44, married and childless with an appearance that belies her age, the beautiful ESMERALDA (Ezzie) is an eminent art curator. She had discovered EGON, the painter who commits suicide at an auction of his work 3 minutes into the film. Take a wild guess what happens to the art pricing. She’s had a recent, burgeoning maternal need, it almost driven to obsession by the suicide. MATT, her hardcore businessman husband, has zero paternal desire. PETER, another on Ezzie’s radar, is an artist whose work interests her as much as he does. As lovers, Peter lives with TRUDY. Her father, BARTON, aka”God’s Portfolio Manager”, is the world’s richest man. His new business model? To reap the economic benefit of art pricing after the artist “dies” a faked death; “test marketing” by Egon. Battered by a financial crisis, Matt becomes involved. Trudy has been discreetly involved as well. Their intent is to involve Ezzie, her art contacts invaluable. They also view Peter as an ideal candidate to put through the process. But Peter and Ezzie are in it for the art! In the penultimate scene at the noted Elias Museum biennial, a pregnant Esmeralda and her alternative inseminator Peter are together. The piece ends with Barton’s inauguration as President. Throw together the strong, maternal parts of ‘Juno’ with the relationship strife of ‘Whose Afraid of Virginia Woolf’ and give it a mercenary twist.