Nothing But a Man (1964)

 
A crew of African-Americans are laying tracks in rural Alabama. The crane 
operator is the only white man on the section gang.

INT. BUNK CAR
The dormitory of the section gang. The men are through for the day and 
lounging on their bunkbeds. DUFF ANDERSON plays checkers with FRANKIE, using 
bottle tops as pieces. Duff makes the winning move and Frankie, disgusted, 
turns over the board. He saunters over to JOCKO, who is shaving in a broken 
mirror. Frankie watches him with a grin.

			JOCKO  
	Go to hell, Frankie.

			FRANKIE  
	Man, you sure one ugly cat!

He takes the cigarettes Jocko has rolled, sailor-style, into the sleeve of 
his T-shirt.

			JOCKO  
	Why don't you guys buy your own?

			FRANKIE  
	'Oughta give up smoking, Jocko.

He stops in front of an older man, who is writing a letter.

			FRANKIE  
	How much longer we got on this stretch, Riddick?

			RIDDICK 
	Five weeks, maybe six.

			FRANKIE  
	Man, what a dump.

He circles restlessly past two cardplayers back to Duff, who is clipping his 
fingernails.

			FRANKIE  
	What you gettin' all pretty for?

			DUFF  
		(with a grin) 
	Why don't you relax, Frankie?

RAILROAD TRACK
Duff, Frankie, and Jocko are riding a track-car, powered by a small engine, 
into the nearest town. The sun is setting. A church bell rings.

POOL HALL
Jocko, a cigar in his mouth, is playing a pinball machine. Duff and Frankie 
stand at the bar. They are joined by DORIS , a sad-looking woman with bad 
skin.

			DORIS  
	Who's going to buy me a beer?

			FRANKIE  
		(scornfully) 
	What's the matter, Doris? Business bad?

			DORIS  
	It sure is.

			FRANKIE  
	Everybody givin' it away free, huh?

			DORIS  
	You gonna buy me a beer, Frankie?

			FRANKIE  
	See Duff. He's the money man.

			DORIS  
	What d'you say, Duff?

			DUFF  
		(to the bartender) 
	Give her a beer.

			DORIS  
	Thanks, Duff. You' a nice guy. Not like Frankie.

			FRANKIE  
	You know, Doris - you'd make some guy a swell 
	wife.

			DORIS  
	You think so, Frankie?

			FRANKIE  
	Hell, you got steady work.

			DUFF  
	Quit ridin' her, Frankie.

The bartender serves her a bottle of beer

			FRANKIE  
	I ain't ridin' her. Wouldn't ride her on a bet.

Duff pays for the beer and turns to leave.

			DORIS  
	Where' you goin'?

			DUFF  
	Out.

			DORIS  
	Want me to come?

			DUFF  
	No thanks.

			DORIS  
	Come on, honey.

			FRANKIE  
	Where' you goin'?

			DUFF  
	'Round town.

			FRANKIE  
	What's so hot 'round town?

			DUFF  
		(with a grin) 
	Take it easy, Frankie.

He leaves.

			FRANKIE  
	Don't wanna fish you outa no jailhouse.

STREET (Night)
Duff is walking along the deserted street in the black part of town.

Music from the pool hall fades and we pick up the strains of gospel singing 
from a nearby church.

INT. CHURCH
The choir is singing "Precious Lord." The women are spirited and the 
congregation in the small wooden building is alive to the music.

Duff appears in the open doorway and stops to listen.

When the song ends, REVEREND DAWSON rises from his chair.

			REVEREND 
	I'm glad to see this meeting off to a good 
	start. Now we'll take a break and then come back 
	to hear from our distinguished guest - Reverend 
	Butler of the Morgan Street Baptist Church in 
	Birmingham. See you all in a little while.

Reverend Butler compliments him on the choir.

CHURCH YARD
Long tables laden with food are lit by strings of lightbulbs. The sound of a 
gospel piano from inside the church.

A smiling middle-aged woman has taken Duff in tow and leads him over to a 
young woman (JOSIE), who is serving food.

			WOMAN 
	Josie - this is Brother Anderson. Now you give 
	him some of that good food. He's a fine young 
	man. 
		(on her way) 
	Ain't it a wonderful meetin'?!

Duff studies Josie with a smile. She is clearly middle class. While she puts 
food on a paper plate, she glances at him - matching his ironic detachment 
with her own. She hands him the plate

			DUFF  
	Thank you, Ma'am. That's fine.

			JOSIE  
	You must be new in town.

			DUFF  
		(with a grin) 
	I'll have me some of that punch there, too.

She serves the punch.

			JOSIE  
	Haven't seen you around, have I?

			DUFF  
	No. I'm new in town.

			JOSIE  
		(unwilling to give up) 
	You working?

			DUFF  
	Yeah. On the section gang.

He is sure that this will put a stop to her curiosity. It doesn't.

			JOSIE  
		(interested) 
	Oh yeah?

			DUFF  
	You work around town?

			JOSIE  
	I'm a teacher.

			DUFF  
	Went to college, huh?

			JOSIE  
	In Birmingham.

			DUFF  
	Oh yeah? That's my home town.

			JOSIE  
	Your folks live there?

			DUFF  
	No. My mother's dead.
		(after a moment)
	You goin' back inside?

			JOSIE  
	Yes, aren't you?

			DUFF  
	No. Never had much use for hell-howlers. You 
	goin'?

			JOSIE  
		(with a smile) 
	My father's the preacher.

			DUFF  
		(grinning) 
	Oh yeah? Well, I guess you got no choice.

			JOSIE  
	That's right.

			DUFF  
		(a bit tentatively) 
	Look, I don't know what you been told 'bout 
	section gangs, but how 'bout seein' me sometime?

			JOSIE  
		(with a non-committal smile) 
	Maybe.

INT. CHURCH
The visiting revival preacher is in full swing, preaching and singing. The 
congregation of women is in a state of high excitement. Josie alone seems out 
of it, though she sits in their midst.

Duff has been standing in the doorway. He turns away.

EXT. CHURCH
Duff walks away, past a shack. The singing fades. A dog barks.

BUNK CAR (Night) 
Duff, Frankie, Jocko, and an older man (POP) are playing cards. While waiting 
for his turn, Jocko catches a fly and sneaks a look at Frankie's cards.

			JOCKO  
	You got a lousy hand, Frankie.

Frankie throws down the cards.

			FRANKIE  
	Yeah, I quit.

He gets up. At loose ends, he picks up an old Flit-gun and squirts it at 
Duff, who is polishing his shoes.

			DUFF  
	You got nothin' on your mind but your hair, 
	Frankie. How 'bout your car, Riddick?

			RIDDICK 
	Yeah, you can have it.

			JOCKO  
	Man, you won't like that back seat.

			FRANKIE  
	Man, why 'you messin' around with a gal like 
	that? You won't get no place.

			JOCKO  
	Hell, they're all after the same thing.

			POP 
	Yeah. All a colored woman wants is your money.

			JOCKO  
	What d'you know about women, Pop?

			POP 
	Well, I got married to one of them.

			JOCKO  
	Hell, I didn't know you was married.

			POP 
	Sure. Got a sixteen-year-old girl.

			JOCKO  
	Is that right? 
		(to Duff) 
	Think you're gonna make it with her?

			FRANKIE  
	Just get her drunk.

			DUFF  
		(to Riddick) 
	How 'bout the key?

			FRANKIE  
	I bet she's easy jam.

DAWSON DINING ROOM (Night)
A middle-class tableau. Dinner is over. Reverend Dawson is reading the paper. 
Josie, dressed for an evening out, sits across from her step-mother, who is 
looking at her with pursed lips.

			MRS. DAWSON 
	I know you pay no mind to my feelings, but 
	d'you think it's right for you to go out with 
	him?

			JOSIE  
	I'm twenty-six years old, Susan.

			MRS. DAWSON 
	Perhaps you ought to tell her, Frank.

Reverend Dawson has no stomach for confrontations, but turns to Josie 
dutifully.

			REVEREND DAWSON 
	Well, we have a position in town, Josie. You 
	have to remember that. There're lots of other 
	young men.

			MRS. DAWSON 
	I don't think your mother would have approved.

			JOSIE  
	I do.

			MRS. DAWSON 
	Well, there's just one thing you can be looking 
	for in a man like that.

			JOSIE  
	I know that's what you think.

			REVEREND DAWSON 
	Hush your mouth, child.

The doorbell rings.

			JOSIE  
		(leaving the table) 
	Good night, Dad.

ROAD HOUSE
On the dimly lit, smoke-hung floor a large crowd is dancing. Josie is having 
a great time. When the music ends, she and Duff return to their table.

