Nothing But a Man Page #3

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


FRANKIE:

Well, if it ain't Duff!

JOCKO:

How you doin'?

(to Josie; with

a bit of a leer)

Hi there!

JOSIE:

Hi.

JOCKO:

Mind if we sit down?

DUFF:

We was just leavin', fellows.

FRANKIE:

Let's go, Jocko. The man's got homework.

JOCKO:

(leaving)

See you, Duff.

DUFF:

Yeah, see you in hell.

Frankie follows Jocko out of the frame.

JOSIE:

They must work on the section gang.

DUFF:

That's right.

JOSIE:

Well, they seem just like everyone else.

DUFF:

Hell, baby, I bet you think we got tails.

FRANKIE'S VOICE

(off-screen)

We do!

Frankie and Jocko have occupied the adjoining table and are grinning at them.

Duff gets up, camouflaging his irritation.

DUFF:

Come on, baby.

He ushers Josie out. Frankie looks after them.

FRANKIE:

School teacher! My nappy head!

INT. RIDDICK'S OLD CONVERTIBLE (Night)

Duff has parked on a country road.

JOSIE:

I guess it's hard working on the road like that.

DUFF:

Damn few places you can make eighty bucks a

week.

JOSIE:

I mean, you're kind of cut off, aren't you?

DUFF:

That's fine with me. Keeps me out of trouble.

JOSIE:

How d'you mean?

DUFF:

Well, I don't get on so well most places.

JOSIE:

I see. That beer made me dizzy.

Duff is looking at her.

DUFF:

You got a lovely face, kid. Ain't too often I

get to meet a girl like you. Hell--

He kisses her, but releases her very quickly.

DUFF:

Baby, how many times' you been kissed?

Josie takes a moment to collect herself.

JOSIE:

Well, let's see now - not counting tonight ...

must be about twenty-eight times.

DUFF:

(with a grin)

You got a problem all right.

Someone moves in back of her. A white man in his early twenties has emerged

from the dark and looks down at them.

WHITE:

(with a smile)

Hi.

The voice of a second white man calls from off screen.

SECOND WHITE:

They doin' anything?

WHITE:

(calling back)

Nah, nothin'!

DUFF:

Get out of here!

JOSIE:

(frightened)

Don't Duff--

WHITE:

Relax, man!

The second white man joins him.

SECOND WHITE:

What's goin' on?

He shines his flashlight into Duff's face.

DUFF:

Cut that out!

The white man shines the flashlight across Josie's breast.

DUFF:

(very tense)

I said:
Cut it out!

WHITE:

Don't start no trouble, boy!

SECOND WHITE:

Let's go! That's the preacher's girl. Mess with

him and you got old man Johnson on your back.

Come on.

The white men leave.

JOSIE:

Let's go, Duff.

DUFF:

Take it easy.

We see that he has a knife in his hand. He closes and pockets it.

The white men drive off, whooping and beating on the side of their car.

DUFF:

Don't sound human, do they?

INT. MOVING CAR (Night)

Duff is driving through the center of town.

DUFF:

How come you stay 'round here?

Rate this script:4.0 / 1 vote

Michael Roemer

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

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