All language subtitles for Seven Veils 2023 1080p WEB H264-SCENE.Hi

[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 whore.

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]

Who is this woman
who is looking at me

I will not have her look at me

Wherefore doth she look
at me with her golden eyes

under her golden eyelids

I know not who she is

Bid her be gone

It is not to her
that I would speak

I am Salome daughter of Herodias

Princess of Judea

Back daughter of Babylon!

Come not near the chosen...

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 whore.

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]

How beautiful is the
Princess Salome tonight

Look at the moon

How strange the moon seems

She is like a woman
rising from a tomb

[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, 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]

Rejoice not thou
land of Palestine

Because the rod of him

Who struck thee is broken

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 asshole.
- [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]

Thy hair is like a
cluster of grapes

like the cluster of black grapes

that hang from the vines of Edom

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]

How beautiful is the
Princess Salome this evening

Thank you. It's all this
pain and-and-and yearning.

It's what... It's
what leads you

to eventually...

- ...kill 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?

How beautiful is the
Princess Salome this evening

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]

It is thy hair
that I am enamored

Jokanaan

Thy hair is like a
cluster of grapes

like the cluster of black grapes

that hang from
the vines of Edom.

[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 shoot 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 kill you.
- [scoffs] Nice.

I mean, it would be
her dream come true.

That you murdered 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]

[gunshot]

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 shoot 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?

Never!

I will kiss thy mouth, Jokanaan

I will kiss thy mouth

Princess, thou art
like a garden of myrrh

Thou art the dove of all doves

Look not at this man

Do not speak such words to him

I cannot suffer them

I will kiss...

- 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 gun,

point it to his head
and shoot himself dead

[score fades out]

just as he's about to come.

Explosion.

[gentle piano score]

And then Salome picks up the gun

that he just used
to kill himself

and she walks downstage,
she puts the gun to her head

just like she's going
to shoot herself.

[Herod laughs]

Jeanine: I don't understand.
Are you... Are you spying on me?

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

shooting herself.

What?

He shoots himself. Narraboth.

But then she picks
up his gun and...

And contemplates it.

[score fades out]
[Kathy sighs]

She doesn't kill herself.

If, if she killed
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 shooting 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]

Let me kiss thy mouth, Jokanaan

Cursed be thou...

Daughter of an incestuous mother

be thou accursed

Let me kiss thy mouth, Jokanaan

I will not look at thee

Thou art accursed,
Salome, thou are accursed

Thou art accursed

Thou art accursed

Thou art accursed

[score resumes loudly]

[gunshot]

[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?

I would that they
presently bring me

on a silver platter

Surely yes, on a silver platter

What is she doing?

- What do you mean?
- Ambur, what is she doing?

What is it you would
have on a silver platter

Salome, you are who are fairer

than all the daughters of Judea

Why is she in a different
opera right now?

Uh, is it the performance?

Whatsoever it may be,
they shall give it to you

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?

What is it, Salome?

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?

The head of Jokanaan No!

It's... Stop. Stop. Sorry.

Ah! That is well
said my daughter

That is well said

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
raped by a gang 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. Shit.

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.

The head of Jokanaan

No!

Ah! That is well
said, my daughter.

[cell phone dings]

[singing continues]

Can you fill this?

What is it?

[singing continues]

[energetic orchestra music]

Who has taken my ring?

There was a ring
in my right hand

Who has drunk my wine?

There was wine in my cup

It was full of wine
Someone has drunk it

[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.

I am sure some
misfortune will happen

[dramatic rumbling]

[exhales]

There is no sound.

I hear nothing

Why does he not
cry out, this man?

Ah! If any man
sought to kill me,

I would cry out,
I would struggle.

I would not suffer...

Strike, Naaman,
strike, I tell you...

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]

Ah! Thou wouldst not
suffer me to kiss...

thy mouth, Jokanaan!

Well, I will kiss it now.

I will bite it with my teeth...

Jeanine: An enraged princess
who would extract her price.

With my teeth

as one bites a ripe fruit.

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.

My daughter has done well

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]

She is monstrous, thy daughter.

She is altogether monstrous!

I approve of what my
daughter has done.

And I will stay here now.

Ah, there speaks
the incestuous wife!

Come! I will not stay here

Come! I tell thee.

Surely some terrible
thing will befall.

[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]