12 Years a Slave Page #26

shortly... The work here has

grown sparse.

(CONTINUED)

166

167 167

1/24/13 FINAL SHOOTING SCRIPT 117.

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165

Bass doesn't need to spell things out for Solomon.

Solomon's understanding of the finality of the situationshould be very clear.

BASS (CONT’D)

You must know, wherever I am Iwill press your cause.

SOLOMON:

Five months. On top of these

years. No cause remains.

BASS:

If there is any chance...

SOLOMON:

Mr. Bass...

BASS:

I will continue to write yourpeople-

SOLOMON:

Go home knowing you have tried.

The weight of defeat should hang very heavily with both

men. Nothing more to do, nothing more to say BASS TAKESSOLOMON'S HAND, GRIPS IT FIRMLY, BUT LOW ANDSURREPTITIOUSLY knowing full well he cannot be seenmaking contact with a slave. But in the strength oftheir collective grip, in the emotion in which they holdeach other's eyes, we should be able to easily see howgreatly Bass wanted to be able to help Solomon. Equally,

we can see the depth of regard Solomon has for Bass. The

moment is made all the more powerful by the fact neitherman can openly speak his regret or thanks. A moment

longer, and then Bass releases his grip and makes his

way marching toward the gazebo, pointing instructions.

Solomon is left, markers in hand, alone.

OMIT 166

OMIT 167

1/24/13 FINAL SHOOTING SCRIPT 118.

A168 EXT. ROAD BY EPPS' PLANTATION - EVENING A168

Solomon sits on a secluded part of the road, fiddle inhand. He stares across the expanse. His eyes fixed onsomething that is a million miles away.

Slowly Solomon tunes his fiddle, turning the tuning pegtighter and tighter. As the strings are taut, the soundis almost unbearable as Solomon tightens bit by bit, asif bones are being cracked one by one. Just beyond thebreaking point of sound, there is a snap.

He then repeats the action.

Solomon holds the neck of the violin. Sliding his thumband forefinger down the neck, he methodically cracks itat the base. He carefully snaps the neck and removes itfrom the body, then snaps it in two, placing it on theground.

He then starts on the body. Heaving it on the ground, itfalls apart. Methodically he breaks the violin into smallbits - silencing the instrument with a hushed display ofviolence, rather than aggressive. Seems almost to be, inan odd way, respectful.

168 EXT. MASTER EPPS'S PLANTATION/FIELD - DAY 168

-FEBRUARY, 1853

The Slaves are sewing the heavily plowed field, makingtheir way in the trying soil. Solomon, too focused tonote the arrival of two men by carriage: Parker and theSHERIFF.

While the Sheriff makes his way to the field, Parkerremains with the carriage. The Sheriff calls:

SHERIFF:

Platt...? Where is the boy called

Platt?

SOLOMON:

...Sir...

The Sheriff crosses to him.

SHERIFF:

Your name is Platt, is it?

SOLOMON:

Yes, sir.

Pointing off to the distance.

SHERIFF:

Do you know that man?

(CONTINUED)

1/24/13 FINAL SHOOTING SCRIPT 118A.

168 CONTINUED:
168

Solomon looks toward the carriage. He has to shield his

eyes from the sun. Recognition is slow coming to him.

But when it does, it hits him as a rush.

SOLOMON:

Mr. Parker...?

(CONTINUED)

1/24/13 FINAL SHOOTING SCRIPT 119.

168 CONTINUED:
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Solomon starts for Parker, but he is pulled back by theSheriff who is keen to determine Solomon's true identity.

SHERIFF:

Say again?

SOLOMON:

Mr. Parker?

As he does, Epps makes his way over.

SHERIFF:

That man received a letter

compiling many accusations. You

look me in the eye and on yourlife answer me truthfully: haveyou any other name than Platt?

SOLOMON:

Solomon Northup is my name.

EPPS:

Sheriff...

SHERIFF:

Have you a family?

EPPS:

What's all this?

SHERIFF:

It's official business.

EPPS:

My n*gger, my business.

SHERIFF:

Your business waits.

(to Solomon)

Tell me of your family.

SOLOMON:

I have a wife and two children.

SHERIFF:

What were your children's names?

SOLOMON:

Margaret and Alonzo.

SHERIFF:

And your wife's name before hermarriage?

SOLOMON:

Anne Hampton. I am who I say.

Solomon pushes past the sheriff. As Solomon moves toward

Parker, his pace quickens with each step until his

(CONTINUED)

1/24/13 FINAL SHOOTING SCRIPT 119A.

168 CONTINUED:
(3) 168 168 CONTINUED: (3) 168

personal velocity has him nearly at a dead run. The two

old friends make contact with each other, wrap each otherin a long and emotional embrace. It if finally broken byEpps, who has moved over with the Sheriff.

(CONTINUED)

1/24/13 FINAL SHOOTING SCRIPT 120.

168 CONTINUED:
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EPPS:

Nah... You will unhand 'em.

Platt is my n*gger!

PARKER:

He is Solomon Northup.

EPPS:

You say...

PARKER:

He belongs to no man.

EPPS:

You say! You come here,

unfamiliar to me, and make claims.

SHERIFF:

Not claims. I have no doubts.

This is Solomon Northup, aresident of Saratoga Springs, NY.

EPPS:

To hell with that! My n*gger, andI'll fight you for 'em!

PARKER:

As is your right. As it will be

my pleasure to bankrupt you in thecourts. Your decision.

By this time, the slaves in the plantation have overcometheir fear of penalty, and left their work and gatheredin the yard as witnesses. They stand behind the cabin,

out of sight of Epps.

Mistress Epps also bears witness, standing on the verandanext to her house slave. Her face is of a strange mixedemotion.

Epps looks to Solomon. Solomon icily, stoically holdshis ground. He makes it quite clear in his countenancethat nobody owns him. Sheriff, hand on his gun, is thereto back Solomon up. Epps, with no other recourse than toback down:

EPPS:

You think this is the last you'llsee of me, boy? It ain't.

(to Parker)

Whatever paper you hold about hisfreedom, it don't mean naught. Heis my n*gger - and I will have myday in court, sir. As God as mywitness, I will have my day incourt. Take 'em!

Epps calls to Bob

(CONTINUED)

1/24/13 FINAL SHOOTING SCRIPT 120A.

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EPPS (CONT’D)

Saddle my horse! And bring her uphere.

Epps walks back into the plantation.

The trio starts for the carriage. Solomon is pulled backby the call of Patsey's voice:

PATSEY:

Platt...

Disregarding Parker, Solomon crosses over to Patsey.

Under the circumstances, neither really knows how to

engage. Finally, suddenly, Patsey throws her arms aroundSolomon and they embrace.

Epps, now mounted on his horse, witness the encounter.

Kicking the stirrups hard into the sides of the horse, herides off furiously.

Calling from the carriage, mindful of Epps:

PARKER:

Solomon...if we know what's wise,

we should depart.

A moment longer Solomon and Patsey hold each other. Theyseparate, Solomon heading back to the carriage. He and

Parker alight. The Sheriff chides the horses and they

(CONTINUED)

A169

1/24/13 FINAL SHOOTING SCRIPT 121.

CONTINUED:
(6) 168

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