Art Lovers

Matthew Lederman

7/16/90

INT. ART GALLERY.

LONG SHOT OF ENTIRE EMPTY ROOM

Six dark paintings hang on a blank white wall. Large entrances, without doors, on either side of the paintings open onto other exhibit rooms. MARY, dressed entirely in black, approaches the entrance on the left, heels clicking loudly on the hardwood floor. JOHN, wearing blue jeans, dress shirt, tweed jacket and running shoes, pads silently toward the entrance on the right. They enter the room simultaneously and look at each other.

CLOSE UP OF MARY

Her eyes widen in surprise.

CLOSE UP OF JOHN

His eyes widen in surprise.

LONG SHOT OF BOTH

They turn quickly away from each other and look toward the paintings on the wall.

CLOSE UP OF MARY'S BACK AND PAINTING ON FAR LEFT

The painting is a nude young man, almost a boy, leading a large dark horse at night. The pale skin of the boy and the large white eyes and teeth of the horse are the salient visible elements of the painting. The man in the painting is only visible from the waist up, the lower part of his body is concealed by Mary's shoulder. Mary examines the painting studiously, frowning seriously.

CLOSE UP OF JOHN'S BACK AND PAINTING ON FAR RIGHT

Painting is a nude young woman with a surprised look on her face. Her body is turned to the side and her arms are crossed over her chest trying to conceal her nakedness. John sneaks a look at Mary.

CLOSE UP OF MARY

She looks over at John.

CLOSE UP OF JOHN

John quickly looks back at the painting, embarrassed.

CLOSE UP OF MARY

Mary smiles slightly and slowly turns back to the painting.

CLOSE UP OF JOHN

He glances over at Mary. He leans back to look at the painting in front of her. He takes a quick step back from the wall and cranes his neck back to get a better view.

CLOSE UP OF MARY AND PAINTING

Mary looks at the face of the man in the painting and slowly drops her gaze to his groin, wrinkles her nose contemptuously and glances over at the underside of the horse.

CLOSE UP OF JOHN

His eyes widen.

CLOSE UP OF MARY

She grimaces self-consciously and looks over at John.

LONG SHOT OF BOTH

Their eyes meet. They both look away quickly and concentrate on the paintings. Mary peeks over at John, sees he is not looking at her and takes a step back to look at the painting in front of him. She turns to the side and crosses her arms over her chest, assuming the same position as the girl in the painting, and looks back at the painting of the boy and the horse. John sneaks a look at her, looks back at the painting and then back at Mary and silently moves over one painting to the left.

CLOSE UP OF JOHN AND SECOND PAINTING FROM RIGHT

The painting is a woman sniffing and contemplating a vulvular, yellow rose in a dark room. The flower is clasped to her chest with two hands. A hint of a pink tongue peeks out between her lips. Her eyes are closed. John stares directly at the flower and draws a deep breath in through his nose, his nostrils flaring.

LONG SHOT OF BOTH

Mary looks over at John. She clasps her hands in front of her chest, looks down and takes a long, deep, loud breath through her nose. John looks over, startled at the sound. Their eyes meet.

CLOSE UP OF JOHN

John looks back at the painting and smiles shyly at the woman in the painting.

CLOSE UP OF MARY

Mary closes her eyes and moistens her lips quickly, the pink tip of her tongue visible for an instant. She opens her eyes, looks over at John and turns back to the painting. She moves one painting to the right, heels clicking aggressively on the floor.

CLOSE UP OF JOHN

He turns at the sound of her heels then quickly looks back at the painting.

CLOSE UP OF MARY AND SECOND PAINTING FROM LEFT

The painting is an angry nude woman reclining on a couch. A huge chocolate-colored Great Dane has clamped itself over one of her outstretched legs, its pelvis thrust forward aggressively. Mary studies the painting carefully. She peeks over at John, looks back at the painting, moistens her lips and looks back over at John.

LONG SHOT OF BOTH

John looks over at Mary. She smiles shyly. He grins, embarrassed. They both turn quickly back to the paintings. John looks over, leans back to look at her painting.

CLOSE UP OF JOHN

His eyes widen in terror. He turns back quickly, with a frightened look on his face, to look at the painting in front of him.

LONG SHOT OF BOTH

Mary looks over at the painting John is looking at. They move simultaneously. John moves one painting to the left. Mary moves one painting to the right. They now stand a few feet away from each other.

CLOSE UP OF MARY AND PAINTING

The painting is a determined woman sitting at a table with a partially open oyster. She has her right index finger crooked, inside the shell trying to pry a bright yellow pearl out of the slimy interior. Empty oyster shells litter the table top. A greasy clam knife lies in a sticky, shiny puddle on the table cloth. Mary studies the painting closely. She looks at the pile of empty shells and frowns. She looks at the pearl. Her expression softens.

CLOSE UP OF JOHN AND PAINTING

The painting is the of same woman at the same table. An overflowing ashtray with one burning cigarette sits in front of her. An open can of tuna fish, empty, with the shiny circle of metal top still attached sits beside it. A coffee cups lies on its side, empty. A spoon sits in a small puddle of coffee near it. Her face is buried in her hands. John sniffs gingerly at the air in front of the painting. He frowns and swallows hard.

MEDIUM SHOT OF BOTH JOHN AND MARY

They turn toward each other and smile shyly.

JOHN and MARY

(hopefully, expectantly and in unison)

Yes?

Copyright 2005 Matthew Lederman. All rights reserved
Contact: matt@matthewlederman.com