[mature language and violence]

Roy Chambers, self-proclaimed "artist of junk" becomes suspicious about the intricate work of another sculptor.

Written and Produced by Julie Hoverson

Cast List

Roy Chambers - J.D. Lloyd Gwynneth Robinson Molly Tollefson Vivienne - Rhys TM Robert - Mr. Synyster Arturo - Philemon Vanderbeck Solange - Angela Kirby Penelope Cartwright - Kris Keppeler Hank Norton - Powers Chamber

19 Nocturne Theme: Kevin MacLeod (Incompetech.com) All other music by Professor Kliq (Creative Commons License) Editing and Sound: Julie Hoverson Cover Photo: (courtesy of Stock Xchange.com)

"What kind of a place is it? Why it's an art gallery - can't you just smell the culture?"

_________________________________________________________

FOR ART'S SAKE

Cast:

Announcer

Cabbie

Olivia

Roy Chambers, artist of junk

Gwynneth Robinson, gallery owner

Robert [ro-BEAR], art critic

Vivienne, art critic

Arturo, sculptor

Solange, a supermodel

Hank Norton, grieving brother

Penelope Cartwright, psychic

Gordie, aspiring young critic

OLIVIA Did you have any trouble finding it? What do you mean, what kind of a place is it? Why, it's an art gallery. Can't you just smell the culture?

SCENE 1

MUSIC - PRETENTIOUS GRUNGE/INDUSTRIAL, BUT LOW.

AMBIANCE LOW CROWD MUMBLE

ROBERT and VIVIENNE sound bored and disinterested - very, very jaded intellectual. They are sort of fencing with each other.

ROBERT It's so innovative, it's almost retro.

VIVIENNE Jejune, yet piquant.

ROBERT The raw power of the chain link simply draws the eye.

VIVIENNE The underlying metaphor behind the cracked concrete base is very telling.

ROBERT Trash cans have been overused this season.

VIVIENNE Which is precisely what this piece is trying to say. It is a commentary on the current state of the art world.

ROY That it's all garbage?

ROBERT [snort of derision] Garbage? Perhaps to the petty and feeble mind, incapable of looking beyond the component parts--

VIVIENNE --this one would look at a forest and see trees.

[ROBERT AND VIVIENNE chuckle.]

ROY Oh, I understand this piece just fine.

ROBERT Do you? Do you really?

VIVIENNE What, then, is this putty-like brown graffitti in its indecipherable scrawl?

ROBERT And that smell - it's almost visceral.

ROY It's crap.

ROBERT You'd best keep your voice down, dear fellow. The artist is a good friend of dear Gwynneth, our host tonight, and I hear he's actually graced us with his presence.

ROY No- no. It's actually feces. The graffitti. I'm Roy Chambers. The artist?

VIVIENNE F-feces? Excrement?

ROY Yup.

VIVIENNE B-but... doesn't it ... lose pungency after a time?

ROY Of course. I freshen it up every couple of days. I hope you don't mind if I don't shake hands.

A BEAT OF SHOCKED SILENCE, THEN

ROBERT Well, that does put a new [trailing off] face ...on ...it.

VIVIENNE Oh, look, they've opened the champagne.

SOUND HURRIED FOOTSTEPS AWAY

ROY [chuckles]

GWYNNETH [sigh] Darling, you'll never sell anything if you keep telling people your work is shit.

ROY [laughs harder] You know that's not the point. I just love seeing the look in their eyes.

GWYNNETH Well, you may have the luxury of not needing to make your way as an artist, but I still need--

ROY I can always--

GWYNNETH [indignant] Write me a check? Not on your life, handsome. If I can't make it, I'll fail on my own two feet. [softening] But you can buy me dinner. Again.

ROY [chuckling] I wasn't going to suggest charity - but since I seem to be the one losing you sales on my pieces, you could let me pay rent for the space--

GWYNNETH I don't understand why you're so down on your art. [serious] It's good Roy. It's powerful. I wouldn't have it in my gallery otherwise... [rowr] no matter how terrific you are in bed.

ROY It makes me uncomfortable, like I'm ... exposing myself.

