BASS REEVES (35, Black, determined and focused) rides his
roan-colored horse through the mountainous terrain.
A rifle hangs loosely from a saddle scabbard, and he wears
two .32 caliber guns in holsters at his side. A long brown
duster and a worn cowboy hat protect him from the elements.
He trails DEPUTY MARSHALL Jim FAGAN (45, stoic expression,
creases on his forehead) and TWO OTHER deputies, and he keeps
his eyes peeled for trouble.
JIM FAGAN
Remember, Bass. Webb is dangerous.
He’s already killed several people.
BASS
I knows all about him, Master
Fagan. I be ready.
JIM FAGAN
Bass, I ain’t no master. I’m just a
man like you. Call me Jim or Fagan.
BASS
Yes, sir, Mr. Fagan.
They ride through rugged terrain, and then a SMALL GROUP of
INDIANS (6) approach. The LEADER (mid 30s, painted face,
serious, headdress) advances to within a few feet of Fagan.
LEADER
ĝńż ęŃżŲŶ ęŃ ŘŨĴŐŢě (White man far
from home).
(a beat)
!ę ĩę ĢijěŐŜ ŚġŢijŐŜ Źǵ?(What brings
you here)?
Fagan looks at them with blank eyes. Bass Reeves moves his
mount forward and addresses the Cherokee leader.
BASS
ĝijŐŇ ĠĠġĽ ęŃżŲŶ (looking for bad
man).
The Cherokee leader points north to a small opening between
the rocks.
LEADER
ĩę ĠĠġĽ ęŃżŲŶ űŮ ĩę ęġņǵġ ĝŃǵŗě ĝńż
ęŘřņě ĢĽęőĶ. (If bad man be Webb,
he hiding in narrow canyon).
Bass turns his mount to head north and Fagan stares.
JIM FAGAN
You told me you speak some Indian
languages, but how many?
BASS
Cherokee, Creek, Seminole, Muskogee
and a little Shoshone.
Bass dismounts and approaches the entrance to the canyon. He
pushes a few branches aside and peers down the long narrow
pass. After checking with his looking glass, he turns and
shakes his head.
BASS (CONT’D)
Don’t see him.
Bass and the posse men ride into the canyon while Fagan rides
around to the back. Bass only gets about a hundred paces in
when a GUNSHOT sounds, and he is dropped from his horse, his
left arm bleeding badly.
The men with him jump off their horses and take cover. Bass
quickly ties a bandage around his arm, then he stands, pistol
in hand, and walks slowly toward WEBB (30s, White, tall, dark
hair, arrogant, disrespectful).
BASS (CONT’D)
Webb! Might as well come in ‘cause
you be surrounded. I gots six men
out here, and we ain’t leavin’
without you.
Bass hears a sound, like rocks dislodged from a trail. He
spins just as Webb steps out to fire. Bass dives to the
ground and fires twice, one shot hitting Webb’s shoulder.
Webb stumbles back, fires a few more shots, then disappears
back behind a wall of rocks.
Bass waits a moment or so, and then he and the other posse
men move forward. They search the rocks, but Webb is gone —
escaped through a secret trail that leads outside.
Bass and his men rejoin Fagan.
BASS (CONT’D)
We lost him, but I maybe know where
he’s goin’.
MONTAGE: JIM WEBB
- Fagan, Bass, and the others trail Webb through the
mountains and forests.
- Bass dismounts to examine tracks.
- Bass finds branches along the trail broken.
- Bass climbs slowly up a mountain and peers into the next
valley with his looking glass.
END OF MONTAGE
Bass signals for Fagan to join him, and when Fagan gets
there, Bass hands him the looking glass. Smoke is rising from
the chimney, and a candle burns in the windowsill.
FAGAN
Reckon that’s him?
Bass nods and puts his finger to his lips.
BASS
I’ll take front.
Bass heads toward the cabin with his rifle. When he is 100
feet away, he cocks the rifle and shouts.
BASS (CONT’D)
Webb, it’s me. I told you I ain’t
goin’ back without you. Come on out
so we can both get healin’.
Breaking glass is heard, then Webb sticks his rifle out the
window and shoots. Bass gets behind a tree and waits for the
shooting to stop.
BASS (CONT’D)
Webb, you can’t hit me from there,
and I got the place surrounded.
Bass fires his gun and the bullet goes through the open
window. It almost hits Webb.
WEBB
Comin’ out.
Webb and ANOTHER MAN walk out with their hands held high.
Genres:
["Western","Action","Drama"]
Ratings
Scene
2 -
Secrets in the Shadows
EXT. FT. SMITH - ARKANSAS - DAY
Fagan, Bass, and the other posse men tie their horses to the
post outside the court. One of the posse men pulls Webb down
and leads him inside.
FAGAN
You earned good money on this one,
Bass. Probably $200.
Bass cleans mud from his boots on the porch.
BASS
That be comin’ at just the right
time, Mr. Fagan. Got lots of
young’uns to feed.
FAGAN
How many you got?
BASS
Got me five so far, and one more
comin’ soon.
FAGAN
Sounds like you’ll be needing to
earn a lot of money.
(a beat)
If you have a mind to, you can ride
with me anytime. I like men who do
things right.
BASS
My mama taught me to do things
right, so that’s what I do.
FLASHBACK: SUMMER 1854
EXT. SASSOON PLANTATION - FIELD - DAY
SISSY REEVES (29, Black, long hair, chocolate colored skin,
determined woman) fills her basket with fruit from the
strawberry patch and then gathers a few ears of corn.
FRONT PORCH - CONTINUOUS
Sissy totes the basket to the front porch, sits, and shucks
the corn. JASMINE (11, Black, too skinny, full of energy and
laughter) skips by, humming a tune.
SISSY
Jasmine, fetch me a pot for this
corn. And fetch a bowl for the
berries.
Jasmine turns and runs toward the house.
JASMINE
Yes, ma'am. Be right back.
SISSY
Girl, you know usin’ that front
door will bring you a whippin’ like
you ain’t had before. Now use that
back door, and be quick. I can’t be
sittin’ here doin’ nothin’.
Jasmine turns and runs toward the back door.
SISSY (CONT’D)
And you ain't got no business
calling me ma'am. You can save that
talk for the white folk.
Sissy lowers her head and rocks in the chair while she shucks
the corn.
SISSY (CONT’D)
(mumbling)
Ain't no ma'am. Just plain ol'
Sissy.
Jasmine runs out the door carrying a large pot and a medium-
sized bowl.
JASMINE
Here they be, ma'am ... I mean,
Sissy. Anythin' else?
SISSY
You’ll know if I need you.
Jasmine skips down the lane, holding a dandelion in her right
hand while whistling a tune. Sissy calls to her before she
gets out of range.
SISSY (CONT’D)
Hey, girl, you seen Bass?
Jasmine stops and turns to look at Sissy. She lowers her head
and shrugs.
JASMINE
(mildly) )
Well, sure I done seen Bass. I sees
him all the time.
Sissy stands and plants both hands on her hips. She stares
menacingly.
SISSY
Girl, what kind of lies you hidin'
under that smile of yours? Answer
me.
Jasmine holds her head lower and shuffles her feet.
JASMINE
But ...
SISSY
Ain't no buts about it, child.
Where is he?
Jasmine shakes her head slowly, but then she points toward a
patch of woods to the north.
JASMINE
He be up there.
Sissy steps to the edge of the porch and nods.
SISSY
Uh-huh. And who he be with - that
Nellie girl?
Jasmine runs off down a narrow path near the barns.
Genres:
["Western","Historical Drama"]
Ratings
Scene
3 -
Beneath the Oak: A Farewell Amidst Authority
EXT. SASSOON PLANTATION - WOODS - DAY
NELLIE JENNIE (16, Black, long hair, pleasant) sits in the
shade of an old oak tree and lays her head in YOUNG BASS
REEVES' (17, Black, respectful, honest) lap.
He hums a tune the slaves sing when picking cotton, and he
gently strokes Nellie's long, dark hair. SCRUFFY (a dog, 2
years old, wiry hair, 30 pounds, barks a lot) runs out of the
woods and sits next to them.
Nellie reaches over and scoops him up. She pets his head and
tickles his neck.
NELLIE
Nothin' makes me feel better than
you fixin' my hair, 'cept maybe ol’
Scruffy here.
YOUNG BASS
Not even when we —
Nellie sits up and quickly scans the area. A smile pops on
her face, and she playfully slaps Bass on the arm.
NELLIE
Somebody needs to watch their
mouth.
Bass laughs and pulls her back down. He leans over and kisses
her on the lips.
YOUNG BASS
You gonna be way too busy to be
tellin' anybody anything.
Nellie stands and then stretches her hand to help Bass, and
then they both walk slowly toward the plantation, Bass going
one way and her another.
EXT. SASSOON PLANTATION - CONTINUOUS
Nellie walks out of the grove of oaks, holding a handful of
flowers. She raises them to her nose and sniffs them every
few yards.
Jasmine passes Nellie on the path, and whispers.
JASMINE
Sissy be lookin' for Bass. And she
be mad as a hornet.
NELLIE
(panicked)
Run and tell Bass to go way round
the back way.
EXT. SASSOON PLANTATION - DAY
Bass climbs the steep side of a creek and walks toward the
plantation. Scruffy follows him. As he nears the house,
COLONEL REEVES (50, White, limps, permanent scowl) steps off
the porch.
COLONEL REEVES
Where you been, boy?
Bass points to Scruffy and smiles.
BASS
Been chasin' that dog everywhere.
Didn't want him to run off.
The colonel cracks his whip on the ground next to Bass.
COLONEL REEVES
And that's where you been? Lookin'
for the dog?
Bass loses his smile and nods.
BASS
Yes, sir. Been after him for a
while. Just found him.
The colonel narrows his eyes, and he cracks the whip on
Bass's back. Bass arches his back and grits his teeth.
Scruffy WHIMPERS.
COLONEL REEVES
I find out you're lying to me,
you'll get a dozen lashes. Hear me,
boy?
Bass looks away and nods.
BASS
Thought I was doin' right, Master.
COLONEL REEVES
You ain't doin' right unless you're
doin' what I say. Now get to work.
Bass walks off toward the barn, where most of the slaves
sleep. Scruffy follows.
COLONEL REEVES (CONT’D)
And if that dog runs off again,
don't go lookin' for it. I'll shoot
it like I would a coyote.
Bass narrows his eyes and stares at the colonel.
BASS
Yes, sir.
He leans down, grabs Scruffy, and carries him to the barn. He
holds the dog tightly against his chest and whispers as he
walks.
Colonel Reeves enters the barn wearing a Confederate uniform
complete with a saber and pistol. He scans the surroundings
until he sees Bass.
COLONEL REEVES
Get up, boy. We’re goin’ to war.
Finally going to give the Yanks
what they deserve.
Bass scrambles to his feet and brushes hay off his clothes.
BASS
What time we leavin’, Colonel?
COLONEL REEVES
We’re leavin’ now.
Bass throws a few changes of clothes into a sack, and slings
it over his shoulder. He tiptoes to where Nellie sleeps,
leans over, and kisses her.
Nellie sits up and rubs the sleep from her eyes.
NELLIE
Where you goin’?
BASS
Colonel says we be goin’ to war.
Nellie jumps up and wraps her arms around him.
NELLIE
I be prayin’ for you.
Bass smiles and kisses her again.
BASS
Won’t take us long to whip a few
Yankees.
Genres:
["Drama","Historical"]
Ratings
Scene
4 -
A Duty to Fulfill
EXT. SASSOON PLANTATION - NIGHT
Colonel Reeves sits astride a large white stallion. Two
rifles sit in scabbards on each side, and the horse stomps on
the ground seeming eager to leave.
A second horse, a pinto mare, is tied to the other with a
rope. It has no saddle.
Bass looks to the colonel.
BASS
You want I should get a saddle from
the shed?
COLONEL REEVES
That horse isn’t for you, boy.
She’s for me when mine gets tired.
Bass nods and looks nervously toward the house.
BASS
I need to tell Mama we be goin’.
COLONEL REEVES
Hurry it up.
Bass runs to the back door and goes in.
INT. SASSOON PLANTATION - NIGHT - CONTINUOUS
Sissy hugs Bass when she sees him.
SISSY
What you doin’ here, boy?
BASS
I be goin’ off to war with the
colonel.
Sissy shakes her head and clicks her tongue.
SISSY
Don’t know why these people think
we gotta go to war.
Bass looks around, then lowers his voice.
BASS
I don’t wanna go.
SISSY
It don’t matter what you want. You
gotta go, and you gotta do good for
the colonel. Remember what your
daddy taught you: It don’t matter
whether you’re doin’ a chore for a
man you hate or the woman you love,
do that chore the best you can,
‘cause you really be doin’ it for
you, not them.
Bass kisses Sissy goodbye and walks out the door.
EXT. SASSOON PLANTATION - NIGHT - CONTINUOUS
Colonel Reeves sees Bass coming and spurs his horse on.
COLONEL REEVES
Keep up with me, boy. We’ve got a
long way to go.
Bass falls in behind the horses and follows.
BASS
How long will it take, Colonel?
COLONEL REEVES
Thirty or forty days.
Genres:
["Historical Drama","Family Drama"]
Ratings
Scene
5 -
Victory at a Cost
EXT. CONFEDERATE CAMP - ONE MONTH LATER - DAY
Colonel Reeves rides into camp and dismounts. SERGEANT ACHEN
(35, White, stout, bald, talkative) salutes him and grabs his
baggage.
SERGEANT ACHEN
Good to see you, Colonel. We need
all the help we can get.
COLONEL REEVES
What’s the situation?
SERGEANT ACHEN
We’ve been under attack for days.
They usually hit us with artillery
and then attack with a wave of
soldiers.
Colonel Reeves scans the field with his binoculars.
COLONEL REEVES
Move the men to each flank, and
when the attack comes, fire at them
from both sides.
SERGEANT ACHEN
They’ll catch onto that, Colonel.
COLONEL REEVES
When they do, we’ll do something
different.
The Union soldiers initiate an artillery strike and shortly
after, they send several companies of soldiers directly at
the Confederate camp.
Colonel Reeves sits on his mount and stares through his
binoculars.
COLONEL REEVES (CONT’D)
Wait for my order.
The Union soldiers move closer, sneaking through the woods
and then across the creek. When they get halfway across the
creek, Colonel Reeves gives the order.
COLONEL REEVES (CONT’D)
Attack!
The Confederate canons bombard the Union side in a continuous
barrage, forcing some to seek cover, and others to charge
forward. In response, the Confederates rush to meet them,
stopping where a deep ravine separates the two sides.
MONTAGE: CIVIL WAR
- Union soldiers and Confederates fight each other from
opposite sides of the creek.
- Colonel Reeves finds a place where the ravine is narrow,
and he spurs his mount to jump the creek.
- Bass runs as fast as he can to keep pace with the colonel
who is seated on his large white stallion.
- The colonel gets shot in the leg, and Bass helps him back
across the creek, then gets him get to a medic, who removes
the bullet from the colonel’s leg.
END OF MONTAGE
EXT. CONFEDERATE CAMP - DAY
The Union soldiers slowly retreat, and the Confederates whoop
and holler, some shooting their guns in the air, and others
taking slugs of corn whiskey and moonshine.
Colonel Reeves hobbles outside his tent, leaning hard on his
walking stick.
Sergeant Achen approaches the colonel and salutes.
SERGEANT ACHEN
Colonel, it looks like you drove
‘em off. I doubt they’ll be back
anytime soon.
Colonel Reeves nods.
COLONEL REEVES
Your men did the work, Sergeant.
But don’t let ‘em be relaxed. Keep
a solid watch in case them Yanks
find the courage for more.
