American Playhouse (1981–…): Season 4, Episode 3 - Solomon Northup's Odyssey - full transcript

(bright music)

(crowd applauding)

- Excuse me, Mr. Northup.

- Yes.

- I'm Bram Hamilton.

This is my partner Merrill Brown.

- Hello.

Pleased to meet you both.

- [Bram] That talent's going to make you rich one day.

- Well, I don't know.

- My partner and I are looking



for a new act on for our service.

You could make some good money and meet some rich people.

- Where would I have to go?

- Washington D.C.

- I'm a free man and I plan to stay that way.

- We'll take care of you.

Your freedom papers and all.

Nobody can bother you down there.

We'll look out for you.

- I thank you kindly,

but I have a wife and children to worry about.

- Too bad.

Take care, Mr. Northup.

- You are the best.



- Tea's hot.

- Man told me tonight I was the best he ever heard.

- You like those compliments, don't you?

- I love those compliments.

- People say the same thing about your carpentry work,

but you don't get hired.

- Whenever I walk into my house, I don't get a kiss.

I get my tea slammed at me.

I know something is wrong.

What is it, Anne?

- It's everything, Solomon.

You're one of the best carpenters in this town

and you don't get hired.

- Everybody knows that, but that's not what's bothering you.

- Mr. Cheryl's cook quit yesterday

and he wants me to come work the kitchen.

- No.

Straight out no.

I was promised some-

- We owe money.

Somebody is always promising you something

that you don't get, honey.

- I made good money at the hall tonight.

Look.

Look.

- We have three children to feed.

We have to have steady money.

Those dances only come around once in awhile.

This job at Sandy Hill will be such a big help for us.

- No, I'm not going to have you packing off to go

and work in somebody's kitchen.

I won't have it.

There's no telling how long you'll be gone.

- Just a few weeks.

Why are you being so stubborn?

Don't you understand?

Should've never left the farm.

- Anne, the town is the place for opportunity

and for being with our own kind.

- [Anne] For people to hear you fiddle.

- You think I moved for me?

The two of us working the farm for food.

A roof over our heads and for a few dollars a year.

I wanted better.

For us.

For our children.

And not some stupid fiddle.

I'm doing the best I can.

If you're too narrow minded to see that,

then what I say means nothing,

but you are not going to Sandy Hill to work in that kitchen.

Anne.

I don't want our children behind a plow

for the rest of their lives.

(soft music)

- Solomon Northup.

There's never been anybody on this earth

I've ever loved more than you.

I know you're trying to provide.

I just get so afraid

when you work in those places.

I would never do anything to hurt your pride

or make you ashamed of this family.

Come to bed.

- Anne.

You want to go to Cheryl's, I think it's all right.

- Thank you.

So do I.

- You sure know how to handle me, don't you?

(soft music)

- 12 years exactly.

(soft dramatic music)

- Alonzo, you're the man of this bunch.

Make sure you take care of these womenfolk, hear?

- I love you, Solomon.

- Hurry back.

Please.

(soft music)

- See you in a few weeks.

(soft music)

- All right.

- [Coachman] Get up.

(soft music)

- [Bram] Hey there, Mr. Northup.

- My, my, my.

You fellas don't give up easily, do you?

- No.

No, we don't.

- Well, come on in.

Sit down.

Well, what can I do for you, gentlemen?

- We're businessmen, Mr. Northup.

- We're very sensitive to the needs of people.

That's how we make our living, giving people what they need,

and they need your music.

- I don't know.

My wife is away and.

- We can guarantee you'll be back

before she has a chance to miss you.

And if you come back with a lot of money in your pockets,

she can't rightly get too mad now, can she?

Do we have a deal?

- Yes.

I'll accept your offer.

- Congratulations.

I will pick you up day after tomorrow about nine o'clock.

- Fine.

- And we'll drink a toast to it tomorrow.

You're going to like Washington, Solomon.

Jim Birch is looking forward to meeting you.

- Jim Birch?

- A rich friend of ours in Washington.

A real music lover.

- A toast to your success, Solomon.

- [Man] Won't do you know good to fight.

Them chains made of iron.

- What is this?

Where am I?

Brown?

Hamilton?

How did I get into these chains?

- Best you hush.

- Where is this?

Where am I?

- You in Washington.

This the pit.

You're gonna be sold.

- Sold?

No.

No.

I'm a free man.

I've got papers.

I came here to Washington to play music.

(soft dramatic music)

Brown.

Hamilton.

- Now fiddler causing a ruckus, huh?

Brown and Hamilton tell me you're worth a fortune.

They oughta know.

- Where is Bram?

There has been a mistake here.

Ask Bram.

Ask him.

- [Jim] You going to Louisiana, boy.

- Louisiana?

No.

I got papers.

There has been a mistake.

- From now on you're my property.

Say it.

Say Master Jim Birch.

- Birch?

Birch?

You're Hamilton's partner.

You.

Oh my God.

- Say it.

Say it.

Say master.

Say it.

(paddle thwacking)

Say master.

(paddle thwacking)

Now you still a free man?

- [Solomon] I am still a free man.

- [Jim] Say master.

- [Solomon] No.

(paddle thwacking)

- You'll say it.

What's my name?

I didn't hear you.

What's my name?

(paddle thwacking) (man groaning)

(soft dramatic music)

You'll say it.

You'll say it or I'll kill ya.

(soft dramatic music)

- You got to stop telling these people you are free.

That don't sit well with the captain.

Just leave it alone for awhile.

- I was a born a free man.

