Seven Veils (2023)

[bunniefuu]

[ethereal music]

[whoosh]

[dramatic music]

[rope creaking]

[fanfare]

[ethereal saxophone]

[forest sounds]

[birds cawing]

[rope creaking]

[distant thunder rumbles]

[creaking continues]

[forest sounds fade out]

[mysterious score]

[footsteps echo]

[dramatic thud, rumble]

[discordant piano music]

[singing in German]

[film projector whirring]

[singing in German continues]

-I'll be asked

to make this personal.

So I shall.

You are

always looking at her.

You look at her too much.

Something terrible

may happen.

[soft dramatic score]

[siren in distance]

-Hi, I'm Clea.

I work in the props department

here at the opera company.

I'm going to be showing you

how I make the head

of John the Baptist,

uh, who, for those of you

who might not know the story,

he is the biblical prophet

that gets beheaded

by a woman called Salome.

-Woman 1: We welcome back

the wonderful Ambur Dione.

[Woman 1 laughs]

[female patron hoots]

-So great to have you

back home, Ambur.

And welcome to our company

for his first appearance

with us,

Johan Mueller.

We're very excited to have

these two

amazing singers with us

and both are fresh

from a very,

shall we say,

[clears throat]

controversial production

of Salome in Stuttgart.

[laughter]

[murmuring]

Sometime before my husband

passed away last year

he made a very

specific request.

Charles wanted

one of his former students

to direct this remount

of Salome.

I know that Charles worked

very closely with Jeanine

on the original production

and so

I'll let Jeanine

let us know

what she plans to do

in the weeks ahead.

Jeanine, would you

like to come forward

and say a few words?

[applause]

-Working on this production

so many years ago

changed my life.

It was a huge gift.

Just like being invited

to stage this remount is a...

another...

huge gift.

Charles meant the world to me.

Charles meant a lot

to many people.

[suspenseful score]

This morning, I-I...

I took a moment

to find his-his favorite spot

in the theatre,

which is

this rehearsal bridge

that connects the stage

to the audience

just above the orchestra.

It's this--

It's between

these two spaces.

And he lo--

he loved being there.

He... he loved being

in the heart of the action.

And, now, we are here to...

to honor his heart

and his spirit

in the best way

that we can.

So, I will leave you with

with the costume designs

and some images

from the original show

and the maquette.

The changes

that I will be making

for this production

will be small but meaningful.

And if anybody

has any questions

I'd be happy to answer.

Thank you.

[applause]

-That was a crazy production

-Yeah. [chuckles]

-Do you remember

all those long talks

that we had

about the role?

-Ye-yeah,

I remember those talks.

You had a huge impact on me.

-Really?

[gentle violin playing]

[soft conversations]

-And after that,

I-I-I went to study

with this amazing teacher

in London,

but they were really expensive

so I ran outta money really fast

-and I came back.

-And you kept working.

-I've done

a lot of understudy roles.

And I've done

some small things.

-I'm here now.

-Covering John the Baptist.

-And I'm covering Salome.

-Hi.

-Rachel.

-Rachel. Jeanine.

It's so nice to meet you.

-You too.

-My two understudies.

This'll be fun.

-So, here's the basic plot

of the opera:

Salome wants John the Baptist

to pay attention to her.

She's crazy about him,

but he refuses.

He won't even look at her

because he thinks

that Salome's mother

is a wh*re.

So, then, Salome's stepfather,

King Herod,

he asks her to do

this sexy dance for him

and he offers Salome

anything that she wants

in return.

So, Salome asks for

the head

of John the Baptist,

which is what

I'm working on here.

She demands that her stepfather

chop off John's head

and offer it up to her

so that she may finally

kiss his lips.

I guess you can see

it's a pretty weird love story.

[dramatic piano music]

-Johan! Johan, Johan.

It's important that you

never look at Salome.

From the moment you take

your blindfold off your eyes

you never turn

to look at her.

-That feels strange.

-Well, you're demanding

that-that she repent

and, in order to

get her to do that,

she needs

to feel frightened of you.

You need to let her understand

that you know

the terrible things

that she's done.

The cries of her sinning

are heard by God.

You say that, right?

You need her

to beg for forgiveness

and you're not prepared

to look at her until she does.

-But isn't it

her mother's cries and sinning

I'm talking about?

I think she's a wh*re.

-They're one and the same

as far as you're concerned.

Like mother, like daughter.

[dramatic score]

Okay, let's continue.

[rope creaking]

[piano playing]

[older woman laughing]

-You have to

blow them out, Granny.

-Where's Daddy?

-Daddy, come. Granny wants

to blow out her candles.

[granny laughs]

-Woman 2: Where'd you find

those candles, Lizzie?

-Daddy brought it.

-They're a little big,

aren't they?

We were gonna use sparklers,

remember?

Let's take this back

and put them on.

-Shouldn't she

blow this out first?

-Then what's the point

of the sparklers? [chuckles]

We need to sing Happy Birthday

as we bring in the cake. Right?

-Can't she just

blow these out?

[laughing]

-Okay, now, help me put

sparklers on the cake

and we can do this properly.

Okay?

-Come on.

-It's okay, honey.

-Woman 2: Yeah.

Sparklers.

[blows air through lips]

-That was weird.

-You think?

-How's the

place you're staying?

-It's nice.

-Some rich opera patron?

-Yeah, they're away.

-Weren't you gonna arrange--

-What were you doing upstairs?

-I was showing Dimitra

your old CD collection.

-Why?

-Where's Harold?

-Harold died

last year, Margot.

-Woman 2: Get ready.

Three, two, one.

Happy birthday to you

Happy birthday to you

Happy birthday,

dear Margot...

[tense score]

-I really appreciate

you coming here

and doing this.

I know how busy things are.

-No problem.

-[score fades out]

-So, this is the props room.

This is, like,

one of my favorite places.

You can see pretty much

all the props

from every show

the opera company's ever done.

-It's crazy.

-And, uh, yeah, we've got

a bit of a collection going

of severed heads here

from other productions.

-Cute.

-So, uh, like I said,

the company's asked me

to do this thing about the head

kind of to market the show.

-I get it.

-And, uh, yeah,

I thought it might be cool

to get a few words from you

about what this prop means now

after so many years.

-Okay.

-(softly) Okay.

So, uh, tell me about

working on this production

all those years ago.

-Well, I was

more of an observer.

Like a, like an intern.

-Like an observer...

to the director.

-Yeah, I mean, we had

a lot of conversations.

Uh, but I was still very much

Charles' student back then.

-I gather that he was

a pretty big presence.

-Yes, he was a

very big presence.

Yes, Charles was

a very big presence.

-What can you tell me

about him?

Uh, why do you think

Salome asks for the head

of John the Baptist?

-Well, she says it

in the opera.

She just wanted to--

to kiss his lips

and he wouldn't let her.

-Do you think

that's a little extreme?

-Yes, it's extreme.

