The Jackie Robinson Story (1950)

EFFECT

In complete silence the silhouetted grey shadow of a baseball 
player at bat fills the screen. The background is a tone of 
black. The player stands motionless for a few seconds and 
then commences waggling his bat as if preparing to hit. Since 
he is a right handed hitter he stands front to audience and 
watching for the ball to come from his left. Slowly he ends 
his waggling by pulling his bat way back, stands thus posed 
a moment... then swings hard.

Instantly we hear the familiar crack of bat against ball. 
Almost simultaneously there is the roar of a baseball crowd, 
our music comes in, and our picture title, THE JACKIE ROBINSON 
STORY, hits the screen. Now, as subtitles appear, they show 
against a continuation of other baseball scenes in silhouette: 
a figure running, sliding, jumping for a high ball, throwing, 
etc. With the end of the titles we

							DISSOLVE:

STOCK SHOTS

Professional baseball scenes vintage of 1919: crowds in parks, 
flying pennants, action on the diamond.

CLOSEUP

On one of the park pennants we read the inscription: WORLD 
SERIES, 1919. CINCINNATI VS. CHICAGO.

STOCK SHOTS

We continue the stock shots now, perhaps even showing closeups 
of such baseball immortals as mentioned by our narrator (a 
phantom voice never identified) whom we now hear.

		NARRATOR
	In 1919 American professional 
	baseball, slowed down by World War 
	I, was picking up speed again. It 
	had its Babe Ruth who was astounding 
	the country by hitting 29 homers for 
	Boston, its Ty Cobb then winding up 
	a Hall of Fame career by leading the 
	American League in hitting with a 
	.384 average, Ty's great contemporary 
	in Cleveland, Tris Speaker, its great 
	pitchers, Walter Johnson, Burleigh 
	Grimes, Herb Pennock... And, down in 
	Georgia, it had something else... 
	coming up. Name? Jackie Robinson. 
	Race? Negro. Occupation? Infant in 
	his mother's arms.

GEORGIA 'CROPPER COUNTRY PANORAMIC (STOCK)

DRAB, FLAT ROAD LONG SHOT

Into the scene, far distance, moves a rude, mule-drawn wagon.

THE WAGON FULL SHOT

Holding the reins is an old Negro in well-worn, farmhand 
clothes. Beside him on the seat and holding a sleeping baby 
in her arms is a Negro woman, about thirty. She is dressed 
in the best that a poor woman of her time and place might be 
able to afford -- a store suit, but re-tailored to fit, and 
neatly pressed. Between them sits a two year old girl, also 
in her starched best. Behind, standing and sitting amidst 
some cheap suitcases, are three other children, two boys and 
a girl, from four to ten years of age.

SAME - CLOSER

The cry of a far-off train whistle comes to the group. The 
mother shifts about in an expression of nervousness and 
glances back at the children behind her. The whistle has 
caused excitement among them. The oldest girl leans forward 
to her mother eagerly, apparently wondering about the train.

GIRL - MOTHER CLOSE SHOT

The mind of the mother is too pre-occupied to permit her to 
give the girl more than a fleeting smile and then she turns 
back.

		NARRATOR
	In the family history of every living 
	American, except for the American 
	Indian, there is the story of 
	migration and settling and re-
	settling. Either the American himself, 
	or an ancestor, had to travel to get 
	where that American is today. Jackie 
	Robinson was raised in Pasadena, 
	California. This is how his mother, 
	a widow, brought him and his brothers 
	and sisters out of Georgia.

THE WAGON LONG SHOT

The old man is whipping up his mules to hurry them along.

							DISSOLVE:

DOUBLE SEAT IN DAY COACH - NIGHT MEDIUM SHOT

The mother and her brood are asleep. She is against the 
window, the baby still in her arms, and her head fallen back 
against the headrest. Alongside her is curled the two-year 
old girl. Half-sitting, half-slumped against each other on 
the seat opposite are the next two youngest children, and 
lying on blankets on the floor between the seats is cramped 
the oldest child. Once, as the narrator talks, the mother 
opens her eyes slowly, looks her children over, makes a slight 
re-adjustment of position here and there among them, then 
lets her head fall back again.

							DISSOLVE:

ESTABLISHING SHOT - RAILROAD STATION - PASADENA CALIFORNIA - 
DAY - (STOCK)

A taxi in front of the station takes on Mrs. Robinson and 
her children. The driver helps with their luggage and then 
pulls away from the station. Except for music, the scene is 
silent.

INT. TAXI - (PROCESS)

Mrs. Robinson and the children in the taxi as they look out 
at the scene. (Stock shots of Pasadena's business sections, 
then of the residential area are to be inter-cut.)

WASHINGTON ELEMENTARY SCHOOL - DAY MEDIUM SHOT - AS FROM 
TAXICAB

As children leave school, trooping out noisily and happily. 
Among the children are several Negroes.

INT. TAXI - (PROCESS)

The children and the mother gaze intently as they note Negro 
pupils among the white children. Then they gaze at each other 
as if it is something hard to believe.

CLOSE ON TWO OF THE CHILDREN - (PROCESS)

As they turn their heads to continue looking at the school 
even though the taxi is now some distance past it.

TAXI DRIVING INTO NEGRO DISTRICT

As CAMERA FOLLOWS TAXI, we see that we are now in a low-priced 
area of homes, stores, etc.

		NARRATOR
	They had never seen anything like 
	the city that was to be their new 
	home. They looked and wondered and 
	the mother told herself that sooner 
	or later they would be well, if 
	humbly, settled there... And -- in 
	time -- they were... and very 
	humbly...

As narration fades, we

							DISSOLVE:

STREET SCENE LONG

A nine year old colored boy is running towards the Robinson 
home in high excitement. He is carrying a fielder's glove at 
which he has to glance every other second though he is in 
full flight.

		NARRATOR
		(talking through the 
		following scenes as 
		well)
	This isn't Jackie -- but when he was 
	nine, and the family couldn't afford 
	to get him a baseball glove, this is 
	how his mother helped him make a 
	necessary adjustment to life. Jackie 
	had found an old, dilapidated glove...

ROBINSON HOME MED. SHOT

The kid leaps up the stairs and into the house.

ROBINSON KITCHEN MED. SHOT

The kid slides into the kitchen, holding the glove out to 
Mrs. Robinson who is turning around from the gas range, and 
talks to her eagerly.

MRS. ROBINSON CLOSEUP

She takes the glove, examines it, and has to smile. It is 
badly frayed, the side stitching burst in a number of places, 
and padding extruding. Nevertheless, she nods and turns 
away...

KITCHEN MED. SHOT

Mrs. Robinson taking a sewing kit out of a drawer, the kid 
hopping around just in back of her and getting his head in 
her way. She goes to table, sits down, and commences threading 
a needle.

MRS. ROBINSON AND BOY CLOSE

She starts to take the first stitch. He asks her something 
anxiously. She nods reassuringly and his face lights up with 
a heart-wide grin.

							DISSOLVE:

STREET SCENE - DAY MED. SHOT

The same boy stands at a street corner, a bunch of newspapers 
at his feet, a dozen or so more under his arm, selling papers, 
both to car patrons and to pedestrians.

		NARRATOR
	Between work and school Jackie, like 
	this boy, didn't have all the time 
	in the world to play...

The boy turns his back to camera as he sells a newspaper and 
we see the glove sticking partially out of his back pocket.

		NARRATOR
	...but he always kept his glove 
	handy...

EXT. EMPTY PLAY LOT LONG SHOT

Running onto an empty lot where several other boys are playing 
ball in a make-shift game, is Jackie. One of the boys bats 
out a fly and Jackie scoots after it.

							FADE OUT:

FADE IN:

(NOTE: The following shots, illustrating narrator's talk, 
are quick, almost montage views, taken against any studio 
backgrounds already up and available. They are all angled to 
keep face of boy unrecognizable... and as shots progress boy 
gets bigger to indicate his growth.)

INTERIOR

Boy mopping a floor.

EXTERIOR

Boy delivering package to woman who opens door.

EXTERIOR

Boy piling up scrap lumber in corner of yard.

EXTERIOR

Boy pushing hand-truck loaded with sacks.

EXTERIOR

Boy driving small delivery truck, stopping and jumping out 
with parcel.

		NARRATOR
		(against above)
	All the things that boys find to do 
	when they have to work through their 
	schoolhood years, Jackie did...

ESTABLISHING SHOT - ATHLETIC FIELD - DAY - (STOCK)

Track events in progress. Students and fans watching.

		NARRATOR
	...yet he managed to make time for 
	sports as well.

BROAD JUMP PIT LONG SHOT - (STOCK)

We get a bare flash of a young Negro lad in track suit taking 
his run and launching into a broad jump.

		NARRATOR
	This still isn't Jackie, but when he 
	attended Pasadena Junior College he 
	led in all sports, broke the National 
	Junior College running broad jump 
	record with a leap of 25 feet, six 
	inches -- a record set a few years 
	earlier by his own brother, Mack!

AERIAL SHOT - LOS ANGELES MEMORIAL COLISEUM - DAY FOOTBALL 
GAME IN PROGRESS - (STOCK)

EXT. COLISEUM - DAY FULL SHOT - (STOCK)

Football game in progress, thousands of fans watching.

LONG SHOT - PLAYING FIELD THE TWO TEAMS IN POSITION TO START 
A PLAY - (STOCK)

MED. LONG SHOT THE PLAYERS - (STOCK)

As signals are called and a runner gets the ball. (From this 
distance we can't recognize any player or distinguish actual 
numbers on their uniforms.)

MED. SHOT

The player with the ball breaks through the opposing team's 
line and dashes for the sidelines and toward camera.

		NARRATOR
	But this -- IS -- Jackie Robinson...

As player nears camera we recognize him as Jackie. Over scene 
is HEARD roar of the crowd. CAMERA HOLDS as Jackie runs into 
a CLOSE SHOT, then past camera.

		NARRATOR
	...playing football for the University 
	of California at Los Angeles where 
	he had won an athletic scholarship.

STOCK SHOT LONG

Any shot of a player crossing into end zone for a touchdown, 
as opposing players trail after him... this, apparently, 
being the end of Jackie's run.

THE CROWD LONG

They are cheering.

FOOTBALL EXCERPTS - (STOCK) MONTAGE

These should be actual shots of Jackie in action against 
various college teams during his UCLA days. (During these we 
should work in a studio CLOSEUP or two to let us take a good 
look at the man.) Each of the shots is identified by the 
narrator as follows:

		NARRATOR
	Against Southern California!

		NARRATOR
	Against Oregon!

		NARRATOR
	Against Stanford! Etc.

COLISEUM STANDS MEDIUM

We see small section of student body watching game. Seated 
with two white girl companions is an attractive Negro girl 
(Rae). After joining crowd in a cheer one of the white girls 
turns to Rae.

		WHITE GIRL
	Jackie sure can run! How does it 
	feel to see your future husband going 
	wild down there?

		RAE
		(acting taken aback)
	Future husband? You're faster than 
	he is! He hasn't got that far yet.

		WHITE GIRL
		(waving hand derisively)
	Now don't pretend, Rae! We know.
		(turning to other 
		white girl)
	Don't we, Claire?

As other nods --

		WHITE GIRL
	So don't pretend, Rae!

Rae laughs but is a little embarrassed at being kidded about 
it. The white girl sees this and pats Rae's face, as you 
will to a child you are fond of, to indicate she meant no 
harm.

FOOTBALL FIELD LONG SHOT

Another quick shot of action on the field, with crowd roaring, 
as we

								SLOWLY DISSOLVE:

EXTERIOR MED. SHOT

Our shot takes in the tailgate of a furniture truck backed 
close to a warehouse-like entrance or loading platform. A 
tablet on wall of warehouse reading EMPIRE STORAGE COMPANY 
helps identify scene. A Negro of about fifty, strongly built, 
stands on truck tailgate waiting. Jackie, head hidden under 
huge club chair which he is carrying, walks into scene from 
warehouse.

		NARRATOR
	It wasn't all touchdowns and cheers, 
	however. There was also work...

Jackie swings chair to truck where older man grabs it.

		JACKIE
		(wiping perspiration)
	That's the last one, Jake.

Jake settles chair down, leans against it.

		JAKE
	I saw you play yesterday.

		JACKIE
		(pleased)
	Yeah? Like the game?

		JAKE
		(judiciously)
	It was good. You was good. But what's 
	the use if you got to do this kind 
	of work? I didn't have to go to no 
	college to get this job.

		JACKIE
		(smiling, after pause)
	You see, Jake, you're smarter than I 
	am.

Jake studies Jackie a moment, and then, with a slow, knowing 
smile, lifts chair up and disappears into truck with it.

EXT. UCLA CAMPUS PANORAMIC - (STOCK)

General shot campus showing college buildings b.g. and 
students either wandering around or lounging on ground.

		NARRATOR
	And there was always studying to be 
	done.

TREE TRUNK CLOSE

Jackie sitting with back propped against tree reading book.

		RAE'S VOICE
	Oh, I'm sorry I'm late.

Jackie looks up as Rae enters scene. He would get up but she 
slips down beside him before he can get started.

		RAE
	Stay put. I was held up by Claire 
	King. She just wanted to talk.

		JACKIE
		(indicating his book)
	That's okay. I can use all the time 
	I can get for this.

		RAE
		(pretending affront)
	Oh. Then I'll go.

Jackie instantly tosses book over one shoulder and takes one 
of Rae's hands in his so she can't get away.

		JACKIE
	Did you say something?

		RAE
		(pretending alarm)
	Your book! What about your book?

		JACKIE
	What about you?

Rae has to break down and smile and they are looking at each 
other as we

							FADE OUT:

FADE IN:

FOOTBALL GAME - DAY - (STOCK) PANORAMIC

Another game with stands loaded.

STANDS SECTION CLOSE

Rae and a few people around her.

FIELD - (STOCK) LONG

A player, indistinguishable, goes down under tacklers.

STANDS CLOSE

Rae wincing as voices, o.s., yell:

		VOICES
	Jackie's down! Wow! They sure got 
	him that time!

A white girl sitting with a boy friend in front of Rae 
comments:

		GIRL
		(indignantly)
	They sure pile on to him!

		BOY
		(brutally)
	What do you think? Who wouldn't if 
	they had a chance to slug...

The girl pokes him and indicates with her eyes that Rae is 
seated right behind them. The boy looks back at Rae, then at 
his girl again with a non-committal shrug.

LONG SHOT - THE FIELD - RAE'S ANGLE

As the players finally unpile. However, the ball-carrier 
lies there and two or three of his own teammates rush toward 
him.

QUICK CUT - RAE - ALARMED CLOSE SHOT - THE FIELD

Jackie on ground, ball under him, two or three players trying 
to help him to his feet. While they do so, the trainer rushes 
into scene to help them. CAMERA HOLDS as the trainer and 
another player help Jackie off the field. Over scene comes a 
cheer from the crowd, glad that Jackie isn't seriously hurt. 
However, he does have a decided limp.

CLOSEUP - RAE

She looks greatly relieved.

MED. SHOT - JACKIE, TRAINER AND PLAYER

As they walk toward camera, then past camera, on their way 
to dressing room, o.s.

MED. CLOSE - AT ENTRANCE TO DRESSING ROOMS

As Jackie, the trainer and another player walk into scene 
and enter the dressing room. All are quiet, and over scene 
we HEAR roar of the fans again.

INT. DRESSING ROOMS - DAY FULL SHOT

Lights are on, there is a doctor's bag on one of the rub-
down tables, a dozen or so uniforms tossed on various chairs 
and on the floor near the lockers. The trainer and player 
help Jackie up onto a table and pull his jersey off. Jackie 
winces.

TRAINING TABLE TWO SHOT

		TRAINER
		(talking as he works)
	Hurt much?

		JACKIE
	Yes.

		TRAINER
	Hip's badly bruised.

The player who helped Jackie off the field comes into shot. 
He is angry.

		PLAYER
	I don't know what's wrong with those 
	guys giving it to Jackie like that. 
	Just because he's...

		TRAINER
		(curtly)
	Hold it! I knew before the game they 
	were out to watch Jackie close. The 
	trainer on their team told me. But 
	it was because of his playing ability 
	and nothing else.

		PLAYER
	Oh.

		TRAINER
	You better get back to the bench.
		(to Jackie)
	I wasn't kidding about that either, 
	Jackie. They had respect for you out 
	there. Plenty.

JACKIE CLOSEUP

Jackie mulls over the trainer's words.

		JACKIE
	Thanks, Dick. It's nice to know.

		TRAINER
		(pleasantly)
	Say, Jackie. How's your brother Mack? 
	I remember him when he went to the 
	University of Oregon... and when he 
	ran in the Olympics overseas. One of 
	the finest athletes I ever met.

		JACKIE
		(after pause)
	Oh, Mack? He's fine. Fine, thank 
	you.

FRONT STEPS ROBINSON HOME MEDIUM

Jackie and Rae are sitting quietly on the steps. Mrs. Robinson 
comes out door just as Jackie slips his body down one step 
and lays his head against Rae's shoulder. Mrs. Robinson, who 
has some knitting in her hand, goes to a chair in a dark 
corner of the porch.

JACKIE - RAE CLOSE

		RAE
	Still in some pain, aren't you? I 
	think football is a wild game. I 
	don't think I like it.

		JACKIE
		(shifting in discomfort)
	I don't myself right now.

