MACHINE GUN PREACHER
Written by
Jason Keller
based on the life of Sam Childers
FINAL SHOOTING DRAFT
9/30/2010
This is true...
EXT. VILLAGE - NIGHT - (2003)
The night is stillborn.
Without sound or movement and nothing is in definition. All we see
are degrees of blackness in this unlit world. The vague impressions
of an African village in the void... a ragged line of tukuls (straw
huts)... a bicycle propped against a mud wall... a soccer ball in
the dirt...
INT. TUKUL - NIGHT
And we find a Sudanese family asleep on reed mats. A mother, father
and their two boys. The younger boy we'll come to know as "WILLIAM"
(9). His older brother "CHRISTOPHER" (12) curled next to him.
EXT. VILLAGE - NIGHT
And slowly the blackness begins to shift... an otherworldly light
seeping in from someplace far off... shadows contorting in a ghostly
orange flicker... images emerging... the silhouettes of men coming
into this village carrying flaming torches.
INT. TUKUL - NIGHT
The family still sound asleep, oblivious to the torch glow coming
from outside, and suddenly --
SCREAMING! -- GUNSHOTS!
The family bolts awake, moving to their feet as the door to their
tukul SLAMS open -- THREE soldiers from the Lord's Resistance Army
(LRA) coming in carrying AK47's -- shouting in Arabic -- "Get up!
Get up!" -- the FATHER stepping forward -- holding up his hands --
"Don't shoot!" --
KAK! KAK! KAK!
And he's gunned down in cold blood. The soldiers grab the mother and
boys and begin to drag them out of the tukul -- but WILLIAM breaks
free -- scrambles deeper into the room --
THE SOLDIER going after him -- WILLIAM darting behind a stack of
storage boxes knocking them to the ground -- frantically burrowing
into the corner -- trying to get away but it's useless -- THE
SOLDIER grabs his feet and begins to pull him out -- WILLIAM KICKING
WILDLY -- digging his nails into the dirt -- and as he's dragged out
of the corner he reaches out... inadvertently grabs a FADED
PHOTOGRAPH which has fallen on the ground...
EXT. VILLAGE - NIGHT
CHAOS! -- PANDEMONIUM! -- the black sky ablaze in apocalyptic fire --
2
families yanked out of their burning tukuls by LRA rebels -- the
adult males of this village shot dead or bludgeoned to death -- the
women and children forced into the center of the village -- huddled
together and weeping --
-- and now we see WILLIAM hauled out -- his captor shouting to
another soldier -- pointing to WILLIAM'S mother and she's pulled
from the group and forced onto her knees...
... and WILLIAM is brought in front of her -- his captor saying
something in Arabic as he hands him a club -- "Kill her!" -- WILLIAM
shaking his head `no' -- tossing the club in the dirt and --
CRACKKK! -- WILLIAM is hit with the butt of a rifle -- goes down --
blood streaming down his face as he's pulled back up to his feet --
crying -- shaking with fear...
... and then he sees his mother staring up at him... and despite the
hell unfolding around them we see a moment here between mother and
son... something calm and reassuring in the way she's looking at him
now... her eyes full of love... and pity... for her child in this
terrible moment... and before we see how this ends we --
CUT TO:
BLACKNESS
FOR A LONG BEAT -- AND THEN WE BLEED UP WHITE LETTERS ON THE BLACK
SCREEN THAT READ --
MACHINEGUN PREACHER
... AND THEN THE ECHOED VOICES OF MEN YELLING TO ONE ANOTHER...
BOOMING MUSIC... TAUNTS... WHISTLES... AN ANNOUNCEMENT, INAUDIBLE,
OVER A LOUDSPEAKER... TAKING US TO...
INT. PRISON CORRIDOR - RURAL PENNSYLVANIA - DAY - (AUGUST/1998)
And we see SAM CHILDERS coming down a corridor toward us, dressed in
jailhouse orange and flanked by a guard. He's stocky, 32 years old,
with a biker's handlebar moustache. On the surface he appears good-
looking... even handsome if the light is right... but his face is
tricky... always changing... behind the quick smile, around his dark
eyes, in the taut muscles of his neck we see violence.
INT. PRISON RECEIVING AND RELEASING - DAY
We see a CLERK handing Sam a prison issue tub full of his personal
affects. He takes out his clothes, digs out a leather wallet, a
watch, some silver rings and a lighter.
He looks up to the Clerk and flashes a malicious smile --
SAM
Ya'll go fuck yourself now, k?
3
EXT. PRISON - DAY
A beat-up CHEVY VEGA parked at the curb. Sam's wife, LYNN, 30's, in
a thrift store dress, leaning against the car, waiting.
Sam (dressed in civilian clothes now) pushes out a door and she sees
him, straightens her hair, an uneasy smile.
LYNN
Hey baby.
EXT SIDE OF ROAD/INT. LYNN'S CAR - DAY
The Vega pulled of the side of the road and Sam fucking Lynn in the
back. There's nothing tender about what we're watching here. Sam
finishes and Lynn slumps into the seat, pulls down her dress.
SAM
Gimme a smoke.
LYNN
Don't got any.
SAM
What, you quit?
(LYNN NODS)
Shit, that ain't gonna last.
EXT. MOBILE HOME PARK - DAY
The Vega pulls up to a beat-to-shit single-wide and Sam and Lynn get
out. We see a homemade sign hanging outside the trailer that reads,
"Welcome Home Daddy!"
And now Sam's daughter PAIGE (6) bursts out of the trailer and down
the steps... Followed by Sam's mother, DAISY, mid 60's, comes out of
the trailer.
PAIGE
DADDY!
And she jumps into his arms.
SAM
Hey bug...
PAIGE
You see yer sign? Grandma and me made it
this mornin.
SAM
Yep, real nice.
Lynn enters the trailer, Paige follows.
4
SAM (CONT'D)
How'ya doin, Mom?
DAISY
Welcome home, Sam.
INT. CHILDERS MOBILE HOME - DAY
LYNN
(TO PAIGE)
You excited, get some juice, help me set
the table.
Sam and Daisy enter.
There's a quiet anxiety to this homecoming. Everybody on edge,
careful.
LYNN (CONT'D)
Hope you're staying for supper.
DAISY
Well, I didn't know if...
SAM
(TO LYNN)
What time you gotta work?
Lynn hesitating, not sure how to answer... not sure what's going to
happen when she does... finally...
LYNN
I ain't on tonight.
SAM
What?
DAISY
(changing the subject)
You know we could boil up that corn we
got in there...
SAM
Friday night you ain't on? Hell is that?
He walks toward the fridge.
LYNN
Paige, get that chair.
SAM
That cocksucker Mark better be givin you
yer time or I'm gonna go over there and
bust in his teeth. Why ain't there no
beer?
5
LYNN
I ain't dancin no more, Sam.
He turns to her, studies her with cold eyes...
LYNN (CONT'D)
Quit a couple weeks ago. Got a job over
at Freemont.
SAM
You tellin me the truth or is this a
joke?
LYNN
Pick up a second shift now and then.
Weekends if I want em. It's good money.
SAM
Good money? You stupid, woman? You quit
strippin to pack fucking mushrooms at
Freemont?
DAISY
Sam...
SAM
Mom, keep yer mouth shut.
Sam's face changing, starting to turn bad. A look we'll come to
know.
LYNN
They're good to me over there, Sam. They
got daycare for Paige and I can get
medical at the end of the year.
SAM
Tell you what you're gonna do, you're
goin back to The Bunny Hop and askin that
cocksucker for yer old slot back...
DAISY
(TO PAIGE)
You ok? Let's ride our bikes outside.
LYNN
No, Sam...
SAM
Fuck you ain't. You gonna get that ass
back up there and make yer tips.
LYNN
It ain't right.
6
SAM
Fuck you talkin about?
Daisy scooping up Paige and exiting, screen door slamming behind
them and now Sam and Lynn are all alone.
LYNN
I ain't dancin cause it ain't right in
God's eyes. He don't want me doin that no
more.
SAM
(LAUGHING)
You found god now, huh? That what this
is?
LYNN
He found me, and he's there for you too,
baby.
SAM
Don't gimme that bullshit. You a junkie
stripper...
LYNN
Not no more. God helped me change while
you was away.
Lynn reaches for him but he shoves her back violently...
SAM
Gitcha hands off me!
Sam exits.
LYNN
(TO HERSELF)
You can't keep goin the way you goin,
baby...
EXT. CHILDERS MOBILE HOME - DAY
Sam straddles the bike and kicks it to life. He PEELS OUT, kicking
up gravel as he blasts past Paige and Daisy.
EXT. STREET - DAY
Sam riding down the road.
INT. CROSSROADS BAR - NIGHT
A tough biker bar in Johnstown, PA. A jukebox in the corner playing
Lynard Skynard. Sam coming through the door, AD-LIBBED greetings
from some of the other bikers here. He makes his way to a back table
where a hulking biker in a leather vest named DONNIE is sitting with
two girls. Donnie looks up, sees Sam...
7
DONNIE
Crazyhorse! There he is...
They embrace, old friends.
DONNIE (CONT'D)
Figured you'd be rollin out round now.
How you doin, buddy?
SAM
I'm doin.
DONNIE
(to one of the girls)
Get us a coupla shots and buds.
(SAM SITS)
Don't look too worse for the wear.
SAM
I'm alright.
DONNIE
Heard yer old lady ain't at the Bunny Hop
no more.
SAM
Bitch found Jesus.
DONNIE
Damn! That bearded sonuvagun slipped her
the high holy dick while you was in the
can, huh? Better him than the milk man, I
guess.
SAM
Ain't so sure bout that.
Donnie laughs, slaps him on the shoulder...
DONNIE
You wanna taste?
Sam smiles that wicked smile and we go --
INT. BACK HALLWAY - THE CROSSROADS BAR - NIGHT
-- as a biker chick leads Sam down this hallway into --
INT. BATHROOM - THE CROSSROADS BAR - NIGHT
Sam and the biker chick crammed into this dirty stall, Skynard
pounding through the walls. He rolls up his shirt sleeve as she
cooks a spoon of methamphetamine... juices a hypodermic... he finds
a vein and she spikes his arm... presses the plunger and his head
rolls back on his shoulders... speed slamming into his bloodstream
as we RAMP UP THE MUSIC.
8
INT. CHILDERS MOBILE HOME - MORNING - WEEKS LATER - (DECEMBER/1998)
Snow piled up on the windowsills and it's cold as shit outside. Sam
passed out on the couch and this guy looks like hell.
Thinner than the last time we saw him, skin sallow and drawn tight
over his face. He stirs awake, sees Paige playing by herself on the
floor next to him. She sees that he's awake, picks up her doll, and
quietly goes outside without saying a word.
INT. BATHROOM - CHILDERS MOBILE HOME - MORNING
Sam coming in, taking a piss, staring at himself in the mirror and
we see a junkie map of track marks running up and down his arms. And
then WE HEAR a Pentecostal communion hymn, "the Old Rugged Cross",
coming through... taking us to...
INT. CHURCH - JOHNSTOWN, PA. - DAY
A congregation packed into this church for Sunday service. We see
Lynn and Paige in the crowd, singing along with the congregation.
EXT. DOPE HOUSE STREET/INT. DONNIE'S CAR - NIGHT
Sam and Donnie in this car, parked in front of broken down clapboard
houses. Donnie pointing through the windshield...
DONNIE
Right there. With the green light.
EXT. PORCH - DOPE HOUSE - NIGHT
Bone chill cold. Sam and Donnie on this porch, scarves pulled around
their necks, hands shoved into their jackets trying to stay warm.
Donnie KNOCKING at the door...
DONNIE
Hey, man, you there?! Open up...
Donnie KNOCKING again and the door cracks an inch... and we see a
black man with a SHAVED HEAD on the other side looking out...
SHAVED HEAD
Fuck are you?
DONNIE
It's me, man, c'mon. Fuckin cold out
here.
SHAVED HEAD
I don't know you.
DONNIE
Yeah you do, man. I saw you the other
day. I'm Bobby's friend.
9
SHAVED HEAD
Who the fuck is Bobby?
Suddenly Sam pulls a short barrel shotgun from his jacket --
MOSSBERG 10 GAGE -- presses it to the door and --
BOOOM!
INT. DOPE HOUSE - SAME
DOOR SPLINTERING OPEN! -- concussion like a fucking pipe bomb --
wood splintering through the room like shrapnel -- Sam and Donnie
STORMING IN...
DONNIE
Don't fuckin move!
INSTANT PANDEMONIUM! -- JUNKIES hopping off the couch, scattering
like rats deeper into the house -- SHAVED HEAD darting out of the
room -- Sam leveling the MOSSBERG in his direction --
BOOOM! -- the room flashing like a fucking supernova.
INT. STAIRWAY- DOPE HOUSE - SAME
SHAVED HEAD scrambling up these stairs -- Sam coming up after him --
hunting him -- MOSSBERG BLASTING in his direction -- BOOOM! --
INT. UPSTAIRS HALLWAY - DOPE HOUSE - SAME
SHAVED HEAD sprinting down this hallway -- Sam tracking him in the
b.g. -- bloodlust in his eyes -- leveling the MOSSBERG and --
BOOOM! -- BOOOM!
Shotgun slugs ripping through the house like cannon shot -- SHAVED
HEAD bolting through the smoke -- crashing through a door into --
INT. BEDROOM - DOPE HOUSE - SAME
-- SHAVED HEAD bombing in -- hitting the ground -- trying to get to
his feet but it's too late because --
-- SAM kicks open the door behind him -- SHAVED HEAD going onto his
back, trying to crab crawl away from him but there's nowhere to go --
Sam moving closer --
SHAVED HEAD
PLEASE, MAN -- DON'T --
-- SHAVED HEAD working his way into a corner -- holding his hands in
front of his face -- terrified, shaking --
SHAVED HEAD (CONT'D)
-- PLEASE! --
10
DONNIE (O.S.)
SAM!
Donnie coming into the room --
SHAVED HEAD
I'LL GIVE YOU WHAT YOU WANT, MAN! --
PLEASE! --
SAM
Tell me where the shit is or I'll blow
yer nigger brains all over this floor.
SHAVED HEAD
(indicating a closet)
In there...
Sam KICKS him toward the closet --
SAME
Hurry the fuck up.
SHAVED HEAD crawling to a small safe in a closet, spins the combo,
opens it and pulls out six ounces of uncut cocaine.
SAM
Cash!
SHAVED HEAD grabs a stack of hundreds, hands it to Sam and --
CRACKKK! -- he SLAMS the butt of the Mossberg into SHAVED HEAD'S
face and he hits the ground on his back -- Sam standing over him --
shoves the barrel of the shotgun into his mouth --
DONNIE
C'mon, let's go!
But Sam's not moving... just staring down at SHAVED HEAD... and
we're watching something here... a terrible intelligence taking
over... something bloodless and inhuman coming over Sam in this
moment... and he chambers a slug into the shotgun...
DONNIE (CONT'D)
Fuck are you doin?!
And this is it. He's going to blow this guys brains all over the
floor...
DONNIE (CONT'D)
Sam...
His finger curls around the trigger, eyes becoming lethal...
DONNIE (CONT'D)
Sam!
And he snaps back, looks around, sees Donnie standing there...
11
DONNIE (CONT'D)
We need to get the fuck outta here!
EXT. COUNTRY ROAD/INT. DONNIE'S CAR - DRIVING - NIGHT
MUSIC LOUD AS IT GOES! -- SCREAMING! -- Sam and Donnie pumped and
celebrating after the robbery. Sam in the passenger seat, already
cooking coke in a bent spoon...
SAM
See that nigger's face when I put it in
his mouth?
DONNIE
Cook that shit up, man! I wanna hit when
I'm going a hundred miles an hour in this
thing.
Sam juices a needle and spikes Donnie's arm. Donnie feeling the
rush... pressing on the gas and howling like a wild man... both of
them wired out of their heads... BLASTING down this dark, country
road... and then they see...
A HITCHHIKER
Up the road, standing in this bitter cold with his thumb out.
SAM
Look at this sorry fucker...
EXT. COUNTRY ROAD - NIGHT
Donnie's car pulls off the road and the Hitchhiker hustles up to it.
INT. DONNIE'S CAR - NIGHT
The Hitchhiker climbing into the backseat. He's late 40's, a
drifter, probably American Indian. Donnie starts driving.
SAM
Cold enough for ya out there, boy?
DRIFTER
Yeah.
DONNIE
Where you goin, man?
DRIFTER
Dunshore.
SAM
That's up there past Muncy, right?
DRIFTER
Yeah.
12
DONNIE
We can take you far as McClure.
DRIFTER
Take me to Dunshore.
Sam looking back --
SAM
We ain't goin to Dunshore, boy. Said we
can drop you at McClure.
Suddenly -- silver flashing -- A BLADE -- out of nowhere -- pressed
into Donnie's neck from the backseat -- the Drifter pulling him
tight against the seat rest, pressing it into his throat --
DONNIE
What the fuck?!
DRIFTER
Keep drivin! Dunshore or I'll cut his
fuckin throat.
SAM
Get that fuckin blade off him...
Sam reaches his leg over and STOMPS ON THE GAS PEDDLE -- the car
LURCHES forward -- accelerating --
DONNIE
Sam!
DRIFTER
SLOW THE FUCK DOWN!
But Sam's not letting up... pressing down on the peddle hard...
90... 100... 110 mph -- Donnie YELLING -- trying to keep the car on
the road -- MUSIC BLARING -- like some wild ride to hell and then --
SAM SUDDENLY JUMPS IN THE BACKSEAT -- wrestling with the drifter --
fighting wild -- elbowing him in the face and somehow the blade is
in his hand now -- and --
Stick, stick, stick, stick, stick, stick!
He stabs him six times in the gut. The drifter HOWLING in pain.
EXT. COUNTRY ROAD - NIGHT
Donnie's car skidding off the shoulder of the road, back door
popping open and the Drifter's body dumped into the dirt. The car
PEELS OUT, accelerates, tail lights disappearing into the dark.
13
INT. BEDROOM - CHILDERS MOBILE HOME - NIGHT
Lynn sound asleep in bed. And she slowly stirs awake, hears water
running from somewhere in the trailer.
INT. HALLWAY AND BATHROOM - CHILDERS MOBILE HOME - NIGHT
Lynn moving down the hall... toward a sliver of light coming from
under the closed bathroom door... gently pushing it open to see --
Sam standing at the sink... covered in blood... frantically trying
to clean himself up... trying to wash the sin from his skin and
clothes but it's useless... and the sense we get is that we're
staring at a man at the edge of an abyss... set to swallow him
whole... terrified... shaking...
... and now he realizes Lynn is here and he turns to her... holding
up his stained hands... a terrible fear in his eyes when he says...
SAM
Help me.
EXT. CHILDERS MOBILE HOME - DAY
Days later and we see Lynn and Paige, dressed up, sitting in the
idling car, waiting.
PAIGE
He comin or ain't he?
LYNN
I don't know.
INT. BEDROOM - CHILDERS MOBILE HOME - DAY
And we find Sam in this bedroom all alone, wearing a thrift store
sportcoat, sitting on the edge of the bed. Frozen. Staring at his
stocking feet and three or four pairs of workboots scattered on the
floor.
Lynn steps into the doorway...
VOICE (O.S.)
Honey? You ready?
Sam turns to her, and he looks lost here. Like a little boy.
SAM
I don't got no good shoes, Lynn.
And she comes into the room, sits on the bed next to him, puts an
arm around his shoulder.
LYNN
He don't care what kinda shoes you
wearin, baby.
14
INT. BAPTISM CHURCH - JOHNSTOWN, PA. - DAY
Packed with Sunday families listening to Pastor Krause at the
pulpit. Behind him we see a BAPTISMAL TANK filled with water. And
now we see Sam, Lynn, Paige, and Daisy sitting near the back. Sam
looks uncomfortable, on edge.
PASTOR KRAUSE
The point of receiving God's word is
life. Life upon life. And to accept the
blood of Jesus is life upon life upon
life...
CONGREGATION
Praise be to God!
PASTOR KRAUSE
He breathes his spirit into darkness and
makes something good. He sees our shadow
and says, `let there be light!"
CONGREGATION
Amen!
PASTOR KRAUSE
... now proclaim his saving grace! If
there are sinners here looking for God
raise your hands!
A few hands shoot up --
PASTOR KRAUSE (CONT'D)
Stand up! Receive Jesus Christ as your
light and saviour...
Three or four people moving to their feet, making their way up to
the altar. Lynn turns to Sam, their eyes meet. He looks hesitant,
unsure. She gives him a reserved little smile, nods her head
slightly as if saying "you can do this"...
And in her look he finds strength, gets up, slowly makes his way
to...
FRONT ALTAR
And now we see Sam on his knees in the baptismal tank. The water
almost up to his waist. Pastor Krause kneeling behind him.
PASTOR KRAUSE (CONT'D)
Receive Jesus as your Lord and Saviour...
in the name of the father and of the son
and of the Holy Ghost...