But I guess

you need to see it as

the first recorded sex crime

in biblical history.

[dramatic piano music]

-So, Ambur,

at this moment

this is when you can just

collapse onto the swing.

[rope creaking]

Just two hands, slowly,

gently just collapsing

because his voice

is like a drug.

His voice

makes you feel safe.

Yeah. Good.

And, Johan,

can you check the monitor

next to the camera, please?

-Uh...

why is this my issue?

-Well, you have to

position yourself back there,

and we need to see your mouth

in the centre of the frame.

And when you're singing,

you kind of, we lose you.

-But can't the camera

move with me?

-It's on a tripod.

-Is that my problem?

-Yeah, I'm--I, uh,

I'm-I'm, I'm sorry, it is.

-No! My problem,

my job is to sing, right?

You can amplify my voice

or project my lips

but these technical issues

are your problem, not mine!

[sound system screeches]

-He's an as*h*le.

-[Johan whispers in German]

Did you hear about him

in that production in Stuttgart?

[feedback drones]

It--[sighs]

[phone ringing]

-Hi, it's Paul.

Leave a message after the beep.

[beep]

[intriguing score]

-Does Paul

come to visit you often, Mom?

-[mysterious score]

-Yes. It's nice.

He likes Dimitra.

-Are they up there now?

-Let's see.

Dimitra?

Dimitra?

[door opens]

[door closes]

-I thought you guys

were finished.

-Uh, no. I-I called,

I called back.

Is my husband there?

-Uh, I don't think so.

Let me check upstairs.

-Okay.

-You think

they're fooling around?

[exhales]

-I am amorous of thy body,

John the Baptist.

Thy body is white,

like the snows that lie

on the mountains of Judea

and come down into the valleys.

There is nothing in the world

so white as thy body.

[intriguing score]

Suffer me

to touch thy body.

-Back, daughter of Babylon.

By woman

came evil into the world.

Speak not to me.

I will not

listen to thee.

I listen but to the

voice of the Lord God.

-It's great to

get back to the text.

-The music makes

a big difference.

-But the words.

The words of Oscar Wilde.

Thy body is white

like lilies in a valley.

Thy body is white

like snows

on the mountains of Judea.

Suffer me

to touch thy body.

It's so beautiful.

[rope creaking]

-Beautiful. Beautiful.

[creaking continues]

Just let the peel fall away.

Just let it fall away like that.

Perfect.

Okay, break it up.

And, now,

I want you to taste one.

I want you to really taste it.

Feel how heightened it is

with your eyesight gone.

Feel how, how powerful

the flavor is.

Take away one sense,

all the others

become heightened.

More real.

More intense.

Remember that.

That's your responsibility

as an artist.

[rope creaking]

[crow cawing]

-Salome is overwhelmed

by her wakening desire.

But what is she

being wakened from?

What's at the root

of her crazed enchantment?

-Crazed enchantment.

That's my new favorite line.

-What?

Thanks. What do you think

it means, Lizzie?

-I don't know. I don't know

where you came up with that.

-You don't?

-No.

-When do you find out.

-In a day or two.

I mean, it's a small thing.

-It's not a small thing, Mom.

You're directing a show.

-Yeah, I'm remounting it, baby.

[phone ringing]

-Hello? Yeah, did you hear

what she said?

-Paul: It'd be great if they,

if they publish it.

-Did you read the new draft?

-Not, no, not the whole thing.

But I loved that line

about crazed enchantment.

[dog barking in distance]

-That's the part

I just rewrote.

That's the one

I just read to you.

-Yeah. No. No, no. Like, no.

The line from the play.

-The one, um... [sucks teeth]

[tense score]

that Salome's father says

how he-he loves her too much.

-Jeanine (VO):

You're always looking at her.

You look at her too much.

-Well, that's not my essay.

I didn't write that.

-Yeah, but...

Yeah, but it's in the play.

I mean, you want me to read--

I read the whole thing.

-It's in Oscar Wilde's play.

-Yeah.

-It is dangerous

to look at people

in such a fashion.

Something terrible may happen.

-Have you...

mentioned anything to Lizzie

about this being a separation?

-Lizzie:

No, I guess I'm just scared.

-I, I just...

I told her that it's--

it's different this time.

-Different in what way?

-Just you going off

to do the show, and...

How we're just gonna

see how it feels

to be apart

for this long.

-It--

Don't you think that's a talk

that we should've had together?

-We've had that conversation

-No, the three of us?

-Yeah.

I'll see you tomorrow.

-I think you need to

insist on this, Jeanine.

The-they they have to

put your director's notes

in the program.

I mean, so many ideas

from the show

were inspired by you.

Right?

Crazed enchantment.

All that.

[dog barking in distance]

[piano playing]

-Let's pause real quick.

So, as Salome

is going on in detail

about how she wants to touch

John the Baptist's body

and, and his hair and his lips,

there is

an entirely separate dynamic

that's happening right here.

Uh, could you sing

the second line about how--

how beautiful Salome is?

-Yep.

-At rehearsal six.

[piano playing]

-Thank you. It's all this pain

and-and-and yearning.

It's what--

It's what leads you

to eventually...

-...k*ll yourself, right?

-Yep.

-Because you can't have her.

Those are the same exact ways

she can't have John the Baptist.

And you have this secret crush

on Narraboth.

And he pays no attention to you.

He doesn't--

You, you don't exist.

It's...

It's her,

and-and-and to hear...

For somebody to hear

a sound like that...

Can you sing it again, please?

To hear a sound like that and,

and know that he...

he's capable of this passion,

but it's not directed at you.

It's not for you,

it's for her.

-Mm-hm.

-It's maddening.

It's just this

crazy mess of-of-of...

This crazy mess of feeling.

Right?

And so as--

while Salome is singing

about how wonderful it would be

to, to, to touch

just touch

John the Baptist's hair,

it-it ignites something in you.

It inspires you

to touch Narraboth's hair.

Okay. Okay, let's, uh,

let's go back to one-oh-one.

[piano playing]

[singing, piano stop]

-We really like the piece.

We just don't think it serves

the purpose, the function

of a director's statement.

-The function? I'm sorry...

So, you're gonna use

Charles's notes from before?

-Yeah, it's still pertinent.

-Okay, seriously?

Nancy, Charles, don't you think

he would want me to have

my director's notes published?

He's the one who invited me

to remount this.

-It's Beatrice's decision.

-Oh, so, it's what

his wife wants.

So, as part of her final wishes

for her husband.

-Yes, like I said,

what Beatrice wants.

Look, even though

we're not gonna publish

in the program officially

as a director's statement

I thought it might

have other outlets.

-Like what?

-Like sharing in interviews.

I've already had a request.

This, um, podcast...

-Okay, sure.

-I also had this idea that you

might wanna create a journal

that we could post on the site

like a, like a diary

of what it means to you

to be working on this

so many years later.

You can sh**t it on your phone.

