Running a Thousand Miles

8/12/2019 Running a Thousand Miles

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Running a Thousand Miles

by

Jennifer Grand

Based on the book

Running a Thousand Miles For Freedom

by

William and Ellen Craft

I had much rather starve in England,a free woman, than be a slave forthe best man that ever breathedupon the American continent.

-Ellen Craft

[email protected]



FADE IN:

INT. FINE LADIES FASHION SHOP - DAY

ELLEN, (24), is a handsome woman with timid eyes. She peruses

the beautiful clothes and touches the rich fabrics. She eyesa bonnet.

The SHOPKEEPER, a proper lady, approaches, surprising Ellen.

SHOPKEEPERThat’s a popular one, but this isnew and it's just your color.

She places an emerald-green bonnet on Ellen’s head. Ellensquirms in the finery, but she's striking.

SHOPKEEPER (CONT’D)

You look lovely, dear. See?

The shopkeeper turns her to face a mirror. Ellen looks. For a moment, she takes in her own beauty, until--

MISTRESS COLLINSGirl, quit standing around! Comehelp me out of this dress.

From the dressing room, MISTRESS COLLINS, (30), pops her headout and scowls at Ellen. She's pale white, with a patriciannose and a haughty demeanor.

ELLENYes, Missus Collins.

The shopkeeper takes a closer look at Ellen. She snatches thehat off her head, does a 180 and walks away.

Ellen is shamed. Though she is exceptionally light-skinned with caucasian features, she is black and a SLAVE.

EXT. TOWN SQUARE - DAY

A sign tacked to a board reads,Forrest & Maple SlaveDealers, Negro Auction, Sat. May 4th, 1848, Clinton, Georgia.

DOZENS OF BLACK MEN, WOMEN AND CHILDREN are gathered in apen. HANDLERS move them with a level of decency less thanthat of a livestock auction.

A COUPLE is separated forcefully as the WIFE is draggedSOBBING to join a group of WOMEN.





3.

HALEYI have no interest in what you canand cannot bear.

William watches powerlessly as she's pulled from the stageand handed to the well-dressed man.

WILLIAMLet me say goodbye at least! She's my baby sister!

HALEYAin't no point in it. Only makesthe separation harder.

AUCTION WOMANOblige the boy his goodbyes.Remember, God is kind.

HALEYHe is indeed and it's monstrouskind of him to send such niggersfor our convenience.

Cecile is added to the end of a line of FIVE OTHER SLAVESchained to each other.

William is powerless and can only watch the chattel shufflebehind the carriage as it pulls away.

William's teeth clench and his fists ball with impotent rage.

EXT. THE COLLINS PLANTATION - ESTABLISHING - DAY

DOZENS OF SLAVES of all ages toil in cotton fields, baking inthe hot sun. Even women with babies slung across their bentbacks, crying out from the thirst and the heat.

The Collins plantation home sits majestically, surrounded bybeautiful trees and out of sight of the fields.

INT. THE COLLINS HOME

Ellen is polishing the silver in a lavish dining room.

AUNT RUTH, an older, heavyset black woman is dusting.

AUNT RUTHShe has us cleaning s'damn much thehouse don't ever get dirty. I can'teven get no satisfaction from mycleanin'.



4.

Mistress Collins enters the dining room.

MISTRESS COLLINSDo I hear you two conspiring inhere?

AUNT RUTHNo missus. We's just cleaning.

MISTRESS COLLINS Weare just cleaning, Ruth. Now getin the kitchen and start on supper.If you had a brain in your head, I wouldn't have to tell you when toget started every day. If supper islate once more, you can see how youlike sleeping out with the hogs.

AUNT RUTH

Yes, missus.

MISTRESS COLLINSEllen, I'll be counting every pieceof that silver before I lock it up.

ELLENYes, missus.

Through the window, Ellen sees a wagon kicking up dust.

EXT. THE COLLINS PLANTATION - CONTINUOUS

Haley pulls up with William and another MALE SLAVE in theback of his wagon.

ROBERT COLLINS, (45), walks down the stairs of the massiveveranda to greet Haley. He's a striking man, with bright blueeyes and neatly trimmed sideburns and chin whiskers.

COLLINSHaley.

HALEY

Collins.

The men shake hands. There's familiarity but not friendship.

INT. BARN - LATER

William and the other slave have been stripped of theirclothing, and of their dignity, before Collins and Haley.



5.

HALEYI think you'll find this one's anexceptional boy.

COLLINS(to William)

You have skills?

WILLIAMYes, sir.

COLLINSAnd do you speak well?

WILLIAMYes, sir.

COLLINSI would have appreciated a better

example.

Collins feels William's strong shoulders. He pulls hiseyelids open wide to look at his eyes. He even sticks hisfingers in his mouth and checks his teeth.

HALEYHe's as talented a boy as I'veseen. His old master was sure sadto see him go. He'd been lettinghim out to a carpenter as anapprentice. The carpenter paid his

master a right handsome wage forhis work, too. He said he earned more from William than from threefield hands. I know a carpenterhere in town who just may be inneed of a boy with his skills. Youknow Tom Sharp? That is, if you're willing to hire him out.

Collins mulls all this over, then,

COLLINS$700 for the both.

HALEYThat's what I paid for them! Ican't sell for less than $800.

COLLINS$750.

HALEYCollins, that ain't a fair--



6.

COLLINSYou purchased them this morning anddrove them here this afternoon. Ibelieve that's enough profit for afew hours work. Now, you'll stayfor supper. Mary wouldn't forgive

me if I sent you away with an emptybelly.(he hollers)

Jeremiah!

JEREMIAH, a white overseer, unshaven and probably drunk,trots over.

INT. THE COLLINS HOME - MOMENTS LATER

Ellen watches through the window curiously, as Jeremiah leads William and the other new slave to the slave quarters.

INT. TOM SHARP'S CARPENTRY SHOP - DAY

Collins talks to TOM SHARP, a squat man with a ruddycomplexion.

SHARPI can't say as I'm too keen to takeon a boy at this time. Training 'emup is a lot of work.

COLLINS

You'll find William to need verylittle in the way of training. Hecan start tomorrow. If after atime, you find him to beunsuitable, we can talk again.

When Collins speaks he leaves no room for another opinion.

EXT. TOM SHARP'S CARPENTRY SHOP - MOMENTS LATER

Collins comes out and Jeremiah preps his horse for him. William jumps up from the porch steps.

WILLIAMMasta' Collins? Masta' Kane, he would always let me keep some a' what I earn for my work.

Collins puts on his riding gloves and answers without lookingat William.



7.

COLLINSIf you keep Mr. Sharp happy, youcan keep 10 cents a week.

WILLIAMThank you! Thank you, Masta'

Collins! That is awful generous.

Jeremiah and Collins begin to ride. William follows on foot.

JEREMIAH(to Collins)

You know he's just gonna save upthat money to buy himself free.

COLLINSIf he wants to buy his freedom,he'll have to pay me a fair pricefor it. And if he does, so be it.

Business is business, Jeremiah. Ifyou'd like to continue tending tomy business, you won't question mydecisions.

Jeremiah SPITS his tobacco and they ride on in silence.

CUT TO:

INT. THE COLLINS HOME - DAY

Ellen BOUNDS UP the stairs into,

ELLEN'S BEDROOM

It's a tiny room with a cross on the wall and a sunken bed with tattered sheets.

She scrambles to take off her clean and proper housemaiduniform.

INT. RAMSHACKLE BARN

Church is in session, led by an old BLACK PASTOR standing ona wooden crate.

The SLAVES of the plantation have gathered in the barn, somesitting, most standing.

Ellen is now dressed in the same threadbare clothing of theothers around her.





9.

HANNAH What you need, is some of your own.

ELLENSomeday.

Hannah watches Ruth cooking over the fire.

HANNAHDon't you overcook those now.

ELLENHush! You know Aunt Ruth makes thebest corn cakes in the county.

Aunt Ruth puts a plate of corn cakes in front of Ellen.

AUNT RUTHThis one knows how to earn her

supper.

Ruth eyes Hannah, starts to hand her a plate, pulls it back,raises her eyebrows at her, then sets the plate down.

HANNAH(to Ellen)

Have you met William? He come herelast week.

ELLEN(playing coy)

I saw him.

HANNAHYou'd best work on seeing him more.He's too handsome to wait long.

Ellen blushes.

HANNAH (CONT’D)He made this for Harry.

Hannah hands her a small horse carved from wood. Ellen turnsthe horse over in her hands. The attention to detail is

impressive.

Harry, the toddler, puts the head of the horse right into his mouth.

UNCLE BARNEY, (60's), with all white hair, has been shavingin a small mirror.



10.

UNCLE BARNEYHannah, if you keep on squawking'bout William, you birds can takeyour talk outside.

HANNAH

It doesn't do nobody, no good, youbein' grumpy all the time.

AUNT RUTHUncle, sit down here and eat yousome while it's hot.

UNCLE BARNEY Woman, this is my one day where noone tells me what to do, and that means you too!

AUNT RUTH

If we's tellin' the truth, this isyour one day a week to drink allday!

This bickering must be typical by the way the girls look ateach other.

EXT. SLAVE QUARTERS - NIGHT

It’s Sunday evening and the slaves are gathered around thecampfire. The joviality and spirit seen in their off-hours is

in stark contrast to their working hours.

A MOTHER rocks her daughter on her lap. COUPLES sit close toeach other. A GROUP OF LAUGHING CHILDREN play a game.

A GROUP OF MEN seated around the fire sing a song called"Rosie".

William is SINGING along as Hannah and Ellen walk past.

Ellen and William make eye contact over the fire right as hesings along with the line,

WILLIAMBe my woman, gal, I'll be your man.

A JEALOUS SLAVE watches Ellen pass by and turns to a WOMANnext to her, who's sewing a patch onto a pair of trousers.

JEALOUS SLAVEShe be walkin' 'round like shebetter than us, cause she look white and pretty.

(MORE)



11.

JEALOUS SLAVE (CONT’D)If you at all pretty you get tolive in the big house.

SEWING SLAVEPsh. Those girls go to sleep in thehouse at night, wake up in the

house in the mornin' and listen tothe missus ever' hour in betweenThey don't get but one minute tothemselves 'cept Sundays. I'm gladI ain't pretty.

Hannah whispers something to Ellen. Ellen shakes her head.

The LIVELY MUSIC continues and the fire CRACKLES, so we can'tHEAR, but we can watch as Hannah gives her arm a tug towards where William is sitting on the OPPOSITE SIDE of the firefrom OUR VIEW.

William stands up as he sees the ladies coming. He has anatural confidence about him, when white people aren'taround.

William takes Ellen's hand in his much larger one and nodshis head in greeting.

A bright smile flashes across Ellen's face but she tucks herchin down shyly.

Hannah looks pleased with herself.

FADE TO:

EXT. DIRT ROAD - DAWN

William is on foot and two armed PATROLLERS approach him onhorseback.

He has his papers pulled out from the brim of his hat andheld up before they even reach him.

The HEAD PATROLLER looks down on him from his horse.

HEAD PATROLLERI ain't seen your face before. Who's your master?

