10.

DISSOLVE TO:

132.

EXT. COUNTRY ROAD (NIGHT)

MED. SHOT --- TIM AND CATON

as they trudge wearily along the road. They
come to a crossroad, where TIM hesitates.

CATION stands worried, his disguise practically
torn off, his veil lost, his hat awry.

CATION

Mars Tim, does you know where you's at?

TIM

Yes! We're going that way.

TIM chooses the road to the left. He whistles to
keep his courage up. The stars shine brightly,
the glow worms twinkle, the frogs croak.

CATION

But where we goin', Mars Tim?

TIM

I'm going somewhere where you can be free.

CATION

Folks always told me to follow de North
star.

They walk in silence. Frogs croak very loudly.

CATION begins to sing.

CATION

De froggie went a-cotin'. He did ride!

Umm-hum! Umm-hum!

Sword and pistol by his side!

Umm-hum! Umm-hum!

TIM takes the song up, singing a verse alone.

TIM

He rode up to Miss Mouses' door.

Umm-hum! Umm-hum!

13.

137. (CONT.)

TIM

So that's why Mr. Dill was in New
Orleans!

GUMBO

Gone since mornin'---and Mr. Cass
done been workin' everybody to death.

TIM

He can't sell my father's Slaves--I've
got to find a way to stop him--Listen,
Gumbo---You know where that old sugar
mill is on Colonel Lowery's Place---

GUMBO

Yes, Mars Tim, I use to play Mulberry
Bush dere---

TIM

Don't you tell a soul! You get a pan
of food and take it there---and give it
to Uncle Caton.

GUMBO

Uncle Caton?

TIM claps his hand over GUMBO'S mouth.

TIM

I'm going to New Orleans! Help me
saddle Silver King.

The two boys go off toward the stables.

DISSOLVE TO:

over

138.

EXT. COUNTRY ROAD (NIGHT)

TRUCKING SHOT --- TIM

streaking down the road on a white horse in the
moonlight.

SOUND

Horses hooves on the road.

139.

EXT. ABANDONED SUGAR MILL (DAWN)

MED. SHOT -- GUMBO

cautiously approaching sugar mill, sneaking through
the trees, carrying a bowl of food. There are no
signs of life. GUMBO ENTERS THE mill.

140.

INT. SUGAR MILL (DAWN)

FULL SHOT -- GUMBO

searching for CATON, looking under and into apparatus
of mill. Tragi-comic search. He calls softly at
first, then louder and louder.

GUMBO

Uncle Caton! Uncle Caton! Where is you?

.....Uncle Caton! Uncle Caton!

Footsteps and crackling brush.

SOUND

15.

CUT TO:

143.

INT. BOUTON'S BED ROOM (DAY)

MED. SHOT --- BOUTON

in bed, a little tray of black coffee beside
him. BOUTON is still dozing.

SOUND
Knock on door. Repeated.

BOUTON turns over drowsily and frowns.

BOUTON
Get away from that door! who
is it? What do you want? Don't
you know I was up half the night?

JASPER (o.s.)
It's an important gentleman, suh.

BOUTON
I'll see him tonight! Go on!

TIM (o.s.)
It's me, Mr. Bouton!

BOUTON
Oh! Is that you, Tim? Come on
in here, you little rascal!

The door opens and TIM enters, followed by JASPER who grins. JASPER collects the coffee things. TIM approaches the bed as BOUTON sits up.

BOUTON
(laughing)
Where's your aunt this morning?

TIM and JASPER both laugh.

TIM
I'll tell you in a minute.

TIM looks at JASPER. BOUTON motions the SLAVE out.

BOUTON
Go ahead, Jasper!

JASPER exits, looking back.

TIM
Mr. Bouton, did you ever have
anybody try to do something
real mean to you, and you
didn't have anyway to stop them?

BOUTON
What are you talking about, TIM?
Sit down. What is your face
doing all dirty? Where've you
been all night?

TIM
Mr. Bouton, did you ever have
anybody try to take ALL your
good friends away from you?

145. (CONT.)

17.

