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the ferry woman
THE FERRY WOMAN-A ScreenPlay
Date: 4/9/2006 8:34:36 AM ( 18 y ) ... viewed 2431 times
THE FERRY WOMAN
A ScreenPlay
Based on the novel by
Gerald Grimmett
FADE IN:
EXT. LANCASHIRE ENGLAND 1855 -- AFTERNOON
ON A BLACK SCREEN: Credits
A MATURE WOMAN'S VOICE (EMELINE'S).
AN EXPANSIVE MEADOW SLOWLY EMERGES: Wild flowers are in abundance. The sun is high against a limpid blue sky.
EMELINE (V.O.)
The heart must have many rooms...
A spring day. Fifteen-year-old EMELINE BUXTON is running through waist high wild grass. She is holding the hand of her younger brother seven-year-old BILLY BUXTON.
EMELINE (V.O.) (CONT'D)
How else may it contain love and hate and all of the other things that color our reason.
Emeline stops and dramatically plops down on a bed of bluebells holding her books to her chest.
EMELINE (CONT'D)
I don't feel like going to school today.
BILLY
Don't then, stay with me.
Emeline sits up and looks at her brother who is her spitting- image, blonde hair and deep violet eyes.
She smiles jumps up and starts to skip, followed by Billy.
They approach a large manor house perched on a hill surrounded by manicured grounds and a small pond in the distance.
EMELINE
I've got to go now. Don't wait for me today. Please.
BILLY
(pouting)
Why Em?
EMELINE
Because silly...you're too young for school.
BILLY
(indignant)
No I'm not!
EMELINE
Father promised that next year you would go to boarding school in London.
BILLY
I don't want to go without you.
She ruffles his hair.
EMELINE
Please go home. Mum will be angry and she's not been well.
Emeline is interrupted as a brooding seventeen-year-old, CEDRIC HARRINGTON approaches.
BILLY
(whispers)
He fancies you.
Emeline waves her hand at Billy.
EMELINE
(whispers back)
Hush up.
Billy clasps his hand over his mouth stifling a giggle.
Cedric nears Emeline and looks at his feet.
CEDRIC
Good day Miss Buxton.
Emeline curtsies and smiles.
EMELINE
Mr. Harrington. How nice to see you.
Emeline dusts off her dress and smoothes down her hair.
CEDRIC
May I walk with you the rest of the way?
EMELINE
I'd like that.
She waves her hand to Billy behind her back. Billy lingers watching after Emeline.
BILLY
(jealous)
See you at home Emeline.
ANGLE ON
Cedric takes Emeline's books. They stroll up to the front door of the manor house.
INT. LIBRARY - HARRINGTON'S MANOR HOUSE -- LATER
Emeline is seated with two other girls of similar breeding. Emeline has her nose in a book while the other girls are whispering to each other and giggling.
LADY HARRINGTON is seated at a desk in the back corner of the library. The tutor MISS BARTON, a prim tight-lipped spinster is standing in front of the girls.
MISS BARTON
Ladies you're lessons are finished for the day. You are excused.
The two girls jump up then stand frozen as Miss Barton stares them down.
MISS BARTON (CONT'D)
Don't forget the assignment. Please read Hymn to Demeter. I want your impression of Persephone. In writing.
THE GIRLS
Yes Miss.
The girls run outside.
Emeline is still glued to the book and remains seated.
Lady Harrington sits next to Emeline touching her hand. When Emeline looks up, they exchange smiles.
LADY HARRINGTON
You've done it again dear. Tuned out the rest of the world.
EMELINE
(embarrassed)
I'm so sorry...
LADY HARRINGTON
No need to apologize.
EMELINE
I just get so involved in the stories...I forget where I am. I feel silly.
LADY HARRINGTON
Not at all. There is always tomorrow. I'll ask Cedric to walk you home.
Lady Harrington puts her arm around Emeline's shoulders and walks her to the door.
LADY HARRINGTON (CONT'D)
You have a natural ability for studies. I'd like to see you continue your education. There's a wonderful girls school in London. I'll speak to your father and mother.
EMELINE
(beaming)
I would like that very much.
As if on cue Cedric arrives at the door.
LADY HARRINGTON
Ah Cedric dear I was just about to call you.
Lady Harrington winks at Emeline.
LADY HARRINGTON (CONT'D)
Would you mind terribly walking Miss Buxton home.
CEDRIC
Not at all.
LADY HARRINGTON
(knowing smile)
I didn't think so.
Emeline begins to return the book to the library
LADY HARRINGTON (CONT'D)
Elizabeth Barrett Browning, "Sonnets From The Portugese."
EMELINE
She wrote it for her husband.
LADY HARRINGTON
Yes, she did.
Emeline caresses the book.
LADY HARRINGTON (CONT'D)
You may keep it.
Emeline curtsies.
EMELINE
Thank you Lady Harrington.
EXT. FIELD LEADING TO THE BUXTON'S FARM -- MOMENTS LATER
Twilight is spreading across the field lending a golden hue to the sky. Fireflies dance sporadically in the distance as if lighting a backdrop to a play.
Cedric stops and looks at Emeline. She continues walking.
CEDRIC
Emeline?
EMELINE
(turning back)
Yes.
CEDRIC
May I hold your hand?
EMELINE
Yes Cedric.
Cedric takes her hand and they continue towards the farmhouse. Billy's face is peeking through the curtains of the front bay window.
Emeline stops at the door and turns to Cedric.
EMELINE (CONT'D)
Good-night Cedric.
CEDRIC
Good-night.
Reluctantly Cedric backs up hands in pockets and runs back to the manor house.
INT. THE BUXTON'S KITCHEN -- CONTINUOUS
Emeline enters the kitchen and watches her mother MARGARET with admiration as she bustles around supervising the kitchen activity and assisting the staff.
EMELINE
It smells delicious mother.
MARGARET
You came back late today.
Margaret exits the kitchen with Emeline on her heels.
EMELINE
Lady Harrington thinks I should go to school in London. She gave me this book.
MARGARET
That's wonderful dear.
INT. LIVING ROOM -- CONTINUOUS
Billy is still at the window looking out. He turns around acknowledging Emeline.
BILLY
I'm counting fireflies.
Margaret sits down and picks up needlework.
EMELINE
Where's father?
MARGARET
In town.
EMELINE
Why?
MARGARET
He received a letter today and ran out to meet with the solicitor.
EMELINE
Is anything wrong?
MARGARET
Oh no, he'll be back for supper. Play something dear.
Emeline goes to the piano and begins to play and sing.
Billy bounces over and sits on the piano stool next to Emeline. He rests his head on her shoulder
ANGLE ON - FRONT DOOR
WILLIAM BUXTON slips quietly through the door. He tries to sneak up the stairs but is spotted by Billy.
BILLY
Father?
Margaret jumps up and goes to her husband followed by Emeline and Billy.
His complexion is pasty white and his hair is disheveled.
MARGARET
(concerned)
William are you feeling all right?
William smiles weakly.
MARGARET (CONT'D)
Would you like dinner? We've been waiting over an hour.
Looking from one concerned face to another. He breaks down and starts to cry.
Emeline and Margaret exchange terrified glances and help William to the couch.
WILLIAM
(head in hands)
How will you ever forgive me?
MARGARET
For what?
(panic in her voice)
What's happened?
WILLIAM
The farm...
MARGARET
Go on.
WILLIAM
I can't...
William jumps up and takes a pistol from his desk and points it to his head.
WILLIAM (CONT'D)
I'm worth more dead than alive.
After an excruciating pause William puts the pistol down and sobs. He falls into a heap on the couch.
Margaret, Emeline and Billy run to his side.
WILLIAM (CONT'D)
I've lost the farm.
Margaret sits back shocked.
EMELINE
How is it possible?
MARGARET
Our farm has been free and clear for years.
Through tears.
WILLIAM
A gambling debt.
MARGARET
I don't understand.
WILLIAM
(angry)
Yes you do. All those nights out. It wasn't business or another woman. I gambled the farm away...Little by little, piece by piece.
Margaret stands sharply as if stung by a bee.
MARGARET
My farm William. My father's farm and his father's before him...You had no right.
WILLIAM
(pitifully)
I couldn't help myself.
