LIBERTY'S KIDS

Pilot Episode

Part II: "Intolerable Acts"

PROLOGUE

FADE IN:

EXT: the dartmouth - TOP DECK - night (lift from part I)

Reuse footage treated in sepia to denote flashback.  "Indians" race all over the deck of the Dartmouth, torches raised.  (lift from 101)

close up - upshot - new footage

In an extreme upshot, the FAKE INDIAN (101) stands over a keg of tea.  The Keg is in FG.  He raises his axe over his head and with a mighty blow, splits the tea keg open.  ON THE IMAPCT OF THE BLOW THE COLOR IMMIDIATELY POPS TO "NORMAL".

New Angle - deck of ship - reuse from 101

"Indians" toss kegs of tea into the water.

 1./ SARAH (V.O.)

Dearest Mother, they called it "The Boston Tea Party", but believe me, this is one party I wish I had missed! Ruffians, cowardly disguised as Mohawk Indians, destroyed a shipment of tea!

CUT TO:

ext. the dartmouth - top deck - night (lift from part I)

JAMES carries SARAH off the ship, dodging Lt. Brampton (Soldier #1),  grabs for Sarah, pulling off her locket.

 2./ SARAH (V.O.) (CONT'D)

In the struggle, I lost father's locket. I'm very angry. 

CUT TO:

EXT DOCK - ON SOLDIER #1 (RESUE FROM 101)

Soldier throws locket down as he raises his gun.

THE LOCKET - TIGHT SHOT  NEW FOOTAGE

UPSHOT FROM WATER looking at dock - ship on screen right

The locket falls towards camera - pan as it falls to see it plunk into the black water and disappear from sight.  Hold on the water surface for a beat as the wake animates.

 3./ SARAH (V.O.) (CONT'D)

The Yankees claim all this trouble is over taxes. America is a strange, strange place. I can't say that I like what I've seen of it.

dissolve TO:

EXT. BARN - day

Behind the Wheatley house.  (model established in 101) There's a light snow falling. CHYRON: BOSTON, JANUARY, 1774.

 4./ sarah (v.o.) (cont'd)

We live in a barn, fugitives from His Majesty's soldiers.

INT. BARN - DAY

Downshot - pan down to be at eye level

Sarah, wearing borrowed simple clothes from Phillis, writes with a quill as MOSES tries to repair the damaged axle on the chariot.  PHILLIS WHEATLEY enters the barn through a small door cut into the large barn door. HENRI brushes the horse, CEASAR, rather too energetically. The horse turns and nips at him  Henri jumps out of the way in time. JAMES is standing on several bales of hay, peeking out through a split in the wall to spy on the streets below.  He turns at Henri's jump and shakes his head in disgust.

 5./ SARAH (V.O.) (CONT'D)

... sheltered by a remarkable woman, a poet and slave named Phillis Wheatley.  James, Henri and Moses support these radicals-- but I, for one, can't wait to leave Boston.

New angle - on Sarah

She thoughtfully watches them all, brushing her chin with the feather of her quill.  Then she resumes writing. 

 6./ Sarah

When is Ben Franklin coming? Soon, I hope. Very soon! Your loyal, loving daughter, Sarah.

FADE OUT:

END PROLOGUE

ACT ONE

FADE IN:

ext. boston harbor - LONG WHARF establishing - day

Long Wharf is much bigger and busier than where the Tea Party happened.  The dock stretches out into the harbor like a finger, and ships are lined up on either side of it.

CHYRON: BOSTON HARBOR, COLONY OF MASSACHUSETTES, 1774 

 7./ JAMES (o.c.)

How many do you see, Henri?

 8./ HENRI (O.C.)

Un, deux, trios, quatre, cinq...

 9./ JAMES (O.C.)

English, Henri, not French!

CUT TO:

EXT. THE WHARF - CONTINUOUS - DAY

Boxes and crates are stacked everywhere, waiting to be loaded on ships or wagons. HENRI pops up and peeks over the top of a wooden crate.

New angle - behind crates

Reveal Henri standing  on top of James, his foot resting on James head! Henri looks down at James.

 10./ HENRI

I'm counting the English!

Henri looks back at:

CUT TO:

ext. a warship - henri's pov - day

British SOLDIERS disembark-- reinforcements have arrived in Boston to put down the rebellion!

 11./ JAMES (O.C.)

How many are there now?

 12./ HENRI (O.C.) (CONT'D)

Too many! There mustn't be a solider left in England!

The Red Coats keep coming.

CUT TO:

a red coat officer 

Directs two Soldiers to nail a sign to the rail of the dock: As they hammer, we read: "BOSTON HARBOR CLOSED BY ORDER OF PARLIAMENT!"

cut to:

henri & james

Henri jumps down from James' shoulders.

 13./ HENRI (CONT'D)

(alarmed)

What should we do?

 14./ JAMES

(excited)

"What should we do?!" The British are occupying Boston! I've got to get this to the Gazette right away! Come on, Henri! 

New angle - long shot looking towards city

They run off, excitedly.  

DISSOLVE TO:

int. the cockpit - london - DAY (reuse models from 101)

angle on WIG-CLAD LORDS

Elderly, jowly, stern figures in robes and wigs. They scowl as they quiet the crowd.  Pan from front shot of the Lords to the second floor balcony.  We see the elegant ladies and gentlemen turn their attention  to the left, looking down at Ben Franklin. CHYRON: THE COCKPIT, LONDON, ENGLAND, JANUARY, 1774.

MR. WEDDERBURN - downshot - balcony's pov

He raises both arms with an elegant flourish as he acknowledges the crowd.  Ben sits in the raised docket as Wedderburn moves closer.   

