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EXT. GRANNY'S DINING AREA - EVENING
 
Around a long, board-like table sits Richard, Ella, Granny,
Aunt Addie, Uncle Roy, Roy's wife and their daughter. Roy's
wife and daughter keep their heads down, silent; as if in
prayer, though they eat carefully. Ella is healthier.
 
ELLA
Son, you ought to be more serious.
You're growing up now and you
won't be able to get jobs if you
let people think that you're weak-
minded. Suppose the
superintendent of schools would
ask you to teach here in Jackson,
and he found out that you had been
writing stories?
 
Uncle Roy chews loudly. Richard subdues brooding irritation.
 
RICHARD
I'll be all right, Mama.
 
UNCLE ROY
I read it. It didn't have no
point. Whoever heard of no story
called, Voodoo a' Hell's Acre?
 
ADDIE
That's a sin. It's a sin to use
that word in a story name.
Problem with you is, Richard, is
your upbringing.
 
Ella looks up to her sister. Aunt Addie stares smugly back.
Granny folds her hands, drops her head and begins to pray.
Addie slowly turns from Ella to Richard.
 
ADDIE
(continuing)
The problem with you is, you ain't
never had no one to guide you.
 
Richard fumes.
 
 
 
INT. NEWSROOM - AFTERNOON
 
Gabriel is alone in the room. He is trying to write, but his
attention keeps going to the window of the shop.
 
Just outside, two rangy looking men in work clothes and wide-
brimmed hats lean against a post and stare back at the editor.
 
Richard enters with school books under his arm. He sees
Gabriel, then turns back to look at the men outside.
 
RICHARD
What are they doing?
 
GABRIEL
(pause)
That's what I want to know.
 
Richard walks on into the room.
 
RICHARD
Where is everybody?
 
GABRIEL
They didn't show up for work.
 
RICHARD
Why?
 
GABRIEL
I can guess.
 
Gabriel gets up and heads for the door. Richard throws down
his books and hurries after him.
 
 
 
EXT. NEWSPAPER OFFICE
 
Gabriel exits the office and faces the two men. One man
rests his hand on the hilt of a long Bowie knife which is
sheathed on his belt. The other keeps his arms crossed.
Richard exits and stands behind Gabriel.
 
GABRIEL
You gentlemen waiting for
something?
 
The two just look back.
 
GABRIEL
(continuing)
Is there a reason you've been on
my front stoop for an hour?
 
After a long moment, the BOWIE MAN turns to the other man.
 
BOWIE MAN
Listen, there, Hurly. This here
Yankee nigger owns the street.
 
HURLY sneers, spits a stream on tobacco juice to the walk at
Gabriel's feet.
 
HURLY
That right, niggra boy? You think
you own the street?
 
GABRIEL
What do you want?
 
BOWIE MAN
You ain't got nothin' we want.
 
Gabriel just stares.
 
HURLY
Say, now. I just thought of
somethin', Jake.
 
JAKE
What's that, Hurly?
 
HURLY
This boy's got himself a right
fine lookin' young niggra girl.
 
JAKE
That's right. Her mama's not bad
either. Must have some white
blood in 'em. I might get me a
taste some of that stuff.
 
Gabriel's eyes go wide with rage.
 
GABRIEL
You white bastards...
 
Gabriel starts for the men just as Richard gets to the front,
bear-hugs the man and fights hard to hold him back.
 
RICHARD
(loud whisper)
That's what they want! Don't!
It's what they want!
 
Gabriel stops, eases up and Richard releases him.
 
Jake holds the Bowie knife, Hurly a length of lead pipe.
 
HURLY
That's right, boy. You tell him.
 
GABRIEL
Get away from here, or I'll call
the sheriff.
 
The men guffaw, clearly not concerned about the sheriff.
 
JAKE
You stupid shit, where you think
you is? You bother good old
Rosswell, he liked to come over
here and kick you black ass.
 
Gabriel swallows. He believes it. He turns and heads back
into the Newsroom. Richard gives the men a quick look and
turns to follow.
 
JAKE
(continuing)
Hey, boy!
 
Richard stops, turns back to the men.
 
JAKE
(continuing)
You want that nigger to keep on
livin', you tell him to move on.
 
