Wednesday, December 23, 2009
Monday, November 17, 2008
CONSULTANCY SERVICES @ the WRITING STUDIO of Rosemary K
I am in the top 20% certified Technical and Creative writers at http://www.odesk.com/ I have successfully worked on over seven (7) publishing projects, the majority of which were all starting projects. I have a result-oriented approach, and pay great attention to detail. I have a record of delivering above and beyond the expectations of the projects I handle.
I am multi-talented, with training and demonstrable experience in the diverse genres of Media Management, Literature and Literary writing, editorials, copywriting/editing, and publishing/media projects. Having studied writing as a major component of my entire academic career, in addition to my own published works/other media, I am a good fit for projects looking for a combination of professional efficiency and creativity. I am professionally proficient in both the American and the British English language systems.
Professional Writing and Media Services
- Professional Screenwriting (film scripts and story development)
- Assessing/analyzing film scripts (coverage) for individuals and production companies
- Film and cultural festival support: coordinating event personnel; leading meetings; media communications; organizing film shows; guest listings; ticket sales, and writing progress reports.
- Film production assistance (PA and Script supervision)
- Commissioned video production
- Editorial & copywriting services for books, magazines, newsletters, journals, essays, and research papers
- Writing company profiles
- Writing personal stories
- Corporate communications
- Conference/workshop administration
- Report writing
Are you a new writer seeking to publish your work? Are you planning to write a novel, poems, short stories, a play, or film script? Do you have a manuscript that requires professionally polished editing? I offer professional editing services to assist you develop your manuscript and publish your work to the world! Now you can take advantage of my personalized editing and coaching services on how to write a successfully crafted masterpiece that readers and audiences will love! Let's get your book on the shelf! Contact me NOW for your customized response.
Send your inquiries to rosemaryk@odesk.com
Sunday, November 16, 2008
SEEKING MOVIE PRODUCERS AND INVESTORS FOR FEATURE FILMS
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Photo 1: (left) Shooting Campus Tour Photot 2: (right) Campus Tour Crew
Campus Tour: 1st Directional Project of Rosemary K
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Photo 1: (left) Shooting Campus Tour Photot 2: (right) Campus Tour Crew
Campus Tour: 1st Directional Project of Rosemary K
1) Bride from the Mountains of the Moon (Drama,119 pages)
LOG LINE: A newly-widowed woman finds herself a target of tribal wrath, when she challenges a revered ancient custom of wife inheritance that the clan imposes on her. As a mother to a less treasured baby girl, she has to use her most ingenious skills to survive the sexual demands of her dead husband’s brother, who the clan charges with the responsibility of becoming a progenitor to a boy child, a much-needed family heir.
2) Bloodline South Sahara (Drama Inspired by historical events, 127 pages)
LOG LINE: At the height of aggression and tension from a neighboring kingdom, King Mutesa I of the ancient Ganda kingdom in Eastern Africa accepts foreign intervention from the Arabs and the British, both of whom are historically sworn rivals with merchant and imperial interests. After Christian missionaries arrive from England and France , the king dies abruptly, leaving an inexperienced homosexual prince to take charge of the vast turbulent monarchy. Will the young erratic prince command respect from newly-converted Christian subjects, and also quell the threat of annexation from the ancient rivals?
3) Tears of Jericho (Drama, 120 pages)
LOG LINE: Lozio, a pious young man seeking to understand God, gets enlisted as a Church warden team leader at an Old Catholic Parish. Complications arise, when he succumbs to temptation by sleeping with his boss’s daughter, whom she impregnates. Disillusioned by uncompromising church laws, his boss’s overbearing demands and unambiguously corrupt ways, Lozio rises up in arms as a rejuvenated seeker of justice.
NOTE: Full story treatments available to qualified agencies. All script material is WGA registered and copyrighted.
© Rosemary K., 2005-2008, All Rights Reserved.
2) Bloodline South Sahara (Drama Inspired by historical events, 127 pages)
LOG LINE: At the height of aggression and tension from a neighboring kingdom, King Mutesa I of the ancient Ganda kingdom in Eastern Africa accepts foreign intervention from the Arabs and the British, both of whom are historically sworn rivals with merchant and imperial interests. After Christian missionaries arrive from England and France , the king dies abruptly, leaving an inexperienced homosexual prince to take charge of the vast turbulent monarchy. Will the young erratic prince command respect from newly-converted Christian subjects, and also quell the threat of annexation from the ancient rivals?
3) Tears of Jericho (Drama, 120 pages)
LOG LINE: Lozio, a pious young man seeking to understand God, gets enlisted as a Church warden team leader at an Old Catholic Parish. Complications arise, when he succumbs to temptation by sleeping with his boss’s daughter, whom she impregnates. Disillusioned by uncompromising church laws, his boss’s overbearing demands and unambiguously corrupt ways, Lozio rises up in arms as a rejuvenated seeker of justice.
NOTE: Full story treatments available to qualified agencies. All script material is WGA registered and copyrighted.
© Rosemary K., 2005-2008, All Rights Reserved.
Saturday, November 15, 2008
Zenji Talk Show
The Zenji Show
Overview
This is an “Oprah-like” variety show for a major market niche of the middle class in the western world. It offers different sketches and interviews concerning the topics of health and well-being, culture, African kingdoms, cultures, and ways of life never before seen, careers, books and readings.
The host of The Zenji Show is a writer and producer of African ancestry from a Royal lineage, who brands the name of show after the great ancient Zenji Kingdom of Eastern Africa. She is a brand personality who embodies the qualities of strong-mindedness, empowerment, cultural enrichment, and intelligence.
Premises
The Zenji show brings the rich cultural history of African Kingdoms and treasures to the living rooms of the western world. Despite colonialism, slave trade and slavery, imperial conquests and dominance, African culture has continued to thrive into the 21st Century. The Zenji show brings the non-stereotypical imagery and rich authentic storytelling never before seen on the small screen of the western hemisphere!
To be Featured:
- The Kings of Nubia
- Ancient royal palaces
- The Cradle of Civilization
- Royal Life on the Spectacular River Nile
- Tracking humanity's earliest habitat
- British East Africa/South Africa
- Cultural folklore
- Tourist attractions/flora & fauna/rare species
and much more...
Prospective media investors direct your inquiries to rosemaryk@odesk.com
Bloodline South Sahara Scene Excerpt
INT. ROYAL CHAMBERS-MUTESA'S BEDROOM-NIGHT
A wide room with a large wooden bed. The walls are decorated with leopard skins, spears, and human skulls. Namusisi sits on the furthest end of the bed. Mutesa courts her.
MUTESA
Come over here.
Silence. Namusisi turns and faces the wall.
MUTESA (CONT'D)
I don't bite.
NAMUSISI
I have a husband, sir.
MUTESA
You don't plan to play stupid, do you?
Silence. He points at the skulls on the wall.
MUTESA (CONT'D)
Look at those fools...if they were to come back to life, they would have told you the truth.
He grabs Namusisi by the neck, and forces her to face him. She breaks out, SOBBING.
MUTESA (CONT'D)
What did you and Mugwanya do each night, huh?
(Beat)
Have you never seen a man's thing?
More CRYING from Namusisi. Mutesa grabs her, and lays her on the bed. A fight ensues.
INT. PRIME MINISTER'S CHAMBERS-NIGHT
Prime Minister stands, drinking beer from a copper vessel. He reaches for a jar, and adds more to his vessel. He drinks hastily. GULPING sound. He SIGHS, and slumps onto a chair. There is a KNOCK on the door.
PRIME MINISTER
Who is there?
NGONDWE
Ngondwe, sir.
Door CREAKS open. Ngondwe enters.
PRIME MINISTER
You should be at the gate.
NGONDWE
Sir, there are strange men outside the gate. The guards have arrested them, but they need instructions on what to do with them.