... and he leans Sam back, cradling his head as he submerges him in
the water completely... and when Sam comes back up the church breaks
into ROWDY HALLELUJAHS!... and we see Lynn... tears in her eyes...
15
clapping in the back row... and an organist and singer begin to sing
"Amazing Grace" taking us to...
OMITTED
EXT. CONSTRUCTION SITE - DAY - (JUNE/1999)
Months later and the snow has thawed... it's summer... and we see
Sam with other CONSTRUCTION WORKERS finishing their day, packing up
their tools, cleaning up. We notice that his gaunt cheeks have
filled out and he looks healthier.
And now a CONTRACTOR comes up to Sam, hands him a check.
CONTRACTOR
Thanks for your help, Sam.
SAM
You need me to stay on, I can.
CONTRACTOR
We're movin inside next week.
SAM
I can drywall, tile, whatever you got.
Know my way round some electrical too.
CONTRACTOR
Sorry, Sam, I gotta cut the crew. Just
ain't enough work.
EXT. STEPS - CHILDERS MOBILE HOME - NIGHT
Sam alone on these steps, lost in thought. Screen door opens and
Lynn comes out, sits next to him.
SAM
She asleep?
LYNN
Think so, in our bed... she's funny.
BEAT.
SAM
Job's done.
LYNN
I thought that was goin through August?
Sam shakes his head, and they're quiet... both of them sitting here
on these steps... the burden of this life catching up to them in
this moment.
16
INT. EMPLOYMENT OFFICE - DAY
A WOMAN stares down at her desk with a frown, shaking her head. Sam
sitting in a small chair in front of her.
WOMAN
I got somethin in Pitt, but you gotta
have some college for that.
SAM
I'm a hard worker and I learn real fast.
WOMAN
But you got no education, Mr. Childers.
EXT. USED CAR LOT - DAY
And we see Sam standing next to his Harley, talking to a MECHANIC.
MECHANIC
... don't deal bikes. Probably have a
better shot if you take it over to Pitt.
Or maybe down to Philly.
SAM
I gotta sell it today.
MECHANIC
Give you four hundred for it.
SAM
There's almost two grand on this bike.
Them pipes right there is custom. You
wont see pipes like that on anything
round here.
MECHANIC
Like I said, don't deal bikes. I'll give
you four-twenty. Cash. Best I can do.
INT. PAIGE'S ROOM - CHILDER'S MOBILE HOME - NIGHT
Sam on the edge of Paige's bed reading her a CHILDREN'S BOOK.
SAM
(READING)
"Into the street the Piper stept, smiling
first a little smile, then three shrill
notes the pipe uttered like a great and
mighty army muttered..."
PAIGE
What's uttered?
SAM
Like spoke up, made a sound.
17
PAIGE
Okay, keep goin.
SAM
(turns the page)
And out of the houses the rats came
tumblin, black rats, brown rats, brother
rats, sister rats, and husband rats
followed their little rat wives... Til
they came to the ragin water where they
drowned and lost their lives."
PAIGE
They got rid all them rats?
SAM
Yep.
PAIGE
How come you sold yer Harley?
SAM
Cause it's what I had to do.
Off her look...
SAM (CONT'D)
We're gonna be ok, bug, don't you worry.
Paige curls into him closer, and we're watching him here... in this
moment... holding his daughter... not so sure they're gonna be ok.
EXT. THE CROSSROADS BAR PARKING LOT/INT. LYNN'S CAR - DAY
CLOSE ON Sam, behind the wheel of the car, parked, staring out the
front windshield. REVERSE to see he's in the parking lot of the bar,
just watching the entrance.
INT. THE CROSSROADS BAR - DAY
Empty except for a handful of regulars. Sam coming through the door,
taking in the place, the fucking grime and despair. Moving to Donnie
who is sitting in his same spot...
DONNIE
Well, well, well, wondered when I was
gonna see you again, ole buddy. How you
doin?
Sam sits.
SAM
I'm doin.
DONNIE
Heard you was followin the Lord now.
18
SAM
Lil' bit.
Donnie sizes him up, "how much is a little bit?", turns to the
BARTENDER...
DONNIE
Jackie, gimme a mash and bud...
(TO SAM)
You want somethin?
Sam shakes his head.
DONNIE (CONT'D)
You know that old Indian didn't die out
there that night. Story in the Lehigh
Valley News bout it. Somebody picked that
poor bastard up after us, took him to the
emergency room, you believe that shit?
SAM
God was lookin out for us both, I
suppose.
WAITRESS slides a shot and beer in front of Donnie...
DONNIE
Well then, here's to him.
(DRINKS)
Didn't hear you pull up.
SAM
Got Lynn's car.
DONNIE
She broke down on ya?
SAM
Sold her.
DONNIE
Ahhh, shit, man. Shoulda come to yer ole
buddy first.
Donnie smiling, inviting him back into this world. And we're
watching Sam, threshold moment here, considering.
INT. CHILDERS MOBILE HOME - NIGHT
It's late and we see Lynn sitting at the kitchen table alone. Sam
has not come home and she is clearly worried. And then we hear a car
pulling up outside, door opening and closing, and Sam coming into
the trailer.
SAM
Sorry I'm late.
19
Lynn staring at him, trying to read this man's face but he's not
looking at her. Avoiding her gaze. Did he use? Is he high? And then
she sees a PINPRICK OF DRIED BLOOD on his shirtsleeve. Her face
contorting almost imperceptibly. Her worst fear realized. Relapse.
And she moves to him without saying a word... lifts up his arm and
unbuttons the cuff of his shirt... slowly pushing up his shirtsleeve
to discover a NEEDLE PRICK in his arm...
... and then he pulls out a $20 bill and hands it to her.
SAM (CONT'D)
Gave blood over in Pitt.
Lynn searching his eyes and she knows he's telling the truth.
SAM (CONT'D)
That's all I got.
And she pulls him close, hugging him tight, grateful.
LYNN
Somethin will come through. I promise.
And we hold on Sam, his troubled eyes. Completely out of options.
And we see that for this man the inability to provide for his family
is crushing.
EXT. MOBILE HOME PARK - NIGHT
HEAVY WINDS! -- FLASHES OF LIGHTENING! -- a storm starting to batter
the trailer park.
INT. CHILDERS MOBILE HOME - NIGHT
Lynn in front of the TV, scared, watching an EMERGENCY WEATHER
WARNING... winds buffeting the trailer... Sam coming into the room
from the back...
LYNN
Two touched down near Harrisberg.
EXT. CHILDERS MOBILE HOME - NIGHT
Sam opening the door, coming down the steps, looking up to the sky
and it is fucking black, swirling, ominous.
INT. CHILDERS MOBILE HOME - NIGHT
Sam coming back into the trailer fast --
SAM
Come on! Let's go...
Lynn following him --
20
INT. HALLWAY - CHILDERS MOBILE HOME - NIGHT
-- down the hallway -- WIND PICKING UP -- starting to rock the
trailer back and forth.
SAM
Get Paige, grab a blanket.
-- Lynn darting into a bedroom, scooping Paige out of her bed.
INT. BACK BEDROOM - MOBILE HOME - NIGHT
Sam coming in, moving to a metal gun locker in the corner of the
room, pulling out a SHOTGUN.
INT. LIVING ROOM - MOBILE HOME - NIGHT
THE WIND -- SLAMMING the trailer now -- Lynn and Paige -- terrified -
- watching as Sam moves to the center of the room, points the barrel
of the shotgun toward the floor and --
BOOM! BOOM! BOOM! BOOM!
Blows four gaping holes in the floorboards, then starts to kick
through the wood with his boot --
LYNN
(yelling, over the wind)
What are you doing?!
He kicks a hole in the planks, turns to Lynn and Paige --
SAM
GET IN!
Paige crawling through the opening... into a shallow trench
underneath the trailer... Lynn squeezing in behind her... Sam
staying outside... no room for him... the trailer starting to buck
VIOLENTLY in the tempest... thin walls contorting around him...
... and Paige starts to cry -- terrified -- Sam laying down on the
floor next to the opening, close enough so she can hear his voice...
SAM (CONT'D)
Bug, you hear me?! -- Bug?!
PAIGE
Yeah.
And he starts to play a child's word association game with her...
something she knows... something they've played before...
SAM
I'm thinkin of a snail... you hear me,
Bug?! Snail.
21
And we hear her tiny little voice say...
PAIGE
Whale.
SAM
Good job, Bug, good job! You said whale,
I'm thinkin of a pail!
PAIGE
You said pail, I'm thinkin of a tail.
And so this little game goes between father and daughter... Paige
listening to his voice... in the midst of this terrible storm...
somehow becoming less terrified.
EXT. MOBILE HOME PARK - DAY
A brilliantly clear day and we see neighbors picking up after the
storm. Sam on a ladder leaning against the trailer, nailing down a
strip of bent aluminum as a pickup truck pulls up. Window rolls down
and we see it's the CONTRACTOR from before.
CONTRACTOR
Sam.
SAM
Billy.
CONTRACTOR
Tried to ring ya but your phones down.
SAM
Yep.
Sam climbs down, moves to the truck, shakes his hand.
CONTRACTOR
Looks like ya made it through pretty
good.
SAM
We're alright.
CONTRACTOR
Damn twister touched down eight places
between here and Noblesville. Chewed up
six hundred homes in Fulton County alone.
(BEAT)
Got all the work you can handle if you're
interested.
SAM
I'm interested...
Sam, seizing an opportunity here.
22
SAM (CONT'D)
But I'm puttin my own crew together. We
go 50/50 on the jobs. You cover any heavy
machines I need.
CONTRACTOR
60/40 til you pay me back on the tools.
Then we'll go half.
SAM
You got a deal.
CUT TO:
EXT. MOBILE HOME PARK - DAY
A SHOT of Lynn carefully applying a vinyl application on the side of
a new (but used) truck that reads, "Childers Construction Company"
CUT TO:
EXT. CHILDER'S HOUSE - DAY - (JULY/2000)
C.U. ON lynn's closed eyes -- smiling --
LYNN
What are you doin, Sam Childers?
Months later and we're with Lynn and Paige, their eyes shut, as Sam
leads them both by the hand...
PAIGE
I wanna peek.
SAM
Keep em closed.
Sam finally stops them.
SAM (CONT'D)
Ok. Open em up.
They do and both of their eyes go wide with surprise.
PAIGE
Where are we?
SAM
We're home, little girl.
REVERSE to see a modest two bedroom house at the end of this
driveway. Their new home.
PAIGE
That's ours?
23
SAM
Sure is. Go check it out.
Paige sprints for the house as Lynn hugs Sam, softly starts to cry
into his shoulder.
LYNN
It's beautiful.
INT. CHILDERS HOUSE - NIGHT
The first night in their new home and we see a few unpacked moving
boxes here.
INT. PAIGE'S ROOM - CHILDERS HOUSE - NIGHT
Paige sound asleep on a small bed upstairs.
INT. KITCHEN - CHILDERS' HOUSE - NIGHT
Lynn in the kitchen organizing the cabinets. And Sam enters carrying
a box, sets it on the counter.
SAM
That's everything.
LYNN
You get what's in the trunk?
SAM
Yep.
Lynn looking up, seeing how dirty Sam is from the move...
LYNN
Lord, you're filthy, Sam Childers.
Lynn tossing him a kitchen towel. Sam, smiling mischievously...
SAM
Who you callin filthy, woman?
LYNN
You.
SAM
You dirtier than I am.
LYNN
No I ain't.
SAM
Yes you are. I seen it. C'mon, girl,
gimme a little shake...
24
Sam winking at her and playfully snapping a kitchen towel at her
butt... Lynn giggling and scooting away...
LYNN
I ain't doin that no more.
SAM
... just a little somethin for yer old
man, c'mon...
And he snaps her butt again but she grabs the towel and snaps him
back...
SAM (CONT'D)
Owww!
LYNN
You gimme a little shake...
She snaps him again and he feels the sting...
SAM
C'mon, Lynn...
She snaps him again but he grabs her and they fall into each other
against the counter... laughing... and he kisses her... playful at
first and then it becomes more passionate... and just as it starts
to lead somewhere we go...
INT. CHURCH - DAY - (AUGUST/2002)
Two years later and we're watching a congregation finish a Sunday
hymn. Sam, Lynn, Daisy, and Paige (10) in the crowd listening to
Pastor Krause.
PASTOR KRAUSE
Today we are blessed with a special
guest. It's my pleasure to welcome Pastor
Relling from the Kilangire Christian
Ministry in Uganda, Africa. Pastor...
Polite applause as a tall, white South African man named PAUL
RELLING steps up to the pulpit, and in a deep Afrikaner accent he
BEGINS --
RELLING
Thank you Pastor Krause, and thank you
brothers and sisters for inviting me into
this house of the Lord.
(BEAT)
I'm here today to talk to you about your
Christian brothers and sisters, families
just like yours, a half a world away that
desperately need your help...
And we see Sam in this sea of faces, listening.
25
INT. FOYER - CHURCH - DAY
Parishioners slowly filing out of the church after service. Lynn,
Paige, and a few other women chatting by the entrance.
And now Lynn looks over her shoulder and sees Sam talking with Paul
Relling off to the side, just the two of them in a corner, deep in
discussion.
INT. CHILDERS HOUSE - NIGHT
The first thing we notice is the relative "opulence" of this
place... deep shag, new color TV, matching sectional sofa... the
rural idea of making it. Sam, Lynn, Daisy and Paige at the dinner
table eating. Sam in his own world, oblivious to the MINOR
CONVERSATION until --
LYNN
Paige, go get some more beans.
Paige heads to the kitchen.
LYNN (CONT'D)
What are you thinking?
SAM
Thinking about Africa.
Paige comes back in carrying the beans.
PAIGE
They have tigers over there?
SAM
(JOKINGLY)
They eat people!
LYNN
What about Africa?
SAM
Just thinkin bout that fella today.
PAIGE
He talked funny.
LYNN
Just from a different place than us,
baby, that's all.
SAM
Was thinkin maybe I'd go over there. Help
em out fer a few weeks.
26
DAISY
Africa?
PAIGE
To see the tigers.
SAM
He was talkin about puttin box beam roofs
on school houses over there.
LYNN
What about finishing that job in Boswell?
SAM
I'll only be gone a few weeks. Be back
before you know it.
EXT. MISSION CONSTRUCTION SITE - OUTSIDE KAMPALA - DAY
Two weeks later and we're in the rural countryside outside Kampala,
Uganda. Sam on the roof of a bombed out school building with other
white VOLUNTEERS, working.
Sam looks below to see a dozen black men dressed in the ragged
fatigues of the Sudanese People's Liberation Army (SPLA). Each is
carrying an AK 47 and standing guard at various points around this
compound. The lead soldier is a man named DENG. ANGLE three others
we'll come to know as "NINETEEN", "MARCO" and "A.J."
EXT. MISSION CONSTRUCTION SITE - DAY
It's later and we see Deng sitting underneath an awning by himself,
working on his machine gun. Sam approaches...
SAM
You Ugandan Army or what?
DENG
SPLA.
SAM
What's that?
DENG
Sudanese People's Liberation Army. We are
freedom fighters.
SAM
Name's Sam Childers.
DENG
I am Deng.
There is a certain reserved nobility in this man, in the way he
carries himself and speaks. An unwavering strength and self-reliance
born from a lifetime of war and struggle.
27
SAM
(re: Deng's weapon)
Givin ya problems?
DENG
Yes. A bit.
SAM
Double-feed?
DENG
Sometimes.
SAM
Lemme have a look...
Deng hesitates, then hands his AK over to Sam who pops the mag out
and studies it...
SAM (CONT'D)
Yer mag is tight. See here...
(INDICATING)
The loads are feedin right to the barrel
face. That's yer problem...
Sam pulls out a knife and begins to work on the base plate of the
mag as he explains...
SAM (CONT'D)
... you need this plate to ramp into the
chamber... that way yer brass won't get
stuck...
(FINISHING)
... there ya go, should be better...
And Sam hands the weapon back.
DENG
Thank you.
SAM
No problem.
DENG
Are you military?
SAM
No, not me. I ain't the military type.
Ain't so good with bein told what to do.
DENG
When did you learn about weapons?
Sam considers the question for a moment... then simply says...
28
SAM
Long time ago. Different life.
INT. DORM - MISSION - NIGHT
Fifteen or twenty volunteers lounging on cots in this dorm, playing
cards, talking, smoking. And we find Sam off from the group, on his
bunk, reading The Bible...
VOICE (O.S.)
Hey Childers...
Sam turns to find a British man in his late 20's named DAN standing
next to him, thick Cockney accent, smoking a cigarette.
DAN
Some of us are going into Kampala
tomorrow night. Find ourselves a little
fun this weekend. You in?
SAM
I was thinkin bout goin up north.
DAN
You crazy? There's a civil war going on
up there.
SAM
I know.
EXT. MISSION CONSTRUCTION SITE - OUTSIDE KAMPALA - DAY
It's mid-day, blazing hot, and we see Sam approaching Deng.
SAM
Hey, Deng, you wanna Coke?
Sam offers him a can and he takes it.
DENG
Thank you.
SAM
Got a question for ya.
DENG
Yes?
SAM
I wanna go into Sudan this weekend. Need
someone to show me around. You
interested?
DENG
The others are going into Kampala.
29
SAM
That ain't my speed no more. I wanna see
some country.
Deng looks at him, surprised by the request...
DENG
You want to see?
EXT. DIRT ROAD - RURAL UGANDA - DAY
A dirt road cutting through grassy plain stretching in every
direction... and we see a BRIGHT YELLOW BUS speeding toward us in
the distance, kicking a rooster tail of dust high into the air...
and as it gets closer we see 15 or 20 men piled onto the roof,
hanging on for dear life as this bus bounces over the road...
INT. BUS - DRIVING - RURAL UGANDA - SAME
... Sam and Deng crammed into this crowded bus...
SAM
They always drive this fast?
DENG
Traveling is the most dangerous time in
Sudan. If the rebels find you on the open
road it would be very bad.
An awkward silence as Deng stares out the window. Sam wanting to
connect here, but Deng is reticent.
SAM
You got kids, Deng?
DENG
No. I have no children.
SAM
Where you from?
DENG
A little village called Aweil. Many hours
from here.
SAM
That's where your family is?
And Deng simply says...
DENG
My family was killed by LRA.
(BEAT)
Unyama is about two hours from here. We
will stop there for lunch.
30
Deng turns and looks out the window again, silent, quietly watching
the land blur past. And Sam says nothing more, intuitively feeling
this man's need to be alone in the moment. A great, lost giant.
EXT. UNYAMA REFUGEE CAMP, UGANDA - DAY
A dense sea of people. 20,000 displaced refugees living on top of
each other.
Life is lived out in the open here... women bent over brightly
colored washtubs sloshing clothes in soapy water... smoke from giant
cooking pots drifting into the air... semi-clothed children, some
with even younger children on their hips, running everywhere. The
poverty and hopelessness is overwhelming.
And we see Sam and Deng walking through the camp...
DENG
The Muslim North has tried to kill the
Christian South for 30 years. Two million
have lost their lives...
Deng sweeping his hand, indicating the mass of refugees.
DENG (CONT'D)
... these people have been driven from
their villages, however these camps are
not much better...
EXT. MEDICAL AREA - UNYAMA REFUGEE CAMP, UGANDA - DAY
A row of wood sheds and worn nylon tents marks the hospital area.
Each enclosure jammed with the desperately sick. Battle-weary AID
WORKERS move among them, doing what they can, caring for the ones
who are most desperately ill.
DENG
Cholera and Malaria are everywhere, there
is little food and not enough UN soldiers
to protect everyone. Even here they worry
the LRA will attack at night.
And another SPLA soldier comes up to Deng --
SPLA SOLDIER 1
(ARABIC)
Are you from Kitgum?
DENG
(ARABIC)
Yes.
SPLA SOLDIER 1
(ARABIC)
Someone wants to speak with you.
31
Deng turns to Sam...
DENG
I'm sorry, Sam... I'll be five minutes.
SAM
Course, do what you gotta do.
Deng leaves and now Sam is completely alone, taking in this mire of
humanity all around him. And suddenly there's COMMOTION! -- two aid
workers coming into this tent carrying a WOMAN on a stretcher. One
of the aid workers looking around -- a white woman -- mid 30's --
her name is AGNETE CLOSSON, Regional Director of Doctors Without
Borders. She sees Sam across the tent.
AGNETE
Excuse me. You. Can you help please?
Sam moving to her --
AGNETE (CONT'D)
We need to transfer her to the bed. Get
her shoulders...
Sam grabbing the woman underneath the shoulders as another aid
worker gets her feet...
AGNETE (CONT'D)
One, two, three...
And they swing the woman over to a cot... but as they do the sheer
piece of blood-stained muslin that was covering her face falls
away... and we see that she has been mutilated... her lips cut off
of her face...
... and now a DOCTOR sweeps into the tent and begins to work on her.
