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
After dinner, Danessa and Rolonda cleared away the dishes while Natalie dozed off on the couch. As soon as the table was cleared, out came the black ring binder
"Thanks fo' havin' me to dinner, girl," said Rolonda. "I shoulda gone home, but I gots to see da rest o' dis script."
"I wanna know how it turns out," said Danessa.
"I gotta find some mo' good parts, Nessa," explained Rolonda as she paged through the screenplay. "All dis domestic life o' slaves an' shit is cool, but I wanna read 'bout some action! Know what I's sayin'?"
"Yeah, I know," replied Danessa. "Mama's sleepin' now, an' 'sides, she say she gonna read it all herself later. I ain't think she cares, no how. She's gonna say yes to doin' the movie. It ain't gonna matter what she gotta do in it."
"You right 'bout dat, girl," agreed Rolonda. "But, let's go see what she gonna hafta do next."
Rolonda skimmed page after page while Danessa sat next to her. The teenager's mind was on what it would be like to perform the scenes she'd already read.
"Things go on a little like dey was," Rolonda told her. "No mo' breedin' scenes or nothin'. Den da civil war starts an' Mista Baxta goes off. Dey start runnin' out o' shit an' Nellie an' Tollie run off tryin' to git north."
"That ain't soundin' like a good part you'd like, Londa," said Danessa. "No suckin' or fuckin'."
"Oh, it gits good, girl!" said Rolonda, still turning pages. "Slave catchers find 'em campin' out in da woods. Nellie gits away, but she gits separated from her mama..."
* * *
ACT III SCENE 4
Fade in on the woods a night, lit only by moonlight. NELLIE is running through the trees, breathing hard. Camera cuts to a light off in the distance. As NELLIE approaches, the light is revealed to be a camp fire in a Union Army encampment. Blue uniformed soldiers sit around the fire.
Suddenly NELLIE hears the sound of a snapping twig and turns around to find herself face to face with a tall white man in a blue uniform, DOBBS. She tries to run, but DOBBS grabs her and leads her to the encampment. The soldiers sitting around the camp file look up as they approach.
UNION SOLDIER 1: Hey, Dobbs, what you got there?
DOBBS: Some nigger girl runnin' 'round in the woods. Figgered she be comfortable by the fire.
UNION SOLDIER 2: Oh, she sure will! Bring her over here.
DOBBS: Why would I wanna do that? I found her. I figger she's mine.
A sergeant, O'ROURKE, walks into view.
O'ROURKE: What's all the noise, boys. We gotta be keepin' an' ear out for the rebs.
DOBBS: I found me a nigger girl out in the woods, Sarge. We're just discussin' what we're gonna do with her.
O'ROURKE: I'll tell you what you're gonna do with her. You're gonna give her over to me an' I'm gonna take her to see the captain.
DOBBS: Shit. C'mon, Sarge. We ain't had no female companionship for weeks. It ain't natural.
O'ROURKE: I ain't askin', Dobbs.
DOBBS releases NELLIE.
O'ROURKE: Come with me, girl.
NELLIE walks over to O'ROURKE and they walk through the encampment.
O'ROURKE: So, what are you doin' sneakin' 'round in the woods that way. You mighta got shot.
NELLIE: We's runnin' away, suh. Goin' north. My mama an' me. Slave catchers got her, suh.
O'ROURKE: When?
NELLIE: Tonight, suh. I been runnin' ever since.
O'ROURKE and NELLIE arrive at a tent.
O'ROURKE: Captain? Captain Parmenter?
PARMENTER's voice: Huh? This better be good. I was sleeping.
An officer, PARMENTER, emerges from the tent. He's wearing a long sleeved undershirt and officer's pants held up by suspenders. He looks NELLIE over before turning to O'ROURKE.
O'ROURKE: Dobbs found this girl outside the camp. She's a runaway. Says her mother's out there.
PARMENTER: That right, girl?
NELLIE: Yes, suh. My mama an' me was goin' north. Slave catchers caught up wit us. I run off, but dey got my mama.
PARMENTER: We've had reports of Confederate deserters operating in the area. These slave catchers could be them. They might be a source of information. Send a patrol out, Sergeant. And find this girl's mama.
O'ROURKE: Yes, sir. I'll get a patrol out right away.
O'ROURKE salutes and walks back towards the camp fire.
PARMENTER: What's your name?
NELLIE: I's Nellie, suh.
