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Tomorrow we'll shoot a nude scene.

-What nude scene? -Yours.

-You're joking. -No.

-Why don't you film Dinu nude. -Why should I film Dinu nude?

-Isn't he the main character? -A nude should be beautiful.

-Dinu's got a beautiful body. -No man has a beautiful body.

Not to you, maybe.

No. Strictly from an aesthetic point of view.

-You know why? -No.

Because of the penis.

Regardless of how well proportioned a man might be,

the harmony is ruined by the penis.

It's a mistake from an aesthetic point of view.

If the scene isn't justified, I won't do it.

It'll be justified, don't worry.

-You'll thank me in 50 years. -Why would I thank you?

Because you'll be old, who knows how you'll look.

Loose flesh, sagging breasts, eye bags, wrinkles.

So?

So you'll watch the movie and thank me.

-You think I'll care? -Course.

I don't think so. I'll get used to my body.

You say that now, because you're sure of your beauty.

Who will watch your movie in 50 years?

-You will. -Me?

-And you. -Maybe.

And Dinu, of course.

After I've fucked him about so much? And it's not over yet!

He'll just want to forget it.

I can't stand him anymore.

I don't know how this filming will end.

Anyway, nobody will watch movies in 50 years.

What do you mean, nobody will watch movies?

I mean, they'll still watch, but movies will be something else.

-Something else? Like what? -I don't know.

But they won't be movies any more.

They'll be something else, or there won't be movies at all?

Course there'll be something.

People will keep watching, they'll probably still be called movies,

but they won't have much in common with what we call movies today.

-Are you serious? -Yes.

You've seen how we're shooting on film?

Yes.

Film has its limits.

You can't shoot more than 11 minutes at once.

-That's why you change rolls? -Exactly.

-I didn't know they were 11 minutes. -One roll is 305 metres.

And 1 metre of film is 2 seconds.

So if you add it up it comes to about 11 minutes.

-So? -That's it.

You can't film more than 11 minutes, no matter what.

I don't get it, a movie has 90 minutes, maybe more.

A movie yes. But no part of it can last more than 11.

OK... And?

And this limit determined a way of creating cinema.

A way of seeing the world, or rather, thinking of the world.

And?

And with digital, the limit is much greater. One hour.

And it'll keep increasing, infinitely.

So you can depict reality more faithfully, if you want to.

-I'm no good with technical details. -It's not technical.

If I shot this movie digitally, not on film, it'd be different.

Why?

Because every scene could be bigger, fuller, more detailed,

more real, and also longer.

For example, your argument with Dinu. It's about 7 minutes, right?

Thinking about it, I'd like to make it 20 or 30 minutes, like in reality.

With digital, I could do that.

But making that longer means making the rest longer.

The movie would be huge, in comparison.

-So why didn't you use digital? -I can't.

-Why not? -Because there is no limit.

I've been formed by this limit. That's how I think.

That's how I see the world.

Hello Magda.

Really bad. My stomach is killing me, like there's a knife in it.

Yes. And I threw up. I've got a fever.

I don't know, I think my ulcer came back.

A while ago.

My brother's coming, I'll go with him now.

I have my own doctor.

Call you when I finish, OK?

I don't think so.

They'll give me painkiller and antacid and I'll be fine.

That's why I called...

Don't worry, I'll be OK to film tomorrow.

I've had these problems before.

Magda, my brother just arrived, I have to go. Speak later, OK?

OK... I'll call you.

Bye. Thanks.

Don't I have any lines at all?

You're in the other room.

You're getting dressed and overhear their discussion.

You wrote this just so I appear naked?

No. I think it works better this way.

Getting dressed as they speak becomes a kind of protection.

It's more expressive than dialogue.

-I listen and I get dressed? -Yes.

I'm doing two things at the same time?

Yes. Why?

It'll seem like I'm not interested in what they're saying.

No. You listen, then you get dressed.

You see? You get dressed as a consequence of what you hear.

That's why your clothes are no longer just clothes, they become... armour.

