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AGE OF SWIRL

by Neil Stratton

INT  VOLUCCI HALLWAY  NIGHT

Crista heads for her bedroom, pursued by her parents Gwinny
and Jolly, who are in formal evening wear.

CRISTA
No no no.

GWINNY
But you must, ma chérie.

CRISTA
I'm not going.

JOLLY
For the sake of your mother.

GWINNY
Not to mention your father.

CRISTA
No.

She goes inside her bedroom, slamming the door.

GWINNY
Your daughter is impossible.

JOLLY
I believe you were also at the
conception.

GWINNY
Only in body.

JOLLY
Below the belt.

GWINNY
What are we going to do?

JOLLY
We'll say she's sick.

GWINNY
She is sick.

JOLLY
The truth.  Even better.

GWINNY
She must be.  When I was her
age, I lived for parties.

JOLLY
Whereas now you positively die for
them.

GWINNY
Don't be irrelevant.

JOLLY
Why not?  It's the one thing I'm
good at.

GWINNY
While she who has her
grandfather's talent buries herself.

Jolly shrugs helplessly.

EXT  VOLUCCI HOUSE  NIGHT

A black hearse-like car pulls up outside the large vine-clad
house.  Bindweed steps out.  He's tall, thin and
sombre-looking.  As if in contrast, he's wearing a bright
crimson waistcoat.  Gwinny and Jolly come up to greet him.

JOLLY
She's barricaded herself in.

GWINNY
Her door doesn't have a lock.

JOLLY
Mentally barricaded, dear.
Mentally barricaded.

BINDWEED
Then I'll have to talk tough.  Do I
have your consent?

INT  CRISTA'S BEDROOM  NIGHT

Crista's lying on her bed, surrounded by flickering candles.
There's a knock on the door.

CRISTA
Go away.

Bindweed enters.

CRISTA
Oh it's you.

BINDWEED
What's this nonsense about?
Everyone's expecting you.

CRISTA
Then they'll have to un-expect me.

BINDWEED
Torrenti's defection has hurt us
considerably.  We need to show
Volucci is still a force to be
reckoned with.

CRISTA
Find someone else.

BINDWEED
There's not enough time.

CRISTA
I've never done a major exhibition
before.

BINDWEED
It's a party, not an exhibition.

CRISTA
Do I look in a party mood?

BINDWEED
You just have to be there.  It's a
symbolic gesture.

CRISTA
And what if some half-wit asks me
to dance?

He sighs.

BINDWEED
If Xavier were dead, your period of
mourning would be excessive.
Since he's very much alive...

CRISTA
It's a crime against humanity.

BINDWEED
Shall I tell you about his latest
piece of fluff?

CRISTA
I loved him.  I don't care how
stupid that makes me.  I loved him.

BINDWEED
And now?

CRISTA
Now I love no-one and nothing.
So how can I create?

BINDWEED
Then you leave me no choice.  I'll
liquidate the firm.

CRISTA
You can't.  You don't have a
majority.

BINDWEED
I have your father's support.

INT  VOLUCCI LIVING ROOM  NIGHT

Crista bursts in on her parents sipping pre-party cocktails.
Bindweed follows.

CRISTA
How dare you even consider it?

JOLLY
Consider what?

CRISTA
Ganging up with Bindweed to
destroy the firm.

BINDWEED
The term I used was liquidate.

CRISTA
Liquidate, vaporise, whatever.
What Pippo put together, you
would break apart.

BINDWEED
The time to sell is now, while the
House of Volucci still has value.

CRISTA
Torrenti can and will be replaced.
This is just scaremongering.

BINDWEED
We've been living under the cloud
of losing your grandfather.  There
was some hope of improvement,
but Torrenti's departure has
changed that.

CRISTA
Temporarily.

BINDWEED
The period of grace with our
bankers is about to end.

CRISTA
Then re-negotiate.

Bindweed throws up his hands and goes to the window,
looking out into the night.

CRISTA
I can't believe things are that
desperate.

JOLLY
Well you know, carissima, you do
spend a lot of time in your room.  I
admit when I try and read financial
reports, the numbers do a jiggle
before my eyes, but I'm not
colour-blind.

Crista turns her back and is silent.  The others watch and wait.
She whirls around.

CRISTA
All right.  I'll go to your stupid party.

INT  PARTY VENUE  NIGHT

Natasha, 17, enters with her parents Gwinny and Jolly.
The two greet everyone profusely, while Natasha makes a
beeline for Oscar.  Torrenti is holding forth to a group of
supporters.  Crista arrives with Bindweed.  All eyes go on her
and conversation stops.  The band, noticing the change,
winds down uncertainly.  People part, so that Torrenti and
Crista, though some distance away, face each other.

CRISTA
What's the matter, Torrenti?
Afraid of a little competition?

Torrenti smiles and twirls his right hand with an extravagant
bow.  He ends by blowing her a kiss.  Bindweed gestures to
the band, who resume playing.

Bindweed and Crista go to the bar and order drinks.

CRISTA
How was I?

BINDWEED
Blatant.  Your mere presence was
enough.

CRISTA
Indulge me.  It's probably the only
fun I'll have all evening.

Torrenti makes his way through the crowd and approaches
them.

TORRENTI
Cristabellissima, you have never
looked more gorgeous.

CRISTA
Doesn't he make a wonderful liar?

TORRENTI
When truth is a jaded whore, a lie
becomes the sincerest form of
flattery.

CRISTA
And I thought imitation had that
honour.  Silly me.

TORRENTI
Ah, imitation.  That is the mother
of originality

CRISTA
And that's no invention.  So we
shall expect a truly original
collection from you.

TORRENTI
I deliver surprises, not
expectations.

He holds out his drink in a toast, takes a sip and moves off.
Crista pulls a face at Bindweed, but his attention is elsewhere.

BINDWEED
I've just spotted Borinsky.  You'll
be all right on your own a moment?

CRISTA
Of course.  I'll just stand here all
symbolic.

He goes off.  She sips her drink looking mildly bored until
Oscar and Natasha come up.

CRISTA
Hello, Oscar.  Made any new
enemies in high places?

OSCAR
My dear Crista, they're the only
sort worth having.  Anything less is
not worth the fuss and bother.

NATASHA
Oh look, there's Metalla.

Before Crista can continue the conversation, Natasha drags
him away.

Crista continues sipping, occasionally nodding at
acquaintances.  She doesn't notice Dexter, who may as well
have been wearing the cloak of invisibility, nervously approach.

DEXTER
Excuse me, Miss Volucci... You
are, aren't you?

CRISTA
I'm always what I am.  Even when
I'm not.

DEXTER
Now that Mr Torrenti's gone, will
you be doing this season's
collection?

CRISTA
Are you a reporter?

DEXTER
No.

CRISTA
Are you anybody?

DEXTER
A friend of Lyndon's.

CRISTA
Little tip.  The idea in
name-dropping is to pick one that
actually means something.

DEXTER
I'm sorry, have I said somethihg to
offend you?

CRISTA
If only.  Then at least you'd be
memorable.

DEXTER
The thing is, I was wondering
about a dance.

CRISTA
You mean us?

DEXTER
Yes.

CRISTA
Do you believe in reincarnation?

DEXTER
Why?

CRISTA
Because it's not going to happen
in this lifetime.

She glances about the room, takes a sip of her drink, and is
surprised to find him still there.  She raises an eyebrow.  He
edges away.  Bindweed returns.

BINDWEED
What did you say to the poor
fellow?

CRISTA
The mad fool wanted to dance.  I
declined.

BINDWEED
You could have used tact.

CRISTA
That would only have confused
him.

He sighs.

CRISTA
What?  He's nobody important.

BINDWEED
So now you're a snob?

CRISTA
It wasn't my idea to come here
tonight.  I'm doing my best.

BINDWEED
Your best would be to apologise.

CRISTA
I'll write him a note.  You know
who he is?

BINDWEED
A friend of Lyndon's.

CRISTA
Am I to be tormented all night by
this meaningless name?

BINDWEED
He's a potential backer.  The last
one here you should've insulted.

CRISTA
Well I'm sorry, but they weren't
lined up in order.

She scans the crowd.

CRISTA
Point him out.

BINDWEED
So you can insult him personally?

CRISTA
Bindweed, don't you trust me?

He reluctantly indicates.

BINDWEED
He's over there.  However I
suggest...

He turns to Crista but she's gone.

Crista comes up to Lyndon, who's standing alone.  He spares
her the merest of glances.

LYNDON
Miss Volucci.

CRISTA
I've come to apologise for insulting
your friend.

LYNDON
I'm sure it wasn't entirely your fault.
Dexter's brilliance with figures
doesn't extend to the feminine
kind.

CRISTA (coolly)
Really?

LYNDON
Besides, I did try and warn him.

CRISTA
About me?

LYNDON
That you don't dance.

CRISTA
Rather presumptious.  I do what I
like.  In fact, if you were to ask me
now, I might take great pleasure in
proving you wrong.

LYNDON
Reluctantly I must deprive you of
that pleasure.

CRISTA
So it's really you who doesn't
dance.

LYNDON
Not since Trixie died.

CRISTA
Oh.

She stands there fuming a moment before marching off.  She
intercepts Bindweed, about to greet an acqaintance.

CRISTA
He's arrogant, impudent, and who
the hell is Trixie?

BINDWEED
No idea.

CRISTA
I thought you knew everything.

BINDWEED
I'll find out.

CRISTA
Do so.  And why he's at this party
if he's in mourning.

BINDWEED
Mourning?

INT  CRISTA'S STUDIO  DAY

Crista's at her drawing board, facing blank paper.  Bindweed
enters and picks his way through the litter of discarded rejects.
He glances over her shoulder.

CRISTA
I don't know why you insisted I
start drawing.  It's too early.  I have
no ideas.

BINDWEED
What you produce isn't as
important as it is to be seen to do
so.

CRISTA
Is everything with you façade?

BINDWEED
You still don't understand.  Our
position is precarious.

CRISTA
Because Torrenti walked?  He
doesn't have a fraction of Pippo's
talent.

BINDWEED
I don't need to remind you il
maestro is no longer with us.

CRISTA
Well I for one still feel his
presence.  And how will Torrenti
get on without the Volucci classic
style to reign in his overblown
self-importance?

BINDWEED
Despite your bravado, the money
is indeed on him.  However
we haven't been written off yet.
That's why you're here.

He turns to leave.

CRISTA
Hold on.  You haven't told me
about Trixie.

BINDWEED
She isn't worth bothering about.

CRISTA
I'll hire a private investigator.

BINDWEED
Okay, but after our dinner with
Lyndon.

CRISTA
You're mistaken if you think I have
any feelings for him.  I'm merely
curious.

He still hesitates, then relents.

BINDWEED
He maintains a collection of - let
us say - exotic creatures.

CRISTA
A collection?  My God, and to
think I only called him arrogant.

BINDWEED
You will behave at this dinner?

CRISTA
Don't worry, he's money, nothing
else.  I could never love someone
so loathesome.

INT  BINDWEED'S LIVING ROOM  NIGHT

Bindweed ushers in a suavely dressed Crista.  Already seated
with their drinks are Metalla, Gwinny, Jolly, Lyndon and Oscar.
Natasha lounges on the floor by Oscar's feet.  Bindweed fixes
Crista a drink.

CRISTA
I didn't realise tout le monde would
be here.

OSCAR
No, just the demi-monde.

BINDWEED
Lyndon suggested a family
gathering, and Oscar and I qualify
as hangers-on.

NATASHA
Are we related, Metalla?  Why
wasn't I told?

GWINNY
You were, darling.  You always
make it a point of honour to forget
everything on te dit.

METALLA
Distant cousins.  Barely counts.

NATASHA
Sounds like she's disowning us.

METALLA
I didn't think you liked being
owned by anyone.

