Danessa's Faded Star | Neal's Home Page | ASSTR Home Page
CAUTION: This story is not politically correct. It includes the humiliation and degradation of willing and maybe not so willing black women. The "n" word is used liberally.
by Neal
Natalie's bus rolled to a stop outside the apartment. She stepped off onto the sidewalk and headed for the entrance. It had been a long day at the hotel and she'd been looking forward to getting home and relaxing. When she opened the door, she was surprised to find that Danessa wasn't alone. Her ex-husband's niece, Rolonda, was there sitting at the dining table with her.
"Mama!" exclaimed Danessa. "You ain't gonna believe it! Jennifer called here to have me come downtown. Londa drove me to see her. She say that Mista Gray wants us in the movie! She even give me a copy of the script to read! We gots it right here!"
"Slow down, girl," replied Natalie. "Let me set down."
"Hi, Aunt Nattie," said Rolonda. "Dis script is da shit! I's su'prised you an' Nessa be thinkin' 'bout bein' in a movie like dat, but, dayum! I'd pay to see it! Hell, I wish I's in it, too!"
"You read it already?" asked Natalie. "I thought it's s'posed to be some kinda historical drama."
"It is, Mama," answered Danessa. "It's historical, all right. It's 'bout the slave days in the ol' south. It's 'bout this negro slave girl, Nellie, an' her mama, Tollie. It starts off when the white man what owns 'em dies an' his widow has 'em sold. Then some rich white man buys 'em an' takes 'em home. That's as far as we got readin' it."
"So it's some plantation story?" asked Natalie.
"I guess...," Danessa replied. "Jennifer said the girl an' her mama run off an' git separated durin' the civil war an' then they git back together again. We ain't read that part yet."
"Dat ain't da main thing, girl!" Rolonda interrupted. "Dese slaves be gittin' used by white men ev'ry chance dey git! Dey gotta go 'round in rags an' when dey git up on da block, dey ain't wearin' nothin' but chains!"
"Mista Gray did say there was lots of nudity an' sex," said Natalie. "I guess he ain't lyin'. You think you kin do that, Nessa?"
"I dunno, but you gotta do it, too," Danessa informed her. "We jus' finished the first act an' at the end Tollie gotta let the white man what jus' bought her have his way wit' her. Right there in the back of a wagon!"
"I better read this fo' myself," Natalie told them.
"You kin read wit' us, mama," said Danessa. "Is it okay if we jus' keep goin' from where we left off?"
"That's fine...," agreed Natalie. "I git the idea of what's goin' on so far. I kin read the first part later."
Natalie joined the girls at the dining table and started reading.
* * *
ACT II Scene 1
Fade in on a long shot of 1850s Savannah. Camera follows the wagon carrying BAXTER, NELLIE, and TOLLIE as it goes down the street. Cut to a closer shot as they arrive at the Baxter home. A negro man, JIM, comes from around the back of the house to meet them.
BAXTER: We're here. This 'll be your new home. Climb down.
NELLIE and TOLLIE climb down from the back of the wagon. They stretch and look around, a little amazed at the the sight of the city. BAXTER climbs down from the driver's bench.
BAXTER: Take care of the horses, boy.
JIM: Yes, suh, boss.
JIM bows slightly to BAXTER and then glances over at NELLIE and TOLLIE. He leads the horses off camera. The front door opens and an older negro woman, OPHELIA, appears, smiling broadly.
OPHELIA: Mista Baxter! You is home! I's so glad to see you, suh. Dis place jus' ain't da same wit' out you 'round!
OPHELIA looks over at NELLIE and TOLLIE and appraises them.
OPHELIA: You got some good lookin' niggas here, boss. You sho' got da eye fo' 'em, suh.
BAXTER: I un'erstan' they're mama an' daughter. I figgered I'd be best off buyin' 'em both.
OPHELIA: Oh, you right 'bout dat, boss. You want me to be showin' 'em round? You got somethin' in mind fo' dem?
BAXTER: Put the mama to work inside somewheres, Ophelia. Maybe in the kitchen.
BAXTER turns to TOLLIE.
BAXTER: What's your name, girl?
TOLLIE: I's Tollie, suh. An' my chil's name is Nellie.
BAXTER turns back to OPHELIA.
BAXTER: Tollie's a good nigger. Well trained. I like her. Nellie will be joining me later tonight. Tell her what she needs to know.