We can help you edit it.

You can even...

make it more personal

if that's what you want.

-More personal than what?

-Than what you've written here.

-You think this is personal?

-Isn't it?

One more thing.

We were a little concerned about

what you said the other day

at the presentation,

wanting to make changes

to the original production.

-As I said, small changes.

-Small, but meaningful.

-That's right.

[suspenseful score]

[deep breath, sigh]

-I've been asked

to make this personal.

So I will.

-That's the whole point.

That he never looks at me.

-This is for you, Charles.

-That's what Salome

is begging him to do

that he never sees me.

-The person

who wanted me here.

-Right, 'cause if he did,

then he would love her.

-Exactly. But do you ever

get the sense that he would?

-Now I'm back.

[discussion continues quietly]

Without you.

Alone.

Alone to watch the understudies

for Salome and John the Baptist

discuss roles

they may never get to play.

Alone to watch

an empty orchestra pit

from your favorite place

in the house.

A bridge between

two different worlds.

Alone to watch someone

try out a swing

that came from somewhere

in my childhood.

Later that night I watch a clip

from the production

you directed

so many years ago.

How perfectly her white dress

flowed into

the unfurling screen.

Like they were both one piece

of magical fabric.

How perfectly

the shadow of my father

was discovered

on the projected home movie

of the girl.

You asked me about

so many details, Charles.

And I willingly

provided them

because you made me feel

so loved.

A girl walking blindfolded

through the forest.

And in the shadow

of her father,

my father,

who you directed

with such meticulous detail

to reach for her.

-Harold: Keep following that.

[dramatic boom, rumbling]

There's a bog coming up

in a little bit.

When I say big step,

you take a big step.

No hesitation.

Keep coming. Big step.

Big step.

There you go.

-HAROLD: The moon

has a strange look tonight.

-Jeanine: The moon

has a strange look tonight.

She is like a madwoman.

-She's like a madwoman.

-Seeking everywhere.

-Seeking.

-My father's words to me,

Charles.

From the play

that haunted you both.

-At first I wanted to try

making the head as a sculpture

as opposed to the more

traditional method

which would just be to make

a cast of the singer's head.

I studied sculpture

in art school

and I really enjoy

this kind of slower method.

Uh, so to start...

I asked Johan to send me

a few photos from Germany

of his face

just to gimme an idea

of the shape of his features.

And I got this started

and, um...

I think it's pretty good.

So, the next step will be to

have Johan come into the studio

and I'll work on getting

the finer details of his face.

[birds cooing]

-This is really strange.

You know, usually,

they make a cast.

-Yeah, I know.

Uh, but the guy who'd normally

be doing that, my boss,

he's sick.

But I find that this is

less invasive for you.

Sometimes singers get

a little freaked out

when there's all this stuff

on their head.

-Hm. So, you are going

old school.

[music plays quietly]

-I mean, I can make a cast.

I know how to, but...

Definitely,

this sculpture should work.

And, uh, these pictures

that you sent me,

these were really helpful.

Kind of gave me a head start.

[Johan laughs]

-A head start on my head.

[laughs]

-Exactly.

-You're so serious suddenly.

What has Ambur told you

about me?

-Why do you think she'd

tell me anything about you?

-Mm, I've heard

you two know each other.

-Yeah, we were,

we were friends a while ago.

-Here?

-Yep.

Before she went off.

[Johan speaks German]

-"And conquered the world."

-Yeah, right.

Yeah, that's Ambur.

Conquer the world.

-I think she has

a pretty high opinion

of herself, yes?

-Well, she's super-confident.

Yeah, she always has been.

-Hm.

-She did tell me

about the last production

that you did in Europe.

-Stuttgart, hm?

-Sounds like it was

pretty intense.

-Did she go into details?

-Just that it was a

different interpretation.

-It was very physical.

Very naked.

She probably told you

that I crossed some lines.

-Well, she, she--

-I know that's what she thinks,

but I was just

following direction.

Doing my job.

-Oh.

Oh, I love this part.

[music gets louder]

-Hm.

-When I first heard this--

[music fades out]

-Hi.

-Hey.

-Jeanine.

-Charlie. Nice to meet you.

-Nice to meet you.

-I'll leave you two alone.

-Thanks, Nancy.

-Thank you.

-Thank you for doing this.

I've really been looking forward

to speaking with you.

-Well, I hear very good things

about your podcast.

-Oh, yeah, yeah.

Singers like to post

their interviews,

helps the fans

get to know them.

-Sure, sure.

-To be honest, I, uh...

don't usually

speak with directors.

-Oh, well,

that's understandable. Right?

-[laughs] Right.

Can I first grab you

a cup of tea?

-Oh, uh...

No, thank you.

I'm okay. I'm good.

-Glass of water?

-Yes. Sure.

-Nice setup.

-Thanks, yeah.

I'll just be a jiff. It might

be a little dirty, actually.

-Ah, thanks. You don't have

to--Mm, okay.

[glass squeaking]

-You're a...

[chuckles]

You're a little bit

overdressed for this.

-I-I didn't know,

I didn't know what to expect

or what you

needed from me, so...

-Oh, did you think

we'd have cameras?

-I don't know.

-Hoping to get filmed?

[both laugh lightly]

I asked for this interview

because, um...

I'm a little bit obsessed

with this production.

-Oh.

-I find it so interesting

that you've come back

to remount it.

I mean, you must have

been so young back then.

-Well, I'm-I'm

probably older than I look.

-Yeah.

Okay, but also...

uh...

you don't direct opera.

I mean, I looked you up, uh...

you do regional theatre, right?

A lot of trade shows?

-Should we start?

I just don't wanna lose...

any time with you

'cuz things are a little hectic.

-Oh, uh, we've already started.

[chuckles]

-Oh.

-We're rolling.

-Okay, great.

-Oh!

Sorry. Almost forgot.

I brought you...

some cookies.

[plate clatters]

[Charlie laughs]

Just careful

not to chomp on 'em.

-Okay.

Thank you so much.

-No crunching while we roll.

-Good?

-Yeah.

-All right.

-It sounds like this

totally insane production.

So, John the Baptist

is all over Salome,

like, the entire time.

Like he's some kind of

sex-starved monster

or cult leader

or something.

And the words that are

coming out of his mouth

have nothing to do

with the way he's behaving,

which is, basically,

groping her naked body

as she's going on and on

about how beautiful his hair

and his skin and his lips are.

[gentle classical piano

plays quietly]

What?

-You didn't know that?

About the production.

-No. No, 'cause it was

in Germany, right?

-Mm.

-Stuttgart.

So, had nothing to do

with our show.

-Yeah, but don't you

stay in touch?

-With Ambur?

-Mm-hm.

-No, of course not.

[Rachel scoffs]

-So, you don't follow her.

-No.

We broke up

a long time ago.

-When she went off

and conquered the world.

-That is so weird

that you would say that.

