Brother To Brotherby

Rodney Evans

Fourth Draft-October 12, 2001Rodney EvansMiasma Films

469 State St.,#2RBrooklyn,NY 11217

718-246-8235WGAe Copyright #135186

Winner of IFP's Gordon Parks Award for Screenwriting

INT. SUBWAY -- DAY

PERRY, an eighteen year old Black man, writes in a notebookin a hurried yet concentrated manner. Shafts of sunlightfrom the window dance on his skin and the pages as he writes.

The Manhattan skyline and the architecture of the bridgepass in the background behind him.

PERRY (V.O.)There are thoughts that have thepower to trap me. I write them downto be more honest about them andlessen their potential to do harm. There's a war inside me.

INT. PERRY'S BEDROOM(FLASHBACK) -- DAY

Grainy super-8 image of JULIO, a good-looking Latino guy inhis early twenties, propped up on one elbow. He's staringat Perry, who's lying on his back looking at the ceiling. Perry looks over and moves a strand of hair out of Julio'seyes.

PERRY (V.O.)He stared at me and I felt weightless,like I could crawl under his skinand hide. I needed to solidify thefeeling for myself.

INT. SUBWAY -- DAY

Perry notices an ATTRACTIVE, WORKING-CLASS BLACK MAN acrossfrom him. He looks at him for a lengthy period of time andthe Black man gives him a coy, lustful smile. Perry attemptsto avoid staring by looking down but can't resist.

INT. PERRY'S BEDROOM(FLASHBACK) -- DAY

(Super-8) There are the faint, distant sounds of kids playingas Julio tells Perry a secret. Casually placing a warm handon Perry's chest, he leans over to kiss him.

(Super-8, more jagged and abstract) The door opens and PERRY'SFATHER stares. He enters the room in a rage, grabbing Julioviolently and throwing him into a chest of drawers. Hisfather approaches and Perry's arm goes up to block theassault.

INT. SUBWAY PLATFORM -- DAY

With a rush of wind the train speeds into the station.

2.

INT. SUBWAY -- DAY

In the corner opposite Perry, BRUCE, a light-skinned Blackman in his eighties, drifts in and out of sleep. His headis leaning dangerously close to the passenger next to him.

He wakes for a moment with the new influx of passengers andthen gradually drifts back to semi-consciousness.

DISSOLVE TO:

INT. BROWNSTONE(NIGGERATTI MANOR) (1926) BLACK & WHITE --NIGHT

LANGSTON, a handsome, 24-year old, Black man and YOUNG BRUCE,19, are in the living room. Langston is standing and recitinga poem for Bruce who is seated with his eyes closed,enraptured. The reading is set to a pulsating jazz beat.

LANGSTON(reciting with verveand passion)

"This is a song for the genius childSing it softly for the song is wild."

INT. SUBWAY -- DAY

Langston's voice is heard throughout these ephemeral images.

Closeup of Bruce as his head falls towards his chest. Dissolving in and out of the closeup of his peaceful faceare super-8 images of young Black children playing variousstreet games - stickball, dodgeball, doubledutch, etc.

LANGSTON (O.S.)"This is a song for the genius child. Sing it softly for the song is wild. Sing it softly as ever you can. Lest the song get out of hand. Nobodyloves a genius child. Can you lovean eagle, tame or wild?

(into a passionatefinale)

Wild or tame, can you love a monsterof frightening name? Nobody loves agenius child. Kill him and let hissoul run wild."

INT. NIGGERATTI MANOR (1926) -- NIGHT

As the poem ends Young Bruce opens his eyes and applauds.

YOUNG BRUCEIt's incredible.

3.

LANGSTON(gazing intently)

I thought you'd like it.(pause)

It's about you.

EXT. OPENING CREDIT MONTAGE -- DAY/NIGHT

Titles are superimposed over a montage juxtaposinghistorical/cultural footage from the Harlem of the 1920'swith images of present-day Harlem.

Harlem Hellfighters return from WWI marching triumphantly up5th Ave.

Newspaper headlines about race riots, segregation andlynchings throughout the country.

Throngs of Black people clap in affirmation as Marcus Garveyspeaks at a Back-To-Africa rally.

Pans of the same Harlem streets then and now.

Newspaper Headline - "Harlem - Mecca of the New Negro"

The dancers of the Savoy and the Cotton Club intercut withextravagant vogueing balls of 2001.

The facade of 267 West 136th St.(Niggeratti Manor) in thepast and currently, hauntingly superimposed over one another.

INT. NIGGERATTI MANOR LIVING ROOM(PRESENT) -- NIGHT

Two paintings are on either side of a crackling fireplace. The first on the left is of Perry and the second on the rightis of Bruce, smiling and exuberant. Dolly in to Bruce'sface in the painting.

DISSOLVE TO:

EXT. HARLEM STREET -- DAY

(Super-8) Slow-motion image of a young, Black boy playinghop-scotch with two girls as other boys watch from the cornerin anger. Fleeting snatches of children's voices rhymingand taunting are heard through street traffic.

INT. SUBWAY -- DAY

The children's voices have become more sparse and haunting. Bruce is now fully awake and noticing the exchange of glancesbetween Perry and the Black man across from him. The ghostof a smile appears across his face as he closes his eyes.

4.

BRUCE (V.O.)History in the flesh. I needed tohelp you break it open and excavate. Dig. Boys with pretty eyelashes andtaut abdomens; pale and dark likenight. Bodies that I was achingfor. Being excluded from yetnaturally linked to the rhythms ofBlack life. For most of my folksbeing gay was what they called "awhite man's disease."

(pause)I could not go home as who I am...andneither can you.

EXT. SUBWAY PLATFORM -- DAY

The train enters the next station. Perry and Bruce exitfrom different doors and move towards opposite staircases. As they both exit frame the image suddenly dissolves to white.

INT. PERRY'S DORM ROOM -- MORNING

Perry is waking up in his dorm room to the sound of a blaringalarm clock. His eyes open slowly as he fumbles with theclock eventually shutting it off.

He grabs various bathroom supplies and stumbles half-asleepthrough the hallway to the shower.

INT. BATHROOM/HALL -- MORNING

Perry is waiting for a shower to free up. He fidgets andstamps his foot in frustration as JIM, an attractive andconfident nineteen year-old white guy, sings an old R&B songfrom behind one of the curtains.

PERRY(remarking to anotherguy waiting)

I'm gonna be late for my ten o'clockfor the third time this week andthis guy's wrapped up in some Motownfantasy.

In the mirror we see another guy move towards the first showerwhich has just opened up. Jim sticks his head out of thethird shower.

JIMYou got a problem with my vocalstylings?

Perry gestures for him to hurry up.

5.

PERRYYou should be sued for desecratingsongs like that.

JIMOne day you'll be paying hundreds ofdollars to hear this.

He starts singing loudly into his shampoo bottle.

PERRYCome on you asshole.

Perry throws a plastic soapdish at him with playful, sarcasticanger.

JIMAlright, alright.

Jim reaches for a towel as Perry inconspicuously looks himup and down. Jim shakes his hair and begins gathering hisstuff.

PERRYWhat time is it Mr. Sunshine?

JIMFive of.

PERRY(Turning to exit)

Shit.

Perry walks out in frustration as Jim follows behind. Jimcrosses the hall and begins to unlock his door. He turnsand watches Perry walk towards his room.

JIM(pretending to sniffa foul odor)

Smells like someone needs a goodshower.

Perry casually slips him the finger over his shoulder.

JIM (CONT'D)Must be all those steamy, wet dreamsyou've been having.

Jim smirks to himself as he watches Perry enter his room.

INT. UNIVERSITY CLASSROOM - MORNING

ISAIAH, a black professor in his thirties, is teaching aclass of predominantly Black students. Perry and Jim sit inclose proximity to one another.

6.

ISAIAHCan I have a volunteer to read thispassage?

Jim raises his hand.

ISAIAH (CONT'D)Jim, start at the top of page 98.

JIM(reading slowly)

"If we - and now I mean the relativelyconscious whites and the relativelyconscious blacks, who must like loversinsist on, or create the consciousnessof others - do not falter in ourduty, we may be able, handful thatwe are , to end the racial nightmare,and achieve our country and changethe history of the world. If we donot do everything, the fulfillmentof that prophecy, recreated from theBible in song by a shame is upon us:God gave Noah the sign, no more waterthe fire next time."

A pause as the students think about the statement.

ISAIAHDoes anyone care to comment on howthis passage written in 1963 mightrelate to the political and culturalclimate of today?

A young Black woman, CHANTAL, raises her hand.

ISAIAH (CONT'D)(pointing to her)

Chantal.

CHANTALThe L.A. riots for one.

A well-built, authoritative student, RAHSAN, raises his hand.Isaiah points to him.

RAHSANUnarmed brothers gettin' shot by thecops. How long's that gonna betolerated?

PERRY(jumping in)

Who's writing this? Was James Baldwintolerated?

(MORE)

7.

PERRY (CONT'D)He was basically silenced 'cause himbeing gay was a threat to the majorleaders of The Civil Rights Movement.

Another student, SEAN, leans over to Rahsan.

SEAN(whispered yet audible)

Fuckin' faggot.

Rahsan smirks, shakes his head and rolls his eyes.

CHANTALPerry's right. We should look at theexperience of the writer. Especiallywhen it's obviously linked to thecontent of what we're reading.

Another student, KEISHA, speaks quietly as if she's talkingto herself.

KEISHAI didn't even know James Baldwin wasgay.

Rahsan raises his hand and doesn't wait to be called on.

RAHSAN(frustrated and irate)

What does him being gay have to dowith his work in the Civil RightsMovement?

(not waiting for aresponse)

That's completely beside the point.

PERRYIt's not when you think about theideas he contributed while beingsilenced. How much more did he haveto say? We don't know.

RAHSAN(cutting him off andincreasing in anger)

We talkin' about activism andpolitical struggle not what peopledo with their sex organs. If youlike to take it up the ass then that's your business. I don't see why weneed to hear about it in this class.

ISAIAH(assertive)

Alright, guys. That's enough. Calmdown.

8.

Other students in the class stifle laughter as Rahsan slapsSean's hand.

RAHSAN(towards Perry)

The majority of people at the timedidn't care that Baldwin was gay.

PERRY(increased anger)

Bullshit. Get real.

ISAIAH(aggressive, takingcontrol)

Let me remind you both that you'rein a University classroom. Myuniversity classroom. Treat it withsome respect.

PERRYThe real things that kept thesemovements from being effective werethings like homophobia and sexism. If we're not talkin' about thosethings then what's the point of evenbein' here.

SEANThose are things that you'reinterested in. Maybe the rest of usaren't.

RAHSAN(volatile)

We need to be talkin' about why Blackpeople were getting lynched everyday across this country.

SEANThis class is about Black politicalstruggle. Period.

PERRY(angry, exhausted yetstill challenging)

So I guess the things I'm talkin'about have nothing to do with that?

Other students raise their hands as the bell rings. Thereis still a fiery tension in the air as students gather theirbelongings. Rahsan whispers to Sean, glaring at Perry.

ISAIAHRemember those thoughts and we'llcontinue next week.

(MORE)

9.

ISAIAH (CONT'D)If you're having trouble finding atopic for your final papers pleasecome see me during office hours.

EXT. UNIVERSITY BUILDING - MORNING

Clusters of students exit and enter different classrooms. Perry emerges from the crowd moving hurriedly as Jim triesto catch up to him.

JIMPerry slow down, Jesus.

PERRYThat guy's a fucking dick. I hatehim.

JIMWell you got your point across. Ithink that's the first time you'vesaid anything in that class allsemester.

PERRYThat's cause I always feel like if Iopen my mouth I'll just startscreamin'.

JIMBrush it off, bro. You know he'sjust tryin' to get a rise out ofyou.

PERRYYeah, well it's working.

JIM(attempting to calmhim)

You got your ticket to the De Laconcert tomorrow night?

PERRYI'm actually going to get it rightnow.

JIMYou better hurry up before it sellsout. That shit's gonna be off themeter.

They pound fists.

PERRYI'll catch you later.

10.

EXT. HOMELESS SHELTER -- MORNING

EVELYN, a black woman in her late thirties, approaches ahomeless shelter holding a cup of coffee. BILL, an extremelyintoxicated, grungy-looking Black man exits the shelter,almost crashing into her.

EVELYN(holding him up,attempting to steadyhim)

Whoa, whoa. Easy. You alright?

Bill mumbles incoherently under his breath. He moves quicklytowards the curb, gripping his stomach. Evelyn looks at himwith disbelief as he begins vomiting. She's fuming as shestares and then turns and enters the building.

EXT. EAST VILLAGE STREET -- DAY

MARCUS, a 21-year old Black poet, stands talking to Perrywho's seated on a porch.

MARCUSYou ready for the opening next week?

PERRYI guess. All the paintings are done.

MARCUSMy boy steppin' out in his Soho debut.

PERRYPlease.

(pause)Speaking of debuts, I thought youhad some new shit for me.

MARCUSI do.

PERRYWell what are you waiting for?

Marcus closes his eyes getting ready to perform a new piece. Bruce approaches them slowly and tentatively, listening andtaking it all in.

MARCUS(Essex Hemphill-"Romance is Intrigue")

Amid conflicting reports the truthemerges. Coarse edged. An ungentleBlade. For peeling back the night'sskin...It requires great strength inthe hands.

(MORE)

11.

MARCUS (CONT'D)A strength not as obvious as muscles. So I watch you through the eyes ofpeople I love. The good and thebad, they tell me, I hear. I believewhat I feel moves unsaid in the airbetween us. Satellite blackouts. It is true. Some of the people welove are terrorists.

PERRY(slapping Marcus'shand)

Uh, I'm feelin' that.

Bruce enters their space abruptly. Dignified and confident. Closing his eyes, he speaks as if he's describing a dream,quietly trying to relive it for himself.

BRUCE(excerpt from "Smoke,Lilies and Jade")

It was almost as tho' it had journeyedto meet him. The night was so blue. How does blue feel. Or red or goldor any other color. If colors couldbe heard he'd paint most wondroustunes. Symphonious...Think...thedulcet clear tone of a blue likenight. He blew a cloud of smoke...soon the smoke would rise and thenhe would clothe the silver smoke inblue smoke garments. Truly smokewas like imagination.

Marcus and Perry are stunned and smiling as they stare ateach other and then at Bruce.

MARCUSDamn, even Grandpa got a bag oftricks.

BRUCEYou think you started this? I beenriffin' on corners like this sincebefore your mother was even a figmentof your grandmother's imagination.

MARCUSAnd you ain't lost nothin'.

BRUCEWe were here before you and they'llbe kids comin' up after you.

(pointing to his head)So stay sharp and watch your back.

12.

Bruce turns and begins walking away.

MARCUSYeah, well tell 'em to bring it on. I'm ready.

Bruce is halfway up the block. With his back to them helifts his hand as a good-bye gesture and keeps going.

TIME CUT :

EXT. WASHINGTON D.C. STREET (1926)(BLACK & WHITE) -- NIGHT

Young Bruce and Langston laugh as they walk barefoot along aquiet street. They are obviously very comfortable with eachother.

LANGSTONWe're gonna get arrested for walkingaround here like this.

YOUNG BRUCE(rebellious)

Who cares.

Langston looks up and points out a specific constellation toYoung Bruce.

LANGSTON(looking up andpointing)

Do you see it? It's Orion. You seethose three in line to the left.

YOUNG BRUCEI think you've been smoking something.

LANGSTON(laughing)

All you have to do is open your eyes.(pointing to the sky)

It's right there.

TIME CUT:

EXT. HOMELESS SHELTER(PRESENT) -- DAY

As Bruce walks past the homeless shelter, Evelyn can be seen through the window.

INT. OFFICE OF HOMELESS SHELTER - DAY

Evelyn is putting away folders at a filing cabinet when Perryenters.

13.

EVELYN(cold and direct)

Sit down.

He attempts to appear comfortable in his seat yet sensesthat something is wrong.

PERRYSo, what's up?

EVELYNPerry, I thought there were somebasic rules we talked about beforeyou started working here.

PERRYThere were.

EVELYNAnd what's the main rule we talkedabout?

Perry begins to understand what's happening.

PERRYThat if anyone appears under theinfluence of alcohol or drugs theycan't be admitted.

EVELYN(visibly angered)

And I pass Bill this morning wreakingfrom here to high heaven. Pukin'his guts out on the goddamn curb.

(matter offact,accusatory)

You were on duty when he came inlast night? Am I right?

PERRYYes.

Perry is looking at the floor avoiding Evelyn's glare.

EVELYNYou look at me when I'm talkin' toyou. I know you need this job forthe work-study program. And I loveyou like a son. But one more mistakeand that's it, you're out.

She notices how distanced Perry is. She becomes more intenseand focused on getting through to him.

EVELYN (CONT'D)Are you listening to me?

14.

PERRYYes. It won't happen again.

INT. UNIVERSITY LIBRARY -- DAY

Perry is walking through the stacks passing several books onblack theater/art : "Shadowed Dreams", "The New Black Poetry","Black Thunder", etc. He picks up "The Harlem RenaissanceReader ". Flipping through it, he stops on a page withfamiliar words.

First Perry's voice reads then Bruce's voice from the earlierscene merges with his.

The scene of Bruce reciting on the street dissolves in andout of Perry's eyes reading and the printed words on thepage.

PERRY (V.O.)How does blue feel. Or red or goldor any other color. If colors couldbe heard he'd paint most wondroustunes.

