Nothing But a Man Page #7

Synopsis: Born in Birmingham, Duff Anderson, the father of a male toddler, who lives with a nanny, re-locates to a small town to work on the railroad. He meets with and is attracted to Josie much to the chagrin of her preacher father. The marriage does take place nevertheless, both re-locate to live in their own house and he gets a job in a mill. He decides not to bring his son to live with them. Challenges arise when the Mill Foreman finds out that Duff is attempting to unionize the workers, forcing Duff to quit, and look for work elsewhere. Unable to reconcile himself to working on a daily wage of $2.50 picking cotton nor even as a waiter, he gets a job at a garage. He is enraged at a customer for belittling him and Josie, and is let go. Unemployed, unable to support his wife and son, he gets abusive and leaves - perhaps never to return.
Genre: Drama, Romance
Director(s): Michael Roemer
Production: New Video
  4 wins & 1 nomination.
 
IMDB:
8.1
Metacritic:
87
Rotten Tomatoes:
95%
NOT RATED
Year:
1964
95 min
$9,248
444 Views


JOSIE:

About ten dollars.

DUFF:

Water pump's busted. I don't know if it's worth

fixin', but I need that car.

JOSIE:

You can have what I've got. It's right there.

Duff opens her pocketbook, embarrassed by the women watching him.

FLAT BED TRUCK:

It rattles over a country road between cotton fields. Duff stands among the

field hands on the open flatbed.

EXT. COTTON GIN

The white foreman is up on the loading platform. He addresses a group of

field hands looking for work.

FOREMAN:

Startin' tomorrow mornin', we got work for

fifteen hands. All we're gonna pay is two-fifty

a day. Can't pay you the three 'cause ain't

gonna be much of a crop this year. Now you all

who want to work, step up and we'll take your

name.

Duff is among the few who leave. The others surge closer to the platform,

ready to work for any wage.

DUFF AND JOSIE'S PORCH (Night)

Josie is sewing on the porch. Duff is in the yard a few feet away, using the

back of an axe to hammer loose nails into an old chair.

JOSIE:

It's not as hard on a girl. They're not afraid

of us.

Duff says nothing.

JOSIE:

You know - we do have enough money. Especially

now.

DUFF:

(grimly)

Sure, baby. 'Fact, I don't ever have to work no

more. When that baby comes, I can just stay

home and send you back to school. How about

that?

JOSIE:

I'm trying to help, Duff.

DUFF:

Yeah!

JOSIE:

(after a moment)

I could work even after the baby comes. A few

hours a week, anyway.

DUFF:

What the hell could you do?

JOSIE:

Day work.

DUFF:

'You kiddin'? You ain't goin' to no white home.

I seen the way they look at you when you go

down the street.

He jumps up and raises the axe--

DUFF:

No point fixin' it!

JOSIE:

(frightened)

What're you going to do?

He smashes the axe into the chair.

JOSIE:

(jumping up)

Don't do that!

DUFF:

Watch out!

He smashes the chair to pieces.

DUFF:

(throwing down the axe)

Good kindlin'!

He turns to Josie. She is looking at him, deeply upset.

DUFF:

What's bitin' you now!?

She turns away. He jumps up onto the porch and grabs her.

DUFF:

You heard me!

JOSIE:

I can't stand to see you like that. I know you

can't help it.

DUFF:

(darkly)

Stop bein' so damn understandin'.

DUFF AND JOSIE'S LIVING ROOM (Day)

Duff is on the sofa, looking up at Reverend Dawson.

REVEREND DAWSON:

I know just how you feel, son. But believe me,

you're going about it the wrong way.

DUFF:

Don't look like there's a right way.

REVEREND DAWSON:

Well, you have to be reasonable. Now they say

you're a troublemaker. That's no good. Use a

little psychology. Make 'em think you're going

along - and get what you want.

DUFF:

It ain't in me.

REVEREND DAWSON:

You'll be in trouble, son.

(after a moment)

Now just how do you intend to support your

family?

DUFF:

I guess I'll rob a bank.

REVEREND DAWSON:

Don't you get smart with me, boy.

We hear a dish break.

KITCHEN:

Josie is on the floor, picking up pieces of broken glass.

LIVING ROOM:

REVEREND DAWSON:

Maybe you ought to move. You'd be a lot better

off in the North.

DUFF:

So I been told.

REVEREND DAWSON:

It's for your own good.

DUFF:

Oh yeah?