But that's the

exact same expression

that Johann used

except he said it in German

and then he had to

translate it back to me.

and he pronounced it

concord the world

Rachel...

[chair rattling on floor]

Ambur got very lucky.

There is nothing,

like, nothing...

that I would love more

than to see you on that stage.

It'll happen.

Just watch.

[both mouth "Love you."]

-That's tough.

Covering a role

can be frustrating.

-And-and part of her

is grateful for the work.

And, I mean,

now she knows the role.

-It's in her repertoire.

-Right.

-And, who knows,

if Rachel's lucky,

she might even get to sing it.

-Like, if something

happens to me.

-Yeah, like, if I k*ll you.

-[scoffs] Nice.

-I mean, it would be

her dream come true.

-That you m*rder*d me?

-That she would get a chance.

-Well, I'm here

to do six performances,

remain healthy...

and not die.

-Of course.

-You're not actually asking me

to give up a performance?

[Johan singing in German

in distance]

[approaching footsteps]

[wooden item

clatters to floor]

Even if I wanted to...

as a favor,

it's not so simple.

I'd have to get

a doctor's note--

-Of course.

-And this is how

I make my living, Clea.

I don't sing,

I don't get paid.

The understudy would get my fee.

-Ambur, of course.

[Ambur laughs]

-Jeanine, you hate that house.

And everything

that happened to you there,

you cringe every time

you set foot in the place.

But that's not

how Lizzie feels.

-We're not

talking about Lizzie.

-I know, we're talking about

your imagination.

-What happened in that house

was not my imagination.

-I know, I know. But...

But what you think is happening

with me and Dimitra is.

-So, you're not,

you're not sleeping with her?

-Not in the house, no.

-Oh, because,

'cause you have boundaries.

-We talked about this.

I-I...

I mean, we're supposed to be

honest with one another.

-Yeah, okay, yeah, not sleep

with each other's friends.

-Well, she's not a friend.

She's a nurse.

-She's my mother's caregiver

and we pay her.

-I know, but this thing with me

and her can end at any time.

And I love you.

And you know that.

We're supposed to be exploring.

Isn't that what you're doing?

Exploring?

We agreed on this.

Uh, uh...

-What you said before

about my mother's house

and all the things that

he did to me... there...

Do--Uh...

What does that have to do

with you and Dimitra?

-No, I wasn't

talking about Dimitra.

I was talking about Lizzie.

-Okay, but we're talking

about Dimitra now.

-Well, she's the person

who takes care of your mother.

-Uh-huh?

[Jeanine sighs]

-I told you...

that this might not be

the best idea

to-to-to be doing this

right now.

You can't go back

into that world,

the opera and your,

your history with Charles

and expect it to

not have effect on you.

And the stuff

with your mom

and your dad dying like that

just last year.

[disquieting score]

-The stuff with my mom...

Which part?

-Harold: Do you

love your mother, Jeanine?

Isn't she special?

This is my love letter to you,

Margot, my beautiful wife,

who's given me

our beautiful angel daughter.

[rope creaking]

So perfect, so intelligent.

So talented.

-Hey, do we have a machete?

-Yeah. Uh, for what?

-For Salome's mother to use.

-To do what?

-To cut off the head.

-Uh, okay, isn't the guard

going to do that with,

um, with the axe?

-Right, well, I want him

to go first with the axe

and then have her mother

follow with the machete.

-So, she beheads

John the Baptist.

-No, that's not clear.

We nev--we never know.

I just had this idea that

she's going to be presenting

John the Baptist's head

to her daughter.

-Okay, and she'll do that

on the platter.

-Um... No.

I think...

Not-not on a platter.

I think in a bowl.

Right? I think in a--

in a clear plastic bowl

that's that size.

And you know what?

I also just want...

I want real tangerines

'cause I want to use them.

-Mm-hm.

-I want them to...

I want there to be action.

-Okay, yeah, so

we're gonna have

a clear plastic bowl

with tangerines in it

and the head in there.

-No, no, the tangerines

are gonna--

So, we're gonna establish

the clear plastic-plastic bowl

(sputters) on the set,

and then we're gonna

use it later for the head.

-Got it.

Okay, uh, yeah, I can...

find a machete

and a bowl

and we'll pick up

some tangerines.

-Great. And I need that all

by tomorrow rehearsal.

-I'll have something.

-Thank you.

-Great. Um, hey,

what do you think of this?

-Is that a cast?

-[score fades out]

-No, I sculpted it.

-Why?

-I just, I wasn't sure

that we needed

to do it that way.

-You might wanna rethink this

because, um...

[sucks teeth]

it's just,

if we're recording this,

this isn't gonna work

because of the closeup.

[pedestal creaks]

-Right.

So, can you just look at it

and kind of describe

what your concerns are

with it?

-Well, I think this is...

You've done really good work,

but it-it's not feeling right.

-Okay. And why is that?

-Because it's, um,

well, it's a sculpture

and a sculpture

changes over time.

It evolves

as you're working on it.

But a cast...

is-is like a photo.

It's a snapshot

of somebody's face

while it's being set in mold,

like a death mask.

-Okay, so, then...

should I give him

any kind of direction

as I'm,

as I'm making the mask?

-About what?

-Like his expression as I'm

putting this stuff on his face.

-That's a good question.

Um...

He's at peace

with the idea.

-Of having

his head chopped off?

-Of knowing that he

needs to be sacrificed.

-Okay, I gotta go. You good?

-Yeah. Thank you.

-Thank you.

Uh, I think it would make sense

if-if, Ambur, you...

scrambled around

trying to pick these up.

-I'd rather stay here

and watch.

-Uh, Jeanine, you can't

just have tangerines

rolling into

the orchestra pit.

-Okay.

-I'm sorry.

I don't understand

what my wife is doing.

Who's chopping the head off?

-Well, that's not clear.

Maybe both of you.

-But... (sputters)

It doesn't take two people

to chop a head off.

Normally there's an axe,

now there's a machete.

They've just sent down a guard

who's been told to do that.

-And now the both of you

have to take full responsibility

for what you're doing.

-I'm sorry,

I don't understand.

-You don't have to understand.

You just have to trust

that this is what

you have to do.

Salome danced because

she had something to say.

Not because she had to

prove anything to anybody.

Not the least of all to you.

[thunder rumbling

in distance]

[quiet tense score]

-The winter storm

has taken down a tree

at the house I'm staying in.

No major damage done.

But the owners will come back

to find it broken.

[shutter clicking]

I send them a picture

to lessen the blow.

[rain patters on windows]

-It's so strange

to be surrounded

by photos

of somebody else's family.

Especially when

I'm thinking about

the family that you promised me.

Did you ever believe

in that family, Charles?

-I try to speak with you,

Charles.

-Were you... really prepared

to leave her for me?

-As though you're beside me.

[woman opera singer

singing in German]

I've been asked

to make this personal.

So I am.

Pretending that

you can hear my words.

