THE NEW WORLD:

A STORY OF THE INDIES

Written by
Terrence Malick
Capt John Smith, an English adventurer
John Rolfe, a tobacco planter
Capt Newport, first President of the Jarnestown Colony
Master Wingfield, a gentleman
Capt Argall, a soldier of fortune
Mary, a maid
Ben, a friend of Smith1 s
Wilf, a cabin boy
Capt Ratclif fe, Newport's aide
King James and Queen Anne
Ackley, Jonson, Selway, Emery, Robinson; colonists
The Indiana
Pccahontas, a young princess
The Great Powhatan, her father, Emperor of the Indians
Opechancanough, Powhatan's brother
Parahunt, Pocahontas1 brother
Patowomeck, King of Pastancy, her treacherous uncle
Wobblehead, a lunatic
Tomocomo, Powhatan' s interpreter
With various fortune-seekers of the Jarnestown Colony,
court officials of Werowocomoco, Chiefs of the Parnunkey
Armies, etc.
'lPocahontas easily prevailed with her
father and her countrymen to allow her to
indulge her passion for the captain, by
often visiting the fort, and always
accompanying her visits with a fresh
supply of provisions: therefore it may
justly be said, that the success of our
first settlement in America, was chiefly
owing to the love this girl had conceived
for Capt Smith, and consequently in this
instance, as well as in many others,
LOVE DOES ALL THAT'S GREAT BELOW! "
"A Short Account of the British
Plantations in America,
London Magazine, 1755
t
TITLES OVER BLACK, CUS OF POCAHONTAS
The t i t l e appears: - :
(and dissolves t o)
-
The f r o n t c r e d i t s f ol l ow, over s h o t s of o u r he r oi ne
l e a r n i n g Engl i s h from our hero.
She r e pe a t s one word a f t e r
a not he r : t r ee, bush, l e a f , b i r d , cl oud.
1 LEGEND - EXT. SEA
Al e g e n d a ppe a r s over t h e wi l d, unbounded s e a .
"No man under s t andet h o r knowes
what Vi r gi ni a i s. "
- Capt . John Smi t h
The l egend fades out , except f o r t h e word " Vi r gi ni a , "
be ne a t h which appear s t h e d a t e :
26 Apr i l 1607
Then c ont i nue s :
WHILE COLUMBUS HAD STRUCK THE SHORES OF
THE NEW WORLD OVER A CENTURY BEFORE,
NORTH AMERICA REMAINED UNEXPLORED
2 EXT. NEW WORLD SHORES, CHESAPEAKE BAY
Young Pamunkey I ndi a ns , t h e o r i g i n a l
i n h a b i t a n t s of t h e
Vi r g i n i a c o a s t , s p l a s h and duck e a c h o t h e r i n t h e s hal l ows
-' of Chesapeake Bay.
L i t t l e work i s r e qui r e d of them. Vi r g i n i a i s a r i c h ,
magi cal c ount r y, where na t ur e has pr ovi ded f o r every human
want . W i l d plums and c h e r r i e s grow i n pr of us i on a l ong t h e
banks of t h e mus i cal rivers. Gr apes da ngl e from t h e boughs
of t a l l p i n e s and bog magnol i as per f ume t h e a i r . The
b r a v e s t e n d t h e f i s h i n g wei r s , p l a n t c or n and squash, whi l e
t h e women g a t h e r b e r r i e s and l ay meat o u t i n s t r i p s t o d r y .
The i r work i s soon f i n i s h e d , however, and t hey j o i n t h e
c h i l d r e n a t t h e i r l i f e of pl a y.
3 UNDERWATER SHOT - POCAHONTAS - ANGLES ON SHORE
Gayes t o f them a l l i s POCAHONTAS, a g i r l of s i x t e e n , whom
w e f l r st d l s c o v e r under wat er , d i v l n g f o r mus s el s a n d
c a t c h i n g a s t ur ge on by t he t a i l . She t r l m s h e r h a i r wi t h
'.
p e a r l s as s he sits by t h e s hor e . s he ga z e s i n a r a p t u r e a t
t h e wind r us hi ng t hr ough t he trees.
The I ndi a ns a l l d e f e r t o h e r .
She i s t h e f a v o r i t e da ught e r
of POWHATAN, t h e i r Emperor, who si t s a l ong t h e s hor e i n a
mood of phi l os ophi c a l d e l i g h t .
She ha s a l ove of l i f e and
a wanton, mi schi evous way t h a t makes h e r i r r e s i s t i b l e to
them a l l .
4 EXCI TED SCOUT
A s c o u t suddenl y br e a ks i n t o t he I ndi ans ' mi ds t , g e s t u r i n g
t owar ds t he e a s t . wi t h br e a t hl e s a exci t ement .
5 EXT. VIRGINIA SHORE
The I ndi a ns r us h t hr ough t h e pi ne woods and down t o t h e
s h o r e , where t he y s t o p and gape, Thr ee Engl i s h mer chant
s h i p s loom on t h e hor i zon.
What a r e t he s e a p p a r i t i o n s ? Bi r ds? Fl o a t i n g i s l a n d s ?
Messengers of t h e gods? A t a s i g n a l f r om t h e i r l e a d e r ,
t he y hur r y back t o t h e i r camps.
The I ndi a ns r un p a s t Pocahont as and i n t o t h e woods.
Messenger s b e a t drums and blow s e a - s he l l t r umpet s .
Puzzl ed, s he dr i f t s down toward t h e s h o r e . She s t a n d s i n
t h e woven shade a t t h e wa t e r ' s edge, g a z i n g a t t h e Engl i s h
s a i l s . She i s i n no way al ar med. I t i s a s though s he knew
t he y were coming. A mys t er i ous s m i l e appear s on h e r l i p s .
7 EXT. CHESAPEAKE BAY - ABOARD THE SUSAN CONSTRNT
A soundi ng l i n e pl unge s i n t o t he dar k wat er s of t h e bay.
VOICES (0. S . )
Ten f at hom. Sweeper be a r i ng r i g h t ,
Cap' n. Ri ght f u l l r udder .
Aboard t he ei ght - gun Susan Const ant , f l a g s h i p of t h e t hr e e -
v e s s e l f l eet , CAPTAIN CHRISMPHER NEWPORT br e a t he s i n t he
f i r st sweet f r a g r a n c e of t h e l and. They have s p e n t t h r e e
months a t s e a , wracked by t empest and d l s e a s e . Not one o f
t h e s e ve nt y men on boar d i s e n t l r e l y f i t . S t ~ l l , most have
managed t o dr a g t hems el ves on deck, where t hey gaze i n
pr a ye r and s i l e n c e a t t he h e a r t - s t i r r l n g gr een band on t h e
hor i z on.
Unl i ke t he Pu r i t a n s who w i l l f ol l ow t h e m t h i r t e e n y e a r s
l a t e r , t hey are a r ough, quar r el some l o t o f des per adoes - -
t h e r e f u s e of s o c i e t y , America-bound ~be c a us e England would
not have t h e m. I n t h i s new l a nd t hey have e ve r yt hi ng t o
ga i n and not hi ng to l o s e .
Newport , t h e i r l e a d e r , i s a gent l eman o f fame.
With Drake
h e r a i d e d Cadi z har bor i n 1587 and s i ngl e- handedl y c a pt ur e d
t h e Ma&a da Dios, t h e r i c h e s t Spani sh g a l l e o n ever t o f a l l
i n t o Engl i s h hands.
8 INT. HOLD - CAPTAIN JOHN SMITH
One young advent ur er , CAPTAIN JOHN SMITH, i s n o t on deck
b u t s i t s . i n t h e hol d.
H e has been cast i n i r o n s t o a wa i t
hangi ng on a char ge o f mut i ny.
Smi t h i s a boi s t e r ous man of g r e a t s t r e n g t h , a warm-hearted
rebel, a l o v e r of p l a y and song. He s peaks h i s mind
wi t h o u t mi nci ng words, convi nced h e must al ways be r i g h t ,
i n s m a l l matters no less t han i n l a r g e . H e i s l ong
accust omed t o t he d i s f a v o r of h i s s u p e r i o r s and does n o t
ha ve a p o l i t i c bone i n h i s body.
H e wears t h e e a r r i n g of a Moorish woman t o whom he w a s once
a sl ave. H e has been a p r i s o n e r of t h e Tur ks, a beggar i n
Mo s c o w, h a s f ought t h e Tart ars i n Tr ans yl vani a and been
s hi pwr ecked i n t hr e e s e a s . With no rank o r pr ope r t y, no
e d u c a t i o n o r connect i ons , he can onl y win fame o r f o r t u n e
by h i s da r i ng. The c a r e e r h e h a s t aken up 1s t h e s i n g l e
o n e open t o a per son of h i s ambi t i on.
H e i s a t r u e pi oneer , f o r e v e r l e a vi ng t h e p a s t behi nd,
b e a r i n g t h e br unt of da nge r , contemptuous o f f e a r -- a
conquer or who l e t s down anchor when t h e whim s e i z e s hi m,
makes t h e s hor e h i s home f o r a whi l e, t hen i n e v i t a b l y grows
bor e d and moves on, t o seek h i s l uck el s ewher e.
9 EXT. ENGLISH SHIPS - FLAGS
The Susan Constant s i g n a l s h e r t w o sister vessels t o come
a b o u t and f al l i n behi nd h e r . They are t i n y t h i n g s , decked
wi t h f l ags and pa i nt e d wi t h b r i g h t ma' rkings a s a de f e ns e
a g a i n s t sea monst er s. They l ook a s t hough t h e y had been
b u i l t f o r c h i l d r e n , h a r d l y seawor t hy.
10 EXT. JAMES RIVER
The s h i p s l e a v e t h e s p a r k l i n g wa t e r s of Chesapeake Bay and
t u r n up t h e James Ri ve r , i n s e a r c h of a ha r bor beyond t h e
r e a c h o f Spani s h p r i v a t e e r s . A man' dangl es ove r t h e s i d e
t o t a s t e t h e water.
MAN
Sweet wat er , Capt ai n!
., ,
11 EXT. JAMESTOWN MOORAGE
b The Engl i s h moor t he s h i p s t o t h e l ong br anches o f an o a k
tree t h a t hangs o u t o v e r t h e banks.
Wi t h Newport i n t h e l e a d , t he y wade as hor e.
They speak t o
one a n o t h e r i n hushed voi c e s , a s though t hey had e n t e r e d a
g r e a t t empl e.
Here, on t h i s s t r i p of marshy l a nd, America i s bor n.
Jarnestown w i l l be Englandt s f i r s t permanent s e t t l e me n t i n
t h e Nor t her n Hemisphere, f o r t h a t matter he r f i r st col ony
anywher e.
12 OTHER ANGLES
The En g l i s h e xpl or e t h e l a nd, enj oyi ng t h e i r new f r eedoms
a f t e r months on t h e At l a n t i c . They pi c k t he p l a n t s and
i n s p e c t them, amazed by t h e bount y o f t h i s new wor l d.
Eve r yt hi ng i s s pl endi d and r a r e .
VOICES (O.S.)
Ther e' s o y s t e r s on t h e s hor e a s t hi c k
a s s t one s . Fi s h ever ywher e. They
l ook i n t o your e ye s . We' l l l i ve l i k e
ki ngs ! Kings !
They f e i n t a t one anot her wi t h t h e i r swords, p r a c t i c e
p a r r i e s and t h r u s t s , chop at br anches and f l ower s t o , test
t h e edge o f t h e i r st eel , s t a b v a i n l y a t t h e f i s h t h a t f l a s h
t hr ough t h e s t r eams . There are a f e w women i n t h e i r
company; two o r t hr e e .
SAX LOR
Capt ai n Newport!
The s a i l o r c a l l s Newport' s a t t e n t i o n t o a dugout canoe
f l o a t i n g down t he r i v e r . I n s i d e t he canoe, f u l l y e r e c t ,
si t s a s ke l e t on dr aped wi t h p e a r l neckl aces .
NEWPORT
Muskets!
Newport p r i c k s h i s e a r s as a s t r a n g e , haunt i ng song comes
wa f t i n g t o him on t ha wind f r om f a r away.
The men are keen
wi t h appr ehens i on and excitement. Far away, Pocahont as
wat ches from h e r per ch i n a t r e e .
13 EXT. HANGING TREE
El s ewher e, unaware o f t h i s a p p a r i t i o n , CAPTAIN WINGFIELD
p r e p a r e s t h e noose i n whi ch, a s a f i r s t or de r of b u s i n e s s ,
Smi t h must hang. Smith s t a n d s on a s t o o l , unper t ur bed.
SMI TH
I admi r e you, Wi ngf i el d. Y e s , I
admi r e anybody who dares t o en joy
hi ms e l f . Af t e r a l l , most t hi ngs a r e
s e t up s o you won' t.
MORE)
SMITH ( cont l d)
They hol d you by t h e nose and make
damn s u r e you wonf t mi s be ha ve . well,
God w i l l t a ke c a r e of them, r i g h t ?
WINGFIELD
If I were you, Smith, I would t a ke
advant age of t he s e pr e c i ous mi nut es t o
compose my pr a ye r s .
SMITH
He ha s no i n t e n t i o n o f hangi ng me.
Why s houl d he? H e f ol l ows t h e pa t h of
l o g i c , Wi ngf i el d. He us es h i s mind.
WINGFIELD
I t h i n k , i n t h i s f a t e f u l i ns t a nc e , you
mi ght be wrong.
SMITH
I don1 t know why I wast e my b r e a t h .
Le t peopl e be. Don1 t open t h e i r eyes .
Supposi ng you did, what l d t hey s e e ?
Th e i r mi ser y. Man i s a b r u t e -- a
g r e a t br ut e . If you are c r u e l t o him,
he r e s p e c t s and fears you. If you a r e
ki nd t o him, he pl ucks o u t your eye.
WINGFIELD
Good, very good. I i nt e nd t o make a
c o l l e c t i o n of your s a yi ngs , i f you
w i l l per mi t me .
Capt Newport wal ks up.
NEWPORT
L e t hi m go.
RI NGFI ELD
You s a i d t o hang him.
NEWPORT
Remember, Smi t h, t h a t you a r e under a
c l oud and t h a t it w i l l dar ken i f I
h e a r any' mor e of your mut i nous
r emar ks . Now make y o u r s e l f us e f ul .
Newport h a s o n l y wanted t o t hrow a s c a r e i n t o him, a s Smi t h
gues s ed. The men raise a cheer a s Smi t h' s hands a r e
unt i e d. He i s a n immensely popul ar f i g u r e .
.. .
WINGFIELD
I t h i n k you s houl d r e c ons i de r t h i s
d e c i s i o n , si r .
NEWPORT
Wi ngf i el d, not everybody i n t h i s world
i s a b l e t o keep h i s mouth s h u t , and
you mi ght perhaps be one of t h o s e who
can' t. They f r nd t hey have crossed
t h e s u b t l e l i n e between i ndependence
of t hought and s heer i ns ol e nc e . Now
- .
t h a t mi ght be happening t o you, don1 t
you t hi nk?
Smith gi ve s Wi ngf i el d a br oad smile.
14 EXT. , VI RGI NI A SHORE.
Smith swaggers ar ound, i gnor i ng h i s s hi pmat es '
c ongr a t ul a t i ons . He has a har dy conf i dence i n hi msel f t h a t
i n s p i r e s r e s pe c t . H i s eyes a r e a l i v e wi t h a cunnl ng
i n t e l l i g e n c e . H e wear s a b r l g h t uni f or m and a st eel
c h e s t p l a t e embossed wi t h a rampant dr agon, d e s p i t e t h e h e a t
t h a t ha s caused t h e o t h e r s t o s t r i p down t o t h e i r s i n g l e t s .
There i s something convi nci ng about h i s b o l d , out l a ndi s h
manner. He has a way of c a r r yi ng i t o f f .
BEN, t h e s hi p' s cook, s a l u t e s h i s f r i e n d .
BEN
They l e t you go! A t e r r i b l e mi s t a ke
t hey made t h e r e . Come, s i t l i k e a
gent l eman, be i dl e. I t hought s u r e l y
t hey would hang you.
SMITH
Why would t he y do t ha t ?
BEN
Why, f o r t h e ' arm you done u s al l ! I
can onl y s peak f o r mysel f , b u t be f or e
I m e t you, I knew not hi ng and now I
am, i f a man shoul d speak t r u l y ,
l i t t l e b e t t e r t han one of t h e wi cked,
l y i n g a bout t h e whole day, dr eami ng of
gi l de d p a l a c e s and t h e l i k e , c a r i n g
not hi ng .for t h e wor l d' s bus i ne s s . You
coul d c o r r u p t a s a i n t , Capt Smi t h.
Smith s mi l e s . H e l i k e s h i $ mat es and t h e pl a c e he enj oys
i n t h e i r h e a r t s .
' BEN
Lend ma a pi nch of t obacco, would you?
No? Not a pi nch? I have f r i e n d s ' a n d
I have acquai nt ances . I w l l l piss i n
your beddi ng.
(MORE)
I w i l l
f l e s h
t h a t !
BEN ( cont ' d)
, see d o g ' s meat made of your
and dice o f your bones.
Work on
( t o t h o o t h e r s )
You see, gent l emen, t he r e i s no
de f e ns e a g a i n s t w i t .
SMITH
P i t y you ha ve n' t found a way t o l i v e
by it!
H e wal ks o f f .
BEN
Hold your t ongua! As I am a gent l eman
bor n, I w i l l get dr unk, grow v a l i a n t
and b e a t you wi t h i n an i nc h of your
l i f e .
Smi t h s t a n d s wi t h a man named ACKLEY, gazi ng a t t h e woods.
ACKLE Y
Ther e' s somet hi ng out t h e r e , Smi t h.
You can feel i t . I don1 t l i k e it t h a t
t h e trees r un down s o c l o s e t o t h e
s hor e . The b o a t f s not pr ot e c t e d.
NEWPORT AND SCOUTS
A s c o u t ha s s i g h t e d t h e I ndi a ns .
SCOUT
Na t ur a l s , si r. Se e t he r e ? They was
making q u i t e a f u s s , t oo.
Thr ee I ndi a ns run down t h e oppos i t e s hor e o f t h e r i v e r ,
c a l l i n g t o one a not he r i n s t r a n g e , b i r d - l i k e syl l abl es.
NEWPORT
Pr epar e t h e pi nna c e and a war p a r t y .
T we n t y men.
The t h r e e I ndi a ns r un p a s t Pocahont as.
EXT. VIRGINIA WOODS - SMITH
Smi t h e n t e r s t h e v i r g i n f o r e s t , awed b u t u n a f r a i d , l i k e
someone e n t e r i n g a g r e a t c a t h e d r a l .
He has s l i p p e d away
f r om t h e o t h e r s .
The trees a r e f u l l of c o o l d r a f t s , l i k e a s pr i ng- f e d pool .
They s e e m t o r o l l on f o r e v e r , f l a t and p a r k - l i k e ,
p a r t i t i o n e d by cr eeks and s t r eams t h a t a t low t i de become
s l i c k s o f bl a c k mud. Cl u s t e r s of gr apes hang f r om vi ne s
t h a t t wi ne t hr ough t h e i r boughs.
Soft woods grow s i d e by side wi t h oaks and popl a r , a
c o n t r a d i c t o r y s i g h t t o European eyer. Turkeys d u s t
t h e ms e l ~ e s i n t he sand.
Thei r nest s l i e open, b r i mi n g
wi t h eggs , as though t hey had no f e a r of marauders.
The
c a l l of each b i r d s t ands o u t shar p and c l e a r i n t h e calm of
t h i s A p r i l af t er noon.
17 POCAHONTAS AND PARAHUNT
Pocahont as and her br ot her , PARAHUNT, s t e a l t hr ough t he
trees t o g e t a c l os e r look a t t h e v i s i t o r s .
Pocahont as wears a wreath on he r head and a s h o r t buckski n
apr on. Except f o r t he l ong s t r a nds of p e a r l s and s h e l l s
t h a t hang around her neck, s h e is bar e above t h e wai s t .
Below h e r knees and above h e r elbows, her arms and l e g s a r e
ornamented with t a t t o o s ,
gi vi ng her a ~ g u e l y Pol ynesi an
appear ance.
She sees Smith and f r eezes i n he r t r acks . Parahunt wants
t o go back, b u t i mpat i ent wi t h he r b r o t h e r ' s t i mi d i t y , s h e
vent ur es c l os e r .
Smith t u r n s and sees he r , a l l a t once. She gazes at him a s
though he were a v i s i t o r from t h e sky. With h i s bear d and
h i s g l i n t i n g armor, al one i n t h e s t i l l n e s s of t h e f o r e s t ,
he seems s o handsome, s o una f r a i d -- a bl ue-eyed, f ai r -
h a i r e d god. She t ur ns a car t wheel . Then, wi t h an odd
l augh, s he i s gone.
18 EXT. OPPOSITE SHORE OF THE JAMES
The pi nnace, a s m a l l s a i l b o a t , s t r i k e s t he oppos i t e s hor e.
Newport and h i s men jump o u t and, weighted down wi t h t h e i r
casques and armor, croaabowa and pi kes , wade cl ums i l y
as hor e. Qui ckl y t hey f i nd f o o t p r i n t s , a t f i r st onl y
f o o t p r i n t s . Teneion mounts a s t hey advance i n t o t h e woods.
They s ens e t hey a r e bei ng watched. '
-
-
SAILOR
Ss s s s s t !
Newport l ooks around t o behol d a magni f i cent Parnunkey br ave
s t andi ng a t t h e edge .of a c l e a r i n g a hundred f e e t away.
The br ave l owers h i s bow and gi ve s two l oud s hout s .
The
Engl i sh jump back, s t a r t l e d .
Newport s t e p s forward and put s h i s hand over h i s h e a r t ,
a s
a s i g n t h e Engl i sh mean no harm.
The br ave nods, a s though
t o s ay he under st ands.
H e r a i s e s h i s hand and two hundr ed.
ba t t l e - dr e s s e d war r i or s s t e p o u t from t he woods.
They a r e a handsome peopl e, a f u l l head t a l l e r t han t h e
Engl i sh.
Unl i ke t h e severe, a q u i l i n e I ndi a ns of t he Gr eat Pl a i n s t o
whom w e a r e accust omed, t hey have round f a c e s , br oad
cheekbones and s t r a i g h t nos es . The i r s ki n 1s t he c o l o r of
bur ni s hed gol d, t h e r r eyes jet bl a c k, i n s hape al mos t
Chi nese.
Buf f al o t a i l s dangl e from t h e l r b e l t s on t h e
ground behi nd them.
Dead bl a c kbi r ds hang from t h e r r ear s.
They chal k t h e r r cheeks and arms with r oot dyes and s have
t h e r i g h t s r d e of t h e i r heads, t o keep t h e i r h a l r c l e a r of
t h e i r bows t r i ngs , gl vi ng each man two compl et el y different
p r o f i l e s -- one f r i g h t f u l , t he o t h e r s o f t and nobl e. The
Engl i s h have never s een bei ngs r emot el y l l k e t he s e and
murmur wi t h as t oni s hment -- ast onr shment , t hen g r a d u a l l y
f e a r , a s t he y real i ze t hey coul d e a s i l y be overwhelmed.
The br ave s t r i k e s h i s head and c h e s t , t hen r eaches o u t t o
s t r i k e Newport ' s t he same way. Newport s h i e s back,
d i s t r u s t i n g h i s i n t e n t i o n s . The br a ve s mi l es and r e p e a t s
t h e g e s t u r e .
NEWPORT
M r . Ackl ey?
The br ave p u l l s h i s h a i r , t hen wi t h a j o v i a l l ook p o i n t s a t
Newport' s own.
ACKLEY
H e doe s not know how t o make h i s '
meaning p l a i n , b u t i t appear s he means
w e a r e a l l made of t h e same f l e s h and
bl ood .
Agai n, Newport p u t s h i s hand over h i s h e a r t . The br a ve
comes f or war d, noddi ng wi t h g r e a t s a t i s f a c t i o n , and a s k s
pe nni s s l on t o t ouch Newport' s s k i n . The I ndi a ns a r e
f a s c i n a t e d above a l l else by t h e Engl i shmen' s whi t e p a l l o r ,
exagger at ed by t h e i r l ong months a t s e a . Newport l aughs
and hol ds h i s arm out f o r i ns pe c t i on. The br ave t ouches i t
wi t h a l i t t l e ga s p o f awe. Pocahont as l ooks a t her b r o t h e r
and smiles.
19 EXT. ALONG THE JAMES RIVER - A GOLDEN AGE
The I ndi a ns have grown more t r u s t i n g . They dance wi t h
panpi pes on t h e s hor e and wade o u t i n t o t h e s hal l ows t o
g r e e t t he Engl i s h l ongboat s w i t h songs of welcome. Some
paddl e ahead i n t h e i r l ong canoes t o warn Newport ' s
helmsman of s nags i n t h e wat er .
"We have never i n t he worl d s o f a r e n c o u n t e r e d a ki nder
peopl e, " wr ot e James Barlowe, c a p t a i n of Ra l e i gh' s ill-
f a t e d 1584 e x p i d i t i o n . " We were e n t e r t a i n e d wi t h
f r i e n d s h i p and were gi ve n ever yt hi ng t hey coul d pr ovi de.
W e found ( t hem) g e n t l e , l ovi ng and f a i t h f u l , l a c ki ng a l l
g u i l e and t r i c k e r y . I t was a s i f t hey l i v e d i n a gol den
age of t h e i r own.
A s a i l o r r us hes up t o Smith, b r e a t h l a s s wi t h exci t ement .
SAILOR
I gave t h i s I ndi an woman a br oken
p l a t e , and s he gi ve me f our rows o f
he r p e a r l s . I t e l l you, w e come t o
t h e r l c h e s t count r y i n t h e wor l d.
The s h i p ' s BOSUN, a g r e a t hul ki ng man, s p o t s one of t h e
I ndi a ns s t e a l i n g a h a t c h e t .
BOSUN
What do you t hi nk youf re doi ng?
The I ndi a n backs away, uncomprehending. H i s peopl e have
communal i de a s about pr ope r t y which t h e Engl i s h do n o t
s ha r e .
BOSUN
Drop it!
Alarmed by t h e bos un' s t one of voi ce, t h e br ave t u r n s and '
r uns . The bosun l e v e l s h i s musket and s e nds a v o l l e y
c r a s hi ng t hr ough t h e under br ush, s t i n g i n g t h e f l e e i n g
I ndi a n' s s houl der wi t h a s pr a y of p e l l e t s . His f e l l ows
gape a t t h i s d i s p l a y of t h e Engl i shmen' s power. Smith
knocks him t o t he gr ound.
SMITH
You f ool ! T i e h i s hands behi nd h i s
back.
The bosun s t r i k e s back a t Smi t h, who wi t h a s wi f t d i s p l a y
of phys i c a l cour age q u i c k l y subdues him. The I ndi a ns
r e t r e a t t o t h e tree l i n e . Pocahont as wat ches as Smith
t r i es t o c a l l them back, b u t t hey no l o n g e r t r u s t t h e
v x s i t o r s from heaven.
BOSUN
H e s t o l e my ha t c he t !
Smith d r a g s t h e bosun down i n t o t h e wa t e r , and i n f u l l
s i g h t of t h e I ndl a ns , shoves h i s head under wat er agai n and
agazn, as though t o show them he w i l l puni s h t h e of f e nde r .
They do n o t under s t and t h e meaning of t h i s d i s p l a y ,
however, a nd s hyi ng o f f l i k e deer, t he y di s a ppe a r i n t o t h e
woods. Pocahont as i s t h e l a s t t o r e t r e a t , he r e y e s st111
de t a i ne d by t h e Engl i s h her o.
20 NEW ANGLE
P ' k . - -
Newport har angues t h e assembl ed Engl i s h company.
NEWPORT
Capt Smith di d w e l l t oday and went a
c ons i de r a bl e way t owards reinstating
hi ms el f i n o u r good opi nl on. But t h e
har ds hi ps w e f a c e a r e g r e a t e r st111
f o r t he a c t i o n s of a f o o l . Toni ght w e
s h a l l s l e e p aboar d t h e s h i p s , e ve r y
man i n f u l l ar mor . I n t he morning w e
s h a l l chop down e ve r y tree wi t hi n h a l f
a m i l e of t h e moorage and use t he
s t r a i g h t e s t timbers t o pal zs ade a
f o r t . When w e have done t h a t , we mus t
s e t cor n, p u t up houses and l a y i n
f i r ewood. Sl a c k e r s w i l l be execut ed
a t t he s i t e of t h e i r transgression.
Y e s , Selway?
SE LWAY
S i r , when a r e w e goi ng out t o -- poke
around?
NEWPORT
We a r e n o t h e r e t o p i l l a g e and r a i d
b u t t o expand Engl andf s dornaln of
r eason and l i g h t . W e have i t i n o u r
means t o make a f r e s h world he r e , one
where t he l i o n mi ght l i e down wi t h t h e
lamb and t h e wolf wi t h t h e sheep,
where t h e r e mi ght be pl e nt y f o r a l l .
Every man who works ha r d i n t i m e w i l l
b e rewarded. But we must work, t o o ,
f o r t h e good o f t hos e who a r e t o come.
We s h a l l e nj oy t h e good t hi ngs of t he
e a r t h , and w e s h a l l be happy t o t h i n k
t h a t a f t e r us , and t hanks t o u s , men
w i l l r ecogni ze t hemsel ves as bei ng
ha ppi e r , bet t er and more f r e e .
SE LWAY
Begging your par don, b u t i f w e ' d
wanted t o f ar m, w e coul d l ave s t a ye d
i n Devon .
NEWPORT
Per haps yout v e made a t e r r i b l e
mi s t ake. Gold w i l l do you no good s i x
months from now, when t he snows f l y .
We want t o l i v e i n peace wi t h t h e s e
peopl e. Our survival depends upon
keepi ng t h a t peace. W e s h a l l a t some
p o i n t e xpl or e t h e l a nd, b u t we s h a l l
n o t pl under i t . Do I make myself
c l e a r ?
v
L
When nobody s p e a k s , Newport l owe r s h i s he a d a n d o f f e r s
a
p r a y e r of t ha nks gi vi ng.
NEWPORT
Lor d, we have t h e D e v i l a n d a l l t h e
Gat es of Hell a g a i n s t u s , b u t i f Thou
a r t wi t h u s , we care n o t who i s
a g a i n s t u s . Gr a nt u s , t h e r e f o r e , a
h e a l t h y p o r t i o n o f Thy mercies. W e
a s k i t i n t h e name o f Thy s o n , Jesus
Ch r i s t our Lor d. Amen.
21 EXT. JAMESTOWN SETTLEMENT - MONTAGE
At dawn t h e n e x t mor ni ng, t h e En g l i s h s t r i p of f t h e i r
d o u b l e t s a n d set t o work. The f o r e s t r i n g s wi t h t h e bi t e
o f t h e i r Ke n t i s h axes. Sweat g l i s t e n s on t h e i r t a t t o o e d
b a c k s . A f t e r mont hs a t sea, t h e work i s a j o y .
When t h e f e l l i n g gang i s done , t h e s a wye r s d r a g t h e l ogs
o f f t o hew them i n t o timbers. Soon a s m a l l f o r t i s u n d e r .
c o n s t r u c t i o n .
Po c a h o n t a s wat ches f r om a f a r . From t i m e t o t i m e s h e a l l o ws
t h e c a b i n boys t o appr oach h e r . They s oon ar e t e a c h i n g h e r
E n g l i s h words.
F o r a g e r s a t t e mp t t o c a t c h f i s h a n d w i l d f o w l b u t wi t h o u t t h e
h e l p of t h e I n d i a n s ha ve l i t t l e s u c c e s s . Ca r p e n t e r s p u t
t o g e t h e r a s h a l l o p , a s ha l l ow- dr a ught v e s s e l f o r n a v i g a t i n g
t h e r i ver s, p i t c h t h e t e n t s a n d s t a k e o u t g a r d e n s . Yeomen
sow oat s a n d b a r l e y .
Newpor t i s a w i s e l e a d e r . H e gives every man a j o b , t hough
t h e g e n t l e me n are exempt f r om p h y s i c a l l a b o r . H e g o e s
a r o u n d k e e p i n g u p t h e l r spi r i t s a nd, wher e n e c e s s a r y ,
l e n d i n g a hand.
But when h e comes upon two o f t h e i t
company p l u c k i n g a w i l d g o o s e , h e i s i n f l a me d t o wr a t h .
The men ar e ha ul e d t o t h e gr ound, and t h e i r ha nds are bound
b e h i n d t h e i r ba c ks .
NEWPORT
Cl e v e r dogs ! St a unc h t o t h e l as t !
Never t o l d u s how t h e y managed t o l o o k
s o f i t . Rnd why s h o u l d t he y? No,
f i n e f e l l o ws , f i n e f e l l o ws !
( t u r n i n g t o h i s a d j u t a n t s )
W a i t u n t i l t h e s un goes down to bury
t hem. .. I don' t want t h e Sa va ge s t o
t h i n k our numbers are dwindling.
Overcome by c u r i o s i t y , t h e I ndi a ns have r e t ur ne d t o t h e
vi c i ni t y o f t h e camp. From a c r o s s t h e r a ve s , t he y wi t n e s s
t h e e xe c ut i on of t h e poacher s . I t seems not t o d e t e r t h e i r
c u r i o s i t y . A br ave named TOMOCOMO t a l k s wi t h t h e sentries,
a distinctive man, dyed bl ack from head t o t o e and c ove r e d
wi t h t a t t o o s .
2 3 EXT. HALF-FINISHED FORT AT JAMESTOWN - SMI TH
Smi t h si t s wi t h a s ke t c h boar d, dr awi ng t h e s t r a n g e
v a r i e t i e s of p l a n t s he has t ur ne d up. The f or t i s now h a l f -
f i n i s h e d . At one p o i n t , s t a ndi ng watch b y t h e w a l l , h e
sees Pocahont as cavorting wi t h t h e c a bi n boys -- wal ki ng on
he r hands, c ha l l e ngi ng them t o f ol l ow her example i n t h e
Engl i s h p h r a s e s t hey have t a ught he r . H e n o t e s how,
f i n d i n g h e r s e l f a l one , she l ooks up i n t o t h e cl ouds a bove .
Her l i p s move a s though s he were s peaki ng wi t h someone.
She seems t o feel h i s eyes on h e r , s t o p s , t u r n s and l o o k s
e ve nl y a t him. H e waves t o he r . She waves back, a s t h o u g h .
ur gi ng him t o come o u t a nd pl a y. H e s mi l e s and s hakes h i s
head; he i s on guar d and must ' s t a y where he i s . But t h e
i n c i d e n t makes i t s i mpr essi on. H i s ne r ve s t i n g l e wi t h a
d . s t r a n g e d e l i g h t . W i l l he go away i n t o t h e bl acknes s o f
L.
de a t h never havi ng known t h e myst er y of h e r f r ee, f r e s h
l i f e ?
24 EXT. COMPANY STORE
Ben shows Newport t h a t t h e kegs of g r a i n and har dt ack
t h e y
have br ought f r om Engl and a r e i n f e s t e d wi t h worms.
NEWPORT
The damp g o t i n .
BEN
- - The damp' s n o t your problem.
Some of
t h e ke gs w a s good, but t h e y ' r e gone
now. Somebody f i l c h e d 'ern. I know
what y o u ' r e t hi nki ng, b u t it c oul dn' t
have been. t he Na t ur a l s . They coul dnl t
g e t t hr ough t h e l oc k. Had t o be one
of our own.
ACKLEY
The f r o s t ha s ni pped our o a t s . We S e t
them i n too late-. Th e natives know
how t o , . c a t c h t h e s e f i s h . They won' t
come t o a hook.
NEWPORT
Speak s of t l y. T e l l no one of t h e
c ondi t i on of our stores.
25 EXT. HALF-FINISHED FORT - SMITH'S POVS
Smith wat ches t h e c a bi n boys i mi t a t e t h e i r I ndi an pl aymat e.
Her cinnamon b r e a s t s have l nf l amed t h e i r young
i magi nat i ons . Then h e sees t h a t an Engl i s h p a r t y under t h e
l e a d e r s h i p of CAPT ARGALL, an advent ur er l i k e hi ms e l f , h a s
c a pt ur e d two I ndi a ns who vent ur ed t o o c l o s e l y t o t h e f o r t
and br ought them t o Newport f o r i n t e r r o g a t i o n . One of them
i s Tomocomo.
ARGALL
They can t e l l us what we c a n ' t f i n d
o u t f o r our s e l ve s .
2 6 INT. SAILCLOTH LEAN-TO
A c ounc i l of t h e Jamestown e l d e r s s i t s i n t h e shade of a *
s l ung s a i l . Hogs f o r a g e f o r s c r a ps o f f ood i n t h e r u t t e d
l a n e s . The c a pt ur e d I ndi ans s t and next t o Newport.
NEWPORT
( pr e s i di ng)
W e a r e h e r e by t h e w i l l of Pr ovi dence.
Had w e n o t s i g h t e d l a nd t h e day w e
d i d , I would have t ur ned back. We've
e a t e n t h e best p a r t of our st ores.
Ou r best men a r e s i c k wi t h f e v e r ; t h e
rest w i l l soon br e a t he mut l ny. W e
mi ght as w e l l be shi pwrecked. Now t h e
Na t ur a l s tell me o f a ci t y up t h e
r i v e r , and a mi ght y King who lives
t h e r e . I pr opos e w e send an envoy t o
him, t o see whet her he can be
per suaded t o t r a d e wl t h u s .
Meanwhile, I s h a l l r e t u r n t o Engl and
f o r f r e s h s u p p l i e s . I w i l l n o t be
back u n t i l t h e s pr i ng. You w i l l be
u t t e r l y a l o n e u n t i l t he n, b u t my
l e a vi ng w i l l f r e e t h e me n , when
a d v e r s i t y s t r i k e s , of any t e mpt a t i on
t o r e t u r n . Ra t c l i f f e her e w i l l be Ln
command. As t o who s h a l l appr oach t h e
Savage Ki ng, I needn' t t e l l you t h a t
i t w i l l be a hazar dous ml s s i on.
L A s i l e n c e f ol l a ws .
br
ARGALL
Ca p t a i n Smi t h i s t h e o n l y p r o f e s s i o n a l
s o l d i e r among u s . He al one i s s u i t e d
t o t h e t a s k .
Th e r e ar e n o i s e s o f a g r e e me n t . Smi t h bows:
WINGFIELD
( l e a p i n g up)
I s houl d very d e a r l y l i k e t o know o n e
t h i n g . What i s t o p r e v e n t t h i s f r i e n d
o f t h e hangman f r o m maki ng l e a g u e wi t h
t h e Na t u r a l s , t h e n t u r n i n g upon u s ,
o n l y unde r t h e ext remi t y o f t o r t u r e , I
s h o u l d l i k e t o as s ume? O r i n s t r u c t i n g
t hem i n t h e c o n d u c t of w a r and E n g l i s h
s t r a t e g i e s , i f I may make s o bol d?
H i s r i g h t t o t h e t i t l e o f Ca p t a i n c y i s
d u b i o u s a t b e s t . The l ow- bor n s on of
a yeoman c a n n o t be expect ed t o b e h a v e
wi t h a g e n t l e ma n ' s s e n s e of p r o p r i e t y .