**TIM**
But my father trusted him.

**BOUTON**
He's not the first man ever betrayed a trust. Let's get out of here and see what can happen.

**DISSOLVE TO:**

146.
INT. LOUNGE OF INN (DAY)
FULL SHOT ---PAULINE

sits rapidly turning over the pages of her books. She turns irritably to a staid old lady sitting knitting nearby.

**PAULINE**
Not a picture in them!

She throws the books aside, bored, and looks about. Across the room, down a balustraded pair of steps, TIM and BOUTON enter. CLAIRE is receiving payment of a bill from a distinguished-looking old Southern gentleman.

**CLAIRE**
Your entire bill is $8.40, Mr. Bontemps. OH, A twenty gold piece!

**BOUTON**
(calling from the steps)
Claire, don't forget to tell Jasper to kill four turkeys for tonight, reserve a table for Madam Florez and a party of four for supper, and tell Aunt Julie to lay me out a clean shirt.

BOUTON'S eyes fall on PAULINE. CLAIRE simply nods as she takes change from her pouch and counts it out to the old man. BOUTON touches TIM, and speaks softly.

**BOUTON**
Say, I got an idea, Tim. You wait a minute here.

BOUTON crosses the room to PAULINE.

147.
INT. LOUNGE (DAY) ANOTHER ANGLE
MED. SHOT --- BOUTON AND PAULINE

who smiles cooly as he approaches.

**BOUTON**
Good morning, Msmazelle Pauline!

**PAULINE**
Well, good morning, Jacques Bouton! You look so lovely and fresh! Just getting up at noon?

(CONT.)

21.

151 (CONT.)

JANIE

Gumbo, khoney, if Mars Reid had
only lived till you growed up
to be a man! I hopes de same
master buys us both.

GUMBO

If he don't, I ain't goin'.

JANIE

Hush, son! Hush!

SOUND

In distance slaves humming a
spiritual.

DISSOLVE TO:

152.

MOMMY

INT. CLEARED STORE HOUSE (NIGHT)
FULL SHOT ----SLAVES (SHOOT SCENE WITH CRANE)

gathered together for the last time to sing and
pray in the store house where the octon bales
have been. They sit on few remaining bales
and boxes, somm on the floor. A few oil flares
give light. It is a scene of great sorrow and
religious devotion gradually mounting to a
climax of rhythmic power and song.

**SONG**

Been listening all de night long,
Been a-listening all de day,
Been a-listening all de night long
For to hear some sinner pannam pray.

**SLAVE**

O, de foxes, dey hab holes in de groun',
An' de birds hab nests in de air,
An' ever'thing has a hidin' place,
But us po' sinners ain't got nowhere.

**SONG**

He leads the CONGREGATION in a song.

**SLAVE**

**SONG**

Now ain't dem hard trials,
Great tribulations?
Ain't dem hard trials?
I's bound to leave dis land.

**WOMEN**

Folks, you may go dis a-way!
Folks, you may go dat a-way!
You may run from door to door---
But if you ain't got de good Lawd in yo' soul,
Why, de debbil's gwine to git you sho!

A YOUNG SLAVE speaks from an improvised pulpit,
as CAMERA PANS IN on him.

CAMERA PULLS BACK taking in crowds of SLAVES pouring into the room. Two WOMEN speak in the crowd together.

The song swells in volume as the crowd grows.

22.

152 CONT.

### SONG

Now, ain't dem hard trials?
Great tribulations?
Ain't dem hard trials?
I'm bound to leave dis land.

CAMERA PANS TO DOOR and takes in JANIE, GUMBO, and UNCLE CATON as they enter. CATON'S hands are chained behind him. As he walks he speaks the first lines of a song.

### CATON

God called Moses to de mountain top,
Stamped his law on Moses heart.

The entire CONGREGATION breaks into the song, lead by CATON.

### SONG

God called Moses to de mountain top,
Stamped his law on Moses heart.
He putz his commandments in his mind,
Said to Moses, don't you leave my Lambs behind!

He had to run, run, run,
He had to run, run, run,
He had to run to de City of Refuge!
He had to run!
Yes, he had to run!

Some rise shouting as the CONGREGATION sways to the song, and CATON mounts the pulpit.

