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Copyright 2004, 2008 by Ronald L. Ecker
All Rights Reserved
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FADE IN:
EXT. A PLANTATION - DAY
A typical plantation of the early 19th-century South.
SUPERIMPOSE:
SOUTH CAROLINA
MARCH, 1812
Several black SLAVES, dressed to go somewhere, stand waiting
around the front of the stable near the mansion.
One of the slaves is pretty ROSE, 18, who glances toward the
mansion as she waits.
INT. THE MANSION - DAY
Black SIMON, 20, a jockey-sized house servant, is looking out
a window toward the stable.
INTERCUT: EXT. THE STABLE - DAY
A HORSE-drawn wagon comes out of the stable and stops. Black
slave DRIVER #1, 50, is at the reins.
DRIVER #1
Come on! Y'all get on board!
MALE SLAVE #1
It's about time you got this wagon
ready.
Simon watches from the window as Rose slips into the stable
instead of boarding the wagon with the others.
END INTERCUT, STAY with Simon turns from the window,
ready to go, just as MRS. HINES, 50-ish, walks into the room.
SIMON
I'm goin' to the races now, Mrs.
Hines.
MRS. HINES
All right, Simon. You enjoy
yourself now.
SIMON
I plan to do that.
EXT. THE PLANTATION - DAY (A MINUTE LATER)
The wagon full of slaves is heading for the road.
INT. THE STABLE - DAY
Simon searches along the stalls, a couple of HORSES watching
him.
SIMON
Rose? Where are you?
Simon hears from a stall:
ROSE (O.S.)
You'll never find me.
EXT. THE WAGON - DAY
Driver #1 shouts to the slaves riding behind him, without
looking back:
DRIVER #1
Ol' Simon there oughta be racin'
today hisself, the way he's built
like a jockey. It's too bad the
mas'r don't race no hosses, eh,
Simon?
MALE SLAVE #2
Ol' Simon is half-scared o' hosses.
Ain't no way he's gonna ride one.
Ain't that right, Simon?
DRIVER #1
Well I declare! Speak for yourself,
Simon! You scared o' hosses?
When Simon doesn't answer, the driver glances back, then does
a take.
INT. A STALL - THE STABLE - DAY
Simon and Rose are smooching in the hay.
EXT. THE WAGON - DAY
The driver is turning the wagon around.
MALE SLAVE #2
Aw come on, you're gonna make us
miss half the races!
DRIVER #1
If that Simon done run off on me,
I'm gonna be missin' more'n that.
INT. THE STALL - DAY
Simon and Rose lie passionately smooching.
ROSE
When are you going to ask Master
Hines if we can get married?
SIMON
Oh Rose, this ain't no time to
think about that.
ROSE
What do you mean?
SIMON
This ain't no time to think about
nothing.
Simon tries to keep smooching, but Rose wants an answer.
ROSE
When are you going to ask him?
SIMON
I almost did once, Rose, but the
time ain't right. What if he says
no, and sells one of us off just
for spite?
ROSE
Oh Simon -
SIMON
He's a mean man when you do
something he don't like. All his
Bible reading don't mean nothing.
Outside is the faint sound of the wagon returning.
ROSE
Simon, it sounds like the wagon's
come back. You don't think he'll
tell on us, do ya?
OVERLAP SOUND:
HINES (V.O.)
(reading)
"What? . . . "
INT. LIBRARY - THE MANSION - DAY
Plantation owner MR. HINES, 55, sits reading aloud from First
Corinthians in the Bible as Simon stands before him.
Standing behind Simon is the white overseer BURKE, 35.
HINES (cont'd)
(reading)
"Know ye not that your body is the
temple of the Holy Ghost? . . .
Avoid fornication, let every man
have his own wife, and let every
woman have her own husband."
(setting down Bible)
Now how long has this thing with
Rose been going on?
SIMON
I'm in love with Rose, Master
Hines. It ain't like we just
been - what was that word - ?
HINES
The word is "fornication." You
probably call it something else.
SIMON
Yes, sir, I reckon I do. Fact is,
Master Hines, sir, I been thinking
'bout marrying Rose. That way,
like the Good Book says, I'd have
my own wife, and -
HINES
(interrupting)
So you're in love with Rose.