SERGEANT ACHEN
Yes, sir. And, Colonel, you might
find a real doc to fix that leg up.
COLONEL REEVES
I just might do that.
The next morning the colonel has Bass pack his things and
they head for home.
Genres:
["Historical Drama","War"]
Ratings
Scene
6 -
A Reunion of Hearts
INT. SASSOON PLANTATION - BARN - NIGHT - 40 DAYS LATER
SUPER: 1863
Nellie runs when she sees Bass
enter. She throws her arms around
him and hugs.
NELLIE
Bass, bless the Lord, you be home.
And safe.
Bass squeezes her and kisses.
BASS
Thank the Lord for that, Nellie.
Lots of folks didn’t make it. Even
the colonel got himself shot.
That’s why we be home early.
NELLIE
The Colonel? Is he ...?
BASS
No, he not be dead, but he be hurt
bad. Got shot in the leg.
Nellie pulls Bass toward the back of the barn.
NELLIE
Tell me all ‘bout it tomorrow.
Tonight, you be mine.
Bass and Nellie snuggle in the pile of hay and take off their
clothes.
EXT. SASSOON PLANTATION - DAY
Nellie grabs her basket and heads out to the fields to pick
the fruit and vegetables.
Bass totes his hoe and walks alongside her. When it’s time to
go separate ways, he leans in and pecks her cheek.
BASS
See you after eating’ time.
NELLIE
Same place?
Bass nods.
BASS
And don’t be late.
Nellie meets Bass in their favorite spot in the woods. He
pulls her to him and kisses her passionately, then they find
a spot to lie down, and they make love.
Genres:
["Drama","Romance"]
Ratings
Scene
7 -
A Night of Despair
INT. SASSOON PLANTATION - BARN - NIGHT
SUPER: TWO MONTHS LATER
Bass sits upright and wipes sweat from his forehead. He pulls
Scruffy to him and pets the dog’s head while he leans against
the barn wall.
Nellie pretends to be asleep, but once it's quiet, she
tiptoes to Bass's side and sits.
NELLIE
We better be quiet. You know the
master don't like slaves havin' no
babies together.
BASS
We ain't havin' no babies. You been
takin’ the cotton root bark?
Nellie laughs and pulls him to her.
NELLIE
Yeah, I been takin’ it, but I don’t
want to.
Nellie smiles and hugs him.
NELLIE (CONT’D)
Besides, my mama said we can’t be
sure it works. She said it could
still happen.
(pause)
What we gonna do if it happens and
the master finds out?
BASS
We gonna get outta here — you, me,
and Scruffy.
NELLIE
Now I know you're crazy, we —
(pause)
Shh. Somebody be comin'.
The barn doors open and Colonel Reeves walks in. He holds a
lantern in one hand and a whip in the other. He moves slowly
through the barn, stopping by Bass and Nellie, then he points
to Nellie and curls his finger.
COLONEL REEVES
You, girl. Come with me.
Bass stands up tall and approaches the colonel.
BASS
She ain't goin' with you, Colonel.
Not ever again.
Colonel Reeves laughs and strikes Bass with his whip.
COLONEL REEVES
Don't think to tell me what to do,
boy. Hear me?
Colonel Reeves grabs Nellie by the hand and yanks her up. He
drags her toward the barn door.
COLONEL REEVES (CONT’D)
I see she’s already naked.
Bass pulls Nellie from his grip.
BASS
She's staying, Colonel. And no
amount of whippin's gonna change my
mind.
COLONEL REEVES
We’ll see about that.
The colonel pokes his head out the barn door.
COLONEL REEVES (CONT’D)
Dugan, bring the shotgun.
DUGAN (40, Black, large man) enters carrying a shotgun, and
stands next to Colonel Reeves.
COLONEL REEVES (CONT’D)
Shoot that nigger if he moves.
The colonel drags Nellie outside and into the main house.
Dugan waits for the colonel to get inside, then he leaves the
barn.
Genres:
["Drama","Historical"]
Ratings
Scene
8 -
A Night of Uncertainty
INT. SASSOON PLANTATION - BARN - NIGHT - HOURS LATER
Colonel Reeves opens the barn doors and tosses Nellie inside.
COLONEL REEVES
Be ready for me when I want you,
girl. Hear me?
Nellie nods and wipes tears from her eyes.
Bass rushes to her and holds her.
BASS
You all right? Did he hurt you?
Nellie cuddles next to Bass. She lays her head on his
shoulder and cries.
NELLIE
I’m worried.
BASS
Don’t you worry. Besides, won't be
long till he don't own us no more.
The war be over.
Nellie brushes off her dress. She pecks Bass on the cheek,
and then she laughs.
NELLIE
Now I know you be dreamin'. Master
Reeves ain't lettin' none of us
niggers go free.
BASS
We gonna be free. I heard that
president done said so. Said we be
free people.
NELLIE
You see how Master Reeves dress up
like a soldier every day? Don’t
think he be lettin’ any of us go
free.
Genres:
["Historical Drama","Romance"]
Ratings
Scene
9 -
Rebellion in the Barn
INT. SASSOON PLANTATION - BARN - NEXT NIGHT
The barn door opens and Colonel Reeves enters, whip in hand.
He cracks the whip on Bass’s back, then whips him again.
COLONEL REEVES
I decided not to wait til tomorrow.
You need whipping now.
Bass doubles over, clutching his stomach. He sinks to the
ground, motionless.
Suddenly, Scruffy roughly yanks the whip from Colonel
Reeves's hands. He lunges at the colonel, sinking his teeth
into his leg.
The colonel YELPS, trying to shake Scruffy off. But Scruffy's
jaws remain clamped onto his leg.
NELLIE grabs a shovel and smashes it on the colonel's head.
He falls to the ground and Scruffy jumps off him.
NELLIE
(urgently) )
Run for the creek, Bass.
The colonel, recovering, stands, and blocks the door so
neither of them can leave. He yanks Scruffy from the ground
by his collar, then whips him across the head and back.
Scruffy yelps loudly, but the colonel continues whipping
while keeping his grip on Scruffy's collar.
COLONEL REEVES
(smiling cruelly)
This son of a bitch won’t bite me
again.
Bass grabs the colonel’s whip and yanks it from his hands.
BASS
You done whipped your last,
Colonel.
Bass strikes the colonel several times, dropping him to the
floor, then he takes Nellie’s hand and pulls her toward him.
BASS (CONT’D)
C’mon, Nellie. We gotta go. You
too, Scruffy.
Genres:
["Drama","Action","Historical"]
Ratings
Scene
10 -
Into the Unknown: A Night of Escape
EXT. SASSOON PLANTATION - NIGHT
Bass, Nellie, and Scruffy run from the barn and into the
safety of the woods at night. They run through the creek and
up a hill, then into the creek again.
NELLIE
Bass, I be scared.
BASS
Nothin’ to be scared about. The
president done freed us, and we’re
goin’ where we can live free.
NELLIE
Live free? How? What you gonna do
to get money?
BASS
We be free now, girl. And we know
how to farm. I reckon that’ll have
to do.
NELLIE
I think we need to stay off the
trails. Some people say we free,
but most ain’t changed a bit.
Bass takes Nellie’s hand and pulls her off the trail and
deeper into the woods.
BASS
You right, Nellie. Might be better
if we stick to the woods.
NELLIE
Do you know where we be?
Bass looks around and nods.
BASS
Not for sure, but this looks like
the way the colonel brought me to
war. That means Arkansas only be a
few day’s walk from here.
Genres:
["Historical Drama","Romance"]
Ratings
Scene
11 -
A Narrow Escape
EXT. WOODS - DAY
Bass and Nellie continue through the woods, avoiding the main
roads and staying hidden. They stop at a small stream to rest
and take a drink of water.
Scruffy barks at a rustling bush, and suddenly a GROUP OF MEN
wearing Confederate uniforms appear with guns drawn.
MAN 1
Look what we have here. A couple of
runaway slaves.
Bass stands in front of Nellie, shielding her.
BASS
We ain’t slaves no more.
MAN 2
That may be, but you still don’t
belong here. This land is for white
folks only.
The men begin to advance, and Bass reaches for his gun.
BASS
You ain’t gonna take us back.
A SHOT rings out, and one of the Confederate men falls to the
ground. The rest quickly scatter. Bass and Nellie turn to see
a group of Union soldiers.
UNION SOLDIER
You all right?
Bass nods.
BASS
Lookin’ for a place to stay, is
all.
UNION SOLDIER
Follow us. There’s a community of
former slaves not far from here.
I’m sure they can feed you and keep
you warm.
Nellie stays close to Bass as they travel. She leans toward
Bass and whispers.
NELLIE
Bass, I feel like we can finally
start our own life.
Genres:
["Drama","Historical","Action"]
Ratings
Scene
12 -
A New Beginning
EXT. SLAVE COMMUNITY - NIGHT
The soldiers lead Bass and Nellie into the camp and introduce
them to the camp leader.
UNION SOLDIER
Reggie, these people need shelter
and food.
He reaches in his pocket and pulls out a few coins.
UNION SOLDIER (CONT’D)
This should cover them until they
find work.
Bass extends his hand.
BASS
Much obliged, sir. I’ll pay you
back.
The soldier laughs.
UNION SOLDIER
Just stay safe.
Bass and Nellie move to a campfire and stand next to it,
rubbing their hands together.
REGGIE (40s, Black, gray hair on the sides of his head, stern
look) hands a blanket to Nellie.
REGGIE
Take this and settle in any spot
you can find.
(MORE)
REGGIE (CONT’D)
It gets cold at nights, so you need
to keep each other warm. Breakfast
is served early, and if you miss
it, you’ll be hungry.
Bass nods.
BASS
Been gettin’ up early all my life.
Won’t be no problem.
REGGIE
There be other rules. You can argue
all you want, but if you fight or
cause trouble with the law, you’re
out for good.
Bass wakes, raises his head, and sniffs the air.
BASS
Good Lord, Nellie. You smell that?
Somebody done butchered a pig.
That’s bacon cookin’.
EXT. SLAVE COMMUNITY - DAY
The clanging of a bell brings Bass and Nellie to alert. They
get up and go outside to see several dozen people moving
toward a campfire.
Bass nods and greets everyone he sees. A smile covers his
face. Reggie steps alongside him.
REGGIE
The union soldier paid for food and
shelter for a week. After that, you
need to earn your way.
Bass looks at Reggie and nods.
BASS
No problem. I can farm, cut wood,
hunt, and darn near anything else.
Handle a gun pretty good too.
REGGIE
You can start next week.
BASS
No sense in waitin’, sir. I can
start after breakfast. Just show me
where.
Genres:
["Historical Drama","Romance"]
Ratings
Scene
13 -
Seeds of Resistance
EXT. SLAVE COMMUNITY - FARMLAND - DAY
Reggie leads Bass to a large field with rows of crops
planted, and many more to be plowed.
BASS
Plantin’ corn?
Reggie shakes his head.
REGGIE
Plantin’ about anything we can
grow: rice, corn, cotton, peas,
oats, and more. This be good land
to grow things.
Bass hooks up a plow, straps himself to a mule, and begins a
trench.
BASS
Time to get plantin’ then.
Reggie laughs and slaps Bass’s shoulder.
REGGIE
You’ll do good here. Welcome.
MONTAGE: BASS TEACHING FARMING
- Bass and his mule dig furrows.
- Bass shows others how to plant seeds.
- Bass shows them how to water the crops.
- Nellie shows kids how to sew and cook.
END OF MONTAGE
FOUR MEN (40s, White, wearing holsters and carrying rifles)
ride up. One of them wears a badge.
Reggie goes over to greet them.
MAN WITH BADGE
Lookin’ for Bass Reeves, a tall,
black man. Said to be in these
parts. Seen him?
Reggie shakes his head slowly as if thinking.
REGGIE
Can’t say I have, but if I sees
him, who do I tell?
The man with the badge looks around then turns back to face
Reggie.
MAN WITH BADGE
(frustrated)
The man struck his master, and he’s
dangerous. Tell the sheriff if you
see him.
REGGIE
You know we don’t hold with that
behavior. We’ll watch out for him
and let you know.
Genres:
["Historical Drama"]
Ratings
Scene
14 -
A Somber Farewell
EXT. SLAVE COMMUNITY - FARMLAND - NIGHT
Reggie scoops a few ladles of soup into a bowl and sits next
to Bass and Nellie.
REGGIE
Not sayin’ you have to go, but they
didn’t seem like men to just leave
things alone. I’m guessin’ they’ll
be back.
He looks at Nellie’s stomach and smiles.
REGGIE (CONT’D)
Besides, I guess you’ll want a
place a little bigger pretty soon.
INT. BASS AND NELLIE’S TENT - NIGHT
Bass holds Nellie by the shoulders and leans close.
BASS
Probably won’t be for long, but I
gots to go. It’s not safe for you
if I stay, ‘specially with you
carryin’ a baby.
Nellie lays her head on his shoulder and cries.
NELLIE
Where you goin’?
BASS
Best you don’t know, but I be
checkin’ on you, and the people
here will take care of you.
Bass kisses Nellie goodbye. She kisses him back and dries her
eyes.
NELLIE
You best take Scruffy with you.
EXT. SLAVE COMMUNITY - NIGHT
Bass puts his bags on the saddle, gets on CHESTER, his horse
(big grayish-white stallion), and rides off.
Nellie stands and waves goodbye, and Scruffy follows Bass
closely.
Genres:
["Drama","Historical"]
Ratings
Scene
15 -
A New Alliance
EXT. INDIAN TERRITORY - DAY
SUPER: 1866
Bass stops Chester, turns in the saddle, and looks in all
directions. Scruffy moves alongside and sniffs the air. He
takes off, heading north, and barks.
FIVE INDIANS sitting astride pintos come to a stop in front
of Bass. The leader, SHADOW DANCER (30s, headdress,
commanding) nods to Bass and points to Scruffy.
SHADOW DANCER
You own dog?
Bass nods while he chews tobacco.
BASS
He be an old friend.
SHADOW DANCER
Why you on Creek lands?
Bass points behind him.
BASS
White lawmen after me.
SHADOW DANCER
You come. We keep you safe, and we
teach you to stay safe.
MONTAGE: LIFE WITH THE CREEKS
- Bass practices with the bow and arrow.
- Bass learns to track animals and people.
- Bass learns to approach people undetected.
- Bass learns the Creek and Seminole languages.
END OF MONTAGE
Bass sneaks home to see Nellie and his baby several times
over the next few years, and after each time he visits, she’s
carrying another child. After the third baby is born, Bass
plans to return for good.
He bids farewell to his Indian friends, then packs up and
heads back to Arkansas.
Genres:
["Western","Historical Drama"]
Ratings
Scene
16 -
A Joyful Reunion and Wedding
EXT. SLAVE COMMUNITY - DAY
SUPER: 1869 (YEARS LATER)
Bass rides into camp sitting tall in Chester’s saddle. When
he sees Nellie working the fields, he spurs Chester to a trot
and dismounts when he gets close.
He hugs Nellie and kisses her numerous times. She can barely
talk between her sobs.
NELLIE
Praise the Lord, Bass. You be
alive. I thought for sure you be
dead. It’s been so long, and you
with them Indians.
BASS
Spendin’ time with them, makes me
happy to call them friends.
Bass squeezes her again, then steps back and looks at her.
Scruffy whimpers and nudges Nellie’s leg.
BASS (CONT’D)
Those men who be lookin’ for me
come back?
Nellie shakes her head.
NELLIE
Just once, but that was ‘bout two
years back. Ain’t seen ‘em since.
She kneels down to pet Scruffy.
NELLIE (CONT’D)
You been a good boy, Scruffy? You
take care of my man?