			DUFF  
	That's pretty good for a preacher's daughter.

			JOSIE  
	What d'you expect?

			DUFF  
	You know, baby, I can't figure you out.

			JOSIE  
	How d'you mean?

			DUFF  
	Why d'you come out with me? You slummin' or 
	something?

			JOSIE  
	No.

			DUFF  
	So what you doin' with a cat like me in a joint 
	like this?

			JOSIE  
	You don't think much of yourself, do you?

			DUFF  
		(put off) 
	Well, that's a funny thing to say.

			JOSIE  
	You keep asking me why I'm here.

			DUFF  
	Yeah, and you keep not answerin', too.

			JOSIE  
	I like a place with lots of life.

			DUFF  
	How about another beer?

			JOSIE  
	No thanks.

			DUFF  
	Go on - you can have one!

His attention is drawn by something off screen.

			DUFF  
	Hell!

			JOSIE  
	What is it?

Frankie and Jocko swagger toward them, beer in hand.

			FRANKIE  
	Well, if it ain't Duff!

			JOCKO  
	How you doin'?
		(to Josie; with 
		a bit of a leer)
	Hi there!

			JOSIE  
	Hi.

			JOCKO  
	Mind if we sit down?

			DUFF  
	We was just leavin', fellows.

			FRANKIE  
	Let's go, Jocko. The man's got homework.

			JOCKO  
		(leaving) 
	See you, Duff.

			DUFF  
	Yeah, see you in hell.

Frankie follows Jocko out of the frame.

			JOSIE  
	They must work on the section gang.

			DUFF  
	That's right.

			JOSIE  
	Well, they seem just like everyone else.

			DUFF  
	Hell, baby, I bet you think we got tails.

			FRANKIE'S VOICE 
		(off-screen) 
	We do!

Frankie and Jocko have occupied the adjoining table and are grinning at them. 

Duff gets up, camouflaging his irritation.

			DUFF  
	Come on, baby.

He ushers Josie out. Frankie looks after them.

			FRANKIE  
	School teacher! My nappy head!

INT. RIDDICK'S OLD CONVERTIBLE (Night)
Duff has parked on a country road.

			JOSIE  
	I guess it's hard working on the road like that.

			DUFF  
	Damn few places you can make eighty bucks a 
	week.

			JOSIE  
	I mean, you're kind of cut off, aren't you?

			DUFF  
	That's fine with me. Keeps me out of trouble.

			JOSIE  
	How d'you mean?

			DUFF  
	Well, I don't get on so well most places.

			JOSIE  
	I see. That beer made me dizzy.

Duff is looking at her.

			DUFF  
	You got a lovely face, kid. Ain't too often I 
	get to meet a girl like you. Hell--

He kisses her, but releases her very quickly.

			DUFF  
	Baby, how many times' you been kissed?

Josie takes a moment to collect herself.

			JOSIE  
	Well, let's see now - not counting tonight ... 
	must be about twenty-eight times.

			DUFF  
		(with a grin) 
	You got a problem all right.

Someone moves in back of her. A white man in his early twenties has emerged 
from the dark and looks down at them.

			WHITE 
		(with a smile) 
	Hi.

The voice of a second white man calls from off screen.

			SECOND WHITE 
	They doin' anything?

			WHITE 
		(calling back) 
	Nah, nothin'!

			DUFF  
	Get out of here!

			JOSIE  
		(frightened) 
	Don't Duff--

			WHITE 
	Relax, man!

The second white man joins him.

			SECOND WHITE 
	What's goin' on?

He shines his flashlight into Duff's face.

			DUFF  
	Cut that out!

The white man shines the flashlight across Josie's breast.

			DUFF  
		(very tense) 
	I said: Cut it out!

			WHITE 
	Don't start no trouble, boy!

			SECOND WHITE 
	Let's go! That's the preacher's girl. Mess with 
	him and you got old man Johnson on your back. 
	Come on.

The white men leave.

			JOSIE  
	Let's go, Duff.

			DUFF  
	Take it easy.

We see that he has a knife in his hand. He closes and pockets it.

The white men drive off, whooping and beating on the side of their car.

			DUFF  
	Don't sound human, do they?

INT. MOVING CAR (Night)
Duff is driving through the center of town.

			DUFF  
	How come you stay 'round here?

			JOSIE  
	Well, my mother was the only good teacher the 
	colored school ever had. Nobody bothers with 
	those kids.

			DUFF  
	That's why you come back, huh?

			JOSIE  
	It's hard to see any change. But I'm going to 
	stay. Another year, anyway.

			DUFF  
	You got more guts than me, baby. It's a no-good 
	town.

			JOSIE  
	It's better than it used to be. Eight years ago 
	they still had a lynching here. They tied a man 
	to a car and dragged him to death. My father 
	knew who did it, but he didn't say anything.

			DUFF  
	Scared, huh?

The car pulls up in front of the Dawson house and Duff parks.

			DUFF  
	Well, good night, baby.

He is about to kiss her.

			JOSIE  
	Not here, Duff.

			DUFF  
	I get it.
		(with a laugh)
	Yeah, I can see your old man with a shot-gun 
	right now.

			JOSIE  
	But I would like to see you again.

			DUFF  
	You would, huh? If I was you, baby - I wouldn't 
	go 'round stickin' out my jugular vein.

			JOSIE  
	What d'you mean?

			DUFF  
	You almost got into trouble back there.

			JOSIE  
		(with a smile) 
	I wouldn't have let you.

			DUFF  
	Hell, baby, I'm not in the third grade. Well, 
	look - what' we gonna do next time -- have a 
	nice long chat in the parlor?

			JOSIE  
	No, on the porch.

			DUFF  
	Oh yeah, and then what?

			JOSIE  
	What?

			DUFF  
	Well, either we're gonna hit the hay or get 
	married. Now you don't want to hit the hay, and 
	I don' want to get married.

			JOSIE  
	You have some very primitive ideas, don't you?

			DUFF  
		(defensively) 
	All right, so I'm primitive. So what d'you want 
	with me?

			JOSIE  
	Look, Duff - most of the men I know - they're 
	kind of sad. When I met you the other day I had 
	a feeling that you're different. That's why I 
	went out with you. I thought we might have 
	something to say to each other.

			DUFF  
	Hell, baby, I don't know what to say.

			JOSIE  
	Good night, Duff.

She gets out of the car and starts toward the house.

He looks after her, then drives away.

OPEN FIELD
The section hands are hunting rabbits, scaring them up out of the tall grass 
and then clubbing them with sticks that have a heavy bolt fastened to the end.

Jocko is fishing from a trestle. Pop fries skinned rabbit in a skillet. Duff 
is whittling.

CLASSROOM
The grade school children, all black, are writing at their desks.

The end-of-school bell rings and one of the boys jumps up.

			JOSIE  
	Are you finished, Jackie?

			BOY 
	Yes, Ma'am.

			JOSIE  
	Well, I'm not. Wait till class is dismissed.

She walks over to close the window.

In the yard below, Duff is sitting on one of the swings.

Josie smiles and turns to the kids --

			JOSIE  
	All right. Class dismissed.

EXT. SCHOOLHOUSE
A bus crowded with noisy kids pulls away to reveal the yard. Duff and Josie 
are sitting on two swings side by side.

			DUFF  
	At first it was real strange. Hell, Japan is a 
	long ways from Alabama. Really got under my 
	skin, though. Almost didn't come back.

			JOSIE  
	Why did you?

			DUFF  
	I don't know. 'Guess I belong here more than 
	there.

			JOSIE  
	'Been up north?

			DUFF  
	Yeah. Knocked around for a couple of months 
	after the Army. You been there?

			JOSIE  
	No.

			DUFF  
	Well, it ain't that good up there neither. Might 
	as well make it here. 'Course I ain't really 
	makin' it now.

He gets up and gives her swing a forceful shove.

			DUFF  
	Anyway, they can't get to you if you keep movin'!

Josie laughs.

FRONT YARD, DAWSON HOUSE
It is raining. Duff and Josie dash up the path to the front door.

DAWSON PARLOR
Duff and Josie barge in out of the rain and find themselves face to face with 
Reverend Dawson and a middle-aged white man - Superintendent Johnson.

			JOSIE  
	Oh, I'm sorry.

			JOHNSON 
	Come on in, Josie. We're all through.

			JOSIE  
	Daddy - this is Duff Anderson.

			REVEREND DAWSON 
	Hello.

			DUFF  
	How are you?

			REVEREND DAWSON 
	All right, son.

			JOSIE  
	This is Mr. Johnson, our school superintendent.

			JOHNSON 
		(with a friendly smile) 
	How are you?