SIMON
Yes, sir, that's a fact.
HINES
You want to marry her.
SIMON
Yes, sir.
HINES
So you can raise a couple of runts
like yourself. Why didn't you ask
for permission?
SIMON
I was afraid, sir, that you would
say no, and - and sell one of us
off, or - or put me out in the
field, or -
HINES
(interrupting)
Well you're a pretty smart fella,
Simon, because that's what I plan
to do.
SIMON
Sell one of us off, sir?
As Hines rises and steps over to get a cigar:
HINES
No, boy, put you in the field. I
was planning on doing it sooner or
later.
SIMON
I'm gonna be a field hand? But,
Master, haven't I -
HINES
(interrupting)
You've outgrown being a house
servant, Simon. You're about
twenty now, aren't you? It's
time to bring in a youngster.
I put it off, Simon, because of
your slight build. I have to
look after my black folks. What
do you say, Burke?
BURKE
A few days in the field oughta
toughen him up, Mister Hines. I'll
see that he does all right.
HINES
(lighting cigar)
Well and good. Or I could sell
you, Simon. You rather do that?
SIMON
No, sir, I -
HINES
(interrupting)
I could sell you to one of them
horse-racing fellas. He could make
you a jockey, I reckon. I had one
ask me one time.
SIMON
I don't wanna leave here, sir. I
don't care about ridin' no hosses.
I don't much like to get near 'em.
HINES
Then it's settled. You be a good
field hand, Simon, and I might let
you and Rose get married. But for
now, you keep your hands off of
her. You understand?
SIMON
Yes, sir, Master Hines.
HINES
You are religious, aren't you,
Simon?
SIMON
Yes, sir. In fact, at one Sunday
meetin', I almost - I swear I come
this close - to speaking in an
unknown tongue.
HINES
How did you know that, Simon?
SIMON
What can I tell ya? "The Lord
works in mysterious ways."
HINES
Well, you keep your hands off Rose.
And that's in the slave quarters
too. Now in the morning we'll have
a young-un here for you to teach
him your house chores.
INT. ENTRANCE HALL - THE MANSION - DAY (NEXT MORNING)
Black slave DAVY, 14, looks the place over, Simon standing by.
DAVY
Say, they don't call this the big
house for nothing.
SIMON
Come on, I'll show you around.
As they start walking:
DAVY
Hey, Simon, you hear 'bout Solomon
running off last night?
SIMON
Yeah, I heard. He asked me if I
wanted to go with him - since I'm
losing my job.
DAVY
What'd you tell him?
SIMON
That I'm staying here to get married.
EXT. THE PLANTATION - DAY
In front of the mansion, overseer Burke and HINES' SON #1,
22, look off at something in the distance.
It's a white SLAVE CATCHER and TWO HELPERS approaching on
HORSES, with the runaway slave SOLOMON on foot, hands tied
behind his back.
INT. KITCHEN - THE HOUSE - DAY
Davy spots a nice red apple. A BLACK COOK and Rose work in
b.g., Simon and Rose exchanging glances.
SIMON
Well, I don't know what else to
show ya. But the longer I show ya,
the longer I stay out of the field.
Simon sees Davy pocketing the apple.
SIMON (cont'd)
Hey, put that back.
As Simon takes the apple and puts it back where it was:
DAVY
What for? It belongs to us as much
as to them. We growed it, didn't
we?
SIMON
If you don't take nothing, you
don't get caught taking it. It
ain't good to get caught. And you
ain't getting caught stealing while
you're in my custody. When I'm
gone, you can try stealing all
you want.
SON #1 (O.S.)
Hey, Paw, they're bringing that
Solomon back!
EXT. IN FRONT OF THE MANSION - DAY
Arriving, Solomon drops tiredly to his knees. The slave
catcher and helpers pull up their horses behind him, as the
overseer and Son #1 stand watching.
Coming out of the house, Hines walks over to Solomon. Mrs.
Hines, Simon, Davy, and Rose also come out.
HINES
What'd you run away for? Haven't I
been good to you?
Solomon remains silent, his eyes on the ground.
BURKE
Some of these bucks don't appreciate
nothing you do for 'em.
HINES
Take him to the quarters, Mister
Burke.
