All language subtitles for Roots (1977) 1080p H.264 S01E02 (moviesbyrizzo upload).VUDU.en

(male narrator)
Last on "Roots.."

My breakfast bowl is empty now.

There are goats to be fed.

- Yes, mother.
- Take care.

Yes, father, I will.

Captain Davies.
Your vessel, sir.

- The Lord Ligonier.
- 'The same.'

'She'll be sea-worthy
by the end of the month.'

We'll be taking on slaves.

- I see.
- Welcome aboard.

[instrumental music]

Huh!

[grunting]

(male #1)
'Come on! Get out of there!
Move, you monkeys.'

There's no river bank.

Where is the Earth?
The Earth is gone.

(Slater)
Captain, sir, it's time
to look over the wenches.

I'm a Christian man and I
command a Christian ship!

But captain, sir--

I will not lead
any man into sin.

Sin?

Fornication.

Will they come after us,
our warriors?

No. There is no trail
in the water.

No trail to follow.

Then we are alone.

[knock on door]

Come in, Mr. Slater.

Just brought her
as a belly-warmer, sir.

'Didn't figure it'd be
any problem for a high-born'

Christian white man
like you, sir.

Sleep well.

Oh, merciful heaven.

[indistinct chattering]

Mr. Slater, I don't understand
a syllable of their language.

But I believe, I can guess
what they're saying down there.

What might that be, sir?

They're telling us to sleep
lightly, Mr. Slater.

[speaking in foreign language]

[theme music]

[music continues]

[indistinct chattering]

[music continues]

[coughing]

[all groaning]

We will kill the white man
and we will go home.

But we're different men.

We can't even talk to each
other. We're different tribes.

Men chained together
are brothers.

We are all one village.

We cannot speak the same words.

Listen, Mandinka.

Those who speaks other words

words of the Wolof
or the Serere, the Fulani

talk to the man
chained to you.

Teach him your words.

Learn his.

We will be one village.

[indistinct chatter]

I'm Mandinka.

Do you understand Mandinka?

[indistinct chatter]

(Slater)
'Captain Davies sir.
A word with you.'

(Davies)
'Come in, Mr. Slater.'

How did you pass the night, sir?

Restfully, Mr. Slater.

Didn't mean to trouble you, sir,
if you took bad.

Nothing. Nothing.

The ague fever.

From lying at anchor in them
damn plaguey African river, sir.

Oh.

What is your concern,
Mr. Slater?

- Is the wind shifting?
- No, sir.

It's fair across
the stern quarter.

It's not trimming the sails
that worries me, sir.

I don't like that sound.

Sound?

I don't hear any sound.

Aye, captain,
that'd be the point.

'There's a time
after they sort to settle in'

'and get the idea
the way things goes.'

When they get to thinking,
maybe three, four weeks longer

they'll be too weak
to raise trouble.

'Until then, there's a danger
of uprising.'

Shackled hand and foot?

Mark me, captain, they are
treacherous murdering beasts.

Ah.

I cannot believe there is
a serious risk of uprising.

Oh, it's been known, sir.

'I remind a time I served
in the king's frigate'

we come on
a Baltimore built slaver.

It's canvas shredded
on the yard.

The blacks rose for sure, sir.

Was no white man left alive.

We saw the bodies
lashed to the ratlines.

We hanged them
by the dozen, sir.

They was a dead loss
to their owners, them niggers.

I-I take your point, Mr. Slater.
I take your point.

'Well then,
your orders, captain?'

Can you not strengthen
your guard, Mr. Slater?

Aye, captain.

Surely, armed men in good health

can restrain chained men
in weakened condition.

As to that, captain

I put my trust
to another advantage.

You see, them heathens
never been in this

dodge before and we have.

We know all the tricks
to the trade.

[chuckles]

I'm sure you do, Mr. Slater.
I'm sure you do.

You may go.

Aye, captain.

Would you need a belly-warmer
again, this evening, captain?

[bed creaking]

[instrumental music]

(male #2)
'Ho!'

[man laughing]

(male #2)
'Keep moving, keep moving.'

[indistinct chatter]

Ah-ha. Ah-ha. Ah-ha.

(male #3)
'Keep those legs going.
Keep on.'

'Come on, you monkeys.'

- 'Come on, you bloody apes.'
- 'Keep moving! Keep moving!'

(male #2)
'Huh! Huh!'

'Huh! Huh!'

'Huh! Huh! Huh!'

(male #3)
'Welcome dance. Welcome.'

(female #1)
'Ah!'

(male #4)
'Come on back here, you wench.'

- 'Come on.'
- Ah!

[man laughs]

(male #4)
'Come on back.'

- 'Get her, men. Get her.'
- 'Get a rope on that wench!'

Jump, damn your eyes!
Jump!

(male #4)
'Get her.'

- Ha ha. Come here, now.
- 'That's it come up.'

[grunting]

[man laughing]

- 'Get her..'
- Not now.

[grunting]

(Slater)
'Get that wench!'

[instrumental music]

Get her down!

[whimpering]

Alright, you fool!

[speaking in foreign language]

What were her words?

I could not understand.

What was that wench
doing untied?

- Nothing, sir.
- Nothing?

I'll have you passed
under the keel, you scum.

We'll see if you say nothing

when you come up your belly
ripped on the barnacles.

[grunting]

(male #5)
'Mr. Slater, sir, be fair now.'

(Slater)
'Fair? If it's fair you want.'

(male #5)
'You told us we could have
the pig or the wenches.'

When your work was done, I said.

When the sails
was rigged proper

and the decks
were shining like a mirror

and we was all in Bristol
fashion from stem to stern.

'But I didn't tell you
to go crawlin''

'out of your britches
every time..'

Fanta Toure.

(Slater)
'I never told you that.
Did I not?'

Fanta.

A Mandinka maiden
must have strength.

[indistinct chatter]

I'm no longer a Mandinka maiden.

[man grunting]

- 'I promise you this!'
- 'Ah!'

You won't get a farthing
at the end of this voyage!

And I'll have your hide
for the balance of the payment.

(male #5)
'Mr. Slater, you ask
any of the other men--'

(Slater)
'Vernon,
keep your britches on!'

'I don't have to ask
the other men anything.'

- I know full well what I see!
- Ah!

