- 7 hours ago
First broadcast 10th April 2025.
A high-tech, unusually immersive remake of a vintage British film sends Hollywood A-list star Brandy Friday into another dimension.
Issa Rae - Brandy
Emma Corrin - Dorothy
Harriet Walter - Judith Keyworth
Awkwafina - Kimmy
Enzo Cilenti - Ralph Redwell
Elliot Barnes-Worrell - Quarterman
Natalia Kostrzewa - Courier
Rebecca Ozer - Ayla
Stanley Weber - Claude
Farid Larbi - Inspector Lavigne
Waleed Hammad - Police Officer
Charlie Hiscock - Jack
Tessa Wong - Crystal
Magnus Bruun - Dieter
Danielle Vitalis - Mika
Elaine Claxton - Mrs. Roban
Amro Mahmoud - Waiter
Asheq Akhtar - Otto
Filiz Fairweather - Hotel Resident
Skaidre Rudokaite - Hotel Guest
Kemal Shah - Hotel Guest
A high-tech, unusually immersive remake of a vintage British film sends Hollywood A-list star Brandy Friday into another dimension.
Issa Rae - Brandy
Emma Corrin - Dorothy
Harriet Walter - Judith Keyworth
Awkwafina - Kimmy
Enzo Cilenti - Ralph Redwell
Elliot Barnes-Worrell - Quarterman
Natalia Kostrzewa - Courier
Rebecca Ozer - Ayla
Stanley Weber - Claude
Farid Larbi - Inspector Lavigne
Waleed Hammad - Police Officer
Charlie Hiscock - Jack
Tessa Wong - Crystal
Magnus Bruun - Dieter
Danielle Vitalis - Mika
Elaine Claxton - Mrs. Roban
Amro Mahmoud - Waiter
Asheq Akhtar - Otto
Filiz Fairweather - Hotel Resident
Skaidre Rudokaite - Hotel Guest
Kemal Shah - Hotel Guest
Category
📺
TVTranscript
00:00:15Keyworth Pictures invites you to Hotel Reverie.
00:00:19Renowned Dr. Alex Palmer encounters tragic heiress Clara Rice.
00:00:23Wait, another scotch, please.
00:00:25And for yourself.
00:00:26Thank you. A black rose.
00:00:28A rose for a rose.
00:00:33A piano standing silent always makes me so melancholy.
00:00:37It's silly, I know.
00:00:38Yet it's Clare de Lunea what?
00:00:40It's Clare de Lunea she'll have.
00:00:42Yet even as their affection grows, the pair are unaware
00:00:45Clara's fiendish husband, Claude, is plotting her death.
00:00:49My accursed wife has more lives than a damn cat.
00:00:53She dies tonight.
00:00:55Don't move.
00:00:56Oh! Oh, my goodness!
00:01:16So, your studio, Keyworth Pictures, has the most incredible back catalog.
00:01:23Noir thrillers, wartime romances, caper comedies, an unrivaled collection of heritage media.
00:01:29By heritage, you mean old?
00:01:31I mean, uh, vintage.
00:01:34You have a great reputation.
00:01:36Fifty years ago, yes.
00:01:37Look, I know you're trying to blow smoke up my ass, but let's be real.
00:01:41My stages are empty.
00:01:42We're up to our knockers in debt.
00:01:43I was in Cannes last week, trying to sell our library to some streamers, and they were NFI.
00:01:49NFI?
00:01:49It's a non-fungible, uh...
00:01:50Not fucking interested.
00:01:51The Keyworth brand is not what it was.
00:01:55We're going under, and everybody knows it.
00:01:58Well...
00:01:59I can't believe with your prestige content.
00:02:01Please don't call it content.
00:02:02It makes me heave.
00:02:03Okay.
00:02:04Okay, I'm...
00:02:05I'm sorry.
00:02:06Prestige movies.
00:02:08Dreams.
00:02:09Classics.
00:02:10Like...
00:02:11Hotel Reverie.
00:02:14I'll be yours forevermore.
00:02:16My father's favorite.
00:02:18And mine.
00:02:20But try telling that to the public.
00:02:21I think you'll find the NFI.
00:02:24Well, you know, what's the point of watching an old movie starring Ralph Redwell when you
00:02:28could watch a new movie starring Ryan Gosling or Ryan...
00:02:33Reynolds?
00:02:34Yeah.
00:02:35But they're way out of my price league.
00:02:38Well, what if I told you my company has an affordable way to take a shuttered classic like Hotel Reverie
00:02:45and almost instantly recast the lead with a contemporary Hollywood star?
00:02:50We can't!
00:02:50Oh, you will be able to afford because you'll only need 96 minutes of their time.
00:02:56You're gonna use one of those AI paint boxes and deep fake Ryan over Ralph.
00:03:01What we're proposing isn't fake.
00:03:04It's real.
00:03:07Hmm, you've intrigued me.
00:03:10So which Ryan would call him first?
00:03:21Hey!
00:03:22Randy!
00:03:22Listen.
00:03:23The studio are chasing.
00:03:25I'm telling you.
00:03:25I just love this project for you right now.
00:03:28We all do.
00:03:29And hey, the money's off the chart.
00:03:31Call me when you get a chance.
00:03:33Bye now.
00:03:34Bye-bye.
00:03:40No.
00:03:41Oh, whoa now.
00:03:42Do you read the material?
00:03:43Lola's in almost every scene.
00:03:44It's a big role.
00:03:45It's a big supporting role.
00:03:47Backing up Mr. Lead Dude again.
00:03:49Hey.
00:03:52You get lead roles.
00:03:53Yeah, for Sundance Misery Porn.
00:03:55You don't want to play those roles anymore either?
00:03:57I'm saying I'm tired of my only available options being noble victim or fuckable sidekick.
00:04:05I can't control which box the world wants to put you in.
00:04:09It's the same box and I'm sick of it.
00:04:12You know I got into this to be other things, right?
00:04:15To express other things.
00:04:17Like what?
00:04:20Like something romantic.
00:04:23This is romantic.
00:04:25For the lead guy.
00:04:26I don't want to be pursued.
00:04:27Why can't I pursue?
00:04:30Huh?
00:04:33I just want something magical, timeless, something I can escape into.
00:04:41You talking career or personal life?
00:04:45Both.
00:04:47Where's my Casablanca?
00:04:49Where's, where's, where's my brief encounter?
00:04:53C-come on.
00:04:54British romance?
00:04:561940s?
00:04:56Classic?
00:04:57Like Hotel Reverie?
00:04:59Yes.
00:04:59Hotel Reverie.
00:05:01I'll be yours forevermore.
00:05:03Well, it's not where that line comes from.
00:05:05The iconic final line?
00:05:07Yeah.
00:05:07Hey, I-I knew the line, not the movie.
00:05:09But the weird thing is, this is the second time this is coming up this week.
00:05:12What do you mean?
00:05:12The studio.
00:05:13Uh, Keyworth.
00:05:14Something.
00:05:15They're doing some kind of reboot.
00:05:16They're remaking Hotel Reverie?
00:05:18Yeah, with a high-tech shooting style.
00:05:19They want an A-lister for the male lead.
00:05:21To play Alex?
00:05:22Dr. Palmer?
00:05:23I want to do it.
00:05:24It's a male lead.
00:05:26So they can't flip it?
00:05:27Have a woman play the lead?
00:05:28They want a Ryan.
00:05:29One of the Ryans.
00:05:30Tell them I want to do this.
00:05:33So I'm afraid Ryan's a no.
00:05:35Which one?
00:05:36Both of them.
00:05:37I'm sorry.
00:05:37Did you say that they don't have to talk British?
