42

Synopsis: In 1946, Branch Rickey (Harrison Ford), legendary manager of the Brooklyn Dodgers, defies major league baseball's notorious color barrier by signing Jackie Robinson (Chadwick Boseman) to the team. The heroic act puts both Rickey and Robinson in the firing line of the public, the press and other players. Facing open racism from all sides, Robinson demonstrates true courage and admirable restraint by not reacting in kind and lets his undeniable talent silence the critics for him.
Production: Warner Bros. Pictures
  3 wins & 18 nominations.
 
IMDB:
7.5
Metacritic:
62
Rotten Tomatoes:
79%
PG-13
Year:
2013
128 min
$95,001,343
Website
6,864 Views


PINK REV 4-19-12 11.

A1 WHITE A1 *

Fills the screen. Falling from the top of frame to thebottom. Pluming off into dust. White, white, white. We

move toward it even as it recedes, always out of reach.

Finally we pop out wide and high to reveal...

*

*

*

*

The white is chalk. An old BLACK GROUNDSKEEPER lays down theright field line on a baseball diamond.

*

*

‘42’ *

1 INT. BRANCH RICKEY’S OFFICE - MONTAGUE ST, BROOKLYN - DAY 1 *

Blinds closed. Dust motes in the air. A large GOLDFISH TANKbubbles. BRANCH RICKEY at his desk. Two photos on the wall:

Abe Lincoln & Leo Durocher. CHALKBOARDS covered with 100's

OF NAMES, every player in the Dodger organization.

CLYDE SUKEFORTH and HAROLD PARROTT sit across from Rickeywho stares at them. Sukeforth stares back. Parrott nervous.

RICKEY:

Gentlemen, I have a plan... As of

now, only the Board of Directorsand my family know.

Sukeforth and Parrott exchange a look.

SUKEFORTH:

A plan’s always good, Mr. Rickey.

And you always got one.

RICKEY:

My wife says I’m too old, That my

health isn’t up to it. My son saysthat every one in baseball will beagainst me. But I'm going to do it.

Parrott looks to Sukeforth who keeps his eyes on Rickey.

SUKEFORTH:

Do what, Mr. Rickey?

RICKEY:

I'm going to bring a Negroballplayer to the Brooklyn Dodgers.

PARROTT:

With all due respect, sir, have youlost your mind? Imagine the abuseyou’ll take from the newspapers

alone. Never mind how it’ll play

on Flatbush. Please, Mr. Rickey.

Rickey looks dismissively at Parrott, over to Sukeforth.

PINK REV 4-19-12 1A1A.

RICKEY:

There’s no law against it, Clyde.

SUKEFORTH:

There’s a code. Break a law and

get away with it, some people think

you’re smart. Break an unwritten

law though, you’ll be an outcast.

YELLOW REV 4-24-12 22.

RICKEY:

So be it. New York is full of

Negro baseball fans; every dollar

is green. I don't know who he is,

or where he is, but he’s coming.

CUT TO:

EXT. RICKWOOD FIELD - BIRMINGHAM, ALABAMA - NIGHT

22

The big Birmingham Black Barons CATCHER behind the plate as

Kansas City Monarchs JOHN SCOTT stands at bat. The catcher’s

attention on the RUNNER DANCING off first. Stomping a foot,

feinting, hard to see clearly in the glare of the lights.

CATCHER:

Where’d you learn to move like

that, runner?! At dime a dance

night?! Stay quiet!

INSERT:
Birmingham, Alabama. April 8, 1945. *

On the first pitch the runner takes off. The catcher fires to

second. See it from his POV as the runner slides in “SAFE!”

A foot on the bag, the runner dusts off, heckles the catcher:

RUNNER:

Is that the best you got?! Huh?!

I’m going to steal nine, ten bases

today! You better start counting!

The catcher frowns. Standing, we see he is a big, big man.

CATCHER:

(Alabaman)

Where’s your shortstop from?

JOHN SCOTT:

(Louisianan)

California.

CATCHER:

He’s got a mouth on him.

Shaking his head, the catcher gets back in his crouch,

signals the PITCHER. On the wind-up, the Runner is off

again. The catcher fires to THIRD: “Safe!”

RUNNER:

You got a rag arm, catcher!

CATCHER:

Steal home! You’ll find out what

kind of arm I got!

DBL. BLUE REV 7-9-12 33.

RUNNER:

Okay, I’m coming!

The Catcher looks over at Scott who chuckles.

CATCHER:

California, huh?

(Scott nods)

Well California here he goes, if hecomes down here.

The Catcher gets back down in his squat.

pitcher:
fastball. Scott digs in, ready.

off third. Here comes the wind-up...