NATASHA
Quite right.  When I grow up -
that's next birthday so start saving
madly - I intend to become fully
independent.  That includes never
marrying.

JOLLY
I thought you were going to marry
Oscar.

NATASHA
That amounts to the same thing.

OSCAR
I'm honoured.  She doesn't
bestow the title of non-entity on
just anyone, you know.

GWINNY
Such gallantry, to make a joke out
of wounded feelings.

JOLLY
Critics don't have feelings - just
opinions.

NATASHA
Yes they do.  Permanently
wounded ones, because nothing
meets their expectations.

OSCAR
And you, my sweet Natasha, are
never more sublime than when
you're being ridiculous.

NATASHA
Hear that, everyone?  Henceforth
I'm to be known as Your Sublimity.

CRISTA
I'm sure all this nonsense is boring
our special guest. (to Lyndon)
Would you like to introduce some
more worthy topic?

LYNDON
What is more worthy than
amusement?

CRISTA
A frivolous answer for a financier.

LYNDON
Yet you want me to invest in the
fashion industry.  Isn't that based
on frivolity?

OSCAR
And therefore to be treated with
the utmost respect.  We should
only laugh at serious things.

JOLLY
Easy for you to say.  I always
confuse the two.

BINDWEED
They are indeed inextricably linked.
And what is a joke to one, is
another's livelihood.

NATASHA
Oh Bindweed, Master of Doom
and Gloom.  If the House of
Volucci fell tomorrow, we'd all find
something else to do.

GWINNY
Says she, who's not even going
into the business.

LYNDON
What do you intend to do?

NATASHA
I'm going to be an actress.

METALLA
We won't notice any difference
then.

NATASHA
Oh ha.  Oscar, find me something
clever to say.

JOLLY
Cheating.

OSCAR
Unfortunately Metalla is the one
person armoured against my
barbs.

NATASHA
I didn't mean for Metalla's benefit.
Everyone knows she's impervious.

LYNDON
Not entirely true, I hope?

METALLA
You expect me to freely confess
my weak point?

LYNDON
To succumb is not always a
weakness.

CRISTA
And what is your weakness,
Lyndon?  Collecting things?

OSCAR
My weakness is parking tickets.  I
simply can't resist them.

LYNDON
I have a few collections.  I would
hardly define it as a weakness.

CRISTA
Oh just a minor diversion, are
they?

BINDWEED
Crista, would you like a re-fill?

He gives her a warning look.  She holds out her half-full glass
while continuing to face Lyndon.

CRISTA
I admire your candour, although
it's hardly flattering to Metalla.

NATASHA
What's Metalla got to do with
collecting?  Oscar?

OSCAR
She's suggesting he wants to add
Metalla to his collection.

LYNDON
I only collect what can be bought.
That inevitably excludes the heart.

CRISTA
Then I'm a little puzzled as to how
your recent loss can have left you
so heartbroken.

LYNDON
Loss?

CRISTA
Trixie.

NATASHA
Who's Trixie?

LYNDON
My budgie.

CRISTA
Your what?

She gets up and walks out.

INT  CRISTA'S STUDIO  DAY

Crista hurls paint bombs at a wall as Bindweed watches on
impassively.  Finally she turns round and confronts him.

BINDWEED
This gives you inspiration?

CRISTA
His damn budgie!

BINDWEED
I'm sorry, I should've explained.
But was it totally necessary to
walk out?

CRISTA
I don't like being patronised.

BINDWEED
A pity, because that's what we do
need - a patron.

CRISTA
Anyway, he's only interested in
Metalla.

BINDWEED
I've set up another meeting.

Crista prepares another paint bomb.

BINDWEED
That includes you.

CRISTA
No thanks.

BINDWEED
Without you there's no point.

CRISTA
Without me you can talk business,
because that's what you both are
- businessmen.

BINDWEED
He needs to see you're committed.

She tries to ignore him.

BINDWEED
Remember who you are.

CRISTA
I'm not my grandfather.

BINDWEED
But you are a Volucci.

CRISTA
So is Natasha.

BINDWEED
Giuseppe trained you.  He
recognised your talent.

CRISTA
I'm not ready, damn you.  Maybe
in a year or two.

BINDWEED
Unfortunately we don't have the
luxury of that option.

CRISTA
Get out.

BINDWEED
As you request.

He goes to the door then adds a
parting shot.

BINDWEED
But you will come to the meeting.

He leaves before she can object further.  She hurls the paint
bomb at the door.

INT  LYNDON'S BOARDROOM  DAY

Lyndon and Bindweed are seated at a massive oval table.
Crista walks slowly around it, tracing the circumference with
her finger.

CRISTA
This is to impress me?

LYNDON
No, you're here to impress me.

CRISTA
And how can I do that?

LYNDON
By convincing me I should invest in
Volucci.

CRISTA
The House of Volucci is
synonomous with quality design.

LYNDON
You've lost Torrenti.

CRISTA
My grandfather had two pupils.

LYNDON
Yes.  I understand you've never
done a major collection.

She looks at Bindweed.

BINDWEED
Nevertheless she has exhibited
small ranges extensively.
Commentators recognise she's
inherited her grandfather's flair.

LYNDON
I've read the reports.  But still, it's
Torrenti everyone's talking about.

BINDWEED
The rivalry between Torrenti and
Volucci will generate much useful
publicity.

LYNDON
What point publicity without
winning designs?  I see you've
brought nothing along.

CRISTA
Are you a designer?  Can you read
patterns?  Understand fabrics?
How fashion editors will respond?
You know all this?

LYNDON
I'll seek advice.

Crista pauses.

CRISTA
Give me a week.

LYNDON
What for?

CRISTA
You'll see Metalla in a dress that'll
make you fall in love.

Their eyes lock for a moment.

LYNDON
One week.

INT  UNDERGROUND CARPARK  DAY

Crista marches determinedly out of the lift.  A remonstrating
Bindweed follows after her.

BINDWEED
Are you mad?  First you say you
have no ideas, and then you pin
everything on a single dress that
doesn't even exist.

CRISTA
What's the big deal?  He's already
in love with her.

INT  CRISTA'S STUDIO  NIGHT

Crista's sketching furiously as Oscar enters.  She barely
glances up.

OSCAR
Calamity.

CRISTA
You've split a fingernail.

OSCAR
No that would be an absolute
tragedy.

She rips off a page and thrusts it at him.

CRISTA
What do you think?

He studies it bemusedly.

OSCAR
Is this in fashion?

CRISTA
The idea is to create fashion, not
be constrained by it.

OSCAR
I know nothing about fashion.

CRISTA
That never stopped you being an
art critic.

OSCAR
On the contrary, it's my one
qualification.  Knowing nothing, I'm
free to indulge my opinions.

CRISTA
So opine.  Or don't you believe
fashion has anything to do with
art?

OSCAR
Sometimes too much, which
makes it hard to critique since one
is timeless and the other of the
moment.

CRISTA
But both are born of their time.
Stop stalling.

He studies the drawings.

OSCAR
Not your usual style.

CRISTA
You mean I never swirled before.

OSCAR
It's as though you deliberately set
out to captivate.

CRISTA
I did.

OSCAR
You do for the curve what cubism
did for the straight line.

CRISTA
Thank-you.

She notes his expression and sighs.

CRISTA
Okay, what's the bad news?

OSCAR
Metalla's been scooped up.

CRISTA
By?

OSCAR
Adam Zedd.

CRISTA
Who?

OSCAR
And I say unto you, from the west
shall come a veritable pinball
wizard.

INT  BINDWEED'S OFFICE  DAY

Crista bursts in on Bindweed.

CRISTA
Adam Zedd.  Why wasn't I told
about him?  Damn it, Bindweed,
you must keep me informed.

BINDWEED
What about him?

CRISTA
He's in town.

BINDWEED
So?

CRISTA
He's setting up here.

BINDWEED
Adam Zedd is underground - in
fact, anti-fashion.  Our paths don't
cross.

CRISTA
They just have.  He's ensnared
Metalla.

BINDWEED
Professionally?

CRISTA
Yes.  She now works only for him.

BINDWEED
Well she's an ultramodel.  They're
subject to these irrational whims.
It won't last.

CRISTA
We need her now.

BINDWEED
What do you suggest I do?

CRISTA
Offer her a contract.

BINDWEED
We can't afford her.

CRISTA
We can't afford not to have her.

BINDWEED
Please remember there are other
models.

CRISTA
But none Lyndon's in love with.  Or
have you found another backer?

BINDWEED
Have more faith in your own
creations.

She storms out.

INT  ADAM ZEDD'S STUDIO  NIGHT

The studio is a converted warehouse, the style industrial chic.
Metal chains hang from the rafters.  Adam Zedd shows Crista
in.  Metalla is suspended above a king-size bed.

CRISTA
So this is where you hang out
these days.

He pushes a button, releasing the chains.  Metalla falls onto
the bed.

ADAM ZEDD
I'm a great admirer of your
grandfather.

CRISTA
Really?  It doesn't show.

ADAM ZEDD
If you've come for Metalla, the
answer's no.

CRISTA
Just for the Sho-Down.

He unlocks Metalla's bracelets.

CRISTA
I don't see how that'll compromise
any plans you have for her.

ADAM ZEDD
Then you obviously don't know.

CRISTA
Know what?

ADAM ZEDD
I'm also in the Sho-Down.

CRISTA
You?

METALLA
Meine Süße, afraid of a little
competition?

CRISTA
Not when the emphasis is on little.

ADAM ZEDD
You're right, I'm not interested in
competing.  It's more a forum for
my ideas.

CRISTA
Clothes are for wearing, not
de-constructing.

ADAM ZEDD
Without ideas, clothes are just
wrapping.

CRISTA
With you, they're not even that.
Like when you chained naked
models to a contraption and called
it 'Slaves to the Machine'.

ADAM ZEDD
You know my work.  I'm impressed.

CRISTA
I had you researched.

ADAM ZEDD
And what else did you learn?

CRISTA
That you don't need Metalla.

ADAM ZEDD
No, you don't.  To you, she's just a
mannequin.

CRISTA
And what is she to you?

ADAM ZEDD
Art.

He kisses Metalla.

CRISTA (to Metalla)
Glaubst du daß?

METALLA
Natürlich.  You should find
something to believe in.

Crista turns and walks off.

INT  TORRENTI'S STUDIO  DAY

Crista is shown in by Julie, Torrenti's assistant.  He's with a
client, who's trying on one of his designs.

TORRENTI
Magnifica, no?

CRISTA
Sì, squisita.

The client nods approvingly and goes off to change.

CRISTA
Sorry to interrupt your work.

TORRENTI
When you call, Cristabella, work is
the interruption.

CRISTA
Nevertheless, I'll get straight to the
point.

TORRENTI
Un momento.

He says a few words in Julie's ear then motions Crista to sit
down.

TORRENTI
Sto in ascolto.

CRISTA
You were grandfather's protégé.

TORRENTI
True.

CRISTA
He fostered your talent.

TORRENTI
And I'm grateful.

CRISTA
So grateful you felt obliged to
leave us when we needed you
most?

TORRENTI
Il maestro had more than one
protégé.

CRISTA
I'm not ready, as you well know.

TORRENTI
If I knew that, I wouldn't have left.

CRISTA
You saw me as a threat?

TORRENTI
You're Volucci.  How could I not?

CRISTA
That's ridiculous.

TORRENTI
Maybe, but everytime I step away
from the Volucci style, I am
reminded of you.  Cristabella has
the Volucci touch.  Through her, il
maestro lives.

CRISTA
You thought I wanted you out?

TORRENTI
I think only this.  However meagre
my talents, I must express them.

CRISTA
You want freedom, then that's
what I'm offering.

Julie arrives with the tray of drinks.

TORRENTI
I have it already.

