Monday, June 30th, 6 a.m. The crew arrives for the second day of shooting. Among the scenes scheduled are the delegates' conference room exchange (sc. 14), the exterior bathroom reveal were our three guys finally meet (sc. 10, 12), and the pick-up shots bumped from Friday of Sebastien crashing out of the "Corridor from Hell," and Ajay with his chauffer inside the car. The first setup of the morning, however, is the introduction of Harold, who appears in a modified-on-the-fly version of the final shooting draft.

Unable to find a sufficiently coherent, hippie-esque actor to play Harold as written, gaffer Nick Berry is informed midnight Sunday that he will, in fact, have to play the long-haired, Birkenstock-wearing Canadian delegate. Only problem is, Nick doesn't have long hair, is utterly British, and has an accent true to those hailing from England's northern countryside. Not a problem. Having worked as a professional actor periodically thoughout his career, Nick throws some clothing options in his Jeep and agrees to improvise a schtick that lends itself to the essence of Harold's character, who ultimately utters the line on which our movie is based, "Rock, Paper, Peace!" And given that our story involves international relations, it's only fitting to have a Brit seated at the table.

Sc. 11 (INT. OFFICE BUILDING - HALLWAY - DAY) is stricken from the script in order to move faster by filming in daylight, albeit in coastal haze, and Harold's first appearance is shifted to a series of tiered steps in a wooded courtyard. The camera rolls and in true, sweetly absurdist English Harold mode, Nick treks down the steps to idle at a landing where he will swat a large pebble with his umbrella, as rehearsed flawlessly. Nick places the pebble, takes a practice swing, then swings again smashing pavement. The umbrella handle flies away in splinters and the crew is instantly in stitches.

But not Nick. Remaining entirely in character he reacts only to the moment as Harold, exploits its potential accordingly and serves to add yet another dimension to the story and the people who populate it. When he's finished, a still-giggling MSG says, "Cut. Print! Next setup."

The woods scene where the guys are relieved to find themselves relieved (sc. 13) is at hand. Without a location to pull it off as written in the script, Stan and MSG have discussed its purpose to the story, as well its subtext and possible comic possibilities. Determining that there's nothing really so novel about three men doing their necessary business in the woods, at least certainly not so bonding as our story implies given the urgency with which they arrive there, they'd have to do something else. The solution? CAS.

CAS is the College of Arts and Sciences at AIU, which lends itself particularly well to our cinematic needs. Ajay, Dave and Sebastien move into frame for their performance as storyboarded, deliver their lines over several takes in a variety of combinations to expand editing choices, and the second setup of the scene is called, the "reveal" shot that adds density to the punchline. (What that is you will have to wait for the finished film to see! Or do you?)

En route to the delegate's conference, the sun finally breaks through and an exterior door is found nearby to squeeze in Sebastien's "Corridor from Hell" exit in three takes.

By lunch break, the delegates conference scene is behind us, involving dollies (camera movement on track) and multiple "stick" shots (camera on a tripod, with movement limited to pans, zooms, tilts, etc.). Unable to turn off the air conditioning in the building used for the location, our primary concern is whether any dialogue recorded can be salvaged from the thundering background drone that is so evident in our headsets. But we can't worry about that now.