		MRS. ROBINSON'S VOICE
	I think it's disgusting... young men 
	battering each other... no better 
	than just plain old bulls.

Jackie gives Rae an amused side glance at this, then shrugs.

		JACKIE
	Well, it won't last much longer.

		RAE
	Why? What are you going to do?

		JACKIE
	Oh... something. This isn't getting 
	me anywhere. I mean... this isn't 
	getting us anywhere.

He shifts about to look directly at Rae with a smile.

		JACKIE
	And that's serious!

		RAE
		(embarrassed)
	Oh-h!

She pushes his head around and away from her.

MRS. ROBINSON CLOSE

She sees this byplay and her face softens in a smile. Quietly 
she gathers up her knitting and gets up.

FRONT STEPS MEDIUM

Mrs. Robinson enters house. Jackie hears the door closing 
and looks around. Then he smiles down at Rae who smiles back 
in understanding.

JACKIE - RAE CLOSE

		RAE
	She's cute.

		JACKIE
	Yeah...

		RAE
	What did you mean, Jackie? About 
	your going to do something?

JACKIE CLOSEUP

		JACKIE
		(his face serious)
	Oh... I mean I'm too big to be just 
	ornamental... Keeps Mom and Mack 
	hustling to pay my way... I've got 
	to start in being real useful...

DISSOLVE:

INT. BEDROOM - NIGHT MED. SHOT - JACKIE

He is in bed, unable to sleep. He has a school book on a 
table beside the bed; a small lamp is burning. He picks up 
the book and studies it for a few moments, but his heart 
isn't in it. A clock on the table shows that it is three 
o'clock in the morning. Jackie sighs deeply, then slowly 
starts climbing out of bed, still careful of his hip.

INT. KITCHEN - NIGHT MEDIUM - JACKIE

Standing by the gas range Jackie pours hot coffee into a 
vacuum lunch bottle. Two sandwiches are on a piece of paper. 
He corks the bottle and is wrapping up the sandwiches when 
we hear Mrs. Robinson's voice.

		MRS. ROBINSON'S VOICE
	Who is that? You, Jackie?

		JACKIE
	Yes, mom.

		MRS. ROBINSON'S VOICE
		(alarmed)
	You sick?

		JACKIE
	No. Just couldn't sleep. I'm going 
	out to see Mack. Want to talk to him 
	anyway.

		MRS. ROBINSON'S VOICE
	Can't it wait till morning? It's 
	three o'clock.

		JACKIE
	I know. But I won't be long. I know 
	where to find him.

		MRS. ROBINSON'S VOICE
		(fading off)
	Three o'clock! My! My! What a thing 
	to do... what a thing to do...

EXT. PASADENA STREET SCENE - NIGHT LONG

Jackie walking along Colorado Avenue, or similar business 
street, deserted and lonely at this hour except for a street 
cleaner in the distance. Jackie carries the lunch package in 
one hand, much as he would a football. Sandwich and vacuum 
bottle are wrapped in the same, tight package.

TRUCKING

Jackie approaching street cleaner who, however, does not 
hear him because of the noise of his heavy broom and the 
fact that parked cars separate the two men.

JACKIE AND CAR MEDIUM

Jackie has reached car. He stops a second and we hear the 
street cleaner's broom being pushed over the concrete. Jackie 
takes a few more steps, bringing him past the car. He stops 
and turns in the direction of the street cleaner.

		JACKIE
		(knowing it will be a 
		surprise)
	Hello, Mack.

MACK MEDIUM

We see that Mack, Jackie's older brother by three years, and 
former University of Oregon track star, is the street cleaner. 
He is in the loose uniform of the town's sanitation corps 
and is startled by Jackie's words and appearance, then grins.

		MACK
	What the... what are you doing here 
	at this hour? Schoolboys should be 
	in bed.

JACKIE - MACK

		JACKIE
	Yeah. I couldn't sleep so I fixed 
	you some lunch. Here...!

He throws the package like a forward pass and Mack, shifting 
broom to crook of his elbow, snags it expertly.

		MACK
		(dropping his broom)
	Man oh man -- I can use some... Hope 
	you figured I was a bit hungry...

He is obviously very pleased.

		JACKIE
		(chuckling)
	You bet. Coffee, too.

		MACK
		(indicating curb)
	Now you're talking. Let's sit down 
	and take it easy for a while...

Mack opens the package, takes a sandwich and offers one to 
Jackie. Jackie shakes his head.

		MACK
		(takes a bite)
	Anything bothering you?

		JACKIE
	Yeah. I want to quit college. Right 
	after the basketball season... when 
	my scholarship is up.

Mack almost chokes on his first bite.

		JACKIE
		(pounding Mack's back)
	Take it easy, boy. I don't want to 
	lose you now.
		(getting serious)
	You know Mom. She sees me as a doctor, 
	minister or lawyer, perhaps. I'd 
	like to please her but it just isn't 
	in me...

		MACK
	Yeah. I know.

		JACKIE
		(continuing his thought)
	It would mean years more in school -- 
	and the way I feel, I'd rather work 
	at getting some kind of a sport job -- 
	an assistant coach -- or a trainer -- 
	something like that... But I can't 
	figure out which to aim at... Coaching 
	jobs are darn hard to get...

		MACK
		(thoughtfully)
	All I can say, Jackie, is that you 
	ought to stay in college as long as 
	you can -- try to graduate -- and 
	keep at sports as hard as you can. 
	Something might turn up... and as 
	far as education goes -- it'll do 
	you good...

Then, noticing the trash he has been sweeping, he smiles.

		MACK
	How much good -- I'm not saying.

Jackie nods. Neither of them is at all bitter about it. It 
is just accepted.

		JACKIE
	Sure... I know... But I've got to go 
	to work. I want to marry Rae. School's 
	one thing -- but you and Mom can't 
	support me in marriage.

During the scene, Mack has continued to eat and now he opens 
the thermos of coffee. Jackie shakes his head that he doesn't 
want any and Mack pours himself a cup. As he starts to drink, 
a convertible filled with young people drives in sight, the 
youngsters singing a football victory song. Jackie and Mack 
watch it drive by. Banners and streamers hang from the car -- 
all showing UCLA insignia.

Mack grins at Jackie.

		MACK
	Funny place for a football hero to 
	be sitting at this time of night...

Jackie grins back at him.

		JACKIE
	Funny job you've got for a university 
	man...

He kicks at the pile of debris near them. Mack grins back at 
him, sighs.

		MACK
		(philosophically)
	That's the way it is...

They sit in silence for a moment and CAMERA PULLS BACK and 
draws away from them, their figures small against the long, 
lonely, dark street...

							FADE OUT:

FADE IN:

EXT. UCLA CAMPUS - NIGHT ESTABLISHING

EXT. GYM - NIGHT ENTRANCE

A student about to enter calls to another student passing 
by.

		STUDENT
	Hey, Jerry! Going to watch basketball 
	practice?

The passing student shakes his head and points to some books 
he is carrying to indicate he has to study.

INT. GYM FULL SHOT

A practice session is on, the players just passing the ball 
around and shooting baskets. At the sidelines stands an 
assistant coach.

JACKIE MED. SHOT

We see him run to the basket, get the ball on a pass, and 
shoot. Catching the ball as it comes through the net he slings 
it far upcourt.

ASSISTANT COACH MEDIUM

		COACH
		(calling out)
	All right, fellows. Let's work out 
	in teams.

GYM LONG SHOT

The players break up into two teams and take position for 
the start of a game.

JACKIE AND PLAYER CLOSE

Jackie and the player opposing him stand together waiting 
for the opening whistle to sound.

		PLAYER
	That true, Jackie, about your quitting 
	at the end of the basketball season?

As Jackie nods --

		PLAYER
	Not even going out for baseball again?

		JACKIE
	No, I'm not.

		PLAYER
	Don't you like baseball?

		JACKIE
	Can't afford to like it!

		PLAYER
	Why not?

		JACKIE
	Ever hear of a Negro in organized 
	ball?

GAME LONG

We see a few seconds of game skirmish, and follow Jackie 
down the court in a rush towards the basket which he 
ultimately shoots.

JACKIE AND PLAYER CLOSE

They are both panting a little now as they line up against 
each other again.

		PLAYER
		(smiling)
	Well, don't think I'll miss you. 
	I'll make the first team after you're 
	gone.

		JACKIE
		(with friendly dig 
		into player's ribs)
	Well, I'll miss you. You kept me 
	stepping.

The other player pulls his fist back as if to sock Jackie.

		PLAYER
	Get out! Kept you stepping! I didn't 
	have a chance!

They are both grinning as the whistle sounds and they jump 
into play again.

BASKETBALL GAMES - (STOCK) MONTAGE

We see Jackie in action against other college teams during 
the basketball season, and over each separate game appears a 
title identifying the particular rival college involved in 
the shot. After final shot we

							DISSOLVE:

EXT. STUDY HALL LONG

A group of students on the steps of one of the campus 
buildings are reading the college paper which is held by one 
of them.

GROUP MEDIUM

One of the students is reading aloud.

		STUDENT
	"UCLA loses four-letter athlete. 
	Jackie Robinson leaving school."

		SECOND STUDENT
	He wasn't kidding.

		THIRD STUDENT
	Gee, that boy's gonna leave a hole 
	behind him hard to fill. How come?

One of the other students rubs forefinger against thumb in 
the "money sign."

		STUDENT
	Economics, my boy. A man must live 
	before he can play. And in order to 
	live...

He makes the money sign again as we cut go:

INT. DRESSING ROOM MEDIUM

Jackie is taking his stuff from his locker and packing it in 
a small bag. The trainer we met in the football sequences 
and a student are standing by. Jackie is explaining something 
to them.

		JACKIE
	...Coming out of Junior College to 
	UCLA, the way I did, I only had a 
	two-year scholarship to fit my 
	athletic eligibility. Well... the 
	scholarship is over.

		TRAINER
	Isn't there any way you can stay on?

		JACKIE
	My mother is 63 years old. She's 
	worked as housekeeper, maid, cook, 
	laundress, janitress and selling 
	yard goods in a store to keep us 
	kids going.

		TRAINER
	She wanted to do it. She must not 
	want to see you give up now.

		JACKIE
	Yes, she'd work for the next ten 
	years if I stayed in school...

		TRAINER
	Well?

		JACKIE
	Can't take a chance. I can't expect 
	more future than Mack... and with 
	all his college he wasn't able to 
	get anything worth while. That's not 
	worth ten more years of work for my 
	mother.

His packing finished, Jackie shakes hands with both men.

		JACKIE
	Luck to you, and I'll take the same.

		TRAINER AND STUDENT
		(ad lib)
	All the luck in the world. You'll 
	make out all right, Jackie.

As Jackie exits the trainer turns to the student.

		TRAINER
	Somehow it doesn't make sense. The 
	only four-letter man we've had at 
	UCLA in ten years. High basketball 
	scorer for us in both years he was 
	here. On top of that he's as fine a 
	baseball player as I have ever seen... 
	and it don't mean a thing. He's 
	walking out of here without anything 
	ahead of him except a couple of games 
	of pro-football signed up.

		STUDENT
	Maybe he can have a career in 
	professional football.

		TRAINER
		(shaking his head)
	Baseball is his game.

		STUDENT
	He tells everyone he doesn't care 
	about baseball.

		TRAINER
		(with a short smile)
	Yeah... I know. What else is he going 
	to say?

INT. ROBINSON HOME CLOSEUP

A pair of hands counting a roll of paper money, each bill 
being slapped down on a table.

CAMERA MOVES BACK to reveal Jackie standing up and counting 
the money in front of his mother who is seated at the table. 
She seems puzzled as she looks at the bills and then up at 
him.

		MRS. ROBINSON
	What's that, Jackie?

		JACKIE
		(still counting)
	Money. Remember, Mom?

She gives him a warning glance not to joke with her.

		MRS. ROBINSON
	What is that, Jackie?

		JACKIE
		(in mollifying tone)
	Okay. Okay, Mom. It's an advance 
	payment for playing professional 
	football. I'm signed up to play for 
	Honolulu.

He tidies up the bills and leaves them in front of her as he 
sits down.

		MRS. ROBINSON
	But I don't like for you to play 
	football. Is that why you quit 
	college?

		JACKIE
	No, Mom. I'm going there just to 
	play a few games. They came to me 
	when they heard I was going to quit. 
	We can use the money till I get what 
	I want. So I took it.

		MRS. ROBINSON
	Honolulu's far away.

		JACKIE
	I'll be there and back inside of two 
	months.

She is troubled as she looks at the money and then up at 
Jackie again. He shrugs.

		JACKIE
	And then, maybe, I'll have some 
	answers to all the letters I've been 
	writing for a coaching job.

When she still doesn't reply he smiles and reaches out to 
pat her folded hands reassuringly.

		JACKIE
	It'll be all right, Mom. Just give 
	me a little time and you'll be proud 
	of me.

She looks directly at him.

		MRS. ROBINSON
	I was proud of you when you went to 
	college.

		JACKIE
		(gravely)
	I know. But... I didn't feel proud 
	of myself.

							DISSOLVE:

EXT. ROBINSON HOME - NIGHT FULL SHOT

Jackie and Rae are sitting on the front steps, apparently 
having reached a pause in their conversation which has left 
them both looking a little troubled.

DOLLY SHOT

CAMERA MOVES IN as we hear:

		JACKIE
	...May take us a little longer this 
	way but it means a better start...

As she nods mechanically --

		JACKIE
	When it does... uh...
		(in sudden disgust)
	Oh... maybe you're right. Maybe I'm 
	just going around in circles.

Rae turns to him quickly in sudden compunction.

		RAE
	Jackie, I'm sorry. I didn't mean to 
	act so cold to the idea. I'm not 
	even listening because... because I 
	just don't want you to go away.

As he tries to talk --

		RAE
	No. I know you have to do something 
	like this to get a start. I know... 
	but that doesn't make me like it.

		JACKIE
		(taking her hand)
	All right. And I am going around in 
	circles. I don't know how to beat 
	that. But Rae... there's one thing I 
	want you to be sure of...

As she nods --

		JACKIE
	Every circle comes right back to 
	you.

As her face lights up --

		JACKIE
	And all I'm worrying about is getting 
	around fast enough!

They smile at each other and then Rae leans her head back 
against Jackie's chest. They stay like this, both gazing 
off, when she speaks again.

		RAE
		(slowly)
	I have to take my post-graduate 
	nursing course in a hospital. I think 
	I can get in Bellevue in New York. 
	That's where I'll be...

		JACKIE
		(frowning)
	But why so far...

		RAE
		(turning to face him)
	That's where I'll be when you're 
	ready. It's better that way. Something 
	for me to do. You're more free...

They study each other's faces.

		JACKIE
	All right.

							DISSOLVE:

INT. SHIPBOARD CABIN - (PROCESS) CLOSE

A corner of a cabin. Jackie is typing away at a small table 
next to a porthole through which we can see a mid-ocean 
horizon rising and falling with the roll of the ship. Next 
to him is a small pile of letters already written. The distant 
clang of ship's bells is HEARD.

TYPEWRITER CLOSEUP

We can see that the letter is printed "S.S. LURLINE - HONOLULU 
BOUND." Under it he has typed the following heading and 
salutation:

"Mr. W.J. Jeffrey Athletic Director Overton College Overton, 
Calif."

And that he is tapping out the first few lines of his letter 
which begins as follows:

"Dear Mr. Jeffrey:

In application for an athletic coaching, or assistant 
coaching, appointment at Overton, I would like to submit the 
following qualifications..."

							DISSOLVE:

MONTAGE - FOOTBALL SCENES

Opening with STOCK of Hawaii, then into clips of several 
football games, ending with a SHOT of a steamship leaving 
Hawaii.

							DISSOLVE:

EXT. ROBINSON HOME - DAY MED. SHOT - JACKIE

He is walking up to the house, carrying a suitcase in each 
hand. CAMERA HOLDS as he reaches front door.

EXT. FRONT DOOR CLOSE - JACKIE

He lowers suitcases and knocks at the door as he finds it 
locked. He waits a moment, gets no answer, then finds his 
own key and unlocks the door.

INT. LIVING ROOM - DAY MED. SHOT

As Jackie enters, places his bags on the floor and closes 
the door behind him. He stands there for a moment, then goes 
toward a table where there are several pieces of mail.

JACKIE AT TABLE MED. CLOSE

He picks up the dozen or so letters and finds that four of 
them are for him. He sits down, opens and reads them, one by 
one. We do not see the first two which he crumples up and 
drops into a wastebasket. The third one he re-reads and thinks 
about for a moment, then places it to one side. The fourth 
he reads and crumples again and discards with the others. 
Then he rises and walks back and forth as he thinks. After a 
moment he stands at the living room window and stares out 
silently.

CLOSE - JACKIE

He stares out of the window, then sees something, turns and 
heads for the front door.

EXT. HOUSE - DAY MED. SHOT

Mrs. Robinson is walking up toward the house, carrying two 
large sacks of groceries. Jackie hurries to meet her, greeting 
her and taking the packages at the same time, even as they 
embrace.

		JACKIE
	Hello, Mom...

		MRS. ROBINSON
		(happy to see him)
	I was hoping you'd be here -- your 
	telegram came just a little while 
	ago so I went out to get some 
	things...

He knows that she intended to get some extra-special food 
for a homecoming dinner.

CAMERA PANS them into the house.

