"Since Mr. Black has something to take care of, why don't we go ahead and shoot the bed scene first?"
Director Guillermo del Toro watched as Regulus Black rode off on his flashy motorcycle, then quickly proposed the idea.
By now, everyone on set was well aware that both leading actresses had a thing for Regulus Black—the investor and male lead—and Regulus himself had never explicitly turned them down.
So, the bed scenes involving Thomas Sharpe and his wife Edith Cushing in the town post office, as well as the one with his sister Lucille Sharpe in the manor's attic, would be incredibly awkward to shoot with Regulus present. The actresses likely wouldn't be able to let go and perform naturally.
This was a perfect opportunity. If not now, then when?
Jennifer Connelly and Charlize Theron understood the logic and simply shrugged in agreement.
Following the ghost's guidance, Edith Cushing arrived at the attic of Crimson Peak. Moans intertwined with a song reached her ears—a scene that was unexpected, yet somehow inevitable, was about to unfold before her.
"Let the wind gently blow,To carry your boat into dreams.Where are you, my love?Should I go look for you?"
She opened the door from which the moans came. With a look of shock, disappointment, and heartbreak, Edith Cushing stepped into the room.
The camera cut to the attic bed, where the Sharpe siblings, half-dressed, were caressing and kissing each other.
Edith Cushing stood there for a moment before the entangled pair finally realized there was a third person in the room.
Turning their heads, the Sharpe siblings simply stared at Edith as she left the room with tears streaming down her face.
"Cut! That take's good."
Director Guillermo del Toro clapped enthusiastically after reviewing the footage.
"I felt like she was plucking all my feathers,"
Robert Downey Jr. couldn't help but joke as he sat on the bed next to Jennifer Connelly. Just moments ago, he'd been kissing her exposed shoulder.
In the context of the scene, it was obviously supposed to suggest something more intimate. But in reality, Jennifer Connelly had been repeatedly tugging at that exact spot. The effect the director wanted had definitely been captured.
"Change the set! Is the post office inn room ready? David Robinson?"
Director Guillermo del Toro descended from the attic, smacking the handrail and calling out loudly.
That scene was set in a corner on the first floor. The props team had transformed the area into a cramped little guest room—just a simple fireplace, a narrow double bed, and a low chest next to it that could serve as a seat.
The firelight from the fireplace brought warmth on a snowy day, and a few dim oil lamps bathed the room in a dark yellow glow. It was a stark contrast to the tone of Crimson Peak. No matter how small, the guest room felt cozy. Crimson Peak, no matter how grand, always felt cold.
"This character, Cavendish, your protagonist—he has a certain darkness to him. I like it. Does he make it to the end of the story?"
Thomas Sharpe was reading the draft manuscript of his wife's novel. One character's journey caught his attention. Their similar temperaments made Thomas curious whether the character made it through to the end.
It was like a reader projecting themselves into a story, seeing reflections of themselves in a character they connected with. As readers, we always hope our favorite characters survive. No matter the hardship, it's still life. But once they're written off, that life ends.
"That depends entirely on him."
"What do you mean by that?"
"Characters talk to you. They change. They make choices that determine who they become."
The two of them continued making the bed together, like a couple engaged in their everyday routine.
"Choices... Wow! I have to say, the air in here is pretty stifling—but at least it's warm."
"This place is definitely much better."
"What do you mean by 'much better'?"
"Better than the old mansion. Why not leave it?"
Lying in bed, Edith Cushing hooked her arm around her husband's neck and asked. To her, the old mansion was far from suitable for living.
"The old mansion is everything to us!"
"I came here willing to give up everything — all of the past. We could move anywhere you want."
"Anywhere?"
"London, Paris, Milan… Have you ever been to Italy?"
Edith Cushing had no idea why her words just now had suddenly struck a nerve with Thomas. His expression completely changed.
"I've been there… once."
"The past! Thomas, you're always looking back at the past. But I wasn't there — I'm here, now."
"I'm here too."
The two had shared enough of their thoughts; naturally, before sleep, something more was bound to happen.
Though the conversation may have seemed ordinary, it marked the turning point for Thomas Sharpe. Along with what was about to happen, he now had enough reason for change. For the first time, he was intimately involved with a woman other than his sister. At this moment, his wife truly became his wife in every sense.
Their first night as a married couple was something worth remembering.
"Little Robert Downey's butt is pretty juicy!"
Said Connolly from the special effects team afterward, with a look of interest in his eyes.
That guy really was gay — which left Robert Downey Jr. deeply unnerved.
In the scene, Edith Cushing even boldly flipped over and straddled Thomas Sharpe. Though her skirt concealed everything, the movement made it obvious — she found the right position and sat down, beginning a slow, sensual riding motion.
This part wasn't originally in the filming schedule. However, upon advice from Mrs. Cooke, Charlize Theron — who had no prior acting experience and came from a modeling background — realized that if she wanted to stand out in the film, she had to take some bold steps. That didn't mean disrupting the shoot, but rather seizing the right moments to leave a deeper impression. Only then would the director and producers remember her.
And so, this "infantry" scene now had an added "cavalry" sequence.
Director Guillermo del Toro had no objections. Since the actress was willing, what reason did he have to interfere? Plus, in the camera shots, only half of the man's butt was visible, and the woman revealed nothing at all — all the action was implied. It was perfect.
Before they knew it, it was already time for dinner. Director Guillermo del Toro could hardly stop smiling — in just one afternoon, he had finished filming the two most awkward scenes. The rest could now proceed step by step.
One wonders how Regulus Black would feel once he returned and found out these two scenes had already passed review.
"Ron! You rushed to send me a message — is something urgent going on?"
Ron Weasley had been traveling all over the UK for various matches. However, Regulus Black, knowing his exact location, easily found the hotel where Ron was staying and appeared directly in his room.
Ron Weasley watched as Regulus Black barged in as if it were his own home, leaving Ron a little helpless. Black's mastery of the Apparition spell was truly impressive.
"Mr. Black, it's like this — my mother, Molly, won a prize in the Daily Prophet's contest. It's a seven-day family trip to Egypt. I really want to go, but there's no time off in Quent's competition schedule."
Ron Weasley explained with some difficulty. Even though he was now considered a rising star, he still looked very much like a kid in need of adult support.
"I only have one question — did you win all your previous matches? If so, leave Quent to me."
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