Hold on, let's take this slowly.

-Why am I naked? -You're not.

There's a towel round you, you just got out of the shower.

-Aha. It starts in the room. -It's written there.

I was thinking of the old version.

So I'm in the room with the towel round me.

Right.

-Where are they? -In the living room.

How can I hear them from my room?

You go to the hall to get something.

-What? -Tights. It's written there.

I'd get the tights wearing my underwear.

Right. So?

If I'm in my underwear, getting dressed loses its symbolism.

No, you don't get it. It's written there.

You dress, need the tights, enter the hall and hear their discussion.

Then you return to the room and carry on dressing.

When you 'carry on dressing' it has to be different.

How? That's up to you. But I need to understand

you're protecting yourself. The clothes have become... armour.

-But after I hear them. -Exactly.

And I don't hear them until I get the tights.

Of course.

It seems odd to have the tights in the hall.

It should be something that the whole family uses.

You know what it could be?

That thing you get fluff off your clothes with, you know?

I'm not sure what it's called, but it's like a brush, with...

-I know. -That could be it.

No. You'd already have to be dressed. It should be something intermediary,

something in the middle of the process of dressing.

I want a clear delineation between the two moments of dressing.

But there could be.

Let's say I...

I'm dressing... in my tights...

and underwear, I'm in the room,

the dress is hung on the wardrobe, while...

What? I don't get it.

In my room, the bed's here and the wardrobe is there...

-On the set? -Yes.

The bed is here and the wardrobe is there.

I'm dressing.

The dress is hung on the wardrobe so it doesn't crease, right?

I'm dressing, I take my underwear,

and while I'm dressing,

I see that the dress has fluff on it, so I go to the hall to get the brush.

-And you go out like that? -Like what?

-In your underwear? -Why not?

Because you hear Vlad in the next room.

Couldn't I also hear him when I left the bathroom?

True.

And anyway, they're...

And I could check first, right?

-Right. -Or take the towel.

-We'll see. So, you go out... -I go out into the hall.

I take the brush and go back in the room.

-Correct. -Then I'm dressing, like you said.

But...

-Can you hear them from the hall? -Yes.

OK.

It seems OK, let's see.

Something's not right?

No, I'm not sure yet. I have to see it on set.

-I'll do it now. -We'll do it tomorrow on set.

I'll do it now, I'd rather. To see if it works.

-The shower is here, right? -You start in the bedroom.

I'll shower too, to see how I should come in, OK?

So I'm in the shower. I'm showering.

I'm getting out.

I'm drying myself.

I'm out, and... They're in the living room.

-What are they saying? -Vlad has just arrived.

So nothing special.

Right, I've my towel round me.

The underwear is on the bed.

I'm drying myself with the towel. I'm drying myself.

I'm taking the panties.

Taking the bra.

The tights are on the bed. I'm sitting down.

I'm taking the tights, the dress is hung on the wardrobe.

I'm dressing.

While I'm dressing,

I see the dress, I go over, I look at it.

I go into the hall to get the brush.

The brush could be in the shoe-drawer. Here it is.

I'm taking the brush. And now I hear them.

And I return.

And I come over to the dress...

And I'd probably be... really annoyed.

-Correct. -Really intrigued by what I heard.

I'd be brushing... like this. Really hard.

I think that's a cliché.

-Shouldn't I do it? -Yes.

-I think it's an important moment. -It certainly is.

-More naturally. -OK. Like this...

I've brushed the dress, and now I take it and...

I'm dressing like you said.

Yes...

Are there Chinese restaurants in Târgu Mureș?

4 or 5...

-You go there often? -No.

You're good with chopsticks, where did you learn?

I learned in France.

You learned to use chopsticks in France?

Why so surprised?

It sounds absurd.

When I lived in France I often ate in a Chinese restaurant.

-That's how I learned. -I see.

Did you stay long in France?

2 and a half years.

Where?

In Montpellier.

In what year?

In... 2005 and 2006.