INT. LIVING ROOM FULL SHOT

Jackie and his mother enter and pass through into the kitchen.

		MRS. ROBINSON
		(as they walk through)
	...you didn't get hurt, did you?

MED. CLOSE AT KITCHEN DOOR

As they enter kitchen to put down the packages.

		JACKIE
		(as he enters)
	Not a scratch. Got a sore arm though -- 
	from writing letters...

		MRS. ROBINSON
		(as she follows him 
		in)
	Letters? Some letters came for you.

She comes back into the living room, heads for the table 
where Jackie picked up his mail. As Jackie reenters:

		MRS. ROBINSON
	I put them here...

		JACKIE
	I read them...

She turns to him, hoping that he will have some good news. 
He smiles at her, then moves over and picks up the letter he 
saved and hands it to her.

TWO SHOT - FAVORING MRS. ROBINSON

As she reads the letter.

		MRS. ROBINSON
		(thoughtfully)
	What's this National Youth 
	Association...?

		JACKIE
	It's something the Government set up 
	to help underprivileged children --- 
	they get all sorts of training ---

		MRS. ROBINSON
		(hopefully)
	...And they want you to be an athletic 
	instructor?

		JACKIE
	Looks that way... Anyway, I'm taking 
	it before they change their minds...

Mrs. Robinson looks at the letter again, then back at Jackie.

		MRS. ROBINSON
	...Pennsylvania...
		(with a smile)
	You'll be near Rae, anyway...

She moves to the sofa and sits down as she talks.

		MRS. ROBINSON
	Maybe you can be there when she 
	graduates -- or whatever it is -- 
	from the hospital...

		JACKIE
		(nodding)
	Yeah.
		(joshing her)
	So even if we don't have a doctor in 
	the family, we'll have a registered 
	nurse, anyway...
		(reflectively)
	...I hope...

		MRS. ROBINSON
	Why not write her and let her know...?

		JACKIE
		(nodding)
	Good idea. Soon's I put my stuff 
	up...

He turns, picks up his suitcases and starts through the hall 
door with them and we

							DISSOLVE:

INT. HOSPITAL ROOM - DAY FULL SHOT

This is a room in the nurses' quarters of a large hospital. 
Everything white, clean, uncrowded. Rae, in graduate nurse's 
uniform, is seated at a desk reading a letter. On the desk 
is a picture of Jackie -- in civilian clothes. There is a 
box of stationery, ink, pen, etc., on the table in addition 
to several books.

CLOSE - RAE READING LETTER

She shakes her head, smiling a bit, but with a bit of sadness.

INSERT PORTION OF LETTER

"...I'm enjoying my work with the kids and the Association 
has been fine to me. I'll be leaving it soon, though, as the 
Army has called. But at least, I can stop worrying about the 
future for awhile..."

BACK TO SCENE

Rae folds the letter and smiles in sad contemplation as we 
hear her thinking voice paraphrase Jackie's last sentence:

		RAE'S VOICE
	He can stop worrying now that he's 
	in the Army...

We know that she will really start worrying. She glances at 
the framed photograph of him. As we look at it, Jackie's 
clothes change into the uniform of an Army Private.

ARMY POST - (STOCK) MONTAGE

If obtainable we will show quick scenes of Jackie's army 
life as he supervises various athletic activities.

INT. HOSPITAL - DAY RAE'S DESK

There is a picture of Jackie in the uniform of an Army 
private. The uniform fades and is replaced by the uniform of 
a first lieutenant.

CAMERA PULLS BACK from photograph and we see that Rae is 
writing a letter.

INSERT LETTER - RAE'S HAND WRITING

"...so I will be finished with my course in two weeks and 
then go back home. When you get your Army discharge I'll be 
waiting for you in California..."

ESTABLISHING SHOT - ARMY POST - DAY - (STOCK)

This is supposed to be Ft. Breckenridge, Kentucky, although 
it can be any large Army installation as long as it remains 
unidentifiable.

STOCK SHOT - SOLDIERS

Marching, training, etc.

STOCK SHOT - MORE SOLDIERS

Entering and leaving barracks, etc.

INT. BARRACKS' ROOM - DAY CLOSE SHOT - JACKIE

He is packing a suitcase and an Army bag.

CAMERA PULLS BACK to reveal another Negro officer with Jackie. 
This man sits on a bunk -- both are dressed in their uniforms. 
Jackie moves to a chest and takes some clothes and stuffs 
them into the Army bag. Then he takes a photo of Rae off the 
wall and packs that in the suitcase. The last thing he removes 
from the chest is a fielder's baseball glove.

		ROOMMATE
	What you going to do with that?

		JACKIE
		(studying glove)
	I don't know. Don't know if I'll 
	ever do anything with it again...

INSERT JACKIE'S HANDS stuffing glove into his bag.

							DISSOLVE:

CLOSEUP - SAME BAG

As Jackie's reaches into it and comes out with the glove. 
There is a burst of laughter as CAMERA PULLS BACK to show 
that Jackie is home and unpacking his bag in front of Rae, 
Mrs. Robinson and Mack, all three of whom are laughing.

		RAE
	Just like you. First thing one sees 
	when you unpack is a baseball glove... 
	or a pair of spiked shoes...

Jackie draws himself up a little stiffish and addresses Rae 
in formal tones.

		JACKIE
	And when have you ever seen me unpack 
	before, Miss Isum?

		RAE
		(embarrassed in front 
		of Mrs. Robinson and 
		Mack)
	I didn't mean that I had ever seen 
	you... why, Jackie! What do you...
		(whirling about)
	Well, if that's to be your attitude!

She flounces from room and Jackie motions to his mother and 
Mack as he prepares to follow.

		JACKIE
	Excuse me. I have to effect a... 
	a... a rapprochement, I think they 
	call it.

He hurries after Rae while Mrs. Robinson looks after him and 
then turns to Mack to ask with suspicion edging her voice:

		MRS. ROBINSON
	What's he mean by that... that 
	rapproche -- that stuff?

		MACK
		(shaking head)
	Search me. We didn't bother with 
	that kind of stuff when I went to 
	college.

							DISSOLVE:

EXT. WAREHOUSE MED. SHOT

Same scene as Scene 43. Jake is standing on back of truck 
maneuvering a settee onto its legs when Jackie walks into 
the scene and smiles up at him.

		JACKIE
	H'ya, Jake.

		JAKE
	You been out of the Army a long time 
	now, Jackie. Ain't got yourself a 
	good coaching job yet?

		JACKIE
	Not quite.

		JAKE
		(grunting)
	Still writing letters, eh?

		JACKIE
	Yes. But if I don't get an answer 
	soon I'll be back here looking for 
	my old job.

		JAKE
	I hope that don't happen, son. But 
	if it does... I can sure use you.
		(changing tone)
	Why don't you go to them coaching 
	places in person instead of writing 
	them letters?

		JACKIE
	You mean why don't I spend fifty 
	dollars train fare instead of a three 
	cent stamp?

		JAKE
		(laughing)
	Yeah... I ain't got all the brains 
	in the world.
		(laughing louder)
	I wouldn't even want to prove I got 
	my share!

The two are laughing, with Jake sounding off in wild whoops, 
when Mack's voice is heard, o.s.

		MACK'S VOICE
		(calling)
	Jackie!

They stop laughing and turn around as Mack runs into scene 
carrying a letter which he hands to Jackie.

		MACK
		(excited)
	It just came.

Jackie tears letter open.

JACKIE CLOSEUP

He is reading letter.

MACK AND JAKE MEDIUM

		MACK
		(to Jake)
	It's from the Kansas City Monarchs. 
	It can only be one thing... an offer.

		JAKE
	Who are they?

		MACK
		(surprised)
	Never heard of the Kansas City 
	Monarchs? It's a professional baseball 
	team.

		JAKE
	But I thought professional teams 
	don't want us.

		MACK
	It's an all-colored team.

		GROUP
	Jackie looks up and Mack can't wait.

		MACK
	Well?

		JACKIE
		(a little dazed)
	A hundred dollars a week... to play 
	shortstop.

Jake jumps from truck and is so intrigued he takes letter 
from Jackie to puzzle over it himself.

		JACKIE
		(puzzled)
	And I didn't even write them. How 
	did they know?

		MACK
	Oh, they knew about you from UCLA 
	and some of the pro games you played 
	at Brookside. They must have scouted 
	you.

		JAKE
		(handing letter back 
		to Jackie)
	Here. That's what it says... a hundred 
	a week.
		(studying furniture 
		on truck)
	Just pushing a little old baseball 
	around. Maybe there's something to 
	that college stuff after all.

LOS ANGELES COUNTY GENERAL HOSPITAL - (STOCK) PANORAMIC NAME 
PLATE HOSPITAL CLOSEUP

INT. DRUG STORE CLOSE

Just a table in a corner at which sit Jackie and Rae, the 
latter in white uniform of a nurse, and with Coca Cola bottles 
and glasses before them. An air of sadness seems to have 
overcome both of them.

		RAE
		(thoughtfully)
	Well... you've got to take it. I 
	don't see what else you can do.

		JACKIE
		(in same mood)
	Yeah... and if I can stay with the 
	Monarchs a couple of years I should 
	be able to save up a little money.
		(looking at her)
	Maybe even enough...
		(hopefully)
	Maybe when I know I'm set there, 
	then...?

She nods, but not with any particular enthusiasm. Jackie 
notes this and nods slowly in agreement with her reaction.

		JACKIE
	I don't blame you. Gee... a couple 
	more years. Why don't we set a wedding 
	date for about 1960 and have it over 
	with?

Rae doesn't think it is funny, even if it wasn't meant to 
be. She stands up and looks at her wristwatch.

		RAE
	I don't know about 1960, but in five 
	minutes I'm due back in the ward.

Jackie gets up and puts some coins on the table.

		JACKIE
	And tomorrow I'm due in Kansas City.

They stand looking at each other, both with blank faces, 
unable to fathom either how to solve their problem or what 
lies ahead of this new development as we

							FADE OUT:

FADE IN:

ESTABLISHING SHOTS - KANSAS CITY - DAY - (STOCK)

Over scenes are SUPERIMPOSED the words: KANSAS CITY.

							DISSOLVE:

EXT. BALLPARK - DAY CLOSE SHOT - SIGN

					"MONARCHS vs. CLEVELAND"

o.s., we HEAR crowd noises.

EXT. BALLPARK - DAY FROM HIGH ANGLE

The playing field. A game is in progress.

WIDE ANGLE SHOT - THE STANDS

A fair-sized audience, practically all colored.

EXT. DUGOUT TWO SHOT

Jackie, in uniform, is sitting in a corner of dugout alongside 
an older man, apparently the manager.

		MANAGER
	This being your first game I was 
	going to hold you out a couple of 
	innings but maybe you want to take a 
	lick at bat now?
		(nodding to batter)
	Follow Joe.

		JACKIE
		(rising)
	Okay.

As Jackie starts away --

		MANAGER
	And look! Uh... we give them a show 
	out there, Jackie. If you make an 
	out, act mad. If you think you get a 
	bad call on a ball, talk it up. They 
	like that here.

Jackie considers this, nods, and then walks away quietly. 
The manager shakes his head as if doubtful that Jackie can 
come through on this order.

SIDELINES MEDIUM

Jackie, bat in hand, moves "on deck" and squats, waiting his 
turn.

BATTER

A Monarch player waggling bat viciously as if daring pitcher 
to throw one in the groove.

UMPIRE BEHIND BAT

Holding a "two-three" count up with his fingers.

PITCHER

Gazing contemptuously towards batter, winding up and throwing.

BATTER

Striking out with a tremendous swing, he yells in fury and 
starts pounding the ground with his bat in anger.

SIDELINES MEDIUM

As Jackie moves to plate he passes the retired batter. The 
latter is still gesticulating angrily, but as he passes Jackie 
he winks at him and we know it is all an act for the fans.

GRANDSTAND - (STOCK)

As loudspeaker announcement is heard:

		ANNOUNCER
	Now batting for Kansas City Monarchs 
	in place of Rumley -- Jackie Robinson!

PLATE CLOSE

Jackie takes his stance. The catcher squats and begins talking 
it up.

		CATCHER
		(calling to pitcher)
	This is a new boy, Bill. Take it 
	real easy with him. Don't discourage 
	the new boy. Nice and easy! Nice and 
	easy!

As the catcher is talking Jackie turns and nods to him as if 
grateful for the expected gentle treatment.

PITCHER CLOSE

He acts interested in what catcher is telling him, then nods 
as if in gentlemanly agreement with the policy of treating a 
new man with consideration. He begins his windup slowly but 
when he finally whips the ball it is with everything he's 
got.

PLATE CLOSE

The ball streaks past Jackie's head so closely that he has 
to fall to ground to avoid getting beaned. As he gets up, 
acting fully bewildered, the catcher runs to him and helps 
him dust his clothes, simulating deep concern. Jackie gazes 
at catcher, and then at pitcher, with great suspicion.

GRANDSTAND SMALL SECTION

The spectators are enjoying this byplay hugely.

PLATE CLOSE

Jackie waiting and showing determination to hit. He swings 
and hits... but doesn't run.

GRANDSTAND ROOF LONG

The ball going high over the stands and onto the roof.

PITCHER

A new ball is thrown to him. He begins his windup and throws.

PLATE CLOSE

Jackie swings and misses, so hard that he is carried several 
feet from plate and ends up facing stands. He acts angry, 
pulls his bat back of him with one hand and looks as if he 
is going to sling it into the seats.

For a moment he stands thus, wrestling with himself almost, 
as if trying to control his temper. There is a roar of 
excitement from the spectators, and then Jackie lets the bat 
down. Lowering his head in deep dejection he starts walking 
back to the dugout. The crowd's yelling now turns to laughter.

DUGOUT MEDIUM

As Jackie steps in to resume his seat next to manager.

		MANAGER
		(enthusiastic)
	That was great, Jackie! Fine stuff! 
	They loved it.

As Jackie nods --

		MANAGER
	But, of course, you know...

As Jackie looks up --

		MANAGER
	You're also supposed to get a hit 
	once in a while

JACKIE CLOSEUP

He casts an amused look at manager from under his eyebrows.

		JACKIE
	Make up your mind.

							DISSOLVE:

INFIELD LONG

The Monarch batter hits a pop fly and the side is retired. 
The Monarch team, including Jackie who goes to shortstop, 
takes the field. The infielders snap up ground balls thrown 
by first base and we get our first glimpse of Jackie in action 
as a fielder.

JACKIE MONTAGE

Various shots of Jackie in action as a shortstop; picking up 
a ground ball and shooting it to first, covering second and 
throwing to first for a double play, backing up the third 
baseman on a hot grounder and recovering when the latter 
boots one.

SCOREBOARD CLOSE

A series of ciphers show three innings have been played. In 
the fourth inning slot the figure "1" appears for each team, 
and then further ciphers appear up to the beginning of the 
ninth inning.

INFIELD LONG

The Monarchs come running in, including Jackie who goes to 
the bat rack.

JACKIE CLOSE

He selects a bat and heads for the plate.

SAME - CLOSER JACKIE AT PLATE

Jackie first takes a strike, then cuts at the next pitch and 
lines a double into the field. The crowd yells.

FULL SHOT - THE FIELD

As Jackie runs, then slides into second just in time to beat 
the pitch from the outfield. He gets up and dusts himself 
off as the second baseman, ball in hand, grins at him.

		SECOND BASEMAN
	About time you started hitting, boy.

Jackie grins and the second baseman returns the ball to the 
pitcher. As he throws, Jackie suddenly lights out for third 
and catches the pitcher flatfooted, not expecting such a 
daring play. The crowd roars as Jackie slides safely into 
third.

CLOSEUP - PITCHER

Looking disgusted with himself.

CLOSE SHOT - JACKIE ON THIRD

Grinning to himself. He obviously loves the sport and enjoys 
a spectacular play. He takes a long lead, teasing the pitcher.

FULL SHOT - THE FIELD

The next batter flies to the infield and Jackie gets back to 
base in time. The shortstop holds the ball for a moment, 
then satisfied that Jackie is holding the bag, tosses to the 
pitcher. The moment the ball leaves his hand, Jackie has 
started for home. By the time the pitcher catches the ball 
and relays it to the catcher, Jackie is sliding in safe at 
home plate. The crowd roars approval of his daring base-
running.

MED. SHOT - AT DUGOUT

As Jackie returns. Several players grin and ad lib their 
approval of the way he has handled himself. As the game 
continues, one of the players, Slim, moves close to Jackie 
and starts a conversation.

		SLIM
	Good going. You ought to sleep well 
	tonight.

		JACKIE
	I generally sleep pretty good.

		SLIM
	On a bus?

		JACKIE
		(thoughtfully)
	That's right. I forgot we travel by 
	bus.

		SLIM
	Make four hundred mile jumps between 
	games. Only chance we ever get to 
	hit a bed is in a two or three game 
	series.

		JACKIE
	Not so good.

		SLIM
	It ain't de luxe, brother!

MONTAGE

This is designed to show the nomadic life of these 
ballplayers.

A. Players piling into their own bus at night.

B. Players inside bus, half asleep as they travel.

C. Shots of game, including Jackie getting a hit.

D. Bus traveling again.

E. Players dressing on bus, getting into their uniforms.

F. Players emerging from bus at ballpark, going right onto 
field as if they've delayed game by late arrival.

G. Inside bus again; night, players asleep, some still in 
uniform.

H. Game in progress. Jackie in good fielding play.

I. Shot of fans showing their appreciation of game.

EXT. HIGHWAY - NIGHT MED. SHOT

The Monarch bus drives down highway, toward camera, which 
PULLS BACK and PANS as it disappears down highway, L. to R.