PARMENTER: I'm Captain Parmenter of the Fifth Pennsylvania Regiment. I'm pleased to meet your acquaintance, Nellie. Sergeant O'Rourke will take some men out into the woods. If your mama's out there, they'll find her.
NELLIE: Thanky, suh.
PARMENTER: I've got to get back to sleep, Nellie. You... don't have any place to sleep, do you? You can stay in my tent. My men are well disciplined, but it's been weeks since they've had any female companionship. I wouldn't want a pretty young woman wandering around here.
NELLIE blushes. PARMENTER opens the flap to his tent and gestures for NELLIE to enter. She does and he follows her in.
Camera cuts to the interior of PARMENTER's tent. A lantern lights the interior revealing a few heavy blankets on the ground and little else. PARMENTER lifts the top blanket and lays down. NELLIE pulls her dress off over her head and stands naked with her head bowed. PARMENTER stares up at her with a surprised look on his face.
PARMENTER: I don't have anything in here for you to wear to sleep, Nellie. You're gonna have to sleep in your dress, I'm afraid.
NELLIE: (disappointed) I's sorry, suh. Ain't I pleasin' to you?
PARMENTER: Excuse me?
NELLIE: Ain't you be wantin' to take yo' pleasure wit' me, suh? Maybe Yankees ain't like nigger girls da way southern men does.
PARMENTER: I like you fine, Nellie. You're very pretty. Beautiful even.
NELLIE: (head bowed) I's trained to be pleasin' to white men, suh. Ain't you want me in yo' bed wit' you?
PARMENTER: It is a cold night... It would be best for you under the blankets with me.
NELLIE: Thanky, suh.
NELLIE gets under the blanket with PARMENTER. She lays on her back and turns her head away from him.
NELLIE: If'n you ain't ready to do yo' bidness in me, I kin he'p, suh. Kin I?
PARMENTER: I never quite heard it like that before, but, please do, Nellie.
NELLIE rolls over facing him, but with her eyes still down cast. The camera pans to follow the outline of her hand under the blanket moving down towards PARMENTER's crotch.
Camera cuts to NELLIE's face.
NELLIE: (surprised) You is ready, suh!
Camera cuts to PARMENTER's face.
PARMENTER: I suppose I am.
Camera cuts to NELLIE's face.
NELLIE: Do it please you how I's touchin' you, suh?
Camera cuts to PARMENTER's face.
PARMENTER: (sighs) It sure does...
Camera cuts to longer shot of both of them.
NELLIE: I kin tell you's tired, suh. I kin do da work if'n you want.
PARMENTER: All right.
NELLIE rolls on top of PARMENTER and sits up. She reaches down and guides him inside her. She starts humping him.
NELLIE: Is dat good, suh? Is I pleasin' you?
PARMENTER: Oh, yeah...
NELLIE: I's glad, suh.
NELLIE keeps humping for a couple minutes. PARMENTER groans and NELLIE's eyes go wide for a second and then she smiles.
NELLIE: Thanky, suh.
NELLIE lifts herself up and lays down next to PARMENTER. She pulls the blanket up over them and lays on her back, staring up at the roof of the tent. PARMENTER rolls over on his side putting his arm over NELLIE and falls asleep.
Fade out.
END OF ACT III SCENE 4
* * *
"You think any real soldiers ain't jus' be takin' Nellie an' fuckin' da shit out o' her?" asked Rolonda. "An' dat captain! I'd think any man seein' Nellie naked dat way woulda jumped her an' gotten biz-ay in a hurry!"
"I know that's what you'd want, Londa!" said Danessa.
"Damn straight!" laughed Rolonda. "If it was me, I ain't askin'! I jus' hop on an git wit' it!"
"Well, she's prob'ly worried 'bout her mama," offered Danessa. "But, all she know is that she s'posed to be pleasin' white mens. So she doin' what comes natural to her."
"If you say so, Nessa," said Rolonda. "I's jus' sayin' what I'd do if'n I's Nellie."
"I wanna see if her mama's okay," said Danessa, turning back to the screenplay.
* * *
ACT III SCENE 5
Fade in on the woods near TOLLIE and NELLIE's camp site. SLAVE CATCHER 2 and SLAVE CATCHER 3 each have a hold of one of TOLLIE's arms. She struggles futilely. SLAVE CATCHER 1 walks up to her.
