Section One | Home

 
EXT. STREET FRONTING WRIGHTS' HOME - DAY
 
Months have passed. The scene is frozen; icy, covered in
frost.
 
An old truck loaded with coal clanks up to the front stoop.
A large, heavily clothed black man drops from the cab to the
street. He bangs at his sides to warm himself and moves
quickly to the rear of the vehicle. He fills a box with coal
and starts to the steps.
 
The COAL MAN knocks at the front door. After a moment, the
door opens and there stands a pitiful Richard. He is
shivering, wrapped in an old blanket.
 
COAL MAN
Son, what're ya doin'?
 
RICHARD
I-I-I-I'm w-w-waitin' for the coal
man, sir.
 
COAL MAN
Well, that's me. You gonna let me
in?
 
RICHARD
Y-Y-Yes, sir.
 
COAL MAN
Your mama here?
 
RICHARD
N-no, sir.
 
COAL MAN
You got some money for me?
 
RICHARD
Yes s-s-sir. My Mama gave it to
me.
 
Richard holds out a quivering palm. A crumpled bill and a
few coins are there.
 
COAL MAN
Well hold on, boy. Let me stock
your bin, then you pay me.
 
Richard stands aside. The Coal Man enters and the door shuts.
 
 
 
INT. WRIGHTS' HOME
 
The Coal Man dumps the box into a crate next to the pot
bellied stove and turns to Richard, who vibrates with cold.
 
COAL MAN
Son, how long you been without
coal?
 
RICHARD
Two d-d-days.
 
COAL MAN
Lordy.
(pause)
Where're your folks?
 
RICHARD
My mama is at work.
 
COAL MAN
That's all, just you and your Mama?
 
RICHARD
And my brother, Leon. He's with
my mama.
 
The Coal Man pauses a moment.
 
COAL MAN
You get me some paper and a match.
I'll get you a fire goin'.
 
RICHARD
Yes, sir.
 
Richard moves to the kitchen. The coal man stoops to stock
the fire.
 
 
 
INT. WRIGHT HOME - LATER
 
The dingy room is aglow with the flames. Richard is standing
by the open stove warming his hands. The Coal Man returns
from outside with a final bushel of coal. He pauses, takes
off his gloves and warms himself.
 
COAL MAN
Okay, son, now you can pay me.
 
Richard hands him the money. The Coal Man takes off his
jacket, removes a pipe and pouch from the pocket. He plops
in a chair and begins to fill the pipe.
 
COAL MAN
(continuing)
How much change do I owe you?
 
RICHARD
I don't know.
 
COAL MAN
Shame on you. Don't you know how
to count?
 
RICHARD
No, sir.
 
The Coal Man looks at Richard for a moment... is he thinking
about conning the boy?
 
COAL MAN
Well, I'm gonna help you figure
it. Now, listen and repeat after
me...
 
The Coal Man holds up a finger with each count.
 
COAL MAN
(continuing)
One, two, three, four, five.
 
Richard mimics with his fingers.
 
RICHARD
One, two, three, four, five.
 
COAL MAN
All-righty. Now, six, seven,
eight, nine, ten.
 
RICHARD
All-righty. Now, six, seven,
eight, nine, ten.
 
The Coal Man gives Richard a look, like, 'is this boy foolin'
with me'? Then he laughs, a deep baritone.
 
 
 
INT. WRIGHT HOME - EVENING
 
There is a sound, a rhythmic creaking of old springs. A...
sprang... sprang... sprang. With each sound, a boy's voice
is heard, muffled behind a closed bedroom door.
 
The front door opens and Ella enters holding Leon's hand.
They are both heavily clothed. Immediately she notices the
sound. Puzzled, she walks toward the boys' bedroom. She
reaches for the door, opens it...
 
Facing away, toward the window. Richard is bouncing on the
bed. With each spring, he counts.
 
RICHARD
87... 88... 89... 90... 91... 92...
 
Ella's jaw drops.
 
 
 
EXT. CITY PARK - DAY
 
It's not as cold; perhaps a few months later, almost spring.
 
A black man in an army uniform is sitting on a bench near the
street. He reads a newspaper, the Memphis Commercial Appeal.
 
A few feet away, Richard sits on the curb. He is watching
the man closely.
 
The PAPER MAN turns a page, glances up and double-takes at
Richard's intent gaze. The Paper Man gives Richard a look
and goes back to his reading.
 
Traffic and a few moments pass.
 
The Paper Man turns another page, glances up and again
catches Richard's steady gaze. The man frowns and goes back
to his reading.
 
More traffic passes. A long moment drags.
 
The Paper Man turns another page and...
 
PAPER MAN
Boy! What in tarnation are you
starin' at?
 
RICHARD
Nothin'.
 
PAPER MAN
No, boy! You is starin' at
somthin', you is starin' at me!
 
RICHARD
(a negative)
Uh, uhhh.
 
PAPER MAN
What?
 
RICHARD
I'm just wonderin' if you're gonna
leave any of your paper.
 
PAPER MAN
My newspaper?! You want the paper?
 