And what did you do there?

I had a scholarship.

What scholarship?

I was in the foreign languages university, and I got a scholarship.

-So why did you come back? -I gave up the scholarship.

And you came back?

No. I stayed another year in France and then I came back.

Didn't you like it?

I liked France, I didn't like the university.

So why come back to Romania?

I wanted to study acting and it was impossible over there.

And you had money to eat out regularly?

I went with my boyfriend from back then.

-French? -Yeah.

I'll get another beer. Want something?

You can have mine.

-Sure? -Sure.

-Cheers. -Cheers.

To what extent do you think Chinese cuisine has been influenced

by the fact that they eat with chopsticks?

What do you mean?

Let me put it another way.

Why do the Chinese not cook T-bone steaks or roast chicken?

I don't know.

Because you can't eat it with chopsticks.

So chopsticks have directly influenced their way of cooking.

Don't you think?

Maybe. I'm not sure.

Europeans, meanwhile,

concentrated on the means, they invented knives and forks.

The Chinese concentrated on content. So European cuisine became simpler,

while Chinese became more sophisticated.

You can't say that French cooking isn't sophisticated.

On the contrary, they say it's the most sophisticated in the world.

That's what we think, Europeans are raised with knives and forks.

-Arabs eat with their hands. -So what?

That means their cooking should be the most sophisticated.

Not at all. Using your hands is too simple. Brutal, even.

Yes, but the emphasis is on the content.

Not really.

Eating with your hands is... I mean, without implements, it's...

Or rather, if there's no intermediary in the relationship

between you and your food,

you can't maintain distance from the plate. It's visceral.

When you eat with your hands, it's simply to satisfy hunger.

You think Arabic cuisine is the most sophisticated?

-No. -That's what you said.

No. I said that, following your logic,

Arabic cuisine should be the most sophisticated.

That's what you understood?

Didn't you say Europeans emphasise the means rather than the content?

I did.

Well, Arabs put the least emphasis on the means,

so they could concentrate on the content even more than the Chinese.

That's where you're wrong.

Arabs don't use implements. Hands are part of your body, right?

So your relationship with the dish isn't mediated.

I think that food is more about taste than about chopsticks or forks.

If that's your approach it's more to do with hunger than taste.

You mentioned sophisticated cuisine.

Well for me, sophistication means taste.

Sophistication means everything: how it looks, how it smells,

how you eat it, as well as how it tastes.

-Most of all, how it tastes. -Sure. Most of all, how it tastes.

But taste is also influenced by the means, right?

How?

In Chinese cooking, you cut everything up small,

you cut the meat, then you add the diced vegetables,

then you add the sauce,

then you add another ingredient, then another, and another,

and so on. You see? It's sophisticated, right?

In European cooking, you have a piece of meat,

and next to that some garnish, and maybe a salad.

I prefer European cuisine, don't get me wrong.

But when I look at Chinese cuisine sometimes I don't get it.

You don't have to understand it, just to taste it.

-Taste has to be educated. -Yes, right.

OK, whatever you say.

I dream of acting in France...

-And what accent do you have? -Right now, none.

But when I stayed in France I picked up the southern one.

How is it?

More melodic...

Lighter, more open...

I mean, the vowels in the middle of words are longer.

-Compared to that in Paris. -Of course.

You could perform roles from the south, right?

To perform in France I'd need to move there.

That'd mean giving up everything, leaving.

Then one day I might be able to start acting.

It's just not that simple.

Another problem would be your body. You don't look like a French girl.

-You mean my body or my features? -Your body and your features.

I think my features are more Greek, except I have green eyes.

Greek girls don't have green eyes?

Greek girls have black eyes and dark hair.

There's something Jewish about you.

My nose and eyebrows. My father is half Jewish.

Anyway, I think I've a Mediterranean look.

So it's plausible I could be from the south of France.

And your body?

My body... I don't think there's anything so specific about it.

I think that if you live somewhere and like it,

then you're going to feel comfortable about yourself.

