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ALL SCRIPTS


Malcom X


 Fourth draft (1991)
 Screenplay by James Baldwin, Arnold Perl and Spike Lee
 Based on The Autobiography of Malcolm X as told to Alex Haley


	FADE IN:
 
1  	EXT. ROXBURY STREET - THE WAR YEARS - DAY 

	It is a bright sunny day on a crowded street on the black side of 
	Boston. PEOPLE and KIDS are busy with their own things. 

	SHORTY bops his way down the street. He is a runty, very dark 
	young man of 21 with a mission and a smile on his face. He wears 
	the flamboyant style of the time: the whole zoot-suit, pegged legs 
	and a wide brim hat with a white feather stuck in the hat band.
 
2 	OMIT 

3 	OMIT 

4 	OMIT
 
5 	EXT. STREET - DAY 

	FOLLOW SHOT. Shorty dodges through the crowd with his packages. 
	His smile is one of anticipation. He nods to a PAL without 
	stopping; eyes a COUPLE OF CHICKS dancing on the street, but is 
	not dissuaded.
 
6	INT. BARBER SHOP - DAY 

	Shorty has his jacket and hat off, his sleeves rolled up. He is like a 
	surgeon preparing for an operation. His equipment is spread out on 
	a table: can of lye, large mason jar, wooden stirring spoon, knife, 
	the eggs. His actions have the character of a ritual: each thing 
	being done just so, in time-honored fashion.

	He slices the potatoes and drops the thin slices into the mason jar.
	He adds water and makes a paste of the starch.

	Behind Shorty is a spirited barbershop conversation. ONE MAN is
 	getting a haircut; TWO OTHERS are watching (TOOMER, JASON)
	one of them from behind a newspaper. A middle-aged barber, 
	CHOLLY, is doing most of the talking.
 
				CHOLLY 
		After I hit the number that woman wasn't no good 
		to me at all.
 
	The men laugh.
 
	ANGLE - Shorty pries open the can of lye, whiffs it. It's good and 
	strong. He pours some in the mason jar, stirring with the wooden 
	spoon. He cracks the eggs into the mixture and stirs. He waits as 
	fumes rise and feels the outside of the jar as it gets hot.
 
	ANOTHER ANGLE - The barbershop SEEN from a door, slightly 
	ajar. A woolly head, entirely in shadow, peers out. 

				CHOLLY'S VOICE 
		She says I'm cheap cuz I won't cop her a diamond 
		ring. Had the indignation to call me a cheap 
		black sunovabitch to boot.

				TOOMER 
		And when a black woman call you a cheap black 
		sunovabitch you've been called a cheap black 
		sunovabitch.
 
	Cholly is annoyed. It's _his_ story. 

				CHOLLY 
		Will you let me tell it?

	ON SHORTY - He opens the bulky package he has been carrying, 
	unfolds a large rubber apron and gets into it. Now he dons a pair of
 	rubber gloves.

				SHORTY 
		Where's Homeboy?

	He is all ready; one of his hands is filled with a huge glob of 
	Vaseline. His manner is indignant as if he were asking the whereabouts 
	of an exasperating child.
 
				CHOLLY 
		Red's in the head, man.
 
				TOOMER 
		You mean hiding in the head.
 
				CHOLLY 
		Hey, Red. Your man's here and waiting on you. 

	His hands full, Cholly opens the door with his feet and MALCOLM comes 
	out, a big, gawky, bright-faced country boy, wearing downhome clothes 
	and an expression of apprehension.
 
				TOOMER 
		Gonna get that first conk laid on, hunh, 
		Homeboy?
 
				CHOLLY 
		Man, don't scare him more than he's scared 
		already. Ain't too bad...
 
	Malcolm allows himself to be led to an empty chair, where Cholly drapes 
	him with a double sheet, tucking it tightly around his neck and adding 
	a protective collar of paper.
 
				CHOLLY
	...Like anything else. First time a chick gets her 
	cherry popped, she might put up a little fight. But 
	pretty soon you can't give her enough. Right, 
	Homeboy?
 
	CLOSE - MALCOLM 

	Malcolm gulps, his eyes on the fuming mason jar. 

	Shorty starts massaging a great quantity of Vaseline into Malcolm's 
	scalp, covering his neck and ears as well. All the men have gathered
 	around, involved in the ritual. For Malcolm it is closer to being a 
	kind of execution.
 
				CHOLLY 
		Git his forehead and eyebrows.
 
				SHORTY 
		I know what I'm doing.
 
	Shorty applies the Vaseline to that area.  Now he brings over the
	steaming jar and places it nearby.

				SHORTY (contd)
 		Listen. You pull my coat if it's still stinging 
		when I get through 'cause this shit can burn a 
		hole through cement.
 
				CHOLLY 
		Hold tight, baby, and keep your eyes shut.
 
	Malcolm nods his head, clenches his eyes and grits his teeth. Shorty 
	applies the congolene with a comb, working it into Malcolm's hair.

	CLOSE - MALCOLM 

				MALCOLM
		I thought you said it was gonna sting... this 
		ain't nothin'.
 
	For a moment nothing happens, then the heat hits him. He yells, tries 
	to catch his breath: his head is on fire.
 
                    MALCOLM (contd)
		You motherfucker.  You're killing me. I'm 
		burning up. My damn head is on fire.

	He nearly leaps out of the chair, but the barber restrains him.

	Shorty, utterly unmoved by the outburst, continues working the 
	congolene into his hair. 

	Malcolm breaks out of the chair wildly. But the three men drag him to a 
	basin where Shorty has attached the shower spray. His cries filling the 
	room, Malcolm is ducked under the spray. Shorty starts rinsing out his 
	hair.
 
				SHORTY 
		Don't fight me, man. Let me git it out.
 
	Malcolm is a little relieved, he tentatively opens his eyes, then he 
	feels the congolene again and there is another outburst. Shorty forces 
	his head under the spray, spurts the water all over his head, wetting 
	Malcolm and the shop in the process.
 
7	OMIT 

8 	OMIT
 
9  	INT. CLOTHING STORE - DAY
 
				SHORTY 
		Well, Homeboy, you almost there. Turn around.
 
	Shorty is supervising as Malcolm tries on a zoot suit. He slips into 
	the jacket...
 
	Shoes-off, Malcolm steps into the tight-fltting peg-legged pants ......
 	dons a wide-brimmed hat with a bright blue feather.... Finally, fully 
	outfitted, he leans forward toward his new image in the full-length 
	mirror, twirling a long, dangling key chain.
 
     				SHORTY 
		Well, all right, then.
 
   				MALCOLM 
		Well, all reet, then.
 
	The transformation is complete. The two laugh and slap hands. 

10	EXT. ROXBURY STREET - DAY
 
	Malcolm and Shorty come strutting down the street: two conked,
	zoot-suited sharpies. Hometown boy has departed. And the CHICKS on the 
	street notice them, especially Malcolm, the taller of the two, the 
	lighter-skinned, the more dominant. They walk imperiously past, fully 
	aware of their impact.
 
	CLOSE SHOT - MALCOLM
 
	FREEZE FRAME. He becomes a STILL.
 
				VOICE OF MALCOLM X 
		When my mother was pregnant with me, she told 
		me later, a party of Klansmen on horseback 
		surrounded our house in Omaha.

10A 	ANGLE. KLAN on horses in front of house.
 
				VOICE OF MALCOLM X (contd) 
		They brandished guns and shouted for my father 
		to come out. My mother went to the door where 
		they could see her pregnant condition... 

	ANGLE. A pregnant Louise Little on porch.
 
				VOICE OF MALCOLM X (contd) 
		...and told them my father was in Milwaukee, 
		preaching. 

	ANGLE. The Klan breaks all the windows in the house then rides off into 
	the glorious D.W. Griffith _Birth of a Nation_ moonlit night. 

	CLOSE - LOUISE LITTLE
 
				VOICE OF MALCOLM X (contd)
		The hooded Klansman said the good, white 
		Christians would not stand for his 
		troublemaking, and to get out of town.
 
	ANGLE. The terrified Little children look out a broken window at their 
	mother.
 
	ANGLE. AN OLD FRAME HOUSE IN OMAHA
 
				VOICE OF MALCOLM X (contd)
		They broke every window with their rifle butts 
		before riding off into the night, their torches 
		flaming.

	ANGLE. FRONT PORCH OF THE LITTLE HOUSE - AN EMPTY ROCKER ON IT
 
				VOICE OF MALCOLM X (contd)
 		My father was not a frightened Negro as most 
		were then and as many still are today. He was 
		six feet four and very black...
 
10B 	CLOSE - EARL LITTLE

	He looks directly into the camera, wearing a Baptist Minister's robe.
 
 				VOICE OF MALCOLM X (contd) 
		...and had a glass eye. He believed, as did 
		Marcus Garvey, that freedom, independence and 
		self-respect could never be achieved by the 
		Negro in America . . .
  
10C 	CLOSE - EARL LITTLE
 
	He wears a Garvey hat, ornate with gold braid.
 
				VOICE OF MALCOLM X (contd) 
		...that, therefore, black men should leave 
		America and return to the land of their origin.
 
10D 	ANGLE. Earl Little, in a wagon with little Malcolm.
 
	CLOSE - EARL LITTLE:
 
				VOICE OF MALCOLM X (contd) 
		My father dedicated his life to his beliefs 
		because he had seen four of his six brothers 
		die violently...
 
10E 	WIDER ANGLE. WE SEE Earl in front of a podium in church. He is
	preaching.
 
				VOICE OF MALCOLM X (contd) 
		...three killed by white men and one lynched. 
		There are nine children in our family.
 
	ANGLE. The nine Little children. 

	CLOSE - LOUISE LITTLE 

	She is a pretty, mature woman and white-looking.
 
				VOICE OF MALCOLM X (contd) 
		My mother was an attractive woman, an educated 
		woman, a strong woman.
 
10F CLOSE - LOUISE AND EARL
 
	A posed wedding picture, serious but sweet.
 
				VOICE OF MALCOLM X (contd) 
		She was very light, her mama was raped by a 
		white man. One of the reasons she married my 
		father was because he was so black, she 
		disliked her complexion and wanted her children 
		to have some color.
 
	CLOSE SHOT
 
	Flash bulb of camera flashes. 

11	OMIT
 
12 	OMIT 

13 	OMIT 

14 	OMIT

15 	INT. ROSELAND STATE BALLROOM - NIGHT
 
	CLOSE - MALCOLM AND SHORTY
 
	They both were posed for a picture. The music "FLYING HOME" is blaring 
	as LIONEL HAMPTON and his band is killing. The music is WILD, the
 	dancing is frantic, the clothes are OUT, and the crowd is predominately 
	BLACK, although there is a peppering of WHITES, especially white chicks.
 	And Malcolm is a little bug-eyed as he nudges Shorty, watching mixed 
	couples on the floor. 

	A BOY in extreme zoot-suit flips him; a WHITE GIRL in long blond
	hair wigs him. Malcolm is a little open-mouthed.
 
				A VOICE 
		SHOWTIME, SHOWTIME!
 
	ANGLE - THE BALLROOM - NIGHT 

	People start moving off the floor, making room for the dancers. The 
	music begins to get faster and more furious. 

	CLOSE - HAMPTON'S BAND - NIGHT 

	It is a fast Lindy. People start clapping to the beat as they form a U 
	around the DANCERS, with the band at the open end.
 
16 	INT. THE DANCE FLOOR
 
	TWO COUPLES are on the floor, dancing wildly. They are quickly joined 
	by a half dozen OTHERS. These are the best dancers and constitute the 
	main event of a Saturday night black dance. People crowd and push to 
	get better vantage points and the competition is under way.
 
	ANGLE ON THE CROWD 

	It is dominantly black, but there are some whites in the audience, 
	mostly women. One is SOPHIA, a spectacular blonde with a degree of
 	refinement, something of a thrill-seeker. Many of the men try to catch 
	her eye, but for the moment Sophia is just watching, looking for no one 
	in particular, but nonetheless looking.
 
	ANGLE: - COUPLE ON THE DANCE FLOOR
 
	Getting ready to enter the fray, the GIRL takes off her shoes and 
	bounces out on the floor barefoot with her partner. Their advent is 
	greeted with cheers and ad libs. Clearly the crowd has its favorites. 

	WIDER SHOT

	The music gets faster and the dancing takes on a more frantic and more 
	remarkable quality. 

	FOLLOW SHOT - MALCOLM 

	He is looking for his partner, the girl he brought and now he sees her. 
	He makes his way through the watching audience. 

	CLOSE - LAURA 

	She is a fine chick, cool and beautiful. She smiles as she sees Malcolm 
	approaching.

	TWO-SHOT. Laura and Malcolm stand together, delighted to be with one 
	another, starting to move to the music, as they watch the dancers.
 
				MALCOLM 
		Come on, baby, let's show 'em how.
 
	Laura smiles shyly; she's willing.
 
				MALCOLM (contd) 
		You better get out of them shoes, girl.
 
	Laura laughs, goes quickly to a bench and changes into a pair of 
	sneakers.
 
17 	INT. THE DANCE FLOOR
 
	Because of the competition, Laura and Malcolm begin at high speed. In a 
	moment they are executing the most intricate steps of the "flapping 
	eagle" and the "kangaroo." Malcolm starts boosting her over and around 
	his hips, then boosting her over his shoulders. Laura is the perfect 
	partner. She loves it.
 
	ANGLE WITH THE CROWD
 
	So does the crowd, who loves new stars. There are ad lib remarks: "Go,
 	man, go." "Hey, Red." "Mmmmmm ummm."
 
	ANGLE: - SHORTY
 
	A big, fat, hefty BLACK WOMAN takes Shorty out to the dance floor, and 
	she takes the lead. As they do the Lindy she is slinging Shorty around 
	like a rag doll. This woman slides him through her legs and Shorty has 
	had enough, he runs off the dance floor, and hides.
 
	TWO-SHOT. Laura and Malcolm are, in the phrase, cooking on all burners 
	now; and when they execute an especially intricate step, even Hamp 
	waves over.
 
	Malcolm is sweating and flushed and enormously elated. He sees that 
	people are watching him, goading him on. He notices that Sophia, in 
	particular, has not taken her eyes off him; she is clapping in time to 
	his steps.
 
	Seeing new stars in the making, the other dancers move to the side of 
	the floor, marking time, yielding the dance floor to them. Laura and 
	Malcolm go into a solo.
 
	ANGLES
 
	The crowd loves it. Malcolm and Sophia are very aware of each other. 
	The finale is the classic drag, with Laura hanging limp around 
	Malcolm's neck as he capers off the dance floor to the spontaneous 
	applause of the audience. 

	CLOSE SHOT - SOPHIA (SLO-MO) 

	Clapping enthusiastically -- in open admiration. 

	CLOSE SHOT - SHORTY
 
	Waiting to catch them as they come off. Shorty is whistling and shaking 
	his hand appreciatively. He is also looking out for his dance partner.
 
				SHORTY 
		Hey, man, gimme some skin.
 
				MALCOLM 
		Shorty, this is Laura.
 
Laura is flushed and out of breath and joyous.
 
				LAURA
		'Lo. I've got to freshen up.
 
				MALCOLM 
		Now you come back.
  
	Laura laughs as she goes. She surely will be back.
 
				SHORTY 
		That's a fine chick.
 
				MALCOLM 
		Fine as May wine.
 
				SHORTY 
		Except she live on the hill and got a grandma.
 
				MALCOLM 
		Make it too easy and it ain't no fun.
 
	Then his vision catches Sophia, who is approaching him. She makes a 
	simple, direct gesture, "Want to dance?" Malcolm eyes Shorty and 
	wordlessly glides into Sophia's arms.
 
	ANGLE - THE DANCE FLOOR
 
	Immediately from the glances of the other men at the dance, he is the 
	cynosure of all eyes. He has new status. It's a heady feeling because 
	she is the first white girl he has ever been with socially who is not 
	an obvious whore. He begins to show off a little, cuts a few fine 
	steps.
 
	TWO-SHOT. They are dancing closer than before. Sophia begins to rock 
	his black world. 

	CLOSE - MALCOLM 

	Trying to play it cool -- but he is beginning to pant. Not from the 
	dancing, but from the situation: a gorgeous white chick asking for
 	it.
 
				SOPHIA 
		Why don't you take your little girl home, Red, 
		and come on back?
 
	He stops in his tracks. He can't believe it.
 
				SOPHIA (contd) 
		Just walk. Don't run. It'll be here when you 
		get back. 

	He can only grin.

18	EXT. LAURA'S HOUSE - ROXBURY - NIGHT 

	The porch of a respectable house. Malcolm with Laura; he anxious to get 
	away.
 
				MALCOLM 
		I better not come in.
  
				LAURA
		I ain't stupid.
 
				MALCOLM 
		I mean it's late, baby.
 
				LAURA
		I know where you're going.
 
				MALCOLM 
		I'm going to bed. I gotta work tomorrow, need 
		my rest.
 
	Laura walks to the door.
 
				MALCOLM (contd) 
		Baby, I'll call you tomorrow.
 
				LAURA
		What for? I ain't white and I don't put out. 

	The front door opens, it's Laura's grandmother, MRS. JOHNSON.
 
				MALCOLM 
		'Night, Mrs. Johnson.
 
	He runs down the porch steps.
 
19	INT. SOPHIA'S CAR - NIGHT
 
	The lone light emits from the car radio which plays The Inkspots' "IF I
 	DIDN'T CARE."
 
	ANGLE - SOPHIA
 
	Sophia pulls her tight sweater over her head to expose two full ripe 
	white breasts. Malcolm's eyes are popping out of his head. NOTE: It's 
	very unusual for women not to wear a bra back in that day but you might 
	say Sophia was way ahead of her time.
 
				SOPHIA
		Malcolm, look at them. Have you ever seen white 
		breasts like these?
 
	CLOSE - MALCOLM
 
	He shakes his head.
 
				SOPHIA (contd) 
		Put your black hands on them.
 
	He is paralyzed.

				SOPHIA (contd) 
		Please do as I say.
 
	Malcolm mumbles something. He then kisses Sophia as if his black life 
	depended on it and he commences to kill it.
 
				SOPHIA (contd) 
		Hey, baby.
 
 	She stops him for a moment, but he buries his head in her long neck.
 
				SOPHIA (contd) 
		Am I the first white woman you've been with? 

	She already knows the answer. He laughs.
 
				MALCOLM 
		Sheeet, you ain't. I had aplenty.
 
				SOPHIA
		...That isn't a whore?

	Knowing she's right, Sophia becomes the aggressor. 

	A beat -- both panting -- then Malcolm stops abruptly. He raises his 
	hand to his face, then to Sophia's hand which is still caressing him.
 
				SOPHIA
		That's alright. Baby, take your time. Sophia's 
		not going anywhere. I told you to walk, don't 
		run.
 
				MALCOLM 
		Shhhh! I don't like women that talk.
 
	CLOSE - SOPHIA

	She shrugs, then moves to embrace him.
 
				SOPHIA 
		Who wants to talk? 

	The couple starts at it again. 

19A	INT. MOVIE THEATRE - DAY
 
	On the screen, Bogart and Cagney are blasting away the dirty, flat-
	footed coppers with machine guns. It's one of those great Warner 
	Brothers gangster B movies, maybe _The Roaring Twenties_.
 
	ANGLE - MALCOLM AND SHORTY
  
	Malcolm and Shorty sit, transfixed in their seats.
 
				MALCOLM 
		Don't you know, you can't hump the Bogart.
 
				SHORTY 
		Eat lead, coppers.
 
80 	EXT. BOSTON COMMONS - DAY
 
	A bright, sunny day, long shadows in the park. The Commons is almost 
	empty. Two improbable zoot-suited blacks race past trees, and run over 
	the grass. Malcolm and Shorty are playing Cops and Robbers while 
	PASSERSBY stare.
 
				SHORTY 
		Bang, bang. You're dead.
 
				MALCOLM 
		Naw, you missed me, copper. Try this on for 
		size. 

	Malcolm fires an imaginary tommy machine gun at Shorty.
 
				SHORTY 
		I forgot to tell you I'm wearing a bulletproof 
		vest.
 
				MALCOLM 
		The hell you are.
 
				SHORTY 
		I'm tired of always playing the cops. I wanna 
		be Bogart sometimes.
 
				MALCOLM 
		You're too small to be Bogart.
 
				SHORTY 
		I'm not too short to be Cagney.
 
	Shorty shoots Malcolm from behind.
 
				SHORTY (contd) 
		Pow. Take that.
 
	Malcolm acts as if he's been hit.
 
				MALCOLM 
		Ahhh! You got me, you dirty, filthy, rotten, 
		stinking copper, only a low-down yellow rat 
		bastard would shoot a man in the back.
 
	Malcolm starts to stagger, this is a long drawn out Hollywood drawn-out 
	death a la Cagney death in _Public Enemy_. 

	LOW ANGLE - MALCOLM
 
	Malcolm falls directly into the camera, face first, and Shorty stands 
	over him.
 
				SHORTY 
		He use to be a big shot.
 
21	OMIT 

22	OMIT

23 	OMIT 

24 	OMIT 

25 	OMIT 

26 	EXT. THE TROLLEY TRACKS - NIGHT (REMEMBERED TIME)
 
	MATCH CUT

	CLOSE EARL LITTLE 

	Earl Little's face is in the same exact position as Malcolm's from the 
	previous scene. His mouth opens in terror as the moving trolley comes 
	closer and closer to the black man lying on the tracks.
 
27 	INT. A HEARING ROOM - DAY
 
	A room, clinically empty; table, chair, and MR. HOLWAY. He is putting 
	papers into his briefcase; the hearing is concluded.
 
				LOUISE 
		What you mean took his own life?!
 
				HOLWAY 
		I'm sorry, ma'am. You heard the verdict. A man 
		bash in the back of his head with a hammer, lay 
		down on the tracks and kill himself! We merely 
		act on the verdict. We don't make them.
 
	He is nearly out the door.
 
				LOUISE 
		Do you pay or don't you?
 
				HOLWAY 
		Read the policy, ma'am. It clearly states.
 
28	OMIT
 
29 	INT. SOPHIA'S APARTMENT - MORNING
 
	Malcolm lies in bed, naked under the sheet. A half-empty whiskey bottle 
	and an ashtray full of butts are on the night table: last night's 
	partying.
 
				SOPHIA
		You like 'em scrambled soft or hard, sweetie?
 
				MALCOLM 
		C'mere.
 
	WIDEN TO SHOW SOPHIA at the stove fixing eggs. She wears an apron and 
	nothing else. It's a nicely furnished middle-class apartment.
 
				SOPHIA 
		Sweetie, they're almost ready.
 
				MALCOLM 
		You hear me, girl?

	She shrugs, shuts off the burner, smiles and ambles toward him. 

				SOPHIA 
		You the man. 

				MALCOLM 
		You better believe it. 

	She starts to sit down on the bed next to him. 

				MALCOLM (contd) 
		Sit over there.

	He points to a nearby chair. Sophia makes an amiable hand-shrug and 
	complacently goes.

				SOPHIA 
		You evil this morning. 

				MALCOLM 
		What's your story, baby?
 
	He doesn't want to hear her; he wants to talk. He goes right on: 

				MALCOLM (contd) 
		You one of them white bitches can't get enough 
		black dick. Is that what you are?

	Sophia smiles. She aims to please. Malcolm smacks the bed next to him. 
	She gets up and comes over.
 
				MALCOLM (contd) 
		Take it off.
 
	She takes off the apron.
 
				MALCOLM (contd) 
		Now kiss my feet. Kiss 'em!
 
	CLOSE - SOPHIA 

	As Sophia bends to do so.
 
				MALCOLM 
		Feed me.
 
	ANGLE. Sophia now has the scrambled eggs on a plate at Malcolm's side. 
	She spoons some into his mouth. He chews and swallows slowly, then 
	grabs her head and brings it to his. A long, brutal kiss. Then he pulls 
	her head away by the hair. She looks at him: anything he wants.
 
				MALCOLM 
		Yeah, girl; that's your story. When you gonna 
		holler "rape," sister?
 
				SOPHIA
		Me?
 
				MALCOLM 
		You will, baby -- if the time come.
 
				SOPHIA 
		Lemme feed you, sweetie, while they hot. 

	Malcolm lays back on the pillow and she holds out the eggs to him.
 
				MALCOLM 
		Sure wish your mama and papa could see you now. 
		And that ofay you gonna marry. 

30	EXT. A BEACH - BRIGHT SUNLIGHT - DAY
 
	Malcolm and Laura are on a deserted Cape beach. They are dressed but 
	have their shoes and socks off, and he has his trousers rolled up. They 
	walk, like birds, avoiding getting their feet wet as the waves roll in.
 
				LAURA
		Malcolm, you can be anything you want. You got 
		class and you're smart.
 
 				MALCOLM 
		All them books you read and you still don't 
		know nuthin.
 
				LAURA
		I do know I love you.

	Laura stops him and moves to him. Her kiss is a tender one, exploratory. 
	Then Malcolm responds, embracing her fully. Her arms go around him as 
	they both drop into the sand. 

	CLOSE - MALCOLM AND LAURA
 
				LAURA
		Oh, Malcolm, I love you. Please, there's no one 
		around. Now?
 
	Malcolm turns his head from her, he gets up.
 
				MALCOLM 
		Let's go.
 
				LAURA
		Why? Is it because of your white gal? Folks say 
		you're running around town with her.
 
				MALCOLM 
		Save it, baby. Save it for Mr. Right, 'cause 
		your grandma's smarter than ya think.
 
	She looks at him.
 
				LAURA
		She raised me, my mother died when I was six. 
		Is your mother alive?
 
				MALCOLM 
		Yeah, she's alive.
 
31 	OMIT

32	OMIT


33	INT. DRUGSTORE - EVENING 

	Laura is eating a banana split. Malcolm is smoking and drinking coffee.
 
				MALCOLM 
		You know how dumb I was? I used to think that 
		"Not For Sale" was a brand name.
 
	Laura looks over. She doesn't understand.
 
34	INT. LITTLE KITCHEN - DAY
 
	Louise's hand reaches for a small sack of flour stamped "Not For Sale." 
	She brings it down on the table with a hard, controlled whap.
 
				MISS DUNNE'S VOICE 
		I did knock.
 
	Louise doesn't look up.
 
