CARD:
1841
FADE IN:
1 INT. TOWNHOUSE/STUDY - DAY 1
-EARLY APRIL, 1841
We are close on a PAIR OF BLACK HANDS as they open AFINELY WRAPPED PACKET OF VIOLIN STRINGS.
WE CUT TO the hands stringing a VIOLIN. It's not a highend piece, but it is quite nice.
WE CUT TO a wide shot of the study. Sitting in a chairwith violin in hand is SOLOMON NORTHUP; a man in his latetwenties. Everything about Solomon, his mien and manner,
is distinguished. But he, too, seems a hardy individual.
Someone who has known manual labor in his time.
Solomon begins to lightly play his violin, as if testingthe strings, their tuning. Satisfied, Solomon begins toplay vigorously. As he does, we make a HARD CUT TO:
2 INT. HOUSE/LIVING ROOM - EVENING 2
We come in on a lively affair. A dinner party is beingthrown within the confines of a fairly stately house. In
attendance are EIGHT COUPLES. All are WHITE and all are
FAIRLY YOUNG, in their early twenties. The men and women
are dressed in very fine attire. We should get the sensethat for the most part they are people of means.
The furniture has been set aside in the living room. At
the moment the couples are engaged in the dancing of aREEL.
The music they are dancing to is being played by Solomon,
having cut directly from the tune he was previouslyplaying. He plays with a light determination, and in noway seems possessed with empty servitude.
Solomon concludes the reel, and the dancers break intoenthusiastic applause, which is followed by personalthanks and congratulations from all. It should be clear
that despite their respective races there is muchadmiration and appreciation for Solomon's abilities.
3 INT. NORTHUP HOUSE/BEDROOM - MORNING 3
It is a Saturday morning. Clad in her finest attire is
ANNE; Solomon's wife, a few years younger than he. We
see also the Northup children: MARGARET who is eight, andALONZO who is five. They are handsome, and well groomedkids. Anne straightens up the children. She finishes,
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 2.
3 CONTINUED:
3 3 CONTINUED: 3
she rises up and stands behind them, almost as ifpreparing to pose for a portrait.
They all wait a moment, then Solomon enters the foyer.
He stands and looks admiringly at his family. ADMIRINGLY
stressed. It isn't that he doesn't have love for them,
he does as well. But in the moment, he truly admires hisgreatest accomplishment: a family that is healthy andwell and provided for. He goes to his children, andhands each a coin, then goes to Anne. Gives her a kiss
on the cheek. The children giggle at the sight.
4 EXT. STREET -DAY 4
Solomon and his family are out walking along the streetsand groves of Saratoga.
The streets are well populated this morning with manypeople out strolling. Most are WHITE, but there areBLACKS as well. They are FREED BLACKS who mingle fairlyeasily - though not always completely - with the whites.
We see, too, a few BLACK SLAVES who travel with theirWHITE MASTERS. These pairings are largely from the southand - despite the fact the blacks are slaves - they arenot physically downtrodden, not field hands. They arewell dressed and "leading apparently an easy life" -
comparatively speaking - as they trail their masters.
As they walk, Solomon and his family arrive to anintersection well-worn and muddied from horse and cart
traffic. Solomon and his children easily jump across themuck. Anne stands at the lip of the puddle, calls forSolomon to help her across.
ANNE:
Solomon...
Solomon, turning back to his wife with a broad smilewaving her forward:
SOLOMON:
Come, Anne. Jump.
The children, now smiling as well, egg their mother on.
ALONZO MARGARET:
Jump. You can make it. I've done it. You can make
it.
ANNE:
I will not ruin my dress. Catch
me!
Solomon moves close, holds out his arms. Yet, there'sstill just a bit of mischievousness in his eyes. Anne
gives her husband a lightly stern look to which Solomonreplies.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 3.
4 CONTINUED:
4 4 CONTINUED: 4
SOLOMON:
I will catch you, Anne.
(beat)
I will.
Again, lightly stern:
ANNE:
You will.
And with that Anne takes the leap. Solomon catches her,
swings her around grandly and sets her down lightly tothe delighted applause of the children. That done,
Solomon takes Anne's hand and leads her on.
As Solomon and his family make their way, among theslaves on the street, we see one in particular; JASPER.
As he trails his MASTER he can't help but note Solomonand his family as they enter A STORE. His intrigue ofthis most handsome and harmonious group should beobvious.
With his Master occupied, Jasper moves slyly toward theSTORE. Frozen on the spot, Jasper looks on admiringly.
