EXT. DISMAL SWAMP - NIGHT 2
Moonlight sifts through the tall pines, illuminating the fog-
CHILD’S VOICE (V.O.)
But the white man, he catched her.
Catched her an’ throwed her to the
Through the boscage, two shrouded figures emerge, pacingstealthily through the brush.
CHILD’S VOICE (V.O.)
But he ain’t know that another man,
big like my daddy was behind him...
CLOSER to reveal the shadowed features of an African WOMAN.
She pulls a YOUNG BOY alongside her-both of whom’s featureswe cannot yet clearly see.
CHILD’S VOICE (V.O.)
He took a big ol’ stick and hit
that white man all about his head
INT. SLAVE QUARTERS - NANA’S CABIN - (NIGHT) 3
Three SLAVE CHILDREN sit together under candle light. Theywear long TOW SHIRTS that reach to their knees. The smallest,
YOUNG NAT TURNER (9) continues as the two others listen rapt.
Then they dug a hole, roll him init and walked on back.
An UNKNOWN POV watches from outside the cracked cabin door.
One of the other slave children, YOUNG HARK (10) pipes up.
5/8/15 - PINK 2
3 CONTINUED: 3
They got lynched?
Naw. They went on back and didn'tnever say nothing on it.
Say they ain’t seen master all day.
The cabin door opens to reveal NANCY TURNER (20’s). She
regards Nat, spooked.
Who told you that?
No answer. She rushes to him, grabs him hard by the arm.
You tell me who told you that rightnow, ‘fo I tan your hide!
Nobody, mama. I just... remember-
Nat winces against her grip, terrified. His eyes flood. Nancyreleases her grip, pulls him into a hug. Her eyes mist.
4 OMITTED 4 *
5 EXT. DISMAL SWAMP - CLEARING - NIGHT 5
Nancy and Nat step into the clearing to find a group ofELDERLY AFRICANS huddled around a humble fire in fervent
prayer. Among the elders, we find EZEKIEL (90’s). As if
sensing their arrival, his eyes open. He motions themforward. Ezekiel speaks in his Native Ghanaian tongue. *
(Remove his garb.)
5/8/15 - PINK 3
Nat looks terrified as Nancy removes his shirt. Ezekielinspects Nat’s arms and back before arriving to his chest.
The Elders nudge in, the mouthing of passionate prayer never
ceasing. Ezekiel points a thin finger to the boy’s sternum.
ANGLE ON THREE SLIGHTLY RAISED KNOTS.
(In the time of our ancestors, thecycle of our people lay in thehands of the children... A man’s
position was left to the signs ofthe maker. Children bearing markswere presented before counsel. Itwas there they were given theirassignments in the tribe-
assignments that would last alifetime...)
He points to the first bump on the Nat’s chest.
(the second bump)
(a long beat)
(This boy holds the Holy marks ofour ancestors past... He was bornto be a prophet.)
At the word PROPHET, the surrounding Elders’ bodies arch and
rock, the intensity of their prayers growing to fever pitch.
We PUSH IN on Nat as he struggles to digest the magnitude ofhis words. CLOSER. As divine exaltation fills the surroundingblur, we-
CUT TO BLACK:
BASED ON A TRUE STORY
6 INT. BARN/SLAVE CHURCH - DAY 6
Sunlight cuts through crooked slats, casting golden linesacross the dirt floor. Whispers lead toward a corner where wefind SEVERAL SHADOWED FIGURES crouched in the darkness. *
5/8/15 - PINK 4
Their whispers cease when SOMETHING crosses outside,
disrupting the light.
The broad barn door creeks open. An ugly shadow tracks acrossthe barn floor. We drift up to reveal-
JOHN CLARKE TURNER (10, white)
His eyes snap toward a movement in the dark. He smiles big-
I see you!
7 EXT. BARN/SLAVE CHURCH - DAY 7
Giggling children, burst from the barn door, as John Clarkgives chase. We lock in on Young Nat as he sprints ahead ofthe group.
SOUTHAMPTON COUNTY, VIRGINIA, 1809
8 EXT. TURNER PLANTATION - BIG HOUSE - DAY 8
We follow him, as he passes the TURNER MANSION-
9 EXT. SLAVE QUARTERS - DAY 9
He cuts through the SLAVE QUARTERS, dodging a MALE BLACKSMITH
SLAVE who shapes a piece of metal with a hammer, passes aMALE SLAVE leading a trudging mule and races through a plume
of steam rising from a FEMALE SLAVE COOK’s massive pot.
10 OMITTED 10 *
11 EXT. TURNER PLANTATION - BIG HOUSE - DAY 11
John Clarke stands in the courtyard resigned. He offers afinal scan of the plantation.
All right, you win again! Come onout!