GWYNNETH That's what makes it so strong--

SCENE 2

SOUND A COMMOTION IN THE BACKGROUND - SOMEONE YELLING - GETS LOUDER AS GWYNNETH AND ROY APPROACH

GWYNNETH [muttering as she hustles] Oh, goodness, it's not the man enclosed in legos with his winkie hanging out again, is it?

ROY [right behind her] Maybe a critic's seeing eye dog got at the sculpture in baloney.

GWYNNETH Poor dog - that meat's been here a week.

ROY Either one.

SOUND COMMOTION HAS ENDED - JUST HEAVY BREATHING FROM A COUPLE OF GUYS

GWYNNETH [authoritative] What is going on?

ARTURO This ...person... was ...molesting... my statue.

ROY [muttered] Is it the baloney?

GWYNNETH [muttered] No.

ROY [muttered] The winkie?

GWYNNETH [muttered] Shh.

ARTURO I demand charges be filed.

HANK I was only--

ARTURO No one cares what you were trying to do, you philistine!

GWYNNETH Arturo.

ARTURO Luddite! Peon!

GWYNNETH Arturo! Please, calm down. I promise I shall handle this personally.

ARTURO [going off] Just make sure he keeps his filthy hands off my beautiful marbles.

ROY [muttered] Maybe his marbles should meet lego man's winkie.

GWYNNETH [trying not to laugh] Ahem. Now, sir, I'm Miss Robinson - and this is my gallery. And you are?

HANK [subdued, apologetic, aw shucks] Hank - Henry, that is - Norton.

GWYNNETH What were you doing, then?

HANK The statue - it looks like Lizzie - Elizabeth - my sister. Just like her.

ROY That not what she asked.

HANK Well, I was thinking it might be like that old movie where the guy kills people, puts them in plaster and gets famous for his art... Lizzie's missing, ever since she wrote and said she had a job modeling for this guy. So I wanted to... check and see...

GWYNNETH [gentle] I don't know the movie, Hank, but I'm pretty sure you can't put someone in marble the way you might with plaster. It simply doesn't work that way.

HANK No?

GWYNNETH No.

ROY Hank, let's get us a glass of that champagne.

GWYNNETH [stage whisper] Thank you!

SOUND QUICK KISS

SCENE 3

MUSIC A LITTLE TIME PASSES

SOUND EXCITED COMMOTION, CAMERAS

GWYNNETH Oh, god, what is it this time?

ROBERT [in awe] It's Solange. She's here!

VIVIENNE [going off] If I were only into women...

ROBERT [going off] Me too...

GWYNNETH [sigh, then clearly trying to convince herself] It's good. Publicity. I like supermodels.

ROY [coming on] Who--?

GWYNNETH Solange is the latest sensation. So bloody skinny.

ROY Better keep her away from the baloney.

GWYNNETH [slightly venomous] It would do her good.

ROY I didn't mean her - just the dog.

SOUND FOOTSTEPS AND JINGLE OF DOG HARNESS APPROACH

GWYNNETH Solange, I am honored.

SOLANGE [strange accent] Ah? Sorree, and you are?

GWYNNETH I'm Gwynneth Robinson. This is my gallery. We are truly--

SOLANGE Where ees Arturo?

GWYNNETH Right over there.

SOLANGE Take mee to heem, pleez.

SOUND JINGLE OF DOG'S HARNESS, SCRABBLE OF CLAWS ON FLOOR.

GWYNNETH My pleasure. My arm is just to your right. Would you like something to drink? [fading out] Perhaps some water for your service animal?

ROY Is that the latest thing - blind models?

VIVIENNE 'Differently abled' darling. You could get sued --

ROBERT Or at least censured.

VIVIENNE --for use of non-PC language.

ROBERT Besides, with a body like that, who cares if she can see? And the dark glasses are her trademark - she's never seen without them.

ROY Hmm. You two seem like just the type I need.

VIVIENNE I don't do threesomes.

ROBERT I do.

ROY No, no - not like that, but [buttering up] you really seem to be in the know...

VIVIENNE Of course.

ROBERT Pity.

ROY This Arturo guy - what can you tell me about him?