Suddenly a voice barks out-
A VOICE (O.S.)
Jasper! Come on!
5 INT. STORE -LATER 5
We are inside the store of MR. CEPHAS PARKER; a white manand a supplier of general goods. Solomon greets himwith:
SOLOMON:
Mr. Parker.
PARKER:
Mr. Northup. Mrs. Northup.
With money in hand the Northup children move quicklyabout the store looking for items to purchase.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 4.
5 CONTINUED:
5 5 CONTINUED: 5
Anne looks over some silks and fabrics. Parker suggeststo Solomon:
PARKER (CONT’D)
A new cravat, Solomon? Pure silk
by way of the French.
SOLOMON:
We are in need of a fresh carryall for the Mrs's travels.
PARKER:
A year's passed? Off to SandyHill?
ANNE:
I am.
Using a long pole, Mr. Parker fetches down a CARRY ALLfrom an upper shelf.
PARKER:
Something to suit your style, butsturdy enough for the forty milesround trip.
Handing the Bag to Anne, she is immediately taken by it.
ANNE:
It's beautiful.
SOLOMON:
(cautiously)
At what price?
ANNE:
We will take it. Children, comesee what your father has justpurchased for me.
As the children run over - chattering excitedly about thenew gift - they RUN PAST JASPER who has quietly enteredthe store.
At the checkout counter sits a portrait of WILLIAM HENRYHARRISON, the edges draped in black crepe. Before the
book sits a LEDGER. Mr. Parker asks of Solomon:
PARKER:
If you would sign our condolencebook. My hope is to find a way toforward it to the Widow Harrison.
Sad days for the nation.
SOLOMON:
Yes, certainly. Poor Mrs. Harrisand her children. I hope brightertimes ahead.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 4A.
5 CONTINUED:
(2) 5
Jasper looks scared, timid. It's as though he'd like toengage, but is unsure of as to how. Noting Jasper, Parkersays:
PARKER:
A moment, sir, and you will beassisted.
SOLOMON:
If we could discuss the price...
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 5.
5 CONTINUED:
(3) 5 5 CONTINUED: (3) 5
PARKER:
Forgive me, Mrs. Northup. A
customer waits. Welcome, sir.
To Jasper, with good nature:
SOLOMON:
Shop well, but mind your wallet.
PARKER:
Ignore the gentleman's nonsense.
Now, may I interest you in a new
cravat? Pure silk by way of the--
Before Parker can finish, the door opens. It's Jasper'sMaster, FITZGERALD. He's stern, clearly displeased.
FITZGERALD:
Jasper!
(to Parker)
My regrets for the intrusion.
SOLOMON:
No intrusion.
Fitzgerald looks to Solomon. It is a cold glare asthough he wasn't speaking to, and has no interest in aresponse from a black man. Looking back to Parker:
FITZGERALD:
Good day, sir.
6 INT. NORTHUP HOUSE/DINING ROOM - EVENING 6
Anne, busy in the kitchen, puts the final touches to themeal, which is just about to begin. Solomon, in themeanwhile, sits at the head of the table reading from aNEWSPAPER. He reads to his children solemn news of the
funeral arrangements for the recently deceased PresidentHarrison.
SOLOMON:
"Thus has passed away from earth
our late President."
Solomon starts from the top of the article.
SOLOMON (CONT’D)
"During the morning, from sunrise,
the heavy bells had been pealing
forth their slow and solemn toll
while the minute guns announced
that soon the grave would receive
its trust. Our city as well as
our entire nation has been called
to weep over the fall of a great
and good man. One who was by the
wishes of a large majority of our
(MORE)
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 5A.
6 CONTINUED:
6
SOLOMON (CONT’D)
people raised to fill the highestplace of trust within their gift.
William Henry Harrison."
A long moment of quiet, the family continuing to eat.
Then, from Margaret:
MARGARET:
Will you read it again?
ANNE:
Not just now, darling.
Anne enters the dining room and places a large chicken atthe center of the table. As she takes a seat, all headsare bowed.
MARGARET:
For food that stays our hunger,
For rest that brings us ease,
For homes where memories linger,
We give our thanks for these.
ALL:
Amen.
SOLOMON:
Margaret, that was wonderful.
MARGARET:
Thank you, Papa.
SOLOMON:
Alonzo, do you have something tosay?
ALONZO:
Yes, I helped Momma make this.
ANNE:
Yes, and you were such a goodhelp. Especially making the gravy.
MARGARET:
Papa, I would very much like tolearn how to play the violin.
