Act I

Scene 1

Evening. Leonard's apartment. The walls are covered with canvases of all shapes and sizes and colors. Some are finished, some are not. There is an easel, a sofa, coffee table, and a stool.

Leonard spends several moments looking at the canvas, approaching it repeatedly with his brush only to retreat again in frustration.

He has been at it for hours.

A Chorus relates the setting:

Choros 1

This is the story of a painter...

Choros 2

Who didn't always know what to paint...

Choros 3

Or how to paint it...

Choros 4

But painted anyway.

(The chorus changes formation and becomes Leonard's inner voice)

Choros 1

Too much blue?

Choros 4

Or not enough?

Choros 3 & 4

This is nothing like the sketch!

Choros 3

But is that

Choros 4

a bad thing?

(GWEN enters quietly. She watches Leonard from the door for a moment, waiting to see if he has noticed her arrival. He speaks without turning to look)

Leonard

Well, what do you think?

Gwen

Not fair! Did you hear me come in?

LEONARD

I always hear you come in.

GWEN

What is it?

LEONARD

What does it look like?

GwEN

Hmmmm...could be...a bird. Or a cloud. Maybe a blue rhinocerous there...or, waves?

LeONARD

A blue rhinocerous?

GWEN

Yeah, right there...

LEONARD

Hmmmm.

GwEN

Well, which is it?

LeONARD

I suppose that's the problem, I'm not really sure yet...

Gwen

Well, whatever you decide to make it, I like it already. I think the colors are nice. How was work?

LEONARD

No...wait, wait, I think I've got it. You know what it is...

Gwen

What?

LeONARD

It's garbage. Worst thing I've ever painted...I believe the term is rubbish.

(He takes the canvas down from the easel and begins to clean up his painting supplies)

GWEN

Rubbish?

LEONARD

Rubbish.

GwEN

Why do you always do that? and Leonard, it's freezing in here--is something wrong with the heating?

LeONARD

No, nothing's wrong with the heating.

Gwen

Well do you have it turned on?

LeONARD

Uh, no. How would you like to go out tonight? We could go to that little italian place you've been wanting to try.

GWEN

Why did you turn the heating off? It's nearly December, I can see my breath outside--maybe in here too

(She breathes warmly into the air a few times to check)

LEONARD

I'm sorry--Let's just go out, I'll get you a scarf. We'll talk about it on the way.

GwEN

Wait--should I go get changed before we go? Are we going somewhere nice?

LeONARD

No, no, you're fine. I'll be just a minute cleaning up.

GWEN

Are you sure...

LEONARD

Yeah.

(There is silence between them for a moment as Leonard finishes cleaning the brushes)

GwEN

Is there something you wanted to talk about?

LeoNARD

Well...

Gwen

Because I think I already know...

LEONARD

What?

GwEN

And you really don't have to take me out to ask me Leonard, I mean that's really sweet of you, but I know how tight things are for you and--

LeoNARD

No, really it's fine--

GwEN

No, really Leonard, I know how stretched you are and I don't want to see you get behind any furthur on account of me--

LeoNARD

Gwen...

GwEN

I want to help you Leonard, and I don't want things like this to keep us from being together any more. You know I love it when you do things for me--but really, just ask me. In fact, even if you did get a ring, I don't even want to see it--

LEONARD

What!?

GwEN

What?

LEONARD

I'm sorry--

(Long Pause)

GwEN

No--

LEONARD

I'm sorry, did you think I was...

Gwen

No...well. No. I just--

LeONARD

I'm sorry--

GWEN

No, I'm sorry. I shouldn't have gotten my hopes up.

(Pause)

LEONARD

I'm sorry.

GwEN

I know. Stop saying that.

LeONARD

Ok...Sorry. I mean...

GwEN

Leonard, How long have we been dating?

Pause

lEONARD

Well, I guess that depends on how you look at it...

Gwen

Seriously. Every time we have this conversation, you--

LEONARD

What? Ok, fine. Um...two years?

GwEN

Try three.

LEONARD

What!? No.

GwEN

Yes Leonard, three years. I met you the summer after I moved here and that was three years ago.

LEONARD

Right.

Gwen

So can you blame me? Last week you said you had a surprise for me. I got my hopes up. Can you blame me? Things have been going so well--

LEONARD

I know. I know.

GweN

So what was the surprise!? That we're somehow still dating and still not engaged after all this time!? Because that seems to surprise everyone I know, but that's no news to me. What did you want to tell me!? Huh!?

LeoNARD

I'm sorry.

GweN

I know. What else?

(No Response)

This had better be good, or I don't care how broke you are, you will take me out for italian at my favorite restaurant!

LeoNARD

Listen. You want to know why it's so cold in here? You want to know what the surprise is? Last week I got an appointment with Mr.Sanderson. It was a huge deal because--

GWEN

Wait--Who?

LEONARD

He's one of the heads over at the Lore Gallery. He said he'd seen one of my paintings in the Student Review and that he was interested in seeing more of my work.

Gwen

That's great!

LEONARD

The appointment was earlier today. I tried to get work off, but I'd already missed twice before. Randy said that if I missed again I'd be fired, but I couldn't find anyone to cover my shift--So I called Randy and told him that I was leaving--

Gwen

And?

LeONARD

And he told me not to come back. But I wasn't really fired, you know? Because it was my choice to leave--I didn't have to go. I couldn't miss this opportunity.

GwEN

Right. But you're not going back?

LEONARD

We'll I can't. He told me not to come back.

GwEN

So you're fired.

LeONARD

No. Well, yeah. But I had to make this appointment! There's no way I could have gotten another shot with Mr. Sanderson--this was a golden opportunity, sort of a 'once in a blue moon' break...

GwEN

So what did he say?

LeoNARD

Well...that's just it. He didn't. I showed up at the office and they said he was in an accident earlier this morning. He's in a coma.

GWEN

What!?

LeoNARD

Yeah. I know.

GweN

Wow.

(There is a long pause)

I'm sorry.

LEONARD

It's ok.

GwEN

No, Leonard, I know how important that was for you--I'm so sorry.

LeoNARD

Yeah, well...

(Pause)

GWEN

A coma. Geez (Pause)...but why is it so cold in here?

LeONARD

Oh, right. I can't pay the gas. My gas is shut off.

GweN

Oh...

LEONARD

The light's will probably be next.

GwEN

Oh.

LeONARD

So...Do you still want to go get something to eat?

GwEN

Oh, no. I should probably be going actually--er, listen, maybe I could take you out?

LeoNARD

No, I really couldn't let you do--

GWEN

No, really! I'd like to take you out--

LeoNARD

No, No. I can't let you do that. You're too good to me, but I should probably get working on that painting anyway...

GwEN

But you just cleaned up...

LeONARD

No, I know...not on painting it, but on figuring it out, you know.

GWEN

Oh.

LeoNARD

So...

GweN

Ok.

Pause

Well...I'll see you tomorrow then?

LeONARD

Sure, tomorrow.

GWEN

Tomorrow then.

She leaves.

Scene 2

Leonard walks over, picks up the canvas; He tilts it one way, then another, trying to discern the possiblities. He sets it on the easel and grabs a sketchpad to put his ideas on paper.

The phone rings. Leonard does not answer. The answering machine beeps:

Beep

Choros 1

Hi, this message is for Mr. Fisk--I'm calling regarding your account here at Metropolitan Bank...

(The phone rings several times again. Leonard continues working. Time passes)

BEEP

Choros 2

Leonard, this is Mr. Piper. You're three months past due on rent...

(The beep of the answering machine punctuates certain fragments)

Choros 3

...I'm calling regarding your credit card--

Choros 4

Your phone bill--

Choros 1 & 2

Your account at Metropolitan Bank--

Choros 3 & 4

Overdue fines--

Choros 1 & 2 & 3

Late fees--

Choros 4

The gas--

Choros 1

Water--

Choros 2

Electricity--

Choros 2 & 3 & 4

Bills!

Choros 1 & 2 & 3 & 4

Please contact us immediately

Choros 1

Or your

Choros 2

Service

Choros 3

Will be

Choros 4

Suspended--

Choros 3

Terminated--

Choros 2

Denied--

Choros 3 & 4

Evicted.

Choros 1 & 2

Thank you, and

Choros 1 & 2 & 3 & 4

Have a nice day!

BEEP!

(The phone rings again. This time, Leonard acknowledges it with exasperation)

Choros 4

Don't answer it

Choros 3

You don't have to answer it

(The phone continues to ring)

Choros 2

Answer it for once

Choros 1 & 4

Give 'em a piece of your mind

Choros 3

You can't work like this

Choros 4

Just unplug it

Choros 1

No

Choros 2 & 3

Answer it

LEONARD

(Exasperated) Fine!

(He answers the phone)

Hello?

Choros 3

Hello, I'm looking for a Mr. Leonard Fisk?

LEONARD

Who is this?

