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3
HARRIS
the way.
(to Buddy)
Tell Alfred to attend to it.
Then see that Mr. Creadle's
pack horse is watered.
The slave runs ahead. Creadle leads the horse past the
summer kitchen, spring house, privy, and granary to a
large horse barn with a blacksmith shop at one end.
INT. - BARN
Creadle passes riding, carriage and draft horses in
their stalls. ALFRED, 25, a muscular, handsome man,
waits for him at the forge. We dont hear what Creadle
says as Alfred kneels to inspect the horse's shoe, then
looks up at him with an expression that passes from
uncertainty through fear to anger.
EXT. DAY - HARRIS PLANTATION - MONTAGE
A) Beneath the low sun of late afternoon, men, women and
children work wordlessly in the fields. Adults split
and cut tobacco stalks off at the ground. Children
carry armloads to adolescents who load them on wagons
hitched to mules to go to the drying sheds.
CAROLINE(V.O.)
Looking back, I guess that visit
of Rial Creadle's, summer of 1843,
is where this true story all began.
It was dangerous for a strong man,
with no one but himself to worry
about, to try to escape from
slavery. Bounty hunters, wild
animals and the kind of wilderness
folks nowadays can't even imagine
stood between runaway slaves and
Canada. But try talkin' sense to a
mother whos learned her two oldest
boys are about to be sold down the
(MORE)
4
CAROLINE (V.O. CONTD)
river, where theyll surely be
dead in a year or two. Tell that
to a woman with five more to worry
about besides. What would you do?
7
JANE
Massa wantin' you up at the big
house.
JOHN
Got you some time for me first?
Massa Harris can wait a while.
JANE
Go talk that trash to Lizzie.
That's who you been seein' for
the kinda time you have in mind.
8
HARRIS
If slaves liked to work, I wouldn't
need an overseer, Mr. Porter but
that's not why I called you. Close
the door....At the slave auction
next week I intend to sell Jane's
two oldest, if I can get a decent
price for 'em.
PORTER
But them's two a the best I got,
Mr. Harris!
HARRIS
I expect them to bring close to a
thousand dollars apiece.
PORTER
But you just told me we're not
gettin' enough work done as it is.
HARRIS
Which is exactly why we need the
money these two will bring, Mr.
Porter. I don't cotton to slave
breeding, and I don't like losin'
good field hands. But when my
overseer can't get me decent
profits outa my tobacco, I have
to cover expenses where I can.
PORTER
(sullenly)
Yes sir.
Now,
out,
need
real
HARRIS
I don't know how they find
but they generally do. You'll
to watch Alfred and Augustus
close the next few days.
PORTER
It's spyin' abolitionist scum tips
'em off.
9
HARRIS
Whoever it is, you'd best sleep
light till the auction. I'll be
lookin' t' you if any of my
niggers swim the river.
PORTER
I'll see to it, Mr. Harris.
10
11
ANOTHER ANGLE
SLAVE WOMAN
Is you all right?
JANE
Just dizzy is all.
She goes shakily back to the kettle to serve the slaves
arriving to be fed. By the time her children come
through the line she's regained some composure.
ALFRED
I got the hunger, Mama!
JANE
You always hungry, boy, but you
never get no meat on them bones.
ALFRED
(affectionately)
Never you mind about that, Mama.
Just throw some a that stew on
my plate.
He walks with his stew and corn pone to the base of a
tree where the family will share their meal. Thornton
dances up, bowing exuberantly on a battered old fiddle.
ALFRED
Sit your skinny butt down and
eat! Don't feel like listenin'
to no jig tonight!
CAROLINE AND RACHEL
go through the food line. Jane says nothing when
Caroline avoids eye contact with her, but we can see her
concern. Rachel appears to be trying to cheer up her
older sister, without success until Caroline sees...
JAMES
...a good-looking young man approaching with Augustus.
Caroline and James sneak a fond look at each other, and
12
13
14
CAESAR
Seems t' me, Massa be the one
most affected. His tongue must
get t' waggin'.
JOHN
You never heard that from me!
CAESAR
No, and I ain't gone blind yet
neither Massa don't share his
moonshine with me. But I knows
you done help a lotta folks run.
JOHN
You best help yourself tonight,
Caesar. And that famly that's
who I scared for. Watch over
them, you hear?
15
CAROLINE
There's wolves and bears and
painters in them woods, Alfred,
and you know it!
ALFRED
Ain't no animals gonna jump a
wagon full a people.
THORNTON
Bounty hunters sure enough will.
AUGUSTUS
Aw, you ain't scared too are
you, Thornton?
THORNTON
I ain't afraid. Just sayin'
what could happen.
JANE
I ain't gonna lie to y'all.
It's true we takin' a risk. But
we gonna be on the Underground
Railroad, all the way to Canada.
HENRY
A real railroad, Mama?
16
CAROLINE
I hangin' a baby, Mama!
JANE
(surprised, not shocked)
I knew you and James was up to
somethin'. How far along is you?
CAROLINE
About two months. Me and James
was gonna jump the broom. Now,
just like me, my babys never
gonna know its daddy.
JANE
No! Not like you, Caroline. Your
Babys gonna grow up free, girl.
If'n your James be the man you
think he is, hell find a way.
Well get word to him somehow.
CAROLINE
He ain't gonna find me if were
all split up down south. Where
we all be dead soon anyway. Why
can't we stay where we are, Mama? I
hear this ain't nothin' like them
cotton and sugar cane plantations.
JANE
Cause that's just where your
brothers are headed.
RACHEL
Massa's gonna sell 'em?
JANE
That's what John says.
17
ALFRED (CONTD)
Cheadle told me everything's all
set when he was here yesterday
to see Massa.
THORNTON
The man that sells Massa books? He
with the Underground Railroad?
ALFRED
He sure enough is. He says a boat
be ready t' take us across the
river tonight.
FANNY
What we gonna eat, Mama?
18
19
CAROLINE
Baby, Im carryin' your child!
JAMES
You what?
20
AUGUSTUS (CONTD)
soul. I know you can't go with us
so I never said nothin'. But I swear
as your friend well get word back
t' you when were safe in Canada.