Could you teach me?
ALONZO:
Me too!
MARGARET:
Yes, but I asked Papa first.
SOLOMON:
Both of you, calm down. We willhave our first lesson after this
wonderful dinner. And on that
note, let's start eating.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 5B.
6 CONTINUED:
(2) 6 6 CONTINUED: (2) 6
The family all tuck in to their meal. The scene is one ofwarmth and happiness.
1/24/13 FINAL SHOOTING SCRIPT 6. 6.
7 INT. NORTHUP HOUSE - NIGHT 7
Solomon and Anne have fun and difficulty putting theunruly children to bed. They are tucked in, and eachgiven a kiss good night. As Margaret lays down to sleep,
Anne blows out the candle darkening the room.
Silhouetted in the doorway, Solomon takes Anne in hisarms, holds her tightly as they both luxuriate in thesimple, beautiful gift that is their children.
7A INT. NORTHUP HOUSE - NIGHT 7A *
Now alone together, we see Anne and Solomon wrapped ineach other's arms. Beyond being physically close,
emotionally close, they are just so very comfortable withone another. They are the very representation of acouple who are made for each other.
They look at each other for a prolonged time. *
SOLOMON:
(comically forlorn)
Three weeks. Two days.
*
*
*
ANNE:
It is the custom. I wonder what
you'll do without me?
*
*
*
SOLOMON:
I won't stay idle.
*
*
SOLOMON's eyes lower. *
ANNE:
Darling, it's good money.
*
*
SOLOMON:
If only I didn't have to shareyour cooking with other people.
*
*
*
ANNE holds his gaze. *
You don't.
ANNE *
*
They kiss. *
8 OMIT 8
1/24/13 FINAL SHOOTING SCRIPT 7.
9 EXT. NORTHUP HOUSE - MORNING 9
We are just outside the Northup house. A CARRIAGE waits
with a DRIVER. Anne and the children are dressed for
travel - Anne sporting HER NEW CARRY ALL. The Driver
loads bags into the carriage.
For her parting gift, Anne gives her husband a kiss.
SOLOMON:
Travel safely.
ANNE:
Stay safely.
Anne and the children loaded up, the Driver chides thehorse and the carriage heads off. Solomon waves a heartygood bye to his wife and children.
10 EXT. PARK -DAY 10
Solomon is now out for a stroll. He passes two men - twoin particular - who stand outside conversing with MR.
MOON himself:
MERRILL BROWN and ABRAM HAMILTON. Brown
is about 40, with a countenance indicating shrewdness andintelligence. Hamilton is closer to 25, a man of faircomplexion and light eyes. Both are finely, if perhaps abit garishly, dressed. Hamilton, as Solomon describeshim, slightly effeminate.
Moon, spotting Solomon:
MR. MOON
Call the Devil's name... There he
is now. Mr. Northup...! I have
two gentlemen who should make your
acquaintance. Messrs. Brown and
Hamilton.
BROWN:
Sir.
MR. MOON
Mr. Northup, these two gentlemen
were inquiring about distinguished
individuals, and I was just this
very moment telling them that
Solomon Northup is an expert
player on the violin.
HAMILTON:
He was indeed.
SOLOMON:
Mr. Moon is being overly gracious.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 8.
10 CONTINUED:
10 10 CONTINUED: 10
BROWN:
Taking into consideration hisgraciousness and your modesty, maywe trouble you for a moment ofyour time to converse, sir?
11 EXT. PARK/PAVILION - LATER 11
We make a jump to a green space. Solomon, Brown andHamilton are sitting at a bench.
SOLOMON:
A circus?
HAMILTON:
That is our usual employee. The
company currently in the city of Washington.
Circus too constricting a word todescribe the talented and merryband with which we travel. It is
a spectacle unlike most have everwitnessed. Creatures from the
darkest Africa as yet unseen bycivilized man. Acrobats from the
Orient able to contort themselves
in the most confounding manners.
HAMILTON:
And I myself in aide of Mr. Brown;
an internationally renownedpractitioner in the art ofprestidigitation.
BROWN:
We are on our way thither torejoin the company having left fora short time to make a small
profit from our own exhibitions.
HAMILTON:
The reason for our inquiry withMr. Moon...
BROWN:
Yes. We had just a devil of atime in procuring music for our
(MORE)
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 9.
11 CONTINUED:
11
BROWN (CONT'D)
entertainments. Men of true
talent seemingly in short supply.
SOLOMON:
Thank you sir...
BROWN:
If we could persuade you toaccompany us as far as New York...
