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FOR EDUCATIONAL PURPOSES ONLY
FADE IN
Before titles.
EXT. HUNTING WOODS - LANDSDOWN COUNTY - NIGHT
It is a clear but cold Autumn night at some time in the nineteen thirties. The
Landsdown Woods are an assortment of various elements of nature: quiet water
streams, rushing rivers, heavy brushland, small trees, and the more dominant,
great tall pines. NATHAN LEE MORGAN, a Black man in his late thirties or
early forties, treks deep into the woods with his eleven year old son, DAVID
LEE, and his hound dog, SOUNDER. NATHAN LEE is a well built, strong manner of
a man with a deliberate and quiet manner - DAVID LEE, like his father is tall
and strong with big, bright active eyes. SOUNDER, their hound dog, is a
mixture of red-bone hound and bulldog, with great square jaws.
TITLES BEGIN
NATHAN LEE carries an old rifle, and a burlap sack thrown across his shoulder
-- DAVID LEE walks with a lantern as SOUNDER tracks ahead of them. They keep
moving until they come upon a quiet river stream --
EXT. RIVER STREAM - NIGHT
They walk along the edges of the river, with deliberation. It is obvious that
they have walked this route many times. They reach a cut-off point and circle
back into the woods, and pick up a pathway --
EXT. PATHWAY - NIGHT
They pick up speed in close approach to a weeded area and stop. DAVID looks
about in disappointment. SOUNDER scratches the earth -- NATHAN looks out into
the darkness with a nagging expression on his face --
TITLES INTERRUPTED
DAVID LEE
There ain't no possums in this woods tonight,
Daddy.
NATHAN LEE
Looks that way, son. Guess the cold done drove
most of 'em down to the big water country --
but if there's one left out here -- we gotta
find him.
DAVID LEE
It's cold, Daddy!
NATHAN LEE
Here, put my jacket over you.
NATHAN takes his jacket off and drapes it over the boy's frame as SOUNDER
begins to scratch and whine with intensity. He moves to stand over the dog.
NATHAN LEE
You all right, boy?
Suddenly SOUNDER's voice lets out and he breaks away in a burst of speed.
NATHAN and DAVID react quickly and take up the chase behind him.
TITLES BEGIN AGAIN
As SOUNDER makes his way through the woods -- NATHAN and DAVID rush behind
him, following the great unique sound of the dog's voice. It is a sound that
bounces -- soulful, louder and clearer than any purebred redbone. It is
spaced with precision, bouncing from slope to slope like a rubber ball,
filling up the night with music as though the branches of all the trees were
being pulled across silver strings.
EXT. THE BASE OF THE TREE WHERE THE POSSUM HAS TAKEN REFUGE - NIGHT
SOUNDER arrives and makes a leap to climb the tree as NATHAN and DAVID rush
on to the scene. NATHAN looks up and points to the spot where the possum is.
He puts his rifle down near him, and DAVID assists him in the shaking of the
tree as SOUNDER makes his leaps upward to the rhythm of the sound coming from
his voice. The possum gives way to the force and falls to the ground. SOUNDER
charges for the animal -- NATHAN quickly picks up his rifle and aims for the
animal. He fires into blank darkness and misses. The possum recovers from the
fall and scampers into thick brushland, with SOUNDER in close pursuit.
EXT. THE AREA OF THE THICK BRUSHLAND - NIGHT
SOUNDER cannot overcome the briar thickness of the brushland -- but the
possum with his smaller size manages to elude the dog.
EXT. THE EDGES OF THE BRUSHLAND AREA - NIGHT
SOUNDER comes out of the brush area, whining in frustration as NATHAN and
DAVID approach him. NATHAN immediately realizes that the possum has gotten
away.
END OF TITLES
NATHAN LEE
(slams his rifle to the ground)
Dammit! And I remember the time when a bull
couldn't a stopped him from gettin' that
possum!
DAVID LEE kneels down and caresses SOUNDER's frame. NATHAN realizes that
DAVID is disturbed over his harshness.
NATHAN LEE
Come here, son--
DAVID LEE goes to his father, who kneels to him, and puts both of his huge
hands on the boy's shoulders.
NATHAN LEE
It's all right. He did his job -- I just got
foolish for a minute.
He gives the boy a quick embrace and rises to his feet --
NATHAN LEE
If anybody's to blame, it's me -- I oughta
nailed him when I took that shot.
DAVID LEE
It was too dark, Daddy.
NATHAN LEE
Yeah. We better git back to house now.
NATHAN puts his hand on SOUNDER's neck, gives him an affectionate rub. They
gather their equipment and head for home. They move out of the brush area on
to a pathway.
EXT. ROAD AND CABIN - NIGHT
This area of the road is about ten hundred feet from the front yard of the
cabin. The yard is wide, and stretches out to the very edges of the road
which comes to a horseshoe deadend about two hundred feet at the far end of
their cabin.
NATHAN LEE
In all the years me and Sounder been tracking
down possums and coons in these woods -- he
ain't tore one of 'em up yet... He always
brought 'em back whole and healthy... And
that's the difference between a hound dog
that's dirty and mean, to one that's great
like ol' Sounder here.
EXT. THE CABIN'S FRONT YARD - NIGHT
They move through the yard, up the steps, on to the porch, and open the door
to the house.
INT. THE KITCHEN-SITTING ROOM - NIGHT
NATHAN, DAVID, and SOUNDER step into the cabin. It is an old house but it is
the home of the Morgan family so it is kept neat and clean at all times. To
one side of the area is a kitchen table, a wood stove, and an old beat-up
cabinet. To the other side are two old rockers, an old dresser, and one or
two pieces of other old living room furniture -- there are three portals in
this area: the backdoor in the kitchen section which leads to the backyard,
and two in the sitting room which leads to the childrens' and NATHAN and
REBECCA's rooms.
REBECCA MORGAN, an attractive brown-skin woman in her thirties, sits in a
rocker by the stove alone, picking kernels out of walnut shells with a bent
hairpin. She looks up to NATHAN as he stands just inside the door, and looks
down at her.
NATHAN LEE
We cornered one, but he got away.
He does not wait for a response from her -- he, DAVID and SOUNDER keep moving
across the floor, and on out the back door. REBECCA's eyes slowly trail their
backs out the door. Her eyes just hang there after they have moved out of
sight.
INT. THE SHED - NIGHT
The shed is medium in size and old like the house. There is a long wide table
running along side the right wall. There are hanging nails on all of the
walls and alongside the table. The various pieces of archaic farm equipment
are all neatly put in organized places. NATHAN, DAVID and SOUNDER enter the
shed. NATHAN hangs the burlap sack on one of the wall nails, and places the
rifle down on the table -- DAVID does likewise with the lantern.
NATHAN LEE
Bet you're a tired little fellow, David Lee.
NATHAN takes the lantern apart and begins to clean it -- and DAVID LEE picks
up a small can of oil and puts it on top of the table.
DAVID LEE
Yes, sir...
NATHAN LEE
You oughta be tired, too, Sounder. That possum
shore whipped the hell outta you tonight!
He laughs behind his own remark as he finishes the business with the lantern
and picks up his rifle.
DAVID LEE
He beat you, too, Daddy, and you had a big ol'
shootin' rifle.
NATHAN LEE
(serious)
Boy, you don't make funny with your daddy like
that.
His father has caught him off guard -- he was only joking -- he doesn't
understand the attitude -- he doesn't know what to say -- he turns and walks
away.
NATHAN LEE
David Lee...
DAVID LEE
(stops and turns)
Yes, sir...
NATHAN LEE
You had a rough time out there tonight -- so
you stay home from that school tomorrow.
DAVID LEE
I wanna go -- the trip don't bother me none.
NATHAN LEE
You learnin' anything at that school?
DAVID LEE
Yes, sir -- I learn to write a little bit, and
I can read a lot--
NATHAN LEE looks on him for a moment, and then softly nods his head--
NATHAN LEE
Readin' must be somethin' powerful, huh, son?
DAVID LEE
Yes, sir...
NATHAN LEE slams the rifle closed, moves towards the exit and steps hastily
out into the backyard -- DAVID LEE and SOUNDER follow him --
EXT. THE BACKYARD - NIGHT
The backyard spreads out in the form of a jagged horseshoe, surrounded by low
levels of grass -- at the far end is a pathway, running about three hundred
feet away to where the tall grass grows. The shed sits to the far left edge
and more to the right edge is a water well. To the right of the water well is
a woodpile. Up against the house, to the right of the steps to the back door
are two wash tubs with homemade scrubbing boards. NATHAN keeps walking
directly to the water well, reaches it and lowers the bucket down into the
well, brings the bucket of water up, scoops up with a dipper, drinks, and
tries to look out over the plains and hills from the back of his house.
NATHAN LEE
When the fall comes in these parts, the Night
moon runs away like a rabbit -- you could stay
out here lookin' all night, and not see a thing
out yonder.
DAVID LEE
We goin' huntin' again tomorrow ?
NATHAN LEE
Yep. I guess you must wonder why though, what
with the luck we havin', but like I always
say--
DAVID LEE
"You lose some of the time, what you always go
afta, but you lose all the time what you don't
go afta!"
NATHAN LEE
Now who says I didn't lay my mark on you, boy!
They both laugh as REBECCA steps out into the backyard from the house, and
moves swiftly towards them.
REBECCA
David Lee, it's time for you to get to bed!
DAVID LEE
Goodnight.
He starts moving away towards the house.
NATHAN LEE
Night, son!
REBECCA
And don't wake up Josie Mae and Earl!
They watch DAVID LEE enter the house -- then NATHAN LEE looks to SOUNDER as
they begin to move for the house.
NATHAN LEE
Your bedtime too, hound dog.
SOUNDER hops up on him -- he strokes the dog's back and then pushes him away.
NATHAN LEE
Off you go, boy!
SOUNDER scampers away around the side of the house.
REBECCA
I bet you could use a hot cup of coffee, Nathan
Lee.
NATHAN LEE
I shore could, Miss Rebecca.
They start back into the house.
EXT. FRONT OF THE HOUSE - NIGHT
SOUNDER crawls just under the front porch and lies down on a burlap sack for
his night's sleep.
INT. THE CHILDREN's ROOM - NIGHT
DAVID LEE has taken some of the walnuts and is sitting up in the bed. EARL
and JOSIE MAE, their sister, are fast asleep across from them. EARL is a
sprightly little boy about eight years of age who has the kind of round face
that gives one the impression that he is forever smiling. DAVID LEE grabs his
book and starts to read.
INT. KITCHEN-SITTING ROOM - NIGHT
NATHAN and REBECCA enter the house through the back door -- NATHAN stops at
the table in the kitchen area as REBECCA moves directly to the door of the
children's room -- just before she gets to the door, she notices that the
bowl of walnuts on the floor by the rocker has been disturbed -- she snatches
the bowl up from the floor and looks to NATHAN --
REBECCA
The boy done went into my walnuts! I skin my
fingers to the bone to pick two pounds that's
worth almost nothing at the commissary and he
done took almost half of what I pick!
NATHAN LEE
The boy is hungry, Rebecca.
His words cut through her frustration -- she puts down the bowl on an old
dresser next to the door that leads to the children's room and just stands
there for a moment -- she and NATHAN, looking directly on each other -- after
a moment she moves across the floor and nestles into the embrace of his arms
-- he holds her close to him for a moment and then they break the embrace --
NATHAN LEE
Dammit!
He moves halfway across the floor and stops as REBECCA goes to the stove to
prepare his coffee --
REBECCA
We been through these off-seasons before -- we
made it.
NATHAN LEE
What we make it to? The next season to work
ourselves to death, share croppin' for ol' man
Howard, so he can get richer and we can't even
eat when the croppin' time is done?
His coffee is ready -- she puts it on the table -- he moves to it and sits
and takes a sip with the frustration still nagging him. She stands over him
from behind and puts her hand on his strong neck for a moment and then she
moves for the children's room and enters -- he drinks his coffee --
INT. REBECCA and NATHAN'S BEDROOM - NIGHT
REBECCA enters, unrobes and crawls into bed -- she lies there for awhile in
thought, rolls over to position herself and then she hears the back door
SLAM. She raises her head for a moment and then she decides to get up. She
puts her clothes back on hurriedly and moves out of the room.
INT. KITCHEN-SITTING ROOM - NIGHT
REBECCA moves with directness through the room, on out door to the backyard.
EXT. THE BACKYARD - NIGHT
REBECCA stands in middle of the backyard, looking about in the area.
REBECCA
(softly).
Nathan?
There is not a sound -- then she moves hastily around the side of the house
to the front yard.
EXT. THE FRONT YARD - NIGHT
She looks down under the edge of the porch to see SOUNDER fast asleep. She
turns and tries to see through the darkness down the road -- she slowly moves
up on the porch and stands in the doorway looking out into the night. She
begins to hum -- the kind of hum to relax the nerves -- to move the thoughts
away from the mind -- thoughts that were plaguing her.
DISSOLVE TO:
INT. THE MORGANS' KITCHEN - DAY
It is about six a.m. the following morning and hot food is piping on the
stove.
INT. THE CHILDREN'S ROOM - DAY
DAVID LEE awakes first and catches the aroma of the food floating into their
room. He jumps out of bed and arouses JOSIE MAE and EARL.
DAVID LEE
Come on y'all, git up, somethin's cookin' in
the kitchen! Come on, Earl!
They all jump into their clothes and rush for the kitchen.
INT. THE KITCHEN - DAY
They head straight for the stove where DAVID takes the lid off one of the
pots and then the other.
EARL
What's in there, David!?
DAVID LEE
Sausage and hambones!
EARL tries to put his hand in one of the pots but DAVID slaps it away.
DAVID LEE
Don't do that!
JOSIE MAE
Where did it come from?
JOSIE MAE is a tall, pretty girl for her nine years -- with a sort of
brooding air about her.
DAVID LEE
Come on!
DAVID sees SOUNDER through the front-door screen, scratching to get in -- he
hurriedly lets the dog in, and they all dash out the back door.
EXT. THE BACKYARD - DAY
REBECCA is hanging out wash on the clothes line as the children rush toward
her.
DAVID LEE
Mama, there's hot meat on the stove!
REBECCA
That's right!
DAVID LEE
Where did it come from, Mama?
REBECCA
Where all meat come from -- now git yourself
washed up and be snappy about it -- you got six
miles ahead of you to that school.
She heads for the kitchen while the children proceed to wash up at the well.
INT. THE KITCHEN - DAY
REBECCA enters the kitchen and immediately starts preparing breakfast as
NATHAN is awakened and is standing in the doorway to the kitchen from their
room. She notices him and stops her work for a moment.
REBECCA
Good mornin', Nathan.
NATHAN LEE
Mornin'...
REBECCA
You ready to eat?
