Original subtitles

(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]