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INT. HOTEL LOBBY - NIGHT
 
This could be one of the better hotels in town. The lobby is
fairly expansive and well-appointed.
 
Richard, dressed in the uniform of a bellhop, enters. He
carries a nondescript leather satchel. He makes his way
across the lobby to the stairs and takes them two at a time.
 
 
 
INT. HOTEL HALLWAY
 
Carrying the satchel, Richard walks to the door of a room.
He knocks twice, waits three seconds, then knocks twice.
 
After a moment the door opens. There stands a young woman
about 20. She is half naked, a WORKING GIRL. Richard gives
a quick glance either way down the hall, reaches in the
satchel and brings out a bottle of booze. He hands it to the
girl. She hands him a bill.
 
WORKING GIRL
Thank you, sugar.
 
RICHARD
You're welcome.
 
Richards turns and leaves as the door closes. As he walks
down the hall, he pulls a piece of paper from his pocket,
examines it and glances to the room numbers as he passes.
 
He stops at another room, gives the same knock and carries
out the same transaction.
 
He moves down the hall, turns and trots up the stairs.
 
 
 
INT. NEXT FLOOR
 
Richard moves to a room, knocks the code. The HOOKER inside
answers.
 
HOOKER (O.S.)
Is that you, Richard?
 
RICHARD
Yes, ma'am.
 
HOOKER
Well then, come on in.
 
Richard's expression shows he would rather stay outside, but
he opens the door and enters.
 
 
 
INT. HOOKER'S HOTEL ROOM
 
He closes the door behind and retrieves a bottle of whiskey
from the bag.
 
On the bed lie a huge snowy-skinned blonde and a thick-set
white man about 50. Both are nude, the man with the sheet
over his crotch.
 
Richard stands as the big woman gets up and walks to the
dresser drawer. Absently, like this is nothing new,
Richard's eyes follow her movements. The naked CLIENT raises
himself up on his elbows.
 
CLIENT
Boy, what in hell are you looking
at?
 
Richard is first startled, but remains calm.
 
RICHARD
Nothing, sir.
 
CLIENT
Boy, looks to me like you lookin'
at a white woman.
 
HOOKER
Settle down, Gus, Richard here is
a good boy.
 
GUS
Yeah. I bet he's a good boy.
 
Gus watches Richard as he accepts the cash from the Hooker.
 
HOOKER
A smart one, too. Keeps us all
happy.
 
GUS
What the hell does that mean?!
 
HOOKER
Oh, shut up, Gus!
 
She tosses the bottle at Gus and he jerks up to catch it.
 
HOOKER
(continuing)
Have a drink, unless you want to
be on your way back to the little
woman.
 
Gus clearly doesn't want to go. His tone changes.
 
GUS
Alright, Etta, alright, now.
 
ETTA turns to Richard just as he is about to exit.
 
ETTA
Thank you, Richard.
 
She gives him a wink.
 
RICHARD
(smiling)
A pleasure doing with you, Miss
Etta.
(turns to Gus)
And thank you, sir.
 
He gives a half salute and eases backwards out the door.
 
 
 
INT. HOTEL HALLWAY
 
Richard closes the door to Etta's room. He cracks a big
grin, chuckles to himself and shakes his head. The satchel
now empty, he starts down the stairs.
 
 
 
INT. STAIRWELL
 
Richard rounds a flight and there stands another bellhop,
NED, a small, ferret-like young man of about 16.
 
NED
Hey, man, how'd we do?
 
Richard reaches to his pocket and brings out the cash.
 
RICHARD
Not bad. Some of the girls are
out tonight, but we did okay.
 
Richard hands Ned a few bills.
 
RICHARD
(continuing)
You make sure two dollars gets to
Ernie.
 
NED
You got it.
 
The two start down the stairs.
 
NED
(continuing)
Hey, I'm supposed to check with
you on somethin'.
 
RICHARD
What?
 
NED
You ain't never been in jail, have
you?
 
Richard gives Ned a look.
 
RICHARD
What are you getting at?
 
NED
Come on, just answer me.
 
RICHARD
No, I ain't been in jail. Not yet.
 
NED
Then you can get the job. I'd
take it, but I done six months and
they know me.
 
RICHARD
What job? Who knows you?
 
NED
Never mind that. You got to see
the man, Jackson.
 
RICHARD
Who?
 