21
22
JOHN
Oh, I the dumbest niggah on this
here plantation, Missuh Porter. I
don't get smart with nobody.
PORTER
You think yer a helluva lot
smarter than you are, old man.
Someone around here's got big
eyes and a damn big mouth, and
you know what I'm talkin' about.
JOHN
Yassuh, Missuh Porter I don't
know what you're talkin' about.
PORTER
Talkin' about what's gonna happen
t' you if any a Harris's niggers
tries t' cross the river. If my
whip don't git you, an accident
will. You understand?
JOHN
Yassuh, I understands that alright.
Porter pushes him away with contempt and walks off. John
looks after him with serene indifference.
EXT. NIGHT - RIVER
Josephus is pulling toward shore, which he can barely
make out, looking over his shoulder. No one is there.
INT. NIGHT - JANE'S CABIN
Each of them has their own bundle as they prepare to go.
JANE
Once we git outside this door, I
don't wanta hear a sound outa no
(MORE)
23
JANE (CONTD)
one. Anyone got somethin' t' say?
(no one does)
Were in the Lord's hands now.
Keep your mouth shut and do just
what folks tells us.
Alfred opens the door and they slip into the night.
EXT. NIGHT - MONTAGE
The family flees through the fog to the river.
EXT. NIGHT - DOG CAGES
Harris's dozen or so bloodhounds are restless.
EXT. NIGHT - RIVERBANK
Hershel, Caleb and Caesar pull the boat onto the bank.
CAESAR
No sign a Jane an' her famly.
JOSEPHUS
They don't come soon, Ill take
you three and come back for the
rest. Can't take ever'body at
once nohow.
HERSHEL
How you git us to the other side
in this fog, Josephus? Can't
hardly see nothin'.
JOSEPHUS
Don't have to see it. I know where
it is don't I?
CALEB
But how you know which way we goin'?
24
JOSEPHUS
Current tell me. Y'all afraid,
I can take that famly first.
OTHERS
No, no! We ready!
The family appear atop the bank and come sliding down to
the water's edge. Alfred helps his mother, unpleasantly
surprised to see the other slaves.
JANE
John never told me y'all be
goin' with us.
The three share a look.
HERSHEL
Y'all be goin' with us.
JANE
How we all gonna fit?
JOSEPHUS
Makin' two trips. Pray the Lord
no one be missin' you for awhile.
Suddenly we HEAR bloodhounds baying.
JANE
Git in, git in! Theyre comin'!
JOSEPHUS
Hold on! You can't all go!
The panicky slaves ignore him and clamber aboard,
rocking the boat, many of them dropping their bundles.
Wading into the river, Caesar helps Jane and the younger
children aboard until everyone but him has squeezed into
the nearly swamped rowboat, then pushes it from shore.
CAESAR
Go on, Josephus, row! I'll hold
on best I can.
25
JOSEPHUS
Damn fools! You all gonna drown!
JANE
No we ain't we gonna make it
to the other side! Row! Yall
bail with your hands! Like this!
Bail!
26
HENRY
Maybe he gonna swim to the
other side.
HERSHEL
Caesar can't swim a lick.
27
HARRIS
I'm gonna sell the whole damn lot
of 'em at the auction. They won't
last long cuttin' cane down south.
ROWBOAT - LATER
FANNY
How wide is this river?
HENRY
Seem like we been on it for hours.
JOSEPHUS
Whole lot better'n bein' under it,
ain't it?
ALFRED
What you think, Josephus?
JOSEPHUS
Current say we nearly there. Hear
that sound?
We do, in fact, HEAR water lapping against the...
RIVERBANK
...on the Ohio side, coming into view through the fog.
ROWBOAT
JANE
(prayerfully to herself)
Praise the Lord!
A moment later, they run aground. Alfred climbs out to
steady the boat. Hershel and Augustus are right behind.
They pull it onto the bank and help Jane out. She drops
to her knees and bows her head for a moment of prayer,
then looks up at her children with shining eyes.
JANE
This here's free land, children!
(MORE)
28
JANE (CONTD)
Let's say a prayer now for Caesar.
He give his life helpin' us cross.
They bow their heads. Then Jane stands and holds out her
hands to Josephus.
JANE
Bless you, Josephus! You done
save my famly.
JOSEPHUS
I only done whats right, Mizz
Jane.
Alfred and Augustus grip his hand warmly.
THORNTON
Why don' you ever run, Josephus?
JOSEPHUS
Oh, the Box Plantation ain't a
bad place t' live. Besides, who
be left t' row folks like you
across the river?
AUGUSTUS
(tousling Thornton's hair)
Guess you never thought a that.
JOSEPHUS
Y'all help me push this boat out.
I got t' git back for I's missed.
The men and boys jump to help.
EXT. NIGHT - FERRY
At Williamstown, VA, Harris, Porter and the two slaves,
on horses, and the bloodhounds arrive with enough
commotion to rouse the sleepy FERRYMAN from his cabin.
FERRYMAN
Guess I don't have t' ask what
brings you, Mr. Harris.
29
HARRIS
Just git us the other side a this
damn river and make it fast!
30
HERSHEL
(toasting his friend)
For Caesar.
31
32
HERSHEL
Huh! Massa Harris be across that
water ifn he and his hounds
have to swim. Count on that.
33
34
35
STEAMBOAT (FLASHBACK)
Two other male slaves, neither in chains, board behind
Justin, accompanied by a deckhand.
HARRIS (FLASHBACK)
seeing Jane and her children, breaks away in disgust
from a gaudily-dressed slave dealer to "comfort" her.
HARRIS
Slave dealers scum of the earth.
I'm truly sorry it had to be this
way, Jane; he brought it on himself.
You and your children will be fine.
John will give you more pickaninnies
than Justin did.
Despite her anguish Jane gives Harris a look of
incredulity.
EXT. DAWN - HERSHEL AND CALEB
exhausted, hung over and scared, see the shape of...
A BUILDING
...loom up out of the fog.
ANOTHER ANGLE
The FAINT BAYING of Harris's HOUNDS sends the two of
them running for what proves to be a barn, where they
slip in through a door...
INT. - BARN
...scramble up the ladder to the hayloft, and bury
themselves in loose hay.
