This is the kind of voice-driven epic people say they want and rarely get.
Thrown from a cliff at birth, she survived. In 1862, as smallpox sweeps the Pacific Northwest, she races to find the medicine that can save her people. But the most feared chieftainess on the coast — the one hoarding the medicine and trapping the dead — is her mother. To stop her, she has to lose the only love she's ever longed for.
Her mother threw her from a cliff. She lived.
She grew up on the fringe of the village. No clan she can name. No name worth speaking. She has wanted to belong to someone her whole life.
Then the sickness comes, and Zugwa the shaman tells her it is worse than dying. Someone is trapping the dead. Her people are being erased from this world and the next one.
Find the White Eagle, he tells her.
He does not know what it is. He only sees it.
The medicine exists. Someone is keeping it from her people.
She rides the rapids of raging rivers. Takes the open ocean in war canoes. Crosses haunted forests. Walks into trading posts thick with foreigners, fortune seekers, whiskey runners and missionaries — the wild west of the Pacific.
What she finds at the end of it is the most feared chieftainess on the coast. Hoarding the medicine. Deciding who lives. Holding the souls of her own dead so the newcomers will never rest on this land — a vengeance blind enough to damn her own people.
And she is Neshekai's mother.
Concept imagery. Neither role is cast.
She races boys through raging rapids, hunts, throws punches and wins knife-throwing contests. But ask what clan she belongs to, and she cannot speak.
She cares for her adoptive grandmother and her giant, gentle uncle with the stutter and kind eyes. Strength comes naturally. Belonging does not.
"Neshekai is a clean engine: orphaned, name-hungry, status-poor, gifted with a dangerous instrument that tests what she feeds it."
The most feared leader on the coast, a woman who believes her cruelty is love. She is Neshekai's mother — the woman who threw her from a cliff at birth and now sees the daughter who survived as a rival. A terrifying product of survival and a Goliath role for a veteran actress.
"She's not evil for evil's sake; she's someone who's chosen survival over morality and convinced herself it's wisdom. That's terrifying in a way that pure villainy never is."
This is a thriller, built the way Northwest Coast stories have always been built. The Potlatch was Court and Broadway at once. Law. Names. Initiation. Witness, or warning. This film works the same way. The history is real. It moves through characters, politics, a love story, and a spirit world. The dead are present. The animals are relations. The ground is made of ancestors.
"The story's very effective battle scenes are epic contests between man and beast, beast and beast (an octopus versus a killer whale, for example) or, sometimes, woman vs. woman…"
Carved from bone and inlaid with abalone, the Soul Catcher was a sacred tool used by shamans to find lost souls and bring them home, or set them free.
In this film, it holds one power more. In the right hands, it returns the dead to rest. In the wrong hands, it commands them.
Neshekai carries one. She doesn't yet know what her hands will do with it.
The story is fictional. The historical world it is built inside is real.
Four empires came to take a coast from primitives. They traded with sovereigns instead.
Russia. Spain. Britain. America. Hundreds of ships between Haida Gwaii and the Skeena. All of them wanted the same thing. None of them could take it.
"Within the first three minutes of WILD WOMAN OF THE WOODS, you've already established that... they were not 'waiting to be discovered.'"
The Sovereigns
The Tsimshian and Nisga'a held the Nass and the Skeena rivers.
Two rivers, and everything worth having moved on them. Salmon. Grease. Every fur coming down out of the interior. The nations who owned the water owned the trade, and they ran it as a monopoly.
The Company came north in 1831 and put its fort at the mouth of the Nass — because the Tlingit had already run them off the Stikine.
Three years later a Tsimshian chief told them the fort was in the wrong place. They moved it. It became the largest post on the coast, and it sat exactly where he said.
They set the prices. Played the empires against each other until the traders bled. The Company called them obstinate. Grasping. Impossible. Then dealt with them anyway, because there was no other way in.
The Wars They Couldn't Win
The Tlingit went to war with Russia and won.
They burned the fort at Sitka to the ground. The Russians came back with warships. The Tlingit fought them off and kept the coast.
Three passes through the mountains, and the Tlingit owned all three. The Company tried to go around them. Chilkat men walked three hundred miles inland and burned the post down. The Company built another. That one burned too.
The Russians called it treachery. It was a trade dispute. The Tlingit won that one too.
The Haida came out of the fog in seventy-foot canoes.