Choros 3

My name is Melanie Waters--I'm secretary to Benjamin Vellone--

LeONARD

As in Benjamin Vellone of the Vellone Gallery?

Choros 3

As in Benjamin Vellone of the Vellone Gallery. With whom am I speaking?

LeONARD

This is Leonard.

Choros 3

Leonard, I'm calling on behalf of Mr. Vellone--He has seen some of your work and would like to schedule an appointment to view your portfolio.

LEONARD

I'm sorry--what!?

Choros 3

Mr. Vellone would like to see some samples of your work.

(No Response)

...Mr. Fisk, are you there?

LEONARD

Yes, yes, yes--I'm here...yes! Yes, Absolutely. When would he like to meet?

Choros 3

When are you available?

LEONARD

Uh, well...I'm, uh, pretty open--er, available, right now...

Choros 3

In that case, Mr. Vellone could see you...mmmm...next Monday. No, Tuesday. Afternoon. Four o' Clock.

LEONARD

Sure--that sounds perfect. Uh, uh...Where are your offices?

Choros 3

Mr. Vellone prefers to make his appraisals on location.

LEONARD

You mean here? He wants to come here?

Choros 3

He feels that an artist's studio speaks volumes. What is your address?

LeoNARD

937 West Calum Street. He's coming here?

Choros 3

Yes. Tuesday afternoon. Four 'o clock.

Choros 1 & 2 & 3 & 4

Have a nice day!

LeONARD

Wait, but...

Click

(The dial tone hums; He hangs up)

bLACKOUT.

Scene 3

The following Tuesday. Afternoon. Just before Four o'Clock. Gwen is waiting impatiently--she is sitting on the couch digging through her purse when Leonard walks in. He is carrying several large frames.

GweN

Leonard, where have you been? I called you three times this morning!

LeONARD

What? What do you mean?

GWEN

You didn't forget, did you?

LEONARD

Forget? No, no! Of course not...

(He struggles with the frames; Gwen rushes over to help)

GwEN

Leonard...

LEONARD

It's not your birthday...is it?

GWEN

No! Don't you remember!? My parents are coming in to town--they wanted to take us out to dinner!

LEONARD

Tonight!?

GWEN

No, tomorrow. Yes, tonight! Don't you remember!? I even made you write it down and repeat it back to me on the phone.

LEONARD

Oh, right! Right. That's right...

GWEN

Well, I'm glad I caught you--I was starting to get worried! Where were you?

LeoNARD

Buying frames.

GWEN

Apparently. Well, hurry up and get ready! They're meeting us in an hour at Chang's.

LeONARD

Ok...Gwen?

GWEN

What? What is it?

LEONARD

I know we told your parents five o'clock, but...

GWEN

No. Leonard, do not do this to me--we cannot cancel!

LEONARD

Gwen--

GWEN

Leonard, No! You promised! You said that you could absolutely make it--

LEONARD

I know--

GwEN

That was the word you used Leonard: "Absolutely"

LEONARD

I know, I know--

GWEN

You said you'd even dress up a little. You know it's not very often we get to go out--

LEONARD

I know, it's just that--

GwEN

You even promised you'd pretend to like it too, even though you hate chinese--

LeONARD

I don't hate chinese--

GwEN

And that you wouldn't talk politics with my Dad!

LeONARD

I know, I won't, but--

GWEN

You promised!

LeoNARD

Gwen! Stop! Listen to me for just one second.

GWEN

You--...ok. What?

LEONARD

I'm not trying to cancel.

GWEN

You're not?

LeONARD

No, I'm not. But I might be a little late.

GwEN

What? Why?

LeONARD

Well...

GweN

What? This had better be good.

LEONARD

It's a long story.

GwEN

Leonard! That's not good enough. What? What is going on?

LeoNARD

Really! There's no time now--I just...Listen. Something good is about to happen. Something very good--

GWEN

What? What is it?

LeONARD

Well, I can't tell you just yet. But I promise, it's big.

GwEN

Why not?

LeonARD

I'm afraid...I'm afraid it might be bad luck.

GWEN

Leonard--I don't have time for games.

LeoNARD

Remember when I told you that I had a surprise for you? That I had something big to tell you? But then it turned out that that there was nothing to tell because it turned out nothing happened.

GWEN

Yes.

LEONARD

Well, I'm hoping that doesn't happen again...

GWEN

But last time you didn't tell me and look what happened--maybe try telling me this time and see if it brings you good luck.

LEONARD

Well...

GWEN

Look--You know what? We don't have time for this. And frankly, I don't care what it is that you think is more important than this. You made me a promise.

LEONARD

I know, and I think we can work something out if you'll just--

GWEN

This is important to me. Do you realize that? This is important to my parents--they are only going to be in town for a few days.

LEONARD

Okay, I'll be there. I said I'd be there. But listen--I've got a meeting. And I think it could be big. Bigger than what I had scheduled with Mr. Sanderson, and I think I may be a little late is all. But I'll be there as soon as I can.

GwEN

Okay. Okay.

LeONARD

Okay?

GWEN

...Okay. How long do you think you'll be?

LeONARD

Not long. I don't think. He's coming over here to take a look at some of my work, so I won't have to backtrack at all--I can just leave right from here.

GwEN

You always say that. You always say it won't be long--but then it is, and two hours later I'm still waiting for you to pick me up and nearly missing my sister's wedding--

LeONARD

I know, I know--but I promise I'll be as quick as I can. I won't let you down. It won't be like that.

GweN

You promise?

LeonARD

I promise.

GwEN

Okay. I believe you.

LeONARD

So if I'm late for dinner with your parents...

GwEN

They'll understand.

LeONARD

Will they?

GwEN

No. But I'll make something up.

LEONARD

You'll cover for me?

GwEN

Don't push your luck. Why do I always feel like I'm waiting for you, Leonard?

LEONARD

I know your Dad is a real stickler about being late--

GwEN

Yeah, he is. And if you don't show up quick enough I'm really going to let him stick it to you.

LEONARD

Ok, alright! I got it! I'll be there as soon as I can!

GWEN

In a tie?

LEONARD

In a tie.

Gwen

Don't think that just because I'm letting you come late means that you don't have to wear a tie!

LEONARD

I'll tie a double windsor just for you.

GwEN

You'd better. I'll see you in a bit then?

LeONARD

Gwen?...thank you...If everything goes well, I might even have some good news to share with your parents. Even your Dad might be impressed.

GWEN

That would be great. I want them to like you Leonard.

LEONARD

I know. Me too.

GwEN

Ok.

LEONARD

Ok. I'll be there as soon as I can.

(She exits)

Scene 4

Leonard hurriedly looks through a stack of canvases leaning against the wall. He eyes one, then another, finally deciding on the latter. He pulls it from the stack and places it on the easel for display.

There is a knock at the door.

Choros 2

Answer it.

Choros 3

Don't. There's still time.

Choros 4

You could always reschedule...

Choros 1

Your're not ready yet.

He answers the door.

Vellone

Mr. Fisk?

LEONARD

Yes--Come in, come in.

(BENJAMIN VELLONE enters. He wears a long, dark overcoat, gloves, and sunglasses. He is carrying a briefcase.)

Vellone

You live here too?

LEONARD

Yes--is there anything I can get you? A drink?

Vellone

I don't drink.

LeONARD

Water?

Vellone

No, thank you.

(Vellone removes his sunglasses and begins eyeing the canvases on the walls and leafing through the stacks)

LEONARD

Er...Something to eat?

Vellone

Pardon?

LEONARD

Are you hungry? Would you like something to eat?

Vellone

No. Thank you.

(Vellone removes his hat, gloves, and overcoat to reveal a sharp, custom tailored suit beneath. He continues to pour over Leonard's work)

Vellone

Where were you trained?

LEONARD

I did three years at Milton, but never finished.

Vellone

Mmmm.

LEONARD

I'm planning on going back though, I'd like to get my degree.

Vellone

Mmmmm...I wouldn't bother.

(There is a long, awkward silence)

Have you had any shows recently?

LEONARD

No...er, no.

Vellone

Tell me about this one.

Leonard

Do you like it? (No Response) Of course, it's not finished, but...I was going primarily for a strong color balance. I took inspiration from Manzetti's Blue Series.

Vellone

Hmmmmm. It does rather look like a Manzetti...

LEONARD

Do you like Manzetti?

Vellone

It doesn't really matter much whether I like Manzetti or not--What does matter is if the critics like Manzetti or not, if the collectors like Manzetti enough that they will pay for him...

LEONARD

Oh, right.

Vellone

What about this one?

LeONARD

That one is several years old--I went through this phase for awhile where I could only paint windows. I mean, I would see things in my mind, but only through windows. I tried to fight it for awhile, but in the end I just ended up painting everything as though you were seeing it through a window...

Vellone

Mmmmmm

LEONARD

I think it really frames things nicely...