OPHELIA: (grinning) Yes, suh, boss! I take cares o' ev'erythin'.
BAXTER: Good girl, Ophelia. I think I'll have a bath 'fore dinner. Get it started an' have Violet an' that new nigger girl up to help.
OPHELIA: Lottie?
BAXTER: Yeah... The one wit' the big fat ass, right?
OPHELIA: (grinning) Yes, suh. Dat's da one. I send 'em both, boss. Dey be ready 'long wit' yo' bath.
BAXTER: Good.
BAXTER heads into the house. OPHELIA walks up to NELLIE and TOLLIE.
OPHELIA: You is a couple o' lucky niggas, believes me. Mista Baxter is a good massa an' treats his niggas good. You two best act like you 'preciate it an' do like he say an' you be fine. I's Ophelia... I runs dis house fo' Mista Baxter. I shows you 'round after I gits dem girls workin' on da massa's bath.
TOLLIE: Pleased to meet you, Ophelia. I's Tollie, an' dis is my girl, Nellie.
OPHELIA: Come on wit' me.
OPHELIA leads NELLIE and TOLLIE around the back of the house. JIM is brushing the horses. He looks up at the negro women as they pass by him and grins.
OPHELIA: You keep yo' eyes to yo'se'f, boy! Dese girls ain't fo' no nigga like you! Massa be givin' you a whippin' if'n see you lookin' at his girls dat way!
JIM: Sorry, Phelia... I ain't mean nothin'.
OPHELIA: Don't mind him, Tollie. He's da only buck on da place an' he fo'gits hisse'f at times. Let's go inside.
OPHELIA opens the back door and goes in with NELLIE and TOLLIE following. They're in the kitchen of the Baxter home. NELLIE and TOLLIE are looking all around at their new surroundings.
OPHELIA: Violet! Lottie! Git on in here right now!
A young light skinned negro girl, VIOLET, and a young heavy set dark skinned negro girl, LOTTIE, enter the kitchen.
VIOLET: What is it, mama?
OPHELIA: Massa's home from Louisville. He brung dese two niggas home wit' him. He wants a bath an' he wants you an' Lottie to be takin' care o' him. Dere's plenty o' water heated up, so git a move on!
VIOLET looks NELLIE and TOLLIE over slowly before walking off camera. LOTTIE glances at them before disappearing after her.
TOLLIE: Violet 's yo' chil'?
OPHELIA: She's my girl chil'.
TOLLIE: She sho' is a pretty girl.
OPHELIA: (proudly) She da massa's favorite nigga. He has her 'round all da time.
NELLIE: How ol' is she?
OPHELIA: Sixteen. Maybe a might ol'er 'n you, chil'. I bet you two 'll be friends. Violet is friends wit' all da nigga girls here. Now, let's put you two to work...
* * *
"Let's skip ahead some," said Rolonda. "I gotta go soon an' I wanna see if dere's any mo' good parts!"
"Damn, Londa!" exclaimed Danessa. "This ain't no porno! It ain't all gonna be 'bout sex!"
"Maybe not," allowed Rolonda, "but dat first part was fuckin' hot!"
"Go ahead," said Natalie. "I's gonna read the whole thing later."
"I jus' gotta see da next time you 's naked, Nessa," said Rolonda. "Bet I ain't gotta go too far ahead."
"Jus' find it, Londa," sighed Danessa.
Although she didn't want to let on, especially in front of her mother, the teenager was as interested as her cousin to find the next sex scene.
"Dis here looks good!" said Rolonda.
* * *
ACT II SCENE 3
Fade in on the exterior of the Baxter stable. NELLIE is standing next to the building by a hand pump. OPHELIA is placing a bucket under the pump and then proceeds to pump water into it.
OPHELIA: All right, chil', git on out o' dat dress. You ain't look like been washed fo' days! We gotta git you cleaned up fo' da massa's bed tonight.
NELLIE unbuttons the dress she's wearing and lets it drop. She is naked. Ophelia takes a rag and dips it in the water and begins to wash NELLIE's body with it. She flinches at the touch.
OPHELIA: Hol' still!
NELLIE: It's col', Phelia!
OPHELIA: 'Course it's col', chil'! You jus' seen me pumpin' it! Now be still while I washes da dirt off o' you.
OPHELIA continues washing NELLIE's naked body.