			JOSIE  
	I'll be right back.

She leaves.

			JOHNSON 
	So you're courtin' the preacher's girl. Well, 
	just watch your step, boy, or he'll preach you 
	right into hell. 
		(to Reverend Dawson) 
	I'm counting on you, Reverend.

			REVEREND DAWSON 
	I understand.

			JOHNSON 
	Wouldn't do for one of your people to sue at a 
	time like this.

			REVEREND DAWSON 
	I know.

			JOHNSON 
		(on his way out) 
	I'll talk to the Mayor.

			REVEREND DAWSON 
	That'll make the folks very happy.

Johnson leaves.

Reverend Dawson sits down in a rocker.

			REVEREND DAWSON 
	It's hard to know how to talk to the white folks 
	these days.

			DUFF  
	Guess it's never been easy.

			REVEREND DAWSON 
	It's a changing time. Sit down, son.

			DUFF  
	Thank you.

He sits down opposite Reverend Dawson.

			REVEREND DAWSON 
	Well, it looks like we'll be getting our new 
	school.

			DUFF  
	How come you all ain't sendin' them to the same 
	school?

			REVEREND DAWSON 
	Well, you've got to go easy. We haven't had any 
	trouble in town for eight years, and we're not 
	going to have any now.

			DUFF  
	Can't live without trouble, can you? 
		(he sees he is on 
		the wrong track) 
	Nice place you got here. Real nice.

			REVEREND DAWSON 
	Yes, the Lord's been pretty good to us. I 
	guess you're a church man, aren't you?

			DUFF  
	I guess I ain't.

			REVEREND DAWSON 
	Why? Don't you believe in the Lord?

			DUFF  
	Aw, I do. But 'seems to me us colored folks do 
	a whole lot of church-goin'. It's the whites 
	that need it real bad.

			REVEREND DAWSON 
	I think if you tried livin' in a town like this, 
	instead of running free and easy, you'd soon 
	change your tune.

			DUFF  
	I doubt it.

			REVEREND DAWSON 
	I see. 
		(rising) 
	Well, I guess we don't have much to say to each 
	other.

			DUFF  
	I guess not.

			REVEREND DAWSON 
	And since we're talking, my wife and I don't 
	want you hanging around our daughter.

			DUFF  
	Well, that figures. 
		(he too stands up) 
	Kind of fits in with everything else, don't it!

DAWSON PORCH
Duff comes out. Josie joins him a moment later.

			JOSIE  
	I'm sorry.

			DUFF  
	Ain't your fault.

			JOSIE  
	That's the way he is.

			DUFF  
	Yeah. It's just like I figured.

			JOSIE  
	What d'you mean?

			DUFF  
	Hell, I don't belong here. I don't know what I'
	been thinkin'.

			JOSIE  
	Look, Duff - if you're free, I'm not working 
	tomorrow.

			DUFF  
	Sorry, baby. I'm goin' to Birmingham.

			JOSIE  
	Just for the day?

			DUFF  
	Goin' to see my kid.

			JOSIE  
	I didn't know you had one.

			DUFF  
	Yeah. Well, I do.

			JOSIE  
	Are you married?

			DUFF  
	No, I ain't married.
		(leaving)
	Well, good-bye.

COURTHOUSE SQUARE (Morning sunshine)
A bus has pulled in.

INT. BUS
Duff is making his way down the aisle. To his surprise, he comes upon Josie, 
who is sitting at a window with an empty seat next to her.

			DUFF  
		(with a grin) 
	Well, what-do-you-know?

			JOSIE  
	Surprised?

			DUFF  
	No. Women're always followin' me 'round.

			JOSIE  
	I'm just going in to do my shopping.

			DUFF  
	Yeah, it's just a coincidence.

			JOSIE  
	That's right.

			DUFF  
		(moving on) 
	I'll see you later.

			JOSIE  
	Come here, Duff. No point running away from 
	coincidence.

He sits down next to her.

			DUFF  
	Baby, you must be crazy.

The bus starts up.

			JOSIE  
	How old is your boy?

			DUFF  
	Four.

			JOSIE  
	What's he like?

			DUFF  
	I ain't seen him in a couple of years.

ALLEYWAY, BIRMINGHAM
Duff is walking past crowded back-porches in a black section of town. Gospel 
music.

He steps up onto one of the porches and knocks at the screen door.

EFFIE'S PARLOR
Through the screen door we see EFFIE SIMMS, a woman in her twenties. She is 
sitting on a chair and cradles a sleeping child.

			DUFF  
	'You Effie Simms?

			EFFIE 
		(suspiciously) 
	What d'you want?

			DUFF  
	Guess you must be lookin' after my boy. I'm 
	Duff Anderson.

			EFFIE 
	'Bout time you showed. Door's open.

Duff enters.

			EFFIE 
		(calling) 
	James Lee, you come in here and meet your daddy.

			DUFF  
	Where's Wilma?

			EFFIE 
	She done moved to Detroit.

			DUFF  
	Ain't she goin' to take the boy?

			EFFIE 
	She got herself a husband now. They don' want 
	him 'round. And I tell you, man, I got no use 
	for him neither.

			DUFF  
	I been sendin' her money.

			EFFIE 
	Well, she never gave me none. Look, you better 
	find him a place pretty quick.

			DUFF  
	Like where?

			EFFIE 
	I don't know. He's your boy.

			DUFF  
	I ain't so sure of that. If I was, maybe I'd 
	feel different.

Effie gives him a scornful look, puts down the child, and opens the curtain 
that leads into the bedroom.

			EFFIE 
		(sharply) 
	James Lee - I said for you to come in here.

BEDROOM
Two children are playing on the floor. James Lee is up on a Castro 
convertible.

Duff appears beside Effie in the doorway.

			DUFF  
	How 'you been, boy?

James Lee looks at him, scared and silent.

			EFFIE 
	Go on. Tell him.

She returns to the parlor.

			DUFF  
	I got you something.

He crouches down and holds out a toy. James Lee approaches, takes the toy, 
and withdraws.

EFFIE'S PARLOR
Effie is folding diapers. Duff comes out of the bedroom.

			EFFIE 
	'Doctor says he could use some shots.

			DUFF  
	Yeah. Look, I'll be sendin' you the money from 
	now on.

			EFFIE 
	Okay.

			DUFF  
	Make sure he gets those shots.

He looks back at the boy in the bedroom.

			EFFIE 
	They say your dad's 'round town.

			DUFF  
	'That right? I thought he was up North.

			EFFIE 
	People seen him 'round.

			DUFF  
	Where's he at?

			EFFIE 
	I don't know.

STREET
Duff is walking through a black section of town.

EXT. TENEMENT STAIRS
Duff climbs to the top of the rickety wooden steps.

WILL ANDERSON'S ROOM
Duff's father, a big man in his fifties, is reclining on the bed.

Duff appears in the open doorway.

			DUFF  
	'You Will Anderson?

			WILL 
	Who're you?

			DUFF  
	I'm Duff.

			WILL 
		(sitting up, with 
		a faint grin) 
	Wouldn't have known you.

			DUFF  
	Wouldn't have known you.

			WILL 
	What's on your mind?

			DUFF  
	Nothing. Heard you were in town.

			WILL 
	Wanted a look at your old man, huh?

			DUFF  
	Yeah. That's right.

Will gets up and crosses the room.

			WILL 
	How about a drink?

			DUFF  
	Okay.

Will pours whiskey into two glasses. Duff sees that Will's left sleeve hangs 
empty.

			DUFF  
	What happened?

			WILL 
	Workin' a saw mill.
		(raising his glass)
	Here's to.

A woman in her late thirties (LEE) comes in with a shopping bag.

			WILL 
	Baby - want you to meet Duff.

			LEE 
		(flatly) 
	Hi.

			WILL 
	He's my son!

She turns and looks at Duff with a glimmer of interest.

			LEE 
	Come and have some coffee.
		(sitting down)
	I'm Lee. Sit down.

He joins her.

			LEE 
	Come on, Will.

			WILL 
	What's the matter?! You mad at me?

			LEE 
	No. Why?

			WILL 
		(sitting down) 
	Nothin'. 
		(to Duff) 
	She's all right. Wouldn't have made it without 
	her. Christ - haven't worked in eight months. 
	Right now, I'm waitin' for some insurance money. 
	And man, when I get it, I got plans to make me 
	some more. 
		(he gets up restlessly) 
	Let's get out'a here. This place gives me the 
	willies.
		(to Lee)
	You got some money?

			LEE 
		(she knows what's coming) 
	Let's stay here, Will.

			WILL 
		(aggressively) 
	What's the matter?! It's a celebration!