Margaret walks very slowly to the window and with a distant expression looks out. She crosses herself takes a rosary from around her neck and mumbles a prayer under her breath. Emeline goes to her mother and puts her arm around her.
EMELINE
We'll manage mother.
MARGARET
(other worldly)
I must have the drapes cleaned.
EXT. BUXTON'S FARM - NEXT DAY
A FEMALE VOCALIST SINGING "THE BALLAD OF ACCOUNTING" plays while Margaret, Emeline and Billy are huddled together watching their house, belongings and every bit of their past auctioned away. The creditors dressed in black resemble vultures feasting on fresh kill.
Neighbors and strangers are walking out with all the Buxton's worldly possessions including clothes and under garments.
MARGARET
It all happened so fast...if only I could think.
Margaret stares at the manor house in the distance.
MARGARET (CONT'D)
Go to Lady Harrington.
EMELINE
Why?
MARGARET
She will see to your education.
Turning to Emeline.
MARGARET (CONT'D)
Go Emeline. Lady Harrington will take care of you.
EMELINE
I won't leave you, not ever.
William broken and coughing is sitting some distance away unable to face his family.
A grim faced BANKER approaches.
BANKER
Well you've managed to escape having to serve in debtor prison.
EMELINE
Thank you sir.
BANKER
Mrs. Buxton I will have my carriage take you and your family to Liverpool plus one week's rent in the "Silver Arms" boarding house. But that is all I can do. I'm sorry.
MARGARET
Thank you for your kindness sir.
BANKER
I owe it to your father.
The banker looks over at William and shakes his head.
BANKER (CONT'D)
I've seen many a good man turned by the gaming-houses.
(angry)
The devil takes the souls of the weak.
He abruptly turns and leaves.
"BALLAD OF ACCOUNTING" WITH FEMALE VOCALIST picks up again and plays until they reach Liverpool. Margaret crosses herself and holds her rosary beads to her face.
ANGLE ON CEDRIC HARRINGTON
Standing in the distance watching. Emeline looks up to the top of the hill and notices Cedric.
Emeline collects her father and they climb into the carriage with just the clothes on their backs.
Emeline looks back at Cedric still standing on the hill watching after the departing carriage. Emeline looks through the small window in the back of the carriage until Cedric, the farm and manor house become black spots on the distant horizon.
Emeline turns back. Billy's head is on her lap. She strokes his mop of hair gently while examining her parents. Margaret and William look like empty, haunted souls. Emeline searches her mother's eyes for an inkling of her old self.
EXT. LIVERPOOL STREET -- LATER
The carriage stops in front of THE SILVER ARMS boarding house. It is surrounded by tea houses, tobacco houses and brothels.
The narrow cobblestone streets are crowded with sailors and grubby faced children. The men and women are wearing far away expressions and tattered clothes.
Venders are SHOUTING their wares on the street.
Emeline slowly gets out of the carriage and looks around.
A drunken sailor and a loudly dressed heavily made-up woman exit the front door of THE SILVER ARMS.
Seagull's are darting and flying overhead. Emeline looks up at the birds. Their cries sound like LAUGHTER. Coal dust lingers in the air making the sky perpetually dark.
Emeline helps her parents out of the carriage followed by a sleepy Billy.
BILLY
Where are we?
EMELINE
Our new home.
The carriage driver turns to the Buxton's.
DRIVER
Godspeed.
The driver CLICKS his horse and exits leaving the Buxton family standing huddled on the street.
Emeline notices a man and two women DRESSED IN DARK CREPE VICTORIAN DRESS. The man is holding a book to his chest. They are standing across the street watching the Buxton's every move.
INT. BOARDING HOUSE -- MOMENTS LATER
The Buxton's are following a very old woman up a rickety staircase then down a narrow dimly lit corridor.
LOUD VOICES followed by dishes BREAKING can be heard along with babies CRYING and a man and woman SHOUTING at each other.
Margaret clutches onto Emeline and her rosary beads. Emeline is holding Billy with her other hand. William is lagging behind.
The old woman takes out a large key ring and opens the door. She opens her mouth to speak revealing one brown tooth.
OLD WOMAN
This is where you'll stay...for just one week mind you. If you don't pay you're out on your arse. There be plenty of folk wanting this room.
The Old Woman scampers down the hall.
INT. ROOM -- BOARDING HOUSE ROOM -- MOMENTS LATER
Emeline enters followed by the rest of her family. She immediately holds her hand to her nose repelling the horrible odor.
The room is empty except for two large soiled mattresses on the floor and a table with four chairs. There is an alcove with a black belly stove, kitchen utensils and pots hanging from the ceiling.
William collapses in a fetal position on the mattress and COUGHS deep and phlegmy.
Emeline helps he mother to a chair.
EMELINE
Mother?
MARGARET
Yes dear.
EMELINE
I'm going out to find a job.
Margaret stares detached.
MARGARET
Have a good time dear.
Emeline pauses and looks down at her mother. She strokes her mother's hair fighting back a flood of tears.
EMELINE
(determined)
Come Billy, come with me.
EXT. LIVERPOOL STREET -- MOMENTS LATER
Emeline and Billy exit the boarding house. The man and two woman dressed in black are still standing across the street - watching, always watching.
BILLY
Who are those people?
Emeline grabs Billy by the arm and directs him in the opposite direction.
BILLY (CONT'D)
Hey, why so rough?
EMELINE
See if you can get some fish, I'll beg for bread ends.
BILLY
Where should I go?
EMELINE
To the pier.
She points.
EMELINE (CONT'D)
Meet me back here in one hour -
Billy takes off before Emeline is finished. She shouts after him.
EMELINE (CONT'D)
Billy -
He turns running backwards.
EMELINE (CONT'D)
one hour.
Billy nods and turns again.
ANGLE ON EMELINE
Montage of Emeline going from one shop to another.
Rejected from each place of business but still determined, Emeline approaches a pub and brothel.
EXT. BROTHEL -- MOMENTS LATER
She pauses at the window then tentatively opens the door. Emeline notices the three people dressed in black approaching her. She quickly slips into the brothel.
INT. BROTHEL -- MOMENTS LATER
Emeline stands frozen with her back to the door. LAUGHTER, CLICKING OF GLASSES AND LOUD CRASS VOICES fill the pub creating a cacophony of chaotic noise.
Drunken sailors are leaning all over prostitutes who are dressed like tropical birds.
Emeline changes her mind and tries to slip out. A large woman in a tight green dress with flaming red hair calls to Emeline.
REDHEAD
Oey, you. Over there.
Emeline points to herself and mouths, "me?"
REDHEAD (CONT'D)
Yeah you. What's the likes of you doing ere?
EMELINE
I would like to see the proprietor.
The redhead throws her head back and let's out a piercing, nerve crunching laugh.
REDHEAD
(mimicking Emeline)
I'm the proprietor.
EMELINE
I was hoping to get a job.
REDHEAD
Come ere.
REDHEAD (CONT'D)
We can use a new girl. You're pleasing to the eye...Turn round.
Emeline obeys but holds her ground.
EMELINE
I was thinking more in the line of housekeeping.
REDHEAD
What do you think we do here?
LAUGHTER erupts from the gallery.
EMELINE
I was thinking more in the area of laundry and cleaning floors.
The redhead looks at the other girls who want nothing to do with Emeline. The sailors however have taken notice.
Emeline notices that the sailors have taken notice. This does not escape the proprietor. Emeline backs up.
EMELINE (CONT'D)
Thank you for your time Miss. I'll be going now.
REDHEAD
She's very polite, a real lady. Come back tomorrow morning. We'll have plenty of sheets to wash.
A ROAR OF LAUGHTER
Unsure Emeline moves quickly to the door.
EXT. BROTHEL -- MOMENTS LATER
LAUGHTER BURSTs THROUGH THE DOOR.
Emeline wanders aimlessly down the street.
ANGLE ON BILLY
He is running towards Emeline, smiling and holding several small fish on a line.
INT. BUXTON'S ROOM SILVER ARMS -- NIGHT
Mr.and Mrs. Buxton are sleeping in one bed. Billy is alone in the other bed.
