131 INT. JUDGE TURNER'S PLANTATION/FOOD STORAGE - NIGHT 131
Solomon stealthfully makes his way into the storage shed.
Dried and smoked meats are hung, and milled corn isabout. Taking out a handkerchief, Solomon begins to loadit with food. Not too much. Not so much his thieverywill be readily noticed, but he does avail himself.
132 EXT. TURNER PLANTATION - NIGHT 132
Solomon plays his violin, but plays it with an anxiousnature as he waits.
Then, as before, a figure appears in the distance. It is
Celeste coming out of the night. She makes her waydirectly to Solomon. With no greeting, she says:
CELESTE:
I am hungry.
Solomon gives Celeste the handkerchief he's filled. She
opens it, and begins to devour the food. As she eats:
CELESTE (CONT'D)
I was rude, and didn't even ask yo
name.
SOLOMON:
Platt.
(beat)
Solomon. Solomon is my true and
free name.
CELESTE:
Was you free?
SOLOMON:
I was. I am.
Solomon exposes his wrist, displays his tattoo as heannounces:
SOLOMON (CONT'D)
I remain free in my heart.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 89.
132 CONTINUED:
132 132 CONTINUED: 132
Giving a laugh as though it's the silliest thing she'sheard:
CELESTE:
Free heart means nothin if'n yobody gunna die a slave.
SOLOMON:
I will not.
CELESTE:
How? Celeste knows you ain't
gunna run. Celeste knows it ain't
your nature.
SOLOMON:
I have a plan. I have a letter.
CELESTE:
A letter? How'll yah mail daletter? Who yah trust to post it?
A n*gger that can read and writeis a n*gger that'll hang.
There is a pause. Solomon can't answer this question. It
is the glaring hole in his plan.
Having finished eating:
(CONTINUED)
133
134
135
134
135
136
137
138
1/24/13 FINAL SHOOTING SCRIPT 90.
CONTINUED:
(2) 132
CELESTE (CONT'D)
Celeste will come again in denight. You will bring her 'mofood.
SOLOMON:
I risk discovery to take more.
CELESTE:
You will bring Celeste 'mo food.
And with that Celeste again moves back into the darkness.
OMIT 133
OMIT 134
EXT. TURNER PLANTATION - EVENING 135
Solomon is picking at the bark off a WHITE MAPLE.
EXT. TURNER PLANTATION - EVENING 136
In a tin cup, over a fire, Solomon boils the white maplebark in just a bit of water.
INT. JUDGE TURNER'S PLANTATION/SLAVES CABIN - NIGHT 137
As others sleep, by the light of dying coals, Solomonuses the quill to test the boiled bark. The liquid holdsas a form of ink. It is no?t ideal, but it is legible onthe page. Armed with this, Solomon writes his letter.
EXT. TURNER PLANTATION - NIGHT 138
Solomon sits with Celeste. He relates his news to her.
SOLOMON:
I have my letter.
CELESTE:
Yah has your freedom then?
SOLOMON:
All that remains is to contrive
measures by which the letter cansafely be deposited in the postoffice.
When Celeste speaks she is quite melancholy.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 91.
138 CONTINUED:
138 138 CONTINUED: 138
CELESTE:
I have resolved to return to myMassa.
Solomon gives an unnerved look. This is not good news.
SOLOMON:
Is it more food you need?
CELESTE:
I live in fear.
SOLOMON:
None will come after you in the
swamps.
CELESTE:
It ain't the patrollers I scaredof... At all seasons the howlingof wild animals can be heard at
night along the border of the
swamps. At first their calls were
welcomin'. Dey too was free, 'n Ithought dey greeted me like asistah. Lately, dey cries haveturned horrifyin'. They mean tokill Celeste.
SOLOMON:
The solitude plays tricks. It's
your impression, nothing more. Ifyou go back to your master youcould face the same.
CELESTE:
My freedom been nothin' but adaydream. So was Celeste's
thoughts of slaves conjoinin' inthe bayou.
SOLOMON:
Better the loneliness. You have
been free most of the summer.
Return now and your master willmake example of you.
CELESTE:
It is lonely dwellin' waiting forothers who won't never come.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 92.