Scruffy gives her more kisses, then Nellie stands.
BASS
If you be done messin’ with
Scruffy, I got something for you.
Nellie blushes and grins.
Bass walks to Chester and takes off a long saddle bag, sets
it on the ground, and unrolls it. Inside is a long
broomstick, several feet of rope, and two short sticks.
BASS (CONT’D)
I figure it’s time.
Nellie sorts through the items and squeals. She raises her
hands to cover her mouth.
NELLIE
Bass, we be getting married?
BASS
Soon as we find a preacher.
Nellie giggles and races toward the center of the camp. She
returns with PASTOR JEFF (60, Black, gray hair, walks with a
limp) and TWO WITNESSES.
She picks up the rope and hands it to WITNESS ONE (40s,
Black, female), and she hands the broomstick and the short
sticks to WITNESS TWO (50, Black, female).
Witness One ties Nellie and Bass’s hands together, and then
Pastor Jeff recites the wedding vows.
When the pastor finishes, Witness Two puts the broomstick on
the ground, and Nellie and Bass hold hands and jump over it.
Witness Two hands them the short sticks and Nellie and Bass
cross them and repeat their vows.
Once they finish, Bass holds Nellie by the shoulders and
kisses her passionately. Everyone cheers, then the couple
retires to their tent.
Genres:
["Drama","Romance"]
Ratings
Scene
17 -
A Father's Farewell
EXT. SLAVE COMMUNITY - DAY
Bass sits on a tree stump by the fire alongside Reggie.
REGGIE
If you’re lookin’ to make money, A
deputy in town needs a posse man.
Dangerous, but pays good.
Bass looks at him and grins.
BASS
They ain’t gonna hire no Negro for
a job like that. That be a white
folks job.
Reggie shrugs.
REGGIE
You might be surprised.
Bass uses a long stick to poke the embers and get the fire
going stronger.
BASS
I guess maybe I need to see me a
deputy.
Reggie looks at the position of the sun.
REGGIE
Then you better be goin’, ‘cause
the day’s long started.
Bass packs a few things and kisses Nellie goodbye. He smiles
and pats her stomach.
BASS
You take care of that rascal you be
carryin’. And the rest of ‘em too.
Bass kneels down and spreads his arms wide, then he calls the
other kids over.
BASS (CONT’D)
Sally, Robert, Harriet get on over
here and say goodbye to your papa.
SALLY ROBERT
When you be back, Papa? Bring me a feather.
Bass gives each one a kiss, hugs them again, and says
goodbye. Then he stands and stretches before leaving.
He mounts his horse and rides off, Scruffy limping along
behind him.
Genres:
["Historical Drama","Romance"]
Ratings
Scene
18 -
Breaking Barriers
EXT. SHERIFF’S OFFICE - FT. SMITH - DAY
SUPER: 1870
Bass waits outside the sheriff’s office, but when Deputy
Marshall Fagan exits the building, Bass doffs his hat and
holds it over his chest.
BASS
You be Deputy Fagan?
Fagan stops and stares.
FAGAN
I’m Fagan. What do you want?
BASS
I heard you was lookin’ for a posse
man.
FAGAN
I am, but I’m looking for a white
man, and one who knows the
territory.
Bass bows his head, but keeps his hat held to his chest while
he speaks.
BASS
You won’t go wrong with me, sir. I
ain’t white, but I know the
territory. Know the Indian
territory too.
(a beat)
And I speak the language.
Fagan settles atop his mount and looks at Bass.
FAGAN
What language? You can barely speak
English.
BASS
Hvmcv yvhv hocēfv em yestet akētēkv
nafv rakētēpue (I speak Creek,
Muskogee, Seminole, and Cherokee.)
Fagan stops and stares.
FAGAN
Consider yourself hired. Pay is
$2.00 a day and $20 if the outlaw’s
captured. But if you get hurt, you
have to care for yourself. And you
have to care for your dog and
horse.
BASS
Where we be goin’, Deputy? And who
we be after?
FAGAN
Goin’ after a man named Chance
Rickets, and he’s supposed to be in
Cherokee territory. If you don’t
know Cherokee territory, now’s the
time to say it.
Bass mounts his horse and spurs it on, past Fagan.
BASS
Waitin’ on you, Deputy.
Genres:
["Western","Historical Drama"]
Ratings
Scene
19 -
Confrontation in the Woods
EXT. TWENTY MILES FROM FT. SMITH - DAY
Bass and Deputy Fagan come to a fork in the road. Horse
tracks go both ways. Fagan dismounts and examines them.
FAGAN
What do you make of this?
Bass kneels alongside Fagan and inspects the hoof prints,
then he goes to the prints on the other trail and inspects
them.
BASS
Over here, Deputy. See this track?
It’s deep as the one we been
following. But the tracks over
there ...
(points to other tracks)
They look like nothing was riding
them. Like an empty mount.
Deputy Fagan remounts his horse and spurs it forward, down
the trail Bass indicated.
FAGAN
You convinced me.
Fagan and Bass approach a small clearing in the woods. Fagan
dismounts and hauls wood to the center of the clearing.
FAGAN (CONT’D)
Might as well keep warm.
Bass walks over and kicks the fire, preventing Fagan from
lighting it. A wisp of dust and smoke rise in the air.
BASS
And get shot. We been followed for
hours. Both sides.
Fagan grabs his rifle and glances around.
FAGAN
Where?
BASS
East and west. And it’s not just
Rickets. Whoever it is, has Indians
with him, probably Creek or
Seminole. Maybe five or six.
Fagan looks around nervously, looking to hide.
A few Indians ride into camp, Chance with them, but he’s
dressed like an Indian.
Bass bows as they enter camp. He stands and spreads his arms
wide.
BASS (CONT’D)
Ai, uwela, ale ijulaha ogalisdadi.
(Come, sit and share food).
MAN BULL (30s, full headdress, lithe) dismounts and
approaches Bass.
MAN BULL
You be Reeves?
Bass bows lower.
BASS
May the sun shine on you, Man Bull.
I’m unworthy for you to remember.
MAN BULL
Why black brother here? Why he
follow us?
Bass gestures to Chance, still astride his mount.
BASS
That man killed my people, and hurt
our children.
Bass spits on the ground.
BASS (CONT’D)
And now he hides like a woman.
Bass turns. Chance draws his gun, but Bass pulls his pistol
first, and shoots him in the shoulder.
BASS (CONT’D)
Dismount, Chance. Next time I won’t
aim for the shoulder.
Chance hesitates, but then he holsters his gun and dismounts.
He walks up to Bass and holds his hands out.
Bull Moon nods and rides off.
EXT. ROAD TO FT. SMITH - DAY
Fagan leads Bass and Chance Ricketts back to Fort Smith. They
stop for lunch and build a fire to warm up.
FAGAN
How’d you get them Indians to hand
him over to you?
BASS
I didn’t. Chance knew they wasn’t
gonna protect him no more, so he
gave up.
Fagan chews on a piece of the rabbit he cooked, and looks at
Chance.
FAGAN
That true?
CHANCE
I’m here, ain’t I?
Fagan and Bass ride up to the Judge’s office in Ft. Smith.
Fagan takes Chance inside while Bass dismounts and brushes
the knots from Chester’s hair.
Fagan exits a moment later, smiling. He hands cash to Bass
and pats his back.
FAGAN
You did a good job, so I’m giving
you extra.
Bass counts the money, and his eyes light up.
BASS
Thirty-two dollars! I ain’t never
had me so much money.
FAGAN
Get used to it.
Genres:
["Western","Action","Drama"]
Ratings
Scene
20 -
A Heartfelt Reunion and a Bittersweet Farewell
EXT. SLAVE COMMUNITY - DAYS LATER
Bass rides into camp, casually dismounts and ties Chester to
a hitching post.
When Nellie sees him, she puts down her sewing and runs to
hug him.
NELLIE
Bass! Thank the Lord you be home.
Bass squeezes her tightly and steps back.
BASS
Not just home.
He pulls the cash from his pocket.
BASS (CONT’D)
Look what I done brought.
Nellie leafs through the bills, her mouth and eyes agape.
NELLIE
Bass, I don’t know what to say. How
much money is this?
Bass looks around him as if checking to see if anyone was
there.
BASS
(whispering)
Thirty-two dollars. And this is
real money, not that Confederate
money you can’t spend.
(a beat)
But if you need somebody to fix up,
I got you a patient: Scruffy.
Nellie runs to Scruffy and bends down to pet him.
NELLIE
Scruffy! What’s wrong, boy?
BASS
He started limpin’ a while ago, and
it now be worse.
He eyes Nellie as she kneels next to Scruffy.
BASS (CONT’D)
You lookin’ a might skinnier.
Nellie jumps up, grabs his hand, and leads him to their tent.
SALLY (9, Black, dark hair in braids) sits on a pillow and
holds a baby in her arms, rocking back and forth, humming.
She smiles at Bass but continues.
SALLY
His name’s George, but we call him
Georgie.
Bass sits next to Sally, pecks her cheek, then holds his arms
out to take GEORGIE (baby, Black, all giggles and smiles).
After a moment he hands the baby back to Sally and pulls
Nellie to him.
BASS
Dang, you make some pretty babies.
Sally laughs.
SALLY
I think you have part to do with
that, Papa.
Nellie and Bass laugh, then Nellie hugs her.
NELLIE
Don’t she talk good? Been goin’ to
class at the preacher’s house. His
wife teaches.
BASS
You already be talking’ better than
me. Now take that baby for a walk.
Your mama and me got some talking
to do.
SALLY
Talking?
Nellie shoos her outside, then ties the flap shut. When she
turns around, Bass is already undressing. She tucks Scruffy
into a blanket and sidles up to Bass and wraps her arms
around him.
NELLIE
I see you missed me.
BASS
(whispering)
Been a long time.
They make passionate love, then lie in each other’s arms.
Nellie stares at the roof of the tent.
NELLIE
We gonna be all right, ain’t we?
BASS
If Deputy Fagan keeps needing me
for posse work, we be better than
all right.
Bass laughs while he grabs clean clothes to wear.
BASS (CONT’D)
I just remembered. I need to get to
work on them fields. See what you
folk been messin’ up.
(a beat)
Besides, you remember what Colonel
Reeves always said.
Nellie lets go of Bass and kicks the dirt. Dust rises up and
a few pebbles fly across the tent.
NELLIE
I don’t want to hear nothin’ of
what that man had to say.
Bass pulls her close and hugs her.
BASS
No way to be, Nellie. Even a mean
ol’ cuss like him got somethin’
good to say.
(A beat)
Remember, he said “A man’s gotta
work if he wants it done.”
Nellie huffed and turned her head.
NELLIE
I ain’t never seen the Colonel do
any work besides whip people.
Bass hugs her tightly and then he squeezes harder. He lays
her head on his shoulder and strokes her long hair. A tear
forms in his eye.
BASS
Don’t you worry, Nellie. Ain’t no
one ever gonna whip you again. Not
ever.
Bass hears WHIMPERING from Scruffy, and he looks to see him
struggling to get out of his bed. He rushes over and helps
get him comfortable. Scruffy whimpers a few more times, then
nudges Bass with his nose.
Bass wraps his arm around Scruffy and sobs.
BASS (CONT’D)
Don’t leave me, boy.
Nellie tends to Scruffy the best she can, and Bass stays with
him, continually feeding him and getting him water. But
Scruffy soon passes.
Bass wipes away tears, grabs a shovel, and takes Scruffy
outside to bury.
Genres:
["Drama","Romance"]
Ratings
Scene
21 -
The Hunt Begins
EXT. SLAVE COMMUNITY - DAY
Bass finishes packing his saddlebag and slips his rifle into
the saddle scabbard.
Nellie hands him a sack filled with food.
NELLIE
Got you some roots and nuts and
some small pieces of cheese.
Bass leans down and kisses her.
BASS
This to make sure I come home?
Nellie laughs and pushes him back.
NELLIE
You try not comin’ home, and you’ll
see what a real tracker can do.
Bass mounts Chester and spurs him on.
BASS
Be back when I can.
Nellie stands in front of the tent, waving as Bass rides out
on Chester.
EXT. FT. SMITH - DAY
Bass waits for Deputy Fagan outside the judge’s office. When
Fagan emerges, he hands Bass an arrest warrant which Bass
studies intently.
FAGAN
Name’s Frank Reston — wanted for
stealing a man’s horse.
BASS
Do we know he did it?
FAGAN
He stole it right in front of the
saloon, and he’s already got a two-
day start on us. I figure him to be
heading north, but I’ll leave that
to you when you look at the tracks.
(a beat)
He was last seen at Pine Bluff. One
report said he boarded a steamboat
heading south, and another person
said he headed west with two other
riders.
Bass stares at the warrant a moment, committing the face to
memory. He folds the paper and puts it in his pocket.
BASS
If he took the steamboat, we won’t
catch him. He could go all the way
to New Orleans or get off anywhere
along the way. But if he heads
west, he’s likely on the way to
Indian territory.
FAGAN
We’ve got a lead then. Let’s go.
Genres:
["Western","Drama"]
Ratings
Scene
22 -
Tracking Shadows
EXT. PINE BLUFF - DAY
Fagan shows the warrant to the town SHERIFF (30s, White, tall
and thin) and tells him about FRANK RESTON (40, White, mean,
permanent scowl, quick to anger).
SHERIFF
He was here, all right. Saw him
heading west with two other men.
(MORE)
SHERIFF (CONT’D)
He was on a roan colored horse and
the others had pintos.
The sheriff taps Fagan’s elbow.
FAGAN
I’ll catch up, Bass.
SHERIFF
Jim, since when do you travel with
a negro posse man?
Fagan hunches over in his saddle, looks at the sheriff, and
laughs.
FAGAN
He’s the best damn posse man I ever
had. Wouldn’t trade him for any
three men.
The sheriff shrugs.
SHERIFF
See ya around then.
EXT. WEST OF PINE BLUFF — DAY
Bass tugs Chester’s reins and nudges him west, and he
continually looks at the ground and analyzes tracks.
He dismounts and examines a set of tracks at a crossroads,
and then he walks down both sides of the trail, searching the
foliage on the sides. He finds a few tree branches broken.
Bass examines the area closer and then gets back onto
Chester’s saddle. He turns to see Fagan riding up, and nods.
BASS
We be goin’ the right way.
Fagan and Bass ride alongside each other through heavily
wooded, rolling terrain which slowly gives way to rocky
outcrops and high mesas.
They dismount in a clearing and gather wood for a fire.
BASS (CONT’D)
We be catchin’ up to them. I figure
they be stoppin’ to eat soon, maybe
settle in for the night.
FAGAN
You think we should get ahead of
them to the west and wait for them
to show?
Bass shakes his head.
BASS
I think that be a good idea if we
knew they be headed west, but they
might be goin’ to Muskogee or
Tahlequah.
Bass chews on a stick and thinks.
BASS (CONT’D)
I got an idea, but we need to wait
for night.
Genres:
["Western","Drama"]
Ratings
Scene
23 -
Confrontation at the Campfire
EXT. SOUTH OF MUSKOGEE - NIGHT
Bass rides to the side of the trail, where the rocky ground
shows no tracks. When the terrain changes to higher ground,
Bass stops and dismounts.
BASS
See that smoke ahead? I’m guessin’
it’s a campfire. I’m gonna go
surprise ‘em.
FAGAN
There are four of them; they’ll
kill you.
He takes his saddlebag off Chester and heads toward the
woods.
BASS
I’m gonna fire one shot to get
their attention. If I fire a
second, come on in.
Bass walks through the woods carrying his saddlebag. When he
nears the camp, he finds THREE MEN sitting around the fire,
and ONE standing watch.
He draws his gun and fires it in the air, causing the men to
jump up with guns drawn.
