Light Breaks

CA Written by

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THE LIGHT BREAKS

Cassidy Haynes

Consulted:

Hailey French

YN HA

Lauren Bautista

912-657-4209

ES

cassidyhaynes011@icloud.com

8/3/19

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INT. HAVVER'S RESIDENCE, CHILDRENS’ BEDROOM - DAY, 1951

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A shining new doll sits on a squat children’s night stand. On either side, two twin beds. ZORA (40’s, African American) bends over, lifting a scruffy, well-loved teddy bear from halfway beneath the bed.

* * * *

She replaces the doll with the bear.

*

The children’s bedroom is bright with natural light, toys and picture books adorn a dresser by the window. The space is neat, but well lived in.

Zora fluffs the frilled pillows of the bed on the right. She straightens the sheets, gentle and methodic as she folds the edge of the quilt back.

* * *

* * *

She smoothes the wrinkles out it, and sets two pairs of girl’s shoes in a row at the foot of the bed.

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ELIZABETH (8) and CHARLOTTE (6), children of Zora’s employers, run down the hall outside the bedroom, their laughter and footsteps mingling as they chase each other.

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INT. HAVVER'S RESIDENCE, MASTER BEDROOM - DAY

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Zora whips bedsheets almost violently to spread them over the kingsized mattress.

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The room is sparsely decorated, but classic and mature. The blinds are drawn.

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She pulls the sheets taut, folding, snatching and shoving them beneath the mattress.

* *

Zora beats the pillows on either side of the bed to fluff them.

* *

She returns a series of hair pins, cufflinks, and jewelry to their proper boxes and drawers, slamming each container shut with solid finality.

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TITLE CARD: Zora, 1951

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Zora winds a heavy silver pocket watch by the bedside, but is careful and almost ginger in her approach to the task, brow furrowed as she works with the timepiece.

* * *

It begins ticking when she’s finished, and she pauses to look at it for a long moment.

* *

2.

Downstairs, the children turn on the radio, scanning for the channel with their favorite program. The volume is high, and audible from the master bedroom.

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RADIO “All this you can get for the price of--”

* * * * * *

The radio switches suddenly to smooth jazz music.

*

The channel switches again.

*

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RADIO (CONT'D)

* *

Zora pauses a moment as the cause of death is reported, face falling.

* *

The radio channel switches again, and horn-heavy, upbeat children’s music blares through the speaker.

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INT. HAVVER'S RESIDENCE, ENTRYWAY - DAY

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The house is richly furnished, ornate in detail and immaculately clean. The blinds are drawn, and it is dimly lit, quiet.

* * *

Elizabeth calls Zora’s name from the bottom of the stairs, .

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She moves slowly down the steps toward her. Elizabeth and Charlotte bicker at the bottom of the stairs, the younger of the two almost in tears. The floorboard of the final step creaks when she reaches it.

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“Police say the victim was lynched...”

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CHARLOTTE You cheated!

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ELIZABETH No I didn’t, stupid, I’m faster!

* *

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ELIZABETH Zora, tell her she HAS to be it! I won!

Charlotte hugs Zora’s side, burying her face, and Zora puts a hand on her head, shushing them both.

ZORA Hush. Elizabeth, don’t you use that word, especially not to your sister!

(MORE)

* * * * * *

3.

ZORA (CONT'D) Ya’ll can play a different game, right now it’s time for lunch.

* *

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Elizabeth pouts as if she might argue, but accepts this and wanders into the dining room.

ZORA (CONT'D) You’re alright.

* * * *

Zora gently rubs Charlotte’s back and sends the little girl off, to the dining room.

* *

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*

Zora stands over the clothes hamper, sorting through white garments to wash, but pauses when she finds one stained with red.

* * *

It’s hem is spattered with dried blood, and she hesitates even to touch it, hands trembling.

* *

There is a moment of contemplation, and a pained realization in her gaze. She stares and doesn’t look away.

* *

Somewhere else in the house, the Charlotte calls for her.

Zora breaks her stare, and begins to clean the garment.

* *

EXT. BACKYARD - DAY, 1951

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A clothing line is stretched taut across the center of the yard. It trembles tenuously as Zora fastens clothes and linens to it.

* * *

Elizabeth and Charlotte play cop and robber in the yard behind her, their game almost inaudible.