138 CONTINUED:
(2) 138 138 CONTINUED: (2) 138
SOLOMON:
Go north. Make your way bynight...
CELESTE:
It'll only be worse if'n Celestedon't go back of her own will.
SOLOMON:
You won't be caught. The dogswon't track you. You are...youare unique. Celeste...
CELESTE:
You got alternatives, Solomon.
SOLOMON:
To return is to die!
CELESTE:
Celeste got no one to write aletter to.
As if to punctuate her resolve, without a word moreCeleste departs toward the swamp. Solomon starts on into
the swamp after her.
SOLOMON:
Celeste... Celeste!
Solomon continues after Celeste, wading deeper into thedark night and murky waters.
SOLOMON (CONT’D)
Celeste, I will guide you north!
Wait, and I will take you.
Celeste is too nimble. She outpaces Solomon, continueson and disappears into the night.
SOLOMON (CONT’D)
Let me take you! Let me go withyou!
Solomon runs on, then splashes to a stop. He stumbles
around disoriented, calling into the blackness:
SOLOMON (CONT’D)
Celeste...
Nothing. No answer. Not a human one. There are sounds
and echoes - some in the distance, some perhaps movingcloser - which, moment by moment, become more and morefrightening. Soon, Solomon realizes he is in quiteliterally over his head; the water first chest deep, thenneck deep. With no way to orient himself, no means toguide him in the dark, Solomon's reserve begins tocrumble. He thrashes in the water trying to find his way
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 93.
138 CONTINUED:
(3) 138 138 CONTINUED: (3) 138
back to shore. No longer trying to save Celeste, Solomoncalls to her - desperately - for assistance.
SOLOMON (CONT’D)
Celeste! Come to me, Celeste!
In that moment Solomon is quite certain he is nearlydone; that he will not find land, nor aid and that thisis his final moment. His panic should be that tangible.
It is either force of will, or survival instinct...ormaybe just pure luck that carries Solomon on until hereaches first muddy ground, then firm footing. Haulinghimself onto the swamps edge, Solomon finally collapsesin a drenched, worn heap. His life spared, but Celestenever to be seen again.
BLACK:
139 EXT. EPPS'S PLANTATION - DAY 139
-MAY/JUNE, 1847
We come up now outside of Master Epps's plantation. Eppsstands in the drive. He's in surprisingly good spiritsas Solomon, Uncle Abram, Henry and Bob trudge their waywearily toward Epps and his other slaves who aregathered.
The cotton field is in full bloom, the crop fullyreturned.
EPPS:
A joyous day. A joyous day. Dark
times is behind us. Clean livin'
'n prayer done lifted the plague.
Indicating to the cotton:
EPPS (CONT'D)
As thick 'n white as New England
snow. 'N now my n*ggers is
returned to me.
(to Solomon)
Heard Judge Turner gave you favor.
Oh, did you beguile him, Platt,
with your slick n*gger ways?
Well, yah won't stand idle, boy.
Not on my land. Much work to do.
Days of old long since, eh?
Joyous! Joyous indeed!
Throughout Epps's welcome, Solomon's focus is on Patseywho is lined up with the other slaves. SHE IS NOW MORE
HAGGARD THAN WHEN WE LAST SAW HER. Her face and arms
display many new scars. It's clear that in the
intervening years she has quite literally been a whippingboy for Epps and the Mistress.
1/24/13 FINAL SHOOTING SCRIPT 94.
140 EXT. EPPS'S PLANTATION/COTTON FIELD - DAY 140
-JULY, 1847
The slaves are out working on the field. White hands
appear, picking cotton: ARMSBY. He is wholly unskilled atpicking cotton, and he puts little effort into the job.
As we meet him he seems a decent sort if a little short
on self-motivation. In anachronistic terminology, he'dbe called a "slacker." He joins in with the slaves,
singing a spiritual.
141 INT. MASTER EPPS'S PLANTATION/GIN HOUSE - EVENING 141
As Epps said, it is days of long since. The slaves are
back to having their cotton weighed in the Gin House
EPPS:
Wiley...?
TREACH:
Two hundred sixty pounds.
