have him play?
00:19:15Claire de Lune.
00:19:17Oh, that's easy.
00:19:18Claire de Lune.
00:19:19My dad's favorite.
00:19:20Debussy.
00:19:21Do you know it?
00:19:22Oh, it's the most wonderful piece.
00:19:23It transports me to the gayest of places.
00:19:26And at the same time, it's so sad, so full of yearning.
00:19:29Well, Clara, if it's Claire de Lune you want, it's Claire de Lune you shall have.
00:19:35What's she doing?
00:19:55Uh, Brandy?
00:19:57What the hell?
00:19:58You didn't say it was the real piano.
00:20:00I thought that you could play the real piano.
00:20:02No!
00:20:03But you play the piano on Zodiac Suite.
00:20:05That was a backing track.
00:20:08She can't stop.
00:20:09The piano playing sets up the inciting incident.
00:20:12Uh, Brandy, you gotta keep playing.
00:20:13That's the point of a scene.
00:20:16Oh my God, she's doing chopsticks.
00:20:18Meritif integrity failing.
00:20:20We're heading for yellow here.
00:20:21I take it that means something bad.
00:20:23If that one hits Rhett, it collapses.
00:20:26Oh, great.
00:20:27Mika, how far off base are we?
00:20:29So, in the original, the beautiful music makes Clara choke up with emotion.
00:20:33She steps outside, Alex follows, they talk.
00:20:36It's the encounter that sets the whole story rolling.
00:20:39Can we hit that plot point some other way?
00:20:41Maybe, but right now we've got an even bigger problem.
00:20:44Bigger than that?
00:20:45The poisoned cocktail.
00:20:46The black rose.
00:20:48Shit.
00:20:50Clara's supposed to have left before it makes it to the table, but now...
00:20:53She's just sitting there.
00:20:55And if she drinks it, she dies.
00:20:57Correct.
00:20:58And the whole thing's bollocks.
00:20:59Clara's stress is rising, guys.
00:21:01Brandy, Brandy, don't speak.
00:21:03I need you to follow some instructions to get us back on track.
00:21:06Stop playing the piano.
00:21:07Go sit next to Clara.
00:21:08Now.
00:21:09Go.
00:21:09Now.
00:21:15I apologize for your poor piano skills.
00:21:18I'm afraid I'm a little out of practice.
00:21:19It certainly sounded that way.
00:21:22On the bright side, you seem to have given Madam Doglover a headache.
00:21:26What a shame.
00:21:29One scotch.
00:21:33And the black rose.
00:21:34Just in time.
00:21:35I could use it.
00:21:36Do not let her drink that.
00:21:37That's poison.
00:21:37Improvise.
00:21:38Oh, my God.
00:21:38Look.
00:21:39What?
00:21:40That big goose.
00:21:42Look.
00:21:42Get rid of the drink.
00:21:44Well, look.
00:21:44I don't see anything.
00:21:45Right there.
00:21:46See, look.
00:21:47Was there really a goose?
00:21:48Yes.
00:21:49No.
00:21:50There wasn't.
00:21:50No, there wasn't.
00:21:52I was kidding.
00:21:53I see.
00:21:56Another joke, I presume.
00:21:59Gotcha.
00:22:00I don't appreciate mockery, Dr. Palmer.
00:22:02I had quite enough of that in my school days.
00:22:05Good luck with your talk.
00:22:06Attraction falling, guys.
00:22:09Don't let her go.
00:22:11Follow her.
00:22:14Wait.
00:22:15Come back.
00:22:16Wait.
00:22:18I'm sorry.
00:22:19Dorothy.
00:22:23Clara.
00:22:24Her name is Clara.
00:22:26The Virgin's rising.
00:22:27Uh, Clara.
00:22:28Why did you call me Dorothy?
00:22:41Oh, dear.
00:22:44Uh, you remind me of someone.
00:22:46Someone named Dorothy?
00:22:50Yeah.
00:22:50Why do I remind you of her?
00:22:53No way off script there.
00:22:55Uh, she was someone who the world looked at and assumed had everything.
00:23:07But, on the inside, she was blue.
00:23:16I don't know.
00:23:18But I think so.
00:23:20Then it's no surprise I remind you of her.
00:23:29Follow her into the garden.
00:23:32Sit beside her.
00:23:33I was going to.
00:23:34Going to what?
00:23:35Oh, I was going to ask to be if you want to talk about it.
00:23:40Oh, no.
00:23:42One should never unburden oneself to a stranger.
00:23:45Oh, it's no burden.
00:23:47Trust me, I'm a doctor.
00:23:48And I've given up on my dreams of piano playing.
00:23:51Well, I think that's wise.
00:23:53I would talk to my husband about it.
00:23:57But, honestly, Claude stopped noticing my temperament some time ago.
00:24:03He's so consumed by the business.
00:24:05Papa used to joke that Claude was marrying the company rather than marrying me.
00:24:11If that's true, then Claude's crazy.
00:24:16Sweet.
00:24:22Romantic interest is rising.