ANGLE ON EMELINE
Sitting at the window lit by moonlight reading the book Lady Harrington gave to her. She puts the book down and climbs in bed next to Billy. Billy stirs.
BILLY
Em? Will we have to stay here forever?
EMELINE
No.
BILLY
Do you promise?
EMELINE
I promise.
INT. BROTHEL - MONTHS LATER
Emeline is on her hands and knees scrubbing the floor. One of the prostitutes kicks over her pail.
PROSTITUTE
Sorry Lass. Didn't see it.
She laughs and exits. Emeline cleans up the mess without uttering a word. The proprietor is watching Emeline from a bar stool.
REDHEAD
You can change your luck anytime.
EMELINE
No thank you.
Emeline continues to scrub the floor.
EXT. LIVERPOOL STREET - ANOTHER DAY
A cold and rainy day. Emeline is walking back to the Buxton's flat at THE SILVER ARMS. She wraps herself with a thin moth- eaten shawl.
INT. BUXTON'S ROOM - SILVER ARMS -- LATER
Emeline enters the flat and stops abruptly. The man and two women dressed in black are sitting around the table talking to Mr. and Mrs. Buxton. Billy is standing by the window listening.
William's spirits seem to be better for the first time since they arrived in Liverpool. William stands smiling and offers Emeline his chair. Emeline, not sure, unwraps her shawl and sits down.
WILLIAM
This is our daughter Emeline.
EMELINE
What's happening father?
WILLIAM
These good people have been visiting with us for several months Em.
(pause)
This is Apostle Edward Taylor.
He nods acknowledgment to Emeline.
WILLIAM (CONT'D)
And this is his wife Sister Taylor and Sister Clara his second wife.
Sister Clara is Emeline's age.
EMELINE
Second wife?
APOSTLE TAYLOR
Plural marriage is necessary-
EMELINE
Polygamy?
APOSTLE TAYLOR
It is a necessary condition to attain the highest degree of Celestial Glory!
SISTER TAYLOR
It is the only way for a woman to have true faith my dear.
WILLIAM
We've been listening to the gospel and we accept it as the true gospel Em.
Margaret looks at William and smiles more from habit then comprehension.
EMELINE
I don't understand.
Emeline looks at her mother who is not really there anymore. William takes Margaret's hand.
MARGARET
(vacant)
We've been having nice talks everyday about God and Jesus and The Book Of Mormon.
APOSTLE TAYLOR
Your parents' have joined our faith Sister Emeline, as I know you will.
SISTER TAYLOR&SISTER CLARA
Amen.
Billy moves close to Emeline.
EMELINE
My mother is Catholic sir. A French Catholic to the marrow.
APOSTLE TAYLOR
Yes but soon she will join us on our journey to the Land of Zion.
SISTER TAYLOR&SISTER CLARA
Amen.
Emeline looks to her father for help.
EMELINE
What faith?
WILLIAM
Church of Jesus Christ of Latter-day Saints.
Emeline looks between her mother and father.
EMELINE
Mother are you happy with this?
MARGARET
They are good Christian people.
APOSTLE TAYLOR
We've arranged baptisms for all of you in the Mersey river.
SISTER TAYLOR
We apologize for the harsh weather.
SISTER CLARA
Can't change the weather.
SISTER TAYLOR
How true.
EMELINE
Father? Mother is a Catholic. She doesn't believe in plural marriages.
APOSTLE TAYLOR
You will come to understand all our ways.
SISTER TAYLOR
I have found nothing but pure happiness in a plural marriage.
SISTER CLARA
And you will too Sister Emeline.
BILLY
We get to go to America Em. We get to go to sea.
WILLIAM
To the Land of Zion Em. These kind people have given me something to live for. The American west is a land of milk and honey. And we will help build and populate Zion.
SISTER TAYLOR&SISTER CLARA&APOSTLE TAYLOR
Amen.
APOSTLE TAYLOR
We have arranged passage for all of you along with 856 other saints, all sailing to North America.
Emeline glances at her mother who is rocking and holding onto her rosary beads as if they were a life line.
EXT. MERSEY RIVER - DAYS LATER
The Buxton's one-by-one are being Baptized at the mouth of the Mersey River by Apostle Taylor.
Margaret looks as if the freezing water finally revived her from her stupor. She looks to William for help.
WILLIAM
Come along Margaret.
MARGARET
Why are we here?
WILLIAM
(whispers)
Don't you see, it's a way out of this wretched place.
MARGARET
(confused)
I don't need to be baptized. I've been baptized.
Margaret emerges shivering from the foul freezing water. She looks as if she glimpsed Hell's antechamber and there's no way back.
Emeline helps her mother out of the water.
MARGARET (CONT'D)
Emeline, where are my rosary beads?
MARGARET (CONT'D)
(gently)
I have them mother.
Emeline places them back around Margaret's neck.
EXT. SAILING SHIP - CHARLEY BUCK - 1857
The Buxton family is jammed between the narrow rib timbers on the port side foreword in the ship's hold. The ship is filled with human cargo packed like fish in ice boxes.
The new converts to the Church of Latter Day Saints are lolling in vomit as the ship plunges into the teeth of ten foot rollers, throwing the new Saints around like limbless rag dolls.
Many of the passengers are being sick over the sides of the ship and into buckets. Others are clinging to the ship's timber ribs with white fingernails to stay in place.
The deck is awash with green water. There is a foot of water in the bilges just below the pallets of the cargo.
INT. BELOW DECK -- LATER
William and Margaret are sitting on heaps of straw stuffed into sacks.
Emeline is caring for her mother who ia too green to speak. William is coughing up blood. Billy is by Emeline's side.
EMELINE
Try to fetch another bucket of fresh water.
BILLY
They won't let us have but one bucket a day.
EMELINE
Mother and father are dying of thirst and burning with fever.
BILLY
I'll steal it but that bad sailor man will hit me if I get caught.
EMELINE
Don't get caught.
BILLY
You can count on me.
Billy grabs a large quart pewter mug and disappears into the horde.
EXT. ON DECK -- LATER
Billy is hanging with both arms from a loose boom. With each plunge he disappears into the murky green water.
Billy screams through the mizzling rain and fresh wind.
BILLY
Emeline!
INT. BELOW DECK -- MOMENTS LATER
Emeline jumps up and listens intensely.
MARGARET
Emeline? Where's Billy?
EMELINE
Something's wrong, he's been gone too long.
She moves on instinct staggering toward the ladder that leads to the main deck.
EXT. ON DECK -- MOMENTS LATER
Emeline has to crawl up to the open deck due to the constant rolling and tossing of the ship.
Some Saints are huddled in small groups with bibles open and SINGING TO THE LORD.
Emeline makes her way to the where the fresh water barrels are tied to the mainmast.
BILLY
Emeline!
Emeline looks up in horror. Billy is barely holding on as the first mate and another sailor are trying to winch the boom back onto the deck.
FIRST MATE
(shouting)
Hold on boy.
SAILOR
Jump onto the deck.
EMELINE
Hold on Billy!
Billy is less that ten feet from safety when his tired little arms give out. Billy plunges into the sea.
BILLY
Emeline!
EMELINE
(blood curdling)
Billy!!! Nooooo....
The first mate and sailor run to the side. Emeline clings to the rail searching for Billy.
CAPTAIN
What Ho, First Mate?
FIRST MATE
The boy sir, we lost him.
CAPTAIN
Well can't turn about this vessel we'd lose a full day. Let him tuck his head under his wing and go down easy. Poor little bastard. Makes only the third we've lost on this voyage, which may stand as a record if their luck holds.
EMELINE
(begging)
Please turn around, please. I beg of you.
FIRST MATE
I'm sorry Miss. He's gone by now.
"THE BALLAD OF ACCOUNTING" PLAYS IN THE DISTANCE THEN CRESCENDOS, INSTRUMENTAL AT FIRST THEN WITH FEMALE VOCALIST. MUSIC PLAYS UNTIL THEY REACH BOSTON HARBOR.
The First Mate gets on with business.
Emeline turns her small face into the wind and screams louder than the wind through the high shroud lines. Emeline sinks down to her knees, head in hands sobbing.
Emeline hears a gentle voice and looks up to see Sister Clara standing over her smiling sadly.