 15./ WEDDERBURN

(melodramatic)

On the evening of sixteen, December, the year of our Lord, seventeen seventy three... Cowardly bandits, disguised as Indians...

pan - close - faces in the crowd

One elegantly wigged woman fans herself with an ornate fan.  Turned sideways, listening with nose in the air, is a Lord sitting next to her. As we continue to pan, we come to an empty chair, just as LADY PHLLIPS steps into shot and sits down in it.  Stop pan on her face as she sits - she's a portrait of worry. Her friend, MRS. CORNELL, pats her on the knee in sympathy.

 16./ WEDDERBURN (O.C.)

... attacked the Dartmouth, a ship  flying the colors of His Majesty King George III! 

BEN FRANKLIN - side shot - balcony behind him

Ben looks straight ahead.  On "who" Wedderburn joins the shot - slamming one hand on the docket railing and stabbing a finger into Ben's face.  Ben doesn't flinch.    

 17./ WEDDERBURN

And who is responsible for inflaming the subjects of Boston to this violence?

Wedderburn lowers his finger and tilts his head at Ben (3/4 towards cam).  A cat toying with a mouse. On "esteemed" he raises his eyebrows.

 18./ Wedderburn

None other than the man before us-- the "esteemed" Deputy Post Master of North America ...  Benjamin Franklin!

Downshot - Lady Phillips' POV

SFX: BOOING AND HISSING! Ben looks up and SMILES. ben's pov - lady phillips -day

The only friendly face in the crowd. She SMILES BACK:

 19./ WEDDERBURN (O.C.)

His crimes are enormous!

angle on Ben and Wedderburn - judge pov

Wedderbrun stalks towards the Judge, outraged.  Ben sits behind him, looking forward stoically.

 20./ WEDDERBURN (CONT'D)

The East India Company lost hundreds of crates of tea, worth many thousands of pounds.

Wedderburn spins back to point at Franklin.  He then steps back (body 3/4 to camera) and looks at Judge on "paper."

 21./ Wedderburn (cont)

This lawlessness was encouraged by Mr. Franklin in his speeches and writings-- his inflammatory paper,  "The Pennsylvania Gazette" continues to foment sedition, rebellion, violence, treason!

medium on Ben - ben looks ahead

Franklin takes the abuse without flinching. Wedderburn flies in the shot from the left, slamming both hands on the railing as he spits his words out. 

 22./ WEDDERBURN (CONT'D)  

You have no honor, sir! You are a scoundrel, sir! Have you nothing to say for yourself?

Ben turns a bit to look at Wedderburn, considering him.

 23./ BEN FRANKLIN

The heart of a fool is in his mouth, but the mouth of a wise man is in his heart.

Downshot on men from balcony - wider

SFX: LAUGHTER.  Wedderburn steps back from Ben with his arms out to the sides.  He is furious, and speaks with sarcasm. He leans in on "perhaps."

 24./ WEDDERBURN

Ahhhh! The famous Franklin wit! Perhaps I need to remind you, a rope is the proper reward for treason? 

SFX: GASP FROM CROWD.

Lady phillips - close

Shocked, her hand involuntarily flies to her throat. 

ben franklin - tight shot - CONTINUOUS - DAY

Ben looks worried. He frowns as his eyes follow Wedderburn's pacing.

DISSOLVE TO:

int. the barn -  - day

Looking at large barn door. The smaller door cut into it flies open and James and Henri tumble into the barn, squeezing through door.  James and Henri, out of breath, spill their story to Moses and Sarah.

 25./ JAMES

Hundreds of new soldiers arrived by ship this morning!

 26./ HENRI

The whole city is filled with Red Coats!

 27./ JAMES

Boston harbor is closed!

Angle on Sarah.  (looking towards back of barn)

She sits primly, holding a red coat in her hand.  She holds the brush she was using frozen over the coat.  (It is Lt. Brampton's) She rolls her eyes to the left, indicating the off stage soldiers.  

 28./ SARAH

Would you please mind your tongue?

James rushes past her and searches his bedding area.  Sarah glances to the left and smiles thinly at off camera.   

 29./ JAMES

Where's my quill? I have a story to write! This is headline news!

angle on henri

Standing in doorway - he gives a little wave to off screen.

 30./ MOSES (VO)

    (fake throat clearing)

Ah hem! James...

TWO SHOT OF SARAH AND JAMES - CLOSER

Framed torso and head.  James has his back to camera, turns and speaks to Sarah on his left.  She smiles at him with lips pressed hard, eyebrows raised.

 31./ JAMES

Those filthy Red Coats are everywhere!

On "after" Sarah holds up the brush and coat, then turns to smile at the off screen soldiers.  James' mouth goes agape as he looks first at the coat, then follows her gaze to the soldiers.  He smiles weakly. 

 32./ SARAH

(trying to stop him)

That's right, James... After that long sea voyage, these lovely red coats could use a good cleaning.

soldier #2

A Red Coat stands in the bottom left corner of barn, polishing his boots. His is surrounded by other soldiers.

 33./ SARAH (CONT'D)

(to Soldier #2, re: red coat)

This may need some soap and water.

int. the barn - wide shot - continuous - day

Five RED COATS have moved into the barn! Their gear is spread all over the bar. James quickly back-peddles.

 34./ JAMES

Let me help you, Sarah.

He grabs the broom and sweeps dust off Soldier #2's coat, kicking up a cloud.

 35./ JAMES (CONT'D)

(to Soldier #2)

Fine morning, isn't it?

The soldier grabs the broom from James.

 36./ SOLDIER #2

'Tis you who could use the soap and water... In that smart mouth of yours.