				LOUISE 
		Did you hear me say come in?
 
	WIDEN TO SHOW Louise with a WHITE SOCIAL WORKER, MISS DUNNE complete 
	with pad, pencil and goodwill. Huddled out of sight, but nonetheless 
	visible, are five small BLACK CHILDREN.
 
				MISS DUNNE
		There's no point in fighting about it. I'm 
		sorry. May I sit down?
 
	Louise is very aware of the children and struggling for self-possession.
 
				LOUISE 
		As you nice enough to ask, we'll git you one. 

	One of the children brings over a chair. Miss Dunne sets out her papers.
 
				MISS DUNNE
		It's the same questions, Mrs. Little. Since the 
		death of your husband--
 
				LOUISE 
		Murder.
 
				MISS DUNNE
		-- there is a serious question as to whether --
 
                         LOUISE
		These  are  my  children. Mine. And they ain't 
		no question. None.
 
				MISS DUNNE
		I think sometimes, Mrs. Little, candor is the 
		only kindness.
  
	PAN THE CHILDREN'S FACES
 
				MISS DUNNE (contd) 
		All of your children are delinquent, Mrs. 
		Little, and one, at least, Malcolm is a thief.
 
				LOUISE 
		Get out.
 
				MISS DUNNE
			(still sitting) 
		Your control over your children, therefore--
 
				LOUISE 
		Did you hear me?!
 
				MISS DUNNE
		You'll regret this, Mrs. Little.
 
				LOUISE 
		If you don't move out through that door, you're 
		going to be past all regretting.
 
	The terror-stricken children huddle together.
 
	FREEZE FRAME. It becomes a still.
 
				MALCOLM'S VOICE
		We were parceled out, all five of us. I went to 
		this reform school and lived at this woman's 
		house. She was in charge.
 
34A 	A SMALL CLEAN ROOM WITH A COT, A CHAIR AND A BUREAU.
 
				MRS. SWERLIN 
			(motherly, friendly) 
		This is your room, Malcolm. I know you'll keep 
		it clean.

34B 	A DINING ROOM TABLE. FIVE WHITE BOYS AROUND IT.
 
				MRS. SWERLIN 
		This is Malcolm, our new guest. We'll treat him 
		like a brother.
 
34C 	A CLASSROOM.
 
				MALCOLM'S VOICE
		I was special. The only colored kid in class. I 
		became a sort of mascot. Like a pink poodle.
 
34D	KIDS PLAYING IN THE SCHOOL YARD.
 
				MALCOLM'S VOICE 
		I didn't know then that I was a nigger.
 
	MALCOLM PLAYING BASKETBALL.

34E	MALCOLM SPEAKING BEFORE HIS CLASS. 

34F	MALCOLM DOING HOMEWORK. 

34G	A HORSE HAVING ITS TEETH EXAMINED.
 
				MRS SWERLIN 
		He's bright.
 
				MALCOLM'S VOICE 
		They talked about me like
 
34G	CONTD
 
		MRS SWERLIN (contd) 		MALCOLM'S VOICE (contd)
	Good grades. 			I wasn't there. Like I was some
	Fine athlete.			kind of pedigreed dog or a horse.
	President of his class.		Like I was invisible.
 
      
36 	INT. OSTROWSKI'S CLASSROOM - DAY
 
	OSTROWSKI is talking to Malcolm, it's after school, the classroom is 
	empty.
 
				OSTROWSKI 
		The important thing is to be realistic. We all 
		like you. You know that. But you're a nigger 
		and a lawyer is no realistic goal for a 
		nigger...
 
				MALCOLM 
		But why, Mr. Ostrowski? I get the best grades. 
		I'm the class president. I want to be a lawyer.
 
36	INT. THE DRUGSTORE - P.M.
 
	Laura and Malcolm. Neither is talking. She is simply watching him as he 
	sips his coffee and puffs on a cigarette. 

36A 	INT. OSTROWSKI'S CLASSROOM - DAY
 
				OSTROWSKI 
		...Think about something you can be. You're 
		good with your hands. People would give you 
		work. I would myself. Why don't you become a 
		carpenter? That's a good profession for a 
		nigra. Wasn't your pa a carpenter?
 
	Malcolm is silent.
 
				OSTROWSKI (contd) 
		Jesus was a carpenter.
 
36B 	INT. THE DRUGSTORE - P.M.
 
	CLOSE - LAURA
 
				LAURA 
		It's not the end of the world, Malcolm.
 
37 	OMIT 

38 	EXT. A SIGN - BLINDING SUNLIGHT - DAY
 
	It reads "KALAMAZOO STATE HOSPITAL FOR THE MENTALLY INSANE"
 
39 	INT. A ROOM IN THE HOSPITAL - DAY
 
	The room is totally white and Louise sits in a white smock at a window 
	in a rocking chair. 

	CLOSE LOUISE 

	As she rocks.
 
				LOUISE 
		I said it just as plain, I said, don't let them 
		feed that boy no pig, because he got enough of 
		the devil in him already. I told her she ain't 
		got no reason talk to me that way cuz' my hair 
		blow in the wind. You want my skin. All right, 
		I'll give it to you. I'll scrape it off. See 
		how you like it.
 
	ANGLE - Louise starts to sing a Negro spiritual. 

	CLOSE - MALCOLM 

	He has been standing there in deep pain all along. 

	THE SOUND OF A SPEEDING TRAIN IS HEARD.
 
40 	EXT. THE YANKEE CLIPPER - DAY
 
	The crack train of the New York, New Haven & Hartford speeds through 
	the New England countryside.
 
41	INT. GALLEY OF TRAIN - NIGHT
 
	THREE ELDERLY BLACK WAITERS and Malcolm wearing a sandwichman's uniform 
	are crowded around a portable radio in the galley where food is 
	prepared. The four stand around TULLY, a bland-faced personification of 
	fine Pullman service. They are all listening to the JOE LOUIS-BILLY 
	CONN heavyweight championship fight.
 
				TULLY
		Nigger, shut up so we can hear.
 
				MALCOLM 
		C'mon, Joe.
 
				WAITER #1 
		Turn it up, Tully.
 
				TULLY 
		It is up. Fool be quiet.
 
				WAITER #2
		Tully, move the antenna. . . .
 
	Tully turns some knobs.
 
				WAITER #3
		This Mick is tough.
 
				TULLY 
		Joe is just playing possum. He's waiting for an 
		opening. 

	The waiters are acting as if they are at ringside.
 
				RADIO ANNOUNCER 
		A left jab to the jaw and a right cross, scored 
		by Louis and Conn is hurt, as Louis rips a 
		right to the jaw. Conn is staggering, but he 
		won't go down. Conn bops a left hook, he's 
		reeling around the ring. Louis hooks a left and 
		a right to the jaw and Conn is down. 

	The waiters are going crazy.
 
				RADIO ANNOUNCER 
		He's taking the count, four, five, six, seven, 
		he's on his back, eight, nine, he's getting up, 
		no! The referee says it's over. The bout has 
		stopped.

	The waiters are all jumping up and down when the galley door opens. MR.
 	COOPER, the white man in charge of the kitchen, pops his head in.
  
				COOPER 
		What in hell's going on?
 
	In a moment's notice Tully and the others have resumed their customary 
	servient roles.
 
				TULLY 
		Nothing, Mr. Cooper.
 
				COOPER 
		Got a lot of hungry customers out there.
 
				TULLY 
		Yes sir, Mr. Cooper, soup done finished.
 
				MALCOLM 
		On my way, Mr. Charlie.
 
	Cooper eyes him narrowly.
 
				COOPER 
		The name is Mr. Cooper and don't you forget it. 
		Mr. Cooper.
 
				RADIO ANNOUNCER 
		The winner and still champion, Joe Louis, but 
		what a fight Billy Conn gave.
 
42 	OMIT 

43	OMIT

44	OMIT

45	INT. A PASSENGER TRAIN - DAY 

	As Malcolm hefts his sandwich basket and a large container of coffee 
	down the aisle, hawking as he goes.
 
				MALCOLM 
		Get your good haaaam and cheeeeese sandwiches. 
		I got coffee, I got cake and I got ice cream 
		too. Right chere.
 
	ANGLE FAVORING A WHITE CUSTOMER, BLADES.

				BLADES 
		Hey, boy. Gimme a cheese on white and coffee.
 
	Malcolm's mood is exuberant: the fight is still in his ears. He makes 
	the delivery with a flourish and a smile.
 
				MALCOLM 
		Yes, sir. Best in the house.
 
				BLADES 
		You mighty pleased with yourself, boy.
 
				MALCOLM 
		Yes, sir. I aims to please.
 
				BLADES 
		I like you, boy.
 
45A	INSERT - FANTASY PROJECTION. Malcolm picks up a slab of cream pie and 
	pushes it in Blades' face. 

45B	BACK TO THE PASSENGER CAR 

	Normality again: Malcolm finishes serving him with complete servility. 
	He pulls out a bill.
 
				BLADES 
		Keep the change.
 
	And takes a satisfying bite out of his thin sandwich. 

46	EXT. THE RAILROAD TRACKS IN HARLEM - P.M. 

	As the Clipper surfaces in Harlem, pulls up to the 125th Street 
	station.
 
47	EXT. 125TH STREET STATION - P.M.
 
	Malcolm, out of uniform and dressed in his zoot suit, comes down from 
	the Park Avenue station in Harlem. He is hit with the sights and sounds. 
	Everything delights him: the noise, the lights, the women, the pimps, 
	the signs, the windows, the crowds, the laughter, the music.
 
48	OMIT
 
49	OMIT

50	OMIT

51	ANGLE - CROWD 

	A CROWD OF PEOPLE run by Malcolm yelling and screaming.
 
				CROWD
		The Brown Bomber, The Brown Bomber, Joe Louis, 
		the heavyweight champion of the world. Joe got 
		the belt back. Lawd have mercy. Great day in 
		the morning.
  
50A	CLOSE - MALCOLM

	He runs after them.

50B 	EXT. 125TH AND LENOX AVENUE
 
	All traffic has stopped, there is a huge spontaneous celebration going 
	on. Black folks are everywhere, it seems as if all of Harlem is out on 
	the streets. The citizens of Harlem are hugging, kissing, drinking, 
	dancing, folks are hanging from street lamps, yelling out their 
	windows, holding up hand-made JOE LOUIS banners, everyone has great 
	reason to be joyous. The heavyweight champion of the world is a BLACK 
	MAN -- JOE LOUIS, THE BROWN BOMBER, he has regained his championship.
 
	CLOSE: - MALCOLM
 
	Malcolm quickly looks at his watch, he's running late for his train, as 
	he fights his way through the crowd like a salmon going upstream, the 
	CAMERA CRANES up to see him eventually get lost in a sea of BLACK 
	HUMANITY "cutting loose." 

								FADE OUT.
 
51-	OMIT

56-	OMIT 
 
FADE IN:
 
57	EXT. SEVENTH AVENUE - NIGHT
 
	Malcolm, newly conked and sharp as a tack (zoot suit, trouser crease 
	like a knife's edge, orange knob-toed shoes) walks toward his goal: 
	Small's Paradise.
 
	The street is crowded with PEOPLE, KIDS and HUSTLERS.
 
				YOUNG HOOKER 
		Slow down, daddy, what's your hurry? Lemme show 
		you somepin brand new.
 
	Malcolm smiles "No thanks" keeps moving.
 
				HUSTLER 
		Hey, man, hundred-dollar ring -- diamond; and a 
		ninety dollar watch. Take the both of them for 
		a quarter; twenty-five bucks.

 	Malcolm waves; he's not having any. Goes on.

58	EXT. SMALL'S PARADISE - NIGHT
 
	Before entering, Malcolm sharps himself a bit, picking off some lint,
	cocking his hat. And enters.

59	INT. SMALL'S PARADISE - NIGHT
 
	The restaurant is crowded, both at the bar and at the tables beyond.
	The immediate impression is of subdued well-being, of decorum, of easy 
	affluence. This is the world Malcolm wants into. He digs it, drinking 
	in its details.
 
	ANGLE - BAR

	A big man, FOX, accidentally bumps into Malcolm almost knocking over.
 
				MALCOLM 
		The word is excuse me.
 
				FOX 
		Look, country boy, you shouldn't have been in 
		my way.
 
	Everyone becomes quiet in the bar.
 
				FOX (contd) 
		So what are you gonna do? Go run home to your 
		Mama.
 
	Malcolm grabs a bottle off the bar counter and with lightning speed
	brings it crashing down on Fox's head. As he lays on the floor with 
	head bleeding, Malcolm kicks him in the stomach _two times_. It's done,
 	the fight is over and people pull him off of Fox.
 
				MALCOLM 
		Don't ever again in life step on my Florsheims 
		again, and never talk-bout my mother.
 
	ANGLE WITH MALCOLM AND THE BARTENDER
 
				MALCOLM 
		Gimme a whiskey.
 
	BARTENDER pours him a double.
 
				MALCOLM 
		I ordered a single, Jack.
 
				BARTENDER
		The double's on that gentleman. Jack!
 
	He points.

	ARCHIE AT THE TABLE - FROM MALCOLM'S POV
  
	The elderly man nods. He is big, he is very black. The same color as 
	Malcolm's father. 

	CLOSE - MALCOLM
 
	He raises his glass, toasts Archie and downs it. Then leaning into the 
	bar, asks:
 
				MALCOLM 
		Who is he, man?
 
				BARTENDER
		That's West Indian Archie.
 
				MALCOLM 
		Whut's he do?
 
	The bartender would not normally answer this, but Malcolm is the man of 
	the moment, so the bartender speaks:
 
				BARTENDER
		This and that.
 
	Malcolm nods, then looks over again at Archie -- in appreciation. 
	Archie wiggles a finger for him to come over.
 
59A 	AT ARCHIE'S TABLE
 
	Malcolm is standing.
 
				ARCHIE 
		Sit down. We ain't fixing to eat you. You look 
		brand new in town. Pretty handy with a bottle.
 
				MALCOLM 
		He had it coming.
 
	Malcolm sits. There are no introductions. He just nods at SAMMY and 
	CADILLAC.
 
				ARCHIE 
		What they call you?
 
				MALCOLM 
		Red, and I ain't no punk.
 
				ARCHIE 
		You better not be. Cause if a cat toe you down 
		in this town, you better stand up or make 
		tracks.
 
				SAMMY
		Man live by his rep.
 
				ARCHIE 
		That's a fact. What you do, boy?
 
				MALCOLM 
		I'm working trains. Selling.
 
				ARCHIE
		Bet you like that shit.
 
				MALCOLM 
		Keeps me out of the army.
 
				ARCHIE 
		When they want your ass, won't nothing keep you 
		out.
 
				MALCOLM 
		Not this boy... I ain't fighting their war. I 
		got my own. Right chere. Heard tell you're a 
		good man to know.
 
				ARCHIE 
		Heard where?
 
				MALCOLM 
		Where I come from. Boston.
 
	Sammy and Cadillac are watching a little skeptically. Archie is 
	flattered.
 
				ARCHIE 
		Sombitch and I ain't never been to Beantown.
 
				MALCOLM 
		Man's rep travels.
 
				ARCHIE 
		How 'bout that?
 
	Then seeing Sammy and Cadillac's dubious visages, Archie adds:
 
				ARCHIE (contd) 
		You ain't bullshitting me, is you, boy?
 
				MALCOLM 
		My papa taught me one thing: don't never 
		bullshit a West Indian bullshit artist.

	Archie laughs. Even Sammy smiles. Cadillac still holds his judgment.
  
				ARCHIE 
		Is your papa West Indian?
 
				MALCOLM 
		No, my mama. She's from Grenada.
 
				ARCHIE 
		I like you, country.
 
				SAMMY
		Only where'd you get them goddam vines.
 
				CADILLAC 
		And them shoes. Oh, my.
 
				ARCHIE 
		Yeah, got to do something about you.
 
				SAMMY
		You putting a hurtin' on my vision.
 
	Sammy covers his eyes. Malcolm plays off the insults.
 
				MALCOLM 
		Where can I get a hold of you?
 
				ARCHIE 
		YOU can't. I'll get a hold of you.
 
				MALCOLM 
		Lemme write it down for you.
 
	Malcolm reaches for a pencil.
 
				ARCHIE 
		Don't never write nothing down. File it up 
		here, like I do.
			(touching his head) 
		'Cause if they can't find no paper they ain't 
		got no proof. Ya dig?
 
				MALCOLM 
		Yes, sir.
 
	Archie looks at him sharply.
 
				ARCHIE 
		Boy, look me in the face.
 
	Malcolm does so.

				ARCHIE (contd) 
		Did you just now con me?
 
				MALCOLM 
		Yes, sir.
 
				ARCHIE 
		Why?
 
				MALCOLM 
		'Cause I want in. And it don't take a lot to 
		know you there, daddy.

	Archie and Sammy laugh at his directness. Cadillac smiles. Archie 
	pushes back his chair, about to get up. 

				ARCHIE 
		I got me a little run to make.
 
	Malcolm has suddenly been excluded and he wants desperately back in.
 
				MALCOLM 
		Can I run with you, Mr. Archie?
 
	Archie eyes him, weighing him seriously.
 
				ARCHIE 
		I like your heart and I like your style. You 
		might just do, Little. Lessen you got to git 
		back to that train job.
 
				MALCOLM 
		I done told the man what he could do with his 
		train.
 
				ARCHIE 
		When?
 
				MALCOLM 
		Just now.
 
	The three established hustlers smile at the newcomer in their midst.
 
				ARCHIE 
		Come on, baby. We going shopping...

60	OMIT

61	OMIT

62	OMIT
 
63 	INT. ARCHIE'S ROOM - NIGHT
 
	Malcolm is looking at himself in a mirror in Archie's room. He has on 
	the full outfit now, together with a new white on white shirt and a 
	Sulka tie. Looks great.
 
				ARCHIE
		Just the middle button, baby. Just the middle 
		one.
 
	Malcolm buttons the jacket and turns around, demonstrating for Archie's 
	inspection.
 
				ARCHIE (contd) 
		You looking good, Little. Real clean. Clean as 
		the Board of Health. But you missing something.
 
				MALCOLM 
		What?
 
				ARCHIE 
		Frisk me, baby. Give me a real pat down.
 
	Malcolm doesn't understand, but he senses something -- and becomes 
	excited. Archie has walked over to him.
 
				ARCHIE (contd) 
		Go ahead. Do me.
 
	Malcolm frisks him carefully: pats his sides, his pockets, under his 
	arms, his legs. Archie is clean to the touch.
 
				ARCHIE (contd) 
			(triumphantly) 
		And I'm still carrying.

	He smacks the small of his back. Then, reaching under his coat, he 
	takes a revolver out from the middle of his back. And hands it to 
	Malcolm.
 
	CLOSE - MALCOLM
 
	Holding the deadly instrument, fascinated by it, hefting it, feeling 
	its power.
 
				ARCHIE 
		It's yours, baby. Put it on.

	Malcolm slips it carefully into the small of his back, behind his 
	trouser belt. His first gun: the feeling shines in his eyes, Bogart has 
	become a black man.

				ARCHIE (contd) 
		How's it feel?
 
				MALCOLM 
		Solid, daddy.
 
				ARCHIE
		Okay, baby. Now you outfitted. You ready to 
		tackle the street?
 
				MALCOLM 
		Let 'em come. I'm ready.

64	INT/EXT. VARIOUS LOCATIONS - SERIES OF CLOSE SHOTS 

	A FIVE DOLLAR BILL. CAMERA GOES IN for the last three digits. 

64A	STOCK MARKET BOARD at the end of a day's trading. GO IN for the last 
	three numbers.
 
64B	PREACHER in a pulpit, reading from the Bible.
 
				PREACHER 
		Let us turn to the Gospel according to St. 
		John. Chapter 3, Verse  83.
 
				A VOICE 
		3, 8, 3.
 
	Malcolm scribbles the number onto a piece of paper.
 
64C	A CASH REGISTER
 
	Ringing up an amount: $2.98.
 
				A VOICE 
		2, 9, 8.
  
	Malcolm's hand writes out the number.
 
64D	CLOSE - TRAIN TERMINAL SIGN
 
	It reads "New York to Chicago." PAN DOWN TO SHOW "Train arrives 1:05."
 
				VOICE
		1, 0, 5.

	Archie with Malcolm as the latter writes down "1, 0, 5."
 
				ARCHIE 
		I told you less paper, less trouble. 

				MALCOLM 
		I'm working on it.
 
				ARCHIE 
		I keep all my numbers in my head. I've never 
		written any down.
 
	He taps his head.  

64E 	CLOSE - FACE OF AN ELDERLY WOMAN
 
				ELDERLY WOMAN 
		I saw it in my dream. 5, 5, 5. And last week my 
		sister had a dream and she hit.
 
64F 	CLOSE - FACE OF AN ELDERLY BARBER
 
				BARBER 
		I got it from Ching Chow. It got to be 2, 5, 1.
 
65 	OMIT 

66 	OMIT 

67 	OMIT 

68 	OMIT 

68A 	INT. MOVIE THEATRE - NIGHT
 
	CLOSE - MALCOLM
 
	WE ARE TIGHT ON Malcolm's intense face, he is pulling on a fat joint. 
	We hear BOGART blasting his way out of a police blockade. 

	A phone rings.
 
69 	OMIT 

70 	OMIT
 
71 	INT. ARCHIE'S ROOM - NIGHT
 
 	There is music playing. Wordlessly, Archie sprinkles a few grains of 
	fine crystal onto a round shaving mirror. He slides it across a table 
	to Malcolm and hands him a short straw. Sophia sits next to Malcolm; 
	she and Archie are already high. Malcolm leans over the mirror, placing 
	the straw in his nostril.
 
	TIGHT CLOSE SHOT - MALCOLM'S FACE
 
	In the mirror (something satanic about him) -- as he sniffs the cocaine 
	well into his nose.

	A beat as he leans back waiting for the drug to take hold, Malcolm 
	looks into dressing mirror.

				ARCHIE 
		It hit?
 
				MALCOLM 
		Nnnnnnn!

	Malcolm with gun in hand does his Bogart gangster imitation.
 
				ARCHIE 
		Ain't nuthin' in the world to give you that 
		real deep cool. Like girl. You there?
 
				MALCOLM 
		I'm there, daddy. Wheww. I'm cool enough to 
		kill.
 
				ARCHIE 
		Bet you are.
 
	CLOSE - MALCOLM 

	FREEZE FRAME
 
				SOPHIA'S VOICE 
		Malcolm, you're so funny.
 
	She continues to laugh. 

	BACK TO REAL TIME.
 
				MALCOLM 
		You got any money.

	Before Sophia can answer he grabs her pocketbook, dumping all the 
	contents on the floor but the dough.
 
				SOPHIA 
		Baby, I was gonna give it to you.
 
				MALCOLM 
		Well, bitch you move too slow.
 
				ARCHIE 
		Sometimes you got a big ugly mouth.
 
				MALCOLM 
		Yeah, and I'm putting my money where my ugly 
		mouth is. I'm putting you back in the numbers 
		right now.
			(to Sophia) 
		Baby, what's today?
 
	Sophia is not sure of this, or anything else.
 
				SOPHIA 
		August 2nd. I think. Yeah.
 
	She laughs at her achievement.
 
				MALCOLM 
		Daddy, put me down for a combination. Combinate 
		me, daddy: 8, 2, 1. You got me? 8, 1, 2; 1, 8, 
		2...
 
	With each number he throws a bill at Archie.
 
				MALCOLM (contd)
 		1, 2, 8; 2, 8, 1.  I git 'em all?

				ARCHIE 
			(angrily taking the money) 
		I'll take your goddam bet.
 
	Malcolm slides his tongue down Sophia's throat. 

72	OMIT

73 	OMIT

74	OMIT

75	EXT. SMALL'S PARADISE - NIGHT 

	A miserable night, raining and cold. Malcolm turns into the bar.
 
76 	INT. THE BAR - NIGHT
 
	Shaking off the rain as Malcolm walks through. He is now a familiar 
	figure to the bar's DENIZENS. He is met with ad lib cries: "Hey, 
	Little," "Have a taste," from the men; and from the women: "Come here, 
	sugar," "Where you been?"
 
	Malcolm acknowledges the greetings, strolls down in the bar. It's 
	immediately clear that a subtle change has come over him. He is no 
	longer the neophyte but a well-groomed, smooth, fully polished hustler.

	ANGLE - BOOTH 

	Malcolm sits into the booth and motions for the waitress.
 
	ANGLE - HONEY
 
	A fine copper tan waitress comes to him.
 
				HONEY
		I thought you said we were going to the movies 
		last night.
 
				MALCOLM 
		I say a lot of things.
 
				HONEY
		And like a fool I believe it.
 
				MALCOLM 
		Do your job, Get me a bourbon on the rocks and 
		a pack of Lucky's.
 
	Honey stares at him.
 
				MALCOLM (contd) 
		I said now.
 
	She leaves. He leans his head back against the booth --
 
				A FEMALE VOICE 
		Daniel come in yet, Honey?
 
	Malcolm turns his head sharply at the sound of the voice. It's 
	familiar, a sound from the seemingly distant past. He looks toward the 
	bar and sees the women who asked the question.
 
	LAURA - MALCOLM'S POV
 
	It's Laura, but not the Laura we last saw. She is still young, still 
	vulnerable, but she is bolder, more self-assured, more vividly dressed.
	She is unaware of Malcolm.
 
				HONEY
		Ain't that him now?
 
	ANGLE FAVORING DANIEL. He is a young, cocky, nervous, gingerbread 
	colored boy who comes over to her quickly. He goes to the corner of the 
	bar and quickly grabs Laura's neck and kisses her hungrily.
 
				DANIEL 
		Hey, gorgeous, how you been? Waiting long? 
		Lemme see you. Wow!

	It's obvious he's a junkie. And in need of a fix. QUICK!
 
	SHOT - MALCOLM
 
	Honey places his drink and cigarettes before him. He's watching, taking 
	it all in immediately. Laura is clearly crazy about Daniel. 

	CLOSE - MALCOLM
 
	He looks, then belts down his drink. 

	CLOSER - LAURA AND DANIEL 

	Daniel motions to her pocketbook and she takes out a five-dollar bill. 
	He grabs it, and bolts for the door. 