SISTER CLARA
He's in a better place now, he's with Our Heavenly Father.
Sister Clara takes Emeline by the hand and helps her the lower deck.
EXT. BOSTON HARBOR -- DAY
ANGLE ON
The Charley Buck as it casts anchor.
ANGLE ON
The Buxton family as they exit the ship surrounded by a group of Saints including Apostle Taylor and his wives.
Emeline is holding her mother around the shoulders and helping her climb down the ramp. She turns back and looks to the place on the ship where Billy fell into the sea.
ANGLE ON
The Buxton family as they walk with the other Saints on mass down a dirt road to a cattle car train waiting in the distance.
The Saints are singing and in high spirits. Emeline and her parents are wearing the faraway expression of the grieving.
EXT. CATTLE CARS -- LATER
The Mormons are helping each other into the cars placing the elderly and sick onto the benches set up as beds.
Emeline helps her mother into the cattle car and two men lift her father into the car. William is coughing in bloody fits.
INT. CATTLE CAR -- MOMENTS LATER
The two men help William to a lower bench. Emeline positions her mother next to a window on the floor.
The doors close and the train begins to move, slowly at first. The train WHISTLES sounds like a scream as it begins to pick up speed.
Emeline leans over her father feeling his head. William takes Emeline's hand. She sits beside him. He tries to tell her something. Emeline leans in closer.
WILLIAM
I alone brought down this family.
EMELINE
Shhh. Rest now.
WILLIAM
Em?
EMELINE
Yes father.
WILLIAM
Take care of your mother...tell her, tell her I'm sorry.
EMELINE
Try to sleep.
WILLIAM
Tell her for me. I'm too ashamed.
Emeline holds her father's hand to her face.
EMELINE
I'll tell her.
William turns over and Emeline goes to her mother.
EMELINE (CONT'D)
Mother?
Margaret turns and faces Emeline.
EMELINE (CONT'D)
Father is dying.
MARGARET
I know.
She turns back and stares at nothing.
EMELINE
He's sorry.
MARGARET
I know.
EMELINE
He want's your forgiveness.
Long pause.
MARGARET
I forgave him a long time ago.
EXT. IOWA CITY -- DAYS LATER
"BALLAD OF ACCOUNTING" PLAYS.
In the distance outside the drop off point for the cattle car Emeline, Margaret, Sister Taylor and Sister Clara are standing around a large mound of dirt. Apostle Taylor is reading from a bible. Emeline takes a handmade cross consisting of two large tree branches and places the cross into the mound of dirt.
Apostle Taylor and his wives leave Emeline and Margaret standing alone.
ANGLE ON
Margaret holding her rosary beads. She crosses herself. Emeline puts her arm around her mother's shoulder.
EXT. IOWA CITY -- LATER
Apostle Taylor is speaking to the group of Mormons, trying to get his message across by gesticulating wildly.
APOSTLE TAYLOR
We must travel in two groups and share the handcarts...Put your trust in our Heavenly Father and he will answer your prayers when you are in need...
The group separate in an orderly fashion and begin the trek to Zion with approximately 148 handcarts, 7 wagons and 500 Saints.
ANGLE ON
Emeline and Margaret are walking behind Sister Taylor and Sister Clara. Emeline is pushing the handcart for their small group.
Some of the souls can be heard SINGING:
Some may push and some may pull as we go marching up the hill, a-merrily on our way we go until we reach the valley, and long before the valley's reached we will meet with music sweet and friends so dear, which supply our hearts with cheer...
EXT. CROSSING THE PLAINS - WEEKS LATER
The group is diminishing in size. People are fainting from hunger and falling by the wayside.
EXT. CAMP ON ROUTE -- NIGHT
Emeline, Margaret and the others in the group are thawing out in front of a fire. Snow flurries are circling around their heads. The mood is grim as they huddle together for warmth.
APOSTLE TAYLOR
We must not give up, we've come so far. We're the chosen people, Our Heavenly Father will see to our arrival in Zion.
EMELINE
Our provisions are nearly out.
APOSTLE TAYLOR
Have faith sister we must keep going.
EXT. TREKKING THROUGH SNOW STORM - WEEKS LATER
Emeline and Margaret are struggling through two feet of snow. Apostle Taylor and his wives are pushing the handcart with great difficulty and following a wagon. Finally they abandon the handcart.
Margaret stops. Unaware Emeline keeps pushing through the snow. Margaret sinks down into the snow and falls over. Emeline is still pushing ahead.
Finally, Emeline turns and panics.
EMELINE
Mother...Mother...
Margaret is no where in sight. Emeline runs back to the spot where her mother fell and finds her lying in the snow. New snow is covering her small frail body.
Emeline rushes to her and lifts her up with the strength of ten large men.
MARGARET
(weeping)
I can't go on.
EMELINE
Yes you can. I'll help you.
MARGARET
I'm a burden. Leave me here Emeline...please.
Emeline begins to drag Margaret through blood-stained snow. Emeline looks at the snow with horror, realizing the blood is from her mother.
ANGLE ON
Sister Clara moves quickly through the snow to their aid. The three women struggle along and finally come to camp.
EXT. CAMP -- LATER
A fire is blazing and a meeting is in progress.
APOSTLE TAYLOR
We have food for one more day. Would you rather have it all now, or divide it into three days of half portions?
Emeline gets water for her mother and a small bit of food. Margaret refuses.
SISTER TAYLOR
We should divide it.
Everyone agrees.
APOSTLE TAYLOR
It's settled then. If we should die before our journey's through, then so be it is God's will.
EXT. TREKKING THROUGH A RIVER - NEXT DAY
Margaret falls to the ground on the river bed. Emeline rushes to her side.
MARGARET
I can't go on...
EMELINE
(begging)
We're almost there...
(sobbing)
Don't leave me alone...
MARGARET
Please Emeline, get me a priest.
Margaret reaches for Emeline and clutches her hand. Emeline places the rosary beads in her hand.
MARGARET (CONT'D)
(begging)
Don't let me die a heathen.
EMELINE
You are what you believe in your heart.
Margaret smiles weakly.
MARGARET
Do you have that book Lady Harrington gave to you?
EMELINE
"Sonnets of The Portuguese?"
MARGARET
Don't ever lose that part of yourself.
INSTRUMENTAL VERSION OF "THE WATER IS WIDE" BEGINS PLAYING SOFTLY. IT CONTINUES THROUGH THE SCENE.
Sobbing Emeline gently puts her mother's head in her lap and begins stroking her hair.
EMELINE
The Lord is my shepherd; I shall not want. He maketh me to lie down in green pastures: he leadeth me beside the still waters...
Margaret lets go of Emeline's hand, her head falls to one side.
EMELINE (CONT'D)
(between sobs)
He restoreth my soul: he leadeth me in the paths of righteousness for his name's sake...
EXT. MARGARET'S GRAVE SITE -- LATER
EMELINE (V.O.)
Yea, though I walk through the valley of the shadow of death,
Emeline is standing in a clearing under a tree, looking down at a large mound of dirt.
EMELINE (V.O.) (CONT'D)
I will fear no evil: for thou art with me; thy rod and thy staff they comfort me...
Emeline places a handmade cross on the mound of dirt, reminiscent of what she did on her father's grave.
EXT. A STREAM -- DAYS LATER
The group is wading through a waist deep stream.
ANGLE ON
Emeline standing on the shore.
EMELINE (V.O.)
Thou preparest a table before me in the presence of mine enemies:
Emeline is on the shore taking off her shoes and stockings.
EMELINE (V.O.) (CONT'D)
thou anointest my head with oil; my cup runneth over.
She wades through holding her stockings and shoes high above her heads.
EMELINE (V.O.) (CONT'D)
Surely goodness and mercy shall follow me all the days of my life:
Emeline makes her way to the shore on the other side of the stream.
EMELINE (V.O.) (CONT'D)
and I will dwell in the house of the Lord forever.
She dries her feet with a woolen neck cloth, and puts on her dry stockings and shoes.
EXT. SALT LAKE VALLEY - WEEKS LATER
Emeline is crossing a field with large bare trees. Beyond the trees is a valley surrounded by lofty mountains. A fine veil of rain is falling across the distant ravine. The whole valley is shrouded in mist.