BASS (CONT’D)
Whoa! Just a man lookin’ for a bed.
A SHORT MAN (30s, White, wiry, pockmarked face) moves slowly
toward Bass.
SHORT MAN
Far enough, mister. What you want?
BASS
Lost my horse a while ago, and I’m
‘bout frozen and starved. I’ll
offer work for a meal and a place
to sleep.
Short Man laughs.
SHORT MAN
We ain’t got no work.
Frank looks back at Short Man.
FRANK
Let him come in.
Bass steps into the clearing and sets his saddlebag down not
far from the fire. He walks to the fire and rubs his hands
together.
BASS
This feels better than —
FRANK
You didn’t tell me you was a negro.
We don’t take kindly to negroes.
Bass turns to Frank and bows his head.
BASS
My apologies, Mister ...
Frank moves his hand close to his gun belt.
FRANK
It’s master, as in Master Frank.
BASS
More apologies, Master. I was —
Frank aims his pistol at Bass and cocks it.
FRANK
Tell me why I shouldn’t shoot.
Bass glances around and sees all four men watching him, and
with guns ready to be drawn.
BASS
That depends on where you be goin’.
I mean which Injun lands. I know
this territory like you know your
mama’s house, and I speak Creek,
Muskogee, Cherokee, and more.
Frank stokes the fire with a long piece of hickory. Embers
rise up and dance in the air. He calls FRANCOIS (40s, White,
beaver hat, worried, pessimistic) alongside him.
FRANK
François, speak to our friend in
Cherokee.
FRANCOIS
Unatini ganohilvhiyohi ale gwalti?
(Where is your horse?)
BASS
Iyu tsunahisdi uwiyalunehi.
Degadvnedvdi gerogihyi
uwiyalunehi.(It died a few miles
back. It was lame for days.)
François turns to Frank and nods.
Frank stares at Bass for what seems like a long while, and
then he points to a fallen tree on the other side of the
clearing.
FRANK
You can eat a meal, and you can
sleep over there. I won’t be
sleeping with no negro.
Bass bows to him and sets his saddlebag down by the tree, and
then he sits by the fire to eat.
Frank offers him a plate filled with beans, eggs, and two
strips of bacon. Bass dives into it, scooping it into his
mouth.
BASS
Was goin’ to Denver, but I can stay
and help you a few days if you need
it. Pay you for this food and
hospitality.
Frank lays his head on the bedroll and closes his eyes.
FRANK
We’ll see in the morning.
EXT. SOUTH OF MUSKOGEE - DAY
Bass gets up early while the men are still asleep. He walks
to the campfire – just embers now — and warms his hands. When
no one stirs, he draws both his guns and quietly approaches
Frank.
He kneels next to Frank and cocks the gun while holding it to
his head.
BASS
(whispering)
Tell your men to get up nice and
slow, and to put their guns on the
ground.
Frank glares. He looks around, then down at his holster.
BASS (CONT’D)
Ain’t nothin’ you can do before I
pull this trigger.
FRANK
Men, get up slowly. Put your guns
on the ground, and don’t make no
sudden moves.
Frank turns back to Bass.
FRANK (CONT’D)
I gave you food.
Bass nods.
BASS
You did, and I be thankful. But my
job is to take you in.
Bass steps back and, while keeping his guns pointed at the
men, he raises a gun and shoots twice in the air.
Deputy Fagan rides into camp with Bass’s horse following him.
He dismounts and ties the men up while Bass keeps them still.
Genres:
["Western","Drama"]
Ratings
Scene
24 -
Stand Your Ground
EXT. FT. SMITH - DAY
Fagan dismounts in front of the judge’s office, goes inside,
and returns with the papers to process the men for prison.
When Fagan comes out, Bass leads the men to jail.
Fagan locks them up and then he pays Bass his fees plus a
bonus. Bass puts the cash in his pocket and prepares to ride
off.
BASS
You know where I’ll be if you need
me, Deputy.
EXT. SLAVE COMMUNITY - DAY
Bass rides into camp slowly. He nods or greets everyone he
passes with a smile. When he gets to Nellie’s tent, he
dismounts and goes inside.
A few loud barks bring a young puppy to Bass’s legs where the
puppy scratches him, looking for attention.
NELLIE
Meet the new Scruffy.
Bass kneels down, plays with Scruffy, and tousles his hair.
BASS
You little devil. You look just
like ol’ Scruff.
INT. TENT - CONTINUOUS
Nellie hugs Bass, and holds him for a long while.
NELLIE
Thank the Lord! I been prayin’ for
you to be safe.
Bass kisses her cheek, then her neck, then her lips.
BASS
You must pray good, girl, ‘cause
I’m not just safe, I’m hungry.
NELLIE
Then you better plant yourself on
the ground and let me get to fixin’
you some eggs.
Bass takes hold of Nellie’s shoulders, kisses her, and pulls
her down to a pile of quilts they use as a bed.
BASS
I been gone a long time, woman. I
can wait on the eggs. Just make
sure them young’uns stay outside.
EXT. SLAVE COMMUNITY - CONTINUOUS
The sound of children screaming wakes Bass. He dresses
quickly and goes outside, gun in hand.
Bass steps out of the tent and sees a HALF A DOZEN MEN riding
around, shooting guns in the air, and roping the farm
animals.
He grits his teeth and walks toward them.
BASS
(speaking loudly)
You men might not know it, but this
is our land, so I be askin’ you to
leave in peace.
JETHRO (White, 35, cowboy hat, mean) brings his horse right
up to Bass.
JETHRO
I don’t think we’re ready to leave;
besides, Negroes can’t own no land.
Not in my territory, they can’t.
Bass puts his hand on his gun and stares.
BASS
Sorry ‘bout that, mister, but these
Negroes own this land, and you need
to be goin’.
Jethro looks down at Bass and smiles.
JETHRO
You’re wearing a gun. Let’s settle
it like men.
Nellie rushes from the tent.
NELLIE
Bass, no! Don’t do it.
A look of doubt shows in Jethro’s eyes. He furrows his brow.
JETHRO
You Bass Reeves? The one who works
with Jim Fagan?
Bass never takes his eyes from him.
BASS
That be me.
Jethro doffs his hat and tugs on his horse’s reins. He
reaches into his pocket and tosses a bag with a few silver
coins to Bass.
JETHRO
Sorry about any mess. Here’s
something for the damages.
After the men ride away, Nellie runs to Bass and hugs.
NELLIE
I’m proud of you. Now let’s get
back to what you started last
night. Susie can’t watch them
young’uns all day.
Genres:
["Drama","Western"]
Ratings
Scene
25 -
A Day of Work and Play
INT. BASS AND NELLIE’S TENT - CONTINUOUS
Bass laughs, picks her up, and carries her to the tent.
BASS
I better stick around a while so
those folks don’t bother you.
Nellie giggles.
NELLIE
Is that the only reason you be
stickin’ around?
Bass kisses her passionately and lies beside her.
BASS
Might be another reason. Maybe it’s
them eggs you been promising me.
EXT. BASS AND NELLIE’S TENT - CONTINUOUS
Bass steps outside the tent and stretches, then he fastens
his suspenders, and bends down to pet Scruffy.
BASS
What you doin’ here, boy? Been
guarding my tent, have you?
Scruffy rubs against his leg and BARKS.
BASS (CONT’D)
C’mon, boy. Let’s go cook us up
some breakfast.
Bass sits by the campfire and cooks eggs and ham. Scruffy
sits beside him, and he barks every now and then, begging for
food. Bass breaks off a piece of bacon and feeds it to him,
then he leans down and kisses Scruffy’s head.
BASS (CONT’D)
Don’t tell anyone I gave you that.
EXT. SLAVE COMMUNITY - CONTINUOUS
Chester follows Bass into the fields, and munches on the
carrots Bass feeds him. Occasionally Chester bends down and
grabs a carrot stick from Bass’s back pocket.
BASS
(laughing)
Don’t get used to this, old boy.
I’m only givin’ you treats ‘cause
you worked so hard helping me on
that last posse.
Chester neighs and grabs another carrot from Bass’s pocket.
Chester munches on the carrot and moves back.
Bass hooks up a plow to a mule and starts a row of corn. He
comes to the end, and turns and plows the other way. A DOZEN
CHILDREN follow him and plant seeds.
The OLDEST CHILD (14, Black, skinny) calls out.
OLDEST CHILD
Mr. Bass, you be goin’ too fast. We
can’t keep up.
Bass turns and looks at them.
BASS
Then you better get faster, else
you won’t be eatin’ much.
HOURS LATER - CONTINUOUS
Bass pulls a cloth from his pocket and wipes his forehead.
BASS
Scruffy, fetch me some water. Get
Nellie.
Scruffy runs off to Nellie’s tent and stands outside barking.
When Nellie comes out, Scruffy drinks the water from a small
puddle.
NELLIE
You want water for Bass? Okay, here
you go.
Nellie puts water into a canteen and ties it to Scruffy, who
takes it to Bass. When Bass sees the water, he laughs.
BASS
Good boy, Scruffy. Good boy.
He slugs the water, then ties the empty canteen to Scruffy,
who takes it back to Nellie.
Nellie scratches his head and kisses him.
NELLIE
You’re such a good boy, Scruffy.
MONTAGE: BASS TEACHES FARMING
- Bass works the fields every day.
- He plows rows to plant corn and beans.
- He teaches others how to plow and plant crops.
- Chester and Scruffy stay by his side all day.
END OF MONTAGE
Bass helps neighbors repair houses, plant crops, and build
fences. He works each day until dark, then heads home.
Genres:
["Drama","Romance"]
Ratings
Scene
26 -
Urgent Pursuit
EXT. SLAVE COMMUNITY — NIGHT
Nellie greets him with a smile.
NELLIE
Hope you got a lot done ‘cause we
gonna be needin’ more money.
Bass raises his eyebrows and looks at her, the Nellie steps
closer and pulls up her dress to show her stomach has gotten
bigger.
EXT. SLAVE COMMUNITY - DAY
Deputy Fagan rides into camp and dismounts near Bass’ tent.
Scruffy barks continually until Bass exits.
BASS
Deputy, you got work?
FAGAN
Hate to ask, Bass, but I got a
tough one, and I’d like to have you
along.
BASS
Say no more.
Bass changes clothes and packs his saddlebags. He puts a
rifle in the scabbard to his right and a shotgun in the left
scabbard. Before getting on Chester, he buckles his gun belt,
a pistol on both sides.
As he leaves, he hollers to Nellie.
BASS (CONT’D)
Be back soon.
EXT. FORT SMITH - DAY
Bass and Fagan ride off together with Bass trailing Deputy
Fagan. As they travel west, Bass pulls alongside him.
BASS
Who we after?
FAGAN
I don’t know their names, but you
can look at the warrants.
Fagan hands Bass a few crumpled up papers. The first one is a
BIG WHITE GUY (40s, long bushy beard, gruff voice, mean-
tempered); one is a YOUNG NEGRO (20s, even-keeled, friendly);
and one is a YOUNG INJUN (20s, aggressive, lithe).
BASS
I don’t know what the readin’ says,
but I got their faces in my mind,
and lookin’ at this one, I guess
they be goin’ to Indian territory?
Fagan nods.
FAGAN
Can’t be sure, but that’d be my
guess. We need to catch them, Bass;
they killed a sheriff near Pine
Bluff, and they shot a farmer and
his wife not far from there.
Bass spurs Chester to a faster pace.
BASS
No sense wastin’ time. You know
what their tracks look like?
FAGAN
Haven’t proved it, but from what I
saw, one of ‘em has a split shoe on
the front right side.
Bass dismounts and inspects the prints.
BASS
It’s them. Should be easy now.
He gets back on his horse and continually looks at the tracks
as they move along.
MONTAGE: FOLLOWING THE TRACKS
- Bass rides along at a steady pace, continually looking at
the ground so he can follow the hoof prints.
- Bass inspects broken branches and disruptions to the
foliage.
- Bass dismounts to examine abandoned campsites.
- He checks horse droppings, especially by the campsites.
END OF MONTAGE
Genres:
["Western","Drama"]
Ratings
Scene
27 -
Waiting for the Hunt
EXT. TWO HUNDRED MILES WEST OF FT. SMITH - DAY
SUPER: THREE WEEKS LATER
Fagan nudges his horse to the side and dismounts.
FAGAN
I need to rest. Give me ten or
fifteen minutes, and I’ll be ready.
Bass hitches Chester to a tree, then he sits on the ground,
joining Fagan.
FAGAN (CONT’D)
We gettin’ any closer?
Bass sips water from his canteen and nods.
BASS
A little. Problem is, the way
they’re headin’, they could be
goin’ to Cherokee territory, which
is all right, but if they veer
south and go into Comanche and
Apache territory, we could be in a
heap of trouble.
Fagan chews on a piece of dried beef, then he tears off a
piece and offers it to Bass.
FAGAN
Want some charqui (jerky)?
Bass looks at it and smiles.
BASS
The Indians call it pemmican. But
they usually add berries. They take
it with them everywhere.
FAGAN
What if these criminals go to
Apache territory?
Bass shakes his head.
BASS
We wait for ‘em to leave. Ain’t no
sense goin’ into Apache land and
have them take our scalps.
FAGAN
Then I guess we’ll wait.
Bass and Fagan find a group of Cherokee camping near the
border of Apache territory. Bass dismounts and approaches
with palms raised.
BASS
Uyo hla ogadanvtelv yigi. (We mean
no harm. We just need to rest.)
EAGLE WHO SOARS (35, Indian wearing a small headdress with
his chest painted) steps forward. He speaks English.
EAGLE WHO SOARS
You be Bass Reeves?
Bass bows low.
BASS
That be me. And this is Deputy
Fagan.
Eagle Who Soars looks at Fagan.
EAGLE WHO SOARS
Give me word no Cherokee will be
hurt.
Fagan extends his arms, palms facing upward.
FAGAN
You have my word.
Eagle Who Soars spreads his arms as if to encompass the
makeshift village.
EAGLE WHO SOARS
You stay until you go.
FAGAN
We’re after some criminals.
EAGLE WHO SOARS
If bad men in Apache lands, they
come this way soon. The snows in
the mountains make the Canadian
have high water.
Eagle Who Soars points south toward the river.
EAGLE WHO SOARS (CONT’D)
At the bend, river narrows. It only
place safe to cross. You watch from
here.
(a beat)
We watch for you tonight, but leave
tomorrow. Make sure you tell White
Chief, Cherokee help.
Bass bows and folds his hands.
BASS
I tell White Chief about Eagle Who
Soars, and about all Cherokee.
MONTAGE: BASS REEVES ON THE HUNT
- Bass sits atop the crest of the hill, keeping watch on the
river crossing below. He sips coffee and keeps a blanket
wrapped over his legs.
- Fagan fills in for Bass so he can get rest. He stays awake
by pacing, but makes sure to remain out of sight.
- Bass hunts small game: rabbits and squirrels, with a bow
and arrow to avoid making noise.
- Fagan builds a small fire while Bass prepares the game.
END OF MONTAGE
Fagan cooks dinner and hollers to Bass as he nears the fire.
FAGAN
You think we’re wasting time here?
It’s been a long while and we ain’t
seen no sign of ‘em yet.
Bass chews on a piece of meat and sips coffee.
BASS
We tracked ‘em to the Apache lands,
and you heard Eagle Who Soars. He
say if they be in Apache Lands,
they have to come this way before
the snows finish melting.
Fagan rubs his hands together and holds them over the fire.
FAGAN
I hope they hurry the hell up
‘cause it’s cold.