### SONG

God sent Jonah to de Nineveh land,
He didn't obey my Lord's command.
De wind blew de ship from shore to shore,
And de whale swallowed Jonah an' he was no more.

CAMERA PANS TO MEMEME JANIE in the midst of the crowd. She rises now to give a determination. Thunder rolls and there is a flash of lightning.

### JANIE

Brothers and sisters, long hab I toiled wid my hands,
and labored wid my weary soul, knee bent and body
bowed down, tryin' to grasp de golden knob o' heaven's
door. And low, dis evenin' ole Satan done grabbed me,
and shook me, and turned me round, till I stand here
tremblin' at de gates o' hell! Lawd, I won't go in!
I'm gonna stand here and hold out, Lawd, till you hear
my lonesome cry. (LOOKING UP) Lawd? Lawd?

There is no answer, so she implores Him in a song.

### SONG

If you can't come,
If-a you can't come,
If-a you can't come, Lawd,
Send a-one angel down,
Send him in a hurry,
Send him fo'to bring me,
Send him in a hurry, Lawd,
If you can't come!

Thunder without, and lightning, but JANIE stands firm in her song.

23

152 CONT.

### SONG
If you can't come,
If you can't come,
If you can't come, Lawd,
Send a-one angel down,
Send him in de lightenin',
Send him in de thunder,
Send him in a hurry, Lawd,
If you can't come.

### CUT TO:

153 INT. STORE HOUSE (NIGHT)
MED. SHOT --- TIM IN DOORWAY

with drops of rain and flash of lightening seen as he enters.
At first the slaves do not see, but suddenly his highclear
voice takes up the song. *Voices him, cry, tim! tim! tim!*

### TIM
If you can't come,
If you can't come,
If you can't come, Lawd,
Send one angel down!

The slaves turn in wonder and amazement, astonishment and
delight, rising to delirious joy as they see their young
MASTER in the doorway. Women scream, but TIM lifts his hand.

### TIM
Send him on a rainbow,
Send him in de glory,
Send him a hurry, Lawd,
If you can't come!

The song rises to a great and glorious chorus as the refrain
is repeated jubilantly. TIM comes forward and greets UNCLE
CATON joyously, but registers worry at seeing the chains on
his arms. TIM turns to the crowd and speaks.

### TIM
My slaves and my friends, you all know my
father, Timothy Reid, has gone to heaven.

### SLAVES
Yes, indeed! Gone to glory! Amen!

### TIM
But I know his spirit is with us now. And I
have found a good friend who has come from New
Orleans to help me out of this trouble.

### SLAVES
Hallelujah! Thank Gawd! Bless his name!

### TIM
The Reid family, flown through the generations,
has never sold a slave. I can't and I won't
break this tradition.

### SLAVES
Help him, Jesus! Carry him on, spirit! Amen!

### TIM
Pray for me while I go to the Big House and fight
with all my might to save you-all, be calm, and wait
till I come back and give you the word.

26

159 INT. DEN (NIGHT)

MED. SHOT---DILL

alone in the confusion created by the fight. He looks up
angrily as TIM enters.

DILL

So you come sneaking back, heh? After
causing me all kinds of trouble. You'll
never run away again.

DILL grabs TIM by the wrists and drags him away. TIM
fights and kicks back powerless. Bites his hands.

DISSOLVE TO:

160 INT. STORE HOUSE (NIGHT)

MFULL SHOT---SLAVES

filling the night with song, the whole place rocking, as
the storm is at its height. CATON leads the singing.

## SOUND

Great pealing rolls of thunder.

## SONG

My Lawd! (My Lawd!) My Lawd! (My Lawd!)
My Lawd says he's gonna rain down fire!
My Lawd! (My Lawd!) My Lawd! (My Lawd!)
My Lawd says he's gonna rain down,ممam
My Lawd says he's gonna rain down fire!

Gabriel! (Gabriel!) Gabriel! (Gabriel!)
Gabriel blow yo' silver trumpet.
Gabriel! (Gabriel!) Gabriel! (Gabriel!)
Gabriel blow yo' silver---
Gabriel blow yo' silver trumpet!