OPHELIA: Yo' mama tol' me you ain't never been wit' no man 'fore, white or nigga. Dat right? Massa be 'spectin' a virgin, so if you ain't, you best tell me now so's I kin tell him. Don't be lyin' to me, 'cause I's gonna know soon 'nough! I ain't want da massa dis'pointed.
NELLIE: No, I ain't never been wit' no man. Not da way you mean. Massa Robertson, he liked to be touchin' me on my girl parts 'fore he got sick, but he ain't never stuck his willy in me. Do dat count?
OPHELIA: No. Dat ain't nothin'. Now, tonight, Massa gonna make you a woman. An' dat's a honor fo' a nigga like you. After supper, jus' after dark, you gonna go up to his room. Once you dere, you gonna do like he say. You un'erstan'?
NELLIE: What he gonna tell me to do?
OPHELIA: Mos' likely, he jus' be wantin' to look at you some an' den have you git in his bed. Den he be doin' his bidness in you. Den maybe dat's all. He might have you go or stay. Ain't know fo' sho'.
NELLIE: His bidness?
OPHELIA: Dat's right, chil'. His bidness. Seein' a sweet young thang like you is gonna git his blood flowin'. Den his willy gonna git hard. Den he gonna poke it right 'tween yo' legs an' shove it on in dere. Since you a virgin, it's gonna hurt.
NELLIE: Mama tol' me dat. Dat it's gonna hurt da firs' time.
OPHELIA: Maybe it's gonna hurt bad 'cause Massa's got a purty fat willy. (smiles) 'course, later, maybe you gonna like dat! I sho' do!
NELLIE: He... do his bidness in you, too?
OPHELIA: He sho' do! I may be ol', but I knows how to take care o' a white man's needs. Maybe he be havin' me show you a thang o' two, chil'. I kin learn you how to please a white man so's he keep comin' back to you an' wantin' mo'. He ain't never gonna waste a good bed nigga out in da fields. Believe me, it's easier layin' on yo' back in bed dan stoopin' over in dem fields.
OPHELIA wrings out the rag and dips it back in the bucket. She reaches between NELLIE's legs and continues washing her. NELLIE flinches at her touch.
OPHELIA: Open dem legs up! I gotta git yo' woman parts all cleaned up nice fo' da massa. Don't be fussin'.
NELLIE squats down and OPHELIA washes her between her legs.
OPHELIA: I jus' got a couple o' things to tell you 'bout tonight. First, no talkin'. Don't you say nothin' 'less Massa asks you somethin'. Don't say nothin' if he do somethin' to you dat hurts, neither. He do like to tweak a nigga's nips an' he ain't none too gen'le when he playin' wit' yo' woman parts. If he do, jus' hush up an' take it. Same thing fo' when he do his bidness in you. It's gonna hurt at first, an' maybe da whole time. You jus' lay dere an' take it. You un'erstan', chil'?
NELLIE: (nods)
OPHELIA: Good. One mo' thing. While Massa's usin' you an' takin' his pleasure, don't you look at him. It ain't proper fo' no nigga to be lookin' a white man in da face when he be usin' her body. Keep yo' eyes down nice an' respectful like. Got dat?
NELLIE: (nods)
OPHELIA wrings out the rag again. She throws the water from the bucket to one side and refills it from the pump. She lifts it over NELLIE's head and pours it over her to rinse her off.
OPHELIA: Pick up da dress an' we'll go inside an' git you dried off.
NELLIE bends and picks up the dress. She walks off camera with OPHELIA.
END OF ACT II SCENE 3
* * *
"I bet you gonna be all fired up havin' some ol' nigga lady washin' yo' black ass dat way!" grinned Rolonda.
"Londa!" exclaimed Danessa. "I ain't gonna git turned on by no woman washin' me off."
"Ain't no shame it if'n you did, Nessa," said Natalie. "It feels good havin' someone touchin' you dat way. Ain't nothin' you kin do 'bout how yo' body reacts to it. Might as well enjoy it."
"Dat's what I say, Aunt Nattie," agreed Rolonda. "'Sides, nobody 'spects nothin' mo' from no nigga. So, what da fuck? Man or woman playin' wit' yo' stuff 's gonna feel good."
"Jenny says that's a good thing 'bout bein' a nigga," Danessa chimed in. "Nobody thinks nothin' of it no matter what you do with another nigga. You think she's right, Mama?"