NED
You know, The Jack.
 
This stops Richard.
 
RICHARD
You talking about Sammy Jackson,
the one that runs the dice games.
 
NED
Shit, man, that ain't nothin. The
man runs plenty more than that.
 
Richard starts down again and Ned follows. A white man in a
suit is coming up the stairs. The boys switch gears.
 
NED RICHARD
Howdy, Mr. Thames, sah, how Evening, Mr. Thames. How
you this fine evenin'? are you, sir?
 
THAMES
Hello, boys. Behaving yourselves?
 
NED RICHARD
Oh, yes sah. Yes, sir, sure am.
 
THAMES
Good. Keep it up.
 
Richard and Ned give each other a quick grin. They resume.
 
RICHARD
I don't want anything to do with
The Jack. I haven't been in jail
and I don't reckon to be.
 
Ned grabs Richard by the arm and they stop.
 
NED
Hey, the man already knows about
you. You got to talk to him.
 
RICHARD
I'm not a criminal.
 
NED
No. You just runnin' hooch to
half the floozies in town, is all.
 
Richard thinks about this.
 
RICHARD
I'm not hurting anybody.
 
NED
No, you ain't. And you ain't
gonna hurt no one with this deal
either.
 
Richard thinks.
 
RICHARD
What's it about?
 
NED
The man will tell you. He wants
to meet you tonight. Eight
o'clock at Freddy's.
 
Richard gives Ned a long look.
 
 
 
INT. FREDDY'S DINER - NIGHT
 
This is a black establishment, fairly busy with the sound of
fish frying, waitresses placing orders and customers talking.
 
Richard sits toward the back in a booth facing the front
door. A coffee and a half-eaten apple pie sit in front of
him. He has a book open, but is really watching the front
door, his face expressing some trepidation.
 
In walks a tall, well-dressed man, about 40, wearing a well-
cut suit and a snappy bowler hat. A few customers and a
waitress greet him and he nods and smiles.
 
JACKSON scans the room, spots Richard and strides back to the
booth. He removes his hat as he glides into the seat
opposite Richard. He speaks perfect English with no dialect
and no accent.
 
JACKSON
Good evening, Mr. Wright.
 
Richard is intimidated, but strives to hold his own.
 
RICHARD
Hi... evening... Mr. Jack.
 
JACKSON
(smiles)
It's Jackson, actually. My
partners call me Sam.
(beat)
You can call me Sam.
 
RICHARD
Yeah, that's the thing, Mr....
Sam, I don't think I'm the boy
you're looking for.
 
Jackson's brow rises.
 
JACKSON
That so?
 
RICHARD
Yes, sir. See, I guess you know,
about all I do is bellhop...
 
JACKSON
(mild reproach)
Richard. I know what you do. You
got yourself a nice little side
job delivering whiskey to the
working girls at the Savoy.
 
RICHARD
Well, yeah, but...
 
JACKSON
Now, hold on. Let me tell you
what else I know about you.
 
Richard shuts up. He shows some concern.
 
JACKSON
(continuing)
You had the misfortune to be born
the son of a no-good dirt dragger
who hauled you to Memphis and left
your mama and you to fend for
yourselves.
 
Richard is stunned, his jaw drops.
 
JACKSON
(continuing)
You and your mama were forced to
move back here to Jackson and your
brother was sent north to live
with your aunt. You live with
your mother's mama, a real bible-
pounder, I understand. You
started school late but you made
it up because you are unusually
smart and a hard worker. You
couldn't stay in school because
you had to work, but you always
got your face stuck in a book,
anyway.
 
Jackson reaches for Richard's book, takes a look at the
title. It's Dickens. Jackson again raises his brow and he
returns the book to the table.
 
JACKSON
(continuing)
And there's two things you want
more than anything. One: You want
to be a writer. Two: You want to
get you and your mama out of the
South because you figure the life
of a black man is about a notch
below a fair hunting dog down here.
 
RICHARD
I...
 
JACKSON
Hold on a moment. And as much as
you try to get along and play the
good black boy, you can't hide the
fact that you're better than the
backwoods rubes you have to 'yes-
sah' and 'no sah'. And you know
if you don't get out of here,
you're likely to end up hanging
from that big oak tree outside of
town because you're just the sort
of sassy nigger these boys like to
string up for staring at their
women.
(pause)
I forget anything?
 