VELLONE

You don't sign any of your paintings, Leonard?

LEONARD

Ah, well, I do. I just, I wait until they're finished--until I really feel good about them to sign them. I don't end up signing too many. Most of these are studies--many of them unfinished.

Vellone

This one?

LeONARD

Well, that's one of my more recent pieces--I've been working on portraiture. Also not finished...

Vellone

Who is she?

LeoNARD

Oh, it's just a study--

Vellone

Who is she?

LEONARD

Well, actually, that's Gwen--my girlfriend.

Vellone

She's quite beautiful...

LEONARD

Thanks, I'm glad you like it. It's a gift actually...she doesn't know I'm painting it for her.

Vellone

May I see the photograph you're working from?

LeONARD

There isn't one.

Vellone

And she doesn't sit for you?

LEONARD

Uh, no. It's a surprise.

Vellone

Hmmmm.

LEONARD

That's actually how I picture her when I think of her--I'm not sure when or where I saw her like that, but that's how I always see her--like a slow motion snapshot, her smiling like that...

(After a long pause)

Vellone

Mr. Fisk, I think you are an exceptionally promising talent. Your style is well developed and your themes are intriguing. What would you say if I offered you a few spots at the upcoming Prescott Exhibition?

LEONARD

What!? Really!? At Blackhall?

Vellone

Yes. You'd only have a few weeks to put together your submission--but I think I could pull a few strings to get you an extension. The deadline is already past.

LeONARD

Yes! Yes! Absolutely! Which pieces should I submit?

Vellone

None of them. Your work is good, but I think you would do well at the exhibition if you channeled your efforts into some new works.

LEONARD

But you just said the deadline had past?

Vellone

I'll buy you the time. I want four works in the style of your Manzetti. Can you do that?

LEONARD

How much time do I have?

Vellone

The exhibition opens on the twenty-sixth--that's three weeks. I'm sure I could give you until the nineteenth to finish.

LeoNARD

Two weeks?...yes. Yes I think I could do that. It will be tight, but yes, I think I can make it.

Vellone

Of course that's no guarantee that you'll get into the show--I'll need to see your works for approval when you're finished, But we'll go from there.

(He collects his coat, hat, gloves, etc. and moves towards the door)

LEONARD

Yes, yes, of course.

VELLONE

One last thing. I think I do rather like your Manzetti. In fact, as a show of good faith, I'd like to purchase it from you.

LEONARD

Why--I'm honored!

VeLLONE

I always make it a point to put my money where my mouth is. How much would you like for it?

LeONARD

Oh, wow, I don't know...

VeLLONE

Seven hundred.

LEONARD

Seven hundred?

(Vellone takes the painting and moves to the door)

VeLLONE

Of course there will be the entry fee, my commission, and the sales agreements to discuss on top of that--but we'll leave those details for later. My secretary will be in touch.

LEONARD

Yes, Thank you!

Vellone

Two weeks.

(He exits)

LEONARD

Thank you! Two weeks!

Choros 1

Two weeks.

Choros 2 & 3

Four Paintings.

Choros 3 & 4 & 1

Fourteen days.

Choros 1 & 4

Four paintings.

Choros 1 & 2 & 3 & 4

Two weeks.

Scene 5

(Leonard eyes a blank canvas in front of him. It stares dauntingly back)

Choros 1

Day one:

LeONARD

Where to start?

Choros 2

Day two:

LEONARD

I just need some time to think...

Choros 3

Day three:

LeONARD

Nothing.

Choros 4

Four:

LeONARD

Still nothing.

Choros 3

Five

Choros 2

Six

Choros 1

Seven

LEONARD

Too fast! Too Fast! Slow down a little--I just need time to think!

Choros 2 & 3

Eight

Choros 1 & 4

Nine

LEONARD

WAIT!

Choros 1 & 2 & 3 & 4

TEN!

LeoNARD

Okay! I've got it, I really think I've got it.

(Leonard dives for his sketchbook and begins furiously darkening it's white pages)

Choros 4

Day Eleven.

Choros 2

Hurry Leonard--only three days left...

LeONARD

I'm trying--really!

Choros 3

Have you got it yet?

Choros 1

Twelve.

LEONARD

Yes! Yes! Here it comes! Watch this:

(He now grabs his palette and several brushes--holding several in his mouth and one behind his ear as he furiously pantomimes filling the four blank canvases. The Choros observe and remark)

CHOROS 4

Hmmmm...

ChOROS 3

Not bad

Choros 2

--but what about...

(Leonard acknowledges the remark and applies an alteration)

CHOROS 1

mmmmm--

ChOROS 2 & 3

Better!

ChOROS 4

Thirteen.

LEONARD

Almost finished...and...Done!

ChoROS 1 & 2 & 3 & 4

Fourteen.

LEONARD

Wait!

(He adds a finishing touch)

Done!

Scene 6

(There is a knock at the door. Leonard checks the clock and realizes who it must be. He tears off his apron and hurriedly puts away the brushes and palette. The knock comes again)

LeoNARD

Just a minute!

(He quickly tidies the space and sets the four canvases in a row for display)

(He answers the door. Vellone Enters)

LEONARD

You're early--Come in.

Vellone

My father always said: "If you're early, then you're right on time, but If you're on time, you're much too late" I tend to agree.

LeONARD

Clever. I'll have to remember that.

Vellone

Mmmmm. Yes.

(At this point, Vellone has begun removing his hat, gloves, etc)

Well--Down to business?

LeONARD

Yes, yes. Here they are--right here.

Vellone

Hmmmm...

(Vellone begins his inspection. The Choros voice Leonard's doubt)

ChOROS 1

He doesn't like it.

ChOROS 2

I knew I should have gone with the ochre...

ChOROS 3

What if he doesn't like it?

ChOROS 4

He's got to like at least one of them...

ChOROS 2

Why didn't I go with the ochre?

Vellone

Hmm.

LeONARD

What?

Vellone

Hmm?

LeONARD

Oh! Nothing.

Vellone

Hm.

ChOROS 1

He doesn't like them.

ChOROS 2

Don't say that...

ChOROS 3

That's not what he wanted...

ChOROS 4

Once again--

ChOROS 1

Garbage.

ChOROS 2

A huge--

ChOROS 3

heaping--

ChOROS 4

pile of--

Vellone

Gold, Leonard. Solid gold. I haven't seen work this promising in years. You're in.

LeonARD

Wait...what? I'm in?

Vellone

Well, yes. What were you expecting? You don't think I'd drive all the way across town right before rush hour if I didn't think you were promising--do you?

LEONARD

No...

Vellone

I'll admit, I did have my reservations--but this, this is phenomenal! Simply phenomenal! I'm very pleased.

LEONARD

Well, Thank you! I don't know what to say!

Vellone

In fact--I'd like to purchase this one from you right here and now. The other three are excellent--but this, this is better than even Manzetti himself could have done.

LeONARD

You know what's funny--the first three were so painful. It was so hard to get them out. I could see bits and pieces of them in my mind, but never the whole thing at once. But when I came to that one, it was as if everything cleared and I could see it all at once--it just poured out of me.

Vellone

You have a real gift, Leonard. I'm sure you'll receive a good deal of recognition at the show.

LEONARD

You think so?

Vellone

(While writing check)

I do. Otherwise I wouldn't be banking on you.

(He tears the check from book and presents it to Leonard who nearly does a double take on the amount)

LeONARD

What!? I mean...wow.

Vellone

That's for this one and the one I took last time. It sold almost immediately--I didn't even have time to put it up in the gallery. Someone walked into my office and offered cash on the spot. Turns out he'd been a lifelong admirer of Manzetti's work.

LEONARD

What? Really?

Vellone

I know--not too many out there familiar with Manzetti's early work. I mean sure, a few of his later pieces have become fairly well known--but his early work? It takes a real aficionado to be able to spot Manzetti's early work. That guy paid top dollar for your imitation.

LeONARD

He liked it that much?

Vellone

Well...I didn't have the heart to tell him it wasn't an actual Manzetti.

LEONARD

What?

Vellone

Relax! There's nothing wrong with what happened--the guy loved your painting. He was convinced that he had just found an early, unsigned, Manzetti. Turns out he didn't know as much about Manzetti as he would have liked to believe, or he would have spotted it a mile a way--but it doesn't matter. It doesn't change the fact that he loved it. So just take the money for what it's worth and go buy yourself a new suit for the opening, eh?

LEONARD

No, I'm sorry, but I don't think that--

VeLLONE

These things happen all the time, Leonard. People see what they want to see--He was convinced that he had just gotten the deal of a lifetime on a priceless piece of art--and in a sense, he has. No one can prove that it's not a missing unsigned Manzetti--so now the piece is worth just as much as if it were a bona fide original. He could turn around and sell it for a huge profit margin if he wanted to. You see? Everybody wins. I sold your painting, he walks away with a treasure,

and you're in the show--what's not to like?