I feel my hair

as a singer you directed

so long ago feels his hair.

[singing becomes louder]

I watch how

possessed she became

and remember how

possessed I became.

The crazed enchantment.

How do I bring you back?

[tense score]

Bring what we had back?

[thunder rumbles]

I brought the book

of pictures you made.

I hold it as something sacred.

A faint

and lingering fragrance.

[rustling]

The inhalation of you.

Blurred traces

of your spirit, Charles.

The beautiful dance

of her fingers

as they draw energy

from his lips.

Your lips.

The moon has a

strange look tonight.

[woman continues singing

in German]

She is like a madwoman

seeking everywhere for lovers.

[man sings in German]

I can feel you beside me

as I watch.

The way your fingers

ran over my skin.

The electric shock

of your touch.

[woman sings in German]

Having you inside me.

[man sings in German]

[g*nsh*t]

I wanted you so much.

[dramatic opera music]

And thou did'st

fill my veins with fire.

Wherefore dids't thou

not look at me?

If thou hast looked at me,

thou hast loved me.

[Johan singing in German]

Well, I know that thou

would'st have loved me.

[singing in German continues]

I sh**t the new singers

in their costumes

for the first time.

They look just like their

counterparts from back then.

-Jeanine:

You look amazing, Carolyn.

-They laugh nervously

as I tell them

how good they look.

But I know that they'll never

achieve the crazy rapture

you got with your singers

back then.

-Where's my mark?

-Oh, mark there.

-What more can I do

to inspire them, Charles...

to get the same performance

as you did?

-Carolyn?

-[singing, piano stop]

Is there any way you can

move your head up and down?

Because I-I just really wanna--

I want it to--

be very clear as to what...

what you're doing.

And-and if you look at

what Ambur's doing,

I can-I can, I can feel

her desperation

in her entire body.

She's just, and I-and I,

I just wanna feel like, um,

like you have that

exact same need.

So I guess if you just,

like, a little bit more...

movement

in the moment.

-You want me to look at Ambur.

-No, no, no, no, no.

Just [sputters]

you stay with Narraboth.

And with the--more...

-Okay.

-I think we should

maybe... take it back

to the rehearsal room.

-We'll have to get the

intimacy coordinator for this.

She should be around

for this kind of thing.

-The intimacy coordinator.

-Yeah.

-Yeah.

-Was it important to you

back then? And...

is it important to you now?

-I'm sorry, what?

Was what important?

-That it feels like they're

actually having sex on stage.

-Right.

Well, I'm trying to...

-fulfill the original concept.

-Yeah, but it's your show now.

-In some ways.

-And whatever erotic energy

existed back then,

it's not necessarily

what we're dealing

with now. Right?

I mean, you're not

the same person that you were

and he's not the same person

that he was.

-Charles is dead.

-Hm.

Of course.

So he's definitely

not the same person. Hm.

-So, we're gonna go

all the way down.

Long, flat back

and then roll up... Great.

And then do a real, um,

do a really thorough, like,

back bend, like a roll-through.

Kind of like cat cow in...

-[piano, singing]

-Where is he?

-Uh, he just messaged.

He's running late 15 minutes.

-Okay, I don't think

we can do this without him.

And this intimacy coordinator's

not working for me.

-Feels like a waste of time.

-But we have no choice.

We need an intimacy coordinator

for these scenes.

-Mmm... Do we?

-Yes, it's a requirement.

-Okay, Ambur, stop.

[piano, singing stop]

Luke, could you come with me

for a second please?

It's good. It's so good.

The physicality--

working on physicality's great

but it has to be

driven from something, right?

You have to be inspired

by what is happening.

There has to be

something moving you

that's more in your body

and your soul.

So, as she is singing,

about how beautiful

John the Baptist's hair is,

you are using that

as permission

as an opportunity that the music

is also giving you

to then touch him.

Right? So, you--

From the part where

she says his hair is amazing.

[piano chord plays]

So, it's like you suddenly

have this ability

to express through your fingers

everything that Salome

can only sing about.

[low tense score]

[Jeanine speaks German]

It is...

in thy hair...

that I am enamored.

Let me touch thy hair.

Thank you.

[intriguing score]

And then there's this

crazy thing happening downstage.

And, so, everything that

you're doing is unleashed then.

Think of Salome.

She is using

everything in her power

to have this

crazy man beheaded.

[laughs]

So, what is the point

of all this sacrifice

that ends

in the most gruesome thing

that you've ever seen on stage?

Is it passion?

Is it punishment? What is it?

But whatever it is, that emotion

that you're getting from it,

that emotion

is filtering through you.

[laughs]

It's painful

and it's beautiful

and-and-and-and-and, so,

you're not just sucking him off,

you are fully consuming him

so much so that he has...

he has nothing else to do

but pick up the g*n,

point it to his head

and sh**t himself dead

[score fades out]

just as he's

about to come.

expl*si*n.

[gentle piano score]

And then Salome

picks up the g*n

that he just used

to k*ll himself

and she walks downstage,

she puts the g*n to her head

just like she's going to

sh**t herself.

[Herod laughs]

-Jeanine: I don't understand.

Are you... Are you spying on m?

-Of course not.

I'm here to support you

in any way I can.

-Okay, so, I don't understand

what you're saying.

-That management

is a little concerned

about some of the ideas that

you had at the presentation.

-[groans] Beatrice.

-About making changes.

-I said

they are small changes.

-Right, but then you had

this idea about Salome

sh**ting herself.

-What?

He shoots himself.

Narraboth.

-But then

she picks up his g*n and--

-And contemplates it.

[score fades out]

[Kathy sighs]

She doesn't k*ll herself.

If, if she k*lled herself,

then the opera

would end right there

and it doesn't. Right?

If she died,

then there wouldn't be

anybody to sing her role.

Like, what,

what's with the head, then?

I mean, what is this all for?

That is ridiculous.

-But now you have this idea

about her mother

and the machete...

I-I have to tell them.

I'm just letting you know that.

-So, you are spying on me.

-Look, we all understand

that you must

feel very conflicted

about all of this, but--

-No, I'm not.

I'm-I'm really not.

Really, when I chose...

When I accepted this job,

I told myself that I was gonna

make the most of it. Okay?

So, you know,

you can tell management

that it was an odd choice

on their part to remount this.

Okay, considering

that everybody

thought that Charles

was difficult, to say the least.

Even though management

happened to be married to him

for 30 years.

-It was Beatrice's decision.

It's a successful show.

-Okay, but she didn't have to

fulfill his stupid wish.

Nobody had to,

to take that request seriously.

It's not like somebody was gonna

sue them if I didn't remount it.

No one needed to know.

I didn't need to know.

We wouldn't even be

having this conversation, Kathy.

[door opens]

[indistinct conversation]

-Look, I should head back.

Everybody's getting

off break now and...

-Yeah. It's fine.