Richard is speechless for a long moment.
 
RICHARD
How do you know all that?
 
JACKSON
Because I make it my business to
know my prospective partners.
 
This is a small town and you are
known.
 
Richard looks at the man.
 
RICHARD
What are you doing here?
 
JACKSON
Pardon me?
 
RICHARD
What are you doing in the South.
Why didn't you stay up north?
 
Jackson turns, spots a waitress and signals for a coffee. He
waits until after she delivers the cup and takes a sip before
he answers.
 
JACKSON
Opportunity, Richard. I go where
opportunity presents itself--a lot
of small jobs so I don't get
noticed and no one gets hurt.
Someday I may have to take a night
train from this place myself.
Until then, I intend to take
advantage of the opportunity
presented me.
(long pause)
That is what you must do. Take
advantage of what opportunity is
presented you.
 
Richard stares long at the man.
 
RICHARD
What opportunity?
 
Jackson smiles.
 
JACKSON
As I understand it, you have never
been in jail or had a run-in with
the law, correct?
 
RICHARD
That's right.
 
JACKSON
Good. Because The Man checks into
that sort of thing. He believes
just about all blacks are thieves,
but he doesn't like to pay white
wages.
 
RICHARD
What man?
 
JACKSON
The Jewish gentleman that owns the
Bijou.
 
RICHARD
The movie house? What...
 
Jackson holds up his hand to quiet Richard.
 
JACKSON
I'll explain...
 
 
 
INT. MOVIE HOUSE - DAY
 
Jackson talks as the QUICK CUT scenes play out silently.
 
Richard, in his best clothes, is talking to a stern, chubby
Jewish man about fifty, the PROPRIETOR. The man is taking
tickets from incoming patrons. About 30 feet to the front,
a pretty black girl issues the tickets from a booth.
 
JACKSON (V.O.)
First, you must get the job.
There should be no problem. You
are a smart, good-looking boy with
no reputation for stealing.
 
The Proprietor nods, speaks and Richard smiles. The girl in
the booth glances back, looks at Richard and the Proprietor.
She gives Richard a close look and smiles.
 
JACKSON (V.O.)
(continuing)
The lead in our team is Darlene,
A smart gal. She gives the
tickets.
 
 
 
INT. MOVIE HOUSE - NIGHT
 
Richard is in uniform, now taking tickets. He drops them
into a box on a pedestal. Behind him, leaning around a
corner, the Proprietor watches Richard closely.
 
JACKSON (V.O.)
At first the man will watch you.
But after some days, he will want
to go home and tend to other
business.
 
 
 
EXT. MOVIE HOUSE - ANOTHER NIGHT
 
The Proprietor is leaving the movie house as patrons are
entering. Carrying a leather bag, he heads off down the walk.
 
Across the street, Ned, wearing a bowler cap and smoking, is
watching the Proprietor. He starts to follow the man. Ned
gives a wave to Darlene in the ticket booth.
 
JACKSON (V.O.)
And that is when our plan begins.
 
 
 
INT. MOVIE HOUSE
 
Richard is taking tickets, looking a little nervous. A
slight sheen of sweat shows on his forehead. He sees Darlene
turn from the booth, smile and nod.
 
JACKSON (V.O.)
This is the tricky part for you.
You must hold back some tickets,
not put them in the box. Do you
know how to palm... no, of course
not, I will show you.
 
Richards takes five tickets from a group. His third finger
folds under, one ticket goes into the box, four stay in his
dawn-turned hand. That hand goes to a pocket.
 
JACKSON (V.O.)
(continuing)
A young man with an unlit
cigarette will approach you.
 
The sharply-dressed black YOUNG MAN, about 20 and wearing a
bowler hat, walks to Richard between customers.
 
JACKSON (V.O.)
(continuing)
He will ask you for a match. You
will pass him the tickets.
 
Richard looks tense. His eyes dart back and forth. He
reaches for his pocket. Hands the young man a match... and
about ten tickets.
 
The Young Man takes the matches and deftly palms the tickets.
He lights the cigarette, returns the matches to Richard and
smiles. The Young Man stops by the ticket booth and leans on
the counter as he says something to Darlene.
 
JACKSON (V.O.)
(continuing)
The young man will deposit the
tickets with Darlene.
 