36
THE BLOODHOUNDS
bound over and around obstacles in their pursuit of the
fugitives.
THE RIDERS
keep up as best they can in the dense forest.
THE DOGS
barking and bellowing, leap frantically against the barn
door the fugitives entered.
INT. - FARMHOUSE
The Pendergast family of five is at the breakfast table.
MRS. P. and her teenage daughter remain at the table
while her husband and their two sons get up to
investigate. The elder SON, 16, grabs a shotgun from the
gun case. The younger one, 10 or so, is called back.
MOTHER
You stay here, Adam!
Father and son exit through the back door.
EXT. - BARN
One slave is mounted, the other holds the reins of the
horses. Harris and Porter are inside the barn, the door
closed to keep out the dogs. But they force it open and
surge inside.
INT. - BARN
Harris stands at the foot of the ladder, his shotgun
cocked and ready, looking up into the hayloft. He kicks
savagely at the barking dogs milling around him.
37
38
HARRIS
The hell I can't! These is my
niggers!
SON
(pointing shotgun at Harris)
You heard my father! You're
trespassing, on private property!
HARRIS
Point that gun somewhere else if
you don't intend to use it.
PORTER (O.S.)
Do as he says, boy!
HAYLOFT
Porter's gun is aimed at the farmer's son. Hershel and
Caleb stand frozen on the ladder.
FARMERS SON
glances at Porter, then returns his attention to Harris.
SON
I'll take the head off your
friend here first, Sir!
HARRIS
Don't shoot, Porter! You got
grit, son.
(to farmer)
I'll send my overseer for the
sheriff, Sir. No need for
someone to get hurt over a
couple a niggers.
(to fugitives)
Come on down here, you two!
They descend shakily.
39
HARRIS
Ride an' git the sheriff, Porter!
HERSHEL
You not gonna let him take us away
is you, Massa?
FARMER
I'm afraid that's up to the sheriff.
HARRIS
The Fugitive Slave Law's clear
enough about that.
(to fugitives)
One way or t'other, you're gonna
tell me where the others are and
how the hell you got across the
river. You'll save yourselves a
lotta mis'ry if you tell me now.
CALEB
We don't know where they is, Massa!
We done got separated.
40
The driver climbs down and pulls the canvas off Jane and
her daughters, and Henry, all four of them asleep. Jane
is wide awake and exhausted-looking.
JANE
Wake up y'all, we here.
They awake, first with protests then with fear as they
remember where they are.
EXT. - FARMHOUSE
MRS. PALMER, a middle-aged woman, emerges with a smile
and a wicker basket of food.
MRS. PALMER
You folks look exhausted. I'll
bet you're hungry too, and we
have a place all set up for you.
They enter the...
INT. - BARN
...where a blanket is spread on a layer of fresh straw.
Mrs. Palmer hands Jane the basket with a warm smile.
MRS. PALMER
It's not fancy, but it'll fill
you up.
JANE
Thankee kindly, Mizz.
MRS. PALMER
When you're through eating, Mr.
Palmer will be out t' hide you
'round the farm. You'll have all
day to sleep looks like you
can use it.
41
JANE
Yes'm. My boys sure can they
done walk all night.
THORNTON
'Cept for Mama's shadow he
slept with the girls.
HENRY
Did not! Just restin'.
THORNTON
How many more nights we gonna
have to walk like that, Mama?
ALFRED
Lots more, Thornton, best git
used to it.
JANE
Don' rightly know, son.
42
DRIVER
I overheard 'em talking. I think
one of 'em drowned.
PALMER
Nothing about the other two?
DRIVER
I figure they got lost.
HARRIS
Well, if Harris got 'em we'll
know soon enough.
43
JUDGE
Will you please tell the Court
What happened, Sheriff?
SHERIFF
Well, your Honor, Mr. Porter rode
in about seven o'clock this
morning, says two of Mr. Harris's
runaway slaves here present
was out at the Pendergast farm. Mr.
Harris wanted to take 'em back
across the river; Mr. Pendergast
objected claimed Mr. Harris
was trespassing. So Mr. Harris
sent his overseer in to get me.
We returned to the courthouse
with the fugitives.
JUDGE
Is that how you would describe
the incident, Mr. Pendergast?
PENDERGAST
Purt' near, your Honor. Though I
will add that the overseer drew
down on my son with his 10-gauge.
44
45
JUDGE (CONTD)
and direct you, Sheriff, to return
the aforesaid slaves to their owner.
(pounding his gavel)
Next case.
46
PALMER
Them slavers don't know when to
quit, do they Jul? Give your
horse a rest and come up to the
house for coffee.
47
FANNY
Mama says we be free in Canada.
RACHEL
That's right.
FANNY
What that like bein' free?
RACHEL
Means we live like white folks.
Nobody tells us what t' do.
FANNY
We can do anything we wants?
RACHEL
Anything.
FANNY
We can eats meat, an' wear fine
clothes, an' go t' church?
RACHEL
No one say we can't. No one tell
us we got t' work all the time
who we got t' live with. Can't
sell us t' no one an' take us
from our fam'ly.
48
HERSHEL
Don't know, Massa!
HARRIS
Which way they headed?
CALEB
Please, Massa, don't hit me no
more!
HARRIS
Who took you 'cross the river?
49
PORTER
Ready for some coon huntin',
boys?
VARIOUS RIDERS
Yeah! You damn right! Ready for
some a that re-ward too!
50
HARRIS
They don't have sense enough to
Jane's kin in particular.
EMILY
If you're talking about her brother
again, Tom had good reason to flee.
HARRIS
He didn't have the right, Emily!
EMILY
No need to raise your voice, Mr.
Harris.
51
INT. - OUTBUILDING
Hershel is still on his feet, but Caleb's legs have
given way; he's hanging by his manacled hands from the
roof beam to which he and Hershel are secured. John
enters and speaks to one of the slaves who accompanied
Harris and Porter across the river earlier.
JOHN
Cut 'em down.
SLAVE #1
But Massa said
JOHN
I said cut em loose!
When he does the slaves collapse on the dirt floor.