00:05:39They could be American?
00:05:40Didn't get that far.
00:05:42Also, Timothee Chalamet's unavail.
00:05:44Chris Hemsworth didn't connect with the material.
00:05:46And Donald Glover says thanks for thinking of him,
00:05:48but he has a family commitment.
00:05:50So they're all an enfi.
00:05:52Sorry?
00:05:52Is there really not one A-lister who's curious?
00:05:56Well, you won't believe this, but Brandy Friday's team says she's interested.
00:06:03Holy shit, Brandy Friday?
00:06:05She big?
00:06:07She's huge.
00:06:08She's available?
00:06:09I tried to explain it's not the Clara role, but...
00:06:12Well, could we make it the Clara role?
00:06:14That's the thing.
00:06:15They said she's only interested if she plays the lead.
00:06:18Well, that's just brilliant.
00:06:19It's brilliant.
00:06:20It's brilliant.
00:06:25Well, that's the Duke of Lucy and all the other.
00:06:30I don't know if it were any.
00:06:43I'm so excited.
00:06:44I can't wait for her to win the end of the ring.
00:06:46I can't wait for her.
00:06:48Not long.
00:06:48I can't wait for her.
00:06:49It's not a long way.
00:06:51I can't wait for her.
00:06:53And you know what?
00:06:55I realise I'm... I'm waiting for it to ring, but it's not connected, is it?
00:06:59No.
00:07:02God, I'm such a fool.
00:07:05Right. I'll imagine it's ringing.
00:07:10Hello. Arise the Cher residence.
00:07:13To whom am I speaking?
00:07:19I... I...
00:07:21Oh, God damn it.
00:07:23Well, it's just so odd when there's no one on the other end.
00:07:26Up from the top.
00:07:28Tayto.
00:07:29Hello. Arise the Cher residence.
00:07:33To whom am I...
00:07:38Rockinghamshire, England.
00:07:39And an outpouring of grief as actress Dorothy Chambers is found dead at home.
00:07:44The cause of death? An overdose of sleeping pills.
00:07:47The reclusive beauty never married and was well known to be troubled by podicious gossips
00:07:53surrounding her personal life.
00:08:00Oh, hi.
00:08:01Hey.
00:08:02This is for you.
00:08:04It needs a signature just here.
00:08:05Oh, sure.
00:08:07Sorry, I shouldn't, but I really love that movie you were in about the secret CIA agent.
00:08:14He was so good.
00:08:17Are you still with that actor, James?
00:08:18Uh, no. We're not together anymore.
00:08:20Oh.
00:08:20He was so good in that movie about the pilot that saves...
00:08:24Stop.
00:08:24Gotta take this.
00:08:25Okay.
00:08:25Don't let the gate hit you.
00:08:29Hey.
00:08:30Great news.
00:08:31You got it.
00:08:32Got what?
00:08:33At the lead in Hotel Reverie.
00:08:35I guess they're gonna flip it.
00:08:36Yeah.
00:08:37Okay, so look.
00:08:37It's a straight offer, so they're sending materials over to you.
00:08:41Oh, yeah.
00:08:42I think I just got those.
00:08:43They say they're gonna need you in the studio next Monday.
00:08:46That's in England.
00:08:47Wait, they start filming next Monday?
00:08:49Uh, no.
00:08:50They say no.
00:08:50It's some kind of test.
00:08:51Who's playing Clara?
00:08:53Seems that's confidential, but it's all laid out for you in that info pack.
00:08:57Pepe from Streamberry is here.
00:08:59Wait, wait.
00:09:00Laid out where?
00:09:01Yeah.
00:09:02Oh, congratulations again.
00:09:03Okay, look, I gotta go.
00:09:04Bye, bye, bye.
00:09:05Okay.
00:09:05Thanks.
00:09:11Drop your weapon.
00:09:14Shoot him.
00:09:15He's trying to kill me.
00:09:17Wait.
00:09:18I know that man.
00:09:20He diagnosed my allergy.
00:09:22Arrest the other man.
00:09:23No.
00:09:25No.
00:09:26No.
00:09:26Let's see what.
00:09:27Ah.
00:09:28Let's see what.
00:09:29Ah.
00:09:34Stay with me.
00:09:36Promise me you'll stay.
00:09:40I'll be yours.
00:09:43Forevermore.
00:09:57I'll be yours forevermore.
00:10:04I'll be yours forevermore.
00:10:13I just need to get this up and running.
00:10:16There we go.
00:10:18Powering up in a few minutes.
00:10:19Jack.
00:10:20Give me two seconds.
00:10:22Jack.
00:10:23Yeah.
00:10:24No liquids near the tech.
00:10:25Isn't that your mantra?
00:10:26Oh.
00:10:27Sorry.
00:10:29She's late.
00:10:31Her driver said she's stuck in traffic.
00:10:33You've only got this stage for two more hours.
00:10:35It's leased to some Swedes who are shooting a Luro commercial.
00:10:39You said we had three hours.
00:10:40No?
00:10:41I said I'd ask for three.
00:10:42Hi.
00:10:44Hi.
00:10:45Oh.
00:10:46Miss Friday.
00:10:48Judith Keyworth.
00:10:51Goodness.
00:10:52Can I tell you how thrilled we are that you're doing this?
00:10:55Oh.
00:10:55It's my pleasure.
00:10:56I love old movies.
00:10:59Oh, sure.
00:11:00Meet the young lady who I've entrusted with my studio's life.
00:11:05Uh, Kimmy, project leader.
00:11:08Um, and can I just say I've been a fan of you since Zodiac Suite.
00:11:11You saw Zodiac Suite?
00:11:13I did.
00:11:14Off-Broadway when I was back in NYU.
00:11:16Oh, wow.
00:11:17And then I went.
00:11:19Yes.
00:11:19Anyway.
00:11:20Anyway.
00:11:21Yes.
00:11:21We, uh, let's, let's, uh, let's dive on in.
00:11:24Okay.
00:11:25So, you know, the re-dream, how it works.
00:11:28Re-what?
00:11:28Uh, re-dream?
00:11:30The system that we're using?
00:11:33You got the info pack, right?
00:11:35Info pack?
00:11:36I...
00:11:37You got the script in the movie.
00:11:39Yeah, read the script, watched the movie.
00:11:40There was a USB stick in there, too, with the info pack on it.
00:11:46You didn't see that?
00:11:48Uh, no.
00:11:53Uh, do you, you know your lines, right?
00:11:58Sure.
00:12:01Come with me.
00:12:03We're making the movie right now, in real time, like theater.
00:12:07Re-dream is a system that we're using.
00:12:09It ingests a movie and all of its surrounding material, screenplay, casting reels, dailies,
00:12:14all of it.
00:12:15And it creates an entirely self-sufficient, fictive dimension in which we immerse you in.
00:12:19Can you slow down a little bit, please?
00:12:20Yeah.
00:12:21I feel like this is, like, very overwhelming, right?
00:12:23Why don't you lie down?
00:12:24Lie down and, uh, make yourself comfortable.
00:12:27What's up, you?
00:12:28Hold still.
00:12:29I'm just gonna attach this mesmerizer.
00:12:32Mesmerizer?
00:12:33Yeah, it's a nickname for, uh, a synoptic-fictive interface.
00:12:36It's whatever.
00:12:37I don't know what you're saying.
00:12:38Yeah.
00:12:39Um, when you're in there, everyone and everything except you will be in stasis until the opening
00:12:45titles roll, which would give you a minute to adjust.
00:12:47Adjust to what?
00:12:49You're a pro.
00:12:50Just say your lines.
