TITLE CARD:
Wainwright Plantation, South Carolina, Spring, 1862
FADE IN:
A storm rages as six shacks teeter on brick pylons.
INT. SHACK - NIGHT
Candlelight. A steady DRIP into a metal bucket.
SADIE, 40, enslaved, mends. Rhythmic.
Her daughter NELLI, 12, snaps beans.
Rain pelts the slats. Thunder RUMBLES.
Nelli looks to Sadie, frightened.
UNDER THE SHACK
LEWIS, 17, crouches in soaked, dirt-streaked clothes.
Approaching hooves POUND.
He freezes.
Metal CLANGS. A horse SNORTS.
The patrol passes, swallowed by rain.
INT. SHACK - CONTINUOUS
Sadie lifts the candle to the window. Lightning FLASHES.
SADIE
Follow the moss, Lewis.
She TAPS her heel—twice.
Lewis bolts for the treeline.
TITLE CARD
Piedmont Region, South Carolina, 2026
Genres:
["Historical Drama"]
Ratings
Scene
2 -
Writer's Block
INT. MOTEL ROOM - NIGHT
JAY WILLIAMS, late 30s, Black, casually dressed, stares at a
blank page.
He types. Stops. Deletes everything.
A car passes outside. Headlights sweep the wall.
Jay's phone BUZZES—it's Grady. He hesitates.
JAY
What's up?
Jay paces.
GRADY (V.O.)
Got my pages?
Jay stops pacing.
GRADY (V.O.) (CONT'D)
Hellllo?
JAY
Working on it.
GRADY (V.O.)
So you got nothing.
JAY
I'm here, aren't I?
A beat.
GRADY (V.O.)
Want the check—earn it.
CLICK. Silence.
Jay rubs his chin, slams the laptop closed.
He stares at it. Reopens it.
Genres:
["Drama"]
Ratings
Scene
3 -
Dawn Tensions
EXT. EDGE OF WOODS – DAWN
Lewis emerges from the thick fog.
He crouches behind a rock, eyes locked on a distant house.
The cellar door CREAKS open. A shadowy FIGURE appears,
swinging a hurricane lamp.
Lewis moves.
RISING SONGBIRDS.
INT. ANNIE'S MOTEL ROOM - MORNING
Sun spills through the blinds.
ANNIE PERKINS, late 20s, blue jeans, dark blazer, opens her
laptop.
She types fast. Sends. Exhales.
She shuts the laptop, stuffs it into a backpack with a
notebook, then adds her camera.
EXT. MOTEL PARKING LOT - MORNING
Jay emerges, duffel over his shoulder.
He tosses the bag in the trunk, leaves it open, and scrolls
his phone.
A pickup ROARS past, a Confederate flag flapping.
Jay watches the truck go.
He keeps staring.
Jay SLAMS the trunk shut.
ANNIE (O.S.)
Fine, Pete—I can't stop you.
Annie POUNDS a vending machine.
Nothing drops.
ANNIE (CONT'D)
Just don't call it merit.
She leans in. Kicks the bottom once—checks to see if anyone
is watching.
Jay furrows his brow.
She approaches the car, backpack slung, earbuds in, clutching
the phone.
Annie's finger punches her screen, hard.
Their gazes meet.
JAY
Who won?
Annie hesitates. He gestures toward the machine.
ANNIE
They always get me. Never fail.
Jay chuckles, softly.
ANNIE (CONT'D)
Do we have enough gas?
Jay nods. She slips into the car.
INT. CAR - DAY
Annie buckles up, stares straight ahead.
JAY
Jack mentioned a diner—
(glances over)
Half hour down the road.
Annie manages a tight smile—swipes at her eye.
Jay notices. Starts the car.
INT. CAR - DAY
Fields rush past. White cotton blurs.
Annie grips the armrest. Her leg bounces—fast.
ANNIE (O.S.)
Are you censoring me—
FLASHBACK:
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
4 -
Forks in the Road
INT. DEAN'S OFFICE - DAY
ANNIE
—or terminating my degree?
The Dean doesn't answer. Just slides a folder across.
END FLASHBACK
Annie stares straight ahead.
ANNIE (CONT'D)
They've decided what my thesis should
say.
Jay glances over.
JAY
Academia. What do you expect?
She looks at him.
ANNIE
Shoulda known.
(beat)
I have no Plan B.
A beat.
JAY
So what's your focus?
ANNIE
Early Reconstruction—
(he nods)
Through a Confederate lens.
Jay raises a brow.
Silence.
Up ahead—a fork in the road.
ROAD SIGN
Piedmont (left) / Columbia (right)
ANNIE (O.S.) (CONT'D)
My family built a munitions factory
near here.
Jay signals left.
ANNIE (CONT'D)
Sold it before the war.
Her eyes linger on Columbia.
JAY
And you're trying to find out why.
She turns toward him.
ANNIE
I'm trying not to get it wrong.
They pass a sprawling gun emporium.
Annie stares at the firing range until the staccato POPS hit
the air.
She flinches.
They snake their way through rolling hills.
ANNIE (V.O.) (CONT'D)
How do you know Jack?
JAY
Book signing. He made me an offer
on the spot.
Annie blinks, leans back.
ANNIE
That was easy.
JAY
This trip. A manuscript.
(beat)
Five-part series awaits.
ANNIE
Five-part? About what?
Jay glances at Annie.
JAY
The Confederacy.
She furrows her brow.
ANNIE
Are you comfortable with that?
A beat.
JAY
Comfortable? No. Pay three years
of rent? Absolutely.
EXT. RURAL DINER - PARKING LOT - DAY
Jay's car crunches into the dirt lot.
Genres:
["Drama","Historical","Mystery"]
Ratings
Scene
5 -
Choices and Consequences
INT. PICKUP TRUCK - DAY
The RECRUITER, 50s, lights a cigarette.
Weathered hands. Bracelets. Skull ring.
A rattlesnake wrist tattoo coils around SEVEN-1.
He inhales. Eyes narrow. He exhales bluish smoke.
EXT. DINER - CONTINUOUS
Annie and Jay cross the parking lot. She's a step ahead.
ANNIE
Everyone's the same—what do you
expect?
Jay stops. She turns back, impatient.
JAY
They're the ones deciding.
Jay blinks. A beat.
ANNIE
Not exactly.
JAY
You don't have many choices.
ANNIE
Doesn't mean I have to stay.
(beat)
My family is my thesis.
Jay looks at her a second too long.
JAY
That complicates things.
ANNIE
I'll say.
Annie heads for the door.
Genres:
["Drama","Historical","Mystery"]
Ratings
Scene
6 -
The Recruiter's Offer
INT. RURAL DINER - DAY
SHELLEY HOLMES, mid-40s, drops the card and receipt.
SHELLEY
Come back and see us.
A beat.
JAY
Hey, can I ask you something?
The Recruiter slides into the booth behind them.
SHELLEY
Shoot, hon.
Jay glances at the Recruiter.
JAY
What's with all the re-enactments
around here?
Shelley shrugs.
SHELLEY
Oh them just local boys tryin' to
walk straight.
She moves past the Recruiter. Their eyes meet.
The Recruiter shifts—his profile now visible.
RECRUITER
Save your money.
Jay turns, recognizes him.
JAY
Sorry?
RECRUITER
None of them are real.
(beat)
Except ours.
Annie looks at him—curious despite herself.
ANNIE
You have one too?
The Recruiter stands. Removes his hat.
RECRUITER
May I?
Annie looks to Jay. He shrugs.
She slides in beside Jay.
Jay leans back, arms spread on the banquette.
The Recruiter sits opposite.
Hat down. Hands folded on the table. Calm. Measured.
RECRUITER (CONT'D)
We don't pretend at The Park.
The men lock eyes.
JAY
That's nice.
Annie leans in.
ANNIE
How does someone visit "The Park?"
RECRUITER
They're chosen.
(beat)
By me.
(beat)
Five miles down River road. Cross
the bridge and it's 1865.
Annie holds his gaze, then turns to Jay.
ANNIE
What do you think?
A beat.
JAY
Pass.
She furrows her brow.
ANNIE
Why?
Jay leans in, sotto voce:
JAY
It's a hustle.
Annie pulls back.
ANNIE
I think it sounds—
The Recruiter studies them.
EXT. RURAL DINER - DAY
Annie waits for Jay—he holds the door for a family in
Confederate tour tees.
A young boy and girl skirt past him—
They both pivot, aiming toy pistols. CLICK-CLICK-CLICK.
They don't look away.
Jay forces a smile.
He follows Annie.
JAY
You really want this, don't you?
Annie stops. A sharp breath.
ANNIE
More than I care to admit.
They pass the Recruiter, who tracks them from the booth.
Genres:
["Drama","Historical Fiction"]
Ratings
Scene
7 -
Roots and Roadblocks
EXT./INT. CAR - FOREST - DAY
She watches the deep woods blur past.
A beat.
JAY
So why do you think people care so
much?
ANNIE
Doesn't everyone want to know where
they came from?
She studies him.
ANNIE (CONT'D)
Would you? If you could?
Jay keeps his eyes on the road.
JAY
Connect? Already did.
(beat)
Tried.
ANNIE
Where?
JAY
Yucatan. Day of the Dead.
(beat)
Just a bunch of tourists taking
pictures.
Annie turns away—freezes.
ANNIE
Watch out!
An abatis—spiked trunks lashed together—fills the road.
Jay SLAMS the brakes.
The car SKIDS—fishtails—jerks to a stop.
A cloud of dust swallows them.
Jay's chest heaves. Annie grips the armrest.
Neither move.
Genres:
["Drama","Mystery","Adventure"]
Ratings
Scene
8 -
Whispers of the Forest
EXT. END OF ROAD - TRAIL HEAD - DAY
Annie and Jay step from the car. Above them, a dense canopy.
The treetops sway in unison.
The forest hums. Scattered crows squawk. An insistent
woodpecker hammers a hollow tree.
Jay gazes upward, unsettled. Annie pivots, scanning the
perimeter.
AT THE ABATIS
Annie brushes past the crude barrier.
Jay runs a finger along a sharpened tip.
He turns, shirt snags. He works it—then yanks.
Annie waits for him.
They disappear into low fog.
AHEAD
Something rises through the haze.
A massive statue, tilted on its base—covered in vines.
Annie stops.
Jay steps forward, rips the ivy away.
A weathered stone face. Small pock marks.
He glances back at Annie.
JAY
Stonewall.
Annie leans closer.
Her fingers trace the impact pattern.
ANNIE
Are those—
They lock eyes.
JAY
Likely.
Genres:
["Drama","Mystery","Historical"]
Ratings
Scene
9 -
Misty Encounters
EXT. OVERLOOK - DAY
Jay stands near the edge.
Distant rolling hills. A lazy river.
No towers. No lines.
Annie pulls the camera from her backpack.
Raises it.
Inside the viewfinder—she adjusts, then stops.
ANNIE
Is that a...watch tower?
Jay studies the landscape.
JAY
Your eyes don't lie.
A beat.
Annie lowers the camera—their eyes meet—searching.
Storm clouds gather. Distant lightning FLASH.
They move on.
Annie looks back—as if the landscape might have changed.
EXT. WOOD'S EDGE - DAY
Annie and Jay step into a meadow. Waist-high grass, rolling
to the river.
Sounds thin. CICADAS rise. A distant DRUM.
Wind pushes through the grass.
Annie closes her eyes a moment.
Jay runs his hands through the blades.
THUNDER CLAP—like a cannon.
Behind them, beams and weathered boards take shape through
the mist—a 19th century covered bridge.
Jay stares at the bridge.
JAY
...Jesus.
For the first time he looks rattled. Annie notices.
Across the river, a buckboard wagon appears. The horse and
driver move silently down the path.
Annie steps toward the bank, watching.
The cicadas cut out.
Rain SLAMS the meadow and river.
They run for the bridge.
Genres:
["Drama","Historical Fiction","Mystery"]
Ratings
Scene
10 -
Shelter from the Storm
EXT. COVERED BRIDGE - DAY
They duck inside, catching breath.
Thunder CRACKS overhead. Rain POUNDS the roof.
They're uncomfortably close now—shoulders almost touching.
Jay's eyes widen—
JAY
Look.