EXT. HIGHWAY LONG SHOT - MONARCH BUS

As it drives past. Through the windows we get a glimpse of 
the players.

INT. BUS FULL

In the dim illumination we can see the players, a few asleep, 
most sprawled out and listening to a major league night game 
broadcast.

BUS SECTION CLOSE

Slim has a portable radio on his lap. Jackie is in seat behind 
him.

		RADIO ANNOUNCER
	It's two and two on Greenberg as 
	Feller winds up... and it's ball 
	three...

HIGH-PITCHED WAIL FROM REAR OF BUS

Shut off that radio! I want to sleep.

		SLIM
	Quiet, Leander! That's Hank Greenberg 
	at bat.
		(to Jackie)
	That Leander! He sleeps all day out 
	in right field.

		LEANDER
	I don't care if it's Duke Ellington! 
	I want to sleep.

		SLIM
		(to radio)
	Come on, Hank. Wait it out... 'less 
	it's good.

		RADIO ANNOUNCER
	There's the windup again... and 
	Greenberg SWINGS at a high one and 
	he's out!

There is a general murmur of disgust from all in the bus.

		SLIM
		(provoked)
	What he bite on that for?
		(snapping off radio)
	Ah-h... that's the game!

There is a lull as everyone settles back with closed eyes. 
Then the plaintive voice of Leander is heard again.

		LEANDER
	Hey-y-y!

		SLIM
		(angrily)
	What you want now, Leander? I turned 
	the radio off. Go to sleep.

		LEANDER
	I ain't sleepy no more. I'm hungry.

ANOTHER BUS SECTION CLOSE

Several players open up their eyes and consider this. They 
look at each other and seem to indicate Leander has something.

DRIVER

The bus driver looks back and then at the manager who occupies 
a front seat.

SLIM CLOSE

		SLIM
	Hungry? Why you...
		(on second thought)
	Hungry...
		(looking back at Jackie)
	How about you?

Jackie compresses his lips and nods as if it isn't a bad 
idea at all. Almost immediately other players pick up 
Leander's word and we hear them.

		PLAYERS
		(ad lib)
	Yeah... hungry. I can eat. About 
	time... gotta get out of here anyway. 
	I'm for it!

DRIVER CLOSE

He checks manager who nods in agreement. Driver nods back 
and peers ahead.

EXT. ROADSIDE CAFE - OVER DRIVER'S SHOULDER AND THROUGH BUS 
WINDSHIELD

We see a forlorn-looking combination filling station and 
lunch room, with several cars parked around.

		DRIVER
		(over shoulder)
	Don't look too bad...

INT. BUS FULL SHOT

As the players, full of good humor, move around in their 
seats, trying to see the lunch room.

EXT. ROADSIDE CAFE MED. SHOT

As the bus pulls in and to a stop.

FULL SHOT - IN BUS

The players, Jackie included, peering through the bus windows, 
studying the almost deserted roadside cafe.

		DRIVER
		(at them all)
	Whose turn? Let's not waste time...

The players look at each other and finally Slim gets to his 
feet. He combs his hair and brushes at his clothes, trying 
to look as presentable as possible. The others watch him as 
he leaves the bus.

EXT. CAFE AND BUS FULL SHOT

Slim starts toward the cafe. He hesitates at the door for a 
moment, then enters.

INT. ROADSIDE CAFE FULL SHOT

A plain eating spot with one long counter, usual coffee urns, 
and wall aperture through which the chef can be seen in the 
kitchen. Three male patrons are seated together halfway down 
from the door, and the counterman, about thirty, is leaning 
against the wall talking to them as Slim enters. The four 
look towards Slim without any welcome and wait till he 
approaches.

		SLIM
		(nodding)
	Sixteen of us... in the bus outside. 
	How's chances of getting a late 
	dinner?

COUNTERMAN - PATRONS MED. CLOSE

The patrons look to the counterman to see what his reply 
will be. He notes their stare and then folds his arms.

		COUNTERMAN
	I'm all alone here. Afraid I couldn't 
	handle you.

The three patrons now swing their stare on Slim.

SLIM CLOSE

He seems not surprised and is ready with his next question.

		SLIM
	How about sandwiches? Could you have 
	the chef make some up for us?

COUNTERMAN CLOSE

He seems to be considering this but before he can answer an 
offstage voice is heard:

		VOICE
	How many of you?

KITCHEN WINDOW CLOSE

The chef, a rugged, elderly fellow is looking through the 
window.

SLIM MEDIUM

		SLIM
	Sixteen.

CHEF CLOSE

		CHEF
	Make you about sixteen beefs, sixteen 
	ham and eggs. That be all right?

CHEF - SLIM MEDIUM

Slim walks to chef as he replies.

		SLIM
	Swell. Some fried potatoes on the 
	side, chef?

		CHEF
		(disappearing)
	Yup.
		(o.s.)
	Take about twenty minutes.

The counterman walks into scene and stoops under counter to 
get a roll of paper containers.

		COUNTERMAN
		(a bit sulky)
	Coffee for everybody?

		SLIM
	Yeah... but don't pour it until the 
	sandwiches are ready, please... so 
	the coffee will be hot.

		COUNTERMAN
	Just getting it ready, Bud. Just 
	getting it ready.

		SLIM
	Thanks.

He indicates outside with his thumb.

		SLIM
	You suppose we could wash up a bit?

The counterman sneaks a quick look towards window but the 
chef is apparently too busy to hear this. He turns back to 
Slim.

		COUNTERMAN
	Sorry. It's out of order.

SLIM MEDIUM

His face is expressionless.

		SLIM
	Oh... Thanks. Then we'll go up the 
	road and be back in fifteen minutes.

SLIM - COUNTERMAN MEDIUM

		COUNTERMAN
	Have to leave a deposit on the 
	sandwiches in that case.

		SLIM
		(reaching into pocket)
	Sure.

EXT. BUS - LUNCH ROOM LONG

Slim leaves lunch room and walks slowly to bus.

INT. BUS MEDIUM

Shooting towards front entrance as Slim climbs aboard.

		SLIM
	They're feeding us. That's all. I 
	told them we're goin' up the line a 
	bit.

Without another word the driver starts the motor up.

EXT. BUS - ROAD FULL

The bus starts up the highway.

EXT. BUS - HIGHWAY LONG

We see the bus coming to a stop alongside a wooded section. 
The door opens and the players straggle out. One by one they 
disappear from sight as they walk into the woods and bushes -- 
as we

							DISSOLVE:

EXT. HIGHWAY - NIGHT MEDIUM

The bus speeding along.

INT. BUS - NIGHT FULL

Now everyone but the driver is asleep, stretched out in the 
various and often grotesque postures typical of bus slumber.

INT. CORRIDOR MEDIUM

Any sort of corridor in which Rae, in hospital uniform, meets 
another colored nurse. Rae carries medical tray.

		OTHER NURSE
	'Morning, Rae. I read about your 
	Jackie last night. He's been going 
	great for months. He write you?

		RAE
	Yes. He's doing well. Except he 
	doesn't like the traveling.

		OTHER NURSE
	Well, tell him to give it up and 
	come back here and get a job.

		RAE
		(with slight smile)
	I sure feel like it.

		OTHER NURSE
	That's the time to write.

		RAE
		(shaking head)
	I'll wait. Waited this long.

They smile and pass on.

ESTABLISHING SHOT - CHICAGO SKYLINE - DAY - (STOCK)

EXT. COMISKY BALL PARK - DAY - (STOCK) LONG SHOT

EXT. BALL PARK ENTRANCE - DAY MED. SHOT

TOWARD BOX OFFICE. A sign visible:

				"MONARCHS vs. CHICAGO"

						DISSOLVE THROUGH:

INT. BALL PARK - DAY FULL SHOT

A fair-sized crowd, players warming up on the field, but the 
game hasn't started.

EXT. DUGOUT - PLAYERS MED. SHOT

Several players stand near the dugout, throwing balls back 
and forth. Taking it easy as they warm up. Since most of 
them are watching those players on the field, we realize 
that the Chicago players are those practicing; the Monarchs 
are waiting for their turn.

EXT. DUGOUT DIFFERENT ANGLE

Jackie and Slim enter the dugout from clubroom runway and 
notice Bill Piedmont, a pitcher, sitting alone, somewhat 
disconsolately. Jackie and Slim settle down on each side of 
Bill.

		SLIM
	What's the matter with you? Didn't 
	you pitch and win yesterday?

		JACKIE
	That's right. You were hot.

		BILL
	Yeah... but there's no future to it.

		SLIM
	What'ya mean?

		BILL
		(to Jackie)
	How much does a twenty game win 
	pitcher get paid in the major league?

		JACKIE
	I don't know. Thirty thousand up, 
	maybe.

		BILL
	That's right. And I've won thirty so 
	far... and I'll get more.

		SLIM
	And you ain't getting any thirty 
	thousand.

		BILL
		(staring at Slim)
	Funny boy.

		JACKIE
	Think you could do as well in the 
	majors?

		BILL
	No. Not any thirty or more. But I'd 
	sure come close to twenty...

		JACKIE
	I think so.

		BILL
		(getting up)
	And maybe be able to save a few 
	dollars for when my arm goes...

He walks off. Slim watches him and turns to Jackie.

SLIM CLOSE

		SLIM
	He's right. We're all in the same 
	boat. Get enough to get by -- but 
	nothing to put by.

SLIM - JACKIE TWO SHOT

Slim gets up.

		SLIM
	Well...

He doesn't finish but walks out on field leaving Jackie alone. 
Jackie sits thinking and we can hear Slim's words echoing in 
his mind...

		SLIM
		(echo box)
	...enough to get by -- but nothing 
	to put by...

Someone calls Jackie and he snaps out of his reverie and 
runs onto field.

EXT. FIELD FULL

Centering on Jackie at shortstop as play begins. We HEAR the 
crack of a bat and Jackie shoots over to his left to make a 
pickup and throw out to first. It is a neat, fast play.

							DISSOLVE:

PLATE CLOSE

Jackie stepping up to bat.

RADIO ANNOUNCER CLOSE

We see him talking into his mike.

		ANNOUNCER
	Jackie Robinson up again. He got a 
	hit once and walked once. Let's see 
	what he does now.

PLATE CLOSE

The ball flashes by Jackie, low. He makes no move.

ANNOUNCER CLOSE

		ANNOUNCER
	Ball one. Too low.

PLATE

Jackie waggling his bat, drawing it back... but failing to 
swing as the ball comes by low again.

		UMPIRE'S VOICE
	Ball two!

PITCHER CLOSE

He is plainly nettled as he receives ball, gets catcher's 
sign, and winds up.

PLATE MEDIUM

From behind catcher. We see Jackie poised to hit, the ball 
coming... and Jackie merely lifts his elbows to let ball 
come through.

		UMPIRE
	Ball!

ANNOUNCER CLOSE

He is laughing.

		ANNOUNCER
	Jackie is not biting. They've got 
	the wrong man. It's ball three now 
	and the pitcher's on the spot.

PITCHER CLOSE

He wipes sweat from brow. Winds up and --

PLATE MEDIUM

The ball comes by and without waiting for the umpire's call 
Jackie tosses his bat aside and makes for first.

ANNOUNCER

Laughing again.

		ANNOUNCER
	Ball four and Jackie walks again. 
	He's got eyes, that boy.

INFIELD FULL

With the first baseman in the act of tossing the ball back 
to the pitcher -- the ball still in mid-air -- Jackie is off 
on a dash to second. The pitcher is rattled, fumbles 
momentarily, and then gets off a high throw. Jackie is safe 
on a long, hooked slide.

							DISSOLVE:

EXT. DUGOUT MEDIUM

Monarch players are tumbling into the dugout from the field, 
ad libbing about winning a tough game.

EXT. SIDELINES FULL

We see Jackie loping along towards dugout. Suddenly his name 
is called and he looks towards the boxes.

		SUKEFORTH
	Oh, Robinson! Can I see you a minute?

Jackie pauses, then veers toward the box seats.

BOX SEAT MEDIUM

Sukeforth is standing as Jackie enters the scene. Sukeforth 
extends his hand and Jackie takes it... wondering and perhaps 
a little suspicious that he may be dealing with a crank.

		SUKEFORTH
	My name is Clyde Sukeforth. I'm with 
	Branch Rickey... of the Brooklyn 
	Dodgers...

Jackie neither changes expression nor acknowledges this in 
any way. Sukeforth climbs out of box onto field and takes 
Jackie's arm.

		SUKEFORTH
	I'll walk up to the dressing room 
	with you. Talk to you there.

They start off, Jackie still wondering.

INT. DRESSING ROOM DOOR MEDIUM

Stopping outside the dressing room door, Sukeforth begins 
talking again. Several Monarch players, including Slim, walk 
by and look at them curiously.

		SUKEFORTH
	Branch Rickey wants to see you.

		JACKIE
	What for?

		SUKEFORTH
	Frankly, I don't know. Can you leave 
	for Brooklyn tonight with me?

Jackie is taken aback by this, then, after studying Sukeforth, 
he suddenly nods his head.

		JACKIE
	Sure.

		SUKEFORTH
		(pleased)
	Great! I'm at the Palmer House. I'll 
	arrange for our railroad tickets and 
	suppose you phone me at the Palmer 
	at seven?

		JACKIE
	I'll do that, Mr. Sukeforth.

They shake hands and Sukeforth leaves. Jackie stands looking 
after him a moment, his head shaking in wonder. Then he enters 
dressing room.

INT. DRESSING ROOM MEDIUM

Jackie reaches his locker and starts pulling his shirt off. 
Slim enters scene accompanied by Bill, the pitcher.

		SLIM
	Who was that white man, Jackie? A 
	friend of yours?

		JACKIE
	Nope. Said he was a scout for the 
	Brooklyn Dodgers. Said Branch Rickey 
	wants to see me.

		SLIM
		(nudging Bill)
	S'matter? You owe Rickey some money 
	or something?

		BILL
	Yeah... what does Mr. Rickey want to 
	see you about?

		JACKIE
		(smiling)
	He didn't say. Just wants to see me. 
	Maybe to see if I've got two heads 
	or something.

		SLIM
	What'd you say?

		JACKIE
	He's getting the train tickets and 
	I'm to phone him at seven at his 
	hotel.

		SLIM
	Better hurry up and pack. We'll miss 
	you.

		JACKIE
		(laughing)
	You don't think I'm crazy, do you?

Slim and Bill join in the laughter and Bill lets his hand 
fall on Jackie's shoulders.

		BILL
	You'll find a lot of these cranks 
	showing up. I don't know what makes 
	'em do it. Last year I was signed to 
	pitch for the Giants, Senators and 
	Cincinnati.

		SLIM
	But none of us have ever been signed 
	for Brooklyn yet. That's a new one. 
	You ought to take Bill and me out 
	and show us a good time on the 
	strength of that.

		JACKIE
	On the strength of that I'm going to 
	have dinner and go home to bed. It's 
	been four days since we had a bed to 
	sleep in and I'm going to get a 
	nightful of it.

		BILL
	You got something there...

							FADE OUT:

FADE IN:

INT. HOTEL BEDROOM - NIGHT MED. SHOT - JACKIE

He is in bed, sound asleep, when a knock is heard at the 
door. Jackie rolls over a bit, paying no attention.

CLOSER - JACKIE

As he lifts his head sleepily when the knocking continues, 
louder this time.

		JACKIE
	Who is it?

There is silence for a moment, then a dry, angry voice is 
heard.

		MAN'S VOICE
	Robinson? Clyde Sukeforth.

CLOSE UP - JACKIE

He appears stunned, is completely motionless for a moment, 
then snaps on the bedside lamp. The room is illuminated for 
the first time and we see that it is a cheap one, poorly 
furnished. On the dresser is a framed picture of Rae.

		JACKIE
		(fully awake)
	Just a second!

He gets out of bed, in his pajamas, and hurries to open the 
door. From his expression he still isn't sure what to expect.

MED. SHOT - AT DOOR

As Jackie opens it and an annoyed-looking Sukeforth enters. 
They stare at each other for a moment.

		SUKEFORTH
		(angrily)
	What are you trying to pull, Robinson?

He moves into the room, angrily continuing to berate Jackie.

		SUKEFORTH
	Playing hard to get or something...? 
	Or just trying to make a fool out of 
	me? Acting like a smart guy... making 
	me miss my train...
		(disgusted)
	I should have taken it and not come 
	here...

TWO SHOT - FAVORING JACKIE

He is growing indignant at this treatment from a man he is 
not sure of. He controls his temper, but nevertheless makes 
himself plain.

		JACKIE
	Just a minute, Mr. Sukeforth -- if 
	that's your name... I don't know you 
	and you don't know me...

Sukeforth looks at him sharply. Jackie hesitates, then 
continues.

		JACKIE
	...If Mr. Rickey did send you to see 
	me, then I've made a big mistake -- 
	and I'm sorry...

Sukeforth doesn't understand for a moment. Then, angrily, he 
reaches into his pocket, brings out his wallet and gives 
Jackie a card.

INSERT CARD IN JACKIE'S HAND

BACK TO SCENE

Jackie looks up from the card, puzzled.

