A WRETCH LIKE ME
an original screenplay based on the life of John Newton
A WRETCH LIKE ME
FADE IN:
TITLE CARD:
Throughout history, people have found it useful to label
other people as less than human. This enabled them to bolster
their own interests and justify doing whatever they wanted
to others, whether that involved killing them, abusing them,
or enslaving them.
Unfortunately, the same thing continues to this day.
TITLE CARD: OLNEY ENGLAND - 1772
INT. OLNEY VICARAGE PARLOR - NIGHT
A small, homey room with modest furnishings, complete with a
cozy fire. A writing desk sits in one corner. A painting of
Peter walking on water toward Jesus hangs above it. In another
corner stands a small piano.
JOHN NEWTON (47, curly auburn hair) and POLLY NEWTON (43,
auburn hair pulled up on her head) sit and stare into the
fire as she knits.
JOHN
You have been rather quiet. Perhaps
I was mistaken to go over my story
with you before I present it to the
congregation tomorrow.
She nods in agreement. Tears form in her eyes.
JOHN (CONT'D)
I just did not want to tell you for
the first time in such a public way.
He moves closer to her. He gently takes her hand.
POLLY
I knew you were involved in the slave
trade... but... to hear you actually
tell of it...
She pulls out a handkerchief and wipes her eyes.
He looks distraught.
POLLY (CONT'D)
Just give me some time to put it in
its proper perspective.
JOHN
I have yet to figure out how to do
that myself. I fear it will haunt me
until the day I die.
She SOBS. He puts his arm over her shoulders and rocks her
back and forth.
JOHN (CONT'D)
I know all about God's love and
forgiveness, but I guess I just have
not... felt it yet.
He puts his hand over his heart.
She sits up straight and dries her tears on her handkerchief.
POLLY
Perhaps you could capture your life's
story in one of your hymns. Putting
what God did for you into a song
might take it from your head and
apply it directly to your heart.
He looks at her as if considering her suggestion. He smiles
and nods his head.
He walks to the desk and starts to write.
She goes back to knitting in contented silence.
Suddenly, he SLAMS his hand on the desk. She looks up,
startled.
JOHN
It is just not... flowing.
POLLY
For heaven's sake, John, calm down.
Let me see what you have so far.
She walks to him. He hands her what he's written. She looks
at it and reads out loud.
POLLY (CONT'D)
Let me see, amazing grace...
She nods her head and reads silently, then out loud.
POLLY (CONT'D)
Yes, a wretch like me! That is good.
Now you could say something about
how lost you were until, you know,
that terrible storm.
She hands the paper to him and he resumes writing. She stands
behind him and looks on.
JOHH
How about... I once was lost, but
now am found...
POLLY
(singing softly)
Was blind but now I see.
JOHH
Yes, that's it!
POLLY
Keep going.
JOHN
(sighing and pensive)
I was so filled with anger... and
fear... before I accepted God's grace.
POLLY
It was God's grace that caused you
to fear... letting you know something
was wrong.
He starts to write and tentatively sings the words aloud.
JOHN
'Twas grace that taught my heart to
fear...
POLLY
(singing softly)
And grace my fears relieved...
JOHN
(singing)
How precious did that grace appear...
the hour I first believed.
John looks at her and smiles with relief. A tear trickles
down his cheek.
She puts her arms over his shoulders and kisses the top of
his head.
POLLY
Splendid! One or two more stanzas
and I think you will have it.
He looks up at the painting of Peter walking on the water in
a storm.
JOHN
Hmmm. Something about the dangers I
have encountered. Let me see...
(writing and singing)
Through many dangers, toils...
She gives his shoulders another loving squeeze and smiles.
POLLY
That's it, my darling. You have it
now. Keep going.
She leaves him there as he continues to write.
Genres:
["Drama","Historical"]
Ratings
Scene
2 -
The Vicar's Stand
INT. OLNEY CHURCH SANCTUARY - DAY
A small country Anglican sanctuary. A reading lectern on the
right, a pulpit on the left, and an altar in the middle.
John stands at the pulpit and addresses a full church.
JOHN
I have decided to suspend my usual
sermon.
He pulls at his collar. He clears his throat and wipes some
sweat from his forehead. His eyes dart around the
congregation.
He sees Polly in the front.
JOHN (CONT'D)
I feel compelled to speak out against
the evil I once participated in.
MURMURS of concern ripple through the congregation.
JOHN (CONT'D)
It is time I share with you a part
of my life I wish... I could forget.
DAVID PHELPS (47, tall, left eye twitching, long dark hair,
handsomely dressed) stands up.
DAVID PHELPS
(shouting)
Keep to the Bible vicar! We don't
want you bringing your political
viewpoints to the pulpit!
John glares at him, but remains quiet. David Phelps looks
furious, but sits down.
MURMURS arise from the increasingly agitated congregation.
John glares at them.
JOHN
I realize many of you see this as a
political or economic issue that
should not be addressed in the church.
Nods of agreement come from many, along with MUMBLED WORDS
of assent.
JOHN (CONT'D)
But I believe that at the heart of
it, the issue of the slave trade is
primarily a moral one.
DAVID PHELPS
You're nothing but an enthusiast
masquerading as an Anglican priest.
Go join the non-conformists and let
these people have a real priest.
He jolts to his feet and stomps out along with others.
John addresses those who walk out.
JOHN
Mr. Whipple! Mr. Scott! Please!
He looks around the congregation. Many seats are now empty.
He frowns and wipes the sweat from his forehead.
JOHN (CONT'D)
I hope and pray that as I tell you
my story, you too will come to see
the evils inherent in the slave trade.
He looks up and smiles at a stained glass window that depicts
the Madonna and Child. He has a dreamy look as he remembers.
JOHN (CONT'D)
If it were not for the love of a
young woman, and the grace of God...
FLASHBACK BEGINS
TITLE CARD: CHATHAM ENGLAND - 1742 - 30 YEARS EARLIER
Genres:
["Drama","Historical"]
Ratings
Scene
3 -
The Fork in the Road
EXT. ENGLISH COUNTRYSIDE - DAY
JOHN (18, curly, light auburn hair) rides alone on horseback
through a wintry countryside. He comes to a fork in the road.
A wooden signpost with an arrow pointing to the left reads:
"CHATHAM 5 MILES". Another arrow pointing straight ahead
reads: "MAIDSTONE 25 MILES".
He reins in at the signpost, looks back and forth between
the two directions. He urges his horse toward Chatham.
EXT. CATLETT'S HOUSE - DAY
John brushes away tears as he arrives. He dismounts and ties
up his horse. He walks toward the front door.
He raises his hand to knock, pulls it back down, looks around,
then raises it again and KNOCKS.
MRS. CATLETT (42, pleasant), opens the door. She looks at
him, puzzled.
MRS. CATLETT
Yes?
She looks at him carefully. He smiles meekly.
MRS. CATLETT (CONT'D)
John? John! Yes, it is you! I would
recognize that hair anywhere! You
look so much like your dear mother,
God rest her soul. Come, come inside.
INT. CATLETT'S KITCHEN - DAY
A portrait of John's mother, MRS. ELIZABETH NEWTON (35, auburn
hair pulled up gracefully by a stunning hair ornament) hangs
above the fireplace.
Mrs. Catlett notices as John looks at it.
MRS. CATLETT
Your father had that painting
commissioned soon after they were
married. He wanted me to keep it for
you.
JOHN
She was... beautiful.
Mrs. Catlett smiles and nods with approval.
MRS. CATLETT
It is yours whenever you want it.
JOHN
Thank you Mrs. Catlett. If you don't
mind, I would like to wait until I
have... a home of my own.
POLLY CATLETT (14, lively, a younger version of John's mother)
enters. Her right forearm is wrapped in a bandage.
Her auburn hair is pulled up like Mrs. Newton's, complete
with the same hair ornament.
John's mouth drops open. He is visibly shaken as he looks at
her, the portrait, and back again.
He points at her head and stutters.
JOHN (CONT'D)
That... that... that is my... my...
mother's--
Mrs. Catlett recognizes the problem immediately.
MRS. CATLETT
Oh! I am so sorry. We were not
expecting you and... well, your mother
wanted Polly to have it.
JOHN
This is Polly?
Polly glances at her mother.
POLLY
Did I do something wrong?
MRS. CATLETT
No, child. The ornament in your
hair... it belonged to John's mother.
Polly reaches up to take it off. He stops her.
JOHN
No! Please. You look... it looks
beautiful right where it is.
Mrs. Catlett sees that John notices Polly's bandage.
MRS. CATLETT
(to John)
She has a heart of gold. Got bitten
trying to help a stray dog that was
kicked by a horse.
John is transfixed.
JOHN
I did not think it existed.
MRS. CATLETT
You remember your mother's hairpiece?
JOHN
No. Beauty as well as goodness.
Polly smiles and looks away.
DAVID PHELPS (18, taller than John, slim, long dark hair)
along with MR. CATLETT (48) walk in. David's left eye twitches
noticeably.
MRS. CATLETT
Mr. Catlett, Master Phelps, let me
introduce you to my cousin's son,
Master John Newton.
MR. CATLETT
Ah, of course. It has been what, ten
years?
He steps over to shake John's hand.
John and David nod. The two of them shake hands warily.
MR. CATLETT (CONT'D)
Master Phelps is a friend of Polly's
from church. His father is also a
captain of a merchant vessel.
David smirks, then looks at Polly with affection.
DAVID PHELPS
It has been a wonderful visit.
POLLY
(to her father)
May I walk Master Phelps to his horse?
Mr. Catlett nods.
David puts on his coat as Polly throws on a cape. John notices
David reach for Polly's hand as they slip out the front door,
but she pulls hers away.
MRS. CATLETT
We have an extra bed we can set up.
MR. CATLETT
(to John)
You have no pressing engagements to
attend to?
John looks out the front window.
EXT. CATLETT'S FRONT YARD - CONTINUOUS
Polly and David walk to David's horse, talking and laughing.
INT. CATLETT KITCHEN - CONTINUOUS
JOHN
No, sir.
He turns and addresses the Catletts.
JOHN
None whatsoever... That is, after I
deliver a package to my uncle over
in Maidstone.
MR. CATLETT
See that you avoid the ports. The
navy is press-ganging for a possible
war with France.
JOHN
I will, but I would love to come
right back.
EXT. ENGLISH COUNTRYSIDE - DAY
John rides his horse down the road. Up ahead he sees another
rider and nudges his horse to catch up.
When he gets closer he sees that it's David.
He rides alongside and looks David up and down before smiling
a challenge. David kicks his horse.
A horse race ensues. They run neck and neck. Soon, John out
paces David and John smiles broadly in triumph. David glowers
behind in anger.
Genres:
["Drama","Historical"]
Ratings
Scene
4 -
A Stroll and Evasive Answers
INT. CATLETT HOME PARLOR - DAY
The cozy room has stuffed furnishings, an ornate fireplace,
and a large wooden table.
John and Polly play a game of cribbage at the table.
Mrs. Catlett sits by the fire and knits.
JOHN
I am wondering, Mrs. Catlett, if I
might take your daughter out for a
stroll. Just around the grounds.
Mrs. Catlett looks over at Polly, who smiles.
MRS. CATLETT
As long as you stay within view and
don't stay out too long.
They stand.
POLLY
I think you are just looking for a
way to get out of losing this game.
He smiles warmly at her.
EXT. CATLETT'S YARD - DAY
John and Polly walk together around the house.
JOHN
How is it that you know Mr. Phelps?
POLLY
Ever since his mother was killed
during a slave uprising down at the
harbor, my mother has attempted to...
fill in some of the void.
JOHN
I see.
POLLY
He was there when it happened. Ever
since then he's had that terrible...
twitch. His father became... quite
bitter.
JOHN
What sort of goods does he trade in?
POLLY
I don't know for sure... spices and
exotic woods, that sort of thing.
JOHN
And you... like him?
Polly shrugs her shoulders and smiles enigmatically.
POLLY
How soon do you need to return home?
JOHN
I feel like I am already there.
She looks puzzled.
POLLY
What will you do when you go back to
your father's home?
He looks away, evasive.
JOHN
I... ah, I am not sure, really.
She looks at him carefully, inquisitively.
POLLY
No definite plans?
He shrugs but then looks at Polly with a warm smile.
Genres:
["Historical Drama","Romance"]
Ratings
Scene
5 -
A Tender Duet
INT. CATLETT HOME PARLOR - NIGHT
John and Polly play a duet at a harpsichord. They play some
final notes while they sing in harmony together (from "O God
our Help in Ages Past" by Isaac Watts).
JOHN AND POLLY
Our shelter from the stormy blast,
and our eternal home.
He turns to her and speaks softly.
JOHN
A sweet sound. I could listen to you
sing and play all evening.
POLLY
Thank you. I enjoy listening to you
as well. I hope you will be able to
pursue your dream. Will your father
send you to the Mannheim School of
Music?
JOHN
No. He has made that clear.
POLLY
I am so sorry. He must be wondering
where you are.
JOHN
Not likely. Nonetheless, I will need
to leave tomorrow.
POLLY
What will you do?
JOHN
I need to find a way to make some
money so I can pay my own tuition.
He tentatively reaches out for her hand. She takes it. A
tender moment passes between them.
Genres:
["Drama","Romance"]
Ratings
Scene
6 -
Pressed into Service
EXT. ENGLISH COUNTRYSIDE - DAY (WINTER)
John rides alone. He comes to the village of Chatham.
EXT. CHATHAM VILLAGE - DAY
A small village with shops on each side of the main street.
He stops when he sees a jeweler's shop and goes inside.
INT. JEWELER'S SHOP - DAY
A JEWELER (50s) sits behind the counter of a small shop that
displays a few items.
John looks at some of the rings. He sees a simple braided
gold band. He points to it and nods his head at the jeweler.
EXT. CHATHAM VILLAGE - CONTINUOUS
John walks by a variety of storefronts of this seaside village
and wharf. One store has a sign: "CHATHAM FEED & GRAIN'.
Another, a local pub, reads: "RUSTY ANCHOR". He walks along
the nearly deserted street and enters.
Off to one side, a contingent of sailors huddles out of his
sight and watches him.
INT. RUSTY ANCHOR PUB - DAY
A dimly lit, mostly empty room.
John sits on a stool and drinks a pint of ale. A ONE-ARMED
YOUNG MAN sits nearby.
OLD MEN at a table look at John and quietly LAUGH as they
look out the window and see the sailors coming.
The doors of the pub SLAM open. THREE BURLEY SAILORS carrying
clubs push their way in.
SAILOR #1
(Cockney accent)
Well, well, well. What have we got
ourselves here mates? Fresh meat for
his majesty's royal stew?
John jumps off his stool and makes a dash for the back door.
The one-armed man trips him as he goes by. John falls flat.
They jump on him and manhandle him to his feet.
SAILOR #1 (CONT'D)
Now now now. We'll have none of that,
matey.
SMACK. Sailor #2 hits John in the stomach with the end of
his club. John struggles to get away.
SAILOR #1 (CONT'D)
What do you think good King George
would think if he saw one of his
royal subjects trying to run away?
He nods to sailor #2 who hits John in the back with his club.
SAILOR #1 (CONT'D)
Either you come with us nice and
easy like, or we'll carry you to the
ship like a sack of potatoes.
John continues to struggle.
JOHN
Noooooooo. God damn you! You have no
right to take me anywhere. I am a
loyal British...
Sailor #1 nods to sailor #3 who clubs John from behind on
the head. He falls to the floor.
Sailor #1 tosses a coin to the one-armed man who sits and
watches from the bar.
SAILOR #1
Much obliged, mate. Have one on me.
Sailor #1 winks at him and LAUGHS.
SAILOR #1 (CONT'D)
A shilling for our sleeping recruit.
Can't say we didn't pay him.
Sailor #1 hands a coin to Sailor #2 who sticks it in one of
John's pockets. They carry him out of the pub.
EXT. ABOARD HMS HARWICH IN PORT - DAY
HMS Harwich is a 50 gun, 976 ton fourth rate ship of the
line with a crew of 350. John rubs his head as he lies out
on the deck with another young sailor, VINCENT MILLER(20).
JOHN
What the hell is going on?
VINCENT
Welcome to his majesty's Royal Navy.
JOHN
They have no right to keep me here!
VINCENT
The King needs sailors so he will
have them, one way or the other.