	WITH MALCOLM AND HONEY 

	She has been watching Malcolm.
 
				HONEY
		You know that gal?

				MALCOLM 
		Mind your own goddamn business ... She comes in 
		a lot?
 
				HONEY
		'Bout every other night, Red.
 
				MALCOLM 
		With him?

	Honey nods.
  
 				MALCOLM (contd) 
		She know?
 
				HONEY
		If she got eyes, she do.
 
	ANGLE - LAURA

	Walking toward the door, looking for Daniel. She leaves the bar. 

	CLOSE - MALCOLM AND HONEY
 
				MALCOLM 
		Is she hooking?
 
				HONEY
		Not yet. But the way things going, that boy 
		gonna turn her out any day.
 
	Malcolm smacks the table in frustration.
 
				HONEY (contd) 
		You stuck on her?
 
	CLOSE - GLASS

	Malcolm's glass on the table is trembling. 

				MALCOLM 
		Shut up, bitch.

	He raises his arm to hit her and it is held back before it can find its
	mark.
 
				ARCHIE 
		Don't do that.
 
	Archie is standing above him. Malcolm nods, and Archie lets his arm go; 
	standing next to him is Sophia.
 
				ARCHIE (contd) 
		Honey, he didn't mean it.

	Archie wiggles his fingers and Honey goes, but not before throwing 
	daggers at Malcolm and Sophia. Archie sits down, takes out a cigar. For 
	a good beat there is a coolness between them. Then Malcolm reaches over 
	and lights Archie's cigar. Sophia stares at her man, he then motions 
	for her to sit down beside him.
 
				ARCHIE (contd) 
		Thanks. You got it. Who's beating on you, Red? 
		You looking a little up tight.

	The father-son thing is back, but Malcolm will never again be the 
	student.
 
				MALCOLM 
		Daddy, where's my money?
 
				ARCHIE 
		What you talking?
 
				MALCOLM 
		You owe me six big ones.
 
	Archie looks at him, non-comprehending.
 
				MALCOLM 
		1, 2, 8 hit, didn't it?
 
				ARCHIE 
		You din't have no 1, 2, 8.
 
				MALCOLM 
		Was you that high? Old man, I threw the slats at
		you. I said to combinate me.
 
				ARCHIE 
		You never had it.
 
				MALCOLM 
		The bitch was there.
 
	Archie doesn't even look at Sophia.
 
				ARCHIE 
		Shit, what else she gonna say?
 
				MALCOLM 
		Then skip it, man. But you slipping, baby. You 
		done slipped.
 
	Archie is controlling himself. Everyone in Small's is all ears, a
 	falling out between Malcolm and Archie -- their reps are at stake.
 
	ANGLE. Archie looks at Sammy. Sammy is neutral. Archie digs in his 
	pockets, comes up with a roll. He peels off six $100 bills and throws 
	them on the table in front of himself, as he gets up.
 
				MALCOLM 
		Oh, sit down, man. What you tasting? I'm buying.
 
				ARCHIE
		I ain't drinking hot piss with you. Come on, Sam.
 
				SAMMY
		Be right there.
 
	Archie goes.

				SAMMY (contd) 
		Twenty-two years he didn't never forget no 
		number.
 
				MALCOLM 
		Got to be a first time, daddy-o.
 
				SAMMY
		He gonna, check the collector he turn into. His 
		rep is on the line, boy, and so's yours. If you 
		lying, one of you is dead.
 
				MALCOLM 
		Ain't gonna be this mother.
 
	Sammy goes.
 
				MALCOLM (contd) 
		Come on, sweetlips, I got us some g-i-r-l, 
		girl. Let's you and me fly.
 
77	OMIT
 
78 	OMIT 

78A	OMIT 

79	OMIT 

80	OMIT 

81	OMIT

82	OMIT 

83	OMIT

84	OMIT 

85	EXT. ONYX CLUB - NIGHT 

	The well-known 52nd Street nightspot features Billie Holiday. A 
	stand-up cutout of her is outside.
 
86 	INT. ONYX CLUB - NIGHT
 
	This is a plush nightclub, with a mixed black and white AUDIENCE. Some
 	of the hustlers from Small's are in evidence. 

	CLOSE - BILLIE

	Lady Day starts into "YOU DON'T KNOW WHAT LOVE IS."

	ANGLE - TABLE

	Malcolm and Sophia high as a kite and on the town. 

	CLOSE - ARCHIE

	He makes his way toward Malcolm's table. There is murder in his eyes.

	ANGLE - TABLE
 
				ARCHIE 
		You're a damn liar.
 
	CLOSE - ARCHIE
 
				ARCHIE (contd) 
		You _took_ me, you bastard, and now I'm taking 
		you.
 
	ANGLE - TABLE
 
				MALCOLM 
		It's me or you, ain't it, Pops?
 
				ARCHIE 
		You know it.
 
				MALCOLM 
		I'll give you back the 600.
 
				ARCHIE 
		I don't want your money.
 
				MALCOLM 
		I'm wearing, Archie.
 
				ARCHIE 
		There's two guns on you.
 
	His eyes gesture. Malcolm looks: 

	MALCOLM'S P0V 

	Sammy at the nearby bar: his hand in his coat pocket.

	CLOSE - ARCHIE
 
	His hand is also in his pocket.
 
				MALCOLM 
		And every cat's watching, ain't they? It's a 
		toe-down.
 
				ARCHIE 
		That's what it is. Walk on out.
 
				MALCOLM 
		Let Billie finish.
 
				ARCHIE 
		Now.
 
	Archie backs away from the table, his gun on Malcolm. 

	ANGLE. As Sammy moves a step toward Malcolm, Malcolm rises in his seat.
 
				SOPHIA 
		You had the number.
 
				MALCOLM 
		Baby, I got to let this old man win. Keep the 
		faith, and tell Billie I'll see her later.
 
	CLOSE - BILLIE
 
	She knows what's going on.
 
	ANGLE - Sammy and Archie are walking behind Malcolm, when he pushes a 
	waitress into their path with drinks flying everywhere, Malcolm darts 
	away.

87	INT. ENTRANCE TO THE TOILET 

 	He races into the men's room.

	ANGLE. Archie and Sammy run after him.
 
88	INT. MEN'S ROOM - NIGHT 

	There is an open window. Archie is leaning out, looking both ways. 

89	EXT. OUTSIDE THE MEN'S ROOM WINDOW - NIGHT FROM ARCHIE'S POV
 
	A tiny alleyway. No one is visible.

				ARCHIE 
		The dirty yellow rat bastard.
 
90	INT. MEN~S ROOM - NIGHT
 
				SAMMY
		Don't push it. You way ahead. You back on top. 
		That boy loves you, man.
 
				ARCHIE 
		What you say?
 
				SAMMY
		He gave it to you, Archie. He did.
 
91  	EXT. THE STREET - NIGHT
 
	Malcolm comes running out of an alleyway and onto the street. He stops 
	to catch his breath, to regain his composure. He is shook up, 
	frustrated, but mostly saddened. He then runs down the block and into a 
	CLOSEUP.
 
91A 	INT. LITTLE HOUSE - LANSING MICHIGAN - NIGHT (REMEMBERED TIME) - 
	FINAL FLASHBACK

	CLOSE - EARL

	Earl is sitting up in bed, he wakes his sleeping wife Louise, next to 
	her is a baby in a crib, another child. Malcolm sleeps between Earl and 
	her.
 
91AA	ANGLE - HOUSE

	Outside the house are 5 members of THE BLACK LEGION. They are dressed 
	in the style of the KKK, but in black sheets rather than white. WE SEE 
	gasoline cans being passed around.
 
				EARL 
		Somebody out there. Wake the children. 

	Earl starts to put on his overalls and reaches for his gun which sits 
	on a nearby chair when an explosion of flames greets the house.
 
				EARL (contd) 
		Everybody out. OUT! OUT! Get the kids. 

	ANGLE - CHILDREN'S BEDROOM 

	Flames roar through the room and the Little kids are hysterical. Louise 
	rushes in and pushes them past the fire, she has infant in hand covered 
	in a blanket.
 
	CLOSE - EARL

91C 	EXT. HOUSE - NIGHT
 
	The entire house is in flames. The Little family stands in front of it, 
	just out of harm's way. 

	ANGLE - BLACK LEGION 

	They sit on their horses watching the results of their work. 

	CLOSE - BLACK LEGION LEADER
 
				BLACK LEGION LEADER 
		Boy, good thing we're good Christians. Nigger, 
		it's time for you to leave this town.
 
	CLOSE - EARL
 
				EARL 
		This here is 'pose to be a free country.
 
CLOSE - BLACK LEGION LEADER
 
				BLACK LEGION LEADER 
		Rev, we warned you 'bout that Garvey preaching, 
		stirring up the good nigras here. Boy, next 
		time you're a dead nigger.

	CLOSE - EARL

				EARL 
		I ain't a boy. I'm a man, and a real man don't 
		hide behind no bedsheets.
 
	Earl takes his pistol out from behind his back and fires above their 
	heads.
 
				EARL (contd) 
		Take these here bullets for dem sheets.
 
	ANGLE - BLACK LEGION
 
	The bullets send the Black Legion flying into the glorious D.W. Griffith
 	moonlit night. 

	ANGLE - HOUSE 

	The burning house collapses behind the Little family. 

	ANGLE - EARL AND LOUISE
 
				LOUISE 
		Earl, I know you a better shot than that. You 
		shoulda killed 'em all, shot 'em dead.
 
				EARL
		Just wanted to scare 'em, they won't be 
	bothering us no more.
 
	CLOSE - YOUNG MALCOLM
 
	Young Malcolm stares at his father while the house still burns behind 
	him, no doubt drawing on the great courage displayed by his father.
 
				EARL 
		They won't be here no time soon. I'm a MAN! 

91D	EXT. STREET - LANSING - NIGHT (REMEMBERED TIME)
 
	It's raining cats and dogs and it's foggy. We hear a big thud, then a 
	grunt and Earl Little falls across the trolley tracks, the sound of men 
	running away is heard in the distance. 

	ANGLE - A STREETCAR APPROACHES
 
	ANGLE - EARL ON TRACKS 

	He has been beaten to a bloody pulp.
 
	ANGLE - CLOSER SHOT OF STREETCAR APPROACHING
 
	CLOSE - EARL 

	He opens his one good eye. 

	CLOSE - STREETCAR MOTORMAN 

	He sees something ahead in the fog and rain. 

	ANGLE - MOTORMAN'S POV 

	CLOSE - HAND REACHES BRAKE LEVER 

	CLOSE - STREETCAR WHEELS STOPPING, SPARKS FLY 

	CLOSE - MOTORMAN 

	Winces and then makes the Sign of the Cross. 

	ANGLE - LONG SHOT OF PASSENGERS 

	Jumping out of the streetcar to attend to Earl.
 
				PASSENGER'S VOICE 
		Somebody get a doctor.
 
				MOTORMAN'S VOICE 
		No doctor, get him a priest.
 
				VOICE OF MALCOLM X 
		My father's skull, on one side was crushed in, 
		and then laid across some tracks, for a 
		streetcar to run him over. His body was cut 
		almost in half. My father, Earl Little lived 
		two and a half hours in that condition. Negroes 
		were stronger than they are now.
 
92	INT. A CAR - NIGHT
 
	Shorty is driving with Sophia in the front seat. Malcolm is in the 
	back. They are in the country -- outside New York.
 
				SHORTY 
		Man, I'm glad we got you out of there. With 
		West Indian Archie on your ass, your name on 
		the wire -- Boston the best goddam place in the 
		world for you -- things are too hot and it's 
		not even summer.
 
	Malcolm has withdrawn within himself. He takes out a packet of cocaine 
	and sniffs it.
 
				SOPHIA 
		We'll take it easy. I got a place fixed up on 
		Harvard Square. How's that sound?
 
				SHORTY 
		Yeah. Cool it and lay dead for a while, Homeboy. 
		And don't worry none.
 
	The drug takes hold. Malcolm is out of it.
 
				SHORTY (contd) 
		I'll stake you, baby. I got my band. I'm 
		blowing great sax. Hell, you ain't even heard 
		us--
 
	He and Sophia keep talking it up, trying to bolster Malcolm. 

	CLOSE - MALCOLM
 
	Stoned, his nose running, Malcolm stares out of the window at the
	receding landscape. FREEZE FRAME.
 
				VOICE OF MALCOLM X 
		Like every hustler I was trapped. Cats that 
		hung together trying to find a little security, 
		to find an answer -- found nothing. Cats that 
		might have probed space or cured cancer -- 
		(Hell, Archie might have been a mathematical 
		genius) -- all victims of whitey's social order.
 
	Music of a dance combo heard in BG.
 
				VOICE OF MALCOLM X (contd) 
		Three things I was always scared of: a job, a 
		bust and jail. I realized then I wasn't afraid 
		of anything. I didn't care.
 
93	OMIT
 
94	INT. HARVARD SQUARE APARTMENT - DAY
 
	Shorty, Sophia and PEG face Malcolm -- stoned in a chair. PEG is 17,
 	Sophia's kid sister and Shorty's date.
 
				SHORTY 
		You got to eat somethin', Red.
 
				SOPHIA 
		You want eggs, baby?
 
				MALCOLM 
		Yeah and get a slave, too, huh, baby?
 
				SHORTY 
		I ain't doing bad.
 
				MALCOLM 
		Man, the name musicians ain't got shit. How you 
		gonna have something? I need a stake, a bundle, 
		a grand. My woman can't afford it; my homey 
		ain't got it. How about you baby? What you got?
 
	Peg smiles, afraid of Malcolm.
 
				SHORTY 
		Jesus, Red, she's just a kid.
 
				MALCOLM 
		Jesus ain't got nothin' to do with this. 

	Shorty eyes him with amazement. The degree of Malcolm's depravity 
	surprises even him.
 
				MALCOLM 
		Surprise you, baby? Well, that's the way it is. 
		What kind of scratch you got on you? Turn out. 
		Let me have it. All of you--
 
	Glances exchanged among Shorty, Sophia and Peg. Shorty reaches into his 
	pocket.
 
95 	INT. HARVARD SQUARE APARTMENT - NIGHT 

	Malcolm with Sophia, Shorty and Peg around him.

				MALCOLM 
		We gone rob this town blind. Anybody want out 
		say so. 

	Nobody answers; they'll go with Malcolm.
 
				MALCOLM (contd) 
		Okay. I got the stake and I got a fence. I need 
		a driver.
 
				PEG 
		How about Rudy?
 
				MALCOLM 
		Who's Rudy? 

				SHORTY 
		Yeah, Rudy.

								JUMP CUT:

95A 	SAME LOCATION - LATER
 
	RUDY is with them. He is a good-looking, very-light skinned black, 
	tough as they come.
 
				RUDY
		I'm half wop, half nigger and ain't afraid of 
		no one.
 
				MALCOLM 
		What can you do?
 
	They are in the process of appraising each other, seeing which one has 
	the bigger penis.
 
				RUDY
		You name it, feller.
 
				SHORTY 
		Rudy does catering. Rich joints on Beacon Hill.
 
				MALCOLM 
		That ain't bad.
 
				SHORTY 
		Tell him about Baldy.
  
				RUDY
		Yeah. This rich ofay, like he's 60. I give him 
		a bath on Friday.
 
	Peg and Sophia are listening, a little horrified.
 
				RUDY (contd) 
		Then I put him to bed and pour talcum powder on 
		him like a baby. He gets his jollies off.
 
				MALCOLM 
		So what about him?
 
				RUDY
		So? The man got silver, china, rugs--
 
				MALCOLM 
		Might be all right.
 
				RUDY
		Might be, shit. Man, I know this town. I got my 
		own fences. Who the hell are you? Who put you 
		in charge?
 
	Malcolm smiles easily.
 
				MALCOLM 
		You want to be the head man?
 
				RUDY
		That's right.
 
				MALCOLM 
		Head nigger in charge?
 
				RUDY
		I'm the man.
 
				MALCOLM 
		Okay, baby. Let's flip for it. Flip this.
 
	He takes out his gun, a .38 revolver. He dumps the shells on the table, 
	then reinserts one shell and twirls the barrel.
 
				MALCOLM (contd) 
		I'll flip first.
 
	He puts the revolver to his own head.
 
				PEG 
		Don't.
 
	Malcolm squeezes the trigger. It clicks. Now he twirls the barrel again 
	and hands the gun to Rudy.
 
				MALCOLM 
		Your flip, baby.

	Rudy is staring at him; so are they all. Malcolm puts the gun to his 
	temple again.
 
				SOPHIA 
		Red, for God's sake-- 

	He pulls the trigger a second time. Click. Now he twirls it again.
 
				SHORTY 
		Christ, Red, no--

				PEG 
		I can't stand it. 

	Malcolm puts the gun to Rudy's head.
 
				MALCOLM 
		Your turn, Rudy. You want me to flip for you?
 
				RUDY
		Jesus Christ, no. Okay, okay. You got it, you 
		got it! You're the boss. 

	A beat.
 
				MALCOLM 
		Don't never try to cross someone who ain't 
		afraid to die.
 
				SHORTY 
		You the man!
 
	Nodding accord from Rudy and Shorty. Sophia can hardly stand.
 
				MALCOLM 
		All right. We'll start with Old Talcum Powder. 
		You draw the house, where everything is. You 
		and Peg go out and buy them tools like I told 
		you. We hit tonight on account of in the 
		daytime some of us got that high visibility. 
		Ya dig?
 
	Rudy is at a table drawing a diagram; the girls have left. Shorty and 
	Malcolm alone at a window.
 
				SHORTY 
		What did you do, Homey, palm it?
 
				MALCOLM
		Yeah.

	He breaks open the gun -- the bullet is in the next slot to be fired. 

				MALCOLM (contd) 
		Palmed it right in the goddam chamber. 

				SHORTY 
		Jesus Christ, Homey, you are nuts. 

	Malcolm starts laughing: a silent, hysterical laugh. 

96	EXT/INT. A BEACON HILL HOUSE - NIGHT
 
	The robbery, IN QUICK CUTS: 

	--A door lock is picked by Sophia.

96A	--Pencil flashlight passes an upstairs window. 

96B	--Rudy in the car.

96C	--Silver removed from a drawer by Shorty. 

96D	--Peg walking down the street, as lookout. 

96E	--Malcolm takes off his shoes.
 
96F	--The sleeping OLD MAN, OLD TALCUM POWDER, as Malcolm takes a watch, a 
	wallet from within inches of his pillow. Then, more boldly, picks up 
	the man's hand and removes a ring from one of his fingers. Shorty 
	watching with bated breath, he's about to have a heart attack.
 
97	INT. MANSION - DAY
 
	A Boston matron, MRS. CRAWFORD, is showing the girls her collection of 
	U.S. silver. In a fine New England home.
 
				PEG 
		Beacon Hill survey.
 
				SOPHIA 
		We're doing a survey for the Athenaeum Society 
		-- We wondered if you'd permit us to include 
		your collection in the catalog of Great New 
		England Antiques--?
 
				MRS. CRAWFORD 
		Now these are my prizes. My Paul Revere silver 
		coffee service.
 
	SHOT -- AN ARRANGEMENT OF MUSEUM-QUALITY PIECES
 
				PEG 
		Lovely, just lovely.
 
	Sophia is casing the room carefully as the matron continues.
 
				MRS.CRAWFORD 
		And my husband's collection of scrimshaw should 
		be included.
 
				SOPHIA 
		May we see it?
 
				MRS. CRAWFORD 
		Won't you step this way?
 
97A	OMIT 

98	OMIT 

98A	OMIT

101	INT. A COURTROOM - DAY 

	The prisoners face the bench: Peg, Sophia, Shorty, Rudy and Malcolm.
 
				VOICE OF MALCOLM X 
		The average first offender gets two years for 
		burglary. We were all first offenders. That's 
		what Sophia and Peg drew--
 
				JUDGE
		Two years in the Women's Reformatory at 
		Framingham.
 
				VOICE OF MALCOLM X 
		But our crime wasn't burglary. It was balling 
		white girls. They gave us the book.
 
				JUDGE
		Burglary, count one -- 8 to 10 years; count two, 
		8 to 10 years; count three, 8 to 10 years...
 
	He continues giving them 8 to 10 years, behind Malcolm's comment: 

				VOICE OF MALCOLM X 
		Fourteen counts of 8 to 10 years.
 
				JUDGE
		The sentences to run concurrently.
 
				VOICE OF MALCOLM X 
		Shorty thought he hit us with 114 years till I 
		explained what concurrently meant. It meant a 
		minimum sentence of 10 years hard labor at the 
		Charlestown State Prison. The date was February 
		1946. I wasn't quite 21. I had not yet begun to 
		shave.
 
	CAMERA HAS GONE IN for a TIGHT CLOSE SHOT of Malcolm's face: a hardened 
	hustler, pimp, dope peddler and now jailbird at the ripe old age of 20.  
	FREEZE FRAME.

								CUT TO BLACK.
 
FADE IN:
 
102	INT. THE CELL CORRIDOR - DAY
 
	It is the afternoon lockup: about 3:30 P.M. The line of PRISONERS 
	stands in front of their cells, as two guards, WILKINS and BARNES, one 
	white, one black, slowly walk past the P.M. check. 

	The procedure is routine, done without emotion, as it is done three 
	times a day: the black guard calls out the prisoner's name, the 
	prisoner answers with his number, then steps into his cell. Whereupon 
	the white guard slams the door shut and locks it.
 
				GUARD WILKINS 
		Jackson.
 
				PRISONER 
		A 231549.
 
	Door is slammed and gate locked. 

	CLOSE - MALCOLM 

	Each time a gate is locked his tension increases. His face is a mask 
	hiding his fury, violence and the hunger of an advanced junkie who has 
	not had a fix in over a week.
 
				GUARD WILKINS 
		Crichlow.
 
				SECOND PRISONER
		A 5991301.
 
	Same procedure.
 
	ANGLE. SHOOTING PAST MALCOLM, FAVORING TWO OTHER PRISONERS. The guards 
	are approaching Malcolm's cell. Past Malcolm are two experienced 
	PRISONERS who have been watching Malcolm during the scene. They whisper 
	surreptitiously without moving their bodies, and barely moving their 
	lips. One of the prisoners is PETE, a huge barrel of a man, a lifer --
	beaten by the system and a lifetime of incarceration. The other is 
	BEMBRY, a man of no great physicality, but who possesses immediately 
	the gift of leadership. It is clear that Pete and others look up to him 
	with great respect.
 
				PETE
		Looka Satan.
 
				BEMBRY 
		I see him.
 
	Bembry's language is very unhip. He speaks carefully. He respects words 
	and he respects himself, something which sets him apart from all the 
	other prisoners.
 
				PETE
		He bout to bust.
 
				BEMBRY 
		No, he's not gonna bust. But he's not gonna fix 
		his face to please them, neither.

	ANGLE. The check-in has reached the man next to Malcolm.

				GUARD WILKINS 
		Harrington.
 
				THIRD PRISONER 
		B 775717.
 
				GUARD BARNES 
		Yeah. Lucky Seven.
 
	Door slammed and locked. 

	CLOSE SHOT - MALCOLM 

	The guards are now in front of him.
 
				GUARD WILKINS 
		Little.
 
	Malcolm doesn't move.
 
				GUARD BARNES 
		State your number.
 
	Malcolm doesn't answer, doesn't blink.
 
				GUARD WILKINS 
		Little.
 
	ANGLE. Bembry in the FG of the scene. 

				BEMBRY 
		He's a new fish, Mr. Barnes. Give him a break.
 
	It's a bold step by Bembry and the prisoners look over at him with
	admiration. Barnes accepts the irregularity and calls over to Bembry.

				GUARD BARNES 
		0kay, I'll give him a break. Now state your 
		number, Little.
 
	CLOSE - MALCOLM
 
				MALCOLM 
		I forgot it.
 
 	CLOSE SHOT - BEMBRY

	Shaking his head in anguish. He knows what's coming. 

	ANGLE. Barnes makes a small gesture and Wilkins seizes Malcolm, 
	grabbing his head and uniform at the same time. Stenciled on the chest 
	of his faded dungarees is Malcolm's number. The guard bends Malcolm's 
	head to the number, shoving the material in Malcolm's face.
 
				GUARD WILKINS 
		Can you read, boy? Thass your number.
 
				GUARD BARNES 
		Now say it.
 
				MALCOLM 
		I'm Malcolm Little, not no goddam number.
 
				GUARD WILKINS 
		Oh, yes you is, baby; thass all you is.
 
	And slams Malcolm hard. He slumps to the floor.
 
				GUARD BARNES 
		Two days in the hole. Take him.
 
	Wilkins drags Malcolm off as Barnes resumes the roll call.
 
				GUARD BARNES (contd) 
		Burnham.
 
				FOURTH PRISONER
		A 551613, sir.
 
								JUMP CUT:
 
103 	INT. A SOLITARY CELL - DAY
 
	Only the faintest light comes into the hideous room, which consists of 
	a mattress and a slop bucket. If Malcolm were to stretch out his arms, 
	he could touch both walls. He lies half on the stone floor, half on the
 	mattress.
 
	A clang as the heavy door is opened.
 
				GUARD CONE
		Time's up. Get on your feet.
 
	Malcolm stands.
 
				GUARD CONE (contd) 
		Little, state your number.
 
	A beat as Malcolm stares at the man, refusing to answer.
 
				GUARD CONE (contd) 
		You just drew two more days.
 
	And slams the door shut. 

104	INT. SOLITARY - NIGHT
 
	It is almost pitch black. We can almost smell the stench of the room. 
	Malcolm sits stony-faced, his back against a wall. 

				TRUSTEE'S VOICE
		Water.
 
	The long spigot of a watering can is pushed through an opening in 
	the cell door. Malcolm, animal-like, leaps at it and bends the spout, 
	wrenching it off in his fury.
 
105	OMIT

106	INT. SOLITARY CELL - DAY 

	TWO-SHOT - A WHITE CHAPLAIN AND MALCOLM 

				CHAPLAIN GILL 
		Do you know what a friend you have in Jesus, 
		son?
 
				MALCOLM 
		Preacher, take your tin Jesus and the Virgin 
		Mary, both, and shove 'em.
 
	Door slam.
 
107	INT. SOLITARY - NIGHT 

	Malcolm is alone at the bars: the hope of freedom filling his mind.
 
