I Walked With a Zombie


EXT. BEACH - DAY
                  
FADE IN on two distant figures who walk across a sunny BEACH parallel to the 
surf: a tall, thin, bare-chested black man and a shorter white woman in a 
nurse's uniform.

                                BETSY 
                        (voice over) 
                I walked with a zombie.  
                        (laughs a little, 
                        self-consciously)
                Does seem an odd thing to say.  Had anyone 
                said that to me a year ago, I'm not at all 
                sure I would have known what a zombie was.  
                I might have had some notion that they were 
                strange and frightening, even a little funny. 
   
                                                DISSOLVE TO:

EXT. SUGAR COMPANY - DAY

The sign above the door of a SUGAR COMPANY, obscured by falling snow.

                                BETSY 
                        (voice over) 
                It all began in such an ordinary way...

                                                DISSOLVE TO:

INT. SUGAR COMPANY OFFICE - DAY

A civilized office that keeps out the cold.  WILKENS, a balding man with 
a British accent, seated at a desk in front of a window overlooking the 
snowfall, asks BETSY CONNELL a series of questions and carefully checks off 
her answers on a form.  Betsy, a pretty twenty-something brunette, attempts 
an air of no-nonsense solidity that's meant to cover her insecurities, her 
naivete, and her incurable romanticism.

                                WILKENS 
                You're single?

                                BETSY 
                Yes.

                                WILKENS 
                Where were you trained?

                                BETSY 
                Memorial Hospital, here in Ottawa.

                                WILKENS 
                Now, this last question's a little 
                irregular, Miss Connell.  I really don't 
                know quite how to begin.  Do you believe 
                in witchcraft?

                                BETSY 
                Well... 
                        (laughs) 
                They didn't teach it at Memorial Hospital 
                but I had my suspicions about the 
                Directress of Training.

                                WILKENS 
                Now, as to salary.  It's quite good.  Two 
                hundred dollars a month.

                                BETSY 
                        (pleased)
                That is good.  But I'd like to know a 
                little bit more about the case.

                                WILKENS 
                I'm afraid I can't tell you much.  Only that 
                the patient is the wife of Paul Holland with 
                whom we do considerable business.

                                BETSY 
                Oh, that'll mean another interview...

                                WILKENS 
                No.  This is quite final.  You see, Mr. 
                Holland is a sugar planter.  He lives in 
                St. Sebastian in the West Indies.

                                BETSY 
                        (surprised) 
                The West Indies?

                                WILKENS 
                That's not so bad.  Sit under a palm tree, 
                go swimming, take sun baths.

Betsy considers this for a moment, the heavy snowfall visible in the window 
behind her. She rather likes the idea.

                                BETSY 
                        (to herself) 
                Palm trees...

                                                FADE OUT

EXT. CLIPPER SHIP - SUNSET

FADE IN on a clipper SHIP at sea, silhouetted against the sunset.

                                                DISSOLVE TO:

EXT. THE SHIP'S DECK - NIGHT

The crew CHANTS "O Marie Congo" and prepares dinner.  The mate stands at the 
wheel.  And the imposing figure of PAUL HOLLAND stands, hands in pockets, his 
back to the crew, watching the sea.  Paul is handsome, moustached, square-
jawed, worldly, and entirely sure of himself.
                    
                                BETSY 
                        (voice over) 
                It seemed only a few days before I met Mr. 
                Holland in Antigua.  

Paul turns to see Betsy at the boat's railing, lost in thought, gazing at the 
star-filled sky.

                                BETSY 
                        (voice over) 
                We boarded the boat for St. Sebastian.  It 
                was all just as I'd imagined it.  I looked 
                at those great, glowing stars.  I felt the 
                warm wind on my cheek.  I breathed deep and 
                every bit of me inside myself said, "How 
                beautiful!"

As if in answer, a harsh British-accented voice intrudes.

                                MAN'S VOICE
                It's not beautiful ...

Betsy turns to see Paul Holland behind her.

                                BETSY  
                You read my thoughts, Mr. Holland.

                                PAUL 
                It's easy enough to read the thoughts of a 
                newcomer. Everything seems beautiful 
                because you don't understand.  Those flying 
                fish -- they're not leaping for joy.  They're 
                jumping in terror.  Bigger fish want to eat 
                them. That luminous water -- it takes its 
                gleam from millions of tiny dead bodies. The 
                glitter of putrescence.  There's no beauty 
                here.  Only death and decay.

                                BETSY 
                You can't really believe that.

Just then, they both see a falling star.

                                PAUL 
                Everything good dies here -- even the stars...

Abruptly, he walks off and returns to where he stood when first seen, gazing 
at the sea, his back to the crew as they continue their chant and eat their 
dinner.  Betsy leans against the ship's rail, no longer watching the sky.  
She stares at Paul who stands just behind the mate at the ship's wheel, his 
back to her.

                                BETSY 
                        (voice over) 
                It was strange to have him break in on my 
                thoughts that way.  There was cruelty and 
                hardness in his voice.  And yet something 
                about him I liked.  Something clean and 
                honest.  But hurt.  Badly hurt.

                                                DISSOLVE TO:

EXT. THE DOCK - VILLAGE OF ST. SEBASTIAN - DAY

Early the next day, on the noisy, busy DOCK at St. Sebastian, a crewman 
secures the ship. Men carry cut sugar cane up the gangplank.  As Betsy 
disembarks, she takes in the local culture.  A sad, old black COACHMAN 
carries her luggage.  She boards the coachman's horse-drawn carriage.

                                                DISSOLVE TO:

EXT. THE HORSE-DRAWN CARRIAGE - DAY

Minutes later, the CARRIAGE on its way to Fort Holland. Betsy sits in back 
while the coachman -- a friendly man, not the least bit sinister -- holds the 
reins.

                                COACHMAN 
                Times gone, Fort Holland was a fort, and 
                now, no longer.  Holland's a most old 
                family, miss.  They brought the colored 
                folks to the island.  The colored folks 
                and Ti-Misery.

                                BETSY 
                Ti-Misery?  What's that?

                                COACHMAN 
                A man, miss.  An old man who lives in the 
                garden at Fort Holland.  With arrows stuck 
                in him and a sorrowful, weeping look on his 
                black face.

                                BETSY 
                        (alarmed)
                Alive?

                                COACHMAN 
                No, miss.  He's just the same as he was in 
                the beginning.  On the front side of an 
                enormous boat.  

                                BETSY 
                        (relieved)
                You mean a figurehead.

                                COACHMAN 
                If you say, miss.  And the enormous boat 
                brought the Long Ago Fathers and the Long 
                Ago Mothers of us all, chained to the 
                bottom of the boat.  

Betsy allows the scenery to distract her.

                                BETSY 
                They brought to you to a beautiful place, 
                didn't they?

                                COACHMAN 
                If you say, miss.  If you say.

                                                DISSOLVE TO:

EXT. FORT HOLLAND - DAY

The carriage pulls up at the iron gates of FORT HOLLAND, a converted military 
fort surrounded by high walls.  The coachman helps Betsy out.  While he 
collects her luggage, Betsy peers through the gate: at the great house, the 
garden, its stone pathway, and the small fountain in which is mounted the 
striking teakwood figurehead of Ti-Misery (or St. Sebastian, as the whites 
call him) -- a black man, its face contorted in pain, long iron arrow shafts 
emerging from its torso.  

                                BETSY 
                        (voice over) 
                Fort Holland.  From the gate, it seemed 
                strangely dream-like.  The garden had life 
                of its own.  I was to know all the nooks 
                and crannies of that great house.  To love 
                them or hate them according to what happened 
                there...

                                                DISSOLVE TO:

INT. THE STUDY - DAY

Fort Holland's STUDY, by daylight.  No one in sight.

                                BETSY 
                        (voice over) 
                In that house, I was to hear a strange 
                confession.  A confession only madness could 
                have wrung from the lips of a sane person.

                                                DISSOLVE TO:

INT. THE STUDY - NIGHT

Another view of the STUDY, at night.  Warmer, almost romantic. But still no 
sign of life.

                                BETSY 
                        (voice over) 
                And yet it was in the same room with the 
                candles lit that I made the discovery of my 
                own love.  Knew happiness deep through the 
                heart.

                                                DISSOLVE TO:

INT. BETSY'S BEDROOM - DAY

Betsy's BEDROOM, on her first day at Fort Holland.  As empty as the other 
rooms.

                                BETSY 
                        (voice over) 
                My room.  I can still remember my delight.  
                Unpacking, getting ready for dinner.

                                                DISSOLVE TO:

INT. BETSY'S BEDROOM - NIGHT

Another view of Betsy's BEDROOM, that evening as she sits down to her 
dressing table, puts on a bracelet and brushes her hair.  

                                BETSY 
                        (voice over) 
                And yet all the while, I wondered at the 
                stillness of Fort Holland.  The fact that 
                I saw no one on the garden paths or in the 
                rooms.

She pauses when she sees a man's shadow cast on her wall from her doorway.  
The man KNOCKS.  She turns to the jalousied door.  It's CLEMENT, the head 
servant.

                                BETSY 
                Yes?

                                CLEMENT
                Miss Connell?  It's dinner.

                                BETSY 
                Oh, thank you.

She rises and crosses to the door.

                                                DISSOLVE TO:

INT. THE DINING ROOM - NIGHT

A handsome man leans against the wall smoking a cigarette.  This is WESLEY 
RAND, a rugged, ingratiating he-man with an American accent and a sense of 
humor that just manages to conceal his turbulent drives and emotions. He 
crosses to Betsy as she enters and shakes her hand.

                                WESLEY 
                Miss Connell?

                                BETSY 
                Yes?

                                WESLEY 
                I'm Wesley Rand.  Paul wanted me to 
                introduce myself.

He leads her to the large, empty dinner table.

                                WESLEY 
                Seems we're dining by ourselves, Miss 
                Connell.  But I think I'll introduce you 
                to everyone anyway.  
                        (off a chair at the head of the table) 
                Here in the master's chair, sits the master, 
                my half-brother Paul Holland.  Oh, but 
                you've met him already?

                                BETSY 
                Yes.  On the boat.

                                WESLEY 
                        (off an elegant chair against a wall)
                That chair in the corner is the particular 
                property of Mrs. Rand, mother to both of us, 
                and much too good for either of us.  Too 
                wise, in fact, to live under the same roof.  
                She prefers the village dispensary.

                                BETSY 
                Oh, she's a doctor?

                                WESLEY 
                No.  She just runs the place.  She does 
                everything else though.  An amazing woman, 
                mother.  You'd like her.

                                BETSY 
                I like her already.

                                WESLEY 
                That's my chair.  And this is Miss Connell, 
                who is beautiful.

He pulls her chair out for her.  She sits.

                                BETSY 
                Thank you. 

Betsy notices one last chair at the far end of the table.

                                BETSY
                Who sits there?

                                WESLEY 
                        (darkly)
                My brother's wife.  
                        (quickly changes the subject) 
                Here, here, this isn't cozy at all.  Makes 
                me seem aloof and I'm anything but that.

Rather than his own seat, he pulls a spare chair over to the table and sits 
down right next to Betsy.  

                                                DISSOLVE TO:

INT. THE DINING ROOM - NIGHT

After dinner, later that night.  Clement brings out a tray and sets it on the 
table.  Wesley pours himself a drink.  Betsy sits, drinking coffee. They're 
in the middle of a conversation.

