Combined Continuity & Master English Spotting/Subtitle List

Warner Bros.
Pictures
Combined Continuity & Master English Spotting/Subtitle List
"42"
Exhibition Footage
Reel 1AB 1560-15 Reel 2AB 1844-14

Reel 3AB 1572-10 Reel 4AB 1531-11
Reel 5AB 1467-00 Reel 6AB 1932-01
Reel 7AB 1612-07
Total Number of Reels: 7 (2,000 Ft.)

Total Exhibition Reel Footage: 11521 Feet 10 Frames.
Total Running Time: 2 Hour 8 Minutes 1.08 Seconds.
Scope
Prepared By:
SDI Media Group
10950 Washington Blvd., Studio B
Culver City, CA 90232 April 12, 2013
42 1AB P/1
TITLE & REEL SPOTTING LIST FOOTAGES & TITLES
TITLE
COMBINED CONTINUITY & DIALOGUE NO. START END TOTAL TITLE
START MEASURING 0.00 AT START MARK LABORATORY: 0.00 AT START MARK

IN ACADEMY LEADER.
11-15 76.06 = 1ST SCENE END
77.06 = 2ND SCENE END

SCENE 1 - BLACK FRAMES.
15-03 83.08 = 3RD SCENE END
89.02 = 4TH SCENE END

FADE IN:
(Scope)
SCENE 2 - ANIMATED WARNER BROS.
LOGO.
(logo)
WARNER BROS. PICTURES
A Time-Warner Company
35-08
FADE OUT.

37-05
FADE IN:
SCENE 4 - ANIMATED LEGENDARY

PICTURES LOGO.
(logo)
LEGENDARY
58-04
FADE OUT.
SCENE 5 - BLACK
BACKGROUND/OPENING CREDITS - THE
SOUND OF A TYPEWRITER CAN BE
HEARD.
MT #1 POPS IN: (over above bg.)

and
LEGENDARY PICTURES
present
MT #1 FADES OUT.
(1)
42 1AB P/2
TITLE
SCENE 5 - (CONTINUED)
SMITH 1-1 69.01 76.01 7.00 SMITH TO AUDIENCE) (voice over)

(voice over) In nineteen forty-five, America's ITAL In 1945, America's greatest generation
came back from war.
greatest generation came back from war. (greatest generation : term created in
76-06 1998 by journalist Tom Brokaw to
describe the generation who grew up
in the United States during the
SCENE 6 - INT. OFFICE - DAY - MCS - deprivation of the Great Depression,
WENDALL SMITH (HANDS), AN and then went on to fight in World War
AFRICAN-AMERICAN SPORTS II, as well as those whose productivity
REPORTER, TYPES ON HIS TYPEWRITER. within the war's home front made a
77-06 decisive material contribution to the
war effort)
(Wendall Smith, an African-American
sports reporter, writes a story)
SCENE 7 - ARCHIVAL WAR FOOTAGE
SEQUENCE - LS - LOW ANGLE - PLANES
FLY OVERHEAD. CAMERA PANS R. WITH
THEM.
NEWS ANNOUNCER 1 1-2 79.07 83.06/ 3.15 NEWS ANNOUNCER 1 TO GROUP)

(voice over) The... ITAL The flags of freedom fly over Europe.
80-00 (Referring to flags of European
countries that fought against Hitler
and Germany, implying that the Nazi
DISSOLVE TO: flag is no longer being flown in certain
nations)
SCENE 8 - FS - FOOTAGE OF SOLDIERS
MARCHING BG. TOWARD THE ARC DE
TRIOMPHE.
NEWS ANNOUNCER 1
(voice over) ...flags of freedom fly over
Europe.
ARCHIVAL FOOTAGE SEQUENCE ENDS.

83-08
SCENE 9 - BLACK BACKGROUND/MAIN

TITLE.
MT #2 IS TYPEWRITTEN: (over above bg.) 1-3 /83.10 85.11 2.01 NARRATIVE TITLE)
MAIN
42 TITLE 42
SMITH (Note that this was Jackie Robinson's

(voice over) Nazi Germany had been... number when he played baseball for
87-08 the Brooklyn Dodgers)
DISSOLVE TO: 1-4 85.15 92.01/ 6.02 SMITH TO AUDIENCE) (voice over)
ITAL Nazi Germany had been defeated, and three
SCENE 10 - INT. OFFICE - DAY - SMITH months later, Imperial Japan surrendered
(HANDS), TYPING. as well.
(Imperial Japan : referring to the
MT #2 FADES OUT. Empire of Japan, which existed from
1868 to 1947)
SMITH
(voice over) ...defeated, and three months...
89-02
(2)
42 1AB P/3
TITLE
SCENE 11 - ARCHIVAL FOOTAGE

SEQUENCE - MFS - SOLDIERS ERECT A
FLAG ON THE SANDS OF IWO JIMA.
SMITH
(voice over) ...later, Imperial Japan
surrendered as...
92-02
SCENE 12 - MS - SEVERAL AMERICAN

COMMANDING OFFICERS ON THE DECK
OF A SHIP.
SMITH
(voice over) ...well.
94-10
SCENE 13 - NEWSPAPER GRAPHIC - A

SECTION OF THE FRONT PAGE OF A
NEWSPAPER.
CROWD
(voice over) (overlapping cheers -
continues under following scenes and
dialogue)
THE HEADLINE OF THE NEWSPAPER

READS: 1-5 /94.12 98.05/ 3.09 NARRATIVE TITLE, (of newspaper)
THEN NEWS ANNOUNCER 2
PEACE! TO GROUP)
How The Allies Smashed The Japanese
Empire Japs -PEACE!
-And there's jubilation around this earth.
NEWS ANNOUNCER 2
(voice over) And there's jubilation... (And there's jubilation around this
96-12 earth. : To appear in ITALICS)
SCENE 14 - MCS - A CROWD OF

CELEBRATING CIVILIANS.
NEWS ANNOUNCER 2
(voice over) ...around this earth.
ONE OF THE CIVILIANS HOLDS UP A

NEWSPAPER, THE HEADLINE OF WHICH
READS:
VICTORY
JAPAN
SURRENDERS
98-07
(3)
42 1AB P/4
TITLE
SCENE 15 - MS - FOOTAGE OF
RETURNED SOLDIERS REUNITING WITH
THEIR LOVED ONES.
SMITH 1-6 /98.09 105.01 6.08 SMITH TO AUDIENCE) (voice over)

(voice over) Men returned... ITAL (over scene ends) Men returned home. Among them, some of
99-15 baseball's most beloved names.
(Men : i.e., 'American men who had
been fighting in the war')
SCENE 16 - MCS - A CELEBRATING
COUPLE.
SMITH
(voice over) ...home. Among...
101-08
SCENE 17 - MCS - A RETURNED SAILOR,

KISSING A WOMAN.
SMITH
(voice over) ...them, some of baseball's...
103-01
SCENE 18 - MS - SOME CELEBRATING

CIVILIANS.
SMITH
(voice over) ...most beloved names.
104-07
SCENE 19 - MCS - FOOTAGE OF STANLEY

FRANK MUSIAL.
SMITH 1-7 105.05 110.00/ 4.11 SMITH TO AUDIENCE) (voice over)

(voice over) Musial. ITAL (over scene ends) Musial. DiMaggio. Williams.
106-07 (Musial : Stanley "Stan" Frank Musial,
who played from 1941 to 1963 for the
St. Louis Cardinals)
SCENE 20 - MCS - LOW ANGLE - (DiMaggio : Joseph "Joe" Paul
FOOTAGE OF JOSEPH PAUL DIMAGGIO. DiMaggio, who played from 1936 to
1951 for the New York Yankees)
SMITH (Williams : Theodore "Ted" Samuel
(voice over) DiMaggio. Williams, who played from 1939 to
108-03 1960 for the Boston Red Sox)
SCENE 21 - MCS - FOOTAGE OF

THEODORE SAMUEL WILLIAMS.
WYNONIE HARRIS
(voice over) (sings "Good Rockin' Tonight"
under following scenes and dialogue)
SMITH
(voice over) Williams.
110-02
(4)
42 1AB P/5
TITLE
SCENE 22 - MS - FOUR BASEBALL

PLAYERS, ALL FROM DIFFERENT TEAMS.
SMITH 1-8 /110.08 114.03/ 3.11 SMITH TO AUDIENCE) (voice over)

(voice over) Life in the... ITAL (over scene ends) Life in the United States could return to
111-09 normal.
(Comedy team Abbott & Costello is
shown on a television)
SCENE 23 - FS - A FOUNTAIN. CHILDREN
PLAY IN IT AS ADULTS MILL ABOUT IN BG.
SMITH
(voice over) ...United States...
112-08
SCENE 24 - MS - A YOUNG BOY, PLAYING

IN THE FOUNTAIN.
SMITH
(voice over) ...could return to normal.
LOU COSTELLO 1-9 /114.07 116.06 1.15 LOU COSTELLO ON TV

(voice over) I don't know... ITAL TO BUD ABBOTT)
114-05 I don't know what's the guy's name on third
base?
(Note double meaning - [1] i.e., 'I don't
SCENE 25 - MCS - A TELEVISION, know what the name is of the player
DEPICTING COMEDY TEAM ABBOTT & on third base.' and [2] i.e., 'The name
COSTELLO, PERFORMING A FAMOUS of the player on third base is "What."')
ROUTINE. (Note that Abbott and Costello are
performing their famous routine
LOU COSTELLO known as "Who's on First." The
(on television) ...what's the guy's name on premise of the routine is that Abbott is
identifying the players on a baseball
third base? team to Costello, but their names and
nicknames [Which are "Who," "What,"
BUD ABBOTT "I Don't Know," etc.] can be interpreted
(on television) What's on second. as non-responsive answers)
LOU COSTELLO
(on television) Who's on second? 1-10 116.10 118.06 1.12 BUD ABBOTT ON TV
ITAL TO LOU COSTELLO,
BUD ABBOTT THEN LOU COSTELLO ON TV
(on television) Who's on... TO BUD ABBOTT)
119-03 -What's on second.
-Who's on second?
(What's on second : Note double
meaning - [1] i.e., 'No, "What" is the
name of the player on second base,'
and [2] i.e., 'What's the name of the
guy on second base')
(Who's on second : Note double
meaning - [1] i.e., 'What is the name of
the player on second base,' and [2]
i.e., '"Who" is the name of the player
on second base')
(5)
42 1AB P/6
TITLE
SCENE 26 - MCS - TELEVISION FOOTAGE

OF ABBOTT & COSTELLO.
BUD ABBOTT 1-11 118.10 120.10 2.00 BUD ABBOTT ON TV

(on television) ...first? ITAL (over scene end) TO LOU COSTELLO,
THEN LOU COSTELLO ON TV
LOU COSTELLO TO BUD ABBOTT)
(on television) I don't know. -Who's on first?
-I don't know.
TELEVISION AUDIENCE (Who's on first : Note double
(over television) (overlapping laughter - meaning - [1] i.e., 'No, the player
named "Who" is on first base,' and [2]
continues under following scenes and i.e., 'Who is playing on first base')
(I don't know : Note double meaning
dialogue) - [1] i.e., 'The name of the player on
first base is "I Don't Know,"' and [2]
BUD ABBOTT i.e., 'I don't know the name of the
(on television) Third base. player on first base')
121-09
1-12 120.14 122.12/ 1.14 BUD ABBOTT ON TV

SCENE 27 - MFS - FOOTAGE OF A FAMILY ITAL (over scene end) TO LOU COSTELLO)
WATCHING THE ABBOTT & COSTELLO Third base.
ROUTINE ON THEIR TELEVISION. (i.e., 'No, "I Don't Know" is playing on
122-14 third base.')
SCENE 28 - FS - FOOTAGE OF A LARGE,

EXCITED CROWD AT A BASEBALL GAME.

(voice over) And baseball was proof ITAL (over scene end) And baseball was proof positive that
democracy was real.
positive... (proof positive : evidence taken as
125-11 final or absolute proof of the existence
of something)
SCENE 29 - LS - HIGH ANGLE - FOOTAGE

OF A BASEBALL GAME IN PROGRESS.
SMITH
(voice over) ...that democracy was real.
128-08
WIPE TO:
SCENE 30 - NEWSPAPER BOX SCORE

GRAPHIC - A BOX SCORE OF BROOKLYN
DODGERS PLAYERS, WHICH READS:
DODGERS
Eddie Stanky, 2b.. 5
Goody Rosen, c.f. 5
Augie Galan, 1b ... 5
Dixie Walker, r.f.. 5
Luis Olmo, l.f...... 5

(voice over) A baseball box score, after all, ITAL A baseball box score, after all, is a
democratic thing.
is a democratic thing. (box score : the tabulated results of a
baseball game, with statistics given
ARCHIVAL FOOTAGE SEQUENCE ENDS. for each player's performance)
133-00
(6)
42 1AB P/7
TITLE
DISSOLVE TO:
SCENE 31 - INT. OFFICE - DAY - MCS -

SMITH, TYPING. CAMERA DOLLIES BACK
INTO A MS. THE BOX SCORE GRAPHIC IS
OVERLAYED ON THE IMAGE.

(voice over) It doesn't say how big you are ITAL It doesn't say how big you are or what
religion you follow.
or what religion you follow. It does not know (big : physically large)
how you voted or the color of your skin.

141-04 1-16 137.04 141.04 4.00 SMITH TO AUDIENCE) (voice over)
ITAL It does not know how you voted or the color
of your skin.
WIPE TO:

SEQUENCE - FS - A BASEBALL PLAYER
RUNS BG. CAMERA PANS WITH HIM.
CROWD AT BASEBALL GAME

(overlapping cheers - continues under
following scenes and dialogue)

(voice over) It simply states what... ITAL (over scene ends) It simply states what kind of ballplayer you
143-06 were on any particular day.
(what kind of ballplayer you were :
i.e., 'how well a ballplayer performed
SCENE 33 - FS - HIGH ANGLE - A during a game')
PITCHER THROWS THE BALL. (Archival footage of a New York
Yankees game is shown)
SMITH
(voice over) ...kind of ballplayer...
144-14
SCENE 34 - FS - HIGH ANGLE - THE

BATTER HITS THE BALL AND RUNS. THE
UMPIRE AND THE CATCHER LOOK ON.
SMITH
(voice over) ...you were on any particular...
146-08
SCENE 35 - FS - HIGH ANGLE - A PLAYER

RUNS R. IN A NEW YORK YANKEES
GAME.
SMITH
(voice over) ...day.
GAME ANNOUNCER 1 1-18 146.15 149.11/ 2.12 GAME ANNOUNCER 1 TO GROUP) ITAL
(voice over) And he did it. (over scene end) (voice over)
148-06 And he did it. It's a home run.
(he : i.e., 'Joe DiMaggio')
(did it : i.e., 'achieved his goal')
(home run : a fair hit that allows the
batter to make a complete circuit of
the bases without stopping and score
a run)
(7)
42 1AB P/8
TITLE
SCENE 36 - LS - HIGH ANGLE - THE

FIELD. THE PLAYER RUNS AROUND THE
BASES.
GAME ANNOUNCER 1
(voice over) It's a home run.
149-13
SCENE 37 - MCS - LOW ANGLE - A

CHEERING WOMAN IN THE CROWD.
GAME ANNOUNCER 1 1-19 149.15 152.11 2.12 GAME ANNOUNCER 1 TO GROUP) ITAL
(voice over) They knew... (over scene end) (voice over)
151-02 They knew he'd do it.
(They : i.e., 'The New York Yankee
fans')
SCENE 38 - LS - HIGH ANGLE - THE
PLAYER ROUNDS SECOND AND
CONTINUES TO THIRD. CAMERA PANS L.
WITH HIM.
GAME ANNOUNCER 1
(voice over) ...he'd do it.