Emeline breaths deeply. A tear falls down her cheek as she tenderly puts her mother's rosary beads up to her face and leans in swaying with the gentle breeze for comfort.
INT. SALT LAKE CITY - FOUR YEARS LATER
Emeline and Sister Clara are walking with arms linked and giggling like two school girls. Buds are just beginning to poke through barren branches.
SISTER CLARA
Don't you want to get married?
EMELINE
Not yet.
SISTER CLARA
But it's your duty.
EMELINE
I'm just not ready.
SISTER CLARA
Don't wait too long, or you'll end up childless, like me.
EMELINE
You don't know that you'll be childless. You're still young.
SISTER CLARA
Brother Taylor says I'm barren and useless.
Emeline stops and looks at her friend.
EMELINE
I'm sorry Clara.
SISTER CLARA
That's why I want you to have children so I can be an Auntie.
EMELINE
You'd make a very good Auntie.
SISTER CLARA
I've been knitting baby clothes...I want to give them to you.
EMELINE
Keep them you may need them yet.
Emeline stops to inspect a cluster of daffodils.
SISTER CLARA
Emeline dear we'll be late for the prayer meeting.
Emeline doesn't hear Clara. She is lost in her own thoughts. Clara goes to Emeline and kneels down next to her.
SISTER CLARA (CONT'D)
We're going to be late.
EMELINE
It's just beautiful.
SISTER CLARA
Ah, spring fever. You know what that means?
EMELINE
No.
SISTER CLARA
You are destined to meet your true love.
Clara stands.
EMELINE
(blushing)
Oh stop.
SISTER CLARA
(joking)
It could be Brother Kippen.
Emeline flashes Clara an indignant look. Her eyes darkening from violet to an opaque amethyst.
EMELINE
(angry)
I'm nothing more than a maid servant in his house. An indentured woman.
Clara takes Emeline's hand.
EMELINE (CONT'D)
I owe him nothing.
SISTER CLARA
You're sealed to him, that's all...It doesn't mean anything.
EMELINE
Are you sure?
Clara pulls Emeline by the hand.
SISTER CLARA
Come on, there's a guest speaker today a member of the Legislature.
Emeline follows and they run towards a small church perched on a hill.
EXT. CHURCH STEPS -- MOMENTS LATER
Emeline and Clara run up the stairs stop at the door and look at each other like two naughty children.
INT. CHURCH -- MOMENTS LATER
They tip toe into a packed standing room only church. The SPEAKER has the congregation riveted.
Emeline and Clara stand in the back. Two young men rise and give up their seats to Emeline and Clara. One of the young men is staring at Emeline with obvious passion. Emeline doesn't notice, she's fixated on the SPEAKER.
Clara notices the smitten young man and elbows Emeline. Emeline looks at Clara with a quizzical expression. Clara motions to Emeline pointing to the young man who is openly staring at Emeline. Emeline looks up at the young man. He grins at Emeline catching her off guard. Emeline smiles back then abruptly turns around, pokes Clara, and pretends to be angry.
Emeline opens her bible and looks at the SPEAKER who seems to be looking directly at her. Emeline can't take her eyes off the SPEAKER.
EMELINE
(to herself)
Oh my.
Clara leans in.
SISTER CLARA
(whispering)
Did you say something?
Emeline mouths "no" to Clara.
Apostle Taylor stands up and goes over to the SPEAKER who is winding up his speech.
THE CONGREGATION
Amen.
APOSTLE TAYLOR
Thank you Brother Lee for your insightful invocation.
JOHN D. LEE, the speaker shakes Apostle Taylor's hand and smiles revealing beautiful teeth against an extremely handsome tanned face. He sits back down next to another man on the platform.
ANGLE ON
Emeline as she watches John D.'s every move. She touches her heart and clears her throat.
SISTER CLARA
What's wrong with you?
EMELINE
You were right.
SISTER CLARA
About what?
EMELINE
I have spring fever.
INT. BROTHER KIPPEN'S HOUSE - THE KITCHEN - NEXT DAY
Emeline is cooking, moving back and forth from oven to stove. Her blonde hair is falling out of its bun in sweaty strands into her eyes. Her apron is stained with various colors from a variety of food.
BROTHER KIPPEN, a middle-aged, over weight, pompous man, enters the kitchen and addresses Emeline as if she were his slave.
BROTHER KIPPEN
We have company coming for dinner.
He looks into the pot and tastes the food Emeline is preparing.
BROTHER KIPPEN (CONT'D)
Make your best Middleshire cooking. Brother Lee is a very important man with the Church.
When Emeline hears BROTHER LEE she perks up.
Kippen exits and Emeline tries to fix her hair by the small picture mirror hanging next to the back door. She pauses staring lovelorn at her reflection.
INT. BROTHER KIPPEN'S DINING ROOM -- LATER
Brother Kippen, three wives and John D. are seated at the dining room table. A chair is empty for Emeline to join the meal after she serves.
Emeline enters carrying roast beef and steaming browned Yorkshire pudding.
John catches her eye as she places the meal on the table. She serves John first.
Emeline is now dressed in her best clothes with her hair tightly done in a bun.
JOHN D.
Thank you Sister Buxton. Please sit down.
Emeline suddenly struck by shyness blushes and finishes serving. John stands and holds Emeline's chair. Emeline can barely look at John and when she does she looks as if she's about to swoon.
Brother Kippen clears his throat and glances furtively back and forth between John to Emeline. The chemistry between John and Emeline is palpable.
Emeline is having trouble swallowing the food. She pushes it around her plate.
JOHN D. (CONT'D)
(to Emeline)
I have never tasted food this good.
Emeline looks up and smiles. John looks as if he's about to melt.
BROTHER KIPPEN
(scolding)
Emeline you haven't touched your meal. I'll make you go without.
(harsh)
What's wrong with you. Don't you like your own cooking?
John D. picks up on the undercurrents between Kippen and Emeline. John stares Kippen down. Kippen fiddles with his napkin and clears his throat.
JOHN D.
Sister Buxton is not a child. If she's not hungry she doesn't have to eat.
BROTHER KIPPEN
(clears throat)
Of course.
John pushes back in his chair and stands.
JOHN D.
Thank you Brother Kippen for a lovely evening.
(to Emeline)
Sister Buxton would you care to take a stroll outside?
EMELINE
(flustered)
Yes, I'd like that.
John and Emeline exit leaving Brother Kippen and his wives sitting at the dining room table.
BROTHER KIPPEN
(shouts)
Don't just sit there you ingrates, clean the table.
The women jump up and silently clear the dishes.
EXT. ROAD IN FRONT OF KIPPEN'S HOUSE -- LATER
Emeline and John are strolling down the street. They stop in front of the picket fence around Kippen's house.
EMELINE
Would you like to sit on the porch for a spell.
John looks up to see Brother Kippen peeking through the curtains.
JOHN D.
Well
(chuckles)
I don't think we'd be alone.
Emeline turns and catches Brother Kippen at the window just as he's about to close the curtain.
Emeline turns and smiles at John.
EMELINE
I enjoyed tonight.
JOHN D.
As did I.
They stare at each other. A beat.
JOHN D. (CONT'D)
There's a ward dance this Saturday night. Would you like to come with me as my guest.
EMELINE
Oh yes...but I need permission.
She looks up at the house.
JOHN D.
Let me handle Brother Kippen.
John D. leads Emeline through the gate and up the front stairs. They stand facing each other.
JOHN D. (CONT'D)
I feel as if I've know you a long time? Does that sound trite.
EMELINE
No, no. I feel it too.
John smiles a heart melting smile. He turns and practically leaps off the front porch.
JOHN D.
Until Saturday, Miss Emeline.
He takes off down the street.
EMELINE
(to herself)
Until Saturday my love.
EXT. BARN -- SATURDAY EVENING
The ward dance is in full swing.
Emeline and John pull up in a surrey with a matched pair of liver-colored geldings. John jumps out of the carriage and opens the door for Emeline. He extends his hand and she smiles taking his large callused hand in hers.
Emeline climbs down and looks up at the stars shining out of a clear, black sky. John looks up at the stars, they pause reveling in the excitement of new love.
