EXT. LIVINGSTON PLANTATION (TENNESSEE) - DAY
A social is in progress at the mansion.
A horse-drawn carriage arrives, bringing Jackson (without arm
sling, and in a new federal general's uniform) and Rachel.
SUPERIMPOSE: "AUGUST, 1814."
INT. PARLOR - DAY
Gentlemen are gathered, talking politics or horses. The host
MR. LIVINGSTON, 60, comes in. Jackson waits outside the
door.
LIVINGSTON
Hear, hear! Gentlemen! May I
present the victor of the Creek
War -- and new U.S. Army Major
General, Andrew Jackson!
There is applause as Jackson, who now has little use of his
left arm, walks in and stands beside Livingston.
LIVINGSTON
And, as new commander of the Seventh
Military District, he will be in
charge of America's Gulf coast
defense, wherever the British may
strike.
Cheers and applause.
LIVINGSTON
And strike they will, eh, General,
with word that they've now whipped
the French. They can turn full
attention to us.
JACKSON
Yes. And may I add one thing,
Mister Livingston. While I'm in
Mobile, or Pensacola, perhaps
New Orleans --
Jackson looks around for someone.
JACKSON
-- wherever they choose to attack
us...
Jackson sees who he's looking for and points.
JACKSON
I intend to find a horse to beat
Haynie's Maria.
Jackson is pointing at Haynie, who laughs and applauds with
the others.
HAYNIE
Beating my Maria must mean a lot to
you, General.
A black house servant serves Jackson a mint julep.
JACKSON
We can't have everything we want in
this life...
(gestures a toast)
... but that doesn't mean we can't
try.
EXT. HAYNIE'S PLANTATION - DAY
Haynie walks out of a cotton gin building with overseer Grady
and MALE SLAVE #5.
HAYNIE
(to Male Slave #5)
Now you are in charge of that cotton
gin, hear? Anything goes wrong, you
better get to Mister Grady or me.
MALE SLAVE #5
Yes, sir, Master Haynie.
Haynie starts walking in the direction of the stable.
GRADY
Cap'n Haynie....
Haynie stops and turns.
GRADY
Is it true what I heard awhile ago
at the house?
HAYNIE
About the British?
GRADY
Marching their way into Washington?
Hayne nods affirmatively.
HAYNIE
I heard it in Nashville. Burnt
down the president's mansion.
GRADY
And a-shelling Baltimore too?
Haynie resumes walking.
HAYNIE
That's the last word. The way
things are going, this won't be
a free country much longer.
Simon stands waiting to see Haynie.
HAYNIE
Good morning, Simon.
SIMON
Good morning, sir. Could I speak
to you, Cap'n, sir?
HAYNIE
Yeah, what is it?
INTERCUT WITH:
EXT. MANSION PORCH - DAY
Mrs. Haynie, having just spoken with a servant who moves off,
sees Simon and Haynie talking.
SIMON
I won that race for us yestiddy,
and --
HAYNIE
You sure did, boy. You don't cease
to amaze, you and Maria. Y'all
were born for each other.
SIMON
Thank you, sir. Well, sir, with what
we been counting aside, I'm awful
close now to the seventeen fifty for
my purchase of freedom. So I was
wondering, sir -- if I guarantee to
win till it's covered outright -- if I
could have my freedom in advance, sir.
There's something I need to go see
about, then I'd be right back.
HAYNIE
Seventeen fifty?
SIMON
Yes, sir. The price we agreed to
for --
HAYNIE
Oh, well, things have changed, Simon.
You understand that.
SIMON
What do you mean, sir?
HAYNIE
I mean there's nothing counted
aside, as you put it. I just paid
for a cotton gin, Simon. And
those two other jockeys lose
almost as much as you win. You
think I'm made out of money?
SIMON
But we had an agreement, sir.
You --
HAYNIE
I don't care what we had, boy!
Business comes first around here
and not what some slave wants.
Do you understand? Now don't make
me mad at you, Simon. We got a
streak going, boy, and we don't
want to break it. We can talk
later on, about some kind of deal.
Haynie heads for the stable, leaving Simon where he stands.
Mrs. Haynie knowingly watches from the porch. She looks
heartbroken for Simon.
INT. JOCKEY'S QUARTERS - DAY
BLACK JOCKEY #3 comes in. He finds Simon sitting in
dejection with teary eyes.