WILLIAMMasta' Collins. He right up theroad.



12.

HEAD PATROLLERI know where Robert Collins lives. What I don't know is why you ain'tthere right now.

WILLIAM

I's headed to Mr. Tom Sharp's placeof business. Masta' Collins put meout for work.

William hands the head patroller the paper. He reads it over.

HEAD PATROLLERI'll be riding the mile up to theCollin's place to check this out.You'd best go direct to Sharp'snow.

William nods in deference.

EXT. TOM SHARP'S CARPENTRY SHOP

William waits at the front door of the carpentry shop.

Sharp arrives. He gives William a HARRUMPH as he unlocks thedoor and heads in. William follows.

INT. TOM SHARP'S CARPENTRY SHOP - CONTINUOUS

SHARPI'm none too keen on thisarrangement, but your Collins is ahard man to deny. My last boy was asneaky, lazy dog. More trouble thanhe was worth, that's fer' damnsure. You cause me any trouble I'lltake the whip to you. You hear?

WILLIAMYes, sir.

SHARP

(more to himself)And I don't care what Ol' Collinshas to say about that.

EXT. THE COLLINS HOME - BACK PORCH - EARLY EVENING

Ellen is bent over a washing board.



13.

VOICE (O.S.)Psssssst.

Ellen turns to see William standing there. A huge smilebreaks wide across her face, before she reigns it in.

ELLEN William.

WILLIAMHello, Miss Ellen.

LATER

William and Ellen sit next to each other on the porch steps.

ELLENHannah's always looking out for me.Her and her family make sure I

never feel alone.

WILLIAMYou got no kin here?

ELLENMy first Master, he was also myfather. When the missus found outshe made sure he sold me and my mama off, separately.

WILLIAM

She must not have liked it much when everyone took to noticin' thatyou look just like her whitehusband.

Ellen shakes her head and stifles a laugh.

ELLENEveryone else noticed a lotquicker.

WILLIAMNo whippin' is worse than being

separated from your family.

ELLENLeaving her was the hardest thingI've ever done. Though I'm certainit's harder on the mother, eventhan the child. I can't imag--

MISTRESS COLLINS (O.S.)Ellen?! Ellen!!



14.

Ellen jumps up in a fright.

ELLENI'll see you Sunday! Go. Go!

INT. THE COLLINS HOME

Ellen dashes inside the back door just before MistressCollins reaches it.

MISTRESS COLLINSGirl! I've been in the parlorcalling out your name for ten minutes! If I've told Robert once,I've told him a thousand times, youaren't fit to serve. You should beput out to the cotton picking!

She pinches Ellen cruelly on the back of her arm.

EXT. LARDER - DAY

The larder is a separate pantry, just off the side of the main plantation house.

INT. LARDER - DAY

The larder shelves are filled with canned, bottled and dried

food goods.

Ellen adds items to a basket filled with food at her feet.

She goes up on her toes scanning the shelves for somethingelse, when FOOTSTEPS come in behind her in the small space.

ELLENI'm sorry I'm taking so long, Ruth,I just can't find the darn marmalade.

She turns and stops abruptly as she sees it's not Aunt Ruth

that's snuck up behind her. It's Jeremiah.

ELLEN (CONT’D)Oh, Mr. Jeremiah, sir, I didn'tknow it was you. Are you hungry?Aunt Ruth has biscuits cooling inthe kitchen.



15.

JEREMIAHNo. I just saw you was in here. Ithought you might need a hand.

ELLENNo, sir. Thank you, sir. I'm just

collecting some items for thekitchen.

JEREMIAH Was it marmalade you lookin' for?

ELLENIt's nothing. I'm pretty sure we'reall out. I'll have Missus add it tothe grocery list.

He takes a few steps closer to her. Too close.

JEREMIAHLet's see.

He looks over her head to scan the shelves. He's a headtaller than her and his chest is directly in front of herface. As he leans forward to reach for a jar he nearlytouches her.

JEREMIAH (CONT’D)Here it is. It says right here,(he points to the label)

mar-ma-lade. You can read that,

can't ya, Ellen?

ELLENNo, Mr. Jeremiah. I can't.

JEREMIAHYou coons all like to say you can'tread, but I don't believe it. It makes me wonder what else you cando, that you say you can't... Whatelse you want, that you say youdon't.

As he says this he puts his hand on the bare skin where herneck meets her shoulder. Ellen swallows hard.

JEREMIAH (CONT’D)Seems to me, I can't ever believe a word y'all say.

Ellen's breathing heavily and her eyes are wide with fear.



16.

MAN'S VOICE (O.S.)Jeremiah!

EXT. LARDER

The youngest overseer, EDDIE, (23), passes by the crackedopen larder door.

EDDIE Where'd he get off to?

INT. LARDER

JEREMIAHShhhhhhh.

Ellen is frozen with fear.

SMASH!! The marmalade jar falls from Ellen's hand andshatters on the ground.

EXT. LARDER

Eddie turns towards the larder.

EDDIEJeremiah?

INT. LARDER

Jeremiah's hand on Ellen's shoulder tightens, his fingerspressing deep into the flesh.

JEREMIAHOops.(calling out)

I'm comin', Eddie!

He glares at Ellen as walks out. He leaves the door open andthrough the door we watch him meet up with Eddie.

EDDIE Whatcha doin' in there? I ain'tever been in there before. Is that where all the food is?

Jeremiah GRUNTS a response. The two continue walking away.



17.

EDDIE (CONT’D)Is there whiskey in there? Are weallowed in there....

Ellen's still breathing heavily. A print of Jeremiah's handcan be clearly seen on her shoulder in red.

EXT. MEADOW - DAY

William and Ellen sit under a shade tree. She's fanningherself from the heat. He's making a hat from a beaver hide.

Ellen is endlessly impressed with William.

WILLIAMIt's the trapping them's the hardpart. Making the cap don't take much and there's always a buyer

ready.

ELLENI never met a black man who ever made money of his own.

WILLIAMIt's the only thing that makes mefeel like a man. Like I can standup straight. It don't matter, thatI don't earn much, it's that Iearn. It's about the only dignity a

man like me can have in this world.

There's a lull in the conversation. William sets down the hatand the two sit close and look out at the meadow.

WILLIAM (CONT’D) Where I come from there was thisstream just behind our place.Didn't matter what time a year it was, that water was ice cold. I'd'bout give anything to jump in thatstream right now.

ELLENAnything? I can think of a lot ofthings, I'd give anything for, Idon't know if a cold stream is oneof them.

Another lull as William works up the courage to say,



18.

WILLIAMI'd give anything for your hand in marriage right now.

Ellen is taken aback.

WILLIAM (CONT’D)Miss Ellen, I love you and wish t' marry you.

They embrace and he kisses her passionately. The love and thephysical attraction between these two is palpable.

She gets swept up, but then pulls back, shaking her head.

ELLENA marriage isn't legal between twoslaves. Master could annul it anytime he likes. It doesn't mean

anything.

WILLIAMThe hell it doesn't! It's not thelaws of the master that makes manand wife.

ELLENYou don't wanna marry me, William.I won't make a good wife.

WILLIAM

I think you'd make a perfect wife.

ELLEN(blurting)

I won't have children.

WILLIAMCan't?

ELLEN Won't. I won't bring a beautifuland perfect child into this cruel world. My shackles would be passed

on and we wouldn't have a child so much as Masta' Collins would haveanother piece of property to sell.

William turns this over in his head for a moment.

WILLIAMIt don't change nothin' 'bout how Ifeel for you. I wanna marry youjust the same.



19.

He takes her hand in his.

WILLIAM (CONT’D)A man's 'spose to protect hisfamily. Keep them from harm. Andthat's what I promise to do. One

day we'll leave here and--

ELLENThat's crazy talk--

WILLIAM--we'll have children right andproper. Children born free. Ipromise.

ELLEN William Craft, you are mostunexpected.

He kisses her again.

INT. ELLEN'S BEDROOM - NIGHT

Ellen is abruptly woken by the sound of dogs HOWLING and whistles BLOWING.

Her door flies open and Jeremiah viciously pulls her from herbed, still in her night-shirt.

EXT. THE COLLINS PLANTATION - CONTINUOUS

All the slaves are being rounded up and led out to the barn.CHILDREN are crying and the OVERSEERS are pushing and YELLINGat everyone.

In panicked whispers.“We’re all being sold.” “They gonna putus in the barn and set us on fire."

INT. BARN - CONTINUOUS

More slaves pour into the barn, including William, Hannah andRuth.

Ellen is horrified when she sees ALVIN, a field slave,shirtless and bloodied, tied, spread eagle, at the wrists andankles to two wooden posts.

Collins gets right in Alvin's face.





21.

COLLINSI don't expect I'll be needing yourservices again after tonight.

He nods to Jeremiah and the other overseers standing by.

JEREMIAH(to Alvin)The first thing we gonna do is makesure that everyone who sees you, solong as you survive knows you a runaway.

Jeremiah pulls out a pocket knife. Another overseer holdsAlvin's head still.

ALVINPlease! No! Please!

Jeremiah takes the knife to Alvin's ear. The knife's edge isa bit dull, so it takes a sawing motion to cut it off.

Blood pours from the hole in Alvin's head when Jeremiah'sfinished. He WAILS and THRASHES at the ropes that hold him.

Jeremiah offers the whip to Collins. He waves it off.

COLLINSI'll leave you to it.

Jeremiah pulls the whip way back... then swings it with a

CRACK!

Alvin's entire body arches and writhes at the searing pain.He CRIES out in heartbreaking agony.

EXT. BARN - CONTINUOUS

CRACK! With the whipping behind him, Collins lights his pipeand walks out of the barn toward the house.

INT. BARN - CONTINUOUS

CRACK!

William's eyes FLARE with anger.

Eddie, the young overseer, closes his eyes in a wave ofnausea or guilt or both.

The fear is all over the slave’s faces as the whip lays downanother CRACK! They lower their eyes as the blows continue.



22.

JEREMIAHEye’s up! Everyone, eyes up! Youcan either watch or you can benext.

The ELDERLY WOMAN continues to SOB and WAIL as she's being

held up by those around her.

CRACK! CRACK!

Ellen flinches at each blow. Ruth takes her hand and squeezesit.

Harry BAWLS in Hannah's arms.

William looks over to Ellen, as if to send her some strength.

The CRACK of the whip continues for an uncomfortable amountof time, as we watch the slaves watch in horror.

Alvin, unable to stand, is now hanging by his body weightfrom the ropes at his wrists.

Jeremiah is out of breath.

JEREMIAH (CONT’D)That's enough. Dress his wounds andlock him in the stocks for thenight. We'll have another go 'roundtomorrow.

EXT. SLAVE QUARTERS - NIGHT

The quarters are solemn. No children playing, no singing andthose few who are outside sit and stare silently at the fire.

The OLDEST SLAVE recites a poem:

OLDEST SLAVE And the blast of the desert criedaloud, with a voice so wild and free, that he started in his sleepand smiled at their tempestuous

glee. He did not feel the driver'swhip, nor the burning heat of day; for Death...

