Armie Hammer - Film Script lyrics

THE BIRTH OF A NATION Screenplay by Nate Parker 1 BLACK, THEN- 1 Indeed, I tremble for my country when I reflect that God is just, that his justice cannot sleep forever. Thomas Jefferson, 1785 CHILD'S VOICE (V.O.) My mama, she was runnin'. Runnin' fast as she could... FADE IN 2 EXT. DISMAL SWAMP - NIGHT 2 Moonlight sifts through the tall pines, illuminating the fogblanketed marsh. CHILD'S VOICE (V.O.) But the white man, he catched her. Catched her an' throwed her to the ground... Through the boscage, two shrouded figures emerge, pacing stealthily through the brush. CHILD'S VOICE (V.O.) But he ain't know that another man, big like my daddy was behind him... CLOSER to reveal the shadowed features of an African WOMAN. She pulls a YOUNG BOY alongside her- both of whom's features we cannot yet clearly see. CHILD'S VOICE (V.O.) He took a big ol' stick and hit that white man all about his head with it... 3 INT. SLAVE QUARTERS - NANA'S CABIN - (NIGHT) 3 Three SLAVE CHILDREN sit together under candle light. They wear long TOW SHIRTS that reach to their knees. The smallest, YOUNG NAT TURNER (9) continues as the two others listen rapt. YOUNG NAT Then they dug a hole, roll him in it and walked on back. An UNKNOWN POV watches from outside the cracked cabin door. One of the other slave children, YOUNG HARK (10) pipes up. 4/9/15 - WHITE 1 (CONTINUED) SLAVE CHILD They got lynched? YOUNG NAT Naw. They went on back and didn't never say nothing on it. (he giggles) Say they ain't seen master all day. The cabin door opens to reveal NANCY TURNER (20's). She regards Nat, spooked. NANCY Who told you that? No answer. She rushes to him, grabs him hard by the arm. NANCY (CONT'D) You tell me who told you that right now, ‘fo I tan your hide! YOUNG NAT Nobody, mama. I just... rememberNat winces against her grip, terrified. His eyes flood. Nancy releases her grip, pulls him into a hug. Her eyes mist. NANCY I'm sorry... 4 OMITTED 4 * 5 EXT. DISMAL SWAMP - CLEARING - NIGHT 5 Nancy and Nat step into the clearing to find a group of ELDERLY AFRICANS huddled around a humble fire in fervent prayer. Among the elders, we find EZEKIEL (90's). As if sensing their arrival, his eyes open. He motions them forward. Ezekiel speaks in his Native Ghanaian tongue. * EZEKIEL (Remove his garb.) 5/8/15 - PINK 2 3 CONTINUED: 3 (CONTINUED) Nat looks terrified as Nancy removes his shirt. Ezekiel inspects Nat's arms and back before arriving to his chest. The Elders nudge in, the mouthing of pa**ionate prayer never * ceasing. Ezekiel points a thin finger to the boy's sternum. ANGLE ON THREE SLIGHTLY RAISED KNOTS. EZEKIEL (CONT'D) (In the time of our ancestors, the cycle of our people lay in the hands of the children... A man's position was left to the signs of the maker. Children bearing marks were presented before counsel. It was there they were given their a**ignments in the tribea**ignments that would last a lifetime...) He points to the first bump on the Nat's chest. EZEKIEL (CONT'D) (Wisdom...) (the second bump) (Courage...) (the third) (Vision...) (a long beat) (This boy holds the Holy marks of our ancestors past... He was born to be a prophet.) At the word PROPHET, the surrounding Elders' bodies arch and rock, the intensity of their prayers growing to fever pitch. We PUSH IN on Nat as he struggles to digest the magnitude of his words. CLOSER. As divine exaltation fills the surrounding blur, weCUT TO BLACK SUPER: BASED ON A TRUE STORY 6 INT. BARN/SLAVE CHURCH - DAY 6 Sunlight cuts through crooked slats, casting golden lines across the dirt floor. Whispers lead toward a corner where we find SEVERAL SHADOWED FIGURES crouched in the darkness. * 5/8/15 - PINK 3 5 CONTINUED: 5 (CONTINUED) Their whispers cease when SOMETHING crosses outside, disrupting the light. The broad barn door creeks open. An ugly shadow tracks across the barn floor. We drift up to revealJOHN CLARKE TURNER (10, white) His eyes snap toward a movement in the dark. He smiles bigJOHN CLARKE I see you! 7 EXT. BARN/SLAVE CHURCH - DAY 7 Giggling children, burst from the barn door, as John Clark gives chase. We lock in on Young Nat as he sprints ahead of the group. SUPER: SOUTHAMPTON COUNTY, VIRGINIA, 1809 8 EXT. TURNER PLANTATION - BIG HOUSE - DAY 8 We follow him, as he pa**es the TURNER MANSION- 9 EXT. SLAVE QUARTERS - DAY 9 He cuts through the SLAVE QUARTERS, dodging a MALE BLACKSMITH * SLAVE who shapes a piece of metal with a hammer, pa**es a * MALE SLAVE leading a trudging mule and races through a plume * of steam rising from a FEMALE SLAVE COOK's ma**ive pot. * 10 OMITTED 10 * 11 EXT. TURNER PLANTATION - BIG HOUSE - DAY 11 John Clarke stands in the courtyard resigned. He offers a final scan of the plantation. JOHN CLARKE Nat! (no response) All right, you win again! Come on out! 5/8/15 - PINK 4 6 CONTINUED: 6 (CONTINUED) Several moments pa** before Nat emerges. He and John Clarke share a smile asWOMAN'S VOICE (O.S.) John Clarke! ELIZABETH TURNER (40's) exits onto the ‘Big House' porch. ELIZABETH TURNER Get in here for supper. JOHN CLARKE Yes'm! Bye Nat. YOUNG NAT Bye. Nat watches as John Clarke bounds the porch stairs. He and Elizabeth disappear inside. Nat lingers a moment, his eyes fixing on a hardcover BOOK draped on the back of a rocking chair. 12 OMITTED 12 * 13 EXT. TURNER PLANTATION - BIG HOUSE - DAY 13 On the porch, the wooden rocking chair rocks lazily. The hardcover book, gone. 14 EXT. SLAVE QUARTERS - MEAL HOUSE - DAY 14 Nat arrives to a long table overcrowded with slave children, each holding a SHELL. A SLAVE MAN approaches, drops a LARGE BOWL of CORNMUSH at the table's center. As the children surge scooping at the mush, Nat struggles to push his way through. Within seconds, the kids disperse, leaving Nat in front of an empty bowl. ANGLE ON 5/8/15 - PINK 5 11 CONTINUED: 11 (CONTINUED) -a slave man across the courtyard. This is ISAAC TURNER. A leather apron shields his chest and legs as he wields a hammer over a hot scrap of iron. He watches as Nat meanders away. 15 INT. SLAVE QUARTERS - NANA'S CABIN - NIGHT 15 * Isaac enters, caked in dirt and sweat. Bridget, Nancy and Nat lie asleep. Isaac hovers over a bucket of water in a near corner. As he rinses his face a soft MOAN rises from Nat's direction. Isaac studies Nat a beat before grabbing a small wooden box from a shelf. Within, he finds a CRUMPLED SQUARE OF PAPER. He smooths it against his leg, before slipping out the cabin. A long beat until- Nat stirs awake, sits up. 16 EXT. WOODS - OLD ROAD - NIGHT 16 Isaac pushes through the woods, staying close to the main road. A SOUND in the distances stops him in his tracks. He grips a bulky stash under his shirt as he squints into the dark. As his eyes focus on a shadowed figure aheadCLICK. He turns to find three men, THE PATTY-ROLLERS, atop horses. * They're dressed similarly in worn pea coats, each coat * bearing a dull BRASS STAR. RAYMOND COBB (40's, the leader) * holds a pistol leveled at Isaac's head. COBB You so much as bat your eyes I'll blow you from here to hell. Isaac stands frozen as he takes in the group of three men. COBB (CONT'D) What you doin' out here, boy? ISAAC Runnin' a errand for my ma**a, suh. Ma**a Benjamin Turner. He opens his shirt to reveal CANNED GOODS and SALT PORK. COBB Where yo' pa** at? Isaac produces a piece of paper we recognize as the CRUMPLED SQUARE from the cabin. He hands it to Cobb who studies it. * * 5/8/15 - PINK 6 14 CONTINUED: 14 (CONTINUED) * COBB (CONT'D) * You think you're smarter than me, * don't you boy? * Cobb calls to one of his men, JESSE (20). * COBB (CONT'D) * Jesse, what we call a n******g, think he can outsmart a white man? JESSE ...a dead n******g. COBB (to Isaac) Turn around. Get on your knees. Isaac turns toward the woods. Cobb dismounts behind him. Isaac squints toward the shadowed figure. Recognition sets in his gaze. It's NAT. COBB (CONT'D) On yo' knees. WITH ISAAC as he slowly lowers. Just as his knees touch the ground, he- -lunges for the gun. BANG! The gun goes off, catching the third pattyroller in the chest. Isaac and Cobb wrestle for the pistol as Jesse struggles for a clean shot. Isaac head- * bu*ts Cobb, sending the gun flying. Before Cobb can recover, Isaac grabs a nearby branch, CLUBS him across the face. A gash opens, spilling blood. Isaac sprints into the woods. On Cobb and Jesse firing wildly into the treeline. 17 EXT. WOODS - NIGHT 17 Young Nat runs for his life. As he crashes through the brush a HAND scoops him up from behind. WIDER TO REVEAL Isaac sprinting, Nat dangling in his grip. 5/8/15 - PINK 7 16 CONTINUED: 16 18 INT. SLAVE QUARTERS - NANA'S CABIN - NIGHT 18 BRIDGET “NANA” TURNER, sits in a rocking chair, in front of a * modest fire, asleep. Isaac and Nat burst in. Bridget and * Nancy jolt up to see Isaac, blood speckled clothes, Nat terrified at his side. BRIDGET Oh, Jesus! NANCY What happened?! Nat trembles as Isaac pulls rations from his pants. A few SEALED TIN CANS tumble to the floor. * NANCY (CONT'D) Isaac!- Isaac grabs Nancy gently by the arms. ISAAC I hurt some white men. Didn't have no choice... * NANCY What you gon' do? ISAAC Only thing I can. I gotta go. Nat breaks free, clings to his father's leg. Isaac kneels to Nat's level. ISAAC (CONT'D) You take care of your mama and Nana, hear? NAT When you comin' back, papa? ISAAC I'll be back, directly. Isaac takes his son in. ISAAC (CONT'D) No matter what, you remember this: You a child of God. You got purpose. 5/8/15 - PINK 8 (MORE) (CONTINUED) (touches his chest) It's in ya. The Lord put it there and they ain't nothing nobody can do to take it away, ya hear? NAT Yessir... A dog is heard BARKING in the BG. Isaac hugs Bridget, moves * to Nancy who chokes back tears. ISAAC I'll get back soon as I can for y'all. (then) I love you, woman. And with that, Isaac slips from the cabin. A deafening beat, until- The sound of GALLOPING HOOVES approach in the BG. Bridget hurries Nat onto his cot, ushers Nancy, who stands catatonic, to hers. She quickly pulls back a corner mat, pulls a board loose to revealA SMALL COMPARTMENT She hides the stolen food, replaces the board just asBenjamin Turner opens the cabin door. Cobb trails, holds a blood-soaked handkerchief tight to his face. BENJAMIN TURNER Bridget, Nancy, get on up. Isaac is in a lot of trouble. I need y'all to tell me where he is. BRIDGET He ain't here ma**a. We ain't seen him all night. BENJAMIN TURNER * You sure- * COBB Ben, I'm gonna ask you to step * outside. * Benjamin hesitates. * COBB (CONT'D) * A white man lost his life tonight. * You know like I do what that means. * 5/8/15 - PINK 9 18 CONTINUED: 18 ISAAC (CONT'D) (MORE) (CONTINUED) Now I can do my questioning now, or * I can come back after I get my * posse rounded up. Do a thorough * search of the property. * A beat, until. * BENJAMIN TURNER ...any harm done'll be taken up with the sheriff. As Ben exits. Cobb removes the cloth to reveal an ugly gash. COBB None of y'all seen him, huh? 5/8/15 - PINK 9A 18 CONTINUED: (2) 18 COBB (CONT'D) (CONTINUED) OLD BRIDGET No, suh. NANCY No, suh. COBB (CONT'D) (to Nat) What about you, boy? NANCY He ain't seen nothinSMACK! Cobb backhands Nancy who lands across the room. COBB You seen yo' daddy? No response. Cobb squats down nose to nose with Nat. Nat holds his gaze, seemingly unafraid. Shakes his head ‘no'. COBB (CONT'D) You that n******g's boy, alright. Cobb stands, still eyeing Nat. Bridget's eyes flit just past Cobb's boots. We follow her gaze to see a small WAX-SEALED * GLASS JAR lies just several inches from his heel. Cobb * uncurls a dirty index finger, points it to Nancy, then to Nat. As he leans in, his weight shifts on the wooden plank, the tin can slowly rolls towards his foot. COBB (CONT'D) If I find out y'alls is lying, I'm gonna come back here... Bridget watches as the can picks up speed, rolls closer. COBB (CONT'D) ...and the things I'm gon' do to * y'all might not be so nice- * Inches away untilBridget dives at Cob's feet. BRIDGET Oh' ma**a please! Please! We don't know nothin'! Oh Lord! COBB Get off me! Cobb struggles from her grip. Benjamin pushes in- * BENJAMIN TURNER That's enough! * 5/8/15 - PINK 10 18 CONTINUED: (3) 18 (CONTINUED) Cobb straightens before eyeing Nancy. * COBB (straightens to exit, then) Teach that boy some manners. Next time he looks me in the eyes, he's gon' to get the same thing that's waitin' for his pa. With that, he turns and they're out the door. Bridget's * hysteria switches to a chilling calm in an instant. She sits up on the floor, opens her palms to reveal the FOOD JAR. * ON NAT as his mind struggles to process the night's events. 19 EXT. WOODS - DAY (VISION ONE) 19 Young Nat, his skin royal blue, fills the frame. He seems to * look directly at us. * NAT'S POV * A shadow moves. Demonic voices permeate the forest around * him. A CLOAKED FIGURE hides in the distance. Nat senses * something behind him, turns. A MAN lies bowed in prayer, his back to us. Nat turns back to see THE SHADOWED FIGURE IS ONLY * FEET AWAY. Off his demonic features- * 20 INT. SLAVE QUARTERS - NANA'S CABIN - NIGHT 20 Nat jerks awake, to find himself in Nancy's arms. Nat bursts into tears as she holds him, rocking him in her grip. NANCY Shh... you're OK. It ain't real. It's in your mind. It ain't real. I'm here, now. NAT I want Papa... NANCY I know, baby... (low) Me too. 21 EXT. TURNER PLANTATION - BIG HOUSE - BACKYARD - DAY 21 Nancy stretches wet cotton sheets across a long clothes line. Nat can be seen in the BG tossing a ball mad of rags. * 5/8/15 - PINK 11 18 CONTINUED: (4) 18 (CONTINUED) As she reaches into the basket, she rises to find a smiling Elizabeth Turner. ELIZABETH TURNER Mind if I help. 5/8/15 - PINK 11A 21 CONTINUED: 21 (CONTINUED) NANCY No, ma'am. Nancy and Elizabeth string the sheets in silence untilELIZABETH TURNER How's Nat doin'? NANCY He doin' fine I reckon... Somethin' wrong, Missus? ELIZABETH TURNER No. Nothin' wrong. (then) John Clarke told me something this morning I thought I'd ask you about. (beat) He said Nat knows how to read. NANCY Read? Oh no. He don't know how to read. He don't know nothin'. He just pulling John Clarke's leg. ELIZABETH TURNER John Clarke said he found him with a book. Said he knew letters. NANCY Nat don't know nothing ‘bout no books. He just shiftless. Act like he ain't got no sense half the time. ELIZABETH TURNER A part of me couldn't believe it either... So, I tested him. A sheet slips from Nancy's grasp. She catches it before it hits the gra**. NANCY Ma'am? ELIZABETH TURNER Sure enough, there he was sounding out letters. An excruciating beat. The two continue hanging sheets in tandem. Nancy's hands tremble. 4/9/15 - WHITE 12 21 CONTINUED: 21 (CONTINUED) ELIZABETH TURNER (CONT'D) Have him come by the house tomorrow * after lunchNANCY Please, Missus. He didn't mean no harm. I'll whip him good when I see himELIZABETH TURNER Whip him? Nonsense. I'm going to teach him. If the good Lord gave that boy a gift to read, we'd be remiss to let it go to waste. Now have him at the house tomorrow * after lunch, hear? (then) And don't expect him back for a few days. Reading can be tricky. Lessons best not be disturbed in the beginning. Nancy forces a smile. NANCY Yes'm. And Elizabeth saunters away as cheery as when she came. On Nancy, her face falling. 