	Malcolm pulls at the bars, tries to shake them in impotent fury. He 
	pounds the walls. Empty, sick, defeated, his nails scratching the 
	walls, he slides to the floor of the cell.

	It is the low point of his life: nowhere to turn, nothing to hope for.
 
108  INT. SOLITARY - LATER
 
	Guard Cone is shaking him into consciousness.
 
				GUARD CONE
		All right, Little. Get up.
 
	Malcolm just about makes it. The guard is in half-focus. 

				GUARD CONE (contd) 
		State your number.
 
	He is beaten.
 
				MALCOLM 
		A 859912.
 
	A shower is heard.

109 	INT. SHOWER ROOM - DAY
 
	Malcolm stands with bowed head as the hot water cascades over his 
	broken body. He lets it run and run, but it cannot really touch his 
	problems. On a nearby bench are his clothes, his towel and the makings 
	for a conk: lye, Vaseline, comb, etc.
 
	He turns for a moment as he sees he is being watched by someone. It's 
	Bembry standing nearby. Malcolm turns away, trying to find solace in 
	the water. He wants no part of the world or anyone, just to be left 
	alone.
 
				BEMBRY 
		I know how you feel. Like you want to lay down 
		and die.
 
	Malcolm shows no flicker of interest or understanding.
 
				BEMBRY (contd) 
		I brought you something.
 
	He puts down a small matchbox on the bench next to Malcolm's things. 
	Malcolm eyes him like a snake -- but the punishment has reduced him to 
	deep insecurity and his belligerence is more cautious than angry.
 
				MALCOLM 
		Who the hell are you?
 
				BEMBRY 
		Put it in a cup of water. It's nutmeg.
 
				MALCOLM 
		Man, what do you want?
 
				BEMBRY 
		You need something. It's not a reefer, but 
		it'll help some.
 
				MALCOLM 
		Man, get outa my face. I ain't nobody's punk.
 
	But he steps out of the shower, fills a tin cup with water and empties 
	the contents of the matchbox into it. And drinks it down quickly.
 
				BEMBRY 
		Sit down or it might knock you down.
 
	Malcolm sits, toweling himself as the spice hits him. For the first, he 
	smiles; this is the first relief he has tasted in prison. He at Bembry 
	wonderingly, unable to figure him out.
 
				MALCOLM 
		If you ain't trying to punk me, what's your 
		hype?
 
				BEMBRY 
		I can show you how to get out of prison. And 
		it's no hype.
 
				MALCOLM
		Talk, daddy, I'm listening. Hey that ain't bad. 
		You got some more?
 
				BEMBRY 
		That's the last stuff you'll ever get from me.
 
				MALCOLM 
		What did you give it to me for then?
 
				BEMBRY 
		'Cause you needed it. 'Cause you couldn't hear 
		me without it.
 
	This is a new breed of cat; Malcolm has never met anyone like him. He 
	eyes him closely, as he slips into his clothes.
 
				MALCOLM 
		What in the hell are you talking about?
 
	He begins to conk his hair, but is paying attention to what Bembry is 
	saying.
 
				BEMBRY 
		I think you got more sense than any cat in this 
		prison. How come you are such a fool?
 
	Malcolm looks over, piqued.
 
				BEMBRY (contd) 
		Nobody can bust out like Bogart does it, in the
		 movies. Because even if you get out, you are 
		still in prison.
 
	Malcolm is putting the conk into his hair now.
 
				MALCOLM 
		You ain't lying.

				BEMBRY 
		When you go busting your fists against a stone 
		wall, you're not using your brains. Cause 
		that's what the white man wants you to do. Look 
		at you.
 
	These last words are spoken sharply with disgust. Malcolm turns his 
	hands massaging the conk into his hair.
 
				BEMBRY (contd) 
		Putting all that poison in your hair.
 
				MALCOLM 
		Man, you been locked up too long, everybody 
		conks. All the cats.
 
				BEMBRY 
		Why? Why does everybody conk?
 
				MALCOLM 
		Cause I don't want to walk around with my head 
		all nappy, looking like--
 
				BEMBRY 
		Like what? Looking like me? Like a nigger?! 
		Why don't you want to look like what you are? 
		What makes you ashamed of being black?
 
				MALCOLM 
		I ain't said I'm ashamed.
 
	He turns the water on to wash out the conk -- which has begun to burn. 
	Bembry restrains him, holding his arm.
 
				MALCOLM 
		Leggo. I got to wash it out.
 
				BEMBRY 
		Let it burn. Maybe you'll hear me then.
 
	But it is burning now.
 
				MALCOLM 
		Man, you better get off me.
 
	He wrenches away from Bembry and puts his head in the water.
 
				BEMBRY 
		Sure, burn yourself, pain yourself, put all 
		that poison into your hair, into your body -- 
		trying to be white.
 
				MALCOLM 
		Man, I don't want to hear all that.
 
				BEMBRY 
		I thought you was smart. But you just another 
		one of them cats strutting down the avenue in 
		your clown suit with all that mess on you. Like 
		a monkey. And the white man sees you and he 
		laughs. He laughs because he knows you ain't 
		white.
 
	Malcolm is drying his hair, finishing his conk. But some of what Bembry 
	has said disturbs him.
 
				MALCOLM 
		Who are you?
 
	Malcolm is completely humiliated. Bembry sees this and stops the 
	barrage.
 
				BEMBRY 
		The question is, who are you? You are in the 
		darkness, but it's not your fault. Elijah 
		Muhammad can bring you into the light.
 
				MALCOLM 
		Elijah who?
 
				BEMBRY 
		Elijah Muhammad can get you out of prison. Out 
		of the prison of your mind. Maybe all you want 
		is another fix. I thought you were smart.
 
	And he is gone. Malcolm stands looking after him, a long thoughtful 
	moment. He is pulling the comb through his hair.
 
110 	INT. PRISON LICENSE SHOP - DAY
 
	PRISONERS are working on a beltline that stamps out and finishes 
	license plates. Bembry is on the stamping machines, working as he talks 
	to the other prisoners. Malcolm is painting the plates, a little 
	removed from Bembry, but listening with interest. Barnes, with rifle, 
	idles by a window.
 
	A whistle sounds, ending the work shift. The inmates quickly file out 
	into the yard. Bembry stays. Malcolm is half decided.
 
				GUARD BARNES 
		You taking the yard?
 
				BEMBRY 
		I'm staying.
 
	Barnes gestures to Malcolm.
 
				MALCOLM 
		Me too.

	He goes.
 
				BEMBRY 
		What you sniffing around for? I told you I gave 
		you your last fix.
 
				MALCOLM 
		I ain't never seen a cat like you. Ain't you 
		scared talking like that in front of an ofay?
 
				BEMBRY 
		What's he gonna do to me he ain't already done?
 
				MALCOLM 
		You the only cat don't come on with that 
		"Whatcha know, daddy" jive; and you don't cuss 
		none.
 
				BEMBRY 
		I respect myself. A man cuss because he hasn't 
		got the words to say what's on his mind.
 
				MALCOLM 
		Tell you this: you ain't no fool.
 
				BEMBRY 
		Don't con me. Don't try...

				MALCOLM 
		Okay, okay.

				BEMBRY 
		Don't con me. 
 
				MALCOLM 
		What do you do with your time?
 
				BEMBRY 
		I read. I study. Because the first thing a 
		black man has to do is respect himself. Respect 
		his body and his mind. Quit taking the white 
		man's poison into your body: his cigarettes, 
		his dope, his liquor, his white woman, his 
		pork.
 
				MALCOLM 
		That's what Mama used to say.
 
				BEMBRY 
		Your mama had sense because the pig is a filthy 
		beast: part rat, part cat, and the rest is dog.
 
	Malcolm has been pondering all this and now grows animated as he thinks 
	he has come to the essence of a hustle.
 
				MALCOLM 
		Come on, daddy, pull my coat. What happens if 
		you give all that up? You get sick or somethin'? 
		I pulled a hustle once and got out of the draft.
 
				BEMBRY 
		I'm telling you God's words, not no hustle. I'm 
		talking the words of Elijah, the black man's 
		God. I'm telling you, boy, that God is black.
 
				MALCOLM 
		What? Everybody knows God is White.
 
				BEMBRY (contd) 
		But everything the white man taught you, you 
		learned. He told you you were a black heathen 
		and you believed him. He told you how he took 
		you out of darkness and brought you to the 
		light. And you believed him. He taught you to 
		worship a blond, blue-eyed God with white skin
		-- and you believed him. He told you black was 
		a curse, you believed him. Did you ever look 
		up the word black in the dictionary?
 
				MALCOLM 
		What for?
 
				BEMBRY 
		Did you ever study anything wasn't part of 
		some con?
 
				MALCOLM
		What the hell for, man?
 
				BEMBRY 
		Go on, fool; the marble shooters are waiting 
		for you.
 
				MALCOLM 
		Okay, okay. Show me, man.
 
110A 	CLOSE SHOT - A DICTIONARY
 
	WE CAN READ the fine print of the definition:
 
				DICTIONARY
		Black, (blak), adj. Destitute of light, devoid 
		of color, enveloped in darkness. Hence, utterly 
		dismal or gloomy, as "the future looked black."
 
				MALCOLM'S VOICE
		You understand them words?
 
				BEMBRY'S VOICE 
		Read it.
 
	PULLBACK TO SHOW Bembry and Malcolm in a small PRISON LIBRARY. No one 
	else is in the book-lined room.
 
				MALCOLM 
		I can't make out that shit.
 
				BEMBRY 
		Soiled with dirt, foul; sullen, hostile, 
		forbidding -- as a black day. Foully or 
		outrageously wicked, as black cruelty. 
		Indicating disgrace, dishonor or culpability.
 
				DICTIONARY
		See also blackmail, blackball, blackguard.
 
				MALCOLM 
		Hey, they's some shit, all right.
 
				BEMBRY 
		Now look up "white."
 
	Bembry turns the pages of the dictionary to "w."
 
				BEMBRY (contd) 
		Read it.
 
	CLOSE SHOT - DICTIONARY DEFINITION OF "WHITE"
 
				MALCOLM'S VOICE
		White (whit), adj. Of the color of pure snow; 
		reflecting all the rays of the spectrum. The 
		opposite of black, hence free from spot or 
		blemish; innocent, pure, without evil intent, 
		harmless. Honest, square-dealing, honorable.
 
	Malcolm stumbles through the definition as well as he can. Bembry takes 
	over the reading, giving it ironic emphasis.
 
				MALCOLM 
		That's bullshit. That's a white man's book. 
		Ain't all these white man's books?
 
	SHOT - THE SHELVES OF BOOKS
 
				BEMBRY 
		They sure ain't no black man's books in here.
 
				MALCOLM 
		Then what you telling me to study in them for?
 
				BEMBRY 
		You got to learn everything the white man says 
		and use it against him. The truth is laying 
		there if you smart and read behind their words. 
		It's buried there. You got to dig it out.
 
				MALCOLM 
		Man, how'm I gonna know the ones worth looking 
		at?
 
	Bembry smiles at Malcolm. He is a remarkable man who always takes 
	careful measure of his listener. He never talks down to his audience; 
	he talks to them. (A manner Malcolm later will adopt.) Bembry can talk
 	funky or salty or, as we will see, in the cadence and eloquence of the 
	Bible. Right now he goes into street talk.
 
				BEMBRY 
		I'll pull your coat, daddy. Cause lots of these 
		can't nobody read, be he black or white or a 
		Ph.D. with their suspenders dragging the ground 
		with degrees.
 
	Malcolm laughs. He likes and admires the man. Then caught by a passage 
	he does not understand:
 
				MALCOLM 
		Man, I'm studying in the man's book. I don't dig 
		half the words.
 
				BEMBRY 
		Look 'em up and and out what they mean.
 
				MALCOLM 
		Where am I gonna start?
 
				BEMBRY 
		Start at the beginning. Page one, the first 
		one. Here--
 
	CLOSE SHOT
 
	As Bembry's hand opens the book to page one.

	CLOSE IN ON A PICTURE OF AN AARDVARK WITH ITS DEFINITION
 
				MALCOLM 
		Aardvark, noun. An earth pig; an ant-eating 
		African mammal. Man, that sounds like the 
		dozens.
 
	ANGLE - TWO-SHOT
 
				BEMBRY 
		Read it and keep on reading. 

	Malcolm's finger runs down to the next definition:
 
				DICTIONARY
		Abacus, noun. An ancient and primitive Chinese 
		counting device.
 
				BEMBRY 
		If you take one step toward Allah, He will take 
		two steps toward you.
 
111	OMIT 

112	OMIT

113	INT. MALCOLM'S CELL - NIGHT 

	He is reading on his bunk as Barnes walks by. The lights in the cell go 
	out. Malcolm looks up, annoyed at being interrupted. He shifts his 
	position to the floor of the cell so that he can catch the dim light 
	coming from the corridor and goes on with his reading. 

	CLOSE SHOT - THE BOOK 

	Malcolm is studying the dictionary, the last of the "a's": the words
	azimuth, Azores, Aztec, azure, etc. He reads a word, then holds his 
	hand over the printed definition to test himself, half-mouthing its 
	meaning. Malcolm is also copying the dictionary in a school book word 
	for word.
 
114 	INT. LIBRARY - DAY
 
	There are several books on the desk before Malcolm. WE SEE their 
	titles: W.E.B. DuBois's _The Soul of Black Folks_, Carter G. Woodson's 
	_Journal of Negro History_, Durant's _Story of Philosophy_, H.G. 
	Wells's _Outline of History_, Spinoza, Thoreau, etc.
 
				GUARD BARNES'S VOICE
		Closing. Knock it off.
 
	Malcolm is surprised the time has gone so fast. He gathers up his books 
	with care. He cherishes them, putting them back on the shelf carefully.
 
				GUARD BARNES
		You studying to be the first colored 
		President of the States?
 
115	INT. LICENSE SHOP - DAY
 
	The machines are idle; no one is in the room but Malcolm. He starts 
	to reach inside his jacket when Barnes sticks his head in.
 
				GUARD BARNES 
		You taking the yard or not?
 
				MALCOLM 
		I'm staying.
 
				GUARD BARNES 
		Then give me a butt.
 
	Malcolm takes out a half-filled pack of cigarettes, about to offer one, 
	then pauses. Malcolm hands him the pack of cigarettes.
 
				MALCOLM 
		Take 'em. I don't smoke no more.
 
	He takes the pack happily and goes. Malcolm reaches into his jacket 
	again, takes out a book. WE SEE its title: Mahatma Gandhi's _My 
	Struggle_. He sits next to the license press to read.
 
116	EXT. THE PRISON YARD - DAY 

	A baseball game is in progress. A BLACK TEAM is playing a WHITE ONE. 
	Most of the CONVICTS are watching the game; partisanship at every 
	pitch. A base hit gets a big reaction. 

	ANGLE - MALCOLM AND BEMBRY 

	They are out along the right field wall. They walk throughout the scene.

	ANGLE - The ball is hit over the fence for a home run. There is a big 
	cheer from the black prisoners. Pete, the batter, trots proudly around 
	the bases.
  
				MALCOLM 
		Ole Pete ain't much in the head, but he can lay 
		in there with the wood.
 
				BEMBRY 
		Lemme tell you about history: black history. 
		You listening?
 
	TWO-SHOT - Malcolm still watching the game.
 
				MALCOLM 
		You pitch, baby; I'll ketch.
 
				BEMBRY 
		The first men on earth were black. They ruled 
		and there was not one white face anywhere. But 
		they teach us that we lived in caves and swung 
		from trees. Black men were never like that.
 
	Malcolm is listening to Bembry's intent statement.
 
				BEMBRY (contd) 
		We were a race of kings when the white men went 
		around on all fours.
 
	There is a crack of the bat and Malcolm turns to watch another base 
	hit, by a black convict, stir the crowd.
 
				MALCOLM 
		This a helluva game. Somethin's going on.
 
	He sees a black convict, CHUCK, nearby and calls over:
 
				MALCOLM (contd) 
		Hey, whatsa score?
 
				CHUCK
		10 to 1; we murdering them, Din't you hear?
 
				MALCOLM 
		What?
 
				CHUCK
		The Brooklyn Dodgers brought up Jackie Robinson 
		and we pounding the hell out of them, 
		celebrating.
 
				MALCOLM 
		How bout that?
 
				BEMBRY 
		Sure, white man throw us a bone and that's 
		supposed to make us forget 400 years.
 
				MALCOLM 
		A black man playing big league ball is 
		something.
 
				BEMBRY 
		I told you to go behind the words and dig out 
		the truth. They let us sing and dance and 
		smile -- and now they let one black man in the 
		majors. That don't cancel out the greatest 
		crime in history. When that blue-eyed devil 
		locked us in chains -- 100,000,000 of us -- 
		broke up our families, tortured us, cut us off 
		from our language, our religion, our history.

	SHOTS OF THE FACES OF THE BLACK BALL PLAYERS AND THE CONVICTS
 
	In the stands, cheering and joyous.
 
				BEMBRY (contd) 
		Do they know who they are? Do you know where 
		you came from? We are the Original People.
 
	Malcolm is listening to him now.
 
				BEMBRY (contd) 
		What's your name, boy?
 
	Malcolm is startled; answers like a boy.
 
				MALCOLM 
		Little.
 
				BEMBRY 
		No. That's the name of the slave-master who 
		owned your family. You don't even know who you 
		are. You're nothing. Less than nothing. A zero. 
		Who are you?
 
	CLOSE SHOT - MALCOLM 

	Wrapped in thought. 

	ANGLE ON MALCOLM
 
				MALCOLM 
		I'm not Malcolm Little and I'm not Satan.
  
				BEMBRY 
		Who are you?
 
	CLOSE - MALCOLM 

	Malcolm cannot answer because he truly does not know.
 
	A ball is hit. Malcolm watches its flight but his face is fixed 
	somewhere between understanding and anger: it is the face of the future 
	leader.
 
				BEMBRY 
		I told you we are a nation, the lost Tribe of 
		Shabazz in the wilderness of North America.
 
117 	INT. ANOTHER PART OF THE PRISON - LATE AFTERNOON
 
	The rays of the sun come through bars that cut across Malcolm and 
	Bembry's face.
 
				BEMBRY 
		Allah has sent us a prophet, a black man named 
		Elijah Muhammad. For if God is black, Malcolm--
 
				MALCOLM 
		Then the devil is white.
 
				BEMBRY 
		I knew you'd hear me. The white man is the 
		devil. All white men are devils.
 
				MALCOLM 
		I sure met some.
 
				BEMBRY 
		No. Elijah Muhammad does not say "that white 
		man is a devil." He teaches us that the white 
		man is the devil. All white men.
 
	CLOSE SHOT - MALCOLM
 
	Listening.
 
				BEMBRY 
		Have you ever known a good white man in all 
		your life? Think back, did you ever meet one 
		who wasn't evil?
 
	A prison whistle is heard.
 
119	OMIT

120	INT. A NICHE IN A PRISON WALL - P.M.

	Malcolm and Bembry standing close together. The feeling is of someone 
	taking communion: with Bembry the minister and Malcolm the communicant. 
	Their voices are little more than whispers.
 
				BEMBRY 
		The body is a holy repository.
 
				MALCOLM 
		I will not touch the white man's poison: his 
		drugs, his liquor, his carrion, his women.
 
				BEMBRY 
		A Muslim must be strikingly upright. 
		Outstanding. So those in the darkness can see 
		the power of the light.
 
	Malcolm lifts his head.
 
				MALCOLM 
		I will do it.
 
				BEMBRY 
		But the key to Islam is submission. That is why 
		twice daily we turn to Mecca, to the Holy of 
		Holies, to pray. We bend our knees in submission.
 
	Bembry kneels in a praying position. Malcolm stands.
 
				MALCOLM 
		I can't.
 
				BEMBRY 
		For evil to bend its knee, admit its guilt, 
		implore His forgiveness, is the hardest thing 
		on earth--
 
				MALCOLM 
		I want to, Bembry, but I can't.
 
				BEMBRY 
		--the hardest and the greatest.
 
				MALCOLM 
		I can't.
 
				BEMBRY 
		For evil to bend its knee, admit its guilt, 
		implore His forgiveness, is the hardest thing 
		on earth--
  
				MALCOLM 
		I want to, Bembry, but I can't.
 
				BEMBRY 
		--the hardest and the greatest.
 
				MALCOLM 
		I don't know what to say to Allah.
 
				BEMBRY 
		Have you ever bent your knees, Malcolm?
 
	Malcolm laugh-snorts:
 
				MALCOLM 
		Yeah. When I was picking a lock to rob 
		somebody's house.
 
				BEMBRY 
		Tell Him that.
 
				MALCOLM 
		I don't know how.
 
				BEMBRY 
		You can grovel and crawl for sin, but not to 
		save your soul. Pick the lock, Malcolm; pick 
		it.
 
				MALCOLM 
		I want to. God knows I want to.
 
121	INT. MALCOLM'S CELL-NIGHT

	Malcolm holds a letter in his hand. He reads it carefully. He has read 
	it several times before.
 
				VOICE OF MALCOLM X
		I received a letter that day from the Honorable 
		Elijah Muhammad. The Messenger of Allah wrote 
		me, a nobody, a junkie, a pimp and a convict.
 
				VOICE OF ELIJAH 
		I have come to give you something which can 
		never be taken from you: I bring you a sense of 
		your own worth, the worth of one human being. 
		The knowledge of self.
 
	The room becomes transformed. It is suddenly suffused with light. And 
	standing in the cell with Malcolm is ELIJAH MUHAMMAD. He has 
	materialized, but he can be seen through. He is MALCOLM'S 
	HALLUCINATION.
 
				VOICE OF MALCOLM X 
		It was like a blinding light and I became aware 
		that he was in the room with me. He wore a dark 
		suit and on his face I saw a pain so old and 
		deep and black I could scarcely look at him. I 
		knew I was not dreaming. He was there.
 
				ELIJAH 
		I tell you that the most dangerous creation of 
		any society in the world is the man with 
		nothing to lose. You do not need ten such men 
		to change the world. One will do. The Earth 
		belongs to us, the Black man and whatever is 
		around it, and on it and in it. Praises are 
		due to him forever for bringing to us again, 
		our self and our property, the UNIVERSE OF SUN, 
		MOON, AND STARS.
 
				VOICE OF MALCOLM X 
		And suddenly as he came, he was gone.
 
	The hallucination disappears.
 
				VOICE OF MALCOLM X (contd) 
		And then I could do it.
 
	Malcolm goes down on his knees. There are tears in his eyes as he 
	begins praying:
 
	CLOSE - MALCOLM
 
				MALCOLM 
		Allah Akbar: all praise to Him who is 
		all-seeing, all-understanding.
 
	He continues to pray.
 
				VOICE OF MALCOLM X 
		We are told that Saul, on the road to Damascus, 
		heard the words of truth, he fell from his 
		horse. I do not liken myself to Paul, but I 
		understand. It happened to me.
 
122	INT. BEMBRY'S LIVING ROOM - NIGHT
 
	A poorly furnished, small, but immaculate room. There are two couches, 
	a table set for eating, and, on the walls, a portrait of Elijah and a 
	Muslim banner. It is dinner time in a Muslim home.
 
	SIDNEY, aged 20, a perfect specimen of the Fruit of Islam, stands 
	behind his chair, waiting. Their mother, LORRAINE, a woman of Bembry's 
	age, is seated, but she, too, awaits Bembry.
 
	SHOT - BEMBRY
 
				BEMBRY 
		In the name of Allah, the beneficent and the 
		merciful to whom all praise is due.
 
	At the window Bembry saying the evening prayers.
 
				BEMBRY'S VOICE 
		Dear Brother Malcolm: I am back in the bosom of 
		Islam, praise Allah...
 
	He comes to the table, nods and sits. Sidney respectfully sits after 
	him. Food is passed. It is simple fare: natural foods, milk, greens. 
	The portions are small. They eat in silence, but there is warmth and 
	love at this table.
 
				BEMBRY'S VOICE (contd) 
		... We don't have much, but what we have is 
		yours. Lorraine and my two sons join with me in 
		saying that when you come out, which will not 
		be too long, come straight to us.
 
123 	INT. PRISON BARBER SHOP - DAY
 
	Malcolm is reading Bembry's letter as he waits his turn. There is a 
	WHITE CONVICT in the chair, just being finished by a WHITE BARBER - 
	SIMMONS. A BLACK BARBER - SLIM sits by. Both are convicts. NOTE: 
	Malcolm now wears glasses, all that reading in his badly lit cell has 
	ruined his eyes.
 
				BEMBRY'S VOICE 
		You write thanking me. Don't thank me. Praise 
		Allah. He did it all.
 
				SIMMONS 
		Next.
 
	Malcolm starts for the chair. Simmons moves away to light a cigarette 
	as Slim takes over.
 
				MALCOLM'S VOICE
		Dear Bembry. Please thank the Honorable Elijah 
		Muhammad for the money and tell him I have not 
		written him because I have not yet proven 
		myself.
 
124 	INT. SMALL'S PARADISE - NIGHT
 
	Archie and Cadillac are reading a letter they have received. They look 
	at each other incredulously.
 
				MALCOLM'S VOICE
		But I have written everyone else.
 
125	ANOTHER PRISON - DAY
 
	Shorty is waving a letter he has received to his CELLMATE. 

				SHORTY 
		Look like Homey got himself a brand new hype.
 
126	INT. ELIJAH'S OFFICE - DAY
 
	An immaculate room, well furnished. ELIJAH sits in a chair as Bembry
 	stands reading Malcolm's letter.
 
				BEMBRY 
		"I wrote the Mayor, the Governor and the 
		President, but for some reason I haven't heard 
		from them"...
 
	Bembry laughs; Elijah smiles.
 
				MALCOLM'S VOICE
		Tell the Messenger of Allah that I have 
		dedicated my life to telling the white devil 
		the truth to his face. I greet you with the 
		ancient words: "As Salaam Alikum."
 
				ELIJAH 
		Wa-Alaikum Salaam.
 
				MALCOLM'S VOICE
		P.S. I finally worked my way through the 
		"Z's"...
 