CRISTA
As an independent, you'll struggle.

TORRENTI
Maybe I enjoy the challenge.

CRISTA
Okay, I'll resign.  You won't be
haunted by my presence.

TORRENTI
Resign?  To do what?  You're a
designer.

CRISTA
I'll handle small commissions for
private clients.  Nothing on a grand
scale.

TORRENTO
And that will satisy you?

CRISTA
The survival of the firm will satisfy
me, and that's what's at stake.

TORRENTI
Bindweed, he's always worried
about the money.  I never believe.

CRISTA
We need this season to be a
success, and that means the
Sho-Down.

TORRENTI
You will make it one, I'm sure.

CRISTA
We've lost Metalla.

TORRENTI
Your strategy depended on
Metalla?

CRISTA
It's complicated.

TORRENTI
Well I don't have her either, so it
will be a fair business.

CRISTA
She's with Adam Zedd.

TORRENTI
Adam Zedd?

CRISTA
He's been invited to the
Sho-Down.

TORRENTI
I know the name, but is he so
important?

CRISTA
We make clothes, he makes
statements.  He'll turn the event
into a three-ring circus.

TORRENTI
He's a clown to amuse the people.
But our clothes are what they'll
remember.

CRISTA
Not if he makes them appear
insipid.

TORRENTI
Then I have my theme - death to
the insipid.

CRISTA
Save your theatrics for the gallery.
Are you willing to deal?

TORRENTI
I already have my plans.  It will
mean havoc.

CRISTA
You need distribution.  We have
the outlets.

TORRENTI
And what about your aunt?

CRISTA
Bindweed and I between us
control sixty-percent.  She can't
stop you.

TORRENTI
Il mastro's daughter commands
the respect and loyalty of the staff.
I cannot work in inharmonious
surroundings.

CRISTA
I'll talk to her.

TORRENTI
I must have the consent of la zia.

EXT  FRANCESCA'S LAWN  DAY

Francesca sits with her protégé Sylvan under a sun umbrella.
They're sipping cool drinks.

Crista and Natasha approach.

NATASHA
Oh no, it's Sylvan.

CRISTA
You don't like him?

NATASHA
Of course I do.  Even if he is dull.

CRISTA
You mean he's not Oscar.

NATASHA
Unfortunately that's what
encourages Aunt.

CRISTA
Well if it pleases her...

NATASHA
I thought I was here to pursuade
her about Torrenti.

CRISTA
And scorning her favourite
designer is the way to go about it?

Natasha pouts.  They arrive at the table.

CRISTA
Beautiful day.

FRANCESCA
Isn't it?  Natasha, I've just been
extolling your merits on the
badminton court.

NATASHA
I'm bloody awful.  I just bash
about, you know.

FRANCESCA (to Sylvan)
Don't you admire such affecting
modesty?

He smiles at Natasha.  She darts a look at Crista, who returns
one of her own.

CRISTA
Why don't you give him a game?

NATASHA
Because I'm not dressed and I
sweat like a pig.

CRISTA
I mean a friendly one.

NATASHA
In badminton there are only
enemies.

Sylvan stands uncertainly then goes to sit down again.

NATASHA
Well come on then.

She takes his hand and hauls him off to the court.

FRANCESCA
Who is this Adam Zedd they're all
talking about?

CRISTA
I guess you'd call him a
conceptual artist.

FRANCESCA
So not a designer.

CRISTA
Isn't fashion about ideas?

FRANCESCA
They're indispensable, yes.  But
only as fuel to the fire for what is
forged in the heart.  Your designs,
how are they coming along?

CRISTA
We need Torrenti.

FRANCESCA
Really?

CRISTA
You know our financial position.

FRANCESCA
We're not short of talent.  Both
you and Sylvan are closer to the
Volucci style.

CRISTA
Bindweed thinks Gabini is backing
Adam Zedd.

FRANCESCA
And since when did we concern
ourselves with chain stores of the
likes of Gabini?

CRISTA
Since they became ambitious
enough to want to cut into our
market.

FRANCESCA
I see it as a complete mismatch.
A publicity gimmick, that's all.

CRISTA
Regardless, I don't think this is the
time for us to go head to head with
Torrenti.

Francesca sips her drink and watches the playing couple.

FRANCESCA
You must do what you think best.
	
CRISTA
He won't come back without your
blessing.

FRANCESCA
How flattering.  Which rather
makes me suspect a ploy.

CRISTA
I approached him.

FRANCESCA
Very well, I'll arrange a meeting.
No, better still, I'll invite him to our
photo-exhibition.

EXT  BADMINTON COURT  DAY

Natasha slams the shuttlecock.  Sylvan dives for it, misses
and lands in a tangled heap.  She laughs and flops down by a
tree.  He comes over and they sit a moment in silence while
regaining breath.  He turns to her.

SYLVAN
Can I kiss you?

NATASHA
What if you didn't?  Would you
positively explode with unrequited
passion?

SYLVAN
I love you, Tasha.

NATASHA
And I love my family, dancing,
music and chocolate.  Not always
in that order.

He continues looking at her fondly.  She rolls her eyes.

NATASHA
Just a quick peck then, because I
hate people drooling.

He kisses her tenderly.  She responds at first then suddenly
breaks away and jumps to her feet.

NATASHA
Let's go, I'm dying of thirst.

She heads off to rejoin the others. He remains by the tree
watching her.

INT  ART GALLERY  NIGHT

People stand around in groups sipping wine.  A few wander
among the black-and-white photos on display of women
modelling Volucci creations.  Crista comes up to her father.

CRISTA
What do you think?

JOLLY
Superb.  I'll say this for Fran, she
knows her wines.

CRISTA
I meant the photos.

JOLLY
Ah yes.  Did you know cats see
only black-and-white?  Or is it
dogs?

CRISTA
Dogs.  Possibly cats too, since 
they hunt at night.

JOLLY
Well, lacking their specialised
knowledge of chiaroscuro, I'm
loathe to pontificate.  Instead I'll
put safety first and stick to the
wine.

She smiles and moves away.  Lyndon sees her passing and
calls out.

LYNDON
Crista.

She whirls around.

CRISTA
Hi.

LYNDON
You've been avoiding me.

CRISTA
Not at all.

LYNDON
Our appointment?

CRISTA
There's been a delay.  Didn't
Bindweed explain?

LYNDON
He explained very little.  I don't
enjoy being kept in the dark.

CRISTA
Okay, we lost Metalla.

LYNDON
You didn't have her under
contract?

CRISTA
No.

LYNDON
Yet people associate her with
Volucci.

CRISTA
They'll have to dis-associate.
She's with Adam Zedd.

LYNDON
How much to get her back?

She laughs.

CRISTA
She's not interested in money.

LYNDON
Then what's he offering, this Adam
Zedd?

CRISTA
Art.

He gestures with a sweep of his
hand.

LYNDON
And what's this?

CRISTA
Mostly my grandfather, with some
Torrenti thrown in.

LYNDON
Show him up.

CRISTA
Giuseppe Volucci?

LYNDON
Adam Zedd.

He walks off.  Natasha arrives,
having witnessed his abrupt departure.

NATASHA
What's happened?  What have I
missed?

CRISTA
Testosterone rising.

Crista goes and joins Oscar and Gwinny, who are discussing
the photos.

GWINNY
Isn't black-and-white an
oversimplification?

OSCAR
The simple isn't always simple.
Think of Chinese painting, where a
few brushstrokes can conjure up
an entire landscape, all suggested
by shadow.

GRINNY
But what about this one, for
instance?  There's no background
at all.

OSCAR
In movement, colours blur.  What
becomes important is the
distinction between light and
shade.  Here the swirling silk is
frozen in time, but we feel its
suspension could be broken at
any moment.

CRISTA
Torrenti.

They all turn and regard Torrenti, who makes his grand
entrance in a long red cape.  He nods to various people in
greeting, occasionally smiling, but doesn't speak.  He walks
slowly among the exhibits until reaching Francesca.

TORRENTI
My compliments.  Your Monsieur
Jacquin has captured the essence
of everything that's important.
Addio.

He sweeps out, passing and ignoring a returning Natasha.
She watches him leave in bewilderment.

NATASHA
Am I completely ignorable or have
I missed something again?

FRANCESCA
It seems we were misled.

CRISTA
The photos.

NATASHA
What?

CRISTA
They're all in black-and-white.

FRANCESCA
Well of course.  That's what
Jacquin is famous for.

CRISTA
And Torrenti's known for his
dramatic use of colour.

FRANCESCA
He should've been flattered to
have his work included in the great
Jacquin's exhibition.

OSCAR
Flattery is in the eyes of the
beholder.

NATASHA
That's what they used to say
about beauty.

OSCAR
And look where it got them.

INT  ROOM OF MIRRORS  DAY

The large fitting room is dominated by mirrors.  A model in a
swirling, sensuous wrap-around struts along, striking poses
before a seated Lyndon, Crista and Bindweed.  After she exits
there's a long silence.

CRISTA
You hate it.

LYNDON
I love it.

CRISTA
But?

LYNDON
I'm concerned about Adam Zedd.

CRISTA
I'm not.

LYNDON
Your style is sophisticated and
voluptuous.

CRISTA
But where's the socio-political
statement, right?

LYNDON
No, I've been studying his work
and his statements are rather
banal.  But his style has genuine
visual impact, which generates
visceral excitement.

CRISTA
So?

LYNDON
So we either match him or run the
risk of appearing staid.

CRISTA
There will be no comparison,
because our styles and aims are
completely different.

LYNDON
Then why did the organising
committee invite him to the
Sho-Down?

CRISTA
I don't know - possibly because he
has Gabini behind him.  The point
is, I'm a designer, not a performing
seal.

LYNDON
Adam Zedd's presence changes
the configuration.  You must react.

CRISTA
This isn't about me and Adam
Zedd, it's about you and him
fighting over Metalla.  Well I refuse
to be caught in the middle.
Volucci can survive without your
money.

She walks out.

BINDWEED
She didn't mean that.  Creatives,
you know.

LYNDON
Storming out appears to be her
modus operandi.

BINDWEED
I'll talk to her.

LYNDON
Do.

EXT  PARK  DAY

Crista and Bindweed stroll in the park, but their conversation is
animated.

CRISTA
I refuse to turn Volucci into the
House of Zedd.  All to appease his
desire for Metalla.

BINDWEED
We need his money.

CRISTA
We need money, yes.  Not his.

BINDWEED
You imagine they're lining up to
lend to us?

CRISTA
There must be someone.

BINDWEED
We're running out of time.

CRISTA
Then we'll pull out of the
Sho-Down.

BINDWEED
What?  That's our platform.
Without it, we're sunk.

CRISTA
We'll do our own show.  Invite
labels who don't get a chance to
be in the Sho-Down.

BINDWEED
The Sho-Down has world-wide
prestige.  You can't create that
overnight.

CRISTA
And who in large part created that
prestige?  Volucci.

BINDWEED
And when do you propose holding
this exhibition?  Before or after?

CRISTA
The same date.

BINDWEED
That'll only cause trouble.

CRISTA
Did the organising committee
consult us about Adam Zedd?

BINDWEED
That's not how it works.

CRISTA
Likewise.

He sighs and shakes his head.  Crista marches on, resolute.

INT  CRISTA'S STUDIO  DAY

Crista's sifting through fabric samples as Bindweed enters.

BINDWEED
You haven't forgotten our
meeting?

CRISTA
What meeting?

BINDWEED
With our bankers.

CRISTA
Finance is your province.  Just let
me know the outcome.

BINDWEED
That's easy.  If you don't attend,
they'll shut us down.

CRISTA
They wouldn't dare.

BINDWEED
Maybe not, but they will take
control and insist you go to the
Sho-Down.  Either that or be
replaced by Sylvan.

CRISTA
He isn't up to it.