22 EXT. SLAVE QUARTERS - NANA'S CABIN - DAY 22 * Nancy pulls a burlap shirt over Nat's head. WIDER to see Nat * wears a pair of sack cloth pants; the first time we've seen him without his tow shirt. * Nancy and Bridget regard Nat as he studies his new outfit * with pride. * NANCY * Hold on. * Nancy disappears into the Cabin. * BRIDGET * Now you listen to everything Miss * Elizabeth say. Keep ya head down * and stay out the way, hear? * YOUNG NAT * Yes'm. * 5/8/15 - PINK 13 21 CONTINUED: (3) 21 (CONTINUED) Nancy emerges from inside, produces a folded piece of cloth. * She and Bridget share a look before she kneels, hands it to Nat. NANCY Yo' daddy gave me this... And yo' Nana gave it to him. Nat unfolds the cloth to reveal- 5/8/15 - PINK 13A 22 CONTINUED: 22 (CONTINUED) A SMALL WOODEN RELIC. Tribal signs carved on its face. NANCY (CONT'D) Don't you go losin' it, ya' hear? YOUNG NAT Yes'm. She gently takes his face in her hands, kisses his cheek * before pulling him into a long hug. Bridget takes Nat's hand, * leading him out of the quarters as we hold on Nancy's look of * despair. * 23 EXT. TURNER PLANTATION - BIG HOUSE - DAY 23 Bridget and Nat stand on the Big House porch. She knocks and a house servant JANICE (20's) pulls open the door. JANICE (over her shoulder) Miss ElizabethElizabeth arrives, regards Nat with a smile. ELIZABETH TURNER There you are. (to Bridget) You tell Nancy not to worry, he'll be fine. BRIDGET Yes'm. Bridget watches as Elizabeth guides Nat inside. ELIZABETH TURNER First, we gotta get you outta those rags... Bridget and Nat share a fleeting look before he disappears inside, Janice pushing the door shut. And we HOLD on Bridget. 24 INT. TURNER PLANTATION - BIG HOUSE - STUDY - DAY 24 Hundreds of books line the walls. Nat wanders, mouth agape. 5/8/15 - PINK 14 22 CONTINUED: (2) 22 (CONTINUED) YOUNG NAT This shol' is a lot of books. ELIZABETH TURNER They come from all over. Nat reaches out to touch one when ELIZABETH CATCHES HIS HAND. ELIZABETH TURNER (CONT'D) These books in here are for white folks. They're full of things your kind wouldn't understand. But, I do have a special one, just for you. She produces a worn HOLY BIBLE, hands it to Nat. ELIZABETH TURNER (CONT'D) And guess what? It's the best book ever written. YOUNG NAT Can I look? ELIZABETH TURNER Of course. It's yours. YOUNG NAT Thank you, Missus. He flips delicately through the thin pages, his eyes scanning the foreign words. ELIZABETH TURNER You're a special boy, Nathaniel. (beat) Study hard and heed my instruction, hear? Your life, it'll never be the same. I'll see to that. YOUNG NAT Yes, Missus. ELIZABETH TURNER Well come on. The good book won't read itself. Let's start with the beginning. Nat, all smiles, as he joins Elizabeth on a nearby couch. 4/9/15 - WHITE 15 24 CONTINUED: 24 25 INT. TURNER FAMILY CHURCH - DAY 25 Nat stands stark still in his black servants suit, chin high. His Bible rests in his White-gloved hands. Ben Turner stands just at his flank. NAT (reads) Draw nigh to God, and he will draw nigh to you. Cleanse your hands, ye sinners; and purify your hearts, ye double minded. Be afflicted, and mourn, and weep: let your laughter be turned to mourning, and your joy to heaviness. James four, chapter eight and nine. A thin white congregation offers polite applause. Elizabeth, beams. She gestures to Nat to take a bow. He obliges before joining her, John Clark and her daughter CATHERINE (4), in the FRONT PEW. Lead house servant, ISAIAH (40's) and Janice sit on a single BACK pew. ON BENJAMIN who pours with sweat, wipes his neck, as he regains the pulpit. He coughs into a handkerchief, it spots with BLOOD. He quickly pockets it. BENJAMIN TURNER Bless His name. Might as well carry on in James. Turn with me to James one. ‘Holding on to the goodness of the Lord.' 26 INT. BIG HOUSE - MASTER BEDROOM - DAY 26 TIGHT on Nat. Wider to find Nancy and Bridget standing in front of Benjamin who lies pale and dead in the bed. Elizabeth weeps quietly by his side. An UNKNOWN MAN, SAMUEL TURNER (17) is the only other person in the room. He leans against the wall in a far corner. Elizabeth smiles at Nat. ELIZABETH TURNER He was most proud of the young man you're becoming, Nat. Nat glances toward Samuel. Elizabeth catches it. ELIZABETH TURNER (CONT'D) That's Samuel. You were a little young when he left. (beat) He won't be returning to school... but will be taking Ben's place as your earthly master. 4/9/15 - WHITE 16 (CONTINUED) Bridget and Nancy offer Samuel smiles of acceptance. Nat looks to Samuel again, who stares back. ThenSAMUEL TURNER How old are you, boy? YOUNG NAT Ten, suh. SAMUEL TURNER (to Nancy) Ima' want him in the field come mornin', ya hear? NANCY Yes'suh. Nat's face falls. He looks to Elizabeth gut-punched. * SAMUEL TURNER (to Bridget and Nancy) That's it, yall. Go on. Bridget and Nancy start off, Nat lingers, bewildered. A final glance to Elizabeth before Nancy ushers him out. * ELIZABETH TURNER That boy, Nat. I've spent quite a bit of time with him. He reads, quotes scripture. (beat) John Clark's taken a liking to him. And so have I... Samuel only looks forward. * ELIZABETH TURNER (CONT'D) Maybe the field isn't a place for a child of his ability. (no response, then) The young man he's becomingSAMUEL TURNER He ain't no young man, mama. He's a a foal. And if we're lucky, he'll grow to be a stud. (beat) We owe. We need more of that swamp drained so we can seed more crop. Maybe have a season that'll get us outta' this hole daddy left us in... A reading slave doesn't get that done. 5/8/15 - PINK 17 26 CONTINUED: 26 (CONTINUED) With that he strides out of the room. On Elizabeth, a portrait of defeat. 27 EXT. COTTON FIELD - DAWN 27 Nancy and Nat stand in a row that seems to stretch to eternity. Nat dons a cotton henley and burlap pants. She regards him with sad eyes. NANCY You gon' start here and work your way down yonder. (motions to adjacent row) I'll be right over there, ya hear. Nancy pulls him into a helpless hug before crossing into the next row. TIME PROGRESSION * 28 EXT. COTTON FIELD - DAY 28 --On Nat's small hands as they feebly pick cotton, following them as they stuff blood speckled cotton into the long sack. --STILL TIGHT on Nat's hands, SLIGHTLY BIGGER, as they move faster, separating the cotton from the bulb, following them down to a half filled sack. --AND STILL TIGHT on Nat's hands, now FULL GROWN as they breeze expertly from bulb to bulb, stuffing the snow white tufts into a COMPLETELY FULL sack. --We follow his hands up bulging forearms and a sweaty muscular torso to reveal- NAT IS NOW A TWENTY-SEVEN-YEAR-OLD MAN. Matured African features frame piercing eyes. Nat pulls two full sacks over his shoulder. * 5/8/15 - PINK 18 26 CONTINUED: (2) 26 29 OMITTED 29 * 30 OMITTED 30 * 31 OMITTED 31 * 32 OMITTED 32 * 33 OMITTED 33 * 34 OMITTED 34 * 35 INT. BARN/SLAVE CHURCH- DAY 35 Turner slaves populate the wooden benches. We spot Nancy, Bridget and Hark. ANGLE ON Nat who somberly addresses the small congregation. NAT Wait on the Lord: be of good courage, and he shall strengthen thine heart: wait, I say on the Lord.” (beat) Let us bow our heads. 36 INT. TURNER FAMILY CHURCH - DAY 36 TIGHT on a flaring match as its pressed into a tobacco pipe. Wider to reveal a fleshy preacher REVEREND WALTHALL (60) inhaling smoke. He sits next to Samuel, their eyes fixed toward something we don't yet see. They speak in whispers. REV. WALTHALL She'll make a fine wife, indeed. It's been a blessing seeing her develop into the woman she has. 5/8/15 - PINK 19 (CONTINUED) SAMUEL TURNER Will be an even better blessin' seein' her and mama puttin' their feet under his table ‘stead of mine. They share a stifled laugh. REVERSE to reveal CATHERINE TURNER (20's) in a white gown, stands with her new husband GUILES REESE (30's). They pose next to a sunlit window. An ARTIST scribbles on a canvas, capturing the moment. Back to Samuel and Rev. Walthall. REV. WALTHALL She looks content enough. SAMUEL TURNER (scoffs) Content? If I had a nickel for every time she asked me to buy her a handmaid for mama, I'd have enough to have bought one by now. Samuel rises, heads for the exit. Rev. Walthall follows 37 EXT. TURNER FAMILY CHURCH - CONTINUOUS 37 Samuel and Rev. Walthall exit to find Janice holding a * pitcher of water. She offers Walthall a gla**. * REV. WALTHALL * Bless ya, honey. * (then) * How's John Clarke? SAMUEL TURNER Still in Richmond. Should graduate * next year. Volunteering in the local militia on his off days. REV. WALTHALL The Lord rejoices over that. SAMUEL TURNER Yeah, so does my mama- Not so much the militia part. (sotto) “Those boys running around with guns'll find themselves a war.” * As Walthall downs his water, Janice appears, fills his gla**. * As he watches her go- * 5/8/15 - PINK 20 36 CONTINUED: 36 (CONTINUED) REV. WALTHALL (CONT'D) I gotta say, Sam, your slaves sure do know how to behave. More impressed by ‘em ever' time I make it ‘round. (beat) Old Ben would be proud. SAMUEL TURNER They God fearing. Simple as that. Gotta colored preacher that keeps ‘em reminded. REV. WALTHALL A colored preacher? That the remedy? SAMUEL TURNER That's it. REV. WALTHALL Well, I don't gotta tell ya' times are tough. With the drought, it's getting harder for whites all over the county to feed and clothe they n******gs good. Talks of insurrection's got folks scared. I'd think people'd pay good money to have ‘em calmed down a bit. Especially by one of they own. SAMUEL TURNER Calmed down? REV. WALTHALL No different from what you got him doin' here. (beat as Sam considers) Just sayin' you might have an opportunity on your hands. SAMUEL TURNER Start askin' around about that. REV. WALTHALL Will do. (then) Guess I should git. Got a few other services in county. SAMUEL TURNER Busy man, Reverend. REV. WALTHALL Never too busy for the Lord's work. 4/9/15 - WHITE 21 37 CONTINUED: 37 (CONTINUED) On Samuel as he watches the Reverend off. 38 EXT. TURNER MAIN ROAD - DAY 38 Nat steers a colt, as he and Samuel ride in the front of a covered wagon. Samuel leans back, asleep. In the distance- SEVERAL GUN SHOTS. The horses fidget. NAT (to horses) Whoa. Whoa, now... Samuel stirs awake, and weANGLE ON The far end of the road where three men approach on horses. PATTY-ROLLERS. Nat slows the wagon. As the men arrive, we recognize the leader as Ray Cobb. A scar stretches from his right eye to his chin, his sun-aged skin looks more like tanned leather. Jesse and the other stop at his flank, bloodthirsty. COBB You seen a n******g run by here? SAMUEL TURNER Naw. Then again I dozed off a few... COBB (to Nat) What about you, boy? You best not lie. I know when ya'll is lying. NAT No, Suh. Cobb studies Nat through a familiar squint. COBB Couple n******gs went missing off Bill Johnson's place this mornin'. Say they raised up on a overseer ‘for they took off. Cobb eyes the surrounding woods. JESSE Got one just back yonder. Swear I put one in the ‘nother. 4/9/15 - WHITE 22 37 CONTINUED: (2) 37 (CONTINUED) COBB He's close... I can smell him. (then) If y'all see somethin', let us know. SAMUEL TURNER Will do. Cobb whistles, his horse snaps to. A moment before Sam lies back, covers his face. Nat loosens the reins. Cobb eyes him hard as they cross. AS THE WAGON pushes forward Nat slows at something just off the road. We RACK FOCUS to reveal the body of a dead slave, his brains exposed from a head-shot. On Nat, eyes still fixed forward as he snaps the reigns. 39 EXT. FARMER'S MARKET - WOOD AND SEED STORE - DAY 39 Nat and Samuel load the last wooden slats onto the wagon. Nat rests on the back as Samuel exits frame. WIDER to reveal a well-dressed family of three crossing in the foreground. The MAN (30's), holds a lacquered cane, walks a pace ahead of the WOMAN (20's) who ushers their SON (5) along by the hand. CLOSER on the Son who carries a WOODEN HAND PUPPET. As the Mother hurries him along, it drops, unnoticed, in the dirt. A moment laterVOICE (O.S.) Ma'am... The woman turns to find Nat, holding the doll. NAT The younglin' dropped it a step back. The woman offers a warm smile. WOMAN Thank you. Nat maneuvers the puppets arms, pulling a smile from the boy. * Just as he reaches it back to him- WHAP! The husband's CANE * comes down hard on Nat's wrist. The doll hits the dirt as he * steps between Nat and his wife and child. MAN What you think you're doing?! WOMAN He was just- 5/8/15 - PINK 23 38 CONTINUED: 38 (CONTINUED) MAN (to Nat) You spoke to my wife?! Where is your owner, boy? Nat offers no response. The man swings the cane down hard, its length striking Nat's arm. Nat eyes the dirt in rehearsed pa**ivity. MAN (CONT'D) Do you hear me, boy? The Man swings the cane again, it connects with a CRACK on Nat's elbow. Nat grits his teeth. The Man raises it once more. As he brings it down NAT CATCHES IT. His eyes just slightly connecting with the Man's. The man goes white with fear. SAMUEL TURNER (O.S.) (to the Man re: cane) You best go on and put that down. Nat lets go. The Man stumbles backward, but keeps the cane raised. MAN I want the sheriff. This boy a**aulted me! He a**aulted my wife and I'm bringin' charges. SAMUEL TURNER Sheriff Floyd? You can fetch him if you like. In the meantime, I'ma give you the count of three to put that stick down, else I'ma have to make sure you have some real charges to bring to him when he gets here. MAN You threatening me? SAMUEL TURNER One. The Man flinches, lowers the cane. He regards Nat and Samuel with equal disdain before slinking away, pulling his wife along with him. Samuel helps Nat to his feet. Nat and the young boy catch eyes long enough to see the boy's innocent face curl into a scowl. SAMUEL TURNER (CONT'D) (to Nat) You alright? (Nat nods) 4/9/15 - WHITE 24 39 CONTINUED: 39 (MORE) (CONTINUED) Think they're higher than the Almighty himself... C'mon. Samuel walks back toward the wagon. Nat eyes the PUPPET on * the ground, it's painted brown eyes staring back. 40 EXT. FARMER'S MARKET - ROAD - DAY 40 Samuel sits next to Nat who guides the wagon away from the wood store, pa**ing fresh fruit stands, vegetables stacked on wagons, and crafts booths. Business men shout toward Samuel, begging for his business. A FEW YARDS AHEAD A YOUNG BOY (10) stands on the dirt road, bounces a wooden sign which reads “SLAVE SALE!”