127	INT. PRISON CHAPEL - NIGHT
 
	TITLE - 6 YEARS LATER
 
	A GROUP OF PRISONERS, mostly white, but with a goodly smattering of 
	black convicts, are listening to a lecture by CHAPLAIN GILL.
 
  				CHAPLAIN GILL 
		Are there any questions?
 
	ANGLE. Malcolm seated next to a black convict, raises his hand. It's 
	the only hand up. The Chaplain searches for another questioner, but 
	there aren't any.
 
	Pete, sitting next to Malcolm, whispers.
 
				PETE
		Watch out, baby, this cat is heavy on religion.
 
 
				CHAPLAIN GILL 
		I see this has become a struggle between good 
		and evil. Satan has a question.
 
	There is laughter from the convicts.
 
				MALCOLM 
		Yes it is, Chaplain Gill. But I wouldn't want 
		to say which one of us is what.
 
	Laughter, especially from the black convicts.
 
				CHAPLAIN GILL 
		Why don't you just ask your question?
 
				MALCOLM 
		You've been talking about the disciples. What 
		color were they?
 
				CHAPLAIN GILL 
		I don't think we know for certain.
 
	There are reactions from the convicts. Malcolm is sharply challenging a 
	white man about color.
 
				MALCOLM 
		They were Hebrew, weren't they?
 
				CHAPLAIN GILL 
		That's right.
 
				MALCOLM 
		As Jesus was. Jesus was also a Hebrew.
 
				CHAPLAIN GILL 
		Just what is your question?
 
				MALCOLM 
		What color were the original Hebrews?
 
				CHAPLAIN GILL 
		I told you we don't know for certain.
 
				MALCOLM 
		Then we don't know that God was white.
 
	There is a strong reaction to this.
 
				CHAPLAIN GILL 
		Now just a moment, just a moment--
 
				MALCOLM 
		But we do know that the people of that region 
		of Asia Minor, from the Tigris-Euphrates valley 
		to the Mediterranean, are dark-skinned people. 
		I've studied drawings and photographs and seen 
		newsreels. I have never seen a native of that 
		area who was not black.
 
				CHAPLAIN GILL 
		Just what are you saying?
 
				MALCOLM 
		I'm not saying anything, preacher. I'm proving 
		to you that God is black.
 
127A	INSERT FLASH - A BLOND, BLUE-EYED JESUS ON THE CROSS 
	(Note: Try to get footage from _The Last Temptation of Christ_ [Willem 
	Dafoe])
 
				MALCOLM'S VOICE
		God is black.
 
128	INT. ELIJAH'S OFFICE - DAY
 
	Malcolm opens the door, the room is dark and he sees a small, slight 
	man standing against the window, he doesn't move. This is the same man 
	who appeared in Malcolm's cell, this is the Honorable Elijah Muhammad. 
	Malcolm slowly moves toward him; he is completely humbled in his 
	presence.
 
	CLOSE - ELIJAH
 
	He turns from the window to Malcolm.
 
				ELIJAH 
		My son, you've been a thief, drug dealer and a
		pimp and the world is still full of temptation. 
		When God bragged how faithful Job was, the 
		devil argued that only God's protective hedge 
		around him kept him pure, the devil said remove 
		the hedge and he will curse his maker. 
		Malcolm, your hedge has been removed and I 
		believe you will remain faithful.
 
	CLOSE - MALCOLM
 
	He cannot say anything and he drops his head, he is overwhelmed with 
	heartfelt emotion.
 
129	INT. BEMBRY'S LIVING ROOM - P.M.
 
	In contrast to the peaceful family scene, the room is a beehive of 
	activity. Sidney is turning out leaflets on a mimeograph machine; 
	Lorraine is busy making up a mailing list using 3 x 5 file cards; 
	Bembry is recruiting on the telephone.
 
				MALCOLM 
		How many you turning out?
 
				SIDNEY 
		500.
 
				MALCOLM 
		Make it 1000. We got a lot of fishing to do.
 
				SIDNEY 
		Brother Malcolm, I want you to meet Brother 
		Earl. He just joined the Nation.
 
	Earl moves toward Malcolm and extends his hands. Malcolm shakes it 
	warmly.
 
				MALCOLM 
		We can always use another good brother.
 
				EARL
		I'm a willing servant for Allah.
 
129A 	EXT. CHURCH - DAY
 
	Sunday service has let out and Malcolm, Earl, and Sidney are "fishing." 
	They're trying to convert the Black Christians. Malcolm speaks, while 
	the others hand out leaflets.
 
				MALCOLM 
		You think you are Christians, and yet you see 
		your so-called white Christian brother hanging 
		black Christians on trees. You say that white 
		man loves you and yet he has done every evil 
		act against you. He has everything while he is 
		living and tells you to be a good slave and 
		when you die you will have more than he has in 
		Beulah's land. We so-called Negroes are in 
		pitiful shape. Get off your knees praying to 
		a picture of a white, pale blond, and blue-eyed 
		Jesus. Come out of the sky. Build heaven on 
		earth. Islam is the black man's true religion.
 
130	EXT. STREET CORNER, 125TH AND SEVENTH AVENUE - DAY 

	Malcolm is talking to a CROWD from a ladder.
 
				MALCOLM 
		And that the white man is the devil. Yes, God 
		is black and you are made in His image and 
		don't know it. That's how brainwashed you are.

 	The crowd is listening, caught up in Malcolm's intensity.
 
				MALCOLM (contd) 
		My brothers and sisters, they tell you you will 
		sprout wings when you die and fly to heaven. 
		The Honorable Elijah Muhammad tells you that's 
		pie in the sky.
 
	ANGLE ON SIDNEY
 
	Amid the listeners, watching their response.
 
				MALCOLM'S VOICE
		Have you ever seen a black man who wasn't down 
		on his knees begging the Lord to give him in 
		heaven what the white devil enjoys right here 
		on earth?
 
	CLOSE SHOT - SEVERAL LISTENERS

	They turn from Malcolm, moving a few steps away, and now are the 
	audience on an adjacent SPEAKER. He is a young firebrand:
 
				SPEAKER 
		The Harlem Council fights for rat control, for 
		rent control and for community control of our 
		schools.
 
	PAN CONTINUES to take in ANOTHER SPEAKER, a few feet away. WE SEE the 
	street corner is Harlem's Hyde Park, with half a dozen SPEAKERS 
	haranguing the crowd with half a dozen panaceas. That Malcolm is just 
	one among many:

				SECOND SPEAKER
		If the man behind the counter ain't black, 
		don't go in. Boycott the man. Be black. Think 
		black. Buy black.
 
	ANGLE - MALCOLM
 
				MALCOLM 
		Come to our Temple and hear the truth. Because, 
		brother and sister, you are dead. Yes you are, 
		mentally dead, spiritually dead, morally dead. 
		And we are here to resurrect the black man 
		back from the dead.
 
131	EXT. OPEN AIR "MAID'S MARKET" - DAY
 
	A place where black women come to offer themselves for day work. 
	SEVERAL ARE SEEN. A WHITE WOMEN comes up to one to interview her 
	(bargain with her). Malcolm's voice is heard before he is seen, 
	speaking to the women from a ladder.
 
				MALCOLM'S VOICE
		My beautiful sister, for you are beautiful. 
		Beautiful because you are black. Because black 
		is beautiful. You work in the white folks' 
		kitchen so I don't have to tell you that 
		they're devils.
 
	CLOSE - MALCOLM
 
				MALCOLM (contd) 
		And you are putting yourselves on the auction 
		block, letting them examine you like a horse, 
		like a slave. The Honorable Elijah Muhammad 
		teaches that you are black and should be 
		proud...
 
	FACE OF ONE BLACK WOMAN, beginning to shake her head in accord.
 
132	INT. TEMPLE #7 - NIGHT
 
	The SAME WOMAN, now at a Muslim meeting. The faces of other listeners 
	(from the church and from the maids' market) are scattered in Malcolm's 
	audience.
 
	The headquarters itself shows the progress Malcolm has made. It is 
	better furnished, larger, and the chairs are filled. Bembry, Sidney, 
	and Lorraine are in the back of the room, pleased with the growth. 
	Malcolm stands at a podium.
 
				MALCOLM 
		We're not American, we're Africans who happen 
		to be in America. We were kidnapped and brought 
		here against our will from Africa. We didn't 
		land on Plymouth Rock, brothers and sister. 
		Plymouth Rock landed on us.
 
	Reactions: laughter, interest. Ad lib "That's the truth."
 
				MALCOLM 
		Put an end to your begging. No more "Please, 
		Mr. White Man, Lawdy boss, brush me another 
		crumb from off your table, kindly, sir."  We 
		are a nation, a great nation and don't need a 
		thing from them.
 
	Malcolm scanning the faces of his audience as they react. He sees 
	someone he knows and blurts out boyishly (and winningly):
 
				MALCOLM (contd) 
		Shorty!
 
	The crowd turns to Shorty, sitting embarrassedly in the audience.
 
				MALCOLM (contd) 
		Come on up here, man, and give us some skin. 
		Here's a man, brothers and sisters, who shot 
		up with me, who robbed with me, and did time in 
		the white devil's jailhouse. Stand up, Shorty, 
		and be counted--
 
	But Shorty is trying to hide from the spotlight. Malcolm comes down 
	from the platform and walks to him.
 
				MALCOLM (contd) 
		Folks, the brother is shy and needs special 
		attention. So would you excuse us, while Brothers 
		Sidney and Earl take up the collection.

	He embraces Shorty as the crowd laughs appreciatively and Brothers 
	Sidney and Earl have a chuckle themselves.
 
133	INT. MUSLIM CAFETERIA - NIGHT
 
	Shortly and Malcolm sit at a table. Shorty has a cup of coffee in front 
	of him.
 
				SHORTY 
		I got to hand it to you, Homey. That's the best 
		preacher hype I ever did hear.
 
				MALCOLM 
		It isn't a hype, Shorty. And I meant what I 
		said: join us.
 
				SHORTY 
		Come on, baby. I don't pay that shit no mind.
 
				MALCOLM 
		The Honorable Elijah Muhammad says you should 
		pay it all your mind. If you got a mind.
 
				SHORTY 
		Baby, I love you. Take it easy, greasy. How 
		about a snort?
 
				MALCOLM 
		I've been clean for twelve years, Shorty.
 
				SHORTY 
		You is something, Homeboy. My trouble is -- I 
		ain't had enough stuff yet, I ain't et all the 
		ribs I want and I sure ain't had enough white 
		tail yet.
 
				MALCOLM 
		How's the rest of the gang? You seen anyone?
 
				SHORTY 
		Well, Sammy's dead. Yeah, fell over in the bed 
		with a chick twenty years younger than him. Had 
		twenty-five grand in his pocket.
 
133A 	INSERT FLASH - Sammy, he's dead on top of TEENAGE WHORE who is 
	screaming, trying to push that dead weight off her.
 
				MALCOLM'S VOICE
		How about Old Cadillac?
 
133B 	INSERT FLASH - Cadillac is an old junkie, past reclaiming, sitting 
	staring in a MENTAL WARD, twitching, nose running.
 
				SHORTY'S VOICE 
		Hooked on horse. Been in and out of Lexington Ave times.
 
				MALCOLM'S VOICE
		You seen Sophia?
 
133C 	INSERT FLASH - Sophia is a bored housewife, she's in the kitchen 
	cooking while her husband hides behind the Wall Street Journal.
 
133D BACK TO THE BAR
 
				SHORTY 
		I ain't seen Archie, but the vine tells it he's 
		living somewhere's in the Bronx. If you can 
		call it living.
 
134 	INT. A DINGY ROOM - DAY
 
	A knock on the door rouses Archie, by now an old and dying man. All the 
	vigor is gone, all the life has ebbed out.
 
				ARCHIE 
		Git the hell away, you bitch, I'll pay you 
		tomorrow.
 
	Door opens, Malcolm enters.

  				MALCOLM 
		Hello, Archie.

 	Archie sits up from his bed and stares. He tries to bring back some of
	his old juice, tries to stand up.
 
				ARCHIE 
		My man, Red. Come on in, man. 
			(then giving up) 
		Hey, I can't make it.
 
	Malcolm has to help him lie back.
 
				MALCOLM 
		Take it easy, baby.
 
				ARCHIE 
		That really you, Red?

	The contrast is shocking: Malcolm tall and straight; Archie ruined.
 
				MALCOLM 
		You saved my life, Archie. Running me out of 
		Harlem. When I think how close we came to 
		gunning each other down, I have to thank Allah.

				ARCHIE 
		I wasn't gonna shoot you, baby. It was just my 
		rep, that's all. And don't shit me now, but 
		did you have that number? Tell me.
 
				MALCOLM 
		I don't know. It doesn't matter. The thing is 
		we got to get you back on your feet.
 
				ARCHIE 
		Yeah. I got a couple a new angles ain't been 
		figured yet. All I need's a stake and a 
		chance--
 
				MALCOLM 
		Can you use a few bucks? I ain't got much, 
		but--
 
				ARCHIE 
		No, man, I'm doing okay. Thanks. 

				MALCOLM 
		Take it easy. Lay down and don't think about it.
 
				ARCHIE
		Yeah.
 
				MALCOLM 
		You could of been something, Archie, but the 
		devil got to you.
 
	The old man is asleep.
 
				MALCOLM (contd) 
		You know all the angles except how to live. 

135 	EXT. A STREET IN HARLEM - NIGHT
 
	Malcolm walks thoughtfully down the street; Archie is still on his 
	mind, as he passes prostitute after prostitute. Once beautiful women 
	now selling their bodies. He passes Laura, she has been turned totally 
	out and she looks the part, there is no way he can recognize her. We do 
	though. 

	CLOSE - LAURA
 
	She has just gotten a white John and leads him into an alley.
 
				MALCOLM'S VOICE
		Women who could be mothers, teachers, 
		scientists...

	ANGLE - ALLEY
 
	Laura kneels down to unzip her John's pants.
 
				MALCOLM'S VOICE (contd) 
		Who is going to raise our children?; men who 
		might have been astronauts, composers,
		engineers; Who is going to be the head of the 
		households?--
 
136 	INT. TEMPLE #7 - NIGHT
 
	Malcolm is addressing a HUGE AUDIENCE. His tone is more intense, more 
	personal than before, because of his recent encounters. In the 
	audience, sitting with Bembry, is BETTY, a lovely dark-skinned woman. 
	Her interest in Malcolm (true, also, for most of the other unmarried 
	sisters) is more than religious.
 
				MALCOLM 
		--and what has the white devil made of them: 
		dead souls. Oh, my he has no conscience. He 
		should fall on his knees and say, "My kind 
		commits history's greatest crime against your 
		kind every day of your life." But does he? No. 
		He scorns you, splits your head with his 
		nightstick and calls you nigger. If you've had 
		it, then stand up and come forward. If not us, 
		then who? If not now, then when?
 
	ANGLE - THE AUDIENCE
 
	Many stand, some walk toward the podium speaking his name: "I'm with 
	you, Brother Malcolm," "Praise Allah," "Me, Brother Malcolm."
  
	There is applause; some of the audience get to their feet -- Malcolm 
	acknowledges their approval, trying to quiet them, but caught up in the
 	heady excitement of leadership.
 
	CLOSE - BETTY AND BEMBRY
 
	Both are moved by Malcolm's performances.
 
				BETTY
			(whispering) 
		He ought to try to make it a little easier, 
		Brother Bembry.
 
				BEMBRY 
		Why don't you try telling him that, Sister 
		Betty?
 
137	INT. A LARGE ANTEROOM IN TEMPLE #7 - NIGHT
 
	The Muslim movement has grown enormously. The activity in this 
	anteroom, leading to other rooms off it, shows that. Betty and Bembry 
	stand before a Directory announcing activities in the Temple: MONDAY - 
	Fruit of Islam Meeting; TUESDAY - Unity Night; WEDNESDAY - Student 
	Enrollment; THURSDAY - Muslim Girls Training; FRIDAY - General
	Civilization Class; SATURDAY - Swahili, etc.
 
	A stir of people and activity as Malcolm enters the anteroom. He 
	excuses himself from a group of MUSLIMS, making his way toward Bembry.
 
				MALCOLM 
			(little out of breath) 
		Brother Bembry, can we fix it so our 
		loudspeaker is heard on the street?
 
				BEMBRY 
		I'm sure we can. This is a new sister, Sister 
		Betty.
 
	Malcolm nods at her; she nods in return.
 
				BEMBRY (contd) 
		The Sister lectures our Muslim women in hygiene 
		and diet.
 
	Malcolm mutters "very good," but his mind is clearly on a million other 
	details.
 
				BEMBRY (contd) 
		The Sister stresses care of the body and 
		regular eating habits.
 
	Malcolm is still distracted.
 
				BETTY
		The Sister wonders if the Brother knows what 
		Harriet Tubman did between taking souls to the 
		Promised Land?
 
	Malcolm is stopped. He looks at Betty.
 
 				MALCOLM 
		What?
 
				BETTY
		She ate.
 
	Malcolm laughs.

				BETTY (contd) 
		And the Sister suggests he put his actions 
		where his mouth is.
 
	Malcolm's laughter is heard, in response.

138 	INT. MUSLIM CAFETERIA - NIGHT TWO-SHOT - BETTY AND MALCOLM
 
 				MALCOLM 
		Sure I'll speak to your class. But I'm a hard 
		man on women. You want to know why?
 
				BETTY
		If you want to tell me.
 
								CUT TO:
 
138A 	EXT. ELIJAH'S GARDEN - DAY
 
	Malcolm sits next to the Honorable Elijah Muhammad. The student and the 
	teacher.
 
				MALCOLM 
		If you want to tell me.
 
				ELIJAH
		Women are deceitful. They are untrustworthy 
		flesh. I've seen too many men ruined or tied 
		down or messed up by women.

								CUT BACK TO:
 
138B 	BETTY AND MALCOLM
 
	Betty says nothing, she merely pushes the salad plate a little toward 
	him. The food has thus far gone untouched. Malcolm continues.
 
	CLOSE - MALCOLM
 
				MALCOLM 
		Women talk too much. To tell a woman not to 
		talk is like telling Jesse James not to carry a 
		gun or a hen not to cackle. And Samson, the 
		strongest man that ever lived, was destroyed by 
		the woman who slept in his arms.
 
				BETTY
		Shall I tell my sisters that we oppose 
		marriage?

								CUT TO:
 
	CLOSE - ELIJAH
 
				ELIJAH 
		No. We are not Catholic priests. We do not 
		practice celibacy. If a woman is the right 
		height for a man, the right complexion, if her 
		age is half the man's plus seven, if she 
		understands that man's essential nature is 
		strong and woman's weak, if she loves children, 
		can cook, sew and stay out of trouble--

								CUT TO:
 
	CLOSE - BETTY
 
				BETTY
		I think you've made your points, Brother 
		Malcolm.
 
				MALCOLM 
		What points?
 
				BETTY
		That you haven't time for either marriage or 
		eating--
 
	Malcolm chuckles a bit.
 
				BETTY (contd) 
		--and that women aren't the only ones who 
		talk a lot.
 
	Now he bursts out laughing.
 
	CLOSE - BROTHERS SIDNEY AND EARL 

	They are alarmed at Brother Minister's behavior. 

	TWO-SHOT - BETTY AND MALCOLM
 
				BETTY
		If you'll start eating, there is a question I 
		have. Go ahead. Start.
 
	He takes a forkful of the salad.
 
				BETTY (contd) 
		Considering today's standards of animal raising 
		and curing meats, I don't fully understand the 
		restriction on pork.
 
				MALCOLM 
		Let me explain. No. I'll do better than that. 
		I'll show it to you. Scientifically. But it's 
		demonstration purely in the interest of 
		science, you understand?
 
				BETTY'S VOICE:
		Yes, I understand, Brother Malcolm. Purely 
		scientific.
 
139 	INT. MUSEUM OF NATURAL HISTORY - DAY
 
	Before a comparative evolutionary display showing the skeletons of
 	various animals, Malcolm is holding forth. Betty is dressed in a vivid, 
	becoming red dress.
 
				MALCOLM 
		Notice especially the claw, the jaw and the 
		skull formation. This is the rat. This the 
		mole. Here you have the aardvark and the 
		boar...
 
	CLOSE ON THE SKELETONS
 
				MALCOLM'S VOICE
		...All members of the pig-rodent family.
 
				BETTY
		I see your point.
 
				MALCOLM 
		So it is not a matter of the breeding 
		conditions or preparation of the meat. The meat 
		itself is foul.
 
	ANGLE. As they saunter out, passing the huge skeletons of prehistoric 
	animals now.
 
				BETTY
		Could we sit down someplace?
 
				MALCOLM 
		I'm sorry. I've had you on your feet for hours.
 
				BETTY
		You've been on your feet for days. And didn't 
		even finish your salad.
 
140	INT. SODA FOUNTAIN - DAY
 
				WAITER 
		You're the strawberry soda and you're the hot 
		fudge sundae.

	He plunks down the order before Betty and Malcolm. Malcolm takes a 
	long, long satisfying pull on his straw. Then he sighs: 

				MALCOLM 
		That's something I haven't done in fifteen years.
 
				BETTY
		What?
 
				MALCOLM 
		Sat down with a pretty girl and had an ice 
		cream soda.
 
				BETTY 
		How do you like it?
 
				MALCOLM 
		Delicious.
 
	She laughs. He blushes.
 
				MALCOLM (contd) 
		Let's talk about you for a change.
 
				BETTY
		There's nothing to talk about.
 
				MALCOLM 
		0h, yes, there is. I know a lot about you.
		Brother Bembry briefed me.
 
				BETTY
		Oh? Purely scientific interest I'm sure.
 
				MALCOLM 
			(a beat) 
		You're from Detroit, near where I come from. 
		You majored in education at Tuskegee. You're 
		studying nursing and having trouble with your 
		family.
  
				BETTY
 		I can handle it.
 
				MALCOLM 
		They want you to quit the Muslims or they won't 
		pay your tuition, isn't that it?
 
				BETTY
		You have enough worries of your own.
 
				MALCOLM 
		No, good Sisters are rare. We need every one. 
		Tell me something: how tall are you?
 
				BETTY
		Why do you ask?
 
				MALCOLM 
		Just an idle question.
 
				BETTY
		If it's just idle, I won't answer it.
 
	She takes a bite of her sundae.
 
				BETTY (contd) 
		But Brother Bembry says I'm tall enough for a 
		tall man.
 
				MALCOLM 
		How old are you, Betty?
 
				BETTY
		There's a few things you don't know about 
		women, Brother Malcolm. They're possessive and 
		vain.
 
				MALCOLM 
		Are you?
 
				BETTY
		And dogged when I set my mind to something.
 
				MALCOLM
		What have you set your mind to?
 
				BETTY
		Being a good Muslim, a good nurse and a good 
		wife.
 
	Malcolm takes a good look at the lovely woman in front of him, then a 
	long sip from his ice cream soda.
 
				SIDNEY'S VOICE 
		Brother Malcolm.
 
	Betty sees him first.
 
				BETTY
		It's Sidney.
 
	ANGLE. As Sidney runs to them at the table: 

				SIDNEY 
		Brother Johnson was attacked by the cops.
 
				A MAN'S VOICE 
		There was a scuffle. The Brother was watching.
 
141	EXT. SIDE STREET IN HARLEM - P.M.

	Malcolm listening as SEVERAL WITNESSES simultaneously describe the 
	attack. A small angry CROWD has gathered. The most animated one is 
	BENJAMIN, a very dark young black teenager, we will soon meet him 
	later.
 
				BENJAMIN 
		The cop says, "Move on."
 
				MAN 
		The Brother didn't scatter fast enough for the 
		ofay.
 
	CLOSE - MALCOLM
 
				BENJAMIN 
		Crack. He bled like a stuck hog.
 
				MAN 
		Watcha gonna do?
 
				VOICE FROM THE CROWD
			(deprecatingly) 
		He'll rap a little. He's a Muslim. And make a 
		speech.
 
				ANOTHER VOICE FROM CROWD 
		Muslims talk a good game, but they never do 
		nothing, unless somebody bothers Muslims.

	Malcolm's face goes taut. He nods sharply at Sidney, as Benjamin 
	watches them both.
 
				MALCOLM'S VOICE
		I demand to see Brother Johnson.
 
142 	INT. POLICE STATION - LATE P.M.

	Malcolm facing a DESK SERGEANT, TWO UNIFORMED COPS and a PLAINCLOTHESMAN
	off to one side.
 
				SERGEANT 
		Who the hell are you?
 
				MALCOLM 
		I'm from Muslim Temple 7.
 
				COP 
		Never heard of you.
 
				MALCOLM 
		Where is he?
 
	The police respond with a squeeze play intended to intimidate Malcolm:
 
				SERGEANT 
		Nobody here by that name.
 
				PLAINCLOTHES 
		What's your name, feller?
 
	He feels the power play and stiffens in resistance.
 
				MALCOLM 
		I'm Minister Malcolm X. Two witnesses saw him 
		brought in. He was not brought out.
 
				PLAINCLOTHES 
		You heard the Sergeant. Outside.
 
	Malcolm stands his ground coolly.
 
				MALCOLM 
		Take a look out that window. I intend to see 
		Brother Johnson.
 
	The cops eye each other. Plainclothes walks to the window. 

143	EXT. THE STREET OUTSIDE - LATE P.M.
 
	Across from the station is a phalanx of some FIFTY MEN of the Fruit 
	of Islam. All are dressed in dark suits with white shirts. They stand 
	in military formation: eyes forward, every face burning. People from 
	the neighborhood have formed a crowd behind and around them. WE MAKE 
	OUT Benjamin among the crowd. 

143A	INT. POLICE STATION - NIGHT
 
				PLAINCLOTHES 
		Who the hell are they?
 
				MALCOLM 
		Brothers of Brother Johnson.
 
				PLAINCLOTHES 
		Eddie, let's see that blotter.
 
	TWO-SHOT - FAVOR MALCOLM
 
	As the cops examine the police blotter.
 
				SERGEANT
		Yeah. We got a Muslim. The relief must of put it 
		down.
 
				PLAINCLOTHES 
		But you can't see him. You ain't his lawyer.
 
				SERGEANT 
		No lawyer, no see.
 
				MALCOLM 
		Until I'm satisfied Brother Johnson is 
		receiving proper medical attention, no one will 
		move.
 
