"A WOMAN SCORNED"

 

                                by

 

                         Charles Deemer

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

                                          3550 SW Pomona St.

                                          Portland, OR 97219-7518

                                          charles@charlesdeemer.com

                                          1-503-452-8277


 

 

 

 

 

FADE IN:

 

INT. HIGH SCHOOL AUDITORIUM - STAGE - NIGHT

 

A scene from the play "Medea" by Euripedes.

 

TRISHA, playing the lead, is a pretty, blonde high school

senior wearing exaggerated makeup and a stylized "mad"

hairdo for her part.

 

The actors are near play's end, when Medea is wild and crazy

after the murder of her children.  Trisha plays the role

with passion and talent.

 

                         TRISHA

             No, it was not to be for you to

             scorn my love and live happily

             ever after, laughing at me.

 

Medea is on stage with Jason and The Chorus.

 

                         TRISHA

             You have no right to call me a

             monster.

 

Jason is played by JOHN, a tall handsome senior.

 

                         JOHN

             If you are not, then feel the

             same sorrow as I.

 

                         TRISHA

             I will embrace sorrow when you

             cannot mock it.

 

                         JOHN

             O my children, what a wicked

             mother she has been!

 

                         TRISHA

             No!  My children died from a

             disease they caught from their

             father!

 

INT. AUDITORIUM - NIGHT

 

The audience, composed largely of parents, teachers and

other students, watches spell-bound by the performance on

stage.


                                                            2.

 

 

INT. STAGE - NIGHT

 

                         CHORUS

             O your heart is made of rock if

             you can kill the fruit of your

             womb with your own hands!

 

INT. AUDITORIUM - NIGHT

 

CONNIE, 40ish, and HEATHER, 15, are as wrapped up in the

action as the rest of the audience.  Heather wears dark

glasses and has a blind person's cane.

 

At the back of the auditorium GREG, 40ish, the director of

the play, watches on happily.  He is fit and handsome and a

well-liked drama teacher at Wilson High School in Portland,

Oregon.

 

Greg dresses flamboyantly in a style reminiscent of the

sixties, in jeans and a bright tie-dye shirt.  He is clearly

delighted with the performance of his students.

 

INT. THE STAGE - NIGHT

 

                         JOHN

             How I loved my children!

 

                         TRISHA

             No, I loved them more than you.

 

                         JOHN

             You killed them!

 

                         TRISHA

             Only to make you feel pain!

 

                         CHORUS

             And so the gods achieve many

             things that we do not understand.

 

The LIGHTS COME DOWN on stage as APPLAUSE rises spontaneously

from the audience.

 

INT. AUDITORIUM - NIGHT

 

The APPLAUSE continues as parents and teachers and students

rise to their feet to give the cast a standing ovation.

 

Connie whispers something to Heather and then both get to

their feet to join in the standing ovation.


                                                            3.

 

 

INT. STAGE - NIGHT

 

The cast, beaming and ecstatic at their success, move

forward in a choreographed curtain call.

 

Trisha and John, hand in hand, move forward to the stage's

edge together and take their bows as leads.

 

INT. DRESSING ROOM - NIGHT

 

Greg and his cast are accepting the congratulations of

parents, students and other well-wishers who crowd into the

hallway outside the dressing room.

 

With Greg is his girlfriend, CHRISTY, 30ish, a wealthy

heiress. She is over-dressed for a high school play.

 

                         CHRISTY

             I'll see you at home.

 

                         GREG

             Aren't you coming to the party?

 

                         CHRISTY

             This is your night.  Party as

             late as you want.

 

She kisses him on the cheek and moves off, as Trisha's

parents come forward to shake Greg's hand.

 

MR. AND MRS. MORRIS are conservative business types, he in

banking and she in real estate, who hope their daughter

doesn't get the theater bug so badly she decides to make a

career of it.

 

                         MR. MORRIS

             Well done, well done.

 

                         GREG

             Thank you.  We couldn't have done

             it without Trish.

 

He finds Trisha in the crowd.

 

                         GREG

             Trish!  Trisha!

 

Trisha comes out of the crowd, half her theatrical makeup

off, part of her costume off, and almost ignoring her

parents she rushes forward to give Greg an embrace.

 

                         GREG

             You were really great tonight.


                                                            4.

 

 

He turns to the parents.

 

                         GREG

             Wasn't she spectacular?

 

                         MRS. MORRIS

             It's such a mature role.