                                BETSY 
                But you're an American.

                                WESLEY 
                I went to school in Buffalo.  Paul went to 
                school in England.

                                BETSY 
                Well, I wondered about your different 
                accents.  I'm still wondering about your 
                names -- Rand and Holland.

                                WESLEY 
                We're half-brothers.  Paul is mother's first 
                child.  When his father died, she married my 
                father. Doctor Rand, the missionary.

At the sudden sound of voodoo DRUMS, Betsy looks apprehensive.

                                WESLEY 
                        (mock ominous) 
                The jungle drums.  Mysterious.  Eerie.  
                        (matter-of-fact) 
                That's the work drum over at the sugar mill.  
                St. Sebastian's version of the factory 
                whistle.  

Betsy grins at this.

                                WESLEY 
                As a matter of fact, it means that the 
                sugar syrup is about ready to be poured.

The DRUMMING stops.

                                WESLEY 
                I'm afraid you'll have to excuse me.

                                BETSY 
                Of course.  It was nice of you to spend 
                this much time with me.

                                WESLEY 
                Don't worry.  I wasn't missed.  The only 
                important man around here is the owner.

                                BETSY 
                Mr. Holland?

                                WESLEY 
                Yes, the redoubtable Paul.  He has the 
                plantation and I, as you must have noticed, 
                have all the charm.

                                BETSY 
                Oh, I don't know.  He spoke to me on the 
                boat last night and I liked him very much.

                                WESLEY 
                Ah, yes.  Our Paul.  Strong and silent and 
                very sad.  Quite the Byronic character.  
                Maybe I should cultivate it.

The DRUMMING resumes.

                                BETSY 
                Maybe you ought to go to the mill.

                                WESLEY 
                It'll wait.

Wesley starts to pour another drink, just as Paul enters.  Wesley sees him 
and immediately stops pouring.

                                WESLEY 
                        (to Paul)
                I was just going to the mill.  
                        (abruptly, to Betsy) 
                Good night, Miss Connell.

                                BETSY 
                Good night.

Wesley leaves.  Paul watches him go, then turns to Betsy as Clement arrives 
carrying a dinner tray.

                                PAUL 
                        (to Betsy)
                Have the servants made you comfortable?

                                BETSY 
                Yes, thank you.

Paul inspects the tray.

                                PAUL 
                Looks very nice, Clement.  I'll take it 
                to Mrs. Holland.

Paul takes the tray and Clement leaves.

                                BETSY 
                Oh, can't I take it for you?

                                PAUL 
                No, thank you.  Tomorrow's soon enough for 
                you to start work.

Betsy watches Paul leave the house and carry the tray to a tower on the other 
side of the garden.

                                                DISSOLVE TO:

INT. BETSY'S BEDROOM - NIGHT

Betsy's BEDROOM at bedtime, that night.  She wears a robe, blows out a 
candle, crosses to her bed while winding an alarm clock, blows out another 
candle, and starts to arrange her pillows.  But she stops and crosses to her 
door, looking out into the garden.  From this distance, she sees a mysterious
figure in a flowing white dress -- JESSICA HOLLAND, Paul's wife: thin,
blonde, beautiful and blank-faced -- wandering the grounds as if she might be 
sleepwalking in a trance.  A puzzled Betsy returns to her bed and removes her 
robe.

                                                DISSOLVE TO:

EXT. THE GARDEN - NIGHT

The eerie figure of Ti-Misery in the GARDEN. The night wind shakes the nearby 
plants.  A hushed RUSTLING noise.

                                                DISSOLVE TO:

INT. BETSY'S BEDROOM - NIGHT

Later that night.  Betsy, lying in bed, awakens at the echoey sound of loud 
SOBBING.  Betsy rises, puts on her robe and heads out into the GARDEN.  

EXT. THE GARDEN - NIGHT

The sobbing seems to be coming from the fort's nearby tower.  Betsy slowly 
crosses the garden to the tower's door.

INT. THE TOWER - NIGHT

Betsy opens the wooden door and enters the darkened tower.  A long steep 
stone staircase leads upstairs, the apparent source of the sobs, though the 
echo of the tower makes it hard to be sure.  Betsy slowly crosses to the 
staircase and climbs.  Halfway up, the sobbing ceases.  Betsy pauses.

                                BETSY 
                Mrs. Holland?

Betsy continues and reaches the second floor.  It's empty.

                                BETSY 
                Mrs. Holland?

At the bottom of the stairs, a figure in white appears.  It's Jessica 
Holland -- still a willowy blonde with a sad, blank expression that never
changes. Jessica begins to climb the stairs to the second floor. She is slow 
and zombie-like in her movements, like a sleepwalker. On the second floor, 
Betsy, unaware of Jessica's presence, continues to peer into the darkness.

                                BETSY 
                Mrs. Holland?

Betsy suddenly sees Jessica reach the second floor and walk toward her.  
Betsy approaches the oncoming Jessica.

                                BETSY 
                        (apologetic)
                I didn't mean to get you up, Mrs. 
                Holland.  

But Jessica does not respond. She keeps walking, threatening to plow into 
Betsy.  Jessica's vacant stare begins to unnerve Betsy.

                                BETSY 
                        (quietly)
                Mrs. Holland...

Jessica keeps walking toward Betsy, forcing her to backtrack. Betsy backs up 
against the stone wall.  Staring into Jessica's frozen face, Betsy panics and 
SCREAMS, rushing past Jessica and pressing herself up against the opposite 
wall.  As if in a trance, Jessica turns and slowly pursues her.  Meanwhile, 
on the first floor of the tower, two servants stand nervously in the doorway, 
while Paul, in a robe and carrying a flashlight begins to mount the stairs.  
Jessica closes in on Betsy just as Paul reaches the top.

                                PAUL 
                Jessica!

Jessica suddenly pauses, inches away from a terrified Betsy.  Paul joins them 
and guides Jessica away while turning to ALMA, the young black maid, who, 
along with Clement, has followed him up the stairs.

                                PAUL 
                Take Mrs. Holland to her room, Alma.

                                ALMA
                Come, Miss Jessica.  Come with Alma.

Alma leads Jessica downstairs.  A relieved Betsy still stands against the 
wall.

                                BETSY 
                I heard someone crying.  A woman.

                                PAUL  
                A woman crying?  There's been no crying 
                here.

                                CLEMENT 
                Mr. Paul?  Yes, there was crying tonight.  
                It was Alma.  Her sister was brought 
                a-birthing.

                                PAUL 
                Thank you, Clement.

Paul gives Betsy a disapproving look, then walks off.  Paul, Betsy and 
Clement head back down the stairs, Clement leading the way with a lantern.  
At the bottom of the stairs, Paul and Betsy head for the tower door.  Alma 
pokes her head out of Jessica's bedroom door, near the bottom of the stairs, 
and whispers to Clement.

                                ALMA 
                Clement?  I'm gonna stay with Miss Jessica 
                in case the nurse-lady takes to roamin' 
                again.

                                CLEMENT 
                Don't you go crying no more.  That's what 
                frightened Miss Betsy.

                                ALMA 
                Well, she didn't sooth me any -- 
                hollering around in the tower!

                                CLEMENT 
                Sssshhhhh!

                                                CUT TO:

EXT. THE GARDEN - NIGHT

Paul and Betsy walk back to the house.

                                BETSY 
                Why was the maid crying?

                                PAUL 
                I'm not sure I can make you understand.

They pause in front of Ti-Misery.

                                PAUL 
                        (off the figure) 
                Do you know what this is?

                                BETSY 
                The figure of St. Sebastian.

                                PAUL 
                Yes.  But it was once the figurehead of a 
                slave ship.  That's where our people came 
                from.  From the misery and pain of slavery.  
                For generations they found life a burden.  
                That's why they still weep when a child is 
                born -- and make merry at a burial.

Paul, reflecting on the sadness of slave people and slave ways, pauses to 
watch Clement returning to the house.

                                PAUL 
                I've told you, Miss Connell, this is a sad 
                place.

Paul walks to the house, leaving Betsy with the figure.

                                                FADE OUT

INT. BETSY'S BEDROOM - DAY

FADE IN on Betsy's BEDROOM, the next morning as Alma enters with a breakfast 
tray for Betsy who is still asleep in bed.  Alma sets the tray on an end 
table and wakes Betsy by lifting the blanket off her foot and gently wiggling 
her big toe.  Betsy opens her eyes.

                                ALMA 
                Good morning, miss.

                                BETSY 
                Thank you for waking me.

                                ALMA 
                I didn't want to frighten you out of your 
                sleep, miss.  That's why I touched you 
                farthest from your heart.

Betsy smiles at this and starts to get up.  

                                ALMA 
                Oh, don't get up, miss.  

Alma crosses back to the tray and starts preparing breakfast for Betsy.

                                ALMA 
                I brought your breakfast.  Just like I do 
                for Miss Jessica.

                                BETSY 
                But I'm Miss Jessica's nurse, Alma.  You 
                don't have to do that for me.

                                ALMA 
                I know it, miss.  But I like to do it.  I 
                like to tend for Miss Jessica and I want to 
                tend for you.  You settle right back, now, 
                and I'll make sure you're comfy.

Alma places a big pillow behind Betsy.

                                BETSY 
                Thank you.

                                ALMA 
                Miss Jessica used to say this is the only 
                way for a lady to break her fast -- in bed, 
                with a lacy cushion to bank her head up.  
                If you'd only seen her, Miss Connell.  
                She looked so pretty.

Alma places the tray in Betsy's lap.

                                BETSY 
                She must have been beautiful.  What happened 
                to her, Alma?

                                ALMA 
                        (matter-of-fact)
                She was very sick and then she went     
                mindless, miss.

                                BETSY 
                Well, we'll see if we can't make her well, 
                Alma.  You and I.

                                ALMA 
                I do my best every day I dress her just as 
                beautifully as if she was well.  It's just 
                like dressing a great big doll.

Alma places a huge, puffed-up pastry (brioche) on the tray.

                                BETSY 
                What's this?

                                ALMA 
                A puff-up, I call it.  But Miss Jessica 
                always says "brioche."

                                BETSY 
                It looks like an awful lot of breakfast.  I 
                don't know if I'll be able to get away with 
                it.

Betsy touches the pastry with her fork and it instantly deflates much to her 
and Alma's amusement.

                                                DISSOLVE TO:

INT. THE STUDY - DAY

The STUDY, a little later that morning.  Paul sits at his desk talking to 
Betsy who wears her nurse's uniform.

                                PAUL 
                I made it clear in my letter to the 
                company.  This is not a position for a 
                frightened girl.

                                BETSY 
                        (quietly, but on the defensive)
                I'm not a frightened girl.

                                PAUL 
                That's hard to believe after what happened 
                last night.

                                BETSY 
                If I were as timid as you seem to think, 
                Mr. Holland, I wouldn't have gone to the 
                tower in the first place.

                                PAUL 
                And what's so alarming about the tower, 
                Miss Connell?

                                BETSY 
                Nothing really, but...  You must admit, it's 
                an eerie sort of place.  So dark.

                                PAUL 
                        (faintly amused)
                Surely nurses aren't afraid of the dark?

