HUSH HARBOR

Written by Laura Beth Caldwell

113A W. Duffy Street Savannah, GA 31401 248-755-7389 Laura@laurabethcaldwell.com

WGAW #1643638

FADE IN: EXT. SOUTH CAROLINA MARSHLAND DUSK A country church, pristine white. CONSTANCE (V.O) I didnt meet God in a church like most people do. EXT. CHURCH CEMETERY CONTINUOUS A weathered STATUTE OF JESUS; the fingers on the outstretched hands are broken off. CONSTANCE (V.O) (CONTD) It wasnt the pious who embraced me. EXT. COOPER PLANTATION NIGHT (1864) A magnificent plantation home. The sound of AFRICAN DRUMS, slowly rising. CONSTANCE (V.O) (CONTD) My temple was forged from torment. Its worshippers were ghosts. EXT. COOPER PLANTATION - HUSH HARBOR CONTINUOUS A secluded clearing in the woods. Bottles and colorful glass shards hang from the branches of an ancient live oak. SLAVES are engaged in a ritual dance around a fire. CONSTANCE (V.O) (CONTD) I had become enslaved by my passions; bound to my desires. INT. COOPER PLANTATION HOUSE BEDCHAMBER CONTINUOUS The sound of SEXUAL MOANING mixes with the sound of the drums. A woman, LENORA COOPER, lies across the bed while a SLAVE WOMAN pleasures her orally. INT. CONSTANCES APARTMENT - BEDROOM NIGHT (1920) CONSTANCE BELL, 23, subdued beauty, lies in bed with a thin sheet covering her. She is masturbating.

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CONSTANCE (V.O) (CONTD) Desires that I had been denying for too long. INTERCUT BETWEEN LENORA COOPER AND CONSTANCE The sound of DRUMS rises with the sexual intensity. The women climax simultaneously. CONSTANCE (V.O) (CONTD) My desires would come to bind me. But had I not been bound, I would have never been freed. INT. COOPER PLANTATION - BEDCHAMBER - (1864) The door bursts open. Lenora leaps up, covers herself. EXT. COOPER PLANTATION MOMENTS LATER Lenora Cooper and the slave woman, who now wears an iron muzzle, are being led by torchlight. CONSTANCE (V.O.) (CONTD) No, I never met God in any church. INT. COOPER PLANTATION - BARN MOMENTS LATER EYES seen through an iron muzzle, fire dances in them. The sound of SCREAMING is mixed with the DRUMS. CONSTANCE (V.O) (CONTD) Where I met God was in hell. FADE TO BLACK. FADE IN: EXT. BOSTON HERALD DAY A dozen women, SUFFRAGE PROTESTORS with picket signs demanding the right to vote. SUPER IN/OUT - Boston, 1920

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INT. BOSTON HERALD FILE ROOM DAY Constance thumbs through a stack of files. On her lapel is a button which reads ITS A MANS WORLD UNLESS WOMEN VOTE. Colleagues ALAN MAYES and ROGER BICKELL, both 40ish, harass her. ALAN (to Roger) A trend in passing. Constance ignores him. ALAN (CONTD) Women voting, whats next? Niggers in the White House? Cold day in hell my friend, cold day indeed. ROGER Youve said that three ways to Thursday. They wait for her response but it doesnt come. Not this time. ALAN Women who want whats a mans right alone, well thats just not natural. They want our vote, they want our jobs. Whats next? (a beat) A set of their own? Roger laughs, Alan does not. CONSTANCE Only the choice Mr. Mayes. ALAN And what choice is that? CONSTANCE Whatever the choice may be. Alan SLAMS the file drawer shut. ALAN The only choice women need is how much starch to put in the laundry. He presses himself against her, cornering her.

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ALAN (CONTD) You see, a womans place Miss Bell, is in the kitchen making pie. ROGER Wasting your time chum, shes not buying what youre selling. CONSTANCE If you have to incite a crime just to get a story Mr. Mayes, then its not only your set thats lacking, but your talent as well. She pushes him away and heads for the door. Rogers laughs, betraying his chum. Constance stops and turns back. CONSTANCE (CONTD) As for a womans place, maybe I can come over to your house sometime and have your wife show me how to make pie. INT. BOSTON HERALD NIGHT A dark bull-pit with rows of empty desks and typewriters. A single light illuminates one of the desks, at which Constance sits typing. In front of her are NEWS CLIPPINGS, headlines on the Womens Right to Vote. DANNY ECKLES, 20, effeminately pretty, approaches her. DANNY He would like a word with you. Constance ignores him. DANNY (CONTD) He would like to see you now, Miss Bell. If you dont mind. CONSTANCE Ill be right there, Mr. Eckles. Danny rolls his eyes and prances off. INT. BOSTON HERALD EDITORS OFFICE MOMENTS LATER WALTER PULLMAN, 45, Hollywood looks, sits behind a large walnut desk filing his nails. Constance sits across from him.

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PULLMAN Im sorry Miss Bell, but your employment is terminated. CONSTANCE Pardon? Pullman admires his manicure; avoids eye contact. PULLMAN Necessary cutbacks. Theyre forcing my hand. CONSTANCE Who is forcing your hand Mr. Pullman? PULLMAN Investors Miss Bell, papers such as the Herald are owned by investors who arent too pleased to have to reach into their pockets these days. Now youve had a good run, what is it, five years? (a beat) Most women your age would be married by now, working on child number three. But here you are. CONSTANCE Yes Mr. Pullman, here I am. Covering an historic event that no one else at this rag seems to care about. PULLMAN Im giving that piece to Alan Mayes. Hes quite capable of finishing it off. CONSTANCE Alan Mayes? Are you kidding me? That imbecile is barely capable of finishing his own sentence. He doesn't even believe in the Women's Movement! Pullman opens the lid of an expensive cigar box, retrieves a cheap refill, and snips the end off it. PULLMAN You see Miss Bell, thats precisely your problem. (MORE)

6. PULLMAN (CONT'D) You dont have to believe in something to write about it. You just have to have a voice that people want to hear. A voice thatll lead folks into church, and then fuck them in the back pew. (a beat) You dont have that voice Constance.

EXT/INT. STREETCAR NIGHT - MOVING An overly-crowded streetcar with men hanging on the sides like guards. Constance sits near a window, defeated. INT. CONSTANCES APARTMENT - BEDROOM - LATER Constance puts a record on the phonograph. The melody BEAUTIFUL DREAMER begins to play. INT. CONSTANCES APARTMENT BATHROOM NIGHT Constance gets undressed as the bathtub fills. She catches her reflection in the mirror, but does not meet her own eyes. She removes a bracelet that hides a fresh SCAR on her left wrist. INT. CONSTANCES APARTMENT- BATHROOM - MOMENTS LATER Constance slips into the tub and reaches for a LETTER on the table next to her. The stationary, worn from reading, is stained with blood. THE LETTER ANNA (V.O.) My Darling, it pains me to write these words. I should have had the courage to speak them to you face to face, but what can I say? I am a coward. The truth is, I do love you. But the truth is also that I cannot love you. As much as I have cherished our time together, I must let this insanity go. Please find it in your heart to forgive me. Anna. RETURN TO SCENE

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Constance lets the letter drop to the floor. She slips down into the water and starts to cry. INT. CONSTANCES APARTMENT - BEDROOM NIGHT Constance lies in bed reading. On the night table next to her is a PHOTOGRAPH, a daguerreotype of a woman in antebellum dress. The woman is Lenora Cooper. INT. CONSTANCES APARTMENT - BEDROOM LATER - (A DREAM) The sound of DRUMS is in rhythm with black gyrating bodies as SLAVES engage in a ritual dance around a fire. An ELDERLY WOMAN blows a spray of water into the fire. The sound of SEXUAL MOANING rises with the drums. Lenora Cooper is seen through the flames. Constance is jolted awake. INT. BOSTON HERALD EDITORS OFFICE DAY Constance bursts into Pullmans office. CONSTANCE I have a voice. PULLMAN Go home Miss Bell. Get a man; get a life. Just get the hell out of my office! Constance SLAMS her fist down on his desk, knocking over a framed photo of Pullmans wife. CONSTANCE I have a voice damn it! And youre going to listen to it! PULLMAN Have you lost your ever loving mind woman? Constance struggles to remain composed. CONSTANCE My mind? Maybe. My right to speak it? Hardly. You owe me a chance Mr. Pullman.

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PULLMAN I dont owe you a Thursday mornings crap. Get the hell out of my office! He reaches for the photo of his wife when she leans in to within inches of his face. CONSTANCE My bet is that your wife would give a Thursdays crap, a Fridays as well, to know what you really got going on in this office all those nights you dont make it home in time for her meatloaf. Danny Eckles watches them through the window. Pullman makes eye contact with him. PULLMAN Close the door and sit down Miss Bell, a scene isnt necessary. Constance closes the door and sits down across from him. PULLMAN (CONTD) Well, get on with it. What did you come here to hold me hostage over? CONSTANCE I want to do a story on slavery. PULLMAN Old news, now go home. CONSTANCE I want to do a story, based on interviews. Firsthand accounts of former slaves. PULLMAN Who cares Miss Bell? Nobody needs another Uncle Toms Cabin, this is the twentieth century. We have our own problems, bigger problems. Like the fact that I cant have a goddamn glass of gin without being bum rushed by the cops. CONSTANCE This would be different. (a beat) I would travel to Georgia and talk to coloreds who are left. (MORE)

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Coloreds lives as strictly exposing

CONSTANCE (CONT'D) who still recall their slaves. I will tell it from their perspective, everything.

PULLMAN What more do you anticipate exposing? CONSTANCE Perhaps their superstitions, their rituals, and anything else that got them through their bondage. Pullman sits back in his chair, vaguely interested. PULLMAN Now just why should I care about superstitious darkies? CONSTANCE Because half-naked Africans dancing around a fire is provocative Mr. Pullman, and provocative sells papers. You know, fucking them in the back pew. (a beat) Besides, there has to be more than what weve read. These people were highly spiritual, deeply connected to their roots. They lived in bondage, were beaten, raped, and sold away from their families. Something got them through it. I want to know what it was. (a beat) I want to tell their story Mr. Pullman, with their voice. PULLMAN It sounds like two minutes worth of interesting Miss Bell, but the truth of the matter is, the paper does not have the means to fund such a project. CONSTANCE Ill pay for it myself. I will bear all my own expenses, if youll just give me the chance to prove myself. Pullman studies her.

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PULLMAN Very well Miss Bell. Go to Georgia, go to the goddamn moon for all I care. If you have a voice, well hear it. If not, no amount of hoodoo-voodoo, mumbo jumbo, is going to make you a reporter. INT. CONSTANCES APARTMENT BEDROOM NIGHT Constance packs for her journey. She places the PHOTOGRAPH of Lenora Cooper in her suitcase. She opens a drawer and pulls out a satin ribbon with an heirloom medallion. The engraving is of three willow trees, their branches entwined. INT. TRAIN DAY MOVING Constance stares out the window deep in thought. An elderly BLACK WOMAN walks down the aisle and sits across from her. Above the door a sign reads WHITES ONLY. Constance glances at the sign, and then at the woman. CONSTANCE Hello. The woman says nothing; she just stares at Constance with eyes as black as a sharks. INT. TRAIN NIGHT MOVING - (A DREAM) Constance awakens to the sound of DRUMS. The car is empty except for a FIGURE sitting in the front wearing a WIDEBRIMMED HAT. They are tapping a crudely-carved WOODEN CANE, with a snake head handle, on the floor. Constance gets up and walks towards the person. When she reaches the figure she discovers that its face is that of a snarling BLACK NEWFOUNDLAND DOG. Constance is jolted awake as the elderly woman from before blows a powdery substance in her face. She is jolted awake again, and finds that everything is back to normal, except the woman is missing. CONDUCTOR (V.O.) (over loudspeaker) Savannah Georgia, final destination.

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EXT. UNION STATION SAVANNAH DAY Constance is laden down with a suitcase, typewriter, and hat box. Around her, TRAVELLERS file in and out of the station. She notices ABRAHAM, black, 50s, wearing a stove-top hat with a SIGN around his neck which reads SHOFER FER HIRE. As she approaches him she sees he is holding a wooden cane with a snake head handle. Constance sets her bags down. CONSTANCE May I assume you are a driver? ABRAHAM Oh yes missus, I is jes that. Only I likes to be called a shofer, on account of being a genuine bidness man and all. He lifts his hat and bows, then he grasps his lapels as if he were about to deliver a speech. ABRAHAM (CONTD) The names Abraham, jes like the president. On account I was born in the year of freedom. Yessim, I was born a proper free man. CONSTANCE Well Abraham, its a pleasure. My name is Constance, and Im sorry to say that I dont believe Im named after anyone at all. ABRAHAM Welcome to Svannah, missus. I can take you anywhere you needs to go. CONSTANCE Ive made arrangements to stay at a boarding house over on East Broad Street, can you take me there? ABRAHAM Well missus, like I said I can take you anywhere you wants to go. But you know its mosly colored fok over on East Broad.