(voice over) African Americans... ITAL (over scene ends) African Americans had served their country
154-06 gallantly.
(African Americans : i.e.,
'African-American soldiers)
SCENE 39 - MCS - ARCHIVAL WAR
FOOTAGE OF A COMMANDER GIVING AN
AFRICAN-AMERICAN SOLDIER A MEDAL.
SMITH
(voice over) ...had served their country...
155-08
SCENE 40 - MS - THE COMMANDER AND

THE SOLDIER SHAKE HANDS. A LINE OF
DECORATED AFRICAN-AMERICAN
SOLDIERS STANDS NEXT TO THEM.
SMITH
(voice over) ...gallantly.
157-14
SCENE 41 - MS - FOOTAGE OF
AFRICAN-AMERICAN SOLDIERS
CARRYING SUPPLIES L.FG.

(voice over) But they returned home from ITAL (over scene end) But they returned home from fighting a war to
free the world from tyranny...
fighting a war...
160-15
(8)
42 1AB P/9
TITLE
SCENE 42 - MS - HIGH ANGLE - A PARADE

OF AFRICAN-AMERICAN SOLDIERS,
MARCHING FG. CAMERA TRACKS BACK
WITH THEM.

(voice over) ...to free the world from tyranny ITAL (over scene ends) ...only to find racism, segregation and Jim
Crow law still waiting at home.
only to find... (Jim Crow law : Note that until 1965,
163-14 the "Jim Crow laws" mandated racial
segregation in all public facilities in
Southern states of the former
SCENE 43 - MS - FOOTAGE OF A GROUP Confederacy - Under Jim Crow laws,
OF RACIST WHITE MEN, HOLDING A schools, public places and public
CONFEDERATE FLAG. transportation were segregated, and
there were separate bathrooms,
SMITH drinking fountains and restaurants for
(voice over) ...racism... whites and blacks)
165-01 (still waiting at home : i.e., 'still in
force in the United States')
SCENE 44 - MS - FOOTAGE OF A SIGN

OUTSIDE AN ESTABLISHMENT IN THE
SOUTH. A SECTION OF THE SIGN READS:
COLORED
ENTRANCE
SMITH
(voice over) ...segregation and...
166-04
SCENE 45 - MS - FOOTAGE OF A SIGN

OUTSIDE A BUSINESS ESTABLISHMENT
IN THE SOUTH THAT WILL NOT SERVE
AFRICAN AMERICANS.
SMITH
(voice over) ...Jim Crow law...
THE SIGN READS:
WHITE
ONLY
167-05
(9)
42 1AB P/10
TITLE
SCENE 46 - MCS - FOOTAGE OF A THE

FRONT PAGE OF A NEWSPAPER. AN
ARTICLE HEADLINE READS: 1-23 168.04 170.04 2.00 NARRATIVE TITLE) (of newspaper)
THEN NEWS ANNOUNCER 3 TO GROUP)
Under 'States' Rights' (voice over)
Jim Crow Law Upheld -Jim Crow Law Upheld
-Segregation was the law...
ANOTHER ARTICLE HEADLINE READS:
(Jim Crow Law Upheld : Note
Come Back implication that a person or
And Do A Job organization tried to overturn or a Jim
is Truman Crow law [or all Jim Crow laws] and
Edict was defeated)
(Segregation...land : Note that during
ANOTHER ARTICLE HEADLINE READS: this era, segregation was a law in the
Southern states. In the North and
Rumore Negroes West, segregation was not legally or
Resist Scatters officially established, but was
Mob generally a reality in regards to
housing, education and jobs -
However things like "Whites Only"
SMITH signs did not exist in those areas of
(voice over) ...still waiting at home. the country)
(Segregation was the law... : to
NEWS ANNOUNCER 3 appear in ITALICS)
(voice over) Segregation was the law...
170-08
DISSOLVE TO:
SCENE 47 - MFS - FOOTAGE OF SEVERAL

AFRICAN-AMERICAN CIVILIANS
PROTESTING OUTSIDE A BUILDING.
NEWS ANNOUNCER 3 1-24 170.08 177.07 6.15 NEWS ANNOUNCER 3 TO GROUP)

(voice over) ...and custom of the land, and ITAL (over scene ends) ...and custom of the land, and no group was
more scrupulous in its observance of
no... custom...
(custom : a tradition or practice so
A PICKETING WOMAN CARRIES A SIGN, long established that it has the force
WHICH READS: or validity of law)
AMERICANS
UNITED
AGAINST
JIM CROW
173-05
SCENE 48 - MFS - FOOTAGE OF A RIOT.

POLICE TRY TO CONTROL IT.
NEWS ANNOUNCER 3
(voice over) ...group was more...
174-06
(10)
42 1AB P/11
TITLE
SCENE 49 - MS - MORE RIOT FOOTAGE. A

POLICE OFFICER SHOVES A MAN L.
NEWS ANNOUNCER 3
(voice over) ...scrupulous in its
observance...
176-00
SCENE 50 - FS - A BASEBALL PLAYER

CATCHES A GROUND BALL AS OTHER
PLAYERS LOOK ON FROM BG.
NEWS ANNOUNCER 3 1-25 177.11 180.00/ 2.05 NEWS ANNOUNCER 3 TO GROUP)

(voice over) ...of custom than organized... ITAL (over scene end) ...than organized baseball.
178-12 (organized baseball : i.e.,
'professional baseball' - 'the Major
Leagues')
SCENE 51 - FS - A BATTER WARMS UP BY
HITTING A BALL L.
NEWS ANNOUNCER 3
(voice over) ...baseball.
180-02
SCENE 52 - MS - FOOTAGE OF A SECTION

OF A BASEBALL STADIUM IN WHICH
AFRICAN AMERICANS ARE ALLOWED TO
SIT. A SIGN ON THE SECTION ENTRANCE
READS: 1-26 180.04 182.04/ 2.00 NARRATIVE TITLE, (of sign)
THEN SMITH TO AUDIENCE) (voice over)
COLORED
-COLORED
-There was a long road ahead.
SMITH
(voice over) There was a long road ahead. (COLORED : Note that this is a sign
182-06 in a section of a baseball stadium, in
which African Americans are allowed
to sit)
SCENE 53 - MCS - FOOTAGE OF A (There was a long road ahead :
SECTION OF A BASEBALL STADIUM IN Idiomatic for 'There was a lot of work
WHICH WHITES ARE ALLOWED TO SIT. A to be completed before segregation
SIGN ON THE SECTION ENTRANCE would cease to exist' - 'There were to
READS: be many attempts to abolish
segregation completely but it would
WHITE take many years before it became
reality' - to appear in ITALICS)
184-00
1-27 /182.08 183.15/ 1.07 NARRATIVE TITLE) (of sign)
WHITE
(Note that this is a sign at a venue)

(Students picket outside a school)
(11)
42 1AB P/12
TITLE
SCENE 54 - MFS - FOOTAGE OF

STUDENTS PICKETING OUTSIDE A
SCHOOL.
A SIGN CARRIED BY ONE OF THE

STUDENTS READS: 1-28 /184.03 185.15/ 1.12 NARRATIVE TITLE) (of sign)
SCHOOL STRIKE KEEP NEGROES OUT OF OUR SCHOOL

KEEP NEGROES
OUT OF
OUR SCHOOL
ANOTHER SIGN READS:
WE WON'T GO
TO SCHOOL
WITH NEGROES
186-01
SCENE 55 - MCS - FOOTAGE OF YOUNG

AFRICAN-AMERICAN CHILDREN,
GESTURING.
187-15
SCENE 56 - MS - THROUGH A WINDOW

OF A BUSINESS ESTABLISHMENT TO A
YOUNG AFRICAN-AMERICAN MAN. TEXT
PAINTED ON THE WINDOW READS
FOR
COLORED ONLY

(voice over) If African Americans... ITAL (over scene ends) If African Americans dreamed of playin'
189-11 baseball, it was not for the New York
Yankees...
(the New York Yankees : i.e., 'a
SCENE 57 - MCS - FOOTAGE OF AN professional Major League team')
AFRICAN-AMERICAN BASEBALL PLAYER.
SMITH
(voice over) ...dreamed of playin' baseball, it
was not for the New York...
CAMERA PANS R. ON ANOTHER

193-02
SCENE 58 - MS - HIGH ANGLE - AN

AFRICAN-AMERICAN BASEBALL PLAYER
PULLS TWO BATS FROM A RACK.
SMITH
(voice over) ...Yankees...
PEOPLE IN BASEBALL STADIUM

(voice over) (overlapping cheers -
dialogue)
194-06
(12)
42 1AB P/13
TITLE
SCENE 59 - MCS - AN

(voice over) ...but for teams like the ITAL (over scene ends) ...but for teams like the Kansas City
Monarchs of the Negro Leagues...
Kansas... (Kansas City Monarchs :
196-02 longest-running franchise in the
Negro Leagues, based in Kansas
City, Missouri)
SCENE 60 - FS - AN AFRICAN-AMERICAN (Negro Leagues : professional
BASEBALL PLAYER THROWS A PITCH L. baseball leagues comprising teams
made up of African Americans [and to
SMITH some extent, Latin Americans])
(voice over) ...City Monarchs of the Negro...
198-05
SCENE 61 - FS - AN AFRICAN-AMERICAN
BATTER HITS THE BALL.

(voice over) ...Leagues, where the... ITAL (over scene end) ...where the barnstormin' style of play stood
199-12 in contrast to the Majors.
(barnstormin' style of play : note that,
rather than play in an organized
SCENE 62 - MFS - ANOTHER PITCHER league, African-American
PREPARES TO PITCH. barnstorming teams scheduled their
own games as they traveled all over
SMITH the country. Barnstorming teams
(voice over) ...barnstormin' style of play... would play a wide range of opponents
201-10 that included: Negro League teams,
professional teams,
semiprofessional teams, other
SCENE 63 - MCS - ANOTHER PITCHER barnstorming teams, local town
(TORSO). CAMERA TILTS UP ON HIM. teams and industrial league teams.
Barnstorming teams would play
SMITH anyone who challenged them,
(voice over) ...stood in contrast to the including both black and white teams
- Also note that many of the Negro
Majors. League teams also barnstormed
when the official Negro League
HE PITCHES R. season was over)
204-06 (stood : existed - was notable)
(the Majors : i.e., 'the Major Leagues'
- 'teams that play in the American and
SCENE 64 - MFS - A BATTER HITS THE National Leagues')
BALL L.
205-06
SCENE 65 - MCS - LOW ANGLE - AN

AFRICAN-AMERICAN COUPLE, SEATED IN
THE CROWD.

(voice over) In nineteen forty-... ITAL (over scene end) In 1946 there were 16 Major League
baseball teams...
206-15
(13)
42 1AB P/14
TITLE
SCENE 66 - INT. BASEBALL STADIUM -

DAY - MS - SMITH, SEATED IN THE
CROWD, TYPING ON HIS TYPEWRITER.
CROWD AT BASEBALL GAME

(overlapping, low and indistinct chatter and
cheers - continues under following scenes
and dialogue)
SMITH
(voice over) ...six there were sixteen Major
League baseball teams...
A LIST OF ALL THE MAJOR LEAGUE

TEAMS IS OVERLAYED ON THE IMAGE,
WHICH READS:
Boston Red Sox St. Louis Ca

Detroit Tigers Brooklyn Do
New York Yankees Chicago Cub
Washington Senators Boston Brav
Chicago White Sox Philadelphia
Cleveland Indians Cincinnati R

(voice over) ...with a total of four... ITAL (over scene ends) ...with a total of 400 players on their rosters.
THE OVERLAY CONTINUES OVER THE

FOLLOWING SCENES.
211-15

SEQUENCE - SOME MAJOR LEAGUE
PLAYERS, WARMING UP.
SMITH
(voice over) ...hundred players on their
rosters.
213-10
SCENE 68 - MCS - A PLAYER (TORSO),

HOLDING A BASEBALL IN HIS GLOVE.

THE OVERLAY OF MAJOR LEAGUE TEAMS
CUTS OUT.
215-12
SCENE 69 - INT. OFFICE - DAY - MCS -

SMITH TYPES. A POTION OF HIS STORY IS
OVERLAYED ON THE IMAGE. IT READS:
ommittee was formed to 'study'

would be required. Individuals
need to stand up and step forward.
sixteen major league baseball teams

hundred players on their rosters.
hundred
(14)
42 1AB P/15
TITLE
ANOTHER SECTION OF SMITH'S STORY

READS:
players were white.

(voice over) Every one of the four hundred ITAL Every one of the 400 players were white.
players were white.
ANOTHER SECTION OF SMITH'S STORY

READS:
ur hundred
e 400

(voice over) But when opening day came in ITAL (over scene end) But when opening day came in 1947 that
number dropped to 399...
nineteen... (opening day : day on which
professional baseball leagues begin
THE OVERLAY OF THE STORY their regular season)
CONTINUES UNDER THE FOLLOWING (that number : i.e., 'the number of
SCENE. white players')
223-01
SCENE 70 - EXT. BASEBALL FIELD -

NIGHT - MS - JACKIE ROBINSON, A
GREAT, UNDISCOVERED
AFRICAN-AMERICAN BASEBALL PLAYER,
IS POISED, READY TO RUN TO ANOTHER
BASE.
SMITH
(voice over) ...forty-seven...
THE NUMBER 400 IN THE STORY

CHANGES TO READ:
399
SMITH
(voice over) ...that number dropped to three
hundred and ninety-nine...
JACKIE
(overlapping) (echoing) (breathes heavily -
continues under following dialogue)
THE OVERLAY OF THE STORY FADES

OUT.

(voice over) ...and one man stood apart. ITAL ...and one man stood apart.
(stood apart : i.e., 'was notably
JACKIE different than the rest of the players')
(echoing) (grunts)
HE RUNS L. CAMERA PANS WITH HIM.

THE IMAGE FREEZES.
238-11
(15)
42 1AB P/16
TITLE
FADE OUT.
SCENE 71 - BLACK BACKGROUND.
TITLE FADES IN: (over above bg.) 1-37 240.03 246.07 6.04 NARRATIVE TITLE)
THE FOLLOWING IS BASED THE FOLLOWING IS BASED

ON A TRUE STORY. ON A TRUE STORY.
TITLE FADES OUT.