Solomon gets to his feet. As Burke starts marching Solomon
toward the slave quarters:
HINES (cont'd)
(to slave catcher)
How much you figure you're owed
for expenses?
CATCHER
Oh, five dollars.
HINES
(to Mrs. Hines)
Go get the man his money.
CATCHER
I need the reward money too, ma'am.
HINES
I didn't advertise any reward. He
would have come back on his own.
CATCHER
Some of 'em do, and some don't.
HINES
Well I didn't send for a slave
catcher.
CATCHER
That don't matter. I brung him
back. The law says I'm owed
twenty-five at the least. Now
you owe me thirty.
HINES
I don't owe you a thing but five
dollars, and that's all you're
getting.
As Hines starts to turn away, the catcher draws his double
barrel flintlock pistol and holds it on Hines.
MRS. HINES
I'll bring thirty dollars.
Mrs. Hines heads for the house.
HINES
You are destined for jail, mister,
for armed robbery.
CATCHER
The law says I'm owed what I'm
owed. And this piece is just
backing me up.
The catcher is hit in the side by a pistol shot. Helper #1
fires his flintlock at the shooter, Hines's son, who fires
back (both missing). The catcher shoots Hines in the chest.
MRS. HINES
No!
As Mrs. Hines runs to the fallen Hines, Helper #1 grabs the
reins of the wounded catcher's horse.
Simon looks at Hines bleeding in the arms of his wife, then
watches Helper #1 and the slumped-over catcher gallop off on
their horses.
Scared Helper #2 raises his hands as Burke comes running
back, a pistol in hand.
HELPER #2
Look, I ain't done nothing. I had
nothing to do with this shooting.
EXT. THE PLANTATION - NIGHT
A somber spiritual can be heard from the slave quarters.
INT. BEDROOM - MANSION - NIGHT
Hines lies unconscious on his deathbed. Mrs. Hines, TWO
FRIENDS, Son #1, and SON #2 hold vigil. Rose sits on the
floor beside Mrs. Hines.
SLAVES (V.O.) (cont'd)
(singing spiritual)
INT. A SLAVE CABIN - NIGHT
Solomon lies on his stomach on the ground by the cabin fire,
while FEMALE SLAVE #1 washes blood from bullwhip cuts on his
back.
SLAVES (V.O.) (cont'd)
(singing)
EXT. THE SLAVE QUARTERS - NIGHT
Several SLAVES sit around a fire outside the cabins, singing
while one of them, 50-ish ELIJAH, plays the banjo:
SLAVES (cont'd)
(singing)
INT. THE MANSION - NIGHT
Coming out of the bedroom, Mrs. Hines is met by Simon.
SIMON
Is he going to die, Mrs. Hines?
MRS. HINES
Let us pray not. You're very fond
of Mister Hines, aren't you, Simon.
SIMON
I hate to see any man die.
EXT. THE SLAVE QUARTERS - NIGHT (LATER)
Simon sits gazing at the fire, and watching Elijah strum
chords on the banjo, while they listen to the others, some
getting up to turn in.
FEMALE SLAVE #2
What's gonna happen to us? When
that man dies, we all gonna be
sold off to God knows where.
MALE SLAVE #3
(rising)
You don't know that. And he ain't
dead yet. Don't get everybody so
worried and all. Now let's go try
to sleep.
As more slaves rise to head for their cabins:
FEMALE SLAVE #2
You ain't worried? They'll sell
our young-uns off here and our
menfolk off there, and we'll never
see 'em again.
FEMALE SLAVE #3
O Lord, no -
FEMALE SLAVE #4
I'd druther they shoot me just like
they did Mas'r Hines, than see my
children get sold.
FEMALE SLAVE #5
I feel like takin' mine an' headin'
for the woods right now.
SIMON
Elijah . . .
ELIJAH
Yeah, Simon?
SIMON
Teach me how to play that thing.
As Elijah hands the banjo to Simon:
ELIJAH
Why sure, son. Why do you want to
learn now all of a sudden?
SIMON
So I can be like you, I reckon, and
play something when something needs
playing.
ELIJAH
Put your fingers like this. Now
strum that. If anything happens to
me, this banjo is yours - if you
really wanna learn how to play.