PRIME MINISTER
These strange men...
(Beat)
What do they look like?
NGONDWE
They don't speak our tongue. And one of them has skin that looks like that of a newborn baby. He also has a strange object.
PRIME MINISTER
What object?
NGONDWE
A one-eyed monster, sir.
PRIME MINISTER
Ummh.
EXT. ROYAL COURTYARD--MOMENTS LATER
The guards are dragging Stanley and his men off, when Prime Minister and Ngondwe arrive.
PRIME MINISTER
Wait!
GUARD ONE
Sir, these are dangerous men!
GUARD TWO
We found them with this.
He retrieves a rifle from the luggage and hands it to Prime Minister.
NGONDWE
Sir, that's the one-eyed monster I told you about!
LAUGHTER from Prime Minister. He feels the butt of the rifle, and aims at Stanley. Stanley tries to lift his arms up.
STANLEY
Sir, please...don't kill me! I am a prince!
PRIME MINISTER
What kind of prince moves around armed, except if he is a bandit?
INT. ROYAL COURTYARD-NIGHT--MOMENTS LATER
The Palace Guards untie Stanley and his men. Prime Minister shoves Stanley and his group into a secluded corner, which houses a sentinel's wooden post.
PRIME MINISTER
Stay right there!
(Beat)
Until the king decides what to do with you.
(Beat)
He addresses the guards.
PRIME MINISTER (CONT'D)
Don't allow in any more wanderers.
GUARD ONE AND GUARD TWO
Yes, sir!
They salute him and move off.
EXT. ROYAL CHAMBERS-CORRIDOR-NIGHT
A sound of WAILING is heard. Servants litter the corridor, speaking in hushed tones. There is a CREAKING of door hinges. Mutesa pushes Namusisi into the corridor.
MUTESA
Mukasa!
MUKASA
Yes, my lord.
He prostrates to the ground.
MUTESA
A delivery for Mukajanga. No reprieve!
Mukasa hesitates.
MUTESA (CONT'D)
Okay?
MUKASA
Yes, my lord.
Door BANGS, as Mutesa disappears. Prime Minister arrives as door CLOSES. He looks at Namusisi. Servants gather around, looking scared. Namusisi SOBS intermittently. Prime Minister KNOCKS on the door. Door opens. He enters.
SERVANT ONE
Does the king mean his word?
MUKASA
You heard him.
Mukasa and the servants grab Namusisi.
NAMUSISI
Leave me alone!
She fights and kicks. They drag her out.
INT. MUKAJANGA'S HOUSE-NIGHT
A sparsely decorated house, with dull mud walls. A few skulls hang on the walls. MUKAJANGA, 50s, Chief Executioner, is a fierce looking man. He sits on a low stool, before a slow fire. He is roasting some meat on the fire, which he washes down with sips of beer from a gourd. He occasionally LAUGHS, while SLAPPING his legs. He is tipsy.
MUKAJANGA
Ha-ha-ha! Ha-ha-ha!
He looks up at the walls, staring at the skulls.
MUKAJANGA (CONT'D)
Don't gawk at me!
(Beat)
All fools who mess with the king must pay.
He grabs a burning wood splinter and pokes one of the skulls.
MUKAJANGA (CONT'D)
Look at your ugly teeth. Ha-ha-ha!
Loud KNOCK on the door.
MUKAJANGA (CONT'D)
Who is that?
MUKASA
Mukasa, sir!
MUKAJANGA
What do you want?
MUKASA
A message from the king, sir.
Door CREAKS open, and Mukasa enters. Mukajanga looks at him fiercely, while MUNCHING the last piece of meat.
MUKASA
There is work for you, sir.
Mukajanga LAUGHS hysterically. He dances around the house.
INT. ROYAL CHAMBERS-MUTESA'S BEDROOM-NIGHT
PRIME MINISTER
My lord, I did not mean to come in here tonight, but then I had an important message.
(Beat)
The night brought in some strangers. Odd-looking men talking a different language.
MUTESA
If commoners no longer know their place, who cares about stray dogs that may look like men?
PRIME MINISTER
I saw Namusisi outside your door. I am sorry, sir.
Silence.
PRIME MINISTER (CONT'D)
Do you want me to take her for the queen mother's instruction?
MUTESA
My generosity is spurned. Do I have a choice?
PRIME MINISTER
So, she can start her lessons on royal etiquette in the morning?
Mutesa BANGS the panel of his bed.
PRIME MINISTER (CONT'D)
My lord, a commoner's wife can be molded into royalty...if given chance.
Mutesa SHOUTS.
MUTESA
Nobody spites the lion king! She must die!
PRIME MINISTER
You were offering her husband an army post.
MUTESA
I have no posts for fools, or time for female subjects who don't know their place!
PRIME MINISTER
My lord, your will shall be done.
He gets up.
MUTESA
Wait!
(Beat)
I want her head in here...
He points to the skulls on the wall.
MUTESA (CONT'D)
...with the rest of the fools.
Prime Minister bows, then leaves.
INT. PRIME MINISTER'S CHAMBERS-NIGHT
A KNOCK on the door. Princess NALUMANSI, 19, comes in. Two FEMALE SERVANTS accompany her.
PRIME MINISTER
Princess! What brings you here at such an odd hour?
Princess Nalumansi turns to her servants.
PRINCESS NALUMANSI
Leave us alone.
The Female Servants leave.
PRINCESS NALUMANSI
I heard the news.
PRIME MINISTER
What news? The palace is full of strange things these days.
PRINCESS NALUMANSI
Namusisi.
PRIME MINISTER
It's too late.
PRINCESS NALUMANSI
She is dead?
PRIME MINISTER
Your father has sanctioned her death. No reprieve.
Princess Nalumansi moves closer to Prime Minister.
PRINCESS NALUMANSI
She is innocent.
PRIME MINISTER
Disobedience is taboo for your father. It would have been different, had her husband consented to the king's proposals.
PRINCESS NALUMANSI
Is he to die as well?
PRIME MINISTER
He is in Mabusu, enjoying the cold floor. He has a slight chance. A minute chance of survival, if he could be humble.
PRINCESS NALUMANSI
What kind of humility deserves a human sacrifice?
Prime Minister moves further off, into a corner.
PRIME MINISTER (CONT'D)
Governance, security, honor. Those are a complex matters for a princess.
PRINCESS NALUMANSI
This isn't about me. People are going to die!
PRIME MINISTER
If you had been a boy, your father would be proud. But unfortunately, critical matters of the monarchy require a man's mind.
(Beat)
And a man's decisions.
Princess Nalumansi glares at Prime Minister. She opens the door swiftly, then moves out. BANG! Door closes.
INT. PRINCE MWANGA'S CHAMBERS-NIGHT
Princess Nalumansi stands looking at Prince Mwanga, who lies in his hammock. He fondles his private parts, and swings from side to side.
PRINCESS NALUMANSI
Look at you!
Mwanga jolts, but keeps lying in the hammock.
PRINCE MWANGA
What do you want?
Princess Nalumansi moves closer to Prince Mwanga, and tugs at his arm.
PRINCESS NALUMANSI
Join me. Someone's life is in danger.
Prince Mwanga sits up.
PRINCE MWANGA
Has Bunyoro kingdom attacked? How come we don't hear war drums?
PRINCESS NALUMANSI
A Munyoro man's life is in danger. His wife is to die!
Prince Mwanga YAWNS.
PRINCE MWANGA
Who cares? Captured Banyoro are our subjects. They must pay, if they err.
He lies back in the hammock. Princess Nalumansi shakes him vigorously.
PRINCESS NALUMANSI
Don't be heartless! You could be the next king!
PRINCE MWANGA
A king does as tradition expects.
PRINCESS NALUMANSI
Killing people and taking their women?