Henry Northup's daddy gave my father the papers.

Free is how I'm always going to be.

- I seen them break men.

It's not a good sight.

- Listen to me.

The first chance I get, I'm gone.

I intend to move soon.

- Look.

Another pickup.

- I just can't believe what I'm seeing.

- A lighter woman.

- Sit down.

- Get your hands off me.

You can't do this.

I'm a free man.

- Now you get this in your head.

The only free men onboard are white.

You're property now.

You're going to New Orleans to be sold.

Mr. Manning, take over.

- I don't know who's free

and who's a slave and I don't care.

You do as you're told and we both come out ahead.

Now go down into the hole.

- [Woman] Just go right on in.

- Well hello.

- Good morning, Mr. Northup.

- Good morning, Anne.

What brings you this way?

- Something to talk to you about.

- Well come in, come in.

Margaret, you sit over there by the window.

Please.

Anne.

- Solomon's not at home.

- Oh?

- [Anne] Well.

- Where is he?

- I feel something's happened to him.

- Why?

How long has he been gone?

- I don't rightly know.

I left for Mr. Cheryl's about three weeks ago

and when I came home, he was gone.

- Stop worrying, Anne.

I'm sure nothing's happened to him.

- His fiddle's gone.

- He left his carpenter's tools.

You know as well as I do that he wouldn't go

any place without his tools unless.

- Unless what?

- Unless something happened to him.

He's been playing his fiddle around to different places

to make extra money.

Maybe he got robbed.

Maybe.

I don't know.

You're the only kin he's got around here.

Please help me.

- Of course.

I'll make some inquiries.

But I'm sure he's all right.

- Solomon wouldn't just run off.

- If he hadn't died, I'd still be in that house.

The first time he coughed,

I knew that lady would sell me

'cause he loved me more than he did her.

Look at my Randall.

He looks just like his father.

Proud and handsome.

- You telling me you proud of sleeping with that man?

A man that owned you like he owned pigs and cows.

And you proud?

- He gave me the best.

I had silks and perfumes from France.

When I rode into Norfolk,

the men would almost break their necks to get a look at me.

- Ain't nobody ever give me nothing.

Except what I took.

This the third time I been sold.

Y'all keep shouting about how y'all free.

Well now you gonna know what I been knowing all my days.

You gonna know, Solomon.

Believe me.

You gonna be brought up by no Lord.

- Jenny, you don't have to accept it.

You got a choice.

- Look around you.

What choice you talking 'bout?

I was born in Richmond, Virginia.

Taken from my mama and sold when I was 12 years old.

Ain't never had no steady place.

Just working.

Being bought, being sold.

What choice you talking 'bout?

(soft music)

- [Solomon] We got a sick man down here.

- What's going on down there?

- We got a sick man down here.

We need to come up.

- Ford, give me a hand.

Captain.

Mr. Manning.

- What is it?

- It's pox, captain.

This one's dead.

- And forgive us our trespasses

as we forgive those who trespass against us.

And lead us not unto temptation, but deliver us from evil.

For thine is the kingdom and the power

and the glory forever and ever.

Amen.

- You're different from the others.

I hear you're from New York.

- I am, sir.

I was born a free man, Mr. Manning.

I was kidnapped and sold.

I've got a wife and three children

who don't know where I am.

I'm scared, Mr. Manning.

I love my family, but I'm afraid I'll never see them again.

I'd like to write a letter home.

I need pen and paper

and a friend to mail my letter.

- I don't know where your papa is,

but we have to pray that he's well

and we stick together for the family

just like when he was here.

Now you go back to work.

(soft dramatic music)

- Your boy don't look well.

He's really sweating.

- Randall, it's gonna be all right.

- Line up the cargo.

Over there.

Get those two young ones.

- This boy is sick.

He needs to be with his mother.

- Get them.

- No.

No, no.

- All right, move it along.

Move it along.

- Don't let him take my babies.

Please don't take them.

Please.

Oh please.

Don't let them take 'em.

Oh God.

- It's gonna be fine.

(soft dramatic music) (woman crying)

- Good morning, gentlemen.

Good morning.

Well gentlemen, here's your cargo.

I would appreciate payment for transport in cash please.

Mr. Freeman.

- Step out and face me when I call your name.

Jenny.

Eliza.

Ezra.

Gideon.

Two children, Emily and Randall.

Where are the two children?

- In the compound out back.

- Paul.

Platt.

Platt.

Where's Platt?

Where's the fiddle player sent by Jim Birch?

- I'm the fiddle player but my name is Solomon.

- No more it ain't.

It's Platt.

Jim Birch's got a good eye for quality, too.

Lawson, Scotty, take 'em up to the big quarters.

Clean 'em up and get 'em ready tomorrow.

- [Worker] Mr. Freeman would like some music

for his special sales.

- Where's my children?

- [Worker] Sorry.

They buried your boy last night.

(woman crying)

- Where's Emily?

- [Worker] The girl stays with Mr. Freeman.

- Oh God.

Oh God.

Oh God.

Oh God.

(soft music) (men chattering)

- Mr. Ford only wants me to buy the best.

- I only sell the best.

Look at that solid arm there.

Look at that soft and silky hair.

- Tell you what I'll do, Freeman.

I wanna take them two and that fiddle player over there.

(soft music)

- Oh, that fiddle player.

He costs extra.

He's a carpenter, too.

- How much extra?

- $100 and that don't include the fiddle.

(soft music)

- Sold.

My name is William Ford.

I'm your new master.