Darlene's hand goes to the counter just as the Young Man's
hand leaves and she scoops the tickets. She turns to Richard
and smiles.
 
JACKSON (V.O.)
(continuing)
Then she will re-sell them.
 
Richard's cheeks swell as he lets out a held breath of air.
He wipes his brow.
 
JACKSON (V.O.)
(continuing)
Another young man will leave the
movie and stop to ask you a
question.
 
After another group of customers move through, this happens.
 
JACKSON (V.O.)
(continuing)
He will then shake your hand.
 
The second young man, also in a bowler, shakes Richard's hand
and leaves. He passes the booth, his hand goes to the
counter and Darlene takes the hand-off.
 
JACKSON (V.O.)
(continuing)
Simple, really.
 
 
 
EXT. MOVIE HOUSE
 
It is a beautiful Southern night. A long line of customers
wait at the ticket booth.
 
JACKSON (V.O.)
In this world, Richard, we must do
what we can to make the most of
the hand we're dealt.
 
From down the street, the glowing marque reads:
 
"BIRTH OF A NATION"
 
 
 
EXT. JACKSON, DOWNTOWN STREET - AFTERNOON
 
Richard walks among both whites and blacks. His posture and
his clothes are noticeably improved.
 
Ahead a truck is backed up to the front door of a warehouse.
Two well-built young black men, sweating in the humidity, are
heaving heavy crates from the doors to the truck bed.
 
The young men are Avey and Luther Jones, the roughnecks from
Richard's school. They are bigger, both muscular and lean,
and they maybe look a little smarter.
 
Avey glances up at Richard and double-takes. He breaks into
a grin, nudges Luther who loads a crate onto the truck.
 
AVEY
Well, lookee here.
 
LUTHER
Wooo-weee! The Professor done
gots himself some new duds.
 
Richard, not the least bit intimidated, smiles.
 
RICHARD
Now you boys behave yourselves or
I'll have to get Mrs. Wilkerson
after you.
 
The brothers laugh.
 
AVEY
(not hostile)
That old battle-ax ain't here to
protect you, so you best watch
what you say.
 
LUTHER
What you doin' 'round here anyway,
boy? Thought you'd be goin' to
some Yankee college by now.
 
RICHARD
Sounds like a right fine idea, but
you need lots of green to make
that trip.
 
AVEY
I heard that.
 
A white FAT MAN leans out of the warehouse door to yell at
the brothers.
 
FAT MAN
Hey, now! I ain't paying you
niggras to hang 'round! You get
your shufflin' black asses to work!
 
The three black men stare at the Fat Man.
 
AVEY
Yes, sir, we'll get right on it.
 
The brothers start back to work. Richard lingers, then helps
them move a few crates.
 
RICHARD
What about you boys, you ever
think about leaving?
 
LUTHER
Sheee-it! You know it.
 
AVEY
All the time. Like you said
though, gots to have the dollars.
 
The Fat Man sticks his head out again, sees Richard helping
the brothers.
 
FAT MAN
What's this now?! I ain't payin'
no fancy nigger to move this shit!
 
AVEY
No, sir, this here's my cousin
Leroy, he's just helpin' for a
spell.
 
The Fat Man glares, as if trying to figure out the angle,
then returns to the interior.
 
RICHARD
I might have a job for you boys.
 
AVEY
Shit, Straw Katy, what kind work
could you have?
 
Richard pauses, steps back from the work. He squares off
with Avey.
 
RICHARD
Lets get something straight. My
mama did buy me that hat, and,
nigger, you disrespect her one
more time, you gonna be bleedin'
all over that fat white man's
boxes.
 
This stops the brothers. They stare at Richard, surprised,
thinking. Avey is the first to fold. He smiles, genuinely.
 
AVEY
Okay. You said your piece.
(pause)
Now what's this job, what kind of
money?
 
RICHARD
Night work. I figure about 200
split between us.
 
The brothers stop working and stare at Richard a moment.
 
AVEY
Who we killin'?
 
 
 
EXT. WHITE NEIGHBORHOOD - NIGHT
 
It is very quiet and very dark. What little moonlight there
is reflects off the lawn jockey's white plaque, the gold
letters reflecting "THE WHITMANS."
 
PAN TO:
 
The hedge alongside the house leads to the back yard, behind
which the vegetation is thick with trees and undergrowth.
 