Strum that.
SIMON
What's gonna happen to you?
ROSE
Simon!
Rose has comes hurrying to Simon. She's in tears.
ROSE (cont'd)
He just died, Simon.
Simon sets the banjo aside and holds Rose while she cries.
ROSE (cont'd)
What's going to happen to us? What
will they do with us now?
Others are crying now too, Elijah looking pensively at the
ground.
EXT. THE HINES PLANTATION - DAY (ONE WEEK LATER)
White HIRED HAND #1, early 20's, stands with a musket in
hand.
HIRED HAND #1
All right, you folks get on board.
TWO FAMILIES of slaves, six in all, start climbing aboard a
wagon with their few belongings, the hired hand standing by.
HIRED HAND #2, early 20's, sits ready to drive the wagon.
Simon, waiting to board last, a bundle under arm, looks at
Rose, who stands watching with other slaves who are staying.
The overseer Burke is also present.
ELIJAH
Simon . . .
Elijah comes walking over and hands Simon the banjo.
ELIJAH (cont'd)
You almost forgot something.
(whispering)
I'm gonna be runnin', Simon. I
ain't gonna need it.
HIRED HAND #1
(to Simon)
Get on board.
As Simon boards the wagon:
HIRED HAND #1 (cont'd)
(to slaves on wagon)
Now I can tell y'all one thing.
It's a long way to Tennessee where
you're going. Anybody tries to
take off running -
(brandishes musket)
- won't get to Nashville alive,
that's for sure.
Hired Hand #1 mounts his HORSE, which a young slave has been
holding for him.
HIRED HAND #1 (cont'd)
We'll take you there dead, just
so's they'll know that we didn't
sell ya somewheres on the way.
Much obliged, Mister Burke!
BURKE
Just doin' my job. I ain't gonna
have it much longer.
HIRED HAND #1
You there with that banjo. You can
keep us entertained.
SIMON
I'm still a-learnin'. I don't play
good yet.
HIRED HAND #1
Let's go!
The wagon starts moving, the mounted hired hand following.
Simon and Rose gaze at each other as the distance grows
between them.
EXT. NASHVILLE - DAY
PEOPLE move about on the unpaved main street. SUPERIMPOSE:
NASHVILLE, TENNESSEE
OVERLAP SOUND of Simon (V.O.) tentatively playing the banjo.
An office sign reads ROBERT C. FOSTER, ATTORNEY AT LAW, as
Simon (V.O.) quietly sings.
INT. LAW LIBRARY - FOSTER'S OFFICE - DAY
Simon sits quietly singing and playing, a broomstick propped
by a bookshelf.
FOSTER (O.S.)
(calling from office)
Simon! Come here.
Simon rises with dread, setting aside the banjo.
INT. FOSTER'S OFFICE - DAY
As Simon walks in from the adjoining library, waiting behind
the office desk is lawyer ROBERT C. FOSTER, 40.
Sitting in front of the desk are COLONEL GEORGE ELLIOTT, 48,
and his white horse trainer ROSCOE, 45.
FOSTER
This is Colonel Elliott, Simon.
You answer his questions.
Rising, Elliott strolls around Simon to look him over.
ELLIOTT
Simon, is it? Those young clients
of yours, they inherited this boy
from who?
FOSTER
An uncle in South Carolina. I've
hired out the others. This one is
yours if you want him.
ELLIOTT
If we're going to train him, I'd
rather buy the fella outright.
FOSTER
They won't mind, long as they get
the money. And selling is less
trouble for me.
ELLIOTT
South Carolina . . . Boy, you
ever done any racing or horseback
riding?
SIMON
No, sir.
ELLIOTT
(sitting down)
Why not? You're sure as hell built
for it.
SIMON
Master Hines, he didn't believe in
bettin' on horses, and fornicatin'
and all.
FOSTER
What did you say?
SIMON
Master Hines, he was extra
religious. He read the Bible to
me a lot. That's where I learnt
that word.
ELLIOTT
I've got nothing against it myself.
Betting on horses, I mean.
ROSCOE
Me neither.
ELLIOTT
Would you like to be a jockey, boy?