We're going to Bayou Boeuf up the red river.

It's over a day's ride from here.

I expect obedience.

I'm not a man taken to the whip.

I'm a man of God and I expect you to be children of God,

but I will not tolerate disobedience.

We're going home.

Platt.

You'll be working my sawmill.

Heard you're a carpenter.

Man is never too old to learn something new.

I'll make sure that all of my workers

get a piece of the garden.

- William, how was your trip?

- Oh, it's getting longer and longer.

- Nice bunch here.

- Yeah, yeah, except the little girl over here.

She won't last two days in the field.

Eliza.

- [Eliza] Yes, master.

- You'll be helping the Mrs. in the house.

- I sure could use some help in the house.

- Now you're gonna get some, Sally.

You show Eliza around, huh.

And the rest of ya, Chapin will see to ya.

- You'll be in that house right there on right chair.

Jacob will be in there, too.

So is Harry.

- Four of us in that tiny house.

- Tiny to some.

Master Ford good.

Give us plenty of room.

- Good?

He owns you, Walter.

What's good about that?

- Where you from?

- New York.

- You got a lot to learn.

Best you sit down.

- [Solomon] I will soon as I'm back with my family.

- Well, this is your family now.

Still like I said before,

Master Ford give us plenty of room.

Have a seat, Platt.

Want you boys to meet Platt.

Master Ford bring another one up from New Orleans.

This here is Jacob.

Harry.

You want some supper, Platt?

- What is it?

- Fat back and grits.

- I'm not too much for fat back.

- What you say?

- It's too greasy.

- Think this boy gonna starve to death.

- No, he ain't.

No, he ain't.

Here.

- Is there a spoon or a fork?

- Your hands crippled?

- His hands crippled.

His hands crippled.

That's it, Jacob.

- No, thanks.

I'm not hungry.

- Good.

Plenty more for us.

Spoon, you say.

Only spoon we got around here is for cooking.

- You may find it funny, but I don't eat with my hands.

- Boy, you must be pretty good

with a fork between your toes (laughs).

(dog barking)

- Howdy.

I'm Noah.

- Evening.

I'm Platt.

- You one of the new ones?

- Yes.

Do you work around here, Noah?

- Well.

Ford worked me 'til he felt I was too old.

Then he give me a little place over near the river.

Now, all I do is fish.

- How old are you, Noah?

- 60 far as I know.

You pining to run.

I can see it.

There's nowhere to go.

Nothing but swamp and woods.

And beyond that the white patrols.

Ain't nobody ever made it out of here.

Settle in, boy.

Ford ain't that bad.

Accept it.

See you round.

(dog barking)

(bell ringing)

- Feeding time.

You work with wood pretty good, Platt.

You do this before?

- Some.

- Hey.

I don't like you, Platt.

You think you better than us, don't you?

You no different than the rest of us.

William Ford own your hide just like he own mine.

- That Jacob meaner than a rattlesnake.

Stay away from him.

- If he's so mean, why is he still owned by Ford?

- He run once before he come here to work for Master Ford.

Got scars on his back to show for it.

Ain't no running from here.

Ain't no running from here, Platt.

- Whoa.

Hold up, boy.

I got a bond to finish.

- Need orders to do that.

- Orders from who?

- [Solomon] Mr. Ford.

- Who?

- Master Ford.

- [Tibeats] What's your name?

- Platt.

- You refuse to load my wagon, boy?

Ford been talking to you, ain't he?

I can tell.

Telling you how I'm white trash with no upbringing.

He got you thinking you're better than me, don't he?

- No.

- You're a liar, boy.

Now I'm white.

You better pay me mine, boy,

'cause I'll come down real hard on you if you don't.

- What do you want, Tibeats?

- Want your boy here to load my wagon.

- It's all right, Platt.

He works my plantation over the Bayou Boeuf.

- Three of you, come over here.

(soft music)

- I don't know how he got it to you.

You sure this is his handwriting?

- Yes.

- Kidnapped?

How?

- I'm going to New Orleans.

- No, you can't do that, Anne.

- Solomon's down there and I'm going.

- The letter said he was being sent

to New Orleans to be sold.

Louisiana's a big place.

There's no telling where he is by now.

- Can't keep sitting by that window waiting.

I miss him so much, Henry.

Please help me.

- All right, but you and the children can't go down there.

The same thing could happen to you.

Then where would you be?

Look, at least we know he's in good health, right?

- At least he claims he is.

- Well, that's a start.

I'll write to the governor.

Explain the situation.

I'm sure he'll help us.

- He's got to, Henry.

- And that's the way it was.

(men laughing)

- Who did it?

- Not me.

Now Solomon, you know I can't fight.

I'm a man of God.

- Who did it?

- It was Jacob.

Jacob.

- Jacob.

Did you break up my bed?

- Yeah, I did it.

- You'll regret it.

- Get him, Jacob.

Get him.

Get him, Jacob.

- You had enough?

- Yeah, yeah, yeah.

- I know Platt was gonna beat him.

I know it all along.

He's always been my friend.

- If you don't wanna talk to me, that's your business.

If you hate me, that's your business.

From now on, you keep your hands off my belongings.

- Time somebody stopped Jacob at his meanness.

Everybody round here been scared of him.

- I'm sorry he made me do that.

It took me two months to build that bed.

- A bed?

- A kind of a bed.

- Well, I heard you was a good carpenter.

- I hold my own.

- [Jenny] Platt.

- Platt.

Platt.

You let me down.

You and Jacob fighting like dogs out here in the yard.