BINDWEED
Francesca may think otherwise.

CRISTA
Is she in on this?

BINDWEED
She's maintaining a dignified
aloofness, while naturally being
concerned at this new
confrontational attitude.

CRISTA
Which she precipitated by - no,
let's not go into that.

BINDWEED
She's genuinely fond of you, and
of course loyal to the Volucci
name.  The same can't be said for
our bankers.

CRISTA
Very well, I'll talk to them.  Have I
got time to go home and get
changed?

BINDWEED
Not necessary. (calls) Emma.

Emma, Crista's assistant, enters
carrying the appropriate change of
clothes.

CRISTA
You've given me an idea.  But we'll
have to move fast.

INT  CONFERENCE ROOM  DAY

Crista stands facing a row of seated bankers, headed by
Silberman.  She nods to Bindweed, who dims the lights and
plays music on the sound system that's clearly not his own
personal choice.  A model enters draped only in chains,
parades around then leaves.

CRISTA
What do you think?

Silberman coughs.

SILBERMAN
She's very attractive.

CRISTA
I was referring to her clothing.

SILBERMAN
Clothing?

He exchanges looks with his colleagues.

CRISTA
Yes.  That, or at least something
similar, was Adam Zedd's entry in
a recent exhibition.

SILBERMAN
So?

CRISTA
So I repeat, what do you think?

SILBERMAN
We're financiers, Miss Volucci.  We
don't sit in judgement on artistic
matters.

CRISTA
Then may I presume you'll respect
mine?  I do not intend to compete
with that, which is what I'm being
asked to do.

SILBERMAN
So instead you'll exhibit separately
- at great cost to your sales.  You
cannot hope to match the publicity
and reputation of the Sho-Down.

CRISTA
I have neither the ability nor desire
to emulate Adam Zedd.  Our
clothes are made to be worn in life,
not in pantomine.

They all watch her intently.  No-one speaks.

CRISTA
Okay, I admit what I'm doing is a
gamble, one you appear unwilling
to support.  I'll raise the money
elsewhere.  All I ask is that you
grant me an extension.

SILBERMAN
You've already had one.

CRISTA
No, Bindweed has.  This time I'll
conduct the search.

SILBERMAN
We appreciate your talent in
design, but what do you know
about finance?

CRISTA
I know this much.  I am a Volucci,
and I will not stand by and see all
that my grandfather built be
destroyed.  Two weeks, gentlemen.

They confer.  Finally Silberman gives the nod.

INT  UNDERGROUND CARPARK  DAY

Crista, Bindweed and the now dressed model walk to their car.

BINDWEED (to model)
You worked a treat, my darling.
The look on their faces. (to Crista)
A nice theatrical touch, even if
they didn't buy your plan.

CRISTA
Oh they bought it all right.  I got
two weeks.

BINDWEED
Two weeks isn't enough.

CRISTA
It has to be.

BINDWEED
Lyndon still wants our business.

CRISTA
Under his terms.

BINDWEED
You'll find it hard to interest others.

CRISTA
Why?

BINDWEED
He has friends and influence.

CRISTA
If he's in business, he also has
enemies.  Find me them.

BINDWEED
Is that wise?

CRISTA
Wisdom is a luxury and we're skint.

INT  RESTAURANT  DAY

Crista's lunching with Montescu, a genial round-faced,
silver-haired man who looks like a distinguished diplomat,
except that his eyes have a sharpened focus.

MONTESCU
I have to say I'm impressed.

CRISTA
Enough to loan us the money?

MONTESCU
I'm not a banker, Miss Volucci.  I
take positions.

CRISTA
You mean a stake?

MONTESCU
In public companies I look for
twenty-percent.  In private
concerns such as yourself, a
minimum of forty.

CRISTA
We're a family business, still run
very much in the manner set by my
grandfather.

MONTESCU
Times change.  That's why we're
having lunch.

CRISTA
Forty is too much.

MONTESCU
The Volucci interests will retain
control.

CRISTA
I'd still want some guarantees.

MONTESCU
Regarding?

CRISTA
Non-interference on the design
side.

MONTESCU
You may design as you please.
But I can only market what will sell.

She sips her wine, eyeing him thoughtfully.  He finishes off his
meal with relish.

INT  CRISTA'S STUDIO  NIGHT

Crista's working on designs as Lyndon bursts in, barely
preceded by Emma.

LYNDON
What the hell are you playing at?

CRISTA
Thank-you, Emma.

Emma nods and leaves them to it.

CRISTA
Whatever do you mean?

LYNDON
Signing with Montescu.

CRISTA
My, good news travels fast.

LYNDON
He'll devour you.

CRISTA
Your concern is touching.  My
heart almost melts.

LYNDON
You've ruined everything.

CRISTA
Of course I have.  The entire world
has been laid waste by my
decision.  Or could it be the only
damage done has been to your
ego?  For once in your life, things
haven't gone your way.

LYNDON
You're being ridiculous.

CRISTA
No you are.  Ranting in no way
becomes you.

LYNDON
And mourning becomes Electra?

CRISTA
If there's nothing else, and I'm
sure there isn't, please toddle off.

LYNDON
My offer to help was serious, yet
I'm to be treated only as a source
of amusement?

CRISTA
I'm just repaying the compliment.

He turns and starts to leave.  She waits a moment then calls
after him.

CRISTA
One other thing.

He waits.

CRISTA
Give my love to Metalla.

He storms out.  She smiles in satisfaction.

INT  ADAM ZEDD'S STUDIO  DAY

Metalla stands on a small raised platform facing an outlandish
projectile contraption.  Adam Zedd enters with Lyndon and
returns to fiddling with the controls.

ADAM ZEDD
I seem to be becoming quite
popular.

LYNDON
You haven't returned my calls.

ADAM ZEDD
I'm not your conduit to Metalla.

Lyndon turns to Metalla.

LYNDON
You believe that about me,
Louise?

ADAM ZEDD
Her name's Metalla.

METALLA (to Lyndon)
Sie haben Recht.  But I prefer
Metalla.

ADAM ZEDD
You lost her to me, and Volucci to
Montescu.  What does that make
you?

LYNDON
You're about to find out.  When
you can spare the time.

ADAM ZEDD
In a sec. (to Metalla) Ready?

METALLA
How do you want me to look?

ADAM ZEDD
Like you're not expecting it.

She turns to Lyndon and smiles.  Adam Zedd activates the
machine, sending a volley of green slime over her.  She
shrieks then begins laughing.  Adam Zedd joins in.  Lyndon
remains coolly impassive.

ADAM ZEDD
She's a natural.

Lyndon looks away.

ADAM ZEDD
That's a wrap.  Take a shower.

She goes off.

ADAM ZEDD
What do you think?

LYNDON
You don't want to know.

ADAM ZEDD
But I do.

LYNDON
Is this for the Sho-Down?

ADAM ZEDD
Maybe.  Maybe not.  I'm
experimenting.

LYNDON
Metalla inspires you to cover her in
green slime?

ADAM ZEDD
What do you believe in, Lyndon?
Truth or beauty?

LYNDON
What truth is there in that display?

ADAM ZEDD
That we're all risen from primordial
sludge.

LYNDON
And you're indulging in a bout of
nostalgia.

ADAM ZEDD
What do you want?

LYNDON
I'm having lunch at Cellini's.  Be
there at one.

He starts to go.

ADAM ZEDD
Who the hell do you think you are?

LYNDON
Your new boss.

He leaves without waiting for a response.

INT  CELLINI'S RESTAURANT  DAY

Metalla picks fitfully at her food.  Adam Zedd and Lyndon are
in intense discussion.

ADAM ZEDD
You bought Gabini?  As simple as
that?

LYNDON
Nothing involving lawyers is simple.
It's not in their interest.  I won't get
ownership for some time.  But
what I have done is buy the
management contract, and that's
effective now.

ADAM ZEDD
Where's the morality in that?

LYNDON
I'm still under the constraint of the
board.  But don't expect them to
stand up for you.

ADAM ZEDD
Is that a threat? - because I'm not
an employee.

LYNDON
No but you are under contract.

ADAM ZEDD
So what's the score?  You're
shutting me down?

LYNDON
I wouldn't want to make you a
martyr.  But the Sho-Down is out.

ADAM ZEDD
Let me guess.  You'll arrange an
alternate venue.  Something small
and out of the way.

LYNDON
Let's call it intimate.  The scale
you're used to working on.

ADAM ZEDD
I make it a point not to get used to
anything.

LYNDON
More wine, Metalla?

METALLA
No thank-you.

He looks at her barely touched plate.

LYNDON
I was informed this was one of
your favourite places.

METALLA
Not today.  The food's off.

She rises.

LYNDON
Please.  I haven't finished.

She reluctantly sits.

METALLA
You have plans for me too?

LYNDON
I've signed Torrenti.

METALLA
And?

LYNDON
I believe you're an admirer of his
work.

METALLA
That's beside the point.  I'm with
Adam now.

LYNDON
Not any more.  I've peeled your
contract.

She looks at Adam inquiringly.  He shrugs blankly.

LYNDON
I bought your management
company, then onsold it minus
your contract.  Normally people
can bail if there's a change in
ownership.  You were rather
careless in that regard.

METALLA
You don't own me.

LYNDON
I'm sorry, I didn't mean to offend
you.

METALLA
No?  Then why am I only learning
of it now as a fait accompli?

LYNDON
I guess I was afraid you'd escape.

METALLA
You'd sue me?

LYNDON
No.

METALLA
Then there's nothing more to be
said.

She leaves.  Adam Zedd flashes a grin and follows.

EXT  HILLTOP  TWILIGHT

Adam Zedd gazes at the view below of the city.  There's a
fierce wind blowing.  Metalla's eyes are in him.

ADAM ZEDD
That was a good show you put on.

METALLA
I meant it.

ADAM ZEDD
I need the Sho-Down.

METALLA
What for?  The publicity?  Believe
me, it's a meaningless distraction.

ADAM ZEDD
Publicity inspires me - it's like a
whirlwind feeding on itself, and
we're all caught up in the havoc.

She regards him curiously a moment.

METALLA
Then I'll strut for Torrenti.

ADAM ZEDD
And me?

METALLA
You'll be my condition.

He raises his arm then brings it down with finger aimed at
some far-off point.

ADAM ZEDD
Zap.

They kiss.

INT  LYNDON'S OFFICE  NIGHT

Lyndon is seated at his desk in the semi-lit office.  Metalla's at
the window, observing the city lights.

LYNDON
Why did you insist on meeting
here?  There are better places.

METALLA
No, here is perfect.  I like to see
people in their natural habitat.

LYNDON
I don't spend as much time here
as you seem to think.  I do have
other interests.

METALLA
Why did you buy my contract?

LYNDON
I wanted you.

METALLA
But you haven't got me.  And you
never will.

LYNDON
Louise...

METALLA
But I am willing to deal.

LYNDON
Let's not talk about deals.

METALLA
No?  And you the businessman.

LYNDON
And you're a model.  So why are
you with Adam Zedd?

METALLA
Because he doesn't see me as a
model.

LYNDON
And what do you see him as?

METALLA
Someone you and others scoff at.
But I don't.

LYNDON
What's the deal?

METALLA
Let Adam into the Sho-Down.

LYNDON
No.

METALLA
Otherwise I won't do it for Torrenti.

LYNDON
I can't make you.  But there are
provisions of your contract I can
enforce.  Or perhaps you'd like to
buy me out.

She stares at him coolly then walks out.  He bangs the desk.

LYNDON
Damn.

EXT  HEADLAND  DAY

Torrenti stands on the rocks, looking out to sea while the
waves crash around him, sending up spray.  A figure clambers
along, finally reaching him.  It's Lyndon.

TORRENTI
I love the water surging around the
rocks.  It's like life, no?  All whirls
and eddies.