BAR
Will, Lee, and Duff are standing at the bar. Will has been drinking.

			WILL 
	So what's this about a woman? You got woman 
	trouble?

			DUFF  
	I said, I come to town with a girl.

			WILL 
	Plannin' on getting married?

			DUFF  
	No.

			WILL 
	'Don't sound so sure.

			DUFF  
	Well, matter of fact, I done a lot of bangin' 
	'round.

			WILL 
	Yeah. That's how me an' your mother got started. 
	I'm tellin' you, boy, you ain't got a chance 
	without dough. They take it all away from you.

He drains his glass and puts it down for Lee to refill.

			LEE 
	Pour your own trouble, Will.

			WILL 
	Your mother used to lay for her boss, boy. Did
	you know that?

			LEE 
	Shut up, Will.

			WILL 
	Okay, so what's a girl supposed to do? Me not 
	workin' and her cleanin' house for a white man. 
	I'm tellin' you, boy, keep away from marriage. 
	Ya gotta stay light on your feet or you won't 
	make it.

He puts his hand on Lee's bare arm.

			WILL 
	Is she good in the hay? No point marryin' her 
	just to find out. Is there, baby?

			LEE 
	If you don't quit it, Will, I'm leaving.

			WILL 
	You're breaking my heart.
		(he grabs her neck 
		and shakes her)
	Got to see a man about a dog.

DANCE FLOOR
Duff and Lee are dancing. She looks at him with a touch of sympathy.

			LEE 
	Don't let him get you, Duff.

			DUFF  
	How often does he get like that?

			LEE 
	Whenever he's got an edge on.

			DUFF  
	How often is that?

			LEE 
	He's been hitting it pretty hard. Got high 
	blood pressure, too. I guess it's hard on him, 
	having you around.

BAR
Will is back and drinking when Duff and Lee come off the dance floor.

			WILL 
		(aggressively) 
	Well, what d'you think of her?

Duff says nothing.

			WILL 
	I asked you somethin', boy!

			DUFF  
	I heard you.

			WILL 
	Pretty good for a one-armed nigger, huh?

			DUFF  
	Great.

			WILL 
	What d'you want anyhow? What you come and 
	bother me for?

			LEE 
	He's your son.

			WILL 
	Okay, boy, beat it.

			DUFF  
	I got the point.

He leaves money on the bar.

			LEE 
	Come back some other time, will you?

			DUFF  
	Yeah, sure. Good luck.

DOWNTOWN STREET (Night)
Duff is walking, lost in thought.

INT. BUS DEPOT (Night)
Josie enters with her purchases. She joins Duff at the sandwich counter.

			JOSIE  
	Hi.

			DUFF  
		(relieved to see her) 
	I thought you wasn't comin'.

She sits down.

			JOSIE  
	How did it go?

			DUFF  
	What?

			JOSIE  
	Your boy.

			DUFF  
	Okay, I guess.

			JOSIE  
		(to off-screen waitress) 
	I'll have some coffee, please.

			DUFF  
	You know, I been thinkin' - how 'bout us gettin' 
	married?

Josie is stunned.

			JOSIE  
		(playing for time) 
	What d'you mean?

			DUFF  
	Just what I said. Don't look so scared.

The waitress puts down a cup of coffee.

			JOSIE  
	Thank you.

			DUFF  
	How about it?

			JOSIE  
	What happened, Duff?

			DUFF  
	Look, baby - I don't know 'bout you, but it's 
	the right thing for me. I just know it is. So, 
	what d'you say?

			JOSIE  
	Don't push me, Duff.

			DUFF  
	Yeah. Wouldn't be no picnic for you. I ain't 
	exactly housebroken.

			JOSIE  
	What about that girl?

			DUFF  
	She don't mean nothin' to me. That's all over.
		(after a moment)
	Hell, baby - I'm askin' you to marry me. I 
	guess you want a big scene, huh?

			JOSIE  
	No. But a small one.

They look at each other.

			DUFF  
	It's yes, huh?

INT. BUNK CAR (Day)
Frankie is looking scornfully at Duff, who is lying on his bunk bed.

			FRANKIE  
	I'll be a monkey's kid sister! What d'you want 
	to do a thing like that for?

			JOCKO  
	'Musta knocked her up.

			FRANKIE  
	What're you gonna get out of it, huh?

			DUFF  
		(with a smile) 
	A whole lot, Frankie.

			FRANKIE  
		(aggressively) 
	Like what?

			DUFF  
	Like a home, for one thing.

			FRANKIE  
	You gonna sit at home the rest of your life? 
	Jesus!

			DUFF  
	Well, it's better than windin' up like a bum.

			FRANKIE  
		(defensively) 
	What 'you signifyin'?

			DUFF  
	I wasn't thinkin' about you, Frankie.

			JOCKO  
	Ol' Doris sure goin' to miss you.

			FRANKIE  
	Just give him a couple of months. A girl like 
	that, she don't know any tricks.

			JOCKO  
	You know what Doris told me? She say: That 
	Duff's a nice guy. Wouldn't even charge him 
	nothin'.

			FRANKIE  
	I guess you'll be quittin' the railroad, huh, 
	man?

			DUFF  
	That's right.

			FRANKIE  
	Man, you must be plumb outa your mind! You'll 
	be makin' twen'y bucks a week, if you're lucky.

INT. MOVING CAR
Josie is next to Duff. They are driving past a row of small attached houses 
in the black section of town.

			JOSIE  
	Turn here. There it is!

They stop in front of a house. It is barely larger than a shack.

DILAPIDATED LIVING ROOM
Duff and Jose come in. The room is full of abandoned, broken furniture and 
the ceiling and wallpaper hang down in strips.

			JOSIE  
	I used to know them. They've gone North.

			DUFF  
		(with a laugh) 
	I can see why.

			JOSIE  
	Well, what d'you think?

			DUFF  
	It's okay with me, baby. But how' you goin' to 
	like it?

			JOSIE  
	It'll be fine when we get done with it.

EXT. WINDOW OF LIVING ROOM
Duff is looking out through the broken pane of glass.

			DUFF  
	Who's that?

NEIGHBORING HOUSE, SEEN FROM WINDOW
A woman is putting laundry into a washing machine on the open porch. Her 
children are all around her and in the yard below.

EXT. WINDOW
Josie has stopped next to Duff and looks out.

			JOSIE  
	That's Bessie Hall. Barney works at the mill.

			DUFF  
	Yeah?

Josie removes a shard of glass from the window; a larger piece falls out.

			DUFF  
	Hey, watch out! Guess you want a house full of 
	pickaninnies too, huh?

			JOSIE  
	Don't call them that.

			DUFF  
	That's all right with me. Always liked kids.

He moves to the rear of the room.

LIVING ROOM
Josie turns to him.

			JOSIE  
	What about your boy?

			DUFF  
		(defensively) 
	What about him?

			JOSIE  
	He could live with us.

			DUFF  
	Let's just see how the two of us make out 
	first, huh?

INT. CHURCH
Duff and Josie are getting married. Duff is waiting near the pulpit. The 
section hands are seated on one side of the aisle, Josie's family and friends 
on the other. The gospel piano segues into the wedding march. Josie is coming 
down the aisle by herself. She joins Duff and they step forward to face 
Reverend Dawson.

DUFF AND JOSIE'S BEDROOM (Early morning) 
Josie lies in bed with closed eyes. She hears Duff move and turns to him. He 
is dressed for work.

			JOSIE  
	Good luck, baby.

He sits down beside her for a moment.

INT. MOVING CAR 
Duff is in the rear seat with his new neighbor, Barney. 

Joe, a millhand, sits next to the driver in front. He turns to Duff.

			JOE 
	Hard to get up in the morning, huh?

			DUFF  
		(with a grin) 
	That's right. How' you doin', Barney?

			BARNEY 
		(not given to saying much) 
	Okay.

EXT. SMALL HOUSE
The car drives up and Joe leans out.

			JOE 
	Come on, Willie!

Willie, a big man, has been fixing his front step.

			WILLIE 
	Just a minute, man.

			JOE 
	Come on - we're late!

			WILLIE 
		(taking his time) 
	Yazzuh, Boss - ah's comin' as fast as ah can.

He picks up his lunch box and shuffles toward the car, Stepin' Fetchit style.

			JOE 
		(laughing) 
	Get in the car, man!

INT. CAR
Willie climbs in next to Duff.

			WILLIE 
	How' you doing, man?

			DUFF  
	Okay.
		(to the driver)
	Let's go.

			WILLIE 
	That's right, Jethro - take us to the plant. 
	And hurry, boy - ah's got a heavy day.

