2.

7. (CONTINUED)

8.

TILLIE

De Lawd sho' shakes hands wid dis
ground! We stick de seeds in an'
de crop comes out bigger every year!

DELLA

Do tell it, chile!

TILLIE

Ain't no time fo' chewin'. We
gotta git done in time!

DELLA

Dat's de truth! -- Look-a here,
honey --

TILLIE

Humph?

DELLA

(indicating big basket
of rags near shed)

Uncle Caton done gib us a big batch
o' new rags! Jes' nuff to finish
our quilt.

(pulls out basket, picks
up rags and lets them
fall thru her fingers)

Ain't dem pretty? -- Right from de
big house!

TILLIE

(admiring rags)

Looks like a rainbow in full bloom!

DELLA

Bloom? -- You mean blossom, honey?

(Laughs)

TILLIE

Keep workin', chile! -- Wid goin'
to de cane dance -- an' gittin' de
quilt made by Sunday --

DELLA

Us both gwine be laid up wid
rheumatics --

(Laughs)

The general activity continues.

DISSOLVE TO:

9. EXT. CHICKEN PEN (DAY)

10. MEDIUM SHOT

Pickaninnies are shoing chickens and turkeys into the pen.
A mongrel dog is also in evidence.

FIRST BOY

(to chickens)

Shoo! Shoo, dere! Shoo!

(CONTINUED)

6.

22. (CONTINUED)

23.

24. Both laugh gleefully. She offers him a piece of the sugar

25. cane. He refuses, but she chews a bit.

26.

LULU

You know Mars Reid say -- it's
all right fo' us to git married
nex' Sunday --

LUKE

I'se almos' pinin' my heart away --
waitin' fo' dat day --

Luke has never stopped grinding the knife, and testing it
with his finger after he moistens it with his tongue.

LULU

I has heart pains, myself -- Luke.

From under the cane she takes a flowered vest of about
1830 vintage.

LULU

Look, Uncle Caton gib me dis pretty
vest -- say you must wear it Sunday
when dey tie de <u>string</u>.

LUKE

You mean de weddin' knot --

He stands grinning and admiring the vest, with no effort to
take it.

LULU

Um, um! Yo'll be de grandes' thing
dere, Luke, dressed up in dat
<u>scrumptious</u> vest ...

Both are laughing as CASS, the overseer, walks into scene.
Lulu quickly puts vest back in basket and exits hurriedly.
Luke starts to sharpen knife, turning the grindstone
rapidly.

CASS

You ain't killed but a hundred hogs
today -- an' now you're wastin'
time!

LUKE

What's de matter, Mistuh 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 stops with his knife gleaming, but paying no attention
to it, giving no impression that it is a weapon.

LUKE

You ain't gwine whip me.

CASS

(quickly)
Put that knife down!

(CONTINUED)

9.

32. INT. PLANTATION OFFICE (DAY)

MEDIUM SHOT

The room is a luxuriously appointed gentleman's den and
office. Hunting trophies are in evidence, mounted fish
on the wall, bookshelves, framed sporting prints, a safe
in one corner, etc.

Seated at a desk are Reid and Dill. Reid is just finishing
a mint julep as Dill, ignoring the mint julep at his elbow,
completes transcribing some figures from account books to
a paper on the desk before him. UNCLE CATON, a white-
haired, benevolent-visaged Negro family servant, is hovering
about in readiness to re-fill Reid's glass. Reid, looking
over the top of his glass, watches Dill's figuring with
amusement. The scene opens slowly. Finally Dill finishes
transcribing the figures to the paper, and looks up at Reid.

DILL

I'm ready now to give you an
accounting for the year, Timothy.

REID

(gesturing at Dill's
glass)

Finish your drink first.

DILL

(ignoring his drink)

Again I must call your attention
to your improvidence. -- I'm not
trying to run your life --

(indicating papers)

but facts are facts.

REID

(whimsically)

You've got your nose so buried in
law books and accountings, my friend,
that you're missing a little of the
joy of living, aren't you?

DILL

(a bit impatiently)

Pay me my fee, Timothy, and let me
go --

REID

(placatingly)

Now don't be angry with me --

DILL

I cease to be of any value to you
when you won't listen --

REID

(condescendingly, with
a smile and a nod of
his head)

I'll listen.

33. CLOSEUP OF DILL

DILL

(with his eyes on papers)

Fifteen dollars a month for the
upkeep of a slave --

(taps papers emphatically)

Now Timothy, you *know* that's absurd!

15.

51. (CONTINUED)

TIM
(turning to Gumbo)
Missed it that time!
(extends his hand
for another pit)
Hurry up and eat that peach!

GUMBO
(chewing rapidly)
Can't go no faster, Mars Tim.
I'se pretty near full o' peaches
now!
(burps)
'Scuse me!

He extracts another pit, hands it to Tim, who launches it
at the bottle o.s.

52. EXT. FENCE (DAY)
CLOSE SHOT ON BOTTLE

A pit hits bottle and knocks it from fence.

53. EXT. PLANTATION GROUNDS - NEAR FENCE (DAY)
CLOSE SHOT - TIM & GUMBO

TIM
All right, Gumbo -- you can stop
eatin'.

Gumbo sighs with relief. Over scene comes:

UNCLE CATON'S VOICE
Mars Tim!

The boys turn and look off at the sound of Uncle Caton's
voice.

54. MEDIUM SHOT

As Uncle Caton drives up in a carriage, and stops beside
the boys.

UNCLE CATON
(teasingly, to Tim)
'Pears like you done forgot all
about de cane dance.

TIM
Oh, no, I haven't! -- We've just
been waiting for you!

UNCLE CATON
Well, yo' papa's waitin' fo' <u>you</u>.

Tim starts to climb into the carriage.

UNCLE CATON
(turning to Gumbo)
An' you mama say come up to de big
house an' help peel de 'tatoes fo'
supper.

(CONTINUED)

18.

61. MED. CLOSE SHOT

Group of cane cutters, at closer hand, showing the splendid
physical character of the slaves. The women are magnificent
specimens, reflecting a rich plasm of virility. The men are
brawny, strapping, their skins glowing in the sun like
oiled bronze. There is a sense of urgency in their actions
as they slash away at the stalks with their knives. The
very air seems charged with a current of joyous expectation.
CAMERA MOVES IN on two men and a woman cutting away at the
cane. They are arrested by the creaking arrival of an
ox-cart. They look up alertly.

62. MED. SHOT - ANOTHER ANGLE

63. The ox-cart coming to a halt. The cart is piled high with branches and leaves as a "cover" for something hidden underneath. Two slaves enter and approach the Negro cart driver.

FIRST SLAVE
(with interest)
You got 'em in dere?

DRIVER
Sho! I'se got 'em.

He jumps down from the cart, goes to the rear and begins
lifting the branches, the other slaves helping him. As the
branches are removed they disclose three voodoo drums
within the cart.

FIRST SLAVE
Whew! Voodoo drumst

They take the three drums from the cart quickly and ease
them to the ground. Second slave starts to strike one of
the drums. The driver catches his hand.