LYNDON
Why have you stopped?

TORRENTI
You know why.

LYNDON
No.  Are you lacking in inspiration?

TORRENTI
Inspiration comes from the word
'breathe'.  Everytime I breathe, I
am inspired.

LYNDON
Then I don't understand.  I gave
you everything you asked for.

TORRENTI
And also what I didn't - Metalla.

LYNDON
She'll be the torch that lights up
the brilliance of your designs.

TORRENTI
I like that.  It's something I might
say.  But she is unhappy.  I must
have l'armonia.

LYNDON
She wants Adam Zedd at the
Sho-Down.  Have you seen his
work?

TORRENTI
It is perhaps not for me to judge.
But he has a following, and he has
Metalla.  We cannot dismiss him.

LYNDON
You talk of harmony, yet you're
known for your use of dissonant
colours.

TORRENTI
I create new harmonies.

LYNDON
Not at the moment.

TORRENTI
You understand money.  That is
your field and I respect that.  But
you must respect me in mine.

LYNDON
It's not that simple.

TORRENTI
Then I will make it so.  Adam Zedd
is in, or I am out.

LYNDON
On what grounds?

TORRENTI
I have said.

LYNDON
Legally.

TORRENTI
Unlike Metalla, I am not lax about
contracts.

LYNDON
You have a harmony clause?

TORRENTI
Not with that word.  I explain to my
lawyer and she translates into
abracadabra legale.

LYNDON
I'll check it out and see if I have a
case.

TORRENTI
You will not win.

LYNDON
I meant for replacing my legal
team.

INT  ART GALLERY  NIGHT

Among the featured works is a sculpture by Adam Zedd
entitled 'Metalla'.  It's a mould of her body coated in shiny
black lacquer.  The upper torso though has been converted to
a few abstract wisps.

Natasha and Oscar contemplate the statue.  Adam Zedd
stands nearby.

NATASHA
That's Metalla?

OSCAR
With gaps.

NATASHA
But what does it mean?

OSCAR
It's a statement about nothing and
as such, can't be toppped.
Personally, I would've called it 'Air
on a G-string'.

Adam Zedd overhears and turns to them.

ADAM ZEDD
It's about gain and loss.

OSCAR
A profit and loss statement.  No
business should be without one.

ADAM ZEDD
And your business is criticism.  I've
read some of your pieces.  Very
amusing, if you go in for that sort
of thing.

OSCAR
Sometimes I go out for it, in which
case I charge double.

ADAM ZEDD
Again we have babble
masquerading as wit.  I guess it
must be hard living up to a name.

OSCAR
Infinitely so in your case, since
you're both alpha and omega.

ADAM ZEDD
Except I don't suffer delusions of
grandeur.

OSCAR
No you take pleasure from them.

ADAM ZEDD
My pleasure is in taking away to
reveal - in this case, the
hollowness of ideal beauty.

NATASHA
What's false about Metalla?  I wish
I looked that false.

She eyes Metalla, who's with some admiring art aficionados
and looking somewhat bored.  Torrenti arrives and proceeds
to examine the statue with the expertise of a world-class
poker player.  Finally he makes his pronouncement.

TORRENTI
Magnifico.

ADAM ZEDD
You understand it?

TORRENTI
It is beyond understanding.  That
is why it is magnificent.

ADAM ZEDD
It was inspired by one of your
designs.

TORRENTI
Mine?  Really?

ADAM ZEDD
You showed me what could be
done with emptiness.

He moves away, leaving Torrenti to ponder.

OSCAR
He means the stuff between your
ears.  How can you say something
is magnificent when you don't
understand it?

TORRENTI
Precisely why.  What we
understand is prosaic.  I must
return to the source of my
inspiration.  I must create mystery.

He sweeps off, stopping by Metalla.

TORRENTI
La mia cara, there is only one word
- magnifica.

METALLA
Me or the statue?

TORRENTI
You are the statue.  The statue is
you.  Brilliant.

She gives him a look both quizzical and amused.

TORRENTI
Space is very important in design.
I knew that once and then I forgot
it.  But in my own way, I will match
this.

He indicates the statue.

TORRENTI
The people will gasp.  Torrenti will
make them gasp.

Oscar's now talking to Borinsky, much to Natasha's
annoyance.  Someone accidentally jostles Borinsky with a
drink and she uses this distraction to pull Oscar to one side.

NATASHA
You know I don't like being
ignored.

OSCAR
I was talking Volucci business.

NATASHA
Well I'm a Volucci and it's your
business to explain all this stuff here.

OSCAR
What about your own response to
it?

NATASHA
I didn't bring my own personal
critic so I could think for myself.
Honestly, you'd talk yourself out of
any job.  No wonder they don't
appreciate you.

She drags him over to a painting  - an abstract riot of colour.

NATASHA
What's that?

OSCAR
Breakfast revisited.

They move off to another painting.  Gilbert, the painter,
glowers unnoticed.
 
EXT  ART GALLERY ROOFTOP  NIGHT

Natasha and Oscar tumble outside, laughing.  It's a beautiful
starry night, and suddenly she's filled with a wistful sadness.

NATASHA
Oh Oscar, why are you you?

OSCAR
Because if I wasn't, I'd be
someone else, and anyone who
isn't me has my deepest sympathy.

NATASHA
You know what I mean.

OSCAR
No.  So now it's your turn to
explain.

NATASHA
Aunt Fran's trying to fix me up with
Sylvan.

OSCAR
What's wrong with him?

NATASHA
Nothing I guess.  But he's not you.

OSCAR
He's closer your age.

NATASHA
Oh I'm sorry, I didn't realise that
was the point.  What else?  Same
height?  Same blood group?
What happened to bio-diversity?

He laughs at her nonsense.  On impulse she kisses him.  At
that same moment a drunken Gilbert staggers out and
confronts Oscar.

GILBERT
So you think my work's vomit?

OSCAR
I was being flippant.  Totally out of
character, I know.  Besides, that
remark was meant for private
consumption.

GILBERT
What I paint is raw emotion.  You
know what that is?

OSCAR
Yes, it's what I experience when I
have raw eggs for breakfast.
Generally I prefer the hangover.

Gilbert moves in threateningly.

GILBERT
Go on, say it again.  Say my work's
vomit.

OSCAR
I never repeat myself, except in
front of a mirror.

Natasha laughs, despite the
situation.  This maddens Gilbert
more.

GILBERT
So everything's a joke to you, eh?
Including Adam Zedd.  Yeah, I
heard that too.

OSCAR
My, what big ears you have.

GILBERT
Not as big as your mouth.  But
he's beyond you.

OSCAR
Of course.  As an art critic, I only
deal in art.

Gilbert comes right up close.

OSCAR
Tash, go inside.

NATASHA
No, you'll be safer if I stay.

OSCAR
I wasn't suggesting you fetch
duelling pistols.  Get security.

She hesitates.  Gilbert continues eyeballing.

OSCAR
Quick.

She darts inside to get help.  The two men square off.

OSCAR
I presume I'm to be given a lesson
on how the artist maturely handles
criticism.

GILBERT
No, an art lesson.  The best art
should hit you like a smack in the
face.

He feints a kick to the groin, then punches Oscar in the face,
felling him in a single blow.  He pauses uncertainly, wondering
if Oscar's unconscious but then he groans.  Gilbert walks off.
Moments later Natasha returns with a security guard.

NATASHA
Oscar?

She bends over him.

NATASHA
What's he done?  What's he
done?

Oscar shakes his head and begins wiping the blood from his
mouth.  She turns on the guard.

NATASHA
Don't just stand there.  Call an
ambulance.

OSCAR
No no, make it the tooth-helicopter.

A crowd is gathering.  Natasha stands and sweeps them all
with pointed finger.

NATASHA
You're all witnesses.

INT  ART GALLERY  NIGHT

Word of what's happened quickly spreads, creating a
disturbed buzz.  Gilbert locates Adam Zedd, whose
expression is grim.

GILBERT
I've just done a stupid thing.

ADAM ZEDD
Yes.  Taken my audience.

INT  ADAM ZEDD'S STUDIO  NIGHT

Gilbert and Adam Zedd confer over coffee.

GILBERT
You have to help me.

ADAM ZEDD
I don't have to do anything.

GILBERT
He insulted your work.

ADAM ZEDD
I'd be more insulted if he hadn't.

GILBERT
That statue is a bloody great work
of art.

ADAM ZEDD
Metalla is very fond of Oscar.  If I
help you, I risk losing her.

GILBERT
This is about your career?

ADAM ZEDD
You were defending it a moment
ago.  But no, she means more
than that.

Metalla enters.  Gilbert gets up.

GILBERT
How is he?

She looks at him frostily without answering.

GILBERT
Metalla, I'm sorry, believe me.

Again she doesn't deign to make any response.  He glances
at Adam Zedd, who makes a brushing movement with his
hand, a signal to leave.  Gilbert puts down his half-finished
coffee and goes out.

METALLA
What was he doing here?

ADAM ZEDD
He was upset.  We were talking.

METALLA
He smashes Oscar's face and
you're consoling him?

ADAM ZEDD
It was a dispute about art that got
out of hand.  Over your statue to
be precise.

METALLA
I see.  I'm the one to blame.

He circles round her.

ADAM ZEDD
Only as the innocent flame that
consumes the dazzled moth.

She pulls him to her and they share a violent kiss.

INT  OSCAR'S APARTMENT  NIGHT

Oscar's on the sofa, attended to by Natasha.  There's a knock
on the door, which Sylvan answers.  It's Gilbert, and the two
speak quietly at first, so that Natasha doesn't recognise his
voice.  Gilbert becomes heated and pushes past Sylvan.

GILBERT
I must see him.

SYLVAN
That's not a good idea.

Realising who the visitor is, Natasha leaps to her feet to
confront him.

NATASHA
Get out.  Get out.

GILBERT
Shut-up you stupid... (checks
himself) I'm here to apologise.

NATASHA
You stay away from him.  I'll have
you arrested.

OSCAR
Natasha.

NATASHA
Sylvan, throw him out.

Sylvan hesitates.

GILBERT
Oscar, I really didn't...

He breaks off to duck the barrage of objects Natasha begins
hurling at him, first cushions then ornaments.

NATASHA
Out.  Out.

GILBERT
Hey, what's the matter with you?

NATASHA
I'll kill you.

GILBERT
She's mad.

OSCAR
You'd better go.

A furious Gilbert leaves, slamming the door.

INT  CRISTA'S STUDIO  DAY

Crista's on her knees pinning cloth on a mannequin as
Bindweed enters.

BINDWEED
You heard about Oscar?

CRISTA
Metalla rang.  I'll visit him when I
get the chance.

He waits.  She looks up.

CRISTA
He's all right, isn't he?  Apart from
his tooth.

BINDWEED
That no longer is the issue.

CRISTA
Well whatever it is, can you deal
with it?

He doesn't answer.  She climbs to
her feet to confront him.

CRISTA
What?  I can't do everything.

BINDWEED
It's Natasha.  She's out for
vengeance.

CRISTA
My sister being melodramatic.
Well there's a surprise.

BINDWEED
I believe it cuts deeper than that.
She feels guilty for abandoning
him.

CRISTA
I heard she went to get help.

BINDWEED
I'm just warning you it could
escalate.

CRISTA
How?

BINDWEED
We know Gilbert's an Adam Zedd
supporter.  However she goes
further, by claiming Gilbert was
acting in league.

CRISTA
This is silly.  Natasha is silly.  Why
are we even having this
conversation?

BINDWEED
Because she's insisting we pull out
of the Sho-Down.

CRISTA
She can't insist on anything.  You
control her voting rights.

BINDWEED
Only till her next birthday.

CRISTA
Which is after the Sho-Down.

BINDWEED
It wouldn't pay to underestimate
her.  She is, after all, il maestro's
granddaughter.

