II-V. CLICK II
A very large and dark room. No windows, no doors. No sound but the electric humming of medical equipment. No light but the harsh, cutting white of several, well-placed surgical lamps reflecting on impressively polished steel tools with lots of little blades and teeth.
Harold is on an operating table, unable to move. Only his face is lit and in clear view. His body is obscured by shadow and sheets. Wires run from his head and body to one of the humming bits of medical equipment.
HAROLD: (silently screams)
OLIVER: (off) Sorry, sorry.
Oliver, eating a sandwich in his desk chair, casually rolls out of the darkness, over to Harold. He flips a switch on the humming bit of medical equipment.
You looked like you had something to say.
OLIVER: (scoffs) Was that it? Go on. Get it out. Nobody can hear you scream.
HAROLD: (considers this) Pot to Kettle, how much more of a cliche can you be?
OLIVER: Not to put too fine a point on this, but I am a surgeon holding his wife’s lover captive in a big, secret laboratory.
HAROLD: Fair enough. But, where the Hell did you come from? I thought I was alone.
Oliver gestures to sandwich and feet.
OLIVER: Bit of lunch and socks.
HAROLD: Where’s Sophia?
OLIVER: Why? Feeling lonely?
HAROLD: What did you do to her?
OLIVER: (gestures with sandwich) I scooped out her brain and put it into the relatively younger body of a pink-haired woman who tried to sell me cologne from the trunk of her car.
HAROLD: Did none of that sound crazy to you?
OLIVER: Look. If it helps, you weren’t the first.
OLIVER: Yeah. Sorry. There was this old flame from high school, a few coworkers, this guy from the social security office…
OLIVER: Hey. I’m not even Sophia’s first husband. Now, that guy? Real piece of work. I got some good practice out of him, though.
HAROLD: Why would she do all that?
Oliver finishes his sandwich.
OLIVER: (shrugs) It makes her happy.
HAROLD: You’re shitting me.
Oliver picks up a shiney steel tool with the scary little blades and teeth.
OLIVER: You slept with my wife. I don’t think you get to shame other people’s kinks.
Harold seizes on the scary little blades and teeth, ignores everything else.
HAROLD: Jesus. If you’re going to kill me, just do it already.
Oliver picks at his teeth with the tool.
OLIVER: Don’t be so dramatic. I’m not going to kill you.
HAROLD: (puzzles this) You’re not?
OLIVER: Of course not. Keeping you alive is the whole point.
HAROLD: Wait. What?
Oliver rolls over to another switch, flips it.
The lights come on and reveal what is, more or less, a chrome-finished Salvador Dali painting. But instead of melted, sagging clocks, twisted figures, or surreal landscapes, Harold’s insides stretch and sag and drip on the outside, all over Oliver’s otherwise spartan, make-shift surgery room. Lungs are draped over the back of a chair. Entrails wrap around one of the surgical lights, across the operating table, and inexplicably tied on the other end to an old Victrola. Harold’s head dangles above this from several cables, with a number of tubes and wires clipped or stuck into this or that hole.
OLIVER: See, Harold?
Oliver holds up Harold’s still-beating heart, jangles it like a set of keys.
I’m a bit of an artist myself.
Harold ignores this, screams.
Oliver shakes his head disapprovingly, then flips the switch.
OLIVER: Yeah. That’s enough of that.
HAROLD: (silently curses)
OLIVER: What? I meant nobody else can hear you scream.