JOHN:
For y'all. For y'all they ain'tnothin' but that! But John was'n
kidnapped. John bein' hold as
debt, tha's all. Massa pay hisdebt, and John be redeemed-
CLEMENS:
Boy, our masters will not come for
us.
John is nearly beside himself with panic.
JOHN:
Now John's...John's sorry fory'all, but tha's how it be. Where
y'all goin', yah goin' witoutJohn. Massa take care of me.
Massa take care.
RANDALL:
Mama!
All three men turn and look. At the moment Randall
doesn't call out emptily. At the door to the yard isBurch along with two women. One in her late twenties;
ELIZA. She is "arrayed in silk, with rings upon herfingers, and golden ornaments suspended from her ears."
Though a slave, Eliza was a mistress and has - to thispoint - lived well. This is reflected in her airs and
her speech. The other is a little girl, light in skincolor, of about seven or eight. This is EMILY, Randall'shalf sister.
As she enters the yard Eliza squeals with high delight,
then breaks into tears of both sorrow and joy. Clearlythis is mother and child being reunited.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 24.
32 CONTINUED:
(3) 32 32 CONTINUED: (3) 32
As Burch locks the yard door, Eliza clutches Randall.
She is overcome with emotion.
ELIZA:
My darling. My sweet, sweet baby.
33 INT. BURCH'S DUNGEON - EVENING 33
Later in the evening. Solomon now shares his space withEliza and her children. As the children rest, Elizadrops into a lament as if pleading her case to Solomonwho lends a sympathetic ear.
Both slyly, and with a bit of aggrandizement:
ELIZA:
When I say I had my master's
favor, you understand. Above even
his own wife, I had it. Do you
know that he built a house for me?
Built it on the sole condition
that I reside there with him. The
added promise in time I would be
emancipated. And for nine years
he blessed me with every comfort
and luxury in life.
Displaying the finery she still wears:
ELIZA (CONT'D)
Silks and jewels and even servants
to wait upon us. Such was our
life, and the life of this
beautiful girl I bore for him.
But Master Berry's daughter...she
always looked at me with an unkind
nature. She hated Emily no matter
she and Emily were flesh of flesh.
As Master Berry's health failed,
she gained power in the household.
Eventually, I was brought to the
city on the false pretense of our
free papers being executed. If I
had known what waited; to be sent
south? I swear I would not have
come here alive.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 25.
33 CONTINUED:
33 33 CONTINUED: 33
Eliza turns to her children:
ELIZA (CONT'D)
My poor, poor babies.
34 INT. BURCH'S DUNGEON - NIGHT 34
It's the deep of night, all are sleeping. A KEY TURNS IN
THE LOCK AND THE DOOR OPENS. Burch enters with Radburn
beside him. Both carry LANTERNS with them. Hardlygiving Solomon and Eliza a moment to rouse themselves,
Burch demands:
BURCH:
Come on. Get yer blankets. Get
up.
Sensing that things will not end well:
ELIZA:
No, please don't...
BURCH:
I don't want to hear yer talk.
Get in the yard.
ELIZA:
Please...
RADBURN:
Ain't no need for all that.
Putting hand to Randall's head.
RADBURN (CONT'D)
Jus takin' a li'l trip, tha's all.
Don't want to frighten the
chil'ren none over a li'l boat
ride, do yah?
Eliza gives a shake of her head to the negative.
RADBURN (CONT'D)
Alright then. Git yerselves up.
35 EXT. BURCH'S DUNGEON/YARD - NIGHT 35
We now have Solomon, Clemens, John, Eliza and thechildren. They are being cuffed together. As John is
cuffed, he pulls back. Scared. He beings indesperation:
JOHN:
John's massa gunna pay his debt.
John's massa gunna come for him.
(CONTINUED)
A36
36
37
1/24/13 FINAL SHOOTING SCRIPT 26-28.