DRIVER
Quit dat! If'n Mistuh Cass hear
you hit dat drum now we ain't gwine
have no drummin' at de cane dance.

He gathers up an armful of cane leaves and begins to conceal
the drums. The other slaves assist him.

64. EXT. ROAD (DAY)
LONG SHOT

Uncle Caton is driving the carriage. Tim and his father are
seated together in comradely fashion. The carriage passes
beneath the spreading branches of magnolias and live oak
trees drenched with hanging moss. As the carriage PASSES
CAMERA we see Gumbo, legs dangling, sitting on the back
springs.

65. <u>DELETED.</u>

66.

67. MEDIUM SHOT

As the carriage crosses the wooden bridge of a bayou. Over
scene is heard:

(CONTINUED)

19.

67. (CONTINUED)

SOUND
(HOOT OF AN OWL)

The horses rear. Uncle Caton firmly reins them in, quiets them, then drives out of shot.

68. MED. CLOSE SHOT (PROCESS)

Tim, Reid and Uncle Caton.

REID
(to Caton; gesturing
at horses)
Pretty skittish, eh?

UNCLE CATON
(apprehensively)
Sho' dey's skittish -- Ain't you
heard dat owl hoot, Mars Timothy?
-- Owl hoot in de daytime is sho'
bad luck!

REID
(exchanging a smile
with Tim)
Owl hoot? Nonsense!

69. CLOSE SHOT - GUMBO (PROCESS)

on rear of moving carriage. He is hooting like an owl.

SOUND
(HOOT OF OWL)

70. MED. CLOSE SHOT (PROCESS)

Uncle Caton looks back apprehensively over his shoulder, then starts to sing.

UNCLE CATON
(singing)
Oh, dem Golden Slippers -
Oh, dem Golden Slippers -
Golden Slippers I'm gwine ter wear -

Tim, amused, nudges his father and indicates that it is Gumbo on back of carriage who is making the hooting sound.

REID
(now in on it)
Why are you singing, Caton?

UNCLE CATON
 feigning casualness)
Oh ... jes' 'cause I likes to sing,
Mars Timothy.

TIM
(joyously)
Well, if you really want to drawn
out that hoot owl, Uncle Caton,
we'll help you!

20.

71. TWO SHOT - CATON AND TIM (PROCESS)

singing together.

UNCLE CATON & TIM
(singing)
Oh, my Golden Slippers am laid away,
Kase I don't spec ter wear 'em till
my Weddin' Day --

72. CLOSEUP OF REID (PROCESS)

as he joins in the song.

REID
(singing)
An' my long tailed coat dat I love
so well
I will wear up in de chariot in de
morn' -

73. MEDIUM SHOT - THE THREE - (PROCESS)

The carriage travels under the expansive branches of the
trees as the three sing.

UNCLE CATON, REID & TIM
(singing)
An' my long white robe dat I bought
last June
I'm gwine ter git it changed
Kase it fits too soon -

74. CLOSE SHOT - CATON (PROCESS)

on the driver's seat. His head swings in tempo to the lilt
of the song.

UNCLE CATON
(singing)
An' de old gray horse dat I used
to drive -

GUMBO'S VOICE
(o.s.)
I will hitch up to de chariot in
de morn'.

Caton's eyes bulge as he starts, thinking it is a ghost.

UNCLE CATON
(reining in horses to
a dead stop)
Whoa, Satant!

Caton sits petrified without turning his head an inch.

75. MEDIUM SHOT - REID AND TIM

as they rise and look over the back of carriage.

28.

120. MED. CLOSE SHOT - REID

watching the cane dance. Suddenly he looks off and sees:

121. MEDIUM SHOT - THE REID HORSES

Both horses are extremely nervous and are prancing and rearing as the music and noise of the cane dance increases in volume. The first horse is particularly restive for he has entangled his foot in one of the traces. He tugs at the rope which tethers him. The rope begins to come loose.

122. MEDIUM SHOT

on Reid, to include Tim and Uncle Caton. Reid reacts with concern to the way the horses are acting up. He glances over at Uncle Caton, sees the latter is engrossed in the dance, and then starts off toward the horses. Tim's attention is centered on the dance and he does not notice his father move off.

123. MEDIUM SHOT - THE HORSES

The first horse, still tugging at the rope, succeeds in unloosening it. He now begins to plunge and rear and lash out with his hooves, which causes the other horse to become more restive.

124. MED. PAN SHOT - REID

Hurrying towards the horses o.s.

125. MEDIUM SHOT - THE HORSES

Both horses are now plunging and rearing, as Reid hurries up to them. He grabs the bit, attempts to quiet the animals. Suddenly they rear, jerking the bit from Reid's grasp, and then plunge forward, knocking Reid to the ground.

126. MED. CLOSE SHOT

of Reid on the ground. The horses' feet, followed by the carriage, pass over the man's prostrate body.

126-A. CLOSE SHOT - TIM

He looks off and reacts with alarm as he sees the accident to his father. Quickly he turns and looks around anxiously for Uncle Caton.

TIM
Uncle Caton!

Without waiting for Caton to respond, Tim rushes off towards his father o.s.

126-B. FLASH SHOT - UNCLE CATON

He has turned at the sound of his name. He reacts with concern as he sees what has happened, and rushes out of scene.

29.

126-C. FLASH SHOT - SEVERAL SLAVES

As they see what has happened and rush off.

126-D. MED. LONG SHOT

of the runaway team of horses dragging the careening
carriage.

126-E. MEDIUM SHOT

on Reid on the ground, as Tim runs in and bends over his
father anxiously.

TIM

Dad!

A moment later Uncle Caton runs in, followed by several of
the slaves.

UNCLE CATON

(anxiously)

Quick! Git some rags fo' a bandage!

One slave runs off. Others begin gathering around. From
the dismay on the faces of Tim, Uncle Caton and the group
of slaves it is clear Reid has been seriously injured.

127. LONG SHOT

The dancers in the distance, still unaware of this, are
reaching the crescendo of music and movement. Then one
drum misses a beat.

128. CLOSE SHOT

Negro with drum slowing the rhythm of his beating as he
looks off.

129. CLOSE SHOT

Negro singers slow to a stop as they too perceive some
calamity has happened.

130. CLOSE SHOT

Dancers arrest their movement.

131. LONG SHOT

Transition in the general mood from wild gaiety to growing
apprehension.

132. MED. CLOSE SHOT

Tim, Uncle Caton and the group around Tim's father. We do
not see the father who has been placed in a sitting position
or laid on the ground. Tim looks apprehensively to Uncle
Caton. Tears begin rolling down the old Negro's face.

30.

133. LONG SHOT

The general scene. Both picture and sound slow to a stop.
There is a moment of absolute silence. Then a wave of
movement and sound sweeps over the scene -- a mounting wall
-- as we:

FADE OUT.

FADE IN:

134. OLD PRINT OF NEW ORLEANS, over which is superimposed the
title:

NEW ORLEANS

DISSOLVE TO:

135. INT. JUDGE RAVENAL'S SITTING ROOM (DAY)
to FULL SHOT

144.

inc. This is an elegant room with rich hangings, massive
furniture and an enormous oil painting of Napoleon on
the wall.

