Watermelon Man Page #9

Synopsis: Jeff Gerber, an insurance agent, lives in a typical suburban neighborhood. He is also both racist and a fitness freak. But Jeff's bigoted world of taunting and harassing black people on and off the job is turned upside down when his skin inexplicably turns dark overnight. As Jeff tries to come to terms with this unexplained phenomenon that has befallen him, he soon becomes the victim himself when all of his friends and neighbors suddenly shun and harass him. This puts a strain on his marriage and loyal wife Althea, who begins to crack under the pressure. When all medical attempts to change his skin back to his former color fail, Jeff accepts that Kharma has caught up with him. Jeff tries to see the light of being a persecuted black man in this cruel and segregated world with the help of some of some new black friends, some of whom were people he, as a white man, taunted and harassed.
Genre: Comedy, Drama
Director(s): Melvin Van Peebles
Production: Sony Pictures Entertainment
  Nominated for 1 BAFTA Film Award. Another 1 win.
 
IMDB:
6.5
R
Year:
1970
100 min
448 Views


d for that, you know.

the thigh bone

connected to the hip bone,

you know.

they're all

hooked up just right.

and the way

a negro makes love...

i can never make love

to a white man again.

well, i...

i guess

there'll be a few girls

to take up the slack.

we must make love

every night

and during lunch hours,

every spare moment.

yeah, well, i think we shoul

take time off to vote.

where are you going?

is there voting now?

no, i'm, uh, i'm leaving.

all right.

will i see you tomorrow?

oh, yeah,

probably at the office.

probably i'll give you

a pinch in the ass.

you know,

give you a little thrill.

i have disappointed you?

ah, no.

not quite the way you think.

yes,

you have disappointed me.

there's something

i didn't do?

ah, no, uh, offhand,

there's nothing

i can think of

that, uh, we forgot.

then why are you leaving?

well, i can't expect you

to understand, erica.

explain. i will try.

i will try

anything to please you.

ok.

try and understand that, uh,

beauty is only skin deep.

i want you to love me

because of what i am,

not because i'm a negro.

you're a very nice man,

very courteous.

you say please

and thank you.

so i like you.

then why are you leaving?

did i hurt you?

..

oh, my god,

if i hurt you.

such a great bang.

but you're a bigot, erica.

a big, blonde bigot.

so thank you,

but no thank you.

you black bastard.

you're really getting to it.

my goodness,

in no time at all,

you'll qualify for

american citizenship.

get out of here,

you--you n*gger!

ah, by jove, she's got it.

i really think she's got it.

[laughing]

hey, don't worry about

running out of new words

to call me, erica.

'cause in a few years,

you'll know 'em all.

get out, n*gger!

i'm going. bye, erica.

[men grunting]

(erica)

rape!

bye, erica.

rape!

rape!

(althea)

jeff?

? where are the children? ??

jeff, i'm sorry.

i'm ashamed of myself

and i'm sorry.

but i can't help it.

i'm going to indianapolis.

please try to understand.

althea.

(gladys)

good morning, mr. gerber.

my goodness,

you've been getting

phone calls this morning

requesting appointments.

they started

coming in at 8:
30.

and, oh, let's see,

uh, dr. catlin called

and, uh, well, mr. townsend

would like to see you.

thank you, gladys.

that's a nice tie,

mr. gerber.

thank you.

mr. townsend

yes, gerber, i sent for you.

sit down and shut up.

screw you. i'm opening up

my own office.

what?

i said, "screw you,

i'm opening up

my own office."

serves you right.

you'll be broke in a week.

i don't think so.

some neighbors chipped in

and i won't have

to worry for quite a while.

townsend.

yes?

about your breath...

[grunts]

[door opens]

[door closes]

? they gotta make

some kind of deal ?

? everything you got,

gives me a thrill ?

? don't they know

all gonna doubt ?

? gotta get through to you ?

? gotta get to you ?

? gotta get through,

just gotta get through ?

? don't throw my love

in a frying pan ?

? don't throw my love ?

? you got the keys,

and you got the latch ?

? you got the keys ?

? i'm soul'd on you ?

? soul'd on you ?