Genres:
["Drama","Historical","Adventure"]
Ratings
Scene
7 -
Unwelcome Promotion
EXT. HMS HARWICH AT SEA - DAY
With sails full, the ship crosses the open seas.
INT. CAPTAIN CARTERET'S QUARTERS - DAY
Spacious, well-appointed quarters.
CAPTAIN CARTERET (55, slightly overweight) sits behind a
desk smoking his pipe.
Ordinary Seaman John Newton stands at attention before him.
CAPTAIN CARTERET
Your father tried pulling some strings
with the admiralty, but because we
have just declared war on France,
the Navy is unwilling to let you go.
JOHN
Bloody hell.
CAPTAIN CARTERE
Watch your language, seaman.
John frowns.
CAPTAIN CARTERET
As a favor to your father and because
of your sailing experience with him,
the admiralty and I have decided to
promote you to midshipman.
JOHN
But I don't know anything about being
a naval officer, sir.
CAPTAIN CARTERET
That will be remedied. Dismissed.
John salutes unenthusiastically and slouches away.
INT. OFFICERS' DINING ROOM ABOARD THE HARWICH - NIGHT
A large table takes up most of the room. It's covered with
an elegant white tablecloth and fancy tableware.
NAVAL OFFICERS in chairs around the table, eat dinner and
CHAT. Captain Carteret sits at one end.
TEN MIDSHIPMEN, including John, stand along the walls.
CAPTAIN CARTERET
Gentlemen, may I have your attention.
The room becomes instantly quiet.
CAPTAIN CARTERET (CONT'D)
We are to sail for Gambia in Africa
and then on to India as we provide
military escort for a fleet of
merchantmen. We should be away about
five years.
MURMURS arise from around the room.
CAPTAIN CARTERET (CONT'D)
When we dock in London, you will be
given twenty-four hours of shore
leave to get your personal business
in order and to say your farewells.
Enjoy your meal.
John's mouth drops open in shock and dismay.
INT. BELOW DECK OF HMS HARWICH - NIGHT
John finds Vincent and pulls him aside.
JOHN
(quietly)
God damn it! I can't spend the next
five years of my life at sea.
VINCENT
I don't see that you have much choice.
JOHN
I have to get to Polly and ask her
to wait for me.
VINCENT
Not too many of 'em would.
Genres:
["Historical Drama","Adventure"]
Ratings
Scene
8 -
The Uncertain Proposal
EXT. CATLETT'S HOME - DAY - WINTER
John gallops up to the front door. He wears his midshipman
uniform. He jumps off, runs up the stairs, and KNOCKS loudly.
INT. CATLETT PARLOR - DAY
Polly jumps up when Mrs. Catlett escorts John in.
He rushes over to her and hugs her. Polly looks uncomfortable
and pulls away. As she sits again, he sits beside her.
Mrs. Catlett watches from the doorway.
POLLY
Mother, could we have some privacy
for a moment, please?
Mrs. Catlett spins around.
MRS. CATLETT
As you wish, my dear. I will be in
the other room if you need me.
Mrs. Catlett leaves. Polly smiles.
POLLY
You look so handsome in your uniform.
JOHN
We just learned that we will be going
on a five year voyage to India.
Her smile disappears.
POLLY
Oh,... That is... a long time.
JOHN
I am wondering if you would do me
the honor... if you might... that is
if you would consider...
He pulls out the braided gold ring for her to see.
JOHN (CONT'D)
Becoming... my wife... when I return?
Polly looks distressed.
POLLY
John, you are a wonderful man but...
JOHN
Is it David?
She looks down and hesitates to answer.
POLLY
I hardly know you.
John looks crushed. Sadly, he puts the ring in his pocket.
JOHN
I feel like I have always known you.
Since we met, my life has... I finally
feel alive again.
POLLY
Let me think about it. Perhaps I can
give you a firm answer tomorrow.
John walks toward the front door.
JOHN
I will be back early in the morning
for your answer.
Mrs. Catlett walks back in after John leaves.
MRS. CATLETT
Troubles?
POLLY
He wants me to promise to wait for
him to return from a five year voyage.
Mrs. Catlett raises her eyebrows in surprise.
POLLY (CONT'D)
I really like him, but...
MRS. CATLETT
You sleep on it and pray about it.
It will be clearer to you in the
morning.
Genres:
["Drama","Romance"]
Ratings
Scene
9 -
A Keepsake and a Capture
EXT. FRONT OF CATLETT'S HOME - DAY
John stands beside his horse, not looking at Polly.
POLLY
I am terribly sorry. Five years is a
long time to wait. We can correspond
while you are gone.
JOHN
I will do whatever it takes to return
to you as soon as possible.
He quickly mounts. As he prepares to go, she stops him.
POLLY
Wait!
She reaches into her pocket and pulls out a blue kerchief
fringed with white lace.
POLLY (CONT'D)
Take this, please, to remember me.
EXT. COUNTRYSIDE ALONG THE SEACOAST - DAY
John rides off into the countryside. He goes through the
village and glances at the "Rusty Anchor", then various
country scenes as he proceeds.
EXT. OUTSKIRTS OF LONDON - DAY
He approaches the outskirts of London. He comes around a
curve, right into a small contingent of ROYAL MARINES. A
huge marine motions for John to stop.
MARINE
(with a Scottish brogue)
Where ya going in such a hurry,
laddie?
JOHN
Get out of my way!
MARINE
Ya wouldn't happen to be from HMS
Harwich, would ya now?
JOHN
Just leave me be!
He tries to ride away. Several Marines reach up and drag him
off his horse.
They tie his hands together and march off toward the harbor.
He pulls at the ropes tied to his horse in front of him.
Genres:
["Drama","Historical"]
Ratings
Scene
10 -
The Flogging of John
EXT. ABOARD THE HMS HARWICH AT DOCK - DAY
John is stripped naked except for a bladder protection apron.
He stands next to a grating on the ship's quarterdeck, spread
eagle. His wrists and ankles are tied to the grate.
The entire CREW looks on.
MR. BLACKWELL (30, bald, muscular), stripped to the waist,
holds a whip.
CAPTAIN CARTERET
Let this be a lesson to all of you.
When I give twenty-four hours shore
leave, I mean twenty-four hours shore
leave, not an hour more.
He nods to Mr. Blackwell.
Mr. Blackwell begins.
SWACK, SWACK, SWACK, SWACK. With each lash, John flinches
but does not cry out. The lashes produce bloody welts across
his back.
After the twelfth lash, Mr. Blackwell stops and looks at the
captain.
CAPTAIN CARTERET (CONT'D)
Stand down, Mr. Blackwell. Have the
ships surgeon tend to his wounds.
INT. SHIP'S SURGEON'S ROOM - DAY
A small, cramped room with a crude table covered with white
linen. Various medicines in vials are stashed in cubbyholes.
A bone saw hangs on the wall.
Mr. Blackwell stands at the door while the SHIP'S SURGEON(50)
applies a lotion to John's back. The lotion makes him jump
with pain. He bandages his wounds.
INT. ORDINARY SEAMEN'S QUARTERS - CONTINUOUS
Numerous rope hammocks hang from the rafters. Some hold
sleeping SAILORS.
John's Ordinary Seamen's uniform is folded, lying on his
empty hammock. John angrily tosses it on the floor.
Genres:
["Drama","Historical"]
Ratings
Scene
11 -
The Slaver's Proposition
EXT. HMS HARWICH OFF THE COAST OF AFRICA - DAY
With the coastline in the distance, the ship proceeds in
full sail.
INT. HMS HARWICH SEAMEN'S QUARTERS - DAY
John plays a lyre and sings a haunting folk song entitled,
"Jack Hall".
JOHN
Oh my name it is Jack Hall, chimney
sweep, chimney sweep, oh my name it
is Jack Hall, chimney sweep. Oh my
name it is Jack Hall, and I have
robbed both great and small--
Vincent bursts in.
VINCENT
John, a Guineaman just pulled up to
us. Its captain is talking to
Carteret. Seems he wants to exchange
two of his men for two of ours.
John's face lights up, then quickly turns to a frown.
JOHN
But a slaver?
VINCENT
Could be our chance to get back home
a lot sooner than we thought, and
with money in our pockets.
They both race out.
EXT. MAIN DECK OF HARWICK - DAY
John and Vincent see the slaver anchored nearby with some
slaves on its deck. They shake their heads in disgust.
VINCENT
Maybe we should reconsider.
JOHN
My mother was totally against the
slave trade. But my father thought
it could be a profitable endeavor.
VINCENT
(shrugging)
So... ?
JOHN
Let's see how long they'll be away.
I'll do anything to get back to Polly.
They proceed over to one of the officers.
JOHN (CONT'D)
Sir, I was wondering if you know how
long slavers typically stay at sea?
The officer looks at him and frowns.
OFFICER
Long as it takes to fill their holds,
then off to the New World to sell
them.
JOHN
How long does that usually take?
OFFICER
Anywhere from one to two years.
John looks at Vincent and smiles. They salute and walk away.
EXT. QUARTERDECK OF THE HARWICH - DAY
John and Vincent are rowed over from the HMS Harwich to the
Levant, along with their sea chests.
Captain Carteret speaks to another officer as they watch.
CAPTAIN CARTERET
Poor bastard. His father won't be
able to help him now.
They both LAUGH.
Genres:
["Drama","Historical","Adventure"]
Ratings
Scene
12 -
Boarding the Levant
EXT. DECK OF THE LEVANT - DAY
Two men from the Levant, a three masted slaver, are
transported in a small boat to the Harwich.
John climbs up the side of the Levant on a rope ladder. When
he climbs up over the side, he puts his fingers over his
nose.
CAPTAIN PHELPS (55, thin, weather-beaten) greets him. His
son, David (left eye twitching) stands behind him with a
Cheshire Cat grin.
Vincent climbs on board behind John.
CAPTAIN PHELPS
Welcome aboard, gentlemen. I am
Captain Phelps. This is my son, Mr.
Phelps. My second mate.
John looks unpleasantly surprised.
JOHN
Captain. David. Does Miss Catlett--
DAVID PHELPS
On board this ship, you will address
me as Mr. Phelps.
John scowls. Captain Phelps scowls back.
CAPTAIN PHELPS
Now look here, young man. I just got
rid of a couple of troublemakers. I
don't need another one.
John notices the "barricado" that sections off the main deck
from the center mast to the bow of the ship. Sharp spikes
run along the top of the barricado. Small cannon point down
toward the forward part of the deck.
A small center door in the barricado allows one man at a
time to go through sideways. A large center grate is cut
into the main deck allowing slaves to get light and air.
CAPTAIN PHELPS (CONT'D)
This is your new home. Make the best
of it, or you will rue the day you
came on board.
Captain Phelps turns and walks away.
DAVID PHELPS
Ever been on a Guineaman before?
JOHN
No.
DAVID PHELPS
That's no, sir, Newton, or I will
give you ten.
He puts his hand on his whip. John glares at him.
DAVID PHELPS (CONT'D)
You can stow your gear below deck
but the two of you will have to sleep
on deck wherever you can find a place.
I would not recommend the longboat.
VINCENT
Why not?
DAVID PHELPS
That is where we put the dying.
JOHN
Hell.
DAVID PHELPS
Aptly put, Newton. As to your duties,
gentlemen, since neither of you have
been on a slaver before, there are
some additional things you will need
to know. We bring the slaves up once
a day to feed and dance them, you
know, get some exercise.
JOHN
With music?
DAVID PHELPS
Drums.
(MORE)
DAVID PHELPS (CONT'D)
While they are up on deck, you will
get to go below to clean out the
necessary tubs and wash down the
deck. We keep the female slaves
separate from the males. The males
are chained below us. The females
are in the lower deck beneath the
quarterdeck. The children are with
the females. Any questions?
JOHN
How long before we return to England?
DAVID PHELPS
In a hurry?
JOHN
I have someone waiting for me.
David looks at him with suspicion.
DAVID PHELPS
If you survive, I would say we should
be home in about a year.
John and Vincent walk over to pick up their sea chests. John
notices the netting hung all along the sides of the deck
used to prevent slaves from jumping overboard.
A crew member, JOB LEWIS (18, Irish, eye patch) uncoils some
rope.
JOHN
(to Job)
My God! What is this? A floating
prison?
JOB LEWIS
(with Irish accent)
What did you think a slaver is?
John and Vincent walk away and talk quietly.
JOHN
Better than five years with the Navy.
Vincent looks unconvinced.
EXT. DECK OF LEVANT - NIGHT
John is alone, sprawled out on the deck as he writes a letter
in the light of a lantern. He holds the braided gold ring in
his left palm.
JOHN (V.O.)
My dearest Polly, as luck would have
it, I have managed to be transferred
to another ship which means I should
be coming home to you within a year.
He hears the WAVES LAPPING against the sides of the ship.
Then he hears the haunting, soulful sound of the African
slaves SINGING below deck. He turns to look. He closes the
ink bottle and puts the letter and pen in his pocket.
He slips the ring on his little finger and stands up.
He takes the lantern and walks to the grate that covers the
hold where the male slaves are contained. As soon as the
light from his lantern shines into the hold, the singing
stops.
He bends down and talks into the grate.
JOHN (CONT'D)
No! Keep singing!
There is only silence. John frowns.
Genres:
["Drama","Historical","Adventure"]
Ratings
Scene
13 -
The Hum of Connection
EXT. DECK OF LEVANT NEAR THE MAINMAST - DAY
John comes around a corner. He sees David looking over the
deck rail at a vast, empty sea. He stands beside him.
JOHN
A vast expanse of nothing.
David looks over at him like he can't believe it's John. He
looks back out to sea and nods his head.
DAVID PHELPS
Much like life.
They stand there and continue to look out at sea.
DAVID PHELPS (CONT'D)
I need you to go below to empty out
the necessary buckets.
JOHN
Ah, I ah...
DAVID PHELPS
Now!
He reluctantly makes his way over to the grate above the
hold where the male slaves are kept. He lowers the ladder.
INT. MALE SLAVE HOLD - DAY
There are approximately TWENTY MALE SLAVES in an area that
could hold a lot more. All of them, except one, pull back
and turn away when John enters. This one, who is noticeably
older than the others, appears to be the LEADER.
He scans the area and sees two large wooden buckets. He sees
they are filled with human waste. He holds his nose and gags.
He picks them up and walks toward the ladder, then stops and
sets the buckets down.
He stands face to face with the leader. They look at each
other with misgiving for a few moments.
John HUMS the first phrase of the tune "Greensleeves" as he
looks the leader in the eyes. He points to the leader as if
to say, now it's your turn.
The leader gives him a blank look. John HUMS the tune again.
Same response. John tries again. The leader stares at him in
stony silence. David shouts from above.
DAVID PHELPS (O.S.)
Hurry up, Newton!
John reaches for the buckets. As he climbs the ladder, he
hears the leader HUM the first phrase of the song. Stunned,
John stumbles up the ladder.
Genres:
["Historical Drama","Romance"]
Ratings
Scene
14 -
The Dance of the Damned
EXT. THE LEVANT AT SEA - DAY
The sails are all open and full on a sunny tropical day.
John and Job walk along the deck. A bunch of male slaves are
brought up from below. As the slaves climb on deck they blink
and cover their faces in the blinding sun.
The leader spreads out his arms and takes a big breath of
fresh air. He smiles broadly.
John looks curiously at them. Job yawns.
Crew members point and shout at the slaves.
CREW MEMBER #1
You know the routine you stinking
bastards. Get over there, now!
The slaves obediently move to where they're told and stand
side by side. Crew members douse them with water. The slaves
shiver and shake as the cold water rushes over them. One of
the crew members brings out a drum.
CREW MEMBER #2
Okay, time to get warmed up.
He beats the DRUM, slowly at first but then faster and faster.
The rest of the crew LAUGH as the slaves try to keep up with
the beat. One slave slips and falls down.
He looks around, frightened. His eyes happen to meet John's.
John steps forward to help, but then steps back when the
leader intervenes and helps the fallen slave to his feet.
CREW MEMBER #1
(to John and Job)
You two, get below.
John and Job climb down into the slave quarters.
INT. MALE SLAVE HOLD - DAY
John and Job clean up the empty quarters. Light filters down
through the grating.
Large rats scurry here and there.
John and Job hunch over while they scrub the deck. Above
them are SHOUTS of the crew mingled with the CRIES of the
slaves being "danced" for exercise.