CONTINUED:
35
Not wanting to hear any of this talk, Burch strikes Johnseveral times in the head with a sap-like instrument.
Weakened, but again:
JOHN (CONT'D)
John's massa gunna-
Burch again strikes John until he's quiet. Curiously,
Emily and Randall don't even flinch. Why would they?
They are quite used to seeing this kind of violence.
BURCH:
Not a word out of none a yah. Not
a word.
Burch and Radburn begin driving the shackled slaves from
the yard.
EXT. BURCH'S DUNGEON/INT. WAGON/FLAT BED - LATER A36
The slaves are lead to a flat bed of the horse and
carriage. They are made to lay down side-by-side. We staywith them as some sort of cloth is flung over them,
obscuring and blacking out their view.
At that moment, the screen is BLACKENED and we hear the
sound of the cart moving in haste.
EXT. WASHINGTON, D.C. DOCK - NIGHT 36
Led by Burch, the group of slaves arrive to a dock. Theyare taken quickly up a gangplank and onto the steamboatORLEANS as the CAPTAIN, CREW and a MULATTO WOMAN WATCH,
but do not interfere.
INT. ORLEANS/HOLD - CONTINUOUS 37
The slaves are hustled down one at a time into a dark,
dank hold among barrels and boxes of freight...and RATS.
Burch comes around and "checks" the chains; makes surethey are all secure and locked.
Satisfied, he heads up out of the hold. Radburn follows.
Alone in the dark in the hold, John cries, as does Eliza.
Solomon stares down Burch for as long as he can, as ifwishing bad things. As if wanting to exact some measureof revenge. But the greater insult is that Burch andRadburn, engaged in conversation, take no notice ofSolomon whatsoever. He is that insignificant to them.
That fact, that reality, makes Solomon boil with a ragehe cannot express in words.
OMIT 38
1/24/13 FINAL SHOOTING SCRIPT 26-28A. 26-28A.
38A INT. STEAMBOAT - NIGHT 38A *
We are now in the engine room of the steamboat, pistons *
pumping, black oily cogs turning, the power and the *
rhythm are both aggressive and hypnotic. A shovel comes *
into view, feeding the furnace. *
38B EXT. SEA - DUSK/DAWN 38B *
The steamboat is en route between Washington and Norfolk. *
We tilt up from the violent water foam to the powering *
paddles of the boat. *
39 MOVED TO 43A 39 *
1/24/13 FINAL SHOOTING SCRIPT 29.
40 OMIT 40 *
41 OMIT 41
42 OMIT 42
43 INT. ORLEANS/HOLD - LATER - NIGHT 43
Down in the hold the slaves eat, pray. The MULATTO WOMANmoves among them, catching ELIZA's eye.
MULATTO WOMAN:
Cheer up and don't be so castdown.
*
Clemens Ray and Solomon watch as the Mulatto Womanreturns to top deck, the trapdoor locked firmly behindher. Clemens Ray turns to Solomon with a deadpan sternexpression.
CLEMENS RAY:
If you want to survive, do and sayas little as possible. Tell no
one who you really are and tell noone that you can read and write.
*
*
*
*
*
*
*
*
*
(CONTINUED)
43
1/24/13
CONTINUED:
FINAL SHOOTING SCRIPT 30.
43
Clemens Ray turns away from Solomon, eyes lost into thedistance.
*
*
CLEMENS RAY (CONT’D)
(slowly)
Unless you want to be a deadnigger.
Solomon’s face is one of a confused despair.
*
*
*
*
*
43A EXT. NORFOLK/PORT - DAY 43A
We see a flat overhead view of the port of Norfolk.
Sardines are laid out to dry in rows, glittering in theday's sun as if like silver pennies. A chain of slavesenter the frame and are led one by one on to the dockedvessel.
*
*
*
*
*
*
MORE SLAVES - about 15 in all, of various genders andages - are brought on board. Chief among them is ROBERTwho fights viciously with his captors. "With all haste"
is shoved down into the hold.