We would give you one dollar foreach day's service and threedollars for every night played atour performances. In addition wewould provide sufficient pay forthe expenses of your return fromNew York here to Saratoga.
SOLOMON:
You understand this is all verysudden.
HAMILTON:
Consider it an opportunity to seethe country-
SOLOMON:
It's intriguing...
HAMILTON:
If there is any way in which youwould give consideration to theoffer...
Solomon gives the whole deal one last consideration.
SOLOMON:
The payment offered is enticementenough, as is my desire to visitthe metropolis.
HAMILTON:
We are delighted, sir. So
delighted. Though we would addthat our travel plans-
BROWN:
We would like to depart withhaste.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 10.
11 CONTINUED:
(2) 11 11 CONTINUED: (2) 11
SOLOMON:
As luck would have it, my wife and
children are traveling. I will
write her of our plans.
BROWN:
Excellent! I would beg you
collect yourself, then we may
proceed.
12 INT. NORTHUP HOUSE/BEDROOM - LATER 12
Back in his house, we see Solomon packing: putting someclothes in a travel case, and collecting his violin aswell.
13 INT. NORTHUP HOUSE/STUDY - LATER 13
Solomon sits down to write a letter; pen poised overpaper with already a few lines written. But Solomon
thinks better of it. WITH LITTLE THOUGHT HE TEARS THE
PAPER AND SETS IT ASIDE. WE SHOULD GET THE SENSE THAT
THE ABSOLUTE VALUE OF BEING ABLE TO COMMUNICATE BY LETTER
IS LOST ON SOLOMON. THIS FACT WILL HAVE GREAT WEIGHT IN
THE NEAR FUTURE.
14 EXT. SOLOMON'S HOUSE/INT. COVERED CARRIAGE - LATER 14
Solomon enters the buggy, carpet bag in hand. Brown and
Hamilton are waiting. They ride in a covered carriageled by a pair of "noble" horses.
HAMILTON:
No letter to post?
SOLOMON:
No need. My return will coincide
with my family's.
BROWN:
We're off then.
15 INT. PUB -EVENING 15
-MID TO LATE APRIL, 1841
We find ourselves in a roadside pub. It serves the
purpose of drinking and diversion, and little more. As
Solomon plays his violin, Brown and Hamilton perform adecent, paired magic routine before a SPARSE AUDIENCE NOTOF "SELECT CHARACTER."
1/24/13 FINAL SHOOTING SCRIPT 11.
16 INT. PUB -LATER 16
After the show, the pub now fairly empty, Solomon,
Hamilton and Brown sit down to eat. Hamilton and Brown
drink, but again Solomon abstains. Though Solomonremains cool, Hamilton and Brown put up a great show ofbeing disappointed as Hamilton counts out what littlemoney was collected.
HAMILTON:
Not an additional tip from a oneof them. They expect to beentertained for nothing.
BROWN:
And not satisfied a bit despitegiving them more than what theypaid for.
SOLOMON:
It's the national mood. There's
too much grief to make room forfrivolity.
HAMILTON:
My sincerest apologies, Solomon.
You were promised opportunity, andyou were given none.
BROWN:
The opportunity is with thecircus. A two man show poorlypromoted, what were we to expect?
But the circus bills itself.
HAMILTON:
True.
BROWN:
I have told you of the circus withwhich we are connected. Creatures
from the darkest of Africa.
Acrobats from the Orient who--
SOLOMON:
You have described it, yes.
BROWN:
Yes. We need to return
immediately to Washington.
Solomon...I believe us familiar
enough now, but forgive me if I ambold...would you consider makingthe trip with us?
Solomon gives a bit of a laugh at the idea.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT
CONTINUED:
CONTINUED:
HAMILTON:
Entertaining at pubs and inns has
it's place, but a man of your
skills deserves better.
BROWN:
Hear, hear.
HAMILTON:
And more importantly you would
build your own name and following.
The circus tends to attract those
with the highest of reputations.
An introduction here and there
could amount to a lifetime of
reward. Now would be the time.
With your family away, an
opportunity presents itself.
BROWN:
Said as fellow artists as well as
businessmen. Well worth the
effort at least.
SOLOMON:
You present a flattering
representation. As my family will
be traveling back shortly, perhaps
I might commit only to one trial
engagement.
HAMILTON:
Oh, very good, sir. Very good. I
cannot recall being so excited.
BROWN:
There is a practical concern. If
you are to continue on with us you
should obtain your free papers.