(Bruce O.S. layers inhere)

Symphonious...Think...the dulcetclear tone of a blue like night. Heblew a cloud of smoke... soon thesilver smoke would rise and then hewould clothe the silver smoke inblue smoke garments...Truly smokewas like imagination.

He goes to the beginning of the poem to see the title :"Smoke, Lilies and Jade" by Bruce Nugent.

EXT. EAST VILLAGE STREET -- DAY

Previous shot of Bruce walking away with his back to themand gesturing good-bye with his hand(slow-motion).

INT. LIBRARY -- DAY

Jim enters with a hard, masculine strut and sets his stuffdown. A raucous hip-hop beat, muffled yet very noticeableis coming from his walkman headphones. Perry looks up athim, disturbed yet playful.

PERRYNo home training.

JIMWhatever.

He sits down and pretends to read notes. His foot casuallyhits Perry's.

15.

JIM (CONT'D)Was that your foot?

PERRY(annoyed)

Yeah it was. You and those big clod-stomper feet.

JIMYou know what they say, big feet,big shoes.

Jim winks and smiles devilishly with a teasing sexiness. Perry shakes his head and laughs to himself.

He continues writing in his notebook. Jim stares at him ashe writes. The shot becomes slow-motion as Jim becomes moreentranced by Perry's face.

He impulsively reaches for Perry's book that's face down infront of him. He begins reading on a random page. As Jimreads and Perry writes, they both are stealing glances ateach other without the other person noticing.

JIM (V.O.) (CONT'D)(excerpt of "Smoke,Lilies and Jade")

"...his lips were sobeautiful...quizzical...I would kissyour lips...he would like to kissBeauty's lips...Alex flushed warm...with shame...or was it shame..."

After a few moments of looking at Jim, Perry gets up with anotebook and walks toward the hall. Jim's eyes follow himas he walks out the door.

INT. UNIVERSITY HALLWAY -- DAY

Perry sits in a corner writing quickly.

INT. LIBRARY -- DAY

Jim is entranced by the words of the poem. This is intercutwith Perry writing and thinking in the hall.

JIM(excerpt of "Smoke,Lilies and Jade")

"...Beauty's cheek felt cool to hisarm...his hair felt soft...such adream...and what did it all mean...diddreams have meanings...Beautystirred..."

16.

EXT. VILLAGE STREET -- DAY

Marcus stands with three ruffneck homeboys.

HOMEBOY#1(to Marcus)

Yo, you heard that new Jigga shit. The joint where him and Beanie arelike blendin' and shit.

MARCUSYeah. That shit is hot.

Marcus looks over as Perry approaches and enters their space. He nods towards the three homeboys. He embraces Marcus andgives him a kiss on the cheek. Marcus flinches withdiscomfort. The homeboys look at Perry with disgust.

PERRY(To Marcus)

You gonna come by later?

MARCUS(slightly uneasy,looking at the otherguys then to Perry)

Around four, right?

PERRYYeah, it shouldn't take long. Justsome silly-ass school bullshit.

MARCUSI'll be there.

PERRYCool. See you later.

They grab hands and the others look towards Perry as he walksaway. They wait awhile before talking but they know he'sstill in earshot.

HOMEBOY#1(To Marcus)

Yo, son that nigga is bitch!

He laughs and slaps hands with homeboy #2.

HOMEBOY#2Why you lettin' that faggotmuthafuckah kiss all over you andshit?

HOMEBOY#3I know, son, what the fuck's wrongwith you. We startin' to wonderwhat team you battin' for.

17.

HOMEBOY#2(singing Buju Banton's"Boom Bye-bye" andmaking gun gesturestowards Marcus'shead)

Boom bye-bye in a batty boy head,boom bye-bye.

MARCUS(knocking the handaway)

So he's a faggot, he's still cool.

HOMEBOY#1Yeah right. That shit is nasty, yo.I can't even stand lookin' at thatmuthafuckah.

They watch Perry walk from a distance. A few Black men passPerry, nonchalantly looking him up and down. He quietlyreturns their stares and then focuses his eyes on the ground.

Bruce sees Perry from across the street and then refocuseshis gaze on TWO WELL-DRESSED BLACK MEN in front of him. Theyare immersed in conversation and enjoying each other'scompany. Bruce looks towards the ground thinking to himself.

TIME CUT :

EXT. WASHINGTON D.C. STREET (1926)(BLACK & WHITE) -- NIGHT

Young Bruce and Langston are seated on a porch, there's anintensity and excitement increasing in Langston.

LANGSTONI told you about that awards dinnerin New York on Tuesday, right?

YOUNG BRUCEYeah.

LANGSTON(excited)

You could come with me. Lord knowsthere's nothing goin' on around here. I'm thinking about trying to find acheap place to live there.

YOUNG BRUCEThose are some big ideas you have.

LANGSTONYou're the one that's always talkin'about life as one big adventure. Sowhy keep talkin' about it when wecould be livin' it.

18.

Young Bruce is looking contemplative and suddenly gives aradiant, mischievous smile. There's a magic glint in hiseyes.

YOUNG BRUCEWhat time does the train leave?

INT. SUBWAY STATION 135TH ST. (1926) -- DAY

The train pulls into the station. Young Bruce and Langstonare ascending onto the street. Young Bruce is literallyspinning around in circles, attempting to take it all in.

Passersby attempting to go about their day becomeuncomfortable with Young Bruce's eyes fixed on them.

LANGSTONDidn't your mama teach you it's notpolite to stare.

TIME CUT:

INT. PERRY'S DORM ROOM(PRESENT) -- DAY

Perry is sitting and holding a pencil and his sketchpad. His gaze is focused and concentrated as he stares at somethingand then looks down towards his work-in-progress. He dashesoff a few brisk lines.

A portrait of Marcus is coming into being. Marcus is staringat him becoming inquisitive and restless.

MARCUS(curious and direct)

When did you first know you weregay?

PERRY(looking between thepage and Marcus)

When? I've known all my life.

MARCUSLike as far back as you can remember?

PERRYWell I guess my earliest memoriesare of like changing with other boysfor gym and always wanting to lookat their dicks but knowing that theycouldn't see me looking. So I'dlook for like a millisecond.

MARCUSReally?

19.

PERRYYup. It's funny how much I'd see inthat millisecond. Just from theshape inside their underwear. I'dknow the length, the width, cut,uncut.

MARCUS(laughing)

Damn you got some eyes on you.

PERRYI was sizin' shit up. Like amuthafuckin' sleuth.

MARCUSYou was pullin' some Nancy Drew shit.

PERRYNancy didn't have shit on me!

Perry laughs and then his gaze on Marcus becomes moreconcentrated.

INT. SUBWAY -- EARLY EVENING

Perry is haphazardly looking through the newspaper and seesa picture of one of his paintings. The caption reads "BitterEarth by Perry Williams-one of the works in the Flip Modeexhibit at the Jack Preston Gallery in Soho." He quicklyskims the article and focuses on one paragraph.

PERRY (V.O.)"Many of the artists included in theFlip Mode exhibit are so innovativeand daring that the viewer is forcedinto a reconsideration of the visualmarkers of African-American art.This is most apparent in the work ofKonah Johnston, Emma Simms and theyoung Perry Williams, age 18. Theseare names I'm sure we'll be hearingalot more from in the not too distantfuture. The exhibit opens to thepublic on Friday."

Perry quickly closes the paper, slips it into his bag andexits through the subway doors.

EXT. WEST VILLAGE STREET -- EARLY EVENING

Perry watches Jim on his skateboard as he smoothly workscomplex moves with bold dexterity. His skills have becomesecond nature and yet he knows Perry's watching so hisperformance is even better.

20.

Jim skates by a deli fruit stand, swipes an apple and speedsoff.

Perry laughs as the angry DELI OWNER exits the store to tryand catch Jim whose halfway up the block.

EXT. WEST VILLAGE STREET -- EARLY EVENING

Perry is walking down the street as Jim jumps from around acorner.

JIM(energized and playful)

Boo!

PERRY(begins with a startledbreath)

Jesus! Don't do that. You scaredthe shit out of me.

JIMRelax.

PERRYYou know they're gonna lock your assup one of these days.

JIMYeah well I'll take my chances.

He takes a bite out of the apple and offers some to Perry.

PERRYDon't gimme your stolen goods.

JIMYou're loss.

(pause)You wanna go get a beer before theshow. You look like you could useone. Steady your nerves a littlebit.

PERRYI really need to try and finish thispaper.

JIM(tempting)

Oh come on. Live a little.

He grabs Perry's arm and they rush up the street.

21.

INT. VILLAGE BAR -- EVENING

Jim smiles flirtatiously with the female bartender. He bringstwo tall glasses of beer to the table. Perry lights acigarette as Jim sits down.

PERRYShe didn't card you?

JIM(giving a charminggrin)

What are you crazy? With a killersmile like this?

(pause)Even if she did, I have my ways aroundit.

Jim flips open his wallet on the table to show Perry hisvery convincing fake I.D..

PERRY(studying the I.D. inthe wallet)

Where'd you get this?

JIMMy peoples take care of me.

Taking a sip of beer he seems to be studying Perry's face. Perry is still staring at Jim's picture in the wallet.

JIM (CONT'D)So how come a good-lookin' guy likeyou isn't goin' out with anyone?

PERRYI don't know. I guess I've neverreally been the social type. I alwaysfeel like I need a good line toapproach someone.

JIMWhat do you mean? Just be normal.

PERRYWhat's normal?

JIMYou know regular shit like "Do youcome here alot. This song'sincredible, there's something aboutBillie Holiday's voice." You knowjust regular talk.

22.

PERRYBut then all the regular talk startssounding like stupid lines and thenI think about that and get self-conscious and don't say anything.

JIMWell that's pathetic.

PERRYI guess I'm not that good in thesmooth moves department.

JIMSometimes it's all about making funof yourself. They know how nerve-racking and awkward it is. One ofmy best moves, I was out with thiswoman for the first time and justlooked at her and said "what wouldyou do if I busted a suave move rightnow?"

Perry laughs in disbelief.

PERRYYou did not.

JIMI did.

PERRYAnd what'd she say?

JIMShe laughed and said I guess itwouldn't be too suave since you justsaid that. And then I just leanedin and went for it.

PERRY(smirking and shakinghis head)

You're out of you're fucking mind.

JIM(flirtatious)

Sometimes, it's all about risk.

Perry stares at him for an uncomfortable amount of time andthen looks away.

JIM (CONT'D)Like do you ever walk up the streetand look in people's faces and thinkwhat a drag it must've been for themto wake up in the morning?

23.

Slow motion shot of a crowded rush hour morning in thefinancial district plays over Jim's dialogue.

JIM (CONT'D)They know all the bullshit they'regonna have to deal with all day longbut they get up and go through thesame crap anyway. Sometimes I justwanna shake 'em, you know.

(grabbing at the air)Wake up! Like what kinda changewould it take to make your life notbe such a fucking drag.

We cut back to the bar.

JIM (CONT'D)(playful urgency)

Do it!

PERRYWell they're the "normals". Lookaround you. They're ninety-fivepercent of the people we sit inclasses with.

JIMI don't know what the fuck I'm gonnabe doing in five years but if yourun into me on the street lookinglike one of them, you have to justsmack the shit out of me.

(mimicking a slapwith both hands)

Bam! Don't say anything. I'll know. Promise you'll do that.

PERRYYou got it.

Jim looks at his watch.

JIMFuck. We're gonna miss the show.

They both drain their beers quickly. Perry goes to get moneyfrom his wallet and sees that he has none.

PERRY(embarrassed)

Do you think you could cover me?

JIMYeah, whatever.

(flipping ten dollarson the table)

You can pay me back later.

24.

They grab their jackets and rush out the door.

EXT. SOHO GALLERY - EVENING

Bruce approaches the bustling entrance of a gallery hostinga Jacob Lawrence retrospective. His clothing is slightlydisheveled. He snakes his way through the crowd of young,fashionable art patrons.

As he walks towards the door, THE GALLERY OWNER, a smartlydressed white woman in her forties, looks towards Bruce andwhispers to a BLACK SECURITY GUARD. She abruptly leaves asBruce climbs the short steps to the door.

BLACK SECURITY GUARD(stepping towardsBruce)

I'm sorry sir, this is a privatefunction.

BRUCE(irate)

I guess my eyes don't work as wellas these other people.

BLACK SECURITY GUARD(assertive, no-nonsense)

Do you have an invitation, sir? Ifnot I'm gonna have to ask you toleave.

BRUCESo, fancy clothing buys you the rightto look at a painting. Is that howit works?

BLACK SECURITY GUARDLook, sir I'm just doing my job.

An older, elegant, Black man in his seventies, STEPHEN,approaches the entrance. The Black Security Guard nods towardshim respectfully.

BLACK SECURITY GUARD (CONT'D)Good evening, Mr. Johnson.

STEPHENHello.

BRUCEHi Stephen.

STEPHEN(excited)

Bruce. So good to see you.

He gives Bruce a warm hug.

25.

STEPHEN (CONT'D)I hope our friend here isn't givingyou any trouble.

BRUCE(smiling, triumphantand cheeky)

Oh no. Just doing his job and such afine job at that.

The Black Security Guard steps aside and Bruce follows Stepheninto the gallery.

EXT. EAST VILLAGE ALLEY - NIGHT

Perry takes a hit of a joint and passes it to Jim. He starts *to hum a De La Soul song to himself. *

PERRY *(To Jim) *

That's the jam. I was like "hey". *

Perry starts doing "the wop" and then breaks into "the snake". *

JIM(laughing, checking *him out) *

That's some ole Soul Train type shit.

Jim takes a long drag on the joint and inhales deeply.

PERRY(pause) *

All we need is Don Cornelius. *(imitating the gesturesand voice of theSoul Train host)

"Until next time, wishin' ya love,peace and.....soul".

Jim looks at him and cracks up as the smoke escapes from hismouth.

INT. PERRY'S DORM ROOM -- NIGHT

Perry opens the door to his room as Jim follows behind.

JIMThat dude Thomas is sellin' that illweed.

PERRYNo shit....God I've never been thisfucking hungry before.

(pause)We should go get some donuts.

(MORE)

26.

PERRY (CONT'D)(imagining them)

Frosted.

JIMMan, relax. I need to chill for asecond.

Jim looks down at several sketches on the floor. One is theportrait of Marcus from earlier. He picks it up.

JIM (CONT'D)This is good. You really get hisanger and his sarcasm.

PERRYYou think?

JIMDefinitely. Look at that sneer. It's like I know something and youwish you knew what it was. It'sperfect.

PERRYThanks.

JIM(putting the picturedown)

How is Art 10 anyway?

PERRYIt's alright. I could do withoutthe theoretical mumbo jumbo but itkeeps me working and thinking.

Jim looks at photographs on Perry's wall as Perry starts tosing the chorus of a Q-tip song to himself. There's a pictureof Perry and four friends dressed as the Village People.

PERRY (CONT'D)(looking over)

That was last Halloween.

Jim inspects the picture more closely. Perry is dressed asa cop with mirrored sunglasses and a tight tanned shirt withrolled short sleeves. His pants are buttless leather chaps.

JIMI can't believe you were in publiclike that.

PERRYThat was a calm year.

Jim looks at him in disbelief.

27.

PERRY (CONT'D)If it was up to me every day wouldbe Halloween.

(pause)When I was like twelve I used to putthis really ornate lampshade on myhead and walk around the block. Just out of boredom.

JIM(mock announcer'svoice)

The big freak of the ghetto awardgoes to....

Perry grabs a lampshade, puts it on his head and throws atransparent tapestry on top of it. He spins in the centerof the room singing Grandmaster Flash's "The Message" at afrantic pace.

He collapses onto his futon laughing, exasperated. Jim looksover his shoulder amused and slightly awed.

JIM (CONT'D)You all right down there?

PERRYJust as dandy as can be.

Jim continues looking at pictures on the wall and thinkingas Perry sighs in exhaustion.

JIMI don't get it. You can't talk to astranger in a bar but you can walkaround with your ass hangin' out forall of New York City to see?

PERRYWhat? A quiet person can't have awild side?

Jim looks at him with the lampshade and tapestry laying nextto him.

JIMObviously they can.

Jim turns back to the wall. He looks at a picture of Evelynsmiling in front of a building.

JIM (CONT'D)(pointing to the photo)

Is this your mother?

28.

PERRY(looking over at thepicture)

That's Evelyn. She runs the homelessshelter I work at.

Jim looks at a few more pictures of Evelyn in differentscenarios. The last one is of her and Perry with him restinghis head on her shoulder.

JIM(moving towards Perry)

There are more pictures of her thanyour own family.

PERRYShe's all the family I have as faras I'm concerned.

Jim sits down next to Perry on the futon.

JIMWhat do you mean?

PERRYLet's just say there are certainpractices that I engage in that myparents can't understand.

JIMYou can't talk to them about it?

PERRYIt's pretty clear they don't want tohave anything to do with me. Ihaven't seen them in over a year.

(pause)I guess you could say I've been cutoff.

JIM(after an uncomfortablepause--quiet andsincere)

That's fucked up.

Jim notices Perry's eyes becoming teary and he quicklyattempts to alter the mood.

JIM (CONT'D)You must be thinking

(mimicking Perry'svoice)

"Damn this kid is one nosymotherfucker."

29.

He gets up and glances at a collection of videotapes. Thereare three marked P1, P2 and P3.

JIM (CONT'D)What are these?

PERRYThe finest porn compilations thattwenty dollars can buy.

Jim takes one of the tapes out of the jacket.

JIM(holding the tapetowards the VCR)

You mind?

PERRYGo for it.

Jim sits next to Perry on the futon.