[shuddering breath, exhale]

[door opens]

[tense score]

[sniffle, deep exhale]

-Harold: Your daughter

is going to dance for me.

Will you not dance for me,

Salome?

-Charlie:

That is really enlightening.

-Harold: If you dance for me,

you may ask of me

whatever you wish

and I will give it to thee.

-Charlie: But that leads me

to my next question.

I hear you're making a diary

about the whole experience.

Is that like, um...

like a last letter

to Charles?

[score fades out]

-A journal, uh, yeah,

I was thinking about that.

I was. I think it's a--

It would be nice to...

To-to, um,

to write about my...

my experience as I'm

taking on this production.

Um, I am sh**ting some footage

behind the scenes

with my iPhone.

I think that's gonna...

turn into something.

I don't know what yet, but

it's important to me to, to...

to have that footage.

-Okay, that sounds

really interesting. And, um...

Can we talk about the

relationship between you two

during the original production?

-What do you mean?

-I mean your relationship

with Charles.

-Our working relationship.

-I mean, didn't it

go beyond that? It's...

kind of common knowledge

around here.

-I-I don't feel comfortable

talking about that.

Okay, if-if we can

not discuss that.

-Of course.

How about

I share something with you?

-I knew Charles.

Charles told me his story once

about how the whole

dance section in the opera

is, um...

based on something

that happened with your father.

In real life.

And I-I had the

absolute privilege

to see the essay that you

wanted to print in the program.

I thought it was

incredibly disrespectful

they didn't want to use it.

But, um...

I was interested

in your fascination

in Herod's line to Salome,

you know?

About loving her too much.

Charles told me that your dad

used to make these crazy videos

about you and you both would go

into the forest when were little

and he would tape you while

you made these bizarre dances.

I mean, how do you feel

about how that has inspired,

-...very clearly...

-[tense score]

a major part

of this whole show?

[thunder rumbling]

[eerie score]

[rope creaking]

-I...

think I need a break.

Excuse me.

-Something wrong?

Beatrice wants

to have a word with you.

Harold: Do you feel

the wind on your skin?

-Young Jeanine: Yeah.

-Yes? It's more sensitive now,

isn't it?

-Jeanine: It is true, Salome.

-Harold: Take away one sense,

all the others

become heightened.

-Your beauty

has troubled me.

-More intense.

Remember that.

-Your beauty

has grievously troubled me.

-That's your responsibility

as an artist.

[sighs]

[dramatic score]

-Jeanine: And I have

looked at you too much.

It may be

that I have loved you too much.

-She's had a good day.

-Is that right, Mom?

-If that's what she says.

-Oh.

-Do you know where I am?

-Doing your work.

-And what is that?

-Making plays.

You've always liked plays.

You like making things up.

[dramatic score continues]

-Are you proud

of your daughter?

-Oh, yes.

-See?

-Proud of the things

I make up?

Do you know how long

I'm gonna be gone, Mom?

-I'm not sure. [laughs]

-Ask Dimitra.

She knows.

Down to the hour.

[Margot laughs]

-'Til the end of the month.

-Oh.

-Yeah. Exactly.

Just enough time.

[Margot laughs]

-She wonders if I know.

This is probably almost exactly

how Beatrice imagined me.

Your wife.

Just a silly little threat.

Another passing fling.

What does she really know about

what has gone on in this house?

I imagine her swinging around

to glance at the family portrat

suddenly frightened

by the story it tells.

How my father

read me so many plays

and made me act out

so many scenes.

His artistic aspirations for me

somehow always as frustrated

as his aspirations for himself.

[score fades out]

-Now that we've abandoned

the sculpture idea,

we're going to try

for the more traditional method.

So the first step in the process

that you're going to see

is I will put a layer of

petroleum jelly on Johan's face,

and then, on top of that,

I'll use a soft alginate gel

which will pick up

the details of his skin.

And for that phase

I'm gonna work really quickly

because it dries super-fast,

like, it's gonna set

in less than ten minutes.

-[calm guitar music]

-So...

I end up being

your guinea pig after all.

-Yeah, I just realized that

there needed to be

a lot more detail in the head.

It's really gotta be lifelike,

especially for the broadcast.

-No worries.

I'm used to this.

It's the way

it's usually done.

-I'm sorry

to have wasted your time.

-Not at all.

I enjoy watching you work.

[man and woman sing along

to gentle guitar]

Can I keep it? I mean...

the sculpture?

-Yeah, I guess.

-I'll give it to the

national gallery back home.

-Okay, I'm gonna put some

on your lips now

so you might

want to stop talking.

-My lips will be sealed.

-Uh, no, no.

-Stop it?

-No, just... Stop!

-Stop!

-[objects clatter onto floor]

-This was unexpected.

-[tense score]

A singer

playing John the Baptist

makes a pass at me.

What's that thing in the Bible

about judge not?

[indistinct conversations

in background]

-Things became...

really complicated.

Like, when you and I were

working on that thing in school

things were...

really intense.

[score speeds up,

becomes more agitated]

-With Charles and you.

-Mmm.

And...

And other things.

-I sensed

something was going on.

-No you didn't.

No.

How?

-I was watching you...

the whole time.

I couldn't

take my eyes off you.

(chuckles) Um, I could tell

you were in a crazy place.

[discordant score]

I wanted to help you

find a way out.

-Jeanine: Somewhere.

Here...

there's an awful

sense of vagueness.

Uncertainty

between what I remember

and what actually took place.

The girl takes off her blindfod

and stares ahead

as he scurries away.

[intermittent drumming]

[film projector sound]

She feels the blindfold

in her hand

rubbing it

as other shadows appear.

[expansive orchestra score

with drumming]

Ravenous men

watching as she dances

for her father.

And for them.

I never agreed with

the way you staged

these dark monsters, Charles.

How you made Salome look

like a stripper in a club

performing for

a bunch of leering customers.

It was never like that.

Not from what I remembered.

Not from what I told you.

They touched her.

They stroked her.

Did she give them permission?

You never made that clear.

This dark doppelganger.

No, it was never like that.

That's not how it felt.

I remember dark fangs and talos

and their terrible wings

as they beat the air around me.

I remember feeling trapped.

But there was nowhere

to escape to.

[film projector whirring]

Now, this time...

I try something different.

-And then, now,

I kind of wanna feel the trees.

I wanna feel

like we're in the forest.

Not deep into it but I just

wanna sense she's in the forest.

-I want the trees

and branches to come alive

with a sense of the horror

they are witnessing.

-I really wanna feel...

-Like their spirits

are being tortured

as Salome performs

her nightmarish

dance of the seven veils.

-And can you

make the body feel like

you're almost

getting younger?

From a woman

into a little girl.

And then I want a scream.

I want a, I want a, just a...

Amazing. Yeah. Okay, perf--

And then she's bigger.

You can get even bigger

and bigger.

[no vocalizing]

-I am Salome.

Daughter of Herodias.

Princess of Judea.

