Alright, showti. Our first order of business was to film in the grasslands and farms, capturing Michael's introduction to his new "Sicilian" ho.
To add that authentic touch, we'd recruited so local demons to play tour guides. It hadn't been hard - just wave the promise of being in a movie in front of so desperate low-level demons, and suddenly everyone's Marlon Brando.
As we set up the shot, I couldn't help but marvel at how eager our impromptu actors were. They fawned over like I was still royalty, not so exiled prince turned wannabe filmmaker. But hey, if it worked for the scene, I wasn't complaining.
"And action!" I called, slipping into Michael's skin as easily as putting on a well-worn coat.
The local demons stepped up, showing around with a gusto that would make any real tour guide jealous. I nodded along, playing the part of the wide-eyed newcor, when suddenly - there she was.
Vivienne, or rather Apollonia, stood in the distance, a vision of shy beauty that was so at odds with her real personality that for a mont, I forgot I was acting.
Our eyes t across the field, and I felt a jolt that wasn't entirely put on for the cara.
The mont stretched, electric and charged, until Apollonia's friends pushed her along, breaking the spell. She nodded and left, leaving - Michael - standing there, slightly dazed.
"Who is that?" I asked, turning to my demon guides.
One of them, really getting into his role, replied, "That? That's Apollonia. She's the daughter of the café owner."
I nodded, impressed by their commitnt to the scene. But then, the other demon decided to go off-script, adding his own little flourish.
"Careful," he stage-whispered, his face a mask of gossipy concern. "Apollonia might be as beautiful as a succubus, but she's half-human, half-demon. Got that cunning blood of the humans in her."
I had to bite my tongue to keep from laughing. The demon's casual discrimination against humans was so perfectly in character for our world that I couldn't have written it better myself.
"Cut!" I called, breaking character. "That was... surprisingly good, guys. Really nailed the local color there."
Our impromptu actors bead with pride, while the rest of the crew looked on in a mix of amusent and surprise.
"Boss," George whispered, sidling up to , "did you tell them to say that last bit?"
I shook my head, grinning. "Nope. Seems we've got so natural talent on our hands. Or at least, so natural prejudices that work great for the film."
***
The days blurred together in a whirlwind of filming, each scene bringing its own set of surprises.
When it ca ti to shoot Michael's eting with Apollonia's father, we struck gold again with our local talent. The actual owner of a café in Ashen Plains stepped into the role, and boy, did he step up.
The scene was supposed to be tense, sure, but this guy took it to a whole new level. He glared at with such intensity that I almost forgot I was acting. When I called "Cut!" and asked him about it, his response caught off guard.
"I've got a daughter of my own," he grunted, his eyes narrowing. "Wouldn't just hand her over to so smooth-talking outsider, powerful family or not."
I nodded, trying not to show my skepticism. Part of wondered if he was still in character or if this was so deep-seated paternal instinct bubbling to the surface. Either way, it made for great cinema, so I wasn't about to complain.
The wedding scenes were next on our list, and let tell you, trying to stage a lavish wedding on our shoestring budget was like trying to throw a royal ball in a broom closet.
Creative solutions were the na of the ga.
We ended up buying the wedding dress and suit from a recently married couple in Ashen Plains. The bride's dress was a bit singed at the hem (hazard of demon weddings, I suppose), and the groom's suit had seen better days, but with a little demonic tailoring and a lot of cara angles, we made it work.
The local demons, bless their infernal hearts, were more than happy to play extras. They showed up in droves, eager for their chance at demon stardom.
We fild under the scorching sun, with sweat dripping down our backs and makeup lting faster than we could apply it.
Then ca the scene I'd been both anticipating and dreading - the intimate mont between Michael and Apollonia. We'd cleared out most of the crew, leaving just , Vivienne, and one very uncomfortable-looking caraman in a quiet room.
I took a deep breath, trying to calm my nerves. This wasn't just acting anymore - this was my first on-screen kiss, and if I'm being honest, my first kiss in this life, period. I snuck a glance at Vivienne. At 18, she was two years my senior and, objectively speaking, stunning. Not that I'd ever admit that out loud.
"Hey," Vivienne's voice cut through my thoughts. "You look nervous for an exiled prince and director of this project." She smirked. "When are we gonna film? I feel my throat drying from waiting."
I bristled at her tone. "Just shut up. I'm preparing for the role."
"Heh. Right," she snorted, but I caught a flicker of sothing in her eyes. Nervousness, maybe?
Gritting my teeth, I nodded to the caraman. "Alright, let's begin." I took a deep breath. "Action!"
We fell into character, our eyes locking. The air seed to thicken as we moved closer. Just before our lips t, I noticed a slight tremor in Vivienne's hand. 'Not so tough now, are we?' I thought, feeling a mix of triumph and sympathy.
Then, pushing all thoughts aside, I leaned in and kissed her. Her eyes widened in surprise, and for a mont, I worried I'd ssed up. But then she relaxed into the kiss, and suddenly, I forgot all about the cara, the script, everything.
The scene progressed, growing more intense. Clothes were discarded, hands wandered. It was all very tastefully done, of course - we were making art, not a scandal. But even so, I couldn't shake the feeling that sothing had shifted between us.
As we finished the scene, I called "Cut!" in a voice that was embarrassingly breathless. Vivienne imdiately pulled away, grabbing her clothes and bolting from the room without a word.
I turned to the caraman, bewildered. "What happened to her?"
He just shrugged, looking as confused as I felt.
As I left the room, my mind was reeling. What just happened? Was it all just really good acting, or was there sothing more? And why did I care so much?
One thing was for sure - making movies was a lot more complicated than I'd thought. And we still had half a film to go.
***
The day after our... intense scene, we moved on to one of the most pivotal monts in the film - Apollonia's tragic demise.
In the story tiline, Michael and Apollonia had been blissfully married for a while, with a little one on the way. It was the kind of happiness that, in movies like ours, never lasts.
As we set up the shot, I found myself oddly lancholic. Maybe it was the lack of sleep, or maybe that kiss had affected more than I cared to admit.
"Places, everyone!" I called out, pushing my personal feelings aside. We had a movie to make, after all. "Action!"
Vivienne and I took our positions. We shared a tender kiss - nothing like the passion of yesterday's scene, but sohow more intimate. As she pulled away and headed towards the car, I felt a genuine pang of loss.
I watched Vivienne - Apollonia - walk away, waving with a smile that didn't quite reach her eyes. Was she still thinking about yesterday too?
Shaking off the thought, I reached out, channeling Michael's sudden premonition of danger. "Apollonia, wait!" I called out, my voice cracking with an emotion I wasn't entirely faking.
Then ca the 'explosion' - courtesy of an expensive one-ti illusion spell contained in a rune paper. It wasn't perfect - anyone watching in person would easily spot the fakery - but for film purposes, it would do the trick.
As the illusory flas engulfed the car, I let out a cry of anguish that was part Michael, part Arthur. It was over. Both the scene, and Vivienne's part in our film.
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