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CONSTANCE That doesnt matter to me. Besides, it was the cheapest place I could find. ABRAHAM Yessim, I reckon it would be. Abraham loads Constances belongings into a white 1910 Buick Model F Tourer, a showboat past its prime. CONSTANCE This is what you drive? ABRAHAM Oh Yessim. Had ole Lizzy here nearly ten years. Traded three mules and a shrimpin boat, brand new she was and bout the finest automobile from here to Charleston. He unties a small wooden step from the running board, sets it down and brushes it off. ABRAHAM (CONTD) She burn a little oil, but she still run smooth as molasses in June. He tips his hat again, and then motions for her to climb aboard. Constance steps up into the automobile as passersby stare and whisper. Abraham climbs into the seat in front of her. CONSTANCE I take it you dont chauffeur many white women. ABRAHAM Missus, things down here in Svannah is a might different from things way up nawth. White foks and black foks dont mix too good down here. CONSTANCE Well just so you know, they dont mix too well up there either. But you need a fare, and I need a ride. So I say let them gawk all they want. Abraham laughs.

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ABRAHAM Yessim, I knew this was a special day. I could feel it in my bones. INT/EXT. CAR MOMENTS LATER - MOVING Abraham and Constance drive along a bustling Savannah street. They pass by a red brick BUILDING with a large white SIGN that reads PEACE MISSION OF FATHER DIVINE. The sound of SINGING is heard from inside. EXT. BOARDING HOUSE LATER Abraham pulls up in front of LUCILLES BOARDING HOUSE. The front porch leans towards the street, and sheets hang in the windows as curtains. Abraham is uneasy. ABRAHAM You sure this where you wanna stay Missus Constance? Cuz I be happy to carry you over to the Pulaski Hotel, they got nice clean rooms youd be quite comfortable in. CONSTANCE No, this is fine. I already sent a telegram telling them I was coming. Besides, Im here for a story. ABRAHAM Well I reckon you a get it here, sho enough. Abraham helps Constance out of the car. He doesnt step past the curb. CONSTANCE Im going to be in need of a driver, um, a chauffeur, while Im in town. How may I contact you? ABRAHAM Oh I be roun missus. You a have no trouble atall finding ole Abraham. Constance pays him. He tips his hat, climbs into the car and drives away leaving her alone.

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EXT. BOARDING HOUSE - MOMENTS LATER Constance stands on the porch taking it all in. The pale blue paint on the shutters is peeling, one of the windows is broken, and there are chicken bones scattered about the porch. She KNOCKS on the door. No answer. She knocks again. Still no answer. She reaches for the knob, pushes it open and steps inside. INT. BOARDING HOUSE FOYER CONTINUOUS Constance stands in a dimly-lit foyer. A staircase leads to the second floor. To her right is a parlor, in the corner of which there sits a PIANO. One of the piano legs is broken and it is being supported by a stack of bricks. MUSIC is heard as a scratchy old phonograph comes to life. CONSTANCE Hello? INT. BOARDING HOUSE PARLOR CONTINUOUS Constance steps into the parlor. In the far corner there is a VICTROLA, the record is spinning. The sound of HUMMING is heard from down the hall. INT. BOARDING HOUSE HALL/KITCHEN - CONTINUOUS Constance follows the HUMMING down the narrow hallway. Through the kitchen door she sees LUCILLE, 40, black, barefoot and wearing a white turban. She is boiling collard greens. On the counter next to her is a DEAD CROW. CONSTANCE Excuse me, hello? Lucille doesnt acknowledge her. CONSTANCE (CONTD) (louder) Hello, Im the one who contacted you about renting a room? LUCILLE I know who you is. Lucille turns and eyes Constance over.

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LUCILLE (CONTD) You a bit bonier than I spected. CONSTANCE Pardon me? LUCILLE Figured all the womens up nawth be a bit thicker, on account of it being so cold. CONSTANCE Well, that it is. But I assure you we come in all sizes in Massachusetts. LUCILLE Uh-huh. Well Im Lucille, the keeper here. I make the meals. I also make the rules. She reaches into her apron and pulls out a corn cob pipe, lights it. She gives Constance another look over. LUCILLE (CONTD) Theres no drinkin and no fornicatin. You have a problem with them rules? CONSTANCE Im here to work Miss Lucille. I have no plans for anything else. Lucille snickers, blows a cloud of smoke. Her eyes hold Constances. CONSTANCE (CONTD) If you would just point me towards my room, I would like to get settled. Its been a very long journey. LUCILLE Yessim, I know it has. INT. BOARDING HOUSE FOYER/PARLOR MOMENTS LATER Lucille shows Constance to her room. In the previously empty parlor a mulatto-complected woman, HANNAH, mid-twenties, disturbingly provocative, wearing a WIDE-BRIMMED HAT, plays the piano. The melody is BEAUTIFUL DREAMER. Constance and Hannahs eyes meet.

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LUCILLE You not gonna be disturbin the other guests with that machine is you? Constance is mesmerized by Hannah. CONSTANCE Whats that? Oh no, I will be quiet I assure you. Lucille ascends the stairs, Constance follows her. LUCILLE Good, cuz folks roun here be likin they sleep. CONSTANCE Are there many others, guests that is? LUCILLE None that will be botherin you any. (a beat) You religious? CONSTANCE Not very. LUCILLE Uh-huh. Well foks roun here is, so a little respect be in order. CONSTANCE Miss Lucille, like I told you, all Im here to do is get the story. Then I will be gone. INT. BOARDING HOUSE CONSTANCES ROOM MOMENTS LATER A modestly appointed room. Constance sets her typewriter down on the dressing table and catches her reflection in the mirror. Lucille walks over to the window and pulls open the drapes. Sun filters in through the filthy glass pane. LUCILLE Jes remember some fok dont like they stories to be told. (a beat) This is the South; (MORE)

17. LUCILLE (CONT'D) we do things different down here. Foks got they own beliefs. Jes' be mindful of them and no harm a come to ya. Get settled in, supper in an hour.

She turns to walk out. CONSTANCE Im really not hungry; if you dont mind Ill just get unpacked and rest. LUCILLE Suit yourself, breakfast at seven. INT. BOARDING HOUSE CONSTANCES ROOM NIGHT Constance unpacks. The PHOTOGRAPH of Lenora Cooper sits next to her typewriter. MUSIC and LAUGHING can be heard through the walls. There is a KNOCK on the door. AGNES CECILLE, 20, black, intoxicated, appears. AGNES Hello Im Agnes Cecille, I stay across the hall. CONSTANCE Constance Bell, pleased to meet you. Agnes walks into the room, plops down on the bed and makes herself comfortable. She takes a pull from a flask as she sizes Constance up. AGNES Im what they call a tainted woman. CONSTANCE I see. I mean, thats quite interesting. AGNES I get two dollahs, maybe more. Sometimes they go all night for ten or twelve. I do good bidness, if I must say so myself. Constance has no response.

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AGNES (CONTD) Of course, it just bidness. I dont go that way on my own time, if you know what I mean. CONSTANCE Im sorry, I dont know... AGNES (interrupting) I prefer womens, like you. CONSTANCE Pardon me? Agnes flashes a wide grin. AGNES I knowed it as soon as I seen ya. (a beat) Yessim, ya gots that look bout ya. Constance is disturbed by her boldness. CONSTANCE Im really not sure I know what you are talking about. Agnes gets up and walks back to the door. AGNES Uh-huh, well I be seein you roun Miss Constance. By the way, if you is looking for a little somethin (waving her flask) I can gets you that too. She winks at Constance and then disappears around the corner. Constance studies herself in the mirror. INT. BOARDING HOUSE CONSTANCES ROOM/AGNESS ROOM NIGHT Constance wakes up to the sound of SEX. She notices her door is partially open. She gets up to close it. INT. BOARDING HOUSE - AGNESS ROOM - SAME Agness door is open. From across the hallway Constance observes Agnes and Hannah having sex. Constance quickly looks away.

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A beat. Then she looks back. Hannah makes eye contact with her, grins. Embarrassed, Constance closes the door. INT. BOARDING HOUSE DINING ROOM MORNING Black BOARDERS sit around a large table. An ELDERLY WOMAN dressed in her Sunday best, drops cube after cube of sugar into an empty cup. A WOOLLY-HEADED MAN next to her reads a newspaper upside down. Two LARGE MEN dressed identically in overalls are engaged in an arm wrestling match. A WOMAN who looks like a prostitute is at the head of the table admiring her reflection in a table knife as two six year old boys, TWINS, race around the table. LUCILLE (O.S.) Have a seat Missus Constance; I got some ham fixed for ya. Lucille walks into the dining room with a large skillet of fried ham. She motions for Constance to sit down at the head of the table. The place setting is neat. There is a large woven basket of fresh bread and a dish of jam. LUCILLE (CONTD) You do like ham, dont ya? CONSTANCE Yes, thats fine. It smells wonderful. LUCILLE You sleep good? Constance fumbles with her silverware. CONSTANCE Yes, I slept fine. LUCILLE Well I reckon it may be a spell before you get used to things around here. Constance looks about the room; no one else is acknowledging her. CONSTANCE (to herself) I see that.

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Through the window Constance sees Agnes Cecille sitting alone in the garden. EXT. BOARDING HOUSE GARDEN - LATER Agnes sits on a bench in the corner of the garden, she is pensive. About her neck there hangs a small LEATHER SACK which she rubs between her fingers. Constance approaches her. CONSTANCE I see you prefer solitude in the morning as well. AGNES If you means being alone, well I dont know nothin else. She lights a cigarette, her hands are trembling. There are deep SCRATCHES on her forearms. CONSTANCE Do you have another? Agnes Cecille hands her a cigarette then lights it. A beat. CONSTANCE (CONTD) Thats an interesting necklace. AGNES Its not a necklace. CONSTANCE I see. AGNES Its a mojo bag, contains a lucky dose for protection. What else you want to know? CONSTANCE Im just trying to make conversation Agnes. No one else seems to know Im here. AGNES They know you here. CONSTANCE What do you need protection from?

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Agnes sees her looking at the scratches. AGNES Anything what means me harm. CONSTANCE Doesnt look like its working. AGNES Doesnt look like it your bidness whether it work or not. CONSTANCE Im just making an observation. A beat. Agnes stands up and crushes out her cigarette. AGNES Dont trust everything you see here. CONSTANCE Im just here for the story. AGNES Some foks may not want to tell they story. And some foks may not have a story atall. CONSTANCE Thats what I keep hearing, but somehow I dont believe it. I think everyone has a story to tell. And I think there are some pretty good ones right here in this house. The two of them look at each other knowingly. AGNES Like I said, not everyone wants to tell they story. Jes be mindful of that. Agnes walks past Constance towards the house. INT. BOARDING HOUSE CONSTANCES ROOM NIGHT Constance sits at the dressing table. In front of her is a blank piece of STATIONARY and a PEN.

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Constance writes the words DEAR ANNA. She stops, puts the pen down, and lowers her head into her hands. She lifts her head and discovers her nose has started bleeding. She reaches for a handkerchief. Through the MIRROR Hannah is seen standing in the doorway eating a PEACH. HANNAH You hungry? CONSTANCE Oh, you frightened me. Constance wipes the blood from her nose. Hannah approaches her. HANNAH (through reflection) You like peaches? CONSTANCE I do, but we really dont have a good selection up in Boston. Hannah smiles as she takes a bite of the peach. HANNAH Reckon you dont. A beat. Constance starts to turn around when Hannah hands her the peach over her shoulder. HANNAH (CONTD) They good in Georgia. Foks come from all over for our peaches. Constance takes a bite, wipes the juice from her lips. HANNAH (CONTD) See what I mean? CONSTANCE Its very good. HANNAH Better than what you got up nawth? CONSTANCE I dont get many peaches up north.

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HANNAH Well Im sure youve had at least one in your life, aint I right? A beat as Constance and Hannah hold each others eyes. CONSTANCE Yes, one. HANNAH Did it taste as good as that one? Was it as sweet? CONSTANCE Sweet enough. Constance hands the peach back to Hannah. Their fingers touch. Hannah notices the PHOTOGRAPH of Lenora Cooper. Her smile fades. CONSTANCE (CONTD) Whats your name? Hannah walks away. She stops at the door, turns. HANNAH Hannah. CONSTANCE Im Constance. HANNAH Pleasure to finally meet you Missus Constance. INT. BOARDING HOUSE CONSTANCES ROOM/HALLWAY NIGHT Constance lies in bed reading when the door CREAKS open. A large BLACK DOG, a Newfoundland, stands in the doorway growling at her. She slowly sets the book down. The dog whimpers and then walks away. EXT. CITY MARKET MORNING A bustling open-air market. In the center is a large WOODEN BUILDING with arched entrances. PATRONS barter over produce, seafood, and other goods. Near one of the entrances sits a woman, MAMA PATIENCE, black, 50s.