SLAVE CATCHER 1: You oughta know better 'n to be runnin' off, nigger. You a piece o' property. Runnin' off like that ain't nothin' but stealin' property from yo' massa.
TOLLIE: Massa's gone, suh. He gone off to da war. We ain't know if'n he dead o' alive. We good niggas, suh. We ain't stealin' nothin'.
SLAVE CATCHER 1: What happened to th' other one?
SLAVE CATCHER 2: Looks like th' other one got away clean.
SLAVE CATCHER 1: Where she goin', nigger?
TOLLIE: I ain't know, suh. We ain't goin' nowheres special.
SLAVE CATCHER 1 slaps TOLLIE across the face.
SLAVE CATCHER 1: No? Well, maybe we kin help you figger it out.
SLAVE CATCHER 1 looks around the camp site. He turns to SLAVE CATCHER 2.
SLAVE CATCHER 1: We'll tie her between those two trees. Spread her arms an' legs out good. I'll git the rope.
SLAVE CATCHER 1 goes to his horse and takes several coils of rope that were secured to the saddle. SLAVE CATCHER 2 and SLAVE CATCHER 3 take TOLLIE to where two trees are growing about eight feet apart near the camp fire. SLAVE CATCHER 1 returns with the ropes and drops them on the ground.
SLAVE CATCHER 1 ties one rope around TOLLIE's wrist while SLAVE CATCHER 2 holds her. He ties the other end around one of the trees. He takes another rope and ties it around her ankle, tying the other end around the tree. SLAVE CATCHER 3 ties TOLLIE's other wrist and ankle to the other tree. He cinches the ropes up tight, spreading her legs and arms wide.
SLAVE CATCHER 1: So, where that other nigger run off to, girl? You better tell us.
TOLLIE: I ain't know, suh! She jus' run off, dat's all! I ain't know where.
SLAVE CATCHER 1: You sho' are a dumb nigger. But, even a dumb nigger 's good fo' somethin'.
SLAVE CATCHER 1 takes a knife from his belt with one hand and tugs on the collar of TOLLIE's dress with the other. Slipping the knife blade inside the collar he cuts the dress in two, right down the middle. He proceeds to cut the remaining shreds of the dress off of her, leaving her naked.
SLAVE CATCHER 3: Now that's some tasty lookin' nigger meat! Too bad 'bout losin' the other one. You gonna have to take us all on, bitch!
SLAVE CATCHER 1: Settle down. We got business to take care of, boys. Fun's later. If she ain't gonna tell us where the other nigger's goin', I'll go git the whip.
TOLLIE: Not da whip, suh! I swears I ain't know where she goin', boss! I's a good nigga! I be tellin' you if'n I knowed!
SLAVE CATCHER 1 goes back to his horse and gets the whip. He returns and walks up to TOLLIE, facing her.
SLAVE CATCHER 1: Last chance, nigger.
TOLLIE: I's beggin' you, suh! I swears I ain't know!
SLAVE CATCHER 1 spits in TOLLIE's face.
SLAVE CATCHER 1: Dumb nigger. You asked fo' it.
SLAVE CATCHER 1 walks around behind TOLLIE and raises his whip hand. TOLLIE braces herself for the blow. Cut to close up of TOLLIE's face as SLAVE CATCHER 1 whips her back. Cut to full length shot of TOLLIE's back side, showing whip marks. Cut to full length shot of TOLLIE from the front with SLAVE CATCHER 1 in the background bringing the whip down on her. Cut back to close up of TOLLIE's face, now sweating and streaked with tears.
SLAVE CATCHER 2: Careful, boss. Her owner might not want her beat so bad.
SLAVE CATCHER 1: Hell, I ain't even doin' it that hard. See? She ain't even bleedin'. I's goin' easy on her.
SLAVE CATCHER 1 lands a few more strokes on TOLLIE before he stops and walks around to face her. He grabs her hair and pushes her head back forcing her to look at him.
SLAVE CATCHER 1: You remember where that other nigger got off to now?
TOLLIE: (whimpering) No, suh. I ain't lyin'. I ain't know where she goin' to.
SLAVE CATCHER 1: You want me to do th' front like I done th' back? That what you want, nigger?
TOLLIE: (whimpering) Please, suh, not dat.
SLAVE CATCHER 2: Maybe she ain't lyin', boss. Seems a shame to mark up a good lookin' nigger.
SLAVE CATCHER 3: So longs as we kin still have our fun wit' her, I ain't care if'n she's marked up or not. I bet that nigger poontang 's still gonna be the same.