[driving, rhythmic score]

[score diminishes to low tone]

-Jeanine: What does Ambur

really think of the ballerinas?

-I wanna break them.

-Are you serious?

-Mm, very.

Just cover my eyes.

[indistinct conversations]

[Ambur laughs]

[score gets louder]

[score resumes loudly]

[g*nsh*t]

[dramatic score]

-Jeanine: It is thy mouth

that I desire.

It is like a pomegranate

cut in twain

with a knife.

Suffer me

to kiss thy mouth.

-Clea: No...

-Stop! Stop!

-[objects clatter on floor]

[score ends abruptly]

-I don't understand.

Was this staged?

-Uh, what do you mean?

-Did you ask him

to do this?

-No. No, of course not.

I told him to stop.

-Okay, but...

-And he didn't.

-And why are you thinking

of sending this out now?

Didn't this happen

a few days ago?

-Last week

as I was making the cast.

-And you finished

making the cast,

let's be clear on that.

This thing happened

then you went ahead

and finished making the cast.

-It took me a while

to fully absorb it.

You asked me

to document everything

that went into making

the head of John the Baptist.

And this is everything.

-Okay.

But this is also

a recording of, uh,

of an attack. Uh...

[laughs nervously]

A sexual attack.

-And you're making that public.

-That's right.

-Just before we open

this production.

[tense score]

Why?

-I am...

just completing the job

that I was told to do.

I have an email from

the marketing team that says

I can, I can do this

any way that I want to.

That I should make it personal.

And this just got

very personal.

I feel that

I have a responsibility

to make it known.

-We're not obliged

to give our approval.

-Really?

You're not gonna

give me your approval?

Is that the message

that the opera company

wants to put out there

when I decide to

show this anyway?

I just-I don't-I don't think

that is a great idea

to try and ban me

from making this public.

-Does he know?

Johan.

That you're planning to do this?

-Not yet.

-Okay.

[clears throat]

What can we do

to get you to reconsider?

I know this must have been

very traumatic for you, Clea.

I'm not trying to

diminish that.

Is there any way

we can find a solution?

-What is she doing?

-What do you mean?

-Ambur, what is she doing?

Why is she

in a different opera right now?

-Uh, is it the performance?

-I--I...

I don't understand.

I thought...

Can we, like,

pause for one second?

[Kathy laughs]

-Uh, what is it

that you're not happy with?

-Harold: Put your hand

to your face.

Yeah, perfect. Just like that.

It's sensual.

You know that word.

Some people have a problem

with that word.

But it sounds good.

It's not bad.

-I'm sorry, what is she doing?

What is she doing?

-Why is your hand

to your face like that?

Are you playful?

-It's... Stop. Stop.

Sorry.

-Stop. Stop, stop. Sorry.

-I'm sorry. I have one--

-[yelling in German]

-It's my rehearsal. Excuse me.

-I just need a moment.

-It's ridiculous.

-It's very important, okay?

Ambur, there's nothing

mischievous

-...or sly or playful

-Go back into the dance.

-...about any of this.

-Please go back to letter Q.

-You're not a sex kitten.

-Big letter Q with upbeat.

-You're not happy

about this decision.

-We take it with an upbeat.

-This is not something that

you're taking pleasure from.

You did not

dance naked for your father

and allow yourself to be r*ped

by a g*ng of strangers

-[orchestra plays]

-for some petulant little game.

You agreed to do

this crazy dance

because you desperately needed

to show John the Baptist

that you love him.

Right? And this monster

is taking advantage of that.

And your mother is just

standing there, watching.

You are taking this action

because you want to, somehow,

liberate yourself

from your father

and everything

that he represents.

You need John the Baptist's head

because you need to prove

that you are worthy

of being loved.

You're not just a plaything

for your father's dark need

that he has to fulfill.

This is something that you

now need to do for yourself.

Right?

Is it, is it gonna

make you feel better?

Is it gonna change anything?

You have no idea

what is going to come

of your actions.

[stirring orchestra music]

(emotional)

Nothing is clear to you

right now except your pain.

[music intensity increases]

[music turns sinister]

-Harold: Dance for me.

Dance for me.

Suffer me to touch thy body.

The moon

has a strange look tonight.

Hasn't she a strange look?

Keep following me.

Keep following my voice.

Keep coming, keep coming,

keep coming.

[orchestra fades out,

resumes frenetically]

[orchestra plays quietly]

Slowly, slowly

you start to collapse.

And as you're doing that,

you hear my words

and you remember these words.

They make you feel safe.

[dramatic music]

[rumbling]

-Why would you ask Dimitra

to do that?

-I'm sorry, I shouldn't have

to explain that to you, Paul.

It's always haunted me.

Okay?

-Okay. It's just so...

-It's what? Is it unnerving?

-It's-it's crazy.

-Yeah, it is crazy.

-You know what's even crazier?

I told Dimitra

that I was okay with

what you guys were doing

as long as she did

this one thing for me.

-And you were

sincere about that?

That if-if she does that

to the painting, then...

then you're cool with

what's happening between us.

-Okay. Um...

Okay.

Can you see that, Margot?

-Wh... Oh, dear.

What's happened

to Harold's face?

-Your daughter

asked me to do that.

-Why?

-Not sure, Margot.

She didn't explain.

-So, why did you do it?

-Because.

She doesn't want to see his face

anymore when she comes to visit.

So, um...

can you think of

a reason why?

-Jeanie thinks

that Harold was a bad man.

[tender score]

-Why?

-He loved her.

-What's wrong with that?

[discordant score]

-He loved her too much.

[sobbing]

-Dimitra: What does that mean?

-What does that mean?

You can leave the painting

like that if you want.

[gentle, shuddering inhale]

[exhale]

-I hurt you.

[Margot sobs]

-How can you expect me

to agree?

-Because, Rachel,

you're gonna get to sing

with a real orchestra.

This is what you

always dreamed of. sh*t.

-It's blackmail, Clea.

You've blackmailed the company

into letting me perform.

-I've discussed it with Ambur

and she's agreed to it.

-Well, that's even worse.

-Why?

-Is she still getting paid?

-Well, I mean...

normally it would go to you,

but, in this case...

-But, we'll, just, uh,

pay her something.

-No, we didn't get into

to those details.

-Like a kickback?

-No, it's not like that.

-Or go back

and extort more.

-Okay, why are you

looking at this

as though I've done something,

like, criminal?

-Because it's really

the only way to see it, Clea.

Maybe you even planned it

from the beginning.

[bottle clunks onto table]

[clock ticking quietly]

-Rachel, how could you

say that to me?

(voice shaking)

He made a pass at me.

I didn't plan that.

I said stop and he didn't.

-And you taped it all.

-Yes, because the opera company

told me to.

-And he knew

that the camera was on him?

-Yes.

-He was aware

that he was being taped?

-Yes. I just told you that.

Oh, my God.

You sound just like them.