 37./ JAMES

You're absolutely right. You'll have to forgive my manners, I'm an orphan. I was raised on the streets and sometimes forget my place.

He bows before the soldiers.

 38./ SOLDIER #2

(to Sarah)

Where's that grub we was promised?

 39./ SARAH

I'll check on it right away, sir.

She curtsies and grabs James and Henri by the collar.

 40./ SARAH (CONT'D)

Why don't you come give me a hand in the kitchen?

 41./ JAMES

The kitchen? That's women's work.

Sarah kicks James in the shin.

 42./ JAMES (CONT'D)

The kitchen! Of course! It would be an honor to help, me Lady.

Bowing to the soldiers, they back out of the barn:

 43./ JAMES (CONT'D)

(to Sarah sotto voce)

You're on their side. Why didn't you turn us in?

 44./ SARAH

I would if I thought I wouldn't end up in jail with you.

They exit.

cut to:

INT. WHEATLEY HOUSE - THE KITCHEN - DAY

PHILLIS WHEATLEY stirs a huge pot over the fireplace.  Her back is to kids.  The fireplace dominates the inside wall of the kitchen.  The opposite wall has a door to the outside.  The ample pantry includes cheeses hanging from the ceiling, walls stocked with food.  Behind Phillis, we can see James and Sarah at a table loading food into a basket, both nearly full.  James pulls a head of cheese down from the ceiling as Sarah carefully places a whole pie into the basket.  Henri stands next to Sarah, facing Phillis. 

 45./ JAMES

What are Red Coats doing in the barn?

 46./ PHILLIS

It's called "quartering." A soldier just knocks on your door, any time day or night, and moves into your house. We have five more upstairs. Master Wheatley is very upset.     

Sarah turns and bundles up a head of cheese that James hands her as Henri sneakily reaches into the basket and removes the pie.  Henri slips back from Sarah into the corner and starts eating the pie with a fork he's grabbed off the table.

 47./ SARAH

I can't believe King George would allow that.

New angle - upshot of Phillis

She ladles the soup into a tureen.

 48./ PHILLIS

It was Parliament's doing. They call it "the Coercive Acts" and

quartering is the least of it!

 49./ MOSES

The Intolerable Acts would be more like it.

 50./ JAMES

This is an outrage!

 51./ PHILLIS

That's right. We have to cook for them, wash their clothes, and they don't have to pay a single shilling!

 52./ SARAH

And you're already doing that for "Master" Wheatley.

Back to longer shot

James turns around to face Phillis.  She continues calmly working, her back to him, not outraged.  Henri pipes up.

 53./ HENRI

(eating a slice of pie)

I'm outraged, too. This pie is too small.

James and Sarah shoot Henri a look.  Henri shows them the nearly empty pie tin. 

Reverse angle - on Phillis

She sets the tureen on the floor and stands and turns to face them and camera. 

 54./ PHILLIS

They say it's because of the Tea Party. I heard Lt. Brampton, tell Master Wheatley, "If Boston's going to cause trouble, Boston's going to pay the piper."

Two shot of Sarah and James - closer

Sarah absent-mindedly holds an apple in each hand as she nods to Phillis. 

 55./ SARAH

That only makes sense...

 56./ JAMES

(to Sarah)

Whose side are you on?

James leans in, angry.  Sarah instantly leans forward as well.

 57./ SARAH

I didn't know there were sides. We're all the King's subjects.

He points at her then himself for emphasis, and on "I have rights" throws out his hand like "ta da".

 58./ JAMES

Maybe you're a "subject", but I'm a citizen. I have rights!

Sarah still looks at James but gestures to include Phillis.

 59./ SARAH

Doesn't Phillis have rights?

Angle on Henri

He's looking in their direction, and makes a face like "ooh, good one" and happily eats another bite of pie.  He smiles over at Phillis, jerks his head in the kids direction, shrugs and rolls his eyes, indicating non-verbally that they're crazy.  

 60./ JAMES

You know what your problem is, Sarah?

 61./ SARAH

Besides you?

Angle on Phillis

She smiles at Henri's antics, then turns to James.

 62./ JAMES

You think too much for a girl.

 63./ SARAH

And you talk too much for a gentleman!

 64./ JAMES

Phillis, I need a printing press. I've got to get the word out.

 65./ SARAH

James, until Moses can fix the chariot, we're stuck here. The city is swarming with soldiers who would like nothing better than to arrest us for your "tea party." So, unless you plan on printing us  tickets to Philadelphia, I suggest you keep your nose clean.

 66./ JAMES

I'll clean my nose after I get the word out.

Phillis looks worriedly towards the door, then take a step forward and speaks in a low voice.

 67./ PHILLIS

(a whisper)

Take this, James.

She offers him a key.

 68./ phillis (cONT'D)

Tom Maloney published my poems.   I can use his press anytime. His shop is on Bay Street. Hurry!

Angle on Sarah and James. 

James takes the key from Phillis.  Sarah frowns. 

 69./ JAMES

(writes it down)

Bay Street. Got it.

Angle on Phillis - close

She raises an eyebrow at this brash young man - does he have any idea what danger really is?

 70./ MOSES

James, be careful. 

Angle on James - close

He puffs up proudly and brandishes his writing implement.

 71./ JAMES

I'm not afraid. The pen is mightier than the sword.

Angle on Phillis - close

 72./ PHILLIS

True, but the Red Coats have muskets.

Angle on James and Sarah. 

Getting the seriousness, James stops smiling and nods gravely.  Sarah throws her hands up and gestures towards the doorway. 

 73./ JAMES

I'll be careful. I promise.