Richard looks at the man a moment, then enters the office.
 
 
 
INT. SCHOOL - DAY
 
Richard is walking down the hall, a worried look on his face.
He nears the principal's office. He hesitates, then enters.
 
 
 
INT. PRINCIPAL'S OUTER OFFICE
 
A slender black woman, the SECRETARY, is plunking away at a
typewriter. She looks up.
 
SECRETARY
Yes, young man?
 
RICHARD
I'm Richard Wright. I was
supposed to see Principal Thorn.
 
The Secretary's eyebrows go up.
 
SECRETARY
I know who you are. You're the
boy who wrote that nasty story.
 
RICHARD
It wasn't nasty.
 
SECRETARY
Don't smart-mouth me, young man.
I think you're in enough trouble
as it is.
 
The Secretary gets up, goes to an interior office door,
knocks and steps inside.
 
Richard stands until the secretary returns a moment later.
 
SECRETARY
(continuing)
You go on in.
 
 
 
INT. PRINCIPAL THORN'S OFFICE
 
Richard enters an office striving for opulence, but failing.
An imposing black man sits behind a large, worn oak desk.
 
THORN
Come in here, Mr. Wright. Sit over
there.
 
Richard moves to the small chair facing Thorn behind his desk.
 
THORN
(continuing)
You causin' your family hurt, boy.
 
RICHARD
Sir?
 
THORN
You wrote that blasphemous story.
 
RICHARD
It wasn't blasphemous, Professor.
 
THORN
Don't you contradict me, boy!
 
Richard is quiet.
 
THORN
(continuing)
Now, see here. I didn't read that
thing. Fact is, I don't read no
niggra papers. But I heard that
you used filthy words...
 
RICHARD
I didn't use...
 
THORN
Boy!
 
RICHARD
I didn't use bad words! I didn't
write anything dirty! It was
about a man trying to steal a
widow's home!
 
Thorn is quieted, as if not expecting resistance.
 
THORN
I got a word of advice for you,
son. And you best remember this.
Learn your place.
 
Richard is silent.
 
THORN
(continuing)
Look at me here. I made my way in
this world. You can too. But you
had best learn how to get along.
 
Richard is silent.
 
THORN
(continuing)
You understand me, boy?
 
Richard looks at the man.
 
RICHARD
(dry)
Oh, yes, Professor. I understand.
 
THORN
Good. Now listen here. You
graduatin' soon. Your teachers
have decided you going to be
valedictorian.
 
Richard seems not sure how to react.
 
Thorn pushes a stack of stapled papers across his desk
towards Richard.
 
THORN
(continuing)
Here's your speech.
 
Richard picks up the papers.
 
RICHARD
What speech?
 
THORN
The speech you're to say the night
of graduation. This will give you
time to learn on it.
 
RICHARD
(pause)
Professor, I should write my own
speech.
 
Thorn laughs.
 
THORN
Listen, boy, you're going to speak
to both white and colored people.
What can you alone think of saying
to them? You have no experience.
 
Richard is beginning to anger.
 
RICHARD
Professor, people will be coming
to hear the students. I won't
make a speech you've written.
 
Thorn leans back, shocked.
 
THORN
You know, we've never had a boy in
this school like you before.
You've had your way around here.
Just how you managed it, I don't
know. But, listen here, you take
this speech and say it.
 
I know what's best for you. You
can't afford to say just anything
before those white people.
 
There is silence as the two face each other.
 
RICHARD
Sir, I'm going to write my own
speech.
 
Thorn snaps.
 
THORN
You're just a young hotheaded fool!
 
Thorn rapidly taps a pencil on his desk, thinking.
 
Richard places the speech on Thorn's desk and turns to leave.
 
THORN
(continuing)
Say, you. Come here.
 
Richard turns to see the man showing a snake-like grin.
 
THORN
(continuing)
You know, I'm glad I talked to
you. Mrs. Wilkerson and some of
the others wanted me to bring you
in as a teacher. But no, I don't
think you'll fit.
 
Richard moves closer to face the man.
 
RICHARD
Look, Professor, I can't go on in
school because I have to work to
make money. And I guess a ninth
grade diploma isn't going to mean
much, but that doesn't mean I have
to do things this way.
(pause)
Not your way.
 