RICHARD
Yes, sir.
 
The Paper Man reappraises Richard.
 
PAPER MAN
(suspicious)
How come?
 
RICHARD
I just wanted it, is all.
 
PAPER MAN
Why?
 
RICHARD
To read.
 
PAPER MAN
To read?! You know how to read?
 
RICHARD
A little.
 
There is a long pause as the man studies Richard. Then he
laughs.
 
PAPER MAN
Son, if you are learnin' to read,
you are welcome to my paper. Here
you go...
 
The man collects the paper, folds it and offers it to Richard.
 
PAPER MAN
(continuing)
Here ya' are... take it.
 
RICHARD
(hesitates)
Ya' givin' me the whole thing?!
You don't need none of it for your
fire, or nothin'?!
 
The man laughs.
 
PAPER MAN
Son, I ain't gonna stand in the
way of a boy's learnin'. It's all
yours.
 
Richard springs to his feet, dashes forward and snatches the
paper.
 
RICHARD
Thank you, sir! Pleased to make
your acquaintance!
 
Richard bolts down the walk. The Paper Man watches him tear
off, then speaks quietly to himself.
 
PAPER MAN
Me too, son.
 
 
 
INT. WRIGHT HOME - EVENING
 
Richard is on the floor, the Memphis Gazette open in front of
him. Leon is nearby looking over the Sunday comics. Ella is
stirring a pot.
 
RICHARD
Mama?
 
Ella finishes stirring and replaces the lid. She is listless
when she finally answers.
 
ELLA
Yes, Richard.
 
RICHARD
What's this word?
 
Ella wipes her hand on a towel, walks to Richard and looks to
where he points on the page.
 
ELLA
Sound it out.
 
Richard is thinking hard.
 
RICHARD
Co... op...
 
ELLA
No. Corrrr...
 
RICHARD
Cor--po..
 
ELLA
Corpor...
 
RICHARD
Corpor...a...
 
ELLA
That's right. Now what did I tell
you 'bout T-I-O-N.
 
RICHARD
Corporation!
 
ELLA
(surprised)
That's right! Dang boy!
 
RICHARD
What's a corporation, Mama?
 
ELLA
Well, it's like a business.
 
RICHARD
You mean like Mr. Jenkins' store?
 
ELLA
No. Not like that.
 
RICHARD
It ain't? Mr. Jenkins' is a
business.
 
ELLA
Yeah boy, but it ain't no
corporation.
 
RICHARD
Why not?
 
ELLA
A corporation is a big business.
 
RICHARD
What kind of big business? How
come it's a corporation?
 
ELLA
(pause)
Don't worry none 'bout that.
 
RICHARD
How come Mr. Jenkins couldn't be
a corporation?
 
ELLA
Boy, ain't no black folks own no
corporations.
 
Ella moves back to the kitchen.
 
RICHARD
Why can't black folks own a
corporation?
 
ELLA
It ain't that they can't...
 
RICHARD
But you said...
 
ELLA
Boy! That's enough. Get ready
for dinner, now.
 
 
 
INT. WRIGHTS' KITCHEN - LATER
 
Ella, Richard and Leon are at the table. None look too
enthusiastic about the dinner. Leon just stares at his plate
of black-eyed peas.
 
ELLA
Leon. Eat.
 
LEON
Don't wanna.
 
ELLA
Boy, you best eat. That's all
you're gettin'.
 
LEON
I don't want no peas.
 
ELLA
That's what we got, and that's
what you gonna eat.
 
LEON
Don't wanna.
 
ELLA
Alan-Leon.
 
LEON
No. I'm sick of peas. That's all
we ever eat is peas.
 
Ella snaps.
 
ELLA
Then damn it!! If you don't want
to eat, go to your room!!
 
LEON
But...
 
ELLA
Don't you but me boy! Get to your
damn room before I whip your
little ass!!
 
Leon slowly begins to move off his chair, his eyes welling.
 
ELLA
(continuing)
Don't you shuffle, boy! I said
git!
 
Leon runs from the room.
 
There is a long silence. Then Richard watches as his mother
drops her face into her hands.
 
RICHARD
Mama, what's wrong?
 
She composes herself. Then answers.
 
ELLA
Richard, we ain't got no money.
I'm behind on the rent.
(pause)
I might have to send Leon up north
to live with your Aunt Maggie.
 
Richard looks to his mother, like he knows what's coming.
 
RICHARD
(tentative)
No you don't, Mama.
 
ELLA
I think you should go stay with
your father.
 
RICHARD
No!!
 
ELLA
Richard...
 
RICHARD
No! I ain't gonna live with him!
 
Ella pauses. She looks long and hard at Richard.
 
ELLA
Then we got to go see him.
 
There's a long pause.
 
RICHARD
We don't need him.
 
ELLA
Boy!
(composes)
We don't have money for food, or
rent... the landlord has done told
me he'll put us out.
(Long Pause)
We got to get money from your
father.
 
They sit in silence. Richard looks down to the table.
 