VIVIENNE Quid pro quo, dear friend - tell us about you first.

ROY Well... It's brownie mix - the brown stuff.

ROBERT Re-e-e-eally...?

SCENE 4

MUSIC

SOUND CLUNK OF OVERHEAD LIGHTS GOING OFF

GWYNNETH [coming on, low and sultry] So. The lights are off. The crowd is gone. And the door is locked against the night. You know what that means?

ROY Hmm?

GWYNNETH Come on, love. I need some serious stress relief.

ROY In a moment.

GWYNNETH What is so fascinating about these things? First that poor little man - now you?

ROY Have you really looked at them?

GWYNNETH Dearest, I don't really look at anything that goes in here, beyond deciding if I think it will sell. That way lies sheer madness.

ROY How did legoman get in?

GWYNNETH Oh, that. [sigh] I'm still not certain about that one.

ROY Anyway, these statues - I don't know anything about marble sculpting, but I would assume it's not the easiest thing in the world, even with modern technology.

GWYNNETH I suppose.

ROY Look at the detail here. The clothes, hair - rivets in the jeans, even. Everything is exact. Perfect.

GWYNNETH So he's anal. Surely you're not thinking that Arturo whats-his-name has somehow immured people in marble.

ROY Nah. But I can see Hank's point. His sister's statue looks - almost alive. And she's not happy about it.

MUSIC

SCENE 5

AMBIANCE RESTAURANT

GWYNNETH Where were you? I really could have used you at the gallery tonight.

ROY Why? What happened?

GWYNNETH I asked you first.

ROY [sigh] I-I was trying to find that artist - the one with the statues.

GWYNNETH And--?

ROY He's harder to track down than ... than me.

GWYNNETH [laughs] Perhaps he's another eccentric with more money than sense.

ROY Hey--! I thought that was part of my charm.

GWYNNETH No. I love you. But I don't make any claim to understand you. You don't even like your own art.

ROY [slightly uncomfortable] It just comes out that way.

SOUND A MOMENT OF EATING

GWYNNETH [unpleasantly surprised] Oh god! Don't look. It's her. Just act normal.

ROY What? Who am I not looking at?

GWYNNETH The commotion. I mean the woman who caused the-

PENELOPE [off] Hello!

ROY I think she's seen you.

GWYNNETH Oh, god.

ROY Is there anything I should know before she gets here?

GWYNNETH I'm going to be a coward and duck out for the loo.

ROY About her, I mean. [beat] You've got a moment, the maitre d' has her in a headlock.

GWYNNETH [laugh] She claims to be a psychic and made a fuss over Arturo's marbles. God, I'm seriously regretting ever taking them on.

ROY Why did you? I mean, looking at his stuff, he could be showcased in the biggest gallery in town, and- [trails off uncertainly]

GWYNNETH Rather than a piddling little upstart like mine? Oh, hell- See you!

SOUND GETS UP FROM CHAIR, DASHES AWAY

ROY Chicken.

PENELOPE [slightly off] Miss Robinson!

SOUND CHAIR SCRAPES

ROY She'll be right back.

PENELOPE [coming on] Oh. I'm so sorry - I didn't mean to interrupt - are you - you're her beau, aren't you?

ROY I'm her boyfriend, yeah.

SOUND CHAIR SCRAPES, SHE SITS DOWN

PENELOPE I could tell the moment I really looked at you.

ROY [giving her nothing] Ah. Well.

PENELOPE Oh, I'm so sorry. She probably mentioned me, I'm Penelope Cartwright. [confidential] I'm a certified psychic.

ROY Oh. Well.

PENELOPE Oh-ho! I can tell you're a disbeliever, Mr. -?

ROY Don't you know? You're the psychic.

PENELOPE [laughs] It's not like that, handsome. Well, sometimes it is. Let me see, let me see. Hmm. I'm feeling the letter T. Can I see your hands?

ROY [over-eager] T? As in Thomas?

PENELOPE [pleased] Aha! Your palm? There. You work with your hands, are you in construction?

ROY [noncommital] Mm.