JOHN
How do you stand the stench?
JOB LEWIS
It's me third voyage on a slaver. Ya
learn to breath through your mouth.
John starts to gag and then vomits on the floor.
JOHN
Ah, hell. Damn it all to hell.
John and Job continue their work while they talk.
JOHN
Why do you do it?
JOB LEWIS
When I lost me eye, navy wouldn't
have me and merchants didn't want
me. It's the only thing I know how
to do, but God is good.
JOHN
Do you really believe that?
JOB LEWIS
What?
JOHN
You are down here cleaning up after
slaves and you think God is good? If
there is a God, he sure doesn't give
a damn about us or anyone else.
JOB LEWIS
Me sainted mother told me--
JOHN
(with a mocking laugh)
Oh my God, Lewis. What the hell is
wrong with you? Your mother told
you? She told you about fairies and
hobgoblins too. Do you believe in
them? Use your own eyes, man. There
is no God... so there is no good...
or bad. Just do what pleases you.
They continue to clean the slave's quarters in silence.
EXT. DECK OF LEVANT - DAY
The slaves jump around to the beat of the DRUM and the crew
members look on LAUGHING.
One of the slaves CRIES OUT as a crew member pokes him with
the tip of his sword.
CREW MEMBER #3
Come on! Jump! Higher! Higher!
INT. BELOW DECK OF LEVANT - CONTINUOUS
John looks up through the grate to see what's going on.
JOB LEWIS
It gets a wee more dangerous when we
load more of 'em on.
JOHN
Ever been attacked by one of them?
JOB LEWIS
Second voyage I was on we had an
insurrection. Killed two of the crew.
We ended up killing six of them.
That's when I lost me eye.
EXT. QUARTERDECK OF THE LEVANT - NIGHT
The crew sits around a lantern. Some carve wood, others do
scrimshaw. Most, including John, drink.
John strums his LYRE and teaches the crew a song.
JOHN
(singing and drunk)
'Ol cap'n Phelps thought he was the
master. He didn't know he was headed
for disaster. Tried putting on slaves,
just one too many, hoping to make
one more copper penny. With a hey
diddle diddle, his ship split in the
middle and ne'r was he heard from
again. And ne'r was he heard from
again.
Crew members laugh and cheer. David walks over.
DAVID PHELPS
Pretty brave... when you're drunk.
JOHN
Go to hell.
DAVID PHELPS
Taken one of the females yet?
John doesn't answer but just stares blankly at him.
The crew LAUGHS. John hangs his head.
Genres:
["Drama","Historical","Adventure"]
Ratings
Scene
15 -
The Feeding and the Revolt
EXT. FORWARD DECK OF THE LEVANT - DAY
A group of 30 MALE SLAVES are fed and watered. The leader
shares his water with an adolescent who looks appreciative.
A small group of FEMALE SLAVES and some CHILDREN huddle
together on another section of the deck.
John looks the females over carefully with a glint in his
eye. He notices one of them looking lovingly at a young boy,
6 or 7 years old. She reaches over to comfort him. John looks
chagrined.
He and five other crew members feed the male slaves. The
captain watches from the quarterdeck.
John hands out a mixture of beans and rice. One of the slaves
refuses to eat. John looks around, uncertain what to do.
David walks over.
DAVID PHELPS
We can not have them starving
themselves to death. You need to
make him eat.
JOHN
How?
David gives him his whip. John looks apprehensive.
Sweat beads up on John's furrowed brow. Slowly, he barely
lashes the slave with the whip.
David grabs the whip away.
DAVID PHELPS
Not like that, like this!
David starts lashing the slave harshly. The slave stands
immobile, resolutely refusing to eat the food. John looks
around as if hoping for someone to step in and help.
CAPTAIN PHELPS
That is enough, David. Use the horn.
Captain Phelps nods to another crew member who brings over a
tin "speculum oris", shaped like a large funnel.
John tries to pull apart the slave's jaw. The slave squirms
and struggles. David manages to help steady the slave's head.
He forces the funnel into the slave's mouth.
There is a loud SHOUT from the leader of the slaves.
All hell breaks loose on deck as slaves rise up to attack
their captors.
The slaves manage to overpower and disarm some of the crew
and use their own swords and pistols against them.
John backs away as he looks on in horror.
He sees the leader, with a wild look on his face, picking up
one of crew member's swords.
A crew member next to John takes aim at the leader with a
pistol.
John pretends to stumble into him and knocks the pistol to
one side. It DISCHARGES harmlessly.
John and the leader exchange glances. The leader nods his
appreciation to John, who nods back.
David cowers in fear over in a corner, arms over his head.
YELLING from the barracado above warns the crew members to
retreat from the deck.
A crew member pulls David to safety.
Small CANNON FIRE erupts from above, startling the slaves
into submission. Several fall with bloody wounds.
Crew members quickly return, beating those slaves who are
still standing. They push them into the hold.
CAPTAIN PHELPS (CONT'D)
I want the leader. The one who shouted
the call.
MR. JOHNSON (35, first mate, tall, muscular) steps forward.
MR. JOHNSON
It's that one sir.
He points to a bloody body of a slave on deck.
CAPTAIN PHELPS
Throw all the bodies overboard. I
will not have any more of their blood
soaking into my ship.
The crew members pick up bodies and toss them overboard.
John tries to slink away.
CREW MEMBER
Sir, this one is alive, captain.
CAPTAIN PHELPS
How bad?
CREW MEMBER
Don't think he'll make it, sir.
Just as John disappears around a corner, he's called back.
CAPTAIN PHELPS
Then throw him overboard! Newton!
John stops and reluctantly turns back. The captain points to
the wounded slave.
CAPTAIN PHELPS (CONT'D)
Get rid of him!
John walks over and notices the slave is breathing. He turns
him over. It's the leader. The leader opens his eyes.
CAPTAIN PHELPS (CONT'D)
Now!
John looks in the eyes of the leader, who smiles sadly at
him. John hesitates, then turns to walk away.
CAPTAIN PHELPS (CONT'D)
You either throw him overboard, or
it will be you we feed to the sharks!
He looks around at the determined looks of the rest of the
crew. He realizes he has no choice. He reluctantly grabs
hold of the wounded leader's feet while another crew member
picks the leader up under his arms.
They lift him up to the rail. The leader feebly tries to
resist. He looks at John and starts to HUM Greensleeves.
John wavers. The other crew member throws the leader's head
and torso over the side. John holds onto the feet.
The captain scowls and nods to another crew member standing
nearby who yanks John's hands away.
The leader's feet slip away from him. The slave SCREAMS as
he hits the water. Hungry sharks surround him. A feeding
frenzy ensues. John looks on, horrified.
Genres:
["Drama","Historical","Adventure"]
Ratings
Scene
16 -
Torn Between Love and the Sea's Cruelty
EXT. CATLETT'S HOME - NIGHT
A dusting of snow covers the quiet, peaceful neighborhood.
INT. CATLETT'S PARLOR - CONTINUOUS
Polly sits in a chair by the fireplace and reads a letter.
She has another letter in her lap.
JOHN (V.O.)
We are off the coast of Africa now,
but soon we will sail for the New
World and then on home to England. I
trust you await me with the same
eagerness that I await you. Faithfully
yours,
Polly is distressed as she folds up the letter and looks out
the window at the bleak winter scene.
Her mother enters.
MRS. CATLETT
What is it, my dear?
POLLY
Sometimes I wish they would both
just... go away.
MRS. CATLETT
Having two men pursing you must get...
confusing.
POLLY
My heart tells me one thing, but my
mind tells me another.
MRS. CATLETT
You have time. Wait until your heart
and mind point in the same direction.
EXT. DECK OF LEVANT - DAY
John sits on the quarterdeck and reads a letter from Polly.
POLLY (V.O.)
And so, my dear Mr. Newton, I must
regrettably tell you that until you
return, I still can not give you a
definitive answer.
He scowls as he shoves the letter in his pocket and starts
writing. He has Polly's kerchief in his left hand and
periodically lifts it to his nose.
David sneaks up behind him. Suddenly, he reaches over John's
shoulder and grabs the letter.
John attempts to retrieve it. A struggle ensues. While they
struggle, David reads portions of the letter out loud in a
falsetto voice.
DAVID PHELPS
Oh, my dearest darling. I cannot
tell you how much I miss you. You
should know that your neighbor...
He stops for a moment and switches to his normal voice.
DAVID PHELPS (CONT'D)
David Phelps is second mate on his
father's... slaver.
He stops and snarls at John.
DAVID PHELPS (CONT'D)
God damn you, Newton!
JOHN
She deserves to know!
DAVID PHELPS
Does she know what you are doing?
John begins punching David furiously, trying to grab the
letter back.
Captain Phelps arrives on the scene.
CAPTAIN PHELPS
Newton! Stand down immediately or I
will have you keel hauled!
The two separate. David throws the letter into the sea.
Captain Phelps puts one hand on his chest and grimaces.
DAVID PHELPS
No more letters for Newton.
EXT. DECK OF LEVANT NEAR THE MAINMAST - DAY
John watches crew members wash and feed a small group of
female slaves between the barricado and the quarterdeck.
He beats on a primitive DRUM, enjoying the sight of half
naked female slaves jumping up and down.
JOHN
Faster! Faster!
A young slave attracts his attention. He furtively looks her
over.
He confers with another crew member.
JOHN (CONT'D)
How might I have a turn with that
one?
He points with his head.
CREW MEMBER
(an evil smile)
Give me your day's share of grog,
and she's all yours.
John gets up and grabs her. She looks terrified but she
doesn't resist. He walks off with her.
EXT. DECK OF LEVANT - NIGHT
John looks up at the moon, troubled. He pulls out Polly's
kerchief and holds it up to his face. He bends down and holds
his head in his hands.
Genres:
["Drama","Romance"]
Ratings
Scene
17 -
Marooned for Insubordination
EXT. FRONT OF CATLETT HOME - DAY
Polly walks toward her house reading a letter. Her mother
accompanies her.
JOHN (V.O.)
I find it hard to think of anything
else but you, my beloved darling.
Were it not for thoughts of you I
fear I would be totally overcome by
the darkness that surrounds me. You
are the light of my life and it is
with much anticipation that I await
our reunion. With great affection I
am faithfully yours.
Polly stops reading and stuffs the letter in her pocket.
MRS. CATLETT
What is it?
POLLY
I wish I were not attracted so to
John.
MRS. CATLETT
You have always had a heart for
wounded animals and troubled souls.
POLLY
Is that how you see him, then?
Mrs Catlett looks at Polly as if to say, 'What do you think?'
INT. CAPTAIN PHELPS' QUARTERS - NIGHT
Captain Phelps sits at his desk. First mate Mr. Johnson faces
him.
MR. JOHNSON
He continues to incite the crew
against you with his little songs
and comments.
CAPTAIN PHELPS
God damn it! I will not tolerate
that man on my ship another day!
He pounds the desk with his fist.
MR. JOHNSON
He's a bad one, sir.
CAPTAIN PHELPS
I can not wait until...
Suddenly, Captain Phelps grabs his chest and falls forward.
EXT. DECK OF THE LEVANT - DAY
A body wrapped in sailcloth lies on a board on the main deck.
The crew forms a semicircle around it.
Mr. Johnson reads from an Anglican Prayer Book. From below
deck the SINGING of an African dirge can be faintly heard.
MR. JOHNSON
We therefore commit the body of
Captain Anthony Phelps to the deep,
looking for the general resurrection
in the last day, and the life of the
world to come, through our Lord Jesus
Christ; at whose second coming in
glorious majesty to judge the world,
the sea shall give up her dead...
Mr. Johnson's voice fades. John whispers to Job.
JOHN
I hate to tell you but Jesus is not
ever coming to rescue Captain Phelps,
nor any of the rest of us. Best to
just dump him overboard and have
done with it.
Job looks at John alarmed and dismayed and steps away.
David and three crew members lift the body of Captain Phelps
on the board and slide it into the sea.
It enters with a SPLASH.
MR. JOHNSON
(turning to face John)
I am the captain now, and I will not
put up with your insubordination.
With a smirk, John turns to leave and walks away.
David Phelps storms over to John and yells.
DAVID PHELPS
You son of a bitch! I am holding you
responsible for this!
John shrugs and smirks.
David Phelps turns to Mr. Johnson.
DAVID PHELPS (CONT'D)
He wanted me to take Newton with me.
Mr. Johnson nods his head.
EXT. QUARTERDECK OF THE LEVANT AT ANCHOR - DAY
An island is visible in the distance.
John sits on the quarterdeck in the early morning light. He
holds Polly's blue kerchief in his hand. He smells it.
Crew members carry John's sea chest to the deck's railing.
David walks to John.
DAVID PHELPS
Let's go.
Job and Vincent walk over. Vincent looks down.
JOHN
I am not going anywhere.
He notices the men carrying his sea chest.
JOHN (CONT'D)
What are you doing with my chest?
DAVID PHELPS
Can't let you get home before me.
David nods to a couple of burley sailors who grab onto John.
John struggles to get free.
JOHN
Let me go, you bastards!
Men haul John and his sea chest over the side.
David walks to the rail and calls down to John.
DAVID PHELPS
(sarcastically)
You will love my P.I.
JOHN
Who is P.I.?
DAVID PHELPS
Daughter of one of the best slave
hunters in Africa.
Genres:
["Drama","Historical","Romance"]
Ratings
Scene
18 -
The Harsh Welcome
EXT. BEACH ON PLANTAIN ISLAND - DAY
Plantain Island is a small island off the coast of Sierra
Leone. It is covered with palm trees except for white sandy
beaches around the perimeter.
John arrives on shore with David. He notices two mud and
thatch huts off in the distance, as well as a stockade pen
near the shore with just a few SCRAWNY SLAVES inside.
The stockade is built with strong posts reinforced with iron
bars that run horizontally at four different heights around
the posts. It has a thickly thatched roof.
He approaches and looks them over like horses in a stockyard.
DAVID PHELPS
They are leftovers from our last
batch. We will be going out soon to
get some more, but first you will
need to build yourself a hut.
JOHN
By myself?
David LAUGHS then walks toward the huts, leaving John alone.
EXT. INLAND ON PLANTAIN ISLAND - DAY
Stripped to his waist, John takes a drink of water in the
noonday sun. He builds a small hut of sticks and mud. Scars
on his back from his previous flogging are obvious.
Two mud and thatch huts are nearby. A small garden of
pumpkins, watermelons, and peas grows to the side of the
largest of the two huts.
P.I.(30, plump African woman, long black skirt, red linen
blouse, white turban) comes out of the largest hut and walks
toward John.
P.I.
(With a strong West-African accent)
You work faster. No want you our hut
any longer.
JOHN
If I don't take a break, I will not
be good for anything.
P.I.
You already no good for anything,
you piece of elephant dung.
David comes out of the same hut P.I. exited.
DAVID PHELPS
You will be joining me on my next
trip up the river.
He looks over at P.I. and smiles.
DAVID PHELPS (CONT'D)
Need to keep my P.I. happy.
P.I. LAUGHS. John scowls.
Genres:
["Drama","Historical","Adventure"]
Ratings
Scene
19 -
Haunted by the Past
EXT. JOHN'S HUT - NIGHT
John's one room hut stands completed in the tropical rain.
INT. JOHN'S HUT - NIGHT
John sports a scruffy beard and lies on a straw bed with one
lamp beside him for light.
Drops occasionally fall down from the newly thatched roof.
He thrashes about in his sleep and sweats profusely.
BEGIN DREAM SEQUENCE
EXT. UPPER MIDDLE CLASS NEIGHBORHOOD - DAY
A WHITE GENTLEMAN (25, well dressed) walks briskly down the
street using his walking cane. He leads a group of slaves
chained together in single file. Among them is a young boy.
JOHN NEWTON (6, bright curly red hair) looks out a window at
them. The eyes of the little boy and John meet. The little
slave looks ready to cry. John releases the curtain.
INT. CAPTAIN NEWTON'S STUDY - CONTINUOUS
A fire burns brightly in a large stone fireplace.
Above the mantle hangs a gold framed portrait of CAPTAIN
JOHN NEWTON (mid-30s, stern, formal attire, white wig).
John turns with a concerned look to his MOTHER (same as in
the earlier portrait, p. 6).
JOHN
Mama, why are those dark people all
chained together?
Mrs. Newton jumps off the harpsichord bench and closes the
curtain.