Sam and Agnete pushed back, away from the action. Sam still shocked
by what he's seen.
SAM
What happened to her face?
AGNETE
The rebels cut off her lips because she
argued. These are Kony's orders.
SAM
Who's Kony?
Agnete, suddenly suspicious, takes an appraising look of Sam.
AGNETE
Who are you with?
SAM
I'm with Deng over there.
32
AGNETE
What organization are you with?
SAM
Working with a Christian group down
South. Just up here takin a look around,
seein a bit of the country.
AGNETE
This isn't a tourist destination, this is
a war zone. You stay in this area, you'll
be killed.
(BEAT)
Thank you for your help.
And she walks off.
EXT. NIMULE, SUDAN - DUSK
Establishing a bustling trading center on the border of Uganda and
Sudan. Noisy and overpopulated, a maze of concrete and tin
buildings, hundreds of people on the streets, riding bicycles,
finishing their business before nightfall.
INT. HOTEL ROOM - NIMULE, SUDAN - NIGHT
A stale room with two cots, bare, institutional. Deng on the edge of
his cot, pulling off his boots, taking off his jacket, getting
comfortable. And we see Sam sitting on a small balcony overlooking
the empty street below.
DENG
Some say Joseph Kony is a wizard. A
shapeshifter. He calls himself a
Christian...
He pulls a baggy of tobacco from his pocket and begins to roll a
cigarette...
DENG (CONT'D)
... but I say he is Satan, who devours
his own people.
SAM
Kony is the leader of the LRA?
DENG
He is the one we have been fighting for
years. But there is very little we can
do. Our weapons are old, and our boots
are full of holes. We have been forgotten
by the rest of the world.
And now Deng turns to Sam...
33
DENG (CONT'D)
Why are you here?
SAM
S'cuse me?
DENG
What are you looking for in this place?
SAM
Ain't lookin for nuthin.
Deng staring at him, skeptical...
DENG
And then you will get your picture and go
back to your life and all this will just
be a story you tell your friends.
INT/EXT. HOTEL - NIMULE, SUDAN - NIGHT
Sam has no response... and Deng lights his cigarette... and suddenly
we hear voices... through the open window... children's voices...
Sam peering into the darkness but seeing nothing... only empty
streets... and then one-by-one... out of the darkness like
apparitions... we see children coming up the street carrying
bedrolls... some of them singing spiritual hymns as they walk...
laughing as children do... at first just a dozen or so... and then
more... fifty... a hundred...
EXT. HOTEL ROOM BALCONY - NUMILE, SUDAN - NIGHT
Deng steps onto the balcony next to Sam.
DENG
They are night commuters. They come from
deep in the bush. Their parents send them
out because it is safer to sleep here
than in their own homes.
SAM
Why?
DENG
Because death comes at night in the
villages and refugee camps.
And we continue to watch this great migration of children... now
streaming into this town... a few of them finding a dark corner just
below us... unrolling their reed mats... huddling up against each
other for the long night...
DENG (CONT'D)
These are the lucky one so far. The ones
the rebels have not found. The invisible
children.
34
Sam watching them for another beat then suddenly turning, moving
back into the room...
DENG (CONT'D)
Where are you going?
INT. STAIRWAY - HOTEL - NIMULE, SUDAN - NIGHT
Sam coming down these steps. Deng following.
DENG
(CALLING AFTER)
Sam...
EXT. HOTEL - NIMULE, SUDAN - NIGHT
Sam exiting the hotel, moving to a group of 5 children huddled on
the sidewalk...
SAM
Get up... let's go...
The children looking up, surprised to see a white man here...
SAM (CONT'D)
Come on...
The children getting to their feet... and Sam moves to another
cluster of children up the block as Deng catches up to him...
DENG
What are you doing?
SAM
They ain't sleepin out here. Tell em
they're comin inside.
(to children on the ground)
Ya'll get up... let's go...
And Sam starts to move up the block further, wanting to gather up
more children, but Deng stops him...
DENG
Sam, there are too many...
And he looks up the street and we see more children here than we
thought... hundreds of young kids huddled on the streets...
DENG (CONT'D)
... you can't help them all.
Sam knows he's right. A moment here as he looks to the children he's
gathered, staring up at him...
SAM
I can help these here.
35
INT. HOTEL ROOM - NIMULE, SUDAN - NIGHT
-- and a DOZEN CHILDREN are ushered into this small room. Sam
pushing their cots against a wall so there's more space. Deng
speaking to the children --
DENG
(ARABIC)
Settle down... it's alright... you can
sleep here till morning...
-- and they begin to settle onto the floor... and now we notice a
particular BOY in this group... maybe 8 years old... wearing bright
GREEN SHORTS... and we watch as he and his SISTER move to a corner
of the room and unroll their mats...
... and eventually Sam turns off the lamp and we stay here in the
dark... Sam on his cot, listening to these 12 little children
breathing... their shifting bodies on the floor trying to get
comfortable... and then...
CUT TO:
INT. HOTEL ROOM - NUMILE, SUDAN - DAY
Sam's closed eyes... sound asleep...
Just before dawn. Deng standing over him, shaking him awake...
DENG
The LRA attacked a village last night.
Sam looking up to him...
DENG (CONT'D)
You said you wanted to see.
Sam sits up, looks around the hotel room and we see that it's
empty... the children vanished... only a small, handmade toy on the
ground which has been left behind.
INT. PICKUP TRUCK - DRIVING - RURAL SUDAN - DAY
Sam, Deng, and a few other SPLA SOLDIERS jammed into the flatbed of
this truck, carrying heavy weapons, bouncing fast over this open
dirt road... featureless savanna FADING into sporadic mud huts...
the outskirts of a VILLAGE in the distance... and thin columns of
black smoke twisting into the air...
... and as the truck gets closer to the village we begin to pass
CHILDREN walking along the side of the road... night commuters
returning to their village... some of them huddled together,
weeping...
36
... and we notice -- Sam notices -- the little boy in the GREEN
SHORTS, walking hand-in-hand with his sister, their faces quiet
masks of fear as they move closer to their home.
EXT. VILLAGE - YEI, SUDAN - DAY
The pickup arrives and Sam, Deng, and the other soldiers hop out...
and this is what they see:
Complete devastation. 30 or 40 bodies mutilated and stacked outside
smoking tukuls. Some children already here, on their knees, weeping
next to the corpses of their parents. If you could smell the air it
would smell of burnt flesh and death.
Sam silent, aghast, just staring at the horror all around him...
... and now we see GREEN SHORTS and his sister arriving at the
village... moving to their family's tukul and discovering their
mother and father piled outside. Naked and burned alive. And the
sister falls onto her mother's corpse and begins to wail as GREEN
SHORTS stands there -- frozen -- staring down at his dead parents --
and suddenly --
MOVEMENT! -- from inside the tukul... a small dog... a family pet...
darting into the open... running across the dirt... GREEN SHORTS
going after it, yelling his name...
Sam watching the boy chasing after his dog, rounding a corner out of
sight...
... for a moment...
... just the boy's voice calling after his dog... and then...
BOOOOM!
A muffled burst -- in the distance -- Sam, Deng, and the other
soldiers running out of the village toward the explosion...
EXT. DIRT ROAD - YEI, SUDAN - DAY
... Sam, Deng, and the others arriving at the source of the
explosion. And we see GREEN SHORTS laying on the side of the road...
cut in half by a land mine... his dead eyes wide open with
surprise...
... and Sam drops to his knees... lifting what's left of the boy
into his arms and rocking him back and forth... and we watch as a
terrible sadness overtakes him... something happening here... a
fierce and overwhelming burden dropping into this man as he holds
this dead boy... in the dirt... in the middle of this savage
world...
... and as Sam puts it, his "life changed forever" in this moment...
and we see him looking up to the heavens...
37
tears streaming down his face... saying something we can't hear, but
it's a promise... to God...
To save the children of Sudan.
INT. PITTSBURGH AIRPORT - DAY
A bright, fluorescent corridor filled with garish advertising and
harried travelers rushing to make planes... and we find Sam coming
down this concourse, carrying his duffle bag, his face
expressionless. He reaches a revolving door but stops... doesn't
pass through... sees Lynn, Paige, and his mother waiting for him on
the other side... their happy, expectant faces...
But they don't see him yet... and he just stays here... hidden...
watching them through the glass... and as Sam puts it, at this
moment he realized he would never look at his own family the same
way again... in some way lost to them forever after what he saw on
the side of road in Yei...
... and finally he forces a smile, pushes through the revolving door
and we watch, from this side of the glass, as Paige leaps into his
arms... Lynn and Daisy moving to him too, embracing him, welcoming
him home.
INT. BATHROOM - PAIGE'S ROOM - CHILDERS HOUSE - NIGHT
Paige brushing her teeth at the sink. Sam watching her from the
doorway...
PAIGE
You see any tigers over there?
SAM
Naw, didn't see no tigers.
PAIGE
But they do have them over in Africa.
SAM
So I hear, but not where I was.
PAIGE
Sure am glad you're home.
SAM
Me too, bug.
PAIGE
I'm thinkin of a plane...
SAM
It's late, you better get to bed...
And he grabs her and carries her into the bedroom, plops her onto
the bed...
38
PAIGE
C'mon, plane... I'm thinkin of a plane...
Sam giving in, playing their little game as she gets under the
covers...
SAM
You said plane, I'm thinkin of a train...
PAIGE
You said train, I'm thinkin of a brain.
SAM
You said brain, I'm thinkin of a...
(HESITATING)
PAIGE
Gotcha!
SAM
Ok, you got me.
PAIGE
You coulda said drain, or mane... like
horse's hair.
Sam bending over, kissing her forehead...
SAM
Sweet dreams, bug.
INT. HALLWAY - CHILDERS HOUSE - NIGHT
Sam coming out of Paige's bedroom, pulling the door closed, finding
Lynn waiting for him.
LYNN
You comin to bed?
SAM
In a bit
LYNN
You ok?
SAM
Just a long flight.
She senses more but knows this man well enough not to push... and so
she simply turns away.
EXT. FRONT PORCH - CHILDERS HOUSE - NIGHT
Quiet. Just Sam on this porch all alone, been here for some time,
eyes far off, images in his mind he can't seem to shake.
39
And he steps into the yard... walking along the side of the house...
just moving... trying to shed this feeling like snakeskin...
... and he comes to something on the ground which stops him dead in
his tracks... something we don't see yet... and slowly he reaches
down and picks up...
A LITTLE DOLL. One of Paige's toys. Soiled and faded and left in the
dirt. And we watch him holding this forgotten doll... and what we
see on his face ain't pretty... his world collapsing out from under
him... trying to keep rein on his emotions... a battle he's losing.
INT. BEDROOM - CHILDERS HOUSE - MORNING
Lynn stirs awake, looks next to her and realizes Sam never made it
to bed the night before.
EXT. CHILDERS HOUSE - MORNING
Lynn coming out the front door in her nightgown, sees a light on in
a utility shed in the back...
INT. UTILITY SHED - MORNING
... Lynn slowly pushing open the door to find Sam on the floor,
hunched over a pad of Paige's art paper... drawing... paper wads
strewn all around him... been here all night...
LYNN
Baby, whatcha doin?
He looks up...
SAM
Makin plans.
LYNN
You been to bed yet?
He gathers up a couple of the papers, moves to her.
SAM
I had a vision last night, Lynn. Crazy as
it sounds, God spoke to me...
He hands her a sheet of paper -- CU to see it's a crude drawing of
building.
SAM (CONT'D)
I'm gonna build a church.
LYNN
A church?
40
SAM
Right across the street. Not like Faith
United or Calvary Fellowship. Place that
ain't gonna turn you away if you a drug
addict or a prostitute or whatever. Place
for sinners, just like me, who wanna hear
the word of God.
Lynn studying him, trying to judge how serious he is here. And Sam
looking back at her, his eyes like we haven't seen them before.
Sparkling.
LYNN
How we gonna pay for a church, Sam?
SAM
We got money in the bank. Business is
good. Besides, I own a construction
company...
(SMILING)
I'm gonna give us one heck of a good deal
on the build.
She smiles, shaking her head, catching his enthusiasm...
LYNN
Yer crazy.
SAM
`Lil bit.
LYNN
What's that?
He hands her the other paper -- CU to see it's a another drawing.
SAM
That's the orphanage I wanna build. In
Sudan.
CUT TO:
EXT. RURAL ROAD - CENTRAL CITY, PENN. - DAY - (MAY/2003)
Eight months later and we're looking at a simple, cinder block
church which is under construction. A scattering of pickup trucks
parked at the site and a flurry of activity. WORKMEN pouring cement,
laying sheetrock, etc. And Sam in the middle of this crew, putting
the finishing touches on a timber frame which is about to be raised.
EXT. PLAYGROUND - JOHNSTOWN, PENN. - DAY
Children at play, laughing, screaming, swinging on swing sets and
digging in a sand pit. And we see Sam off to the side, leaning
against a (new) black Harley, watching Paige playing in the group.
41
VOICE (O.S.)
Sam Childers...
Sam turns to see a BIKER, late 40's, leather vest, standing with his
12 year old DAUGHTER.
SAM
That's me.
The Biker extends his hand, they shake.
BIKER
Hey bro, Ben Hobbes, knew each other long
time ago.
SAM
Yeah, Ben, how you doin?
DAUGHTER
Daddy, I'm gonna go.
BIKER
OK, sweetie...
She runs off.
BIKER (CONT'D)
Goddamn, they grow up quick, don't they?
SAM
Sure do.
BIKER
Hey, nuthin fer nuthin, Sam, but rumor
has it you was puttin up a chapel over
there in Central City.
SAM
That's right. Gonna minister to anybody
who's lookin for The Lord.
BIKER
That's good, man. Maybe you can do
somethin bout your old friend, Donnie.
SAM
What about em?
BIKER
He ain't doin so good, bro. But hey, good
seein ya' man.
42
EXT. CRACK HOUSE - JOHNSTOWN, PENN. - DAY
A torn up house in a shitty part of town, windows spray painted
black. Sam pulls up to the curb on his Harley, gets off, opens one
of the bike's hard cases and pulls out the same SAWED OFF 10 gage
we've seen before... chambers a slug as he moves toward the house...
INT. CRACK HOUSE - JOHNSTOWN, PENN. - DAY
Dark, junkie squalor. Two or three people slumped on a ratty couch,
strung-out, watching a flickering TV -- and then --
THE FRONT DOOR CAVES IN!
Sam coming into the house -- sawed-off leveled -- junkies scrambling
for cover -- YELLING! -- CHAOS! -- Sam moving into --
INT. CRACK HOUSE - BACK ROOM - DAY
Sam comes around the corner and finds himself face-to-face with a
CRACKHEAD pointing a .357 MAGNUM -- eyes amped up and wild --
shaking -- a stand-off -- and Sam sees a body on a bare mattress in
the b.g. -- bone thin and pale -- spent hypodermic hanging out of
his arm --
It's Donnie.
SAM
I'm here for that boy right there. You
gonna get in the way a that?
A TENSE BEAT -- not sure how this is gonna go -- and then the
CRACKHEAD shakes his head "no"
INT. CHILDERS HOUSE - CENTRAL CITY, PENN. - DAY
Donnie in a bed, covers pulled up to his neck and he's shaking bad,
retching in a bucket, deep in the throes of a detox. Sam and Lynn
here doing what they can, toweling off his forehead, trying to keep
him warm, as Donnie pulls the sheets tighter, gritting his teeth,
shaking his head.
DONNIE
I can't do this.
SAM
Look at me. God don't make trash, boy.
Now he ain't givin up on you, so don't
give up on him, you hear me?
And somehow Donnie finds strength in his words, and in Sam's hand
touching his head, and he nods.
43
EXT. RURAL ROAD - CENTRAL CITY, PENN. - DAY - (AUGUST/2003)
A bright Sunday morning and we're staring at the cinder block church
which is almost completely finished... the sound of a garage band
coming from inside, playing an unlikely rendition of a spiritual
hymn... and a handful of people, dressed for service, moving up the
cement stairs into...
INT. ENTRY HALL - SHEKINAH FELLOWSHIP CHURCH - DAY
And we see Donnie, dressed in his biker jacket and a buttondown
shirt, sober for the moment, greeting people as they come through
the front door. Standing next to him is Daisy handing out programs.
DONNIE
Welcome to Shekinah Fellowship Church.
INT. CHAPEL - SHEKINAH FELLOWSHIP CHURCH - CENTRAL CITY - DAY
Still under construction. Exposed beams and bare insulation on the
walls. There's a small riser at the front of the hall with an altar,
organ, and the GARAGE BAND playing the rocked-out hymn.
A handful of people here sitting in pews. FARMERS in clean overalls,
FACTORY WORKERS, BIKERS still dressed in their riding leathers,
listening to the garage band and chatting.
And now we see Lynn and Paige (11) standing near the back. Lynn
nervous, checking her watch.
INT. FOYER - SHEKINAH FELLOWSHIP CHURCH - DAY
Sam on his knees, sleeves rolled up to his elbows, wrenching a
leaking pipe. Lynn and Daisy walk in...
LYNN
It's five-til and he still ain't here.
Sam hearing this, moving to his feet, toweling off his hands.
SAM
You call him?
(LYNN NODS)
Try him again.
Lynn exits and Daisy steps forward, shuts the door behind her. Just
she and Sam here alone now.
DAISY
You like this dress, Sam?
SAM
What, mom?
44
DAISY
You ain't never seen this one. I bought
it a long time ago. Been keepin it for a
special occasion.
SAM
It's nice.
DAISY
I never told you this but when I was
pregnant with you, now this was way back,
probably 1960, when yer daddy and I was
still in Grand Rapids, a Pastor
prophesied over me. Pulled me right up on
stage and laid his hands on my belly and
told me I was gonna have a Preacher for a
son.
(smiling at the thought)
Yer daddy and I were so proud. I remember
we went home and neither of us could
sleep all night. Just laid there and
talked bout you, bout what was comin.
SAM
I just built a church. I ain't no
preacher.
DAISY
Yes you are. You were born to it. Just
took you a little ways to get here.
INT. CHAPEL - SHEKINAH FELLOWSHIP CHURCH - DAY
Sam entering at the back of the chapel, taking a moment to
appreciate what he's looking at: 20 or 30 people here in the church
that he built. A dream realized. And he walks down the center aisle,
shaking hands with a few people, climbing steps to the altar and
switching on the microphone...
SAM
(to the band)
Thank you, Tommy. You boys is soundin
pretty good up here.
Sam turning to the crowd, clearing his throat, clearly nervous.
SAM (CONT'D)
I wanna thank ya'll for comin out for the
first day of worship here at Shekinah
Fellowship Church.
Some applause. Lynn and Paige sitting with Daisy who is beaming.
45
SAM (CONT'D)
The guest preacher we had booked today
ain't shown up... so I thought I'd say a
word or two.
An awkward beat...
SAM (CONT'D)
Lotta yous been wonderin what made me
wanna build this here church. Seein as I
ain't the best seed in the bunch I can
understand that.
A beat, considering what to say... and he begins...
SAM (CONT'D)
Buncha years ago I was runnin from some
bad fellas in the woods over there by
Cleary. Those old boys was comin after me
hard and I reached in my bag lookin for
my old shotgun but it was gone. My momma
had took it out when I wasn't lookin and
put this bible in there instead...
Sam holding up a worn bible, and we start to notice something
here... a transformation happening in this man as he speaks to these
people. His nervousness falling away and a natural charisma taking
over...
SAM (CONT'D)
Well I figured I was done for, so I sat
down under an old tree with this useless
book and I waited...
And we see the congregation hanging on his every word, identifying
with this man standing before them. One of their own.
SAM (CONT'D)
... and then the strangest thing
happened. Them boys ran right on past me.
Didn't even see me sittin there. Now the
way I figure it, things would have turned
out pretty different if I had pulled out
that shotgun instead of this here Bible.
And that's probably the first time I can
remember God savin my butt.
(BEAT)
God... and my momma.
Some laughter and applause...
SAM (CONT'D)
Figure least I could do was build em both
this church.
And the congregation responds with a Hallelujah!
46
INT. PITTSBURGH AIRPORT - DAY
Sam holding Paige, her face buried in his shoulder, crying.
SAM
Be back soon as I can.
PAIGE
You're gonna miss my play.
SAM
Have momma videotape it for me, k? Now I
gotta git.
Lynn pulling Paige off, kissing Sam on the lips.
LYNN
Call us when you can.
SAM
I will.
Sam turning to Donnie, and we see he's back to the hulking man he
once was.
SAM (CONT'D)
You watch out for em while I'm gone, ya
hear?
DONNIE
That's done, buddy.
Sam winks, slaps Donnie on the shoulder, as we --
CUT TO:
EXT. SPLA CAMP - KITGUM, UGANDA - DAY
FULL SCREEN - SEVEN LARGE SHIPPING BOXES RIPPED OPEN
And we see a line of SPLA soldiers (including NINETEEN, MARCO, and
A.J.) sitting in the dirt, pulling on NEW BOOTS, smiling, spit-
polishing them to a high shine.
