For Art's Sake by Julie Hoverson (19 Nocturne Boulevard reissue of the week)

[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