Genres:
["Western","Drama"]
Ratings
Scene
28 -
Chase Through Apache Lands
EXT. APACHE LANDS — DAY
BUSTER (30s, big, White, partially bald, short tempered and
mean), and BUCK (19, Black, independent, determined), and
CHENUA (20s, Indian, aggressive) ride their horses at a brisk
pace through rocky terrain. They continually look over their
shoulders nervously.
BUSTER
We gotta get outta Apache territory
'fore they catch us. We killed two
of their braves back there, and
Apaches don’t forget that.
BUCK
Where we headed?
CHENUA
Only safe crossing of the Canadian
River is up ahead. We make it
there, we're home free.
As they approach the river, they slow their horses and scan
the area carefully.
BUSTER
Looks clear.
They urge their horses into the rushing water. The current is
strong but they manage to make it across safely.
EXT. CHEROKEE TERRITORY — DAY
On the ridge above, Bass spots them through his binoculars.
He signals to Fagan.
BASS
(whispering)
They be here. Just like Eagle Who
Soars said.
FAGAN
Let's get 'em.
Bass and Fagan mount up and ride hard down the hill toward
the criminals. The three men see them coming and spur their
horses into a gallop.
A wild chase ensues across the open prairie. As Bass and
Fagan gain ground, Buster turns in his saddle and fires his
pistol. The shots go wide.
Bass draws his rifle from the scabbard and takes aim while
riding. He fires and hits Chenua’s horse, causing it to
stumble and throw its rider. Chenua rolls on the ground as
Bass and Fagan quickly close in.
Bass dismounts and approaches the fallen man with his gun
drawn.
BASS
You be under arrest.
Chenua raises his hands in surrender and Bass quickly binds
his wrists with rope.
Meanwhile, Fagan continues pursuing the other two criminals.
Buster and Buck push their horses hard, trying to escape. But
Fagan gains on them.
Buster turns again and fires more shots. This time one grazes
Fagan's arm. He grunts in pain but stays in the saddle.
FAGAN
(shouting)
Give it up.
Suddenly, Buck’s horse steps in a prairie dog hole and goes
down hard, throwing Buck. Buster keeps riding, leaving his
partner behind.
Fagan quickly subdues and ties up Buck, then looks up to see
Bass riding towards him, leading Chenua.
BASS
You all right, Deputy? I saw you
take a hit.
FAGAN
(grimacing)
Just a scratch. We got two of 'em
at least.
BASS
And I bet I know where that other
one's headed.
Bass points to a small town visible in the distance.
BASS (CONT’D)
Only place to resupply for miles.
He need to stop there if he wants to keep running.
FAGAN
Then that's where we're headed.
Let's get these two secured first.
Bass and Fagan tie the two captured criminals to their horses
and ride toward the small frontier town, keeping a watchful
eye on their prisoners.
As they approach the town, Bass surveys the handful of
buildings - a general store, saloon, and a few houses.
BASS
I'll check the saloon. You take the
store.
Fagan nods. They dismount and tie up their horses, along with
the prisoners. Bass quietly approaches the saloon, his hand
hovering near his holster. He pushes through the swinging
doors.
Genres:
["Western","Action","Drama"]
Ratings
Scene
29 -
Authority in the Saloon
INT. SALOON - DAY
The saloon is mostly empty, just a few patrons nursing drinks
at the bar. Bass scans the room, his eyes adjusting to the
dim light. In the corner, he spots Buster hunched over a
bottle of whiskey.
Bass slowly walks towards him, keeping his voice low.
BASS
It's over. Time to come in.
Buster’s head snaps up. His eyes go wide with recognition and
fear. In one fluid motion, he leaps to his feet and flips
over the table in front of him.
BUSTER
Try to take me!
He draws his pistol, but Bass is faster. Two shots hit Buster
in the shoulder and leg. He crumples to the floor, his gun
clattering away.
BASS
Looks like I'm taking you in.
Bass quickly disarms and restrains the wounded man while the
few patrons in the saloon stare in shock. Bass tips his hat
to them as he pulls Buster to his feet and hauls him out of
the saloon.
BASS (CONT’D)
Sorry for the disturbance, folks.
Official business.
Outside, Fagan is waiting with the other two prisoners.
FAGAN
I see you found our last man. Good
work, Bass.
BASS
Wasn't too hard. He thought he
could outshoot me.
Buster groans in pain as Bass secures him to a horse.
BUSTER
You got lucky, Negro. If my gun
hand wasn't hurtin' me ...
BASS
(sternly)
That's Deputy Reeves to you.
FAGAN
Let's get ‘em back to Fort Smith.
Judge Parker will want to see them.
As they prepare to ride out, the town's SHERIFF (50s, White,
grizzled) approaches.
SHERIFF
Hold on there. What's all this
about?
Fagan shows him their warrants and badges.
FAGAN
U.S. Deputy Marshal. We're bringing
in these men; they’re wanted for
murder and other crimes.
The sheriff glances between Fagan and Bass.
SHERIFF
(to Bass)
You expect me to believe a Negro is
a Deputy Marshal?
BASS
(calmly)
Believe what you want, but these
men are under our custody now.
FAGAN
If you have questions, take ‘em up
with Judge Parker in Fort Smith.
The sheriff grumbles but steps aside. Bass and Fagan mount
up, leading their prisoners out of town.
As they ride, Fagan turns to Bass with a grin.
FAGAN (CONT’D)
You handled that well back there.
Didn't let that sheriff get to you.
BASS
No sense arguing with a man's
ignorance.
FAGAN
Ain't that the truth. Let's get
these outlaws to justice.
They spur their horses onward, the long journey back to Fort
Smith ahead of them. Bass rides tall in the saddle, proud of
a job well done.
BASS
Mr. Fagan, sir. Is everyone gonna
doubt me ‘cause I’m black?
Fagan turns in his saddle and nods.
FAGAN
There’s always gonna be some, so
you’ll just have to keep proving
them wrong — one at a time.
Fagan clicks on the reins to spur his horse onward.
FAGAN (CONT’D)
C’mon, Bass. The judge will be
itching’ to see this bunch.
Genres:
["Western","Action","Drama"]
Ratings
Scene
30 -
A Badge of Honor
EXT. FORT SMITH - DAY
Bass and Fagan ride into town, their prisoners in tow. A
small crowd gathers to watch as they make their way to the
courthouse. Some whisper and point at Bass, still unused to
seeing a black deputy marshal.
As they near the courthouse steps, JUDGE ISAAC PARKER (50s,
White, stern, tough, by-the-book) emerges, his gaze taking in
the scene before him. He nods approvingly at Bass and Fagan.
JUDGE PARKER
I see you’ve got quite a catch.
FAGAN
All three of the men wanted for
those murders near Pine Bluff.
JUDGE PARKER
Excellent work. I’d like a full
report on my desk by morning.
BASS
Yes, sir. You'll have it.
As they lead the prisoners inside, Bass overhears two
onlookers talking:
ONLOOKER ONE
Can you believe they let a Negro be
a deputy?
ONLOOKER 2
Times sure are changing. But I
heard he's the best tracker this
side of the Mississippi.
Bass keeps his head high, ignoring the comments.
Buster turns his head, scowls, and spits on the ground.
BUSTER
Ain't right, havin' a Negro deputy.
It's unnatural.
Judge Parker's eyes flash with anger.
JUDGE PARKER
The only thing unnatural is your
disregard for the law. Deputy
Reeves has proven himself time and
again to be one of the finest
lawmen in this territory.
(to the deputies)
Get these men to the jail. We'll
begin their trial tomorrow.
As Bass leads the prisoners away, a young boy tugs on his
sleeve.
YOUNG BOY
Mister, is it true you can shoot a
playing card at 50 paces?
Bass smiles kindly at the young boy.
BASS
Well now, I don't know ‘bout that.
But I try my best to shoot straight
and true.
The boy's eyes widen with admiration.
YOUNG BOY
When I grow up, I want to be just
like you!
Bass kneels down to the boy's level.
BASS
You can be anything you set your
mind to, son. Just remember - a
badge doesn't make the man. It's
how you treat others and uphold the
law that counts.
As Bass stands, he notices Fagan watching the exchange with a
grin.
FAGAN
You're becoming quite the local
hero.
BASS
Just a man trying to do right by
the law.
FAGAN
And that's why you're the best
deputy I've ever worked with. Now
let's lock these prisoners up.
As they lead the criminals away, Bass pulls his shoulders
back and stands tall.
INT. COURTHOUSE - LATER
Bass finishes giving his testimony about the capture. Judge
Parker listens intently, occasionally jotting notes.
JUDGE PARKER
Once again, Deputy Reeves, your
work is exemplary. The territory is
safer because of men like you.
(a pause)
I want to say something else, Bass.
We’ve been calling you deputy, now
I want to make it official.
(a pause)
You’re now Deputy Marshal Bass
Reeves.
Judge Parker hands Bass a badge.
JUDGE PARKER (CONT’D)
And here’s the badge to prove it.
Bass lowers his head and shrugs.
BASS
I don’t know what to say, Judge.
JUDGE PARKER
Say yes. I know you need the money,
and it comes with a good raise.
You’ll get paid the same as always,
but you’ll also get a few cents per
mile. And for serving subpoenas.
Genres:
["Western","Drama"]
Ratings
Scene
31 -
Bravery on the Streets of Fort Smith
EXT. FORT SMITH - DAY
As Bass and Fagan lead the prisoners into the jail, a
commotion breaks out down the street. A MAN comes running
towards them, waving his arms frantically.
MAN
Deputy! There's been a robbery at
the bank. They're getting away.
Without hesitation, Bass springs into action. He quickly
hands off his prisoner to Fagan.
BASS
I'll take care of this. Get these
men locked up.
Bass mounts Chester and spurs him into a gallop, racing
toward the bank. As he rounds the corner, he spots two men on
horseback, riding hard out of town, saddlebags bulging.
Bass urges Chester faster, gaining ground on the fleeing
robbers. One of them turns and fires a wild shot, forcing
Bass to duck low in the saddle. He draws his own pistol,
taking careful aim.
BASS (CONT’D)
(shouting)
Stop and surrender.
The robbers ignore his warning, pushing their horses to the
limit. Bass fires, his shot striking one robber's horse in
the flank. The animal stumbles, throwing its rider. The other
robber hesitates, looking back at his fallen partner.
Bass closes the distance, leveling his gun at the remaining
robber.
BASS (CONT’D)
It's over. Throw down your weapon.
For a tense moment, the robber seems to consider his options.
Then, with a defeated sigh, he tosses his gun to the ground
and raises his hands.
ROBBER
Don't shoot.
Bass keeps his weapon trained on the man as he dismounts and
secures him. He then retrieves the fallen robber, who is
dazed but largely uninjured from his fall.
As Bass leads the two criminals and their horses back into
town, a crowd gathers to watch. Whispers of admiration ripple
through the onlookers.
TOWNSPERSON 1
Did you see that? He caught those
robbers all by himself!
TOWNSPERSON 2
That Bass Reeves is something else.
Color of his skin don't matter none
when he's bringing in outlaws like
that.
Fagan pushes through the crowd, a proud grin on his face.
FAGAN
Another job well done, Bass. You
make the rest of us look bad.
BASS
(modestly)
Just doing what needs doing.
FAGAN
Maybe so.
As they lead the robbers to jail, the bank manager
approaches, still flustered from the robbery.
BANK MANAGER
Deputy Reeves, I can't thank you
enough. Is the money safe?
Bass hands over the saddlebags full of cash to the bank
manager.
BASS
It's all here, sir. You might want
to count it to be sure, but I don't
believe they had time to spend it.
Bass and Fagan lead the bank robbers to the jail and secure
them in cells. As they walk out, Bass pauses, looking
thoughtful.
BASS (CONT’D)
You know, Jim, sometimes I wonder
if we're making a real difference.
Seems like every outlaw we bring
in, two more pop up.
FAGAN
That's why we keep at it.
Bass nods, a small smile crossing his face.
As they walk down the street, Bass notices a group of
children playing. They are reenacting his chase of the bank
robbers, with one boy pretending to be Bass.
CHILD
(mimicking Bass)
Stop in the name of the law!
Bass chuckles, shaking his head.
BASS
Looks like I've got some
competition coming up.
INT. SALOON — DAY
They reach the saloon and Fagan pushes open the door.
FAGAN
First round's on me.
They settle in at the bar and Bass reflects on the day's
events.
BASS
Days like this make it all
worthwhile, especially seeing the
look on those kids’ faces.
He raises his glass and clangs it against Fagan’s.
Genres:
["Western","Action","Drama"]
Ratings
Scene
32 -
A Call to Leadership
INT. SALOON - NIGHT
Judge Parker walks into the saloon and finds Bass and Jim
Fagan sitting at a table and nursing a bottle of whiskey.
Parker joins Bass and Fagan, helping himself to a sip of
their whiskey. The saloon is bustling with the usual evening
crowd, but many patrons glance at Bass with a mix of
curiosity and admiration.
JUDGE PARKER
Bass, with all the outlaws you’ve
been catching, I think it’s time
you had your own team.
Bass shrugs.
BASS
I don’t know, Judge.
FAGAN
You really ought to consider the
judge's offer. You could do a lot
of good leading a team.
BASS
(thoughtfully)
Maybe so. But it's not just about
me. There's a lot of folks out
there still not ready to take
orders from a black man.
FAGAN
All the more reason to do it. Show
'em what you're made of.
The saloon is lively, with piano music playing and patrons
laughing and talking. A few people nod respectfully to Bass
as they pass by.
A commotion erupts at the other end of the bar. Two men argue
loudly, their voices growing angrier by the second.
DRUNK MAN 1
I saw you palm that ace!
DRUNK MAN 2
You callin' me a liar?
The second man shoves the first, sending him stumbling back
into a table. Glasses crash to the floor as the two men
grapple with each other.
Bass sighs and sets down his drink. He strides over to the
brawling men, his presence commanding attention even before
he speaks.
BASS
That's enough. Take it outside or
cool off, but this stops now.
The men, caught up in their own argument, stop once they
notice Bass. They stand up and brush themselves off, then
take their seats.
SALOON - NIGHT — CONTINUOUS
Fagan pushes an empty glass and a bottle toward Bass.
FAGAN
I meant what I said earlier. You'd
make a fine leader for a team of
deputies.
BASS
I appreciate that. But I can't help
wondering - would other deputies
really follow me?
FAGAN
Any deputy worth his salt would be
proud to ride with you. Your
reputation speaks for itself.
The saloon doors burst open, and a young boy runs in, out of
breath.
BOY
Deputy Reeves! Come quick. There's
trouble at the livery stable.
Bass and Fagan exchange a quick glance before hurrying out of
the saloon.
Genres:
["Western","Drama"]
Ratings
Scene
33 -
A Night at the Livery Stable
EXT. FORT SMITH - NIGHT
As they step into the night air, Bass hears shouting and the
sound of breaking wood coming from down the street.
Bass and Fagan rush down the dimly lit street toward the
livery stable. As they approach, they hear angry shouts and
the sound of breaking wood. A small crowd gathers outside.
BASS
(to the crowd)
Stand back, folks.
They push through to see two men brawling inside the stable.
One man has the other pinned against a stall door, raining
down blows.
FAGAN
That's enough! Break it up.
The men ignore him, continuing to grapple and throw punches.
Bass steps forward, his voice cutting through the chaos.
BASS
This ends now.
He moves swiftly, grabbing the man on top and pulling him off
his opponent with surprising strength. Fagan restrains the
other man.
BASS (CONT’D)
What's this all about?
BRAWLER 1
(panting)
This thievin' son of a bitch stole
my horse.
BRAWLER 2
I ain't stole nothin'. That's my
horse and you know it.
Bass looks between the two men, his expression stern but
calm.
BASS
All right, let's sort this out
proper. Which horse we talking
about?