PRINCE MWANGA
I don't need women. But I don't mind expanding my father's kingdom...when time comes.
PRINCESS NALUMANSI
You wreck! I am ashamed of you!
She SLAPS Mwanga, then opens the door. Door BANGS.
EXT. MABUSU PRISON CELL-MOMENTS LATER
Princess Nalumansi talks to the Prison Guards
PRINCESS NALUMANSI
I want to see Mugwanya.
PRISON GUARD ONE
He is in seclusion. Nobody sees him.
PRINCESS NALUMANSI
I have to see him.
PRISON GUARD TWO
Try tomorrow.
PRINCESS NALUMANSI
You let me see Mugwanya, or I accuse you of treachery. First thing in the morning.
GUARD ONE
Who sent you after us?
PRINCESS NALUMANSI
My father. He wants Mugwanya as army chief.
The Prison Guards look at each other.
GUARD ONE
Okay. But if you faint while inside, don't invoke your father's wrath on us.
Guard One unhinges the prison gate. Door CREAKS open, and Nalumansi enters.
INT. MABUSU PRISON CELL-MUGWANYA'S ROOM-CONTINUOUS
Mugwanya lies on the floor, partly covered with a tattered blanket. His face looks pale, with sunken eyes. He weeps silently. SHUFFLING sound is heard. Mugwanya SCREAMS.
PRINCESS NALUMANSI
Peace, Mugwanya.
MUGWANYA
Who are you?
PRINCESS NALUMANSI
Nalumansi. The king's daughter.
Mugwanya SCREAMS more.
MUGWANYA
I know who you are! You won't kill me, or touch my wife!
Princess Nalumansi moves closer. She touches Mugwanya on the cheek. Mugwanya jolts.
MUGWANYA (CONT'D)
Don't touch me!
PRINCESS NALUMANSI
I came to save you.
MUGWANYA
I can't be your father's subject!
PRINCESS NALUMANSI
He doesn't know I am here.
Mugwanya sits up. He looks at Princess Nalumansi closely.
PRINCESS NALUMANSI
Your wife will die, unless you accept.
MUGWANYA
I am a loyal subject of Omukama Kabalega. I am not a Muganda.
PRINCESS NALUMANSI
You need to change...
(Beat)
PRINCESS NALUMANSI (CONT'D)
...pretend loyalty to the king, and your wife shall live.
MUGWANYA
Then die each night as he sleeps with her?
PRINCESS NALUMANSI
It won't be long before he loses interest in her. He will get other women. Then you will have her back. In stealth.
MUGWANYA
Despicable coward! He won't disgrace my manhood! I won't feed my wife to his lust!
PRINCESS NALUMANSI
Think about what I said. You can even see the king tonight, when he is still thinking about you. After tonight, I can't guarantee your wife will live.
MUGWANYA
Leave me alone!
He turns to the wall and starts CRYING. The scene with Mutesa plays out in his mind.
MUTESA
Ohm. I would expect a field commander to have more sense than that!
MUGWANYA
We don't belong here!
MUTESA
You ran out of luck, and obviously no longer a favorite of the despicable Kabalega.
Chains appear and grip Mugwanya's hands. He SCREAMS.
EXT. EXECUTION FIELD-NIGHT
Mukajanga and SENKORE, 20s, the assistant executioner, tie Namusisi on the pole. She WAILS. Two other EXECUTIONERS stand ready, with sharp arrows poised. A few servants watch the scene from a distance. Ngondwe is among them.
NAMUSISI
Woo-wee! Please spare me...
Mukajanga LAUGHS hysterically.
MUKAJANGA
What kind of fool rejects royal manhood?
More LAUGHTER from the men. Mukajanga SHOUTS an order. SWOOSH! The arrows pierce Namusisi. Blood gushes out of her body.
EXT. EXECUTION FIELD-MOMENTS LATER
The Executioners are wrapping Namusisi's bloody body in sackcloth, when Prime Minister arrives.
PRIME MINISTER
Wait!
MUKAJANGA
Too late, sir.
PRIME MINISTER
Hammer legs wants a part of her.
MUKAJANGA
Is my lord the king alright? Everything is dead!
Mukajanga unwraps the sackcloth from the body. A bloody sight.
PRIME MINISTER
The lion of Buganda wants her head. Don't test his majesty's patience.
MUKAJANGA
Sir, my men and I know the rules.
A wide room with a large wooden bed. The walls are decorated with leopard skins, spears, and human skulls. Namusisi sits on the furthest end of the bed. Mutesa courts her.
MUTESA
Come over here.
Silence. Namusisi turns and faces the wall.
MUTESA (CONT'D)
I don't bite.
NAMUSISI
I have a husband, sir.
MUTESA
You don't plan to play stupid, do you?
Silence. He points at the skulls on the wall.
MUTESA (CONT'D)
Look at those fools...if they were to come back to life, they would have told you the truth.
He grabs Namusisi by the neck, and forces her to face him. She breaks out, SOBBING.
MUTESA (CONT'D)
What did you and Mugwanya do each night, huh?
(Beat)
Have you never seen a man's thing?
More CRYING from Namusisi. Mutesa grabs her, and lays her on the bed. A fight ensues.
INT. PRIME MINISTER'S CHAMBERS-NIGHT
Prime Minister stands, drinking beer from a copper vessel. He reaches for a jar, and adds more to his vessel. He drinks hastily. GULPING sound. He SIGHS, and slumps onto a chair. There is a KNOCK on the door.
PRIME MINISTER
Who is there?
NGONDWE
Ngondwe, sir.
Door CREAKS open. Ngondwe enters.
PRIME MINISTER
You should be at the gate.
NGONDWE
Sir, there are strange men outside the gate. The guards have arrested them, but they need instructions on what to do with them.
PRIME MINISTER
These strange men...
(Beat)
What do they look like?
NGONDWE
They don't speak our tongue. And one of them has skin that looks like that of a newborn baby. He also has a strange object.
PRIME MINISTER
What object?
NGONDWE
A one-eyed monster, sir.
PRIME MINISTER
Ummh.
EXT. ROYAL COURTYARD--MOMENTS LATER
The guards are dragging Stanley and his men off, when Prime Minister and Ngondwe arrive.
PRIME MINISTER
Wait!
GUARD ONE
Sir, these are dangerous men!
GUARD TWO
We found them with this.
He retrieves a rifle from the luggage and hands it to Prime Minister.
NGONDWE
Sir, that's the one-eyed monster I told you about!
LAUGHTER from Prime Minister. He feels the butt of the rifle, and aims at Stanley. Stanley tries to lift his arms up.
STANLEY
Sir, please...don't kill me! I am a prince!
PRIME MINISTER
What kind of prince moves around armed, except if he is a bandit?
INT. ROYAL COURTYARD-NIGHT--MOMENTS LATER
The Palace Guards untie Stanley and his men. Prime Minister shoves Stanley and his group into a secluded corner, which houses a sentinel's wooden post.
PRIME MINISTER
Stay right there!
(Beat)
Until the king decides what to do with you.
(Beat)
He addresses the guards.
PRIME MINISTER (CONT'D)
Don't allow in any more wanderers.
GUARD ONE AND GUARD TWO
Yes, sir!
They salute him and move off.
EXT. ROYAL CHAMBERS-CORRIDOR-NIGHT
A sound of WAILING is heard. Servants litter the corridor, speaking in hushed tones. There is a CREAKING of door hinges. Mutesa pushes Namusisi into the corridor.
MUTESA
Mukasa!
MUKASA
Yes, my lord.
He prostrates to the ground.
MUTESA
A delivery for Mukajanga. No reprieve!
Mukasa hesitates.
MUTESA (CONT'D)
Okay?
MUKASA
Yes, my lord.