Dill is seated opposite JUDGE RAVENAL who sits directly
in front of the painting of Napoleon, his gouty foot
propped up before him. A side table at his elbow is loaded
down with medicines, plus a platter of oysters and a bottle
of white wine. A number of Negro servants attend the old
Judge's every whim. One is fanning him; a second is
lighting incense to keep the mosquitoes away; a third is
bringing an extra cushion for the Judge's gouty foot; a
fourth is pouring some medicine into a tablespoon.

As scene opens the servant feeds the first spoon of medicine
to the Judge who makes a wry face as he gulps it down. In
his hand he holds some papers.

JUDGE RAVENAL

I want to compliment you, Mr. Dill,
on the orderly way in which you
present this estate.

DILL

Thank you, Judge Ravenal.

JUDGE RAVENAL

All of the claims have been disposed
of?

DILL

Yes, sir.

The servant feeds the Judge a second spoon of medicine.
Again the Judge makes a wry face as he takes it.

JUDGE RAVENAL

(turning pages
perfunctorily)
Everything's in good shape?

(CONTINUED)

31.

135. (CONTINUED)

to

144.
inc.

DILL

As good as could be expected with
Reid's absolute disregard for all
business principles.

JUDGE RAVENAL

Yes -- but a gay fellow -- too
bad he died.

(as one of the hovering
servants comes too near
his foot)

Get away from that foot!
(turning to servant
with medicine)

Bring me those oysters!

The servant with the medicine, before obeying this command,
gives the Judge a third spoon of medicine, which he takes
with a wry face.

JUDGE RAVENAL

(turning to Dill)

Now what is it you'd like me to do?

DILL

Merely a formality --

(gosturing to papers
in Judge's hand)

-- the approval of the methods of
economy I have already explained.

JUDGE RAVENAL

Of course.

Now the servant brings the oysters to the Judge. He gulps them, while Dill waits patiently. The Judge finishes the oysters, smacks his lips. Dill is about to speak, but before he can do so the Judge motions to one of the servants to hand him the bottle of white wine on the side table. The servant obeys with alacrity. The Judge looks at the label, nods approvingly, then uncorks the bottle and sniffs the wine. The aroma pleases him. He pours a glass for himself and one for Dill.

JUDGE RAVENAL

(handing Dill his glass)

Try this -- from Papa Doodon's Inn --

Dill accepts the glass. The two drink.

JUDGE RAVENAL

(winking at Dill)

A gift from Jacques Bouton -- sly
old rascal -- trying to win my
favor -- hates to pay his tailor --
I made him -- not a bad fellow,
Bouton -- know him?

DILL

(annoyed by the delay)

Slightly ... slightly ...

JUDGE RAVENAL

Gosh dang this gouty foot of mine --
keeps me from visiting his place --
love the atmosphere -- serves good
food too.

(CONTINUED)

35.

154. (CONTINUED)

to
157.
inc.

CASS
(making note on slip
of paper)
Yes, Mr. Dill.

DILL
And let me have a complete list
of all the slaves on the property
-- and what they do.

CASS
(making another note -
then)
And speakin' of slaves -- I'm
still havin' trouble with that
head butcher, Luke. He ain't
worth havin' around less'n I
blacksnake him down to his proper
size.

DILL
(a bit impatiently)
The slaves are in your hands,
Cass.
(dismissingly)
That's all for the present.

CASS
Yes, sir.

Cass walks out. Dill picks up his papers and begins
figuring.

158. INT. REID DINING ROOM (DAY)
to
MEDIUM SHOT

163.
inc. Tim is seated at the head of a long and highly polished dining table; Caton is approaching from side table with a luncheon plate in one hand, containing food for Tim, and in the other a plate of corn bread. He places the plate of food before Tim, who is deeply thoughtful.

UNCLE CATON
(cheerily)
Dar you is, Mars Tim -- chicken,
peas an' some o' dat plum jam -- an'
cone pone right hot out o' de oven!

Tim picks up his fork and starts to toy with the food.
Uncle Caton picks up a silver pitcher and starts to pour
a glass of milk for Tim.

UNCLE CATON
(as he pours milk)
Come on, boy -- how you gwine grow
up an' take care o' Bayou Lovelle
widout you eat yo' lunch? -- You'se
de young marster now.

TIM
But, Uncle Caton, everything's so
different with Mr. Dill around --
he's so strict with everybody -- and --

(CONTINUED)

36.

158. (CONTINUED)

to

163.
inc.

UNCLE CATON

Well, you see, Mars Tim, it's dis
way -- Mistuh Dill, he don' under-
stand de Souff -- but I 'specs
when he gits used to runnin' dis
plantation -- everything's gwine
be jes' de way it used to be. --
Right now, Mistuh Dill jes' gotta
pay 'tenshun to business -- 'cause
under de will he's de executioner.

TIM

I know, but --

UNCLE CATON

Come on, boy.

Uncle Caton tries to get Tim to eat, but the boy pushes
aside his plate.

UNCLE CATON

You know -- right now I kin see yo'
papa up in Heaven -- settin' on a
chair right by de throne -- an' de
harp a-playin' "Little David Play
Yo' Harp" -- an' de angels is
a-singin' -- an' yo' papa jes'
smilin' an' lookin' right down --
an' you know what he say?

TIM

(eagerly)

What?

UNCLE CATON

He say -- Boy, you bettah eat yo'
lunch!

Tim laughs at this and begins to eat. There is a commotion
at the door and over scene is heard:

GUMBO'S VOICE

Mars Tim!

Mars Tim!

As Tim and Uncle Caton look toward the door, Gumbo enters
the scene on the run.

GUMBO

(excitedly)

Mars Tim, Mistuh Cass is fixin' to
whip Luke!

Caton reacts to this with apprehensiveness, as if having
expected something of the sort.

TIM

What?

GUMBO

Dey's gitten ready now.

Tim jumps up from the table, uncertain of what to do at
this announcement. He hesitates a minute, then runs out of
the room. Uncle Caton and Gumbo hurry after him.

WIPE TO:

39.

FADE IN:

170. EXT. SLAVE QUARTERS (NIGHT)

171. MEDIUM SHOT

172.

173. Ten or twelve Negroes, men and women, are gathered in front of a cabin, some standing, others sitting on the cabin porch, on the ground, or on the roots of a nearby tree. All are silent and brooding. Luke, Lulu, Janie and Gumbo are in the group. For once Gumbo is quiet. Luke is sitting with his head sunk between his arms. Lulu, seated at his side and slightly behind him, is eyeing with loving concern his bruised back. Slowly Luke raises his head.

LUKE
(quietly)

If de new Marstuh gwine sell
Caton -- what he gwine do next?

LULU
(with feeling)

Only de good Lawd knows.

GUMBO
(shrilly)

But dat's what he gwine do.

JANIE
(almost in an undertone)

Hush yo' mouth, boy.

They all fall again into their silent brooding. Hannah, sitting on the porch with a clay pipe in her mouth, begins to hum a doleful slave tune. The others do not join her.

