Kyle returns, hair slightly mussed, but none the worse for wear. He sees a bold-looking man looking intently at some pictures, and steps in fairly close to him, trying to look at whatever he's looking at.
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Kyle returns, hair slightly mussed, but none the worse for wear. He sees a bold-looking man looking intently at some pictures, and steps in fairly close to him, trying to look at whatever he's looking at.
Spoiler
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Sigmund Jones enters the museum, dressed in a flamboyantly violet vest and tie combo, his burgundy hair shinier than ever, and walks straight into the gallery. He makes a quick round, before stepping behind Reed and Kyle, hands on his hips, and a grin on his face.
"What's so intriguing, lads?" he says in his tight Londoner accent.
As Reed studies the painting, at first, there seem that it was nothing - just a very good realistic painting of a massacre. It was something that Reed would have to note and ask the painter about if he ever got a chance to speak with. As he was studying the painting, he didn't notice another gentlemen step beside him - looking at the painting - which was when it started to move.
Reed blink and turned toward the voice - he could feel the beast within him stirring at the presence of an overtly powerful beast. He smiled - just to keep control on the beast - it was the first time that he had such a strong beast - but these nights all the bogyman were coming out to play. "Just admiring the painting here." Reed replied - finally smashing down the beast to his will.
He wanted to continue studying the painting to see if there was any hidden meaning to it.. or if he was just wasting his time. But, it did move.. didn't it?
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Derek smiles and nods happily. "I will be glad to come by tomorrow evening, and thank you for the invitation."
He waits as Eva unveils more of her works. He finds the one focused on the skeletal pelvis intriguing, and is rather jarred by the next one she reveals. He studies all of them, but feels drawn back to that one.
After she has revealed them all. "Please, feel free to tell me if you're one of the many artists who prefers to not talk directly about her art, letting the art instead speak for itself, but if that's not the case, could you tell me a little about this piece." He points to the piece in question.
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Kyle swivels himself around to meet the newcomer, and he smiles when he sees the outfit and the hair. His smile is like the first sight of dawn after a long night. He sweeps his hand in the direction of the exhibits, pointing out one of the pieces in particular. "Oh, I just saw him looking at one of the pieces here and wanted to see what was so interesting. It's very realistic, don't you think?" Kyle extends his hand to the newcomer in introduction. "The name's Kyle."
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Sigmund takes the extended hand and does a flourishing bow while holding it, "Sigmund Jones, at your service." As he moves back up, his hair flips back, and seems to fall almost perfectly in place. "It certainly is an interesting work..it doesn't seem to quite fit in the theme of the others, though."
Amy and Matilda arrived at the gallery about twenty minutes after the show opened. Amy was dressed in an expensive-looking-but-not-too-flashy little black dress and low heels. She wore demure dangling earrings made of gold with a matching golden necklace . . . neither of which were very flashy. And she carried a tiny black purse, that was just big enough for her phone and a few other essentials. In matching nothing-too-flashy fashion, she wore her red hair down, pushed back behind her ears.
Amy looked around the gallery as they entered.
"Well, look at this," she said, noticing the rather macabre nature of the paintings. "Unexpected . . . " she mused. "I like it."
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Eva smiles, finding herself more and more attracted to this Derek gentleman, wondering if he they will become friends... or perhaps morem his interest in her artwork the most interesting thing about him so far.
"No I do not mind... I dream of that place... often... It's dark, and alarming, but it is one of my most frequent recurring dreams," she nods to the dark room in the painting.
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