00:12:51Hit the story beats, and if we get too far off arc, we'll just pull you out.
00:12:55That won't happen, though.
00:12:56You know?
00:13:02Okay.
00:13:03Execute team runtime.
00:13:08And sinking realms.
00:13:41Oh, my God.
00:14:02Okay.
00:14:03How we doing in there?
00:14:04I'll be giving you direction.
00:14:06Ready?
00:14:07This is insane.
00:14:09I mean, is this the original movie set?
00:14:11Yeah.
00:14:12It's a little intense in there first.
00:14:15Oh, you think?
00:14:16I mean, black and white.
00:14:19Look, we got about, uh, 90 seconds until we roll the credits, so...
00:14:23head for the table, the one with the newspaper, behind the piano.
00:14:26Like in the opening scene?
00:14:27Exactly.
00:14:29There's, like, frozen people?
00:14:30Yeah.
00:14:31They'll unpause when the titles start.
00:14:32And when they do, just remember that, to them, this is real.
00:14:37They think that they're real people living in a real world.
00:14:41So who are they going to think I am?
00:14:43They'll just think you're Alex Palmer, doctor of tropical medicine.
00:14:46Who's a middle-aged British white guy?
00:14:49Right.
00:14:50That's not who they'll see.
00:14:51They will see and hear you as you are, and they'll just accept that you're Alex Palmer,
00:14:57the character in the story.
00:14:59Okay, so to them, Dr. Palmer is a black woman just rolling up in 1940 or whatever, and it's
00:15:05just fine?
00:15:06That's fine.
00:15:07It's fine?
00:15:08Yes, that's fine.
00:15:10It's fine.
00:15:11They're AIs.
00:15:12They're constructs.
00:15:13They only know the parameters of the story and the character names.
00:15:17I know it sounds crazy.
00:15:18It won't even cross their minds.
00:15:20Okay.
00:15:21Just keep the story going.
00:15:24If you say your lines, we're all good.
00:15:26Good luck.
00:15:32Get the newspaper.
00:15:34Okay.
00:15:40Arc ready?
00:15:41Feedback ready?
00:15:43Supervision ready?
00:15:44Forecasting ready?
00:15:46Prep titles.
00:15:46Titles prepped.
00:15:47Simulation running.
00:15:54Five, four, three, two, one.
00:15:59And action.
00:16:00Titles rolling.
00:16:03Exterior.
00:16:04Hotel.
00:16:05Night.
00:16:08Clara inbound.
00:16:24Yes, it's Dorothy Chambers.
00:16:26Stop staring.
00:16:33Clara speaks in three, two, one.
00:16:37Excuse me.
00:16:38Wait.
00:16:39What do you want?
00:16:40May I have a seat at your table?
00:16:42It's awfully crowded in here.
00:16:44I was hoping...
00:16:44I do not understand which seat do you wish to have.
00:16:48Keep the paper up, Brandy.
00:16:49Perhaps that one.
00:16:51That one?
00:16:52It's for mon petit bonbon.
00:16:54Oh.
00:16:55Bonbon does not sit on the ground.
00:16:58Do you, bonbon?
00:17:00Okay, Brandy, you're up.
00:17:05Ma'am.
00:17:07I have a spare seat.
00:17:09And I can assure you, no bonbon.
00:17:11I couldn't impose.
00:17:12I could use the company.
00:17:14It's a very different flavor than dear old Ralphie.
00:17:18Alex Palmer.
00:17:20Clara Rice-Lecherre.
00:17:22Rice-Lecherre?
00:17:23That's half the alphabet.
00:17:26All in sync.
00:17:28She's word perfect.
00:17:29Oh, Lecherre comes courtesy of my husband, who's French.
00:17:32Story on track.
00:17:33Pierre Lecherre.
00:17:35Claude.
00:17:35Sorry to disappoint you.
00:17:36Will Claude be joining us?
00:17:38No, no.
00:17:39Claude has work commitments.
00:17:41He holds an important role in the business.
00:17:43The business?
00:17:43Oh, my father's business, Rice Holdings.
00:17:46Oh, my.
00:17:47I didn't realize you were THE Clara Rice.
00:17:50Oh, yes.
00:17:51The Clara Rice.
00:17:52Heir to the Rice Empire.
00:17:54Exposition delivered.
00:17:55What brings you to Cairo?
00:17:57I'm giving a talk at the School of Medicine.
00:17:59You're a surgeon?
00:18:01Just a doctor.
00:18:02Albeit one who knows an absurd amount about tropical diseases.
00:18:05Backstory deployed.
00:18:06Dreadful, yes.
00:18:07Hitting all her beats.
00:18:08Dreadful, yes.
00:18:09Accomplished.
00:18:09Of course, I'm not so sure.
00:18:10Oh, waiter.
00:18:11Another scotch, please.
00:18:13And for yourself?
00:18:14A black rose.
00:18:16Ah.
00:18:16A rose for a rose.
00:18:20Attraction building.
00:18:21Something of a tradition for me.
00:18:22One scotch and one black rose.
00:18:25For CRS.
00:18:26Murder attempt number one imminent.
00:18:32Black rose created.
00:18:33I repeat, black rose has been created.
00:18:36Oh, dear.
00:18:36That's all.
00:18:37Oh, nothing really.
00:18:38Just the piano.
00:18:40A piano standing silent always makes me melancholy.
00:18:43Silly, I know.
00:18:46Say a pianist walked in right now.
00:18:48What would you have him play?
00:18:50Claire de Lune.
00:18:51Oh, that's easy.
00:18:52Claire de Lune.
00:18:53My dad's favorite.
00:18:54Debussy.
00:18:55Do you know it?
00:18:56Oh, it's the most wonderful piece.
00:18:58It transports me to the gayest of places.
00:19:00And at the same time, it's so sad.
00:19:02So full of yearning.
00:19:05Well, Clara, if it's Claire de Lune you want, it's Claire de Lune you shall have.
00:19:27What's she doing?
00:19:30Uh, Brandy?
00:19:31What the hell?
00:19:32You didn't say it was the real piano.
00:19:35I thought that you could play the real piano.
00:19:36No!
00:19:37But you played the piano on Zodiac Suite.
00:19:39That was a backing track.
00:19:42She can't stop.
00:19:44The piano playing sets up the inciting incident.
00:19:46Uh, Brandy, you gotta keep playing.
00:19:48That's the point of the scene.
00:19:50Oh, my God, she's doing chopsticks.
00:19:52Merit, integrity failing.
00:19:54We're heading for yellow here.
00:19:55I take it that means something bad.
00:19:58If that one hits red, it collapses.
00:20:00Oh, great.
00:20:01Mika, how far off base are we?
00:20:03So, in the original, the beautiful music makes Clara choke up with emotion.
00:20:08She steps outside, Alex follows, they talk.
00:20:10It's the encounter that sets the whole story rolling.
00:20:13Can we hit that plot point some other way?
00:20:16Maybe, but right now we've got an even bigger problem.
00:20:18Bigger than that, the poisoned cocktail, the black rose.
00:20:22Shit.
00:20:24Clara's supposed to have left before it makes it to the table, but now...
00:20:27She's just sitting there.
00:20:29And if she drinks it, she dies.
00:20:31Correct.
00:20:32And the whole thing's bollocks.
00:20:33The stress is rising, guys.
00:20:35Brandy, Brandy, don't speak.
00:20:37I need you to follow some instructions to get us back on track.
00:20:40Stop playing the piano.
00:20:41Go sit next to Clara.
00:20:43Now, go, now.
00:20:49I apologize for your poor piano skills.
00:20:52I'm afraid I'm a little out of practice.