 

Greg breaks the embrace.

 

                         GREG

             I'll tell you, she can go as far

             as she wants.

 

This isn't what the parents want to hear or have encouraged.

Greg's good friend and fellow teacher, RAYMOND, 30ish, comes

by.

 

                         RAYMOND

             Good work as always, buddy.

             Great job, Trisha.

 

                         TRISHA

             Thank you.

 

                         GREG

             Coming to the party?

 

                         RAYMOND

             Wouldn't miss it.

 

He moves off.

 

                         MR. MORRIS

             Trisha, we have dinner

             reservations.  How long will it

             take you to change?

 

                         TRISHA

             Can I meet you there?

 

Mr. Morris looks at his watch.

 

                         MR. MORRIS

             Well, I suppose so, if you don't

             keep us waiting - I told you the

             recruiter from Penn is in town.

             I've arranged for him to join us.

 

He turns to Greg.

 

                         MR. MORRIS

             One of the best marketing

             curricula in the country.


                                                            5.

 

 

                         TRISHA

             I'll meet you there in an hour.

 

She makes a move toward Greg.

 

                         TRISHA

             Tell people at the party I'll be

             late.

 

She gives the teacher a quick hug and disappears back into

the crowd.

 

                         MRS. MORRIS

             This is important, dear!

 

                         GREG

             They get a little crazy on

             closing night.

 

INT. DRESSING AREA - NIGHT

 

Connie and Heather come through the crowd, Heather feeling

her way ahead with the cane.

 

(As we shall learn, she is not really blind but posing as

Greg's former blind step-daughter, Annie, as part of an

elaborate set-up and frame job.)

 

INT. DRESSING ROOM - NIGHT

 

Greg is shaking hands a final time with the Morris' when he

sees Connie and Heather as they approach.  He is visibly

startled to find them here.

 

                         GREG

             Excuse me.

 

He moves toward the approaching pair.

 

                         CONNIE

             Greg?

 

                         GREG

             Connie?  I don't believe this.

 

                         HEATHER

             Is it Greg?

 

Greg turns to Heather, whom he mistakes for his former step-

daughter.

 

                         GREG

             Annie?


                                                            6.

 

 

                         HEATHER

             It is you!

 

Heather steps forward, arms reaching outward for the approach

she cannot see, and Greg moves into her arms.

 

                         GREG

             Annie, my God!  This is incredible.

 

They embrace a long moment.  Greg is clearly moved that

"Annie" is there.

 

                         CONNIE

             We loved the play.  Didn't we,

             Annie?

 

                         HEATHER

             I read it before.

 

                         GREG

             I didn't even know you were in

             town.

 

                         CONNIE

             Well, if you wrote now and then...

 

                         GREG

             Annie, you're so - grown.  I

             wouldn't have recognized you.

 

                         CONNIE

             She's fifteen.

 

                         HEATHER

             Almost sixteen.

 

                         GREG

             You'll have to excuse me, I'm

             just speechless.

 

                         CONNIE

             Well, it's been what, eight years?

 

                         GREG

             I wish you'd've called.  I mean,

             closing night, it's a zoo around

             here.

 

                         CONNIE

             How about lunch tomorrow?

 

                         GREG

             Tomorrow?


                                                            7.

 

 

                         CONNIE

             Unless you're too busy.

 

                         GREG

             Well, yeah, I can fit that in.

             Late, say two?

 

                         CONNIE

             Where do you recommend?

 

                         GREG

             Let me think.

 

                         CONNIE

             You are rattled, aren't you?

             I'll think of someplace and leave

             a message on your machine.  You

             do have a machine?

 

                         GREG

             Well, sure, that'll work.  Let me

             give you the number.

 

As he writes it down, JAY, 50ish, the high school principal,

comes forward to congratulate Greg.

 

                         JAY

             Greg, my boy, you've done it again!

 

Greg passes over his phone number.  Connie takes Heather's

hand, and they start to move away.

 

                         JAY

             How you get that quality of

             performances out of these kids is

             beyond me - but, yessiree, you've

             done the magic number one more

             time!

 

Greg calls after Connie.

 

                         GREG

             Leave a message on my machine!

 

INT. BACKSTAGE AREA - HALLWAY - NIGHT

 

Greg is closing up the theater building.  He walks down a

hallway to the door to the men's dressing room, opens it and

sticks his head in.

 

                         GREG

             Anybody home?