00:24:23It's Dorothy, you mentioned.
00:24:29What's true of her is also true of me.
00:24:32You know, it's silly, but sometimes a sense of such wretchedness seizes me.
00:24:38As though I'm connected to some fathomless sorrow reaching through time.
00:24:44Perhaps I was a tragic figure in some other life.
00:24:46I thought you said they weren't self-aware.
00:24:49They're not.
00:24:50The only reality she's aware of is the story.
00:24:54Actually, I think she might be sensing some echoes.
00:24:58What?
00:24:59Our Clara AI is derived from the original performance by Dorothy Chambers.
00:25:04And Chambers drew on her own life.
00:25:07Like, she sunk as much of herself as possible into the role of Clara.
00:25:10I mean, there's echoes of her running right through the data set.
00:25:12But when she heard her name connected with that essence, she's grown a dimension.
00:25:19And it's not really built to accommodate that.
00:25:22Scene ending in T-minus.
00:25:24Thirty seconds, guys.
00:25:25Miss Dorothy, what happened to her?
00:25:29We've lost touch.
00:25:31Oh.
00:25:31Well, I hope she's happy somewhere.
00:25:36Me too.
00:25:39You've got me complaining about my life.
00:25:41You must think me so ungrateful.
00:25:43Oh, no.
00:25:44I've been there.
00:25:46Been there?
00:25:47I mean, I get it.
00:25:49Oh, you get it.
00:25:50Yeah.
00:25:51You know, life shit.
00:25:52No one says shit in the movie.
00:25:54Oh, my God.
00:25:55I mean, um...
00:25:56Life shit?
00:25:57She's saying it now.
00:25:58I misspoke.
00:26:01No, I'm not.
00:26:02I'm not offended.
00:26:04If anything, it's refreshing.
00:26:07I've never met someone so...
00:26:10differently alive.
00:26:14Romantic likelihood increasing.
00:26:18Good night, Dr. Palmer.
00:26:22Good night.
00:26:28Forkast good.
00:26:34We're back on track.
00:26:36Narrative stress falling.
00:26:37Interior.
00:26:38Lobby.
00:26:39Continuous.
00:26:41Gorgeous Claude.
00:26:45Darling.
00:26:48This is the scene of Claude.
00:26:51Brandy's not on screen for the next two minutes,
00:26:52so you're free to talk.
00:26:53I think we're good, Brandy.
00:26:59Um, the camera's not on you right now,
00:27:01so take a couple moments to catch your breath.
00:27:03Hey, you guys saw that, right?
00:27:05I mean, that was insane.
00:27:07Are you sure she's a computer person or whatever
00:27:10because she touched me?
00:27:12It was...
00:27:13Uh, mm-hmm.
00:27:14I've just seen my wife,
00:27:15who is most terribly alive.
00:27:18You are supposed to serve that special back horse.
00:27:20Oh, no.
00:27:20Guys.
00:27:26Oi.
00:27:27What is it?
00:27:29Bonbon's drinking the cocktail.
00:27:31Oh.
00:27:33Shit.
00:27:34Just a moment, Brandy.
00:27:38Bonbon.
00:27:39Eleanor.
00:27:41That dog confirmed.
00:27:42I repeat.
00:27:44That dog confirmed.
00:27:47We have a plot hole forming.
00:27:49Can we plug it?
00:27:50Okay, so Madame Rabanne was supposed to steal the cocktail
00:27:53and drink the poison.
00:27:55This poor lady is dead.
00:27:57Which means Inspector Levine gets called to the hotel
00:28:00and asks Alex to sign the death certificate.
00:28:02Ah, sir!
00:28:03And Alex sees Inspector Levine sneezing
00:28:05and diagnoses him with allergies to his own cologne.
00:28:07Which sets up the beat for the final scene.
00:28:09When the police burst in,
00:28:11Levine recognizes Alex
00:28:12and tells his men not to shoot.
00:28:14Diagnosed my allergy.
00:28:15But then they won't have met before.
00:28:17So the police will just shoot her?
00:28:18That's horrid.
00:28:20Yeah, I've got it here.
00:28:25Ah, so that's going to tank the whole thing.
00:28:29So it's over, isn't it?
00:28:31No, we can reset.
00:28:33We can try it again.
00:28:34From scratch?
00:28:35No, we can't.
00:28:36There isn't any time.
00:28:38They've got to get in and start building
00:28:39some gargantuan toilet by noon.
00:28:42I'm sorry.
00:28:44Jack, pull her out.
00:28:48Okay, everybody.
00:28:49That's a wrap, I'm afraid.
00:28:51Um, it's still going.
00:28:53Jack, just pull her out, please.
00:28:55Uh, we may have an operational issue in that regard.
00:28:58What?
00:29:02Uh, well, the expansion of Clara's character
00:29:04seems to have triggered a stack overflow,
00:29:05which has caused the exit code to, um,
00:29:08misbehave.
00:29:09Misbehave?
00:29:10As in how?
00:29:11Listen, the extraction routine
00:29:11is non-responsive at this time.
00:29:13What?