Anyway, you don't have the body of a German.

Course not, but what I'm trying to say is that if I moved to France

and lived there, spoke and thought in French,

plus the energy of the people and the place, then my body would fit in.

But you'd never be you.

I'd still be me, because I'd have chosen to live there.

That's too mystical for me.

I think it's true.

If you're in a place and you like it, you become a part of it.

I don't think so.

You know, it's like swimming in a river.

You let yourself float, you don't swim against the current.

If you swim against it, you get tired, it's pointless.

I don't know much about swimming, but I don't agree with that theory.

You were born here. You think in a certain way.

You can be carried by any current you like.

Your mentality was formed over here.

If you find a space, please pull in.

We're filming.

I told you...

-Magda. -What about Magda?

She's over there on the couch.

-Paul. -Hi Magda.

-Hi. -Hi.

-How are you? -I came to rehearse a bit.

I made some changes to tomorrow's scene and came to speak to Alina.

Weren't you meant to be sick?

I made the changes last night. Didn't Liviu mail them?

-Have you been to the doctor? -Sure.

And?

I'm better. He put me on a drip and it went away.

I'll take antacid for a few days.

You said you'd call after seeing the doctor.

I forgot. I was OK, so I started working.

-Hi. -Hi, Magda.

-I'll just pop upstairs, OK? -Thanks, Alina.

-Bye. -Bye.

Alina? I've booked the room for another night.

-Great, thanks. Bye. -Bye.

-So you're well. -I'm better.

-What was it? -Gastritis.

Coffee and cigarettes on an empty stomach.

I've been drinking too much recently.

-You said you had an ulcer. -A few years ago.

Come on, Paul... You had an endoscopy?

-Yes. -And?

I have gastritis.

You didn't mention an ulcer on your insurance form.

-I didn't? -No.

-Should I have? -Course, it's a chronic condition.

-I didn't know, sorry. -Yeah...

I spoke to the insurance company they'll provide a new policy.

-I'll pay an invoice, then we'll go. -Where?

To the hospital, for an endoscopy.

I'm not doing another endoscopy today.

Come on Paul, what the hell...

First Marinescu, then you. It's too much for one day.

What's up with Marinescu?

-He got drunk and trashed his room. -What do you mean?

He broke the TV, wardrobe, fridge, everything.

-You moved him out? -Of course.

The manager wanted to kick the whole team out.

I talked to him, paid for the damage and gave an advance, so it's OK.

-And where's Marinescu now? -Who?

-Marinescu. -At Diana's.

I was scared to take him elsewhere, he's a fucking embarrassment.

-What's up with him? -He's drinking like an idiot.

He was fine on set. Maybe something's wrong, family problems...

Nothing happened. He's an idiot, that's all.

Shame. He's a good actor.

So what do we do?

I'll call the insurance and say we'll leave it.

Whatever you say.

My doctor said I can carry on filming.

-So you went to a doctor. -Yes.

-Let's do another endoscopy. -I can't do another endoscopy.

-Why not? -I just ate.

So what if you ate?

An endoscopy needs an empty stomach.

Really?

Hi Irina.

Do you need an empty stomach for an endoscopy?

I spoke to the director,

and he's had an endoscopy, so there's no point in doing another.

-Do you have the endoscopy with you? -No. It's at home.

-You definitely did one? -Yes.

Sorry, Irina, I've a favour to ask. I must wait for an invoice,

and have loads to do at the office, so I might not make it today.

Can you send a doctor to the set, tomorrow morning?

It's 16 Henri Coanda Street.

Yes, but I told you, I need the insurance for Monday.

Friday we're filming in Parliament. The contract says

we have to tell them 4 days in advance.

Please, help me out. I'll owe you.

I'll owe you one. I need to know by tomorrow.

Yes. Ask them and let me know, OK?

Great, thanks a lot.

Thanks.

Bring the endoscopy to the shoot tomorrow.

OK.

I hope the doctor won't be wasting his time.