Thorn glares at Richard.
 
THORN
You got a hard road ahead of you,
boy.
 
Richard gives the man a look, turns and leaves. Thorn looks
at the closed door, then stares down at the discarded speech.
 
 
 
EXT. SOUTHERN REGISTER STOREFRONT - DAY
 
Richard stares at the window of the deserted newspaper office.
 
He moves to the locked front door, over which a poster is
plastered. It depicts a characterature of Abraham Lincoln in
the likeness of a gangster. The accompanying text reads:
 
THE WHITE HOUSE
 
THE ONLY DREAM OF A NIGGER IS TO BE PRESIDENT AND TO SLEEP
WITH WHITE WOMEN!
 
AMERICANS, DO WE WANT THIS IN OUR FAIR LAND? ORGANIZE AND
SAVE WHITE WOMANHOOD!
 
The cross emblem of the KKK as at the bottom of the poster.
 
Richard continues to stare, disbelieving.
 
 
 
EXT. GABRIELS' HOME - EARLY EVENING
 
Gabriel is loading the trunk of his car with suitcases. The
sedan and an attached trailer is otherwise jammed with the
family's belongings. Alice is sitting center front, Lily at
the window.
 
Richard rides a battered bike down the road. He gets off,
lets the bike fall and walks to the car.
 
Gabriel glances up, slams the trunk closed and faces Richard.
 
RICHARD
What's going on?
 
GABRIEL
What's it look like?
 
RICHARD
You're leaving?
 
GABRIEL
Damn right.
 
Lily leans out of the window and looks to Richard.
 
GABRIEL
(continuing)
You blame me?
 
Richard looks to the ground then back to the older man.
Gabriel registers the young man's disappointment. He places
a hand on Richard's shoulder and guides him a few steps away
from the car.
 
GABRIEL
(continuing)
Listen, Richard. These backwards
hillbillies threatened my family.
 
Richard turns, looks into Gabriel's eyes.
 
RICHARD
Yeah. I know.
 
GABRIEL
(smiles)
And I'm not much of a martyr
myself, anyway.
 
Richard forces a smile in return.
 
GABRIEL
(continuing)
These are the backwoods, Richard.
Mankind has fought the war-to-
end-all-wars and learned to fly,
but these white baboons are still
in the trees.
 
RICHARD
(pause)
So what happens?
 
GABRIEL
What do you mean?
 
RICHARD
You think it will ever change?
 
GABRIEL
Not soon. Years from now, another
man, a better man, may make a
stand. But not me, not today.
 
RICHARD
It's not right.
 
GABRIEL
No. But you know, they are their
own demons, these people. They
are a curse unto themselves. And
that is the sorry legacy they will
pass on to their children. It is
their hate and ignorance by which
history will judge them.
 
RICHARD
(pause)
Where are you going?
 
Gabriel smiles and guides Richard back toward the car.
 
GABRIEL
Back to Chicago. I believe I
shall readily find work there.
 
RICHARD
Is it that much better there for
black people?
 
GABRIEL
(pause)
It is not perfect, not great, not
even good. But It is a hell of
lot better there, yes.
 
Gabriel pauses, looks to Richard.
 
GABRIEL
(continuing)
Would you like to come?
 
RICHARD
(startled)
What?
 
GABRIEL
You could come with us.
 
For a instant, Richard seems hopeful, but that quickly fades.
 
RICHARD
No. I can't leave my mother.
 
Gabriel looks at Richard a moment.
 
GABRIEL
I understand.
(pause)
But you know, you must leave here.
 
RICHARD
(pause)
I know.
(pause)
I will.
 
Gabriel nods, shakes Richard's hand and starts for the car.
 
GABRIEL
If you ever get to Chicago...
 
RICHARD
I'll find you.
 
Gabriel gets in the car and starts it. Lily leans out the
window and calls out.
 
LILY
Richard?
 
Richard walks to her, she reaches, Richard takes her hand.
 
LILY
(continuing)
You take care, you hear?
 
RICHARD
I will.
 
LILY
Goodbye.
 
RICHARD
Bye.
 
In the front seat, Alice is fighting back tears.
 
ALICE
Goodbye, Richard.
 