00:29:13So you can't pull her out?
00:29:14Well, no.
00:29:15Not right now.
00:29:15Not until she gets to the end credits.
00:29:16If she gets to the end credits.
00:29:18Well, the story's broken anyways.
00:29:19Why don't you just turn the machine off?
00:29:21No, no, no.
00:29:22Interrupting the simulation
00:29:23while our consciousness is marooned in there
00:29:25could cause a, a, a, a catastrophic
00:29:27synaptic failure in the subject.
00:29:29He's saying Branny's consciousness
00:29:30would be deleted and she'd die.
00:29:32Well, real Brandy Friday would die.
00:29:35Well, I mean, there's a 98% chance of fatality, yes.
00:29:40Oh, marvellous.
00:29:41Keyworth Pictures reinventing vintage movies,
00:29:45attracting Hollywood stars and killing them.
00:29:47Hey, she's back on screen in T-minus 90 seconds,
00:29:50so maybe we should cut a...
00:29:52What about the Levine plot hole?
00:29:53They'll shoot Alex in the final scene.
00:29:55Oh, Jesus.
00:29:56That's the end.
00:29:57We have 90 minutes to fix this.
00:29:59Crystal Queen, find a workaround.
00:30:00Yeah, maybe.
00:30:01Will I get a story credit?
00:30:04No, you're right.
00:30:05No, we'll discuss that later.
00:30:06That's fine.
00:30:06I'll get to work.
00:30:08Brandy, we need to talk for a moment.
00:30:10Yeah, we do need to talk.
00:30:11I know I went off script, but so did she.
00:30:13And I know I wasn't supposed to say shit,
00:30:15but she kind of laughed.
00:30:16Brandy.
00:30:17I just, I wasn't expecting it.
00:30:19I wasn't expecting her to feel so...
00:30:20so real.
00:30:22And I feel like...
00:30:22Brandy, we're gonna move on to the next scene.
00:30:24Right, uh, the next scene is, uh, Levine, the cop guy.
00:30:29Whoa, whoa, whoa.
00:30:30You need to, like, sign the French lady's death certificate,
00:30:32but he's sneezing, and then I'm supposed to...
00:30:35Brandy, there's been a change of plan.
00:30:36Change of plan how?
00:30:38Um, Madame Robon did not drink the cocktail.
00:30:42Her dog did.
00:30:43Oh, the dog died.
00:30:45Wait, so the old French lady's still alive?
00:30:47Yes.
00:30:49Wait, so the cop guy scene can't happen then, right?
00:30:51We're working on it.
00:30:52No, we, we gotta reset.
00:30:54We gotta start over.
00:30:55We gotta get the story right.
00:30:56So the thing about that is, um, we can't?
00:31:00Can't how?
00:31:01We're experiencing a slight technical difficulty,
00:31:05um, which means that we can't extract you
00:31:08until the narrative arc is complete,
00:31:10as in the credits roll.
00:31:11I'm stuck here?
00:31:12Only until you bring the story to a close.
00:31:14So I have to make it to the end of the movie?
00:31:16Yes.
00:31:17You say to Clara, your final line, yours forevermore,
00:31:20credits roll, we pull you on out.
00:31:22Well, what if I can't make it that far?
00:31:23Let's focus on where we are.
00:31:26Uh, it's day two.
00:31:27Clock's a-ticking.
00:31:27Day two?
00:31:28What is, what is that?
00:31:29Clara goes sightseeing.
00:31:30You ask to accompany her.
00:31:31Okay, yeah, the, uh, scene change in ten...
00:31:36New story day inbound.
00:31:38Brandy, you're gonna feel a time jump at any moment.
00:31:40Feel how?
00:31:42Might be a bit of a rug pull.
00:31:43Time and space change instantly with the edit.
00:31:45It's kind of being, like, teleported.
00:31:47What do you mean, teleported?
00:31:48New story day.
00:31:49Interior.
00:31:50Hotel lobby.
00:31:51Morning.
00:31:51The scene is on.
00:31:53It's fully populated.
00:31:54A lot of eyes on you.
00:31:55Blink twice if you can understand.
00:31:59Clara's on route.
00:32:02Bump into her.
00:32:03Make it look natural.
00:32:07Oh, sorry.
00:32:09Hey, Clara.
00:32:10Palma.
00:32:11I guess I'm in the habit of apologizing.
00:32:13Oh, it's quite all right.
00:32:14No, I'm done.
00:32:16You heading out?
00:32:17Well, I was planning on doing some sightseeing, but Claude's been called away on business,
00:32:22so it seems it's going to be rather a solitary affair.
00:32:25Invite yourself along.
00:32:26Unless...
00:32:27I don't suppose you would want to accompany me, would you, Dr. Palma?
00:32:33Palma's supposed to ask her that.
00:32:34Shit.
00:32:35I'm sorry.
00:32:36It's rather forward of me.
00:32:38She's gaining agency.
00:32:39What's wrong with that?
00:32:40Actors love agency.
00:32:43Yeah.