 

No one answers.  Greg reaches inside and turns out the light.


                                                            8.

 

 

He continues down the hallway to the women's dressing room,

opens it, sticks his head in and looks around.

 

A SHOWER is running and the room is full of STEAM.

 

INT. WOMEN'S DRESSING ROOM - NIGHT

 

Greg steps inside.

 

                         GREG

             Hello!  Time to close up in here!

 

The shower stops.

 

                         GREG

             Hello?  Who's in here, please?

 

                         TRISHA (O.C.)

             I'll just be a minute!

 

                         GREG

             Trish, is that you?

 

There is no response.

 

                         GREG

             Trish, I've got to close up.  And

             you're late, your parents are

             waiting for you.

 

He looks toward the shower area, which is still filled with

steam.  Out of the steam comes Trisha now, naked.  She

slowly walks toward Greg.

 

                         GREG

             Trish, you'd better get dressed.

             You're late.

 

She continues her approach.

 

                         GREG

             I'll wait outside.

 

As he turns to go, Trisha rushes to him and embraces him

from behind, naked and still wet.

 

Greg turns, trying to get free, and when they are face to

face, Trisha plants a passionate kiss on his lips.

 

It takes some effort for him to break free.  Then they are

face to face again.

 

                         GREG

             Trisha, Jesus . . .


                                                            9.

 

 

                         TRISHA

             I love you.

 

She tries to embrace him again but Greg pulls away.

 

                         GREG

             I'll be in my office.  We need to

             talk.

 

He hurries out of there.

 

INT. THE HALLWAY - NIGHT

 

Greg emerges from the dressing room.  He clearly is upset

about what happened with Trisha in the shower.

 

INT. HIGH SCHOOL - GREG'S OFFICE - NIGHT

 

Trisha is seated at Greg's desk, bent forward with her head

on her arms, weeping.  She's wearing jeans and a sweatshirt.

 

A black party dress,   fresh from the cleaners, is draped

over the desk.

 

Greg is nervously pacing back and forth.

 

                         GREG

             It's not what you think, Trisha.

             Come on now.

 

                         TRISHA

             You don't love me.

 

                         GREG

             I do love you.  But there's love

             and there's love.

 

                         TRISHA

             You don't.

 

                         GREG

             Remember when we studied Greek

             culture for the play?  How they

             had three words for love?

             Fidelia, eros and agape?  Well,

             we are in the fidelia category.

             We can love one another as friends.

 

As he speaks, Trisha cries even harder.  Greg is beside

himself, not knowing how to handle her.


                                                           10.

 

 

                         GREG

             And agape, too, okay?  Spiritual

             love.  Because I do have a very

             special feeling for you, Trisha.

             Honestly I do.

 

Trisha moves up off the desk and looks at him.  Without

makeup, her face streaked with tears, she looks even younger

than she is.

 

                         GREG

             You're very special to me.

 

                         TRISHA

             But I love you.

 

                         GREG

             I accept that - as fidelia, as

             agape.  I love you, too.

 

She gets up and moves into his arms.  They embrace.  Greg at

first holds back but finally is hugging her in return.

 

Then he breaks the embrace.

 

                         GREG

             Get dressed, your parents are

             expecting you.

 

Trisha tries to smile, and Greg touches her cheek.

 

                         GREG

             That's better.  You are special

             to me, Trish.

 

INT. PARTY HOUSE - LIVING ROOM - NIGHT

 

Loud music blasts from a phonograph.  Students are drinking

pop and dancing.

 

INT. THE KITCHEN - NIGHT

 

Greg is sipping a beer and watching the dancing in the

living room through the open door.  Then he sees Trisha enter.

 

INT. THE LIVING ROOM

 

Trisha looks beautiful now, dressed in a black party dress

which perfectly accentuates her blonde hair and blue eyes.

 

INT. THE KITCHEN

 

Raymond taps Greg on the shoulder.


                                                           11.

 

 

                         RAYMOND

             Get you a beer?

 

                         GREG

             I'm out of here.

 

                         RAYMOND

             Already?

 

Greg raises his empty beer bottle to the cast members in the

kitchen.

 

                         GREG

             To a job well done!

 

Spontaneous CHEERING breaks out.

 

Greg maveuvers to go out the back door.  He disappears just

as Trisha enters the kitchen.

 

Trisha watches Greg go.  She looks hurt.

 

John moves up beside Trisha and clearly has a crush on her.