Moses! (Moses!) Moses! (Moses!)
Moses smote de Red Sea over.
Moses! (Moses!) Moses! (Moses!)
Moses smote de Red Sea---
Moses smote de Red Sea over!

My Lawd! My Lawd! My Lawd! My Lawd! Ha
My Lawd says he's gonna rain down fire! Etc...

161 INT. STORE HOUSE (NIGHT)

CLOSE UP---CATON'S

face gleaming in the lamplight as the thunder rolls and
the song comes over, filling the night.

27.

March 16, '39.

161. EXT. SKY AT SUNRISE
ATMOSPHERIC SHOT

as dawn comes to Louisiana and Bayou Lovelle.
The sky lighting with the sunrise, colorful
clouds, shadows disappearing, the coming of
a beautiful day---for so much sorrow.

162. EXT. PLANTATION GROUNDS (SUNRISE)
TRUCKING SHOT---DILL AND CASS

walking toward the slave quarters, note books,
etc., in hand. DILL'S face is swollen.

CASS

How's your jaw this mornin', Mr.
Dill!

DILL

Nothing but a scratch! Can't let
it worry. We've got all these slaves
to parcel off by noon.

CASS

You gonna let me drive 'em down to
New Orleans?

DILL

You can help the traders. But get
'em out of here by noon.

DISSOLVE TO:

163. EXT. CHICKEN YARD (SUNRISE)
FULL SHOT --- GUMBO

feeding the chickens, throwing corn from a
gourd. Several hundred vari-colored chickens,
also ducks and turkeys.

I feel mo' like doin' de pigeon-
wing!

(CUTS COUPLE OF STEPS)

Ain't you heard I ain't gonna be sold?

GUMBO talks to the chickens as he feeds them. A
big-spurred rooster hops at GUMBO with his beak
set.

GUMBO

Get away, Moon-Eye! I ain't
got time for no fightin' this
mornin'. Here, Steve! Here, Mary
Louise! Here, Esau!

(CLUCKING TO THE CHICKENS)

Skt-skt-skt-skt-skt!

(DANCES AS HE THROWS CORN.)

GUMBO looks across to the corner of the yard and
sees a poor old droopy chicken standing hungry.
While the others eat, he goes dancing over to
feed him.

28.

163. (CONT.)

GUMBO

Spruce up dis mornin', Dunlap!
Don't you know Mars Tim done come
back? Here's a little bit mo'
corn for you.

The fighting chicken, MOON-EYE, sneaks up on
GUMBO and spurs him squarely in the behind.
GUMBO squawks loudly.

GUMBO

Yaw-000! Yaw-000! Yaw-000!

DISSOLVE TO:

164. EXT. SUGAR MILL (DAY)
FULL SHOT---CASS AND SLAVES -- DILL

sitting on the sugar cane-kettle with his account
book. CASS sorting out the SLAVES, in groups.
Children crying.

CASS

Field hands, here! Get over
there! Ox-drivers, yonder behind the
mill!

SOUND

Children wailing and crying.

CASS

Stop them brats from bawling!
(POINTING)
Female slaves, here!

DISSOLVE TO:

165. EXT. BIG HOUSE (DAY)
MED. SHOT --- GUMBO

and a lop-eared hound dog are at the back door.
GUMBO is trying the door, shaking it, and knock-
ing.

GUMBO

All de door's locked up, Colonel!
Wonder where Mars Tim is?

GUMBO and the dog start around the house looking
up at the windows. CAMERA FOLLOWS GUMBO.
Suddenly the dog stops at a window and starts
barking. GUMBO can not reach the window, which
is closed. He looks about for something to
climb on.

166. EXT. BACKYARD (DAY)
MED. SHOT --- GUMBO

and the dog beneath a clothes line. He takes a
tall clothes pole (young tree trunk) and hurries
away with it.

SOUND

Dog barking loudly.

29.

167. EXT. BIG HOUSE (DAY)
FULL SHOT --- GUMBO

and dog placing pole to window. He accidently
breaks the window, but finally gets the pole
placed.

TIM'S VOICE
Come, get me out of here!

GUMBO
I'm comin', Mars Tim.

As he starts climbing, the pole revolves, GUMBO
slips. Comedy climb. Dog barks furiously below.