Thirty men to a hull. Wooden helmets. Sea-lion armor. Paddles honed to a blade.
Sixty miles of open water and they went home clean.
1794. They took two ships. Killed all but one man of each crew.
The Haida are coming. From Puget Sound to Sitka, that sentence emptied beaches.
In the letters: bloodthirsty. Faithless. A menace to honest commerce.
Same letters: the finest canoes on the Pacific. The hardest bargain on earth.
You cannot take a country from people you admire.
So they wrote it both ways. Ninety years of it.
Then the fur ran out and the gold came in, and only one of those descriptions was still useful.
They never won a war here. They never had to.
The Betrayal
1858. Gold on the Fraser. Thirty thousand men through Victoria in two months. The town had five hundred people in it.
None of them had been here. None of them had traded here, married here, buried anyone here.
But the men who had were still here. Men who took wives from these nations. Whose children were Tsimshian, Tlingit, Haida. Who had lived forty years on food these people gave them, learned the water from them, buried friends here.
Some of them helped when it came.
Some of them took their shot at what their grandfathers had come for and failed to get.
March 1862. The Brother Jonathan, out of San Francisco.
Three hundred and fifty gold miners. One of them had smallpox.
Ninety years of failing to take this coast. And now something that could.
Not a disaster. A decision.
They knew what the medicine was. Thirty years on this coast. The Company had used it before — on Indigenous people — back when it needed the trade.
1862, it went to the whites.
It went to the tribes who worked in Victoria's houses.
It went to a missionary's converts. Duncan vaccinated his followers at Metlakatla and closed the gate. Five dead in his village. Two hundred and sixty-six at the fort down the coast.
The Extermination
This was not one man's decision.
The Governor. The Assembly. The police commissioner. The judges. The Company. The bishop. The newspapers.
Nobody had to conspire. They wanted the land and the gold under it. And the people standing on it — some of them family, four generations in — were gone in the name of progress.
Then the newspaper went to work.
There were villages surrounding Victoria — the busiest seaport north of San Francisco. They had come there for generations, season after season, to trade. They built the trade that town ran on.
Burn the villages to ashes. Take any means, no matter what.
April 28: remove the entire Indian population.
The police commissioner ordered it that evening. The Governor gave permission.
One day to get out.
Leave, or we pull the roofs down. Gunboat in the harbor. Armed guards on the roads.
Then the evictions. Round up the sick. Drive them out at gunpoint, cannons trained on the camps, and force them north to carry it into every village on the coast.
June. A warship towed twenty-six canoes fifteen days up the water. Three hundred men, women and children, hauled home.
They said what would happen before they did it.
We should not be in the least surprised if the disease were to visit and nearly destroy every tribe between here and Sitka.
Printed before the canoes went north.
The authorities have commenced the work of extermination.
Never was there a more execrable Indian policy than ours.
Printed that June. While it was happening.
Then they counted.
Sixty Haida were sent north from Victoria in mid-May. A ship's captain came back and put the dead at forty.
Printed June 21.
Arthur Wellington Clah wrote it down.
Ninety years of trade. Over in a season. By design.
1864. Douglas retired. Joseph Trutch took over Lands and Works.
He said Aboriginal title did not exist.
He cut the reserves. He argued a family needed ten acres. A settler could pre-empt a hundred and sixty.
He held the office seven years. Then they made him the first Lieutenant-Governor.
No war took this coast. A betrayal did.
Where the river meets the ocean. The violent turbulence where fresh and salt water meet. Dangerous.
The coast would have to survive more than it ever had.
Clah was writing. The carvers were carving to be remembered.
Theirs was an oral language. Carving was their writing. So they did. On everything.

Nine countries. Three continents.
United States · Canada · United Kingdom · Germany · Sweden · Switzerland · Iceland · Russia · Japan
In vetted competitions from Austin to Berlin to Tokyo, industry readers chose this story. Different languages, markets, traditions. They kept seeing it. A daughter's search for her family. And the mother who would rather destroy her. A world never seen at epic scale.
"It has the potential to become a landmark film, poetic, political, and unforgettable."
Story Analyst, Safehouse Pictures & Parkes/MacDonald · PAGE International Screenwriting Awards
From judges and story analysts who read the full script.
"This world has never been shown, and it deserves to be."
"I'd go see this movie without hesitation."
Austin Film Festival Pitch Competition Judges · 2025
"You are large in scope but personal in your storytelling."