. ANGLE ON a seedy SLAVE DRIVER (50's) who conducts an * impromptu slave sale off the back of an uncovered wagon. FOUR EXHAUSTED AND RAGGED SLAVES stand naked on the wagon-back. A few REDNECKS a**emble. * SAMUEL TURNER Hold on. Nat slows the wagon as he and Sam look on. The Slave Driver slaps the backside of a THIN MALE SLAVE. A bony nub at his right wrist, where a hand should be. The driver spins him. SLAVE DRIVER Strong as an ox! Nothing but good seed flowing from this here buck! (he fishhooks the slave) And look at them teeth! I'll start this one at two-hundred? No response. ON NAT who witnesses the spectacle. SLAVE DRIVER (CONT'D) One fifty? (nothing) I gotta make livin' here gents. Dammit, a hundred? Seventy-five? A REDNECK 1 raises a hand. SLAVE DRIVER (CONT'D) Sold! The Driver motions to his helper who ambles over, ushers the newly sold slave to the Redneck. Nat watches as the Redneck roughly inspects him before handing over cash. 5/8/15 - PINK 25 39 CONTINUED: (2) 39 SAMUEL TURNER (CONT'D) (CONTINUED) He then fits a shackle around the slave's neck, climbs atop his horse and trots off- the slave jogging behind him. 6/15/15 - YELLOW 25A 40 CONTINUED: 40 (CONTINUED) Nat and Samuel watch the Slave Driver arrive to a YOUNG WOMAN. Matted hair. A thin worn dress hangs just below her knees. Nat looks away. SLAVE DRIVER (CONT'D) Consider this comely wench! Not a day over eighteen! We'll start her at one seventy-five. A REDNECK #2 tips his hat. SLAVE DRIVER (CONT'D) Got one seventy-five, I hear two? A REDNECK #3 raises his hand. SLAVE DRIVER (CONT'D) Now we talkin! Do I got two twentyfive? ON NAT as he glances toward the bidding Rednecks. Studies their body language. He glances to the woman, her eyes deadened. REDNECK #2, again tips his hat. SLAVE DRIVER (CONT'D) Two-twenty five! I hear two-fifty?! Nat glances again to the mulling rednecks. ThenNAT Ma**a... That wench there'd sho' make a good weddin' gift to Ms. Catherine. You keep sayin' she been askin. SLAVE DRIVER (O.S.) Gimmie Two-fifty! C'mon nah! A long beat. UntilSAMUEL TURNER The whole lot of ‘em looks busted from here. Sides, she look right young if you ask me. Angle on Redneck #3 who again raises his hand. SLAVE DRIVER (O.S.) There it is! Two seventy-five?! 4/9/15 - WHITE 26 40 CONTINUED: 40 (CONTINUED) NAT You right, suh. She young, but with the right teachin', a wench like that could be working a long time. Nat steals a look to Samuel who squints toward the stage. The Slave Driver spins the Slave Woman in a circle, fondles her brest. She tenses. SLAVE DRIVER Now is you fella's seein' what I'm seeing?! Take this one home, clean her up, won't be long ‘fore you find yourself happier than a dog with three balls! A few chuckles in response. He spins her back forward. SLAVE DRIVER (CONT'D) (sotto, to slave woman) Smile b**h! (she weakly complies) Now come on y'all, talk to me! (to Redneck #2) You got two seventy-five for me? Redneck #2 mulls. NAT Ma**a, it'd shole' be a shame to watch her go to waste for such a low price. SAMUEL TURNER What you know about what's little and what's a lot? Nat falls quiet. SAMUEL TURNER (CONT'D) Ain't sure what's got into you, but whatever it is, you need to quit it. NAT Yes, suh. SLAVE DRIVER Alright! That's two-fifty goin' once... Nat glances back to the woman, when suddenly she GLANCES UP TO CATCH HIS GAZE. 4/9/15 - WHITE 27 40 CONTINUED: (2) 40 (CONTINUED) SLAVE DRIVER (O.S.) (CONT'D) Goin' twice! Nat and the woman's eyes remain locked. The Slave Driver raises his hand highSAMUEL TURNER (O.S.) Two seventy-five! The auctioneer freezes. Nat's eyes flit to Samuel in disbelief. Redneck #3 eyes Samuel hard. SLAVE DRIVER (ecstatic) We got two seventy-five! Do. I. Hear. Three hundred?! Redneck #2 ambles off. All eyes fix on Redneck #3. SLAVE DRIVER (CONT'D) * Two seventy-five goin' once! ON NAT who holds his breath. SLAVE DRIVER (CONT'D) * Two seventy-five goin' twice! Redneck #3 finally spits in rebuke, turns and walks off. SLAVE DRIVER (CONT'D) * And SOLD to the fine gentleman in the back! Nat breaths relief, as he and Samuel make their way forward. 41 EXT. TURNER PLANTATION - BIG HOUSE - DAY 41 The wagon grinds to a stop. Samuel pulls back the cowhide flap, peers into the back. He scrunches his face. Nat follows his gaze. NAT She'll be fine, Suh. SAMUEL TURNER Hope you right. Have your mama get her cleaned up and fed; start breaking her in. NAT Y'suh. 5/8/15 - PINK 28 40 CONTINUED: (4) 40 (CONTINUED) SAMUEL TURNER You and Hark get started on that fence first thing tomorrow. NAT Y'suh. Samuel hops down, trudges toward the house. 41A EXT. SLAVE QUARTERS - DAY 41A * Nat scrambles to the back of the wagon, pulls back the flap to reveal the woman. He reaches for her and she recoils. NAT I ain't gonna' hurt you. Cornered, she only stares. Her eyes weak, but wild. NAT (CONT'D) I'm gon' climb up. Help you out. That's all. Nat kneels on the back of the wagon. As he reaches out to her, SHE LUNGES INTO AN ATTACK, biting and clawing as they roll off the back of the wagon. Nat struggles to protect himself as Hark arrives, pulls her away. She collapses to her hands and knees sobbing and exhausted. As she heaves for air, Nat and Hark help to her feet, hurrying her toward the slave quarters. 42 INT. SLAVE QUARTERS - NANA'S CABIN - DUSK 42 Nancy hurries a pot of water onto the stove as Bridget prepares a cot. Nat steadies the faint woman in his arms. BRIDGET * Lay her on over here. Nat complies. NAT She's burning up. Nancy pulls out a pouch of herbs, drops them into the boiling * water on the stove. BRIDGET (to Nancy) Cut me three of those onions, yonder. Bring ‘em here. * (to Nat) 5/8/15 - PINK 29 41 CONTINUED: 41 (MORE) (CONTINUED) Go'on and stay with Hark a spell ‘til we get this child right an' on her feet. 5/8/15 - PINK 29A 42 CONTINUED: 42 BRIDGET (CONT'D) (CONTINUED) NAT Yes'm. As Bridget pulls at the filthy dressYOUNG WOMAN No! No! This mine! She clings to her dress. BRIDGET It's ok baby- (to Nat) Go ‘on nah! Get. Nat retreats toward the door, exits. 43 OMITTED 43 * 44 EXT. TURNER PLANTATION - BIG HOUSE - DAY 44 Nat kneels, hidden in an inner corner of the front porch. He applies a fresh coat of white paint to a peeling column. VOICE (O.C.) Now you just smile ya' hear. Let them do all the talkin'. VOICE 2 (O.C.) Yes'm. Nat stands to find Nancy and the SLAVE WOMAN climbing the front porch stairs. She stands unrecognizable, considering the time we last saw her. Her caramel skin covers full, healthy features. Her hair is combed and pulled into a braid. Nat stands just out of their sight. Nancy knocks. Within seconds, Samuel emerges. NANCY Afternoon ma**a'. (re: Slave Woman) This here Cherry Anne. CHERRY (courtesies) Ma**a'. Samuel looks Cherry up and down. 4/21/15 - BLUE 30 42 CONTINUED: 42 (CONTINUED) SAMUEL TURNER They sure cleaned you up. (then, into house) Catherine! C'mon out here! Samuel glances in Nat's direction. Nat quickly returns to work, watches from the corner of his eye. Catherine arrives. SAMUEL TURNER (CONT'D) This here is Cherry Anne. CHERRY (courtesies) Missus. CATHERINE Hello. (then, realizing) She launches into a Samuel with a mammoth hug. CATHERINE (CONT'D) Thank you! Thank you! Thank you! She's perfect! (then, re: Cherry) Cherry... I bet they named you that because you're so sweet. Cherry smiles politely, Catherine grabs her hand. CATHERINE (CONT'D) C'mon, I want you to meet mama. Catherine and Cherry disappear inside, followed by Samuel. Nancy stands on the porch for a beat. As she turnsNAT (O.S.) Mama. NANCY (turns, startled) Boy, you scared me. NAT Sorry. (then) Thank you. NANCY For what? NAT For getting her better... For making her so beautiful. 4/9/15 - WHITE 31 44 CONTINUED: 44 (CONTINUED) NANCY I didn't do nothin'. That child was brought into this world already as beautiful as she could be. But you knew that already, huh? Nat smiles. NANCY (CONT'D) Love you, Nat. NAT Love you, mama. Nancy descends the stairs. A BEAT before Nat returns to work. 45 EXT. TURNER PLANTATION - BIG HOUSE - DAY (STEADI) 45 * Guiles preps a covered wagon. Catherine hugs Janice as Samuel looks on. Isaiah loads an arm full of bags in the wagon-back. JANICE We shol' is sad to see you and the missus go. CATHERINE Oh, we'll be just down the road. After we get good and settled, we'll be back to visit. Sundays for church and that. SAMUEL TURNER Won't be a second too soon. Catherine playfully jabs him in the arm. SAMUEL TURNER (CONT'D) I'm messin. (then, sotto) You need anything, or he ain't treatin' ya right, you let me know. CATHERINE Yes, “big brother”. (they embrace) Love ya. SAMUEL TURNER You too. Guiles helps Catherine onto the wagon as Cherry guides Elizabeth through the screen door. 4/21/15 - BLUE 32 44 CONTINUED: (2) 44 (CONTINUED) SAMUEL TURNER (CONT'D) You ready mama? ELIZABETH TURNER I'm worried about you, Sam. It's a big place to be here all alone. SAMUEL TURNER I'll be fine. They embrace. Guiles helps Elizabeth onto the wagon as Cherry climbs into the back. GUILES REESE Well, guess we'll be getting on. SAMUEL TURNER All right, then. They give you any trouble... don't bring 'em back here. A shared laugh. As Guiles climbs up, Nat arrives with two pails of horse feed. NAT Ma**a Sam. (re: feed) For their trip. Samuel eyes the two buckets, then. SAMUEL TURNER Just one. 46 EXT. TURNER PLANTATION - BACK OF WAGON - MOMENTS LATER 46 Nat pulls back the canvas flap, sees Cherry sitting on a wooden box. Their eyes connect. He loads the bucket of feed. NAT Hi. CHERRY Hi. NAT I'm Nat. CHERRY I know. Nat pulls a small bouquet of flowers from beneath his shirt, offers them. She accepts. 4/9/15 - WHITE 33 45 CONTINUED: 45 (CONTINUED) CHERRY (CONT'D) They pretty. NAT Found them around here. CHERRY Thank you. Nat nods, offers a gentle smile before he backs out. NAT stands on the dirt road, watches the wagon ride away. VOICE (V.O.) And the rib, which the Lord God had taken from man, made he a woman, and brought her unto the man... 47 EXT. SLAVE QUARTERS - DAY 47 ANGLE ON a straw broom until TWO PAIR OF FEET hop over it and into frame. WIDER to reveal Hark and a beautiful woman ESTER (20's). A dozen slaves stand and clap as Hark and Ester kiss. A fiddler strikes up a tune and the other slaves form two parallel rows. NELSON (18), Ester's brother claps, as she * dances down the middle. Hark pulls Nat onto the dance path and they dance down the path together. 48 EXT. SLAVE QUARTERS - DUSK 48 Its dusk. Hark sits on a hollow log. Nat approaches. HARK Hey, Nat. NAT Hey, brother... Nat takes a seat next to him. NAT (CONT'D) Shouldn't you be somewhere getting to know your new wife? HARK I'll be getting there directly... NAT It was beautiful today. Ester is a good woman. Hark studies the smoldering fire. 5/8/15 - PINK 34 46 CONTINUED: 46 (CONTINUED) HARK I'm scared, Nat... NAT Of what? (playful) Ester? HARK Naw... It's just, I ain't never had no needs to look after nothing or nobody but ma**a's horses and pigs. Now I got a wife. And when she go on and get the ‘big belly, I'll have that child too. Nat pulls a measured breath, gathers his words. NAT The Bible says, “take therefore no thought for the morrow: for the morrow shall take thought for the things of itself.” (re: Hark's blank look) Means worrying ain't gon' do you no good. Trust in the Lord, and try to live your best for him, right now. And speaking of right now, you need to go and see to your wife, ‘fore she go and change her mind. Hark stands, noticeably relieved. A strong embrace before he heads off. On Nat, his confidence fading slightly, as he studies the floating embers. 49 INT. BARN/SLAVE CHURCH - DAY 49 Nat stands before a dozen brown faces. NAT Just as the planted crop is harvested in its own time, so too has the Lord planted us... The back door opens and several slaves walk in. The last of them is Cherry. Nat stammers as he watches take her seat. NAT (CONT'D) Yes. The good Lord... (glances to his Bible) ...the good Lord will finish his work in us. (then, rushing) 4/9/15 - WHITE 35 48 CONTINUED: 48 (MORE) (CONTINUED) As I close, I urge you, brothers and sisters to take heart. For God is at work in your life. And he will not relent until the job is done. Amen? ALL AmenNAT Dismissed. 50 EXT. TURNER PLANTATION - BIG HOUSE - DAY 50 Nat and Cherry arrive to an arching oak. Nat lies down his * vest for Cherry. They sit. * NAT I'm happy to see you. CHERRY I'm happy to see you. NAT You look beautiful. CHERRY Thank you... * NAT So much time pa**ed... I battled thoughts that you might've been sold off... (then) How is it there? CHERRY It's fine. Nothing like what I come from ‘for here. Most days I'm just tending to Missus Elizabeth, or fetchin' this or that for Miss Catherine. NAT You know if ya'll are coming back next week for church? CHERRY I know as much as you. I s'pose if Missus is suggestin' and Ma**a Reese don't mind the trip. 5/8/15 - PINK 36 49 CONTINUED: 49 NAT (CONT'D) (CONTINUED) NAT I surely wouldn't want to wait another season to see you. CHERRY Me neither... They study each other, spellbound. Nat extends his hand to her. ANGLE ON A CLOTH WRAPPED OBJECT. Cherry eyes Nat before unwrapping it to reveal NAT'S WOODEN TRIBAL RELIC. NAT My Nana got it from my granddaddy. She brought it here when she was taken from Africa. CHERRY Africa? NAT (nods) She kept it hid. Said it was the one thing that kept her mind free. CHERRY It's pretty. She offers it back. NAT I want you to have it. (then) In case I don't see you for a while, you'll have somethin' reminds you of me. CHERRY I don't know if it's right I take it. ‘Sides I don't have nothin' to give you to remind you of me. NAT I spend all my time thinking about you already. A frozen moment as they stare and smile. UntilCATHERINE (O.C.) Cherry?! Cherry slowly stands. A warm smile before she disappears toward the Big House. We stay with Nat as he looks and longs after her. 4/9/15 - WHITE 37 50 CONTINUED: 50 51 EXT. REESE PLANTATION - NIGHT 51 A farm house stands adjacent to a small barn- both set before a vast field. We spot Cherry who empties plates into a slop bucket near the back door. She suddenly stops, turns. CHERRY Who's there? CHERRY'S POV as she gazes into a thicket of trees untilNAT SLOWLY EMERGES FROM THE TREELINE ATOP THE COAL BLACK HORSE, JUPITER. Cherry nearly drops the plates. Nat climbs down. CHERRY (CONT'D) Nat? What you doing here? No answer. Nat walks boldly to her, his eyes glued to hers. He leans in, kisses her softly on her lips. NAT I shoulda' done that earlier today. CHERRY You came here to kiss me? Nat slowly sinks to one knee. NAT I ain't got much. The Lord. My faith. Mamma. Nana. Up until now, * it was enough. (beat) Cherry, I'd feel right honored if you'd be my wife. I'd treat you right. I'd protect you with my life... if you'd have me. CHERRY (smiles) Yes. I will. Nat rises. Kisses her lips again. CHERRY (CONT'D) What now? NAT I'll talk it over with Samuel. Get a cabin set up for us. 6/15/15 - YELLOW 38 (CONTINUED) CHERRY OK. A final kiss before Nat slowly backs away from her, shadows engulfing him into the night. Cherry smiles, breaths deep, as if for the first time. 52 EXT. SLAVE QUARTERS - DAY 52 Nat and Cherry are knelt in front of Bridget who prays fervently. Nancy, Hark, Ester and a few others “lay hands” on Nat and Cherry's shoulders praying along silently in support. 53 INT. SLAVE QUARTERS - NAT'S CABIN - (NIGHT) 53 Nat and Cherry are in Nat's cabin. He gently kisses her as * they make love. 54 EXT. TURNER PLANTATION - BIG HOUSE - DAY 54 Reverend Walthall climbs the porch steps. As he grabs the railing, it comes off into his hand. He carefully replaces it, continues to the door and knocks. Samuel arrives, pushes open the screen door. SAMUEL TURNER Reverend. What brings you around these parts during the week? Wouldn't expect to see you til Sunday. REV. WALTHALL There's never a wrong time to bring a blessing to a brother in Christ. SAMUEL TURNER Oh, Lord. Is this blessin' gonna cost me money? REV. WALTHALL Ha! Not a penny. The contrary in fact. Sam joins him on the porch. They sit on adjacent rockers. SAMUEL TURNER Isaiah! Run some waters out here. REV. WALTHALL Gin, if you please. 