	Cops eye each other. Plainclothes nods slightly, he has to give in, 
	Malcolm is not playing.
 
144	INT. A LOCKUP - SAME
 
	The back of Malcolm's head, as he examines Brother Johnson. As he comes 
	up OUT OF FRAME, WE SEE that Johnson has been badly beaten.
 
				MALCOLM 
			(shaking) 
		Only a pig could do a thing like that.
 
				PLAINCLOTHES 
		Watch your tongue, boy.
 
				MALCOLM 
		Don't you call me boy, you pig. Letting a man 
		bleed like that.
 
	Sergeant puts a restraining hand on Plainclothes.
 
				MALCOLM (contd) 
		That man belongs in a hospital. Get an ambulance. 
		Now! 

145 	EXT. THE STREET - LATER (DARKER)
 
	As Johnson's body, on a stretcher, is hurried into an ambulance. The 
	crowd has grown in proportions. There are ad libs: "Goddam pigs," "Damn 
	police brutality," "Least they got him out of the meat house."
 
	Malcolm with the Sergeant and a LIEUTENANT, as the ambulance pulls away.
 
				LIEUTENANT
		All right, break it up. You got what you wanted.
 
				MALCOLM 
		I'm not satisfied.
 
	Malcolm starts walking down the center of the street, after the 
	ambulance.
 
				MALCOLM (contd) 
		To the hospital.
 
	The Fruit of Islam fall in behind him, marching slowly. It takes on the 
	start of a march as the neighborhood people fall in behind them. People 
	(especially kids) race with them on the street and on the sidewalk.
 
	ANGLE - BENJAMIN
 
	Benjamin fights his way through the crowd trying to walk beside Malcolm, 
	the Brothers in the Fruit stop him and Benjamin drops back.
 
146 	EXT. LENOX AVENUE - NIGHT
 
 	Now the march has taken over the broad avenue. COPS are forced to 
	redirect traffic, holding up crosstown cars as the group walks solemnly 
	by. The people walking behind have swelled it to a huge demonstration. 
	Their faces reflect their anger and their satisfaction that, for once, 
	something is being done about what has happened.
 
147 	EXT. HARLEM HOSPITAL - NIGHT
 
	LONG SHOT SHOWS the Muslim men in perfect order, calm with their arms 
	folded across their chests, waiting. Their eyes are on Malcolm as he 
	walks toward the hospital entrance. 

	SHOTS

	--of the growing crowd.

	--of the nervous cops, including some big brass.
 
	--of kids watching from a rooftop.

	--of Benjamin trying to emulate the Fruit of Islam. 

148	EXT. OUTSIDE HARLEM HOSPITAL - NIGHT 

	Malcolm is standing in front of the Fruit of Islam men, as HIGHRANKING 
	POLICE OFFICER GREEN comes over.
 
				CAPTAIN GREEN
		All right, that's enough. I want these people 
		moved out of here.
 
				MALCOLM 
		They're all disciplined men. They're doing 
		nothing except waiting.
 
	SHOT
 
	The unruly crowd behind the Fruit of Islam. They are restive, milling, 
	ugly.
 
				CAPTAIN GREEN 
		What about them?
 
				MALCOLM 
		That's your headache, Captain. And if he dies, 
		I pity you.
 
149	EXT. OUTSIDE HARLEM HOSPITAL - NIGHT
 
				DOCTOR 
		He'll live. He's getting the best care we can 
		give.
 
				MALCOLM 
		Thank you, Doctor.
 
				DOCTOR 
		I had to put a plate in his head.
 
				MALCOLM 
			(to Captain) 
		You bastards.
 
				CAPTAIN GREEN 
		All right, okay. Now disperse this mob.
 
	MEDIUM SHOT - MALCOLM, FRUIT OF ISLAM AND CROWD 

	It's clear the decision is in one man's hands, Malcolm's. 

	CLOSE SHOT - MALCOLM 

	He makes a gesture with his hand, the Fruit of Islam disperse.
 
	ANGLE. People moving away, going home. Only one person remains from the 
	Fruit of Islam and the crowd, it's Benjamin.
 
	CLOSE - CAPTAIN GREEN
 
				CAPTAIN GREEN 
		That's too much power for one man to have.
 
149A 	INT. MUSLIM CAFETERIA - NIGHT
 
	Everyone is in a somber mood over the evening's events. 

	ANGLE - TABLE 

	Malcolm sits with Brothers Earl and Sidney.
 
				SIDNEY 
		Brother Minister, we need to strike back.
 
				BROTHER EARL 
		Put fear into those devils.
 
				MALCOLM 
		I want to also, but until we are instructed by 
		the Messenger to do so, we will just wait and 
		pray.
 
				BROTHER EARL 
		I'm tired of praying.
 
				MALCOLM 
		That's enough, Brother Earl.
 
	ANGLE - ENTRANCE
 
	Benjamin comes into the cafeteria and everyone looks at him. He sees 
	Malcolm sitting and moves toward his table.
 
	ANGLE - TABLE 

	Brothers Sidney and Earl get up to intercept him but Malcolm waves him 
	through. Benjamin stands.
 
				MALCOLM 
		Sit down, son.
 
	Malcolm pours some cream into his cup of black coffee, then also some 
	white sugar.
 
				MALCOLM (contd) 
		There is only one thing I like integrated. My 
		coffee.
 
	Benjamin laughs.

				MALCOLM (contd) 
		What can I do for you?
 
				BENJAMIN
		Mr. X, I was out there tonight. I saw what you 
		did. I want to be a Muslim. I ain't never seen 
		a Negro stand up to the police like that.
 
	ANGLE - SIDNEY AND EARL
 
	They exchange dubious looks.
 
				MALCOLM 
		Do you know what it means to be a true Muslim?
 
	Benjamin hesitates.
 
				MALCOLM (contd) 
		Do you?
 
				BENJAMIN 
		Not exactly, but I want to be one, like you.
 
				MALCOLM 
		I admire your enthusiasm but you should never 
		join any organization without first checking it 
		out thoroughly.
 
	Benjamin is crushed and he starts to get up.
 
				MALCOLM (contd) 
		We need more young warriors like yourself, 
		stick around and we shall see if your heart is 
		true.
 
				BENJAMIN 
		Mr. X, I won't make you out a liar.
 
180 	INT. TEMPLE #1 - DETROIT - DAY
 
	CLOSE - NEWSPAPER HEADLINE (DAILY NEWS) 

	MALCOLM X WINS $70,000 JUDGMENT FOR BEATEN NEGRO 

	An AIDE of Elijah puts down the newspaper and shakes Malcolm's hand.
 
				AIDE
		The Honorable Elijah Muhammad would like to see 
		you now.
 
151	INT. ELIJAH'S OFFICE - DAY
 
	Elijah is sweeping the floor with a plain hand broom. Malcolm enters 
	the room, is surprised and waits at the door. The two are alone 
	together.
 
				ELIJAH
		If I surprise you, let me explain. Menial work 
		teaches us humility.
 
				MALCOLM 
		Let me do it then.
 
				ELIJAH 
		No, each of us must relearn that work is the 
		only worthwhile thing. Allah has given you a 
		great gift. Use it wisely, never forgetting 
		that we are nothing, while He is all.
 
				MALCOLM 
		Allah Akbar.
 
	The sweeping done, they stand together near a table at a window.
 
				ELIJAH
		Tonight I shall introduce you as my National 
		Representative. It will be a difficult task. 
		Your assignment is to build temples all over 
		this nation. More work than you have ever done 
		in your life and you will be in the public eye. 
		My son, beware of those cameras, they are just 
		as bad as a narcotic.

	ANGLE - AIDES and OTHERS come into the room now. They are listening.

				ELIJAH (contd) 
		Yes, the white devil will watch your every 
		step. Even your own Brothers will become 
		jealous, and hostile, go slowly. So I offer you 
		a parable -- regarding your work.
 
	Elijah picks up a glass and sets it before Malcolm.
 
				ELIJAH (contd) 
		Here is a glass, dirty and its water foul. If 
		you offer it to the people and they have no 
		choice, they must drink out of it. But if you 
		present them with this glass--
 
	He is holding a clean glass, with clear water in it.
 
				ELIJAH (contd) 
		--and let them make their decision, they will 
		choose the pure vessel. Islam is the only 
		religion which addresses the needs and problems 
		of the so-called Negro, especially in the 
		ghettos -- Islam is the only way out from drugs, 
		crime, unemployment, prostitution, alcohol, 
		gambling, fornication and adultery.
 
	Elijah holds up the clear glass.
 
				VOICE OF MALCOLM X 
		This sweet, gentle man gave me the truth from 
		his own mouth. And I adored him, in the sense 
		of the Latin root of the word. Adorare, to 
		worship and to fear. He was the first man I 
		ever feared -- not fear such as the one has of 
		a gun but the fear one has of the power of the 
		sun, I pledged myself to him, even if it cost 
		me my life.
 
152	INT. A HOSPITAL WARD - DAY
 
	Betty is administering to a PATIENT, as a phone is heard ringing. It's 
	answered. ANOTHER NURSE motions Betty to the phone. She finishes with 
	her patient and goes quickly.
 
				BETTY
		Hello.
 
				MALCOLM'S VOICE
		Sister Betty?
 
				BETTY
		Yes.
 
153	EXT. A PAY PHONE AT A GAS STATION - DAY
 
				MALCOLM 
		I'm in Detroit.
 
				BETTY
		I know.
 
				MALCOLM 
		At a gas station. 
			(a beat) 
		Will you marry me?
 
				BETTY
		Yes.
 
				MALCOLM 
		Did you hear what I said?
 
				BETTY
		Yes I did. Did you hear my answer?
 
				MALCOLM 
		I think so. Can you catch a plane?
 
				BETTY
		Yes. Did you eat?
 
				MALCOLM 
		I love you.
 
154 	INT. BEMBRY'S BEDROOM - NIGHT
 
	Betty and Malcolm sit on the floor in the dimlit room, very close.
 
				MALCOLM 
		It won't be easy.
 
				BETTY
		Just hold me.
 
				MALCOLM 
		It will be rough.
 
				BETTY
		Hush your mouth.
 
				MALCOLM 
		I'll be away a lot.
 
				BETTY
		You're with me even when you're away.
 
	He embraces her. Then Betty laughs.
 
				BETTY (contd) 
		I never told you, but when I first saw you on 
		the podium, cleaning your glasses, I felt sorry 
		for you. Nobody as young as you should be that 
		serious. But I don't think that anymore.
 
				MALCOLM 
		What do you think?
 
				BETTY
		The simplest thing in the world: I want to have 
		a lot of babies with you. Dear Heart, I love 
		you.

	Full embrace.

				BEMBRY'S VOICE 
		We're waiting on you folks. You trying to starve 
		us?
 
155	INT. BEMBRY'S LIVING ROOM - NIGHT
 
	Malcolm has just cut the cake and handed a slice to Betty. Amid 
	laughter and great warmth, Sidney unfurls the front page of the 
	_Messenger_, the Muslim newspaper. Headline reads: "MALCOLM X WEDS 
	BETTY SAUNDERS." Betty kisses her husband and Bembry, Lorraine, Earl, 
	Sidney, Peter and VARIOUS BROTHERS AND SISTERS applaud.
 
	We notice the subtle change in the apartment: it is more comfortable; 
	there is even evidence of some small luxury: a TV set, a new settee, 
	etc.

156	EXT. RALLY - HARLEM - DAY 

	Malcolm is speaking to a GOOD SIZED AUDIENCE:
 
				MALCOLM 
		I must emphasize at the outstart, that the 
		Honorable Elijah Muhammad is not a politician, 
		so I'm not here this afternoon as a Republican, 
		nor a Democrat, not as a Mason nor an Elk, not 
		as a Christian nor a Jew, not as a Catholic nor 
		a Protestant, not as a Baptist nor a Methodist, 
		not even as an American. For if I was an 
		American the problem that confronts our people 
		today would not exist. So I stand here as what 
		I was when I was born: A BLACK MAN!
 
	CROWD REACTIONS
 
				MALCOLM (contd) 
		Before there were any such things as Democrats 
		or Republicans, we were black. Before there 
		were any such things as Masons or Elks, we
		were black. Before there were any such things 
		as Jews or Christians, we were black people. In 
		fact long before there was ever any such place 
		as America, we were black people... And after 
		America has long passed from the scene there 
		will still be BLACK PEOPLE.
 
	CLOSE - BENJAMIN
 
	He is neatly dressed in white shirt, jacket and tie, a fine young 
	Muslim.
 
				BENJAMIN 2X 
		Take your time.
 
157	INT. CHICAGO TEMPLE - NIGHT
 
	The Honorable Elijah Muhammad sits on the stage to the right of Malcolm.
	This is a larger audience.
 
				MALCOLM 
		What kind of black people does the Honorable 
		Elijah Muhammad speak for? Black people who are 
		jobless... the black masses who are poor, 
		hungry, and angry, the black masses who are 
		dissatisfied with the slums and ghettos in 
		which we have been forced to live... the black 
		masses who are tired of listening to the 
		promises of white politicians to correct the 
		miserable living conditions that exist in our 
		community... the black masses that are sick of 
		the inhuman acts of bestial brutality practiced 
		by these semi-savage white policemen that 
		patrol our community, like the occupation 
		forces of a conquering enemy army... the black 
		masses who are fed up with the anemic, Uncle 
		Tom leadership set up by the white man to act 
		as a spokesman for our people and to KEEP US 
		SATISFIED AND PACIFIED WITH NOTHING!
 
	CROWD - REACTIONS
 
	CLOSE - MALCOLM
 
				MALCOLM 
		If the black man cannot go back to his own 
		people and his own land, Elijah Muhammad is 
		asking that a part of the United States be 
		separated and given to the Muslims so they can 
		live separately.
 
	CLOSE - ELIJAH
 
				MALCOLM (contd) 
		The Honorable Elijah Muhammad is the only man 
		the white people can deal with in the solving 
		of problems of the so-called Negro...
 
	CLOSE - MALCOLM 

				MALCOLM (contd) 
		...as Elijah Muhammad knows his problems. 

158 	INT. BETTY'S BEDROOM - NIGHT 

	A modest room. She is rocking a cradle with her foot as she writes: 

				BETTY'S VOICE 
		Attallah is fine. Our firstborn is an angel and 
		a beauty. And misses you as I do. But the news 
		that you've dedicated four new temples is 
		almost as good as having you with us.
 
158A	INT. HOTEL ROOM - NIGHT 

	Malcolm sits in front of a television screen and watches the evening 
	news. The following speech will be INTERCUT with 

	A SERIES OF OLD NEWSREEL FOOTAGE - BLACK & WHITE 

	(newsclips from Birmingham, Selma, Mississippi, and elsewhere): 

158B	--POLICE using dogs against DEMONSTRATORS. 

158C	--The Reverend Dr. Martin Luther King marching. 

158D	--Cattle prods used against MEN, WOMEN and CHILDREN. 

158E	--The Reverend Dr. Martin Luther King singing "We Shall Overcome."
 
158F	--PREGNANT WOMAN knocked down by high-pressure water hoses.

158G	--The Reverend Dr. Martin Luther King leading a crowd in prayer.
 
158H	--Students sitting in at a counter.

158I	--The smoldering ruins of Birmingham's 16th St. Baptist church.
 
158J
				MALCOLM/HIS VOICE 
		The white people who are guilty of white 
		supremacy try and hide their own guilt by 
		accusing the Honorable Elijah Muhammad of 
		teaching black supremacy when he tries to 
		uplift the mentality, the social, and economic 
		condition of black people in this country. And 
		the Jews, who have been guilty of exploiting 
		the black people economically, civilly, and 
		otherwise, hide their guilt by accusing the 
		Honorable Elijah Muhammad of being anti-Semitic 
		simply because he teaches our people to go into 
		business for ourselves and trying to take over 
		the economic leadership in our own community. 
		The black people in this country have been the 
		victims of violence at the hands of the white 
		man for 400 years, and following the ignorant 
		Negro preachers, we have thought that it was 
		God-like to turn the other cheek to the brute 
		that was brutalizing us. 100 years ago they 
		use to put on a white sheet and use a 
		bloodhound against Negroes. Today they've taken
		off sheets and put on police uniforms, they've 
		traded in the bloodhounds for police dogs. And 
		just as Uncle Tom back during slavery used to 
		keep the Negroes from resisting the bloodhounds 
		or resisting the Ku Klux Klan by telling them 
		to love their enemy or pray for those who use 
		them as spitefully today. The Honorable Elijah 
		Muhammad is showing black people that just as 
		the white man and every other person on this 
		earth has God given rights, natural rights, 
		civil rights, and any other kind of rights that 
		you can think of when it comes to defending 
		himself.
 
159

A-C	INT. TV STUDIO 

	CLOSE SHOT - MALCOLM'S FACE 

	With a studio mike around his neck, he's on a panel show. 

	ANGLE - MODERATOR
 
				MODERATOR
		Mr. X, before we start our discussion tonight 
		-- The Black Muslims: Hate Mongers -- would you 
		mind explaining for us the meaning of your 
		name, which is the letter X.
 
	ANGLE - PANEL 

	Opposing Malcolm is DR. PAYSON, a NAACP-type NEGRO. 

	CLOSE - MALCOLM
 
				MALCOLM 
		Yes sir. As you know, during slavery time, the 
		slavemasters named most of the so-called 
		Negroes in America after themselves. Mr. Elijah 
		Muhammad teaches us once you come into the 
		knowledge of Islam, you replace your slave name 
		with an X. Since we've been disconnected, cut 
		off from our Eastern culture for so long that 
		we don't know the names we originally had, we 
		will use X until we get back to the East.
 
	ANGLE - MODERATOR
 
				MODERATOR
		Thank you. Now Dr. Payson.
 
	CLOSE - DR. PAYSON
 
				DR. PAYSON 
		Mr. X is a demagogue. He has no place to go, so 
		he exaggerates. He's a disservice to every good 
		law-abiding Negro in the country. Can I ask you 
		a question?
  
	CLOSE: - DR. PAYSON
 
				MALCOLM 
		Please, go ahead.
 
				DR. PAYSON 
		Mr. Malcolm X, why do you teach black 
		supremacy? Why do you teach hate?
 
	CLOSE - MALCOLM
 
				MALCOLM 
		For the white man to ask the black man if he 
		hates him is just like the rapist asking the 
		raped, or the wolf asking the sheep, "Do you 
		hate me!" The white man is in no moral position 
		to accuse anyone of hate.
 
	ANGLE - PANEL
 
				MODERATOR
		Certainly, Mr. X, you must admit there has been 
		progress.
 
				MALCOLM 
		I'll talk about "progress" in a minute, but let 
		me finish with my brother.

	Malcolm gestures to the Negro panelist.  The BLACK MEMBERS of the TV 
	audience are lapping it up. Betty and Earl also sit in the TV studio 
	audience.
 
				MALCOLM (contd) 
		Stop me if I'm wrong. I "polarize the community." 
		I "erroneously appraise the racial picture."
 
				DR. PAYSON 
		You put it very well.
 
				MALCOLM 
		You left one phrase out. Another educated 
		Kneegrew said to me and I quote: "Brother 
		Malcolm oversimplifies the dynamic interstices 
		of the Negro subculture." Would you agree?
 
				DR. PAYSON 
		Entirely.
 
	ANGLE - MALCOLM
 
				MALCOLM 
		Well, I have this to say. Do you know what a 
		Negro with a B.A., an M.A. and a Ph.D. is 
		called -- by the white man? I'll tell you. He's 
		called a nigger.
 
	There is some blanching and guffawing from the audience. The moderator 
	is totally embarrassed, Betty roars.
 
				MALCOLM (contd) 
		And I'm not finished. To understand this man--
 
	He points a sharp finger at the Negro Panelist.
 
				MALCOLM (contd) 
		--you must know that historically there are two 
		kinds of slaves. House Negroes and Field 
		Negroes. The house Negro lived in the big 
		house; he dressed pretty good; he ate pretty 
		good and he loved the master. Yeah, he loved 
		him more than the master loved himself. If the 
		master's house caught fire, he'd be the first 
		to put the blaze out. If the master got sick, 
		he'd say: "What's a matter, boss; we sick?" 
		WE sick! If someone said to him, "Let's run 
		away and escape. Let's separate." He'd say, 
		"Man, are you crazy? What's better than what I 
		got here?" That was the House Negro. In those 
		days he was called the House Nigger. Well, 
		that's what we call them today because we still 
		got a lot of House Niggers running around.
 
	There is applause from the blacks in the audience. Moderator tries to 
	regain control.
 
159D	INT. ELIJAH'S OFFICE - DAY
 
	CLOSE - THE HONORABLE ELIJAH MUHAMMAD 

	He is enjoying this display by his prize student, the CAMERA PANS to a 
	CLOSE SHOT of BEMBRY and the same cannot be said.
 
159E 	BACK TO STUDIO
 
				MODERATOR
		I think, perhaps, Dr. Payson has something to--
 
				MALCOLM 
		Don't you want to hear about the Field Nigger?
 
				DR. PAYSON 
		Let him finish.
 
				MALCOLM 
		Thank you. Now the Negro in the field caught 
		hell all day long. He was beaten by the master; 
		he lived in a shack, wore castoff clothes and 
		hated his master. If the house caught fire, 
		he'd pray for a wind. If the master got sick, 
		he'd pray that he'd die. And if you said to 
		him, "Let's go, let's separate", he'd yell, 
		"Yeah, man, any place is better than this." 
		You've got a lot of Field Negroes in America 
		today. I'm one.
 
				BROTHER BENJAMIN 
		Tell it.
 
				MALCOLM 
		--there's another one. The majority of black 
		Americans today are Field Negroes. They don't 
		talk about OUR progress, about OUR government, 
		OUR navy, OUR astronauts. Hell, they won't 
		even let you near the plant.
 
159F	INT. ELIJAH'S OFFICE - DAY 

	Bembry turns off the TV set and he commences to plant the seeds of 
	"betrayal."
 
	CLOSE - BEMBRY
 
				BEMBRY 
		Your holy apostle, dear Messenger, I am your 
		true servant and the brothers asked me to tell 
		you Malcolm is getting too much press. The 
		brothers think he thinks _he_ is the Nation of 
		Islam, that he has aspirations to lead the 
		Nation. It was you who made Malcolm the man he
		is. You lifted him out of the darkness.
 
	CLOSE - ELIJAH
 
				ELIJAH 
		Go and tell the brothers what Brother Minister 
		is doing, has done, has been of great benefit 
		to the Nation.
 
	CLOSER - BEMBRY
 
				BEMBRY
		Great benefit for himself. 

159G	BRIEF MONTAGE. THE RISE OF MALCOLM X
 
	EXT. STREET - HARLEM - DAY 

	Malcolm is walking the streets of Harlem like he is campaigning for 
	office. He has Brothers Sidney, Earl, and Benjamin at his side, a CROWD 
	follows him. Malcolm sees a WINO.
 
				MALCOLM 
		Brother Man, put that bottle down, take that 
		poison away from your lips. That's what the 
		devil wants you to do, stay high, out of your 
		natural mind. I know, I've been there.
 
	The wino looks at Malcolm and continues to drink his wine.
 
159H	--Malcolm emerges from a doorway to be met by an army of TV REPORTERS 
	armed with microphones. He walks; they follow.
 
159I	--Malcolm walking in Harlem, urging people to lift themselves up, come 
	to the meetings, etc.
 
159J 	INT. TEMPLE #7
 
	Malcolm sits with Benjamin.
 
				MALCOLM 
		It's time you received your X. But first you 
		must copy this letter, exactly as I give it to 
		you; down to the dotted "i's," crossed "t's," 
		everything. And you must go on a fast, just 
		water and juices, that's it.
 
	CLOSE - BENJAMIN
 
	He takes the letter from Malcolm and looks at it.
 
				BENJAMIN 
		I'll have it tomorrow.
 
				MALCOLM 
		Brother Benjamin, do not rush, it has to be 
		exact.
 
	--Benjamin goes off in a corner and very quickly copies the letter, 
	he's so anxious.
 
	--Benjamin hands Malcolm his letter, Malcolm shakes his head and hands 
	it back, it's not exact.
 
159K	EXT. STREET - HARLEM - DAY
 
	Malcolm is talking to a group of PEOPLE who are having a rent strike.
 
				MALCOLM 
		When you live in a poor neighborhood, you're 
		living in an area where you have poor schools.
 
159L 	CUTAWAY TO MALCOLM AND BENJAMIN
 
	Malcolm hands him back his letter again. The fast is getting to 
	Benjamin.
 
				MALCOLM (contd) 
		When you have poor schools you have poor 
		teachers. When you have poor teachers, you get 
		a poor education.
 
159M	CUTAWAYS TO THE DESPAIR OF HARLEM - SLUMS, TENEMENTS, GARBAGE, RATS
 
				MALCOLM (contd) 
		Poor education, you only work on poor paying 
		jobs and that enables you to live again in a 
		poor neighborhood.
 
159N	CUTAWAY TO BLACK FACES
 
				MALCOLM (contd) 
		So it's a very vicious cycle. We've got to 
		break it.
 
159O	INT. MUSLIM CAFETERIA
 
	Benjamin weakly walks toward Malcolm and gives him his letter, which he 
	takes. The fast is wearing him out. 

	CLOSE - MALCOLM 

	Malcolm is inspecting it. 

	CLOSE - BENJAMIN 

	His face is filled with apprehension. 

	ANGLE - MALCOLM AND BENJAMIN
 
				MALCOLM 
		You are now Benjamin 2X.
 
				BENJAMIN 2X 
		All praises are due to Allah. Thank you, 
		Brother Minister.
 
				MALCOLM 
		Come, sit with us.
 
	ANGLE - TABLE 

	Benjamin 2X sits with Malcolm and Brothers Earl and Sidney.
 
				MALCOLM 
		We are now sitting with Brother Benjamin 2X.
 
				EARL 
		Allah Akbar.
 
				SIDNEY 
		You will be good.
 
				BENJAMIN 2X 
		Brother Minister, can I have something to eat?
 
	Everyone laughs.
 
				MALCOLM 
		Let's get this man some food.
 
160	EXT. HARVARD SQUARE - DAY
 
	A CROWD OF STUDENTS outside the Law School. The setting is the same as 
	the last time we saw Malcolm and Shorty here, except now the students 
	part for him. Malcolm walks slowly toward the entrance, looking up at 
	the Latin inscription of the building when he is stopped by a WHITE 
	COED.
 