00:20:54It certainly sounded that way.
00:20:56On the bright side, you seem to have given Madam Doglover a headache.
00:21:00What a shame.
00:21:03One is scotch.
00:21:07And the black rose.
00:21:09Just in time.
00:21:10Do not let her drink that.
00:21:11That's poison.
00:21:12Improvise.
00:21:12Oh, my God.
00:21:13Look.
00:21:13What?
00:21:14The big goose.
00:21:16Look.
00:21:16Get rid of the drink.
00:21:18Well, look.
00:21:19I don't see anything.
00:21:20Right there.
00:21:20See, look.
00:21:21Was there really a goose?
00:21:23Yes.
00:21:23No.
00:21:24There wasn't.
00:21:25No, there wasn't.
00:21:26I was kidding.
00:21:27I see.
00:21:31Another joke, I presume.
00:21:33Gotcha.
00:21:35I don't appreciate mockery, Dr. Palmer.
00:21:37I had quite enough of that in my school days.
00:21:39Good luck with your talk.
00:21:41Attraction falling, guys.
00:21:43Don't let her go.
00:21:45Follow her.
00:21:48Wait.
00:21:50Come back.
00:21:51Wait.
00:21:53I'm sorry.
00:21:54Dorothy.
00:21:58Clara.
00:21:59Her name is Clara.
00:22:00The Virgin's rising.
00:22:02Clara.
00:22:14Why did you call me Dorothy?
00:22:16Oh, dear.
00:22:18Uh, you remind me of someone.
00:22:21Someone named Dorothy?
00:22:24Yeah.
00:22:26Why do I remind you of her?
00:22:29They're way off script there.
00:22:30Uh, she was someone who the world looked at and assumed had everything, but on the inside,
00:22:45she was blue.
00:22:50I don't know, but I think so.
00:22:57It is no surprise I remind you of her.
00:23:03Follow her into the garden.
00:23:06Sit beside her.
00:23:07I was going to.
00:23:09Going to what?
00:23:11Oh, I was going to ask if you want to talk about it.
00:23:14Oh, no.
00:23:16You should never unburden oneself to a stranger.
00:23:19Oh, it's no burden.
00:23:21Trust me, I'm a doctor.
00:23:22And I've given up on my dreams of piano playing.
00:23:26Well, I think that's wise.
00:23:30I would talk to my husband about it, but honestly,
00:23:33Claude stopped noticing my temperament some time ago.
00:23:37He's so consumed by the business.
00:23:40Papa used to joke that Claude was marrying the company rather than marrying me.
00:23:45If that's true, then Claude's crazy.
00:23:50Sweet.
00:23:56Romantic interests rising.
00:24:00As Dorothy you mentioned, what's true of her is also true of me.
00:24:06You know, it's silly, but sometimes a sense of such wretchedness seizes me.
00:24:12As though I'm connected to some fathomless sorrow reaching through time.
00:24:18Perhaps I was a tragic figure in some other life.
00:24:20I thought you said they weren't self-aware.
00:24:23They're not.
00:24:25The only reality she's aware of is the story.
00:24:28Actually, I think she might be sensing some echoes.
00:24:31Yeah.
00:24:32What?
00:24:33Our Clara AI is derived from the original performance by Dorothy Chambers.
00:24:38And Chambers drew on her own life.
00:24:41Like, she sunk as much of herself as possible into the role of Clara.
00:24:44I mean, there's echoes of her running right through the data set.
00:24:47But when she heard her name connected with that essence,
00:24:51she's grown a dimension.
00:24:54And it's not really built to accommodate that.
00:24:57Scene ending in T-minus, 30 seconds, guys.
00:24:59This Dorothy, what happened to her?
00:25:04We've lost touch.
00:25:05Oh.
00:25:07Well, I hope she's happy somewhere.
00:25:10Me too.
00:25:13You've been complaining about my life.
00:25:15You must think me so ungrateful.
00:25:17Oh, no, I've ever been there.
00:25:20Been there?
00:25:21I mean, I get it.
00:25:23Oh, you get it?
00:25:25Yeah, you know, life shit.
00:25:27No one says shit in the movie.
00:25:28Oh, my God.
00:25:29I mean, um...
00:25:30Life shit?
00:25:32She's saying it now.
00:25:34I misspoke.
00:25:36No, I'm not.
00:25:37I'm not offended.
00:25:38If anything, it's refreshing.
00:25:41I've never met someone so...
00:25:44differently alive.
00:25:48Romantic likelihood increasing.
00:25:53Good night, Dr. Palmer.
00:25:56Good night.
00:26:07Forecast good?
00:26:09We're back on track?
00:26:10Narrative stress falling.
00:26:12Interior.
00:26:12Lobby.
00:26:13Continuous.
00:26:15Gorgeous Claude.
00:26:19Darling.
00:26:24This is the scene of Claude.
00:26:25Brandy's not on screen for the next two minutes, so you're free to talk.
00:26:31I think we're good, Brandy.
00:26:33Um, the camera's not on you right now, so take a couple moments to catch your breath.
00:26:37Hey, you guys saw that, right?
00:26:39I mean, that was insane.
00:26:41Are you sure she's a computer person or whatever because she touched me?
00:26:46It was...
00:26:47Um, mm-hmm.
00:26:48I've just seen my wife, who is most terribly alive.
00:26:52You are supposed to serve that special back horse.
00:26:54Oh, no.
00:26:59Guys.
00:27:01Oi!
00:27:01What is it?
00:27:03Bonbon's drinking the cocktail.
00:27:06Ow.
00:27:07Shit.
00:27:08Just a moment, Brandy.
00:27:12Bonbon.
00:27:14Eleanor.
00:27:15Dead dog confirmed.
00:27:17I repeat.
00:27:18Dead dog confirmed.
00:27:21We have a plot hole forming.
00:27:23Can we plug it?
00:27:24Okay, so, Madame Rabanne was supposed to steal the cocktail and drink the poison.
00:27:30This poor lady is dead.
00:27:32Which means Inspector Levine gets called to the hotel and asks Alex to sign the death certificate.
00:27:37And Alex sees Inspector Levine sneezing and diagnoses him with allergies to his own cologne.
00:27:41Which sets up the beat for the final scene.
00:27:43When the police burst in, Levine recognizes Alex and tells his men not to shoot.
00:27:48It diagnosed my allergy.
00:27:50But then they won't have met before.
00:27:51So the police will just shoot her?
00:27:53That's horrid.
00:27:54Yeah, I've got it here.
00:27:59Ah, so that's going to tank the whole thing.
00:28:04So it's over, isn't it?
00:28:06No, we can reset.
00:28:07We can try it again.
00:28:08From scratch?
00:28:09No, we can't.
00:28:11There isn't any time.
00:28:12They've got to get in and start building some gargantuan toilet by noon.
00:28:16I'm sorry.
00:28:18Jack, pull her out.
00:28:23Okay, everybody, that's a wrap, I'm afraid.
00:28:25Um, it's still going.
00:28:27Jack, just pull her out, please.
00:28:30Uh, we may have an operational issue in that regard.
00:28:35What?
00:28:36Uh, well, the expansion of Clara's character seems to have triggered a stack overflow, which has caused the exit code
00:28:41to, um, misbehave.
00:28:44Misbehave?
00:28:44As in how?
00:28:45Listen, the extraction routine is non-responsive at this time.
00:28:47What?
00:28:48So you can't pull her out?
00:28:49Well, no, not right now.
00:28:49Not until she gets to the end credits.
00:28:51If she gets to the end credits.
00:28:52Well, the story's broken anyways.