Everybody know Jacob is crazy,

but you supposed to be the smart one.

- He put an ax to my bed.

Now what was I supposed to do?

- Somebody ever give you a beating?

One of your masters?

What did you do to him?

I can tell you.

You did nothing.

So why you gonna fight Jacob?

- I don't claim any man as my master.

- You don't have to.

They claim you.

I watch you a lot.

You way up there in the clouds, but you all right with me.

You trying to beat the chains.

I understand that.

But you was just turned into the very thing

that you trying not to be, an animal.

I know how you feel about your bed,

but we don't fight one another.

Jacob need talking to.

That's your job, boy.

To talk to these people.

Teach them what you know.

And you know a lot more than you let on.

- [Solomon] So do you, Noah.

- Well, I didn't get to be this age being stupid.

I could be the dumbest darkie in the world

when it's time to be.

White folks never know what I'm thinking.

That's how I've survived.

Be smart 'cause there ain't nowhere to run.

- All of you be subject one to another

and be clothed with humility.

For God resisted the proud

and giveth grace to the humble.

May the good Lord bless you and keep you.

- First the governor turned us down.

Said it wasn't a state matter.

- Solomon's a free citizen of this state.

It is a state matter.

- My own men have been down there for two months

and not a trace.

I don't know what else to do.

Maybe he's left the whole state by now.

I just don't know.

- Henry, I know this is costing you money.

I'll pay what I can.

- Oh, for goodness sake, Anne.

Don't worry about the money.

Solomon and I were raised like family.

How can I do less?

- Can't stop now.

We have to keep trying.

- Word is Master Ford done come on some hard times

and gon' have to sell some of us.

Word is his brother gambled away some of Master's money.

Word is-

- Where do you get all these words from?

- Sally tell me everything they say in the house.

Word is Jenny been pining to be with you.

Word is you are to oblige her (laughs).

(harmonica humming)

♪ You broke my heart, baby

♪ But I broke your jaw

- Hi.

- Good afternoon, Jenny.

(harmonica humming)

- We been here how long now?

Eight months.

You ain't so much as looked at a woman.

I suspect you remembering somebody back in New York.

- Got a wife.

Three children back there.

- I don't wanna change you from thinking 'bout her,

but well she's there and we here.

Suppose you don't never see her no more,

you just gon' keep pining?

- Those are questions I ask myself about 200 times a day.

(soft music)

- Solomon, I'm not a loose woman,

but I like you.

- Oh, Jenny.

I don't know.

I don't know if I can.

- It's all right.

It's just.

All right.

You safe now.

Jenny make it safe for you.

- My finances are weak, Chapin.

Mail isn't paying off like it ought to.

The planning ain't good.

My brother gambling away my money like it's his own.

I'm spread too thin.

- What's your plan?

- Well, I'm gonna hold on as long as I can.

If I have to, I'll sell some.

I'll hire out some.

I need cash.

Anyway, here's a list to which I have to when it's time.

- Okay, Mr. Ford.

- [Solomon] Must be doing a lot building over there.

- [Tibeats] It's none of your business.

- Platt, Platt.

After this rain, I want you to go with Chapin.

Drop this load of lumber off Bayou Lamourie.

- Seems to me, sir, since we ship so much lumber over there,

be quicker if we sent it down the river.

- Down the river?

- He's crazy.

It can't be done.

- How do you aim to use the river, Platt?

- Build rafts, load 'em up, and float the lumber down

to the Bayou Lamourie.

- Now where we gonna get rafts from?

- I'll build 'em.

- You'll build 'em?

- Yes, I'll build them.

- We can lose a lot of lumber to the bottom of the river.

- Oh no, sir.

They'll float.

- They'll float, huh?

I'll go along with your idea, Platt,

but if you fail me, I'm holding you responsible.

- Morning.

Look, I was wondering if I could work with you two.

Jacob don't like me no more 'cause he think I'm your friend.

- You two faced, Harry.

- Jacob don't like me.

You don't like me.

- Harry.

Start driving nails.

(soft music)

- Platt.

Everybody is hoping you float them logs tomorrow.

Harry around taking money on you to win.

- Harry doesn't miss a chance, does he?

- No.

He don't.

Platt.

(soft music)

I'm lonesome.

(soft music)

(soft dramatic music)

- [William] Come on, Chapin.

Let's go meet 'em down the river.

- Steady, Harry.

(soft dramatic music)

Work it.

We're doing it.

(soft dramatic music)

Watch out for mud at the bottom.

(soft dramatic music)

Keep it moving.

(soft dramatic music)

- Kind of deep down there.

Bottom's black full.

(soft dramatic music)

Careful now.

Getting shallow.

Getting little shallow over here.

Gotta go to the left.

To the left.

(soft dramatic music)

- Easy.

Easy, boys.

- Is that Platt?

(soft dramatic music)

He did it.

He did it.

(soft dramatic music)

Praise the Lord.

(soft dramatic music)

Good work, Platt.

You did it.

You did it.

- Thank you, sir.

- [William] How 'bout that?

That boy's good.

- [Solomon] Thank you, sir.

- Good.

Platt, you're a good worker.

You're smart.

You floated them logs when everybody doubted you.

Including me.

I wanna thank you for that.

You saved me a lot of money during a time when I need money.

Things ain't always as well off as they seem sometimes.

You know what I mean?

- Yes, sir, I do.

- I don't know how to say it.

I've been thinking about it all week.

Platt. - Yes, sir.