LEONARD

I don't know if I see it that--

Vellone

Oh! And I almost forgot--More good news! Are you ready for this? Earlier today I learned that there's an opening in the schedule at the Apollonaire. It seems that one of the artists they had contracted for next month has decided to take another offer for a show overseas.

(Leonard is stunned. He cannot speak)

Vellone

After seeing your work today, I feel fairly confident in telling you that you have a shot at having your own show--

LEONARD

My own show?

Vellone

Let me tell you something Leonard, more often than not, an art dealer is someone who is good at reading the trends. He looks at what is popular and what might become popular--he is always looking for the next big thing.

LEONARD

Oh?

Vellone

But other times, a dealer does more than just read the waves--he makes them.

LEONARD

So what you're saying is--

Vellone

I'm not saying that you're the next big thing, Leonard. Your work is good--but it's not that good. What I am saying is that I can make you the next big thing.

(There is a long pause as the gravity of what Vellone has said sink in)

Vellone

You know, people always say that Van Gogh was way ahead of his time. He was brilliant. And yet he had very little success or recognition during his lifetime. It wasn't until years after his death that he was hailed as a master.

LeONARD

Hmmmmm

Vellone

He spent most of his life frustrated, unhappy, overworked, underappreciated--he wouldn't have been able to survive at all if it hadn't been for the generousity of his brother who helped to support him.

LEONARD

Yes, I've heard that before.

Vellone

That doesn't have to be you, Leonard. The critics and the buyers like what I tell them to like, and if I tell them you're good, then they'll believe that you're good.

LEONARD

But I am good...

Vellone

I know. Of course you are--but that's beside the point. Van Gogh was good. But no one recognized that until it was too late. But it's not too late for you, Leonard. Do you understand what I'm saying? All you need is a little promotion--a few strings pulled for you. I can do that.

LEONARD

I see. So what do I need to do to get in at the Apollonaire?

Vellone

Leonard, you do just exactly what I tell you to do and you'll be in in no time.

LeoNARD

You think so?

Vellone

No doubt about it. We'll talk details at the opening--You will be there, won't you?

LeoNARD

Of course.

Vellone

And you're more than welcome to bring a guest--in fact, why don't you bring that girl from the portrait.

LEONARD

Gwen?

Vellone

Sure. I'd love to see how your likeness compares. See you then.

(He leaves)

BLACKOUT.

Scene 7

(Evening. Int. of the Prescott Exhibition. A neat row of identically sized rectangular canvases stretch across the three walls. There is a single bench in the middle of the gallery. The Choros become patrons and critics at the exhibit: two move from painting to painting methodically, another stands at one in close examination, and another sits on the bench with drink in hand looking bored)

CHOROS 1 & 2

Hmmmm.

chorOS 2

Very--

ChOROS 1

interesting.

They shuffle positions, almost mechanically as in a dance.

ChOROs 3

Too much blue...

ChOROS 4

Or maybe not enough.

CHOROS 3

But is that--

ChOROS 4

A bad thing?

(Gwen enters. She is nervous and looking for Leonard. Some of the patrons give her the once over)

ChOROS 1

Hm?

ChOROS 2

Hm

ChOROS 3

Hm!

ChOROS 1 & 2 & 3

Hmmmm

(Leonard enters, also nervous and feeling out of place--but clearly excited)

GWEN

Leonard! Leonard I'm so proud of you--this is huge! I can't believe you got into this show!

LEONARD

I know! How long have you been here?

GWEN

I just walked in. I came as soon as they let me off.

Leonard

I'm glad you're here--I was feeling pretty out of place by myself.

GWEN

So tell me already! Which ones are yours? I haven't even had a chance to look around yet.

LEONARD

Well--why don't you guess. You're always so good at guessing.

GwEN

Ok...

(They begin moving down the row from canvas to canvas as Gwen examines each one)

LEONARD

And no looking at the title cards--that's cheating.

GwEN

Ok....hmmmm. This one is...too dark--not you at all...and this one is too...plain. Not your style. Hmmmmm.

LEONARD

Right, right...

GwEN

I can't believe you hid these from me for so long--I don't think you've ever kept anything secret from me for more than five minutes--I'm excited to see them.

LEONARD

I'm excited for you to see them.

GWEN

Maybe...(she sees a Leonard's set from across the room, does a sort of double take) wait...These?

LeONARD

Took you long enough. What do you think?

GweN

I...I like them. They're beautiful Leonard.

LEONARD

Thank you.

GwEN

I almost didn't recognize them as yours--this is different for you...

LEONARD

You think so? What do you mean?

GwEN

Well, the style...don't get me wrong,I like it, but it isn't like anything you've done before. I recognize your brushstrokes, your technique...

LEONARD

Yeah--

GWEN

But the colors...the textures...are different.

LEONARD

You don't like them?

GWEN

No, no--I do, I do. They're just not like what you usually paint...I mean--

LeoNARD

What do you mean?

GWEN

Well, usually when I look at one of your paintings I can see the idea, the feeling behind what you were trying to get at...but I don't get that with these. They just feel...I don't know--different.

LEONARD

You don't like them...

gWEN

No!

LEONARD

I can't believe you don't like them.

GWEN

No, Leonard--That isn't it at all. I didn't say that--

LEONARD

I can always tell when you don't like something I've--

GWEN

No, I really like them...

LEONARD

But you think they're different--usually when you say different--

GWEN

No, that's not it. I am--I am proud of you. I mean come on,

Look at this! Look at where you are! I've always loved your work, but more than that I...I love you. I love your paintings because you love painting them...

lEONARD

I just...your opinion means a lot to me. I don't care what these people think--I mean, I do care, but...

GWEN

I know.

LEONARD

I've always wanted to make beautiful things for you, I've always wanted you to have beautiful things...

GWEN

I know.

LeONARD

And sometimes I feel bad when I can't give you...the things that you'd like...I can't always buy you that new coat you wanted or that necklace you fell in love with--

GWEN

You would if you could. I know that.

LEONARD

But not just that--you have such a way of appreciating beauty--you see it in a way that I can't see it. You see it everywhere--in little details, in the littlest things I'd never notice. But bigger things too...in people...sometimes if I'm lucky you say you see it in my paintings--

GwEN

I see it in you...

LEONARD

I guess what I'm trying to say is that it's just that much more disappointing when you don't like my work--because...because I do it for you. I don't care what anyone else thinks.

(Pause)

GWEN

Yes. You do. Otherwise this show wouldn't mean so much to you. It's okay. I understand--It's just not what I'm used to from you. It doesn't matter. I just need some time to warm up to it, okay?

Pause

LEONARD

Sure. Okay.

GWEN

Okay?

LEONARD

Okay.

(Vellone enters)

Vellone

Leonard! So glad you could make it. There's been quite a bit of buzz this evening about your paintings. And who is this?

LEONARD

Oh! Mr. Vellone, this is Gwen. Gwen, Mr. Vellone.

VeLLONE

Please, call me Benjamin!

GWEN

It's nice to meet you.

Vellone

Is this the girl from the portrait, Leonard? Because if it is, I take back what I said about your skills as a painter--she is far more beautiful than you could have possibly hoped to have captured.

GWEN

Why thank you!...what painting?

LeONARD

She is, she is. Gwen, Mr. Vellone is the one I was telling you about--the one who got me the spot in the show.

GWEN

Oh, I've heard so much about you--Leonard can't stop talking about how lucky he is that you decided to take a chance on him.

Vellone

Well he is lucky--for many reasons...and you're certainly one of them. Did you know how lucky you are, Leonard? Because you are. Very lucky. May I speak with you for just a minute?

LeoNARD

Sure. Gwen?

GweN

I'll just be right over here.

LEONARD

Thanks.

Vellone

So how are you feeling about things?

LeONARD

Well, I'm a bit nervous to be honest.

VELLONE

Relax--I think things are going quite well. In fact, I've already been approached several times about your work.

LEONARD

Really?

VeLLONE

I wouldn't be surprised if you had a least one offer on the series before the night is over.

LeONARD

You think so? I have such a hard time reading people--I can never tell if they like my stuff or not.

VeLLONE

That's because you're nervous. Take it easy--look around! You're here! You made it. The Prescott Exhibition. Did you know that Sidney Myers made his debut at the Prescott?

LEONARD

Yeah? I love his stuff.

VELLONE

So do the collectors. And Wells, Pourinier, Herbert Jones--They all had showings at the Prescott early in their careers.

LeONARD

Huh. Whatever happened to Wells? His stuff was HUGE a couple years back...

VeLLONE

I don't know...He just sort of dropped off the radar. That can happen, you know--for all the artists that make it big after a show like this, so many more just seem to disappear or fade away. That's why we've got to work on getting you in at the Apollonaire.

LeONARD

Right. What's the plan?

VeLLONE

Well, They've got an opening because an artist by the name of Hugh Landson got a better offer on his work from a gallery in London.