## SOUND
(HANNAH HUMMING DOLEFUL SLAVE TUNE)

(NOTE: - for Mr. Vorhaus. Perhaps some Closeups of individuals, immovable in their brooding, would be effective at this point, with Hannah's humming backgrounding the scene.)

174. INT. TIM'S BEDROOM (NIGHT)
to
MEDIUM SHOT

180.

inc. Tim, in a rage, is giving vent to his temper at Dill's decision to sell Uncle Caton by storming about the room. Uncle Caton is getting Tim's night-shirt out of a closet. Tim expresses his anger and resentment by kicking over a chair, which clatters to the floor.

UNCLE CATON
(quietly)

Come on, Mars Tim - an' git ready
fo' bed.

He lays the night-shirt over the foot of the bed as he speaks, then crosses and rights the chair.

TIM
(explosively)

What right's he got to sell you?!

(CONTINUED)

40.

174. (CONTINUED)

to
180.

This time Tim picks up an antique box from a wall table and inc. throws it violently to the floor. An assortment of trinkets falls out, along with a number of gold coins. Caton again quietly crosses to pick up the box and its contents.

### UNCLE CATON

(quietly)

Dere ain't no sense carryin' on,
Mars Tim. You ain't gwine git
nowheres bustin' up things like
dis.

He stoops to pick up the scattered trinkets, while Tim
continues to storm about the room. Uncle Caton gathers from
the floor a number of gold coins, which he holds in his
hand, looking up at Tim.

### UNCLE CATON

(brightly - in an effort
to divert Tim from his
anger)

Here's dat ole Spanish money yo'
Papa gave you a long time ago.

He gets to his feet with the box in one hand and the coins
in the other, and goes toward Tim, holding out the coins.

### UNCLE CATON

Look at 'em! Dey's solid gold!
Ain't dey bright and shiny?

### TIM

I don't want to see 'em!

Caton's face falls. He drops the coins into the box and
places it quietly on the table.

### UNCLE CATON

(pleadingly)

Come on now, Mars Tim -- skin out'a
dem clothes an' git ready fo' bed.

Tim begins to take off his shirt as Caton goes to bed and
picks up the night-shirt from its foot.

### TIM

(as he undresses)

But what right has he got to sell you?

### UNCLE CATON

(turning from the bed,
the night-shirt over
his arm)

Well, when you comes right down to
it -- I didn't have no right to talk
to him dat way.

### TIM

But he was going to whip Luke!

### UNCLE CATON

Yeh -- dat's so.

(he's thoughtful a moment,
then holds up the night-
shirt, stepping toward Tim)

Come on -- put on yo' night-shirt.

(CONTINUED)

(CONTINUED)

41.

174. Tim slips the night-shirt over his head and slips out of
    to his trousers. There is silence for a moment or two, then

180. as Tim notes the expression on Caton's face:

inc.

TIM
(softly)
I'll buy you back some day,
Uncle Caton.

UNCLE CATON
(as Tim climbs into bed)
Sho'! Dat's what I knows --

Uncle Caton, trying to fight the tear out of his voice,
begins to laugh.

TIM
What you laughing at, Uncle Caton?

UNCLE CATON
I jes' recollectin' 'bout de rooster
an' de laughin' hyena.

181. ANOTHER ANGLE

182.

183. Tim reacts with interest and sits up in bed to listen

184. attentively as Uncle Caton tells a story with animal
sounds interspersed.

UNCLE CATON
You know, one day way back in Africa
dere was a Laughin' Hyena, dat found
a Rooster sittin' in a tree. De
Laughin' Hyena laugh -- he-he-he!

Come down, Mista Rooster, dis is a
holiday. Nobody can't eat each other
on dis day.

Is dat so, says de Rooster.

De Lion, de big king, say so, says
de Hyena.

De Rooster look down at de Laughin'
Hyena, den he look way off.

I kin see by yonder cloud o' dust
dat dis is sho' nuff a holiday.

What you-all see in dat cloud o'
dust, says de Hyena.

Men an' dogs -- crows de Rooster.

Dogs an' me ain't friends, says de
Laughin' Hyena. An' he was l-o-n-g
gone.

De Rooster stood up an' crowed --
caw-caw-caw-caw-caw -- I done found
you out. All you wanted to do was
to eat me up.

As the story ends, the tears stream down Uncle Caton's
face. He can no longer pretend to be cheerful. CAMERA MOVES
IN to a C.U. of Tim. Over scene is heard:

(CONTINUED)

44.

192. INT. UPSTAIRS SUITE AT PAPA DOODON'S INN (DAY)
to MEDIUM SHOT

197. inc. This is a sitting room with a door through which can be seen a portion of an adjoining bedroom.

Uncle Caton, wearing dress, hat and white gloves, and with
his veil raised, is sitting in a satin-covered chair. He
is speaking very nervously to Tim:

UNCLE CATON

Mars Tim, I ain't gwine fool nobody
in dis hotel!

TIM

But you gotta stay here till I
find out about the steamboats!

UNCLE CATON

Looky here, Mars Tim -- you better
forgit 'bout dem steamboats --
'cause I ain't gwine nowheres an'
leave you behind.

TIM

Yes you are too. You're going up
North till I get things fixed so
Mr. Dill can't sell you.

UNCLE CATON

(protesting)

But Mars Tim, dey's sho' to catch
me on de steamboat!

TIM

No they won't. Remember you're a
white lady -- and you're deaf and
dumb.

UNCLE CATON

Does I look like a white lady? --
An' if I' se deef an' dumb, how's I
gwine tell de people on de boat
what I wants?

TIM

After you've started, maybe you
can make out you're a roustabout.

UNCLE CATON

Dat's gwine look pretty fine! --
I goes into de cabin a white lady --
an' I comes out a roustabout!

TIM

(starts toward door)

I'll send you something to eat.

UNCLE CATON

(terror-stricken)

You ain't gwine leave me in here?!

TIM

You'll be safe if you just pull that
veil down.

(as Caton hastily pulls
down the veil)

I'm going to try you out now.

(CONTINUED)

47.

198. (CONTINUED)

to

202. inc. Jasper re-enters at this moment, carrying a bowl of mush on a tray, and accompanied by another waiter who carries silver table service and a pitcher of milk. Jasper places the bowl of mush to Tim and uncovers it.

BOUTON

(sniffing)

Ah -- food fit for the palate of the most discriminating epicurean!

As the second waiter arranges the table service, and Jasper begins to serve Tim with a flourish:

DISSOLVE TO:

203. to MEDIUM SHOT

207.

inc. Uncle Caton, wearing the white gloves, is still sitting in the satin-covered chair, looking very worried.

SOUND

(KNOCK ON DOOR)

Uncle Caton quickly puts on his hat and veil, managing to do so just as the door swings open to admit two servants, one carrying a little breakfast table. (Note: Obviously this must not be the present day hotel folding service table.) The other servant carries a tray of breakfast food, including a covered dish. The servant carrying the table, places it before Uncle Caton, whips a cloth from under his arm, which he spreads upon the table quickly. The other servant rapidly transfers food from the tray to the table.