ARGALL
Pe r ha ps you'd l i k e t o g o , Wi n g f i e l d !
* -
The o t h e r s l a u g h .
NEWPORT
The s e n t i me n t o f t h e c o u n c i l i s cl ear
Moreover, it c onf or ms wi t h my own.
( t o Smi t h)
Th i s w i l l be y o u r o p p o r t u n i t y t o
repai r your r e p u t a t i o n f o r d i s c i p l i n e
a n d obe di e nc e . I e x p e c t you t o
wel come i t .
SMITH
( wi t h a bow)
I do.
27 EXT. JAMESTOWN DOCK
S mi t h wa l ks a l o n g t h e Jamest own dock wi t h Newpor t as h e
p r e p a r e s t o set o f f i n t h e s h a l l o p t h e c a r p e n t e r s ha ve
b u i l t . Meanwhi l e t h e p r i n c i p a l s h i p s are b e i n g p r o v i s i o n e d
f o r Ne wpor t ' s r e t u r n t o Engl a nd.
NEWPORT
A r e you a f r a i d ?
SMITH
N o .
NEWPORT
I woul d be.
SMITH
I ' ve a l wa ys believed t h a t s o o n e r o r
l a t e r s omet hi ng good, s ome t hi ng
s p e c l a l , was i n s t o r e f o r m e . A
d e s t i n y a l l my own. I s uppos e I a m a
Mussel man i n t h a t way.
NEWPORT
A Mussalman?
SMITH
I begged i n Moscow when i t was bl owi ng
snow i n e i g h t - f o o t d r i f t s . I was t h e
o n l y man t o come o u t a l i v e when my
r e g i me n t was o v e r r u n by t h e Tur ks i n
Tr a n s y l v a n i a . They p u t a c h a i n a r ound
my neck a nd ga ve m e a s a sl ave t o a
St a mb u l i l a d y -- h e r name was
Tr agabonza -- a nd s h e o r d e r e d m e
a r o u n d l i k e h e r s i t - u p dog, u n t i l s h e
got bor e d and p o i s o n e d me , t o see i f I
c o u l d t a k e it. I n e v e r l o s t hope.
Even when i t l o o k e d bad, you know, I
n e v e r e ve n f e l t i n danger. I had t h i s
f e e l i n g , t hr ough it a l l , t h a t t h e r e
w a s s ome t hi ng wa i t i n g f o r m e -- my
l i f e woul d n o t e n d u n t i l I h a d f ound
it -- a c h i e v e d it. I n e v e r knew wher e
i t l a y or what i t was e x a c t l y .
( o v e r a r i ver , wi ndi ng
i t s way i n t o t h e i n t e r i o r )
Ru l i n g huge c o u n t r i e s for myself and
t h e Ki ng, d o i n g t h i n g s t h a t seem
i mp o s s i b l e t o t h e world, maki ng t h e
h e a t h e n f l y l i k e t h e wi nd -- I h a d a l l
manner o f i d e a s . Then I came t o t h e
c o n v i c t i o n it was i n t h e E a s t . I
t h o u g h t t h a t mus t be i t -- t o f i n d t h e
way t h r o u g h t o t h e I n d i e s . N o one h a s
d o n e i t . I mean t o , a n d I w i l l .
Newpor t s m i l e s t hr ough a l l t h i s , wi t h a n i n d u l g e n c e t h a t
seems a l mo s t p a t e r n a l .
NEWPORT
I n t e r e s t i n g . You mus t a l wa ys k e e p i n
mi nd y o u r r a s p o n s i b i l i t i e s t o t h e ' r e s t
o f y o u r count r ymen, however . Most of
t he m a r e i d i o t s a n d f o r t u n e - s e e k e r s ,
b u t even s o t h e y are under y o u r
p r o t e c t i o n .
(MORE )
NEWPORT ( cont ' d)
You have t he rnaklngs of a l e a de r ,
Smi t h. You have a f u t u r e he r e . So,
t h e b o a t i s r eady. Make Engl andp s
name f or mi dabl e.
Smi t h bows and boar ds t h e s ha l l op. They have l a i d on
pr ovi s i ons of c l o t h , beads, f ood and books. Th e r e s t of
Jamestown waves goodbye from t h e s hor e .
28 EXT. C H I C M O M I N Y RIVER - SMITH'S POVS
Smi t h m a k e s h i s way up t h e Chickahominy Ri ver i n s e a r c h of
t h e King. With h i m a r e ni ne Engl i shmen, he a vi l y ar med, and
t h e two c a pt ur e d I ndi ans . They s i n g a s t he y row, t o s t e a d y
t h e i r ner ves .
The r i v e r winds t hr ough v a s t f l o a t i n g gar dens of wa t e r
l i l i e s and s edges . The s hor es thrum wi t h c i c a da s . L i t t l e
by l i t t l e t h e l a nd r e ve a l s i t s e l f t o them.
They pa s s an I ndi a n town. The pe opl e come down from t h e i r
f i e l d s t o r a i s e up t h e i r p e c u l i a r s hout s of g r e e t i n g b u t .
t he y no l o n g e r o f f e r he l p o r g i f t s .
A t n i g h t t he y see br aves s pear i ng e e l s i n t h e s hal l ows by
t h e l i g h t of f l ami ng t or c he s .
..
The l a nd grows st i l l more mys t er i ous , more magi cal , a s t he y
work t h e i r way up t he r i v e r . Dr agonf l i es dart about l i k e
p i x i e s . Huge c a r vi ngs of ot her wor l dl y bei ngs appear i n t h e
r ocks al ong t h e bank. The s ke l e t ons of a n c i e n t Pamunkey
c h i e f s hang from t he r a f t e r s of s a c r e d h u t s . I t s e e m s t h e
s cenes of v i s i o n a r y enchant ment w i l l never end. Y e t
gr a dua l l y t h e channel narrows.
The over hangi ng br anches of
t h e trees make t h e goi ng d i f f i c u l t , and s t r a n g e c r i e s r e a c h
t h e i r e a r s .
The Engl i s h company soon i s showing d i s t i n c t
s i g n s of u n r e s t .
HELMSMAN
Ca pt a i n, w e haven' t t h e dr a ught t o go
any f u r t h e r .
(Smith i s s i l e n t )
I c a n ' t s t a nd o u t i n t h e r i v e r . They
can r each u s wi t h t h e i r weapons now.
You he a r m e , Capt ai n? We're i n
bowshot .
Smith s i g n a l s t h a t t hey shoul d p u t i n t o s hor e .
29 EXT. SHORE
Two I ndi an women tempt a s a i l o r who ha s wandered of f f r om
t he r e s t of t h e Engl i s h pa r t y t o f ol l ow them r n t o t h e
woods. H e i s c a ut i ous a t f i r s t , b u t c u r i o s i t y o r l u s t g e t s
t he b e t t e r of hi m.
\_ 30 REST OF THE PARTY
H i s d i s t a n t cries of p a i n s end s h i v e r s t hr ough t h e En g l i s h .
FIRST ENGLISHMAN
L e t ' s g o ba c k, si r .
SECOND ENGLISHMAN
W e c o u l d g a t h e r a l a r g e r p a r t y . W e ' r e
l o s t . You know i t , a nd w e know i t ,
t o o .
THIRD ENGLISHMAN
L e t ' s p u t i t t o a. v o t e ! I ' d r a t h e r
di e on t h e ga l l ows t h a n ha ve my t h r o a t
c u t by t h e s e mons t e r s .
Smi t h f eel s a mu t i n y br ewi ng.
SMITH
The Na t u r a l s s a y t h a t w e s h a l l come t o
w i d e l a k e s and a mi ght y river f a l l i n g
west i n t o t h e I n d i a n Ocean. I t h o u g h t
I s h o u l d n ' t t el l you. The p e o p l e
t h e r e are u n l i k e any w e ha ve ever
s e e n . Gol d i s more p l e n t i f u l wi t h
t hem t h a n c oppe r i s wi t h u s , a n d f o r
as much red c oppe r a s you c a n b r i n g ,
y o u ' l l h a v e t h r e e times i t s we i g h t i n
g o l d . Why, t h e i r chamber p o t s a n d
d r i p p i n g p a n s are p u r e g o l d , a n d t h e
c h a i n s t h e y c h a i n t h e i r st reet s up
wi t h , a nd even t h e p r i s o n e r s t h e y
t a k e , are bound i n g o l d , a n d a s f o r
rubies a n d di amonds, t h e y g o f o r t h on
h o l i d a y s a n d g a t h e r t hem by t h e
s e a s h o r e t o hang o n t h e i r c h i l d r e n ' s
c o a t s a nd s t i c k i n t h e i r caps.
H e c o n t i n u e s over s c e n e s of t h e o r i g i n a l Amer i ca, t h e
i n f i n i t e l a n d of primeval beauty, o v e r i t s l a k e s and
mount a i ns and s t r e a ms .
S MI T H (O. S. )
I don1 t know whet her t o cr edi t t h i s .
You decide. But I t h i n k w e s h a l l l l ve
f r eel y t h e r e , wi t h o u t s e r g e a n t s o r
lawyers or c o u r t i e r s , o n l y a f e w
i n d u s t r i o u s S c o t s , p e r h a p s , who i n d e e d
a r e scat t ered o v e r t h e face of t h e
whol e e a r t h . I t h i n k t h e y w i l l l ay
t h e i r t r e a s u r e s a t o u r f e e t . YOU w i l l
b e nobl emen, never s l a v e s .
(MORE
SMITH ( cont ' d)
Each man s h a l l have h i s f i g t r e e t o
l i e beneat h. They w i l l f avor you
wi t hout your havi ng t o pander , s c r a p e
o r s t e a l . The t hi ngs w e va l ue t o them
a r e worth no more t han s t r aw. The r e ' s
da nge r , b u t what i s danger compared
wi t h s e e i ng t h o s e ci t i es -- magi cal
c a p i t a l s t h a t s t r e t c h f o r mi l es and
r i s e i n t o t h e c l ouds , gl anci ng i n t h e
eveni ng l i g h t . Would t he l i k e ever
happen t o you i n England? Your
f r eedom' s a t hand, men. Make your
c hoi c e . Go back and muck about t h e
rest o f your l i v e s -- d i e l i k e c a t t l e ,
never l i f t i n g your eyes from t h e
gr ound -- o r come wi t h me -- t o t h e
Ea s t .
H e p o i n t s w e s t , t oward t h e I n d i e s . Only two men s t e p
f or war d, a young c a r p e n t e r named THOMAS EMERY and a s a i l o r ,
J EHU ROBINSON.
EMERY
Look!
. -. One of t h e I ndi a n gui de s , Tomocomo, ha s t aken t o t he woods.
w SMITH
La t him go. I coul d have t he r e s t of
you hanged a s d e s e r t e r s . But I ' d
r a t h e r go on wi t h t he s e two men t han
wi t h a f l oc k o f ducks.
31 EXT. SHORE - FOG
Smi t h c ont i nue s on wi t h a canoe, t h e r emai ni ng gui de and
t h e two Engl i s h v o l u n t e e r s .
ROBINSON
Very good, Ca pt a i n.
SMITH
Was I i mpr es s i ve? . .
The wi l de r ne s s c l o s e s ar ound them.
32 SMITH'S POVS - FOG
The count r y has a s upe r na t ur a l myst er y. Beavers cr ack
t h e i r t a i l s and s l i p beneat h t h e s ur f a c e . Fl i g h t s o f wi l d
.-
ducks pa s s over head. Were t he canoe t o c a p s i z e , t hey would
pr obabl y drown under t h e wei ght of t h e i r ar mor . Agai ns t an
Cr
a t t a c k t he y would b e d e f e n s e l e s s . But Smi t h f e e l s hi ms el f
be i ng drawn on; he does n o t know q u i t e why.
Somewhere, di ml y, h e feel s t h e r e i s s ome t hi ng wa i t i n g f o r
hi m, s ome t hi ng f i n e a nd u n s p e a k a b l e , i n f i n i t e l y more
e x a l t e d t h a n t h e p r o s p e c t of f ame and f o r t u n e t h a t d r a ws
t h e o t h e r En g l i s h o n .
EMERY
You know wher e w e a r e , Ca pt a i n?
Smi t h d o e s n o t r e p l y .
ROBINSON
What are w e doi n' t h i s f o r ?
EMERY
I ' m aft er t h e c o i n . Newport c a n t a l k ,
b u t I l a i d m y J e s u s on t h e s h e l f f o r
t h e t i m e b e i n ' . I n s t e a d I b r o u g h t a
compass a nd a r u l e , t o make a map.
Now t el l m e I d o n ' t l o o k a ' e a d a nd u s e
me b r a i n s !
They jump o u t o f t h e i r s k i n s a s Smi t h d i s c h a r g e s h i s mus ke t
i n t o a bus h a l o n g t h e s h o r e . The s h o t e c hoe s down t he
wat er way, u n t i l it f a d e s away a nd t h e bi r ds resume t h e i r
t wi t t e r i n g .
SMITH
P u t i n h e r e .
EMERY
But i t ' s t h i c k a s a j u n g l e , s i r . W e
d o n ' t know t h e t r a i l s .
ROBINSON
I t ' s a b l e e d i n ' e v i l p l a c e , e ve n i n
d a y l i g h t . You d o n ' t know what mi ght
l appen i n t h e r e , i t ' s t h a t r o t t e n
st i l l .
I g n o r i n g t hei r p r o t e s t s , Smi t h s t r a p s on h i s s i e g e h e l me t .
33 EXT. CHICKAHOMINY SHORE - SECOND LANDING
Robi nson a n d ~ r n e r y ' l o a d t h e i r mat chl ocks.
SMITH
Keep your ma t c hl oc ks lit. S i g n a l i f
- -
you see a n y t h i n g
EMERY
What if t h e y s t a r t p e l t i n ' us wi t h
a r r o ws ?
SMITH
I ma gi ne t h e y won1 t h i t you
Smi t h moves down t h e t r a i l i n t o t h e wi l d e r n e s s , accompani ed
by t h e r e ma i ni ng I n d i a n gui de . Soon h i s f r i e n d s have
v a n i s h e d f r om s i g h t .
3 4 SMITH'S POVS - BEAR, ETC.
He sees a hummi ngbi r d. He sees a b e a r f e e d i n g on a
b l u e b e r r y bus h. I t wat ches hi m f or a moment, t h e n moves
o f f .
Whi l e he i s t h u s a b s o r b e d , h i s gui de d e s e r t s hi m. Smi t h
s e e s . h i m retreating t hr ough t h e woods b u t doe s n o t p u r s u e
him. The mus i c b u i l d s a mood o f t e n s i o n . H e i s u t t e r l y
l os t , a nd he knows it.
Mocki ngbi r ds f l y down t o at t ack him when he comes t o o n e a r
t h e i r n e s t . H e p r e s s e s o n , e n t r a n c e d . No w, i n t h e
d i s t a n c e , he h e a r s a c r y .
35 POVS ON SMITH
Su s p e c t i n g h i s mates have r un i n t o t h e I n d i a n s , Smi t h t u r n s
ba c k. The c l a n k i n g of h i s ar mor i s l o u d i n t h e s t i l l ne s s
of t h e f o r e s t , h i s b r i g h t s i l k s c ons pi c uous . Gr a d u a l l y , w e
be gi n t o o b s e r v e hi m from t h e p o i n t of view o f Pamunkey
wa r r i o r s s t e a l i n g up from t h e d e p t h s of t h e f o r e s t .
36 EXT. DEEP FOREST
From o u t o f nowher e, a f l i g h t of arrows d e s c e n d s o n hi m.
T wo r i c o c h e t o f f h i s b r e a s t p l a t e . One p l u n g e s l n t o h i s
t h i g h . He p l u c k s it o u t , i n s p e c t s i t c u r i o u s l y a nd b r e a k s
i t i n h a l f . H e sl i ps down t h e face mask o f h i s b u r g o n e t
and p r e p a r e s h i s h a l b e r d , a s p e a r wi t h t h e he a d o f an axe.
A hundr e d I n d i a n s a p p e a r from t h e trees. They d o n o t c o m e
a t hi m d i r e c t l y b u t r un ar ound hi m i n circles. I n t h e i r
manner o f warfare t h e o b j e c t i s n o t t o k i l l t h e enemy so
much as t o h u mi l i a t e him i n t o s u r r e n d e r , a d i s p l a y o f
s u p e r i o r f o r c e d e mo n s t r a t i n g t h a t r e s i s t a n c e i s f u t i l e .
As t h e y g e t c l o s e r , t h e I n d i a n s r a c e i n a nd t o u c h hi m, l i k e
c h i l d r e n p l a y i n g t ag. Smi t h s h o o t s t h e b o l d e s t of t hem i n
t h e hand wi t h h i s p i s t o l . The o t h e r s s t e p ba c k, amazed a t
t h i s d e v i c e t h a t f i r e s t h u n d e r b o l t s a nd l i g h t n i n g .
Hol di ng t h e e n t i r e p a r t y a t bay, h e wa l ks backwar d t o t h e
p o i n t on t h e r i v e r b a n k wher e h e l e f t h i s comr ades .
37 EXT. BOG
Di s t r a c t e d , Smi t h s t u mb l e s i n t o a bog and q u i c k l y s i n k s up
t o h i s w a i s t . H i s t h r a s h i n g a b o u t o n l y c a u s e s hi m t o s i n k
de e pe r i n t o t h e m i r e .
The I n d i a n s c l o s e i n .
H i s hopes o f e s c a p e gone, Smi t h p u t s
t h e b l a d e o f t h e h a l b e r d t o h i s c h e s t , a s t hough h e were
p r e p a r i n g t o t a k e h i s l i f e . H e soon t h i n k s bet t er o f t h i s
c o u r s e o f a c t i o n , however -- l i f e i s t o o sweet -- and
o f f e r s hls weapon t o t h e l e a d e r o f t h e I n d i a n p a r t y wi t h
g r e a t f l o u r i s h , as t hough h e were s u r r e n d e r i n g a whol e
ar my. H e doe s n o t be g f o r mercy. He d o e s n o t e x p e c t i t .
Two b r a v e s d r a g hi m o u t of t h e bog.
OPECHANCANOUGH steps f or wa r d, a c h i e f s e v e n f e e t t a l l , so
s t a t e l y i n h l s manner t h a t Smi t h a t f i r s t t a k e s hi m f o r a
f o o l . H e r e a c he s o u t , t ouc he s Smi t h' s b e a r d and e xpl ode s
l n l a u g h t e r .
Anot he r I n d i a n r emoves Smi t h' s s h o u l d e r b a g , s m e l l s i t ,
t h e n t hr ows it away i n d i s g u s t . The E n g l i s h s t r i k e t h e s e
p e o p l e a s i n c r e d i b l y d i r t y a nd f o u l - s me l l i n g .
Sudde nl y, t o Opechancanough' s g r e a t s u r p r i s e , h i s p r i s o n e r
l e a p s t o h i s f e e t , a n d t a k i n g a s ma l l box f r om h i s p o c k e t ,
p r e s e n t s i t t o t h e c h i e f wi t h a deep bow, Opechancanough
i s wary of t h e mechani sm a t f i r s t , b u t upon i n s p e c t i n g i t
m o r e c l o s e l y , he d i s c o v e r s i n s i d e an i r o n n e e d l e whi ch
p o i n t s t h e same d i r e c t i o n whi chever way you t u r n t h e box.
When h e tries t o t o u c h t h e n e e d l e , h i s f i n g e r i s s t oppe d by
t h e g l a s s , f u r t h e r c a u s e f o r a s t o n i s h me n t . The I n d i a n s a r e
u n a c q u a i n t e d wi t h t h i s l e g a c y of t h e Ph o e n i c i a n s .
H e t u r n s t h e box u p s i d e down a n d l o o k s a t it f r o m
u n d e r n e a t h , t a k i n g care t o p r e s e r v e a n a i r o f d i g n i t y i n
t h e p r e s e n c e o f h i s sol di ers.
SMI TH
Would you mi nd f e t c h i n g my mus ke t f r om
t h e canoe?
Opechancanough wonder s a t h i s e f f r o n t e r y . H e ha s n e v e r m e t
a man l i k e t h i s . H e orders t h e p r i s o n e r ' s hands t i e d
b e h i n d h i s ba c k.
The I n d i a n s c onduc t Smi t h t hr ough t h e woods wi t h h i s arms
l a s h e d t o a p o l e . '
38 EXT. CITY OF WEROWOCOMOCO
Smi t h r ounds a bend i n t h e t r a i l and s t o p s i n h i s t r a c k s ,
a s t o n i s h e d . Be f or e hi m rises Werowocomoco, t h e s eat of t h e
Powhat an E m p i r e .
The magi cal c i t y s t a nds on a b l u f f above t h e s wi r l i n g mi s t s
o f t h e Pamunkey Ri ver, hundr eds of t r e e - ha r k hous es of
e v e r y s hape and d e s c r i p t i o n sur r ounded by a p a l i s a d e o f
immense l o g s . Beyond t h e town l i e we l l - c u l t i v a t e d f i e l d s
of beans and cor n, t obacco and squash.
Th e i n h a b i t a n t s . a r e a f a r c r y from t h e s avages t h e Engl i s h
i ma g i n e d t h e y had f ound. Smi t h i s de l i ght e d.
39 INT. POWHATAN' S PAVILION
Smi t h i s l e d i n t o a l onghouse and made t o s i t down. The
hous e i s cover ed wi t h r us h mat s l a i d over an a r c he d
framework of be nt s a p l i n g s . The s i d e s a r e t r e l l i s e d wi t h
v i n e s , l i k e a per gol a, and l a i d over wi t h s t r i p s of ba r k
t h a t can be r o l l e d up on n i c e days t o l e t i n t h e s u n and
t h e br e e z e .
Now a h o s t of war r i or s s uddenl y appear s ar ound hi m, danci ng
and s i n g i n g f r e nz l e d s ongs . They a r e i ncompar abl y more
ma j e s t i c t han t h e I ndi ans he saw a t t h e l a ndi ng. Each h a s .
a q u i v e r of ar r ows and a c l u b . Over t h e l r arms t he y w e a r
f o x a nd o t t e r s ki ns . The i r heads and s houl de r s a r e p a i n t e d
red a n d smeared wi t h be a r o i l t o make them g l i s t e n . Now
and t he n t hey s t o p and l ook a t t h e i r bewildered p r i s o n e r a s
t hough he were a monst er .
Ch i e f s and Gr eat On e s from t h e f a r - f l ung c o r n e r s of t h e
Empi r e appr oach t o i n s p e c t t h e p r i s o n e r , t h e f i r s t whi t e
man t h e y have e ve r s e e n .
Then, a l l a t once, t hey f a l l s i l e n t .
4 0 THE GREAT POWHATAN
I n t h e r o a r i n g t o r c h l i g h t a t t h e f ar end of t h e p a v i l i o n
a ppe a r s a d i g n i f i e d man o f s i x t y , t h e GREAT POWHATAN, r u l e r
of Vi r g i n i a , H i s r obe i s made of raccoon s ki ns and p a i n t e d
I n i ncompar abl e c o l o r s . Chai ns of p e a r l hang a bout h i s
neck. His head i s crowned wi t h b r i l l i a n t f e a t h e r s and
t r e s s e s o f moss.
T o h i s l e f t and r i g h t s i t t h e r anks of h i s c o u n c i l l o r s , h i s
wi ves and c o u r t o f f i c i a l s , t h e i r heads and s houl de r s
p a i n t e d r e d and pounced wi t h pol ka. d o t s of gol d- f l e c ke d
s a nd. A t h i s s i d e two young her maphr odi t es wave f a n s t o
make a br e e z e . Y e t t h e r u l e r ' s maj es t y l i e s l e s s i n h i s
a t t i r e t h a n i n t h e g r a v i t y and omni sci ence of h i s manner.
I t seems t o Smi t h t h a t he ha s s t epped o u t of h i s ever yday
world and f a l l e n i n wi t h a r a c e of fawns, s a t y r s --
myt hi c a l peopl e.
A me s s e nge r p r o s t r a t e s h i ms e l f b e f o r e t h e E mp e r o r . From a
s a t c h e l h e pr oduc e s t h e h e a r t s a n d h e a d s , hands a n d feet of
Smi t h ' s l a t e comr ades , E me r y a n d Robi ns on. The I n d i a n
Gr e a t Ones exami ne t hem wi t h c u r i o s i t y , t h e n t u r n t o l o o k
a t Smi t h. Smi t h shows no e mot i on, t hough i t a p p e a r s t h e
same f a t e now a wa i t s him.
GREAT ONE
They a r e mort al .
The n a t i v e s speak Al gonqui n; s u b t i t l e s t r a n s l a t e t h e i r
words, h e r e a n d i n t h e f u t u r e . Tomocomo, t h e g u i d e who
e s c a pe d a t t h e r i ver , act s a s Powhat an' s i n t e r p r e t e r .
Poc a hont a s l o o k s o n .
INTERPRETER ( TOMOCOMO)
Where have you come from?
H e p o i n t s up t o t h e s k y , i n q u i r i n g l y .
SMITH
T h e s ky? No. From Engl a nd -- a l a n d
t o t h e eas t .
INTERPRETER (TOMOCOMO)
Why have you come h e r e ?
- SMITH
Ex p l o r i n g . I hope you d o n ' t c o n s l d e r
i t a crlme f o r a man t o l a b o r i n h i s
v o c a t i o n . W e had a n e n c o u n t e r wi t h
t h e Spaniards, o u r enemy, and were
ove r powe r e d, p u t t o ret reat , t h e n by
e x t r e me we a t he r f o r c e d t o t h i s s h o r e .
The b o a t s had l e a k s , s o Ca p t a i n
Newpor t , my f a t h e r as y o u mi ght say,
l ef t f o r Engl and t o g e t t hem r e p a l r e d
a n d p i c k u p s u p p l i e s .
INTERPRETER (TOHOCOMO)
When do you l e a v e ?
. SMITH
Leave? I i n t e n d t o pus h on. I c a n ' t
s pe a k f o r t h e o t h e r s . The r e won' t be
a n y l e a v i n g b e f o r e t h e s p r i n g . The
s h i p s wonf t b e back till t h e n .
They ha ve set a g r e a t r e p a s t o f b r e a d a nd ve ni s on i n f r o n t
of Smi t h , f ood- e nough f o r t we nt y men. Music e n t e r s . And
now w e s t a r t j ump- c ut t i ng f r om t h e i n t e r p r e t e r t o Powhat an
.-- h i ms e l f , u n t i l we e s t a b l i s h t h e c o n c e i t t h a t Powhat an i s
communi cat i ng wi t h Smi t h, and e ve n wi t h t h e o t h e r members
o f h i s t r i be, i n En g l i s h , d i r e c t l y .
SMITH
You a r e n ' t t r y i n g t o f a t t e n m e up, a r e
you? That would be a poxey t r i c k .
INTERPRETER (TOMOCOMO)
Why have you come up t h e r i v e r i f you
s t opped onl y t o send t h e s h i p s back
f o r s uppl i e s ?
SMITH
Because i t pl e a s e d m e t o . My o f f i c i a l
mi s s i on, however, i s t o pa y my
r e s p e c t s and t o t r a de f o r f ood and
o t h e r comf or t s . I s houl d a l s o be
i n t e r e s t e d t o speak wi t h you about t h e
back s e a , over t he mount ai ns, on t h e
o t h e r side o f t he main, where 1 hear
t h e r e i s s a l t wa t e r .
INTERPRETER (TOMOCOMO)
Why s houl d w e he l p you?
SMITH
( d i r e c t l y t o Powhatan)
Don1 t you l ove your nei ghbor s ?
POWHATAN
Some. Ot her s -- how can you l ove
them? They s t e a l From you b e f o r e your
v e r y eyes. They have no shame. They
would g l a d l y burn t h i s s l i g h t r oof
above my head and k i l l m e and my
c h i l d r e n , i f t hey had t h e cour age.
But t h e y a r e cowards and fear t o
appr oach me , even t o come i n t o t he s e
woods. You would l augh t o h e a r what
t he y ar e a f r a i d o f . A c h i l d would
l a ugh t o hear i t .
( l a u g h t e r )
why s houl d w e he l p you?
SMITH
W e have ar t i cl es t h a t mi ght i n t e r e s t
you. Powers you do n o t p o s s e s s ,
u n l e s s I am mi st aken. Thi ngs w e mi ght
t e a c h you.
With a c o a l f r om t he f i r e , Smlth i g n i t e s a p i l e of
gunpowder. The I ndi a ns s t a r e a t him l i k e count r y people - -
t h i s man i s a t r u e magi cl an. Powhatan l e a ps t o hl S f e e t .
POWHATAN
My i n f e r i o r i n ye a r s and j udgment ,
pr esumi ng t o i n s t r u c t me !
(MORE
POWHATAN ( cont ' d)
Manacle h i s f eet . Gi ve him s e a water
t o d r i n k . Feed him wi t he r e d r o o t s and
a c o r n hus ks .
Smi t h s n a t c h e s up h i s swor d. H i s c a p t o r s ha ve l e f t i t
l y i n g carel essl y n e a r b y , a s t hough t h e y i magi ned i t wer e a
d e c o r a t i v e p a r t o f h i s cos t ume. Poc a hont a s l o o k s on,
over come wi t h awe.
POWHATAN
Pu t t h a t away. You l ook r i d i c u l o u s .
I c o u l d d i s a r m you wi t h t h i s s t i c k .
H e advances c o n f i d e n t l y o n t h e Engl i shman. They s t a n d
f a c i n g one a n o t h e r f o r a l ong moment. Then, wi t h inhuman
s p e e d , Powhat an r a p s hi m on t h e w r i s t , a nd Smi t h1 s sword
g o e s f l y i n g f r om h i s hand.
A b r a v e s t a n d s up a nd l evel s h i s bow a t S mi t h ' s a r mor ,
h a n g i n g f r om t h e c e i l i n g . The ar r ow s h o o t s c l e a r t hr ough
t h e st eel . Suddenl y a h o s t o f c o n j u r e r s a nd r nedl ci ne men
e n t e r s t h e c o u r t . They dance ar ound Smi t h wi t h s t r a n g e .
g e s t u r e s and f a l l t o t h e gr ound i n par oxysms o f d e l i g h t .
The Chi ef P r i e s t l o o k s d e e p i n t o Smi t h' s eyes and l et s o u t
a p i e r c i n g wa i l . H i s body i s c ove r e d wi t h coal and o i l .
H e wear s a c o r o n e t o f f e a t h e r s and weasel s k i n s . S i x
v i r g i n s a r r a n g e ci rcl es o f c or nme a l , g r a i n a nd s t i c k s
a r o u n d Smi t h' s f i g u r e . Gr e a t wooden i ' dol s l o o k down a t him
wi t h a s cowl .
WOBBLEHEAD, a l u n a t i c wi t h t h e h a b i t o f r o l l i n g h i s he a d,
g e s t u r e s t o Smi t h t h a t h i s s t o r y ha s f a i l e d t o c onvi nc e
a nyone -- h e w i l l d i e . Ot he r n a t l v e s r e a c h o u t and t ouch
h i s f a c e i n sympat hy.
4 1 POCAHONTAS - SMITH'S POVS
Smi t h sees Pocahont as . H e wonders why s h e i s h e r e . H e r
h a i r i s woven wi t h s t r a n d s of moss, h e r mout h p a i n t e d a z u r e
b l u e . She i s t h e very i mage o f e a r t h l y b e a u t y .
A t a s i g n a l from t h e Chi e f P r i e s t , t h e l onghous e f a l l s
s i l e n t . Powhatan offers a p r a y e r t o h l s d ~ v x n i t i e s , t h e n
t hr ows h i s s c e p t e r i n t h e d u s t a t Sml t h' s f e e t . The
a u d i e n c e g a s p s . Wi t hout a moment' s hesitation, h i s
a t t e n d a n t s b r i n g i n t w o l a r g e s t o n e s and s et them down i n
f r o n t o f t h e EmperorJ s t h r o n e .
A dozen brave* grab Smith, d r a g hlm t o t h e s t o n e s and l a y
h i s head a c r o s s t hem. Smi t h sees t h e end h a s come. Th e
- braves r a i s e t h e i r huge c l u b s over h i s h e a d . The t i p s a r e
s t u d d e d wi t h bear f a n g s a nd f l i n t s .
Sudde nl y, Pocahont as b r e a k s o u t of t h e crowd by h e r
f a t h e r ' s s i d e , r u n s t o Smi t h and p u t s h e r hand on h i s h e a d .
The a u d i e n c e 1s a s t o n i s h e d . She wi n d s h e r arms ar ound
S mi t h ' s s h o u l d e r s . She p r e s s e s h e r head c l o s e t o h l s . Her
h a l r s t r e a ms a c r o s s h i s f a c e .
POWHATAN
Come h e r e .
Po c a h o n t a s k n e e l s i n f r o n t o f h e r f a t h e r .
POWHATAN
Ho w can you s t a n d up f o r t h i s
c r e a t u r e ?
POCAHONTAS
What has h e d o n e t o you? He's g e n t l e .
He's n o t a f r a i d .
POWHATAN
S i l e n c e . One more word a nd I w i l l
c h i d e you. You' ve o n l y s e e n your own
pe opl e . Th i s man i s common as c l a y .
POCAHONTAS
I must b e humbl e i n my t ast es, t h e n .
POWHATAN
Hush! What da you know? A c h i l d !
POCAHONTAS
( wh i s p e r i n g now)
L e t me ha ve hi m.
POWHATAN
Why?
POCAHONTAS
Because I a s k it of you.
POWHATAN
They know you are my f a v o r i t e c h i l d .
Would you e mb a r r a s s me?
POCAHONTAS
If I have t o . H e mi ght be a s p i r i t .
POWHATAN
A s p i r i t ?
POCAHONTAS
T e l l me -- h a v e you e v e r s e e n h i s
l i k e ?
POWHATAN
H e e a t s and s l e e ps a s we do. H e came
f r om t he same pl a c e a s t h e o t h e r s .
POCAHONTAS
Why do you speak t h i s way, f a t h e r ?
Does p i t y never move you? Look a t
him. A good and nobl e man.
Powhatan s m i l e s . She i s a s t ubbor n, wi l l f u l g i r l , b u t h e r
d e f i a n c e o n l y endear s her t o him. She i s h i s f a v o r i t e
c h i l d . Except f o r Smi t h, ever yone i n t h e l onghouse knows
i t . Opechancanough, Powhatan' s mi l i t a n t b r o t h e r , g e s t u r e s
f i e r c e l y t h a t Smith shoul d be k i l l e d .
OPECHANCANOUGH
They a r e bui l di ng a f o r t r e s s ! Dr i ve
them of f now, whi l e t he y s t i l l a r e
weak, o r t he y w i l l t hi nk w e i n s t e a d
a r e weak and come i n numbers.
Par ahunt ur ge s h i s f a t h e r t o e x e r c i s e r e s t r a i n t
PARAHUNT
Donr t be h a r s h , f a t h e r . Why s houl d
you c a r e a bout them a s l ong a s t he y do
n o t harm us ? They o n l y want a l i t t l e
swampland. I t does u s no good. If
t he y t r y t o s t a y , you can d r i v e them
o f f , whenever you want . W e outnumber
them a t housand t o one.
OPECHANCANOUGH
For now. We cannot t e l l what w i l l
happen l a t e r .
POWHATAN
W e s h a l l f i n d o u t what t h e i r
i n t e n t i o n s a r e . Ther e i s no r e a s on t o
waste l i ves. I f t he y do n o t l e a v e ,
t he n we s h a l l a t t a c k .
Powhatan r a i s e s h i s hand t o s i g n a l t h a t Smi t h w i l l be
s p a r e d a n d , noddi ng a t Pocahont as, d e c l a r e s :
POWHATAN
H e can make he r beads and bel l s.
Ona by one the Indians explode wi t h l a ught e r . They r us h
f or war d and s l a p him on t he back, pummel him, make him e a t ,
s t a n d up and s i t down.
They c a r r y him ar ound on t h e i r s houl de r s as i f he were a
conquer i ng he r o, s t r i p of f h i s c l o t h e s , dangl e t h e i r
s t r a n d s of p e a r l ar ound h i s neck, heap r accoon p e l t s on h i s
s houl de r s and t h r u s t a crown of f e a t h e r s on h i s head.
Smith has no i d e a what t o make of a l l t h i s . The moment
be f or e t hey were r eady t o s l a ught e r him and now t hey t r eat
h i m l i k e t h e i r bosom f r i e n d .
H i s l ook o f p e r p l e x i t y onl y
caus es t hem t o l augh t he more. Meanwhile, Powhatan c o n f e r s
wi t h h i s a dvi s or s .
POWHATAN
W e s h a l l watch them and w a i t
OPECHANCANOUGH
For what ?
POWHATAN
For what ever comes. A dream.
4 2 SMITH AND POCAHONTAS - LATER - DAY-FOR-NIGHT
Smith comes upon Pocahont as i n t he moonl i ght . She s h i e s .
away, and s t i l l i t seems t h a t she t r u s t s him.
SMITH
Don' t b e a f r a i d . Your f a t h e r s ays
t h a t I'm t o t each you --
L
H e f ol l ows her deeper and deeper i n t o t h e f l i c k e r i n g
da r kne s s . She s a ys somet hi ng t o him i n pantomime, b u t he
does not under s t and what s he means.
SMITH
They mi ght chop o f f my head i f I
don' t put s e n s e i n you.
She swi ngs back and f o r t h on a r ope s t r u n g from a hi gh
br anch. The wind f l u t t e r s her s h o r t s k i r t , and h i s h e a r t
s ki ps a be a t .
4 3 SCENES OF INDIAN LIFE - MONTAGE
L e d by Pocahontas, , Smith walks t hr ough Werowocomoco,
mar vel i ng a t t h e I ndi ans ' way of l i f e . She 1s c ons t a nt l y
s hooi ng away h e r h o s t of si mper i ng mai ds . She poi nt s when
she wants him t o do somet hi ng: s i t down, g e t up, etc. She
dr ops a l e a f from her hand.
POCAHONTAS
Pi ck t h a t up, p l e a s e .
( h e does )
And i f I dropped it agai n?
SMITH
I would p i c k i t up agai n.
( s he s m i l e s )
Would you l i k e m e always t o do what
you wi sh, Pr i nc e s s ? -- t o f ol l ow you
i n t h e woods when you say ncomeN -- t o
chase you r ound t h e t r e e t o c a t c h you,
and t o l i e down f o r you t o t hr ow
l e a ve s on me , and t o b e gl a d when you
a r e gl ad?
POCAHONTAS
Yes!
H e i s no l onger t h e e nl i ght e ne d, c r e e d l e s s man. She i s a
be i ng s a c r e d and a p a r t . She i s s o near t h a t new wor l d
whose e x i s t e n c e he ha s onl y guessed a t , t h a t i t seems
br ought ne a r t o him.
Two young br aves l o l l i n a hammock smoking a pi pe . They
s mi l e p l e a s a n t l y a t Smi t h and r e t u r n t o t h e i r t obacco
v i s i o n s . By na t ur e t h e y a r e a s i l e n t peopl e. The s c o l d i n g
o f a crow i s l oud above t h e normal sounds of t h e v i l l a g e .