SOLOMON:
Not necessary.
BROWN:
Here in New York, no. But we will
be entering slave states and as a
matter of precaution... It's to
all our benefit we should not have
to come to account for your well
being.
HAMILTON:
Six shillings worth of effort
could well save much trouble
later.
12.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 12A.
16 CONTINUED:
(2) 16 16 CONTINUED: (2) 16
BROWN:
We'll go to the Customs House inthe morning, then travel on. Good
business all around.
1/24/13 FINAL SHOOTING SCRIPT 13.
17 OMIT 17
18 EXT. WASHINGTON -DAY 18
The city is a swarm of people. At the moment the populaceis displaying both sorrow and anticipation. Sorrow for
the loss of the President. Many are dressed in black,
and black crepe hangs nearly everywhere. Black armbandsare frequently seen, and the occasional American Flaghung at half mast. As well, there are portraits ofHarrison at varying locations.
Having arrived in Washington, Solomon, Hamilton and BrownRIDE ONWARD IN THEIR CARRIAGE.
19 INT. GADSBY HOTEL/DINNING ROOM - EVENING 19
A decent though crowded, boisterous and smoke-filledjoint. Very lively. Solomon, Hamilton and Brown areamong several parties drinking in the hotel's bar. As
with seemingly everywhere in the city black crepesaccessorize the background. Brown counts out $43.00 IN
COIN on the tabletop. Solomon is astonished by theamount.
BROWN:
Forty-three dollars. All to you.
SOLOMON:
That...it's far more than my wages
amount to.
BROWN:
Consider the remainder an advance
from the circus. I cannot tell
you...I honestly wish you had seen
the expression of our director
when I described your abilities.
He was fairly overcome with
excitement.
HAMILTON:
You should have invited him to sup
with us.
BROWN:
I did. I did, but so many
preparations before the company is
to depart.
SOLOMON:
Gentlemen-
BROWN:
Tomorrow we shall prepare for our
Washington debut. But tonight, our
thoughts are with the great man
(MORE)
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 13A.
19 CONTINUED:
19
BROWN (CONT'D)
for whom this city prepared solemn
memorial. He has passed from the
praise of men to receive the
plaudit of his heavenly father. A
fine man has passed. Let us
remember him with a drink.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 14.
19 CONTINUED:
(2) 19 19 CONTINUED: (2) 19
Both Hamilton and Brown hold up their tankards to drink.
Solomon, a bit reluctantly, does the same.
HAMILTON:
Cheers.
BROWN:
Another. Our departed President
deserves all the salutation we can
imbibe.
Hamilton and Brown drink again, and Solomon does as well.
20 OMIT 20
21 OMIT 21
22 EXT. ALLEY -LATER 22
WE MAKE A HARD CUT to Solomon outside of the Pub, in analley, with Brown and Hamilton in silhouette, back-lit bythe street lights. He is violently ill, hunched over andretching horribly.
HAMILTON:
That's all right Solomon. No
shame in it. No shame at all.
1/24/13 FINAL SHOOTING SCRIPT 15.
A23 INT. GADSBY HOTEL - STAIRCASE A23
Hamilton and Brown help Solomon to lumber up the spiralstaircase, passing the occasional bemused guest.
23 INT. GADSBY HOTEL/SOLOMON'S ROOM - NIGHT 23
Hamilton is placing a spittoon near Solomon's bed, wherea prone and reeling Solomon lays. Hamilton sits on the
bed. As he strokes Solomon's sweaty face, Hamiltonspeaks sweetly.
HAMILTON:
I'm afraid that Brown and I
haven't brought you much luck.
But rough waters bring smooth
sailing. Eventually they do.
SOLOMON:
....So...so sorry...
HAMILTON:
Shhh. We won't hear it. We
won't.
BROWN:
Let him sleep.
HAMILTON:
Hmm. A good night's sleep. And
tomorrow...tomorrow you will feel
as well and refreshed as though
the earth were new again.
Hamilton lingers a bit too long and a bit too close toSolomon for Brown's taste. With more than a bit of
signification:
BROWN:
Hamilton! Nothing more we can do
for him.
HAMILTON:
Such is the pity.
Displaying an odd sort of disappointment, Hamilton slinksaway from the bed. He crosses to, and BLOWS OUT ACANDLE. The room goes dark with a blackness more thannight. Brown and Hamilton exit. Solomon lays in thedark and moans. His sounds becoming MORE AND MOREDISTRESSED.
24 INT. BURCH'S DUNGEON - DAWN 24
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 16.