EPPS:
Bob?
TREACH:
Three hundred forty pounds for
Bob.
EPPS:
Patsey?
TREACH:
Five hundred twenty pounds.
EPPS:
Tha's a girl. Don't never let me
down. Platt?
TREACH:
One hundred sixty pounds.
Before Treach is even done announcing the weight, Eppshas pulled Solomon aside to where Uncle Abram alreadyawaits his fate.
EPPS:
Armsby?
TREACH:
Sixty four pounds.
Epps speaks to Armsby sternly, but nothing of the mannerin which he would address the slaves.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 95.
141 CONTINUED:
141 141 CONTINUED: 141
EPPS:
A good days labor would average
two hundred pounds.
ARMSBY:
Yes, sir.
EPPS:
I'm sure in time y'll develope as
a picker, but it takes effort,
boy. Put some damn effort into
it.
ARMSBY:
Yes, sir.
To Treach, regarding Solomon and Abram:
EPPS:
Take 'em out. Get to whippin'.
No force is needed. The slaves understand the situation.
They follow Treach out of the Gin house.
142 EXT. EPPS'S PLANTATION/SLAVE SHACK - NIGHT 142
We come in after the punishment has been dealt. Patseytends to Uncle Abram's back as Armsby applies linimentsto Solomon's. As he does, Armsby muses:
ARMSBY:
It's a tragedy. How does such
come to pass? Working a field and
picking cotton like a lowly hand.
I'm of a damn sight better
station. And my desires never
lacked for a grandiose component,
though I will admit they have at
times been short on ingenuity.
But only at times. I've worked as
an overseer, you know.
SOLOMON:
I did not, sir.
ARMSBY:
Not "sir." Just Armsby. Not owed
more than any other in the field.
I worked plantations from
Virginia, down into Alabama. I
could manage easy a hundred slaves
and have done so. But to toil in
the field? Never thought that
would come to pass. Never. But
times are desperate. Where once I
had said "no" to Epps and his
merger offerings, I returned cap
(MORE)
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT
142 CONTINUED:
ARMSBY (CONT'D)
in hand. ...Look at what I've
become.
SOLOMON:
How did you arrive at such a
place, if I may ask?
ARMSBY:
Ask. It's just conversation.
From a pocket Armsby produces a flask.
ARMSBY (CONT'D)
I became a little too dependant on
the whisky, a little too
undependable on the job. Before
you say I'm just a sorry drunkard,
let me state my case: As reliable
employment as overseeing is, it's
no easy chore on the spirit. I
say no man of conscious can take
the lash to another human day in,
and day out without shredding at
his own self. Takes him to a
place where he either makes
excuses within his mind to be
unaffected... Or finds some way
to trample his guilty sensations.
Well, I trampled.
Armsby takes a drink.
ARMSBY (CONT'D)
And with frequency.
SOLOMON:
Where is your place of birth?
ARMSBY:
Maryland. Have you traveled
there?
SOLOMON:
...I cannot say that I have.
ARMSBY:
Fine country. More seasonal than
the bayou. A deal less humid.
SOLOMON:
Why did you leave it?
ARMSBY:
To make my fortune, of course. I
gave in to tales of wealth and
prosperity that were the lore of
the southern states: all that's
needed being a patch of land and a
few good growing seasons. Cotton,
(MORE)
96.
(CONTINUED)
143
144
145
1/24/13 FINAL SHOOTING SCRIPT 97.
CONTINUED:
(2) 142
ARMSBY (CONT'D)
or tobacco. And then locating aproper bank in which to store yourriches. But such profitableoutcomes are reserved for the
plantation masters. It's the lot
of the rest of us to serve. So I
settled on being an overseer, andfailed as well at that. In the
meantime my dreams gave way toreality. Now, I want nothing morethan to earn a decent wage.
(beat)
And get myself home.
Armsby takes another drink and leans back.
INT. MASTER EPPS'S PLANTATION/SLAVE SHACKS - MORNING 143
-AUGUST, 1847
We again hear the sound of the HORN BLOWING signaling thestart of the work day for the slave.