INT. BARN -- MOMENTS LATER
The front door opens to a lively group in high spirits.
John takes Emeline's hand and they join the dancers on the floor, whirling the schottische.
Then the music slows and they dance to the sedately paced quadrille joined by four other couples. When the music changes to a waltz, John pauses in front of Emeline. He takes Emeline in his arms.
The room becomes hazy and out-of-focus to Emeline and John as if they are alone on the dance floor.
EXT. SURREY -- LATER
Emeline and John are sitting very close in the open carriage.
JOHN D.
Are you cold?
EMELINE
I'm still warm from the dancing.
They continue to sit close in a comfortable silence.
JOHN D.
There must be a line forming.
EMELINE
A line?
JOHN D.
Suitors at your doorstep.
EMELINE
Suitors? Oh. No, no.
JOHN D.
A pretty girl like you must have no trouble finding a husband.
EMELINE
I'm sealed to Brother Kippen. I'm not sure if I'm married or not.
John roars with LAUGHTER. Then looks over at Emeline who is not laughing, wearing an extremely confused expression.
JOHN D.
I think you would know if you were married.
EMELINE
Is sealing the same as marriage?
JOHN D.
Technically, but it crosses a fine line.
EMELINE
(under her breath)
Thank God.
JOHN D.
Have you ever....
Emeline sharply cuts John off.
EMELINE
Never in my life.
JOHN D.
I was about to ask if you've ever been south of Salt Lake.
EMELINE
(embarrassed)
Oh my.
Emeline moves closer to John, rearranging the buffalo robe over his legs.
EMELINE (CONT'D)
There have been suitors, I think. although Brother Kippen didn't allow-
JOHN D.
(dander up)
We're not all like Brother Kippen.
EMELINE
I found none that suited me.
JOHN D.
(disappointed)
I understand.
EMELINE
No you don't.
John looks at Emeline holding his breath.
EMELINE (CONT'D)
You know that day at the prayer meeting?
JOHN D.
I remember.
EMELINE
I knew you were the one for me...You're voice.
(choking up)
I, I couldn't take my eyes off of you. And then I was afraid to look at you. It almost hurt. My feelings were so strong...
SILENCE EXCEPT FOR THE JANGLE OF THE TACK ON THE HARNESS. Nothing can be seen for miles except starlight and sky.
John stops the carriage and turns to Emeline taking both her hands in his.
JOHN D.
Miss Emeline, I'm a good man. I have a fine family, fine flocks and fields in the south that've taken me years to build up...there's something else...
(pause)
something you must know about me.
John looks over the horses unable to look directly at Emeline.
JOHN D. (CONT'D)
I believe with all my heart in the Book of Mormon, and I've stood by the Church in ways I do not wish to recollect.
John turns back to Emeline.
JOHN D. (CONT'D)
I was part of the massacre up at Mountain Meadows...
EMELINE
(stunned)
Blood thirsty savages...
JOHN D.
It wasn't the Indians, not all of it.
EMELINE
Who then? Not the Church.
JOHN D.
I, I had a hand in from the first.
EMELINE
I'm sure you thought you were doing the Lord's work.
Grateful for Emeline's support.
JOHN D.
Yes, it was horrible, I thought they were going to invade us, wipe us out...I thought we were defending ourselves...
EMELINE
It was a terrible day.
John pauses, wipes a tear from his cheek.
JOHN D.
(angry)
More terrible then you know. I suffer for the women and children.
EMELINE
(comforting)
It's over now.
JOHN D.
It will never be over.
John starts the carriage up again and they sit in silence until they arrive at Brother Kippen's front door. John stops the horses and looks at Emeline.
JOHN D. (CONT'D)
I mean to make a vow to you Miss Emeline.
Emeline looks into John's eyes.
JOHN D. (CONT'D)
I shed no blood that day. It's important for you to know that.
John gets out and helps Emeline out of the carriage.
EXT. FRONT DOOR - BROTHER KIPPEN'S HOUSE -- MOMENTS LATER
They pause facing each other under the porte-cochere.
JOHN D.
Do you understand why I'm telling you all this?
EMELINE
I hope I don't misunderstand.
JOHN D.
Will you marry me in spite of the past?
EMELINE
The past makes no difference to me Mr. Lee. I long for the future.
JOHN D.
Will you be my wife then?
EMELINE
I could belong to no other.
INT. LION HOUSE - BRIGHAM YOUNG'S OFFICE-- NEXT DAY
Emeline and John enter the Lion House located near the foundations of the temple.
A fawning clerk meets them at the door and guides them up the circular staircase. The clerk KNOCKS on the door then opens it a crack.
A BOOMING VOICE can be heard behind the crack in the door. The clerk steps back.
CLERK
Yes sir.
(to Emeline & John)
Please have a seat.
Emeline and John sit on a Queen Ann sofa and the clerk scurries down the stairs.
EMELINE
Why do we have to meet with him before our wedding?
JOHN D.
He must approve of you.
BRIGHAM YOUNG appears at the door. He is a large hulking man with ox like features. His round face is wreathed in a beard showing a bare chin.
He has a powerful presence emanating from something other than holiness.
BRIGHAM YOUNG
Brother John it's good to see you again. Please come in.
JOHN D.
And you Brother Brigham, thank you.
Brigham Young returns to his desk and stands next to his chair.
BRIGHAM YOUNG
You may have a seat.
Emeline and John sit. Brigham sits behind his desk staring at Emeline looking her over as if she were a prize mare up for auction. He searches Emeline with penetrating hawk eyes. In an instant a shadow passes over Brigham's face. An indistinct ephemeral premonition flashes for a moment, then quickly fades.
Emeline holds Brigham Young's eyes without averting. It feels like a Mexican stand off. This rattles Brigham. He squints his eyes and turns to John his smile a combination of ingredients; will of steel, diplomatic ability and brute strength.
BRIGHAM YOUNG (CONT'D)
So, you came with the Martin company Sister Buxton?
EMELINE
Yes sir.
BRIGHAM YOUNG
Did you freeze your feet crossing the streams?
Emeline hesitates and looks at John who is in awe of Brigham.
EMELINE
No sir. I removed my shoes and stockings before I crossed. I stayed warm that way.
BRIGHAM YOUNG
Smart girl. And your parents?
EMELINE
Died on the journey, as did my little brother Billy.
Brigham sits back in his groaning chair objecting to his bulk. His face is wearing an unfeeling expressing, like someone going through the motions.
BRIGHAM YOUNG
Your parents' and brother's death bestows upon them the glory of remembered martyrs.
EMELINE
Thank you sir.
BRIGHAM YOUNG
You understand the order of this Kingdom? You understand that John has other wives? Are you willing to take your place among them?
EMELINE
(hesitant)
Yes sir.
BRIGHAM YOUNG
(rumbling voice)
You fully appreciate that plural marriage is a sacred principle?
Brigham stands and walks over to Emeline looming large over her.
BRIGHAM YOUNG (CONT'D)
(lecturing)
Your soul is in the balance if you should ever fail John or your sister wives.
Eyes cast down, Emeline is pulling at a string on her skirt.
BRIGHAM YOUNG (CONT'D)
Do you understand woman?
Emeline looks up with tear rimmed eyes at Brigham. He smiles with the feeling that he's broken her spirit.
EMELINE
Yes sir, I do.
BRIGHAM YOUNG
Sister Emeline, I bless you in the name of the Lord. You will find Brother Lee to be a fine husband.
EMELINE
Thank you sir.
BRIGHAM YOUNG
Make your preparations and meet me at twelve o'clock tomorrow and we will perform the ceremony.
Brigham goes back behind his desk and sits down.
BRIGHAM YOUNG (CONT'D)
You may go. God be with you.
Emeline and John stand. John goes over to Brigham and shakes his hand.
They exit.
EXT. OUTSIDE THE CHURCH - NEXT DAY
Emeline and John are coming out of the church followed by the congregation wishing them well and helping them secure their personal items to the carriage.
Sister Clara is standing away from the group looking sad. Emeline goes to her and hugs her friend.
SISTER CLARA
I'll miss you.
EMELINE
And I you dear Clara.