                                BETSY 
                Of course not.  Well, I used to be afraid 
                of the dark when I was a child, but I'm not 
                afraid any more.

Paul rises to file some paperwork.

                                BETSY 
                Frankly, it was something of a shock to see 
                my patient that way for the first time.  
                Nobody had told me Mrs. Holland was... 
                a mental case.

Paul turns abruptly from the paperwork.

                                PAUL 
                A mental case?

                                BETSY 
                I'm sorry.

                                PAUL 
                        (again the impersonal employer)
                Why should you be?  My wife is a mental 
                case.  Please remember that, Miss Connell.  
                Particularly when some of the foolish people 
                on the island start regaling you with local 
                legends.  You'll find superstition a 
                contagious thing.  Some people let it get 
                the better of them.  I don't think you will.

                                BETSY 
                No.

                                PAUL 
                Come along.  I'll introduce you to Dr. 
                Maxwell and your patient.

Betsy rises and they walk off.

                                                DISSOLVE TO:

INT. JESSICA'S ROOM - DAY

Later that day, Betsy and DR. MAXWELL enter.  Maxwell is a small, neat man 
with a charming voice and a pleasant but somewhat professional personality.
As distinct from the rest of the tower, the room is quite pleasant, kept up 
nicely by the servants.  A harp and stool sit silently by the window.

                                DR. MAXWELL
                I can't tell you how glad I am to have you 
                here, Miss Connell.

                                BETSY 
                I know I'll enjoy working with you, Doctor.

                                DR. MAXWELL 
                I have an enormous amount of respect for 
                nurses, but most of them scare me.  I always 
                feel them behind my back, looking at their 
                training manuals, noting my mistakes.

                                BETSY 
                I'll keep tabs on you.

They approach Jessica who lies in bed, staring into space.

                                DR. MAXWELL 
                She makes a beautiful zombie, doesn't she?  

Betsy looks shocked by the comment.

                                DR. MAXWELL 
                        (explains)
                I knew Jessica.  We were friends.  
                Sometimes it's better for a doctor to 
                laugh than pull a long face when things 
                are hopeless.

                                BETSY 
                Yes, I know.  But I don't know about 
                zombies, Doctor.  Just what is a zombie?

                                DR. MAXWELL 
                A ghost, the living dead.  It's also a drink.

                                BETSY 
                Yes, I tried one once.  But there wasn't 
                anything dead about it.

                                DR. MAXWELL 
                We've a more serious problem to deal with, 
                Miss Connell.  You want to know about your 
                patient, don't you?

                                BETSY 
                Please.

                                DR. MAXWELL 
                I'll try to put it simply.  Mrs. Holland 
                had a tropical fever.  Very severe.  We 
                might say that portions of the spinal cord 
                were burned out by this fever.  The result 
                is what you see.  A woman without any will 
                power.  Unable to speak or even act by 
                herself, though she will obey simple 
                commands.

                                BETSY 
                Does she suffer?

                                DR. MAXWELL 
                I don't know.  I'd rather think of her as 
                a sleepwalker who can never be awakened.  
                Feeling nothing, knowing nothing.  There's 
                very little we can do except keep her 
                physically comfortable, light diet, some 
                exercise.  

                                BETSY 
                She can never be cured?

                                DR. MAXWELL 
                I've never heard of a cure.

                                BETSY 
                Could you give me some details of treatment 
                and diet?

                                DR. MAXWELL 
                I prepared these for you last night.

Dr. Maxwell hands Betsy some papers from his medical bag.  He collects his 
hat and the bag.

                                DR. MAXWELL 
                I'll drop by in a day or so to see how 
                you're getting on.

They both head for the door.

                                                DISSOLVE TO:

EXT. THE GARDEN - DAY

Minutes later, Betsy reads the papers while walking to the house. Paul, 
reading a newspaper on the VERANDA, turns to her.

                                PAUL 
                You didn't find your patient so frightening 
                in the daylight, did you?

                                BETSY 
                Mrs. Holland must have been very beautiful.

                                PAUL 
                Many people thought her beautiful.

Betsy is about to enter the house.

                                PAUL 
                Tell me, Miss Connell. Do you consider 
                yourself pretty?

                                BETSY 
                        (taken aback)
                I don't know.  I suppose so.

                                PAUL 
                And charming?

                                BETSY 
                I've never given it much thought.

                                PAUL 
                Don't.  You'll save yourself a great deal 
                of trouble and other people a great deal 
                of unhappiness.

Betsy thinks about this for a moment and then enters the house.

                                                FADE OUT

EXT. THE TOWN - DAY

FADE IN some days later, as Betsy (out of her uniform) walks through St. 
Sebastian's main town, or what passes for it.  Wesley, in sugar planter's 
work clothes, rides up to her on horseback, pleasantly surprised to see her.

                                WESLEY 
                Betsy!  Where are you going?

                                BETSY 
                It's my day off.  

                                WESLEY 
                What in the world can you do with a day 
                off in St. Sebastian?

                                BETSY 
                I was just beginning to wonder.  Aren't 
                there shops, restaurants and things here?

                                WESLEY 
                Well, "and things" is a better description 
                of what you'll find.

Wesley dismounts.

                                WESLEY 
                I'd better come along and show you the town.  

                                BETSY 
                Don't you have to work?

                                WESLEY 
                        (grinning)
                By a curious coincidence, it's my day off, 
                too.

He leads her, and the horse, away.

                                                DISSOLVE TO:

EXT. THE CAFE - DAY

An outdoor cafe by the seaside, a bit later. The townspeople crowd around a 
guitar-playing CALYPSO SINGER who does a rendition of "British Grenadiers":

                                SINGER 
                        (sings)
                Some talk of Alexander 
                And some of Hercules
                Of Hector and Lysander 
                And [?] such [?] as these
                But of all the world's great heroes
                There's none that can compare....

TI-JOSEPH, the proprietor, clears a table.  Betsy and Wesley share a table 
around the corner from the singer.  The song plays under their conversation.

                                WESLEY 
                Say, Joseph.  Bring me another.  I have to 
                keep the lady entertained.

                                BETSY 
                It must be hard work entertaining me if it 
                requires six ounces of rum.

                                WESLEY 
                Six ounces?

                                BETSY 
                Higher mathematics.  Two ounces to a drink, 
                three drinks, six ounces.

                                WESLEY 
                Well, how did you know there were two 
                ounces in a drink?

                                BETSY 
                I'm a nurse.  I always watch people when 
                they pour something.  I watched Ti-Joseph 
                and it was exactly two ounces.

The singer begins a new song.  Wesley grows immediately uncomfortable, but 
Betsy is curious. 

                                SINGER 
                        (sings)
                There was a family that lived on the isle
                Of St. Sebastian a long, long while
                The head of the fam'ly was a Holland man
                And the younger brother, his name was Rand 
                Ah, woe! Ah, me!
                Shame and sorrow for the family...

Wesley tries to divert Betsy's attention from the song.

                                WESLEY 
                Listen, did I ever tell you the story 
                about the little mule on the plantation?  
                The little mule...

                                BETSY 
                Wait a minute, I want to hear this.

                                SINGER 
                        (sings)
                The Holland man, he kept in a tower
                A wife as pretty as a big white flower
                She saw the brother and she stole his heart...

Ti-Joseph arrives with Wesley's drink and Wesley gives him a disapproving 
shake of the head.  Ti-Joseph crosses to the singer and whispers something.

                                SINGER 
                        (sings)
                And that's how the badness and the trouble start --

The singer stops and turns to a colleague, in annoyance.

                                SINGER
                Ti-Malice, trip up my tongue. Why do you wish 
                trouble on me for?  You saw Mr. Rand go in 
                there.  Why don't you tell me?  Apologize --
                that's what I'll do.  Creep in just like a 
                little fox and warm myself in his heart.

The singer hands his guitar to the colleague and heads over to Wesley's 
table.  Betsy talks with Wesley who looks down, embarrassed.

                                BETSY 
                I wouldn't have listened, Wesley, if I'd 
                realized. I --

The singer appears before them and bows deeply to Wesley.

                                SINGER
                Mr. Rand? I've come to apologize.

                                WESLEY 
                        (curtly)
                All right.

                                SINGER
                Just an old song I picked up somewhere.  
                Don't know who did make it up.

                                WESLEY 
                        (growing exasperated)
                All right. All right.

                                SINGER
                Some of these singers on this island, they 
                tattle-tale on anybody.  Believe me, Mr. 
                Rand, I never would sing that song if I'd 
                known you were with a lady.

                                WESLEY 
                        (boils over) 
                Get out of here!

The singer takes two steps back, bows deeply to Wesley, and quickly departs.

                                BETSY 
                Don't let it bother you so, Wesley.

                                WESLEY 
                You heard what he said.  Shocked?

                                BETSY 
                I just wish I hadn't heard.

                                WESLEY 
                Why?  Everybody else knows it.  Paul saw 
                to that.  Sometimes I think he planned the 
                whole thing from the beginning just to 
                watch me squirm.

                                BETSY 
                That doesn't sound like him.

                                WESLEY 
                That's right.  He's playing the noble 
                husband for you, isn't he?  Well, that won't 
                last long.

Wesley starts another drink.

                                BETSY 
                I think we'd better go now.  Will you take 
                me home?

                                WESLEY 
                        (ignoring her, speaking a
                        little drunkenly)
                One of these days he'll start on you, just 
                like he did on her.  
                        (imitating)
                "You think life's beautiful, don't you, 
                Jessica?  You think you're beautiful, don't 
                you, Jessica?"  
                        (bitterly)
                What he could do to that word "beautiful."  
                That's Paul's great weapon, words.  He uses 
                them like other men use their fists.

A concerned Betsy looks at Wesley nervously.

                                                DISSOLVE TO:

EXT. THE CAFE - NIGHT

A lamp near the CAFE being lit, that night. All is quiet.  In the cafe, 
everyone has gone home, except for Ti-Joseph, who is cleaning up; an 
unconscious Wesley who is face down on the table; and Betsy who stands over 
him trying to awaken him.

                                BETSY 
                Wesley?  Wesley, it's time we started home.

The calypso singer emerges from the darkness, this time with his guitar, and 
sings to Betsy the rest of the "Fort Holland Calypso Song."   Unlike earlier, 
his manner is ominous and unapologetic.  With a view of the turbulent ocean 
behind him, the singer slowly walks toward Betsy as he plays, unnerving her.

                                SINGER 
                        (sings)
                The wife and the brother, they want to go
                But the Holland man, he tell them no.
                The wife fall down and the evil came
                And it burned her mind in the fever flame.
                Ah, woe! Ah, me!
                Shame and sorrow for the family!

A scared Betsy shakes the unconscious Wesley.

                                BETSY 
                Wesley!  Wesley, we must get back to Fort 
                Holland.

The singer draws nearer, staring at Betsy.

                                SINGER 
                        (sings)
                Her eyes are empty and she cannot talk
                And a nurse has come to make her walk.
                The brothers are lonely and the nurse is young
                And now you must see that my song is sung.
                Ah, woe! Ah, me!
                Shame and sorrow for the family!
                Ah, woe! Ah, me!
                Shame and sorrow for the family!