4/21/15 - BLUE 39 51 CONTINUED: 51 (CONTINUED) ISAIAH (from inside) Yes'suh. REV. WALTHALL I put the word out about your preacher. Got a couple farmers willing to turn a good coin. SAMUEL TURNER That right? Isaiah serves the drinks, before disappearing into the house. SAMUEL TURNER (CONT'D) How much they offering. REV. WALTHALL A bit. And these days every bit counts. (then) If your boy does to these fellas' liking, you could bounce back from the drought, pay off some debt. Soon enough, find yourself riding the gravy train with biscuit wheels. Samuel stares off as he considers. SAMUEL TURNER Whereabouts are we talkin'. REV. WALTHALL All in Southampton to start. SAMUEL TURNER An all I gotta do is have Nat preach? REV. WALTHALL That's it. (beat) Now, I'm not vouching for the character of these fellas, what business they running or how, I'm just telling you there's a opportunity here, one you got the means to capitalize on. SAMUEL TURNER (finally nods) Sounds good enough. 4/9/15 - WHITE 40 54 CONTINUED: 54 (CONTINUED) REV. WALTHALL Alright, then. I'll send you the details- names, locations and dates by tomorrow. SAMUEL TURNER You already booked the dates? REV. WALTHALL I figured you'd say yes. SAMUEL TURNER You're going mighty far outta your way make sure my cabinets are stocked full. What's in all this for you. REV. WALTHALL Just the joy of knowing I'm helping my fellow brother. And... SAMUEL TURNER Here it comes... REV. WALTHALL If I were to receive a “gift offering” following the successful completion of such trips, I certainly would not object. A shared smile. SAMUEL TURNER You are a caution Reverend. * REV. WALTHALL I am but a servant. (then, rising) First trip'd be day after tomorrow, if you can pony up by then. SAMUEL TURNER Shouldn't be a problem. REV. WALTHALL Good. The men shake hands before Rev. Walthall climbs into his carriage. His SLAVE snaps the reins and Samuel watches the carriage advance down the driveway. 5/8/15 - PINK 41 54 CONTINUED: (2) 54 55 EXT. TURNER PLANTATION - BIG HOUSE - MORNING 55 Nat loads the last of supplies onto the wagon. Bridget stands close. Nancy arrives with a cloth sack. NANCY Got some salt pork and tomatoes in here, for when you get hungry. NAT Thanks, mama. (then) If Miss Catherine brings Cherry on Sunday, tell her I'll be back directly. Nancy nods solemnly. NAT (CONT'D) Don't y'all go getting worried, now. I'll be back soon enough. BRIDGET I know. The Lord bless you, child. At that, Nat wraps Nancy and Bridget into a hug before heading off. 56 EXT. LANDSCAPE - DAY (BIRDSEYE) 56 --AERIAL SHOT of the wagon as it makes its way across the Eastern Virginia landscape. 57 EXT. RANDALL PLANTATION - MAIN HOUSE - DAY 57 * As Nat guides the wagon toward a prosperous estate, he is met * by a slave JASPER (13, tattered clothes, rail thin). JASPER You Marse Turner's n******g? NAT I'm Nat. (re: back of wagon) Master Turner is restin' in here. Jasper cranes his neck to see inside. He eyes Nat suspiciously, thenJASPER Come on. * 4/21/15 - BLUE 42 (CONTINUED) Jasper leads them toward the porch stairs of the main house, * before disappearing inside. Samuel emerges. Looks around. * SAMUEL TURNER We here? NAT Yes' suh. A youngin' just went inside to fetch Mister Randall. * Seconds later a plump man, JOSEPH RANDALL (50's) emerges, followed by a muscular house servant ABNER (40'S) and Jasper. JOSEPH RANDALL Sam Turner. You made it. And right on time. Randall sticks out his hand. Samuel shakes it. ANGLE ON ABNER Who stares daggers into Nat. JOSEPH RANDALL (CONT'D) Joseph Randall. (re: house servant) This here's Abner. The little one there's Jasper. (then, re: Nat) This the ‘n******g preacher'? SAMUEL TURNER (to Nat) Nat? NAT Evenin' SuhJOSEPH RANDALL A little young ain't he? SAMUEL TURNER He's old enough. Been studyin' the Word a while. JOSEPH RANDALL Studying? Hell, I can barely train my n******gs to learn their own names... C'mon. 4/21/15 - BLUE 43 57 CONTINUED: 57 57A EXT. RANDALL PLANTATION - DAY 57A * Samuel and Nat follow Joseph, Jasper and Abner along a wooded * path. Joseph walks and talks. * JOSEPH RANDALL It's hard times for small farmers like you and myself. Breaking even is hard enough, gettin' ahead is impossible. To save some, I cut ‘em down to a meal a day, per head. A few of ‘em started gettin' fidgety, so I had Abner come down on ‘em. * The group approaches a dilapidated barn, a PADLOCK secures the door FROM THE OUTSIDE. Joseph stops short. JOSEPH RANDALL (CONT'D) Day or so back, had a few quit on * work if ya' can believe it. * Wouldn't even come out the quarter. * So I locked ‘em up, the lot of ‘em. * Hoping the heat and hunger would * bring about their senses. All that * said, Abner here's provin' my only * real protection. * Joseph turns to Nat. * JOSEPH RANDALL (CONT'D) Now, they needs to mind me, so you * speak on that. They treasure in heaven from submittin' and all. (then) If they gets to moaning and carrying on, don't pay ‘em no mind. They lazy as all hell and'll do anything to get out of work. JOSEPH RANDALL (CONT'D) * You ready, boy? * SAMUEL TURNER * He's ready. * With that Abner keys open the padlock; opens the barn door. 58 INT. RANDALL PLANTATION - BARN - DAY 58 * Joseph and Abner lead Nat and Samuel in. Abner lights a lantern. Under its glow, we see nearly a dozen EMACIATED slaves- men, women and children. They scatter deep into a corner. Nat's jaw drops. 4/21/15 - BLUE 44 (CONTINUED) JOSEPH RANDALL Listen up. Got a preacher here f'yall. (to Nat) 6/15/15 - YELLOW 44A 58 CONTINUED: 58 (MORE) (CONTINUED) Come here, boy. (Nat slowly approaches) He's a n******g just like yall, and is going to talk to you about the Lord. Listen to him and you just might make it to heaven, ya hear? Joseph rejoins Samuel and Abner, leaving Nat standing in the center of the room. Nat looks to Samuel who looks away. Through sad eyes, Nat studies the sea of skeletal faces and festering whip wounds. He swallows, peels open his Bible. NAT ...Brothers and sisters... (re: slaves, unblinking) I lead you to 1 Peter 2:18: Slaves... submit yourselves to your masters with all respect, not only to those who are good and considerate... but also to those who are harsh... Nat glances toward Randall who smiles and nods him on. 59 EXT. RANDALL PLANTATION - BIG HOUSE - DUSK 59 * Nat pulls the wagon to the front, just as Samuel and Joseph descend the porch stairs. Abner trails a few steps back. JOSEPH RANDALL You sure you don't want to stay the * night? Got some fine brandy and a * couple of choice wenches in the * cellar. We can get Abner to strike * up the fiddle, sit around the fire and tell old lies. Just then, Randall's daughter LILLY (9) emerges from inside. She dons a white dress with a matching ribbon in her hair. As she gleefully descends the stairs, we notice a tweed rope in her grip. We follow its length to the opposite end to findIt's tied around the neck of a NINE YEAR OLD SLAVE GIRL. The slave child giggles as she follows Lilly to the front yard where they frolic through a game of follow the leader. ANGLE ON NAT who watches on, abashed. SAMUEL TURNER We best be gettin' back before nightfall. 4/21/15 - BLUE 45 58 CONTINUED: (2) 58 JOSEPH RANDALL (CONT'D) (CONTINUED) JOSEPH RANDALL Alright, suit yourself. 6/15/15 - YELLOW 45A 59 CONTINUED: 59 (CONTINUED) SAMUEL TURNER But I would take a bottle of whiskey if you can spare it. JOSEPH RANDALL Sure can. Abner disappears inside. Randall produces a wad of bills, hands it to Samuel. He studies it a beat, before pocketing. JOSEPH RANDALL (CONT'D) You're a smart man, Sam. Bound to make a fortune off that boy. (extends his hand) Good doing business with ya. SAMUEL TURNER (shakes) Sure. As Samuel climbs onto the front of the wagon, Abner returns, hands him a bottle of whiskey. ANGLE ON ABNER His eyes locked tight on Nat. Nat holds his gaze until he * spots Jasper further down the road waving goodbye. Nat snaps * the reins and the wagon lurches forward. Samuel wastes no * time popping the cork on the whiskey, pulling a desperate * swig. 60 INT. SLAVE QUARTERS - NAT'S CABIN - (NIGHT) 60 A wooden muddler mixes grease in a wooden bowl. A hands * scoops at the substance and we follow it to reveal Cherry * applying it to Nat's back. She rubs at his muscles as he * stares absently into the flame of the fireplace. * CHERRY You alright? Nat nods, his eyes settle on Cherry's dress draped across a wooden table across the room. NAT That dress there. That the one you were wearing that day? CHERRY Yes. NAT Mama didn't offer you one of hers? 5/8/15 - PINK 46 59 CONTINUED: (2) 59 (CONTINUED) CHERRY She did. 5/8/15 - PINK 46A 60 CONTINUED: 60 (CONTINUED) Nat looks to Cherry puzzled. A beat before Cherry rises, grabs the dress before returning to bed. She flips the bottom hem to reveal a square patch sewn into the fabric. A closer look to reveal TWO NAMES AND A DATE. NAT (reading) Abigail Hayne CHERRY My momma. NAT Madison Hayne. Who's that? CHERRY That's me. (beat) My momma put this dress on me the day they took me from her. Showed me this here patch. Told me to never forget who I was. That I had a momma. And that she was somewhere missin' me and lovin' me. I was thirteen. NAT I can call you Madison if you like? CHERRY You can call me whatever you want. NAT I'll call you Queen. Cherry smiles a beat before her look turns solemn. NAT (CONT'D) What's wrong? CHERRY ...We gonna have a baby. * NAT A baby? You sure? Cherry nods. Nat slowly swings his feet off the bedside, closes his eyes. CHERRY You mad? NAT Mad? Naw. 5/8/15 - PINK 47 60 CONTINUED: (2) 60 (CONTINUED) He pulls her into a tight hug. NAT (CONT'D) I ain't mad. He holds her close. We PUSH IN ON NAT, Feeling the weight of his fortune. MONTAGE 61 EXT. COUNTRY ROAD - DAY 61 -- Nat and Samuel navigate the wagon on a country road. 62 INT. SLAVE BARN/CHURCH - NAT'S CABIN - DAY 62 * A very pregnant Cherry lies with Nat as she sounds out words from the bible. Nat smiles, nods approval. 63 OMITTED 63 64 OMITTED 64 65 EXT. SLAVE QUARTERS - NANA'S CABIN - DAY 65 * Cherry sleeps alone in a bed. Widen to reveal Nat in Nana's * rocking chair. He holds an infant baby girl. * 66 EXT. FOWLER PLANTATION - DAY 66 Nat pulls the wagon in front. Samuel looks around. SAMUEL TURNER Wait here. He drops from the wagon, approaches the front door. Nat climbs down, strokes Jupiter's mane when the horse suddenly backtracks, spooked. Nat instinctively turns to findA GERMAN SHEPHERD races toward him, full tilt! 5/8/15 - PINK 48 60 CONTINUED: (3) 60 (CONTINUED) Nat falls to the ground, scurries backwards. Just as the dog lunges, canines peeledHe's yanked back. The dog fights against the weight of a choke chain, inches from Nat who retreats, pinned against the wagon wheel. Nat glances up to find HANK FOWLER (early 30's, a wad of chew wedged between rotted teeth). A bullwhip rests on one side of his hip, a pistol stowed against his other. HANK FOWLER (calm) n******g, what you doing on my land? Samuel arrives as Nat pulls himself to his feet. SAMUEL TURNER He's with me. HANK FOWLER Who the hell are you? SAMUEL TURNER Samuel Turner. Reverend Walthall sent us. HANK FOWLER You the fella with the n******g preacher. Hank regards Nat with a smug grin. HANK FOWLER (CONT'D) You lucky, boy. I like to've let Buster rip yo' a** to bits. (then, to Samuel) C'mon. Let's go find Earl. Hank, dog close, heads toward the tobacco fields. Samuel and Nat follow. 67 EXT. FOWLER PLANTATION - TOBACCO FIELD - DAY 67 Hank leads Samuel and Nat across the plantation grounds toward the tobacco field. * HANK FOWLER n******gs is n******gs, here. We don't treat none no different than another. Preacher or no preacher. We got rules. 5/8/15 - PINK 49 66 CONTINUED: 66 (MORE) (CONTINUED) The cost of breakin' ‘em: stealin' sa**in'- or any other thing Earl or me thinks is worth dealin' with'll be paid for in skin. You interfere with that, we'll shoot you where you stand. Hank stops, locks eyes with Samuel. HANK FOWLER (CONT'D) Any problems with that, you can stop right now and go on back to where you came from. Nat looks to Samuel who doesn't budge. HANK FOWLER (CONT'D) Good. PRELAP CRACK! CRACK! CRACK! 68 EXT. FOWLER PLANTATION - TOBACCO FIELD - DAY 68 Hank, Samuel and Nat arrive to find EARL FOWLER (Early 40's) on horseback, hurling his whip down at toiling slaves. The whip snaps like gunfire inches from the ears of men, woman and children as they pull leaves from the tobacco plants. CRACK! CRACK! EARL FOWLER Come on! CRACK! EARL FOWLER(CONT'D) C'mon, nah! CRACK! The whip cracks near the ear of a SLAVE TEEN MALE. The teen picks faster. Earl dismounts, holsters his whip. HANK FOWLER Earl, this here's Sam Turner. Fella with the n******g preacher. * Earl hardly glances in their direction. A long beat until he * dismounts, locks in on Samuel. * EARL FOWLER Where you say y'all come from? 5/8/15 - PINK 50 67 CONTINUED: 67 HANK FOWLER (CONT'D) (CONTINUED) SAMUEL TURNER Here in Southampton. South of Nottaway. EARL FOWLER Nottaway huh? ...Lotta Yankees makin' their way down those parts. Come down here, rabble-rousin', stirring sh** on our way of life. A quiet standoff as Earl locks eyes with Samuel, until- An OVERSEER arrives on horseback, pulls Hank aside. ThenHANK FOWLER Earl, got a little problem. 69 INT. FOWLER PLANTATION - BARN - BACK ROOM - MOMENTS LATER 69 Earl and Hank push in. Nat and Samuel freeze in the doorway, their eyes fix on something we don't yet see. EARL FOWLER (O.S.) Which one? HANK FOWLER (O.S.) That one there. EARL FOWLER (O.S.) How long? HANK FOWLER (O.S.) Said it's been ‘bout a day or so. REVERSE TO REVEAL TWO MALE SLAVES chained to the wall. One wears an IRON COLLAR, bells on the tips of its reaching horns. A scar bends from his temple to his cheek. The other wears an IRON MASK, saliva seeping from its sides. Earl squares up with the latter, unlatches his mask. The broken slave can hardly stand. EARL FOWLER You ain't gon' eat? No response. Earl grabs the nearby bowl of cornmush, puts the spoon to the slave's mouth. He turns away. EARL FOWLER (CONT'D) Aight. (then, more to himself) If it ain't one thing, it's the other. 