And I've seen enough to know,
I'll keel haul you

'or any other man jack that
don't do what I tell him to do.'

'You hear me?
You follow my..'

Allah is Allah.

There is no God but Allah.

[intense music]

[speaking in foreign language]

[indistinct chatter]

Get away from me, you monkey.

[gunshot]

Don't damage the cargo!

Drive them below!

Drive them below!

[gunshot]

Drive them below!

Below!

[music continues]

[grunting]

Drive them below the deck!

[grunting]

Come on, you damn heathen.

[grunting]

[music continues]

[explosion]

[indistinct shouting]

[all groaning]

[man grunting]

[man coughing]

[instrumental music]

Allah, the merciful.

Allah...the compassionate.

[inhales]
Take this man to paradise.

[music continues]

Let him see
Muhammad the Prophet.

Let him taste the joys
of the faithful.

[breathes deeply]

[instrumental music]

(male #6)
'Drop anchor!'

[instrumental music]

- Captain Davies, please.
- Aye, sir. This way, please.

[indistinct chatter]

[doorknob clanking]

[knock on door]

- 'Captain Davies?'
- Forgive me, sir.

I've-I've been somewhat poorly.

Welcome aboard
to Lord Ligonier.

Mr. Andrews, is it?

Uh, no, sir.
Uh, John Carrington.

Your servant, sir.

[coughs]
Forgive me.

I've forgotten the natural
effluviums of a slave ship

when not filtered
through strong vinegar.

And, sir, I do not comprehend
how you can abide it.

Custom, sir.

- Custom and avarice.
- Ah.

[chuckles]
Yes, sir.

My instructions were that..

...Mr. Andrews represented
the owner's interest.

Uh, no, sir. I am factor
for Horace Andrews and Company.

Uh, Mr. Andrews is at present
in Williamsburg, in Virginia.

'Public day, sir. The House
of Burgesses is in session.'

And, for those who have the ear
of the royal governor

land grants.

- Chair, Mr. Carrington.
- Aye, thank you.

Uh, did you have
a good voyage, captain?

My first officer is dead.

Ten seamen and the ship's boy
more than a third of my crew.

Oh, well, God rest their souls.

But the lifeblood of commerce
is goods, sir. Goods!

How fares your cargo
through the passage, captain?

Three thousand elephant teeth
have survived the voyage.

[laughs]

You are a pretty wit, sir.
A pretty wit.

'Elephant teeth, indeed!'

One hundred forty Negroes
were loaded aboard

Lord Ligonier in the mouth
of the Gambia River.

Oh, loose pack. Hm. Well?

Of those 98 were alive
when we made port.

Ninety-eight?
Oh, less than a third dead.

I have known slavers
to make port with less than

half surviving and still show
a handsome profit.

My felicitations, captain.

How soon can I unload?

Directly we warp your vessel
to the wharf.

I want you to secure for me

flowers of sulfur
to burn in the hold.

I wish to see
my ship clean again.

Oh, and naturally.

So, after all,
you'll be carrying

tobacco to London.

And in London?

Trade goods for the Guinea coast

'and then on
to the Gambia River.'

- For more slaves.
- 'Indeed, sir.'

Thus does heaven smile upon us

point to point
in a golden triangle.

Tobacco, trade goods,
slaves, tobacco

'trade goods and so on,
ad infinitum.'

All profit, sir,
and none the loser for it.

Tell me, Mr. Carrington,
do you ever wonder?

On what topic, sir?
To what end?

As to whether or not
we are just as much imprisoned

as are those
chained in the hold below?

I do not follow
your meaning, sir.

It sometimes feels..

...that we do harm to ourselves

by taking part in this endeavor.

Harm?

Oh, what harm can there be
in prosperity, sir?

What harm is a full purse,
I'd like to know?

No, no.

I doubt that you'd like
to know, Mr. Carrington.

I doubt that either of us
would truly like to know.

Uh, would you be interested in
coming to the auction, captain?

'I warrant you've never seen
anything like it.'

No, I am sure I have not,
Mr. Carrington.

I do know that I am not
interested in seeing it now.

Or ever.

[humming]

♪ Half a pound
of tuppenny rice ♪

♪ Half a pound of treacle ♪♪

[sniffs]

[humming]

Well, well, well,
well, well.

Now what have we here, huh?

[humming]

Easy, fella.

My God, I have
a hard enough task

mending three months
on a slaver

without new whip weals to salve.

Ah, bench marks again.

This fellow's bones
are showing through.

- Is it festered?
- Not more than usual, sir.

Laudable pus.
Merely laudable pus.

Pennies worth of tar, and he'll
be fit for your auction.

Tar.

[screaming]

[groaning]

Will they be ready for auction
on the seventh of October?

There is a horse race meet then.

And I would take advantage
of the attraction.

Coat them with oil then.

Flaxseed oil covers
a multitude of skins, eh?

You give the wild eyed
ones a dose of laudanum

and the dull ones
a dollop of brandy

and may the buyer beware.

You sent for me,
Mr. Carrington?

Uh, oh. Yes, sir.

Here is the text for an
advertisement I wish to place.

"Just imported in the ship
Lord Ligonier, Captain Davies

"from the River Gambia.

"To be sold in Annapolis..

"...for cash or good bills
of exchange on Wednesday

"the 7th of October next.

A cargo of choice,
healthy slaves."

I-I'll put slaves in big type,
sir, it catches the eye.

Yes, yes. And,
uh, I should also..

Oh, and I shall want handbills.

Broadsides to pass out
at the race meeting.

There is a bit of
a poser, sir, broadside..

How so, Mr. Gumby?

These are busy times
in the printing trade, sir.

Especially handbills.

It's politics! Politics!
Politics! Politics!

We have Burgess Patrick Henry's
speech in the Virginia Colony.

Correspondence from Boston.

There's a new Townshend Taxes

who are more bothered
than the old Stamp Act in '65.

I am with Burgess Henry and the
rest in my passion for liberty

but business, sir, is business.

I will pay hard money
in advance for my handbills.

[sobbing]

[dramatic music]

Fanta.

Is it the same, you think?

Is what the same?

The moon.

'Is it the same
we see in our land?'

(Kunta)
'I do not think so.'

Nothing here is the same.

The people, the food.
The animals, the trees.