00:32:44I think it adds something to it.
00:32:45So why did you say shit?
00:32:47I said shit, yeah.
00:32:48No, I'm just happy you asked.
00:32:52So, what sights are we seeing?
00:32:54All that Cairo has to offer.
00:32:57You're going to experience some dissolves.
00:32:59There's a montage coming up.
00:33:01Might make you a little nauseous.
00:33:05So looking forward to seeing Cairo.
00:33:07I can't wait.
00:33:08Hang on in there.
00:33:13Okay.
00:33:14Um, there's no time for the scene when, um, Alex over here is Claude talking to Utter.
00:33:20Sorry.
00:33:21I could do this for hours.
00:33:32I had the first magical day.
00:33:35Yeah, that was a trip.
00:33:37You do say the funniest things that I couldn't have asked for more agreeable companions.
00:33:42Me either.
00:33:43You mean me, though.
00:33:44Well, I said either.
00:33:45Don't debate grammar.
00:33:47Thanks for asking me along.
00:33:50There's no need to thank me.
00:33:52At all.
00:33:55Here's where she twists her ankle.
00:33:59Oh, God.
00:34:01Oh, God.
00:34:02God, are you okay?
00:34:03Down my damned heel.
00:34:05Help her to her room.
00:34:06I know.
00:34:07I know you'll need help getting to your room.
00:34:11Oh.
00:34:11Here.
00:34:12Seduction scene next.
00:34:14Not at all.
00:34:15Ow.
00:34:17Oh.
00:34:18Oh.
00:34:18Okay, so here's where, uh, you asked to check her leg and things get a little heated.
00:34:24That was quite the fall you took.
00:34:29Maybe I should check to see if it's swollen?
00:34:31Um, well, go gently on me.
00:34:35I'll do my best.
00:34:36How does this feel?
00:34:49Oh, that doesn't feel bad at all.
00:35:03Well, that's a good sign.
00:35:07Will I still be able to join the Bolshoi?
00:35:12I think so.
00:35:14Well, perhaps to make certain, you might try a little bit higher.
00:35:17Like, here?
00:35:26That's good.
00:35:30How about here?
00:35:31Is that tender?
00:35:38Ever so tender.
00:35:40Tad fruitier than the original.
00:35:42Uh, that'll be the ice I ordered.
00:35:48For the swilling.
00:35:49Mm-hmm.
00:35:53Second murder attempt imminent.
00:35:57I swear I just ordered the ice.
00:36:00Well, it would be a shame to waste it.
00:36:03Are you sure?
00:36:04Champagne in my room with a stranger.
00:36:07I'd never survive the scandal.
00:36:10Gosh.
00:36:10How I yearn to be free.
00:36:13So this is your scorpion moment.
00:36:16Don't move.
00:36:18Hmm?
00:36:21Oh, my goodness!
00:36:24Oh, I don't even think what might have happened if you hadn't been here.
00:36:27Oh, Alex.
00:36:29Romance level's peaking.
00:36:46Yeah, that is peaking.
00:36:48She wasn't like this with Ralphie.
00:37:02No.
00:37:04Oh, shit!
00:37:07Data feed down.
00:37:08We've lost picture.
00:37:09I'm code.
00:37:10Live feed down.
00:37:11No, no, no.
00:37:12Oh, my God.
00:37:13I'm sorry.
00:37:14I'm sorry.
00:37:14I'm sorry.
00:37:15I'm sorry.
00:37:18My heart is pounding like a drum.
00:37:23I bet as if the whole world has somehow stopped doing it.
00:37:27So do I.
00:37:30What is it?
00:37:32Do you hear that?
00:37:36It's silent.
00:37:38So it is.
00:37:41Brandy!
00:37:42Brandy, can you hear me?
00:37:45Brandy!
00:37:46God damn it!
00:37:48Oh.
00:37:50Who is that?
00:37:55It's Otto.
00:37:57Your husband's henchman kind of guy.
00:37:59Oh, wait.
00:38:01You're not supposed to know that.
00:38:02Forget I said that.
00:38:04Claude doesn't have henchmen.
00:38:09Why isn't he moving?
00:38:11They must be resetting.
00:38:13They?
00:38:14No, no.
00:38:15Can you fix this?
00:38:16I told you about the coffee, dude.
00:38:19I don't understand.
00:38:23Kimmy!
00:38:25Alex?
00:38:26Kimmy!
00:38:28Alex, I...
00:38:29Wait.
00:38:33Talk to me.
00:38:45What's going on?
00:38:45We've lost connection.
00:38:47But it's still running.
00:38:48Sure, but she is stuck in the simulation, so...
00:38:50So she could die.
00:38:53Be honest.
00:38:54Maybe.
00:38:54Well, if you had to put a percentage on it.
00:39:0050-50?
00:39:01Well, she said be honest.
00:39:07Hello?
00:39:09Guys?
00:39:12Hello?
00:39:13Kimmy, can you hear me?
00:39:20Guys?
00:39:21Kimmy!
00:39:24Who's Kimmy?
00:39:29Madam Ravine, she's...