		JACKIE
	It's still hard to believe... A lot 
	of fellows come to the game and... 
	you know.

		SUKEFORTH
		(getting Jackie's 
		reasoning)
	Oh... You thought I was giving you 
	the business! I should have thought 
	of that...

Jackie relaxes a bit and waits for Sukeforth to continue.

		SUKEFORTH
		(smiling)
	When Mr. Rickey told me to come out 
	here and talk to you, I didn't think 
	I was hearing right myself... but 
	here I am...

He looks around the room, then back to Jackie.

		JACKIE
	And you said you don't know why he 
	wants to see me.

		SUKEFORTH
		(no longer angry)
	I don't...
		(thoughtfully)
	Unless...

		JACKIE
		(urging him on)
	After all, there's no chance for me 
	in major league baseball.

As Sukeforth nods in agreement --

		JACKIE
	So... what...

		SUKEFORTH
	The only thing I can think of... and 
	I've got no right to suggest it... 
	just between us...

		JACKIE
	Yes?

		SUKEFORTH
	There's talk about an all-Negro 
	football team being started by Mr. 
	Rickey... the Brown Dodgers...

		JACKIE
	Oh... so that's it. Football.

		SUKEFORTH
	I don't know. But he wants to see 
	you and he's paying your fare... 
	both ways if you come back... What 
	do you say... yes or no?

Jackie looks around the room, plainly at a loss.

		SUKEFORTH
	You'll just have to make up your 
	mind, quick. I can't tell you any 
	more. I don't know any more.

		JACKIE
	I... Okay.

		SUKEFORTH
	Fine. Let's pack. We leave in an 
	hour.

							FADE OUT:

FADE IN:

ESTABLISHING SHOT - NEW YORK SKYLINE - DAY - (STOCK)

EBBETTS FIELD - BROOKLYN - DAY - (STOCK)

A game is on.

INT. BUILDING HALLWAY - DAY MED. SHOT

Jackie and Sukeforth round a corner and walk down the hall 
toward camera. CAMERA PULLS BACK and PANS to a doorway on 
which is printed:

				BROOKLYN BASEBALL CLUB, INC.

			Branch Rickey, President.

CAMERA HOLDS as Jackie and Sukeforth walk up to the door. 
Sukeforth opens it without knocking and leads Jackie inside.

INT. RECEPTION ROOM - DAY FULL SHOT

An attractive secretary sits at a desk. Two doors lead into 
adjoining offices. On the walls are signed, framed photographs 
of some of the old and new Dodgers.

		SECRETARY
	Hello, Mr. Sukeforth... Mr. Rickey 
	is expecting you.

Sukeforth leads the way to a door marked "MR. RICKEY." He 
opens it and motions Jackie to step in first.

INT. RICKEY'S OFFICE - DAY LONG

On Rickey, as he looks up towards camera from his desk in a 
good-sized, well-furnished office, decorated with additional 
pictures of baseball notables -- officials as well as players.

		RICKEY
		(heartily)
	Hello, Clyde! Got your man, eh?

He stands up, warm of face and manner, but we can tell from 
the look in his eyes that he is making a quick and keen study 
of Jackie.

		RICKEY
	Come in, Jackie. I'm very glad to 
	see you.

DESK AREA SIDE SHOT

As Sukeforth and Jackie come up to desk.

		JACKIE
	How do you do, Mr. Rickey.

		SUKEFORTH
	Yes, this is Jackie Robinson... and 
	it looked for a while as if I wasn't 
	going to get him here.

		RICKEY
		(to Jackie)
	Sit down, won't you?
		(to Sukeforth)
	Oh, no?
		(to Jackie)
	How come? Don't like Brooklyn?

JACKIE CLOSE

As he takes a chair.

		JACKIE
	I've got nothing against Brooklyn. 
	But... uh... on the Monarchs we get 
	all kinds of men who show up and 
	talk big about signing us up for 
	this and that. It's a kind of a gag.

RICKEY - JACKIE TWO SHOT

		RICKEY
	Oh, sure! Sure! Sure! But didn't 
	Clyde show you his credentials?

		JACKIE
	Yes... we got together finally.

		RICKEY
	Well, that's the main thing... And 
	now...

		JACKIE
	Yes, sir?

		RICKEY
	You're wondering, naturally, why I 
	sent for you.

		JACKIE
	More than wondering, Mr. Rickey. I'm 
	most curious. Although... I sort of 
	figured it out for myself...

		RICKEY
		(a bit surprised)
	You did?

		JACKIE
	Well, I know you're starting an all-
	colored football team.

		RICKEY
	Oh! Yes! Yes! We are thinking about 
	that. But... that's not what I want 
	you for.
		(quietly; after pause)
	Jackie, I want you for baseball.

JACKIE - SUKEFORTH CLOSE TWO SHOT

Jackie is bewildered. He looks towards Sukeforth as if for 
help in understanding but Sukeforth's expression is just as 
puzzled. Then Jackie turns back and his face hardens a bit.

		JACKIE
	You said that as if you were talking 
	about organized baseball, Mr. Rickey. 
	But I'm a Negro. There are none of 
	us in big league ball. I don't 
	understand...

DESK - THREE SHOT

		RICKEY
	Why I should want to put a Negro 
	into baseball?

		JACKIE
	Yes.

		RICKEY
		(nodding)
	I'm going to tell you...
		(to Sukeforth)
	And you, Clyde.
		(looking off)
	Because I am going to have to tell 
	many people.

Jackie and Sukeforth consult each other with another glance 
as Rickey falls silent a moment.

RICKEY CLOSEUP

Leaning forward to Jackie.

		RICKEY
	I have been looking for someone like 
	you -- an intelligent, educated, 
	good Negro ballplayer -- for some 
	time. I needed a man whose character 
	was well regarded and whose background 
	was unblemished. As far as we can 
	find out, you are such a man. You 
	might as well know now... we've done 
	a lot of checking up on you. I can 
	tell you your life story from Georgia 
	to where you are sitting now. It may 
	be that you will be the first Negro 
	in organized baseball.

JACKIE CLOSEUP

He is flabbergasted and, at the same time, beginning to feel 
an excitement which he cannot well hide. But he is also 
puzzled, and his hand goes to his chest, indicating himself, 
as he manages to get out one word...

		JACKIE
	But...

DESK AREA THREE SHOT

As Rickey stands up and shoots a finger out at Jackie as if 
guessing what is on his mind.

		RICKEY
	Why you? Let's get this straight so 
	we can all understand it. It's too 
	important for anyone to have a false 
	impression. People are going to shoot 
	at us... we must know where we stand. 
	I didn't call you here because I 
	want to do something for you, or for 
	your race, or for the Brooklyn Ball 
	Club. I want to do something for all 
	of us... All of us Americans.

Rickey turns and gazes out of the window.

EXT. EBBETTS FIELD - (STOCK) FROM RICKEY'S WINDOW

The park is crowded with fans. (The Brooklyn Ball Club offices 
are not near Ebbetts Field; they are in downtown Brooklyn. 
But the liberty we take is not offensive and should not be 
objectionable to anyone.)

		RICKEY'S VOICE
	...For years I have seen and watched 
	Americans together in the grandstands 
	and bleachers of our country's ball 
	parks... Negroes, whites of all 
	nationalities...

BASEBALL CROWDS - ANY PARK - (STOCK) MONTAGE

Selected to illustrate Rickey's continued speech. (Great 
care should be taken here as the proper scenes can lend 
pointed and heartwarming emphasis to this important, key 
scene. We see Negroes and Whites laughing together, growing 
tense together, gulping with relief as some emergency is 
met. We may have a group CLOSEUP which might include (this 
may have to be staged) an American executive type, a Negro 
and a Jew, suddenly all filled with heartbreak or dismay as 
a hometown hero has apparently struck out, or some other bad 
break has ensued. In no case need we show what they are 
watching. The faces of the crowds can express the typical 
emotional situations that come up in any game.)

		RICKEY'S VOICE
	...Italians, Irish, Swedes, Jews, 
	Germans, Chinese, Russians, Japanese, 
	Czechs... and I have marveled at 
	their fellowship, their cheers, 
	laughter, disappointments, enthusiasm, 
	all as one... and all made so by the 
	magic of a sport they all loved and 
	appreciated equally. And I couldn't 
	help ask myself a question... a long 
	time ago... and hundreds of times 
	since -- If Americans can find such 
	a common meeting ground in a game... 
	the game of baseball... If they can 
	play together like this... why can't 
	they live together like this... in 
	the game of life?

OFFICE MED.

Over heads of Jackie and Sukeforth towards Rickey still 
looking out of window. He turns back and finishes quietly.

		RICKEY
	And... I know they can... and maybe 
	baseball can show the way... because 
	baseball is wholly and peculiarly 
	American.

JACKIE CLOSEUP

He is looking at Rickey with new eyes.

RICKEY CLOSEUP

		RICKEY
	That's why I called you here, Jackie. 
	Do you want to get in on it? Because 
	it starts with you!

JACKIE - SUKEFORTH TWO SHOT

Sukeforth looks to see what Jackie's answer will be, and 
Jackie begins nodding slowly, and replies, not as if he is 
talking to Rickey, but as if he is asking questions of 
himself... because this is serious.

		JACKIE
	If I'm strong enough. If I should be 
	the one on whom this all depends.

When Rickey remains silent --

		JACKIE
	I can try. For all I've got.

RICKEY - JACKIE TWO SHOT

		RICKEY
		(simply)
	That should be enough. But I want 
	you to know exactly what you are 
	getting into. I'll do my part. You 
	mustn't let me, or all of us, down. 
	Jackie, we can't start you with 
	Brooklyn. It wouldn't be fair to 
	both of us. We don't know if you're 
	major league or not.

JACKIE CLOSEUP

He nods. He agrees.

		RICKEY
	We'll let you try out for Montreal, 
	one of our farm teams, and later 
	hope you make Brooklyn. But aside 
	from that, if and when we announce 
	you for even Montreal... do you know 
	what's going to happen? The papers? 
	People? Other players? Other clubs? 
	The reaction in the south?

JACKIE CLOSEUP

He nods.

RICKEY CLOSEUP

		RICKEY
	And if we get over that and you 
	actually start with Montreal -- Will 
	you stand what you're going to have 
	to go through? The razzing... the 
	cruel, unfair razzing that every 
	player gets, and the special razzing, 
	the special name-calling you're going 
	to get. Can you stand it?

JACKIE CLOSEUP

He nods.

RICKEY CLOSEUP

		RICKEY
	Are you sure? Because...
		(face grim)
	You're not going to be able to fight 
	back... no matter what the offense.
		(emphasis)
	...No matter what the offense! Do 
	you understand?

DESK THREE SHOT

Both Rickey and Sukeforth wait for Jackie's reply. Finally 
it comes.

		JACKIE
	Can you use a ballplayer who hasn't 
	the spirit... to fight back?

RICKEY CLOSEUP

It's a poser. He rubs his face, his chin, and practically 
his entire head. Eventually he finds an answer.

		RICKEY
	That's what's going to make your job 
	so tough. No! I want a fighter every 
	time. I want a man in there for 
	everything he's got! But... you'll 
	have to take it... not fight back... 
	and yet, do it so that somehow it's 
	no discredit to you... so that somehow 
	the crowd will sense it's not 
	cowardice that is stopping you but 
	something deeper. If, and when, you 
	can put that over... your troubles 
	are over. No player will bother you, 
	no man will unfairly attack you by 
	name or epithet, when you have 
	established that with the baseball 
	public. Because the very core of 
	Americans is fair play... once they 
	have felt the true situation involved.

RICKEY - JACKIE TWO SHOT

Rickey stands up. Jackie follows.

		RICKEY
	Jackie, I know from your background 
	that you've been spiked and beaned 
	in baseball, you've been clipped and 
	two-way tackled in football, you've 
	been banged around on the street. 
	That's what you face now. And you 
	don't dare yell copper... or fight 
	back. You don't dare because more 
	than you... much more than just you... 
	hangs in the balance.
		(extending his hand)
	Take a day to think it over. And 
	think it over!

They shake. In the background, Sukeforth enters the scene 
looking a little dazed at what has happened, in fact, blowing 
off steam.

INT. ROBINSON HOME - LIVING ROOM FULL

Mrs. Robinson at table knitting as Mack enters in his street-
cleaning uniform, carrying lunch pail.

		MACK
	I'm going, Mom. See you in the 
	morning.

The telephone rings and Mack goes to it. Mrs. Robinson 
watches.

		MACK
		(into phone)
	Hello... Yes, yes...

We hear the jangle of heavy coins coming from the receiver 
as Mack turns to his mother in surprise.

		MACK
	It's Jackie, Mom. He's calling from 
	New York.

Also surprised, and a bit perturbed, she gets up and joins 
Mack.

		MRS. ROBINSON
	New York? What's he doin' there?

		MACK
		(into phone)
	Hello... Yeah, Jackie, it's me, Mack. 
	What are you...? Huh?... The 
	Dodgers?... The Dodgers!... Yeah... 
	Yeah... Yeah...

Mrs. Robinson stands quietly waiting, but we can tell she is 
dying to know what it is all about. But Mack is listening. 
Then he finally talks again to Jackie.

		MACK
	Yes, she's right here, Jackie. Just 
	a minute, I'll tell her.
		(turning to mother)
	Listen, Mom. Jackie's got a chance 
	to try out for Montreal -- baseball -- 
	and maybe go with the Brooklyn 
	baseball team afterwards. He'll be 
	the first Negro in real baseball. 
	But he has to promise that no matter 
	what kind of trouble happens -- and 
	there'll be trouble --

		MRS. ROBINSON
		(cutting in)
	Will he get hurt?

		MACK
	Oh, not actually... but it could be 
	nasty... you know. But he's got to 
	promise not to fight back no matter 
	what happens to him and he don't 
	know if he can trust himself to take 
	it. Feels he'll feel like only half 
	a man. And if things go wrong on his 
	account it might be the end of Negroes 
	in baseball. He doesn't know what to 
	do...

Mrs. Robinson reaches for the phone but Mack holds it away 
and seems surprised at what appears to be a quick decision 
on her part.

		MACK
	What are you going to tell him?

		MRS. ROBINSON
	Let me have the phone, Mack.

He gives it to her. She clears her throat and then begins...

		MRS. ROBINSON
	Jackie...?

INT. PHONE BOOTH CLOSE

Jackie talking into a pay station phone.

		JACKIE
	Hello, Mom! Mack tell you? What do 
	you think, Mom...?
		(surprised)
	What? What?
		(laughing)
	Yeah... I feel all right. Yeah, I'm 
	sure. I feel swell... But what 
	about...?

MRS. ROBINSON CLOSE

		MRS. ROBINSON
	We can't advise you, son. You have 
	to talk to somebody with better 
	judgment. Somebody in New York you 
	can sit down with...

JACKIE IN PHONE BOOTH CLOSE

		JACKIE
	But I don't know anybody in New 
	York...

MRS. ROBINSON

		MRS. ROBINSON
	Yes, you do, son. In Harlem there 
	are churches and good men at the 
	head of them. Find one. Tell him. 
	And listen. It means as much to him 
	as it does to you and all of us.

JACKIE

		JACKIE
		(thinking)
	Yeah... maybe you're right, Mom. 
	That does sound good.

ROBINSON HOME MEDIUM

		MRS. ROBINSON
	...and take good care of yourself 
	and let us know... What?... No, we 
	won't tell anyone until you let us 
	know... Yes, just Rae. Good-bye.

She hangs up and turns from phone to Mack.

		MACK
		(impressed)
	That was good, Mom. How'd you happen 
	to think he could go to some church 
	and talk to a minister?

She sits down and takes up her knitting again.

		MRS. ROBINSON
	He needed help and it just naturally 
	came to me he could go to church.

EXT. HARLEM CHURCH - NIGHT FULL

INT. RECTORY - NIGHT TWO SHOT

Jackie and an elderly minister are seated, both silent, 
serious and thoughtful. Jackie seems to be waiting for an 
opinion from the minister. The latter finally stands up and 
Jackie follows suit.

		MINISTER
		(nodding)
	I understand. It's quite a problem.
		(changing tone)
	Do you have time for a little walk, 
	Mr. Robinson?

		JACKIE
		(puzzled)
	A walk? Well... surely, if you like.

		MINISTER
		(reaching for hat)
	Let's take one.

HARLEM - (STOCK) EFFECT SEQUENCE

This scene, which is one of the most important in the picture, 
will depend almost entirely on footage available, editorial 
selection of scenes, and technical handling. We see Harlem 
at night and get the feeling of humanity so congested, and 
sometimes so suppressed, that it overruns its boundaries 
both physically and emotionally. Yet there is also the music 
and laughter of Harlem, and the spirit of a people not to be 
overcome. Song and violence, rowdy kids and sober elders, 
church and saloon, and always the streets crowded, the 
buildings giving an appearance of being stuffed. Intercut in 
these scenes are the minister and Jackie, so that they appear 
to be looking on and absorbing what they see. Occasionally 
the minister will glance at Jackie to make sure he is taking 
it all in. Occasionally he will explain what is going on... 
and the dialogue for this is to be written when the proper 
scenes are selected.

EXT. THE CHURCH - NIGHT FULL

Jackie and the minister have arrived back at the church and 
stand there.

JACKIE - MINISTER MED. CLOSE

		MINISTER
	That's your people.