SLAVE CATCHER 1: Nigger looks better wit' whip marks any how. Git out the way, boys.
SLAVE CATCHER 1 proceeds to whip TOLLIE's front side. Lash marks appear across her breasts and thighs. After a few strokes, he stops.
SLAVE CATCHER 1: My arm 's gittin' tired. Can't say I ain't try to git it out of her. I guess the nigger ain't know nothin'. Go 'head an' have at her, boys.
SLAVE CATCHER 2 and SLAVE CATCHER 3 untie TOLLIE and push her on her back on the ground. SLAVE CATCHER 3 drops his trousers and climbs between TOLLIE's legs, mounting her, and begins thrusting into her.
SLAVE CATCHER 2: I ain't say you could have her first!
SLAVE CATCHER 3: Shut up. This ain't gonna take long.
SLAVE CATCHER 1 lights his pipe and smokes while he watches SLAVE CATCHER 3 having sex with TOLLIE.
SLAVE CATCHER 3: Damn nigger's squeezin' my willy! Damn, it feels good! (grunts) (sighs)
SLAVE CATCHER 3 stands and pulls up his trousers.
SLAVE CATCHER 3: You sho' we gotta take this one back? I ain't never had a nigger what could make me feel that good!
SLAVE CATCHER 2: Outta the way. You had her long enough.
SLAVE CATCHER 2 drops his trousers and gets between TOLLIE's legs. He mounts her and starts thrusting.
SLAVE CATCHER 2: You got her all sloppy wet, but she's squeezin' me good! Damn!
SLAVE CATCHER 2 continues thrusting into TOLLIE in the background. SLAVE CATCHER 3 walks over to SLAVE CATCHER 1.
SLAVE CATCHER 3: Why don't we jus' keep this nigger fo' ourselves. It ain't like we know who owns her. An' if we ever figger it out, we still git our bounty. Meantime we get all the poontang we want.
SLAVE CATCHER 1: I'm ponderin' that right now.
Camera cuts back to SLAVE CATCHER 2 and TOLLIE. He thrusts into her vigorously for a few seconds and tenses up.
SLAVE CATCHER 2: Oh, yeah...
SLAVE CATCHER 2 collapses on top of TOLLIE for a few seconds before rising to his feet and pulling his trousers up.
SLAVE CATCHER 2: She's mighty fine, boss. We oughta keep her. Least fo' a spell.
SLAVE CATCHER 1: Maybe we'll do that.
SLAVE CATCHER 1 walks over to TOLLIE and stands over her.
SLAVE CATCHER 1: On your knees, nigger. Hurry it up.
TOLLIE struggles to her knees and bows her head.
SLAVE CATCHER 1: Turn around an' bend over. Git that nigger face o' yours in the dirt. Spread yo' legs an' keep that rump in the air.
TOLLIE turns around and leans forward, resting her head on the ground. She spreads her legs and pushes her ass up. SLAVE CATCHER 1 unbuckles his belt and drops his trousers. He kneels behind TOLLIE.
SLAVE CATCHER 1: Reach back an' spread them cheeks, bitch. I ain't gonna be usin' yo' breedin' hole now that the boys done got it all sloppy wet. I's goin' in the back door.
TOLLIE places her hands on the cheeks of her ass and spreads them. SLAVE CATCHER 1 leans down and spits between her cheeks. He straightens up and moves closer to her. TOLLIE cries out quietly as she's penetrated. SLAVE CATCHER 1 thrusts into TOLLIE.
SLAVE CATCHER 1: Learn from th' master, boys. This here hole's mostly always nice an' tight even if th' nigger's breedin' hole's all sloppy wet or stretched out from bein' used too much.
SLAVE CATCHER 1 continues thrusting into TOLLIE. She groans with each thrust. After a minute, SLAVE CATCHER 1 drives in deep and grunts. He withdraws from her and gropes around for a shred of her dress on the ground. He uses it to wipe himself off before rising and pulling his trousers up.
SLAVE CATCHER 1: We'll keep her wit' us fo' now while we look fo' th' other one. Put her in irons and hitch her to my horse. We ain't gonna be goin' too fast.
