THE VIRTUOS WOMAN
INT. – 40’s – 50’s ERA – LIVING ROOM - DAY
Celia (17) is leaning on a mantle crying and rubbing wounds on her. Blood is pouring down her face. The light is dim.
Shades are almost completely closed.
The colors of the room are drab and faded.
Some linens are torn.
A slightly worn rope is tied to a bedpost of one end, other end is free.
EXT. OUTSIDE THE DOOR IN AN ALLEY – DAY
There is dirt and rubbish in the alley.
The alley is narrow but large enough for more than one person to fit through at the same time.
The stones are dark on the walls of the alley with graffiti and cigarette burns on it.
(Blood on clothes. Has a fierce look on his face.)
GUY - "So what are we going to do about the baby?”
(Blood on her hands. Smitten look on her face.)
GIRL - “This makes things more complicated. Director’s name can’t find out. We made a deal. You better make sure it goes through. Miss Pipsy winks isn’t going to get all she wants. She can cry and moan and play her little girl thing to the rooftops and beyond…… it’s not going to do her any good anymore.
INT. CELIA’S OLD APARTMENT - DAY
Things are strewn everywhere.
Some clothes draped about the room in silks and pale, vibrant colors, some mauves.
Sun is shining everywhere particularly hitting on a picture of Celia.
Luxurious bedding with crystal about and gold knobs everywhere.
Phone rings. …. Answers it.
(Holding Celia’s dress, an item he gave to her. Look of concern on his face.)
Oh, hello…… I’m sorry, …. my mind is not on what you are saying. This isn’t a good time now. No,…. I haven’t seen Celia.
EXT. - FLASHBACK – PIER – DAY
Celia (14) is walking off in the hands of the director as she looks over her shoulder seeing her father wipe his tears away.
INT. – DIRECTORS BEDROOM – NIGHT
Orgy going on between director and many women. Celia now 17 sits by the window looking out at the stars and sky. She has no interest in what is going on. Women become aggressive and fight. Director does not notice all this. Drugs, alcohol, money, lots of expensive clothes and jewelry everywhere.
GIRL – Look at Ms. Pissy Pants over there.
2nd Girl – She thinks she’s going to start something. She can act up all she wants doing her thing all the way to the rooftops and beyond and she’s still not going to get her way.
Director looks over at the confusion and then over to Celia to throw his usual astonishing smile toward her and then continues with what he is doing.
EXT. – STREET – DAY
Celia gets into a cab with…… He touches her and she can’t help but to let him continue. They exit the cab together.
INT. OUTSIDE CELIA’S APARTMENT – DAY
(Celia is panting as he is pressing her up against her door.)
CELIA – Would you like to come in? He pushes past her pulling her in slightly and shutting the door
Man is on top of her and having sex with her a bit roughly. Celia’s face is a bit surprised.
MAN – This is what you wanted isn’t it.
Celia’s face looks surprised.
CELIA – Yes it is.
EXT. – OUTSIDE CELIA’S APARTMENT – NIGHT
Name is walking down her steps and hails a cab. Cab pulls up and he gets in. His phone rings.
Hello. It’s done.
Hangs his phone up.
Name - …… studios. Closest to directors name.
INT. – DRESSING ROOM AT …. STUDIOS – DAY
Bunch of girls are all scurrying to get ready to film.
Director walks by film crew and the dressing room. He looks in and then keeps walking. He looks at his assistant director that is now walking by.
(He has a concerned look on his face or sounding concerned.)
Name – Have you seen Celia?
Dressed in khaki’s with his glasses sitting on top his head.
Name – No, I haven’t.
Name – Ok, well then. Carry on good ol’ chap. I’ll catch up with you. She’s not going to make it for the shooting today, MY STAR ACTRESS!
Assistant Director tips his hand at him as though it was a hat, looking at him curiously and walks away.