Sam and Deng watching the soldiers.
DENG
You came all this way to bring us new
boots?
INT. TRUCK - DRIVING - DAY
Deng driving fast down this bumpy road. Sam in the passenger seat.
Nineteen, Marco, and A.J. in the flatbed of this truck, ever
watchful.
47
SAM
Right here, stop the truck!
EXT. DIRT ROAD - DEEP IN THE BUSH - DAY
Sam already out of the truck, moving into the bush. Deng
following...
DENG
Sam, wait...
But he's not listening, moving through the scrub to a small
clearing... walking around...
DENG (CONT'D)
It is not safe here.
Sam kneeling down, picking up a handful of red dirt, letting it
trickle through his fingers...
SAM
This is it...
EXT. NIMULE - ON THE BORDER OF SUDAN AND UGANDA - DAY
Establishing a busy trading town on the border of Sudan and Uganda.
And we see a small crowd of villagers standing underneath a tarp,
watching a small color TV (the only TV for miles) -- on the screen
we see a black man in a military uniform giving a fiery speech --
this is JOHN GARANG -- one of the good guys -- the founder of the
SPLA.
INT. GOVERNMENT OFFICE - NIMULE, SUDAN - DAY
A tight, cramped office filled with villagers. Two or three men
here at desks handling the administration of life in the bush:
renewing travel papers, registering newborn children, hearing
complaints from local farmers, etc. And we see Sam and Deng at one
of these desks, a topographical map splayed out in front of them.
ADMINISTRATOR
This is not a good idea.
SAM
I think it's a heckuva good idea.
ADMINISTRATOR
It would be better further south. Closer
to Kampala.
SAM
If I wanted to be closer to Kampala, I'd
be closer to Kampala. I wanna be right
here...
Sam pointing to the map. The Administrator turning to Deng --
48
ADMINISTRATOR
(ARABIC)
He should not be this far north.
SAM
What are you sayin?
ADMINISTRATOR
The villages in this area are very
remote, Mr. Childers. There is nothing
there.
SAM
Then it seems to me them people need help
the most.
ADMINISTRATOR
(to Deng, Arabic)
He will be killed.
SAM
Talk to me.
The Administrator turning to him, laying it out simply --
ADMINISTRATOR
This is in the war zone, Mr. Childers.
The LRA will kill you here.
SAM
I don't think you understand me, so lemme
make it real clear to ya. I didn't pick
this land -- God did.
EXT. CHILDREN'S ORPHANGE - SUDAN - DAY - THREE MONTHS LATER
What we're looking at is the modest beginning of The Angels of East
Africa Children's Orphanage. A cluster of tukuls and 2 or 3
rudimentary wood buildings built on the dirt Sam first let trickle
between his fingers.
And we see life already finding it's place within these bamboo
walls. Acholi WORKERS laying brick on what will eventually become a
schoolhouse and chapel.
And we find Sam with two or three small CHILDREN who are crying for
no apparent reason. He's on his knees, trying his best to soothe
them but he is way out of his depth here.
And now we see Deng in the b.g. approaching with a powerfully built
Ugandan woman in her late 40's.
DENG
(INTRODUCING)
Sam... this is Betty. She is from the
village of Kotido. A few miles from here.
49
SAM
Good to meet you Betty.
Betty, no reaction. Just the incessant crying of the children in the
b.g.
DENG
She is knowing that you need someone to
run the orphanage.
SAM
I'm lookin for somebody who can keep the
place in order. Make sure things is taken
care of when I'm away.
DENG
She can do this.
SAM
She's gonna have to take care of the
children too, make sure they're fed, fix
em when they're sick. Can she do that?
Betty hears this, turns to the crying children and softly says --
BETTY
(ARABIC)
Quiet now.
-- and instantly their crying stops.
SAM
Tell her she's hired.
INT. DORM - CHILDREN'S ORPHANGE - NIGHT
We see Betty and another Camp Woman (ROSE) moving through this room
carrying lanterns, helping the children get ready for sleep --
BETTY
(ARABIC)
You two share a blanket and tomorrow we
will find another.
ROSE
(ARABIC)
Shhhh, it's time to shut your eyes...
And we see Sam here too, doing what he can, tucking in a few of the
kids, starting to make a connection with these children.
EXT. CHILDREN'S ORPHANAGE - NIGHT
And we see a handful of SPLA soldiers stationed around the perimeter
of the compound, standing guard. Sam and Deng sitting next to a
lantern by the front gate.
50
SAM
You know what's funny? In English your
name means "darn it."
DENG
What is this `darn it?'
SAM
Deng. It means `shucks.' You know, like
you stub your toe and you go "ahhhhh,
deng!" Get it?
DENG
(DEAD SERIOUS)
This is not funny. In my language, in
Arabic, names are very important. They
tell you everything about a man.
(BECOMING HEATED)
Your name proceeds you wherever you go.
You are Sam. This is how you are known.
In my language this means something.
Sam feeling terrible, realizes he's offended him.
SAM
I'm sorry, buddy. It was just a joke.
Quiet, awkward, just the two of them sitting here quietly for a long
beat. Finally...
SAM (CONT'D)
What does Sam mean in Arabic?
DENG
Small penis.
And Deng smiles brightly. Sam realizing he's been played. And Deng
starts to LAUGH. A deep, guttural, infectious laugh. Sam joining
him, and we sense that at this moment these two have become friends.
And gradually their laughter subsides, and it's quiet again.
SAM
Can I ask you a question?
DENG
Of course.
SAM
You believe in God?
Deng considering this for a beat, and then...
DENG
I was raised to believe there was a God
in heaven.
(MORE)
51
DENG (CONT'D)
But it is impossible to live here, to see
what I have seen, and not turn your back
on him.
BEAT.
SAM
Maybe you'll invite him in again one day.
DENG
I don't think so.
CUT TO:
EXT. AFRICA NIGHT - PITCH BLACK
The heavy stillness of an African summer night. Only the sound of
Kestrel hawks screeching far off in the distance, hunting prey...
and the drone of African Cicadas buzzing all around us.
INT. DORM - CHILDREN'S ORPHANAGE - NIGHT
The children sprawled on their mats sound asleep.
INT. SOLDIER'S BARRACKS - CHILDREN'S ORPHANGE - NIGHT
Deng and a few other soldiers sleeping on bedrolls.
INT. SAM'S TUKUL - CHILDREN'S ORPHANAGE - NIGHT
Sam sitting on his cot. He rips open an airmail package and pulls
out a small VIDEOCASSETTE, slides it in a VIDEOCAMERA, hits play --
ON THE SMALL VIDEO SCREEN we see Paige, dressed in a pilgrim
costume, performing in a Thanksgiving Day play. Her voice coming
through the tiny speakers as she recites her lines. Sam smiling at
what he's watching.
EXT. FRONT GATE - CHILDREN'S ORPHANAGE - NIGHT
A few of the SPLA soldiers sitting next to their weapons in the
dark, smoking, tossing beads into a carved wooden trough, playing
the ancient game of Mancala --
SOLDIER #2
(ARABIC)
That was a mistake...
SOLDIER #3
(ARABIC)
Where?
SOLDIER #2
(ARABIC)
Right here... your third "house" is
open...
52
Soldier #3 reacting to his mistake as --
-- WE SEE SHADOWS IN THE DARKNESS... MAYBE 10 OR 12 FIGURES MOVING
SLOWLY THROUGH THE UNDERBRUSH... LRA REBELS... APPROACHING THE
PERIMETER OF THE ORPHANAGE.
The SPLA soldiers oblivious to the advance.
INT. SAM'S TUKUL - CHILDREN'S ORPHANAGE - NIGHT
Sam watching Paige's play -- when suddenly --
AN EXPLOSION! -- machinegun fire popping o.s. -- Sam hitting the
ground, scrambling for cover --
EXT. CHILDREN'S ORPHANAGE - NIGHT
-- Sam rushing out of his tukul -- sees the front gate OBLITERATED
from a grenade blast -- bamboo fence burning -- the death song of
AK47's howling in the darkness --
NEW ANGLE
-- Sam hustling across the compound -- joining Deng and another
soldier behind a makeshift shed --
SAM
How many are there?
DENG
Two squads...
(INDICATING)
There -- and there.
Sam peering around the corner -- sees MUZZLE FLASHES in the
blackness -- maybe 15 or 20 rebels moving through the bush like
specters -- flanking the compound --
SAM
Where are your men?
DENG
I don't know.
Sam looking around, realizing the rest of the SPLA soldiers are
scattered throughout the compound firing randomly into the dark.
SAM
They're gonna pick us off like this!
Sam, split-second decision here -- and he starts to sprint across
the compound to --
53
INT. DORM - CHILDREN'S ORPHANAGE - NIGHT
TERRIFIED SCREAMING! -- the children cowering in the corners --
Betty and Rose here trying to calm them down --
BETTY
(ARABIC)
Stay down! -- stay down! --
ROSE
We are protected! --
Sam bursting through the door --
SAM
-- Betty! Get em to the church right now!
(ARABIC)
Quickly.
(ENGLISH)
Understand?! --
Betty nodding as Sam rushes out --
INT. STOREROOM - CHILDREN'S VILLAGE ORPHANAGE - NIGHT
-- Sam bombing into this shed -- quickly opening a metal chest and
pulling out an AK47 and mags of ammo --
EXT. FRONT GATE - CHILDREN'S ORPHANAGE - NIGHT
-- Sam scrambling across the compound with the AK -- moves next to
Deng and pops a mag into the machinegun --
SAM
Get yer men back to the church! That's
our best shot! I'll cover you...
And Sam starts to open up the AK -- laying down a curtain of
suppression fire as Deng shouts to his men --
DENG
(ARABIC)
To the church! --
-- and they start to fall back to the center of the orphanage --
INT. CHAPEL - CHILDREN'S ORPHANAGE - NIGHT
Betty and the other Camp woman herding the terrified children into
this building -- the only brick structure on the compound -- and
then Deng, Marco, A.J. and the other SPLA soldiers coming in --
moving to the window holes and returning fire --
54
EXT. FRONT GATE - CHILDREN'S VILLAGE ORPHANAGE - NIGHT
Sam sweeping the AK back and forth, trying to hold off the rebels as
long as he can -- and then --
KABOOOM!!
More of the fence eviscerated by a grenade blast.
REBELS ADVANCING ON THE ORPHANAGE -- BREACHING THE PERIMETER --
Sam becoming overwhelmed in the fight -- firing as he retreats back
into the compound --
INT. CHAPEL - CHILDREN'S ORPHANAGE - NIGHT
-- Sam storming into the chapel -- turning to Betty --
SAM
(meaning the children)
Put em in the middle!
Betty and the other woman do exactly that -- they move the children
into a tight group in the center of the room.
BETTY
(ARABIC)
Down here! -- in the center! -- all of
you! -- stay down!
EXT. CHILDREN'S ORPHANAGE - NIGHT
Rebels moving through the compound, firing into tukuls and setting
everything on fire.
INT. CHAPEL - CHILDREN'S ORPHANAGE - NIGHT
Sam, Deng and the other soldiers returning fire --
DENG
(ARABIC)
Four on the right!
NINETEEN
(ARABIC)
There are too many!
SAM
Just keep firin!
Sam starting to open up with his AK -- Krakakakakakak! -- spent
shells showering down around the children huddled in the middle of
the room.
55
EXT. CHILDREN'S ORPHANAGE - NIGHT
Rebels swarming around the chapel, but reaching a point where they
can't advance any further --
-- and we see a rebel squat behind a shed and screw an RPG into a
launcher -- he pops up -- levels the launcher at the chapel and --
Krakakakakak!
He's cut down before he's able to fire --
INT. CHAPEL - CHILDREN'S ORPHANAGE - NIGHT
-- Sam sweeping his AK across the compound -- the other soldiers
burning through magazines and reloading -- rebels firing back --
Betty and the children crowded on the floor in the middle of this
STORM OF GUNFIRE -- and we stay in this little chapel -- watching
this last stand -- until we --
CUT TO:
EXT. CHILDREN'S ORPHANAGE - MORNING
And we see the entire orphanage has been razed to the ground. Betty
and a few of the children picking through the burned out buildings
and torched tukuls, looking for anything salvageable. Deng,
Nineteen, and some of the SPLA soldiers loading the corpses of
rebels into the back of the truck...
... and now we find Sam staring at the brick chapel in the middle of
the compound. The only structure that remains. Everything else --
his entire dream -- in ashes.
INT. GROCERY STORE - CENTRAL CITY, PENN. - NIGHT
And we see Lynn pushing a shopping cart down the aisle, past shelves
loaded with packaged produce. And we hear BUZZING. Lynn digging the
cell phone out of her purse --
LYNN
Hello?
EXT. STREET CAFE - NIMULE, SUDAN - SAME (DAY)
And we find Sam sitting at a table along this dusty, crowded street.
His duffelbag on the ground next to him.
SAM
(INTO PHONE)
It's me.
INT. GROCERY STORE - CENTRAL CITY, PENN. - NIGHT
Lynn immediately senses something wrong.
56
LYNN
You ok?
EXT. STREET CAFE - NIMULE, SUDAN - SAME (DAY)
And we see that he's not. This man is empty, alone, defeated.
SAM
They burned it to the ground. All of it.
Ain't nuthin left.
INT. GROCERY STORE - CENTRAL CITY, PENN. - NIGHT
She hears the anguish in his voice.
LYNN
Where are you?
EXT. STREET CAFE - NIMULE, SUDAN - DAY
SAM
Nimule...
INT. GROCERY STORE - CENTRAL CITY, PENN. - NIGHT
SAM'S VOICE (O.S.)
... I'm comin home.
And we're watching her here, clocking the resignation in his voice.
A moment of quiet for both of them. Lynn sensing the dimensions of
his heartache. All she wants to do is bring him home, hold him
close, ease his pain... but she knows that's not what he needs...
not this man...
EXT. STREET CAFE - NIMULE, CAFE - DAY
LYNN'S VOICE (O.S.)
Sam?
SAM
Yeah.
LYNN'S VOICE (O.S.)
Can you hear me?
SAM
I can hear you.
INT. GROCERY STORE - CENTRAL CITY, PENN. - NIGHT
And we see her move around a corner into an empty aisle, away from
the other shoppers. And she says...
57
LYNN
Then quit feelin sorry for yerself. Them
children have had their whole lives
burned to the ground and worse. How many
of them you see givin up?
EXT. STREET CAFE - NIMULE, SUDAN - DAY
And we watch Sam listening, finding strength in what this woman says
next...
LYNN'S VOICE (O.S.)
God gave you purpose, Sam Childers. Now
stop yer cryin, get off yer butt and
build it again.
EXT. CHILDREN'S ORPHANAGE - DAY
BEGIN SEQUENCE. Giving us a sense that many months are passing.
-- Sam and a crew of VILLAGE MEN hauling the charred remnants of
tukuls and burned building out of the compound on their backs.
-- The remainder of the bamboo fence that once surrounded the
orphanage being torn down.
-- Nineteen, Marco, A.J. and a few other SPLA soldiers cutting the
bush away from the edge of the compound with machetes.
SAM
Cut it all down... so they got nowhere to
hide...
-- Sam, Deng and the crew of village men digging post holes around
the perimeter of the orphanage...
VILLAGE MAN 1
(ARABIC)
How far?
DENG
(ARABIC)
All the way around...
-- The men sinking metal beams into the holes with cement, then
surrounding the compound with heavy gage CHAINLINK FENCE.
-- New DORMS being built from brick. An INFIRMARY. A MESS HALL.
SOLDIER'S BARRACKS. And finally, Sam laying the last brick on the
chapel in the center of the compound. Completing it.
INT. OFFICE - CHILDREN'S ORPHANAGE - DAY
A simple administrative office with a short-wave radio and sat
phone. Sam here, sitting at a desk when we hear a knock at the door.
58
SAM
Come on in...
The door opens and we see Deng.
DENG
Preacher, you need to come see this.
EXT. CHILDREN'S ORPHANAGE - DAY
Sam following Deng to the center of the compound where we see 5 or 6
camp women (including Betty and Rose) dressed in colorful robes and
headdresses. Maybe 80 children here, quietly sitting in the dirt,
watching the women. Nineteen, Marco, A.J. and the rest of the SPLA
soldiers here too, watching from the side.
SAM
What's goin on?
DENG
The Acholi people were farmers before
they were driven from their ancestral
homeland. Each year they blessed the soil
before a planting.
And now the women begin to move in unison... singing an ancient
Acholi song as one of the older orphan boys beats a small drum in
accompaniment...
DENG (CONT'D)
(TRANSLATING)
They are saying that fire brings strength
and ashes abundance...
The women continuing their dance... moving in a tight circle and
stomping their feet as they sing...
DENG (CONT'D)
(TRANSLATING)
... when the land burns, the next year
the soil produces more...
And now Betty peels away from the group and approaches Sam, talking
to him directly in Arabic...
BETTY
(ARABIC)
The children are your fields...
DENG
(TRANSLATING)
... she says you are a farmer and these
children are your crops...
59
Sam looking to the 80 little orphans watching this from the side...
and now Betty bends down and scoops up a bit of ashen earth and runs
her finger across his forehead, blessing him...
BETTY
(ARABIC)
... and this ground will grow them tall.
DENG
... and this ground is richer now and
they will grow stronger because of it.
OFF SAM standing here with his ashen face, staring at these people
in front of him -- his African family.
INT. MESS HALL - CHILDREN'S ORPHANAGE - DAY
Days later and we see Sam here with Nineteen and a few other SPLA
soldiers, eating lunch, trying to learn their language. And it's
humorous to these guys as Sam tries to pronounce some words in
Arabic...
And suddenly we hear YELLING coming from outside.
EXT. MESS HALL - CHILDREN'S ORPHANAGE - DAY
Sam coming out fast, sees soldiers pulling open the front gate as
THREE pickup trucks speed into the compound -- SPLA military trucks -
- skidding to a stop.
Sam rushing over as soldiers help two YOUNG BOYS out of one of the
trucks. Both are around 5 years old, injured and crying. And then a
third child is lifted out in a makeshift stretcher -- this is ALICE -
- 10 years old -- her broken body limp and bleeding profusely --
mumbling something to herself in Arabic over-and-over again --
INT. INFIRMARY - CHILDREN'S VILLAGE ORPHANAGE - DAY
-- DOORS BANGING OPEN! -- CONTROLLED CHAOS as the children are
hauled into this clinic -- Betty taking care of Alice -- the worst
off -- hooking her up to an IV as Sam moves to her bedside -- the
little girl still mumbling quietly --
SAM
What is she saying?
BETTY
She is asking what she did wrong?
Sam taking Alice's hand in his... very slowly her beautiful eyes
open and she sees him... and says something in Arabic...
BETTY (CONT'D)
(TRANSLATING)
She is asking if you are `The Preacher.'
60
SAM
(NODDING)
Tell her she's gonna be ok.
Betty translates and Alice smiles faintly... and now one of the
other camp women comes over and Sam steps back so they can work...
EXT. INFIRMARY - CHILDREN'S VILLAGE ORPHANAGE - DUSK
Sam coming out of the infirmary and finding Deng here with a few of
the SPLA soldiers who brought the children.
SAM
Where did they find em?
DENG
Their village was hit out Adjumani.
Off Sam, hearing this, we...
TIME DISSOLVE TO:
EXT. INFIRMARY - CHILDREN'S VILLAGE ORPHANAGE - DAWN
And we see Sam and Deng sitting outside the infirmary, exhausted,
been here all night waiting. And now the door opens and Betty comes
out. She looks down at them and simply shakes her head...
And we know Alice is dead.
And it looks like a grenade has gone off inside Sam. And suddenly he
grabs an AK and gets up, seething, walks off...
DENG
Sam...
EXT. COMPOUND - CHILDREN'S VILLAGE ORPHANGE - DAY
... Sam walking fast through the compound... Deng following...
DENG
Where are you going?
SAM
Adjumani.
DENG
Sam, please wait...
SAM
I ain't waitin. You wanna see what waitin
gets ya? Take a look in that buildin over
there...
Sam reaching the SUV and starting to gear up...
61
FADE UP the plaintive wail of an Acholi WAR SONG... haunting...
ethereal... and then a chorus of voices rising up... taking us to...
INT. SUV - DRIVING - DEEP IN THE BUSH - DAY
Bombing down this rutted, red dirt road. The engine at full tilt.
Sam, Deng, Nineteen, Marco, and A.J. jammed into this truck riding
in dead silence... AK47's bouncing between their knees... only the
sound of the WAR SONG playing as we watch these men... a grave
stillness on their faces... thinking of what men do just before
their own death.
EXT. DIRT ROAD - DEEP IN THE BUSH - DAY
We see two LRA VEHICLES approaching in the distance... a LEAD JEEP
and a PICKUP TRUCK behind it...