FIRST SERVANT

(during above action)

The young Marstuh ain't told us if you likes yo' eggs boiled - fried - or scrambled -- so we done brought all three.

Caton moves his head in their direction, but gives no answer.

SECOND SERVANT

(to other servant)

Ain't Mars Bouton say she can't hear a totally thing?

FIRST SERVANT

Hm. Dat's so. I reckon we jes' let her take her pick.

The two servants now take up positions, one on either side of Uncle Caton, ready to serve this aristocratic old lady. One of them lifts a tall silver coffee pot and pours a cup of coffee. Behind his veil, the whites of Caton's eyes gleam as they roll from one servant to the other. Then he makes a sudden gesture of dismissal with both hands. The two servants see this, a little surprised.

FIRST SERVANT

Hmm -- I reckon she likes her privacy.

(CONTINUED)

51.

217. (CONTINUED)

to

226. During the above dialogue Bouton has crossed behind the desk and has opened a money drawer beneath it. Tim digs the Spanish coins from his pocket and lays them on the desk. Bouton spreads out the gold coins, peering at them.

BOUTON

It is a pleasure to be of service
to you and your estimable aunt.

TIM

Oh, thanks.

BOUTON

(casually, picking up
coins and counting
them)

Will the good lady be gone long?

TIM

(hesitantly, and
plainly concerned)

Why -- I don't know, Mr. Bouton.

BOUTON

(continuing business
with money)

I trust no problems of any magnitude
are troubling you -- If I can
assist in removing concern from your
mind --

(mumbling unintelligibly)

Let me see -- two seven, present
rate of exchange -- forty nine --
one twenty one --

TIM

(concerned)

I don't want to bother you -- but --

(Hesitates)

BOUTON

(looking up; very
graciously)

Yes, my boy?

TIM

(hesitantly)

Well, Mr. Bouton -- when somebody
dies -- and another man is taking
care of everything -- you know --
the ex -- the executioner --

BOUTON

(business with money)

You mean the executor, I presume?

TIM

Yes, sir. Well -- can he do anything
he wants?

(CONTINUED)

56.

234. (CONTINUED)

Gumbo's eyes bulge as he reacts to this.

CASS'S VOICE

That oughta work out all right.

Without waiting to hear more, Gumbo bolts out the door.

235. MED. CLOSE SHOT - DILL & CASS

DILL

I'll arrange for the sale when
I'm in New Orleans tomorrow.

Cass nods.

DILL

(again scanning
manifest)

Hmmm ... let's see ... the big
house -- Janie -- Gumbo -- Caroline
-- Caton --

(suddenly it dawns on
him)

Say, where is Caton?! -- I haven't
seen him all morning -- nor Timothy
either --

Dill rises quickly and starts purposefully out of the room.
Cass rises to follow him.

DISSOLVE TO:

236. EXT. PLANTATION PATH (DAY)

PAN SHOT

on Gumbo riding a young jackass bareback, going along the
road toward the vegetable shed. He is using a little twig
for a whip.

237. EXT. VEGETABLE SHED (DAY)

238. FULL SHOT

Many women and children are packing vegetables. Carts,
loading boxes of vegetables, are coming and going. In
rides Gumbo, through the crowd, frightening the children.

WOMEN

(yelling)

Look out, fool, you'll run over dem
chillun!

Git off dat mule, you empty-headed
devil!

GUMBO

I jes' come to tell you -- dey's
gonna sell all de slaves!

They react to this news, crowding around Gumbo so close
he can't get out.

(CONTINUED)

57.

237. (CONTINUED)

238.

**GUMBO**
Let me git out o' here! I gotta
tell ebrybody!
(to mule)
Git up, Revelation!

He rides out of scene.

239. CLOSE PAN SHOT

Gumbo riding along, whipping the mule with the little twig.

**GUMBO**
(chanting sing-song
fashion)
New Marsa gonna sell all de slaves --
New Marsa gonna sell all de slaves --

240. CLOSE SHOT

of mule's feet hitting the ground.

**SOUND**
(MULE'S HOOF'S)

**GUMBO'S VOICE**
(chanting)
New Marsa gonna sell all de slaves --
New Marsa gonna sell all de slaves --

WIPE TO:

241. EXT. COTTON WAREHOUSE (DAY)
to FULL SHOT

246. inc. Slaves trucking cotton. Negro Driver calls out:

**NEGRO DRIVER**
Come on you bullies -- roll dat
cotton!

Over scene is heard:

The slaves look up from their work and react. Luke, the
big butcher, enters scene just as Gumbo rides up on mule.

**GUMBO**
(chanting)
New Marsa gonna sell all de slaves --
New Marsa gonna sell all de slaves --

**LUKE**
What dat you say, boy?

**GUMBO**
New Marsa gonna sell all de slaves!

(CONTINUED)

59.

249. INT. FOYER PAPA DOODON'S INN (DAY)

250. MEDIUM SHOT

Claire is behind the desk attending to the wants of a guest. A few other characters are moving through the foyer, and there is a low hum of voices as Tim enters.

### SOUND
(LOW HUM OF VOICES)

Bouton turns from his conversation with a guest as he sees Tim enter.

### BOUTON

(to Tim)

You arranged your steamer accommodations without trouble, my boy?

### TIM

(pausing - with a little concern)

They said the boat doesn't leave till tomorrow.

### BOUTON

Ah, then we shall have the pleasure of your presence a day longer.

Bouton returns to his conversation with the guest as Tim continues on and disappears up the stairs.

### DISSOLVE TO:

251. INT. TIM'S SUITE AT INN (LATE AFTERNOON)

252. MEDIUM SHOT

Tim is seated in a chair. Uncle Caton, with the hat and veil off, but wearing the white gloves, is standing before him, offering a vehement argument.

### UNCLE CATON

Mars Tim, you knows I don't like dis boat business noways -- but if we's got to stay here till tomorrow -- please let me take off dis dress an' be your man servant -- 'stead o' your woman aunt!

### TIM

Not till you're safe on that boat!

### UNCLE CATON

But if somep'n do happen -- here I is all dressed up in things I can't run in!

At this moment there is a knock on the door.

### SOUND
(KNOCK ON DOOR)

Uncle Caton jumps for his hat and veil, puts it on backwards. Tim runs to him, quickly adjusts it, jerks down the veil. Tim calls:

### TIM

Come in ...

62.

261. (CONTINUED)
to

265. beside him. Down the center of the table are candelabra
inc. glittering with crystal pendants. Waiters in livery
are serving the guests. There is a gay chatter of
laughter and conversation.

## SOUND
(GAY CHATTER OF LAUGHTER & CONVERSATION)

Shortly after the scene opens, Bouton rises, a glass in
his hand.

## BOUTON

At the opening of our festivities
-- the toast of welcome -- for a
hundred years the symbol of the warm
and glowing hospitality of Papa
Doodon's Inn.