[Clea sniffles]

[Clea sobs]

[sniffles, sighs]

Rachel... [sniffles]

I am doing this...

for you.

It's not about me.

-Clea....

-It's because I love you.

-How can you say that?

He attacked you.

You-you don't feel

-...anything about that?

-Of course I do.

-You knew

the camera was on him.

You knew that you could

use his actions

to frame him and, then,

the whole time it's happening

you-you have a plan?

-No, the plan

didn't occur to me until

after it happened.

-Clea...

what you are proposing to do

is wrong.

What are you going to do?

With the recording?

[applause,

enthusiastic shouts]

[orchestra plays]

-I don't know.

Shouldn't we

go back to the opening?

-It's only a five-minute walk.

We can head out really soon.

-Right, you have to

take a bow.

-Yeah, I have to

take my big bow.

I just want to take a moment

to celebrate with you.

Just the two of us.

-I had a dream last night

that I got to play the part.

-Like one of those

anxiety dreams?

-What do you mean?

-Like when you open your mouth

and nothing comes out

or you're late for an exam

or you don't know

-...the answers to stuff.

-[cork pops]

Ooh. Incredible.

-No, I, uh, I sang well.

-It's not my house. [laughs]

Well, that's unsurprising.

-[glass clinks]

-Good for you.

-Even after I lost my head,

I kept singing.

-Really? That's handy.

[Luke laughs]

-[glass clinks on bottle]

-It was strange.

-Yeah, I bet. Cheers.

[glasses clink]

-It's the toughest part

of the opera.

-What?

-She sings at the head

way too long

before she kisses it.

-Well, there's nothing we can

really do about that now.

[quiet slurp]

[gentle score]

I wanna kiss thy lips,

John the Baptist.

-I will not look at thee.

Thou art accursed.

-Okay.

It is of thy hair

that I am enamored.

[glass clinks onto table]

There is nothing in the world

like your hair.

When the moon hides her face.

-[frustrated sigh]

-When the stars are afraid.

Let me touch thy hair.

[cell phone dings]

[singing continues]

-Can you fill this?

What is it?

[singing continues]

[energetic orchestra music]

[music, singing continue]

-I thought we had

an understanding.

-We did.

-What, she went ahead anyway?

-Obviously.

-Is this already online?

-Yeah, that's how I saw it.

[dramatic rumbling]

[exhales]

-I apologized after this

and I don't know

what else to do, I-I-I...

-Stop, please stop. Enough.

[orchestra playing]

[Ambur singing]

[Beatrice sighs]

-But, uh...

do I still take

the curtain call?

[Beatrice scoffs]

[dramatic drumming]

-Jeanine: An enraged princess

who would extract her price.

Her stepfather begs her

to change her mind.

I know I have sworn an oath,

he says.

I have always loved.

Perhaps I have

loved you too much.

[applause, cheering]

The conductor leaves his podium

and finds his way to the stage.

As the curtain rises,

Salome is there.

Her dress

splattered in blood.

She waves her red-stained hands

to the cheering crowd.

She expresses her gratitude

to the musicians

in the pit below.

I'm taping this all

fully aware

that I'm supposed to be

backstage now as well.

[applause, cheering continue]

I pan my camera

back to the stage

and see Salome gesturing

for the conductor

to take his applause.

[quiet haunting score]

This is where

I'm supposed to now be.

Taking my bow.

But they realize

that I'm a no-show.

They're still applauding

for you, Charles.

Even with

all the changes I've made.

[theatre sounds fade out]

-Will mine be ready in time?

[score fades out]

-No.

We'll have to use

his head tonight.

-That's a bit of a stretch.

-[quiet score]

-Well, we don't have a choice.

We're gonna work on yours,

but it'll take a while.

We should have it ready

for the recording, though.

-The recording?

So, I'll be doing

the broadcast?

[cape flutters]

Wow.

-You're very lucky.

-[snap clicks]

-What if I'm terrible?

What if I can't see

the conductor?

You know, the whole thing

with the blindfold.

-The blindfold's see-through.

No, you'll be amazing.

I know how seriously

you and Rachel were preparing.

-I'd prefer to do it with her.

With Rachel.

-Well, that's not an option.

[sniffles]

[inhale, exhale]

-I'm sorry.

-I didn't mean to--

-No, it's okay.

I can imagine how brilliant

you and Rachel

would've been together.

[tub down

on wooden table]

And she's gonna get

her chance too.

One day.

[cracking]

-Jeanine:

From our conversation

she knew that a sculpture

wouldn't do.

That a cast

was more accurate.

-Ready?

-Even if it was more invasive.

[tearing, cracking]

-Okay, keep your eyes closed.

Just keep 'em closed.

-Don't open them.

-Why not?

-Because some of the plaster

might have stuck

to your eyelashes

and you don't

want it to hurt.

-No, I don't.

-Little bit more.

Okay.

Now, open them slowly.

Mmm.

-She stares at his face

with a sense of accomplishment.

Proud of how

she's created this...

most magical of mirrors.

Herodias sings that Salome

has made the right choice.

Finally, after years

of witnessing her husband

abuse her daughter,

she's ready to inflict

some crazy justice.

This is my interpretation,

Charles.

I have no idea

what you would've made of it.

[dramatic rumbling]

As the empty bowl

is presented,

she has no more than a minute

to fill it with the fake blood.

The tricky part comes next.

She takes the prop,

places it under her arm.

Then, like a proud mother

nursing her child

she feeds the special formula

that looks so real

into the gaping wound

of the severed head.

She needs to fill the cavity

to capacity

so there's enough blood to drip

onto Salome's white dress

for the entire length

of her final aria.

[Ambur sings in German]

He was so beautiful to her...

that if he had only

looked at her,

he would've loved her too.

That the mystery of love

is greater

than the mystery of death.

[dramatic drumming]

[opera music continues]

[phone buzzing]

-Hi. How'd it go?

-Luke: It's still going.

-I would've loved

to have been there.

-I'm in the dressing room now.

She's kissing my lips.

[Ambur sings tenderly

in German]

-She just said

that the mystery of love

is greater than

the mystery of death.

She's about to say

that love has a bitter taste.

-They're calling me to go.

[dramatic loud orchestra]

-Jeanine: I have kissed

thy mouth, John the Baptist.

I have kissed thy mouth.

[dramatic drumming]

[sustained tremolo by violins]

[woodwinds play haunting melody

over violin tremolo]

[flutes join

with hopeful melody]

[volume rises,

score turns darker]

[triumphant score]

[ascending harp arpeggio]

[other instruments play

ascending arpeggios]

[gentle score]

[brass accent]

[string accent]

[brass fanfare]

[frenetic drumming]

[drum flourishes

as credits disappear]

[fade to silence]

[airy glockenspiel score]

[score fades out]

[forest sounds]

[crow cawing in distance]

[rope creaking]

[crows cawing]

[thunder rumbling]

[all sounds fade out]