As Jackie nods:

		MINISTER
	I know that if you don't make good... 
	it may hurt us. But...
		(shrugging)
	...we always can take hurt, if there 
	is the chance to benefit.

		JACKIE
	That means I take the chance.

		MINISTER
		(nodding)
	We all take the chance. The Lord has 
	appointed you one of the rising men 
	of your race. And we've got to be a 
	rising people.

The minister looks at him. Jackie nods. He keeps nodding as 
we cut to:

MONTAGE

A series of newspaper headlines -- front page --

DODGERS SIGN NEGRO PLAYER!

Jackie Robinson sent to Montreal Royals

NEGRO BREAKS INTO BIG LEAGUE BALL!

Baseball world in furore!

Down in the body of one of the newspaper stories is the 
following paragraph:

INSERT NEWS STORY PARAGRAPH

"In the meanwhile, there has been no comment from Jackie 
Robinson, who, having returned to his home in Pasadena, is 
preparing to marry Miss Rae Isum, a schooldays sweetheart."

RADIO STUDIO - ANNOUNCER CLOSE

An announcer is standing at a mike, reading from a script he 
holds:

		ANNOUNCER
	When Branch Rickey announced that 
	Jackie Robinson had been signed and 
	would play for the Montreal farm 
	club there was plenty of excitement. 
	Almost everybody had something to 
	say about it -- and what's more -- 
	they said it!...

QUICK CUTS - (STOCK) - (ALL SILENT)

A. Two men arguing on a street corner.

B. Men arguing in bar.

C. Man and woman arguing.

D. Three Negroes discussing a serious problem.

E. Group at exclusive club discussing same heatedly.

F. Radio commentator talking into mike.

ANNOUNCER AGAIN CLOSE

		ANNOUNCER
		(continuing)
	...The talk came from high places in 
	baseball as well -- with many a club 
	owner declaring that they wouldn't 
	stand for it. But there it was. What 
	would they do about it? It is 
	something we won't know until the 
	season starts in a few weeks in 
	Florida...

ROBINSON HOME STEPS - NIGHT TWO SHOT

Jackie and Rae are sitting together.

		RAE
		(doubtfully)
	You're sure you want me to come to 
	Florida with you? I've never been 
	south.

		JACKIE
		(nodding)
	I'm sure. I'm very sure. Not afraid, 
	are you?... because of all this fuss 
	in the papers? I've never been south 
	either, since babyhood.

		RAE
	A little. But that's not why I wonder 
	about coming. I just don't want to 
	be in your way. You'll be busy with 
	all that spring training... people 
	wanting to talk to you.

		JACKIE
		(laughing softly)
	Who'll want to talk to me? They talk 
	about me... but not to me much. If 
	you aren't there I'll just be alone 
	once I'm off the field.

		RAE
	Is that the way you figure it?

		JACKIE
		(smiling)
	Why... Dem's the conditions that 
	prevail... like Jimmy Durante says.

		RAE
		(with sidelong glance)
	Well... if dem's the conditions, 
	I'll see what I can do.

We cut as Jackie, pleased, starts to put his arm around her.

SERIES OF QUICK CUTS - (ALL SILENT EXCEPT FOR MUSIC)

1. Shot of Jackie and Rae getting on plane.

PLANE IN FLIGHT. (STOCK)

3. Jackie and Rae getting on train.

4. Train speeding along. (Stock)

5. Stock shot - Florida. Palm trees, stucco buildings, etc.

6. Shot of Jackie and Rae entering bus. Rae is about to take 
a seat in middle of bus when Jackie stops her and indicates 
she is to sit in rear of bus.

7. Rae and Jackie in bus as he points to sign near driver.

8. Sign, reading: "Colored must sit in rear."

									WIPE:

INT. BUS DEPOT FULL

Bus coming to stop, driver opening door and passengers 
beginning to exit.

BUS DOOR MEDIUM

Jackie stepping out and helping Rae down as a well-dressed, 
middle-aged Negro steps up to him.

		NEGRO
	Mr. Robinson?

		JACKIE
	Yes?

		NEGRO
		(to Rae)
	And Mrs. Robinson?

		JACKIE
	That's right.

		NEGRO
	My name is Gaines. I am an attorney 
	in town. A group of us heard you 
	were due here for spring training. 
	We thought you might not have made 
	arrangements for a place to stay.

		JACKIE
	Why... we were going to find a 
	hotel...

		GAINES
	There is no suitable hotel, Mr. 
	Robinson. That's why we talked it 
	over. I'd be pleased to have you 
	stop at my home while you are here 
	as our guests. Such as it is, it is 
	the only place available.

		JACKIE
		(puzzled, looking at 
		Rae)
	That's very kind of you... but... 
	why... we don't want to impose...

		GAINES
	Not at all. You are a very important 
	man to us. It will be our pleasure, 
	I assure you.

Jackie studies Gaines a moment and then understands. He 
extends his hand and both men shake.

		JACKIE
		(simply)
	Thank you.

EXT. HOUSE - DAY FULL

A car pulls up outside a comfortable looking frame house. 
The three, Gains, Jackie and Rae, get out, the two men 
dividing the bags between them, and walk towards house. As 
they get near the door, it opens and a dignified colored 
woman steps out and smiles a welcome. From a distance we see 
the introductions made and the group passes inside.

							DISSOLVE:

DODGERS' TRAINING FIELD - (STOCK) PANORAMIC

A general view of the training field with about fifty-odd 
players tossing the ball around.

GAINES' CAR - (PROCESS)

We see Jackie and Gaines in car as it comes to stop near 
field which forms the b.g. Jackie, carrying small zipper 
bag, emerges from car, waves thanks to Gaines, and starts 
away.

INT. DRESSING ROOM - DAY FULL

Jackie is buttoning up his uniform and nearly a dozen 
reporters, most of them white, are shooting questions at 
him. Several have notebooks in their hands and are writing 
down his answers.

		REPORTER
	...Think you're good enough to make 
	the Dodgers?

		JACKIE
	Don't know if I'm good enough to 
	make the Montreal team -- so I'm not 
	even thinking about the Dodgers...

		2ND REPORTER
		(curiously)
	What'll you do if a pitcher tries to 
	bean you?

		JACKIE
		(grins)
	Same as you would. Duck.

The other reporters grin.

		3RD REPORTER
	You hope to be a Dodger sometime, 
	don't you?

		JACKIE
		(seriously)
	Sure -- provided I'm good enough...

		4TH REPORTER
	What about the other players? You 
	think there'll be any trouble?

		JACKIE
		(looking up)
	Trouble?

		2ND REPORTER
		(interrupting)
	He means -- do you expect to get 
	along with the other guys --- Suppose 
	something happens -- then what? How'll 
	it affect you...?

Jackie doesn't answer for a moment. Then:

		JACKIE
		(sincerely)
	That's too tough for me to answer. 
	All I can say is that I'm going to 
	do my best -- as a player and on and 
	off the field... How it'll turn out -- 
	I don't know any more than you do...

A few start writing this down and now the trainer moves up 
in front of Jackie.

		TRAINER
	Sorry, boys -- but you'll have to 
	continue this later -- right now 
	Robinson's due on the field...

The reporters understand and several move to follow Jackie 
as he and the trainer exit.

EXT. DUGOUT - DAY MED. SHOT

As Jackie, the trainer, and several reporters come up out of 
it and stand there for a moment.

EXT. PLAYING FIELD - FULL SHOT - THEIR ANGLE

Showing ballplayers, some batting, fielding, throwing balls, 
etc. o.s., we hear the trainer's voice:

		TRAINER'S VOICE
	Oh, Mr. Hopper!

At the call, a tall, greying man in his fifties, in uniform, 
turns around and walks toward Jackie and others, including 
camera.

MED. SHOT - JACKIE, TRAINER, REPORTERS

As Mr. Hopper walks into scene and up to them.

		TRAINER
	Jackie -- this is Mr. Hopper -- 
	Manager of the Montreal Royals -- 
	Mr. Hopper -- Jackie Robinson...

They both nod and shake hands. Hopper is a hard man to figure 
out. His accent is Southern -- his attitude calm and quiet.

		REPORTER
	Got a few minutes for us, Mr. 
	Hopper...?

		HOPPER
	Certainly -- but let me get Jackie 
	out there first...

He starts moving toward the field as he speaks and Jackie 
follows him. Then they both stop and look out toward the 
playing field.

MED. SHOT - FROM THEIR ANGLE

Almost every player on the field is looking in their 
direction, curious about Jackie.

TWO SHOT - HOPPER AND JACKIE

As Hopper moves forward again. Jackie is a bit nervous and 
we can tell that Hopper knows how he feels, but there are no 
words.

PANNING - HOPPER AND JACKIE

As they move down the first base line toward a player who is 
tossing a ball with two other men who are standing as a pair 
some distance away.

		HOPPER
		(calling out)
	Boys... this is Jackie Robinson.
		(to Jackie)
	That's Harker, Billings and Piletti. 
	Catch with them a while.

The players and Jackie nod. Hopper turns away and Jackie 
joins Harker who is the lone player, with Billings and Piletti 
some sixty feet away.

THE FOUR

We ANGLE SEVERAL SHOTS while the following routine takes 
place. Piletti throws the ball to Harker who is alongside 
Jackie. Harker throws it back to Billings. Billings should 
throw now to Jackie -- instead he also throws to Harker. 
They keep this up a while, with Piletti and Billings never 
throwing to Jackie, just to Harker, and as it goes on and 
the white men realize they have committed themselves to this 
insult, their faces sharpen, the atmosphere becomes a little 
tense as indicated by the quick glances they shoot each other 
and the way they avoid even looking at Jackie. It is his 
first crisis, a childish one, perhaps, but nevertheless 
serious. He stands quietly, his face betraying nothing, but 
his eyes just following the ball.

CLOSEUP - JACKIE

As he studies their faces, his eyes following the ball in 
flight. He hopes they might be kidding him.

QUICK CUTS - CLOSEUPS - THREE PLAYERS' FACES FROM JACKIE'S 
ANGLE

Their faces serious. It is not a gag.

CLOSEUP - JACKIE

Looking out toward other players on field.

THE PLAYING FIELD FULL SHOT - JACKIE'S ANGLE

Several players, including Clay Hopper, who has turned around, 
are watching with interest, paying no attention to their own 
practice.

MED. CLOSEUP - JACKIE

He is troubled, not knowing what to do, but realizing that 
he must do something -- yet nothing that will offend the 
three players who are still ignoring him. He studies them 
again.

PANNING SHOT - THE THREE

CAMERA STUDIES their faces for a brief moment. We even feel 
that they are sorry they have done what they have, but they 
don't know how to get out of it without one of them turning 
"chicken."

CLOSEUP - JACKIE

He takes a breath and moves a step closer to Harker.

THE FOUR

Piletti throws again.

JACKIE - HARKER CLOSE

The ball is again intended for Harker but Jackie leans over 
and casually gathers it in in a graceful catch. Before there 
can be any reaction he has the ball on its way back to 
Billings.

BILLINGS - PILETTI

Billings is so unnerved by the whole incident that he fumbles 
the ball and has to walk after it.

JACKIE - HARKER CLOSE

Jackie turns after throw to find Harker looking at him almost 
gratefully. Harker nods in commendation.

		HARKER
	Glad you did that. I don't know how 
	the heck we got into it.

THE FOUR

Billings has recovered ball and is so confused by the whole 
episode that, instead of throwing it back to Harker, who is 
extending a glove up in the air as a sign, he throws it to 
Jackie instead. Harker watches and looks back at Billings. 
Then he calls out in pretended indignation.

		HARKER
	Oh, great! Now you're leaving me out 
	of it! Oh, fine!

The four of them have to laugh now and as we cut away Harker 
is begging Jackie for the ball.

		HARKER
	Here... let me get a chance to throw 
	once in a while!

HOPPER CLOSE

His face inscrutable, he turns and studies the faces of the 
other ballplayers who have been watching the incident. They, 
too, are smiling. Thoughtfully, he walks away.

EXT. GAINES HOME FULL

We can see two women seated on the porch.

EXT. PORCH CLOSE

Rae and Mrs. Gaines are talking.

		MRS. GAINES
	You're sure you don't want to walk 
	into town?

		RAE
		(hesitantly)
	Well... not yet.

		MRS. GAINES
		(pleasantly)
	All right.
		(studying Rae)
	You're not nervous about it, are 
	you? Afraid down here?

		RAE
	Uh... to tell you the truth, I 
	wouldn't be comfortable. I've never 
	been south and I'm afraid I wouldn't 
	know how to act. You probably don't 
	understand but... when one isn't 
	accustomed to... well, sort of 
	deferring... or whatever it is down 
	here...
		(helplessly)
	I'm afraid I'm not clear. Perhaps if 
	you explained. I worry about making 
	a mistake and getting Jackie into 
	trouble.

		MRS. GAINES
		(gently)
	I understand. Of course I do. But it 
	really isn't as bad as reported. 
	Some of what you hear is true... a 
	lot exaggerated. We live our own 
	lives... and as long as we live our 
	own lives we are not bothered. Most 
	of the white people understand our 
	position and are helping, bit by 
	bit, to make things better, easier. 
	We've got to show respect for all of 
	them -- whether we respect them or 
	not. Always say Mister or Mrs. -- 
	never use first names, even if they 
	ask you to.
		(she smiles)
	None of those are hard to do, really. 
	You do defer, but even that isn't 
	hard -- once you get used to it.

		RAE
	In what way?

		MRS. GAINES
	Every way. In stores, say, don't try 
	to get waited on until you're the 
	only one left -- and give way even 
	if you're first and they come in 
	later... Never, of course, try or 
	expect to mix --- and as long as 
	they come first in everything -- 
	you'll get along all right...

Rae is thoughtful for a moment.

		RAE
	Tell me -- why are you living here -- 
	instead of up North...

		MRS. GAINES
	To tell you the truth, I like it 
	down here. Even so... I like it down 
	here. If I left... it would be like 
	running away from home. I couldn't 
	do that.

		RAE
		(thoughtfully)
	I like it, too. It feels like home... 
	and yet...

		MRS. GAINES
	And yet it's strange.

		RAE
	Yes. Strange. Almost... mysterious.

Mrs. Haines nods in understanding. The two sit silently as:

EFFECT

We get a synoptic impression of activities: Jackie training, 
a class being instructed in base sliding, Jackie, Rae, Mr. 
and Mrs. Gaines around a card table at home, and, at the 
end, a shot showing a group of white Floridians standing in 
silence, watching Jackie taking part in a scrub game.

GAINES' PORCH - DAY MEDIUM

Jackie emerges and Rae comes as far as screen door.

		JACKIE
	I'll be right home after practice.

Rae nods as Jackie waves and starts to run down the walk.

GAINES' HOME FULL

A car pulls up and Gaines gets out just as Jackie comes down 
the walk.

GAINES CLOSEUP

His face is serious as he looks towards Jackie.

GAINES - JACKIE

As Jackie comes up to him.

		JACKIE
	Hello, Mr. Gaines. I was just on my 
	way to the field.

Gaines puts his hand on Jackie's shoulder.

		GAINES
	Not this morning, Jackie.

		JACKIE
	Not this... Uh? What do you mean?

		GAINES
	Come up on the porch. I had a call 
	from Mr. Rickey. I'll tell you what 
	he said.

PORCH MEDIUM

Rae is still standing. Mr. Gaines offers her a chair, then 
nods to Jackie to take one, and seats himself.

		GAINES
	The town has put a stop to mixed 
	ball playing.

		JACKIE
		(after pause)
	You mean... on account of me?

		GAINES
	Yes.

Jackie looks at Rae... then back at Gaines.

		JACKIE
	Then... you mean I'm through? Is 
	that what he said?

		GAINES
	By no means! Mr. Rickey isn't giving 
	up that easy. You're to train in 
	another town.

		JACKIE
		(puzzled)
	By myself? I don't get it.

		GAINES
	Oh, no. With the others. Mr. Rickey's 
	answer to the town was to decide to 
	move the whole Brooklyn organization 
	out of here to another town. Not 
	far. You'll still stay here with us.

		JACKIE
		(staggered)
	And I... I'm the cause of all that?

		MR. GAINES
		(gently)
	Don't hold yourself cheap, Jackie. 
	Mr. Rickey thinks that you, and what 
	you stand for, is worth it.

INT. BALL PARK - DAY FULL SHOT

Training session on. A few dozen players on the field, 
catching, throwing, batting, etc. Jackie is playing shortstop.

MED. SHOT - THE FIELD FOCUSED ON PITCHER AND BATTER

A batter misses the first pitch, then connects on the second 
and runs for first. Jackie scoops up the ball but makes a 
very bad throw to first -- and the batter is safe.

MED. CLOSE - JACKIE

Looking disgusted with himself, then flexes his right arm a 
few times as he moves back into position.

EXT. DUGOUT - DAY GROUP SHOT - RICKEY AND TWO REPORTERS

They are watching practice.

FULL SHOT - THE FIELD OVER RICKEY AND REPORTERS

As they watch batting practice. Another batter hits a grounder 
to Jackie. This time he muffs the ball and it goes into the 
outfield.

GROUP SHOT - RICKEY AND REPORTERS

The cynical reporter grimaces at Jackie's performance.

		REPORTER
	From what I've heard, you had a good 
	ballplayer in Robinson. But from 
	what I've seen -- you've wasted your 
	time --
		(dryly)
	and mine, too...

The other two reporters show nothing. Rickey isn't bothered.

