(Note: for the uninitiated, a stand-in is a person who literally stands in for the actor between takes in a movie or TV show. While the actor practices their lines elsewhere, or relaxes in their trailer, the stand-in allows the cinematographers and camera operators to set light levels, and determine where actors should stand and move for a shot. The person who got this letter has worked as a stand-in; hence my mind moving in the direction it did)

I'm imagining this stand-in where the cinematographer becomes entranced with her because there's something about the way the light hits her, something about the way they she hits her marks when the camera operators are practicing tracking shots, that causes her to radiate emotion without even speaking.

Soon the cinematographer doesn't even want the actress anymore.

They want the stand-in. The cinematographer writes a screenplay for the stand-in, and the screenplay is called “The Stand-In.” It is a smash, and soon the stand-in is in movies about artist models, a victim of Medusa, and Marina Abramovic when she sat perfectly still for weeks on end during her “The Artist is Present” show at the Museum of Modern Art.

Eventually the stand-in has her own stand-in, but she doesn't just go off to her trailer. She stays on set giving her directions, treating the stand-in for the stand-in like an apprentice.

Ultimately, stand-in acting becomes a class at Juilliard. The woman who originally caught the attention of that cinematographer is the instructor. The first slide in her Powerpoint presentation says “How Do You Make the Camera Love You?”