33 Back on the Roof

Paweł Wroński was simply beautiful. There was no doubt about it. Tall and slender, he looked great in his dark brown, almost black, quilted with silver thread caftan, which was not typical of a Polish nobleman at the turn of the 16th and 17th centuries, but was acceptable, especially for the young adventurer who studied in Padua and appeared in the Polish-Lithuanian Commonwealth. quite recently.

Paweł Wroński's slightly long hair, instead of a shaved top and the lack of a mustache, also went against Polish fashion, but who would care about fashion and custom after looking at this beautiful face with sparkling spring green eyes and lips that naturally form a wonderfully attractive, at the same time a very warm smile?

Paweł Wroński was simply beautiful exactly as he was, all thanks to the merit of the make-up artists, of course, but also the natural beauty of Rafał Brylski who played him. There was an adventurous enthusiasm in Brylski's eyes, and in his entire figure there was a huge energy of youth and a lust for adventure. This guy was simply made for the role of Wroński. He was absolutely perfect for her and looking at him in a period costume, Damian Radosz was absolutely sure of the commercial success of this production. Rafał was just dazzlingly beautiful.

Damian could not deny it and surreptitiously took a photo of Brylski with his phone. It was not possible to take private photos on the film set, but even if he drew someone’s attention, Radosz would reply that as a producer he does not intend to wait for official materials and now he needs reference materials to be able to properly prepare a sales campaign.

Brylski was just approaching Tobiasz Mońka, who started explaining something to him in detail. Damian looked at them pleased for a moment, then looked around.

The atmosphere on the set was rather strange. People acted quietly, as if they were afraid that a louder step would cause someone else's anger, and tried not to pay attention to their own matters. Some looked at Rafał with a sense of guilt and sympathy, but apart from Mońka and his people, no one decided to approach the young actor. The staff of the set looked anxiously at the director.

Różycki actually looked annoyed and just waiting for someone to make a mistake in order to exert all his rage on him.

It could have something to do with yesterday's presence on the set of investigators who asked even more questions than Radosz. There was an accident on the set. Someone was taken to the hospital. Certain matters could not be left alone and had to be investigated.

Fortunately, the policemen did not pose any major problems. They saw the scene, the recording of the event and, after questioning a few witnesses, they left the plan without disturbing anyone too much. Therefore, Różycki could not be irritated by the course of the investigation and the behavior of the policemen. He was upset by the very fact that the police, like some nightmarish ghouls, had haunted his set. Could there be a greater disgrace for the director?

Radosz, who witnessed this police visit, was satisfied with its course. Of course, he did not know what was going to be written in the report and how the investigation would be completed, but it seemed that the situation would be closed simply as an ordinary accident without anyone being to be found guilty. It was the best possible solution for production and the only one Damian envisioned.

He was surprised that no one asked him to speak to him. After all, he was not only a witness, but also a participant in the incident. Were what he told the insurance company and his written statement that he gave them yesterday enough for them?

Damian was particularly pleased with one thing, namely the fact that Rafał Brylski was not interviewed on the set. Brylski did not need such stress and the series did not need such an advertisement. Who knows how Rafał would feel if, instead of focusing on playing his role, he had to answer police questions? The hostile and suspicious glances of his associates could be very unpleasant for him.

Now Brylski listened attentively to Mońka's instructions and nodded his head firmly, as if he wanted to do his best to ensure that this time he would not be a cause of delay in the filming or cause to worry. And probably everything will turn out well today, because it was a bit cooler because there was a pleasant, though not too strong, wind that softened the feeling of heat. Różycki also did not send Brylski to the roof, but dealt with arrangements with the cameramen. It seemed that this time Rafał would spend much less time on the roof and in the sun than before.

And that's what happened. Everything on the ground was buttoned up to the last button when a grumpy Różycki ordered Brylski to take a position on the roof. Damian watched carefully as the actor, secured by ropes on the jib, was hauled onto the roof and took his position. On the roof, Mońka and his friend were waiting, who climbed the ladder behind this stage design element. They prepared Rafał, checked everything once more and gave a sign that it was possible to start.

“Ready!” Różycki called through the megaphone. “Action!”

***

Rafał started to run. After three steps, he stumbled, dropped his hip on the tiles, and slid down about half a meter. With a fierce expression on his face, he got up and ran on. In a moment he will have to jump to the second roof. He accelerated to gain momentum and jumped...

***

Damian Radosz held his breath. When Rafał fell right after he set off, Damian's heart skipped. But Rafał got up and ran with determination and strength, as if he was running to save someone's life.

Now he had to jump to the second roof. It was perhaps the most dangerous moment. Radosz was afraid to look, but he couldn't take his eyes off Brylski when he was captivated. In the script, this scene looked good, but now, with the actor, it was amazing.

Rafał took a run-up and jumped. He covered this distance with a good margin. He swayed slightly on landing, but there was no time to worry about it. Rafał continued with determination.

“Cut!”

The set suddenly revived with applause. Radosz also heard a few whistles of encouragement. He saw that people were enthusiastic about the scene they played. Probably not only Damian was impressed by her. Brylski, already surrounded by stuntmen, smiled gratefully at them.

Now Radosz turned his attention to Różycki, who, while looking at the screen and the replay of the scene, consulted something with his staff. Damian moved even closer to hear what they were talking about.

"It's perfect for me," the cameraman told the director. “Kid focused and did it on the first try. The cameras were positioned well too, so see every shot is great. We can do it again if you want, but for me this material is great.”

Różycki frowned and then he noticed Radosz. His expression turned fake sweet.

“What does our producer think?” He asked Damian directly. His voice was overly nice. “Should we do a second shot?”

Okay, Radosz should be sane at this point. If he comes into the director's competences, Różycki may start to complain that the producers bind his hands. A balance of influence on the set has always been important.

“As a viewer I am satisfied. As a producer, I will trust the director's professional decision,” he announced.

Różycki smiled crookedly, clearly with satisfaction.

“If my lead cameraman says it's okay, it's okay. Get him off the roof or he'll pass out again.”

The last sentence, which reverberated with contempt, referred to Brylski, and Damian clearly knew that Różycki clearly did not like the actor playing the main role. Not only does he dislike him, he is an open enemy to him.