We see this transformation within couples who have lived together for many years. One begins to take on the characteristics of the other and vise versa. Physically, even, two people will begin to absorb the harshness and delicacies from their counterparts. Charlotte and Laurent are not biological twins, yet with one actor's utterance, there follows feeble resistance, but mostly careful mimicry from a tiresome, biological impulse for learning and adopting behavior. The many complexities of, not only carrying, but displaying various emotions constitute the underlining groundwork for an art that Brother and Sister are becoming all too good at. As has been known ever since Sophocles, the human heart is not immutable. Certain theatrics may be overplayed or too easily expected in each scene, but that is why Brother and Sister learned early on the importance of mercuriality. Regard the calculated unpredictability.
Brother reenters the backstage with a bottle of wine in one hand and a platter decorated with an assortment of foie gras--a typical pate, a mouse version, and one that has been bruleed. There is also a warm baguette wedged in-between his chest and his forearm. Sister pats the table lightly indicating where Brother can rest the tray. Broussard crosses her table side hand over to touch Brother and express her thanks with a doting smile. Now, there needs to be glassware, as well. Where are the glasses? Sister loves to fix her fingers around a steam of a wine glass and gently roll the structure over the prints on her thumb, index, and pointer finger. She requests two glasses to be brought to the table, to focus the angle of her body and to give pulse to the afternoon leisure. If Brother likes, he can bring another for his own pleasure. Again, Brother temporarily leaves the backstage and the riverbank of star gazing and wishing. Willful currents travel from the spring and deposit glittering artifacts. Sister's efforts raise a bed out of the older sediments and trap the polished ornaments. Sister snakes through her own rhythm, hoping for Broussard to cast out her lure.
Broussard:
--This would be your first time to work on a film project, am I correct?
Charlotte:
--You are. I've only recently become familiar with the stage. Actually, the work referred to you has been my first formal kind. The role was in a way written for me by a dear friend of the family, Peter Sonnek. He put alot of faith in me, but, looking back I do think I would have perfumed better after more training. I have virtually no other professional experience
--You know, though, what I found so exhilarating was this unprecedented confidence you brought into the role. They way your lover struck you down and you shook with disgust, telling him he was "so brave," or was it "so strong?"
--I told him, "what a real man, you are, Paul."
--That was it. I thought it shattering how disdainfully you looked at him while keeping total composure.
--Thank you very much. I'm glad to have made an impression.
--I believe you must please everyone with whom you leave an impression.
Charlotte raises both hands in the air in ridiculous anti-modesty:
--I always aim to please.
--Well, Mr. Sonneck certainly knew what he was doing. You're a natural.
--Thank you. You're too kind.
Broussard takes out a cigarette, pauses to look for a sign of passage from her host, and then lights up. Sister follows suit after relaxing out of relief. Brother arrives back on que with the glasses for the table. Sister motions to a chair closer to the pool for Laurent to grab and bring back to the setting and then takes the bottle to pour a glass for the director, who finds her lure drenched in Sister's rich cordiality and luster.
Laurent the amused duck peddles the water lightly, apart from the stronger flow in the stream. He is content to have another drink in his hands and even more so to assume his presence close at hand to the preoccupied actress. Broussard catches a glint from the young man and goes back to figuring him into the picture. Laurent takes a sip from his drink. The director asks him if he is proud of Sister. She asks him if he was able to see any of the pre-performance makings of the work as a whole. Brothers remarks that he lives with the makings of the work as a whole. Boy, is Sister a work. Sister comes in to say what a great sport Brother has been over the past couple of years. Brother comes back to say living with an actress comes with the perks of making acquaintances with the best sort of company that line of work attracts. Broussard is flattered.
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