Signals theThe runner dancing

The Runner takes off even as the pitcher fires it in. The

Birmingham Catcher receives it. As the Runner slides --

The Catcher intentionally drives his glove, the ball and bothhands into the runner’s face -- WHALLOP! Sound drops aswe’re knocked flat senseless along with the runner.

ON HIM now as he tries to push himself up from the dirt. A

close look at JACK ROOSEVELT ROBINSON. A born battler, he

shakes out the cobwebs, finally lurches to his feet, looks tothe UMPIRE. He never heard the call.

What was I?

JACK:

The umpire passes one hand over the other: Safe. Jack looks

over at the catcher, gives him a pointed look as he goes --

The catcher shoves him in the back. Jack turns, shoves back.

As the two men wrestles each other to the ground -CUT

TO:

3 INT. BRANCH RICKEY’S OFFICE - MONTAGUE ST, BROOKLYN - DAY 3

Rickey and Sukeforth going through stacks of FILES on thedesk. A black ballplayer’s picture is clipped to each. As

Rickey reviews one, Sukeforth tries to hand him another.

*

*

SUKEFORTH:

Josh Gibson. Oh boy can he hit.

No.

RICKEY:

No?

SUKEFORTH:

Rickey won’t take the file; the answer is no. *

DBL. BLUE REV 7-9-12 44.

SUKEFORTH:

Alright. Roy Campanella.

Sukeforth holds it out; Rickey won’t take it. *

RICKEY:

A heck of a player. But too sweet,

they’ll eat him alive.

SUKEFORTH:

(holds up file) *

Satchel Paige then.

Parrott enters carrying an armful of files. *

RICKEY:

Too old. We need a man with a

future not a past. *

(holds up his own *

file) *

Here. Jack Roosevelt Robinson. *

As Parrott sets them on the desk, they start to slide off, *

spilling to the floor. Helpless to stem the tide, Parrott

looks down, surrounded by black faces...

RICKEY *

(flips through file)

A four sport college man, out of

UCLA. That means he’s played with

white boys.

(scans file)

Twenty-six years old, now with the

Kansas City Monarchs. Batting over

350 even as we speak. 350! And he *

was a commissioned army officer!

SUKEFORTH:

He was court-martialed. A trouble

maker. He argues with umpires. A

quick temper is his reputation.

Rickey is obviously keen on him. *

PARROT *

What was he court-martialed for? *

RICKEY *

For refusing to sit in the back of *

a military bus. *

(checks the file) *

Ft. Hood, Texas. The driver asked *

him to move back. The MPs had to *

take him off. *

*

DBL. BLUE REV 7-9-12 55.

Do you see?

SUKEFORTH:

*

RICKEY:

I see he resents segregation. Ifhe were white, we’d call it spirit!

*

*

PARROT:

If he were white, sir, we wouldn’t

be looking for him.

*

*

Rickey ends the debate... *

RICKEY:

Robinson’s a Methodist. I’m a

Methodist. God’s a Methodist. We

can’t go wrong. Find him. Bring himhere.

*

*

*

*

*

CUT TO:

4 EXT. FILLING STATION - INTERSTATE 24 - DAY 4

A BLOODHOUND watches as a BUS pulls into a SERVICE STATION,

the tires RING the bell hose. A million miles easy on thisroad rumbler. The BANNER reads: KC Monarchs.

Insert:
Interstate 24, Missouri - August 24, 1945.

The DRIVER steps off. The fellas follow, getting off tostretch their legs. Hot and tired. A WHITE ATTENDANT

saunters out. The driver steps over to meet him.

ATTENDANT:

Fill her up?

Yes, sir.

DRIVER:

The attendant starts unscrewing caps on two 50-GALLON TANKS.

ATTENDANT:

Where you all headed?

Chicago.

DRIVER:

As the attendant shoves down a pump, starts filling, Jacksteps off. He spots and heads for a restroom. White Men

Only lettered on the door. The attendant roused as he sees.

Hey!

ATTENDANT:

Where you going, boy!?

Rate this script:5.0 / 1 vote

Brian Helgeland

Brian Thomas Helgeland (born January 17, 1961) is an American screenwriter, film producer and director. He is most known for writing the screenplays for L.A. Confidential (for which he received the Academy Award for Best Adapted Screenplay), Mystic River, and A Nightmare on Elm Street 4: The Dream Master. Helgeland also wrote and directed 42 (2013), a biopic of Jackie Robinson, and Legend (2015), about the rise and fall of the Kray twins. more…

All Brian Helgeland scripts | Brian Helgeland Scripts

0 fans

Submitted by shilobe321123 on June 19, 2016

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "42" Scripts.com. STANDS4 LLC, 2024. Web. 25 Dec. 2024. <https://www.scripts.com/script/42_218>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    42

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is the purpose of "action lines" in a screenplay?
    A To outline the character arcs
    B To provide character dialogue
    C To list the plot points
    D To describe the setting, actions, and characters