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Planters ARE Who We Thought They Were!

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David Levy,
"Why would a man rent a woman by the hour when he can buy her for a lifetime and keep her children to sell? Thus, the relative infrequency of Southern prostitution becomes, post-Martineau, the compelling evidence of the massive hidden economy of inter-racial forced sexuality."

Mistress Shaw,
Nothin' Epps desire come outta concern.

12 Years A Slave, a movie, script adapted by John Ridley from the memoir by Solomon Northup, quoted here for informational purposes only, for purposes of comparison and study.


104 Exterior Shaw's House - Day

-July, 1844-

 Sitting on the Grand house's Piazza, Patsey(Lupita Nyongo, Kenya) is having tea with Mistress Harriet Shaw(Alfre Woodard, US), who is a black woman. Though once a slave, she is now comparatively refined though not wholly so. The table where they sit is adorned with white linens, and they are attended by a house n*. It makes for a tranquil surreal scene.

Master Shaw, a white man, is on the lawn grooming a horse.

1/24/13 Final Shooting Script 69.

A105 Exterior Road - Day

 Solomon Northrup, a.k.a. Platt Epps (Chiwetel Ejiofor, UK), is running flat out along the road. Running as though his life depeneded on getting to his destination in beyond a timely manner.

B105 Exterior Shaw's House - Day

 Still running, slick with sweat, Solomon comes upon the Shaw house.

As Solomon arrives:

Master Shaw
 Platt Epps, good Sunday morning.

 Good morning, Master Shaw. I've been sent by Master to retrieve Patsey. may I approach?

Master Shaw,
 You may.

Solomon makes his way over to the piazza.

 Excuse me, Mistress Shaw.

Mistress Shaw,
 N* Platt.

 My apologies. Patsey, Master wishes you to return.

 Sabbath day. I's free ta roam.

 Understood. But the Master sent me running to fetch you, and said no time should be wasted.

Mistress Shaw,
 Drink tea?

 Thank you, Mistress, but I don't dare.

Mistress Shaw,
 Would you knowed Massa Epp's consternation ta be any lessened with your timely return? Sit. Sit and drink the tea that offered.

Solomon knows better, but he sits and the Mistress has tea poured for him.

Mistress Shaw,
 What'n was Epps's concern?

 I'd rather not say.

Mistress Shaw,
 L'il gossip on the sabbath be fine. All things in moderation.

Solomon is not sure what to say. He struggles to be as diplomatic as possible.

 As you are aware, Master Epps can be a man of a hard countenance. There are times when it is impossible to account for his logic. You know he has ill feelings toward your husband.

Mistress Shaw,
 He do.

 Master Epps has somehow come to believe as incorrectly as it may be that Master Shaw is... That he is something of a lothario and an unprincipled man. A misguided belief born out of their mutual competition as planters, no doubt.

Mistress Shaw
 No doubt...if not born outta truth itself.

The Mistress waves to Shaw. Shaw, unsuspecting of the conversation, waves back.

 I'm certain Patsey's well being is Master Epps's only concern.

Mistress Shaw,
 Nothin' Epps desire come outta concern.

Planters ARE Who We Thought They Were!

1970's USAID created "Poor Haiti", reality and meme: The expected consequences for Haitians are elaborated in numerous USAID and World Bank reports. Briefly, famine would ensue for Haitian peasant farmers and they would be displaced in huge numbers from the rural areas to the urban centers.

When the rate of urbanization proved slower than predicted, the Haitian creole pig was wiped out as part of a $23 million eradication and restocking program. This was the first major blow to the peasant subsistence economy, for which this pig had traditionally served as a savings account.

Another blow came with flooding of the Haitian market with cheap Arkansas rice during the Clinton years.

Yet a more recent blow came with the U.N.-introduced cholera epidemic that caused a large migration from the most fertile region of the country the Artibonite river valley. Currently, less than 40 percent of the food for Haitian consumption is produced locally; as recently as 1986, this was 80 percent.(Dadi Chery)

 I meant no disrespect.