I do not see why the moon
should be the same.

Good.

Why does that matter to you?

I would hate to think

my mother and little brother

can see that moon

but cannot see me.

That would make them
seem closer, I think.

Being close and not touching..

...is like eating
and not swallowing.

We will beat them.

You'll see.

[scoffs]

You can say those things.

A warrior is taught
to say such things.

A warrior is taught to fight.

Your father would
say that I am right.

And where is my father now?

No.

Since we were taken
from our homes

I have learned another lesson.

What lesson?

I have learned to...stay alive.

We were to meet here
by the auction block.

Ah. There he is.

Up to now, I worked
my place myself.

Good day, sir.

But I cleared
two new fields.

I reckon if I could find me
a likely nigger or two

I'd maybe put up
a hogshead of tobacco

besides the corn and beans.

Crab cakes!

Crab cakes? Crab cakes?

He only paid 20 pounds
for the wench

and she was nearly
four months showing.

And then if she didn't
take the pox and die!

I told him
if he'd bought a cow

at least he'd have
the hide and tallow!

They're a no-account bunch.

They gets them all greased up

think they trying
to fool somebody.

Trying to grab any
one of them niggers in there

be like trying to
pinch a watermelon seed!

'Squirt right on out from you.'

Massa Reynolds might want one
of them, maybe. I doubt it.

Come on, let's go see if there's
any women worth his purse here.

When I was a lad,
we had indentured bondservants.

Stout Cornishmen and Scotsman.

Scourings of Newgate
prison they were.

Pickpockets and highwaymen.

Indeed, sir. Indeed.

And if one runs away

you couldn't tell him
from any other Englishman.

But take a black slave, sir.

By Harry, no matter how far
they run, they're always black.

(Reynolds)
'Some are
prime-looking, Fiddler.'

Oh, no, Massa Reynolds
don't act like that.

'Not regular at least.'

Sometimes on Christmas
or his birthday.

But he don't buy with
night-wrestling in mind. See.

(male #7)
'Drummer boy!'

[drumming]

Gentlemen, gentlemen,
your attention I beg.

As advertised.

We have a fine cargo
of choice, healthy slaves

recently landed
by the Lord Ligonier

largely from the River Gambia.

They've made a fine passage

and are in prime
healthy condition.

We have spry young bucks.

Warranted sound of limb
and tooth. Tractable.

Free of colics
and heaves and wenches!

Fine strapping wenches of an age
for breeding or field work.

Terms of trade, are cash
or good bills of exchange

from a gentlemen
known to me or Mr. Carrington.

I'll ask that
you bid quickly

in that we have
a rather large inventory

of likely servants to offer.

Now, thank you, Marcus.

If you'll get the first
fine batch up here.

[women screaming]
Careful! Careful!

We don't need
more damaged goods.

Alright, first lot,
get them out, get them out.

The gentlemen are waiting. Out.

[sobbing]

Come on. Wench!

(auctioneer)
'Wenches. Gentlemen,
first to whet your appetites'

'as it were.'

Those desiring to inspect
the items being offered

for defects or blemishes please
step forward at your pleasure.

'Calling for your attention
to the first item'

being offered for sale.'

'Now, she's a fine
black pearl, indeed, gentlemen.'

'She's in fine condition.'

'She made the entire trip
above decks like a flying lady.'

'You'll find no marks.'

'She's young,
She's supple, she's strong.'

Posture, boy. Posture.

'Use her to wash. To weave.'

'To plow. To sow,
what you will.'

'A good investment, gentlemen.'

'Put her to it,
she'll raise you'

'a fine litter of pickaninnies.'

(male #8)
'That's enough. That's enough.'

(auctioneer)
'But, as the whore said'

'turning from bottle to bed'

'"Enough of pleasure.
To work!"'

[laughter]

It's time to proceed, gentlemen.

Time to stop the looking.
Start the bidding.

'Who'll offer me 100
pounds for this fine wench?'

'Do I hear 100 pounds?
Do I hear 100 pounds?'

We'll start at 50.
I have 50 here. Give me 55.

[auctioneer chant]

I've got 60 over here.

[auctioneer chant]

(auctioneer)
'Sixty-five. Do I hear 70?'

'I've got 70.
Who will give me 80?'

'Eighty. Eighty over here.'

[auctioneer chant]

'Ninety over here. Ninety.'

Who will give me
one hundred fifteen?

'115, 115 once..'

'...twice..'

'...sold to Sir Robert
Calvert of Virginia.'

115 pounds.

A very shrewd purchase,
Sir Robert, my felicitations.

My pleasure. Sir.

And I anticipate she
will be my pleasure, sir.

(auctioneer)
'Now calling your attention
to the next item offered.'

'A wench sound
of wind and body'

'who'll start
the bidding at, who'll ..'

We will see each other
again, Fanta.

We will.

We will.

Uh, good lines
to that one.

Look at his eyes.

He's not even close
to being broken.

(auctioneer)
'Now here's a likely looking
hare and prime young buck.'

'Just picked from the trees.
Bright as a monkey.'

'Good bones, sinew.'

'Warranted free
of defects. Good teeth.'

'Good for Carolina rice.'

'Virginia Tobacco
or Maryland corn.'

'Pull like an ox
and carry like a mule.'

Step up, see
for yourself, gentlemen.

'He's free of heaves,
piles, French Pox.'

'He's young. Biddable.
A fine animal, gentlemen.'

'I'm going to start
the bidding at 150.'

'There's no need to waste time.'

'He's the pick
of the herd, gentlemen.'

'You won't find his like
these degenerate days.'

'Who'll give me 150?'

[auctioneer chant]

'One twenty-five, gentlemen.'

'Gentlemen, I sold
a buck half of this'

'for 200 guineas
a fortnight ago in Baltimore.'

'Now. Who'll start me at 125?'

[auctioneer chant]

One thirty.

[auctioneer chant]

'One thirty-five.'

[auctioneer chant]

One forty.

[auctioneer chant]

'One forty-five?'

'One forty-five,
this fine young buck.'

[auctioneer chant]

'One fifty. Sir Robert.'

[auctioneer chant]

One fifty-five.
Do I hear 160?

Sir Robert? Put this buck
to the wench you just bought.

'Stock your plantation
in Virginia.'