The driver backs up fast, jerking the passengers forward.

			WILLIE 
	Ah tells you, man - you give these niggers a 
	machine and they go stark-ravin' wild!

Laughter.

INT. MILL ENTRANCE
Duff is among the mill hands punching in on the time clock.

			VOICE OF FOREMAN 
		(off screen) 
	You new here?

			DUFF  
	That's right.

MILL YARD
Duff and two other men are working on top of a pile of lumber.

A white supervisor on a forklift has been watching them.

			FOREMAN 
		(calling) 
	Hey, Jack!

Duff doesn't respond.

			FOREMAN 
	Hey, boy - I'm talkin' to you.

			DUFF  
		(after a moment) 
	Name's Duff.

			FOREMAN 
	How 'you doing?

			DUFF  
	Okay.

			FOREMAN 
		(genially) 
	Looks like you're doin' a good job.

			DUFF  
	Thanks.

			FOREMAN 
	Don't say much, do you?

			DUFF  
	Guess I don't.

			FOREMAN 
	Just so you do your work.

EXT. MILL SHED
The mill hands are on their lunch break. The only white man among them is 
looking at Duff with a grin.

			WHITE 
	Hell, I bet those black girls really go for you, 
	huh? That's the best-lookin' colored girl in 
	town.

Duff is eating and says nothing.

			WHITE 
	What's the matter? Still on your honeymoon, 
	huh? Just like you, Barney. 'Been on your 
	honeymoon for twen'y years, huh?

			BARNEY 
		(cautiously) 
	Yeah.

The white mill hand helps himself to a piece of Barney's pie.

			WHITE 
	How many kids you got now, Barney?

			BARNEY 
	Four.

			WHITE 
		(eating the pie) 
	Hmmm - she can cook,too. Man, it's no wonder you 
	'been draggin' your tail on the job. You 'been 
	doin' your best work at home.

He notices that Duff's face is set.

			WHITE 
		(aggressively) 
	What's the matter, boy? Never smile?

			DUFF  
	I'll smile when it's funny.

			WHITE 
	So it wasn't funny, huh? Well, I thought it was. 
	What d'you say, Barney? Wasn't it funny?!

			BARNEY 
	Yeah, it was funny.

			WHITE 
	Sure. 
		(to the others) 
	What d'you say, boys? Wasn't it funny?

			MILL HANDS 
	Yeah. Sure.

			WHITE 
		(to Duff) 
	Trouble with you, boy, you ain't got no sense 
	of humor. Ought to smile more.

			DUFF  
	I know.

			WHITE 
	You' new here, man! 
		(he gets up to leave) 
	See you, boys.

			JOE 
		(to Duff after a moment) 
	You know, man, that guy was trying to be 
	friendly.

			DUFF  
	That ain't my idea of friendliness.

			BARNEY 
	You got to watch yourself pretty close.

			WILLIE 
	Yeah, you want to get along, act the nigger.

			DUFF  
	Like hell. You know, if you fellows stuck 
	together 'stead of letting them walk all over 
	you, they might not try it.

			JOE 
	Like hell they wouldn't.

			WILLIE 
	They been doin' it all my life.

			DUFF  
	Maybe it's time you stopped letting them.

Jesse, a heavy-set man who has been silent till now, stands up and looks at 
Duff.

			JESSE 
	Man, you sound like a trouble man.

EXT. DUFF AND JOSIE'S HOUSE (Dusk)
The lights are on inside.

DUFF AND JOSIE'S KITCHEN
Duff is finishing his supper at the table. Josie is at the stove pouring 
coffee. She puts a piece of pie in front of him. He drinks his Coke out of 
the bottle.

			JOSIE  
	Use the glass, honey. That's what it's for.

			DUFF  
		(with a grin) 
	Is that so?

			JOSIE  
	Yeah, that's so.

She returns to the stove. Duff picks up the pie and sniffs it suspiciously.

			JOSIE  
	What's wrong?

			DUFF  
	Smells like something crawled in there and died.

			JOSIE  
		(innocently) 
	Oh really? I thought it was pretty good.

			DUFF  
	Come here, baby.

He gets her to sit on his lap.

			DUFF  
	Everything you cook is good.

			JOSIE  
	Duff - you know those women you used to know--

He forks a bite of pie into her mouth.

			DUFF  
	What about them?

			JOSIE  
		(her mouth full) 
	Am I as good as they?

			DUFF  
		(drinking) 
	Hmmm - good coffee.

			JOSIE  
	You didn't answer my question.

			DUFF  
	Baby, you're the best thing that ever happened 
	to me.

			JOSIE  
	You still didn't answer my question.

			DUFF  
	Well, if you don't know I can't tell you.

She elbows him in the stomach. He laughs.

BACKYARD (Night)
Duff is helping Josie take in the wash. Music from Barney's house.

			JOSIE  
	You know how to box?

			DUFF  
	Uh-huh. Why?

			JOSIE  
	My kids want me to teach them.

			DUFF  
	Okay. Come on. Put 'em up!

She assumes the posture of a boxer. Duff laughs and adjusts her hands.

			DUFF  
	Like so. There you go. Okay, hit me!

			JOSIE  
	I don't want to hurt you.

			DUFF  
	Go on - hit me!

She does.

			DUFF  
	Ooh! My, oh my!

They spar - briefly in sync with the music. She goes after him, flailing her 
arms.

The music is turned off abruptly and we hear Bessie's raised voice. She is 
out on the porch of her house, yelling at Barney.

			BESSIE 
	Just leave me alone! You can sit out here all 
	night. I don't care what you do! You're no good 
	around the house anyway.

Barney remains silent. Duff and Josie exchange a look.

DUFF AND JOSIE'S BEDROOM (Night)
They are in bed.

			DUFF  
		(gravely) 
	It sure scares you, a guy like that - settin' 
	out on his porch, doin' nothin'. I seen
	hundreds of them - all my life.

			JOSIE  
	My father's never done a thing for any of them.

He touches her face.

			JOSIE  
	I'm very happy, Duff. How about you?

He smiles.

Josie gets up and slips out of her nightgown. Her body merges with the 
darkness.

DUFF AND JOSIE'S LIVING ROOM (Evening)
The place has been painted and simply furnished.

Josie has made dinner for the section hands. Pop is the only one who is still 
eating.

			FRANKIE  
	You sure done a great job, Mrs. Anderson.

			JOSIE  
	Thanks, but you haven't eaten very much. How 
	about it, Frankie? I bet you could eat some 
	more.

			FRANKIE  
	No, thanks.

			RIDDICK 
		(to Duff) 
	How's that job comin'?

			DUFF  
	Well, it ain't the railroad. Those guys are 
	scared. Guess they've never known nothin' but 
	takin' it.

			JOCKO  
		(with an edge) 
	They all got families to support.

			DUFF  
		(good-naturedly) 
	Yeah. That's right, Jocko. 
		(to the others) 
	Those white guys sure shoot up at you like a 
	yeast cake if you just cock an eye at them.

			JOCKO  
		(sarcastically) 
	I guess you'll be making' some changes 'round 
	here.

			DUFF  
		(with a grin) 
	What's eatin' you, Jocko?

			JOCKO  
	Nothin'. I just figure you were the right man 
	for the job.

			JOSIE  
		(changing the subject) 
	I guess you'll all keep workin' together, won't 
	you?

			FRANKIE  
	Heck, no. They're shippin' us all over the map.

			JOSIE  
	That's too bad.

			RIDDICK 
	If you wan' 'em, there's some expert dishwashers 
	here.

			JOSIE  
	No, thanks. My kitchen's too small.

Riddick gets up.

			RIDDICK 
	Okay, fellows - let's give the folks some 
	privacy.

DOORWAY
The men, on their way out, shake hands with Duff.

			DUFF  
	Good-bye, Frankie.

			FRANKIE  
	'Got a good thing, man.

			POP 
	See ya.

			DUFF  
	Take it easy, Pop. 
		(shaking Riddick's hand) 
	'See you before you take off.

			JOCKO  
	'See ya.

			DUFF  
	'Bye, Jocko.

BATHROOM (Night)
Duff is washing his face at the sink. Josie comes up behind him. She is in 
her nightgown.

			JOSIE  
	Duff.

He turns to her. Instead of speaking, she turns her back to him.

			JOSIE  
	My back itches.

He scratches her back.

			JOSIE  
	How would you like to have a baby, Duff?

			DUFF  
	Huh?

			JOSIE  
	Don't look so scared.

			DUFF  
	You jivin' me?

			JOSIE  
	Well, I haven't come around.

Duff is taken aback.