Mistress Shaw,
 He ain't heard you.

 I meant no disrespect to you, Mistress.

Mistress Shaw,
 Ha! You worry for me? Got no cause to worry for my sensibilities. I ain't felt the end of a lash in 'mo years than I cain recall. Ain't worked a field, neither. Where one time I served, now I got others servin' me. The cost to my current existence be Massa Shaw broadcasting his affections, 'n me enjoyin' his pantomime of feedelity. If that what keep me from the cotton pickin' n*, that what it be. A Small and reasonable price to be paid 'fo sure.

Looking toward Patsey, speaking with great empathy:

Mistress Shaw,
 I knowed what it like to be the object of Massa's predilections and peculiarities. And I knowed they can get expressed with kidness or wit violence. A lusty visit in the night, or a visitation from the whip. And wit my experience, if'n I can give comfort, then comfort I give. And you take comfort, Patsey; the Good Lord will manage Epps. In His own time the Good Lord will manage dem all. Yes, Lordy, there's a day comin' that will burn as an oven. It com' as sure as the Lord is just. When His will be done...the curse on Pharoah is a poor example of all that wait fo' the plantation class.

Mistress Shaw turns her head to the side, catching a slave's attention. As she does so, the slave, a young woman, commences to pour tea.

As if to punctuate her thought, the Mistress takes a sip of her tea.

Capital One - Alpha lower case omega - 73

Ma of Shaw,
 Saddle up a homey and we'll chat.

 Bounce in the gig,

 Bounce in the gig,

 Bounce in the gig,

 E'SSO small, let him

 Bounce in the gig.

 Nothin' new,

 Ain't no more,

 dei-SS-O can do.


Capital One

Secret Victoria, said,"OdeSSa". Said..

 He is not going to like me.


 He is going to the dentist.

 I am going to kick his ass.

 Why did Arnold have to chase the maid,

Ma Shaw,
 I am still your ma. I am sensitive to you.

 I could tell last night, so I did that.

 I never knew a man who gave me enough money to live on.

 Capital One,
 shield and spear,
 boom shaka locka, ma,
 sound like shake spee-ah.

Out of the ruins, out from the wreckage
Can't make the same mistake this time
We are the children, the last generation
We are the ones they left behind

And I wonder when we are ever gonna change it
Living under the fear till nothing else remains

We don't need another hero
We don't need to know the way home
All we want is life beyond the thunderdome

Looking for something we can >rely on
There's got to be something better out there
Love and compassion, their day is coming
All else are castles built in the air

And I wonder when we are ever gonna change it
Living under the fear till nothing else remains

All the children say, "We don't need another hero
We don't need to know the way home
All we want is life beyond the thunderdome"

So what do we do with our lives?
We leave only a mark
Will our story shine like a life
Or end in the dark? Is it all or nothing?

We don't need another hero, hero
We don't need to know the way home
All we want is life beyond the thunderdome

All the children say, "We don't need another hero
We don't need to know the way home
All we want is life beyond the thunderdome"


Published by
Lyrics Warner/Chappell Music, Inc.

Men in the old IGA Market,
before IGA became Homicide Church,
where over 1000 came for Skip funeral,
Nanny Burroughs, IGA, frozen food,

all the men sang,
"You got the wrong one, bay-bay",

to honor Auntie Maxie, sis Ma Shaw,
who asked me to give a ride,
to her death row setup girl,
Secret Victoria, Ma best friend,

setup man sang to the fool,
"end of your journey, just by and by".

V whispered, like she was a man,
who would hide a man voice,
to bring up the down low.
Too soft for microphone,
"six years".

For robbery gone wrong.

and me,
"I know",

"journey's and by".

two chain gangs passing in the night,
at work, row run safely un-alive,
and now by and by, I'm only online.

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