I.

H.

MR. LESSER'S NOTES
on
WAY DOWN SOUTH
from January 13
dictated to
Carroll Young
during conferences
with
Clarence Muse &
Langston Hughes
establishing
the
Story Line
1939

183 INT. REID DINNING ROOM (Same as S, 90)
CATON comes in.

184 PORCH---PAULINE arrives

185 SUGAR MILL---Slaves are freed
GUMBO carries the message

185a SHERIFFS go off with DILL

186 RIVER BANK BARBECUE---CLAIRE & BOUTON
reconciled---All is well.

DILL'S guilt:

Stock manipulation

Fagery

Neglecting to legalize the
guardianship

Misuse of funds

CATON proves that no need to sell
off slaves because funds are
available, place still solvent,

Will has been violated

HAVE YOU BEEN DOING LOTS?

Bring Bob on showboat quicker--probably cut Bouton in early sequences-- Bob once to boat-- Clair shopping--not intentionally going. End-- Trial wrong--not really about Bobby.

Good that Bouton uses his faults to save the day--therefore emphasizes his devilishness with women of first, gambling instead of drink.

# OUTLINE OF SCENES FOR "WAY DOWN SOUTH"

by
<u>Messrs. Muse and Hughes</u>

## Insert after 146.

Scene showing capture of Uncle Caton by the farmers. Show handbills of the neighborhood at dawn. Show Cass also arriving later. In dialogue show that he intends to wait to see who has been feeding Caton. Caton denies knowing anything about Tim. He is led away, leaving the audience to believe is going to be whipped. Dill prevents beating on account of sale on Monday.

146. Gumbo walks into trap prepared by Cass. Cass attempts to get further information about Tim from Gumbo, who also refuses to reveal anything.

146. Tim finds Bouton gone away on a fishing trip. Claire tells Tim, Bouton would have taken him fishing had he been there. But now he is out in Gulf for the day and cannot be reached. Tim learns also that Claire and Bouton know who he is by now, but they have kept his secret. Tim leaves word for Bouton to come to the plantation since Tim has decided to return immediately to try to prevent the slave sale alone. Claire doubts that Bouton will be able to help any, but promises to deliver Tim's message.

Revival Meeting as in script except that Tim leads the slaves to believe that he will be able to prevent the sale although he, himself, does not know how.

Scene where Dill backs Tim up.

Scene where Bouton returns to the inn with an enormous fish late at night. Conversation with Claire again expressing doubt of ability to prevent sale of slaves, but says he will go to the plantation in the morning after the sun has dried up the roads after the rain because the mud has made them impassible.

Scene - Bouton's flirtation with Pauline.

Scene - Following morning, Bouton leaves for the plantation late in the day.

Scene - He arrives there but cannot find Tim.

Scene - Same as 163 in which Bouton has a fight with Dill and is knocked out by Cass.

Scene - It is the morning of the slave sale. - Proceed as from 160 at present, but make the old judge more doubtful of helping until the final moment.

Scene 151 - The gist of this scene between Bouton and Tim may be inserted into Scene 184 in the wine cellar.

Scene mentioned from last white script.

NOTE:

SCENE 53 of the LESSER REVISED CONTINUITY has been
re-dialogued and the owl-hoot scene returned to
original Muse-Hughes dialogue for the following
reasons:

1. To cast the shadow of REID'S death before him by an errie note.

2. To further characterize REID as a happy-go-lucky man who pays no mind either to lawyers or owls.

3. To background TIM'S mother and indicate where TIM'S strength of character comes.

["EXT. HOG PEN (DAY)", "A cute little brown skinned girl, with lovely big eyes\n**MIX** SKINS a basket of choice sugar cane, comes\na big butcher\nclose to LUKE as he sharpens his knife.", "She speaks sweetly and with a cute twist---", "LULU---HOWDY, Luke.", "LUKE---(Still sharpening the knife, smiles)\nHow-ya, Sugar--", "Lulu---(taking basket from head answers coyly)\nHow you know I had --SUGAR-?", "Luke---(Still working to cover his bashfulness)\nI Didn't know you had it---I thot it kinder\nnice to call yo' Sugar.", "(Both laugh gleefully) as she offers him\na piece of the sugar cane, he refuses but she\nchews a bit.", "Lulu--- Yo' know Mars REID say--it's all right\nfo us to get married next Sunday--\nalmos'\nLUKE--- I'm pining my heart away--waitin' for dat\nday ---", "and\n(Luke has never stopped grindin' the knife,\nand testin' it with his finger at him he moistens it\nwith his tongue)", "LULU---(From under the cane, she takes a flowered\nvest of about 1830 vintage)\nI has heart pains, myself--Luke", "YET IS XXXXXXXXXXXXX LUKEX-- Look, Uncle Caton\ngib me dis pretty vest, say yo' must wear it Sun-\nday when dey tie de STRING. 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x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x_x

( Cont'd )

and Luke starts to sharpen knife, turning grind stone rapidly.)

CASS

&

You ain't killed but three hundred hogs today and
now you're wasting time.