SOUND
Dog barking!

GUMBO looks back from his precarious perch at
the dog.

GUMBO
Shut up, Colonel! Hush yo' mouth!
Lemme hear what Mars Tim say!

DISSOLVE TO:

168. INT. BED ROOM (DAY)
FULL SHOT --- GUMBO

crawling through the broken window into an empty
room. He hears TIM calling from the closet,
kicking the door.

GUMBO
What's de matter, Mars Tim? Is
de door locked?

As he tries the closet door.

TIM
Get something and pry open this door,
Gumbo!

GUMBO makes a comic search of the room trying to
find something to pry open the door.

GUMBO
I don't see nary crow-bar nowhere, Mars
Tim.

TIM
Get an iron curtain rod off the
window. Get something sharp!

GUMBO goes to window and jerks down lace-curtains,
rods, and all, getting himself all tangled up in
the curtains. He takes the rod and prys the door
open.

SOUND
Barking of dog below. Splintering
wood of door. GUMBO puffing as he works.

30.

169. INT. CLOSET (DAY)

MED. SHOT --- TIM

half hidden in a dusky closet among a lot of old
clothes hanging there. TIM is directing GUMBO
how to open the door.

TIM

Pull a little! Pull with all
your might!

170. INT. BED ROOM (DAY)

MED. SHOT --- TIM AND GUMBO

as door opens and TIM comes out. GUMBO stands
panting.

TIM

Have you seen anything of Mr.
Bouton around here?

GUMBO

How you get locked up in there,
Mars Tim?

TIM

I say, have you seen Mr. Bouton?

GUMBO

Mr. Bouton? Who he? Dat de man
what locked you up?

TIM

No, Dill locked me up! Come on.

TIM picks up the curtain rod and starts out the
door, followed by GUMBO.

DISSOLVE TO:

171. INT. HALL OF HOUSE (DAY)

TRUCKING SHOT --- FOLLOWING TIM AND GUMBO

through the house as TIM searches for BOUTON.
Background music with tempo in mood of scene.

172. INT. LIVING ROOM (DAY)

TRUCKING SHOT --- TIM AND GUMBO

in big dusty drawing room with half drawn curtains.
TIM looks about, GUMBO stands dazed.

SOUND

Dog barking outside.

TIM

Gumbo, let Colonel in.

GUMBO exits into hallway.

173. INT. ENTRANCE HALL (DAY)

MED. SHOT --- GUMBO

opening door. COLONEL dashes in and rushes
straight past TIM who enters scene from Living
Room door. The dog runs down the hall.

36.

DISSOLVE TO:

180.
EXT. PLANTATION SUGAR MILL (DAY)
FULL SHOT --- SLAVES

linked together for their trip to the slave block
in New Orleans. CASS and the TRADERS half-drunk,
are there, some already on horse-back, others
mounting. CAMERA PANS along the line and stops
on JANIE and CATON bound wrist to wrist. JANIE
is crying.

JANIE

We won't be sold to de same marster
now! I wonder where my boy's done
gone? Gumbo! Gumbo!

CATON

No use cryin', Janie! Yet I can't
understan' why Mars Tim didn't
come back.

The TRADERS and their horses began the drive.

TRADER

Now! Get going! Step lively!

THE long line of SLAVES begins to move. LOW
moans rise, whips crack, the horses trot forward.

SOUND

Whips. Horses' hooves. Moans.

DISSOLVE TO:

181.
EXT. COUNTRY ROAD (DAY)
FULL SHOT (PROCESS) TWO CARRIAGES

rolling post haste through the mud toward Bayou
Lovelle. TIM, BOUTON, and JUDGE RAVEN-L with his
foot propped up, in the first carriage. GUMBO
with the DRIVER on the box. In second carriage,
two clerks with a pile of law books, records, and
papers. ON the DRIVER'S box a SLAVE with hot
water bottles, medicines, etc. The CAMERA CUTS
DOWN to the horses' feet splashing in the mud and
the wheels whirling rapidly.

DISSOLVE TO:

182.
EXT. COUNTRY ROAD (DAY) (PROCESS)
FULL SHOT -- CARRIAGE

moving rapidly. Suddenly the faces of the old
JUDGE, TIM, BOUTON, and GUMBO register great
interest in something they see on the road ahead
of them. TIM points in anguish.