*
*
*
*
Having taken their cargo as far as they care or need to,
Burch and Radburn depart. They do so without a wordspoken to Solomon or the others.
With this new and sizable batch of slaves on board, thecrew again CASTS OFF, and the Orleans makes its wayagain.
*
*
*
*
*
*
44 INT. ORLEANS/GALLEY 44
Solomon is back cleaning in the galley. As he cleans, heagain watches Robert prep food. Robert's skill with a
knife is not lost on Solomon.
45 INT. HOLD - LATER - DAY 45 *
The hold is packed tighter now.
Muzzle covering his face, Robert is shackled with hishands tied behind his back. Solomon and Clemens Ray look
on.
*
*
*
*
A sailor descends the staircase and takes off Robert’s
muzzle, shooting him a forbidding look. He leaves.
*
*
(CONTINUED)
45
1/24/13
CONTINUED:
FINAL SHOOTING SCRIPT 31.
45
CUT TO:
*
Solomon, Clemens Ray and Robert, now in mid-conversation.
ROBERT:
I say we fight.
Robert delivers this in a hushed voice.
*
*
*
*
SOLOMON:
The crew is fairly small. If itwere well planned, I believethey could be strong armed.
CLEMENS RAY:
Three can’t stand against a whole
crew. The rest here are n*ggers,
born and bred slaves. Niggersain’t got the stomach for a fight,
not a damn one.
*
*
*
*
*
*
*
*
*
*
ROBERT:
All I know, we get where wetravelling we’ll wish we’d died
trying.
CLEMENS RAY:
Survival is not about certain
death, it is about keeping yourhead down.
*
*
*
*
*
*
*
*
Solomon looks at Clemens Ray, agitated -- his voice nowraised above the previous whispers. Grits his teeth.
SOLOMON:
Days ago I was with my family, inmy home. Now you tell me all islost. “Tell no one who I really
am” if I want to survive. I don’t
want to survive, I want to live.
*
*
*
*
*
*
*
*
46 OMIT 46 *
47 OMIT 47 *
47A EXT. SEA -DAY 47A *
The steamboat paddles pound the water, filling the wholeframe. The vessel ploughs on south.
*
*
1/24/13 FINAL SHOOTING SCRIPT 32. 32.
48 OMIT 48 *
48A INT. HOLD -NIGHT 48A *
The slaves are asleep.
A Sailor descends the ladder approaching Eliza. He bends
down and attempts to wake the daughter by caressing herface.
*
*
*
*
Solomon rouses, and looks across to witness the scene.
From his vantage point, we see Eliza stand to interruptthe Sailor. The Sailor looks at Eliza, Eliza looks backat him. Knowingly she leads him off into a corner of thehold.
*
*
*
*
*
As she does so, Eliza passes Robert who jumps up to standbetween Eliza and the Sailor. Stretching out a firm handto the sailor’s shoulder, Robert’s look says “No you
don’t.”
*
*
*
*
Clemens Ray is awake now, watching.
There is an odd moment of stillness between the Sailor
and Robert, an impasse.
We focus on the Sailor’s face. Slowly, a greasy smileerupts upon it. Back now to Robert’s face, a look of
incomprehension.
Robert looks down. We follow his gaze to the knife thathas already been jabbed unseen between Robert’s ribs.
The sailor withdraws the bloody blade.
A wide shot of the two men. Robert collapses to thefloor like a sack of potatoes.
Clemens Ray and Solomon react. Complete horror.
*
*
*
*
*
*
*
*
*
*
*
*
49 OMIT 49 *
50 OMIT 50 *
1/24/13 FINAL SHOOTING SCRIPT 33.
51 EXT. ORLEANS/DECK - DAY 51
We are back up on the deck of the ship. SOLOMON AND
CLEMENS RAY dump ROBERT's body over the side of the ship.
Solomon watches as the body churns for a moment in thewake of the vessel... then sinks beneath the water.