00:39:30She's still alive.
00:39:31She's...
00:39:32She's supposed to be dead.
00:39:33And the story's all messed up now.
00:39:35You're frightening me.
00:39:36Guys?
00:39:38Guys?
00:39:40Kimmy, it's not cool
00:39:41to leave me hanging like this.
00:39:44Please tell me what's happening.
00:39:45Guys!
00:39:46Alex!
00:39:50I'm not fucking Alex!
00:39:56I need to speak to Kimmy, okay?
00:39:58I'd explain, but...
00:40:00You won't get it.
00:40:02How do you know what I won't get?
00:40:04The world's broken,
00:40:06and they're gonna have to reset it.
00:40:08You probably won't remember any of this.
00:40:11The movie is over, I repeat!
00:40:13The movie is over!
00:40:14What movie?
00:40:16Oh, my God.
00:40:18This whole world's a movie.
00:40:22No, it's not.
00:40:25Look around.
00:40:27Yeah, it's not even in color.
00:40:30I don't know what you mean.
00:40:37See this banana?
00:40:39Not yellow.
00:40:40Oh, my God.
00:40:40This orange?
00:40:44Not orange.
00:40:46That's a perfectly normal orange.
00:40:51So what color is this apple?
00:40:53The same color, an apple oasis.
00:40:55Red or green?
00:40:59See?
00:41:00None of this is real.
00:41:03You're not real.
00:41:04Well, I'm as real as you are.
00:41:11Do you remember being a kid?
00:41:14Do you have any childhood memories at all?
00:41:17I...
00:41:18You mentioned your dad earlier.
00:41:20Can you describe what he looks like?
00:41:22Anything about him.
00:41:26You can't.
00:41:27But...
00:41:27You don't even know his face because he's not in this movie.
00:41:32I don't...
00:41:33I don't like this game.
00:41:35No, that's exactly it.
00:41:37It's a game.
00:41:39It's a let's pretend.
00:41:40It's a performance.
00:41:41You're a performance.
00:41:44No.
00:41:46Stop it.
00:41:47When I called you Dorothy earlier, she wasn't someone I knew.
00:41:50She was you.
00:41:52The real you.
00:41:54She's an actress.
00:41:56Or was an actress.
00:41:59Dorothy Chambers?
00:42:03You're a role she played.
00:42:09No.
00:42:11No.
00:42:12No.
00:42:17Shit.
00:42:47I'm sorry I yelled at you back there.
00:43:14This whole thing's just really hard to explain.
00:43:21This is all a story in a computer.
00:43:27Or...
00:43:27Or I guess think of it like a play in the brain of a machine.
00:43:37For now, the movie's stopped for the moment.
00:43:43I don't know why.
00:43:46There's some technical problems.
00:43:53I know I said you weren't real.
00:43:56But I'm kind of not either.
00:44:05My name's not Alex.
00:44:07It's Brandy.
00:44:09I'm like you.
00:44:12I'm an actor.
00:44:13I don't know if any of this makes any sense to you.
00:44:32But um...
00:44:46I'm really sorry.
00:44:49I'm really sorry.
00:45:21Wait, wait. So the story's on hold, but time's still advancing?
00:45:24Yeah, the chronographic tempo's way out of whack.
00:45:26Which means?
00:45:27It means time in there for her is running a lot faster than it is for us out here.
00:45:33Faster? As in?
00:45:34As in six, seven hours a second.
00:45:38Does that mean we have to pay her for more days?
00:45:51Clara?
00:45:51I thought you said I was Dorothy.
00:45:53Sleeping in the lobby makes you look like a hobo.
00:45:56Well, I tried the doors, but none of them have insides, because they're not part of the story.
00:45:59Where are you going?
00:46:00To find a way out.
00:46:02I'll come with you.
00:46:03No, you won't.
00:46:04I'll come with you.
00:46:34I'll come with you.
00:47:04Something just breached the French.
00:47:07What?
00:47:08That is your gun.
00:47:28Is it brandy?
00:47:30Is it brandy?
00:47:30What?
00:47:31I'll come with you.
00:47:55I think it might be Clara.
00:48:10Clara?
00:48:11Yeah.
00:48:13She would have been exposed to the full data pool.
00:48:16I guess.
00:48:18Do we think that's bad?
00:48:21Yeah, yeah, yeah, that's...
00:48:24Oh.
00:48:27You seriously have to fix this?
00:48:28You just have to let me.
00:48:54You just have to let me.
00:48:56You just have to let me.
00:48:58You just have to let me.
00:48:59You just have to let me.
00:49:02You just have to let me.
00:49:03You just have to let me.
00:49:05You just have to let me.
00:49:07You just have to let me.
00:49:09You just have to let me.
00:49:10You just have to let me.
00:49:12You just have to let me.
00:49:13You just have to let me.
00:49:15You just have to let me.
00:50:53Stop.
00:50:53Look, I may not be real, and you may not be who you say you are, and this entire existence
00:51:03might be a meaningless pantomime.