Ahead of them—golden light spills across the floorboards.
Behind them—rain pounds down.
Annie tilts her head.
ANNIE
Thought that only happened in Florida.
Jay almost smiles—doesn't.
The wagon enters the bridge. Approaches in silhouette.
Hoof THUDS rattle the old structure.
The driver jerks the reins. The horses STOP. SNORTING.
TERENCE ABERNATHY, early 30s, gaunt and prematurely aged,
steadies them with practiced ease.
He hops down, holds the reins, gazes at Jay and Annie.
DRIVER
Welcome. To the Park.
ANNIE
Appreciate the lift.
Jay rubs the horse's neck, low voice:
JAY
Hey buddy. How you holding up?
(beat)
What century did they find you?
The driver offers his arm to Annie.
She reads him—then takes it. Steps up onto the plank seat.
Annie twists in her seat.
ANNIE
Coming?
JAY
Yeah.
He tosses his bag up, climbs in.
Genres:
["Drama","Mystery","Historical"]
Ratings
Scene
11 -
Tension in The Park
EXT. THE PARK - DAY
The wagon creaks out from the covered bridge. Harsh sunlight.
Annie and Jay shield their eyes.
Terence grips the reins, eyes narrow, scans the path ahead.
EXT. TRAIL - DAY
The wagon rolls along, wheels crunching.
Annie looks at Terence, who sits rigid—
ANNIE
How long have you worked in The Park?
Terence pauses. Considers. Hesitates—
Annie glances over to Jay. He raises a brow.
TERENCE
Miss Wright don't like when we talk
too much out here.
Rifle FIRE cracks through the forest.
Birds, flapping hard, scatter from the trees.
Sickly gray smoke seeps through the woods.
ANNIE
Did we miss the start?
Terence furrows his brow.
TERENCE
...likely Union raiders.
He reaches for a rifle from under the bench.
Jay lifts his feet, helps him steady the long-barrel.
Annie and Jay trade a look.
Genres:
["Drama","Historical","Mystery"]
Ratings
Scene
12 -
Tensions at the Diner
EXT. RURAL DINER - LOT - DAY
A pristine white Corvette glides up alongside.
The COLONEL, 50, tall, muscular, sharply dressed—cowboy hat,
dark glasses—steps out. Every move measured, commanding.
A sedan with NY plates pulls alongside. JACK GRADY, 40,
metro casual, hops out, rolls his shoulders, wincing.
GRADY
Colonel.
COLONEL
Son.
They clasp hands, wrists brush—coiled rattlesnake tattoos
flash in the sunlight: SEVEN-2. SEVEN-3.
Grady smirks. The Colonel's eyes narrow. Bad blood.
INT. RURAL DINER - MOMENTS LATER
Grady slides in opposite the Recruiter. The Colonel perches
on the bench edge, shoulders rigid.
Skeleton rings CLANK—an unspoken ritual.
Shelley watches from the counter, mid-wipe, eyes flicking
between them.
The Recruiter covers Grady's ring with his palm—almost
possessive. He leans in, low voice.
RECRUITER
Six?
Grady jerks his hand free. Their locked eyes burn.
GRADY
You got your writers.
The Recruiter spreads his arms along the banquette, gaze
fixed, assessing.
RECRUITER
Are you unhappy with your assignment?
Grady straightens, throat tightening.
GRADY
I bring recruits. You take them
into the Park. Then what?
The Colonel glances at the Recruiter, who nods.
COLONEL
We enlist them.
Grady's jaw sets.
GRADY
Why those two?
COLONEL
Because they like history.
A beat. The Recruiter leans in.
RECRUITER
It needs a rewrite.
Tension flickers across Grady's face.
Shelley approaches with the pot.
SHELLEY
Refill?
The Recruiter points. She pours—CLANG of metal on china.
SHELLEY (CONT'D)
...up front when you're ready.
She walks off.
The Recruiter taps the table in rhythm, eyes never leaving
Grady.
RECRUITER
Three months from today—I want a
hundred believers. Waiting to cross.
He reaches over, grips Grady's hand. He doesn't resist.
RECRUITER (CONT'D)
No do-overs.
Grady swallows hard.
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
13 -
Arrival in a Divided Town
EXT. WOOD'S EDGE - DAY
The wagon breaks through the trees and enters a dusty Southern
town, circa 1865.
EXT. MAIN STREET - DAY
Townsfolk bustle about in period clothing—blacksmith
hammering, women with baskets, saloon delivery men, youngsters
sweeping.
The rhythm doesn't break as a COFFLE OF CHAINED PEOPLE crosses
the street in plain view.
No one stops. A dog trots alongside, uninterested.
Annie glances at Jay, who watches, still.
An elderly black MAN in coarse trousers leans against a
storefront, chewing straw.
His eyes track Jay.
Jay registers him, offers a small nod—uncertain.
The man doesn't return it.
EXT. STREET - DAY
At the end of the street stands a rambling hotel.
Terence pulls the wagon to a stop.
He hops off and secures the horse.
Jay and Annie climb down with their bags.
ANNIE
Will you be around later?
TERENCE
Whatever Miss Wright tells me.
Jay presses his palm with a $20 bill.
JAY
Thanks my friend.
TERENCE
(resisting)
No, sir, I can't—
Jay stuffs the bill into Terence's vest pocket. Pats him on
the back.
A wrinkle forms on Terence's forehead.
Jay joins Annie climbing the front steps.
Terence carefully examines the odd bill.
EXT. HOTEL - DAY
The weathered, clapboard hotel leans slightly with age.
Genres:
["Drama","Historical Fiction"]
Ratings
Scene
14 -
Check-In at the Cumberland Hotel
INT. HOTEL - DAY
Jay and Annie step inside. Dust hangs in the air. Tobacco
stench lingers. The place feels preserved—or trapped.
Annie crosses to the front desk, taps the bell.
DING.
Silence. They wait.
Jay fidgets. Taps the bell.
DING. DING.
Annie moves to tap, when—
CYNTHIA WRIGHT (O.S.)
Heard you the first time.
A side door opens.
CYNTHIA WRIGHT, 40s, composed, bright eyes, hard glint.
She curtsies—small, precise.
CYNTHIA WRIGHT (CONT'D)
Cynthia Wright.
She smiles, plastic.
Jay shoots Annie a glance.
CYNTHIA WRIGHT (CONT'D)
Welcome to the Cumberland—where
history is retold.
She flips open a guest book—too fast. Jay notices.
Turns it toward them. Dips a steel nib pen into an inkwell.
CYNTHIA WRIGHT (CONT'D)
Everyone signs. Can't start until
everyone signs.
Annie smiles, confused. She takes the pen, signs. Hands
the pen to Jay.
Annie and Wright exchange polite smiles.
Jay signs, returns the pen.
CYNTHIA WRIGHT (CONT'D)
Writers?
ANNIE
He is.
CYNTHIA WRIGHT
What kind?
JAY
Historical fiction.
Wright tilts her head, studying him.
CYNTHIA WRIGHT
Oh. So history—
(beat)
—that can't be trusted?
She cackles, sharp.
JAY
(chuckles)
Trusted not to get me into trouble.
Wright doesn't look away.
CYNTHIA WRIGHT
What if you don't agree with it?
Jay smiles, tight, confused—
JAY
With what?
CYNTHIA WRIGHT
If you prefer a different version.
Jay shoots Annie a look.
ANNIE
History always gets revised.
Wright blinks once. Twice. Then smiles.
CYNTHIA WRIGHT
Yes indeed.
From down the hall—WORKERS drag furniture.
SCRAPE. SCRAPE.
Wright's jaw tightens. Her eyes stay locked on the workers.
Annie glances at the commotion, then back at Wright.
SCRAPE. SCRAPE.
CYNTHIA WRIGHT (CONT'D)
Quiet!
Wright glares at the workers.
Annie steps back, slightly.
Two COUPLES enter the lobby—early retirees. Modern dress.
Bright patterns in the dust-choked room.
Their rolling suitcases CLACK repeatedly against the floor.
Wright's eye narrow at the approaching guests.
CYNTHIA WRIGHT (CONT'D)
Right with you, folks.
Annie turns back to Wright, jaw tight.
ANNIE
What other version?
JAY
When was this place built?
Wright beams a smile.
CYNTHIA WRIGHT
April 14, 1865.
Jay hesitates.
JAY
The day Lincoln was shot.
CYNTHIA WRIGHT
A new beginning.
Jay holds her gaze. Annie smiles, uncomfortably.
Wright dangles keys at Jay.
CYNTHIA WRIGHT (CONT'D)
Top of the stairs, Room A.
(to Annie)
For you, darlin'—down the hall, left,
third room. My favorite.
Wright's smile holds—unmoving.
Jay and Annie take the keys.
ANNIE
Ready or not.
Genres:
["Drama","Historical Fiction"]
Ratings
Scene
15 -
A Moment of Tension
INT. WARDROBE AREA - DAY
A large, cluttered room of ante-bellum garments:
Old coats and dresses on hooks. Suits piled on tables. A
crate of mismatched shoes.
Nelli, now 18, carries a bundle of clothing—sorted.
Glimpsing her, Jay and Annie's eyes brighten.
Nelli freezes, locks eyes with Jay.
NELLI
Good evening.
He returns the look, slightly disoriented.
JAY
Hello.
INT. HOTEL STAIRCASE - NIGHT
Annie carefully descends the stairs, elegant in a flowing
antebellum gown. Jay keeps pace with her, cutting an
impressive figure in an ensemble modeled after Frederick
Douglass.
She stumbles, catching herself on Jay's arm.
ANNIE
Whoa!
He steadies her.
Wright watches them descend, wary.
Genres:
["Historical Fiction","Drama","Mystery"]
Ratings
Scene
16 -
A Night of Tension and Triumph
INT. ASSEMBLY ROOM - NIGHT
Swept in with the crowd, Annie and Jay take in the dim, smoky
room.
A makeshift stage: fiddle, banjo, snare drum.
A disabled BOY is hauled onto the stage, crutches tucked
under one arm.
He hobbles toward his fiddle.
Jay's smile fades as he catches stares—from nearly every
white man in the room.
The tension breaks when the Sheboygan ladies sweep in,
twirling in frilly ante-bellum gowns.
Their husbands follow glumly in ridiculous Planter outfits.
Two Confederate SOLDIERS enter. A Sergeant Major, followed
by a Corporal—mean, drunk, searching.
The fiddle boy teases out a haunting TONE beyond his years.
A hush.
His towering, slack-jawed PARTNER taps out a basic beat—simple
and steady.
In the rear, the Colonel, now a powerful planter, enters the
room with his WIFE—a jaded beauty.
The onlookers divide. Hushed reverence for the elegant
couple, who glide to their seats.
The Colonel sits rigidly. His cold blue eyes scan the crowd.
His wife sits in his shadow, turned away, weary.
Somebody lights the Colonel's hefty cigar.
He announces his presence, exhaling a thick cloud.
Through the haze he catches Annie’s eye. Discreetly tips
his brim.
Annie plays along, smiles, gracefully tilts her head. He
takes note.
His critical gaze slides over to Jay, who meets it.
Sergeant Major hands a folded message to the MANAGER—a sweaty
man in a sack coat.
He struggles to climb on stage.
MANAGER
Ladies and Gentlemen! Please!
The Colonel's eyes narrow, assessing the rowdy crowd.
MANAGER (CONT'D)
(shouting)
Please!
The crowd ignores him.
A SCUFFLE breaks out, when—
A pistol BLAST tears into the ceiling.
Jay and Annie jolt, as loose plaster drifts down.
The Colonel steps forward holding the pistol.
Annie watches with rapt attention.
He SNATCHES the note—surveys the room with a scowl.
The audience quiets.
The Colonel lifts the note.
COLONEL
Rumor sayin' we suffered a "setback"
in Richmond.
(guttural)
Bury that notion.
(waves the note)
Old Man's got them Yanks on the run!
STOMPING and SHOUTING.
The Colonel shouts:
COLONEL (CONT'D)
Tomorrow—April 8, 1865—on the banks
of the Appomattox, Robert E. Lee and
his boys will crush that butcher
Grant—
Jay and Annie hang on every word—
COLONEL (CONT'D)
—and our War of Independence will
reach its righteous conclusion!