Powhatan sees Smith wi t h h i s daught er . H e does n o t scowl
a s an Engl i s h f a t h e r mi ght . I n f a c t , he f e e l s a c e r t a i n
P
amusement -- t h a t s h e shoul d l e t h e r s e l f b e amazed t h i s
way, a s though by a s t r a n g e b l r d . H e i s a man free of
j e a l ous y, a ma n of de e p under s t andi ng. Y e t whi l e he does
n o t t a ke he r i n f a t u a t i o n seriously, he s t i l l must keep a
c l o s e wat ch on Smith t o measure h i s u t i l i t y t o t h e I ndi a n
caus e.
Youngst er s p l a y b a s k e t b a l l on a s t r a n g e c o u r t sur r ounded by
p o s t s wi t h nun- l i ke f a c e s car ved i n them. Thei r e l d e r s
h u n t s t a g i n t h e gr ove s between t h e i r gar dens , costumed i n
t h e s ki ns of t h e i r p r e y s o t h a t t hey can appr oach them
q u i t e c l o s e l y .
They show Smith r a b b i t and f ox t r a c ks and s p e c u l a t e about
what t r a n s p i r e d a t t h e i r i n t e r s e c t i o n s . They c a t c h f i s h i n
t r a p s made of bound s t i c k s and b r o i l them wi t h t h e i r
veni s on on hur dl e s ' ove r out door f i r e s .
I n t h e c e n t e r of t h e cor n f i e l d s s t a nd hi gh t ower s , where
watchmen s t a nd guar d a g a i n s t t h e crowd. T h e i r c r i e s and
t h e noi s e of t h e i r r a t t l e s r i n g c ons t a nt l y t hr ough t h e a i r
I ndi a n mot her s t a k e t o t h e wat er wi t h t h e i r c h i l d r e n on
-.- t h e i r s houl de r s ; The men keep t h e i r bows wi t h them. When
t h e y a r e i n t h e wa t e r , t hey t i e t h e i r qui ve r s t o t h e i r h a i r
P
s o t h e i r hands w i l l be f r e e . They l i g h t g r e a t f i r e s a t
n i g h t , t o show t h e i r j oy.
Smi t h e xc ha nge s g r e e t i n g s wi t h Pa r a hunt and Wobbl ehead.
Except f o r Opechancanough, t h e I n d i a n s receive hi m a s a
b r o t h e r . Gr a d u a l l y he comes t o f i n d h i s En g l i s h dress
c o n s t r i c t i n g a nd, piece by pieces, h e s u b s t i t u t e s f o r i t a
d e e r s k i n r o b e and h e a d d r e s s .
Of t e n t h e y t e a s e him, mocki ng h i s En g l i s h manner s,
e s p e c i a l l y h i s swor dsmanshi p i n t h e woods t h e mor ni ng h e
was c a u g h t . They h o l d no gr udge a g a i n s t hi m. They ar e
n a k e d , f r o l i c s o me , f u l l Of good humor, al ways i n c l i n e d t o
l a u g h , whi ch t h e y do wi t h i r r esi st i bl e g r a c e .
I t i s ' a p l e a s a n t s i g h t t o see them wadi ng i n t h e r i v e r s i n
t h e c o o l o f t h e e ve ni ng, free o f care, l i v i n g c h e e r f u l l y
a n d a t t h e i r h e a r t s ' ease. They do n o t s eek more t h a n t h e y
n e e d . They s h a r e wi t h t h e i r n e i g h b o r s . They o v e r f l o w wi t h
m e r c y a nd l o v i n g ki ndne s s . They have no want s beyond what
t h e day p r o v i d e s . Li ke t h e l i l i es o f t h e f i el d, t h e y
n e i t h e r t o i l n o r s p i n , yet Solomon i n a l l h i s g l o r y w a s n o t
a r r a y e d as o n e of t h e s e .
44 TIGHT ON SMITH - "OTHER S I DE" MUSIC
I t s t r i k e s Smi t h t h a t t h e r e i s some o t h e r way of e x i s t i n g
i n t h i s wor l d, o u t s i d e t h e e t e r n a l ci rcl e o f s t r u g g l e a nd
>... . d e s i r e . L i t t l e by l i t t l e h e part s wi t h t h e i d e a s t h a t
c l o t h e t h e s o u l o f t h e Eur opean, above a l l t h e idea t h a t a
kw man a t t a i n s s t r e n g t h t h r o u g h f o r c e . H e assumes, i n s o me
me a s u r e , t h e dress and manner s of t h e I n d i a n s a s h e
d i s c o v e r s a sel f h e n e v e r knew h e had. H i s c i v i l i z e d
b r o t h e r s ha ve l o s t s ome t hi ng t h e s e I n d i a n s e n j o y l i k e t h e
v e r y a i r t h e y b r e a t h e . Why s h o u l d h e e v e r wish. t o l e a v e
t h i s Eden?
But e v e n as h e e n t e r t a i n s t h e s e t h o u g h t s , h e ha l f - knows h e
w i l l n o t honor t hem -- t h a t t h e p a s s i o n a t e c o n v i c t i o n of
t h i s aut umn a f t e r n o o n w i l l one day seem a dream, a p a s s i n g
f a n c y . F o r t h e moment, however , h e i s a free man. H e h a s
ope ne d h i s e y e s .
H e c a n f o l l o w h i s v i s i o n or betray i t .
45 EXT. CLEARING - POCAHONTAS AND SMI TH
H e s i t s wi t h Pocahont as i n a c l e a r i n g . He i s g i v i n g h e r a n
E n g l i s h l e s s o n .
Her words ha ve by now a c q u i r e d a s o f t
Al gonqui n lilt.
POCAHONTAS
You come from t h a t way? Yes? What i s
that wa y ?
SMITH
Not hi ng b u t oc e a n, f o r mont hs and
POCAHONTAS
Mont hs? What are t h e y ?
SMITH
No matter. The world i s s o l a r g e t h a t
w e o n l y see a small p a r t o f i t f r om
a n y one p l a c e . Look.
H e t r a c e s a c i r c l e i n t h e s a nd a nd p u t s a pe bbl e i n t h e
middle.
SMITH
Th i s i s t h e s p o t we ar e s t a n d i n g a n .
And t h i s i s a l l t h a t w e c a n see f r om
h e r e . Thi s i s Vi r g i n i a , and t h e s e
woods, i f you wal ked i n t hem f or
y e a r s , would be t h e world.
POWONTAS
Do you know a l l t h e world? A l l t h e
mount a i ns and rivers a n d a l l t h e
p e o p l e i n t h e wor l d?
SMITH
Th a t would be i mp o s s i b l e . You i magi ne
t h e rest o f t h e e a r t h i s l i k e t h i s
l i t t l e p a r t h e r e . But i t ' s n o t a l l
t h e same. Ther e ar e ri vers a n d
mountains and. . .
POCAHONTAS
( i n t e r r u p t i n g )
I c a n s wi m.
SMITH
Ac r o s s t h e s e rivers, no. The r e are
mount a i ns t h a t none c a n c l i m b . Be a s t s
t h a t would g u l p you down. And wi t h
g r e a t p l e a s u r e , t o o .
As t o n i s h e d , s h e r u n s o u t t o t h e e dge of t h e woods.
' - POCAHONTAS
T a l l me , wha t ' s t h e r e ? And t h e r e and
t h e r e ? T e l l me .
SMITH
Even i f I knew, i t woul d t a k e t o o l ong
t o t el l .
POCAHONTAS
Hur r y! Ther e i s t i m e . What i s beyond
t h e wor l d?
SMITH
Wat er, o n l y wat er . Di dn' t I s ay?
POCAHONTAS
A l l ar ound?
( h e nods)
Wat er, no beyond? Only wat er ?
SMITH
Look a t t h e moon. I t i s l i k e t h a t
wi t h t h e worl d. W e cannot t ouch it.
W e cannot put our hands on i t . Beyond
t h e wat er t h a t f l ows ar ound t h e wor l d,
b u t f a r away -- s o f a r t h a t it would
t a k e months and months i n a s h i p t o
r e a c h them -- t h e r e a r e i s l a n d s , some
s ma l l , o t h e r s a s l a r g e a s t h i s l a nd
he r e -- some where t he pe opl e l i v e i n
snow and ice t h e whole ye a r r ound,
o t h e r s where t hey go naked as a c a l f .
But t he y a r e s o f a r away, so
i mpos s i bl e t o r each, t h a t i t ' s u s e l e s s
t o speak o f them. They a r e l i k e t he
moon. You don' t know it y e t , b u t
t h e r e a r e a t housand ki ngs , dukes ,
emper or s and p e t t y pr i nc e s whose s t a t e
i s g r e a t e r t han your f a t h e r ' s . You' r e
a w i l d c r e a t u r e t h a t bel ongs t o a
bygone age.
POCAHONTAS
Can you keep a b i r d on your f i n g e r ?
SMITH
No.
POCAHONTAS
Can you c a t c h a f i s h wi t h your hands?
Smith shakes h i s head; no.
4 6 THE SARCOPKAGUS OF HER ANCESTORS
Pocahont as ha s br ought Smith t o a l ong, di m h u t f i l l e d wi t h
t h e bones of h e r a nc e s t or s . Skel et ons l i e i n pe r f e c t
s i l e n c e on wi cker pl a t f or ms .
SMITH
who a r e t hey?
POCAHONTAS
My a n c e s t o r s . Our f a t h o r s and
mot her s . Al l . Thei r bones a r e h e r e .
Sh e p o i n t s t o one o f t h e s k e l e t o n s .
POCAHONTAS
My mot he r . Bu t n o t s h e . Onl y h e r
body i s t u r n e d t o d u s t .
( s h e t o e s t h e gr ound)
But s h e i s away -- u p t h e r e , wher e t h e
s t a r s ar e. W e do n o t d i e , b u t g o on,
a n d on. N o o n e i s l o s t . I t a l k t o
h e r . Somet i mes I say, "Why do you
ne ve r ans wer when I speak?" And when
I t h i n k s h e i s q u i e t , t he n s h e
whi s pe r s so. Turn away.
S h e i mi t a t e s t h e v o i c e o f h e r mot he r ' s s p i r i t , a g h o s t l y
s ound l i k e t h e wi nd i n t h e p i n e s .
POCAHONTAS
She l i ves i n t h e c l ouds .
SMITH
Oh y e s ?
POCAHONTAS
Di dnl t you know? A l l t h o s e books you
r e a d , what good ar e t hey? Why do you
r e a d them? If t he y d o n ' t t e a c h you
t h i s , what do t h e y t e a c h you?
SMI TH
Ot he r t h i n g s .
POCAHONTAS
What t h i n g s ? Do t h e y s a y who made t h e
c l o u d s -- or why? Why y o u r nos e i s
h e r e , n o t t h e r e ? Why you are you, and
I am I ?
Sh e l ooks up a t t h e s k y wi t h a n open mout h, i n a s o r t o f
e c s t a s y , as t hough s h e were s e e i n g i t f o r t h e f i r s t t i m e .
POCAHONTAS
(series o f jump c u t s )
T e l l m e , J ohn -- why c a n ' t t h e wi nd
bl ow backwar ds ? Why do t h e trees l o v e
t h e s ky?
( a s t o n i s h e d )
You d o n r t know?
( a f t e r a pa us e )
Turn away.
Sh e comes up b e h i n d hi m, bends o v e r a n d wh i s p e r s :
POCAHONTAS
Are t h e peopl e i n London a s we a r e ?
Would t hey under s t and me?
SMITH
No, t h e r e ' s none l i k e you. Not one.
She l a u g h s and r uns o f f . Smi t h f ol l ows he r . The Gr e a t
Ra b b i t , t h e Parnunkeys' fierce god, l ooks on.
4 7 POCAHONTAS AND SMITH - MONTAGE
T i me p a s s e s . Fa l l c o l o r s have appear ed i n t h e t r e e s .
Pocahont as t a ke s Smith t o t h e r i v e r wi t h h e r when s h e
b a t h e s . They s w i m t o g e t h e r , naked. She gi ve s him
b r e a k f a s t out of he r own bowl and shows him h e r f a v o r i t e
trees i n t h e woods.
She si t s ent hr oned and wat ches t h e sham wars o f t h e br a ve s
as they hunt one anot her wi t h headl es s ar r ows , p r a c t i c e
f e i n t s and a t t a c k s .
Pa s s i n g h e r hands over a f i r e , s he g a t h e r s i t s l i g h t i n t o
h e r h e a r t .
She t e l l s Smith about t h e mi gr a t i ons of t h e b i r d s , shows
him wher e t o f i n d t h e t ur ke ys ' n e s t s and t h e b l u e b e r r i e s ,
what b a r k t o us e f o r r emedi es . W i l d c r e a t u r e s come
f e a r l e s s l y t o he r o u t s t r e t c h e d hand.
She l o o k s t hrough a book o f dr awi ngs of London t h a t he
br ought a l ong i n t h e b o a t .
SMITH ( O. S . )
Those a r e t he b e l l s t h a t c a l l t h e
peopl e home and t hos e a r e whi t e b i r d s
-- t he y f l y ar ound t h e s t e e p l e s .
Those a r e t he s h i p s t h a t s a i l al ong
t h e r i v e r . That i s a f l a g t h a t
streams i n t h e br e e z e . And t h a t a
g r e a t cl ock; t h e g r e a t e s t i n a l l
England.
She i s a s t oni s he d. Smith has set he r i magi nat i on on f i r e .
Each i s s t r a n g e t o t h e o t h e r , each i n t r i g u e d by t h e o t h e r ' s
d i f f e r e n c e s .
POCAHONTAS
K i l l I e ve r see t h e s e , John? I have
dreamed of them, t h e s t e e p l e s and t h e
boa t s on t h e r i v e r . W i l l I d i e be f or e
I see them?
SMITH
Pr obabl y.
( a f t e r a pause)
Now t h a t I have come he r e , I w i l l
never be a b l e t o l i v e i n t h a t worl d
a g a i n .
( cat chi ng her hand)
Do you l i k e me t o hol d your hand?
POCAHONTAS
Y e s .
She l ooks a t h e r s e l f i n a mi r r or a s s h e combs he r h a i r .
The comb i s a device t h e I ndi a ns a r e unf a mi l i a r wi t h and
q u i t e f a s c i n a t e d by.
SMITH
Do you i nt e nd t o spend t h e r e s t of
your l i f e admi r i ng your s e l f ?
POCAHONTAS
If I can!
Not hi ng s o l ove l y has ever been c r e a t e d. He l ove s h e r as
he ha s never l oved be f or e , never coul d l o v e any o t h e r
I
bei ng. H i s f or mer ambi t i ons seem as not hi ng now; p a l t r y ,
commonplace, unworthy of him. H e i s a changed man, and
t h i s change i s t he pr oof t h a t t h a t o l d a r t i f i c i a l l i f e
never was and c oul d n o t be t h e real one, i n harmony wi t h
h i s t r u e na t ur e .
4 8 OTHER ANGLES - POCAHONTAS AND SMITH - COMPASS
Pocahont as s i t s i n t h e moonl i ght t ouchi ng t h e palm of
Smi t h' s hand, s t udyi ng h i s f i n g e r s . H e r eyes a r e f i x e d o n
him wi t h a l ook he f i n d s s t r a n g e l y s o f t and f l a t t e r i n g .
She l o v e s e ve r yt hi ng. She ha s a s oul of i nnocent z e s t .
She l i s t e n s t o h i s h e a r t and l aughs wi t h d e l i g h t . She
l ooks a t h i s compass, t h e magi c l i t t l e box, u t t e r l y awed,
a s t hough s h e be l i e ve d you coul d make wi shes on i t .
POCAHONTAS
Am I dreaming?
H e sees t h a t s he i s as ki ng i n e a r n e s t , b u t when he
a t t e mpt s
t o r e p l y , s h e t ouches h i s l i p s wi t h h e r f i n g e r and a s k s :
POCAHONTAS
Why
do you not answer m e -- speak to
m e speak t o me , l i k e t h i s ?
.-
He unde r s t a nds . H e i s l e a r n i n g t o speak t h i s new l anguage
of t h e e y e s , as gr a dua l l y t h e i d e a l becomes r e a l t o hi m.
POCAHONTAS (0. S. )
Is h e a god?
What a r e t h e s e f e e l i n g s
t h a t I have?
H e has come i n t o my
h e a r t . H i s e ye s a r e l i k e a l a k e , and
I am h i s .
Smi t h gi ve s h e r l e s s o n s i n ast ronomy. H e e xpl a i ns t h e
mot i ons of t h e s u n , t he e a r t h and t h e moon. He pl a ys t h e
moon, r unni ng circles ar ound Pocahont as, who pl a ys t h e s un,
whi l e he r mai ds, t h e s t a r s , move a l ong h e s i d e them i n
s t a t e l y pr oc e s s i on. She l ove s it when he c u t s up f o r he r
f r i e n d s . He wat ches them c a vor t t hr ough t h e trees above,
l i k e s p i r i t s of t h e f o r e s t .
POCAHONTAS (0. S . )
H e has no e v i l i n h i m, and i s
b e a u t i f u l t o l ook a t . H i s words a r e
g e n t l e , a nd h i s d e s i r e i s t o be al ways
w i t h me . We s h a l l go beyond where t h e
world e nds .
One a f t e r noon, wh i l e a l one , s he f i n d s h i m c a r r yi ng l o g s .
POCAHONTAS
Res t a moment. My f a t h e r i s away t h i s
a f t e r noon. Here, I w i l l h e l p you.
SMITH
Under no ci r cums t ances ! I w i l l not
s e e you di s honor ed.
POCAHONTAS
I t would di s honor m e l e s s t han you. I
would do it more e a s i l y . I want t o .
You do n o t .
SMITH
I d o n ' t know i f t h e young men e ve r
t e l l you, b u t you' r e -- a l i t t l e p i x i e
i s what you a r e , a c t u a l l y . A s p r i t e .
H e s e t s down h i s l oa d. She put s h e r hands on her
s houl de r s , t o c ove r he r b r e a s t s , and c l o s e s h e r eyes . She
cannot b e l i e v e t h e gr a c e and beaut y t h e s e gods have.
POCAHONTAS
( embar r assed)
How pe opl e are where you l i ve , I do
not know.
( he s mi l e s a t he r )
Ar e you a pr l nc e ?
SMITH
NO.
She r o l l s h e r eyes . She does not be l i e ve h i m.
POCAHONTAS
DO you l o v e me?
SMITH
A t t h i s moment, more t han anyone i n
t h e world.
( s he s t a r e s up i n t o
t h e trees)
Why a r e you doi ng t h a t ?
POCAHONTAS
Because I do n o t deserve you. Why
shoul d men l i k e t o k i s s ?
SMITH
Let m e show you
POCAHONTAS
( a f t e r t h e y k i s s )
Now I s e e . I am a f r a i d . I am your
w i f e , i f you w i l l marry me . If n o t ,
t hen I am your s e r va nt -- whet her you
l i k e it o r n o t .
( s uddenl y al armed)
I donf t know why I t a l k t h i s way.
Sometimes I seam younger t han I am.
Smi t h st umbl es. She f r owns.
SMI TH
I l o s t my bal ance.
POCAHONTAS
Where did you l os e i t ?
Smi t h l ooks a t h e r and mar vel s .
SMITH
What a mys t er y woman i s ! Sometimes I
w i s h a l l you p r e t t y c r e a t u r e s would
d i e t h e same t i m e I do, b u t a l a s ,
y o u ' l l go on l i v i n g and havi ng a hi gh
o l d t i m e . Men w i l l be t a ki ng you i n
t h e i r arms when I ' m j u s t d u s t f o r you
t o walk on.
POCAnONTAS
You w i l l n o t deny me ?
SMITH
How coul d I?
Do you not see i t i n my
f a c e -- a l l t h a t I f e e l f o r you, t h e
l ove t h a t makes me happy? For t h i s i s
l ove , my s weet , t h a t makes our two
s o u l s one.
POCAHONTAS
Sh a l l it al ways be s o?
SMITH
Yes!
She o f f e r s h e r hand t o him a s a pl edge. H e k i s s e s i t and
p r e s s e s it a g a i n s t h i s f or e he a d. A t hr us h s i n g s i n t h e
p i n e s .
49 EXT. POWHATAN'S LODGE
Ou t s i d e h i s l odge t he Emperor s ees Smi t h' s ar mor hangi ng
f r om a t r e e . H e s hr ugs o f f h i s l ong r obes and l i g h t s h i s
p i p e . When t h e t obacco ha s t aken i t s e f f e c t , he l i es back
a nd c l o s e s h i s e ye s .
50 POWHATAN'S DREAM - STRANGE LANDSCAPE, TREE, STAIRCASE
-
Powhatan f i n d s hi msel f i n a l a nd h e has never s een b e f o r e ,
s ur r ounde d by s t r a n g e f l owe r s and anl mal s . Ranks o f c l o u d s
move t hr ough t he sky.
A man s t a n d s be f or e him and shows by a g e s t u r e t h a t he ha s
come f r om t h e west and t h a t he means t o mar r y h i s da ught e r .
They w i l l spawn a new r a c e .
Al l a t once a tree t a ke s r o o t i n f r o n t of him and be gi ns t o
grow a t a s t oni s hi ng s peed, hi ghe r and hi ghe r , u n t i l i t
r e a c h e s i n t o t h e heavens. Powhatan s t e p s t hr ough t h e ba r k
of t h e t ree. I ns i de , he di s c ove r s a wi ndi ng s t a i r c a s e . H e
c l i mbs t h e s t a i r c a s e , h i s shadow cl i mbi ng ahead o f him.
51 EXT. RI VER
The a f t e r noon i s sweet and drowsy. Smith and Pocahont as
l i e i n a peacef ul s p o t a l ong t he r i v e r . They have managed
t o e l u d e h e r r e t i n u e .
POCAHONTAS
No one knows where we a r e . You can
escape if you want t o . They' d never
catch you. GO!
' \ ~- ~
Smi t h s hakes h i s head. H e does n o t wish t o
POCAHONTAS
I was t e s t i n g you!
Yi e l d i n g t o a s w i f t i mpul s e , Smi t h p u t s h i s arms a r o u n d
h e r , p r e s s e s h e r t o hi m a nd k i s s e s h e r f o r e h e a d .
Then he
i s f r i g h t e n e d -- when s h e goe s s o p a l e , c l o s i n g h e r eyes,
s o t h a t t h e l o n g , d a r k l a s h e s l i e st i l l on h e r c he e ks ; when
s h e s i g h s wr t h a ns we r i ng l o v e . H e r u n s h i s hand o v e r h e r
young s h o u l d e r s , wonder i ng how much s h e knows. She
u n h i t c h e s h e r a pr on. She i s wi t h o u t shame. Smi t h h a s
n e v e r s e e n a n y t h i n g so b e a u t i f u l . She s i n k s t o h e r kne e s
a nd draws hi m g e n t l y down beside h e r .
SMITH
Do you know what y o u ' r e doi ng?
POCAHONTAS
Do you?
( he nods )
Then why a r e you a f r a i d ?
SMITH
Af r a i d ?
They ar e s i l e n t f o r a t i m e . Then s h e g e t s back up a nd
P -- s l i ps h e r a p r o n o n , s mi l i n g a t h i m my s t e r i o u s l y .
She t a k e s h i s . hand, p u t s i t t o h e r h e a r t , h e r f o r e h e a d .
She r u b s h e r nos e a g a i n s t h i s , t h e n q u i e t l y s l i p s o f f i n t o
t h e p i n e s . At l a s t t h e y c l o s e a r ound h e r , and s h e i s gone.
Smi t h feel s happy and t r i umpha nt . S h i v e r s r un t hr ough h i s
limbs a nd a vague alarm. Th i s i s t h e be gi nni ng o f -- what ?
H e wa l ks a r o u n d t o g e t on terms wi t h t h e s e new s e n s a t i o n s .
To h o l d i n h i s f i n g e r s s uch a w i l d f l o we r , t o p u t i t t o h i s
l i p s a nd feel i t tremble wi t h d e l i g h t a g a i n s t them! What
i n t o x i c a t i o n and -- embar r as s ment ! What t o do wi t h h e r --
how t o meet h e r n e x t t i me?
Re t u r n i n g t hr ough t h e woods, h e sees h i s gua r ds wavi ng t o
hi m. The Emperor h a s summoned hi m.
5 2 I NT . POWHATAN'S LODGE - SMOKE - CG PARAKEET
Smi t h e n t e r s Powhat an' s l odge . H e unde r s t a nds Al gonqui n
now a n d d o e s n o t h a v e t o wa i t f o r an i n t e r p r e t a t i o n , t hough
h e repl i es t o Powhat an i n En g l i s h .
POWHATAN
I t h i n k y o u r p e o p l e come t o t a k e o u r
l and away.
Smith ha s come t o f e e l a bond wi t h Powhat an' s peopl e t h a t
he d i d not f e e l b e f o r e .
He wants t o speak hone s t l y.
Because ha c a nnot , he keeps s i l e n t .
POWHATAN
Go back t o them and t e l l them what you
have s e e n . You can s a y t h a t we a r e
weak, t h a t w e l i e around i n o u r
hammocks t h e whole day l ong and can
be t aken wi t h your musket s. O r you
can s a y t h a t , though w e l i v e i n peace,
w e yet a r e s t r ong, t h a t you have s een
a n Empire a l l of whose s ons a nd
da ught e r s , nephews and ni e c e s a r e
r eady t o d i e t o pr e s e r ve t h e i r l a nd,
a t t h e i r Ki ng' s command. You can s a y
t h a t h i s kingdom i s ver y g r e a t , t h a t
i t e xt e nds f o r many weeks1 j our ney,
t h a t h e ha s gr een f i el ds and g r e a t
s t or e hous e s of cor n. What you e l l
them w i l l e i t h e r di s cour age them o r
ar ous e t h e i r l u s t . T e l l them what you
know.
SMITH
I s h a l l .
POWKATAN
You Ta s s a nt a s s e s as k what l i e s t o t h e
west, beyond t h e mount ai ns and t h e
f a l l s . Be l i e ve me, t h e r e i s no
s a l t wa t e r . The r i v e r s dwi ndl e i n t o
s t r eams . The h i l l s rise up i n
f o r e s t s . But t h e r e i s no sea t o t h e
west, o n l y t h e l a nd s t r e t c h i n g away
f o r e v e r i n g r e a t meadows, where
wander er s f ol l ow t he buf f a l o he r ds .
SMITH
Has anyone gone s o f a r he c a n s a y
t h a t ?
POWKATAN
Remember t h a t whi l e you a r e a
Ta s s a nt a s s e , and t h e son of your King,
you a r e my s on, t oo. W e must n o t
spend o u r l i v e s f i g h t i n g one a not he r .
Ther e i s no s e ns e i n t a ki ng by f or c e
what .you may have f o r l ove o r
d e s t r o y i n g t hos e who pr ovi de you wi t h
f ood. What can you get by war when w e
can h i d e our s t o r e s and f l y t o t h e
woods? You would f ami sh f o r wronging
u s , your f r i e n d s .
(MORE)
POWHATAN (cont ' d)
Do you t h i n k I am so f ool i s h n o t t o
know t h a t it i s b e t t e r t o e a t good
meat, t o s l e e p peacef ul l y wi t h my
women and c h i l d r e n , t o l augh and b e
merry wi t h you, t o have copper and
ha t c he t s and o t h e r goods, t han t o be
f or ced t o f l e e , t o l i e c ol d i n t h e
woods, t o feed on acor ns and r o o t s and
be hunt ed by you s o t h a t I can n e i t h e r
r e s t , nor eat nor s l eep? What I s a y
i s t r u e . The e a r t h hear s me . The s e a
hear s me. S h a l l I l i e ?
SMITH
I t r u s t n o t .
POWHATAN
My c o u n c i l l o r s t e l l m e t h a t I s houl d
have you k i l l e d . You have ga i ne d a
knowledge o f our arms and our s t r o n g
pl a c e s . But my daught er a s s u r e s t h a t
you a r e a good man, and I do n o t l i k e
t o k i l l . Men s houl d l i v e i n pe a c e .
What need i s t h e r e t o ha t e and k i l l
and s t e a l ? We t a ke what we need. W e
as k no more. W e bel ong t o t h i s e a r t h .
W e were made when t h i s e a r t h was made.
Why do you bot he r us ? What ki nd o f
peopl e t o you t hi nk w e a r e ? Le t t h e
s t r eams of l i f e f l ow i n peace. L e t us
change t h i s e a r t h and make it bet t er.
id1 t h e pe opl e i n t h e world ought t o
l ove i t and speak w e l l of i t , al ways .
Then it w i l l l a s t f or e ve r , and t h e
t r e e s w i l l never c e a s e t o bloom.
SMITH
I hope, a s you do, f o r q u i e t da ys and
l ong l i f e . I be l i e ve we can l i v e i n
peace.
POWHATAN
Then l e a v e us. You w i l l t ur n t h e
wor l d u p s i d e down.
Looking f o r what
you mi ght have f ound a t home. Go back
where you came from. We are s t r o n g e r
t han you. W e s h a l l de s t r oy you i f you
don1 t . I w i l l s end you back wi t h a
suppl y of f ood. We gi ve you t h i s and
no more.
Powhatan dips h i s hands i n as hes and washes them
t hor oughl y, t hen r i n s e s them i n anot her bowl and dries them
on a bunch of f e a t h e r s .
An a t t e n d a n t s t e p s f or wa r d a nd g i v e s hi m a p i p e . H e
i n h a l e s d e e p l y and p a s s e s it t o Smi t h.
POWHATAN
I wonder who you a r e , Smi t h. I l o o k
a t you and I t h i n k , " The r e ' s not hi ng
i l l c a n dwe l l i n hi m. " I hope t h e
t i m e w i l l ne ve r come when I s h a l l s a y ,
I s houl d have k i l l e d t h i s f i n e man.
Can I t r u s t you more now t h a n when you
f i r s t came t o t h i s c i t y ?
Smi t h smi l es a t Powhat an, more t h a n a n a dmi r e r -- i n awe of
hi m.
SMITH
I b e l i e v e s o . I b e l i e v e , anyway, t h a t
w e c a n work o u t o u r d i f f e r e n c e s . I
w i l l d o a l l t h a t I c a n t o see t h a t i t
1s done.
POWUATAN
( noddi ng)
Be f o r e you leave, I of f er you t h i s
v a n i t y of mi ne. I t w a s b r o u g h t t o me
f r om a l a n d t o t h e Sout h.
I n d i a n d a n c e r s e n t e r , s i n g i n g wi l d me l odi e s , a n d p r e s e n t
h i m wi t h a b r i l l i a n t Ca r o l i n a p a r a k e e t .
53 EXT. POWHATAN' S LODGE
The I n d i a n s bi d Smi t h a f o n d farewell. They h a v e g a i n e d a
d e e p respect f o r hi m, a nd he f o r t hem. Opechancanough
a l o n e d o e s n o t s m i l e .
5 4 EXT. WOODS - SMITH AND POCAHONTAS - LATER
Smi t h wa l k s a l o n g wi t h h i s a r m o v e r Pocahont as ' s h o u l d e r .
POCAHONTAS
I i magi ned you woul d ne ve r l e a v e u s .
I had no , r i g h t t o t h i n k so. Ther e a r e
many t h i n g s I want t o s a y . What i s
g o i n g t o happen?
SMITH
What do you mean?
POCAHONTAS
YOU won' t f o r g e t me?
H e l o o k s a t h e r . It s t r i k e s hi m t h a t h e h a s f a l l e n i n love
wi t h a n e a r c h i l d .
SMITH
You t r u s t me?
POCAHONTAS
Yes -- I do. Think o f m e a l one , days
a nd days, i n t h e wood, wai t i ng f o r
you, a l l t h e t i me s a yi ng, "Come
qui c kl y, John. How l o n g you are. " 0
John, how happy w a s h a l l be!
SMITH
I must go. The f a vor of ki ngs i s a
s l i p p e r y boon. They wi t hdraw i t a s
l i g h t l y as t he y g r a n t it.
POCAHONTAS
I w i l l n o t be t r oubl e d. As l i t t l e a s
t h e sky. I w i l l watch f o r your
s i g n a l .
She wal ks qui ckl y o f f .
55 NEW ANGLE
t
Smi t h p i c k s up h i s armor and s l i n g s it over h i s s houl de r .
The br a ve s who w i l l conduct him t o t h e f o r t t l e a blindfold
ar ound h i s eyes .
Pocahont as wat ches him go, c o n f i d e n t t hi ngs w i l l work o u t
f o r t h e best. When h e r f a t h e r comes upon h e r , s he g i v e s
him a n uneven l ook.
POWHATAN
I want you t o pr omi se me one t hi ng.
Tha t you w i l l put your peopl e be f or e
a l l else i n t h e wor l d -- even your own
h e a r t .
She nods .
56 EXT. A PATH THROUGH THE WOODS
Bl i ndf ol de d, ~ mi t h ' f o l l o ws t h e car avan of I ndi ans t hr ough
t he woods.
57 EXT. JAMESTOWN FORT
Smi t h wal ks down t h e r oad t o t h e Jarnestown f o r t . It i s
just after s unr s s a . The Engl i s h s e n t r i e s a r e f a s t a s l e e p .
The I n d i a n s s t o p a hundred feet away. Smith l ocks up. The
1.
.- g a t e s a r e de c or a t e d wi t h t h e s k u l l s of d e e r and bear. What
w i l l s t e p p i n g back i n t o t h i s o t h e r worl d mean? W i l l he
f o r g e t ? I t seems he goes f or war d by a consci ous act of
will.
A s e n t r y wakes u p . H e ga s ps a t t h e I n d i a n c a r a v a n , t h e n a t
Smi t h h i ms e l f -- t h i s man whom t h e y h a d gi ve n up f o r dead,
t o d i s c o v e r hi m s o u t t e r l y changed.
SENTRY
Ca p t a i n Smi t h !
H e g o e s r u n n i n g t hr ough t h e c o l o n y t o announce Smi t h ' s
a r r i va l .
SECOND SENTRY
The Sa va ge s w i l l have t o s t o p h e r e ,
Ca p t a i n . Reasons of s e c u r i t y .
( u n d e r h i s b r e a t h )
W e don' t want ' e m t o know we ' re
mo r t a l .
Smi t h g e s t u r e s t o t h e I n d i a n s t h a t t h e y s h o u l d s e t t h e i r
g i f t s down. They ar e o n l y t o o g l a d t o leave.
58 NEW ANGLE - SMITH ASTONISHED AT THE CHANGE
Wi t hi n t h e wa l l s of t h e f o r t e v e r y t h i n g i s t o p s y - t u r v y .
Al ong t h e s t r eet of s a i l c l o t h r o o f s t h e hous e s are f a l l i n g
down, t h e few t h a t ha ve been c ompl e t e d. The men l i m p o u t
c - of t h e i r t e n t s a n d d u g o u t s , p a l e wi t h r i c k e t s and
d y s e n t e r y , l l k e t h e inmates of a c o n c e n t r a t i o n camp.
Smi t h f i n d s WILF, t h e c a b i n boy, dr a wi ng wa t e r . H i s f eet
a r e d u s t y a nd b l e e d i n g . H e ha s bowed l egs a n d s h a r p , u g l y
e y e s . Y e t s t i l l h e i s a s s wagger i ng a b o y a s ever s t o o d
f o u r f eet , s i x i n c h e s t a l l . H e o f f e r s Smi t h a d r i n k .
WILF
You h a v e t o q u a f f i t now. Somebody
el se wa nt s t h e t umbl e r .
SMITH
What f s happened he r e ? Where i s
Ca p t a i n Newport ?
WILF
Gone ba c k t o Engl and, si r , wi t h a l l
t h r e e s h i p s -- t o g e t s u p p l i e s , new
men. He l e f t Ca pt a i n Ra t c l i f f e i n h i s
pl ace.
SMITH
And R a t c l i f f e , w h e r e i s he?
WILF
(evasively)
Why -- h e ' s gone, s i r . W e e x p e c t h e
p e r i s h e d . Nobody knows.
(MORE
WILF ( cont f d)
I mean, t h e r e ' s talk about t h i s and
t h a t , b u t nobody knows, i n t he pr ope r
sense of t h e word. One day he j u s t
vani s hed l i k e a ghos t !
I l l - l o o k i n g f a c e s j u t o u t of door s , r e g i s t e r amazement,
t he n wi t hdraw i n t o t h e dar knes s . The d i r t y j uve ni l e wi t h
t h e manners o f a man begi ns t o whi sper , wor r i e d he w i l l be
over hear d.
WILF
Si nce you l e f t hal f of ' em has d i e d .
Crops a l l f a i l e d . Seeds won' t t a k e
r o o t . We g o t not hi ng t o e a t . Thi s
morning t h e r e ' s anot her f our gone.
You f i n d them l a yi ng o u t on t h e
door s t e p, dogs s n i f f i n g them, t h e ones
t he y s t i l l hadn' t s e t t o e a t i n 1 . I
grew up i n Br i ght on, b u t I swear
be f or e Al mi ght y God, I never s e e n t h e
l i k e . The gangs , t h e y b u l l y ar ound
and s t e a l f r om t he s t o r e , gamble and
keep us a l l on s h o r t r a t i o n s wh i l s t
t he y have t h e i r fill.
( over s uch s cenes )
They don1 t f o o l me . They c uf f m e
about b u t I j u s t l ooks a t them c ol d-
l i k e , you see. They know what I ' m
t hi nki ng. Hoho! Don' t t hey i magi ne I
g o t my own ways of de a l i ng wi t h
t hi ngs ? No, oh no, by no means!
H e s l y l y removes a k n i f e from t he crown of h i s h a t .
WILF
Don' t f r et your e y e l i d s on t h a t score!
Th e y bowl whi l e t h e houses f a l l down.
Nobody pays a t t e n t i o n o r obeys t h e
o t h e r ' s commands! B e a char mer , d o n ' t
n o i s e i t a bout I t ol d you so.
Suddenl y, Wi ngf i el d wal ks up and c uf f s t h e boy a s i de .
' WINGFIELD
Winsome boy. I f e e l about him a s
t hough he w e r e my own son.
H e s t r u t s ar ound l i k e a Japanese swordsman, a l l gl ower and
b l u s t e r , backed by s i x o t h e r p i r a t e s armed wi t h swords a n d
mat chl ocks .
WINGFIELD
You l ook q u i t e w e l l , Smi t h. Been
enj oyi ng y o u r s e l f , have you? Been
enj oyi ng your s e l f mi ght i l y, I e x p e c t
From h i s r egi men of v e n i s o n a n d corn, Smi t h l o o k s
s h o c k i n g l y h e a l t h y next t o t h e o t h e r Engl i s hmen, e ve n
Wi n g f i e l d and h i s henchmen, who have fared b e t t e r t h a n t h e
r est .
WINGFIELD
You were s e n t t o rel i eve our
s i t u a t i o n , n o t t o p l e a s u r e y o u r s e l f .
We h e r e have s u f f e r e d .
( noddi ng a t W i l f )
Been t e l l i n g you a l o t o f s t o r i e s , h a s
he?
SMITH
As a good c i t i z e n , I i g n o r e t h e
s t o r i e s whi ch b r i n g o f f i c i a l d o m i n t o
d i s r e p u t e .