 74./ SARAH

You're forgetting one small detail. There's a barn-full of soldiers waiting for us to return with food.

 75./ JAMES

That's right.

(turns back to Phillis)

What are we going to do?

Angle on Phillis - over Sarah's shoulder. 

Phillis picks up the tureen and moves quickly to the other wall (closer to the door).  She sets the tureen down on the table and grabs a giant roast turkey out of the oven.  She turns triumphantly to kids.

 76./ PHILLIS

This ought to do the trick.

Downshot - showing whole room.

 77./ HENRI

After this feast, they'll be out like a candle.

 78./ JAMES

Let's go.

Phillis opens the back door and walks out with the turkey as Sarah, James and Henri grab baskets of food and exit.

DISSOLVE TO:

ext. PRINT SHOP - DAY

angle on entire street - it is deserted. 

Trade shops line the side and on up the hill - their shingles announcing their wares. Sarah stands with her back to the print shop, acting as the look-out.  James is knocking discreetly on the door.  Henri tries to peer in the 12 paned window.  (layout note - the print shop is at the bottom of a hill on a corner - another street empties into the street the print shop is on.)

 79./ JAMES

Mr. Maloney?!

(beat) Tom Maloney?! Open up! We're friends of Phillis Wheatley!

Henri cups his hands and peers through the windows.

 80./ henri

There's no one in there.

head on Angle on sarah - boys in BG.

She doesn't turn around when she speaks, continues looking out for red coats.  James and Henri turn and look at her.

 81./ JAMES

Today's the Sabbath.

James looks at Henri.

 82./ HENRI

The Lord's day.

James grins at Henri as he gets an idea, then looks back at Sarah to speak.

 83./ JAMES

Well, the Lord helps those who help themselves.

James puts Phillis' key in the door. Sarah raises an eyebrow. 

 84./ SARAH

What are you doing?

 85./ JAMES

Relax, Phillis gave us the key.

86./ JAMES (CONT'D)

Ladies first.

He steps aside to let Sarah enter first.

 87./ SARAH

(impressed)

At last, a sign of manners!

Sarah enters the print shop, James follows her. As he closes the door, he takes a look up and down the street.

CUT TO:

EXT. STREET - CONTINUOUS - JAMES' POV - DAY

Two Red Coats come up the street, talking and laughing.

CUT TO:

INT. PRINT SHOP - CONTINUOUS - DAY

James slams the door and locks it.  He draws the drapes at the window.  There's a Franklin stove in the far corner against the front wall.  The stove pipe snakes up through the ceiling. 

 88./ JAMES

Red Coats! We have to work fast.

CUT TO:

INT. THE BARN - CONTINUOUS - DAY

The floor is covered with turkey bones and empty food baskets. The Red Coats sleep blissfully.

CUT TO:

MOSES

Puts the wheel back on the chariot. It slips off the axle and rolls across the barn:

CUT TO:

Angle on SOLDIER #2

Sleeping, the wheel rolls across his stomach. He wakes up with a start.

 89./ SOLDIER #2

What! Who goes there?!

He looks around at the other soldiers, still sleeping. He turns to Moses.

 90./ SOLDIER #2 (CONT'D)

Where'd them kids go off to?

Angle on moses

 91./ MOSES

I've been busy doing my chores... I'm sure they're around here somewhere.

close Angle on SOLDIER #2

He narrows his eyes at Moses suspiciously.

Over SOLDIER #2's Shoulder - on men 

He grabs his musket and pokes the sleeping soldiers in the belly.

 92./ SOLDIER #2

Nigel, Basil, Chauncy... On your feet!

The soldiers wake up, groggy.

Close Angle on SOLDIER #2 - slight upshot - soldiers pov

He addresses the soldiers.

 93./ SOLDIER #2 (CONT'D)

Those little troublemakers have run off.  The city is under martial law. They're breaking curfew. We'd better fetch Lt. Brampton.

The solders pull themselves together, grab their muskets and rush out of the bar. Moses is left alone.

 94./ MOSES

I've got to warn James!

Moses rushes out of the barn.

FADE OUT:

END ACT ONE

ACT TWO

FADE IN:

EXT. alley - NIGHT

The soldiers mount their horses. Lt. Brampton climbs on his horse.

 95./ LT. BRAMPTON

I'll bet they're the same kids who got away during the Tea riot. But they won't get away a second time!   

And off they go, galloping down the street - pan and follow as they round the corner

CUT TO:

INT. PRINT SHOP - LATER - NIGHT

James and Henri run the printing press. A big stack of posters piles up. The posters read: "WARNING! PARLIAMENT PASSES INTOLERABLE ACTS!"

 96./ JAMES

Keep going, Henri.

 97./ HENRI

Aye, aye, sir!

He salutes James.  James shakes his head and then notices Sarah.

Angle on Sarah at window

Sarah who peeks out of the curtains onto the dark street outside.  James enters and does same.  He turns to her.

 98./ JAMES

The sun's set. Good. It's time to spread the word.

(He notices something is bothering Sarah)

What's wrong, Sarah?

Over James' shoulder - close On Sarah

 99./ SARAH

James, are you really an orphan? I heard you tell the soldiers before.

Clsoe Angle on James - over sarah's shoulder

He let's his side of the curtain drop, casting shadow on his face.

 100./ JAMES

It's true. I was a tiny baby when it happened...

Suddenly, lightening illuminates his downcast face.

Lightening as transtion:

EXT. PHILADELPHIA - FLASHBACK - NIGHT

Upshot on:

A SMALL WOODEN HOUSE in the center of a terrible storm! Huge lightening flash illuminates the house.  Only the upstairs light is on..  Rain pelts down.  PAN UP to look at street (not head on) - A man on a horse thunders down the street towards us.