Crowd ERUPTS. Jay and Annie lean back, nervous, exhilarated.
Jay starts to WHOOP—mocking. She grins.
COLONEL (CONT'D)
Godspeed to the Confederacy!
The band launches into a ROUSING DIXIE.
The Colonel’s wife yawns and rolls her eyes.
Ginny jumps to her feet.
GINNY
I wish I was in Dixie—!
CROWD
Hooray, hooray.
Jay and Annie fight back smiles, barely containing their
amusement.
INT. SECOND-FLOOR LANDING - LATER
Annie and Jay look down at the boisterous crowd spilling
into the lobby.
ANNIE
What was that?
JAY
Delusional optimism?
Annie smiles, sharp.
ANNIE
Don't they know they lost the war?
Jay chuckles.
Annie yawns through a smile.
ANNIE (CONT'D)
Excuse me.
JAY
Long day.
A beat.
ANNIE
Thank you.
JAY
Thank Jack.
A beat.
ANNIE
...think I will.
Annie about-faces, walks down the hall and around a corner.
Jay lingers.
INT. JAY'S HOTEL ROOM - NIGHT
Jay slips inside his small room. A narrow window looks down
on a shadowy alley.
He tosses his bag onto the plain pine bed. Pulls out his
pen and notebook. Pauses.
MUFFLED conversation outside.
Jay peeks out the window.
Two Confederate SOLDIERS pass below.
One looks up. Jay steps back.
Genres:
["Drama","Historical","Mystery"]
Ratings
Scene
18 -
Reflections of the Past
INT. ANNIE'S HOTEL ROOM - CONTINUOUS
Annie's hand fumbles along a wall. A gas sconce flickers
on.
Faded opulence surrounds her. Tall windows. Iron bed.
Dust-choked curtains.
Her modern backpack sits on the bed, a jarring contrast with
the period decor.
Annie COUGHS. Draws back the curtain, cracks the window.
She surveys the noisy, growing CROWD outside the hotel.
Annie's eyes scan the room, landing on a silver brush and
comb set atop a dresser.
She crosses over and inspects the brush.
FLASHBACK:
INT. ANNIE'S ATTIC - NIGHT
Annie kneels at a steamer trunk.
She studies a heavy silver mirror. Monogrammed "AP."
It unsettles her. Sets it aside. Rummages.
Annie lifts a framed portrait of an antebellum man—handsomely
attired, presenting a shiny, new pistol to camera—like he's
selling it.
She flips it over, then back.
A faint smile creeps across her face.
END FLASHBACK
INT. ANNIE'S HOTEL ROOM - NIGHT
Annie runs the hotel brush through her hair, rhythmic.
An ARGUMENT spills in from outside.
CORPORAL (O.S.)
Gimme your money...you lazy-
Genres:
["Drama","Historical","Mystery"]
Ratings
Scene
19 -
Confrontation at Dusk
EXT. HOTEL SIDE - CONTINUOUS
The drunk Confederate corporal waves a pistol at a LOCAL
FARMER, 65.
CORPORAL
(stumbles, growling)
Where's...your...wife!
The farmer stumbles back and falls.
The spectators LAUGH.
Annie parts the curtain slightly.
The Colonel stands apart from the crowd, smoking a cigar.
He reaches for his wife's hand.
She pulls away.
His cold eyes linger on her.
Startled CRIES break out in the crowd.
The Corporal spins toward them.
The Corporal sways, unsteady.
The farmer scrambles to his feet and bolts.
The Corporal spots him, pivots, raises the pistol, when-
The Colonel rips the weapon away, and SLAMS him to the ground.
The crowd—and Annie—freeze.
COLONEL
ON YOUR FEET!
The Corporal staggers up.
The Colonel grabs him, jams the revolver to his head—COCKS
the trigger.
COLONEL (CONT'D)
I don't like long counts—
The drunk's eyes go wide. He stumbles back, off-balance.
The Colonel scoffs. He surveys the crowd, growling:
COLONEL (CONT'D)
We are on the eve of a historic
victory.
(disgusted)
And y'all acting like Goddamned Border
Ruffians!
(spits)
NOW GIT! GO ON! GO HOME!
Annie closes the window slowly.
Genres:
["Drama","Historical","Thriller"]
Ratings
Scene
20 -
A Tense Refuge
INT. JAY'S HOTEL ROOM - CONTINUOUS
A gas lamp burns.
Jay sits in an armchair, skimming his notes.
INT. ANNIE'S HOTEL ROOM - CONTINUOUS
Annie rummages through her backpack. Faster.
She freezes.
INT. JAY'S HOTEL ROOM - CONTINUOUS
Jay scribbles in his notebook: "false narrative." Then crossed
out "false."
He scribbles "POV" Circles it repeatedly.
Draws an arrow between "narrative" and "POV"
A KNOCK, quick and uneven.
Jay hesitates, tosses his notebook aside.
He pulls open the door.
Annie stands in the frame, clutching a quilt and pillow,
barefoot on the wood floor.
ANNIE
He fired his pistol again. Twice
this time.
Jay tilts his head, listening. He opens his hands.
JAY
Maybe the show...kept going outside?
She shrugs. Then brushes away a tear.
JAY (CONT'D)
Why don't—
Jay steps back, opening the door wider.
JAY (CONT'D)
Come in.
She hesitates, steps inside.
He closes the door.
JAY (CONT'D)
Those boys were hittin' it pretty
good.
ANNIE
I'll say.
He grabs his bag and bedding.
JAY
Here.
ANNIE
(quietly)
Thank you.
She lowers herself slowly onto the mattress edge.
They avoid eye contact.
Genres:
["Drama","Historical","Mystery"]
Ratings
Scene
21 -
Uneasy Encounters
INT. HOTEL FRONT DESK - NIGHT
An ELDERLY COUPLE stands before Wright.
Head bowed, she shuffles some papers. Then—
Wright looks up, thin smile.
CYNTHIA WRIGHT
Now good evening.
The couple's eyes widen. Mouths slack. Frozen.
She holds their stare.
They blink. Slowly turn away.
Wright watches them go, eyes narrowing.
INT. JAY'S HOTEL ROOM - NIGHT
Jay leans forward.
JAY
I didn't give you my phone.
Annie leans in, eyes wide.
ANNIE
I can't find mine.
(beat)
Or my laptop. Or my camera.
Jay and Annie lock eyes.
JAY
Terence?
Annie shakes her head, slowly.
ANNIE
Who needs them that badly?
He shrugs.
EXT. HOTEL - NIGHT
CRICKETS chirp. A distant YAPPY cur.
An old mare, burdened with belongings, hitched to a post.
Moonlight glints off its metal bit.
O/S, a man COUGHS—thick, guttural, persistent.
The old couple, turned away by Wright, huddle beneath a thin
blanket on the hotel steps.
Genres:
["Drama","Historical","Mystery"]
Ratings
Scene
22 -
Whispers in the Night
INT. JAY'S HOTEL ROOM - NIGHT
Jay shuffles his notes. Exhales.
JAY
I keep thinking...first-person.
Annie, sitting cross-legged on the bed, leans in.
JAY (CONT'D)
Whole weekend. No filter.
He sets the notes down.
A beat.
She studies him.
ANNIE
Feels like we're just getting started.
Jay looks at her, raises a brow, nods.
He picks up the notes again. Annie observes him. A beat.
ANNIE (CONT'D)
Hey, ummmm...about Jack.
Jay glances over.
ANNIE (CONT'D)
I never actually...met him.
(beat)
We talked on the phone.
Jay blinks. A beat.
JAY
That's...strange.
Annie looks down, fingers rubbing together.
ANNIE
Fast and loud. That's Jack.
She meets his gaze a second too long.
FLASHCUT:
Dusty boots climb the front stairs. A wide-brimmed hat.
Faded gold braid.
ANNIE (V.O.) (CONT'D)
He wanted me to catalog his toy
soldiers.
(beat)
...the cast-iron ones.
The shadow stops at Jay's door.
INT. JAY'S HOTEL ROOM - NIGHT
JAY
They're lead.
Annie frowns, drifts to the window, shoulders tight—peers
into the dark street.
KNOCK—
Annie looks to Jay.
He raises a finger to his lips.
A shadow fills the doorway.
They lock eyes.
It lingers.
INT. STAIRCASE - NIGHT
The General descends slowly, his wide brim cutting through
the dim space.
He pauses at the desk, leans in—murmurs to Wright.
She glances up toward Jay's room. Holds.
Her hand brushes her holstered pistol.
The General drops his gloves on the counter—hard.
He spins. Strides out.
An oil sconce flickers as he passes.
Genres:
["Drama","Mystery","Historical"]
Ratings
Scene
23 -
Unveiling the Past
INT. JAY'S HOTEL ROOM - LATER
Jay stands by the window, jaw tight. He taps his fist against
the glass. Steady, controlled.
He turns to Annie, shoulders tense, eyes wary.
JAY
I was born Jamal Lewis Perry.
(beat)
My adoptive parents liked "Lewis"—so
they kept it.
Annie's gaze softens.
ANNIE
Jay Lewis Williams, huh?
He smiles, almost despite himself.
JAY
Once I was legal—I started searching.
ANNIE
For what?
The tapping resumes. Slower now. Less certain.
JAY
Records. Birth certificate.
(beat)
There was nothing.
He tries to meet her eyes. Can't.
She studies him.
Genres:
["Drama","Historical","Mystery"]
Ratings
Scene
24 -
A Narrow Escape
EXT. PATH - OUTSIDE OF TOWN - NIGHT
A raccoon scurries across the path and disappears into the
brush.
RUSTLING in the thicket—
An enslaved MAN and WOMAN, dressed in rags, crouch low,
clutching a COLICKY baby.
Hoofbeats approach.
A flickering TORCHLIGHT slices through the darkness.
Two armed SLAVE PATROLMEN ride slowly along the path, sweeping
their torches into the brush.
The man pulls the mother and child closer, shielding them
with his body.
The baby WIMPERS.
The woman quickly presses the baby to her breast, trying to
quiet it.
A torch swings toward them—
Light creeps through the leaves.
Closer.
Closer—
They don't breathe.
The torch lingers on the brush.
Then—
It swings away.
The patrol rides on, their light fading into the trees.
Silence.
JAY (V.O.)
Freedom...was close. The
patrols...even closer.
The couple exhales, slumping with relief.
FADE OUT
FADE UP
Genres:
["Historical Fiction","Drama","Thriller"]
Ratings
Scene
25 -
Unsettling Encounters
INT. HOTEL 2ND FLOOR LANDING - DAY
Jay, in a scaled-down version of his evening suit, locks his
door.
NELLI (O.S.)
Morning, sir.
She passes him.
JAY
Nelli, right?
She stops. Nods. He studies her.
JAY (CONT'D)
You look so familiar.
Nelli hesitates, a moment too long.
NELLI
Sir, I've never seen you before.
She walks off. Jay watches her go.
JAY
Hey—what else do you do around here?
Nelli stops. Turns stiffly.
NELLI
Whatever they ask.
Jay stands there, unsettled.
Halfway down the hall, she glances back, their eyes meet for
a brief moment.
She disappears around the corner. Jay exhales, still
unsettled by Nelli.
He shifts attention as Annie, in a hoop skirt, hurries around
the corner.
ANNIE
Sorry 'bout that.
Jay hesitates, refocuses.
JAY
Ready?
Annie, furrowed brow, says hopefully—
ANNIE
I think so...
Jay glances down the hall, a flicker of curiosity in his
eyes.
Genres:
["Historical Fiction","Drama"]
Ratings
Scene
26 -
A Tense Encounter in the Dusty Lobby
INT. HOTEL LOBBY - DAY
Dust particles and tobacco smoke hang in pale shafts of light.
Jay and Annie at the front desk.
Wright, paperwork in hand, barely looks up.
CYNTHIA WRIGHT
The hotel regrets the loss.
(looks up)
But there's a war on.
Jay scoffs, lightly.
She glares, checks her pocket watch.
CYNTHIA WRIGHT (CONT'D)
Straight down main. Terence will
meet you at the stables. You'll
begin with the General.
Annie shoots Jay an excited smile.