She eyes him warily.

CRISTA
Okay, Bindweed, what aren't you
telling me?

BINDWEED
What you should already know.
It appears she and Sylvan are
together.

CRISTA
You mean she's angling to gain
Francesca.  Well let her.  Between
us, you and I still have majority.

BINDWEED
Except we've ceded forty-percent
to Montescu.

CRISTA
Yes - a minority stake.

BINDWEED
You're overlooking some basic
arithmetic.  Each family holding is
effectively reduced from twenty to
twelve.  Francesca with Montescu
gives fifty-two percent.

CRISTA
Oh God, what have I done?

INT  RESTAURANT  NIGHT

Crista and Francesca are rounding off their meal with liqueurs.
The conversation turns serious.

CRISTA
I know Tasha's upset about Oscar...

FRANCESCA
We all are.

CRISTA
Yes.  I'm concerned though at the
way she's handling it.

FRANCESCA
Oh?

CRISTA
Specifically her talk of Volucci
pulling out of the Sho-Down.

FRANCESCA
Sometimes it pays to keep an
open mind.

CRISTA
You support her?

FRANCESCA
As I said, I have an open mind.
Montescu is willing to back us on
this.

CRISTA
He and Lyndon have a long and
deep-seated rivalry.

FRANCESCA
Isn't that why you chose him?

They sip their drinks in momentary silence.

CRISTA
A war between Gabini and Volucci
could be very destructive.

FRANCESCA
Strong words, when all I'm talking
about is a little healthy competition.

CRISTA
Then what's wrong with competing
at the Sho-Down?

FRANCESCA
Perhaps if the Committee were
more accommodating.

CRISTA
In what way?

FRANCESCA
Let's see.  Gabini has two entries.
Our invitation is for one.

CRISTA
If you're thinking of Sylvan, he
doesn't have the experience.

FRANCESCA
And this Adam Zedd is
experienced in what - the art of
self-promotion?

CRISTA
He does have the media interest.

FRANCESCA
Because he likes to stir things up.
Maybe we should too.

Crista rolls her empty glass around in her hand while coming
to a decision.

CRISTA
I'll see Borinsky.

EXT  PARK  DAY

Crista and Borinsky are wrapped up well against the early
morning chill as they stroll together in the park.

BORINSKY
Out of the question.

CRISTA
And here's me thinking you
wanted Volucci.

BORINSKY
But Sylvan...  The name doesn't
register.

CRISTA
You know his stuff.

BORINSKY
I do, yes.  But the others...

CRISTA
Are always on the lookout for
someone new.

BORINSKY
He has promise, and that's what
they'll say.  But the Sho-Down isn't
a talent quest.

CRISTA
I'll work with him.

BORINSKY
Fine.  And maybe next year...

CRISTA
No.

BORINSKY
We have an international
reputation I must consider.

CRISTA
While being inconsiderate of ours.

BORINSKY
We are honoured by the Volucci
presence.  But one entry is the norm.

CRISTA
Yet you allowed Gabini both
Torrenti and Adam Zedd.

BORINSKY
Their styles are entirely different.
Besides, Torrenti was invited
before he was taken up by Gabini.

CRISTA
Adam Zedd is a wild card.

BORINSKY
Yes.  He'll supply the one element
the Committee felt was lacking.

CRISTA
And yet you're not prepared to risk
Sylvan?

BORINSKY
The issue is one of timing.

CRISTA
My hands are tied on this.  If you
don't take Sylvan, Volucci will be
forced to withdraw.

BORINSKY
I'll put it to the Committee.

CRISTA
I don't have time for endless
debate, not with the Sho-Down
looming.  I need a decision within
twenty-four hours.

BORINSKY
You're delivering an ultimatim?

CRISTA
No, just pointing out the obvious -
stalling works in your favour, not
mine.

He stops.  She continues on regardless.  He watches her go
with clouded expression.

INT  VOLUCCI LIVING ROOM  NIGHT

Natasha comes in and throws herself onto the sofa.  Crista
follows after her but remains standing.

CRISTA
It's time to stop this irrational
opposition.

Natasha glowers.

CRISTA
They're letting Sylvan exhibit.
You've got what you wanted.

NATASHA
What I wanted has nothing to do
with petty ambition.

CRISTA
No it's a health issue.  You don't
want us contaminated by
sharing the stage with Adam Zedd.

NATASHA
How can you forget what he did to
Oscar?

CRISTA
He didn't do anything.  It was
Gilbert, and when Gilbert tried to
apologise, you attacked him.

NATASHA
And what about the statue of
Metalla?  He only did that to spite
Lyndon.

CRISTA
Enough.  You simply are the
silliest girl.

Natasha refuses to respond.  Crista softens.

CRISTA
Okay, what's really the matter?

NATASHA
You didn't see him lying there and
blood was coming out of his mouth
and it was all my fault because I
left him and... and...

CRISTA
That's right, stop for air.

Natasha bursts into tears.  Crista comforts her.

CRISTA
And you wanted someone to pay
for it, and Gilbert wasn't a big
enough target.

NATASHA
Oscar's my friend.  Our friend.  Un
amico dei Volucci.  That used to
mean something.  No-one
respects us anymore.

CRISTA
You poor mixed-up thing.

Natasha breaks away.

NATASHA
Don't think a few tears mean I'm
giving up.  We'll do our own show.
We'll bury Adam Zedd.

CRISTA
That isn't going to happen.

NATASHA
Aunt Fran will back me.

CRISTA
You're wrong.  I've spoken to her.
I have her support.

Natasha glares at her defiantly but Crista remains unfazed.

CRISTA
Now, do I have yours?

Natasha hesitates but the steam has gone out of her and she
reluctantly gives the nod.

INT  CRISTA'S STUDIO  DAY

Natasha lounges on a sofa while Crista studies Sylvan's
sketches.  He watches her intently.

CRISTA
They're good.  Very good.  And
also entirely unsuitable.

NATASHA
Aunt Fran loves them.

CRISTA
And I admire them.  But there's
too much of everything.  Here a
jagged cut.  Here a classic sweep.

SYLVAN
For contrast.

CRISTA
You can't contrast what's entirely
different.  Where's the link?

SYLVAN
I chose my best designs.

CRISTA
And it shows.  Individually they're
great.  But they don't make up a
collection.

SYLVAN
Is that so important?

CRISTA
Maybe not so much if you were to
exhibit elsewhere.  But remember,
this is the Sho-Down.

He nods gravely and is silent a moment.

SYLVAN
So what do I do?

CRISTA
Pick one.

SYLVAN
Just one?

CRISTA
Yes.  I suggest whatever you're
least satisfied with.

SYLVAN
Why?

CRISTA
Because that'll give you more
room for development.  After all,
your whole line will be based
around this one design.

SYLVAN
That's not going to show them
what I'm capable of.

NATASHA
He wants to make a big splash,
Crissy.

CRISTA
Pointless, because you'll still be
overshadowed by Adam Zedd.
But the man lacks finesse.  We
must work on a more subtle plane.

NATASHA
And risk being vapid?  Il nonno
was never vapid.

CRISTA
Sylvan, you'll follow Adam Zedd,
who'll open.  You have therefore
the least favourable spot.

NATASHA
Then insist he be moved.

CRISTA
There are limits and we've reached
them.  We must play the cards
we've been dealt.  Now in face of
his raging ego, your restraint will
be the key to survival.

SYLVAN
I don't want to survive - I want to
make my mark.

CRISTA
I assure you, surviving will be
making your mark.

SYLVAN
I don't have time to come up with
new stuff.  The Sho-Down's
almost upon us.

CRISTA
I'll help you.  And Natasha can
help us by doing two things -
making coffee and keeping quiet.

NATASHA
Don't worry, I'm becoming quite
the expert at being ignored.

She goes off to make the coffee.  Crista and Sylvan exchange
smiles.

INT  CRISTA'S OFFICE  NIGHT

After days in the studio, Crista is now trying to catch up on her
paperwork but her eyes keep losing focus.  Oscar appears at
the door.

OSCAR
Like a knight in shining armour I
arrive, just as you're about to be
devoured by paperwork.

CRISTA
Unfortunately this has to be done
sometime.

OSCAR
My motto is, never put off till
tomorrow what can be put off till
the following day.

CRISTA
Anyway, you're looking good.
Sorry I've been neglecting you.

OSCAR
No, you've been neglecting
yourself.

CRISTA
I'm fine.  Honest.

OSCAR
Sylvan and Natasha think you're
overdoing things.

CRISTA
It's only till the Sho-Down's over.

OSCAR
Or you collapse, whichever comes
first.

CRISTA
Half an hour.

OSCAR
I'm sure there are lots of things
you can do in half an hour, but a
three-course meal at Cellini's isn't
one of them.

EXT  HARBOURSIDE  NIGHT

Crista and Oscar share a bench looking out onto the harbour.
They sip coffee out of plastic cups.

OSCAR
This is good.  My very first
stake-out.

CRISTA
I'm sorry it's not Cellini's.

OSCAR
Two apologies in one night.  You
really must be coming down with
something.

CRISTA
A touch of humanity, perhaps?

OSCAR
Yes, that could be it.  In which
case, fine but don't go overboard.

CRISTA
So how is life in the world of irony?

OSCAR
Getting tougher by the day.  Most
people look on irony as pointless,
when it should be pointed.

CRISTA
And what's the latest in rumours,
scandal and pure slander?

OSCAR
There are rumblings in the
Committee.

CRISTA
There always is.  I meant real
news.

OSCAR
I believe you've stepped on a few
toes.

OSCAR
Only the ones trying to trip me.
Anyway, it's all settled.  We're at
the Sho-Down, two entries
matching Gabini.  Let 'em bitch.

OSCAR
Crista...

CRISTA
No.  Let's not spoil such a perfect
night.  I could breathe it in whole.

She breathes in deeply.  Oscar looks troubled.

INT  ROOM OF MIRRORS  DAY

Crista and Emma are fitting a model as Bindweed bursts in.
Emma notices his expression and prods Crista.  She looks up
and grows ever more alarmed as he begins talking.

INT  BORINSKY'S OFFICE  DAY

Crista storms in.  Borinsky remains calmly seated.

CRISTA
Are you insane?

BORINSKY
Naturally I understand your
disappointment...

CRISTA
Disappointment?  I assure you,
outrage is the very least I feel.
This is sabotage.

BORINSKY
That's an unwise word.

CRISTA
You wanted Volucci, I delivered.

BORINSKY
I didn't want you competing
against us.  I've secured that.

CRISTA
What?

He meets her stare but doesn't elaborate.

CRISTA
Have you been speaking to
Montescu?

BORINSKY
In my job I talk to a lot of people.
The point you should remember is
that Volucci will still be
represented.

CRISTA
Shutting me out is an insult.

BORINSKY
Your designs, while commendable
in themselves, are too reminiscent
of your illustrious grandfather.

CRISTA
So they're not good enough to be
in your exhibition, but too good to
compete with?  Is that what you're
saying?

BORINSKY
I'm saying the Committe made the
decision based on the Sho-Down
as a whole.  If you choose to take
offence when none was intended,
that is your prerogative.  I suggest,
however, you don't do anything to
jeopardise Sylvan's entry.

INT  CRISTA'S BEDROOM  DAY

Crista sits on her bed with the curtains drawn.  The room is lit
by a single candle.  There's a knock in the door.  She doesn't
respond.  A second knock then Jolly enters.

JOLLY
Mind if I join you?

CRISTA
I'm moping.  It's not a team event.

JOLLY
They're making a mistake.
Eventually they'll see that.

She shakes her head.

JOLLY
There'll be other chances.

CRISTA
Don't you understand what's
happening?  Montescu's behind
this.

JOLLY
Don't be silly, why would he do
that?