EXT. DAY - PALMER FARM
Palmer and Demming walk to Demming's horse at a hitching
post beside the watering trough.
PALMER
Tell David we're sorry to hear
about the two that got caught.
The eight here seem to be in
pretty good shape.
DEMMING
I'll let 'im know, Jewett.
PALMER
We'll move 'em on to the Markey
Station after dark.
DEMMING
You think Harris'll be out
lookin' for 'em tonight?
PALMER
My guess is, he'll stay in
(MORE)
52
PALMER (CONTD)
town tonight let his
posse have some fun first.
DEMMING
Well, if we can just keep the
damn bounty hunters off their
trail...
PALMER
Bounty hunters and some a my
neighbors. A few of them aren't
above kidnapping free Negroes
for the kind of reward Harris
is likely to offer.
DEMMING
(shaking head in disgust)
...Be seein' you, Jewett.
He rides off. Palmer waves and takes his hat off to wipe
sweat from his forehead, then dips his handkerchief in
the trough and wipes the back of his neck with it.
EXT. LATE AFTERNOON - MARIETTA LEVEE
The Posse rides in with a combination of arrogance and
country-boy-in-town anticipation of a night in town.
EXT. - LIVERY STABLE
The riders leave the horses with the OWNER and his SON.
OWNER
You boys be spendin' the night
with us?
HANDSOME RIDER
Only if my Creole honey locks me
out!
RIDER #2
Your honey? Yours and 5,000 other
guys'.
53
HANDSOME RIDER
Not when I'm in town!
OWNER
This all be on you, Mr. Harris?
HARRIS
Long as they don't tear up the
place.
OWNER'S SON
I hear you're after a woman this
time woman and her seven kids.
HARRIS
That's right. We already caught
two others. One fool nigger
drowned tryin' t' swim across.
OWNER'S SON
He musta wanted his freedom real
bad.
HARRIS
Well you tell the good people of
Marietta I'm offerin' a $450
dollar reward for the return of
the lot of 'em. I figure folks
around here could use that kinda
money real bad too.
OWNER
Four hundred and fifty dollars?
OLDER RIDER
Why git 'em all riled up, Harris?
We'll be bringin' 'em in ourselves
this time t'morrah.
HARRIS
We'd better, if you want a share a
that reward, Mr. Seevers.
(to owner)
(MORE)
54
HARRIS (CONTD)
Spread the word. I don't care
who finds 'em long as you bring
'em back healthy.
55
BIG MAY
(in a booming voice)
She's with a customer, Darlin',
but she'll be down in a few
minutes. She's missed you.
HANDSOME RIDER
(to his companions)
What'd I tell ya?
(to Big May)
I can wait. She'll be with me
the rest of the night.
BIG MAY
(deep belly laugh)
Long as you got the money, honey!
56
57
AUGUSTUS
Thats right, Thornton goin
clean t' Canady. We free now and
gonna stay free!
ALFRED
Sure we is. But you heard what Mizz
Palmer say: three weeks before we
safe in Canady. Thats a long way
before we can start thinkin' about
bein' free and stayin' free. Best
we be worried some is the way I sees
it. We countin' on a whole lotta
people, includin' white folks we
know nothin' about, t' help us
along the way.
AUGUSTUS
They done right by us so far.
ALFRED
I be right relieved so far.
58
AUGUSTUS
I done told you, Thornton cause
its always goin' somewhere. Now I
be free t' go along with it. Ain't
nothin' like a river for leavin' your
cares behind. That big paddlewheel
just choppin' em up, choppin' em
up into little bitty pieces in
all that white water trailin' along
behind. What be your plans?
THORNTON
Ain't got no plans. Just tryin' to
do what y'all an' Mama say.
AUGUSTUS
That's the best thing you can do
right now, Thornton. You lucky you
a kid, you know that? Got purt'
near your whole life t' be free.
ALFRED
This all be just amongst the men of
the fam'ly, you hear? Don' be sayin'
none a this to Mama or Henry.
THORNTON
I won't.
59
EXT. - CAVE
HIRED HAND
Bring them skins with you.
INT. - CAVE
THORNTON
We buried our scraps like you said.
Nobody gonna know we was here.
EXT. CAVE
The brothers crawl out, stand up and stretch.
ALFRED
That fresh air feels good.
AUGUSTUS
Food's what Im needin', brother
let's git movin'.
THORNTON
Where's Mama?
HIRED HAND
Boss is gittin' her and your
sisters. Follow me now no one
puts a better meal in front of a
man than Mizz Palmer. Remember,
quiet as you can.
INT. NIGHT - SALOON
Attended by friendly bar girls, the riders play poker at
a round table in the crowded, smoke-filled room.
EXT. NIGHT - STREET SCENE
Under gas lamps, carousers weave and stumble down the
treacherous wooden sidewalks.
60
INT. BROTHEL
ORLEANNA'S gaudily decorated room. A beautiful Creole
woman, she lies in bed with the Handsome Rider, their
shoulders bare above the sheet covering them.
HANDSOME RIDER
Baby, gets better every time I
see you.
ORLEANNA
You should come more often.
HANDSOME RIDER
You're too damned expensive. If
we don't catch them slaves, I'll
be broke till next payday.
ORLEANNA
(her sultry manner cooling)
I wondered if that's why you here.
HANDSOME RIDER
Runaway slaves and you, Baby's,
the only things I come to Ohiah
for. Too many free niggers and
abolitionists over here.
ORLEANNA
Why you wanta be houndin' some
poor old woman and her kids? You
got nothin' better t' do?
HANDSOME RIDER
Sure, Honey, this is a lot better.
ORLEANNA
Better'n chasin' women and children
all over the countryside? That
sounds like a whole lotta fun t' me.
HANDSOME RIDER
What the hell do you care? You
ain't no slave.
61
ORLEANNA
Thank God for that.
HANDSOME RIDER
Well the one we're after is
goddamn runaway slave. And them
"kids" as you call 'em are grown
men and women, some of 'em. They
belong to Solomon Harris.
ORLEANNA
Hey, Sugar, why you gettin' so
hot an' bothered?
HANDSOME RIDER
You're makin' a big fuss outa
somethin' you know nothin' about.
I sure didn't come here fer that.