CYNTHIA WRIGHT (CONT'D)
Then supper. The Cabin. And back
here...for the final event.
Wright opens a velvet box—six copper medals with Bonnie Blue
ribbons.
CYNTHIA WRIGHT (CONT'D)
Every guest receives one.
Annie leans closer, curious.
Jay's eyes linger on the medals.
JAY
Who lives in the cabin?
Wright hesitates.
CYNTHIA WRIGHT
Someone of interest.
Jay blinks, unsettled.
Wright fixes him with a sharp glance, then lets a thin,
practiced smile return.
CYNTHIA WRIGHT (CONT'D)
Time's a wastin'!
Jay and Annie flash strained smiles. They hustle off toward
the entrance.
Wright exits quickly through a door marked, "no entrance."
EXT. MAIN STREET - DAY
Annie and Jay emerge from the hotel.
The street bustles with 19th century activity: cobbler,
blacksmith, bricklayer.
Jay and Annie walk past working-class townspeople. Some
stare at the mixed-race couple.
Annie spots the Corporal, squatting on a loading dock, rolling
a cigarette, scowling at her.
ANNIE
That's him—the one who shot at the
old man.
Jay's eyes narrow toward the soldier.
The Corporal shadows them from a distance.
He stops to chat with a well-dressed man waiting while the
blacksmith shoes his horse.
The man turns—it's the Colonel, tapping a riding crop against
his boot.
Genres:
["Historical Fiction","Drama","Mystery"]
Ratings
Scene
27 -
A Tense Departure
EXT. BARN - DAY
Terence approaches, leading his horse.
The horse's harness CLINKS rhythmically with each step.
ANNIE
Good morning.
JAY
Hey, Terence.
Terence smiles, softly. He starts hitching the horse to the
wagon.
Annie and Jay watch, curious.
TERENCE
This here's Safflower. Former war
horse.
He pats her flank, a hint of respect in his eyes.
JAY
One of the lucky ones.
They exchange a sober glance.
The Colonel rides past, eyeing them with contempt.
Jay and Annie exchange an uneasy glance.
Terence swings onto the wagon bench, holding the reins, then
offers his hand to Annie.
ANNIE
Thank you.
Annie climbs aboard, followed by Jay.
JAY
Who was that?
Terence's jaw tightens.
TERENCE
The Colonel.
A beat.
JAY
...and?
Terence doesn't answer. The wagon moves along.
Jay and Annie shoot each other a curious glance.
Wagon wheels GRINDING dirt.
FLASHBACK:
O/S THUMPING
Genres:
["Historical Fiction","Drama","Mystery"]
Ratings
Scene
28 -
Echoes of Sacrifice
EXT. BEHIND A LARGE CLAPBOARD BUILDING - DAY
NELLI, 16, enslaved. Her broom strikes a rug. Dust swirls.
Strike. Strike.
About 50-feet away—
Terence, late 20s, in war-torn Confederate uniform, gaunt,
limping.
He collapses on the ground.
She freezes, murmurs:
NELLI
Mercy Lord.
Nelli rushes over, falls to her knees. She hesitates. Slips
her hand around his neck.
NELLI (CONT'D)
Hush now.
Her dress. A drop of blood. Her eyes find a bullet wound.
She tears a piece of her rag dress, starts wrapping.
END FLASHBACK
The wagon reaches a small cemetery of wooden crosses.
EXT. SMALL CEMETERY - DAY
Under a massive live oak, the Sheboygans, in simple period
costumes, chat with the Recruiter (now in full grey uniform).
A sharp breeze cuts the warm, humid air.
In the distance, a muscular ENSLAVED MAN, 30s, stands knee-
deep in the last of six fresh graves. He shovels
rhythmically.
Jay and Annie approach the group. Annie leans in.
ANNIE
(sotto voce)
Is that—?
JAY
(sotto voce)
Didn't see this coming.
They reach the group with tight, polite smiles.
Jay's eyes lock onto the General's gold braids.
GENERAL
Good morning. My name is Nathaniel
Tyler Jenkins, Lieutenant General,
Confederate States Army.
He removes his hat, revealing a shock of white hair.
GENERAL (CONT'D)
We stand here on sacred ground—final
resting place for our dear kin.
They sacrificed everything, knowing
the South would endure.
The Sheboygans listen with rapt attention.
Jay and Annie stand stiff, eyes darting between the General
and the gravedigger.
The General clasps his hands and bows his head.
GENERAL (CONT'D)
Let us pray.
The Sheboygans follow his lead. Annie focuses on the General.
SHEBOYGANS
Our father—
Jay locks eyes with the gravedigger, who stares at him with
hollow eyes.
GENERAL
And deliver us from evil.
The Sheboygans make the sign of the cross.
Annie fidgets, hesitates.
GENERAL (CONT'D)
Ma'am?
ANNIE
Why was the bridge built so far out
of town?
The General gazes skyward. He turns to Annie, eyes heavy.
GENERAL
The bridge remembers. It takes you
back.
A sudden FLAPPING—
FLASHBACK:
Genres:
["Historical Fiction","Drama","Mystery"]
Ratings
Scene
29 -
Echoes of the Battlefield
EXT. RIVERBANK - DAY
Pigeons SCATTER.
Smoke, chaos.
The General on horseback, sword raised.
GENERAL (CONT'D)
CHARGE!
He wheels toward Jackson T. Grady (Jay's agent in contemporary
life), now a Confederate private—his rifle shaking.
GENERAL (CONT'D)
Who are you fighting for, soldier!?
Tear-streaked, Grady turns from the battle field and levels
his rifle at the General. FIRES.
The General slams into the grass, motionless. His horse
stands vigil.
EXT. SMALL CEMETERY - DAY
Roses on a pine casket.
Rain spots the wood.
A shovel digs into the wet earth. Over and over.
A ringed hand slides the casket lid aside.
The General sits up. Ghost pale. Rain-lashed.
Mist rises over the river.
Distant MOANS of dying soldiers.
A covered bridge emerges from the fog.
GRADY (O.S.)
(feeble)
General.
Behind him—
Grady emerges out of the sickly, blue haze. Face covered in
lesions. A dark-bore hole in his forehead.
He offers a limp, palsied salute.
The General searches the soldier's hollow face—then snaps a
sharp, rigid salute.
GENERAL (V.O.)
We slipped past the abyss.
EXT. PERIMETER OF SMALL CEMETERY - CONTINUOUS
Jay glances at the gravedigger, who leans on his shovel and
wipes his brow.
The Sheboygans stand away under a shady tree.
The General turns to Annie and Jay.
GENERAL
The cause survives.
Annie meets the General's eyes.
The General locks eyes with Jay. Neither man flinches.
Genres:
["Historical Drama","War"]
Ratings
Scene
30 -
Crossing Over
EXT. TRAIL - DAY
Jay, Annie and Terence creak along in the wagon.
ANNIE
He's out of his mind.
Jay stares ahead, unsettled.
JAY
He'll be back.
EXT. FIELD - DAY
The wagon emerges from the woods. A sea of tall grasses,
swaying gently in the cool breeze.
Bees BUZZ. Wild flowers dance in the wind.
Terence hands Annie several pieces of hardtack.
She bites a piece, nearly cracks a tooth. Eyes it with
disgust.
Annie offers Jay a piece, but he's distracted.
She cracks it against the wagon railing.
JAY
Terence?
TERENCE
Sir?
JAY
Has the war ended?
Terence is confused.
TERENCE
Ended?
JAY
Appomattox. Did the South surrender?
Quietly resigned, Terence gazes toward the horizon.
TERENCE
Don't reckon General Lee will ever
bow to that man.
Jay starts rocking back and forth, anxiously. He positions
to jump off, but hesitates.
JAY
What day...what day is it?
Terence looks over, concerned.
JAY (CONT'D)
Stop. Stop please. I need to get
off.
TERENCE
But the cabin—
Jay stands up.
JAY
PLEASE! TERENCE!
Terence slows the wagon. Jay leaps off.
Annie scrambles down, follows him into the field.
The rising wind whips the tall grasses.
She catches up, shielding her eyes from the bright sun.
ANNIE
What's going on?
He looks toward the horizon, then lashes out—whacking at the
tall grass.
Annie waits.
JAY
The guy at the diner?
ANNIE
Yeah?
JAY
He wasn't just selling tickets.
He locks eyes with her. Annie goes pale, slowly.
ANNIE
We crossed over.
Jay nods his head, slowly, lips pursed.
Their eyes lock. Reality begins sinking in.
ANNIE (CONT'D)
Terence can take us back to the
bridge.
Jay shakes his head.
JAY
What if he's punished?
(Annie squints)
For helping us?
Annie exhales, shoulders slump. Jay rubs the back of his
neck.
ANNIE
We can walk back.
Jay looks at Annie, incredulous. She protests.
ANNIE (CONT'D)
It's not that far.
JAY
Walk unarmed? Through a war zone?
Annie blinks. Jay steadies his breathing. He looks at her,
deadly serious.
JAY (CONT'D)
Grant and Lee never met.
Her eyes soften with understanding.
ANNIE
You know that's not true.
JAY
Yeah, I do.
(beat)
For now.
He holds her gaze.
JAY (CONT'D)
But they don't.
Genres:
["Historical Fiction","Drama","War"]
Ratings
Scene
31 -
Secrets of the Shack
EXT. CLEARED LAND - DAY
The wagon rolls off the trail and into a clearing.
Up ahead: a weathered wood shack. Stray chickens peck at
the dirt. A mangy mutt dozes on the porch.
TERENCE
They separated Ms. Sadie from the
others because what'd her son done.
JAY
What was that?
TERENCE
Escape.
Annie and Jay exchange a look.
TERENCE (CONT'D)
They don't like property gettin'
ideas.
FLASH CUT
Lewis running through darkness, rain pouring.
Jay leans in.
TERENCE (CONT'D)
Bottom fell out good that night.
(beat)
Put the dogs on him.
FLASH CUT
Lewis cautiously approaches the man with lantern.
JAY
But he reached a safe house. A man
with a lantern.
Terence looks ahead, eyes forlorn.
TERENCE
Lewis ain't never comin' back.
(beat)
They kill him if he tries.
Jay glances at Annie, unsettled.
TERENCE (CONT'D)
They took Ms. Nelli when she only
thirteen.
Jay and Annie share a tense look.
The afternoon sun bears down. A rising CHORUS of cicadas.
Terence pulls on the reins, stopping the wagon.
TERENCE (CONT'D)
I'll be here.
Jay and Annie climb down, heading for the shack.
He steps over a sleeping mutt. Glances back at Annie.
He knocks. Waits. Knocks harder.
The door OPENS.
An African-American AIDE, 60s. Proud bearing. Simple
clothes. Calm, unreadable eyes.
Jay and Annie take her in, intrigued.
JAY
Hello.
The Aide smiles, lips pursed. Jay hesitates.
JAY (CONT'D)
Is...Ms. Sadie here?
She looks at Jay, quizzical.
AIDE
She always here.
The Aide glances at Annie.
ANNIE
Hello. I'm Annie.
The Aide's expression doesn't change.
JAY
May we speak with her?
The Aide studies them a beat. Steps aside.
Genres:
["Historical Drama","Mystery"]
Ratings
Scene
32 -
A Search for Family
INT. SHACK - DAY
Dirt floor. Single bed. Table. Hearth.
By the hearth sits SADIE, 50s—frail, nearly blind, hands
gnarled with arthritis. She knits slowly.
The Aide resumes her post beside her.
Annie and Jay exchange a worried glance. He turns to the
Aide, who nods.
Jay pulls up a stool, eases onto it.
Sadie pays him no mind.
Jay studies her for a moment, leans in, gentle.
JAY
Hello, Sadie.
She twitches, turns her head slowly toward him.
SADIE
Who's that?
JAY
My name's Jay. And my friend Annie.
ANNIE
Hello, Sadie.
Sadie considers them. Jay and Annie wait.
She reaches out—finds Jay's hand. Begins to massage it,
searching.
SADIE
Who you say your name was?
Jay hesitates, then stiffens.
JAY
Jay Williams. Jay Lewis Williams.
Sadie's face lights up.
SADIE
Where you get that name? Lewis?
JAY
From my mother. My birth mother.