EXT. MASTER EPPS'S PLANTATION/FIELD - DAY 144
With the sun yet again high in the sky the slaves areworking the field picking cotton. As before they sing aspiritual, the only thing that distracts them from thetedium at hand.
But there is no distracting from the heat. We see Uncle
Abram begin to falter and finally drop down to theground.
Treach calls to Edward:
TREACH:
Get him water.
Edward runs to fetch water which he carries to Abram and
DUMPS ON HIM...BUT ABRAM DOES NOT RISE. DOES NOT MOVE.
At this point, the sounds of the singing from the otherstapers off as they realize Abram isn't getting up.
EXT. MASTER EPPS'S PLANTATION/SLAVE CEMETERY - LATER 145
We are beyond the main of the plantation, the cottonfield in the background. We are at the slaves' cemetery,
a mixture of crude crosses and unsettled ground.
Solomon, Bob and Henry, now much visually older than whenwe first saw them, are digging a grave in the dirt. The
uncovered body of Abram lays near. Having dug down anappropriate distance, the three men take the body and,
very unceremoniously, place it into the ground. Holding
(CONTINUED)
146
147
A148
147
A148
148
149
1/24/13 FINAL SHOOTING SCRIPT 98.
CONTINUED:
145
the shovel in his hands, and resting it by his feet, Bobtilts his head down and closes his eyes. The others dothe same. Almost stutteringly, not really knowing what to
say-
BOB:
I just want to say something aboutUncle Abram. He was a good man andhe always looked out for us sincewe were little. God Bless him. God
love him. And God keep him.
That done, they begin to cover it with dirt. It is all
the more of a funeral that Abram will receive.
OMIT 146
OMIT 147
EXT. MASTER EPPS'S PLANTATION/SLAVE CEMETERY - LATER A148
A female voice appears out of the blackness and begins tosing solo, "Went down to the river Jordan." A response of"Oh Yeah" quickly follows. Again the singer continues,
"where John baptized three."
The same faces we have seen on Epps' plantation, but nowfilled with rapture, appear. It's as if the voices havecreated a new form of awakening and presence. It seems totranscend and translate in a strange way, joy. A joywhich has un-yet been seen on screen. A joy which hasbeen hidden, but a joy which is undoubtedly there. It'scaptivating, infectious.
This should be a moving part of the film, which stirs theaudience and, for a moment, relieves them of theseemingly chastising environment.
The singer continues, "Well some say John was a Baptist,
some say John was a Jew, but I say John was a preacher,
because the Bible says so too, preach on Johnny." Andwith that, the rest of the congregation chant "I believe.
Oh, I believe."
INT. EPPS'S PLANTATION/WOODS - NIGHT 148
Solomon goes to RETRIEVE THE SMALL PACKAGE FROM UNDER AROCK AT THE BASE OF A TREE. Solomon returns the letter to
hiding. He takes the money with him and cautiously movesfrom the area.
OMIT 149
1/24/13 FINAL SHOOTING SCRIPT 99.
150 INT. EPPS'S PLANTATION/ARMSBY'S SHACK - LATER 150
The door opens. Solomon enters. Armsby is surprised tosee him. So much so, he isn't sure what greeting togive. Solomon gives a blunt introduction. Re: the
coins:
SOLOMON:
The proceeds of my fiddling
performances. A few picayunes,
but all I have in the world. I
promise them to you if you will do
me the favor I require. But I beg
you not to expose me if you cannot
grant the request.
ARMSBY:
What do you ask?
SOLOMON:
First, your word, sir.
ARMSBY:
On my honor.
SOLOMON:
It is a simple enough request. I
ask only that you deposit a letter
in the Marksville post office.
And that you keep the action an
inviolable secret forever. The
details of the letter are of no
consequence. Even at that, there
would be an imposition of much
pain and suffering were it known I
was the author. A patron is what
I require, sir.
ARMSBY:
Where's the letter now?
SOLOMON:
...It is not yet written. I will
have it in a day. Two at most, my
skill with composition as poor as
it is.
Armsby considers the request.
ARMSBY:
I will do it. And will accept
whatever payment is offered.
Solomon hesitates. In the moment, he's not so sure hecan wholly give himself over to trust.