248-00
FADE IN:
SCENE 72 - EXT. OFFICE

BUILDING/BROOKLYN - DAY - LS - LOW
ANGLE - PAST A METRO TRAIN, TO THE
OFFICE BUILDING. CAMERA TILTS UP.
TITLES FADES IN: (over above bg.) 1-38 254.07 259.10/ 5.03 NARRATIVE TITLE)
BROOKLYN, NEW YORK - BROOKLYN, NEW YORK -

SPRING OF1945 SPRING OF 1945
TITLES CUTS OUT. (BROOKLYN : A borough of New York

259-10 City)
SCENE 73 - INT. BRANCH RICKEY'S

OFFICE/OUTER OFFICE - DAY - MS - THE
CLOSED DOORS OF THE OFFICE. TEXT
ON THE DOOR READS: 1-39 259.14 261.06 1.08 NARRATIVE TITLE) (of sign)
BROOKLYN BROOKLYN NATIONAL LEAGUE

NATIONAL BASEBALL CLUB
PRIVATE
LEAGUE (CLUB : Organization formed for the
BASEBALL pursuit of a sport on an amateur or a
CLUB professional basis)
(Note that this is text on a door.
RICKEY Branch Rickey, president and general
(voice over) Gentlemen, I have a plan. manager of the Brooklyn Dodgers
265-09 baseball team, meets with coach and
scout Clyde Sukeforth and Harold
Parrott, secretary)
OFFICE - DAY - MCS - CLYDE
SUKEFORTH, COACH AND SCOUT OF 1-40 261.10 265.07/ 3.13 RICKEY TO SUKEFORTH & PARROTT)
THE BROOKLYN DODGERS BASEBALL ITAL (voice over)
TEAM. Gentlemen, I have a plan.
SUKEFORTH
Plan's good, Mr. Rickey. You always have 1-41 269.08 273.11 4.03 SUKEFORTH TO RICKEY)
Plan's good, Mr. Rickey. You always have
one. one.
(Plan's good : i.e., 'A plan is a good
RICKEY thing to have')
(off) My wife says...
275-00
1-42 273.15 277.07 3.08 RICKEY TO SUKEFORTH & PARROTT)
(over scene end) My wife says I'm too old.
(I'm too old : i.e., 'I am too old to
introduce this controversial plan [as I
will not be able to withstand the
pressure that results]')
(16)
42 1AB P/17
TITLE
SCENE 75 - MS - PAST BRANCH RICKEY,

PRESIDENT AND GENERAL MANAGER OF
THE BROOKLYN DODGERS, AND
ACROSS THE DESK TO HAROLD
PARROTT, SECRETARY, AND
SUKEFORTH. RICKEY IS READING A
NEWSPAPER.
RICKEY 1-43 280.11 284.05 3.10 RICKEY TO SUKEFORTH & PARROTT)

...I'm too old. (chuckles) That my health's That my health's not up to it.
(up to : idiomatic for 'able to
not up to it. My son says, uh, everybody undertake or endure')
in...everybody in baseball's gonna be

against me. (grunts) But I'm gonna do it. My son says everybody in...
CAMERA DOLLIES R. AROUND RICKEY,

OFF PARROTT AND SUKEFORTH, ON A 1-45 293.12 298.15 5.03 RICKEY TO SUKEFORTH & PARROTT)
MCS. ...everybody in baseball's gonna be against
me.
SUKEFORTH
(off) Do what, Mr. Rickey?
RICKEY But I'm gonna do it.
I'm gonna bring a Negro ballplayer to the (do it : i.e., 'carry out my plan')
Brooklyn Dodgers.
323-00 1-47 307.13 310.12 2.15 SUKEFORTH TO RICKEY)
Do what, Mr. Rickey?
SCENE 76 - MCS - PARROTT (ARM) AND

SUKEFORTH. PARROTT STANDS. 1-48 312.05 317.05 5.00 RICKEY TO SUKEFORTH & PARROTT)
328-07 I'm gonna bring a Negro ballplayer...
(For this Title and the next : i.e., 'I am
going to sign a Negro player to play
SCENE 77 - MCS - PARROTT STANDS. with the Brooklyn Dodgers.' - Note that
CAMERA TILTS UP ON HIM. HE REACTS. 'Negro was a respectful term used to
describe African Americans during
PARROTT this era)
With all due respect, sir, have you l-lost
your mind? 1-49 318.13 321.11 2.14 RICKEY TO SUKEFORTH & PARROTT)
339-00 ...to the Brooklyn Dodgers.
(Sukeforth and Parrott react. Parrott
stands)
SCENE 78 - MCS - SUKEFORTH SHIFTS
IN HIS SEAT.
1-50 334.12 338.14/ 4.02 PARROTT TO RICKEY)
PARROTT With all due respect, sir, have you lost your
(off) Think-- (pants) Think about-- mind?
345-04 (With all due respect : Phrase used
to express that what the speaker is
going to say may seem disrespectful,
but is not necessarily intended to be)
(lost your mind : idiomatic for 'gone
insane')

Think-- Think about--
(17)
42 1AB P/18
TITLE
SCENE 79 - MCS - PARROTT, REACTING

AND GESTURING.
PARROTT 1-52 347.09 352.15 5.06 PARROTT TO RICKEY)

(pants) Think about the abuse that you are Think about the abuse that you are gonna
take from the newspapers...
gonna take from the newspapers, le-let
alone how this is gonna play out in 1-53 353.03 357.06/ 4.03 PARROTT TO RICKEY)
...let alone how this is gonna play out in
Flatbush! Flatbush!
357-08 (let alone : not to mention - in
addition to)
(this : i.e., 'a Negro player')
SCENE 80 - MCS - RICKEY. (play out : idiomatic for 'be received')
(Flatbush : during this era, a working
PARROTT class community in Brooklyn mainly
(off) Please, Mr. Rickey. comprised of Irish Americans, Italian
Americans and Jews, and the
RICKEY denizens closely followed the
Sit down, Harold. (exhales through nose) Brooklyn Dodgers - note implication
364-02 that the residents of Flatbush will not
like this development at all)
SCENE 81 - MCS - PARROTT SITS BACK

DOWN. CAMERA TILTS DOWN WITH HIM. 1-54 358.03 360.14 2.11 PARROTT TO RICKEY)
374-00 Please, Mr. Rickey.
(Please : i.e., 'Please do not do this')
SCENE 82 - MS - RICKEY.
1-55 361.02 364.00/ 2.14 RICKEY TO PARROTT)
RICKEY Sit down, Harold.
No law against it, Clyde. (Parrott complies)
379-15
1-56 375.15 379.13/ 3.14 RICKEY TO SUKEFORTH)

SCENE 83 - MCS - SUKEFORTH. No law against it, Clyde.
(No law against it : i.e., 'It is not
SUKEFORTH illegal to hire a Negro player')
(inhales) No. No, but there's a code. You
break a law and get away with it, some 1-57 381.04 383.04 2.00 SUKEFORTH TO RICKEY)
No.
people think you're smart. You break an
unwritten law...you'll be an outcast. 1-58 384.06 387.05 2.15 SUKEFORTH TO RICKEY)

406-03 No, but there's a code.
(code : here meaning, an unspoken
or unwritten agreement, understood
by all)
1-59 389.07 394.07 5.00 SUKEFORTH TO RICKEY)

You break a law and get away with it, some
people think you're smart.
(get away with it : i.e., 'are not caught
or punished')

You break an unwritten law...

...you'll be an outcast.
(18)
42 1AB P/19
TITLE
SCENE 84 - MS - RICKEY. CAMERA

PUSHES IN.
RICKEY 1-62 409.15 412.04 2.05 RICKEY TO SUKEFORTH)

(low) Mm-hm. (in normal voice) So be it. So be it.
(i.e., 'If that happens, I accept the
New York's full-a Negro baseball fans. consequences.')
418-01
1-63 414.07 419.11 5.04 RICKEY TO SUKEFORTH)

SCENE 85 - MCS - SUKEFORTH. (over scene end) New York's full-a Negro baseball fans.
422-10
SCENE 86 - MCS - RICKEY. CAMERA

SLOWLY PUSHES IN.
RICKEY 1-64 /422.12 429.10 6.14 RICKEY TO SUKEFORTH)

Dollars aren't black and white, they're Dollars aren't black and white, they're green.
(i.e., 'Money doesn't perceive a
green. Every dollar's green. I don't know difference between the people
spending it.' - 'Whether tickets are
who he is...or where he is...but he's comin'. bought by a black or white person, the
449-01 amount of money remains the same
and is just as valuable.')
SCENE 87 - EXT. RICKWOOD
FIELD/BIRMINGHAM, ALABAMA - NIGHT -
MS - THE KANSAS CITY MONARCHS PLAY 1-65 430.07 433.12 3.05 RICKEY TO SUKEFORTH)
THE BIRMINGHAM BLACK BARONS. Every dollar's green.
JACKIE ROBINSON (TORSO) MOVES
BACK AND FORTH AT SECOND BASE,
PREPARING TO RUN TO THIRD. 1-66 436.06 439.03 2.13 RICKEY TO SUKEFORTH)
I don't know who he is...
CROWD AT RICKWOOD FIELD (who he is : i.e., 'who this Negro
(off) (overlapping, low and indistinct chatter, player will be')
shouts, cheers, whistles, and boos -

continues under following scenes and ...or where he is...
dialogue)
TITLE FADES OUT: (over above bg.) ...but he's comin'.
(The Kansas City Monarchs play the
BIRMINGHAM, ALABAMA - Birmingham Black Barons. Jackie
SUMMER OF 1945 Robinson moves back and forth at
second base, preparing to run to third.
TITLE CUTS OUT. The Birmingham Catcher watches)
454-07
LABORATORY: IF PRINT IS TEXTLESS, TITLE #1-69 IS TO APPEAR IN THE

NORMAL SUBTITLE POSITION. IF PRINT IS TEXTED, THIS TITLE IS TO
APPEAR AS LOW AS POSSIBLE IN THE FRAME TO AVOID
DOUBLE-PRINTING. PLEASE CHECK PRINT FOR PROPER POSITIONING.
1-69 449.14 454.07 4.09 NARRATIVE TITLE)
BIRMINGHAM, ALABAMA -
SUMMER OF 1945
(19)
42 1AB P/20
TITLE
SCENE 88 - MCS - THE BIRMINGHAM

CATCHER WATCHES O.S. JACKIE.
BIRMINGHAM CATCHER 1-70 454.14 461.12/ 6.14 BIRMINGHAM CATCHER TO JACKIE)

Hey, runner! Where'd you learn to move like Hey, runner! Where'd you learn to move like
that, at a dime-a-dance night?
that, at a dime-a-dance night? (runner : one who runs the bases)
461-14 (dime-a-dance night : i.e., 'at a venue
in which women charge 10 cents to
dance with a customer' - here alluding
SCENE 89 - MS - JACKIE, SHIFTING BACK to Jackie's quick, swift movements on
AND FORTH. base)
BIRMINGHAM CATCHER
(off) Stand still! 1-71 /462.00 464.04/ 2.04 BIRMINGHAM CATCHER TO JACKIE)
Stand still!
JACKIE
(pants - continues under following scenes
and dialogue)
464-06
SCENE 90 - FS - PAST THE BIRMINGHAM

PITCHER TO JACKIE, PREPARING TO
RUN. THE PITCHER MOVES TO PITCH,
JACKIE RUNS.
MAN #1 IN CROWD 1-72 465.01 466.09/ 1.08 MAN #1 IN CROWD TO JACKIE)

(off) There ya are! There ya are!
466-11 (Idiomatic phrase of encouragement)
(The batter doesn't swing at the
pitched ball and Jackie starts running
SCENE 91 - MS - JACKIE (LEGS) RUNS toward third. The Birmingham Catcher
L.FG. throws to third, but Jackie gets there
467-14 first)
SCENE 92 - FS - OVER THE UMPIRE,

BIRMINGHAM CATCHER AND THE
BATTER TO THE PITCHER. JACKIE RUNS
L. THE BATTER DOESN'T SWING AT THE
PITCHED BALL. THE BIRMINGHAM
CATCHER STANDS AND THROWS TO
THIRD. CAMERA PANS L.
NEGRO LEAGUE UMPIRE 1-73 469.00 470.11 1.11 NEGRO LEAGUE UMPIRE TO MEN)
Ball! Ball!
(Any pitch that does not pass through
BIRMINGHAM CATCHER the strike zone and at which the batter
(grunts) does not swing - Implying that the
471-07 pitch was a ball)
SCENE 93 - MS - PAST THE THIRD BASE

MAN (LEGS) TO JACKIE, WHO SLIDES
INTO THE BASE. A NEGRO LEAGUE
THIRD BASE UMPIRE (LEGS) WATCHES
CLOSELY.
473-05
(20)
42 1AB P/21
TITLE
SCENE 94 - MS - THE NEGRO LEAGUE

THIRD BASE UMPIRE GESTURES.
NEGRO LEAGUE THIRD BASE UMPIRE 1-74 /473.08 474.14/ 1.06 NEGRO LEAGUE THIRD BASE UMPIRE
Safe! TO JACKIE)
474-15 Safe!
(i.e., 'You reached the base without
being tagged out.')
SCENE 95 - MS - BIRMINGHAM CATCHER
REMOVES HIS MASK AND REACTS.
BIRMINGHAM CATCHER
(grunts)
JACKIE 1-75 476.13 478.12/ 1.15 JACKIE TO BIRMINGHAM CATCHER)

(off) Catcher! Catcher!
478-15
SCENE 96 - FS - JACKIE. THE NEGRO

LEAGUE THIRD BASE UMPIRE AND THE
THIRD BASEMAN LOOK ON, CONTINUED
UNDER FOLLOWING SCENES.
JACKIE 1-76 /479.03 481.14/ 2.11 JACKIE TO BIRMINGHAM CATCHER)

When you gonna start throwin' for real? When you gonna start throwin' for real?
482-00 (i.e., 'When are you actually going to
throw well?' - Note disparaging insult
- Also note that it is common amongst
SCENE 97 - MS - BIRMINGHAM CATCHER. ballplayers to heckle each other in
order to gain a psychological
BIRMINGHAM CATCHER advantage)
You talkin' to me?
484-01
1-77 /482.02 483.15/ 1.13 BIRMINGHAM CATCHER TO JACKIE)
You talkin' to me?
SCENE 98 - FS - JACKIE.
JACKIE
You got a rag arm, catcher. 1-78 484.09 487.03/ 2.10 JACKIE TO BIRMINGHAM CATCHER)
487-05 You got a rag arm, catcher.
(rag arm : baseball slang for 'weak
throwing arm' - 'inability to throw hard
SCENE 99 - MS - BIRMINGHAM CATCHER. and fast')
BIRMINGHAM CATCHER
Steal home. You'll find out what kinda arm I
1-79 487.13 492.04/ 4.07 BIRMINGHAM CATCHER TO JACKIE)
got. Steal home. You'll find out what kinda arm I
got.
HE STEPS BACK TOWARD HOME PLATE (Steal home : i.e., 'Try to successfully
AS THE MONARCHS BATTER ENTERS L. advance to home plate while the pitch
AND PREPARES TO BAT. is in process')
492-06
SCENE 100 - MS - JACKIE.

1-80 /492.08 494.07 1.15 JACKIE TO BIRMINGHAM CATCHER)
JACKIE Okay.
Okay. I'm comin'.
497-04
1-81 495.07 497.02/ 1.11 JACKIE TO BIRMINGHAM CATCHER)
I'm comin'.
(i.e., 'I am preparing to do that.')
(The Monarch's batter prepares to
take another pitch)
(21)
42 1AB P/22
TITLE
SCENE 101 - MS - PAST THE BATTER TO

BIRMINGHAM CATCHER AND THE
UMPIRE, WHO LOOKS ON, CONTINUED
BIRMINGHAM CATCHER 1-82 499.01 501.09 2.08 BIRMINGHAM CATCHER TO SCOTT)

Where's your shortstop from? Where's your shortstop from?
(shortstop : baseball fielding
SCOTT position between second and third
California. base)
BIRMINGHAM CATCHER
Sure got a mouth on him. 1-83 501.13 503.10 1.13 SCOTT TO BIRMINGHAM CATCHER)
507-03 California.
SCENE 102 - FS - JACKIE PREPARES TO 1-84 503.14 506.05 2.07 BIRMINGHAM CATCHER TO SCOTT)
RUN. Sure got a mouth on him.
511-01 (Idiomatic for 'He certainly is a
braggart.' - 'He certainly is impudent.')
(Jackie runs to steal home. He scores
SCENE 103 - FS - PAST THE MONARCHS a run)
BATTER TO THE PITCHER, WHO STARTS
TO THROW A PITCH.
513-09
SCENE 104 - MS - JACKIE RUNS FG. TO

STEAL HOME.
JACKIE
(grunts)
514-10
SCENE 105 - MCS - JACKIE (FEET) RUNS

BG.
515-07
SCENE 106 - FS - JACKIE RUNS FG.
JACKIE
(pants - continues under following scenes)
517-06
SCENE 107 - MFS - JACKIE RUNS BG.