Sadie lifts a hand, traces his face. He stiffens—then
steadies himself, takes her hand.
JAY (CONT'D)
I never knew her.
Jay wipes at his eye. Annie watches, quietly.
Sadie fixes her glassy gaze on him, mirroring his emptiness.
SADIE
They told me Lewis went to Kansas
City.
Jay's breath catches. He glances at Annie.
JAY
I was born in Kansas City. My mother
put me up for adoption.
(beat)
I never knew her.
Sadie furrows her brow. Starts rocking in her chair.
SADIE
Why your Mama do that?
Jay lets out a small, pained chuckle.
JAY
I don't know.
Sadie stops rocking, exhales heavily.
SADIE
When you go back north...can you
look for Lewis?
Jay blinks—unsure.
SADIE (CONT'D)
And my sweet baby girl! She didn't
do nothin' to nobody!
Jay swallows.
She reaches into a small satchel. Removes a folded news
clipping. Smooths it carefully.
Jay glances at Annie. They exchange tight smiles.
Sadie hands him the clipping.
He unfolds it.
SADIE (V.O.) (CONT'D)
To all: I seek my daughter, Nelli,
now seventeen. Stolen from me four
years ago. If you know where my
baby girl is, kindly address Sadie,
U.S. Route 19, Wainwright Plantation,
Centerville.
Jay and Annie lock eyes in a silent understanding.
Sadie reaches into her satchel again. Removes a locket.
She cradles it, hand trembling.
Sadie presses it into Jay's hand.
SADIE (CONT'D)
The Colonel be real mad if he knew
you had that. Real mad.
Jay closes his fist around the locket.
He looks at Sadie.
She rocks, jaw set.
EXT. SHACK - DAY
Jay steps outside, the locket tight in his grip.
Annie meets his eyes.
He brushes off some dust and opens the locket.
A faded photo of Sadie and Nelli, four years earlier.
He traces the frame, eyes fixed on the image.
He looks up at Annie.
JAY
Time to find Nelli.
Genres:
["Drama","Historical","Mystery"]
Ratings
Scene
33 -
Defiance at the Edge of the Woods
EXT. EDGE OF WOODS - DAY
Annie and Jay approach, faces grim.
They climb onto the wagon. Silence.
Terence notices, then softly flicks the reins.
The wagon wheels turn, slow and steady.
The three of them rock gently.
The wheels THUMP THUMP on the path.
Jay gazes at Terence, hesitates.
JAY
Terence—what kind of "business" is
Wainwright?
Terence shoots Jay a fearful look.
TERENCE
Agriculture.
JAY
What's the Colonel grow?
Terence hesitates.
JAY (CONT'D)
Cotton. He owns the cabin, doesn't
he? And all its residents: Sadie,
Nelli, Lewis. His chattel.
The two men share a tense glance.
TERENCE
Wainwright ain't part of the tour.
Jay goes still—like a switch just flipped.
JAY
Who says?
Without a word, he grabs the rifle, climbs down, walks away.
ANNIE
Jay! What are you doing?! Stop!
Annie glances desperately at Terence.
ANNIE (CONT'D)
I'm sorry, Terence!
(turns toward Jay)
Jay, stop!
Annie jumps down.
ANNIE (CONT'D)
Wait for me!
She rushes over and grabs his hand.
ANNIE (CONT'D)
You're not expected to be a hero.
She stands firm. Their eyes lock.
JAY
Nobody asked me to bear witness,
either.
Annie locks eyes with him. Defiant.
ANNIE
Then I'm coming.
Annie turns back toward Terence.
ANNIE (CONT'D)
I'm going with him!
Jay clutches the rifle, Annie stays close. Each step slower,
their eyes scan the trees.
Terence watches them diminish down the path.
He inhales, then SNAPS the reins.
The wagon lurches forward.
Genres:
["Drama","Historical"]
Ratings
Scene
34 -
Arrival at the Plantation
EXT. PATH - DAY
All three aboard, the wagon rattles down the trail.
EXT. PLANTATION DRIVEWAY - DAY
Terence turns onto the sprawling plantation.
Massive live oats line the driveway.
Jay stares at the white manor house.
Enslaved people working the fields.
The DRONE of work songs hangs in the damp air.
Two MEN build a stone wall nearby.
One swings a sledgehammer—the gravedigger. His scarred back
exposed.
Jay locks eyes with him.
SMASH!
Jay flinches.
AT A CHAMBER WINDOW
The Colonel watches through binoculars.
EXT. PLANTATION MANOR HOUSE - FRONT STEPS - DAY
The wagon stops.
Servants step forward. Jay helps Annie down.
TERENCE
(ashen)
Sir. Please.
JAY
We're here for a reason.
Jay follows Annie up the stairs.
Terence stays behind.
INT. PLANTATION MANOR HOUSE - FOYER - DAY
The Colonel descends a grand staircase.
He reaches for the hall gun—
—thinks better of it.
Genres:
["Drama","Historical","Mystery"]
Ratings
Scene
35 -
Confrontation at the Plantation
EXT. PLANTATION MANOR HOUSE - FRONT STEPS - DAY
Annie greets the Colonel's wife.
COLONEL'S WIFE
I don't believe we've met.
ANNIE
Annie Perkins.
The Colonel steps onto the portico, sizing up Jay.
COLONEL
And you are?
JAY
Jay Lewis Williams.
Jay offers his hand.
The Colonel stiffens.
COLONEL
Lewis?
(steps closer)
Had a boy named Lewis.
FLASHBACK:
Lewis blind-sides the Colonel sitting in his lounge chair.
He loops a noose around the Colonel's neck.
Snaps it tight, starts dragging him.
The Colonel kicks his legs. A cocktail tray shatters.
The kicking stops.
Lewis bolts toward the treeline.
ON THE COLONEL
His open mouth. A hint of blue breath.
His eyes snap open—icy and hollow.
END FLASHBACK
The Colonel's cold stare pins Jay, who stares right back.
COLONEL (CONT'D)
That boy tried to kill me.
The Colonel puffs his chest—a pistol tucked in his waistband.
Annie bristles.
ANNIE
You're surprised?
The Colonel sweeps a bow—never breaking eye contact with
Annie.
COLONEL
Jeremiah Wainwright—they call me the
Colonel.
The wife turns to leave—pausing to whisper to Annie:
COLONEL'S WIFE
Real colonels fight and die for the
Confederacy.
She smiles spitefully, disappears inside.
Annie's gaze snaps back to the Colonel. Her spine stiff,
smile razor-thin.
ANNIE
Annie. Perkins.
The Colonel narrows his eyes, gazes at Annie.
COLONEL
Perkins? Perkins?
He steps uncomfortably close to her.
COLONEL (CONT'D)
To what do we owe this honor?
Annie shoots a look at Jay.
JAY
Research.
COLONEL
Research?!
Jay nods, jaw firm. Their eyes lock.
COLONEL (CONT'D)
Wish you the very best of luck.
The Colonel motions.
Two GUARDS, one armed, surround Jay. He stares at them,
defiantly.
The guards grab Jay.
ANNIE
What are you doing! Stop!
He struggles mightily as they lead him away.
ANNIE (CONT'D)
Let him go! Jay!
Jay glances back at Annie.
Her eyes follow him until he vanishes around the corner.
She momentarily freezes. Then turns squarely to the Colonel.
ANNIE (CONT'D)
You'll never win.
The Colonel gazes at her.
COLONEL
But we already did.
Annie steadies her breathing.
Her eyes track where Jay vanished.
Nearby, an enslaved woman sweeps.
She stands, gazes defiantly at the Colonel.
ANNIE
Where is he?
EXT. PLANTATION SHED - DAY
A surly guard throws Jay threadbare, Negro-cloth overalls.
He examines them, looks up in disbelief.
JAY
Whose are these—
Wham. The guard slams the weapon into him.
Jay crumples, gasping.
Genres:
["Drama","Historical","Thriller"]
Ratings
Scene
36 -
Confrontation and Captivity
INT. PLANTATION MANOR HOUSE - FOYER - CONTINUOUS
Annie and the Colonel enter.
Her eyes scan, calculating.
The Colonel grips her elbow. Tight.
COLONEL
You look plum fatigued.
An enslaved WOMAN appears, offers a tumbler.
The Colonel takes it, then extends it to Annie.
She hesitates—then takes it.
He drinks, never breaking eye contact.
Annie suddenly FLINGS her drink in his face.
ANNIE
Where is he?
A distant cry—
JAY (O.S.)
HELP!
Annie turns sharply—
ANNIE
JAY!?
The Colonel SNATCHES her wrist, twists—she gasps, buckles.
COLONEL
Welcome home, Annabelle.
She jerks free, eyes blazing.
ANNIE
This will never be my world.
He smiles, unmoved.
COLONEL
Your Daddy thought otherwise.
She steps in, low and sharp:
ANNIE
Check your facts.
A beat. Tension.
Then—he BACKHANDS her.
She stumbles hard. Hits the staircase.
He advances.
Annie bolts up the stairs.
EXT. ENSLAVED PERSONS QUARTERS - DAY
Jay staggers past the workers, his wrists bound and bleeding.
Hushed WHISPERS:
PERSON1
Who's that!? That Lewis?
PERSON2
(long stare over)
Ain't Lewis! Nobody ever catchin'
that boy.
Struggling mightily, Jay's dragged toward a shack.
The guards open the padlock, fling open the door.
A guard cold-cocks him. He hits the ground.
FROM AFAR
Field hands pause. A beat. Heads drop, the picking resumes.
INT. THE BOX - DAY
Rays of light pierce the dust.
Jay's breathing ECHOES, detached from his own body. Hazy
consciousness.
He stumbles to his feet, shaky, unsteady.
A bound, enslaved PRISONER crouches in the corner. He
MUMBLES—low, broken, unintelligible.
Genres:
["Drama","Historical","Thriller"]
Ratings
Scene
37 -
Trapped and Defiant
INT. PLANTATION MANOR HOUSE - CHAMBER - DAY
Annie presses her ear on the door. Unsure.
Silence. Her eyes riveted on the knob.
A key CLINKS.
She steps back, mouth open.
Knob turns. The Colonel steps in, holding the key.
Locks it behind him.
COLONEL
Delighted to see you again.
Annie backs toward the bed. Trapped.
She shifts—softens.
ANNIE
Now Colonel, your lovely wife—
COLONEL
She's of no consequence.
Now trapped against the bed. A beat.
ANNIE
What would my Daddy think? You
carrying on like this?
He smiles, stepping closer—confident.
She lowers onto the bed.
He steps between her legs.
Her hand slides to his waistband—other hand into his coat—
She looks up—
Then DRIVES her knee into his groin.
He collapses—HOWLING.
She yanks the key free—runs—
INT. STAIRCASE – CONTINUOUS
She flies down the stairs.
ANNIE
HELP!
Behind her—the Colonel staggers out—pistol drawn.
COLONEL
DO YOU KNOW WHO I AM?
Genres:
["Drama","Historical","Thriller"]
Ratings
Scene
38 -
A Moment of Violence and Reflection
INT. THE BOX - DAY
Jay POUNDS on the door—
JAY
ANNIE!
INT. FOYER – CONTINUOUS
Annie CRASHES onto the floor.
She's motionless, supine.
Lifts her head, woozy. Her eyes register the rifle at the
front door.
COLONEL (O.S.)
My turn.
Her eyes widen. She whips her head around—the Colonel looms
over her, pistol trained.
BOOM!
Annie freezes. Then SCREAMS as the Colonel's body crashes
toward her.
He face-plants on his cherished floor.
REVEAL
His wife stands in the doorway, rifle smoking.
Still. Hollow.
Annie stares—shaken.
The rifle slips from the wife's hands. CLATTER.
She doesn't react.
Annie slowly rises, takes the rifle.
The wife turns—drifts up the stairs.
Annie watches her go—breathing hard.
Then—
JAY (O.S.)
Annie!
Annie snaps back. Grips the rifle—and moves.
EXT. PLANTATION - VERANDA - CONTINUOUS
Movement catches Annie's eye.
Two barefoot children crouch beneath the veranda. Muffled
giggles.
They blow dandelion seeds into the air.
The seeds scatter—gone before they land.