BRAWLER 1
The bay mare in the third stall.
Bass walks over to inspect the horse in question. He runs his
hand along its neck, speaking soothingly to calm the agitated
animal. He examines its markings carefully.
BASS
This mare have any marks?
BRAWLER 1
Yeah, she's got a white star on her
forehead and a notch in her left
ear.
Bass checks and confirms these features.
BASS
And you, sir? Any way to prove this
is your horse?
BRAWLER 2
(hesitating)
Well ... I ... I've had her for
years. I call her “Daisy.”
Bass raises an eyebrow, then turns to the horse and whistles
softly.
BASS
Here, Daisy.
The horse doesn't react. Bass tries a few more names, with
the same result. Finally, he turns to Brawler 1.
BASS (CONT’D)
What do you call her?
BRAWLER 1
Starlight.
At the sound of Brawler 1 mentioning her name, the horse's
ears perk up and she whinnies softly. Bass nods, his
suspicions confirmed.
BASS
I think we have our answer. This
horse belongs to this man.
(pointing to Brawler 1)
Bass turns slowly to the other man
and pokes his chest.
BASS (CONT’D)
You want to tell me how you came to
be in possession of a horse that
ain’t yours?
Brawler 2 looks down, shame creeping across his face.
BRAWLER 2
I'm sorry. Times have been tough. I
needed a horse and, I made a
mistake.
BASS
A mistake that could land you in
jail — or get you killed.
FAGAN
You want to take him in?
Bass considers for a moment, looking between the two men.
BASS
Not tonight.
(pointing to Brawler 2)
Return any gear you took and pay
this man for his trouble. And I
better not catch you trying
anything like this again.
The two men reluctantly shake hands. Fagan turns to Bass with
a grin.
FAGAN
That could've gotten ugly if we'd
come in guns blazing. That's
exactly why Judge Parker wants you
to lead a team.
BASS
(thoughtfully)
Maybe so. But being a deputy and
leading a team be a whole lot
different.
FAGAN
Sleep on it.
Bass nods as they reach the corner where their paths split.
BASS
See you in the morning.
Bass spurs his horse forward and waves to Fagan.
BASS (CONT’D)
You know where to find me, Deputy.
Or just send a message.
Genres:
["Western","Drama"]
Ratings
Scene
34 -
A Night of Affection and Responsibilities
EXT. SLAVE COMMUNITY — NIGHT
Bass spurs Chester to a trot, and the horse immediately takes
a shortcut through the woods that leads to Bass and Nellie’s
home.
Bass rides up to the tent and dismounts. Nellie stands
outside, holding an armful of newly washed clothes. She sets
the clothes down and runs toward Bass, hugging him tightly.
NELLIE
Bass!
Bass kisses her and holds her.
BASS
Ain’t nothin’ happening to me.
He reaches into his pocket and removes a wad of cash.
BASS (CONT’D)
But look at this, Nellie. Look how
much Deputy Fagan paid me.
Nellie stands on her tiptoes and kisses him again.
NELLIE
That’s not all you got to see, but
we gonna have to wait till the
young’uns are gone.
She grabs his hand and tugs him into the tent.
EXT. SLAVE COMMUNITY — DAY
The next day, Bass makes the rounds, talking to everyone and
checking on the planting. He carries little Georgie, but the
rest of the kids follow him.
After feeding them, Nellie gets Susie to watch them.
INT. BASS AND NELLIE’S TENT - NIGHT
Bass strips his dusty overalls off and enters the tent.
NELLIE
About time you got here.
BASS
It’s ‘bout time I got to doin’ my
husbandly duties. That’s what it’s
‘bout time for.
Bass and Nellie make passionate love. He gets up and brews
tea, then he lies next to Nellie and makes love again.
Bass rolls over and pulls Nellie on top of him. They kiss
passionately and hug each other, and then Bass rolls over and
holds her tightly.
BASS (CONT’D)
Nellie, I got to go out with Deputy
Fagan tomorrow. And no, I gots no
idea how long I’ll be.
NELLIE
You better not be too long, else
you might find me cookin’ for
someone else.
Bass laughs as sets his boots and clothes aside. Then he
laughs again and leans over and kisses Nellie.
BASS
See you soon. Or sometime.
BACK TO PRESENT
Genres:
["Drama","Romance"]
Ratings
Scene
35 -
A New Beginning
INT. BASS AND NELLIE’S TENT - DAY [1873]
A YOUNG GIRL (12, Black, long, braided hair) sits on a
blanket near the back of the tent. She holds ALICE MAE (weeks
old, Black, giggles) a baby girl, in her arms and rocks back
and forth.
Bass looks at the baby, then back to Nellie.
BASS
This is ours? Our baby?
Nellie nods, shedding tears.
NELLIE
The Lord smiles on us.
Bass picks up the baby and cuddles her.
BASS
Did you name her?
NELLIE
I been calling’ her Alice Mae,
after your aunt.
Bass turns back the blanket covering the baby’s face and
kisses her cheek. He holds the baby closer and paces from one
side of the tent to the other.
BASS
Alice — I like that.
Nellie takes hold of Bass’s arm and pulls him toward the tent
entrance.
NELLIE
C’mon, Bass. It’s not too cold.
Let’s take her for a walk.
Bass wraps her in the blanket and exits the tent while Nellie
holds the flap open. Bass leans down and kisses her.
BASS
Let’s meet your neighbors.
Bass and Nellie walk Alice from tent to tent, introducing her
to all the neighbors.
After visiting the last tent, they head back home.
BASS (CONT’D)
I’m thinkin’ it’s about time we got
us a place of our own, Nellie.
(MORE)
BASS (CONT’D)
I been makin’ good money, and I
think we can buy a small property.
Nellie huffs and shakes her head.
NELLIE
They ain’t gonna let no Negro buy
property. They don’t even let me
buy what I need at the general
store.
Bass nods.
BASS
You let me take care of that.
NELLIE
Bass, I —
BASS
I know them folks don’t much like
us, but they all love money. And I
just showed you, I got me some
money.
Genres:
["Drama","Family"]
Ratings
Scene
36 -
Confronting Discrimination
EXT. FT. SMITH - DAY
Bass dismounts in front of the Sheriff’s office and steps
onto the porch. He is about to knock on the door when it
opens and Deputy Fagan comes out.
Fagan seems surprised and clasps Bass’s hand.
FAGAN
Good to see you, Bass. Ready to
come back to work so soon?
Bass shakes his head.
BASS
No, sir, Mr. Fagan. I done gots me
another baby — only a couple of
weeks old.
Fagan pats Bass on the back and embraces him.
FAGAN
Good news, Bass. Darn good news.
Let’s go to the store and buy a few
cigars. I hear some people
celebrate new births that way.
Bass grins.
BASS
It sounds good, Deputy, but that
store won’t sell me nothin.
Fagan furrows his brow.
FAGAN
Won’t sell you? Why?
BASS
Because we be Negroes. Nellie tried
gettin’ food, and they won’t even
sell her that.
Fagan’s face forms a scowl. He grabs Bass by the arm and
pulls him toward the store.
Genres:
["Western","Drama"]
Ratings
Scene
37 -
Defiance in the General Store
INT. GENERAL STORE - DAY - CONTINUOUS
Fagan pushes open the door and enters, Bass right behind him.
An OLDER MAN (60s, White, bald, mild mannered) stands behind
the counter. He smiles when Fagan walks in, but loses the
smile when he sees Bass.
OLDER MAN
(pointing at Bass)
Sorry, but you can’t come in here.
Fagan steps between the older man’s line of sight and Bass.
FAGAN
Mister, this is Bass Reeves, the
best posse man I ever had. If I
have to, I’ll take him to another
town where they’ll sell him
whatever he wants. And I’ll shop
for my goods there too.
OLDER MAN
But —
Fagan grabs hold of Bass and walks toward the door.
OLDER MAN (CONT’D)
Now, hold on. Don’t be in no hurry.
The old man steps out from behind the counter, closes the
door, and hangs a ‘CLOSED’ sign on it.
OLDER MAN (CONT’D)
Go on and get your business done,
but be quick about it.
Bass looks to Fagan, and nods.
FAGAN
I don’t want to hear of no more
problems. And Bass’ wife, Nellie,
comes here too. You better let her
in when she does.
The old man continually pulls the curtain aside and looks out
the door.
OLDER MAN
(nervous and fidgety)
Yeah, yeah. Just hurry up.
Bass gets a few items Nellie needs for the baby, and a couple
of bags of feed for the animals, then he and Deputy Fagan
leave.
MONTAGE: ON THE HUNT
- Bass and Jim go after several horse thieves, catching them
in Shoshone territory.
- Bass spends time at home with Nellie and the kids.
- Bass and Jim hunt down Jim Webb again, who had been
released from jail.
END OF MONTAGE
Genres:
["Western","Drama"]
Ratings
Scene
38 -
A New Beginning
EXT. GENERAL STORE - DAY
SUPER: YEARS LATER
Bass goes out for months with Fagan, and returns home with a
thousand dollars. He then makes love to Nelly again.
BASS
I be goin’ to town to see Jim, then
I’m off to look for a place.
(a beat)
I heard of a ten-acre spread with
an old barn that needs fixin’ up.
NELLIE
You really think they’ll sell?
BASS
That’s why I’m bringin’ Jim.
The land purchase goes smoothly, and Bass now owns a ten-acre
spread, with a large farmhouse he can fix.
As they leave, Bass turns to Jim.
BASS (CONT’D)
I don’t think they wanted to sell
to me, but with you there ...
FAGAN
If Nellie keeps having kids, you’ll
need that big of a place.
Bass returns home and plays with the kids, then he goes
outside to help work the fields.
NELLIE
You need to be thinking about
working our own place.
BASS
I plan on it, but I want to give
what I can while we be still here.
We owe this place. A lot.
He spends several days, then says goodbye to everyone and
takes Nellie and the kids to his new place in an old wagon.
SALLY
Where are we going, Papa?
Bass smiles, then laughs.
BASS
We be goin’ to the Reeves’
plantation in Van Buren, Arkansas.
It be about seven miles from Ft.
Smith.
Nellie shakes her head, and turns to the kids.
NELLIE
Papa can call it what he wants, but
it ain’t no plantation. It’s a beat
down old barn that needs lots of
fixin’. Even the ground needs work.
Genres:
["Western","Drama"]
Ratings
Scene
39 -
A New Beginning
EXT. REEVES PROPERTY - VAN BUREN, ARKANSAS - DAY
SUPER: 1875
The wagon bumps along a rutted dirt road. Bass holds the
reins with Nellie beside him, kids in the back.
They approach a ramshackle farmhouse with an old barn. The
land around it is overgrown.
Bass pulls the wagon to a stop in front of the farmhouse. The
children peer out with wide eyes.
ROBERT
That's our house, Papa?
BASS
That be our house, son. Just need a
little fixin' up is all.
Bass jumps down from the wagon and reaches up to help Nellie.
NELLIE
(whispering)
It looks worse than before.
BASS
That's 'cause it be ours now. When
you own somethin', you see all the
work needs doin'.
Bass lifts little Alice Mae from the wagon. The other
children hop down and begin exploring the property.
BASS (CONT’D)
Ten acres, all ours. No one can
tell us to leave or what to do.
Bass pushes open the creaking farmhouse door. The inside is
dusty and sparse, but the walls are solid.
NELLIE
Gonna need a lot of cleanin'.
BASS
I'll be fixin' it up between jobs
with the deputy. One day, this
gonna be the finest house in Van
Buren.
SALLY
Where we gonna sleep tonight, Papa?
BASS
We got us some blankets in the
wagon. They do for now.
(smiling)
We slept in worse.
Genres:
["Western","Drama"]
Ratings
Scene
40 -
A Hard-Earned Home and a Call to Duty
EXT. REEVES PROPERTY - MONTAGE
- Bass puts tarpaper on the roof, and hammers wood shakes on
top of them. He continually wipes sweat from his brow.
- Nellie and the children clean the interior, scrubbing
floors and washing windows.
- Bass builds proper bed frames, fashioning them with skilled
hands.
- The family plants a garden, the children dropping seeds
into furrows Bass has made.
- Bass paints the exterior — with the help of the kids —
turning the dull, gray wood white.
- Chester and Scruffy roam the property, finally at home.
END MONTAGE
EXT. REEVES PROPERTY - PORCH - EVENING
Nellie sits in a rocker on the newly repaired porch while
Bass walks back and forth, stamping his feet.
BASS
Solid. Done got us a solid porch.
NELLIE
I be happy when you get us a solid
bedroom. I love those young’uns,
but I’m tired of sleeping with them
in the same room.
Bass sits in a chair next to Nellie and points at the kids
playing in the yard.
BASS
Look at them, Nellie. Ain’t never
seen any young’uns happier.
The fading sunlight shines on Nellie’s face, causing Bass to
lean over and kiss her. She laughs and shoos him away.
NELLIE
Got to admit, Bass, it's comin'
along better than I thought.
BASS
Told you. Just needed some work.
The sound of hoofbeats brings Bass to attention. He stands to
look, his hand close to his pistol, but as the rider gets
close, approaches, Bass recognizes the horse.
BASS (CONT’D)
That be Jim.
Deputy Fagan rides up to the house and dismounts.
FAGAN
Evening, Bass, Nellie.
NELLIE
Deputy Fagan. You stayin' for
supper?
FAGAN
No ma'am, thank you. Just need to
borrow your husband for a spell.
Bass exchanges a knowing glance with Nellie.
FAGAN (CONT’D)
Got Belle Starr and her husband
causin' trouble again. Judge Parker
wants ‘em brought in.
BASS
Belle Starr? Heard she's a tough
one.
FAGAN
That's why I need you. She's hidin'
out in Cherokee territory.
Bass nods slowly, then looks at Nellie.
NELLIE
(sighs)
How long this time?
FAGAN
Shouldn't be more than a week or
two.
BASS
Let me get my things.
INT. REEVES HOME - NIGHT
Bass packs his saddlebags as Nellie watches from the doorway.
NELLIE
You just got this place feelin’
like a home. Now you're leavin'.
BASS
This is how we pay for it all,
Nellie. I go out, bring in outlaws,
we get paid good money.
NELLIE
I know. Just gets hard with the
children.
Bass walks to her and holds her close.
BASS
I'll be back 'fore you know it. I
always come back to you.
EXT. CHEROKEE TERRITORY - DAY
Bass and Fagan ride through dense woods. tracking carefully.
Bass occasionally dismounts to check signs.
FAGAN
We still on their trail?
BASS
See that branch there?
(points)
Broken from the inside out. Someone
rode through here not more than a
day ago.
FAGAN
Could be anyone.
BASS
Look there.
Bass points to a scrap of fabric caught on a thorn bush.
BASS (CONT’D)
Red silk. Heard Belle likes her
fancy clothes.
Bass and Fagan continue tracking until they reach a small
clearing. In the distance is a cabin with smoke rising from
the chimney.
BASS (CONT’D)
That's gotta be them.
FAGAN
How you want to do this?
BASS
I'll circle 'round back. You come
in from the front. Wait for my
signal.
Genres:
["Western","Drama"]
Ratings
Scene
41 -
The Confrontation at the Starr Cabin
EXT. STARR CABIN - DAY
Bass creeps through the woods behind the cabin and positions
himself where he can see through a back window.
Inside, BELLE STARR (40, White, wearing men's clothes) sits,
smoking a cigarette and cleaning a rifle.
SAM STARR (30s, Cherokee, rough-looking) paces the cabin. He
wears a pistol on each side.
Bass watches as Belle and Sam argue. He can't hear the words,
but the tension is clear.
Bass signals to Fagan, who approaches the front door openly.
He KNOCKS on the door, and the conversation inside stops.