"I don't know 'bout that, Nessa," said Natalie. "But, it ain't the same as wit' white folks."
"Dis next scene ain't got no good parts," complained Rolonda, interrupting. "But da next one starts good..."
* * *
ACT II Scene 5
Fade in on the Baxter supper table. BAXTER is seated at the head of the table. Two other older white men, FLOYD and ENOS, are seated at the table also. They are all dressed in suits. Their supper is being served to by VIOLET, dressed in a a worn cotton dress, as well as NELLIE, LOTTIE, NEGRO GIRL 1, and NEGRO GIRL 2, who are all naked to the waist, but wearing long worn cotton skirts.
ENOS: I ain't seen this young 'un 'fore today... She the one you bought up to Louisville?
BAXTER: Yep. Name of Nellie. They claimed she's a virgin. Gonna see 'bout that tonight.
FLOYD: (eyeing NELLIE) You believed that? This nigger gotta be thirteen or fourteen! Mighty old for a virgin.
BAXTER: Like I say, I'll know tonight.
The negro serving girls clear away the dishes and begin bringing out the next course of the meal.
BAXTER: Speakin' of the new niggers, this one's mama's still of breedin' age. I'm thinkin' of havin' her seeded by a buck so by the time Nellie's teats is saggin', I'll have me a nice young one ready for me.
ENOS: You gonna use yo' buck, Jim?
BAXTER: I ain't sure yet. I's thinkin' I'd come up to your place and have a look see. You got a couple good bucks with nice lookin' sisters. I'm breedin' for female attractiveness. Gotta look at the buck's mama, too.
FLOYD: My Georgina got a boy. He ain't but fifteen years ol', but that's ol' enough. I know you likes Georgina.
BAXTER: Yes, Georgina's a fine negress. Maybe I'll have a closer look at her an' her boy tomorrow.
ENOS: (watching closely as NELLIE fills his glass) I envies you tonight, Cyrus. This one's a mighty fine piece of nigger flesh. I ain't mind pokin' her, myself.
BAXTER: You got a spell to wait, Enos... Well, maybe you kin have a go with her if I decide to use one o' your bucks.
ENOS: I hopes you do...
Fade out.
END OF ACT II SCENE 5
* * *
"Kin you believes how dey got dem white men talkin'!" exclaimed Rolonda. "Talkin' bout that girl that way! Fuck, dat's got me heated up!"
Danessa quickly looked at her mother to gauge her reaction to Rolonda's words. Natalie tried to suppress a smile.
"I swear, Londa," Natalie shook her head. "You would be heated up by that."
"Yeah, but you da one who's gonna git bred in da movie," countered Rolonda.
"They ain't gonna show that," Natalie remarked. "Is they?"
"Dey showin' ev'rythin' thing else!" replied Rolonda. "Check dis out!"
* * *
ACT II SCENE 7
Fade in on an interior hallway in the Baxter home. OPHELIA is leading NELLIE to the stairway. NELLIE is completely naked. OPHELIA leads the way up the stairs. Camera follows as they reach the top of the stairs and proceed to a door off the hallway. OPHELIA knocks on the door.
OPHELIA: Massa? I gots Nellie here wit' me. She all ready fo' you, suh.
BAXTER's voice: Send her in, girl.
OPHELIA: Yes, suh! (whispers to NELLIE:) Remember what I tol' you, chil'. Don't speak 'less he asks you somethin'. Be respectful an' keep yo' eyes down an' don't be lookin' him in da face when he's usin' you.
NELLIE: (nods)
OPHELIA opens the door and gently nudges NELLIE in. OPHELIA closes the door once NELLIE is inside. Camera cuts to interior of BAXTER's room. NELLIE is looking around, wide eyed. Cut to BAXTER sitting on the edge of the bed. He's wearing a night shirt.
BAXTER: Come over here, nigger.
NELLIE slowly walks to the bed where BAXTER is seated with her head bowed. BAXTER reaches out and begins to run his hands on her body. He fondles her bare breasts and then reaches between her legs.
BAXTER: Is it true you're a virgin? Never been with a man before?
NELLIE: (looking down) Yes, suh. I ain't never been wit' no man.
BAXTER: So, this will be your first time.
NELLIE: (looking down) Yes, suh.
BAXTER: Step closer, child. I won't hurt you.