MRS. NEWTON
Let us get back to our lessons, John.
JOHN
Why are they in chains?
MRS. NEWTON
They are slaves. Poor unfortunate
people from Africa. They are caught
and sold like horses by dreadful,
greedy men.
He looks up at the portrait of his father hanging on the
wall. Elisabeth COUGHS a couple of times. He looks at his
mother, concerned.
He sees his mother's smiling face that draws him to her. As
he goes to hug her he tenderly looks up at her.
He's horrified to see her face has become a skull. He runs
away SCREAMING.
END DREAM SEQUENCE
With a start, John sits up on his mat. He PANTS and sweats.
INT. JOHN'S HUT - DAY
The sun shines in. Pale and emaciated, John sits on his straw
mat and leans against the wall.
SAMSON MUGAMBI (18, African, bulging muscles) walks in.
SAMSON
Master Newton. Mistress say come,
get food.
JOHN
I don't think I can.
Samson looks alarmed. He reaches down to help as John
struggles to stand. He tries to walk on his own but can't.
He reluctantly surrenders to Samson's help and hobbles out.
Genres:
["Drama","Historical"]
Ratings
Scene
20 -
Defiance and Toil
INT. P.I.'S HUT - DAY
The room is well furnished with European tables and chairs.
Fine bone china and elegant silverware grace her dining table.
P.I. sits at the table accompanied by two female slaves who
hover over her.
John appears and leans against the doorway.
P.I.
Well, if it isn't lazy white man.
Can't even stand on own feet!
She LAUGHS.
P.I. (CONT'D)
Come here, elephant dung. I save
food for you.
A few pieces of half-eaten chicken and other food remain on
P.I.'s plate. John struggles to walk around the table.
He picks up the plate, but his shaky hands drop it.
A mangy dog dashes over and devours the food. P.I. SHRIEKS
with LAUGHTER. John looks disappointed.
P.I. (CONT'D)
Go back to hut. Can't even feed self.
You smelling up my hut. Get him out
of here.
Samson hesitates. P.I. sees this and is enraged. She jumps
up and grabs a stick and beats on Samson.
JOHN
No!
John grabs the stick, throws it outside, and proceeds out
the doorway.
P.I. and Samson stare after him in disbelief.
MONTAGE - JOHN WORKS FOR P.I.
EXT. SHORELINE OF PLANTAIN ISLAND - DAY
John helps David transfer several slaves from the shallot to
the shore.
EXT. HOLDING PEN
David handles them roughly as he takes the new slaves to the
holding pen and shoves them in.
EXT. SHORELINE OF PLANTAIN ISLAND - DAY
John plants small lime trees next to the palm trees that
line the edge of the beach.
EXT. IN THE WOODS ON PLANTAIN ISLAND - NIGHT
John furtively digs in the dirt in the moonlight. He unearths
roots and shoves them hungrily into his mouth. He stops a
moment, looks at the gold ring on his little finger, and
stares at it forlornly.
END MONTAGE
Genres:
["Drama","Historical","Adventure"]
Ratings
Scene
21 -
A Secret Delivered
EXT. P.I.'S HUT - DAY
John storms out just as David appears.
DAVID PHELPS
What is going on?
JOHN
Go to hell!
As John hurries away, David calls out to him.
DAVID PHELPS
I'm leaving for home next week. Polly
will be thrilled to see me.
John freezes. He turns and throws David an icy stare.
INT. P.I'S HUT - DAY
Samson stands to one side of P.I.
David looks at a couple of letters.
DAVID PHELPS
One for me and one for our Mr. Newton.
He holds the one for John and looks at it carefully, then
throws it in a pail and covers it with garbage. He looks at
Samson.
DAVID PHELPS (CONT'D)
Take it out back.
Samson picks up the pail and walks out.
EXT. BEHIND P.I.'S HUT - DAY
Samson walks to the place where refuse is dumped. He retrieves
the letter and slips it in his pants.
EXT. JOHN'S HUT ON PLANTAIN ISLAND - NIGHT
The moon provides some dim light.
Samson sneaks up to the doorway. He can hear John SINGING
and cautiously looks in.
INT. JOHN'S HUT - NIGHT
John sits on a makeshift chair and plays his lyre while he
sings a verse from "Greensleeves". A lantern provides light.
JOHN
Greensleeves was all my joy
Greensleeves was my delight,
Greensleeves was my heart of gold,
And who but my lady Greensleeves.
Your vows you've broken, like my
heart, Oh, why did you so enrapture
me? Now I remain in a world apart,
but my heart remains in captivity.
EXT. JOHN'S HUT - NIGHT
As Samson listens, a tear runs down his cheek. He brushes it
away then steps inside.
INT. JOHN'S HUT - NIGHT
John looks up, startled.
JOHN
Samson!
Samson gives the letter to John. John looks confused then
looks closely at it, and smiles.
EXT. SHORELINE OF PLANTAIN ISLAND - DAY
A slaver stands anchored off shore.
A group of slaves is loaded into longboats. David smiles and
waves as he is rowed out in his own longboat.
John furtively looks around and slips a letter to one of the
crew.
TITLE CARD: 8 MONTHS LATER
Genres:
["Drama","Historical","Adventure"]
Ratings
Scene
22 -
From Despair to Proposal
EXT. CAPTAIN NEWTON'S COUNTRY HOME - NIGHT
It's winter, with a light dusting of snow.
INT. CAPTAIN NEWTON'S COUNTRY STUDY - NIGHT
Captain Newton sits by the fireplace. He gingerly holds a
dirty, tattered letter in one hand. He places a biscuit in
his mouth with the other. THOMASINA (45, second wife, tall
and slim) sits nearby.
CAPTAIN NEWTON
Says he has been stranded on an island
off the coast of Africa. Nearly a
year. He fears for his sanity, and
his life.
THOMASINA
Whatever is he doing there?
CAPTAIN NEWTON
Helping to procure slaves.
Thomasina looks distressed. Captain Newton holds the letter
out from him as if to keep it far away.
CAPTAIN NEWTON (CONT'D)
By the looks... and the smell, he
must have slipped this to someone on
a slaver.
She wrinkles her nose in distaste.
THOMASINA
Please, take it out of my house.
He stands up and walks toward the door.
CAPTAIN NEWTON
I will write Joseph Manesty tomorrow.
EXT. AN ANGLICAN CHURCH - DAY
A bright-eyed Polly is escorted out of the church by David
Phelps, who smiles broadly.
POLLY
That was a wonderful sermon, don't
you agree?
DAVID PHELPS
Just fine, fine.
POLLY
Loving each other is what life is
all about.
DAVID PHELPS
That's what I have always said. By
the way, I have a little surprise
for you. Something I brought back
from Africa.
POLLY
I love surprises!
His face lights up as he draws her closer. He looks lovingly
into her eyes.
He walks her to a quiet, deserted area nearby. He pulls out
a little mahogany box, intricately carved.
POLLY (CONT'D)
It is just... beautiful!
DAVID PHELPS
Open it.
She opens the box and her eyes open wide when she sees a
diamond ring.
POLLY
What? Oh...
David gets down on one knee.
DAVID PHELPS
Polly Catlett, will you marry me?
Genres:
["Drama","Romance"]
Ratings
Scene
23 -
A Bitter Separation
EXT. BEACH ON PLANTAIN ISLAND - DAY
John and Samson tend a smoky signal fire. John looks troubled.
Samson looks at him with compassion.
A ship on the horizon draws their attention.
JOHN
Let's go.
They push a boat off the beach and hop in.
EXT. OFF THE COAST OF PLANTAIN ISLAND - DAY
A three-masted merchantman, with "GREYHOUND" in gold letters
printed on the stern, stands at anchor. Samson struggles
toward it through the waves.
EXT. DECK OF GREYHOUND - DAY
The crew throws over a rope ladder. John and Samson climb
up. They're met by CAPTAIN GOTHER (58, tall, lean, weather-
beaten).
CAPTAIN GOTHER
Welcome aboard the Greyhound. I am
Captain Gother.
JOHN
John Newton.
They shake hands. Samson stands silently in the background.
CAPTAIN PHELPS
John Newton! Well I'll be damned!
Mr. Manesty has all his ships looking
for you. Your father wants us to
bring you home.
John's face lights up.
JOHN
Well, then this is my lucky day!
CAPTAIN GOTHER
Do you have something to trade?
JOHN
Some of the best slaves--
Captain Gother frowns.
CAPTAIN GOTHER
I do not trade in slaves.
He looks at Samson.
CAPTAIN GOTHER (CONT'D)
This one will need to return.
JOHN
But... he is... my... personal
servant.
CAPTAIN GOTHER
Sorry. No slaves aboard my ship.
He nods to some crew members who firmly take hold of Samson.
They escort him to the side.
SAMSON
Master Newton! Please!
JOHN
Wait! Wait!
John rushes over and takes one of Samson's hands.
JOHN (CONT'D)
Captain! Can't you make an exception?
He will be punished if he goes back
without me.
CAPTAIN GOTHER
No exceptions.
John grabs Samson by the shoulders. He looks intently into
his eyes.
JOHN
I need to get home. But I will come
back for you!
Samson is distraught. John wraps him in a bear hug.
The sailors pull Samson away. He sadly climbs over the side
and out of sight. John pounds his fist into his leg.
CAPTAIN GOTHER
Mr. Jackson!
RICHARD JACKSON (32, first mate, short, muscular) appears on
deck.
Captain Gother motions for him to come.
CAPTAIN GOTHER (CONT'D)
Mr. Newton will be sharing your
quarters.
RICHARD JACKSON
A pleasure to meet you sir. Have you
any sailing experience?
CAPTAIN GOTHER
(laughing)
Now now. As our guest, Mr. Newton
will enjoy the voyage as a passenger.
John stares sadly as he watches Samson row back toward the
beach. Samson waves and John waves back.
JOHN
(shouting)
I will come back for you!
INT. CATLETT HOME PARLOR - DAY
Mrs. Catlett busily arranges and pins the light blue wedding
gown Polly wears.
POLLY
I can not believe I will be married
in just a few months.
MRS. CATLETT
I guess your heart and mind finally
came together.
Polly looks distressed.
MRS. CATLETT (CONT'D)
What is it, my dear? What is wrong?
POLLY
I... I... were you... did you feel...
were you certain about marrying
father?
MRS. CATLETT
Indeed.
POLLY
I am afraid... I... I... just went...
with... my mind.
Her mother looks concerned.
Genres:
["Drama","Adventure"]
Ratings
Scene
24 -
The Imitation of Boredom
INT. RICHARD AND JOHN'S QUARTERS - DAY
A moderate size cabin stretches from one side of the ship to
the middle. It's furnished with a desk, two beds, and a couple
of chairs. Portholes on the side and in the stern allow in
light.
A small library behind glass doors is above and behind
Richard's desk where he sits and writes a letter. John looks
out the stern porthole.
JOHN
No sharks.
RICHARD JACKSON
This isn't a slaver.
He turns and looks at Richard.
JOHN
Do you ever think... about dying?
Richard glances at him uncomfortably.
RICHARD JACKSON
I think every sailor has.
JOHN
Scares the hell out of me. Not so
much the dying, but what comes after.
RICHARD JACKSON
I thought you weren't a religious
man.
John manages an enigmatic smile. He frowns, turns back, and
looks out the porthole.
JOHN
God damn it, I can not tell you how
bloody bored I am. I have been on
this ship for what, two months now?
Richard frowns and shrugs.
JOHN (CONT'D)
I think I have read every damn book
in your library.
He turns and glances over at Richard's library.
RICHARD JACKSON
Even the religious ones?
JOHN
Those are just fairy tales someone
made up to help their children go to
sleep at night.
RICHARD JACKSON
Even fairy tales can be amusing.
JOHN
How much longer until we reach home?
RICHARD JACKSON
Depending on the wind and weather...
another month or two.
John pounds his fist on the wall.
JOHN
Damn. I'm not sure I will make it in
time.
Richard Jackson looks at him with sympathy.
JOHN (CONT'D)
If I were, say, to read one of your
bloody religious books, which one
would you suggest?
RICHARD JACKSON
I haven't read most of them myself.
They were given to me when my mother
died. But I did find the one by Thomas
a Kempis interesting. It's called
The Imitation of Christ. Becoming
quite popular back home.
Richard stands up and turns around to face his library. He
looks over the books, opens the glass door, pulls out the
book, and tosses it on John's bed.
RICHARD JACKSON (CONT'D)
Might make a good bedtime story.
Richard LAUGHS as he walks out of the room. John looks at
the book and picks it up. He thumbs through it.
MONTAGE - JOHN READS IMITATION OF CHRIST
DAY:
- John opens the book and reads while he lies on his back.
- He lies on his stomach with a bored look. He rolls his
eyes and continues to read.
- He sits up with his back against the wall, intent on what
he's reading.
- He holds the book as he paces back and forth.
NIGHT:
- He sits at his desk and reads in the light of a lantern.
He runs his hand through his hair. His eyebrows furrowed, he
concentrates on the book.
END MONTAGE
Richard enters the room.
RICHARD JACKSON (CONT'D)
What do you make of it?
John angrily SLAMS the book shut.
RICHARD JACKSON (CONT'D)
Nobody made you read it.
JOHN
Maybe a good game of cards and a
stiff drink will help clear my head.
RICHARD JACKSON
Well, I'm going to bed. I think a
storm may be brewing to the west.
John shoves the book back to Richard and leaves.
Genres:
["Drama"]
Ratings
Scene
25 -
Storm at Sea
EXT. GREYHOUND AT SEA - NIGHT
A violent storm batters the ship. Men run everywhere as they
tend to the ship and lower the sails.
The captain shouts his commands above the wind.
CAPTAIN GOTHER
Lower the mainsail and the topsail,
men. We're starting to take on water.
Man the pumps!
INT. RICHARD AND JOHN'S QUARTERS - NIGHT
John is alone, asleep in his bed. He's awakened with a start
by CRIES OF ALARM coming from above.
Water gushes in under his door and seeps in through the sides
of the cabin as it tips from side to side.
He stumbles out of bed. He puts on his clothes while the
cabin tilts violently back and forth. He rushes out.
INT. OUTSIDE RICHARD AND JOHN'S QUARTERS - CONTINUOUS
John climbs the ladder to the deck. When his head reaches
the top, Captain Gother shouts to him.
CAPTAIN GOTHER (O.S.)
Mr. Newton, I need a knife!
John climbs back down. Another SAILOR appears and quickly
climbs the ladder.
EXT. ON DECK OF THE GREYHOUND - CONTINUOUS
When the sailor gets on deck, a giant wave sweeps him
overboard.
John comes back up to the deck in time to see the other sailor
go over the side. He's shakes his head, aghast.
CAPTAIN GOTHER
(shouting)
My God. I just lost another man.
John hands him the knife.
CAPTAIN GOTHER (CONT'D)
We're taking on too much water. Take
some men below. We need to plug up
the holes.
INT. BELOW DECK OF GREYHOUND - NIGHT
John scurries below and finds three SAILORS who are on their
knees in water, praying and crying out to God.
SAILOR
(Cockney accent)
Mary mother of God, have mercy on me
now and at the hour of me death...
JOHN
Quickly! Blankets. Bedding. You! Get
nails... and a hammer. You!
Floorboards. Let's go.
Genres:
["Drama","Adventure"]
Ratings
Scene
26 -
The Storm and the Prayer
EXT. GREYHOUND AT SEA - NIGHT
The ship rears up and plunges down dramatically. Water pours
over the deck.
Roped to the ship, all hands on deck work to secure parts
that are breaking.
One mast has been split in half and with a loud CRACK, another
mast snaps in the middle. A loud CRASH sounds over the NOISE
of the storm.
John comes up on deck from below and approaches the captain
at the helm.
JOHN
(shouting)
Captain! Permission to take the helm!
Can not man the pumps any longer.
CAPTAIN GOTHER
(shouting back)
I need you now Newton. I will go
below. Start saying your prayers.
Captain Gother goes below. John takes the helm. He ties
himself to the helm. He looks up and sees a monstrous wave
about to crash over him. He glances at the gold ring on his
finger and screams.
JOHN
Polly!
The wave crashes over him. He recovers and picks himself up.
He shouts out to the sky:
JOHN (CONT'D)
My God! If you are there, do
something! Help me! Help me!
He drops to his knees, holds his hands over his face, breaks
down and cries.
