June 24.

  The rec of The English Patient tinues, and the ses remain captivating. Anthony, a businessman, aimed to vince people. About ten days ago, he saw that the sandstorm season in Morocco would begin. These storms could st an hour to four hours, requiriensive preparations food footage. This initial rec involved pnning for security and various other factors, already coordinated with different people on what and how to proceed with the shots.

  -Let's wait for a sandstorm to arrive. We'll film in a small room we present what a real sandstorm looks like, - said Anthony Mignelia.

  -Sounds like we'll have some problems. Did you talk to the meteical institute about the issues with doing this? - asked Steve E., the producer of The English Patient.

  Looking at a detailed map of all areas in Morocco, especially the regions around Fez, where a small desert was used for many shots, they also po film in Tunisia, with some team members, and finally in Italy, to save costs.

  On the map of Morocco, bck circles indicated the areas of major sandstorms, while blue circles marked tolerance zones where, although not dangerous, sandstorms could bury a person or a small tent.

  -' I did, even with some residents in these pces. These are the most dangerous spots for sandstorms. If we film here and here, we shoot without promising the equipment and the safety of the crew,' Anthony expined.

  -'It's plicated,' replied Steve E., still not vinced.

  -The plication is whether we sult and do a quick shoot in a tolerance zone. I say yes, let's do it. Everything is moving at a spectacur pace for now. I think our storms will hit every so often in the ing days, - said Saul Zaents.

  -Fine, let's get some shots with the actors and some imitations, a everything wheime es, - responded Anthony.

  Meanwhile, the love story unfolds with its unique nguage. The actors prepare diligently, with Billy perfeg ses to meet the demands. Billy practices ses in the ms with Winona if heir dialogues are brief but always marked by secrecy, a form of violend power, as it's a forbiddeionship. The denial and push of emotions are necessary.

  Now they practice a bizarre method used by Winona to emphasize disfort: speaking with blindfolds on, as close as possible, while avoiding any tact. The exercise remains strange.

  -I give up, - said Billy, removing the blindfold.

  -We were doing well. When you 't see, you have a desire to see, which be used as a need for our ses, - Winona expined, wearing a white, low-cut shirt that left much to the imaginatioe the desperate heat. Billy was drenched i from the sun's rays.

  -I feel like if I move even a little, I'll end up banging my head against yours, - Billy responded, wiping sweat from his forearm. Winona, without saying more, handed him a white towel, receiving a slight thank you. They had been practig for two hours and still hadn't started filming.

  -Let's have breakfast, - said the bruretg zily. The movie has been demanding, both from the director and Billy, who requires stant practice of his lines, postures, and movements. It's one rehearsal after another, on for long roles, such as musicals.

  She fanned herself with some irritation while the fan in the er of the room blew air itently, trying to stay cool. Baths had to be short due to water-saving policies in the desert state. Usually aced to long showers, she now had to wash in a small stall or with a cold water cloth at the end of the night. Public baths were a real nuisance, especially for women, with modesty s and the fear of hidden cameras, as many wanted a piece of Winona's body.

  -We have tortils with vegetables a, - Billy said, thinking that the menu wasly tortils but a type of ftbread called Khobz. - We use those turbans. My bodyguards disguise themselves as civilians and go to the market to get some hummus or kefta. -

  -Sounds fabulous, - said the woman, biting her lip at the idea of going out to eat in disguise, like a normal person. It was always intriguing, and Billy khat casual outings to restaurants had bee limited, depending on the area, pce, and time.

  ***

  The recs, as always, began at 9:00 am and sted until noon, took a break until 2:00 pm, and then resumed from 2:40 pm to 6:00 pm.

  -Se 39. Take 3.-

  EXT. BASE CAMP AT POTTERY HILL.

  Almasy crouches with an OLD ARAB outside his rudimentary house. While drawing in the sand, he speaks in some a dialect, marking a possible location of the lost oasis. The man stops speaking and looks at the sky for a sed or two before Almasy, or we, hear the faint sound of an AIRPLA’s Clifton’s Steerman, Rupert Bear, ing to nd. Almasy doesn't look up.

  The Arab tinues speaking. The retly arrived Katharine has struggled up the hill to talk to Almasy.

  -Hello, I don't want to interrupt, but what are we celebrating? - Katharine asked.

  She tries to leave, but Almasy raises a hand to keep her there. Calmly.

  -It's an incredible story about an ostrich hunter. He was telling me about Zerzura. He thinks he's been there, but his map, the route he's describing, he 't survive the journey now. But, since he's a poet, his map is poetry, and now we are near an ostrich pce,- Billy/Almasy tells Winona.

  -I was tellihat your map is poetry, - Billy ented in Arabic to the Arab. Though Billy's gesture seems brusque, it’s full of tenderness. The way he looks into her eyes, speaks calmly, and his body nguage invites her, all captured by the lens from afar. Up close, his words might be harsh, with furrowed brows.

  The Arab shrugs at Billy’s ent.

  - What do you mean by poetry? - Katharine asked.

  -A curved mountain like a woman's back, a pteau shaped like an ear, - Almasy expined.

  -That sounds clear. Where's the pce to catch the ostrich? - Katharine asked.

  -The ostrich is a diversion. A poor man hunts an ostrich; that's the method. Nothing to do with Zerzura. To cat ostrich, you mustn't move. The man finds a pce where the ostrich feeds, a wadi, and positions himself where the ostrich see him on the horizon. He doesn't move, otherwise, the ostrich will flee. At dusk, he moves fifty, to sixty meters. Wherich returns the day, the man is there, but closer, - Almasy says.

  Briefly looking at the guide.

  -Hunting the ostrich. -

  The guide speaks, amplifying with gestures, rummaging in his robe.

  -If the ostrich feeds a family, not just the meat but selling the feathers, beak, and skin, a year ter, this animal. So, every day the mas closer. And the ostrich is unsure: has something ged? Now the standing man is just a few meters from where it feeds. Then one day, the man is in the wadi, ier. The ostries, as always, dips ier, and the man JUMPS and catches it, - Billy says.

  He shrugs. The Arab has more to say. Almasy doesn’t respond, remaining silent.

  He gestures dismissively.

  -What is he saying? - Katharine asks.

  Billy shakes his head, somewhat unfortable.

  -e on, what did he say? - Katharine/Winona insists.

  -He said: beware, - Almasy ents.

  -Beware, who do you mean, me or who? -

  -Her or me? - Almasy asks the Arab.

  The Arab speaks again. Almasy speaks without looking at Katharine.

  -The one who seems not to move, - Almasy ents in a deep silence, looking directly at Winona. Billy tries to vey all the love in his eyes while maintaining a solemn posture.

  ...

  -Cut. -

  The crew, anizing the se, sighed as they prepared for the shot.

  -Great job, - Billy ented.

  -I thought we’d have to repeat the se five times, - Winona said, breathing deeply.

  ...