RICHARD
(leans down)
Goodbye, Mrs. Gabriel.
 
Richard releases Lily's hand and the car rolls away. Richard
stands, watches the vehicle head off down the dusty road.
 
 
 
EXT. FRONT OF CLOTHING STORE - DAY
 
Richard is scraping old paint from woodwork. On the
storefront overhead, a shabby banner reads:
 
DEMMONS FINE CLOTHIERS
 
WE FINANCE! BUY NOW! PAY LATER!
 
Suddenly the door bursts open and a black woman tumbles out
onto the steps. Instinctively, Richard moves to help her.
 
MAN
Leave her alone!
 
Richard freezes.
 
The owner of the store, DEMMONS, a heavy-set man about 50,
stands in the door.
 
DEMMONS
Bitch, you got 'till Friday!
 
Demmons turns to Richard.
 
DEMMONS
(continuing)
We got work inside, boy.
 
The man re-enters the store and the door closes. The woman's
eye is swelling, her nose bleeding. Not crying, but nearly,
she scrambles up and down the walk.
 
The white pedestrians ignore the entire episode, as does the
white cop standing on the corner.
 
 
 
INT. REAR OF STORE - LATER
 
Richard is washing his hands at a utility sink.
 
The Owner and his SON, a wiry man of 25, are smoking cigars
and stacking inventory. The Owner places some slacks on a
shelf, walks up to Richard and slaps him on the back.
 
DEMMONS
Boy, that gal earlier, that's what
we do to niggras when they don't
pay their bills.
 
The Son looks closely at Richard.
 
DEMMONS
(continuing)
They pay their bills on time, they
got no trouble.
 
Richard nods.
 
SON
Get on back to work, now.
 
RICHARD
Yes, sir.
 
OWNER
You get done with what Richey has
for you, I got two deliveries need
to go out.
 
Both men leave Richard alone in the back room. He drops to
sit on a crate. He stares at the floor.
 
 
 
INT. CLOTHING STORE - LATER
 
Richard is sweeping. RICHEY is dealing with a BLACK WOMAN
who vacillates over the purchase of a dress.
 
RICHEY
Do you want it, or not?
 
BLACK WOMAN
I just don't know, I don't know...
 
RICHEY
Come on. I ain't got all day.
 
Richey and Richard meet eyes for an instant.
 
BLACK WOMAN
No. I best wait.
 
The black woman begs off and exits quickly.
 
Richey, now in a foul mood, walks to Richard.
 
RICHEY
Say, boy, look here.
 
RICHARD
Yes, sir.
 
RICHEY
What's on your mind?
 
Richard keeps sweeping.
 
RICHARD
Nothing, sir.
 
Richey studies Richard.
 
RICHEY
Why don't you laugh and talk like
the other niggers?
 
Richard pauses before answering.
 
RICHARD
Well, sir, there's nothing much to
laugh or talk about.
 
Richey seems at first confused then angry. He reaches into
his pocket, pulls off a few bills and tosses the cash to the
floor at Richard's feet.
 
RICHEY
I don't like your looks, boy. Git!
 
Richard looks down at the money. He picks it up, leans the
broom against the counter and leaves.
 
 
 
INT. GRANNY'S - DINING AREA - NIGHT
 
Richard is unhappily eating dinner with Ella, Granny, Addie,
Roy, his wife and daughter. The wife and daughter, as if
cowed, keep their heads down, silent.
 
ROY
(to Richard)
You can't keep no job. Shit, boy.
 
ADDIE
Problem is, you think you too
good. If you acted right, you'd
keep a job.
 
Richard glares at his aunt.
 
GRANNY
You need to pray, Richard.
 
ADDIE
Yes. You don't pray. That's the
problem. God is angry with you.
 
Addie smiles at Granny.
 
ROY
You too damned uppity. You ain't
never gonna do no better, cause
you uppity.
 
They are in silence for a long moment. Richard barley eats.
 
ROY
(continuing)
He thinks he's too smart. One of
these days he's gonna get killed.
 
GRANNY ELLA
Lord! Lord have mercy! Don't say that!
Lord! Lord! Lord!
ROY
ADDIE Why? It's true.
That's right! He is!
(pause) ELLA
It is true! It's a fact! Don't ever say that again.
 