Former Paramount Pictures Development Executive · PAGE International Screenwriting Awards
Hollywood has never told this story at scale. The screenplay is finished.
In 1914, this coast reached the screen.
Edward Curtis made it. Silent. Sold as In the Land of the Head Hunters. Advertised as primitive life on the North Pacific, staged to document a vanishing race. The nation in it was never named.
This is the other version. Named nations. Two female leads. A direct descendant writing.
The last wild west in cinema is the Pacific Coast.
The Revenant. A brutal, near-wordless historical epic. $530 million worldwide against a $135 million budget.
Killers of the Flower Moon. Ten Academy Award nominations. The first Best Actress nomination ever given to a Native American performer.
Chief of War. Indigenous-led, predominantly Polynesian cast. Went straight to number one on Apple TV+.
Three period pieces. Three drawn from real history. None of them told this one.
The recognition is settled. The film isn't made yet. That belongs to whoever moves first.
This story is carried, not claimed.
Tobi Iverson is a Tsimshian and Turtle Mountain Chippewa screenwriter and cultural producer, and the great-great-granddaughter of Arthur Wellington Clah, who kept the only known Indigenous diary of the nineteenth-century Pacific Northwest Coast — sixty-nine volumes, fifty years, 1859 to 1909.
Iverson writes from inside a living culture, one she loves, has studied, and shares with the community still carrying it forward. Her work is shaped by the artists, the ceremony holders, the knowledge keepers, and the people who hold this world today. She does not stand above that world. She stands within it, in unison with the people who keep it.
What she brings is not sole authority. It is devotion, the same love for this history and culture that her community carries, turned toward the screen so the world can feel it too.
That is what makes the work true. And it is what no production can manufacture from the outside: a story told with its people, not about them.
"The Indigenous background feels completely authentic and respectfully drawn."
This is fiction. The history is documented — the epidemic, the collision of worlds, the public record on both sides, colonial and Indigenous. The characters at the center are invented, drawn from the women who led a matriarchal world where power ran through them.
"The 1800s time period is authentically represented. There is immersion in the setting and in the depiction of the First Nations people of the Tsimshian."
She did not come to this story secondhand. An original enrollee of Sealaska Corporation. A National Park Service ranger at Sitka. Artist Trust Fellow, 2026.
"This reads like a writer who knows exactly what they are doing and why."
A second feature is underway in this world: a contemporary story set on the same coast, in the present day.
Entertainment counsel: Caitlin DiMotta, Troy Gould PC.
MORE ABOUT THE WRITER →
Sixty-nine volumes. Fifty years. 650,000 words in his second language. The missionary came to teach him English. Clah taught the missionary his own tongue right back.
A bishop came to his tent once, ready to pity a poor Indian. Found a stove. A made bed. A desk. White loaves cooling, because it was Saturday. The bishop left rattled. He'd expected less of a man.
Clah couldn't stay still. Three thousand seven hundred miles in a single year. Farther than Seattle to Miami. Canoe, foot, river, mountain. Home barely a hundred days. Not for money. He wanted to see his world while it was still his world. So he went, and he wrote down what he saw.
January. The Skeena. The canoe went over. Ice an inch thick. Half an hour in the water. "My live lost very soon," he wrote, certain he was dying, talking to God in the cold. He didn't drown. He noted the date and kept going.
Then smallpox came to Fort Simpson, 1862, the heart of this film. Clah counted his own dead. 363 Tsimshian. 266 at Fort Simpson alone. Every name. Every number. By hand. The epidemic ran from Puget Sound to southeast Alaska and took roughly half the Indigenous people of the coast in a single season.
In 1903, Franz Boas — the founder of modern American anthropology — approached Clah for help researching Tsimshian mythology. The approach was unsuccessful. Clah was planning to use his diaries to write his own history of the Tsimshian.
And across every journal, for fifty years, he wrote the same vow. His name. His tribe. His reason, again and again. Year after year. He wrote so they couldn't be erased. He did not write my people. He wrote old People. The coast, not the village.
On June 6, 1904, Clah recorded the birth of his grandson, Tobi's grandfather.
When Tobi Iverson, his great-great-granddaughter, held the journals at the Wellcome Collection in London, she knew she had to bring the world he preserved to the screen.
Clah's journals have been a public historical record for more than a century, held by the Wellcome Collection in London. Iverson drew on them, on her own research and scholarship, and on a lifelong pull toward this world, to write an original work of fiction.
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