- I'm gonna have to hire you out to Tibeats

to work my place over at Bayou Boeuf.

- But Tibeats, sir?

- It's either hire you out to him or sell ya.

I don't wanna sell ya.

Just don't have no choice.

Platt, I'm about to go under.

Sorry.

I see you every Sunday at seven.

You can go back to your quarter now.

- You working for me now, boy.

You do like I say.

One of these days I'm gonna have

enough money to buy Ford out.

Then I might own you and plenty more like you.

Now you get one day off of week, you hear?

Sunday.

Otherwise you work 'til I tell you to quit, hear?

What's my name?

What?

- Master Tibeats.

I know Tibeats was born in hell.

Man that mean must be from the devil.

- All poor white trash the same.

I don't much like to be around him.

- You know Sunday's not long enough for these bones to heal.

- Amen to that.

There's your missus.

- Master Ford sold me.

- What?

- Sold me to Master Epps.

Me, Eliza.

Most probably Walter all going over to Bayou Huffpower.

- He can't do that.

- Yes, he can.

Oh God.

We was together for awhile.

We'll hold on.

It's just the way it is.

- I like you very much.

Jenny-

- That don't mean nothing to Master Ford.

I like you, too.

Come see me when you can.

- [Anne] I like you, Luke, but well it takes time.

- [Luke] Solomon ain't never coming back.

- [Anne] Don't say that.

- [Luke] He ain't coming.

He gone.

I'm here about to fall in love.

- Mama, I need to talk to you, please.

- Yes, honey.

Excuse me, Luke.

- We don't want Luke coming here.

- He's not my papa.

I don't like him.

- Honey, I'm not trying to make him your papa.

- Yes, you are, Mama.

- Your papa's been gone close to two years now

and I love him very much, but I need somebody to talk to.

- Talk to us.

- It's not right, Mama.

Daddy can walk in that door any time now.

- Yeah, he gonna have a great, big old gun

and he gonna shoot Luke.

- Daddy ain't got no gun.

- He do, too.

- Just hold it, you too.

Wait a minute.

I'll be right back.

Just as well.

- I'm gonna take this place from Ford one day.

You just watch.

I'm just as good as he is.

- Mighty hot to be drinking like that.

- You telling me what to do, boy?

- No, Master.

- Now you get back to work.

You telling me what to do?

You hear?

- Yes, Master.

- You get down.

Gonna teach you a lesson.

You hear me, boy?

I said get down here.

(soft dramatic music)

You hit me.

You hit me, boy.

You gonna pay.

You gonna pay.

(soft dramatic music)

Rod.

Rod.

Get down here.

(soft dramatic music)

- [Solomon] Get away.

- [Noah] It's me, Noah.

- I got to keep running.

I could've been caught.

- Running where?

- New York.

I've got to get away.

- Come on, Platt.

I'm gonna take you back to Ford's.

(soft dramatic music)

- I'm gonna have to sell you to Edwin Epps.

- But Mr. Ford, I would really rather stay-

- Sorry.

Just can't be helped.

Epps will be all right.

He just recently made his money

and he don't know how to handle it,

but at least you'll be safer with him.

I'll take you over there to him tomorrow morning.

It's a miracle you escaped from that swamp, Platt.

Goodness to God saved ya.

Was you scared at anytime?

- Yes, sir Master, I was.

- Man always turns to God when they're scared.

You tired?

You wanna ride for awhile?

- [Solomon] No, Master.

I feel like walking.

- [Edwin] Howdy, William.

- Edwin.

Mrs. Epps.

- Hello, Mr. Ford.

How's Sarah?

- She's very well.

She's very well indeed, Mrs. Epps.

This here's Platt.

He's a good boy.

Very good boy.

Play that fiddle I give him.

Very, very pretty.

I'll see you later.

- William.

Heard about you.

Like to fight, do you?

- It's not my nature, sir.

- Oh, better make sure of that

'cause I don't take to workers who fight, Platt.

You'll be working the cotton fields.

- Well I don't know much about working cotton, sir.

- You learn.

- Is that your fiddle?

- This is the one Master Ford gave me.

- Well, I'll have you play something pretty for me sometime.

- Come on, I'll show you to your quarters

and then I'll take you to the fields.

- [Eliza] Platt.

- Eliza.

Eliza.

- Come on, Platt.

(soft dramatic music)

- Platt.

- Jenny.

Go to your quarters.

Where do you know her from?

- Master Ford's plantation.

- You sweet on her?

- No, Master Epps.

- From now on, you gon' be working the house.

- [Jenny] Yes, sir.

- How you feeling?

- Fair to mid.

- You're pretty.

As always.

- Thank you.

- When I come back from New Orleans,

you're gonna have a new set of frocks.

How'd you like that?

- I like it fine.

- I'll be back tomorrow morning.

Take you up to the house and show you your new duties.

(bright music)

- [Jenny] Won't Mrs. Epps mind my being

in the main house and all?

- [Edwin] She does what I tell her to do.

Besides I want you where I can keep an eye on you.

- That's what I wish I was doing today.

Fishing.

- That be a slave, that's all you have to do is fish.

About that fiddler of yours.

- Platt?

- Yeah, I want you to lend me that boy sometimes.

You know good fiddling's hard to come by.

- What you know about good fiddling.

- My daddy was a full blooded Cajun.

- You know I had no idea when I bought that boy

he'd be such a good investment.

- [Man] Yeah?

- He's almost as good as a cropper crop.

- [Man] Hey, that's not a bad investment nowadays.

- Oh wow, you learn.