INT. LRA PICKUP TRUCK - DRIVING - DAY
Four CHILD SOLDIERS squatting in the flatbed of this truck carrying
AK47's. We recognize one of the boys as the younger brother from the
opening scene -- WILLIAM.
INT. LRA JEEP - DRIVING - DAY
With two ADULT REBELS in this Jeep as they drive down this road past
bombed-out vehicles... and in the distance we see the smoldering
wreckage of a transport truck on the side of the road... the thick
smoke hanging over the road like a black curtain... blocking out
vision of the road ahead...
... and the Jeep punches into the black smoke followed by the pickup
truck... and we're lost in the swirling haze for a moment before
coming out the other side... and this is what we see --
SAM -- standing in the middle of the road ahead of us shouldering a
RPG -- the ADULT REBELS see him just as --
WHOOOOSH! -- an RPG streaks right at us and DETONATES -- KABOOOOM! --
and the Jeep flips onto it's side --
INT. PICKUP TRUCK - DAY
THE PICKUP GRINDS TO A STOP! -- the driver slamming it into REVERSE -
- accelerating back into the curtain of smoke -- trying to get the
fuck out of there when --
BBrrraaaappp!
.30 CALIBER MACHINEGUN STRAFE across the front hood --
EXT. SUV - SAME
-- and we see A.J. behind the .30 cal -- opening it up --
BBRAAAAAAPPP! -- BBRAAAAAPPP! -- blasting the engine compartment of
the truck, trying to disable it --
62
EXT. LRA PICKUP TRUCK - DAY
-- the pickup truck reversing out of the black smoke -- OUT OF
CONTROL -- going off the road into a ditch -- WILLIAM and the other
boys bailing out of the flatbed -- TWO ADULT REBELS piling out of
the cab -- scrambling for cover behind the truck.
EXT. BUSH - DAY
Sam, Deng, A.J. and the others hustling through the smoke and
finding cover. From Sam's vantage point he sees rebels hiding
behind the disabled truck for cover -- shooting back -- a withering
firefight -- the big .30 cal ROARING offscreen but the truck is
protecting the rebels -- no clear shot --
EXT. LRA TRANSPORT TRUCK - DAY
William and the other child soldiers here with two ADULT REBELS --
crouched behind the truck for cover -- the ADULT REBELS returning
fire, but the children aren't moving, scared shitless.
William peers around the truck and sees Sam fifty yards away, turns
to the boys next to him...
WILLIAM
(ARABIC)
It's the white preacher!
The other boys reacting, this means something to them. And now one
of the ADULT REBEL turns to the children...
ADULT REBEL
STAND UP AND FIGHT!!!
And he pops up and returns fire, but the boys don't move.
EXT. BUSH - DAY
MARCO running through the smoke toward Sam. He hits the ground and
starts to screw an RPG into his launcher... he wants to hit the
transport truck, but Sam shakes his head, waves him off...
SAM
No shot! There are children behind the
truck!
Marco hears this, ditches the RPG and picks up his AK.
SAM (CONT'D)
Cover me!
Marco laying down suppression fire as Sam sprints across the road --
advancing on the transport truck -- firing his AK from the hip --
bullets zinging past him -- he dives behind a berm and finds himself
next to Deng. Neither man says a word as they jam fresh mags into
their AK's, gunfire erupting all around them.
63
EXT. LRA TRANSPORT TRUCK - DAY
The adult rebels continue fighting -- alternately popping up from
behind the truck and returning fire. The ADULT REBEL realizing that
William and the other boys still aren't fighting --
ADULT REBEL
Fight you cowards!!!
But William and the other boys don't move, and the Adult Rebel keeps
shooting until his mag clicks empty. He looks around and sees an RPG
LAUNCHER on the ground, picks it up, arms it --
EXT. BERM - DAY
Sam and Deng behind the berm. Sam peers over just as GUNFIRE misses
him by inches. He drops back.
DENG
Why don't you just go home?
SAM
What?
DENG
This is not your war.
SAM
You leavin?
Deng shakes his head --
SAM (CONT'D)
Well then, I ain't leavin neither...
Sam chambers a round, pivots around the berm as --
EXT. LRA TRANSPORT TRUCK - SAME
-- the Adult Rebel stands up with the RPG -- fires! -- at the same
instant William shoots him in the head -- he jerks -- WOOOOOSH! --
the missile launching at a bad angle as --
SAM COMES OUT FROM BEHIND THE BERM
RPG streaking directly at him -- hitting the ground short --
BA-WHOOOM! --
AND OUR VISION EXPLODES TO WHITE
For a long beat... only silence... and then slowly the white begins
to fade... and we see Sam flat on his back... eyes blinking open...
shell-shocked... staring up at blue sky... and then a shadow coming
over him... someone stepping into his POV...
64
it's William, hands held open in surrender, staring curiously at
this strange white man laying in the dirt... and now Deng and Marco
appear next to Sam and help him to his feet.
And we see the battle is over. The remaining child soldiers slowly
emerging from behind the LRA truck... laying down their weapons and
walking toward Sam... joining William... staring at this white man
in front of them...
... William reaches into his pocket and...
... Deng and Marco REACT -- lifting their AK's -- "Don't move! Don't
move!" -- but the boy only pulls out a FADED PHOTOGRAPH... the one
he grabbed just before his capture... a picture of him and his older
brother... standing next to each other smiling.
WILLIAM
(ARABIC)
Have you seen my brother?
INT. DORM - CHILDREN'S ORPHANAGE - NIGHT
80 children laying on the floor on reed mats, getting ready for
sleep. And we find William in mid-conversation with a young boy
named Anthony.
WILLIAM
... Where are you from?
ANTHONY
Jabal.
WILLIAM
Were you with the rebels?
Anthony nods. William pulls out his photograph.
WILLIAM (CONT'D)
Did you know my brother? He was called
Christopher.
Anthony studying the photograph...
WILLIAM (CONT'D)
He has a funny left eye. It looks the
other way sometimes. Do you remember him?
ANTHONY
No.
William folding up the photograph, getting up, moving to another
little boy a few feet away... kneeling next to him... and so he
continues...
WILLIAM
I am William. Were you with the rebels?
65
EXT. GENERATOR HUT - CHILDREN'S ORPHANAGE - NIGHT
A soldier cuts off the generator and the compound goes black.
INT. TUKUL - NIGHT
And we see Sam on his cot when the light goes out. He leans over and
torches a small Kerosene lamp next to him.
INT. DORM - NIGHT
The children on their mats in the dark now... quiet... a few of the
younger ones whimpering, starting to cry... the darkness becoming
too much... reminding them of past horrors... and then we hear a
FAINT VOICE in this dark room... singing quietly... an ancient
African lullaby... and then other little voices joining in...
singing this song they all know... a song their mother's once sang
to them...
INT. SAM'S TUKUL - CHILDREN'S ORPHANAGE - NIGHT
... Sam hearing the soft chorus drift across the compound... somehow
finding comfort in it too... blowing out the lamp and laying here in
the dark... listening to the children sing.
EXT. CHILDREN'S ORPHANAGE - EARLY MORNING
A SLOW DISSOLVE... life springing up in the camp... daylight
breaking... a routine seen here... Betty, Rose and the other camp
women arriving at the orphanage... cooking fires being lit...
soldiers drinking cups of strong coffee, warming themselves after a
long night...
... and Sam coming out of his tukul carrying his duffle bag...
discovering William curled up next to his door, sleeping on a mat in
the dirt... been there all night. William stirring awake, seeing Sam
above him and scrambling to his feet.
SAM
Mornin, buddy.
William, no response. Just staring up at him.
SAM (CONT'D)
Ain't you gonna say nuthin?
William, nothing.
SAM (CONT'D)
Ok then.
And Sam walks across the compound followed by William a few paces
behind... and he reaches Deng, Betty, Nineteen, and a few of the
other volunteers waiting by the truck...
66
DENG
(MEANING WILLIAM)
Looks like you've got yourself a
bodyguard.
SAM
Guess I do.
Sam tosses his bag into the back, says goodbye to everyone...
SAM (CONT'D)
Take care of things while I'm gone, ok?
DENG
I will, Preacher.
They shake hands and Sam gets into the truck... and we see William
already here, sitting in the backseat.
SAM
You can't come with me, buddy.
DENG
(to William, Arabic)
Get out of there.
But William isn't moving...
DENG (CONT'D)
(ARABIC)
Come on! -- out! --
... and finally Deng reaches in and grabs him... tries to pull him
out but he fights back... yelling as Deng drags him out of the
truck...
INT. TRUCK - DRIVING - DAY
Sam turning around in his seat as we pull away from the compound...
and he sees William still struggling in Deng's arms... and finally
he breaks free and SPRINTS for the truck as it drives off... fast as
he can... chasing Sam until he no longer can.
CUT TO:
INT. SHEKINAH FELLOWSHIP CHURCH/KITCHEN - CENTRAL CITY, PENN. - DAY
And we see two teens moving toward the sound of a crowd coming from
inside the church, responsive, "Hallelujah!"... and then Sam's voice
over it all...
SAM (O.S.)
In your actions you give service to the
Lord...
67
INT. CHAPEL - SHEKINAH FELLOWSHIP CHURCH - CENTRAL CITY - SAME
Sam at the pulpit in mid-sermon. There is an air of Fire and
Brimstone to what we're watching here... electric... the
congregation listening in rapt attention...
SAM
... he's not interested in your good
thoughts... your good intentions... he
wants your hands... your backs... your
sweat... your blood to pour into the
foundation that will build up his
kingdom!
Ad-libbed SHOUTS and PRAISE... and now we see Lynn, Daisy, Donnie
and Paige in the congregation listening... as we go --
INT. HALLWAY/FOYER - SHEKINAH FELLOWSHIP CHURCH - DAY
Lynn and Sam walking through the facility, and we see this place is
alive with activity. More than just a church, this is a community
center. Lynn opening a door and we see a Volunteer here with a dozen
little children running around this playroom...
LYNN
We started daycare last month. Monday
thru Friday from 8 to 2... Sundays after
first worship for a few hours if anybody
needs it. How you doin, Sue?
VOLUNTEER
Good. Hey Pastor.
SAM
Sue.
Lynn pulling the door closed and they continue... moving down a set
of stairs to the basement where we see children and parents... some
of them playing ping-pong and air hockey... others in a corner
rehearsing for a Christmas play...
SAM (CONT'D)
Been thinkin we need to put up a
playground. Swings. Some things the kids
can climb on.
LYNN
We can't build anymore. Not for awhile.
SAM
You said Sundays has been full.
LYNN
Turn outs been good, but that don't mean
people is givin money.
(MORE)
68
LYNN (CONT'D)
Economy is in trouble, construction
business is slow. Times is tight.
SAM
Be good for them kids, Lynn.
LYNN
They got the playground over in
Cairnbrook. And they can play at the
school on weekends if they want
Sam turning to her --
SAM
Not talking bout here. Talkin about the
orphange.
Lynn catching up to him now, realizing his head is still back in
Africa.
INT. SHED - CHILDERS HOUSE - DAY
Sam working on his Harley. Donnie entering in the b.g.
DONNIE
What'cha workin on, buddy?
SAM
Trouble with the push rods I think. She's
runnin kinda rough.
DONNIE
Shoulda kept that mild in there `stead a
buildin up a hot rod. Let's see whatcha
got here...
Donnie moving next to him, working on the bike...
DONNIE (CONT'D)
... never had these problems when we was
runnin solid lifters, huh?
SAM
Used to fix them old shovelheads on the
side of the road with a buckknife and a
wire hanger.
DONNIE
Remember that year we went to the
Freakers Ball?
Sam smiling...
SAM
I think that old `78 broke down five
times on that trip.
69
DONNIE
Sounds about right. Shoot, we had more
fun tryin to get there than when we
finally did.
Sam and Donnie share a laugh.
DONNIE (CONT'D)
Can I talk to you about somethin?
SAM
Yep.
DONNIE
I'm glad I'm walkin with the Lord and
all, but sometimes I ain't sure I'm gonna
be able to do what he wants me to do.
SAM
The Lord don't ask for nuthin you can't
deliver, buddy. And yer one tough ole
boy.
DONNIE
Sometimes I ain't so sure how tough I am.
And we see in Donnie's eyes just how troubled he is.
SAM
Why don't we pray together then...
And they both take a knee, bowing their heads as Sam continues...
SAM (CONT'D)
Our gracious Heavenly Father, bless us
with the strength to carry on in your
name. And grant us, in our darkest hours,
the understandin that you are always by
our side.
And we leave these two men, their heads bowed in quiet supplication,
next to this Harley, praying for strength.
INT. SHOWROOM - CAR DEALERSHIP - JOHNSTOWN, PENN. - DAY (JULY/2004)
Four or five gleaming sedans on this showroom floor. And we see Sam
sitting across from BILL WALLACE, late 40's, gold Rolex.
BILL
... from what I heard, you built yourself
one helluva church over there in Central
City.
70
SAM
Still got a ways to go, but we're gettin
there. You should come on by one of these
Sundays, bring the family.
BILL
That's nice of you, but we're at Calvary
now. Bit more our speed over there I
think.
Sam, getting down to business...
SAM
Reverand Carlton gives a mean sermon,
puts me to shame. Anyway Bill, I'm here
cause I wanna talk to you about what
we're doin over there in Africa.
BILL
Course I know about what you're doin.
Helluva thing helpin out those kids, Sam.
SAM
Thank you, but I'm gonna be straight with
ya. We're hurtin for money... If we had a
little bit more support from people like
yourself sure would help things run a lot
smoother over there.
Bill feeling the rub, shaking his head...
BILL
Sam, look, everybody is feelin the pinch
around here.
SAM
I hear that, but you gotta understand
that them kids over there got nuthin. I
mean nuthin, Bill, and I'm not asking for
much.
BILL
How much you lookin for?
SAM
Five thousand dollars.
BILL
Jesus Christ, Sam! Five thousand dollars?
SAM
That keeps them doors open for another
six months.
71
BILL
People are losin their jobs left and
right round here. Tough to be askin for
five thousand dollars for a buncha
African children half-way around the
world.
Sam shifting, not giving up, coming at him another way...
SAM
You're right. We got problems right here.
But with that kinda money we could feed
them kids, house them kids.
Bill staring at him, saying nothing, on the spot. Sam hoping that
somehow he's reached this man. And finally Bill stands up...
BILL
Alright, tell you what, lemme see what I
can do.
Sam feeling this victory, flashing a smile, shaking Bill's hand.
SAM
Ok.
BILL
Why don't you and the family come over to
the house next Sunday. We're havin a
little barbeque, ok?
SAM
Sounds good.
INT. SUBURBAN HOUSE - DAY
Upscale French provincial in suburban Johnstown. A "barbeque" is
underway. 15 couples here with their kids and a handful of waiters
in white-tie offering champagne and hors d'oeuvres to the guests.
DOOR BELL RINGING -- and we see a perky woman in her late 40's
coming through the crowd, blonde hair from a bottle, accessorized to
the hilt, holding a glass of white wine. SHANNON WALLACE. She opens
the door to find Sam, Lynn, and Paige standing in the doorway.
SHANNON
Well, come on in...
And they enter... Lynn smiling awkwardly, dressed in the same yellow
dress we saw her in previously... her only dress... and Sam looking
around this enormous room...
SHANNON (CONT'D)
Ya'll must be the Childers. Welcome. I'm
Shannon, Bill's ball-n-chain.
72
Smiling, a joke she loves...
LYNN
I'm Lynn, this here is Sam, our daughter
Paige.
SHANNON
Good to meet you.
VOICE (O.S.)
There he is!
Everybody turning to see the car dealer coming through the crowd,
smiling, a little drunk. AD-LIBBED introductions and then...
BILL
Glad ya'll could make it. Get on in here
and meet some people...
Bill ushering them deeper into the house... quick intros to a few
guests as they pass... Sam, Lynn, and Paige taking it all in...
starting to sense the dimensions of this massive house... the
waiters in their pressed jackets offering them food... the
extravagance... like nothing they've ever seen...
... Bill pulling Sam off from the crowd so it's just the two of
them... taking an envelope from his jacket and handing it to him...
BILL (CONT'D)
This is a little somethin for the kids,
ok? What we were talking about.
SAM
Thank you, Bill.
BILL
Forget it. Now c'mon, can I get ya a
mojito or somethin?
INT. BATHROOM - SUBURBAN HOUSE - DAY
Sam coming into this bathroom and locking the door... taking the
envelope out of his pocket and tearing it open... pulling out a
personal check -- CLOSE UP to see it's in the amount of $150
HOLD ON Sam face, and it's disgust we see in his eyes.
EXT. SUBURBAN HOUSE - DAY
Front door opening fast and Lynn and Paige coming out, followed by
Sam, pushing them along...
LYNN
Sam...
73
PAIGE
Why we leavin so soon?
Shannon appearing in the doorway in the b.g., calling after...
SHANNON
Everything alright?...
Lynn turning to respond, but Sam keeps her moving forward, down the
driveway, past the line of parked BMW's and Mercedes to their truck
at the curb...
SAM
Get in the car.
LYNN
What's wrong?
As they load into the truck...
SAM
Sonuvabitch is cryin pour-mouth to me and
he's livin in the damn Taj Mahal...
LYNN
Sam...
SAM
I asked him for five-thousand dollars to
feed a buncha motherless babies and you
know what he gave me?
(taking out the check,
wadding it up)
Hundred and fifty bucks. That's it.
Handed it to me like it was gold
bouillon! Sonuvabitch spent more than
that on salsa for his party.
INT. CHILDERS HOUSE - DAY
-- Sam coming into the house, enraged, followed by Lynn. He moves to
his gun cabinet, grabs a hidden key, unlocks it...
LYNN
What are you doin?
SAM
I've had it with these people and all
their bullshit about wantin to help...
And he starts pulling out weapons... shotguns and assault rifles...
stuffing them into an oversize gun bag...
LYNN
Sam Childers...
74
Lynn reaching for him and he grabs her wrist... tightly... staring
at her with dark eyes. A flash of the "old" Sam Childers here when
he says...
SAM
Stay outta my way.
And for the first time in years this woman is scared. He lets go of
her wrist and continues to fill the bag -- and we go --
EXT. PAWN SHOP - JOHNSTOWN, PENNSYLVANIA - DAY
Sam coming out followed by the Shop Owner...
SHOP OWNER
... I'm sorry, twenty-five hundred is the
best I can do for them gun.
REVERSE to see Lynn's car parked at the curb, Sam pointing to it...
SAM
Throw in the car for five.
The Shop Owner considering, as we go...
EXT. ROAD - PENNSYLVANIA - DAY
Windy, pissing rain. And we see Sam walking up this rural road,
hands in his pockets, head down... the only human for miles...
trudging through this shitstorm completely alone.
CUT TO:
EXT. CHILDREN'S ORPHANAGE - DAY
And we see Sam with a group of men working in the sweltering heat...
laying brick... adding another room to the children's dorm...
... and he squints into the distance, sees a cloud of dust on the
horizon, cars coming closer.
EXT. MAIN GATE - CHILDREN'S ORPHANAGE - DAY
Seven or eight heavily armed vehicles coming through the gate. Maybe
20 or 30 SPLA soldiers guarding a black SUBURBAN in the middle of
this motorcade. Nineteen waving his hand, yelling as the cars pass --
NINETEEN
(ARABIC)
It's Garang! -- It's Garang! --
Palpable excitement ripples through the compound... Sam's soldiers
grabbing their weapons and forming a ragged line near the Suburban
as it stops...
75
... the back door to the Suburban opens and a black man, dressed in
shirtsleeves and slacks, steps out. The same man we saw giving the
fiery speech on the little outdoor TV in Nimule earlier -- JOHN
GARANG.
Sam turns to Deng --
SAM
Who's this guy?
DENG
That's our leader.
SAM
John Garang?
Deng nods as we go...
EXT. COMPOUND - CHILDREN'S VILLAGE ORPHANGE - DAY
Sam and Garang walking through the middle of camp, trailed by a
squad of SPLA bodyguards and camp children...
GARANG
They call you Preacher. Is this what I
should call you?
SAM
Sam is fine.
GARANG
I hear what you have done for the SPLA
and I am grateful.
SAM
We can thank God for his blessins.
GARANG
Yes, we can. How many children do you
look after, Sam?
SAM
Couple hundred with us here. Feed another
thousand a day from nearby villages.
Anyone who shows up hungry gets a meal.
And they continue through the camp. A few of the children running up
to Garang, touching the cuff of his shirt, then sprinting away...
GARANG
What you are doing is noble, but too
dangerous. I must advise you to stop
risking your life in our struggle.
76
SAM
Until someone starts fightin for these
children, I'm the one that's gonna do it.
GARANG
You are stubborn, aren't you?
SAM
As a mule.
Garang smiling, an instant affinity for this man.
GARANG
You and I come from very different
worlds, but we are not so dissimilar.
And another child runs up to Garang, touching him, and then sprints
away giggling...
GARANG (CONT'D)
I founded the SPLA in order to fight for
the future of Sudan because nobody else
would. We fight for freedom from the
government in Khartoum, for the right to
vote, and for the right to worship any
god one may choose.