As the song concludes, an older woman appears and her commanding presence 
seems to cause the singer to stop and instantly depart.  This is MRS. RAND, 
Paul and Wesley's mother, a self-assured woman who wears her authority 
lightly.  She sees Wesley just as he's waking up.

                                MRS. RAND 
                        (to Betsy) 
                I think you need some help.

                                BETSY 
                I'm afraid so.

                                MRS. RAND
                Ti-Joseph?

Ti-Joseph crosses to Wesley.

                                MRS. RAND 
                Help Mr. Rand on to his horse and start him 
                toward the fort.

Joseph helps Wesley out of the cafe.

                                BETSY 
                Oh, but he's in no condition to ride.  I-I 
                don't think he could even sit in the saddle.

                                MRS. RAND 
                Don't worry about a sugar planter.  Give 
                him a horse and he'll ride to his own 
                funeral.

The sound of the horse's HOOFBEATS recede into the distance.

                                MRS. RAND 
                I really intended going out to the fort 
                and meeting you long before this, Miss 
                Connell.  I am Mrs. Rand, Wesley's mother.

They shake hands.

                                BETSY 
                Oh, Mrs. Rand.  I --

                                MRS. RAND 
                Now, don't tell me you're sorry that I 
                should meet you this way.  I'm even a 
                little glad that Wesley's difficulties 
                brought us together.

Mrs. Rand picks up Wesley' bill from the table, studies it, takes some money 
from her purse and leaves it on the table with the bill.

                                BETSY 
                Believe me, he doesn't do this often.  
                It's --

                                MRS. RAND 
                Nonsense.  I know Wesley's been drinking 
                too much lately.  I know a great deal more 
                about what goes on at the fort than you'd 
                think.  And I know all about you.  That 
                you're a nice girl.  Competent.  And kind 
                to Jessica.  The fort needs a girl like you.  
                Come, I must get you back there.  I'll walk 
                back with you and stay the night.  The change 
                will do me good.

                                BETSY 
                Thank you, Mrs. Rand.

They start walking.

EXT. THE TOWN - NIGHT

The two women walk side by side down a deserted road.

                                BETSY 
                I think you're every bit as nice as 
                Wesley says you are.

                                MRS. RAND 
                So, he says I'm nice?  He's a nice boy, 
                too, Miss Connell.  A very nice boy.  
                I'm worried about his drinking though.  
                You could do me a great favor.

                                BETSY 
                I'd love to.

                                MRS. RAND 
                Use your influence with Paul.  Ask him to 
                take the whiskey decanter off the dinner 
                table.

                                BETSY 
                I have no influence with Mr. Holland.

                                MRS. RAND 
                Try it.  You may have more than you think.

                                                FADE OUT

EXT. THE VERANDA - DAY

FADE IN on Paul and BAYARD the planter, walking through the fort carrying 
some cane stalks, early the next morning.

                                PAUL 
                No, it's not a drought, Bayard.  Rain's just 
                a little late, that's all.

                                BAYARD
                I've seen the drought before, Mr. Holland.  
                Cane's too dry.  It's dangerous that way.

They meet Betsy coming in the opposite direction.  She wears her nurse's 
uniform and carries a tray.

                                PAUL 
                Good morning.

                                BETSY 
                Good morning.

                                PAUL 
                I heard about your little misadventure 
                yesterday.  On your first day off, too.

                                BETSY 
                Oh, I had a good time, up to a point.

                                PAUL 
                        (sincerely)
                Wesley can be very entertaining.

                                BETSY 
                        (encouraged by his tone)
                Yes, he can.  But I was wondering. You 
                know, if you could leave the whisky decanter 
                off the table --

                                PAUL 
                It's always stood there, Miss Connell.  I 
                can remember it in my grandfather's time.  
                And my father's.

                                BETSY 
                But it must be an added temptation to 
                Wesley.  And... though your brother's not 
                an alcoholic yet, Mr. Holland, I can tell 
                you as a nurse that it won't be long.

                                PAUL 
                        (coldly)
                Miss Connell, I engaged you to take care of 
                my wife, not my brother.  I'm afraid the 
                decanter will have to stay where it is.

Paul abruptly turns and he and Bayard walk off.

                                                DISSOLVE TO:

INT. THE DINING ROOM - NIGHT

That night, Clement serves dinner to Paul, Wesley and Betsy. The ululating 
SOUND of a great sea conch being blown causes them to react.

                                WESLEY 
                There they go.

                                PAUL  
                Bayard told me they were going to ask 
                Damballa for rain. Fields are dry as dust.

                                BETSY 
                But what is it, Mr. Holland?

                                PAUL  
                It's a big seashell.  A conch.  They make 
                a sort of bugle out of it to call the 
                faithful to the Houmfort.

                                BETSY 
                But I don't know what a Houmfort is.  Or 
                a Damballa.

                                PAUL 
                It's voodoo.  The Houmfort is the temple.

                                WESLEY 
                And Damballa is one of the gods.  The big 
                Papa God.

                                BETSY 
                You don't seem very disturbed by it.  I 
                thought voodoo was something everyone was 
                frightened of.

                                PAUL 
                I'm afraid it's not very frightening.  They 
                sing and dance and carry on.  And then, as I 
                understand it, one of the gods comes down and 
                speaks through one of the people.

                                WESLEY 
                For some reason, they always pick a night like 
                this.  This hot wind even sets me on edge.

Wesley reaches for the whisky decanter, but it's not there.

                                WESLEY 
                        (to Clement) 
                Clement. You've forgotten the decanter.

                                PAUL 
                I think from now on, Wesley, we'll try 
                serving dinner without it.

                                WESLEY 
                That's odd.  What are you trying to do?  
                Impress Miss Connell?

                                PAUL 
                You'd make a better impression without 
                whisky.

                                WESLEY 
                Thank you.  You've always had such tender 
                concern for me.  And for Jessica.

                                PAUL 
                Let's drop it, Wesley.

                                WESLEY 
                Why?

                                PAUL 
                It isn't considered polite to quarrel 
                before ladies.

Betsy looks down, embarrassed.

                                WESLEY 
                Oh, I see.  Let's be reserved and 
                gentlemanly.  You were so reserved and 
                gentlemanly, so polite that night with 
                Jessica.

Wesley rises.

                                WESLEY 
                I remember --

                                PAUL 
                Wesley!

Paul rises and turns to Betsy.

                                PAUL 
                Miss Connell, I think it would be better 
                if I had Clement bring the rest of your 
                dinner to your room.

An uncomfortable Betsy rises and walks off.

Paul and Wesley stand in awkward silence at the table. 

                                                FADE OUT

INT. BETSY'S BEDROOM - NIGHT

Later that evening, Betsy sits on the arm of a chair listening to the MUSIC 
of Chopin's E Minor Etude. Paul plays it, not brilliantly, but not badly on 
a piano in the STUDY. After listening for a few moments, Betsy rises and 
walks to the study.  

INT. THE STUDY - NIGHT

As Betsy enters and closes the door behind her, Paul stops and turns to her.

                                BETSY 
                I heard you playing.  I --

                                PAUL 
                I often do.

                                BETSY 
                I know what you went through tonight.  I 
                kept thinking of what you said.  That-that 
                all good things died here, violently.

Paul rises from the piano and crosses to her.

                                PAUL 
                Why did you come in here?

                                BETSY 
                I don't know.  I wanted to help you and now 
                that I'm here, I don't know how.

                                PAUL 
                        (with unexpected sincerity)
                You have helped me.  I want you to know 
                that I'm sorry I ever brought you here.  
                When I thought of a nurse, I thought of 
                someone hard and impersonal.

                                BETSY 
                I love Fort Holland.

                                PAUL 
                And what you saw tonight -- two brothers set 
                against each other and a woman driven mad by 
                her own husband -- do you love that?

                                BETSY 
                You didn't drive her mad.

Betsy touches Paul's arm.  He looks down at this gesture, surprised.

                                PAUL 
                Before Jessica was taken ill, there was a 
                scene.  An ugly scene.  I told her she 
                couldn't go.  That I'd keep her here by 
                force if necessary.  You never knew Jessica 
                as she was.

The distant sound of the DRUMS begin again and all at once Paul is in no mood 
to talk. 

                                PAUL 
                        (chilly)
                I think it will be best for all of us not 
                to discuss this again.  Thank you.  I know 
                you meant to be kind.

A stunned Betsy leaves. Paul closes the door behind her.

                                                DISSOLVE TO:

EXT. THE BEACH - NIGHT

That night, on the hills overlooking the BEACH, Betsy walks amid the rocks 
and sand, looking down at the crashing waves, deep in thought.

                                BETSY 
                        (voice over) 
                I don't know how their own love is revealed 
                to other women.  Maybe in their sweethearts' 
                arms, I don't know.  To me, it came that 
                night after Paul Holland had almost thrust 
                me from the room. Certainly from his life.  
                I said, I loved him.  Even as I said it, 
                I-I knew he still loved his wife.  And then 
                because I loved him, I felt I had to restore 
                her to him.  To make her what she'd been 
                before.  To make him happy.

                                                FADE OUT

INT. JESSICA'S ROOM - DAY

FADE IN on Paul in Jessica's ROOM, the next day.  Also in the room are Betsy, 
Doctor Maxwell and Jessica.

                                PAUL 
                All that you say comes to the same thing.  
                You're asking me to pass a sentence of 
                life or death on my wife.

                                DR. MAXWELL 
                Insulin shock treatment is an extreme 
                measure, Paul, as Miss Connell pointed out 
                when she suggested it to me, but --

                                PAUL 
                You admit that this is terribly dangerous.  
                So, why do you advise it?

                                BETSY  
                I've worked with it.  I've seen cures.  
                It's at least a hope.

                                DR. MAXWELL 
                It's the very danger itself, Paul, that 
                makes the cure possible.  Insulin produces 
                a state of coma.  Then the patient is 
                revived by a violent shock to the nerves.  
                That shock can kill, but it can also cure.

                                PAUL 
                I don't know.

                                DR. MAXWELL 
                It's a hard decision to make.  But yours is 
                only a technical responsibility.

                                PAUL 
                Technical responsibility, real responsibility.  
                Question is, will she live or die?

                                BETSY  
                You're wrong, Mr. Holland.  It isn't a 
                question of life or death.  Your wife isn't 
                living.  She's -- she's in a world that's 
                empty of joy and meaning.  We have a chance 
                to give her life back to her.

But Paul seems unsure.

                                                DISSOLVE TO:

INT. JESSICA'S ROOM - NIGHT

That night, Betsy and the doctor, at Jessica's bedside, monitor their patient.
Paul leans against the doorway.  The tension is thick. Betsy crosses to Paul.

                                PAUL 
                Well?

                                BETSY  
                She's alive.  That's all.

She starts to walk away, when Paul reaches out to her with both arms and 
clutches her shoulders.

                                PAUL 
                Don't take it so much to heart, Betsy.

                                BETSY  
                I imagined it so differently.

                                PAUL 
                I've been waiting for hours, trying to 
                imagine Jessica well again.

                                BETSY  
                And I come bringing you nothing.

                                PAUL 
                Instead, you come bringing me sympathy, 
                Betsy.  And a generous heart.  Don't forget 
                that.  Don't call that nothing.

A downcast Betsy quickly walks back to Jessica, just as Wesley emerges from 
the shadows behind Paul to confront him.

