Nothing But a Man Page #8

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


ELLIS:

Can I help you?

The driver is the white mill hand who gave Duff a hard time at the mill.

DRIVER:

(indicating Duff)

Like some service from that boy there. Like the

way he takes care of us.

ELLIS Okay.

Duff has come over. He is aware of impending trouble. One of the men in the

car is the owner of the ditched vehicle.

DUFF:

Fill her up?

DRIVER:

No, boy. Thirty-eight cents worth of gas. And

watch you don't make it thirty-nine.

Duff starts the pump.

DRIVER:

Didn't hear you say "Yessir!" Don't they say

"Yessir" where you come from?

Duff finishes pumping and puts the nozzle back onto the pump.

DRIVER:

Boy - you hear me?!

DUFF:

That'll be thirty-eight cents.

DRIVER:

Goddamnit, n*gger - you must think you're white!

Who d'you think you are - king of Harlem?

SECOND WHITE:

How 'bout this windshield, boy? Like a little

service.

Duff takes a moment before moving to the windshield and wiping it. The men

inside the car watch him through the glass.

THIRD WHITE:

Hell, they're getting' too big for their

britches.

SECOND WHITE:

Yeah, his wife's the same way, struttin' through

town like she owns the place - shakin' that

little rear end.

THIRD WHITE:

It's all that education they're getting.

DRIVER:

Real cool, ain't he! Just like we're not here.

Duff moves over to the driver.

DUFF:

That'll be thirty-eight cents.

DRIVER:

You in a big hurry, boy?

SECOND WHITE:

Yeah, he's tryin' to get home!

DRIVER:

Bet she's pretty hot, huh?

DUFF:

(very tense)

You watch your mouth, man!

The driver has finally found a way of getting to Duff and a grin spreads over

his face.

DRIVER:

I bet she's a sly little n*gger, that girl.

Wouldn't mind a piece of her myself!

DUFF:

All right, you get out of here, man!

DRIVER:

(exploding)

Who're you tellin' to get, boy?! You watch it,

or there'll be some dyin' done 'round here!

DUFF:

That dyin's gonna be done two ways.

He steps away from the car, a hand on the rear pocket where he keeps his

knife.

In the backseat, the owner of the ditched car looks nervous.

OWNER:

Let's go, Al. He ain't worth it.

DRIVER:

(turning on him)

Now you stay out of it!

Brad Ellis has come over.

ELLIS:

What's goin' on?

DRIVER:

You better get rid of this white-eyed n*gger!

ELLIS:

(to Duff)

What happened?

DRIVER:

Never mind! You keep him workin' here and this

place won't be around. And I ain't kiddin'!

He guns the engine and shoots out of the service station in a cloud of dust.

Duff looks at Ellis, whose next move is predictable, and leaves the frame to

run a water hose over the back of his neck.

Ellis stops next to him.

ELLIS:

Guess we got trouble.

DUFF:

(blowing up)

You ain't got none, Mister!

ELLIS:

I'm sorry, Duff.

DUFF:

(tossing down the hose)

Don't tell me. I know.

DUFF AND JOSIE'S LIVING ROOM (Night)

Duff enters.

Josie comes out of the bedroom in her nightgown. She has been waiting up.

JOSIE:

I called the gas station. I've been worried.

Duff slumps down on the sofa, utterly discouraged.

DUFF:

Hell, if they don't blow up his place, they'll

get him some other way. Don't make no difference

no-how.

JOSIE:

(anxiously)

What d'you mean?

DUFF:

Nothin. Quit lookin' at me like that!

He gets up.

JOSIE:

(approaching him)

Duff, I love you.

DUFF:

Well, that don't do me one bit of good!

She touches him.

JOSIE:

Come on, Duff - let's go to bed.

He gives her a sudden, violent shove. It sends her sprawling to the floor.

She picks herself up, weeping.

DUFF:

I never should have married you in the first

place.

He stares at her.