00:28:54Why don't you just turn the machine on?
00:28:55No, no, no.
00:28:57Interrupting the simulation while our consciousness is marooned in there could cause a, a, a, a catastrophic synaptic failure in
00:29:02the subject.
00:29:03He's saying Bernie's consciousness would be deleted and she'd die.
00:29:07Well, real Brandy Friday would die.
00:29:10Well, I mean, there's a 98% chance of fatality, yes.
00:29:14Oh, marvellous.
00:29:16Keyworth pictures reinventing vintage movies, attracting Hollywood stars and killing them.
00:29:22Hey, she's back on screen in T-minus 90 seconds, so maybe we should get a...
00:29:26What about the Levine plot hole?
00:29:27They'll shoot Alex in the final scene.
00:29:29Oh, Jesus.
00:29:30That's the end.
00:29:31We have 90 minutes to fix this.
00:29:33Crystal Queen, find a workaround.
00:29:34Yeah, maybe.
00:29:35Will I get a story credit?
00:29:39No, you're right.
00:29:39No, we'll discuss that later.
00:29:40That's fine.
00:29:41I'll get to work.
00:29:43Brandy, we need to talk for a moment.
00:29:45Yeah, we do need to talk.
00:29:46I know I went off script, but so did she.
00:29:48And I know I wasn't supposed to say shit, but she kind of laughed.
00:29:51Brandy.
00:29:51I just, I wasn't expecting it.
00:29:53I wasn't expecting her to feel so, so real.
00:29:56And I feel like...
00:29:57Brandy, we're going to move on to the next scene.
00:29:59Right.
00:30:00The next scene is Levine, the cop guy.
00:30:04Whoa, whoa, whoa.
00:30:04He's going to, like, sign the French lady's death certificate.
00:30:07But he's sneezing, and then I'm supposed to...
00:30:09Brandy, there's been a change of plan.
00:30:11Change of plan how?
00:30:12Um, Madame Robon did not drink the cocktail.
00:30:16Her dog did.
00:30:17Oh, the dog died.
00:30:19Wait, so the old French lady's still alive?
00:30:22Yes.
00:30:23Wait, so the cop guy scene can't happen then, right?
00:30:25We're working on it.
00:30:26No, we, we got to reset.
00:30:28We got to start over.
00:30:29We got to get the story right.
00:30:30So the thing about that is, um, we can't?
00:30:34Can't how?
00:30:35We're experiencing a slight technical difficulty, um, which means that we can't extract you until
00:30:43the narrative arc is complete, as in the credits roll.
00:30:46I'm stuck here?
00:30:47Only until you bring the story to a close.
00:30:48So I have to make it to the end of the movie?
00:30:50Yes.
00:30:51You say to Clara, your final line, yours forevermore.
00:30:54Credits roll.
00:30:55We pull you on out.
00:30:56What if I can't make it that far?
00:30:58Let's focus on where we are.
00:31:00Uh, it's day two.
00:31:01Clock's a-tickin'.
00:31:02Day two?
00:31:02What is, what is that?
00:31:03Clara goes sightseeing.
00:31:04You ask to accompany her.
00:31:06Okay, yeah, the, uh, scene change in ten.
00:31:10New story day inbound.
00:31:12Renny, you're gonna feel a time jump at any moment.
00:31:15Feel how?
00:31:16Might be a bit of a rug pull.
00:31:18Time and space change instantly with the edit.
00:31:20It's gotta be, like, teleported.
00:31:21What do you mean, teleported?
00:31:22New story day.
00:31:24Interior.
00:31:24Hotel lobby.
00:31:25Morning.
00:31:26This scene is on.
00:31:27It's fully populated.
00:31:29A lot of eyes on you.
00:31:30Blink twice if you can understand.
00:31:33Clara's on route.
00:31:37Bump into her.
00:31:38Make it look natural.
00:31:42Oh, sorry.
00:31:43Hey, Clara.
00:31:44It's Palmer.
00:31:45I guess I'm in the habit of apologizing.
00:31:47Oh, it's quite all right.
00:31:48No, I'm done.
00:31:50You heading out?
00:31:51Well, I was planning on doing some sightseeing,
00:31:54but Claude's been called away on business,
00:31:56so it seems it's going to be rather a solitary affair.
00:32:00Invite yourself along.
00:32:01Unless...
00:32:01I don't suppose you would want to accompany me,
00:32:04would you, Dr. Palmer?
00:32:07Palmer's supposed to ask her that.
00:32:09Shit.
00:32:10I'm sorry.
00:32:10It's rather forward of me.
00:32:12She's gaining agency.
00:32:13What's wrong with that?
00:32:14Actors love agency.
00:32:17Yeah.
00:32:18I think it adds something to it.
00:32:20So why did you say shit?
00:32:21I said shit, yeah.
00:32:22No, I'm just happy you asked.
00:32:26So, what sights are we seeing?
00:32:28All that Cairo has to offer.
00:32:31Um, you're going to experience some dissolves.
00:32:33Uh, there's a montage coming up.
00:32:35Might make you a little nauseous.
00:32:39So looking forward to seeing Cairo.
00:32:41I can't wait.
00:32:46Hang on in there.
00:32:47Okay, um, there's no time for the, the scene when, um, Alex over here is called talking to Otter.
00:32:55Sorry.
00:32:56I could do this for hours.
00:33:07I had the first magical day.
00:33:09Yeah, that was a trip.
00:33:11You do say the funniest things.
00:33:13But I couldn't have asked for a more agreeable companion.
00:33:16Me either.
00:33:17You mean neither.
00:33:18Well, I said either.
00:33:20Don't debate grammar.
00:33:21Thanks for asking me along.
00:33:24There's no need to thank me.
00:33:26At all.
00:33:30Here's where she twists her ankle.
00:33:33Oh, God.
00:33:36Oh, God.
00:33:37God, are you okay?
00:33:38Down my damned heels.
00:33:39Help her to her room.
00:33:40I know.
00:33:41I know you'll need help getting to your room.
00:33:45Oh.
00:33:46Here.
00:33:47Seduction scene next.
00:33:48Not at all.
00:33:53Okay, so here's where, uh, you asked to check her leg, and things get a little heated.
00:33:59That was quite the fall you took.
00:34:03Maybe I should check to see if it's swollen?
00:34:06Um, well, go gently on me.
00:34:09I'll do my best.
00:34:16I'll do my best.
00:34:41Will I still be able to join the Bolshoi?
00:34:47I think so.
00:34:48Well, perhaps to make certain, you might try a little bit higher.
00:34:58Like here?
00:35:01That's good.
00:35:04How about here?
00:35:09Is that tender?
00:35:12Yeah, it was so tender.
00:35:14Tad fruitier than the original.
00:35:20Uh, that'll be the ice I ordered.
00:35:22For the swilling.
00:35:27Second murder attempt imminent.
00:35:31I swear I just ordered the ice.
00:35:34Well, it would be a shame to waste it.
00:35:38Are you sure?
00:35:39Champagne in my room with a stranger.
00:35:41I'd never survive the scandal.
00:35:44Gosh.
00:35:45How will you end to be free?
00:35:48So this is your scorpion moment.
00:35:51Don't move.
00:35:52Hmm?
00:35:55Oh, my goodness.
00:35:58Oh, I don't even think what might have happened if you hadn't been here.
00:36:03Oh, Alex.
00:36:05Oh, Alex.
00:36:19That one's level's peaking.
00:36:20Yeah, that is peaking.
00:36:32She wasn't like this with Ralphie.
00:36:36No.
00:36:38Oh, shit!
00:36:42Data feed down.
00:36:43We've lost picture.