SIMON
I'm a house servant, sir. I been one
for years. I'm good at it. I
can play the banjo too. I just
need some more practice. I don't
know nothin' 'bout ridin' no hosses.
ELLIOTT
We'll teach you what you don't
know. Anybody can play the banjo
must be a good learner. What do
you think of him, Roscoe?
ROSCOE
Yessir, he's got the right size,
and he seems like a smart one too.
I might would buy him myself if I
could.
INT. THE JOCKEYS' QUARTERS - ELLIOTT'S FARM - DAY
A white jockey named SMITTY, about 30, is shaving in a mirror.
Roscoe brings in Simon, who carries his bundle and banjo.
ROSCOE
This here's Simon, Smitty. He's
gonna be bunking with you, if you
don't mind.
SMITTY
Long as he stays out of my things.
ROSCOE
The colonel don't wanna throw him
in the quarters.
(to Simon)
You be at the stable in five
minutes, hear? I'm gonna put you
on a horse.
Roscoe leaves. As Simon picks out a bunk:
SIMON
I can see me on a hoss.
SMITTY
You mean you ain't never rode one?
SIMON
No, I ain't.
SMITTY
I can see I'm gonna have some
competition! Yessir, I think I'll
stay on this job for awhile.
SIMON
How many more jockeys be here?
SMITTY
Right now, just me and you. The
last nigger the colonel had ridin',
he didn't work out.
EXT. A RACETRACK - ELLIOTT'S FARM - DAY (A DAY LATER)
Circling the track, Simon rides up on a FILLY to where Roscoe
stands waiting.
ROSCOE
Simon, you've got to keep the right
posture like I showed you.
SIMON
Yes, sir.
ROSCOE
You're gonna give that hoss back
sores. Can't I learn you nothing?
SIMON
This hoss ain't the one with the
back sores, sir.
EXT. A PASTURE - ELLIOTT'S FARM - DAY (A DAY LATER)
Simon leads the bridled filly through a gate to the pasture.
He removes the bridle and gives the filly a pat on the rump.
SIMON
Okay, hoss, you can take off.
The filly takes off with a joyous kick - kicking Simon in the
head and knocking him out.
INT. JOCKEY'S QUARTERS - DAY (MINUTES LATER)
Simon lies groggy on his cot, while the female slave HANNAH,
late teens, finishes bandaging the side of Simon's head.
Smitty looks on from his bunk, Roscoe standing over Simon.
ROSCOE
Next time you let a horse out to
pasture, turn him toward the gate
before you free him, or you might
get your fool head kicked again.
SIMON
Yes, sir . . . I don't blame him
for kickin' his heels when he gets
set free.
Hannah smiles at the comment, as Roscoe is on his way out.
ROSCOE
Come on, Hannah.
Hannah, glancing back at Simon, follows Roscoe out.
SMITTY
Hey Simon, I think that gal's got
an eye for you. She might have
more than that for ya. You need
to be gettin' some of it.
SIMON
I got me a gal . . . But she's a
long way from here.
SMITTY
Then she's doin' you a whole lot of
good.
INT. THE JOCKEYS' QUARTERS - DAY (A WEEK LATER)
Simon and Smitty sit eating lunch, Simon's head no longer
bandaged.
SMITTY
You need to look at it this way,
Simon. You ain't racin' for the
white man that owns you, just so's
he can win. You need to race for
yourself. Me, I'm gettin' paid, so
to me it's a job. But you - well,
there ain't many slaves get to have
as much fun as you.
SIMON
Yeah, I'm havin' me lots of fun.
SMITTY
That kick last week didn't clear up
your head none? You got things to
learn, and for a slave you're damn
lucky. You ought to make the best
of it, 'stead of acting so bitter.
SIMON
I'll tell you what I've learnt,
having been throwed into this. I'm
gonna learn to ride hosses or else
get killed by one. So it's lookin'
like self-defense.
SMITTY
That's right, Simon. Maybe that
kick in the head helped you some
after all. Now you are one smart
nigger.
EXT. ELLIOTT'S FARM - DAY (LATE AFTERNOON)
Hannah, carrying a basket of clothes she has washed, pauses
to watch Simon smoothly riding the filly around the track.
EXT. THE TRACK - DAY (MOMENTS LATER)
Simon reins the filly to a halt where Roscoe stands waiting.