BLACK JOCKEY #3
What is it, Simon?
SIMON
I knew there was some low-down
people on this earth. But I'm
learning just how bad it can get.
INT. STABLE - DAY
Haynie's Maria nuzzles him in welcome as Simon steps to her
stall, as if he's just dropped by for a visit.
Other horses are in stalls, two black stableboys working.
Simon glances toward the overseer Grady, who talks a few
yards away with trainer Green Berry.
Simon pets Maria.
SIMON
I've come to say goodbye, Maria.
I've got to go find Becca. And
there ain't nothing left for me
here. Now you be good and keep
winning. Not for Cap'n Haynie --
there ain't no man alive who
deserves more to lose. But for
yourself. 'Cause that's what you
do. And there's no better hoss on
this earth. I ain't never gonna
forget you. Bye.
Simon turns, and Haynie's Maria watches him leave the stable.
EXT. JOCKEY'S QUARTERS - NIGHT
Simon, with a small sack of belongings and his banjo on his
back, slips out of the quarters and glances around in the
dark.
EXT. COTTON FIELD - NIGHT
Simon, with sack and banjo, heads off through the moonlit
field and into the night.
EXT. STREAM IN WOODS - DAY
Simon lies asleep near the stream, his sack beneath his head.
The only sound is of the streaming water.
A tall, lanky white man named BADGER, 43, waters his saddle
horse and loaded packhorse at the stream.
Simon awakes. He sits up, surprised to see Badger as he gets
back on his saddle horse.
Badger, leading his packhorse, holds a flintlock pistol on
Simon as he walks his horse over to him.
BADGER
Don't you take and try anything.
What are you doing out here, boy?
(no response)
You're running away, ain'tcha.
Looks like I'm gonna collect me
a re-ward.
Badger motions with the pistol.
BADGER
Let's go. You first.
Simon rises.
SIMON
Where we going, sir?
BADGER
Who owns you?
SIMON
I ain't saying, 'cause I ain't
going back there.
BADGER
Then we'll just go find a jailhouse.
Let's go.
EXT. WOODED ROAD - DAY
Simon walks along with his sack and banjo. Badger rides his
horse behind Simon, the packhorse walking last.
BADGER
Did you know that black folks don't
even inhale as much air as white
folks do? The expandibility of
their lungs is about a quarter
less. You got a name, boy?
Simon just keeps walking.
Ahead in the distance, coming the other way, are a 50-ish
FARMER and the FARMER'S SON, 25, on horses at a trot.
BADGER
You see those two fellas coming?
Let's find out how stupid they are.
You stop when they get to us.
Moments later, they stop, Badger holding up a friendly hand
to the Farmer and Son, who stop a few feet away. Badger
touches his wide-brim hat in greeting.
BADGER
Good afternoon to ya.
FARMER
Good afternoon.
BADGER
My name's Badger, on my way up to
Gallatin.
As Badger gestures toward Simon,
BADGER
Would either of you gentlemen like
to buy this here slave for one
hundred dollars? That's half what
I paid for him. He's worked good
for others, but he don't like
working for me. I've got no more
patience. I'd just as soon whup
him as look at him.
(to Simon)
Tell 'em, Cyrus, how good you'd
work for 'em -- just to get away
from me.
Simon looks like it might not be a bad deal.
SIMON
(to Farmer and Son)
I'll work good for you either one --
to get away from Mister Badger.
BADGER
You see there? He can play the
banjo too. Tell 'em how well you'd
play for 'em, Cyrus.
SIMON
I'd play for you good, that's
right -- just to get away from him.
BADGER
And he can sing like heaven's
choir. I'm letting him go for one
hundred dollars, friends. Take it
or leave it.
The Farmer and Son consider.
SON
That ain't a bad price, Paw, for
a banjo-pickin' nigger. I ain't
never seen one before.
BADGER
Well you've seen one now. You can
have him for almost nothing.
FARMER
We ain't got that much on us.
BADGER
You ain't got nothing?
FARMER
We ain't got no hundred dollars.
BADGER
Well how much you got? I've got to
be traveling, I can't sit here and
haggle.
EXT. FARMER AND SON'S PLACE - DAY
The Farmer, his Son, and Simon, with his sack and banjo,
arrive at the porch steps of the house on a small family
spread. No other slaves are in view.