4/9/15 - WHITE 51 68 CONTINUED: 68 (CONTINUED) Earl pushes past Nat and out of the room. ON NAT as he studies the tortured men. Earl returns carrying a thick CHISEL, HAMMER AND FUNNEL. EARL FOWLER (CONT'D) (to Samuel) You wonderin' why we could use that n******g of yours, you're seeing it first hand. EARL FOWLER (CONT'D) (to Hank) Open his mouth. Grab that cornmeal. Nat and Samuel watch on horrified, as Earl hammers out the male slave's teeth. EARL FOWLER (CONT'D) If it ain't the Yanks, it's the drought... Hank holds the slave's mouth open, as Earl forces the cornmeal through the funnel and into the man's throat. Blood, teeth and cornmeal seep as he gags. EARL FOWLER (CONT'D) If it ain't the drought, it's goddamn mutiny. Earl wipes his hands, regards Nat without missing a beat. EARL FOWLER (CONT'D) Truth is, even the meanest n******g fears the gospel. A good word from your boy here... a disciplined word might go a lot further than my pistol would. SAMUEL TURNER Well, Nat... he's a good preacher. EARL FOWLER Don't right mind how good he is. (pointed) Long as he say what he s'pose to. 70 EXT. FOWLER PLANTATION - FRONT PORCH - DAY 70 Nat stands on the wooden porch flanked by Earl who cradles a shotgun. Samuel is a bit further back. A dozen slaves stare wide-eyed. In the BG Hank leads a shackled slave to join the others. This is WILL (30's, the scar-faced slave we recognizes from previous scene). 4/9/15 - WHITE 52 69 CONTINUED: 69 (CONTINUED) Will stands marred and exhausted, his trembling legs struggling to support his body. NAT regards the a**embly, then turns to Earl, eyes averted. NAT (low) Mr. Fowler, suh. Regarding my sermon, my plan is to foment in them concupiscence for song. EARL Concup what? Samuel, out of earshot, looks on with growing concern. NAT Ma**a I'm askin' if you's opposed to me using singin' to keep yo' n******gs down? As means to sing away any ‘malignance.' EARL FOWLER That's fine. Ain't got no quarrel with singin'. Long as it don't interfere with they workin'. NAT Yes, suh. Thank you, suh. Nat turns to the slaves, his subservience thaws, his jaw tightening slightly. NAT (CONT'D) Brethren... I pray you sing to the Lord a new song. Sing praise in the a**embly of the righteous. Let the saints be joyful in glory; Let them sing aloud on their beds. Let the high praises of God be in the mouths of the saints, and a twoedged sword in their hand, to execute vengeance on the demonic nations, and punishments on those peoples! Nat builds, as Samuel studies Earl, who watches on seemingly oblivious to Nat's innuendos. NAT (CONT'D) To bind their kings with chains, And their nobles with fetters of iron; To execute on them this written judgment— 4/9/15 - WHITE 53 70 CONTINUED: 70 (CONTINUED) Crowd members observe, rapt. Will glances toward Nat. NAT (CONT'D) This honor have all His saints! Praise the Lord! Sing to Him a new song! CROWD MEMBERS -Hallelujah! -Amen! -Yes Lord! On Nat, regaining his bearings. A female VOICE OS starts up a * spiritual. * 71 EXT. REESE PLANTATION - BACK HOUSE - DAY 71 Cherry pumps water from a well near the forest's edge. As she fills a bucket, she hears a SOUND. She glances up to seeCOBB, eyes glued on hers. COBB What you doing out so late, girl? CHERRY Evenin', suh. I'm just pulling water for the missus. COBB I don't suppose you got a pa** anywhere under that purty dress? CHERRY No suh. I belongs to Ma**a Guiles and this here his property. COBB You sa**in' me, girl? CHERRY No suh. COBB Anybody that knows nothing, knows state law says “if a n******g is less than ten paces from the treeline, that n******g needs a pa**.” Cherry eyes the treeline, which lies only a few feet away. CHERRY Well suh, I can go get one- 5/8/15 - PINK 54 70 CONTINUED: (2) 70 (CONTINUED) COBB You aint goin' no where. Either you're gonna show me a pa**... Or you gon' show me something else. Cobb takes a step forward. Cherry steps back, right intoJESSE Another of Cobb's men emerges from the trees surrounding her. Off Cobb's contorted smile, weCUT TO: 72 OMITTED 72 * 73 EXT. TURNER PLANTATION - BIG HOUSE - DUSK 73 Isaiah pulls a robe tight as he reaches the front door. He opens it to find Nat, distraught. Isaiah steps onto the porch, closing the door behind him. They speak in whispers. NAT I need to talk to Samuel. ISAIAH Samuel has retired for the evenin'. NAT Cherry's been hurt. I need a pa** to go see her. 5/8/15 - PINK 55 71 CONTINUED: 71 (CONTINUED) ISAIAH I just said, he's retired. NAT And I just said Cherry, my wife, your sister in Christ has been hurtISAIAH It's going to have to wait til mornin'. NAT Isaiah, if you don't go get Samuel, right now, I'm gonna go get him myself. ISAIAH And what if he doesn't let you go? (re: Nat's no answer) Let me guess, you gonna go anyway? (no answer) Nat, I'm real sorry for whatever happened to Cherry, but you can't run around here with your chest poked out making demands. We are n******gs! I'd have thought you'd learned by now. NAT We ain't n******gs, Isaiah. We men. I'd have thought you'd learn that by now. And with that, Nat reaches past Isaiah, opens the door and strides into the house. 74 INT. TURNER PLANTATION - BIG HOUSE - STAIRS - DUSK 74 * Nat bounds the stairs, Isaiah races to get in front. Janice emerges from her quarters, Isaiah waves her back in. At the top of the stairs, Isaiah cuts off Nat's path. ISAIAH (harsh whisper) Alright, damn it! I'll get him. * 74A INT. TURNER PLANTATION - BIG HOUSE - SAMUEL'S ROOM - DUSK 74A Samuel lies pa**ed out in his clothes. Liquor bottles litter the night stand. A soft knock wakes him. ISAIAH (O.S.) Master Sam? Suh? 5/8/15 - PINK 56 73 CONTINUED: 73 (CONTINUED) Sam stirs. SAMUEL TURNER What? 6/15/15 - YELLOW 56A 74A CONTINUED: 74A (CONTINUED) ISAIAH (O.S.) * (his best docile voice) I'm so sorry to disturb you, suh, * but Nat needs to speak to you. * Something awful has happened. SAMUEL TURNER * Whatever it is, tell him I'll get * to it in mornin'. * Silence, until- * ISAIAH (O.S.) * Suh? * (re: no answer) * Suh? If you could just see Nat for * one momentSAMUEL TURNER * God damn it Isaiah... * (swings his feet off the * side of the bed) * Tell him I'll meet him on the * porch. NAT (O.S.) * I'm right here, suh. * SAMUEL TURNER (beat) * Well you might as well come in. Isaiah pushes the door open. Samuel lies on the bed fully clothed. He swings his legs off the side of the bed. * Isaiah enters with a hesitant smile. Nat follows, takes in the room he hasn't been in since his captivity was extended. ISAIAH Again, suh, I'm so sorrySAMUEL TURNER What's wrong Nat? NAT Just got word from Reese's farm. Cherry... she's been hurt real bad. SAMUEL TURNER Hurt? NAT Yes, suh... A group of men... 4/21/15 - BLUE 57 CONTINUED: (2) (CONTINUED) SAMUEL TURNER When'd this happen? 6/15/15 - YELLOW 57A 74A CONTINUED: (3) 74A (CONTINUED) NAT Some time yesterday I reckon'. * SAMUEL TURNER (beat) Isaiah, fetch me some paper. Isaiah promptly snaps to. SAMUEL TURNER (CONT'D) Don't you go down there stirrin' up trouble? Take Jupiter, stay the night, get on back in the mornin'. NAT Yes'suh. Isaiah arrives with paper and pen. Samuel jots a note and hands it off to Nat. NAT (CONT'D) Thank you, suh. Nat exits, followed by Isaiah who smiles, bows as he exits. 75 EXT. COUNTRY ROAD - NIGHT 75 Nat rides like a man possessed, pulling every bit of speed possible from the colt. 76 INT. REESE PLANTATION - SERVANT QUARTERS - NIGHT 76 Cherry's bed sits draped by a translucent mosquito net. * Elizabeth, eyes wet, sways nearby in a rocking chair, Joanna * asleep in her arms. She stills as Nat follows Catherine. * ON NAT * Who halts when he sees the bed, its contents silhouetted by * the netting. * CATHERINE * We're prayin' for her, Nat. All of * us. * (beat) * Monsters... * Nat approaches the bedside, he pulls at the net's opening to * reveal- * CHERRY. Her face swollen and unrecognizable. * 5/8/15 - PINK 58 74A CONTINUED: (4) 74A (CONTINUED) ELIZABETH (O.S. * God's going to punish whoever did * this. He will... OFF NAT, catatonic, weFADE OUT 77 OMITTED 77 * 5/8/15 - PINK 58A 76 CONTINUED: 76 78 EXT. FIELD - DAY (VISION 2) 78 * Nat's POV as he squeezes an ear of corn. Blood gushes over * his hand. * 79 INT. REESE PLANTATION - SERVANT QUARTERS - (NIGHT) 79 Tight on Cherry's silhouetted profile as she stirs. Nat parts * the draped netting, moves close to her. Her lips move * slightly within her bloated face. CHERRY Nat. NAT Love. CHERRY I'm sorry. NAT No. You don't apologize. You don't owe that to anyone. CHERRY Joanna OK? NAT She's here. She just fine. CHERRY Don't want her to see me like this. NAT She don't know no better. (then) Cherry, I need you to tell me who did this to ya. I'm gonna take care of it, ya hear. On my soul. 5/8/15 - PINK 59 (CONTINUED) CHERRY “Put up again thy sword into his place: for all they that take the sword shall perish with the sword.” You taught me that. (beat) I need you here. Joanna too. Promise you'll leave this to the Lord. Promise. NAT I promise. He gently kisses her cheek, uses a nearby sponge to dab sweat from her brow. 80 OMITTED 80 * 5/8/15 - PINK 60 79 CONTINUED: 79 (CONTINUED) * 81 EXT. TURNER PLANTATION - BIG HOUSE - PORCH - DAY 81 Nat arrives to find Samuel pacing on the porch. 5/8/15 - PINK 61 80 CONTINUED: 80 (CONTINUED) NAT You wanted to see me suh? SAMUEL TURNER Yeah... (then) Cherry alright? NAT I believe she will be. SAMUEL TURNER Good. Not many would've let you go, but... NAT Thank ya, suh. SAMUEL TURNER I'm having a get together tonight for some important people. Kind like when daddy was alive. (then) I'm gon' want you, couple of others, in the house. You got experience with servin' and respect with the help. NAT Yes'suh. SAMUEL TURNER Can't tell ya' how important this is for all of us. We get this right, the Turner name'll mean something again. We'll be back on top. NAT Yes, suh. And Samuel disappears into the house. 82 OMITTED 82 * 5/8/15 - PINK 62 81 CONTINUED: 81 (CONTINUED) * 83 INT. TURNER PLANTATION - BIG HOUSE - DINING ROOM - LATER 83 Nat and Isaiah hold silver trays of hors d'oeuvres. Isaiah wears a curled PERIWIG. Several well-to-do guests populate the dinner table. We see Elizabeth, Catherine and Guiles. We recognize Reverend Walthall, as well as Joseph Randall and his WIFE (60's). GENERAL CHILDS (50's a commander of the state militia) is also present, his wife and DAUGHTER (20'S) at his flank. She eyes Samuel seductively. Samuel manages a nervous smile before clinking his fork against a crystal gla**. The room settles. SAMUEL TURNER As you know, this annual dinner was a tradition of my daddy years ago. For all he believed, he made sure family, faith and tradition were at the top of his priority list. Now, near twenty years later, the same priorities have kept this property afloat. JOSEPH RANDALL That, and a cash cow of a colored preacher. A few chuckles. 5/8/15 - PINK 63 82 CONTINUED: 82 (CONTINUED) SAMUEL TURNER All right, that too. Samuel smiles, nods to Reverend Walthall, who winks back. Samuel raises his gla** high. SAMUEL TURNER (CONT'D) May God continue to bless us for more generations to come. GUESTS Here, here! SAMUEL TURNER Nat, lead us in prayer. All bow their heads, eyes closed. Nat looks to the servants, at the perimeter of the table, then to the guests. He studies their pasty, smiling faces. Nat prays directly to them, HIS EYES OPEN. NAT Heavenly Father, we come to thank you for your word and your will. We understand it is written that “Eye hath not seen, nor ear heardneither have entered into the heart of man, the things which God hath prepared for them, that love him.” We pray for and thank you for your protection and your promise that in our obedience, you will be an enemy to our enemies that you will oppose those who oppose us. Isaiah's eyes snap open, rack to Nat. NAT (CONT'D) Continue to guide us oh, Lord and we will continue to follow. Through fire and tribulation, we will push forward, recognizing you alone as our source and strength. In your Holy name we pray... ALL Amen. 84 INT. TURNER PLANTATION - BIG HOUSE - DINING ROOM - LATER 84 The party has wound down. The women have retired, leaving * only a group of inebriated men, Samuel being the worst off. * Samuel covertly signals Isaiah who steps forward with a tray of cigars. 5/8/15 - PINK 64 83 CONTINUED: 83 (CONTINUED) SAMUEL TURNER Isaiah, here, served President Jackson once. GENERAL CHILDS That right? ISAIAH Yes, suh. SAMUEL TURNER Tell him Isaiah. ISAIAH (as he serves) During the war of 1812. For a time, I was his personal servant. We called him “Ewo nan Nouvelle Orléans.” (re: their blank stares) “The Hero of New Orleans.” GENERAL CHILDS (boorish) And now you're here serving me. Childs holds up his gla**. An awkward beat as Isaiah moves to him, fills his gla**. Samuel, sensing the discomfort, signals Nat who steps forward, sets a bowl of peppercorn on the table. Samuel drops three into his gla** of port wine. SAMUEL TURNER Daddy always said: (sotto) “Three black peppercorns to a gla** of port, and you got yourself an excellent digestive.” Ester brings coffee as the men talk. Joseph Randall eyes her * closely. JOSEPH RANDALL Black is always tasty... Especially a nice piece of black meat. Juicy. Sweet... As she pours for Joseph Randall, he runs his hand up her dress. She casually steps back from his reach. Nat notices. * GUILES REESE Pepper in my port is worth a try. But fornication of that kind... Frankly, I find it uncivilized. 5/8/15 - PINK 65 84 CONTINUED: 84 (CONTINUED) Joseph Randall blindly reaches back toward Ester, rubbing his * hand along a leg. He glances toward the leg to find a pant- * covered leg. His eyes dart up to find Nat wearing a wry * smile. Randall recoils, turns sheepishly back to his drink. * 5/8/15 - PINK 65A 84 CONTINUED: (2) 84 (CONTINUED) GENERAL CHILDS Give it time, son. I suspect it won't be long before you find yourself slipping from the ban*l chaise to find a tastier treat in mammy's harem. SAMUEL TURNER When that day comes, make sure you have some money saved. Cus' if my sister catches you and tosses you out, you won't be coming to stay here. And another round of laughs. 85 OMITTED 85 * 86 EXT. SLAVE QUARTERS - HARK'S CABIN - NIGHT 86 Nat arrives to find Hark guarding his front door, arguing * with Isaiah. They speak in whispers. NAT What's going on? HARK I ain't doin' it Nat! I'd have ‘em lynch me first. NAT Doin' what? Nat looks to Isaiah who hangs his head. ISAIAH One of Samuel's guests... has requested Ester. NAT Requested her for what? (re: Isaiah's look) No. Just go and tell Samuel. He'll straighten this out. ISAIAH Samuel sent me personally. 5/8/15 - PINK 66 84 CONTINUED: (3) 84 (CONTINUED) HARK I can't do it Nat. I won't. (to Isaiah) Who the hell you think you are?! ISAIAH You think I wanted to come out here for this?! HARK You here ain't ya?! You'd sell your soul if a white man told you! Nat abruptly beelines for the Big House. ISAIAH Nat! 87 EXT. BIG HOUSE - BACK PORCH - MOMENTS LATER 87 Isaiah catches up to Nat, who strides toward the back door. As they reach the back steps, the door swings open to reveal * Samuel. He stumbles toward them. SAMUEL TURNER Where is she? ISAIAH Oh, I'm fetchin' her directly, suhNAT Samuel, please. You can't do this. SAMUEL TURNER The hell I can't! Joseph Randall appears at the door, grips a gla** of wine. JOSEPH RANDALL Everything alright? 