INT. WILLIAM'S CABIN - CONTINUOUS

OLDEST SLAVE (O.S.)...had illumined the Land of Sleep,and his lifeless body lay...



23.

Ellen and William sit in his tiny cabin.

ELLEN William, if we up and walk off thisland they'll have the dogs after us within an hour!

WILLIAMNot if they's expecting us to begone, they won't.

Ellen looks confused, but continues on anyway.

ELLEN Why do you want to talk about thistonight of all nights? After whatthey did to Alvin?

WILLIAM

Seeing that, what happened toAlvin, showed me the only reason we're afraid to leave here isbecause of the punishment. But howis what we saw tonight any worsethan what we suffer here every day?

ELLENNo. No. I never see the whip, andit's cause I don't never break therules.

WILLIAMYou don'tever break the rules.See, love? I'm learning from you. I wanna be the best man I can be. For myself, for you and for the family we gonna have. I don't wanna be thebest man I can be, so some white man can take everything from me.

ELLENNo, William. We'd be riskingeverything.

WILLIAMGod, give us but one life on thisearth. While they may tell us thebible says the white man is abovethe black man in God's eyes, Iwill learn to read, so I can see for myself what God tells me to be.

Ellen climbs into William's bed.



24.

ELLENLet's not talk of such thingsanymore. Missus will throw a fit ifI'm not in my bed at dawn. Justhold me as long as you can.

William spoons her tightly and kisses her neck. Tears dripdown her cheek.

His dark hand envelops her near-white one.

WILLIAM(whispers)

I have a new plan. If you love me,you'll trust me.

EXT. SLAVE QUARTERS - DAWN

Jeremiah RINGS a bell outside the quarters.

JEREMIAHField time! Get to work! Fieldtime! Let's go!

Tired men and women spill out of their tiny cabins.

Ellen dashes out of William's cabin.

Jeremiah and Eddie stare after her as she runs up to theCollins house.

JEREMIAH (CONT’D)I ain't ever seen her way out herein the morning.

Jeremiah eyes William curiously, as he emerges from hiscabin.

William averts his eyes to the ground as he walks past.

EXT. BARN - CONTINUOUS

Ellen passes Alvin in the stocks. His body is limp and hislips are puffy from dehydration. Blood is caked all aroundhis missing ear.

Their eyes connect for a moment. She runs on, terrified.

EXT. SHOE SHOP - DAY

It’s winter and the roads are all mud in the town square.



25.

INT. SHOE SHOP

William scans the selection of boots. A YELLOW-TEETHED OLDMAN eyeballs him.

He picks up a pair and walks to the front.

YELLOW TEETHDo you have a slip from your mastergiving you permission to make apurchase?

WILLIAMNo, sir.

YELLOW TEETHThen boy, I oughta take you rightdown to the sheriff myself forsetting foot in this store without

permission.

CHESTER, the boot maker, comes out from the back.

CHESTERFather! How many times I got totell you, stay outta my business!If he's got money I've got goods!

YELLOW TEETHIt ain't legal to sell to a negro!

CHESTERAnd it ain't legal for a negro totestify against a white man, nohow! So how's anyone to know!

YELLOW TEETHI'll know!

CHESTERAnd I can arrange for you to takeit to an early grave, old man!(calmer)

William, you best buy your boots

and be gone.

INT. WILLIAM'S CABIN - NIGHT

Ellen sets down her needle and shakes out a cloth to revealshe has sewn a men's overcoat.

She hands him the overcoat to look over.





27.

WILLIAM (CONT’D)You know them better than youthink, Mr. Johnson.

Ellen remains unconvinced.

WILLIAM (CONT’D)

You can pass as a white man for afew days or live as his propertyfor the rest of your life.

INT. TOM SHARP'S CARPENTRY SHOP - DAY

William stands in front of Sharp with his hat in hand.

WILLIAMMasta' Collins has given us all atwo-day pass for the Christmasholiday. He asks if you could abide

givin' me the same pass.

SHARPI suppose I won't be here to seethat you got your work done proper,any how's.

William looks even more relieved, than happy.

Sharp eyes him as he hands him a slip of paper.

William reaches out for it and as he grabs hold, Sharp

doesn't let it go right away. He looks him right in the eyes.

SHARP (CONT’D)You come right back when thisexpires. Ya' hear?

WILLIAMYes, sir.


William shows his pass to Ellen.

WILLIAMYou?

She pulls out her pass too.

He passes his to her. She passes hers to him. They look atthem with excitement, though not comprehension.



28.

EXT. THE COLLINS PLANTATION - DAY

Collins is giving a tour to MR. CRAY, (60's). He's welldressed with a perfectly round belly. They walk and talk,taking in the acres and acres of cotton and bent backs in thefields.

Cray gawks at them like animals in the zoo.

They pass the barn, where William and some other SLAVES are making repairs.

CRAYHello, you there slave!

William stops hammering nails and looks to Collins anxiously,unsure if the attention from these two is going to be good orbad.

COLLINS(to Cray)

We call them boys, Mr. Cray. Wenever call them slaves. And I feedand clothe my boys well, as you cansee. Why they're so attached to meand their mistress that we couldn't whip them away from us, if wetried.(to William)

William! I say, William, you don't want your freedom, do you?

WILLIAM(plays the part)

Oh, no, masta'.

COLLINSYou wouldn't thank me for it, ifI'd give it to you, would you?

WILLIAMNo, indeed. I'd rather be a straydog, than a free man.

COLLINSThat's right. Back to it now.

William, emasculated, turns back to his work. The otherslaves eyes linger on him, before they return to work.



29.

COLLINS (CONT’D)(to Cray)

As you can see our chattel are evenbetter off than your street urchinsof the North. No jobs, no home, nofood on the table. Here in the

South we care for our people. WhyChristmas is in just a few days and we'll be giving them two whole dayson their own.

CRAYSplendid.

COLLINSNow, each able body can pick about450 bushels a day. With yourinvestment we could add not justacreage, but the necessary hands to

pick more cotton.

They come upon a little black girl, BESSIE, (12). She putsdown the cat she was petting.

BESSIEMasta' Collins!

She runs up and throws her arms around Collins. He pats heron the head in a fatherly manner.

COLLINS

How's my girl?

BESSIE What do you have for me?

COLLINSYou run up to the house and haveEllen give you an orange.

She GIGGLES and scampers off.

COLLINS (CONT’D)She was kicked by a horse last

year. It knocked all common senseout of her. I would have sold herafter, but my daughter won't hearof it.

They continue walking.



30.

INT. THE COLLINS HOME - PARLOR - NIGHT

Collins and Cray sip brandy. Their cigar smoke fills theroom.

COLLINS

After dinner tonight if you'd likesome company, you should spend sometime with one of our girls.

CRAYI did eye a quite becoming younglady earlier.

The two men sit quietly and drink as the fire CRACKLES.

EXT. THE COLLINS PLANTATION

It's a windless evening and the only activity is theFLICKERING LIGHT of the evening fireflies.

A woman's SCREAMS pierces the quiet.

WOMAN (O.S.)(shrieking)

No! No! Let me go! Stop!

Aunt Ruth scurries around the corner of the house holding thetoddler, Harry.

Collins rounds the same corner dragging Hannah along.

COLLINSMr. Cray is a fine Northerngentleman--

He GRUNTS as he pulls her up off the ground.

COLLINS (CONT’D)-- and his cooperation will be mostbeneficial to us all.

She flails. He SLAPS her. Then grabs her by the chin, looking

into her eyes. Collins doesn't yell, but his voice is ice-cold.

COLLINS (CONT’D)And you will please him.

The SCREAMING has drawn Ellen out of William's cabin. Shestarts to run towards Hannah.





32.

SHARPUppity nigger.


William holds a pair of scissors.

WILLIAMReady?

ELLEN Will we not say our goodbyes first?

WILLIAMIt's safer for the others if theyknow nothing.

Ellen knows this is true. She slowly lets down her long,

perfectly straight hair. William runs his fingers through it.

WILLIAM (CONT’D)I hear in the North that a woman'shair grows quicker and even morebeautiful than in the South.

Ellen appreciates his efforts to calm her. But with each snipof the scissors the tears slip from her eyes.

WILLIAM (CONT’D) We're only scared 'cause for the

first time in our lives we don'tknow what tomorrow brings. But it'sso much worse here where we knowexactly what tomorrow and every dayafter holds?

He wipes her tears.

WILLIAM (CONT’D) We have just a few hours now, let'sget some sleep.

William lies her down in the bed and covers her. He blows out

the lantern and lies down next to her. Her eyes closeheavily.

He lies wide awake.

EXT. THE COLLINS PLANTATION - NIGHT - LATER

William opens his cabin door into the pitch black night. Hescans the dark.



33.

William and Ellen run silently into the thick woods. Williamcarries a small carpet bag with their belongings.

EXT. DIRT ROAD INTERSECTION - PRE DAWN

They peer out from the woods and scan the empty road.

William hands Ellen a small BUNDLE from his bag.

WILLIAMYou are the bravest woman I haveever known, Ellen. I love you.

ELLENI love you.

He clutches her tight. Kisses her forehead. Then dashes offdown the road.

EXT. MACON, GA TRAIN STATION - MORNING

Superimposed:December 21st, 1848

Macon, Georgia - 961 miles to go

Ellen, dressed as MR. EDMUND JOHNSON, is unrecognizable. Sheis dressed as well as any southern gentleman of the day, introusers, an overcoat, a cravat, boots and a fine hat.

A cane in her hand aids her shuffling walk. She has one armin a sling and a poultice wrapped around her face, as if shehas a toothache.

She is quite a sight.

INT. MACON TICKET COUNTER

Ellen waits in line. She fidgets, trying to find the rightstance for an invalid man.

MACON TICKET SELLER

Where to, sir?

Ellen steps up to the counter.

She CLEARS her throat.

The ticket seller stares at her, waiting for an answer.



34.

ELLENTwo tickets for Savannah. One for me and one for my boy.

MACON TICKET SELLERI'll need you to sign the log book

if you're to bring your propertyalong.

He hands her the log book and a pen.

She reaches for the pen with the arm that's in a sling. Thesling may be for show, but her hand is genuinely shaking infear.

She fake winces in pain with the movement. She leans on hercane awkwardly to shift her weight and fake winces again.

She switches the cane to the other hand, trying to free up

that hand to write. That doesn't work either.

She's putting on the perfect show.

The ticket seller is growing impatient, as are the others waiting in line behind her.

MACON TICKET SELLER (CONT’D)Never mind. Let me. What's yourname?

ELLEN

Edmund Johnson.

He signs for her:EDMUND JOHNSON & SLAVE

MACON TICKET SELLER(annoyed)

Good day.

LATER

She takes a seat on a bench and sits with her ankles crossedand her hands in her lap.

She eyes the PEOPLE passing her. She's never seen so many white people.

She watches a MAN pass by with his head held tall and aconfident stride.

She sits up straighter and uncrosses her ankles. She fiddles with her overcoat.



35.

WILLIAMI'm awful sorry I'm late, Masta'Johnson.

William has come up behind her, carrying her bag. Shebreathes a sigh of relief.