		RICKEY
		(to cynic)
	Could be... but I don't think so...
		(turns around and 
		calls o.s., to trainer)
	Pete -- tell Robinson I want him at 
	first base...

MED. SHOT TO INCLUDE RICKEY, REPORTERS, TRAINER

As the trainer nods to Mr. Rickey and trots out on the field. 
As he leaves, the first reporter turns to Rickey curiously.

		1ST REPORTER
	He ever played first?

		RICKEY
	Not that I know of...

		1ST REPORTER
	Then why...

		RICKEY
		(interrupting)
	Because he's been trying so hard 
	he's thrown his arm out... it won't 
	be so hard on him at first...

The reporters think about this, but the cynic isn't impressed.

		2ND REPORTER
	Just how bad is his arm, Mr. Rickey?

		RICKEY
	From what I've heard, he can't even 
	comb his own hair...

		1ST REPORTER
	...and you're keeping him out 
	there...?

		RICKEY
	Sure.

The trainer comes back.

		RICKEY
		(to trainer)
	How long before his arm...?

		TRAINER
	A week will bring it around...

Rickey thinks about it, then turns to the reporters, looking 
directly at the cynic.

		RICKEY
	I suggest that you catch our first 
	exhibition game -- two weeks from 
	today...

		1ST REPORTER
	Here?

		RICKEY
	No -- Jacksonville...

		2ND REPORTER
	I'll be there...

							QUICK FADE OUT:

FADE IN:

EXT. BALLPARK - DAY - (STOCK)

Over scene is title: JACKSONVILLE.

EXT. PARK ENTRANCE - DAY FULL SHOT

Fans milling around box-office. A few reading sign on box-
office.

INSERT SIGN

		"GAME CANCELLED"

The authority for the cancellation is partially covered so 
that we do not have to blame anybody.

BACK TO SCENE

A few disgruntled fans muttering in disappointment.

EXT. PLAYERS' ENTRANCE - DAY MED. SHOT - AT GATE

It is padlocked and a policeman stands in front of it. As 
scene opens, a dozen or so ballplayers, in business or sports 
clothes instead of uniform, are walking into scene and up to 
gate. Jackie is among them.

SAME - CLOSER

The trainer moves up toward the cop as the players ask him 
to open the gates.

		PLAYER
		(smiling)
	How's about opening up?

		POLICEMAN
	Not today, I'm afraid...

The players do not know what's wrong. The trainer moves up 
to the policeman.

		TRAINER
	What's the matter?

		POLICEMAN
	Orders.

		TRAINER
		(bothered)
	Why not? Whose orders?

		POLICEMAN
	Well -- there's a statute on the 
	books that says white and colored 
	can't compete against each other -- 
	even in sports...

The trainer looks as though he's about to explode and so do 
some of his players. Jackie looks upset. The trainer shrugs 
helplessly and motions toward the players to leave.

		TRAINER
	Let's go...

They start back and CAMERA PANS them to sidewalk where they 
start walking o.s.

EXT. SIDEWALK MED. SHOT

As the 2nd Reporter and the cynic meet the players.

		2ND REPORTER
		(to trainer)
	Pete -- what's...

		TRAINER
		(disgusted)
	Cancelled -- usual reason...

		CYNIC
		(not bothered)
	Think you'll ever play a game down 
	here?

		TRAINER
		(holding his temper)
	We'll play all right...

He shoulders on past the reporters and the players follow 
him... As they walk o.s. we

							DISSOLVE:

EXT. BALL PARK - DAY

CAMERA reveals ball park's name:

			DELAND PARK

			Jersey City vs. Montreal Royals

INT. BALL PARK - DAY FULL SHOT

A few players warming up. A few hundred fans in stands and 
more entering. Most of the ball players are around the 
dugouts, all of them in uniform.

EXT. DUGOUT MED. SHOT

Branch Rickey and Clay Hopper are standing in conference 
near the dugout. Players, including Jackie, in b.g.

		RICKEY
	...and I want you to use him -- 
	trouble or not...

		HOPPER
		(nodding)
	Okay.
		(turning)
	Hey -- Robinson!

Jackie comes up to them from b.g. Waits for them to speak to 
him.

		RICKEY
	Jackie -- I want you to play second 
	today...
		(looking at Jackie's 
		arm)
	Arm working all right?

		JACKIE
	Yes.

		RICKEY
		(seriously)
	Give it all you've got today...

		JACKIE
	I will, Mr. Rickey...

Rickey motions for him to join his teammates and he does so. 
Rickey is thoughtful for a moment.

		RICKEY
	I'm going to stay for awhile -- just 
	in case.

		HOPPER
		(nodding)
	It'll probably take some time -- 
	after they find out Robinson's in 
	the game...

They walk away, talking about the situation.

EXT. BALLPARK - DAY FULL SHOT - GAME IN PROGRESS

Scoreboard reads: 1 to 1 -- 2nd Inning. Fans seem to be 
enjoying the game. The batter scores an out and the teams 
change sides as we HOLD. The Royals are coming to bat.

EXT. PLAYERS BENCH DUGOUT IN B.G.

A player selects a bat and moves to take up his position at 
the plate as the pitcher and catcher warm up. Hopper motions 
to Jackie who steps forward and picks out his own bat.

		HOPPER
	Okay?

		JACKIE
		(nodding)
	Anything special?

		HOPPER
	No -- use your own judgment...

Jackie nods again, swings his bat, and moves up to the "on 
deck" spot. As he does so, the first batter gets a hit and 
races toward first.

EXT. PLAYING FIELD

As the batter reaches first safely and Jackie moves up into 
the batter's box.

EXT. BOX SEAT - DAY MED. CLOSE - RICKEY

He is watching game. Two reporters, the cynic included, sit 
with Rickey.

MED. SHOT - JACKIE AT PLATE RICKEY'S ANGLE

The first pitch is a called strike. The second is a ball. 
The third is a ball. Fourth a strike. Fifth a ball. Sixth a 
ball and Jackie walks.

		RICKEY'S VOICE
	Watch him... See that stance -- see 
	how he hugs the plate... He's hard 
	to pitch to -- he'll walk at least 
	one for four...

SPECIAL SEQUENCE

At this point we go into a special sequence which must be 
worked out at time of shooting between Jackie and the 
director. It is designed as a demonstration of what makes a 
good ball player as illustrated by Jackie... with Rickey 
commenting on him for the benefit of the two reporters. The 
action is not confined to any one inning but spreads over 
the entire game in montaged scenes that take in his hitting, 
funning and fielding. It should end up a memorable sequence 
for all who play or enjoy baseball and believe, usually 
wrongly, that they know all its tricks, embracing not only 
physical skill but headwork as well. When it is over the 
entire audience must have a knowledge and appreciation of 
what makes Jackie Robinson the player he is... and, 
furthermore, a better knowledge of baseball itself.

RICKEY - REPORTERS

Hopper enters scene.

		HOPPER
	Can I see you alone a moment, Mr. 
	Rickey?

Rickey smells trouble. He makes his excuses to reporters, 
who also sense something in the air, and walks off with 
Hopper.

RICKEY - HOPPER CLOSE

		HOPPER
	We've just got word. Police are on 
	the way. Mixed playing again.

		RICKEY
	Better get him off the field, Clay... 
	no use making it worse...

MED. SHOT - TO INCLUDE HOPPER

He nods at Rickey and heads back toward dugout.

EXT. DUGOUT MED. SHOT

As Hopper walks up to players' bench. Jackie and the players 
look up at him.

		HOPPER
	Sorry, Jackie -- but you'd better 
	leave the park for awhile... The old 
	trouble. See you in the dressing 
	room.

Jackie gets up and slowly walks down into the dugout and 
towards dressing rooms. The other players are silent, yet, 
we feel, resentful about this unfair situation Jackie has to 
buck constantly.

INT. DRESSING ROOM MED. CLOSE - JACKIE

He starts pulling off his uniform and the trainer walks into 
scene. Jackie is definitely unhappy.

		TRAINER
		(disgustedly)
	Same old thing. Same old thing!

		JACKIE
	Yeah, Pete. Thanks for looking at it 
	my way but I bet you fellows are fed 
	up with all the trouble I've caused. 
	All the jumping around, cancelled 
	games... ruction in the air.

		PETE
		(squarely)
	Yes, it's been a lot of fuss. But 
	that's the game. We're getting paid 
	for it. Not our business to squawk.

		JACKIE
		(sighing)
	It's the game... but I'll never get 
	to play it, I'm afraid. I've got a 
	hunch that maybe Mr. Rickey has 
	enough, too... and maybe I'll be 
	back with the Kansas City Monarchs 
	in a few days... if they'll take me.

Pete is about to reply when the sound of a door opening makes 
them both turn towards the entrance.

DRESSING ROOM DOOR LONG

Rickey and Hopper are entering. They walk purposely and Rickey 
beckons with his finger.

		RICKEY
	Pete... better go out on the field 
	and take a look at Hugh's hand. He 
	caught one on the knuckles.

JACKIE - PETE MEDIUM

As Rickey and Hopper enter scene.

		PETE
		(leaving)
	Right.

		RICKEY
		(to Jackie)
	And you...

		JACKIE
	Yes, Mr. Rickey. You going to give 
	it to me now?

		RICKEY
	Give you what?

		JACKIE
	My walking papers. You must be caught 
	up with all this melodramatic stuff... 
	police chasing the team all the time.

		RICKEY
	Oh.
		(winking at Hopper)
	Yeah. Never had such excitement in 
	years.
		(back to Jackie)
	I'll give it to you. Jackie... you 
	are now officially a Montreal Royal. 
	You have made the team. Okay?

Jackie, who has been sitting a bit dejectedly, straightens 
up slowly and looks from one to the other. His face is filled 
more with wonder than anything else.

		JACKIE
		(unbelievingly)
	You're still with me!

As Hopper nods --

		RICKEY
	Still with you.

		JACKIE
		(shaking head)
	And I was ready to give up!

He seems lost in thought, his gaze directed at a far corner 
of the room, as Rickey gives him a farewell pat on the 
shoulder and exits. Jackie doesn't even look up. Then Hopper 
is standing over him.

		HOPPER
	All right, Jackie?

		JACKIE
		(waking up)
	Yes, Mr. Hopper.

		HOPPER
	Think I've got even better news for 
	you.

		JACKIE
		(brows knitting)
	Better?

		HOPPER
	For you. You can pack up. We head 
	north tomorrow... for Jersey City 
	and our first game of the season.

GAINES HOME DINNER TABLE

With his wife and Jackie and Rae seated before him, Mr. Gaines 
rises to propose a toast.

		MRS. GAINES
	It is safe to say, Jackie, that this 
	drink is not the only one to be raised 
	in your honor tonight. It is safe to 
	say that hundreds of thousands of 
	our people are doing the same. You 
	have opened another door formerly 
	locked to us by intolerance. It is a 
	milestone... I speak for a great 
	many when I say... thank you... thank 
	you...

The Gaineses and Rae drink, but when Jackie, embarrassed, 
tries to take his glass, Rae puts her hand on it, laughingly, 
and stops him.

		RAE
	You're not supposed to drink now. 
	You don't drink, anyway.

		JACKIE
		(grinning)
	I forgot...

EXT. TRAIN - NIGHT - (STOCK) LONG

A train roaring through the night.

EXT. ROOSEVELT STADIUM, JERSEY CITY - DAY - (STOCK) AERIAL 
VIEW

Stadium on a gala day, pennants streaming, stands packed. 
(Or any comparable stadium will do.) As we look at it, the 
legend: "JERSEY CITY, APRIL 14, 1946" appears over the 
picture. Then the picture gradually darkens until we

							FADE OUT:

FADE IN:

INT. RADIO STUDIO COMMENTATOR

He is seated at desk, reading from his notes.

		COMMENTATOR
	...This was an unusual day in 
	organized baseball, ladies and 
	gentlemen. For the first time, a 
	Negro player was presented to the 
	public. And for his first time, a 
	Negro made his appearance in the big 
	time, his every instinct telling him 
	the crowd might not be friendly at 
	all. But whatever the feeling of the 
	crowd before they saw Jackie Robinson 
	today... they forgot it. Because he 
	made them think of one thing... and 
	one thing only... baseball! And what 
	baseball! Few will forget what they 
	saw... I can see it yet...

							DISSOLVE:

PLATE JACKIE AT BAT

He is waggling his bat.

INFIELD

Runners on first and second waiting to go.

THE STANDS

The fans are silent, watchful.

PITCHER

He winds up and throws.

JACKIE

He takes a ball.

PITCHER

Another throw.

JACKIE

Swings and fouls off. Waiting. Another ball. Another ball.

PITCHER

Winding up.

JACKIE

A called strike.

SCOREBOARD

Shows two strikes and three balls.

STANDS

Crowds tense.

PITCHER

Checking runners, then winding up and throwing.

JACKIE

Swinging and connecting as a roar comes from the crowd.

OUTFIELD

Outfielder starting to run, then stopping as he realizes 
ball will clear fence easily.

RADIO STUDIO COMMENTATOR

		COMMENTATOR
	...But a lot of players hit home 
	runs. He gave them more baseball 
	than that. He gave them real baseball. 
	When next he came to bat there were 
	yells for another homerun. Jackie 
	didn't hit a homerun. He showed the 
	crowd something brand new... how to 
	score on a bunt!

PLATE LONG

ANGLING from third or left field to take in most of infield, 
including home plate and first base. Jackie bunts towards 
third and beats the throw to first.

SECOND - FIRST BASE LONG

Shooting from left field side of second along the line to 
first base and taking in pitcher. Jackie is taking a long 
lead off first as pitcher gets ready to throw. With the pitch 
he is off for second, running towards us.

PLATE CLOSE

Catcher receives pitch and whips throw to second.

SECOND - FIRST BASE LONG

Continuation of former shot showing Jackie going into slide 
and beating throw to second.

PITCHER CLOSE

Receives ball from second baseman in disgust and turns around 
towards plate. Only once, before throwing, does he turn around 
to eye Jackie, then he starts his windup. The second he goes 
into it there is a roar from the crowd and we can tell from 
the frantic look that comes into the pitcher's eyes that he 
knows what is happening -- Jackie must be off again... this 
time for third! But it is, of course, too late for him to do 
anything but finish his throw.

THIRD BASE LINE

Jackie racing along.

CATCHER

Reaching high for a bad throw, then whipping ball.

THIRD BASE

Jackie sliding in under throw.

STANDS

The crowd yelling and laughing at this continued larceny on 
Jackie's part.

PITCHER

Receiving throw from third baseman and tucking glove under 
arm to wipe his brow and glare towards Jackie.

THIRD

Jackie dusting himself off as third baseman looks on coldly.

PITCHER

Ready to throw. He checks Jackie and starts windup.

THIRD

Shooting to show both Jackie and the pitcher, the latter in 
the b.g. With the downswing of the pitcher's arm, Jackie is 
off and the crowd roars again. But after a half dozen stops 
Jackie stops suddenly and dashes back to third, just beating 
a try from the catcher to stop him.

INFIELD

Taking in Jackie and the pitcher, the former dancing away 
from third distractingly and the latter plainly worried by 
Jackie's tactics and snapping a couple of throws to third in 
an effort to trap him off base. Finally, the pitcher begins 
his windup and immediately Jackie is off for third. With the 
yell from the crowd the pitcher stops in mid-windup to make 
a quick throw to third again. Again Jackie has stopped and 
is on his way back to third but the umpire there waves him 
away and signals that he may go on to home.

		UMPIRE
	Pitcher's balk. You can score.

INFIELD

The pitcher comes running over to umpire to protest but 
realizes after a few words that he plainly made a balk and 
has no chance. He walks back to mound dejectedly.

STANDS

Crowd roaring.

DUGOUT

Jackie tumbling in as pleased teammates slap him on the back.

RADIO STUDIO COMMENTATOR

		COMMENTATOR
	...Before that game was over Jackie 
	had hit safely four times and scored 
	four times, with the aid of two stolen 
	bases and two pitcher's balks! Yes, 
	ladies and gentlemen, that was how 
	the first day went for the first 
	Negro in organized baseball. They 
	probably won't all go that well... 
	there may still be trouble... But we 
	have an indication that Jackie 
	Robinson has what it takes... to 
	take hold of the public's heart!

EXT. SYRACUSE, N.Y. AERIAL OR PANORAMIC VIEW

Over which appears legend: "SYRACUSE."

BALL PARK PAN OR GENERAL VIEW

A game is in progress.

PLATE MED. CLOSE

Jackie takes a strike.

		VOICE
		(calling)
	Hey, dare, big boy! What you-all 
	doin' on a white man's field?

Jackie turns head briefly in direction of ground boxes where 
voice, mimicking a thick southern accent, is coming from.

LOWER BOX

A thick-necked toughie is doing the yelling. He continues, 
in a manner which he calculates will tickle those around 
him. Next to him is another man who bends over to fumble 
with something at his feet.

		THICK-NECK
	Better get your carcass out'a there 
	before you get rode out!

The other man comes up with a black cat around whose neck a 
length of strong twine has been attached. The man throws the 
cat onto the field.

JACKIE CLOSE

He hears a yell of laughter from some of the crowd and looks 
around.

JACKIE LONG

Shooting from behind him towards box where cat is being made 
to run back and forth along box, and where Thick-Neck is 
yelling again, ostensibly about the cat, but while looking 
at Jackie.