(he gets up)

Seems to me, Reverend, you' more concerned

'bout your good. Guess it looks kind 'a bad,

havin' me for a son-in-law.

REVEREND DAWSON:

You can be cocky now, boy. But you won't make

it. You won't last. I just feel sorry for Josie.

I knew it wouldn't work out.

DUFF:

Well, at least she ain't married to no white

man's n*gger! You been stoopin' so long,

Reverend, you don't even know how to stand

straight no more. You' just half a man!

KITCHEN:

Josie has cut her finger on the glass. She is weeping silently.

LIVING ROOM:

Reverend Dawson turns to leave. His sense of calm superiority is shattered.

REVEREND DAWSON:

(at the door)

Maybe I could talk to Bud Ellis. He might have a

job for you at his filling station.

DUFF:

Oh yeah?

REVEREND DAWSON:

I'll be seeing you.

Josie has come into the room.

JOSIE:

(gravely)

'Bye, Dad.

DUFF AND JOSIE'S BEDROOM (Night)

Duff watches Josie. She is sitting at her dressing table.

DUFF:

How come you don't hate their guts?

JOSIE:

I don't know. I guess I'm not afraid of them.

DUFF:

You were plenty scared that night in the car.

JOSIE:

Just of getting hurt. They can't touch me

inside.

DUFF:

Like hell they can't.

(he gets up)

They can reach right in with their damn white

hands and turn you off and on.

JOSIE:

Not if you see them for what they are, Duff.

DUFF:

(exploding)

Jesus, baby, you're so full of talk! Well, you

ain't never really been a n*gger, have you -

livin' like that in your father's house! So

just shut your mouth.

EXT. GAS STATION (Night)

Duff finishes pumping gas into Joe's car.

DUFF:

That's two bucks, Joe.

JOE:

(paying)

Why don't you come over for a beer when you get

through?

DUFF:

Okay, I will.

Brad Ellis, the white owner of the service station, comes out of his office.

ELLIS:

Hey, Duff! Run the truck down Holly Road.

There's a guy in the ditch.

CAB OF TOW TRUCK (Night)

Duff is driving along a wooded country road. Shreds of fog drift across the

headlights.

A ditched car comes into view, its front end crushed against a tree. A tubby

white man stands beside it, waving to Duff with a flashlight. Duff passes him

and backs up to the car.

COUNTRY ROAD:

The owner comes toward him eagerly.

OWNER:

Sure glad to see you, boy.

Duff gets out of the tow truck to inspect the damaged car. The owner follows

him, nervous and garrulous.

OWNER:

Guess I was kinda lucky, huh? My wife's going to

give me hell.

Duff lowers the hoist on the truck.

OWNER:

(anxiously)

How you doin', boy?

DUFF:

Okay.

He gets under the car to attach the chain.

OWNER:

Want me to hold the light for you?

DUFF:

No, thanks.

OWNER:

Just tryin' to be helpful.

He continues talking, though Duff can't hear him.

OWNER:

Most folks around here got no use for nigrahs.

Got to understand them, that's all. How you

doin', boy?

DUFF:

(emerging from under the car)

Okay.

The owner tests the rig with his foot.

OWNER:

Seems a little loose!

DUFF:

(with a grin)

She'll do.

He starts raising the car.

OWNER:

She ain't comin' up even!

Duff ignores him.

The chain slips and the car drops to the ground with a bang.

OWNER:

(jumping back)

Jesus, I told you to watch it!

DUFF:

Sorry.

He gets back under the car.

OWNER:

That's the trouble with you boys! Don't listen

when a man tells you something.

DUFF:

She don't look no worse to me.

OWNER:

Don't do her no good to get banged like that.

DUFF:

(under the car)

Don't do her no good to go into a tree.

OWNER:

(enraged)

What did you say, boy?!

DUFF:

I said, she's in great shape.

OWNER:

I heard you! Now 'stead of bein' smart, you just

get that car out of here!

GAS STATION (Night)

Duff is changing a tire outside the repair bay.

A car shoots out of the dark with its horn blaring, and screeches to a stop

at the pump.

Brad Ellis steps up to the driver.

Rate this script:4.0 / 1 vote

Michael Roemer

Michael Roemer (born January 1, 1928) is a film director, producer and writer. He has won several awards for his films. He is the recipient of a Guggenheim Fellowship. A professor at Yale University, he is the author of Telling Stories. more…

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