NATHAN LEE
I'll wait till after the children.
She goes back to preparing the food as she moves into the kitchen to put
together some scraps of food for SOUNDER.
NATHAN LEE
How's the weather out there?
REBECCA
Little chilly.
NATHAN LEE
Hope it don't freeze out our baseball game
today!
EXT. THE BACKYARD - DAY
The children meet NATHAN as he is coming out of the house and they are about
to enter.
CHILDREN
Mornin', Daddy!
NATHAN LEE
Mornin' back atcha!
They rush on past him into the house as he smiles.
NATHAN LEE
Don't forget to save me some!
He stops in the center of the yard and looks about.
NATHAN LEE
Sounder!
SOUNDER comes running toward him from the field in back of the shed. NATHAN
bends to a pan on the ground and puts the scraps of food in it as SOUNDER
arrives and begins to eat. NATHAN rises and looks on, pleasingly.
NATHAN LEE
That oughta put you in good shape for tonight!
INT. THE KITCHEN - DAY
The children are at the table eating as REBECCA is about to return to her
laundry work in the backyard.
REBECCA
Don't take all day at that table, David Lee.
JOSIE MAE
Mama, when kin me and Earl go to school with
David Lee?
REBECCA
Maybe soon--
She moves out of the door --
EXT. THE BACKYARD - DAY
Out in the backyard, NATHAN is chopping wood with SOUNDER nearby him as
REBECCA returns to hanging out the wash. She starts that nervous hum of hers,
and occasionally glances over to him at the woodpile. He lifts his head for a
moment and calls out to her.
NATHAN LEE
The one thing we got plenty of is wood!
She stops her work and just looks on him with concern when DAVID, JOSIE and
EARL dash out into the yard, breaking her trend of thought.
DAVID LEE
Ready to go, Mama!
REBECCA
Tuck that shirt in, David Lee.
He moves toward her, cramming the shirt down into his pants.
REBECCA
You got two shirts on?
DAVID LEE
Yes mam...
REBECCA
When you get outta that school, you come right
on back home, y'all gon' have to take this
laundry work I done for Miss Boatwright today.
She gives him a quick hug and kiss. He rushes over to his father.
DAVID LEE
'Bye, Daddy...
They shake hands...
NATHAN LEE
'Bye, son...
He takes off with JOSIE MAE, EARL and SOUNDER.
REBECCA starts back toward the clothesline, and as if to make a decision, she
stops and turns to NATHAN.
REBECCA
Where was it you went last night, Nathan?
He rises from his chopping position and faces her directly.
NATHAN LEE
I went where I had to go, Rebecca. My children
was hungry.
As if to say the conversation is over, he immediately goes back to chopping
wood. She gives him a long but soft look and then finally returns to her work.
EXT. THE ROAD - DAY
DAVID LEE rides in the back of the wagon of a white farmer, who is giving him
a lift part of the way.
DAVID LEE runs a distance of the road -- sits and rests on the side of the
road for a few minutes -- walks at a slow pace for a while.
The boy climbs up into the wagon of a black farmer -- The wagon pulls away.
He makes the final dash up the road.
EXT. SCHOOLYARD - DAY
He speeds around the side of the building, and enters through a back door.
INT. SCHOOL HALLWAY - DAY
He rushes down the short hallway until he comes to a door, and enters.
INT. CLASSROOM OF THE SCHOOL - DAY
This is a Southern White school where they segregate off into a far corner
one or two black children they allow to attend the school.
DAVID LEE enters the room in an exhausted state as he stops just inside the
door.
All eyes are upon him, including a black boy and girl who are segregated off
in the back corner of the room. The teacher picks up his clock from the desk
and looks at it.
DAVID LEE
I'm sorry, Mr Clay...
MR CLAY
You are one hour late...
DAVID LEE
Yessir...
MR CLAY
Well, take your seat.
DAVID LEE, with all eyes still upon him, moves carefully to a chair in the
far corner -- sits next to the black boy and girl. MR CLAY takes up his book
from the desk, and looks out on the class --
MR CLAY
Now where were we before we were interrupted--
Oh yeah, Huckleberry Finn, chapter thirty-four!
This chapter is called: WE CHEER UP JIM! Here
we go: "Tom says: What's the vittles for?
Going to feed the dogs? The colored boy kind of
smiled around gradually over his face, and
says: Yes, Mars Sid, a dog. Cur'us dog, too.
Does you want to go en look at 'im?"
CLOSE ANGLE - DAVID and other two children. The teacher's words can hardly be
heard as he continues with the reading -- as the CHILDREN'S faces hold mixed
expressions of confusion, pain, and mostly boredom. A head shaking, pathetic
moment --
EXT. FRONT OF MRS. BOATWRIGHT'S HOUSE - DAY
It is a medium size one-family house, painted gray -- trimmed in white around
the edges of the frame -- the yard is surrounded by well-kept hedges -- the
yard is mostly green grass and flower beds -- with walkways leading to the
front and back of the house. The children and the dog move into the yard from
the residential street --
EXT. SIDE OF THE HOUSE - DAY
They walk around the side of the house to a back door. The boys put the
basket down -- DAVID knocks on the door -- after a moment, MRS. BOATWRIGHT, a
tall, attractive white woman in her early forties, opens the screen door.
DAVID LEE
We brought your laundry, Miss Boatwright.
MRS. BOATWRIGHT
Come in, children.
They enter the house, leaving SOUNDER in the backyard.
INT. MRS. BOATWRIGHT'S KITCHEN - DAY
DAVID and EARL stop in the middle of the floor, holding the basket.
MRS. BOATWRIGHT
Put it right up on this table, boys.
The two boys lift the basket up on the table. She looks through the clothes
for a moment.
MRS. BOATWRIGHT
You tell Rebecca ain't a Chinaman in all this
world can beat her ironing.
She reaches into her pocket and pulls out some change, picks out some and
passes it on to DAVID.
MRS. BOATWRIGHT
This is for your mama's work, and here's
something for the three of you.
DAVID LEE
Thank you, Miss Boatwright.
JOSIE MAE & EARL
Thank you, Miss Boatwright.
MRS. BOATWRIGHT
Oh, by the way, David, I have the book I
promised you.
She moves for another room as the children all look to each other -- she
returns immediately with the book, and hands it to DAVID LEE --
MRS. BOATWRIGHT
It's about the Three Musketeers.
DAVID LEE
Thank you, Miss Boatwright.
MRS. BOATWRIGHT
When you read it we'll talk about it...
DAVID LEE
Yes mam... We gotta go, Miss Boatwright.. .
MRS. BOATWRIGHT
Tell Rebecca I said 'hi', now...
The children turn and walk out of the back door --
EXT. OUTSIDE MRS. BOATWRIGHT'S BACK DOOR - DAY
MRS. BOATWRIGHT is in the doorway as DAVID, EARL and SOUNDER move ahead of
JOSIE MAE, who stops and turns to MRS. BOATWRIGHT --
JOSIE MAE
What's a Chinaman, Miss Boatwright?
Before MRS. BOATWRIGHT can struggle up a response --
DAVID LEE
Come on, Josie Mae! We gotta hurry!
JOSIE MAE turns and catches up with them -- they all rush around and out of
MRS. BOATWRIGHT'S yard.
EXT. THE COUNTRY - DAY
They run up the road and into a field -- continue on across the field and
over a slope until they can see crowds of people at a make-shift baseball
diamond where two teams of black sharecroppers are engaged in a heated
baseball contest. They keep moving on into the crowd --
EXT. THE BASEBALL DIAMOND AREA - DAY
Men, women and children are standing around, loudly rooting for their team as
the three children make their way through the crowd to find their mother.
NATHAN LEE is pitching on the mound for his team. He throws a pitch -- the
Batter misses it --
DAVID LEE
Look at Daddy throw that ball!
They keep moving until they spot their mother, who is seated on a bench with
another woman. They rush to her.
WOMAN
Rebecca, your children git bigger by the hour!
REBECCA
It's the good livin' that do it, Harriet!
She smiles as the children approach her. DAVID LEE hands her the money.
DAVID LEE
Miss Boatwright gave me this book and all of us
a nickel apiece!
REBECCA holds her hand out with palm up as if to say "hand it over" -- the
three children pass the money on to her --
DAVID LEE
Who's winning, Mama?
REBECCA
Nobody yet -- it's all tied up.
The ballgame goes on as they shout and roar for NATHAN's team. NATHAN is
putting on quite a pitching performance in the close, exciting game.
NATHAN's team is at bat -- there are two out -- a man at second and a man at
bat. The man at bat hits a ground ball to the second baseman, the ball
trickles away from his glove into the outfield -- he quickly retrieves the
ball and tries to make a play at First Base, but the Batter is called safe --
meanwhile the runner on Second has moved past Third Base and is attempting to
score -- the first baseman throws the ball to the catcher at Home Plate as
the runner slides into Home. It is a close play and the umpire makes the
decision to call the runner safe. An uproar takes place as the other team
shows its displeasure over the umpire's call -- but the people who are
rooting for NATHAN's team shout and scream in ecstasy. After a short time,
order is restored.
EXT. ON THE ROAD AWAY FROM THE BASEBALL DIAMOND - DAY
NATHAN and his family are on their way home, accompanied by a guitar-playing
friend named IKE. As he plays, he sings one of those basic black back-country
blues. He finishes the song and gives out with a big laugh and boasts --
IKE
If they heard me sing like this up North I'd be
richer than the man I sharecrop for.
NATHAN LEE
And if they saw me pitch the way I did today --
they'd hire me just to strike out Babe Ruth!
NATHAN and IKE give out with a big laugh. REBECCA just smiles.
EXT. ROAD AND CHURCH - DAY
They pass a white church on the road. A number of people are standing in the
yard of the church and some are entering. DAVID watches with inquisitiveness.
DAVID LEE
What do they do in the white churches, Mama?
REBECCA
Same as we -- they pray.
IKE
You know, one time by mistake I went into a
white church down in Row County and to this day
I don't know how'n the devil I got outta that
church alive.
NATHAN LEE
They probly thought you was crazy.
IKE
I guess so -- but I went home and did me some
praying to the Lord. I said, Lord, I went into
this white church down in Row and all I want
you to tell me is how I ever got outta there
in one piece.
NATHAN LEE
What did the Lord tell you, Ike?
IKE
He said, I don't know, Ike -- you doin'
better'n me, I been tryin' to git in there for
200 years and ain't make it yet!
Ike bursts out in loud laughter, joined by NATHAN, REBECCA and the children --
REBECCA
If there ever was a devil in this county, Ike,
you is it!
NATHAN LEE
Ike, you could make a song outta that!
IKE
I believe I'll do just what you say, speed ball!
They keep moving and come to a stop at crossroad.
IKE
Well, this is where I havta say good night to
y'all -- it's been fun, Miss Rebecca.
REBECCA
Us too, Ike.
IKE
It's a good, warm night comin' up, Nathan --
you goin' to the woods?
NATHAN LEE
Oh, yeh -- possums and coons better hide deep
from us tonight!
IKE moves away from them -- As they continue on home they can hear him
singing to himself --
EXT. ABOUT THREE HUNDRED FEET AWAY FROM THE MORGANS' CABIN - DAY
The dark has set well as the family approach the house. SOUNDER starts to
growl -- the children stop, and DAVID LEE turns his head to NATHAN and
REBECCA --
DAVID LEE
There's two men in front of our house, Daddy.
They all stop -- and can see the shadowy figures of two men, standing in
their yard, and a Pick-Up Truck parked off the road toward the other side of
the cabin.
DAVID LEE
Who is they?
REBECCA
Children, come here...
The children move back -- NATHAN LEE looks behind himself and across the
fields as if he would like to make a dash for it -- but REBECCA's eyes follow
every physical and mental motion he makes.
NATHAN LEE
We better see who they is...
They begin to move slowly toward the house with deliberate caution, with the
two men becoming more visible identifiable with their shotguns dropped to
their sides. They move into the yard and stop about twelve feet from the two
men.
EXT. THE FRONT YARD - DAY
SHERIFF YOUNG steps out of the front door of their house. The two groups do
not speak for a moment -- they merely stare at each other -- the MORGAN
family with inquiring and fretful eyes.
SHERIFF YOUNG
We been in your house, Nathan--
NATHAN and REBECCA look to each other with knowing glances.
SHERIFF YOUNG
We found what we was lookin' for.
He moves away from the door and stops at the edge of the porch --
SHERIFF YOUNG
You took some food and stuff from the James'
Smoke House last night so me and my deputies
here gon' hafta take you to the County Court
House.
SHERIFF YOUNG nor the DEPUTIES make a physical move toward NATHAN. There is a
long moment of tense silence. For a second, NATHAN seems to want to make a
desperate break and run, but REBECCA holds him by the arm with all the
strength her hand can afford.
SHERIFF YOUNG
Okay, boys...
The DEPUTIES move in and take NATHAN by the arms from both sides and put
handcuffs on him.
EARL
What they doin', Mama?
REBECCA
Be quiet, son...
EARL falls into his mother's embrace - suddenly, SOUNDER's voice rips into
the atmosphere, and for the first time the DEPUTIES draw their shotguns to
waist level --
SHERIFF YOUNG
Shut that mongrel up!
DAVID runs to SOUNDER and tempers him as the sound fades to a growl -- the
dog frantically scratches the earth as DAVID holds on to him --
SHERIFF YOUNG
Git that truck up close here, and quick!
One of the DEPUTIES moves out in a hurry to fetch the vehicle as SHERIFF
YOUNG moves down the steps into the yard and looks to DAVID, holding SOUNDER.
SHERIFF YOUNG
Now boy, if you love that dog, you better keep
a good, strong hold on him.
The sound of the truck is heard moving up close to the house, and stopping.
REBECCA moves away from JOSIE MAE and EARL, and stops directly in the face of
SHERIFF YOUNG.
REBECCA
You been knowin' Nathan for a long time,
Sheriff Young, and you know what kind of man he
is, and you know the trouble we face in these
off-seasons.
The SHERIFF cannot look her in the face -- he walks away from her and
everyone, and just looks out over the fields -- then finally he motions with
his hand to the two DEPUTIES, standing at NATHAN'S side to put him into the
truck. They lift him up into the truck as JOSIE MAE, standing up on the porch
with EARL, starts to cry softly as REBECCA moves to the edge of the vehicle,
real close to NATHAN'S face. She kisses him lightly on the mouth, and then
they just look on each other for awhile, in a way they knew and loved each
other so well. Then in a physical, tough manner, REBECCA turns away and walks
up on the porch with JOSIE MAE and EARL.
One DEPUTY gets in the back of the truck with NATHAN, and the other sits at
the wheel -- as SHERIFF YOUNG climbs up and sits next to him.
SHERIFF YOUNG
Alright, let's go!