Clemens Ray, with no sentimentality:
CLEMENS RAY:
Better off. Better than us.
*
*
*
*
*
*
51A EXT. NEW ORLEANS HARBOUR - DAY 51A *
Solomon’s POV from the back of the steamship of Robert’s
corpse slipping gracefully into the water.
*
*
52 EXT. NEW ORLEANS/PORT - DAY
-MID MAY, 184152
A white male, fairly smart, with broad shoulders, standsand bellows-
RAY:
Clemens...! Clemens Ray!
We are in the port of New Orleans, one of the busiest inthe young nation.
On the dock itself there is a bustle of activity as goodsare loaded and unloaded from a various ships. It's a bit
of controlled chaos as a VARIETY OF LANGUAGES are spokenand shouted while slaves are shuttled from the Orleans to
a holding pen. Solomon, and all the slaves areoverwhelmed by all that is happening around them.
Two men - among many - are awaiting the arrival of theOrleans. They are JONUS RAY - Clemens Ray's master - andDAVIS who is the solicitor of Mr. Ray. They both looklike they mean business. The moment the gangplank islaid, Ray yells for Clemens.
Clemens, seeing his master, is nearly crazy with delight.
He is, uncharacteristically beside himself. Ironically,
his master now represents "freedom."
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 34.
52 CONTINUED:
52 52 CONTINUED: 52
CLEMENS:
...My master... Master Ray, sir!
Master Ray!
Clemens pulls on his chain. As he does so, Several otherslaves collapse in his effort to reach his master, likedominos.
RAY:
Who is in charge of this vessel?
CAPTAIN:
I am the Captain.
RAY:
I am Mr. Jonus Ray. My solicitorhas documentation verifying thatthe Negro named Clemens Ray is myproperty.
As he reads PAPERS handed to him by Davis:
CAPTAIN:
I know nothing of-
RAY:
You are ordered by court to returnthat property immediately, or facecharges of thievery.
CAPTAIN:
My duty is to transport goods. I
am not responsible for theirorigin.
RAY:
Remove these contraptions!
To his mate:
CAPTAIN:
Free him!
Biddee does as ordered. Once free, Clemens hugs and sobsover his master as would a lost and then found child.
RAY:
It's all well, now, Clemens. You
will return home with me.
(to the Captain)
Consider this notice and warning.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 35.
52 CONTINUED:
(2) 52 52 CONTINUED: (2) 52
Ray, Davis and Clemens head away. Solomon seems both
desperate and hopeful of some aid from Clemens and Ray.
But there is none forthcoming. Ray and Clemens continueon - Clemens not so much as even looking back inSolomon's direction. Solomon stands and watches as theyfade into the environs and are gone from sight.
53 EXT. NEW ORLEANS/PORT - LATER 53
Hours later. The slaves sit off on one side of the dock,
baking in the sun, awaiting their fate.
THEOPHILUS FREEMAN - a tall, thin-faced man with lightcomplexion and a little bent - moves along the deckcalling out names from a list. The slaves STAND as theyare called.
FREEMAN:
Oren. John. Lethe. Eliza.
Randall. Emily. Platt... Platt!
Solomon does not respond. Freeman looks around. He
spots Solomon.
FREEMAN (CONT'D)
Captain, who shipped that n*gger?
CAPTAIN:
Burch.
Freeman steps to Solomon. He gives him a looking over.
FREEMAN:
Stand up.
Solomon does as told.
FREEMAN (CONT'D)
You fit the description given.
Why didn't you answer when called?
SOLOMON:
My name is not Platt. My name is-
Freeman strikes Solomon hard across the face.
FREEMAN:
Your name is Platt, and I will
teach you your name so that you
don't forget.
(to the Captain)
Shackle my n*ggers. Get them to
my cart.
1/24/13 FINAL SHOOTING SCRIPT 36.
54 I/E. CART -LATER 54
Solomon is carted off along with the rest of "Burch'sstock:" Eliza and her children, John and Solomon.
