A friend in need is a friend indeed

Paul's visit to the set didn't resemble the typical arrival of a big-name actor. The crew members warmly greeted him, thanking him with laughter and smiles for his gifts. The atmosphere on set felt more like a casual tea break during work hours, bustling with people coming and going, chatting and laughing, creating a relaxed and pleasant ambiance.

Nathan had heard from Seth Rogen during the filming of "50/50" about the time Brad Pitt had dropped by to visit Angelina Jolie while Seth was recording for "Kung Fu Panda". That had been a true display of "A-List charisma", with a fanfare of attention and an almost fan meeting-like atmosphere. It had even caused a two-hour delay in their work.

However, today, Paul was incredibly approachable. After politely greeting the key members of the production team, he positioned himself to avoid disrupting the workflow on set. Occasionally, a crew member would walk over, engaging Paul in small talk about their dedication and professionalism. They would share anecdotes about their respective experiences, with Paul recounting humorous incidents from his time filming "Fast 5". It seemed as though Paul was acting as a liaison for Renly's team, fostering relationships between the actors and the crew.

Fifteen minutes after arriving on set, under the guidance of the production manager, Jeremy, Paul finally located Renly, who was engrossed in reading the script in a classroom. There was no time for formal greetings as the next scene was about to begin.

Paul noticed that Renly's preparation for commercial films and artistic films was vastly different. During his time on the set of "Fast 5", Renly had also spent a considerable amount of time reading the script. However, in comparison, he had invested more time in communication - talking with fellow actors, discussing martial arts choreography, conversing with the cinematographer, and engaging with the director. He possessed a keen sense of camera angles and editing, allowing him to quickly get into character once filming began.

But today, on the set of "Detachment", Renly had been meticulously reading the script from start to finish. He even read it aloud and requested Nathan to engage in dialogues from the script. Furthermore, he dedicated a substantial amount of time to contemplation, meticulously analyzing every aspect of the upcoming scene. He was completely absorbed, as if he had lost himself in the process.

Paul found this fascinating because, in his view, the script's content was static, and repeated readings wouldn't change the words on the page. Of course, he realized that his own acting abilities were limited, so his lack of comprehension was understandable. It reminded him of the acting classes he had taken in Los Angeles, where the instructors emphasized the rigorous requirements of script analysis in traditional acting training.

For them, preparing for a theatrical performance involved more than just reading the script; it encompassed background research, data gathering, character interpretation, and self-positioning, among other elements. The script was the foundation of their performance, which was one of the reasons why British films often excelled in delivering outstanding scripts. In contrast, in Hollywood, excellent scripts were often overshadowed by plot structure and storytelling, while the art of delivering lines had all but disappeared, or one could say, never truly existed.

So, was Renly trained in the classical acting tradition?

As Paul contemplated, he spotted Tony Kaye, disheveled and striding purposefully out of the classroom in the teaching building. Tony waved his hand in a signal, prompting the script supervisor to dash over to the front of the camera. The entire crew fell silent instantly, everyone's attention riveted.

Involuntarily, Paul held his breath.

Just as the script supervisor was about to slate the scene, a figure pushed open the classroom door, peeking out and breaking the poised atmosphere. A collective exhale of relief and hushed gasps echoed through the room. It was a girl, her head crowned with a mop of unruly blonde hair. She awkwardly nodded in everyone's direction, conveying an apology, before swiftly scurrying over to Renly, where they engaged in a hushed conversation.

Paul had never seen this completely unfamiliar face before and was clueless about the situation. Nearby crew members explained, "That's Betty, and the upcoming scene is her and Renly's dialogue scene." It suddenly dawned on Paul, and he glanced at Tony, who seemed utterly unconcerned, engrossed in discussions with the production manager about some details.

This filming atmosphere was undeniably relaxed and easygoing, but Paul couldn't help but wonder what business Betty had with Renly just before the shoot.