                                WESLEY 
                Very sad.  Very sweet.  The noble husband 
                and the noble nurse comforting each other 
                'cause the patient still lives.  I've been 
                imagining, too, Paul.  Only I didn't have 
                to wonder how I'd feel. I knew.  I'm not in 
                love with another woman.

Wesley strides off. Paul watches him go.

                                                FADE OUT

EXT. THE GARDEN - DAY

FADE IN on the GARDEN, the next day, where the servants cluster around Alma's 
sister MELISSE and her newborn baby, laughing and commenting on how adorable 
the little child is.  Betsy emerges from the tower carrying a tray.

                                ALMA 
                Oh, I'm sorry, Miss Betsy.  
                        (off the tray) 
                I'll take it right away.

                                BETSY  
                Oh, that's all right, Alma.

Betsy puts the tray down.

                                BETSY  
                Oh, is this your sister's baby?

                                ALMA 
                Yes, Miss Betsy. This is little Ti-Victor 
                and my sister Melisse.

                                BETSY  
                Oh, I'm so glad I came out.  I've been 
                wanting to meet you, Melisse.

                                MELISSE
                More so, miss.

                                BETSY 
                        (off Ti-Victor) 
                Oh, he's a wonderful baby.  Beautiful.

The baby smiles at Betsy.

                                MELISSE
                He's chosen you, miss.

                                ALMA 
                That's what we say, Miss Betsy, when a 
                baby first goes visiting.  Those he smiles 
                at will be his friends.

                                BETSY  
                That makes me very proud.  Here, Ti-Victor.

Betsy removes a silver pin from her lapel and pins it to the baby's swaddling 
clothes.  The servants gasp at what, for them, is an extravagant gift.

                                BETSY  
                That's so you won't forget I'm your friend.

                                ALMA 
                Thanks, Miss Betsy!

Betsy and Alma watch the other servants walk into the house, chattering and 
laughing.

                                BETSY  
                It's nice to see people so happy.

                                ALMA 
                They're not always happy, Miss Betsy.

                                BETSY  
                I suppose not.

                                ALMA 
                Things so bad, nobody can help.  Not even 
                Dr. Maxwell.

                                BETSY  
                Doctors and nurses can only do so much, 
                Alma.  They can't cure everything.

Betsy and Alma start to walk through the garden.

                                ALMA 
                Doctors that are people can't cure 
                everything.

                                BETSY  
                What do you mean -- "doctors that are 
                people"?

                                ALMA 
                There are other doctors.  Yes?  Other doctors.  
                Better doctors.

                                BETSY  
                Where?

                                ALMA 
                At the Houmfort.

                                BETSY  
                That's nonsense, Alma.

                                ALMA 
                They even cure nonsense, Miss Betsy.  Mama 
                Rose was mindless.  I was at the Houmfort 
                when the Houngan brought her mind back.

They stop walking.

                                BETSY  
                Was Mama Rose like Mrs. Holland?

                                ALMA 
                No.  She was mindless, but not like Miss 
                Jessica.  But the Houngan cured her.

                                BETSY  
                Are you trying to tell me that the voodoo 
                priest could cure Mrs. Holland?

                                ALMA 
                Yes, Miss Betsy.  I mean that.  The Houngan 
                will speak to the rada drums and the drums 
                will speak to Legba and Damballa.

Betsy remains unconvinced.

                                ALMA 
                        (whispers)
                Better doctors.

Betsy walks away.

                                                DISSOLVE TO:

INT. THE DISPENSARY - DAY

A small, plainly furnished room with a plain table, a few bentwood chairs and 
a medicine cabinet and a few washbasins and water pitchers on a shelf. Betsy, 
in street clothes, watches as Mrs. Rand helps a very young boy into his shirt 
after having rubbed ointment on a sore on his chest.  He wears an obeah bag 
tied around his neck on a string. 

                                MRS. RAND 
                        (to the boy, off the charm)
                Ti-Peter, how do you ever expect to get to 
                Heaven with one foot in the voodoo Houmfort 
                and the other in the church.  Ah, get along 
                with ya.

The boy walks off. Mrs. Rand washes up and straightens the room.

                                MRS. RAND  
                Some of this native nonsense. The Houngan 
                has his prescription and Dr. Maxwell and 
                I have ours.

                                BETSY  
                You never talked about voodoo before, 
                Mrs. Rand.

                                MRS. RAND 
                Haven't I?  I suppose I take it for granted.  
                Just part of everyday life here.

                                BETSY  
                You don't believe in it?

                                MRS. RAND 
                A missionary's widow?  Isn't very likely, 
                is it?

                                BETSY  
                Well, I don't mean believe in it like 
                believing in a religion.  I mean, do you 
                believe it has power?  Do you think it 
                could cure a sick person?

                                MRS. RAND 
                Frankly, my dear, I didn't expect anything 
                like that from a nice level-headed girl like 
                you.  What are you driving at?

                                BETSY  
                I heard the servants talking about Mama Rose.  
                She said she'd been "mindless"...

                                MRS. RAND 
                Her son drowned.  It affected her mind.  
                The Houngan cured her by giving her a 
                little practical psychology.

                                BETSY 
                What if I took Jessica to see him?

                                MRS. RAND 
                You don't know what goes on at the Houmfort.  
                It might be very dangerous to take her 
                there.  Dangerous for both of you.  These 
                people are primitive.  Things that are 
                natural to them might shock and horrify you.

                                BETSY 
                I'm not easily frightened. 

                                MRS. RAND 
                That may be the pity of it.

                                                DISSOLVE TO:

EXT. FORT HOLLAND - NIGHT

That night, Paul works in the STUDY while Wesley sits on the VERANDA, 
drinking.  All is quiet, except for a stiff breeze RUSTLING through the 
trees.  Betsy, with a dark cape over her white nurse's uniform furtively 
leads Jessica through the GARDEN to the tower where Alma awaits them.  

                                BETSY  
                I'm going to the Houmfort, Alma.

Alma opens the wooden door to the tower and the three women enter.
 
                                                DISSOLVE TO:

INT. THE TOWER - NIGHT

The inside of the darkened TOWER, moments later.  While Betsy stands over her 
with a flashlight, Alma pours corn meal from a bowl onto the floor.  Using 
her finger, Alma draws a map in the meal while giving directions.

                                ALMA 
                        (whispers)
                You go right from the mill to an [?] sign 
                in the cane.  Here, you turn and face a [?] 
                tree on the hill.  Walk toward it and keep 
                walking.  Keep walking, miss [and then?] 
                you come to the crossroads.

Alma pulls two voodoo patches from her dress and pins them to Betsy and 
Jessica's shoulders.  Betsy's is white, in contrast to her dark cape.

                                ALMA 
                        (whispers)
                There's a guard there, Carre-Four.  He 
                keeps the crossroads.  But he won't do you 
                no harm when he sees the voodoo patches.  
                He'll let you pass.

Jessica's patch is black, in contrast to her white dress.

                                                DISSOLVE TO: 

EXT. THE SUGAR CANE FIELD - NIGHT

The seven foot tall figure of Carre-Four, the voodoo guard, stands immobile 
at the crossroads in the sugar cane FIELD, silhouetted against the moonlight, 
later that night.  The stiff breeze shakes the cane stalks.  

Elsewhere in the field, Betsy leads Jessica through the cane.  An odd MOANING 
sound causes Betsy to stop and turn toward it.  She shines her flashlight on a
cow's skull mounted on a stick -- the wind blowing through the hollow skull 
makes the noise.  Betsy leads Jessica past it.  The two women emerge into a 
clearing.  

Betsy is taken aback by the sight of a dead lamb's carcass hanging from a 
banyan tree.  They press on, back into the cane.  Another weird sound -- an 
ominous vibrating NOISE -- leads Betsy to stop and look around.  She turns on 
her flashlight and approaches a hollow gourd suspended from a wooden scaffold 
-- the wind blows through holes in the gourd making the noise.  The women 
cross under the scaffold and continue to walk through the cane.  Betsy shines 
her light on a human skull lying on the ground in the middle of a circle of 
stones.  

The night seems to be getting darker and the cane seems to be getting 
thicker, more claustrophobic.  The sound of a conch and the drums causes 
Betsy to stop once again and look around.  After a moment, the two women 
press forward -- and Betsy fails to notice that her voodoo patch has caught 
on a cane stalk and been torn from her cape.  

Betsy points her light at the ground as they make their way forward. 
Suddenly, a man's foot appears in its beam.  Betsy instantly points the 
flashlight at the man's face -- revealing the spooky, bug-eyed, blank stare 
of Carre-Four, the voodoo guard.  Startled, Betsy gasps but quickly recovers, 
only to notice that her patch is gone.  She claps her hand to her shoulder 
and looks up at the towering guard.  Is Carre-Four smiling wickedly at her 
fear?  Hard to tell.  

Betsy sees that Jessica still wears her patch.  Clutching Jessica close to 
her, Betsy leads Jessica very slowly past Carre-Four, keeping her flashlight 
trained on him and watching him nervously.  But he makes no move to stop 
them.  Once they have passed, Carre-Four suddenly turns and walks off in 
another direction.  

The DRUMS grow louder and are now accompanied by intense CHANTING, a 
call-and-response chant -- "O Legba" -- with a male voice answered by a 
chorus of voices.  Betsy and Jessica emerge from the cane field and enter the 
open-air HOUMFORT.

EXT. THE HOUMFORT - NIGHT

Betsy and Jessica mingle unnoticed with the large crowd of worshipers -- all 
black and wearing voodoo patches.   Surrounding the center of the Houmfort, 
the worshipers CHANT and focus their attention on the handsome, young SABREUR 
who performs a sensuous sword dance.  

Betsy and Jessica stay at the edge of the crowd, watching as the Sabreur is 
joined by a woman who seems to be in a trance.  A voodoo priest anoints her 
brow as the Sabreur dances around her. The priest withdraws and the dance 
continues until she collapses to the ground.  

The chanting stops, men come and lift her unconscious body away, and 
the DRUMMING intensifies.  Women appear and circle the drummer with a 
vigorous voodoo dance.  At the climax, two women stand forehead to forehead 
over the drummer.  The DRUMMING stops.  A charged moment of silence and then 
-- a muffled voice from a small HUT at the edge of the Houmfort -- the god 
speaks through a mortal:

                                VOICE
                Where are my people? Let them bring 
                the rice cakes. Let them dance and be 
                happy.

The CHANTING and DRUMMING resume.  People begin to move to the hut, lining up 
to talk to the god through a closed door.  Betsy leads Jessica to the line.  
The first man in line removes his hat, leans his head to the door, and 
speaks, his words drowned out by the music.  After a few moments, he leaves.  
Betsy watches as the woman in front of her does the same.  Then, it is her 
turn.  She leads Jessica to the door of the hut.

                                BETSY 
                Damballa, this woman is ill.

The door abruptly opens, a hand reaches out and pulls Betsy inside the 
darkened hut.  The Houngan voodoo priest follows her in and shuts the door 
behind him.  Jessica stands alone.

                                                CUT TO:

INT. THE HUT - NIGHT

A BLACK SCREEN.  Suddenly, a match is struck, a lantern is lit, and Mrs. Rand 
is revealed to an amazed Betsy.

                                BETSY 
                Mrs. Rand?