			DUFF  
	Ain't that something?!
		(recovering)
	That's just fine, baby.

			JOSIE  
	We'll be all right.

He kisses her and sits down on the rim of the bathtub.

			DUFF  
	Man, we sure hit the jackpot fast around here.

			JOSIE  
	What about your boy?

		DUFF  
How come you keep askin'?

		JOSIE  
I keep thinking about him.

		DUFF  
Well, he ain't mine, so skip it.

She gargles. Duff moves over to her with a grin and puts his arms around her--

		DUFF  
Baby, we're goin' to put a whole lot of little 
kids into this world. Hell, we'll swamp 'em.

LOCKER ROOM, MILL
The men are done for the day. Duff is putting on his shirt. Willie is under 
the shower.

		DUFF  
Hell, if they can do it in Birmingham - and 
that's a mean town, we oughta do something here.

Willie says nothing. His eyes are on a white supervisor, who has stopped in 
the doorway.

		SUPERVISOR 
'You Duff Anderson?

		DUFF  
That's right.

		SUPERVISOR 
Want to talk to you.

		DUFF  
Okay.

		SUPERVISOR 
I hear you're tryin' to organize this place!

		DUFF  
I don't know what you're talkin' about.

		SUPERVISOR 
That's no way to talk, boy. Now we had one of 
them union men 'round here coupla years ago. 
Stirred up a lot of trouble. They're always 
after you colored boys.

		DUFF  
I still don't know what you're talkin' about.

		SUPERVISOR 
You a union man?

		DUFF  
Used to be. On the railroad.

		SUPERVISOR 
Uh-huh. Well, this ain't the railroad. Now 
what's all this talk about stickin' together?

		DUFF  
Well, what d'you know?!

He looks over at the other men. They avoid his eyes.

		SUPERVISOR 
Look, boy, we got a smooth operation here, and 
I aim to keep it that way. Now I got an idea 
you're plannin' trouble.

		DUFF  
No. You got the wrong idea.

		SUPERVISOR 
All right, then. All I want you to do is tell 
these boys here you didn't mean what you said
about stickin' together an' all.

Duff says nothing. The mill hands watch him silently.

		SUPERVISOR 
Want to keep your job, boy?

		DUFF  
What d'you think?

		SUPERVISOR 
Then do like I said.
	(to the men)
Men - this boy here's got something to tell 
you-all.
	(to Duff)
Well, how about it?

Duff looks at the supervisor in silence, fully aware that he is about to be 
fired. He turns and opens his locker.

		SUPERVISOR 
Boy, you're actin' like a nigger with no sense. 
All right, go down' the office and get your pay. 
Tell them you're through.

DUFF'S CAR
He is driving past Josie's school and slows down. The kids are out in the 
yard but Josie is not in sight. He accelerates, his face set.

DUFF AND JOSIE'S BEDROOM (Night)
Josie is correcting papers on the bed. Duff is at the mantel, playing with a 
cat. He puts a small box over its head. The cat cries out and backs up 
clumsily, trying to free itself.

		JOSIE  
Don't, Duff.

		DUFF  
Yeah.

He sits down. Josie comes over and sits on the arm of the chair.

		DUFF  
I'm jumpy, that's all.

She runs her hand through his hair.

		JOSIE  
Well, you've had quite a day.

He brushes her off:

		DUFF  
I don't like bein' mothered.

When she touches him again, he jumps up.

		DUFF  
Jesus, baby -- leave me alone, will ya?

He flings himself down on the bed.

		JOSIE  
	(sitting down beside him) 
Don't deny me, Duff.

		DUFF  
Hell, baby - I met this beautiful chick and 
she's just dyin' for me, okay?

She takes him by the shoulders and shakes him.

		JOSIE  
Don't be so silly.

Duff laughs.

		DUFF  
Yeah. But just how're we goin' to make out? I 
got to get me a job.

		JOSIE  
You will.

		DUFF  
Pay is so damn low. I don't want my kids to 
grow up like Barney's.

		JOSIE  
They won't.

		DUFF  
I'm telling you, baby, maybe we better get out 
of here.

		JOSIE  
	(gravely) 
We can always do that, Duff.

		DUFF  
Yeah. Yeah, I know. I'm not really thinkin' 
about it. Anyway, don't want those white guys 
laughin' up their sleeve at me when they see 
me pull out.

EXT. HIRING SHED, MILL YARD
Duff waits outside the open window, while the white man in the shed checks 
his job application.

		WHITE 
Yeah, we can use you. Ever work a saw mill?

		DUFF  
Yeah.

		WHITE 
Where was that?

		DUFF  
	(after a moment's hesitation) 
Walker and Williams.

		WHITE 
What did you say your name is?

		DUFF  
Anderson.

The man checks for Duff's name on a list.

		WHITE 
	(turning to Duff) 
Sorry, boy, there ain't nothin' here.

INT. RESTAURANT
Duff is sitting at the lunch counter. Joe, the mill hand, comes in.

		JOE 
	(to the waitress) 
Hello, Frances.

He sits down next to Duff.

		JOE 
How 'you doin' man?

		DUFF  
	(non-committal) 
Okay.

		JOE 
	(to Frances) 
Cup of coffee. 
	(to Duff) 
I 'been meanin' to talk to you.

		DUFF  
Oh yeah?

		JOE 
You know, over at the mill, there's just one guy 
that talked. It's kinda late to say it, but we 
shoulda acted different.

The waitress brings his coffee.

		JOE 
Been over to the other mill?

		DUFF  
Yeah, I been there.

		JOE 
It's just that we're not used to seein' anyone 
stand up 'round here. Kinda took us by surprise.

		DUFF  
Oh yeah? That's good.

INT. POOL HALL
Duff is at the bar.

		BARTENDER 
Well, if you tried the mills, there ain't no 
other industry 'round here.

		DUFF  
How 'bout that furniture plant?

		BARTENDER 
	(with a laugh) 
Man, the darkest thing they got in there is 
Coca-Cola.

		DUFF  
Yeah.

		BARTENDER 
Now, if you want to work like a real nigger, 
you can always go out and chop cotton.

		DUFF  
	(grimly) 
They done that too long in my family.

		BARTENDER 
They pay you three bucks a day an' all the 
cotton you can eat.

Duff laughs.

HOTEL LOBBY
Duff faces the white manager, who is behind the registration desk.

		MANAGER 
Yeah, I might have something for you, if you 
want to put on a uniform.

Duff looks over at the one black man in the lobby - a uniformed bellhop 
emptying ashtrays.

		DUFF  
What's the pay?

		MANAGER 
Pay's ten dollars a week, plus tips and lunch.

		DUFF  
I see. Ain't for me, thanks.

INT. GENERAL STORE
The white proprietor has rung up the order for an elderly black woman.

		PROPRIETOR 
Now what about soap?

		WOMAN 
I got enough.

		PROPRIETOR 
	(insisting) 
I got a good buy on soap. You go on over there 
an' take a look! 
	(urging her on) 
Right over there.

The woman goes over to look at the soap. The proprietor turns to Duff.

		PROPRIETOR 
Yes?

		DUFF  
I'm lookin' for work.

		PROPRIETOR 
I got a boy. Thanks.

INT. DUFF'S CAR 
He is driving through town at a fast clip. The car rattles.

INT. BEAUTY PARLOR 
The staff and clientele are black.

Duff enters and sits down close to Josie, who is having her hair done.

		JOSIE  
Hi.

		DUFF  
Don't ask, baby - huh!
	(lowering his voice)
How much money you got with you?

		JOSIE  
About ten dollars.

		DUFF  
Water pump's busted. I don't know if it's worth 
fixin', but I need that car.

		JOSIE  
You can have what I've got. It's right there.

Duff opens her pocketbook, embarrassed by the women watching him.

FLAT BED TRUCK 
It rattles over a country road between cotton fields. Duff stands among the 
field hands on the open flatbed.

EXT. COTTON GIN 
The white foreman is up on the loading platform. He addresses a group of 
field hands looking for work.

		FOREMAN 
Startin' tomorrow mornin', we got work for 
fifteen hands. All we're gonna pay is two-fifty 
a day. Can't pay you the three 'cause ain't 
gonna be much of a crop this year. Now you all 
who want to work, step up and we'll take your 
name.

Duff is among the few who leave. The others surge closer to the platform, 
ready to work for any wage.

DUFF AND JOSIE'S PORCH (Night)
Josie is sewing on the porch. Duff is in the yard a few feet away, using the 
back of an axe to hammer loose nails into an old chair.

		JOSIE  
It's not as hard on a girl. They're not afraid 
of us.

Duff says nothing.

		JOSIE  
You know - we do have enough money. Especially 
now.