The truck starts to pull away -- DAVID lets go of his grip on SOUNDER, and
makes a dash out into the road.
DAVID LEE
Don't take my Daddy! Please don't take my Daddy!
REBECCA
David, come back here!
SOUNDER lets out with his voice, and charges past DAVID for the truck on the
road.
EXT. THE ROAD - DAY
The DEPUTY in the back of the truck aims his shotgun as SOUNDER leaps for the
truck -- the thunder from the DEPUTY's shotgun is the only sound that can be
heard in the entire valley -- SOUNDER falls to the road.
EXT. THE PORCH - DAY
REBECCA rushes down from the porch to the edge of the yard.
REBECCA
David!
EXT. THE ROAD - DAY
DAVID keeps running in the direction of the truck and SOUNDER.
He sees SOUNDER rise and fall, give out with a faint yelp, and circle into
the field. He moves in the direction of the house, falling and floundering,
with the hind part of his body staying up -- moving from side to side.
DAVID arrives at the spot where the animal was cut down, stops with his eyes
deadpan on the truck as it fades from his view. He looks down on a huge blot
of blood in the sand -- reaches down and digs his fingers into it -- lifts
his hand up and frowns -- looks out into the field to track the dog's
movements -- then makes his way back to the cabin.
EXT. THE FRONT YARD - DAY
DAVID trots back to the front yard -- REBECCA is at the edge of the yard --
JOSIE MAE and EARL are still on the porch -- DAVID keeps moving on around the
house -- REBECCA stares down the road -- in her background, the figure of
DAVID and the lighted lantern can be seen faintly, crawling under the house.
JOSIE MAE and EARL come down from the porch, and stop just behind their
mother.
JOSIE MAE
Mama, why did they take Daddy away?
REBECCA
(pause)
Because he cared so damn much about you and me,
child.
JOSIE MAE
Is he gon' be gone long?
REBECCA
(pause)
Might be...
EXT. UNDER THE HOUSE - DAY
DAVID LEE, with the lantern, crawls about under the house looking for SOUNDER.
DAVID LEE
Sounder... Sounder...
He stops and looks all around him with a pained expression on his face --
SOUNDER is not under the house...
INT. THE KITCHEN - DAY
The following morning REBECCA pours the walnuts from the bowl into a paper
bag and proceeds to tie the bag up as DAVID LEE looks on. JOSIE MAE and EARL
enter.
REBECCA
Josie Mae, I'm goin' into town for awhile to
see about your Daddy -- David Lee is gon' be in
charge here, so you and Earl do just like he
tells you.
She steps out of the front door with DAVID -- JOSIE MAE and EARL watch them
move through the yard, and on to the road leading away from the house.
EXT. THE ROAD NEAR HOUSE - DAY
REBECCA and DAVID LEE slowly move along up the road.
REBECCA
Watch the fire -- don't go too far lookin' for
Sounder, and warm up some of that corn mush for
y'all to eat. If anybody comes to the house
that's a stranger to you, don't say nothin'.
They come to a halt at a short distance from the house -- and then she looks
softly down on the boy for a moment.
DAVID LEE
'Bye, Mama...
REBECCA
'Bye, son -- I won't be gone long.
The mother and son move away on the road with their backs to each other.
DAVID LEE picks up speed and runs.
INT. KITCHEN - DAY
As JOSIE MAE and EARL look on, DAVID LEE completes building a fire in the
wood stove. He warms up and serves corn mush to his sister and brother.
EXTs. BACKYARD, UNDER CABIN, ROAD, FIELDS, WOODLANDS - DAY
DAVID LEE chops wood at the woodpile -- rakes up a few chunks into his arms
and heads back into the house.
He crawls under the cabin, searching about carefully, looking for the dog.
The boy charges up the road away from the house and then cuts off into the
field.
He spirals the brown stalk land in ever-widening circles, searching the
fence-rows -- and then he comes to the edge of the woodlands.
DAVID LEE searches under the jack oaks and cottonwoods, but SOUNDER is not
there. He stands in one spot, looking about the woods in painful confusion.
EXT. LANDSDOWN MAIN STREET - DAY
REBECCA moves into town, picking up the main street, crosses the town square,
moving in the direction of SHERIFF YOUNG's office which is adjacent to the
County Court House.
INT. SHERIFF'S OFFICE - DAY
SHERIFF YOUNG is seated behind his desk -- a DEPUTY is sitting at a table
across the room. REBECCA enters and stands before the SHERIFF's desk.
SHERIFF YOUNG
Howya do, Rebecca. I sorta been expectin' you
this mornin'.
REBECCA
I wanta see Nathan.
SHERIFF YOUNG
I wish I could, Rebecca, but I can't let you.
REBECCA
I don't understand that, Sheriff Young.
SHERIFF YOUNG
It's the rules and I gotta follow 'em. No
visitin' 'cept holidays and Sunday -- and no
womenfolk anytime.
REBECCA
You mean to tell me I can't see my own husband?
SHERIFF YOUNG
That's the way they do things here in Landsdown.
I just follow orders.
REBECCA
I got to see my husband, Sheriff Young!
SHERIFF YOUNG
I'd like to help you, Rebecca. But all that
would do, is git us both in trouble.
REBECCA
Will they give him a trial?
SHERIFF YOUNG
Shore thing -- next week sometime, and as soon
as I git the day, I'll ride out and let you
know 'bout it.
REBECCA
You gotta low-life job, mister sheriff!
REBECCA turns and storms out of the SHERIFF'S office and onto the street.
EXT. STREET - DAY
REBECCA walks in haste and anger away from the SHERIFF's Office on the main
street of Landsdown.
EXT. COMMISSARY - DAY
She even moves past the commissary -- stops and calms herself for a moment,
turns around and enters the store.
INT. THE COMMISSARY STORE - DAY
She moves directly to the counter where an elderly man stands: MR. HOWARD,
the owner of the store and farm owner the MORGAN family share-crops for. She
puts the bag of walnuts on the counter.
MR HOWARD
Rebecca, you jest the one I wanta see.
REBECCA
I brought these walnuts to trade.
He looks into the bag -- then empties the walnuts onto a weighing scale --
looks to her...
MR HOWARD
That's one dollar an' twenty cents.
REBECCA
I wanta get some things.
MR HOWARD
I hope it ain't a lot,'cause I can't give you
no more credit till the croppin' season gits
back, that is if Na--
REBECCA
I didn't say nothin' 'bout credit, Mr. Howard.
MR HOWARD
Whatcha wanta order?
REBECCA
I need some nutmeg, flour, eggs, sugar, and...
A few minutes later, he puts her last article up on the counter.
MR HOWARD
Now what I wanta talk to you 'bout is Nathan.
He oughtn' done what he did: sneakin' into the
James' place and takin' they goods. That looks
bad on me. I been good to y'all -- didn't I go
to all that trouble to get the people of
Landsdown to let your David Lee go to they
school? Didn't I?
With the mood she's in, REBECCA does not have anything to say to this man
concerning NATHAN, DAVID LEE or that damn school. For a moment he waits for
her to say something and then he goes on --
MR HOWARD
And another thing; with Nathan stuck in jail
and all, how you gon' crop for me when the
spring season comes, huh?
She still can't find words to say to this man, but tries. He is impatient,
and a little snap cracks in his voice.
MR HOWARD
Dammit, I'm talkin' to you, woman! I gotta farm
to think about and I need answers.
REBECCA
(pause)
The season is a long way off, Mr. Howard, and
by that time, Nathan oughta be home. If he
ain't, believe me -- the children and me -- we
will grow the crops. We have to because we owe
you all that money -- Mr. Howard.
What she has just said about the money they owe is a frustrated thought in
HOWARD'S mind as he looks to her helplessly.
EXT. PORCH STEPS OF THE MORGAN'S CABIN - DAY
DAVID LEE, JOSIE MAE and EARL are sitting on the steps, looking out on the
road.
JOSIE MAE
Do you think Sounder is dead, David Lee?
EARL
Will he stay dead?
DAVID LEE
He ain't dead, now stop askin' crazy questions!
JOSIE MAE
You don't havta get mad 'cause you didn't find
the ol' dog!
JOSIE'S words hit him hard. He looks to her for a moment with a pained
expression -- turns his eyes back to the road where he spots someone coming
up the road toward the house from an unidentifiable distance.
EXT. THE YARD - DAY
DAVID LEE stops in the middle of the yard with his eyes dead set on the
approaching figure.
DAVID LEE
Somebody's comin' here...
JOSIE MAE and EARL move down from the stoop and stand behind DAVID LEE, their
eyes dead set on the road.
DAVID LEE
It's Mama!
The children run out to greet her.
JOSIE MAE & EARL
Hi, Mama!
They all reach her as she lays some of the packages down on the ground.
REBECCA
Hi, Children -- here, take some of these
packages.
The children relieve her of all of the packages, and they start moving
through the yard for the house.
DAVID LEE
Did you see Daddy?
REBECCA
No, son. We havta wait 'til the holiday comes
-- anyway, they won't let womenfolk see their
men no time.
DAVID LEE
Can I go when the holiday comes?
REBECCA
You sure can, son...
They step up on the porch and move into the house.
INT. SITTING ROOM-KITCHEN - DAY
They enter the house and start putting the packages on the table.
REBECCA
Any sign of Sounder?
DAVID LEE
No mam -- I looked all over.
REBECCA
I think maybe he was scraped on the head by
that shot. I don't think he's dead -- just gone
somewhere to heal himself.
She takes out of one of the bags of flour, cocoa, and a small bottle of
vanilla flavoring. EARL takes out from one of the bags an empty cardboard box.
EARL
Nothin' in here, Mama.
REBECCA
I'm goin' use it to put a cake in and I'm gon'
let David Lee take it to your daddy!
As the children help their mother put the things away.
DAVID LEE
Mama... Make a chocolate cake... Daddy likes
things that's chocolate! (smile).
INT. MEZZANINE SECTION, COURT ROOM - DAY
It is a small section provided for "colored only" -- REBECCA is seated with
DAVID LEE and IKE -- A few other black people are seated about in this area,
overlooking the main courtroom.
COURT CLERK
Defendant will rise and come before the bench.
They don't even bother to sit -- they stand just inside the entrance and
watch in intense silence. NATHAN moves slowly before the JUDGE'S bench and
stops.
JUDGE
Nathan Lee Morgan, you have been found guilty
of unlawful trespass and robbery -- do you have
anything to say before sentence is passed?
NATHAN LEE
(almost in a whisper).
No, sir...
JUDGE
It is the judgment of this court that you be
remanded to the custody of the sheriff of this
county and that you be taken forthwith to serve
a term of one year at hard labor at such county
labor camp as shall be hereafter designated.
Next case, please...
They watch two guards lead him from the courtroom in handcuffs. DAVID looks
on sadly as REBECCA cringes at the sight of the Guards taking him away.
EXT. COURT HOUSE SQUARE - DAY
From the top of the Court House building, REBECCA, DAVID LEE and IKE can be
seen, slowly walking across the square, moving farther and farther away.
EXT. BACKYARD - DAY
REBECCA hangs out clothes - DAVID LEE draws water from the well -- JOSIE MAE
wrings the water out of the clothes -- EARL pours water into the wash tub.
EXT. SCHOOLYARD - DAY
DAVID LEE, on his way to school, is late again -- enters the schoolyard, and
dashes into the building.
EXT. WOODS - DAY
DAVID LEE roams about the woods, alone, in the hope that he might come upon
SOUNDER.
INT. THE KITCHEN - DAY
DAVID LEE reads from "The Three Musketeers" to REBECCA, JOSIE MAE and EARL.
It is very funny -- they laugh.
INT. THE SHED - DAY
DAVID LEE, in the shed takes his father's baseball glove down from the wall
-- puts the glove on -- holds it up, and then slaps his fist into the pocket
several times -- stops and looks off into blank space -- he keeps looking
straight ahead as if he can visually see his father off from a long distance.
EXT. LANDSDOWN, MAIN STREET - DAY
Sunday, REBECCA and the children -- DAVID LEE carrying the cake box, make
their way down the street -- people are moving back and forth in their Sunday
dress. They move into the Square at the Court House.
EXT. COURT HOUSE SQUARE - DAY
At the square, they come to a halt as REBECCA looks up at the clock on top of
the Court House building. It is about ten minutes to twelve noon. They
continue on around to the back of the building --
EXT. BACK OF BUILDING - DAY
They stop in front of a huge back entrance and look up to the small windows
with prison bars. A number of black people are moving into the area, milling
about and waiting as REBECCA and the children are.
REBECCA
Be sure to ask your daddy to tell you what camp
they goin' to send him to. And whatever you do
in there, David Lee, act perkish, and don't
grieve him.
The clock above the Court House strikes twelve times. They listen with
intensity until the twelfth stroke.
REBECCA
All right, son, that's it -- now don't forget
what I told you.
DAVID LEE moves through the doorway with the other people --
INT. THE CORRIDORS AND STAIRWAYS OF THE BUILDING - DAY
DAVID follows the other people down the corridor and then up a group of
stairs -- then down another corridor. They line up at a huge steel door.
DAVID touches the MAN in front of him on the arm --
DAVID LEE
This where you go visit, mister?
MAN
Yeah...
INT. ADMITTANCE AREA - DAY
The door swings open and a red-faced Guard at a table just inside the door
begins to admit people. DAVID's turn comes and the Guard stops him.
GUARD
Whatcha got there, boy?
DAVID
A cake for my Daddy.
GUARD
Well, you put it on this table here'n wait 'til
I check it.
DAVID puts the cake on the table just inside the door as the Guard sits at
the table.
GUARD
Can't be too careful, boy, jest might have a
steel file or hacksaw in it.
The GUARD opens the box, pulls from his pocket a switchblade knife and with
slow deliberation punctures knife holes in about fifteen different places in
the cake. After he is done, he closes the box and rises.
GUARD
What's your daddy's name?
DAVID LEE
Nathan Lee Morgan...
The GUARD checks his list on the table --
GUARD
Okay, boy, fourth cell down there on your left.
DAVID moves inside --
INT. CORRIDOR OF JAIL CELLS - DAY
DAVID LEE moves along the corridor, looking from one side to the other at the
men sitting on cots and standing behind iron gates. He comes To NATHAN'S cell
and there is his father, standing with his hands on the bars.
NATHAN LEE
Well, looka here...
DAVID LEE
Hi, Daddy...
NATHAN LEE
Hi to you, son...
He extends his hands and they shake -- and then he draws the boy close and
embraces him --
DAVID LEE
Mama is outside with Josie Mae and Earl.
NATHAN LEE
They is!? It shore is good to see you, boy!
Finally DAVID passes the box with the cake on to him.
DAVID LEE
This was a real cake before the man at the door
put all these holes in it.