As they move off from the port in a make-shift cart, itopens up to the frenzic, busy port.
For the first time Solomon sees true and severe slavery.
These are not visiting servants, such as Jasper was backin Saratoga. These are humans held in strict bondage -
herded like cattle, chained together as if in a "chaingang." Slaves are evident not merely by the color oftheir skin. The residue and accessories of slavery areeverywhere. Blacks almost universally display scars -
THICK AND HEAVY DEAD TISSUE FROM LACERATIONS LEFT
UNTREATED - brands, and are often missing limbs. Blacks
are held in all types of shackles, from simple chains toelaborate bindings, to neck collars that are spiked.
Some are muzzled or forced to wear bits. One slave is
attacked by a dog and the slave owner. The dog pulls andtears at the slave's clothes. THESE IMAGES SHOULD BE A
CONSTANT AND CONTINUAL CANVAS TO THE PIECE. EVER
PRESENT, BUT NOT REALLY COMMENTED ON AS THEY ARE THENORM. They should be a reminder that not only are peoplebeing oppressed, but that there is an entire system ofoppression in place.
55 EXT. FREEMAN'S SLAVE PEN - LATER 55
"Burch's stock:" arrive at Freeman's slave pen. They areled in by Freeman and his house slave CAPE - a mulatto.
The yard is enclosed by plank, standing upright, withends sharpened instead of brick walls as with Burch's.
Including Burch's group there are about 30 SLAVES in the
pen.
Solomon and the others look around and see nothing butdowntrodden and despondent faces. Three men sit next toeach other with muzzles and quietly stare back at thisnew batch of arrivals. One attempts to speak, but allthat comes out is a muffled, unintelligible sound.
56 EXT. FREEMAN'S SLAVE PEN - LATER 56
The slaves are in various states of undress, men andwomen alike. They clean themselves, scrubbing with soapand water. Women wash their hair. Men shave, skin isoiled. Freeman walks among them, inspecting them as theyprimp themselves.
57 INT. FREEMAN'S SLAVE PEN - LATER 57
The slaves are given new clothes by Cape. The men are
given hat, coat, shirt, pants and shoes. The women
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 37.
57 CONTINUED:
57 57 CONTINUED: 57
frocks of calico and handkerchiefs to bind about their
heads.
58 INT. FREEMAN'S/GREAT ROOM - LATER 58
It's an odd, ironic scene. The slaves are in a large andfairly ornate room within Freeman's house. CAPE PLAYS A
PAINFUL TUNE ON A FIDDLE - background music - as Freemantries to line up A SMALL GROUP OF THE SLAVES, he becomesless patient, jittery and nervous, knowing that hislivelihood is at stake, he wants his slaves to make agood impression. Sometimes his patience gets the betterof him, and his hands move freely in direction of theslaves.
The business has the air of an etiquette class, thoughwhat Freeman is trying to do is coach the slaves intobeing more "sellable." He works with them in groups offive or so.
FREEMAN:
Tallest to smallest, understand?
Are you taller than her? Then
you'd go before her. Do it.
Move.
(to the group)
Keep your heads up. A sense of
direction; that's how you look
smart. None of those saucer eyes.
Rid yourself of that smile. Look
like a goddamn grinnin' monkey.
Put the least thought in your
head. C'mon, now. Think of
somethin'.
Weary of Cape's playing, Solomon moves to Cape. He asks:
SOLOMON:
Can you play a reel?
CAPE:
(dismissive)
Nah. I don't know no reel.
SOLOMON:
If I may...?
Cape looks to Freeman:
FREEMAN:
He sick of your caterwaulin'. Let
him play, boy. Let's see what he
can do.
Cape reluctantly hands the fiddle over to Solomon.
Solomon tunes it a bit, then begins to play. His fingersstiff at first, he takes a moment to warm up. But as he
warms up he is, despite the circumstances, masterful.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 38.