Door BANGS, as Mutesa disappears. Prime Minister arrives as door CLOSES. He looks at Namusisi. Servants gather around, looking scared. Namusisi SOBS intermittently. Prime Minister KNOCKS on the door. Door opens. He enters.
SERVANT ONE
Does the king mean his word?
MUKASA
You heard him.
Mukasa and the servants grab Namusisi.
NAMUSISI
Leave me alone!
She fights and kicks. They drag her out.
INT. MUKAJANGA'S HOUSE-NIGHT
A sparsely decorated house, with dull mud walls. A few skulls hang on the walls. MUKAJANGA, 50s, Chief Executioner, is a fierce looking man. He sits on a low stool, before a slow fire. He is roasting some meat on the fire, which he washes down with sips of beer from a gourd. He occasionally LAUGHS, while SLAPPING his legs. He is tipsy.
MUKAJANGA
Ha-ha-ha! Ha-ha-ha!
He looks up at the walls, staring at the skulls.
MUKAJANGA (CONT'D)
Don't gawk at me!
(Beat)
All fools who mess with the king must pay.
He grabs a burning wood splinter and pokes one of the skulls.
MUKAJANGA (CONT'D)
Look at your ugly teeth. Ha-ha-ha!
Loud KNOCK on the door.
MUKAJANGA (CONT'D)
Who is that?
MUKASA
Mukasa, sir!
MUKAJANGA
What do you want?
MUKASA
A message from the king, sir.
Door CREAKS open, and Mukasa enters. Mukajanga looks at him fiercely, while MUNCHING the last piece of meat.
MUKASA
There is work for you, sir.
Mukajanga LAUGHS hysterically. He dances around the house.
INT. ROYAL CHAMBERS-MUTESA'S BEDROOM-NIGHT
PRIME MINISTER
My lord, I did not mean to come in here tonight, but then I had an important message.
(Beat)
The night brought in some strangers. Odd-looking men talking a different language.
MUTESA
If commoners no longer know their place, who cares about stray dogs that may look like men?
PRIME MINISTER
I saw Namusisi outside your door. I am sorry, sir.
Silence.
PRIME MINISTER (CONT'D)
Do you want me to take her for the queen mother's instruction?
MUTESA
My generosity is spurned. Do I have a choice?
PRIME MINISTER
So, she can start her lessons on royal etiquette in the morning?
Mutesa BANGS the panel of his bed.
PRIME MINISTER (CONT'D)
My lord, a commoner's wife can be molded into royalty...if given chance.
Mutesa SHOUTS.
MUTESA
Nobody spites the lion king! She must die!
PRIME MINISTER
You were offering her husband an army post.
MUTESA
I have no posts for fools, or time for female subjects who don't know their place!
PRIME MINISTER
My lord, your will shall be done.
He gets up.
MUTESA
Wait!
(Beat)
I want her head in here...
He points to the skulls on the wall.
MUTESA (CONT'D)
...with the rest of the fools.
Prime Minister bows, then leaves.
INT. PRIME MINISTER'S CHAMBERS-NIGHT
A KNOCK on the door. Princess NALUMANSI, 19, comes in. Two FEMALE SERVANTS accompany her.
PRIME MINISTER
Princess! What brings you here at such an odd hour?
Princess Nalumansi turns to her servants.
PRINCESS NALUMANSI
Leave us alone.
The Female Servants leave.
PRINCESS NALUMANSI
I heard the news.
PRIME MINISTER
What news? The palace is full of strange things these days.
PRINCESS NALUMANSI
Namusisi.
PRIME MINISTER
It's too late.
PRINCESS NALUMANSI
She is dead?
PRIME MINISTER
Your father has sanctioned her death. No reprieve.
Princess Nalumansi moves closer to Prime Minister.
PRINCESS NALUMANSI
She is innocent.
PRIME MINISTER
Disobedience is taboo for your father. It would have been different, had her husband consented to the king's proposals.
PRINCESS NALUMANSI
Is he to die as well?
PRIME MINISTER
He is in Mabusu, enjoying the cold floor. He has a slight chance. A minute chance of survival, if he could be humble.
PRINCESS NALUMANSI
What kind of humility deserves a human sacrifice?
Prime Minister moves further off, into a corner.
PRIME MINISTER (CONT'D)
Governance, security, honor. Those are a complex matters for a princess.
PRINCESS NALUMANSI
This isn't about me. People are going to die!
PRIME MINISTER
If you had been a boy, your father would be proud. But unfortunately, critical matters of the monarchy require a man's mind.
(Beat)
And a man's decisions.
Princess Nalumansi glares at Prime Minister. She opens the door swiftly, then moves out. BANG! Door closes.
INT. PRINCE MWANGA'S CHAMBERS-NIGHT
Princess Nalumansi stands looking at Prince Mwanga, who lies in his hammock. He fondles his private parts, and swings from side to side.
PRINCESS NALUMANSI
Look at you!
Mwanga jolts, but keeps lying in the hammock.
PRINCE MWANGA
What do you want?
Princess Nalumansi moves closer to Prince Mwanga, and tugs at his arm.
PRINCESS NALUMANSI
Join me. Someone's life is in danger.
Prince Mwanga sits up.
PRINCE MWANGA
Has Bunyoro kingdom attacked? How come we don't hear war drums?
PRINCESS NALUMANSI
A Munyoro man's life is in danger. His wife is to die!
Prince Mwanga YAWNS.
PRINCE MWANGA
Who cares? Captured Banyoro are our subjects. They must pay, if they err.
He lies back in the hammock. Princess Nalumansi shakes him vigorously.
PRINCESS NALUMANSI
Don't be heartless! You could be the next king!
PRINCE MWANGA
A king does as tradition expects.
PRINCESS NALUMANSI
Killing people and taking their women?
PRINCE MWANGA
I don't need women. But I don't mind expanding my father's kingdom...when time comes.
PRINCESS NALUMANSI
You wreck! I am ashamed of you!
She SLAPS Mwanga, then opens the door. Door BANGS.
EXT. MABUSU PRISON CELL-MOMENTS LATER
Princess Nalumansi talks to the Prison Guards
PRINCESS NALUMANSI
I want to see Mugwanya.
PRISON GUARD ONE
He is in seclusion. Nobody sees him.
PRINCESS NALUMANSI
I have to see him.
PRISON GUARD TWO
Try tomorrow.
PRINCESS NALUMANSI
You let me see Mugwanya, or I accuse you of treachery. First thing in the morning.
GUARD ONE
Who sent you after us?
PRINCESS NALUMANSI
My father. He wants Mugwanya as army chief.
The Prison Guards look at each other.
GUARD ONE
Okay. But if you faint while inside, don't invoke your father's wrath on us.
Guard One unhinges the prison gate. Door CREAKS open, and Nalumansi enters.
INT. MABUSU PRISON CELL-MUGWANYA'S ROOM-CONTINUOUS
Mugwanya lies on the floor, partly covered with a tattered blanket. His face looks pale, with sunken eyes. He weeps silently. SHUFFLING sound is heard. Mugwanya SCREAMS.
PRINCESS NALUMANSI
Peace, Mugwanya.
MUGWANYA
Who are you?
PRINCESS NALUMANSI
Nalumansi. The king's daughter.
Mugwanya SCREAMS more.
MUGWANYA
I know who you are! You won't kill me, or touch my wife!
Princess Nalumansi moves closer. She touches Mugwanya on the cheek. Mugwanya jolts.
MUGWANYA (CONT'D)
Don't touch me!
PRINCESS NALUMANSI
I came to save you.
MUGWANYA
I can't be your father's subject!
PRINCESS NALUMANSI
He doesn't know I am here.
Mugwanya sits up. He looks at Princess Nalumansi closely.
PRINCESS NALUMANSI
Your wife will die, unless you accept.
MUGWANYA
I am a loyal subject of Omukama Kabalega. I am not a Muganda.
