12 Years a Slave Page #8

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)

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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.

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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:

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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.

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