ROSCOE
You're comin' along all right,
Simon. Tell you what. Tomorrow
I'm gonna let you run a little race
against Smitty.
SIMON
Thank you, sir. That means I'm
finally gonna win me a race.
EXT. THE PASTURE - DAY (FIVE MINUTES LATER)
Simon brings the bridled filly through the gate, then turns
the filly to face it. As Simon removes the filly's bridle,
Hannah strolls up to the fence.
HANNAH
How's that head of yours, Simon?
SIMON
Fine. I didn't get to thank you
for helpin' restore me to health.
Simon walks over to Hannah, the fence between them, as the
filly trots off in the pasture.
HANNAH
The man told me to bandage your
head and I done it.
SIMON
Well I'm glad the man told you to
do it.
HANNAH
I hear you play the banjo.
SIMON
That I do. I'm gettin' better with
the banjo just like with my hoss
racin'. If I say so myself.
HANNAH
Why don't you come play for us
tonight at the quarters?
SIMON
Well I just might do that.
EXT. SLAVE QUARTERS - ELLIOTT'S FARM - NIGHT
An elderly black FIDDLER sits playing while Hannah and a well
built slave named JOHNNY, 25, dance to the music.
Several SLAVES sit clapping as they watch by the light of the
fire.
When they finish, Hannah and Johnny embrace while the others
applaud.
Simon comes walking up with his banjo.
FIDDLER
Why, we's got a banjo player!
HANNAH
This here's Simon. He's the
colonel's new jockey.
JOHNNY
Jockey, huh? Too good to stay out
here with us.
SIMON
I can't choose where I stay, so you
got no cause to say that.
FIDDLER
If he was too good for us, he
wouldn't be standin' here, would
he? Have a seat, Simon, an' play
somethin' for us.
Simon sits down. Hannah and Johnny sit down together.
FIDDLER (cont'd)
Where you from?
SIMON
South Carolina. I got left to some
kids, live in Nashville. That's
where I got bought.
JOHNNY
You race a lot o' hosses in South
Carolina?
SIMON
Nah, I was a house servant. I -
JOHNNY
(interrupting)
House servant. You ever worked one
day in your life?
Simon glares at Johnny. Hannah gives Johnny a shushing tap.
Simon looks at his banjo and strums a chord.
SIMON
I was gonna be a field hand.
Didn't want to, but the master was
gonna put me out there.
JOHNNY
What happened?
SIMON
He got shot before he could do it.
JOHNNY
(laughs)
Did you have something to do with
that?
SIMON
Nah. You don't know what it's like
to have your owner up and die on
you.
MALE SLAVE #4 speaks up:
MALE SLAVE #4
I know what it's like. I got sold
off and lost my wife and my young
'un. God knows where they is now.
SIMON
I know what you mean, brother.
I lost me someone too.
FIDDLER
How you like being a jockey?
SIMON
It's all right. I mean, I like the
idea of being able to win something,
and - sort of be my own man, while
I'm out on that track.
JOHNNY
Sure he likes being a jockey.
Makes him better than the rest of
us.
SIMON
I ain't said that.
JOHNNY
When he was a house servant, he was
better than a field hand. Now he's
a jockey, so he's better than a
house servant. Ain't that right?
SIMON
I ain't said I'm better than no
one, so you shut up.
JOHNNY
(rising)
You tellin' me to -
As Simon rises:
FIDDLER
(interrupting)
Hey, come on, boys, what we argyin'
'bout?
Johnny, a head taller, gets in Simon's face:
JOHNNY
You talk about being your "own
man." Riding the white man's hoss,
you forget that the white man owns
both of ya.
SIMON
Don't you tell me what I forget and
what I don't.
(to fiddler)
Hold this here banjo.
As the fiddler takes the banjo, Hannah rises.
HANNAH
Stop it now, Johnny. Y'all -
JOHNNY
(interrupting,
to Simon)
You can win all the races you want,
you just remember one thing. At
the end of the day, we all slaves.
SIMON
You don't think I know that?
JOHNNY
No, I don't think you do.
Simon takes a swing at Johnny. Evading the blow, Johnny hits
Simon in back of the head, knocking him down.