PRINCESS NALUMANSI
You need to change...
(Beat)
PRINCESS NALUMANSI (CONT'D)
...pretend loyalty to the king, and your wife shall live.
MUGWANYA
Then die each night as he sleeps with her?
PRINCESS NALUMANSI
It won't be long before he loses interest in her. He will get other women. Then you will have her back. In stealth.
MUGWANYA
Despicable coward! He won't disgrace my manhood! I won't feed my wife to his lust!
PRINCESS NALUMANSI
Think about what I said. You can even see the king tonight, when he is still thinking about you. After tonight, I can't guarantee your wife will live.
MUGWANYA
Leave me alone!
He turns to the wall and starts CRYING. The scene with Mutesa plays out in his mind.
MUTESA
Ohm. I would expect a field commander to have more sense than that!
MUGWANYA
We don't belong here!
MUTESA
You ran out of luck, and obviously no longer a favorite of the despicable Kabalega.
Chains appear and grip Mugwanya's hands. He SCREAMS.
EXT. EXECUTION FIELD-NIGHT
Mukajanga and SENKORE, 20s, the assistant executioner, tie Namusisi on the pole. She WAILS. Two other EXECUTIONERS stand ready, with sharp arrows poised. A few servants watch the scene from a distance. Ngondwe is among them.
NAMUSISI
Woo-wee! Please spare me...
Mukajanga LAUGHS hysterically.
MUKAJANGA
What kind of fool rejects royal manhood?
More LAUGHTER from the men. Mukajanga SHOUTS an order. SWOOSH! The arrows pierce Namusisi. Blood gushes out of her body.
EXT. EXECUTION FIELD-MOMENTS LATER
The Executioners are wrapping Namusisi's bloody body in sackcloth, when Prime Minister arrives.
PRIME MINISTER
Wait!
MUKAJANGA
Too late, sir.
PRIME MINISTER
Hammer legs wants a part of her.
MUKAJANGA
Is my lord the king alright? Everything is dead!
Mukajanga unwraps the sackcloth from the body. A bloody sight.
PRIME MINISTER
The lion of Buganda wants her head. Don't test his majesty's patience.
MUKAJANGA
Sir, my men and I know the rules.
(Screenplay continues...)
Adapted from Bloodline South Sahara (Feature film Drama Inspired by historical events, 127 pages)
© Rosemary K., 2005-2008, All Rights Reserved.
Bride from the Mountains of the Moon Scene Excerpt 1
EXT. GRAVEYARD-DAY
Boona sits near Bangi's grave. She WEEPS. She picks some grass from the grave and rolls it into a circle.
INT. KATIMA'S HOUSE-NIGHT
A small mud and wattle house. The clods of earth in the wall show signs of crumbling. Katima and Boona drink thick millet porridge from red plastic mugs.
BOONA
You have to help me, Katima. The clansmen say I have to be inherited. They are forcing me to marry Rutaro, as his second wife.
KATIMA
First they accuse you of witchcraft, now they want you to marry your brother-in-law?
BOONA
They claim it is for the sake of a son.
KATIMA
But what can an old widow like me do about clan decisions? I was lucky that when I faced the same problem, my supposed groom drowned. If I had the powers, I would help you make Rutaro drown.
Boona starts to CRY.
KATIMA
Don't worry. We can work something out.
INT. BOONA'S BEDROOM-NIGHT
Boona lies in her bed. A hurricane lamp casts long shadows on the wall. She turns and tosses restlessly. A baby's CRIES can be heard from outside. Boona rises, and lowers the wick of the hurricane lamp. She leaves the room.
INT. KIRIGIME'S BEDROOM-NIGHT
Kirigime is soothing Karungi, who kicks her legs about.
KIRIGIME
Shut your small mouth. Your mother must get used to being without you. Besides, you may as well grow up motherless.
CUT TO:
INT. BOONA'S BEDROOM-NIGHT
Rutaro peeps through the door. He looks at Boona's bed, it is empty bed. He enters the room, and closes the door.
CUT TO:
EXT. KIRIGIME'S HOUSE-CONTINUOUS
Boona leans against the bedroom entrance door, tears sliding down her cheeks. Karungi's CRYING can be heard from inside. Boona opens the door slowly, and sees Kirigime. She sings, while rocking Karungi back and forth. Boona slowly retreats.
INT. BOONA'S BEDROOM-NIGHT
Darkness. Boona enters the room. As she bends towards the bed, a hand reaches out and touches her back. She jumps up, SCREAMING.
RUTARO
Shush!
BOONA
What are you doing here?
RUTARO
(whispers)
You know you are soon to be my bride.
It's okay if we do it now.
Boona lights the lamp.
BOONA
Get out of here!
RUTARO
I am your new husband! It's just the cultural marriage ceremony that remains.
BOONA
I said get out!
RUTARO
Don't you want to feel a man's warmth?
Silence.
RUTARO
Come on, when did you last taste a man's thing? You must be starving.
Rutaro reaches out and touches Boona's breasts. She HITS his hands with a fist.
BOONA
Leave me alone!
Rutaro holds her by the shoulders, and pulls her face closer to his.
RUTARO
You are now my woman!
BOONA
I am not your wife!
RUTARO
My family paid your bride price. I have a right to inherit you as my second wife...
BOONA
I am not a goat!
Rutaro grabs Boona's blouse. RIPPING sound, as his hands tear into it.
RUTARO
Stubborn cow! Who do you think you are?
He forcefully pushes her onto the bed, and begins to undo his trousers. Boona SCREAMS.
CUT TO:
INT. KIRIGIME'S HOUSE-NIGHT
Kirigime swings baby Karungi by the arms. She pushes a feeding cup into the baby's mouth. Sound of CHOKING and COUGHING, as Karungi vomits out the milk.
KIRIGIME
Are you possessed?
CUT TO:
INT. BOONA'S BEDROOM-NIGHT
A fight. Rutaro holds Boona's left arm behind her head, while trying to get on top of her.
RUTARO
No woman ever refuses me!
BOONA
Leave me alone!
Boona claws at Rutaro. She bites his fingers, and uses her free right hand to HIT his back. She pushes her hand into his trousers and grabs his manhood. She wrings it vigorously.
RUTARO
Woman, you're killing me! Oh, oh! Help!
Boona increases her grip. She overturns him, pushes him onto the bed, and POUNDS his face with fists. He raises his palm to her face, and Boona bites his fingers. She shoves him off the bed and throws him into the corner. She opens the door and runs out. BANG! Door closes.
EXT. BOONA'S BEDROOM-CONTINUOUS
Boona leans against the wall, HEAVING loudly.
INT. BOONA'S BEDROOM-MOMENTS LATER
Rutaro lies in the corner of the room, writhing. He clutches his trouser front. His fingers are blood-stained. The door opens.
Kirigime stands in the doorway. Karungi is strapped to her back, asleep.
KIRIGIME
I heard someone screaming.
Silence.
KIRIGIME
What's going on here?
RUTARO
Mother, that woman is a killer!
KIRIGIME
(alarmed)
Did she poison you? Oh, my son is poisoned!
She makes an ALARM, and rushes out.
INT. KATIMA'S HOUSE-NIGHT
A small fire burns in the hearth in one corner of the room. A small black pot is placed on the hearth. Katima lifts the pot, and pours steaming millet porridge in two plastic mugs. She gives one cup to Boona, and sips from the second one.
KATIMA
You wrung his manhood? That is taboo.
BOONA
He wanted to rape me!
KATIMA
Why didn't you scream?
BOONA
I screamed myself hoarse. Nobody came to my rescue. It looks like it was planned.
KATIMA
How do you know?
BOONA
My mother-in-law stole my baby from me.
KATIMA
Isn't your baby still suckling?