CAMERA TRACKS BEHIND HIM. HE
SLIDES INTO HOME PLATE.
519-00
SCENE 108 - MFS - JACKIE SLIDES INTO

HOME, KNOCKING BIRMINGHAM
CATCHER BG.
BIRMINGHAM CATCHER
(grunts - continues under following scene
and dialogue)
520-00
(22)
42 1AB P/23
TITLE
SCENE 109 - MFS - JACKIE AND

BIRMINGHAM CATCHER TUMBLE FG.
ONTO THE GROUND.
JACKIE
(grunts)
521-14
SCENE 110 - EXT. FILLING

STATION/INTERSTATE 24 - DAY - LS - THE
MONARCHS BATTERED BUS DRIVES
L.FG. DOWN A MISSOURI ROAD. CAMERA
PANS L. WITH IT AND CRANES UP ON A
FILLING STATION.
NEGRO LEAGUE UMPIRE 1-85 /521.15 523.07 1.08 NEGRO LEAGUE UMPIRE TO JACKIE)
(voice over) (echoing) Safe! ITAL (voice over)
Safe!
TITLE FADES IN: (over above bg.) (The Monarchs ride in their battered
bus down a country road in the
INTERSTATE 24, MISSOURI - Missouri. They stop at a gas station
AUGUST 24, 1945 manned by a white gas station
attendant. The players get off to
TITLE FADES OUT. stretch their legs)
TEXT ACROSS THE SIDE OF THE BUS

READS: LABORATORY: IF PRINT IS TEXTLESS, TITLE #1-86 IS TO APPEAR IN THE
KANSAS CITY MONARCHS BASEBALL APPEAR AS LOW AS POSSIBLE IN THE FRAME TO AVOID
CLUB DOUBLE-PRINTING. PLEASE CHECK PRINT FOR PROPER POSITIONING.
539-13
1-86 523.12 529.06 5.10 NARRATIVE TITLE)
SCENE 111 - MS - A WHITE GAS STATION INTERSTATE 24, MISSOURI -

ATTENDANT, WORKING ON AN ENGINE. AUGUST 24, 1945
THE BUS PULLS UP BEHIND HIM. THE
BUS DRIVER AND THE PLAYERS STEP
OFF TO STRETCH THEIR LEGS. 1-87 529.10 532.08 2.14 NARRATIVE TITLE) (of bus)
RADIO NEWS ANNOUNCER KANSAS CITY MONARCHS BASEBALL

(over radio) --by radio telephone are being CLUB
held. (Note that this is text on the side of the

bus)
MEN ON BUS
(overlapping, low and indistinct chatter -
dialogue)
RADIO NEWS ANNOUNCER 1-88 543.06 548.02 4.12 RADIO NEWS ANNOUNCER
(over radio) Discussions concerning ITAL OVER RADIO TO GROUP)
Discussions concerning Japan's offer of
Japan's offer of surrender. surrender.
(23)
42 1AB P/24
TITLE
RADIO NEWS ANNOUNCER (cont'd) 1-89 548.06 555.06 7.00 RADIO NEWS ANNOUNCER
(over radio) Washington, London, Moscow, ITAL OVER RADIO TO GROUP)
Washington, London, Moscow, and
and Chungking now framing their decision. Chungking now framing their decision.
(Chungking : major city in southwest
When this decision will be communicated China and the provisional capital of
the Republic of China from 1937 to
to Tokyo via the government's (continues 1946)
(framing : formulating)
low and indistinct under following dialogue)
WHITE GAS STATION ATTENDANT 1-90 555.10 560.05 4.11 RADIO NEWS ANNOUNCER
Fill her up? ITAL OVER RADIO TO GROUP)
When this decision will be communicated to
BUS DRIVER Tokyo via the government's....
Yes, sir.
THE WHITE GAS STATION ATTENDANT 1-91 560.09 564.04 3.11 WHITE GAS STATION ATTENDANT
STEPS L.FG. AND LIFTS THE GAS PUMP. TO BUS DRIVER, THEN BUS DRIVER
CAMERA PANS L. WITH HIM. TO WHITE GAS STATION ATTENDANT)
-Fill her up?
RADIO NEWS ANNOUNCER -Yes, sir.
(over radio) ...we are not told. That takes (Fill her up : i.e., 'Do you want your
tank filled all the way up with
time. And meanwhile (continues low and gasoline')
indistinct under following scenes and
dialogue)
567-12
SCENE 112 - MS - JACKIE GETS OFF WITH

THE PLAYERS AND WALKS FG. CAMERA
TRACKS BACK WITH HIM.
WHITE GAS STATION ATTENDANT 1-92 568.15 573.02 4.03 WHITE GAS STATION ATTENDANT
(off) You boys headin' out? TO BUS DRIVER, THEN BUS DRIVER
TO WHITE GAS STATION ATTENDANT)
BUS DRIVER -You boys headin' out?
(off) Uh, Chicago. -Chicago.
(boys : disparaging term when used
WHITE GAS STATION ATTENDANT in regards to adult male African
(off) Chicago, huh? (chuckles) You boys get Americans)
(headin' out : i.e., 'leaving the state to
around. play another team')
578-08
1-93 573.06 576.00 2.10 WHITE GAS STATION ATTENDANT

SCENE 113 - MS - PAST WHITE GAS TO BUS DRIVER)
STATION ATTENDANT, FILLING THE BUS Chicago, huh?
TANK, TO THE BUS DRIVER.
BUS DRIVER 1-94 576.15 580.14 3.15 WHITE GAS STATION ATTENDANT
Yeah, we sure do. (over scene end) TO BUS DRIVER, THEN BUS DRIVER
TO WHITE GAS STATION ATTENDANT)
WHITE GAS STATION ATTENDANT TURNS -You boys get around.
R. AND REACTS TO O.S. JACKIE, HEADED -Yeah, we sure do.
TOWARD THE RESTROOM. (get around : i.e., 'travel a lot [to
interesting places]')
(Jackie heads toward the restroom
and the White Gas Station Attendant
reacts)
(24)
42 1AB P/25
TITLE
WHITE GAS STATION ATTENDANT 1-95 584.15 589.11/ 4.12 WHITE GAS STATION ATTENDANT
Hey. Hey, you... (over scene end) TO JACKIE, THEN JACKIE TO
586-10 WHITE GAS STATION ATTENDANT)
-Hey. Hey, you, where you goin'?
-To the toilet.
SCENE 114 - MS - JACKIE WALKS BG. (where you goin' : i.e., 'where do you
TOWARD THE RESTROOM. CAMERA think you are going' - implying, 'you
TRACKS WITH HIM. know you are not allowed in that area')
WHITE GAS STATION ATTENDANT

(off) ...where you goin'?
JACKIE
To the toilet.
589-13
SCENE 115 - MS - PAST WHITE GAS

STATION ATTENDANT TO BUS DRIVER.
WHITE GAS STATION ATTENDANT 1-96 591.00 594.04/ 3.04 WHITE GAS STATION ATTENDANT
Hell, come on, boy. You know you can't go TO JACKIE)
Hell, come on, boy. You know you can't go in
in there. there.
594-06 (Hell : Mildly vulgar slang emphatic)
(come on : idiomatic for 'don't be
ridiculous')
SCENE 116 - MS - JACKIE STARTS TO (can't go in there : i.e., 'are not
OPEN THE RESTROOM DOOR. A SIGN ON allowed to enter that toilet [as it is
THE DOOR READS: reserved for white people]')
(Jackie walks back to the White Gas
TOILET Station Attendant, who gestures to
some other players who are getting
JACKIE REACTS, CLOSES THE DOOR, sodas)
AND WALKS BACK L.
607-04

GESTURES TO SOME OTHER PLAYERS
WHO ARE GETTING SODAS.
Them Cokes are a nickel. (over scene end) TO MEN)
610-02 Them Cokes are a nickel.
(Them : Colloquial for 'Those')
SCENE 118 - MS - JACKIE WALKS BG.

TOWARD WHITE GAS STATION
ATTENDANT AND BUS DRIVER. CAMERA
TRACKS BEHIND HIM.
MEN AT STATION
dialogue)
JACKIE STOPS AND TURNS FG. CAMERA

PUSHES INTO A MCS.
(25)
42 1AB P/26
TITLE
JACKIE 1-98 626.08 628.14 2.06 JACKIE TO

(sighs) Take that hose outta the tank. WHITE GAS STATION ATTENDANT)
Take that hose outta the tank.
BUS DRIVER (i.e., 'Stop putting gasoline in our
Robinson. bus.')

What? 1-99 629.02 631.10/ 2.08 BUS DRIVER TO JACKIE,
631-12 THEN WHITE GAS STATION ATTENDANT
TO JACKIE)
-Robinson.
SCENE 119 - MCS - JACKIE TURNS L.FG. -What?
(Robinson : Here said to protest
JACKIE what Jackie is saying)
I said take it out.
JACKIE (cont'd) 1-100 632.09 635.04 2.11 JACKIE TO

We'll get our ninety-nine gallons of gas WHITE GAS STATION ATTENDANT)
I said take it out.
someplace else.
640-15
1-101 636.14 640.13/ 3.15 JACKIE TO
WHITE GAS STATION ATTENDANT)
SCENE 120 - MS - PAST WHITE GAS We'll get our 99 gallons of gas someplace
STATION ATTENDANT TO BUS DRIVER. else.
REACTS.
646-13
SCENE 121 - MCS - JACKIE.

649-14

All right, then. Go on. Go on! Use it. TO JACKIE)
All right, then. Go on.
THE WHITE GAS STATION ATTENDANT (Go on : i.e., 'Go ahead and use the
RESUMES FILLING UP THE BUS. toilet')
669-01
1-103 666.08 668.15/ 2.07 WHITE GAS STATION ATTENDANT

SCENE 123 - MCS - JACKIE WALKS BG. TO JACKIE)
TOWARD THE RESTROOM. Go on! Use it.
675-06 (The White Gas Station Attendant
resumes filling up the bus with gas. In
Rickey's office, Rickey goes over
SCENE 124 - INT. BRANCH RICKEY'S potential African-American players
OFFICE - DAY - MS - PAST RICKEY TO with Sukeforth and Parrott)
SUKEFORTH. RICKEY GOES OVER
POTENTIAL AFRICAN-AMERICAN
PLAYERS.
SUKEFORTH 1-104 /675.08 677.14 2.06 SUKEFORTH TO RICKEY)

Roy Campanella. Roy Campanella.
(Italian/African-American baseball
SUKEFORTH HOLDS A FILE FG. player in the Negro League at this
time [the Brooklyn Dodgers eventually
RICKEY signed him in 1948] - Considered one
Helluva... of the greatest catchers in the history
679-06 of the game)
(26)
42 1AB P/27
TITLE
SCENE 125 - MS - PAST SUKEFORTH

(HAND) TO RICKEY. THERE IS A TALL
PILE OF FILES IN L.FG.
PEOPLE IN BRANCH RICKEY'S OFFICE

dialogue)
RICKEY 1-105 678.05 685.00/ 6.11 RICKEY TO SUKEFORTH)

...player. (grunts) He's too sweet. They'd eat (over scene end) Helluva player. He's too sweet. They'd eat
him alive.
him alive. (Helluva : Colloquial for 'Hell of a' -
i.e., 'He is a great')
PARROTT (HAND) ENTERS L., TRYING TO (sweet : nice and kind)
TAKE A FILE FROM THE PILE. (They'd eat him alive : i.e., 'He would
685-02 not be able to withstand the criticism
and outrage expected from the press
and public' - 'The press and public will
SCENE 126 - MS - PARROTT, SEATED, devastate him')
TAKES THE FILE, KNOCKING DOWN THE
PILE.
SUKEFORTH 1-106 /685.04 686.06/ 1.02 SUKEFORTH TO RICKEY)

(off) All right. All right.
(Parrott accidentally knocks over a tall
PARROTT pile of files)
(overlapping) (chews - continues under
following scene and dialogue)

686-07
SCENE 127 - MFS - PAST PARROTT AND

SUKEFORTH TO RICKEY. PARROTT
STANDS AND PICKS UP THE FALLEN
FILES.
PARROTT 1-107 688.05 692.11/ 4.06 PARROTT TO RICKEY)

Oh, sorry. Oh, wait. Sorry. Oh, sorry. Oh, wait. Sorry.
692-11 (Parrott rearranges the files)
SCENE 128 - MS - PAST PARROTT

(HANDS), REARRANGING THE PILE, TO
RICKEY.
PARROTT
(face off) (low grunts)
SUKEFORTH 1-108 /695.10 697.14/ 2.04 SUKEFORTH TO RICKEY

(off) Satchel... (over scene end) THEN RICKEY TO SUKEFORTH)
695-08 -Satchel Paige, then.
-He's too old.
(Satchel Paige : African-American
SCENE 129 - MCS - SUKEFORTH. baseball pitcher in the Negro
Leagues, one of the most famous
SUKEFORTH and beloved of all players - He was 43
...Paige, then. at this time)
RICKEY
(off) He's too old.
697-15
(27)
42 1AB P/28
TITLE

(HAND) TO RICKEY.
RICKEY 1-109 698.09 701.14/ 3.05 RICKEY TO SUKEFORTH)

We need a player with a future, not a past. We need a player with a future, not a past.
702-00 (with a future : i.e., 'who has many
years ahead of him to play ball and
make an impact')
SCENE 131 - MCS - RICKEY (HANDS) (not a past : i.e., 'not one who is
PERUSES JACKIE'S FILE, WHICH READS: already known for the feats he
achieved in the past)
NARRATIVE TITLE (Rickey peruses Jackie's file)
SCOUT REPORT CARD
Name JACK ROOSEVELT ROBINSON
Arm VERY GOOD 1-110 /702.02 705.12/ 3.10 NARRATIVE TITLE, (of file)
Accuracy VERY GOOD THEN RICKEY
Fielding GOOD TO PARROTT & SUKEFORTH)
Hitting EXCELLENT
Power EXCELLENT -SCOUT REPORT CARD
Running Speed EXCELLENT Base -Here.
Running EXCELLENT
APTITUDE VERY GOOD (SCOUT : Somebody whose job is to
Aggressiveness EXCELLENT search for people who have
Physical Description (Build, Size, Agility, exceptional abilities and recruit them
Etc.) MUSCULAR, AMAZING SPEED for professional work)
Remarks GREAT PLAYER - (Here : i.e., 'Here is a good
BUT CAUSES TROUBLE, candidate')
ARGUES, A TEMPER
RICKEY
(face off) Here.
705-14
SCENE 132 - MS - RICKEY, POINTING AT

THE FILE.
RICKEY 1-111 707.05 709.15/ 2.10 RICKEY TO PARROTT & SUKEFORTH)

Jack Roosevelt Robinson. (over scene end) Jack Roosevelt Robinson.
710-01 (Roosevelt : note that Jackie's
middle name was in honor of
President Theodore Roosevelt, who
SCENE 133 - MCS - PARROTT. died just before Jackie was born)
RICKEY
(off) Four-sport... 1-112 711.03 718.05/ 7.02 RICKEY TO PARROTT & SUKEFORTH)
712-03 (over scene end) Four-sport college man, outta UCLA. That
means he's played with white boys.
(Four-sport college man : i.e., 'He
SCENE 134 - MS - RICKEY. played four different sports while
attending university' - Note that Jackie
RICKEY played baseball, basketball, football
...college man, outta UCLA. That means and ran track at UCLA)
(outta UCLA : i.e., 'attended the
he's played with white boys. University of California, Los Angeles' -
718-07 state university in California)
(played with white boys : i.e., 'already
has experience playing in a team
SCENE 135 - MCS - SUKEFORTH. sport with white teammates')
RICKEY
(off) Playin' for the Kansas City Monarchs. 1-113 718.15 723.06/ 4.07 RICKEY TO PARROTT & SUKEFORTH)
723-08 Playin' for the Kansas City Monarchs.
(28)
42 1AB P/29
TITLE
RICKEY 1-114 /723.13 728.13/ 5.00 RICKEY TO PARROTT & SUKEFORTH)

Twenty-six years old. He's battin' three-fifty. 26 years old. He's battin' 350. 350.
(He's battin' 350 : i.e., 'His batting
Three-fifty. average is .350' - Note that a batting
728-15 average is a statistic that measure the
performance of baseball hitters. It is
defined by the number of hits divided
SCENE 137 - MCS - SUKEFORTH. by the number of times at bat - A
season batting average higher than
RICKEY .300 is considered to be excellent - An
(off) Methodist. average higher than .400 is
733-06 considered to be almost
unachievable)