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She suffers from elephantiasis. She is weaving a BASKET out of palmetto branches. Next to her is a bucket of fresh oysters. Constance stands near her, taking in the spectacle of the market while trying not to stare at the womans club feet. MAMA PATIENCE You look like you done lost somethin. CONSTANCE I beg your pardon? MAMA PATIENCE I say, you look like somethin missin. You lose something chile? CONSTANCE Oh no, Im just having a look around. Patience sets down the basket and digs an oyster out of the bucket, shucks it. MAMA PATIENCE You like oysters? CONSTANCE Cant say Ive ever tried one. Patience hands her a half shell containing a large oyster. Constance hesitates, then accepts it. MAMA PATIENCE Ya jes swalla it right down. Constance slides the oyster into her mouth, hesitates again. MAMA PATIENCE (CONTD) Best swalla it. Befo it come back out. Constance swallows, her face shows her disgust. Patience chuckles. MAMA PATIENCE (CONTD) Uh-huh, I knows you wasnt from roun here. CONSTANCE No, Im from Boston.

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Patience begins to shred a palmetto husk, pulling off long strips. CONSTANCE (CONTD) Those are beautiful. MAMA PATIENCE Thank ya. Been makin em my whole life. My mammy before me made em, her mammy too. You aint never seen a sea grass basket before? She hands Constance a basket. CONSTANCE No, cant say that we have palm trees in Boston. Thats what this is, palm? MAMA PATIENCE Palmetta scrub, and sea grass. I gots every kind ya can imagine. CONSTANCE Do you always sit down here selling your baskets? MAMA PATIENCE. Yessim, mos days. Sometimes I get to ailin too bad, then I have to stay in the bed. But mosly I fight back the pain, and have my huzban carry me down here. I dont get roun like I used to. She rubs her knee; her massive legs are like tree stumps. CONSTANCE How long have you been ill? MAMA PATIENCE Since bout the time when this ole woman name of Celie move in down the street. She gots this dawg what would always come over our place an take a shit right on the front porch. Well, one day I be out there hoein in the gahden when that ole dawg walk right up there on the porch and take a shit in front of me. She pulls apart a piece of palm with her teeth.

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MAMA PATIENCE (CONTD) Thats when I take my hoe an I give that dawg a good whack over he head. He went yelpin off down the street, turn up dead in the alley a couple a days later. After that, well my legs starts to swell up. Dey say it because that ole woman Celie be a witch and she put somethin on me. CONSTANCE Put something on you? MAMA PATIENCE You know, she fix me, work a conjure gainst me fo killin her dawg. CONSTANCE You mean like Voodoo? MAMA PATIENCE No maam, I dont know nothin bout that. What I be talkin bout is root workin. It different I spect. Foks what got the power can put somethin down on ya. Mix up a little dose that make you sick sometimes, or sometimes it hep ya. You see, I gets a dose made up for me from a man name of Dr. Fishbone, he live over in Yamacraw. He a mighty powerful conjure doctor. CONSTANCE I take it people are fairly superstitious around here. They really believe in all this? Mama Patience shoots her a look of disdain. CONSTANCE (CONTD) Im sorry, I didnt mean any disrespect. Im actually here doing a story, Im a reporter interviewing former slaves. I want to tell their story, like what youre telling me now. MAMA PATIENCE It best if you mind yo bidness roun here. Ya see, what you think is a story, well, it fo real. (MORE)

27. MAMA PATIENCE (CONT'D) And they be plenty of fok what could bring mighty powerful harm to ya.

Constance reaches into her purse for money. CONSTANCE I understand. Well, this is for the basket. And this is for your story. Now may I ask just where I can find this Dr. Fishbone? Patience folds the bills and tucks them into her bra. MAMA PATIENCE Like I said, he live over in Yamacraw. And you jes' tell him Mama Patience sent ya. EXT. ABRAHAMS CAR DAY MOVING Abraham and Constance drive through the ghetto of Yamacraw. SHACKS made of scrap wood and sheet metal dot the landscape. BLACK FACES stare out from the cock-eyed windows of these shacks. ABRAHAM Reckon these foks dont see too many white womens passin through. (a beat) No maam. I surely know they dont. Constance waves at a group of half-naked, snot-nosed CHILDREN. They begin to chase the car. CONSTANCE Im sure Im in no danger. You will stay with me? ABRAHAM Yessim, I wouldnt miss this show fo nothin EXT. DR. FISHBONES SHACK - MOMENTS LATER A shack more decrepit than any of the others. The walls are made of old advertising signs, one of which reads 666 COLD TABLETS. The porch of this dwelling leans precariously, and the roof is made of rusted corrugated tin. ABRAHAM (CONTD) This is it, Dr. Fishbones place.

28.

He jumps out of the car and extends his hand to Constance. She just sits there, practically frozen to her seat. ABRAHAM (CONTD) Come on missus, it be fine. No one mean you no harm. Constance reluctantly climbs out of the car and adjusts her hat. ABRAHAM (CONTD) Just go knock on the door. I be waitin right here. Constance shoots him a look. ABRAHAM (CONTD) Go on now, this what you came all this way for. CONSTANCE Are you sure he was a slave? ABRAHAM Yessim, from the Cooper plantation over in Beaufort. And he knows everything you wants to find out bout. CONSTANCE The Cooper plantation? ABRAHAM Thats what I hear. Biggest rice plantation in Beaufort County. Same place where all dem slaves was burned up. Constance is disturbed. CONSTANCE What do you mean burned up? A screen door SCREECHES open. DR. FISHBONE, late 60s, commanding presence, steps out onto the porch. His attire was the height of fashion thirty years prior. Tuffs of woolly hair protrude from beneath a bowler hat. About his neck is a strand of broken MIRROR SHARDS. When he steps into the sun, his whole head is illuminated. ABRAHAM Ask the man yoself.

29.

INT. DR. FISHBONES SHACK DAY A single, sparsely furnished room. The solitary window is covered by newspaper. The only light comes from a choir of candles which cast grotesque shadows against walls covered in chalk diagrams, ritualistic graffiti. On every surface sits mason jars containing various roots, insects, and powders. It is a pharmacy of conjure. Constance sits on the edge of a worn, heavily embroidered chair. Across from her, in the rusted remnant of a yard chair, is Fishbone, his body spills over the edges like a muffin tin. Constance flips open her note pad and tests the lead on her pencil. CONSTANCE So you were a slave? Fishbone doesnt make eye contact with her. DR. FISHBONE No missus. CONSTANCE But I heard you were on the... (a beat) ...Cooper plantation. DR. FISHBONE Yessim, that I was. But I could have left anytime I wanted. CONSTANCE Hows that, with a pass? Ive read about the passes they used to give... DR. FISHBONE (interrupting) I jes take wing an fly. CONSTANCE Pardon me? You just take wing and... A beat. She notices the set of WINGS he has strapped to his back made from goat skins. CONSTANCE (CONTD) ...and fly?

30.

DR. FISHBONE Thats right, fly all the way back to Africa. CONSTANCE Thats a bit absurd, dont you think? Men cant fly. DR. FISHBONE African mens can, womens too. Even they chilrin if they believe strong enough. CONSTANCE Is this one of the tales you would tell around the campfire each night? DR. FISHBONE Reckon they be tellin it up in the main house as well. Reckon even the Massuh and Missus be talkin bout it they self. He looks her dead in the eyes. DR. FISHBONE (CONTD) Wonderin how they gonna keep they darkie mistress from flyin off an spoilin all they fun. Uncomfortable with the subject, Constance changes gears. CONSTANCE So what else do you believe in? Do you believe in God for example? He again averts his eyes. DR. FISHBONE Reckon they is a Gawd. Only we dont see eye to eye. CONSTANCE How do you mean? DR. FISHBONE Me and the devil is better friends. CONSTANCE So are you what they call a conjure doctor?

31.

DR. FISHBONE I fix things fo foks. CONSTANCE What sort of things do you fix? DR. FISHBONE If foks take to ailin I make them a dose. If they tryin to tract love, well I fix em a dose fo that too. CONSTANCE Just how do you make a dose? He pulls a POCKET KNIFE out of his vest pocket. Constances eyes follow it. DR. FISHBONE I work up remedies fo foks when they needs em. But mosly my doses is fo protection. He opens the blade and begins to carve a piece of bone. DR. FISHBONE (CONTD) Foks always be needin protection. CONSTANCE Protection from what? DR. FISHBONE From whatever intends them harm. Could be a person, could be a hag or even a haint. CONSTANCE What does that mean, a hag? A haint? DR. FISHBONE Well, a hag be a witch. She a nachural person with mighty strong powers. She can come in an ride ya at night when ya be sleepin. A haint be like a sperrit. You know, a ghos. CONSTANCE How does a witch, or a hag, go about riding you? I dont understand.

32.

DR. FISHBONE They can change they shape, become an animal or a bird. They come to ya in the night an sit on yo ches'. They suck the life outta ya. In the mornin ya wake up feelin drain. Some foks jes' pine away an die afta bein rid by a witch so much. CONSTANCE And you can make a potion to protect people from witches? DR. FISHBONE Yessim. I work some roots up fo them. Make a little mojo bag. If it get real bad on foks I put down some brick dust, or even grabeyard dirt in front they door. Witches sho cant cross over grabeyard dirt. They cant cross over a broom either, if you lays it down in front yo door. Mos foks roun here gots brooms what they lay down ebry night to keep out the hags. Some foks use coins. If a new dime turn black it a sho sign someone has fixed ya. Constance notices a straw broom next to the door. DR. FISHBONE (CONTD) Hags be mighty powerful indeed. They move fast, an ya never knows when to spect them. CONSTANCE I must admit, I really dont believe in any of this myself. But I do find it all quite fascinating. A beat as Fishbone studies her. DR. FISHBONE Missus, I spect you may need a dose mo than any of us. Maybe somethin ta bring love back ta ya? Constance closes her notepad. CONSTANCE Like I said, this stuff isnt for me. (MORE)

33. CONSTANCE (CONT'D) I respect what youre telling me, but I really want to just stick to the story, your story. (a beat) Can you tell me about the fire?

A beat. DR. FISHBONE Reckon the Cooper plantation be both our stories. INT. BOARDING HOUSE BATHROOM NIGHT Constance soaks in the tub of a dingy common bathroom. The sound of the VICTROLA scratches to life downstairs. She covers her face with a cloth. The music stops. The sound of FOOTSTEPS is heard coming down the hall. It stops outside the bathroom door. Constance removes the cloth from her eyes. A shadow appears beneath the bathroom door. The DOORKNOB begins to turn. CONSTANCE Hello? Someone is in here please. The shadow doesnt move. CONSTANCE (CONTD) I wont be long. A beat. The doorknob releases and the shadow disappears as the TUB FACET turns on full force, sending piping hot water into the tub. Constance jumps up and reaches for the handle when it turns off by itself. CONSTANCE (CONTD) Horrible place! She lies back down and covers her eyes again with the cloth. A beat. There is the sound of the SINK FAUCET turning on. Constance once more removes the cloth to see Hannah standing in front of the sink fully nude, bathing herself in the manner of Bathsheba. Startled, Constance quickly looks away.

34.

HANNAH Sorry I frightened you. Didnt think you would mind the company. Constance tries to cover herself with the small cloth. CONSTANCE I didnt hear you come in. Hannah lifts her long leg to the sink and continues bathing herself. HANNAH You were sleepin. Very dangerous you know. CONSTANCE I didnt realize I was asleep. Hannah approaches Constance, squats down next to the tub and reaches for the facet. HANNAH The water is cold, let me warm it up. Constance shifts about, nervous from Hannahs closeness. CONSTANCE Im fine, was about to get out anyway. A beat as Hannah brushes a strand of hair from Constances face. HANNAH I will leave you to your bath. But no more sleepin. Hannah puts on a robe and walks out. Constance leans her head back against the tub. Her nose begins to bleed. INT. BOARDING HOUSE CONSTANCES ROOM DAY Constance studies the PHOTOGRAPH of Lenora Cooper and then looks at herself in the mirror. There is a KNOCK on the door. CONSTANCE Come in. The door opens, it is Agnes Cecille. She is beaming.

35.

CONSTANCE (CONTD) Oh, hello Agnes. How are you? AGNES Any better and Id be a fancy white woman like yoself. Constance laughs, puts down the photograph and turns her attention to Agnes. CONSTANCE Slept well I take it? AGNES Who needs sleep these days? Were all workin womens ain't we? CONSTANCE I suppose we are. Agnes notices the photograph of Lenora Cooper. AGNES Who that? CONSTANCE My grandmother. AGNES Well she look like a mighty fine woman. CONSTANCE I never met her. She died long before I was born. AGNES I dont know my mammy or my pappy. They both dead too. CONSTANCE Do you have any family here? AGNES No. I has a brother somewhere up nawth but I dont know where bouts. Hadnt seen him since Ise a girl; since last time he got to thinkin I might be good for somethin other than a baby sister, if you knows what I mean. A beat.