They both become transfixed by the tape as two well-builtBlack guys kiss voraciously. One guy unbuttons the otherguy's shirt and pushes him forcefully onto the bed.

As we cut back to the futon Perry is on top of Jim kissinghim passionately and the shot is strangely similar to thelast image on the TV.

PERRY (CONT'D)Why watch other people doin' it whenwe got our own live scene goin' onright here.

JIMYou sure you wanna do this?

PERRYDon't ask so many questions.

Perry gives him a long, slow kiss. His left arm with theremote reaches back and switches the TV off. The shotsimultaneously cuts to black.

INT. PERRY'S DORM ROOM -- NIGHT

Fade up on Perry and Jim asleep. Jim is slowly creeping outof bed. He puts on his pants and the sound of keys wakesPerry.

PERRY(groggy, confused)

Where you going?

JIMI'm gonna head back to my room.

30.

PERRYIt's three-thirty in the morning. Why don't you just stay here?

JIMI feel like being in my own bed.

PERRY(after a pause)

You didn't feel like that a few hoursago.

JIMI'll talk to you later.

Jim walks out with no sign of affection.

INT. HALLWAY/BATHROOM -- NIGHT

Jim enters a bathroom in the hall and looks at himself inthe mirror. He fixes his hair and notices three huge, darkpurple hickies on his neck.

JIM(rubbing his neck)

Fuck.

He turns on the faucet and begins vigorously rubbing thewater on his neck. Realizing this is of no use, his motionslows. He sighs and hangs his head in frustration and thengives a long, hard gaze at his face in the mirror.

INT.- NUYORICAN POET'S CAFE -- NIGHT

The sound of quiet, polite applause is dying down as theYOUNG, BLACK, FEMALE MC, takes center stage. Marcus andPerry sit at a table watching her.

FEMALE MCDamn, ya'll must need some coffee orsomethin'. Where's the love? It'sdyin' up in here.

She looks over at her list of poets.

FEMALE MC (CONT'D)Alright, this next performer hasgraced the stage a few times. He'sgonna rip somethin' new for ya'll. Let's give it up for Marcus.

Marcus gets up and starts to approach the stage as Perryhoots and hollers for him. The crowd's applause is lethargic.

FEMALE MC (CONT'D)Wait a minute.

(MORE)

31.

FEMALE MC (CONT'D)(Towards Marcus,stopping him)

Go back. Let's try this again. Ya'll need to show him some love. Gracing the stage of the Nuyorican ,we bring you, Marcus.

The crowd cheers much more enthusiastically.

FEMALE MC (CONT'D)Now that's what I'm talkin' about.

She hands the mic to Marcus.

MARCUS(slightly nervous ashe unfolds his paper)

This is somethin' I started workin'on yesterday. It's still kinda rough,so bear with me.

PERRY(yelling from hisseat)

It's alright. We like it rough,baby!

Marcus loses his concentration and starts to laugh.

MARCUSYeah, we know how you like it.

There is murmuring and laughter amongst the crowd. Perryhides his face in faux embarassment and turns around to seeBruce standing by the entrance.

EXT. NUYORICAN POET'S CAFE -- NIGHT

Marcus and Perry sit outside sharing a cigarette as the crowdexits.

PERRYI really like that rapid-fire partin the middle. That tongue wasmovin'! The crowd was feelin' it.

MARCUSYou really thought it was alright?

PERRYHave I ever lied to you before? Youknow me, I'll tell you shit straightup. If I think your shit needs somework I won't beat around the bushabout it.

32.

DANNY, a young white boy decked out in FUBU and denim, walksover to them.

DANNY(to Marcus)

Hey, I just wanted to tell you thatI really dug your piece.

MARCUS(slightly skeptical)

Oh yeah? What'd you like about it?

DANNYIt just got to the source of alot ofthe anger people I know feel.

(apologetic)Who am I to talk, right?

(tentative)But...I guess I can 'cause I spentmy whole life around that shit.Brothers on lockdown for some pettybullshit. And you watch that andfeel like you can't do anything aboutit and the anger just builds.

Perry notices a book, The Dutchman, in Danny's hand.

PERRY(gesturing to thebook)

That's a great play.

DANNYYeah, it's the shit. I know whenthis came out, brothers must've beenlike "That's it, I don't need tohear no more." Your piece kindareminded me of it actually.

(pause)You readin' again anytime soon?

MARCUSNah.

DANNYWell keep me posted.

He nods at Marcus and sticks his hand out towards Perry.

DANNY (CONT'D)I'm Danny.

PERRY(shaking his hand)

Perry. Nice to meet you.

33.

DANNY(walking away)

Yeah, I'll see you around.

They watch as he walks up the block. There is an obviouslook of disdain on Marcus's face.

MARCUSCaucasoids. They never cease toamaze me.

PERRYWhat? He was complimenting you.

MARCUSLike I need that muthafuckah to tellme what my poem's about.

PERRYWhat's the big deal?

MARCUSI'm just tired of people like thatalways tryin' to tell me about myshit. Always tryin' to interpret. Like you to stupid to know what youdid. I wrote the muthafuckah. Shit,I lived it.

PERRYSo, he can't get anything out of it?

MARCUSI could give two shits what he getsout of it. Fake-ass, poseur-liberalwannabe. Reminds me of that idiotyou be dealin' with.

PERRYWho Jim? He's not like that.

MARCUSYeah, right. How many times have Iheard that before.

PERRYYou know all this anger you havetowards white people is the sameanger that brothers feel towards mefor being gay.

MARCUSNah, that's totally different.

PERRYIs it?

34.

MARCUSYou know how brothers front. Togetherthey might dis you so that nobodythinks they're that way. But if youever got in real trouble you'd stillbe fam and they'd still have yourback.

PERRYI'm not so sure about that.

Marcus tries to think of something to convince him.

MARCUSRemember in little league wheneveryone teased you 'cause you threwlike a girl. Who stood up for you?

PERRYAlright, you got me.

MARCUS(jovial, refreshinghis memory)

Championship game?

PERRY(rolling his eyes)

Now why you gotta go there?

MARCUSNinth inning. Bases loaded. Twoouts. Tigers were beating us eightto seven and you got up to bat andthe other team started yelling "Nobatter". And you struck out and welost.

PERRYThanks for reminding me.

MARCUS(reliving the memory)

That kid Ron started pushing you(mimicking Ron)

"All you had to do is hit the balljust this one fucking time." Andyou fell on the floor and your eyesstarted getting all watery and allthe other kids are goin' "Yeah, kickhis ass. Fuck him up."

(pause)Who stepped in to break it up?

PERRY(copping to the truth)

You did.

35.

MARCUSThat's right and don't forget it.

Marcus leans towards him and puts a hand on his shoulder.

MARCUS (CONT'D)Everybody in the world's not out toget you.

Car horns from the traffic blare next to them.

MARCUS (CONT'D)(looking at his watch)

Damn, I gotta break out. But I'm afind you a good brother. I got myeye out.

PERRYWell, I can't wait forever. Youknow where to find me right?

MARCUSAt the shelter, right.

Perry nods as they grab hands and embrace.

MARCUS (CONT'D)Peace.

PERRYLater.

Marcus takes off up the block as Perry looks after himpensively.

MARCUS(bellowing into thestreet)

Keep hope alive my son, keep hopealive.

INT. HOMELESS SHELTER -- FRONT DESK -- NIGHT

Perry is asleep with a worn copy of a Jean-Michel Basquiatbiography face down next to him.

Bruce enters and watches him sleep. He slowly picks up thebook, staring at the cover. He turns it over for a moment,then puts it down and enters the other room.

INT. HOMELESS SHELTER -- SLEEPING QUARTERS -- NIGHT

Bruce looks around the large room filled with sleeping men. He finds one of the few empty beds and lays down. The camerarests on a close-up of his face as he drifts into sleep.

36.

INT. HOMELESS SHELTER -- SLEEPING QUARTERS -- LATER

Perry is roaming the darkened sleeping quarters with aflashlight. He passes Bruce and notices a pad coming out ofa bag next to his bed. He goes over and sees several sketches. One is an unfinished portrait of Perry. Bruce turns in thebed and Perry quickly exits the room.

EXT. HOMELESS SHELTER -- DAY

A brilliant, morning sun shines onto the city streets.

INT. HOMELESS SHELTER FRONT DESK -- DAY

Perry is on duty signing someone out.

PERRYHow've you been Tom? You doin'alright?

TOMI'm hangin' in there you know, takin'it one day at a time.

PERRYWell, that's all we can do right.

Perry notices someone attempting to leave without being seen.

PERRY (CONT'D)Excuse me sir, you have to sign out.

He recognizes Bruce as he walks towards him.

PERRY (CONT'D)I don't remember signing you in lastnight.

BRUCEThat's because you were asleep whenI got here.

PERRY(filling in the sheet)

What's your name?

BRUCEBruce.

PERRYLast name.

BRUCENugent.

Perry gives a knowing glance at him.

37.

PERRYAnd what time did you get here lastnight?

BRUCEThat's information you get paid toknow. I certainly don't think Ishould be doing your job for you.

PERRY(functional, monotone)

Eleven-thirty. Sounds good to me. Can you sign next to your name.

As Bruce is writing Perry nonchalantly pulls out a book andbegins reading. Bruce is frozen as he hears his words.

PERRY (CONT'D)(excerpt of "Smoke,Lilies and Jade")

"If colors could be heard he'd paintmost wondrous tunes. Symphonious. Think. The dulcet clear tone of ablue like night. Truly smoke waslike imagination."

Bruce puts the pen down and slowly looks up at him. Perryholds the book up so that it faces Bruce, the title reads"Smoke, Lilies and Jade" By Bruce Nugent.

PERRY (CONT'D)(nonchalantly)

This is you, isn't it?

BRUCEI guess it is.

PERRY(getting up andgathering hisbelongings)

Well, I want to talk to you. Do youmind if I walk out with you?

BRUCEYou seem ready to whether I want youto or not...and I suppose I nevercould resist the company of a handsomeyoung man.

He smiles suggestively and turns to leave as an intriguedPerry follows.

EXT. PORCH -- DAY

Perry and Bruce sit next to each other in the harsh sunlight.

38.

PERRYI really love it. The phrasing, themood, everything. It's like someoneof a completely different time andplace but it's exactly how I feel.

BRUCEWell I hate to be the one to breakit to you but I'm here and now, fleshand blood right in front of yourvery own eyes.

PERRY(confused, nervousthen more composed)

I know that...I mean...(pause)

God, I don't know where to start. Imean... What's someone like you doingsleepin' in a shelter?

BRUCE(slightly offended)

Someone like me?

PERRY(nervous, tongue-tied)

Ah...you know...a respected, publishedwriter from the Harlem Renaissance.

BRUCEI slept in hallways and rooftopsthen, why would things change now.

(slightly angry, yetamused by Perry'snaivete)

Respected? If you wrote about bein'gay in that time, respect was thelast thing you were gonna get.

Bruce rises from the porch and begins walking up the blockas Perry follows.

TIME CUT :

EXT. WASHINGTON D.C. STREET (1926)(BLACK & WHITE) -- NIGHT

Previous shot of Young Bruce and Langston walking along thestreet laughing and talking.

PERRY (O.S.)How'd you get into writing?

BRUCE (O.S.)Langston Hughes turned me onto itreally.

(MORE)

39.

BRUCE (O.S.) (CONT'D)Night after night, he and I wouldwalk each other back and forth fromhis house to my house, and if wehadn't finished talking we'd turnright back around and continue. Onand on all night long. With Langstonyou never really ran out of thingsto say.

PERRY (O.S.)So you guys were pretty tight?

BRUCE (O.S.)Yeah. I was pretty taken with him. How could I not be? He was good tolook at, good to listen to, good totalk to, and at 24 he'd been allover the world to places I'd onlydreamed about. And sure enough hispowers of persuasion lured me to NewYork.

TIME CUT:

INT. YWCA(1926)-- DAY

Young Bruce and Langston enter a cafeteria. The smell ofgood soul food is wafting through the air.

YOUNG BRUCEIt smells so good and I'm starving.

LANGSTONWell, I'll tell you the food doesn'tget much better than this.

Langston spots a thin, dark-skinned black man in the cornerquietly reading.

LANGSTON (CONT'D)Oh, look there's Wally.

YOUNG BRUCEWally who?

LANGSTONThurman.

Langston is heading towards the table. Young Bruce is frozen.

YOUNG BRUCE(confused, disturbed)

That's Wallace Thurman? That'simpossible.

(MORE)

40.

YOUNG BRUCE (CONT'D)(quiet, stunned)

He's the blackest person I've everseen.

Langston comes back, grabbing Bruce gently by the arm andleading him over.

LANGSTON(warmly)

Wally. How've you been?

WALLY(smiling shyly, risingfrom his chair)

I've been good.

Wally gives Langston a hug.

LANGSTONThis is my friend Bruce. It's hisfirst time in New York, so he's justsoaking it all in.

WALLY(extending his handto Young Bruce)

Well there's certainly alot out thereto soak in.

After a lengthy pause, Young Bruce grabs his hand reluctantlywith a dumb-struck, hollow-eyed, nervous expression on hisface. Langston looks back and forth between the two of them.

WALLY (CONT'D)Will you join me?

LANGSTONAbsolutely.

Langston sits next to Wally and immediately engages him. Young Bruce is visibly disturbed and cautiously takes thethird seat.

LANGSTON (CONT'D)So how's your new job over at TheMessenger?

WALLYIt's okay. Keepin' a roof over myhead, you know.

(beat)Thank god I'm a quick reader. 'CauseI'll tell you some of this stuff thequicker you get through it the better.

41.

LANGSTONThat bad, huh?

WALLYHorrendous. But I guess it helps tosee exactly the kind of writing youdon't want to be doing.

Young Bruce jumps up abruptly from his chair.

YOUNG BRUCE(awkward)

Excuse me, I'm not feeling very well.

Langston gets up in concern.

YOUNG BRUCE (CONT'D)No, no. Stay. I just need to getsome air.

EXT. YWCA(1926)-- DAY

Young Bruce is leaning up against the side of the buildingbreathing heavily with his eyes closed.

BRUCE (O.S.)There I was thinking of myself asthis open-minded Bohemian and thesight of someone I admired...beingso Black.

(pause)I was sick at the sight, and at myown reaction. It all came crashingdown on me. Seeing these prejudiceswithin me...it made my skin crawl.

INT. MESSENGER OFFICES(1926) -- DAY

Wally is at his desk, pen in hand and slashing at pages whena knock interrupts him.

WALLYCome in.

Young Bruce enters sheepishly.

WALLY (CONT'D)Hi. I didn't think I'd be seeingyou again so soon.

YOUNG BRUCE(tentative,apprehensive)

Well. I wanted to apologize for mybehavior earlier today.

(MORE)

42.

YOUNG BRUCE (CONT'D)I just...admire your work somuch..and...I know I must have beenincredibly rude. I honestly thinkI've just been a little overwhelmed.

WALLY(extending his hand)

Well apology accepted.

Young Bruce grasps his hand firmly and warmly with two hands.

WALLY (CONT'D)Actually, if you don't have any plans,I'd love it if you and Langston wouldcome over for a drink tonight.

YOUNG BRUCEThat would be great.

INT. WALLY'S ROOM(1926) -- NIGHT

A dark hand places the needle of a record into the groove. The dust crackles in a strange rhythm and a Negro spiritualbegins playing( "Fire", music by Hall Johnson, lyrics byLangston Hughes).

TIME CUT:

EXT. EAST VILLAGE STREET -- DAY

The spiritual blends with the funky trip-hop beat from apassing car. Perry seems sparked by Bruce as Marcus walkstowards them.

MARCUS(To Bruce)

Hey look who it is. Big papa withthe stuff. What's goin' on?

BRUCENot much. How's the writing?

MARCUSOh it's comin' along.

BRUCEWell keep at it. We need you outhere.

MARCUSI'm not stoppin' no time soon, man.

(to Perry)You know if you want me to help youcarry stuff we should go. I gotta besomewhere at twelve.

43.

PERRYYou're right.

(to Bruce)Well, I'll catch you later.

EXT. EAST VILLAGE STREET -- DAY

Marcus and Perry turn a corner walking briskly.

PERRYThat dude's a piece of work.

MARCUSWhat do you mean?

PERRYI don't know. I can't get a handleon him.

(pause)Strange bird.

EXT. JIM'S DORM ROOM - DAY

Jim enters his room, throws his backpack down and looks overat the blinking light on the answering machine. He reachesover and presses a button.

PERRY (O.S.)Hey Jim, it's Perry. I'm not surewhy you left the other night. Ihope everything's still cool. Ifyou wanna meet me later, I'll be inthe park at the usual spot around4:30. Hopefully I'll see you there. Bye.

INT. UNIVERSITY ART STUDIO -- DAY

Perry stands in front of a half-finished canvas. It's abstractyet there's a violent, sexual nature to the imagery. Hisgaze intensifies as we see brief glimpses of the physicalconfrontation with his father intercut with closeups of asexual encounter.

EXT. WASHINGTON SQ. PARK -- DAY

A boombox blasts hip-hop as young children play on the grass.Perry and Jim sit on the grass drinking forties under a tree. *Perry thinks to himself and lets out a small laugh. *

JIM *(curious) *

What? *

44.

PERRY(slightly embarassed) *

Nothing. *(tentative, laughing *a little) *

The summer when I was like nine wehad mice in our house. And I'd alwayshave these dreams of them falling onme and gnawing at my face.

JIMJesus.

PERRYI'd fold the blankets and sheets ontop of my bed so that they didn'ttouch the floor. That way the micecouldn't climb onto the bed and getme.