Among the growth, low to the ground, there is the shape of a
face... a black face... Avey. He stares calmly at the dark
house.
 
There is a soft whistle and Avey gives a mild start. Then he
puckers his lips and whistles back.
 
After a mild rustling of leaves and the soft snap of a few
twigs, Richard and Luther creep alongside. They whisper to
each other.
 
RICHARD
Anybody else here?
 
AVEY
No. She up there all alone.
 
RICHARD
How long the lights been out?
 
AVEY
'bout two hours.
 
RICHARD
Any dogs?
 
AVEY
Nah. Don't think so.
 
They pause, considering.
 
AVEY
(continuing)
Get the boat okay?
 
LUTHER
Yeah. They never know it was gone.
 
They pause a long moment. Then Richard brings up a pry-bar.
 
RICHARD
Just remember, if she comes
downstairs, nothing rough.
 
Avey gives Richard a look. He smiles.
 
AVEY
Why? You want her all to yourself?
 
RICHARD
(smiles)
Son, what is it, you think all us
niggras hanker after white women?
(pause)
Let's go.
 
They pull the handkerchiefs that are tied at their necks up
to cover all but their eyes. They are all in black.
 
Silently, nearly invisible, they dash across the wide lawn to
the house. Avey and Luther carry lightly-filled, dark burlap
sacks.
 
At the kitchen door, Richard checks the knob. It's locked.
 
He places the pry-bar into the door jam and Avey and Luther
wrap their cloths around the bar. Richard heaves and there
is a muffled... crack. The door swings open. They pause,
listening for a sound, looking for a light. Then they enter.
 
 
 
INT. WHITMANS' DEN
 
A hooded Richard is placing the pry-bar against the metal
frame of the glass case. Avey wraps cloth around the lever.
Avey and Luther brace the case.
 
Richard leans... snap! The glass cracks as the lock busts
and the three react and freeze at the too loud noise.
 
 
 
INT. MRS. WHITMANS' BEDROOM
 
Her eyes snap open. She listens.
 
 
 
INT. WHITMANS' DEN
 
Richard gestures to Luther, motioning to the hall. Luther
nods. He creeps to just outside the door and presses against
the side of the adjacent stairway. He looks up, waiting.
 
Richard and Avey upend the cloth sacks and rags tumble out.
They quickly begin to dismount the glistening weapons, wrap
them in cloths and stuff them in the bags.
 
 
 
INT. MRS. WHITMAN'S BEDROOM
 
She listens a moment, then rolls over to go back to sleep.
 
 
 
INT. WHITMANS' DEN
 
Avey is putting the last weapon in his bag as Richard slings
his sack over his shoulder. Luther, at the stairs, gestures
up with a thumb.
 
LUTHER
(loud whisper)
Let's see what's upstairs.
 
Richard moves close to Luther.
 
RICHARD
Forget it.
 
 
 
EXT. RIVER BANK - LATER
 
Insects and frogs are in loud chorus. Moonlight seems bright
here, reflecting off the rippling water. An old row boat is
tied up to a tree.
 
The bushes burst forth and Richard, Avey and Luther tumble
and slide down the muddy river bank, three bags of loot
dragging behind. They quickly board the boat, untie the rope
and slip away in the current.
 
They fade into dark. Luther lets loose a celebratory whoop.
 
 
 
EXT. OVERGROWN CORN FIELD - BEFORE DAWN
 
Avey and Luther are tucked into the long stalks, waiting.
Luther whistles softly.
 
A long moment passes.
 
In the distance, a train sounds. The brothers give a start.
 
LUTHER
Damn.
 
They stand and move to the edge of the corn field. They are
next to the train tracks. A faint light shines down the
track. The train sounds again.
 
LUTHER
(continuing)
Shit. Come on Richard.
 
Suddenly, behind the brothers there is a thrashing. Richard
burst from the reedy stalks. He is sweating hard, gasping
for breath.
 
AVEY
Damn man. You sure cuttin' it
close.
 
Richard is recovering, catching his breath.
 
RICHARD
The Jack sent Ned and the
sonofabitch was late.
 
LUTHER
You got the 200, though?
 
The train sounds, closer.
 
RICHARD
Not exactly.
 
The brothers frown. Richard pauses, then reaches for his
pocket.
 
RICHARD
(continuing)
Got 300. A hundred a piece.
 