Emeline smiles and puts her bouquet of flowers in her hand. Emeline looks over at John who is sitting in the carriage waiting.
EMELINE (CONT'D)
Don't be sad we'll see each other again.
Emeline lets go of Clara's hand and starts for the carriage.
INT. CARRIAGE -- MOMENTS LATER
Emeline climbs up next to John and they wave to the other Saints as John moves the carriage forward.
Clara runs to the carriage and calls to Emeline. Emeline turns to see Clara running and waving with the flowers in her hand.
SISTER CLARA
(from the distance)
Good-by Emeline, good luck...
Clara stops running and watches after Emeline and John's carriage her tight little features disappear in the mist and her flowers drop to the ground.
Clara continues to follow the carriage with sorrowful eyes.
Emeline turns to John. He looks over at Emeline and pats her on the knee. Emeline feels the warmth and comfort from his smile.
JOHN D.
It'll be all right.
EMELINE
I know.
She fits her arm through his and places her head on his shoulder.
EXT. A CLEARING -- NIGHT
A beautiful clear night with lots of stars. A wolf howls mournfully. Another wolf answers. Emeline and John are making camp. The sexua| attraction is palpable. Every move they make, every glance holds the promise of their destiny.
INT. TENT -- LATER
John stands in front of Emeline and takes her face in his hands. He kisses her tentatively then more urgently. A fire is still blazing outside lighting their faces, softening their features.
John begins to unbutton Emeline's dress looking into her eyes. Emeline is trembling with anticipation. Her dress falls to the ground. John removes his shirt and takes Emeline in his arms.
He guides her to the buffalo robe and removes her under garments and the rest of his clothes. John pulls another buffalo robe over their naked bodies while gently holding Emeline to the ground.
INT. TENT -- NIGHT
John and Emeline are lying naked looking through the top of the tent to the open sky. They are peaceful and contented in the after-glow.
JOHN D.
I've dreamed of being on the stars.
Emeline turns to him and touches his mouth. John smiles and kisses her.
EXT. A CLEARING -- MORNING
A warm tranquil morning. They're packing up their cooking utensils and clothes. John prepares the horses and carriage. John helps Emeline into the carriage.
JOHN D.
If we keep moving we should arrive home by dusk.
EMELINE
Then by all means we'll keep moving.
JOHN D.
By all means...
INT. CARRIAGE -- DAY
John and Emeline are riding through beautiful, untouched country.
JOHN D.
(excited)
We're almost to Harmony. It won't be long now.
Emeline takes John's hand and squeezes it. John stops the carriage and turns to Emeline.
JOHN D. (CONT'D)
It's different with you Emeline.
EMELINE
I understand.
JOHN D.
No, Emeline you can't possibly understand. What I feel for you is different.. In my heart you are my only one.
(struggling)
But I have fifteen other wives...
Emeline nods her head. To Emeline polygyny is a repugnant aspect of her new faith.
EMELINE
I'll get by John.
JOHN D.
I was never comfortable with more than one wife. I promise I will not take another wife. But what's done is done.
Emeline nods in understanding.
JOHN D. (CONT'D)
(embarrassed)
I wish I could have just you. If not for the church doctrines, I curse some of the doctrines...
(catching himself)
But I believe in what was laid down by God, I'm a good Mormon...
EMELINE
It's a conundrum then.
John smiles, thinking over the simplicity of Emeline's words.
JOHN D.
A conundrum?
(pause)
It certainly is that.
John starts up the horses.
JOHN D. (CONT'D)
Emeline, you have the mind of a preacher.
EMELINE
I've been told I have the tongue of a preacher.
JOHN D.
Either way no one is going to pull anything over on you.
John laughs. They continue the balance of the trip in silence.
EXT. HARMONY VILLAGE -- DUSK
They arrive at Harmony just as twilight is spreading across the hilltop above the little settlement nestled in the valley. Streaks of sunlight linger as John and Emeline pass the odd collection of adobe walls, small orange brick houses and truncated wooden out buildings.
John stops in front of one of the brick houses.
They are greeted by an assortment of women, children and BARKING dogs. The women line up in an orderly fashion with their respective children. They watch Emeline without blinking or smiling.
John helps Emeline out of the carriage and walks her down the line introducing her to the other wives. The reception is chilly. Emeline is uncomfortably aware of every furtive glance, cold shoulder and stare-down.
The last wife on the line RACHEL is smiling openly at Emeline. She is younger than the others and is without children.
JOHN D.
This is Sister Rachel.
Rachel stands forward and enthusiastically takes Emeline's hand.
RACHEL
(warm)
I'm happy to meet you Sister.
EMELINE
(returning the warmth)
And I you.
RACHEL
(sincere)
Please rely on me for anything.
EMELINE
Thank you Sister Rachel. I'm sure I will.
RACHEL
(whispers to Emeline)
I hope we'll be good friends.
EMELINE
So do I.
RACHEL
It get's very lonely out here.
(referring to the other wives)
Emeline looks at the other wives and shares a secret with Rachel. They giggle to each other with their eyes.
JOHN D.
You'll have plenty of time to get to know one another. Thank you Sister Rachel for the warm welcome.
Rachel backs up as the other women start to disperse. John guides Emeline into the house.
EMELINE
(to Rachel)
Good-night.
RACHEL
(to Emeline)
Good-night.
EXT. EMPTY LAND -- MORNING
John is walking Emeline over a beautiful spot overlooking a stream and mountain cascade in the distance. The spot is perched high on top of a windy hill and surrounded by wild flowers.
JOHN D.
I've been saving this land for someone special.
EMELINE
Oh John. It's beautiful. Heavenly.
He takes Emeline in his arms and kisses her.
JOHN D.
(touching her tummy)
I want you both to be happy.
Emeline puts her hand on top of his.
JOHN D. (CONT'D)
I'll gather the congregation and start building your house.
EMELINE
Our house.
John smiles.
JOHN D.
Our house.
They hold hands and walk down the hill.
EXT. EMELINE'S HOUSE -- HARMONY -- MORNING
Men are swarming over the roof of a nearly finished house. Workers are armed with nails, hammers and saws. Families are gathered in a picnic-like setting.
Below the men and women are setting up breakfast for the congregation turned workers. Children are playing tag and hide-and-seek. Their happy screams and laughter are echoing on the wind.
Emeline is holding a baby and talking to Rachel as she sets up plates of steaming food.
ANGLE ON
JACOB HAMBLIN as he sits in a rafter. He is not working only eyeing Rachel with an unabashed, licentious expression. He watches her every move, like a patient vulture.
Rachel is completely unaware of Jacob Hamblin as she laughs and talks to Emeline. Emeline happens to look up at the workers and notices Hamblin undressing Rachel with his eyes. Hamblin is oblivious to Emeline taking notice of him. Rachel is aware that Emeline is distracted.
RACHEL
Do you want me to mind David?
Emeline is looking up at the workers and doesn't hear Rachel. Rachel stops and faces the direction Emeline is facing.
RACHEL (CONT'D)
What's so fascinating up there?
EMELINE
Will you mind David?
Emeline hands Rachel her baby without waiting for a reply and takes off. Rachel watches after Emeline, concerned.
EXT. BOTTOM OF THE FIELD -- MOMENTS LATER
John is working on a piece of wood shaped like a door. He is covered in sweat his shirt clinging to his lean, muscular body.
JOHN D.
How do you like the front door?
EMELINE
It's lovely...There's a man working on the roof that I've never seen before.
John continues to work thinking.
JOHN D.
Jacob Hamblin?
EMELINE
I guess so. He's the only one I don't know.
JOHN D.
Must be him then. He's visiting, said he wanted to help with the house.
Emeline takes off as John looks up.
JOHN D. (CONT'D)
Why?
Emeline is gone. John shrugs and continues working on the door.
EXT. BREAKFAST TABLE -- LATER
The workers are seated around the table. Emeline is watching Rachel from a distance as she feeds her baby.
The women are serving the men who are polite and mannerly except for Jacob Hamblin. He grabs the food without any of the normal cordiality. He continues to stare at Rachel with a hazy, lewd smile.
Emeline glances over at John now seated at the table eating breakfast. He is laughing and casual totally unaware of Jacob Hamblin.
