The days were lively and filled with various takes; at st, Titanic's odyssey gave way to all the activities Billy had to manage while trying to bance his booming iarket—an uable, explosive rise, his way of orchestrating a violent dance.

  –So, everything's ready. – Billy remarked, presenting Cameron with the final sketchbook he'd created for the produ. Uhers, it revealed a simple yet artistic take on how poverty and art didn’t go hand in hand—a fervent misception often branding those without es or means to realize their vision.

  It was better than expected. Billy had drawn from the era's trends, borrowing forms from his surroundings. It took him a long time tanize all the sketches brimming with increasingly plex and intricate ideas.

  –I like how it all unfolds. In minutes. – Billy added. – We’ve got a quick, brief take… but I used the drawings to give Jack the sense of someone deeply fident in art. That’s why it’s hard for people to fully grasp every design. –

  From women, old men, children, ndscapes, and people in social gatherings, he added yers of red, blue, and yellow, blending tempera paints into ses. He then evoked some of the best results before venturing into abstracts, though toned down to a less vital point.

  –I like what you did with the notebooks. – Cameron ented.

  –He’s an artist with paper always in his hands. That’s all he live and breathe for—to be an artist. It’s the best way to manage something so votile. – Billy replied.

  –We’ll do what we . – Cameron said, still immersed in his easks. – You o work on your chemistry as much as possible. Have a romantiner, sleep together, whatever it takes. There must be a love that feels full and pure. Treat her like a princess, act like a gentleman—we’re ting on it. – Cameron instructed.

  –I’ll take her out tonight… Besides, it was her sketches that gave me ideas. She pyed along with me for the art. You’re ruthless when it es to films, even a bit scary with how you put things. – Billy joked, with a touch of unease, feeling the weight of the cruel eai world pressing down, pushing him to weave illusions for the sake of a good movie.

  –Wele to the adult world, kid. I’ll take these to the producers. – Cameron said, grabbing the two sketchbooks. He seemed slightly overwhelmed, as people weren’t approag him correctly or at all. Part of him felt guilty, especially sihe chemistry with Charlize had been stronger and more pronounced. But the producer wanted Kate, and after seeing The English Patient, Cameron had agreed on two key points with the produ: the actor was good and had the charisma to captivate audiences, particurly women.

  –See you around. – Billy said, pig up his phone. He needed Monica, even just a brief moment of relief.

  –My love. –

  –When you finish filming, I need you in Baja California, or at least San Jose, for a few days. –

  That was all he o hear. He yearned for his enting bruo ease his burdens, someone who could guide him on how to behave and act. She was one of the few people who truly loved him in her way.

  Billy sipped some juice, exhausted from a long day of rehearsals. The night had been ed by sketches. Kate was nervous, and the following days promised a heavy workload for everyone involved.

  –So, I guess you’re stu a rut. – Kate remarked, visibly tired.

  The exhaustion alpable, wearing on both of them. Each was drained from the day's efforts. Filming was supposed to be calmer and less demanding, but James’ stant shouting and demands were frustratingly overbearing, making the e tense and irritable.

  –The silly side of us actors—it’s part of what we have to deal with. – Billy replied, p a gss of wihe improvised setting caused a bit of wio spill onto the green tablecloth in his haste.

  –Oh, God. –

  –Sorry, the accumuted fatigue is a bit overwhelming. I might just fall asleep standing up. – Billy fessed. – It’s frustrating how things have to be done sometimes, but you just push through as fast as you . –

  –I feel the same. I get caught up iails for too long. I focus on other things and fet the people around me—all of them. It always leads to bad decisions. I lose friends and boyfriends, and it feels like I ’t do much about it. – Kate admitted.

  –You meatle we aplish. – Billy said.

  –Well, it’s not from ck . –

  They ate in a less unfortable silence, aiming to break down barriers through friendship. It was through friendship that they could refiheir performances, harmonizing as colleagues.

  –True, we were terrible today. – Billy admitted. – The rehearsals have been good, but we’re missing a spark. I think the only way to improve is by spending more time together. –

  –You’re right. But… hahaha, I think things take us by surprise. It’s always bad to make mistakes, but it has to be that way. If we just take a moment to breathe, we deal with the challenges. – Kate replied, slightly annoyed.

  –I didn’t ask if you liked the food. – Billy said.

  –I thought they were going to fire me. – Kate fessed.

  He sighed deeply, pting the many flicts they faced. She was still a somewhat inexperienced actress, while he bore the weight of a pivotal new se. It set the stage for the hard work they’d have to tackle in the ing days.

  –True… – Billy pulled out a copy of The t of Monte Cristo along with The Last Meeting by Sándor Márai. – These are two of my favorite books. We uand each other better through them. When you’re done, I’ll tell you what I like and dislike about them. –

  –I’ll get you some of mine. You might like Thérèse Raquin by émile Zo. – Kate suggested, examining the books. She’d already read The t of Monte Cristo. Billy handed her a few films they could watch together. What better way to bond than through shared stories?

  The moment of uainty was repced by a shared e. She nodded in agreement.

  ...