JOHN (CONT'D)
Dear God, save me... save me.
EXT. GREYHOUND NEAR THE COAST OF IRELAND - DAY
With two masts broken off, one tattered sail is unfurled on
the remaining mast. The ship lists to one side. The sky is
dark with clouds as the ship limps toward shore.
John and Captain Gother are on deck and look at the harbor.
Richard Jackson walks over and claps John on the back.
RICHARD JACKSON
By God, Newton. Ireland. I can't
believe we made it.
JOHN
(in a weary tone)
Yes, by God, we did make it.
John smiles broadly.
EXT. WALLED CITY OF LONDONDERRY, IRELAND - DAY
FARMERS and various types of PEOPLE walk and ride in and out
of the city.
EXT. LONDONDERRY HARBOR - DAY
In the small harbor, FISHERMEN and other MERCHANTS go about
their daily tasks as they buy and sell goods and repair nets.
A crew member rows John in. They land on the beach where
John jumps out. He walks toward the city and enters through
the gate.
EXT. LONDONDERRY CITY - DAY
Stray dogs and big rats scurry around. DIRTY CHILDREN play
and SHOUT out to each other in the streets.
John hears a CHURCH BELL TOLL three times. He walks toward a
small stone church. He stops, looks around, then walks inside.
INT. A SMALL STONE CHURCH - DAY
The sanctuary is empty except for an elderly IRISH PRIEST.
John looks up as he hears BIRDS FLYING around in the rafters.
He walks to a corner and sits next to the priest.
Sun shines through a stained glass window. It depicts Jesus
walking on a turbulent sea, reaching out his hand to rescue
Peter, who is sinking.
A crucifix hangs on the wall above John and the priest. John
gets down on his knees in front of the priest who places his
hands on John and bows his head.
JOHN
Dear God, please, forgive me. Accept
me back as your wayward son.
The priest makes the sign of the cross over John, helps him
stand, then gives him a warm embrace.
Genres:
["Drama","Adventure"]
Ratings
Scene
27 -
Desperate Ride
EXT. CAPTAIN NEWTON'S COUNTRY HOME - DAY
The winter scene makes the home appear desolate. John arrives
on horseback.
INT. CAPTAIN NEWTON'S COUNTRY STUDY - DAY
Thomasina sits in a chair. John paces back and forth.
JOHN
But how could he leave now?
THOMASINA
He had an excellent business
opportunity in Hudson's Bay.
John scowls.
THOMASINA (CONT'D)
John--
JOHN
I was hoping he would lend me some
money.
THOMASINA
I am so sorry John.
He chokes off in tears. Thomasina walks over and puts a
comforting hand on his shoulder.
THOMASINA (CONT'D)
It will all work out. You'll see.
He throws her hand off his shoulder.
JOHN
I have heard that before!
He SLAMS his fist on the table and storms out.
EXT. CATLETT HOME - DAY
John rides in an open carriage. He pays the driver, jumps
out, and runs to the front door.
He KNOCKS loudly. Mr. Catlett answers with a surprised,
unhappy look.
INT. CATLETT'S PARLOR - CONTINUOUS
Mr. Catlett ushers John in. Mrs. Catlett does needlework.
She sets her needlework aside and stands to greet John with
a warm embrace.
MRS. CATLETT
Oh, John!
JOHN
Had it not been for the grace of
God...
John gets choked up, then swallows and continues.
JOHN (CONT'D)
... and the love of your daughter...
MR. CATLETT
Yes, our daughter. Do sit down.
John sits facing Mr. and Mrs. Catlett, who sit together on a
love seat.
MRS. CATLETT
Can I get you something to drink?
JOHN
No, thank you, Mrs. Catlett.
There's an awkward silence. John uncomfortably glances around
the room.
MR. CATLETT
I am afraid you are a little late.
The wedding is in two weeks.
John looks down then brushes his forehead with his hand.
JOHN
I am... I am hoping she will
reconsider.
MR. CATLETT
Are you in a... financial position
to marry my daughter?
JOHN
Ah, well, not at the moment, sir.
But I will do whatever it takes! I
am planning to go to Liverpool--
MR. CATLETT
Liverpool? That is over two hundred
miles. Even with a good horse it
will take you at least a week each
way. She will be married by the time
you return.
A door OPENS and CLOSES with a BANG as Polly breezes in.
When she sees John she stops with a jolt.
She stares at him in shock, mouth wide open.
POLLY
John!?
John gets up and walks tentatively toward her.
JOHN
I told you I would return.
She puts her hands to her face, CRIES, and runs out.
EXT. A ROAD OUTSIDE OF LONDON - DAY
John gallops down the road and sees a mile marker: "COVENTRY -
85 MILES, LIVERPOOL - 210 MILES".
Genres:
["Drama","Romance"]
Ratings
Scene
28 -
A Reluctant Captain
INT. JOSEPH MANESTY'S OFFICE - LIVERPOOL - DAY
JOSEPH MANESTY (55, elegant, graying hair) sits behind his
desk, pipe in hand. John and Richard Jackson stand before
him.
JOSEPH MANESTY
When your father informed me of your
circumstances, I was sure you were
lost in Africa.
JOHN
I was, but for the grace of God...
Joseph Manesty looks surprised.
RICHARD JACKSON
Seems our good Mr. Newton has gone
and got religion on us, sir.
JOSEPH MANESTY
(chuckling)
Yes, well, I can jolly well understand
why he might after that storm.
He looks sternly at John.
JOSEPH MANESTY (CONT'D)
All well and good so long as you
don't get carried away with it.
JOHN
It is all very new to me, sir.
JOSEPH MANESTY
Indeed. I understand you are looking
for a position with me?
JOHN
Yes sir. My previous employer has
avoided paying me.
JOSEPH MANESTY
I see. I understand you've had
extensive experience for a man your
age. First with your father, then
some time in the Royal Navy?
JOHN
Yes sir, then on a Guineaman.
JOSEPH MANESTY
Hmmm. Would you be interested in the
position of captain on one of my
Guineamen?
JOHN
A Guineaman sir? Could I try my hand
at a merchantman instead?
JOSEPH MANESTY
And why is that, pray tell?
John looks uneasy and hesitant and remains silent.
Joseph Manesty opens a desk drawer and shuffles through some
papers.
JOSEPH MANESTY (CONT'D)
Ah, yes. Here it is.
He brings out a set of papers.
JOHN
I really don't think I want--
JOSEPH MANESTY
You were the one who came to me Mr.
Newton. If you don't want it...
He starts to put the papers back in the drawer.
JOHN
Forgive me. Yes, I'll take it, and
gratefully, sir.
JOSEPH MANESTY
Fine. I will place you in command of
"The African". She is scheduled to
sail in June. Does two months give
you time to transact whatever personal
business you may have?
John walks over and reluctantly accepts the papers.
JOHN
Yes sir. But I have urgent business
in London to attend to, so if you
will excuse me.
He walks toward the door.
EXT. ROAD OUTSIDE OF LIVERPOOL - DAY
John gallops down the road. A sign reads: "LONDON 190 MILES".
Genres:
["Drama","Historical"]
Ratings
Scene
29 -
A Wedding Interrupted
INT. CATLETT PARLOR - NIGHT
Mrs. Catlett puts some finishing touches on Polly's dress.
MRS. CATLETT
Less than a week, and you will be
Mrs. David Phelps!
Polly looks off in the distance with a strained expression.
EXT. A ROAD OUTSIDE OF LONDON - DAY
John looks the worse for wear. His horse froths at the mouth.
He sees a sign: "LONDON 20 MILES".
EXT. ST. HELEN'S ANGLICAN CHURCH - DAY
It's a large, gray stone gothic church with twin classical
doorways.
Mr. Catlett escorts Polly from a fancy carriage toward the
front of the church. She wears her blue gown.
INT. ORNATE ANGLICAN SANCTUARY - LONDON - DAY
Vaulted ceilings, pointed stone arches, and stained glass
windows.
A priest stands in front of Polly and David Phelps as he
conducts a wedding ceremony. Mr. Catlett stands beside Polly.
The room is filled with flowers, FAMILY and FRIENDS.
PRIEST
Into this holy estate these two
persons present come now to be joined.
If any man can show just cause, why
they may not lawfully be joined
together, let him now speak, or else
hereafter for ever hold his peace.
The priest looks up. David smiles at Polly.
John bursts in. Heads turn. He strides purposefully to the
priest.
He points at David.
JOHN
He has something he needs to tell
you.
There's a loud MURMUR among the people.
DAVID PHELPS
Hold on there, Newton!
PRIEST
(to John)
And who are you, pray tell?
JOHN
Mr. Phelps has been in the slave
trade for years.
Polly looks at David in horror.
POLLY
Is that... tell me that is not true!
David looks guilty, exposed.
DAVID PHELPS
Now, wait. It is a legal form of
trade. Nothing wrong with it. And
he's been in it too!
He points at John.
She slaps David across the face. He looks shocked. She turns
to John.
POLLY
Is that true?
John can't speak as he helplessly opens and closes his mouth.
EXT. CAPTAIN NEWTON'S COUNTRY HOME - DAY
John comes out the front door.
David rides up in a frenzy. He jumps off and runs at John,
tackles him to the ground, and pummels him with his fists.
DAVID PHELPS
You bastard! You bloody son of a
whore!
John blocks some of the blows and tries to disengage as he
stands up.
JOHN
You were lying to her!
David points in John's face.
DAVID PHELPS
I swear, I will kill you! I should
have done it while we were in Africa.
Keep an eye on your back, because
I'll be coming for you.
David angrily strides away toward his horse.
Genres:
["Drama","Romance"]
Ratings
Scene
30 -
The Door Closes
EXT. CATLETT HOME - DAY
Polly stands with the front door partially open.
John speaks to her from the front stoop.
JOHN
You must believe me. I only did it
so I could earn some money and get
home to you sooner.
POLLY
You did not tell me the truth.
JOHN
Please, forgive me.
POLLY
Do you promise not to have anything
to do with the slave trade?
He looks down and starts to fidget.
JOHN
I, er, I was never paid for my work.
I tried to get a job on a merchant
ship but Mr. Manesty insisted he
wanted me to captain a Guineaman.
POLLY
I thought you said you had given
your life to God!
She puts her hands over her face, begins to CRY, and tries
to shut the door.
John forcefully holds it open.
JOHN
It's the only way I can quickly earn
enough to secure our future! And, I
have to go back. I promised a friend
I would return.
She looks up and takes her hands away from her face.
POLLY
(furious)
You still don't understand, do you?
I am sorry John, I really am. But
until you are out of that vile trade
for good, I simply can not consent
to be your wife.
She covers her face with her hand and closes the door.
John looks utterly defeated.
Genres:
["Drama","Romance"]
Ratings
Scene
31 -
The Leopard's Spots
EXT. LIVERPOOL HARBOR - DAY
"THE AFRICAN" with gold letters painted across the stern, is
tied up at the dock as it takes on provisions.
John directs the activity. He points up on deck and backs
up. He trips over the legs of a man who sleeps on the ground.
JOHN
What the devil? Who are you, man,
sleeping at this hour of the day?
The man rolls over and GROANS. It's Job Lewis.
Job's unshaven face shows the results of heavy drinking. He
looks surprised as recognition dawns.
JOB LEWIS
Well, I'll be damned. If it ain't me
ol' friend Mr. John Newton.
John steps back and takes a closer look.
JOHN
Mr. Lewis!
JOB LEWIS
One an' the same. From the looks of
you, you're doing quite well.
JOHN
As a matter of fact I am the captain
of this ship. In one way, I suppose,
I am indebted to you.
JOB LEWIS
(face lights up)
Indebted to me? How so?
JOHN
Your words about your childhood faith
gave me pause when I had abandoned
mine.
JOB LEWIS
Well if that don't beat all. I credit
you with freeing me from the fetters
of my boyhood faith. I'm a freethinker
now... like you!
JOHN
But...
JOB LEWIS
I can do whatever I like because I
don't believe there's a God...
leastwise not like the one in the
Bible.
JOHN
But are you better off now than you
were before?
JOB LEWIS
Depends on when you ask me. There
have been times...
Smiles and wiggles his eyebrows up and down.
JOHN
I am no longer a freethinker. I have
dedicated my life to God.
JOB LEWIS
As the captain of a slaver?
Job shakes his head back and forth.
JOB LEWIS (CONT'D)
Leopard don't change his spots. Snake
don't grow legs.
JOHN
Let me try to remedy your situation.
Job smiles.
Genres:
["Drama","Historical"]
Ratings
Scene
32 -
Psalm and Spittle
EXT. ABOARD THE AFRICAN AT SEA - DAY
The crew is assembled on deck. John stands in front of them
with a prayer book open in his hands.
JOHN
Hear the word of the Lord. Psalm
(reading)
When I was in trouble, I called upon
the Lord: and he heard me. Deliver
my soul, O Lord, from lying lips:
and from a deceitful tongue.
Job turns to the man next to him.
JOB LEWIS
(whispering)
Only way God will be able to do that
is if someone cuts his tongue out.
He LAUGHS.
JOHN
Is there a problem, Mr. Lewis?
JOB LEWIS
None that you can help me with,
Captain.
He turns and spits on the deck.
JOHN
You will clean that spittle up
following our worship service.
JOB LEWIS
A worship service onboard a slaver.
Ain't that a pretty picture?
JOHN
I will see you in my quarters.
Genres:
["Drama","Historical"]
Ratings
Scene
33 -
The Hypocrisy of a Slaver
INT. JOHN'S QUARTERS ON THE AFRICAN - DAY
Not as elaborate as on a naval ship. It's adequately furnished
with a small library, a large desk, bed and a couple of
chairs. On the desk is a ship in a bottle, a brass compass,
a telescope, and numerous charts.
John sits behind the desk. Job stands in front.
JOHN
You have permission to speak your
mind freely.
JOB LEWIS
That so? And then what?
JOHN
There will be no punishment for what
you say here.
Job looks skeptical, hesitates, then responds.
JOB LEWIS
Then I'll tell ya. I think you are
the biggest hypocrite who ever walked
the face of the earth.
JOHN
Don't you think a man can change?
Look at you.
JOB LEWIS
Well, if you've really changed, how
can you have anything to do with
slaving?
JOHN
As you well know I have instructed
all my crew to treat the slaves as
kindly and humanely as possible.
What happens to them when they reach
their destination is none of my
concern.
JOB LEWIS
Well, I think it should be!
John looks down and SIGHS.
Genres:
["Drama"]
Ratings
Scene
34 -
Homecoming and Reckoning
EXT. DECK OF THE AFRICAN OFF COAST OF PLANTAIN ISLAND - DAY
John boards a longboat with a crew of six men. They row for
shore.
P.I. and a couple of her servants wait for them. John notices
the lime trees he planted several years ago. They've grown
remarkably tall.
EXT. PLANTAIN ISLAND - DAY
The boat comes ashore on the sandy beach.
John steps out and approaches P.I.
P.I.
If it isn't mister elephant dung!
JOHN
I will have you address me with due
respect madam. I am now captain of
my ship.
P.I.
If it isn't captain elephant dung!
JOHN
If you hope to do business with me--
P.I.
You never could take joke. You and
me, we had good time together, yes?
JOHN
I will overlook the past for the
sake of mutually advantageous trade.
P.I. smiles.
The trading party approaches the compound. John glances around
apprehensively at his old hut. As he approaches it a rat
runs out. He looks in and sees it's empty.
John walks over to the holding stockade and winces, placing
a hand over his nose. He sees Samson chained outside the pen
and his face lights up.
JOHN (CONT'D)
Why is he chained there?
P.I.
After you... escape, he try run away.
I make sure he can't run no more.
John walks to Samson, who keeps his eyes averted. John notice
a big scar on the inside of his thigh.
JOHN
What will you do with him?
P.I.
He limp now. Can't sell. Give him to
rival tribe. They take care of him.
P.I. flashes a smile.
JOHN
What tribe is he from?
P.I.
Mugambi tribe. Why you ask so many
questions?
JOHN
I will take him.
P.I.
You pay full price.
John nods.
JOHN
Give me the key.
P.I. hands him the key and he unhitches Samson. A look of
mutual affection crosses between them.
JOHN (CONT'D)
Come with me.
Samson limps along behind John.
P.I.
Which other ones you want?
John picks out several young males and a few young females.
His men unfasten the chosen slaves from the stockade rails.