WINGFIELD
No s pe e c he s , Smi t h. Thi ngs a r e
d i f f e r e n t now. W e c a n ' t g a t away w i t h
cheek. Al l ow c he e k, and we s h a l l h a v e
c ha os . I wear a medal now. I am t h e
P r e s i d e n t . You were s t r i p p e d o f y o u r
c a p t a i n c y .
SMITH
May I know why?
WINGFIELD
Someday, y e s , b u t l et ' s n o t t a l k a b o u t
t h a t now. As a m a t t e r o f f a c t , y o u ' d
b e c o n s i d e r a b l y h a p p i e r i f you d i d n ' t
make my j ob more t i r i n g t h a n it
already i s . You s h o r t l y w i l l be
a r r e s t e d i n t h e name of H i s Lor ds hi p,
Ki ng James, a nd c o n f i n e d t o t h e
fort ress.
SMITH
What i s t h e c h a r g e a g a i n s t me , i f I
may know?
WINGFIELD
Caused t h e d e a t h o f t wo good
Engl i shmen. Then you d e s e r t e d .
Fur t her mor e, you ha ve a l l owe d t h e
Na t u r a l s t o see t h e s t a t e o f o u r
e x t r e mi t y .
SMITH
Ar e you q u a l i f i e d t o p a s s j udgment o n
me?
WINGFIELD
Th a t n e e d n ' t c onc e r n you a t p r e s e n t ,
P i t y you were not h e r e t o defend
y o u r s e l f i n p e r s o n a t t h e t r i a l . I
as s ume y o u r g u i l t made you af r ai d t o
r e t u r n .
He wai t s t o see if Smi t h w i l l b e pr ovoked i n t o d e f i a n c e ,
b u t Smi t h o n l y stares a t him.
SMITH
My t r i a l ?
WINGFIELD
You were t r i ed d u r i n g t h e p e r i o d of
y o u r d e s e r t i o n .
SMITH
T h i s does n o t amuse me .
WINGFIELD
Then you w i l l be e ve n l ess amused t o
l e a r n t h a t you were condemned t o
d e a t h .
Cr a z y wi t h hunge r , t h e En g l i s h f a l l madl y on Powhat an' s
g i f t s , c h e e r i n g Smi t h as a h e r o . H i s p a r a k e e t f l i es away.
WINGFIELD
What d i d you offer t hem i n r e t u r n for
t h e s e b a t s ' t a i l s and what -have-you?
H e g e s t u r e s c ont e mpt uous l y a t Powhat an' s g i f t s , wh i l e h i s
c r o n i e s b u l l y t h e o t h e r s o u t of t h e way t o make s u r e t h e y
get t h e lion's share.
WINGFIELD
No c t u r n a l c r e a t u r e s !
H e s t i c k s h i s sword i n t o a r a c c oon and t hr ows i t t o a man
t o whom he owes a favor.
' WINGFIELD
( t o h i s henchmen)
Se nd t hem a dozen of t h o s e red t o p
h a t s . And t h e bed i n whi ch Ma s t e r
Godf r e y died, s i n c e none w i l l sleep i n
i t . And Ne l s on' s c u r . The ever s o
poxey one. They haven't one of those,
I s uppos e .
H e p o i n t s t o a s i c k l y gr eyhound. Ar g a l l s t e p s f or wa r d and
s p e a k s d i r e c t l y t o Smi t h, i g n o r i n g Wi n q f i e l d .
ARGALL
H e keeps t h e b e s t food f o r hi ms e l f ,
Capt ai n, and gi vea us r o t t e n cor n.
Being an a t h e i s t , h e has no B i b l e ,
which you can go down t h e r e r i g h t now
and pr ove . You' 11 f i n d he a l s o has a
Spani sh g r m a r , f o r r eas ons which are
u n c l e a r , e xc e pt per haps t o a Pa p i s t
s c h o l a r .
Smi t h s t u d i e s t h e mot l ey crew. H e ha s j u s t come from
pe opl e who as ked f o r not hi ng and gave away e ve r yt hi ng i n
r e t u r n . H e feels a d i s g u s t w i t h t h e i r s e l f i s h n e s s , gr eed
and compl ai nt . H e sees i n them t h e pe r s on he was f o u r
months ago and must never al l ow hi ms el f t o be agaan.
ARGRLL
H e was pl a nni ng t o t a ke t h e b o a t and
l e a v e u s he r e whi l e he r an o f f t o
Newfoundland. H i s name i s n o t even
Wi ngf i el d. Woodson -- Woodson' s t he
name. Charming. Le f t Engl and under a
c l oud o f d i s g r a c e , he d i d . A mas t er
f o r g e r . Charming i n t h e ext r eme.
Ever s o charmi ng.
WINGFIELD
Se i z e them. Anyone impeding t h e
puni shment of t h e s e r ogues w i l l be
d e a l t wi t h ha r s hl y.
Wi ngf i el d' s men move t o a r r e s t Smith and Ar ga l l . Smi t h
draws h i s sword. They chal l enge him wi t h t h e i r s , b u t t he y
are no mat ch, even i n numbers. With d a z z l i n g s k i l l , he
d i s p a t c h e s t h r e e o f them. As t he crowd sees h i s s t r e n g t h
and t h e chance t o t u r n t h e t i d e o f t h i n g s a t t h e f o r t , t he y
j o i n him. Wi ngf i el d' s man a r e soon over power ed.
WINGFIELD
You want t o g e t r i d of me , eh? G i v e
m e t h e o l d heave-ho? Let me t el l you,
t h e r e ' s n o t a squar e- head he r e man
enough t o g e t away wi t h t h a t . Don' t
s t ar t a nyt hi ng you c a n ' t f i n i s h .
W i l l
you a l l be wi t ne s s e s t o t h i s ? St op
now o r I s h a l l r e p o r t t h i s mut i ny t o
London. I t coul d be ugl y.
ARGAtL
Qu i t e ugl y.
A sword t i p e xpl ode s t hr ough Wi ngf i el d' s ar mor .
Ar ga l l ha s
come up behi nd him and r un him t hr ough.
Smith s t a r e s a t
Ar g a l l , s t unned by t h i s naked a c t of mur der .
The o t h e r s seem accust omed t o such goi ngs - on and g r a t e f u l
f o r t h e . e nt e r t a i nme nt .
FIRST MAN
Dead a s a ' e r r i n g . Ser ve ' i m r i g h t .
Pu t t i n ' on ai r s!
Wi t h a f l i c k of his swor d, Smith sends t h e murder weapon
f l y i n g from Ar g a l l ' s hands.
ARGALL
I was onl y t r y i n g t o he l p you.
SMITH
A r r e s t t h i s man
A man named Small s t e p s f or war d.
SMALL
I can r a t i f y what M r . Ar gal l s a i d .
( t o e i n g Wi ngf i el d)
H e r e f us e d t o gi ve me a chi cken o r
r e t u r n t h e wh i s t l e I gave him i n
payment f o r i t . I n f a c t , one mor ni ng
whi l e c onni vi ng wi t h h i s f r i e n d Mr .
Ackley h e r e , he even r e f us e d t o give
me a s poonf ul of be e r . Were w e i n
Engl and, I s houl d be ashamed t o l e t my
s e r va nt keep company wi t h such
f e l l ows .
ACKLEY
You never had a s e r va nt . You w e r e
one. I a t e a s i n g l e chi cken, and t h a t
when I was v e r y ill. S m l l h e r e \ as
e a t e n s i x , a number o f which he c oul d
n o t be t r o u b l e d t o cook. For myself I
can pr ove t h a t he begged i n I r e l a n d
l i k e a r ogue, wi t hout a l i c e n s e . I
know h i s games. I know t h e c r i mi n a l
mind.
Ar g a l l steps f or war d, swal l owi ng h i s p r i d e .
ARGALL
I s ay i t ' s Capt ai n Smi t h s houl d l e a d
U S .
The men r a i s e a c he e r o f agreement . Af t e r a l l , he has
s aved them from s t a r v a t i o n . Ackley s t r i ps t h e Pr e s i d e n t ' s
medal l i on o f f Wi ngf i el d and p u t s i t ove r Sml t h' s neck.
Wi t h a wave of h i s hand, Smith r e s c i nds t h e o r d e r f o r
Ar g a l l ' s a r r e s t .
SMITH
If 1 lead You, y o u ' l l l i s t e n t o me a n d
respect my orders. The ge nt l e me n w i l l
be o b l i g e d t o bend t h e i r ba c ks a nd
obe y wi t h t h e rest . I havenf t had t h e
o p p o r t u n i t y t o l o o k i n t o i t , b u t i t
seems t h a t qui t e a f e w o f you i ma gi ne
t h a t y o u ' r e s t i l l i n London. 1'11 be
a worse t y r a n t t h a n t h i s man was.
( noddi ng a t Wi n g f i e l d )
So make up y o u r mi nds . W e a r e n o t
g o i n g t o ha ve a n e a s y t i m e wi t h t h e
Na t u r a l s . W e are s u p e r i o r t o t hem i n
ar ms b u t n o t i n number s , n o r i n
c h a r a c t e r . They are a formidable
enemy. Unl e s s we leave by s p r i n g ,
t h e y w i l l a t t a c k u s . If you d o n ' t p u t
t h i n g s i n o r d e r , t h e y w i l l see how
g r e a t o u r need i s a n d be tempted t o
a t t a c k b e f o r e t h e n . I t appears w e
mi g h t have p i c k e d a poxey spot t o
l a n d . And you t h o u g h t you' d come t o
t h e l a n d o f Cockai gne! But t h a t ' s a
matter 1/11 t a k e u p wi t h Ca pt a i n
Newpor t when h e r e t u r n s . Meanwhi l e,
i t w i l l be a l l w e c a n d o t o s u r v i v e .
Thes e g i f t s w i l l l a s t a mont h. And
s oon t h e snows w i l l f l y . But wi t h a
u n i t e d w i l l w e c a n h o l d o u t , a nd
s h a l l . What say y o u , t h e n ?
The men rai se a g r e a t c h e e r . Smi t h f i n d s h i ms e l f beami ng
wi t h p l e a s u r e a t t h e i r a p p r o b a t i o n . They s n a t c h up h i s
g i f t s a nd carry hi m o f f on t h e i r s h o u l d e r s .
59 INT. PRESIDENT'S OFFICE
S mi t h e n t e r s t h e offi ce reserved f o r t h e P r e s i d e n t of t h e
Col ony. Th e r e i s a b u s t of Ki ng J ames , a c r u c i f i x , a g l o b e
a nd ast rol abe -- s e r i o u s b a d g e s of o f f i c e a nd En g l i s h
r e f i n e me n t i n p r i mi t i v e J ames t own. He caresses t hem wi t h
h i s h a n d . Sudde nl y h e l a u g h s o u t l oud. So f o r t u n e h a s
t o s s e d hi m up f o r a wh i l e ! Ho w l o n g w i l l h e ri de t h e wave?
60 EXT. JAMESTOWN - MONTAGE, INC POCAHONTAS' POV
Smi t h wa l ks a r ound t h e f o r t , s u p e r v i s i n g i t s r e s t o r a t i o n .
N e w b u i l d i n g s go up: a b r i c k wo r k s , a p o t t e r ' s s h e d a nd a
p i t s a w . H e i s n o t a bove r o l l i n g up h i s own sleeves t o
h e l p i n t h e woi k.
-
The men q u a r r e l ove r e v e r y t h i n g : b u i l d i n g a w a l l , p o r t i o n s
.. o f f o o d , t h e dat e o f t h e y e a r .
( These s c e n e s w i l l be i mpr ovi s ed. )
Smith s e t t l e a t h e i r
d i s p u t e s i n a wise, c l e ve r way.
H i s q u a l i t i e s of
l e a d e r s h i p make a l l t h e men l ook up t o him.
H e c ont i nue s
t o wear h i s unconvent i onal war dr obe -- f e a t h e r headdr es s ,
bucks ki ns , w a r p a i n t .
He even i ns i s t s on s l e e pi ng o u t s i d e ,
on t he gr ound, as he d i d at werowocomoco. The r o u t i n e of
h i s l i f e , h i s former t hought s and ambi t i ons , seem f u t i l e
now, a n d a r t i f i c i a l . What s h a l l he do?
61 NEW ANGLE
Smi t h i s j oki ng w i t h Be n , Ackl ey and some o f t h e o t h e r men
when a f e l l o w wi t h a s e r i o u s l ook i n t e r r u p t s him.
FIRST MAN
What about t h e gol d, Capt ai n?
SMITH
What do you mean?
FIRST MAN
Have you t ol d us e ve r yt hi ng? I mean,
di d you see anyt hi ng t h a t r a i s e d your
hopes of a b e t t e r l i f e ?
SMITH
Gol d, you mean? What do you care
about gol d? You' r e on t h e ver ge of
s t a r v i n g . Thi s i s t h e most va l ua bl e
t h i n g I br ought you back.
H e h o l d s o u t a handf ul of cor n s e e d.
FIRST MAN
Who gave i t t o you?
SMI TH
A f r i e n d .
SECOND MAN
What about t h e s o i l , Capt ai n? Is i t
good as we t hought ?
SMITH
( avoi di ng t h e i r e ye s )
Not r e a l l y . I n f a c t , If v e r a r e l y seen
so i l l - a ppe a r i ng a pe s t hol e . Look
a bout you. Ever yt hi ng' s gone t o
swamp, wi t h wat er s t a ndi ng i n l a k e s
and pool s , s o the ground gi ve s way
beneat h your f e e t . I s us pe c t t h e r e ' s
more puddl es t han d r y l a nd, pr oduci ng
more mosqui t oes i n t h e i r s l i me t han
t h e r e a r e beads i n a nunnery -- and
each mosqui t o a s hungr y a s a p r i e s t !
(MORE 1
SMITH ( cont l d)
None b u t a savage coul d i n h a b i t t h e
p l a c e , unl es s he was a bl oody f ool o r
some o t h e r manner of ass. But west of
h e r e , t owards t he mount ai n, o r s out h --
that i s somet hi ng else.
I t s t i l l i s n o t clear what l i n e Smi t h w i l l be a b l e t o walk
between h i s d u t y t o t h e Engl i sh and h i s sympathy f o r t h e
I n d i a n s . H e l ooks o f f toward t he woods. The pi ne s sway
back and f o r t h i n e c s t a s y.
62 EXT. CHICKRHOMINY RI VER - SHALLOP
Smith r uns a f l a g up i n t o t he r i ggi ng o f t h e s h a l l o p and
pr e pa r e s t o set s a i l . The Engl i sh wonder a t t h i s a c t i o n .
ARGALL
Where are you going?
SMITH
( avoi di ng t h e i r eyes)
Where you would not d a r e t o f ol l ow.
ARGALL
Donf t you t hi nk you s houl d t a k e some
men wi t h you? I t would be danger ous
s a i l i n g by your s e l f .
SMI TH
Le t them come, i f t hey p l e a s e .
Ackl ey s peaks wi t h Smith pr i va t e l y.
ACKLEY
Watch them, si r . They are a danger ous
l o t .
SMITH
A r e you a l l r i g h t ?
ACKLEY
To t e l l t h e t r u t h , I d o n ' t know how
much l o n g e r I can l a s t , Ca pt a i n. I
s e e n t o o much.
SMITH
You' l l l a s t , my f r i e n d . Have hope.
Smith boar ds t h e s h a l l o p and, wi t h a squad of English
s o l d i e r s , sets o u t up t h e r i v e r .
. .,
SMI TH
Po s t a s e n t r y a t t h e p o i n t . Tha rest
o f you wa i t f o r m e he r e . If t he y come
t o l ook a t you, l eave them a l one .
H e c o l l e c t s a sack of copper ha t c he t s , be a ds ,
combs and r e d
h a t s -- t h e Engl i s h war es most popul ar wi t h t h e n a t i v e s .
63 EXT. DEEP FOREST - SMITH'S POVS
Smi t h s t o p s and l ooks ar ound.
The half-moon ha s j u s t
r i s e n . The trees beckon him on. They s e e m t o run o f f t o
t h e ut t e r mos t ends of t h e e a r t h .
H i s romance wi t h t h e I ndi a n g i r l seems f a r o f f , u n r e a l .
Has he p u t hi msel f i n a f a l s e pos i t i on? What a r e h i s
i n t e n t i o n s ? H e al mos t dr eads s e e i ng her -- would i t n o t be
almost a r e l i e f i f s he d i d n o t appear ? -- and y e t , when s he
d o e s not come r i g h t away, he f e e l s vexed and di s a ppoi nt e d.
By t h e conf i dence wi t h whrch s he walks he r p a t h , s he
convi nces him t h a t a n o t h e r way e x i s t s t han t h a t which h i s
feet have known. She releases h i s s oul from i t s c a p t i v i t y .
Sh e br eaks up t h e f r o z e n s ea of h i s h e a r t . H e concei ves
hopes t h a t he never Imagi ned i t was i n h i s power t o
c onc e i ve ; t h e w a l l s of h i s h a b i t u a l l i f e f a l l away and
leave him i n a wide f i e l d , i n t h a t new wor l d which he
h i t h e r t o s ought i n v a i n , and which he now knows, n o t by
s e t t i n g h i s f o o t on t h e Vi r gi ni a s hor e, b u t i n t h e s i g h t of
h e r , i n h e r t ouch, i n t h e j oy and gr a c e s h e r a d i a t e s .
B y and by he hear s t h e sound of f o o t s t e p s . H e s e e s h e r
comi ng t oward him and, i n a voi c e t h a t s e e m s n o t q u i t e h i s ,
h e s a y s h e r name. She seems t o l ook r i g h t i n t o him. H e
n e v e r be f or e r e a l i z e d t h e dept h and p u r i t y , t h e t ouchi ng
f a i t h f u l n e s s , of h e r dew- br i ght eyes. H e f e e l s h i s h e a r t
a n d s e ns e s unf ol di ng. She i s a l l si mpl e n a t u r e and be a ut y,
as much a p a r t of t h i s Oct ober eveni ng a s t h e f a l l i n g
leaves. How shoul d h e n o t t a k e a l l t h a t s h e would g i v e
hi m, how n o t f u l f i l l t h e s p r i n g i n he r h e a r t and his?
What
di d he know of l ove , u n t i l he s e i z e d he r hand and k i s s e d
it? And now -- what doe s he n o t know?
Th e i r l i p s seek each o t h e r ' s , and s t i l l t he y do not speak
The moment speech be gi ns a l l w i l l be unr e a l .
SMITH
why d i d you come her e?
she l ooks up, h u r t , amazed.
POCAHONTAS
S i r ? You as ked me t o .
SMITH
Don' t ' c a l l me s i r , my p r e t t y sweet.
POCAHONTAS
What s h a l l I c a l l you?
SMITH
John.
POCAHONTAS
What have you s een?
Your eyes a r e
l i k e -- s t one s .
SMITH
( a f t e r a paus e)
I ' v e had not hi ng b u t aggr avat i on.
Hal f a r e s i c k , t h e o t h e r s l ungi ng a t
each o t h e r ' s t h r o a t s l i k e t hey were i n
Br i ght on Way. They' d do anyt hi ng f o r
money. They' d r i s k damnat i on i n t h i s
worl d and t h e ne xt . And me , a aood
-
man by any l i g h t s , moving among such
peopl e !
POCAHONTAS
Send them away.
SMITH
Away?
( a f t e r a s i l e n c e )
How many l a nds behi nd me! How many
s eas ! What bl ows, danger s ! M y s o u l
hungered aft er f a r hor i zons . Now
t h e r e i s onl y t h i s c ont e nt i on wi t h
f o o l s , t h i s i gnobl e w a r wi t h l i t t l e
t h i n g s .
( paci ng)
I t ha s always been s o . I can never
s t a y on l and f o r l ong. I t s c or c he s my
f e e t . It al ways d i s a p p o i n t s . Ther e
i s comf or t and s a f e t y i n t h e p o r t ,
he a r t hs t one and s uppe r , warm b l a n k e t s ,
f r i e n d s . But al ways I f i n d t h a t I
s t i l l am not where I m u s t be. Always
s h u t up somewhere. Cut o f f . St a r ve d.
POCAHONTAS
Look be f or e you. W e coul d l i v e i n t h e
woods. -r know a p l a c e . There i s a
wa t e r f a l l t he r e . A bed of moss. I ' v e
never shown i t t o anyone. I waited.
( c a r e s s i ng h i s f a c e )
M y br ot he r w i l l t a k e c a r e of us . H e
t o l d m e t h a t he woul d. Make a s i g n ,
John. Te l l me i f I s houl d k e e p On.
( suddenl y al ar med)
I wi s h f o r you when you1 re gone. I
l ook f o r you. I wonder i f t he o t h e r s
can t el l .
Smi t h r e a c h e s f o r h e r , b u t s h e s k i p s back o u t o f r e a c h .
POCAHONTAS
I t was ne ve r s o before.
Smi t h l o o k s a t h e r wi t h love r i s i n g i n h i s h e a r t l i k e t h e
s c e n t of a c r u s h e d h e r b .
Her h e a r t i s a n e s t , unt ouc he d by
g r i e f .
SMITH
Can i t be t h a t we have m e t a g a i n ?
T h a t I c a n l o o k a g a i n i n t o y o u r eyes --
h o l d you a g a i n i n my ar ms a t l a s t ?
And I so changed -- so di f f er ent !
Have I ans wer ed you -- ha ve I come t o
you?
POCAHONTAS
( i n a whi s pe r )
Y e s . . .No, i t i s n o t y o u .
( a f t e r a moment)
Is it you?
S MI T H
Say i t a g a i n , my sweet. Speak. I
c a n n o t l i ve o r b r e a t h e u n t i l I am n e x t
t o y o u , a nd I c a n feel y o u r ha nd.
POCAHONTAS
I wa i t e d -- wat ched -- so many d a y s --
S MI TH
And I t reat ed you so unki ndl y! Ah, my
g u a r d i a n a n g e l , my l i g h t i n t h e
d a r k n e s s , how I h a t e myself f or g i v i n g
you p a i n ! The r e i s s ome t hi ng I know
when I am wi t h you t h a t I f o r g e t when
I am away. T e l l m e , m y sweet, di d you
wi s h me t o come back a nd l i ve wi t h you
a g a i n ?
POCAHONTAS
( s udde nl y a f r a i d )
You mus t n o t l ook i n t o my e y e s . You
mu s t n o t t ouc h m e .
SMITH
I mus t h o l d your hand when I speak
wi t h you.
H e a t l a s t h a s f o u n d a p a s s a g e t o t h e o t h e r s e a . H e s t e p s
up t o h e r a n d t o u c h e s h e r bel l y. She i s -- so open, so
u n a f r a i d . H e bobs l i k e a c or k on t h e oc e a n of h e r
movement s.
r-,-
64 EXT. TREES OVERHEAD - SMITH'S AWAKENING
The world s p i n s t o a s t o p .
The moon p e e r s a t Smi t h t h r o u g h
t h e p i n e s . Fl e c k s of moss dr i f t down f r o m t h e uppe r
b r a n c h e s .
SMITH
W e c a n1 t g o i n t o t h e f or est . Coul d I
show you Engl and? I woul d t a k e c a r e
o f you, I pr omi s e . I woul d n e v e r be a
b r u t e t o you. But no, i t i s too f a r .
You woul d p e r i s h t h e r e .
POCAHONTAS
If I c a n be wi t h you, t h a t i s a l l .
H e g a z e s a t h e r . She is a l ady, a f l ower , a j e w e l . The
woods murmur a b o u t t hem. H e l o o k s o u t on a new c r e a t i o n ; a
l a n d s c a p e a s l o v e l y as a l o s t Eden. 0 h i s Amer i ca, h i s new
f ound l a n d , how blessed h e i s i n d i s c o v e r i n g h e r , a nd i n
f u l l na ke dne s s ; unbound. The c u r t a i n i s l i f t e d, a nd he'
sees wi t h t h e eyes of h i s s o u l . Bu t e ve n as h e d o e s , a n d .
knows t h i s i s what h e ha s al ways been wa i t i n g f o r , s t r i v i n g
f o r , h e f e a r s t h a t h e mi ght be over whel med -- t h a t h e mi g h t
n o t be e q u a l t o what he h a s known b u t d i s i n t e g r a t e unde r
i t s p r e s s u r e . The r e i s a t e mp t a t i o n t o r u s h ba c k i n t o t he
c o mf o r t i n g d a r k n e s s of h i s f or me r l i f e .
65 EXT. I NDI AN CAMP
Smi t h h a s no l u c k t r a d i n g a t a ne a r by camp. Huddl ed i n
t h e i r f u r r o b e s by a b l a z i n g f i r e, t h e I n d i a n s p o i n t t o t h e
s ky. Soon wi nt er w i l l b e h e r e .
66 EXT. CHICKAHOMINY RIVER
On h i s way ba c k t o t h e b o a t , Smi t h r u n s i n t o one of t h e
En g l i s h s e n t r i e s .
SMITH
What are you doi ng h e r e ?
SENTRY
I beg y o u r pa r don, s i r . You w e r e gone
l o n g e r t h a n we e x p e c t e d . Appear s I
l e t mys e l f wander a bi t . Thi ngs go
ba dl y?
Like t h e o t h e r g , h e i s unde r . t he i mp r e s s i o n t h a t Smi t h ' s
p u r p o s e h e r e w a s t o t r a d e wi t h t h e I n d i a n s .
Smi t h d o e s n o t
r e p l y . The s e n t r y smi l es, v a g u e l y awar e t h a t h i s c a p t a i n
i s h i d i n g s ome t hi ng.
+.-
67 EXT. SHALLOP MOVING DOWNRImR
Smi t h watches h i s Engl i s h f r i e n d s .
Af t e r h i s t i m e away i n
t h e woods, t h e i r c r i s p , s l angy t a l k i s queer a t f i r s t , t he n
s o n a t u r a l t h a t t h e s c e ne he ha s come from be gi ns t o seem
r emot e and i n c r e d i b l e .
68 EXT. FOREST, CLOUDS
Pocahont as moves t hr ough t h e noonday dar knes s of t h e woods.
They are vocal wi t h t h e songs of b i r d s and r unni ng water.
69 EXT. JAMESTOWh' FORT
Dur i ng Smi t h' s absence, t h e r e has been a s t a bbi ng.
SMITH
And what w a s your di sagr eement about ?
STABBED MAN
He s a i d i t was t h e f i f t e e n t h o f
November, I s a i d t h e s event eent h
SMITH
You were f i g h t i n g about t h e d a t e of
t h e y e a r .
AS SAI LANT
Not e n t i r e l y . H e made comments t o t h e
e f f e c t t h a t my educat i on w a s somet hi ng
l e s s ' n h i s .
SMITH
I am gone two da ys , and you f a l l r i g h t
back i n t o your o l d ways! What has
been goi ng on he r e ? Di dn' t I t el l you
t o d i g a new w e l l -- f a r t h e r from t h e
r i v e r ? Why h a s n ' t t h i s been done?
They o f f e r t h e i r excus es . Smith f e e l s uneasy. Has h i s
romance w i t h Pocahont as caused him t o s h i r k h i s dut y? Thi s
f e e l i n g of g u i l t -- u t t e r l y u n j u s t i f i e d g u i l t -- s ends him
i n t o a r age.
. .
SMITH
Every man w i l l s t o p what he i s doi ng
r i g h t now and s t a r t di ggi ng t h e w e l l
Those t h a t c a n ' t c a r r y t h e d i r t i n
bucket s w i l l c a r r y i t of f wi t h t h e i r
hands :.
P'.L 70 EXT. WELL (INCLUDING POV FROM BOTTOM)
Every man i n t h e col ony works a t di ggi ng t h e w e l l i n t h e
impractical way t h a t Smith ha s i n s i s t e d upon.
SMITH
( t o Ben)
See what men t hey' ve s e n t us . A
he a dl e s s mul t i t ude! They w i l l n o t sow
cor n f o r t h e i r own bel l i es. They
wo u l d r a t h e r e a t t h e i r f i s h raw t han
go a at one' s cast t o f e t c h wood and
d r e s s i t .
( a f t e r a pause)
Ar e t h e r e yet b l i s s f u l i s l e s one mi ght
steer f o r from Engl and' s wreck? How
c oul d one know happi nes s t h e r e , where
a l l i s f a l s e and i n de c l i ne ?
70B EXT. A CLEARING I N THE PINES
The wi nd f l ows i n melody t hr ough t h e s ky- l ovi ng trees
Pocahont as l ooks up.
POCAHONTAS (0. S . )
( t o h e r mot her)
H e makes my h e a r t l i k e water. He
d r i n k s from m y h e a r t l i k e a deer from
a stream.
DISSOLVE TO:
7 1 ZXT. VIRGINIA LANDSCAPES - SNOW - POCAHONTAS
The wi n t e r snow tumbles down, v e i l i n g t he f o r t and t h e
f i e l d s beyond, t h e woods and r ocky s hor e s i n whi t e , seemi ng
nowhere t o a l i g h t . It f a l l s , t oo, on t h e I ndi a n l onghous es
and t h e d a r k Chesapeake waves.
I t l i es t h i c k l y d r i f t e d on
t h e c r ooke d crosses and heads t ones of t h e Jarnestown
gr a ve ya r d, on t h e s pe a r s o f t h e l i t t l e g a t e and t h e t hor ns
t h a t l i e be ne a t h i t .
. ' WILF
( t o Smith, a f r a i d )
The o y s t e r s a r e gone from the s hor e ,
s i r , and t he b i r d s t h a t were i n t h e
t r e e s .
Drawing Smith's jacket tight about her s houl de r s ,
Pocahont as wat ches t he snow. Pr e s e nt l y s h e l ooks up as a
whi t e owl f l i e s over head.
POCAHONTAS (O.S. )
Where i s he now?
H i s head l i e s on my
h e a r t . Carry my l o v e t o him.
72 EXT. SAMESTOWN FORT
Smith wat ches , t oo, a s t h e Engl i s h wander around i n t h e
g r i p of ma l a r i a and bl ackwat er fever, r a vi ng l i k e madmen.
Epl demi c ha s done i n more t han h a l f of them, s t a r v a t i o n t h e
r e s t . L e s s t h a n f i f t y peopl e remai n al i ve of t he o r i g i n a l
two hundr ed. Every morning t h e r e a r e h a l f a dozen new
de a t hs . T h e c or ps e s a r e dumped i n t h e r i v e r ; no one ha s
t h e s t r e n g t h t o d i g i n t h e f r oz e n gr ound.
ANGRY MAN
Somebody s houl d s hoot Jonson t h e r e .
H e h a s n ' t g o t a ghos t of a chance, and
h e r s goi ng t o cont ami nat e us a l l . H e
us ed Wortham' s spoon -- now Wortham' s
gone. My f r i e nd! Have we g o t t o wai t
till a l l i s dead? Here he comes now.
The men dodge o u t of J ons onl s way and pi ck up r ocks t o
t hrow a t him i n c a s e he comes t oo c l o s e .
JONSON
I ' v e onl y got a coupl e more da ys ,
Ca pt a i n. The men can e a t me i f t hey
l i k e . I s houl d l i k e t o be h e l p f u l i n
what ever way I can.
SMITH
Thank you, Jonson. W e s h a l l cal l upon
you i f we have t o .
7 3 OTHER ANGLES
Brawl s e r u p t ove r food and s mal l pos s e s s i ons .
The set t l er s
b o i l t h e i r b e l t s and har nes s es and e a t them. They commit
murder f o r mat ches. They e a t dogs , c a t s , even r a t s . But
c i v i l i z a t i o n , even such a s it e x i s t s , begi ns t o work i t s
e f f e c t on Smi t h. Every one of h i s compat r i ot s i s an avenue
t h a t l e a d s him back i n t o h i s f or mer ways o f t hi nki ng.
W i l f , t h e c a b i n boy, c he e r s him wi t h memories of yout h and
home.
SMITH
Ar e you happy?
WILF
why shoul dn1 t I be?
SMITH
What makes you happy?
WILF
The s uns hi ne. The sky a t n i g h t . Bu t
e s p e c i a l l y , I l i k e s i t when t h i n g s
goes my way.
SMITH
What d i d you do bef or e you came he r e ?
WILF
~y eyes -- how gr een, how gr een!
Asking a l l t h e s e ques t i ons !
Smi t h l aughs . The dome s t i c i nt i macy of t h e f o r t b r i n g s him
ar ound and makes t h e magi c ci t y and even Pocahont as seem
u n r e a l . Did he r e a l l y make l ove t o he r , r e a l l y pr omi se t o
t a k e he r away t o l i ve wi t h him? The n o t i o n t h a t he coul d
make he r h i s mistress f i l l s him wi t h a s o r t o f hor r or , even
wh i l e it s t i l l whips and s t i n g s h i s bl ood. H e wonders what
came i n t o him. H e f e e l s he ha s been awf ul , t he n i n t h e
n e x t moment t h a t h i s behavi or was q u i t e s a n e .
SOLDIER
S i r , Ackley' s dead. And, d i r e c t l y ,
somebody a t e h i s hands.
. . 74 NEW ANGLE
Smi t h f i n d s Ackley s i t t i n g i n a c h a i r i n h i s Sunday b e s t ,
t h e end of a musket i n h i s mouth.
SOLDIER
( p i l f e r i n g Ac k l e y ' s t hi ngs )
Went o u t i n t h e ' e i ght of s t y l e ,
anyhow. Such t r a n q u i l i t y -- l ook at
him! You'd t h i n k h e coul d speak.
H i s hands have been chopped o f f and t aken f o r f ood. The
s i g h t of i t t ur ns Smi t h' s stomach.
SECOND SOLDIER
I s h a l l m i s s him. I t hi nk we a l l
s h a l l .
SMITH
Bury h i m.
An d p u t t h i s i n t h e mor ni ng
r e por t .
SECOND SOLDIER
Are you q u i t e s u r e , s i r ?
SMITH
Spar e no d e t a i l .
75 TI GHT ON SMITH
Agai n he t hi nks a bout h e r .
H e agoni zes over what he s houl d
do. Onl y a f e w months ago, he held he r t o him under t h e
b l u e s t r o n g s ky, k i s s i n g h e r eyes and l i p s . H e ga s ps ,
s wept by t h i s r us h o f remembrance, and i s back wi t h h e r
a g a i n , back i n t h e r a p t u r e of h i s k i s s e s on h e r upt ur ned
face o f innocence and humble pas s i on, back i n t h e s us pens e
a nd be a ut y of t h a t pagan n i g h t .
H e l o o k s ar ound h i m. What would t h e o t h e r s t h i n k of such
wi l d , unl awf ul l ovi ng? H e wonders i f he r e a l l y l ove s he r ,
o r i f he onl y wants he r becaus e s he i s s o p r e t t y and l ove s
him.
76 EXT. JAMESTOWN FORT - I NDI AN PROCESSION - MUSIC
The Engl i s h l i n e t h e wa l l s o f t he f o r t . Beyond i t l i e s a
s i g h t t o a s t oni s h them. Pocahont as i s l e a di ng a g r e a t
p r o c e s s i o n o f I ndi ans toward t h e g a t e s -- br a ve s wi t h
c a r c a s s e s of de e r and br a c e s of t ur key s l ung f r om pol e s
ove r t h e i r s houl de r s , women wi t h l a r g e r eed b a s k e t s of
c or nbr e a d and r accoon.
77 NEW ANGLE
Pocahont as and Smith f i n d t hemsel ves al one f o r a moment as
L- t h e Engl i s h f et e t h e i r r e d s a v i o r s , overwhelmed by t h i s
g r a t u i t o u s act of ge ne r os i t y.
POCAHONTAS
They a l l bow t o you. The Pr e s i de nt !
My f a t h e r w i l l n o t l et m e br i ng you
anyt hi ng more. H e s ays w e ha r dl y have
enough f o r our s e l ve s .
SMI TH
I under s t and.
POCAHONTAS
I w i l l do what I can.
. ' SMITH
Don' t put your s e l f i n danger . You
needn' t do a nyt hi ng more -- f o r u s .
POCAHONTAS
If your peopl e a r e hungry, t he y can
f i n d s h e l l f i s h under the ice.
Pocahont as l ooks puzzl ed.
Smi t h c a s t s about f o r t h e t hi ng
--
he want s t o s a y. What does he r i s k doi ng t o he r ? Has he
done i t a l r e a dy?
C
Somewhere i n h i s h e a r t h e knows he w i l l b e t r a y h e r , and
t hough he doe s not wi sh i t , he knows i t wi t h an u t t e r
c e r t a i n t y .
SMITH
Don' t t r u s t me .
POCAHONTAS
Why do you s a y t h a t ?
SMITH
You d o n ' t know who I am.
POCAHONTAS
O f c our s e I d o . John. Why s houl dn' t
I do anyt hi ng I can f o r you? I l o v e
you. I l i k e t o show you t h a t I do.
Does i t make you uncomf or t abl e when
t h e y s e e you wi t h me ?
SMITH
Sometimes.
POCAHONTAS
I would be ne a r you. You know t h a t
f r om t h e way I l ook a t you, don' t you?
SMITH
Y e s . Y e s I d o , my l ove .
POCAHONTAS
Why have you not come t o me?
SMITH
Ther e a r e peopl e dyi ng ar ound m e he r e .
POCAHONTAS
I know it i s a t e r r i b l e t h i n g t o s a y,
b u t how can you s t a y wi t h them, John?
They' re s o f i e r c e . They' re s o di r t y,
t o o . No wonder t hey di e.
(aft er a s i l e n c e )
What can. you have t o do, l ove ?
Li vi ng a t t h e f o r t , Smi t h has come t o s e e t hi ngs wi t h
Engl i s h e ye s a ga i n. H e r age and h e r openness, t h e very
t h i n g s t h a t h e t r e a s u r e s , embar r ass him somewhat. H e
remembers t h a t a t c e r t a i n times h e ador es h e r ; a t o t h e r
t i m e s ha can ha r dl y r e c a l l who t h e per son was t h a t f e l t
t h i s way. H e i s aware of a new wor l d, a r e a l i t y whose
e x i s t e n c e he never had guessed o r p e n e t r a t e d t hr ough t o.
The whole scheme of h i s former l i f e ha s been c a l l e d i n t o
que s t i on and s e e ms t a him now l i k e a n i l l u s i o n . But t h a t
does not make i t any less pr obl emat i c; r a t h e r f a r more s o .
SMITH
Does your mother speak wi t h you s t i l l ?
POCAHONTAS
Yes. She speaks i n s i l e n c e , l i k e t h e
s t a r s . And if I do n o t answer , s he
says, "What coul d I s a y t o you t h a t I
have n o t t o l d you i n my own l anguage?
Is i t my f a u l t t h a t you have n o t
under s t ood me? You t h i n k I wi shed t o
speak t o your eyes and e a r s , and i t
was my h e a r t t h a t spoke t o you.
I n
t r u t h , it was t h e h e a r t of a l l t h e
e a r t h t h a t spoke t o you t hr ough mine. "
She i s n o t he r e , b u t up t h e r e -- f a r !
SMITH
She i s dead and cannot he a r YOU.
Speak wi t h me, d e a r -- I am l i v i n g and
can answer .