(CONTINUED)
150 CONTINUED:
150 150 CONTINUED: 150
ARMSBY (CONT'D)
To assist you, I put my own self
at risk. I will do so, but fair
compensation is all I ask.
Solomon hands over the money.
ARMSBY (CONT'D)
Draw up your letter. We will meet
again. In two days?
SOLOMON:
In two days. ...Thank you.
Solomon exits.
151 EXT. EPPS'S PLANTATION/COTTON FIELD - DAY 151
Solomon and the slaves pick cotton. Armsby isconspicuously NOT laboring in the field. As Solomon
works he is watched by Epps. Watched more than he
normally is. For a moment it seems it might just be amatter of perspective; Solomon's unease over his actions.
But soon Epps is joined by Armsby. The two men stand and
talk, their looks locked toward Solomon.
Whatever it is that is occurring between them continuesfor a long, long moment. But Epps makes no move towardSolomon. Solomon continues with his work.
152 INT. EPPS'S PLANTATION/SLAVE SHACK - NIGHT 152
The slaves are at rest. Gripping his whip Epps enters,
without so much as a knock at the door. For a moment
there's curiosity; is he there for a dance, forPatsey...?
Looking right to Solomon:
EPPS:
Get up.
Solomon does. Epps heads back out into the dark. He
says nothing, but his directive is clear: Follow me.
153 EXT. MASTER EPPS'S PLANTATION/SLAVE SHACK - CONTINUOUS 153
Solomon comes out into the dark. Nearly hidden in theshadows is a bitter Epps. Despite the lack of light,
Epps's malevolence is quite clear. His whip attached tohis hip. As he speaks, he stokes himself with swigs froma FLASK.
Epps puts his arm around Solomon, as if consoling afriend, and guides him into the woods.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 100A.
153 CONTINUED:
153 153 CONTINUED: 153
EPPS:
Well, boy. I understand I've gota larned n*gger that writes
(MORE)
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 101.
153 CONTINUED:
(2) 153 153 CONTINUED: (2) 153
EPPS (CONT'D)
letters and tries to get white
fellows to mail 'em.
Solomon, hardly missing a beat, plays this off.
EPPS (CONT’D)
Well, Armsby tol' me today the
devil was among my n*ggers. That
I had one that needed close
watchin' or he would run away.
When I axed him why, he said you
come over to him and waked him up
in the middle of the night and
wanted him to carry a letter to
Marksville. What have yah got to
say to that?
SOLOMON:
All I have to say, master, is all
that need be said. There is no
truth in it.
EPPS:
You say.
SOLOMON:
How could I write a letter without
ink or paper? There is nobody I
want to write to 'cause I hain't
got no friends living as I know
of. That Armsby is a lying
drunken fellow. You know this,
just as you know that I am
constant in truth. Now, master, I
can see what that Armsby is after,
plain enough. Didn't he want you
to hire him for an overseer?
A beat.
SOLOMON (CONT’D)
That's it. He wants to make you
believe we're all going to run
away and then he thinks you'll
hire an overseer to watch us. He
believes you are soft soap. He's
given to such talk. I believe
he's just made this story out of
whole cloth, 'cause he wants to
get a situation. It's all a lie,
master, you may depend on't. It's
all a lie.
For a tense moment we are unsure which way Epps'll go.
Increasingly it become apparent that, shallow minded andequally soused, Solomon has been able to fold Epps'sthoughts. In a low curse that clearly states his illintentions.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 102.
153 CONTINUED:
(3) 153 153 CONTINUED: (3) 153
Revealed is a pocket knife, which all through theconversation, unknown to us the audience, was pushed upagainst Solomon's stomach. As Epps speaks, he closes itand taps it on Solomon's shoulder.
EPPS:
I'm damned. I'll be god... Were
he not free and white, Platt.
Were he not free and white.
Epps heads off. Solomon is left to exhale a deep breath.
154 EXT. MASTER EPPS'S PLANTATION/WOODS - NIGHT 154
Having found a lonely spot, Solomon has struck a SMALLFIRE. He has in his hand his letter. With no ceremony,
he casts the letter upon the flames and watches it burn.