JIM(non-chalant, jovial) *

We didn't have mice on the Upper *West Side... But I was always scared *that someone was hiding under mybed. I remember being 8 or 9 andhaving to pee and thinking that assoon as my feet hit the floor an armwould reach out from under the bedand grab me. I was so scared to goand I'd scramble to the bathroom andthen leap back onto the bed.

(pause, more animated *at the thought) *

Then I thought if I filled up thespace under my bed with tons of stuffthat they'd have to move stuff toget me.

PERRYOr that a body couldn't fit underthere with everything else.

JIMRight. That as long as I had allthis stuff under there everythingwas cool.

(laughing)So for like ten years underneath my *bed was just packed with tons of *shit.

PERRYThat's amazing.

45.

JIM(raising his beer *after a beat) *

Well here's to bizarre childhoodrituals.

They touch bottles and drink.

Perry looks at Jim tenderly and reaches over and touches his *hair. He starts giving him a massage. Jim closes his eyes, *getting lost in the feeling. *

As Jim opens his eyes Rahsan and Sean walk by glaring atthem.

SEAN *(to Rahsan) *

He's lookin' you up and down likeyou some bitch, yo.

Jim looks at them nervously and grabs Perry's hand. *

JIM(to Perry)

Stop. *(pause) *

Come on let's go. *

Perry looks over at Rahsan and Sean as he and Jim exit thepark.

INT. JIM'S DORM ROOM -- EVENING

Jim and Perry are in bed under the covers as Jim smokes acigarette. He leans over and starts touching Perry's hair.He kisses Perry on the cheek.

JIMYou make me feel so good.

PERRYI'm glad. I like making you feelgood.

JIM(caressing his shoulder)

I love your skin. It's so smooth.

Perry starts to get uncomfortable and moves away slightly.Jim starts touching his face.

JIM (CONT'D)And your lips.

(nuzzling into hisneck)

You're so fucking beautiful.

46.

Perry stares out the window at the moonlight.

JIM (CONT'D)(looking down)

And you got the sweetest black assI've ever seen.

Perry rolls his eyes and turns away. A look of hurt registerson his face. After a while he starts getting dressed.

PERRYI gotta go.

JIMWhat?

Perry looks at him for a moment and then grabs his shirtand leaves abruptly. Jim lets out a slight, expasperatedsigh and falls back onto the bed.

JIM (CONT'D)(to himself)

What the fuck?

INT. SUBWAY PLATFORM -- EVENING

Perry and Marcus are waiting for the train. They are in mid-conversation and Marcus has a look of disbelief on his face.

MARCUSI'm not even gonna say it. I hateit when them motherfuckers prove meright but they always do. Everytime.

PERRYAlright. Shut up already.

MARCUSUsually it's not so bold and obvious. They at least try to be subtle aboutit. But Jim's blatant enough to sayshit straight up and then so stupidthat he doesn't even know he's beingoffensive.

PERRYYou're not gonna stop are you?

MARCUSAlright.

(pauses and thenlaunches back intoit.)

But that's the type of shit you needto knock those blinders off your

(MORE)

47.

MARCUS (CONT'D)face. The shit's gotta be crystalclear to you now.

He waits for a response from Perry who avoids his eyes.

PERRYMaybe he's just being honest.

MARCUSAnd I suppose the fact that hishonesty offends you doesn't meananything.

We notice A BLACK MAN, with bags and a cup on the platformwatching their interaction.

PERRYIt could be that he's just not aware.

MARCUSThere you go again, always givin'some white boy the benefit of thedoubt.

PERRYWhatever.

MARCUSDamn. This is some deep delusionalshit goin' on.

The train roars into the station and they enter with an influxof people.

INT. SUBWAY -- EVENING

Marcus continues, oblivious to the people around him.

MARCUSSex with homeboy must be real good,if you still don't know after someracist bullshit like that.

The man who has been watching them with disdain now beginswalking and soliciting contributions.

MANGood afternoon ladies and gentleman,I'm from the Unity Foundation of NewYork City and we're working to providefood and shelter for young brotherson the street. Anything you canspare would be much appreciated.

48.

MARCUS(quietly to the man)

Sorry.

MANA quarter, a dime, anything to turnthese young lives around. Help thenext generation to prosper. Helpthem say no to drugs, crime andfornication outside of wedlock.

Marcus and Perry exchange glances as the man receivesdonations across from them. The man turns around with hiscup held out, looking directly into Perry's eyes.

MAN (CONT'D)Help them to resist the wicked ways that our weaker brothers have falleninto. Young men without the strengthto resist lying down with members ofthe same sex.

(gets louder, lookingtowards Perry)

Young brothers without the knowledgeto know how to follow the teachingsof the lord as stated in Leviticuschapter 20 verse 10 -"If a man lieswith a male as with a woman, both ofthem have committed an abomination;they shall be put to death , theirblood is upon them."

MARCUS(loudly and confidently)

Yo, man why don't you shut the fuckup. Nobody on this train needs tobe hearin' that bullshit.

MAN(more statement thanquestion)

So, now the words of the bible arebullshit?

MARCUS(bold, confrontational)

Damn right, when it's words likethat. I also remember the biblesaying let he who is free of sincast the first stone. I supposethat's you. You've never sinned inyour life, is that right my brother?

MANI still love you in my heart but thelord does not condone your lifestyle.

49.

MARCUSWell, maybe you need to get to knowthe lord a little better.

MANI forgive you but the lord does not. I will pray for you both.

MARCUS(aggressive and heatedas they move towardsthe doors)

Save your prayers for yourself.

Perry and Marcus exit the train. They pass three workmen, 2white and 1 black, who are entering. Perry looks back atthe black man who is particularly striking.

INT. SUBWAY PLATFORM -- EVENING

Marcus is incensed as Perry looks at the man through thedoors.

MARCUS(anger, disbelief)

What the fuck's wrong with you? Instead of standin' up for yourselfyou're busy cruisin' some guy.

PERRYThat's right. I don't give a fuckwhat that asshole thinks.

MARCUSSomebody's basically spittin' inyour muthafuckin' face and you don'tdo shit.

PERRYI don't need to justify nothin' andI'll cruise guys right in front ofthat idiot so he fucking knows it.

(pause)And what you need to do is learn howto mind your own goddamn business.

MARCUSSo that's the thanks I get.

PERRYLook, I can take care of myself. IfI need your protection I'll ask forit.

Perry looks directly into his eyes and walks toward thestairs.

50.

MARCUSYo, where you goin'?

INT. BAR -- NIGHT

Perry sits at a bar, closes his eyes and downs a shot.

EXT. WEST SIDE CLUB - BATH HOUSE - ENTRANCE -- NIGHT

Perry is pensively smoking a cigarette. He takes one lastdrag and throws the cigarette onto the ground.

INT. WEST SIDE CLUB - BATH HOUSE - LOBBY -- NIGHT

Perry climbs the stairs and joins the end of the line. Afew of the mostly white gay men turn around and assess him.

INT. WEST SIDE CLUB - BATH HOUSE - HALL -- NIGHT

The camera holds on a dark corridor with dim, yellow lightemanating from a few open doors. Perry enters frame with atowel wrapped around his waist. He walks slowly, looks intoone of the rooms and moves on.

He passes A WELL-BUILT, NEATLY TRIMMED WHITE MAN who catcheshis glance for a moment and quickly looks away.

Perry approaches a GORGEOUS BLACK MAN WITH DREADLOCKS who istouching his crotch in an attempt to arouse A LANKY BLONDEacross from him.

Perry strokes himself and raises a suggestive eyebrow towardshim. The dreadlocked Black man rolls his eyes and walksaway.

Perry opens the door to a steam room and a rush of steampours out as he enters. Close-up of clouds of steam as theyrise in the air. The camera holds on the door for a fewmoments.

A HANDSOME, KIND-LOOKING BLACK MAN exits the steam room. Perry is following him closely.

The attractive Black man approaches a door, unlocks it andenters the room with Perry right behind him.

Perry shuts the door abruptly.

INT. WEST SIDE CLUB - SHOWER -- NIGHT

Perry enters the shower area. He turns on the water andcloses his eyes feeling the water against his hair and back.Hetries to relax yet he's uncomfortable and lost.

Deep sadness and guilt overwhelm him as the camera tracksinto his face. His eyes become watery and the beginnings oftears start to develop.

51.

He brushes them away in an almost, embarrassed, "coveringup" kind of way.

He turns the water off and grabs his towel.

INT. JIM'S DORM KITCHEN -- DAY

Perry is angrily opening cupboard doors, looking for a glass.

JIMWhy don't you sit down?

PERRYI feel like standing.

JIMFine.

(awkward, tense)You know, sometimes I say and dothings without thinking and I'm sorry.

PERRYI'm not sure if that's good enough.

JIMWell what else can I do? What'sdone is done. I can't change that. Why are you makin' all this dramaoutta nothin'?

Perry becomes more angry and unsettled but manages to retainhis composure.

PERRY'Cause I need to know you're with mefor who I am and not some mythicalbullshit inside your head.

JIM(attacking)

Well I don't wanna feel like I haveto monitor every fuckin' thing thatcomes outta my mouth.

(pauses, trying toremain calm)

PERRYDo you know how many white guys Imeet who don't give a shit aboutwhat's goin' on in my mind but onlywant to sleep with me 'cause theywant some sweet black ass or somebig black dick?

JIMAnd that's what you think I'm like?

52.

PERRYI don't know. I'm not inside yourhead.

Jim sighs heavily and closes his eyes, concentrating ongetting through to Perry.

JIMLook, that night you knew I wasn'tsure. But I just did it.

(pause)This is all new to me. I don't knowwhat I'm doin'. You knew that wasmy first time with a guy. Didn'tyou?

PERRYI guess I figured that.

JIMAll I can say is I'm really confusedand I need to slow down and figuresome shit out for myself.

Perry stares at him blankly, trying to fight back angry tearswelling in his eyes.

PERRY(slow, really hurtand uncomfortable)

You know...I never meant to put youin an awkward position. But I'vebeen looking for a boyfriend for areally long time and I've beenintensely lonely for a really longtime and I got kicked out of myparent's house recently which led toalot of emotional shit. And

(slightly uncomfortablepause)

I need someone in my life whose morethan a friend whose willingto......love me. And I don't havethat and I thought you might be that.

(speaks slowly, staringdirectly at him)

But I don't think you are.

Perry starts to move towards the door.

JIMSo you're gonna leave? Just likethat?

PERRYJust like that.

53.

Perry stares at him for a moment and then walks out, slowlyclosing the door behind him.

EXT. SUBWAY PLATFORM -- EVENING

Perry exits the subway in an agitated manner as Bruce enterstwo doors away from him. Bruce sits down and begins watchingthree men talk in muffled, quiet tones.

WHITE MAN #1I can't wait to get home, man. I amdead tired.

BLACK MANYou can say that again. Have me ahot meal and put this head to rest.

The Black Man is the same man Perry was staring at in theopening train scene. He closes his eyes and leans back.

TIME CUT:

INT. SUBWAY TRAIN (1926) (BLACK & WHITE) -- NIGHT

Young Bruce watches the same Black Man and is completelymesmerized. His eyes roam his finely chiseled bone structure,taut physique and jet black hair.

Young Bruce's POV(slow-motion)- The Black man smiles at hisfriend, slapping his hand in agreement.

Young Bruce gives him a warm, sly smile while staring for anexceedingly long amount of time.

Young Bruce's POV (slow-motion)- The Black man turns finallycatching his gaze. Young Bruce writes on a small slip ofpaper and slowly approaches.

YOUNG BRUCEExcuse me, I was wondering if youmight be interested in having yourportrait done?

WHITE MAN #2( jokingly to hisother friend)

Looks like he finally made it man.(pushing the otherwhite guy)

Move over, give Mr. Hollywood someroom.

BLACK MAN(to Young Bruce)

What's in it for me?

54.

YOUNG BRUCEWell, the pleasure of giving mepleasure for one and the ability tosee the reflection of your beautythrough my eyes for two. Isn't thatenough?

The Black man looks at him skeptically. Bruce hands him thenote.

YOUNG BRUCE (CONT'D)You can either come or not. It's upto you.

Opening the sheet of paper he sees Bruce's name and addresswith a date and time. He looks up as Young Bruce smileswalking through the train doors.

INT. DARK ROOM/BLACK BOX(BLACK AND WHITE)

Two dark-skinned Black men, JAMES and EL, stare at each otherfrom opposite sides of a table.

These monologues are intermittently intercut with BlackPanther rally footage and shots of Black Gay men at a gaypride march.

On the soundtrack at the beginning we hear the Black Pantherschanting: "The revolution is now" over and over. El hasbeen sitting with his head bowed in darkness. A light shineson him as he raises his head, stares into the camera andbegins talking.

ELI used to sit and read and think tomyself "Damn, preach." I'd flip tothe cover and look into those greatbig eyes. But there was alwayssomething there that made meuncomfortable. And for awhile Icouldn't really put my finger on it. Until I picked up "Another Country".

JAMESI picked up a newspaper in Paris andyour face was right there. Next toit was another article about a young,black girl fighting to go to school. And I looked around at this FrenchCafe and thought "what the hell am Idoing here." The struggle's goin'down and I'm thinkin' about WhiteAmerica's race problem from overseas. I bought a plane ticket the nextday. But even stepping onto theplane there was something strange. I felt really unsettled...unstable.

55.

ELWe wanted fundamental, irrevocableliberation. I looked closer at yourwords and I knew you weren't withit, man. You hated Black folks.

JAMESI headed straight down south, metDr. King and fell in love with thebackwooods Black people I met.

The camera begins to dolly around them as if it's a birdcircling its prey. They address each other more directly.

ELIt always seemed like you weredefending your first love -- thewhite man. I saw those big eyesstaring over your shoulder at him. Like a child-thief staring at thecookie jar.

JAMESI knew I needed to be home. MedgerEvers and I went all over Mississippifor weeks, investigating the murderof a black man.

ELSelf-hatred has alot of forms. Itcan go undetected by even your closestfriends. You got Negroes trying toerase any trace of their Blackness. Trying everything from bleachingtheir skin to using concoctions totake Africa out of their hair.

(looks towards James)The extreme example of this self-hatred is the Black fag who takesthe white man as his lover. Hishatred turns onto Blackness, what heis and all those who look just likehim. Even hating the darkness ofnight.

JAMESSearching at all hours of the nightwe never found the Black Man'smurderer. And some of the very peoplewhose liberation I was fighting for,did not want me there. I was spatupon because of something I couldnot control. Because I'm ahomosexual. When white peoplecriticized me it sent me into heated,clear articulation.

(MORE)

56.

JAMES (CONT'D)But when Black people criticized meit really made me want to break downand cry. It made it really hard togo on.

ELThe relationship between black andwhite in America is a power struggle. It's there every day in eachinterpersonal relationship.

JAMESI know about white men and blackmen. I've been menaced by both.

EL(acknowledging Jamesmore)

That's right. And the psychicdistance between love and hate isthe same as the physical distancebetween a smile and a sneer.

JAMES(directly towards El)

What did I ever do to you?

EL(interrupting,intensely angry,staring directly athim and pointing)

You!...You let the white man fuckyou in the ass. And you know whatthat makes you? Huh? That makesyou the lowest scum on the earth.

JAMESAnd who gives you the right to judge?

EL(erupts and violentlyoverthrows the table)

I'll show you my right motherfucker!

The table crashes and resounds. They stare at each other,standing face to face. Hatred penetrates every core of theirbodies as they both hold their ground.

The soundtrack mixes the Black Panther chant from thebeginning with a Gay Pride Chant from the Gay Men of AfricanDescent.

Audio static and cut to the Last Poets snippet:"The revolutionwill not be televised." Visual and audio static.

57.

Cut to Black

High angle shot of the white outline of a dead body pullsout slowly.

Fade to Black

Fade up on Title over Black : "His work is the fruit of atree with a poison root. Such succulent fruit, what a painfultree. What a malignant root."

Title Over Black : Native Sons

Title Over Black : Text from the words, thoughts andexperiences of James Baldwin and Eldridge Cleaver.

The film flickers out leaving a blank, white screen.

INT. UNIVERSITY CLASSROOM - MORNING

The class is eerily silent except for the whir of theprojector. After a few moments, Perry turns the projectoroff.

RAHSAN(To Isaiah)

Why are we watching this in thisclass?

PERRY(defensive)

Someone I know made it and I thinkit's important and relevant.

RAHSANSo now anyone can show whatever theywant and we're forced to watch itjust 'cause they think it's important.

PERRYWe're supposed to do presentations. That's my presentation.

RAHSANWell I don't think I should have tolook at it.

PERRYWhy do you care? Maybe 'cause you'reafraid to face yourself.

ISAIAHPerry. Enough.

58.

PERRY(To Rahsan)(bemused,mocking, defiant)

Step on out the closet brother. Life's alright on the other side.

There is hushed laughter and talk from the other students.

ISAIAH(stern, authoritative)

I've already warned you both. Iwill not tolerate this level ofdiscussion in this classroom.

The bell rings and students get up to leave. Perry and Jimglance at each other from across the room as Jim gathers hisstuff and quickly exits.

ISAIAH (CONT'D)(over the din)

Perry, come here.

Perry walks towards his desk.

PERRYWhat's up?

ISAIAH(direct andauthoritative)

Now, whatever personal issues youand Rahsan have need to be leftoutside of this classroom. Is thatunderstood?

PERRYYeah.

ISAIAHNow, it's okay for that to be partof your presentation. But I alsothink part of your presentation needsto be in your own voice, being clearabout your thoughts and ideas aroundthese issues. How do they affectyou and society and culture in thepresent.

