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