36.

CONSTANCE Do you have many friends? A wide grin crosses Agness face. AGNES Im not goin lonely, if thats what you askin. CONSTANCE No, I dont suppose you are. AGNES (CONTD) She fine, dont you think? CONSTANCE Who is that? AGNES You know who I be speakin bout. I know you be sniffin roun the other night. Constance looks away embarrassed. AGNES (CONTD) Uh-huh, that what I thought. Well, just remember, I seen her first. CONSTANCE Im not entirely certain what you are referring to Agnes. AGNES You not the kind she like no how. CONSTANCE Im sure Im not. A beat. AGNES I tell you this, watch out for foks 'roun here. If you cross em, theyll put somethin on you quick as can be. CONSTANCE I really dont believe in conjure. AGNES Oh I see you know somethin bout it.

37.

CONSTANCE You dont suppose there are any hags or haints that will come to ride me when Im sleeping? Agness smile fades. AGNES Best not to make fun of these things. Best to take warnin when it given to ya. (a beat) What you find amusin, may jes bring death right to ya. INT. PEACE MISSION OF FATHER DIVINE MORNING The highly flamboyant church of Father Divine. His PORTRAIT hangs above the altar, next to a portrait of Jesus Christ. The CHOIR, in white robes with matching turbans, sings what sounds like a funeral dirge. Constance sits in the back row. BESS, a 40ish, heavy-set black woman dressed in bright purple from head to toe, sits next to her. BESS (to Constance) You think maybe you in the wrong church? CONSTANCE Pardon me? BESS Presbyterians over on Chippewa Square. CONSTANCE I must look pretty out of place. BESS Bout as outta place as I would look over on Chippewa Square. They both laugh. A pious looking WOMAN in the row ahead shoots Constance a look over her shoulder. BESS (CONTD) My name Bess. CONSTANCE Im Constance.

38.

BESS I believe you may know my niece Agnes Cecille? CONSTANCE Yes, we are staying at the same boarding house. She said she didnt have any family around here. BESS We hasnt seen each other in many years. (a beat) You one crazy white woman, you know that? CONSTANCE How do you mean? BESS Staying over in that boarding house, full of trollops and trash talkers. CONSTANCE Thats what people keep saying. Truthfully Im just a reporter here for a story. The woman in the row ahead shoots her another look. Constance lowers her voice. CONSTANCE (CONTD) Im here doing a story on surviving slaves. Besss demeanor changes and she becomes quite serious. BESS I want you to listen to me child. CONSTANCE Yes? BESS They is watching you. (a beat) And they know your secret. CONSTANCE Who is watching me? BESS The dead.

39.

Constance is jolted awake. Bess is gone. The preacher, BISHOP LOVE, a short, stocky black man with grey woolly hair delivers the message. BISHOP LOVE We are at our finest hour, when in our dreams we see salvation. For even there, death has no sting. INT. BOARDING HOUSE KITCHEN SAME Lucille prepares a conjure. She grinds up a POWDER and places it in a teacup. She pours hot tea over it, and garnishes it with a lemon. BISHOP LOVE (V.O.) For what was in darkness, will be brought to light. INT. BOARDING HOUSE PARLOR MOMENTS LATER Agnes Cecille sits alone near a window drinking a cup of tea. EXT. DR. FISHBONES SHACK DAY Constance sits on the front porch of Dr. Fishbones shack with her notepad on her lap. Fishbone opens the door and steps out with a teapot and two cups. DR. FISHBONE Yessim, you received a warning fo sure. Best to keep mind of it. He pours a cup of dark tea for Constance. DR. FISHBONE (CONTD) This make ya feel better. Constance smells the tea. CONSTANCE Whats in it? DR. FISHBONE Jes some ole root tea I makes to calm me down. She gives him a suspicious look, and waits for him to take a sip before she tries it.

40.

CONSTANCE Its good. DR. FISHBONE You a terrible liar missus, it taste like shit. They both laugh. DR. FISHBONE (CONTD) But it good for ya. CONSTANCE Tell me more about these witches. You say they shape shift? DR. FISHBONE Yessim, that right. Sometimes they appear like a cat. Sometimes a dawg, or even a bird. They take whatever shape that suits them. CONSTANCE Have you ever had an encounter with one? A witch, that is. DR. FISHBONE Yessim, sho have. Been rid by many a witch. Only they dont bother me no mo. Cuz I gots my place fixed. He points to a line of red brick dust in front of the threshold. DR. FISHBONE (CONTD) An I always keeps a broom nearby to sweep up my foot track so that no one can gets it. CONSTANCE Your foot track? DR. FISHBONE There be mighty powerful doses what can be made from the dust of yo foot track. (a beat) I knowed a woman what had a foot track dose put on her. She get worms in her feets. It get so bad that the doctors couldnt hep her. Her legs swell up fo times they size.

41.

CONSTANCE I believe I met this woman over in the market. Her name is Patience? Dr. Fishbone eyes her suspiciously. DR. FISHBONE Yessim, that be her name. Only she been dead in the grabe for nearly twenty years. CONSTANCE But I saw her; she makes baskets out of palmetto. A beat. DR. FISHBONE Yessim, thats her. But I tell you, she dead. What you seen over there in the market was a ghos. What you see at the Peace Mission, it be a ghos too. Seem like the dead be talkin all roun you. CONSTANCE But she told me about you. DR. FISHBONE Reckon she did. I tried to hep Patience, but the fixin was too strong. An I was weak in them days. Had jes lost my wife, took to drinkin. Those days many witches come fo me. But somehow I always was able to fight em. Not Patience. Her sperrit not strong enough. If ya sperrit weak they can ride ya fo sure. Take the life right outta ya. CONSTANCE Are there witches around here? DR. FISHBONE Yessim, sho is. Theres a ole woman what live jes' the other side of the village name of Clarice. She a known witch. She dont harm me none, but my neighbor Elliot, he sho have plenty a troubles with her. She come roun during the day eyeing us both up. (MORE)

42. DR. FISHBONE (CONT'D) She knows not to mess with me none, knows my place be fixed real good. But ole Elliot, he has one of them weak sperrits on account a he still drink heavy shine. She come one night like a cat, right through he window. Sits on he ches an starts to drain him. He wakes up an smacks that ole cat right up gainst the wall. It screams an runs off. (a beat) Well, the next day ole Elliot he goes lookin fo that cat. I done told him it be a witch. So he heads over to Clarice house. When he gets there he sees that ole woman sittin on her porch with her face all bruised up an her arm broke. She starts to screamin Dont kill me! Dont kill me! That when we knows it be Clarice what rid him. (a beat) But like I said, she dont bother me none.

CONSTANCE Will you tell me about the plantation and your years as a slave? DR. FISHBONE You interested in my story, or the Coopers? A beat. CONSTANCE I want to know about your experiences. Is that when you became superstitious, starting believing in witches? DR. FISHBONE Superstition gots nothin to do with it. Superstition fo foks what aint sho they believe, foks whats too scared to believe. CONSTANCE Were there witches on the plantation?

43.

DR. FISHBONE Reckon there was, haints too. My mammy, well she a mighty powerful root worker. She make doses fo everyone, even the Missus. (a beat) I jes a boy when she teach me to make my first dose. It was somethin ta bring love to ya. Somethin the Missus ask her to make. CONSTANCE You mean Mrs. Cooper? DR. FISHBONE Yessim, Lenora Cooper be her name. Constance shifts nervously in her seat. DR. FISHBONE (CONTD) She a fine lookin woman, only nobody love her. CONSTANCE What about Mr. Cooper? DR. FISHBONE Massuh? He a cold hearted man. Dont reckon he knowed what love was atall. Only love he had was fo he money and he land, and that land be cursed. CONSTANCE What do you mean cursed? DISSOLVE TO: BEGIN FLASHBACK: EXT. COOPER PLANTATION POND NIGHT Three very ancient WILLOW TREES, their branches dipping into the mirrored waters of a POND. TORCH LIGHTS are seen through the branches. There is the sound of BARKING DOGS. DR. FISHBONE (V.O.) It was called Three Willows Plantation on account of the trees what liked to dip they fingers in the pond. Some say dem trees was the sperrits of slaves what died there a hundred year earlier. (MORE)

44. DR. FISHBONE (V.O.) (CONT'D) Sperrits what get trapped in the earth, and rise up through dem branches.

EXT. COOPER PLANTATION NIGHT - SAME THREE SLAVES, two male and one female, run through the woods. DR. FISHBONE (V.O.)(CONTD) Evil, it dont get trapped no how. Evil always free to move about. EXT. COOPER PLANTATION NIGHT - LATER The runaway SLAVES are tied together around a tree. They are surrounded by STABLE HANDS with torches. One of them holds back a pair of snarling DOGS. DR. FISHBONE (V.O.) It be the innocent that is bound. The dogs are released. They tear into the male slaves. The female slave screams. One of the STABLE HANDS approaches her. He draws a MACHETE from his belt. The MACHETE comes down with a SHARP sound before being lifted, revealing a blade now saturated with blood. DR. FISHBONE (V.O) (CONTD) Yessim, evil move free enough at Three Willows. END FLASHBACK. EXT. DR. FISHBONES SHACK - DAY Constance is transfixed on Fishbones story. CONSTANCE Were they really that evil, my... (a beat) I mean, the Coopers? DR. FISHBONE They was property owners. An we was all property, far as they concerned. (a beat) (MORE)

45. DR. FISHBONE (CONT'D) The Missus, she took ill that last summer. Some say she get sick in her mind and others say she been fixed, that Massuh had somethin put on he own wife. Anyhow, she not right afta that, always spicious of the slaves. She got her eye on one in particular an that was all there was to it. She come to my mammy fo a dose, but she dont tell her who it is she tryin to attract. Funny thing is Missus could have anything she wanted a boy, or a girl... (a beat) But what she wanted was someone to love her. Well, she get what she wanted. Only she dont realize, like mos foks, when ya try ta trick love it always come back roun to harm ya.

INT. BOARDING HOUSE CONSTANCES ROOM NIGHT Constance is in a fitful sleep. BEGIN DREAM SEQUENCE: INT. COOPER PLANTATION BEDCHAMBER - NIGHT SERIES OF SHOTS LOVE MAKING A) FEMALE SLAVE ON TOP OF LENORA. B) SLAVES HAND ON LENORAS BREAST. C) HEAD BETWEEN LENORAS LEGS. D) LENORA CRIES OUT IN ECSTASY. This sound becomes intermixed with the sound of SCREAMING. END DREAM SEQUENCE. INT. BOARDING HOUSE CONSTANCES ROOM NIGHT Constance is jolted awake by the sound of SCREAMING.

46.

INT. BOARDING HOUSE AGNES CECILLES ROOM MOMENTS LATER Agnes Cecille is in convulsions. Two FEMALE BOARDERS hold her down while Lucille rips open her gown exposing her bare chest. She then draws ritualistic symbols on her in blood. Constance enters the room horrified. CONSTANCE What is happening?! FEMALE BOARDER She been rooted. CONSTANCE What are you doing to her? LUCILLE Someone fixed her, now I suggest you go back to bed and let us do what we can fo her. CONSTANCE Is that blood? One of the women pushes Constance out of the room. FEMALE BOARDER Best to go back to bed, she be fine soon enough. Constance sees the terrified look in Agness eyes as the door is shut in her face. EXT. COLORED CEMETERY DAY Constance stands a respectable distance from a group of MOURNERS, mostly prostitutes, who have tried their best to dress down for the occasion. The COFFIN of Agnes Cecille is lowered into the ground. One of the prostitutes approaches the grave and tosses in a strand of cowrie shells. PROSTITUTE (O.S) Stay with the dead Miss Agnes; they your people now. The mourners start to sing an AFRICAN HYMN, a dirge, as a light rain begins to fall. In the distance Constance sees the black Newfoundland DOG digging frantically. Mesmerized, she forgets the unopened umbrella in her hand.

47.

SGT. DOOLEY (O.S.) You accustomed to finding yourself in strange predicaments? Constance turns to find SGT. PATRICK DOOLEY, a late 30s redheaded son of Ireland, standing behind her. His accent is a mixture of southern drawl and his mothers native tongue. CONSTANCE Pardon me sir? DOOLEY (extending his hand) Oh now where are my manners? My name is Sgt. Patrick Dooley, I am with the Savannah Police Department. Constance hesitates then shakes his hand. He holds it a little too long for her comfort. CONSTANCE Constance Bell. Im a reporter, strange predicaments are my business. DOOLEY Ah yes, I suppose so. But you see Miss Bell, in Savannah we are not accustomed to white women, northern white women, attending the funerals of nigger whores. (a beat) It just doesnt look right. CONSTANCE Regardless of how it looks Sergeant, I am simply here for the story. He stands there molesting her with his eyes. DOOLEY Well thats all fine, Im sure. You just be careful what stories you brew up. Dont need no trouble around here with our coloreds. He starts to walk away, then turns back. DOOLEY (CONTD) A prudent woman would find that umbrella youre holding to be quite useful, Miss Bell.