Was this gentleman whispering

suggestive things to you, ma'am?

- No, he's been a perfect gentleman.

- That a boy.

(soft music)

Come on, this is just what we need.

Thank you, sir.

You enjoying yourself?

What's that you drinking there?

Are you sure you wouldn't like something more substantial?

Are you as uncomfortable as I am?

Well then why don't you take off that cravat?

Go on, go 'head.

It's my party.

Madam, what you looking at me like that for?

How you doing?

Oh.

Folks.

Folks.

I wanna introduce you to.

I wanna introduce you

to the future owner of this plantation.

You don't even like me showing off my son?

- Here.

- You putting me in my place?

What you want me to do?

Be more genteel.

That your word for it, huh?

Well poor ungenteel, I guess.

Look, you don't fool me.

I might've worked my way up

from the log cabins to these colonies,

but to you I'll always be in the cabin.

- That's not true.

I'm so glad you're here.

- They carry on like that every now and then.

He and the missus fight something awful.

That was some good playing you done out there.

Emily and Randall like it, too.

- Eliza.

Randall is dead.

He died three years ago in New Orleans.

- No.

No.

I just talked to him.

He say.

He say.

What did Randall say?

Oh, look at my hair.

You like it?

I do good work here in the house.

Missus wouldn't know what to do without me.

- Goodbye, Eliza.

Thanks for the food.

- What did Randall say?

(soft music)

- Thank you, Eliza.

(soft music)

That was just lovely, Platt.

There's something about you that just doesn't figure, Platt.

Something I can't put my finger on.

Where were you born?

- Northern Virginia, Mrs.

Near Washington.

- You're a lot smarter than you let on.

I know intelligence when I see it.

- I'm not very smart at all, Mrs. Epps.

- We'll see.

We'll see.

Thank you.

Eliza.

You have got to tell me

whenever you see Master go down to Jenny.

You got to do that.

- Yes, Mrs., I will.

You know, Platt used to be Jenny's steady going man

when we were at Master Ford's.

- He did?

- Yes.

She still love Platt.

- Well, we'll just have to see

that Jenny and Platt get back together then, won't we?

Eliza.

You got to take care, girl.

You don't look well.

- White bird.

Big one.

Come sat on my window last night.

Stayed all night long

singing me a lullaby.

(woman humming)

(soft dramatic music)

♪ Come by here, my Lord

♪ Come by here

♪ Oh Lord

♪ Come by here

♪ Somebody need you, Lord

♪ Come by here

♪ Somebody need you, Lord

♪ Come by here

♪ Somebody need you, Lord

♪ Come by here

♪ Oh Lord

♪ Come by here

♪ Somebody's crying, Lord

♪ Come by here

♪ Somebody's crying, Lord

♪ Come by here

♪ Somebody's crying, Lord

♪ Come by here

♪ Oh Lord

♪ Come by here

(group humming)

- May God rest her

and take the body of Sister Eliza.

Take her to his bosom

and rock her troubled soul to sleep.

Take her from the heat of the day.

No more work in this terrible place.

But to do his work in heaven.

(group humming)

God bless you and keep you, Sister Eliza.

(group humming)

(soft music)

- Nice Sabbath, Master.

- You know something, Platt.

I don't like your way of pronouncing words.

- I don't understand, Master.

- Yeah, you understand well enough.

You got an uppity way of speaking

and I want you to do something about it, you hear?

- Yes, sir.

Master.

- That's better, boy.

That's better.

Yeah, you understand, all right.

- You know, Epps give me this place.

Say he want me to live by myself.

I don't know what he trying to hide.

Everybody see him come.

Buys me nice things.

- Nice things?

A place.

Is that all you think about when you're laying with him?

Calling him Master?

I figured you for better.

- I know you're hurt.

I know you mad.

You always talking 'bout choices.

Well there ain't none.

Epps can sell me tonight if he wants to.

I'm tired of being sold.

- So you just lay up with him and take his pretty things

and don't think twice about it.

That bastard owns you.

He doesn't love you.

- He treats me good.

And I'm better off than I would be

if I didn't let him come to me.

That's my choice.

(soft music)

It's all I got, Solomon.

- Guess I.

I expected this.

I'm going up to the big house.

- Stay out of your way.

I don't wanna cause no trouble with you and Epps.

(soft music)

I'm sorry if you think low of me,

but just like you, I wanna live.

(soft music)

I'm here.

When you want me.

(soft music)

- I've been watching you.

You don't talk much.

You're blending.

You're smart.

I'm making you my new driver.

You in charge of all the people in the fields

and you get a place of your own.

Here's the keys to the supplies

and if you have to, use it.

- Thank you, Master.

- You ain't nothing but trash.

Sitting up on that horse looking down on us.

Just because you living in your own place,

you think you better than we are.

I hope it makes you feel good.

- I'm doing what I have to, Shad.

- With that whip around your neck.

That whip got blood on it, Platt.

If you don't believe me, just look at my back sometime.

- The worst animal in the world.

He says well how do you know?

He says well, he's got a crocodile's head on one end

and an alligator's tail on the other.

He said well how does he shoot?

He said, he don't.

That's why he's so mean.

- Bass, you the damn bumbling fool I ever seen.

- That depends on how you look at it.

- See, you don't agree with nothing.

Your opinion always goes in opposition direction

of the person you're talking to.

- I got to figure things out my own way.

Keep me honest and happy.

I expect we all have to.

Hey there, Platt.

Are you happy?

- Course he's happy.

What's he got to be sad about?