GRANNY ROY
(begins to pray) (to Ella)
Oh Lord in heaven, have Woman, hush up! I'll say
mercy... what I damn well want.
 
Richard turns to Roy.
 
RICHARD
She ain't 'Woman' to you.
 
The table goes silent and all turn to Richard, including
Roy's wife and daughter, who are now intent.
 
ROY
What did you say?
 
RICHARD
My mother is not 'Woman' to you.
 
Roy stares back. The table remains silent for a moment.
 
ROY
What do you think, you the man in
this house?
 
RICHARD
You don't disrespect my mother or
give her orders.
 
Roy stares a moment.
 
ROY
And what are you gonna do about it?
 
Ella reaches for Richard's arm.
 
ELLA
(quiet)
Richard, that's enough.
 
The men stare at each other.
 
 
 
INT. GRANNY'S - RICHARD'S ROOM - EARLY MORNING
 
Richard is asleep, a book on his chest.
 
Light enters the room as the door opens and there stands Roy.
 
ROY
Hey, boy!
 
Richard's eyes open and he squints at his uncle.
 
ROY
(continuing)
What time you got?
 
RICHARD
What?
 
ROY
What time you got?
 
Richard reaches to the bedside table and looks at his watch.
 
RICHARD
Eighteen past five.
 
ROY
Eighteen past five?
 
RICHARD
Yeah.
 
ROY
Now, is that the right time?
 
Richard moves to lay back down and pulls the covers up.
 
RICHARD
Yeah. A few minutes, more or less.
 
There is a moment of silence as Roy stares, angering.
 
ROY
What are you doin', boy?!
 
Richard snaps up, bewildered.
 
RICHARD
What... what do you want?
 
ROY
What I want is for you to get your
lazy ass up and go get another job!
 
RICHARD
What?! It's not even six...
 
ROY
You can't keep no job! I told you
you can't keep no job!
 
Richard swings his feet to the floor, goes on guard.
 
RICHARD
I told you what happened...
 
ROY
Don't you sass me, boy, I'll ram
my fist down your throat!
 
RICHARD
What is wrong with you?!
 
Roy's chest heaves. He goes to a rage.
 
ROY
You gonna get the whippin' you
should have gotten a long time ago!
 
Roy turns and leaves.
 
Richard jumps to his feet and begins to reach for his
clothes. He pulls his trousers on and turns to the window.
Outside, in the full moonlight, Roy is tearing a branch from
a tree.
 
Richard, high-stress on his face, hurriedly pulls on his
shoes as Roy calls out from the back yard.
 
ROY
(continuing)
Richard!
 
Richard moves fast to his dresser, rummages around, comes out
with an object and moves for the door.
 
ROY
(continuing; calling)
Get out here, boy, or I'll drag
you out!
 
 
 
EXT. GRANNY'S BACK YARD
 
Lights are coming on in the house.
 
Richard exits the back door holding his right arm close to
his side. He slowly moves down the steps and into the yard.
Roy, about ten feet away, holds the four-foot, whip-like
branch at the ready.
 
RICHARD
Roy, what's your problem with me?
 
ROY
You need a lesson.
 
RICHARD
If I do, you're not the one to
give it to me.
 
ROY
You'll swallow those words before
I'm through with you.
 
Roy raises the branch and starts for Richard.
 
Richard goes to a crouch and his arm flashes up. A straight
razor glints in the moonlight.
 
RICHARD
You hit me and I'll cut you!
 
Roy freezes and goes wide-eyed.
 
ROY
My God.
 
RICHARD
I don't know what's got into you,
but you keep away from me.
 
Roy starts for Richard again.
 
ROY
You put that razor down.
 
RICHARD
I'll make you bleed, damn you!!
 
Roy stops. He lowers the branch and stares, the steam going
out of him.
 
ROY
You're nothin' but a criminal.
 
Richard stands, the blade still ready.
 
ROY
(continuing)
You'll end up on the gallows.
 
RICHARD
If I do, that's my business, not
yours.
 
Roy stares a long moment.
 
ROY
Boy, I feel sorry for you.
 
RICHARD
Feel sorry for yourself.
 
They watch each other for several seconds.
 