78 NEW ANGLE
The Engl i s h g i v e t h e Pr i nc e s s a round of appl aus e as s h e
l e a ve s . Pas s i ng back t hr ough t h e g a t e s of t h e f o r t , Smi t h
comes t o a s t o p . Wobblehead, t h e l u n a t i c I ndi an whom Smi t h
n e t l ong ago i n t h e l onghouse a t Werowocomoco, h a s come t o
t he f o r t dur i ng t h e n i g h t and i s e n t e r t a i n i n g t h e men.
Smith wat ches a s t h e f o o l , an e x c e l l e n t mime, pr e t e nds t o
mount an i magi nar y b e a s t . One by one, t h e c o l o n i s t s br e a k
i n t o l a u g h t e r . They seem t o know not hi ng of Smi t h' s
romance and would n o t even hol d i t a g a i n s t him i f t he y d i d .
They r e s p e c t him; t he y depend on h i m.
BLACKSMITH
H e ' s coming t o England wi t h us ! I
' ave a gr e e d t o become h i s manager. I
e xpe c t I s h a l l soon be e n t e r t a i n i n g
d i v e r s o f f e r s .
Wobblehead nods and p o i n t s over t h e s e a s , Engl and' s
d i r e c t i o n . A s us pi c i ous dog answers i n t h e d i s t a n c e . The
crowd melts away. I t i s t h e i r une a s i ne s s , more t han
anyt hi ng e l s e , which caus es Smith t o a s k i f t hey were
amusing t hemsel ves a t h i s expense.
He s t r i d e s ar ound, a s though l ooki ng f o r a c onf r ont a t i on.
Why s houl d he feel any t i e t o this s o r r y l o t and t h e i r
s e l f i s h pl a ns ? .' .
, %. . -
SMI TH
You, what were you l aughi ng a t ?
SMIRKING FELLOW
Why, I can1 t b e sure. An i d e a t h a t I
\ a d i n m e 'cad. D i d I of f e nd, s i r ? I
must be goi ng. I g o t m e c hor e s .
H e s l i n k s o f f . Smith wonders how much he knows.
7 9 POCAHONTAS
Pocahont as wal ks al ong wi t h a frown. What i s s h e t o make
o f Smi t h' s words?
80 EXT. A CORN FIELD NEAR THE FORT - LATER
Sp r i n g ha s come, b r i n g i n g sunny weat her .
I n d i a n s c o u t s sneak up t o a f i el d near t h e f or t , a sunken
e n c l o s u r e camoufl aged wi t h v i n e s . They s t r i p t h e v i n e s
back and p e e r i n s i d e . Bef or e them s t a n d row upon row o f
g r e e n s hoot s s i x i nches hi gh -- baby c o r n p l a n t s . The,
I n d i a n s 1 l e a d e r darts i n s i d e and upr oot s one t o t a k e back .
to t h e Emperor.
81 INT. POWHATAN'S LODGE
Powhatan t o s s e s t h e c o r n p l a n t down i n f r o n t of h i s
w da ught e r . H i s voi c e i s s o f t and l ovi ng.
POWHATAN
They do n o t mean t o l e a ve .
( pause)
Thi s does not s u r p r i s e me . What does
i s how t hey f ound t h e seed and wher e
t o p l a n t i t . Thi s t he Ta s s a nt a s s e s do
n o t know. And how di d t he y f i n d t h e
o t h e r t hi ngs -- t h e o y s t e r s , t h e
t ur keys ' eggs?
When Pocahont as s t a r t s t o speak, he c u t s he r of f . H e does
n o t require a n answer t o t he s e que s t i ons .
POWHATAN
H e w i l l f o r g e t you.
POCAHONTAS
Have you no k i n d word f o r me , f a t h e r ?
POWHATAN
No.
',
She jumps t o h e r f eet and l e a ve s .
P
EXT. POWHATAN'S LODGE
Powhatan t hr ows open t h e door of h i s l odge.
Opechancanough
and t h e Chi e f s o f h i s Armies under s t and him and,
wi t h a
g r e a t s h o u t , r e p a i r t o t h e i r u n i t s .
EXT. JAMESTOWN FORT
A s i n g l e n a t i v e s c out obs er ves a c r o s s s t a ndi ng i n t h e
mi ds t o f t h e wi l der nes s . Then, coming I n t o s i g h t of t h e
f o r t , he sol emnl y p l a n t s t h r e e ar r ows i n t h e r oa d o u t s i d e
i t s wa l l s , t o s e r v e war ni ng of t h e Emperor' s i n t e n t i o n s .
The En g l i s h a r e by now accust omed t o s t r a n g e a n t i c s f r om
t h e I n d i a n s and g i v e t h e bus i ne s s no t hought .
SENTRY
Spe a r i ng gopher s?
The I n d i a n r eaches i n t o a pouch, mumbles an i n c a n t a t i o n a nd
c a s t s a handf ul o f d u s t i n t h e s e n t r y ' s d i r e c t i o n .
EXT. RIVER - I NDI AN CAMPS
Powhatan c a s t s t obacco l e a v e s on t h e s t r eami ng g r e y wa t e r s
of t h e Chickahominy, t o s a t i s f y hi ms el f t h a t t h e omens are
good. The camps a r e a h i v e of s i l e n t a c t i v i t y a s t h e
I n d i a n s pr e pa r e t o make war. Braves pl unge t h e i r s p e a r s
I n t o a l o g , working up t h e i r cour age wi t h whoops and cri es.
They p u t on p a i n t and smoke t obacco, s a y p r a y e r s and b i d
goodbye t o t h e i r c hi l dr e n. Al l i e s g a t h e r from d i s t a n t
camps. St r eams of wa r r i or s become whole r i v e r s .
Pocahont as l ooks on wi t h al ar m.
EXT. WEROWOCOMOCO - DUSK
A s dus k set t l es, Pocahont as wal ks ar ound Werowocornoco,
s h i v e r i n g l i k e a f r i g h t e n e d de e r .
I NT . POWHATAN'S TEMPLE - DUSK
Powhatan ha s come . t o h i s p r i n c i p a l temple t o me di t a t e
b e f o r e t h e s a c r e d he a r t h. The danci ng f i r e l i g h t g i v e s him
t h e appear ance of a g r e a t c o n j u r e r .
POWHATAN
Fi nd my daught er .
A b r a v e c l a c k s ,a hol l ow l o g .
EXT. TOBACCO FIELDS - POCAHONTAS - DUSK
Pocahont as he a r s t h e drums. Suddenl y, s he makes a
d e c i s i o n .
With an a i r of nonchal ance, s he ambl es t hr ough t h e main
g a t e i n t o t h e t obacco f i e l d s beyond.
On l y t h e g r e a t wooden
i d o l s see h e r go.
Looki ng back from t h e c ool da r k rows of t obacco, h e r
kinsmen seem t o h e r l i k e peopl e s he knew i n some t i m e l ong
p a s t . With a sob r i s i n g t o h e r t h r o a t , s he t ur ns and r uns
o f f i n t o t h e woods.
88 EXT. WOODS - DUSK
Pocahont as c r a s he s t hr ough t h e moonl i t woods i n a p a n i c .
The p i n e s sway back and f o r t h l i k e a w i l d sea.
She s t o p s f o r a moment t o l i s t e n t o t h e drums, b u t t h e y
onl y har den h e r de t e r mi na t i on, and s he st ar t s r unni ng
a g a i n .
89 EXT. JAMESTOWN FORT - DAY-FOR-NIGHT
Pocahont as wakes up t h e Engl i s h s e n t r y a t Jarnestown.
SENTRY
The Pr i nc e s s !
POCAHONTAS
Pl e a s e g e t him! Hurry!
SENTRY
You won' t s a y t h a t I w a s dr owsi ng,
w i l l you, Highness? No s ooner d i d I
s h u t me eyes t han I w a s l i f t e d o u t of
t h i s wr et ched worl d and f o r g o t me
d u t i e s l
90 EXT. A FIELD BEYOND THE FORT - DAY-FOR-NIGHT
Smi t h l e a d s Pocahont as i n t o a f i el d of leveled ground
beyond t h e f o r t . The twisted s hapes of bur nt - out tree
st umps loom up about them i n t h e l i g h t of Smi t h' s h u r r i c a n e
l a n t e r n .
SMITH
How do YOU know?
POCAHONTAS
The c or n. H e s e e s you mean t o s t a y .
DO you? Do they?
Smi t h does not . , answer . She i s t e r r i b l y ups e t about what
s he i s doi ng.
POCAHONTAS
Make peace wi t h him b e f o r e he comes.
SMITH
He won' t a c c e p t peace. Hel d b e a f ool
t o .
POCAHONTAS
You' re goi ng t o f i g h t a war wi t h him?
Send them away. So many w i l l d i e !
SMITH
I won' t do t h a t . They wouldnl t l i s t e n
t o m e even i f I d i d . Why s houl d t hey?
T h i s e a r t h i s t h e i r s a s much as i t ' s
your s . YOU own i t , I know. Wel l , I
suppose you coul d s ay you' ve owned it
l ong enough. Now ot he r s a r e havi ng
t h e i r t u r n .
( a f t e r a pause)
Besi des, t he y have no b o a t s t o l e a ve
i n .
She i s s t e a d f a s t i n i gnor i ng t he d r i f t of what he s ays .
POCAHONTAS
W e can go away. W e can go where
nobody c oul d f i n d us .
SMITH
Where? For how l ong? W e c a n ' t l i v e
o u t i n t h e woods. And t h e t r u t h i s I
coul d never t a k e you t o Engl and wi t h
me, e i t h e r . You donf t bel ong i n t h a t
wor l d. You' d be l i k e a p l a y t h i n g . A
c u r i o s i t y . They make you ove r t h e r e .
They make you t h e i r own. They p r e s s
you s ma l l , l i k e Chi nese f e e t .
Smi t h l ooks o f f i n t o t h e woods. Al l a t once it s t r i k e s him
how t e r r i b l y h e ha s compromised h e r -- and t h a t now he must
t a ke a s t a n d .
POCAHONTAS
Thi s i s n ' t you, John. Don1 t you
remember?
B u t when s h e l ooks a t h i s f a c e , s h e sees t h a t he remembers
not hi ng of t hos e o t h e r times.
SMITH
( s hout i ng)
Watchman! How many hour s till t h e
dawn?
SENTRY (O. S. )
( f a i n t l y )
Two, Capt ai n!
I mpul s i ve l y, Smith draws some beads and b e l l s from a pouch
on h i s b e l t and o f f e r s them t o he r .
SMITH
Here.
Be l l s ? She l ooks a t hi m, unbel i evi ng. H e hi ms el f seems
h o r r i f i e d a t what he i s doi ng.
POCAHONTAS
Why do you g i v e me t hes e?
SMITH
You've done t h e Engl i s h a s e r v i c e .
POCAHONTAS
L e t me s e e your f a c e .
SMITH
They s houl d be t ha nkf ul t o you. You
have ext ended y o u r s e l f f o r them -- now
more t han once.
POCAHONTAS
( ver y pr oud)
I have be t r a ye d my f a t h e r ! Not hi ng
can reward me f o r t h a t . I f . . . he s a w
me wi t h t h e s e , h e would t a ke my l i f e.
Here. Take them back.
SMITH
I can8 t do what you wi sh.
POCAHONTAS
They c a r e not hi ng f o r you. I can s t o p
my f a t h e r . T e l l them t o l e a ve .
. SMITH
They woul' dn' t l i s t e n t o m e
POCAHONTAS
Never u n t i l t h i s .moment have you
spoken f a l s e l y . Why have you said
such t h i n g s t o me?
SMITH
Tr ut hf ul , pur e a s you, I cannot be.
POCAHONTAS
I know t h a t you would never de c e i ve
me . I r a n here t hr ough t h e f o r e s t .
Now I feel I ' v e done somet hi ng ve r y
wrong.
( h o r r i i l e d )
W i l l you warn them?
Suddenl y h e r e g r e t s h i s c r u e l t y . H e t a ke s he r by t h e hand.
SMITH
You have t o come wi t h me .
POCAHONTAS
Where?
SMITH
I n t o t h e f o r t . Your peopl e w i l l know
you came. They' 11 f i n d o u t soon
enough.
POCAHONTAS
What w i l l you do?
SMITH
My s weet , my woodland f a i r y , my
s a vi our , why do you f e a r me? Do I now
seem t o you dar k and e v i l , b u t t oo
l a t e f o r your peace, a f t e r t h e sweet
s i c kne s s o f l o v e ha s i n f e c t e d you?
H e r e a c h e s out t owards h e r , b u t s he wrenches free and
r e t r e a t s t o t h e edge of t h e woods, s t oppi ng now and t h e n to
l ook ove r her s houl der i n a pr oud, conf used way.
SMITH
St ay! I must n o t l et you go a l one .
They w i l l puni s h you.
When he st ar t s toward h e r , s h e t u r n s and r uns away.
91 EXT. WOODS
Smi t h f ol l ows he r . She i s l i k e some l i t t l e dog whi ch ha s
l o s t i t s master and does n o t know whet her t o r un on, t o r u n
back -- where t o t ur n. H e seems on t h e ver ge of coaxi ng
h e r back when he sees a squad of I ndi an s cout a advanci ng
t hr ough t h e woods.
H e h i d e s behi nd a t r ee. When he l ooks back, s h e i s gone.
H e h a s no a l t e r n a t i v e now. H e t u r n s back.
Meanwhi l e, Pocahont as abandons h e r s e l f t o h e r g r i e f .
EXT. FORT - DAWN
Smi t h wal ks back i n t o t h e f o r t .
H e cannot t hi nk c l e a r l y .
He does n o t know where h i s dut y l i e s or whet her he even
c a r e s anymore. He wonders what has made him channa Ua
~~ - ~ =- . ..-
remembers making vows t o he r , b u t t he y seem l i k e t h e words
o f a s t r a n g e r .
SENTRY
Capt ai n? Is anyt hi ng wrong? Excuse
me i f I worry t o o much, b u t t h e s h i p s
s houl d' ve been ' e r e weeks ago, and now
t h e men a r e t a l k i n g -- l ave t hey
f o r g o t about us ?
Smi t h s t a r e s a t him a l ong t i m e b e f o r e s peaki ng. Sh a l l he
obey t h e v o i c e t h a t i n t h e f o r e s t commanded him? Sh a l l he
l i v e i n t h i s wor l d o r t h a t ot he r ?
SMITH
Wake t h e men up. S i l e n t l y . Have them
r e p o r t her e. Don' t s t a nd t he r e . Go!
I NT . SMITH'S TENT
Smi t h t hr ows hi ms el f on h i s s t r a w bed. For a moment' s
pa s s i on, h e ha s c u t he r l i f e t o r i bbons , per haps s e n t h e r
o f f t o h e r de a t h. What would it mean, goi ng t o h e r now?
I t would b e madness.
Then, t h e memory of t h e poor , bewi l der ed f i g u r e , o f t h o s e
anxi ous e ye s , d i g s i n t o him a ga i n. I n a s e i z u r e of
l ongi ng, t h e ki nd t h a t comes upon one when l i f e seems t o b e
c a r r y i n g somet hi ng o u t of r each, he l e a pa up. He want s h e r
a ga i n; h e r k i s s e s , h e r s o f t body, h e r abandonment, a l l h e r
warm, pagan emot i on; want s t h e wonder f ul f e e l i n g o f t h a t
n i g h t under t h e s i ghi ng pi nes ; want s i t a l l wi t h a h o r r i b l e
i n t e n s i t y .
EXT. FORT
Smith wal ks o u t toward t h e woods beyond t h e f o r t .
SENTRY
Capt ai n? The men a r e r eady.
What i s i t t h a t s t r uggl e s a g a i n s t p i t y and t h i s f e v e r i s h
l ongi ng and keeps him r oot ed he r e ? H e t u r n s back. H e w i l l
t hi nk about i t l a t e r .
EXT. WOODS NEAR FORT - SUNRISE
As t h e s un r i s e s t hrough t h e cool b l u e canyons of t h e
p i n e s , Pocahont as wanders al ong i n a daze.
Under t h e g e n e r a l s h i p of Opechancanough, t h e I n d i a n s move
q u i c k l y t h r o u g h t h e woods u n t i L t h e y h a v e s ur r ounde d t h e
f o r t .
A s cout s l i p s up t h r o u g h t h e w e t ma r s h g r a s s t o t h e
pal i sade. At h i s s i g n a l , t h e I n d i a n s o l d i e r s advance,
b r a n d i s h i n g t h e i r spears a n d war c l u b s .
The E n g l i s h ha ve be e n wa i t i n g f o r t h i s moment.
They r ol l
o u t t h e i r c a nnons a n d s e nd a s i c k l e of g r a p e s h o t t hr ough
t h e I n d i a n s ' f r o n t r a n k s .
As t o n i s h e d , t h e I n d i a n s f a l l back, b u t t h e s e c ond and t h i r d
waves p r e s s b l i n d l y on. Be f o r e t h e E n g l i s h c a n r e l o a d ,
t h e y a r e upon t h e w a l l s . They f i g h t wi t h a b l i n d
d e t e r mi n a t i o n , b u t t h e i r l i g h t weapons are no mat ch f o r
E n g l i s h st eel . They r e t r e a t back i n t o t h e f i e l d , wher e
a g a i n t h e y a r e beset by t h e cannons . Y e t s t i l l t h e y r al l y
a nd make a s e c ond c h a r g e . Fr e s h t r o o p s c o n s t a n t l y r e p l a c e
t h o s e who ha ve r e t i r e d . I n t h e same way t h a t t h e En g l i s h
pass o r d e r s by t r u mp e t s a n d dr ums, t h e I n d i a n s u s e h e r a l d s
t o cry o u t when t o a t t a c k and when t o retreat.
When a n Engl i s hman f a l l s , t h e I n d i a n s s t u f f a r r ows up h i s
r e c t um a n d hack hi m t o pieces, l o p p i n g off he a ds a nd hands
a n d pr i vat e par t s , wavi ng t h e t r o p h i e s a l o f t , l a u g h i n g .
Mus ke t e e r s a dva nc e i n t o t h e f i el d, e a c h p r o t e c t e d by a
pi ke s ma n. They rest t h e i r heavy weapons on a s t a n d , t h e n
l i g h t off t h e i r h u n d r e d - c a l i b e r l o a d s i n a g r e a t c l o u d of
smoke.
Opechancanough i s p u z z l e d . How c o u l d t h e enemy have known
of t h e a t t a c k , a s cl ear l y t h e y d i d ?
The I n d i a n s s h o u t c u r s e s a n d a c c u s a t i o n s o f betrayal a t
Smi t h i n Al gongui n. H e does n o t r epl y. H i s comr ades l ook
t o hi m f or a n e x p l a n a t i o n .
Wi t h h i s sword a n d b u l l wh i p , Smi t h r a n g e s o u t beyond t h e
f or t t o e nga ge i n s i n g l e combat . Tears s t r e a m down h i s
face. H i s e y e s are c r a z y and f e r o c i o u s . H e s h r u g s o f f h i s
wounds. H e p r o v e s h i ms e l f t h e bravest of t h e En g l i s h , a
law u n t o h i ms e l f . '
Powhat an, s i c k a t h e a r t , wat ches t h e p r o g r e s s of t h e b a t t l e
f r om a cl i f f h a l f a m i l e f r om t h e f o r t . Thi ngs d o n o t go
w e l l f or t h e I n d i a n s ; t h e y are us e d t o f i g h t i n g i n ambushes
a n d s k i r mi s h e s , n o t p i t c h e d battles. S t i l l , they v a s t l y
out number t h e En g l i s h and hope t o w e a r t hem down.
'._
96 EXT. I NDI AN DRESSING STATION - POCAHONTAS
Poc a hont a s wa t c he s t h e I n d i a n wounded b e i n g t a k e n t o t h e
rear. They b e a r t h e i r s u f f e r i n g s i n s l l e n c e .
She wanders about i n a t ur moi l of shame and bewi l der ment .
She cannot go back t o he r f a t h e r -- what s houl d she do?
How many y e t w i l l die on her account ?
H e r cous i ns and b r o t h e r s look que s t i oni ngl y a t h e r , knowing
s h e l i k e s t h e Engl i s h b u t ha r dl y guessi ng t h e f u l l e x t e n t
o f what t hey would c ons i de r h e r t r eacher y.
Suddenl y s he sees her br ot he r Parahunt among t h e wounded.
A p i e c e of s hr apnel ha s t o r n t hrough h i s b e l l y ; he w i l l not
s ur vi ve .
PARAHUNT
Something s t ung me , t hen I c o u l d n ' t .
walk. Now I c a n ' t move my s houl de r ,
si st er . I ' m c ol d. Cold!
POCAHONTAS
Here, rest . Help him!
PARAHUNT
S i t down. Tal k t o me . Ther e' s
not hi ng you can do.
POCAHONTAS
Don' t s ay t h a t . Wait. Help him!
She r uns o f f t o l ook f o r hel p, b u t s he does n o t g e t f a r .
Two I ndi ans s e i z e he r on or de r from t h e Emperor. They
i g n o r e he r p r o t e s t s -- t h a t h e r br ot he r i s dyi ng, t h a t h e r
f a t h e r w i l l puni s h them when h e f i n d s out how t hey have
t r e a t e d he r .
97 EXT. JAMESTOWN FORT
The a t t a c k seems t o have a ba t e d, though a f e w Pamunkey
br a ve s s t e a l i n t o t h e f o r t r e s s t hr ough c hi nks i n t he w a l l
and t unne l s t hey have dug.
They f i g h t b l i n d l y wi t h kni ve s
and tomahawks u n t i l t he y a r e cont ai ned and k i l l e d .
Lookout s s ear ch t he hor i z on. Smith knocks them from t h e i r
per ch.
SMITH
What a r e you l ooki ng f o r ? Ther e' s no
one coming t o rescue you.
Fl ecked wi t h bl ood, he wal ks t hr ough t he s t ockade, s ne e r i ng
a t h i s s o l d i e r s .
BEN
You seem p r e t t y ' appy .
SMITH
Not hl ng i n t o x i c a t e s me l i k e d i s a s t e r .
M y p a s t mi s t akes seam ver y s ma l l .
A wounded man p u l l s an ar r ow from h i s hand and waves i t
h y s t e r i c a l l y a t Smi t h.
WOUNDED MAN
I ' m n o t e n t i r e l y s u r e I s h a l l have t h e
u s e of t h i s hand a g a i n . I l i k e d i t
whi l e I had it. You see, I was a
c l e r k when I l e f t London. I never
t hought I'd have any t r o u b l e wi t h i t .
Don1 t walk o f f . What was t he y
s hout i ng a t you?
(Smi t h t u r n s ar ound)
You hear d me ! Don1 t g i v e m e t h a t
poxey l ook. What di d you do t o them?
What did you do t o g e t them s o oggl y
about us ? Why l ave I g o t t o pay f o r
i t ?
(Smith does n o t answer)
H e ' s n o t t e l l i n g u s somet hi ng, and I
g o t a r i g h t t o know. They won' t
r e s p e c t our whi t e f l a g . They won' t
receive our e mi s s a r i e s . There1 s
somet hi ng he' s n o t t e l l i n g u s !
SMITH
St upi d a s hogs, t h e l o t of you.
SECOND MAN
Now we're f i g h t i n g wi t h each o t h e r .
When t h e enemy' s o u t t h e r e pr e pa r i ng
t o c u t our t h r o a t s !
Smi t h s t r i d e s ar ound, b r i s t l i n g wi t h cont empt
SMITH
St upi d as hogs.
( under h i s b r e a t h )
Always s h u t up somewhere.
Wobblehead, who knows no s i d e s , gi ve s Smith an a p o l o g e t i c
l ook. I t i s n o t i n h i s n a t u r e t o be s a d f o r l ong, however.
H e l e a p s i n t h e a i r and r uns o f f t hr ough t h e l a n e s , h o o t i n g
ma ni a c a l l y.
98 INT. SMITH'S TENT
.. Smi t h s u l k s i n h l s t e n t l i k e Ac h i l l e s . Has he be t r a ye d h e r
from a f e a r of h l s peer s ' opi ni ons , h e who p r ~ d e s hi ms el f
on bendi ng t o no man?
What need has h e t o j u s t i f y hi ms el f
t o t h e l i k e s of them?
A man wi t h h i s f i ne s e ns e of honor cannot f or gi ve hi msel f
f o r act s t h a t lesser men mi ght c ons i de r t r i v i a l . Ben
e n t e r s .
BEN
You must be more di pl oma t i c .
SMITH
What have I g o t t o s ay? I c a n ' t br i ng
my t ongue t o s a y it. What s houl d I
do? Show them my wounds and t e l l them
how I got them i n t h e i r s e r v i c e , whi l e
t h e y r a n from t he noi s e o f t h e i r own
drums. Hang ' em. I ' d r a t h e r die t han
c r a v e t h e i r f a vor .
BEN
They s a y you mock them. When our
p a t r o l s r e t ur ne d unharmed, you
e xpr e s s e d your r e g r e t . You c a l l ' e m
enemi es of t r u e n o b i l i t y .
SMITH
Y e s .
BEN
Why do you want t o l e a d them?
SMITH
I de s e r ve t o .
BEN
You have no desire t o?
SMITH
I have no desi re t o t r o u b l e t h e poor
wi t h beggi ng. Maybe you can give me a
box on t he e a r s o I may l ook p e n i t e n t .
BEN
Take c a r e t hey don' t p l a n t a deep
enough r a ge i n you t he y make you one
o f t h e i r own.
Smi t h wal ks o u t s i d e . The I ndi ans have br oken o f f t h e i r
a t t a c k .
99 EXT. RIVER
Stripped t o h i s under wear , Smi t h pl unges i n t o t h e r i v e r .
The puz z l e d l ooks of t h e Engl i s h g i v e him an odd p l e a s u r e .
H e s w i m s f a r t h e r and f a r t h e r o u t , de f yi ng t h e danger o f t h e
f a s t c u r r a n t and t h e h o s t i l e I ndi a ns on t h e o t h e r bank.
To go back and l o v e Pocahont as i n t he woods, wi t h
e ve r yt hi ng ar ound wi l d and f i t t i n g -- t h a t , he knows, i s
i mpos s i bl e. To t r a n s p l a n t h e r t o a g r e a t town; t o keep i n
some l i t t l e room one who bel ongs
s o whol l y t o na t ur e -- he
s h r i n k s from t h i s . I n Londonher ve r y s i mp l i c i t y , he r l a c k
of a l l s o p h i s t i c a t i o n , would make h e r l i f e a misery of
e x i l e and a l i e n a t i o n . But now t h a t s h e i s gone, he h a t e s
hi ms el f and t h e Engl i s h, wi t h t h e i r smug i de a s of r i g h t and
dut y.
An ache f o r l o s t yout h, a hanker i ng, a s e ns e o f wast ed l ove
and s weet nes s , g r i p s him by t h e t h r o a t . Sur e l y, on t h i s
e a r t h of such wi l d beaut y, one i s meant t o hol d r a p t u r e t o
one ' s h e a r t a s t h e e a r t h and sky hol d i t . And y e t i t seems
t h a t one cannot , o r n o t f o r l ong.
What d i d he do t h a t was wrong? Where i s t h a t new worl d i n
which he found s uch happi ness? Those woods, wi t h t h e i r sky-
l ovi ng pi nes ?
100 EXT. POWHATAN'S CAMPAIGN TENT
Pocahont as i s conduct ed t o Powhatan' s campaign t e n t by an
o f f i c i a l of t h e c o u r t . She t akes a moment t o compose
h e r s e l f be f or e s h e e n t e r s . She knows h e r f a t h e r i s aware
of h e r of f e ns e .
101 I NT . TENT
Pocahont as si t s be f or e Powhatan i n t h e hazy dar knes s of t h e
t e n t . The Emperor i s t h i c k l y pa i nt e d and o i l e d a l l over --
h i s arms and s houl de r s r e d, h i s f a c e b l u e , h i s body j e t
bl a c k. From h i s e a r s hang t h e d r i e d claws of a k i n g f i s h e r .
POWHATAN
You' ve br ought me g r e a t s adnes s . You
coul d have mar r i ed o t h e r c h i e f s and
worked f o r your na t i on. You c oul d
have hel ped t o b r i n g u s peace. You
have f o r g o t t e n your dut y.
( paus e)
So have I . I l oved you more t han my
peopl e. I p u t you, my h e a r t and s o u l ,
ahead of them. I did t h a t t h l n g which
I f or bade you t o . You have been a
f o o l , b u t I have been a ve r y g r e a t
f o o l . These peopl e come t o t a k e our
worl d away. W e must def end our s e l ve s
a g a l n s t them. Many more w ~ l l di e
because of our f o l l y . I s h a l l t e l l
nobody o f t h l s . Not because I l ove
you b u t because I am weak.
From o u t s i d e come t he n o i s e s of n e w p r e p a r a t i o n s Tor
b a t t l e .
POWHATAN
I can no l onge r speak wi t h my
a nc e s t or s , n o r wi t h my peopl e.
Someday, i f I have any honor, I s h a l l
t el l them what I have done and o f f e r
them my l i f e. Today I cannot .
POCAHONTAS
For gi ve me , f a t h e r !
POWHATAN
You have been t h e l i g h t of my l i f e . I
cannot g i v e you over t o di e. I b a n i s h
you i n s t e a d -- I t ake your name away
and send you t o your uncl e. I am t o o
o l d t o see you di e, b u t i f I see you
a ga i n, I mi ght feel t h e l ove o f you
a ga i n. You ar e a l r e a d y dead. I
cannot l ove one t h a t i s dead. I
cannot l o v e a ghos t . So l e a ve m e now,
ghos t g i r l , a nd may t h e Fat her of our
peopl e g i v e you happi nes s i n t h e
h e r e a f t e r .
Pocahont as s t a nds up. H e si t s wi t h h i s head bowed.
De s pa i r i ng of a f u r t h e r word f r om him, s he l e a v e s .
102 EXT. CEREMONIAL FUNERAL
The I ndi a ns hol d a cer emoni al f une r a l f o r Pocahont as a t a
p a v i l i o n ne a r t he b a t t l e f i e l d . O n c e t he j oy of he r
p e o p l e ' s e ye a , t hey w i l l no l onger l ook a t h e r e xc e pt i n
t h e i r mi r r or s. They behave a s though t he y ge nui ne l y
b e l i e v e d s h e w e r e gone -- a ghos t .
S t i l l , t h e r i t u a l i s one t o b e f i t a p r i n c e s s . Her al ds p l a y
d i r g e s on t r umpet s of tree bar k. Ei ght s t r o n g br a ve s b e a r
t h e pal anqui n t h a t w i l l carry h e r o f f t o e x i l e . Two
her maphr odi t es walk ahead wi t h f a ns a t t h e e nds of l ong
p o l e s , t o p r o t e c t he r f r om t h e s un.
103 EXT. WOODS
An Engl i s h s c out sees Pocahont as1 t r a i n moving t hr ough t h e
woods. H e r ecogni zes h e r .
i 103B EXT. WOODS - SMITH AND TOMOCOMO - NIGHT
Tomocomo ha s come t o Smi t h as a spokesman f o r Powhatan, hi . s
emper or . They a r e a l o n e i n t h e moonl i t woods.
TOMOCOMO
The g r e a t Powhatan s peaks t hus : "You,
d e s t r o y e r Of peace, a man I saved, and
s h e l t e r e d , and f e d -- t r e a t e d l i k e a
son! -- have you n o t i n j u r e d m e
enough? You have s t o l e n my c h i l d ' s
h e a r t from m e . With a t housand
i nve nt i ons you have dr i ve n h e r mad.
With your l y i n g t ongue you have
changed h e r i n t o a demon t o pe r s e c ut e
me." I w a s t o s a y no more, b u t see --
Ca t c hi ng hol d of t h e t o p o f a s a p l i n g , he bends it t o t h e
gr ound.
TOMOCOMO
W e s h a l l t r e a t you i n t he same way.
H e t u r n s and l e a ve s .
104 EXT. VICINITY OF THE FORT - DAWN
A t dawn t h e I ndi a ns resume t h e i r a t t a c k . They t w i s t m o s s
ar ound t h e p o i n t s of t h e i r ar r ows , set them a l i g h t and
s h o o t them over t h e wa l l s of t h e f o r t ont o t h e t h a t c h r o o f s
of t h e Engl i s h hous es , which b u r s t i n t o f l ame.
The En g l i s h r us h around t r y i n g t o p u t out t h e f i r e s . The i r
s i t u a t i o n grows more d e s p e r a t e from hour t o hour . A s o o t -
bl a c ke ne d s o l d i e r r e por t s t o Smi t h.
SOLDIER
The e a s t wal l i s bur ned t hr ough, s i r .
W e cannot c l o s e i t wi t hout exposi ng
our s e l ve s t o t h e i r missiles.
Ar g a l l l e a d s i n t h e s c out who s p o t t e d Pocahont as i n t h e
woods.
ARGALL
Te l l him.
" SCOUT
The Pr i nc e s s i s up t h e r i v e r a t
Pas t ancy. They s e n t he r t o he r unc l e
Patoworneck, Lord of t h e Naked Devi l s
of t h a t r egi on a nd, by t h e by, an
acquai nt ance o f mi ne. So I g e t t o
t a l k i n g t o h ~ s Ni bs and he pr oposes t o
sel l h e r . H e s a ys wi t h h e r a t t h e
f o r t , t h e Emperor w i l l not d a r e a t t a c k
u s . H e dot es on h e r .
SMITH
Youf re c e r t a i n s h e ' s t h e one you saw?
SCOUT
Wi t h t he s e eyes !
I spoke t o t he King
d i r e c t l y .
SMITH
And what does t h i s r ogue pr opos e t o
sel l h e r Zor?
SCOUT
I was g e t t i n g t o t h a t . H i s most
f a v o r i t e t hi ng i s combs, b u t i n t h i s
c a s e h e appear s t o have h i s h e a r t set
on a k e t t l e . A hob, you know -- a
copper k e t t l e , l i k e me mot her us e s f o r
making t e a . What use h e means t o make
of t h e i ns t r ument I cannot s a y.
ARGALL
W e l l ?
SMI TH
We, . donf t t a ke hos t ages . King James
would not appr ove.
ARGALL
You would r a t h e r see us a n n i h i l a t e d ?
It i s t h e f i r s t d i r e c t chal l enge t o h i s a u t h o r i t y t h a t
Smi t h has f a c e d.
SMITH
She h a s done enough f o r us . She
r i s k e d the be a t i ng o u t of h e r own
b r a i n s t o s ave mi n e . She k e p t t h e
rest o f you from s t a r v i n g . W e s h a l l
n o t answer he r ki ndnes s by making her
a c a p t i v e .
Ar g a l l p r e s s e s Smi t h, conf i dent t h e o t h e r s a r e on h i s s i d e ,
t h a t t hey w i l l see t h i s as t h e i r l a s t hope.
ARGALL
She and h e r f l ock a r e on t h e ve r ge of
k i l l i n g u s a l l . I e xpe c t t h e r e w i l l
scarce be a handf ul a l i v e when t h e
b o a t q r e t u r n , i f t hey ever do. YOU
t o l d us your s e l f t h a t h e r f a t h e r
r e g a r d s he r a s no one el se.
( Smi t h s a ys not hi ng)
D o you have p r i v a t e r e a s ons f o r t h i s
a t t i t u d e of your s?
SMITH
Ret ur n t o your p o s t
Smi t h' s behavi or f e e d s t he f l ame of Ar g a l l l s s us pi c i ons .
H e s t a n d s h i s gr ound.
SMITH
The p e n a l t y f o r di s obeyi ng an o r d e r of
t h e Pr e s i d e n t i s hangi ng. You' r e
br eaki ng t h e laws. Thi s i s mut i ny.
ARGALL
M e br e a ki ng t h e l aws? You' ve br oke
them a l l yerself, a s f a s t as you made
them.
( t o t h e men)
I have i nf or ma t i on Smith he r e was
pl a nni ng t o marry t he wench and make
hi ms el f King of Vi r gi ni a! I have t h e
pr oof ! The c r a z y one t o l d me . Li s t e n
t o what h e s ays !
Fe a r i ng t h e i r wr at h, Wobblehead r e t r e a t s i n t o t h e shadows.
Smi t h s t r i d e s up t o Ar ga l l u n t i l t hey are face t o f a c e .
H i s e ye s b l a z e wi t h anger .
ARGALL
S t r i k e me and you br eak t h e l a ws of
t h i s c ol ony. Those are t h e l aws!
You' ve g o t t o p r o t e c t t he s e men.
SMITH
S t r i k e you?
H e l ooks a t him f o r a moment, t hen r e a c he s o u t and gi ve s
h i s e a r a v i o l e n t t w i s t .
ARGALL
J es u !
Suddenl y, s i x of Ar g a l l t s c ohor t s f a l l on s mi t h from behi nd
and wrestle him t o , t h e ground.
ARGALL
( t r i umpha nt l y)
You' r e no l onger i n command, Smi t hy.
I s h a l l have t h e medal now. You have
been d e r e l i c t i n your d u t i e s t o t h e
King.
You' ve bet r ayed t he c i t i z e n s o f
Jarnestown. Tho medal, pl eas e! You' ve
shamed t h e i n v e s t o r s of t h e London
Company. I t h e r e f o r e pronounce you
unworthy of bei ng a member of t h i s
col ony.
(MORE )
ARGALL ( cont l d)
As Chi ef Spokesman for H i s Majesty i n
t h e New World, I s e n t e n c e vou t o
c or por a l puni shment u n t i l you admi t
your g u i l t .
105 SMITH AND SOLDIERS
Smi t h i s conduct ed t o t h e docks by a br a c e of g u i l t y
s o l d i e r s . Among them is t h e s e n t r y who g r e e t e d Pocahont as
t h e mor ni ng of t h e f i r st a t t a c k . H e has r e a s on t o f e e l
g u i l t i e s t of al l .
SENTRY
Sor r y, Capt ai n. W e must do a s Ar g a l l
s a ys . W e men ' ave g o t no power.
SECOND MAN
I a dvi s e you to admit your f a u l t .
Ot her wi se he w i l l k i l l you. H e c a n ' t
a f f o r d t o be c ons i de r e d a mut i ne e r ,
wi t hout l e g a l a u t h o r i t y .
106 EXT. SHALLOP - I NC UNDERWATER SHOT
Smi t h i s keel haul ed -- dr agged by a r ope be ne a t h t h e s h i p ,
so t h a t h i s back i s r aked al ong t h e j agged b a r n a c l e s
e n c r u s t e d on t h e h u l l . H e bobs t o t h e s u r f a c e , gas pi ng f o r
b r e a t h .
ARGALL
You want t o s a y your pi ece? No? Ver y
w e l l . I s e nt e nc e you t o har d l a b o r a t
t h e br i ckwor ks.
107 EXT. JAMESTOW DOCK
Ar g a l l and a p a r t y of t en s o l d i e r s s a i l t h e s h a l l o p u p r i v e r
t o ki dnap Pocahont as.
108 EXT. PASTANCY INDIAN CAMP
PATOWOMECK, t h e t r e a c he r ous King of Pas t ancy, wat ches o u t
of t h e s i d e of h i s eye as a n Engl i s h s a i l o r sets a copper
k e t t l e down i n f r o n t o f h i s l odge. H a muat b e careful not
t o a ppe a r compl i ci t ous wi t h t h e ki dnappi ng.
ARGALL
No us e t r y i n g t o h i d e he r . I know s h e
-
i s h e r e . ~ e i p me , and I w i l l be y o u r
-
friend!