LEONARD

Wow--that's huge!

VelLONE

It was the Tate actually--they're putting together a showcase of recent American works and he won out big this time. In any case--the Apollonaire is looking to fill the slot so we've got to act quickly.

LeONARD

Okay. What are they looking for?

VeLLONE

Landson is known for his large scale works--and we're talking huge here. His last show featured several canvases that were over twenty five feet long--that's one reason the big galleries love him. His work is epic.

LeONARD

Was that over at the Croft?

VelLONE

Yes. Did you see it?

LEONARD

Yes! I couldn't belive the triptych he had up--the tall one, each panel must've been what--fifteen by seven? Huge! And I was so impressed by the detail--painstaking.

VELLONE

So that's the sort of thing they're looking for I'd imagine. Large. Bold colors. A clean, sweeping composition...

LeONARD

Wait, wait, wait. Just because that's the sort of show they lost doesn't mean they're looking for another just like it, does it?

VeLLONE

Oh, I'm pretty sure that's what they'd like. They just did that retrospective on DuChere's sketch work, and next up before the open slot they've got Jose Martin--he's famous for his miniature ceramics and sculpture works. I'm sure they're looking for something big and bold to balance the intimate pieces they've been showing.

LeONARD

Well, uh...I don't know if I can do that. I've always been told that my work is personable, that it's very approachable at a human level. It doesn't tower over you, or try and muscle you out of the room--it's just very down to earth. Human sized, you might say.

VELLONE

Leonard, I don't think you're listening to me. This is the Apollonaire we're talking about. It's the largest independent gallery in the city. It is one of the anchoring institutions of the art world. And I have connections there.

LeONARD

I know...

VellONE

And I have just told you that there is an opening. And that I can help you get this opening. Now are you going to take it or not?

LeONARD

Well, yes. Yes, Of course! I just want to be sure that--

VELLONE

You know, You don't get an offer like that every day, Leonard. Do you know how many artists there are out there that I could be spending my time and energy on? And do you have any idea what they would do for an opportunity like this? Do you? They would kill for a break like this--they would kill for it--

LeONARD

I know, I know...

VeLLONE

So you had better not let me down on this one.

LeoNARD

Ok, ok. What do you want me to do?

VeLLONE

They'll be wanting to see a good representative sample of what you can do--you've got to convince them that you've already got what they're looking for.

LEONARD

Ok...

VeLLONE

So here's what I want. I want at least three large-scale pieces in a series, and at least one giant canvas--Landson size--maybe thirty by ten. Outdo him. Remember--bright colors, strong repetition, and a sweeping composition.

LeONARD

Ok.

VeLLONE

Can you do that?

LeONARD

Yeah, OK. I think I can do that. I'll try...

VeLLONE

No. No trying this time. You've got to make it happen. How are you doing on cash? It's going to be quite an investment just to purchase supplies.

LeONARD

Oh...that could be a problem.

VeLLONE

What happened to the check I wrote you last week?

LeONARD

Well, I had a lot of outstanding debts--my rent was three months past, the electricity, phone, insurance--

VELLONE

I get it, I get it. Well, can you come up with the money?

LeONARD

I don't know...to be honest, I don't think I know anyone who would trust me with the money, you know--I mean, that could be at least a couple thousand...

VeLLONE

Hm. That is a problem. We have got to get those works done or you have little to no chance of getting in.

LEONARD

Well, couldn't we just show them some of the pieces I already have? That might give me some more time to...

VELLONE

No no no, that's not what they're looking for. We need you to do something more bold, more groundbreaking. I think you've got the talent--we just need to show it to them.

LeONARD

Hm..

(Pause)

VELLONE

I don't suppose you could...well, no--

LeONARD

What!? What is it?

VellONE

No. It's nothing. Just an idea.

LEONARD

What? Tell me! Tell me!

VellONE

Do you remember how I told you about that man who bought your Manzetti?

(Pause)

LeONARD

Yes...

VeLLONE

Well, he called me up a few days ago. Wanted to know if I could get my hands on any more of Manzetti's work...It's too bad that an original Manzetti is so rare these days. He said he would be extremely interested in purchasing more of his work--mentioned one work in particular. Said that he'd pay several thousand dollars at the least...

(Pause)

LeONARD

Well...um, can you get it for him?

VeLLONE

I don't know that I can. You see it was a rather obscure piece to begin with--I found a reference photo of it after a lot of hunting around. But it seems that the piece was purchased several years ago by an anonymous buyer and just seemed to drop off the radar after that. 'Whereabouts unknown.'

LEONARD

I see.

VELLONE

For all we know, the painting could be gathering dust in some obscure archive, or stashed away in some european collector's horde...

LEONARD

What does that have to do with...

VeLLONE

Unless of course--

LEONARD

What?

VellONE

You could...

LeONARD

No. No I am not doing that. There are a lot of things I would do, but not that. No.

VeLLONE

Wait--Just listen. Consider your options here. You have an opportunity to have a career, Leonard. Not just a single show, not just an isolated event or fluke--but a career. When you get in at the Apollonaire, you've really made it. You are no longer a promising young artist with an uncertain degree of potential--but a success, a bona fide success. You would never find yourself out of work again. After that, you could probably fling shit at a canvas and make bank. People will pay for that--they pay for names. They don't buy talent, they buy prestige.

(Long pause)

ChOROS 1

(Whispered) Don't do it.

ChOROS 2

Don't do it.

ChOROS 3

Don't do it.

ChOROS 4

Don't do it.

VeLLONE

They buy artist who have shows at the Apollonaire...

LeONARD

What do you want me to do?

VELLONE

Mmmmmm. I'm not asking you to do anything, Leonard. Do you understand me?

LeONARD

Yes. Yes I do.

VELLONE

But if you were to find a reproduction photo of a painting along with some specifications and dimensions in your mailbox--you might want to use them to do a sort of study you know? Do you catch my drift?

LEONARD

I think so. Yes.

(Vellone takes out his checkbook and begins to write Leonard a check)

VeLLONE

Good. I'm glad that we understand one another. If we continue to understand one another, then I will advance you the money you need to start work on the large pieces.

LeONARD

Thank you.

VeLLONE

As for your 'study', I'll need that as soon as possible. But don't rush it--we are looking for precision here; attention to detail. Take your time in that regard--this painting will have to hold up to a great deal of scrutiny.

(Vellone tears check and hands it to Leonard)

LeONARD

I understand. I'll do my best.

Vellone

I would recommend taking a field trip down to the Met--they have a few of Manzetti's paintings available for viewing upon request--you might want to take a look.

LEONARD

I'll do that. Anything else?

Vellone

No, I think that's everything. And congratulations on the show--your pieces look marvelous.

LeONARD

Alright. Thank you.

(Vellone begins to walk away)

VELLONE

Oh, and Leonard, let's keep this under wraps, shall we? Everything. Your commission, our plans for getting you in at the Apollonaire--I'd hate for things to fall through for you if anyone caught wind of this.

LEONARD

Sure.

VELLONE

Enjoy yourself Leonard--Have a few drinks! Everything will be fine!

(He leaves Leonard to mingle with the other attendants at the opening. Leonard, after taking a moment for himself, goes to Gwen.)

Gwen

You'll never believe it--I was just speaking with this man who is a writer for The Times--He said your work was 'groundbreaking!' Groundbreaking, Leonard! Your work is 'groundbreaking!' I'm so proud of you!

LEONARD

Thanks.

GwEN

What's wrong? Are you alright?

LeONARD

Yeah, I'm fine. I'm just...

GwEN

Are you feeling alright--You're looking a little pale.

LeONARD

Yes, I'm fine. Maybe I just need some fresh air--it's getting so stuffy in here.

GwEN

Here, Let me get you a drink--

LeONARD

No, really--I think I just need some air...

Gwen

Do you want to sit down for a minute?

(Vellone approaches with Choros 4, who plays Mr. Wolfowitz)

VELLONE

Leonard, I'd like you to meet Alan Wolfowitz--He's an assistant to the director at the Apollonaire.

LEONARD

Oh? I'm very pleased to meet you.

CHOROS 4 (Wolfowitz)

Likewise. Benjamin was just telling me about your process--Facinating! Your work is brilliant--I just love what you've done with the textures here. In fact--Everyone I've spoken to has just been raving about it.

ChOROS 3

Stunning!

ChOROS 2

Deeply moving!

ChoROS 1

Innovative!

ChoROS 2 & 3

Both subtle and adventurous---

ChOROS 1 & 2 & 3

Masterpiece!

LeONARD

Why, Thank you. Thank you very much. I don't know what to say...

VeLLONE

Mr. Wolfowitz said they might have an opening end of next month and I said he might be interested in taking a look at your large-scale works...

LEONARD

My large-scale works?

VellONE

Yes! Of course! He's so modest--the ones you're currently working on.

LEONARD

Oh, right--those.