PERRYFine.

ISAIAHYou can use the texts we've read inclass and other outside materials. But you need to synthesize them intoyour own ideas.

59.

He sees a look of disappointment and confusion on Perry'sface.

ISAIAH (CONT'D)(encouraging)

You're doing some important work. Don't let yourself get distracted.

PERRYI'm glad someone appreciates it.

They walk and exit as Isaiah holds the door for Perry.

EXT. HOMELESS SHELTER -- LATE AFTERNOON

Perry exits the shelter and sees Bruce looking at him fromacross the street. He approaches him.

PERRY(direct)

How's it goin?

BRUCEAlright.

PERRY(antagonistic andaggressive)

Man, what's your deal?

BRUCEExcuse me?

PERRYEvery time I turn around you're likein my face. You know, you seem coolbut...it's startin' to freak me out.

BRUCESorry.

PERRYLook....no offense but I am a littleyoung for you.

BRUCE(laughing slightly)

True.

PERRY(confrontational)

So what do you want?

BRUCEA little bit of time maybe. That'sit.

60.

PERRYYeah, well maybe I don't have timeto spare.

BRUCESuit yourself. If you don't expectnothin' then you won't be let down. There's no money back guarantee.

Bruce gets up, walking away with conviction as Perrytentatively follows.

EXT. NEW YORK CITY STREETS, TIMES SQUARE/HARLEM -- EVENING

Time lapse shots of present-day New York City streets seenas rapid-fire streaks. People and traffic all in a frenetichustle. These shots dissolve into the same streets seen inarchival footage from the 1920's.

EXT. HARLEM - WEST 136TH STREET(PRESENT) -- NIGHT

Bruce and Perry walk up a vibrant Harlem street.

BRUCEDo you ever come up here?

PERRYNah, not really. I'm from Brooklyn. Harlem's not really my area.

BRUCE(gesturing around)

Look at everything you're missing.

Hip-hop is blaring from a car as people laugh and talk indifferent groups.

PERRY(unimpressed, lookingaround)

Looks just like Brooklyn. Alot peoplehangin' around doin' a whole lottanothin'.

BRUCEThat's it, huh?

PERRYYup.

Bruce and Perry turn a corner.

TIME CUT

61.

EXT. - WEST 136TH ST(1926)(BLACK & WHITE) -- NIGHT

Langston and Young Bruce are walking up the same street andapproaching the front of a building. The song "Fire" playsover their walk.

TIME CUT

INT. 267 WEST 136TH ST.(PRESENT) -- NIGHT

Bruce and Perry enter a dilapidated building. It's dank,grey and ominous.

BRUCE(looking around,touching the banisterof the stairs)

I can't believe it's still here.

Bruce begins climbing the stairs and turns around noticing afearful Perry at the door.

BRUCE (CONT'D)Look at you. If an old man like meis game for a little adventure, youshould be too.

(gesturing with hishand)

Come on, you go first.

PERRY(walking towards him)

Whose big idea was this anyway?

BRUCEOh live a little.

Perry goes up the creaking stairs and Bruce follows. AsBruce reaches the top of the stairs he turns around tosee....

TIME CUT

INT. NIGGERATTI MANOR(1926)-- NIGHT

(Slow Motion)Langston and Young Bruce slowly climbing thecleaner, polished version of the same staircase and lookingup towards the top landing.

BRUCE (V.O.)That night Langston and I came tovisit we ended up staying off and onfor two years. This building waswhat we affectionately calledNiggeratti Manor.

62.

INT. WALLY'S ROOM(1926) -- NIGHT

Wally is slowly taking the needle off a record. He sitsback down at the typewriter and finishes his last sentencewith satisfaction. He reads the letter over.

This is intercut with footage of ZORA, a young, energizedBlack woman, who's filming Black street children playingdifferent games.

WALLY (V.O.)Dear Zora -- This is the roughstatement of purpose for the magazine. "We of the younger generation arelike all other human beings in aperiod of transition. We areeternally discovering things aboutourselves and our environments whichour elders have been at pains tohide. We all know that articulateNegroes in the past have been battlingdown an inferiority complex. Theyhave been so busy justifying theirpresence in a hostile, racistenvironment that they've ceased tobe human beings. They've becomesocial problems even to themselves. With the new magazine we will ceaseto look for respectability in thewhite person's eyes. We will expressthe beauty and ugliness of ourindividual selves for ourselves. Ifanything is deemed disturbing orpornographic then so much the better. We will seek to express ourselves aswe see fit." Please let me knowwhat you think. I am also eagerlyawaiting your submission.

Wally

TIME CUT:

INT. NIGGERATTI MANOR(PRESENT) -- NIGHT

Bruce moves towards a door and opens it as Perry followsbehind.

TIME CUT:

INT. WALLY'S ROOM(1926) -- NIGHT

Wally turns around from his typewriter as Young Bruce andLangston enter the room.

63.

LANGSTONLooks like we missed all the fun. The music's turned off. He'spositioned in front of the typewriterfor some serious work.

WALLYOh, I'm just posing and waiting fordistraction... and here you are.

YOUNG BRUCEWell you know what they say aboutall work and no play.

WALLYWell even when I'm working, I'mplaying.

(pointing to his head)Up here.

Wally begins pouring three glasses of scotch and handingthem out.

YOUNG BRUCEWhat's that song you were justplaying?

WALLYIt's called "Fire".

YOUNG BRUCEWell you can't deprive us of it anylonger.

Wallace puts the record on at low volume as Langston glancesat Zora's name in the letter in the typewriter.

LANGSTONHow's Zora doing?

WALLYGood. She's been down southcollecting stories and filming allsorts of things. She's at Barnardstudying with Boas so they're fundingit all.

Zora's archival documentary footage of kids playing streetgames is intercut with recreated archival footage of hershooting with a 16mm Bolex camera.

YOUNG BRUCEWhat a life.

WALLYNo kidding. Oh I got a letter fromher last week.

64.

Wally opens his desk drawer, takes out the letter and handsit to Langston. Langston opens it.

WALLY (CONT'D)You have to look at the numberedpart with the five characteristicsof the Negro.

We hear Zora speaking her words as Langston reads. The letterreading is intercut with Zora filming and her actual archivalfootage corresponding to her "laws" as she describes them.

There's background soundtrack music of her and Alan Lomax'sfield recordings of folk songs.

ZORA (V.O.)I have come to five general laws butI shall not mention them to PapaBoas, Godmother or Alain Locke untilI have them worked out. Godmotherhas forbid me to publish in exchangefor a two hundred dollar salary. But I know you can be trusted. "One-The Negro's outstanding characteristicis drama. That is why he appears soimitative. Drama is mimicry. Notegesture in place of words. Two-Negrois lacking in reverence. Note thenumber of stories in which God, churchand heaven are treated lightly. Three-angularity is everything,sculpture, dance, abrupt storytelling. Four-Redundance. The number of times,usually three, that a feature isrepeated in a story. Five-Restrainedferocity in everything. There is atense ferocity beneath the casualexterior that stirs the onlooker tohysteria. Note effect of Negro music,dancing and gestures on the staidCaucasian." Ideas are swellin' upin me like a barrel of molasses inthe summertime. Remember these arebetween you and me. I'll tell youmore soon in person. Love Zora.

INT. WALLY'S ROOM(1926) -- DAY

Langston is smiling and shaking his head contemplating Zora.

WALLY(to Langston)

We actually have this idea for a newjournal that we've been bouncin'back and forth.

65.

LANGSTONSomething like "Crisis"?

WALLYBite your tongue. No more weepin'and moanin' for respect from whitepeople. Locke and Dubois have hadtheir say. This is about youngerartists. Something with spunk andpassion.

Langston looks towards Young Bruce in joint recognition.

YOUNG BRUCESounds like we've all been havingthe same conversation.

WALLYWe're talkin' drawing, poetry,fiction, essays. Anything by youngNegroes with something new to say.

YOUNG BRUCE(to Wally)

Well count us in.

Langston nods in agreement. Wally becomes lost in the lyricsof the song, closing his eyes and humming along.

LANGSTON(to Wally)

Does it have a name?

Wally lost in the rhythm suddenly opens his eyes.

WALLYI hadn't really thought about it,But how 'bout "Fire"?

LANGSTON(getting up and raisinghis glass)

Well here's to burnin' it all down.

Young Bruce increases the volume on the phonograph and joinsthe toast. They drink and dance, all three holding eachother, lost in the boozy reveries with the song.

INT. NIGGERATTI MANOR (1926) WORK MONTAGE -- AFTERNOON/EVENING

Swinging jazz music sets the pace for a fast montage ofdifferent artists greeting each other, moving in, gettingsettled(Young Bruce, Langston, and AARON DOUGLAS, a well-groomed handsome painter).

66.

Zora parks her car, slams the door and hollers Wally's namefrom the sidewalk. Wally rushes down the stairs and givesher a big hug.

Young Bruce and Aaron shake hands.

Langston enters the house carrying luggage and followingWally to a room.

Wally opens the door and Langston looks around at his newroom with starry-eyed enthusiasm.

INT. NIGGERATTI MANOR (1926) WORK MONTAGE(CON'T.) -- EVENING

Jazz continues under vignettes of people at typewriters andcanvases, reading to each other, typing feverishly, whitingout paintings, ripping pages and throwing into trash, etc.

Wally looks over Aaron's shoulder at his canvas. It's anearly completed red and black drawing of a lion inside theprofile of a regal face with strong African features.

AARON(slightly nervous)

Do you like it?

WALLYDo I like it? I think you justfinished the cover of our magazine.

INT. NIGGERATTI MANOR-LIVING ROOM(1926) -- NIGHT

Wally, Zora, Langston, Young Bruce and Aaron are assembledin the living room in front of a coffee table filled withmanuscript pages.

WALLYI think if we put this out it'd be aperfectly respectable magazine.

(eyeing Young Bruce)But who wants that.

YOUNG BRUCEWe're ready to get lowdown and nasty.

Zora rolls here eyes.

ZORA(towards Young Bruce)

There you go. Always wanna go muckin'around in the gutter.

WALLYWait a minute, he has a point. Weneed to show things that othermagazines won't. If not, then whybother?

67.

LANGSTONWell it still has to be good writing.

WALLY(calming him)

Don't worry. Trust us.(smiling towards YoungBruce)

Bruce and I were thinking that thereare two types of people thatupstanding Negroes want no part of.

YOUNG BRUCE(interrupting)

Queers and whores. The types thatwe're the most fond of.

WALLYAnd we'd like to give them a littletoken of our appreciation.

Young Bruce throws a coin in the air and slams it onto hishand.

YOUNG BRUCEHeads, you get the streetwalker. Tails--the homosexual.

(to Wally)What's your call?

WALLYHeads.

Young Bruce peeks at the coin and gives a dramatic pause.

YOUNG BRUCEIt's heads.

(getting up)Now let's really wreak some havoc.

He flips the coin up towards Wally who snatches it from theair.

INT. NIGGERATTI MANOR-BRUCE/WALLY BEDROOMS(1926) -- NIGHT

Young Bruce and Wally are at their respective typewritersconcocting their stories. Slow-motion close-up of handsmoving sensually on the typewriter keys.

DISSOLVE TO:

INT. NIGGERATTI MANOR HALL(PRESENT) -- NIGHT

Bruce and Perry approach another door.

68.

BRUCEAnd if it seems like we worked hard,lord knows we played even harder.

INT. WALLY'S ROOM(1926) -- NIGHT

The creaking of the bed and the escalating sounds of sexbecome more heated and furious. Through the keyhole we seeBlack legs gyrating on top of white legs exposed through thesheets on the side of the bed.

The camera pans to reveal Wally on top of HARALD, a handsomeblonde. In the midst of incredible thrusting he is holdingHarald's hands down on the bed.

Young Bruce is under the bed and his left cheek is flatagainst the floor. The box spring comes dangerously closeto his face with every thrust as the orgasmic sounds becomemore intense.

HARALD(ecstatic)

Please, please don't stop. Uh...

WALLYIt's so good...God....I'm coming

HARALDSo am I...oh god...

Wally arches his back and releases, collapsing onto Harald. They let out sighs of fulfillment and exasperation. Wallysnuggles into Harald's neck caressing his cheek.

YOUNG BRUCE(mocking)

It's so good...oh god...I'mcoming...Me too

Wally leans over and looks under the bed to see Young Brucegroaning and thrusting wildly towards the boxspring. Hefaux climaxes.

YOUNG BRUCE (CONT'D)(smiling, applaudingas he slides outfrom under the bed)

Bravo...Wally I think that's yourbest piece of work yet.

Harald throws a pillow then a shoe at him which he gracefullydodges. He then leaps out of bed chasing Young Bruce downthe stairs and into the living room.

WALLYHarald, relax.

(MORE)

69.

WALLY (CONT'D)(under his breath tohimself, reachingfor a cigarette)

He and I share everything else aroundhere, why not the men.

INT. NIGGERATTI MANOR LIVING ROOM(1926) -- NIGHT

Young Bruce runs into the living room with Harald chasinghim. He can't keep himself from staring at Harald's crotch.

YOUNG BRUCEGod, are you sure you don't havesome Negro blood in you? If I hadknown I would've joined you.

HARALD(cornering him aroundthe couch)

In your dreams, buddy.

Harald throws a cushion as Young Bruce leaps from around thecouch. Harald tackles him and pins his arms to the ground.

YOUNG BRUCE(jokingly sexual)

Please don't stop. Oh, God...I'mcoming.

Wally enters the room keeping his robe closed with one handand holding a drink in the other.

YOUNG BRUCE (CONT'D)(to Wally)

Would you get your big Canadian lugoff of me.

WALLY(tussling Harald'shair)

You know these white boys never getenough.

Young Bruce struggles to free himself.

WALLY (CONT'D)Well, somebody's gonna have to getup eventually and buy some gin forthis party.

HARALDWhat party?

70.

WALLYThe one that's gonna pay the rentfor the next month which is supposedto start in less than two hours andas usual it looks like I'm going tobe the one to drag all that booze upon the train.

Harald and Young Bruce look at him helplessly, affirmingthat this will definitely be the case.

EXT. HARLEM STREET(1926) -- NIGHT

Young Bruce is walking up the middle of the dark, desolate,street. His footsteps resound loudly. He glances over hisshoulder sensing a strange presence.

INT. NIGGERATTI MANOR PARLOR(1926) -- NIGHT

The sounds of the quiet beginnings of a party can be heardfrom the living room.

Wally sips a drink and stares at Young Bruce who is barefoot,sitting on the floor staring at patterns in the carpet. Heis about to begin a story.

Zora, Langston and a few others are sitting on the couch. Zora's leg is subtly rubbing against Langston's as she movesher index finger to inconspicuously stroke his knee.

Langston repositions himself, moving his leg away from Zora's. A look of disappointment crosses her face.

She feigns nonchalance and pretends to refocus on Young Bruce.

ZORA(to Young Bruce)

Are you gonna tell us what happenedor what?

EXT. HARLEM STREET(1926) -- NIGHT

Young Bruce looks around the empty street, then continues upthe block.

YOUNG BRUCE (O.S.)I had been walking miles and I didn'tfeel like coming back home. Sometimeshomes can be such boring places whenyou're not feeling homey. Sometimesit's nicer to just drop in somewhereand see what you find.

We see a blurred image of Perry approaching the dilapidated,present-day Niggeratti Manor. A pulsating, bright lightcomes from the window next to the door.

71.

YOUNG BRUCE (O.S.) (CONT'D)This house looked strangely familiar,run-down yet warm and inviting. Icould feel my body going throughcertain motions yet my physicalpresence was unrecognizable to me.

A ghost-like, translucent Perry opens the door.

DISSOLVE TO:

INT. NIGGERATTI MANOR PARLOR(1926)-- NIGHT

YOUNG BRUCEI found a little cubby hole and begandrifting into sleep.

INT. NIGGERATTI MANOR(PRESENT)/FOREST--NIGHT/DAY

Perry is under the staircase which dissolves into a forestcanopied by thick oaks and surrounded by an assortment offlowers. The wind is rustling the trees as shafts of sunlightfilter through.

Older Bruce approaches Perry's sleeping body, wrapping ablanket around him.

YOUNG BRUCE (O.S.)I lay still as ever and yet thenearness of this physical presencekept luring me closer.

Older Bruce reaches over and touches Perry's hand.

YOUNG BRUCE (O.S.) (CONT'D)And for a brief moment I felt whatseemed like a complete merging.

INT. NIGGERATTI MANOR HALL(PRESENT) -- NIGHT

Perry is under the dilapidated staircase

WOMAN(shrill, screaming)

Stop it. Somebody help me.

A startled Perry gets up quickly. A bright light shinesfrom the top of the staircase. He walks into it as it getslarger, enveloping him.

INT. NIGGERATTI MANOR PARLOR(1926) -- NIGHT

Young Bruce's audience is still enraptured.

As Young Bruce tells the story there is a superimposed montageof images of Perry- on the stairs, on the roof, seeing an

72.

INTER-RACIAL WOMAN WITH AN INFANT, and climbing down ontothe street.

YOUNG BRUCEUp the stairs I ran cursing her forhaving spoiled my dream. I reachedthe roof and crossed over to thenext house, running into my motherquietly rocking a baby and ignoringme. I came down the fire escape andstrolled onto the street, finallyreaching home. Of course, I wasstill lamenting the interruption ofmy exquisite idyll.

There is silence as the listeners muse over the story.

ZORA(in disbelief)

Did you really dream that?