They chain them together to take them back to the ship.
As the slaves are separated from friends and family, they
CRY and SHOUT. They reach out to each other as Mr. Nelson
leads some away.
JOHN
(to Mr. Nelson)
I will be staying on shore tonight.
MR. NELSON
As you wish, sir.
John watches as the slaves are rowed out to the ship. He
walks with Samson over to his old hut.
EXT. JOHN'S HUT - EVENING
He motions for Samson to go inside, but he turns and looks
at the sunset. He sits down and a dreamy look comes over his
face.
FLASHBACK TO EARLY YEARS
INT. BEDROOM AT CATLETT'S HOME - NIGHT
John (8) kneels and prays beside his mother's bed.
Mrs. Elizabeth Newton lies deathly ill. She touches John's
bowed head and raises his face to hers.
She smiles lovingly but weakly at John as she pulls a large
black Bible out from under the covers and hands it to him.
MRS. NEWTON
(weakly)
I hope you will always treasure it.
His name is inscribed in gold letters on the cover. John's
eyes open in amazement. He clutches it to his chest and smiles
bravely.
EXT. GRAVESIDE IN CEMETERY - DAY
It's a hot summer day. A small gathering of PEOPLE surround
an open grave with dirt piled up on one side.
A coffin rests in the grave. John, Mr. and Mrs. Catlett, and
Polly(4) look on.
A few bunches of wilted summer flowers are beside the grave.
A GRAVEYARD ATTENDANT holds a black cloth-draped staff off
to one side.
DR. Jennings (45, long black pulpit gown), stands at the
head of the casket. Beads of sweat run down his face.
Mourners toss earth on the casket after Dr. Jennings finishes
up his closing statements and nods.
John steps forward to the grave and with an angry scowl tosses
in the Bible his mother gave him. He brushes off his hands,
turns, and walks away.
END FLASHBACK
Genres:
["Drama","Historical"]
Ratings
Scene
35 -
The Slave's Soul
EXT. JOHN'S HUT ON PLANTAIN ISLAND - MORNING
John sleeps with his back against the hut. Samson comes over
to him and squats next to him. John startles awake.
JOHN
Where did you learn to speak English?
SAMSON
Missionaries taught.
JOHN
What else did they teach you?
SAMSON
Taught about Jesus.
John looks at him like he's from another planet.
JOHN
You... you understand the... gospel?
SAMSON
Samson new man. Jesus in here.
(taps over his heart)
Baptized in river.
JOHN
Well... I... is such a thing... how
can it be?
Samson smiles and nods. John's jaw drops in astonishment.
JOHN (CONT'D)
But that means...
EXT. PLANTAIN ISLAND - DAY
Samson waits by a tree. John walks on alone to a deserted
part of the island. He kneels on the beach, head on knees,
as he CRIES and MOANS softly.
JOHN
Oh God! Please... forgive me. I did
not know... I did not know they have
souls.
John regains his composure and stands up. He looks at the
glorious sunrise as he brushes away the tears. He takes a
long, slow breath and walks along the beach toward Samson.
"The African" is anchored off shore.
JOHN (CONT'D)
Samson, you may stay or go as you
please. You are a free man.
Samson's face lights up. Then he looks serious.
SAMSON
Samson's family taken by traders.
Village gone. I go with you.
Genres:
["Drama","Historical"]
Ratings
Scene
36 -
Freedom on Plantain Island
EXT. DECK OF THE AFRICAN - DAY
John walks along the deck shouting orders.
JOHN
I want all the slaves, every last
one of them, loaded into boats and
taken back to the coast.
Job Lewis looks at him like he can't believe it.
MR. NELSON
But sir, we've already paid for them.
If we return with an empty ship, Mr.
Manesty will--
JOHN
Just do as I say!
Mr. Nelson and the rest of the crew open the hatch and bring
out the slaves. The slaves look confused as the crew removes
their shackles and load them into boats.
John watches with growing pleasure.
He glances over to Plantain Island and frowns.
JOHN (CONT'D)
Mr. Nelson, gather five of your men
and come with me. Bring weapons,
ropes, a hammer, and a chisel.
EXT. BEACH ON PLANTAIN ISLAND - DAY
John and his men disembark from a long boat and walk toward
the holding pen. Samson is with them.
The slaves inside look frightened and huddle together.
John points at the lock.
One of the men steps forward with a hammer and chisel and
starts BANGING on the lock.
P.I. comes running out.
P.I.
What you doing?
JOHN
No more, do you hear me? No more.
The lock gives way and falls to the ground. John flings the
door wide open and motions for the slaves to come out. They
remain where they are, huddled together in fright.
JOHN (CONT'D)
(to Samson)
Tell them. They are free to go.
Samson walks in and TALKS softly to the slaves in an AFRICAN
DIALECT.
One of the men hesitantly walks forward. He runs when he
reaches the door.
Once he's out he stops and motions for the others to follow.
Slowly, then all at once, they rush out to freedom.
P.I. becomes frantic. She calls out.
P.I.
Joshua! Caleb!
Two male slaves appear from the hut.
P.I. (CONT'D)
Get them! Don't let escape!
The house slaves look uncertain then start moving toward the
freed slaves. There's a tense moment as the house slaves
stop and look back at John. John shouts.
JOHN
Let them go! You are free to join
them. Take a boat.
The two slaves look at each other, uncertain what to do.
P.I.
(wailing)
No! This not right! You stealing my
property!
JOHN
People are not property, Madam, so
they can not be owned... by anyone.
John motions for the slaves to go. Suddenly, they run away,
along with P.I.'s house slaves.
P.I.
You pay for this!
She runs at John and pounds him with her fists. John's men
pull her off and restrain her.
John addresses his men.
JOHN
Gentlemen, bring it down!
He nods toward the holding pen. The men fasten ropes to the
pen and pull together. It CRASHES to the ground.
P.I. looks on in dismay as she WEEPS and MOANS.
P.I.
How I run my business now?
JOHN
Perhaps you should consider another
line of work. I noticed the lime
trees I planted are doing quite well.
He looks over and sees the hut he built. He points to it.
JOHN (CONT'D)
And bring that one down too!
MR. NELSON
Just the one, sir?
John looks at the other huts and considers, then responds.
JOHN
Yes, just that one. Then set our
course for England. Time to go home.
TITLE CARD: THREE MONTHS LATER
Genres:
["Drama","Historical"]
Ratings
Scene
37 -
Homecoming Confrontation
EXT. LIVERPOOL HARBOR - DAY
"The African" is moored in the harbor.
Nearby, from "The Levant", David Phelps watches as John and
Samson disembark from "The African" and are rowed to shore.
Some of his men row David to shore.
Samson limps along behind John as they walk to a waiting
carriage. John motions to Samson who throws John's luggage
on top.
David hurries over. David takes a swing at John's head, but
Samson blocks it with his arm.
David nods toward Samson.
DAVID PHELPS (CONT'D)
This the only one you managed to
bring home?
John just glares at him.
DAVID PHELPS (CONT'D)
When were you planning to tell Mr.
Manesty?
JOHN
When I am good and ready.
EXT. COUNTRYSIDE ALONG THE SEACOAST - DAY
John and Samson ride alongside each other in the carriage.
Samson stares in wonder at the sights as they pass by numerous
houses and large buildings.
SAMSON
This big place. Many people.
JOHN
Yes.
They continue in silence for a few more moments.
JOHN (CONT'D)
I will pay you to be my personal
servant until I can get you settled.
Genres:
["Drama","Historical"]
Ratings
Scene
38 -
The Debt of Conscience
EXT. JOSEPH MANESTY'S OFFICE - LIVERPOOL - DAY
An elegant sign out front reads: "JOSEPH MANESTY -
PROPRIETOR". It hangs above the door of an ornate brick office
building in the harbor district of Liverpool.
INT. JOSEPH MANESTY'S OFFICE - DAY
Joseph Manesty sits behind his large mahogany desk. John
stands in front of him.
JOSEPH MANESTY
You have the gall to come here and
tell me you forfeited my money because
of your so-called religious scruples?
JOHN
The Africans are human beings just
like you and me.
Joseph slams his fist down on the desk.
JOSEPH MANESTY
Speak for yourself! I want my money!
JOHN
I don't have the money. But I will
pay you back... every penny... as
soon as I can.
JOSEPH MANESTY
That is not good enough, young man!
I am pressing charges. Now get out
of my office!
John turns to leave.
JOSEPH MANESTY (CONT'D)
Wait! Mr. Phelps tells me you did
bring one of my slaves home with
you.
John stops and turns around.
JOSEPH MANESTY (CONT'D)
I will expect you to pay me full
price for him or bring him to me...
or I will send the constable to pick
him up.
John's shoulders slump in defeat as he leaves.
Genres:
["Drama"]
Ratings
Scene
39 -
A Joyful Shock
EXT. CATLETT'S HOME - DAY
John and Samson pull up to the Catlett home. John gets out.
Samson waits in the carriage.
John KNOCKS on the door. It's opened by a surprised Mrs.
Catlett.
INT. CATLETT HOME PARLOR - DAY
Polly jumps up when she sees John, then quickly sits down.
POLLY
(sullenly)
I was not expecting to see you.
JOHN
You were absolutely right. I don't
know how I could have been so blind.
POLLY
About... ?
JOHN
The slave trade! I'm out of it. I
liberated all the slaves we had
collected in Africa.
POLLY
That is wonderful!
JOHN
It would be even more wonderful if
you would... agree to become my wife!
He pulls the braided gold ring from his pocket and holds it
out to her.
She takes it and smiles broadly. She throws herself into his
arms.
John hugs her warmly then steps back and turns around with
his hands in the air in a victory celebration.
He puts his arms down and looks serious.
JOHN (CONT'D)
There is just one problem...
Genres:
["Drama","Romance"]
Ratings
Scene
40 -
Denial and Drowning
INT. CATLETT HOME PARLOR - DAY
Mr. and Mrs. Catlett sit across from John and Polly.
MR. CATLETT
I am sorry, John, but I just do not
see how I can let you proceed. You
have no money and no prospects for
obtaining any. And then there is the
money you owe Mr. Manesty.
JOHN
I will find a job...
He glances sideways at Polly.
JOHN (CONT'D)
One not involved in the slave trade.
MRS. CATLETT
(to her husband)
I think that would suffice, don't
you dear?
Mr. Catlett shakes his head and frowns.
POLLY
I have waited long enough. I am old
enough to marry now... with or without
your permission.
John looks at her and smiles, then shakes his head.
JOHN
(to Polly)
No, I will not marry you without
your father's blessing. We must pray
that God will provide a way.
INT. CAPTAIN NEWTON'S COUNTRY STUDY - NIGHT
Thomasina and John stand in front of the fireplace mantel.
They both look distraught.
JOHN
But how? How did it... ?
THOMASINA
He was swimming in Hudson Bay. By
himself. He just... went... under.
They embrace and CRY in each other's arms.
JOHN
(sobbing)
I was hoping... I would get a
chance... to... I was so unkind.
THOMASINA
Oh, John.
Genres:
["Drama","Romance"]
Ratings
Scene
41 -
The Ring Returned
INT. CATLETT HOME PARLOR - DAY
Polly and John stand and face each other in a standoff.
POLLY
You can't do this!
JOHN
I have no other choice!
Polly rolls her eyes and turns away in total frustration.
POLLY
Then maybe you should try to change
the law!
JOHN
That is not going to help Samson. I
need to take him back tomorrow.
POLLY
Maybe you could talk to my father...
he could lend you the money.
JOHN
Owe no man anything, Romans 13:8.
POLLY
Finish the verse, John! Owe no man
anything, but to love one another:
for he that loveth another hath
fulfilled the law.
JOHN
I am sorry. I just can not borrow
the money.
POLLY
Can not or will not? It is your pride
that is getting in the way.
JOHN
Please, you must understand!
POLLY
I think we should wait before we
have any further talk about marriage.
She takes the ring off and gives it to him. He looks at her
in anguish.
Genres:
["Drama","Romance"]
Ratings
Scene
42 -
The Inspection
EXT. A DESERTED STREET IN LIVERPOOL - DAY
It's early morning as John drives an open carriage. Samson
sits beside him. John looks defeated. Samson looks resigned.
They're bundled up in winter coats.
EXT. JOSEPH MANESTY'S OFFICE - DAY
John stops when they reach the office.
JOHN
I am so sorry. I never thought...
Samson gently squeezes John's shoulder.
JOHN (CONT'D)
I promise I will raise the funds to
redeem you as soon as possible.
SAMSON
Samson already redeemed. Jesus with
me.
He taps his heart with his hand. John nods.
JOHN
Let's get this over.
Samson remains seated while John steps out.
Joseph Manesty comes outside with David Phelps.
Joseph Manesty looks at John, then at Samson.
JOSEPH MANESTY
I see you have brought my slave.
David addresses Samson.
DAVID PHELPS
Get down from there! How dare you
ride up front!
Samson reluctantly gets out.
JOSEPH MANESTY
Get over here now and take that coat
off.
JOHN
Wait! It's cold. Can we go inside?
DAVID PHELPS
He belongs to Mr. Manesty and he can
do with him as he damn well pleases!
Samson removes his heavy coat and waits. David and Joseph
Manesty check him over. They look in his mouth and then
squeeze his arms and legs.
DAVID PHELPS (CONT'D)
Yes, yes. Even though he has a limp,
he will make a good field hand.
John jumps out of the carriage and grabs David by the collar.
JOHN
He is not a horse!
David smirks.
DAVID PHELPS
Looks like you lost this one, Newton.
John pulls back his arm, ready to take a swing.
SAMSON
No!
John checks himself in mid-swing and looks at Samson. Samson
shakes his head back and forth.
SAMSON (CONT'D)
I go.
Samson raps his hand over his heart.
John gives Samson a sorrowful hug goodbye, then turns away
in defeat.
David beams as he watches John leave.
Genres:
["Drama","Historical"]
Ratings
Scene
43 -
A Change of Fortune
EXT. A ROAD OUTSIDE OF TOWN - DAY
John humps over in the carriage. He sadly and slowly drives
the carriage. He rubs his hands over his face and through
his hair.
He looks up to see a man riding furiously toward him. The
rider pulls up next to John.
RIDER
Are you Mr. Newton? Mr. John Newton?
JOHN
That is correct.
RIDER
I have an urgent message from Mrs.
Thomasina Newton. I believe she is
your mother?
JOHN
Yes. Yes. What is it?
The rider gives John a letter. John rips it open and reads
it, then looks up joyously and whispers into the air.
JOHN (CONT'D)
Thank you!
John turns the carriage around and whips the horses into a
full gallop.
EXT. JOSEPH MANESTY'S OFFICE - LIVERPOOL - DAY
John comes to a halt, jumps out, and runs up the stairs to
the office.
INT. JOSEPH MANESTY'S OFFICE - DAY
Mr. Manesty does some paperwork at his desk. John barges in.
JOHN
Where is he?
Mr. Manesty looks alarmed.
JOSEPH MANESTY
Wait just a minute, young man!
JOHN
Where is Samson?
JOSEPH MANESTY
That is none of your business.
JOHN
I have just received word that my
father has bequeathed to me a
considerable inheritance. I can pay
you all the money I owe you. And I
want Samson.
JOSEPH MANESTY
What if I don't want to sell him?
JOHN
Please Mr. Manesty. You were a good
friend with my father.
JOSEPH MANESTY
How much?
JOHN
Three times the normal rate.
Mr. Manesty's face lights up.
JOSEPH MANESTY
Plus the money you owe for the slaves
you released.
JOHN
I will have it for you in two weeks.
JOSEPH MANESTY
You will need to sign some papers.
JOHN
Of course. Where is he?
JOSEPH MANESTY
I asked Mr. Phelps to take him down
to my holding pen near the docks.
Genres:
["Drama"]
Ratings
Scene
44 -
Dockside Rescue
EXT. ALONG THE DOCKS IN LIVERPOOL - DAY
John drives the carriage at breakneck speed. Up ahead he
sees David as he leads Samson down the street with a rope
around his neck.
John pulls up beside them.
JOHN
Phelps! Samson is mine now.
DAVID PHELPS
Oh, really?!
JOHN
I just purchased him from Mr. Manesty.
DAVID PHELPS
Yeah, sure.
JOHN
Hand him over... now!
DAVID PHELPS
Over my dead body.
David walks away with Samson.