58 CONTINUED:
58 58 CONTINUED: 58
THE SLAVES ALL CLAP ALONG. SOME DANCE ALONG. All admire
his work. Freeman chief among them.
FREEMAN (CONT'D)
Keep on. Keep on.
Solomon continues to play.
FREEMAN (CONT'D)
A damn sight better than you,
Cape. A damn sight better.
Cape looks bitter as Solomon plays on.
59 INT. FREEMAN'S/GREAT ROOM - DAY 59
We come in on an odd sort of sight; A JUMBLE OF ACTIVITY.
CUSTOMERS have come to see Freeman's lot - the room all
gussied up with flowers. Freeman moves among them,
displaying them as a rancher would prize chattel.
Freeman makes the slaves hold their heads up - "looksmart" as he previously admonished them. They are madeto walk briskly back and forth while customers feel theirhands and arms and bodies, turn them about and ask whatskills they possess. The Customers routinely make theslaves open their mouths and show their teeth.
At times a MALE or FEMALE SLAVE are taken off to the
side, stripped and inspected more minutely.
One of them, John, is stripped and inspected.
Cape, as he's done previously, plays his fiddle.
A buyer - WILLIAM FORD; a man of middle age, and anattractive nature in his tone of voice - consults a list
he's drawn up and asks of Freeman:
FORD:
What is the price for the ones
Platt and Eliza?
FREEMAN:
A thousand for Platt; he is a
n*gger of talent. Seven hundred
for Eliza. My fairest price.
FORD:
You will accept a note?
FREEMAN:
As always, from you, Mr. Ford.
Eliza is beside herself as it seems she is about to be
separated from her family. She begs of Ford:
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 39.
59 CONTINUED:
59 59 CONTINUED: 59
ELIZA:
Please, sir... Please don't
divide my family. Don't take me
unless you take my children aswell.
FREEMAN:
Eliza, quiet!
ELIZA:
You will have the most faithful
slave in me, sir. The most
faithful slave that has ever
lived, but I beg that you do notseparate us.
A BUYER interrupts the skirmish and approaches Freemanand delivers coolly, eyeing Randall-
BUYER:
Your price for the child?
FREEMAN:
You see how fit the boy is. Like
ripe fruit. He will grow into afine beast.
Randall is made to run, and jump by FREEMAN - exhibitinghis activity and his condition.
FREEMAN (CONT’D)
Six hundred, and that's fair andfinal.
BUYER:
Done.
He reaches into his waistcoat and retrieves his wallet,
counting out six hundred dollars, placing them into thealready extended hand of Freeman.
Ford sees the distress and panic in Eliza; it visiblytouches him. He now tries to buy EMILY to console her.
FORD:
How much for the little girl? Youhave no need for her. One so
young will bring you no profit.
FREEMAN:
I will not sell the girl. There'sheaps 'n piles of money to be madeoff her. She is a beauty. One of
the regular bloods. None of yourthick-lipped, bullet headed,
cotton picking n*ggers.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 39A.
59 CONTINUED:
(2) 59 59 CONTINUED: (2) 59
FORD:
Her child, man. For God's sake,
are you not sentimental in theleast?
FREEMAN:
My sentimentality stretches thelength of a coin. Do you want thelot, Mr. Ford, or do you pass onthem all?
FORD:
I will take the ones Platt and
Eliza.
Eliza grips her children tight.
ELIZA:
I will not go without my children.
You will not take them from me.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 40.
59 CONTINUED:
(3) 59 59 CONTINUED: (3) 59
As if to prove her wrong, Freeman puts a foot to Elizaand harshly kicks her away from Emily.
ELIZA (CONT'D)
Please, don't. No!
Freeman, to Cape:
FREEMAN:
Take her out of here.
Cape DROPS HIS FIDDLE, begins to pull Eliza away towardthe door of the room, but her screaming and pleading donot abate. IT IS CLEARLY UNSETTLING TO THE OTHER BUYERS.