CRISTA
Sylvan is no Torrenti.

JOLLY
Then we'll hold our own exhibition
like you were intending.

CRISTA
Except that now there's no time.

JOLLY
We'll all help.  Just say the word.

CRISTA
There's an even more important
reason.  Montescu wouldn't allow it.

JOLLY
I thought you said he was a canny
businessman.

CRISTA
Too canny.  He wants us to fail.

JOLLY
How is that to his advantage?

CRISTA
He has forty-percent.  That's not a
controlling interest.  But if we're
forced to raise capital through new
shares, he has first call.  It's in our
agreement.

JOLLY
Was that a wise option?

CRISTA
No it was a bloody stupid one.  We
were desperate.

JOLLY
Then we take a loan.

CRISTA
He's the single largest
shareholder.  If he opposes, who'll
lend on such a shaky foundation?

JOLLY
Mortgage some assets.

CRISTA
How do you mortgage such assets
as style and flair?

JOLLY
Maybe Bindweed can some up
with something.

CRISTA
He doesn't see a problem.  As far
as he's concerned, an investor is
an investor.

JOLLY
And you?

CRISTA
Volucci will no longer be the
creative force it was under il nonno.

JOLLY
He's gone.

CRISTA
But his name remains, and that's
what Montescu wants.  He'll milk
the brand then move on.

JOLLY
So what do you plan to do?
Spend the rest of your life in here?

CRISTA
I'll stick with the company.
Montescu won't have it all his own
way.

JOLLY
There's a party tonight.  You'd
enjoy it.

CRISTA
I'm tired.  I didn't realise how much
until now.

He takes her hand but has run out of things to say.  He lets it
go and leaves.  She barely registers.

EXT  PARTY HOUSE POOL  NIGHT

While the party rages on inside, Sylvan stands by the pool
drinking.  Natasha comes out.

NATASHA
I want to dance.

SYLVAN
Ask Oscar.

NATASHA
He trips over his feet the way
others trip over his tongue.

SYLVAN
I'll just finish this.

NATASHA
It must be a magic glass.  You've
been finishing it all night.

He ignores her.  Borinsky comes out and approaches Sylvan.

BORINSKY
Congratulations.

Sylvan observes him coolly before responding.

SYLVAN
Why did you drop her?

BORINSKY
She'll have other chances.  This is
yours.  Take it.

SYLVAN
I want to pull out in favour of Crista.

BORINSKY
That would be a mistake.

SYLVAN
Why?

BORINSKY
Her designs ae not currently in
tune with the Committee's
aims.

SYLVAN
She deserves better.

BORINSKY
She deserves all she gets.

Sylvan turns to Natasha.

SYLVAN
You're right.  I've had enough.

He hands her his glass then swings at Borinsky, flooring him
with a single punch to the jaw.

NATASHA
What are you doing?  What are
you doing?

Borinsky sits up and rubs his jaw, but makes no effort to stand.

NATASHA
He didn't mean it. (to Sylvan) Say
you didn't mean it.

Instead Sylvan glowers at her then stomps off into the night.
Borinsky now climbs to his feet.

NATASHA
He's very sorry.

He brushes past her, his expression impassive, and goes
inside.

INT  VOLUCCI LIBRARY  NIGHT

Natasha bursts in on Crista, who's curled up in a chair with a
book.

NATASHA
You have to do something.

CRISTA
I am.

NATASHA
How can you read at a time like
this?

CRISTA
A time like what?  You're not
making any sense, which of
course you never do.  The day you
start, well that in itself will be
serious cause for alarm.

NATASHA
It's Sylvan.  He slugged Borinksy.
Quiet peaceful Sylvan, who never
before hurt a fly.

CRISTA
And what did this particular fly do
to provoke him?

NATASHA
Borinsky tried to congratulate him.

CRISTA
The sheer insolence.

NATASHA
The point is, it's all your fault and
you've got to do something.

CRISTA
Mine?  I've been here the whole
time.

NATASHA
He only did it because he was
upset you'd been dropped.

CRISTA
And I'm to blame for that?

NATASHA
Who else?  You antagonised the
Committee and they took action.
Sylvan felt guilty and tried to get
himself expelled so they'd
reinstate you, only we're likely to be
barred completely.  Are you proud
of yourself?

CRISTA
Natasha, shut-up.

NATASHA
What?

CRISTA
I'm sorry but it doesn't concern me.

NATASHA
I can't believe I'm hearing this.
Volucci out of the Sho-Down and
it doesn't concern you?

CRISTA
You know you always exaggerate
and mix things up.

NATASHA
Then call Bindweed.  He was at
the party too.  He told me it
doesn't look good for us.

CRISTA
So let him deal with it.

NATASHA
Cristabella, Dio mio!

CRISTA
It seems to me Sylvan was
defending the Volucci honour.
Admittedly, not in a way I'd
approve.  It's up to him to
apologise to Borinsky.  Now if you'll
excuse me...

She returns to her book, flicking over a page.  At a loss for
words, Natasha lets out a piercing shriek.  The two look at
each other, then Natasha goes out.

EXT  VOLUCCI GARDEN  DAY

Gwinny finds Crista relaxing in the garden.

GWINNY
Anything I can do?

CRISTA
Do?

GWINNY
To help.

CRISTA
I'm fine.

GWINNY
And the firm?

CRISTA
It's a bit late to start caring now.

GWINNY
I've always cared.  And I've always
supported your talent.

CRISTA
Yes - in your own way.  But face it,
for you Volucci is just a name.

GWINNY
So finally I know what you
condemn me for.

CRISTA
I don't condemn you for anything.
Don't be absurd.

GWINNY
No?  In your eyes I'm not a
Volucci, I only married one.

CRISTA
Well you could've been more
involved in the business.

GWINNY
It's not easy.  What do I know
about such things?  I suppose if
someone had been willing to show
me...

CRISTA
And if you'd shown more interest...

GWINNY
I should've expected this.  I came
to offer support and end up being
reproved instead.

CRISTA
Maman, je m'excuse.  It's just I'm
bad company at the moment.

GWINNY
And you know why?  Because
you've given up.

CRISTA
I haven't.  Not exactly.  I'm just
tired of all the pettiness and
squabbling and... Why can't they
see the things I see?

GWINNY
Because they're not you.  People
have their own interests, their own
reasons.  Nous sommes toutes
sortes.

CRISTA
So where's this leading?  What do
you want me to do?

GWINNY
Something.  Anything.

CRISTA
I'm hamstrung.  I can't even turn
to Bindweed.  He's in with
Francesca, who believes salvation
lies with Montescu.

GWINNY
Doesn't it?

CRISTA
No.  You talk of people having their
own interests.  Well so does
Montescu, and that's what Volucci
will be made to serve.  Not ours.

GWINNY
So do something.

CRISTA
Oh yes?  And how?  I have no-one.

GWINNY
You have me.

CRISTA
Ah oui, merci.  I appreciate the
gesture but I need concrete votes.

GWINNY
And because you have me, you
have your father.

CRISTA
He'll vote with Francesca.  Sister
or no, he's always been a little
afraid of her.

GWINNY
But she doesn't share his bed.
Trust me, I'll deliver him.

CRISTA
It's still not enough.  Not with
Bindweed controlling Natasha's
portion.

GWINNY
Ecoute-toi!  You talk as though
boardroom manoevres were the
only thing.

CRISTA
I know it's not all, but it's a reality I
have to deal with.

GWINNY
Then deal with it.  Neither
Francesca nor Bindweed is a
designer.

CRISTA
But their support is vital.  Why do
you think Torrenti left?

GWINNY
And why you're here moping?

CRISTA
Yes I have feelings, I get
depressed.  But the most
depressing thing is Montescu can
save the firm and I can't.  It won't
be the same one Giuseppe
founded, but it will preserve jobs.

GWINNY
The people we hire are skilled and
talented.  They could work
elsewhere.  They choose to stay
because they believe in Volucci.
Do you?

She leaves Crista reflecting.

INT  BORINSKY'S OFFICE  DAY

Crista taps on the door.  Borinksy looks up from his desk but
doesn't otherwise react.

CRISTA
I'm sorry about what happened.

BORINSKY
Sorry how?  That my jaw wasn't
broken?

CRISTA
You know that's not what I meant.

BORINSKY
Yes I was joking.  Now what can I
do for you?

CRISTA
Reinstate Volucci.

BORINSKY
Why?

CRISTA
Sylvan has already apologised for
lashing out.

BORINSKY
I'm not convinced though it was
unmeditated.

CRISTA
What are you suggesting?  I put
him up to it?

BORINSKY
I wouldn't go that far.  But he may
have seen some benefit in
forfeiting his place.  If so, the ploy
has failed.

CRISTA
I'm not pleading for myself, but if
you don't let Sylvan exhibit, there'll
be no Volucci entry.

BORINSKY
Perhaps you were a little hasty in
letting Torrenti go.  However I
wouldn't presume to tell Volucci
how to run their affairs, just as I
would expect the same
consideration.

CRISTA
And I was hoping an unpleasant
situation could be resolved
amicably.  You however seem
intent on seizing it as a pretext for
driving us out.  Very well, you leave
me no choice.

She turns abruptly and marches out.  Borinsky smiles uneasily.

INT  VOLUCCI BOARDROOM  NIGHT

Francesca, Bindweed, Jolly and Natasha are seated around
the table.  Crista is standing to address them.

CRISTA
Thank-you all for coming to this
board meeting at such short notice.

BINDWEED
If this is a board meeting, there are
certain procedures to follow.  For
instance, only board members can
sit in council.

CRISTA
Then damn procedures and damn
the board meeting.  This is a
council of war.

JOLLY
Stirring stuff.  Board meetings are
always so dull anyway.

FRANCESCA
How would you know?  You've
always slept through them.

NATASHA
It's about time we did something
dramatic.

BINDWEED
Are we going to be called on to
vote?

CRISTA
You mean why is Natasha here?
Okay, I asked her to attend
because although you hold her
shares in trust, I believe she is still
entitled to an opinion.  Naturally it'll
be non-binding.

NATASHA
But a bloody good one.

CRISTA
She is, after all, Giuseppe's
granddaughter.  I believe she
represents in its unadulterated
form, the Volucci spirit.

FRANCESCA
Fine words.  May we now get down
to business?

CRISTA
Certainly.  We've been expelled
from the Sho-Down.  We must act.

FRANCESCA
Why did Sylvan punch Borinsky?
Were you behind it?

CRISTA
No.

FRANCESCA
You must admit it was totally out
of character.

CRISTA
He was made to carry the weight
of Volucci without adequate
support.  Who wouldn't crack?

FRANCESCA
So what do we do now?  It's too
late to mount our own show.

CRISTA
That's what they're counting on.

BINDWEED
Before we get too excited, let me
give you a résumé of our financial
situation.

CRISTA
We all know it's bad.  It'll be worse
after the Sho-Down.

FRANCESCA
You're forgetting Montescu.

CRISTA
No, that's my point.  We'll be
forced to go cap in hand.  We'll
lose our independence.

FRANCESCA
You'll still be able to design.  You
have his assurance on that.

CRISTA
Yes but he's not obliged to use
any of them.  I mean he could
carry them as a minor side-line.
He could bring in anyone he chose
and stick on the Volucci label.  The
profits will be at the expense of our
name, our primary asset.

FRANCESCA
Let's at least hear his terms.  We
can't decide an issue without all
the relevant facts.

CRISTA
The facts are simple - he has
forty-percent and wants more.  At
least fifty-one.

JOLLY
I have a few things I could cash up.

CRISTA
And what will you live on if
Volucci is unable to pay a
dividend?

JOLLY
I'll go to parties.  I've given enough
of them.

BINDWEED
We could retrench.  Lay off staff,
close outlets.

NATASHA
I say we fight.

BINDWEED
That isn't a plan.