NELLIE steps right up to him. BAXTER leans forward and sucks one of NELLIE's breasts. She nervously looks away from him. BAXTER switches off and starts sucking the other one. After a bit he stops and stands up.
BAXTER: Lay down in the bed, nigger. Open up them legs.
Camera cuts to NELLIE nervously climbing into the bed. She lays on her back with her legs open and her head away from BAXTER. Camera cuts to BAXTER turning around and looking down at her. Close up of his eyes moving over her body interspersed with close ups of her face, breasts, belly, and pubic region.
BAXTER climbs into the bed and kneels between NELLIE's legs. He lifts his night shirt and lays forward, mounting her.
NELLIE: (gasps then whimpers with pain)
BAXTER: (sighs with satisfaction)
BAXTER thrusts into NELLIE slowly. The sound of his heavy breathing, her soft whimpers, and the creaking of the bed is clearly audible. Camera cuts to close up of NELLIE's face, wincing with each thrust. Tears form in her eyes and roll down her cheeks.
Cut to overhead shot of BAXTER on top of NELLIE. BAXTER stops thrusting.
BAXTER: (grunts and sighs)
BAXTER remains motionless for several seconds before dismounting NELLIE and rolling over, his back to her. She turns her head towards the ceiling.
BAXTER: (snores)
Overhead camera shot zooms out showing BAXTER sleeping on his side and NELLIE laying on her back staring up at the ceiling.
Fade out.
END OF ACT II SCENE 7
* * *
"Oh, fuck!" exclaimed Rolonda. "He takes her cherry an' den it's wham bam, thank you, ma'am! Talk about use! I love it!"
"There sho' is a lot of fuckin' in this movie," Natalie observed. "But it sho' ain't like no porno. I bet that's what it was like in those days. White men jus' usin' niggas that way an' they jus' gotta take it."
"Admit it truth, Nattie," Rolonda coaxed. "Ain't it fuckin' hot?"
"I kin see how some folks 'd like it," admitted Natalie. "Fo' me, it's a actin' job."
"Nessa tol' me 'bout yo' audition," said Rolonda. "It sho' sounded like you was into it."
"I's auditionin' fo' a part in a movie, Londa," explained Natalie. "The part was fo' a slutty ass nigga, so that's how I done it."
"Whatever," Rolonda rolled her eyes. "Let's skip to da part when Tollie gits bred. Dat's you, Nattie. You ain't gonna tell me you ain't gonna git off on dat!"
Danessa was certain that her mother was just too embarrassed to reveal her feelings to her cousin. Natalie had always thought that Rolonda was a slut. Agreeing that the screenplay aroused her would be admitting that they were more alike than she'd like to let on.
"Here it is," said Rolonda. "Dis is gonna be good!"
* * *
ACT II SCENE 10
Fade in on interior of the Baxter stable. It is constructed rough hewn lumber. The floor is covered in straw. Horses in stalls are in the background. Wooden stocks are in the foreground. One set is mounted at floor level, intended to hold a person's ankles and keep them wide apart. The other set is mounted at the appropriate height for a kneeling person and has holes for the wrists and neck.
BAXTER is standing next to the stocks. He is tamping tobacco into a briar pipe. The door opens and OPHELIA steps through. She's leading TOLLIE, who is naked, to the stocks.
OPHELIA: You want dis nigga in da breedin' stocks now, Massa?
BAXTER: (lighting the pipe) Might as well. Enos an' Floyd 'll be here any minute wit' dere bucks.
OPHELIA: You breedin' her wit' more 'n one?
BAXTER: Yep. I figger usin' three 'll jus' 'bout guarantee she ends up carryin'. It'll take a little longer, but it'll be worth it.
OPHELIA: (admiringly) You sho' know yo' stuff, Massa!
BAXTER: Been doin' it long enough... Go on an' git that nigga ready. I know you ain't no stranger to them breedin' stocks.
OPHELIA: No, suh. I sho' ain't. We is ol' friends.
OPHELIA bends over and flips the stocks open. She guides TOLLIE to a spot right behind them.
OPHELIA: Git on your knees, girl. Put you legs right dere.
TOLLIE kneels with her back to the door, facing the horse stalls. The horses attention is on the action. TOLLIE places her ankles in the cutouts in the stocks. OPHELIA closes them and clicks the metal latch.
OPHELIA: Now bend over an' rest yo' arms here.