* *

Zora hangs the cleaned garment on the clothing line, humming softly as she works. Noonday sun beats down on her as she runs her fingers across the fabric.

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She bends down to get more clothes from her basket, revealing the white KKK cloak, flapping in the breeze.

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EXT. HAVVERS RESIDENCE, LAUNDRY ROOM, LATER - DAY, 1951

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Charlotte runs straight through it, almost getting tangled in the cloak.

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She giggles as she zigzags through the clothes line, her sister hot on her heals, pretending to shoot.

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4. *

INT. MENZODA RESIDENCE, BATHROOM - DAY, 1975

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A medicine cabinet opens. Inside, pill bottles.

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A hand reaches in, selecting one. It’s label reads DO NOT TAKE IF PREGNANT.

* * *

The hands remove the pill bottle. Pills rattle off screen as the bottle is opened.

* *

The sink faucet runs for a moment, and after a minute, the bottle is returned to it’s shelf in the medicine cabinet.

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The cabinet closes, and ESTHER (early 20’s, Filipino) looks back at her reflection in the bathroom mirror.

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TITLE CARD: Esther, 1975

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INT. MENZODA RESIDENCE, STAIRS - DAY

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Bits and pieces of a classical melody ring out from the living room. A novice flute player.

* *

On the wall along the stairwell are framed family portraits, grandparents, parents, and finally children: A younger Esther, embracing a little girl.

* * *

Esther descends the stairs, and the bottom step creaks as she steps on it.

* *

INT. MENDOZA RESIDENCE, LIVING ROOM - DAY,

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GRACE (10, Fillipino) plays the flute by the couch, studying her sheet music.

* *

Her playing is clumsy, but determined.

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Decorative items placed around the house become visible:

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Prayer beads sit by an empty bowl on the mantle, a crucifix adorns the walls, hanging above the couch.

* *

Beside the armchair, a telephone sits.

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Her eyes are reddened as if she’d been crying, but she holds her head high.

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Esther enters the living room and walks past her sister, moving further into the house.

* *

5. * *

She places them on the coffee table and begins to cut the stems.

* *

Grace steadies her instrument and begins to play another classical piece while Esther works.

* *

Esther stands over her empty vase as she cuts the stems, her movements with the scissors sharp and deliberate, the effect immediate.

* * *

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She returns with a bouquet of lilies, scissors, and a glass vase.

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Grace’s melody begins a slow, dramatic crescendo as Esther continues cutting.

* *

When the song peaks, Esther freezes, wincing and lowering a hand to her stomach.

* * * *

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ESTHER Could you STOP playing that?

Grace’s music stops abruptly, and she pouts.

*

GRACE

* *

She quickly begins to pack up her sheet music.

*

Esther watches as her younger sister grabs her things and retreats up the stairs.

* *

Esther exhales heavily and closes her eyes, before she resumes her task in peace.

* *

She cuts the stems in relative silence, but as she finishes the last flower in the bouquet, an intense pain shoots through her abdomen again.

* * *

She drops the scissors and holds her stomach, briefly closing her eyes this time. Dizziness accompanies the pain, and she moves slowly to the armchair, all but falling into it.

* * *

Esther leans back, sinking in, breathing through the ache.

*

Fine.

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Directly in her line of sight is the gilded crucifix, an expression of agony, suffering and sacrifice miniaturized.

* *

Esther stands, grimacing, and holding the chair for support.

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She looks down to see a red rosette of blood in the cushion of the seat.

* *

Esther gasps softly and weakly leaves the living room.

*

6.

INT. MENDOZA RESIDENCE, HALL - DAY 1975

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In the hall outside the bathroom, Grace knocks on the door

* * * * *

After a moment, Grace tentatively pushes open the door.

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Esther’s jeans and underwear lay crumpled in a ball on the floor, both heavy with blood. She sits, visible from the chest up, on the toilet, breathing hard.

* * * *

Esther grits her teeth, an arm around her stomach.

*

Grace stares at the clothes on the floor and looks to her sister in horrified confusion, just on the edge of understanding.

* * *

Esther meets her gaze, panting softly. She answers back, but her voice is strained with pain and near panic.

* *

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She gets no response. She knocks again, harder. Still, nothing.

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GRACE Esther? What’s wrong?

ESTHER Grace...go get help.

NOW!