ORLEANNA
(suppressing her anger)
know what you come for, Sugar.
teasin' you is all. Get rid a
angry thoughts now, and let's
us some fun.
HANDSOME RIDER
...Yeah. That's more like it.
ORLEANNA
(having to work at it)
We gonna have us a little fun,
you and me.
62
63
64
65
HANDSOME RIDER
I'll bet Harris feeds his hounds
better'n this.
OLDER RIDER
What's wrong, son? Your "honey"
go sour on ya?
RIDER #2
Hell yes, she did. He come
sneakin' in here about three
o'clock this morning.
HANDSOME RIDER
They're all niggers underneath.
OLDER RIDER
Coffee's coffee, I always say
no matter how much cream you
put in.
66
67
68
69
Jonas pulls a chair from the table, hangs his hat on the
back, and immediately takes part in the passing of
heaping plates. PHILIP SEVERANCE, a hard lean man with
the sharp eyes of a gun-fighter, is the last to enter
and be seated at the head of the table.
SEVERANCE
Howdy, Jonas. I expect you have
word from your father. We'll
speak of it after dinner.
At this, all bow their heads together.
SEVERANCE
Oh Lord, we thank Thee for the
bounty of Thy love and generosity.
May it give us strength to serve
Thee and do Thy work.
The silence is broken with the clamor of the meal.
EXT. DAY - THE POSSE
at a crossroads, with roads and trails heading off in
several directions. Harris raises his arm, and they all
rein in their horses. He spots...
EXT. - TRAIL SIGN - POV HARRIS
...with the names of towns and arrows pointing in
different directions, lying on the ground.
BACK TO POSSE
PORTER
I don't figure that just fell
over now, do you?
HARRIS
Anyone remember the way to
Middleburg?
70
OLDER RIDER
(pointing)
To the right, Harris. 'Fore long
your memory's gonna be as bad as
mine.
RIDER #2
He's right, Mr. Harris. Bout
the road, I mean.
71
SEVERANCE
(standing)
Riders I expect it's Harris.
Tell Mathilda to warn that young
couple to keep their baby quiet
and get my 10-gauge from the gun
cabinet.
THE POSSE
Harris reins his stallion into a trot, and the men
behind follow suit.
EXT. - FARMHOUSE - POV POSSE
Severance comes to the front of the porch, the now
ferocious dog at his side. The two make an imposing
presence. Jonas comes out and hands him the shotgun.
EXT. - FARMHOUSE ANOTHER ANGLE
Mathilda darts out the back door and runs unobserved
toward the drying shed.
POSSE - POV SEVERANCE
stop at the gate of a white picket fence. around the
front lawn. Harris rides up to the gate. In his dusty
but well-tailored black suit, with steel-blue eyes and
the air of one used to being obeyed, he is a commanding
figure himself aside his lathered horse, looking around
at the farm.
HARRIS
...Seen any niggers about?
The tension is interrupted by Wilhemina bursting through
the screen door with a tray of glasses and pitcher.
WILHEMINA
Nein. Can I offer you and your
men some cool cider?
72
HARRIS
(coldly)
No thank you, Maam. I'm trackin'
some a my slaves that run off. I
hear you been hidin' runaways.
We'll be takin a look around.
SEVERANCE
(cocking the shotgun)
That won't be necessary.
73
JONAS
Yes sir, Mr. Severance.
SEVERANCE
Tell your pa he'd better not
move his passengers tonight,
unless it's just to get 'em
away from the house.
JONAS
I'll tell 'im.
74
MARKEY
After supper well scatter you
round the farm.
JANE
(hoarsely)
How soon we be on the road?
MARKEY
You're not goin' tonight. Harris
has a posse in the area.
75
CAROLINE (CONTD)
bouncin' around can't be doin'
my baby no good neither.
HENRY
Better'n growin' up a slave.
CAROLINE
Mind your mouth, Henry!
AUGUSTUS
Henry's right, Car'line!
JANE
Stop this feudin' and fussin'!
76
77
SEVERANCE
On the Claire E, the Ohio Belle,
the Pride of Coshocton....If a
body could build a boiler that
wouldn't blow up, he'd make
himself a rich man.
JONAS
You'll never catch me workin' on a
Muskingum River steamboat.
ANOTHER GROUP
includes WILLIAM STEEL, a Scottish immigrant with dark
hair and piercing blue eyes. He's the much respected
head of the abolitionist movement in southern Ohio.
ABOLITIONIST #3
Harris must be losin' his touch,
lettin a woman and a bunch a kids
get away from him.
ABOLITIONIST #4
I hope to hell they all get away
someday.
ABOLITIONIST #5
Well, the British have outlawed
slavery in their colonies. Maybe
the South will too.
ABOLITIONIST #4
You're dreamin'! Not when their
whole damn economy's based on
slavery. They'll have to be forced
t' do it.
ABOLITIONIST #6
Who the hell's gonna force 'em?
Slavery's like the plague: you're
never gonna wipe it out. The best
you can do is keep it from
spreadin'.
78
STEEL
It is a plague a moral one.
Slavery's near as bad for whites in
the South as it is for slaves. Poor
whites think it's beneath them to
work, and slaveholders become so
corrupted by it sleeping with their
slaves and then buying and selling
their own children that it's
undermining their whole society.
ABOLITIONIST #4
Slaveholders will never face that.
Not when all those black babies
they're fathering keep adding to
their net worth.
ANOTHER GROUP
which includes Severance, and which Steel joins later.
ABOLITIONIST #7
It's not just Harris they need t'
worry about. A woman would be
easy pickin's for a bounty
hunter, like that feller Kirby
on Blennerhassett Island. Or
Luther Brandon I hear he's
been nosin' around.
ABOLITIONIST #8
Hell, it could be anyone. Four
hundred and fifty dollars is more
than some farmers around here make
in a year.
ABOLITIONIST #9
Did you know the land Harris's
plantation is on used to be owned
by George Washington?
ABOLITIONIST #8
Sure, old George was a slaver.
79
ABOLITIONIST #9
He had slaves that doesn't make
him a slaver.
ABOLITIONIST #7
Then what the hell does it make
him? Jefferson's another one.