More children running up... Garang touching their heads...
GARANG (CONT'D)
But most important to me is our struggle
for the children. Their laughter has been
lost to this country for far too long.
(BEAT)
There are Peace Talks scheduled for the
end of August in Naivashu. I'd like you
to come as my guest.
SAM
Talkin bout peace in a room somewhere is
a waste of time. You gotta go out and
make it.
GARANG
You are correct, but we must fight them
at every level. Part of my battle is
waged in those rooms. We must talk of
peace, but keep our rifles ready for war.
Sam turning to him, coming to an understanding here. Realizing that
both of them are warriors in the same fight.
GARANG (CONT'D)
Maybe together you and I can make Sudan
free once again.
77
And now we see they have arrived at the brick chapel in the middle
of the compound. Garang turning to him, eyes suddenly becoming
dark...
GARANG (CONT'D)
There is a cost for freedom, Sam. A price
for the future of these people. Some pay
with their lives, others pay in different
ways.
(BEAT)
My only hope is that your cost is not too
great.
AND SUDDENLY WE'RE SOMEPLACE FAR AWAY... ANOTHER WORLD... THE
SILHOUETTES OF ANIMALS DANCING ON A DARK CEILING... PROJECTED FROM A
CHILD'S NIGHTLIGHT... WE ARE...
INT. PAIGE'S ROOM - CHILDERS HOUSE - NIGHT
Donnie tucking Paige into bed, making it up as he goes, clearly out
of his depth here but wanting to do it right.
DONNIE
You say prayers or somethin?
PAIGE
Already did.
DONNIE
Ok then, sweet dreams.
PAIGE
Ain't you gonna read me a book?
DONNIE
Ahh, Paige, you know I don't read so
good.
PAIGE
Then let's play a game.
DONNIE
Ok.
PAIGE
I'm thinkin of a dog.
DONNIE
What about it?
PAIGE
Never mind, Donnie.
DONNIE
Ok.
78
PAIGE
Dad usually kisses me on the forehead
before he leaves. You can do that.
DONNIE
Sure I can.
And Donnie does just that, bends down and kisses Paige on the
head...
DONNIE (CONT'D)
Sweet dreams.
And now we see Lynn in the hallway having just witnessed this
through the cracked door, keenly feeling Sam absence in this moment.
EXT. CHILDREN'S ORPHANAGE - DAY
And we see Sam, Betty and Rose leading a group of children, their
hands covering their eyes so they can't see, into a clearing behind
one of the dorms.
SAM
Keep em closed! A little bit more!
BETTY
(ARABIC)
Keep your eyes closed.
ROSE
(stern, Arabic)
Michael! Cover your eyes! No peeking!
SAM
... keep comin'...
The children inching forward, following his voice, until...
SAM (CONT'D)
Ok, stop! Open your eyes!
BETTY
(ARABIC)
Open your eyes!
And we see a hundred little eyes popping open, staring at something
off screen, confused for a split second at what they're looking at.
REVERSE to see a PLAYGROUND: two or three battered swingsets, a few
see-saws, and a jungle gym soldered out of metal pipe.
And the kids SPRINTING for it, climbing all over the jungle gym like
ants... hitting the swing-sets... and then we hear it... something
we realize we haven't heard in this place before... the sound of
laughter... children losing themselves in play. Innocence flooding
back.
79
And now we see Nineteen, A.J. and two other SPLA soldiers standing
around a BUNNY BOUNCER... staring at it quizzically... talking in
Arabic, trying to decide what this thing is... and then A.J., the
bravest, slings his AK onto his back and carefully straddles the
bouncer... pulling up his long legs and resting his feet on the
pegs...
And he begins to bob back and forth... holding onto the bunny's ears
with his big hands... the other soldiers starting to laugh as he
bobs faster... and then we see A.J's smile... a million watt smile
on this guy... the first time he's played like this since he was a
boy.
EXT. DORM - CHILDREN'S ORPHANAGE - DAY - LATER
Hours later and we see Sam pushing a couple of the smaller children
on the swingset. Deng approaches...
DENG
Some of the child soldiers say there is a
bounty on your life. That Kony is
offering money for your nose and ears.
Sam, no reaction, just keeps swinging the children...
DENG (CONT'D)
I'd like to assign a few more men to you
during the day.
SAM
He ain't the first old-boy who wanted to
see my head hanging on his wall. Keep yer
soldiers where they're needed. I can take
care of myself.
Deng clearly worried for his friend, but doesn't press the issue.
And now Sam notices William off from the group, sitting on the
ground by himself, not playing.
SAM (CONT'D)
He said anything yet?
DENG
All we know is that his family was killed
and that he and his brother were taken
into the LRA.
SAM
Where's the brother?
DENG
Nobody knows.
NEW ANGLE
Sam approaching William, kneeling down next to him.
80
SAM
Hey buddy, you don't wanna play with the
other kids?
William, no response.
SAM (CONT'D)
You know sometimes it helps to tell
somebody what you got locked up inside,
know what I mean?
William, no reaction whatsoever. Something dawning on Sam in this
moment...
SAM (CONT'D)
You have no idea what I'm sayin, do you?
William just stares back at him and Sam realizes he doesn't speak
English. And they both just sit here for a moment, silent, staring
at the children playing on the playground. And then Sam, feeling the
need to unburden himself, begins to talk...
SAM (CONT'D)
I done a lotta things I ain't proud of.
Hurt a lotta people. Truth is, helpin you
kids is about the only good thing I ever
done in this life.
William watching him quietly.
SAM (CONT'D)
But I'm scared. Scared one day I'll close
my eyes to all this and make it somebody
else's problem.
(BEAT)
Just like everybody else in this world.
And he stops and it's silent between them again. William just
sitting there quietly. And Sam looks up to the sky... feeling his
life washing over him... his burden... this fear.
INT. SUV - DRIVING - DAY
Sam behind the wheel, driving alone the edge of a dry ravine. Deng
is in the passenger seat and we see Nineteen, Marco and A.J. crammed
into the back.
SAM
I don't see nuthin.
Deng checking a handheld GPS unit --
DENG
This is it.
81
Sam looking out the window, sees movement at the bottom of the
ravine.
SAM
Hold on...
... and we see what he sees -- CHILDREN hiding behind a bush.
SAM (CONT'D)
I got em.
EXT. RAVINE - DAY
And we see the SUV picking it's way down the rocky slope... reaching
the dry riverbed below and moving closer to the children...
EXT. SUV - DAY
... and the terrain becomes inaccessible and the SUV stops. Unable
to go any further. Sam and the others getting out of the truck and
we see two children hiding behind a bush 50 yards away. Sam
WHISTLING to the kids, but they draw back. Too scared to move.
SAM
Deng, tell camp we're comin back with
two. A.J., Nineteen -- go get them kids.
A.J. and Nineteen move off as Sam pops the rear hatch on the SUV and
pulls out a MEDICAL BAG.
EXT. RIVERBED - DAY
A.J. and Nineteen moving over rocks toward the children, calling out
to them in Arabic -- "Come out, we won't hurt you." -- but they
don't move...
... and finally they reach the kids and we see it's two boys (6
years old), kneeling in the dirt, terrified...
A.J.
(ARABIC)
Don't be scared.
He smiles, reaches for one of the boys -- and --
-- A SHOT RINGS OUT!
-- A BULLET hits A.J. in the neck, killing him instantly.
Nineteen dives behind a boulder for cover.
EXT. SUV - DAY
Sam, Deng, and Marco scramble behind the SUV. A moment before we
hear Nineteen YELLING offscreen.
82
SAM
What's he sayin?
DENG
A.J. is dead.
SAM
Shit.
(BEAT)
Tell him to stay where he is. Don't move.
DENG
(yelling to Nineteen, Arabic)
Don't move!
SAM
Ask him if he saw the shooter.
DENG
(yelling to Nineteen, Arabic)
Did you see him?!
Nineteen responds.
DENG (CONT'D)
He did not see.
SNIPER POV -- and we see A.J.'s lifeless body lying by the
children... and the SUV... and then part of Sam's head peering from
behind the truck --
EXT. SUV - DAY
Sam looking through binocs as --
-- A SHOT RINGS OUT! -- hitting the windshield right next to his
head, and he drops behind the truck.
SAM
You got `em?
DENG
Yes. He's on the ridge... just below that
outcropping.
SAM
Can you reach the Browning?
Deng opening the rear door and reaching inside the truck... pulling
out a long barrel HUNTING RIFLE as...
-- A SHOT RINGS OUT!
The bullet hitting the SUV, narrowly missing Deng. He slides the
HUNTING RIFLE to Sam.
83
SAM (CONT'D)
Need you boys to cover me on three,
alright? Put everything you got into that
rock up there.
SNIPER POV -- locked on the SUV when suddenly -- Deng and Marco
pivot around the truck and start firing -- bullets popping all
around and the sniper drops for cover as --
EXT. SUV - DAY
-- Sam SPRINTS over the rocks and dives into a shallow ditch out of
sight. Deng and Marco stop firing and drop back behind the SUV.
SNIPER POV -- slowly pops up from behind the rocks after the
shooting stops. And we realize he didn't see Sam change positions.
EXT. DITCH - DAY
Sam rolling onto his stomach and slowly sliding the barrel of the
rifle between two rocks... then seeing a sliver of the SNIPER hidden
on the ridge.
SNIPER POV -- still locked on the SUV, waiting for a clear shot.
EXT. DITCH - DAY
Sam putting a bead on the Sniper, but at this range the shot is
going to take instinct. Sam turns his head away from the rifle and
exhales -- controls his breathing -- as we go --
SNIPER POV -- trained on the SUV... and then we see a FLASH from the
right side of the screen... and a delayed POP!...
CRACKKK! -- THE SNIPER DROPS
Killed instantly.
EXT. SUV - DAY
Deng looking through binocs at the ridge --
DENG
(calling out to Sam)
I think you got him!
EXT. RIVERBED - DAY
Sam, Deng, and Marco moving toward the children, weapons drawn,
scanning the area in all directions. Deng is the first one to reach
the boys who are huddled on the ground, shaking from fear...
DENG
(ARABIC)
It is ok. You can get up now.
84
But the boys don't move... and Deng reaches down, pulls them to
their feet and we see that their ankles are chained to a post which
has been buried in the ground.
DENG (CONT'D)
Sam.
Sam joins Deng, sees the chains.
DENG (CONT'D)
LRA wanted us here.
Sam realizing that these children were used as bait -- for him.
EXT. RAVINE RIDGE - DAY
We're at the top of the ravine now and we see Sam and the others
moving toward the location of the SNIPER...
... and Sam is the first to reach the body... laying on the ground
face down... a pool of blood soaking the dirt underneath... and he
rolls the body onto it's back and we see it's just a kid -- no older
than 15 years old.
INT. SAM'S TUKUL - CHILDREN'S ORPHANAGE - NIGHT
It's late at night and we see Sam on his cot, sitting here in the
dark. And we hear the sound of his satellite phone vibrating on the
table next to him. He picks it up, sees DONNIE'S name on the
screen...
SAM
(INTO PHONE)
Hello?
INT. UNKNOWN LOCATION - PENNSYLVANIA - DAY
And we see Donnie on a couch by himself in this shitty little room.
DONNIE
Sam, it's me.
INTERCUT THE CONVERSATION:
SAM
Everybody ok?
DONNIE
Oh yeah, everybody's just fine. I was
just callin to say `hey' is all.
SAM
How're the girls?
85
DONNIE
They're good. Paige cooked us all dinner
the other night. Chocolate-chip pancakes.
SAM
By herself, huh?
DONNIE
Yep. I helped her with the stove is all.
She did everything else. Pretty good too.
And now we see Donnie's DOPE WORKS sitting on the table in front of
him. He's using again.
DONNIE (CONT'D)
How's it goin over there?
SAM
Goin fine.
DONNIE
Hey, maybe I'll come with you one of
these trips. I'd like to get outta here
for a spell. See what it's like.
SAM
Sounds good.
And it's silent between them... both of these men lost in their own
worries for a moment... and then...
DONNIE
Ask you a question?
SAM'S VOICE
Yeah.
DONNIE'S VOICE
You think God will forgive us for the
things we've done?
And we're watching Sam, this question hitting him like a freight
train. Unable to answer.
EXT. NIMULE - SUDAN, AFRICA - DAY - DAYS LATER
We're hit by a crush of people, a thousand black faces moving past
us and all the noise and confusion of this busy border town. And we
find Sam, Deng, and Nineteen here loading supplies into the back of
the SUV.
VOICE (O.S.)
They talk about you...
Sam turning to find Agnete, the aid worker, approaching him.
86
AGNETE
In the camps. The children. They say
there is a white preacher who hunts the
LRA. This place does not need more
killing, Mr. Childers.
SAM
I'm just tryin to help these people. Same
as you.
AGNETE
War upon war does not fix what is broken
here. The history of this country is
filled with righteous killers. That is
how it always begins, with men thinking
they are killing for the right reasons.
SAM
I got a 200 kids who are gonna sleep safe
tonight and wake up tomorrow mornin to a
bowl of hot food. Right or not, that's
all the reason I need.
AGNETE
And what about the rumors I have heard
about you supplying weapons to the SPLA?
Sam turning to her, face-to-face, starting to get pissed...
SAM
You fight the evil in this place your
way, I'll fight it mine.
AGNETE
Do not delude yourself, Mr. Childers.
You're a mercenary, not a humanitarian.
Sam, finished with this conversation, slams the lift-gate closed on
the truck and starts to climb in...
AGNETE (CONT'D)
They say you are doing good. That you
have special powers. That you are
protected by angels and cannot be killed
by bullets.
Sam looking at her and there's a warning in what she says next...
about violence corrupting men... consuming them...
AGNETE (CONT'D)
They said the same thing about Kony in
the beginning.
87
EXT. SAM'S TUKUL - CHILDREN'S ORPHANAGE - DUSK
Sam sitting outside his tukul alone, tearing open an airmail package
and pulling out another VIDEOCASSETTE, slides it into his
videocamera, hits play --
ON THE SMALL SCREEN we see a school production... children dressed
in costumes shuffling across the stage... lines being spoken by
rote...and then the awkward entrance of Paige speaking her lines...
but instead of finding joy in this sweet moment he finds
heartache... the distance from his family... from their innocence...
simply too great to bear in this moment...
... and then he hears giggling... and he realizes two young orphan
BOYS have snuck up behind him and are looking at the screen over his
shoulder... and Sam holds it up so they can see better and now more
children gather around -- maybe 10 or 15 kids -- pointing at the
small screen... giggling and chatting in Arabic...
ORPHAN #1
(ARABIC)
Look at their shoes...
ORPHAN #2
(ARABIC)
They look silly...
ORPHAN #1
(ARABIC)
This is how Americans dance?
ORPHAN #2
(ARABIC)
Their dancing is terrible!
The children laughing hysterically... and for an instant Sam is
swept out of his melancholy by their sweet enjoyment...
... and then Sam sees Deng and Nineteen approaching quickly...
SAM
What's goin on?
DENG
An LRA convoy has moved north over the
border. They're heading for Ed Duim.
SAM
That's where they sell em on the black
market, ain't it?
EXT. DIRT ROAD - DEEP IN SUDAN - NIGHT
A moonless night... and we see headlights piercing this blackness...
bouncing down a singletrack road... we are...
88
INT. SAM'S TRUCK - DRIVING - NIGHT
Deng behind the wheel driving -- Sam in the passenger seat -- Marco,
Nineteen, and a third SPLA SOLDIER jammed in the back --
DENG
Look...
Far ahead we see three sets of HEADLIGHTS coming towards us on the
road -- just bouncing white dots on the horizon -- and silently
they begin to check their mags and weapons -- preparing for battle --
-- and the headlights get closer -- Deng not slowing down -- and we
realize we are on a collision course with this convoy -- and finally
we see MUZZLE FLASHES in the distance -- and --
THUNK!, THUNK!, THUNK!
Machine gun strafe hitting the front and side of the truck --
SAM
Let's go!
Sam and Nineteen leaning through the open windows as Deng drives --
leveling their AK's and firing --
KRAKAKAKAKAK! KRAKAKAKAKAK!
And now the approaching convoy LIGHTS UP with RETURN FIRE! -- Sam
and Nineteen hanging out the windows blasting back -- Deng stepping
on the gas, accelerating toward the convoy like some hellish game of
"chicken"(reminiscent of Sam and Donnie's wild ride with the Drifter
in scene #29) --
-- and we watch as the headlights barrel towards us at full bore --
BULLETS POPPING across the windshield of the truck -- SAM AND
NINETEEN IN CONSTANT FIRE MODE -- THE SOUND DEAFENING -- headlights
blown out on both trucks and now we're plunged into total blackness -
- only the wild-strobe of machine gun fire lighting up the night as
these trucks slam towards each other -- and finally --
THE LRA CONVOY CAREENS OFF THE ROAD AND BOTTOMS OUT IN A DITCH
Deng skidding to a stop as Sam, Nineteen, and the third SPLA SOLDIER
pile out of the truck -- firing and advancing on the caravan by
foot.
EXT. DITCH - SIDE OF DIRT ROAD - NIGHT
Rebels jumping out of their disabled trucks -- Sam and his men
flanking them -- blasting one of the trucks until the engine bursts
into flames -- cutting down the rebels before they even knew what
hit them. And then there's a great stillness. The quiet of death...
89
... Sam coming out of the blackness with his AK leveled... moving
toward the flaming wreckage of the caravan... Deng, Nineteen, and
Marco moving to each rebel body... making sure they're dead.
NINETEEN
Clear!
Sam and Deng moving to the back of the Transport Truck...
SAM
Bring me a flashlight.
Marco hustling up with a spotlight -- Sam switching it on as Deng
rips the canvas back and we see --
TWENTY THREE CHILDREN IN THE BACK OF THIS TRANSPORT TRUCK
Boys and girls... none of them older than twelve... tied together
with rope... emaciated... terrified... in very bad shape.
MARCO
(ARABIC)
The front axle is broken... this truck
won't drive.
SAM
What'd he say?
DENG
The truck is too damaged to move.
(meaning the children)
We don't have room for them all,
Preacher.
The implication of this hitting Sam, his mind reeling, turning to
Nineteen...
SAM
Bring our truck up here and shine them
lights on us.
(TO DENG)
Pull everyone of them kids outta there.
DENG
(to soldiers, Arabic)
Bring the children out...
Deng and Marco helping the children out... one-by-one... untying
them...
SAM
Put em right here... real easy...
DENG
(ARABIC)
Put them together here... gently...
90
And now Nineteen pulls up in the SUV, lighting up the children.
DENG (CONT'D)
What are you doing?
SAM
We're takin the ones that ain't gonna
make it through the night. Come back for
the others later.
And Sam moves to the first child in the group -- a little girl --
reaching out to her but she pulls back.
SAM (CONT'D)
Tell her I'm not gonna hurt her.
DENG
(ARABIC)
It's ok... he will not hurt you...
And slowly the little girl steps forward... and Sam gently unbuttons
her shirt and begins to examine her little body... turning her
around in the harsh light of the SUV's headlamps... and he finds
five infected gashes on her back... whip wounds... already turning
gangrene... and he gently pushes her toward Deng...
SAM
Put her in the truck.
And Sam continues with the group... assessing each child's health...
tenderly running his hands over their broken, starved bodies...
somehow calculating which ones are worse off and pulling them out of
line...
... and he reaches the last child and we see that the SUV is now
PACKED with children... huddled into every available corner... 10
children in total. There's no more room.
SAM (CONT'D)
Tell em we're comin back.
Deng hesitating, knows the reaction he's going to get...
SAM (CONT'D)
Tell em!
DENG
(ARABIC)
We will be back for you!
The children become hysterical, crying, running at Sam and grabbing
for him, begging to be taken.
91
SAM
Let's go!
(to the children, holding up
TWO FINGERS)
Two hours... I'll be back in two hours...
Sam, Deng, and the others loading into the SUV... some of them
climbing onto the roof... the only available space... the remaining
children clamoring around the truck as it begins to pull away...
SAM (CONT'D)
Tell em to hide. Don't come out til they
see my face...
Deng yelling this to the children as they drive off...
DENG
(ARABIC)
Hide until we return!
... the faint cries of the children slowly fading as they speed into
the darkness.
EXT. CHILDREN'S ORPHANAGE - DAWN
A red sun breaking the horizon. It's ONE HOUR LATER and we see the
SUV blasting through the front gate of the compound and skidding to
a stop -- DOORS POPPING OPEN -- SOLDIERS JUMPING OFF THE ROOF --
Betty and the other camp women already pulling the children out of
the truck... ushering them into the infirmary...
Sam yelling at another soldier as he walks across the courtyard --
SAM
Gas it up! We're leavin here in five!
INT. TRUCK - DRIVING - MORNING
Two hours into this return trip and it's silent in this cab. Deng
checking a handheld GPS, clocking their position, and then they see
it -- through the windshield -- in the distance --
SMOKE
Rising in a thin column a half-mile away.