ELLENI thought something had happened toyou-- I mean, you've kept me waiting. Don't let it happen again.

FRIENDLY PORTER (O.C.)Sir, your bag? Sir?

Ellen realizes the FRIENDLY PORTER is speaking to her.

FRIENDLY PORTER (CONT’D)Your bag? Can I carry it for you?

ELLENMy boy here will take it.

The porter looks at her curiously.

FRIENDLY PORTERHe won't be allowed to board thetrain with you. Negroes are onlyallowed in the rear car.

WILLIAM

I'll come collect you when we stop,Masta'.

INT. TRAIN TO SAVANNAH - WHITE CARRIAGE

Ellen follows the porter down the aisle.

She is overwhelmed with the sights of the luxury train carfilled with PROPER LADIES and SOUTHERN GENTLEMEN all dressedin their finery. Travel is a big deal, a social event.

They stare at her as she walks down the aisle. Not with

suspicion or doubt, only with concern and pity.

FRIENDLY PORTERIs this your first time on a train?

ELLENYes, it is. I don't travel. Due to my ailments.



36.

PORTERService from Macon to Savannah willonly take three and a half hours. Will that be your finaldestination?

ELLENI'm on my way to Philadelphia.

The porter WHISTLES then gestures for her to take a seat.

PORTERThat's quite a journey. Especiallyfor a fellow in your condition.I'll come back to help you withyour bags when we stop.

The porter stands for a moment, awaiting his tip.

FRIENDLY PORTERAnd if there's anything at all Ican do for you, sir, please let meknow.

Ellen is unsure why he's standing there. She nods inappreciation.

The two share an awkward silence before the porter gives up.

FRIENDLY PORTER (CONT’D)Good day, sir.

INT. TRAIN TO SAVANNAH - SLAVE CARRIAGE

William boards the last car on the train. It's not apassenger car, but a freight car. There are no fancy seats,just a few crates to sit on.

As he enters HALF A DOZEN BLACK MEN glance up in halfinterest.

WHITE CARRIAGE

Ellen takes her seat. She feels the plush upholstery underher hand.

SLAVE CARRIAGE

William finds a corner for himself and sits on a crate.

WHITE CARRIAGE

Ellen pulls back the velvet shades and admires her view.





38.

A MAN takes the seat next to her. She keeps her eyes out the window as he situates himself.

She steals a glance at him and sees it’s Mr. Cray!

She averts her eyes right back to the window in terror.

CRAY(to Ellen)

It’s a very fine morning, sir.

Ellen's completely frozen in fear.

CRAY (CONT’D)I say, how’s the weather?

Still, she doesn’t move. It looks like she's crackingalready.

A BESPECTACLED MAN across the way SNICKERS. This annoys Mr.Cray.

CRAY (CONT’D)I’ll make him hear. Sir!

Ellen snaps out of it. She turns to Mr. Cray.

ELLEN(loudly as if hard ofhearing)

Yes?

BESPECTACLED MANAll bandaged up and deaf too. It’sa shame.

CRAYYes, well I’ll not bother with him.

Cray disregards Ellen with a wave of his hand.

BESPECTACLED MAN Where do your travels take you?

CRAYBack home, to New York.

BESPECTACLED MAN What brought you to the South?

Ellen tries not to shake as she hands her ticket passed Mr.Cray to the TICKET CHECKER, but Cray doesn't even look at heragain.



39.

CRAYI was touring Georgia, evaluatingbusiness opportunities.

BESPECTACLED MANThere are many to be had in this

part of the country.

SLAVE CARRIAGE

One SLAVE looks over at William, scrutinizing him.

SCRUTINIZER What reason you got for bein' sojumpy?

WILLIAMI saw a man who don't take tookindly to my masta'. I didn't want

to see an argument.

The scrutinizer doesn't quite believe him.

Another SLAVE joins in the conversation.

BRAGGING SLAVE Why not? It look like your masta'has one foot in the grave already.

WILLIAMHe about does. Lord, the doctors

say they ain't seen many men assick as he is.

WHITE CARRIAGE

Ellen's eyes are fixed out the window.

CRAYI see clearly now that the worstthing about your slaves escaping tothe North, isn't the money lost.It's that they spread theseabominable lies about the

conditions in the slave system. I myself witnessed nothing of the wicked acts I've heard described.

Ellen closes her eyes as if that will block out his words.

BESPECTACLED MANIt's nothing but propaganda!



40.

CRAYPropaganda indeed! These creaturescry that they are mistreated. Why,I know plenty of people in theNorth that would happily trade withthem, if only to have a job and a

roof over their heads! I am free tosay that I never set eyes on ahappier set of fellows than yourslaves.

SLAVE CARRIAGE

WILLIAMHe's a kind masta', too.

BRAGGING SLAVEHe can't be no better than myMasta' Holcomb. He the best there

is.

SCRUTINIZEROhh, you don't know come here fromsic' em.

BRAGGING SLAVEYou just jealous 'cause he treat mebetter than you. That's 'cause hepaid only two hundred dollars foryou and five hundred dollars for me!

SCRUTINIZERNow that's a lie! Masta' too cheapto pay five hundred dollars for nonigger!

BRAGGING SLAVEDon't you say a bad word aboutMasta' Holcomb! Ain't nobody don'tknow that he a wise and wealthy man!

William realizes it's going to be a long train ride.

EXT. SAVANNAH TRAIN STATION - DAY

William trots over to collect Ellen. She leans heavily onhim.

WILLIAMAre you alright?







43.

WILLIAMHot towels and opodeldoc, sir, for my masta's rheumatism.

TALL PASSENGEROpo-devil! Stinks enough to kill or

cure twenty men! Away with it orI'll throw it over board!

INT. ELLEN'S BERTH

William pours the opodeldoc back in a bottle and stops it up.

ELLENOoh, I can't stand the smell ofthat stuff.

WILLIAM

You aren't alone. I'm afraid it'lltake us weeks to shake the smell when we arrive.

Ellen starts to strip off her clothes.

ELLENI'm tired of this jacket! And I'mtired of these boots! I'm tired ofall of it! If white men are free todo as they please, why would they wear this costume?!

William laughs at her throwing a fit.

WILLIAMYou'll just have to put it all backon to dine with everyone for suppertonight.

ELLEN William, these people are terrible.

WILLIAMI know.

ELLENNo, you don't know. How they talkabout us... it's even worse whenthey think we're not around.



44.

WILLIAMYou are a sheep among the wolves.That they are free to talk in frontof you means no one has sniffed youout. Just make the most politeconversation ya' can and excuse

yourself quick as ya' can. And,girl, you gotta eat like a man, nota bird.

ELLENI will. William, I can't stomachthe thought of you sleeping outsidein the cold. Would anyone reallyknow if you stayed here tonight?

WILLIAMIt's as if every man in the Southsees it his duty to keep every

negro in check. I doubt very muchthat my absence on the deck wouldgo unnoticed. Besides, it doesn'tbother me at all.

INT. STEAMER TO CHARLESTON - DINING HALL - NIGHT

Ellen has joined Captain Rardin and the other PASSENGERS forsupper. A fine meal is spread out before them.

TALL PASSENGERHow is your health, Mr. Johnson? Isthe sea air helping?

ELLENI believe it is.

CAPTAIN RARDINYou're traveling to Philadelphia, Ihear.

ELLENYes, I've never been. Have you?

CAPTAIN RARDINOnly ever to the docks, I'm afraid.

The others CHUCKLE.

CAPTAIN RARDIN (CONT’D)I notice you have a very attentiveboy with you. Keep an eye on him inthe North.

(MORE)



45.

CAPTAIN RARDIN (CONT’D)He seems dutiful now, but he mayact quite differently there.

A ROUGH SLAVE TRADER with his elbows on the table, is eating with his hands and talking with his mouth full.

ROUGH SLAVE TRADERSound words, Captain, very sound. I wouldn't take that boy to the Northunder no consideration. In all mydealings I ain’t ever seen a one with his feet on free soil that was worth a damn. Now, stranger, ifyou'd consider selling, I’ll takehim off your hands, just name yourprice and if it isn't unreasonable,I'll pay for him now. What do yousay?

He licks the chicken juice off his fingers.

ELLENI could never sell him, sir. Icouldn’t get on without him.

ROUGH SLAVE TRADERYou will have to get on without himif you take him to the North! I seein his eyes, he is a keen boy andhe'll certainly run away once youcross the Mason-Dixon.

ELLENPlease understand. I won't sell.

ROUGH SLAVE TRADERYou'd rather have him free, thansell him!

Ellen shrinks back.

ELLEN(weakly)

I have great confidence in his

fidelity--

ROUGH SLAVE TRADERIf you believe in the fidelity ofniggers, you're a damn fool!

He SLAMS his fist on the table upsetting a cup of coffee intoa YOUNG MAN'S lap. The young man jumps up. Ellen startles.



46.

CAPTAIN RARDINNow, here! I will not have youinsult a fellow passenger.Particularly one in this fragilestate.

ROUGH SLAVE TRADER(off the young man's upsetlook)

Don't disturb yourself, boy,accidents will happen

CAPTAIN RARDINMr. Johnson, you look quite tired.Perhaps you'd best retire to yourroom for the evening.

ELLENThank you, Captain for your

generous advisement.

Ellen, relieved, makes for the door.

The slave trader watches her go, SUCKING at his teeth.

SLAVE TRADERDon't you leave that nigger alone.

After Ellen has gone,

ROUGH SLAVE TRADER

Captain, if I was president of thishere United States of America, thegreatest and freest country, I would never let no man, I don'tcare who he is, take a slave intothe North. They come back here withtheir head filled with abolitionistnonsense.

TALL PASSENGERAy, ay! Three cheers for the wholefair South!

Captain Rardin doesn't like the direction this conversationhas turned.

* BEGIN UNFINISHED SCENE*



47.

EXT. STEAMER TO CHARLESTON - DECK - NIGHT

Biting cold wind comes off the sea.

William sits with a small GROUP OF SLAVES on the deck. Hetakes a bite from a piece of corn cake, then wraps the

remains in a handkerchief and puts it in his pocket.

A little BLACK BOY, (4), runs past him LAUGHING. Hisexhausted mother follows him.

WILLIAMI'll watch the boy. You rest.

She's grateful as she closes her eyes.

William joins the little boy's game. He yawns, but shakes itoff. He clearly enjoys playing with the boy.

* END UNFINISHED SCENE*

FADE TO:

EXT. STEAMER TO CHARLESTON - DECK - DAY

It's a clear morning and the docks of Charleston are visibleahead.

Captain Rardin and a RICH SOUTHERN GENTLEMAN are smoking.

CAPTAIN RARDINI don't understand the wholebusiness of it. Treating one mandifferently than another based onskin color. Why doesn't that meanI'm treated any differently fromyou. I'm shorter. We have differentcolored eyes.

RICH SOUTHERNIt's more complicated than that.The differences between us and themare many.

CAPTAIN RARDINYet, it doesn't make any sense atall that one man would sleep in abed and another outside on the deckand yet these are rules I mustenforce on my own ship! It makes mefeel like I have the stink ofslavery on me and I've never ownedanother man as property.