1-115 730.08 733.04/ 2.12 RICKEY TO PARROTT & SUKEFORTH)
RICKEY Methodist.
Commissioned Army officer. (i.e., 'He is a Methodist.' - a Protestant
735-10 denomination)
SCENE 139 - MCS - SUKEFORTH. 1-116 /733.08 735.08/ 2.00 RICKEY TO PARROTT & SUKEFORTH)
Commissioned Army officer.
SUKEFORTH (In the Army, an officer who holds a
He was court-martialed. formal commission of power by a
737-14 head of state [or in the name of a
head of state] charging them with the
duties and responsibilities of a
SCENE 140 - INT. GAS specific office or position)
STATION/BATHROOM - DAY - MCS -
JACKIE LEANS DOWN TOWARD THE SINK
AND SPLASHES WATER ONTO HIS HEAD. 1-117 /735.12 737.12/ 2.00 SUKEFORTH TO RICKEY)
He was court-martialed.
SUKEFORTH (i.e., 'He was cited for violations of the
(voice over) He's a troublemaker. Oh, he Uniform Code of Military Justice and
underwent a criminal trial conducted
argues with the umpires. A quick temper is by the U.S. military.' - Note that Jackie
was acquitted by an all-white jury)
his reputation.
HE LOOKS UP INTO THE MIRROR. 1-118 739.08 741.14 2.06 SUKEFORTH TO RICKEY) (voice over)
CAMERA TILTS UP ON HIS REFLECTION. ITAL He's a troublemaker.
(troublemaker : person who causes
PARROTT or seems to seek out trouble or strife)
(voice over) Well, what was he
court-martialed for? 1-119 742.02 745.09 3.07 SUKEFORTH TO RICKEY) (voice over)
ITAL He argues with the umpires.
1-120 745.13 748.08 2.11 SUKEFORTH TO RICKEY) (voice over)

ITAL A quick temper is his reputation.
(i.e., 'He has a reputation of being
someone who is easily angered.')
1-121 748.12 751.06 2.10 PARROTT TO RICKEY) (voice over)

ITAL Well, what was he court-martialed for?
(29)
42 1AB P/30
TITLE
RICKEY 1-122 751.10 758.10 7.00 RICKEY TO PARROTT & SUKEFORTH)

(voice over) Wouldn't sit in the back of a ITAL (voice over)
Wouldn't sit in the back of a military bus. Fort
military bus. Fort Hood, Texas. Driver... Hood, Texas.
759-02 (Wouldn't...bus : Note that in this era,
in Southern states [of which Texas is
SCENE 141 - INT. BRANCH RICKEY'S one], African Americans were
OFFICE - DAY - MS - RICKEY. supposed to sit in the back rows of
public transportation, though the Army
RICKEY had commissioned its own
...asked him to move back. (chuckles) MPs unsegregated bus line)
had to take him off.

768-07 1-123 /759.04 763.08 4.04 RICKEY TO PARROTT & SUKEFORTH)
Driver asked him to move back.
SCENE 142 - MCS - SUKEFORTH.

1-124 765.06 768.05/ 2.15 RICKEY TO PARROTT & SUKEFORTH)
SUKEFORTH MPs had to take him off.
There, you see? (MPs : Abbreviation for 'The military
police')
RICKEY (take him off : i.e., 'bodily remove him
(off) I see he resents... from the bus')
773-01
1-125 769.12 771.06 1.10 SUKEFORTH TO RICKEY & PARROTT)

SCENE 143 - MS - RICKEY. There, you see?
(i.e., 'This story proves my point that
RICKEY he causes trouble.')
...segregation. If he were white, we'd call
that spirit. 1-126 771.10 776.00 4.06 RICKEY TO SUKEFORTH)

782-15 (over scene end) I see he resents segregation.
SCENE 144 - MCS - SUKEFORTH 1-127 779.10 784.05 4.11 RICKEY TO PARROTT & SUKEFORTH)
GLANCES R.FG. AT O.S. PARROTT. (over scene end) If he were white, we'd call that spirit.
784-13 (we'd call that spirit : i.e., 'we would
say that his stand against
segregation was an inspiring
SCENE 145 - MCS - PARROTT. demonstration of courage and
determination')
RICKEY
(off) Robinson's a Methodist.
787-13 1-128 785.11 787.11/ 2.00 RICKEY TO PARROTT & SUKEFORTH)
Robinson's a Methodist.
RICKEY 1-129 789.01 793.14 4.13 RICKEY TO PARROTT & SUKEFORTH)

I'm a Methodist. God's a Methodist. We I'm a Methodist. God's a Methodist.
(God's a Methodist : Note humor)
can't go wrong. Find him. Bring him here.
802-06
We can't go wrong. Find him.
(We can't go wrong : i.e., 'There is no
possible way this endeavor can fail')

Bring him here.
(Sukeforth stands outside the gas
station as Jackie comes out)
(30)
42 1AB P/31
TITLE
SCENE 147 - EXT. GAS STATION - DAY -

JACKIE STEPS L. OUT OF THE
RESTROOM. THE PLAYERS IN BG. MOVE
L. TOWARD O.S. SUKEFORTH.
MEN OUTSIDE GAS STATION

dialogue)
SUKEFORTH 1-132 /802.08 810.02/ 7.10 SUKEFORTH TO MEN)

(off) How are ya, fellas? You know I'm How are ya, fellas? I'm lookin' for your
shortstop.
lookin' for your, uh, shortstop. (fellas : idiomatic for 'men' -
810-04 alteration of 'fellows')
(Sukeforth sees Jackie)
SCENE 148 - MFS - SUKEFORTH,

SURROUNDED BY THE PLAYERS. HE
GLANCES L.FG. AND SEES O.S. JACKIE.
812-07

814-15
SCENE 150 - MFS - SUKEFORTH,

SURROUNDED BY THE PLAYERS. HE
STEPS FG. INTO A MS.
SUKEFORTH 1-133 821.01 822.14/ 1.13 SUKEFORTH TO JACKIE)

You Jackie Robinson? You Jackie Robinson?
823-00
JACKIE 1-134 826.11 828.13 2.02 JACKIE TO SUKEFORTH)

Who are you? Who are you?
829-05

OFFICE/OUTER OFFICE - DAY - MS - THE
CLOSED DOORS. TEXT ON THE DOOR
READS:
BROOKLYN LABORATORY: IF PRINT IS TEXTLESS, TITLE #1-135 IS TO APPEAR IN

NATIONAL THE NORMAL SUBTITLE POSITION. IF PRINT IS TEXTED, THIS TITLE IS
LEAGUE TO APPEAR AS LOW AS POSSIBLE IN THE FRAME TO AVOID
BASEBALL DOUBLE-PRINTING. PLEASE CHECK PRINT FOR PROPER POSITIONING.
CLUB
AUGUST 28, 1945 AUGUST 28, 1945
JACKIE
(voice over) Mr. Rickey (exhales through 1-136 834.01 836.00/ 1.15 JACKIE TO RICKEY) (voice over)
ITAL Mr. Rickey...
nose)... (Jackie meets with Rickey. Sukeforth
looks on)
TITLE CUTS OUT.
836-02
(31)
42 1AB P/32
TITLE

OFFICE -DAY - MS - JACKIE, SEATED.
JACKIE 1-137 837.04 839.07/ 2.03 JACKIE TO RICKEY)

...what's this about? ...what's this about?
839-09 (i.e., '...why have I been summoned
here?')
SCENE 154 - MS - RICKEY. SUKEFORTH

IS STANDING BEHIND HIM.
RICKEY
(off) (low grunt)
RICKEY STARTS R. CAMERA PANS WITH

HIM.
852-10

850-05

852-10
SCENE 157 - MCS - RICKEY REACHES R.

AND OPENS THE BLINDS, LETTING
LIGHT INTO THE ROOM.
856-02

858-14
SCENE 159 - MS - PAST JACKIE TO

RICKEY.
RICKEY 1-138 861.09 865.06 3.13 RICKEY TO JACKIE)

This is about baseball, Jackie. This is about baseball, Jackie.
HE STARTS R.
868-13

(off) I see you startin' in spring... (over scene end) I see you startin' in spring with our affiliate in
873-01 Montreal.
(see : envision)
(affiliate in Montreal : referring to the
SCENE 161 - MS - PAST JACKIE TO Montreal Royals, a high-rated Minor
RICKEY, STANDING AT CHALKBOARD League team whose role as a farm
WITH THE TEAM'S ROSTER WRITTEN ON team to the Dodgers was to provide
IT. experience and training to young
players with the intent that they would
RICKEY move up to the Brooklyn Dodgers
...with our affiliate in Montreal. should they prove good enough)
RICKEY STEPS L.FG. INTO A MCS.

CAMERA PANS WITH HIM.
(32)
42 1AB P/33
TITLE
RICKEY (cont'd) 1-140 878.02 881.00 2.14 RICKEY TO JACKIE)

If you make it there...we'll try ya down If you make it there...
(make it there : i.e., 'play well for that
here...with the Dodgers. team' - 'succeed with that team')
889-01
1-141 883.08 886.09 3.01 RICKEY TO JACKIE)

SCENE 162 - MCS - JACKIE. ...we'll try ya down here...
(down here : referring to New York's
RICKEY southern location relative to Montreal)
(off) With the white...
893-14
1-142 887.05 888.15/ 1.10 RICKEY TO JACKIE)
...with the Dodgers.
SCENE 163 - MCS - LOW ANGLE - PAST
JACKIE TO RICKEY.
1-143 892.03 896.00/ 3.13 RICKEY TO JACKIE)
RICKEY (over scene end) With the white Brooklyn Dodgers.
...Brooklyn Dodgers.
896-02
JACKIE
(scoffs)
898-07
SCENE 165 - MCS - LOW ANGLE - RICKEY

GESTURING.

(low grunt) I'll pay ya six hundred dollars a I'll pay ya $600 a month.
month. And a thirty-five hundred dollar

1-145 906.14 913.13 6.15 RICKEY TO JACKIE)
bonus when you sign the contract. That And a $3500 bonus when you sign the
contract.
agreeable? (low grunt) (bonus : referring to a signing bonus,
an extra amount paid to somebody
HE STEPS BACK AROUND TO THE when he or she signs a contract,
OTHER SIDE OF HIS DESK. especially in sports)
915-10
1-146 914.01 915.09/ 1.08 RICKEY TO JACKIE)

SCENE 166 - MCS - JACKIE. That agreeable?
JACKIE
(stammers) Yes, that's fine but-- 1-147 917.11 922.03 4.08 JACKIE TO RICKEY,
THEN RICKEY TO JACKIE)
RICKEY -Yes, that's fine but--
(off) There's one condition. I know you... -There's one condition.
923-07
(33)
42 1AB P/34
TITLE

RICKEY, GESTURING.
RICKEY 1-148 /923.09 928.11 5.02 RICKEY TO JACKIE)

...can hit behind the runner. That you can I know you can hit behind the runner. That
you can read a pitch.
read a pitch. One question is...can you (hit behind the runner : i.e., 'hit a ball
in such a manner that a player on
control temper? base will be able to advance to
another base or to home plate')
RICKEY STEPS BACK L.FG. INTO A MCS. (read a pitch : i.e., 'discern what kind
HE GESTURES AGGRESSIVELY AT of a pitch [fast ball, curve ball etc.] a
JACKIE'S FACE. pitcher is going to throw while in the
935-15 process of throwing it')
SCENE 168 - MCS - JACKIE. 1-149 929.03 932.08 3.05 RICKEY TO JACKIE)
One question is...
JACKIE
My temper?
938-14 1-150 932.12 935.13/ 3.01 RICKEY TO JACKIE)
...can you control temper?
SCENE 169 - MCS - LOW ANGLE -

RICKEY. 1-151 937.04 938.12/ 1.08 JACKIE TO RICKEY)
My temper?
RICKEY
(shouting) Yes, your temper! What're ya,
1-152 /939.00 942.07/ 3.07 RICKEY TO JACKIE)
deaf? Yes, your temper! What're ya, deaf?
942-09 (What're ya, deaf : i.e., 'Are you deaf' -
'What is so difficult to understand
about that question' - Note that Rickey
SCENE 170 - MCS - JACKIE. is being deliberately loud and rude to
see how Jackie reacts)
JACKIE (Jackie starts to get bothered)
(breathes heavily)
RICKEY 1-153 943.10 951.02/ 7.08 RICKEY TO JACKIE)

(off) A black man in... (over scene end) A black man in white baseball, can you
945-10 imagine the reaction?
(in white baseball : i.e., 'playing
baseball in the Major Leagues,
SCENE 171 - MCS - LOW ANGLE - heretofore only played by white men')
RICKEY.
RICKEY
...white baseball (chuckles), can you
imagine the reaction?

951-04

(off) The vitriol? The vitriol?
955-01
(34)
42 1AB P/35
TITLE
SCENE 173 - MCS - LOW ANGLE - PAST

JACKIE TO RICKEY.

Dodgers check into a hotel, a-a-a- decent, Dodgers check into a hotel, a decent, good
hotel.
good hotel. You're worn out from the road.
Some clerk won't give you the pen to sign in 1-156 966.01 969.10 3.09 RICKEY TO JACKIE)
You're worn out from the road.
with. (in Southern accent) "We got no room (worn out : i.e., 'exhausted')
(the road : i.e., 'traveling')
for you, boy.
RICKEY STEPS R.BG. INTO A MS. CAMERA 1-157 969.14 975.06 5.08 RICKEY TO JACKIE)
PANS WITH HIM. Some clerk won't give you the pen to sign in
977-09 with.
SCENE 174 - MCS - JACKIE. 1-158 975.10 982.08 6.14 RICKEY TO JACKIE)
(over scene end) "We got no room for you, boy. Not even down
RICKEY in the coal bin where you belong."
(off) (in Southern accent) Not even down in (got no room for you : colloquial for
'don't have a room available')
the coal bin where you belong." (in normal (boy : see Title #1-92)
(Not...belong : Referring to the fact
voice) Team... that as coal is black, that is an
983-12 appropriate place for Jackie to sleep)
SCENE 175 - MCS - PAST JACKIE TO 1-159 982.12 988.11 5.15 RICKEY TO JACKIE)
RICKEY, WHO STEPS BACK FG. TOWARD (over scene end) Team stops at a restaurant. Waiter won't
HIM. take your order.
RICKEY
...stops at a restaurant. Waiter won't take 1-160 988.15 994.12 5.13 RICKEY TO JACKIE)
(over scene end) "Didn't you see the sign on the door? No
your order. (in Southern accent). "Didn't you niggers allowed."
(niggers : extremely derogatory slang
see the sign on the door? term for African Americans)
991-00

(off) No niggers allowed." (in normal voice) (over scene end) What're you gonna do then? Fight him? Ruin
all my plans?
What're you gonna do... (Ruin all my plans : i.e., 'Destroy my
996-04 desire to integrate baseball' -
Referring to the fact that if a black
player reacted violently toward a white
SCENE 177 - MCS - LOW ANGLE - man, public outrage would be so
RICKEY. intense that Rickey would not be able
to proceed with his plan)
RICKEY
...then? Fight him? Ruin all my plans?
1000-13

1003-03
(35)
42 1AB P/36
TITLE
SCENE 179 - MCS - PAST JACKIE TO

RICKEY.

Answer me, you black son of a bitch! Answer me, you black son of a bitch!
1007-02 (son of a bitch : vulgar slang for
'despicable person')
(Note that Rickey again is being
SCENE 180 - MCS - JACKIE STANDS. purposely belligerent to see how
1008-14 Jackie reacts)
(Jackie stands)

RICKEY.
JACKIE
(breathes heavily though nose)
1012-07

1015-02
SCENE 183 - MCS - PAST RICKEY TO

JACKIE. SUKEFORTH LOOKS ON FROM
BG.