And with it, at this time, seems all chance of him everbeing free. He stands and looks at it as if forever, asashes descend into the night sky.
FADE TO BLACK.
A155 EXT. MASTER EPPS'S PLANTATION/GREAT HOUSE - DAY A155
-MARCH, 1852
The slaves are now employed working on an extension tothe Great House. The slaves work under the direction of
MR. SAMUEL BASS, a between forty and fifty years old, oflight complexion and light hair. He is cool and self-
possessed, fond of argument, but always speaking withextreme deliberation as well as a Canadian accent.
B155 EXT. MASTER EPPS'S PLANTATION/GREAT HOUSE - DAY B155
As the slaves continue to work, there is a conversationgoing on between Epps and Bass. Bass much skilled in the
art of sophistry, while Epps's arguments are fueledmostly by emotion alone. Though at first Epps doeslittle more than joke his way around the facts.
Solomon, working still, can't help but overhear as Eppsoffers Bass a drink, which Bass waves away.
EPPS:
Take it. You look unsettled.
BASS:
I'm well.
EPPS:
No shame in taking respite from
the heat; drink, shade. It's
ungodly for travelers. Hearty, or
otherwise.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 102A.
B155 CONTINUED:
B155
Bass gives a laugh.
EPPS (CONT’D)
I meant no joke.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 103.
B155 CONTINUED:
(2) B155 B155 CONTINUED: (2) B155
BASS:
Your humor is inadvertent.
Sensing perhaps Bass's laughter might be at his expense,
Epps presses.
EPPS:
Then share what's funny. Or what
ills you.
BASS:
I'm here to complete the work athand. As requested, and as paid.
EPPS:
Something rubs you wrongly.
Before I take further offense, Ioffer you the opportunity to speakon it.
BASS:
You ask plainly, I will tell youplainly. What I find amusing: Youworry about my well being in theheat but, quite frankly, thecondition of your laborers-
EPPS:
"The condition of my..." What in
the hell are you-
BASS:
It is horrid. It's all wrong.
All wrong, sir.
EPPS:
They ain't hired help. They're myslaves.
BASS:
You say that with pride.
EPPS:
I say it as fact.
BASS:
If the conversation concerns what
is factual and what is not;
there's no justice norrighteousness in slavery. I
wouldn't own a slave if I was rich
as Croesus, which I am not, as isperfectly well understood. More
particularly among my creditors.
There's another humbug: the creditsystem. Humbug, sir. No credit,
no debt. Credit leads a man into
temptation. Cash down is the onlything that will deliver him from
(MORE)
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT
B155 CONTINUED:
(3)
BASS (CONT'D)
evil. But this question of
slavery; what right have you to
your n*ggers when you come down to
the point?
EPPS:
What right? I bought 'em. I paid
for 'em.
BASS:
Of course you did. The law says
you have the right to hold a
n*gger, but begging the law's
pardon...it lies. Is everything
right because the law allows it?
Suppose they'd pass a law taking
away your liberty and making you a
slave?
EPPS:
Ha!
BASS:
Suppose.
EPPS:
That ain't a supposable case.
BASS:
Because the law states that your
liberties are undeniable? Because
society deems it so? Laws change.
Social systems crumble. Universal
truths are constant. It is a
fact, it is a plain fact that what
is true and right is true and
right for all. White and black
alike.
EPPS:
Whoa, whoa, whoa. Yah compare me
to a n*gger, Bass? Yah might as
well ask what the difference is
between a white man and a baboon.
Now, I seen one of them critters
in Orleans that knowed just as
much as any n*gger I got. Yah'd
call them fellers citizens, I
s'pose?
BASS:
Look here; you can't laugh me down
in that way. These n*ggers are
human beings. If they are allowed
to scale no higher than brute
animals, you and men like you will
have to answer for it. There's an
ill-
104.
B155
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 105.
B155 CONTINUED:
(4) B155 B155 CONTINUED: (4) B155
EPPS:
Ahhh!
BASS:
A fearful ill, resting on thisnation-
EPPS:
You betray yourself a foreigner!
BASS:
That will not go unpunishedforever. There will be a
reckoning yet.