Patoworneck' s eyes f l i t ner vous l y ar ound. Ar g a l l bows t o
Pocahont as , who i s s u r p r i s e d t h a t he seems t o know who s he
i s.
POCAHONTAS
Who s e n t t h e boat ?
ARGAL L
Why, nobody s e n t i t , mi l ady. I was
j u s t pa s s i ng by when I t hought i t
di pl oma t i c t o s t o p and pay a v i s i t .
POCAHONTAS
You don' t s e e m l i k e someone t o t r o u b l e
hi ms el f about di pl omacy.
ARGALL
( s l y l y )
Does Capt ai n Smith?
POCAHONTAS
I coul d n o t s a y. I am s u r e he does
n o t t o l e r a t e i ns ol e nc e from h i s
s ubor di na t e s .
Two Moons, a s ympat het i c Pas t ancy I ndi an, appear s b e s i d e
Pocahont as and bows t o he r . They are o u t of Ar g a l l r s
h e a r i n g .
TWO MOONS
Pr i nc e s s , t hey' mean t o g e t you on
boar d and ki dnap you.
POCAHONTAS
What makes you s ay t h a t ?
But t h e r e are t e a r s i n h e r e ye s . She knows f u l l we l l what
i s goi ng on.
TWO MOONS
I saw your uncl e d e a l i n g wi t h. t h e
Ta s s a nt a s s e . They' r e pl anni ng t o t a ke
you back t o t h e i r camp. Watch out !
POCAHONTAS
Nonsense !
Pocahont as l ooks a t t h e s h a l l o p , i t s mast wobbling back and
f o r t h i n t h e l a z y c u r r e n t of t h e Chesapeake. Could Smith
r e a l l y have s e n t i t ? Could t h i s be a gr and g e s t u r e from
h e r l o v e r ? The musi c h i n t s a t s uch a hope. Shoul d s h e
swal l ow h e r p r i d e , b e t r a y h e r f a t h e r y e t agai n and g i v e
Srnlth a not he r chance? S h e cares not hi ng or h e r d l g n l t y
anymore. She 1s r ui ned. What i s l e f t t o s ave -- e xc e pt ,
. .
~f p o s s i b l e , a l a s t gl ance a t one who once l oved h e r ?
Patoworneck' s w i f e appr oaches. H e r g u i l e i s h e a r t -
wr enchi ngl y t r a ns pa r e nt .
PATOWOMECK' S WIFE
p l e a s e come.
I am a f r a i d t o go a l l by
mys el f .
My husband t o l d me I coul d go
onl y i f you go wi t h m e .
POCAHONTAS
You t h i n k it w i l l be s a f e ?
PATOWOMECK' S WIFE
of c our s e . You l i ve i n o u r house. W e
t a k e c a r e of you.
Pocahont as smil'es pl e a s a nt l y.
109 EXT. GANGPUNK TO SHALLOP
PATOWOMECK' S WIFE
You go f i r s t .
Pocahont as wal ks up t h e gangplank ahead of t he w i f e .
POCAHONTAS
You s e e ?
A l l a t once t h e Engl i s h s e i z e h e r , p u l l t he gangpl ank
aboar d and shove off. A d i s p l a y of t h e i r muskets i s enough
t o di s c our a ge t h e I ndi ans from r e t a l i a t i n g , though a f e w
t hr ow r ocks and s pe a r s . Pocahont as feels a r udenes s i n
Ar g a l l ' s g r a s p t h a t t el l s he r s he i s n o t bei ng br ought t o
Jarnestown as a g u e s t of t h e Pr e s i d e n t ' s . Now s he st ar t s t o
s t r u g g l e i n e a r n e s t .
ARGALL
YOU won1 t be h u r t , Hi ghness.
POCAHONTAS
You woul dn' t da r e !
On t h e s hor e Patoworneck r us he s a bout gi vi ng c o n t r a d i c t o r y
o r d e r s , never l e t t i n g go o f h i s k e t t l e , b r i s t l i n g wi t h
i ndi gna t i on, y e l l i n g words of encouragement t o Pocahont as
and knocki ng h i s wi f e about . The Engl i s h s o l d i e r s l a ugh,
no l onge r a b l e to' keep up t h e i r end of t he char ade.
Pocahont as c ove r s her f a c e wi t h h e r hands. She bur ns wi t h
s harne.
110 EXT. JAMES RIVER
As t h e s h a l l o p d r i f t s al ong t he r i v e r , t he EngLish r a i d e r s
s t u d y t h e i r c a p t i v e s ympat het i cal l y.
They know t hey owe
t h e i r l i v e s t o h e r and th' at t hey have caused he r t o s u f f e r
t e r r i b l y i n r e t u r n .
Ar ga l l comes up b e s i d e he r and dr a pe s
a shawl over h e r ba r e s houl der s .
POCAHONTAS
My f a t h e r w i l l not ransom me. He does
n o t feel t owar d me as he did bef or e' .
I t el l you t h i s s o you do not r i s k t h e
l i v e s of your men f u r t h e r t ha n you
a l r e a d y have.
ARGALL
One must hope, Your Maj est y. I
apol ogi ze f o r t h i s discommoding of
your per s on. Such a r e t h e n e c e s s i t i e s
o f war.
( phi l os ophi c a l l y)
I came o u t h e r e because I had nowhere
else t o go. They took away my l a n d ,
though I owned it o u t r i g h t and had
paper s t o pr ove i t . My f a t h e r t o l d m e
honor was n' t goi ng t o hel p me get i t
back. And i t doe s n' t hel p you i n t h e
gr ave. H e was wrong about a l l else,
b u t r i g h t a bout t h a t .
POCAHONTAS (0. S . )
0 Mother,, ha s he s e n t t h i s s h i p f o r
me ?
111 EXT. JAMESTOWN DOCK
Di sembarki ng a t t h e Jamestown docks, Pocahont as i s di smayed
t o f i n d t h a t Smith is n o t on hand.
POCAHONTAS
wher e i s t h e Pr e s i de nt ?
The Engl i s h, knowing t h a t t h e i r f a t e may depend upon he r ,
t r e a t h e r w i t h g r e a t de f e r e nc e .
ARGALL
Pr e s i de nt ? Y e s -- I negl ect ed t o t el l
you. The Ca pt a i n' s no l onge r
occupyi ng t h a t p o s t . H e can e x p l a i n
t h e r e a s ons b e t t e r t han I . You w i l l
onl y be , kept he r e l ong enough f o r u s
t o a r r a nge a t r u c e . I n t h e meanwhi l e
I hope you won1 t mind bei ng -- l ooked
a f t e r .
He nods a t a guar d o f pi kesmen.
112 EXT. JAMESTOWN STREETS
i
Ar ga l l conduct s Pocahont as t hr ough , t he s t r e e t s .
Wobblehead
bows t o h e r .
-
b'
113 INT. REVEREND WHITAKER' S HOUSE - MONTAGE
Pocahont as e n t e r s t h e Reverend Whi t aker ' s cl apboar d house,
t h e s i n g l e frame dwel l i ng i n t h e col ony. H e r guar ds t a k e
u p t h e i r p o s t s o u t s i d e . S l a t s have been n a i l e d a c r o s s t h e
windows.
She l o o k s d i s t r a c t e d l y a t t h e Engl i s h appur t enances -- t h e
o i l lamps, t h e whi t e p i n e f u r n i t u r e and t h e p o r c e l a i n
f i g u r e s on t h e mant el . MARY, Whi t a ke r f s maid, a middle-
aged woman f r om Devon, a ppe a r s t o g r e e t t h e r o y a l gue s t .
Great care has been t aken t o e ns ur e t h a t s he w i l l be
c omf or t a bl e .
MARY
Thi s w i l l be your room, mi l ady.
Pocahont as a c t s a s though s he d i d n o t he a r h e r
ARGALL
She s a y s t h a t ' s n o t h e r name anymore
She ha s no name.
MARY
How unf or t una t e ! W e l l , w e s h a l l have
t o g i v e you one. Perhaps ... Lady --
you are of r oya l bl ood -- Rebecca! My
mot her ' s name was Rebecca. Would t h a t
be s u i t a b l e ? Does s h e l i k e i t ? You
may l eave us , Ca pt a i n.
Ar g a l l l e a v e s . Beneat h a s i n g l e window t h e r e i s a bed of
r ough pl a nks cover ed wi t h a pal l et of straw. Pocahont as'
gua r ds s t r o i l back and f o r t h o u t s i d e . Mary can p l a i n l y see
t h a t s h e i s u t t e r l y d i s t r a u g h t and crazed wi t h g r i e f .
MARY
Thi s i s t h e b a s i n , f o r when you want
t o wash. The water i s o u t s i d e t he
window, i n t h e r a i n barrel .
She de mons t r a t e s the us e of t h e wash b a s i n .
MARY
Thi s i s soap!
She shows Pocahont as by pantomime how t h e soap i s u s e d .
Ther e i s not a t r a c e of pl e a di ng o r compl ai nt i n h e r g u e s t .
She a p p e a r s det er mi ned t o f a c e each new ha r ds hi p wi t h
cour age.
MARY
I t hi nk you a r e m o s t e l e g a n t , excusi ng
t h e l i b e r t y .
M a r y t r i es t o g e t h e r t o e a t , b u t s h e w i l l not t a k e f ood.
Mary gi ve s h e r a ba t h.
She i s limp and i n d i f f e r e n t even a s
a p a i l of h o t wat er i s poured over h e r s houl der s .
She i s
l i k e a w i l d ani mal t h a t has been br ought i n t o c a p t i v i t y .
She p u t s on Mary1 s c a s t - of f c l o t h e s .
F i r s t a c o r s e t , t hen
a tattered c a mi s ol e , t hen a l ong c a l i c o gown.
Mary makes h e r l ook a t h e r s e l f i n t h e mi r r or . She i s
b e a u t i f u l , yet Mary' s cries of admi r at i on do n o t c a us e h e r
t o f e e l l ess f o r l o r n .
Mary shows h e r how t o s i t and walk l i k e an Englishwoman.
She must keep h e r back s t r a i g h t and h e r knees t o g e t h e r ,
smoothe o u t h e r s k i r t , e t c . Out s i de a new b a t t l e r a ge s .
MARY
Go ahead. Take. a few s t e p s . Walk.
Th a t ' s r i g h t . The s hoes h u r t your
f eet , don' t t hey?
Pocahont as1 movements, n a t u r a l l y f r ee, seem c ons t r a i ne d i n
t h e s e new gar ment s. They weigh on h e r l i k e papal
vestments. But s he cont i nues t o a c c e p t Mary' s e f f o r t s t o
t e a c h h e r Engl i s h ways wi t h a f i e r c e s t oi c i s m. If t h i s i s
t o b e t h e f or m of he r damnat i on, s h e w i l l t hrow h e r s e l f
i n t o i t head f i r s t . She w i l l r e l i s h her p e r d i t i o n .
114 EXT. JAMESTOWN FORT - BATTLE - POV ON ENGLISH SHIPS
The I n d i a n s pel t t h e f o r t wi t h f l ami ng arrows as t h e
Engl i s h, t h e i r def ens es cr umbl i ng and t h e i r wa l l s on t h e
ve r ge of be i ng whol l y br eached, w a i t t o see i f Pocah. ontas
w i l l ransom them.
Then, a l l a t once, t he y l e a ve o f f t h e i r a t t a c k , and we
s t a n d wi t h Powhatan a s t he y behol d wi t h a s t oni s he d e ye s t h e
r e t u r n of Newport and t he Engl i sh s h i p s .
115 POCAHONTAS AND MARY
Mary shows Pocahont as how t o us e a door key. It s e e ms t o
h e r t h a t t h e Pr i nc e s s ' mind has been damaged.
MARY
Not t h a t way. Hold i t l i k e t h i s .
( abr upt 1 y)
W i l l you see Capt ai n Smi t h?
Pocahont as doe s not reply: P i t y f o r Smi t h' s appr oachi ng
s u f f e r i n g s a t he r hands s ur ges up i n s i d e h e r t oge t he r wi t h
a s ma l l e r measur e of p i t y f o r h e r s e l f . Out s i de t he y h e a r
l oud, b o i s t e r o u s noi s e s .
< %-
116 EXT. WHITAKER HOME
Mary r us hes o u t t o see what i s goi ng on.
Pocahont as
l i ngers i n s i d e , h e r h e a r t pounding w i t h e xpe c t a t i on.
Cannons thump i n t h e d i s t a n c e . Engl i s h s o l d i e r s r us h
t hr ough t he s t r e e t s , c e l e br a t i ng wi l dl y.
MARY
What i s i t ?
PASSERBY
The s h i p s l ave come. The war ' s ove r .
The Chi ef of t h e Savages has o f f e r e d
us peace.
117 NEW ANGLE
Pocahont as chops h e r h a i r of f wi t h a br oken conch s h e l l .
118 EXT. WHITAKER BACK DOOR
With h e r guar ds d i s t r a c t e d by t he f e s t i v i t i e s , s he s neaks
o u t t h e back way. She wanders around f o r a whi l e a s s he
c ons i de r s whet her s h e shoul d swallow down he r p r i d e and go
t o Smi t h. She l ooks a t t h e back woods, c ons i de r s goi ng
back t o h e r own pe opl e , t hen t h i n k s better of it.
1 1 9 EXT. BRICKWORKS
She f i n d s Smith a t t h e s t ockade, har d a t work making
b r i c k s . He l ooks ar ound and sees her s t a ndi ng be f or e hlm,
dr e s s e d i n Engl i s h c l o t h e s .
POCAHONTAS
D i d you know I was her e?
SMITH
They s a i d t hey were goi ng t o f e t c h
you. I was a g a i n s t it.
POCAHONTAS
Oh.
H e r cheeks bur n wi t h shame, and di s appoi nt ment . But t h i s ,
i t seems, i s what s he wants -- t o f e e l humi l i a t e d t o t h e
p o i n t of d r a s t i c a c t i o n . Smith s t a r t s t o s peak, b u t
he s l t a tes .
POCAHONTAS
what?.'
SMI TH
I f o r g o t what I was goi ng t o say.
POCAHONTAS
It must have been a l i e . Wait -- l e t
me l ook a t you.
( d i s t r a u g h t )
I s houl d n o t have come t o you.
( he r eyes pl e a d wi t h him)
You he a r them s i ngi ng, danci ng? Turn.
Cl os e your e ye s .
Sh e draws a l ong ki t c he n k n i f e o u t from under h e r shawl and
b r i n g s it down wi t h a l l h e r s t r e ngt h a g a i n s t Smi t h' s h e a r t .
T h e st eel c o r s e l e t be ne a t h h i s s h i r t caus es i t t o r i c o c h e t
away, and Pocahont as c u t s her hand on t h e bl a de . She dr ops
t h e k n i f e and b u r s t s l n t o t e a r s . Smith t a k e s a moment t o
compose hi ms e l f , t hen r e a c he s o u t t o t ouch h e r .
POCAHONTAS
NO.
SMITH
I t was your own c hoi c e . Was it n o t ?
Blame no one b u t y o u r s e l f . You
f ol l owed m e o f your own f r e e w i l l .
Di d I come l ooki ng f o r you? D i d I
l u r e you from your f a mi l y' s s i d e ? D i d
I f o r c e my l o v e on you?
POCAHONTAS
I decei ved my f a t h e r , l e f t my home --
where can I go now? Back t o t h e
peopl e I be t r a ye d? They h a t e me . As
t h e y s houl d. I had no caus e t o harm
them.
SMITH
D i d I hand you over t o t he s e pe opl e or
u r g e you t o do any of t hos e t h i n g s you
t h i n k so e v i l ?
POCAHONTAS
I t pa i ns m e t o h e a r you l i e .
' SMITH
I d i d n ' t want t o harm you -- and now
t h e r e f s disaster a l l ar ound u s . We
s houl d have s t opped b e f o r e i t was t o o
l a t e . How can I go o f f wi t h you?
Where? Wh e r e would you bel ong?
Ba r e f oot . Ta t t oos . Running t hr ough
t h e t zees, t a l k i n g t o t h e c l ouds . . .
H e de c i de s t o l e a ve i t t h e r e , t hen br eaks h i s r e s o l u t i o n .
SMITH
You' re s ur pr i s e d t h a t I don1 t have
s c r u p l e s . W e l l , I d o , but i t ' s n o t i n
my c ha r a c t e r t o b e s t opped by them. I
want no more chaos . I want peace.
POCAHONTAS
You w i l l not have i t .
( a f t e r a paus e)
Le t me s t a y wl t h you. You w i l l never
be happy anyway. I t c a n ' t ma t t e r t o
you one way o r t h e o t h e r .
( s e e i ng him h e s i t a t e )
I w i l l never que a t i on you i n anyt hi ng.
I w i l l be l i k e a b l r d i n your hand.
( st i l l he h e s i t a t e s )
When you f i r s t came t o our camp, you
made me feel -- t h a t we had al ways
been l ooki ng f o r each o t h e r . You
t a ught me how t o name t h e s t a r s . You
showed me where t h e n o r t h was. Then I
l oved you and showed you a l l t h e good
t h i n g s of t he l a nd. Do you remember?
The s pr i ngs , t h e t ur ke ys r n e s t s , t h e
p l a c e s where t h e f i s h hi de . . .
SMITH
And I expr es s ed my a ppr e c i a t i on!
(growi ng angr y)
You mi ght c ons i de r t h a t i n r e t u r n f o r
s a vi ng me , you mi ght have g o t more
t han you gave. You l e f t a bar bar ous
pl a c e t o come t o a c i v i l i z e d col ony.
Don' t make me t a l k t h i s way.
But h e c a nnot r e a i s t goi ng on.
SMITH
I t aught you how t o s peak. When you
were a savage and d i d n ' t know your own
meaning b u t whi s t l e d l i k e a b i r d . May
t h e gods ,blast m e ! You t hi nk I t hank
you f o r ' t he t hi ngs you' ve done? No --
I t hank what ever f o u l , f i e n d i s h t h i n g
makes peopl e f a l l i n l ove .
( mani acal l y)
Love! I ha t e t h e name! Ther e' s no
irons can make you more of a slave.
You f o r g e t y o u r s e l f . Your d i g n i t y ,
your freedom. You end up wondering
what dr ove you mad. I was happi er i n
a Tur ki sh j a i l .
POCAHONTAS
I am s o r r y . I have no r i g h t t o blame
you. Don' t l e a ve t h i s way. I d o n ' t
want t o remember you t h i s way --
t h i n k i n g what t o t el l me -- how t o s ay
i t . Show a doubt . Pr e t e nd i f you
have t o . You have a good h e a r t .
Smi t h s e e s t h e guilelessness o f h e r c l e a r eyes and f e e l s
h i s feet meshed i n a web of l i es. H e s e e s t h e damage h e
ha s done h e r , t h i s c h i l d whose h e a r t has never known t r u e
g r i e f . A dam bursts i n s i d e him. Trembling wl t h emot i on,
he r i p s open h e r bl ous e.
SMITH
Here, l e t m e see you naked. One l ast
t i m e ! So I can f o r g e t you.
H e pus hes he r back i n t o t h e dar knes s o f a s t a b l e . H i s face
is c o n t o r t e d beyond r e c ogni t i on. A demon r a ge s i n s i d e him.
POCAHONTAS
I watched my br ot he r di e. I k i l l e d
hi m. I know t h a t I am vl l e. I l i e d ,
I s t o l e . You cannot endur e me
anymore. That ni ght when I asked you
t o t a k e m e away -- you ha t e d me t hen.
I h a t e mysel f a t housand t i mes more.
I c o u l d r i p my h e a r t f r om my c h e s t .
What i s it doi ng t he r e ?
SMITH
You h a t e me . I don' t blame you f o r
i t .
He o f f e r s h e r the k n l f e s he s t a bbe d him wi t h. Pocahont as
l ooks a t hi m, s t unned. When s he ne xt speaks, s he seems
u t t e r l y changed.
POCAHONTAS
Oh, John, i s t h i s a dream? I never
knew t h a t l i f e coul d be t h a s way. I
di d n o t know what you c a l l mi s f or t une.
I t hought a l l was t h e best t h a t it
c oul d be -- t h a t men l oved t h e t r u t h --
t h a t peopl e di dnl t go away when t he y
di ed, not f or e ve r -- t h a t t hey were
h e r e listening and kept t h e snakes
away! I t hought you coul d t a l k wi t h a
s t o n e . I was a f o o l i s h g i r l . I
t hought w e wanted t h e same t hi ng --
t h a t w e mi ght have a c h i l d , and --
'+
Whi l e s h e ha s be e n t a l k l n g Smi t h ha s q u i e t l y come up b e h i n d
./' h e r . Now, s udde nl y, s h e t u r n s a r ound a n d sees hi m. H e
takes h e r i n t o h i s arms.
SMITH
I have i n j u r e d you, a n d my own s o u l .
Those wounds t h a t I have g i v e n you I
hope i n t i m e s h a l l h e a l . Thos e wounds
I ga ve myself, t h e y ne ve r c a n .
POCAHONTAS
I f o r g i v e you, J ohn.
SMITH
Fo r g i v e me? I , who l o v e d you, w a s
c r u e l l e r t o you t h a n your c r u e l l e s t
enemi es . I f ve cast . a shadow on y o u r
l i f e .
Immitigable, e t e r n a l . H e sees l t e ve n i f s h e d o e s n o t .
Heaven itself c o u l d n o t undo what h e h a s done .
H e r o c k s h e r g e n t l y back a nd f o r t h , a n d s h e p u l l s hi m down
t o t h e gr ound beside h e r , and t h e y h o l d o n e a n o t h e r as t h e y
di d l o n g a go i n t h e d a r k Chi ckahomi ny woods.
1 2 0 EXT. JAMESTOWN DOCK
I
.-
Ne w set t l ers di s e mba r k f r om t h e Susan Const ant a n d p e e r
a b o u t t h e pe s t i l e nc e - wr a c ke d c ol ony, a s t o n i s h e d .
Wi t h t h e i r f i n e c l o t h e s a nd h e a l t h y l o o k s , t h e y s t a n d o u t
f r om t h e o r i g i n a l me mb e r s , who wander a r o u n d e a t i n g f r e s h
meat ,
f r u i t a n d e g g s f or t h e f i r s t t i m e i n s i x mont hs .
121 EXT. BRICKWORKS
Newport h a s come t o t h e br i c kwor ks wi t h Argall.
H e p o i n t s
t o Smi t h .
NEWPORT
S e t hi m f r ee.
( t o . Smi t h)
D o you wi s h t o b r i n g c h a r g e s a g a i n s t
t h i s man?
Smi t h c o n s i d e r s t h i s f or a moment, t h e n s h a k e s h i s head.
NEWPORT
Ar e you s u r e ? Fi n e t he n, Ar g a l l . B e
o f f .
( Ar g a l l l e a v e s )
I ha ve news f or you.
(MORE)
NEWPORT ( cont r d)
The King want s you t o r e t u r n t o
Engl and and p r e p a r e a n e xpe di t i on o f
your own, t o c h a r t t h e nor t he r n c o a s t s
-- t o s e e i f you mi ght f i n d a pas s age
t o t h e I ndi e s .
Smi t h ponder s t h e o f f e r .
SMITH
Thank you, b u t I am obl i ge d t o
d e c l i n e .
NEWPORT
May I know why?
( no r e p l y )
Come, Smi t h, t h i s i s not how t h e wor l d
wor ks. Eh? Thi s i s n o t how t h i n g s
a r e done. Thi ngs must l ook d i f f e r e n t
t o you he r e t ha n from o u t t h e r e i n t h e
woods. The Ki ng ha s g r e a t hopes f o r
you. Pl ans , g r e a t pl ans ! I spoke
wi t h him i n pe r s on. What i s t h e r e f o r
you i f you s t a y ? Tr oubl e. Ennui .
The common l o t . But I w i l l n o t p l e a d
wi t h you. Your l i f e i s your own. Is
t h e r e anyt hi ng I can do f o r you?
SMITH
She w i l l n o t e s c a pe .
NEWPORT
No, n o t i f s h e ha s her s e n s e s about
h e r . Her f a t h e r does not want h e r
back. H e would b e obl i ged t o t a ke h e r
l i f e i f s h e r e t ur ne d. Y e s , t he y would
k i l l h e r i f s h e d i d . She under s t ands
t h a t ?
122 EXT. JAMESTOWN - SERIES OF ANGLES - HAPPY MOOD RETURNS
The col ony i s pl unged i n t o a f e ve r of a c t i v i t y under
Newpor t ' s d i r e c t i o n . H e a ddr e s s e s i t s assembl ed me mb e r s :
' ' NEWPORT
Unl es s t h e ma t e r i a l s i c kne s s t h a t ha s
consumed t h e s pi r i t of our col ony i s
br anded and checked, unl e s s o u r l u s t s
a r e outgrown and our r a pe of t h i s
e a r t h and of each o t h e r stopped, w e
s h a l l l o s e n o t o n l y our l i f e and l a nd
b u t , ' l i k e Esau of ol d, our e t e r n a l
b i r t h r i g h t . L e t not America go wrong
i n h e r f i r st hour . If w e us e God' s
bount y f o r s e l f i s h pur pos es , t hen God
w i l l c u r s e u s .
(MORE)
NEWPORT ( cont ' dl
Le t us remember what t h i s c ount r y was
when f i r st we set f o o t upon t he s e
s hor e s . L e t u s t h i n k what i t s t i l l
ml ght be. Let us p r e p a r e a l a nd o f
j u s t i c e and l i b e r t y , where a man mi ght
rise t o h i s t r u e s t a t u r e : a l a nd o f
unpr ecedent ed f a i t h , t o l e r a t i n g a l l ,
f ounded on t h e s o u l and l ovi ng i t s
laws: a l a nd t h a t s h a l l be t h e s cene
o f t h e ne xt mi ght y a c t i n t h e h i s t o r y
of man' s r edempt i on.
Over t h e c our s e of t h e f ol l owi ng weeks, Pocahont as and
Smi t h manage t o s t e a l a f e w hour s t oge t he r . They s k i p
s t o n e s and f e e d each o t h e r b e r r i e s . She showa hlm a b l r d
s h e ha s coaxed to l a nd on h e r hand. H e caresses h e r
s h o u l d e r s wi t h a c a t t a i l and l ooks a t her t a t t o o s .
Embar r assed, s h e cover s them back up. She ha s grown more
modes t . She f e a r s t h a t s he mi ght seem l i k e a b a r b a r i a n t o
him.
.
H e r wl l d , n a t u r a l g a i e t y i s gone o u t o f her . The
s ome r s a ul t i ng is b u t a n i mi t a t i o n . She no l onge r i s t h e
b l i t h e , f a n t a s t i c bei ng h e m e t i n t h e f o r e s t , b r i g h t a s a n
a n g e l , i nnoc e nt and a f f e c t i o n a t e as a c h i l d . What ha s he
done? From a d i s t a n c e , W i l f r e ga r ds him wa r i l y.
t SMITH
You l ook s a d. Have I made you s o?
POCAHONTAS
Sad? No. I ' v e never bean s a d. W e
have a l l we need. Even now. Why
s houl d I be s ad?
123 SMI TH AND NEWPORT
Newport and Smi t h are o u t f o r a wal k.
I n t h e backgr ound
t h e r e i s t h e i n c e s s a n t not e o f f r o g s .
NEWPORT
I al ways t hought you were meant f o r
somet hi ng more, Smi t h .
SMITH
More what?
NEWPORT
I donf t know. I mpor t ant .
SMI TH
More i mpor t ant t o whom?
NEWPORT
You c oul d do your na t i on a g r e a t
s e r v i c e . Al l na t i ons ! H i s Maj es t y i s
r e a dy t o f i na nc e a c ons i de r a bl e
e x p e d i t i o n . Needl ess t o s a y , i t w i l l
be a very famous man who f i n d s it --
t h e pas s age -- a way t hr ough. I know
you do not c a r e about such wor l dl y
t h i n g s . Prestige! But s t i l l you
mi ght have a g r e a t f u t u r e ahead of
you. Why s houl d i t s t o p he r e ? Thi s
i s a b e a u t i f u l l and. I t f l ows wi t h
mi l k and honey a s surely as any
S c r i p t u r e ever pr omi sed. And yet i t
i s n o t a l l w e hoped t o f i n d , now i s
i t ?
(musi c e n t e r s )
S h a l l you be a di s c ove r e r of pas s ages
which you r e f us e d your s e l f t o e xpl or e
-- beyond t h e t hr es hol d?
Smi t h l ooks o f f down t h e s hor e t o t h e p l a c e where t he y
f i r st l anded, now q u i t e changed.
124 EXT. DOCK - I NDI E S MUSIC
Smi t h wal ks t hr ough t h e col ony. Acr os s t h e bay he sees t h e
s h i p s be i ng o u t f i t t e d f o r t h e i r r e t u r n t o Engl and. The new
a r r i v a l s s a l u t e him. His r e p u t a t i o n ha s s pr ead.
He s t o p s i n f r o n t of t h e l a r g e s t of t h e s h i p s . H e l ooks up
a t t h e t a u t s p a r s and r opes , a t t h e g r e a t waxed sai l s, and
somewhere de e p i n h i s s oul he a ga i n he a r s t h e I n d i e s mus i c
t h a t has c a l l e d t o him from t h e begi nni ng and drawn him
e ve r on.
The musi c whi s per s t h a t t h e r e i s no l a s t i n g haven of
happi nes s . L i f e has moments of unbi dden f l y i n g r a p t u r e ,
b u t t h e y l a s t no l onge r t han it t a k e s a c l oud t o move
a c r o s s t h e s u n . They a r e as f l e e t i n g a s t h e gol den v i s i o n s
one ha s o f t h e s oul i n na t ur e , t hos e gl i mps es o f i t s r emot e
and br oodi ng s ani , t y.
I t whi s per s t h a t t h e I n d i e s l i e al ways be f or e u s ;
e ve r yt hi ng i s still p o s s i b l e ; w e can p u t t r a ge dy behi nd u s
and make a new s t a r t . And now w e no l onge r see Smi t h
di r ect l y b u t seem t o l ook o u t ove r h i s s houl de r .
W e n o t i c e
what he n o t i c e s -- t h e s a i l o r s coming and goi ng, t h e
c h a t t e r o f t h e new pi one e r s , t h e wind pl a yi ng i n t h e s a i l s .
.-
124B EXT. JAMES RIVER SHORE
.
Smi t h t a l k s w i t h Ben, h i s s o l e c onf i da nt
Hedged by a margi n of dar k t r e e s , t h e r i ver winds o f f i n t o
t h e i n t e r i o r , shi mmeri ng i n t h e eveni ng l i g h t .
SMITH
A man cannot l e t hi msel f b e d e t a i n e d
on Cal ypso i s l a n d s , however i n v i t i n g .
H e must s ai l on -- put o f f t h o s e arms
which would hol d him and keep t h e
i ndependence of t h e open sea. Heaven
w i l l n o t f a u l t him. Heaven i t s e l f i s
s hor e l e s s . B e t t e r t o p e r i s h i n t h e
howl i ng i n f i n i t e t han cr awl t o t h e
s a f e t y of t h e l a nd. Unl ess you a r e
r eady wi t h a savage w i l l t o br eak
f r e e , you s t a n d t o m i s s your own
d e s t i n y . What i s worse t han t h a t ? To
wake up and f i n d you' ve been l e a d i n g
a not he r man' s l i f e!
(Ben doe s not r e pl y)
Wai t two mont hs, t hen t e l l h e r I am
dead.
( s e e i n g Ben h e s i t a t e )
I t w i l l g i v e he r s t r e n g t h . She must
I,
n o t d e s p a i r of h e r f u t u r e .
125 EXT. WOODS
L
Smi t h has come o u t wi t h Pocahont as t o t h e woods.
POCAHONTAS
Qui ck! They may f ol l ow us !
SMITH
No o n s has f ol l owed us
POCAHONTAS
Thi s way, come!
SMITH
W e can1 t go f a r t h e r . We mi ght g e t
l o s t . T e l l me , my sweet, a r e you w e l l
t oday?
She wonders why he seems s o sol emn. The a f t e r noon is
l o v e l y , and i t i s n o t e a s y f o r them t o s t e a l away.
SMITH
There's something I know when I ' m
wi t h you.
She gazes a t hi m. What does he mean?
SMITH
I ' v e been a monst er t o you.
POCAHONTAS
What i s t h a t ?
SMITH
Someone who doe s n' t care i f he h u r t s
o t h e r peopl e.
She doe s n o t answer b u t l ooks a t him i n s i l e n c e . What ever
t h e p a s t h a s been, l e t them t h i n k r a t h e r of what l i e s
a he a d. Fa r away, t h e s h i p s sway g e n t l y a t t h e i r a nc hor .
SMITH
You know me a s I was l ong ago, when
t h e s o u l t h a t l ooked from my eyes was
n o t t h e accur s ed t h i n g t h a t i t i s now.
Y e t sometimes i t seems -- I coul d be
somet hi ng s t i l l -- I ' v e never y e t been
t h e man you t hought I was, or had t h e
r i g h t t o expect t h a t I s houl d be.
POCAHONTAS
( s haki ng h e r head)
You' r e a l l I ' v e e v e r wanted! J u s t a s
you are.
SMITH
T e l l me , my s w e e t , do you s t i l l wonder
i f t h e wind coul d blow backwards?
She s m i l e s . How l ova bl e s he i s i n h e r de vot i on, how
c h i l d l i k e . H e r l ook of a dor a t i on c oul d move a , s t o n e . I t
i s a f e a r f u l l y p a i n f u l t h i n g , t o l ove h e r a s he d o e s , and
t o ha ve t o be s o c r u e l , t hough he r stoicism makes it
somewhat e a s i e r f o r him t o d i s c o u n t what s he mi ght f eel .
POCAHONTAS
Why do you b i t e your l i p ?
( he does not answer )
Why do you l ook a t m e t h a t way?
SMITH
I cannot t el l . One i magi nes t h a t one
i s s t r o n g , when one i s weak.
POCAHONTAS
You a r e ver y s t r o n g . Why worry about
t h e r a i n when i t i s p a s t ? W e waste
t h e a f t e r noon. Come away. Le t ' s s i t
by t h e r l v e r and t h i n k of a l l the
b i r d s . w e can!
SMITH
Y e s .
POCAHONTAS
0 J ohn, how happy w e c a n be. W e f i t !
Love w i l l make u s happy, i n spi t e o f
t h e s a d n e s s we h a v e known. Why mourn
f o r wha t i s l o s t ? Why do w e n o t
q u i c k l y f o r g e t i t , till w e are g l a d
a g a i n ?
H e l o o k s a t h e r wi t h a s h a r p s t a b of l o n g i n g . H e l o v e s h e r
now, i n l e a v i n g h e r , more t h a n ever b e f o r e .
126 EXT. SHIP CASTING OFF, DEPARTING - WILF (BACK FIGURE)
S a i l o r s u n t i e h a ws e r s and cast t hem o n t h e de c k of t h e
Sus an Co n s t a n t . W i l f s t a n d s on t h e s h o r e a n d wa t c he s .
A wake spreads o u t b e h i n d t h e d e p a r t i n g s h i p , f l a s h i n g a n d
f r o l i c s o me i n t h e mor ni ng s un. The waves l i f t up t h e i r
n e c k s , p r e s s i n g t owa r d t h e de e p- wa t e r c u r r e n t s . The m a s t
p o i n t s t owar d t h e c l o u d s . Hi gh a bove f l i e s a s o l i t a r y
bi r d.
POCAHONTAS ASLEEP
Na t u r e b r e a t h e s s o f t l y a b o u t Poc a hont a s as s h e l i es b e n e a t h
a t r ee, a nymph l o s t i n h e r g r e e n dreams; a n Ar i a d n e .
Gr a d u a l l y , s h e comes t o c o n s c i o u s n e s s . Wobbl ehead i s
t i c k l i n g h e r l i p w i t h a s p e a r o f g r a s s . S t a r t l e d , s h e a s k s
hi m wha t i s g o i n g on. I n a mi s c h i e v o u s way, h e pant omi mes
t h a t h e r f r i e n d Smi t h may be g i v i n g h e r t h e s l i p .
EXT. JAMESTOWN STREETS
Poc a hont a s wa l ks b r i s k l y t h r o u g h t h e st r eet s o f J ames t own.
They are my s t e r i o u s l y d e s e r t e d . Then s h e h e a r s t h e , n o i s e
o f t h e crowd a t t h e dock.
EXT. DOCK
Poc a hont a s r u s h e s a l o n g t h e dock, l o o k i n g f o r Smi t h. The
E n g l i s h r e g a r d h e r wi t h p i t y a nd e mba r r a s s me nt . Sh e
r e f u s e s t o believe wha t t h e i r l o o k s p l a i n l y say.
EXT. BRICKWORKS
From t h e b r i c k wo r k s , Poc a hont a s sees t h e sai l s p a r t i n g i n
t h e d i s t a n c e , a nd t h a t g r e a t e s t o f a g o n i e s comes o v e r h e r --
t h e p a i n o f h a v i n g l o v e d i n v a i n .
EXT. WHITAKER HOUSE
Mary f i n d s h e r f r i e n d .
MARY
H e ' s l e f t y o u , P r i n c e s s . H e t o l d you
a pack o f l i es. F o r g e t a b o u t hi m.
S t u n n e d , Poc a hont a s s i t s down on t h e boa r dwa l k.
POCAHONTAS
I ga ve hi m e v e r y t h i n g I had -- my
f i r s t , best ... I am t o o p o o r ,
b a r b a r i a n . I s t h a t t h e word? 0, I
t h o u g h t p e o p l e l o v e d e a c h o t h e r a l wa y s
a nd f o r e v e r !
( a v o i d i n g t h e e y e s o f
p a s s e r s b y )
Look a t t hem. They ar e t a l k i n g a b o u t
me . They are a f r a i d of me . Oh yes!
They l ook away when t h e y see m e now.
They st ar e -- I d o n ' t know whi ch i s
wor s e. I wa n t t o di e.
MARY
You made a f o o l o f a mi s t a k e a b o u t
hi m, I t e l l lee a g a i n and t h e harm you
done your sel f by d i r t y i n g y o u r own
n e s t , i t serves you r i g h t , e x c u s i n g
t h e l i ber t y.
POCAHONTAS
What s h o u l d I do? I ' v e t h o u g h t of a
way t o b r i n g hi m back -- t o a s t o n i s h
hi m -- o r free m e f o r e v e r of desire.
MARY
Do n ' t l e t i t make you bi t t er. Yo u ' r e
a P r i n c e s s . You gr ew up i n a palace.
You' r e used t o g i v i n g o r d e r s a n d
h a v i n g y o u r own way. You mus t l e a r n
t o l i ve o n a common level now.
132 TIGHT ON ROLFE
JOHN ROLFE, a g e n t l e ma n l y p l a n t e r who h a s r e c e n t l y s h i p p e d
i n , o b s e r v e s t h i s s c e n e . The I n d i a n woman' s d i s h e v e l e d
b e a u t y s e n d s t ongue s of f i r e t hr ough h i s v e i n s .
133 GROUP OF WOMEN HAVING TEA
Po c a h o n t a s serves tea t o a gr oup of n e wl y - a r r i v e d women.