 101./ JAMES (V.O.) (CONT'D)

Mother and father didn't have one of Dr. Franklin's newfangled lightening rods.

upshot of sky

A huge bolt of lightening rips through the sky.  The horse and rider suddenly rear into the frame in the FG - the rider flies off.

Close on street

The rider slams down onto the street.  He gets up on his hands and turns to look up in horror at off camera house.

 102./ JAMES (V.O.) (CONT'D)

Our house was struck and burst into flames.

Angle on house - rider's pov

FLAMES shoot up from the roof.  We see the top floor windows burn orange.

 103./ JAMES (V.O.) (CONT'D)

It burned to the ground. I was lucky. A neighbor pulled me out in the nick of time.

Angle on house - longer shot.

The rider pushes open the heavy door and races in.  As he opens door, smoke billows out.  Suddenly, from the smoke a silhouette appears - the riders burst onto the street, coughing and holding a baby.  Lighting flashes - illuminating the scene.

lightening as trnasition:

close on SARAH - over james's shoudler

By the print shop window. She hangs on his every word.  Lightening illuminates her for a flash.  Once done, scene resumes normal lighting.  We should NOT hear James until AFTER surreal lightening transition is over.  Once normal scene resumes, Sarah closes her mouth and swallows. 

 104./ JAMES (CONT'D)

Dr. Franklin's lightening rod has saved thousands of lives.

Angle on James - over Sarah's shoulder

He nods thoughtfully, then raises his head to look at her and gives her a small smile. 

 105./ James

When I was old enough, I sought him out. He offered to take me in as an apprentice, and I've been working at the Gazette ever since.

Angle on James and Sarah

She shakes her head, embarrassed, and touches her hand to where the locket would have been.  James puts his hands in his pockets.   

 106./ SARAH

I'm sorry for complaining about a silly locket, when you've lost so much more.

 107./ JAMES

That locket meant a lot, huh?

Angle on Sarah - over James's shoulder.

Sarah nods and smiles at him. 

 108./ SARAH

My father gave it to me before he sailed for America. When it was around my neck, it was like having him near me-- Always.

 109./ JAMES

You're worried about him.

Sarah looks out the window, worried. 

 110./ SARAH

He went up the Ohio River. To explore new lands. When he returns, mother, sister and brother will join us here. But we haven't heard a word from father in nearly a year.

 111./ JAMES

See this...

He holds out his right? hand, a GOLD RING glistens on his finger.  Sarah looks back and reacts.

 112./ SARAH

It's beautiful.

Angle on James and Sarah

He smiles at the ring proudly.  Then looks up at Sarah.

 113./ JAMES

It's my mother's ring. So, you see, I know just how you feel about the locket.

She smiles. 

 114./ HENRI (O.C.)

James! I'm done!

James & Sarah snap their heads to look.

CUT TO:

HENRI - longer shot of room - Henri looks pitifully small

Standing by a pile of posters.

 115./ JAMES

(re: posters)

Grab a stack, Henri. It's time to go.

 116./ SARAH

Must you do this? You'll only make things worse.

 117./ JAMES

I have to.

 118./ SARAH

Why?

 119./ JAMES

Because, as Dr. Franklin's friend, Edmund Burke said, "An Englishman is the unfittest person on earth to argue another Englishman into slavery."

James and Henri grab stacks of posters and exit. Sarah is clearly worried.

Close angle on Sarah

 120./ SARAH

(to herself)

Father, where are you! What have I walked into? Oh, where are you Dr. Franklin?! If only you were here to stop this madness!

cut TO:

INT. THE COCKPIT - LONDON - DAY

long shot Pov of balcony

The humiliation of Benjamin Franklin continues. Wedderburn flourishes and addresses the balcony.

 121./ WEDDERBURN

In summary, my Lords, Benjamin Franklin, the Deputy Postmaster of His Majesty's colonies, is a traitor!

 122./ Crowd

(boos and hisses)

Closer angle on Wedderburn and Ben - side view

Wedderburn holds a packet of letters in his hand, which he brandishes now under Ben's nose. 

 123./ WEDDERBURN (CONT'D)

The proof is in his own words, his own writings...

wider and slight down - pan with Wedderburn as he stalks

He wheels like a cat to the balcony to deliver the request.  Never stopping, he stalks over to Judge, addresses him and as he raises his hand on the raises his hand on "death by treason" and throws the packet of letters down to the ground.  He triumphantly looks up at balcony.

 124./ Wedderburn (cont)

And for this treachery I ask that as a minimum he be stripped of his position as Postmaster, and that he bear the stigma and shame of a scoundrel disloyal to King and country. 

 125./ Crowd

Traitor! Traitor!

Wedderburn's eyebrows narrow and his nostrils flare as he listens to the crowd.

lady phillips - tight shot

In tears, she dabs her eyes with a handkerchief as the people around her jostle her in their waving and shouting. Only her friend, Mrs.

Cornell offers comfort.

long shot - side shot of Ben, crowd in BG (cam facing crowd)

In the docket, all eyes trained on him. Wedderburn leans back against the judge's paneled high podium.  Slowly, Ben stands up.

Angle on Ben

He speaks simply, first to the Lords, then gestures and half bows to Weddeburn, with respect.

 126./ BEN FRANKLIN

From the bottom of my heart, I thank Mr. Wedderburn for everything he has said against me.

Close on Wedderburn

Wedderburn jerks bolt upright.

 127./ WEDDERBURN

What kind of trick is this?

Downshot - from balcony

Ben addresses the balcony first, as Wedderburn races over to him.  The, he calmly turns back and addresses Wedderburn.