SLAVE CATCHER 2 goes to TOLLIE and lifts her to her feet. SLAVE CATCHER 3 puts a metal collar around her neck and metal cuffs around her wrists. He connects the cuffs with a chain that goes through a ring on the collar. SLAVE CATCHER 2 picks up a rope and ties it around the chain connecting the cuffs and leads TOLLIE to where the horses are, tying the rope to SLAVE CATCHER 1's horse's saddle.
The slave catchers mount up and slowly move off camera with TOLLIE tethered behind them.
Fade out.
END OF ACT III SCENE 5
* * *
"Shit," said Rolonda. "Dat's fuckin' brutal! Whippin' poor ol' Tollie dat way! Den rapin' her."
"Yeah," agreed Danessa. "I can't imagine mama doin' that scene. I know she like some nasty shit, but, damn!"
"It ain't real, Nessa," said Rolonda. "It's jus' a movie. It ain't like dey really gonna be doin' dat shit to Nattie. Like she say, it's jus' actin'."
"I guess...," replied Danessa, unconvinced.
"Look, Nessa," explained Rolonda. "Maybe if it was real, I ain't gonna like it. But it ain't real so I kin jus' imagine bein' Tollie an' bein' tied an' stripped an' beat an' raped an' I kin git off on it. I ain't gonna be gittin' off on it if it's real, girl!"
"You git off on bein' whipped an' raped?" asked Danessa.
"Girl, when I's alone in my bed playin' wit' myself, I be thinkin' all kinds o' shit," answered Rolonda. "An' gittin' tied up an' whipped 'an raped is somethin' I be thinkin' about. I thinks some real nasty shit when I's close to gittin' off. Ain't you?"
"I dunno," replied Danessa. "Maybe... Sometimes..."
"Oh, I git it," Rolonda laughed. "Only sometimes."
"Let's see what happens next," said Danessa, changing the subject.
* * *
ACT III SCENE 6
Fade up on the interior of PARMENTER's tent. PARMENTER is on his back under the blanket. NELLIE's form is visible under the blanket, her head on PARMENTER's lap, bobbing up and down.
O'ROURKE's voice: Captain? Captain Parmenter?
PARMENTER: Yeah?
O'ROURKE: It's O'Rourke, sir. We got them slave catchers. We got the girl's mama, too. She's okay.
PARMENTER: Be right out, Sergeant.
PARMENTER lays back and closes his eyes. A smile creeps over his face. He grunts and sighs. NELLIE crawls out from under the blanket, licking her lips.
NELLIE: Dey found my mama?
PARMENTER: That's right. Get dressed and we'll go see.
NELLIE stands up and pulls her dress on. PARMENTER puts his boots on and stands up. He puts his officer's jacket and hat on. He opens the tent flap and gestures for NELLIE to exit.
Camera cuts to exterior of PARMENTER's tent. O'ROURKE and UNION SOLDIER 1 are waiting as NELLIE and PARMENTER exit the tent.
PARMENTER: Report, Sergeant.
O'ROURKE: Well, sir, it took some searchin', but we found 'em camped out. We came up on 'em sudden an' they ain't put up a fight. They had the nigger lady naked an' chained up. We got her loose and gave her a blanket.
PARMENTER: Where is she?
O'ROURKE: Looked like them boys took a whip to her an'... (looks at NELLIE) She's wit' the doc right now. She ain't too bad off, but we figgered it be best to have him check her out.
NELLIE: Kin I see her, suh?
PARMENTER: We'll both go see her.
NELLIE, PARMENTER, and O'ROURKE walk through the camp to a tent which is larger than the others. They enter it.
Cut to the interior of the medical tent. TOLLIE sits on a cot wrapped in a blanket. NELLIE walks quickly to her side. DOCTOR is standing beside her.
NELLIE: Mama! Is you all right?
TOLLIE: Nellie! I's so glad you is safe, chil'! I been better, but I's fine now.
PARMENTER: How is she, doc?
DOCTOR: A little banged up, but she'll live. Those deserters gave her quite a going over. I cleaned her up and now all she needs is some clothes.
PARMENTER: We'll find her something to wear. I've got to go speak with those deserters now. Sergeant?
O'ROURKE: Yes, sir.
PARMENTER and O'ROURKE leave the tent.
Fade out.
END OF ACT III SCENE 6
* * *
"I ain't see why dem soldiers ain't takin' turns fuckin' both dem niggas!" complained Rolonda.
"Damn, Londa!" exclaimed Danessa. "It ain't no porno!"