The Farmer heads up the steps.
FARMER
You wait here, Cyrus, till we
figure out where best to put you.
Simon leans against the edge of the porch as the Farmer's Son
heads up the steps.
Badger, dismounted, watches from some bushes, about 30 yards
away by the woods.
SON
(to Simon)
Don't you run off nowhere, 'cause
we'll find you quick.
Simon absently looks around as the two men have gone inside.
Then he sees Badger, behind the shoulder-high bushes, making
a frantic beckoning gesture toward him.
Badger holds up and waves several bills in two hands, to show
Simon he's going to split the take with him.
Simon hurries toward Badger with his sack and banjo.
Badger is back on his horse when Simon reaches him. Badger
lends Simon a hand,
BADGER
Get on up here, boy.
Simon hops onto the back of the horse, and he and Badger take
off into the woods.
The Son walks back out on the porch. Not seeing Simon, he
looks all around.
SON
Hey Paw!
The Farmer comes out. They both look out over the spread.
SON
Now where'd that damn nigger go?
EXT. WOODS - DAY
Simon quickly untethers the packhorse from a tree. Badger,
glancing back for any pursuit, waits on his horse.
BADGER
Where you running to, boy? I'll
get you there, long as you help
make us some money.
Simon hands the packhorse reins to Badger.
SIMON
Fair enough, Mister Badger. You're
taking me to Ohio.
Badger again helps Simon onto the back of his horse.
BADGER
(delighted)
Ohio? We can sell you ten times
between here and there.
EXT. A FARM'S MAIN HOUSE - NIGHT
A chilly evening. OVERLAP SOUND of HEAVY BREATHING.
INT. MASTER BEDROOM - NIGHT
The PLANTER, 50-ish, enjoys stoical FEMALE SLAVE #5 in bed.
There are KNOCKS at the door.
PLANTER
(shouts)
Who is it?
A husky male voice responds outside the closed door,
WYLIE (O.S.)
It's Wylie, sir.
PLANTER
What is it?
WYLIE (O.S.)
Sorry to disturb you, sir. That
banjo picker you bought today is
gone.
EXT. WOODS - NIGHT
By a campfire, Simon sits bundled from the cold in a new
coat, as he strums and sings a spiritual. Badger sits
smoking a cigar and listening.
Simon sets aside the banjo and prepares to lie down for the
night.
BADGER
You know what? We ain't been
getting paid enough, Simon. We
been practically giving you away.
(then)
What are you gonna do if you find
that gal?
(smiles)
I mean what's the second thing
you're gonna do?
Simon lies down. He looks up at the stars.
SIMON
"What am I gonna do?"... I don't
quite know.
BADGER
You'll be done travelin', though, I
suppose.
SIMON
Like I said, I don't know. I won't
know till the time comes.
A pause as Simon gazes at the stars.
SIMON
I was in love with a girl named
Rose. I wanted to marry her.
BADGER
What happened?
SIMON
We both got sold.
BADGER
Tsch. Ain't it something what
commerce can do to a slave?
SIMON
You got no idea.
Simon tries to get comfortable.
SIMON
Anyhow, Becca is my consolation.
I hope.
Badger watches as Simon closes his eyes.
EXT. TOWN IN OHIO - NIGHT
Winter, light snowflakes.
SUPERIMPOSE: "JANUARY, 1815."
INT. HOUSE - FRONT DOOR - NIGHT
The door is opened, and standing outside in the moonlight and
cold is Simon, with his new warm coat and a hopeful look.
He speaks to CORA, the 60-ish black woman standing inside the
door.
SIMON
My name is Simon. Someone at her
uncle's told me I could find Becca
here.
INT. HOUSE - NIGHT
In the humble but well-kept home, Becca sets food on the
table. She turns and sees Simon, standing near the door
as Cora closes it.
Simon and Becca gaze at each other. Cora goes back to the
food serving.
BECCA
Simon...
SIMON
Hello, Becca.
The back door opens, and SAMUEL, a well-built black in his
20s, comes in with firewood for the fireplace. Cora closes
the door for him.
SAMUEL
We're running low on wood. In the
morning I'll --
Samuel stops, seeing Simon.
BECCA
This here's Simon, who helped us
the night we run off.