[auctioneer chant]

'One fifty-five, once.'

[auctioneer chant]

'Twice.'

Sold! Your name, sir?

Reynolds. John Reynolds.

Spotsylvania County, Virginia.

Lot four, number three.

'Mr. John Reynolds.'

'Spotsylvania
County of Virginia..'

'...one hundred
fifty-five pounds.'

There you are, sir,
your bill of sale.

All sealed and legal with the
Lord Townshend's stamps affixed.

Intolerable.

Cost you ten shillings to convey

your own property to you.

Your Virginia hotheads
have the truth of it.

Damn parlous state our liberty
zing might have fallen to

when the Lords
of trades in London

can interfere with our own
ordinary commerce.

I, uh, don't mend
in politics, Mr. Carrington.

'I have enough trouble
raising my tobacco.'

Yes, sir. Well..

...there he is. For 10 shillings
I can throw in the manacles.

I think the collar and chain
should be sufficient.

No manacle.

(John)
'Well, now.
We'll have to give him a name.'

Do you fancy the classics, sir?

Tis all the fashion here
on the bay to have Psyches

and Caesars and Hectors
running about the place.

The whole pantheon
of nymphs and satyrs.

A delightful conceit.

I like good, plain, solid

English names for my servants.

Fiddler.

Do we have a...a George?

Yes, sir, there's
Sukie's George.

Born last planting time.

Uh. Well, then...mm.

Toby. Yes.

His name shall be Toby.

- Oh, and, Mr. Carrington.
- Sir?

You're not dealing
with a child, sir.

I do not take
your meaning, sir.

My meaning shall be found
in that carbuncle..

'...on black Toby's
back over there.'

I expect it to be lanced before
he's loaded on to my wagon.

I hadn't noticed
it before, sir.

Probably because it was
covered with pine tar...somehow.

I shall fetch the doctor
right away, sir.

Fiddler.

Now, don't you
make no trouble now.

Ain't gonna hurt you.

You just stay quiet now.

You belongs to Massa Reynolds
now that's all there is to it.

'You ain't no more
in Africa. Guinea man.'

'Now, you listen to old Fiddler
if you want to keep alive.'

You in America now.

You hear me talking, nigger?

'You in America!'

Aw. Poor African boy..

'You don't know what
I be saying nohow, huh?'

[dramatic music]

(male #9)
'Look out. We got a loose one!'

If he's killed.
I want two in his place.

Mind it. Now!

[instrumental music]

Gentlemen.
Gentlemen! Gentlemen.

Pardon me, gentlemen.

(Fiddler)
'Now, hold still.'

'Hold still, now.'

'Come on, now.
Get yourself over there.'

'That's it.'

'Here. Stay put now.'

'Damn it! I say, hold still.'

'Ain't you got
no brains at all?'

'You do what I say or it's
gonna go hard with you.'

'You move once more and
old Fiddler's gonna reach in'

'and pull your behind
out through your nose.'

Massa Reynolds, you positive
sure this old horse

couldn't make it back
to home without a shoe?

That beast is property, Fiddler.

A wise man takes care
of his horses and slaves

if he wants to prosper.

Never thought
about it like that.

It's a smart way for sure.

'That's how come you never hear
no runaways often your place.'

You know what
Mr. Ames says, he says

"It's because of the whip."

(Fiddler)
'Well, now, Mr. Ames
he's a different sort of man.'

- Fiddler.
- 'Yes, sir?'

Pick up the mallet
and put it in the toolbox.

Guinea man, what you
got in your head?

'What you thinking about?'

You want me to give
him a stripe or two, boss?

No. I don't think so.

Might be a problem.
He's always looking around.

He ain't never relaxed.

- Fiddler?
- Yes.

If you recall,
you were the one who told me

that he was
the best one of the lot.

You do recall that, don't you?

- Did I say that?
- You did.

I don't rightly
recollect saying--

I'm saying that from now on that
black is your responsibility.

If he acts up in any way,
I'll hold you responsible.

You take my meaning, Fiddler?

You mean, I gets
to turn this here guinea man

into a proper field hand?

- Is that you're talking about?
- A proper field hand.

'Who speaks and understand
the King's English.'

And does exactly as he's told.

As a matter of fact,
I'll give you six months

until my birthday for you
to accomplish that.

Massa Reynolds, I don't
quite know how to thank you.

You sure know how to make
my days happy, Massa Reynolds.

Yes, sir,
your pleasure for sure.

Just do as I say, Fiddler.

That's all the thanks I expect
from any of my niggers.

Oh, I love you, Massa Reynolds.

I'm riding ahead
to Campbell's Inn

to get me a tankard of ale.

You catch up with me.

Just as soon as
that horse is shoed.

Uh, massa, you gonna
leave me a paper saying

that you give
permission for old Fiddler

to be out here with
this here guinea man.

'Cause any white folks come by

and see us out
here by their selves

they just liable up
and take us for runaways.

Oh, yes, yes. Sure they would.
Wouldn't they?

So I wouldn't take
too much time

shoeing that horse
if I were you.

Yes, sir.

"Wouldn't take too long shoeing
that horse if I was you."

Wouldn't take too long.

I'd right enough say
I wouldn't take too long.

You hear massa,
Toby Guinea man?

You hear him
tell old Fiddler about

making you into some
righteous sorta field hand?

Lord, you don't
even know your name.

First lesson.

You Toby. And I's Fiddler.

And I'll rip your black hide
if you don't do what I say.

You don't know where you going.

You don't know
about hoeing no tobacco.

You don't know about no
Mr. Ames with no whip.

You don't know how to talk
either. Get on up in there.

Go on.

Now you on a wagon.

This is a wagon.

You say wagon.

You say "wagon".

Wa...gon.

Good. Guinea man!

Now master give
you a new name too.

Master say you named Toby.

That's who you is, hear? Toby.

I's Fiddler.

Fiddler. Fiddler.

'Cause I plays for
the Christmas and the Jubilee.

Sarah's Fiddler. That's me!

Now you say, Toby.

- Kunta. Kunta Kinte.
- No. That's your African name.

Massa give you a new name.

Massa say you named Toby.

Hey, what's the matter
with you? Turn me loose.

Kunta Kinte.

You Africans all alike. Crazy.

Massa say you name is Toby.
That's who you is.