48.

In the distance Hannah stands alone in the rain, watching Constance. Constance notices her. Next to Hannahs feet there is a crude SIGN which reads SLAVE BURIALS. INT. BOARDING HOUSE CONSTANCES ROOM NIGHT The door is slightly open as Constance gets undressed. A shadow passes by the room. INT. BOARDING HOUSE CONSTANCES ROOM MOMENTS LATER Constance sits in her nightgown at the dressing table brushing her hair. Through the MIRROR Hannah is seen standing at the door. A beat as they make eye contact. Hannah pulls the door closed. INT. BOARDING HOUSE - CONSTANCES ROOM - LATER Constance is awakened by the sound of a DOG GROWLING. She looks over the side of the bed to see the black dog lying on the rug. He is not growling but appears quite content. She lays back and closes her eyes. A beat. There is the sound of SCRATCHING. Constance looks over the edge again to see the dog crawling beneath the bed. She rolls back over and closes her eyes. A beat. The sound of WRITING, as with chalk, is heard from beneath the bed. Constances face is gripped with fear as the sound SCRATCHES out an unknown message beneath her. Then it stops. A beat. The door CREAKS open, and then SLAMS shut.

49.

INT. DR. FISHBONES SHACK - SAME Fishbone draws a RITUAL SYMBOL on his wall in chalk. In the center of this drawing is the word COOPER. INT. BOARDING HOUSE CONSTANCES ROOM MORNING Constance slides the bed aside revealing a strange RITUAL SYMBOL drawn in chalk. INT. BOARDING HOUSE KITCHEN MOMENTS LATER Lucille dismembers a freshly killed chicken. Constance confronts her. CONSTANCE I found something disturbing in my room this morning. LUCILLE Whats that chile? CONSTANCE A drawing. LUCILLE What sort of drawing you talkin bout? Constance notices a piece of chalk on the counter. CONSTANCE A chalk drawing, under my bed. Lucille HACKS a wing off the chicken with a cleaver. LUCILLE Chalk? CONSTANCE Yes, under my bed. I could hear it last night. LUCILLE Hear it? Constance starts to lose her patience. CONSTANCE As it was being drawn.

50.

A Beat. Lucille turns to face her, the CLEAVER still in her hand. LUCILLE You been workin too hard, thats all. CONSTANCE I heard it, and Ive seen it. LUCILLE Maybe you hearin things that really not there atall. Maybe you too busy with other bidness, in your room. Like Agnes Cecille, she got herself too busy jes the same. (a beat) Now she dead. She raises the cleaver and brings it down forcefully amputating one of the chickens feet. CONSTANCE Would you like to see the drawing? LUCILLE No need. I get someone to take care of it for ya. CONSTANCE Did you have Agnes Cecille taken care of? (a beat) Was it because you were worried about the business she had going on in her room? LUCILLE Well arent you just a saucy mouthed Susie. Be good of you to mind your bidness. CONSTANCE What were you trying to do to her with the blood? Sure looked like you had some business of your own going on. LUCILLE She had been fixed. I was trying to lift what had been put on her. But you wouldnt know nothin bout that.

51.

CONSTANCE You mean someone put a dose on her. LUCILLE I see you been sniffin roun. CONSTANCE Who fixed her? LUCILLE Dont reckon I know. CONSTANCE Well I reckon you have an idea. Lucille picks up the chicken and tosses it into a pot of boiling water. LUCILLE Be careful who you trust roun here little missus. Be careful who you trust now. INT. DR. FISHBONES SHACK NIGHT Fishbone prepares a mojo. He cuts up roots and stuffs them into a small LEATHER BAG, which he then ties around his neck. On the table next to the mojo fixings there is a gold wedding band, as well as a DAGUERREOTYPE of William and Lenora Cooper. INT. BOARDING HOUSE - PARLOR - NIGHT Hannah sits at the piano playing the melody BEAUTIFUL DREAMER. Constance sits down next to her. CONSTANCE Thats beautiful. When did you learn to play? HANNAH Many years ago. (a beat) I had a fine teacher. Constance places her fingers on the keys, and begins to play in unison with Hannah. Their fingers touch. HANNAH (CONTD) Sound sweet, dont it missus?

52.

CONSTANCE It does. INT. BOARDING HOUSE CONSTANCES ROOM NIGHT Constance awakens to the sound of MOANING. Her door is open. A light flickers in the hallway. INT. BOARDING HOUSE - HALLWAY - MOMENTS LATER Hundreds of red candles illuminate the hallway. Agnes Cecilles door is partially open. From inside the sound of MOANING intensifies. Constance slowly pushes the door open to see Hannah and Lenora Cooper in bed. Shocked, Constance closes her eyes. When she opens them the room is empty and the candles are gone. INT. BOARDING HOUSE KITCHEN MOMENTS LATER Constance roots through the cupboards. She finds an AMBER JUG of moonshine and pours herself a glass. She doesnt notice Hannah standing behind her. HANNAH Thirsty? CONSTANCE You frightened me. Yes, a little thirsty. (a beat) Would you like a drink? Hannah just stands there staring through her. She takes the glass from Constance, swallows the drink, and then sets it on the counter, pressing herself against Constance. HANNAH Thank you. A beat as they stare into each others eyes. CONSTANCE Who are you... Hannah interrupts her with a long, deep kiss. HANNAH Who you been waitin for.

53.

Hannah slides her hand up Constances thigh. CONSTANCE You dont know me. HANNAH Oh I think I know you missus. Constance pushes Hannah back against the table. CONSTANCE No maam, you dont know me. She places Hannahs leg over her shoulder, and begins to kiss her thigh. She notices a mark on Hannahs thigh, a BRANDING. It is the same symbol as Constances medallion. A beat as they make eye contact, then Constance proceeds with the kissing. INT/EXT. DR. FISHBONES SHACK SAME Fishbone peels back the newspaper from the window as he holds the mojo bag to his lips and chants something under his breath. Through the window he sees Lucille standing in the street staring blank-faced at him. INT. ABRAHAMS CAR NIGHT - MOVING Abraham and Constance drive along a narrow two-track through thick woods. CONSTANCE Just where is this place youre taking me. ABRAHAM It jes up ahead. You be glad you came, you a see. He hands a flask to Constance. ABRAHAM (CONTD) You may wanna get started now though. CONSTANCE Started?

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ABRAHAM Yessim, I dont reckon they ever seen white fok back in here. Cept the poleece. He lets out a hardy laugh. Constance takes the flask and pulls a swig from it. Its much stronger than she expected. ABRAHAM (CONTD) Yessim, they sho aint never seen the likes a you. EXT. SPEAKEASY NIGHT A rundown JUKE JOINT set on stilts. Black PATRONS dressed in their finest parade about competing to impress the devil. Constance stands near the truck quite apprehensive. ABRAHAM Come on now Missus Constance, you said you wanna see what it like fo colored fok roun these parts. Well, juke joints be jes what ya lookin fo. She glares at him with apprehension as he does a little shake and shimmy. ABRAHAM (CONTD) We gotta get in there and get us some of that. CONSTANCE Do you really think that Im the only white soul here? AGNES Oh yessim, I gots no doubts bout it. But dont mind that, you with ole Abraham, and everyone here knows I be a right-sided fella. INT. SPEAKEASY LATER The sound of JAZZ is as thick as the Georgia night air, as BLACK BODIES sway in rhythm. Constance stands alone in the doorway, trying her hardest not to stand out. Abraham is nowhere to be seen. A BOY, 12, with the slick-wits of a 30 year old, brushes past Constance carrying two amber jugs of moonshine.

55.

CONSTANCE (to boy) Excuse me, do you have wine here? A beat as the boy sizes her up. BOY Do I look like Jesus to you? CONSTANCE Pardon me young man? BOY I said do I look like... Abraham whacks the boy with his cane. ABRAHAM Boy you better show some respect. This is Missus Constance, she my guest. He rubs his head, gives Constance another look over. BOY I dont mean no disrespect. She asked for wine, this is a juke joint, if you cant make it in a washtub we aint got it. Abraham whacks him again. BOY (CONTD) Ouch! Constance laughs. CONSTANCE So whats in the washtub tonight? INT. SPEAKEASY NIGHT LATER The MUSIC has slowed down, everyone is drunk and content. Abraham holds court with a group of WOMEN in the corner of the room, each of which are impressed with his oratory abilities. The boy with the moonshine is asleep under a table on which a group of DRUNK MEN play cards. Constance sits alone, more than a little drunk herself.

56.

EDDIE (O.S.) Wheres your daddy doll? Constance turns to see EDDIE, a late 30s bulldagger, sporting a white top hat and smoking a clove cigarette. CONSTANCE Pardon me? EDDIE Your escort sugar, I know a fine lookin woman like you didnt wander into this establishment alone. CONSTANCE Im here with a friend. She nods in Abrahams direction. EDDIE You here with Abraham? Well, if you dont mind my sayin, he jes not fit for you. CONSTANCE I beg your pardon? EDDIE The name is Eddie Moon. He tips his hat then extends his hand to her. She places her hand in his, he kisses it. A beat. CONSTANCE Constance Bell. EDDIE Shall we? CONSTANCE Shall we what? EDDIE Dance darlin. We cant let these other foks have all the fun now, can we? Constance reluctantly accompanies Eddie to the dance floor. She allows herself to be folded into his arms in an awkward embrace.

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CONSTANCE I dont dance much. EDDIE Thats alright doll, you jes let ole Eddie lead you. We be glidin bout like sweet little cherubs fo you know it. Constance begins to relax, allowing herself to be pulled in tighter against Eddies chest. Her face goes flush when she makes the realization that Eddie is in fact a woman. Eddie drops his hand lower against Constances back and whispers in her ear. EDDIE (CONTD) Abraham isnt what you lookin fo sugar. You need... Over Eddies shoulder Constance notices Hannah standing in the corner of the room. There is a scornful look on her face. Constances nose begins to bleed. Eddie offers her his handkerchief when the sound of SCREAMING is followed by BROKEN GLASS. The room goes into pandemonium as POLICEMEN swarm into the joint, billy clubs swinging. Eddie pulls Constance towards the nearest open window, but she jerks away to stand frozen in the middle of the chaos. POLICEMAN (O.S.) Now what do we have here? Where did you come from? Constance turns to see a POLICEMAN, club extended and ready to strike her. CONSTANCE Please, dont hit me! Im just here doing a story, Im a reporter. POLICEMAN Sure you are doll. He grabs her by the arm and pulls her towards the door. Constance turns to see ANOTHER POLICEMAN beating Eddie viciously. INT. JAIL NIGHT Constance is in a jail cell with several other WOMEN, all black. BEATRICE, a large scrappy looking woman, is quite vocal.

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BEATRICE They ain't got no issue with us when they wants what we sellin. Take a little pull a shine whiles we be pullin they dick. Constance notices a shiny dime tied around Beatrices ankle. BEATRICE (CONTD) They come to us on a Friday all happy to spend they money. Then on Sunday they haul us off like dogs. Reckon they get a bit a religion in them. The other women agree with her. Constance just stands in the corner observing, her expression showing a little too much disdain. Beatrice notices. BEATRICE (CONTD) (to Constance) And just who the hell is you anyway? The other women stare at Constance, anticipating the confrontation. CONSTANCE My name is Constance. Im a reporter... BEATRICE (interrupting) You that bitch from up nawth. The women are getting charged. They want a fight and Beatrice is their champ. Constance holds her ground. CONSTANCE Like I said, Im a reporter. BEATRICE Well what the fuck you reporting on? Juke joints? Pussy houses? Everyone laughs. BEATRICE (CONTD) They ain't got that where you from? CONSTANCE Slavery.

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The jail cell goes silent, except for the CLOCK ticking. One of the women, MABEL, 20, simple-minded, pipes up. MABEL What she say? Beatrices eyes narrow. BEATRICE What bidness you got with that? CONSTANCE I just want the story. Beatrice steps to within inches of Constance. BEATRICE Bitch that aint your story. CONSTANCE Its our story. BEATRICE Yeah, well your mammy tell you bout gettin beat and rape? You dont know who your granddaddy is cuz they got sold away? (a beat) That your story? CONSTANCE Yes. Beatrice pushes Constance against the wall. BEATRICE It ain't your story! Who you think you is? You white, you a Yankee. You ain't got no bidness... CONSTANCE (interrupting) Im a woman. Slavery is my story. The women soften with these words, the sides start to shift. Beatrice isnt happy about losing ground. BEATRICE Well you is a dead woman, that for sure.