I'm going, I'm tired and I've got a hard day tomorrow.

-Bye. -I've had a hard day too, Paul.

So hard that it cost me 15,000 euros.

Another 2 days like this and we won't finish the film.

-Talk to you later. -Bye.

I'm outside the car-park, waiting.

Pass the barrier, turn left. I'm parked on the right.

It doesn't matter, we'll get it later.

We'll come back later. Anyway, it's booked until tomorrow.

I'll wait for you.

No, I left the car park. Pass the barrier, turn left, I'm on the right.

I'm showering.

I'm getting out...

I'm drying myself with a towel...

I'm looking in the mirror.

-I'm going out. -Don't you dry your hair?

You're right. I dry my hair.

That's it.

How long do you dry your hair for, Alina?

About 10 minutes.

When we shoot, I want you to dry your hair for 10 minutes.

Do you have time to film me?

We'll start filming later, but you'll dry your hair for 10 minutes.

And I'll have a shower each time?

Yes.

Once more.

I'm showering.

I've finished. I get out.

I'm taking the towel. I'm drying myself.

I'm drying my hair.

I'm looking in the mirror.

I'm going out, entering the hall.

I overhear them. I stop here.

I'm listening.

I'm entering the room.

-How loud were they speaking? -Pardon?

During rehearsals, how loud were they speaking?

-They weren't speaking loudly. -But you could hear them?

Yes.

They weren't speaking loudly, but you could hear them.

-Yes. -OK.

Because you knew the script, or because they spoke clearly?

I heard them clearly.

You heard when you left the bathroom, or did you have to come to the door?

No. I heard them...

Because you knew the script or because they were speaking loudly?

I heard them... I'm not sure anymore.

-OK. -But I heard them.

You always left the bathroom when they said one particular line.

Yes.

-Didn't you dry your hair? -No.

-But I heard the hairdryer. -I didn't really dry it.

-How did you know when to leave? -Liviu gave me a sign.

You just came out? Without any feeling?

Well...

I was in the background, you could hardly see me.

It's not that. There was no feeling there.

-You could hardly see me. -Even one second matters.

One more time.

If you didn't like it, you should have said.

I was watching the others. One more time, please.

I'm showering.

I've finished.

I'm getting out.

I'm taking the towel.

I'm drying myself.

I'm drying my hair.

I've finished.

I'm looking in the mirror.

I'm leaving, entering the hall.

I hear them, I stop here.

I'm listening.

-I'm going to the room. -Stop.

-Why do you go to the room? -Shouldn't I end up there?

No. Why should you end up there?

To get dressed.

You don't go to the room just to get dressed.

You came out.

You hear them clearly, like you said.

If you're upset, you return to the bathroom.

Or maybe you go to the door, you're curious.

Or you remain frozen in the hall. Which one?

I heard them clearly during rehearsal. It felt right going to the room.

It seemed so because you knew the script. Think about it.

You showered, you dried your hair for 10 minutes, you're dazed.

You go out, but you don't go straight to their door.

You want to go to your room but you hear them in the hall.

Do you hear clearly?

If so, do you return to the bathroom because you're upset?

Or go to the door to hear better? Or go to your room?

Which one?

Whatever you choose is possible.

But whatever it is, has to be assumed by every inch of your being.

-OK? -OK.

OK. We'll do it tomorrow.

Hi.

We just finished filming.

I'm in make-up.

Filming overran.

One shot wasn't working and we had to stay longer.

If I said I'm in make-up, I'm in make-up.

I'll call you when I get to my room, OK?

I'm hanging up. Stop it.

I'm hanging up.

-How's it going? -How's it going?

-Hi. -Sit down.

-How's things? -Good.

-Laurentiu, pleased to meet you. -Alina.

-You're an actress? -Yes.

I hear filming's going well.

-Where did you hear that? -I met Radu, he was really pleased.

It's OK.

-How much longer? -Another 2 weeks.

-How long's the shoot? -4.

You're OK, you're pleased?

-Yeah. -Yeah?