 128./ BEN FRANKLIN

My gratitude is sincere. You have answered a question which has troubled me since boyhood. But you have finally put my mind at ease.

Angle on crowd

Lady Phillips, shocked, looks from side to side at the Lords and ladies reaction.  Ladies duck their faces behind fans, flapping them quickly.  Lords look to each other, frowning and murmuring.  Lady Phillips leans forward and grabs railing, looking down at Ben. 

 129./ Crowd

(Murmurs of astonishment)

Angle on ben and Wedderburn - Lady Phillips in FG.

 130./ BEN FRANKLIN (CONT'D)

The question is fundamental-- and when my fellow colonists arrive at the same answer as I, a great empire may fall.

Wedderburn wheels to face the Lords, spitting his words out. 

 131./ WEDDERBURN

More treason!

Upshot Angle on Ben - Wedderburn in FG

Ben leans forward on the docket railing and gently addresses Wedderburn like a slow child.  Wedderburn slowly turns his head back to face Ben, a near snarl on his face.  

 132./ BEN FRANKLIN

Mr. Wedderburn says I'm a traitor. But this is not true! The question he has answered for me is thus-- Am I a British subject, or, am I the citizen of a new nation?

Angle on Ben - from balcony angle

He looks meaningfully at Judge, then stands up straight and gestures to indicate distance. 

 133./ Ben FRANKLIN (Cont'D)

A country distinct and different from England?

He addresses balcony sweetly. 

 134./ BEN FRANKLIN (CONT'D)  

And today, I declare my answer-- I am NOT British, I am an AMERICAN!

Angle on lords and Wedderburn - Ben's pov

Wedderburn FG, Lords in BG - they are shocked. 

 135./ Crowd

Gasp!

 136./ BEN FRANKLIN (CONT'D)

...And man can only betray his own country. My country is no longer England, my country is America!

angle up at balcony - ben in fg faces in the crowd

Stunned, shocked, outraged, except for one, Lady Phillips, who smiles with pride.  She settles back in her chair and looks around, amused.  Ben turns back to Wedderburn, smiling. SFX: A CLOCK CHIMES.

DISSOLVE TO:

Angle on tree - close

SFX: A CLOCK CHIMES.  Tree in FG - James steps up to it, adjusting a poster as he speaks in sotto voice.

 137./ JAMES

Let's put one here.

James puts his hands out as a step.

Close on James hands 

Henri's foot steps into them.  Pan up with Henri as he straightens up very wobbly - stop on James' face, struggling and grimacing, with Henri crushing into him. 

Close on Tree - side view

Henri reaches into view and slaps the poster onto the tree, wobbling.  He takes the nail out of his mouth and is just about to hit it with the hammer when we hear:

 138./ LT. BRAMPTON (O.C.)

(shouting)

Hey you! Halt! That's an order!

Henri turns and looks over his shoulder, scared, just before he - drops out of the shot!

Down shot of the boys running and disappearing into shadows.  The men on horses come through shot - much later than boys. 

 139./ James (vo)

Run!

CUT TO:

alley  - close on a shop wall

Two wooden barrels stand against the shop.  Henri and James peek their heads up.

 140./ HENRI

What do we do now?

 141./ JAMES

We pray Moses has that axle fixed. Henri, I think we may have over-stayed our welcome in Boston.

 142./ HENRI

How do we get past those Red Coats?

 143./ JAMES

Follow me!

James ROCKS back and forth until his BARREL FALLS OVER and out of shot.  Henri watches in amazement.

HENRI's POV.

James' barrel begins to ROLL down the hilly street.

CLOSE ON HENRI

He raises his eyebrows, impressed!

LONG SHOT

Henri's barrel follows, slowly gaining speed.  James is already pretty far.

cut to:

ext. the street - new angle - night

UPSHOT - up hill

The soldiers gather in street, their horses tied loosely to the railing of a shop.  They conferring with Lt. Brampton, who is leaning down to look at a map one holds up.  All  soldiers listen raptly.  Behind them, up the hill, we can see two barrels come racing right at them!

BARRELLS' POV - ON SOLDIERS - DOWN SHOT

Men have their backs to camera.  Suddenly, they all spin, and see the disaster approaching them.  They all scatter and Lt. Brampton yells and charges for the sidewalk.

 144./ LT. BRAMPTON

Look out!

Upshot - on hill

The soldiers scatter as the barrels thunder by the camera.  The soldiers stumble and regroup, walking out into street. we hear:

 145./ JAMES/HENRI (O.C.)

Whoaaaaaaaaa!

Lt. Brampton steps out on his horse, narrowing his eyes after the barrels.

Close on Lt. Brampton

 146./ LT. BRAMPTON

Must have fallen off a cart. Come on men, we have to catch whoever's hanging these posters!

He rips the map out of the soldier's hands and takes off up the hill. 

CUT TO:

EXT. PRINT SHOP - CONTINUOUS - NIGHT

Looking at print shop front door.  All is quiet, until:

 147./ JAMES/HENRI (O.C.)

Whoaaaaaaaa!

The TWO BARRELS SLAM into the Print Shop DOOR. The barrels EXPLODE, sending hoops and splinters flying in all directions. James and Henri are dizzy but okay.

 148./ JAMES

Are you all right, Henri?

james - henri's pov

Actually several James's, swirling

 149./ HENRI (O.C.)

Which one of you said that?

CUT TO:

EXT. PRINT SHOP - CONTINUOUS - WIDE - NIGHT

The door opens Sarah rush out.

 150./ SARAH

James! Henri! Are you okay?

James and Henri stand up and are so woozy, they SPIN.