PENELOPE But there's something else - your money line is a bit baffling. Very strong - not what I usually see in someone doing manual work. And something about cats... [Surprised as he snatches his hand away] What??

ROY Look, Miss Cartwright. You've been right about one thing - and only one thing - I'm a skeptic.

PENELOPE But, I--

ROY But, nothing. I think you'd better go before I feel like embarrassing you in front of Miss Robinson.

PENELOPE Please--

ROY Go.

PENELOPE [beat] Very well. [intense] But you need to hear this-- [before he can speak] No! I have to say it, and if you won't let me wait to tell her, then you have to hear it.

ROY Fine. Whatever. Quickly.

PENELOPE The statues - there's something very wrong with them - worse even than that painful installation near the front door with the brown stuff- I just walked past, and they shouted to me - screamed for help - as if they were alive!

ROY Right.

PENELOPE You don't have to believe, but you must hear me. I felt such evil in the presence of those poor dear things.

ROY [very sarcastic] They're... evil statues?

PENELOPE Oh, no. They're evil's victims.

SCENE 6

MUSIC

AMBIANCE STREET

GWYNNETH I can't believe she would do that! You're such a saint to put up with everything.

ROY Saint? No. Just amused by people. Probably why I like the gallery scene - art folk are hilarious.

GWYNNETH Like Vivienne and Robert?

ROY Who?

GWYNNETH You were talking to them at the gallery last week - after that young man made the fuss over the statues.

ROY Oh. Bert and Ernie.

GWYNNETH Vivienne IS a female. I've known her for years.

ROY The way they dress, who could tell? And who would care?

GWYNNETH Dare I ask what 'the statue whisperer' had to say?

ROY She said they were crying out for help, blah blah blah.

GWYNNETH Oh, good, now we have two loonies who believe the statues are somehow alive.

ROY Oh, and she apparently hates my work too.

GWYNNETH [joking] Well. Then she must be normal.

MUSIC

SCENE 7

SOUND HEAVY DOOR OPENING

ROY [echoey] Hello?

SOUND ECHOEY FOOTSTEPS, SECOND HEAVY DOOR OPENING

ROY Hello? I know you're in here.

ARTURO [distant sigh, then, off] Come on, then - to the left.

SOUND HESITANT ECHOEY FOOTSTEPS, ANOTHER HEAVY DOOR

ROY Isn't it a bit dark in here for a studio?

ARTURO [still distant] You want light?

SOUND LOUD RUSTLE OF CANVAS, as a heavy curtain swoops to the side.

ROY [reacts to sudden brightness] Jeez! Good thing I'm not a vampire.

ARTURO [close] You come to steal my secrets?

ROY [jumps, then laughs] Not my style. I sculpt from garbage.

ARTURO [disdainful] Yes. I have noticed. So why?

ROY You interest me.

ARTURO I thought you were sleeping with our blonde gallery owner.

ROY Um, and you're seeing the supermodel. So?

ARTURO Not that kind of interest?

ROY [reacts, then] Not very sociable, eh?

ARTURO Hmm. Perhaps that is why my place here is unlisted and no one visits me. You have explained a lot. Feel free to leave.

ROY [beat] I don't see any materials - working on anything?

ARTURO I am planning. I don't sculpt here. It is much too noisy.

ROY The sculpting?

ARTURO The city. [beat] And the work.

ROY Your work is very detailed. Do you model from life or photos?

ARTURO [a bit odd] From life.

ROY How do you find your models?

ARTURO Anyone can be a model. [a bit threatening] Perhaps I should ... immortalize ... you?

ROY I'm not that cute.

ARTURO [uncomfortably close] You don't see yourself clearly. You're a perfect type - strong, but not silent. Yet--

SOUND CELLPHONE RINGS

ROY That's me. Sorry.

SOUND CELLPHONE ON

ROY 'lo? Yeah, I'm there now. No, won't be long.

SOUND CELLPHONE HANGS UP, TURNS OFF

ROY Sorry about that.

ARTURO [backed off] Of course. You are interested in my work - My next major project is a woman. That is all you will know. Now leave me.