TOLLIE nervously bends forward and places her wrists in the cutouts in the stocks. She bends further and rests her neck in the large center cutout. OPHELIA closes the stocks and latches them.
OPHELIA: Jus' relax, girl. It ain't gonna take too long to git you bred.
The stable door opens and FLOYD enters with NEGRO MAN 2 and NEGRO MAN 3. FLOYD strides over to BAXTER near the stocks. The negro men wait just inside the door, both of them looking at TOLLIE's backside.
FLOYD: Enos ain't here yet?
BAXTER: Nope. Might as well start any how. Git one o' them bucks busy, Floyd.
FLOYD: You care which one goes first?
BAXTER: Nope. It don't matter none.
FLOYD gestures to NEGRO MAN 2.
FLOYD: Git on over here, boy. You know what you gotta do. Git that bitch nigger seeded an' be quick about it. Un'erstan', boy?
NEGRO MAN 2: Yes, suh, boss.
NEGRO MAN 2 kneels behind TOLLIE and drops his trousers. He enters her and bucks his hips into her. Cut to close up of TOLLIE's face. Cut back to shot of entire scene. NEGRO MAN 2 thrusts rapidly into TOLLIE. In about thirty seconds he grunts and thrusts a few more times before standing and pulling his trousers up.
FLOYD: Good boy. Now you.
NEGRO MAN 3 walks over behind TOLLIE and drops his trousers. He kneels between her spread legs and enters her. He begins to thrust into her. Cut to side view of the coupled negroes. TOLLIE's breasts sway with each thrust.
The stable door opens and ENOS enters along with NEGRO MAN 4, a young teen. BAXTER and FLOYD look over to him for a moment before turning their attention back to NEGRO MAN 3 and TOLLIE in the stocks.
BAXTER: Evenin', Enos. This is the second go. Your boy is next.
ENOS: All right. He ain't never done it fo' breedin'. I caught the fool nigger humpin' his damn sister last week, so I figger he's ready. He got a whuppin' fo' it, but now he'll git hisself a treat.
BAXTER and FLOYD: (laughs)
Cut to close up of NEGRO MAN 4's face. He's embarrassed at having the story recounted and dumb-struck by the scene in front of him. Cut back to the side view of NEGRO MAN 3 and TOLLIE.
FLOYD: Hurry it up, boy! Three bucks coulda seeded that bitch in the time you's takin'!
NEGRO MAN 3 increases the pace and ferocity of his thrusts. TOLLIE whimpers and her breasts sway with each thrust. After a few seconds NEGRO MAN 3 grunts and starts to get up.
FLOYD: Stay in the saddle 'til the job's done, boy! Give it a little time to git them last spurts up in there good... That's the way... All right, that's enough. Git on up.
NEGRO MAN 3 rises and pulls up his trousers. He walks over to where NEGRO MAN 2 is standing near the stable door.
ENOS: You ready for my boy to take a turn, Cyrus?
BAXTER: Sure. Git him on in there, Enos. Git him to make it quick. I'm gittin' thirsty.
OPHELIA: You want me to git you somethin', boss?
BAXTER: No, girl. This ain't gonna take long an' I want you here to get that nigger out o' them stocks an' cleaned up.
ENOS: You ain't gotta worry 'bout how long he'll take. Boy's gotta hair trigger on him, that one does!
BAXTER and FLOYD: (laughs)
ENOS: Time to do yo' stuff, boy. Git on over there an' stick it in the hole. Y'all know which one, ain't you?
BAXTER and FLOYD: (laughs)
NEGRO MAN 4: Yes, suh, boss. I knows which one.
ENOS: Then git a move on! Time's a wastin' boy. There's drinkin' to be done!
BAXTER and FLOYD: (laughs)
NEGRO MAN 4 walks over to the stocks and fumbles with the rope holding his trousers up. He drops them and kneels behind TOLLIE.
TOLLIE: Ow!
ENOS: Damn it, boy! You said you knew which hole was which.
BAXTER: (laughing) Don't spook the boy, Enos! He ain't gonna be able to do it with you goin' on like that at him!
ENOS: You don't know him like I do, Cyrus. I walked in the barn and there he was with his willy up in his sister, humpin' her like there ain't no tomorrow. I hollered at him, but he jus' kept on goin'! When I pulled him off, the damn nigger sprayed all over her! That boy ain't gonna stop jus' 'cause we's talkin'. Ain't no worries there.