NATHAN takes the box and immediately opens it --
NATHAN LEE
Aw, don't make no difference, son. If I know
your mama, a few knife holes ain't gon' destroy
the soul she put into this cake. Come on, have
a piece with your daddy.
NATHAN breaks a piece for himself and passes another on to DAVID. DAVID takes
a bite out of the cake.
DAVID LEE
We didn't find Sounder yet.
NATHAN LEE
He'll show up one day.
DAVID LEE
Do you think he's dead, Daddy?
NATHAN LEE
Naww -- he'll come back to you, soon as his
wounds heal. This cake shore is tasty, son.
He walks away from the cell door and moves to the window of his cell, looks
up with his back to DAVID.
NATHAN LEE
It's a shame they won't let 'em come in here.
If I had the strength I'd knock down these damn
walls -- if I could just git my arms 'round
your mama right now -- is they on this side of
us, son?
DAVID LEE
I think so...
NATHAN jumps up to the window a couple of times until his hands can get a
grip around the bars of the small window -- he strains and pulls, trying to
get his eyes up to the window level --
NATHAN LEE
Dammit! I'm gon' see 'em if I have to break my
arms!
NATHAN finally gets his eyes up to the window -- he looks down -- he can see
them --
NATHAN LEE
I can see them! I can see them!
His arms give way and he drops back to the floor on his feet -- he moves
slowly to DAVID and takes him by the arms through the bars of the cell --
NATHAN LEE
Son, don't ever let yourself get caught in a
place like this.
There is a moment of agonizing silence as they look at each other --
DAVID LEE
Can you say what camp they gon' send you to,
Daddy?
NATHAN LEE
I don't know, son -- they won't tell us things
like that -- but I don't want y'all to come
here no more.
DAVID LEE
Why, Daddy; you won't be here?
NATHAN LEE
Just do like I tell you -- I'll get word to you
through the visitin' preacher.
GUARD'S VOICE
Visitin' over!
People start filing out but DAVID remains in front of the cell, looking on
his father --
GUARD'S VOICE
Come on, boy!
NATHAN LEE
Go, son...
NATHAN and DAVID shake hands and then DAVID slowly moves away from the cell,
sporadically looking back over his shoulder toward his father until he moves
through the cell block door -- the door slams behind him --
EXT. BACK OF THE COURT HOUSE BUILDING - DAY
DAVID steps out into the Court House yard where they are waiting for him --
his feelings bound in confusion, and his face flooded in tears -- he runs to
his mother's arms. She embraces him long and deep.
INT. CHURCH - DAY
REBECCA and the children attend services at the Church -- Everyone is
standing -- they are in the midst of a song, led by the Pastor of the Church.
Like everything else in Landsdown for Black People, it is an old disinherited
structure with creaky, movable chairs for the worshipers to sit in -- there
are two high windows on both sides.
The Pastor reads the verses of the song in the traditional, dramatic Black
Preacher's fashion, and the congregation repeats the verses musically.
Song --
EXT. CHURCH - DAY
Coffee, cold drinks, cookies and fruit are being served to a laughing,
chattering crowd of church goers -- inside a woman is at the piano, playing
rhythmic uptempo gospel songs. IKE is there also.
REBECCA, with HARRIET in line behind her, and the children, are moving up to
the table to be served.
HARRIET
If this wasn't a church, I'd do me a dance to
that music she's playin'.
REBECCA
Why don't you try it, Harriet, and just see
what everybody would do.
HARRIET
Now, Rebecca, I may be a country woman, but I
ain't no fool.
REBECCA and HARRIET take coffee and cookies at the table while the children
take fruit. They move across the floor for a corner to sit. HARRIET does a
little moving dance step as they arrive to the corner and sit.
REBECCA
You determined to get that dance in.
HARRIET
Well, you can't blame a girl for tryin' if the
feelin' hits her.
REBECCA notices the PREACHER talking to a group of women across the floor.
REBECCA
If I don't go over there and butt in, I ain't
gon' ever get to talk to the Preacher about
Nathan.
She rises and moves across the floor. DAVID LEE watches closely as his mother
approaches the PREACHER and gets his attention by touching him on the arm,
and they move off to a more secluded spot in the Church. DAVID rises and
moves to join their company.
PREACHER
No, I ain't got no word yet, Rebecca. I went to
the courthouse yesterday to see 'bout it, but
they just won't tell me nothin' about what
labor camp Nathan was sent to. I'm sorry,
Rebecca.
REBECCA
It's a shame, Reverend. It's a damn shame.
PREACHER
I hope you don't take to bitterness, Sister
Morgan. I tell you like I tell all the women in
this church who got the same trouble you got.
No matter what the trial or what the misery is,
I tell 'em to stay with God.
REBECCA
Yeah, he'll crawl into my bed tonight, lie
close to my body and keep me warm -- and
rectify the evil in the men who live over us
in this valley.
PREACHER
It's not that simple, Sister Rebecca -- the
Lord works in mysterious ways -- we come into
this life with nothin' and we'll leave it with
nothing.
REBECCA
Is that a blessing, Reverend?
Her words jar and disturb the PREACHER --
EXT. FRONT OF THE MORGANS' CABIN - NIGHT
REBECCA and the children are just about to enter the yard, when DAVID LEE
stops and pulls on his mother's arm.
DAVID LEE
Mama, did you hear that?!
REBECCA, JOSIE MAE and EARL come to a halt on his words.
REBECCA
What is it, David Lee?
DAVID LEE
Listen, Mama...
They stand quietly for a moment -- and then they hear the sound of a faint
whine coming from the direction of the porch -- the whine becomes louder --
DAVID LEE
Mama, I hear Sounder!
He takes off in the direction of the porch --
EXT. THE PORCH - NIGHT
DAVID stops just at the top of the porch, and there, scratching at the door
and wagging his tail, is SOUNDER. The side of his head where the shot scraped
him is discolored and hairless -- the top of his eye is scarred causing it to
be half-closed, and what's left of his ear on the same side, sticks straight
out. Upon seeing DAVID LEE, he raises his good ear and whines. DAVID rushes
to grab him.
DAVID LEE
You come back, boy! I just knowed it! I just
knowed you'd come back!
REBECCA, JOSIE MAE and EARL arrive at the porch -- REBECCA kneels, looks on
the bad sight of the dog and strokes his back --
REBECCA
Poor creature...
DAVID LEE
He'll be all right, Mama. I'll make him all
right.
EXT. THE BACKYARD - DAY
The next morning, DAVID LEE feeds SOUNDER as EARL stands by, looking on.
DAVID LEE
He eats all right -- his throat ain't scarred.
EARL
Then why don't he holler like he usta?
DAVID LEE
He will... Come on, git down and act like a
possum.
EARL
I don't look like no possum!
DAVID LEE
Act like one!
After a moment of hesitation, EARL gets down on his hands and knees --
DAVID LEE
Git him, boy!
EARL jumps to his feet quickly and backs away across the yard --
EARL
Don't tell that dog to git me!
SOUNDER merely turns to DAVID LEE and gives out with a few muffled whines --
DAVID LEE
I guess I'll havta work harder to git him back
like he usta be.
EARL
Why don't you try and git you a new dog?
DAVID LEE takes off after EARL who turns, breaks and runs out into the back
field --
EXT. CROP FIELD - DAY
REBECCA, DAVID LEE, JOSIE MAE and EARL up in the field, working, planting,
hoeing and cultivating the soil -- SOUNDER trots about the field in the
vicinity of DAVID LEE --
EXT. THE FIELD - DAY
REBECCA is looking on about three hundred feet away as DAVID LEE runs about
with SOUNDER in open field, trying to work him back into physical shape -- he
halfway picks the dog up -- drops him to the ground, takes off and runs but
SOUNDER does not follow him. He comes back to the dog and ruffles him
affectionately -- takes off and runs again -- this time, SOUNDER takes off
after him. REBECCA and DAVID look to each other and smile broadly --
success!! He caresses and hugs the dog -- they move toward REBECCA, join her,
and they start walking back toward the house -- and then the rains come --
they and the dog take off in speed with huge raindrops splattering against
their faces and bodies. From the field, as they make a run for it, their
figures become smaller as they near the backyard and the doorway to their
home...
EXT. MRS. BOATWRIGHT'S BACKYARD - DAY
A bright sunny day -- DAVID LEE is just about to quit for the day in some
gardening work he is doing for MRS. BOATWRIGHT -- He moves to the side of the
house to put some equipment away when the lady approaches him --
MRS BOATWRIGHT
David, you never cease to amaze me at how good
you are in taking care of my garden.
DAVID LEE
My father taught me...
MRS. BOATWRIGHT
Would you like to have a cool drink, David?
DAVID LEE
No, thank you -- I gotta go do some work in the
field today.
DAVID starts to walk away and then decides to stop, turns to her as she is
heading back into the house --
DAVID LEE
Miss Boatwright --
MRS BOATWRIGHT
(stops, turns)
Yes, David...
DAVID LEE
Will you help me to find out what camp they
sent my father to?
MRS. BOATWRIGHT
The courthouse has rules about things like that,
David -- but I'll ask around town about it.
He looks on her with an expression of disappointment, turns and walks away.
DAVID LEE
See you tomorrow, Miss Boatwright.
MRS BOATWRIGHT
David!
DAVID LEE
(turns to her)
Yes, ma'am...?
MRS. BOATWRIGHT
I'll find out where your daddy is for you.
DAVID LEE
(smiles)
Thank you, Miss Boatwright!
(turns and runs away)
MRS. BOATWRIGHT
Don't mention this to anyone! You hear me,
David!
He just keeps running --
EXT. FRONT YARD, BACK YARD, BACK FIELD - DAY
DAVID LEE, at top speed, runs into the front yard from the road, on around
the side of the house through the back yard and on into the field in the back
of the house, heading for the crop field.
EXT. THE CROP FIELD - DAY
REBECCA, JOSIE MAE and EARL are working the field as DAVID LEE comes running
towards them --
DAVID LEE
Mama! Mama! Miss Boatwright, say she gon' help
me find where Daddy is!
REBECCA
Good! But you don't have to tell the whole
valley 'bout it! You'll get that woman in
trouble!
INT. COURT CLERK'S OFFICE - DAY
CHARLIE DAVID, the Court Clerk, is standing behind his desk -- MRS.
BOATWRIGHT is seated in a chair before his desk. There are two windows in the
small office, a coat rack in the corner diagonally behind his desk, three
chairs, another small working desk, and a row of file cabinets against the
wall --
CHARLIE
I can't do it, Rita -- that's the policy here
on colored prisoners, and I ain't about to
change it, not even for a friend like you.
MRS. BOATWRIGHT
Charlie, just because a man and his family are
colored, you--
CHARLIE
Now look, Rita, I don't make the rules -- you
puttin' yourself on a limb, comin' here, askin'
me to do a thing like this. And I be damn if
I'm going to jeopardize my job because you are
in love with a little colored boy!
The phone on his desk rings -- he picks up the receiver to his ear and sits
down --
CHARLIE
County Clerk's office, Charlie Davis
speaking... Yes, sir... You bet your life,
sir...Yes, sir, I'll be right there.
He puts the receiver down -- jumps up, goes to the rack and gets his coat and
starts to fix his tie --
CHARLIE
That was Judge Elliot on the phone and when
Judge Elliot calls, I jump! Good day, Rita.
He moves to the door, to the waiting area and opens it to leave -- DAVID LEE
can be seen standing in the background of CHARLIE --
MRS. BOATWRIGHT
But, Charlie --
CHARLIE
NO! N-O, NO!
Just like that he is gone. MRS. BOATWRIGHT stands in the middle of the floor
in a moment of frustration, with DAVID LEE looking on from the alcove. She
thinks for a moment and then looks to the file cabinets against the wall.
DAVID stands in the doorway as she decides to go to the file cabinets. She
checks the outer notation on each one of the cabinets until she comes to the
one that reads: PRISONER CASES. She quickly opens the cabinet drawer and
hurriedly fingers through the files until she finds the file with NATHAN LEE
MORGAN's name on it. She goes through it until she has gotten the information
she wants and just as she is about to put it back, CHARLIE DAVIS has returned
and has caught her in his files. She looks cheaply to him, slips the file
back into its place, closes the cabinet drawer and backs away from the file
cabinet. He moves past DAVID LEE into the office on to the file cabinet where
she was, opens it enough for him to tell that she has disturbed the one
single file of NATHAN LEE MORGAN. He slams the file drawer back shut and
turns to her.
CHARLIE
I see you found what you was lookin' for.
MRS. BOATWRIGHT
I did look, Charlie, but I--
CHARLIE
No buts, Rita!
MRS. BOATWRIGHT
Charlie, you have no legal right not to let
this boy know where his father is! You hear
that, you and this whole damn court house;
what you are doing is wrong!
CHARLIE
Don't tell me about what's wrong. You come into
my office as a friend and steal city files! I
could have you arrested for that -- and if you
give out that information to anybody, that's
exactly what I'm going to do -- and I'll tell
everybody in this town how you got the
information and who you got it for! You won't
have a friend left in this county to bring you
a piece of candy!
MRS. BOATWRIGHT
You would do that, wouldn't you?
CHARLIE
You getting the point, Mrs. Boatwright.
MRS. BOATWRIGHT gives him a hard and long look with the feeling that he means
what he says --
MRS. BOATWRIGHT
Let's get out of here, David Lee.
She turns and moves out of the office, through the door, with DAVID LEE
following --
EXT. COURT HOUSE STEPS - DAY
MRS. BOATWRIGHT and DAVID are slowly descending the Court House steps, and on
towards her automobile, parked about a hundred feet away. She is about to
open the door of the car, when DAVID LEE stops --
DAVID LEE
You know where my father is, don't you, Miss
Boatwright?
MRS. BOATWRIGHT
(pause)
No, he was wrong, David, I didn't find out.
DAVID LEE
But I saw you -- you looked in there, and you
found out, Miss Boatwright.
MRS. BOATWRIGHT
If I tell you I didn't, David, that's what I
mean.
DAVID LEE
But, Miss Boatwright, you--
MRS. BOATWRIGHT
I don't know a damn thing, now stop bothering
me about it!
She gets into the car as he shuffles his feet about on the ground with his
head turned slightly down, remaining in one place --
MRS. BOATWRIGHT
Come, I'll take you home.
DAVID LEE
I'll walk...
MRS. BOATWRIGHT
Don't pout now, David, it's a long trip.
DAVID LEE
I'm used to it.
MRS BOATWRIGHT
Well, you can't say I didn't try.
DAVID LEE watches her drive off and away and then he slowly starts walking
away...