24 CONTINUED:
24 24 CONTINUED: 24
Solomon stirs, then slowly awakes to his newcircumstances. He finds himself in a nearly lightlessroom about twelve feet square with walls of solid
masonry. There is a thick and well-locked door, a smallwindow covered with iron bars and a shutter. The onlyfurniture is a wood stool and an old fashioned, dirty boxstove. As Solomon rises he sees that his HANDS are
CUFFED - the chain running to a bolt in the ground - andhis LEGS IN IRONS. At first Solomon is incredulous. But
that emotion is replaced first by fury and then panic.
He begins to pull on the chains, fight against them. He
does so with increasing desperation. Solomon flails
about, the sounds of the steel chains whipping andbeating against the masonry. He grunts and screamswithout regard as the cuffs and irons bite into hisflesh, but he cannot pull himself free.
After several minutes of intense effort, Solomon tires,
slows, then finally he collapses. And in this collapsedstate he remains.
HAMILTON:
Shhh. We won't hear it. We
won't.
BROWN:
Let him sleep.
HAMILTON:
Hmm. A good night's sleep. And
tomorrow...tomorrow you will feel
as well and refreshed as though
the earth were new again.
Hamilton lingers a bit too long and a bit too close toSolomon for Brown's taste. With more than a bit of
signification:
BROWN:
Hamilton! Nothing more we can do
for him.
HAMILTON:
Such is the pity.
Displaying an odd sort of disappointment, Hamilton slinksaway from the bed. He crosses to, and BLOWS OUT ACANDLE. The room goes dark with a blackness more thannight. Brown and Hamilton exit. Solomon lays in thedark and moans. His sounds becoming MORE AND MOREDISTRESSED.
24 INT. BURCH'S DUNGEON - DAWN 24
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 16.
24 CONTINUED:
24 24 CONTINUED: 24
Solomon stirs, then slowly awakes to his newcircumstances. He finds himself in a nearly lightlessroom about twelve feet square with walls of solid
masonry. There is a thick and well-locked door, a smallwindow covered with iron bars and a shutter. The onlyfurniture is a wood stool and an old fashioned, dirty boxstove. As Solomon rises he sees that his HANDS are
CUFFED - the chain running to a bolt in the ground - andhis LEGS IN IRONS. At first Solomon is incredulous. But
that emotion is replaced first by fury and then panic.
He begins to pull on the chains, fight against them. He
does so with increasing desperation. Solomon flails
about, the sounds of the steel chains whipping andbeating against the masonry. He grunts and screamswithout regard as the cuffs and irons bite into hisflesh, but he cannot pull himself free.
After several minutes of intense effort, Solomon tires,
slows, then finally he collapses. And in this collapsedstate he remains.
25 INT. BURCH'S DUNGEON - MORNING 25
Solomon again awakens. He hears sounds beyond thedoor...footsteps. Eventually the door opens. Enter
JAMES BURCH - who runs the slave pen - and EBENEZERRADBURN who works as a turnkey and overseer.
As the door opens, this is the first light to seep intothe otherwise near-black room. The shine is painful toSolomon's eyes. With no salutation whatsoever, Burchasks:
BURCH:
Well, my boy, how yah feel now?
Solomon rises up as best he can. With all the resolve he
can put together he states what he considers to be fact:
SOLOMON:
I am Solomon Northup. I am a free
man; a resident of Saratoga, New
York. The residence also of my
wife and children who are equally
free. I have papers. You have no
right whatsoever to detain me-
BURCH:
Yah not any-
SOLOMON:
And I promise you -I promise
upon my liberation I will have
satisfaction for this wrong.
BURCH:
Resolve this. Produce your
papers.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 17.
25 CONTINUED:
25
With confidence Solomon goes to the pocket of histrousers. He searches one, then the other, but they areempty. He feels quickly about himself, but clearly hispapers have been lifted. Solomon's confidence shifts,
but to resolve rather than fear. Papers or none, he willnot be easily cowed. Still, Burch asserts:
BURCH (CONT’D)
Yah no free man. And yah ain't
from Saratoga. Yah from Georgia.
A moment. Not a word spoken among the trio, but Solomonand Burch do some serious eye f***ing, neither manyielding. Burch says again:
BURCH (CONT'D)
Yah ain't a free man. Yah nuthin'
but a Georgia runaway.
Burch waits for Solomon to acquiesce. Solomon does not
in any way. Both men exchange a long and daring stare.