EPPS:
You like to hear yourself talk,
Bass, better than any man I knowof. Yah'd argue that black waswhite, or white black if anybodywould contradict you. A fine
supposition if yah lived amongYankees in New England. But yahdon't.
(pointed)
You most assuredly do not.
155 EXT. MASTER EPPS'S PLANTATION - DAY 155
It's the Sabbath. The slaves are left to themselves to
do their own chores. At the moment the female slaves are
washing their clothes in large cauldrons, slapping theirclothes against washing boards and hanging them up to drynear to their living quarters behind the plantation. Itis a sight of ritual. Missing from the field of labor isPatsey, for whom Epps hollers.
EPPS:
Patsey... Patsey!
A drunk Epps asks of the slaves:
EPPS (CONT'D)
Where is she? Where is Patsey?
No one answers.
EPPS (CONT'D)
Talk, Damn you!
PHEBE:
We know nothin' of her, Massa.
EPPS:
The hell you don't! You know
where she is! She run off, ain'tshe? She's escaped, and youmiserable black dogs stand like
(MORE)
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 106.
155 CONTINUED:
155
EPPS (CONT'D)
the deef and dumb. Speak! Speak!
155 CONTINUED:
155
EPPS (CONT'D)
the deef and dumb. Speak! Speak!
Not a word spoken.
EPPS (CONT'D)
My best cotton picking n*gger! Mybest.
A beat.
EPPS (CONT’D)
I'd give yah all up for her.
Where she gone?
The slaves say nothing. There is nothing for them to
say. They don't know where she is. Eventually Eppsdrops into true sorrow.
EPPS (CONT’D)
She gone... My Pats gone.
156 EXT. EPPS'S PLANTATION - LATER 156
Epps sits on the piazza looking quite forlorn. He looks
up only to see PATSEY RETURNING TO THE PLANTATION. Eppssteps up to greet her, with anger rather than relief.
As they hear his angry voice, the slaves step around fromwhere they are hanging their laundry to dry. Treach is
near as well.
EPPS:
Run off. Run off, did you?
PATSEY:
Massa Epps-
EPPS:
You miserable wench! Where youbeen?
PATSEY:
I been nowhere.
EPPS:
Lies to your misdeeds!
PATSEY:
The Sabbath day, Massa. I took me
a walk to commune wit da Lord.
EPPS:
Bring the Lord into yerdeceptions? Yah Godless...
Shaw's. Comin' from Shaw's
plantation weren't yah?
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 106A.
156 CONTINUED:
156 156 CONTINUED: 156
PATSEY:
...No...
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 107.
156 CONTINUED:
(2) 156 156 CONTINUED: (2) 156
EPPS:
Yah took yerself ta pleasure Shaw.
Yah gave baser passion to thatunblushin' libertine!
Solomon tries to intervene:
SOLOMON:
Master Epps-
EPPS:
Now yah speak? Now that yah wantto add to 'er lies yah find yertongue.
Epps goes to strike Solomon, but Patsey pulls his armback.
PATSEY:
Do not strike him. I went to
Massa Shaw's plantation!
EPPS:
Yah admit it.
PATSEY:
Freely. And you know why.
Patsey takes soap from the pocket of her dress.
PATSEY (CONT'D)
I got this from Mistress Shaw.
Mistress Epps won't even grant meno soap ta clean with. Stink so
much I make myself gag. Five
hundred pounds 'a cotton day in,
day out. More than any man here.
And 'fo that I will be clean; thatall I ax. Dis here what I went to
Shaw's 'fo.
EPPS:
You lie...
PATSEY:
The Lord knows that's all.
EPPS:
You lie!
PATSEY:
And you blind wit yer owncovetousness. I don't
lie, Massa.
If you kill me, I'll stick tathat.
EPPS:
I'll learn you to go to Shaw's.
Treach, go get some line.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 108.
156 CONTINUED:
(3) 156
Treach runs quickly to the tool shed. In short order he
returns with the rope in hand.
EPPS (CONT'D)
Strip her. Strike her bare 'n
lash her to the post.
Mistress Epps has now come from the Great House. She
gazes on the scene with an air of heartless satisfaction.