00:36:44I'm code.
00:36:44Live feed down.
00:36:46No, no, no.
00:36:46Fuck.
00:36:47The copy, Jack.
00:36:49I'm sorry.
00:36:49I'm sorry.
00:36:54My heart is pounding like a drum.
00:36:57I bet as if the whole world somehow stopped doing it.
00:37:02So do I.
00:37:05What is it?
00:37:06Do you hear that?
00:37:10It's silent.
00:37:12So it is.
00:37:15Brandi.
00:37:17Brandi, can you hear me?
00:37:19Brandi.
00:37:20God damn it.
00:37:24Oh.
00:37:25Who is that?
00:37:29It's Otto.
00:37:31Your husband's henchman kind of guy.
00:37:33Oh, wait.
00:37:35I'm not supposed to know that.
00:37:37Forget I said that.
00:37:38Claude doesn't have henchmen.
00:37:43Why?
00:37:44Why isn't he moving?
00:37:45They must be resetting?
00:37:48They?
00:37:49No, no.
00:37:49Can you fix this?
00:37:51I, I, I, I, I, I told you about the coffee, dude.
00:37:53I don't, I don't understand.
00:37:57Kimmy!
00:37:59Alex?
00:38:00Kimmy!
00:38:03Alex, I...
00:38:07Wait.
00:38:18Talk to me.
00:38:19What's going on?
00:38:20We've lost connection.
00:38:21But it's still running.
00:38:22Sure, but she is stuck in the simulation, sir.
00:38:25So she could die.
00:38:27Be honest.
00:38:28Maybe.
00:38:31If you had to put a percentage on it.
00:38:3450-50?
00:38:35She said be honest.
00:38:42Hello?
00:38:43Guys?
00:38:46Hello?
00:38:48Kimmy, can you hear me?
00:38:55Guys?
00:38:57Kimmy!
00:38:59Who's Kimmy?
00:39:03My, my, my, my, my, my, she's, she's still alive.
00:39:06She's, she's supposed to be dead.
00:39:07And the story's all messed up now.
00:39:10You're frightening me.
00:39:11Guys?
00:39:12Guys?
00:39:14Kimmy, it's not cool to leave me hanging like this.
00:39:18Please tell me what's happening.
00:39:20Guys!
00:39:24Alex!
00:39:24I'm not fucking Alex.
00:39:30I need to speak to Kimmy, okay?
00:39:32I'd, I'd explain, but you won't get it.
00:39:37How do you know what I won't get?
00:39:38The world's broken, and they're gonna have to reset it.
00:39:42You probably won't remember any of this.
00:39:46The movie is over!
00:39:47I repeat, the movie is over!
00:39:49What movie?
00:39:50The, the, oh my God.
00:39:52This whole world's a movie.
00:39:56No, it's not.
00:39:59Look around.
00:40:02Yeah, it's not even in color.
00:40:04I don't know what you mean.
00:40:11See this banana?
00:40:13Not yellow.
00:40:17This orange?
00:40:19Not orange.
00:40:20That's a perfectly normal orange.
00:40:25So what color is this apple?
00:40:27The same color, an apple oasis.
00:40:29Red or green?
00:40:33See?
00:40:35None, none of this is real.
00:40:37You're not real.
00:40:40I, no, I'm, I'm as real as you are.
00:40:45Do you remember being a kid?
00:40:48Do you have any childhood memories at all?
00:40:51I,
00:40:52You mentioned your dad earlier.
00:40:54Can you describe what he looks like?
00:40:57Anything about him.
00:41:00You can't.
00:41:01But.
00:41:02You don't even know his face,
00:41:04because he's not in this movie.
00:41:06I don't,
00:41:08I don't like this game.
00:41:09No, that, that's exactly it.
00:41:12It's a game.
00:41:13It's, it's a, let's pretend.
00:41:14It's a performance.
00:41:15Your performance.
00:41:18No.
00:41:20Stop it.
00:41:21When I called you Dorothy earlier,
00:41:23she wasn't someone I knew.
00:41:24She was you.
00:41:26The real you.
00:41:28She's an actress.
00:41:30Or,
00:41:31was an actress.
00:41:34Dorothy Chambers?
00:41:38You're a role she played.
00:41:43No.
00:41:45No.
00:41:46No.
00:41:53No.
00:41:54No.
00:41:56No.
00:41:59No.
00:42:02No.
00:42:12I don't know.
00:42:41Hey.
00:42:45I'm sorry I yelled at you back there.
00:42:49This whole thing's just really hard to explain.
00:42:56This is all a story in a computer.
00:43:03Or, I guess, think of it like a play in the brain of a machine.
00:43:11For now, the movie stopped for the moment.
00:43:18I don't know why.
00:43:20I have some technical problems.
00:43:27I know I said you weren't real.
00:43:33But I'm kind of not either.
00:43:39My name's not Alex.
00:43:41It's Brandy.
00:43:44I'm like you.
00:43:46I'm an actor.
00:43:49That they hired me to recast this whole thing.
00:44:01I don't know if any of this makes any sense to you.
00:44:18But, um...
00:44:21I'm really sorry.
00:44:24I'm really sorry.
00:44:24I'm really sorry.
00:44:48I'm really sorry.
00:44:55Wait, wait. So the story's on hold, but time's still advancing?
00:44:58Yeah, the chronographic tempo's way out of whack.
00:45:01Which means?
00:45:02It means time in there for her is running a lot faster than it is for us out here.
00:45:07Faster as in?
00:45:08As in six, seven hours a second.
00:45:12Does that mean we have to pay her for more days?
00:45:25Clara?
00:45:26I thought you said I was Dorothy. Sleeping in the lobby makes you look like a hobo.
00:45:30Well, I tried the doors, but none of them have insides, because they're not part of the story.
00:45:34Where are you going?
00:45:35To find a way out.
00:45:36I'll come with you.
00:45:37No, you won't.
00:45:59You won't.
00:46:21I'll come with you.
00:46:21What does Thor do you like?
00:46:22I've heard you were!
00:46:39Something just breached the French.
00:46:41What?
00:47:01That is your gun.
00:47:03Is it brandy?
00:47:05It's brandy.
00:47:05Oh, my God.
00:47:41I think it might be Clara.
00:47:44Clara?
00:47:45Yeah.
00:47:47She would have been exposed to the full data pool.
00:47:50I guess.
00:47:52Do we think that's bad?
00:47:55Yeah, yeah, yeah.
00:47:58Oh.
00:48:01You seriously have to fix this?
00:48:02You just have to let me.
00:48:05You just have to let me.
00:48:07You just have to let me.
00:48:11You just have to let me.
00:48:41You just have to let me.
00:49:14You just have to let me.
00:49:38You just have to let me.
00:50:34You just have to let me.
00:50:41You just have to let me.
00:51:02You just have to let me.
00:51:04You just have to let me.
00:51:18You just have to let me.
00:51:21You just have to let me.
00:52:02You just have to let me.
00:52:15You just have to let me.
00:52:16You just have to let me.
00:52:31You just have to let me.
00:52:32You just have to let me.
00:52:58You just have to let me.
00:52:58You just have to let me.
00:53:23You just have to let me.
00:53:26You just have to let me.
00:53:31You just have to let me.
00:53:49You just have to let me.
00:53:51You just have to let me.
00:53:57You just have to let me.
00:54:11You just have to let me.
00:54:34You just have to let me.
00:54:37You just have to let me.
00:54:38You just have to let me.
00:54:42You know I do too.
00:54:44You just have to let me.
00:54:47You just have to let me.
00:54:50You just have to let me.
00:54:55You just have to let me.