John jumps out of the carriage and lands on top of David.
They struggle and wrestle on the ground. Samson looks on,
alarmed.
John manages to overpower David and has him face down in the
street. John grabs David's hand and removes the rope that's
attached to Samson's neck and throws it to Samson.
Samson removes the rope from his neck. John points to his
carriage.
JOHN
Get in!
Samson looks unsure what to do. John takes his arm and guides
him to the carriage.
As John and Samson move toward the carriage, David stands
up. He pulls a pistol out from his coat and points it at
John.
DAVID PHELPS
Stop!
John looks at him in alarm.
JOHN
Are you going to shoot me in broad
daylight?
David looks around and hesitates, then points the pistol at
Samson.
DAVID PHELPS
I'm no fool. I can pay Mr. Manesty
for his dead slave. I am sure he
will understand.
Just as he's about ready to pull the trigger, John lashes
out and hits David's hand. The pistol DISCHAREGES harmlessly
in the air.
John jumps on top of David and brings him to the ground.
John grabs the gun out of David's hand and is about to pistol
whip him when Samson's hand grasps onto John's wrist.
Samson stands there resolutely, shaking his head no. He taps
his own chest above his heart with his other hand.
John's fury slowly melts away. He throws David's pistol into
some nearby bushes, then turns to Samson.
JOHN
Let's go.
They ride away in silence for a few moments.
Samson looks over at John.
SAMSON
You get... money?
John has a pensive, dreamy look as he stares off into the
distance. He nods, smiling sadly.
Genres:
["Drama","Historical"]
Ratings
Scene
45 -
A Bittersweet Proposal
EXT. CATLETT HOME - DAY
John and Polly walk away from her parents' home.
JOHN
This is indeed a bittersweet day.
POLLY
I am so sorry about your father.
JOHN
He... I have come to see... did, in
his own way... care for me.
POLLY
He was your father...
He looks at her as if considering her remark.
JOHN
I only wish I could have... come to
terms with him before...
She puts an arm around his waist and hugs him from the side.
JOHN (CONT'D)
I do not choose, however, to live in
the past. Instead...
He turns to her suddenly, intensely, and drops down on his
knee.
JOHN (CONT'D)
Your father no longer has reasons to
object. Mary Polly Catlett, will you
marry me, now?
He holds out the braided gold ring to her.
Her face bursts out in a smile. She pulls him up and wraps
her arms around him.
TITLE CARD: FEB. 1, 1750
Genres:
["Drama","Romance"]
Ratings
Scene
46 -
From Joy to Doubt
EXT. AN ANGLICAN CHURCH - DAY
The large double doors of a stone church open suddenly.
John(25) and Polly(21) smile as they emerge into a throng of
family and happy well-wishers.
People throw flower petals at them as they head down the
stairs toward a closed carriage.
They enter the carriage, which then pulls away.
INT. CARRIAGE - DAY
John beams with joy as he looks at Polly and sees the ring
on her finger.
JOHN
Pretty amazing.
POLLY
What do you mean?
JOHN
All the twists and turns to finally
get us here.
Polly smiles and pats his hand.
POLLY
I am sure the good Lord knew what he
was doing, even if we did not.
JOHN
I will always remember this day as
the happiest in my life, Mrs. Newton.
POLLY
(with a modest smile)
Don't speak too soon. The best may
be yet to come.
Her face lights up in a bright smile. He leans over and kisses
her passionately.
INT. JOHN AND POLLY'S BEDROOM - NIGHT
Moonlight provides the only illumination.
John and Polly sleep in their canopied bed. His face is
covered with sweat. He thrashes around, then bolts upright.
JOHN
Aaaaagh!
Polly awakens with a start. She pulls him over in a warm
hug.
JOHN (CONT'D)
That dream again. Will it ever go
away?
Polly snuggles up to him.
POLLY
I am sure it will, in time.
John sighs deeply.
JOHN
I am so happy I finally have you,
but what am I to do with the rest of
my life?
POLLY
Why not go talk to pastor Jennings?
He may have an idea.
EXT. SMALL WHITE CHAPEL - DAY
John walks up the steps, hesitates, walks down the steps,
then back up and goes inside.
Genres:
["Drama","Romance"]
Ratings
Scene
47 -
A Beggar Telling Where to Find Bread
EXT. GARDEN BEHIND NEWTON'S HOUSE DAY
It's a sunny day. Flowers bloom in the garden.
Polly and John sit next to each other. They each have a cup
of tea.
POLLY
I do not find the idea of you becoming
a priest preposterous at all.
JOHN
I must admit that while there is a
part of me that reels back in horror
from such an idea, another part of
me is drawn to it.
POLLY
You have so much from your own
experiences you could draw from.
JOHN
Like capturing and selling slaves?
POLLY
You have been in the darkness, and
you know what it is like. I heard
someone say that sharing the gospel
is nothing more than one beggar
telling another where to find bread.
JOHN
Yes, I like that.
POLLY
Once you go to school and have some
training, I just know you will be
able to help many people who are
struggling with their own sins.
She reaches over and gives his hand a gentle squeeze. He
gives her a tentative smile.
TITLE CARD: 1755 - 5 YEARS LATER
Genres:
["Drama","Romance"]
Ratings
Scene
48 -
A Crisis of Conscience
EXT. ANGLICAN CATHEDRAL - DAY
A magnificent Anglican cathedral.
INT. CATHERAL NARTHEX - DAY
PEOPLE drift through toward the sanctuary.
John(30) and Polly(26) talk quietly in the corner of the
ornate room featuring marble floors and a vaulted ceiling.
JOHN
I am so sorry. I am not at all sure
I can go through with this.
POLLY
Nonsense, after all your preparation?
Being a priest is an ideal platform
for you to speak out against the
slave trade.
JOHN
If I do, I'm sure I will alienate
half my congregation. Then where
will we be?
POLLY
They are blinded by money, just as
you were. They need to hear the truth,
from the pulpit.
JOHN
King David wanted to build God's
temple, but God said no because he
had too much blood on his hands.
He bursts out in anger.
JOHN (CONT'D)
Just like me!
People look at them. Polly tries to soothe him.
POLLY
It seems to me you have forgotten
about God's grace and forgiveness.
JOHN
(verging on tears)
It turned my world around. Ah, dear
God, when I think of what I've done...
He bends over and SOBS into his hands. She embraces him.
POLLY
My dear, dear husband. How I wish I
could rid you of all those... ghosts.
He draws Polly's handkerchief from his pocket and wipes his
eyes.
Genres:
["Drama"]
Ratings
Scene
49 -
The Distracting Arrival
EXT. OUTSKIRTS OF OLNEY - DAY
A beautiful summer day.
John and Polly ride in an open carriage. Samson rides in the
back. They approach the outskirts of a village.
An old, battered sign reads: "OLNEY".
They look at each other with amusement. He puts his arm around
her and gives her a squeeze.
EXT. SMALL COUNTRY CHURCH OLNEY - DAY
A small white wooden church in the village has a sign that
reads: "OLNEY PARISH - REV. JOHN NEWTON - VICAR".
John wears a clerical collar and can be seen through a window
as he sits at his desk and writes.
INT. PASTOR'S STUDY IN OLNEY CHURCH - DAY
John sits at a small desk cluttered with papers.
The walls are lined with shelves that sag under the weight
of books.
He intently writes, then crumples up the paper and begins
again.
JOHN
(talking to himself)
Let me see. How sweet the name of
Jesus sounds...
He is distracted by the sound of someone CLATTERING down the
street in a carriage.
He looks out the window and sees a strange looking man driving
his horses too fast.
WILLIAM COWPER (35, mismatched, ill-fitting clothes) continues
down the street. He stops abruptly in front of a house just
beyond the vicarage.
John gets up and takes the hymn he's working on.
Genres:
["Drama","Historical"]
Ratings
Scene
50 -
First Encounter at Olney
EXT. OLNEY VILLAGE - DAY
A small country village surrounds the church.
JOHN
(smiling broadly)
Good day to you, sir. I am Rev. John
Newton, the new vicar here in Olney.
Getting back from a trip?
WILLIAM COWPER
You might say that, and then again,
you might not.
He LAUGHS weirdly. He disembarks from the carriage and
stumbles. John reaches out to steady him.
JOHN
I see. Or perhaps I do not.
John LAUGHS and reaches out to shake hands.
JOHN (CONT'D)
Anyway, what might your name be?
WILLIAM COWPER
Might be William Shakespeare or King
George, but if I say that they might
lock me up again. Don't want that,
don't want that.
John continues to look at him as he waits for an answer.
William notices his look and continues.
WILLIAM COWPER (CONT'D)
Name's William Cowper {pronounced
Cooper} if you'd really like to know.
JOHN
William Cowper? Not William Cowper
the poet? I thought I heard you had
gone... that you had become ill.
WILLIAM COWPER
That's the delicate way of putting
it. Do you have an interest in poetry,
Vicar?
JOHN
As a matter of fact, I do.
He hands him the sheet of paper in his hand. William takes
it and begins to read out loud.
WILLIAM COWPER
How sweet the name of Jesus sounds
in a believer's ear.
JOHN
I just started on it. That is as far
as I have gotten.
WILLIAM COWPER
How about, It soothes his sorrows,
heals his wounds, and... drives away
his fear?
JOHN
Yes! Yes! The very thing!
William smiles. He takes his satchel and walks up the steps
to his front door.
He tries to open the door, but it's stuck. He pushes on it a
few times, then stands back and gives it a big kick. It
SHATTERS the doorframe as the door flies open and hangs on
one hinge. He LAUGHS maniacally.
Genres:
["Drama","Historical","Character Study"]
Ratings
Scene
51 -
Mermaid and a Melody
INT. OLNEY VICARAGE PARLOR - NIGHT
John sits alone in a chair by the fireplace and reads the
Bible. Polly sits across from him and knits.
She looks up from her knitting and smiles at him.
POLLY
Darling, I purchased a new broadsheet.
He stops reading and looks at her with interest.
POLLY (CONT'D)
It is called "I Married a Mermaid".
He knits his eyebrows together in puzzlement.
JOHN
From The Masque of Alfred?
POLLY
Indeed!
JOHN
Is that not rather... frivolous?
POLLY
It's fun! The Bible doesn't say we
can't have fun, does it?
He smiles, lays aside his Bible, and gets up.
She smiles, lays aside her knitting, and they walk to the
piano.
As they prepare to sit together on the bench, she quips:
POLLY (CONT'D)
I wonder what your father would think
if he knew we purchased this piano
with his money.
He looks hurt and sad and turns his face away.
POLLY (CONT'D)
Oh dear! I am so sorry! Sometimes I
just do not think before I speak.
There's a moment of silence before he turns back and looks
at her with a whimsical smile.
JOHN
One of the many traits I have come
to love about you, Mrs. Newton.
He moves in to give her a kiss. It starts to become passionate
until she pulls away with a LAUGH.
POLLY
Now Mr. Newton, maybe we can continue
this later. Right now I would like
to try this new music.
He looks disappointed, but then focuses on the sheet music
that sits on the piano.
POLLY (CONT'D)
I will play the treble, you the bass.
She nods the timing and then indicates with her head to begin.
JOHN AND POLLY
There was a gay young farmer, Who
liv'd on Salisbury plain; He lov'd a
rich Knight's daughter dear! And she
lov'd him again. The Knight he was
distressed, That they should
sweethearts be. So he had the farmer
soon pressed, and sent him off to
sea. Singing Rule Britannia, Britannia
rules the waves, Britons never, never,
never, shall be slaves...
She reaches up and turns a page of music.
JOHN AND POLLY (CONT'D)
'Taws on the deep Atlantic, Midst
Equinoctial gales; This young farmer
fell overboard, Among the sharks and
whales; He disappeared so quickly,
So headlong down went he, That he
went out of sight Like a streak of
light To the bottom of the deep blue
sea. Singing Rule Britannia, Britannia
rules the waves, Britons never, never,
never, shall be slaves...
She stops.
POLLY
Wait. Let's change that last line
from be slaves to own slaves!
He smiles and nods affirmatively.
JOHN AND POLLY
We lowered a boat to find him, We
thought to see his corpse, When up
to the top he came with a bang, and
sang in a voice so hoarse, 'My
comrades and my messmates, Oh, do
not weep for me, For I'm married to
a mermaid, at the bottom of the deep
blue sea.' Singing Rule Britannia,
Britannia rules the waves, Britons
never, never, never shall own slaves.
They share a tender, lighthearted moment together as they
LAUGH and enjoy a warm embrace.
END FLASHBACK
Genres:
["Drama","Romance","Historical"]
Ratings
Scene
52 -
The Abolitionist's Vow
INT. OLNEY CHURCH SANCTUARY - DAY
John continues to talk to his congregation. He smiles at
William Cowper who sits next to Polly in the front. William
nods in return.
JOHN
I have not said these things to offend
anyone, much less to sound self-
righteous. It took God's grace to
open my eyes to see the truth, and
once I realized Samson has a soul
and is just as human as you or I, I
could no longer be a involved in the
slave trade. And now by that same
grace I will, with all my might and
in whatever way God guides me, seek
to abolish it from the face of the
earth!
He POUNDS the pulpit with his fist.
Polly and William Cowper both look up at him and beam.
Ripples of APPLAUSE from around the remaining congregation.
JOHN THORNTON (52, well dressed, distinguished) stands up
and APPLAUDS vigorously. Beside him, WILLIAM WILBERFORCE
(30, small and wiry) smiles and APPLAUDS as well.
John notices William Wilberforce and acknowledges him with a
smile and nod.
EXT. GARDEN BEHIND VICARAGE IN OLNEY - AFTERNOON
Polly sits in a chair. She holds a scruffy, pregnant dog
while she attempts to bandage one of its paws.
John saunters in. He notices the dog.
JOHN (CONT'D)
Another one of your rescued animals?
POLLY
She is about to have puppies. She
has the sweetest disposition of any
dog I have known.
He walks over and puts a gentle hand on her shoulder.
JOHN
I could say the same thing about
you.
She looks up at him and smiles.
POLLY
That is not what some people would
say.
JOHN
Only those who become fair targets
of your righteous indignation.
She puts the dog on the ground. It awkwardly limps away.
POLLY
She will be all right. Even better
after the puppies are born.
JOHN
How about you, darling?
POLLY
What about me?
JOHN
You would be a wonderful mother.
Polly looks down.
POLLY
I guess the good Lord had other plans.
JOHN
Well, you have been an excellent
vicar's wife.
She stands up next to him and they embrace warmly. Polly
disengages and then addresses him.
POLLY
We have had pretty smooth sailing
here these past sixteen years, but I
think that may change after what you
said this morning.
JOHN
At least I will always have you.
She gives him an enigmatic smile.
Genres:
["Drama","Romance"]
Ratings
Scene
53 -
The Proposal
EXT. VICARAGE IN OLNEY - DAY
John and Polly sit on the large front porch of this modest
house. Polly nervously crochets while John reads a book. He
keeps looking up, restless and distracted.
A fancy closed carriage drawn by four white horses approaches.
They look up as the carriage comes to a halt.
He stands up and moves cautiously toward the front steps.
The well-dressed DRIVER jumps down to let his passengers
out.
William Wilberforce steps out with John Thornton right behind.
WILLIAM WILBERFORCE
So good to see both of you again!
JOHN
William! To what do we owe the honor
of your visit?
WILLIAM WILBERFORCE
We are heading back to London today,
but first I wanted to introduce you
to Mr. John Thornton, director of
the Bank of England.
Mr. Thornton steps forward and shakes John's hand.
MR. THORNTON
Rev. Newton, or should I call you
vicar, how good it is to finally
meet you. Probably of more interest
to you, I am your aunt Hannah's half
brother... William's uncle.
They walk into the house.
INT. OLNEY VICARAGE PARLOR - AFTERNOON
A small but homey room.
The portrait of John's mother hangs above the fireplace
mantel.
John, Polly, Mr. Thornton, and William Wilberforce sit across
from each other. They drink tea and eat biscuits.
MR. THORNTON
What you said in church on Sunday
was truly riveting.
JOHN
To God alone be the glory.
MR. THORNTON
Yes, exactly. But we need to give
you a wider audience... where God
can get even more of the glory.
JOHN
What do you have in mind?
MR. THORNTON
Several things. First, we need you
to come to London. I want you to
consider becoming the rector of St.