YOUNG BRUCEAs plain as I sit right here in frontof you.

ZORAI've heard stories from here toTimbuktu, but you always leave mewith my mouth hangin' wide open.

YOUNG BRUCEWell, that's my job.

LANGSTONAnd this presence was it male orfemale.

YOUNG BRUCE(sly, smirking)

You know as well as I do that thatmakes no difference to a liberatedsoul like mine.

A low guttural, moan can be heard as the piercing sting of aguitar reverberates from the other room.

ZORAIt sound like it's about time for alittle liberation.

They all rise from the couch eager to be in the center ofthe action.

73.

INT. NIGGERATTI MANOR LIVING ROOM(1926) -- NIGHT

Opening the door to reveal throngs of people bumping, grindingand swinging to live Blues as a decadent party is at itspeak.

Perry and Older Bruce watch from a corner in theircontemporary clothing. Bruce whispers to Perry as the raw,sexual energy swirls around them.

Inter-racial and same-sex couples dance and mingle throughoutas GLADYS, a 250 pound male impersonator in top hat andtuxedo, is holding a mic singing "Prove It On Me Blues",attempting to seduce a BEAUTIFUL, YOUNG BLACK WOMAN.

GLADYS"They say I do it, ain't nobody caught me. They sure gotta prove it on me. Went out last night with a crowd offriends. They must've been women'cause I don't like no men. It'strue I wear a collar and tie..."

The camera floats throughout the crowd getting brief snippetsof different occurrences throughout the room.

A HANDSOME, BLACK STREET KID is trying to teach a YOUNGITALIAN ACTRESS the "Black Bottom" dance. His pelvis swingslow down to the floor as she watches attentively. She meeklyattempts to duplicate his moves without much luck.

BLACK STREET KIDIt's all in the hips. You gottajust let it go. Listen and feel it.

She closes her eyes, moving her hips awkwardly. He shakeshis head, worrying about her severe lack of rhythm.

A cluster of three people, two Black women and one whiteman, pass around a joint and erupt in laughter.

AN OLDER, DIGNIFIED, LIGHT-SKINNED BLACK MAN and HIS WIFEenter the room. They take in the above scenarios and lookshocked by the unbridled hedonism on display.

The Black street kid is now putting his hands on the whiteactress's hips.

GLORIA SWANSON, a beautiful black female impersonator, isdone up to the hilt in a sequin and silk evening gown. "She"is unbuttoning the top buttons on the shirt of A VERY PRIMAND PROPER, CONSERVATIVE GIRL.

GLORIA(unbuttoning)

There's one and that's two. Let'sgo for three. Whatta ya say?

74.

The girl starts refastening the buttons self-consciously.

GLORIA (CONT'D)Oh honey now you have to start toloosen up or mama might have to revokeyour invitation to this fine littlesoiree.

Harald is stumbling and hanging onto strangers as he downsany and all of the random, unfinished drinks he sees. Wallygrabs him, holding him up and swaying with him to the rhythmof the song.

The dignified couple has seen enough. The husband whispersto his wife and they head towards the door. They pass YoungBruce in the corner with TWO HANDSOME, UNKEMPT ITALIAN GUYS. He is feverishly kissing one and looks up as they pass.

YOUNG BRUCE(smirking mischievously)

Leaving already?

The couple is so flustered and disgruntled that they do notknow how to respond. The man grabs his wife's arm and makesa beeline for the door.

Young Bruce returns his attention to his friend.

YOUNG BRUCE (CONT'D)Sorry. Where were we?

They resume kissing passionately.

Gloria is now sharing the microphone with Gladys and suddenlymaking moves to take over the stage. She starts to sing"Freakish Blues" as the band follows her cue.

Young Bruce breaks away from the lengthy kiss.

YOUNG BRUCE (CONT'D)Not bad.

He turns to Young Italian #2 and begins kissing him withequal intensity. They kiss for awhile.

YOUNG ITALIAN#1(towards Young Bruce)

And the winner is...?

YOUNG BRUCEI think we need to do more research.

He begins to passionately kiss Young Italian #1 again.

CALVIN, a sullen, working class, Black man, sits in a corner,uncomfortable and aloof from the crowd. Zora motions forhim to join her and Langston at the other end of the room.

75.

He ignores her.

Zora and Langston turn their attention towards Young Bruceon the couch in the throws of a steamy kiss. Langstonwhispers something to Zora as she looks towards Wally andHarald.

ZORA(calling out)

Wally, Harald. We're drinking toBruce's newfound loves.

LANGSTON(raising his glass)

May the best man win.

YOUNG BRUCE(getting up)

Excuse me. I think my friends aredrinking without me.

WALLYHere, here.

Wally and Young Bruce join Langston and Zora in the corner. They all raise their glasses together and toast as the whiteflash of a photographer's camera freezes the frame.

CARL VAN VECHTEN, a thin, sharply, dressed blonde, lowershis camera from his face and motions for Wally and Harald tofollow him out.

Zora, Langston and Young Bruce watch the three of them goingupstairs together. Wally trips on a stair and falls as Haraldattempts to hold him up.

YOUNG BRUCE(looking towards thestairs)

Where are they going with that whitemonkey?

LANGSTONLooks like their being lured intotheir cages.

Zora tries to hide a slight resentment and hostility.

ZORA(cold, matter of fact)

Well, boys will be boys.

INT. WALLY'S BEDROOM(1926) -- NIGHT

Older Bruce and Perry hide behind a curtain as Wally andHarald begin drunkenly disrobing. Carl looks around the room,taking his camera out of his bag.

76.

HARALD(slightly slurred)

So these are only for you, right?

WALLY(interrupting brashly)

Anything Carl wants he gets.(to Carl)

You're one of the few people who waswilling to patronize our magazine. This is the least we can do.

Wally stumbles to the ground attempting to remove his pants.

HARALD(laughing)

Are you okay?

WALLY(rubbing his elbow)

I think I'll survive...barely.

They finish undressing and seem uncomfortable with theirnakedness.

HARALDYou did say that you're not going toshow these to anyone right?

CARLAbsolutely not. They're just for myown personal project. It's anexploration.

WALLYSo how do you want us? Standing up,kneeling, lying down, erect, flaccid.

CARL(smiling)

Harald turn your back to me and putyour arm over his far shoulder.

He carefully observes, walks over and adjusts Harald's armon Wally's shoulder. Wally and Harald look into each other'seyes. There's a sudden flash and the sound of the cameraclicking.

Young Bruce stands behind the camera with a grin.

YOUNG BRUCE(devilish, sexy)

I couldn't resist.

CARLBruce, could you excuse us. We'retrying to work.

77.

HARALD(sarcastic, drunken)

Yeah.

YOUNG BRUCEFine. I know when I'm not wanted.

(walking out)I'm never the one to get in the wayof art.

INT. NIGGERATTI MANOR - HALL(1926) -- NIGHT

Calvin is putting on his coat as Zora approaches him. Langston is alone in a corner watching the exchange.

ZORAWhere are you going?

CALVIN(cold, hurt)

Home.

ZORAYou weren't gonna tell me you wereleaving? And how am I supposed toget home?

CALVIN(bitter)

Seeing that you spent the entirenight with Langston, I thought youmight wanna go home with him.

ZORA(tense, annoyed)

So now I have to deal with thisjealousy crap again.

CALVINYou know I hate these parties. Idon't know why you keep draggin' meto 'em.

ZORAWell maybe if you did somethingbesides sulk in the corner you mightget to like 'em.

CALVINThe only reason you bring me is toshow off how smart you are with allyour snotty writer friends. Standin'around thinkin' ya'll are betterthan everybody else.

ZORAThat's not true and you know it.

78.

CALVINYes it is.

ZORAI invite you 'cause I want you to bepart of my life.

CALVINWell that part I can do without.

ZORA(exasperated)

You know what? I really don't feellike ruining a perfectly good nightarguing with you. I'm staying. I'll find my way home.

CALVINThat's fine with me.

He grabs his hat and abruptly exits as Zora rejoins the party.

INT. WALLY'S BEDROOM(1926) -- NIGHT

Carl finishes adjusting Wally and Harald's positions to hisliking.

CARLExcellent.

He goes back to the camera and snaps the first shot. Whiteflash into freeze frame of the shot.

INT. DARKROOM(1926) -- NIGHT

In the dim red light of the room the same image is formingin the developer. Carl smiles at the contents. He holdsthe photo up to the light, investigates and places it intothe next bath of chemicals.

INT. WALLY'S BEDROOM(1926) -- NIGHT

Wally and Harald hold several different poses and for eachthere's a white flash into a freeze frame. These arerecreations of Van Vechten's stylized erotic photographs.

INT. NIGGERATTI MANOR-LIVING ROOM(1926) -- AFTERNOON

The remnants of the party are strewn about everywhere. Dirtycups with cigarette butts, overflowing ashtrays, portions oruneaten food on plates, etc.

Young Bruce, Zora, Wally, Langston, Aaron and Harald are allnursing hangovers and looking like hell. A pile of newspaperreviews is stacked in front of Wally and the tension in theair is high.

79.

ZORAI'm not interested in some highfalutin' critics opinions anyway. They are the last people I'm writin'for.

LANGSTONWell it is going to affect the amountof people that buy the damn thing. We might as well know the battlewe're up against.

(to Wally)Since you've already read them allwhy don't you start and then we'lltake turns sharing the torture.

WALLY(tentatively)

Alright, you asked for it. Theseare just some of the highlights.

He swiftly opens the first paper as all the attention focuseson him. There's a close-up of each person as they are beingcritiqued by the reviewer.

WALLY (CONT'D)(reading)

"I have just tossed the first issueof Fire into the fire. Aaron Douglas,in spite of the meaninglessgrotesqueness of his creations, hasgained a reputation as an artist. He is permitted to spoil the perfectlygood pages and the cover with hisink and pen hodge podge. LangstonHughes displays his usual ability tosay nothing in many words. ZoraNeale Hurston writing in the slangsof the deep south betrays her owneducation and that of the vastmajority of her readership. WallaceThurman and Richard Bruce in choosingto write about prostitution andhomosexuality, respectively, havedecided to drag the Negro race throughthe muck, the remnants of which willnever be fully cleansed."

YOUNG BRUCE(jovial)

Well this calls for a celebration! I say we all go down to Stella's forbrunch and the biggest pitcher ofmimosas that money can buy.

80.

EXT. HARLEM STREET(1926) -- DAY

Young Bruce and Zora talk as the rest of the group walksahead.

YOUNG BRUCESo what'd you want to talk about?

ZORAI don't know, I've been worried aboutyou. Did you find a job yet?

YOUNG BRUCEI been lookin'. There's just notthat much out there.

ZORAHangin' out with Parker and Audenall day in the Village isn't what Icall lookin'. It's not like a job'sjust gonna show up at Bickford's andbite you on the ass. And don't thinkwe don't know that you been sellin'the magazine and keepin' the moneyto feed yourself.

YOUNG BRUCE(feigning ignorance/joking)

Why young lady. What are you accusingme of?

Zora gives him a skeptical, "don't try to play me" look.

ZORAIt's not right. If anybody shouldbe gettin' that money it's Wally. He's put the most into it.

YOUNG BRUCEWell, a job'll turn up sooner orlater.

Zora takes a pack of Pall mall cigarettes from her purse.

ZORAI hope so. For your sake.

(slightly devious)But the more important question iswill you still walk with me if Ismoke this cigarette on the street?

YOUNG BRUCE(disbelief)

You're not gonna do that.

81.

ZORALike hell I'm not.

Zora lights up and takes her first drag.

YOUNG BRUCEWell what do I have to lose. It'snot like I have some stellarreputation to protect.

Zora smokes triumphantly as people stare at her and thecigarette in horror. She returns their stares with a proudand confident smile.

INT. STELLA'S CAFE(1926)-- DAY

The waitress clears the last of the dishes from the tablewhere the group sits.

LANGSTON(smiling at thewaitress)

Thank you.

TWO BLACK COUPLES at different tables watch them in disgust. The women lean in to whisper to their partners while glancingwith disdain.

ZORAI think we should read it here.

AARONYou've lost your mind.

ZORACome on. Everyone has to read thework of the person to the left ofthem. You kick the person next toyou when you want them to take over.

WALLYWhat about the artwork?

YOUNG BRUCEYou have to pose like the subject inthe drawing.

ZORAHot damn, I like it. Langston youstart.

LANGSTON(tentative)

I don't know about this.

82.

ZORACome on. Let's give the people alittle taste.

(giving him a swiftkick under the table)

Go on!

LANGSTONOw! Jesus

(reading)"And there I saw Cordelia savagelycareening in a drunken abortion ofthe Charleston and surrounded by aperspiring circle of handclappingenthusiasts...Seeing that she wasabout to leave the room I rushedforward calling Cordelia...Stilleager to speak, I heard one of thegirls ask "Who's the Dicty kid?...andCordelia answered "The guy who gimmema ' firs' two bucks."

Langston kicks Wallace who smoothly takes over.

WALLY(reciting suddenlywith great rhythmicintensity)

"Laughter, suddenly like a taut drum,laughter, suddenly neither truth norlie, laughter hardening the duskdark evening. Laughter, shaking thelights in the fish joint, rollingwhite balls in the pool rooms. Andleaving untouched the box car sometrain had forgotten."

Wallace kicks Young Bruce who is staring at an elaborateillustration in the magazine. He stands on his chair andstrikes a pose, flamboyantly imitating the character in thedrawing.

Zora throws the magazine on the table and begins clappingand singing as Young Bruce dances on his chair. The restbegin to join in.

ZORA(singing)

"Fy-ah, fyah gonna burn my soul. Iain't been good. I ain't been clean. I been low-down, stinkin' mean. Andbaby, Fy-ah, Fy-ah gonna burn mysoul.

(others join)Fy-ah, fy-ah gonna burn my soul. Fy-ah, Fy-ah gonna burn my soul."

83.

INT. NIGGERATTI MANOR(PRESENT) -- NIGHT

Bruce and Perry are seated on the staircase. Bruce takes along drag on his cigarette and exhales.

BRUCE(deep in thought,waits a moment beforetalking)

No matter how bold we were, therewere times when you knew your placeor you'd end up swingin' from a tree. For me, I knew most Black peoplewouldn't have my back. Why? 'CauseI was a cocksuckin' faggot. Andmost white people wouldn't. Why? 'Cause I was a nigger. So you gotstrong and learned to rely on yourwits and instincts to survive.

Bruce takes another contemplative drag of his cigarette.

EXT. SUBURBAN HOUSE(FLASHBACK)(SUPER-8) -- DAY

Perry nervously approaches his parent's house. After a deepbreath he gathers up the courage to ring the bell. His fatherslowly approaches through the screen door.

PERRY(sensing hostility)

Look, I just need to get some booksfrom the basement.

MR. WILLIAMS(stern, cold anddetached)

I told you not to step foot anywherenear this house.

PERRYI need them for school.

MR. WILLIAMSAnything you left in this house doesnot exist. Now get out of my sight.

Perry stares into his father's eyes with intense hatred.

INT. NIGGERATTI MANOR(PRESENT) -- NIGHT

We hear the sound of a door slam as Bruce is eyeing thedilapidated ceilings and walls. He sees small bits of plasterbegin to fall.

84.

BRUCE(weary, forlorn)

God, look at this place. It's funnyhow all these things live inside youuntil you make your peace with them.

We hear the distant sounds of yelling and violence with briefPOV shots of Perry's father assaulting him throughout theselines.

PERRY(mournful)

Like when my dad caught me with thisguy in my room. He was kicking theshit out of me and he kept screaming"Not in my house!" Almost like hewas trying to convince himself I wassomeone else. Like if he just keptpounding on me this thing woulddisappear. And my mother kept saying"Everything keeps going over andover again in my mind and I keepthinking where did we go wrong." Shesaid she felt like killing herself. I thought of the times when thethought of them finding out I wasgay was enough to make me want tokill myself. She finally understoodwhat that must feel like.

Bruce stares at him for a moment not knowing what to say. He wants to bring himself to hold Perry but for some reasonhe can't.

BRUCEThose similar feelings are metaphoric.

PERRYWhat do you mean?

BRUCENo matter how far you run thoseconnections will always be there. Family's the core stuff and you gottafight like hell to let 'em know whoyou are. The rest is up to them.

DISSOLVE TO:

EXT. HARLEM NEWSSTAND(1926) -- DAY

Young Bruce passes a newsstand and looks past the cashier tosee issues of "Fire" bundled up and hidden in the corner.

85.

YOUNG BRUCEExcuse me sir, those magazines backthere are meant to be displayed andsold, not hidden away.

CASHIERIt's not my doin'. It's the NAACP.

YOUNG BRUCEWhat are you talking about?

CASHIERApparently there've been alot ofcomplaints from the public. We weretold not to display them.

EXT. HARLEM LOT(1926) -- NIGHT

There's a huge bonfire as issues of the magazine burn in themidst of a volatile protest.

BLACK WOMAN #1(angrily tossingseveral issues intothe bonfire)

It's smut and filth and you're nothingbut degenerate lowlifes.

ZORA(boldly confrontational)

We're your children and we're sickand tired of lyin' to impress whitepeople and bourgeois Negroes likeyou.

BLACK WOMAN #2(to Zora)

With all your education you shouldknow better. You are sick! And youare no child of mine. My childrenare trained to know better.

WALLY(to Black woman #2)

Trained like good, obedient littledogs waiting for the master to throwthem a bone. Maybe it's time tofeed ourselves.

ZORAYa'll need to get up off your knees. My mama always said that was noposition for a lady to be in.

86.