MOSES AND PHILLIS

Arrive in the chariot.

 151./ MOSES

Quick! We have to get out of here.

 152./ PHILLIS

Too late!

She points at:

LT. BRAMPTON AND SOLDIERS - PHILLIS' POV

Coming up the street. 

SARAH

Holds the print shop door open.

 153./ SARAH

Everybody inside!

James and Henri spin into the print shop. Moses and Phillis follow. Sarah shuts the door.

CUT TO:

INT. PRINT SHOP - CONTINUOUS - NIGHT

James and Henri sit on two chairs provided by Moses and Phillis.  Henri holds his head.  Moses slaps James on the back and walks out of the shot.

 154./ MOSES

The chariot is good as new.  We must leave town. Right now, while it's still dark.

 155./ JAMES

Amen to that!

 156./ HENRI

After this, I'm never going to roll again-- not even in my sleep!

Suddenly the door behind James EXPLODES! James and Henri dive for cover.  In rush the Red Coats!

Close on Doorway

Lt. Brampton enters and stands, looking around.

Bramptons' pov - pan of room

James, Sarah, Henri, Moses & Phillis - all frozen in place.

Reverse angle

Brampton walks in further. He stalks closer, taking in the room as he speaks. 

 157./ LT. BRAMPTON

So, my men and I are riding past this print shop, when I hear voices coming from inside.

Closer on Brampton

He stops, as if genuinely considering the question. 

 158./ Lt. Brampton

So I asked myself, "What's someone doing in a print shop, at this hour, on a Sunday?"

Angle on James and Sarah

They shoot each other a look.  Brampton walks into the shot, next to James, back to camera.  He turn to James and asks into James' face:

 159./ Lt. Brampton

You know what I told myself?

James looks at Brampton with just his eyes.

Reverse angle on Brampton and James - close - Brampton roars

 160./ Lt Brampton

I said, printing these!

He whips out one of James' posters.  James cringes back.

Angle on Phillis

Phillis takes a step forward to camera, addressing Lt.  Moses stands behind her.   

 161./ PHILLIS

You have this all wrong, sir. These gentlemen are interested in my poetry. They wanted to see where it was published.

Same shot as before - close on Brampton and James

Brampton gives Phillis a disturbed look, as if he just smelled something nasty. 

 162./ LT. BRAMPTON

Poetry? You? What do you take me for?

angle - whole room.

Phillis bristles slightly as Moses takes a step towards her.  The soldiers spread out and look for evidence, Brampton pokes around looking, searching...

 163./ MOSES

Show them, Phillis. Go ahead.

Angle on soldier #2 -

He picks his teeth as he picks up printing equipment absently, not knowing what any of it is. 

 164./ SOLIDER #2

(dubious)

Yes, let's hear this poetry of yours.

Angle on Phillis.

She's proud and lovely.

 165./ PHILLIS

(reciting from memory)

"Descend to earth, there place thy throne; to succor man's afflicted son. Each human heart inspire:

close up - Moses

 166./ Phillis (vo)

To act in bounties unconfin'd.

Close up - Sarah

 167./ Phillis (vo)

Enlarge the close contracted mind,

Close up - James

 168./ Phillis (vo)

and fill it with thy fire."

Close up - Lt. Brampton

He looks down his nose at Phillis, with his eyebrows raised - sarcastic.

 169./ LT. BRAMPTON

Right. So you're a poet.

Angle - wider on Brampton 

He circles Henri and James - poking at them with his musket. 

 170./ Lt. Brampton (cont)

But I still believe these runts have something to do with spreading rebellion, and I aim to find the evidence. (to soldiers) Tear the place apart if you have to.

Close on Brampton

 171./ Lt Brampton (cont)

And if I find so much as one poster, it's jail for the lot of you!

LT. BRAMPTON turns and narrows his eyes at Sarah.

 172./ LT. BRAMPTON (CONT'D)

You!

Angle on sarah

 173./ SARAH

Me?

Brampton crosses past her and stands in front of her, a little to one side.  He leans in. 

 174./ LT. BRAMPTON

What's your name?

 175./ SARAH

Sarah Phillips, Sir.

 176./ LT. BRAMPTON

Phillips, you say? I served under a Major Phillips during the Seven Years War.

 177./ SARAH

Major Phillips is my father, Sir.

Lt. Brampton leans back and puts his hand on his chest.  He nods over at James, like "isn't that nice"

 178./ LT. BRAMPTON

Is that so?!

Angle on James. 

Angle back on Brampton and Sarah

 179./ Lt. Brampton

Then you're an Englishwoman, Sarah. It's your duty to tell me who made these posters. The truth now. Your father would expect you to tell the truth to an officer in the service of his King.

Angle on James, Moses and Phillis

They look to Sarah. Will she rat them out?

Angle on henri

A burly soldier steps next to him, looking at Sarah and plunking his musket butt on the floor.  Henri rolls his eyes up to look at the soldier, scared, then looks back to Sarah.

 180./ SARAH (VO)

I, I, I...

Angle on Lt - over Sarah's shoulder.

He stands back, tilts his head and smiles at her.  Behind him is the window to the street and the corner. 

 181./ LT. BRAMPTON

Spill it, girl.

Angle on Sarah

She looks at him, then lowers her eyes, scared.  When she does, she sees something.  Her mouth opens in a silent "o"

CUT TO:

a poster - sarah's pov

Tucked in the corner where it fell unnoticed, between the stove leg and the baseboard.  Brampton's body frames left side of shot.

 182./ LT. BRAMPTON (O.C.)

Well? I'm waiting young lady.

BACK ON SARAH - OVER BRAMPTON'S SHOULDER

She looks up and smiles at him brightly but nervous. 