You want a player who doesn't have the You want a player who doesn't have the guts
to fight back?
guts to fight back? (guts : idiomatic for 'courage and
1019-15 integrity')
(fight back : i.e., 'defend himself
when he is treated unjustly')
RICKEY.

No. No. I want a player who's got the guts No.
(emphasizes) not (in normal voice) to fight

1-165 1026.10 1028.13 2.03 RICKEY TO JACKIE)
back. No.
1037-02
1-166 1030.02 1037.00/ 6.14 RICKEY TO JACKIE)

SCENE 185 - MCS - PAST RICKEY TO I want a player who's got the guts not to fight
JACKIE. SUKEFORTH IS IN BG. back.
RICKEY
People... 1-167 /1039.15 1042.10 2.11 RICKEY TO JACKIE)
1039-13 People aren't gonna like this.
(like this : i.e., 'welcome the
integration of baseball')
RICKEY, WHO STEPS R.BG. INTO A MCS.

...aren't gonna like this. They're gonna do They're gonna do anything to get you to react.
(anything : i.e., 'anything they can
anything to get you to react. think of')
(react : i.e., 'react in a negative
fashion')
(36)
42 1AB P/37
TITLE
RICKEY (cont'd) 1-169 1049.03 1055.01/ 5.14 RICKEY TO JACKIE)

Echo a curse with a curse and they'll-they'll Echo a curse with a curse and they'll hear
only yours.
hear only yours. (i.e., 'If a white person calls you a
1055-03 vulgar name and you react with a
similarly vulgar retort, only your
response will be scrutinized and
SCENE 187 - MCS - JACKIE. criticized.')
RICKEY
(off) Follow a blow with a blow and they'll 1-170 /1055.08 1062.06 6.14 RICKEY TO JACKIE)
Follow a blow with a blow and they'll say,
say, "The Negro lost his temper," that "The "The Negro lost his temper."
(Follow...blow : i.e., 'If you hit
Negro does not belong." Your... someone after someone physically
1068-07 attacks you')
SCENE 188 - MCS - PAST JACKIE TO 1-171 1062.10 1067.03 4.09 RICKEY TO JACKIE)
RICKEY, WHO STEPS BACK L.FG. That "The Negro does not belong."
TOWARD HIM. (does not belong : i.e., 'is of a lower
caliber and should not be allowed to
RICKEY participate at this high level')
...enemy will be out in force, and you cannot
meet him on his own low ground. 1-172 /1068.09 1076.04/ 7.11 RICKEY TO JACKIE)
1076-06 (over scene end) Your enemy will be out in force, and you
cannot meet him on his own low ground.
(be out in force : idiomatic for 'will
SCENE 189 - MCS - PAST RICKEY TO appear in great numbers')
JACKIE. (meet him on his own low ground :
i.e., 'deal with him on an equally
RICKEY mean-spirited and indecent level [you
We win with hitting, (off) running, fielding. must instead demonstrate
impeccable integrity and decorum]' -
Only that. 'react toward him in the same manner
that he acts toward you')
RICKEY TURNS AND EXITS R.FG.
1083-08
1-173 1076.15 1083.06/ 6.07 RICKEY TO JACKIE)
We win with hitting, running, fielding. Only
SCENE 190 - MCS - RICKEY. that.
(We...fielding : i.e., 'We will succeed
RICKEY in public opinion if you prove yourself
We win if the world is convinced of two an excellent baseball player')
(Only that : i.e., 'You can only prove
things: that you are a fine gentleman and a that your detractors are wrong by the
way you conduct yourself during
great baseball player. games')
1096-11
1-174 /1083.14 1089.13 5.15 RICKEY TO JACKIE)

SCENE 191 - MCS - JACKIE. We win if the world is convinced of two
1100-00 things:
1-175 1090.01 1096.09/ 6.08 RICKEY TO JACKIE)

That you are a fine gentleman and a great
baseball player.
(fine gentleman : i.e., 'an upstanding,
well-mannered and considerate man
with high standards of proper
behavior')
(37)
42 1AB P/38
TITLE
SCENE 192 - MCS - RICKEY.

Like our Savior, (in wavering voice) Like our Savior...
you...gotta have the guts... (in normal voice)

1-177 1107.07 1110.09 3.02 RICKEY TO JACKIE)
to turn the other cheek. Can you do it? ...you gotta have the guts...
1118-09
1-178 1111.08 1114.06 2.14 RICKEY TO JACKIE)
SCENE 193 - MCS - JACKIE. SUKEFORTH ...to turn the other cheek.
LOOKS ON FROM BG. JACKIE STEPS (i.e., '...to ignore abuse and insult.' -
R.FG. CAMERA TRACKS BACK WITH HIM Note allusion to The Gospel of
TO INCLUDE RICKEY IN R.FG. Matthew 5:39: "But I say unto you, That
JACKIE GLANCES UP L. TOWARD THE ye resist not evil: but whosoever shall
CHALK BOARD. smite thee on thy right cheek, turn to
1134-04 him the other also")
SCENE 194 - MS - THE CHALKBOARD, 1-179 1115.12 1118.04 2.08 RICKEY TO JACKIE)
DEPICTING THE DODGERS ROSTER, Can you do it?
WHICH READS: (Jackie stares at the chalkboard with
the team's roster written on it)
Brooklyn Dodgers
Pitchers InFielders Outfielders
Art Herring Billy Herman Dick Whitman 1-180 1134.06 1137.01 2.11 NARRATIVE TITLE) (of blackboard)
Curt Davis Bob Ramazotti Ed Head
Cookie Larugetto Dixie Walker Brooklyn Dodgers
Glen Moulder Ed Stevens Gene Hal Gregg
Ed Miksis Hermanski Hank Behrman
Ed Stanky Harry Taylor
Howie Schultz Rosen
Jean Pierre-Ray Jack Graham
Joe Hatten Lew Riggs Medusik Tepcik
Kirby Higbe Pee Wee Reese
Joe Paul Minner Stan Rojek
Ralph Branca Catchers Mike Sandlock
ANOTHER CHALKBOARD READS:

PROSpECTS
Randolph Anos
Andy Belcik
Bill Enos
Don Dernst
Al Sherer
Josh Gibson
Bud Kimball
John Hall
Frank Hayes
Earl Benson
Walt Alston
Jackie Robinson
Danny Ozark
Marcus Koenig
Satchel Paige
Rene DeSarcy
Henry Parker
John Soch
1142-00
(38)
42 1AB P/39
TITLE

JACKIE.
JACKIE 1-181 1143.01 1148.10 5.09 JACKIE TO RICKEY)

You give me a uniform (inhales sharply You give me a uniform...
(For this Title and the next : i.e., 'You
through nose), you give me a- (exhales make me a part of the team [by giving
me a numbered uniform...]')
sharply) a number on my back...and I'll give
you the guts. 1-182 1151.11 1158.05 6.10 JACKIE TO RICKEY)

1168-10 ...you give me a number on my back...
SCENE 196 - INT. ISUM HOUSE/HALLWAY 1-183 1163.05 1166.06 3.01 JACKIE TO RICKEY)
- DAY - FS - RACHEL ENTERS L. AND ...and I'll give you the guts.
WALKS FG. TO PICK UP THE RINGING (Jackie calls his girlfriend, Rachel,
PHONE. from a pay phone in the lobby)
TITLE FADES IN: (over above bg.)

LABORATORY: IF PRINT IS TEXTLESS, TITLE #1-184 IS TO APPEAR IN
PASADENA, CALIFORNIA THE NORMAL SUBTITLE POSITION. IF PRINT IS TEXTED, THIS TITLE IS
TO APPEAR AS LOW AS POSSIBLE IN THE FRAME TO AVOID
TITLE FADES OUT. DOUBLE-PRINTING. PLEASE CHECK PRINT FOR PROPER POSITIONING.
RACHEL
(into telephone) Hello? 1-184 1169.14 1175.14 6.00 NARRATIVE TITLE)
JACKIE PASADENA, CALIFORNIA

(over telephone) Rae.... (exhales sharply)
RACHEL 1-185 1176.12 1178.07 1.11 RACHEL INTO TELEPHONE

(into telephone) (chuckles) Jack. TO PERSON)
1184-03 Hello?
SCENE 197 - INT. 215 MONTAGUE 1-186 1178.11 1180.12 2.01 JACKIE OVER PHONE TO RACHEL)
STREET/LOBBY PAY PHONE - DAY - MS - ITAL Rae....
JACKIE, STANDING AT A BANK OF PAY (Short for 'Rachel')
PHONES.
PEOPLE IN LOBBY 1-187 1182.13 1184.02 1.05 RACHEL INTO PHONE TO JACKIE)
(overlapping, low and indistinct chatter - Jack.
dialogue)
JACKIE 1-188 1187.10 1189.13/ 2.03 JACKIE INTO PHONE TO RACHEL)

(into telephone) (breathes heavily) I'm in I'm in Brooklyn.
Brooklyn. (exhales sharply)

1189-15
SCENE 198 - INT. ISUM HOUSE/HALLWAY

- DAY - FS - RACHEL.
RACHEL 1-189 1192.02 1195.08/ 3.06 RACHEL INTO PHONE TO JACKIE)

(into telephone) Brooklyn? For what? Brooklyn? For what?
1195-10
(39)
42 1AB P/40
TITLE
SCENE 199 - INT. 215 MONTAGUE

STREET/LOBBY PAY PHONE - DAY - MS -
JACKIE.
JACKIE 1-190 1198.09 1202.15 4.06 JACKIE INTO PHONE TO RACHEL)

(into telephone) Uh, I don't want to say on I don't want to say on the phone.
(say on the phone : i.e., 'explain it
the phone. In fact, I'm not supposed to tell over the telephone')
anyone.
1208-14 1-191 1203.10 1208.12/ 5.02 JACKIE INTO PHONE TO RACHEL)
In fact, I'm not supposed to tell anyone.

- DAY - MFS - RACHEL.

(into telephone) What's goin' on? Aren't you What's goin' on? Aren't you supposed to be
playing in Chicago?
supposed to be playing in Chicago?
1216-03

JACKIE.

(into telephone) We've been tested, you We've been tested, you and me.
(i.e., 'Our relationship has been
and me. subject to difficult trials.')
1223-14

- DAY - MS - RACHEL.
JACKIE 1-194 1226.01 1231.04 5.03 JACKIE OVER PHONE TO RACHEL)

(over telephone) We've done everything the ITAL We've done everything the right way. We
have.
right way. We have. Me trying... (We've...way : i.e., 'We have
1233-04 conducted ourselves in a
responsible, mature manner in
respect to our relationship' - Referring
SCENE 203 - INT. 215 MONTAGUE to their efforts to have established
STREET/LOBBY PAY PHONE - DAY - MS - careers before entering marriage, and
JACKIE. also possibly discussing a decision
not to engage in premarital sex)
JACKIE
(into telephone) ...to make money,
1-195 1232.01 1239.06 7.05 JACKIE INTO PHONE TO RACHEL)
(breathes heavily) you finishing school. We (over scene end) Me trying to make money, you finishing
school.
don't owe the world a thing.
1243-07
1-196 1240.12 1243.05/ 2.09 JACKIE INTO PHONE TO RACHEL)
We don't owe the world a thing.
(i.e., 'We have nothing to apologize for
in this regard.' - 'We don't have to
explain anything about ourselves or
our relationship to anyone.')
(40)
42 1AB P/41
TITLE

- DAY - MS - RACHEL.
JACKIE 1-197 1244.00 1246.02 2.02 JACKIE OVER PHONE TO RACHEL)

(over telephone) Only each other. ITAL Only each other.
(i.e., 'We only owe things to each
RACHEL other.' - Referring to things like loyalty,
(into telephone) Jack, what are you talkin' respect and love)
about? What is goin' on?

1249-11 1-198 1246.06 1252.00 5.10 RACHEL INTO PHONE TO JACKIE)
(over scene end) Jack, what are you talkin' about? What is
goin' on? What happened?
JACKIE.
RACHEL
(over telephone) What happened?

(into telephone) Will you marry me, Rae? Will you marry me, Rae?
1256-08

- DAY - MCS - RACHEL.
RACHEL 1-200 1262.06 1264.10 2.04 RACHEL INTO PHONE TO JACKIE)

(into telephone) Absolutely. (laughs) Absolutely.
1266-10 (Idiomatic assent)
(Jackie reacts, ecstatic)

JACKIE REACTS, ECSTATIC.
JACKIE 1-201 1268.07 1270.09/ 2.02 JACKIE TO HIMSELF)

(whispering) Yes! Yes! Yes! Yes!
1270-11

- DAY - MCS - RACHEL.

(into telephone) (chuckles softly) When? When?
1276-03

JACKIE.
JACKIE 1-203 1279.03 1281.14 2.11 JACKIE INTO PHONE TO RACHEL)

(into telephone) (blows) Um, how 'bout How 'bout right now?
(right now : i.e., 'immediately' - 'as
right now? (inhales sharply through nose) soon as possible')
1283-12 (After their wedding, Jackie and
Rachel walk to their hotel room)
(41)
42 1AB P/42
TITLE
SCENE 210 - INT. CLARK

HOTEL/HALLWAY - NIGHT - FS - HIGH
ANGLE - AFTER THEIR WEDDING, JACKIE
AND RACHEL WALK FG. TO THEIR HOTEL
ROOM. CAMERA CRANES DOWN.
PEOPLE IN HALLWAY
dialogue)
RACHEL 1-204 1290.02 1293.03 3.01 RACHEL TO JACKIE)

Did my mom look happy? Did my mom look happy?
(happy : i.e., 'happy at our wedding' -
JACKIE 'happy that we were getting married')
Yes. You know your mother loves me.
RACHEL 1-205 1294.08 1299.12 5.04 JACKIE TO RACHEL)

Did my gram look happy? Yes. You know your mother loves me.
JACKIE
Yes. (breathes heavily) 1-206 1300.15 1304.02 3.03 RACHEL TO JACKIE)
Did my gram look happy?
THEY STOP. JACKIE STEPS L. TO (gram : diminutive for 'grandmother')
UNLOCK THE HOTEL ROOM DOOR.
RACHEL STEPS R. TOWARD THE
OPPOSITE WALL. 1-207 1304.10 1306.15 2.05 JACKIE TO RACHEL)
Yes.
RACHEL
My brother look happy?
1314-09 1-208 1312.06 1314.07/ 2.01 RACHEL TO JACKIE)
My brother look happy?
SCENE 211 - MS - JACKIE OPENS THE

DOOR AND TURNS R.FG.
JACKIE 1-209 1319.01 1321.13 2.12 JACKIE TO RACHEL)

(chuckling) Your brother? Your brother?
RACHEL
(off) (overlapping) (chuckles - continues
under following scene)

1322-12
SCENE 212 - MS - RACHEL.

(off) Everyone looked happy. I've never seen (over scene end) Everyone looked happy. I've never seen so
many happy-lookin' people.
so many...
1327-08
JACKIE
...happy-lookin' people. (inhales sharply)
1331-10
(42)
42 1AB P/43
TITLE
RACHEL 1-211 1334.11 1337.10/ 2.15 RACHEL TO JACKIE)

Did Jack Robinson look happy? Did Jack Robinson look happy?
1337-12 (Jack Robinson : i.e., 'you' - note that
Rachel teasingly refers to Jackie in
the third person)
SCENE 215 - MS - JACKIE. (Implying, 'Were you happy to be
1341-12 marrying me?')

What if I can't make you happy? What if I can't make you happy?
1348-04 (Note implication that Rachel is a
virgin and uncertain if she can
sexually please Jackie)
SCENE 217 - MS - JACKIE. STEPS R.FG.
CAMERA PANS WITH HIM TO INCLUDE
RACHEL.