00:55:06It's, it's Alex Palmer.
00:55:14But you're not Alex Palmer.
00:55:31We have got a safe state!
00:55:33Thank God!
00:55:35Chronographic temple restored.
00:55:37But I think we can reinstate comms to...
00:55:38Aguedoctor?
00:55:39Yes, but voice only.
00:55:40We won't have a vigil until we reset.
00:55:43Brandy?
00:55:45Brandy?
00:55:46Kimmy?
00:55:47Oh, thank God!
00:55:48Brandy?
00:55:49What is it?
00:55:50It's them.
00:55:52Them?
00:55:53As in them.
00:55:54You mean the people on the outside?
00:55:57Look, uh, we had a hardware issue.
00:55:59We're, we're just gonna have to pick it up from where we were.
00:56:02Where, where we were, as in...
00:56:03The, the scene in, in Clara's hotel suite.
00:56:06The kiss after the scorpion.
00:56:07But a time has passed for her.
00:56:09Wait, we're going back to...
00:56:12Resetting the scorpion scene, yes.
00:56:16Uh, wait, Clara's here and, uh, she knows who I am and we've been...
00:56:21Uh, no, don't, don't worry.
00:56:23Um, once we reset, she won't remember anything that occurred after the save point.
00:56:26Okay, save state print.
00:56:28She won't remember.
00:56:30No, just back to the film like nothing happened.
00:56:32What won't I remember?
00:56:34Um, you ready?
00:56:36Okay, reloading save state in five...
00:56:39Four...
00:56:40Link re-established.
00:56:42Three...
00:56:43Two...
00:56:44One.
00:56:44Wait, no, no, no, no, no, no.
00:56:46What?
00:56:48My heart is burning like a drum.
00:56:51Yes.
00:56:52Great.
00:57:00She's got dialogue here.
00:57:03Brandy?
00:57:05You're supposed to say, as is mine.
00:57:09Brandy?
00:57:11As is mine.
00:57:13I feel as though the whole world has stopped dying.
00:57:16So do I.
00:57:18The line is, so do I.
00:57:22So do I.
00:57:24Oh, my word.
00:57:29I'm a married woman.
00:57:32I mustn't behave this way.
00:57:33I can't...
00:57:35feel this way.
00:57:41Feel what way?
00:57:45Feel what way?
00:57:48Don't let me say it.
00:57:56Um, okay, so your line here is...
00:57:58You don't have to say anything you don't want to.
00:58:01That's not the line.
00:58:03What?
00:58:06You must go.
00:58:10You hurt her.
00:58:12You gotta go.
00:58:13I don't want to.
00:58:15Jesus Christ.
00:58:17I hope you must.
00:58:18Yes, Brandy.
00:58:19You really must.
00:58:21It's part of the story.
00:58:24I'm so sorry, Dr. Palmer.
00:58:31So am I.
00:58:39How we doing in there?
00:58:43Um, Brandy?
00:58:44You can talk to me.
00:58:47I may hear him.
00:58:49I need you to focus.
00:58:50Can you focus?
00:58:53Look.
00:58:54All you need to do is keep the arc going.
00:58:56And say your final line at the right time.
00:58:58Trigger the end credits.
00:59:00When the credits roll, we can extract you.
00:59:02You got it?
00:59:04What if I don't say it?
00:59:07What?
00:59:08What happens if I don't say the final line?
00:59:12Um, well, you'd be stuck in there.
00:59:16For how long?
00:59:17Forever.
00:59:19Hmm.
00:59:22And, listen, Brandy, if that happens, your actual body out here, that would die.
00:59:31But, but my spirit, consciousness, whatever, that would, that would stay here with her?
00:59:44Brandy, what are you asking me?
00:59:50Nothing.
00:59:51Good.
00:59:52Don't lose it now.
00:59:54I won't.
00:59:55What happens next?
00:59:57Courtyard scene.
00:59:58You head out for a smoke.
00:59:59Over here, Otto tell Claude about the scorpion.
01:00:03We good?
01:00:04Sure.
01:00:05Uh, head out, bite my cigarette.
01:00:07Over here, the bad guys.
01:00:11What is going on with her?
01:00:13I don't know.
01:00:14Scene 63.
01:00:16Alex smoking in the garden.
01:00:18Well, it's my problem taking care of.
01:00:21No it was.
01:00:22Oh.
01:00:23The doctor trapped it in a glass.
01:00:26Wait, what doctor?
01:00:28The one attending to her.
01:00:30Earlier she fell and twisted her ankle.
01:00:32If only she'd snapped her neck.
01:00:35Look surprised as you overhear them.
01:00:37It is, you remember this is fresh information to you.
01:00:39She dies tonight.
01:00:41Great.
01:00:42Now beat it back to Clara's suite, before the assholes start discussing the rooftop plot.
01:00:46Let's try, Nancy.
01:00:50Did you sabotage the railing as we agreed?
01:00:53You listened up nicely, boss.
01:00:55Excellent.
01:00:56I'll invite her up there to take in the view, then a quick jump, and my troubles are over.
01:01:07Hey, Alex, your husband's trying to kill you.
01:01:10If this is another of your absurd james, my husband may have many faults, Dr. Palmer, but a murderer he
01:01:17is not.
01:01:18Darling.
01:01:20Who are you?
01:01:21Yeah, Alex.
01:01:22Crystal, how are we doing?
01:01:23Okay.
01:01:24I have a pitch for the third act.
01:01:26Uh-huh.
01:01:26So, at the end of this scene, Alex leaves the room, chases Otto, threatens him, so then Otto tells Alex
01:01:32about the loosened railing.
01:01:33But Alex already knows they'll be on the roof, so that beat's actually sort of redundant.
01:01:38That's right.
01:01:39So, what if, instead of chasing Otto, Alex runs across the street to the police station, warns them about Claude,
01:01:45then she can meet Levine?
01:01:47And diagnosis of allergies there.
01:01:49Great.
01:01:49Do I get a credit?
01:01:51If it works.
01:01:52Okay.
01:01:54Will it work?
01:01:55Don't ask me, you can't agree.
01:01:57There's no time for notes.
01:01:58Is there anything I can help you with, my good doctor?
01:02:00Uh, the doctor was just leaving.
01:02:02I'll show you out, Dr. Palmer.
01:02:08I swear that's the voice I heard.
01:02:10That's enough.
01:02:11Please.
01:02:11I want you to leave this room, and you can leave this damned hotel for all I care.
01:02:16I never want to see you again.
01:02:23My darling.
01:02:27Okay, so this is where you'd usually turn left.
01:02:30Yeah, yeah.
01:02:31I spot Otto, give Chase, get the info about the rooftop.
01:02:34I'd better...
01:02:35No, no, no.
01:02:35Um, we have a rewrite.
01:02:36Uh, new pages.
01:02:38Okay.
01:02:39Okay.
01:02:39So, you have to make a right and head to the police station.
01:02:42Across the street?
01:02:43And demand to speak to the highest ranking cop.
01:02:45Uh, Levine.
01:02:46Correct.
01:02:47All you have to do is tell him that Claire's husband is plotting something.
01:02:50He won't believe you, but...
01:02:51But I'm guessing he'll sneeze, I'll diagnose his cologne allergy, and he'll remember me in
01:02:55time for the finale.
01:02:56Yeah, that'll work.
01:02:57But hurry, okay?
01:02:57Okay, he's creating a new scene.
01:03:00Interior.
01:03:01Police station.
01:03:02Night.
01:03:05Just a dud?
01:03:07Bonbon was not just a dud.
01:03:10And he was murdered.
01:03:12Oh, no, Madame Rabanne.