'He own you. He can do
anything he want with you.'

Ain't nothing you
can do about it.

I've been scratching
and scrambling

most of my days
to get where I got.

Now, I eats in
the big house kitchen.

'I got pine boards
on the floor in my cabin.'

And it don't take much
coughing for the master

to make me have a cup of
corn whiskey for my medicine.

Now, that is
fine living for a nigga

and I'll be damned
if any African Guinea man

is gonna make me lose
all I've been workin' for.

Now you take my meaning?

He don't speak
the King's English, Fiddler.

Better learn.

'You Toby.'

You best learn or you're gonna
get the bloody back for sure.

And me too. Maybe.

Giddyup there!

[instrumental music]

[whistling]

[music continues]

There it is, old African.

Massa Reynolds' land.

Them's his niggers.

'This is home!'

Giddyup there, boy!

[instrumental music]

Hello!

- Papa.
- Papa.

- Papa!
- Hello. Sweetheart.

Papa, what did
you bring me? Papa?

Say, Fiddler,
what'd you bring us?

Hold on. Hold on now.
I'll be right there.

Let me get down.

Now, I done stole
a whole sugar loaf

from the white folks
table at Annapolis.

Now you equals up
and shares it around, hear?

[indistinct chatter]

Now, wait a minute!
Wait a minute.

Now, one-one at a time.

I have surprises
for all of my ladies.

However, there are no stays.

- 'And no music from London.'
- Why not?

(John)
'And no ribbons.'

- John. Why ever not?
- It's politics.

Just damn politics!
That's all it is.

- John, your language.
- Well, it's the truth.

T-the merchants will not
import British products

as a protest of the duties
on glass and tea and the likes.

Oh, John, it's ever
so unfair to the girls.

However..

...I do have some stays.
And I do have some ribbons.

And I do have some music.
Printed in Boston.

Right over here.

Everybody gonna get some.
Now, come here.

Let me show you something.

This here is a
Guinea man. An African!

'They catch him running
through the woods in Guinea.'

'Massa Reynolds bought
him off the ship.'

'Now, you keep
away from him, now.'

'Cause he a wild African!'

'Oh. Yeah.
He a bobcat, for sure.'

'Now some of you ain't never
seen no African nigger before.'

'So you just listen
to old Fiddler, now.'

'This here Guinea man
don't know English talkin'.'

'So I'll be
the one teaching him'

'what it is he got to know.'

'Come on, boy.'

'Come on.'

[instrumental music]

Here. This way.

- 'John, it's fabulous!'
- 'I'm going to try a bow.'

Welcome back home, Mr. Reynolds.
Good to see you, sir.

Oh, Ames.

Uh, would you
excuse us, my dear?

I have some words with Mr. Ames.

Some brandy might, uh,
might help cut the dust.

- A new foal to show you, sir.
- Ah, good, good.

I have something
to tell you too.

What's tobacco, sir?

Six pounds
a hundredweight on the wharf.

- Down a shilling.
- Aye.

These are hard times
for small farmers.

Oh, I have some new seed
for the spring planting.

Cotton. Egyptian.

Long staple. Came highly
recommended by Mr. Wylie.

Easy for them to say.

They've slaves to spare
to clean the cotton.

I'll stick to tobacco.

Well, you may be right but..

...I thought we'd try
the small field for cotton.

An experiment.

As you say, sir.
You know best.

Also. I bought
a hand at auction.

- Straight from the ship?
- Yes.

I'll put him in
the books as a half-hand.

Half hand? He's a strong one.

17, 18 year old by the
look of the teeth.

Surely he's
a full hand, Mr. Ames.

Mr. Reynolds, I've had
experience with niggers

fresh from the trees.

And you can't get
no more work from them

than a wench, seven,
eight months pregnant.

That's why I'll put
him down as half a hand

till I got him broke.

Of course, you may
be right, Mr. Ames.

All the same I've set
Fiddler to do the breaking.

- Fiddler?
- 'Aye.'

Sir, there's a craft
to breaking a wild nigger.

Same as a horse.

And one horse
don't break another.

Fiddler will be
in charge of that nigger.

Until I say otherwise.

As I said, sir. You know best.

Mr. Ames, when
it's time for gelding..

...make certain
my daughters are not about.

(Fiddler)
'Don't go away. African.
Fiddler's coming.'

Hey, you. Toby.

Brung you vittles.

Here.

Here.

I sure hope you learn fast

so I don't have to keep
bringing your vittles down here.

Then you can eat
in the cook house.

Take them chains off ya.

Things start lookin' better
once you stop being African

'and start being nigger
like the rest of us.'

Go on, boy.
Them prime grits there.

Can you say grits? Say grits.

Dummy. Here.

I made sure old Rachel dipped
you up a piece of pork fat.

Here. Yeah, yeah,
that's good, boy. That's pork.

Can you say pork?

- Pork.
- Pigs. You know.

[imitating pigs]

Uh-oh, you one
of them Guinea men

who don't like
pig meat, that it?

'Well, you could have
told me, couldn't ya?'

'No. I guess you
couldn't have told me.'

So, it don't make sense.

Believing that Jesus
don't like ribs and fatback.

'You better be eating
all them grits, dummy.'

'Cause there ain't no more
coming your way tonight.

Grits.

Oh, ho, good boy.

Goodnight, Toby.

Dummy.

Grits, dummy.

I'm gonna allow
that you just making sounds

and you ain't talkin' words

'cause if you call
old Fiddler a dummy

I'd like to not as
feed you to them hogs.

'They ain't choosy as
you is about what they eat.'

[instrumental music]

- Fiddler.
- Mr. Ames. Evening to you, sir.

Enjoy the trip to Annapolis?

Oh, yes, sir. Fine trip, sir.

Mr. Reynolds told me about

the arrangement
you made with him.

Yes, sir.

Interestin' arrangement.

Goodnight, Fiddler.

Goodnight to you, Mr. Ames, sir.

[instrumental music]

Mr. Reynolds owns you.

Fiddler is going to teach you.

But sooner or later, nigger..

...you're mine.

[dramatic music]

[foreign language]

Listen, little brother cricket.

Go to the village of Juffure

and say to Omoro..

...and my mother Binta..

...and my
grandmother, Nyo Boto.