5/8/15 - PINK 67 86 CONTINUED: 86 (CONTINUED) SAMUEL TURNER Everything's just fine. I'll be inside directly. JOSEPH RANDALL Hope you won't be alone. SAMUEL TURNER I certainly won't be. Joseph Randall disappears inside. On Samuel, full of rage. SAMUEL TURNER (CONT'D) Boy, you mess this up for me, my hand to God, I'll have every goddamn one of ya' lynched come mornin'! * (then to Isaiah) * Fetch her. Now! 88 EXT. TURNER PLANTATION - NIGHT 88 Nat, Nelson and Hark watch Isaiah walk Ester to the Big House. She glances back, eyes filled with sorrow, Hark's with shame. * 89 EXT. TURNER PLANTATION - NIGHT 89 Nat sits leaned against a tree. Looking out atHark, who stands in the exact spot we last saw him, his eyes fixed on the Big House. A few long moments pa**, beforeThe back door of the Big House opens. Ester slowly emerges. She notices Hark and slows to a stop, hanging her head. Hark closes the gap, takes her into his arms. As Hark walks her towards the slave quarters. * HARK * Where is He, Nat? Where God now? * ANGLE ON NAT * Something changing behind his eyes. * 5/8/15 - PINK 68 87 CONTINUED: 87 90 EXT. TURNER PLANTATION - DAY 90 We open on a thick log, propped up on a tree stump. THWACK! An Axe splits the log in two, it tumbles off the stump. WIDEN to find Nat, as he places another log on the stump. THWACK! He glances up to find a WHITE DOVE perched on the nearby fence-post. Nat squints at the bird which seems to look directly at him. Further away, Hark crosses, pushing a wheelbarrow. NAT Hark. No response, as Hark continues on, his eyes fixed forward. As Nat watches Hark trudge awayVOICE (O.S.) Excuse me. Nat turns to find a white man ETHELDRED “E.T.” BRANTLEY (50'S), hat in hand. E.T. BRANTLEY I'm looking for a preacher called Nat. 91 INT. TURNER PLANTATION - BIG HOUSE - FOYER - LATER 91 Nat stands before Elizabeth and Jethro. Just past Nat, Brantley mulls on the other side of the screen door. NAT He's been banned from every church in the county for his sinsJETHRO He's lucky it's all he got for what he done. NAT The world has its way with dealing with the immoral. Above all, those who cast that immorality onto children as he has. But, no one is without sin, Miss Elizabeth. (lets that settle) This man wants to repent and be delivered. As a shepherd of the Lord, it's my duty to serve... So, I'd like to baptise him. 4/9/15 - WHITE 69 (CONTINUED) JETHRO The hell you will! ELIZABETH TURNER Jethro, you will mind your mouth. JETHRO With respect, Ms. Elizabeth, a n******g can't baptise no white man. (re: her no response) I just think you should wait for Mr. Samuel to get back. Elizabeth studies Nat. JETHRO (CONT'D) Ms. Elizabeth, you can't let this go onELIZABETH TURNER Jethro, go wait in the front yard. JETHRO But ma'amELIZABETH TURNER I won't ask you again. Jethro seethes. A murderous glare as he pa**es NatJETHRO Boy, you gon' get it. And he's out the door, leaving Nat and Elizabeth alone. ELIZABETH TURNER You sure you want to do this, Nat? Samuel may not like it, nor will a lot of other folks around here. NAT Don't think I have a choice, Missus. This man still belongs to God. And to stand between God and his people is a dangerous place to be. A long beat, untilELIZABETH TURNER You have my blessing. NAT Thank you, Missus. 4/9/15 - WHITE 70 91 CONTINUED: 91 (CONTINUED) She watches him go, her eyes betraying a hint of melancholy. 92 EXT. TURNER PLANTATION - RIVER - DAY 92 Nat stands in waist deep water, Brantley before him. Nancy, * Bridget, Hark and others watch from the river bank. Jethro * stands further back. If looks could k**. * NAT Do you confess your sins before God? E.T. BRANTLEY Yes, I do. NAT Cross your arms. Brantley complies. Nat bends Brantley backwards into the water, covering his face before propping him back upright. A few slaves clap as Brantley wipes his face, offering Nat a misty-eyed smile. E.T. BRANTLEY Thank you, Sir. NAT Go and sin no more. Brantley nods as he trudges back toward the riverbank. ON Nat as he stands alone in the water, staring toward the bank. PRELAP SAMUEL TURNER (O.S.) I been good to you ain't I? 93 EXT. SLAVE QUARTERS - NAT'S CABIN - DAY 93 Nat is sat on a narrow chopping block, stares forward. Samuel, Jethro and Reverend Walthall stand before him. A SHOTGUN rests in the crux of Jethro's arm. Angle on Hark unnoticed in the BG feigning work. SAMUEL TURNER My whole family has. And you go and do this to me?! A n******g, baptizing a white man on my property. You know how this makes me look?! Nat only stares forward. 5/8/15 - PINK 71 91 CONTINUED: (2) 91 (CONTINUED) SAMUEL TURNER (CONT'D) Boy, you had better say something and quick. NAT “Take heed therefore unto yourselves, and to all the flock, over the which the Holy Ghost hath made you overseers, to feed the church of God, which he hath purchased with his own blood.” Silence. Samuel and Rev. Walthall share an incredulous look. REV. WALTHALL “Exhort servants to be obedient unto their own masters, and to please them well in all things; not answering again-” NAT “You were bought with a price; do not become slaves of men-” REV. WALTHALL “But he that shall blaspheme against the Holy Ghost hath never forgiveness, but is in danger-” NAT “Beware of false prophets who come in sheep's clothing but inwardly are ravening wolves!” REV. WALTHALL YOU BLACK ba*tard! SAMUEL TURNER Nat!- Nat looks Samuel straight in the eye. NAT “He that stealeth a man, and selleth himSAMUEL TURNER Don't you eyeball me!- NAT (standing) -or if he be found in his hand, he shall surely be put to d**h.” 4/9/15 - WHITE 72 93 CONTINUED: 93 (CONTINUED) In a flash, Samuel snatches Jethro's shotgun, smashing the hilt into Nat's mouth with a CRACK! Nat hits the ground stunned, blood spilling. SAMUEL TURNER (to Jethro) Get him on the post. Jethro snatches him by the shirt. On Hark who takes a step forward. Nat's look waves him off. 94 EXT. SLAVE QUARTERS - COURTYARD - POST - DAY 94 Nancy, Bridget and other slaves gather, as we reveal Nat strapped to a wooden post, centered in the middle of the courtyard. Hark and Nelson arrive, soon joined by another slave, SIMON. Jethro paces behind Nat, dragging a ten-foot long whip. He looks to Samuel who nods, then exits toward the Big House. Bridget leads Nancy away as Jethro goes to Nat and rips off his shirt. JETHRO Told ya' you was gon' get it. 95 EXT. TURNER PLANTATION - BIG HOUSE - PORCH - DAY 95 Samuel bounds toward the Big House, spots Elizabeth. A sudden CRACK in the distance. Samuel stops, locks eyes with her. The cracking of the whip continues over their silence. She holds his gaze. CRACK! CRACK! CRACK! CRACK! CRACK! CRACK! He strides past her and into the house, slamming the door SHUT. 96 OMITTED 96 * 97 EXT. COTTON FIELD - DAY (VISION 3) 97 TIGHT on Nat who floats on his back. As his eyes peel open, he squints up to see the figures silhouetted against the sun. One of the figures leans in close to reveal an angelic woman, blocking the son. VOICE (V.O.) Hey, boy. 5/8/15 - PINK 73 93 CONTINUED: (2) 93 98 EXT. SLAVE QUARTERS - COURTYARD - POST - NIGHT 98 * Nat's eyes open to find Jethro, hovering, drunk. JETHRO You best just go on' and die. It'd be easier on you. You make it outta' this alive, I'm gonna ride you like hogs on slop. (beat) Die. Jethro straightens, staggers away. We move in CLOSE on Nat's near-lifeless eyes. His eyes slowly drift closed, untilA FAINT GLOW OF LIGHT ILLUMINATES HIS FACE. REVERSE to revealA CANDLE HAS BEEN PLACED IN FRONT OF NANCY'S CABIN. Nat wills his eyes open. THE LIGHT ACROSS HIS FACE BRIGHTENS. We again REVERSE to revealMore candles have been placed in front of various slave cabins. We see the door of another slave cabin open, an arm produces a candle. Another cabin and another- until the entire courtyard glows. Nat's body responds- his chin lifts, his muscles tighten, legs supporting his body's weight. Off Nat's determinationCUT TO: 99 EXT. SLAVE QUARTERS - COURTYARD - POST - DAY 99 Samuel and Jethro arrive to find Nat alive and fully alert. Despite his gaunt features and the infected puss bubbles protruding from his back, he supports his own weight. SAMUEL TURNER You learned your lesson, boy? Nat, wild eyed, looks just close enough to Samuel to avoid eye contact. Something unnerving about his subservience. NAT Oh, yes ‘suh. I've learned. 5/8/15 - PINK 74 (CONTINUED) SAMUEL TURNER (to Jethro) Let him off. Jethro unlocks the stock. Nat stands up straight for the first time in days, his entire body trembling involuntarily. SAMUEL TURNER (CONT'D) You done preachin' for a while. Don't want you goin' off with no groups unless me or Jethro is there, ya hear? NAT Yes, suh. SAMUEL TURNER Go on and get cleaned up. Want you back in the field come mornin'. NAT Yes, suh. As Samuel and Jethro walk off, Hark approaches. HARK Nat, you alright? Nat collapses, face-planting in the dirt. 100 INT. SLAVE QUARTERS - NANA'S CABIN - DUSK 100 Nat lies on a cot, his back covered with steaming strips of cotton. Bridget sits at his side. Nancy arrives with a thin blade and a bottle of brown liquid. Bridget slowly peels back a cotton strip to reveal an infested wound. She takes the blade, cuts a shallow incision into the bubbled flesh. BRIDGET I watched your grandfather die. In the old land. Saw him give up the ghost with my own eyes. And he saw me. He harnessed the Holy Spirit that day. Yes he did. She applies pressure to the wounds, sending blood and puss oozing from his flesh. BRIDGET (CONT'D) I was proud of him. So proud. I still thank God he died that day. That he didn't live to see what I seen... To watch a strong man broken down is a terrible thing. 4/9/15 - WHITE 75 99 CONTINUED: 99 (CONTINUED) The brown liquid steams as she pours it across his wound. 101 INT. SLAVE QUARTERS - NANA'S CABIN - DUSK 101 Nat staggers in from the intense day of work. Sweat and dried blood crust his shirt to his back. He spots Bridget in her chair, faced toward the stove. NAT Hey Nana. Nat grimaces as he peels off his shirt. Several lines of fresh stitches. NAT (CONT'D) Stitches held up good... Nat rinses his hands and face in a nearby pot of water, suddenly stops. He looks to Bridget, walks to her. NAT (CONT'D) Nana? Her lifeless eyes fixed forward. A needle and thread rests between her fingers, a half sewn pair of pants in her lap. 102 INT. SLAVE QUARTERS - NANA'S CABIN - DAY 102 TIGHT on Nat's face. His eyes cast down at something we don't yet see. We PULL BACK to reveal Bridget's body wrapped head to toe in linen on a plank table behind him. We continue to pull back to find his eyes set on his closed Bible. He flips toward the back. “Ephesians 6:5-6 - Servants, be obedient to them that are masters...” “Matthew 5:38 -If anyone strikes you on the right cheek...” “Luke 6:27 Do good to those who hate you, bless those who curse you...” ON NAT as fix forward. A SERIES OF QUICK FLASHBACKS -- The slave's teeth hammered out- -- The young slave girl led on a leash- -- Cherry beaten and bruised- -- The blood seeping from the corn onto his handWITH NAT as he flips the Bible again... His jaw tightens. He slowly rises, moves to Bridget's wrapped body. He lifts it and carries her out of frame. We move in close on the Bible. Closer until a verse fills the frame: 4/9/15 - WHITE 76 100 CONTINUED: 100 (CONTINUED) “Samuel 15:3 Now go and strike... and devote to destruction all that they have... Do not spare them, but k** both man and woman, child...” 103 EXT. SLAVE QUARTERS - SLAVE CEMETARY - DAY 103 Bridget's funeral has long ended. Nat stands before her fresh grave. Dozens of single flowers litter a wooden cross. In the BG Hark arrives. HARK You alright? NAT Mostly. (beat, then) I need you to round up a few men we can trust. Have ‘em meet us near the big cyprus at Cabin Pond, night after next. Hark eyes him, nods. A beat before Hark turns to leave. NAT (CONT'D) Hark... (Hark turns back) He's still here, brother. Even now. 104 EXT. DISMAL SWAMP - CABIN POND - NIGHT 104 Nat sits alone in front of a small smoldering brush fire. A * few seconds pa** before Hark and THREE OTHER MEN emerge from * the dark. Nat stands, meets them. Hark is flanked by SIMON (24), Nelson and WILL (THE SLAVE WE RECOGNIZE FROM FOWLER PLANTATION). HARK This is Simon. Samuel bought him a month back in Norfolk. NAT I remember. HARK You know Nelson. And this is Will. 5/8/15 - PINK 77 102 CONTINUED: 102 (CONTINUED) NAT (remembering) Word travels fast. (then) You weren't followed? Will shakes his head ‘no'. NAT (CONT'D) Good. Welcome. Glad you're here. SNAP All eyes open and fix into the darkness towards the sound. Nat stands. A tense moment pa**es before JASPER emerges from the shadows. HARK (to Jasper) This a grown folks meetin'. Get! Jasper slowly backpedals, until. NAT Hold on. You come from Randall's. JASPER Yessuh. HARK He just a boy. NAT So was David. (then, to Jasper) Have a seat. Jasper timidly complies. Nat studies the faces before him. NAT (CONT'D) Let's pray... Heavenly father, we come to you this evening to thank you for the gift of your Word. We pray you guide our hearts and minds that we may follow your will alone. In Jesus' name... ALL Amen. NAT I been followin' the Lord a long time, now. Preachin'. Citin' scripture. 4/9/15 - WHITE 78 104 CONTINUED: 104 (MORE) (CONTINUED) Sharing the word through the few sections and pages I've been allowed... Holds his worn Bible up high. NAT (CONT'D) But, I've gone back into this Word. All of it. With new eyes. I see now that for every verse they use to support our bondage, there is a truth demanding our freedom. For every line they use to justify our torture, there's another that damns them to hell for those actions. (beat) They say by the darkness of our skin, we've been cursed. That God's called our children and our children's children to be beast of burden until d**h. That He's called our wives and daughters to warm their bellies in the night... (beat) This isn't the word of the God I serve. He lets this sink in. NAT (CONT'D) The Lord has spoken to me; visions of what is to come. A rise of good against evil. “The first will be last and the last will be first”... (pointed) We've been chosen. NELSON What we gon' do? NAT The same as David and Gideon-and Joshua and Sampson... We will fight. SIMON The six of us? * NAT At first. But once it begins, our brothers and sisters'll join. NELSON They a lot of whites. 5/8/15 - PINK 79 104 CONTINUED: (2) 104 NAT (CONT'D) (CONTINUED) NAT How many slaves you think here? On all the plantations in-county? NELSON Whole lot. NAT How many white? SIMON But they got guns. NAT We'll take the armory in Jerusalem. We'll have guns too. HARK Jerusalem? NAT That's right. We'll start at Turner's, then fight our way there. By then we'll number in the hundreds- thousands even. The grapevine's ablaze with talk of fightin'. Slaves just like us, all over, havin' meetings. Waitin' for somethin'. Waitin' for us. The others don't look so sure. NAT (CONT'D) If ever there was a time to have faith my brothers, it's now. WILL We make a stop at Fowler place? NAT We will. WILL I'm witchu. HARK (beat) Me too. NELSON When we fight? 