 

                         JOHN

             Hi, Trish.  I was hoping you'd

             finally get here.

 

But Trisha looks lost in thought, staring at the spot where

Greg disappeared.

 

EXT. THE BLUE DOLPHIN RESTAURANT - DAY

 

The small French restaurant is in the hills outside Portland,

overlooking the Willamette River.

 

INT. RESTAURANT - DINING AREA - DAY

 

Greg and Connie are seated in a table by the window

overlooking the river.

 

A WAITER is pouring wine.  When he finishes, he puts the

bottle in an ice bucket by the table and leaves.

 

Connie raises her glass.

 

                         CONNIE

             To what?

 

                         GREG

             Surprises.

 

                         CONNIE

             Reunions.


                                                           12.

 

 

They touch glasses and sip.

 

                         GREG

             I'm sorry Annie couldn't come.

 

                         CONNIE

             She wants to spend more time with

             you, too.

 

                         GREG

             She's so grown.

 

                         CONNIE

             They do that.

 

                         GREG

             Almost sixteen, huh?  Amazing.

 

                         CONNIE

             Greg, if you want to spend more

             time with her, you can.  She

             feels closer to you than to her

             real father.  Or to Roger, for

             that matter.

 

                         GREG

             I've missed her, actually.

 

                         CONNIE

             Listen, Roger has a friend with a

             beach house.  We'd like to get

             away to San Francisco for a day.

             His friend would fly us.

 

                         GREG

             Sounds like you're mixing with

             the right people.

 

                         CONNIE

             I'll ignore that.  How would you

             like to babysit?  Just for a

             night. Roger's in the middle of

             some kind of business thing, he

             can't get away for longer than

             that.  But you know how I love

             San Francisco.

 

                         GREG

             I remember.

 

                         CONNIE

             You'll love the beach house.

             It'll give you and Ann time to

             get re-acquainted.


                                                           13.

 

 

                         GREG

             Well, sure, I'd like that.

 

EXT. THE OREGON COAST - DAY

 

Greg's VW bus is driving along the Oregon coast highway. The

view beyond the highway is spectacular, with magestic rocks

jutting up out of the ocean under a clear blue sky.

 

INT. GREG'S VAN - DAY

 

Early Bob Dylan is playing on his car stereo and Greg

listens thoughtfully.  He takes a deep breath.  His face

reflects a certain nervousness.

 

EXT. OREGON COAST - BEACH HOUSE - DAY

 

Greg pulls into the driveway of a modern beach house

overlooking a spectacular view of the Pacific Ocean, isolated

and without close neighbors.

 

Greg gets out and climbs the steps to the front door.

 

EXT. BEACH HOUSE - PORCH - DAY

 

Greg knocks, then knocks again.  He moves to look through

the large bay windows facing the porch, cupping his eyes to

look inside.

 

He knocks once more, louder.  He tries the door, and it is

unlocked.  He opens it and walks in.

 

INT. BEACH HOUSE - ENTRANCE WAY - DAY

 

Greg stands inside the door.

 

                         GREG

             Annie?  Anybody home?

 

He moves tentatively into the house.

 

INT. THE BEACH HOUSE - DAY

 

Looking for "Annie," Greg moves through the house, which is

tastefully decorated with modern art and furniture.

 

As he enters the large living room, he notices a deck

outside and heads for the glass doors which lead to it.

There, looking outside, he sees Heather alone in a hot tub

on the deck.

 

Heather is naked but still wearing her dark glasses, alone

in the hot tub which overlooks the ocean.


                                                           14.

 

 

Greg slides open the door and goes out onto the deck.

 

EXT. THE DECK - DAY

 

Heather hears the door open and turns to it.

 

                         HEATHER

             Is that you, Greg?

 

                         GREG

             Sure is.

 

                         HEATHER

             You're late.

 

                         GREG

             I got lost.

 

                         HEATHER

             Come on in.  Put your clothes on

             the bench.

 

Greg sees the bench that runs along the outside wall of the

house.  Heather's clothes are laid out there.

 

He moves to the bench and starts to undress.

 

                         HEATHER

             We have suits if you're not into

             nudity.

 

The remark surprises Greg, who is still remembering her as a

little girl.

 

                         GREG

             Au naturel is fine.

 

He continues to undress.

 

EXT. THE HOT TUB - DAY

 

Naked, Greg slips into the hot tub across from Heather.  The

water is hotter than he anticipated.

 

                         GREG

             Oooo . . .