CHOROS 4 (Wolfowitz)

I think your work might be just what we're looking for--you see one of the artists we had contracted decided to pull out--we've been looking for someone to fill the spot, and judging from Benjamin's description of your pieces--I think you might be just what we're looking for.

LeONARD

Wow! Well, yes. Yes, that would be great.

ChoROS 4 (Wolfowitz)

I'm not actually the one in charge of selection--but I will definitely put a bug in his ear. I'm sure we'll be in touch to set up an appointment to see more of your work.

LEONARD

Wow--thanks. I hope I don't disappoint.

ChoROS 4 (Wolfowitz)

Nice meeting you.

LeoNARD

Nice meeting you too.

VELLONE

Leonard. Gwen.

(Vellone and Wolfowitz recede and blend back into the crowd)

GwEN

Wow! Leonard! That's huge! I am so proud of you! I can't believe that! The Apollonaire! Isn't that THE Gallery to be at!?

LeONARD

(still in shock) Yes. Yes it is.

Gwen

I can't belive that! I just can't believe it! Wait 'til my Dad hears about this--he's always been so skeptical about your career--they're going to be so pleased!

LeoNARD

Huh.

Gwen

Leonard?

LeONARD

I think I need some air.

(Leonard shuffles off stage with Gwen trailing behind)

GWEN

Leonard? Are you all right?

BlACKOUT.

Scene 8

(Three weeks later. We are back in Leonard's apartment)

ChOROS 1

Time passes.

ChOROS 2

Coughs

choROS 1

Has passed.

ChOROS 2

Three weeks.

ChOROS 3

Twenty-one days.

ChoROS 4

Three weeks later.

(The chorus changes formation and once again becomes Leonard's inner voice. He is staring at a canvas on the easel--the Manzetti forgery)

ChOROS 1

He'll be here any minute.

ChOROS 3

It's not too late to hide it.

ChOROS 2

You could say it isn't finished...

ChOROS 3 & 4

Or back out of the whole thing altogether.

ChOROS 2

This isn't worth it.

ChOROS 1

He's coming.

CHOROS 3

Gwen would be so disappointed...

ChOROS 2

But she can't know.

ChOROS 3 & 4

She can't find out!

ChOROS 2

What if she finds out...

CHOROS 3 & 4 & 1

He'll be here any minute.

(There is a knock at the door)

CHOROS 1 & 2 & 3 & 4

He's here.

(Pause)

ChOROS 2

He's here.

(Leonard breathes a deep sigh of apprehension, throws a cover over the easel and then goes to open the door. He is surprised to find Gwen standing in the doorway--she enters)

GWEN

Hi!

(No response from Leonard. He shuts the door behind her--He is lost in thought)

GWEN

Hey--What's going on? You haven't been returning my calls...

LeONARD

Uh, actually I'm expecting someone right now. Can we talk about this later?

GWEN

I see you got the heat turned on again. (She takes off her jacket) Who are you expecting?

LeONARD

Mr. Vellone is coming over to take a look at some of my work.

GWEN

Oh? Can I see?

(She steps towards the covered easel, he quickly steps between her and the painting)

LeONARD

Actually--I'd rather you didn't.

GWEN

Come on Len, I know you're superstitious--but really? It's me. You can show me. (She takes another step)

LeONARD

No, really. I'm sorry. Just don't.

(There is a deep silence between them. Finally Gwen backs away and Leonard begins organizing his brushes, paints, etc.)

Gwen

Can I help you?

(No response)

GWEN

Do you want any help?

LeONARD

No. I'm fine.

(Pause)

GWEN

Leonard...Why do I always feel like we come back to this?

LEONARD

I told you. Now's not a good time. Mr. Vellone will be here any minute.

(Pause)

GWEN

And uh, when exactly would be a good time? Huh? Should I keep calling you, waiting for you to pick up? Should I come back later tonight?

LEONARD

Stop...

GWEN

Maybe tomorrow? Next week? How long is this going to go on?

LeONARD

Stop.

GWEN

Should I keep checking in on you, hoping things have changed? Do you need space? What? What is it that you need? How can I--

LeONARD

STOP! ...Just stop, okay?

(Pause)

GWEN

Okay.

(Pause)

LEONARD

I'm sorry...

GWEN

You know, it doesn't have to be like this. You can be better--I know you can be better. You don't have to shut me out like this...I can be better too. (Pause) We weren't always like this, were we?

(She begins to sob quietly. He looks at her--realizing the hurt he has caused. He walks over and gently takes her in his arms)

GWEN

I'm sorry.

LEONARD

Shhh. No...no.

GWEN

I don't know what's going on inside you...

LeONARD

Shhhhhh.

(There is a knock at the door. She looks at him--he cannot return her gaze. He stands up and moves to the door.)

LeONARD

That's him.

GWEN

(Sniffling and trying to regain composure) Ok. How long do you think you'll be?

LeONARD

Not long--fifteen, twenty minutes. He never stays for very long.

GwEN

Ok. I think I'll go for a walk. Can we talk about this when I get back?

LEONARD

Yes.

GwEN

Ok. I'll be back in fifteen or twenty minutes.

LEONARD

Ok.

(They share one brief moment--both unsure of where they stand, before Leonard opens the door to reveal Vellone)

VeLLONE

Leonard!

Leonard

Mr. Vellone. Come in.

(He enters)

VeLLONE

It's Gwen, isn't it?

GwEN

Yes. I was just leaving.

VeLLONE

Nice seeing you again.

GwEN

Yes, You too.

(She exits)

VELLONE

Helen of Troy had nothing on her, you know that?

LeONARD

Yes, I think so too. She's the best thing that's ever happened to me.

VeLLONE

Well, down to business? Shall we have a look?

(Leonard pulls the cover off the easel and Vellone closely examines the forgery)

VeLLONE

Hmmmm...yes. Yes. Why...I think it's near perfect. Every brushstroke perfectly in line. This must have taken you ages.

LEONARD

It did.

VeLLONE

You'd never be able to distinguish it from the original. Brilliant--simply brilliant. And how are the others coming?

LeONARD

For the Apollonaire?

VeLLONE

Yes.

LeONARD

Well--I've got three of them nearly finished at a friend's studio--There's no way I could have fit them in here--much less gotten them out the door.

VELLONE

Yes. Of course. Do you have pictures?

Leonard

Yes.

(He hands Vellone an envelope of 4x6 snapshots which he browses)

VELLONE

Oh yes, yes I think Terrence will like these very much.

LeoNARD

Terrence?

VellONE

Terrence Malliol--an old friend. He's the director over at the Apollonaire. Of course, Terrence wouldn't know fine art if it hit him in the face with a hockey stick--But he likes what I tell him to like--and everybody's happy.

LeonaRD

Why is it, Mr. Vellone, that you don't spend more time promoting your own gallery?

VELLONE

You think I want to spend my time holed-up in an office shoveling paperwork? No, I get other people to do that. In fact I got Terrence his position. I don't want to spend my time reporting to boards and comittees--that's all too political for me. I'd rather be here... with you...with the art. In the game. I try to keep a low profile when it comes my own acquisitions.

LeONARD

How do you do that?

VeLLONE

Do what?

LeONARD

...Nothing.

VELLONE

No, Tell me Leonard.

LEONARD

How do you...get him to do that? To do what you want?

VeLLONE

What do you mean?

LEONARD

He'll do whatever you want...just like that? How do you do that to him? To people? You...manipulate--

Vellone

Manipulate? I don't manipulate anyone, Leonard. Oh I have my ways of helping people get what they want--but that's really the bottom line here--that's what I do. I help people get what they want. You see, Leonard, in the end, most people end up getting what they want, what they're willing to work for, pay for rather. And sometimes I help them get it faster...and sometimes that means there's a higher price to be paid.

LeONARD

What do you mean?

VeLLONE

You for example, want more than anything to be successful--to be recognized for the talent you have, for the work you've done. And I am willing to help you achieve that. You're in the show, Leonard. I spoke with Terrence earlier on the phone. He's willing to go on my word about your work and give you the open slot.

(Leonard is once again, speechless)

VellONE

I'll need to bring him a few photos of your work, just so he has something to show the board--but after that, you're in.

LEONARD

I don't know what to say...

VeLLONE

'Thank you' would suffice.

LeONARD

Thank you! Really. I can't believe this.

VELLONE

My pleasure. We did have a deal after all. (He gestures to the forgery) And things couldn't have been timed more perfectly. I'm planning on meeting with the buyer tonight over dinner. He's so eager to see this 'find'.I hope he's as fooled as I am--nearly indistinguishable.

LeONARD

Have you actually seen the original in person?

VeLLONE

As a matter of fact, I have. I have to apologize to you, Leonard--I haven't been entirely truthful with you. When I told you that the painting had been purchased by an anonymous buyer several years ago, I was telling the truth. But what I didn't tell you was that I was the purchaser. I have the original at home in my personal collection. When Manzetti's popularity began to rise last year, I thought, what a perfect time to sell--I could easily triple or quadruple my investment. But then again--I would have hated to have had to part with one of my favorite pieces. Thankfully, I found you. And now it's not really even a question.

