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(Return to the present of GEORGE with MARTA in the museum exhibit. GEORGE makes the gesture to advance to the next screen as if he is still lost in his reverie. MARTA dons the Imperial Immersives Nine crown.) GEORGE (coming out of the flashback, he returns to reading from the screen): "What kind of intimacy is this?" That's a damn good question. MARTA (starting to move): They look so sad and lost. She is exploring motion, trying to find the trigger for the interactive exhibit, though the audience does not she what she sees— only the artist's statement continues to appear on the screen. GEORGE reads the answer to the question to himself and the audience can do the same. "One that is composed of immutable selves locked in position instead of being liberated from the 'fetters of selfhood.' " MARTA (continuing to move): There it is. GEORGE: What? MARTA (continuing to move, almost dancing): You couldn't get it, sweetie, could you? You miss so much, George. You have to find this rhythm ...and then it makes sense. It's all about getting those two lost ones getting back together. You make it happen when you move. Like this. GEORGE: (taking the apparatus from Marta's head, though she playfully tries to resist. He clumsily puts it on again) But they're not saying anything ... MARTA: It's not about words, George. You listen to the music and then you go like this (she tries to help him by moving his body). It's kind of like you're making love (the double meaning of the words tickle her). GEORGE (again flailing, a poor imitation of MARTA'S movements): I really don't think anybody's getting any in these pictures. (He removes the crown). Moving on to the final exhibit, they hear Audience Audiofile #1 GEORGE and MARTA seamlessly take on the content of this recording in an improvised argument, as if it is their own issue to work out. Docents and museum-goers move through the space. Their struggle remains somewhat muted and restrained because of the public nature of the gallery. |
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