 

                         HEATHER

             You'll get used to it.

 

She smiles in his direction.


                                                           15.

 

 

                         HEATHER

             I'm really glad to be able to

             spend some time with you, Greg.

 

                         GREG

             Me, too.

 

He is obviously feeling awkward, naked in a hot tub with a

girl on the brink of womanhood.

 

EXT. MAIN ROAD - DAY

 

On the main road outside the beach house, a distance from

the driveway, a car pulls over.

 

FINLEY, 40ish, a photographer, gets out and walks to the

trunk.

 

He opens the trunk and takes out camera gear.  Gear in hand,

he closes the trunk and moves toward the beach house.

 

EXT. THE HOT TUB - DAY

 

Heather is slowly moving around the circumference of the hot

tub toward Greg.  He is moving away at the same rate.

 

                         HEATHER

             How old was I when you left?

 

                         GREG

             Around eight.

 

                         HEATHER

             Have I changed?

 

                         GREG

             Of course you've changed.  What

             kind of question is that?

 

                         HEATHER

             Have you changed?

 

                         GREG

             Yeah, I've changed, too.

 

                         HEATHER

             Do you have gray hair?

 

                         GREG

             No, I don't have gray hair.

 

                         HEATHER

             Why do you keep moving away?  I

             want to feel your face.


                                                           16.

 

 

Greg stops, and Heather comes around the circumference to

catch up with him, stopping right beside him.  She reaches

out and slowly feels his face, exploring it.

 

                         HEATHER

             You have changed.  You feel older.

 

                         GREG

             That's because I am older.

 

                         HEATHER

             Are you sorry you left us?

 

                         GREG

             Annie, what happened had to happen.

 

                         HEATHER

             I really missed you.

 

                         GREG

             I missed you, too.

 

EXT. OUTSIDE THE BEACH HOUSE - DAY

 

Finley continues to approach the house along an embankment

and reaches a spot now where he gets a good view of the hot

tub.  He stops, checking out an unobstructed view of the hot

tub, where Greg and Heather are standing close.

 

Satisfied with his position, Finley unloads the camera gear

and prepares to shoot.

 

EXT. THE HOT TUB - DAY

 

Heather still stands close to Greg, who appears very nervous.

Under the water, her hand glances against his genitals.

 

She giggles.  Greg immediately moves away.

 

                         HEATHER

             What's the matter?

 

                         GREG

             That wasn't nice.

 

                         HEATHER

             Who wants to be nice?

 

                         GREG

             I want to be nice.  I'm getting

             out.

 

She moves across the hot tub toward him, reaching him before

he climbs out.  She embraces him and their mouths meet.


                                                           17.

 

 

EXT. ALONG THE EMBANKMENT - DAY

 

Finley is shooting pictures, one after the other.  He grins

with satisfaction.

 

                         FINLEY

             Now we're cooking, honey - now

             we're cooking.

 

EXT. THE HOT TUB - DAY

 

Heather is kissing Greg passionately.  Finally he pulls back.

 

                         GREG

             We shouldn't be doing this.

 

                         HEATHER

             I missed you so much . . .

 

                         GREG

             Annie, this isn't right.  I'm

             practically your father.

 

                         HEATHER

             Not my real dad.

 

                         HEATHER

             Don't you think I'm attractive?

 

                         GREG

             Of course you're attractive.

 

                         HEATHER

             You just feel sorry for me.

 

                         GREG

             That has nothing to do with it.

 

She again embraces him, kissing him passionately.

 

EXT. ALONG THE EMBANKMENT - DAY

 

Finley is still snapping away.  He is visibly pleased with

the results he's getting.

 

EXT. THE HOT TUB - DAY

 

Heather moves close to whisper to Greg.

 

                         HEATHER

             Sit up on the edge.  I want to go

             down on you.


                                                           18.

 

 

                         GREG

             No!

 

Heather makes a move to do so anyway, going underwater, her

hands up on his chest.

 

EXT. ALONG THE EMBANKMENT - DAY

 

                         FINLEY

             All right, all right . . .!

 

He continues shooting pictures.

 

EXT. THE HOT TUB - DAY

 

Greg pulls away and jumps up out of the hot tub.  Heather

surfaces.

 

                         GREG

             No, goddamn it, this is wrong!

 

He moves away, looking confused and upset.  He goes to the

bench and starts dressing without drying off.

 

                         GREG

             I didn't come here to seduce you,

             for Christ's sake.