LUTHER
Whooo-weee!!
 
The train is closer. Richard hands each brother his money.
 
AVEY
Where's the Jack gonna sell them
pieces?
 
RICHARD
He's got Ned already heading to
Atlanta.
 
Avey gives Richard a long look.
 
AVEY
Come on with us. We make us a
great team in New Orleans.
 
Richard seems to consider this a moment, then shakes his head.
 
RICHARD
No. I got to think about my mama.
(pause)
And that's all the stealing for
me. I promised myself. Just
enough to get to Memphis.
 
The train is almost on them.
 
AVEY
Shit, boy. Memphis ain't gonna be
much better than this.
 
RICHARD
It's a start.
 
Avey and Luther give Richard a long look, shake his hand and
get ready to run.
 
Now the train is on them, passing at about ten miles per
hour. The open-bed freight cars are approaching. The
brothers are starting to trot.
 
AVEY
(over the noise)
You should come! First thing is,
they'll be lookin' for the niggers
that did it!
 
The two are now running. Richard calls out after them.
 
RICHARD
I know! But they'll figure you
boys did it and ran! That's why
I used you! Everybody knows I
hate your black asses!
 
The brothers freeze. They look at Richard. Then they laugh,
sprint and swing aboard the slow moving train.
 
They wave. Richard smiles, returns the gesture. The
brothers are gone, the smile fades; replaced by a look of
thoughtful sadness.
 
NARRATOR
In that moment, watching the
brothers escape, I understood the
pain that accompanied crime and I
hoped that I would never have to
feel it again. I never did feel
it again, for I never stole again.
And what kept me from it was the
knowledge that crime carried its
own punishment; the guilt, the
fear, the running.
 
The train disappears down the tracks.
 
NARRATOR
(continuing)
A day later I was sitting in my
own train, a Jim Crow coach
speeding northward, making only
the first lap of a journey to a
land where I could live with a
little less fear.
(pause)
I arrived in Memphis on a cold
November, in 1925.
 
 
 
INT. DOWNTOWN DINER - MORNING
 
Richard is sitting in the black section of an urban cafe, a
cup of coffee and a newspaper in front of him.
 
He is circling ads in the "Help Wanted" section.
 
 
 
EXT. DOWNTOWN MEMPHIS - MORNING
 
It is sunny and cold. Richard is dressed in a good-looking
overcoat and suit. In fact, he is dressed better than any
male in the street, black or white.
 
He heads down a city boulevard glancing at addresses. He
spots the building he's looking for, trots across the street
and enters the lobby.
 
 
 
INT. OPTICAL FACTORY - MORNING
 
Richard is walking with OLIN, the floor boss, a pleasant-
looking man in his mid-30's. They headd past about eight
desks, occupied by clerks, and move through doors onto the
factory floor. Workers grind glasses and assemble frames.
 
OLIN
Mr. Gerald tell you what you'd be
doin'?
 
RICHARD
He said you'd fill me in, Mr. Olin.
 
OLIN
Well, to start off, you'll be
washing the specs after they come
off the grinder, running errands,
making deliveries, that sort of
thing.
 
RICHARD
Yes, sir.
 
OLIN
You think you might want to learn
this trade?
 
RICHARD
Yes, sir. I sure would.
 
OLIN
(smiles)
Good. Well, you stick with it,
we'll see what we can do.
 
RICHARD
(smiles)
Yes, sir. I sure will. Thank you.
 
Unseen by Richard, Olin turns to a nearby worker and rolls
his eyes. He turns back to Richard.
 
OLIN
That's alright, that's alright.
We needed a another smart, hard
working man around here.
 
They continue to walk as Olin extends a hand. At first
Richard seems confused by the gesture, then he accepts the
handshake.
 
OLIN
(continuing)
Welcome aboard.
 
Richard breaks into a grin.
 
RICHARD
Thank you, sir.
 
INT. BOARDING HOUSE - RICHARD'S ROOM - NIGHT
 
Richard lives in a small room. It is clean and equipped with
a bed, a small table, one chair, and a sink.
 
He takes a can of beans from a closet and places it in the
sink. He begins running hot water over the can. He lets the
water run, picks up a book, turns from the sink and is
already reading when he sits in the chair.
 
Richard's room is scattered with books and magazines.
 