00:51:05But if you and I are going to be stuck here together, then I'm not going to let you defile
00:51:12that piano one moment longer.
00:51:14Go on, budge.
00:51:16Sit over there.
00:51:18Watch and learn.
00:51:18Come on, come on, come on.
00:51:25I think I've got something.
00:51:27Oh, oh my God.
00:51:28Whoa, whoa, whoa, what's that?
00:51:30Okay.
00:51:31Why is Clara at the piano?
00:51:33It's not in the script.
00:51:35What is that?
00:51:36What is she doing?
00:51:38Oh.
00:51:38What?
00:51:40Oh, God.
00:51:43Ready?
00:51:45I'm ready.
00:51:45Oh.
00:51:54I'm going to go.
00:51:55I'm going to go.
00:54:59I love you.
00:55:03Mm-hmm.
00:55:05Mm-hmm.
00:55:07You know, I do too.
00:55:11I just...
00:55:13I wonder...
00:55:16What do you wonder?
00:55:19Do you think you love me because...
00:55:23Clara was written...
00:55:25Clara was written...
00:55:27to feel that way?
00:55:29About this person she met?
00:55:31It's...
00:55:33It's Alex Palmer.
00:55:35But you're not Alex Palmer.
00:55:45But you're not Alex Palmer.
00:55:47We have got a safe state!
00:55:57We have got a safe state!
00:55:58Thank God!
00:55:59Chronographic temple restored.
00:56:01But I think we can reinstate comms to...
00:56:03Like a doctor?
00:56:04Yes, but voice only.
00:56:05We won't have a vigil until we reset.
00:56:07Brandy?
00:56:09Brandy?
00:56:11Kimmy?
00:56:12Oh, thank God!
00:56:13Brandy?
00:56:14What is it?
00:56:15It's them.
00:56:17Them?
00:56:18As in them.
00:56:19You mean...
00:56:20the people on the outside?
00:56:22Look, uh...
00:56:23We had a hardware issue.
00:56:24We're just gonna have to pick it up from where we were.
00:56:26Where we were?
00:56:28As in...
00:56:29The scene in Clara's hotel suite.
00:56:31The kiss after the scorpion.
00:56:32But a time has passed for her.
00:56:34Wait, we're going back to...
00:56:36Resetting the scorpion scene.
00:56:38Yes.
00:56:41Uh, wait.
00:56:42Clara's here and...
00:56:44She knows who I am and we've been...
00:56:47No, don't worry.
00:56:48Um, once we reset,
00:56:49she won't remember anything that occurred after the save point.
00:56:51Okay, safe state prompt.
00:56:53She won't remember.
00:56:55No, just back to the film like nothing happened.
00:56:57What won't I remember?
00:56:59Um, you ready?
00:57:01Reloading safe state in five...
00:57:03Four...
00:57:05Link re-established.
00:57:06Three...
00:57:07Two...
00:57:09One.
00:57:10Wait, no, no, no, no, no, no.
00:57:11No, no, no.
00:57:14My heart is pounding like a drum.
00:57:17Yes.
00:57:18Right.
00:57:19Yes.
00:57:26She's got dialogue here.
00:57:29Brandy?
00:57:31You're supposed to say, as is mine.
00:57:34Brandy?
00:57:35Yes, it's mine.
00:57:36I feel it's out the whole world to stop dying.
00:57:38So do I.
00:57:39The line is, so do I.
00:57:40So do I.
00:57:41Oh, my word.
00:57:42I'm a married woman.
00:57:43I mustn't behave this way.
00:57:44I can't...
00:57:45feel this way.
00:57:48Feel what way?
00:57:49Feel what way?
00:57:50Feel what way?
00:57:54Don't make me say it.
00:57:55I'm a married woman.
00:57:56Oh, my word.
00:57:57Oh, my word.
00:57:58Oh.
00:57:59Oh, my word.
00:58:00Oh.
00:58:01I'm a married woman.
00:58:02I must behave this way.
00:58:04I can't...
00:58:05feel this way.
00:58:06Feel what way?
00:58:09Feel what way?
00:58:10Don't make me say it.