48.

RICH SOUTHERNBe that as it may, sir, that moneyin your wallet comes from the backsof niggers just as much as minedoes.

CAPTAIN RARDINI beg your pardon!

RICH SOUTHERNYou're a shipping man. What doesyour ship carry? Tobacco? Sugar?Cotton? The South grows the majority of the cotton in the world. Without the system we havein place you would have a merefraction of goods to ship.

CAPTAIN RARDIN

Excuse me, I have to assist mypassengers with disembarking.

INT. STEAMER TO CHARLESTON - MOMENTS LATER

Ellen is stopped outside her door by OFFICER TANDY, ahandsome, young military man. He's in uniform and has ajovial disposition.

OFFICER TANDYGood day! Is this your stop? Mine,

too.

ELLENGood morning. Yes, and I best get moving so I can get to my carriagein time.

She looks to walk past him, but he's not done chatting yet.

OFFICER TANDYYou will excuse me, sir, for sayingso, but I heard you and your negroin conversation yesterday and I

found you to be far too kind. I'dsay even spoiling the boy.

ELLENI appreciate the advice.

OFFICER TANDYTo be saying please and thank youdoesn't serve them at all.

(MORE)



49.

OFFICER TANDY (CONT’D)It only gives them the false notionthat they are somehow on par withyou. The only way to keep him inhis place is to storm at him likethunder! Say, boy!

From behind him his BOY steps forward and Tandy's demeanorchanges.

OFFICER TANDY (CONT’D)You dirty dog, you fetch my bagsand have them ready or I'll throwyou right off the dock, into the water and watch you sink like astone!

His boy scampers off.

Tandy flashes her a smile. His charm after his tirade is

quite a contrast.

OFFICER TANDY (CONT’D)That is the way to speak to them.

Ellen nods her head in acknowledgment.

ELLENI appreciate your advice. Now, as we've docked, I must track down myown boy.

Ellen is eager to pass, but Tandy likes to talk.

OFFICER TANDYIf you don't find your healthimproving in Philadelphia I suspectyou might find some comfort in the Warm Springs in Arkansas. Have youbeen to Arkansas?

CUT TO:

EXT. CHARLESTON DOCKS - MOMENTS LATER

Ellen looks around wildly, searching for William. There's nosign of him. Her panic rises.

BLACK MEN are running about aiding the unloading andreloading of passengers and crates, but none of them are William.

ELLENHave you seen my boy, William?



50.

PASSENGERI'm afraid I haven't.

Ellen shuffles to the left to scan the crowds. Then to theright. She looks lost. Her chest is heaving and she has noidea what to do next or which direction to choose.

The last of the passengers have disembarked from the steamer.

She spots the rough slave trader on his wagon. He glares ather before SLAPPING the reins on his horses. He has a stringof black men chained to the side of his wagon, but she can'tsee their faces from her position.

She shuffles forward to get a view of his chattel but it'simpossible. Her breathing escalates.

Directly ahead of her is a carriage. The CARRIAGE DRIVERgestures to her.

CARRIAGE DRIVERDo you need a ride to yourlodgings, sir?

ELLEN(the words stick in herthroat)

Yes. I do. But...

She takes a few steps forward, stops. She looks as if she'llfaint. The driver eyes her, concerned.

CARRIAGE DRIVERSir, would you like the ride? Youlook like you could benefit from aseat right now.

ELLENYes.

CARRIAGE DRIVERLet me help you.

He takes her arm gently and helps her board the carriage.

CAPTAIN RARDINMr. Johnson!! Mr. Johnson! Wait!

She turns to see the Captain with William by the arm. She'sso relieved she leaps from the carriage almost spilling tothe ground.



51.

CAPTAIN RARDIN (CONT’D)Mr. Johnson, I found your boysleeping on the deck. You do keep agood eye on him like we discussed,now you hear?

CARRIAGE DRIVER(to himself)I ain't never seen a fellow soscared to lose his slave in all mylife.

WILLIAMMasta', it was a terrible mistake--

Ellen channels her fear into anger. She begins WHACKING himabout the head with her hat.

William cowers before her. It's part act, but part real. He's

never seen Ellen so angry.

ELLENI'll not be made to wait and I'llnot have excuses from you! If I wasn't in the state I am, well, I'dsure punish you real well.

CAPTAIN RARDINIf you need any assistance, Mr.Johnson--

ELLENNo, Captain. Thank you, I willhandle this in due time. Due time!

INT. GRAND WINDSOR HOTEL - DAY

The PROPRIETOR snaps his fingers to a BELLHOP who comes andtakes Ellen's bag from William's hands. This is his job andno negro will do it for him.

HOTEL PROPRIETOR Welcome to the Grand Windsor. We

are John C. Calhoun's hotel ofchoice when he visits Charleston!(to the bellhop)

Show our guest to a fine room.

Ellen follows the bellhop and William follows her as theystart up the stairs. The proprietor looks on disapprovingly.

HOTEL PROPRIETOR (CONT’D)Ahum.



52.

Ellen looks back.

ELLENI require my boys attention to carefor me. I shall send him back down when he is through.

HOTEL STAIRS

Ellen really seems to be settling into her role.

ELLEN (CONT’D)(to William)

I need all of my dressings to bechanged out and an application ofliniments.

HOTEL HALLWAY

ELLEN (CONT’D)I will have you rub my feet, beforedressing me for dinner-- Are youlistening.

WILLIAMYes, Masta'.

The bellhop pulls out a key and opens the door to their room.

As they walk into their room, we watch from the HALL.

ELLENYou will wash out my bandages soI'll have fresh ones for tomorrow.And my boots need a polish--

The bellhop closes the door.

ELLEN'S HOTEL ROOM

As soon as the door closes they embrace. Ellen kisses Williamas if she's releasing all the fear she had of losing him onthe docks. Her hat topples off of her head and her cane drops

to the floor.

WILLIAMI'm so sorry to have scared you. Ihaven't slept in days. It must havebeen--

She doesn't care. She kisses him again.



53.

ELLENI can't believe I was going to rideaway and leave you!

WILLIAMYou did exactly what we agreed.

He takes her face in his hands.

WILLIAM (CONT’D)No matter what, follow the plan. I will make it to you. I. Will. Makeit to you. And besides there's onlyone more step. We board a shiptomorrow morning and step off tostart a new life.

Ellen smiles big. Then she spots the bed. It's a beautifulfour poster bed with a down comforter. She takes in the sight

of the bed with glee.

She strips off her boots and coat and climbs on the bed.

ELLENIt's just like Missus Collins' bed!

WILLIAM(playfully)

Is it? Is it comfortable? You knowI'll be sleeping out in the barn with the horses--

ELLENOhhh, William. Come here.

WILLIAM--after I polish your boots.

ELLENCome here. Come lie with me.

He joins her and kisses her.

EXT. GRAND WINDSOR HOTEL

The hotel proprietor passes William on the back porchpolishing Ellen's boots and gives him a scowl as he headsinside.





55.

PLANTATION OWNER Why, if that isn't the smartestthing I've heard. And how does abusiness man begin a program likethis?

CARTWRIGHTFirst and foremost, we must end theintermingling of the blood between whites and blacks. White men arebehaving improperly with theirslave women which only serves todilute our labor force. These daysI swear there are negroes walkingamong us that we wouldn't evenrecognize!

PLANTATION OWNER(chuckling)

I'm afraid you'll lose youraudience with that point, sir.Correct or not, it won't be wellreceived.

HOTEL PROPRIETORAnd the second part of yourlecture? Is it more popular?

CARTWRIGHTVery much so. The largest financialloss the South experiences is from

runaway slaves. This leaves theplanters without adequate labor to work the fields. Not to mention,the loss of capital wealth. It'slike hard dollars just running offinto the night.

LADY PASSENGERI have never been able tounderstand the desire to leaveone's home, where one is fed,clothed and treated like family.

CARTWRIGHT Well, that's exactly it, my lady.Their brains aren't able tofunction like your brain.

ELLENI find the reason is that mostslaves don't consider the fieldsthey work to be their home.



56.

The whole table stops and looks at her.

CARTWRIGHTThat's non-sense, couldn't befurther from the truth. The fact isthat slaves who escape have a

diagnosable mental disorder.Drapetomnia I've called it.

The others MUMBLE "Drapetomia" trying it out on theirtongues.

CARTWRIGHT (CONT’D)The disorder itself is rooted in white owners treating their slavelike equals. Over time, the slavesfulfill their duties less and less.

ELLEN

In your travels you must then findthat the cruelest masters havefewer runaways?

CARTWRIGHTI've met so few masters I couldcall cruel, that it's impossible tosay.

KITCHEN - CONTINUOUS

William sits on a barrel eating dinner from a tin plate inthe back of the kitchen.

One of the serving maids passes by him.

SERVING MAID Whoooo, your masta' is getting alickin' in there.

WILLIAMHow do you mean?!

SERVING MAID

They don't much like his opinions.

She leaves.

William bows his head and WHISPERS a prayer.



57.

DINING ROOM - CONTINUOUS

LADY HOTEL GUESTHow does one cure this Drapetomiaonce it's set in?

CARTWRIGHTIt's very simple. Removal of thebig toes.

LADY HOTEL GUESTOh, my!

The two serving maids flinch, but stare straight ahead.

CARTWRIGHTIt shows the dogs, that the masteris in charge. It also makes it achallenge for them to run very

quickly.

HOTEL PROPRIETORThis is such an interestingsubject.

CARTWRIGHTThank you. I'm writing a book. Tellyour friends.

ELLENI still must disagree. I have only

ever treated a black man or woman with respect and seen the same inreturn.

Cartwright eyes Ellen closer. He studies her face.

CARTWRIGHT Where are you from, sir?

Ellen realizes what a mistake she's made opening her mouth.

ELLENClinton, Georgia.

CARTWRIGHT Why I'm headed for there tomorrow! Where about's is your estate?

ELLENIt's in the north end, a few milesoutside of town.



58.

CARTWRIGHTThat must be near Robert Collins'place. Is that correct?

ELLENIt is.

CARTWRIGHTI should stop in on Collins as well, his being one of the few major plantations in the area Ihave not visited. That's likely dueto the fact he hasn't had manyrunaway slaves for me to research.I hear he doesn't abideinfractions. I'll tell him we had achance meeting. What's your name?

ELLEN

Edmund Johnson.

CARTWRIGHTHe'll likely find his neighbor'speculiar opinions mightyinteresting.

EXT. CHARLESTON DOCKS - MORNING

Superimposed:Charleston, NC - 678 miles to go

The docks are bustling with activity. PASSENGERS are boardingand freight is being loaded onto steamers.

INT. CHARLESTON TICKET COUNTER

As the previous PATRON leaves the counter the CHARLESTONTICKET SELLER waves Ellen forward.

CHARLESTON TICKET SELLERHow can I help you?

ELLEN

Two tickets to Philadelphia,please.

CHARLESTON TICKET SELLERSorry, but I'm afraid you're toolate. About three weeks too late.The steamer to Philadelphia don'trun in the winter.



59.

Ellen's face drops. This is the very last thing she expectedto hear.