SCENE 8

MUSIC

SOUND DOOR OPENS, FOOTSTEPS APPROACH, COMPUTER NOISES

ROY I've been doing some googling--

GWYNNETH [slightly off] You don't even look up. I could be anyone. A serial killer?

ROY Reflection in the screen.

GWYNNETH [close up] Oh, well, then. [hug and kiss noise] So what have you been googling?

ROY Turning people to stone.

GWYNNETH [sigh] Oh god, not Arturo again?

ROY He creeped me out. I'm not sure if he was about to kiss me or stab me. And when he said his next project was a woman - all I could think about was that poor blind girl.

GWYNNETH Yes. [mock sympathy] Poor little skinny bitch blind supermodel.

ROY Right. So, disregarding the E-L-O song, there are myths all over the place about people being turned to stone. Gorgons, Basilisks--

GWYNNETH Medusa--

ROY --yeah, gorgons--

GWYNNETH What?

ROY Medusa's a gorgon. Like Dracula's a vampire.

GWYNNETH Fine, so I slept through my classical education. What have you come up with, then?

ROY Disregarding the mythological crap, then, there are a number of fictional stories dealing with it.

GWYNNETH Why disregard the mythical crap?

ROY Right. Have you seen any women wandering around New York with snakes for hair? Or a giant lizard?

GWYNNETH Hmm. [shrug] It is New York. So you lean towards fiction as being more reliable?

ROY When you put it that way...

GWYNNETH What's the front runner, then?

ROY [very serious] Some sort of alchemical process or machine that changes flesh to stone. [laughs] But it's still nuts.

SOUND LAST COUPLE OF KEYS BEING HIT

GWYNNETH If you're so creeped out by him, perhaps I should send him on his way.

ROY Nah.

GWYNNETH Good. He sells. [teasing] Unlike some...

ROY Most of your art crowd creeps me out. A little.

GWYNNETH And me--?

ROY Definitely. [chuckle] Not.

SOUND SMOOCHING

SCENE 9

MUSIC

GWYNNETH [talking on phone] --shipped out first thing. Crating and handling will be fairly expensive-- [some talk] --very heavy, yes.

SOUND TAP ON DOOR, DOOR OPENS QUIETLY

GWYNNETH [covers phone, whispers] just a second. [back to phone] I'll email you the invoice, and that should go out this afternoon.

SOUND PHONE HANGS UP

GWYNNETH Can I help you?

VIVIENNE I hate to bother you, but-- [deep breath]

GWYNNETH Nonsense. Have a seat.

SOUND CHAIR SHIFTS

VIVIENNE Could you perhaps see your way to telling me how to find that sculptor? The one who does the truly amazing marble statues?

GWYNNETH [muttered] Not another one.

VIVIENNE Huh? You see, Robert-- that fellow asked him to model, and being the narcissist that he is, he was entirely unable to refuse--

GWYNNETH Oh. Um, I might be able to--

VIVIENNE I don't want to make any trouble, but his partner, you know, blames me--

SCENE A1

MUSIC

AMBIANCE NEW AGE MUSIC PLAYS SOFTLY

ROY Hello?

PENELOPE [off, musical] Just a moment!

SOUND RATTLE OF BEAD CURTAIN, FOOTSTEPS

PENELOPE [over the top] Welcome to-- [tone change] oh, it's you. Come to sneer?

ROY [soft laugh] No. I wanted to ask you a few questions.

PENELOPE You saw my sign - it's all entertainment.

ROY It also said this--

SOUND SLAP OF MONEY ON TABLE

ROY --buys me an hour of your time.

PENELOPE [sigh] It's your dime.

SOUND MONEY SNATCHED UP

PENELOPE One of many, if I recall your money line.

ROY I want to know what put you onto the statues. Did a guy named Hank Norton hire you?

PENELOPE Hire? You think I've been paid--

ROY Were you?

PENELOPE [sigh] Yeah, I really love making an ass of myself in public. Tscha. If I was that much of a masochist, I'd'a taken up mime. You may not believe it, but I truly felt something in there.

ROY Screaming?

PENELOPE It's not that specific. I have to exaggerate - to translate - when I tell people about my "feelings." They only want to believe things they can relate to. I felt ... unease. Fear. [sigh] A definite flavor of more than one mind.

