12 Years a Slave Page #19

As he tries to rest - sleep is nearly impossible -

Solomon finds himself face to face with a woman, ANNA.

She is awake. For a few beats she avoids eye contactwith Solomon. She seems, like Solomon, to beunaccustomed to her surroundings and horribly frightenedby them. Eventually her eyes meet Solomon's. She makes

no sound, but great apprehension spills from her eyes.

Whatever's next, whatever horror awaits, she can barelystand to face. Fear, proximity... They drive her hand

(CONTINUED)

1/24/13 FINAL SHOOTING SCRIPT 81A.

121 CONTINUED:
121 121 CONTINUED: 121

to Solomon's. After a moment of seemingly reacquaintingherself with genuine human contact, the woman TAKES

(CONTINUED)

1/24/13 FINAL SHOOTING SCRIPT 82.

121 CONTINUED:
(2) 121 121 CONTINUED: (2) 121

SOLOMON'S HAND AND PRESSES IT TO HER BREAST. Solomon

tries to jerk his hand away, but ANNA HOLDS IT IN PLACE.

Manipulating Solomon's hand, she begins to massage herbreast. Solomon takes no real pleasure in the act -

really, neither does Anna. THERE SHOULD BE A TRUE SENSE

ANNA IS JUST SO VERY, VERY DESPERATE FOR HUMAN CONTACT,

FOR THE NEED TO FEEL ALIVE AND LIKE A PERSON RATHER THAN

AN ANIMAL THAT EMOTIONALLY SHE IS WILLING TO ENGAGE

SOLOMON.

The need quickly compounds. Anna presses her lips toSolomon's. Eventually, SHE DIRECTS HIS HAND BENEATH HERDRESS AND BETWEEN HER LEGS. Solomon, with slightly morecompassion than a guy making union wages, BEGINS TOMANIPULATE ANNA WITH HIS HAND. The act remains more

perfunctory than passionate.

We can see Anna moving toward climax and eventualrelease. But more - or substantially less - than joyoussex, it is really just a drug-like inoculation againstreality. But the feeling quickly fades. All that

remains, as with most chance encounters, is regret.

And there is shame, too. This is put on display as Annaturns away from Solomon. As quickly as it began, it isas though the act had not happened at all.

122 OMIT 122

123 EXT. JUDGE TURNER'S PLANTATION/GREAT HOUSE - EVENING 123

Solomon waits outside the house on the porch. A houseservant - ZACHARY - approaches and admonishes Solomon.

ZACHARY:

Off the porch. Get off.

Like a dog shooed away, Solomon steps down.

Eventually Judge Turner exits the house and crosses toSolomon.

SOLOMON:

...Sir...

JUDGE TURNER:

Platt is it? Have you cultivated

cane previously?

SOLOMON:

No, sir, I have not.

JUDGE TURNER:

You take to it quite naturally.

Are you educated?

(CONTINUED)

1/24/13 FINAL SHOOTING SCRIPT 83.

123 CONTINUED:
123 123 CONTINUED: 123

SOLOMON:

N*ggers are hired to work, not to

read and write.

Turner gives that a bit of consideration as he givesSolomon a wary looking over.

JUDGE TURNER:

You play the fiddle?

SOLOMON:

I do.

JUDGE TURNER:

Willard Yarney, a planter up the

bayou, celebrates his anniversary

in a three week's time. I will

hold out your name to him. What

you earn is yours to keep.

SOLOMON:

Sir.

JUDGE TURNER:

Mind yourself, Platt.

SOLOMON:

Yes, sir. *

124 EXT. TURNER PLANTATION - LATER (MOVED FROM 124) 124 *

Work over, the slaves congregate to eat.

As Solomon eats, he takes note of the JUICE FROM SOMEBERRIES ON HIS PLATE.

125 EXT. TURNER'S PLANTATION - EVENING (MOVED FROM 125) 125 *

Solomon plays with a piece of cane, fashions it into somekind of writing tool, testing it in the mud. He thenbrushes over the dirt with his hand.

1/24/13 FINAL SHOOTING SCRIPT 84.

126 EXT. TURNER PLANTATION - NIGHT (MOVED FROM 126) 126 *

Secreted away out near the edge of the bayou and sittingby a small fire, Solomon takes the slip of paper from hisfiddle. It is yellowed, showing age, but still usable.

Dipping the piece of cane - a quill - into the crushedberries, Solomon attempts to write a bit on the paper.

The berry juice, too free-flowing, is unusable as ink.

Solomon returns the paper to the fiddle. He has some

scraps of food with him, which he snacks on.

A127 OMITTED A127 *

A127A INT. SLAVE SHACK - DAY A127A *

We see a sharp object scratching onto a surface. The *

tool moves on to form another mark. The sound is *

repetitive and almost unbearable. As we move out, we see *

the names Anne, Margaret, Alonzo. They are engraved onto *

the violin, in the hidden area where Solomon would rest *

his chin. *

Solomon looks at it for a moment, moving his fingertips *

across the engraving. His face full of loss. *

Sadly, he lifts his instrument under his chin and leaning *

his head to the side as if to play. *

127 INT. YARNEY'S HOUSE - EVENING 127

A party has commenced at the noble home of one MR.

YARNEY. A group of REVELERS have gathered and are on thedance floor, in fancy dress. Their faces are covered witha variation of decorative masks. The party is a feast ofcelebration. As entertainment, SOLOMON ACCOMPANIES AGROUP OF MUSICIANS, no more than three. And as he doesso, they all play with jovial liveliness. Clearly a goodtime is being had by all.

128 EXT. ROAD -NIGHT 128

His playing done for the evening, Solomon is returning toJudge Turner's on foot. There is only the moonlight withwhich to light the way. As he walks, Solomon eats from aHEARTY CHUCK OF BREAD. Obviously part of his haul fromthe evening. Solomon again hears noises coming from thebrush just up ahead of him. Solomon tears off some of

the bread, kneels and holds it out before him.

SOLOMON:

C'mere. C'mon, boy.

(CONTINUED)

1/24/13 FINAL SHOOTING SCRIPT 85.

128 CONTINUED:
128 128 CONTINUED: 128

This time, there is no dog. Instead, from the dark andthe brush step TWO BLACK MEN. Solomon stands. He looks

the men over - their clothes tatters and they themselvescovered in dirt. It becomes quite clear they are notjust slaves. A fact confirmed when they step menacinglytoward Solomon, ONE WITH A SHIV IN HAND.

At first it seems they want Solomon's food or money.

Worse, THEY GO FOR HIS FIDDLE.

Solomon has but a moment to brace himself before he is

attacked, TAKING A CUT TO THE ARM. Solomon fights back,

PICKING UP A PINE KNOT and striking his attacker over thehead. That takes the fight out of him, and both menretreat back the way they came leaving Solomon be.

A129 EXT. TURNER PLANTATION - NIGHT A129

Outside of the slave shacks Solomon's wound tended byUncle Abram. As he works on it:

UNCLE ABRAM:

Runaways I would expect. The

Bayou full with 'em. They nothin'

'mo dangerous than a n*gger in

flight.

SOLOMON:

They acted out of desperation.

UNCLE ABRAM:

Act outta lunacy. Heads fulla

stories 'bout life up north. Yah

ever been north, Platt?

SOLOMON:

...No...

UNCLE ABRAM:

And never should yah be. I hope

that yah never bear witness the

sorry condition of the northern

black. Got neither no purpose,

nor direction. They jus...they

jus fall about the streets in

search of sustenance of both body

and spirit.

Rate this script:4.2 / 13 votes