BLACK WOMAN #3(to Black woman #2)

You should be encouraging them. Youhave no right to tell a writer whatthey can and can't say. If you don'tlike it, then don't read it.

BLACK MAN #1(towards Bruce)

I'm from D.C. and I know you're froma good family. You bring them shame. That's why you can't even write underyour real name. Richard Bruce. Ha! You're Richard Bruce Nugent. TheNugents of Washington D.C.. And if Iwas spreading homosexual filth likethat I wouldn't attach my name to iteither.

YOUNG BRUCEYou're prejudice is what's filthy! And I do want to spare my familyshame. The shame that comes fromyour fear of looking in the mirrorat what we all are!

BLACK MAN #1(tossing more magazinesin the fire)

There is no "we" in this. There isnot a proper Negro in the world thatwould stand by this. Your fathermust be turning in his grave.

BLACK MAN #2This is what proper Negroes do withtrash like you.

He throws a magazine into the barrel and violently spits inYoung Bruce's face. Wally sees this and becomes incensed.

WALLY(To Black Man #2)

Who do you think you are?!

The fire rises in the distance as the arguing becomes morevolatile and ferocious. As the camera tracks back the voicesturn into a dissonant cacophony submerged within the nightair.

INT. MANHATTAN OFFICE (1926) -- DAY

A heavy-set white man in his mid-forties, MR. MACALLISTER,stands looking out the window of his office. Wally enters.

87.

MACALLISTER(turning around)

Mr. Thurman, so glad you could makeit please sit down.

WALLY(taking a seat)

Thank you.

MACALLISTERCan I get you anything. Coffee,tea..?

WALLYNo, I'm fine. Thanks.

MACALLISTERAlright. Let's get down to businessthen. I read the manuscript andwith some minor adjustments we wouldseriously consider publishing it. As you know we're interested inpresenting new, important Negrowriters such as yourself to thepublic.

Wally looks at him skeptically, knowing where this is heading.

MACALLISTER (CONT'D)If Mr. Van Vechten has proven anythingwith the success of Nigger Heaven,it's that there's a hunger for the reality of Harlem life.

WALLYI agree.

MACALLISTERNo holds barred. Telling it the wayit is. And I think a Negro writerhas access to insights into thisworld that white writers like VanVechten can never get to. Are weseeing eye to eye on this?

WALLYOh, absolutely.

(pause)So, what were these minor adjustmentsyou were talking about?

MACALLISTERI'm thinking it'd be interesting toplay up the nightclub atmosphere inchapter 5. Making it darker, moremenacing. A front for numbers runningor drugs.

88.

WALLYBut that's completely untrue to thecharacter. The whole point is himopening up the club to turn his lifearound and do right by Stella.

MACALLISTERThe public wants danger, sex andviolence from Harlem stories. And agood writer has to make concessionsto what the public wants.

Zora is now sitting in the same seat Wally was in.

ZORABut the language of the novelpreserves the folklore roots and...

MACALLISTER(interrupting)

If you're not writing in easy toread English that people canunderstand then how do you expectpeople to get it.

ZORAIt is English. The Negro's English.

MACALLISTERHow hard could it be to translate sothat everyone can understand?

ZORAIt's the oral Negro tradition. Thepeople that are part of it recognizeit. I'm not speaking for thesepeople, I am these people.

MACALLISTERLook, that's where you're comingfrom not where you're at now. Peoplewant to hear about the speakeasies,the Blues, the wild, dangerous energyof Harlem. You and I both know that.

ZORAWhat I'm givin' people is not whatthey want but what they need.

Macallister is becoming increasingly more frustrated.

MACALLISTERYou know what the best-selling bookof the past six months has been?

Zora braces herself for the forthcoming revelation.

89.

MACALLISTER (CONT'D)It's this.

He throws a copy of Carl Van Vechten's "Nigger Heaven" ontothe desk in front of Zora.

MACALLISTER (CONT'D)And by a white author. Imagine howthe public would embrace the authenticNegro perspective.

ZORAI think you're talking to the wrongwriter.

MACALLISTEREvery good writer has to makeconcessions to what the public wants.

Wally and Zora's voices become layered together. The end isintercut between the both of them exiting.

ZORA/WALLYWell these are concessions that I'mnot willing to make.

Wally stands up extending his hand.

WALLYI want to thank you for your timeMr. Macallister.

Wally turns towards the door.

ZORA(nodding)

Good day.

Long dissolve through the both of them exiting as the soundof the door closing resounds twice.

INT. NIGGERATTI MANOR-ROOF(PRESENT) -- NIGHT

We see an open hatch door on the roof. Perry and Bruce lookout over the nighttime cityscape thinking about the previousscene.

PERRYYou all went through so much. Don'tyou ever think you should write aboutit so people know?

BRUCEOh, it'll live on.

90.

PERRYGod all the shit you must've seen bythe time you were my age. What am Idoing in school? You guys justlearned from each other.

BRUCEThat's what friends do. I thinkLangston really taught me aboutkindness. Zora taught me how tolisten. And Wally....He showed mehow to use words like weapons. Andhow to have fun with them. Actuallymaybe I taught him that. It gotpretty confusing with Wally. Youknow, who taught what to whom.

PERRY(thinking)

I guess I learn from my friends butit's not like I know it when it'shappening.

BRUCEThat's life man.

The wind rustles the trees. Perry stares out at thelandscape, thinking within the silence. He's becoming moreintrigued by a thought and looks over at Bruce.

PERRYDid you ever go out cruising backthen?

Bruce looks at him with faux drama, feigning shock.

BRUCEI beg your pardon.

Still looking at him, he tries to figure out exactly wherePerry's coming from.

BRUCE (CONT'D)You're such an old soul in that youngbody.

PERRYNice try but don't change the subject.

BRUCE(pretending to forget)

I'm sorry. What did you ask me?

PERRYCruising. Trolling around lookingfor trade.

91.

BRUCEOh yeah. Well I suppose I did dothat. I guess you could say I wasobsessed with it.

INT. PARK BATHROOM(1926) -- NIGHT

The camera follows a pair of feet slowly striding towards adoorway. Young Bruce is surveying a dimly lit, dank subwaybathroom. Against the far wall he catches the eye of a YOUNGMARINE in uniform slowly stroking his crotch.

The marine moves towards the urinals and Young Bruceapproaches cautiously and stands at the urinal next to him. He unbuttons his pants seductively and reveals himself.

The marine looks down and assesses.

Young Bruce reaches over and undoes the top button of hispants. He slowly undoes each button on the marine's pantswhile simultaneously stimulating himself with his other hand. Young Bruce's hand falls to his side as the marine moanswith pleasure.

He begins stroking Young Bruce's ass with his left hand,then slips a small silver object out of his back pocket.

The marine reaches over and slams a handcuff tightly ontoYoung Bruce's hand and pushes him against the wall.

YOUNG BRUCE(nervous yet aggressive)

Wait a minute!

The marine grabs Young Bruce's other hand and locks the otherhandcuff around it.

MARINEThe fun's over. We're takin' a littletrip.

EXT. PARK BATHROOM(1926) -- NIGHT

The marine pushes Young Bruce towards a car. He showshostility and resistance.

BRUCE (O.S.)That was the first and last time Ispent the night in a prison cell.

INT. NIGGERATTI MANOR-ROOF(PRESENT) -- NIGHT

BRUCELater when I had to appear in court,the judge asked the "marine" if thesexual encounter was done against

(MORE)

92.

BRUCE (CONT'D)his will. He said "Yes" and I yelled" There are thirteen buttons on asailor's pants, you could've stoppedme anytime you wanted."

(laughs at his pastbehavior)

He dismissed the case and later thejudge asked me if I had a thing foruniforms. I said "Sailors yes, policeofficer's no." He laughed and shookhis head.

(pause)Come to think of it that judge seemedlike a big closet case himself.

Perry laughs at the new theory Bruce has arrived at.

PERRYI guess nothing's really changed.

BRUCEYou got that right. So that's myleast successful cruising story. And there's more where that camefrom.

He gives Perry a playful, flirtatious wink.

PERRY(smiling)

I'm sure there are.

BRUCEBut my memory gets kind of vagueabout the details. Those encountersalways seemed kinda the same--Youmet him, you found him, fondled him,fucked him and forgot him.

They both laugh uproariously in joint recognition of thetruth. After a moment Bruce looks at him inquisitively.

BRUCE (CONT'D)Don't you go out to bars andbathhouses and things like that? God do bathhouses even exist anymore? Maybe it's better that I don't know.

PERRYOh they exist alright.

BRUCEHow do you do at them?

93.

PERRYI do alright. You know they're mostlywhite and it's different being blackin those places. I'm never gonna bethe golden prize little white boy. I'm usually like the exotic thing. Like "Hmm, I've never tried that. Some chocolate might be nice tonight."But I guess I do alright.

BRUCEI'm sure you do just fine.

Perry glances at his watch.

PERRYYou should probably get back to theshelter before it gets too late.

BRUCEWe have some time.

(pause)I was wondering if you might dosomething for me.

PERRYWhat's that?

BRUCEWell I haven't been able to paint ina long time and...

There's a sudden, awkward silence.

PERRYAnd what?

BRUCEFor some reason you remind me ofWally and he used to always pose forme when I needed and since he's notaround...

They both look at each other intrigued by the prospects.

PERRYAll I have to do is sit?

BRUCEJust sit and be your natural,beautiful self.

PERRY(after a pause)

I guess I could do that. When doyou want to do it?

94.

BRUCEWe could meet here tomorrow aroundthe same time.

PERRYThat sounds good.

EXT. HARLEM STREET -- NIGHT

Perry and Bruce are rounding a corner and walking up a quietHarlem street. Perry seems contemplative as Bruce attemptsto break the silence.

BRUCESo how are things going with thatcute white boy I've seen you with?

PERRY(perplexed andquestioning)

Jim?

BRUCEYeah. You know the one.

PERRYWhen have you seen me with him?

BRUCEI keep an eye out.

Perry looks at him quizzically, trying to figure him out.

BRUCE (CONT'D)(increasingly impatient)

So.... come on out with it.

PERRY(apprehensive and sad)

It's not really working out. I thinkI need to just move on.

(pause)It's like one of those things whereyou're almost trying to turn someoneinto something they're not.

(pause, gets moremelancholy)

Like anything just to fill theemptiness and avoid being alone.

Bruce reaches over and pulls him into a hug. Perry lets outa long exhalation.

95.

PERRY (CONT'D)(pulls away and looksup at Bruce)

How many times have you seen me withhim anyway?

(playful)You really are a crazy stalker aren'tyou? I can hear it now

(faux newscaster voice)-- "Remains of young black boy foundin belongings of elderly black artist--Details at 11."

BRUCEElderly? I believe the word you'relooking for is legendary.

Bruce freezes in a diva pose as Perry laughs.

BRUCE (CONT'D)(relaxing from thepose)

You'd be surprised at the things younotice when you really start to look.

He walks away nonchalantly as Perry starts to follow.

PERRYWhere are you going?

Bruce holds up a hand signaling Perry to stay.

BRUCESometimes a lady needs a moment toherself. Gather the thoughts. Attendto her business.

PERRYI guess she needs a room of her own.

BRUCE(walking further on)

That's exactly right.

Bruce turns and walks away giving a hand gesture similar tothe initial encounter with Perry and Marcus. Perry beginswalking in the opposite direction. Rahsan is surreptitiouslywatching them from across the street.

INT. EAST VILLAGE BAR -- NIGHT

Marcus and Perry sit at a table. Marcus seems slightly awe-struck by the events Perry's been relaying.

MARCUSSo you think he's for real?

96.

PERRYWhat do you mean?

MARCUSI mean he could be some nut job witha really vivid imagination.

PERRYNah, he's real alright.

MARCUS(thinking, nonplussed)

Jesus, it's so fucked up that....

PERRYThat what?

MARCUSThat his life turned out the waythat it did.

PERRYYou know I thought that too at first. But I just think he has differentvalues. His mind is different. It's like he's old but he's notreally. I mean what eighty year olduses words like cocksuckin' faggot.

(chuckles in amazementat the idea)

It's crazy. He's just like wideopen and you can tell he doesn'tregret shit.

MARCUSI don't know, man. I don't buy it.

(contemplative pausethen looks directlyat Perry)

I mean, where's he sleepin' tonight?

INT. HARLEM GAY BAR -- NIGHT

Bruce walks into a dimly lit, sparsely populated bar withthe trace of a smile.

A classic Blues song is playing on the jukebox. Thebartender,SAM, an older heavy-set Black man in his latefifties, approaches him.

SAMWell, you look happy tonight.

BRUCEI met somebody today. Somebody whoreminded me of what it felt like tofall in love.

97.

SAMUh-oh. Sounds dangerous.

Sam pours a shot of bourbon for Bruce. He places it in frontof him as Bruce begins talking.

BRUCEYou ever start talking to someoneand you feel like you've known themforever? Their entire past and futureflashes right before your eyes. Andyour heart starts beating faster'cause you know how hard their life'sgonna be and it just tears you upinside.

(pause)I just listened and stared at himand I wanted to hold him.

SAMAlright, here we go.

BRUCEAnd I looked down at my hand andthought to myself "where'd this comefrom?" You ever think like that? Like what's a hot piece of ass likeme doin' trapped in this old man'sbody.

SAM(laughing quietly)

I think it and it's usually rightbefore I do something I'm gonnaregret.

BRUCEBut you usually do it anyway.

SAMYou got that right.

BRUCE(raising his glass)

Here's to lost beauty. May it alwaysbe nearby, with the potential tokeep you warm.

SAM(pouring himself ashot)

Wait. That's one I'll have to joinyou on.

He and Bruce touch glasses and down their shots. Sam shakeshis head from the sting of the liquor and Bruce closes hiseyes, savoring it's warmth.

98.

INT. PERRY'S DORM ROOM -- NIGHT

Perry looks at himself in the mirror from different anglesand fixes the collar of his shirt. He looks uncomfortable ashe decides to leave.

INT. GALLERY -- NIGHT

Perry looks around the crowded gallery apprehensively. Isaiahapproaches him.

PERRYHey. Thanks for coming.

ISAIAHThanks for inviting me. I'm impressed.

PERRY(awkward)

Now maybe you see why I haven't gottento that final paper.

ISAIAHI wasn't gonna bring it up. But I amwaiting. Grades go in next week.

PERRYI'm working on it. Have some faith.

ISAIAHI do. But faith isn't enough to helpyou pass my class.

PERRY(uncomfortable)

Right.

Perry sees Evelyn standing across the room, looking at oneof his paintings.

PERRY (CONT'D)Excuse me a second.

He goes over to Evelyn.

EVELYN(smiling, turningtowards him)

You know you're really comin' along.(leaning in closer tothe canvas)

Especially with this one.

PERRYYou're probably the only one that'seven looked at 'em.

99.

Evelyn puts an arm around Perry and gives him a kiss on thecheek.

EVELYNI'm really proud of you baby.

PERRY(warmly)

Thanks. I'm glad you're here.(becoming moreuncomfortable withhis surroundings)

I think I need to step outside for aminute.

Evelyn smiles and watches him walk away and turns herattention back to the paintings.

Marcus is talking to MR. LEWIS, an older, wealthy white man. Perry approaches them as Marcus shows excitement to see him.

MARCUS(grabbing his handand pulling him intoan embrace)

Here he is. Perry, this is JohnLewis. He owns a gallery in Chelsea.

(to Mr. Lewis)Perry's one of the painters in theshow.

MR. LEWISOh, really. What kind of work doyou do?

PERRYIt's hard to say. It's changing. Abstract portraits, I guess.

(turning frustratedand slightly abrasive)

I don't know. I'm not good at summingit up in little morsels forconsumption.

Marcus gives him a scolding look.

MARCUS(giving Perry a lookof disdain)

You know, it's probably better ifyou just judge for yourself. He didthe three in the back on the left. I'm sure he'd be happy to show youmore work, whenever it's convenient.

MR. LEWISThat'd be wonderful.

100.

PERRY(abrupt)

Excuse me. I need some air.

MR. LEWISWell it was nice chatting with you.

Mr. Lewis extends his hand and Perry leaves abruptly withoutnoticing it.

EXT. GALLERY -- NIGHT

Perry leans against a wall smoking a cigarette as Marcusapproaches him.

MARCUSYo, what's up with you?

PERRYNothing, I'm just not interested inpackaging myself as the next bigdeal.

MARCUSWell you better learn.

PERRYFor someone who's always preachin'about evil whitey you sure know toturn on that stepin fetchit routinewhen you need to.

MARCUSYou know that starvin' artist bullshitmight be a really cool myth but livin'it is not really all that.

PERRYI'm just not comfortable talking topeople like that.

MARCUSA few months of Ramen noodles andtunafish and you'll start to feelreal comfortable, real quick. Fuckall that school bullshit, this isthe real deal. You learnin' how totalk the talk, you might as well useit to your benefit.

PERRYI don't know. It smells like alotof bullshit to me.

MARCUSI don't care what it smells like.

(MORE)

101.

MARCUS (CONT'D)It's about what it sounds like.."Ka-ching".

PERRYIs that all you care about?

MARCUSLook, I'm just not interested inbein' some old man sleepin' in afuckin' homeless shelter. Do youknow how many people would kill tobe in this show at your age? Whileyou're still in school. Are youcrazy?

PERRYAnd how many of 'em would end upgoin' through such a mind-fuck thatthey're dead junkies at 27? But Iguess that doesn't matter 'causetheir prices are still goin' throughthe roof. Right? Well I'm not goin'out like that.

Mr. Lewis exits the building and walks over.