ROY You were in a crowded gallery.

PENELOPE More than one mind in distress. Since then- [breaks off]

ROY Yes?

PENELOPE Can you do me a huge favor?

ROY Maybe.

PENELOPE Can you try to hold your laughter until you're back out on the street?

ROY I think so.

PENELOPE I've been having dreams.

ROY [snort]

PENELOPE [warning noise] I couldn't move. And I couldn't feel anything - but I could see. I could even hear. And be afraid. It was - fear was the biggest part of it. [beat] You seem to be with me so far--

ROY Yes.

PENELOPE Well, here's where I'll lose you. I don't usually feel things in words, but in flavors, and colors, and textures.

ROY Like auras?

PENELOPE No. It's - like with you, I taste brick and brown, and smell the tang of old wires.

ROY [uneasy] Whatever. Get on with it.

PENELOPE The feeling in my dream - the flavor of it, if you will - was identical to what I felt at the gallery.

SCENE a2

MUSIC

ROY [off, calling] Gwyn?

VIVIENNE [muffled] Eh?

ROY [coming on] Gwyn? [muttered] Oh, it's Bert. Or Ernie.

VIVIENNE Hmm? She's out. Asked me to run some numbers for her. You didn't realize I have skills beyond those of mere mortal critics?

ROY [snarky] You'd have to.

VIVIENNE Look. Maybe you can help me - Gwyn seems to put a lot of faith in you, despite your obvious attitude problems.

ROY [snort]

VIVIENNE Robert - you recall Robert? Well, he's gone missing, ever since agreeing to model for Arturo, and I don't know what to--

ROY He probably just went off with someone.

VIVIENNE He wouldn't--

ROY And you're such a judge?

VIVIENNE I know Robert--

ROY I thought he was into guys.

VIVIENNE [really mad] That does not make him a slut who would run off without a word.

ROY [backing down a bit] Ok, fine. You know your friend. But everyone has a dark side.

VIVIENNE True. [quick, stabbing] Why do you hate yourself?

ROY What? What are you, a shrink?

VIVIENNE There's a lot of psychology in art. Your work says a great deal about you. Self loathing fairly screams from every line.

ROY [still trying to brush her off, but with an edge] Maybe why it doesn't sell.

VIVIENNE I didn't say it wasn't brilliant - it is. It's much too powerful for most people. They see what you show them, but don't know how to handle it.

ROY You should meet that psychic. You'll get on like a house on fire.

VIVIENNE Marines?

ROY [sharp] What?

VIVIENNE Special forces? You either saw action or spent a lot of time in prison. You don't have the stance of an abused child.

ROY Look lady--

VIVIENNE Or the tats of a career criminal--

ROY Shut up!

VIVIENNE Those are the main ways to reach such a depth of hatred for yourself--

SOUND A COUPLE OF QUICK FOOTSTEPS

ROY [close] Is there a point to this?

VIVIENNE [not backing down] I needed to show you I understand people. You. Gwynneth. And Robert. And he wouldn't go off and leave Gregoire without a word like that.

ROY Ok, I believe you. Get the fuck out.

VIVIENNE First, tell me how to find Arturo. If you don't care what happened to Robert, I do.

ROY What makes you think I know how to find him? [beat] All right.

SOUND SCRIBBLING, PAPER TEARS

ROY Here.

SOUND FOOTSTEPS RECEDE, THEN STOP

VIVIENNE [slightly off] She doesn't care, you know.

ROY [tries not to respond, then] What?

VIVIENNE Gwynneth. She knows you, and for some reason she still loves you.

SCENE a3

MUSIC

GWYNNETH She really said--?

ROY [uncertain] She was full of it.

GWYNNETH Well, if that looney's psych-ee sense is right, and they are cursed, at least they're not my problem - all six of them have sold for huge amounts, and I've a list of commission requests as long as my arm to pass on to Arturo as soon as he gets back in contact.

ROY Have you checked out his so-called studio?

GWYNNETH He never told me where it is.

ROY I was there.

GWYNNETH You beast!