Too late. You already do. It's you and me, Too late. You already do.
Rae.
1361-07 1-214 1358.04 1360.13 2.09 JACKIE TO RACHEL)
It's you and me, Rae.
(It's you and me : i.e., 'We are a team
SCENE 218 - FS - JACKIE AND RACHEL. now')
JACKIE BOWS TO RACHEL, INVITING HER (Jackie bows to Rachel, inviting her to
TO DANCE. HE PULLS HER TOWARD HIM. dance)
RACHEL
(chuckles) Oh!
1370-06
SCENE 219 - MCS - RACHEL AND JACKIE

DANCE. JACKIE EMBRACES HER FROM
BEHIND.
RACHEL
(chuckles - continues under following
dialogue)
JACKIE
(grunting) Mmm.

Till the wheels fall off. Till the wheels fall off.
(Idiomatic for 'Until we die.' - 'Forever.'
JACKIE - Note allusion to a car that is driven
Mmm. (inhales sharply through nose - until it is completely broken down and
inoperable)

Oh, Jack, the world is waitin' for us. Oh, Jack, the world is waitin' for us.
(the world is waitin' for us : i.e., 'many
JACKIE LIFTS RACHEL INTO HIS ARMS. people that we know are waiting for
us to join them')
(43)
42 1AB P/44
TITLE

(overlapping) Uh, the world can wait one The world can wait one more night.
more night. Are you coming, Mrs.

1-218 1394.02 1397.13 3.11 JACKIE TO RACHEL)
Robinson? Are you coming, Mrs. Robinson?
(Jackie lifts Rachel into his arms)
RACHEL
I'd follow you anywhere, Mr. Robinson.
1-219 1401.04 1405.01 3.13 RACHEL TO JACKIE)
JACKIE I'd follow you anywhere, Mr. Robinson.
Okay. Okay.
RACHEL 1-220 1405.15 1408.04 2.05 JACKIE TO RACHEL)

(chuckles) Okay.
JACKIE CARRIES RACHEL L.FG., EXITING.

1419-10 1-221 1410.09 1412.13 2.04 JACKIE TO RACHEL)
Okay.
(Jackie carries Rachel over the
SCENE 220 - EXT. NEW ORLEANS threshold. Later, in an airport in
LAKEFRONT AIRPORT - DAY - LS - AN Louisiana, Jackie and Rachel wait for
AIRPLANE LANDS ON THE RUNWAY AND their plane)
CONTINUES L. CAMERA PANS WITH IT.
TITLES FADES IN: (over above bg.) LABORATORY: IF PRINT IS TEXTLESS, TITLE #1-222 IS TO APPEAR IN
THE NORMAL SUBTITLE POSITION. IF PRINT IS TEXTED, THIS TITLE IS
NEW ORLEANS - LAKEFRONT AIRPORT TO APPEAR AS LOW AS POSSIBLE IN THE FRAME TO AVOID
LAKEFRONT AIRPORT ANNOUNCER
(voice over) (over speaker) Flight to
1-222 1420.07 1425.14 5.07 NARRATIVE TITLE)
Pensacola leaves in an...
NEW ORLEANS - LAKEFRONT AIRPORT
TITLE FADES OUT.
1428-11 1-223 1426.02 1433.05 7.03 LAKEFRONT AIRPORT ANNOUNCER
ITAL (over scene end) OVER SPEAKER TO GROUP)
Flight to Pensacola leaves in an hour. Flight
SCENE 221 - INT. NEW ORLEANS to Pensacola leaves in an hour.
LAKEFRONT AIRPORT - DAY - MS - JACKIE (Pensacola : city in the Southern
WALKS L.FG. CAMERA TRACKS BACK state of Florida, near Daytona Beach
WITH HIM TO INCLUDE RACHEL. where the Montreal Royals train in the
STANDING AND GAZING L.FG. JACKIE spring)
STANDS BESIDE HER.
PEOPLE IN AIRPORT
dialogue)

(over speaker) ...hour. Flight to Pensacola
leaves in an hour.

(mimicking Announcer) "Flight to "Flight to Pensacola leaves in an hour. Flight
to Pensacola leaves in an hour."
Pensacola leaves in an hour. Flight to (Rachel stands staring at a White
Only sign on the ladies restroom)
Pensacola leaves in an hour."
(44)
42 1AB P/45
TITLE
JACKIE (cont'd) 1-225 1443.13 1446.02 2.05 JACKIE TO RACHEL)

(in normal voice) (chuckles softly) Are you Are you okay?
okay?

I've just never seen one before. I've just never seen one before.
1453-02 (one : i.e., 'one of these signs before
[though I knew they existed])
SCENE 222 - MS - THE LADIES ROOM

DOOR. TEXT ON THE DOOR READS: 1-227 /1453.04 1455.03 1.15 NARRATIVE TITLE) (of sign)
WHITE ONLY WHITE ONLY
JACKIE (Note that this is a sign on the

(off) Oh. (exhales sharply through nose) restroom)
1457-04
SCENE 223 - MS - RACHEL AND JACKIE.

Yeah, we're not in Pasadena anymore. Yeah, we're not in Pasadena anymore.
(breathes heavily through nose) Rae?

1-229 1470.07 1471.11/ 1.04 JACKIE TO RACHEL)
RACHEL WALKS L.FG. TOWARD THE O.S. Rae?
RESTROOM. (Rachel walks toward the bathroom)
1471-12
SCENE 224 - MS - RACHEL WALKS BG.

THROUGH THE DOOR, INTO THE
RESTROOM.
JACKIE 1-230 1475.01 1476.09/ 1.08 JACKIE TO RACHEL)

(off) Rae? Rae?
1476-10 (Miss Bishop, an airline official, sees
Jackie enter the bathroom)
SCENE 225 - MCS - MISS BISHOP, AN

AIRLINE OFFICIAL, SEES JACKIE ENTER
THE BATHROOM.
1479-00
SCENE 226 - MFS - RACHEL WALKS BG.

INTO THE RESTROOM, CLOSING THE
DOOR BEHIND HER. JACKIE ENTERS
R.FG. AND STEPS BG. TOWARD THE
DOOR.

(whispering) Rae! Rae!
1483-11
SCENE 227 - MCS -MISS BISHOP AIRLINE

OFFICIAL, REACTING.
1487-08
(45)
42 1AB P/46
TITLE
SCENE 228 - MS - JACKIE WALKS R.FG.,

EXITING.

(over speaker) Miss Suzanne Henry,
please come to the information counter.
Miss Suzanne Henry, please come to the
info--
JACKIE 1-232 1491.11 1494.15 3.04 JACKIE) (exclaiming)

(overlapping) Oh, boy. Oh, boy.
(Idiomatic interjection of concern)
CAMERA TILTS UP TO REVEAL TEXT
ABOVE THE DOOR, WHICH READS:
1-233 1497.14 1500.02/ 2.04 NARRATIVE TITLE) (of sign)
LADIES
LADIES
1500-04
(Note that this is a sign on the
SCENE 229 - EXT. NEW ORLEANS bathroom door)
LAKEFRONT AIRPORT - DAY - MCS - MISS (Later, Jackie and Rachel stand
BISHOP AIRLINE OFFICIAL. before Miss Bishop, who is explaining
why Jackie and Rachel cannot get on
MISS BISHOP AIRLINE OFFICIAL the plane)
We have to lighten the plane.
1504-03
1-234 1500.12 1504.01/ 3.05 MISS BISHOP AIRLINE OFFICIAL
TO JACKIE & RACHEL)
SCENE 230 - MCS - JACKIE AND RACHEL. We have to lighten the plane.
(i.e., 'We must take off some of the
MISS BISHOP AIRLINE OFFICIAL weight on the plane.')
(off) There's some bad weather east of
here, and... 1-235 1505.04 1509.00/ 3.12 MISS BISHOP AIRLINE OFFICIAL
1509-02 TO JACKIE & RACHEL)
There's some bad weather east of here.
SCENE 231 - MCS - MISS BISHOP AIRLINE

OFFICIAL.
MISS BISHOP AIRLINE OFFICIAL 1-236 /1509.08 1513.06 3.14 MISS BISHOP AIRLINE OFFICIAL
...a heavy plane is dangerous. TO JACKIE & RACHEL)
1514-04 A heavy plane is dangerous.
SCENE 232 - MCS - JACKIE AND RACHEL.
MISS BISHOP AIRLINE OFFICIAL 1-237 1515.13 1518.12 2.15 MISS BISHOP AIRLINE OFFICIAL
(off) So someone'll have to cancel. TO JACKIE & RACHEL)
So someone'll have to cancel.
JACKIE (i.e., 'So some passengers need to
Look, I'm with the Brooklyn Dodger relinquish their seats.')
organization.
1-238 1519.00 1525.01 6.01 JACKIE
TO MISS BISHOP AIRLINE OFFICIAL)
Look, I'm with the Brooklyn Dodger
organization.
(Look : i.e., 'Listen')
(46)
42 1AB P/47
TITLE
JACKIE (cont'd) 1-239 1525.05 1531.03 5.14 JACKIE

I have to get down to Daytona. I'm (over scene end) TO MISS BISHOP AIRLINE OFFICIAL)
I have to get down to Daytona. I'm supposed
supposed to report to spring training... to report to spring training in the morning.
(Daytona : Daytona Beach - city and
BEHIND THEM, ANOTHER AIRLINE resort on the Atlantic coast of
OFFICIAL APPROACHES A WHITE northeastern Florida, site of Dodger
COUPLE WHO HAVE BEEN WAITING FOR spring training)
SEATS ON THE PLANE. (spring training : period of
preseason practice for professional
AIRLINE OFFICIAL #2 baseball teams that begins in late
(overlapping) (overlapping) Mr. and Mrs. February and ends shortly before
opening day)
(indistinct to:) I'm happy to tell you (Behind them, another Airline Official
approaches a white couple who have
(continues indistinct) been waiting for seats on the plane)
MALE TRAVELER
(overlapping) Oh, that's great.
1530-03
SCENE 233 - MCS - RACHEL AND JACKIE.

RACHEL GAZES L.FG. AT THE TRAVELING
COUPLE.
JACKIE
...in the morning.
MALE TRAVELER
(off) (overlapping) Thank you so much.
FEMALE TRAVELER
(off) (overlapping) (indistinct - continues
under following scene and dialogue)
MISS BISHOP AIRLINE OFFICIAL 1-240 1531.07 1536.10/ 5.03 MISS BISHOP AIRLINE OFFICIAL
(off) (overlapping) We'll do our best to get (over scene ends) TO JACKIE)
We'll do our best to get you there by
you... tomorrow afternoon, but it might be the day
1533-03 after.
(Rachel reacts as Airline Official #2
escorts the white couple onto the
SCENE 234 - FS - AIRLINE OFFICIAL #2 plane)
AND THE WHITE COUPLE. SHE ESCORTS
THEM L. TO GET ON THE PLANE.
MISS BISHOP AIRLINE OFFICIAL

(off) (overlapping) ...there by tomorrow
afternoon, but it might be the day...

1536-12
(47)
42 1AB P/48
TITLE

RACHEL REACTS.
MISS BISHOP AIRLINE OFFICIAL

...after.
MALE TRAVELER
(off) (overlapping) Thank you.
RACHEL 1-241 1537.05 1538.13/ 1.08 RACHEL TO JACK)

Jack. Jack.
1538-15 (Jackie turns and sees the white
couple heading toward the plane)
SCENE 236 - MFS - AIRLINE OFFICIAL #2

AND THE WHITE COUPLE, BEING
ESCORTED BG. TOWARD THE PLANE
OUTSIDE.
AIRLINE OFFICIAL #2 1-242 1539.05 1540.13/ 1.08 AIRLINE OFFICIAL #2

Right this way. TO WHITE COUPLE)
1540-14 Right this way.
(i.e., 'Come this way.' - 'Follow me.')
SCENE 237 - FS - PAST JACKIE AND

RACHEL TO THE WHITE COUPLE, BEING
ESCORTED TO THE PLANE. JACKIE
TURNS BG. TO SEE THEM. HE TURNS
BACK FG. CAMERA RACKS FOCUS ON A
MCS. OF THEM.
JACKIE 1-243 1547.04 1549.01/ 1.13 JACKIE

You gave away our seats? TO MISS BISHOP AIRLINE OFFICIAL)
1549-03 You gave away our seats?

OFFICIAL.
1552-12
JACKIE 1-244 1553.07 1556.11/ 3.04 JACKIE

You get us back on that plane. (exhales TO MISS BISHOP AIRLINE OFFICIAL)
You get us back on that plane.
sharply through nose) (i.e., 'You reinstate us as passengers
1556-13 on that plane.')

OFFICIAL.
JACKIE 1-245 1558.01 1561.11/ 3.10 JACKIE

(off) You get us back on... (over scene end) TO MISS BISHOP AIRLINE OFFICIAL)
1559-10 You get us back on that plane right now.
JACKIE
...that plane right now.
1561-13
(48)
42 1AB P/49
TITLE

OFFICIAL PICKS UP THE PHONE AND
OFFERS IT TO JACKIE.
MISS BISHOP AIRLINE OFFICIAL 1-246 1564.08 1567.05 2.13 MISS BISHOP AIRLINE OFFICIAL
Do you wanna call the sheriff... TO JACKIE)
1567-06 Do you wanna call the sheriff...
(For this Title and the next : i.e., 'Do
you want to complain to law
SCENE 243 - MCS - JACKIE AND RACHEL. enforcement about your treatment, or
do you prefer that I discuss Rachel's
MISS BISHOP AIRLINE OFFICIAL disregard of our segregation laws at
(off) ...or should I? this airport?')
1570-08
1-247 1567.15 1570.02 2.03 MISS BISHOP AIRLINE OFFICIAL

SCENE 244 - MCS - MISS BISHOP AIRLINE (over scene end) TO JACKIE)
OFFICIAL. ...or should I?
1572-14
EXHIBITION REEL FOOTAGE: 1560-15 LAST FRAME OF PICTURE IS 1572.14

END OF REEL 1AB END OF REEL 1AB
(49)
42 2AB P/1
TITLE

IN ACADEMY LEADER.
11-15 32.08 = 1ST SCENE END
SCENE 1 - EXT. DAYTONA

BEACH/GREYHOUND STATION - DAY - LS
- HIGH ANGLE - PAST A FOUNTAIN THE
GREYHOUND BUS PULLING R.FG. INTO
THE STATION AS CAMERA CRANES
DOWN. SMITH SITS ON A BENCH IN FG.
PEOPLE AT GREYHOUND STATION

(overlapping, low and indistinct chatter - LABORATORY: IF PRINT IS TEXTLESS, TITLE #2-1 IS TO APPEAR IN THE
continues under following scenes and APPEAR AS LOW AS POSSIBLE IN THE FRAME TO AVOID
dialogue)
DAYTONA BEACH, FLORIDA - THE NEXT DAYTONA BEACH, FLORIDA - THE NEXT
DAY DAY
GREYHOUND BUS DRIVER (DAYTONA BEACH : See Title

Daytona Beach. #1-239)
(Smith waits as a Greyhound bus
TITLE FADES OUT. pulls into the station and passengers
32-08 get off. Jackie and Rachel are among
them)
SCENE 2 - MFS - SMITH, RISING AS

CAMERA TILTS UP WITH HIM. HE STEPS
FG.
GREYHOUND BUS DRIVER

(off) (low) Get your luggage on the side.
36-15
SCENE 3 - FS - PAST SMITH TO THE BUS

AS THE DRIVER OPENS THE LUGGAGE
COMPARTMENT. PEOPLE STEP OFF THE
BUS.
GREYHOUND BUS DRIVER 2-2 /37.01 39.01 2.00 GREYHOUND BUS DRIVER TO GROUP)
Watch your step. Watch your step.
(i.e., 'Be careful as you get off the
MAN AT BUS STOP bus.')
Oop, there he is. There's my boy.
MAN GETTING OFF BUS 2-3 39.05 42.13 3.08 MAN AT BUS STOP
(overlapping) Hey. TO WOMAN AT BUS STOP)
43-15 Oop, there he is. There's my boy.
(Oop : Interjection of delight)
SCENE 4 - MCS - SMITH.
PEOPLE GETTING OFF BUS

(off) (overlapping, low and indistinct chatter
- continues under following scenes and
dialogue)
(1)
42 2AB P/2
TITLE
WOMAN AT BUS STOP

(off) Harry! (continues low and indistinct
under following dialogue)
MAN GETTING OFF BUS

(off) (overlapping) Thanks for meetin' me.
Good to see you.
MAN AT BUS STOP

(off) (overlapping) Great to see ya. Harry,
you look great. How are ya?