(with genuine grace)

Here within these walls may no
troubles touch your brow --

(puts his hand on Tim's
brow)

--no burdens weigh upon your shoulders --

(drops his hand to Tim's
shoulder)

--for here we offer you the spirit
of true hospitality -- and here we
seal friendships that endure through
the ages.

Casually Bouton places his hand on Tim's arm. Tim clasps
Bouton's hand and looks up at him with a warm smile.
Bouton looks down at Tim and smiles. Then, realizing he
has clasped the boy's hand unknowingly, he smiles at him
again and pats his hand. The guests drink, the men
rising. Tim gets up, realizes he has no wine glass, looks
bewildered for a moment, then suddenly sees a glass of
milk before him, grabs it and raises it to his lips. He
sets his glass down as the others lower theirs. There is
a ripple of applause and gay laughter.

266. FULL SHOT - ANOTHER ANGLE

267.

268. One of the men still standing, raises his glass.

269.

## MAN GUEST

To Papa Doodon's Inn -- to its
genial proprietor Jacques Bouton --
and to his charming wife!

The guests all drink again, the men still standing. Tim
again drinks from his glass of milk. Bouton and Claire
do not drink. Claire smiles her thanks. Bouton beams
his appreciation. As the glasses are lowered, there is
the sound of other guests entering, and Pauline,
accompanied by two young French officers wearing swords,
sweeps into the room. She wears the last word in the
style of the period with as much in the way of decolectage
as is permissible. She is laughing gaily with her escorts
as she enters. Bouton sees her, rises quickly and goes
toward her, the other guests turning to look with interest.

63.

270. ANOTHER ANGLE
to

275.
inc.

ROUTON
(as he reaches Pauline -
with a bow)
Mademoiselle, my most cordial
welcome.

(bowing to officers)
Lieutenant Peret -- Lieutenant
Dubois.

The two officers bow stiffly.

PAULINE
(with a flashing smile)
Good evening, Monsieur Bouton.
We are late -- but delay was
unavoidable.

Bouton waves grandly toward the vacant chairs at the table.
Pauline moves toward them with the three men following.
The men at the table rise as Pauline approaches.

MEN GUESTS
(bowing)
Ma'mselle Dubigny.

Some of the women, apparently cordial, wear smiles which
fail to cover their envy of Pauline's beauty.

Bouton has pulled out Pauline's chair and is about to place
it for her when the two officers step forward and stand at
either side of Bouton.

LIEUT. PERET
(to Bouton)
Your pardon, sir.

LIEUT. DUBOIS
(to Bouton)
Pardon, sir.

ROUTON
(then realizing the
situation)
Oh, certainly.

He retires as the two lieutenants jointly perform the
ceremony of seating Pauline.

PAULINE
(with a flashing smile
first to one officer,
then to the other)
Thank you.
Thank you.

The officers take their places on either side of Pauline.

PAULINE
(to guests as Bouton
resumes his seat)
Good evening, everyone.
(to Claire)
Good evening, Madame Bouton.

(CONTINUED)

67.

284. (CONTINUED)

to
293.
inc.

GUESTS

Sing it, young man!
Come on!
Please!
Etc.

PAULINE

(to Tim - with a flashing smile)

I should like very much to hear it.

The orchestra plays the opening bars of the tune.

SOUND

(ORCHESTRA PLAYING OPENING BARS OF
"LOUISIANA SONG")

BOUTON

(SINGS OPENING OF "LOUISIANA SONG")

TIM

(PICKS UP "LOUISIANA SONG")

(REFRAIN)

Two or three guests begin to sing the next verse along with
Tim. Bouton drops out.

TIM & GUESTS

(SINGING NEXT VERSE OF "LOUISIANA SONG")

(REPEAT REFRAIN WITH
ALL GUESTS JOINING IN)

At end of this Refrain, Tim sings the next verse alone, the
guests joining in the Refrain.

TIM

(TIM CONTINUES SINGING THE REMAINING
VERSES OF THE SONG ALONE, THE GUESTS
JOINING IN ON EACH REFRAIN)

At the beginning of the last Refrain, CAMERA CENTERS on
Pauline and the two officers. Pauline and Dubois are
singing. Peret is silent.

LIEUT. DUROIS

(as song ends)

Delightful, Ma'mselle Pauline.

LIEUT. PERET

I beg to differ with you, sir.

(contemptuously)

Louisiana! -- Louisiana! -- Coarse
provincialism!

LIEUT. DUROIS

And I beg to differ with you, sir --
in this lady's behalf.

(He gets up)

(CONTINUED)

68.

284. (CONTINUED)

to
293.
inc.

LIEUT. PERET

(rising)
My difference of opinion is with
you, sir.

Peret strikes Dubois in the face with his glove. Their hands go to their swords. The duel is on. The guests all rise from the table. Pauline rises, secretly delighted at the fact of a duel being fought over her. Claire wrings her hands. Tim, eyes round with excitement, mounts a chair. Bouton moves forward.

BOUTON
Gentlemen, gentlemen! Take that
dueling to the courtyard!

He hurries to the duelists who are fighting at one end of the room near the entrance door. Pauline is standing watching the progress of the fight with interest, but pretending alarm. Dubois backs Peret against a table on which rests a vase. The vase falls off table and crashes on floor. As Bouton reaches the two men, Dubois pinks Peret in the arm.

LIEUT. DUBOIS
Touché!
(He drops his sword to
his side)

Peret lowers his sword and bows in admission of defeat. Bouton stops, shrugging as he realizes the duel is over. The officers sheathe their swords. Dubois hurries to Pauline, who is near the door.

LIEUT. DUBOIS
Your honor is avenged, Ma'mselle.

At this moment, through the door stalks Dill.

DILL
Whose honor is avenged?

Pauline turns, horrified by Dill's arrival. The guests are now uncomfortable at this new complication, and begin moving toward the door, preparatory to leaving. Tim on his chair is staring at Dill in utter astonishment. He suddenly realizes his danger and drops out of sight behind the guests.

294. ANOTHER ANGLE - NEAR ENTRANCE DOOR

to
296. CAMERA CENTERS on Dill, Pauline, Dubois, Peret and Bouton.
inc.

BOUTON
(advancing to Dill)
Ah, good evening, Mr. Dill.
(trying to cover
everything up)
Come, join our happy gathering.

DILL
(with sarcasm)
A very pleasant evening no doubt.
(to Pauline)
But will you kindly tell me why this
gentleman --
(with a glance toward Dubois)
-- undertakes to avenge your honor?

(CONTINUED)

71.

302. **INSERT:** OPEN JEWEL BOX

There is a glittering necklace inside.

303. INT. DINING ROOM AT INN (NIGHT)
MED. CLOSE SHOT - DILL & PAULINE

PAULINE
(changing immediately)
Martin!

She regards the necklace a little breathlessly, then takes it from its box delightedly, holding it glittering on her fingers.

PAULINE
It's magnificent!

She brushes his cheek with a kiss, then starts to fasten the necklace about her throat.

DILL
(with a pleased smile)
Let me help you.

He steps toward her and starts to fasten the clasp.