ROY I guess I forgot to mention it. Money does have some privileges.

SCENE a4

MUSIC

SOUND STEALTHY FEET. EVERYTHING ECHOES SLIGHTLY

GWYNNETH [whispered] This is madness.

ROY You're the one who spotted Vivienne's car.

GWYNNETH Doesn't mean we needed to break in.

ROY It was unlocked. No breaking.

SOUND RUNNING FEET APPROACH, SLIGHTLY MUFFLED

ROY Stay back, someone's--

SOUND FEET ARE CLEAR

VIVIENNE [panting, then gasps in muffled terror]

SOUND FEET COME TO AN ABRUPT STOP

GWYNNETH Viv?

VIVIENNE [gasping, trying to calm down] We need to get out of here - call the police!

GWYNNETH What? Why?

VIVIENNE It's Robert! A statue! There's no way he could have carved so fast--

SOLANGE [far off scream]

VIVIENNE [gasp] He's doing something terrible to her, too--!

ROY You get out of here - I'll see what I can do--

GWYNNETH Yes, get going.

SCENE a5

SOUND FOOTSTEPS, DOOR

ROY [to Gwyn] You too.

GWYNNETH Nonsense. You stop him, I'll help her--

SOUND THEIR SNEAKING FOOTSTEPS

ARTURO [off, calling] You think you can get away? Darling? If you hide, it just makes me angry.

GWYNNETH We can at least see what's coming at us.

ROY That's not always a good thing.

SOUND DISTANT DOOR IS FLUNG OPEN

ARTURO [off] Here? No?

GWYNNETH I plan to stare death in the face and spit in its--

SOLANGE [off, whimper]

GWYNNETH Shh! Did you hear that?

ROY [moving off] Over here—

SOUND CUPBOARD DOOR OPENS

SOLANGE [gasp] Who ees thees?

GWYNNETH It's all right. We'll get you out. Feel my hand?

ROY He's getting closer.

GWYNNETH I've got her. Up you come.

ROY We need to move.

SOLANGE Are wee neer zee door say ehkseet?

GWYNNETH Exit? [looking around] Oh, yes – there. Come on.

SOUND CAREFUL FOOTSTEPS, DOOR QUIETLY OPENS, THEN STARTS TO CLOSE BEHIND THEM

GWYNNETH Roy?

ROY Get her out of here. I'm going to stop Arturo.

GWYNNETH Roy!

SOUND GRAB, RUSTLE, KISS

ROY Get clear.

SOUND DOOR SHUTS

SCENE a6

SOUND QUIET CAREFUL FOOTSTEPS

ARTURO [off, calling] Come out, come out?

SOUND DOOR SLAMS OPEN, OFF

SOUND ROY'S FOOTSTEPS STOP

ARTURO [Getting closer] There is no place to run to—

SOUND A's FOOTSTEPS APPROACH

ARTURO Don't make this any more difficult--

SOUND SCUFFLE. GRUNTS. BODY FALLS

ROY [whispering, close, puffing a little] Not difficult at all. [chuckle]

SOUND HANDCUFFS RATCHET, SLAP SHUT

ARTURO [puffing, hard to breathe] And Solange?

ROY Out of your reach.

ARTURO [wheezy evil chuckle] In reach of your young lady, though. [laughs again]

ROY What?

ARTURO Don't worry - you still can get away.

ROY [dawns on him] Shit!

SOUND BODY DRAGS, DOOR OPENS

ROY [Grunt as he shoves Arturo into a closet]

SCENE a7

SOUND DOOR SLAMS, LOCKS, HURRIED FOOTSTEPS

ROY [edge of panic] Gwyn? You here?

GWYNNETH [muffled gasp of pain, distant]

SOUND RUNNING FOOTSTEPS

ROY Where are you?

SOLANGE [off, too sweetly] Over heere.

SOUND BANKS OF LIGHTS COME ON, ONE AT A TIME

SOUND FOOTSTEPS SLOW, CAUTIOUS

ROY You can't hide in the light—

SOLANGE [closer] I 'ave no weesh to. I hwant you to see—

GWYNNETH [off] Roy! Get out! Get the police! Don't— [breaks off with a long gasp]

SOLANGE [off] Are hyou zee hero? Cohm and geet her. Hyou might steel sehv her.