Black descendants livin' right
here in Washington County.
ABOLITIONIST #8
Where does it say there in the
Declaration of Independence, "All
men created equal unless the
color of their skins black"?
ABOLITIONIST #9
Times were different then.
SEVERANCE
Listen, two things that don't
change in the human race are greed
and inhumanity. That's why there's
laws and armies. Slavery's wrong
now and it was wrong then. But
people will be tryin' to enslave
one another, to get somethin' they
want and don't have, till hell
freezes over.
ABOLITIONIST #8
Amen.
There'll
Harris
and when
stand up
SEVERANCE
always be people like
north and south alike
no one's willing t'
to 'em, we're finished.
STEEL
The plague's got us.
SEVERANCE
That's right the plague's got us.
80
81
82
HARRIS
Did you fire that shot?
HUNTER
HUNTER
(stopping his descent)
...Who me?...Tweren't me. I
heard one though.
HARRIS
HARRIS
Get the hell up here!
THE BROTHERS
anxiously await the outcome.
THE HUNTER
reluctantly leaving his squirrel behind, climbs back up
the heavily wooded slope as...
RIDGELINE
...the rest of the posse gather along the ridge. When
the hunter reaches the top, Harris grabs hold of his
rifle and sniffs the end of its barrel.
HARRIS
You done forfeited your share
of the reward.
He slams the gun back into the man's hands with a
withering look.
HARRIS (contd)
If there is one, now that we've
told them we're here.
(loudly to all)
You're bein' paid for just one
thing: to find my slaves and
take 'em back with us!
83
THE BROTHERS
THORNTON
(mimicking Harris)
You done forfeited your share of
the reward.
AUGUSTUS
You done forfeited your chance to
find these runaways, Massa Harris.
All of them giggle maniacally after their close call.
EXT. DAY - VILLAGE
As the posse ride into Stafford, the village is quiet
too quiet. Harris eyes each house suspiciously. Passing
the home of William Steel, he sees...
A CURTAIN POV HARRIS
...move downstairs.
POSSE
HARRIS
We're being watched.
He reins his horse in, dismounts and knocks on the door.
Its answered by Steel, weary from having been up all
night because of Harris. But you'd never know it.
STEEL
And what may I do for ye, Sir?
HARRIS
(taken aback by the greeting)
I am inquiring if you've seen
some runaway slaves wanderin'
these parts. I'm certain they're
in the area.
84
STEEL
(affecting amazement)
You surely must be mistaken, Sir.
There are no such people hereabout.
I have never seen such a person.
85
walks to his horse, mounts, and leads his men from town.
EXT. NIGHT - MARKEY FARM
Jonas walks to where Jane's sons hide and hoots softly
like an owl. The brothers appear from the fallen timber.
JONAS
Looks like Harris is headin'
back to Virginia.
ALFRED
He is?
JONAS
That's what our scouts say. So
we're gonna get you on to the
next station.
EXT. NIGHT - MARKEY BARNYARD
When Jonas and the brothers arrive from the woods,
they're met not only by their mother and sisters but the
Neale couple and their newborn as well.
MRS. MARKEY
Boys, I'd like you to meet the
Neales. They'll be traveling with
You all the way to Canada if
mother and baby are up to it.
ROSE NEALE
Oh we be up to it!
MARKEY
We'll have supper for you
directly, then you have a lot of
miles to cover before daylight.
The fugitives greet one another. Mrs. Markey exits.
JANE
These folks be tellin' us all
about how their master done
treat his slaves.
86
THORNTON
Where y'all from?
HOWARD NEALE
Plantation in Washington Bottom
Down-river from Parkersburg. We
taken Marster Neale's name. Helped
across the river by a slave woman
name of Aunt Jenny. Y'all hear
tell of Aunt Jenny?
HENRY
Sure! we heard of Aunt Jenny!
AUGUSTUS
Guess every slave along the river
knows about Aunt Jenny. She done
blow her horn for y'all?
ROSE
Deed she did.
waitin' for us
outa the boat.
cornfield till
NEALE
Marster Stone be
soon's we was
We hid in his
night.
HOWARD NEALE
That be three...four nights ago.
Just about lost count by now.
HENRY
Bet I knows who done row you
across! Josephus!
HOWARD NEALE
That's the man.
87
MRS. MARKEY
We only did what was right, Jane.
MARKEY
We'll pray for you and your family
(to the Neales)
and for you young folks too.
MRS. MARKEY
Thank the Lord your little one
will never know the burden of
slavery.
HOWARD NEALE
We thank the Lord, and we thank
the Underground Railroad, Mizz
Markey.
MARKEY
God bless all of you.
88
BACK TO SCENE
They peer into the dark to see what spooked the horses.
ALFRED
What you think it is, Jonas?
JONAS
(struggling to control horses)
I don't there it is!
A WOLF OR LARGE DOG - POV FUGITIVES
staggers toward them on the road. A blood-curdling sound
between a GROWL and a GURGLE as if in great pain.
AUGUSTUS
Mad dog!
THORNTON
Maybe a wolf!
THE FUGITIVES
JONAS
Whatever it is, its rabid all
right.
ALFRED
Get in the wagon, you two!
Henry and Thornton don't need any coaxing.
JANE (O.S.)
Why we stoppin'?
HENRY AND THORNTON
Mad dog, Mama!
JANE (O.S.)
Mad dog?
ALFRED
It's all right, Mama! Yall
(MORE)
89
ALFRED (CONTD)
stay in the wagon! Augustus, if he
charges, Ill take him on with my
pitchfork. You know what t' do.
AUGUSTUS
Ill be ready.
A moment later...
THE DOG
...charges.
ALFRED
meets it squarely with the tines of the pitchfork,
driving them into the suffering beast's neck and chest.
ANOTHER ANGLE
As soon as the drooling, snarling animal is immobilized,
Augustus rushes in with his club and beats it about the
head until its writhing body lies still at last.
ALFRED
That's enough it's dead now.
The younger boys jump down and stand over the animal.
HENRY
What happen if'n he done bite
one a we?
AUGUSTUS
Then you go mad, just like him.
THORNTON
We have t kill Henry?