GRACE

* *

ESTHER

* *

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But--

* *

* * *

Grace gasps and backs away. She closes the door and runs from the bathroom.

* *

INT. MENDOZA RESIDENCE, STAIRS - DAY, 1975

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Grace rushes down the stairs, past the family portraits.

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INT. MENDOZA RESIDENCE, LIVING ROOM - DAY, 1975

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Grace hurriedly approaches the telephone.

*

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For a moment, Grace hesitates, as though she might cry.

Esther cries out in pain, squeezing her eyes shut and doubling over.

As she lifts it to her ear, she looks down and sees the blood in the chair.

* *

7.

She looks up and sees the crucifix hanging over her. She stares for a moment, before she begins to dial.

* *

CA

* *

EXT. SALIB RESIDENCE, FRONT YARD - MORNING, 2020

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A campaign sign lays in the grass.

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Over a geometric logo and large text reading ‘Farrah Salib 2020’, a crude sharpie message has been scrawled: GO BACK TO YOUR COUNTRY. FARRAH (30’s, Pakistani) lifts up the sign with jaded disappointment. She carefully scans her yard before heading inside.

* * *

* * *

INT. SALIB RESIDENCE, KITCHEN - DAY, 2020

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Farah enters the kitchen, well dressed in a navy blue blouse and sharp white slacks.

* *

She takes eggs out of her refrigerator.

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Farah stands by the stove, eggs frying in a pan as she reads from a note card, practicing her speech.

* *

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TITLE CARD: Farrah, 2020

FARRAH Higher education isn’t just the right of every citizen; it is a necessity if we want to--

* * * *

Her phone buzzes on the counter beside her.

*

She lowers the notecards and answers.

*

FARRAH (CONT'D) Hi, Mike. I found another one this morning.

MIKE Another? My God, Farah, that’s awful. How’re you doing?

* *

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Over the phone, the muffled, sound of Mike’s voice can be heard.

* * *

Farrah is quiet a moment, and turns off the eggs.

* * * *

8.

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FARRAH I’m fine. It’s a nuisance, for sure, but I’m not worried. I mean--

* * *

MIKE I think you should be. It’s just your signs now, but what next? Have you considered hiring personal security?

* * * * *

She listens, frowning.

* * * *

MIKE That’s exactly what I’m saying.

You’re running for office, living alone, you’re already a target. I’m not sure we have enough security for the rally this evening.

* * * * * *

FARAH No, Mike, I really don’t think--

* *

MIKE Honestly, it may be better to reschedule. This is the fourth time this month, and with the current climate...public appearance seems like too big a risk.

* * * * * *

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FARRAH No, not at all! It could’ve been much worse. I--

Farah stops, hardly able to get a word in.

*

Off screen, a rapping from the back of the house gets her attention.

* *

MIKE (CONT'D) We can give things a month or two to cool down, hire a detail to escort you in the mean time...

* * * * * * *

Confusion gives way to alarm as Farrah creeps, phone to her ear, to her back door, searching for an intruder.

* *

The backdoor’s blinds make it impossible to see out its windows, but the tapping is more erratic and louder than before.

* * *

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Mike’s voice begins to fade away as the persistent tap grows louder, something like knuckles on glass. Farrah focuses in on it.

9. * *

Outside, her porch is empty. A tree limb, nudged by the breeze, scratches and taps agains the window.

* *

She lets out a deep sigh of relief, and Mike’s voice fades in again.

* * * *

FARRAH Hey. I’m here. I’ll be at the rally tonight, as scheduled.

* * *

She hangs up the phone before returning to the kitchen.

*

INT. SALIB RESIDENCE, BEDROOM - AFTERNOON, 2020

*

Farrah lays down on her mat for Salat al-'asr.

*

INT. SALIB RESIDENCE, STAIRS - DAY, 2020

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She comes down the stairs, fastening a white hijab. The last step creaks. She stops in front of the mirror and clips an American Flag pin on her lapel.

* * *

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MIKE (CONT'D) Hello? Did you hear what I said?

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Farrah pauses, back to the wall by the door, counting three deep breaths before yanking open the blinds.

Her gaze is self assured and confident, ready to face whatever comes.

* *

Leaning on the wall is a new campaign sign. She lifts it and smiles confidently before stepping out the door.

* * *

ES