Sam approaches the door cautiously, hand on his pistol.
SAM STARR
Who's there?
FAGAN
Deputy Marshal Fagan. Got a warrant
for you and the missus.
SAM STARR
(through door)
We ain't done nothin'.
Inside, Belle grabs her rifle and heads for the back door. As
she opens it, Bass is standing there, pistol drawn.
BASS
Ma’am, I believe you and your
husband are wanted by Judge Parker.
Belle raises her rifle, but Bass is quicker and knocks it
from her hands.
BASS (CONT’D)
Please don't make this harder than
it needs to be.
BELLE STARR
(with grudging respect)
You're that Negro deputy I heard
about. Bass Reeves.
BASS
Yes, ma'am. Now please call to your
husband to open the front door.
BELLE STARR
(loudly)
Sam. Open up. They got us.
The front door opens and Fagan enters, gun trained on Sam.
FAGAN
Hands where I can see 'em.
Sam reluctantly raises his hands.
BELLE STARR
(to Bass)
You know they'll just let us go
again. Judge Parker can't make
nothin' stick to us.
BASS
Not my concern, ma'am. My job is
bringin' you in. Judge'll do his
part.
Genres:
["Western","Action","Drama"]
Ratings
Scene
42 -
Clash of Principles on the Trail
EXT. TRAIL TO FORT SMITH - DAY
Bass and Fagan lead their prisoners, Belle and Sam Starr, on
horseback. Belle rides sidesaddle, looking angry, but not
worried.
BELLE STARR
You know, Deputy Reeves, I've heard
stories about you. They say you
never bring in the wrong man.
BASS
I try to be careful about who I
bring to the judge.
BELLE STARR
And that you can't be bribed.
BASS
No, ma'am. Never took a bribe.
BELLE STARR
What if I offered you more than a
month's pay to look the other way?
Bass doesn't even look at her.
BASS
Would be a waste of your money,
ma'am.
Belle laughs, genuine amusement in her voice.
BELLE STARR
I like you, Deputy Reeves. Too bad
you're on the wrong side.
BASS
I figure I'm on the right side,
ma'am. Law and order.
BELLE STARR
Law and order. Those are white
man's words. What's the law ever
done for you?
Bass remains silent.
BELLE STARR (CONT’D)
That's what I thought.
Genres:
["Western","Drama"]
Ratings
Scene
43 -
A New Assignment
EXT. FORT SMITH - COURTHOUSE - DAY
Bass and Fagan deliver Belle and Sam to the courthouse, where
Judge Parker awaits.
JUDGE PARKER
The notorious Belle Starr. Again.
BELLE STARR
Always a pleasure, Judge.
JUDGE PARKER
Take them to the cells.
As they're led away, Belle calls back to Bass.
BELLE STARR
Remember what I said, Deputy
Reeves.
Judge Parker approaches Bass.
JUDGE PARKER
What did she say to you?
BASS
Nothin' important, sir.
JUDGE PARKER
Don't let her get in your head,
Bass. She's charmed better men than
both of us.
BASS
Yes, sir.
JUDGE PARKER
I've got another job for you. Frank
Buck and John Bruner are causing
trouble in Creek territory.
BASS
(nods)
Buck is known for horse theft.
Dangerous man.
JUDGE PARKER
He's been terrorizing settlers,
stealing horses and worse. I need
my best man on this one.
BASS
I'll find him.
JUDGE PARKER
I'm assigning your own posse this
time. Three men, and you'll be in
charge.
Bass looks surprised.
BASS
Sir?
JUDGE PARKER
You've earned it, Deputy Reeves.
Time you led your own men.
Genres:
["Western","Drama"]
Ratings
Scene
44 -
Tension in the Territory
INT. FORT SMITH - SHERIFF'S OFFICE - DAY
Bass sits at a table with THREE DEPUTIES, all White men -
JOHN FOSTER (30s, experienced), BILL TAYLOR (20s, eager), and
HENRY WILSON (40s, skeptical).
BASS
Frank Buck is a Creek outlaw,
ruthless and unpredictable. He
won't go down easy, so we track
carefully and stay alert.
WILSON
(under his breath)
Taking orders from a Negro ...
BASS
You got something to say, Deputy
Wilson?
Wilson stares for a long time.
WILSON
No.
BASS
Good. We ride at dawn.
EXT. CREEK TERRITORY - DAY
Bass rides alone, ahead of his posse. He studies the ground
periodically, following a trail only he can see.
As he rounds a bend in the trail, he encounters TWO RIDERS
heading his way - FRANK BUCK (30s, Creek, dangerous eyes) and
JOHN BRUNER (20s, White, wiry, nervous).
The men eye Bass cautiously but don't recognize him as a
lawman.
FRANK BUCK
Mornin'.
BASS
(tipping his hat)
Mornin' to you. Hot day for ridin'.
JOHN BRUNER
Where you headed?
BASS
North Creek settlement. Looking for
work.
FRANK BUCK
(relaxing slightly)
We're headed that way ourselves.
Might as well ride together for a
spell.
Bass nods, falling in with them. He takes in every detail of
the men while he keeps his face neutral.
Genres:
["Western","Drama"]
Ratings
Scene
45 -
The Ambush at the Creek
EXT. CREEK TERRITORY - CLEARING - MIDDAY
Bass, Buck, and Bruner dismount near a stream to rest their
horses.
BASS
Fine horses you got there.
FRANK BUCK
(proudly)
Best in the territory.
Bass notices Buck studying him more intently now, suspicion
growing.
BRUNER
(to Buck, quietly)
You ever seen him before?
Buck shakes his head slightly, hand moving closer to his
pistol.
Bass moves toward his saddlebag as if getting food, but keeps
his eyes on both men.
BASS
Either of you want some jerky?
As Bass reaches for his saddlebag, he suddenly spins and
grabs Bruner's gun, yanking it from the holster before Bruner
can react.
Simultaneously, Buck draws his pistol, but Bass is faster. In
one fluid motion, Bass draws his Colt .45 and fires. Buck
falls, shot through the chest. He holds Bruner at gunpoint.
BASS (CONT’D)
Frank Buck, John Bruner.
I have warrants for both
of you. You're under
arrest.
BRUNER
(shocked)
You're Bass Reeves?
Bass nods, keeping his gun trained on Bruner as he binds his
hands.
BRUNER (CONT’D)
(looking at Buck's body)
You killed him.
BASS
He drew on me. Left me no choice.
Bass whistles, and moments later, his posse rides into the
clearing.
FOSTER
(surprised)
You already got them?
BASS
Just one alive. Buck drew on me.
TAYLOR
(impressed)
How'd you find them so fast?
BASS
Sometimes the best way to catch an
outlaw is to let him find you.
Genres:
["Western","Action","Drama"]
Ratings
Scene
46 -
The Hunt for Wiley Bear
EXT. FORT SMITH - COURTHOUSE - DAY
Bass delivers Bruner and Buck's body to Judge Parker.
JUDGE PARKER
Quick work, Deputy Reeves. Though
I'd have preferred them both alive.
BASS
Buck didn't give me that option,
Judge.
JUDGE PARKER
I understand. You did what was
necessary.
Bass nods, respectful but weary.
JUDGE PARKER (CONT’D)
I have another assignment for you.
Wiley Bear and his gang have been
raiding settlements along the Creek
border.
BASS
Bear's got quite a reputation.
Murderer and horse thief.
JUDGE PARKER
Indeed. And he's gathering more
men. I need him stopped before more
innocent people die.
BASS
I'll need the same posse. They've
proven themselves.
JUDGE PARKER
Take whoever you need. Just bring
Bear in.
EXT. CREEK TERRITORY - WEEKS LATER - DAY
Bass and his posse ride through rough country. Bass
frequently dismounts to check tracks.
FOSTER
What makes you so sure Wiley Bear
is headed this way?
BASS
Bear's got two men with him -
Simmons and Lasly. They're Creek,
and this is home territory for
them. They think they're safe here.
TAYLOR
(impressed)
You've been tracking these men for
two weeks without losing the trail.
BASS
(modestly)
Creek taught me tracking. Been
following these men a long time.
Wilson spits, still skeptical and resentful.
WILSON
If you're so good, why haven't we
caught them yet?
BASS
Because Wiley Bear didn't get his
reputation by being careless.
Bass stops suddenly, raising his hand for silence. He points
ahead to a small valley where a thin wisp of smoke rises.
BASS (CONT’D)
That'll be them. Three men,
probably armed and watching the
main trails.
Genres:
["Western","Action","Drama"]
Ratings
Scene
47 -
The Standoff at Bear's Camp
EXT. BEAR'S CAMP - DUSK
Bass studies the camp from a hidden position. WILEY BEAR
(40s, White, muscular, scarred face) sits by a small fire
with JOHN SIMMONS (30s, White, long hair) and SAM LASLY (20s,
Creek).
Bass signals for the deputies to spread out, surrounding the
camp.
BASS
(whispering to Foster)
They're all there. We wait till
they're settled for the night.
FOSTER
Why not take them now?
BASS
Less chance of bloodshed if they're
half-asleep.
The deputies nod, taking positions around the camp as
darkness falls.
EXT. BEAR'S CAMP - NIGHT
The outlaws sleep near the dying fire. Bass signals, and the
deputies move in silently.
Bass stands at the edge of the light, gun drawn.
BASS
(loudly)
Wiley Bear! You and your men are
surrounded. Throw down your
weapons.
The outlaws leap to their feet, grabbing for their guns.
BASS (CONT’D)
Don't do it! United States Deputy
Marshal. Drop your guns.
Lasly panics and fires wildly. Bass and Foster return fire,
hitting Lasly in the shoulder.
Simmons immediately raises his hands.
SIMMONS
Don't shoot! I surrender.
Bear, seeing his men giving up, makes a break for the woods.
Bass pursues, overtaking him in a few strides and tackling
him to the ground.
They struggle fiercely. Bear is powerful, but Bass is
determined. Finally, Bass pins him, pressing his gun to
Bear's temple.
BASS
It's over, Bear. You're going to
Fort Smith.
BEAR
(breathing hard)
How'd you find us?
Bass hauls Bear to his feet and leads him back to camp, where
the other deputies have secured Simmons and the wounded
Lasly.
WILSON
(grudging respect)
You got him.
BASS
We got him. All three.
Genres:
["Western","Action","Drama"]
Ratings
Scene
48 -
Homecoming and New Beginnings
EXT. FORT SMITH - COURTHOUSE - DAY
Bass delivers Bear, Simmons, and Lasly to Judge Parker.
JUDGE PARKER
Wiley Bear. Your reign of terror is
over.
BEAR
(defiant)
Nothing's over.
JUDGE PARKER
(to Bass)
Excellent work, Deputy Reeves.
You've dismantled one of the most
dangerous gangs in the territory.
BASS
Thank you, Judge.
JUDGE PARKER
Take some time off. Spend it with
your family. You've earned it.
BASS
Appreciate that, sir. Got a farm
that needs tendin'.
EXT. REEVES PROPERTY - DAY
Bass rides up to his farm, now much improved. The house is
freshly painted, the barn repaired, crops growing in neat
rows.
Nellie and the children run out to greet him. Scruffy barks
excitedly, racing circles around Chester.
NELLIE
Bass!
Bass dismounts and embraces his family.
BASS
Look at this place. Barely
recognized it.
NELLIE
We been working while you were
gone. And some of the folks from
the community came to help too.
SALLIE
I helped paint the fence, Papa.
ROBERT
And I fixed the chicken coop.
Bass looks at the land with pride.
BASS
You all did good. Real good.
Bass notices Chester favoring his front right hoof.
BASS (CONT’D)
What's wrong with Chester?
NELLIE
Got a thorn in his foot yesterday.
I tried to get it out, but he
wouldn't let me near it.
Bass approaches Chester gently.
BASS
Easy, boy. Let me see.
Bass lifts Chester's hoof and examines it. He pulls out a
small knife and carefully extracts a large thorn.
BASS (CONT’D)
There you go. Good boy.
A neighbor, JOHNSON (50s, White farmer), rides up to the
property.
JOHNSON
Reeves, I heard you were back.
Bass nods.
BASS
Mr. Johnson.
JOHNSON
That horse still giving you
trouble? You need to put that one
down. It’s more trouble than its
worth.
Bass stares incredulously.
BASS
Would you put your own kid down?
Johnson looks uncomfortable.
JOHNSON
It's just a horse.
BASS
No, sir. Chester here's family.
Johnson changes the subject.
JOHNSON
Heard you brought in Frank Buck.
BASS
News travels fast.
JOHNSON
People talking about you all over
the territory. Say you've brought
in more outlaws than any other
deputy.
BASS
Just doing my job.
JOHNSON
Well, I came to invite you and your
family to the harvest gathering
next month. Whole town will be
there.
Bass and Nellie exchange surprised glances.
BASS
That's mighty kind, Mr. Johnson.
We'll be there.
After Johnson leaves, Nellie turns to Bass.
NELLIE
That's the first time any white
folks invited us to anything.
BASS
Times are changing, I suppose.
NELLIE
(skeptical)
Maybe a little.
Genres:
["Western","Drama"]
Ratings
Scene
49 -
A Night of Reflection
EXT. REEVES PROPERTY - NIGHT
Bass sits on the porch, cleaning the barrels of his guns.
Nellie sits next to him.
NELLIE
How long you staying this time?
BASS
Judge gave me two weeks. Then
there's another warrant.
NELLIE
(sighs)
Always another warrant.
BASS
It's good money, Nellie. Look what
we built with it.
NELLIE
I know. But the children miss their
father.
Bass looks out at their property, gleaming in the moonlight.
BASS
I'm doin’ this for them. So they
can have somethin’ of their own
someday. Somethin’ no one can take
away.
NELLIE
You ever think about quitting?
Staying here full time?
BASS
Sometimes. But then I think about
the folks that need protectin’.
People like us who can't protect
themselves.
Nellie leans against him.
NELLIE
You're a good man, Bass Reeves.
BASS
I try to be.
Genres:
["Western","Drama"]
Ratings
Scene
50 -
A Dangerous Assignment
EXT. FORT SMITH - JUDGE PARKER'S OFFICE - DAY
Bass stands before Judge Parker.
JUDGE PARKER
I have a special assignment for
you, Bass. One that requires your
unique skills.
BASS
Yes, sir?
JUDGE PARKER
Jim Webb escaped prison again.
BASS
(surprised)
Webb? Thought he was serving life.
JUDGE PARKER
He was. Killed a guard during the
escape. Now he's gathered a gang.
Eight men, all dangerous, all
armed.
BASS
Where was he last seen?
JUDGE PARKER
Reports place him near the border
of Cherokee territory. I'm giving
you a posse of five men with full
authority to track and capture them
all.
BASS
That's rough country, Judge.
JUDGE PARKER
No one knows that territory better
than you.
BASS
(nods)
When do I leave?
JUDGE PARKER
Tomorrow. But there's one more
thing ...
(hesitates)
Jim Webb has sworn to kill you. He
says you're the reason he was in
prison.
BASS
(unfazed)
Not the first man to say that.
JUDGE PARKER
Be careful, Bass. Webb's different.
He's driven by pure hatred.
BASS
Yes, sir. I'll be careful.
Genres:
["Western","Drama","Action"]
Ratings
Scene
51 -
Showdown at the Trading Post
EXT. GENERAL STORE - SMALL BORDER TOWN - DAY
After weeks of tracking, Bass and his posse approach a small
trading post in Cherokee territory. Bass studies the hitching
post outside.
BASS
(to Foster)
That bay horse. Seen it before.
Belongs to one of Webb's men.
FOSTER
You think Webb's inside?
BASS
Let's find out.
Bass turns to his men.