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INT. JAIL SGT. DOOLEYS OFFICE DAY DOOLEY So I have the pleasure of making your acquaintance yet again Miss Bell. CONSTANCE Your jail is far from a pleasure, Sgt. Dooley. DOOLEY Ah yes, but what do you expect considering your present company? CONSTANCE I would expect a little courtesy. I told you before I am here from Boston doing... DOOLEY (interrupting) Boston is it? His eyes do not move above her neckline. DOOLEY (CONTD) What is a fine lass like you doing in a Savannah speak easy with a band of niggers? Constance shifts uncomfortably in her chair. CONSTANCE Im a reporter. Im here on assignment. DOOLEY An assignment? Im intrigued Miss Bell, what kind of assignment would send a woman to a cesspool like that? His eyes on her body cause her to blush, losing her confidence. CONSTANCE Im doing a story on slaves, surviving slaves... DOOLEY Surviving slaves?

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CONSTANCE Yes, Im interviewing them. Dooley stands, walks over to the window and lifts it open. He sits on the ledge and lights his pipe. DOOLEY Miss Bell, let me explain something to you as politely as I can. There is no story for you here. CONSTANCE Oh, but I believe there is Sergeant... He finally makes eye contact with her. DOOLEY (interrupting) Do you want to end up like them, the bangtails in that cell? Because if you keep snooping around where you have no business then I would say youll be lucky if thats all that becomes of you. (a beat) A white woman hangs just as well from a tree as a nigger woman. CONSTANCE Are you threatening me Sgt. Dooley? DOOLEY No maam, Im warning you. You are keeping company where you have no business keeping company. CONSTANCE I can handle myself sir. DOOLEY We shall see about that Miss Bell. His eyes once more descend her body as he takes a long draw on his pipe. DOOLEY (CONTD) Change your company Miss Bell, before your company changes you. EXT. JAILHOUSE DAY Constance walks out of the jailhouse looking worse for wear.

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Two PRUDISH WOMEN pass by her whispering and cutting their eyes at her. Across the street Constance notices Dr. Fishbone sitting in the square feeding squirrels. EXT. MADISON SQUARE MOMENTS LATER Constance approaches Fishbone. Next to him is a STRAW BROOM. CONSTANCE Good Afternoon. DR. FISHBONE Aftanoon. CONSTANCE I noticed you sitting here and thought maybe we could chat a little more. DR. FISHBONE Yessim, that be fine. CONSTANCE Do you always sit outside the jail? DR. FISHBONE Only when I spect somebody need to see me. A beat. CONSTANCE You havent been waiting here for me, have you? DR. FISHBONE Been waitin fo a spell, yessim. Constance notices Sgt. Dooley watching them from his window. CONSTANCE Would you be more comfortable if we spoke somewhere else? DR. FISHBONE Would you? CONSTANCE I can hold my own, I assure you. Fishbone laughs.

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DR. FISHBONE Yessim, Im sure you can. But ya see, these white fok roun here gonna spect you be comin ta see me fo a dose. Then soon enough they be thinkin ya up ta some kind a wrong-sided bidness. See here, they a run you right outta this town. CONSTANCE Like I said, I can hold my own. She makes eye contact with Dooley. CONSTANCE (CONTD) I would imagine its quite difficult to know just who your friends are, with all of this root working business going on. Fishbone laughs. FISHBONE No Missus, ya jes gots to trust yo own sperrit, thats all. The sperrit whats inside a ya always mo powaful than the sperrits what walk about meanin ya harm. CONSTANCE You mean intuition? FISHBONE I dont know nothin bout that. I only knows that we each has a sperrit what can find the truf. Even when the truf be the hardest thing they is to find. Constance notices him staring at the scar on her wrist. She folds her hands behind her back. FISHBONE (CONTD) Sometimes our sperrit tells us things we dont want ta hear atall. But it be doz very things what we need ta hear mos. (a beat) An our sperrit, it bear witness with other sperrits. There be a whole world what we dont even see with our eyes. We only see it with our sperrit.

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CONSTANCE Im trying to understand that... FISHBONE (interrupting) You needs to understand it. You needs to trust yo own sperrit. It be the only thing what will save ya. CONSTANCE Save me from what? FISHBONE From the things what mean ya harm. (a beat) Even when that harm comes from yoself. Fishbone gets up and starts to walk off, dragging the BROOM under his arm allowing the bristles to sweep up his footprints. INT. BOARDING HOUSE - CONSTANCES ROOM - DAY Constance stares at the blank piece of stationary with the heading DEAR ANNA. Through the mirror she notices Hannah lying across the bed watching her. CONSTANCE I didnt hear you come in. HANNAH Been here a while. Constance sets down her pen and walks over to the bed. She lies down in front of Hannah, draping Hannahs arm over her waist. A beat. HANNAH (CONTD) What do you want missus? CONSTANCE Comfort. INT. BOARDING HOUSE CONSTANCES ROOM LATER Constance lies across the bed alone.

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There is a KNOCK on the door downstairs, followed by several more insistent knocks. INT. BOARDING HOUSE FOYER MOMENTS LATER Constance answers the door. It is Sgt. Dooley. CONSTANCE Sgt. Dooley? Is there a problem? DOOLEY Oh I would say there is. Another murder, another person you have been seen with. I need you to come with me for questioning. CONSTANCE Who? What? DOOLEY Get dressed. Now Miss Bell. INT. MORGUE LATER A dark dungeon of a room. Dooley and Constance stand in front of a SLAB TABLE on which lies a BODY covered with a sheet. DOOLEY Your associations keep turning up dead Miss Bell. Do you have any idea why? He pulls the sheet away exposing the dead face of Beatrice. Constance takes a step back. CONSTANCE What happened to her? DOOLEY I was hoping you could tell me. CONSTANCE I only met her once. The other night when I was... DOOLEY (interrupting) The other night when you were incarcerated, the night you showed up in my jail with a nigger woman who would be dead in less than a weeks time. (MORE)

66. DOOLEY (CONT'D) I understand you had quite the runin with her. Threats were made? Tell me Miss Bell, what is it you are really about?

He glares at her. CONSTANCE Like I said, I only met her once. DOOLEY And like I said before, dead niggers dont grieve my heart. But white women involved with niggers who keep turning up dead? Well, I find that more than a little disturbing. CONSTANCE I had nothing to do with this, or with Agnes. DOOLEY Any idea who might have? Because I only see two things that they have in common. Theyre both dead, and they both knew you. CONSTANCE And they were both superstitious. DOOLEY Pardon me? Constance pulls the sheet back exposing Beatrices foot. The dime tied around her ankle is black. CONSTANCE I said they were both superstitious; they believed in spells and conjures. DOOLEY Well I dont believe in any of that colored magic. What I believe in is corpses... He lifts the sheet fully exposing Beatrices nude body. There are deep gashes in her chest and abdomen. DOOLEY (CONTD) ...and killers.

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INT. BOARDING HOUSE CONSTANCES ROOM NIGHT Constance and Hannah lie in bed naked, they have just made love. Hannah is stone-faced, Constance is studying her. CONSTANCE How long have you lived here? HANNAH Long as I remember. Constance traces her fingers over the mark on Hannahs thigh. The skin is raised, perfectly forming the branches of three willow trees. CONSTANCE What is this? Hannah doesnt answer her. CONSTANCE (CONTD) When did you get this mark? HANNAH It was given to me many years ago. (a beat) A tender hand give it to me. INT. PEACE MISSION DAY Beatrices funeral. The church is full of MOURNERS and GAWKERS. Constance sits in the back row. At the altar is a PINE COFFIN holding Beatrices body. She has already begun to decay. Bishop Love delivers the eulogy. BISHOP LOVE Sister Beatrice was a woman of faith. He is interrupted by the sound of PROTESTS and HISSING. BISHOP LOVE (CONTD) She believed in the goodness of God, and His mercy. (a beat) But she believed in something else as well. More protests. BISHOP LOVE (CONTD) She believed in the power of the devil...

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WOMAN O.S. She bring the devil to bed with her! Constances eyes fill with tears. Bishop Love slams his fist down on the pulpit, demanding silence. BISHOP LOVE She believed that not everything is as it seems, that the devil sometimes be the most beautiful thing in the world. Constance lowers her head into her hands. There is the sound of PANTING. Constance looks up to see the Newfoundland DOG sitting in the aisle next to her. No one else notices it. The dog growls, then walks down the aisle and crawls under the platform on which Beatrices coffin sets. BISHOP LOVE (CONTD) The devil took her... (a beat) But the Lord done set her free. BEATRICES HAND slowly comes over the edge of the coffin. The corpse sits up and stares directly at Constance. Constance is jolted awake. SUDDENLY Beatrices corpse appears directly beside her. Constance is jolted awake again to find everything back to normal. INT. BOARDING HOUSE AGNESS ROOM DAY Constance pushes aside Agness bed, exposing the same ritual drawing as she discovered under her bed. Hannah stands at the door. Constance senses her presence and turns to face her but she is gone. INT. SGT. DOOLEYS OFFICE DAY Constance sits across the desk from Sgt. Dooley. He is smoking a cigar and devouring her with his eyes.

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DOOLEY Witches...ghosts...conjures? You know how I feel about that rubbish. Ghosts dont put people in the grave Miss Bell, and Banshees are a thing me grandmum warned us of to keep us from trouble, to keep us believing in the good Lord above. CONSTANCE Im not making any of this up Sgt. Dooley. Im telling you what Ive seen with my own eyes. DOOLEY And what Im seeing with mine Miss Bell is a scared little girl that needs a lesson taught to her, a lesson about meddling where she doesnt belong. CONSTANCE I can show you, if you come with me. DOOLEY And just where do you propose to take me Constance Bell? What do you suppose will make me believe in your mumbo jumbo? CONSTANCE I can show you. DOOLEY What can you show me, an empty whore house? A ghost? CONSTANCE Please just come with me, I have proof. EXT. BOARDING HOUSE LATER Constance and Dooley are on the porch. Constance tries to open the door but it is locked. DOOLEY You havent a key? CONSTANCE Its never locked.

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She knocks on the door. There is no answer. She knocks again. A beat. The door opens. Standing in front of them is LAVERNE DUPREE a middle-aged white woman, provocatively dressed. LAVERNE (to Constance) Did you forget your key again? You know I always keep this door locked. She turns to Dooley, fluffs her hair and adjusts her collar. LAVERNE (CONTD) (to Dooley) Patrick to what do I owe a visit this early? Constance is dumbfounded. DOOLEY Seems your northern boarder here has something she would like to show me. LAVERNE Well come on in, I have a pot of coffee brewing. DOOLEY Anything stronger? Laverne does not disguise her flirting. Dooley invites it wholeheartedly. LAVERNE Is that a trick or an invitation Sergeant? DOOLEY Perhaps both my dear. INT. BOARDING HOUSE FOYER/PARLOR SAME The foyer and adjoining parlor are decorated entirely different from before. The rooms now resemble a French bordello. In the parlor, at an UPRIGHT PIANO, an ELDERLY WOMAN plays a classical piece.

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LAVERNE (to Dooley) You remember my mother? DOOLEY Of course I do, how could I forget such an exquisite creature? The elderly woman turns and nods at Dooley as she continues to play. CONSTANCE Just what is going on? Where are Lucille and the others? Laverne retrieves a flask she has hidden in a drawer and pours Dooley a drink. LAVERNE Who is Lucille darling? And what others are you referring to? Constance is dizzy with confusion. CONSTANCE What is this place? This is all wrong. Laverne hands Constance the flask. LAVERNE Sweetheart I believe youve been in the sun too long. Constance brushes the flask away and runs up the stairs. Dooley swallows his drink and follows her. INT. BOARDING HOUSE CONSTANCES ROOM MOMENTS LATER Constance has slid the bed aside; there are no markings on the floor. Dooley stands in the doorway observing her. DOOLEY What did you want to show me Miss Bell? Constance brushes past him.

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INT. AGNES CECILLES ROOM SAME Constance pushes aside the bed. Again, the floor is bare. Dooley enters the room. DOOLEY Miss Bell you are really starting to concern me. CONSTANCE It was here, I swear it was here. She runs back out of the room. INT. BOARDING HOUSE - CONSTANCES ROOM - SAME The photograph of Lenora Cooper is missing. In a panic, Constance frantically searches the room. She catches her reflection in the mirror and becomes enraged. She picks up a flower vase and hurls it at the mirror; both the mirror and the vase explode on impact. Constance grabs a shard of mirror and slides it across her neck, drawing blood. Dooley runs into the room and catches her as she collapses. INT. BOARDING HOUSE - CONSTANCES ROOM - LATER Constance, her neck heavily bandaged, is buckled into a straight jacket by two hospital ORDERLIES. EXT. BOARDING HOUSE - MOMENTS LATER Dooley and Laverne watch as Constance is loaded into an ambulance. EXT. PSYCHIATRIC HOSPITAL - DAY Establishing shot of a formidable white building. INT. PSYCHIATRIC HOSPITAL - DAY Constance is restrained to a wheelchair as a NURSE, 40s, sterile looks, interviews her. NURSE Your full name?