 

                         HEATHER

             I was seducing you.

 

                         GREG

             And you shouldn't be.  Jesus.

 

                         HEATHER

             So pretend I'm older.

 

                         GREG

             I'll be inside.

 

Half-dressed, he moves into the house.

 

EXT. ON THE EMBANKMENT - DAY

 

Finley stops shooting.  He looks delighted with what he's

been able to get on film.

 

                         FINLEY

             Honey, you ought to be in pictures.


                                                           19.

 

 

INT. BEACH HOUSE - DINING ROOM - EVENING

 

Greg and Heather sit across the dining room table from one

another, in the middle of an awkward dinner.  Greg is in the

clothes he arrived in.  Heather is wearing a robe.  As ever,

she has the dark glasses on.

 

                         HEATHER

             So shoot me or something.

 

                         GREG

             I'm not going to shoot you.

 

                         HEATHER

             You might as well - you won't

             talk to me.

 

                         GREG

             Frankly, I don't know what to say

             to you.  How the hell's a girl

             your age know about stuff like

             that?

 

                         HEATHER

             I know a lot more than that.

 

EXT. BEACH HOUSE - OUTSIDE DINING ROOM - EVENING

 

Finley is taking photos of their dinner through a window.

 

INT. DINING ROOM - EVENING

 

Greg is pouring himself some more wine.

 

                         HEATHER

             Don't I get any?

 

                         GREG

             You're too young.

 

Heather gets up from the table and, feeling her way, fetches

a wine glass, comes back and, feeling along the table, finds

the bottle and pours herself wine.

 

                         HEATHER

             You're really a geek.

 

                         GREG

             Why, because I won't screw you?

             You're practically my daughter.

 

                         HEATHER

             If I'm your daughter, how come

             you never wrote us?


                                                           20.

 

 

Greg looks a little guilty and does not reply.

 

                         HEATHER

             I'm not a virgin.

 

                         GREG

             Yeah, I got the impression you

             aren't.

 

                         HEATHER

             This is going to be a great

             weekend.

 

                         GREG

             Tell me about it.

 

                         HEATHER

             What are you afraid of?

 

                         GREG

             Who the hell are you?  Where's

             the cute little eight-year-old I

             knew? You sound like a hooker.

 

                         HEATHER

             You sound like a dinosaur.

 

                         GREG

             I'm going to watch television.

 

He moves away from the table.  Heather pours herself some

more wine.

 

EXT. THE HIGHWAY - NIGHT

 

Finley is putting the camera gear into the trunk of his car

when another car approaches and pulls up behind him.  He

recognizes it and walks to the driver's window.

 

The other car is driven by Connie.

 

                         CONNIE

             Did you get them?

 

                         FINLEY

             Couldn't have been better.

 

                         CONNIE

             You have everything we need?

 

                         FINLEY

             Hey, the kid's a natural.


                                                           21.

 

 

                         CONNIE

             Good.

 

She backs up and pulls back onto the highway, continuing

ahead to the beach house.

 

INT. BEACH HOUSE - DEN - NIGHT

 

Greg is watching television.  The front door opens and

Connie walks in.

 

Greg gets up and meets her in the living room off the

entranceway.

 

INT. BEACH HOUSE - LIVING ROOM - NIGHT

 

Greg starts to speak but is cut off by Connie.

 

                         CONNIE

             Surprise, surprise.  There ought

             to be a law against those goddamn

             portable telephones.  We're

             halfway to San Francisco and

             Roger gets an urgent call, and we

             have to turn back.  So much for a

             weekend in the city.  Where's

             Annie?

 

                         GREG

             In her room.

 

                         CONNIE

             How are you two getting along?

 

                         GREG

             It's a long story.

 

                         CONNIE

             Sounds like she got in one of her

             moods.  Their age, they can pout

             for days at a time.

 

                         GREG

             Listen, since you're here, I

             think I'll drive on home.

 

                         CONNIE

             You don't have to go.  There's a

             guest room you can use.  Spend

             the weekend.  Roger won't be long.

             I want you to meet him.


                                                           22.

 

 

                         GREG

             To tell the truth, I can use the

             time to grade papers this weekend.

 

Greg moves quickly, heading for the door.

 

                         CONNIE

             You can grade papers here.  I

             can't believe you didn't bring

             your work. Don't you think the

             house is gorgeous?

 

                         GREG

             Too gorgeous.  It's a distraction.