LeoNARD

I see.

Vellone

Although, there is one more thing I'd like to ask of you before I submit your work to Terrence.

LeoNARD

What's that?

VeLLONE

A small favor. I'd like to borrow something from you.

LeONARD

What?

VeLLONE

The girl--from the painting.

LeONARD

I already told you--the portrait is not for sale.

VeLLONE

No. Not the painting. The girl.

LEONARD

I'm sorry--what?

Vellone

I told you--I'm meeting with the buyer over dinner tonight. And I make it a point never to meet with a buyer unaccompanied.

LeONARD

What do you mean?

VeLLONE

I mean I never meet a buyer without bringing a girl. It helps tremendously to have a beautiful distraction by my side--it gives an air of power, of control. In short, it gives me the upper hand. And, if things look as though they may not be playing out in my favor,it gives me leverage--a sort of carrot I can dangle out in front of the horse, if you will.

LeONARD

And what makes you think that I'm going to ask Gwen to do this--to go with you?

VeLLONE

You have nothing to worry about, Leonard. I dare say she might even enjoy the evening--we're eating at the Cavelle--I've arranged for a limosine--and we've got a suite at the Truman. It might be one of the most grand evenings she'll ever see. You'll get your show at the Apollonaire, Gwen will help me land this deal, and everything will be over and settled by tomorrow morning.

Leonard

I don't know.

VeLLONE

What don't you know?

LeoNARD

I don't know that I feel comfortable with this...I mean, I did the painting, Isn't that enough--can't you just take that and be done with it? This wasn't part of the deal.

VeLLONE

Leonard, I wouldn't ask if it wasn't absolutely essential to things working out for all of us.

LeONARD

I just don't think Gwen would be comfortable in that sort of situation.

Vellone

She'll be just fine. You have nothing to worry about. I will take excellent care of her.

LeoNARD

I just don't know...

VellONE

Let me put it to you this way, Leonard. Do you know what will happen if you don't ask her?

LeONARD

What?

VeLLONE

I never go alone to meet with a client. If I go alone, it could really throw me off. And if I am thrown off and lose this deal--if he decides to back out, I will be very, very unhappy. And if I become very unhappy, I may be less than inclined to present your work to Terrence...

LeoNARD

What makes you think that she'll even listen to me? I don't think I could make her do anything she doesn't feel comfortable with.

VeLLONE

Oh, she'll listen to you. I've seen the way she looks at you. I overheard your conversation at the gallery--she loves you, Leonard. She'd do anything you asked her to. That's a rare thing--but I'm willing to bank on it.

LeoNARD

...And if I refuse?

Vellone

You won't refuse. I'm banking on that too.

LeONARD

Oh are you?

VeLLONE

Let's put it this way: If you don't agree,I'll have the FBI all over you before you can get halfway down the hall and you'll be behind bars for the next five years on charges of fraud.

Leonard

You can't prove that. This is just a 'study' like you said--

VeLLONE

It doesn't matter. You've already sold a fake--your unsigned 'Manzetti'. Guess whose name was all over that paperwork I sent over--Not mine.

LeonARD

But that was a contract...for your commission...the show...

VeLLONE

Exactly. Your sale, My commission for arranging the sale. In fact, I was only your agent. You provided the artwork, the guarantees and the certificates. Legally, you sold it--not me. And that's enough to pin you for a good deal of the foreseeable future if it comes to light.

(No response)

VELLONE

So you had better think very carefully about what you're going to do, Leonard. You've got a lot riding on this.

LeONARD

I know.

VeLLONE

I'm sure you'll make the right decision.

LEONARD

You're banking on it.

VELLONE

Yes I am. I'll be back around eight to pick up the painting...and the girl.

(He exits)

(There is a long, heavy silence. Then, slowly a quiet whispering builds among the chorus. It grows louder and louder--the words are indistinguishable, almost like static on a television set or a radio with poor reception. It stops instantly when the door opens and Gwen returns)

Scene 9

(Gwen enters)

GWEN

Leonard! How did it go?

LEONARD

Not good.

GwEN

Oh no! What happened? He didn't like your work?

LeONARD

No, He thought the work was great...

GWEN

What is it then?

LeoNARD

Well...

GwEN

Wait, Before you say anything, I wanted to appologize. I'm sorry I yelled at you. You deserve better from me...

LeONARD

Actually, I don't. And no, I'm sorry.

GwEN

You know how much I care about you--I would do anything for you--you know that, right?

LEONARD

I know. That's what I'm afraid of...

GwEN

What? Hey, it's ok. I'm sorry. I just lost my cool. I think that from here on out we should just give each other a fresh start. Let's put everything that's happened behind us, forgive each other...start over.

LEONARD

Gwen...

GwEN

What? What is it?

LeONARD

There are some things I need to tell you...

GwEN

What?

LeONARD

I...think...I...

GwEN

Hey, what is it? You can tell me. I'm right here.

(He struggles with the words for a moment before walking over and pulling the cover off the easel)

LEONARD

You see this?

GWEN

Yeah...

LeONARD

It's a fake.

GwEN

What? What do you mean it's a fake? You painted it didn't you?

LeoNARD

Yes, I painted it--but it's not my painting. The original was done by Federico Manzetti. It's a forgery.

GweN

Who?Manz--Wait--What!? Why? Why did you do that?

LeoNARD

And it's not the only one.

GwEN

There are more?

LeONARD

Well, actually just one--but it's enough to potentially land me in a lot of trouble.

GwEN

Why? You can't be in trouble just for painting them...can you?

LeONARD

That's just the problem. I didn't just paint one--I sold it too.

GwEN

You sold a forgery?

LeonARD

Well, not exactly...See, Vellone put all the paperwork in my name and I thought I was signing a contract for comission at the Prescott--

GweN

Oh, Leonard...So, legally, you sold it.

LeONARD

Yeah--but I didn't even know I was selling anything. It was all that paperwork...

GwEN

You really should have read the fine print.

LeONARD

I know.

GwEN

Geez.

LeONARD

Congratulations. You have 20/20 hindsight.

GwEN

So he's blackmailing you?

LeONARD

Yeah I'd say that about describes it.

GwEN

What does he want you to do?

LeoNARD

Well, we had a deal--if I did this forgery he would get help me get my own show at the Apollonaire.

GweN

Oh, Leonard...

LeoNARD

I know, I know, You're right. I shouldn't have done it--but I wanted it so badly. I still do.

Gwen

So what--that's it? It's done? Isn't there anything you can do...

LeONARD

Well, not quite...

GwEN

What do you mean?

LeONARD

He's going to meet with the buyer tonight to make the sale on the painting...

GWEN

And?

LeONARD

And he asked me for a favor of sorts...

Gwen

Well, what is it? What does he want?

LeoNARD

But I already told him no--or I will tell him. I couldn't do it...

GweN

What is it? Is there anything I can do to help?

LeoNARD

No, No. I've already made up my mind--I'm going to tell him off.

GwEN

You can't tell him off! Do you realize what's at stake here? Everything! If he turns you in, why, Leonard you could go to prison! Your career would be over and we wouldn't be able to see each other for, I don't know, years, right?! We would lose everything!

LeoNARD

What are you kidding me? I'm trying to do the right thing here! I thought you'd be supportive!? I'm doing this for your sake!

GwEN

My sake? While I do appreciate your efforts to be noble--do you really think it would be best for me if you got shut away in some federal prision? I mean, we'd all like to do the right thing here, but come on now, I think we're in a little over our heads. What are we supposed to do?

(Leonard searches her face for the answers)

LeONARD

I don't know.

Gwen

What does he want you to do? Did you really tell him off?

LeoNARD

No. I told him I'd think about it.

GwEN

Think about what!?

LEONARD

There is something you can do...but it won't be easy

GwEN

What?

LeONARD

And if we just get through this, I think I'll be out of the woods--free and clear...I think.

GwEN

What? What can I do?

LeONARD

He wants you...He wants you to accompany him tonight when he goes to meet the buyer. That's what he said.

GWEN

Me?

LeONARD

Yeah.

GweN

He wants a...date for tonight?

LeoNARD

Well...yeah. Yeah, I guess that's what you'd call it...

GwEN

What did he say?

LeONARD

He said he never goes to meet a buyer without a date. He said...he said it helps to take a 'beautiful distraction' with him--something to take the buyer's mind off the purchase...

GwEN

Okay...what would I have to do?

LEONARD

Well, I don't exactly know. He said if he thinks the deal might be going south, it helps to have some leverage. A carrot, he said, to sort of hang in front of the horse...

GwEN

What does that even mean?