 183./ SARAH

Where are my manners? You must be half frozen riding in this cold weather!

angle on room - slight Downshot

Brampton faces camera.  Sarah pushes past him on his left.  James (on Brampton's right) takes a step forward, nervous, and Brampton glares at him, not watching Sarah as she sweeps quickly to the stove behind him. 

 184./ Sarah (vo)

I'll fix a pot of tea on the Franklin stove!

Close angle on floor in front of stove.

Sarah neatly picks up poster in one hand as she opens stove door with other.  Slight pan to follow poster up and into stove. 

ANGLE ON SARAH - BRAMPTON IN FG

Sarah turns back to Brampton and clasps her hands.  He wheels around to face her.  She smiles.

 185./ SARAH (CONT'D)

There! The fire is stoked. We'll have hot tea in half a tick. Now what was that you asked me? Something about "posters?"

Angle on brampton. 

He narrows his eyes at her, suspicious.  Then he tilts his head, wondering.

SOLDIER #2

Approaches Brampton empty handed.

 186./ SOLDIER #2

Nothing, Lieutenant. The place is clean.  No sign of them signs.

LT. BRAMPTON

In an explosion, turns to James and others. 

 187./ LT. BRAMPTON

Oh, I don't have time for this! Come on men. The rabble-rousers are getting away while we're dilly-dallying with children and poets and... tea!

Longshot on room as Brampton stalks out of door and soldiers follow.

ANGLE ON PHILLIS

She watches the door close then turns to the others.

 188./ PHILLIS

Quick, to the chariot! Before they come back!

Angle on Moses - over pHillis' shoulder. 

He steps forward.

 189./ MOSES

How can we ever thank you?

Angle on phillis - she smiles.

 190./ PHILLIS

Keep fighting for freedom, that's how. Now be off!

CUT TO:

EXT. dark boston street  - LATER - NIGHT

downshot angle with hanging lantern in corner. 

The chariot races through the pool of light - we see the kids crouch in the chariot, ducked down, hiding.  James and Sarah are again on opposite sides of Moses' legs.  Only this time, Henri is resting against Sarah, sleeping. 

Angle in chariot - looking at kids, Moses' legs in center

 191./ JAMES

(to Sarah)

Thank you.

 192./ SARAH

For what?

 193./ JAMES

You know.

Sarah picks imaginary lint off of Henri.

 194./ SARAH

I don't know what you're talking about.

 195./ JAMES

Sure you do. You saved our hides.

She looks at him. 

 196./ SARAH

James, I'm very tired, and I'm cold.

Angle on Sarah and Henri

James takes off his coat and drapes it over Sarah and Henri like a blanket..  Henri snuggles and smiles at James, very lovingly.  Sarah looks up at James and smiles, unaware of Henri's goofiness.

 197./ SARAH (CONT'D)

I'm going to make a gentleman out of you yet.

Angle on James

he sits back and laughs. 

 198./ JAMES

And I'm going to make an American out of you.

cut to:

ext. boston intersection they first came in on - night

The chariot rounds the corner out of one alley and rolls through the intersection.  Moses shakes the reigns:

 199./ MOSES

Yah! Yah!

FADE OUT:

END OF ACT TWO

EPILOGUE

fade in:

ext. ben franklin's home - later - DAY

Establishing. CHYRON: PHILADELPHIA, PENNSYLVANIA COLONY.

SFX: HAMMERING.

 200./ JAMES (O.C.)

A little more, Moses. Good! That looks great!

CUT TO:

INT. SARAH'S ROOM - CONTINUOUS - DAY

A pleasant bedroom for a young lady. Sarah writes at a desk lit by the window. SFX: HAMMERING.

 201./ SARAH (V.O.)

Dearest Mother, So much has happened, I hardly know where to begin! Your latest letter brought the shocking news from London. It's terrible that Dr. Franklin has lost his position as Post Master, but praise the Lord he didn't end up in jail, or worse! 

The hammering bothers Sarah. She puts down her pen.

 202./ SARAH (CONT'D)

James! Cut out that racket!

SFX: HAMMERING. Sarah puts down her pen and exits.

CUT TO:

int. print shop/laboratory - continuous - day

James, Henri & Moses at the work bench. Moses hammers away at something.

 203./ SARAH (O.C.)

Would you please stop that noise!

WIDEN TO INCLUDE:

sarah

As she enters the room, joining the boys at the workbench.

 204./ SARAH (CONT'D)

I'm trying to concentrate.

 205./ MOSES

Go ahead, James. It's finished.

 206./ JAMES

Sarah...

 207./ SARAH

What is it?

 208./ MOSES

The boys have a little something for you.

 209./ SARAH

For me?

 210./ HENRI

A thank you, for saving us.

 211./ JAMES

Here.

He holds something up:

CUT TO:

A LOCKET - TIGHT SHOT

On a chain. Crude, but gleaming gold.

CUT TO:

SARAH

Takes the locket.

 212./ SARAH

For  me?

WIDEN TO Include:

james, henri & moses

James helps fasten it around Sarah's neck.

 213./ JAMES

Moses made it.

 214./ HENRI

It was my idea!

 215./ SARAH

It's beautiful!

 216./ JAMES

You like it?

 217./ SARAH

I love it! But where in the world did you get the gold?

Then, she notices:

CUT TO:

JAMES' HAND - TIGHT SHOT

His GOLD RING is GONE.

 218./ JAMES (O.C.)

Are you sure you like it?

CUT TO:

THE LOCKET

Around Sarah's neck.

 219./ SARAH

It's the greatest gift I've ever received.

FADE OUT:

THE END