NEGRO MAN 4 enters TOLLIE and thrusts into her.
ENOS: That's it! Do that ol' bitch nigger like she's yo' damn sister, boy!
Cut to close up of NEGRO MAN 4's face. Cut to close up of TOLLIE's face. Cut to side view of coupled negroes. After a few thrusts, NEGRO MAN 4 grunts and stops. A few seconds go by.
ENOS: You done, boy. Git on up.
BAXTER: Damn, that nigger can hump through anything!
ENOS: Damn right, Cyrus. If'n the chil' looks like him or his mama, then you owe me a go wit' that new nigger you bought.
BAXTER: Fair enough. Your boy just done her mama.
ENOS and FLOYD: (laughs)
BAXTER: Let's go in an' open up my drinkin' whiskey. Phelia, clean her up an' git her settled.
OPHELIA: Yes, Massa.
FLOYD: You boys kin head on back now. Y'all better be there when I git back.
NEGRO MAN 2: Yes, suh, boss.
NEGRO MAN 2 and NEGRO MAN 3 leave.
ENOS: (to NEGRO MAN 4) You stay here an' wait fo' me, boy.
NEGRO MAN 4: I be waitin', boss.
BAXTER, ENOS, and FLOYD head for the stable door. BAXTER turns back towards OPHELIA.
BAXTER: Phelia, when you done with her, send Violet an' a couple of the other girls into the parlor. Not the new one. All that humpin's got me feelin' a might randy.
OPHELIA: Yes, Massa.
OPHELIA walks over to the stocks and releases TOLLIE. TOLLIE slowly gets to her feet.
OPHELIA: Let's go outside an' git you cleaned up, girl. You must be a might sore.
TOLLIE: I sho' is, Phelia. I ain't never got bred three times like dat.
TOLLIE looks up and sees NEGRO MAN 4 staring at her.
OPHELIA: What you lookin' at, boy? You want me to have yo' massa give you a whuppin'?
NEGRO MAN 4: No, ma'am. I's sorry.
OPHELIA and TOLLIE walk out of the stable and across to the pump. OPHELIA fills a bucket. She takes a rag and begins to wash TOLLIE's body off.
OPHELIA: We'll know in a li'l while if'n da breedin' took. If it don't, Massa jus' gonna do it again. Maybe, if you lucky, he breed you hisself like he done me.
TOLLIE: Massa bred you hisself?
OPHELIA: (proudly) Dat's right, girl! Ain't you notice how much Violet favors him? He ain't got no other babies by his niggers. She's da only one. Ain't she purty?
TOLLIE: Oh, yes, she sho' is!
OPHELIA smiles and wrings out the wash cloth.
Fade out.
END OF ACT II SCENE 10
* * *
"I ain't believe you gonna do that, Mama," said Danessa. "Havin' to git naked an' be in them stocks! That's so nasty!"
"It ain't nothin' but actin', Nessa," Natalie explained. "It ain't no porno. They ain't gonna show nobody actually fuckin' me! It's jus' what they call sim-u-lated sex. They do it all the time in movies."
"If'n it was me, I'd be wishin' it was real!" laughed Rolonda. "Kin you believes dey got dat shit 'bout dat yellow nigga Violet bein' da massa's own daughter! Him an' his friends is 'bout to be fuckin' 'em!"
"They ain't gonna show that, Londa," said Natalie.
"No, but dey said it," Rolonda responded. "An' it's way fuckin' nasty. An' hot!"
"I bet that kind o' shit happened all the time back then," said Danessa. "That, an' alot more."
"You right 'bout that, Nessa," Natalie agreed. "They sho' ain't make too many movies 'bout it, though. People gonna be talkin' 'bout this movie. An' good or bad, that'll git people to go see it."
"So, you ain't mind bein' in a movie like that, Mama?" asked Danessa.
"Hell, no," replied Natalie. "This movie is jus' the beginnin', girl."
"Yeah, an' we ain't even read it all yet," said Rolonda.
Danessa was still surprised that Natalie had no objections to appearing in the movie. She could say it wasn't porn all she wanted, thought Danessa. But, the fact remained, they'd both be performing some pretty sexually explicit scenes. The difference between that and a porno was simply a matter of degrees.
The teenager was anxious to read the rest of the screenplay. With all that had happened in the first two acts, she wondered how they'd top it in act three.
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