		DUFF  
	(grimly) 
Sure, baby. 'Fact, I don't ever have to work no 
more. When that baby comes, I can just stay 
home and send you back to school. How about 
that?

		JOSIE  
I'm trying to help, Duff.

		DUFF  
Yeah!

		JOSIE  
	(after a moment) 
I could work even after the baby comes. A few 
hours a week, anyway.

		DUFF  
What the hell could you do?

		JOSIE  
Day work.

		DUFF  
'You kiddin'? You ain't goin' to no white home. 
I seen the way they look at you when you go 
down the street.

He jumps up and raises the axe--

		DUFF  
No point fixin' it!

		JOSIE  
	(frightened) 
What're you going to do?

He smashes the axe into the chair.

		JOSIE  
	(jumping up) 
Don't do that!

		DUFF  
Watch out!

He smashes the chair to pieces.

		DUFF  
	(throwing down the axe) 
Good kindlin'!

He turns to Josie. She is looking at him, deeply upset. 

		DUFF  
What's bitin' you now!?

She turns away. He jumps up onto the porch and grabs her. 

		DUFF  
You heard me! 

		JOSIE  
I can't stand to see you like that. I know you 
can't help it. 

		DUFF  
	(darkly) 
Stop bein' so damn understandin'.

DUFF AND JOSIE'S LIVING ROOM (Day)
Duff is on the sofa, looking up at Reverend Dawson.

		REVEREND DAWSON 
I know just how you feel, son. But believe me, 
you're going about it the wrong way.

		DUFF  
Don't look like there's a right way.

		REVEREND DAWSON 
Well, you have to be reasonable. Now they say 
you're a troublemaker. That's no good. Use a 
little psychology. Make 'em think you're going 
along - and get what you want.

		DUFF  
It ain't in me.

		REVEREND DAWSON 
You'll be in trouble, son.
	(after a moment) 
Now just how do you intend to support your 
family?

		DUFF  
I guess I'll rob a bank.

		REVEREND DAWSON 
Don't you get smart with me, boy.

We hear a dish break.

KITCHEN
Josie is on the floor, picking up pieces of broken glass.

LIVING ROOM

		REVEREND DAWSON 
Maybe you ought to move. You'd be a lot better 
off in the North.

		DUFF  
So I been told.

		REVEREND DAWSON 
It's for your own good.

		DUFF  
Oh yeah? 
	(he gets up) 
Seems to me, Reverend, you' more concerned 
'bout your good. Guess it looks kind 'a bad, 
havin' me for a son-in-law.

		REVEREND DAWSON 
You can be cocky now, boy. But you won't make 
it. You won't last. I just feel sorry for Josie. 
I knew it wouldn't work out.

		DUFF  
Well, at least she ain't married to no white 
man's nigger! You been stoopin' so long, 
Reverend, you don't even know how to stand 
straight no more. You' just half a man!

KITCHEN
Josie has cut her finger on the glass. She is weeping silently.

LIVING ROOM
Reverend Dawson turns to leave. His sense of calm superiority is shattered.

		REVEREND DAWSON 
	(at the door) 
Maybe I could talk to Bud Ellis. He might have a 
job for you at his filling station.

		DUFF  
Oh yeah?

		REVEREND DAWSON 
I'll be seeing you.

Josie has come into the room.

		JOSIE  
	(gravely) 
'Bye, Dad.

DUFF AND JOSIE'S BEDROOM (Night)
Duff watches Josie. She is sitting at her dressing table.

		DUFF  
How come you don't hate their guts?

		JOSIE  
I don't know. I guess I'm not afraid of them.

		DUFF  
You were plenty scared that night in the car.

		JOSIE  
Just of getting hurt. They can't touch me 
inside.

		DUFF  
Like hell they can't.
	(he gets up)
They can reach right in with their damn white 
hands and turn you off and on.

		JOSIE  
Not if you see them for what they are, Duff.

		DUFF  
	(exploding) 
Jesus, baby, you're so full of talk! Well, you 
ain't never really been a nigger, have you - 
livin' like that in your father's house! So 
just shut your mouth.

EXT. GAS STATION (Night)
Duff finishes pumping gas into Joe's car.

		DUFF  
That's two bucks, Joe.

		JOE 
	(paying) 
Why don't you come over for a beer when you get 
through?

		DUFF  
Okay, I will.

Brad Ellis, the white owner of the service station, comes out of his office.

		ELLIS 
Hey, Duff! Run the truck down Holly Road. 
There's a guy in the ditch.

CAB OF TOW TRUCK (Night)
Duff is driving along a wooded country road. Shreds of fog drift across the 
headlights.

A ditched car comes into view, its front end crushed against a tree. A tubby 
white man stands beside it, waving to Duff with a flashlight. Duff passes him 
and backs up to the car.

COUNTRY ROAD
The owner comes toward him eagerly.

		OWNER 
Sure glad to see you, boy.

Duff gets out of the tow truck to inspect the damaged car. The owner follows 
him, nervous and garrulous.

		OWNER 
Guess I was kinda lucky, huh? My wife's going to 
give me hell.

Duff lowers the hoist on the truck.

		OWNER 
	(anxiously) 
How you doin', boy?

		DUFF  
Okay.

He gets under the car to attach the chain.

		OWNER 
Want me to hold the light for you?

		DUFF  
No, thanks.

		OWNER 
Just tryin' to be helpful.

He continues talking, though Duff can't hear him.

		OWNER 
Most folks around here got no use for nigrahs. 
Got to understand them, that's all. How you 
doin', boy?

		DUFF  
	(emerging from under the car) 
Okay.

The owner tests the rig with his foot.

		OWNER 
Seems a little loose!

		DUFF  
	(with a grin) 
She'll do.

He starts raising the car.

		OWNER 
She ain't comin' up even!

Duff ignores him.

The chain slips and the car drops to the ground with a bang.

		OWNER 
	(jumping back) 
Jesus, I told you to watch it!

		DUFF  
Sorry.

He gets back under the car.

		OWNER 
That's the trouble with you boys! Don't listen 
when a man tells you something.

		DUFF  
She don't look no worse to me.

		OWNER 
Don't do her no good to get banged like that.

		DUFF  
	(under the car) 
Don't do her no good to go into a tree.

		OWNER 
	(enraged) 
What did you say, boy?!

		DUFF  
I said, she's in great shape.

		OWNER 
I heard you! Now 'stead of bein' smart, you just 
get that car out of here!

GAS STATION (Night)
Duff is changing a tire outside the repair bay.

A car shoots out of the dark with its horn blaring, and screeches to a stop 
at the pump.

Brad Ellis steps up to the driver.

		ELLIS 
Can I help you?

The driver is the white mill hand who gave Duff a hard time at the mill.

		DRIVER 
	(indicating Duff) 
Like some service from that boy there. Like the 
way he takes care of us.

ELLIS Okay.

Duff has come over. He is aware of impending trouble. One of the men in the 
car is the owner of the ditched vehicle.

		DUFF  
Fill her up?

		DRIVER 
No, boy. Thirty-eight cents worth of gas. And 
watch you don't make it thirty-nine.

Duff starts the pump.

		DRIVER 
Didn't hear you say "Yessir!" Don't they say 
"Yessir" where you come from?

Duff finishes pumping and puts the nozzle back onto the pump.

		DRIVER 
Boy - you hear me?!

		DUFF  
That'll be thirty-eight cents.

		DRIVER 
Goddamnit, nigger - you must think you're white! 
Who d'you think you are - king of Harlem?

		SECOND WHITE 
How 'bout this windshield, boy? Like a little 
service.

Duff takes a moment before moving to the windshield and wiping it. The men 
inside the car watch him through the glass.

		THIRD WHITE 
Hell, they're getting' too big for their 
britches.

		SECOND WHITE 
Yeah, his wife's the same way, struttin' through 
town like she owns the place - shakin' that 
little rear end.

		THIRD WHITE 
It's all that education they're getting.

		DRIVER 
Real cool, ain't he! Just like we're not here.

Duff moves over to the driver.

		DUFF  
That'll be thirty-eight cents.

		DRIVER 
You in a big hurry, boy?

		SECOND WHITE 
Yeah, he's tryin' to get home!

		DRIVER 
Bet she's pretty hot, huh?

		DUFF  
	(very tense) 
You watch your mouth, man!

The driver has finally found a way of getting to Duff and a grin spreads over 
his face.

		DRIVER 
I bet she's a sly little nigger, that girl. 
Wouldn't mind a piece of her myself!

		DUFF  
All right, you get out of here, man!

		DRIVER 
	(exploding) 
Who're you tellin' to get, boy?! You watch it, 
or there'll be some dyin' done 'round here!