Annie stills.
Genres:
["Drama","Historical","Thriller"]
Ratings
Scene
39 -
Breaking Chains
EXT. A CLEARING - DAY
Jay's cellmate is bound to a large oak.
Enslaved workers glance toward the commotion.
INT. THE BOX - CONTINUOUS
Guard 2 pokes his rifle barrel through the barred window.
GUARD 2
You're next, runaway.
He spits a mouthful of tobacco juice.
CRACK. GROANS. Jay's eyes widen.
Another CRACK. He flinches.
INT. PLANTATION MANOR HOUSE - CHAMBER - CONTINUOUS
Sunlight streams over the prayer desk.
The Colonel's wife kneels. Finishes the Lord's Prayer.
Crosses herself.
She gazes out the window.
Then moves to the dressing table.
Unpins a small Confederate brooch. She studies it.
O/S CRACK of a whip. She flinches. A beat.
She sets it on the floor. Her heel comes down—CRUSHING the
brooch into jagged shards.
INT. THE BOX - CONTINUOUS
Jay notices the jail door isn’t locked. Breath catches.
INT. MANOR HOUSE - CHAMBER - CONTINUOUS
The wife unpins her bun. Her hair spills down.
She peers into the mirror. Her gaze hardens.
Reaches for a pair of gold scissors. Lifts the scissors.
Cuts roughly at chin level.
Dark clumps tumble to the floor around her hem.
O/S CRACK of a whip.
CLOSE ON Guard 1, enjoying his cigarette, watching. A cruel
grin forming on his lips.
EXT. THE BOX - DAY
Jay EXPLODES from the cell.
He body-slams Guard 1. They crash to the dirt, trading blows.
Nearby, Annie takes aim at Guard 1—the hammer drops. Silence.
She wrestles with the jammed bolt.
Guard 2 flings his butt, grabs his rifle, aims at Jay.
Annie watches, horrified. She tosses the rifle and races
toward Jay.
BANG! She freezes. Eyes wide.
Guard 2 teeters like a tall tree. His eyes bulge.
He face-plants. A bloody spot spreads across his back.
Annie looks around, frantic.
ON TERENCE
...who lowers his rifle, his steady resolve now glimmering
with pride.
Jay shoves Guard 1, sending him reeling into the dirt.
Separated and gasping, they stare at Guard 2's motionless
body.
Jay grimaces, massaging his shoulder.
Annie reaches him, trembling.
ANNIE
I tried Jay! I...I swear!
Jay pulls her against him.
ANNIE (CONT'D)
I wasn't there for you.
She SNIFFLES, wiping her nose on his rough sleeve.
He pushes away slightly, grips her shoulders.
Their eyes connect, loving.
A group of ENSLAVED stand nearby. Silent witnesses.
Jay gazes over at Guard 2's motionless body.
JAY
Who fired—
They look towards Terence, cutting down the prisoner.
Genres:
["Drama","Historical","Action"]
Ratings
Scene
40 -
Silent Resolutions
INT. PLANTATION MANOR HOUSE - CHAMBER - CONTINUOUS
A silk gown folded neatly on the bed. She lifts fancy evening
shoes, her fingers brushing the straps. A flicker of loss
crosses her face.
She brushes a strand of hair from her eyes, reaches under
the bed for worn, sturdy walking shoes.
Drops them into her bag, hand lingering on the latch.
She closes it with quiet resolve, jaw set, eyes forward.
She descends the staircase slowly, carrying the bags.
At the bottom, an enslaved woman sits, sobbing.
The wife pauses, squeezes her hand.
COLONEL'S WIFE
Your prayers have been answered.
Smiles warmly, turns toward the front door.
EXT. THE BOX - CONTINUOUS
Jay breathes heavily, chest rising and falling. His gaze
lingers Guard 2’s lifeless form.
He shoots Annie a glance. Silent acknowledgment of what's
been done.
Terence squats, carefully cuts the prisoner down.
The prisoner's bruised, broken body sags into the arms of an
enslaved woman, who cradles him.
Terence rises, dark blood matted on his cuffs.
Jay and Terence lock eyes. A wordless understanding passes
between them.
They approach each other, embracing with a gravity.
Annie steps closer, a silent observer.
Genres:
["Drama","Historical","Thriller"]
Ratings
Scene
41 -
A Stand for Freedom
EXT. PLANTATION DRIVEWAY - CONTINUOUS
Jay, Annie and Terence stand in a loose circle.
TERENCE
Couldn't sit on my hands no more.
Jay and Annie gaze warmly at their friend.
A SILENCE.
Annie signals Jay to turn around.
A growing crowd of enslaved people fix their eyes on him.
He gazes at the hopeful, frightened crowd. Locks eyes with
the sledgehammer man.
JAY
I am your witness.
(beat)
All of this...it's over.
Annie wipes a tear. He scans the stunned crowd.
JAY (CONT'D)
You can leave.
(beat)
Nobody will stop you.
No reaction. Eyes shift between Jay and the manor house.
He shifts, impatient.
JAY (CONT'D)
GO!
VOICE IN CROWD
Amen...
A tense beat. Another voice rises—uneasy.
VOICE IN CROWD (CONT'D)
What about the Man!?
The mention of the Colonel hangs heavy.
Jay looks toward the manor house. Annie follows his gaze.
They see—
The wife stands on the porch, bags at her feet. Diminished.
BACK ON JAY
Annie meets Jay's gaze, then declares to the crowd:
ANNIE
(shouting, emphatically)
The Colonel will never again hurt
you! Never!
The crowd MURMURS, restless.
VOICE IN CROWD
Where ya been, Lewis?
Jay blinks, jaw firm, turns to the crowd and shouts:
JAY
I was lost.
He looks at them, longingly.
JAY (CONT'D)
...up North.
Hope ripples through the crowd—some wipe their eyes.
Jay and Annie hold each other's gaze.
Genres:
["Drama","Historical"]
Ratings
Scene
42 -
Crossroads of Departure
EXT. PLANTATION DRIVEWAY - DAY
Terence, Jay and Annie climb onto the wagon.
Jay freezes.
JAY
We can't leave.
Annie tilts her head. Jay pulls out the locket. Annie's
eyes widen.
ANNIE
Nelli.
EXT. PLANTATION DRIVEWAY - MOMENTS LATER
Terence guides Safflower down the long driveway.
Jay and Annie watch workers drift back to their chores.
Others trail the wagon, drawn by the uncertain promise of
freedom.
Jay looks back at Wainwright Plantation, holds—
Then meets Annie's eyes. Her lips downturn.
EXT. WOODED TRAIL - LATER
Terence grips the reins, eyes locked on the road ahead.
Annie and Jay stare toward the horizon, both exhausted.
A tear tracks down Jay's face. He doesn't wipe it. She
reaches for his hand, lacing her fingers through his.
He exhales, closes his eyes. His shoulders finally drop.
They pass a scenic crossroads. Jay and Annie's eyes soak in
the late afternoon.
Unbeknownst to them, the glint of bayonets approach in the
opposite direction.
CLOSER ON
A column of BLUE COATS move rhythmically through the dust.
EXT. WOODED TRAIL - DUSK
A Union raiding SQUAD advances: infantry, cavalry, artillery.
Two Black soldiers follow, hauling a field-mounted Gatling.
TIGHTER ON
Lewis, a muscular 20-year-old in Union blues. He bears a
striking resemblance to a younger Jay.
WHITE OFFICER
C'mon! Pick it up, Lewis!
Lewis tightens his grip, sweat streaming. He hauls the
massive weapon through the dirt. Refusing to break.
Genres:
["Drama","Historical","War"]
Ratings
Scene
43 -
Echoes of War
EXT. COUNTRY PATH - DUSK
The wagon rolls through late-afternoon sunlight. Exhausted,
Terence, Annie and Jay rest on the front bench.
TERENCE
I went to war.
(beat)
But God never meant me to be a
soldier.
FLASHBACK:
EXT. CONFEDERATE ENCAMPMENT - EDGE OF WOODS - DUSK
Ravens CAW as buzzards circle overhead.
Deathly blue smoke drifts through pock-marked trees.
TIGHTER ON
Terence stands frozen—his weapon slips from his hands, thuds
softly on the dirt.
Eyes vacant, he turns and walks away from the encampment.
LIEUTENANT
Soldier!
Terence continues walking. The Lieutenant draws a bead—FIRES.
Terence stumbles forward—into the woods.
END FLASHBACK
Terence rocks silently, lost in memory.
Jay watches him, unable to turn away.
Genres:
["Drama","Historical","War"]
Ratings
Scene
44 -
Dusk of Tension
EXT. HOTEL - DUSK
Terence halts the wagon. Dust swirls. The heavy stillness
is broken by distant cannon FIRE.
The gravedigger passes, shovel over his shoulder, blade
streaked with damp earth.
Jay and the gravedigger exchange wary glances.
JAY
What's he doing?
TERENCE
Bracing—
Jay glances at Annie.
JAY
Union soldiers?
Terence nods, face drained.
JAY (CONT'D)
Let's go.
They leap down, race up the hotel steps.
A Confederate sharpshooter tracks them from the rooftop.
INT. HOTEL LOBBY - DUSK - CONTINUOUS
Jay and Annie weave through frantic battle prep.
Across the hall, the Sheboygans sit slumped, hollow-eyed—as
if already condemned.
Wright pulls a revolver from a drawer, sets it on the desk,
hand lingering. Her charm gone; eyes sharp, predatory.
Genres:
["Drama","Historical","War"]
Ratings
Scene
45 -
Desperate Measures
INT. SECOND FLOOR LANDING - DUSK
They reach the landing. Annie scans frantically.
ANNIE
Where is she!?
GUNFIRE erupts. Jay stares at the chaos below.
ANNIE (CONT'D)
(jumpy)
I don't see her.
Jay turns, locks eyes.
JAY
Six medals. Six graves.
ANNIE
What?
JAY
We're the last two.
Her face pales.
JAY (CONT'D)
Get your stuff.
Annie bolts. Jay slips inside his room, closing the door
softly.
Longer burst of GUNFIRE. SCREAMS.
INT. ANNIE'S HOTEL ROOM - CONTINUOUS
Annie enters. Freezes.
A REBEL SHARPSHOOTER—he spins, rifle up.
She throws up her hands.
ANNIE
No! I'm a guest! That's my bag!
She forces a terrified smile.
A beat. He lowers the rifle.
She grabs clothes from her backpack.
JUMPCUT TO:
She steps from behind a Victorian screen.
He studies her modern outfit, confused. He turns back—
A bullet RIPS through him. Another WHINES past Annie.
She dives, scrambles out.
Genres:
["Drama","Action","Historical"]
Ratings
Scene
46 -
Revelations and Confrontations
INT. JAY'S HOTEL ROOM - CONTINUOUS
Jay, now in contemporary clothes, brushes dust from a locket.
Opens it. Studies the faded photo.
KNOCK.
He shuts it.
Door creaks open. Nelli stands there.
JAY
Nelli!
NELLI
Sir, you're wanted downstairs.
She's cold, unflinching.
JAY
You need to see this.
Jay grips the locket.
Nelli recoils—then edges closer, eyes fixed.
She looks up at Jay, wary.
NELLI
Where'd you get this?
JAY
Your mother.
NELLI
My mama's been dead a long time.
JAY
She's alive. The Colonel took you—to
punish her. For what Lewis did.
She stares at Jay, unsure.
NELLI
My mama's—
Jay nods.
NELLI (CONT'D)
Who are you?
He hesitates.
JAY
I'm your...kin.
She stares. Fingers scrub the locket faster—
Cold metal presses to her face.
CYNTHIA WRIGHT
(clutching a pistol)
Downstairs.
JAY
(hands up)
Hey—
He stumbles back. Nelli trembles.
We glimpse Wright's wrist tattoo.
CYNTHIA WRIGHT
Now.
Click.
Jay tenses.
Annie SLAMS Wright. The gun FIRES. They crash to the floor.
CUT TO:
Jay aims at Wright. She glares at him.
Annie offers Nelli a gag.
Nelli studies it. Then smiles, slow and defiant.
Genres:
["Drama","Historical","Thriller"]
Ratings
Scene
47 -
Chaos at the Hotel
EXT. HOTEL - EARLY EVENING
Union riflemen erupt in gunfire.