                                MRS. RAND  
                I knew you'd come.  I couldn't let you go 
                back without a word.  I came here to tell 
                you again -- Jessica cannot be cured.

                                BETSY 
                What are you doing here?

                                                CUT TO:

EXT. THE HUT - SAME TIME

The CHANTING and DRUMMING continue. The voodoo worshipers stare at Jessica 
who stands patiently where Betsy had left her.  One of the women gives the 
Sabreur a meaningful look and then hands him a new sword.

                                                CUT TO:

INT. THE HUT - SAME TIME

Mrs. Rand is in the middle of a conversation with Betsy.

                                MRS. RAND  
                And when my husband died, I was helpless.  
                They disobeyed me.  And, accidentally, I 
                learned the secret of how to deal with them.  
                There was a woman with a baby.  Again and 
                again I begged her to boil the drinking 
                water.  She wouldn't.  Then I told her the 
                god Shango would kill the evil spirits in 
                the water if she boiled it.  From then on, 
                she boiled the water.

                                BETSY 
                But that still doesn't explain why you're 
                here.

                                MRS. RAND  
                Perhaps not.  But I am here.  It seemed so 
                simple to let the gods speak through me.  
                I should have known there's no easy way 
                to do good, Betsy.

                                                CUT TO:

EXT. THE HUT - SAME TIME 

The Sabreur confronts Jessica with his sword.  He abruptly raises his arm 
and, as if hypnotized, she raises hers in response.  He takes her 
outstretched hand, turns her to face him, and violently plunges the sword 
directly into her arm.  Jessica doesn't react.  The DRUMMING stops.  The 
voodoo worshipers GASP.

                                                CUT TO:

INT. THE HUT - SAME TIME
 
Mrs. Rand looks up, realizing something's wrong.

                                                CUT TO:

EXT. THE HUT - SAME TIME

The voodoo worshipers gather around Jessica, whispering in disbelief.

                                MAN
                She doesn't bleed.

                                WOMAN
                Zombie.

                                MAN
                She doesn't bleed.

                                                CUT TO:

INT. THE HUT - SAME TIME

The voodoo priest quickly blows out the lantern, and Mrs. Rand and Betsy rush 
for the door, open it, and take in the scene just outside the hut.  

                                                CUT TO:

EXT. THE HUT - SAME TIME

Jessica stands unhurt, the sword no longer in her arm, surrounded by gaping 
worshipers.

                                MRS. RAND 
                        (quietly)
                Get her back to the fort, Betsy.  

Betsy hesitates.

                                MRS. RAND 
                Do as I say.  They-they won't hurt you.

Betsy crosses to Jessica and leads her away from the crowd.  The worshipers 
begin to follow but the Houngan voodoo priest gestures to them and says in a 
calm deep voice:

                                HOUNGAN
                Leave them alone.  Let them go.

The crowd obeys.

                                                DISSOLVE TO:

EXT. THE SUGAR CANE FIELD - NIGHT

Betsy leads Jessica back the way they came earlier.  They rush past the dead 
lamb's carcass and plunge into the sugar cane.

                                                DISSOLVE TO: 

EXT. FORT HOLLAND - NIGHT

Just outside the TOWER at Fort Holland, later that night.  Betsy has just 
returned Jessica to her room and now carefully heads through the GARDEN to 
the house.  As she approaches, Paul appears, wearing a robe, and confronts 
her.

                                PAUL 
                Where have you been, Miss Connell?

                                BETSY 
                I wanted to help you.

                                PAUL 
                Help me? How?

                                BETSY 
                I took Mrs. Holland to the Houmfort.  I 
                thought they might cure her.

                                PAUL 
                There's no telling what you may have 
                started with this insanity.  Because you 
                wanted to give my wife back to me?  Why 
                should that mean so much to you?

                                BETSY 
                You know why.  You saw it the other night, 
                at the piano.

                                PAUL 
                What I saw the other night, I could hardly 
                believe, Betsy.  I thought I was looking at 
                a woman who had compassion for me.  Who 
                loved me.  And yet you made that trip to 
                the Houmfort to bring Jessica back to me.  
                You, the nurse who's afraid of the dark.  

                                BETSY 
                Yes.

                                PAUL 
                You think I love Jessica.  Want her back.  
                It's like you to think that.  Clean, 
                decent thinking.  I wish it were true.

The voodoo DRUMS begin in the distance.

                                PAUL 
                Perhaps for your sake.

Both hear the drums and look apprehensively in their direction.

                                                DISSOLVE TO:

EXT. FORT HOLLAND'S GATE - DAY

Just inside the GATE at Fort Holland, the next afternoon.  Alma holds the 
reins of a horse that's eating some of the garden's plants.  She tries to 
pull it away from the plants.

                                ALMA 
                Mind me now, horse.  Come away from there.

Alma gives up pulling on the reins and tries pushing the horse's head out of 
the plants.

                                ALMA 
                Are you ever stubborn, just like that old 
                [stableman?] at the Houmfort.  Sticking 
                your nose in places where it isn't wanted.  
                Making trouble for everybody.

Betsy appears in her nurse's uniform.

                                BETSY  
                Alma.  Try it this way.

Betsy grabs the reins, turns her back to the horse and leads it away.

                                BETSY 
                Turn your back on him.  See, that's the 
                way it is with a horse.  You can't look at 
                him and lead him at the same time.

                                ALMA 
                        (laughs)
                Sounds sort of man-like, doesn't it?

                                BETSY 
                Whose horse?

                                ALMA 
                The police horse.

                                BETSY 
                Police?  I didn't know there was a 
                policeman on the island.

                                ALMA 
                Oh, just this horse, Miss Betsy.  When they 
                asked the Commissioner if any policemen 
                were wanted, he said, "My horse is all the 
                police we need on St. Sebastian."

                                BETSY 
                Commissioner?

                                ALMA 
                Yes, Miss Betsy.  I expect there's some 
                trouble.

Alma looks in the direction of the house where some men are talking.

                                ALMA 
                Not just little trouble like Mr. Rand gets 
                into when he's been drinking more than a 
                little, but real big trouble.

                                BETSY 
                You don't suppose it's because I took Mrs. 
                Holland to the Houmfort, do you?

                                ALMA  
                They haven't been talking loud enough for 
                me to hear, Miss Betsy, but I've been 
                holding this horse for coming on close to 
                an hour.  And they been just talkin' and 
                talkin'.  I feel it's something very bad.

Betsy hands the reins back to Alma and starts to leave.

                                BETSY 
                Well, you have a horse to hold, Alma, and 
                Mrs. Rand has asked me to have a cup of 
                tea with her.

The moment Betsy leaves, the horse starts misbehaving again.

                                ALMA 
                Horse, you stand still.

But the horse has other things in mind and drags her away.

                                                DISSOLVE TO: 

EXT. THE HOUMFORT - NIGHT

That night, to the sound of DRUMMING, a blonde voodoo doll is being clothed 
in a white dress.  The Sabreur waves his hand over it as a small crowd 
watches.

                                                DISSOLVE TO:

INT. JESSICA'S ROOM - NIGHT

Betsy finishes putting Jessica to bed when Paul enters.

                                PAUL 
                You're staying here with Jessica tonight, 
                Betsy?

                                BETSY 
                Mrs. Rand thought it might be best.

                                PAUL 
                She's right.

                                BETSY 
                I've caused you so much trouble, Paul.

                                PAUL 
                Oh, no.  It was bound to come.  As a 
                matter of fact, that's why I'm here.  I 
                want to talk to you.  Perhaps when you're 
                finished in here you'll come into the 
                garden.

                                BETSY 
                Is it about this afternoon?  I saw the 
                Commissioner here.

                                PAUL 
                Jeffries?  Yes, he was here.  He and Maxwell.  
                They're in a great stew about it.  Seems 
                those people at the Houmfort won't stop 
                drumming and dancing until they've got 
                Jessica back and finish their ritual tests.  
                Something of that sort.  For their own 
                safety, Jeffries and Maxwell want Jessica 
                sent away to St. Thomas.  To the asylum.

                                BETSY 
                Might be best.

                                PAUL 
                Maybe.  But Wesley insists she stay here.

                                BETSY 
                But he hasn't the right.  

                                PAUL 
                Oh, he hasn't any legal right, if that's 
                what you mean.  But he says that I'm 
                responsible for Jessica's illness.  That 
                I deliberately drove her insane.

                                BETSY 
                You couldn't have done that, Paul.

                                PAUL 
                I don't know.  I've gone over it and over 
                it and... I don't know.

                                                CUT TO:

EXT. THE HOUMFORT - NIGHT

The voodoo ceremony continues.  The expressionless Carre-Four holds the 
blonde voodoo doll in his hand.  As the crowd watches, the Sabreur removes 
the doll from Carre-Four's grasp, takes a few steps backward and then beckons 
Carre-Four to come forward and grasp the doll again.  He does so.

                                                DISSOLVE TO: 

INT. THE GARDEN - NIGHT

Paul talks with Betsy.

                                PAUL 
                I want you out of it.  I want you to go 
                back to Canada, Betsy.

                                BETSY 
                Why?

                                PAUL 
                Because of Jessica.  Because of myself.  
                Because I don't want you to be made 
                miserable and unhappy.

                                BETSY 
                But I want to stay.

                                PAUL 
                I'm afraid it's not what you want.  I want 
                you back in Canada.

                                BETSY 
                Naturally, as my employer, you have the 
                right to dismiss me.

                                PAUL 
                Don't, Betsy.  You know that isn't what I 
                mean.  You remember the first night I saw 
                you?  You were looking at the sea.  You 
                were enchanted.  And I felt I had to destroy 
                that enchantment, make you see ugliness 
                and cruelty.

                                BETSY 
                You were trying to warn me.

                                PAUL 
                No.  I was trying to hurt you.  It was the 
                same way with Jessica.  I had to hurt her.  
                Everything she did or said made me lash 
                out at her.  That's why I want you to go.  
                You see, Betsy... since you've been here, 
                I've seen how fine and sweet things can be 
                between a man and a woman.  How love can 
                be calm and good.  I'd rather not have that 
                sort of love than have it and destroy it.

                                BETSY 
                You want me to leave?

                                PAUL 
                That's why I want you to go.  It's no good 
                for you to stay so long as I have this fear 
                of myself.

Betsy buries her head in Paul's chest as they embrace.

                                                DISSOLVE TO:

INT. JESSICA'S ROOM - NIGHT

Later that night, all is quiet.  The wind blows through the curtains.  Betsy 
sleeps on the sofa.  The long shadow of Carre-Four falls on the stone path of 
the GARDEN, then across the wall of Jessica's ROOM.  The noise of his 
shuffling feet awakens Betsy.  The footsteps stop.  Betsy rises, crosses to 
Jessica's bed, and sees that she's still asleep.  Betsy puts on one of 
Jessica's white robes and heads out to the GARDEN.  

EXT. THE GARDEN - NIGHT

Betsy looks around, but sees and hears no one.  A frog CROAKS and jumps into 
the Ti-Misery fountain.  Betsy is startled by a shrill SCREECH and looks up 
to see an owl on a tree branch above her.  She's momentarily relieved but 
suddenly sees a shadow moving near the tower. She ducks behind some plants 
and turns to see:  the shadow of Carre-Four walking toward her, toward the 
woman in white.  Betsy's eyes widen in fear. She runs to the house and calls 
for Paul.