EXT. BACKYARD - DAY
DAVID LEE, at the well, draws up a pail of water and pours it into a
container for SOUNDER who is standing beside him, anxiously waiting for the
water. As SOUNDER drinks the water, DAVID turns around to see MRS. BOATWRIGHT
standing in the middle of the yard.
MRS. BOATWRIGHT
Hello, David...
DAVID LEE
Hi, Mrs. Boatwright...
(pause)
I'm sorry 'bout the way I acted the other day,
Miss Boatwright.
MRS BOATWRIGHT
There's nothin' to be sorry about, David --
where's your mother?
REBECCA
Right here, Miss Boatwright.
REBECCA is standing in the doorway of the shed -- MRS. BOATWRIGHT doesn't
quite know how to begin -- the two women just look to each other for awhile
-- then --
MRS. BOATWRIGHT
The camp Nathan is at is called Wishbone Labor
Camp. It's in Nolan Town!
REBECCA lets the news soak in for a moment -- DAVID LEE has a big smile on
his face. REBECCA moves from the doorway and stands directly before MRS.
BOATWRIGHT.
REBECCA
Miss Boatwright -- you shore is a crazy actin'
woman sometime!
She bursts out laughing and kicks up her leg -- DAVID picks up the laughing,
then MRS. BOATWRIGHT... EARL and JOSIE MAE arrive and stop at the corner of
the house -- can't quite make out what this crazy laughing is all about but
they move to the center of the yard with them and join in with the laughing.
After a short while the laughter comes to a sudden stop -- sudden, absolute
silence --
JOSIE MAE
Mama, what was we laughin' for?
REBECCA
At the way you ask funny questions, Josie Mae!
INT. THE KITCHEN-SITTING ROOM - DAY
In the house, REBECCA and all the children are gathered around MRS.
BOATWRIGHT at the table with a map spread out as she scans it carefully with
a pencil --
MRS. BOATWRIGHT
We go from "A-2" -- now let me see where we go
from here...
REBECCA
Trouble, Miss Boatwright?
MRS. BOATWRIGHT
Oh no, these maps are easy to read.
But she is having trouble locating the place as her pencil moves about in
several confusing spots on the map -- like having to find a bigger town's
indicating alphabet and number in order to search about at random to locate a
smaller town -- but finally --
MRS. BOATWRIGHT
There it is, right there!
She makes a marker with the pencil and holds it down on the place --
everybody leans over the map as close as possible to see the little area she
has made a circle around -- DAVID straightens up --
DAVID LEE
How do you get there, Miss Boatwright?
Everybody straightens up to get MRS. BOATWRIGHT's directions. She holds the
map up as they look on.
MRS. BOATWRIGHT
Now they have numbers and letters on here to
tell you where to look on the map, but Nolan
Town is not under a number but we know it's in
Northern Landsdown -- the number for Northern
Landsdown is: "h7", but since Landsdown is the
largest county, it actually stretches over into
"a2" but "a2" is -- Am I making myself clear?
REBECCA
It's clear, Miss Boatwright -- it's so clear,
you don't havta go any further -- thank you --
when the time comes for us to find that place,
we will -- won't we, children?
ALL THE CHILDREN
RIGHTTTTTT!
EXT. CROP FIELD - DAY
REBECCA and DAVID LEE are hoeing as JOSIE MAE and EARL run up and down the
grooves planting seeds -- REBECCA and DAVID complete their hoeing and plop
down on the ground out of exhaustion as JOSIE and EARL move toward them,
seeding the last grooves of earth.
INT. THE SITTING ROOM - NIGHT
REBECCA is sitting in her rocker, knitting, when DAVID LEE comes out of his
room -- she turns and looks to him --
REBECCA
Can't sleep?
DAVID LEE
No, ma'am...
(pause)
Mama, I wanted Mrs. Boatwright to find out
where Daddy is, so me and Sounder can go see
him.
REBECCA
So did I. I figured when the time got right,
we could all take a day or two and walk up
there, but it's not the kind of long trip for a
child to take alone.
DAVID LEE
I can do it, Mama -- you know that. In the
Bible stories you read to us, everybody's
always goin' on a long journey. Jacob goes
into a strange land where his uncle is and he
don't even know where he lives, but he finds
him. Everybody finds what they supposed to
find.
REBECCA
But you'll be away from home for days -- what
will you do when the dark comes, where will
you sleep? I can't send you away from here
like that!
DAVID LEE
Mama, don't I always do what you say -- every
time I go to the fields to plant the corn, to
Miss Boatwright's and the woods -- you tell me
what to do and I do it, and you don't worry.
REBECCA
(pause)
No, I don't and I oughtn't not to after the way
you've taken over since they took him away --
and I would like for you to see 'im so you can
come back and tell me about 'im.
(pause)
The field's all planted, so I guess I can spare
you for a little while. When do you wanta
leave?
REBECCA gets up from the rocker and starts putting her knitting away in the
dresser --
DAVID LEE
Can I go day after tomorrow?
REBECCA
Yes, son. You better get back to bed.
DAVID LEE
Good night, Mama...
REBECCA
Good night...
He turns, moves out of sight into his room. REBECCA gets up from the rocker,
puts her knitting away, picks up the map MRS. BOATWRIGHT left, off the
dresser, and spreads it on the table to the light of the lantern. She can't
make sense of the map -- she folds it back up and shoves it to the side --
looks across the room in thought.
INT. KITCHEN-SITTING ROOM - EARLY MORNING
Two days later, a little after daybreak, DAVID is all set to make the journey
with SOUNDER -- DAVID is at the table -- IKE is standing over him as he
writes on a piece of paper -- REBECCA and the other children are looking on --
IKE
Now afta you go by Nolan, the first road you
come to is Jordan road -- keep walkin' on that
road and you'll run right into it. It's a long
trip, David Lee, so good luck to you.
DAVID LEE
Thank you, Mr. Ike...
They all turn around and move out the front door --
EXT. FRONT OF THE HOUSE - DAY
They move out the house and down into the yard and stop.
REBECCA
I wish you wouldn't take the dog with you,
David -- he's likely to be a burden to you.
DAVID LEE
I got to, Mama. I know Daddy wants to see him.
REBECCA passes on to him a big brown bag of food --
REBECCA
Here's your food -- now you go straight to that
place -- if you need to rest, go into a church
or railroad station -- but don't go into
nobody's house, you hear me?
DAVID LEE
Yes, mam...
REBECCA
Ask your daddy to give you some word about when
he'll be comin' home -- and tell 'im we love
him.
IKE
Tell 'im I said, "Hi", too, David.
REBECCA pulls him into her arms --
REBECCA
Good luck to you, son...
(releases him)
All right now, get movin', you losin' daylight.
DAVID gives quick embraces to JOSIE MAE and EARL -- and then he and SOUNDER
hit the road -- JOSIE MAE and EARL, follow him part the way -- REBECCA moves
back up on the porch, stops and turns in time to see DAVID bidding JOSIE MAE
and EARL "goodbye" -- JOSIE MAE and EARL move back toward the house, and then
the boy and dog slowly fade from her view...
EXT. SHARECROPPERS' CABIN - DAY
DAVID LEE and SOUNDER walk the road. They pass a cabin, where another family
is working.
INT. RAILWAY STATION - NIGHT
DAVID and SOUNDER are in a small cubby hole of the station with a sign
overheard that reads: "Colored Waiting Room." He is looking over an old
newspaper as a man in a chair across from him is fast asleep and snoring --
finally he too falls asleep.
EXT. STREAM POND - DAY
DAVID goes in the water to cool off and refresh.
EXT. A MIGRATORY CAMP - DAY
DAVID and SOUNDER come upon a sign in front of a migratory farm with a sign
that advertises: "Fruit pickers and sorters needed."
EXT. SORTING AREA - DAY
DAVID works sorting fruit for part of the day and after he is done they have
a bite to eat --
EXT. THE ROAD - DAY
Back on the road as DAVID LEE and SOUNDER continue their journey. They move
through an area with landscapes and mountains, the size and shape that DAVID
has never seen. At one point, he stops and looks on in wonder and admiration.
EXT. THE FRONT OF A HOUSE - DAY
DAVID LEE washes a car as SOUNDER looks on. A man pays him -- he goes over
the piece of paper with IKE's directions and then they move on --
EXT. THE ROAD - NIGHT
DAVID and SOUNDER approach the camp. He moves close to a sign that reads:
WISHBONE LABOR CAMP, NOLAN COUNTY.
They move on farther along the barbed wire barricade of the camp and then
they come to a halt when DAVID sees two lights and a wide barbed wire gate
entrance with two guards just inside the gate. They move off the road down a
sloped hill just beneath the entrance of the camp. They lie down on the grass
to sleep.
EXT. THE SLOPE OFF THE ROAD - DAY
It is early morning as DAVID is awakened by the voices of the guards and the
motor of a truck.
TRUCK DRIVER'S VOICE
Whatcha got for me today!?
GUARD'S VOICE
Same bunch you had yesterday!
TRUCK DRIVER'S VOICE.
Well, I'll take what I kin git!
DAVID hears the truck motor into the grounds of the compound. He and SOUNDER
crawl up to the edge of the slope so they can see. Finally he decides to walk
across the road to the gate where the guard is --
EXT. LABOR CAMP GATE - DAY
DAVID and SOUNDER approach the gate and stop -- one of the guards sees them
and walks over --
DAVID LEE
Mister, can you visit anybody here?
GUARD
Gotta wait 'til visitin' days.
DAVID LEE
When's that?
GUARD
Sunday...
DAVID LEE
Do you know my daddy, Nathan Lee Morgan?
GUARD
Never heard of 'im. We gotta lotta men here...
The sound of the truck, approaching --
GUARD
All right, boy, outta the way, truck's
comin'...
He opens the gate as DAVID and SOUNDER scatter back across the road -- the
OTHER GUARD calls out --
OTHER GUARD
Section J comin' through!
GUARD
Let 'er roll!
The truck motors through the gate and stops just outside as the GUARD makes
his final check of the men. DAVID, from where he is standing, also checks it
thoroughly to see if his FATHER is on the truck. A number of trucks roar
through the gate and DAVID checks them all thoroughly, but his father is not
on any of them. Finally the last truck comes out-
OTHER GUARD
Last one comin' atcha!
GUARD
Let me have it!
The truck pulls to a halt just outside the gate, and DAVID eyes the men on
the truck carefully us the GUARD makes his check --
DAVID LEE
He gotta be on this one, Sounder, it's the last
truck.
There are not too many men on this truck which makes it quite easy for DAVID
to see that his father is not on it. Then where is he? The boy thinks to
himself as he sees the truck move away up the road. The truck is moving no
more than about twenty miles an hour -- DAVID LEE makes a decision and takes
off after the truck, running --
EXT. A FARM - DAY
A half hour later, the truck with the convicts pulls into a huge farm area --
the TWO GUARDS jump down from the truck and herd the men into a group while a
third guard gets out of the cab -- and they distribute farm equipment to the
men. A picket fence stretches the area where the men work.
EXT. THE ROAD - DAY
Some minutes later DAVID LEE and SOUNDER, walking, approach the farm area
where the convicts are, moving along the road outside of the fence.
They stop -- DAVID watches the men work and the guards, covering them from
distances of about three hundred feet in a half moon formation, spread out.
DAVID decides and moves to the fence to question the men. When he gets to the
edge of the road next to the fence, one of the guards spots him and starts
moving over --
DAVID LEE
Mister...?
CONVICT
Boy, where did you come from?
DAVID LEE
I wanta find out 'bout my Daddy. Is he here?
CONVICT
Can't you see that guard comin'-- git!
GUARD
Whatcha doin' here, boy, move!
DAVID hurriedly gets back across the road with SOUNDER and watches the guard
as he moves the men back. DAVID looks on in frustration, trying to figure out
what his next move will be -- The guard moves away from the men and walks up
to another guard to engage him in a conversation -- while the two guards are
rapping with each other, DAVID decides to make a desperate try of it --
DAVID LEE
Okay, Sounder, let's go!
DAVID LEE and SOUNDER dash across the road, and slip under the fence into the
farm area --
EXT. THE FARM - DAY
DAVID LEE and SOUNDER turn on all the speed they can muster, heading directly
for the group of CONVICTS -- They get there --
DAVID LEE
Please tell me, mister! Is Nathan Lee Morgan
here?
CONVICT
There is nobody name Morgan! Now get away from
here before you git us in trouble!
SOUNDER lets out a growl at one of the Guards who is now charging toward
them. DAVID takes off in a circle with the Guard in pursuit of him, away from
the direction of the road -- SOUNDER is close behind him -- They circle back
into the direction of the road and zoom past the group of CONVICTS -- DAVID
is running at electrifying speed. DAVID and SOUNDER are making tracks with
the Guard still after the boy. They come to the fence and quickly slip
through, but DAVID's hand falls on a broken bottle with gashing force -- he
leaps up and continues on across the road and into an open field. The Guard
stops at the edge of the road and gives up the chase --
EXT. FIELD - DAY
DAVID and SOUNDER are still running with great speed. DAVID looks back over
his shoulder to see if the Guard is still after him. They slow down when they
approach an old abandoned barn --
INT. THE BARN - DAY
He staggers into the barn and drops his body against one of the walls to
catch his breath. SOUNDER hobbles in and nestles beside him.
DISSOLVE TO:
EXT. THE ROAD - DAY
DAVID, holding his hand, sits on the road with the dog -- puts his hand up
before his eyes -- it is practically covered in blood. A pain strikes him,
causing him to grimace for a moment -- looks about the area -- They rise and
start out once again --
DAVID LEE
Sorry, Sounder, but we lost. Better keep movin'
though, 'til we find somebody to tell us how to
get back home.
EXT. ROAD AND SCHOOL - DAY
They come upon a large schoolhouse with the name over it: Borderdale School.
They stop when DAVID sees a number of Black Children playing on the grounds
-- climbing on little ladders and swinging on swings. He notices a water pump
on the grounds, looks at his blood-covered hand -- hesitates for a moment and
then decides to enter the grounds --
EXT. SCHOOL GROUNDS - DAY
DAVID and SOUNDER head straight for the pump and just as they arrive at the
pump a group of Children gathers around them --
#1 CHILD
You new here?
#2 CHILD
You comin' here to school?
#1 CHILD
What's wrong with that dog?
Two dogs near the side of the schoolhouse bark at SOUNDER -- he merely whines
and scratches back at them but their barking intensifies until a young,
attractive black female teacher interferes --
CAMILLE
Come on now, get away from here!
The two dogs gallop off as do the Children -- they scatter away from around
DAVID and SOUNDER. The TEACHER walks over to DAVID and stops --
DAVID LEE
I just wanta wash my hand. It's got blood where
I hurt it.
CAMILLE
You don't live around here, do you?
DAVID LEE
No, mam... I come from way back there. Me and
my dog was tryin' to find my daddy and we got
lost.