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CONSTANCE Constance Bell. NURSE Is there a middle name? A beat. CONSTANCE Lenora. NURSE Age? CONSTANCE Twenty-three. NURSE Was the scar on your wrist selfinflicted as well? Constance doesnt answer her. NURSE (CONTD) Miss Bell when did you first attempt to take your own life? Constance stares off into her memory. BEGIN FLASHBACK: INT. CONSTANCES APARTMENT - BEDROOM - NIGHT Constance lies in bed with a woman, ANNA, 25, Constances perfect complement. There is silence between them as they stare off in separate directions. INT. CONSTANCES APARTMENT - BEDROOM - DAY Constance watches Anna pack her things. EXT. CONSTANCES APARTMENT BUILDING - LATER Anna steps onto a streetcar as Constance watches from the window. INT. CONSTANCES APARTMENT - BATHROOM - LATER Constance lies in the bathtub, her face is swollen from crying.

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She unfolds a letter, reads it, then sets it on the edge of the tub. She then removes a blade from a shaving razor and slides it across her left wrist. END FLASHBACK. INT. PSYCHIATRIC HOSPITAL - DAY (BACK TO PRESENT) NURSE I require an answer Miss Bell. When did you cut your wrist? CONSTANCE Six months ago. The nurse scribbles notes, then gives Constance a demeaning glare. NURSE Was it over a man? Constance curls the fingers of her left hand into a fist. CONSTANCE No, it was over love. INT. PSYCHIATRIC HOSPITAL - LATER Constance, still strapped to the wheelchair, is being pushed down a corridor. PATIENTS, all women, in various stages of mental illness roam the corridor like ghosts. Through a door Constance notices a WOMAN, black, head shaved and staring blankly out a window. This woman is Eddie Moon, the bulldagger. INT. PSYCHIATRIC HOSPITAL NIGHT A bull-pit with rows of white metal-framed beds in which lunatics sleep fitfully. Constance is strapped down to a bed near the window. She stares at a massive CRUCIFIX on the far wall and begins to pray. CONSTANCE Our Father who art in Heaven, hallowed be Thy name. Constance closes her eyes, her nose begins to bleed. When she opens her eyes she sees Hannah, fully nude and nailed to the crucifix.

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Terrified, she closes her eyes again. When she opens them this time the crucifix is restored, but now Hannah is standing right next to her. In a trembling, broken voice Constance continues her prayer. CONSTANCE (CONTD) Thy Kingdom come, Thy Will be done, On earth as it is in Heaven. Constance turns her face away as Hannah runs her fingers through her hair. CONSTANCE (CONTD) Give us this day our daily bread, and forgive us our trespasses... Hannah leans in and whispers into her ear. HANNAH As we forgive those who trespass against us? Hannah slowly runs her fingers along Constances neck. HANNAH (CONTD) And lead us not into temptation... CONSTANCE But deliver us from evil. (a beat) It was you. Why? Hannah doesnt answer her. CONSTANCE (CONTD) What do you want from me? Hannah places both hands on Constances neck, gripping her throat gently. HANNAH Why missus, nothin more than your adoration. CONSTANCE And Agnes? HANNAH She needed to believe, like you. CONSTANCE Believe in what?

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HANNAH That she could be loved. Hannahs hand travels the length of Constances body, stopping between her legs. Constance closes her eyes; a tear runs down her cheek. When she opens her eyes Hannah is gone. INT. PSYCHIATRIC HOSPITAL - SUPERINTENDANTS OFFICE - DAY Constance sits in an restraints have been EUGENE TALLIS, 60s, self-proclaimed Lord expensive embroidered chair, her removed. Across a mahogany desk sits wearing a physicians coat. He is the of the lunatics.

He slides a telegram across the desk to Constance. EUGENE You are free to go Miss Bell. Your employer up in Boston has agreed to take claim of you. CONSTANCE Take claim of me? EUGENE Women dont leave my institution on their own accord Miss Bell. They are not fit to do so. I release based upon court order, or other significant male instruction. The editor of... A beat as he glances at the telegram. EUGENE (CONTD) ...the Boston Herald has agreed to claim you under one condition. That you return immediately to Massachusetts. (a beat) You have no further business here in Savannah. EXT. PSYCHIATRIC HOSPITAL - DAY Constance is escorted out of the building and turned over to Sgt. Dooley who is accompanied by three uniformed POLICEMAN.

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DOOLEY Miss Bell I am here to personally escort you to Union Station. Your ticket has been purchased and your belongings are in the wagon. You leave immediately. CONSTANCE But my story isnt... DOOLEY (interrupting) You are finished in Savannah Miss Bell. We have no need for your kind here. He motions for two of the policemen to load Constance into the paddy wagon. Eddie Moon is seen standing in a second floor window, staring blankly at Constance. She has been lobotomized. INT/EXT. PADDY WAGON - DAY - MOVING Constance stares out the window, defeated. EXT. UNION STATION - LATER Abraham stands next to the white Buick holding his SHOFER SIGN. He watches as Constance is escorted from the paddy wagon into the station. They make eye contact. INT. UNION STATION - MOMENTS LATER Constance and her belongings are deposited at the terminal. Dooley hands her the ticket. DOOLEY I hope that you enjoyed your visit to Savannah Miss Bell. And I trust that you have learned your lesson about keeping proper company. Under other circumstances I would extend you an offer to return, however I feel a simple goodbye and Gods speed is more the appropriate order. He tips his hat and starts to walks away, then turns back.

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DOOLEY (CONTD) And Miss Bell, take my advice. Learn your place in this world, learn it quickly, and stay in it. Your life would be so much more... (a beat) ...content. EXT. UNION STATION - TERMINAL - LATER A train marked BOSTON pulls out of the terminal. Through a window a WOMAN is seen wearing a hat quite similar to Constances. EXT. UNION STATION - SAME Constance stands behind a column watching Dooley and the policemen pull away. EXT. UNION STATION - MOMENTS LATER Constance, bags in hand, approaches Abraham. CONSTANCE I need your help. INT. DR. FISHBONES SHACK NIGHT Dr. Fishbone pours Constance and Abraham glasses of moonshine. CONSTANCE Is she a witch? Fishbone shuffles across the room and lights a RED CANDLE that is sitting on a shelf. The light illuminates the PHOTOGRAPH of the Coopers. DR. FISHBONE No missus, they not witches what be botherin ya. CONSTANCE (O.S.) She has powers, doesnt she? Fishbone sits down across from Constance with the PHOTOGRAPH in his hand. He hands it to Constance. DR. FISHBONE Reckon she do.

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CONSTANCE My grandparents. DR. FISHBONE Yessim, your granddaddy was the evilest planter in Beaufort County. Maybe all of South Carolina. Fishbone retrieves the POCKET KNIFE from his breast pocket. DR. FISHBONE (CONTD) And we belonged to them. CONSTANCE And Hannah? Shes... FISHBONE (interrupting) A sperrit. A sperrit what aint got no peace, she aint settled. You be responsible for her. CONSTANCE What do you mean responsible? FISHBONE The blood is the same. I has the blood of slaves. You has the blood of... CONSTANCE (interrupting) Im not a monster sir. He snaps open the blade. DR. FISHBONE Reckon you isnt. But maybe I is. Constance doesnt take her eyes off the knife. CONSTANCE How do you mean? FISHBONE I killed her. I killed all of em. (a beat) Cuz your granddaddy tell me too. Constance starts to get up when Fishbone reaches over and gently, yet forcefully, pushes her back down in her seat.

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FISHBONE (CONTD) Reckon you gonna sit right there an hear what I gots to say. Cuz Lawd knows I needs to say it. Fishbone picks up a piece of bone and starts to carve it. FISHBONE (CONTD) You see, this be your story too. The story you need to hear fo yoself. EXT. COLORED CEMETERY SAME The black dog runs through the cemetery in SLOW MOTION, past the sign which reads SLAVE BURIALS. The sound of DRUMS rises. DISSOLVE TO: BEGIN FLASHBACK: EXT. COOPER PLANTATION HUSH HARBOR - NIGHT Several SLAVES, entranced, dance around a fire. A SLAVE BOY, 8, watches in terror. Tied to his back is a pair of wings made from goat skins. This is the 8 year old Dr. Fishbone. DR. FISHBONE (V.O.) The Hush Harbor be the closest thing to Africa. It a place where we go to be who we is. A place where the trees keep our secrets. EXT. COOPER PLANTATION - HUSH HARBOR - DAY Hannah and Lenora Cooper run through the clearing barefoot. Sunlight glistens through the bottles and glass shards which hang from the bottle tree. EXT. COOPER PLANTATION - HUSH HARBOR - MOMENTS LATER Lenora and Hannah lie against the cool grass and stare up at the sun as it penetrates the branches of the oak. A kaleidoscope of color washes over them as sunlight passes through the bottles. Around Lenoras neck is the ribbon and Three Willows MEDALLION. Lenora removes her gold WEDDING BAND and tosses it off into the woods. She then turns and tenderly kisses Hannah.

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INT. COOPER PLANTATION HOUSE NIGHT SAME The sound of the DRUMS is mixed with the sound of MOANING; intensifying as the CAMERA nears a partially open door at the end of the hallway. DR. FISHBONE (V.O.) But not all secrets be kept in the Hush Harbor. INT. COOPER PLANTATION HOUSE BEDCHAMBER SAME Through the partially open door Hannah and Lenora Cooper are seen making love. The sound of DRUMS intensifies. The door is kicked open. Lenora Cooper covers herself as Hannah backs against the wall, fully nude. WILLIAM COOPER, 50s, intoxicated, has a length of rope in one hand and an iron muzzle in the other. WILLIAM (to Lenora) Youve indulged yourself enough. EXT. COOPER PLANTATION BARN MOMENTS LATER Two STABLE HANDS drag Hannah, muzzled and bound, to the barn. They are followed by William Cooper who has his wife Lenora bound and gagged. WILLIAM (to an Overseer) Get the others. OVERSEER Which ones sir? WILLIAM All of them. OVERSEER Sir? WILLIAM I said all of them!

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EXT. COOPER PLANTATION SLAVE QUARTERS MOMENTS LATER The overseer and a group of stable hands make their way through the empty SLAVE QUARTERS. In the distance there is the sound of DRUMS. OVERSEER (to stable hands) They are in the timber! Bring those vats of oil! EXT. COOPER PLANTATION - HUSH HARBOR - MOMENTS LATER Torch lights dance through the trees as the overseer and stable hands approach the Hush Harbor. The slaves go into a frenzy. OVERSEER Light the brush around the clearing. Well burn them out! The stable hands pour oil around the perimeter of the Hush Harbor and then ignite it, trapping the slaves. Their only means of escape it to surrender and be led back to the barn. Amongst the SLAVES is the young Fishbone. He frantically searches for someone. YOUNG FISHBONE Hannah! Hannah! DR. FISHBONE (V.O) In my gut I knew they had her. END FLASHBACK. INT. DR. FISHBONES SHACK - NIGHT (BACK TO PRESENT) CONSTANCE Had who? A beat. FISHBONE She was my sister. He rolls the sleeve up on his left arm revealing a SLAVE BRANDING; the branches of three willow trees entwined. FISHBONE (CONTD) You know this mark?

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CONSTANCE On her thigh. DR. Thats right. girls on they they forearm, BEGIN FLASHBACK: EXT. COOPER PLANTATION - BARN - DAY Hannah sits with her wrists shackled to the pole above her. Her legs are spread, and her ankles are also shackled to eyebolts in the floor. Lenora Cooper tries to console her, while William Cooper prepares a branding iron. LENORA William this isnt necessary. She is a house servant. WILLIAM All of the Three Willows slaves are branded. You know that. LENORA Yes, but this is an exception. She is my personal servant. WILLIAM Shes property Lenora. If she runs off, how will I be able to claim her if she doesnt bear my mark? Lenora looks deep into Hannahs eyes. William notices the tenderness between them, and Lenoras missing wedding ring. LENORA She wont leave me, not this one. William pulls the branding iron from the fire. The Three Willows symbol glows a vicious red. WILLIAM Well my dear to be sure of it, brand her yourself. He hands the red-hot branding iron to Lenora. She tries to refuse. FISHBONE They branded the thigh. The boys on like this.