             Listen, I really appreciate

             everything, I ah, I'll call you -

             I don't have your number, you

             call me.

 

                         CONNIE

             Greg?  Did something happen

             between you and Ann?

 

                         GREG

             Of course not.  It's just been,

             you know, so long - we hardly

             know one another any more.

 

                         CONNIE

             What did you expect?

 

                         GREG

             Gorgeous house, really.  Thanks

             for everything.  Give me a call.

 

He leaves.

 

Connie moves to the window to watch him go to his car.

 

EXT. BEACH HOUSE - NIGHT

 

Greg gets into his car and backs out the driveway.

 

INT. BEACH HOUSE - ENTRANCEWAY - NIGHT

 

Connie turns away from the front window to find Heather

behind her.

 

                         CONNIE

             How'd it go?

 

                         HEATHER

             Just like you said it would.


                                                           23.

 

 

She takes off her dark glasses.

 

Without the glasses on, Heather's eyes are clear, and

obviously she is not blind.

 

Heather smiles at Connie.

 

EXT. HIGH SCHOOL STADIUM - FOOTBALL FIELD - DAY

 

STUDENTS in caps and gowns march to music played by the

school band.  Graduation ceremonies are under way.

 

EXT. HIGH SCHOOL STADIUM - BLEACHERS - DAY

 

Greg and Christy sit in the bleachers, watching the ceremony.

It's a beautiful day, and the excitement and joy in the air

are palpable.

 

EXT. A STREET OUTSIDE THE STADIUM - DAY

 

A car slowly moves down a street outside the stadium.

 

INT. THE CAR - DAY

 

The car is occupied by two MEN dressed in suits.  Their

demeanor suggests "the law."

 

EXT. PARKING LOT OUTSIDE STADIUM - DAY

 

The car pulls into the parking lot and drives close to the

stadium, finally parking illegally.  The two men get out.

 

One of the men has a manilla envelope.  He takes a photograph

out of it.

 

INSERT: THE PHOTOGRAPH

 

It is a photo of Greg and Heather in the hot tub, nude, the

teenager smiling and standing very close to him.

 

EXT. PARKING LOT - DAY

 

The men are perusing the photograph.

 

                         FIRST OFFICER

             Guys like him make me puke.

 

They enter the stadium.

 

EXT. FOOTBALL FIELD - DAY

 

After the ceremonies, parents and friends come onto the

field to congratulate the graduating seniors, who beam in

their caps and gowns.


                                                           24.

 

 

Greg is giving Trisha a big hug as Christy and her parents

watch.  Mr. Morris has a camera.

 

                         TRISHA

             Take my picture with Greg.

 

                         GREG

             Hey, I may break the camera.

 

                         TRISHA

             Don't be silly.

 

Trisha puts her arm in his in a pose suggesting they are a

couple, rather than teacher and student.

 

Mr. Morris takes position to snap the photo.

 

                         TRISHA

             I'll put it on my desk in the dorm.

 

                         MRS. MORRIS

             Then Greg can take one of us.

 

Across the way, the police officers work their way through

the crowd, looking for Greg.  One of them sees him.

 

                         SECOND OFFICER

             Over there.

 

They move off.

 

Greg has just snapped the family photo.

 

                         GREG

             Good show.

 

The two officers move into the scene.

 

                         FIRST OFFICER

             Gregory Barstow?

 

                         GREG

             Yes.

 

The first officer flashes his badge.

 

                         FIRST OFFICER

             You're under arrest.

 

                         GREG

             Pardon me?


                                                           25.

 

 

                         FIRST OFFICER

             Please come with us, sir.  We'd

             like to make as quiet a scene

             here as possible.

 

Christy butts in.

 

                         CHRISTY

             You can't just barge in here like

             this.

 

                         SECOND OFFICER

             Please, ma'am.

 

                         GREG

             Christy, I'll handle it.  I'm

             sure there's some mistake here.

             What's the charge?

 

                         SECOND OFFICER

             If you'd come with us, please.

 

                         GREG

             I want to know the charge.

 

The first officer smiles, looking like he is enjoying this.

 

                         FIRST OFFICER

             Let's call it "moral turpitude."

             You ready to come with us now?

 

Greg looks stunned by the charge.  The officers start to

lead him away.

 

                         CHRISTY

             Don't say a word until I call my

             lawyer.

 

                         TRISHA

             What is going on?