CAMILLE
Is he here in Borderdale?
DAVID LEE
I don't know, he's in a prison camp.
CAMILLE
Here, you put your hand under the water and
I'll pump for you.
She pumps and DAVID puts his hand under the cool, flowing water --
CAMILLE
My name is Camille -- Camille Johnson and I'm
the Supervisor of this school. What's your
name?
DAVID LEE
David Lee Morgan. My dog's name is Sounder.
(takes his hand out
from under the water)
That feels better.
CAMILLE
Let me see it...
She takes his hand into hers -- pulls a kerchief from her pocket and dries
the water off --
CAMILLE
Your hand needs medicine on it. You better come
with me into the school so I can put something
on it --
INT. A CLASSROOM IN THE SCHOOL - DAY
She applies some medication to his wound -- he winces for a moment -- and
then she begins to wrap it in a bandage -- DAVID keeps looking about the
room, admiring its cleanliness, the long blackboard, the strong, steady
student chairs --
CAMILLE
You keep looking around, David. Don't you go to
school?
DAVID LEE
Sometime, but not like this.
CAMILLE
It's a good thing your hand did not become
infected -- how did you cut it like this?
DAVID LEE
Me and Sounder went to this prison camp to see
my Daddy and the police guard runs us away and
I fell on some glass.
CAMILLE
Did your mother know you were going to see your
father?
DAVID LEE
Uh huh...
CAMILLE
(completes the bandaging)
That does it...
DAVID LEE
Thank you, Miss Johnson.
CAMILLE
I don't live far from here. You and your dog
can come home with me and have yourself a hot
meal and then we'll talk about how to get you
back home.
DISSOLVE TO:
EXT. CAMILLE'S PLACE - DAY
DAVID walks about CAMILLE'S quaint, neat little home with his eyes lit up as
he looks around and about --
DAVID LEE
You got a pretty house, Miss Johnson!
CAMILLE
I try...
INT. CAMILLE'S - DAY
They enter. DAVID spots the many books she has on a shelf -- he moves to the
shelf as she stands next to him --
DAVID LEE
You got a lotta books, too.
(scanning the books)
You got any books with people in 'em like
Huckleberry Finn?
She turns in a quick, reflex motion, directly to the boy --
CAMILLE
Hell, no!
DAVID breaks out in a big smile because he is glad to know that she has no
books like Huckleberry Finn. She returns his smile, and puts her finger on
one of the books --
CAMILLE
Here, let me tell you something about the books
on this shelf: This one's about a man whose
name was Crispus Attucks. He fought in a war to
help this country to become the United States.
And this one is about a woman who helped to
free slaves. Her name was Harriet Tubman,
and...
INT. CAMILLE'S KITCHEN - NIGHT
CAMILLE finishes washing the dishes -- moves for the sitting room as DAVID
trails her --
DAVID LEE
And you say all them people is dead now?
CAMILLE
That's right--
INT. CAMILLE'S SITTING ROOM - NIGHT
She moves into the room with DAVID following her --
CAMILLE
They lived a long time ago -- before you and I
were born.
DAVID LEE
Where is Africa, Miss Johnson?
She moves to her desk and pulls out a drawer --
CAMILLE
Come here and I'll show you.
She opens the desk drawer -- gets down on the floor and spreads the map out.
DAVID sits down next to her as she goes over the map.
CAMILLE
Here it is, right here.
DAVID LEE
That's where we come from first?
CAMILLE
That's where we came from first.
She rises from the floor and puts the map back into the desk drawer as DAVID
moves to the book shelf --
DAVID LEE
And the other people you told me 'bout, they is
all colored folk?
CAMILLE
Colored.
DAVID LEE
Don't you teach in your school 'bout folk who
ain't dead?
CAMILLE
Sure--
She moves to the shelf next to him and takes a book from it --
CAMILLE
Here's one by a man that's very much alive.
DAVID LEE
What's his name?
CAMILLE
Dr. William E. B. Dubois.
(fingers through the book)
DAVID LEE
What he talk 'bout?
CAMILLE
Why don't you sit and I'll read you something
he said.
She sits in a chair at the desk and he takes a place on the floor just
beneath her, waiting anxiously for her to begin the reading --
CAMILLE
(reads from the book)
THE LONGING OF BLACK MEN MUST HAVE RESPECT --
(she diverts)
Which means that a man and a woman are human
and must be treated that way--
(she returns to the text)
THE RICH AND BITTER DEPTH OF THEIR EXPERIENCE,
THE UNKNOWN TREASURES OF THEIR INNER LIFE--
As she reads, DAVID'S mind and imagination take to drawing pictures and
images of what he can apply to his intuitive understanding of what she is
reading to him --
CAMILLE'S VOICE OVER:
--THE STRANGE ENDINGS OF NATURE THEY HAVE SEEN, MAY GIVE THE WORLD NEW POINTS
OF VIEW AND MAKE THEIR LOVING, LIVING, AND DOING PRECIOUS TO ALL HUMAN...
DAVID'S IMAGES:
The night in the woods with his father and SOUNDER. The shouting and laughter
after the baseball game --
CAMILLE'S VOICE OVER:
...HEARTS. AND TO THEMSELVES IN THESE DAYS THAT TRY THEIR SOULS...
DAVID'S IMAGES:
HE, JOSIE and EARL, running and playing in the field.
CAMILLE'S VOICE OVER:
...THE CHANCE TO SOAR IN THE DIM BLUE AIR ABOVE SMOKE IS TO THEIR...
DAVID'S IMAGES:
His visit with his father at the County Jail house --
CAMILLE'S VOICE OVER:
...FINER SPIRITS BOON AND GUERDON FOR WHAT THEY LOSE ON EARTH BY BEING BLACK.
DAVID'S IMAGES:
His mother, with her head thrown back, her eyes aglitter and laughing.
CAMILLE has finished reading -- she places the book down on the desk as he
looks on her from the poor with tenderness --
DAVID LEE
You're a friendly lady, Miss Johnson.
CAMILLE
And you're a tired little boy. I'll make up the
cot and you must get some sleep.
She moves into the corner to prepare a place for him in the sitting room.
DAVID LEE
What about Sounder?
CAMILLE
He'll get his place too -- now off with your
clothes and into bed.
DAVID unclothes himself and crawls into the bed as CAMILLE stands over him --
CAMILLE
Now don't you think it's time you told me all
about yourself?
DAVID LEE
I have a mother and her name is Rebecca -- My
father's name is Nathan Lee Morgan, and...
INT. SCHOOL ROOM CLASS - FULL ANGLE - DAY
CAMILLE is standing in front of her desk before an overfilled class room.
DAVID LEE is seated in a chair against a wall on one side of the room.
CAMILLE
Anyone here know what chapter that story was
from?
A boy rises with abrupt and fast confidence --
BOY #1
Chapter twenty-six!
CAMILLE
Twenty-six? The text has but six chapters!
BOY #l
That's what I meant, Miss Johnson. Take away
the two in front and all you got left is a six!
The class room breaks out in a gusto of laughter.
CAMILLE
Now you know I'm not going to have the
laughing!
The laughing dies sharply and quickly -- CAMILLE smiles to herself --
CAMILLE
I'll get back to you later, Mr. Twenty-six.
Let's not stop now, we have to keep this mood
moving. The story has to come from one of the
text books we've already read in class, or it
has to be a true story of your own. Let's get
it going now -- we don't have that much time
left...
She moves around and sits at her desk -- after some indecision on the part of
all of the Children, one boy finally rises from his chair --
CLARENCE
I got a story, Miss Johnson -- It's a true
story that happened to me.
CLARENCE is a soft-eyed boy about eleven or twelve years of age. He behaves
as if he's not too sure he wants to tell his story --
CAMILLE
You know that the class is going to challenge
your story, don't you, Clarence?
CLARENCE
Yes, Miss Johnson...
CAMILLE
Go on...
CLARENCE
(hesitates)
Me and my little sister, went down to the water
hole, last Saturday--
A GIRL rises and interrupts him --
GIRL #1
You're doin' somethin' wrong already -- You
didn't tell us the name of your sister...
CLARENCE
(pause)
My sister's name is...
(pause)
Me and my sister, Laura, went down to the water
hole last Saturday and we was playin' 'long the
edge of the water and Laura slipped and fell in
the water. I started to run back home, but I
turned around, ran back, dove into the water
and got her out before she could drown...
No one says anything -- CLARENCE just stands there, looking around the room,
waiting for someone to utter something -
CAMILLE
How was your sister after you pulled her out of
the water?
CLARENCE
She was dirty and wet...
SWING TO:
CLOSE ANGLE - GIRL #1
GIRL #1
What were you doin', runnin' away from the
water?!
SWING BACK TO:
ANGLE - CLARENCE
CLARENCE
I was going home to get my daddy.
QUICK TO:
CLOSE ANGLE - BOY #1
BOY #1
What made you stop and go back!?
QUICK TO:
CLOSE ANGLE - CLARENCE
CLARENCE
Cause if I hadda ran home, by the time I got
back, my sister woulda drowned.
QUICK BACK TO:
CLOSE ANGLE - GIRL #1
GIRL #1
How come you didn't know that at first?
MOVES BACK TO:
CLOSE ANGLE - CLARENCE
CLARENCE
I was scared!
QUICK MOVE TO:
ANGLE - BOY #2
BOY #2
Hold it! Clarence's story ain't true! Me and
Clarence been to the river a lotta times, and
I know, he can't swim!
MOVES TO:
CLOSE ANGLE - CAMILLE
She is somewhat thrown -- hesitates but must follow through, delicately --
CAMILLE
Clarence, would you tell us a story that was
not true, after telling us it was?
PULLS TO:
CROSS HALF ANGLE - CLASSROOM
CLARENCE
No, Miss Johnson...
CAMILLE
Can you swim?
CLARENCE
(pause)
Yes mam...
SWING TO:
ANGLE - BOY #2
BOY #2
Clarence, you know you can't swim! Every time I
tried to show you, you fell down, and I had to
always pull you out!
SWING TO:
CLOSE ANGLE - CAMILLE
CAMILLE
Is that true, Clarence?
MOVES TO:
CLOSE ANGLE - CLARENCE
CLARENCE
(pause)
Yes mam... But when I saw my sister 'bout to
drown in the water, I tried because I wasn't
scared no more! I was just swimming and kickin'!
I don't know how I was doin' it! But I was,
cause my sister was drowning! She was drowning!
PULLS TO:
FULL ANGLE - CLASS ROOM
CLARENCE sits -- the class is silent --
MOVES TO:
CLOSE ANGLE - DAVID LEE
DAVID LEE has been deeply involved in everything that has taken place in the
room. As he sits, he is split with indecision as to whether he should rise
and say something or to remain in his place. But he makes a sudden decision,
and rises --
DAVID LEE
I believe Clarence's story...
PULLS TO:
FULL ANGLE - CLASS ROOM
All eyes turn to David Lee --
CAMILLE
You want to come forward and tell us why,
David?
He hesitates for a moment -- he moves and stands before the class --
DAVID LEE
Some people came and took my daddy away and
other people said we couldn't work the farm.
But we had to,'cause we didn't wanna lose our
farm. We planted the crops and they grew. I
believe his story 'cause his story is about
what he did when he had to do somethin'. He
didn't know how to swim but he had to or else
his sister woulda drowned. That's how he did
it...
He looks around to CAMILLE, and then he moves back to the place where he was,
and sits and then the class room breaks out in applause -
MOVES TO:
ANGLE - CLARENCE
He is happy to know that his story has finally been accepted as the truth --
SWINGS TO:
CLOSE FACE ANGLE - DAVID LEE
His face too is beaming with laughter --
EXT. FRONT OF BORDERDALE SCHOOL - DAY
CAMILLE and DAVID LEE exit from the school house -- DAVID is filled with
excitement over his adventure in the class room. They are joined by SOUNDER
who is impatiently waiting for DAVID. DAVID LEE strokes the dog a few times,
and they keep moving on out of the school yard --
CAMILLE
Well, how did you like the class, David?
DAVID LEE
It was the best thing I ever been to, Miss
Johnson!
They move out of the school yard towards town.
INT. CAMILLE'S PLACE - NIGHT
CAMILLE is busying herself, sweeping, dusting furniture items, putting things
in place, etc. -- DAVID LEE is following her about the place, helping her
wherever he can -- His spirits are very high at the moment. SOUNDER is
crouched in a corner, looking on at the activity --
DAVID LEE
... So me and Sounder, ran right by the men
that was the prisoners, and crawled under the
fence! That's when I cut my hand on the glass.
It hurt like mad! But I kept runnin', and then
I didn't feel no more hurtin' till I stopped
runnin'!
(pause)
Why was that, Miss Johnson?
CAMILLE
Because all you could think of was getting away
from the guard.
DAVID LEE
Oh...
(pause).
You right, that's all that was worryin' me right
then...
CAMILLE
You know, that was a good thing you did for
Clarence, in class today. I believed his story,
but I was afraid the other children wouldn't...
DAVID LEE
He was real scared nobody would believe him -- I
could tell, even when he first stood up.
CAMILLE
You could? How?
DAVID LEE
I been like that myself, when I thought nobody
was gonna believe me...
(pause)
You wanna hear another story?!
CAMILLE
Not now, David, it's time for bed. You have a
long trip ahead of you in the morning...
A thought grips the boy, and he moves to the window, and stares out into the
darkness, as CAMILLE starts to make the bed for him -- she stops for a
moment, and looks up and over at him at the window --
CAMILLE
What are you looking at, out there? There's
nothing to see.
DAVID LEE
My daddy likes to look into the dark, even when
there ain't nothin to see -- it's what you hear
he say.
CAMILLE notices and feels that his mood has changed.
CAMILLE
You think about your father a lot, don't you?
DAVID LEE
Yes mam...
CAMILLE
Well, you shouldn't worry about him too much,
David.
DAVID LEE
What do I tell my mama when I get home? I
didn't find him and that's what I wanted to do.
CAMILLE
But you did all you could, David. Not many
little boys could've gone on such a journey as
you did.
DAVID LEE
But where is my daddy!?
CAMILLE
I can't answer that for you -- but it's no
fault of your own that you don't know where
your father is now. You tell me what you did
that kept you from finding your father.
(pause)
Come on, tell me...
DAVID LEE
(pause)
Nothin'...
CAMILLE
And so you did your job, right?
DAVID LEE
(pause)
Yes, mam...
CAMILLE
Whewwww! You sure keep my mind jumping, boy!
DAVID LEE
What do that mean?
CAMILLE
Means you keep me using my head, and that's
good!
She returns to making up the bed.
DAVID LEE
(pause)
Miss Johnson... Do you think I can come back
here, and you let me study school with the
other children?