BOONA
Yes, she is. But my mother-in-law would not listen.
(Beat)
She wanted Rutaro to find me alone.
KATIMA
As long as you still occupy their son's house, you have no option.
BOONA
Katima, I thought you were my friend!
KATIMA
(whispering)
Many women may not say it openly, but most of them are raped by their husbands... every night.
BOONA
Rutaro is not my husband. I don't want him to be my husband!
Boona puts down her cup, and makes for the exit. Katima rushes past her and BOLTS the door. She looks at Boona, and tears well in her face. She holds Boona's hands for a while.
KATIMA
You don't have to throw yourself into the lion's den.
(Beat)
We shall see Kamooshe. For advice.
Boona SOBS. Tears slide down her cheeks.
EXT. VILLAGE PATH-NIGHT
Boona and Katima walk along a winding path. Boona's foot gets lodged into a creeper. She falls. As Katima helps her to get up, a rat crosses the path.
BOONA
A bad omen.
KATIMA
A rat is for good luck. If it were an owl, we would just turn back.
INT. PRIESTESS' SHRINE-NIGHT
A dim fire burns inside a mud and wattle hut. KAMOOSHE, 65, is the Priestess of goddess Nyabingi. She uses a wooden stick to stir brown water in a brown pot. Boona and Katima squat on their legs, craning their necks to look inside the pot.
KAMOOSHE
Wait...
(Beat)
Close your eyes.
Kamooshe raises her arms over Boona, and CHANTS: Rukiga (Bantu language) subtitles.
KAMOOSHE
Adorable Nyabingi! Goddess of wealth and prosperity! Sprinkle some of your luck on Boona, so that she gets what she seeks... Nyabingi, giver of wealth and wisdom, I beseech you!
She opens an old goatskin bag, and retrieves three cowry shells. She raises them in her right fist.
KAMOOSHE (CONT'D)
This is Bangi...
She drops the first cowry shell into the pot.
KAMOOSHE (CONT'D)
This is you...
She drops the second cowry shell into the pot.
KAMOOSHE (CONT'D)
This is Rutaro.
She drops the third cowry shell. Small bubbles appear in the pot. Kamooshe stirs the mixture. A wisp of smoke from the dim fire assails her, and she COUGHS. She waves her left hand about. The smoke shifts to Boona and Katima. They COUGH. Their eyes water. Kamooshe peers into the pot.
KAMOOSHE (CONT'D)
There he is, chasing you like a leopard.
BOONA
Who is chasing me?
KAMOOSHE
He doesn't understand this marriage.
BOONA
Mother of wisdom, who?
KAMOOSHE
Wait!
She stirs the contents of the pot. There is a RATTLING noise. One cowry shell jumps out of the pot, and falls in front of Boona. Kamooshe points at the cowry shell.
KAMOOSHE (CONT'D)
There he is. I can feel his presence...
(Beat)
...what a frightening look he has! His face is frozen like the peak at the Mountains of the Moon...your homeland.
Kamooshe shivers. She makes loud BELCHING sounds, and her eyes open wider. She stirs the contents of the pot.
KAMOOSHE (CONT'D)
He is very annoyed. He doesn't want the marriage!
BOONA
Mother of wisdom, who is that?
Kamooshe throws the cowry shell back into the pot. She picks a flickering cinder and extinguishes it inside the pot.
KAMOOSHE (CONT'D)
Your dead husband!
INT. KATIMA'S HOUSE-NIGHT
Boona stands in the middle of the room. She SOBS intermittently.
KATIMA
What's the matter with you?
BOONA
I want to go home.
KATIMA
This late? Are you insane?
BOONA
The rat was bad luck!
Katima moves closer to Boona, and hugs her.
KATIMA
Stop worrying yourself over the rat.
Kamooshe said it was your dead husband... but he wouldn't hurt you, would he?
Boona turns and faces the door. She tries the bolt.
KATIMA
Please...it's not safe.
BOONA
I need to see my child.
KATIMA
Indeed, you may never see her again, if you insist.
INT. KATIMA'S BEDROOM-MOMENTS LATER
Katima spreads two mats on a reed bed. She adds a feather mattress, and one old brown bed sheet. She enters the bed, and Boona lies next to her. Her fight with Rutaro plays out in her mind.
RUTARO
No woman ever refuses me!
BOONA
Leave me alone!
INT. KIRIGIME'S HOUSE-MORNING
Rutaro lies on a mat. He is covered with a blanket. Kirigime sits on a mat next to him, mixing herbs in a small basin. She pours hot water from a large black kettle, into the small basin. Karungi is strapped to her back.
KIRIGIME
I hope this is the last time she attempts such a mad stint. Unless of course, she wants to join my son under the ground.
Kirigime removes the blanket from Rutaro. She touches his trouser front. Rutaro writhes.
KIRIGIME
Be still. I've got to dress your wound.
RUTARO
Mother, do you think you should really be doing this?
KIRIGIME
You are my son.
RUTARO
Let Nkabona do it.
KIRIGIME
Oh, do you think your wife will be happy that you got a manhood accident from another woman?
Kirigime unzips Rutaro's trouser front. She picks a handful of herbs from the small basin, and rolls them into a ball. She presses Rutaro's groin. He grimaces.
RUTARO
Please, mother, call my wife!
KIRIGIME
So you'd rather she knows about that rabid bitch?
(screenplay continues...)
Adapted from Bride from the Mountains of the Moon (Feature film Drama,119 pages)
© Rosemary K., 2005-2008, All Rights Reserved.
Bride from the Mountains of the Moon Scene Excerpt 2
INT. RUNUMI'S SHRINE-NIGHT
KIRIGIME
The bride escaped. We fear for the worst.
RUTARO
We searched the entire neighborhood. Not a sign.
Runumi puts a black pot over the fire. He pours some herbs in the pot, and stirs. The herbs blacken inside the pot, and wisps of smoke spiral out of it. He CHANTS. Rukiga (Bantu Language) subtitles.
RUNUMI
The dead never resurrect! But when an angry spirit stalks the living, that is total disaster!
(Beat)
Propitiation!
KIRIGIME
Is she possessed?
RUTARO
Whose spirit?
RUNUMI
Her dead husband's spirit!
KIRIGIME
Bangi's spirit was propitiated.
(Beat)
KIRIGIME (CONT'D)
We are upholding the clan's decision that Rutaro marries her for an heir.
RUNUMI
A woman must not contradict me!
KIRIGIME
I am sorry.
RUNUMI
And let me ask you something? Did she steal some of your belongings?
KIRIGIME
No.
RUNUMI
Did she destroy anything in the house?
KIRIGIME
No.
RUTARO
Yes.
Kirigime looks at Rutaro with questioning eyes.
RUTARO
My dead brother's regalia. She cast it into the bush. Now rats play on its place in the room.
RUNUMI
That's it. Your bride-to-be is possessed!
KIRIGIME
But we did not see her getting seizures, like the possessed do. She never even spoke in tongues.
RUNUMI
How do you explain the disappearance of a woman who knows she is betrothed?
Silence.
RUNUMI (CONT'D)
Can't you see? Her dead husband wants her back. She must be married to his spirit.
DISSOLVE TO:
INT. PRIESTESS' SHRINE-NIGHT
A dim fire burns inside the shrine. Kamooshe's speaks to Boona and Katima.
KATIMA
They are searching for her. I fear they may discover her at my place.
KAMOOSHE
What are you waiting for? Do you want the clan to unleash their wrath on you?
BOONA
What can we do, mother?
Kamooshe throws three cowry shells in a gourd, then RATTLES it. She tilts gourd, and pours the cowry shells on the floor. One of the cowry shells is broken.
KAMOOSHE
See this?
(Beat)
KAMOOSHE (CONT'D)
Go back to your husband's clan.