Lewis braces the Gatling.
RAT-A-TAT-TAT shreds the twilight. Bullets rake the hotel.
The facade erupts in splinters and shattered glass.
The Gatling falls silent. Lewis pauses the feed, horrified
by what he glimpses.
Another volley. Screams rise.
A mother shields her child. A bullet splinters the wall
beside them.
INT. ASSEMBLY ROOM - CONTINUOUS
The General storms in, pistol raised.
GENERAL
To the stairs! Move!
He shoves Joel and Bill out. The wives watch, terrified.
INT. SECOND FLOOR LANDING - EARLY EVENING
Annie, Jay, and Nelli look down.
Soldiers surge. Civilians cower. Union fire dominates.
Jay turns to Nelli.
JAY
Any fire escapes?!
Nelli frowns.
JAY (CONT'D)
Backstairs!? Side stairs!?
NELLI
Servant stairs?
JAY
Show us!
They rush off.
Genres:
["Historical Drama","War"]
Ratings
Scene
48 -
A Moment of Mercy in Chaos
INT. HOTEL BACK STAIRCASE - EARLY EVENING
They reach a door. Jay lifts the revolver—opens it carefully.
Below, a REBEL SOLDIER hides from incessant Union fire.
Jay signals them to stay, descends.
INT. BOTTOM OF BACK STAIRCASE - EARLY EVENING
Jay presses his gun to the soldier's head—a terrified 14-
year-old.
BOY SOLDIER
Please mister...
Jay lowers the weapon.
JAY
Give me your rifle.
The boy obeys. Jay pulls out his room key.
JAY (CONT'D)
Upstairs. Last door on right. A
woman inside. Do not engage.
The boy nods, tears welling. He heads up.
A bullet SPLINTERS the frame.
Jay crouches.
A Confederate marksman lies prone outside.
Jay EXHALES, lowers the rifle.
Then—CRACK, a bullet tears into his leg.
He SCREAMS, collapses.
The Confederate soldier is killed by Yankee fire.
Nelli drops beside Jay, tearing a strip from her dress.
He watches, stunned.
INT. JAY'S HOTEL ROOM - EARLY EVENING
The boy unlocks the door, edges inside.
Wright thrashes in a chair—gagged.
He freezes as she CRASHES to the floor, eyes wild.
Muffled screams. The boy holds his ground.
Genres:
["Drama","Historical","War"]
Ratings
Scene
49 -
A Desperate Escape
INT. HOTEL BACK STAIRCASE - EARLY EVENING
Annie slings the rifle.
She and Nelli haul Jay up.
JAY
Union soldiers behind the hedgerow.
Annie and Nelli look across the opening.
ANNIE
Ready?
They lock eyes.
ANNIE (CONT'D)
One...two...three!
They bolt from the stairwell.
Jay stumbles. They catch him.
Gunfire ERUPTS. Splinters fly.
Nelli spins—FIRES.
They dive behind the hedge as a Union soldier rounds it—rifle
raised.
Annie stiffens. Her gaze narrows.
ANNIE (CONT'D)
Help him!
EXT. BEHIND UNION LINES - LATER
A medic wraps Jay’s leg. Annie stays close.
Gunfire fades. Nelli stands guard.
NELLI
I don't see him.
ANNIE
He'll be there. Terence always is.
Union soldiers pass. Lewis scans—
He and Nelli lock eyes. Recognition.
She runs to him—they collide in a fierce embrace.
Nelli points at Jay.
Lewis and he lock eyes. A quiet understanding passes.
Annie watches, swallowing hard.
A shout—
COMMANDING OFFICER (O.S.)
TAKE HIM OUT! NOW!
A soldier's rifle jams. The officer grabs it—then takes a
round to the shoulder. Drops it.
Annie snatches the rifle, braces, FIRES. The kick rattles
her, but she holds on.
The rooftop sharpshooter falls—THUD.
The officer stares.
Annie meets his gaze—shaken, breathless, a flicker of triumph.
Genres:
["Drama","Action","War"]
Ratings
Scene
50 -
Rubble and Reflection
INT. HOTEL LOBBY - EARLY EVENING - CONTINUOUS
The General drives the Sheboygans onto the porch.
GENERAL
Rouse thy strength, men! We've a
fight.
He slips inside, locks the door. CLICK.
EXT. BEHIND UNION LINES - EARLY EVENING
Annie spots the Sheboygans.
Nearby, an artillery commander points.
COMMANDER
FIRE!
BOOM!
A cannonball SLAMS the porch—collapsing it in a cascade of
rubble.
EXT. BEHIND THE UNION LINE - EARLY EVENING
Annie and Jay—now on a crutch—stare at the ruins.
Jay puts an arm around her.
JAY
C'mon, Terence is waiting.
EXT. TRAIL IN THE WOODS - SUNRISE
The wagon rolls through morning light.
Annie cradles Jay's leg in back.
Up front, Terence and Nelli—she grips a shotgun.
TERENCE
Seventy-five minutes until you're
stuck on this side.
He glances at his watch, frowns.
TERENCE (CONT'D)
Hang on.
Terence SNAPS the reins. The horse surges forward.
ANNIE
You okay?
JAY
I'll live. You?
Annie adjusts Jay's leg in the back of the wagon.
ANNIE
Yeah.
She adjusts his leg.
ANNIE (CONT'D)
Next time...maybe north of the Mason-
Dixon?
He smiles faintly. They rest their foreheads together.
Nelli watches Terence.
NELLI
You didn't have to. At the big house.
Why?
Terence grips the reins tighter.
TERENCE
I know what I saw.
She nods, holding back tears.
Genres:
["Drama","Historical","War"]
Ratings
Scene
51 -
The Bridge of Connection
INT. COVERED BRIDGE - DAY
Heavy rain lashes the sides. Thunder rolls. Lightning pops.
Inside, a circle of light glows, cutting through the darkness.
Jay and Annie stand with Nelli and Terence in the center.
Terence grips the rifle, jaw tight, eyes flicking around.
JAY
If you need us—
They lock eyes. Terence watches.
NELLI
Follow the moss.
Nelli raises the locket toward Jay.
NELLI (CONT'D)
Thank you.
Jay softens, nods.
ANNIE
Thanks for the escort.
A brief silence. The wind rattles the old, creaking bridge.
TERENCE
We have unfinished business.
The glow around them intensifies.
Jay reaches out; Nelli takes his hand. Annie mirrors him
with Terence.
A heartbeat—four locked in the circle, a chain of history,
hands trembling, eyes wide.
The glow SURGES. A low HUM grows, shaking the bridge.
MATCH CUT TO:
EXT. COVERED BRIDGE - DAY (PRESENT)
The storm has passed. The circle is broken.
Jay and Annie stand motionless, hands still linked.
Annie blinks, examines her palms, awe on her face.
A quiet wind. Birds. Sunlight from Park side.
The far end FADES—boards turning to mist.
Jay grips Annie's hand, leading her off as the bridge vanishes
behind them.
They stare at the empty span—only river and sky.
ANNIE
They're home.
He nods. A beat. His phone BUZZES.
JAY
We are too.
He checks it, slips it away.
Lifts his crutch, bends his knee.
They turn and start up the path.
Genres:
["Drama","Historical","Action"]
Ratings
Scene
52 -
Whispers in the Woods
EXT. DEEP WOODS - DAY
Annie follows Jay as he walks steadily up the path.
ANNIE
So, after he sold the factory, he
didn't just, you know, leave town-
Jay stops.
JAY
I know.
She narrows her eyes, questioning.
ANNIE
You know—
JAY
He bought slaves.
Annie stiffens.
JAY (CONT'D)
The Colonel sold him bad seed.
Nothing took. He went bust.
Her eyes narrow, doubtful.
ANNIE
But he had a plan.
Jay throws her a slight, exasperated glance.
JAY
He was a fool, not a monster.
She kicks a pine cone, her eyes searching Jay's face.
DISSOLVE TO:
Jay stick-beats through the overgrowth. They enter a small
clearing. Annie stops, abruptly.
ANNIE
Who took Stonewall?
A chill breeze sweeps past.
Her eyes scan the ground—an empty plinth choked by butchered
vines.
Jay blinks. A crow SQUAWKS.
JAY
Just...keep moving.
They quicken pace, dead leaves crunching.
FADE OUT:
FADE IN:
A drum stick TAPS the rim of a drum. A fiddle TEASES out a
mournful DIRGE.
Silhouetted on a berm: the fiddle boy and his towering, gaunt
drummer.
Genres:
["Drama","Historical","War"]
Ratings
Scene
53 -
Burial of Heroes
EXT. GRAVEYARD - DAY
A small, restless crowd gather in drab funeral attire.
Tattered rebel flags mark individual graves.
Four pine boxes are carried to the burial sites. Two open
graves remain.
TIGHT ON: Bonnie Blue war medals, pinned to each coffin.
The General, off to one side, fidgets with two Bonnie Blue
medals in his gloved palm.
The preacher man clutches a bible.
PREACHER MAN
These four Confederate heroes—
(angrily)
Cut down by Yankee raiders.
The crowd RUMBLES—feet pounding.
CROWD MEMBER
Murderers!
He heaves his arms to the heavens.
PREACHER MAN
Send our martyrs north!
The crowd ROARS their approval.
A mournful Southern DIRGE rises—
-AUDIO DISSOLVE into DISTANT SIRENS.
SUPER: ONE MONTH LATER
Genres:
["Drama","Historical","War"]
Ratings
Scene
54 -
Tension and Reflection
EXT. RESIDENTIAL STREET, BROOKLYN - EARLY EVENING
A police car SCREECHES to a stop outside a brownstone.
Two cops leap from the cruiser, sprint up the stoop.
Sirens ECHO down the street.
INT. JAY'S APARTMENT - CONTINUOUS
Jay peers through a curtain, face lit by FLASHING police
lights.
His eyes lock on a white Corvette pulling up the block.
The Colonel and Recruiter step out—in boots and bolos.
They prowl the sidewalk, scanning windows like predators.
They stop beneath Jay's window.
Jay steps back—his fingers twitch, fists tighten.
The Recruiter glares up. A beat.
A match STRIKES—
The Recruiter lights a cigar. Bluish smoke curls upward.
He tilts the lit end. The Colonel lights his, a brief nod.
They inhale slowly, savoring the smoke. In control.
Jay breaths out, shallow.
The Recruiter points his cigar at Jay's window. A muffled
line. The Colonel nods.
Jay's heart pounds. A long beat.
The Recruiter and the Colonel move on down the sidewalk.
Jay's shoulders slump.
A distant SIREN wails, then fades into the neighborhood hum.
INT. ANNIE'S APARTMENT - EARLY EVENING
Annie removes bubble wrap.
Her ancestor's photograph.
She cradles it. Her reflection floats over her ancestor.
She centers it on the mantel. Light glints off the silver
frame.
Annie steps back. Evaluates. Hesitates.
She moves it to the end of the mantel.
A gentle exhale.
A mournful BUGLE rises.
Genres:
["Drama","Historical","War"]
Ratings
Scene
55 -
Echoes of the Past
EXT. HISTORIC BATTLEFIELD - DAY
Old headstones dot the grassy knoll.
Early morning sun glints off weathered granite. The four
Sheboygans walk slowly, reading inscriptions.
JOEL (V.O.)
We wanted to trace Lee's steps:
Gettysburg to Bristoe. Cold Harbor
to Petersburg.
He pauses at a worn headstone, fingers brushing mossed
lettering.
GINNY (V.O.)
Some things are meant to be
remembered.
A distant POP echoes. Lingering musket fire.
EXT. JOEL AND GINNY'S - BACK PATIO - EARLY EVENING
A group of Midwesterners, early 60s, mingle at a cookout.
The smell of grilling drifts lazily through the air.
Joel and Ginny stand slightly apart.
GINNY
We've always been told a different
story.
JOEL
For over a century and a half, we
accepted all the myths—Appomattox...
He takes a deep breath, as if he's suffering.
JOEL (CONT'D)
But now we know—don't we Ginny?
Forks pause mid-air.
GINNY
The war...never ended.
A hush falls over the crowd. Eyes dart, whispers begin.