DUFF:

Ain't you goin' to say something?

JOSIE:

There's nothing to say.

DUFF:

Well, that'll be the first time.

He leaves the room.

DUFF AND JOSIE'S BEDROOM (Night)

Duff is packing his things. Josie is on the bed.

JOSIE:

Where're you going to go?

DUFF:

When I get set, I'll send for you.

JOSIE:

I don't think that'll happen.

DUFF:

You'll be better off without me. I ain't fit to

live with no more. It's just like a lynchin'.

Maybe they don't use a knife on you, but they

got other ways.

JOSIE:

You're not a man because of a job, Duff.

DUFF:

You don' know nothin' 'bout it, baby. Nothin'!

And don't kid yourself - you did your bit.

He closes his bag.

DUFF:

Okay.

JOSIE:

Duff--

DUFF:

(at the door)

Like I said, baby - I'll write you.

INT. DUFF'S CAR (Dawn)

He is driving across a bridge into Birmingham.

DOWNTOWN STREET:

Duff stands on a deserted corner.

EXT. TENEMENT STAIRS

Duff climbs up to Will Anderson's room.

WILL'S ROOM

Will is sitting at the table in a drunken stupor. There is a knock at the

door.

WILL:

Who is it?

LEE:

It's your son.

Duff enters.

WILL:

My son? I ain't got no son. You Duff?

DUFF:

That's right.

WILL:

Beat it!

He gets up and staggers toward Duff

DUFF:

Take it easy, Pop.

WILL:

What's the matter? Don't smell so good, huh?

Must'a broken some records.

He pushes Duff away and pours himself a glass of whiskey. His hands are

shaking.

DUFF:

(trying to restrain him)

Come on, Pop.

LEE:

Nothing you can do. Been like this for days.

WILL:

Got no use for nobody.

He raises the glass to his mouth, but drops it and puts his hand on the back

of his head.

DUFF:

What is it? What's the matter?

Lee grabs Will and pushes him onto the bed.

LEE:

(at the end of her rope)

Now you lay down and get some sleep!

Will grabs her blindly and pulls her down onto the bed.

LEE:

(freeing herself, furious)

You let go!

She starts picking up the broken glass. Will sits up again. He is dazed.

LEE:

Now you stay put!

WILL:

(leaving the bed)

I ain't drunk, honey.

LEE:

Like hell you ain't!

He sits down at the table and touches the back of his head.

WILL:

Got a thick feelin' here.

LEE:

What's the matter now?

WILL:

Better now.

(closing his eyes)

Where 'you at?

LEE:

(concerned)

Right here.

She puts her hand on his forehead.

WILL:

Couldn't get the words out before.

DUFF:

Better get him to a hospital.

WILL:

Didn't I tell you to beat it - huh?

LEE:

(taking Will's arm)

Let's go.

WILL:

Anything you say, baby.

With Duff's help, Lee raises Will out of the chair.

EXT. TENEMENT, RAIN

Duff has helped Lee get Will into the backseat of his car.

Through the window we see him grope blindly for Lee's breast.

INT. MOVING CAR

Duff, in the driver's seat, is lost in thought.

LEE:

(off-screen)

Duff.

Duff turns to her. Will's head is in her lap.

LEE:

He stopped breathin'.

Duff stops the car.

INT. FUNERAL PARLOR

The undertaker sits down behind his desk. He lays out Will's watch and a few

other belongings for Duff and Lee, who are standing in front of him.

UNDERTAKER:

We thought you might want these.

DUFF:

Thanks.

UNDERTAKER:

Would you like me to say anything tomorrow?

DUFF:

Guess so.

UNDERTAKER:

Have anything in mind?

DUFF:

No. What you usually say, I guess.

UNDERTAKER:

Where was your father born?

DUFF:

I don't know.

He looks at Lee. She shakes her head.

UNDERTAKER:

His profession?

DUFF:

Well, he worked around.

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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