4/9/15 - WHITE 80 104 CONTINUED: (3) 104 (CONTINUED) NAT Soon. The Lord will provide a sign. Until then, remain steadfast, ready to strike at the moment of the Lord's call. (beat) With the strength of our Father, we'll cut the head from the serpent... We'll destroy them all. 105 INT. TURNER PLANTATION - BIG HOUSE - DEN - DAY 105 Janice, in the room alone, cleans. She moves to a bottom row of books, dusts them. As she dusts with one hand, the other pulls a book from her apron, sliding it onto the shelf. As * she removes a different book- * A HAND catches her wrist. Startled, she looks up to find Isaiah. Off her terror, weCUT TO: 106 INT. SLAVE QUARTERS - NAT'S CABIN - MORNING 106 Nat, dressed for the day's work, pulls up suspenders before heading for the cabin's exit. He opens the door to find Isaiah. ISAIAH May I enter. Nat allows him in, but not before a quick glance outside. NAT Something wrong? ISAIAH There's much wrong. (beat, then) Whether you consider me a friend or not, I don't know. But I care what happens to you. The same way I care about what happens to every other soul on this property... NAT If there's something you need to say, Isaiah, I'm listening. ISAIAH There was a meeting a few nights back. 5/8/15 - PINK 81 104 CONTINUED: (4) 104 (CONTINUED) Nat offers no reaction. ISAIAH (CONT'D) While I'm not privy to what was said, I can a**ume by it's secrecy, it couldn't have been entirely... productive. (no response) Now, I don't know what ideas swirl in your head, but I've lived enough to know the result of certain ideas won't lead to what you want. NAT All I want, I want for the oppressed people of God. ISAIAH Do you want d**h for them? For your wife and daughter? NAT If it be God's will. ISAIAH God's will? Who's selected you the instrument of such things? NAT He has. ISAIAH You walk a dangerous line. NAT In his ordered steps. ISAIAH And you're sure it's him doing the “ordering”. Nat only stares. ISAIAH (CONT'D) I may live in the house, but my head isn't in a hole. I know whites are wrong for what they've done and continually do. But I also know a man of God is called to lead in love. Anything else will only leave us all worse off. Isaiah studies him a beat before reaching into his suit jacket, pulling from it a BOOK. CLOSER to reveal it is the book Janice took from the shelf. 4/9/15 - WHITE 82 106 CONTINUED: 106 (CONTINUED) ISAIAH (CONT'D) (pointed) He is a God of love, Nat. Don't forget that. He hands him the book before turning towards the door. NAT I won't. (beat) Nor will I forget he is a God of wrath. Isaiah turns back locks eyes with Nat a beat, before slipping from the cabin. 107 EXT. COTTON FIELD - DAY (VISION 3 MANIFEST) 107 Nat pulls a near full cotton bag through a row. He glances up to notice several slaves have stopped picking, their gazes directed upward. A shadow creeping across their faces. Nat follows their eyes to seeTHE MOON PASSING IN FRONT OF THE SUN IN A BRILLIANT ECLIPSE. ANGELIC VOICE (O.S.) (to Nat, as if carried by the wind) The serpent is loosed. The eclipse pa**es. As the enslaved go back to picking, Hark, steps into Nat's row. Nat holds his gaze. 108 INT. REESE HOUSE - BEDROOM - NIGHT 108 Nat and Cherry lie opposite each other, eyes locked. * NAT The Lord's called me... To stand and fight. A long beat, until- 4/21/15 - BLUE 83 106 CONTINUED: (2) 106 (CONTINUED) CHERRY I knew this day would come. I told myself I wouldn't be scared. All my life I been prayin' for the Lord to help us, or to send somebody who could. We all have. Just wasn't ‘spectin it to be my own husband. (beat) If the Lord's called you to fight, you fight. You fight for me. For Joanna. Fight for us all. Nat pulls her and Joanna into an embrace. 108A INT. REESE PLANTATION - BEDROOM - NIGHT 108A * Cherry stirs awake to find Nat gone, a cloth-wrapped package * lies in his place. She opens it to find A BEAUTIFUL DRESS. A * moment before she flips the bottom hem to find: THE PATCH * FROM HER PREVIOUS DRESS. Off her look, we- * CUT TO: * 108B INT. REESE PLANTATION - BEDROOM - NIGHT 108B * Cherry lies asleep. As Elizabeth clears of dishes from * Cherry's night stand, she tips a gla** spilling water onto * the floor. As she bends to towel it, reaching deep under the * bed, her hand catches something. Tight on her face as she * studies something we don't see. She eyes a sleeping Cherry * with concern. * INT. UNKNOWN LOCATION - NIGHT * A candle dances within a dark room. An OC gust distinguishes * it. * 109 OMITTED 109 110 OMITTED 110 111 OMITTED 111 6/15/15 - YELLOW 84 108 CONTINUED: 108 (CONTINUED) * 112 OMITTED 112 * 113 INT. TURNER PLANTATION - BIG HOUSE - SAMUEL'S ROOM - NIGHT113 Samuel sleeps. A few seconds before he stirs awake, reaches for a gla** of water. He suddenly freezes. As he squints into the dark, his eyes adjust and he sees the shape of a man. SAMUEL TURNER Who's there? Nat takes a half step into a shard of moonlight. SAMUEL TURNER (CONT'D) Nat? NAT (directly into his eyes) Yes. Before Samuel can utter a response, the glint of a swinging axe. 114 INT. TURNER PLANTATION - OVERSEER'S BACKHOUSE - NIGHT 114 OVER BLACK we hear a KNOCK. Then another. A lantern flashes to reveal Jethro, sat up in bed. A YOUNG SLAVE GIRL (10) lies beside him. Jethro rubs his eyesKNOCK! KNOCK! 4/21/15 - BLUE 85 111 CONTINUED: 111 (CONTINUED) JETHRO Wait a goddamn minute! He staggers to the door, shirtless and half asleep. Just as he pulls the door openTHWACK!!!! He's axed out of frame. Will takes a step inside wielding a ma**ive SLEDGEHAMMER. He lifts it high over his head. The finishing blow cuts us to- 115 INT. TURNER PLANTATION - BIG HOUSE - HALLWAY - (NIGHT) 115 Samuel crawls along his stomach, blood seeping from mouth. * Nat walks behind him, axe in his hand. Samuel props himself against the wall and we see the deep gash in his chest. Samuel and Nat's eyes stay locked a long beat. Nat turns, exits. On Samuel, left with his thoughts until his eyes slowly sag shut. 116 INT. SLAVE QUARTERS - NANA'S CABIN - (NIGHT) 116 Nancy lies asleep under dim candlelight. Nat sits bedside. NAT Mama. She wakes; instinctively reaches for her field clothes. NANCY Nat? Oh, Lord, I slept too late? Nat gently catches her hand. NAT You don't have to work today, mama. NANCY What? NAT You're free. She stares closely at Nat, suddenly noticing the blood on his face, clothes and hands. NAT (CONT'D) The battle has begun, ma. (toward the cabin door) Simon. Simon pokes his head in. 4/21/15 - BLUE 86 114 CONTINUED: 114 (CONTINUED) NAT (CONT'D) Simon's gonna take you to Reese's. I need you to take care of Cherry and Joanna until I return... (re: Nancy's sad look) What's wrong? NANCY Nothin'. I'm proud of you. She pulls Nat into an embrace. NANCY (CONT'D) You fight. I'll pray. PRELAP - SOUND of intense vomiting. 117 EXT. SLAVE QUARTERS - NANA'S CABIN - NIGHT 117 Nat stands keeled over, steadying himself against a tree. VOICE (O.S.) Nat. Nat turns to find Hark. HARK Everybody's ready. 118 EXT. SLAVE QUARTERS - COURTYARD - NIGHT 118 Nat, atop Jupiter, stares down at the many faces. Hark, Will, Nelson and Jasper are mounted at his flank. As Nat opens his mouth to speak- Isaiah arrives in his blood-streaked robe. Delirious, he CHARGES Nat, Will steps in his way. ISAIAH Boy, what did you do?! No answer. ISAIAH (CONT'D) You k**ed him... You k**ed us! (to all, in tears) He's k**ed us! Every one of us is already dead! He lunges for Nat, but Will catches him, shoves him to the ground. Isaiah staggers away, distraught, leaving a somber feeling over the group. 4/9/15 - WHITE 87 116 CONTINUED: 116 (CONTINUED) NAT Your earthly master is gone. You are now free men and woman, servants of only the Lord. A murmur spreads throughout. NAT (CONT'D) As the sword of the Lord bears down on our enemies, our ancestors and unborn children rejoice. (beat) Are we dead? No. I say we are now alive, seeing through eyes that have been denied us since being born into the darkness of bondage. Stand with us... that your other captive brothers and sisters may also know freedom. Stand, that our children, for generations to come will know that with the supernatural power of God, we straightened our backs against the works of the evil one. A male steps forward. Then another. And other, until every able man has stepped up. Off their determined looks- 119 EXT. WOODS - NIGHT 119 -- A group of torch-wielding REBELS gallop past camera. * 120 INT. PLANTATION HOME - (NIGHT) 120 -- TIGHT ON A LIT WALL to reveal SHADOWS axing down on a bed. * BLOOD sprays against the wall with the last blow. * 121 OMITTED 121 122 INT. PLANTATION HOME - (NIGHT) 122 -- Nat stands in a room of an estate, eyes a military sword mounted on the wall. A REBEL and a SLAVEOWNER wrestle in the BG. 5/8/15 - PINK 88 118 CONTINUED: 118 123 EXT. FOWLER PLANTATION - NIGHT 123 Nat, sword fitted to his hip, sits atop Jupiter amongst his men. They eye the Big House in the distance. Will trots up to Nat. WILL Can I do this m'sef? Nat nods. Will dismounts, pulls a SHORT AXE from his belt. He * walks calmly toward the Big House, casually climbs the porch * steps before entering. Several long moments pa**. Hark crosses past Jasper to Nat. HARK Should we go check on him?- SMASH! A BODY explodes through the second floor window, lands in a bloody, lifeless heap! Jasper nearly jumps out of his skin. Before anyone else can reactThe front door crashes open and a man we recognize as Earl Fowler sprints toward us. Will bolts through the doorway in pursuit, gaining on him with every step. EARL runs wildly, until he suddenly STOPS, realizing he stands in front of Nat and nearly forty armed rebels. EARL FOWLER No... (stumbles backward) NO! Just as he turns, SHUNK! Will's axe hacks into his neck. Will straddles Earl's body, raises his axe and chops with measured focus. He finally rises, holding Earl's steaming head by the hair. He tosses it into the nearby brush, before remounting his horse. For a moment, no one even breathes. ThenHARK The boy! All look around. Hark and Nat lock eyes. 5/8/15 - PINK 89 124 EXT. WOODS - (R. PLANTATION) - NIGHT 124 A FIGURE sprints through the dark. He burst into a clearing, approaching the back section of a large, familiar house. As he arrives to the back door, he bangs repeatedly with all his might. The door finally swings open to revealABNER We reverse to see our messenger is JASPER. 125 EXT. RANDALL PLANTATION - NIGHT 125 Nat and his men arrive to the plantation entrance. As the men push forwardNAT (hard whisper) Wait. The men stop. Nat stares out at the Big House and surrounding structures. He squints into the dark. Did something move? BANG! A bullet slams into Nelson's head. Gunfire erupts. * The men scramble for cover. Will returns fire. Hark dismounts, scurries to Nelson who lies dead; a bullet hole cut into his temple. BANG! BANG! BANG! RANDALL (O.S.) Hey, “preacher”. I know you out there! C'mon. Me and my boys is ready! Nat sees a dozen slaves appear on the lawn with guns. RANDALL (O.S.)(CONT'D) Ya'll gonna hang! You hear me?! All of ya! NAT Hark! Hark dodges gunfire, joins him. NAT (CONT'D) Tell the men to fall back. HARK What? 5/8/15 - PINK 90 (CONTINUED) NAT If we have a gun fight now, we'll never make it to JerusalemHARK That man had my wife- now her brother! I want my revenge, too! NAT This ain't about revenge, Hark. They have all had our wives and k**ed all our brothers! (beat) The root, not the branch. We must stay focused, brother. A long beat before Hark nods. HARK (to others) Pull back. 126 EXT. RANDALL PLANTATION - YARD - SAME 126 * John Randall squats beside Abner and Jasper. They level rifles toward the trees. TIGHT ON JASPER His face, a picture of shame. 127 EXT. OLD ROAD - DAWN 127 Nat, followed by Will, Hark and others jogs from the dense forest, arriving to a clearing. Nat studies the treeline as men continue to trickle in. Nearly fifty men in all. Even as the last man emerges, Nat continues to eye the trees. NAT This all of us? HARK This it. Hark studies the light part of the sky, smiles, then * chuckles. * 5/8/15 - PINK 91 125 CONTINUED: 125 (CONTINUED) HARK (CONT'D) * What? NAT By now, I'd be two row's down. Half bag full... HARK (smiles) I'd be headed to the barn, gettin' the stock fed. REBEL MAN 1 I be boilin' water fo' da' smokehouse... Thankin' on dumpin' it in on ma**a's head. Laughter from the group. REBEL MAN (O.C.) I be tightnin' barrells, sealin' cracks. WILL Checkin' leaves is dry. Packin' an' stackin' ‘em up. Dodgin' that cracka's lash... * (beat) * But not today. * NAT * No, suh. * (then, to the group) * On to Jerusalem? HARK On to Jerusalem. The phrase echoing through the ranks as Nat and Hark share a look. 128 EXT. JERUSALEM - ARMORY - DAWN 128 A thick fog sits on the road. The Armory sits quietly on a cul-de-sac in the distance. 129 EXT. JERUSALEM - ARMORY ENTRANCE - DAWN 129 Nat and Hark, armed, stand on the main road. Dozens of rebels stand in ranks behind them, weapons ready. 5/8/15 - PINK 92 127 CONTINUED: 127 (CONTINUED) Nat squints in the distance. SILENCE AS THEY WAIT Finally, RAYMOND COBB steps from within a bricked archway, * JESSE steps out, loyal at his side. Cobb regards Nat across the hundred yard stretch. COBB Throw down them weapons! Lay on the ground! CLOSER TO REVEALNeither Nat, nor his men budge. A beat before A GROUP OF OVER FIFTY ARMED, LOCAL WHITES emerge from hidden positions within the brick cul-de-sac. NAT (to his men) The LORD is our light and our salvation, whom shall we fear? We slowly track across the faces of the rebels as they eye their adversaries. Cobb barks orders as the armed whites scramble to line themselves up. NAT (O.S.) (CONT'D) When the wicked, even our enemies and our foes, came upon us to eat up our flesh, they stumbled and fell... A white man fastens a BAYONET onto his rifle. We pa** Will... NAT (O.S.) (CONT'D) Though a host should encamp against us, our hearts shall not fear: Cobb unholsters his pistol. We pa** Hark.... NAT (O.S.) (CONT'D) ...though war should rise against us... in this will we be confident! We arrive back to Nat, eyes focused and wild. NAT (CONT'D) REBEL! Nat charges toward Cobb and his men, his rebels close behind. Cobb lets out his own battle cry as he and his men charge! BANG! BANG! BANG! BANG! 5/8/15 - PINK 93 129 CONTINUED: 129 (CONTINUED) Men from both sides are k**ed instantly. The two sides slam into each other with the sound of thunder! Nat, fires his rifle, tosses it before pulling his axe and sword. He swings both, connecting with flesh. Cobb wields a RIFLE with an attached BAYONET. He plunges its point into pa**ing rebels. Will crushes a white man's head with the broad side of his axe, before burying the sharp side into another man's chest. Hark fights off two men, with an empty rifle. He smashes one unconscious with the bu*t before Jesse arrives, grabs him in a choke from behind. He holds Hark as another charges with his bayonet. Just as Hark is nearly pierced, he head-bu*ts Jesse, spinning him in front and into the blade. Nat, kicks a man in the groin, raises his sword to swipe whenBANG! A bullet pieces his shoulder. He drops his sword, stumbling backward. REVERSE to reveal Cobb holding a rifle. He rushes Nat, lunges at him with his bayonet. Nat catches the barrel, hip tosses him to the ground and pounces. The two roll until Cobb lands on top. Cobb locks both hands around Nat's neck in a choke. Nat spots his sword just feet away, but just out of reach. He fights at Cobb's grip, finally separating two fingers, breaking them backwards with a SNAP! A monstrous left slumps Cobb to his side. Nat reaches, snagging his sword as he climbs atop Cobb. Cobb strains against Nat's weight as Nat presses the sword tip toward Cobb's neck. IN THE BG a white man is seen rushing toward Nat. He raises his rifle and IS TACKLED out of the frame. Nat's sword pierces Cobb's neck. He pushes it deeper, their eyes remaining locked. Finally the sword's hilt is pressed to Cobb's neck, pinning him into the ground below. Nat watches until the last sign of life is gone. Nat rises, his shoulder stained red from the gun shot. As he looks around, we see only rebels stand- the ground littered with bodies, black and white. A few white men can be seen retreating in the distance. He locks eyes with Hark, both out of breathNAT (CONT'D) (to all) C'mon! 4/9/15 - WHITE 94 129 CONTINUED: (2) 129 (CONTINUED) Nat pulls his sword, grabs a nearby weapon and sprints toward the Armory. Hark, Will and the remaining rebels, joining him. 130 EXT. JERUSALEM - ARMORY - MORNING 130 Nat and the rebels sprint into the cul-de-sac, arriving at the Armory door. Will steps forward, smashes the lock with an axe handle. NAT Line up! HARK Guns comin'! The rebels toss axes and shovels aside as, line up as Nat and Hark surge the entrance. 