01:03:14I forgot she was still in play.
01:03:16Oh, damn it.
01:03:17Brandy, just ignore the French lady.
01:03:19Jump the line.
01:03:20I need to speak to your boss.
01:03:23Senior inspector here.
01:03:24Please wait your turn.
01:03:25Madame was here first.
01:03:26And I am reporting a murder.
01:03:28Yes, of your poor sweet dog.
01:03:31That's right.
01:03:32That's why I'm here.
01:03:33Hey, Chase.
01:03:34No, it isn't.
01:03:35Yes, I know the man responsible for murdering Bonbon.
01:03:39Bonbon?
01:03:40Madame's dog.
01:03:41You do?
01:03:42Yes.
01:03:43The most dangerous maniac.
01:03:45And who is this maniac?
01:03:47I'll only tell your most senior inspector here.
01:03:49What's all this?
01:03:51Explain yourself.
01:03:54Four minutes.
01:03:56Brandy, just summarize and split.
01:03:58This woman's dog has been murdered by Claude Rice and Cher who's about to kill his wife
01:04:01who he's been trying to kill for days.
01:04:03What are you talking about?
01:04:07Also, I'm a doctor.
01:04:08You're probably allergic to your cologne.
01:04:09You should probably change it and you'll stop sneezing.
01:04:11Okay, listen out for gunshots.
01:04:13Okay?
01:04:13And remember this face.
01:04:17Final murder attempt imminent.
01:04:23Oh, Claude.
01:04:24Oh, it's so romantic.
01:04:26Is every single height?
01:04:28Yes.
01:04:29It's just, um, you've been so busy.
01:04:34I thought it was high time you got what you deserve.
01:04:37Oh, darling.
01:04:43Is that enough?
01:04:46We think so.
01:04:47You can't tell?
01:04:48Three minutes remaining.
01:04:50Just head to the roof.
01:04:53How confident are we?
01:04:564.5.
01:04:57I'll tell you later.
01:05:02I chose this spot so you could enjoy the finest vantage point in all of Cairo.
01:05:08You do think of everything.
01:05:10Indeed I have.
01:05:11Why?
01:05:13Oh, look at the pretty oil lamps of the street vendors.
01:05:17Oh, I can't make them out.
01:05:18Come a little closer.
01:05:20Lean over the railing.
01:05:22I...
01:05:22It looks a bit dirty.
01:05:24I don't know.
01:05:26Um...
01:05:27But it...
01:05:28It also looks quite unsafe.
01:05:30No sense.
01:05:31Lean against it.
01:05:32I re...
01:05:33I really don't want...
01:05:33I said lean!
01:05:35Claude!
01:05:35What has got into you?
01:05:37Oh!
01:05:38Oh!
01:05:41Just do as I say.
01:05:43Lean over the railing.
01:05:45Lean!
01:05:47Hey!
01:05:48Get away from her!
01:05:49Not one step closer.
01:05:50The police station is across the street.
01:05:52Pull that trigger.
01:05:53They'll come ready.
01:05:55Well...
01:05:56That's a chance I'm willing to take.
01:05:59Alex, no!
01:06:08Come here.
01:06:09Huh?
01:06:12I knew something was a myth with you, huh?
01:06:15The good doctor.
01:06:18Well...
01:06:19Starilog really doesn't like this.
01:06:21This is the end for you both!
01:06:32You!
01:06:35What'd she do that for?
01:06:37I don't...
01:06:38Claude's not meant to die.
01:06:40No, he's not.
01:06:42Police inbound.
01:06:45Shit, they'll arrest Clara.
01:06:46What will happen if they do that?
01:06:48So they cuff Clara and they haul her away on a murder charge.
01:06:52But Alex can still say the last line as they drag Clara away.
01:06:55That should be enough to trigger the end credits.
01:06:56So it becomes a tear-jerker.
01:06:58Young love destroyed when one of them winds up in the slammer?
01:07:02I-I don't know.
01:07:02It's different, but it works.
01:07:04But ahead of its time.
01:07:06More to the point.
01:07:06It-it gets her out of there.
01:07:08I killed him.
01:07:09Brandy, new ending.
01:07:11I killed him.
01:07:11The cops are coming.
01:07:13The police are coming.
01:07:14They'll arrest her.
01:07:14They'll arrest you.
01:07:15Let them?
01:07:16Yes, let them.
01:07:17Then what happens?
01:07:19She goes to jail.
01:07:20So what?
01:07:20For how long?
01:07:21From her perspective, forever.
01:07:23But she's not fucking real, so who cares, Brandy?
01:07:25I was born in a cage.
01:07:26I should die in a cage.
01:07:29I...
01:07:29No!
01:07:35Wait, wait, what are you-what are you doing?
01:07:37Well, tell the police I shot your husband.
01:07:39No.
01:07:39They'll arrest me.
01:07:40No, no.
01:07:40Believe me, it is the best way.
01:07:42I won't let them.
01:07:43Story arc is critical.
01:07:48I love you.
01:07:49Me.
01:07:52And I love you.
01:08:07Forgive me.
01:08:10Clara, no!
01:08:12What are you doing?
01:08:13Stop.
01:08:14Stop her or shoot.
01:08:16Drop your weapon.
01:08:18Wait.
01:08:18What?
01:08:18I know this person.
01:08:20It's a doctor.
01:08:22It's a doctor.
01:08:23No!
01:08:24Oh, God.
01:08:34No!
01:08:39No!
01:08:42No.
01:08:43No.
01:08:48You're welcome.
01:08:50You're welcome.
01:08:53Remember me.
01:08:53Remember me.
01:09:16Remember me.
01:09:18No!
01:09:29Randy.
01:09:32Randy, say the line.
01:09:35Say the line, Randy.
01:09:40I'll be yours...
01:09:44forevermore.
01:10:02We have an ending. Extracting.
01:10:05Do you think it worked? The ending did it for me.
01:10:10Our credits.
01:10:38Not a dry eye in the house.
01:10:58Last century, Keyworth Pictures invited guests to Hotel Reverie.
01:11:03Now, with the help of ReDream and our friends at Streamberry, we'd like to welcome you back.
01:11:10You might notice a few changes in the old place.
01:11:14Renowned Dr. Alex Palmer encounters tragic heiress Clara Rice.
01:11:19Waiter, another scotch, please, and for yourself.
01:11:22Thank you. A black rose.
01:11:24A rose for a rose.
01:11:28A piano standing silent always makes me so melancholy. It's silly, I know.
01:11:34If it's Clare de Lune you want, it's Clare de Lune you shall have.
01:11:37Yet, even as their affection grows, the pair are unaware of Clara's fiendish husband Claude plotting her death.
01:11:45My accursed wife has more lives than a damn cat. She dies tonight.
01:11:50Donald.
01:11:51Oh! Oh, my goodness!
01:11:53No, no, no, no!
01:11:56We just have time for me.
01:11:58Very nice.
01:13:00So I just pretend it's a normal telephone call?
01:13:05Yes.
01:13:07All right, you are, Captain Keever.
01:13:11I'm here waiting for it to ring.
01:13:13It's not connected, is it?
01:13:14No.
01:13:34Hello?
01:13:36Arise to Cher residence.
01:13:39Hi.
01:13:41Who's this?
01:13:44Uh, friends?
01:13:47Do I know you?
01:13:51Yes and no.
01:13:56What an intriguing answer.
01:13:58Tell me more.
01:14:02How much time do you have?
01:14:04Since you've got a kind voice,
01:14:08I've got all the time in the world.
01:14:10I've got all the time in the world.
01:14:12I've got a good time in the world.
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