		THICK-NECK
	Get that black --

A laugh from his companion drowns out the next word.

		THICK-NECK
	-- off the field. Get him off the 
	field!

STANDS SECTION CLOSE

We can see that a number of fans are not impressed with this 
type of humor.

PITCHER LONG

Smiling at the byplay, he winds up just as Jackie turns 
towards him.

JACKIE LONG

We can see the cat business going on in the b.g. as Jackie 
pulls his bat back, swings and connects.

OUTFIELD LONG

As ball falls safe for a texas leaguer, Jackie going on to 
second.

GROUND BOX

Attendant has appeared and makes the two men lift the cat 
back with them in the box.

INFIELD

Shooting from center field and taking in Jackie on second 
and the next man at bat. We see the pitcher throw and the 
batter hitting a long single on which Jackie easily goes 
around third to home. As Jackie turns to go back to the 
visiting team's dugout his path brings him near the ground 
box seat where the cat has been sat on the box rail.

GROUND BOX

As Jackie passes and the man holding the cat holds it up to 
Jackie and jeers.

		MAN
	Here's a brother of yours, Jackie. 
	Why don't you take him along? He 
	wants to get into baseball, too.

Jackie veers suddenly towards box and man falls back in alarm. 
But Jackie makes no menacing motion. Instead he picks up the 
cat and starts unloosening the twine as he walks away.

JACKIE TRUCKING

We walk with Jackie as he gets the twine loose, holds the 
cat close and pets him comfortingly.

STANDS

The fans watching in silence as Jackie, walking with cat 
below, steps into dugout. Suddenly someone applauds. It is 
taken up and soon the entire park is echoing with the 
handclapping.

DUGOUT CLOSE

Jackie sitting in the shadows, his hand still fondly petting 
the cat.

EFFECT

Our radio commentator again double-exposed against a 
background which includes a series of quick shots showing 
Jackie playing, crowds cheering, an occasional jeering fan.

		COMMENTATOR
	...With the baseball season almost 
	over, Jackie Robinson has proved 
	himself one of the standout players 
	in the International League. In his 
	home town, Montreal, he is a hero. 
	To the great majority of fans in 
	other International League towns, he 
	is also a favorite. There's no doubt 
	of it. Jackie has made good here... 
	but the biggest hurdle is ahead of 
	him... the major league. The 
	opposition is strengthening. There 
	are going to be fireworks!

MONTREAL - (STOCK)

There are stock shots available of the riotous scenes when 
the Montreal Royals won the International League pennant in 
1946 and the crowd went wild over Jackie, riding him around 
on their shoulders.

INSERT NEWSPAPER HEADLINE

				MONTREAL ROYALS WIN INTERNATIONAL PENNANT!

	Jackie Robinson Leads League in Hitting!

BACK TO SCENE

Continuation of stock shots of Montreal celebration.

STANDS CLOSE

A fan throwing confetti, supposedly on the crowd below.

							DISSOLVE:

SPECIAL EFFECT

The confetti turns into snow and we see empty, snow-covered 
ball park.

GAINES HOME LONG

Gaines and his wife emerge on porch just as postman comes up 
the walk.

PORCH MED. CLOSE

Gaines accepts letter from postman who exits after they 
exchange greetings. He opens letter and begins to read while 
Mrs. Gaines turns to go back into house.

		GAINES
	Just a minute, Clara. This is from 
	Jackie Robinson.

		MRS. GAINES
	Oh. Is he coming back here?

		GAINES
	No. That's why he writes. He's on 
	his way to Cuba. That's where Brooklyn 
	and Montreal will train this year.

		MRS. GAINES
		(eagerly)
	Does he think he can go with Brooklyn?

		GAINES
		(smiling)
	He says all he has to do is beat two 
	hundred other men trying for the 
	team.

		MRS. GAINES
		(face falling)
	Oh.

		GAINES
	That's all right. He has to show he 
	is able. The important thing is...
		(significantly)
	...he has nothing else against him. 
	He, and all of us, have come that 
	far, anyway.

He folds letter slowly and thoughtfully as she pats his arm 
understandingly.

		MRS. GAINES
	Yes. Yes.

HAVANA - (STOCK) AERIAL

A legend reads: "HAVANA, CUBA."

HAVANA STADIUM

The Montreal team is working out in the field preparatory to 
playing a game, with the ball being whipped out around the 
infield. Jackie is playing second.

BROOKLYN DUGOUT MED. CLOSE

Just close enough so we can read the insignia on the uniforms 
of the players and know that it is the Brooklyn team which 
will oppose Montreal.

INFIELD FULL

Shooting from second towards home plate we see a trainer cup 
his hands to his mouth as if to yell.

		TRAINER
		(yelling)
	Robinson! Mr. Rickey wants to see 
	you!

INFIELD REVERSE SHOT

Jackie waves acknowledgement and then starts trotting in.

SIDELINE MEDIUM

Rickey is standing alone, holding a first baseman's glove. 
As Jackie enters scene Rickey nods and flips the glove to 
Jackie who catches it but looks puzzled.

		JACKIE
	For me? This is a first baseman's 
	glove.

		RICKEY
	That's right. I want you to use it.

		JACKIE
	I don't get it. Not play second, you 
	mean? Mr. Rickey, I don't like first 
	base. I'm not a first baseman. I did 
	well at second last year.

		RICKEY
	Jackie, your team begins a seven 
	game practice series against Brooklyn 
	today. I want you to play first. I 
	want you to play like you've never 
	played before. Last year at Montreal 
	doesn't mean a thing. This is it. 
	This is where you decide whether 
	Brooklyn wants you... and by Brooklyn 
	I don't mean me -- I mean the Brooklyn 
	players. I want you to run them 
	ragged, on the bases, in the field, 
	at bat. Run wild. Steal their pants 
	off. They know they are definitely 
	weak at first. They want to win the 
	pennant. Make them wonder if their 
	chances wouldn't be better if they 
	had you. If they wonder loud enough... 
	I'll get you for them.

Jackie still has a fielder's glove on his hand. Slowly he 
shakes it off and puts the first baseman's glove on instead. 
He seems to have forgotten that Rickey is there. He pounds 
his fist into the pocket of the glove thoughtfully and then, 
without another word, still deeply preoccupied apparently, 
walks off. Rickey's gaze follows him.

BASEBALL SERIES MONTAGE

Jackie awkwardly scrambling for one in the dirt at first and 
barely recovering to make the out. Jackie hitting. Jackie 
racing in for a bunt, turning to find no one at first, and 
then racing the runner to the bag for the out. After which 
he mops his brow wearily. Jackie running the bases, stealing 
into a base, beating a pitcher's throw to trap him, teasing 
the pitcher, teasing again, then away on a run. Jackie 
hitting. Jackie hitting again. Jackie walking.

And again hitting as we

							DISSOLVE:

INT. SMALL OFFICE MEDIUM

Clyde Sukeforth is at a desk working away with a pencil at 
some figuring. Nearby stands Rickey waiting. Clyde makes a 
final notation, tosses the pencil away and shakes his head 
unbelievingly.

		RICKEY
	Well?

		SUKEFORTH
	I've never seen anything like it 
	before. His fielding was only fair, 
	as you know. He was new to first 
	base. But, at bat!... For the seven-
	game series Jackie stole seven bases 
	and hit .625!

		RICKEY
		(thoughtfully)
	Pretty good. Pretty good.

Clyde is amazed at this conservatism, and his face is a study 
as Rickey nods and walks away.

EXT. HOTEL NACIONALE, HAVANA - (STOCK)

INT. CORNER HOTEL ROOM CLOSE

Jackie at a small desk, writing. His voice is heard telling 
us some of the words he is putting down.

		JACKIE'S VOICE
	...Training is over, Rae. I've had 
	no word yet. We fly to New York 
	tomorrow to play exhibition games 
	against Brooklyn on April 9th and 
	10th. The tenth is the last day before 
	the official season begins so if I 
	don't hear by then... I know I'm 
	cooked. They say that some of the 
	Dodgers didn't want me...

EXT. SECTION HOTEL PROMENADE CLOSE

Simply two wicker chairs against a palm trunk or tropical 
plant of any suitable type for a background. Rickey and Hopper 
are seated and talking.

		RICKEY
		(concerned)
	It's a tough problem. Most of the 
	players see his value, a few don't. 
	That still leaves a Dodger team 
	divided against itself. I don't want 
	that.

		HOPPER
	No... unless you could take a chance 
	that they would all come around when 
	they see that Jackie is helping them 
	towards a common cause -- the pennant.

		RICKEY
		(thinking)
	I don't know... I don't know.

							DISSOLVE:

EXT. EBBETTS FIELD - (STOCK LONG

A game is in progress.

RADIO ANNOUNCER AT FIELD CLOSE

He is at the mike calling the game as he sees it.

		ANNOUNCER
	Well, here is Jackie Robinson up 
	again in the last exhibition game 
	before the start of the official 
	National League season. Jackie has 
	had two chances to show whether Rickey 
	is wrong in not signing him for 
	Brooklyn -- and failed to get a hit 
	both times. Let's see what he does 
	now with a man on first to bring in.

INFIELD LONG

Showing Jackie at plate and another Montreal player on first.

PLATE

Jackie waggling his bat, apparently determined to come 
through.

MONTREAL DUGOUT

They are watching Jackie keenly when another player jumps 
into the dugout excitedly and says something to some of the 
players. The others hear his words and turn to him in great 
interest, forgetting about Jackie.

PITCHER

Winding up and throwing.

JACKIE

Swinging and hitting.

INFIELD

Angling to show that Jackie has hit into an easy double play, 
so easy that he stops running about two-thirds of the way to 
first and turns to lope back to the Montreal dugout.

RADIO ANNOUNCER CLOSE

		ANNOUNCER
	That wasn't so hot. An easy double 
	play. It's hard to believe after the 
	sensational reports of Jackie's 
	playing in Cuba. Well, everybody has 
	a bad day and I imagine he is feeling 
	pretty blue now as he runs towards 
	his dugout...
		(puzzled)
	No! He isn't sad at all... He's 
	smiling.
		(excitedly)
	Wait a moment! Something's going on 
	at the Montreal dugout. All his 
	teammates are running out to greet 
	him as they would a hero! What in...

INFIELD - FRONT OF DUGOUT

Shooting towards dugout, we see the Montrealers running out 
to Jackie, grabbing his hand, pounding him on the back.

PLAYERS - JACKIE CLOSE

Several of them clustered around Jackie are all talking at 
once.

		PLAYERS
		(ad libbing)
	You've made it, Jackie! The 
	announcement just came out! You're a 
	Dodger, boy!

JACKIE CLOSEUP

He is nodding, smiling, yet still incredulous.

RADIO ANNOUNCER CLOSE

		RADIO ANNOUNCER
	...They've had to announce it to the 
	crowd here, ladies and gentlemen. 
	What we heard from Cuba was right. 
	Jackie Robinson was good enough to 
	be signed by Brooklyn. He's a Dodger -- 
	finally!

							DISSOLVE:

INT. DRESSING ROOM - DAY MED. SHOT - JACKIE AND CLAY HOPPER

They are standing together at one end of the room, Jackie 
listening to Hopper.

		HOPPER
		(sincerely)
	...and I mean it when I say I'm glad 
	you're going with the Dodgers...
		(wryly)
	...Even though I'd like to keep you 
	with the Royals...

Jackie knows that Hopper means it and it affects him, as 
they shake hands.

		JACKIE
		(sincerely)
	Mr. Hopper -- I really appreciate 
	all the help you've given me... And 
	I mean it, too, when I say that last 
	year in Montreal was the happiest 
	year I've ever had... Rae and I'd 
	just as soon live there the rest of 
	our lives...

INT. RICKEY'S OFFICE CLOSE

Jackie is leaning over Rickey's desk and signing his contract 
while Rickey looks on. When Jackie finishes, Rickey puts out 
his hand and they shake.

		RICKEY
	My congratulations, Jackie. The going 
	is still going to be tough. But I 
	can trust you now to take what comes 
	and not lose your head until you win 
	the National League players over 
	like you did in the International 
	League.

		JACKIE
	You can trust me, Mr. Rickey. I can't 
	afford to fail. My career is no longer 
	a personal one, as you know...

		RICKEY
	I know.

MONTAGE

Against a background which illustrates the tough time Jackie 
had in the National League his first season -- getting spiked, 
ducking baseballs, being given the "hip" in his baserunning -- 
we see newspaper stories headed variously:

			ROBINSON SPIKED AGAIN YESTERDAY

PLAYERS DENY ANTI-ROBINSON PLOT, SAY ROUGHNESS ACCIDENTAL

						ROBINSON CALM IN NIGHT GAME FRACAS

Whatever the scenes, Jackie is shown as quietly accepting 
whatever happens and standing clear while his teammates defend 
him. The news stories are dated to show the progression of 
the summer months during the 1947 season, or else we might 
show the calendar months being stripped off one by one.

Part of the same effect is the following headline:

			 HOLD JACKIE ROBINSON NIGHT AT EBBETTS FIELD!

Here we insert stock shots showing Jackie out in the field 
receiving the Cadillac car, television set, etc., with his 
mother and Rae also present at the ceremonies in his honor.

THERE FOLLOWS THE HEADLINE:

				ROBINSON WINS "ROOKIE OF THE YEAR" AWARD!

We illustrate here with stock newsreel shot of Jackie at 
Baseball Writers Award Dinner.

							FADE OUT:

FADE IN:

RADIO ANNOUNCER CLOSE

This announcer is possibly Walter Winchell or Drew Pearson 
or some other national name if proper arrangements can be 
made (i.e., a Damon Runyon Fund benefit in the case of Walter 
Winchell, etc.).

		ANNOUNCER
	Today, ladies and gentleman, near 
	the close of the 1949 baseball season, 
	a great National League player, and 
	outstanding American citizen, is on 
	his way to Washington. His name is 
	Jackie Robinson. He isn't going there 
	to play ball. But he is going to 
	talk about how an American patriot 
	plays ball with the country that 
	extends him the right to fight for 
	freedom. He has been asked to discuss 
	the patriotism of the American 
	Negro... before the members of the 
	Un-American Activities Committee.

INT. COMMITTEE ROOM - (STOCK)

We show those scenes of Jackie in which he is beginning the 
selected excerpts given below.

		JACKIE
	You can put me down as an expert on 
	being a colored American, with thirty 
	years of experience at it. And just 
	like any other colored person with 
	sense enough to look around him and 
	understand what he sees, I know that 
	life in these United States can be 
	mighty tough for people who are a 
	little different from the majority -- 
	in their skin, color or the way they 
	worship their God, or the way they 
	spell their names. I'm not fooled 
	because I've had a chance open to 
	very few Negro Americans. It's true 
	that I've been the laboratory specimen 
	in a great change in organized 
	baseball. I'm proud that I've made 
	good on my assignment to the point 
	where other colored players will 
	find it easier to enter the game and 
	go to the top. But I'm very well 
	aware that even this limited job 
	isn't finished. As I see it there 
	has been a terrific lot of 
	misunderstanding on this subject of 
	communism among Negroes in this 
	country, and it's bound to hurt my 
	people's cause unless it's cleared 
	up. I understand that there are some 
	few Negroes who are members of the 
	Communist party, and in event of war 
	with Russia they would probably act 
	just as any other Communists would. 
	So would members of other minority 
	and majority groups... Most Negroes -- 
	and Italians and Irish and Jews and 
	Swedes and Slavs and other Americans -- 
	would act just as all these groups 
	did in the last war. They'd do their 
	best to help their country stay out 
	of war; if unsuccessful, they'd do 
	their best to help their country win 
	the war -- against Russia or any 
	other enemy that threatened us... I 
	can't speak for any fifteen million 
	people any more than any other one 
	person can, but I know that I've got 
	too much invested for my wife and 
	child and myself in the future of 
	this country, and I and other 
	Americans of many races and faiths 
	have too much invested in our 
	country's welfare, for any of us to 
	throw it away. I am a religious man. 
	Therefore, I cherish America where I 
	am free to worship as I please, a 
	privilege which some countries do 
	not give. And I suspect that 999 out 
	of almost any 1,000 colored Americans 
	you meet will tell you the same thing. 
	But that doesn't mean that we're 
	going to stop fighting race 
	discrimination in this country until 
	we've got it licked. It means that 
	we're going to fight it all the harder 
	because our stake in the future is 
	so big. We can win our fight without 
	the Communists and we don't want 
	their help...

INTERCUT into speech are scenes of typical Negro life, both 
impoverished and comparatively affluent, selected to best 
illustrate his particular words at the moment. There is a 
CLOSEUP of Jackie as he reaches his final words. As he speaks 
them we cut to:

EFFECT

This is the silhouette that began the picture, showing Jackie 
in action. As his silhouette performs across the screen, the 
following titles begin rolling up:

ROBINSON WINS NATIONAL LEAGUE BATTING HONORS

GENERAL EISENHOWER PRESENTS FREEDOM HOUSE MEDALS TO RALPH 
BUNCHE, JACKIE ROBINSON AND HERBERT HOOVER

JACKIE ROBINSON VOTED MOST VALUABLE PLAYER IN THE NATIONAL 
LEAGUE

GEORGE WASHINGTON CARVER MEMORIAL INSTITUTE GOLD MEDAL FOR 
BETTERMENT RACE RELATIONS AWARDED TO JACKIE ROBINSON

							FADE OUT:

				THE END