EXT. EMELINE'S HOUSE -- SEVERAL YEARS LATER
A hot hazy summer day. Emeline steps out of her house and waves to John. He is holding the hand of a DAVID, now four-years-old. She is carrying PORTER, a platinum haired two-year-old. Emeline stands next to John and smiles.
JOHN D.
Are you ready?
EMELINE
Yes Mr. Lee.
JOHN D.
Let's collect the others.
PORTER
Walk, walk.
Emeline puts Porter down and he takes off ahead of them.
EMELINE
Run run you mean.
They walk side-by-side down the dirt road.
INT. CHURCH -- MORNING
John and Emeline are seated along with the rest of the Lee brood. Rachel is next to Emeline, still childless. Emeline is holding Porter and seated next to her, on her other side, is David.
The congregation is quiet except for monotone droning of the Apostle giving the Sunday sermon.
The children are unnaturally well behaved creating a "STEPFORD WIFE" aura. Porter however, is sliding down the hard pew, rolling his finger over his lips, making BLABLABLA sounds. Rachel picks up Porter and takes him outside. Emeline glances out the window watching Porter run circles around Rachel.
Emeline focuses again on the speaker closes her eyes dozing for what seems to be a moment.
She jumps up startled. Looks around. No one seems to have noticed her slight indiscretion. Emeline looks out the window and straightens up concerned. A man looks to be chatting up Rachel. Rachel is holding Porter and backing away from the man.
The man abruptly leaves Rachel and walks round to the front of the Church. He enters, and pompously walks up to the podium. Emeline is horrified to see it is Jacob Hamblin.
EXT. WALKING HOME FROM CHURCH. -- LATER
Emeline is hanging back with Rachel and her children. John is walking ahead with Jacob Hamblin. They are having a heated discussion. Emeline is straining to get the gist of it but is out of ear shot.
The discussion turns into an argument. Jacob storms off. John is shaking his head and watching after Jacob.
Emeline approaches John. He looks up. His face is red and twisted with anger.
JOHN D.
Did you hear that?
EMELINE
Just the tone of it, not the words.
JOHN D.
Good.
John starts walking slowly, Emeline beside him.
JOHN D. (CONT'D)
There's bad blood between us.
Emeline opens her mouth to say something.
JOHN D. (CONT'D)
(commanding)
Just leave it at that.
EXT. RIVER BANK -- MORNING - YEARS LATER
A warm autumn day. Rachel is alone washing clothes and singing A BALLAD. She has a clear, beautiful voice. She is oblivious to the world.
EXT. WOODS NEAR RIVER -- CONTINUOUS
Rachel's voice is heard in the distance. Nine-year-old David is playing in the woods near the river.
EXT. RIVER BANK -- MORNING
A NOISE from the woods beyond the river bank.
Rachel stops and looks up to see David. He waves, she smiles and waves back.
EXT. FIELD BEYOND WOODS -- MOMENTS LATER
David is running after butterflies in the field beyond the woods.
EXT. RIVER BANK -- MOMENTS LATER
Rachel has resumed singing and washing. Another NOISE. CRACKLING TWIGS. Someone is walking in the woods. This time Rachel doesn't look up.
ANGLE ON A MAN
Lurking between the trees using them as cover. The man is Jacob Hamblin. He sneaks up on Rachel standing menacingly over her.
Rachel is singing and washing still unaware.
JACOB HAMBLIN
Sister Rachel.
RACHEL
Yes?
Rachel turns and looks up at Jacob Hamblin. The sun is streaking between the yellow and red leaves, blinding Rachel to the man's identity. She cups her hand over her eyes.
RACHEL (CONT'D)
(innocently)
Can I help you Brother?
JACOB HAMBLIN
As a matter of fact you can.
Rachel stands facing Hamblin wearing a naive expression.
Jacob Hamblin grabs Rachel moving so quickly she doesn't have time to react. He violently rips down the front of her dress. Rachel SCREAMS.
EXT. FIELD BEYOND WOODS -- CONTINUOUS
David hears the scream and stops short in his tracks. He looks toward the river listening. Another SCREAM. David runs down to the river.
EXT. RIVER BANK -- CONTINUOUS
Jacob hits Rachel in the face with a closed fist and places his hand over her mouth. Rachel starts to cry.
JACOB HAMBLIN
Shut your mouth whore.
He gets on top of her pulling her skirt up and his pants down. Rachel tries to fight him off. He slaps her.
EXT. WOODS LEADING TO RIVER BANK -- CONTINUOUS
David hides behind the tree.
P.O.V. DAVID'S -- CONTINUOUS
He is frozen watching. Jacob's back is to David concealing his identity.
Horrified, David walks backwards then falls making a LOUD CRASH. Jacob pauses and looks up. Rachel appears to be unconscious.
David crawls out of the woods unseen and runs towards his house.
EXT. RIVER BANK -- CONTINUOUS
Jacob lifts Rachel over his shoulder and wades into the river He tosses her into the river like a sack of potatoes and skulks off. Rachel begins to come around, bobbing up and down like a buoy.
RACHEL
Please...help me.
Jacob watches briefly from the trees. Rachel is struggling to keep her head above water.
EXT. FIELD LEADING TO DIRT ROAD -- CONTINUOUS
David is sprinting towards Emeline's house on the hill. SHOUTING.
DAVID
MAMA...MAMA
EXT. FRONT LAWN - EMELINE'S HOUSE -- CONTINUOUS
Emeline is hanging clothes over a bassinet next to her feet. Seven-year-old Porter is playing on the porch.
DAVID (O.S.)
MAMA...MAMA
Emeline looks up, David is running towards her.
EMELINE
Oh My God.
She runs to greet an exhausted David. He falls to his knees at her feet. Emeline gently lifts him holding David by the shoulders. She takes his dirt and tear stained face in her hands.
EMELINE (CONT'D)
What's happened?
DAVID
Sister Rachel...A man, Mama.
EMELINE
(confused)
A man?
DAVID
He's hurting her.
EMELINE
Did you see him?
DAVID
(shaking his head NO)
Not his face.
Emeline's color drains from her face. David takes her hand bringing her back to earth.
DAVID (CONT'D)
You've got to get help.
EMELINE
There's no time...
Emeline takes off barefoot and bolts down the hill.
EMELINE (CONT'D)
(over her shoulder)
Watch your brother and sister.
David goes to the bassinet and picks up the baby who is crying. Porter is standing next to David. Both boys look worried.
EXT. RIVER -- CONTINUOUS
Rachel is losing the battle to keep her head above the water.
RACHEL
I can't swim!!
ANGLE ON
The trees. Jacob is gone.
EXT. FIELD LEADING TO WOODS -- LATER
Emeline is sprinting towards the river.
EXT. RIVER -- LATER
Rachel is floating lifeless under the water. Her body is being pulled around by the river's currents.
EXT. RIVER BANK -- MOMENTS LATER
Emeline arrives. She runs up and down the bank searching for Rachel.
EMELINE
RACHEL...RACHEL...
She spots Rachel's rag doll body and pauses briefly her feet frozen to the ground. Emeline moves into the water swimming strong deliberate strokes like a tri-athalon contender.
ANGLE ON
Emeline as she swims under water and locates Rachel. She pulls Rachel up rescue swimming style. Emeline drags her onto the small beach at the river's edge.
EXT. RIVER BANK -- MOMENTS LATER
Rachel's skin looks like pale blue plastic. Emeline begins mouth-to-mouth immediately.
Frantically she pounds on Rachel's chest. Nothing. Emeline looks up to the heavens.
EMELINE
(pitiful)
Why?
She continues working on Rachel. Nothing. Finally out of pure exhaustion Emeline stops. She takes Rachel's limp hand to her face. Emeline sobs uncontrollably.
EXT. SMALL CEMETERY -- DAYS LATER
"BALLAD OF ACCOUNTING" PLAYING SOFTLY
John, Emeline, the remaining sister wives and children are wearing black and standing round a mound of dirt. They are joined by the congregation.
Jacob Hamblin is standing next to one of the Apostles. His head is bent down listening to the burial service. He lifts his eyes up catching Emeline's eyes. He steps back startled. Emeline is watching him shooting dagger's with every glance.
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