 
 
EXT. RESIDENTIAL CITY STREET - DUSK
 
Ella and Richard are approaching the stoop of a shabby frame
house. Ella starts up the steps, but Richard lags behind.
She stops, turns to Richard. He looks back, then reluctantly
trudges up the steps.
 
The mother and son stand outside the closed door. Ella
knocks.
 
RICHARD
Mama, I don't wanna'...
 
ELLA
Hush up! You got to be here.
He's got to see you...
 
The door opens. A woman, the GIRLFRIEND, stands silent. She
has some miles on her, garish in make-up, her hair
straightened and absurdly done-up. The Girlfriend giggles.
 
GIRLFRIEND
(to Ella)
Well, I sho-nuff think I know who
you is.
 
The Girlfriend brings her gaze to Richard. He moves closer
to his mother.
 
GIRLFRIEND
(continuing)
Wellll, loookee here. You must be
Nathaniel's boy. You as good
lookin' as he is.
 
The Girlfriend turns to Ella, gives her a smirk. Ella pulls
Richard to her, pushes up her chin. The Girlfriend giggles.
 
ELLA
Is Nate here?
 
GIRLFRIEND
(overly cheerful)
He sho-nuff is! Come on in!
 
 
 
INT. GIRLFRIEND'S HOUSE
 
Lighting and decor are like a garish opium den. The room
flickers with the flames of a small fireplace. On a ratty
sofa, Nate sits smoking a ragged cigar, drinking from a big
tin cup.
 
Ella pushes Richard into the room to stand before his father.
 
The Girlfriend struts over, pointedly plops down against Nate
and places a hand on his knee.
 
Degraded, Ella is choking back emotion. Richard looks of
hate.
 
ELLA
Your children are hungry.
 
Nate chuckles.
 
ELLA
(continuing)
We need money. I can't make
enough on my own.
 
NATE
(smiling)
I ain't got nothin'.
 
ELLA
You got nothin'? Nothin' for your
own children?
 
NATE
I said, I ain't got nothin', woman.
 
There's a brooding pause.
 
GIRLFRIEND
(friendly)
Come here, boy.
 
Richard just looks at the strange woman.
 
GIRLFRIEND
(continuing; to Nate)
Aww, Nat, baby, give him a nickel.
He's cute.
 
Nate reaches out to Richard.
 
NATE
Come here, Richard.
 
Richard backs away a step and shakes his head.
 
GIRLFRIEND
He's a cuuuuute child.
 
ELLA
(to Girlfriend)
You ought to be ashamed. Don't you
know you're starving my children?
 
Nate laughs.
 
NATE
Now, don't you-all fight over me.
 
Richard dashes forward to the fire place and snatches up a
poker. He holds it up like a club facing his father.
 
RICHARD
You shut up! I'll hit you!
 
Nate laughs harder and turns to Ella.
 
NATE
You tell him to do that?
 
ELLA
(flat)
Don't say such things Richard.
Put that down.
 
Richard deflates. He drops the poker to the hearth and moves
back to his mother.
 
GIRLFRIEND
He's a fighter.
(snuggles Nate)
Just like his daddy.
 
Ella turns again to the Girlfriend.
 
ELLA
You ought to be dead.
 
The Girlfriend laughs loudly and throws her arms around
Nate's neck.
 
Richard is in emotional agony.
 
ELLA
(continuing)
How can you deny your children?
 
NATE
Why don't you let Richard stay
with me?
 
Ella pauses, distraught, thinking. She turns to Richard.
 
ELLA
Do you want to stay with your
father, Richard?
 
RICHARD
No.
 
ELLA
You'll get plenty to eat.
 
Richard stares at his father, despising him.
 
RICHARD
I'm hungry... but I won't stay
with him.
 
GIRLFRIEND
Awwww, give the boy a nickel.
 
Nate reaches into his pocket, pulls out some coins, picks out
a nickel and holds it out to his son. Richard doesn't move.
 
NATE
Here, boy.
 
ELLA
Don't take it.
 
NATE
Don't teach him to be a fool.
Here Richard, take it.
 
ELLA
You ought to be ashamed. Giving
your son a nickel when he's
hungry. If there's a God, he'll
pay you back.
 
Nate laughs.
 
NATE
Well, that's all I got.
 
Nate returns the coin to his pocket.
 
Richard and Ella stand for a moment, staring at Nate and his
Girlfriend. They are grinning fools.
 
The mother and son turn. Silently, they leave the room.
 
Richard's father and the woman are glowing, smoldering in
flame and smoke.
 
 
 
EXT. GIRLFRIEND'S HOUSE
 
Ella and Richard exit the house and slowly move away down the
dark street.
 
NARRATOR
Leaving that house I felt I was
part of something unclean. In the
years after, the image of my
father, his face lit by dancing
flames, would surge up in my
imagination so vivid and strong
that I felt I could reach out and
touch it.
(pause)
And, as the days slid past, his
image became associated with
hunger. And whenever I felt
hunger, I thought of him with a
deep biological bitterness.
(long pause)
A quarter-century would pass
before I would again see him.
 
The mother and son are receding figures, dissolving into an
empty street which leads only to greater darkness.
 

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