-Anyway, it's a great script. -Thanks.

You're not from Bucharest.

-No. From Târgu Mureș. -Târgu Mureș.

-Do you know Roxana? -Roxana Lemnaru?

-Yeah. -Of course.

She's a great actress.

I worked with her on a film and liked her a lot.

-Say hello to her from me. -Sure.

From Laurentiu?

-When do you start? -In March.

We've made up the budget, changed the script...

-And? -I'll send it you, once you're free.

Sure.

-I'd like to know what you think. -Me too.

-Have you done a casting for Strada? -No.

Strada is a production company Laur works with.

No, I haven't.

I'll get your phone number from Paul.

-Sure. -OK.

I'll call you for a casting.

-If you want, of course. -Yes, sure.

Yes?

When I saw you come in, she reminded me of Monica Vitti.

Don't you think?

I'd not thought about it.

She has the same detachment.

-I really noticed. -Where are you sitting?

Over there.

Look, there's Doina. Hi, Doina.

You still see clearly.

-Why do you say that? -I can hardly see Doina.

My hearing's terrible, but I've got great vision!

-OK. I'm off, then. -Speak soon.

-In 2-3 weeks. -Bye. Call me.

-Good luck with the shoot. -Thanks.

-Pleasure to meet you. -Me too.

I'll start casting in a month. Someone will call you. OK?

-Perfect. -OK. Bye.

-Bye. -Goodbye.

-You might get another role. -I really like his films.

You know them?

Course.

Don't you like them?

Of course. He's a very good director.

He's a great writer.

He said the same thing about you.

-He did? When? -Just now.

I didn't hear.

When he asked you if you're pleased.

Aha...

He asked if you're pleased, you said 'yes' halfheartedly,

and he said it's a great script.

So?

So you think about him what he thinks about you:

that you both write good scripts.

And what do you think?

I think you're both good directors.

That's convenient.

Obviously I think you're better.

Obviously.

-Why'd you pretend not to know him? -Because I don't know him.

When he asked you to say hello to your friend,

you repeated his name as if it were the first time you'd heard it.

And?

And you knew very well, because you'd seen his films.

And?

And you pretended you didn't know him.

I've seen him on TV, I don't know him.

You were flirting a bit, but you didn't realise.

How was I flirting?

You pretended you didn't know him. I mean, you teased him a bit.

You excited him.

You call that flirting?

You don't want me to act in his film?

How do you mean?

Are you jealous that I might act in his film?

No.

No. It'd be good for you. He's a good director, really good.

But you can't deny that you flirted with him a bit.

I really wasn't flirting. What's up with you?

Maybe it's just me, sorry.

Who's Monica Vitti?

-You don't know who Monica Vitti is? -No.

She's an Italian actress. Famous.

I don't know her.

Have you seen "L'Avventura" by Antonioni?

No.

-"Eclipse"? -No.

-Do you know who Antonioni is? -No.

-You've not seen "Blow Up"? -No.

You must.

-Are they well known? -Yes.

They're important for the history of cinema.

It's like talking about theatre but not knowing who Chekhov is.

-I'll definitely watch them, then. -You can borrow them from me.

You're really not coming to my place?

No. I want to prepare for tomorrow.

We can rehearse at mine.

I want to be alone.

You saw I'm no good at improvising.

Can I have a cigarette?

Is this the first time you've slept with an actress?

No.

So what happened after?

-After what? -After filming.

You mean an actress in one of my films?

-Yes. -Not an actress in general.

No. I mean an actress in one of your films.

I never slept with any of them.

You're not the first director I've slept with.

When you say director, you mean a theatre director?

Yes.

It's an unnatural relationship.

It's because of the script.

And nature of the job. And our insecurities.

Mine about the role, yours about the film.

There's no way it can last.

-But the script was written by me. -What do you mean?

In theatre it's different, right?

The script is always by someone else.

So what's the difference?

The script is me. A theatre director can't say that.

The script is not theirs. They're worried they don't understand it.