                                BETSY 
                Paul!  Paul!

The shadow creeps closer. Paul emerges in a robe just as Carre-Four, now 
visible, slowly closes in.

                                PAUL 
                        (to Carre-Four)
                What are you doing here?

But Carre-Four does not stop.  Paul confronts him.

                                PAUL 
                Get out of here.

Carre-Four extends his arms.  He's only a few feet away.  But a woman's voice 
rings out sharply.

                                A WOMAN'S VOICE
                Carre-Four!

Carre-Four pauses.  Mrs. Rand, in a robe, has emerged from the house.

                                MRS. RAND 
                        (gently, as if to a child)
                Carre-Four, go back.


Carre-Four obediently turns and slowly walks away.  Paul tries to follow him.

                                MRS. RAND 
                Paul.  Let him go.  Don't touch him.  
                Don't try to stop him.

Paul and Betsy watch in silence as Carre-Four shuffles out the front GATE.

                                                FADE OUT

INT. THE STUDY - DAY

FADE IN on the STUDY, the next day. Betsy joins Mrs. Rand who addresses a 
package.

                                MRS. RAND 
                I can send this off by the next boat.  If 
                you have any letters, you'd better get them 
                ready, Betsy, to go with this parcel.

                                BETSY 
                Any news I have can wait till I get home.

                                MRS. RAND 
                Be pretty stale by that time.

Paul joins them.

                                PAUL 
                Perhaps not, mother.  Betsy is leaving us.

                                MRS. RAND 
                Why, Betsy, we can't lose you.  We've grown 
                to depend on you.  I have, and I know Paul 
                has.

                                PAUL 
                Mother, Betsy has her reasons.

                                BETSY 
                        (to Mrs. Rand)
                I hope you won't feel I'm deserting you or 
                think badly of me.

                                MRS. RAND 
                Think badly of you, Betsy?

All three turn at the SOUND of a door opening.  It's Wesley and Dr. Maxwell.

                                WESLEY 
                        (to the others)
                Dr. Maxwell has some unpleasant news for us.

                                PAUL 
                An accident at the mill?

                                DR. MAXWELL 
                No, it's about Jessica.  A result of our 
                discussion the other day I'm afraid.

                                PAUL 
                What about her?

                                DR. MAXWELL 
                Well, in view of all the circumstances, 
                some of the things Wesley's been saying, 
                and the fact that one of the voodoo people 
                got into your house last night, the 
                Commissioner's decided on a legal 
                investigation.

                                PAUL 
                In other words, I'm on trial.

                                DR. MAXWELL 
                Oh, I wouldn't put it that way, Paul, but 
                -- there's been a lot of talk.  The whole 
                thing's getting out of hand.

                                WESLEY 
                A pretty scene.  Half the island crowding 
                into the courtroom to watch your dirty 
                linen get a public scrubbing.

                                PAUL 
                Wait [a bit], Wesley.  Let's talk this over 
                with the...

                                WESLEY 
                        (explodes) 
                Talk it over!  Talk now, Paul, and tell 
                them that you're not responsible.  That 
                every bit of this doesn't rest squarely 
                on your shoulders.

Paul turns to a subdued Mrs. Rand who crosses to Dr. Maxwell.

                                MRS. RAND 
                If you'll be good enough to take me to the 
                Commissioner, Doctor, I think there'll be 
                no need of an investigation.

                                DR. MAXWELL 
                But why, Mrs. Rand?  What could you have 
                to tell him?

                                MRS. RAND 
                Jessica is not insane.  Please, take me to 
                the Commissioner.  I can explain the whole 
                thing to him.

                                PAUL 
                Mother, what are you trying to say?

                                MRS. RAND 
                She is dead.  

                                DR. MAXWELL 
                Now, Mrs. Rand...

                                MRS. RAND 
                She is dead.  Living and dead.

                                DR. MAXWELL 
                Mrs. Rand, you're not seriously trying to 
                tell me that my patient is a zombie?

                                MRS. RAND 
                I'm not mad.  It's true.  I did it.

                                WESLEY 
                Mother...

                                MRS. RAND 
                Wesley, let me explain.  I wanted to so 
                often.  Now, I have to. 
                        (to Betsy) 
                Betsy, tell them about the Houmfort.  Tell 
                them what you saw there.  You must, Betsy.  
                They'll have to believe you.

                                BETSY 
                        (reluctant)
                Well, Mrs. Rand was at the Houmfort.  But 
                there's nothing wrong with that.  She's 
                gone there for years, trying to take care 
                of those people.  To help them.

                                DR. MAXWELL 
                I think I understand.  I've often talked a 
                little voodoo to get medicine down a 
                patient's throat.

                                MRS. RAND 
                But it was more than that, Doctor.  I 
                entered into their ceremonies.  I 
                pretended I was possessed by their gods.  
                But what I did to Jessica...  was when she 
                wanted to go away with Wesley.  That night 
                I went to the Houmfort.  I kept seeing her 
                face -- smiling because she was beautiful 
                enough to take my family in her hands and 
                tear it apart.  Drums, the chanting, the 
                lights.  I heard a voice speaking in the 
                sudden silence.  My voice.  I was speaking 
                to the Houngan.  I was possessed.  I told 
                him the woman at Fort Holland was evil and 
                asked him to make her a zombie.

                                DR. MAXWELL 
                Then what happened?

                                MRS. RAND 
                I hated myself.  On the way home, I said 
                over and over again, there are no such 
                people, no strange drugs, there's no such 
                thing as a zombie.  

                                DR. MAXWELL 
                You were right.

                                MRS. RAND 
                I said it, and I made myself believe it.  
                But when I got here, Jessica was raging 
                with fever.

                                DR. MAXWELL 
                She was raging with fever.  A fever with a 
                long Latin name.  And a bad reputation for 
                its after-effects.  Usually some form of 
                insanity.

                                PAUL 
                Dr. Maxwell is right, mother.

                                DR. MAXWELL 
                You were tricked by your own imagination, 
                Mrs. Rand.

                                MRS. RAND 
                But I am not an imaginative or fanciful 
                woman, Doctor.

                                DR. MAXWELL 
                As I understand it, in order to turn a 
                person into a zombie, whether by poison 
                or... hocus-pocus, you must first kill 
                that person.  Is that right?

                                MRS. RAND 
                Yes.

                                DR. MAXWELL 
                She  was feverish.  She was delirious.  
                But I don't remember her dying.  Or even 
                being in a state resembling death.  No 
                coma.  Nothing.  I'm afraid you are an 
                imaginative woman, Mrs. Rand.

                                MRS. RAND 
                        (embarrassed)
                Of course.  Of course.

A shaken Mrs. Rand leaves the group and climbs the stairs in a daze, while 
Wesley puts what appears to be a sympathetic hand on Paul's shoulder.

                                                FADE OUT 

EXT. THE HOUMFORT - NIGHT

FADE IN on the blonde voodoo doll on the floor of the HOUMFORT, that night.  
The DRUMS beat loudly.  As the voodoo worshipers watch, the Sabreur gestures 
to the doll.  It inches toward him.

                                                CUT TO: 

EXT. FORT HOLLAND - SAME TIME

Simultaneously, Jessica emerges from the TOWER and heads for the gate.  A 
concerned Betsy follows behind.

                                BETSY 
                Jessica?  Jessica?

Paul sees the two women from the HOUSE and quickly joins them.

                                BETSY 
                Jessica? 
                        (scared, to Paul)  
                She won't obey me.

                                PAUL 
                Jessica!

Betsy quickly closes and locks the wrought-iron GATE before Jessica can exit.

                                                CUT TO:

EXT. THE HOUMFORT - SAME TIME

The blonde voodoo doll moves across the floor of the Houmfort.  Despite the 
DRUMS, the doll stops.  The Sabreur continues to gesture to it.

                                                CUT TO:

EXT. FORT HOLLAND'S GATE - NIGHT

Wesley, apparently having just come back from a night of drinking, appears on 
the opposite side of the gate, joining Paul, Betsy, and Jessica. 

                                WESLEY 
                It's the Houmfort.  They're trying to get 
                her back.

                                BETSY 
                But how can they?  How could they make her 
                understand?  How would she know?

                                WESLEY 
                They know how. They have charms that can 
                draw a man halfway around the world.  Opiate 
                tricks, magic.  Everybody knows that.

                                PAUL 
                We may have believed all that when we were 
                boys, Wesley, but we're grown men now.  We 
                know it's all nonsense.  

                                WESLEY 
                Do we?

                                PAUL 
                Yes.

                                WESLEY 
                You've forgotten --

                                PAUL 
                I've not forgotten.  I could see what was 
                in your mind when Maxwell was talking.  
                Just because he didn't know about Jessica's 
                coma, you thought everything he said was 
                wrong.  And that mother's story was right.  
                But that's ridiculous.

                                WESLEY 
                It is true.  
                        (off Jessica) 
                Why did she come out here?  How can they 
                make her move, do anything they want?  
                        (as much to himself as the others) 
                They can make anybody do what they want.

                                PAUL 
                You're thinking just as they want you to 
                think.  That's what it's for.  Conches, 
                their cheap mummery.  

                                WESLEY 
                Let me in.

                                BETSY 
                Come with me, Jessica.

Betsy leads Jessica back to the tower as Wesley opens the gate and enters.

                                WESLEY 
                        (off Jessica's escape attempt)
                You saw that.

                                PAUL 
                I saw nothing that would convince a sober 
                man.  You better get some sleep, Wesley.

Paul heads for the house, but Wesley stays behind, lost in thought.

                                                DISSOLVE TO:

EXT. THE GARDEN - NIGHT

The statue of Ti-Misery, not long after.

                                                DISSOLVE TO: 

EXT. THE GARDEN - NIGHT

A little later that night, Betsy -- having left Jessica in the tower -- heads 
for the house, but seeing Wesley sitting dejectedly nearby, crosses to him.

                                BETSY 
                Why don't you go to bed, Wesley?  It's 
                been a hard day for all of us.  

Wesley doesn't respond.

                                BETSY 
                I'm sorry, Wesley.  I think I know how 
                you must feel.  And I am sorry.  I only 
                wish there was something I could do.

                                WESLEY 
                        (as if to himself) 
                She ought to be free.  
                        (to Betsy) 
                You could free her, Betsy.  You could do 
                it.  You're a nurse.  You have the drugs.  
                It'd be so quick.

                                BETSY 
                Her heart beats.  She breathes.  That's 
                life, Wesley.  I once took an oath to guard 
                life.

                                WESLEY 
                I shouldn't've asked it of you.  But it 
                was only because I can't make you believe 
                that she's already dead.  Wait a minute.  
                There's one other thing.  You love Paul.  
                Then, what good will ever do you if 
                Jessica's still a --

                                BETSY 
                Wesley.  I'm afraid I love him too much 
                for that.

                                WESLEY 
                I'm sorry.

In a daze, Wesley wanders off.  Betsy watches him go, then enters the house.

                                                WIPE TO:

EXT. THE GARDEN - NIGHT

Later that night, Wesley, on the VERANDA, looks up from his drink to see 
Jessica emerge from the TOWER and slowly cross to the GATE. He watches as she 
pauses there, unable to open it and leave.