- This.

- Bass, let's call a truce.

Let's agree on something.

- Never.

I got one for you, Platt.

- Leave Platt alone.

- Hell, Epps, it's all in fun.

Go ahead, Bass.

- Runaway slave calls himself Platt.

Captured, comes before the judge.

Judge says well did your owner beat you, Platt?

He says oh no, sir, Judge.

He says well did you have enough to eat, Platt?

He says, oh yes sir, Judge.

Judge shakes his head and looks Platt dead in the eye

and says I'm puzzled by you, Platt.

Everything was so damned good, why'd you run away?

Platt looks at Judge dead in the eye

and says Judge sir, that job's still there

if you wanna go ask for it.

I see you find that about as funny as I do, Platt.

- You see how confident he is?

He won't even laugh at his own joke.

- I don't know about you, Bass.

I mean you're one hell of a carpenter but-

- Platt, sir, do you think it's fair

that Master Epps should own you lock, stock, and barrel?

- Yes, Master.

- Then you're a fool.

I know it's a law says he should own you,

but suppose the law said you could own him.

Would you own him, Platt?

- No, sir, I wouldn't.

- Course you wouldn't and I hope he ain't too big a fool.

He's your carpenter's helper this year.

- Aha.

Fellow builder.

- Kelsey, here's the soap for them clothes.

- What were you doing in my cabinet?

- I just come to get some soap.

- You mean steal some soap.

- I ain't stole nothing.

Martha give it to me-

- You a lying, thieving wench.

Platt.

Platt, come over here.

I want her whipped.

- Miss Barbara Ann, that's not my job.

- If you don't obey me,

when Master gets back from Hornsville,

I'll see to it that you are whipped

to within an inch of your life.

- Jenny just doing what I tell her.

We need a lot of soap to get these clothes clean.

- Shut up, Kelsey.

Whip her, Platt.

- Miss Epps, please, don't make him do it.

How much did the soap cost?

Take it out of my wages.

- You are overstepping your bound, Mr. Bass.

Now take her to the woodshed, Platt.

- Jenny.

Jenny.

(woman screaming)

- She wanted to whip me

and Platt pretended like he was hitting me

and I was just screaming and screaming,

but I don't wanna be around her no more.

She getting meaner.

- Platt did that, huh?

- Platt's good.

He don't mean you no harm.

- Platt, Platt, Platt.

All I hear is Platt.

- Hey there, Platt.

I bought this for you.

- Is that for me?

- Well you play the fiddle, don't you?

- Yes.

- I heard what Epps did to your fiddle.

That fiddle was made of fine wood.

Craftsmanship.

- [Solomon] It's beautiful.

- [Bass] It ain't right that he even should bust it up.

- He's not going to like you for this.

- I'll take my chances.

I've worked alongside all kinds.

Irish, Creole, German, Black.

I judge a man by whether he's a good worker.

I don't give two hoots in hell about a man's color.

The only reason I come down here

is 'cause the weather's warmer and they pay me well.

Oh, I hate these planters.

- Bass.

I want you to help me.

You're the only one that I can trust.

Now you tell me that I can trust you.

Tell me.

- You can trust me.

You know that.

- My name's not Platt.

I'm Solomon Northup.

I was born a free man.

- What happened?

- I was kidnapped 11 years ago and sold.

I'm from Saratoga Springs, New York.

- My God.

- You have got to help me.

Please.

I must get away.

Bass, you are my only hope.

You have got to help me.

Please.

- All right, I will.

What do you want me to do?

- I want to get a letter home as soon as possible.

- Yeah, I'll see you next time you in these parts.

I can always use a good carpenter, too, and a good lad.

- You may not find me so funny in a couple of months.

- That another one of your riddles?

- Yeah.

So long.

- Take care, you hear?

- What do you want?

- I wanna talk to you.

- I have got enough of troubles with Epps.

- It won't take long.

Please.

Let's go in there.

- What is it?

- I don't care much what these other folks

around here think of me.

But you.

I can't bear it when you look at me.

I know you looking down on me for what I do with Epps.

- I don't care what you do with Epps.

Why you always trying to clear yourself with me?

That man-

- Platt.

Jenny.

Come out here.

Jenny.

When did I sell you this plantation?

- I don't catch your meaning, Master Epps.

- What I mean, nigger, is Jenny is mine.

- No.

No.

- Edwin.

You are surely some kind of fool

fighting with the best man you got.

It's her, isn't it?

Don't lie to me or I swear.

I swear I will leave this cursed house tonight

and I will take our son with me.

- Jenny wasn't involved.

It was all between me and Platt.

- Beat her.

- I won't.

I won't.

- Ugh.

- See how easy it is.

And I'm an old man and I stopped ya.

Forget it, Platt.

I tried all my life to get out of Louisiana,

but freedom is just too far away.

- I gave Bass my letter.

It's been two months since he left

and nobody's come to free me.

I'm going to do it myself.

- You are a fool, Platt, for trusting anybody.

He'll turn you in.

Look.

Now you see that?

Three times I tried before I was sold to old man Ford.

Three times I failed.

And I know this place like the palm of my hand.

It's 100 miles to anywhere.

Now if the white patrols don't get you,

some hired posse will.

You be brought back to Epps

to get the skin whipped off your back.

Now look, you alive.

Now you just think about it.

You are alive.

- I ain't alive.

I'm dying, Noah.

Everyday I'm dying under a slaver's whip.

You keep saying that death is waiting

for me out there in the swamps.

Hell, Noah, it's already caught us.