Mary Woolnoth. It is actually right
next door to my bank.
JOHN
But the bishop--
MR. THORNTON
Leave that to me. By the way, have
you written any other hymns like the
one we sang yesterday?
JOHN
Yes, I try to write one every week.
Mr. Cowper and I--
MR. THORNTON
William Cowper? Do you know him?
JOHN
Certainly. We frequently share our
verses with one another.
MR. THORNTON
Splendid! I would like to pay to
have them compiled into a hymnal and
published. I only ask that some of
the profits be used to advance our
cause.
JOHN
As far as I am concerned, all the
profits may be used for that purpose.
MR. THORNTON
Good! William, why don't you take it
from here?
WILLIAM WILBERFORCE
We need to get our message out to
the public. That is what puts pressure
on my colleagues in Parliament.
JOHN
How can I help with that?
WILLIAM WILBERFORCE
We would like you to put the story
you shared into a pamphlet denouncing
the slave trade using your own
experiences to illustrate the misery
and evil it perpetuates.
John SIGHS and looks away. He returns his focus on Polly.
JOHN
Would you be willing to help me?
POLLY
Of course.
John looks at William.
JOHN
Then I will do it.
William smiles broadly.
Genres:
["Drama","Historical"]
Ratings
Scene
54 -
The Treatise and Its Stirrings
EXT. ST. MARY WOOLNOTH IN LONDON - SUMMER - DAY
John and Polly arrive in an open carriage at a large stone
church in downtown London. Luggage is piled up in the back.
A sign reads: "ST. MARY WOOLNOTH - REV. JOHN NEWTON, RECTOR".
Next door is a large brick building with a sign: "BANK OF
ENGLAND - MR. JOHN THORNTON, DIRECTOR".
JOHN
I think I will start on that treatise
on slavery Mr. Thornton requested.
With him right next door, I will
have to earn my board and keep.
POLLY
I have no doubt you will do that,
Mr. Thornton nearby or not.
MONTAGE - TREATISE ON SLAVERY
INT. ST. MARY'S PASTOR'S STUDY - DAY
John writes his treatise on slavery. Polly looks on.
INT. DIRECTOR'S OFFICE BANK OF LONDON - DAY
An elegantly appointed office.
Mr. Thornton reads John's manuscript with obvious delight.
INT. PRINTING PRESS OFFICE - DAY
The treatise (50 pages thick) is being printed on a large
printing press. Its cover reads: "THOUGHTS UPON THE AFRICAN
SLAVE TRADE BY REV. JOHN NEWTON".
INT. LONDON PUB - NIGHT
A small, dark, smoke-filled pub.
MEN drink at the bar and argue over the treatise. A fight
breaks out.
END MONTAGE
TITLE CARD: 1790 - 17 YEARS LATER
Genres:
["Drama","Historical"]
Ratings
Scene
55 -
A Garden of Affliction
EXT. ST. MARY'S RECTORY GARDEN - DAY
Polly(60) walks stiffly through a small but tasteful garden
as she tends to the flowers. John(64) sits nearby and reads
a book.
She stumbles and grimaces in pain. He jumps up and puts an
arm around her.
POLLY
Our prayers have held it a bay for
awhile.
JOHN
Nevertheless, it is time to ask Dr.
Dinan to have a look at you.
INT. JOHN AND POLLY'S FRONT HALLWAY - DAY
DOCTOR DINAN (50, portly, white wig) carries a black leather
bag. He shakes his head and says something to John. John
covers his face and forlornly rubs his hands through his
hair.
EXT. ST. MARY'S RECTORY GARDEN - DAY
John sits beside Polly on a couch as both of them read. Samson
comes out with a tray of food. He puts it on the table in
front of them.
JOHN
Thank you Samson.
John looks at Polly with affection.
JOHN (CONT'D)
How are you feeling my dear?
POLLY
Mostly, just tired.
JOHN
Any pain?
POLLY
Not really.
JOHN
Any appetite?
POLLY
I am famished.
John and Samson smile.
SAMSON
That always a good sign.
Genres:
["Drama","Romance"]
Ratings
Scene
56 -
A Joyful Reunion, a Shocking Return
EXT. ST. MARY WOOLNOTH - DAY
John walks toward the church. He notices a man who stands
beside the front door with his head bowed down.
JOHN
Good day sir. May I be of assistance?
The man looks up. It's Job Lewis (60, clean shaven, hair
combed, clothes neat and clean).
JOB LEWIS
You already have.
JOHN
Mr. Lewis!
JOB LEWIS
In the flesh. I just wanted to tell
you... well... I've come back.
JOHN
Come back?
JOB LEWIS
To the faith. I read what you wrote.
Did some thinking after that, I did.
John beams with pleasure and reaches over to embrace him.
JOHN
Job! You just do not know... I can
not tell you how happy...
John looks up to the sky and LAUGHS with relief.
JOB LEWIS
There's one other thing.
John looks at him with interest.
JOB LEWIS (CONT'D)
I have an old... friend with me.
Job motions to a man who stands over to one side. He's
partially hidden by a lamp post.
David Phelps (65, gray hair, rumpled dirty clothing, unshaven)
walks toward them. John is aghast.
DAVID PHELPS
I... I... know you were not
expecting...
JOHN
David?!
DAVID PHELPS
Been awhile.
John's mouth hangs open and he's unable to speak.
DAVID PHELPS (CONT'D)
I heard about Polly. I know what you
think of me. But I did, I do, care
deeply for her. I always have. I
hope you will give her my... kindest
regards.
David pulls out a flask of whiskey and takes a long swig. He
looks at John with bleary eyes. John stares back.
Genres:
["Drama","Historical"]
Ratings
Scene
57 -
Hope and Tenderness
INT. ST. MARY'S RECTORY PARLOR - DAY
Samson and John hold Polly under her arms as they help her
walk over to a chair by the fireplace.
SAMSON
You should be nice and warm here,
Ms. Polly.
POLLY
I do not know what we would have
done without you.
JOHN
I can not believe Phelps showed up.
POLLY
He was not all bad, my dear. After
all, I was engaged to him.
JOHN
I suppose you are right. But you are
the one who brought out any good
that was inside him.
Polly smiles and squeezes John's hand.
JOHN (CONT'D)
William resubmitted the bill to
abolish the slave trade to Parliament.
Her face lights up.
POLLY
How did it go?
JOHN
It will take time.
SAMSON
Would you like anything to eat?
POLLY
Thank you but... I am just not very
hungry lately.
Samson walks out. John sits down beside her and slowly strokes
her forehead.
Genres:
["Drama","Romance"]
Ratings
Scene
58 -
A Pastor's Anguish
INT. ST. MARY'S PASTOR'S STUDY - DAY
John and Samson sit in comfortable chairs in front of the
fireplace.
JOHN
Can I get you anything, my friend?
Some tea, perhaps?
SAMSON
I should be one getting tea.
John gives a quick smile.
JOHN
With her being in bed all day, every
room looks unfurnished without her.
SAMSON
I very sorry. If there is anything I
can do for you...
John tears up.
JOHN
The Bank of England would be too
poor to compensate for my loss if...
He bends over and starts to SOB. Samson puts a comforting
hand on his shoulder.
JOHN (CONT'D)
I am just not sure how to... carry
on by myself.
He wipes his eyes and looks angrily at Samson.
JOHN (CONT'D)
Where is He Samson? Why has he not
answered my prayers? He did this to
me once before you know!
Samson looks at him with concern.
Genres:
["Drama"]
Ratings
Scene
59 -
A Night of Farewell
INT. ST. MARY'S RECTORY BEDROOM - NIGHT
Polly lies in a canopied bed. John sits beside her. He reads
to her from the book of Psalms. A candle on the bed stand
provides minimal light.
JOHN
He who dwells in the shelter of the
Most High will rest in the shadow of
the Almighty. I will say of the Lord,
He is my refuge and my fortress, my
God, in whom I trust. You will not
fear the terror of night nor the
arrow that flies by day, nor the
pestilence that stalks in the
darkness, nor the plague the destroys
at midday.
She SIGHS and turns toward him.
POLLY
Do you believe that John?
He looks caught off guard.
JOHN
Do I believe it? It is in the Bible.
I have to believe it.
POLLY
You have to, or do you?
JOHN
You have always known how to get to
the heart of things.
POLLY
You will need to hold on to your
faith, now more than ever.
He leans over and buries his face next to hers.
POLLY (CONT'D)
Would you sing something for me?
He sits back up and brushes his tears away.
JOHN AND POLLY
Of course. What would you like?
She thinks for a moment.
POLLY
Something sad, but sweet. Something
you know by heart.
He considers this for a moment.
POLLY (CONT'D)
I know! Greensleeves!
He purses his lips, then looks down. There's a moment of
silence before he looks back up.
JOHN
Anything for you.
He gets up and picks up his lyre that leans in a corner. He
sits in a chair, then waits a moment.
JOHN (CONT'D)
I will sing the last two stanzas, if
that is...
She smiles and nods.
JOHN (CONT'D)
Well, I will pray to God on high,
that thou my constancy mayst see,
And that yet once before I die, Thou
wilt vouchsafe to love me.
Greensleeves was all my joy,
Greensleeves was my delight,
Greensleeves was my heart of gold,
And who but Lady Greensleeves?
She closes her eyes. A tear escapes down her cheek.
JOHN (CONT'D)
Ah, Greensleeves, now farewell, adieu,
To God I pray to prosper thee, For I
am still thy lover true, Come once
again and love me. Greensleeves was
all my joy, Greensleeves was my
delight, Greensleeves was my heart
of gold, And who but Lady
Greensleeves?
He puts down his lyre and takes her hand.
POLLY
You do know I have always loved you.
He nods affirmatively. She smiles.
POLLY (CONT'D)
Will you do something else for me?
She holds up her left hand and indicates her ring.
POLLY (CONT'D)
When I am gone, will you remove this
and put it on your own?
He squeezes his eyes shut to try to control his tears.
JOHN
Yes, yes, of course. But I don't
think I can go on without you.
POLLY
(weakly)
Nonsense. You have lived without me
before, and you will do so again.
JOHN
I never truly lived without you. You
have been my love, my joy, my light.
Without you I fear I will...
He chokes up.
POLLY
You have come too far to be thinking
like that. Just promise me you will
continue to help Mr. Thornton and
William and all those who have battled
so long and hard against slavery.
JOHN
You know I will, darling.
He CRIES softly as he bends over and puts his head next to
her's. Polly puts her hand on his head.
POLLY
In the bottom drawer of my dresser
is a package wrapped in brown paper.
Would you get it for me?
He looks puzzled, but straightens up and goes to the dresser.
After lifting up some clothing, he finds the package. He
brings it to her.
POLLY (CONT'D)
Unwrap it, please.
He slowly takes the paper off.
It's the Bible his mother gave him with his name in gold on
the cover, the one he threw in her grave.
JOHN
Is this... ?
POLLY
Pastor Jennings gave it to me. I
meant to give it back to you years
ago but... now seems...
He puts his head beside hers and CRIES uncontrollably.
After a few moments, he looks at her face. Her eyes are open,
staring vacantly at the ceiling. She's not breathing.
He reaches out for her left hand. He kisses it, and amidst
his tears, he takes off her ring and puts it on his pinkie.
Genres:
["Drama","Romance"]
Ratings
Scene
60 -
A Song of Grace and Grief
EXT. ST. MARY'S - DAY
A large crowd dressed in dark clothing gathers outside the
front door. A coffin covered with a black shroud is carried
into the church. Samson is one of the pallbearers.
John follows it dressed in his priestly vestments.
A black funeral carriage waits at the curb.
INT. ST. MARY'S SANCTUARY - DAY
It's packed. People stand up along the sides and back because
there aren't enough seats.
John stands at the pulpit.
JOHN
I must tell you on this day of sad
remembrance, that I have come to the
realization that as a believer in
the love and grace and sovereignty
of God, I have no right to complain.
Yes, I can be sad, but not bitter.
Or as the apostle Paul put it, we
may be hard pressed on every side,
but not crushed; perplexed but not
in despair.
John pulls out Polly's blue kerchief and uses it to wipe a
tear from his eye.
JOHN (CONT'D)
Most of you know that Mary Catlett,
or Polly as I called her, was the
love of my life. But I considered
her as a loan from God which He had
the right to call in whenever He
pleased. And since I never deserved
her in the first place, I find myself
thankful that she was shared with me
so long.
He smiles sadly at the congregation, many of whom dab their
eyes with handkerchiefs.
JOHN (CONT'D)
To be honest, when she died, my world
seemed to die with her. I see little
now to make a single day desirable
except for my ministry and my
Christian faith. I would, if the
Lord allowed, gladly follow her in
death, but I am willing to await my
appointed time. Let us use her good
example of faithful Christian service
to propel us forward in proclaiming
the good news of our Lord and Savior,
Jesus Christ, who came to set the
captives free!
John comes around from the pulpit and stands in the center.
JOHN (CONT'D)
In honor of my beloved wife, who
encouraged me to write this hymn, I
would like to close our service by
singing it with you.
He looks around, clears his throat, then begins to sing,
verse by verse, as the congregation stands and follows after
him.
INTERCUT BETWEEN SINGING AND FLASHBACK SCENES
JOHN (CONT'D)
Amazing grace, how sweet the sound
-John sings with Polly.
CONGREGATION
(in 4 part harmony)
Amazing grace, how sweet the sound
JOHN
That saved a wretch like me
-John walks off with a terrified female slave.
CONGREGATION
(one man crying)
That saved a wretch like me
JOHN
I once was lost, but now am found
-John kneels before the Irish priest.
CONGREGATION
I once was lost, but now am found
JOHN
Was blind but now I see.
-John frees the slaves and pulls down the pen.
CONGREGATION
Was blind but now I see.
JOHN
'Twas grace that taught my heart to
fear.
-John is bowled over by huge wave during storm.
CONGREGATION
'Twas grace that taught my heart to
fear.
JOHN
And grace my fears relieved.
-John smiles as the Greyhound limps into harbor.
CONGREGATION
And grace my fears relieved.
JOHN
How precious did that grace appear
CONGREGATION
How precious did that grace appear
JOHN
The hour I first believed.
-John kneels on deck, asking God to save him.
CONGREGATION
The hour I first believed.
Job Lewis lifts up his head and smiles as he sings along.
JOHN
Thro' many dangers, toils, and snares
-John involved in slave insurrection on Levant.
CONGREGATION
Thro' many dangers, toils, and snares
JOHN
I have already come
CONGREGATION
I have already come
JOHN
'Tis grace hath bro't me safe thus
far
- John arrives home in The African.
CONGREGATION
'Tis grace hath bro't me safe thus
far
JOHN
And grace will lead me home
CONGREGATION
And grace will lead me home.
John smiles through tears that run down his cheeks. He notices
Job sitting over to one side, who also has tears in his eye.
JOHN
The Lord has promised good to me,
CONGREGATION
The Lord has promised good to me,
JOHN
His word my hope secures,
- Polly gives John his Bible on her deathbed.
CONGREGATION
His word my hope secures,
JOHN
He will my shield and portion be
CONGREGATION
He will my shield and portion be
JOHN
As long as life endures
CONGREGATION
As long as life endures.
John stops and bows his head.
TITLE CARD:
Following Polly's death, John continued his ministry as the
rector of St. Mary's Anglican Church in London. There, through
public speaking and writing, he added his voice and pen to
the growing abolitionist movement.
In 1807, nine months prior to John's death, he was informed
that the British Parliament passed a law making the buying
and selling of slaves illegal. John Newton is credited with
having had a major influence in turning the tide of public
opinion against this vile trade. Polly's influence in all
this has sometimes been overlooked.
EXT. ST. MARY'S - LONDON - TODAY - MORNING
St. Mary's Anglican church located on the corner of Lombard
and King William St. in downtown London.
A picture of an inscription that is carved on a plain marble
tablet affixed to an inner wall of St. Mary's church in London
appears on the screen.
INT. ST. MARY'S MARBLE TABLET ON WALL - DAY
JOHN NEWTON
CLERK
Once an infidel and Libertine,
a servant of slaves in Africa,
was, by the rich mercy of our Lord and Saviour
JESUS CHRIST
Preserved, restored, pardoned,
And appointed to preach the faith
He had long labored to destroy.
He ministered near 16 years as curate and vicar,
Of Olney in Bucks
And 28 years as rector of these united parishes.
FADE OUT.