		DUFF  
That dyin's gonna be done two ways.

He steps away from the car, a hand on the rear pocket where he keeps his 
knife.

In the backseat, the owner of the ditched car looks nervous.

		OWNER 
Let's go, Al. He ain't worth it.

		DRIVER 
	(turning on him) 
Now you stay out of it!

Brad Ellis has come over.

		ELLIS 
What's goin' on?

		DRIVER 
You better get rid of this white-eyed nigger!

		ELLIS 
	(to Duff) 
What happened?

		DRIVER 
Never mind! You keep him workin' here and this 
place won't be around. And I ain't kiddin'!

He guns the engine and shoots out of the service station in a cloud of dust.

Duff looks at Ellis, whose next move is predictable, and leaves the frame to 
run a water hose over the back of his neck.

Ellis stops next to him.

		ELLIS 
Guess we got trouble.

		DUFF  
	(blowing up) 
You ain't got none, Mister!

		ELLIS 
I'm sorry, Duff.

		DUFF  
	(tossing down the hose) 
Don't tell me. I know.

DUFF AND JOSIE'S LIVING ROOM (Night)
Duff enters.

Josie comes out of the bedroom in her nightgown. She has been waiting up.

		JOSIE  
I called the gas station. I've been worried.

Duff slumps down on the sofa, utterly discouraged.

		DUFF  
Hell, if they don't blow up his place, they'll 
get him some other way. Don't make no difference 
no-how.

		JOSIE  
	(anxiously) 
What d'you mean?

		DUFF  
Nothin. Quit lookin' at me like that!

He gets up.

		JOSIE  
	(approaching him) 
Duff, I love you.

		DUFF  
Well, that don't do me one bit of good!

She touches him.

		JOSIE  
Come on, Duff - let's go to bed.

He gives her a sudden, violent shove. It sends her sprawling to the floor. 
She picks herself up, weeping.

		DUFF  
I never should have married you in the first 
place.

He stares at her.

		DUFF  
Ain't you goin' to say something?

		JOSIE  
There's nothing to say.

		DUFF  
Well, that'll be the first time.

He leaves the room.

DUFF AND JOSIE'S BEDROOM (Night)
Duff is packing his things. Josie is on the bed.

		JOSIE  
Where're you going to go?

		DUFF  
When I get set, I'll send for you.

		JOSIE  
I don't think that'll happen.

		DUFF  
You'll be better off without me. I ain't fit to 
live with no more. It's just like a lynchin'. 
Maybe they don't use a knife on you, but they 
got other ways.

		JOSIE  
You're not a man because of a job, Duff.

		DUFF  
You don' know nothin' 'bout it, baby. Nothin'! 
And don't kid yourself - you did your bit.

He closes his bag.

		DUFF  
Okay.

		JOSIE  
Duff--

		DUFF  
	(at the door) 
Like I said, baby - I'll write you.

INT. DUFF'S CAR (Dawn)
He is driving across a bridge into Birmingham.

DOWNTOWN STREET
Duff stands on a deserted corner.

EXT. TENEMENT STAIRS
Duff climbs up to Will Anderson's room.

WILL'S ROOM
Will is sitting at the table in a drunken stupor. There is a knock at the 
door.

		WILL 
Who is it?

		LEE 
It's your son.

Duff enters.

		WILL 
My son? I ain't got no son. You Duff?

		DUFF  
That's right.

		WILL 
Beat it!

He gets up and staggers toward Duff

		DUFF  
Take it easy, Pop.

		WILL 
What's the matter? Don't smell so good, huh? 
Must'a broken some records.

He pushes Duff away and pours himself a glass of whiskey. His hands are 
shaking.

		DUFF  
	(trying to restrain him) 
Come on, Pop.

		LEE 
Nothing you can do. Been like this for days.

		WILL 
Got no use for nobody.

He raises the glass to his mouth, but drops it and puts his hand on the back 
of his head.

		DUFF  
What is it? What's the matter?

Lee grabs Will and pushes him onto the bed.

		LEE 
	(at the end of her rope) 
Now you lay down and get some sleep!

Will grabs her blindly and pulls her down onto the bed.

		LEE 
	(freeing herself, furious) 
You let go!

She starts picking up the broken glass. Will sits up again. He is dazed.

		LEE 
Now you stay put!

		WILL 
	(leaving the bed) 
I ain't drunk, honey.

		LEE 
Like hell you ain't!

He sits down at the table and touches the back of his head.

		WILL 
Got a thick feelin' here.

		LEE 
What's the matter now?

		WILL 
Better now.
	(closing his eyes)
Where 'you at?

		LEE 
	(concerned) 
Right here.

She puts her hand on his forehead.

		WILL 
Couldn't get the words out before.

		DUFF  
Better get him to a hospital.

		WILL 
Didn't I tell you to beat it - huh?

		LEE 
	(taking Will's arm) 
Let's go.

		WILL 
Anything you say, baby.

With Duff's help, Lee raises Will out of the chair.

EXT. TENEMENT, RAIN
Duff has helped Lee get Will into the backseat of his car.

Through the window we see him grope blindly for Lee's breast.

INT. MOVING CAR
Duff, in the driver's seat, is lost in thought.

		LEE 
	(off-screen) 
Duff.

Duff turns to her. Will's head is in her lap.

		LEE 
He stopped breathin'.

Duff stops the car.

INT. FUNERAL PARLOR
The undertaker sits down behind his desk. He lays out Will's watch and a few 
other belongings for Duff and Lee, who are standing in front of him.

		UNDERTAKER 
We thought you might want these.

		DUFF  
Thanks.

		UNDERTAKER 
Would you like me to say anything tomorrow?

		DUFF  
Guess so.

		UNDERTAKER 
Have anything in mind?

		DUFF  
No. What you usually say, I guess.

		UNDERTAKER 
Where was your father born?

		DUFF  
I don't know.

He looks at Lee. She shakes her head.

		UNDERTAKER 
His profession?

		DUFF  
Well, he worked around.

		UNDERTAKER 
And his age?

		DUFF  
I don't know. Forty-eight, I guess.

		UNDERTAKER 
Any other family?

		DUFF  
No. Just me.
	(he includes Lee)
Me an' her.

		UNDERTAKER 
Well, I guess that's all till tomorrow.

		DUFF  
Okay, thanks very much.

URBAN CEMETERY, BIRMINGHAM
The mechanical arm of a backhoe opens up a new grave.

Duff and Lee walk away from the burial site. The camera moves with them.

			LEE 
	What're you going to do?

Duff says nothing.

			LEE 
	Want to come up the house? You can stay there 
	till you get on your feet. There's no point 
	paying a hotel.

			DUFF  
	No thanks, Lee.

			LEE 
	It's just that I hate empty rooms.

			DUFF  
	Sure.

			LEE 
	Well, what're you going to do?

			DUFF  
	I guess I'll make me some trouble in that town.

			LEE 
	Going back, huh?

			DUFF  
	That's right.

			LEE 
	They'll run you out.

			DUFF  
	No, they won't.

			LEE 
	How 'you gonna live?

			DUFF  
	I can always chop cotton if I have to.
		(he stops)
	If you want a ride, I'll take you home.

			LEE 
	No, thanks. I'll take the bus.

			DUFF  
	Okay.

			LEE 
	Don't be too hard on him.

			DUFF  
	Hell, I'm just like him.

			LEE 
	I know he wasn't much of a father.

			DUFF  
	Who is?!

			LEE 
	Good-bye, Duff.

She walks away.

BIRMINGHAM ALLEYWAY (Night)
From the interior of Duff's car we see Duff come out of Effie Simms' house, 
carrying James Lee through the rain. He deposits the scared-looking boy in the 
front seat and gets in on the driver's side. James Lee shrinks as far away 
from Duff as the seat allows.

			DUFF  
		(with a kindly grin) 
	That window's broke, boy. You stay over there, 
	you're gonna get awful wet.

INT. MOVING CAR (Dawn)
The sun is coming up through the trees. James Lee is asleep on the front seat.

DUFF AND JOSIE'S LIVING ROOM
Duff brings in the sleeping boy and puts him down on the sofa. Then he leaves 
to get his belongings.

Josie has woken up and comes in from the bedroom in her nightgown. She sees 
James Lee and leans over him.

			JOSIE  
		(softly) 
	Hi.

James Lee opens his eyes.

Josie hears Duff enter and turns to him. They come together and hold each 
other for a long moment.

			DUFF  
	Ain't gonna be easy, baby - but it's gonna be 
	all right.

Josie is weeping.

			DUFF  
	Baby I feel so free inside.