INT. DIRECTORS OFFICE – DAY
Bad guy is in there. He is looking at all the pictures of him and Celia since she was brought there. They are all loving pictures of the two of them. Some are taken in her shooting outfits.
Bad Girl – What are you doing in here?
(She scurries in to him.)
BAD GUY – I’m checking out my opponent.
BAD GIRL – Fine. Now you have to leave.
(She picks up one of the pictures of Celia and Director on the desk.)
Director enters. She jumps taking a breath in.
DIRECTOR – Woe, sorry there Bad Girl. I didn’t mean to startle you.
(He gazingly looks toward the photo.)
DIRECTOR – Yes, that’s my star. My Celia. Have you seen her?
(Looking as though she’s hiding something.)
BAD GIRL – No, I haven’t.
DIRECTOR – Okay. Thank you. He kisses her on the forehead. Be sure not to be late on the set.
Bad Girl smiles and walk off with her usual slant as he watches it on her as she walks away, his puzzled look carries on.
INT. – LIVING ROOM - NIGHT
Celia is getting a bunch of her things together into a suitcase that is torn that she has found. Glasses filled with remnants of old drugs from the days before sit on tables and furniture in the room.
(She begins to sob softly. You can hear Bad Girl and Bad Guy coming down the alley.)
CELIA – I have to get out of here.
(She scurries to an open window that leads to an enclosed part of the alley that is hidden behind a dumpster. She pulls herself through pulling the suitcase with her. She hides behind the dumpster.
EXT. – LIVING ROOM – NIGHT
BAD GIRL – That bitch!! She got out of the ropes.
BAD GUY – She couldn’t have gone far. I gave her too many valiums.
BAD GIRL – Stupid! You obviously didn’t give her ENOUGH!!
(Celia makes a dash out from behind the dumpster and runs past them in the room. They go after her. There is a fight between them. Celia bites and scratches so hard she is able to get away from them.)
EXT. – GRASSY MEADOW – DAY
(Celia wakes up and finds herself outside on the grass of a place that she is not familiar with. She looks at her new wounds and her bulging belly now that shows so well. She feels pain. She hold her stomach as she screams as she delivers the baby.)
CELIA – Oooooh!!!
INT. – SET – DAY
(Bad Girl is dressed in Celia’s shooting outfit. She caresses Director’s hair and face.)
BAD GIRL – Aw Director, do you think I could fill in for Celia today? She is so late and we can’t find her anywhere. She didn’t even show up yesterday.
(Director looks over the scratches on her hand.)
DIRECTOR – Yes. You’d better cover those scratches up from the strawberry patch I presume you tried to get into by the rose bushes outside. CARRY ON everyone!! Lights!!
EXT. – GRASSY FIELD – DAY
(Celia coddles baby as she notices the lights shining up from below. She realizes how close she is to the studio. Limping now she puts the baby under her sweater and begins to run toward the light all the way down through all the shrubbery and grassy field to the street. Panting she crosses the street and with the sound of commotion meets the Director’s eyes. Tears fall down from them.)
DIRECTOR - Well I never thought you’d show my love.
CELIA – I wouldn’t miss it for the world.
(She opens her sweater up to hand the baby to him. He looks at her and then the baby as a tear comes to his eye.)
DIRECTOR – I see you’ve been busy. I guess I have been too much myself. If there is one thing I have learned is the importance of love and who and what is important in life. And you Celia, and now my son, are the two most important people in my life.
(He holds the baby up high as Celia smiles.)
DIRECTOR – Everyone this is my son. And this IS my wife, Celia, if she’ll have this stupid ol’ chap as a husband.
(He looks to her.)
DIRECTOR – Will you Celia? Will you be my night and day, my shining armor as I have tried to be for you all these years, and have miserably failed?
CELIA – I will. But I don’t need a shining armor anymore. I am the virtuous woman that you made me.
(She looks at him and the Bad Girl and the Bad Guy and turns around to walk out. The sun shines down on her. She looks back one more time over her shoulder.