It overtook us a long time ago.

It's in those cotton fields.

It's in these hog bins we sleep in.

For 12 years now I have lived in this hell.

I want my freedom.

Do you understand?

No patrols.

No alligator.

Nothing is going to keep me

from running to freedom and my family.

No old man, I'm not going to die here

and that swamp out there is going to have

to put up one hell of a fight to kill me.

- Now you wait a minute now.

Let's talk this thing over.

- Henry, come in, please.

- Children.

Anne.

We found Solomon.

- You found him?

You found Solomon?

- That's right.

This letter came this morning.

He's in Bayou Huffpower, Louisiana.

- Louisiana.

- That's right.

- What do we do now, Henry?

- Now that we know where he is, we can get him out.

I've decided to go to Washington tomorrow.

I'll talk to the senator from Louisiana.

We'll get him out, Anne.

I promise you.

- Henry, thank you.

- All right, all right.

I'll talk to you in the morning before I leave.

- God bless you.

- All right.

Children.

- Thank you.

- You take care.

- Oh God.

- Now, here are the letters I've prepared, Mr. Northup,

and I'll see that my fellow Louisianans,

Mr. Justice Nelson and Secretary Conrad do like wise.

When you get to Marksville,

give those papers to the lawyer there.

Have a cigar.

- Thank you.

- His name is John Watkins.

- This is very generous of you, Senator Soule.

- Generosity, dear sir, has nothing to do with it.

I support our southern institutions

just as strongly as I'm sure you oppose them,

but slavery has laws and tampering with those laws

must be treated like a crime.

This situation is clearly a violation of the law

and I do not condone it, sir.

- I appreciation your sense of justice, Senator.

- [Sheriff] I'm looking for a boy named Platt.

- I reckon that's me.

Henry.

Henry.

- Solomon, how are you?

Solomon.

It's over.

We're going home.

Anne and the family can't wait to see you.

They can't wait.

We'll be leaving tonight.

- [Edwin] What can I do for you gentlemen?

- [Sheriff] Are you Edwin Epps?

- I am, sir.

- Then Edwin Epps, by the order of the second circuit court

of the state of Louisiana, I hereby order you

to release one Solomon Northup also known as Platt

into the custody of one Henry Northup,

who will become Solomon Northup's legal guardian.

The boy's free.

- You know this gentleman?

- Yes, I've known him all of my life.

- Yeah, where's he live?

- New York.

- You ever live there?

- Yes, born and bred there.

- Why didn't you tell me

that you was a free man when I bought you?

- If I had told you, you expect me to believe

that you would've freed me?

It only would've made matters worse for myself.

- Somebody must've wrote a letter for you.

Who was it?

- Perhaps I wrote it myself.

- Perhaps you're a liar.

I'll find out who it was

and he'll be sorry he ever laid an eye on you.

- What you do or don't do doesn't hold

any importance to me anymore.

Not the least bit.

You understand that.

- Now you don't get smart with me, boy.

This is still Louisiana and I'm still a white man.

- You, Master Epps, are a white curse.

- You think you gon' come on my land and take my property,

you got another guess coming.

- Your property?

A free man kidnapped and sold into slavery.

Your property?

You disobey this order and you'll wind up in jail

with the kidnappers, Mr. Epps.

- What y'all looking at?

Go back to work.

- Come on.

- Do I look all right?

- You look fine, Solomon.

You look just fine.

No, no.

I'll take those.

Come on.

- Come along way since New Orleans.

You free now, Solomon.

And I'm happy for you.

- I'll miss you, Jenny.

I will never forget you.

- Would you hold me?

Please.

Just for a minute.

(soft dramatic music)

- I wish.

That I could take everybody.

Just.

Make some magic

that would take us all.

(soft dramatic music)

- Hey, Platt.

You got your wish.

You made it out.

These folks in your hands now.

You tell somebody about us.

You tell 'em to send help.

Don't you let me down now, boy.

- I promise you as long as I'm alive.

(soft dramatic music)

- Come on.

Come on.

(soft dramatic music)

Well, you survived, Solomon.

- Guess that's what it's all about.

Lasting.

Surviving.

- After you've settled down,

gotten acquainted with your family,

you should consider writing your story, Solomon.

- I'm out of practice with words, Henry,

but that's a fine idea.

I will surely study on it.

(soft dramatic music)

Truth is.

I'm scared.

Scared to death.

- Anne, the children?

- Not them.

Freedom.

I've had 12 years of belonging to other people.

- You'll be your old self again in no time.

- I'll make out, but I'll never be my old self again.

All the time we've been traveling,

I've been thinking as much about the people I left behind

as the ones I'm going to.

I'll need a lot of time.

I hope they understand.

- I'm sure they will.

(soft dramatic music)

We're almost there.

(soft dramatic music)

- Anne.

- Solomon.

(soft music)

♪ Remember

♪ I love you

♪ Remember the vow that bound us to our dream ♪

♪ And remember

♪ You loved me

♪ You swore it with every hour we shared ♪

♪ Hour's gone now

♪ Far beyond us

♪ To some

♪ Faded time

♪ And if some warm

♪ September

♪ We should meet again somewhere ♪

♪ I hope you'll still remember

♪ My name

♪ And remember

♪ You loved me

♪ You swore it with every hour we shared ♪

♪ Hour's gone now

♪ Far beyond us

♪ To some

♪ Faded time

♪ And if some warm

♪ September

♪ We should meet again somewhere ♪

♪ I hope you'll still remember

♪ My name