Cotton Comes to Harlem Page #6

Synopsis: Gravedigger Jones and Coffin Ed Johnson are two black cops with a reputation for breaking the odd head. Both are annoyed at the success of the Reverend Deke O'Mailey who is selling trips back to Africa to the poor on the installment plan. When his truck is hijacked and a bale of cotton stuffed with money is lost in the chase, Harlem is turned upside down by Gravedigger and Coffin Ed, the Reverend, and the hijackers. Much of the humor is urban black, which was unusual in 1970.
Genre: Action, Comedy
Director(s): Ossie Davis
Production: MGM
  1 win & 1 nomination.
 
IMDB:
6.6
R
Year:
1970
97 min
234 Views


Partner!

Cal, I set the whole

thing up for you.

You were nothing

but a dumb convict

in row "c"

till I put you wise.

Yeah, you set it up

for me, bastard!

You set it up for me

to be the patsy

and you to take

the money and run!

I wouldn't cross you.

Cal, we're partners.

What about that little

old switch with the d.a.'s men?

That was just in case

you didn't arrive

with the meat wagon

in time.

And how about that little

old shoot-out in the junkyard?

I thought you guys

were cops.

I swear it.

Cal, cut me loose,

and we'll go

and find the money

and split it!

Con man

to the bitter end.

I ought to shoot you

right between your black eyes

for what you done to me,

but I'm gonna be

big about it.

Yeah. I'm gonna let you

buy your life back,

and all it's

gonna cost you

is all that 87 grand

stashed in that bale

of cotton.

Cotton?

Is that

what this is all about?

Yeah.

You know something?

Yeah, I know

where it's at.

All right...

talk.

What's in it

for me?

Iris.

You shut up.

You talk,

or I'll blow

your brains out.

Hmmph. Yeah, that'll

get you exactly nowhere.

What you ought to do

is, uh...

blow that mother's

brains out.

What?

Blow that two-timing

mother's brains out.

Then I'll show you

where the bale of cotton is.

You do it.

You untie me, and I will.

Untie her.

Who followed you

here?

How in the hell

I know?

Iris, sweetheart,

baby, you found it.

You found that

bale of cotton.

Here, come on.

Untie these ropes, honey.

Come on, iris.

Yeah, that's right.

Come on, honey.

Cut these ropes,

and let's get out-

uhh!

Ha ha! Ha, iris!

Iris!

Ok, baby.

No, iris,

I don't blame you.

Go ahead.

Do your thing.

But before

you kill me,

would you

do me a favor?

Don't beg me, deke.

I ain't beggin'.

But would you mind

reaching your hand down

into my pocket

and taking out that

little old package?

Go ahead, iris.

That's it, baby.

Go ahead.

Bat?

Billie boy?

Halt!

God damn it!

Another fine mess

you got us into.

I got us into?

Shut up and shoot.

Hit it again.

Where are they, iris?

Iris!

Now, where are they?

I'm talkin' to you!

Now, where are they?

All right, iris.

Where's the door?

Hey, baby,

let's move it.

I'm gonna get out

an apb.

I'm gonna find those two

if it takes every cop

in this precinct.

Let me try, sir.

L-i know them.

Their hangouts and all.

Uh, besides,

it was me they tricked.

Well, then,

you get them

and don't come

back here till you do.

Yes, sir, captain bryce.

Yes, sir.

Bryce on radio:

Attention, all cars.

Attention,

all cars.

Jones and johnson have set fire

to house of god.

Proceeding west

on 125th street.

Apprehend at all costs.

Down south

we sweat and strained

we were the prisoners

of cotton

prisoners of cotton

but when cotton

come to harlem

here comes cotton

we kicked cotton's ass

we kicked cotton's ass

whoa, down south

cotton was king

a black man's life

meant not a damn thing

a black man

not a damn thing

so when cotton

come to harlem

here comes cotton

oh, I kicked

cotton's ass

we kicked cotton's ass

oh, what is cotton

doing here?

Whoa, we gonna make him

disappear

know that we don't

need him to remind us

the bad old days

are far behind us

south

that's where

it all began

it looked like cotton

was the man

cotton was the man

whoa, if cotton

come to harlem

here comes cotton

think I'll boot

cotton's butt

we'll boot

cotton's butt

I'll boot his butt

whoo!

Ha.