BASS (CONT’D)
Taylor, Wilson, cover the back.
Foster, with me at the front. Be
ready - Webb's dangerous when
cornered.
The deputies move into position. Bass straightens his hat,
checks his pistols, and approaches the store entrance.
INT. GENERAL STORE - CONTINUOUS
The store is dim compared to the bright day outside. A few
customers browse the shelves. Behind the counter, a
SHOPKEEPER (50s, White, nervous) serves a customer.
In the back corner, JIM WEBB (now 50, White, gray-streaked
hair, hard face) sits with TWO MEN, talking quietly over
glasses of whiskey.
Webb freezes when he sees Bass enter. Their eyes lock.
For a moment, neither moves, then Webb shoves the table over
and draws his gun.
BASS
Webb! You're under arrest.
Webb fires, the bullet splintering the wooden post beside
Bass. Customers scream and dive for cover.
Bass returns fire, hitting Webb in the shoulder, but Webb
barrels toward the back door.
BASS (CONT’D)
He's heading out the back.
Bass pursues, leaping over upturned furniture.
Genres:
["Western","Action","Drama"]
Ratings
Scene
52 -
Confrontation at Dusk
EXT. GENERAL STORE - BACK - CONTINUOUS
Webb bursts through the back door, bleeding from his
shoulder. Taylor and Wilson are there, guns drawn.
TAYLOR
Stop right there.
Webb fires wildly, hitting Wilson in the leg. Taylor returns
fire but misses as Webb dives around the corner of the
building.
Bass emerges from the store, sees Wilson down.
BASS
(to Taylor)
See to Wilson.
Bass sprints after Webb, who's limping toward the woods
beyond the store.
BASS (CONT’D)
Webb. It's over.
Webb turns and fires but the bullet goes wide. Bass aims
carefully and fires once. Webb falls, hit in the chest.
Bass approaches cautiously, gun still trained on Webb, who
lies gasping for breath.
WEBB
(blood at his lips)
You finally got me Reeves.
BASS
Didn't have to be this way, Webb.
WEBB
(coughing)
It did. Never was going back to
that prison.
Webb's breathing becomes labored. He grabs Bass's sleeve with
surprising strength.
WEBB (CONT’D)
We ain't so different ... you and
me.
BASS
We're nothing alike.
WEBB
We’re both outsiders. And both
fighting to survive.
(coughs blood)
But you ... chose that badge.
BASS
I chose the law. There's a
difference.
He reaches for his gun. Bass points his at Webb’s head, but
he hands the gun to Bass.
WEBB
Take this. I killed eleven men with
this, and I planned on you being
the twelfth.
(a beat)
Take it.
BASS
Webb, hang on. I be gettin’ help.
WEBB
(fading)
Always the righteous one.
(with his last breath)
See you in hell.
Webb's grip loosens, his eyes stare blankly. Bass gently
closes them.
BASS
(quietly)
Not if I see you first.
Genres:
["Western","Action","Drama"]
Ratings
Scene
53 -
The Weight of Justice
EXT. GENERAL STORE - FRONT - LATER
Bass and his men have secured Webb's companions. Wilson sits
on the porch, his wounded leg bandaged.
FOSTER
Webb?
BASS
Dead. Wouldn't surrender.
TAYLOR
Always said he'd rather die than go
back to prison.
BASS
(grim)
Got his wish.
Foster looks at Bass with concern.
FOSTER
You all right? You knew him a long
time.
BASS
Just another outlaw who made the
wrong choice.
As Bass turns away, the mist in his eyes shows.
EXT. FORT SMITH - COURTHOUSE - DAY
Bass and his posse ride into town, Webb’s surviving gang
members in tow.
A crowd gathers to witness the show, pointing and whispering
at the sight of Bass leading the notorious Webb gang.
Judge Parker emerges from the courthouse. He sees Webb’s body
draped over the saddle of his horse.
JUDGE PARKER
Deputy Reeves. Once again, you've
done the impossible.
BASS
Just doing my job, Judge.
JUDGE PARKER
I guess there won’t be any escape
for Webb this time.
(a beat)
How many does this make?
BASS
Don't keep count, sir.
JUDGE PARKER
Well, I do. That makes more than
two thousand arrests. No other
deputy has come close to that
number.
BASS
(surprised)
Two thousand?
JUDGE PARKER
You've earned a rest, Bass. A long
one this time.
BASS
Thank you, Judge. Got a farm and
family that need me.
Genres:
["Western","Action","Drama"]
Ratings
Scene
54 -
Homecoming to Prosperity
EXT. REEVES PROPERTY - DAY
Bass rides up to his farm, which has grown considerably. The
house is now a proper two-story farmhouse, the barn has been
expanded, and crops grow in neat rows across the property.
As Bass dismounts, Nellie and all the children run out to
greet him. Scruffy, now older but still spry, barks
excitedly.
NELLIE
Bass!
She throws her arms around him, and the children join in the
embrace.
BASS
(to Nellie)
Told you I be back.
NELLIE
You always do.
Bass surveys his property with pride.
BASS
Look at all this. Everything we
worked for.
NELLIE
And you've earned every bit of it.
Bass kneels down to greet Scruffy, who licks his face
enthusiastically.
BASS
Hey, old friend. You taking good
care of everyone?
He walks to Chester, stroking the horse's muzzle.
BASS (CONT’D)
You too, Chester. Getting old, but
still strong.
Bass puts his arm around Nellie and takes in the sight of his
home and family.
BASS (CONT’D)
This is what it's all for. This
right here.
Genres:
["Western","Family Drama"]
Ratings
Scene
55 -
A Family Dinner of Decisions
INT. REEVES HOME - NIGHT
The family sits around the dinner table, all the children
present. It's crowded but joyful.
NELLIE
Is it true, Papa? Two thousand
outlaws?
BASS
So the judge says. I don't keep
count.
SALLY
Papa's famous. Everyone at school
talks about him.
ROBERT
They say you never brought in the
wrong man and never lost a
prisoner.
BASS
(modestly)
People talk.
GEORGIE (NOW 8)
Are you gonna quit now, Papa?
BASS
(considering)
I've been thinking on it. Maybe
it's time to let the younger men
take over.
NELLIE
(surprised)
Really?
BASS
Judge offered me a new position.
Less dangerous. More time at home.
NELLIE
What kind of position?
BASS
Town marshal in Van Buren. It's
steady work and good pay.
The whole family looks at him in amazement.
ROBERT
You'd be in charge of the whole
town?
BASS
That's right.
NELLIE
(emotional)
After all these years ...
BASS
It's time. The children are
growing, and the farm needs me.
(looking at Nellie)
And I need you.
Nellie’s smile spreads her cheek wide.
NELLIE
I’m thinkin’ you should take that
job.
SALLY ROBERT
Me too. Yeah, take the job.
Bass bites into a freshly baked roll and smiles.
Genres:
["Western","Family Drama"]
Ratings
Scene
56 -
A Historic Appointment
EXT. VAN BUREN - TOWN SQUARE - DAY
A crowd has gathered for an official ceremony. Bass stands
before them in a new marshal's uniform, Nellie and the
children beside him.
The MAYOR (60s, White, dignified) pins a silver star to
Bass's chest.
MAYOR
It is my honor to appoint Bass
Reeves as the first Negro marshal
of Van Buren, Arkansas.
Applause erupts from the crowd, though some faces show
disapproval.
MAYOR (CONT’D)
Marshal Reeves has brought more
outlaws to justice than any lawman
in the territory. We are fortunate
to have him serving our community.
Bass steps forward.
BASS
I thank you for this honor, and I
promise to keep the law fair for
everybody in Van Buren.
As the ceremony concludes, Judge Parker approaches Bass.
JUDGE PARKER
You've come a long way from that
first day when Fagan brought you in
as a posse man.
BASS
Yes, sir.
JUDGE PARKER
I always knew you had it in you,
Bass. The territory won't be the
same without you riding the trails.
BASS
There be younger men to do that.
I've done my part.
Judge Parker pats him on the back, as Bass looks at his
family.
Genres:
["Western","Drama"]
Ratings
Scene
57 -
A Heartbreaking Farewell
EXT. REEVES PROPERTY - SUNSET
Bass sits on his porch in a rocking chair, marshal's badge
gleaming on his chest. Nellie sits beside him.
Their children play in the yard. Scruffy lies at Bass's feet,
and Chester grazes nearby.
NELLIE
Happy?
BASS
More than ever.
NELLIE
Who would've thought?
BASS
Just a man with a family and a
home.
NELLIE
Not just any man. One who has to
mend fences and fix leaky roofs.
Bass takes Nellie's hand in his as they watch the sunset over
their land.
BASS
Wouldn't have it any other way.
INT. REEVES PROPERTY — NIGHT
SUPER: 1896
Bass sits in a chair beside the bed. Jennie lies still, her
breathing labored.
Bass strokes the back of her hand, and cries.
BASS
Don’t you worry. I be here for you
as long as you need me.
Sally tiptoes in and stands at the foot of the bed.
SALLY
Any better, Pa?
Bass shakes his head while hiding his face.
BASS
You best bring in the other
young’uns so they can say goodbye.
Sally cries and runs from the room.
SALLY
Georgie, Alice, Robert, Harriet.
Y’all get in here, now!
All of Nellie’s kids stand at her bedside and say their
goodbyes, in between loud sobbing.
Nellie reaches out a hand, it falters, then she takes a last
gasp, and closes her eyes.
Bass lays his head on her chest, sobbing uncontrollably.
Genres:
["Drama","Western"]
Ratings
Scene
58 -
A Father's Dilemma
EXT. REEVES PROPERTY - DAY - 1902
SUPER: 1902
Bass Reeves, in his sixties but still strong, sits on his
porch reviewing paperwork. A rider, DEPUTY CLARKE (30s,
White, grim-faced), approaches at speed.
Bass stands as Clarke dismounts.
BASS
Deputy Clarke. What brings you out
here in such a hurry?
DEPUTY CLARKE
Marshal Reeves, there's been a
murder over in the colored
settlement.
BASS
Who was killed?
DEPUTY CLARKE
(hesitating)
It's Benjamin's wife, sir. Your
daughter-in-law.
Bass freezes, his face like a rock.
BASS
Who did it?
DEPUTY CLARKE
(uncomfortable)
All evidence points to Benjamin,
sir. Witnesses saw him arguing with
her, heard the shot, then he fled
the scene.
Bass steadies himself against a porch post. Sally appears in
the doorway.
SALLY
Papa? What's happened?
BASS
(to Sally)
Ben's in trouble. Bad trouble.
SALLY
Oh, Lord, what's he done?
Bass doesn't answer. He turns to Clarke.
BASS
You sent anyone after him?
DEPUTY CLARKE
Sheriff's forming a posse, but they
wanted me to tell you first.
Bass walks down the porch steps, determined.
BASS
I'll get my badge and gun.
SALLY
(distressed)
Papa, you can't. He be your son.
BASS
(firm but pained)
That's why it gotta be me. No one's
going to bring my boy in but me.
INT. REEVES HOME - DAY
Bass straps on his gun belt, his hands trembling slightly.
Nellie watches, tears in her eyes.
SALLY
What are you going to do if you
find him?
BASS
What I always done. Bring him in.
SALLY
He's your flesh and blood!
BASS
(anguished)
You think I don't know that? But
the law's the law. No man's above
it. Not even Ben.
Genres:
["Western","Drama"]
Ratings
Scene
59 -
A Father's Reassurance
EXT. WOODS - DAY
Bass rides Chester, now aging but reliable. He's alone,
following tracks only he can read.
He comes to a stream and dismounts, examining disturbed
pebbles.
BASS
(to himself)
You always did try to hide your
tracks in water, Ben. Just like I
taught you.
Bass crosses the stream and finds faint tracks.
EXT. ABANDONED CABIN - DUSK
Bass approaches an old hunting cabin, gun drawn. He moves
stealthily.
Through a dirty window, he sees BENJAMIN REEVES (30s, strong,
Bass's younger face) at a crude table, head in his hands.
Bass holsters his gun and knocks.
BASS
Ben. It's your father.
Silence.
BENJAMIN (O.S.)
Go away.
BASS
Can't do that, son.
BENJAMIN (O.S.)
You come to kill me or arrest me?
BASS
I came to bring you in proper and
make sure you be safe.
Benjamin opens the door, and stands in the doorway. His eyes
are red, and he’s holding a gun.
BENJAMIN
I didn't mean to do it, Pa.
Bass wraps his arms around Ben.
BASS
I know.
BENJAMIN
We argued and the gun just went
off.
BASS
You tell all that it to the judge.
BENJAMIN
(desperate)
They'll hang me for sure.
BASS
Not if I have a say in it. But you
gotta come in with me.
Benjamin looks at the gun, then at his father.
BENJAMIN
Why'd you come alone?
BASS
Because you're my son.
Benjamin's hand tightens on the gun. He’s shaking.
BENJAMIN
I could shoot you and make a run
for Mexico.
BASS
You could. But you won't. I raised
you better than that. Besides, you
wouldn’t shame your mama like that.
Tears fill Benjamin's eyes. He lowers the gun and collapses
into Bass's arms, sobbing.
BASS (CONT’D)
(quietly)
It's gonna be all right, son.
Benjamin pulls back, looking at his father with desperate
hope.
BENJAMIN
How can you say that?
BASS
I'll stand by you. Every step. But
we do this right.
Bass gently takes the gun.
BASS (CONT’D)
Come on. Let's go home.
Benjamin nods, his resistance gone. Bass puts his arm around
his son's shoulders as they walk toward the horses.
FADE OUT.
EPILOGUE:
Genres:
["Western","Drama"]
Ratings
Scene
60 -
Legacy of a Forgotten Hero
EXT. MUSKOGEE, OKLAHOMA – CEMETERY – 1910 – DAY
A modest grave sits beneath a weathered oak, unmarked. The
wind stirs the grass. A HAT rests atop a stone. It’s the kind
worn by U.S. Marshals. Worn, dusted with time.
NARRATOR (V.O.)
He was born into bondage. Rode with
outlaws.
(MORE)
NARRATOR (V.O.) (CONT'D)
Fought to uphold the law in a land
that barely saw him as a man. And
he never once backed down.
FLASH CUTS – IMAGES OF A LIFE:
– A young Bass Reeves, shackled, then freed, standing tall.
– Bass, disguised as a drifter, slipping into an outlaw camp.
– A bullet whizzing past his hat.
– The arrest of Benny Reeves, Bass’s son — both men locked in
silent pain.
– An older Bass, walking a Muskogee street in uniform, alone
but respected.
BACK TO PRESENT:
NARRATOR (V.O.)
Over 3,000 arrests. Fourteen
gunfights. No serious wounds. No
badge ever sat heavier, or was
carried with more honor.
INT. POLICE STATION – NIGHT – A SINGLE DESK LAMP
Bass, aged and tired, sits writing a report by hand. The room
is empty but for the quiet scratch of his pen. A man who gave
his life to justice — now mostly forgotten by it.
EXT. CEMETERY – PRESENT DAY
A bronze STATUE now stands tall over the grass, reins in one
hand, rifle in the other.
NARRATOR (V.O.)
Time tried to bury his story. But
truth has a way of breaking the
ground.
SUPER:
Bass Reeves. Deputy U.S. Marshal. 1838–1910.
His name rides again.
Today, Bass Reeves is widely recognized as one of the
greatest lawmen in American history. Some historians believe
he may have been the real-life inspiration for the fictional
Lone Ranger.
Statues, books, documentaries, and TV portrayals now seek to
correct the historical neglect he endured. His life is
studied not only for its astonishing achievements, but for
what it represents: a legacy of courage, integrity, and
justice, lived out by a man born into slavery who rose to
become a frontier legend.