131 INT. ARMORY - SAME 131 Nat, Hark and others storm in to find dozens of stacked crates. NAT Open em' up and pa** ‘em back! The men begin cracking open the crates. Nat opens one himself and his face falls. HIS POV to revealThe crates EMPTY, HEAVY STONES sit in place of guns. NAT (CONT'D) Get outsideBANG! BANG! BANG! Gunfire rips through the slat walls. * NAT'S POV * -Outside the armory door, bullets perforate the exposed * rebels as they are attacked from every angle. * Nat spots INFANTRY OF THE STATE MILITIA stand on rooftops and * in widows of the surrounding cul-de-sac buildings. Their fire * power continues to bear down on the rebels inside. * Nat, Will, Hark and the remaining others crouch low, dodging * fire. Without warning, Will stands, storms outside it is met * with gunfire. * 5/8/15 - PINK 95 129 CONTINUED: (3) 129 (CONTINUED) He grabs a bayonet fitted musket, stands himself up with it. * His silhouette looking more like an African statue. A final * shot blows through his face. * 132 OMITTED 132 * 5/8/15 - PINK 95A 131 CONTINUED: 131 133 INT. ARMORY - CONTINUOUS 133 Nat crawls towards the open door. As he reaches to close it, * he spots two MILITIA SOLDIERS wheeling a CANNON. As they aim * it toward the armory door- * NAT * Get back! * SLOW MOTION as the cannon erupts, Nat diving for cover just * before impact- BOOM! * BLACK * Nat emerges from beneath the loose rubble, his face and body * covered in ash-like dust and dirt. Daylight pours in from the * cannon's exit blast at the back of the room. * Nat spots Hark, a thick shard of shrapnel lodged deep between * his collarbone. Nat crawls to him, struggles to drag him * towards the exit. Hark waves him off as he holds his wound. * HARK(spits blood) * Go on. You gotta lead. * A beat before they embrace. Nat sees a few other rebels * emerging from the debris. * NAT * Come on! He helps three rebels through the opening, offers Hark a final look, before exiting. We stay with Hark, blood gushing through his fingers with every breath. 134 INT. WOODS - DAY 134 Nat darts through the woods alongside a few of his men. Finally, they stop. Only three rebels remain. Gunshots ring out in the distance. The men crowd in. Nat barks instruction, using his finger to draw a map in the dirt. NAT OK, we're right here, about three miles away from Cabin Pond. That's there we'll regroup. Any other survivors'll meet us there... Nat takes in the faces of his men. A closer look shows they aren't men at all, but boys. 5/8/15 - PINK 96 (CONTINUED) NAT (CONT'D) How old are you? REBEL BOY 1 Fifteen, suh. REBEL BOY 2 Fourteen, suh. 5/8/15 - PINK 96A 134 CONTINUED: 134 (CONTINUED) Nat studies their scared faces. A long beat untilNAT You've done good. You've been brave in fighting... (beat) But, it's time to go home. If you get stopped on the way, tell them you didn't have anything to do with this. Tell them you ran when the k**ing started. The boys slowly stand, unsure. NAT (CONT'D) Go'on, now. They run off into the woods, leaving Nat alone. 135 EXT. DISMAL SWAMP - DAY 135 Nat runs through the swamp, splashing through the soggy marsh. He stops at a ma**ive overturned tree, catches his breath. He burrows beneath the tangled roots. 136 OMITTED 136 * 137 INT. ARMORY - DAY 137 ANGLE ON a YOUNG WHITE SOLDIER, musket raised, as he arrives to Hark who holds his seeping wound. Hark, moments from d**h, eyes the soldier. HARK John Clark? JOHN CLARK (lowers his weapon) Hey, Hark. A moment between them, before a pa**ing MILITIAMAN impales * Hark with his bayonet. On John Clark, as he processes. * 5/8/15 - PINK 97 134 CONTINUED: (2) 134 138 OMITTED 138 139 INT. REESE PLANTATION - BIG HOUSE - DINING ROOM - DAY 139 General Childs, joined by his LIEUTENANT, sits before Cherry * who wears her new dress. Elizabeth stands close, flanked by * John Clark. We notice their hands clasped. Catherine and Nancy hover just behind. Nancy holds Joanna who cries. GENERAL CHILDS You don't know where he is? CHERRY No, suh. * GENERAL CHILDS And he never mentioned nothing on a insurrection. CHERRY No, suh. General Childs eyes her hard. * GENERAL CHILDS * When's the last time you saw him? * ELIZABETH TURNER She's told you everything she * knows. * GENERAL CHILDS Elizabeth, I've known you a long time, and got a lot of respect for you and your family, but you're interfering with something real important. A lot of people were k**ed the last twenty-four hours. 6/15/15 - YELLOW 98 (CONTINUED) ELIZABETH TURNER I know. One of them was my son. GENERAL CHILDS (to Nancy) So Samuel sent you here to ‘help out'? NANCY Yes, suh. GENERAL CHILDS How long before the k**in' did you and the boy leave? * NANCY Oh, suh, I don't know nothing about no k**in- * ELIZABETH TURNER * General! * GENERAL CHILDS (to Lieutenant) Go get me that boy... (to Nancy) Why would Samuel send a field hand to help in the house? ELIZABETH TURNER * Our hands often go from field to house when needed. Not every family treats their slaves with your level of savagery. GENERAL CHILDS Not every slave treats their masters with the level of savagery yours done. Childs' lieutenant returns with a terrified Simon. GENERAL CHILDS (CONT'D) (to Simon) Boy, what did Samuel tell you that night? You lie to me, I'll k** ya. SIMON Ma**a Samuel told me to bring Miss Nancy to help out for a day or two. GENERAL CHILDS And he gave you a pa**? 6/15/15 - YELLOW 99 139 CONTINUED: 139 (CONTINUED) SIMON Yes, suh. 6/15/15 - YELLOW 99A 139 CONTINUED: (2) 139 (CONTINUED) GENERAL CHILDS You still got it? Catherine goes to a nearby drawer, produces a crumpled piece of paper. General Childs examines it. ELIZABETH TURNER If you're done with your questions, we'd like to get back to mourning. General Childs tosses the paper, onto the table, along with several coins. ELIZABETH TURNER (CONT'D) What's that for? GENERAL CHILDS We're taking the boy. Simon's face falls. * ELIZABETH TURNER You most certainly are not! GENERAL CHILDS (to John Clark) Let's go. JOHN CLARK Everything will be alright, mama. As John Clark and Elizabeth embraceJOHN CLARK (CONT'D) (whisper) They ain't gon' find him. Not unless he wants to be found. He offers a solemn smile before he joins General Childs, his Lieutenant and Simon. They exit, leaving only silence, untilA BANG OS. Elizabeth rushes to the window to see Simon dead on the lawn. General Childs mounts his horse, tips his hat to Elizabeth before he and his men head off. 140 OMITTED 140 6/15/15 - YELLOW 100 139 CONTINUED: (3) 139 141 EXT. TOWN SQUARE - DAY 141 -- We track across a group of Rebels standing on a wooden platform. Nooses are fitted around their necks. Tight on a male slave, as he drops out of frame. The rope fills the frame, taut. 142 EXT. WOODS - DUSK 142 * -- Two black men sit beaten and tied to a tree. Liquid is splashed across their faces. A white hand, holding a lit match creeps into frame. 143 EXT. PLANTATION - FIELD - DAY 143 * -- We start in close on the pocket of a pair of overalls. We * pull backwards to reveal a deceased BOY 11 wears them as he * hangs by the neck. We continue our pull to reveal- Black * bodies of all sizes hang like ornaments on the branches of a * ma**ive fallen oak tree. * 144 EXT. REESE PLANTATION - BACK YARD - DAY 144 Cherry hangs clothes near the treeline. Catherine sits on the porch in the distance, drifting in a rocking chair. VOICE (O.S.) (whisper) Cherry... Cherry freezes. VOICE (O.S.) (CONT'D) It's Nat, love. (then) Keep on working. She quakes visibly as she returns to the hanging clothes. CHERRY They looking for you. NAT (O.S.) Did they hurt you? CHERRY No. NAT (O.S.) How is Joanna? 5/8/15 - PINK 101 (CONTINUED) CHERRY She fine. 5/8/15 - PINK 101A 144 CONTINUED: 144 (CONTINUED) NAT (O.S.) And Mama. CHERRY She fine too. Cherry shoots a nervous glance toward Catherine. NAT (O.S.) You heard anything on the others? CHERRY They been hanged... All of them. They k**ing people everywhere. For no reason at all, but being black. Say the k**in' won't stop til they get you... (then) All this time, I thought... I thought you were dead, too. NAT (O.S.) I'm here... I'll always be. CHERRY I miss you so much... No answer. She stops. CHERRY (CONT'D) Nat? CATHERINE (O.S.) Cherry, who are you talking to? Cherry turns to find Catherine just behind her. Cherry wipes her face. Catherine surveys the area, sees nothing. CHERRY I was just talking to myself... wishing things was different. Catherine regards her with compa**ion. CATHERINE Me too... A long beat untilCatherine pulls a wet shirt from the clothes basket, pins it to the line. They silently work in tandem. 4/9/15 - WHITE 102 144 CONTINUED: 144 145 EXT. DISMAL SWAMP - DAY 145 Militia men scour the swampy woods. We spot John Clark among them crossing a trickling creek. He slows to a stop, looks to his left and right. 146 EXT. DISMAL SWAMP - DAY (VISION 4) 146 Nat kneels in prayer. A SOUND from behind and his eyes open. * He turns to find a YOUNG BOY we recognize as YOUNG NAT, * painted royal blue. (The scene mirrors Nat's childhood * vision). Demonic sounds permeate the forest. Nat stands, strides towards his younger self, placing a protective hand * in front of him. WIDER to reveal Nat is alone. He stalks * toward us and past camera. * 147 EXT. FARMER'S MARKET - WOOD AND SEED - DAY 147 * Several stores have reopened. General childs sits under a * military tent as his boots are shined. A few militia men * loiter nearby. Scattered locals crisscross the dusty square. * FURTHER AWAY * Nat enters an empty frame. We take in his sunken eyes and * gaunt frame as he lumbers forward. His bullet wound festers, spilling puss. ANGLE ON * A WHITE MAN who spots Nat. * WHITE MAN * Hey! * As he sprints toward Nat, others also recognize him, breaking * into hysterics. The white man arrives to nat, wasting no time * in connecting a wild blow to Nat's face. * Dozens more follow suit, until a ma**ive mob has formed, * raining blows onto Nat's body. A woman rips at his shirt as * the energy of the lynch mob intensifies, until- * BANG! The crowd freezes. We REVERSE to reveal GENERAL CHILDS, holds the smoking gun. He's flanked by his lieutenant. GENERAL CHILDS I know you're angry, trust me, I understand. But, this man has committed ma** murder and will stand trial. 5/8/15 - PINK 103 (CONTINUED) As he approaches, the mob reluctantly backs off. General Childs arrives to Nat who lies in a bloody heap. The * lieutenant and another soldier rip Nat to his feet and away. * 5/8/15 - PINK 103A 147 CONTINUED: 147 148 OMITTED 148 * 5/8/15 - PINK 104 (CONTINUED) * 149 INT. JERUSALEM - CELL - DAY 149 Nat sits eyes fixed forward. A SHERIFF appears at the bars. SHERIFF It's time. 150 EXT. JERUSALEM - COURTHOUSE - DAY 150 Follow a YOUNG BOY (7) as he crosses cobblestone road, up a flight of stairs, pushing his way through a surrounding mob. As he steps onto a cross-bridge, we rise above him to revealTHE COURTHOUSE SQUARE. Hundreds crowd in front of a stagelike platform, others watch from roofs, windows and stairs. 151 EXT. JERUSALEM - COURTHOUSE - DAY 151 Nat is led up a narrow staircase and onto the wooden platform. He studies the multitude of people. * ANGLE ON * A viewing platform, where Nat spots John Clark who stands at * the flank of General childs. A million words unspoken. Nat's * eyes then drift to Jasper who stands amongst patrons. Nat * studies Jasper who struggles to hold his gaze. Nat's face softens a beat, as he offers the faintest nod of forgiveness. The sheriff motions for the roaring crowd to settle. Within minutes, the area is near silent, save a few scattered slurs. SHERIFF (to Nat) Somethin' you'd like to say to * these people first? * Nat regards the people. Then, with a firm voiceNAT I'm ready. The sheriff exits and the crowd's energy escalates to near fever pitch. The UNDERTAKER fits a noose around Nat's neck. Draws the rope of the pulley and Nat's body rises several feet above the platform. SOUND DROPS. Not a limb or a muscle moves as Nat hangs still as a stone. 5/8/15 - PINK 105 148 CONTINUED: 148 (CONTINUED) CLOSE On Nat's face as he stares forward, as if frozen. UNTIL 5/8/15 - PINK 105A 151 CONTINUED: 151 (CONTINUED) - Something above catches his eye. His eyes flit upward toward something we don't yet see. Nat's POV to revealA WHITE DOVE CIRCLES JUST ABOVE. ON NAT. Even through the pain, the slightest smile grows. Seconds later, we watch his eyes slowly CLOSE. ON JASPER, who squeezes his eyes shut, his body trembling through sobs. PUSH IN on Jasper. CLOSER until his face fills the frame. We watch as he AGES before our eyes. His features mature, his jaw widens, age lines crawl across his brow. He slowly opens his eyes and we see Jasper, now a grown man. The shame gone, only a fierceness remains. We slowly pull back as sound gradually returns. Muffled blasts and explosions permeate. We continue our pull to reveal- 152 EXT. BATTLEFIELD - DAY 152 Jasper dons a blue FORAGE HAT and SACK COAT, white-knuckling a bayonet-fitted rifle. We reveal other black soldiers on either side. A ma**ive AMERICAN FLAG ripples in the BG. The * explosions are now deafening as the group of men clinch their jaws in anticipation. After an arduous beatVOICE (O.C.) CHARGE! Jasper and his fellow soldiers belt out battle cries as they rush the camera, bayonets pointed. Jasper raises his rife and BANG! A cloud of smoke takes us toBLACK SUPER: After Nat Turner's hanging, his body was skinned and dismembered. His skin was sewn into wallets and purses, his flesh churned into grease- all to be sold at the local market. 5/8/15 - PINK 106 151 CONTINUED: (2) 151 153 EXT. UNKNOWN - DAY 153 NAT TURNER, healthy and strong, stands staring into camera for a long beat 5/8/15 - PINK 106A (CONTINUED) SUPER: A prophet. A preacher. An American hero. His flesh was destroyed, but Nat Turner's legacy of resistance will live on forever. CUT TO BLACK THE END