"You got dat right!" Rolonda agreed. "It's a historical drama wit' naked nigga slave girls in chains an' lots o' strippin' an' whippin' an' fuckin', but it sho' ain't no porno. I like it, anyways. Parts of it is fuckin' hot."
"Well, I's jus' happy to see Nellie's mama's safe," said Danessa.
"Wait a minute!" said Rolanda, paging through the screenplay. "Maybe dem soldiers is gonna take turns fuckin' da mama after all! Check dis out..."
* * *
ACT III SCENE 8
Fade in on TOLLIE outdoors. The army encampment is in the background. She's washing blue uniforms and other clothes in a wash tub with a scrub board. DOBBS and UNION SOLDIER 1 approach her.
DOBBS: It sure is good havin' somebody to do the wash 'round here.
TOLLIE: Thanky, suh.
DOBBS: 'Course it'd be nice to have a little female company, too. Cap'n seems to have Nellie all to hisself.
UNION SOLDIER 1: Yeah, it ain't fair.
DOBBS: Why don't you put that washin' down.
TOLLIE: Yes, suh.
TOLLIE stops washing the garment she's working on and stands up.
UNION SOLDIER 1: Take a li'l walk with us, girlie. Maybe in them woods.
TOLLIE: Yes, suh.
UNION SOLDIER 1: Damn! These nigger girls sure are agreeable!
DOBBS: Yeah. You gotta do what you're tol', ain't that right?
TOLLIE: Yes, suh. I does like you say. It ain't my place to be sayin' no to no white man.
UNION SOLDIER 1: We gonna git along jus' fine, girlie.
TOLLIE, DOBBS, and UNION SOLDIER 1 walk into the woods on the outskirts of the camp.
DOBBS: I see the sarge found you a dress. How 'bout takin' it off. I ain't never seen a nigger lady naked before. I wanna see if you's the same color all over.
TOLLIE: Yes, suh.
TOLLIE pulls her dress off over her head and stands naked with her head bowed.
UNION SOLDIER 1: (whistles) Look at the size o' them teats! I ain't get a good look at 'em when we brung her in. Sarge had her in a blanket 'fore I could git a look see.
DOBBS: Well, we gittin' a good look see now!
UNION SOLDIER 1: Who gits to go first?
DOBBS: We'll flip for it. Call it in the air.
DOBBS pulls a coin out of his pocket and flips it into the air.
UNION SOLDIER 1: Tails.
DOBBS: You ol' dog! I shoulda known!
The coin lands on the ground. UNION SOLDIER 1 bends over to look at it and comes up smiling at DOBBS.
UNION SOLDIER 1: Tails it is! Looks like that's what I'm gittin'! Some nigger tail!
UNION SOLDIER 1 starts slipping his suspenders off his shoulders.
UNION SOLDIER 1: Find a soft spot on the ground an' lay down, nigger.
TOLLIE looks around and lays down on her back.
UNION SOLDIER 1: How 'bout a li'l privacy here, Dobbsie! My lady might be shy!
DOBBS: Shit.
DOBBS turns around. UNION SOLDIER 1 drops his trousers and lays down between TOLLIE's legs, mounting her. He starts thrusting into her.
UNION SOLDIER 1: Oh, she's a good one, Dobbsie. I ain't had no white girl what knowed tricks like this!
DOBBS: Shut up and git done. I wanna try it for my own self, not hear it from you.
UNION SOLDIER 1: (breathless) Ain't gonna be long now! (groans)
UNION SOLDIER 1 stands up and pulls up his trousers, slipping the suspenders back over his shoulders.
UNION SOLDIER 1: You is in for a treat there, Dobbsie. She knows her trade better 'n a Philadelphia whore!
DOBBS stands over TOLLIE. He slips the suspenders off his shoulders and lets his trousers fall. He gets on his knees between TOLLIE's legs.
DOBBS: You ready, nigger?
TOLLIE: Yes, suh.
DOBBS: You gonna do me like you done him?
TOLLIE: Yes, suh. I knows how to be pleasin' to white men, suh.
DOBBS: Good.
DOBBS mounts TOLLIE and starts thrusting slowly into her.
DOBBS: Ohhh... yeah.... I see what you mean...
DOBBS starts thrusting faster. After a minute he stiffens and groans. UNION SOLDIER 1 looks off camera and then walks quickly away.
O'ROURKE's voice from off camera: What the hell is goin' on here!
DOBBS hurries to his feet, pulling up his trousers. O'ROURKE comes into view. He's looking over the situation.