 

Trisha makes a move to go after Greg but is stopped by her

father.

 

Christy moves to Trisha, comforting her, and they all watch

the officers lead Greg away.

 

EXT. PORTLAND POLICE DEPARTMENT - DAY

 

Police headquarters is located in the new City Hall building

downtown.


                                                           26.

 

 

INT. POLICE HEADQUARTERS - LARGE ROOM - DAY

 

Greg, sitting at a conference table, is looking through the

photographs of himself and Heather in the hot tub.

 

Across from him sits DETECTIVE VILLANOVA, 60ish, a hard-

looking veteran close to retirement age.

 

                         DETECTIVE VILLANOVA

             So you going to tell me you have

             a twin or what?

 

                         GREG

             It's me.  But nothing happened.

 

                         DETECTIVE VILLANOVA

             That's not what the girl or her

             mother says.

 

                         GREG

             As soon as Annie made advances, I

             was out of there.  We barely

             talked to one another the rest of

             the evening.

 

                         DETECTIVE VILLANOVA

             Who's Annie?

 

                         GREG

             What do you mean, who's Annie?

             The girl.  My former step-daughter.

 

                         DETECTIVE VILLANOVA

             I don't know about step-daughters

             but this here is Heather Swanson.

 

                         GREG

             That's ridiculous.

 

                         DETECTIVE VILLANOVA

             She and her mother--

 

                         GREG

             Her mother is my ex-wife, Connie.

             I'm not sure what last name she's

             using now.  She may have remarried.

 

                         DETECTIVE VILLANOVA

             Charges were filed by one Ms.

             Judi Swanson, in behalf of her

             daughter, Heather.  Here, look

             for yourself.


                                                           27.

 

 

He passes a sheet of paper to Greg, who grabs it.  He is

visibly shocked at what he reads.

 

                         GREG

             This is-- . . . Christ, I don't

             know what it is.  A set-up or

             something.  Who took these

             photographs?

 

Villanova smiles at him.

 

                         GREG

             This girl is my step-daughter,

             and she's blind.  Look, see the

             dark glasses?

 

                         DETECTIVE VILLANOVA

             Maybe she thinks she's cool.

 

                         GREG

             She's blind, damn it!

 

                         DETECTIVE VILLANOVA

             She wasn't blind when I talked to

             her the other day.  She told her

             story looking me straight in the

             eye.

 

INT. POLICE HEADQUARTERS - JAIL CELL - EVENING

 

Greg is alone in his cell.  Down the hallway, a jail door

opens and shuts with a loud clanging noise.

 

Greg moves to the bars to see who is coming.  It is Jay, the

principal of the high school, who is escorted to the cell by

a police officer.

 

                         JAY

             I'm sorry I couldn't get here

             earlier.

 

Jay enters the cell, which the police officer closes behind

him.  The officer leaves.

 

                         JAY

             I had a larger room in grad school.

 

                         GREG

             I don't know what the hell's

             going on, Jay.

 

                         JAY

             If I could believe you, that

             would be a relief.


                                                           28.

 

 

                         GREG

             I'm innocent, goddamn it!

 

                         JAY

             Greg, you're a very talented

             teacher but your lifestyle . . .

             you know I never approved of you

             moving in with Christy.  It sets

             a bad role model.  And now this.

 

                         GREG

             I've never heard of this girl.  I

             thought it was my step-daughter.

             Ex-step-daughter.  And nothing

             happened between us.

 

                         JAY

             I want to believe that.  Christy

             will pay your bail, of course.

             They wouldn't let both of us in

             to see you.

 

                         GREG

             Are you telling me I can get out

             of here?

 

                         JAY

             It shouldn't be long.  I just

             wanted to come by and see for

             myself.

 

                         GREG

             Jay, I'm innocent.

 

                         JAY

             Good.  Good.

 

INT. JAIL - PRISONER INTAKE AREA - NIGHT

 

A POLICE OFFICER is giving Greg some personal possessions

that were taken from him.

 

In the adjacent waiting area, Christy and Raymond are

waiting for him.  When Greg has his things, he joins them.

 

                         GREG

             Let's get the hell out of here.

 

EXT. POLICE HEADQUARTERS - NIGHT

 

Greg, Christy and Raymond come out of the building.


                                                           29.

 

 

                         GREG

             Half a day in there feels like

             eternity.

 

                         RAYMOND

             Where to?

 

                         GREG

             My car's still at school.

 

                         RAYMOND