CHARLESTON TICKET SELLER (CONT’D)Now, you could still get there bytaking a steamer to Wilmington,

then overland by train. It'll takean extra day, but it'll get yathere all the same. Would you liketo do that?

Ellen glances at William, wishing he could advise her.

ELLENYes, please.

CHARLESTON TICKET SELLERHe belong to you?

ELLENHe does.

He pushes a paper and pen her way with a smile.

CHARLESTON TICKET SELLERRight then. Just fill out the logbook and sign here for you and yourboy and you'll be on your way.

Ellen begins her routine of pretending her ailments are thereason she can't sign.

The Charleston ticket seller doesn't offer his assistance.

After a moment of struggling, Ellen SIGHS.

ELLENIf you could, please register for me.

CHARLESTON TICKET SELLERI'm afraid I can't, sir.

ELLEN

My hands are crippled.

CHARLESTON TICKET SELLERI can see that, but the rules arethe rules. Every passenger mustsign for himself.

Ellen slumps into her cane, grateful for its assistance. Hervoice QUIVERS.



60.

ELLENSir, I understand, but as you cansee I'm unable--

CHARLESTON TICKET SELLERIf you can't sign, step aside!

MAN'S VOICE (O.C.)Mr. Johnson!

Officer Tandy pushes through a crowd of people. He's as merryas always, but now with the aid of some brandy.

OFFICER TANDYThere you are! What's taking solong? Good sir, are you troubling my traveling companion?

The ticket seller stands down at the sight of Tandy in his

military uniform.

CHARLESTON TICKET SELLERNo officer, I was just explainingthe rules--

OFFICER TANDYDammit, can't you see the man's aninvalid! I'll sign for him. I knowhim and his kin like a book.

CHARLESTON TICKET SELLER

I suppose if you wanna vouch forhim, it would be alright.

Tandy signs the book, then smiles at Ellen. He clearly enjoysoffering his assistance.

MOMENTS LATER

Ellen and Tandy walk towards the steamer. William follows.

OFFICER TANDYI thought your travels were takingyou to Philadelphia?

ELLENThat is still my destination, but Ihad a hitch in my travel schedule.

OFFICER TANDYThey had a stowaway slave on thevery last steamer out from here toPhiladelphia.

(MORE)



61.

OFFICER TANDY (CONT’D)So they're raising quite a fussthese days and tightening up. It'snice that we'll be travelingtogether again. Once you getsettled, friend, we'll have a drinkand smoke.

INT. STEAMER TO WILMINGTON - ELLEN'S BERTH

Ellen pulls off her boots and wiggles her toes.

ELLEN When that kind Officer Tandy findsout his mistake, I have no doubt he will be careful in the future notto pretend to have intimateacquaintance with a completestranger.

They both try to stifle a LAUGH and fail.

EXT. WILMINGTON TRAIN STATION - DAY

Superimposed:Wilmington, NC - 510 miles to go

William walks behind Ellen. They pass a row of wanted postersfor runaway slaves, each offering a reward.

INT. TRAIN TO RICHMOND - WHITE CARRIAGE

A PORTER takes Ellen to a family car that seats four peopleprivately.

PORTERI think you'll be most comfortablein here.

Ellen joins MARSHALL GAGE (50's), and his two BLONDEDAUGHTERS (17 and 20).

MARSHALL GAGE

Good day sir!

Ellen smiles warmly.

MARSHALL GAGE (CONT’D)Marshall Gage.

ELLENEdmund Johnson.



62.

MARSHALL GAGE Where do you come from, Edmund?

ELLENClinton, Georgia.

MARSHALL GAGETell me do you live in town or doyou have a parcel of land?

ELLENI reside on a good bit of land.

MARSHALL GAGEBy the looks of you I would haveestimated so. If you don't mind myasking, what are your troubles?

ELLEN

Inflammatory rheumatism.

OLDER GENTLEMANTsk. A shame.

OLDER DAUGHTERAnd so young!

MARSHALL GAGEMy father was afflicted just thesame. Now, he had the sweetest wooly-head, and by darn if she

didn't come up with the bestrheumatism ointments. I must writethem out for you!

He pulls pen and paper out and begins writing furiously.

OLDER DAUGHTER Would you like some apple slices?

ELLENYou're very kind, thank you.

Ellen takes the offered slices. The older daughter smiles at

her sweetly. The younger daughter glares at her sister.

OLDER DAUGHTERMr. Johnson, you must come from a most respectable family.

YOUNG DAUGHTERA respectable family indeed.





64.

IMPRESSIONABLE SLAVEI hear they ain't got no slavesthere in Philadelphy. Nothin' butfree men.

WILLIAM

I've heard the same.

A SKEPTICAL SLAVE is cobbling a bed together from the pilesof straw strewn about floor.

SKEPTICAL SLAVEMy cousin was free. He starved. Noone in the North hire's no negro.I'm not itchin' to be free and noney'all should be either.

He lays down on his side facing away from the others.

IMPRESSIONABLE SLAVE(whispers to William)

I hear there's a train under theground, a railroad, that goes fromhere to the north. I hear about it,but I don't know how to find it.

WHITE CARRIAGE

The two daughters watch Ellen sleep.

YOUNG DAUGHTERPapa, he seems to be a very niceyoung gentleman!

OLDER DAUGHTEROh my, I never felt so much lovefor a gentleman in all my life.

MARSHALL GAGEGirls, you haven't met many tocompare to.

EXT. RICHMOND TRAIN STATION - DAY

Superimposed:Richmond, VA - 251 miles to go.

Marshall lends Ellen an arm as she disembarks from the train.

MARSHALL GAGE Who's here attending to MasterJohnson?



65.

William trots over.

WILLIAMI am, sir.

MARSHALL GAGE

Your master is as eccentric afellow as I've met. I reckon hehasn't nary a boy as faithful andsmart as you.

WILLIAMThank you, sir.

MARSHALL GAGE Why you must act as eyes, ears,hands and feet for him.

The gentleman slyly hands him a ten-cent piece.

MARSHALL GAGE (CONT’D)Continue your dedicated service.

WILLIAMI promise.

MARSHALL GAGE(to Ellen)

Will you be waiting long for yournext train?

ELLENI believe it's boarding now.

MARSHALL GAGETravel well, Edmund. When you arein Richmond again, please do call.It would be our honor to have youfor dinner. I should be pleased tosee you and so would my daughters.

ELLENI would very much like that. Mr.Gage. When I pass through again I

will do so.

Marshall smiles and he and his daughters depart.

WILLIAMIt might be quite some time beforeyou return to Virginia to keep thatappointment.

Ellen smiles.



66.

ELLENIt better be. If I were to visit I might find myself married off toone of his daughters.

WOMAN'S VOICE (O.S.)

That's my, Ned!

They turn to see a very short and very stout woman, Cora,(40's), pointing at William

CORABless my soul! Stop that boy!That's my, Ned!

Cora's YELLING has stopped the others at the station in theirtracks. All eyes have turned on William, who stands stunned.

CORA (CONT’D)

You runaway! Ned! Come to me!Porter! Help!

JACOB, a scowling porter approaches.

ELLEN(trying to sound confidentbut her voice cracking)

I think not, ma'am. That's my boy.

JACOBBoy, come when you're called!

CORAGrab hold of this runaway!

Jacob and another MAN grab William and bring him to Cora. Helooks terrified.

ELLENMa'am!

Ellen falters in her step and a NICE GENTLEMAN takes her bythe arm.

NICE GENTLEMANCan I be of assistance?

ELLENThank you, there's some mistakehere.

NICE GENTLEMAN What's all this fuss? The man saysthe boy belongs to him.



67.

JACOBThen there's no harm in allowingthe lady to inspect him.

Cora steps up to William and squints. She looks at him longand hard.

Ellen looks anxiously around. Everyone on the train platformhas taken an extreme interest in the situation.

Cora grabs William's chin and turns his face from side toside.

CORAThat's my, Ned, alright. Curse you!

She yanks his ear painfully before boxing him upside thehead.

This riles Ellen up.

ELLENNo ma'am! You are very much mistaken! This is my William andhe's been with me for two yearsnow.

JACOBLet's see your papers then!

The WILMINGTON STATION MANAGER, comes storming out of the

office.

STATION MANAGERJacob! Let's handle this matter inthe office.

ELLENSir, my boy and I must be on thistrain, I have a very importantdoctor's appointment--

STATION MANAGERThere's time yet before the train

is to leave.

INT. WILMINGTON TICKET OFFICE - MOMENTS LATER

The station manager half sits and half leans against his desklooking at William.





69.

STATION MANAGER (CONT’D)(to Cora)

Ma'am can you think of anydistinguishing marks that might befound on this boy's body to provehe's yours?

CORAOh, yes!

Cora whispers to him as well.

STATION MANAGERJacob, remove Wiliam's--

CORANed's!--

STATION MANAGER

This boy's shirt.

Jacob pulls off William's shirt. The station manager nods.

Outside the train whistle BLOWS urgently.

STATION MANAGER (CONT’D)Turn 'em around.

He nods again as he looks at William's back. The whip hasscarred four long slashes into his back.

STATION MANAGER (CONT’D)Ma'am, I'd say it's possible forhim to have gained a few lashingssince leaving you, but not to havelost any.

CORAI beg your pardon, sir. I was sureit was my Ned. In all my life Inever seen two black pigs that look more alike. My apologies.

Jacob hands William back his shirt.

ELLEN(eager to settle things)

All is forgiven.

INT. TRAIN TO BALTIMORE

Ellen takes a seat across from the nice gentleman from thestation.



70.

NICE GENTLEMANI trust things worked out in yourfavor?

ELLENYes, all was righted.

Cora takes a seat across from Ellen to Ellen's annoyance.

CORAI hope your boy doesn't turn out tobe as worthless as my Ned! Itgrieves me to think that after allI've done for him, he'd up and runoff without any cause at all!

NICE GENTLEMAN When did Ned leave you?

CORASome 18 months ago.

NICE GENTLEMANDid he have a wife?

CORANot when he left, but a whilebefore. A good and faithful onetoo, but the poor thing became tooill to work. I sold her down toLouisiana where the climate might

be more beneficial. We were bothquite sad to see her go.

Cora dabs a handkerchief to the corners of her eyesdramatically.

NICE GENTLEMANI suppose she must have been gladto go South for the restoration ofher health.

CORAOh, they never know what's best for

them. Somehow they get the idea intheir head that the further souththey go the harsher their work willbe.

NICE GENTLEMANI have heard the same myself. Ifyour girl was so faithful whydidn't you give her, her freedom when she fell ill?



71.

CORAFreedom! I have no respect forpeople who set them go! It is thevery worst thing you can do forthem! My dear husband, just beforehe died, set all of his chattel

free in his will, but I knew he wastoo good of a man to do such anunkind and foolish thing, had hebeen in his right mind. So Ialtered the will as it should havebeen in the first place. Think ofit, to turn a poor soul loose toshift for themselves when there areso many good masters to take careof them.

NICE GENTLEMANI declare, if freedom does not suit

your slaves, then surely Ned willreturn once he sees his mistake.

Cora doesn't like this one bit.