Tell them I have
been taken across

a great river with no shores
to the land of the white man.

Tell them I see
men and women here

of the Fulani tribe,
the Wolof tribe

the Hausa tribe.

But they have
all forgotten Allah.

Tell them I will
never be like them.

I will escape from this place.

I am a Mandinka warrior
and I will do it.

Tell them I am alive.

And will not forget them.

And tell them.
Do not forget me.

Do you hear me, little brother?

[cricket chirping]

[instrumental music]

[cricket chirping]

[piano music]

Oh.

Try again.
You're doing very well!

Oh, no, no, Ames.

You've been around their
stink all the live long day.

I can't see how can you believe

they're anything more
than, than bright monkeys?

With all due respect, sir, I
believe you underestimate them.

Oh, I underestimate them, do I?

Well, let me tell you something.

I've been working blacks

'ever since I first
took up this land.'

'Aye, sir, but you're not
right out with them'

'the way an overseer is.'

And I've heard people say it,
they said it before

that your nigger, by nature,
is suited to being a slave.

But you can take my word
for it, sir, it isn't true.

Are you trying to tell me
that you do not believe

'in the natural ability
of the white man'

to dominate the black?

That's correct, sir.

Slaves aren't born,
they are made.

[chuckling]

I mean no offense, Ames

but you yourself told me
that you started out

as a bound boy
in the tidewaters

seven years servitude.

'Aye, bound, I was.'

driven to the field with
a cuff and a curse same as them.

But at the end
of the seven years

I was free.

Now you take one
of your hands here.

Seven years from now
he'll still be black.

He'll still be a slave.

Because it's fear

and a whip to rub it in
that's what makes a slave.

Ha ha! No.

Brother William, what say you?

'We're at loggerheads here,
Ames and I.'

We need a third vote
to break the deadlock.

Well, I'm not so arrogant
as to challenge a man

at his own specialty.

However, Ames spends
more time with blacks

than he does with whites.

It stands to reason
that he knows them very well.

John, I don't mean
to intrude but--

You're not intruding my love.

What is it?

Well..

...the blacks
are inferior to us.

They have much less intelligence

and they are incapable
of learning all but the most

basic of concepts. Yes?

Yes. Most hold to that, my dear.

Well, then..

...why should we
be afraid to teach them?

If they are
incapable of learning..

...then how can it be
a crime to teach them to read?

And if they can be
taught to read

then they must be
capable of learning.

I'm sure I've overlooked
something I..

...I just don't understand.

[clears throat]

Do you know I've seen bears
taught to dance, too.

But I never thought
it a graceful sight.

Surely not a natural one.

Then you think they
can be taught to read?

Yes, probably in the most
rudimentary fashion

but that's where
the danger lies.

You see, my dear,
a slave is ignorant.

I mean, he eats
and drinks and sleeps

and labors and is happy.

Now if we allow him
to learn to read..

...he begins
to think and reflect.

Then he becomes
most unhappy, miserable.

No, no, no!
They've a simple spirit.

And I think
we serve them best

by making our demands
of our like nature.

Well said, William,
very well said.

Do you think they,
they have feelings?

I mean, like we do?

Well, I think they have needs
and hungers and passions.

But no, not precisely as we do.

Needs and hungers
and passions?

My such talk,
and from a doctor, too.

Well, a doctor's best medicine
is an open honest relationship

with his patient and I was just
giving you an honest answer.

Now that's enough,
you two, enough.

My brother has a way
with children and ladies

and I-I-I envy him, the gift.

Aye and has fancy theories.

I'd like to show him
life in the raw.

Like that hand you bought
four months back off the slaver.

The one you gave
Fiddler to break.

Toby? How is he doing, Mr. Ames?

Only two more months
before my birthday.

Well, Fiddler's doing his best.

But he's still in chains,
if that answers your question.

Still in chains
after four months?

John, that's not usual, is it?

Well, he's, uh,
he's not usual, my dear.

No, he's not like one
of your niggers born here.

Knowing only slavery.

He's freeborn.
That's dangerous.

But you know,
he's a smart nigger.

Still won't answer to "Toby".

You contradict yourself, Ames.

He is too slow
to learn his own name.

Oh, doctor,
he knows his own name.

It's the new name we gave him
he doesn't want to answer to.

There's a difference.

(Fiddler)
'Hey, Mary!'

Oh, afternoon, Fiddler.

How's Sarah?

Oh, she'd be
right enough, I reckon.

Cooking in the big house.

Doing right enough
by Massa Reynolds

judging from the size
of his belly gettin' big.

[chuckles]

He gets any bigger,
he ain't gonna be able

to see his business, no more.

[laughing]

No point in looking
at a business

if they ain't nobody
interested in buying.

[laughing]

Fiddler, you're a terrible man!

- Ain't it the truth?
- That's right.

[chuckling]

Here, let me give you
a hand with that thing.

There you go.

[chuckles]

Fanta.

Fanta!

Did you hear what
that African said, mama?

He called me "Fanta."
That African talk?

Never you mind
what kind of talk that is

you just leave that boy be.

I ain't do nothin'
to him, Fiddler.

He was the one
started talking to me first.

Here.

Come along now.

Let's get back
to the vegetable garden

before Mr. Ames
come looking for us.

Come on!

[chains clanking]

- Fiddler?
- Let's get on up back here.

[sighs]

Fiddler.

You and me run maybe?

What you say?

You and me..

...go away from here.

We ain't gonna run nowhere.

'Cause there's no place
to run to, boy.

This land ain't got
no place for us..

...except where we be
right now!

You hear?

Besides..

...it's so nice
this time of year.

Me and you ain't gonna go
no place till snow come.

- What's snow, Fiddler?
- Never you mind, boy.

Never you mind.

Let's get on back to home.

I've got enough trouble
teaching you the difference

between "manure" and "Massa".

'Course there ain't
all that much difference

when you gets right down
to it.

Giddyup!