The question stops her work -- and then she momentarily struggles for an
answer for the boy -- she sits down on the bed as he turns back to gazing out
of the window. She looks on him for a moment, rises, moves to the window,
puts her arm around his shoulder -- and they both look out of the window into
the blank darkness --
EXT. FRONT OF THE HOUSE - ROAD - DAY
JOSIE MAE is on the porch with EARL when she spots DAVID and SOUNDER on the
road, rushing toward the house.
JOSIE MAE
Mama! Mama!
She and EARL rush out to the road to meet them -- REBECCA moves out of the
front door behind them. DAVID is carrying two books given to him by CAMILLE.
They all reach him about the same time.
JOSIE & EARL
Hi, David! Sounder!
REBECCA
What happened to you? I've been worried out of
my life. What's wrong with your hand, son?
DAVID LEE
I cut it on some glass and we got lost, Mama.
REBECCA
Did you find your father?
DAVID LEE
Didn't see 'im, Mama. The other men there say
they didn't know Daddy.
REBECCA
I guess they musta sent 'im to another camp.
They all start moving for the house.
REBECCA
What's that you carryin'?
DAVID LEE
Some books Miss Johnson gave me.
REBECCA
Who's Miss Johnson?
DAVID LEE
Miss Johnson is a teacher, and...
They move on through the yard.
INT. KITCHEN-SITTING ROOM - DAY
They enter -- DAVID and the other children sit at the table -- REBECCA begins
to prepare something for the boy to eat.
DAVID LEE
So when I left, she gave me these books.
REBECCA
Miss Johnson must be a real kindly lady.
DAVID LEE
She is, Mama...
(pause)
When the fall comes, she wants me to come to
her school.
REBECCA
How can you do that? You don't live anywhere
near that school.
DAVID LEE
She says I can come live with her while school
goin' on, and come back home every time there
ain't no school.
REBECCA
But who's gonna help me here with the house and
in the field?
She puts some food on the table before him -- he hesitates before eating --
she is about to exit through the back door -- stops in the doorway and turns
back to him.
REBECCA
If your father is back by then it's all right
with me if it'll be all right with him...
REBECCA moves out just like that, leaving the boy thrown and bewildered for a
moment -- he looks in the direction of his mother's room for awhile and then
slowly starts to eat, with his appetite practically gone -- JOSIE MAE and
EARL on the other side of the table are staring at him.
DAVID LEE
Whatcha starin' at?
JOSIE MAE
Tell us some more 'bout the trip!
EXTs. CORNFIELD-WEIGHING STATION - DAY
A hot, mid-July day -- late afternoon -- REBECCA, DAVID LEE, JOSIE MAE and
EARL are working the mill.
DAVID LEE points with his fingers in giving out assignments to JOSIE MAE and
EARL. They run across the fields to a particular row of corn, with croker
sacks in their hands.
JOSIE MAE and EARL are behind REBECCA, picking the corn in armfuls -- run
back to the stationary place where they left their croker sacks, and drop the
corn into the sacks.
EXT. CORNFIELD - DAY
A white man in a wagon rolls in the aisle between the rows of corn -- stops
the wagon at each sack, where REBECCA and DAVID LEE load the corn up on the
wagon.
EXT. WEIGHING STATION - DAY
The wagon rolls up to the weighing station on MR. HOWARD'S premises and comes
to a halt -- REBECCA and DAVID LEE climb down from the wagon. MR. HOWARD is
there.
REBECCA and DAVID LEE unload the sacks from the wagon, and put them down on
the scale, while the man who was driving the wagon writes down the weight
numbers on a piece of paper --
INT. THE KITCHEN - NIGHT
REBECCA, JOSIE MAE and EARL are gathered around DAVID LEE as he slowly
completes writing a letter -- he sits back to read it.
DAVID LEE
(reads)
"Dear Miss Johnson. How are you? I am doing
okay. I told my mama, my brother and my sister
about you, and they like you too. I can't make
this letter too long because I have work to do.
Bless you, David Lee Morgan"
They all look to each other with big triumphant smiles of pride on their
faces.
REBECCA
Son, you sure write a good fine letter!
EXT. THE WOODS - DAY
DAVID LEE walks through the woods with a book in his hand -- he stops, sits
down at the base of a tree, when suddenly he reacts as if he hears something
-- he rises and rushes away -- he runs, stops and looks around him, in search
of someone, and then he takes off again at high speed along a pathway of the
woods. His speed builds and builds, and suddenly he breaks the woods, and the
night, into high grass field.
EXT. GRASS FIELD - DAY
It is broad daylight, and the sun is shining -- DAVID LEE wipes his eyes and
looks about the field of high grass -- he hears a voice and takes off running
until he breaks the high grass into open field.
EXT. OPEN FIELD - DAY
He sees his father, with SOUNDER at his side, standing about three hundred
feet away from him, smiling. He rushes to his father -- they embrace and then
they start to run across the open field, the three of them. They run and they
run, keeping pace with each other, as their speed increases. DAVID LEE drops
his book, stops to pick it up -- after he straightens up with the book to
continue the running, he stops in his tracks -- his father and SOUNDER are
nowhere to be seen -- he looks out over the entire field -- they are not
there.
INT. CHILDREN'S ROOM - NIGHT
DAVID LEE wakes up -- he looks to EARL and JOSIE MAE, and then into the empty
darkness of the room, and wonders; where did the dream come from -- where did
it go to --
EXT. THE PORCH - DAY
Later the same day, DAVID LEE is lying on his stomach, reading from one of
his books. REBECCA is doing some sewing -- SOUNDER comes from around the side
of the house, hobbling back and forth to the road and back.
REBECCA
What's wrong with him, David?
DAVID LEE
It's the heat.
REBECCA
It's when the heat is so bad, dogs go crazy.
DAVID LEE
He won't go mad -- he's just lookin' for a
cooler spot.
REBECCA sees a lone figure upon the landscape way out from the house emerge
as a speck and slowly grow into a ripply form through the heat waves -- JOSIE
MAE and EARL come from around the house and sit down in the yard.
REBECCA
Who's that to be fightin' scorchin' heat out in
open land like that?
SOUNDER moves about restlessly in the yard -- and then suddenly the voice of
the great coon hound breaks the sultry August deadness and dashes across the
road toward the figure. REBECCA jumps to her feet.
REBECCA
He's gone mad! Stop him, David!
DAVID LEE takes off after SOUNDER -- his voice is ringing at a peak as he
keeps moving until he arrives at the figure. REBECCA sees the man kneel and
take the dog into his arms, and now the light hits at the top of her mind.
REBECCA
Oh my God, it's Nathan! It's Nathan!!!
She drops everything and charges off the porch with JOSIE MAE and EARL,
making haste behind her.
MEDIUM ANGLE - REBECCA, JOSIE MAE and EARL - PORCH POV
As they dash across the road and into the field, almost in one physical
motion.
QUICK PULL TO:
FULL LONG ANGLE - MORGAN FAMILY - PORCH POV
DAVID LEE falls into his father's arms -- REBECCA embraces and holds him
close to her -- JOSIE MAE and EARL move into his embrace -- SOUNDER moves
back and forth around them -- DAVID LEE jumps up and down with joy -- They
start moving toward the house -- NATHAN moves with an accented limp in his
right leg, and then they stop.
SMASH TO:
EXT. THE FIELD - CLOSE FACE ANGLE - DAVID LEE - DAY
DAVID LEE
What's wrong with your leg, Daddy?
CLOSE FACE ANGLE - NATHAN LEE
NATHAN LEE
Got it hurt in a dynamite blast, son. The dirty
dogs had no more use for me, so they let me
have time off my sentence, and let me come home.
PULL TO:
FULL ANGLE - EVERYONE
REBECCA
The most important thing is that you're home!
(pause)
We was gonna have cold eatin' tonight, 'cause
of the heat, but now, I'm goin' to cook!
NATHAN LEE
Well, let's get to it, Miss Rebecca,'cause I
been waitin' too long a time for your good
cookin'!
They move out of the field and across the road for their home.
INT. KITCHEN - NIGHT
NATHAN and the children are at the table just after eating as REBECCA is
busying herself in the area, cleaning up.
NATHAN LEE
All I can say, Rebecca, is that was some meal!
Thank you!
She stops her work, turns to him and smiles.
REBECCA
I'm glad you liked it, Nathan.
She returns to her work.
REBECCA
Alright, children, it was your bedtime two
hours ago -- let's get a move on you...
JOSIE MAE and EARL rise and move around the table to their father.
JOSIE MAE
Goodnight, Daddy...
NATHAN LEE
Goodnight to you, little girl.
He kisses her on the face and then EARL moves to him.
EARL
Night, Daddy...
NATHAN LEE
Goodnight, son...
He embraces EARL -- and then the two children move for their room, with
REBECCA accompanying them.
NATHAN LEE
Son, that was some trip you went on...
DAVID LEE
Where was you, Daddy?
NATHAN LEE
That musta been afta they sent me to this place
call Clayburn. That was the hardest workin'
camp they sent me to. The work was so hard,
you had to look for somethin' to laugh about to
keep from feelin' the whole pain in your body.
Like one time, it was in the middle of the day,
and there weren't no sun -- you hear that?
DAVID LEE
Where did the sun go to, Daddy?
NATHAN LEE
Into the clouds and behind the mountains.
DAVID LEE
What happened afta that?
NATHAN LEE
The rains started to come, and the prisoners
were scared to run 'cause they had to wait for
guards to round us up, and tell us when to move
-- but we didn't mind the rain comin' 'cause it
meant we would git a little rest -- we just
stood there, watchin' the guards and they
weapons get wet, and that made us all feel
kinda good for a minute. I was laughin' all
over inside -- a minute, that's all, but what
a minute it was!
He laughs -- DAVID LEE laughs along with him -- the laughter trails off.
DAVID LEE
Daddy, I'm so glad you home!
NATHAN reaches across the table and shakes the boy's head with his hand.
NATHAN LEE
And me too, son! You shore done got to be such
a big little man!
DAVID LEE
We goin' huntin' again, Daddy !?
NATHAN LEE
You bet we is!
DAVID LEE
I cleaned and oiled all your stuff while you
was gone...
REBECCA re-enters from the children's room, crosses for her room, stops at
the door, and turns to them.
REBECCA
Your time now, David Lee...
She enters the room -- DAVID LEE rises from the table, moves to his father,
and extends his hand out to him for a shake -- they shake hands.
DAVID LEE
Goodnight, Daddy...
NATHAN LEE
Goodnight to you, son...
DAVID LEE moves for his room, stops and turns back to his father.
DAVID LEE
Daddy, you home now... that's all I want -- I
don't want nothin' else...
NATHAN LEE
Come here, son...
DAVID LEE moves closer to him -- NATHAN takes the boy into his arms, and
holds him close. He releases him -- the boy smiles, turns and moves into his
room. NATHAN looks on the door for awhile where the boy has entered, rises
from the table and moves into his room.
INT. NATHAN AND REBECCA'S ROOM -- CLOSE FACE ANGLE - DAVID LEE - DAY
An expression of soft thoughts and affection.
PULLS TO:
ANGLE - NATHAN LEE - DAVID LEE POV
NATHAN is in bed, asleep. He turns over and as he does, his eyes catch sight
of DAVID LEE -- He props himself on his elbow to come out of the sleep as he
looks to the boy.
NATHAN LEE
Mornin', son...
DAVID LEE
Mornin', Daddy...
MOVES TO:
FULL ANGLE - NATHAN and DAVID LEE
NATHAN LEE
Where's everybody?
DAVID LEE
They gone to the field...
NATHAN LEE
Guess I can't just lay here, then.
He lifts himself up and sits on the edge of the bed, rubs his hand through
his hair -- reacts, looking down on the floor.
CLOSE FACE ANGLE - DAVID LEE
As he looks to his father with affection --
PULLS QUICK TO:
FULL ANGLE - ROOM
DAVID LEE crosses to a chair, takes up his father's trousers and shirt off a
chair and his shoes from the floor and passes them on to him at the bed.
NATHAN LEE
Thank you, son...
He begins to slowly put on his clothes --
DAVID LEE
You feel alright today, Daddy?
NATHAN LEE
Great, son -- not like wakin' up in jail. For a
minute or two, didn't quite know where I was,
but when I saw your face lookin down on me,
made me know right away the day was gonna be a
good one, and it all belonged to me!
CLOSE HALF ANGLE - NATHAN LEE
As he smiles down to the boy-
CUT TO:
CLOSE ANGLE - DAVID LEE
As he returns his father's smile -
PULLS TO:
FULL ANGLE - ROOM
As they both exit from the room -- NATHAN LEE leading the way --
INT. SITTING ROOM-KITCHEN - FULL ANGLE - DAY
They keep moving to the kitchen area.
DAVID LEE
Mama left somethin' for you to eat on the
stove--
They arrive at the stove -- NATHAN takes the cover off a pan to take a look.
NATHAN LEE
Smells good, too!
He turns away from the stove, and they move out the backdoor for the backyard.
EXT. THE BACKYARD - FULL ANGLE - DAY
Just as they step out into the yard, they are immediately greeted by SOUNDER.
NATHAN LEE
Hi there, big boy!
SOUNDER leaps all over him -- he wrestles playfully with the dog.
NATHAN LEE
They thought one little ol' shotgun was gonna
stop you -- you showed huh, boy!
SOUNDER continues to paw all over him.
NATHAN LEE
Down boy! That's enough!
SOUNDER turns to DAVID who kneels to stroke and caress him as NATHAN moves to
the water well, and begins to wash up.
DAVID LEE
Daddy, when is we goin' huntin'?
NATHAN LEE
Soon -- but it won't be too much huntin' you'll
be doin','cordin' to a good little story your
mama told me last night -- you'll be goin' away
from here, won't you?
QUICK MOVE TO:
CLOSE FACE ANGLE - DAVID LEE
NATHAN'S question seems to stab the boy, and he sinks into a troublesome
silence.
PULLS BACK TO:
FULL ANGLE - NATHAN - DAVID POV
He waits a moment for the boy to reply, then moves for the shed and enters --
DAVID LEE looks on the blank door of the shed where NATHAN has entered -- He
rises from the ground and he and SOUNDER move into the shed.
INT. SHED - ANGLE - NATHAN - THEIR POV - DAY
DAVID LEE and SOUNDER enter and stop just inside the door. NATHAN is going
over his equipment.
NATHAN LEE
You kept my stuff in real good shape, son.
He takes up his baseball glove and a ball -- tries the glove out in his hand
-- then tosses the ball to DAVID. DAVID catches it -- NATHAN picks up his bat
--
NATHAN LEE
Come on, son, throw a couple to me!
He moves briskly out of the shed back into the yard -- DAVID and SOUNDER run
out behind him --
EXT. BACKYARD - FULL ANGLE - DAY
NATHAN moves to the house end of the yard -- DAVID takes a position at the
field end.