Samuel smiles. He sets down the wood by the fireplace.
SAMUEL
Simon the hossman! What are you
doing here?
Dusting off his hands, Samuel starts toward Simon. Then he
stops, his smile fading. He looks over at Becca.
BECCA
(to Simon)
This here's Samuel. You didn't get
to meet him that night.
Simon and Samuel shake hands. There is an awkward pause.
SAMUEL
Did you ride yourself free like
Becca said you was doing?
SIMON
No, I done run away myself. I knew
where Becca was going, so I -- I
figured this might be a good place
to come.
SAMUEL
Is Becca's uncle gonna help you?
SIMON
No, I -- I done got somebody to
help me, and...
CORA
Will you join us for supper?
SIMON
No, I...
SAMUEL
This is Becca's Aunt Cora. She's
been putting us up till we get
our own place. I'm working as a
carpenter, and Becca and I been
married, about three weeks now.
Becca turns to finish serving the food, obviously to avoid
Simon's look.
SAMUEL
You're welcome to stay for supper.
SIMON
No, thanks, I -- I done ate and --
I got somebody waiting on me. I
just wanted to see that y'all made
it safe up here, and... to say
hello.
Samuel steps closer to Simon, to whisper,
SAMUEL
Anyone ever find that body?
SIMON
Not that I know of. Wasn't that
something?
SAMUEL
From what Becca told me, you did
some fast thinking that night -- or
I guess she and I wouldn't be here.
SIMON
(beat)
Well, good to see you, Becca, and
to know that you're safe and well.
Samuel walks Simon to the door.
BECCA
Good to see you too, Simon. And
we're grateful to ya. You be
careful now.
Becca busies herself beside Cora with the food. Samuel opens
the door. He and Simon shake hands.
SAMUEL
I'm glad that I got to meet you.
SIMON
Same here. Take care of Becca.
Simon leaves, Samuel closing the door.
Samuel walks to the table.
BECCA
How 'bout that? I wonder why he
run away.
SAMUEL
Same as anyone else, I 'spect.
Becca turns to Samuel with tears in her eyes.
BECCA
I can't let him go, Samuel, without
saying something to him.
Samuel watches her head for the door.
EXT. HOUSE - NIGHT
Simon walks away in the cold. The house is one of many on a
dark side street of the town.
BECCA
Simon!
Simon stops and turns as Becca hurries to him from the house.
BECCA
I'm sorry, Simon. If there was
just some way that I coulda let you
know.
SIMON
Well, now I know.
BECCA
Simon... Samuel and I went through
so much together. I still love
you, Simon -- but then I felt love
for him too. Now I -- I have to
make do with one. And I didn't
know if I'd ever see you again.
INTERCUT WITH:
INT. HOUSE - NIGHT
Samuel looks bothered, glancing at the door, as he sits at
the table with Cora.
BECCA
I hope, Simon, in time you'll
forgive me, if you're not able to
now.
SIMON
I've been trying hard for two
things, Becca. My freedom, and
you. We can try as hard as we want
to for something in life, but I
guess in the end, it's the Lord
who has to let us have it.
The door of the house opens, and Samuel looks out at Becca
and Simon in the dark.
SAMUEL
Becca!... Better come on in before
supper gets cold!
BECCA
I'm comin'!
Simon and Becca look at each other, Samuel closing the door
in b.g.
SIMON
I've still got to work on my
freedom somehow -- to be free,
without having to run. So I've
still got my work cut out. Then
the Good Lord decides if we can
have what we've worked for. A
good man told me that once, when
he gave me that banjo, and I can
see how it's true.
(beat)
I hope the Lord helps you be happy.
As much as a person can be. So
this here, I guess, is goodbye.
Becca glances toward the house, then gives Simon a short,
discreet kiss.
BECCA
Goodbye, Simon.
Simon walks away. Becca watches him, then turns back toward
the house.
INT. INN - NIGHT
Dejected Simon walks to the door of a room, starts to open
it, then knocks instead.
BADGER (O.S.)
(from inside room)
Come on in!
INT. ROOM - NIGHT
Entering and closing the door, Simon finds a rough-looking,
40-ish STRANGER sitting in the room with Badger.
BADGER
Did you find that gal?
SIMON
Yes, I did.