ALFRED
Best for Henry if'n we do kill
him, if he be mad.
90
HENRY
takes all this in and shudders.
ALFRED
It's all right now, Mama! Augustus
killed it! We ready, Jonas.
Jonas controls the horses, and they set off again.
INT. DAY - PRINT SHOP
A PRINTER a middle-aged, ink-stained man wearing a
green eyeshade takes a printed sheet off a printing
press of the period and holds up a copy of a...
INSERT - REWARD POSTER
...for Jane and her children, to show Harris. (THIS
POSTER ACTUALLY EXISTS.)
PRINTER (O.S.)
How's that look, Mr. Harris?
HARRIS
takes the poster from his hand and scans it critically.
HARRIS
...That'll do. I'll take 50 with
me, and I want another 50 put up
all over the county. Can you take
care a that?
PRINTER
Sure can.
HARRIS
Can you put 'em up where they'll
stay up?
PRINTER
Well, I can't hardly guarantee
(MORE)
91
PRINTER (CONTD)
that. But I'll try to keep 'em
away from the abolitionists.
HARRIS
I'll give you $40 if anyone
catches my niggers on account of
this poster.
PRINTER
You got yerself a deal, Mr. Harris.
92
ROSE
Youll make it you got your
fam'ly with you.
CAROLINE
What your baby's name?
ROSE
(smiling at her husband)
We don' know yet still tryin'
t' think of one.
CAROLINE
What's it like feedin' an' all?
ROSE
Oh, it's not like I thought it
be. I never felt somethin like
this before. I'm glad she not
grow up t' be a slave.
93
BRANDON
I just might do that, Amos. And
if you're right, there might be a
piece a that reward in it for you.
94
Stands up.
BRANDON
Damned if I don't have half a
mind to give you a taste of that
reward after all, Amos!...Uh huh,
and that's how they got here.
FARM
Jonas Markey emerges from behind the barn in the wagon.
EXT. FOREST DAY
Right after he leaves the Horton farm, Jonas hears a
HORSE'S WHINNY and spots...
BRANDON'S HORSE
...tethered well off the road in the woods.
JONAS
gets out to investigate and, recognizing the horse from
the initials J.B. on the saddle...
JONAS
(to himself)
...Luther Brandon!
...realizes at once why it is here. He removes the
saddle and bridle and turns the horse loose. It
immediately heads off toward Carlisle and home.
EXT. DUSK (EARLY) - THE ROAD
Brandon, his saddle and bridle thrown over his shoulder,
is limping home.
EXT. DUSK (LATE) - THE FERRY
in Williamstown, VA. As the posse disembarks, Harris
rides over to a mounted man waiting for him. The rider,
95
96
THORNTON
There be any more bounty hunters
after us?
HENRY
Shoot, Thornton, what you worried
'bout. Alfred and Augustus take
care of anyone try to stop us now.
They put anyone try t' keep us
from Canady in the ground.
MALE RESIDENT #1
Don't say that, youngun! You be
safe in Canada if all you is is
a slave done run away. But if'n
you commits a crime they can
take you back.
MALE RESIDENT #2
Say nothin' of killin' a white man.
MALE RESIDENT #1
You be safe enough now you gotten
this far. The fuhther north you
get, the safer you be. Just be
mindin' what your conductors tells
you. You be seein' that blue
water sure enough.
97
98
99
AUGUSTUS
(avoiding eye contact)
That right?
ALFRED
Feel shamed of myself, Augustus.
Somehow all these years I been
holdin' it ag'in our daddy that
he let hisself get sent down
river an' leave us all behind.
Like that make him less of a man.
Like it be shameful on his part.
100
101
AUGUSTUS
What you mean, Missus?
MABEL
We often don't know till just
a few hours before you leave
which steamship you'll be on.
And that determines what port
you'll be taken to. The closest
is Lorain, just north of here.
ALICE
Clevelands to the east. There's
even a lighthouse there now.
ELIZA
Mama says more than 10,000
people live in Cleveland!
102
DRIVER
(seeing her confusion)
Burrell couldn't make it, Miss.
Where are the passengers? The
boat's early and the captain
says he won't wait.
ELIZA
Which ship is it, Sir?
DRIVER
Well, it's the uh, it's the
Bay City. Hurry up, get them
passengers out here!
103
KIRBY
Don't no one make a move!
At this, the driver jumps down from the wagon and levels
a rifle at the stunned group of people on the ground.
DRIVER
I got the mammy covered!
KIRBY
(climbing down)
Git in the wagon! Alla you!
JANE
(to her two eldest)
Best do as he says. Don't do
nothin' foolish. Help me up,
Alfred.
He hesitates a moment, his eyes burning with hatred into
the hard eyes of the bounty hunter.
KIRBY
We can take out you and your
brother, boy with a barrel
left over for your mammy. Harris
wants her dead or alive.
Jane reaches for the wagon to pull herself aboard before
Alfred walks over to make a step for her with his hands.
KIRBY
That's right smart of you. The
rest of you go with her. We're
gonna take us a little trip to
Cleveland tonight. Magistrate's
expectin' us.
Augustus catches Alfred's eye as their sisters, Jane and
the Neales climb into the wagon. A look saying they're
not going to be stopped this close to their goal.
KIRBY
You're gonna have t' git closer
together than that! Everyone's
(MORE)
104
KIRBY (CONTD)
goin' in this wagon, if you have
to lay on top of each other.
105
106
ALFRED
Just give me an excuse.
JANE
My name's Jane, Mister Henson,
and this be my famly: Alfred
(MORE)
107
JANE (CONTD)
...Caroline...Rachel...Augustus
...Thornton...Henry...and Fanny.
HENSON
You have a beautiful family, Jane.
JANE
Thankee, Mr. Henson. This be Rose
and Howard Neale. Their childs
named Freedom, cause she born on
the freedom trail.
HENSON
Good, Good! Just cross Lake Erie
y'all gonna be free, sure enough.
Git on board now, before some
bounty hunter come along and take
you-uns back. You'll see all a that
lake you want from the boat.
108
JANE
Tired, is all. Just help me
over there where I can rest.
109
HANNAH
JANE (contd, O.S.)