♪ What's that sniffing
round the tree ♪

♪ Dog Fiddler ♪

♪ Dog's sniffing
round the tree ♪

♪ What's that running
across the road I see ♪

♪ Squirrel Fiddler ♪

♪ Squirrel crossing
on the road ♪

♪ And what's that shinning
on your head ♪

♪ Sun Fiddler ♪

♪ Sun's shinning
on my head ♪♪

[humming]

♪ There were fellow servants ♪

♪ Oh o oh o ♪

♪ I'm going away to leave you ♪

♪ Oh o oh o ♪

♪ I'd leave the old county ♪

♪ Oh o oh o ♪

♪ I'm sold off to Georgie ♪

♪ Oh o oh o ♪

♪ I'll meet my mama
and my papa ♪

♪ Oh o oh o ♪

♪ My brother and my sister ♪

♪ Oh o oh o ♪

♪ The massa and missy ♪

♪ Oh o oh o ♪

♪ I'm sold off to Georgie ♪

♪ Oh o oh o.. ♪

(Ames)
'Toby.'

♪ There were fellows.. ♪♪

Get up, Toby.

(Ames)
'Damn it, boy, if you don't
understand my meaning'

'I got a dictionary
in the butt end of this whip'

'that'll make my meaning clear.'

You do what
Mr. Ames say now, Toby.

(Ames)
'I did not request any help
from you, Fiddler.'

Oh, yes, Sir Mr. Ames,
that's a fact for sure.

But-but you see Toby here--

(Ames)
'Toby here.'

'You've been teaching him
so mighty fine'

he doesn't even answer
to his name.

[chuckles]
Well, sir, you see these are
African Guinea men.

'When they hears a loud voice'

'sometimes they just
ups and freezes'

like a baby quail
don't you know--

You're trying to tell me
I shouldn't be shouting

at your nigger? Is that what
you're trying to say?

Oh! Oh! No, Mr. Ames.

He ain't my nigger,
he's rightly

Massa Reynolds' nigger.

Though he did, uh, give him
to me to teach up

like he told me.

Alright.

Then you go over to Toby.

You get him on his feet.

You get him to working
or I'll cut up the both of you.

- Oh, yes! I--
- Right now!

Yes, now, Mr. Ames.
Right away, boy.

Get yourself up.

And get to work.
Right now.

[chains clanking]

Got him up and working, boss.

Just like you told me.

[instrumental music]

Mr. Ames?

I'm doing my best..

...sir.

[music continues]

♪ Anywhere ♪

[dog barking]

♪ Anywhere ♪

♪ Anywhere the sun goes down ♪

♪ Anywhere ♪

♪ Anywhere the sun goes down ♪

[singing indistinctly]

♪ ...around ♪

♪ Where the sun goes down ♪♪

[humming]

You ain't got to be scared.

'You talks good enough
to talk back to me.'

I heard you, plenty of times.

What you doing in here, Aurelia?

Tryin' to talk to him,
that's all.

Oh, he African.
You can't talk to him.

Well, he talked to me,
that's for sure.

'Called me that word again.
"Fanta."'

Oh, well, there-there was a girl
back there in the holding pen

with him at Annapolis.

She come with him from Africa.

That'd be her name, I reckon.

You and her be
about the same age.

Here!

'But now she's gone.
And so should you be.'

That's a Guinea man
and they eat fresh young girl

like you for breakfast.

I ain't never been breakfast
for nobody.

You go on, now.
You got no more to say to him.

'Go on!'

I got me one more thing
to say to him.

I saw.

I ain't told nobody yet.

'But I saw.'

(Ames)
'Fiddler! Come on, out here,
I want to talk to you.'

Yes, Mr. Ames.

Come on.

What can I do for you, sir?

You get your fiddle and go up
to the main house.

Mr. Reynolds brought a friend
back from the junction.

They wanna hear some music
to make 'em happy.

Oh, yes, sir! You come to the
right man for that, sure enough.

- Go on!
- Yes. sir.

Said you want to
hear me play.

Now, here's your chance.

Give me that stuff.

Look at those stars.

Clouds look full of snow.
Don't they?

Oh, no, no, no!
Not snow.

- Rain! Fiddler?
- Yes. Sir!

Fiddler, Sir Robert Calvert
and I are waiting!

Coming. On the way!

Let go!

Fiddler.

The man.

I know the man!

How you know him?

When Reynolds..

When Massa Reynolds
pay money for Kunta..

...that man there
pay money for Fanta.

Where that man
come from, Fiddler?

Junction. Ames say.

That's 15, 20 miles.

Days, Fiddler?
How many in days?

I don't know
and if I did, I sure in hell

I wouldn't tell you
now let loose my fiddle!

- Fiddler!
- Yes, sir.

I warrant you that
you've never heard

a black man
make music like this one.

(Calvert)
'I've heard a number of them,
Mr. Reynolds.'

'They all have that flair.
Dancing and happiness.'

'It's inborn.
Nature of the beast.'

[laughing]

(Reynolds)
'Come along, Fiddler,
come along.'

Yes, sir!

[chains clanking]

[instrumental music]

Now, stand up straight, now.

[knocking]

You wants to see my Aurelia,
Mr. Ames?

Hmm.

[music continues]

Oh, now, don't be like that.

He'd like to give you
quilt or a new calico.

And you've been talking
about gettin' a new calico.

So get on in.

Oh, it's alright, child.
It's alright.

[gasps]

Get inside.

[Aurelia sobbing]

[music continues]

[music continues]

[chains clanking]

[door creaking]

[panting]

[tribal music]

[singing in foreign language]

[singing in foreign language]

"Find me some flowers."

[coughs]

Mrs. Reynolds wants to make
the house look pretty

for Massa Reynolds' birthday.

Flowers.

This time of year.

Birthday? What's that?

Oh, Massa Reynolds's
birthday is

next biggest thing to Christmas,
I reckon.

And what's that?
Christmas?

Oh! Bunch of answers to that.

Christmas was when Jesus
up and got himself born.

It's when white folks
give each other

what none of them need nohow.

But what it mostly is,
it's the one time of year

we gets to eat good!

Get so I can burp and say
my Amen's all at the same time.

Christmas..

That happen
at night time, Fiddler?

It happen when it happen,
I reckon.

How come?

I don't see Aurelia
no more at night time.

She all the times
at Mr. Ames' cabin.

What they doing
in there, Fiddler?

What they doing in there?

What you think they
be doing in there?

You hear, Mr. Ames
grunting and puffing

almost till dawn, don't you?

- I hears him.
- Well, then.

They be doing the same way they
does back in Africa, I reckon.

Huh.