FREEMAN (CONT'D)
Keep her quiet.
Cape tries to muzzle her with his hand, but Elizacontinues to scream for her children as Emily does forher mother.
EMILY:
Mama... Mama!
FREEMAN:
(to Solomon)
Play something! Get the fiddle
and play.
As ordered, Solomon takes up Cape's fiddle and begins toplay lightly.
FREEMAN (CONT'D)
Play!
Solomon plays harder and more loudly. Still, it isbarely enough to drown out Eliza's cries. Freeman getsthe other slaves to clap along with Solomon's playing.
Emily frees herself and runs back, crying but endeavoringto be strong-
EMILY:
Don't cry, Mama. I will be a good
girl. Don't cry. I will keep my
head up and I will look smart. I
will always look smart.
FREEMAN:
Make merry, all of you! Goddamn
it, Cape! Keep her quiet or it's
your damned hide I will take it
out of!
Cape pulls a rag, stuffs it in Eliza's mouth. Clampingboth hands over her mouth, he hauls Eliza from the roomby the head. IT IS AN UGLY, UGLY SCENE.
1/24/13 FINAL SHOOTING SCRIPT 40A.
60 EXT. FORD PLANTATION - LATER 60
Driven in a horse drawn wagon by Ford are Solomon andEliza. Eliza is sullen to say the least. With the loss
of her two children she has dropped into a depression shewill not be able to pull out of.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 41.
60 CONTINUED:
60 60 CONTINUED: 60
They arrive to the FORD PLANTATION. The main house of
the plantation - the GREAT HOUSE as they are commonlycalled - is sizable. Two stories high with a piazza infront. In the rear are also a log kitchen, poultryhouse, corncribs and several slave cabins. The
plantation is described as "a green spot in thewilderness."
With the arrival of Master Ford there is a flurry ofactivity - the "excitement" of a new delivery. MR.
CHAPIN, a white overseer, instructs a slave named SAM.
CHAPIN:
Sam, call to the Mistress.
SAM:
Mistress! Mistress, they arrivn'.
MISTRESS FORD EXITS the house - along with her attendingslave, RACHEL, who is a cook AS WELL AS SAM'S WIFE - andtravels to her husband, kisses him, then laughinglyinquires:
MRS. FORD
Did you bring all those n*ggers?
Two of them? You got two?
FORD:
Make me something to eat, dear.
The day has taken it from me.
MRS. FORD
Let me get a look at them...
FORD:
Mr. Chapin-
MRS. FORD
(re:
Eliza)
This one's cryin'. Why is thisone cryin'?
FORD:
Separated from her children.
MRS. FORD
Oh, dear.
FORD:
It couldn't be helped.
MRS. FORD
Poor, poor woman.
FORD:
Mr. Chapin, tomorrow you will takethese two up to the mill and startthem workin'. For now make them
(MORE)
(CONTINUED)
60
adequate; fix them a meal, andhave them rest themselves.
1/2/13 FINAL SHOOTING SCRIPT
CONTINUED:
(2)
FORD (CONT'D)
42.
60
CHAPIN:
Yes, sir.
(to the slaves:)
C'mon, now. C'mon. Don't dawdle.
MRS. FORD
(to Eliza:)
Something to eat and some rest;
your children will soon enough beforgotten.
A61A EXT. FORD'S WORK AREA - DAY A61A *
John Tibeats, stands before the slaves. Chapin hovers toone side.
*
*
TIBEATS:
My name is John Tibeats, WilliamFord's chief carpenter. You will
refer to me as Master.
*
*
*
*
Tibeats nods in Chapin's direction: *
TIBEATS (CONT’D)
Mister Chapin is the overseer onthis plantation. He is
responsible for all of Ford'sproperty. You too will refer to
him as Master.