				COED
		Mr. X, I've read some of your speeches and I 
		honestly believe a lot of what you say has 
		truth to it. I have a good heart. I'm a good 
		person despite my whiteness. What can the good 
		white people like myself, who are not 
		prejudiced, or racist, what can we do to help 
		the cause?
 
	CLOSE - MALCOLM 

	He stares at her.
 
				MALCOLM 
		Nothing!
 
	CLOSE - COED

	She is absolutely crushed and runs away in tears. 

161 	INT. HARVARD LAW SCHOOL - DAY 

	Speaking to a packed STUDENT AUDIENCE. 

				MALCOLM 
		...My high school was the black ghetto of 
		Roxbury. My college was the streets of Harlem, 
		and I took my masters in prison. If you look 
		out the window--

161A 	SHOT MALCOLM'S OLD GANG HANGOUT
 
				MALCOLM'S VOICE
		--you can see my burglary hangout. I lived 
		like an animal. Had it not been for the 
		Honorable Elijah Muhammad I would surely be in 
		an insane asylum or dead.
 
	ANGLE - The audience carefully listening.
 
				MALCOLM 
		Mr. Muhammad is trying to get us on God's side, 
		so God will be on our side to help us fight our 
		battles. When Negroes stop getting drunk, stop 
		being addicted to drugs, stop fornicating and
		committing adultery. When we get off the 
		welfare, then we'll be MEN. Earn what you need 
		for your family, then your family respects you. 
		They'll be proud to say "That's my father." 
		She's proud to say "That's my husband..." 
		Father means you're taking care of those 
		children. Just 'cause you made them that don't 
		mean you're a father. Anybody can make a baby, 
		but anybody can't take care of them. Anyone can 
		go and get a woman but anybody can't take care 
		of a woman. This is the type of teaching that 
		the honorable Elijah Muhammad teaches us so we 
		can build the moral fiber of our people.
 
	SHOT OF REPORTERS IN AUDIENCE
 
	Beginning to scribble furiously.
 
				MALCOLM 
		I can see the gentlemen of the press, also the 
		FBI and CIA. are with us. Get it straight 'cuz 
		if I said, "Mary had a little lamb," they'd 
		write Malcolm X lampoons poor Mary.
 
	Loud laughter from the audience. But this response is overwhelmed by 
	the response of ANOTHER, LARGER AUDIENCE.
 
162	INT. MONSTER RALLY - NIGHT 

	Malcolm is talking before an all-black audience. It is the largest 
	rally yet; the hall is packed to the rafters.
 
				MALCOLM 
		We have built temples in Boston, in Detroit, in 
		Atlanta, Philadelphia, Washington -- 100 
		temples in fifty states. From a handful we 
		have grown to scores of thousands.
 
	VARIOUS SHOTS OF THE RALLY 

	HAWKERS selling _The Messenger_, faces of Fruit of Islam near the 
	podium; Lorraine, Sidney, Earl, Benjamin, and Bembry. For the first 
	time a new note is seen in Bembry's face: reserve bordering on 
	resentment. When others around him cheer Malcolm, Bembry is cool. 
	Sidney notices this from his father, but makes no comment.

				MALCOLM/HIS VOICE 
		The Honorable Elijah Muhammad teaches us that 
		God is now about to establish a kingdom on this 
		earth based on brotherhood and 

		[...]

		against peace, his history on this earth has 
		proved that. Nowhere in history has he been 
		brotherly toward anyone. The only time he has 
		been brotherly toward you is when he can use 
		you, when he can exploit you, when he can 
		oppress you, when you will submit to him. And 
		since his own history makes him unqualified to 
		be an inhabitant or a citizen in a kingdom of 
		brotherhood, the Honorable Elijah Muhammad 
		teaches us that God is about to eliminate that 
		particular race from this earth. So since they 
		are due for elimination, we don't want to be 
		with them.
 
	ANGLE - CROWD
 
	CLOSE - MALCOLM
 
				MALCOLM (contd) 
		If the so-called Negro were American citizens 
		we wouldn't have a race problem. If the 
		Emancipation Proclamation was authentic, you 
		wouldn't have a race problem. If the 13th, 
		14th, and 15th amendments to the Constitution 
		was authentic, you wouldn't have a race 
		problem. If the Supreme Court desegregation 
		decision was authentic, you wouldn't have a 
		race problem. All of this is hypocrisy. These 
		Negro leaders have been telling the white man 
		everything is all right, everything is under 
		control. And they've been telling the white man 
		that Mr. Muhammad is wrong, don't listen to 
		him. But everything Mr. Muhammad has been 
		saying is going to come to pass is now coming 
		to pass and now the Negro leaders are standing 
		up saying that we are about to have a racial 
		explosion. We're going to have a racial 
		explosion and that's more dangerous than an 
		atomic explosion.
 
	ANGLE - MALCOLM
 
				MALCOLM (contd) 
		It's going to explode because black people are 
		dissatisfied. They're dissatisfied now not only 
		with the white man, but with these Negroes who 
		have been sitting around here posing as leaders 
		and spokesmen for black people. Anytime you put 
		too many sparks around a powder keg, the thing 
		is going to explode and if the thing that 
		explodes is still inside the house, then the 
		house will be destroyed. So the Honorable 
		Elijah Muhammad is telling the white man get 
		this powder keg out of your house, let the 
		black people in this country separate from him 
		while there's still time. And if the black man 
		is allowed to separate and go on onto some land 
		of his own, where he can solve his problems, 
		then there won't be any explosion. COMPLETE 
		SEPARATION IS THE ONLY SOLUTION TO THE BLACK 
		AND WHITE PROBLEM IN THIS COUNTRY!!!

	ANGLE - CROWD
 
	A wave of cheers as people explode.
 
163	 INT. AN ANTEROOM OF THE RALLY - NIGHT
 
	The rally is over. A small room packed with PEOPLE congratulating 
	Malcolm, trying to touch him. He is the hero of the hour. Sidney, Earl, 
	and Benjamin with him, enjoying the accolades and trying to help 
	Malcolm make his way out. Bembry stands apart, removed and silent.
 
				MALCOLM 
		Thank you, Brother; Sister, how are you?
 
				SIDNEY 
		Please make way, please--
 
	ANGLE. A WELL-KNOWN PERSONALITY (DICK GREGORY) is at the door. He and 
	Malcolm know each other well. Malcolm extends a palm, but Gregory 
	doesn't slap it.
 
				GREGORY 
		Can I ask you something?
 
				MALCOLM 
		Sure, man.
 
				GREGORY 
		Are you Elijah's pimp?
 
				MALCOLM 
		What?
 
				GREGORY 
			(scornfully) 
		"His greatest greatness."
 
				MALCOLM 
		Say what you're saying.
 
				GREGORY 
		If you don't know, man, then I feel sorriest 
		for you.
 
164 	INT. MALCOLM'S HOME - NIGHT
 
	Betty, pregnant with child, is in a chair -- a newspaper in her lap. 
	Malcolm is in the other room, putting his last daughter to sleep. We 
	hear him...
 
	ANGLE - BEDROOM
 
				MALCOLM'S VOICE
		Okay, last hug.
 
	As he enters, a smile on his face, but the concern of the evening 
	clearly imprinted. He sits down heavily. Betty watches him carefully.
 
				MALCOLM 
		Long day. Long night. Long year. Long ten years.
 
	He smiles. She doesn't.
 
				MALCOLM (contd) 
		Why are you looking at me like that?
 
				BETTY
		Because you're in trouble.
 
				MALCOLM 
		How do you know?
 
	She smiles.

				BETTY
		Dear heart, because I know you.
 
	A pause.

				MALCOLM 
		I don't want to bring my troubles home. You 
		know that.
 
				BETTY
		I'm not made of glass.
 
				MALCOLM 
		I just want to sit here and be still.

				BETTY
		We've never had a fight. Not a real one. But 
		we're going to have one right now if you don't
		talk about it.
 
				MALCOLM 
		Talk about what?
 
				BETTY
		The talk is everywhere!
 
				MALCOLM 
		There's always talk, always been talk, and 
		always will be talk. Don't they say how I'm 
		trying to take over the Nation, how I'm getting 
		rich off the Nation?
 
				BETTY
		We'll get to that, too, but this isn't just 
		talk any more.
 
	She picks up the newspaper and reads from it:
 
				BETTY (contd) 
		"Los Angeles, UPI: Elijah Muhammad, 67-year-old 
		leader of the Black Muslim Movement, today 
		faced paternity suits from two former 
		secretaries who charged he fathered their four 
		children..."
 
				MALCOLM 
		There are always slanders, always lies. You're 
		reading the devil's lies. Can't you see they're 
		trying to bring us down, bring down the 
		Messenger.
 
				BETTY
		"Both women, in their 20's, charged they had 
		had intimacies with Elijah Muhammad since 
		1957..."
 
				MALCOLM 
		I was going to talk to Bembry about it tonight.
 
				BETTY
		To Bembry? Is Bembry your friend?
 
				MALCOLM 
		Woman, have you lost your mind? What's the 
		matter with you?
 
	Betty gets up, goes to him gently.
 
				BETTY
		No, what's the matter with you? Wake up! Are 
		you so dedicated that you have blinded 
		yourself? Are you so committed you cannot face 
		the truth? Bembry is the editor of the 
		newspaper you established. Ask him why your 
		name hasn't been in "Muhammad Speaks" in over a 
		year? Ask him why you rate front page in every 
		paper in the country, but not a single sentence 
		in your own.
 
				MALCOLM 
			(rationalizing) 
		I'm not interested in personal publicity. Our 
		people know what I'm doing.
 
				BETTY
		Do you know what Bembry is doing? You're so 
		blind, everyone can see this but you!!!
 
				MALCOLM 
		Bembry saved my Life. The Honorable Elijah 
		Muhammad saved my life.
 
				BETTY
		A long time ago. You've repaid them many times 
		over. Ask them why they have new cars and 
		houses full of new furniture.
 
				MALCOLM 
		Is that what this is about? Material wealth?
 
				BETTY
		What do we have, Malcolm. A broken-down jalopy 
		and the clothes on our backs. We don't even own 
		our own home. What about our children? What 
		about me? You don't even own life insurance.
 
				MALCOLM 
		The Nation will provide for you and the 
		children if anything happens to me.
 
				BETTY
		Will they? Are you sure? Are you sure or are 
		you blind?
 
	She touches him very gently.
 
				BETTY (contd)
		Dear heart, you have to help me. I'm raising 
		our kids practically by myself, while you're 
		running all over the world. You don't know how 
		many times the girls ask me when is daddy 
		coming home?
 
				MALCOLM 
		What do you want me to do? Our people need me.
 
				BETTY
		We need you too!
 
				MALCOLM 
		What do you want me to do?
 
				BETTY 
		Open your eyes, you can face death 24 hours a 
		day; but the possibility of betrayal never 
		enters your mind. If you won't do that for 
		yourself do it for us.
 
164A	DETECTIVE MONTAGE 

	Malcolm knocks on the door of Evelyn Williams, one of the two 
	secretaries/wives. She opens the door and has child in her arms.
 
	ANGLE - APARTMENT
 
				SISTER EVELYN 
		Her name is Eva Marie, she's 2 years old. 
		Brother Minister, I did nothing wrong. I did 
		nothing to be put in isolation. I believed in 
		him. I believed in the Honorable Elijah 
		Muhammad.
 
	CLOSE - MALCOLM 

	He cannot believe what he is hearing, but he must. The truth is before 
	his eyes.
 
				MALCOLM 
		Sister Evelyn, believe in Allah.
 
								CUT TO:
 
164B 	INT. SISTER LUCILLE'S ROSARY APT. - DAY
 
	ANGLE - MALCOLM
 
	Malcolm is sitting holding both of the children. Sister Lucille who is 
	pregnant with 3rd child waddles across the room to sit down on the sofa 
	with him. She picks up one of the kids from him.
 
	ANGLE - SISTER LUCILLE
 
				SISTER LUCILLE
		This is Saudi, she's 3 and you have Lisha, 
		she's 2. Brother Minister the Honorable Elijah 
		Muhammad is the father of my 3 children.
  
	She touches her pregnant stomach.
 
				SISTER LUCILLE (contd) 
		Brother Minister he often talked about you. He 
		loves you, loves you like his own son. Says you 
		are the best, his greatest Minister but that 
		someday you would leave him and turn against 
		him.
 
	CLOSE - MALCOLM
 
				MALCOLM 
		He told you that?
 
				SISTER LUCILLE
		Yes sir.
 
				MALCOLM 
		Are you sure?
 
				SISTER LUCILLE
		Yes, I am, Brother Minister. All I want is 
		support for my children. He should provide for 
		his children. That's all I want.
 
				MALCOLM 
		Allah will provide.
 
165 	INT. BEMBRY'S HOUSE - NIGHT 

	CLOSE SHOT - MALCOLM 

	He has said everything on his mind and waits for Bembry's answer.
 
	PAN TO BEMBRY
 
				BEMBRY 
		What are you talking about -- "blackout"? Some 
		of the Brothers are a little jealous. Maybe 
		they think you been a little -- overpublicized. 
		That's all. Forget it. It's nothing.
 
	Malcolm is listening closely. Bembry puts an arm around him, man-to-man.
 
				BEMBRY (contd) 
		Now about our coming up in the world a little. 
		You're not naive. You're a man of the world. 
		The Movement's grown; we've grown with it. You 
		know folks. They want their leaders to be 
		prosperous. One hand washes the other.
 
				MALCOLM 
			(quoting Bembry back to himself) 
		"I'm telling you God's words, not to hustle."
 
				BEMBRY 
		You want a new car? You want a new house? Is 
		that it? It's the money, right?
 
	Malcolm has to control his rage.
 
				MALCOLM 
		We tell the world we're moral leaders because 
		we follow the personal example of the Honorable 
		Elijah Muhammad. It's hard to make a rooster 
		stop crowing once the sun has risen. The sun is 
		up.
 
	We hear rifle shots.

	DRUM CADENCE (IT WILL BE THROUGHOUT ENTIRE SCENE)

166	OMIT
167	OMIT
 
168 	OMIT
 
168A	INT. MANHATTAN CENTER - DAY
 
	Malcolm, a last-minute replacement for the ailing Honorable Elijah 
	Muhammad, speaks before a HUGE CROWD.
 
				MALCOLM 
		And what do I say of this so-called national 
		mourning! I say... the white man's acts are 
		condemned, not only by our beliefs but by his 
		own.
 
168B  SHOT - AMERICAN FLAGS AT HALF-MAST
 
				MALCOLM 
		Both his Bible and the Holy Koran say: "As you 
		sow, so shall you reap." Both say: "Sow the 
		wind, reap the whirl wind."
 
	SHOT - AMERICAN FLAGS AT HALF-MAST
 
				MALCOLM (contd) 
		In the soil of America the white man planted 
		the seeds of hate. He allowed the weeds that 
		sprang up to choke the life out of thousands 
		of black men.
 
168C SHOT - THE KENNEDY FUNERAL CORTEGE
 
				MALCOLM (contd) 
		Now they have strangled one of the gardeners. 
		This is the justice of Allah. Wa-Salaam Alaikum.
 
168D 	SHOT - AUDIENCE
 
				AUDIENCE 
		Alaikum Wa-Salaam.
 
168E	SHOT - THE LONE, RIDERLESS HORSE
 
169 	INT. MALCOLM WITH REPORTERS - DAY
 
				REPORTER 
		Minister X! Don't you have even a little bit of 
		remorse... saddened by President Kennedy's 
		assassination?
 
	CLOSE - MALCOLM
 
				MALCOLM 
		Assassination might be too good a word, and 
		might I add an Arabic word at that. This was a 
		prime example of the devil's chickens coming 
		home to roost. Being an old farm boy myself, 
		chickens coming home to roost never did make 
		me sad. It always made me glad.
 
169A	INT. ELIJAH'S OFFICE - DAY

	On his desk is the black headlines: MALCOLM X CALLS ASSASSINATION 
	"CHICKENS COMING HOME TO ROOST." Elijah's health is getting worse, his 
	coughing is frequent.
 
				ELIJAH
		Did you see the papers today?
 
				MALCOLM 
		Yes, sir, I did.
 
				ELIJAH 
		That was a very bad statement. The country 
		loved this man, and you have made it hard in 
		general for Muslims.
 
	CLOSE - MALCOLM 

	He knows what is coming. 

	CLOSE - ELIJAH
 
				ELIJAH (contd) 
		We must dissociate ourselves from your terrible 
		blunder. I'll have to silence you for the next 
		ninety days. You are not allowed to make any 
		statements to the press nor are you to speak at 
		any temples.
 
	CLOSER - MALCOLM
 
	He looks at Elijah, his leader, his friend, his father and speaks with 
	total sincerity.
 
				MALCOLM 
		I agree with you, sir. I submit 100 percent.
 
	ANGLE - ROOM 

	Malcolm turns around and leaves the room. 

	ANGLE - DOOR 

	As the door is being closed, WE SEE Bembry kneeling before Elijah and 
	kissing his hand. The door closes, the SCREEN IS BLACK. 

	FADE IN: 

170	OMIT
 
171	OMIT
 
172	INT. MALCOLM'S HOUSE - NIGHT 

	Sidney is playing on the floor with the kids. Betty scoops them up.
 
				BETTY
		C'mon girls, it's bedtime.

	The phone rings. Malcolm answers it. From his expression we know it is 
	a threat call. He hangs up. Betty leaves with the kids.
 
				SIDNEY 
		Another one? 

				MALCOLM 
		How long has this been going on?
 
				SIDNEY 
		All day since you and Betty left. Brother 
		Minister, I have to level with you. They gave 
		me a mission. But I couldn't do it. I love 
		y'all.

				MALCOLM 
		What mission?

				SIDNEY 
		To wire your car so it would explode when you 
		turned the ignition. The Ministers say you are 
		spreading untruths about the Messenger. The 
		Ministers say you are a great hypocrite, Judas, 
		Benedict Arnold. The Ministers say your tongue 
		should be cut out and delivered to the 
		Messenger's doorstep.
 
				MALCOLM 
		What does Sidney say?
 
				SIDNEY 
		I'm with you, Brother Minister.
 
				MALCOLM 
		No. You'll be marked for death.
 
				SIDNEY 
		Let me die then.
 
				MALCOLM 
		I won't let myself come between you and your 
		father. Go home.
 
				SIDNEY
		You're my father.
 
				MALCOLM 
		And don't come back.
 
	Sidney reluctantly leaves, walks out the door, past Betty. She looks at 
	him, then Malcolm.
 
173 	INT. HOTEL THERESA - DAY
 
	Malcolm -- backed by Brothers Earl and Benjamin 2X -- faces a roomful 
	of SUPPORTERS and REPORTERS.
 
				MALCOLM 
		Because 1964 threatens to be a very explosive 
		year on the racial front, and because I myself 
		intend to be very active in every phase of the 
		American Negro struggle for HUMAN RIGHTS, I 
		have called this press conference, this 
		morning in order to clarify my own position in 
		the struggle -- especially in regards to 
		politics and nonviolence. In the past I thought 
		the thoughts, spoke the words of the Honorable 
		Elijah Muhammad, that day is over. From now on 
		I speak my own words, and think my own thoughts. 
		Internal differences within the Nation of Islam 
		forced me out of it. I did not leave of my own 
		free will. But now that it has happened, I 
		intend to make the most of it. Now that I have 
		more independence of action, I intend to use a 
		more flexible approach toward working with 
		others to get a solution to this problem. I do 
		not pretend to be a divine man, but I do 
		believe in divine guidance, divine power, and 
		in the fulfillment of divine prophecy. I am not 
		educated, nor am I an expert in any particular 
		field, but I am sincere, and my sincerity is my 
		credentials. I'm not out to fight other Negro 
		leaders or organizations. We must find a common 
		solution, to a common problem. I am going to 
		organize and head a new mosque in New York 
		City, known as the Muslim Mosque, Inc. This 
		gives us a religious base, and the spiritual 
		force necessary to rid our people of the vices 
		that destroy the moral fiber of our community. 
		Our political philosophy will be black 
		nationalism. Our economic and social philosophy 
		will be black nationalism. The Muslim Mosque, 
		Inc. will remain wide open for ideas and 
		financial aid from all quarters. Whites can 
		help us, but they can't join us. There can be 
		no black-white unity until there is first some 
		black unity.

	A host of questions fired all at once: How many of Elijah's followers
	will join you? etc, etc, etc.
 
	Malcolm calms them:
 
				MALCOLM (contd) 
		There is one further preparation I need. It is 
		a return to the source of our great religion. I 
		will make a pilgrimage to Mecca.
 
174 	EXT. JFK AIRPORT - DAY
 
	Malcolm, at the window, as his plane takes off. He is watching Betty 
	and the children on the Visitors' Ramp. He sees her become a tiny 
	figure, waving a vivid bandana.
 
175	EXT. VISITORS RAMP - DAY
 
	The plane is out of sight. Betty gathers up her children. As they leave 
	she is subtly surrounded by the protecting BAND OF SUPPORTERS, led by 
	Earl and Benjamin 2X.
 
175A	MECCA - THE PILGRIMAGE
 
	MALCOLM GREETED AS HE DESCENDS FROM THE PLANE IN EGYPT
 
				MALCOLM'S VOICE
		My darling Betty. Everywhere I go I am welcomed 
		as the representative of our people.
 
175B 	SHOT OF CIA AGENT
 
	He watches as Malcolm walks between the two pyramids.
 
				MALCOLM'S VOICE (contd) 
		Our fight is known and respected worldwide. 
		Incidentally, there's a little white man who 
		follows me wherever I go.
 
175C 	SHOT OF MALCOLM
 
	On a camel as he rides toward the Sphinx.
 
				MALCOLM'S VOICE
		I wonder who he's working for? If I was a 
		betting man, I'd say CIA. What's your guess?
 
175D 	GROUPS OF BURNOOSED SUPPORTERS ON THE STREETS OF JEDDA, SAUDI ARABIA.
 
				BETTY'S VOICE 
		I arrived in Jedda, Saudi Arabia. I have never 
		witnessed such sincere...
 
176 	INT. AUDUBON BALLROOM - NIGHT
 
	Betty is reading Malcolm's letter to a LARGE AUDIENCE.
 
				BETTY (contd) 
		...hospitality and true brotherhood as 
		practiced here in the ancient home of Abraham, 
		Mohammad and the great prophets of the 
		Scriptures..."
 
177 	INT/EXT. MECCA - DAY/NIGHT
 
	--Malcolm, wearing the garb of a pilgrim, walks with a VAST THRONG OF 
	OTHERS, similarly clad, around the Great Temple. He wears two white 
	towels, one over his loins, the other over his neck and shoulder, 
	leaving the right arm and shoulder bare. He wears simple sandals. The 
	other pilgrims are of various colors: from white, to yellow, to darkest 
	black.
 
177A 	--Malcolm and OTHER PILGRIMS kneeling together on a praying rug.
 
177B	--Malcolm and SEVERAL WHITE PILGRIMS eating Muslim-style; breaking a 
	chicken and shaking it.
 
177C	--Malcolm and OTHERS walking around the Great Kaaba, a black stone set 
	in the middle of the Great Mosque. He falls to his knees. WE SEE what 
	he describes:
 
				MALCOLM'S VOICE
		Today, with thousands of others, I proclaimed 
		God's greatness in the Holy City of Mecca. 
		Wearing the Ihram garb I made my seven circuits 
		around the Kaaba; I drank from the well of Zem 
		Zem; I prayed to Allah from Mt. Ararat where 
		the Ark landed. It was the only time in my life 
		that I stood before the Creator of all and felt 
		like a complete human being.
 
178 	INT. ELIJAH'S HOME - NIGHT
 
	Elijah and a GROUP OF BLACK MUSLIM LEADERS. Bembry among them, it looks 
	like he is the number two man now that Malcolm has been jettisoned. The 
	Messenger lies in bed, he is having a coughing fit, this is the worst 
	condition he's been in. A DOCTOR orders everyone out the room.
 
				MALCOLM'S VOICE
		You may be shocked by these words, but I have 
		eaten from the same plate, drunk from the same 
		glass and prayed to the same God with fellow 
		Muslims whose eyes were blue, whose hair was 
		blond and whose skin was the whitest of whites. 
		And we are brothers, truly; people of all 
		colors and races believing in One God and one 
		humanity. Once before, in prison, the truth 
		came and blinded me. It has happened again...
 
179 	INT. MALCOLM'S HOME - NIGHT
 
	Betty is with Brothers Earl, Benjamin 2X, and the children. There are 
	now four including another BABY - GAMILAH
 
				MALCOLM'S VOICE
		In the past, I have permitted myself to be used 
		to make sweeping indictments of all white 
		people, and these generalizations have caused 
		injuries to some white folks who did not 
		deserve them. Because of the spiritual rebirth 
		which I was blessed to undergo as a result of 
		my pilgrimage to the Holy City of Mecca, I no 
		longer subscribe to sweeping indictments of 
		one race. I intend to be careful not to 
		sentence anyone who has not been proven guilty. 
		I'm not a racist and do not subscribe to any of 
		the tenets of racism. In all honesty and 
		sincerity it can be stated that I wish nothing 
		but freedom, justice and equality: life, 
		liberty, and the pursuit of happiness for all 
		people.
 
179A 	SHOT. Malcolm is bent over in prayer, lone figure in a huge mosque.
 
				MALCOLM'S VOICE
		My first concern, of course, is with the group 
		to which I belong, the Afro-Americans, for we, 
		more than any other, are deprived of these 
		inalienable rights.
 
179B 	SHOT. Malcolm on a plane headed home.
 
				MALCOLM'S VOICE 
		I believe the true practice of Islam can remove 
		the cancer of racism from the hearts and souls 
		of white Americans.
 
180 	EXT. JFK AIRPORT - DAY
 
	A TIGHT TWO-SHOT of Malcolm and Betty in an embrace. She breaks from 
	him and whispers: "Go ahead. I can wait now."
 
181  INT. JFK AIRPORT - DAY
 
	A large PRESS CONFERENCE: mikes of every network, every newspaper and 
	wire service present. Malcolm sports a beard.
 