LUKE.

What's de matter, Mr. CASS, ain't I killin' fast enough?

CASS.

None o' your sass, Luke! You been handled with such
a loose rein, - that you ain't gonna be no good till
I get right close with you.

LUKE.

( stopping with his knife gleaming, but xxx paying
no attention to it, giving no impression that it is
a weapon)

You ain't gonna whip me.

CASS.

(Speaks quickly)

Put that knife down.

knife
( he drops the knife, instantly.)

Come on with me!

DISSOLVE TO.

96 INSERT that GUMBO evesdrops at door.

38

97 EXT. SLAVE QUARTERS (NIGHT)
FULL SHOT---SLAVES

coming out of doorways, getting up from their sea ts
on the roots of trees and stumps, as GUMBO arrives
with the news of CATON'S impending sale. (About 15 SLAVES)

GUMBO

New marster gonna sell Uncle Caton in de mornin', gonna
sell Uncle Caton in de mornin', gonna sell Uncle Caton....

GUMBO'S voice continues on the sound track as he runs out
of scene continuing to broadcast his news. Some of the
SLAVES stop dead in their tracks, frozen in fear and
consternation.

MERRYWINTER

SLAVES

1. Oh, Lawd! What will he do?

2. Boy, stop yo' lyin'.

3. I knowed somethin' was gonna happen.

4. Judgement day done, Lawd, fo' one o' yo' servant.

5. Uncle Caton de best friend we got in de Big House.

6. Mars Reid'd turn over in his grave if he knowed this.

AN OLD WOMAN sitting in a doorway with a clay pipe begins to rock and hum a doleful (add lib) tune.

DISSOLVE TO:

33

94 INT. PLANTATION DEN AND OFFICE (DAY)
CLOSE SHOT-DILL

seated at a large desk figuring on some papers. Account
books and legal documents are spread out before him.
As CAMERA DRAWS BACK we see CASS enter, and the room
is revealed as a luxuriously appointed gentleman's den
and office. Hunting trophies are an evidence, mounted
fish on the wall, book-shelves, framed sporting prints,
a safe in one corner, etc.

DILL CASS
'Cuse me, Mr./for disturbing yuh.

DILL (LOOKING UP)
Well, what is it? Anything serious?

to me.

CASS
I think it's serious. Don't know how you'll feel
about. It's been serious a long time. I told Mr.
Reid about it more'n once---and now it's getting to
the place it's unbearable.

DILL
Well, what is it? What are you talking about?

CASS
The trouble I'm having with these spoilt slaves.

DILL
Spoilt? Then why don't you use severe measures?

the butcher, CASS 'less
That Luke/ain't worth having around a black-
snake him down to his proper size.

DILL
Then flog him! Why worry me about it?

CASS
Then 'cuse me for bothering you, Mr. Dill. But I
didn't know how you felt. Now, I can run
this plantation like it should be run.

DISSOLVE TO:

32

93 AS IS.

INSERT DIALOGUE:

1st WOMAN
Lemme help you tote some o' them things, chile.

(THE WOMAN SITS DOWN A LITTLE IRON STOVE, and looks around nervously.)

2nd WOMAN
I never expected to have to move this. Tim's mother gave me this/just for her died. stove

1st WOMAN
You lucky you still got it with this here-----

(SHE LOOKS AROUND CAREFULLY)

with this new Mr. Dill around, movin' ever-body all together.

2nd WOMAN
Shss-ss-s! MR. DILL'S BROTHER'S POP-UP CAMERA NEARBY. him o' Mr. Cass, one, liable to right here.

1st WOMAN
(AS THEY MOVE ON WITH THEIR BURDENS)
Them kind o' peoples musta done a lot o' favors for de devil----de way they pop up cuta de ground.

45-46

106 MEMORANDUM

The use of the steamboat idea seems to MUSE-
HUGHES to be bad for the following reasons:

1. That TIM'S objective is not to free UNCLE CATON, but to keep him, since CATON is his best friend.

2. TIM wishes simply to keep CATON from being sold away from BAYOU LOVELLE into an uncertain future. TIM also knows that his father would not wish their favorite house & servant to be sold.

3. ALSO if CATON is to go NORTH by boat, why would he not go? Tim is also a boat tickets?

4. Where does TIM get enough money for boat tickets?

5. CATON'S consenting to go North and leave little TIM weakens character very greatly. The OLD MAN loves the boy and would not wish to leave him alone and in trouble.

6. We have tried throughout this picture to avoid conflict between the ideals of the North and South. This scene would suggest that conflict. The conflict in this picture is between the idealistic old South of benevolent master-slave relationship, and the mean, money-driven ugly and unpleasant minority (we hope) as represented by CASS.

7. The idea therefore should be TIM'S desire to preserve the beautiful relationships as represented by BAYOU LOVELLE before REID'S death, as represented by his wish to retain CATON and save him from the bad forces, but still keep him in the hope of re-establishing the ideal relationships of the era in the scenes.

8. This scene also seems to us to spoil some of the comedy values that follow.