EXT. ROAD - DEEP IN SUDAN - DAY
The scene of the ambush the night before. Burned out pickup trucks
and dead LRA rebels strewn in the dirt. Sam's SUV arriving and he's
the first one out... whistling for the children but they're nowhere
to be seen.
And now we realize that the column of smoke isn't coming from the
bombed-out LRA trucks -- it's coming from behind them. Sam moving
around the back of the TRANSPORT TRUCK to see --
92
THIRTEEN LITTLE BODIES STACKED ON TOP OF EACH OTHER
The children Sam left behind.
Burned alive by the LRA an hour earlier.
Sam just standing here, staring at this smoldering pile of children.
Starting to go someplace very dark. And as he puts it, most of him
died in the bush this morning too.
CUT TO:
INT. PITTSBURGH AIRPORT - NIGHT - (JUNE/2005)
And we see a line of American TRAVELERS waiting to be checked
through customs... BUSINESS MEN in their rumpled suits carrying
briefcases, PARENTS with their tired children returning from
vacation... and Sam standing in this line with his duffel bag,
somehow cut-off from the life all around him. And the CUSTOMS
OFFICER waves him forward... Sam handing him his passport...
CUSTOMS OFFICER
Sudan?
And he looks up, studies Sam --
CUSTOMS OFFICER (CONT'D)
What are you doing over there?
And we see Sam has no answer for him. This question beginning to
plague him like a festering sore.
EXT. PASSENGER PICK-UP - PITTSBURGH AIRPORT - NIGHT
It's raining and we see Sam sitting on a bench waiting, staring o.s.
at a SKYCAB TROLLEY. Two men working through a pile of BLACK GOLF
BAGS, heaped on top of each other like bodies, tossing them one-by-
one into the back of the trolley...
VOICE (O.S.)
Sam!
He looking up as Donnie gets out of his car, smiling.
DONNIE
Sorry I'm late. Sixteen was all jammed
up...
Donnie is strung out, but Sam is too deep in his own shit to see it.
DONNIE (CONT'D)
Welcome home, buddy.
INT. OFFICE - BANK - JOHNSTOWN, PENN. - DAY
A BANK MANAGER at a desk, in a gray suit, shaking his head.
93
BANK MANAGER
I understand what you're saying, but
there's just not a lot we can do, until
we pay down some of what you owe my hands
are tied.
REVERSE to see Sam sitting in a chair across from him, a manila
folder filled with his business papers sitting on his lap.
SAM
It's just an application for a short term
loan.
BANK MANAGER
Sam, we already took out a second on your
home.
SAM
It's only 90 days.
BANK MANAGER
You're completely leveraged.
SAM
I only got one truck over there, John. I
need the money to buy a second vehicle.
Sam opens a manilla folder and pulls out a photo of a truck for
sale.
SAM
It's important. Now, there's one in
Kampala I can probably get for twenty-
one...
BANK MANAGER
(cutting him off)
Sam, we know what you're doing over there
in Africa and we support it but ...
Sam leans over the desk and sets another photograph down in front of
him -- and we see it's a gruesome photograph of a mutilated boy...
SAM
I want you to look at this. See that?
Twelve year old boy had both his arms cut
off by LRA...
An employee approaches the bank manager with something to sign,
looks down at the photos. The Bank Manager becoming uncomfortable.
BANK MANAGER
Sam... It's not necessary.
94
Sam pulls out another photograph and sets it in front of the Bank
Manager -- this one even more gruesome...
SAM
Look at this John, when we found this
little girl her breasts had been hacked
off...
Bank Manager not looking at the photograph...
BANK MANAGER
Sam, this isn't necessary...
SAM
Look at her. Look at this girl.
Bank Manager glancing at the photograph then looking away...
SAM (CONT'D)
Now I ain't in here askin fer money fer a
hot tub or vacation or somethin like
that. I'm askin for an extra vehicle so I
can save some children. You understand
that?
BANK MANAGER
I do, but...
SAM
But nuthin. I need you to open yer little
book there and do whatever you need to do
to get me that loan...
BANK MANAGER
Sam, You need to calm down...
SAM
Don't tell me to calm down! Look at those
pictures! -- Look at em, John --
And he slams the desk with his open hand, taking us to...
INT. CHAPEL - SHEKINAH FELLOWSHIP CHURCH - CENTRAL CITY - DAY
A/C on the fritz and it's blistering hot in here. 150 parishioners
in pews waving themselves with hand fans trying to stay cool. And we
see Sam at the pulpit in mid-sermon, shirt pitted and rolled up to
his elbows. The rage in this man is palpable.
SAM
... Open yer eyes!... Wake up!...
(BEAT)
You call yerselves children of God, but
you ain't. Ya'll just sheep followin him
deaf, dumb, and blind...
(AMPED-UP)
(MORE)
95
SAM (CONT'D)
But God don't want sheep. He wants wolves
to fight his fight. Men and women with
teeth to tear at the evil that's out
there...
The congregation whipped into a frenzy. A few of them jumping to
their feet, shouting praise...
SAM (CONT'D)
THE LORD'S PROPHETS AIN'T MEEK MEN. THEY
AIN'T MEN IN FANCY CLOTHES, THEY'RE
WARRIOR PROPHETS...
INT. CAR - DRIVING - KAMPALA, UGANDA - DAY
And we see John Garang in the back of this car as it drives through
downtown Kampala.
SAM (V.O.)
... MEN OF CONVICTION!...
INT. CHAPEL - SHEKINAH FELLOWSHIP CHURCH - CENTRAL CITY - SAME
Sam becoming more possessed...
SAM
... WHO KNOW THE DIFFERENCE BETWEEN A
STICK AND A SWORD AND AIN'T AFRAID TO
PICK UP EITHER IF THEY NEED TO!...
The congregation responding, "Amen!"
EXT. TARMAC - KAMPALA AIRPORT - DAY
The motorcade pulling to a stop. Garang and other GOVERNMENT
OFFICIALS getting out and making their way to a waiting HELICOPTER.
SAM (V.O.)
... SOLDIERS WILLING TO GO FORTH AND
SHOUT HIS NAME LIKE MEN OF WAR!...
INT. CHAPEL - SHEKINAH FELLOWSHIP CHURCH - CENTRAL CITY - SAME
Sam, a building fury...
SAM
... DRAWING UP BATTLE LINES AGAINST HIS
ENEMY WHEREVER THEY MAY BE...
EXT. TARMAC - KAMPALA AIRPORT - DAY
Garang and the others loading into the helicopter, locking doors.
Propellers starting to rotate.
96
SAM (V.O.)
... WILLING TO FIGHT TO THEIR LAST
BREATH...
INT. CHAPEL - SHEKINAH FELLOWSHIP CHURCH - CENTRAL CITY - SAME
SAM
... UNTIL THE LEGIONS AGAINST THEM FALL
AND ONCE AGAIN THERE IS ONLY HIS LIGHT...
EXT. TARMAC - KAMPALA AIRPORT - DAY
The helicopter lifting off the ground, ascending into the cloudless
sky until it's just a speck in the limitless blue...
SAM (V.O.)
And only then will their hearts beat no
more... and they will be turned to dust.
INT. CHILDERS' HOUSE - CENTRAL CITY, PENN. - DAY - (JULY/2005)
Paige and her girlfriend from her 7th grade class sit on the
landing. Donnie flips through a magazine, Lynn puts away laundry.
Chatter here about an upcoming formal...
PAIGE
Mary Strauss and them is havin dinner at
The Chimney.
LYNN
Who's her date?
PAIGE'S FRIEND
Tony Wilks.
LYNN
I thought Tony Wilkes was goin with Patty
Hobbes' daughter.
PAIGE
They broke up last month.
And now we see Sam off from the group, absently watching the TV in
an adjoining room... and a NEWS REPORT begins... a PICTURE OF JOHN
GARANG flashing on the screen... Sam moving closer to the set so he
can hear --
TV NEWSCASTER
... Sudanese opposition leader John
Garang has been killed in a helicopter
crash according to a statement released
by the Sudanese Government in Khartoum
today.
Sam going completely still...
97
TV NEWSCASTER (CONT'D)
Garang was hailed as a peacemaker in
Sudan and was instrumental in ending the
21-year civil war that has ravaged that
country.
ARCHIVAL SHOTS OF GARANG.
TV NEWSCASTER (CONT'D)
Six of Garang's associates and seven
others also died in the crash which is
being blamed on bad weather.
Sam frozen, shocked... just staring at the TV as the newscast
switches to another story...
PAIGE (O.S.)
Dad? -- Dad?
Sam looking up to find everybody staring at him.
PAIGE (CONT'D)
What do you think about us gettin a limo
for next weekend? Wouldn't be too
expensive since there'd be six of us.
Sam lost here for a moment...
PAIGE (CONT'D)
Hel-lo? Earth to Dad? What do you think?
LYNN
Honey, you ok?
DONNIE
Heck, why don't I just drive ya'll?
PAIGE
We ain't crammin in the back of your
Caprice.
DONNIE
Ya'll could fit in there easy.
PAIGE
We got dresses, Donnie! We'll get all
wrinkled! Plus it smells in there.
DONNIE
I can get some freshener, Paige, that
ain't no problem.
PAIGE
Dad, what you think? Can we get a limo?
98
SAM
No.
PAIGE
Dad. Please. Patty and them is gettin
one.
SAM
You ain't rentin no limo to Pittsburgh.
LYNN
We could probably get us a deal through
one of Tom Hickey's boys. Between the six
of them it wouldn't cost too much.
SAM
Nobody's spendin money on no friggin
limousine.
PAIGE
But dad...
Sam snapping, FLASHING WITH RAGE --
SAM
WHAT THE HELL DID I JUST SAY?!
Quiet. Nobody moving. Completely still. And then...
LYNN
We're just talkin bout it, honey...
SAM
Too much talk in this house. I got mouths
to feed and you're talkin bout pissing
money away on a limo.
PAIGE
It's my formal, dad.
SAM
I don't give a shit what it is! You ain't
gettin no limo, end of story.
Tears welling up in Paige's eyes, anger, hurt, wanting to lash out
at him somehow. And what she says next she's felt her whole life...
PAIGE
You love them black babies more than you
love me.
SAM
WATCH YER MOUTH LITTLE GIRL, BEFORE I
SLAP IT!
99
LYNN
Sam...
Donnie instinctively grabbing his arm, protective...
DONNIE
Hey...
And Sam spins -- gets in his face -- eyes dark and threatening --
SAM
What the hell you think you're doin, boy?
LYNN
Honey...
SAM
SHUT THE FUCK UP!
DONNIE
Take it easy, buddy.
SAM
Don't tell me to take it easy in my own
fuckin house...
Sam and Donnie toe-to-toe and the threat of serious violence here.
Tension like a hair trigger.
SAM (CONT'D)
That ain't your wife and this ain't your
family. You nuthin but a stray fuckin dog
round here, boy.
DONNIE
You don't mean that...
SAM
Hell I don't. Now you get the fuck outta
here fore I put yer head through that
wall.
Donnie standing here, hurt... looking to Lynn to make sure she's
alright and she nods for him to go... and he turns and walks out.
Paige bursting into tears and running out of the room.
INT. BAR - DAY
A crowded, noisy outlaw bar in Johnstown. We see Sam sitting at the
bar all alone, a shot of whisky and a bottle of beer in front of
him. Staring into a void.
VOICE (O.S.)
You that Preacher, ain't ya?
100
Sam turns to find a burly looking BIKER standing next to him
smiling.
BIKER
Yep, you him. I seen your face in the
papers few years ago. Call you the
Machinegun Preacher, right?
Sam nods.
BIKER (CONT'D)
(to his buddies)
Told you this is the guy.
(TO SAM)
Hot damn, I knew it! Papers was talkin
bout how you was like some kinda African
Rambo or somethin, right?
SAM
You don't mind, I'd like to just sit here
right now.
BIKER
You still helpin them niggers over there?
Sam bristling...
BIKER (CONT'D)
The way I figure it, the reason you so
interested in helpin them porch monkeys
is cause you probably throwin it in them
nigger bitches, ain't ya?
The Biker smiles a nasty, malicious smile. His buddies moving next
to him now... and we see a quiet storm brewing in Sam...
BIKER (CONT'D)
Am I right? You a nigger fucker, boy?
A moment here --
Sam staring at the Biker with a look we've come to know -- and --
CRACKKKK! -- Sam HEAD-BUTTS the Biker's face and a sudden, violent
brawl breaks out -- Bikers swinging cue sticks -- Sam wading into
the crew -- swinging wild -- taking the Biker down and stomping on
his face -- bloody -- murderous -- and then --
EXT. JAIL - JOHNSTOWN, PENNSYLVANIA - DAY
Sam released, coming out a door and we see Lynn's car parked in the
parking lot, engine idling.
101
EXT. JAIL - JOHNSTOWN / INT. LYNN'S CAR #2 - DAY
Lynn behind the wheel as Sam comes around the passenger door and
gets in. And the two of them just sit here for a long beat, until...
LYNN
You're gonna sit there and you're gonna
lemme talk.
BEAT. Sam says nothing.
LYNN (CONT'D)
I've always believed in you. I trusted
you, trusted the Lord, and did what I
could so you could follow your dream.
(BEAT)
But I ain't willin to lose you to what
you're doin over there. Ain't gonna just
stand by and watch you get swallowed up
by it.
She looks to him and we see she has tears in her eyes...
LYNN (CONT'D)
I know you're all them kids got, but
you're all we got too. Paige needs her
father. I need my husband.
INT. SHED - CHILDERS HOUSE - NIGHT - (AUGUST/2005)
Sam sitting in a chair in the dark. And we hear his cell vibrating
on the desk. He picks it up and sees DONNIE'S name on the screen...
a moment here and then he sets the phone back down... doesn't answer
it... as we go...
INT. UNKNOWN LOCATION - SAME
Donnie on a couch and he looks like hell... pale, gaunt face...
phone at his ear listening to RINGING and RINGING... and then the
sound of Sam's voice...
RECORDED MESSAGE
This here's Sam. You know what to do.
(BEEEEP)
DONNIE
(QUIETLY)
Hey buddy, it's Donnie. Shoot, I was
hopin' you was there...
Donnie hesitating... doesn't hang-up... and we can feel how badly he
needs to talk to somebody...
DONNIE (CONT'D)
Other day I was thinkin bout when you and
me was kids.
(MORE)
102
DONNIE (CONT'D)
That summer we'd go down to the quarry
over in Montrose, remember that? We
hooked up them ropes and spent all day
swimmin and jumpin off them walls...
Donnie smiling to himself, a fleeting memory, and then something
dark coming over him. And now we see another man here in this shitty
dope house, cooking up a spoon of black tar, juicing a needle.
Donnie watching him like a hawk...
DONNIE (CONT'D)
I wish you was there to pray with me,
buddy.
EXT. WOODS - CENTRAL CITY, PENN. - DAWN
Eastern White Pine wrapped in early morning fog. Hazy. Floating like
a dream. And then the sound of WOOD SPLINTERING... and we find Sam
alone in this vapor cutting logs with an axe. Sweating despite the
chill in the air...
... and then a voice from somewhere far off. Sam stopping, looking
into the haze as a figure materializes... coming toward him calling
his name... at first it looks like Donnie... but then we see it's
Lynn...
And when she reaches him her look tells us something terrible has
happened.
CUT TO:
INT. CHAPEL - SHEKINAH FELLOWSHIP CHURCH - CENTRAL CITY - DAY
DONNIE'S CORPSE lying in a casket...
Packed with mourners. And we hear a CHILDREN'S CHOIR singing a
plaintive hymnal... "My Jesus, I love thee"... and Donnie's mother
in the first pew, dressed in black, surrounded by a few other women
offering her comfort.
And now we see Sam moving up the steps to the platform... and the
choir softly finishes... and he looks out over the congregation...
not saying a word for a long beat... and then...
SAM
Most of you want me to stand up here and
make some sense outta this. That's why
you come here today. You want me to tell
you that God has his plan for all of us,
and when he wants to call us back home
he's gonna do it.
(BEAT)
That's what you wanna hear...
(QUIETLY)
That's what you wanna hear...
103
And Sam stops, unable to continue... just stares out at the
congregation... at the expectant faces looking back at him,
waiting...
... but he steps away from the lectern, down the steps, and walks up
the aisle toward the exit... the congregation staring at him as he
passes...
INT. LYNN'S CAR #2/CHILDERS DRIVEWAY - DRIVING - DAY
Hours later. Lynn and Paige still dressed from the funeral, driving
up the driveway to their house.
PAIGE
Mom, who are those men?
THROUGH THE WINDSHIELD we see a FLATBED TRUCK parked next to the
house and 7 or 8 MOVERS pulling heavy machinery out of the barn.
EXT. GARAGE - CHILDERS HOUSE - CENTRAL CITY, PENN. - DAY
Lynn getting out of the car, approaching some of the men...
LYNN
S'cuse me, what are you doing?
MOVER
Loadin up...
And she makes her way into...
INT. GARAGE - CHILDERS HOUSE - CENTRAL CITY, PENN. - DAY
Filled with movers busily hauling equipment out of the garage. Lynn
coming in, confused...
LYNN
Hey, s'cuse me...
And now she sees Sam going through a cabinet in the back.
LYNN (CONT'D)
Sam, what's goin on? What are these men
doin here?...
Sam slamming the cabinet closed, moving past her without saying a
word. Lynn grabbing his arm, stopping him.
LYNN (CONT'D)
Where are they taking our stuff?
SAM
Ain't ours no more. Best go through and
make sure they ain't takin nuthin that
belongs in the house.
104
He walks off...
LYNN
Sam...
And she sees two men start to dismantle the "Childers Construction
Company" sign that she painted herself years ago --
LYNN (CONT'D)
Hey! -- Don't touch that! --
EXT. GARAGE - CHILDERS HOUSE - CENTRAL CITY, PENN. - DAY
Sam moving toward the house. Lynn comes out of the barn after him...
LYNN
(CALLING AFTER)
Sam!
But he's not stopping. He reaches the house...
INT. CHILDERS' HOUSE - DAY
... Sam coming inside, moving to the kitchen... Lynn following him.
LYNN
Honey, I know you're hurtin. I know
you're angry, but we need to talk about
this...
SAM
It's all done, so save yer breath...
where's the keys to the safe?
Sam grabs papers from the counter and hands them to Lynn. She
quickly pages through them, can't believe what she's reading.
LYNN
You sold the business for $27,000?
SAM
I need a new truck for the orphanage.
LYNN
A new truck? You sold our business for a
new truck?
Sam finds the Keys.
LYNN (CONT'D)
That was our future, Sam. Paige's future.
Lynn follows Sam into the office.
105
LYNN (CONT'D)
Everything we have has gone to those
children, Sam. There's a point when there
ain't no more to give.
SAM
What's the combination? What's the
fucking combination.
LYNN
Paige's birthday.
Sam starts to spin the combination but hesitates...
LYNN (CONT'D)
You don't know it, do you? You don't even
remember your own daughter's birthday.
SAM
What are the numbers?
LYNN
You fight for everyone but us.
She moves past him, spinning the combination and cranking open the
vault. Sam grabbing a couple stacks of cash.
LYNN (CONT'D)
You take that and we lose the house. The
church. All of it.
SAM
You can make it up with the ministry.
LYNN
What ministry?! They see what you've
become, Sam. They see how far gone you
are. You need to get quiet with The Lord.
And he looks to her...
SAM
Fuck the Lord.
LYNN
Don't say that. Don't turn yer back on
him.
SAM
... He turned his back on me! -- on
Donnie! -- on every one of them kids over
there.
LYNN
The good you're doin is destroyin this
family.
106
SAM
What good have I ever done?
Sam standing here, weighing something in his mind. A choice he must
make here... and finally he moves past her...
LYNN
Please don't leave...
But he's gone.
CUT TO:
EXT. KAMPALA AIRPORT - DAY
And we see Sam moving across this crowded tarmac. Disconnected. A
bit frightening. And he's greeted by Deng.
DENG
Welcome back.
But Sam says nothing, and Deng sees that his eyes are deserted.
Inevitable. And Sam moves past him without saying a word.
INT. MESS HALL - CHILDREN'S ORPHANAGE - DAY
30 or 40 adults and children here eating the last meal of the day.
And we see Sam in a corner, off from the rest of the group. And
maybe it's just the lighting in here, but there's a darkness around
him -- literally as if the space surrounding this man is devoid of
light.
And we see William working his way through the room... refilling
cups with hot tea... his particular job here... and he comes up to
Sam and accidently sloshes some of the tea onto Sam's arm and he
flinches! -- burned -- "Damn it!" -- shoots his arm out and
accidentally hits William in the chest -- knocking him backward onto
the ground.
The entire room falls silent. Nobody moving.
And Sam gets up and walks out of the room.