304. MED. CLOSE SHOT - DOOR LEADING TO PANTRY

as Bouton enters through door, followed by a waiter carrying a silver tray upon which there are three glasses of wine and a decanter. His eyes catch Dill and Pauline off-scene. His brows rise for a moment, then he smiles with sophisticated understanding of Dill's placation of Pauline, and continues toward them.

305. MEDIUM SHOT
to
PAULINE AND DILL

308. inc. Dill is just finishing fastening the necklace. He and Pauline look up as Bouton enters, followed by the waiter.

PAULINE
(flapping the necklace
with her fingers)
See, Monsieur Bouton -- my new necklace.

Bouton shows barely a flash of astonishment at the elaborateness of the gift.

BOUTON
A lovely adornment for the throat
of a lovely woman, Ma'mselle --
whose beauty outshines even its
brilliance.

PAULINE
(with pleased surprise)
A pretty speech, Monsieur.

BOUTON
(bowing)
A sincere one, Ma'mselle.

(CONTINUED)

74.

311. (CONTINUED)

Tim looks around bewildered a moment, then starts out to
one side.

UNCLE CATON
(stopping him)
If we's goin' North -- we'd jes'
better follow de North star.

They look up at the sky and then start out in a northerly
direction.

DISSOLVE TO:

312. EXT. WOODS (NIGHT)

MED. CLOSE SHOT - TIM & UNCLE CATON

as they come through the brush TOWARD CAMERA.

TIM
(suddenly, as he looks
off - with new hope)
Look! -- We're coming to a road.

Uncle Caton stops, looks off, then reacts. Tim notes his
reaction.

313. REVERSE ANGLE (NIGHT)

SHOOTING over Tim's and Uncle Caton's backs as they look
off down the road toward sugar mill in distance.

UNCLE CATON
(with surprise)
Mars Tim, dat's old Colonel Lowery's
broke down sugar mill.

TIM
(astonished)
Why, that's only half a mile from
our plantation.

As they look at each other with astonishment and dismay:

DISSOLVE TO:

314. EXT. SLAVE CABIN ON REID PLANTATION (NIGHT)

MEDIUM SHOT

HOLD ON THIS BRIEFLY. Tim tiptoes into scene, up to the
open flap of the cabin window, and peeps in. Then he
taps on wooden flap, calling softly:

TIM
Gumbo! ... Gumbo!

GUMBO'S VOICE
Huh? ... Who dat?

TIM
It's me -- Tim! Wake up!

84.

360. INT. BOUTON'S BEDROOM (DAY)

361. MEDIUM SHOT

Bouton is sleeping soundly. There is a little tray of
black coffee beside him.

SOUND
(KNOCK ON DOOR. REPEATED)

Bouton turns over drowsily and frowns.

BOUTON
Get away from that door! Who is
it? What do you want? Don't you
know I was up half the night?

JASPER'S VOICE
(o.s.)
It's someone to see you, suh.

BOUTON
Whoever it is, I'll see him later
when I get up! Go on!

TIM'S VOICE
(o.s.)
It's me, Mr. Bouton! It's Timothy
Reid!

BOUTON
Oh! So it's you, Tim! Come in,
my young friend.

The door opens and Tim enters, followed by Jasper. Jasper
collects the coffee things. Tim approaches the bed as
Bouton sits up.

BOUTON
(laughing)
Did you spend a pleasant night?
How's your <u>aint</u> this morning?

Tim glances at Jasper. Bouton, catching the look, motions
Jasper to leave. Jasper exits.

362. TWO SHOT - TIM & BOUTON
to
364.
inc.
TIM
(earnestly)
Mr. Bouton, could you help me?

BOUTON
At your service.

TIM
He's selling the slaves.

BOUTON
Who's selling whose slaves?

TIM
(disregarding the
question)
You said -----
(then with new thought)
-- that's something dishonest.

(CONTINUED)

89.

378. TWO SHOT - BOUTON & PAULINE

379.

380. at small table. Pauline's vanity has been fed by Bouton's compliments and his manner. She is laughing gaily. Bouton

381. is chuckling.

BOUTON

Still, beauty is a great problem --
A beautiful woman arouses jealousy
among men -- and envy among women.
-- But I suppose it has its
compensations.

They both laugh.

PAULINE

You are very entertaining, Monsieur
Bouton -- but I must go.

(She starts to rise)

Bouton gets up from his chair and moves hers from its
place.

BOUTON

You leave me desolate. However,
in the future I hope to see far
more of you -- and Mr. Dill -- than
in the past.

PAULINE

(brightly)

On the contrary.

BOUTON

Wednesday's dinner is to celebrate
a wedding?

PAULINE

(leaning toward him
confidentially)

A confidence?

(as Bouton nods)

You guessed it. -- Mr. Dill and I
are to be married. -- On Thursday
we leave for Europe.

Bouton's face shows his satisfaction at this news, but he
covers it with a smile of surprise.

BOUTON

Ma'mselle, you astonish me.

PAULINE

(with warning)

A confidence.

BOUTON

Of course, of course. -- My
felicitations.

During this scene they have moved from the table across
the foyer to the door which Bouton opens with a flourish.

PAULINE

Good day, Monsieur.

(CONTINUED)

92.

386. (CONTINUED)

to

393. The Judge picks up a bell from the table and rings it loudly.
inc.

SOUND
(BELL RINGING)

Several other servants enter, including an enormous Mammy.

JUDGE
A little repast for these gentlemen,
Glory!
(to Bouton and Tim)
You'll join me? --
(to servants)
Just a little of your oyster loaf,
Cuffy. -- I reckon, a bit of
mulatto rice. --
(to Tim)
You like filet of sole, my boy?
(Tim nods politely)
Some tart brandied peaches -- a
slice or so of souse meat -- and
a couple of pans of cat-eyed
biscuits.

BOUTON
But please, your honor, our business
is a little pressing. Can't we
disperse of it before we dine?

JUDGE
Oh come, come -- what's more important
than an excellent meal?

TIM
(interjecting earnestly)
Judge Ravenal, this is awfully
important to us.

JUDGE
(paternally)
My boy, you should conquer that
fault in your character. Impatience
is a bad thing --
(turning to Bouton)
-- don't you agree, Bouton?
(to Tim)
Dismiss it for the time being. We'll
talk these things over leisurely.

BOUTON
(insistently)
But Judge, this boy is in serious
difficulty.

JUDGE
(eyeing Bouton narrowly)
I can imagine that in association
with you, Bouton, he would get into
difficulty.

TIM
But you don't understand, sir.
Mr. Bouton is helping me.

(CONTINUED)

93.

386. (CONTINUED)

to

393.

inc.

JUDGE

I should be wary of that help.

BOUTON

(ignores this)

The matter concerns the disposal of
young Master Reid's slaves -- and
his happiness.

JUDGE

(suspiciously)

What are you going to get out of
this, Bouton?

BOUTON

(ignoring question)

If I'm not taxing your patience,
Judge Ravenal -- and if you could
find it within the magnanimity of
your nature to intercede -- I
believe we could set things right.

394. ANOTHER ANGLE

JUDGE

Well, we'll see what we can do
about it --

The faces of Tim and Bouton light up.