The two are clearly at an intellectual stand off. Burch,
leans to Radburn, SAYS SOMETHING WHICH WE CANNOTDISTINGUISH
Radburn walks off-camera and returns with a pair of"instruments:" a PADDLE - the flattened portion, which isabout the size in circumference of two open hands, andbored with a small auger in numerous places. He also
carries a WHIP. A cat-o-nine tails; a large rope of manystrands. The strands unraveled and a knot tied at the
extremity of each. Burch says again:
BURCH (CONT'D)
Yah a runaway n*gger from Georgia.
Solomon stands with a quiet stoicism. He will saynothing of the kind.
As that is the case, Solomon is seized by both men. He ispulled over the bench, face downward, shirt still on hisback. Radburn then STEPS ON HIS CHAINS, holding Solomondown in a bent position.
With no preamble, Burch begins to beat Solomon about theback with the paddle. Burch strikes him wordlessly - notaunting, no sneering. Solomon screaming against eachblow. His back immediately SWELLING WITH WELTS ANDBRUISES.
This beating continues on and on and on until quiteliterally Burch WEARS HIMSELF OUT with the effort.
Dripping in sweat and panting:
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 18.
25 CONTINUED:
(2) 25 25 CONTINUED: (2) 25
BURCH (CONT'D)
Yah still insist yah a free man?
SOLOMON:
...I...I insist...
Burch regrets hearing this. Not from sympathy, butrather because he's nearly too tired to go back tobeating Solomon. Yet, as if returning to work, Burchreturns to pummeling Solomon. Burch punctuates the blowswith:
BURCH:
Yah a slave. Yah a Georgia slave!
Burch continues to strike, and strike... This time until
the paddle SNAPS IN HALF. Burch then GRABS THE WHIP.
Hardly missing a stroke, he whips Solomon relentlessly,
the flails cutting into Solomon's back. Again, Burch'sarm tires before Solomon "breaks."
BURCH (CONT'D)
Are yah slave?
SOLOMON:
...No...
Burch goes back to whipping and whipping, and whipping...
SOLOMON'S BACK IS NOW TORN OPEN WITH LACERATIONS AND
OOZING WITH BLOOD. Finally Burch can whip no more. He
pours sweat and sucks air, leaving himself just enoughenergy to take up his instruments and EXIT. Radburn
lingers for a moment. He takes the irons off Solomon'slegs. Opens the window some. As he makes these
gestures, in a patronizing and confidential manner, onewrought with poor sincerity::
RADBURN:
I seen a good many of the blackkind just where yah're. Sick.
Make me sick. Often times the
situation was resolved, and Ithink; what was all the beatin'and abuse for? Things end as theyshould, and the violence was fornaught. So why cause trouble whenthey ain't no cause for it? Be of
a cooperative nature, and thingsdon't need be particularlyunpleasant.
(beat)
Or, yah can carry on like yahbeen, and I fear yah won't live tosee Sunday next.
With that thought, Radburn exits. Solomon rests. But to
rest seems like giving in to defeat. He begins pulling
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 19.
25 CONTINUED:
(3) 25 25 CONTINUED: (3) 25
on his chains. But for all his struggling, the chainloosens none. Solomon calls out:
SOLOMON:
Help me! Someone help me!
If anyone at all hears him, they do not respond. Solomon
continues his plaintive cry for assistance.
26 EXT. BURCH'S DUNGEON - CONTINUOUS 26
Beginning with a TIGHT SHOT on the shuttered, barredwindow of Burch's dungeon - Solomon's cries barely ekingbeyond the space - THE CAMERA PULLS BACK from thebuilding, onto the city until clearly visible is theNation's capital. It's icon's of freedom - the WHITE
HOUSE, the CAPITOL BUILDING - fairly mocking Solomon'scaptivity. Simultaneously, barren at the early hour andcluttered with litter and the remains of previous day'sprocession, the city is a bleak and forboding sight.
27 INT. BURCH'S DUNGEON - DAY 27
IT IS DAY NOW. The door to the yard is thrown open. The
harsh white light floods all over Solomon.
28 OMITTED 28
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 20.
28 CONTINUED:
28 28 CONTINUED: 28
29 MOVED TO SC. A32 29
1/24/13 FINAL SHOOTING SCRIPT 21.
30 EXT. BURCH'S DUNGEON/YARD - DAY 30
It is a yard just beyond Burch's. The yard is hemmed inby a brick wall. In the yard are two men, and a boy.
The oldest is CLEMENS RAY a man of about 25 years of age.