S h e we a r s a g l a z e d e x p r e s s i o n and seems u t t e r l y i n d i f f e r e n t
t o t h e i r gaze:.-As s oon as s h e leaves t h e room, t h e y b e g i n
,_ t o t a l k a b o u t h e r .
FIRST WOMAN
The o t h e r day s he s t r i p p e d o f f he r
c l o t h e s on t he l a n d i n g , i n f r o n t of
t h e Plowman f ami l y. When t he y gas ped,
s h e t ur ne d and t h r e a t e n e d t o s c a l p
them.
They are unaware t h a t t h e c r e a t u r e who i s s e r v i n g them o n c e
e nj oye d a ve r y d i f f e r e n t l i f e.
SECOND WOMAN
As soon a s I go n e a r h e r , s he g l a r e s
a t m e l i k e a b u l l . She' s goi ng t o do
h e r s e l f harm, s he i s . Good a s my
word. Says we s houl d e a t and s l e e p
and l o v e c h i l d r e n , o n l y c hi l dr e n!
1 3 4 EXT. CLEARING - SMITH'S ARMOR
Pocahont as comes upon Smi t h' s ar mor , st i l l hangi ng i n t h e
c l e a r i n g where t he y had t h e i r tryst t h e week b e f o r e he
l e f t . She l ooks up a t t h e c l ouds a s i nwar dl y s h e s pe a ks '
wi t h h e r mot her .
POCAHONTAS (0. S . )
I am goi ng mad a ga i n -- he a r v o i c e s --
You no l onger speak wi t h me o r walk
among t h e trees.
135 POCAHONTAS BY CANDLELIGHT
At n i g h t , by a candl e, s h e resumes t h e i r communion. A mot h
fl i t s a bout t h e f l ame. The windows buzz i n t h e i r f i t t i n g s .
Her e y e s d a r t r i g h t and l e f t , wa i t i ng f or Smi t h' s s p i r i t t o
make a n appear ance. Love and r a ge sweep over h e r i n waves.
Why c a n s he n o t l i ve l i k e t h e s i mpl e moth?
POCAHONTAS (0. S . )
I want t o do good, y e t I d o bad. You
t o l d m e t h a t i f I l ove d t r u l y , I would
f i n d t r u e l ove i n t u r n . I f ol l owed my
h e a r t ; now I am l o s t . I t hought t h e r e
were no . a' cci dent s, t h a t every sor r ow
would t u r n t o j oy, and a l l a t l a s t t o
b l e s s i n g . 0 Mot her , why di d you n o t
t e l l m e more?
136 POCAHONTAS BY MOONLIGHT
She l i s t e n s t o t h e wind i n t h e p i n e s . Fear grows i n h e r a t
t h e t hought of h e r f a t e . The s i g h t of t h e s ky, whi ch once
b
delighted h e r , now makes h e r heartsick and ashamed.
POCAHONTAS ( 0. S . )
P e o p l e have been p a t i e n t wi t h m e and
k i n d beyond words. Hel p Mary i f you
c a n . Ev e r y t h i n g i s gone f r om me --
e v e r y t h i n g b u t t h e c e r t a i n t y of y o u r
g o o d n e s s . The t i m e h a s come t o j o i n
y o u , a n d my f a t h e r s --
137 EXT. RIVERBANK
Poc a hont a s makes h e r way a c r o s s a w e t meadow i n t o t h e
d a r k n e s s o f t h e f o r e s t . She p i c k s a t o a d s t o o l , a red
a ma n i t a , a n d eat s i t , t h e n l i es down on a c a r p e t o f p i n e
n e e d l e s t o a w a i t h e r d e a t h .
Lu c k i l y , Wobbl ehead h a s been f o l l o wi n g h e r . H e r u s h e s o u t ,
p i c k s h e r u p i n h i s arms, s ha ke s h e r , t he n carries h e r of f
t o t h e r i ver , t o dr e nc h h e r a n d t o s e e k a n a n t i d o t e .
138 EXT. JAMESTOWN STREET - MONTAGE - AUTUMN
Autumn l e a v e s are f a l l i n g . Poc a hont a s wa l ks a r ound d r e s s e d
i n r a g s a n d t at t ers. H e r h a i r , whi ch once s hone l i k e a
r a v e n ' s wi ng, now ha ngs down i n matted tresses. She does
n o t care how s h e l o o k s . She h a s g i v e n up h e r a t t e mp t s a t
l o o k i n g l i k e a c i v i l i z e d woman. H e r r e a s o n f o r t hem j u s t
k sai l ed away. She i s di r t y, d i s t r a u g h t . She c a n barel y be
made t o u t t e r a word. She i s l i k e a wi l d c r e a t u r e t h a t
w i l l n o t t a k e t o c a p t i v i t y . She makes no secret o f h e r
l o s s . When s h e . d o e s grow a ni ma t e d, i t i s t o t a k e a
p e r v e r s e d e l i g h t i n d e g r a d i n g h e r s e l f b e f o r e t h e c i t i z e n s
o f J ames t own -- d a n c i n g a nd c h a n t i n g , be ha vi ng i n
u n p r e d i c t a b l e a n d out r a ge ous ways.
She wa t c h e s t h e s c a ve nge r dogs s l i n k t h r o u g h t h e al l eys a n d
f eel s a speci al a f f i n i t y wi t h t hem -- wi t h a l l t h i n g s l ow
a n d r e v o l t i n g , a l l t h i n g s s c or ne d a nd a bus e d.
She sees t h e I n d i a n s t r a d i n g wi t h t h e wh i t e men. The s i g h t
o f t h e s i mp l e , carefree l i f e t h a t s h e f o r e v e r has
r e l i n q u i s h e d f i l l s h e r wi t h an i n d e s c r i b a b l e di s may.
139 POCAHONTAS I N THE RAIN
Ro l f e wa t c h e s h e r as s h e wal ks i n t h e r a i n . She l o o k s u p
a t t he s k y wi t h a s m i l e and c l o s e s h e r e y e s , e n j o y i n g t h e
g e n t l e p e l t i n g of t h e r a i n d r o p s wh i l e t h e En g l i s h h u r r y by
c o v e r i n g t h e i r h e a d s . She d a n c e s .
- H e sees i n h e r a g l i m m e r of t h e n a t u r a l g l r l whom w e f i r s t
m e t ; wounded now, t hough s t i l l q u i t e young. Mustering h l s
b
c o u r a g e , h e steps o u t i n t o h e r p a t h .
ROLFE
I woul d l i k e t o s pe nd t h e a f t e r n o o n
wi t h you. How do I a s k?
POCAHONTAS
( a l o o f )
You j u s t di d.
S h e makes no ef f or t t o- d r i v e him away, n o r t o carry t h e
c o n v e r s a t i o n f u r t h e r .
140 EXT. PATH THROUGH THE WOODS
Poc a hont a s a nd Rol fe are on a p a t h t h r o u g h t h e woods. The
s i g h t of h e r , so b e a u t i f u l a n d so d e e p l y wounded, st i rs
R o l f e t o t h e q u i c k .
ROLFE
What are you g o i n g t o do? You c a n ' t
l e t y o u r s e l f r o t away.
POCAHONTAS
What d o you mean?
ROLFE
You seem l i k e someone who l o v e s h e r
f r eedom -- who c o u l d ne ve r b e c a u g h t .
Caught , you know, l i k e a b i r d i n a
c a g e .
POCAHONTAS
I d o n ' t know why you cal l it t h a t . If
I l i k e my cage, why need it t r o u b l e
you?
Two l i t t l e g i r l s r u s h up and be g h e r b r e a t h l e s s l y n o t t o
leave, o t h e r wi s e t h e y w i l l be s e n t back t o Engl a nd.
Poc a hont a s pr omi s e s t hem t h a t wi t h new f r i e n d s l i k e t h e s e ,
s h e woul d n o t c o n s i d e r i t . She a nd Ro l f e c o n t i n u e o n t h e i r
w a l k .
POCAHONTAS
You love p e o p l e , a n d t h e y d o n ' t love
you back. You t el l t hem t h e t r u t h ,
a n d t h e y t el l you l i es. I d o n ' t know
why I am s u r p r i s e d . I c o u l d n ' t ma k e
hi m love m e . I c oul dn' t make hi m
sorry when h e wa s n' t wi t h me . Do n ' t
r eml nd m e t h a t I ever s poke t h i s wa y .
I woul dnt t l i k e t o remember it.
Bu t s h e f i n d s it i mp o s s i b l e t o s t e m t h e f l ood t h a t i s
r i s i n g i n h e r .
POCAHONTAS
I c a n' t a bl de mys e l f . I l i v e d f o r
him. Al l day l ong I wai t ed f o r him
l i k e a dog. I obeyed him, s mi l ed a t
him, p u t on t h i n g s t o pl e a s e him, t he n
t ook them o f f i f I t hought t he y
wouldnr t. -
( Rol f e seems t o wi nce)
And a l l t h e t i m e he didnr t want me . I
can' t be a r it! And I des er ve it a l l !
I t hought o n l y of mysel f -- whi l e m y
f ami l y s u f f e r e d , whi l e my br ot he r
di e d!
Ro l f e l o o k s ar ound, wonder i ng i f t he y can be ove r he a r d.
POCAHONTAS
I w i l l t e a r him from me , t ear my c h e s t
down t o t h e bone, u n t i l t h e shame i s
gone. Un t i l I t e a r i t o u t !
She h a s been f e e l i n g s t r o n g . Now, s uddenl y, s h e feel s very'
weak.
POCAHONTAS
Oh, M r . Rol f e , i f I c r y , y o u ' l l p u t
your hand over my mouth, won' t you --
and hol d me t i g h t ? Hold me , M r .
Rol f e. Hold me wi t h a l l your
s t r e n g t h .
Ro l f e r oc ks h e r g e n t l y i n h i s arms.
140B EXT. JAMES RIVER
Ge n t l y , g u i l t i l y , Ben whi s per s t o Pocahont as t h a t Smi t h i s
dead. W e do n o t see t h e moment when s he unde r s t a nds what
h e 1s s a yi ng, onl y t h e a f t e r ma t h , as s h e r ubs d u s t on h e r
f a c e a n d body, t hen pl unge s f u l l y c l o t h e d i n t o t h e r i v e r ,
a s t hough t o calm he r g r i e f .
140C EXT. TUNDRA (NEWFOUNDLAND) - WI ND, A CREAKI NG MAST
S mi t h ' s shadow advances ove r t h e gr ound. Se a r c hi ng and
s e e k i n g a r e wr i t t e n i n h i s f a c e , wi t h e t e r n a l f a i l u r e t o
f i n d . H i s t r a v e l s b r i n g him a t l a s t t o t h e b l e a k ,
wi ndswept t undr a of Newfoundl and. Ther e i s n o t a tree i n
sight, no murmuring stream or leaf to speak wi t h his soul.
The n a t i v e s h e r e ( I n u i t , o r Eski mos) gaze a t hi m c o l d l y ,
.- wi t h e y e s l i k e - - s t ones , a s t hough h e were a man who c oul d
n o t b e t r u s t e d o r r eckoned wi t h. The b r i b e of gaudy beads
B
h e h o l d s o u t t o them t h e y t u r n t h e i r backs on, and he c a s t s
i t a s i d e as somet hi ng wo r t h l e s s a f t e r a l l , i n t o t h e s t i f f ,
dead grass .
L
i
140D EXT. DRY RIVERBED
Smi t h s t a n d s i n a dry r i v e r b e d .
A STRANGER l o o k s a t hi m
s k e p t i c a l l y a s , of f camera, we h e a r :
SMITH ( O. S. )
I mus t k e e p l o o k i n g .
1 4 1 JAMESTOWN GROWS - MONTAGE
A l e g e n d r e a d s : "Four Years La t e r M. The c ol ony h a s
p r o s p e r e d , i t s peace wi t h Powhat an assured by Poc a hont a s '
p r e s e n c e a t t h e f o r t . N e w a r r i v a l s come i n f r o m Engl a nd
every f e w weeks. They f el l t h e f o r e s t s a nd l a y o u t t h e i r
f i el ds . The h o u s e s more a nd more r e s e mb l e t h e Tudor
c o t t a g e s o f Engl and. Ro l f e writes i n h i s j o u r n a l , a
p o r t i o n o f whi ch pl ays over t h e s e s c e n e s .
ROLFE (0. S . )
" I n t i m e h e r s pi r i t s i mpr oved. She
came t o b e l i e v e t h e r e mus t be a r e a s o n
f o r a l l t h a t h a d come t o pass. Thi ngs
d o n o t happen by a c c i d e n t . S h e woul d
go whe r e ve r l i f e s h o u l d l e a d h e r . She
woul d n o t l a n g u i s h i n s or r ow. The
s u n , t h e g r a s s a n d t h e s t a r s -- t h e y
a l l were p e r f e c t a nd c o n t e n t . Why
s h o u l d s h e n o t be t h e same? H e r
t r a n s f o r ma t i o n was r e ma r ka bl e , a g r e a t
s a t i s f a c t i o n t o a l l who knew a n d cared
a b o u t h e r . "
R o l f e g i v e s Poc a hont a s books f r om h i s l i br ar y. She l e a r n s
t o read a n d t o s p e a k p r o p e r l y . She st udi es ge ogr a phy,
h i s t o r y a nd l i t e r a t u r e . She f l o u r i s h e s unde r h i s t u t e l a . g e .
M a r y h a s j o i n e d t h e hous e hol d a s a s e r v i n g mai d.
142 AMBUSH, POWHATAN MOVES OUT, VILLAGE ON FIRE
The c o l o n i s t s s k i r mi s h wl t h t h e I n d i a n s , u n t i l Powhat an,
d e f e n s e l e s s a g a i n s t t h e i r s u p e r i o r a r ms , decides t o abandon
t h e T i d e w a t e r a nd pus h west, by c a noe a n d c a r a v a n , ~ n t o t h e
t e r r i t o r y of enemy t r i b e s . The l o n g h o u s e s are b u n d l e d u p ,
t h e s t o r e s u n e a r t h e d a nd s e a l e d i n cl ay p o t s , t h e v i l l a g e s
b u r n e d t o t h e gr ound.
Poc a hont a s sees, i n t h e d i s t a n c e , t h e b l a c k col umns of
smoke. She s t a n d s and wonder s how much more d e s t r u c t i o n
s h e w i l l wi t n e s s . Tears ri se up b e h i n d h e r eyes.
143 TIGHT ON POWHATAN
H i s f ace set l i k e a f l i n t , Powhat an bids farewel l t o h i s
a n c e s t r a l home.
'L.
1 4 4 EXT. HENRICO TOBACCO FIELDS - ROLFE - PANTOMIME
I.'
Ro l f e c u l t i v a t e s h i s e x t e n s i v e t obacco f i e l d s .
Pocahont as
g i v e s him va l ua bl e a d v i c e , showing him ( i n pantomime) how
t o ni p o f f t h e s e e d buds s o a s t o c onc e nt r a t e nour i shment
i n t h e l e a v e s , how p r o p e r l y t o f a l l ow t he l a n d , p l a n t i n g
beans a t t h e f o o t of t h e cor n s o t hey can cl i mb up t h e
s t a l k s whi l e r e p l e n i s h i n g t he s o i l , et c.
He l pe r s work a t t h e c u r i n g r a c ks , s e t t i n g t h e t obacco o u t
t o d r y i n t h e s un, t h e n packi ng i t i n t o hogsheads f o r
s hi pment back t o Engl and. A sacr ament t o t h e I ndi a ns ,
t obacco ha s become t h e f oundat i on of Jamest ownt s economy,
i t s onl y s i g n i f i c a n t e xpor t . Rol f e makes up a pi pe .
145 ANGLES ON POCAHONTAS
Wobblehead amuses Pocahont as wi t h h i s a n t i c s a s s he wanders
a l o n g t h e count r y l a n e s .
She i s a l egend t o t h e Engl i s h, who b r i n g h e r g i f t s and
l e a v e them a t her door s t e p. She opens t h e g i f t s -- s t r a n g e
h a t s , r e l i g i o u s pa r a phe r na l i a , d o l l s , b a l l o o n s , p i n s . She
t r i es on a h a t . The t a i n t and burden of h e r madness f a l l s
. away. Gr adual l y s h e grows more Engl i s h i n h e r ways, t hough
a t dawn s he s wi ms i n t h e r i v e r s t i l l , and s t i l l t h e e l d e r s
- s p y on h e r a s she doe s .
146 EXT. JAMES RIVER - ABOARD THE MOVING BOAT - LATER
Ro l f e h a s br ought Pocahont as o u t boa t i ng on t h e J a me s . Her
unhappi nes s i s no l onge r s o a c u t e , and h i s ki ndnes s ha s
grown upon h e r . Has s h e begun t o s e a i n him a
r e i n c a r n a t i o n of h e r l o s t l ove r ? Though n o t as handsome o r
d a s h i n g a s Smi t h, Rol f e i s an immensely at t r act i ve man.
S t i l l , you can t el l f r om h e r d i s t r a c t e d manner t h a t s he
d o e s n o t r e ga r d him wi t h anyt hi ng l i k e t h e f e e l i n g s he once
h a d f o r Smi t h.
ROLFE
Suppose I a s ke d you t o marry me? What
would you s ay?
POCAHONTAS
A r e you a s ki ng me?
( he nods)
Where would we l i v e ?
ROLFE
Here. Engl and, i f you wi sh. Per haps
t h a t would be best . You c oul d f o r g e t
your l i f e i n t h i s pl a c e .
POCAHONTAS
I c oul dn' t l i ve i n Engl and, M r . Rol f e .
ROLFE
Say y e s .
POCAHONTAS
Li s t e n t o you. Always g i v i n g or de r s !
Somet hi ng has changed i n h e r . She ha s nowhere t o t u r n , a nd
s h e desperately wants t o make h e r peace wi t h t h e worl d, t o
l i ve wi t h a sembl ance of decency a ga i n, f r e e o f s c a n d a l , o f
u n c e r t a i n t y and i n s o l e n t l o o k s .
POCAHONTAS
( s t a l l i n g )
You donr t know how i t i s .
ROLFE
I do. I know what you a r e goi ng t o
t e l l me , i n any case. I know t h e
rumors -- t h a t some mi ght be t r u e .
She nods . She f e e l s an odd d e s i r e t o humi l i a t e h e r s e l f i n
h i s e y e s , so t h a t he can e n t e r t a i n no i l l u s i o n a bout h e r .
ROLFE
That t s a l l dead and gone.
POCAHONTAS
I wi sh I ' d m e t you f i r s t . But a l l t h e
wi s hi ng i n t h e world wonf t make i t
d i f f e r e n t .
( d e f l e c t i n g hi m)
Have you t hought a bout t h e l ooks you
would r e c e i ve ? They t a l k a bout us
enough a l r e a dy, even now. You would
f e e l a8 t hough y o u r every t hought w a s
known t o them. You' r e so pr oud, M r .
Rol fe . You coul dn t be a r it.
ROLFE
I would bear i t pr oudl y.
POCAHONTAS
Ther e a r e t hi ngs you d o n ' t know and
coul d not gues s . I would b e obl i ge d
t o t el l you a l l .
' ROLFE
I know what I have t o . I know t h a t I
l o v e you.
POCAHONTAS
( wi t h d i f f i c u l t y )
You see, I d e s p i s a hi m, b u t I don' t
know wha t I woul d do i f h e were t o
come u p f r om t h e de a d. I t i s b e t t e r
t o f a c e t h e t r u t h t h a n t o h u r t you as
w e l l . You see, I am weak -- t o o weak
t o r el y o n . You s houl d h a v e t h e s e n s e
t o know i t , as much as I woul d l i k e
you t o f o r g e t i t .
ROLFE
I d r e a m a b o u t you. I woul d give up
e v e r y t h i n g . My f r i e n d s , my l a nd.
Ev e r y t h i n g .
Her c a n d o r s t i r s h i s c h i v a l r y . H e r e a c h e s o u t t o t a k e h e r
hand.
ROLFE
Rhy d o you s h r i n k f r om me?
POCAHONTAS
I wasn' t t h i n k i n g .
ROLFE
T e l l m e . . .
POCAHONTAS
You know I d o n o t l i k e t o t a l k a b o u t
myself. I ' m n o t g o i n g t o l e t you make
me .
ROLFE
Won' t you say y e s ?
She l o o k s a t hi m f o r a moment.
POCAHONTAS
Al l r i g h t . If you l i k e .
ROLFE
Dont t you want t o ?
POCAHONTAS
Th e r e ' s nobody else I woul d m a r r y . . .
She b u r s t s i n t o tears
ROLFE
Th i s i s n ' t what I e x p e c t e d . Why ar e
you c r y i n g , Rebecca?
POCAHONTAS
I ' m s o r r y .
ROLFE
Why are you c r yi ng?
POCAHONTAS
I gues s b e c a u s e . . . I must be happy. I
never l i ke t o c r y . I t g i v e s me a
headache. Bu t . . . I s a i d I w i l l mar r y
you. I w i l l n o t l o v e you, b u t I w i l l
marry you.
R o l f e c o n s i d e r s t h i s remark f or a moment.
ROLFE
When s h a l l I make t h e announcement ?
She l o o k s a t hi m, a s t oni s he d b y h i s ki ndnes s and de vot i on.
Though s h e does n o t l o v e him, s he admi r es him a g r e a t d e a l .
She t r u s t s him. H e i s s t r o n g and s a ne . She doe s n o t know.
what el se t o hope f o r .
ROLFE
You do n o t l o v e me now. Someday you
w i l l . O r I s h a l l seek t o de s e r ve t h a t
you s houl d.
1 4 7 I NT . JAMESTOWN COUNCIL HOUSE
Ro l f e d i s c u s s e s h i s ma r r i a ge p l a n s wi t h t h e elders of
Jamest own. Newport p r e s i d e s . I n a n i mpr ovi s ed way, t h e
e l d e r s d i s c u s s t h e i r o b j e c t i o n s t o t h e i d e a -- pr e c e de nt ,
whet her t he y can a l l ow a pr e c e de nt f o r mi s cegenat i on, et c.
F i n a l l y , Newport i n t e r v e n e s ; a man of c ol d l o g i c .
NEWPORT
You a r e n o t i g n o r a n t of t h e heavy
d i s p l e a s u r e whi ch Al mi ght y Go d
concei ved a g a i n s t t h e sons of Levi and
I s r a e l f o r ma r r i a ge of s t r a n g e wives.
ROLFE
No.
NEWPORT
Would you do a nyt hi ng neces s ar y t o
b r i n g t h i s about ?
ROLFE
Y e s .
NEWPORT
Would you write o u t a p e t i t i o n ,
e x p l a i n i n g as t h e we a l t h i e s t p l a n t e r
i n Vi r g i n i a t h e benef i t t h i s would
o f f e r t o t h e col ony? Could you s t a t e
your hope t h a t i t mi ght be t h e
be gi nni ng of t h e g r e a t work o f
c onve r t i ng t he Na t ur a l s , t h a t t h i s
i d e a came t o you i n no way f r om c a r n a l
a f f e c t i o n s but f o r t h e good o f t h e
p l a n t a t i o n , f o r t h e g l o r y of God and
your own s o u l , wi t h t h e pur pos e o f
s a v i n g an unbel i evi ng c r e a t u r e , moving
a n ur r e ge ne r a t e t o r e ge ne r a t i on. And
woul d you add t o t h i s t h a t t ha Lord
s houl d condemn you a t t h e dr e a df ul day
of j udgment , when t h e secrets of a l l
h e a r t s w i l l . be known, i f t h i s be n o t
your t r u e i n t e n t . Would you do t h a t ?
( Rol f e nods)
Then s u r e l y you do l o v e h e r . Write.
148 I N T . POCAHONTAS' ROOM
Mary h e l p s Pocahont as g e t r eady f o r t h e wedding
1 4 9 I NT. JAMESTOWN CHURCH
The c i t i z e n s o f Jamestown c e l e b r a t e t h e f i r s t uni on o f
I ndi a n and whi t e man i n t h e Ne w World. B e l l s r i n g o u t .
150 EXT. ROLFE HOUSEHOLD - SERIES OF ANGLES
Ro l f e and Pocahont as choose t h e s i t e where t h e y w i l l b u i l d
t h e i r hous e -- beyond t h e f o r t , on a bank over l ooki ng t h e
ri ver.
ROLFE
W e can bur n t h e weeds o f f h e r e and
make a gar den.
They wedge t h e e a r t h open wi t h a di ggi ng s t i c k , t o f i n d t h e
b e s t t o p s o i l .
Gr a dua l l y t he y s et t l e i n t o a l i f e of q u i e t domes t i c j oy.
Pocahont as mi l k s t h e c a t t l e and l e a ds them t o t h e i r s t a l l s .
She ba ke s br e a d i n t h e oven and wat ches h e r husband wi t h a
gr owi ng de vot i on; h e has s aved her from doom.
From t i m e t o t i m e I ndi ans appr oach t h e house t o t r a d e wi t h
h e r hus band. Covered wi t h s o o t and s we a t , s he l ooks
l o n g i n g l y a t t he m, who spend t h e i r days a s t h e b i r d s o f t h e
a i r and l i l i e s of t h e f i e l d . She w i l l never agai n p l a y i n
t h e r i v e r o r r un carefree t hr ough t h e s c e nt e d f o r e s t s .
i_
151 INFANT
V
Gent l e hands daub a newborn i n f a n t wi t h s p r i g s of moss.
152 INT. ROLFE HOUSE
Pocahont as h a s j u s t gi ven b i r t h t o a s on. Rol f e i s
over j oyed. But when Mary hol ds t h e c h i l d o u t t o h i s
mot her , Pocahont as h e s i t a t e s t o a c c e p t i t , a s t hough s h e
doubt ed i t were h e r own. Then h e r n a t u r a l f e e l i n g s assume
t h e i r r e i g n , a s s h e t a ke s i t warmly up i n t o h e r arms.
ROLEE
Dear c h i l d ! Thomas! May w e cal l him
t h a t ?
153 EXT. JAMES RIVER
Pocahont as s i t s wi t h Mary on t h e bank of t h e James. She
l ooks o u t a c r o s s t h e f i e l d s s he roamed a s a g i r l , t o t h e
s t i f f r anks o f p o p l a r and v i r g i n pi ne . She r e me mb e r s t h e
n i g h t s when t h e a u r o r a b o r e a l i s shi mmered above them. Th e .
a i r r i n g s wi t h t h e cries of c h i l d r e n .
MARY
You seem happy
POCAHONTAS
I mi ght b e . I am about t o b e . Do you
e ve r know? I speak wi t h my mot her
a ga i n. I speak wi t h t h e c l ouds . I
t hought it would never be . I have a
f a mi l y now.
Pocahont as jumps and s k i p s as s he p l a y s wi t h h e r l o v e l y
c h i l d , who now i s two y e a r s o l d . The'n s uddenl y s he s t o p s ,
a s t hough s he had n o t i c e d how happy s h e w a s f e e l i n g and
f e l t g u i l t y a b o u t i t . But it i s s o wonder f ul t o f e e l a
p a r t o f l i f e a g a i n , t o feel i.t f l owi ng i n he r ve i ns . Yes!
She t u r n s t o Ro l f e and s m i l e s .
154 VISION OF SMITH
That n i g h t ~ o c a h o n t a s dreams of h e r own mot her , a l o r d l y
woman who summons up t h e ghos t o f Ca pt a i n Smi t h. Smi t h ha s
somet hi ng i n h i s hand, a l i t t l e book, which h e r mot her
i n s i s t s s h e t a k e from hi m. She s t u d i e s t h e books, b u t s he
can make no s e n s e o f i t . When s h e l ooks up, Smi t h i s
beckoni ng h e r . Where?
-L
155 EXT. WALLS OF JAMESTOWN FORT
Anot her da y, a s s he i s wal ki ng a l one by t h e walls of t h e
f o r t , s he h e a r s some voi c e s on t h e o t h e r s i d e t a l k i n g a bout
a man who c oul d onl y be Sml t h. She s t o p s . She p u t s h e r
e a r t o t h e rough-hewn pa l i s a de .
VOICES (O. S. )
H e g o t boot ed o u t of Newfoundland.
S e t hi ms el f up a not ch t o o hi gh. Low-
bor n man! Knocked him from h i s
per ch! . . . H e coul d make you l augh,
t hough. H e coul d make you l augh.
The trees sway back and f o r t h above h e r head. A da r kne s s
c l o s e s ar ound h e r h e a r t . A t a conveni ent moment s he
appr oaches one o f t h e men who has been s peaki ng.
POCAHONTAS
Ca pt a i n Smith i s s t i l l a l i v e ?
( t h e man nods)
You s a w him?
MAN
Y e s .
She t u r n s and w a l k s away. Her face i s whi t e wi t h shock.
156 I NT. ROLFE HOUSE
Rol f e l e a n s down t o k i s s Pocahont as, b u t s he e l ude s him.
POCAHONTAS
I cannot d o t h a t .
ROLFE
Why not ?
POCAHONTAS
I t would mean somet hi ng I do n o t f e e l
ROLFE
What ha s come over you?
POCAHONTAS
1 a n mar r i ed t o -- hi m.
ROLFE
(aft er r e a c t i n g t o t h l s )
Married? You d o n ' t know t h e meaning
of t h e word e x a c t l y .
POCAHONTAS
But I am.
ROLFE
You' ve been so happy.
, POCAHONTAS
Did I s a y I had been? My h e a r t i s
l i k e a s t o n e .
Rol f e s u f f e r s t h i s remark dumbly. H e r eaches o u t t o t a k e
her hand.
POCAHONTAS
I mus t n' t do t h i s , John Rol f e . I
c a nnot k i s s you a s be f or e . Why do you
tempt me?
She wal ks i n t o t h e ki t c he n, c l o s i n g t h e door behi nd h e r .
ROLFE
Don1 t go.
Mad wi t h j e a l ous y, Rol f e j e r ks t h e door o f f i t s hi nges
POCAHONTAS
You ought not t o have done t h a t . I t
i s n o t becoming of you. Pl e a s e go
away. W i l l you?
ROLET
I mer el y wish t o s ay t h a t it i s
monst r ous you s houl d f e e l t h i s way.
POCAHONTAS
Y e s , I know. I t i s wicked o f me. I
am s o r r y . But i t i s n o t I a l t o g e t h e r
who am t o blame.
ROLFE
Who i s , t hen?
POCAHONTAS
M r . Rol f e , would you mind my l i v i n g
away from you?
ROLFE
Away f r om me? What was t h e meaning of
o u r mar r yi ng, t hen?
POCAHONTAS
I t hought I c oul d do not hi ng e l s e . I
gave y o u my pr omi se. Then, as t i m e
went on, I r e g r e t t e d I had and wi shed
I c oul d f i n d a way t o br eak i t o f f . I
t hought o f t he s candal i t would caus e
-- t h i s f r i g h t e n e d me .
(MORE )
POCAHONTAS ( cont l d)
I , of a l l pe opl e , ought n o t t o have
c a r e d what pe opl e s a i d . But I was a
coward -- and I d i d n ' t want t o h u r t
you. Now I see i t would have been
b e t t e r t o have i n j u r e d your f e e l i n g s
t he n, t han t o mar r y you and i n j u r e
them a l l m y l i f e a f t e r . W i l l you l et
m e go away?
( paus e)
M r . Rol f e , why s houl d w e l e t t h e wor l d
choose our p l a n of l i f e f o r us ? What
i s t h e us e of t hi nki ng of laws, any
l aws , i f t he y make you mi s e r a bl e when
you know you a r e commi t t i ng no wrong?
ROLFE
From my p o i n t o f vi ew, you ar e
commi t t i ng a wrong i n not l i k i n g me .
POCAHONTAS
I do l i k e you! But I d i d n ' t see i t
would be -- s o much more t han t h a t .
For a man and a woman t o l i ve
t oge t he r , when one feel s a s I do, i s
n o t r i g h t . Ther e. I have s a i d i t !
She wi nces i nwar dl y t o see t h e pai n t h a t s h e i s c a us i ng
hi m. But he i s p a t i e n t and ki nd. H e over l ooks i n s u l t and
i n j u r y . He does n o t s t a n d on h i s r i g h t s , nor keep a r e c or d
o f wrongs. His i s a l o v e t h a t never g i v e s up.
POCAHONTAS
Ther e' s a hous e i n t h e heart . A
l i t t l e house. I can1 t he l p i t t h a t he
came t o mine.
ROLFE
You can.
POCAHONTAS
How? See my hand?
I t f l u t t e r s l i k e a l eaf. She i s f a i t h f u l t o h e r g r i e f . To
t h i n k -- s he had ' al most abandoned i t !
POCAHONTAS
I ' m t h a t way a l l t hr ough. Don' t l e a v e
m e . See m e t hr ough t h i s . I don' t s a y
i t ' s r i g h t . Why c a n ' t w e a gr e e t o
free each other? We made the pact.
A t n i g h t , when w e c oul d n o t see.
Sur e l y w e can c a nc e l i t . Then w e
mi ght be f r i e n d s and meet wi t hout pai n
t o e i t h e r one of u s . Be my f r i e n d ,
M r . Rolfe.
(Mom)
POCAHONTAS (con t d)
( paus e)
Oh, d o n ' t you s e e ? W e s h a l l bot h be
dead i n a f e w y e a r s . Then what w i l l
it ma t t e r t o anybody t h a t you set me
free f o r a l i t t l e whi l e? Why c a n ' t w e
seem f o o l s t o t h e worl d? I know I am
wrong. I al ways am. I gus s s you j u s t
c a n ' t say t h a t you w i l l l o v e someone
f o r e v e r .
ROLFE
You mean, by l i v i n g away from me , t o
l i ve by your s e l f ?
POCAHONTAS
If you i n s i s t . I know you mean my
good. I w i l l go away and never
t r o u b l e you a g a i n . Bu t . . . i f you w i l l
n o t l e t me go my way, w i l l you l e t me
l i v e he r e s e p a r a t e l y ? I would n o t a s k
i f I w e r e not f o r c e d t o . Be ki nd,
t hough I have n o t been ki nd t o you!
Agai n, he r eaches o u t t o t a k e he r hand.
POCAHONTAS
You mus t n' t , M r . Rol f e .
ROLFE
Mustn' t what?
POCAHONTAS
Love me. You a r e t o l i k e me . That i s
a l l . If you want t o l e a v e me
a l t o g e t h e r , I under s t and. Or s a y one
t h i n g and do a not he r . I under s t and.
( poi nt i ng t o t h e window)
Go, l ook a t t h e s un. See what i t
s a ys .
Ro l f e l ooks o u t t h e window i n s i l e n c e . The s par r ows f u s s
under t h e eave.
1568 I NT. THOMAS' BEDROOM - LATER
Pocahont as l ooks down a t h e r c h i l d , a s l e e p i n h i s bed;
Poor , h e l p l e s s t hi ng -- why s houl d he s u f f e r ? A t i d e of
love s ur ge s up i n her c h e s t , h e r t h r o a t .
157 I N T . MASTER BEDROOM - LATER
- Rol f e answer s a knock a t h i s bedroom door . Pocahont as
s t a n d s be f or e him i n h e r ni ght gown.
C
POCAHONTAS
I have changed my mind. If you want
t o l o v e m e , you a r e f r ee t o . I w i l l
ne ve r t e l l you a ga i n t h a t you mus t n' t .
W i l l you f o r g i v e me f o r my c r u e l t y ?
ROLFE
What h a s happened t o you?
( s he s hakes h e r head)
You ar e o u t of your s e ns e s .
POCAHONTAS
I c a n ' t endur e your s a yi ng t h a t . I am
h e r e , am I not ? DonJ t t u r n m e away.
H e r e a c he s o u t t o h e r , b u t s he s h r i n k s away; s h e cannot
h e l p it.
ROLFE
Why di d you do t h a t ?
POCAHONTAS
I was n' t t hi nki ng. I ' m s o r r y
The t i c k i n g of a cl ock i s l oud i n t h e e nc l os ur e of t h e
l i t t l e room.
ROLFE
I have had some s u r p r i s i n g news. We
have been i n v i t e d t o Engl and. O r
r a t h e r , you have.
POCAHONTAS
By whom?
ROLE'E
By t h e King and Queen. There w i l l be
a r o y a l audi ence i n your honor.
( s he l ooks puz z l e d)
You are known t o them a l l . B u t t h a t
i s n o t why I t hi nk t h a t you s houl d go.
' POCAHONTAS
Why, t hen?
ROLFE
T o see M r . Smi t h. To s e e i f you s t i l l
l o v e him.
She si t s down l n a c or ne r and p u t s h e r face i n her hands.
-
158 EXT. JAMESTOWN DOCKS
v
The hawser s ar e c a s t f r e e a s Pocahont as , Rol f e and t h e i r
son Thomas boar d a s h i p bound f o r Engl and.
Mary ha s come
al ong t o h e l p wi t h t h e c h i l d . Newport , t o o , i s a
pa s s e nge r .
Wobblehead wat ches t h e s h i p move down t h e James Ri ver
t oward t h e At l a n t i c br e a ke r s .
159 EXT. SHIP, HI GH SEAS
Pocahont as i s a s t oni s he d t o di s c ove r t h a t Opechancanough i s
a f e l l o w pas s enger . The g r e a t c h i e f i s d i s g u i s e d a s a
common I ndi a n.
POCAHONTAS
Uncl e!
Opechancanough i n d i c a t e s t o h e r t h a t s h e must keep h i s
i d e n t i t y a secret . Nonet hel es s , s he g r e e t s him wi t h t h e
pr ope r f o r ma l i t i e s .
POCAHONTAS
The da ught e r of Powhatan g r e e t s h e r
mi ght y unc l e . She begs hi m s peak t o
h e r , s o t h a t s h e may remember t h e
honor a l l of h e r days .
OPECHANCANOUGH
( c o l d , a l o o f )
Opechancanough, who has won f i f t e e n
f e a t h e r s i n b a t t l e a g a i n s t t h e enemi es
o f h i s pe opl e , g r e e t s t h e da ught e r of
t h e Emperor and or de r s h e r t o r i s e
t h a t h e mi ght see h e r f a c e .
POCAHONTAS
Why have you come?
OPECHANCANOUGH
Your f a t h e r s e n t me . I am t o p l a c e a
not ch i n ' t h e s e s t i c k s f o r e a c h whi t e
per s on I come upon.
H e shows he r a s he a f of s t i c k s he carri es wi t h him.
OPECHANCANOUGH
Y e s -- and t o see t h l s "God" t h e y
speak so much about .
With a skeptical a i r , he bows t o h e r and wal ks o f f , t hough
$.
from t h e way i n whlch he wat ches h e r h e r e a f t e r ,
w e s u s p e c t t h a t h e r f a t h e r ha s s e n t hi m a l o n g i n p a r t t o
l o o k a f t e r h e r as well.
Ot h e r I n d i a n s s wi m b e h i n d t h e b o a t , p u l l e d a l o n g by a
t r a i l i n g r o p e . Even i n t h e mi ddl e o f t h e At l a n t i c t h e y
c a n n o t resi st t h e a t t r a c t i o n of t h e c o l d , wi l d water.