Now tied to the post, Epps stands behind Patsey with hiswhip.
EPPS (CONT'D)
Yah done this to yerself, Pats!
Epps hoists the whip to strike, holds it high...but nomatter his rage, Epps cannot bring himself to deliver theblow. He looks to Mistress Epps who now stands gloatingand spurring him on.
MISTRESS EPPS:
Do it! Strike the life from her.
Epps again hoists the whip. It trembles in his hand
ahead of the act... But he does not have it in him to
deliver such a beating. Turning to Solomon, thrustingthe whip at him:
EPPS:
Beat her.
Solomon doesn't move. Epps shoves the whip into hishand.
EPPS (CONT'D)
Give her the whip. Give it all to
her!
Patsey, begging to Solomon:
PATSEY:
I'd rather it you, Platt.
EPPS:
Strike her, or yah'll get the
same!
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 109.
156 CONTINUED:
(4) 156 156 CONTINUED: (4) 156
Solomon takes a step back. He unfurls the whip... He
begins to whip Patsey. Lash after lash, Patsey squirmsbefore it. Epps eyes fill with tears, he is nearly toodistraught to watch.
But the Mistress... She is not satisfied with Solomon's
half-hearted effort.
MISTRESS EPPS:
He pantomimes. There ain't barely
a welt on her. That's what your
n*ggers make of yah; a fool fer
the takin'.
Epps's grief is replaced by fury. EPPS GRABS THE PISTOL
FROM TREACH'S HOLSTER and draws down on the slaves.
EPPS:
Yah will strike her. Yah will
strike her until her flesh is rent
and meat and blood flow equal, or
I will kill every n*gger in my
sight!
Solomon can't strike a blow, even if it means his life.
But from the ground, from Patsey:
PATSEY:
Do it, Platt. Don't stop until I
am dead.
What else can he do? Solomon begins to whip, to trulywhip Patsey. Her back welts, then tears... Patseyscreams in agony. Solomon strikes again and again...
After a full thirty lashes Solomon looks to Epps, who isnot satisfied.
EPPS:
Until I say no more! I ain't said
nothing!
Solomon strikes another ten to fifteen times. By now, aspromised, Patsey's back has been reduced to LITTLE MORETHAN TORN MEAT AND BLOOD.
Finally, Solomon holds low the whip. He can and will do
no more.
EPPS (CONT'D)
Strike her! Strike her!
Solomon will not. Epps takes up the whip and whipsPatsey with "ten fold" greater force than he had. The
painfully loud and angry curses of Epps load the air.
Patsey by now is terribly lacerated, literally flayed.
The lash wet with blood which flowed down her sides and
dropped upon the ground. At length Patsey ceasesstruggling. Her head sinks listlessly on the ground.
(CONTINUED)
157
158
159
1/24/13 FINAL SHOOTING SCRIPT 110.
CONTINUED:
(5) 156
Her screams and supplications gradually decrease and dieaway into a low moan. It would seem that she was dying.
Solomon, screaming at Epps:
SOLOMON:
Thou devil! Sooner or later,
somewhere in the course of eternal
justice thou shalt answer for thissin!
Though Epps fronts rage, there should be underlyinganguish for what he has done to his beloved Pats.
EPPS:
No sin! There is no sin! A man
does how he pleases with hisproperty. At the moment, Platt, Iam of great pleasure. You be
goddamn careful I don't come towantin' to lightenin' my mood nofurther.
By contrast to this horror, the field of cotton smiles inthe warm sunlight. The birds chirp merrily amidst thefoliage of the tress. Peace and happiness seems to reigneverywhere.
Everywhere else.
Epps leaves Patsey to herself. He says not a word to theMistress as he passes. The Mistress herself heads back
into the house.
Solomon unties Patsey, lifts her and takes her to thecabin.
INT. CABIN -LATER 157
Patsey is laid on some boards where she remains for along time with eyes closed and groaning in agony. Phebe
applies melted tallow to her wounds, and all try toassist and console her.
In time Patsey opens her eyes. She looks to Solomon.
She does not say a word. She just looks at him...andthen her eyes close again.
MOVED TO A155 158
MOVED TO B155 159
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