BADGER
Did she turn you down, boy, after
all of your trouble? Well, it
don't matter one way or the other.
The Stranger, with a casual air, rises and moves to block the
door behind Simon, while drawing a flintlock pistol.
BADGER
It's time we were getting you back
to that Captain Haynie you told me
about. There ought to be quite a
re-ward.
Badger rises with a smile.
BADGER
While you were out looking for that
gal, I went looking for a fella to
help me take you back. Oh, since
I've got to pay this fella --
Badger gestures toward Simon's belongings.
BADGER
-- I took the liberty of retrieving
your share of the money we made.
You won't be needing it nohow. I
took and sold that banjo too.
Simon glares at him with hatred, which Badger seems to enjoy.
BADGER
Don't take and look at me that way,
boy. We've all got to make a
living the best way we can.
EXT. HAYNIE'S PLANTATION - DAY
Overseer Grady and slaves stop to look, as Badger and the
Stranger arrive on their horses, leading Simon on a nag, his
hands tied behind his back, and the packhorse.
SUPERIMPOSE: "MARCH, 1815."
Badger stops his horse by Grady.
BADGER
I've brought back this slave who
told me he belongs here. I reckon
there's a re-ward.
GRADY
Yeah, I reckon. Though I don't
really know what he's good for now.
LATER
Grady cuts Simon's hands loose. Simon, with his sack of
belongings beside him, rubs his chafed wrists. Badger and
the Stranger are gone.
GRADY
Sit down on that bucket.
Simon sets a bucket upside down and sits on it. Grady stands
by, a coiled bullwhip in hand, to wait.
Haynie, smoking a cigar, arrives on foot from the mansion.
He stands over Simon.
HAYNIE
What did you run away for?
Simon sits silently looking down.
FLASHBACK - MR. HINES
looking down at the captured runaway Solomon.
HINES
Haven't I been good to you?
BACK TO SCENE
Haynie looks at Simon's coat, dusty but just a few months
old.
HAYNIE
Looks like you done all right for
yourself.
(then)
How many slaves have it better than
you did right here? I oughta have
you whipped, boy, within an inch of
your life. But, you have returned,
son, at an opportune time.
Haynie sits down on a tree strump.
HAYNIE
You see, boy, it just so happens
there's a big match race coming up
in May. Me against the Hero of
the Battle of New Orleans. You've
heard about General Jackson's
great victory?
Simon ignores the question.
HAYNIE
Well the general is betting me four
thousand dollars, my horse matched
against his -- a new one he found
in New Orleans, named Western
Light.
Haynie rises to pace, smoking his cigar.
HAYNIE
Well needless to say, I was dreading
putting someone else besides you on
Haynie's Maria. You're the only
jockey that's rode her -- and she
hasn't run for a while. So you're
getting off easy, boy. You're going
to be riding her.
SIMON
How you gonna make me do that?
HAYNIE
What do you mean, boy? You are
a slave. Or have you forgotten?
SIMON
How you gonna make me ride her?
Simon gestures toward Grady.
SIMON
Let him beat me half to death with
that bullwhip. That'll put me in
fine shape for riding.
Haynie stares at Simon with aggravation.
HAYNIE
All right, boy, tell you what. You
win this race, and you're free.
All that money you said was counted
aside for your freedom? Fine.
There's four thousand dollars on
this race. So have we got a deal?
SIMON
How do I know I'll be free?
HAYNIE
Why, you have my word, son.
SIMON
Your word? Your word ain't worth
a shit, and you know it.
Grady steps toward Simon.
GRADY
Just let me take him on over, Cap'n
Haynie, and --
HAYNIE
Shut up and stay out of this!
Grady doesn't like it but stops. Haynie stares hard at
Simon. Then Haynie smiles.
HAYNIE
I'm going to forget that you said
that, Simon. Tell you what. We'll
put it in writing. With my
signature. In your possession.
SIMON
You write it and I'll read it.
Haynie's smile turns to a frown.
HAYNIE
Who taught you how to read?
SIMON
Miz Hines of South Carolina.
HAYNIE
(to Grady)
We got any more slaves reading
around here?
GRADY
Not that I know of, Cap'n.