O'ROURKE: This nigger lady ain't your whore, Dobbs!
DOBBS: C'mon, Sarge! I ain't had none in a dog's age!
O'ROURKE: That ain't no excuse. Now git before you find yourself on report.
DOBBS: All right, all right, I'm goin'.
DOBBS leaves the scene. O'ROURKE stands over TOLLIE.
O'ROURKE: He ain't hurt you none, did he?
TOLLIE: No, suh. He jus' done his bidness in me, dat's all.
O'ROURKE looks down at TOLLIE. TOLLIE remains laying on the ground with her legs open. O'ROURKE's eyes wander over her body.
O'ROURKE: It's been a spell for me...
TOLLIE looks away from O'ROURKE.
TOLLIE: Yes, suh.
O'ROURKE: Git up on your knees. I ain't got time to hump you.
TOLLIE: Yes, suh.
TOLLIE rolls onto her knees and bows her head. O'ROURKE unfastens his fly. Camera cuts to front view of TOLLIE with O'ROURKE's backside in the foreground. She leans her head forward and begins bobbing her head back and forth. He puts his hands on the back of her head and begins thrusting his hips into her face. After a minute he groans and presses her face against him. He then releases her and moves to fasten his fly.
O'ROURKE: Git dressed. I'll take you back to camp. It ain't safe for you to be wanderin' 'round out here.
TOLLIE: Yes, suh.
TOLLIE picks up her dress and stands. She pulls it over her head and walks with O'ROURKE back towards camp.
Fade out.
END OF ACT III SCENE 8
* * *
"Now, dat's what I's talkin' 'bout!" exclaimed Rolonda. "I knowed dem soldier boys ain't gonna leave dat good nigga pussy alone! Even dat ol' sergeant, chewin' out dat man fo' fuckin' her an' den stickin' his ol' dick in dat nigga's mouf. He gotta have some, too!"
"You was right, Londa," conceded Danessa.
Rolonda continued paging through the remainder of the pages in the binder.
* * *
ACT III SCENE 12
Fade in on the army encampment. Soldiers are packing up their tents and loading equipment on wagons. Camera pans over the activity until NELLIE, TOLLIE, and PARMENTER come into view.
PARMENTER: You negroes are free now that the war's over. Where are you gonna go?
TOLLIE: I ain't know, suh.
NELLIE: You sho' we can't stay wit' you?
PARMENTER: I'm afraid that won't be possible, Nellie. We're joining up with the rest of the regiment and heading north back to Pennsylvania. The unit will be disbanded and we'll all go back to our homes.
NELLIE: But what 'bout us? Where's we s'posed to go?
PARMENTER: That's up to you. You're free to go wherever you want. I've got to go make sure the troops are ready to go now. Good bye, girls.
PARMENTER embraces NELLIE and walks off. Camera zooms back to reveal the entirety of the encampment and showing that the tents are gone and the soldiers are ready to move out.
Fade out.
END OF ACT III SCENE 12
* * *
"Dere ain't no mo'," sighed Rolonda. "Dat's all dere is. Too bad da las' part ain't here. Now I's wonderin' how it ends."
"Jenny said da last act wasn't done yet," Danessa reminded her. "I hope it's a happy endin'."
"Yeah," agreed Rolonda. "When you talk to Jenny again, maybe you could ask 'bout me bein' in dis movie. I ain't gotta be nobody special or nothin'. Jus' a extra or somethin'. Some nigga in da slave pen at da auction, maybe."
"I'll ask her, Londa," said Danessa.
"Shit, it's late, girl," said Rolonda. "I gotta git home. Let me know what she say 'bout me bein' in da movie."
"'kay," replied Danessa.
Danessa went with Rolonda to the door and opened it.
"One mo' thing," smiled Rolonda. "You is owin' me a cat lickin', Nee Nee. I be collectin' on it when yo' mama ain't home."
"Uh huh," blushed Danessa. "I... uh... okay."
"I's jus' playin', girl!" laughed Rolonda. "See ya."
"Bye, Londa," smiled Danessa bashfully.
Danessa closed the door and tried to imagine what would happen next. How would the movie end? How would she feel having to act out the scenes she'd read so far? And of course, there was Rolonda.
The teenager couldn't deny how much she'd enjoyed being on the receiving end of her cousin's attentions. The thought of returning the favor to Rolonda was starting to percolate through Danessa's mind and body.
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