LEoNARD

I don't know. He probably just wants you to go along to look pretty, take the guy's mind off his wallet--make the medicine go down a bit easier.

GWEN

Ok...

LEONARD

He said you might enjoy it--He said dinner at the Cavelle, a limo, and he got a suite at the Truman...it would only be a few hours I'm sure and--

Gwen

Wait, wait--What? He got a suite at the Truman? That's a hotel Leonard.

LEONARD

Yeah?

Gwen

Do you not see anything wrong with that?

LeONARD

Well, no, uh...maybe he just wants somewhere private to conduct business...

Gwen

No. No. I don't think I can do this, Leonard.

LEONARD

No?

GwEN

No. I do not feel comfortable with this. What part of the fine print are you not reading here? The guy says he wants to use me as 'leverage', a 'carrot' and he's booked one of the swankiest hotel rooms in town. I don't think things could be any more clear--

LeoNARD

Whoa, whoa! Hang on--it's not like that. I don't think he would...he said everything would be fine. He said he'd take good care of you...

GweN

And you said yes to him!?

LeoNARD

Well yeah...I mean, no! I mean, I told him I'd think about it.

GwEN

You told him you'd think about it?

LeONARD

Yeah, listen, I don't think it's as bad as it sounds--I think you'd be fine, he said you'd be fine...

Gwen

No. I'm sorry. There are a lot of things I would do for you, Leonard, but this, this is going too far.

LeONARD

Hey, hey, hey--wait! No, It's not like---

GwEN

Leonard, I am not just some car that you can loan out to your buddy for the evening--

LeoNARD

No--

GwEN

Or a poker chip, or...or even one of your paintings!

LeONARD

No, No, Of course not! But I don't think it's like that, ok? Look, it will be dinner, probably a few drinks, a quick meeting, and then you'll come home in a limo. It will be fine...

GwEN

And what if it's not...

LEONARD

It will be fine. Listen, I don't see any other way around this. And I need this--we need this. Everything will change if this deal works out...I won't have to worry about work anymore, I can finally do what I've always wanted to do--I'll have more time...and you, I'll be able to spend more time with you. I won't be broke anymore...we could go out. To that italian place you wanted to go. Every night. I could get ahead...We could finally start making some real long term plans...

(Pause)

GweN

Do you trust him?

(Pause)

LeONARD

No. No I don't...but come on, you know I would never ask you to...to do that. To do anything you weren't comfortable with

GwEN

I'm pretty sure you just did.

(There is a long, heavy silence between them)

Leonard

I'm sorry. I did't mean to...I'm sorry.

GWEN

I know. I'm sorry too. (Pause) I think I should go.

(She goes to leave)

LEONARD

Wait...

GWEN

What?

LEONARD

Please? Do this for me. I don't think...I really do think that everything will be fine. Please.

(Pause)

GwEN

Ok.

LEONARD

Really? I mean...You don't have to--

GWEN

No. I meant what I said.

LEONARD

What?

GwEN

I really would do anything for you.

(Pause)

LeONARD

...are you sure?

Gwen

No. I would. I would even do that for you, Leonard. But it will be the last thing I ever do for you. (Pause) What time will he be coming by?

(Pause)

LeonaRD

Eight o' clock.

GwEN

Okay. I'll be there.

LeONARD

Here. He's coming back here. He wants to pick up both you and the painting here.

GWEN

Ok.

LeoNARD

Ok.

(She closes the door and Leonard is left alone)

BLACKOUT.

Scene 10

choROS 2

Leonard left--unable to face Gwen upon her return.

CHOROS 1

Three hours and eighteen minutes later.

LeONARD

I can't...

ChOROS 3

Or, one hundred and ninety-eight minutes...

LEONARD

What did I do...

CHOROS 3 & 4

Eleven thousand eight hundred and eighty four seconds...

LEONARD

I have to...

ChOROS 3

He came back.

(Leonard Enters)

LeONARD

Gwen? Gwen! ...What time is it?

ChOROS 2

Eight o'clock.

LeONARD

Eight o'clock?

CHOROS 2

On the dot.

LEONARD

Eight o'clock...Where are they?

ChOROS 1

But it was--

ChoROS 4

Too late.

LeONARD

He said he'd be here, eight o'clock...

ChoROS 3

It was

ChoROS 2 & 3

Three minutes...

ChOROS 3 & 4 & 1

One hundred eighty six seconds...

ChOROS 1 & 2 & 3 & 4

Too Late.

LeONARD

No!

ChOROS 1

Yes.

ChoROS 1 & 2 & 3 & 4

Too late.

LeoNARD

But...

VeLLONE

If you're early, you're on time. If you're on time, you're much too late.

ChOROS 3

Clever--

ChOROS 4

I'll have to remember that.

LeONARD

No! It's not too late. I'll find her.

ChOROS 1 (John)

Leonard!

LEONARD

Hey! Did you see Gwen? Did she come down?

ChOROS 1 (John)

Yeah, she came down about ten minutes ago--She looked like a million bucks too! All dolled up!

LeONARD

Ten minutes ago?

ChoROS 1 (John)

And that limo!? You must have some special plans tonight! You finally gonna pop the question?

VeLLONE

I have my ways of helping people get what they want...

LEONARD

Taxi!

VELLONE

That's really the bottom line here--that's what I do. I help people get what they want.

ChOROS 3 (Taxi Driver)

Where you headed?

LeONARD

The Cavelle Restaurant--On 53rd and Rome. As fast as you can, please.

ChoROS 3 (Taxi Driver)

I'll try--but cross town traffic is awful tonight.

LeONARD

Please hurry.

ChOROS 3 (Taxi Driver)

Sure thing, kid.

VeLLONE

You see, Leonard, in the end, most people end up getting what they want...

LeONARD

Hi. I'm meeting some friends here and--

ChoROS 2 (Maitre'd)

Welcome to the Cavelle. How many in your party?

LeoNARD

One, er--actually I'm meeting some friends here and--

ChOROS 2 (Maitre'd)

I'm sorry sir, but this is a fine dining establishment and I'm afraid you'll need a jacket and tie...

LeONARD

Oh...

Gwen

Don't think that just because I'm letting you come late means that you don't have to wear a tie!

LeONARD

Well, maybe you could find them...give them a message for me? It's urgent.

ChoROS 2 (Maitre'd)

I'll see what I can do. What's the name?

LEONARD

Uh, Vellone. The table should be under Benjamin Vellone. And if you could give the message to Gwen Collatino--

ChOROS 2 (Maitre'd)

I'm sorry sir, but that party has already left.

LeoNARD

What? Are you sure?

ChOROS 2 (Maitre'd)

They had a reservation for seven thirty. Table six. That table is now occupied by a party of two: Mister and Misses Louis. Would you still like a tie?

LeONARD

I won't be late--I'll be there as soon as I can.

GwEN

You always say that. You always say it won't be long--but then it is, and two hours later I'm still waiting for you to pick me up...

Leonard

Hi. I need to meet someone who has a room here, could you tell me the room number?

ChOROS 4 (Hotel Clerk)

I'm sorry. We don't give out that information.

GwEN

Why do we always come back to this...

VeLLONE

It gives me the upper hand...

LeonARD

Please--it's urgent.

ChoROS 4 (Hotel Clerk)

I'm sorry.

GWEN

Why do I always feel like I'm waiting for you?

LeONARD

Could I at least send a message? Could you call up?

VeLLONE

I'll take good care of her...

chOROS 4 (Hotel Clerk)

What's the name?

LeONARD

Vellone. Benjamin Vellone.

VeLLONE

I dare say she might even enjoy the evening...

CHOROS 4 (Hotel Clerk)

I'm sorry--That room has put in a 'Do Not Disturb' request...

LEONARD

Please...

ChOROS 2

Three minutes...

ChOROS 4

I'm sorry.

ChOROS 1 & 4

One hundred eighty six seconds...

VelLONE

I help people get what they want--

ChoROS 2 & 3

Too Late.

VellONE

What they're willing to pay for, rather...

LeONARD

No...

ChOROS 4

'Do Not Disturb'

VELLONE

And sometimes I help them get it faster--

ChOROS 2 & 3

Three minutes.

VeLLONE

And sometimes that means there's a higher price to be paid.

ChOROS 1 & 2 & 3 & 4

One hundred eighty six seconds...

VeLLONE

You'll get your show at the Apollonaire, Gwen will help me land this deal, and everything will be over and settled by tomorrow morning...

ChOROS 1 & 2 & 3 & 4

Too late.

LeONARD

Please!

GwEN

I meant what I said.

LEONARD

I know...

BlACKOUT.

Scene 11

CHOROS 3

Leonard got his show at the Apollonaire.

ChorOS 2

And many others.

ChoROS 1

He was successful--

ChOROS 4

He was recognized for his talent--

ChOROS 3 & 4

For his work.

(Leonard stands away from a canvas at an exhibition--The portrait of Gwen. Two attendees remark on the painting)