JUDGE

(continuing)

-- after we eat.

Tim and Bouton react with renewed dismay as a servant enters with a tray on which are a decanter and two glasses.

DISSOLVE TO:

395. EXT. SLAVE QUARTERS AT BAYOU LOVELLE (DAY)
to
MEDIUM FULL SHOT

400.

inc.

Showing hopeless and dejected slaves including Gumbo, Janie, Caton, Luke, Lulu, Gabe, Jonathan, Hannah, Della and Tillie. They stand about in small groups. Cass and three or four white men are in and out amongst the groups looking the slaves over. These men are slave traders, who buy to sell again. They wear broad-brimmed hats and riding clothes of the period.

One of the traders is looking over a male slave.

FIRST TRADER

(to slave)

Hold up that foot.

(the slave lifts his
foot - trader looks
at it - then -)

All right, put it down.

He turns to a woman slave standing next to male slave.
She is Martha, the amazon whom we saw cutting the cane
prior to the cane dance.

(CONTINUED)

Revised 4/14/39.

94.

395. (CONTINUED)
to
400.
inc.

FIRST TRADER
(to Martha)
What do you do?

MARTHA
I'se a field hand, suh.

He looks her over critically.

Now the Second Trader has reached Caton.

SECOND TRADER
(looking at Caton)
Ain't you the one that
tried to run away?
(no answer from Caton)
Didn't get very far, did you? --
Open your mouth - lemme see your
teeth.
(Caton silently opens
his mouth. - trader
examines his teeth)
Gettin' pretty old, huh?

Caton closes his mouth and lowers his head without
replying.

Luke and Lulu are standing together.

LUKE
I hopes we gits sold to de same Marstuh.

LULU (hopelessly)
We ain't gwine get married now nor nothin'.

Janie has Gumbo by the hand.

GUMBO
We ain't never git dem new cabins, is we?

JANIE
Hush yo' mouth, boy.

The Second Trader is now inspecting the teeth of Mark,
a male slave whose mouth is very wide open. Cass is
with him in this scene.

SECOND TRADER
(casually to Cass)
Hmm! Worth about three hundred dollars.

CASS
(with a little smile)
Unless somebody else bids more.

401. MEDIUM SHOT

taking in Cass and traders with slaves in b.g.

(CONTINUED)

96.

404. (CONTINUED)

JUDGE RAVENAL
(without replying -
to another servant)
Order the carriage!
(then turning to Tim)
I will go with you to Bayou
Lovelle plantation!

On the wild confusion of their exit:

DISSOLVE TO:

405. EXT. SLAVE QUARTERS (DAY)
to
FULL SHOT

412.

inc.

This must be WIDE ENOUGH to include the auction block which stands a considerable distance from the cabins themselves to account for our not having seen it in earlier scenes. Buyers and traders are starting to inspect the slaves. Beside the auction block stands the auctioneer. Cass is moving among the silent slaves, herding them into groups, etc. Nearby are the carriages and saddle horses of the buyers, beside which stand Negro footmen and coachmen.

CASS
(holding a list in his
hand)
Field hands here!
Drivers over yonder! Get over there!
House servants here!

The slaves separate into groups. Children are heard crying.

SOUND
(CHILDREN CRYING)

CASS
Stop them brats from bawling!
(pointing)
Family servants here!
Children there!

We see Janie and Gumbo - Gumbo holding her hand. They are immovable for a minute. Janie looks down at Gumbo, then at Cass. Gumbo is crying.

CASS
I said children there!

Gumbo looks up at his mother, the tears streaming down his face. Janie, in spite of the stress of emotion, says:

JANIE
(to Gumbo)
Run along, son.

Gumbo looks up at her, looks at Cass, then slowly turns toward a group of children, his shoulders shaking with sobs. Janie watches him go and then turns toward the group of women.

We see Uncle Caton reacting with sadness to this touching separation. He turns his head in another direction.

(CONTINUED)

98.

417. MEDIUM GROUP SHOT

418.

419.

JUDGE
(with great politeness
and cordiality)

Good day, Mr. Dill.

The Judge's personal servants help him out of the carriage. He has great difficulty with his gouty foot. Tim and Bouton alight.

DILL
(trying to cover up)

Er ... you're just in time to see
that everything is done with legal
and orderly procedure, Judge Ravenal --

JUDGE
(cutting him short)

One moment, Mr. Dill --

(handing him a list)

Have these slaves sent into the
house.

During this Cass enters the shot, reacting with some concern
at the last speech.

DILL
(protesting)

But Judge Ravenal --

JUDGE

Oblige me, please.

Dill and Cass exchange a glance of concern.

DILL
(to Judge)

Certainly, sir.

Dill hands the list to Cass, who, after a glance of puzzled
apprehension at Dill, disappears in the direction of the
slave quarters.

JUDGE
(to his servants)

Assist me into the house.

The Judge, assisted by his servants, goes into the house,
accompanied by Tim and Bouton. Dill, with a show of puzzled
apprehension, follows. The traders exchange bewildered
looks.

DISSOLVE TO:

420. INT. REID DINING ROOM (DAY)
to
FULL SHOT

425.

inc. Tim stands in a group with Gumbo, Janie, Luke, Lulu, Hannah, Della and Jonathan. They're all very happy. Bouton is beside Tim. Cass is also present, looking very worried. Uncle Caton and Dill stand before Judge Ravenal, who sits in a chair with his gouty foot propped up on cushions. Uncle Caton is just finishing an explanation to the Judge.

(CONTINUED)

Revised 4/14/39. 100.

424. EXT. SLAVE QUARTERS (DAY)

427. FULL SHOT

428.

Groups of slaves herded near auction block. Buyers standing around, waiting for sale to commence. Into scene comes Gumbo, running excitedly.

GUMBO
(exitedly spreading
the news amongst the
slaves)

Ain't gwine be no sale! Mistuh

Dill gwine go to jail!

SLAVES

(shouting joyously)

Glory hallelujah!

Praise de Lawd!

Etc. Etc.

GUMBO

(repeating excitedly)

Dill gwine go to jail!

as Gumbo runs from group to group, the slaves start to disperse with joyful cries.

SLAVES

Glory hallelujah!

Etc. Etc.

The buyers accept this news with bewildered astonishment.

DISSOLVE TO:

429. EXT. SLAVE QUARTERS (DAY)

430. FULL SHOT

431.

Happy slaves enjoying barbecue; eating, dancing.
Negro native orchestra playing assortment of primitive string and gourd instruments. Present are
Uncle Caton, Janie, and all of the slaves we have established in the picture.

Prominently identified is Lulu in an extravagantly
improvised white wedding dress with a bridal veil.
Luke is sporting the fancy vest shown him in earlier
scene, and wears a stove-pipe hat. He is embracing
Lulu.

The whole picture shows the story of regained
happiness.

In the f.g., watching them from a carriage are Tim,
the Judge, Bouton and Claire.

JUDGE

I think I can find time to administer
this estate -- and to act as your
guardian -- would you like that,
Timothy?

(CONTINUED)