Her and Mr. Ames..

...do you think they...talk?

Oh.

I suppose
she ain't said nothing.

'Cause if she did..

...I'd know.

[chuckles]

Never did figure out
what that girl said she saw.

[instrumental music]

[panting]

[chuckling]
Hey, Toby.

Look what I got
from the kitchen!

I got..

[grunts]

[gasping]

Damn you, nigger!

Didn't you think
nothing about me?

- About you. Fiddler?
- Yeah, me.

Me, me, me!

You go runnin' off
in the hills

you know what's gonna happen
to me?

I gets to sleep
on a mud floor!

I gets to eat
what the pigs won't eat.

You was mine
to turn into a good nigger.

You go running off
and everything I got..

...everything I worked for..

...and it ain't much,
it'll all be gone!

- Fiddler want me stay?
- No!

You can't stay, now.
Not with them broke-off chains!

Oh! You done done it good now!

You done done it.
So you got to go right now.

Tonight!

Ames see you with them
leg-irons broke like that..

He'll go hard with you.

Fiddler come with Kunta.

No.

It's too cold
and I'm too old.

Hound dogs would catch us

before we get more
than two miles!

By yourself
you got a chance maybe.

Not much. But a little.

You should've left them chains
alone, nigger.

Chains ain't right
for a nigger, Fiddler.

Lord.

You sure is some mighty child!

Here.

[sniffles]

Kunta never forget you.

You help Kunta be free.

[chains clanking]

[door creaks]

[door closes]

What it like
to be free, African?

What it like?

Must be something special.

Aah!

[exhales]

[door creaking]

[intense music]

[dogs barking]

[panting]

[music continues]

[panting]

[music continues]

[panting]

[shivering]

[panting]

[shivering]

[instrumental music]

[chuckles]

[music continues]

[chuckles]

[dogs barking in distance]

[dogs barking]

[panting]

[panting]

[dogs barking]

[dramatic music]

[panting]

[grunting]

(Ames)
Out, boy. Out!

[dogs barking]

[music continues]

Get the dog off him.

'Toby.'

'Get up!'

I know you understand me.

Toby..

...you're going to learn
to answer to your name.

[gasping]

[dogs barking]

[dogs barking]

Fiddler!

Fiddler! They got him!

[clock ticking]

- Miss Reynolds?
- Yes?

Uh, pardon me, ma'am.
but, uh..

...could I see
Massa Reynolds, please?

Oh, Fiddler, I believe he's
studying the scriptures, now.

Oh, the-the man's
a Christian saint, he is.

But, uh,
it's powerful important.

Very well, Fiddler,
you will wait here.

Yes, ma'am.

[dogs barking]

[Toby panting]

James.

Put some oil on it.
It's a bit dry.

[panting]

Very, well, Fiddler,
he'll see you now.

- Thank you, Miss Reynolds--
- Uh, Fiddler.

Don't overstay your welcome.

Oh, no, Miss Reynolds,
would never do that.

Take him up.

Tie him off.

Fiddler, he's a runaway.

Now, you understand that
I cannot countenance

that sort of behavior.

'Do you understand
the word "countenance?"'

Yeah, sir.

B-but you told me
he was mine, massa.

You-you said, when we was
bringing him back from auction--

Yes, your to turn
into a proper field hand

and since he ran away,
you didn't do a very good job.

Isn't that a fair deduction?

Do you understand the word
"deduction?"

Yes, massa, I understand--

(John)
'Mind your tone,
mind your tone, Fiddler.'

Mind your tone
and mind it well.

I anticipate some adjustments
will be forthcoming toward you

as a result of all this.

Y-yes, sir, I..

I just hates to see
a prime field hand

like that boy all ruined--

(Ames)
'I want every buck and wench'

'to the barn!'

I-I-It's just that,
that you-you paid good money

for that African Guinea man
a-a-and you shouldn't..

(Ames)
'You're going to see how a bad
nigger gets turned good.'

Y-y-you got a investment.

[whip cracking]

Lord God!

Are you quite finished, Fiddler?

Yes, massa.

Old Fiddler's finished,
right enough.

That is correct.

Mr. Ames is now in charge
of the African.

You failed me, Fiddler.

And what we'll do about that

we'll discuss at a later time.

Yes, sir.

[Kunta screaming]

[screaming]

James.

Your name is Toby.

I want to hear you say it.

Your name is Toby.

[Kunta panting]

'You are going to learn
to say your name.'

Let me hear you say it.

What's your name?

Kunta.

Kunta Kinte.

[screaming]

(Ames)
'When the master gives you
something, you take it.'

'He gave you a name.'

'It's a nice name.'

'It's Toby.'

'And it's going to be yours
till the day you die.'

'Now, I know you understand me.
And I want to hear it.'

[Kunta panting]

'Again!'

[whip cracking]

[Kunta screams]

[gasping]

I want to hear
you say your name.

Your name is Toby.

What's your name?

[gasping]
Kunta.

[whip cracking]

[Kunta screaming]

Lord, God, help that boy.

They gonna whup him dead.

[whip cracking]

What's your name?

Say it.

'Toby.'

Who are you?

Say your name.

[gasping]

[Kunta screaming]

What's your name?

Toby.

[Kunta gasping]

Aye..

Say it again.

Say it louder so they all
can hear you. What's your name?

Toby.

My name..

...is Toby.

Aye.

That's a good nigger.

Cut him down.

[groaning]

[instrumental music]

[groaning]

[music continues]

[gulping]

Shh.

[sobbing]

Don't you care what
that white man call you.

Make you say Toby.

What you care?

You know who you be.

Kunta.

That's who you'll always be.

[sniffles]

Kunta Kinte.

[music continues]

There gonna be another day.

[inhales]

You hear me?

There gonna be another day!

[music continues]

[music continues]

(male narrator)
Next on "Roots," John Amos

as the adult Kunta Kinte
finds Fanta.

It seem like
since they take me from my home

the only time I get to be free
is when I run away.

(male narrator)
And he shares with her

his flight for freedom.

We can make it to the north
and be free!

- No!
- Come on! Fanta!

I wanna stay alive!

Maggie, who's that you got
in there with you?

(male narrator)
"Roots," the triumph of
an American family continues.

That's him.

[dramatic music]

[theme music]

[music continues]