Did'nt leave nothin....Sucked you
dry, like some evil spider. They
done taken your life, Mama! What
right they have...what right?
Though Hannah's face is expressionless from fatigue, her
wet eyes seem to be in agreement with Jane's words. She
tries to speak but other than a faint quivering of her
lips, the effort is too great. Suddenly Jane utters a
loud mournful WAIL of intense anguish O.S. which...
EXT. - STEAMBOAT - JANE
...carries over to the steamboat, where her wail is ON
CAMERA.
JANE'S CHILDREN
crowd around her, but she waves them away weakly; she
wants to be left alone. Troubled, the children withdraw
to leave her crying silently.
INT. - PILOTHOUSE
Observing, the Captain calls to the children.
CAPTAIN
Who'd like to come help me pilot
this boat to Canada?
DECK - EXT.
The children look at one another quizzically.
RACHEL
Go on Car'line and I keep an
eye on Mama.
The boys and Fanny eagerly climb to the pilothouse.
110
INT. - PILOTHOUSE
CAPTAIN
Come on in. This may be your only
chance to pilot a steamboat.
(to Thornton)
Here, young feller, take the wheel.
That's right, just keep us headed
straight across the lake. Heres
how I communicate with the engine
room.
(demonstrating)
Now then, see that man down there
talking to your mother?
HENSON ON DECK
CAPTAIN (O.S.)
That's Josiah Henson. He's helped
more than a hundred people like
yourselves escape from slavery.
PILOTHOUSE
CAPTAIN
A good many of 'em crossed the
lake on this very boat and stood
right here where you're standin'.
HENRY
Right here where I standin'?
CAPTAIN
The very spot, sonny. He was a
loyal slave tricked out of his
freedom by a dishonest owner.
Ran away like you folks and
started the Dawn settlement,
where you're headed now.
HENRY
What this "Dawn" be like?
EXT. DAY DAWN COMMUNITY
A raw-looking community of escaped slaves living in
rough-hewn cabins, several under construction.
111
CAPTAIN (V.O.)
It's a place where you and your
family can stay long enough to
find work and get an education.
Then move on, or buy your own
land if you want to.
112
MIDDLE-AGED WOMAN
How do, Rose my name Florence
and this here my husband Medford.
ROSE
How do, Ma'am. This be my husband
Howard
MEDFORD
And that be Freedom! Done heard all
about her.
113
114
ACS MEMBER #1
Li-ber-i-a! Liberty! A new nation,
just 20 years old, for newly free
people. Think of it: a homeland
for freed slaves. The American
Colonization Society will give
you freedom papers and pay your
passage to West Africa if you
want to go.
BURLY MAN
This my homeland! What I know
about Africa? My fam'ly been gone
from Africa for 200 years.
ACS MEMBER #2
But isn't that where your roots
are? Understand, we're not
asking you to go. We're giving
you the opportunity.
BUXOM WOMAN
All I hear is two white men
tellin' me that now I fin'ly
free, I gots t' go back where
my ancestors dragged from their
homes and loved ones all those
years ago. Like all this be for
nothin'.
ANOTHER WOMAN
Amen, Sister!
115
BURLY MAN
Let's get on with the dancin'!
HENSON
Good idee! These folks be here
if'n you wants t' hear more. The
resta you put on dancin' shoes.
116
RUTH
Oh, I knows your name, Alfred.
117
JANE
How do. Take someone special t
git Augustus away from his fiddle.
Didn't have much time t' play
where weuns come from.
ANNIE MAY
He do play good, don't he. Nice
meetin' you, Ma'am.
CAROLINE
who is showing by now, also gains attention. A man about
Alfred's age sidles over next to her and, though he
smiles warmly, gives her swollen belly a covert glance.
CAROLINE
Don't have t' pretend you don't
notice.
MAN
Huh? Well, I notice what,
sister?
CAROLINE
I can still dance, you know.
MAN
Well then, let's git to it.
CAROLINE
I hopes you can dance better'n
you lies.
JANE
has to be helped home early by Alfred and Augustus.
ALFRED
Le's git you home t' bed, Mama.
JANE
Hate t' take you away from them
gals a yours.
118
AUGUSTUS
They can wait, Mama. We want you
t' git back on your feet again.
119
JANE (CONTD)
I have 'em with me up at the big
house and they learn what they
can.
HENSON
How you folks doin', now you been
here a while?
JANE
Weuns mighty fine. Wishin' t'
thankee for this here fine cabin.
HENSON
No call for that. Weuns come here,
we had nothin' a'tall. Want you
t be as comfortable as possible.
JANE
We be comfortable, thats for
sure.
120
JANE
Yassuh, be good they learn. They
wants to bad enough.
HENRY
Is gonna be like you someday,
Josiah, an' help folks excape
from slavery like weuns did.
121
JANE
Her expression tells us she's experiencing an epiphany
of some kind. Her face relaxes into a look of calm
acceptance and fulfillment. She closes the door.
INT. NIGHT - CABIN
The family gets ready for bed, putting more wood on the
fire, blowing out all the candles but the one next to
Jane and the girls' pallet on a layer of straw on the
cabin's wood floor. Jane tucks in beside her daughters
under a pile of warm blankets and lies there a moment
before blowing out the...
CANDLE
...in SLOW MOTION. The flame struggles to stay lit but
finally succumbs. The SOUND of Jane's breath is
AMPLIFIED and SEGUES into the HOWL of the WIND. All is
dark for a moment, then...
EXT. - HANNAH
...as she appeared in Jane's vision, the night of their
escape, appears in gradually increasing light and into
sharper focus. But Hannah isn't moving; it is we who are
moving in SLOW MOTION toward Hannah and her jubilant
smile and outstretched arms in a paradisiacal setting.
As we draw nearer the light around her increases in
radiance.
WHITE OUT...
WHITE IN:
END CREDIT SEQUENCE
[At the directors discretion, the following scenes may
be interspersed among END CREDITS. Alternatively, the
biographical information can be given as SUPERED TEXT or
in VOICE OVER, or eliminated altogether.]
122
123
124
125
CAROLINE (V.O. CONTD)
of Cold Harbor in Petersburg,
Virginia.