*
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*
This plantation covers manyhundreds of acres, and you willtraverse the Texas road between
the forest site and the sawmill in
double time. Any clever n*gger onthat path that gets a littlelightfooted, I will remind himthat on one side men and
bloodhounds patrol the border andon the other the bayou provides ahard living, with alligators andlittle to eat or drink that won't
kill you. No slave has escapedhere with his life. You're here
to work n*ggers, so let's
commence.
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Tibeats begins to sing the song "Run N*gger, Run"
mockingly.
*
*
We cut to Solomon chopping logs and into the montage ofthe slaves doing manual labor and arriving back to thesawmill.
*
*
*
Lyrics for "Run N*gger, Run"
(CONTINUED)
*
A61A
1/24/13
CONTINUED:
FINAL SHOOTING SCRIPT 42A.
A61A
Oh run n*gger run well the pattyroller will get youRun n*gger run well you better get awayRun n*gger run well the pattyroller will get youRun n*gger run well you better get away
N*gger run n*gger flewNigger tore his shirt in twoRun run the pattyroller will get youRun n*gger run well you better get away
N*gger run, run so fastStoved his head in a hornets nest
Run n*gger run well the pattyroller will get youRun n*gger run well you better get away
N*gger run through the fieldBlack slick coal and barley heelRun n*gger run the pattyroller will get youRun n*gger run well you better get away
Some folks say a n*gger won't stealI caught three in my corn fieldOne has a bushel? And one has a peckOne had a rope and it was hung around his neck
Run n*gger run well the pattyroller will get youRun n*gger run well you better get awayRun n*gger run well the pattyroller will get youRun n*gger run well you better get away
Oh n*gger run and n*gger flewWhy in the devil can't a white man chewRun n*gger run well the pattyroller will get youRun n*gger run well you better get away
Hey Mr. Pattyroller don't catch meCatch that n*gger behind that treeRun n*gger run well the pattyroller will get you?
Run n*gger run well you better get away
N*ger run, run so fastStoved his head in a hornets nest
Run n*gger run well the pattyroller will get youRun n*gger run well you better get away
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61 EXT. WOODS -DAY 61
-END OF MAY THROUGH EARLY JUNE, 1841We
are in a wooded area. There is A GANG OF SLAVES
chopping trees into timber. It is hard, laborious workmade no more easy by the sweltering heat. Solomon is
among them as well as Sam.
62 EXT. WOODS -LATER 62
The slaves now load the timber onto a horse drawn wagon.
Again, hard work done under the ever present sun.
1/24/13 FINAL SHOOTING SCRIPT 42B.
63 EXT. ROAD -LATER 63
As Sam drives the wagon, the other slaves trudge alongside by foot. We should get the sense the travel is longand tedious.
64 EXT. FORD'S WORK AREA - LATER 64
It is a sizable work area on the edge of Indian Creek.
There is much work being done, the slaves primarilyemployed in piling the timber and chopping it intolumber. As before, there is little doubt about therigors of the job at hand.
Working as a carpenter at the work area is JOHN TIBEATS.
There are also various CUSTOMERS who move about placingorders.
65 EXT. FORD PLANTATION - DAY 65
-EARLY TO MID JUNE, 1841
It's Sunday morning. All of Ford's slaves are dressed
with their "finest" clothes - brightly colored and asfree as possible of defect. The slaves are gathered on
(CONTINUED)
66
67
68
67
68
1/24/13 FINAL SHOOTING SCRIPT 43.
CONTINUED:
65
the lawn just beyond the piazza. Mistress Ford is
present as well. As the slaves listen, Ford reads tothem Scripture. His tone is of a man trying to preach byway of compassion.
FORD:
"But as touching the resurrection
of the dead, have ye not read that
which was spoken unto you by God,
saying, I am the God of Abraham,
and the God of Isaac, and the God
of Jacob. God is not the God of
the dead, but of the living. And
when the multitude heard this,
they were astonished at his
doctrine. Then one of them, which
was a lawyer, asked him a
question, tempting him, and
saying, Master, which is the
great commandment in the law?
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