TIM

There go my slaves!

The OLD JUDGE gives an order in Creole and the
COACHMAN reins in the horses, just as they come
face to face with CASS and the SLAVE caravan.

JUDGE

Sorry to delay you gentlemen, but
there's a question as to the legality

183 INT. REID DINNING ROOM (Same as S. 90) (DAY)
FULL SHOT---DILL, JUDGE, BOUTON, and TIM

also the JUDGES'S CLERKS, and his SLAVES, one holding
the law books, another at the JUDGES'S elbow with his
medecines.

GUMBO peeks in the window.

BOUTON JUDGE

It appears from these papers that I have here, that
Martin Dill is the rightful gua rdian of Timothy Reid,
Junior. But, Mr. Dill, why didn't you bring this to
me to be legalized before.

DILL

I was just on the point of doing it, sir, when that
little rascal there snuck off in the night, ran away.

TIM

But I left because Mr. Dill was going to get rid of
Uncle Caton to keep him from telling him what he
knew about things.

BLOW.

MMM

BOUTON (with half smile)

Tim, I thought it was your Aunt?

Telling what?

JUDGE

Somebody go get him!

Where is this Uncle Caton?

JUDGE turns to one of his slaves.

JUDGE

Recess! It's time for to take my medicine.

He gives an order in Creole to his slave with the bottles.

JUDGE

Donnez-moi mon quinine au rhum, Napoleon!

BOUTON

BOUTON Quinine in rum? I might take a bit of that
myself?

DISSOLVE as SLAVE rushes over with the medicines and a decanter
of rum, CLERKS and others rush out to find CATON.

DISSOLVE TO:

184 SAME ROOM (ANOTHER ANGLE) (DAY)

FULL SHOT---SAME CHARACTERS INCLUDING CATON

who stands before the old JUDGE, scared to death.

JUDGE

Did you say that your master told you that
Tim, Junior, was provided for/the rest of his
life? for

CATON

Yes, such! It were a piece of paper wad a steamboat
on it. Looked like de Nelly Bly.

JUDGE

Was it stock?

CATON

No, such! 'Twarn't live stock!

General laughter. JUDGE points to DILL'S brief case.

JUDGE

Hand me that case there.

BOUTON reaches for DILL'S brief-case and takes it before

39

184 CONT

DILL can retain it.

185 INT. DINNING ROOM (DAY)
CLOSE SHOT---DILL'S

startled face as the JUDGE opens the case.

DILL
That's my personal property, sir!

BOUTON
If you don't like it, I'll fight you a duel!

JUDGE
Gentlemen! Gentlemen!......Hum! Ah! Ah!

JUDGE pulls out papers, including the stock. He squints at the steamboat picture.

JUDGE
Forgery! Forgery! Martin Dill, you have betrayed a friend, and violated a trust. Lock those doors and send for the officers!

CAMERA CLOSES UP on DILL almost apoplectic with rage and defeat.

DISSOLVE TO:

186 EXT. VERANDA REID MANSION (DAY)
FULL SHOT---OFFICERS EMERGING WITH DILL

followed by BOUTON, TIM, CATON, GLD JUDGE helped by several
of his SLAVES, GUMBO dancing around, and the CLERKS.

DILL
So this is your gratitude, heh, Jacques BOUTON, for
all the money I've spent at Papa Dondon's.

BOUTON
Those andirons knocked out my gratitude last night!

DILL
Should've knocked out your brains, you......

OFFICER
Shut up, and come on!

At that moment all look toward the drive-way where a carriage is
approaching.

CUT TO:

187 EXT. DRIVEWAY SEEN FROM VERANDA (DAY)
FULL SHOT---CARRIAGE CONTAINING PAULINE

approaching. PAULINE is dressed to kill, a fancy parasol over her head.

CUT TO:

188 EXT. VERANDA (DAY)
FULL SHOT---GROUP

on porch registering interest as PAULINE'S carriage stops bef ore
them.

PAULINE
Martin, darling! What a party of handsome men? Where a re all the women?