00:58:15um okay so your line here is you don't have to say anything you don't want to
00:58:25that's not the line what's going on you must go
00:58:33you heard her you gotta go i don't want to jesus christ i hope you must yes brandy
00:58:45you really must it's part of the story i'm so sorry dr palmer
00:58:52so am i
00:58:58how we doing in there
00:59:06um brandy you can talk to me
00:59:11i'm here i need you to focus can you focus
00:59:17look all you need to do is keep the art going and say your final line at the right time trigger
00:59:24the end credits when the credits roll we can extract you you got it
00:59:29what if i don't say it
00:59:32what what happens if i don't say the final line
00:59:37um well you'd be stuck in there for how long forever
00:59:43and listen brandy if that happens your actual body out here that would die
00:59:56but but my spirit consciousness whatever that would that would stay here with her
01:00:06brandy what are you asking me
01:00:11nothing good don't lose it now i won't what happens next courtyard scene
01:00:23you head out for a smoke over here auto tell claude about the scorpion
01:00:27we good sure uh head out buy my cigarette over here in the back guys
01:00:33what is going on with her i don't know
01:00:40scene 63 alex smoking in the garden
01:00:43well it's my problem taken care of no boss
01:00:47the doctor trapped it in a glass
01:00:52wait what doctor
01:00:53the one attending to her
01:00:55earlier she fell and twisted her ankle
01:00:58if only she'd snapped her neck
01:01:00look surprised as you overhear them
01:01:02you remember this is fresh information to you
01:01:04she dies tonight
01:01:06great now beat it back to clara's suite
01:01:09before the assholes start discussing the rooftop plot
01:01:12let's drive and see
01:01:14did you sabotage the railing as we agreed
01:01:18you listened up nicely boss
01:01:20excellent
01:01:21i'll invite her up there to take in the view
01:01:25then a quick jump
01:01:27and my troubles are over
01:01:30hey alex your husband's trying to kill you
01:01:36if this is another of the absurd james
01:01:38my husband may have many faults dr palmer
01:01:41but a murderer he is not
01:01:43darling
01:01:44who are you
01:01:46all right
01:01:47yeah alex chris how we doing
01:01:49okay i have a pitch for the third act
01:01:51uh-huh so at the end of this scene
01:01:53uh alex leaves the room chases otto
01:01:56threatens him so then otto tells alex about the loosened railing
01:01:59but alex already knows they'll be on the roof so
01:02:01that beats actually sort of redundant
01:02:03that's right
01:02:04so uh what if instead of chasing otto alex runs across the street to the police station
01:02:10warns them about claude then she can meet levine
01:02:12and diagnosis allergies there
01:02:14great
01:02:15do i get a credit
01:02:16if it works
01:02:18okay
01:02:18will it work
01:02:20don't ask me you called a great
01:02:22there's no time for notes
01:02:23is there anything i can help you with my good doctor
01:02:26uh the doctor was just leaving
01:02:28i'll show you out dr palmer
01:02:30i swear that's the voice i heard
01:02:36that's enough
01:02:36please
01:02:37i want you to leave this room
01:02:38and you can leave this damned hotel for all i care
01:02:40i never want to see you again
01:02:43my darling
01:02:49okay so this is where you'd usually turn left
01:02:56yeah yeah i spot otto
01:02:58give chase
01:02:58get the info about the rooftop
01:02:59no no no um we have a rewrite
01:03:01uh new pages
01:03:02okay
01:03:04so you have to make a right
01:03:06and head to the police station
01:03:07across the street
01:03:08and demand to speak to the highest ranking cop
01:03:11uh levine
01:03:11correct
01:03:12all you have to do is tell him that clara's husband is plotting something
01:03:15he won't believe you but
01:03:16but i'm guessing he'll sneeze
01:03:18i'll diagnose his cologne allergy
01:03:20and he'll remember me in time for the finale
01:03:21yeah that works
01:03:22but hurry okay
01:03:23okay he's creating a new scene
01:03:25interior
01:03:26police station night
01:03:28just a dog
01:03:32bonbon was not just a dog
01:03:35and he was murdered
01:03:37oh no madame rabin
01:03:39i forgot she was still in play
01:03:41damn it
01:03:42brandy just ignore the french lady
01:03:44jump the line
01:03:45i need to speak to your boss
01:03:48senior inspector here
01:03:49please wait your turn
01:03:50madame was here first
01:03:51and i am reporting a murder
01:03:53yes of your poor sweet dog
01:03:57that's right
01:03:58that's why i'm here
01:03:59hey tase
01:04:00no it isn't
01:04:01yes i know the man responsible for murdering bonbon
01:04:04bonbon
01:04:05madame's dog
01:04:06you do
01:04:07yes
01:04:08the most dangerous maniac
01:04:11and who is this maniac
01:04:12i'll only tell your most senior inspector here
01:04:15what's all this
01:04:16explain yourself
01:04:17four minutes
01:04:21brandy just summarize and split
01:04:23this woman's dog has been murdered by claude rice and share who's about to kill his wife
01:04:27who he's been trying to kill for days
01:04:28what are you talking about
01:04:31i also have a doctor and you're probably allergic to your cologne
01:04:34you should probably change it and you'll stop sneezing