NATASHA
The Committee has no right to bar
us.  Il nonno made the Sho-Down.
If Monty won't help us, then we do
it alone.  But we fight.

BINDWEED
Yes but how?  And with what?

NATASHA
Fight.

She marches out defiantly without
looking back.

BINDWEED
The simple and dramatic is always
her favoured option and we love
her for it, but reality dictates a
more measured response.

CRISTA
Okay, we raise the money by
factoring our orders.  Is that the
right word?

BINDWEED
You normally do that with invoices,
or at least confirmed sales.  Not
hoped-for orders from an event yet
to take place.

CRISTA
Don't we have any spare cash?

BINDWEED
Not to speak of.  We're barely
meeting payroll.

CRISTA
Then we must factor our
reputation - Volucci futures.  Can
you arrange that?

BINDWEED
It's highly unorthodox.

FRANCESCA
Not to mention very high risk.  If it
fails, we'll certainly be delivered to
Montescu, and on his terms.

No-one speaks.  All eyes are on Francesca.

FRANCESCA (to Crista)
Very well.  It's your campaign.  Do
what you must.

She gets up to go.

FRANCESCA
Come on, Giulio.

JOLLY
Bu we haven't voted yet.  Isn't
anyone interested in my vote?

Francesca leaves.  Jolly decides to follow, giving Crista a peck
on the cheek on the way out.

INT  ROOM OF MIRRORS  DAY

It's organised chaos as Crista and Sylvan, along with Emma
and other assistants do fittings.  Borinsky bursts in and
marches straight up to Crista.

BORINSKY (fiercely)
If you please.

Without waiting, he stalks off into her office.  Crista carries on,
seemingly unconcerned.

EMMA
I've never seen Borinsky mad
before.

CRISTA
Then we must be doing something
right.

INT  CRISTA'S OFFICE  DAY

Borinsky is seated when Crista enters but immediately jumps
up.

CRISTA
I hope it won't take too long
because as you can see, I'm very
busy.

He plants a notice on her desk.

BORINSKY
The date.

CRISTA
What of it?

BORINSKY
You know damn well.

CRISTA
Did you expect me to wait till after
the Sho-Down?  This isn't Paris or
Milan.  They won't come twice.

BORINSKY
But the very same night?  That'll
hurt us both.

CRISTA
As oppposed to just, say, Volucci
when you shut us out?

BORINKSY
What do you want?

CRISTA
To get on with the job.  So if
there's nothing else..?

BORINSKY (loudly)
All right.

CRISTA
All right what?

BORINSKY
You're in.  Volucci is in.

CRISTA
Two entries.

BORINSKY
You don't have Montescu with you
on this.

CRISTA
And yet we're managing.

He eyes her coolly.

BORINSKY
Anything else?

CRISTA
Top billing.

He laughs despite himself.  She doesn't blink.

BORINSKY
You're not Torrenti.

CRISTA
And he's not me.

They face off.

CRISTA
I understand Torrenti's launching
himself in a new direction.

BORINSKY
Consistent with the aims of the
Committee.

CRISTA
It's one thing to gamble on a
novelty act like Adam Zedd.  An
off-beam Torrenti could blow up in
your face.

He maintains a stubborn silence before finally relenting.

BORINSKY
I'd better not regret this.

He leaves.  She breathes in deeply.

INT  VOLUCCI LIVING ROOM  NIGHT

An exhausted Crista has flopped on the sofa.  Natasha whirls
herself around the room in celebration.

NATASHA
We've won.  We've won.

CRISTA
We've been given an opportunity,
that's all.  There's still so much to
do.

NATASHA
Your first major show on the world
stage and you're not the least bit
excited.

CRISTA
Fortunately I have a sister I can
safely delegate that aspect to.

Natasha bumps into a table, smashing a vase.  There's a
moment's awed silence then she collapses on the floor in a
laughing fit.

CRISTA
I take it back.

Nevertheless she permits herself a little smile.

INT  RECEPTION VENUE  NIGHT

The guests mingle before the grand show.  Crista enters
looking coolly elegant in a gown with single bare shoulder.
She accepts a glass of champagne from a waiter just as
Natasha bounces up.

NATASHA
Sylvan said he would come and he
hasn't.  A damn cheek.

CRISTA
I shouldn't be here either.  There's
a million and one things need
checking on.

NATASHA
That's why you've got Emma.  Your
job is to stand around while people
make arty-farty pronouncements
like 'haut-coûture is dead'.

Crista doesn't respond.

NATASHA
What's wrong?

CRISTA
What do you think?

NATASHA
You simply can't be nervous.

CRISTA
Of course I bloody am.

NATASHA
But your designs are so wonderful.
This night is wonderful.  I want it to
go on forever.

CRISTA
Look, there's Oscar.  Go and
annoy him.

Natasha flounces off huffily.  Bindweed comes over.

BINDWEED
What did you say to your sister?

CRISTA
I sent her away because she was
prattling on and I'm not in the
mood.

BINDWEED
You're nervous?

CRISTA
Yes but apparently I have no right
to be, which only makes it worse.

He smiles at her.

BINDWEED
Volucci is in capable hands.  I'm
sorry I ever doubted you.

CRISTA
Why shouldn't you have?  I
doubted myself.  Anyway, all that
matters now is that this evening
goes well.

She spies someone in the crowd.

CRISTA
Excuse me, there's something I
must do.

She makes her way over to where Gwinny is chatting in a
group and speaks in her ear.

CRISTA
Viens.

GWINNY
What?

Crista takes her mother by the hand and leads her over to the
French ambassador.

CRISTA
Monsieur l'ambassadeur, puis-je
vous déranger un moment?

DUPRES
Avec grand plaisir.

CRISTA
Je vous présente ma mère,
Guênièvre.

DUPRES
Ravis, madame.  Un nom très
charmante, comme vous-même.
Mais Crista, c'est pas français.

GWINNY
Si, c'est le diminutif de Christabèle.

DUPRES
Ah oui, bien sûr.

The two share a little laugh and continue chatting.  Crista
notices Lyndon standing nearby.  He moves up to greet her.

LYNDON
Crista.

CRISTA
Hi.

LYNDON
Am I interrupting?

CRISTA
Only jokes about my name.  By the
way, no hard feelings?

LYNDON
What?

CRISTA
About knocking Torrenti off his
perch.

LYNDON
Oh that.  Not at all.  In fact, let me
say how beautiful you're looking.

CRISTA
Thanks but it's not one of my
designs.

LYNDON
That's not what I meant.

CRISTA
I hope the show is a success for
the both of us.

She turns back to rejoin her mother and the ambassador in
conversation.  Lyndon downs the rest of his drink in one.
Dexter sidles up.

LYNDON (brusquely)
Don't ask.

INT  EXPO AUDITORIUM  NIGHT

As the last of the latecomers take their seats, the auditorium
is plunged into darkness.  A loud shriek is heard - a piercing
metallic rasp.  Grotesque stick-like creatures enter, their legs
short stilts.  The heads of the models are hidden in the
creatures' long necks, which end in tiny heads with eyes on
long stalks.  Clicks of various pitch punctuate the shrieks - this
is music of an alien kind.

A large knotted ball is lowered from the ceiling.  The creatures
encircle it, grasp threads and unravel it.  Metalla is revealed,
spinning on a small platform disk.  She's clad in a thousand
translucent scales.  Her head is shaven, and sprouts two
antennae.  The disk slowly stops spinning.  She opens her
eyes and steps off, beginning her walk along the runway.

The scene swirls into dissolve, coalescing into the next entry -
Sylvan's 'Casual Twilight', a loose garb collection featuring
overlapping folds and colours of burnt orange, black and dark
green.

Other entries whirl past as brief flashes.

Again darkness reigns.  Solemn organ music begins as
Metalla enters in a long flowing white robe.  Suddenly there's
an explosion of light and sound - a strobing rainbow battles a
sonic wall of feedback.  She stops, surprised.  Something's
amiss.  She starts walking again.

Then it happens.  The robe disintegrates into red tatters.  She
stumbles, losing her balance and falls into the audience.  It
appears as though she's been blown off the runway, and a
wave of panic ripples through the crowd.

Jostling occurs as people head for the exits.  Some fall,
creating more confusion.

More fall and are trampled.  Those who stop to help are
themselves knocked down. One impulse dominates - escape.

INT  AUDITORIUM CONTROL BOOTH  NIGHT

The light and sound display continues.  Oblivious to the panic
below, the technician concentrates on his control panel while
munching an apple.

INT  EXPO AUDITORIUM  NIGHT

Lyndon has Metalla in his arms and struggles to avoid going
under.  Although the people around him try to make way, they
themselves are being swept along.

EXT  EXPO CENTRE  NIGHT

The crowd is disgorged into the night.  People with cellphones
are calling for ambulances.  Lyndon emerges with Metalla.  He
lays her on the ground, ignoring the onlookers who
immediately surround them.

METALLA
Why are we outside?

LYNDON
It's okay.  Help is coming.

METALLA
This isn't blood.  I slipped, that's all.

LYNDON
What was Torrenti thinking?

Later.

The ambulances have arrived and crush victims are being
loaded inside.  A TV reporter and cameraman find and
confront Torrenti, standing motionless amidst the chaos.

REPORTER
Viewers at home will be
wondering how much of this was
orchestrated.

He gapes at her.

REPORTER
What are your thoughts on the
statement 'artists are cultural
terrorists?'

He blinks.

REPORTER
Well folks, that's our second
scoop for the night - the great
Torrenti lost for words.

CAMERAMAN
They've cut.

REPORTER
That wasn't too flippant, was it?
I'm not looking at a change of
career, am I?

EXT  EXPO CENTRE  DAY

The sun has barely risen as Crista, still in evening dress under
her coat, enters the building.

INT  EXPO AUDITORIUM  DAY

Crista surveys the empty theatre, bathed in gloom.  Footsteps
behind her snap her out of her reverie.  She glances around,
recognises Lyndon and turns back.

LYNDON
I thought I might find you here.

CRISTA
Silly, I know.  It's just... no, it
doesn't matter.  It's all over.

LYNDON
Let me take you home.  You must
be tired.

CRISTA
No I'm fine.  Really.

LYNDON
You're not.  You spent all night at
the hospital.

CRISTA
Not that there was anything I could
do.  I'm just glad no-one was
seriously hurt.  It could've been -
no, I don't want to think about it.

He watches her a moment in silence.

CRISTA
When Metalla fell I tried to get to
her but couldn't.  You saved her
life.

LYNDON
Hardly.  It was minor concussion.

CRISTA
She could've been trampled.

LYNDON
Crista...

His eyes are wholly on her but she still hasn't noticed.

CRISTA
She's very beautiful.

LYNDON
Yes.

CRISTA
You don't need to hang around.
Honestly.

CRISTA
I'm just... I can't go home.  Not yet.

He moves in close.

LYNDON
Then let me take your coat.

CRISTA
What?

LYNDON
Your coat.

CRISTA
I don't understand.

LYNDON
Please.

She slowly removes he coat, still puzzled.  He lays it carefully
on a seat and returns.

LYNDON
Now tell me what you see.

CRISTA
Nothing.

He kisses her bare shoulder.

LYNDON
And what do you feel?

CRISTA
What are you doing?

LYNDON
Forgive me but you've made me
wait too long.

CRISTA
What about Metalla?

LYNDON
There is no me and Metalla.

She finally turns round.

LYNDON
May I have this dance?

CRISTA
There's no music.

LYNDON
I can hear music.

CRISTA
What if I fell?

LYNDON
I'll catch you.

CRISTA
And what if you fall?

He smiles.

LYNDON
I already have.

She looks into his eyes, still not believing.

LYNDON
Let's swirl.

CRISTA
For how long?

LYNDON
An age.

He takes her hand and they swirl.

END


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