Simon scrambles to his feet. Male Slave #4 restrains him,
while MALE SLAVE #5 and Hannah restrain Johnny.
FIDDLER
Now let's not have no fightin' out
here, or they'll come flog ever'
one of us. Johnny, leave him
alone. Settle down, Simon.
SIMON
Gimme that banjo.
The Fiddler hands Simon the banjo.
SIMON (cont'd)
I don't think I'll be playin' none
tonight.
Simon heads toward his quarters.
FIDDLER
I thought we were gonna have us
some music.
EXT. JOCKEY'S QUARTERS - DAY (MORNING)
Simon sits gazing off as Smitty comes out of the quarters.
SMITTY
What's troubling you, Simon?
SIMON
Being a slave, that's what. What
good does it do, trying to better
yourself, when somebody owns you?
SMITTY
(sitting down)
Well, you win enough races, maybe
nobody'll own you no more.
SIMON
What are you talking about?
SMITTY
You buying your freedom.
SIMON
You mean I could do that?
SMITTY
I've heard of slaves doing it. What
you win for the colonel, see, could
go toward buying yourself. Of
course, the first thing you gotta
do is win some damn races.
EXT. THE RACETRACK - ELLIOTT'S FARM - DAY
Roscoe stands watching Simon running his race against Smitty,
whose horse holds a short lead over Simon's filly.
Elliott walks up beside Roscoe to watch.
ELLIOTT
That Simon's doing all right, ain't
he, Roscoe?
ROSCOE
That he is, Colonel. Today he said
the sooner he starts winning races,
the better.
ELLIOTT
Sounds good to me.
Simon beats Smitty in the race by a length.
Smitty rides over to Simon, who has reined in his filly.
SMITTY
Who the hell do you think you are,
showing me up in front of the
colonel?
SIMON
I'm a jockey belong to the colonel,
what do you think I am?
SMITTY
You're one of them niggers that
don't know his place, boy.
SIMON
One day your white ass is gonna
call me that one time too often.
Simon rides off, Smitty resentfully watching him.
EXT. PORCH - THE MAIN HOUSE - NIGHT
Smitty sits waiting. He rises as Elliott comes out with a
drink in his hand. Elliott is about half-drunk.
ELLIOTT
What is it, Smitty?
SMITTY
I'm sorry to bother you, sir,
but . . .
ELLIOTT
Well that's what you're doing.
What is it?
SMITTY
I found out something, sir, that -
well, I reckon you oughta know
about. 'Bout Simon, sir. He
confided something to me.
ELLIOTT
Well out with it! He's not gonna
know that you told me. What do you
care anyway? He's just a damn slave.
SMITTY
Yes, sir. I've taken a liking to
him, but . . . He plans to talk to
you 'bout buying his freedom, by
counting what he wins toward payment.
He don't plan on riding for you no
longer than he has to. And I thought
I should tell you, 'cause - if you
don't agree to him buying his
freedom, well, sir, I figure he
ain't gonna be worth a hoot to you.
Fact is, he told me as much. He
said he won't try to win no races
if it don't go toward his freedom.
ELLIOTT
Well I will be damned!
SMITTY
I sorta hate to see you and Roscoe
invest time in somebody who ain't
gonna work out.
ELLIOTT
Hell, it's not just the time. I
invested three hundred dollars in
that little bastard.
SMITTY
Yes, sir, well . . . there's one
way to get that back, sir.
ELLIOTT
There sure as hell is. Thanks for
telling me, Smitty.
Elliott turns and goes in the house.
INT. JOCKEY'S QUARTERS - DAY (TWO DAYS LATER)
Simon sits making calculations, based on a value figure of
$1,000, on a piece of paper with a red cedar pencil.
Smitty comes in. He walks over to see what Simon is doing.
SMITTY
You know arithmetic, Simon?
SIMON
Sure do.
Smitty strolls over to his bunk.
SMITTY
Where'd you go to school?
SIMON
Miz Hines of South Carolina learnt
me.
SMITTY
I got some bad news, Simon.
SIMON
What's that?
SMITTY
You been sold. It's a damn shame
too. I'm gonna miss your banjo
picking.
Simon sits stunned, Smitty enjoying it behind his back.
Go to Part 2
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