BOONA
But I will be giving them chance to force me into marriage with Rutaro. I don't even know how long he has to live. His wife died of AIDS.
KAMOOSHE
What do you mean?
Silence.
KAMOOSHE (CONT'D)
Stop hallucinating, and look at this.
She points at the broken cowry shell.
KAMOOSHE (CONT'D)
That planned marriage will never take place.
EXT. FOOT TRACK-DAWN
A winding foot track, overgrown with creepers. Katima walks down the foot track. She wears a red head scarf, and carries a plastic can in her right hand. She suddenly halts, as she sees Kiragi pushing the pump at the bore hole. She walks slowly towards the bore hole.
EXT. BORE HOLE-CONTINUOUS
Katima stands above the pavement of the bore hole. She softly TAPS her can with her fingers. Kiragi puts his fingers into the slow trickle of the water. He shakes his can impatiently. Katima COUGHS. Kiragi turns his face to the pavement, and faces Katima.
KIRAGI
A poor trickle. Like a woman with gonorrhea!
KATIMA
How do you know?
KIRAGI
Experience.
He lifts his can from the bore hole pipe, then looks at Katima for a few seconds.
KIRAGI (CONT'D)
You look nice with that head scarf.
KATIMA
I know where nice things are sold.
Silence, then Kiragi speaks naughtily.
KIRAGI
I would like one for myself.
He raises the can to his left shoulder, and moves away. Katima stares at him until he is out of view. She fixes her can under the bore hole pipe. She pumps water into it.
EXT. KATIMA'S HOUSE-DAY
Kiragi walks along the path near Katima's house. He stops in his tracks. For a few seconds, he stares at a child's clothes spread on the hedges, then walks away.
EXT. COMPOUND-DAY
Magume and Kiragi move towards the reed hut, while arguing.
KIRAGI
I know where Boona hides.
MAGUME
An old man's lie.
KIRAGI
You have to believe me.
MAGUME
Where is she?
INT. REED HUT-CONTINUOUS
Rutaro and Kirigime stand in the center of the reed hut. Rutaro paces up and down. Kirigime looks at him for a few seconds.
KIRIGIME
Hunting the trickster needs more patience, son.
Kirigime sits down. Magume and Kiragi enter. Two clansmen follow. They sit on stools.
MAGUME
He claims he saw Boona.
KIRAGI
I saw her red head scarf.
RUTARO
A head scarf isn't a woman!
Rutaro STAMPS his foot.
KIRAGI
I have all the details.
Rutaro reluctantly sits down.
KIRAGI (CONT'D)
I saw Katima.
(Beat)
She wore Boona's head scarf.
RUTARO
Your story doesn't make sense!
KIRAGI
Can't you see the connection?
KIRIGIME
You shouldn't waste our time.
She stands up.
RUTARO
Old men should act their age.
Rutaro gets up.
RUTARO (CONT'D)
Next time don't call us because you saw your cow with a tail.
All people stand up. They move towards the door.
KIRAGI
There is more...
CUT TO:
INT. KATIMA'S HOUSE-CONTINUOUS
Katima and Boona have a meal. Boona alternates between eating and feeding Karungi. Karungi inserts her fingers into her mouth, playing with the food.
KATIMA
I met Kiragi at the bore hole.
BOONA
He sometimes fetches water himself. He's hardworking.
KATIMA
He commented on my head scarf...your head scarf.
She removes the head scarf from her head, and hands it to Boona.
BOONA
What did he say?
KATIMA
That he wanted a head scarf like that, for himself.
Boona ties the head scarf around her head.
BOONA
Kiragi likes cracking silly jokes.
KATIMA
I think it's more than that. His voice had an edge of mockery.
Karungi CHOKES on the food. Boona TAPS her back.
BOONA
Greedy child!
BACK TO:
EXT. REED HUT-DAY
KIRAGI
Since you don't believe my head scarf story, tell me how you explain an old woman's pregnancy.
KIRIGIME
Oh, please. Spare us your sick jokes!
RUTARO
We don't care, if your old wife is pregnant.
KIRAGI
Do you think Katima is pregnant?
MAGUME
That's enough!
Magume walks towards the door.
KIRAGI
Katima is harboring Boona and her baby.
(Beat)
I saw a baby's clothes drying in her compound!
Kirigime HISSES.
KIRAGI (CONT'D)
The red head scarf, and an old widow with a baby's clothes. Do you call that a hard riddle?
KIRIGIME
Dirty witches!
She GRINDS her teeth.
RUTARO
I'll go for her right away.
Rutaro moves towards the door.
MAGUME
Wait. The fox never lost its cunning, so good hunters need wise tactics. Let's meet again this the evening.
EXT. COMPOUND-NIGHT
Magume, Kiragi, and one CLANSMAN move about in the compound, with reed torches. Kiragi holds two spears. Rutaro runs towards them holding two clubs and two ropes.
RUTARO
Ready for the hunt?
The men walk out of the compound with loud FOOTFALLS.
INT. KATIMA'S BEDROOM-NIGHT
Boona lies on an improvised bed on the floor. She nurses Karungi, who is slowly catching sleep. Katima sleeps on a feather mattress, placed on a reed bed. She partly covers herself with an old blanket.
Boona closes her eyes. She sees Rutaro, Kirigime, and the clansmen chasing her. She sits up suddenly, and lights a tin candle. Katima stirs.
KATIMA
It's bad to stay up.
Silence.
KATIMA
What's eating you up?
BOONA
Each time I close my eyes, it's them I see.
KATIMA
Who?
BOONA
The clansmen. My mother-in-law, Rutaro... the whole damn lot.
KATIMA
Take a rest.
KNOCK on the door.
BOONA
(whispers)
Do you hear that?
KATIMA
Hush!
SHUFFLING noise from outside.
KATIMA (CONT'D)
(whispers)
Could be a night prowler looking for easy break-ins.
Silence. More SHUFFLING noise outside. Katima gets up. She presses her ear to the wall. VOICES invade the scene. Boona blows out the tin candle.
KATIMA (CONT'D)
(whispers)
Familiar voices.
BOONA
(whispers)
What?
KATIMA
Get under the bed. Quick!
BOONA
(whispers)
What about the baby?
Katima grabs Karungi, who immediately starts to CRY. Katima stuffs a piece of cloth into the baby's mouth. Boona crawls under the bed. Katima pushes the baby after her. She pulls her blanket, and covers the lower sides of the bed. MUFFLED sound come from under the bed. More loud KNOCKING on the door.
MAGUME (O.S)
We know you are in. Open the door!
KATIMA
Why disturb a frail old widow in the middle of the night?
MAGUME (O.S)
A widow must know her limits!
BANGING on the door. Door CRASHES in. The invaders rush into the house. Katima stands in the middle of the room, arms folded across her chest. She looks at the invaders, then at her broken door. She WAILS.
RUTARO
Where is Boona?
KATIMA
(sobs)
You have no right to invade my house!
MAGUME
Search the house.
They start throwing things about. Katima fights them.
KATIMA
Leave me alone!
MAGUME
Kiragi, pass that rope.
Kiragi throws Magume a long rope. Magume signals to Rutaro with his finger. They tie Katima up.
KATIMA
(crying)
She's not here, you miserable wolves.
Kiragi retrieves a red head scarf from the bedclothes.
KIRAGI
See? Riddle one solved.
He hands the head scarf to Magume, and then pulls the bedclothes from under the bed. Boona and Karungi are revealed.
KIRAGI (CONT'D)
Look, riddle two is here!
The men pull Boona out. She resists. She bites. Commotion.
KIRAGI (CONT'D)
Ouch! My fingers are gone!
Kiragi withdraws, shaking bloody fingers.
RUTARO
Rabid dog!
Magume and the Clansman use a rope to tie Boona's hands behind her back.