HAYNIE
(to Simon)
All right, I'll write it, and you
read it. It'll say you win the
race and you're free, with papers
to prove it. Here's what it won't
say, Simon, but you keep this in
mind. You lose the race, and
you'll be a field hand -- nothing
but a field hand -- handed down
on this place until the day you die.
EXT. CLOVER BOTTOM RACETRACK - DAY
Jackson, in his federal general's uniform, helps Rachel from
their carriage. They are greeted by gentlemen, ladies, and
children on hand for the match race.
GENTLEMAN #19
May we take this occasion, General,
to belatedly thank you as a group
for the glorious victory at New
Orleans.
JACKSON
Well, I --
GENTLEMAN #19
It has given this country a pride
in itself that it surely did need.
JACKSON
I did my duty, sir, and paid the
British a debt of vengeance.
Haynie steps over to shake Jackson's hand.
HAYNIE
I must say, General, Western Light
is a fine-looking horse.
JACKSON
Well, Captain, you may pay the
forfeit fee and have done with it.
HAYNIE
No, General, Maria and Simon have
to be given their chance.
JACKSON
Simon? I was told that your Simon
ran away.
HAYNIE
He did, sir. Temporarily. Now he
has more will than ever.
Jackson and Rachel glance at each other as Haynie turns and
moves off.
On the track, jockey Simon, petting Haynie's Maria, looks at
trainer Green Berry beside them.
SIMON
Can I talk to her now, Green Berry?
GREEN BERRY
All right, but hurry up.
Green Berry moves off. Simon pets Maria.
SIMON
One more race, Maria. We've gotta
win one more race. For the good
of us both. If we win, I'm free.
If we lose... Cap'n Haynie's gonna
likely be dead, from unnatural
causes. And it ain't good to have
a dead owner. Oh, I know what
would happen to me, but I'd worry
'bout what happens to you. So
we best win this match, gal, for
both of us.
LATER
A horse-drawn wagon full of slaves, with a slave at the
reins, stops near the track. The slaves, including MALE
SLAVE #6, hurriedly get out of the wagon.
The late-arriving slaves rush to join those at the side of
the track.
MALE SLAVE #6
What's happened so far?
MALE SLAVE #7
They done split the first two
heats. They're gettin' ready to
run the last 'un.
MALE SLAVE #6
Well come on, Haynie's Maria!
Simon on Haynie's Maria, Jackson's BLACK JOCKEY #4 on WESTERN
LIGHT, wait at the starting line, the two horses sweating and
restless.
The starter FIRES his pistol, and the final heat starts.
Western Light, on the inside, takes the lead.
Jackson watches, Rachel beside him, the Haynies, Elliotts,
and others with them in the grandstand.
JACKSON
"Who's got how much left." Come
on, Western Light.
Dun and Green Berry watch by the track. The slaves urge on
Maria.
Western Light holds a half-length lead at the halfway point.
JACKSON
Keep it up, Western Light.
TWO JUDGES watch, one at each end of the finish line.
Western Light, keeping Maria on the outside, holds his half
length lead as the horses hit the homestretch.
Now Simon starts whipping Maria. She's tired but starts
cutting the lead. BLACK JOCKEY #4 whips Western Light.
The horses give their all, Maria gradually pulling even with
Western Light.
They cross the finish line in a virtual dead heat.
All watch as the two Judges confer at the finish line. Then
Judge #1 hurries over toward the grandstand, to call out to
Jackson and the others,
JUDGE #1
By a nose, it was Haynie's Maria!
Haynie jumps to his feet in celebration. Mrs. Haynie looks
happy too. Jackson slumps in defeat. Even the left arm
hurts, Jackson rubbing it.
LATER
Simon, with tears in his eyes, stands petting and talking to
sweating Haynie's Maria, as proud Green Berry stands by.
SIMON
Thank you, Maria. We did it.
Thank you, girl.
Maria whinnies as if acknowledging him.
Haynie walks over to Simon, as Green Berry leads Maria away.
HAYNIE
Simon, as a token of my appreciation
and regard...
Haynie hands Simon a folded, two-page document. Haynie
watches Simon unfold and look at it.
HAYNIE
Your manumission papers. You're
a free man, Simon.
Simon heaves a great sigh, his eyes on the document.
Jackson strolls over, stopping just behind Haynie's shoulder.
Simon notes with a glance Jackson looking at him, Haynie
unaware of Jackson's presence.