SOUND FOOTSTEPS STOP

ROY [very sotto] Shit. [up] I've got Arturo – let's make a trade.

SOLANGE Heez a tool. I can find anozzer.

ROY What? You--?

SOLANGE [disparaging] Zee great arteest. A mere saylzman. He is un‑eemportant. Come out and aye weel no hert her more.

GWYNNETH [gasp] Get out, Roy— [ends in a hiccup of pain]

ROY Gwyn, whatever you do, keep your eyes shut – can you do that?

GWYNNETH [fights to make an affirmative sound]

SOLANGE So you Zink you noh somezeeng? Come clozer, man. [kissing noise, like summoning a dog] I could reemov her eyeleedz, you know. It is chust zo – barbareec.

GWYNNETH [High squeal]

ROY Why? I mean, why do it? What are you?

SOLANGE Stop moveeng! Hwonce, we wayr feered and worshipp-ed.

GWYNNETH [gaspy] So now you're a supermodel - what's the diff-- [gasp]

SOLANGE Hyou ask why I turn peepul to stone?

ROY [muttered] Just a bit closer. [up] Yeah, what's the deal?

SOLANGE Chust for the look on zayr face! [laughs merrily, then gasps] Ow!

SOUND SCUFFLE, THEN QUICK FEET

SOLANGE You Beech! You BEET mee!

GWYNNETH Come on!

SOUND RUNNING FEET

SOLANGE [going off] You cannot geet away!

SCENE a8

SOUND FOOTSTEPS RUNNING MADLY, SLAM THROUGH SEVERAL SETS OF DOORS, FOOTSTEPS STOP

BOTH [breathing hard, Gwynneth gasping a bit in pain]

ROY Sorry.

GWYNNETH Let's get out, then you can apologize all over me.

ROY [chuckle]

SOUND HIT BAR ON NEXT DOOR. IT WON'T MOVE.

ROY Shit!

SOUND POUNDING ON DOOR, TRYING TO MAKE IT OPEN

SOUND BEHIND THEM, A DISTANT SET OF DOORS SLAMS OPEN

ROY Shit!!

GWYNNETH What is it?

ROY She's a gorgon – medusa. That's why she always wears the shades- Whatever you do, don't look in her eyes.

SOUND ANOTHER DISTANT SET OF DOORS

SOUND PUSHING ON THE NEAR DOOR. NO LUCK

ROY [almost giving up] shit.

GWYNNETH [strangely calm] We're trapped?

ROY She did it. Just like this. Hunted them down and caught them - no wonder they all look so damn scared.

GWYNNETH Well... [gasp] hold me? At least that way, we end up a statue together.

ROY [chuckle dissolves into gasping sob]

SOUND LAST DOOR BUT ONE SLAMS OPEN. FOOTSTEPS CAN BE HEARD COMING CLOSER

ROY [deep breath] Do you trust me?

GWYNNETH Of course. I love you.

ROY I – I love you, too.

GWYNNETH I know. I –

SOUND LAST DOOR SLAMS OPEN. SLOW OMINOUS FOOTSTEPS, SLITHERY NOISES ACCOMPANY HER ARRIVAL

GWYNNETH [Scream of agony]

SCENE a9

MUSIC

AMBIANCE GALLERY. BUZZ. MUSIC.

GORDIE Is that the owner? Seems funny to run a gallery, being blind and all.

VIVIENNE [sounding older, wiser] She trusts my judgment.

GORDIE Was she born blind?

VIVIENNE Oh, no – there's a tragic story there.

GORDIE Do tell!

VIVIENNE Some years back, our dear hostess was madly in love – you've seen the statue in the corner near her office?

GORDIE That fabulous marble of the hunk? Sylvester said it was the last piece Arturo ever sculpted.

VIVIENNE The – model – for that was the man she loved.

GORDIE [a little bitchy] Oh, how sweet, and she keeps it to remind her of him?

VIVIENNE He was the one who put her eyes out.

END

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