ROY
You think you're a man, but you'll
learn. You'll learn the hard way.
(pause)
I could've been an example to you.
 
Richard stares at the man, incredulous.
 
RICHARD
You're no example... you're a
warning.
(pause)
You're a forty-year-old Uncle Tom,
you mop floors for a living and
you live with your mother.
 
Roy drops the stick to ground, his chest heaves.
 
ROY
(very weak)
You'll be sorry you said that.
 
Roy is now stooped, as if under a great weight. He walks to
the steps, up and into the house.
 
Richard walks to the steps and drops to sit. He looks to the
brightening sky.
 
The door to the house opens and Ella, in a nightgown, walks
to Richard. She sits beside him and pulls him to her.
 
 
 
EXT. CITY STREET - MORNING
 
Richard, dressed fairly well, seems to have no place to go.
He meanders down the street.
 
Ahead he sees Griggs, the classmate who once questioned him
about his story, washing the windows of a jewelry store.
Richard heads over.
 
RICHARD
Hey, Griggs. How you been doin'?
 
Griggs just looks at him a moment, then goes back to his task
before answering.
 
GRIGGS
Better than you. I hear you out
of work again.
 
RICHARD
Yeah. You wouldn't know where I
could find a job, would you?
 
Griggs continues to wash windows, not answering right away.
 
GRIGGS
If I did, you'd just lose that
one, too.
 
RICHARD
What are you talkin' about?
 
GRIGGS
Dick, you've been trying to hold
a job all summer, and you can't.
Why? I'll tell ya. It's because
you don't have the feel of things.
 
RICHARD
What feel of things?
 
Griggs now turns from the windows, takes out a cigarette,
lights it, inhales, blows the smoke out.
 
GRIGGS
I wish to hell I could explain it
to you.
 
RICHARD
What are you going on about?
 
GRIGGS
Dick, you're a smart guy, real
smart. So smart you'll probably
get killed.
 
RICHARD
(dry)
Thanks.
 
GRIGGS
See, you a smart ass. You're
uppity.
 
Richard looks hard at Griggs.
 
RICHARD
Hey, I might have to take shit
from ignorant white people, but
not from you.
 
GRIGGS
There it is, now! You just too
smart.
 
Richard stares.
 
GRIGGS
(continuing)
Look, I'm trying to help you, man.
Look at yourself! You're black,
black, man, black. Can't you see?
 
RICHARD
Yeah. I noticed that.
 
GRIGGS
Man, you don't act a damn bit like
it. Everyone knows you've been
run-off every job you got.
 
RICHARD
How do they know that?
 
GRIGGS
White people make it their
business to watch us. They pass
the word around. You a marked man
already.
 
RICHARD
You're crazy, Griggs.
 
GRIGGS
You better listen up.
 
RICHARD
Okay, tell me... tell me how to
act. I just want to make enough
money to leave this damn place.
 
A white man and woman exit the jewelry store, Richard moves
to let them pass, Griggs grabs his arm and jerks him back.
Richard waits until the couple heads off then turns on Griggs.
 
RICHARD
(continuing)
What's the hell's the matter with
you?!
 
GRIGGS
(smiles)
I'm just teaching you how to get
out of white peoples' way.
 
Richard could be stewing, or disgusted.
 
GRIGGS
(continuing)
I'm telling you, man. The way you
act around white people, it's like
you don't know they're white.
They hate that.
 
RICHARD
Christ, Griggs. I'm not a slave.
 
GRIGGS
But you got to eat.
 
RICHARD
Yeah. I got to eat.
 
Griggs looks at Richard a moment.
 
GRIGGS
Listen, when you're in front of
white people, think before you
act, think before you speak. Your
way of doing things is all right
'round black folks, but it's not
all right 'round white people.
 
RICHARD
Am I supposed to be an Uncle Tom?
 
GRIGGS
No...
 
They pause as a white man enters the store.
 
GRIGGS
(continuing)
Listen, I hate white people, hate
'em with all my heart. But if I
I showed it, they'd kill me.
 
RICHARD
So what do we do?
 
GRIGGS
Just keep your head down and play
the game.
 
The two stare at each other a moment.
 
GRIGGS
(continuing; smiles)
And every chance you get, cheat.
 

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