Renly had the same question in mind, but he remained unperturbed, smiling at the presence of Betty Kaye. Although they couldn't be considered friends, as they rarely interacted outside of work, Renly could discern from their occasional encounters that Betty was an introverted and quiet person. Unless absolutely necessary, Betty would never initiate conversation with him, let alone disrupt the flow by intruding before an official shoot.

Betty bit her lip tightly, gazing at Renly, unsure of how to begin.

Betty wasn't a professional actress, to be precise; she had no interest in acting whatsoever. If it weren't for her father's insistence, she would never have stepped in front of a camera. She couldn't fathom why anyone would want to see her plump figure on the big screen; it would be a disaster.

Since the start of "Detachment", Betty had experienced almost every mistake a novice could make. Even for a simple scene without any lines, she could make errors, and her nervousness only grew with each mistake, creating a vicious cycle where her basic scenes required three or more takes.

Even the simplest scenes had been nerve-wracking for Betty, and today's scene was even more anxiety-inducing. Starting from five days ago, she hadn't had a good night's sleep. She repeatedly read the script, and with each reading, she felt a wave of nausea, as if she wanted to vomit but couldn't.

In this particular scene, Meredith's emotions surged with hesitation, sadness, urgency, and finally, despair. Her emotional rollercoaster resembled the end of the world, the straw that broke the camel's back.

Betty feared that she would mess it up. No, she knew she would mess it up, and she was certain of it. So, she needed some help. The irony was palpable, wasn't it? Meredith needed Henry's assistance, and she needed Renly's.

"I..." Betty had just begun to speak when her voice got stuck in her throat. When Tony was present, she couldn't bring herself to speak, but now that it was just her and Renly, she didn't know how to begin.

Summoning her courage, Betty raised her head to look at Renly, and there she saw those deep brown eyes, profound and sincere, filled with concentration. Remembering how Renly had guided Sami in his performance gave her some courage. She took a deep breath and said, "I don't know how to perform this. I'm completely lost, and this scene is just too difficult. I don't even know where to start."

Renly pursed his lips, his gaze showing a hint of contemplation but no surprise. He calmly asked, "Do you know why Meredith came to seek Henry's help?"

"..." Betty shrugged. "To ask for help."

"If you were seeking help, who would you turn to in real life?" Renly continued his questioning, which rendered Betty momentarily silent. She tightly closed her lips, avoided eye contact, and retreated from communication. Renly, unfazed by her response, continued, "Seeking help isn't easy because it requires us to admit our vulnerability and helplessness. Sometimes, it even demands that we open our hearts and reveal our softest parts."

Betty slowly lifted her gaze and, with cautious curiosity, glanced at Renly's expression.

"Meredith gathered all her courage and sought out Henry, not just because she trusted him but because she saw a part of herself in him," Renly continued, his words gently coaxing. Betty interjected with a mumbled remark, "And because she fell in love with Henry."

Renly smiled, affirming her interpretation of Meredith's character. It wasn't his own, but it signaled a positive resonance between Betty and Meredith. Tony had chosen these student actors to be themselves in front of the camera, without requiring them to have exceptional acting skills. Clearly, Betty was no exception.

"But Henry refused," Renly didn't say aloud that Henry was currently struggling with his own issues.

After the incident with Erica, he had been trying to distance himself from all the students. Prior to Meredith's approach, Henry's grandfather had passed away, and the secrets about his mother had been completely unveiled. He had sunk deep into a quagmire of sorrow, unable to extricate himself. This time, it wasn't just despair; it was also sadness and loneliness. So, he couldn't help Meredith. He was avoiding, retreating, and refusing.

"For Meredith, this was a courageous step she took, but it's also her last lifeline," Renly softly stated. As an actor, he had read the entire script and analyzed each character. Therefore, he knew, even though Henry didn't.

Staring into those deep eyes, Betty suddenly felt a surge of profound sadness. She covered her mouth directly, suppressing her emotions, preventing herself from breaking down. Then, she nodded, attempting to say something, but ultimately, nothing came out. She just turned around, left the classroom, and her voice echoed in the hallway, "I'm ready."