                                                CUT TO:

EXT. THE HOUMFORT - SAME TIME

The blonde voodoo doll has once again stopped.  The Sabreur, frustrated at 
the lack of progress, turns and whispers to a colleague.

                                                CUT TO:

EXT. THE GARDEN - SAME TIME

Wesley continues to watch Jessica as she stands at the gate.  He rises and 
crosses to her.  Without a pause, he opens the gate for her.  She immediately 
leaves.  Wesley watches her go, then turns and crosses to Ti-Misery and, with 
some effort, pulls out one of the iron arrows embedded in the figure.  He 
turns and heads for the gate, following Jessica into the darkness.

                                                DISSOLVE TO:

EXT. THE HOUMFORT - NIGHT

The Sabreur squats over the blonde voodoo doll and knocks it over so that it 
lies on its back.  He then slowly lowers a large needle to the doll.  The 
rhythm of the DRUMMING accelerates. And as he plunges it into the doll's 
heart, the DRUMMING instantly stops.

                                                CUT TO:

EXT. THE BEACH - SAME TIME

On the silent, deserted BEACH, Wesley crouches over Jessica's dead body.  He 
rises slowly, the arrow shaft in his hand, and looks right and left.  As he 
does, he sees the figure of Carre-Four walking toward him.  Wesley bends down 
and lifts the lifeless Jessica into his arms.  He gives Carre-Four a worried 
glance and then begins to carry Jessica down to the ocean.  Carre-Four 
extends his arms and pursues Wesley as he crosses the beach.  

Wesley twice turns to look at Carre-Four and finally backs into the ocean, 
walking until the surf overwhelms him.  When both Wesley and Jessica have 
disappeared under the waves, Carre-Four lowers his arms and merely stands 
motionless at the edge of the water, silhouetted in the moonlight, looking 
out at the sea, as the waves wash up on the beach around him.

                                                DISSOLVE TO: 

EXT. WATER - NIGHT

Some time later, Jessica's body floats face up in shallow WATER.

                                                DISSOLVE TO: 

EXT. WATER - NIGHT

Torch-bearing native fishermen slowly make their way through the darkness and 
the knee-high WATER, spears in hand, CHANTING "Walee Nan Guinan."  One of 
them stabs a fish and it wriggles in pain as he tries to stuff it into a 
pouch on his belt.  They keep walking.  Suddenly, one stumbles across 
Jessica's body.  They hold a torch close to her face as a VOICE OVER 
begins -- what sounds like the deep voice of the Houngan voodoo priest 
performing a Christian burial service: 

                                HOUNGAN 
                        (voice over) 
                O Lord God most holy, deliver them from 
                the bitter pains of eternal death. 

One of the fishermen lifts Jessica's body from the water.

                                HOUNGAN
                        (voice over)
                The woman was a wicked woman...

                                                DISSOLVE TO:

EXT. THE GARDEN - NIGHT

A group of men bearing torches and the bodies of Wesley and Jessica enter 
through the gate.

                                HOUNGAN 
                        (voice over) 
                ...and she was dead in her own life. Yea 
                Lord, dead in the selfishness of her 
                spirit, and the man followed her...

On the veranda, the servants, Paul, and Betsy stand with Mrs. Rand, who 
weeps, her hands covering her face.  Paul looks at her sympathetically, then 
turns to the processional.

                                HOUNGAN 
                        (voice over)  
                ... Her steps led him down to evil, her 
                feet took hold on death. ...

Four men carry Wesley's body.  Carre-Four trails behind the others, carrying 
Jessica.  They pass by the statue of Ti-Misery.

                                HOUNGAN 
                        (voice over) 
                ... Forgive him, O Lord, who knowest the 
                secrets of all hearts. Yea Lord, pity them 
                who are dead ...

Paul and Betsy comfort one another with an embrace.

                                HOUNGAN 
                        (voice over)  
                ... And give peace and happiness to the 
                living.

The final image is of the figure of Ti-Misery, its face twisted in pain.

                                                FADE OUT





zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzBONUS ITEMzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz

Excerpt from the original shooting script describing the voodoo ceremony:


               EXT. THE HOUMFORT - NIGHT

               LONG SHOT.  The camera is behind Betsy and Jessica as they go
               toward the Houmfort through the sugar cane.  We see this
               voodoo temple as they go toward it.  It is a rickety
               structure of poles and laths, roofed over with a thin thatch
               of sugar cane and straw.  It forms a sort of rude pergola. 
               In the center of this structure is a small, cubicle hut, made
               of rough boards but neatly whitewashed.  From the rafters of
               the main structure hang crude chandeliers of tin which give
               light to the ceremonies.

               (Please see pages 28 to 31, Life Magazine, December 13, 1937. 
               All the details mentioned above are graphically illustrated,

               Near the little hut in the center of the Houmfort, stands an
               altar covered with a lace tablecloth and littered with a
               childish jumble of plates, candles, little colored stones and
               bottles.  Before this altar stands the Houngan, the high
               priest of the voodoo ceremonies, a small, stoop-shouldered
               man in a worn, white coat and trousers with ragged cuffs. 
               Several mild-looking negroes in white trousers and shirts sit
               in kitchen chairs on one side of the altar with rada drums
               between their knees.  Grouped around this altar in a loose
               semicircle are the worshippers, a group of mild-mannered,
               poorly-but-neatly-dressed negroes.  They seem to have made an
               effort to dress in their best and their best is very poor
               indeed. As Betsy approaches, she can see familiar faces. 
               As she comes up they turn and look at her.  They are not
               hostile nor greatly surprised; just mildly curious.  Leading
               Jessica by the hand, Betsy takes her place at one end of the
               semicircle around the altar.  Her arrival has in no way
               interrupted the ceremonies.  The Houngan continues to chant
               before the altar, the rada drums beat and the crowd sings the
               chorus of the Shango song at the proper intervals.  It is all
               very decorous and decidedly religious in tone.  No sooner has
               Betsy taken her place with the others than the Shango ritual
               approaches its climax.  The Sabreur, a colored man dressed in
               white shirt and trousers, with a neat dark tie knotted under
               his collar, comes in, bearing a sabre in his right hand,
               holding it in stately, almost processional manner.  He
               advances to the altar, strikes it three times and at this
               signal two colored women dressed in white beguine dresses
               with square cut necks, an essential part of this religious
               costume, come forward.  One holds a white leghorn chicken and
               the other carries a white rooster. They come together to the
               altar and for a moment, the figures of the Houngan, the
               Sabreur and the two Mam-Lois hide the actual blood sacrifice
               from us.  Only the fact that the drumming and the singing
               reach a climactic pitch reveal that some Important portion of
               the ceremony has taken place.  Instantly the drumming and the
               singing stops.  A young colored girl jumps up from her seat
               among the worshippers and begins shivering and quaking,
               crying out wordlessly.  There is a cry from the people.

                                   THE PEOPLE
                         Put the god in her! Put the god in
                         her!

               The Houngan prances forward, followed by the Sabreur. The
               Houngan holds a little saucer in his hand with some dark
               liquid at the bottom of it.  He dips four fingers into this
               liquid while the girl quivers and writhes before him in
               religious ecstasy.  He marks her forehead with four strange
               marks, one with each finger.  The Sabreur, crying out the
               name of Shango, four times, points his sabre to the four
               directions of the compass. There is an immediate
               transformation in the girl.  Her frenzy ceases.  She seems to
               be filled with a jubilant calm and dances into the cleared
               space before the altar. Her words are no longer meaningless. 
               They have taken shape and form and, when she speaks, she
               speaks with great resonance as if her voice came from
               somewhere other than her own throat.  She is possessed by the
               god, Shango.

               One by one, people from among the group of devotees dance
               into the circle, go up to her and beg for favors. One woman
               leads a little boy up to her.  We hear her words as she calls
               out to the possessed girl:

                                   WOMAN
                         Make him rich, Shango!  Make him
                         rich!

               The girl lays her fingers on the boy's eyes, and then takes
               his shoulders and turns him around three times, Evidently
               this is absolute guarantee of an enormous income tax to be
               paid at St. Sebastian.  The woman and her son retire happily,
               pleased and grinning.  Finally, exhausted, the girl possessed
               of the god, Shango, sinks to her knees and then falls
               fainting to the floor. Two colored men come in, carry her
               away.  A great cry rises from the voodoo worshippers.

                                   WORSHIPPERS
                         Damballa!  Damballa!  Damballa!
                         Damballa!

               The drums find a new rhythm.  The Houngan retires to one
               corner of the altar; the Sabreur to the other.  Two young
               girls, their beguine dresses slashed and torn, dance in from
               either side.  This is a wild and an impassioned dance, a
               dance to Damballa.  There is no singing, only an occasional
               call from the crowd, "Come to us, Damballa!" The dancers
               reach the climax of their dance and strike a plastic pose
               before the altar, each kneeling on one knee, their arms held
               to their breasts, their foreheads butted together.  Although
               not a muscle moves, one can almost feel the tension of these
               two bodies.  One of the rada drummers comes up and crouches
               down holding a small drum almost under the chins of the two
               girls.

               The other drummers stop playing and he begins to beat a quick
               staccato rhythm that grows faster and faster.  In this
               playing, as in the pose of the girls, there is tremendous
               tension.  By now all cries have ceased. Everyone is silent,
               waiting.  Then suddenly, from behind the closed and curiously
               painted door of the inner Houmfort, a voice speaks.  A voice
               that is light, pleasant and authoritative.

                                   VOICE
                             (muffled by the door)
                         Where are my people?  Let them
                         bring me the rice cakes -- let them
                         dance and be happy --

               There is a great ecstatic shout from the voodoo worshippers.

                                   VOODOO WORSHIPPERS
                             (shouting)
                         Damballa!  Damballa!

               The Sabreur dances forward, sword in his left hand and a
               little plate with rice cakes, in his right.  He kneels down
               and places the plate near the door jamb.  A line forms at the
               door.  Betsy leading Jessica by the hand takes her place with
               the rest.  She is third in the line of suppliants.  She can
               see the whole procedure.  The suppliant places his forehead
               against the forehead of the god painted on the door, and
               speaks.  The first suppliant is a weary-looking field hand
               who shuffles to the door and speaks in such a low tone that
               his words cannot be heard.  The second suppliant is an old
               woman, thin and work-worn.  She speaks sincerely and humbly
               and Betsy, directly behind her, hears her words.

                                   OLD WOMAN
                         Damballa -- my son don't take care
                         of me.

                                   VOICE OF DAMBALLA
                         Tell him his own little son will
                         grow big.  He, himself, will grow
                         old.  The son learns from the
                         father. One day your son may stand
                         here to complain that his boy does
                         not take care of him.

               The old woman turns away, comforted -- hopeful.  Betsy looks
               at her.  She can see tears in the old woman's eyes. With
               Jessica's hand in hers, Betsy takes her place at the door. 
               She puts her forehead against the crudely painted forehead of
               the god.  She talks to the door.

                                   BETSY
                         Damballa! This woman is sick.

               The door swings open slowly. The feeble light of the outer
               Houmfort does not penetrate the darkness of the inner temple.
               A hand reaches out from the darkness and takes Betsy's hand
               and draws her in. The Houngan follows Betsy into the temple.
               The door shuts behind him. Jessica remains outside, standing
               before the door.






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