01:04:36okay listen out for gunshots
01:04:38okay
01:04:39and remember this face
01:04:40final murder attempt imminent
01:04:45oh claude
01:04:49oh it's so romantic
01:04:51he said everything all right
01:04:53yes
01:04:54it's just um
01:04:56you've been so busy
01:04:58i thought it was high time you got what you deserve
01:05:02darling
01:05:03is that enough
01:05:10we think so
01:05:13you can't tell
01:05:14three minutes remaining
01:05:15just head to the roof
01:05:16how confident are we
01:05:204.5
01:05:22out of
01:05:24i'll tell you later
01:05:26i chose this spot
01:05:29so you could enjoy the finest vantage point in all of cairo
01:05:34you do think of everything
01:05:35indeed i have
01:05:36why
01:05:37oh look at the pretty oil lamps of the street vendors
01:05:41oh i can't make them out
01:05:44come a little closer lean over the railing
01:05:47i
01:05:48it looks a bit dirty
01:05:50i don't know
01:05:51but it
01:05:53it also looks quite unsafe
01:05:56nonsense lean against it
01:05:58i mean i really don't want to
01:05:59i said lean
01:06:00claude what has got into you
01:06:02just do as i say
01:06:09lean over the railing
01:06:11lean
01:06:11wait get away from her
01:06:14not one step closer
01:06:15the police station is across the street
01:06:18pull that trigger
01:06:19they'll come running
01:06:20well
01:06:20that's a chance i'm willing to take
01:06:24alex no
01:06:26come here
01:06:34i knew something was amiss with you
01:06:40the good doctor
01:06:42well
01:06:43a story like really doesn't like this
01:06:46this is the end for you both
01:06:49what did she do that for
01:07:02i don't
01:07:03claude's not meant to die
01:07:05no he's not
01:07:07police inbound
01:07:09shit they'll arrest clara
01:07:11what will happen if they do that
01:07:13so they cuff clara and they haul her away on a murder charge
01:07:18but alex can still say the last line as they drag clara away
01:07:20that should be enough to trigger the end credits
01:07:22so it becomes a tearjerker
01:07:24young love destroyed when one of them winds up in the slammer
01:07:27i don't know it's different but it works
01:07:29but ahead of its time
01:07:31more to the point it gets her out of there
01:07:33i killed him
01:07:34brandy new ending
01:07:36the cops are coming
01:07:38the police are coming
01:07:39they'll arrest her
01:07:40they'll arrest you
01:07:41let them
01:07:42yes let them
01:07:43then what happens
01:07:44she goes to jail so what
01:07:46for how long
01:07:47from her perspective forever
01:07:48but she's not fucking real so who cares brandy
01:07:51i was born in a cage i should die in a cage
01:07:53no
01:07:55what are you what are you doing
01:08:02we'll tell the police i shot your husband
01:08:04no
01:08:05they'll arrest me
01:08:05no
01:08:06believe me it is the best way
01:08:07i won't let them
01:08:08story arc is critical
01:08:09i love you
01:08:15and i love you
01:08:18forgive me
01:08:33forgive me
01:08:34cara no
01:08:36what are you doing
01:08:38what are you doing
01:08:38stop
01:08:39stop her or shoot
01:08:41drop your weapon
01:08:43wait
01:08:44i know this person
01:08:45is a doctor
01:08:47no
01:08:47no
01:08:49oh god
01:08:51oh god
01:08:55no
01:08:59no
01:09:01no
01:09:03no
01:09:07no
01:09:09no
01:09:13no
01:09:30no
01:09:31no
01:09:31no
01:09:32her body's going into shock i can't extract until she gives titles she's got to see the line
01:09:39say the line brandy say the line
01:09:55brandy
01:09:56brandy say the line say the line brandy
01:10:06i'll be yours
01:10:26we have an ending extracting do you think it worked the ending did it for me
01:10:34i'll cry that sir
01:10:55so
01:11:02Not a dry eye in the house.
01:11:24Last century, Keyworth Pictures invited guests to Hotel Reverie.
01:11:29Now, with the help of ReDream and our friends at Streamberry, we'd like to welcome you back.
01:11:36You might notice a few changes in the old place.
01:11:39Renowned Dr. Alex Palmer encounters tragic heiress Clara Rice.
01:11:45Waiter, another scotch, please, and for yourself.
01:11:47Thank you. A black rose.
01:11:50A rose for a rose.
01:11:54A piano standing silent always makes me so melancholy.
01:11:58It's silly, I know.
01:11:59If it's Clare de Lune you want, it's Clare de Lune you shall have.
01:12:03Yet even as their affection grows, the pair are unaware of Clara's fiendish husband, Claude, plotting her death.
01:12:10My accursed wife has more lives than a damn cat.
01:12:14She dies tonight.
01:12:16Don't move.
01:12:16Oh, my goodness!
01:12:18That's a shame.
01:12:24Oh, my goodness.
01:12:27I'm sorry.
01:12:28I'm sorry.
01:12:28I'm sorry.
01:12:28I'm sorry.
01:12:29I'm sorry.
01:12:29I'm sorry.
01:12:30I'm sorry.
01:12:31I'm sorry.
01:13:31All right, you are, Captain Gieber.
01:13:36I'm here waiting for it to ring.
01:13:38But it's not connected, is it?
01:13:40No.
01:13:40Hello?
01:13:48Arise to Cher residence.
01:14:03Hi.
01:14:07Who's this?
01:14:10Uh, friends?
01:14:13Do I know you?
01:14:14Yes, and no.
01:14:20What an intriguing answer.
01:14:24Tell me more.
01:14:27How much time do you have?
01:14:30Since you've got a kind voice,
01:14:32I've got all the time in the world.
01:14:35I've got all the time in the world.
01:14:35How much time do I know?
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