NATHAN LEE
Alright, chunk it to me!
DAVID throws the ball softly and it lands in NATHAN's glove. He throws the
ball back to DAVID -- DAVID catches it in his bare hand.
NATHAN LEE
Let me have one with a little steam on it, now!
DAVID rears back and fires a hard one at him. It pops into his glove.
NATHAN LEE
Boy that was a mean curve you just threw!
PULLS BACK TO:
DAVID rears back once again, and throws a hard one.
NATHAN LEE
That's enough for now, son. I better eat so we
can get out to the field and help your mama
before she come lookin' for us, and you know
how tough your mama can get!
EXT. CORNFIELD - DAY
REBECCA, JOSIE MAE, and EARL are working the field when MR. HOWARD drives out
in his truck -- He gets out and approaches them.
MR HOWARD
(smiling)
Hi ya, Rebecca...
REBECCA
(the cynical truth)
Tired.
MR HOWARD
(looks about the field)
Somebody told me Nathan was back. How is he?
REBECCA
Why don't you pay him a visit, Mr. Howard?
He'll tell you all about it.
MR. HOWARD
I'll do that, Rebecca... I'll do that...
MR HOWARD moves back to his truck and drives off. As they watch the truck
move away --
EXT. CORNFIELD - DAY
They all turn to see NATHAN limping toward them with SOUNDER and DAVID LEE --
They wait until they arrive --
NATHAN LEE
What did he want?
REBECCA
To invite you to his house -- the two of you
could just sit under the shade tree, drink ice
cold whiskey, and just shoot the breeze!
NATHAN LEE
Did you tell 'im I was too busy for that kinda
stuff?
He puts his arms around her shoulders, and draws her close to him -- The
children stand by with big wide open smiles on their faces --
NATHAN LEE
Dammit! It shore feels good to be back home!
He releases her -- walks about twelve feet away -- inspects some of the corn
-- looks about over the field --
NATHAN LEE
Y'all did some good job with the crop.
He turns and walks back to them --
NATHAN LEE
Well, let's get to work!
REBECCA
You sure you feel up to it, Nathan?
NATHAN LEE
Yeah. I feel real up to it right now. Come on,
David Lee, you and me'll do the loading.
REBECCA and the other children start in with the picking, but REBECCA watches
NATHAN with concern as he, DAVID LEE and SOUNDER move through the field --
finally, she returns her full attention to the work --
NATHAN LEE
I'm real proud of how you helped your mama to
keep this place goin', David Lee.
DAVID LEE
Thank you, Daddy...
They come to a group of corn-filled sacks alongside the wagon and stop.
NATHAN LEE
I'll lift up the back end, and you just hold on
to the front end for me.
He lifts up the back end of the sack -- DAVID LEE takes hold of the front,
tied end, and they struggle to get it up on the wagon, with NATHAN grunting
and groaning. The same thing happens with the second sack --
NATHAN LEE
Wheeew! This is some hard work, but it beats
goin' to jail.
DAVID LEE
You won't be goin' to jail again, will you,
Daddy?
NATHAN LEE
No, son -- they'd have to kill me before I'd
let 'em do that to me again!
He realizes he has said the wrong thing from the worried look on the boy's
face.
NATHAN LEE
Nobody's goin' to jail, and nobody's gittin'
hurt. Come on, let's get this one up on the
wagon.
NATHAN reaches down for the bag -- his leg gives way on him and he falls on
his behind --
DAVID LEE
You hurt, Daddy!?
NATHAN LEE
No, no, I'm all right, son... This damn leg
just won't act right no more!
He tries to get up right away but the leg is in such pain, he can't make it --
DAVID LEE
Mama! Mama!
REBECCA and the other children come running toward them --
REBECCA
What's wrong, Nathan?
DAVID LEE
He can't get up, Mama!
NATHAN LEE
This done happen before. It ain't nothin' -- I
just have to wait a minute or two.
REBECCA
Is there something I can do to help you?
NATHAN LEE
Yeah, just stay where you is...
He supports himself on his right arm and slowly pushes himself up to where he
can stand on his foot --
NATHAN LEE
There, you see?
REBECCA
I see, all right -- It's time for us to get out
of this field.
NATHAN LEE
I just got out here!
REBECCA
It's lunchtime, and I wanna have a talk with
you, Nathan Lee. Come on, children...
She turns briskly and moves off with JOSIE MAE and EARL following --
NATHAN LEE
Woman worries too much for me.
He slowly starts to limp away with SOUNDER but DAVID LEE remains standing
where he is --
CLOSE FACE ANGLE - DAVID LEE
There is worry and concern in his face as he watches his father strain to
walk on the injured leg --
PULLS TO:
FULL ANGLE - NATHAN LEE, SOUNDER and DAVID LEE
As NATHAN stops and turns to DAVID LEE --
NATHAN LEE
You comin' with us, son?
After a bit of hesitation, DAVID LEE slowly moves toward his father, who has
now turned and is moving farther out of the field --
EXT. FRONT OF THE HOUSE - FULL ANGLE - EVERYONE - DAY
REBECCA is sitting on the porch, cutting string beans -- JOSIE MAE and EARL
are playing hop scotch -- DAVID LEE is tossing the baseball to his father as
IKE enters the yard -- he has a white envelope in his hand -- SOUNDER is
standing near NATHAN.
NATHAN LEE
Hi ya doin' there, Ike?
IKE
Any time it's Saturday and I don't hafta do any
work, I'm doin' okay!
NATHAN LEE
Whatcha got there?
IKE
Seems this piece of mail came to Mr. Howard's
place this mornin' and he had me to bring it
over here.
NATHAN LEE
Well, let me have it.
IKE
Don't belong to you! It's for the little
important man, here!
He hands it to DAVID LEE -- DAVID LEE does not look at the envelope as he
takes it -- Everyone's attention is to DAVID LEE and the letter now --
NATHAN LEE
Well, son, who is it from?
DAVID LEE hesitates for a moment, then holds the letter up to read --
DAVID LEE
(pause)
From Miss Johnson --
NATHAN LEE
Well, ain't you gon' open and read it for us?
He looks directly to his father, and then to his mother -- walks to the steps
and sits. They all gather closer to him as he takes his time, opening the
envelope. When it is opened -- he seems not to want to read it --
DAVID LEE
(reads)
Dear David, if you are coming to school here,
be sure to bring some warm clothes. The school
term will begin September 8th, but it would be
good for you to be here by the 4th or 5th of
the month. I do hope everything is fine and you
will be here. Give my "hello" to your family.
Yours truly, Miss Camille Johnson...
NATHAN LEE
September 4 -- how far away is that?
REBECCA
'Bout a week...
With directness, NATHAN LEE moves toward the wagon in front of the yard --
stops and turns --
NATHAN LEE
Come on, children, let's go!
Moves on to the wagon.
PULLS TO:
WIDER ANGLE - INCLUDE EDGE OF ROAD AND WAGON
NATHAN climbs up on the wagon and SOUNDER leaps up behind him as JOSIE MAE
and EARL follow. DAVID LEE steps down into the yard and merely looks on --
REBECCA
Where you goin'!?
NATHAN LEE
To the commissary to get this boy some clothes!
I'm gon' get everybody somethin'!
REBECCA
But, Nathan--
NATHAN LEE
Don't tell me nothin' 'bout what we owe ol' man
Howard! I'll do the owing, and let him worry
'bout the collecting! Come on, David Lee!
DAVID LEE does not move from where he is standing.
NATHAN LEE
Did you hear me, boy? Come on!
DAVID LEE moves slowly to the wagon stops and looks up to his father --
CLOSE FACE ANGLE - DAVID LEE
DAVID LEE
You just came back home, Daddy. I don't wanna
leave right now -- I wanna stay home and be
with you.
NATHAN LEE
And I wanta be with you, too, but this school
is somethin' that's good for you -- somethin
you need, like good air to breathe, and I want
you to have it, boy, and that's the way it's
gonna be!
DAVID LEE
But, Daddy, you need me here to help you in the
field -- Daddy, your leg is hurt -- you can't
work like you used to. Who's gonna help you!?
Who's gonna do the work, Daddy?!
NATHAN LEE
(grabs him by one arm)
Let me tell you somethin', boy! I don't care if
both of my legs was cut off! I can do more
work in that field, than you could in a hundred
years!
DAVID LEE
I won't go, Daddy! I won't go!
NATHAN LEE
Now wait justa minute! You don't tell me what
you ain't gonna do! I tell you! I say, you
goin' to that school, you goin'! You hear me!
He releases the boy, climbs back up on the wagon, and looks down to him --
PULLS TO:
WIDER ANGLE - INCLUDE WAGON, CHILDREN AND SOUNDER
CLOSE FACE ANGLE - DAVID LEE
With a look of confused sadness --
DAVID LEE
Daddy, don't make me go away from you.
QUICK MOVE TO:
ANGLE -- NATHAN LEE
The boys words have rendered him speechless -- he doesn't quite know what to
do or say for the moment.
MOVES TO:
FULL ANGLE - FRONT OF THE HOUSE
DAVID LEE turns and runs out into the field --
NATHAN LEE
David!
The boy keeps running -- NATHAN climbs down from the wagon and goes after him
--
NATHAN LEE
David Lee, come back here!
REBECCA rushes down from the porch and moves for NATHAN --
REBECCA
Nathan!
NATHAN LEE stops in his tracks, his back to her --
PULLS TO:
ANGLE - REBECCA - NATHAN'S POV
REBECCA
Please, leave him be, Nathan! He missed you in
a grave way while you was gone -- he sweated
and worried to find out where they holdin' you
-- went on that long journey -- you come home,
and it's a natural thing for him to wanta hold
on to you now.
MEDIUM CLOSE ANGLE - NATHAN LEE
As he rakes a long hard look to her -- turns, and moves out into the field to
find the boy -- SOUNDER follows him --
MOVES TO:
CLOSE FACE ANGLE - REBECCA
As she watches him move out into the field --
EXT. THE CORNFIELD - NATHAN LEE - DAY
As he moves about the field in search of DAVID -- He moves into various areas
-- farther and farther into the field.
NATHAN LEE
David! David Lee!
He gets no response to his call -- He moves on and on about the field in search of the boy --
NATHAN LEE
David! You hear me callin' you!?
He moves on even farther, and finally he spots the boy, sitting on a high
lump of earth with his face down between his legs, crying -- NATHAN stops,
and then slowly moves to the boy and sits beside him --
NATHAN LEE
Son, will you listen to me for a minute?
After a minute's hesitation, DAVID slowly raises his head, and looks up to
his father --
NATHAN LEE
You know, son, when I got this leg hurt, I was
down in a rock quarry, and all of a sudden,
there was this dynamite blast comin' at me with
the kind of force to kill ten men, but I got
outta the way of most of them rock, quicker'n
the lightnin' in God's mind -- 'cause I made it
up in my head, just that quick to beat the
death that was comin' at me. And that's what
I'm gonna do with this trouble in my leg. I'm
gon' beat it. That's all that's left for me to
do. That's what I want you to do. I want you to
beat the life they got laid out for you in this
valley.
DAVID LEE looks directly at him and then turns away.
NATHAN LEE
I was watchin' your sister and brother out here
the other day, and I said to myself, these is
just children -- they ain't got no business out
here in this hot sun... As for me and your
mama, we been in this field so long, we ain't
never known anything else.
DAVID LEE is looking straight out and away from him. NATHAN waits as DAVID
hesitates -- finally the boy holds his hands up before his eyes -- he drops
his hands, rises and moves away from his father -- stops about five feet
away. About three rows away, the white man is driving through the field in a
truck -- They watch the truck move on --
NATHAN LEE
There ain't nothin' here but people like them
bastards that sent me away, and tried to kill
me. Son, please don't get too used to this
place. I'm gonna love you wherever you is. Me,
your mama, Josie Mae and Earl, we gonna love
you even more. We gonna be at that school to
see you every chance we get.
CLOSE FACE ANGLE - NATHAN LEE
CUT TO:
CLOSE FACE ANGLE - DAVID LEE
As they look to each other -- their eyes drawing them closer to each other,
and then DAVID rushes into his father's waiting arms --
NATHAN LEE
I love you, son! Don't ever think I don't love
you!
(pause)
We gon' get to be friends?
DAVID LEE
Yes, Daddy! Yes!
NATHAN holds the boy out from him -- They just look to each other as DAVID
wipes his eyes and calms down. They start moving out of the field --
PULLS TO:
LONGER ANGLE - NATHAN AND DAVID LEE
As they make their way out of the field --
INT. THE CHILDREN'S ROOM - FULL ANGLE - DAY
DAVID LEE is packing a bag with SOUNDER nearby him as JOSIE MAE and EARL look
on -- when he is done, he closes the bag [and hands it] on to EARL --
DAVID LEE
All right, get a move on you, bag boy!
EARL drops the bag on the floor --
EARL
You carry your own bag!
JOSIE MAE
I'll carry it, David...
EARL quickly picks the bag back up --
EARL
Naw, I'm carryin' it!
DAVID LEE
Thank you, Josie Mae.
JOSIE MAE
For what?
DAVID LEE
For Earl helpin' me out with my bag!
He laughs as they all move out of the room --
EXT. FRONT OF THE HOUSE - DAY
As the children exit from the house, REBECCA is at the wagon, looking on
NATHAN as he loads a box of DAVID'S things on the wagon -- they approach him,
and he takes the bag from EARL and loads it up on the wagon. NATHAN climbs up
to the reins, SOUNDER hops up on the wagon, and then REBECCA takes DAVID into
her arms --
REBECCA
Be good and be smart, little boy.
DAVID LEE
Yes, ma'm...
She releases him. He embraces JOSIE and EARL -- Climbs on the wagon behind
his father.
NATHAN LEE
I oughta be gettin' back here by tomorrow night
some time... Gitttt!
The wagon rolls away -- DAVID turns back to wave --
DAVID LEE
BYE...!
ALL
BYE...!
REBECCA keeps her eyes on the wagon for awhile, and then, she and the
children turn and slowly move into the house --
EXT. THE WAGON - DAY
As the wagon rolls up the road, DAVID LEE reaches back and ruffles SOUNDER
about the neck -- looks out over the field, and all the places he is familiar
with -- turns to his father --
DAVID LEE
You know somethin', Daddy?
NATHAN LEE
What's that, son?
DAVID LEE
I'm gon' miss this ol' raggedy place.
NATHAN is worried for a moment -- but DAVID breaks out in a big grin as if
he's about to get to the punchline of a joke --
DAVID LEE
But I ain't gon' worry 'bout it!
The father and son break out in a gusto of laughter as the wagon rolls along
up the road...
FADE OUT