Here we are, on the set of DEUCE OF SPADES, in Jerry's "Mullseum" aka his five car garage / 50's artifact museum. Ready to rock. There's Marco, the Italian filmmaker. Jerry, the lifesaver. Peter (who owns the 35 Ford truck that TOMMY drives in the flashback) is here with his camera and he has brought Oren (great guy!), a new volunteer who is going to boom for us today. There's Harriette, who's volunteering  as a P.A for the third time... And then there is Jay Edwards, the wonderful actor who will portray MONK. One soldier is missing from our troops today. Stacey.

THE EMAIL

When it rains, it pours. As if finding out about Monk's death wasn't enough, I get an email from Stacey. She is bowing out. This comes as a (bad) surprise. Somehow I had envisioned Stacey growing with us and always being there. Running camera on the modern scene and then tackling a sequel with us... I am either a woman of vision or a woman of delusions...Because Stacey is suddenly quitting without warning or notice and this is a shock. Guess this film is going to move on without her. I probably should try to talk her out of what I feel is a bad decision, but Monk's death has wore me out so I just let it go "So be it". I am going to miss Stacey because I cared about her a whole lot. And although I don't understand her reasons, I must accept her decision and respect it. While most of my volunteers have fizzled out by now, Jerry is pulling in and has rolled up his sleeves, basically picking up the slack from everyone else and watching my back.Good thing, cause I really need it right now, considering I am left alone in this bloody trench to fight this battle... And out of ammunitions .  Losing Stacey's help means him and I will have to work even harder and longer each shoot.

THE TRAIN SHOT

I snap out of my revery. So Stacey is gone. The show must go on. And like Johnny Callaway says: "I'LL BE JUST FINE!" ... Right now I've got to focus on my scene and the lack of lights in this part of the garage... I block my first shot and give the camera to Marco, cause I am supposed to be in this shot.

This is a timed shot with a lot hinging on the ability to coordinate the train's arrival , panning with it to the tunnel , ending in a perfect framing onto a close up shot of Monk's face and in focus and this is not going to be a walk in the park. Marco gives it his best crack, but he fails shot after shot, to get the whole thing right. We now have lost almost an hour and still don't have a shot.

"OK, let me do it." Afterall, I don't need to walk through the door in that shot. I hate being stuck in front of the camera. So I decide to forego my entrance and slip back beind the camera to save the shoot. Right now I want to get this shot done otherwise we will never finish this scene. And Jay, who is quite old, cannot bend down that many times and for that long... I must take care of my actors... So I'll roll it.

Me - "TRAIN!"

(Jerry) - Ready to go!

 Me - "SOUND"

(Oren) Clean!

Me - "QUIET ON THE SET! ROLLING! AND... TRAIN!"

(Jerry puts the train in gear and sends it down the track)

I start my pan, all the while keeping my left eye corner on the train which is coming zipping down the track, around the bend... Pick up the second wagon after the smoking locomotive passes me by and pan with it up to the tunnel just as it enters it then pan up to reframe for Monk's close up shot, focus adjustment... Then calling "ACTION!" and Jay quickly looks towards the door, tries to hide the cigaret smoke and moves out of the frame.

Three takes later we have it nailed.

DONE ! NEXT SHOT!

After a few close ups and over the shoulders we move to the other side of the garage, where the ABYSS awaits.

THE ABYSS

This side of Jerry's garage is an abyss when it comes to light. Basically there are NONE. I only have 4K of lights at my disposal and they aren't cutting the mustard. I struggle to light the next few shots, doing the best I can with the meager means at hand. While lighting, I give Jay a break. He is a senior citizen and I can't work him as hard as my 20 year olds. I send him to take a nap in the trailer. He returns rejuvenated.

THE MONK STORY

We now tackle the last shots, showing Monk telling the girl about a street race in Culver City, in the old days. Jay is struggling. He keeps forgetting his lines, distracted by the people there. It is now 8PM and we have lost all light outside which doesn't matter a bit since we are still in the ABYSS . (be done by 3PM the other location owner said - Yeah RIGHT!) Jerry went to get sandwhiches. Once again he is kindly feeding everybody THANK YOU JERRY, THE LIFESAVER. In fact I am going to award Jerry the MEDAL OF DEUCE OF SPADES when this film is done! He of all people, deserves it most.

I send the crew outside to eat. Everybody. Yeap, every last one of them. I stay alone with Jay. Shlap the boom and mic on a C-stand and we are in business.

And there, with just the two of us, the magic finally happens. Jay is now in character... I am nailing his close up shots, directing him on and off... He becomes animated, full of life, has that sparkle.... That familiar sparkle in his eyes... He becomes Monk.

As I turned my camera off that night, I had a great feeling of having done something worthy.

This one's for you Monk!

Love Always,

Frenchy.

Below: Hariette is sitting in for me but Jay is distracted by her and the crew, so I end up sending everybody outside.

Below: Jay, although bearing no resemblence to Monk, does capture his essence well.