				MALCOLM 
		Let's begin.
 
				REPORTER #1 
		Malcolm, you said on your trip abroad you 
		sensed a feeling of great brotherhood.
 
				MALCOLM 
		As I recall, I pointed out that while I was in 
		Mecca making the pilgrimage, I spoke about the 
		brotherhood that existed at all levels among 
		all people, all colors who had accepted the 
		religion of Islam. I pointed out that what it 
		had done, Islam, for those people despite their 
		complexion differences, that it would probably 
		do America well to study the religion of Islam 
		and perhaps it could drive some of the racism 
		from this society. Muslims look upon themselves 
		as human beings, as part of the human family 
		and therefore look upon all other segments of 
		the human family as part of that same family. 
		Today my friends are black, brown, red, yellow 
		and white.
 
				REPORTER #8 
		Malcolm, are you prepared to go to the United 
		Nations at this point and ask that charges be 
		brought against the United States for its 
		treatment of the American Negroes?
 
				MALCOLM 
		Oh yes.

	The AUDIENCE applauds.
 
				MALCOLM (contd) 
		The audience will have to be quiet. Yes, as I 
		pointed out that during my trip that nations, 
		African nations, Asian, Latin nations look very 
		hypocritical when they stand up in the UN 
		condemning South Africa and saying nothing 
		about the racist practices that are manifested 
		everyday against Negroes in this society. I 
		would be not a man if I didn't do so. I 
		wouldn't be a man.
 
				REPORTER #3 
		Are you prepared to work with some of the 
		leaders of some of the other civil rights
		 organizations?
 
				MALCOLM
		Certainly, we will work with any groups, 
		organizations or leaders in any way, as long as 
		it's genuinely designed to get results.
 
				REPORTER #1 
		Does the new beard have any religious 
		significance?
 
				MALCOLM 
		No, not particularly. But I do think that you 
		will And black people in America, as they 
		strive to throw off the shackles of mental 
		colonialism, will also probably reflect an 
		effort to throw off the shackles of cultural 
		colonialism. And then they'll begin to reflect 
		desires of their own with standards of their 
		own.
 
                   	REPORTER #2 
		One of your more controversial remarks was a 
		call for black people to get rifles and form 
		rifle clubs sometime back. Do you still favor 
		that for self-defense?
 
				MALCOLM 
		I don't see why that should be controversial. I 
		think that if white people found themselves 
		victim of the same kind of brutality that black 
		people in this country face, and they saw that 
		the government was either unwilling or unable 
		to protect them, that the intelligence on the 
		part of the whites would make them get some 
		rifles and protect themselves.
 
				REPORTER #2
		What about the guns, Malcolm?
 
				MALCOLM 
		Has the white man changed since I went away? 
		Have you put up your guns? The day you stop 
		being violent against my people will be the 
		day I tell folks to put away their guns.
 
				REPORTER #3 
		Then you're still an extremist?
 
	ANGLE - MUSLIM MALE
 
				BENJAMIN THOMAS 
		Git your hand out of my pocket!

	Everyone turns around to the back to see what the commotion is about. 
	The man who yelled out leaves quickly, we will see him later on, very 
	soon.
 
182	INT. MALCOLM'S HOUSE - NIGHT 

	Malcolm looks out the living room window, he has a rifle in hand. 
	(NOTE: This is the same pose as the famous photograph of him.) He 
	doesn't see anyone and closes the curtain. The phone rings.
 
	CLOSE - PHONE 

	Malcolm picks up the receiver.
 
				VOICE
		You're one dead nigger.
 
	ANGLE - BEDROOM 

	Betty has picked up also and she's listening.
 
				VOICE
		You're days on this earth are numbered, brother.
 
	CLOSE - MALCOLM

 	CLICK!

 	He hangs up.
 
	ANGLE - BEDROOM
 
	Malcolm enters the room and gets into the bed with Betty, he puts his 
	ear down on his wife's pregnant stomach.

	She kisses him.
 
				BETTY
		Get some sleep.
 
				MALCOLM 
		You have to sleep for three.
 
	Malcolm pulls Betty closer to him.
 
				MALCOLM 
		I'm sorry. I haven't been the best husband or 
		father.
 
				BETTY 
		Shhh!
 
				MALCOLM 
		Families shouldn't be separated. I'll never 
		make another long trip without you and the kids. 
		We'll all be together.
 
				BETTY
		Dear heart, I love you.
 
				MALCOLM 
		We had the best organization that black people 
		ever had and niggers ruined it.
 
183  	EXT. THE HOUSE - NIGHT
 
	It is a cold winter night. A Molotov cocktail is lit and hurled through 
	the front picture glass window.
 
184 	INT. THE HOUSE - NIGHT
 
	One of the children screams.
 
	CLOSE - MALCOLM
 
185 	INT. MALCOLM'S BEDROOM - NIGHT
 
	Malcolm grabs his pistol and quickly throws a coat over Betty. She is 
	half-asleep, frightened, trembling and disoriented.
 
				MALCOLM 
		Walk out the back, dear. Hurry.
 
	Betty goes. Malcolm runs back for the children.
 
	ANGLE. He reassuringly leads the four children, in their pajamas, 
	through the smoke-filled house.
 
				MALCOLM 
		There's nothing to be afraid of. It might be a 
		little cold. Hang on. We'll be fine.
 
185A 	INSERT - FLASHBACK
 
	WE CUT BACK TO Earl Little getting his family out of the burning house 
	in Lansing, Michigan. It should be the same exact scene we saw before 
	earlier in the film.
 
				EARL 
		Everybody out. OUT! OUT! Get the kids.
 
	CUT BACK TO PRESENT
 
186 	EXT. THE HOUSE - NIGHT
 
	Neighbors' lights have gone on. There are shouts: "What is it?" "Fire!"
 	"Bring those children in here."
 
				MALCOLM 
		Call the Fire Department.
 
186A	OMIT

187	EXT. THE HOUSE - NIGHT (LATER)
 
	A hose is playing on the fire. Police cars have arrived. There are TWO 
	REPORTERS with the COPS. Malcolm faces them furiously.
 
				MALCOLM 
		And the fire hit the window and it woke up my 
		second oldest baby, but the fire burned on the 
		outside of the house. It could have fallen on 
		six-, four-, or two-year-old girls. And I'm 
		going to tell you, if it had done it, I'd've 
		taken my rifle and gone after anybody in sight.
 
				REPORTER 
		Are the Muslims behind this?
 
				MALCOLM 
		It was bombed by the Black Muslim movement upon 
		the orders of Elijah Muhammad.
 
				SECOND REPORTER
		Do you know what Muslim headquarters is saying?
 
				MALCOLM
			(with total contempt) 
		I can imagine. I did it myself. For the 
		publicity.
 
187A 	EXT. TEMPLE #1 - DETROIT - DAY
 
	Bembry is being interviewed by a reporter.
 
				BEMBRY 
		We feel this is a publicity stunt on the part 
		of Malcolm X. We hope this isn't a case of "if 
		he can't keep the house, we won't get it 
		either."
 
187B 	EXT. MALCOLM'S STREET - NIGHT
 
	A car comes roaring down the street with rifles sticking out the 
	windows, and pulls right up in front of Malcolm's house. 

	ANGLE - HOUSE 

	Brothers Earl and Benjamin 2X run out of the car up to Malcolm.
 
				BROTHER EARL 
		We called your house, operator said you had 
		requested that your phone be turned off.
 
				BENJAMIN 2X 
		Give us the command, Malcolm.
 
				MALCOLM 
		I don't care about myself, my wife and four 
		children were sleeping in their beds, they 
		have nothing to do with this.
 
				BROTHER EARL 
		Let's get out of this cold.
 
	Brothers Earl and Benjamin take off their coats and put it over Malcolm 
	and lead him to a police car.
 
187C 	INT. BASEMENT - DAY
 
	FIVE BLACK MEN sit around a table. They do not speak. They are Thomas 
	Hayer, Ben Thomas, Leon Davis, William X and Wilbur Kinley. All are 
	Muslims, all are the ASSASSINS. 

	CLOSE - 12-GAUGE SAWED-OFF SHOTGUN ON TABLE 

	CLOSE - 9MM GERMAN LUGER ON TABLE 

	CLOSE - .45 AUTOMATIC

	ANGLE - THOMAS HAYER
 
	He puts a roll of exposed 35mm film into a sock. 

	ANGLE - TABLE
 
				ASSASSINS
		Allah Akbar.
 
187D 	EXT. NY HILTON - DAY - ESTABLISHING SHOT 

187E 	INT. NY HILTON 

	ANGLE - LOBBY
 
 	Malcolm is checking in when he is approached by a young WHITE COED.
 
				COED
		Mr. X. I have a good heart. I'm a good person 
		despite my whiteness. What can the good white 
		people like myself who are not prejudiced do to 
		help the cause of the Negro?
 
	CLOSE - MALCOLM
 
	He looks at her. He thinks. He speaks.
 
				MALCOLM 
		Let sincere white individuals find other white 
		people who feel as they do and teach 
		non-violence to those whites who think and act 
		so racist.
 
	CLOSE - COED

 				COED
 		I will, Mr. X, I will.

	CLOSE - MALCOLM
 
				MALCOLM 
		Let's all pray without ceasing. May Allah bless 
		you.
 
187F 	INT. HOTEL ROOM - NIGHT
 
	Malcolm lies on his bed, and for the first time WE SEE the strain in 
	his face, it has begun to take its toll, he's a haunted man. A doomed 
	man.
 
	ANGLE - MALCOLM 

	Malcolm dials the phone.
 
				MALCOLM 
		Brother Earl.

187G	INT. HOTEL THERESA - NIGHT
 
				BROTHER EARL 
		Malcolm, where are you? We've been calling all 
		over the city.
 
	INTERCUT between Malcolm and Brother Earl.
 
				MALCOLM 
		I'm gonna try and get some work done tonight.
 
				BROTHER EARL 
		Let some of us come down there.
 
				MALCOLM 
		No, that won't be necessary. I'll be all right.
 
				BROTHER EARL 
		I wish you'd listen to us. What about the 
		meeting tomorrow? We need to frisk people.
 
				MALCOLM 
		I don't want folks to be searched, it makes 
		people uncomfortable. If I can't be safe among 
		my own kind, where can I be? Allah will protect 
		me.
 
	There is silence on the other end.
 
	CLOSE - BROTHER EARL
 
187K 	INT. AUDUBON BALLROOM - NIGHT
 
	The five assassins are casing ballroom. They check the different 
	entrances, the exits, the bathrooms, staircases while the jam packed 
	crowd continues to dance the night away.
 
188 	INT. A FRIEND'S HOUSE - NIGHT
 
	Betty is putting her four daughters to sleep when the phone rings. She 
	picks it up.
 
				VOICE
		That red nigger of yours is dead and so are 
		your bastard children.
 
	CLICK.
  
	Betty hangs up the phone and it rings again.
 
				BETTY
		Stop calling us. Leave us alone. Leave us alone. 
		I'll kill you. I'll kill you.
 
	CLOSE - MALCOLM
 
				MALCOLM 
		Betty it's me. It's me.
 
	INTERCUT between between Malcolm and Betty.
 
				BETTY
		Malcolm, they keep calling, threatening us. 
		I'm going crazy, when is this going to stop?
 
				MALCOLM 
		Don't answer the phone. It's all right. It's 
		all right. Nothing is gonna happen to anybody.
 
				BETTY
		Dear heart, where are you?
 
				MALCOLM 
		At the Hilton. The girls asleep?
 
				BETTY
		I just put them to bed. Can we come to the 
		meeting tomorrow?
 
				MALCOLM 
		I don't think that's such a good idea.
 
189	EXT. ROAD

	A blue 1968 Cadillac passes a sign that says Patterson, New Jersey.

	ANGLE - CAR 

	The assassins are on their way to the Audubon Ballroom, Wilbur Kinley 
	is behind the wheel, no one is talking. 

190 	EXT.STREET - DAY 

	Betty is driving to the Audubon Ballroom, her four daughters are in the 
	backseat making a racket. 

190A 	EXT. STREET - DAY
 
	Malcolm drives to the Audubon Ballroom.
 
191  	INT. AUDUBON BALLROOM - DAY
 
	Brothers Earl and Benjamin 2X along with some others are putting the 
	folding chairs in place for the coming meeting. The audience has not 
	started to come in yet.
 
192 	EXT. GEORGE WASHINGTON BRIDGE - DAY

	The assassins are driving over the George Washington Bridge.
 
	ANGLE - CAR

				KINLEY 
		Brothers, the time is fast approaching, it's 
		the hour of the knife.
 
193 	EXT. STREET - DAY 

	CLOSE - BETTY 

	Betty is trying to quiet down her daughters as she drives. 

194 	EXT. STREET - DAY
 
	CLOSE - MALCOLM
 
	Malcolm is in deep thought as he drives.
 
194A 	INT. AUDUBON BALLROOM - DAY
 
	Betty and her four kids walk into the ballroom and move down the center 
	aisle. One of the girls drops her black doll and a young man picks it 
	up. The young man is Thomas Hayer, he gives it back to her.
 
				BETTY
		Say thank you.
 
				GAMILAH 
		Thank you.
 
				THOMAS 
		You are welcome.
 
	ANGLE. The rest of the assassins come in and go to their positions 
	along with the rest of the crowd, the place is starting to fill up.
 
195 	INT. BACKSTAGE - DAY
 
				BROTHER BENJAMIN 2X 
		No sign of the minister yet.
 
				BROTHER EARL 
		He'll be here like clockwork.
 
196 	EXT. STREET - DAY
 
	Malcolm drives past the Audubon Ballroom, people are going in but no 
	cops are present.
 
	ANGLE - CAR

	Malcolm drives by. 

	ANGLE - STREET 

	Malcolm parks his car, it's four blocks away. He turns off the ignition 
	and sits there. 

	CLOSE - MALCOLM 

	It's as if he's frozen in his car. 

	ANGLE - STREET

	Malcolm finally gets out of the car, locks the door and walks a couple 
	of steps, then stops. 

	CLOSE - MALCOLM 

	Malcolm has stopped in his tracks, like some unseen force has overcome 
	him which prevents him from moving. Malcolm is paralyzed.

	CLOSER - MALCOLM'S FACE 

	His eyes are closed, and the street noise begins to build to a 
	deafening _roar_. Then all of a sudden it stops. 

	ANGLE - OLD WOMAN
 
				OLD WOMAN 
		Son, you all right?
 
	Malcolm opens his eyes, she has brought him out of it. He looks at her 
	but doesn't answer.
 
				OLD WOMAN (contd) 
		Are you okay?
 
	Malcolm looks at this old woman, who slightly resembles his own mother.
 
				MALCOLM 
		Ma'am, I'm fine.
 
				OLD WOMAN 
		Good. We need you. I recognize you, don't pay 
		them folks no never mind, you keep on doing 
		what you doing.
 
				MALCOLM 
		May Allah bless you.
 
				OLD WOMAN 
		I'll pray for you too, son. Jesus will protect 
		you.
 
	She walks away, carrying her two shopping bags full of groceries.
 
197 	INT. BACKSTAGE - DAY
 
 	Malcolm walks in. Present are Brothers Earl, Benjamin 2X and a 
	secretary SISTER ROBIN.
 
				MALCOLM 
		Is the program ready?
 
				BENJAMIN 2X 
		No, Brother Minister.
 
				MALCOLM 
 		Why not? You've had ample time, you and the 
		sister.
 
				SISTER ROBIN 
		I apologize Brother Minister, we'll have it 
		next week.
 
	He is pissed.
 
				MALCOLM 
		Folks are sitting out there _today_, not next 
		week, expecting to hear our program.
 
				BENJAMIN 2X 
		Next week, Brother Minister.
 
				MALCOLM 
		Has the Reverend called? Is he going to show?
 
				BROTHER EARL 
		Reverend Chickenwing called last night and said 
		he wouldn't be able to attend.
 
				MALCOLM 
		So now we have no opening speaker? Why wasn't I 
		informed last night?
 
				BROTHER EARL 
		I called Sister Betty, she didn't tell you?
 
				MALCOLM 
		Since when do you start telling Sister Betty my 
		business? Since when? She has nothing to do 
		with this. You tell me, not her, not anybody 
		else.
 
				BROTHER EARL 
		I assumed...
 
				MALCOLM 
		What did I tell you about assuming?
 
	Malcolm starts pacing the room, nobody has ever seen him like this 
	before.
 
				MALCOLM 
		Benjamin, you better go out there and explain 
		why the program isn't ready today.
 
	Benjamin 2X gets up to leave.
 
				MALCOLM 
		Sister, please go with the brother.
 
	They both exit.

	CLOSE - MALCOLM AND EARL
 
				BROTHER EARL 
		Brother Minister, what is wrong?
 
				MALCOLM 
		The way I feel, I ought not to go out there 
		today. In fact, I'm going to ease some of this 
		tension by telling the black man not to fight 
		himself -- that's all a part of the white man's 
		big maneuver, to keep us fighting amongst 
		ourselves, against each other. I'm not 
		fighting anyone, that's not what we're here 
		for.
 
				BROTHER EARL 
		Let's cancel.
 
				MALCOLM 
		Is my family here yet?
 
				BROTHER EARL 
		Down front as always.
 
198 	INT. ANTEROOM - DAY
 
	A lone COP in uniform stands in the shadows with a walkie-talkie.
 
198A	INT. BACKSTAGE - DAY

	Malcolm is about to go on stage when he sees Sister Robin.
 
				MALCOLM 
		You'll have to forgive me for raising my voice 
		to you.
 
				SISTER ROBIN 
		Brother Minister, I understand.
 
				MALCOLM 
			(to himself) 
		I wonder if anybody understands.
 
199 	INT. AUDUBON BALLROOM - DAY
 
	The place is filled. Betty and the girls sit in a boxed-off section 
	near the platform. Malcolm's bodyguards stand on and around the stand. 
	Benjamin 2X is finishing up his speech when Malcolm walks onto the 
	stage and sits down.
 
				MALCOLM 
		Make it plain.
 
				BENJAMIN 2X 
		And now, without further remarks, I present to 
		you one who is willing to put himself on the 
		line for you--
 
	CLOSE - BETTY AND THE KIDS

	CLOSE - THOMAS HAYER

	CLOSE - WILBUR KINLEY 

	CLOSE - LEON DAVIS 

	CLOSE - BEN THOMAS 

	CLOSE - WILLIAM X 

	CLOSE - MALCOLM X 

	CLOSE - BENJAMIN 2X
 
				BENJAMIN 2X (contd) 
		--a man who would give his life for you. I want 
		you to hear, to listen, to understand one who 
		is a Trojan for the black man.
 
	ANGLE - STAGE
 
	A roar greets Malcolm's intro. He shakes hands with Benjamin 2X, then 
	steps toward the podium.
 
 	CLOSE - MALCOLM
 
	He starts to rearrange his 3 x 5 index cards in his hands.
 
				MALCOLM 
		Brothers and Sisters, Wa-Salaam Alaikum.
 
				AUDIENCE 
		Alaikum Wa-Salaam.
 
	SWIFT JERKY PAN OF CAMERA 

	There is a commotion in the rear of the audience. 

				BENJAMIN THOMAS 
		Git your hand out of my pocket. 

	The bodyguards move toward the rear. 

	CLOSE - MALCOLM
 
				MALCOLM 
		Hold it, brothers. Don't get excited. Let's 
		cool it--
 
	ANGLE - WILLIAM X
 
	He stands up from the fourth row with 12-gauge sawed-off shotgun 
	blasting.

	CLOSE - MALCOLM 

	Throws up his hands, grabs his chest and is knocked backward. 

	SHOTS - PURE PANDEMONIUM 

	People hit the floor, knock over chairs, stampede for the exits. 

	ANGLE - BACK OF AUDITORIUM 

	Wilbur Kinley ignites a smoke bomb. 

	ANGLE - FIRST RUN 

	Thomas Hayer and Leon Davis stand up, run toward the stage, and empty 
	their .45's and Luger into the fallen body of Malcolm. 

	ANGLE - BETTY 

	She is on the floor covering her children. 

	ANGLE - AISLE 

	Hayer and Davis charge up the aisle toward the rear exit, shooting at 
	the crowd.

	ANGLE - BODYGUARD

	He stands in Hayer's way, Hayer fires, he turns, the bullet misses and 
	the bodyguard gets off a shot which hits Hayer in the leg.
 
	ANGLE - HAYER
 
	He stumbles momentarily, then limps on.
 
	ANGLE - STAIRCASE
 
	Hayer is running down the staircase when he is tripped, and goes flying 
	through the air to the bottom of the landing. The crowd starts to beat 
	the shit out of him, kicking him in the head, etc., they're about to 
	tear him apart from limb to limb when a PATROLMAN enters with gun drawn.
	He shoots gun into air and the crowd backs off and he takes custody of 
	Hayer.
 
	ANGLE - STAGE
 
	One of Malcolm's bodyguards, BROTHER GENE, is over him, giving him 
	mouth-to-mouth resuscitation. Brother Gene stops, Betty moves in and 
	hugs her dying husband.
 
				BETTY
		Somebody call an ambulance. Somebody call an 
		ambulance.
 
	ANGLE - ENTRANCE
 
	THIRTY COPS walk in like it's a spring Sunday stroll in Central Park.

	CLOSE - MALCOLM 

	His eyes are glazed over.
 
				BETTY'S VOICE 
		They killed him. They killed him. 

200	SHOT - BROTHERS EARL AND BENJAMIN 2X SITTING ON STAGE 

200A	SHOT - MALCOLM IS RUSHED ON A STRETCHER TO HOSPITAL NEXT DOOR

	SHOT - HOSPITAL SPOKESPERSON 

				HOSPITAL SPOKESPERSON 
		The person you know as Malcolm is no more.
 
200B 	THE STUNNED FACES OF BLACK PEOPLE OUTSIDE THE AUDUBON BALLROOM...
 
	--AND IN HARLEM.
 
	OSSIE DAVIS speaking behind the above:
 
				OSSIE DAVIS'S VOICE 
		Here at this final hour, in this quiet place, 
		Harlem has come to bid farewell to one of its 
		brightest hopes, extinguished now and gone from 
		us forever.
 
200C 	DOLLY SHOT of the long line of people outside the funeral parlor, 
	waiting to see Malcolm's body, where it lies before burial.
 
				OSSIE DAVIS'S VOICE: (contd) 
		For Harlem is where he worked, and where he 
		struggled and fought. His home of homes, where 
		his heart was and where his people are. And it 
		is therefore most fitting that we meet once 
		again in Harlem to share these last moments 
		with him. For Harlem has ever been gracious to 
		those who loved her, have fought for her and 
		defended her honor even to death. It is not in 
		the memory of man that this beleaguered, 
		unfortunate but nonetheless proud community has 
		found a braver, more gallant young champion 
		than this Afro-American who lies before us 
		unconquered still. Many will ask what Harlem 
		finds to honor in this stormy, controversial 
		and bold young captain and we will smile and we 
		will answer and say unto them:
 
2OOD  SHOTS - FACES OF HARLEM - PRESENT DAY - THE 90'S
 
	Ordinary PEOPLE in ordinary pursuits of life, BLACK PEOPLE still 
	struggling to stay afloat in a racist WHITE AMERICA that does not have 
	their best interests at hand -- 8 years of Reagan and now at least 4 
	years of Bush.
 
				OSSIE DAVIS'S VOICE (contd) 
		Did you ever talk to Brother Malcolm? Did you 
		have him smile at you? Did you ever listen to 
		him? Did he ever really do a mean thing? Was he 
		ever associated with violence or any public 
		disturbance?
 
200E	SHOT - STREET SIGN - MALCOLM X BOULEVARD - HARLEM
 
200F	SHOT - YOUNG AFRO-CENTRIC TEENAGERS WITH MALCOLM X T-SHIRTS, HATS, 
	JACKETS, JEWELRY, ETC.
 
				OSSIE DAVIS'S VOICE (contd) 
		For if you did, you would know him and if you 
		knew him, you would know why we must honor him.
 
200G	SHOT - NEWSREEL FOOTAGE OF THE _REAL_ MALCOLM X
 
				OSSIE DAVIS'S VOICE (contd) 
		Malcolm was our manhood, our living black 
		manhood. That was his meaning to his people and 
		in honoring him we honor the best in ourselves.
 
200H	FREEZE FRAME - A CLOSE-UP OF THE REAL MALCOLM X SMILING RIGHT AT US.

								CUT TO:
 
200I 	SHOT - INT. CLASSROOM BULLETIN BOARD 

	A picture collage of Malcolm X. It reads P.S. 153 -- Harlem honors 
	Malcolm on his birthdate May 19, 1935.
 
				OSSIE DAVIS'S VOICE (contd) 
		And we will know him then for what he was and 
		is. A PRINCE, A BLACK SHINING PRINCE who didn't 
		hesitate to die because he loved us so.
 
	ANGLE - CLASSROOM 

	It's a fourth-grade class. 

	CLOSE - STUDENT
 
				1ST STUDENT 
		I'm Malcolm X.

	CLOSE - STUDENT

				2ND STUDENT 
		I'm Malcolm X.

	CLOSE - STUDENT
 
				3RD STUDENT 
		I'm Malcolm X.

	CLOSE - STUDENT
 
				4TH FEMALE STUDENT 
		I'm Malcolm X.
 
201 	INT. CLASSROOM - SOWETO, SOUTH AFRICA - DAY
 
	CLOSE - STUDENT
 
				1ST STUDENT 
		I'm Malcolm X.
 
	CLOSE - STUDENT
 
				2ND STUDENT 
		I'm Malcolm X.
 
	CLOSE - STUDENT

				3RD STUDENT 
		I'm Malcolm X.
 
	CLOSE - STUDENT

				4TH FEMALE STUDENT 
		I'm Malcolm X.
 
	CAMERA PANS slowly to head of class where the teacher stands, it's 
	NELSON MANDELA.
 
	CLOSE - MANDELA
 
				MANDELA 
		As Brother Malcolm said, "We declare our right 
		on this earth to be a man, to be a human being, 
		to be respected as a human being, in this 
		society, on this earth, in this day, which we 
		intend to bring into existence by any means 
		necessary."




Malcolm X



Writers :   Spike Lee  Arnold Perl
Genres :   Drama


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