MR. LEWISPerry, do you think I could have ashort word with you?

PERRYI was just leaving...

MR. LEWISI wanted to tell you I think yourwork has alot of potential.

PERRYThanks.

MR. LEWISDo you have a gallery?

PERRYNo.

MR. LEWISI was thinking, if you approachedthe same themes in a more accessibleway you could do really well.

Perry smirks in disbelief and looks at Marcus.

PERRY(laughs to himself)

Oh yeah?

102.

MR. LEWISDo you have time for a quick drink?

PERRY(cold)

Nah. I have to meet someone.

MR. LEWISMaybe we can get together some timenext week.

Mr. Lewis hands him a card and Perry accepts it with a lookof disdain.

He walks up the empty street as Marcus and Mr. Lewis watchhim in the midst of the night's hollow silence.

INT. NIGGERATI MANOR(PRESENT)-- NIGHT

Bruce is in the living room unpacking and arranging variouspainting supplies. He lights two candles and walks over tothe window to check for Perry.

EXT. LOWER EAST SIDE STREET -- NIGHT

Perry is walking briskly on a darkened street. He hearsshuffling behind him. Turning around he sees the street isempty.

He begins walking faster. A sudden blow to his head sendshim face down onto the street.

Four Black men in stocking masks attack him from all sides. They are savagely kicking and punching him with all theirmight.

MAN#1Faggot motherfucker. I'm gonnafuckin' kill you.

MAN#2(kicking furiously)

Bitch-ass cocksucker. I bet youkeep your fuckin' mouth shut now.

A man has been overseeing the attack, smoking a cigaretteand leaning against a car. He watches Perry roll onto hisside barely conscious and bleeding.

OVERSEERAlright that's it.

The other men back off as the overseer approaches. As heraises his mask slightly, we realize it's Rahsan. Revealingonly his mouth, he spits onto Perry's face.

103.

OVERSEER/RAHSAN(raising his cigarette)

Here's the fire next time,motherfucker.

He puts the cigarette out on Perry's neck and Perry's deepscream resounds through the streets.

INT. NIGGERATI MANOR(PRESENT) -- NIGHT

The moon shines onto Bruce's face as he restlessly adjustshis body on the floor.

EXT. EAST VILLAGE STREET -- NIGHT

Perry limps slowly up the block. His face is bruised andhe's having trouble moving. He opens the front door to hisdorm.

INT. PERRY'S DORM ROOM -- NIGHT

Perry opens the door to his room. He moves slowly trying towithstand the pain. He begins to remove his clothes.

Perry climbs into bed and gets under the covers. A tearfalls down his bruised face as he closes his eyes.

EXT. STREET -- NIGHT

A montage of different homeless people, on the street, onpark benches, looking for food in garbage cans, etc. Thenight sky lapses into sunrise.

DISSOLVE TO:

INT. SUBWAY -- LATE AFTERNOON

Bruce is asleep on the subway in slightly disheveled clothing. He is coughing and shivering as he adjusts his body. A FIVE-YEAR OLD BLACK KID and HIS MOTHER sit across from him.

BLACK KIDMom does God love everyone?

MOMYeah.

The black kid points towards Bruce.

BLACK KIDEven him.

MOMYes, honey.

The train moves through the dark tunnel and into the lightof the next station.

104.

INT. UNIVERSITY DORM LOBBY -- EARLY EVENING

Bruce slips past a UNIVERSITY SECURITY GUARD immersed inconversation on a pay phone.

INT. UNIVERSITY DORM HALLWAY -- EARLY EVENING

Bruce wanders nonchalantly through the hall. He passes aYOUNG STUDENT.

BRUCEIs there someone named Perry on thisfloor?

YOUNG STUDENTFirst door on the left around thecorner. Maybe you can get him tocome out. He hasn't left that roomin like three days.

Bruce approaches the door, knocks and slowly enters thedarkened room.

INT. PERRY'S DORM ROOM -- EARLY EVENING

Perry is under the covers in bed with his back towards thedoor.

BRUCE(loudly clears throatbefore speaking)

Is this where all the hot, youngguys are when they're supposed to behangin' out with me?

Bruce turns on the light and Perry rolls over and glares athim.

PERRY(annoyed)

What are you doing here?

As Bruce moves towards Perry, he notices the bruises on hisface.

BRUCE(alarmed, demanding)

What happened?

PERRYNothing. I don't want to talk aboutit.

Bruce kneels by the bed and forcibly turns Perry to facehim.

105.

BRUCEWho did this to you?

PERRYI couldn't see their faces. Theywere wearing masks.

BRUCEHave you told anyone?

PERRYWhy? The cops aren't gonna doanything. They'll probably want toget a few hits in themselves.

BRUCESo you're gonna just stay in thisroom in the dark and hide from theworld for the rest of your life.

PERRY(increasing in anger)

What does it matter?!

BRUCEIt matters 'cause you were supposedto help me and I was counting on youand you let me down.

Perry turns away from him facing the wall. This provokesBruce to yank the covers off of him.

BRUCE (CONT'D)Alright, get up.

PERRYWhat's your problem?

BRUCEYou're my problem and I'm not gonnalet you ruin my inspiration. 'Causeat my age inspirations are few andfar between.

He picks up a pair of pants off a chair and throws them atPerry.

BRUCE (CONT'D)A deal's a deal. I'll meet youdownstairs in five minutes.

Bruce exits abruptly and Perry sighs in exasperation andbegrudgingly starts to get dressed.

106.

EXT. NIGGERATTI MANOR(PRESENT) -- EVENING

Perry and Bruce approach the house and see a sign which reads"Property of New York City-Do Not Enter". A piece of woodblocks the door.

PERRY(gesturing towardsthe door)

It looks like someone got here beforewe did.

BRUCEWell that's never stopped me before.

Bruce begins to physically remove the board, pulling withall his strength. Perry goes over and helps.

BRUCE (CONT'D)I've got more rights to this buildingthan any fucking city officials.

With one hard pull from Bruce the wood board gives. Perryremoves the sign and pushes the door open.

INT. NIGGERATTI MANOR(PRESENT) -- EVENING

Rats are visible and the floors creak as they walk slowly,getting used to the darkness and the dust. Perry lookstowards the corner.

PERRYWhat's this door over here?

BRUCEThat's Langston's old room.

PERRYYou know I've had two teachers referto Langston in the past month. Weren't you jealous? Didn't youever want what he had?

BRUCENever.

PERRYBullshit.

BRUCENo, it's not. You have no idea whatkind of sacrifices it takes to becomea spokesperson for the entire Blackrace.

PERRYWhat do you mean?

107.

BRUCENothing. Forget it.

Perry won't let him off the hook.

PERRYNo, tell me.

BRUCELook, you may be alot of things butyou're not stupid. Figure it out.

Perry turns and moves slowly towards the door in the corner.

TIMECUT:

INT. NIGGERATTI MANOR-LANGSTON'S ROOM(1926) -- NIGHT

Langston is standing at his desk madly rustling through twostacks of papers. He turns around as Young Bruce enters theroom and closes the door.

YOUNG BRUCEWhat's going on?

LANGSTONHave you read Wally's manuscript?

YOUNG BRUCEYes.

LANGSTONAnd did anything sound familiar toyou?

Young Bruce avoids eye contact, sensing an argument brewing.

LANGSTON (CONT'D)He's taken two entire chapters fromyou and he's sending it out.

YOUNG BRUCESo what's your point?

LANGSTONHow can you be taking this so lightly?

YOUNG BRUCEWe both decided that all of us livingtogether in this house is what we'reinterested in writing about.

LANGSTONSo that gives Wally the right totake credit for your work and getpaid for it?

108.

YOUNG BRUCEMaybe some of us don't do it for thecredit! This isn't school. There'sno teacher to impress.

LANGSTONYou're full of shit and you know it. If we can't trust each other thenwho can we trust.

Young Bruce stares at him blankly.

LANGSTON (CONT'D)No one. Exactly. It means the peoplethat you think are your brothers andsisters will stab you in the back inthe blink of an eye if it servestheir purpose. And then Dubois andLocke have won. We've become thevermin that they think we are. Wally's crossed the line.

YOUNG BRUCEThere is no line. We're his familyand he's crying out for help. It'sall in the manuscript for Chrissake. You're the one that needs to openyour eyes.

Young Bruce opens Wally's manuscript and begins reading. Langston moves to the closet, gets a suitcase and startspacking.

YOUNG BRUCE (CONT'D)(reading from themanuscript)

"As much as he wanted to be a greatnovelist, he knew deep down that hecould only ever be a mediocrejournalist. His writing foreverencumbered by obsessive rendering ofactual occurrences. Never beingable to let his imagination run wildand soar to the heights he wishedwere possible...All of the youngerwriters of our generation were miredin decadence. We were a curiosityeven to ourselves."

LANGSTON(packing furiously)

Shut up!

YOUNG BRUCEPaul's suicide at the end. Thischaracter's supposed to be me. Butit's not me it's him.

109.

LANGSTONLook, I'm a real writer and I'm tryingto build a career. I don't want tohave to worry about my friendsstealing from me.

Young Bruce stares at him silently. The differences betweenthem were never as clear as they are now.

LANGSTON (CONT'D)When we started this we wanted tosay something important. Whathappened to that? Where is thisgoing?

(pause as he thinksabout earlier times)

We wanted to make it.

YOUNG BRUCENo, you wanted to make it. Thatwasn't on anybody else's agenda.

LANGSTON(raising his hand inresignation)

I'm leaving.

Langston gets his suitcase and coat and heads for the door.

YOUNG BRUCEThat's it. Run away like you alwaysdo. That'll fix it.

The door slams on Langston's exit. Young Bruce flips to thelast few pages of Wally's manuscript. As he reads the camerapans out the window. Young Black children are playing inthe street as Langston crosses.

DISSOLVE TO:

INT. NIGGERATTI MANOR BATHROOM(1926) -- NIGHT

Wally has on a silk, crimson robe and is carefully placingthe pages of his manuscript so that they cover the floor. He looks thin and weak, like a ghost of his former self.

He finishes with the last of the pages and turns on thebathtub faucet.

He picks up a straight razor, removes his robe and climbsinto the water. He closes his eyes and slashes his wristwith one violent thrust. The blood colors the water as hisbody slowly becomes limp and submerged in the fluid.

The water overflows onto the floor as the ink of themanuscript pages becomes murky and indecipherable.

110.

BRUCE (O.S.)And sure enough his prophecy cametrue. Instead of slashing his wristhe slowly drank himself to death. Grand, immediate gestures like theslashing of wrists could only bedone in Wally's fiction. But in twoyears he was dead at 34. The firstof us to go.

INT. NIGGERATTI MANOR(PRESENT) -- NIGHT

BRUCEHe used to say only a true Negroknows what it's like to be treatedlike a nigger. And he definitelyknew what that felt like. We alldid.

PERRY(after a pause)

So where'd Langston go? And Zoraand Aaron and the rest. Did youstill see them?

BRUCESlowly we all moved out. I stillsaw them but after that day it wasn'tthe same. We weren't family.

(pause)Times changed. The Depression setin and people really thought ourexcesses was what brought it on.

PERRYWhy?

BRUCEWell the idea was that we weren'tout being good productive workersbecause we were too busy giving intoour base desires. And Blacks andqueers became the vices that neededto get cleaned up to get the countryback on its feet. And white peopleran back downtown almost as quicklyas they'd come up. It never reallywas the same. That sense of riskand magic was gone.

(pause)In some ways Langston was right. Something got lost.

111.

PERRY(picking up a paintbrush)

Well maybe you can get a little ofit back tonight.

Perry gestures towards the paints and the easel.

INT. NIGGERATTI MANOR(PRESENT) -- NIGHT

Perry is nude and fiddling with his fingers nervously as hetentatively approaches Bruce.

Bruce is positioned behind a canvas as he gazes at Perry'sface intently.

PERRYSo how do you want me?

BRUCE(playful and smiling)

I've been waiting to hear you saythat.

PERRYCome on. No funny business, now.

BRUCEAlright. Go over by the fireplace. On that chair to the right.

Perry sits looking regal as the moonlight and the shadows ofthe trees form abstract patterns on his skin.

A series of dissolves shows the canvas going from the firsttouch of paint to the completed portrait of Perry and thenback to white.

Perry is now behind the canvas. Bruce sits on the floornext to the fireplace.

BRUCE (CONT'D)I'd prefer to stay clothed for thisone. No one needs to see this saggingflesh captured for eternity.

Perry laughs and contemplates the canvas and then Bruce afew times before starting to dash off his first strokes.

INT. NIGGERATTI MANOR LIVING ROOM(PRESENT) -- NIGHT

The two paintings are on either side of the fireplace. Thefirst one on the left is of Perry and the second on the rightis of Bruce, smiling and exuberant. Dolly in to Bruce'sface in the painting.

DISSOLVE TO:

112.

INT. NIGGERATI MANOR LIVING ROOM(PRESENT) -- NIGHT

Perry opens his eyes slowly and watches Bruce sleepingpeacefully. He kisses him on the forehead and grabs hishand.

He notices Bruce's body is abnormally cold and beginspanicking. He touches his face and neck. Perry beginsshaking him his movements racked with fear.

PERRY(violently shakingand touching him)

Bruce! Oh my god. Bruce, wake up.

He turns around and runs out the door and into the street.

EXT. NIGGERATTI MANOR -- NIGHT

Bruce is strapped to a gurney and Perry follows as theparamedics fling open the back doors of the ambulance andhoist Bruce in. Perry attempts to enter the ambulance.

PARAMEDIC(stopping him)

Only immediate family in theambulance.

PERRY(angry and crying,forcing his way in)

I am immediate family god dammit!

EXT. NYC STREETS -- NIGHT

The ambulance swerves wildly through various streets. Wesee traffic clearing way from the POV of the ambulance driver. The ambulance is seen from above as it snakes its way throughthe streets.

INT. AMBULANCE -- NIGHT

Perry is holding Bruce's hand. A surreal, aural landscapebuilds with a heart monitor, children's voices repeatingnursery rhymes and snippets of conversations from throughoutthe film.

The sounds become more dissonant and haunting as the traffictransforms into hallucinatory streaks becoming more jaggedand strobed.

The sound becomes deafening and then silent as the imagedissolves to white.

113.

INT. HOSPITAL -- DAY

There is absolute silence as Perry sits looking at the empty,perfectly made bed. A NURSE enters.

NURSEExcuse me Mr. Williams it seems asif you're his only relation and weneed to know what kind of arrangementsyou want to make.

PERRYWhat do you mean?

NURSEFor the body.

Perry closes his eyes in disbelief.

PERRYI haven't thought about that.

NURSE(sensing herinappropriate timing)

You don't need to decide right now.

She slowly backs out of the room and Perry stares at the bedthinking of Bruce.

INT. SUBWAY -- NIGHT

Perry sits on the train as the nighttime cityscape passesbehind him. He reaches into his pocket taking out a notewith his name on it and a key.

INT. NIGGERATTI MANOR(PRESENT) -- NIGHT

Perry ascends the dilapidated staircase. In the middle ofthe hall there's a small door leading to another smallstaircase. At the top of the stairs, Perry opens a door toa dusty attic with brilliant shafts of light formed by themoonlight coming through the windows.

He approaches a trunk and opens it. He picks up a pile ofphotographs which are stills from other previous scenes withinthe house throughout the film.

There's one of Gladys Bentley performing in top hat and tuxedoand another of Bruce, Wally, Langston and Zora on the couchraising their drinks towards the camera.

Perry dusts off an old canvas to reveal a painting of anabstract, androgynous figure in a confident and sexualizedpose.

114.

Deeper in the trunk Perry finds layered, superimposed nudestills of Young Bruce and the other stylized photos of Wallyand Harald taken by Carl Van Vechten. He finds a manuscriptentitled "Gentleman Jigger" by Bruce Nugent.

A close-up of Perry's hands perusing the manuscript dissolvesinto:

INT. UNIVERSITY OFFICE -- DAY

Isaiah looks over on his desk and picks up Perry's finalpaper. The title reads "Richard Bruce Nugent and The RebelSpirit of the Harlem Renaissance".

INT. BOOK STORE -- DAY

Black male hands pick up a book from a stack. There's apicture of Young Bruce and the title is the same as Perry'spaper. Below the title we read "A Selection of Writing -Edited by Isaiah Reed - Introduction by Perry Williams".

As the YOUNG BLACK MAN opens the book we notice a slightresemblance to Wally. He looks at the same androgynouspainting that Perry encountered in the previous scene. Heflips to the introduction and begins reading.

PERRY (V.O.)I first met Bruce Nugent on the streetdoing what he does best, making magicout of words and rhythm. Although Ionly spent a short amount of timewith him, his ability to use wordsto transport me to different realitieswould forever alter my perception ofthe world.

EXT. BEACH -- DAY

Perry walks on the sand towards the water.

PERRY (V.O.)Through him I learned the complexityof what was inside me was also outsideif I was willing to look deeper.

Perry removes ashes from a gold container and releases theminto the air. They drift in the wind, dissipating in themist above the water.

PERRY (V.O.) (CONT'D)He taught me how to weave spells andconjure myths, the power of whichwould not be denied. With words andimages I could convey the truth ofmy experience, putting it down andpassing it on.

115.

Perry turns away from the water and walks slowly passed thecamera which holds on the waves of the ocean.

Title over Black : "I loved my friend. He went away fromme. There is nothing more to say. This poem ends as softlyas it began. I loved my friend."("Poem" - Langston Hughes)

Title over Black : "Dedicated to the artistry, legacy andspirit of Richard Bruce Nugent."

Fade To Black.