160 SIGHTS OF ENGLAND - HOLLAND (BRUGES) AND QUEBEC
Po c a h o n t a s ga z e s i n wonder on t h e s i g h t s o f t h e O l d World
as t h e y ri de up t h e Thames. How s h e onc e dr eamed o f t h i s
h o u r ! The s h i p g l i d e s p a s t t h e Isl e of Dogs a nd t u r n s i n t o
t h e p o o l of London. The Tower, W i l l i a m t h e Co n q u e r o r l s
gr eat f or t r ess, rises f r om t h e b l u e m i s t s a t t h e wa t e r ' s
edge. S t i l l f a r t h e r u p s t a n d s London Br i d g e , b r i s t l i n g
wi t h t h e he a ds o f r e c e n t l y e x e c u t e d f e l o n s . Do me s a nd
t e mp l e s , avenues a n d t h e a t e r s l i e open t o t h e f i el ds a n d
s k y . B e l l s are r i n g i n g f a r away.
161 EXT. LONDON DOCKS
H a l f t h e ci t y1 s p o p u l a t i o n seems t o ha ve t u r n e d o u t f or .
Poc a hont a s ' ar r i val . She sees h e r u n c l e i s t a k i n g n o t e o f
a l l h e r s i l k s a nd f i n e r y . Opechancanough h i ms e l f i s bare .
e x c e p t f o r h i s d e e r s k i n a pr on a nd s p l a s h e s o f p a i n t .
Sh e wa l ks down t h e ga ngpl a nk, s e a r c h i n g t h e faces of h e r
we l c ome r s f or someone who is n o t t h e r e .
The cr owds marvel a t h e r b e a u t y , bl ow k i s s e s a nd t hr ow
fl owers i n h e r p a t h . She i s a dove of p e a c e , t h e l i v i n g
p r o o f t h a t t h e h e a r t ' s great wi l d e r n e s s c a n be t amed, t h e
i n f i d e l b r o u g h t t o C h r i s t . She i s t h e very f l e s h a nd
promise o f t h e Amer i can s o i l , a n Ea r t h Mot her as s u r e l y a s
a n c i e n t D e me t e r .
162 EXT. LONDON STREETS - SERIES OF ANGLES
Hand i n hand wi t h h e r c h i l d , s h e wal ks l i k e a s omnambul i s t
t h r o u g h t h e crowds of t h e c u r i o u s . The c l a n g i n g o f t h e
cart s a nd c oa c he s a t f i r s t alarms h e r b u t s oon i s a s o u r c e
of gr eat d e l i g h t . She h a s ne ve r b e f o r e s e e n h o r s e or
whe e l .
S h e g a z e s i n wonder a t t h e riders. To h e r t h e y seem a p a r t
of t h e h o r s e i t s e l f , a s i n g l e b e i n g wi t h t h e i r mount . She
sees a f l a g s t r e a mi n g i n t h e b r e e z e . She sees a gr eat
cl ock t o o , b u t seems t o remember when Smi t h s poke t o h e r of
s u c h t h i n g s i n t h e woods. H e r hus band d o e s n o t g u e s s h e r
t h o u g h t s . Opechancanough s h a r e s h e r amazement . The cr owds
a p p l a u d h e r wher ever s h e g o e s .
r
What f a s c i n a t e s h e r most i s window gl ass.
She p r e s s e s h e r
f i n g e r s a g a i n s t t h e l e a d e d p a n e s o f a b a k e r ' s s h o p a nd
s mi l es a t t h e pe opl e i n s i d e . L i f e abounds wi t h wonde r s .
They p a s s a c a ndl e ma ke r ' s s t a l l .
POCAHONTAS
Do you e a t t h e s e ?
ROLFE
They a r e c a n d l e s . You l i g h t t h e e n d s .
She l o o k s away, e mba r r a s s e d by h e r mi s t a k e . London' s
squal or , t h e open sewers a n d f e t i d l a n e s , make t he i r
i mp r e s s i o n on h e r , t o o . S h e s t udi es a gr oup of young
a d v e n t u r e r s , r e mi n i s c e n t i n t h e i r own way o f Smi t h. S h e
g l a n c e s a t Rol fe, sees t h a t h e h a s be e n wa t c h i n g h e r a n d
l o o k s g u i l t i l y away. Does h e g u e s s what s h e i s t h i n k i n g ?
163 EXT. HEACHAM HALL
A c o a c h p a s s e s t hr ough t h e gat es of Heacham H a l l , t h e
c o u n t r y e s t a t e where t h e y ha ve t a k e n u p r e s i d e n c e .
P o c a h o n t a s a l i g h t s , bows g r a c e f u l l y t o a f oot man a n d l o o k s
a b o u t h e r i n amazement a n d d e l i g h t . A f o u n t a i n s t a n d s
before t h e e n t r a n c e . The n o i s e o f w a t e r r u s h i n g t h r o u g h i t
+ d i s s o l v e s i n t o t h e s ound of a p p l a u s e .
164 INT. WHITEHALL PALACE
T o a f a n f a r e of t r umpe t s a n d t i mp a n i , Poc a hont a s s t e p s down
t h e ma i n ai s l e of Wh i t e h a l l P a l a c e as s h e i s p r e s e n t e d t o
T h e i r Majesties James and Anne, t h e KI NG a nd QUEEN of
En g l a n d . Her c oa l - da r k eyes a n d n o b l e b e a r i n g s e n d tremors
t h r o u g h t h e c o u r t .
M a r y l o o k s on f r o m t h e gal l er y: a t l as t h e r u n f o r t u n a t e
mi s t r e s s i s r e c e i v i n g t h e r e s p e c t s h e deserves.
Opechancanough i s on hand, t oo, i n h i s Pamunkey war dress.
P o c a h o n t a s bows t o t h e Ki ng. Ro l f e l i s t e n s as t h e Co u r t
L a u r e a t e reads a c ompos i t i on i n h e r p r a i s e . Thomas
l i s t e n s , t o o .
' LAWATE
"The P r i n c e s s of Vi r g i n i a , Empress of
t h e Ne w Worl d, S a v i o r o f t h e Mi s s i on
I mp e r i a l . Thr ough you w e leave b e h i n d
t h e p a s t a nd go f o r t h i n t o a newer ,
mi g h t i e r wor l d, of f r e s h wonder s ever.
Thr ough you w e s h a l l wal k i n unknown
ways ; ' . p i e r c e d e e p mi ne s a n d f e l l t h e
f o r e s t s , l ook on p e a k s g i g a n t i c a n d
f i n d t h e s p r i n g s of great ri vers. You
r a d i a t e r e dunda nt j oy a nd grace on a l l
a r o u n d you.
(MORE )
LAUREATE ( c ont l d)
You wa r m u s w i t h t h e f u l l n e s s of your
h e a r t . You i n s p i r e u s wi t h your
c o u r t e s y . You unl oos e o u r t ongues .
The wal l s o f our h a b i t u a l reserve
v a n i s h and leave u s a t l a r g e . "
KI NG JAMES
( i n t e r r u p t i n g )
Does h e bor e you?
POCAHONTAS
No, King. I a dor e f l a t t e r y -- however
d i s h o n e s t .'
KI NG JAMES
Admi r abl e d i r e c t n e s s ! T e l l me , how
l a r g e i s your f a t h e r ' s r eal m?
POCAHONTAS
Bi gger t han Engl and, Spai n and Fr ance
p u t t o g e t h e r .
KI NG JAMES
Ah , b u t how s t r o n g would you s a y it
i s ?
POCAHONTAS
St r ong enough t h a t t h e y would f i g h t
t h e Engl i s h army wi t hout t h e s l i g h t e s t
f e a r . Though i t would never oc c ur t o
t hem t o c r o s s t he s e a s and a t t a c k
pe opl e who t o them had done no harm.
KI NG JAMES
W e had been l e d t o believe t he y were
b a r b a r i a n s .
POCAHONTAS
Even t h e p o o r e s t of t h e pe opl e i s
ne ve r i n want . They have no beggar s .
None who i s abandoned o r c a s t o u t .
A l l are b r o t h e r s , si st er s.
She s pe a ks wi t h o u t , r e s e r v e . Even Opechancanough t a k e s
not e .
POCAHONTAS
They know what t r u e n o b i l i t y i s.
KI NG JAMES
And how doe s i t .seem t o them?
POCAHONTAS
I t h a s cont empt f o r s a f e t y and e a s e .
I t p e r c e i v e s t h a t v i r t u e i s enough.
(MORE)
POCAHONTAS ( c o n t l d )
I t s t a n d s by i t sel f a nd d o e s n o t t ry
we a kl y t o r e c o n c i l e i t s e l f t o t h e
wor l d. The s t r o n g , t h e pr e s umpt uous ,
l e a r n t h e r e i s a r e s i s t a n c e on whom
b o t h i mpudence a nd t e r r o r a r e wasted.
The Ki ng s t e p s f o r wa r d , bows and k i s s e s h e r h a n d . T h i s i s
s omeone f r om beyond h i s r e a l m. Murmurs o f s u r p r i s e r u n
t h r o u g h t h e c o u r t . The Queen t h i n k s s h e mi g h t h a v e
d i s c o v e r e d a new f r i e n d i n h e r Vi r g i n i a c o u n t e r p a r t .
QUEEN ANNE
Come a f t e r wa r d s t o my a p a r t me n t s .
165 JONSON'S CHRISTMAS MASQUE
Po c a h o n t a s a nd t h e c o u r t wat ch J o n s o n ' s Twe l f t h Ni g h t
masque, a pant omi me of Gr eek gods a nd d a n c i n g c h i l d r e n set
t o mu s i c by Or l a ndo Gi bbons . Pocahont as marvels a t t h e
u n r e a l wor l d o f t h e s t a g e .
166 EXT. WHITEHALL PALACE - OPECHANCANOUGH
P o c a h o n t a s r u n s i n t o Opechancanough on t h e l awn o u t s i d e t h e
palace.
POCAHONTAS
You' r e s t i l l h e r e ! I hope you w i l l
n o t be d i s c o u r a g e d , u n c l e . Li k e you,
I c a n n o t f o r g i v e t hem, b u t I mus t l i ve
among t hem. M y l i f e i s h e r e .
( pa us e )
I h e s i t a t e t o a s k you t h i s , b u t I wi s h
t h a t you woul d carry a mes s age t o my
f a t h e r . T e l l hi m t h a t he s h o u l d
f o r g i v e h i ms e l f f o r t r e a t i n g me wi t h
i n d u l g e n c e -- w e a l l a r e weak f r o m
t i m e t o t i m e -- a n d t h a t I l o v e hi m
very much.
( a f t e r a p a u s e )
Love can make u s weak a s w e l l a s
s t r o n g .
Opechancanough nods . H e seems t o want t o s a y s ome t hi ng
m o r e . She wai t s a moment, t h e n bows g r a c e f u l l y t o hi m a nd
s t a r t s o f f . When s h e h a s gone some d i s t a n c e ,
Opechancanough h a i l s h e r .
OPECHANCANOUGH
Fa r e we l l , my n i e c e !
.. .
s h e t u r n s a r ound, deeply st l rred by t h i s h i n t o f h l ~
I- '-
r e s t o r e d a f f e c t l o n .
POCAHONTAS
Fa r e we l l , g r e a t unc l e !
He bows t o h e r and l e a v e s .
167 EXT. HEACHEM GROUNDS - ROLFE WI TH NEWPORT
Rol f e t a l k s wi t h Newport.
NEWPORT
You must n' t l e t h e r p l a y upon your
f e e l i n g s i n t h i s way. I would speak
more c a ndi dl y, were s h e n o t your w i f e .
ROLFE
She i s not . She i s h i s , except i n
name and l a w . She woul d never have
married m e had s he known t h a t he were
s t i l l al i ve. There i s no u s e i n
ke e pi ng h e r chai ned t o me i f s he does
n o t bel ong t o me . I must set h e r
free. I have r eas on t o b e l i e v e s h e
woul d welcome my t a k i n g s uch a s t e p a s
t h e g r e a t e s t c h a r i t y t o h e r . And
t hough s he sympat hi zes wi t h me, as a
hus band s h e cannot a b i d e me .
NEWPORT
Such a s t e p mi ght r u i n your pr os pe c t s
i n Vi r g i n i a .
ROLFE
If s o , no one must t el l h e r .
(Newport s t a r t s t o i n t e r r u p t )
No, I don1 t want your opi ni on on t h i s .
My g i v i n g h e r up can do h e r no
p o s s i b l e harm, and it w i l l open up a
chance of happi nes s f or h e r , whi ch s he
h a s never dr eamt o f h i t h e r t o .
1 6 8 I N T . HEACHAM ROOMS - ROLFE AND POCAHONTAS
Rol f e has opened h i s h e a r t t o h i s w i f e .
POCAHONTAS
But I am pr epar ed t o s t a y
ROLFE
I woul d be wrong t o h o l d you back. I
was a. f o o l . I n my v a n i t y I t hought I
c o u l d make you l ove me . You cannot do
t h a t , o r s houl dn' t . I n any c a s e , you
have w a l k e d b l i n d l y i n t o a s i t u a t i o n
you di d n o t a n t i c i p a t e .
(MORE)
ROLFE ( cont l d)
I must h e l p you, whet her you a s k i t o r
n o t . I w i l l n o t r ob you o f your s e l f -
r e s p e c t .
Rol f e ' s sense t h a t he i s doi ng h i s d u t y by a woman a t h i s
mercy al mos t over power s h i s g r i e f a t g i v i n g h e r up.
ROLFE
I am a ba c he l or by na t ur e . Bei ng
wi t hout a w i f e w i l l not r e a l l y b e s o
i r ksome as i t mi ght be t o o t h e r men,
e s p e c i a l l y t hos e who mi ght have been
mar r i ed l onge r . I have my f i e l d s .
POCAHONTAS
What o f o u r c h i l d ?
ROLFE
H e can come t o you i n t he s p r i n g , and
t hen back t o m e i n t h e f a l l .
POCAHONTAS
Don' t you worry what peopl e w i l l s ay?
ROLFE
What happens i n Engl and doe s n o t
concer n me . Back i n Vi r g i n i a t h e
ma t t e r is. t o o o l d f o r s c a nda l .
POCAHONTAS
I s h a l l wr i t e you.
ROLFE
NO. I t h i n k we s houl d be s e p a r a t e .
You need give m e no i nf or ma t i on a bout
your p l a n s o r movements.
POCRHONTAS
You d o n ' t seem v e r y s o r r y a t t h e idea
of my goi ng.
ROLFE
( i n f i n i t e l y s o r r y )
No. Per haps n o t .
POCAHONTAS
Thi s i s h a r d , John -- f o r me t o s a y --
b u t I know i t i s t h e b e s t c our s e . I
know f o r c e r t a i n t h a t you w i l l b e
b e t t e r o f f wi t hout me . I s houl d add
t h a t .I l i k e you very much f o r how you
have behaved. I t i s a s t r a n g e t h i n g
t h a t , as soon a s I begi n t o r e g a r d you
n o t a s my husband b u t a s a f r i e n d , I
l i k e you very much.
(MORE
POCAHONTAS ( cont l d)
I wonf t be so c a r e l e s s a s t o s a y I
l ove you, b u t I w i l l al ways remember
you --
( choki ng up)
-- a s a very good f r i e n d .
ROLFE
I w i l l see you agai n be f or e I s ai l --
s o I w i l l n o t s a y goodbye.
169 EXT. HEACHAM HALL - MUSI C
Ca pt a i n Smi t h appr oaches Heacham Ha l l . H e i s seven y e a r s
ol der . To j udge by h i s war dr obe, he has n o t fared w e l l i n
t h e world.
SMITH
Is t h i s t h e Ro l f e e s t a t e ?
GARDENER
Y e s , si r .
170 INT. POCAHONTAS' BEDROOM
M a r y announces Smi t h' s a r r i v a l
-
MRRY
I t ' s him! I s e e n him!
POCAHONTAS
Who?
MRRY
Capt ai n Smi t h! Good as my word,
ma ' a m. Most pr esumi ng, appear i ng i n
t h i s manner, wi t hout f or war di ng a
cust omar y n o t e of war ni ng. Youf d b e
wi t hi n your r i g h t s , and c e r t a i n l y
wi t hi n t h e p r o p r i e t i e s , t o s end hi m
away wi t hout a n e xpl a na t i on!
POCAHONTAS
Indeed! . Per haps I s houl d.
MRRY
( hopi ng s h e won' t )
What s h a l l I s ay?
POCAHONTAS
That you t o l d me . That I t hanked you
f o r t e l l i n g me .
Mary l e a v e s , gi ddy wi t h exci t ement ; once a ga i n s he may
r esume h e r r o l e i n t h e drama. Pocahont as is p a l e wi t h
emot i on.
p \--
She g i v e s him a mys t er i ous p a t an t h e cheek, a s t hough s h e
wi shed t o g e t h i s hopes up --
t o s e duc e him a l i t t l e , s o
t h a t s h e mi ght t u r n c o l d and a l oof a g a i n , and punl s h hi m
f o r h i s pr es umpt i on.
POCAHONTAS
I had f o r g o t t e n how f or war d you a r e
She s t r i d e s h a u g h t i l y a c r os s t h e l awn, condescendi ng and
c o l d . She has made h e r s e l f what h e want ed. A gr and l a dy!
Now l e t hi m wat ch h e r .
SMITH
Gi vi ng your s e l f a i r s , eh? Who's t h i s
man you1 re married t o ?
POCAHONTAS
H e owns t h e l a r g e s t p l a n t a t i o n i n
Vi r g i n i a . If you must know.
SMITH
You l ook w e l l , Pr i n c e s s . I ' m not
j oki ng. You l ook damn w e l l when
you1 re p r o p e r l y dr e s s e d. . .So aft er I
l e f t it -- went w e l l f o r you.
POCAHONTAS
Y e s !
SMI TH
I he a r d t h e Ki ng and Queen r e c e i ve d
you. Everybody r e p o r t s you were a
g r e a t f a v o r i t e . They a l l speak o f
you. One h e a r s them i n t h e s t r e e t s .
H e r Ladyshi p! Who'd have guessed i t ?
H e l ooks deep i n t o h e r e ye s , t he n q u i c k l y t a ke s he r hand
and hol ds i t l i k e a t r a ppe d b i r d .
POCAHONTAS
I c a nnot do t h i s .
But when he ki s s e s ' h e r cheeks and h e r l i p s , he r w i l l me l t s
away. Tongues o f f i r e s hoot t hr ough h e r v e i n s , and f o r a
moment s h e r e t u r n s t h e k i s s . But wi t h t h e p a r t i n g of h e r
l i p s s h e l et s him go. The s p e l l i s br oken; he r l o v e has
d i e d , pas s ed of f l i k e a dream. H e ga z e s a r d e n t l y a t h e r .
POCAHONTAS
A r e you about t o t e l l m e a s e c r e t ? I
h a t e secrets. Whenever anyone a s ks m e
i f I would l i k e t o h e a r one , I s a y no.
I have n o t once r e g r e t t e d it.
SMITH
I was bor n i n a t a nne r ' s s hed. Never
had a t h i n g . No pr ope r t y, no r a n k , no
chance of g e t t i n g hol d of a nyt hi ng
except wi t h my own hands. I coul dn' t
a f f o r d t h e l uxur y of bei ng a
gent l eman. You t hi nk I l i k e d be i ng
what I was? I saw a chance t o change
it. I c a n ' t b e blamed f o r want i ng t o .
Nobody respects a poor man. I p u t my
n o t g e t t i n g on i n l i f e down t o them
p e r s i s t e n t l y s endi ng m e o f f t o f i g h t
t h e i r wars f o r them. I al ways f el t I
would br eak t hr ough -- t h e n e x t da y,
t h e ne xt hour -- t h a t somet hi ng gr a nd
was wa i t i ng f o r me -- a d e s t i n y a l l my
own -- above t h e common one.
Bel i evi ng it has c a r r i e d me t hr ough
t h i c k and t h i n .
A s he t a l k s s he l ooks a t him and wonders a t how c r e s t f a l l e n
h e seems, he who us ed t o have t h e a s s ur a nc e o f a man who
ha d never known d e f e a t . She wanted him br ought l ow, b u t
t h i s i s more t han s h e can be a r . What does i t mean t h a t he
o n c e l ove d he r and s h e l oved him? Where d i d i t a l l go?
He no l onge r i s t h e per s on s he year ned f o r . She s e e ms , i n
f act , t o have f o r g o t t e n who t h a t per s on w a s . The f i g u r e
who s t a nds be f or e h e r now i s common as c l a y -- t h e l a s t
r e p r e s e n t a t i v e o f h e r e x t i n c t , be t r a ye d freedom.
SMITH
You knew t h a t I had pr omi se, di dn' t
you?
POCAHONTAS
Oh yes ! D i d you f i n d your I n d i e s ,
John?
H e l ooks o f f a t t h e hor i z on. Where di d h e wander from t h e
pa t h?
SMITH
A f t e r I l e f t Vi r g i n i a , I g o t t h e i d e a
of goi ng s o u t h , t o Venezuel a and t h e
Guyanas, e a s t of Pi z a r r o ' s l a n d s . I
had hear d of a ci t y t he r e . But t h e y
wl t hdrew t h e f unds a s I was about t o
sail., So I went t o New England.
Mapped i t . Then t h e hones t c i t i z e n s
went ove r . I was f o o l enough n o t to
i n s i s t upon a c o n t r a c t i n advance.
They' r e making t h e worl d i n t h e i r own
l i k e n e s s , clear t o t h e Pol e.
(MORE)
SMITH ( cont l d)
Ther e i s nowhere t he y a r e n o t . I had
no i d e a my l i f e would be s pe nt i n t h e
company of t h i e v e s ; of t h o s e ,
e s p e c i a l l y , who st eal wi t h a pen. I
dreamed of somet hi ng else: g r e a t
voyages of di s c ove r y, t h e l a nd openi ng
b e f o r e me , new r e p u b l i c s wi t hout a
h i s t o r y , magi c, new races, a new wor l d
t o shame t h e o l d . The I ndi e s -- t he y
were l i k e a mi r age f o r me .
( i n t e r c u t : h l s shadow
moving ove r t h e gr ound,
hi gh wa l l s , t h e St .
Lawrence River wi ndi ng
i n t o t h e w e s t , et c. )
I al ways t hought t h e y were ar ound t h e
ne xt bend -- t h e n e x t t hi ng, t hen t h e
n e x t -- Newfoundland, St . Ruper t ' s
I s l a n d . Every t i m e I t o l d myself,
"Have f a i t h . W a i t . They a r e coming."
I cover ed t h e whole worl d. Hard a s I
s ear ched, I ne ve r found what I was
l ooki ng f o r . After a whi l e I gave up
s t r i v i n g . Maybe I s houl d have gone
f a r t h e r n o r t h . Tha t ' s where a l l t h e
exci t ement i s now. Per haps t h e r e is
no pas s age. Per haps i t w a s a dream.
I n some respects I ' v e been a f a i l u r e .
And y e t I saw -- wi t h you I knew. You
w e r e my America, o r t h e r e i s none a t
a l l .
H e i s c ons c i ous of l ooki ng as though he had f a l l e n on h a r d
t i m e s . Whi l e he r husband enj oys t h e f r u i t s o f h e r Vi r g i n i a
pa t r i mony, he, f o r a l l h i s pr odi gi e e of e x p l o r a t i o n and
a d v e n t u r i n g , cannot l a y c l a i m t o s o much as a f o o t of l a n d
i n t h e Ne w World. H e i s a l o n e , b e r e f t of h e a r t h and home.
I t embar r as s es him t h a t s h e s houl d f i n d him a t s uch a p a s s .
H e r g a z e r e a c he s i n t o him l i k e a s a y of s u n l i g h t i n t o a
f o r e s t . She a l o n e knew t h e secret pr omi se of h i s
e x i s t e n c e . And s e e i ng h e r , he knows t h a t pr omi se i s n e a r l y
gone; h e i s not hi ng more t han what he now s e e ms .
SMITH
May I speak wi t h you t h i s way?
POCAHONTAS
of cour s e.
SMITH
I wonder.
POCAHONTAS
Your wor l dl y f a i l u r e , i f you i n s i s t
upon c ons i de r i ng i t t h a t , i s t o your
c r e d i t r a t h e r t han your bl ame. You
s houl d remember t h a t t h e b e s t peopl e
a r e t hos e who do t hems el ves no wor l dl y
good. Every successf ul man i s more o r
l e s s a s e l f i s h one.
H e l o o k s ar ound. The lawn and woods buzz wl t h s p r i n g ' s
v e n t r i l o q u i s ms . The bees a r e drowsy wi t h n e c t a r .
POCAHONTAS
John?
SMITH
I f o r g o t what I was goi ng t o s a y.
POCAHONTAS
I t must have been a l i e!
They smile. Ther e i s a peace bet ween them. She ha s l e t
him go.
SMITH
I suppose a per s on of your commendable
n a t u r e cannot be s a d f o r l ong.
She l e t s t h i s i l l u s i o n s t a n d .
POCAHONTAS
N o . You know t h a t we were v e r y happy
o n c e . Because t h a t i s t h e o n l y t h i n g
I c oul d n o t be a r ---' i f you had
f o r g o t t e n .
H e sees what a nobl e bei ng he al l owed t o es cape him.
Before h e can r e t u r n t o h i s s e n s e s t h e y have s a i d goodbye
172 SMITHf S POVS - MUSIC
Smi t h wat ches he r go o f f . The I n d i e s musi c comes s o f t l y
i n , a n d now i t occur s t o him t h a t if h e ha s n o t f ound h i s
dr eam, pe r ha ps he was l ooki ng f o r i t i n t h e wrong place --
i n t h e o u t e r kingdom of r i c h e s and g l o r y , when a l l t h e
wh i l e i t l a y wi t hi n, i n t h e l o v e and t h e pa i n he s ha r e d
w i t h t h i s woman.
Was she t h e wondrous d e s t i n y t h a t l a y i n s t o r e f o r him?
Was s h e h i s I n d i e s ? Did h e s ai l p a s t them, mi s t a ki ng where
t h e y l a y o r never be l i e vi ng t h e y coul d be f ound, o r worse
y e t -- a l o v e r of t hr e s hol ds -- a f r a i d t o s e t f o o t t h e r e ?
And even as t h i s t hought comes ove r hi m, wi t h e x t r a o r d i n a r y
f o r c e , he knows t h a t i t w i l l p a s s , t h a t he w i l l a ga i n t a k e
u p t h e i l l u s i o n s o f h i s dai l y l i f e . The b l i n d i n g i n s i g h t
w i l l seem a c r e a t u r e o f t h i s p r e s e n t hour : a pa s s i ng f a nc y.
173 EXT. HEACHAM HALL - LATER
Rol f e a r r i v e s home. Pocahont as comes o u t t o g r e e t him.
She carries on al mos t as though not hi ng had ever come
bet ween t h m .
POCAHONTAS
John, I have a desire t o see Vi r g i n i a
a g a i n . I d o n ' t know how l o n g itf s
been s i n c e I saw a b l u e s k y o r swam i n
t h e river -- and t h e pe opl e a r e so
very n i c e , b u t my jaws ache from
s mi l i n g , . and -- coul dnl t w e go home?
ROLFE
AS s oon a s p o s s i b l e .
POCAHONTAS
Be f or e you s a y t h a t , I s houl d t e l l YOU
t h a t Ca pt a i n Smith p a i d me a vi s i t . I
r e c e i v e d him, and I l e t hi m h o l d my
hand -- a l ong whi l e. I d o n ' t know
whet her you t hi nk it wrong.
ROLFE
( d i s t r a c t e d )
oh, d i d you? What d i d you do t h a t
f o r ?
POCAHONTAS
I am n o t s u r e . He wanted t o , and I
l e t h i m.
She i s s u r p r i s e d t h a t he does n o t s c o l d h e r .
POCAHONTAS
Fur t her mor e, I ki s s e d him and l e t him
k i s s me ! . .
ROLFE
The o l d s t o r y .
POCAHONTAS
I d i d n r t know w e were goi ng t o u n t i l
we di d.
ROLFE
May I as k how many t i m e s t h i s
occur r ed?
POCAHONTAS
Thomas! Come c l o s e r . I was i n t h e
house, and t h e movers t ook a b i g t r unk
away, and I f ound t h i s i n a chi nk of
t h e wa l l . A map!
H i s e y e s l i g h t up a s s he unr a ve l s t h e old s cr ol l . The
b l o o d of two r a c e s f l ows i n t h e boy.
THOMAS
What does i t s a y?
POCAHONTAS
Give me t i m e ! Can w e t a l k her e? No --
t h e mai ds a r e s o nosey! Cl os e t h e
door . W e mus t n' t t e l l anybody else!
You wont t , w i l l you? I wont t e i t h e r .
I t ' s s i gne d by a Spani s h l ord.
Stamped wi t h h i s seal ! He s ays t h a t
i f w e f ol l ow it p r e c i s e l y , w e w i l l
come t o a s t o n e man hol di ng a great
f i s h , wi t h a wat erfal l coming from i t s
mouth.
175 EXT. GROUNDS - SERIES OF ANGLES
They r u s h ar ound t h e gr ounds , from one p l a c e t o a n o t h e r ,
f o l l o wi n g t h e d i r e c t i o n s t o t h e t r e a s u r e .
POCAHONTAS
W a i t , wai t ! Now i t s ays t h a t we
s houl d bow t h r e e t i m e s t o each o t h e r .
They bow t o each o t h e r , a s specified, and h u r r y o f f t o t h e
n e x t c l u e , u n t i l a t l e n g t h t h e y come t o a huge mossy s t a t u e
of a cher ub hol di ng a f i s h . A f ount a i n bubbl es f r o m t h e
f i s h ' s mouth.
THOMAS
Mother !
H e g a p e s a t t h e mys t er i ous f i g u r e . Then he l ooks a t h e r
a n d r e a l i z e s s he has been l e a di ng him on, and he be gi ns t o
c h a s e h e r . They I augh and c a v o r t wi l dl y.
POCAHONTAS (0. S . )
Reach i n t he r e !
Thomas wal ks c a r e f u l l y t o f l owe r p o t a t a c o r n e r of t h e
f i e l d, p u t s h i s . h a n d i n s i d e and draws out a g l a s s f r o g .
POCAHONTAS
( whi s per i ng)
What is i t ?
POCAHONTAS
A good many. I d o n ' t remember. And I
cal l ed hi m my dear f r i e n d .
He s p o k e
of some t h i n g s of t h e p a s t , a n d i t
overcame me .
( pa us e )
You d o n ' t s e e m very u p s e t .
ROLFE
Pe r ha ps I feel numb.
POCAHONTAS
( p u z z l e d )
You d i d n ' t know t h a t h e was c omi ng,
di d you?
ROLFE
What you s u g g e s t i s b e n e a t h t h e
c onduc t o f a ge nt l e ma n.
POCAHONTAS
I l o v e d a dream. W i l l you ha ve m e
back? W i l l y o u f o r g i v e me f or
n e g l e c t i n g y o u ? Can you f o r g e t ?
( he nods )
No w I know wh a t true love is! Now I
a m home.
Eyes b e n t i n r e p e n t a n c e , s h e t a k e s h i s h a n d a n d presses it
a g a i n s t h e r cheek. I t i s t h e f i r st t i m e w e h a v e s e e n them
t o u c h e a c h o t h e r . T h e i r c h i l d , wa t c hi ng f r o m af ar , s e n s e s
h i s p a r e n t s 1 j oy. I t seems t o hi m t h e y are u n i t e d a t l a s t .
173B THOMAS' POVS ON POCAHONTAS AND ROLFE
Thomas wa t c he s , u n d e t e c t e d , as h i s mot her a n d f a t h e r g o
h a n d i n ha nd a b o u t t h e g r o u n d s , h a p p i l y o b s e r v i n g t h o s e
commonpl ace s c e n e s of l i f e t h a t p e r h a p s me a nt l i t t l e enough
t o - t hem before b u t whi c h now s udde nl y h a v e a power t o
c o n v e y a l l t h e meani ng a n d g l o r y o f l ove' s new world: a dog
c h a s i n g doves, a tree bowi ng i t s he a d, t h e wi nd o n a pond.
A t l a s t , t o h i s a s t o n i s h e d joy, t h e y k i s s . Wi t h a f i n e
s e n s e of d i s c r e t i o n , t h e c h i l d h u r r i e s away. H i s h e a r t
beats i n h i s t h r o a t .
174 EXT. HEACHAM HALL - DUSK
L a t e r t h e same d a y , o r week, young Thomas l o o k s up wi t h a
s t a r t . H i s mother r u s h e s i n wi t h a pa r c hme nt s c r o l l s h e
h a s f ound, u n a b l e t o r e s t r a l n h e r e x c i t e me n t .
r
She t a k e s a moment t o compose h e r s e l f , t o s a vor t h e l a s t
moments of he r i nnocence. W i l l s he know him? W i l l s h e be
a b l e t o speak wi t h him?
171 EXT. HEACHAM LAWN
She g o e s o u t t h e f r o n t door ont o t h e lawn, and t h e r e h e
s t a n d s -- he r f i r s t l ove! Smi t h l ooks up. She i s r a d i a n t
i n h e r s i l k s and f i n e r y , u t t e r l y t r ansf or med f r om t h e wood
nymph h e knew. She has a c hi e ve d c u l t u r e , s t a t i o n ,
r e f i ne me nt , weal t h, become t h e s o p h i s t i c a t e d s o u l he
t hought s h e coul d never be, whi l e he ha s grown more a ni ma l .
She l et s him l ook a t he r . She t r embl es under h i a ga z e .
SMITH
D i d I make a mi s t ake i n corning her e?
POCAHONTAS
That i s f o r you t o de c i de . But I
don' t see how you c oul d t hi nk it s o
soon.
SMITH
I would have come before e xc e pt t h a t
I' ve been away f r om t h e c a p i t a l .
Bus i nes s , you know. Smal l excuse,
c ons i de r i ng t h a t I owe you my l i f e.
POCAHONTAS
Don' t t r o u b l e y o u r s e l f on t h a t
account .
SMITH
Per haps I ' m o u t of bounds s peaki ng
t h i s wa y , b u t I' ve t hought o f you
of t e n. I was a f o o l n o t t o have bound
my f a t e wi t h your s . I mi ght be a
happy man now. A pr os per ous one, i n
any case.
POCAHONTAS
Is t h a t so?
She w i l l n o t g i v e him a nyt hi ng.
H e w i l l have t o beg he r .
SMITH
I would n o t l i e t o you. N o more t han
I would c h e a t a t c a r d s . B e good f o r
once and don' t make a s cene. I
conf qs s t h a t I am more, o r l ess, t ha n
a gent l eman.
YOU once gave me t h e
b e n e f i t of t h e doubt .
POCAHONTAS
I never t o l d you t h a t I d i d .
POCAHONTAS
B e s t r ong, my husband. Thi s must
happen t o u s a l l . What does it: mat t er
i f I come a l i t t l e before o r a f t e r ?
I ' m goi ng t o see my f a t h e r and my
mot her , a nd as she whi sper ed t o me , s o
s h a l l I t o you. See i f you can h e a r
me . I w i l l u s e t h e wind for a t ongue.
178 EXT. GRAVESEND DOCK, COTTAGE WINDOW, BACKYARD, ETC.
The c u r t a i n s whi sper o v e r t he s a s h as Pocahont as' s p i r i t
makes i t s de pa r t ur e . H e r e f f e c t s a r e p u t away. The
f i s he r ma n' s daught er s hakes o u t t h e p i l l o ws t h a t s h e s l e p t
on.
ROLFE (0. S . )
'She s a i d t h a t s he would be i n o u r
b r e a t h and i n t h e ground beneat h o u r
f e e t , b e a r i n g u s up. She refused a l l
sympathy, s a y i n g i t was enough t h a t
you, h e r c h i l d --
( over s c e n e s of America)
-- s houl d l i v e . "
Ro l f e boa r ds a s h i p . Opechancanough, h i s face p a i n t e d wi t h
a s h e s , f ol l ows him up t h e gangpl ank.
179 SHIP DEPARTING GRAVESEND AS SEEN FROM DOCK
A t t h e Gravesend dock, s a i l o r s and f i s her men go a bout t h e i r
t a s k s -- mending n e t s , c a ul ki ng t h e seams.
As t h e e nd c r e d i t s b e g i n t o r o l l , t h e s h i p wi t h i t s g r e a t
wh i t e s a i l s i s already i n t he o f f i n g -- Vi r gi ni a- bound!
180 ABOARD THE SHIP - THE BOY
Thomas l ooks o u t ove r t h e waves.
181 EXT. VIRGINIA WOODS
The New World pi ne s s wa y b a c k and f o r t h i n ecstasy, f o r e v e r
a wa i t i n g t h e det er mi ned s a i l o r .
THE END
H e b r i n g s h e r t h e f r o g , cuppi ng i t wi t h bot h hands , a s
t hough i t were a g r e a t jewel.
POCAHONTAS
Oh, Thomas! You said you woul dn' t
t e l l anybody. I t w i l l b e our secret.
She l o o k s a t him and remembers when s h e , t o o , s hone i n t h i s
way a n d a l l t h e wor l d about h e r . She misses h e r d a i l y
s a l u t e t o t h e r i s i n g s un, t h e t i m e s when s h e f ound a bi r d' s
n e s t o r v a u l t e d up a tree, t h e shock of t h e c o l d water as
s h e pl unge d i n t o t h e r i v e r -- a l l t hos e l i t t l e moments o f
h e r l i f e t h a t no one else can remember o r w i l l ever know
a b o u t .
The wi nd comes up t hr ough t h e trees. Suddenl y, t o h e r
son' s d e l i g h t , s he per f or ms a c a r t whe e l i n h e r Engl i s h
d r e s s . Rol f e l ooks on from a f a r , w e l l pleased.
The s t o r y c oul d end he r e , wi t h a l e ge nd d e s c r i b i n g what
happened t o t h e c h a r a c t e r s , o r else it mi ght c ont i nue wi t h
t h e s e n e x t , concl udi ng s cenes :
176 EXT. GRAVESEND COTTAGE - A FEW WEEKS LATER
F'
On t h e i r way back t o Ameri ca, t h e Rol f e s have s t opped i n
L.
Gr aves end, t h e l a s t p o r t f o r sea- bound vessels.
ROLFE ( O. S. )
''13 A p r i l 1616 --
Dear Son, I w r i t e t h i s s o t h a t
you mi ght have i t someday i n t h e
f u t u r e . Your dear mot her , Rebecca,
f e l l ill i n our out war d pa s s a ge , a t
Gr avesend, a s mal l f i s h i n g town a t t h e
mouth of t h e Thames, where t h e ri ver
f l ows o u t i n t o t h e sea."
Opechancanough b u r s t s out of a c o t t a g e , scr eami ng i n a w i l d
Pamunkey wa y . The c i t i z e n s l ook a t him a s t hough he w e r e a
madman.
177 I NT. COTTAGE BEDROOM
Thomas Rol f e pe e r s a t h i s mot her t hr ough a cr ack i n a
bedroom door . The young lady a t t e n d i n g hi m, a f i s he r ma n' s
d a u g h t e r , i n s p e c t s t h e g l a s s f r o g .
YOUNG LADY
She gave you t h i s ? Ve r y expens i ve.
Remember h e r , d e a r i e !
b Te a r s s t r e a m down Rol f e ' s face. Pocahont as l i e s i n be d,
s ur r ounde d by a r a di a nc e o f wh i t e l i n e n .