Ginny and Joel's eyes meet—unspoken understanding. The seeds
are sown.
Genres:
["Historical Drama","War"]
Ratings
Scene
56 -
Confrontation in the Tunnel
EXT. NYC PARK - TUNNEL - TWILIGHT
Darkness pools at the near entrance. Far end: a blinding
rectangle of sunlight.
Annie's eyes stay fixed on the distant light. She glances
at Jay.
ANNIE
What are you going to say to him?
Jay leans against the arch, scrolling his phone, eyes flicking
to her.
JAY
He's got a lot of explaining.
A MAN approaches through the glare—slow, deliberate.
Footsteps CLACK.
Annie tenses.
ANNIE
Someone's coming.
Jay raises his sight halfway, scanning the tunnel. A dark
shadow crosses the stranger's face, glinting in his eye.
Jay tightens his fists.
CLACK. CLACK CLACK. CLACK CLACK CLACK.
ANNIE (CONT'D)
Jack? Is that you?
The man halts in shadow.
Annie glances at Jay—he nods.
MAN
(thick drawl)
Annie, I presume?
ANNIE
You presume right.
The man steps forward—slick, work-casual.
GRADY
Jackson T. Grady, III.
ANNIE
(realizing)
You're...Southern.
Jay stares coldly at Grady.
ANNIE (CONT'D)
Why are we being targeted?
Grady chuckles, stepping closer.
GRADY
Target? Selected—from a narrow sample
of East Coast elites.
(she furrows her brow)
You both do history. The movement
needs people like you.
Annie's jaw tightens. Jay's eyes flick to her, registering
her hesitation.
GRADY (CONT'D)
You made the ultimate sacrifice.
(beat)
Welcome to the Seven Club.
Annie narrows her eyes.
ANNIE
"Seven Club"?
GRADY
Restoring the original mission.
He rolls back his sleeve—revealing 'Don't Tread on Me' and
'SEVEN-2' tattoos.
ANNIE
...the first seven.
GRADY
Done your homework.
Annie and Jay exchange sharp glances.
GRADY (CONT'D)
Every state, every agency, every
court. We finally have a seat at
the table.
ANNIE
Save one for me—at your trial.
Grady glares.
GRADY
Hearts and minds, Annie.
(turning to Jay)
That's where you come in.
Grady steps over, hand on Jay's shoulder. Jay slaps it away.
GRADY (CONT'D)
Hey! That's how you treat a—
Jay throws a forearm to Grady's throat, slamming him against
the stone arch.
JAY
I'm not your friend!
ANNIE
Jay!
JAY
Those were my people! My family!
(beat)
For what? Huh? Power? Greed?
Grady GURGLES, claws at Jay's arm. Jay pushes down harder.
JAY (CONT'D)
FOR WHAT!
ANNIE
Jay—stop!
Jay locks eyes with Annie, chest heaving, eyes glistening.
He shoves Grady away. Grady crumples, gasping.
Jay steps back, finger raised, breathing rapidly.
Annie catches a SHADOWED FIGURE deep in the tunnel.
ANNIE (CONT'D)
Please...Jay...
Jay locks eyes with Annie, tears in her eyes.
They run, disappearing over the rise.
At the arch, Grady massages his throat, mottled purple.
A figure in the tunnel, hat shadowed, sparks up a cigar.
RECRUITER (O.S.)
Warned you 'bout them two.
GRADY
You let 'em walk?
The Recruiter packs tobacco in his cheek. Spits toward Gr.
RECRUITER
Ain't them. It's that damn book.
SUPER - ONE MONTH LATER
RECRUITER (V.O.) (CONT'D)
We continue. Every three months.
Line resets.
Genres:
["Drama","Thriller"]
Ratings
Scene
57 -
The Bridge of Wonder
EXT. DIRT ROAD - DAY
Sheets of rain slam down in muddy tire tracks.
Three tour buses roll forward, vinyl-wrapped in battle flags
and "Seven Club Tours."
The buses crawl toward a river turn-around.
Headlights glow through the rain.
They park in a precise row, engines idle.
Inside, chatter and overlapping conversations.
TOURIST
See it?
TOURIST2
Not yet.
On the bus driver's wristwatch—exactly 12 PM.
A single cloud slides past, revealing the sun.
A low hum. The rain begins to slow.
Then snap—the downpour CUTS OFF, mid-sheet.
Wood beams knit together mid-air, stretching outward across
the river.
Wide-eyed faces press against rain-streaked windows, fog
swirling around the towering edifice.
The bus doors HISS OPEN in unison.
Hundreds of stunned tourists—ponchos, selfie sticks, matching
lanyards—spill out.
They gaze up at the covered span. Massive trusses dwarf the
visitors.
A tour leader holds up a sign: "The Park." He leads the group
into the bridge's dark shadows.
A hard edge of LIGHT crawls across the floorboards—stopping
inches from their feet.
Across the river, buckboard wagons advance in a long, unbroken
line.
Genres:
["Historical Fiction","Drama","Mystery"]
Ratings
Scene
58 -
Midnight Drop
INT. SAFE ROOM - NIGHT
A bare bulb hums, casting a jaundiced light on Jay.
He leans forward on a makeshift desk, hunched over a laptop.
Two thumb drives and a half-empty water bottle sit nearby.
He scratches his five-day stubble.
Blue screenlight in his tired eyes. He stops scrolling.
Pauses. Leans back.
He takes a few small breaths—slides in a thumb drive.
CLICK.
SAVE.
A soft CHIME.
He repeats with the second drive. CHIME. He sits,
motionless.
Annie peeks in. He looks up, holding the last drive.
Her eyes sparkle, hopeful. His eyes soften, relieved.
JAY
Midnight drop. Digital first. Print
in two weeks.
Annie gazes at him, proud. Jay inhales deeply.
JAY (CONT'D)
Off to the races.
She steps in, hugs him.
ANNIE
You did it.
JAY
You rode shotgun.
A shadow of worry crosses her face.
ANNIE
What about-
Jay's jaw tightens.
JAY
Time to get the word out.
A shared look passes between them.
He finishes packing up, hoists a bag over his shoulder.
JAY (CONT'D)
(optimistically)
Ready?
She hesitates. Then, reliably, she nods.
Genres:
["Drama","Thriller"]
Ratings
Scene
59 -
Confronting the Past: A Night of Ghosts and Applause
EXT. PUBLIC THEATER - NIGHT
Students and locals cluster outside.
The marquee reads: Jay Lewis Williams: "Confederate Ghosts"
INT. PUBLIC THEATER - NIGHT
Dr. PETE JAROMBEK, Humanities Chair, stands at a lectern
before a packed house.
PETE
And now, please welcome Doctor Annie
Perkins.
APPLAUSE.
Annie walks on stage, glowing. Jay watches her proudly from
the wings.
Pete shakes Annie's hand as she takes the lectern.
ANNIE
Thank you, Dr. Jarombek.
(handling notes)
Good evening.
She glances at Jay, standing behind the curtain. He winks;
Annie softens.
ANNIE (CONT'D)
Three of his works are New York Times
bestsellers. He's been short-listed
for the Booker Prize.
ON JAY, standing proudly, clutching a copy of his book.
ANNIE (CONT'D)
In "Confederate Ghosts," Jay Lewis
Williams takes us back to witness
the enduring wounds of the Civil
War—wounds we still feel today.
She looks out over the attentive faces, then swings her arm
upstage.
ANNIE (CONT'D)
Jay Lewis Williams.
APPLAUSE.
Jay joins her at center stage with a brief embrace.
ANNIE (CONT'D)
(whispers)
It's time.
Jay smiles at Annie's timely comment.
He steps to the mic, adjusts it, sips water:
JAY
How y'all doing tonight?
Some in the audience smile. Eyes brighten.
JAY (CONT'D)
Good, good.
He takes in the audience—mostly college students and young
professionals. A beat.
JAY (CONT'D)
Tell me something: if war is hell—
(beat)
What's civil war?
The room stills, engaged.
JAY (CONT'D)
Nothing civil about it, right?
Some in the audience nod.
Then a hand rises. A YOUNG BLACK WOMAN, mid-20s, dressed
for work, hesitates, then speaks:
YOUNG WOMAN
It's when a country turns on itself.
(beat)
Destroys itself.
Jay nods, growing in agreement.
He takes his book, steps out from the podium, moves downstage.
A groomed, middle-aged MAN, stands up.
Jay acknowledges him.
JAY
Sir?
MAN
This book is meant to be non-fiction?
JAY
Yes.
WHITE MAN
(incredulously)
But you write about vanishing
bridges...working plantations-
(beat)
-battles that no one witnessed.
Annie's eyes are riveted on Jay. He looks at the man, firmly:
JAY
I witnessed them.
He gestures backstage at Annie.
JAY (CONT'D)
We witnessed them.
WHITE MAN
How can we believe this? Where's
the evidence?
Jay eyes narrow, breathes heavier.
In the back—the Recruiter, the Colonel, and Grady, push
through a group of standing customers.
Jay notices them. He glimpses Annie, whose eyes darken.
The three ghosts slip into the last few seats, back row.
JAY
Up there-
He gestures toward the back row.
JAY (CONT'D)
Those three.
The audience pivots, necks crane. The ghosts sit motionless.
JAY (CONT'D)
There's your proof.
Murmurs and gasps in the audience.
The Recruiter and Jay eye each other, cold and unflinching.
Jay turns toward Annie, who nods her head, encouragingly.
He calmly flips to a book-marked page and reads:
JAY (CONT'D)
We can argue over who gained and who
lost.
(beat)
But how it ended?
(beat)
If it ever did?
Jay looks up and firmly shakes his head.
JAY (CONT'D)
Not up for debate.
The Recruiter jumps to his feet, bellowing from the back:
RECRUITER
YOU DON'T OWN THAT STORY! IT'S OUR
HISTORY!
Jay narrows his eyes, glares upward, steady and firm:
JAY
We heard yours.
Annie's face brightens. He turns to the audience.
JAY (CONT'D)
You didn't start this.
(beat)
But you need to own what happens
next.
His words hang.
The Colonel jumps to his feet, flicks two fingers
emphatically, from his eyes to Jay's.
ON JAY
The room falls SILENT—as if submerged underwater.
FLASHCUT:
The Recruiter and Colonel launch into a GARBLED TIRADE, HEAVY
ECHO.
Their shadows stretch along the wall, distorted and unreal.
Jack Grady remains seated, wedged between the two men.
Jay flinches. Blinks.
Suddenly, reality again—the crowded auditorium rushes back.
He looks upward. The ghosts melt into the crowd.
Jay's gaze lingers. He shuffles to the lectern.
Straightens some papers—hands trembling. Offers the audience
a weary smile.
He turns, when a white woman, mid-40s, stands and starts
CLAPPING LOUDLY. Followed by the black woman and the young
man. Slow BUILD.
Jay stops. His expression softens. He nods appreciatively.
Genres:
["Drama","Historical","Mystery"]
Ratings
Scene
60 -
A Bittersweet Farewell
INT. BACKSTAGE - CONTINUOUS
Noise BLEEDS IN from the auditorium—applause, shouts,
chanting.
Jay and Annie are SWARMED by SUPPORTERS—hands on shoulders,
bodies pressing close.
Voices overlap, indistinct—
SUPPORTERS (O.S.)
...you did it...way to fight...he
deserved it...
Jay smiles faintly, overwhelmed but steady. Annie stays
close, anchoring him. They lock eyes—mutually burdened.
A SHIFT in the crowd.
Jay stills, something flickering at the edge of his vision.
He turns.
Through the shifting bodies—
Nelli flickers into view. Half-formed. Still. Watching.
Jay freezes.
Their eyes meet.
She lifts the locket. A small, warm smile.
Jay's breath catches. He holds her gaze.
A quiet understanding passes between them.
Annie follows his line of sight.
She sees Nelli, and softens. Welcoming.
The three of them hold there, connected.
Then—
Nelli begins to fade.
Jay leans forward, almost—
But stops. She's gone. Then—
He exhales.
Annie wraps her arm around his waist.
A beat—
He mimics her. Tighter.
Jay and Annie stand together, calm—as the adoring crowd
presses around them.
CUT TO BLACK.
END.