SIMON
Cap'n Haynie...
HAYNIE
Yes?
Simon neatly refolds the document.
SIMON
Why do they call Gen'ral Jackson
Old Hickory?
Haynie looks a bit displeased, as if he was expecting Simon
to say something like "thank you."
HAYNIE
Because he's a hard man to beat,
I suppose. He's a strong-willed
son of a bitch, plain and simple.
Simon, tucking the document in his shirt, nods as if
agreeing.
SIMON
I can understand that, Mister
Haynie.
Simon walks forward to Jackson.
SIMON
Gen'ral Jackson, sir...
Haynie now sees Jackson, and reacts with chagrin.
SIMON
It's been a pleasure racing against
your hosses, sir. It causes a body
to try that much harder to win.
JACKSON
Well I hate to be so inspiring.
The fact is, I couldn't beat you,
Simon. Not on Maria anyway.
SIMON
The fact is, Gen'ral, I couldn't
let you. I know it cost you some
money. But for me? It coulda cost
me my heart and my soul.
As Simon pats the document in his shirt,
SIMON
I'm a free man now, Gen'ral.
JACKSON
Good for you, Simon. It looks like
you earned it.
Jackson looks at Haynie.
JACKSON
Captain Haynie, you've got quite a
horse.
Jackson turns and walks away to join Rachel.
SIMON
Cap'n Haynie, could I have my bunk
one more night, sir? It's kinda
late in the day to start traveling.
HAYNIE
Just be sure you're gone in the
morning. I ought to charge you for
the night, after all the thanks
I've gotten for freeing you.
Haynie turns to walk away.
SIMON
Where's my thanks for that four
thousand dollars you won?
Haynie glances back but keeps going with a dismissive wave
of his hand.
LATER
Mrs. Haynie stands talking with other ladies, as Simon passes
by through the thinning crowd.
MRS. HAYNIE
Simon!
Simon stops, as Mrs. Haynie walks over to him.
MRS. HAYNIE
Do you have your papers?
SIMON
Yes, ma'am, I sure do.
MRS. HAYNIE
What do you plan to do now?
SIMON
In the long run, ma'am, I think
I'll train hosses somewhere. I do
love hosses. In the short run, I'm
gonna go find me a gal.
MRS. HAYNIE
You shouldn't have much trouble.
SIMON
Oh, I know right where to look.
She belongs to some Hineses,
somewhere in Loueesiana. I'll
find her.
MRS. HAYNIE
I'm sure you will. Please don't
think too harshly, Simon, of my
husband, for what he did before.
May I speak frankly?
SIMON
Yes, ma'am.
MRS. HAYNIE
Being an asshole is his station
in life.
Simon laughs.
SIMON
Well goodbye, Mrs. Haynie.
MRS. HAYNIE
Goodbye, Simon.
She fondly watches him walk away.
MRS. HAYNIE
(to herself)
Enjoy your freedom.
Jackson and Rachel walk toward their carriage, exchanging
friendly nods with others.
RACHEL
Are you going to find another
horse, Andrew?
JACKSON
No.
RACHEL
Are you going to match Western
Light against Maria again?
JACKSON
No.
RACHEL
What are you going to do?
JACKSON
I'm going to sell every race horse
I've got.
EXT. PASTURE - DAY
Haynie's Maria gallops in the pasture.
Simon, dressed to travel, a bundle under his arm, steps to
the fence from the dirt road that passes the pasture.
Seeing him, Maria goes over to Simon. She nuzzles him over
the fence. Simon lovingly pets her.
SIMON
Well, Maria, it looks like I'm
gone. I can't hang around here,
and I'm on my way to find Rose.
I got just about enough money
saved to buy a new banjo. I may
have to sing for my meals, from
here to Loueesiana.
(beat)
If I do find Rose, I may have
to work hard to buy her, or help
her run off, or I don't what.
But if wasn't for you, I wouldn't
be totin' no papers, saying I'm
free. So I sure do thank you.
God bless you, Maria. Goodbye.
Simon turns and walks back to the road.
Simon stops and turns to look back at Maria, watching him.
Then Simon turns and starts walking away.
Maria follows Simon along the fence. Then she finally lets
him go.
FADE OUT.
THE END
Return to the beginning of this script.
Go to The New Howell Theater.