He is well educated. JOHN WILLIAMS is about 20 yearsold. He is born and bred a slave, is lacking ineducation, and overwhelmed with fear of the situation.
Finally there is a child about 10 years of age whoanswers to the name of Randall.
Solomon, Clemens Ray, John and Randall ALL STAND NAKED.
Though they try to cover their privates a bit, they areall aware of the uselessness of modesty. Radburn is
present. He has before him A COUPLE OF BUCKETS OF COLD
WATER. He throws water on the naked men.
RADBURN:
Go on. Warsh up.
The men, soaking in humility as well as water, begin toscrub with A SINGLE BAR OF HARSH SOAP passed among them.
RADBURN (CONT'D)
The boy, too. Get him clean.
Solomon takes some soap and rubs it over Randall.
RADBURN (CONT'D)
Scrub now. Git 'em clean.
Solomon scrubs harder. Randall - clearly cold anduncomfortable - appeals to Solomon.
RANDALL:
Do you know when my Mama will
come?
RADBURN:
Hush him up!
Seeing Solomon has no answer for him, Randall begins to
cry.
RANDALL:
Mama ..! Mama! Is she going to
come?
Doing all he can to spare the child from a certainbeating:
SOLOMON:
Quiet, please.
Randall is becoming nearly inconsolable.
RANDALL:
Mama!
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 21A.
30 CONTINUED:
30 30 CONTINUED: 30
Saying anything to keep the boy quiet:
SOLOMON:
Your mother will come, I swear she
will, but you must be silent.
Please. Be silent!
On the seeming strength of Solomon's promise, Randallgoes silent. Solomon looks to Radburn, who just throwswater on the soapy men.
1/24/13 FINAL SHOOTING SCRIPT 22.
31 OMITTED 31
A32 INT. BURCH'S DUNGEON - EVENING A32
Radburn brings food in to Solomon; a shriveled piece ofmeat and some water. Just barely enough to sustainSolomon. Radburn also has a SHIRT.
RADBURN:
That old thing of yours is just
rags and tatters. Need something
proper to wear.
Solomon doesn't move for the clothing.
RADBURN (CONT'D)
Go'won. Put it on.
With slow defiance, Solomon does as instructed. He
removes what remains of his old shirt - the one he was
wearing when first kidnapped - and puts on the oneRadburn brought him. The shirt's ill-fitting and dirty.
Despite that, Radburn says:
RADBURN (CONT'D)
There. Tha's fine. Tha's fine.
Got no gratitude?
SOLOMON:
...Thank you...
RADBURN:
Yah keep bein' proper, yah'll see
how things work out.
Radburn starts to take the old shirt.
SOLOMON:
No! It was from my wife.
RADBURN:
Rags and tatters. Rags and
tatters.
Taking the shirt, the "rags and tatters" as he callsthem, Radburn exits, locking the door behind him.
Solomon sits with the plate of food before him. He
pushes the plate away rather than eat.
32 EXT. BURCH'S DUNGEON/YARD - DAY 32
Sitting together out in the yard are Clemens Ray, Johnand Solomon. Over time they have drawn trustworthyenough to speak with one another. At the moment Solomon
is still trying to apply reason to the situation.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 22A.
32 CONTINUED:
32
Randall wanders about in the background. As usual, hecalls out for his "Mama." By now, however, his callsshould feel like little more than background noise.
SOLOMON:
This can't stand. It is a crime.
I believe now someone lay in waitfor me. My drink was altered...
We are free men. They have...theyhave no right to hold us.
Solomon waits for a response from the others. They give
none.
SOLOMON (CONT'D)
We need a sympathetic ear. If we
have an opportunity to explain oursituation-
CLEMENS:
Who in your estimation is thatsympathetic ear?
SOLOMON:
The two men I journeyed with. I'm
certain they're making inquires atthis very moment.
CLEMENS:
I would be just as certain theyare counting the money paid fordelivering you to this place.
SOLOMON:
They were not kidnappers. Theywere artists. Fellow performers.
CLEMENS:
You know that? You know for
certain who they were?
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 23.
32 CONTINUED:
(2) 32 32 CONTINUED: (2) 32
The fact is, Solomon can't say for certain.
CLEMENS (CONT’D)
How I reckon the situation:
whatever past we had...well,
that's done now. The reality tocome is us being transportedsouthward. New Orleans if I were
to venture. After we arrive,
we'll be put to market. Beyondthat... Well, once in a slavestate I suppose there's only oneoutcome.
JOHN:
No.
CLEMENS:
I don't say that to give you emptyagitation, John...
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