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WILLIAM (CONTD) If she is to be yours, then make the mark. Otherwise she goes to the field. Hannah squirms in her shackles, her face ripped with terror. Lenora tenderly places her hand against Hannahs knee as her eyes fill with tears. Then with calculated certainty she presses the hot brand against Hannahs inner thigh. Hannah screams and then passes out. END FLASHBACK. INT. DR. FISHBONES SHACK - NIGHT (BACK TO PRESENT) CONSTANCE A tender hand gave it to her. DR. FISHBONE There be no tenderness at Three Willows missus. Only death. DISSOLVE TO: BEGIN FLASHBACK: INT. COOPER PLANTATION BARN - NIGHT Hannah and Lenora Cooper stand bound on a scaffold with ropes around their necks. Below them all of the Cooper SLAVES have been gathered to watch the execution. As the CAMERA pans across the faces of the slaves they are revealed to be the boarders from Lucilles boarding house. William Cooper looks on with rage in his eyes. WILLIAM I want you all to see what happens when you think you can cross me. A beat as he makes eye contact with his wife. WILLIAM (CONTD) When you think that you dont need my permission to so much as breathe. He motions to a STABLE HAND who stands on the scaffold behind the women. The stable hand pushes Hannah and Lenora from the scaffold to their deaths. There is the sound of SCREAMING from the slaves.

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William walks out of the barn emotionless. WILLIAM (CONTD) (to slaves) Dont weep for them. Weep for yourselves, you pitiful lot. EXT. COOPER PLANTATION - BARN - SAME The overseer and stable hands close the barn doors with the slaves still inside. They secure the door with a beam. Young Fishbone hides behind a water trough, terrified. William notices him. He grabs the boy by the neck. DR. FISHBONE (V.O.) I knew it was over for me. But then it must have been the angels what take pity. Maybe they see my wings, maybe they know I jes' like them. WILLIAM (to the boy) So you want to live, is that it? Well, I will grant you your life. But on one condition, you take theirs. William shoves the torch into the boys hand and motions for him to light the barn on fire. The torchlight illuminates Young Fishbones face. DR. FISHBONE (V.O.) I had no choice. I killed them all, including my own mammy. INT. COOPER PLANTATION - BARN - SAME Lucille looks through a crack in the barn wall at her son holding a torch. They make eye contact. EXT. COOPER PLANTATION BARN SAME Young Fishbone runs around the barn lighting it on fire. The sound of SCREAMING is mixed with the sound of the DRUMS. EXT. COOPER PLANTATION FIELD MOMENTS LATER Young Fishbone stands in the middle of a field. In the distance the barn is fully engulfed in flames.

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INT. COOPER PLANTATION - BARN - SAME Hannahs face is seen through the iron muzzle. Fire dancing in her lifeless eyes. EXT. COOPER PLANTATION FIELD SAME Young Fishbone watches the barn burn, the same fire dancing in his eyes. The sound of DRUMS once again rising, intensifying. DR. FISHBONE (V.O.) I wanted to live. END FLASHBACK. EXT. COLORED CEMETERY NIGHT (BACK TO PRESENT) Hannah stands nude near the slave burials, covered in mud. There is rage in her eyes. DR. FISHBONE (V.O.) But the dead, they want it even more. And they have no rest till they get they vengeance. INT. DR. FISHBONES SHACK NIGHT Dr. Fishbone relights the candle. There is the sound of GROWLING. Abraham gets up and looks out the window. The black dog is at the edge of the yard. Behind it are Lucille and the other slaves. FISHBONE The grabeyard dirt I put down will keep them out, but we has to go at dawn. CONSTANCE Go where? FISHBONE To Three Willows. EXT. SAVANNAH RIVER - DAWN A FERRY with Abrahams Buick floats slowly across the river.

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EXT. COOPER PLANTATION DAY The Buick makes its way up the long drive kicking up dust. In the distance are the ruins of what was once a grand MANSION. INT. COOPER MANSION SAME Hannah stands at a second floor window watching the car approach. EXT. COOPER MANSION MOMENTS LATER Constance, Dr. Fishbone, and Abraham look up at the decaying faade of the COOPER MANSION. The columns stand like massive sentinels guarding the past. A black CROW sits roosted above the doorway. It SQUAWKS at them. DR. FISHBONE That a sign for sho missus. CONSTANCE What kind of sign? DR. FISHBONE That death be waitin for us. Constance steps up onto the porch. She reaches for the door knob, turns it. CUT TO: EXT. COOPER MANSION DAY (1864) Lenora Cooper steps out onto the porch of her brilliant mansion. The two story columns beautifully framing the front porch. Everything is picture-perfect. EXT. COOPER PLANTATION (BACK TO PRESENT) Constance pushes open the door and steps inside. Dr. Fishbone remains on the porch behind her, apprehensive. INT. COOPER PLANTATION - FOYER - SAME The foyer is dark and foreboding. A GRAND STAIRCASE rises to a second floor and a partially collapsed roof. There is the sound of a BELL.

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INT. COOPER MANSION PARLOR MOMENTS LATER Constance enters the parlor, a once magnificent room. A massive CHANDELIER hangs precariously from the ceiling. A grand PIANO lies collapsed on the floor. On the FIREPLACE MANTEL there is a single BRASS BELL. Constance walks over to the mantel and picks up the bell, rings it. INT. COOPER MANSION PARLOR (1864) Lenora Cooper rings a brass bell then places it on the fireplace mantel. Hannah appears at the doorway, Lenora smiles at her. Hannah sits down at a PIANO and begins to play the melody BEAUTIFUL DREAMER. INT. COOPER MANSION - PARLOR (BACK TO PRESENT) Constance places the bell back on the mantel and turns to see Hannah standing in the doorway. She smiles at Constance and then turns and walks out of the room. INT. COOPER MANSION FOYER MOMENTS LATER Constance steps into the foyer as the room begins to morph from decayed ruins to an exquisitely grand room. At the top of the stairs Hannah stands smiling down at Constance. Constance slowly ascends the stairs. INT. COOPER MANSION HALLWAY MOMENTS LATER Constance stands at the end of a very long hallway. At the opposite end there is a partially opened door. The sound of DRUMS mixes with the sound of MOANING. Constance approaches the door. INT. COOPER MANSION - HALLWAY/BEDCHAMBER - SAME Through the partially opened door Constance sees bodies entwined in one another. The sound of MOANING rises over the DRUMS. Constance pushes the door open to reveal Lenora Cooper, Hannah, and William Cooper engaged in sex. Shocked, Constance takes a step back. She steps right into William Cooper, who is now behind her. He puts a noose over her neck and pulls it tight.

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INT. COOPER PLANTATION FOYER (BACK TO PRESENT) Constance stands in the center of the foyer; the house is once again in ruins. Her nose begins to bleed. DR. FISHBONE (O.S.) Dont trust anything you see missus. Everything be a trick with the sperrits. CONSTANCE Where do we begin? DR. FISHBONE We have to lay somethin down where they died. We has to get them to make peace. EXT. COOPER PLANTATION FIELD - DUSK Dr. Fishbone, Hannah and Abraham stand in the field where the barn once stood. ABRAHAM Theres nothin here. DR. FISHBONE The land be here. They blood be in the earth. The groun is what holds the sperrits. He opens a leather sack and pulls out a large jar full of dirt. CONSTANCE What is that? DR. FISHBONE Grabeyard dirt, from a proper buryin place. He starts to scatter the dirt around the perimeter of what was once the barn. As he does so the sound of DRUMS mixes with the sound of SCREAMING. The barn takes form as it was in 1864, fully ablaze. Just as Fishbone nears a complete circle the spirit of William Cooper appears. He grabs Fishbone by the throat, making him drop the jar of dirt. WILLIAM COOPER You said you wanted to live boy.

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FISHBONE Be gone devil! You has no power. WILLIAM COOPER Oh I believe I have all the power necessary... CONSTANCE (interrupting) Let him go! William turns to see his granddaughter standing very near the burning barn. She is holding the medallion in her hand. He loosens his grip on Fishbone. WILLIAM Flesh of my flesh and blood of my blood. CONSTANCE No more. She tosses the medallion into the fire. William watches with feigned horror in his eyes and then he turns to Constance. WILLIAM Do you think a trinket holds any power over me? He grabs Constance and puts a noose around her neck, pulls it tight and drags her to a nearby oak. He throws the rope over a branch. Fishbone retrieves a gold wedding band from his breast pocket. DISSOLVE TO: EXT. COOPER PLANTATION - HUSH HARBOR - DAY (FLASHBACK) Young Fishbone hides behind the bottle tree spying on Lenora Cooper and Hannah as they lie in the grass staring up through the branches. Lenora removes her wedding band and tosses it towards the timber. It lands near Young Fishbone. EXT. COOPER PLANTATION - FIELD (BACK TO PRESENT) The flames are now at their highest and the sound of the DRUMS is raging as William Cooper pulls the rope down lifting Constance off her feet.

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DR. FISHBONE I got what you want devil! He holds the ring up so William can see it. DR. FISHBONE (CONTD) I got your property right here! Fishbone rolls up his shirt sleeve exposing the slave branding on his forearm. William Cooper loosens his grip on the rope and Constances feet touch ground. William grabs Fishbone by the throat. WILLIAM Another nigger that thinks he can take whats mine? Is that it? Fishbone drops the ring. William has both hands around his throat squeezing the life out of him. WILLIAM (CONTD) Youre just another ignorant slave, no better than the mules or the cattle. I gave you a chance to live and you betrayed me. Now to hell with you! Fishbones eyes roll back in his head and he begins to breathe his last when William receives a blow to his head. Abraham stands behind him, his walking stick broken. ABRAHAM He may be a slave, but I was born a proper free man. And Im gonna whip yo ass. Constance removes the noose from around her neck, and picks up the wedding band. Dr. Fishbone tosses her his mojo sack. She puts the ring in it. William turns to attack Constance, when she punches him in the face, shoving the mojo bag in his mouth. William vaporizes. Abraham picks up the jar and lays down the rest of the graveyard dirt, completing the circle. Immediately the flames disappear and the drums go silent. The BARN stands fully intact. The BARN DOOR slowly opens and one by one each of the SLAVES emerge unscathed. The last two to exit the barn are Hannah and Lenora Cooper. A hand reaches down to help Dr. Fishbone. He looks up to see his mother Lucille. She smiles at him.

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The SLAVES encircle Constance, Fishbone and Abraham. CONSTANCE What happens now? Fishbone raises his chin in a display of pride. DR. FISHBONE Now they fly back to Africa. One by one the slaves begin to ascend and vanish. Lucille smiles on her son before rising and disappearing with the others. Lenora Cooper approaches Constance. She is beautiful and radiant. She takes Constances hand and places in it the medallion. LENORA You know who you are now. Lenora walks away towards the house and slowly vanishes. The only one left is Hannah. A beat as she holds eye contact with Constance. She then backs into the barn and the whole thing vanishes. DISSOLVE TO: INT. UNION STATION - BISTRO - DAY Constance sits at a table writing a letter. She addresses it DEAR ANNA. CONSTANCE (V.O.) I left Boston as a woman searching for a story. EXT. BOARDING HOUSE DAY The boarding house sits decayed. CONSTANCE (V.O.) (CONT) I came to this place hoping to find one that had not yet been told. EXT. DR. FISHBONES SHACK DUSK Dr. Fishbone stands on his porch looking out over the village.

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CONSTANCE (V.O.) (CONTD) I found this story within myself. EXT. RIVER DUSK Constance and a group of other believers are being baptized. INT. TRAIN DAY MOVING Constance stares out the window at the passing landscape. CONSTANCE (V.O.) (CONTD) I have come to believe Anna that we each have a story, and a voice with which to tell it. EXT. STREETCAR DAY MOVING An overly-crowded streetcar with men hanging on the sides like guards. Constance sits near a window, she starts to smile. CONSTANCE (V.O.) (CONTD) You have been a wonderful part of my story. INT/EXT. CONSTANCES APARTMENT DAY Constance opens the door to find Anna standing on the front porch with the letter in her hand. CONSTANCE (V.O.) (CONTD) You are worth the very best of me, in spite of the very worst of me. INT. CONSTANCES APARTMENT BEDROOM NIGHT Constance and Anna make love. CONSTANCE (V.O.) (CONTD) Find your voice my love, and let that voice sing! EXT. BOSTON HERALD - DAY Dozens of WOMEN PROTESTORS celebrate the passing of the Womens Right to Vote.

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INT. CONSTANCES APARTMENT DAY Constance types feverishly. CONSTANCE (V.O.) (CONTD) Be the very best of who you are. EXT. BOSTON BOOKSTORE DAY Through the window Constance sees her published book on display. The title reads HUSH HARBOR BY CONSTANCE LENORA BELL. INT. CONSTANCES APARTMENT BEDROOM NIGHT Constance and Anna lie together in a tender embrace. CONSTANCE (V.O.) (CONTD) Embrace your identity. INT. CONSTANCES APARTMENT - NIGHT Constance is looking at the PHOTOGRAPH of her grandmother. CONSTANCE (V.O.) (CONTD) Even the parts that seem dark. Constance turns off the lamp. INT. CONSTANCES APARTMENT BEDROOM NIGHT Constance is lying asleep on her side facing the CAMERA. CONSTANCE (V.O.) (CONTD) For in our deepest darkness we find our brightest light. I will be with you always, Constance. Hannah sits up behind Constance.

FADE OUT.