INT./EXT. TRUCK/RURAL ROAD - SUDAN - DAY
A convoy of 2 OR 3 AID RELIEF TRUCKS coming down this dirt road. And
we see Agnete here with a DRIVER in the first truck as they drive
onto a NARROW BRIDGE -- and just before they reach the other side --
A PICKUP TRUCK filled with heavily armed LRA REBELS pulls in front
of them, cutting them off.
AGNETE
STOP THE TRUCK! -- STOP!! --
107
The truck grinding to a halt. The driver becoming terrified, trying
to jam the truck into reverse --
AGNETE (CONT'D)
No, no, no! -- don't go back --
DRIVER
WE ARE GOING TO DIE! -- THEY WILL KILL
US!
AGNETE
You move and they'll shoot! -- calm down!
-- I will talk to them.
Agnete climbing out of the truck as we go --
EXT. NARROW BRIDGE - SUDAN - DAY
Rebels jumping out of the pickup truck and moving up the bridge as
Agnete approaches -- holding up her hands --
AGNETE
It's ok -- we are a relief convoy --
Agnete and the LRA LEADER meet in the middle of the bridge --
AGNETE (CONT'D)
We have only medical supplies -- non-
MILITARY --
And suddenly the LRA LEADER slams her in the gut with the butt of
his rifle and she collapses. The other Rebels swarm all over the
convoy, pulling out AID WORKERS and DRIVERS, forcing them onto their
knees in a group.
ADULT REBEL #3
Get on your knees!... Get down!...
DRIVER
PLEASE DON'T KILL US!
ADULT REBEL #4
(ARABIC)
On your knees or we will take your legs!
Everyone terrified -- some of them sobbing -- Agnete looking up,
trying to talk to the LRA LEADER--
AGNETE
We are only a relief convoy --
LRA LEADER
Shut your mouth!
108
-- and he SLAMS her in the face with the butt of his rifle and she
goes down hard... and he rests the barrel of his rifle on the back
of her head... he's going to shoot her -- and --
KAK! KAK! KAK!
His chest EXPLODES! -- three bursts from behind -- the other rebels
spinning toward the gunshots as --
KRATAKRATAKRATAKRAK!!!
A firestorm of lead -- Sam, Deng, and the rest of his team coming
onto the bridge shooting -- rebels scrambling for cover but it's too
late -- dropping as they try and sprint away -- and in an instant
it's all over.
Agnete sees Sam, rushes toward him, but when he looks at her she
freezes. He is completely unrecognizable to her in this moment -- a
killer's thousand-yard stare -- barely human -- more like a machine
than a man.
And he moves past her down the bridge, to the LRA LEADER on the
ground who is still alive. And he puts the barrel of his rifle
against the rebel's head and...
BOOOOM!
He's dead. Just like that. And he continues walking up the bridge.
And we see Agnete, Deng and the other soldiers having just witnessed
this.
INT. INFIRMARY - CHILDREN'S ORPHANAGE - NIGHT
William coming in quietly, moving next to one of the captured Rebels
from the previous scene who is shackled to a bed, injured. Two SPLA
soldiers here standing guard.
WILLIAM
(ARABIC)
I want to ask you something...
William pulls out the photograph of his brother, holds it up...
WILLIAM (CONT'D)
This is my brother. His name is
Christopher. He was stolen by the rebels.
(BEAT)
Do you know if he is alive?
The Rebel looks at the photograph but says nothing, just shakes his
head... and he looks off, his thousand yard stare inscrutable...
And William simply folds the photograph back up and slips it into
his pocket... but he doesn't leave... he sits here a moment
longer... quietly... thinking... and then...
109
WILLIAM (CONT'D)
Were you taken when you were young like
me?
The Rebel hears this and turns to him... and nods his head...
WILLIAM (CONT'D)
Do you remember your parents?
And we see something happening in this hardened rebel... his eyes
filling with a distant memory... a sadness... and slowly he nods his
head again.
And we stay here with these two lost souls sitting next to each
other... silent... connected by a shared history and anguish.
EXT. CHILDREN'S ORPHANAGE - DAY - LATER
Sam sitting alone, lost to the world around him. Deng approaches.
Neither one acknowledging the other for a long beat until...
DENG
Do you hear that, Preacher?
SAM
What?
DENG
There is no more laughter. The children
do not play here anymore. They are scared
once again.
(BEAT)
But now they are scared of you.
Sam, no response.
DENG (CONT'D)
The men do not trust you any longer to
lead them into battle. They say you have
a wish to die.
(BEAT)
I am worried about my friend. I want to
help him.
SAM
I don't need your help.
And Sam turns away. After a beat Deng walks off, leaving him alone
once again.
INT. SAM'S TUKUL - CHILDREN'S ORPHANAGE - NIGHT
And we see Sam here in the dark... moonlight filtering in through
the thatched roof... like shards of glass cutting through the
blackness... and he doesn't look right here... soul worn thin...
eyes hollow... starting to go someplace very bad...
110
... IMAGES FLASHING IN HIS HEAD... babies burned and screaming...
Donnie in his coffin... and we realize we're watching something
here... his world starting to cave in on him...
... and he drops against his cot... distraught... tears in his eyes
and this man is breaking... and suddenly we see a gun in his hand...
finger curling around the trigger as he puts it to his head... eyes
closing against the world... and...
WE HEAR A KNOCK AT HIS DOOR
Sam frozen... still holding the gun... and slowly the door pushes
open and we hear soft footsteps shuffling into this dark room...
... and William steps into the light, sees Sam here on the ground
with the gun in his hand... and slowly he moves next to him, sitting
on the cot without saying a word... just the two of them here for a
moment... and then slowly he begins in perfect English...
WILLIAM
I remember my parents when I sleep. I see
them in my dreams sometimes.
Sam looking to William... this small boy sitting above him...
telling his story...
WILLIAM (CONT'D)
My father was big like you. They shot
him. We were so scared. Then the rebels
gave me a club and told me if I didn't
kill my mother they would shoot my
brother and me.
And William pauses in his story... lost in this memory... his face
becoming a mask of pain... but no tears... there are no more tears
in this young man left to be shed... and so he continues...
WILLIAM (CONT'D)
I refused, but my mother told me to swing
hard... that I must make her proud...
(BEAT)
And so I did. I made her proud.
And now William looks down at Sam... staring at this man on the
ground... and he reaches out and gently touches Sam's head... a
moment of tenderness for both of them... an act of love.... these
two broken souls finding each another here... and William says...
WILLIAM (CONT'D)
If we allow ourselves to become full of
hate then they've won. We must not let
them take our hearts. This is the most
important thing.
111
And Sam sets the gun down and reaches out to William, pulls him into
an embrace... holding him close... and we know that without a doubt
this boy has saved this man's life.
INT. CHILDERS' HOUSE UPSTAIRS HALLWAY- CENTRAL CITY, PENN. - NIGHT
Soft Christian music is playing on the radio. Lynn folding clothes
in the laundry room when the phone rings. Paige comes into the
upstairs hallway and answers it.
PAIGE
(quiet, into phone)
Hello?
INT. SAM'S TUKUL - CHILDREN'S ORPHANAGE - NIGHT
Sam on his sat phone --
SAM
Bug? You there?
INT. CHILDERS' HOUSE - CENTRAL CITY, PENN. - NIGHT
PAIGE
Dad?
SAM
Yeah, it's me.
PAIGE
You ok?
SAM
I'm ok, Bug.
And there's a long pause... so much to say but no words to say it...
each of them holding their phones to their ears and just
listening... and finally Sam says...
SAM (CONT'D)
I'm thinkin of a tree...
And we see tears well up in Paige's eyes when she hears this... and
now we see Lynn coming around the corner, overhearing them as they
begin their little game one more time...
PAIGE
You said tree... I'm thinkin of a knee.
Sam smiling to himself... and we realize this man is coming back to
life when he says...
SAM
You said knee, I'm thinkin of bee...
(BEAT)
I love you, Bug.
112
PAIGE
I love you too, Daddy.
Lynn hearing this and tears roll down her cheeks as we go...
EXT. COMPOUND - CHILDREN'S VILLAGE ORPHANGE - NEXT DAY
And we see the soldiers at their posts... Betty and the other Camp
Women cleaning clothes and preparing food... and we see most of the
children loitering around a tree in the shade, sullen, not playing
on the playground.
And then we see Sam coming into the courtyard kicking a soccer
ball... some of the children see him and point... and slowly the
entire camp begins to notice Sam kicking the soccer ball awkwardly
by himself out in the open... Betty and the other women stopping
their chores and watching him, speaking to one another in Arabic...
Deng and the other soldiers staring as Sam pops the ball into the
air and bounces it off his head...
... and now a couple of the smaller kids sprint for him and he kicks
them the ball... and slowly the rest of the children join in the
fun... kicking the ball back and forth... an impromptu soccer
game... and then we hear LAUGHTER again... joy flooding back into
this place.
Deng watching with a big smile as this white man dances around these
little children... a Pied Piper of joy... playing in the dirt.
EXT. FRONT GATE - CHILDREN'S VILLAGE ORPHANAGE - DAY - LATER
And we see William approach a knot of soldiers standing by the front
gate smoking cigarettes...
WILLIAM
Excuse me...
SPLA SOLDIER #3
What is it?
WILLIAM
Is it true an LRA commander was captured
last night?
Soldiers nodding their heads "yes."
WILLIAM (CONT'D)
Where is he being held?
SPLA SOLDIER #3
At the army base in Kisoro.
WILLIAM
Are you going there?
113
SPLA SOLDIER #3
Yes.
WILLIAM
Can I ride with you?
SPLA SOLDIER #3
Why do you want to go to Kisoro?
WILLIAM
I want to ask the commander something.
SPLA SOLDIER #3
No, you cannot ride with us. Wait till
tomorrow and go with the women on the
bus.
And the soldiers turn their backs on William and he slinks away.
EXT. RIVERBANK - CHILDREN'S ORPHANAGE - DAY
We see a line of women along the riverbank in their colorful
dresses... scrubbing pans and washing clothes... singing an ancient
African spiritual as they work... the sun dropping pale red on the
horizon...
And we see Sam here too... alone with himself... sitting at the
river's edge, watching the water rolling gently past... listening to
the soft serenade of the women... the beauty of it all...
... and then he gets up and walks into the river... and he kneels
down so that water reaches his waist (reminiscent of his first
baptism in scene #35)... and now the women on the riverbank stop
their work, watching him as he closes his eyes and gently leans
back... submitting to the water... and when he comes up again we see
in his eyes that his soul has been saved in this simple act.
And the women begin to shout their praise from the riverbank as we
go...
INT. DORM - CHILDREN'S VILLAGE ORPHANAGE - DAY
And we see William here alone, pulling out a small satchel...
filling it with a bottle of water and a blanket...
EXT. COMPOUND - CHILDREN'S VILLAGE ORPHANGE - DAY
William at the edge of the compound... looking over his shoulder to
make sure nobody is watching him... and then quickly slipping under
the fence and he's gone...
EXT. BUSH - DUSK
William walking through the dry scrub alone... already a couple
miles deep in the bush... the sun starting to set... light waning...
William starting to get nervous, picking up his pace...
114
AND THEN THE SOUND OF MEN
A squad of LRA rebels coming through the scrub... William hiding
under a bush, terrified... the men coming closer... no idea if they
saw him or not... his mind racing... voices getting louder...
starting to hyper-ventilate from the fear -- and --
WILLIAM BOLTS
Sprinting through the bush -- running for his life -- rebels see him
-- yelling for him to stop -- chasing him down -- shooting their
rifles into the air and he hits the ground in the fetal position --
too terrified to continue -- eyes clamped shut as 4 or 5 rebels
surround him -- guns pointed at his head -- caught.
INT. INFIRMARY - CHILDREN'S ORPHANAGE - DUSK
Sam coming into the building, finding Betty tending to a sick child.
SAM
Have you seen William?
Betty shaking her head "no", and we see the worry on Sam's face...
intuitively knows something is wrong.
INT. LRA TRUCK - DRIVING - DUSK
William bound and gagged being dragged through the bush by 5 or 6
rebels... and one of the rebels sees him staring at them and he
brings the butt of his Kalishnikov down hard -- striking William on
the head as we go --
EXT. OFFICE - CHILDREN'S ORPHANAGE - DUSK
Deng coming up to Sam...
DENG
Some of the soldiers said he was asking
about the commander that is being held at
Kismoro.
Sam closing his eyes, knows instantly what William has done.
SAM
Get em on the phone, see if he's shown up
at the base yet.
EXT. LRA CAMP - DEEP IN THE BUSH - NIGHT
William shoved through the bush... moving deeper into this rebel
encampment... dark and otherworldly... figures moving around camp
fires... laughing... men with little girls... their child wives...
with pregnant bellies... and incongruously the sound of American rap
music coming from a jambox somewhere.
The overriding sense we get from this place is one of `insanity.'
115
And William is dragged to a clearing next to a grouping of tents and
he's kicked to the dirt... two other soldiers pinning him to the
ground as a third grabs his feet and pulls off his shoes... William
YELLING and now a handful of other LRA soldiers start to gather
around... most of them only a few years older than him... watching
as his ankles are bound together and placed on a wooden block...
... and now another soldier steps forward with an AXE... and the
crowd whips into bloodlust... shouting... cheering...
AND THE SOLDIER LIFTS THE AXE INTO THE AIR --
WILLIAM WRITHING ON THE GROUND BUT CAN'T GET FREE --
AND THE SOLDIER STARTS TO BRING THE BLADE DOWN -- AND --
VOICE (O.S.)
(ARABIC)
Stop!
The soldier freezes -- everyone turning as an LRA COMMANDER comes
through the crowd -- takes the axe from the soldier --
SOLDIER
He ran from us.
COMMANDER
He is worth nothing with no feet. Put him
with the others until tomorrow.
EXT. COMPOUND - CHILDREN'S VILLAGE ORPHANGE - NIGHT
Deng hustling up to Sam... shaking his head...
DENG
They have not see the boy.
SAM
Ok. Get Nineteen and Marco -- we're gonna
go look for him.
EXT. LRA CAMP - DEEP IN THE BUSH - NIGHT
And we see William in a bamboo cell in the center of camp... and we
see other children here... in various stages of fear and
suffering... some of them completely naked... shivering in the cool
air... others catatonic, probably doped up or too battered to move.
INT. SUV - DRIVING - NIGHT
Sam, Deng, Nineteen and Marco in this lead truck... been out here
for hours... behind them we see the second camp truck following...
And they come to a fork in the road, pulling to a stop.
116
DENG
It will be light soon. What do you want
to do?
Sam looking at a topo map on his lap...
SAM
Let's go through Maridi, see if they've
seen anything.
EXT. LRA CAMP - DEEP IN THE BUSH - DAWN
Pale yellow sun breaking and we see William and a line of 10 or 12
other children -- shackled in iron -- being loaded into the back of
a TRANSPORT TRUCK.
INT. SUV - DAWN
Both SUV's parked off the side of the road now. Sam and Deng here,
looking at maps and the GPS tracker. And we hear Deng's radio
squawk. He digs it out, responds in Arabic, then turns to Sam...
DENG
The village outside of Akot says an LRA
caravan came through there an hour ago.
They were headed for Ed Duim.
INT./EXT. - LRA CONVOY/BUSH - DEEP IN SUDAN - DAY
A convoy of 4 or 5 LRA trucks barreling down this dirt track. And we
see lots of rebels standing up in the back of these trucks, cradling
heavy weapons, alert -- and suddenly we see in the distance --
TWO ROOSTER-TAILS OF DUST COMING AT US
From different angles -- converging on the LRA convoy -- the Rebels
see them and point -- they know what's coming and they begin to
prepare for war --
THE ROOSTER-TAILS
Getting closer -- and then we see them --
SAM'S TWO TRUCKS
Bouncing over the terrain towards us -- coming fast -- and then --
WOOOOSH!
An RPG streaks toward the lead LRA truck and -- KABOOOM! -- the
truck is blown off it's axles -- the other LRA trucks pulling off
the road -- and suddenly we're in a withering firefight -- the roar
of heavy weapons at full-tilt.
SAM AND HIS MEN
117
Jumping out of their trucks and flanking the LRA convoy --
triangulating fire -- shredding the rebels -- blowing them back off
their feet.
NINETEEN
Sprinting through the bush -- edging around the LRA trucks --
finding a position on their weak side and locking an RPG into a
launcher -- shouldering it -- aiming -- WOOOOSH! -- the missile
streaking toward the second LRA jeep and --
KABOOOM!
It's blasted into the air -- onto it's side -- rebels scurrying away
from the wreckage -- still firing -- an absolute hail of lead --
AK's barking in every direction --
KRATAKRATAKRATAKRATAKRAKKK!
One of the rebels standing up -- firing an RPG -- WOOOOOSH!
MARCO crouched behind the new orphanage truck firing -- sees the
white streak coming at him -- dives -- just as --
THE TRUCK IS EVISCERATED IN THE BLAST!
SAM moving closer to the rebels -- shooting -- picking them off one
by one -- gunfire raking over his head -- a dozen muzzle flashes
coming from everywhere -- Sam yelling over the thunder --
SAM
Go! -- Go! -- Go! -- Go!
And we see Deng coming out of the bush to his right -- and then
Nineteen to his left -- and they charge on the remaining rebels --
Sam providing covering fire -- a curtain of lead cutting through the
enemy -- and just like that it's over -- Sam waving behind him --
SAM (CONT'D)
Cease fire!!
-- and suddenly there's just a sick silence -- smoke rising from the
shot-to-shit LRA trucks -- bodies strewn in the dirt -- the brand
new orphanage truck bombed out and smoking on it's side.
And Sam makes his way to the first TRANSPORT TRUCK -- Deng covering
him as he rips the canvas back to see --
50 CHILDREN CRAMMED INTO THE BACK OF THIS TRUCK
SAM (CONT'D)
Pull em all out! C'mon, let's go!
DENG
(to Soldiers, Arabic)
Take them out.
118
Soldiers start to unload the children --
SAM
Cut them loose!
DENG
(to soldier, Arabic)
Cut the ropes!
Sam moves to the second TRANSPORT TRUCK, rips the canvas back to
FIND --
50 MORE CHILDREN SHACKLED IN THE BACK OF THIS TRUCK
Holy fuck indeed.
He's been here before... 100 kids and he only has one good
vehicle... and we watch him standing here... staring at these tiny
faces looking back at him... a moment... lost in indecision until
one of the kids stands up near the back...
IT'S WILLIAM
Sam sees him and suddenly he knows exactly what he needs to do...
SAM
C'MON, LET'S GO!... get em out of there
and line em up! -- C'MON! --
And we've seen this before... Sam going through these children...
assessing their health... one by one... separating the worse off
from the others... forming two group... turning to Deng and Nineteen
and motioning to the smaller group (about 15 children)...
SAM (CONT'D)
Load these here into the truck. Put em
three deep if you have to...
Deng herding the children toward the one good truck...
SAM (CONT'D)
(turning to Marco, Arabic)
Come with me --
NEW ANGLE
Sam and Marco moving from one dead LRA rebel to the other... rolling
them onto their backs... going through their belts... pulling out
extra ammo clips and grenades...
SAM (CONT'D)
Get them AK's too.
(ARABIC)
The machine guns.
Marco swinging four or five machine guns onto his shoulder...
119
NEW ANGLE
At the SUV, now jammed with children. Sam talking to Nineteen, Marco
and the others...
SAM (CONT'D)
I need all you to climb up on that roof
and keep yer eyes peeled. That road back
might be hot, so be ready.
NINETEEN
What about you, Preacher?
VOICE (O.S.)
We're staying.
Sam turns to see Deng next to him, holding an AK in his hands, a
steely resolve in his eyes. Sam nods, emboldened by his support.
SAM
(to the soldiers)
Go on. Get outta here.
The soldiers load onto the SUV and drive off, leaving Sam and Deng
standing here in the middle of these 85 children.
Waiting for the war that will surely come.
INT. SUV - DRIVING - DAY
And we stay in this truck as it pulls away... driving for a long
time... until Sam, Deng, and the children become only specks on the
horizon... and then...
WHITE LETTERS ON A BLACK SCREEN THAT READ --
"To this day, Sam Childers fights for the children of Sudan and
Northern Uganda."
THE END
120
LEGENDS:
Joseph Kony and his Lord's Resistance Army continue their reign of
terror in Sudan and Northern Uganda.
Amnesty International estimates that Kony and the LRA are
responsible for over 400,000 murders and more than 40,000 child
abductions. These children are tortured, raped, sold into sex
slavery, and forced to take part in ritualized killing by LRA
commanders.
The Islamic Government of Sudan continues to provide weapons and
safe haven to Kony and the LRA as part of a deal to wage a proxy war
against the predominately Christian South.
Without pressure from the United States, this support will continue
and more innocent children will be slaughtered.
Now you know.
121
As of 2011, Sam Childers has rescued over 800 children from the LRA.
His `Angels of East Africa Orphanage' is home to more than 300
orphans, and feeds over 1200 meals a day to neighboring villagers in
need.