CORAI think I'll find myself a morecomfortable seat. Good day to you!

NICE MAN(to Ellen)

If that woman has any religion, may

my soul never be converted!

Ellen smiles and nods in agreement.

EXT. BALTIMORE TRAIN STATION

Superimposed:Baltimore, MA - 105 miles to go

William and Ellen are sitting on a bench in the shade. Theyboth look exhausted.

ELLEN

One more trip to just one moredestination. Oh, William, this isthe most scared and most elatedI've been in my whole life.

William rises and aids her in standing.

WILLIAMThere's nothing left to be scaredof.



72.

The TRAIN CONDUCTOR steps out in front of them. His eyesflick to Ellen to William and then back suspiciously.

CONDUCTORI saw you passed by the ticketcounter without stopping, sir. Have

you everything you need in order toboard?

ELLENI do. I purchased our passage inCharlotte.

CONDUCTORThen I trust you'll enjoy yourtravels.

The conductor watches William curiously as they walk away.

MOMENTS LATER

They are boarding.

William is seeing Ellen into her car as a STERN OFFICERapproaches them and taps William on the shoulder.

STERN OFFICER Where you think you goin' boy?

WILLIAMTo Philadelphia, sir.

STERN OFFICER(to Ellen)

Sir, I will need you and your boyto step off the train.

Ellen's face drains of any color it has.

STERN OFFICER (CONT’D)It's against my rules to let a mantake a slave past here unless hecan satisfy the office that he hasthe right to take him along. I

calculate you'd aughta head to theoffice with me and be quick aboutit. The train'll be leaving soon.

Their hearts pound.

INT. OFFICE

Ellen and William are exhausted.



73.

STERN OFFICERYou can't take a negro fromBaltimore into Philadelphia withouta bill of sale.

ELLEN

Why is that?

STERN OFFICERBecause, sir, if any gentleman might take a slave through here andshould turn out not to be theslave's owner and the rightfulowner came to us, we would be theresponsible party and bound torefund him.

ELLENI don't see any reason you'd have

to question he's anything but myproperty.

TICKET SELLER We've had too many whites sneakingblacks up to the North. Without abill of sale, how's we supposta'believe you have a right to travel with him?

An IMPATIENT LADY behind Ellen SIGHS.

STERN OFFICERIt's not out of any disrespect foryou, sir, but the laws are verystrict here in Charleston. I haveknown entire families to be delayedhere with their slaves until theycan provide reliable information.If we're not careful any damnabolitionist could take off withvaluable property.

IMPATIENT LADYYou ought not delay a man in his

condition. He looks pained.

It's true Ellen looks like she's broiling in internal pain.

STERN OFFICER(slightly sympathetic)

Do you have anyone in Baltimore whocan vouch for you?



74.

ELLENI have people who can vouch for mein Philadelphia.

STERN OFFICERThat's not enough to satisfy us

here in Baltimore.

She puffs her chest and looking the man in the eye,

ELLENI bought tickets in Charlotte topass us through to Philadelphia. Wesatisfied them in Charlotte. Do yousuggest that I'm now stranded here?

William glances at her sideways. He's impressed.

The officer is wearing out. There is silence. Just then the

Conductor comes in.

STERN OFFICERSay, Walter, did you ride withthese two up on the train fromCharlotte?

Walter, the conductor glances over at them.

CONDUCTORI did.

Ellen and William look from the conductor back to the sternofficer. Somewhat in disbelief and waiting to see if this will suffice.

A bell RINGS and everyone begins to scramble.

IMPATIENT LADYI need to buy a ticket!

The officer looks again at the Conductor who nods hispermission again before exiting.

EXT. BALTIMORE TRAIN STATION

William helps Ellen hobble as quickly as she can into thecar.

INT. SLAVE CARRIAGE - LATER

The Conductor comes back to the slave car. He WHISTLES to William and beckons him.



75.

CONDUCTORYou shouldn't even be on thistrain. Baltimore's known to be thelast southern port, we seestowaways regularly. As theconductor, it's my duty, to see you

off the train.

The conductor looks him over as he thinks. William is silent,and unsure.

CONDUCTOR (CONT’D)Let me give you some friendlyadvice, when you get toPhiladelphia, leave the cripple andget your freedom.

William is surprised, but plays his dutiful part.

WILLIAMI couldn't leave Masta' Johnson.

CONDUCTORVery well, perhaps you'll changeyour mind when you get toPhiladelphia. If you do run, I knowa place you can go. Abolitioniststhat will help you.

William shrinks back.

CONDUCTOR (CONT’D)No, these are people you can trust.They can hide you from the slavehunters and help you settle in theNorth... You don't trust me do you?You're a stubborn boy. There's abar called the Rooster Inn. Ask forEmmett. He'll help you. Unless youhave other options?

EXT. PHILADELPHIA TRAIN STATION - DAY

Superimposed:Philadelphia, PA - Christmas Day, 1848

INT. WHITE CARRIAGE

PASSENGER(to his companion)

Wake up old horse, we are atPhiladelphia!



76.

But it's Ellen who's startled awake. She too looks out the window, but in disbelief.

INT. SLAVE CARRIAGE

A train slows to a stop and the door is thrown open.

William looks outs and sees the bustle of one of the busiesttrain stations in the country.

It's as if a man in the desert has found water.

EXT. PHILADELPHIA TRAIN STATION

Never have two people disembarked from a train faster. Withhis feet on the ground, William rises up tall.

And just like that, he is a free man.

Without a break in character they board a carriage. This timesitting together as equals.

WILLIAMCan you take us to the Rooster Inn?

The white carriage driver gives them a cross look but saysnothing. He gestures for them to board with a nod of hishead.

INT. CARRIAGE

As the door closes, Ellen grasps his hand.

ELLENHave we really done it? We arefree?

WILLIAMAs we've always dreamed to be.

His tears match hers.

EXT. CARRIAGE

The driver turns at the sound of their weeping. His browfurrows in curiosity.



77.

INT. CARRIAGE

They sit for a moment in silence.

ELLENI scarcely could believe we would

make it here, so I never imagined what we'd do when we actually madeit through.

WILLIAMYou'll never believe what I heard,those abolitionists aren't alldevils and damned souls! Masta'Collins must have always said thatto make sure if we ever saw one we'd be damned scared to talk to'em.

EXT. ROOSTER INN

William and Ellen stand across the street from the bar.

ELLEN What will you tell them?

WILLIAMThe truth.

INT. ROOSTER INN

William walks into the noisy bar filled with LOWER CLASS WHITE MEN.

The drunk eyes of several of the men follow him as heapproaches the BARKEEP, who's gruff and unwelcoming.

BARKEEPCan I help you?

The words stick in his throat. It is now William in thelion's den of white society.

ELLENMay I speak to Emmett?

The barkeep looks at him suspiciously.

EMMETTI'm Emmett. Who's askin'?



78.

WILLIAM(overwhelmed with suddenemotion)

I... I come up... up from Georgia,sir. My wife and I. We left our...I was told if we needed help--

EMMETT Where's your wife?

Emmett's demeanor changes and he suddenly seems eager toassist.

WILLIAMOutside. She--

EMMETTGo get her. Quick! Come around tothe back entrance.

EXT. ROOSTER INN BACK ALLEY

ELLEN What if it's a trick and they meanto capture us?

WILLIAMI can't but think if theabolitionist were out to capture usand return us, Collins sure

wouldn't have warned us againstthem. Likely, the opposite.

INT. ROOSTER INN'S KITCHEN

Emmett puts a kettle of water on the stove, then calls out,

EMMETT Winston? Winston!

WINSTON, a lumbering black man, comes in.

EMMETT (CONT’D)There's two negroes outside lookingfor help.

A KNOCK at the back door.

EMMETT (CONT’D)Let them in, get them settled andfix them some tea. I'll get thehorses ready.



79.

Emmett disappears back out to the bar. Winston opens the doorfor William.

William comes in, followed by Ellen. Winston looks confused.

WILLIAM

Your master said you could help us?

WINSTONHe ain't my master. I ain't got no master.

ELLENYou're a free man?

Ellen, overcome with emotion, collapses to her knees. Shestarts to weep.

William goes down to the floor with her and wraps his arms

around her. He removes her hat, kisses her temple andsqueezes her tight.

WILLIAMShhh, it's ok. We're here.

Winston watches what looks to him like William soothing a white man, with shock.

Emmett walks in to the same scene and stands frozen.

William and Ellen are oblivious to the scene they're causing.

The only thing they care about is they are free.

Seeing Emmett's face, William finally stands up. He pullsEllen to her feet and holds her.

WILLIAM (CONT’D)Sir, this is my wife, Ellen, andshe's guided us here all the wayfrom Clinton, Georgia.

A long pause.

EMMETT

My wife has an extra dress you can wear.

LATER

William sits at the table over food and drinks with Emmettand Winston.



80.

Ellen stands at the window as the midday sun is streaming inon her face. She is dressed in a simple frock and she looks more content than we've ever seen her.

EMMETT (CONT’D)I wish I could say you're safe here

in Philadelphia, but you're not.You're still fugitives. You'll needto go further north. I have afriend in Boston who can help you.He's a tried and true abolitionist.

EXT. ROOSTER INN - NIGHT

William and Ellen climb into the back of a covered wagon.

EMMETTGood luck to you!

Winston is at the reins.

EMMETT (CONT’D)(to Winston)

Stick to the back roads and don'ttake any chances. After hearingthat story, I have no doubt someoneis looking for these two.

EXT. BOSTON - ESTABLISHING - DAY

Winston steers the wagon through the city.

INT. THE GARRISON'S HOME

WILLIAM LLOYD GARRISON opens the door to see Winston standingon his front step. He's in his 50's, completely bald on topbut with tufts of hair on the sides and kind eyes.

WINSTONMr. Garrison, we need your help.

CUT TO:

LIVING ROOM

Garrison sits with his mouth agape.

GARRISONPut the hat on again.



81.

Ellen, now dressed in men's clothes again, obliges.

GARRISON (CONT’D) Well, I'll be damned. Genius. Ithink you two will prove to be morepopular than even ol' Box Brown.

He's not going to like it.

INT. FANEUIL HALL - DAY

A sign reads: Massachusetts Anti-Slavery Society

A SMALL CROWD OF WHITE AND BLACK MEN is seated. Garrisonstands at the podium.

GARRISONI know many of you came here todayto hear the story of Henry "Box"

Brown and his courageous escape by mailing himself in a box fromVirginia, but I have the joy ofintroducing to you a young couple who has just completed a harrowingtrip from the deep South of Georgiaand I've asked them to tell us oftheir journey as well as of theyears of slavery they endured. William and Ellen Craft!

Ellen and William step up to the podium amidst LIGHT

APPLAUSE.

Garrison takes a seat in a chair on the small stage next toHENRY "BOX" BROWN, a short black man with a scowl on hisface.

CUT TO:

William is at the podium and Ellen stands directly next tohim. The CROWD has doubled in size. William takes to the roleof orator very naturally.