But not me.

You're very different than your script.

And anyway, it's not about that.

Roll camera...

-Good evening. -Good evening.

-Can I help you? -Where is the bar?

-It's written there. -Thanks.

I saw the footage from yesterday, and it's not right.

-Tomorrow we'll reshoot it. -I know. Liviu called and told me.

I felt I wasn't doing it right.

It's not about the acting.

It's about the camera position, it's always on you.

You've become the main character.

I see.

Liviu said that tomorrow we'll also shoot the scene we rehearsed today

but filming Dinu and Vlad.

It's the same problem, you'd become the main character.

-So we'll go back to the old script. -Yes.

It's a political film.

I must show what bastards they are, how low they've stooped.

Things must change.

And if I film you, I lose Dinu.

But I need him. You leaving is the beginning of his downfall.

I see.

-You're upset? -No. Why should I be?

Why didn't you invite me to your room?

Because you can't smoke in the room.

-There's smoke detectors. -They put them there, too?

You want to go and see?

I'm sorry about the scene we rehearsed today.

It could have come out OK.

-I'm not so sure... -No, really.

It could have been a true moment.

If you say so.

You really look like Monica Vitti.

Laur will definitely cast you in his film.

She's his favourite actress.

Shall we go?

It's strangely filmed. Where did you do it?

At Doctor Posoiu's office.

What's strange about it?

-There's no date and no name. -How do you mean?

The name and date should appear up here.

That's how they gave it me.

Probably from their equipment.

Yes... There's no need for insurance. It's just gastritis.

It's not finished yet.

Yes, but it's coming out now. We've seen what we need to.

-You're sure? -Yes.

You said something was missing from the frame. Shall we watch it again?

There's no need. But if you like, we can take another look.

See...

Now we're in the esophagus.

It's going further...

It's not yet in the stomach.

Look, this opening is the entry to the stomach.

Now it's going into the stomach.

A smoker.

He smoked before the endoscopy. That liquid is a secretion.

You see that crust of blood and the walls that look like snake-skin?

-Yes. -It's gastritis.

Nothing dramatic.

Now it's in the duodenum.

There's no ulcer.

-And if there was an ulcer? -But there isn't one.

If there was, where would we see it?

In the duodenum.

-Can you show me? -Of course.

-Look, here. -Isn't it covered with saliva?

The wall would be deformed. Retracted. That's a clean wall.

But if he had had an ulcer, wouldn't we see it?

There'd be a scar on the wall. It depends when it was.

If it was a long time ago it could have disappeared.

-You're sure nothing is missing? -What could be missing?

You said something was missing from the frame.

If there was anything interesting, I'm sure it would be in the centre.

When filming, you put what interests you in the center, not on the margin.

-You don't think he had an ulcer. -Not recently.

What if he had gastritis first and then got an ulcer?

It's impossible. The endoscopy was made yesterday, no?

Yes.

Yes.

-You need me for anything else? -No. Thank you.

-With pleasure. Have a good day. -Thanks.

-Thanks. -Good luck filming.

Thanks.

-We called him out for nothing. -That's his job. I'm off to do mine.

You think I don't know? You faked that endoscopy.

You can think what you like.

Come on.

It's cold out.

Want a tea or coffee?

-A coffee. -A coffee?

I'll ask Mihai.

Mihai?

Mihai speaking.

Can you bring a coffee for Alina, please?

-I'm on it. -Thanks.

-You know we're reshooting? -Yeah, I know.

Do you know why? Nobody told me anything.

No.

I don't know.

Let's turn this on.

-Did you go to the beauty salon? -No, I didn't.

Yes.

I'm in make-up.

We're reshooting a scene. It could last longer than I said.

I don't know, it depends when I finish.

It could take longer.

OK.

Let's talk about this later, OK?

OK. Bye.

You know what?

When you have time, I'll make you an appointment at the salon.

I don't think I'll be able to. I'm leaving this evening.

-Course, today is your last day. -Yeah.