 
 
INT. BANK LOBBY - MORNING
 
The bank is not yet open; empty except for Richard and a
middle-aged Black JANITOR who mops the floor.
 
Richard is leaning against a gated teller's window reading
the newspaper, the Memphis Commercial Appeal. His attention
is peaked; he stands erect, narrows his eyes, folds the paper
to a particular article and brings it closer. He is reading
the editorial page.
 
INSERT ARTICLE HEAD:
 
MENCKEN THE PROPAGANDIST: ENEMY OF THE SOUTH
 
The piece is a denunciation of H.L. Mencken, the author and
editor of the American Mercury.
 
Dressed in the uniform of an elevator operator, SHORTY, a
short, roundish black man in his early twenties, enters and
walks behind the Janitor. The Janitor rolls his eyes to the
ceiling and sings out to no one in particular.
 
JANITOR
Lawd! Today ahm still working for
white folks!
 
Shorty catches Richard's gaze, rolls his eyes, too, mocking
the Janitor. He approaches Richard who has returned to his
reading.
 
SHORTY
You a bit early, ain't ya?
 
RICHARD
Hey, Shorty. What's with you?
 
SHORTY
I'll tell you, I just now figured
I need me 25 cents for my lunch.
 
RICHARD
Yeah? How do you plan to get it?
 
Richard leaves the paper and he and Shorty start for the
elevator.
 
SHORTY
You just watch me. I'm gonna get
a quarter from the first white man
I see.
 
Richard either smiles or grimaces. Behind them a well-
dressed WHITE MAN, about 40, enters the elevator.
 
 
 
INT. ELEVATOR - RISING
 
Shorty is at the controls. He rolls his eyes and, with a
pathetic expression, looks to the White Man and sings in a
low voice.
 
SHORTY
I'm huuuuuungry, Mister White Man.
I needs a quarter for luuuuunch.
 
The man tries to ignore him. Shorty, with a hand on the
elevator controls, sings-out again.
 
SHORTY
(continuing)
I ain't gooooonna move this damned
old elevator until I get a
quarter, Miiiiister White Man.
 
Shorty stops the elevator between floors.
 
WHITE MAN
To hell with you, Shorty.
 
SHORTY
But I'm huuuuuungry, Mr. White
Man. I'm just dyin' for a quarter.
 
WHITE MAN
(now smiles)
If you don't take me to my floor,
you will die.
 
SHORTY
But this niggra sonofabitch
suuuuure needs a quarter.
 
WHITE MAN
Come on, you black bastard, I've
go to get to work.
 
SHORTY
It'll cost you 25 cents Mister
White Man; just a quarter, just
twoooooo bits.
 
There is silence. Suddenly shorty throws the lever and the
elevator goes up. Then, just as suddenly, he stops it short.
 
SHORTY
(continuing)
Can't go noooooo more, Mister
White Man, unless I get my quarter.
 
The White Man gives Shorty a look.
 
WHITE MAN
What would you do for a quarter?
 
SHORTY
I'll do anythannnnng for a quarter.
 
WHITE MAN
What, for example?
 
Shorty giggles, turns around and bends over to expose his
broad, fleshy ass.
 
SHORTY
You can kick me for a quarter.
 
Richard is mortified.
 
The White Man grins, reaches into his pocket, picks out a
quarter and tosses it to the floor. Shorty reaches for it.
The White Man kicks Shorty's rump hard. Shorty lets out a
loud howling laugh.
 
WHITE MAN
Now open the door you black
sonofabitch.
 
SHORTY
Yeeesss, siiiiir!
 
He puts the coin in his mouth.
 
SHORTY
(continuing)
This monkey's got the peanuts!
 
Shorty brings the elevator to the floor, opens the door and
the White Man heads out.
 
WHITE MAN
You're all right, Shorty.
 
SHORTY
I know it!
 
Richard seems nearly in shock.
 
Shorty laughs. He closes the door and engages the lift.
 
RICHARD
How in God's name can you do that?
 
SHORTY
(proud)
I needed a quarter and I got it.
 
RICHARD
A quarter can't pay for what you
just let him do.
 
SHORTY
Listen, boy, my ass is tough and
quarters is scarce.
 
Shorty looks up to the ascending floor pointer.
 
SHORTY
(continuing)
I get me enough white men to kick
me, I'll have my goin-north money
even before you.
 
Richard just stares.
 

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