? i'm soul'd on you ?

? oh, they called me

mr. cool before ?

? but you got me poundin'

on your front door ?

? yes, i used to be mr. cool ?

? but, girl, i'm ready

to be your fool ?

? yeah, 'cause your lovin'

it makes me more ?

? your lovin' makes me more ?

? you can't take it

to my soul ?

? to my soul,

yeah, to my soul ?

? don't throw my love

in the trash out back ?

? you got the keys,

and you got the latch ?

? i'm soul'd out on you ?

? soul'd, sister ?

? i'm soul'd on you ?

? my crazy love ?

? i'm soul'd on you ?

? i'm soul'd on you ?

? lord, you got me down

on bended knees ?

? let me hip you

to the birds and bees ?

? come on, girl,

let's make it down there ?

? lord knows that you,

what you wear ?

? you know

i can't live without you ?

? i can't live without you ?

? when you do that thing

i just gotta do ?

? gotta do, just gotta do ?

? oh, don't throw my love ?

? in the trash out back ?

? oh, you got the keys,

and you got the latch ?

? you got the keys ?

? i'm soul'd on you,

oh, sister ?

? soul'd on you ?

? i'm soul'd on you,

my baby ?

? soul'd on you ?

? i'm soul'd on you ?

? soul'd on you ?

? soul'd ?

? soul'd on you ?

? soul'd ?

? soul'd on you,

soul sister ?

? soul'd ?

? soul'd on you,

black beauty ?

[phone ringing]

? soul'd on you,

brown sugar ?

? soul'd on you ??

[phone continues ringing]

hello.

(althea)

jeff?

yes.

it's althea.

althea?

althea, my wife?

i've been calling everywhere.

the phone's been turned off.

when i moved out

of our house,

i had the phone

disconnected.

where are you?

i finally got you

through information.

i'm in indianapolis.

what's wrong?

the kids all right?

the kids are fine.

thanks for sending

so much money.

it was very generous.

well,

they're still my kids,

aren't they?

yes, and i'm never

gonna let them

forget their father.

well, thank you.

it's so nice to be

so well remembered

before i die.

jeff, hearing your voice,

i mean, on the phone,

it's--it's like

it never happened.

not on this end, baby.

anyway, i just wanted you

to know i was thinking of you

and--and i hope

you're taking care

of yourself.

well, i'm fine.

still getting your exercise?

yes, althea, you don't have

to worry about me.

i'm working out

in the evenings now.

promise me that you are.

oh, i are. i are.

you are?

i are.

[panting]

ha!

(all)

ha!

ha!

ha!

ha!

hee!

(all)

ha!

hee!

(all)

ha!

hee.

ha!

hee.

ha!

hee.

ha!

? no, this ain't america ?

? you can't fool me ?

? you can't fool me,

you can't fool me ?

? excuse me, but seriously ?

? you can't fool me ?

? which way is

the good old u.s.a.? ?

? you can't fool me ?

? this ain't nothing like

the place i wanna be ?

? not a chance,

i didn't cheat ?

? you can't fool me ?

? i don't care

what you say ?

? you can't fool me ?

? hey, why you pointin' that

this way? ?

? this sure ain't america,

is it? ?

? no, this ain't america! ?

? you can't fool me ?

? you can't fool me ?

? you can't fool me ?

? you can't fool me ?

? no, this ain't america! ?

? you can't fool me ?

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Herman Raucher

Herman Raucher (born April 13, 1928) is an American author and screenwriter. He is best known for writing the autobiographical screenplay and novel Summer of '42, which became one of the highest-grossing films and one of the best selling novels of the 1970s, respectively. He began his writing career during the Golden Age of Television, when he moonlighted as a scriptwriter while working for a Madison Avenue advertising agency. He effectively retired from writing in the 1980s after a number of projects failed to come to fruition, though his books remain in print and a remake of one of his films, Sweet November, was produced in 2001. more…

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Submitted on August 05, 2018

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    "Watermelon Man" Scripts.com. STANDS4 LLC, 2024. Web. 18 Nov. 2024. <https://www.scripts.com/script/watermelon_man_23122>.

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