Rutaro pulls Karungi from under the bed. The baby kicks about, with the gag in her mouth. Kiragi removes it.
RUTARO
She can't wait to exterminate my entire clan!
Magume hurriedly gathers the clothes in sight, and ties them into a shabby bundle.
KATIMA
Stop it, mad robbers!
Magume goes to Katima and shoves her. A THUD, as she slumps onto the floor. The men shove Boona out of the room.
EXT. VILLAGE PATH-NIGHT
The invaders trudge along the village path, with Boona as their captive. Kiragi carries a badly tied luggage, which gets soiled from his bleeding fingers. Rutaro walks behind the group, carrying baby Karungi. The baby CRIES intermittently.
(screenplay continues...)
Adapted from Bride from the Mountains of the Moon (Feature film Drama,119 pages)
© Rosemary K., 2005-2008, All Rights Reserved.
WRITING FROM PRESIDENT NELSON MANDELA'S HOME!
Top left: Beautiful Table Mountain Shape
Top right: Rosemary K, inside Nelson Mandela's prison cell (2000)
Bottom: Nelson Mandela statue, Victoria & Alfred Waterfront
By Rosemary K
In 2000, I had the opportunity to visit the University of Cape Town, South Africa, as a Visiting Academic Associate of the African Gender Institute. I was among the top four women selected to attend the Associateship, and to write projects that would enhance the understanding of gender issues and social transformation on the African continent.
To me, visiting Cape Town was both an opportunity and a privilege. Although I had incorporated the gender advocacy agenda in my general social and academic pursuits, it was kind of a rare occurrence for one’s contributions to be acknowledged that soon. It was barely three years after my graduation from Makerere University with a Bachelor’s degree in Social Sciences, yet I perceived myself as a critical contributor to the global women’s agenda. Thus, when the offer from the African Gender Institute at University of Cape Town came, I did not waste any time thinking about the cons of going to write from Nelson Mandela’s home. In fact, I was already picturing Cape Town seascapes as important intellectual stimulators in the creative process. My imagination was not in vain, for in May 2000, I landed in the Cape, and embarked on the process of writing The Final Push, a gender-based drama. From my work station at the Center for African Studies, I had a wide view of the spectacular Table Mountain, the dark clouds on a rainy day, and the mist that was always a characteristic of that exquisite mountain top.
Staying in Cape Town was a busy time for me. I was at the height of my creative writing journey. I was concurrently working on producing Songs of the Third Life, in time for the Annual International Zimbabwe Book Fair in Harare, and at the same time, finding space to concentrate on my project, visit other writers, attend workshops, and discuss social issues.
I was hoping to get a chance to meet President Nelson Mandela in person, but I guess my expectations were too high. I did visit Robben Island, now a museum, his place of incarceration for close to 27 years. It was a devastating yet spiritually enriching experience of a lifetime. Sitting behind bars in his very room, touching his old blanket, and visiting the lime quarry where he spent his day time laboring, was a very humbling experience for me. To imagine selflessness and fortitude of such magnitude as Nelson Mandela’s was truly subliminal. I have never forgotten the tour the museum guide gave us, and his first hand narration of the inmates’ harrowing experiences at Robben Island. The guide, who was an ex-prisoner of Robben Island himself, talked about the segregated racial system, which was also enforced behind bars. White prisoners had the most privileged status, followed by Asians and biracial prisoners, with black people at the bottom. The white prisoners were permitted to drink coffee with milk and sugar, and to eat meat and eggs for their meals, while the black prisoners could take only coffee without milk or sugar.
Although apartheid was officially banned with Nelson Mandela’s election to the presidency in 1994, the economic and social divide between white and black are still obvious in South Africa. I will not dwell on that, as that in itself is another story, but all I can say is that I cannot comprehend why one race would oppress another based on skin color. How fickle does humanity get?
In the final month of my Associateship at University of Cape Town, a tragedy struck my family, with the loss of my very dear sister, on August 28, 2000. She was a professional in English and Literature, who was just in her 20s, and equally my friend as much as she was my sister. Although the end of my visit was dismal, I will forever remember the kind support of the staff at the African Gender Institute, in particular, Prof. Amina Mama, Director of the Institute. They made sure arrangements were immediately made for me to return to my home country for my sister’s funeral. I also got the support of fellow Associates on the program, including Josephine, a fellow Uganda National. She volunteered to go back home with me.
Although my stay in Cape Town ended on a sad note, I finished my project, plus a concept paper based on it. Now you can enjoy an excerpt from The Final Push, as well as a review of the piece from Sabata Sesiu, Senior Lecturer at the University of Cape Town Department of Drama. Check the next post.
To me, visiting Cape Town was both an opportunity and a privilege. Although I had incorporated the gender advocacy agenda in my general social and academic pursuits, it was kind of a rare occurrence for one’s contributions to be acknowledged that soon. It was barely three years after my graduation from Makerere University with a Bachelor’s degree in Social Sciences, yet I perceived myself as a critical contributor to the global women’s agenda. Thus, when the offer from the African Gender Institute at University of Cape Town came, I did not waste any time thinking about the cons of going to write from Nelson Mandela’s home. In fact, I was already picturing Cape Town seascapes as important intellectual stimulators in the creative process. My imagination was not in vain, for in May 2000, I landed in the Cape, and embarked on the process of writing The Final Push, a gender-based drama. From my work station at the Center for African Studies, I had a wide view of the spectacular Table Mountain, the dark clouds on a rainy day, and the mist that was always a characteristic of that exquisite mountain top.
Staying in Cape Town was a busy time for me. I was at the height of my creative writing journey. I was concurrently working on producing Songs of the Third Life, in time for the Annual International Zimbabwe Book Fair in Harare, and at the same time, finding space to concentrate on my project, visit other writers, attend workshops, and discuss social issues.
I was hoping to get a chance to meet President Nelson Mandela in person, but I guess my expectations were too high. I did visit Robben Island, now a museum, his place of incarceration for close to 27 years. It was a devastating yet spiritually enriching experience of a lifetime. Sitting behind bars in his very room, touching his old blanket, and visiting the lime quarry where he spent his day time laboring, was a very humbling experience for me. To imagine selflessness and fortitude of such magnitude as Nelson Mandela’s was truly subliminal. I have never forgotten the tour the museum guide gave us, and his first hand narration of the inmates’ harrowing experiences at Robben Island. The guide, who was an ex-prisoner of Robben Island himself, talked about the segregated racial system, which was also enforced behind bars. White prisoners had the most privileged status, followed by Asians and biracial prisoners, with black people at the bottom. The white prisoners were permitted to drink coffee with milk and sugar, and to eat meat and eggs for their meals, while the black prisoners could take only coffee without milk or sugar.
Although apartheid was officially banned with Nelson Mandela’s election to the presidency in 1994, the economic and social divide between white and black are still obvious in South Africa. I will not dwell on that, as that in itself is another story, but all I can say is that I cannot comprehend why one race would oppress another based on skin color. How fickle does humanity get?
In the final month of my Associateship at University of Cape Town, a tragedy struck my family, with the loss of my very dear sister, on August 28, 2000. She was a professional in English and Literature, who was just in her 20s, and equally my friend as much as she was my sister. Although the end of my visit was dismal, I will forever remember the kind support of the staff at the African Gender Institute, in particular, Prof. Amina Mama, Director of the Institute. They made sure arrangements were immediately made for me to return to my home country for my sister’s funeral. I also got the support of fellow Associates on the program, including Josephine, a fellow Uganda National. She volunteered to go back home with me.
Although my stay in Cape Town ended on a sad note, I finished my project, plus a concept paper based on it. Now you can enjoy an excerpt from The Final Push, as well as a review of the piece from Sabata Sesiu, Senior Lecturer at the University of Cape Town Department of Drama. Check the next post.
Photo credits: capespirit.com
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