WILLIAM

Ellen shouldered the burden of ourescape. Our freedom or our death was mostly in her hands every hourof our trip. I simply played therole of myself, a faithful slave, while Ellen played the role of a well to do white man who couldafford a slave as a valet.

(MORE)



82.

WILLIAM (CONT’D)And as it would never be acceptablefor a proper southern lady totravel alone with a male servant,our plan could only work if she were to wear the clothes of a manand walk in their world without

raising suspicion.

He turns to her, beaming.

WILLIAM (CONT’D)

At every turn it was her wits thatsaved us.

CUT TO:

The CROWD has doubled in size again, and this time many ofthe attendees are WOMEN. Ellen speaks while William stands

by. Ellen's delivery is more timid.

ELLENIt was difficult to put on theclothing and the air of the very men who treated us like dogs. Ifelt as if by walking in their world and joining theirconversations I was an accompliceto their crimes against our people.

CUT TO:

The auditorium is now standing room only.

GARRISONTo think it! An illiterate negro woman slept in the very same hotelas Mr. John C. Calhoun! (WHISTLES and CHEERS fromthe crowd)

Allow me to introduce to you William and Ellen Craft.

Ellen and William both stand. She waves to the crowd then

smiles at him and kisses him on the cheek.

ELLENI will never tire of hearing youtell our story, love.

Ellen sits back down as William takes the stage.



83.

INT. THE COLLINS HOME - DAY

Robert Collins holds an abolitionist paper touting:Williamand Ellen Craft - The Georgia Fugitives!

COLLINS

It's a mockery. They've made a foolof me!

Willis Hughes and John Knight, the slave hunters, nod.

COLLINS (CONT’D)Go to Boston and bring them back.I'm not concerned with whether theyare alive or dead. Just that myproperty is returned to me.

HUGHESI don't see it being an easy task.

The folks in Boston seem quitetaken with them and keen to protectthem.

COLLINSThey may fawn over them as much asthey like, but they'll turn overthe fugitives when you show themyour arrest warrant.

Collins hands them a document. Hughes looks in awe.

HUGHESThis is signed by PresidentFillmore.

COLLINSThe President himself has decreedthat the laws shall be upheld and my property returned to me.

INT. CHAPEL

William beams at Ellen as the two stand in front of THEODORE

PARKER, a white Reverend and abolitionist.

REVEREND PARKER William Craft, do you take this woman to be your lawfully wedded wife?

William's eyes are locked on those of his beloved.



84.

WILLIAMI do.

Mr. Garrison and his WIFE sit as witnesses, beaming withpride.

LATER

Mrs. Garrison is hugging Ellen.

Reverend Parker pulls William aside. He hands William abundle wrapped in a cloth. William opens it to reveal arevolver and knife.

REVEREND PARKERYou must be prepared to defendyourself and your wife if hunterscome after you.

WILLIAMReverend Parker, I'm quitesurprised a man of the cloth wouldsuggest violence.

REVEREND PARKERNot violence. Defense. Please don'tbe naive, William. They will come.

Mr. Garrison approaches.

MR. GARRISON

I agree with William, there must bea better solution.

REVEREND PARKERGarrison, their faces are on wantedposters all over the city! If it'snot slave hunters from the South,it will be one of our veryneighbors looking for that reward.

MR. GARRISON We've raised the funds, to purchaseyour freedom.

WILLIAMFreedom isn't purchased, it's abirthright.

MR. GARRISON Would you rather carry thatrevolver and knife with you.Looking over your shoulder for therest of your life?

(MORE)



85.

MR. GARRISON (CONT’D)Look, we're not willing to lose youand Ellen. We've come to love youlike family and the North has cometo love your story.

REVEREND PARKER

Do you believe that will work,Garrison? Purchasing their freedom, may be accepted in a court of law,but slave hunters don't operate within the law.

WILLIAMMr. Garrison, my wife and I areforever in your debt, but I beseechyou, do not purchase our freedom.To do so would do a great injusticeto our cause. To pay ouroppressors, would only recognize us

as property to be bought and sold.A free man is still a slave in theeyes of the world if his freedomhas been purchased.

MR. GARRISONI see.

INT. THE GARRISON'S HOME - NIGHT

William sits at the kitchen table with a book. A lantern

lights the dark.

Ellen comes up behind him and kisses his neck.

ELLENAre you ready for bed?

WILLIAMJust one more hour.

ELLENThe whole world is asleep.

WILLIAMA man who spends his life inslavery must read while otherssleep if he's to catch up.

Ellen slides herself around until she's pushed her way on tohis lap. She kisses him.



86.

ELLENA husband and wife who've spenttheir life in slavery must kiss while others sleep if they're tocatch up.

William smiles as he kisses her back.

WILLIAMI've married a wise woman.

He picks her up and blows out the lantern.

EXT. BLACK NEIGHBORHOOD OF BOSTON -

A young BLACK BOY sells newspapers on the corner.

The headline reads: FUGITIVE SLAVE ACT PASSED!

INT. FANEUIL HALL

Mr. Garrison and a room full of abolitionists, black and white. The energy is angry.

MR. GARRISONQuiet. Quiet! We're not here toargue the morality of the new law.Only how to protect ourselves.

OUTRAGED WHITE MAN Why should I continue to stick myneck out knowing I'm now in danger!I could go to jail! Why risk myvery own freedom!

MR. GARRISONBecause we who are gathered hereare committed to do the rightthing, not the easy thing. Anyone who no longer wishes to add theirvoice and support to our cause, canleave now.

The outraged man walks out. Slowly three others follow.

MR. GARRISON (CONT’D) We who remain understand the risksunder the new Fugitive Slave Act.Any official or law enforcementagent who doesn't cooperate isliable.

(MORE)



87.

MR. GARRISON (CONT’D)Any citizens assisting or harboringan escaped slave is in defiance ofthe law. But, we must remember forall of its evils, the FugitiveSlave Act has allowed us topreserve freedom in the new western

territories. To stifle the growthof slavery and the spread of thispeculiar institution throughout thenewest parts of our country.

WILLIAMHow can we sit back and acceptthis! No negro should be capturedand sent into slavery without atleast a jury trial. As the law isinterpreted now, any black man, woman or child, even those who arelegally free can be captured and be

sent to the Southern hell.

MR. GARRISON William, you know we are in thisfight with you, but our hands aretied. This is a concession theNorth has to make.

WILLIAMIt's bullying is what it is. Theyare threatening to secede. Well,let 'em! We'll be better off for

it!

INT. PUB - NIGHT

Hughes and Knight sit at the bar with an ALCOHOLIC. Knightpasses a five dollar bill across the bar.

HUGHESI understand your wife is a niggerlover. What can you tell us?

The Alcoholic eyes the bill.

ALCOHOLICShe won't be in no trouble?

HUGHESNone at all. We're only interestedin tracking down missing propertyand returning it to its rightfulowner. We even have an arrest warrant.



88.

He produces it.

ALCOHOLICShe teaches in a boarding house.Reading and writing. To be clear Idon't agree with it.

HUGHESOf course.

* BEGIN UNFINISHED SCENE *

EXT. BLACK NEIGHBORHOOD OF BOSTON - DAY

Hughes and Knight stand in the alley and watch William andEllen exit the boarding house. They are in the company of

three white men.

Knight puts out his cigarette and the two men follow.

Exciting Run in with bounty hunters. William is nearlycaptured Ellen is distraught.

But their friends rise up and run the hunters out-of-town.Hughes and Knight are harassed, roughed up, and jailed.

HUGHES We have an arrest warrant signed by

the President of the--

But e is clobbered.

* END UNFINISHED SCENE *

INT. THE GARRISON'S HOME

William, Mr. Garrison, Ellen, Henry "Box" Brown and ReverendStevens sit around the table.

BOX

(to Garrison) Writing articles and holding meetings isn't enough any more. I'mleaving for England.

WILLIAMBox, how can you not see thatthings are getting better!?

(MORE)





90.

EXT. BOSTON DOCKS

Mr. Garrison hugs William and kisses Ellen delicately on thecheek. He has come to care for them very much.

EXT. LONDON DOCKS

Superimposed:December 1850 Liverpool, England

William and Ellen disembark from the Cambria, in England,

A SERIES OF SCENES

William and Ellen sit at their dinner table. Their infantson, rests on Ellen's lap. She dotes on him as she feeds him.

In a London auditorium a large crowd watches William speak.Ellen sits in a chair in the audience now. Letting William do

the speaking for her.

William and Ellen are learning how to read.

William and Ellen sit at their dinner table with their twoyoung SONS.

Ellen reads a newspaper announcing the Civil War has brokenout in the US.

William and Ellen sit at the table with THREE CHILDREN now.

William is writing.

William and Ellen are lying under a shade tree watching theirchildren play and fish in a stream. Ellen holds her infantdaughter.

Ellen is playing chess with her oldest son.

William is writing.

"Running a Thousand Miles to Freedom"is published.

William is holding up the book as he speaks. Ellen is looking

up at him from the audience with pride.

Ellen reads a newspaper announcing that the Civil War hasended and Lincoln has freed the slaves.

EXT. DIRT ROAD - DAY

Superimposed:Clinton, Georgia 1868



91.

William drives a wagon down the road with Ellen beside himand their five children in the back.

William brings the carriage to a stop.

They are in front of the Collins property. The beautiful

plantation home rises just as majestically as before.

The children perk up, curious as to why they stopped.

Ellen puts her hand on William's.

ELLENDrive on.

He nudges the horses along.

A SERIES OF SCENES

William and Ellen are settling their family in their newhome.

William and Ellen are sitting in side by side rocking chairson the front porch as their children play.

Ellen Craft is teaching THREE YOUNG BLACK MEN the alphabet atthe kitchen table.

The whole family is helping build a one room school house onthe property.

William is teaching TWO BLACK BOYS how to build a dresser inhis barn.

Ellen is now teaching EIGHT BLACK MEN and FOUR BLACK WOMEN inthe school house.

William and his two oldest sons, (15 and 13), are plowingtheir fields.

Ellen kneads dough while William teaches his DAUGHTER, (4),how to play the fiddle. Ellen winces at a flat note. Williamgently repositions her hand and she plays the note perfectly.

INT. SCHOOLHOUSE

Ellen's little schoolhouse is now completely full.

A YOUNG BLACK WOMAN, (21), reads from Milton's Paradise Lost

YOUNG BLACK WOMANGod gave us, only over beast, fishand fowl, dominion absolute.



92.

EXT. FARMHOUSE

With the schoolhouse behind her in the distance, Ellen walksholding hands with her youngest daughter towards her frontporch.

YOUNG BLACK WOMAN (V.O.)That right we hold by his donation.But man over man, he made not lord.Such title to himself reserving.Human left, from human free.

William sits on the porch whittling a train out of wood.

ELLENI'll put on a pot of coffee?

WILLIAMThank you, sweetheart.

Down the dirt road a wagon kicks up dust as it comes in froma distance.

William sits up straighter in his chair as he watches. Heputs on his glasses. He stands.

Ellen sees him rise and she turns to look as well.

William descends the steps as a wagon pulls up.

Cecile, his little sister, now in her 40's, emerges and the

two embrace with tears.

FADE OUT:

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Running a Thousand Miles