Whoa

this is black country

it's cotton,

it's cotton

no, it's our territory

it's cotton,

it's cotton

there'll be no more

new mama

or uncle tom

hey, little bo-weeble

best be gone

down south

cotton was boss

a human life

was no great loss

life was

no great loss

whoa, if cotton

come to harlem

here comes cotton

think I'll kick

cotton's ass

kick cotton's ass

kick his ass

take it off!

Hi, cal!

What's going on?

Reverend o'malley.

Oh!

Oh!

He's white.

Ha ha ha.

He's a white man.

I just can't

believe it.

He's white!

The same white man

who stole $87,000

of our people's

money!

Do you want him?!

Get that honky!

Get that pig!

Kill the honky!

Throw him back!

He's mine!

Aw!

Oh!

All right,

assume the position.

You know it.

Spread 'em wide.

Here!

Ok, brother,

get that bale of cotton

down to the prop room

and clean up the stage.

Turn around and face

your audience,

mr. Bones.

Stick out your hands,

please, mr. Bones.

Fly this mother

to the moon!

Now let's get on

with the show.

Down in my soul

a girl

who's always rockin'

down in my soul

that old black road

squawkin'

oh, yeah

down in my soul, yeah

down in my soul

a fella

can't stop rollin'

down in my soul

drivin'

what's been stolen

down in

the marshland

you can find

my soul there...

down in my soul

a girl

who's always rockin'

oh, yeah

down in my soul

a fella

that can't stop rollin'

down in

the marshland

you can find

my soul there...

aah!

Hold it, man.

Hold it

right there.

This ain't gonna

get us nowhere.

Man...

there's $87,000

in that bale.

50-50.

Right down the middle.

You steal money

from white folks,

that's your business.

But when you steal

from blacks,

that's my business.

You sound

just like my father.

Part preacher...

part undertaker...

and part god.

Why don't you

take it easy, man?

Cool it. What's

the matter with you?

Black people been exploited

by white people.

Filth like you come along

skin 'em some more.

Judgment, deke.

Judgment.

All right, man,

all right.

You, you keep

the whole thing.

I'll walk out of here,

and I promise you,

I'll never show my face

in harlem again

as long as I live.

Well?

That's what you want,

ain't it?

No.

I want you.

Ed! Ed, listen!

For god's sake,

give me a chance!

I could be another-

another garvey, man!

Another malcolm!

Aah!

God damn you!

I'll kill you!

Don't touch me!

No, no! No!

No!

O'malley:
Shoot him, iris!

Iris:
Aah!

Jarema,

she's your prisoner.

Now, look, you might even

make first-grade detective.

The money,

it's in the bale.

Yes, sir.

Oh, that salvation

no more of my sinful care

s oppressed

but in thy presence

ever blessed

oh, god

of my salvation

doo doo doo?

Whoa, god

of my salvation

god of

my salvation

god of

my salvation

talkin' 'bout

my salvation

god of my salvation

talkin' 'bout

your salvation

everybody's

salvation

god of

our salvation

salvation

god of

our salvation

salvation

god of

our salvation

god of our salvation

salvation

god of our salvation

salvation

god of our salvation

god of our salvation

brothers

and sisters,

I want to talk to you

for a minute.

Salvation

here, give me that mike.

Brothers and sisters,

I just want to

talk to you...

for a minute!

He'll hang himself.

Hear. Hear, hear.

Brothers and sisters,

I want to talk to you.

I want-i want-

god damn it!

Hey, wait a minute!

That's our preacher?

Brothers, sisters,

these two here

want to beat me to death,

want to beat me,

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Arnold Perl

Arnold Perl (April 14, 1914 – December 11, 1971) was an American playwright, screenwriter, television producer and television writer. Perl briefly attended Cornell University, but did not graduate. He had written for the television series The Big Story, Naked City, The Doctors and the Nurses, East Side/West Side and N.Y.P.D., which he created with David Susskind. Perl also co-wrote the screenplay for Cotton Comes to Harlem (1970), actor Ossie Davis' film directing debut. Perl also wrote the play Tevye and his Daughters.Perl also wrote and directed the documentary film Malcolm X (1972). Perl died in 1971. He was nominated posthumously for the Academy Award for Best Documentary Feature for his work on the film in 1973. Perl's script for the film was later re-written by Spike Lee for his 1992 film on Malcolm X. more…

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Submitted on August 05, 2018

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