50-15
SCENE 5 - MS - PAST SMITH TO PEOPLE

STEPPING OFF THE BUS. JACKIE AND
RACHEL EMERGE.
GREYHOUND BUS DRIVER 2-4 52.01 55.09 3.08 GREYHOUND BUS DRIVER TO GROUP)
(off) Folks, stand back, we'll get the bags Folks, stand back, we'll get the bags out.
(Folks : Idiomatic for 'People')
out. (bags : luggage)
JACKIE
(overlapping) (breathes heavily)
57-04
SCENE 6 - MCS - SMITH, SMILING.
SMITH 2-5 59.15 61.07/ 1.08 SMITH TO JACKIE)

Jackie Robinson. Jackie Robinson.
61-08
SCENE 7 - MCS - RACHEL AND JACKIE,

GLANCING FG.
64-15

Wendell Smith. Wendell Smith.
67-12
SCENE 9 - MCS - PAST SMITH TO RACHEL

AND JACKIE, AS THEY SHAKE HANDS.
SMITH 2-7 /70.11 72.07/ 1.12 SMITH TO JACKIE)

Pittsburgh... ITAL Pittsburgh Courier.
70-09 (African-American newspaper
published in Pittsburgh, Pennsylvania
until 1966 - i.e., 'I work for the
SCENE 10 - MCS - SMITH. Pittsburgh Courier.')
SMITH
...Courier.
72-08
(2)
42 2AB P/3
TITLE

RACHEL.
JACKIE 2-8 73.09 75.05/ 1.12 JACKIE TO SMITH)

A reporter? A reporter?
75-06

(chuckles) Mr. Rickey sent me to meet you. Mr. Rickey sent me to meet you. I'm gonna
be your Boswell.
I'm gonna be your Boswell. (Boswell : idiomatic for 'constant
85-12 companion and observer [especially
one who records these observations
in print]' - after James Boswell, 18th
SCENE 13 - MCS - PAST JACKIE TO century lawyer, diarist and author,
RACHEL. best known for his biography of his
contemporary Samuel Johnson)
JACKIE
My who?
2-10 87.03 88.15 1.12 JACKIE TO SMITH)
SMITH My who?
(off) Your chronicler. (Note that Jackie is not familiar with
91-03 this term)
SCENE 14 - MCS - SMITH. 2-11 89.03 91.01/ 1.14 SMITH TO JACKIE)

Your chronicler.
SMITH
Your advance man. Hell, even your
2-12 91.11 94.01 2.06 SMITH TO JACKIE)
chauffeur. (to Rachel) Mrs. Robinson. Your advance man.
(advance man : idiomatic for
SMITH TOUCHES THE BRIM OF HIS HAT. 'publicist' - person whose job it is to
100-00 generate and manage publicity for a
public figure)

RACHEL. 2-13 95.02 97.13 2.11 SMITH TO JACKIE)
Hell, even your chauffeur.
RACHEL (Hell : Mildly vulgar slang interjection)
It's Rachel.
103-05
2-14 98.10 99.15/ 1.05 SMITH TO RACHEL)
Mrs. Robinson.
SMITH 2-15 100.15 103.03/ 2.04 RACHEL TO SMITH)

Man, you two looked wiped out. It's Rachel.
107-07 (i.e., 'Please call me Rachel.' - 'You
needn't address me so formally.')

2-16 103.13 107.05/ 3.08 SMITH TO RACHEL & JACKIE)
JACKIE Man, you two looked wiped out.
You got a car? (Man : Emphatic interjection)
112-05 (wiped out : slang for 'exhausted')
SCENE 18 - MCS - SMITH. 2-17 110.08 112.04/ 1.12 JACKIE TO SMITH)

You got a car?
SMITH (got : colloquial for 'have')
Uh-huh. (Smith, driving Jackie and Rachel,
115-02 stops outside the Harris house)
(3)
42 2AB P/4
TITLE
SCENE 19 - EXT. HARRIS HOUSE - DAY -

LS - SMITH'S CAR, DRIVING L.FG. AND
PARKING OUTSIDE THE HARRIS HOUSE
AS CAMERA DOLLIES L.
PEOPLE IN NEIGHBORHOOD
dialogue)
SMITH 2-18 118.04 124.15 6.11 SMITH TO RACHEL & JACKIE)

Brooklyn plays downtown. Montreal just a Brooklyn plays downtown. Montreal just a
few blocks from here.
few blocks from here. (Brooklyn : The Brooklyn Dodgers)
127-11 (Montreal : The Montreal Royals)
(Smith, Jackie and Rachel get out of
the car)
SCENE 20 - FS - JACKIE STEPPING OUT
OF THE CAR AND OPENING THE BACK
DOOR FOR RACHEL. SMITH STEPS OUT
OF THE DRIVER'S SEAT AND WALKS
R.FG. AROUND THE CAR.
CHILDREN IN NEIGHBORHOOD
(overlapping, low and indistinct chatter,
cries and laughter - continues under
JACKIE STEPS FG. INTO A MCS.

Joe and Duff Harris live here. Uh, he gets Joe and Duff Harris live here.
out the Negro vote. He does a lot of good

2-20 152.12 158.06 5.10 SMITH TO RACHEL & JACKIE)
for colored people. Now, Mr. Rickey set it up He gets out the Negro vote. He does a lot of
good for colored people.
himself. (imitating Rickey) If the Robinsons (gets out the Negro vote : i.e.,
'political organizer who rallies
can't stay at the hotels... Negroes to vote [for politicians that
can help their cause]')
2-21 158.15 162.08 3.09 SMITH TO RACHEL & JACKIE)

Now, Mr. Rickey set it up himself.
(set it up himself : i.e., 'personally
oversaw organizing your living
arrangements')
2-22 164.02 167.14 3.12 SMITH AS IF MR. RICKEY TO SMITH)

"If the Robinsons can't stay at the hotels...
(4)
42 2AB P/5
TITLE
SMITH (cont'd) 2-23 168.02 172.11 4.09 SMITH AS IF MR. RICKEY TO SMITH)
(imitating Rickey) ...they should stay (over scene end) ...they should stay someplace that
represents somethin'."
someplace that... (should...somethin' : i.e., 'should stay
170-06 somewhere that would send a
message' - implying that having the
Robinsons stay at the home of a local
SCENE 21 - MFS - JACKIE TURNS FG. organizer would emphasize and
acknowledge the fact that Jackie is
SMITH also playing professional baseball to
(off) (imitating Rickey) ...represents help change the segregationist
culture)
somethin'. (in normal voice) Now you'll stay
here... 2-24 173.01 177.12 4.11 SMITH TO RACHEL & JACKIE)

174-05 (over scene end) Now you'll stay here with the Harrises all but
a few days at the end of the week...
SCENE 22 - MCS - PAST SMITH TO

RACHEL.

...with the Harrises all but a few days at the ...when the Dodger organization goes to
Sanford. It's about 45 minutes away.
end of the week when the Dodger
organization goes to Sanford. It's about
forty-five minutes away.
RACHEL
(low) Mm.
SMITH 2-26 185.05 187.05/ 2.00 SMITH TO RACHEL)

You'll stay here, though, Rachel. You'll stay here, though, Rachel.
187-06
SCENE 23 - FS - MRS. HARRIS, OPENING

THE FRONT DOOR AND STEPPING FG.,
WAVING.
SMITH 2-27 /187.10 191.08 3.14 SMITH TO RACHEL)

(off) This'll be your home when Jackie has This'll be your home when Jackie has to
travel.
to travel. (Mrs. Harris comes out of the house
with her husband)
MRS. HARRIS
(overlapping) (whispering) Oh, that's them.
(murmurs indistinct)
192-12
(5)
42 2AB P/6
TITLE

RACHEL AND SMITH.
RACHEL 2-28 194.15 197.12/ 2.13 RACHEL TO SMITH)

Uh, where are the other wives staying? Where are the other wives staying?
MRS. HARRIS
(off) Welcome... 2-29 /198.00 200.12 2.12 MRS. HARRIS TO RACHEL & JACKIE)
Welcome to Daytona Beach.
JACKIE EXITS L.FG.
197-13
SCENE 25 - FS - PAST JACKIE TO MRS.

HARRIS AND MR. HARRIS, WALKING FG.
MRS. HARRIS
...to Daytona Beach.
201-06
SCENE 26 - MCS - RACHEL AND SMITH,

AS CAMERA DOLLIES SLOWLY R.
SMITH 2-30 202.05 205.00 2.11 SMITH TO RACHEL)

There are no other wives. There are no other wives.
MRS. HARRIS
(off) (overlapping) You must be Mr. Jackie
Robinson.

You're the only one that Mr. Rickey allowed You're the only one that Mr. Rickey allowed to
spring training.
to spring training. (Note implication Rickey wanted
Rachel with Jackie to provide
RACHEL emotional support and love during
Thank you. what is expected to be a difficult time)
SMITH
Mm-hm. After you. 2-32 214.08 217.15 3.07 RACHEL TO SMITH ,
THEN SMITH TO RACHEL)
RACHEL EXITS L.FG. -Thank you.
220-09 -After you.
(Thank you : i.e., 'Thank you for that
information')
(After you : i.e., 'Please, proceed
before me')
(The Dodger team practices. Leo
Durocher, manager of the team, hits
balls to the players. Bobby Bragan,
the Dodgers' second-string catcher,
tosses a ball to Durocher, as
shortstop Pee Wee Reese calls out to
him)
(6)
42 2AB P/7
TITLE
SCENE 27 - EXT. DAYTONA TRAINING

FACILITY/PLAYING FIELD - DAY - MS -
PAST BRAGAN (LEGS) TO DUROCHER
(LEGS) AND THE OTHER PLAYERS ON
THE FIELD, AS CAMERA CRANES UP TO
INCLUDE DUROCHER'S FACE. HE HITS A
BALL BG.
PLAYERS ON FIELD
dialogue)
REESE 2-33 221.08 223.01 1.09 REESE TO DUROCHER)

Come on, now, skip. Come on, now, skip.
(Come on : Idiomatic urging, here
DUROCHER used to mean 'Hit the ball out to us')
All right, here we go, boys! (skip : short for 'skipper' - idiomatic
226-09 term for somebody in charge of a
squad or group of others, especially
the captain or coach of a sports team)
SCENE 28 - FS - PAST STANKY TO
REESE, BOTH STEPPING L. TO CATCH
THE BALL. NEITHER DOES.
2-34 223.05 225.15 2.10 DUROCHER TO MEN)
REESE All right, here we go, boys!
I got it! I got it! (i.e., 'I am going to hit the ball now,
players!')
STANKY (Durocher hits a fly ball toward Reese
(overlapping) I got it! and second baseman Eddie Stanky.
231-10 They both go toward the ball)
SCENE 29 - MS - PAST REESE TO 2-35 227.04 230.00 2.12 REESE TO STANKY,

STANKY. THEN STANKY TO REESE)
-I got it! I got it!
REESE -I got it!
That was a pretty big hop, there. You got the (I got it : i.e., 'I will catch it' - Warning
used when two players pursue the
(off) hop! same defensive play to wave off the
other player so he does not interfere
REESE EXITS L.FG. with said play)
(Neither Reese nor Stanky catch the
STANKY ball as they expect the other to do so.
(overlapping) (chuckles) The ball lands in front of them,
237-00 bounces into the air and then Stanky
catches it)
2-36 233.13 236.15/ 3.02 REESE TO STANKY)

That was a pretty big hop, there. You got the
hop!
(pretty : rather)
(big hop : i.e., 'significant bounce')
(You got the hop : i.e., 'You caught
the ball after it bounced')
(7)
42 2AB P/8
TITLE
SCENE 30 - MS - DUROCHER, CATCHING

ANOTHER BALL.
DUROCHER 2-37 237.09 242.14 5.05 DUROCHER TO MEN)

Spring training. It's where we work out our Spring training. It's where we work out our
differences.
differences. (Spring training : See Title #1-239)
(work out our differences : i.e., 'find a
DUROCHER TOSSES UP THE BALL AND solution for how we play together as a
HITS IT. team' - 'formulate a plan when players
244-08 have differing opinions [in this case,
who will catch the ball]')
(Rickey arrives)
SCENE 31 - FS - THROUGH THE FENCE
AND PAST AN OUTFIELDER, CATCHING
THE BALL, TO RICKEY'S CAR, DRIVING L.
THROUGH BG. AS CAMERA PANS WITH
IT.
DUROCHER 2-38 260.00 261.14/ 1.14 DUROCHER TO MEN)

(off) All right! All right!
262-04
SCENE 32 - FS - HIGH ANGLE - RICKEY,

DRIVING HIS CAR L.FG. AS CAMERA PANS
WITH IT AND CRANES DOWN TO
INCLUDE DUROCHER AND BRAGAN.
DUROCHER 2-39 /262.09 266.12 4.03 DUROCHER TO MEN)

(off) You boys continue to pretend (on) You boys continue to pretend you're
ballplayers.
you're ballplayers. (Note humor, implying that the team is
not playing very well)
RICKEY (Durocher comes over to Rickey's car)
Morning, Leo.
DUROCHER 2-40 268.03 271.03/ 3.00 RICKEY TO DUROCHER,

Good morning, Mr. Rickey. THEN DUROCHER TO RICKEY)
271-05 -Morning, Leo.
-Good morning, Mr. Rickey.
RICKEY 2-41 272.08 274.06/ 1.14 RICKEY TO DUROCHER)

How are they doing? How are they doing?
274-07
SCENE 34 - MCS - DUROCHER.
DUROCHER 2-42 /274.10 280.03/ 5.09 DUROCHER TO RICKEY)

They're rusty, but we'll have 'em oiled up in They're rusty, but we'll have 'em oiled up in
no time, ready to go.
no time, ready to go. (rusty : idiomatic for 'out of practice' -
'impaired from lack of practice')
DODGER #1 (oiled up : i.e., 'back in smooth
(off) Look out in the back! working order' - note continuing of
280-04 'rusty' metaphor)
(in no time : idiomatic for 'very
shortly')
(ready to go : i.e., 'prepared to play
professional baseball')
(Elsewhere on the field, Smith
approaches Jackie as he ties his
shoe)
(8)
42 2AB P/9
TITLE
SCENE 35 - MS - REESE, RUNNING L. TO

MAKE A CATCH AS CAMERA PANS WITH
HIM.
REESE
(grunting) (cries out) (panting) (chuckles)
284-13
SCENE 36 - EXT. DAYTONA TRAINING

FACILITY - DAY - MCS - SMITH, STEPPING
L. FROM THE FENCE AS CAMERA PANS
WITH HIM TO INCLUDE JACKIE, TYING
HIS SHOE IN A MFS.
PLAYERS AT TRAINING FACILITY

dialogue)
SMITH 2-43 290.02 292.11 2.09 SMITH TO JACKIE)

First day of spring trainin'. Pittsburgh First day of spring trainin'.
Courier readers need to know how it feels.

2-44 294.05 298.07 4.02 SMITH TO JACKIE)
CAMERA DOLLIES L. Pittsburgh Courier readers need to know
how it feels.
JACKIE (Pittsburgh Courier : To appear in
(overlapping) (breathes heavily through ITALICS)
(how it feels : i.e., 'how you feel about
nose) It's okay. this first day of training')
SMITH
That's not exactly a headline. 2-45 299.11 301.10 1.15 JACKIE TO SMITH)
It's okay.
JACKIE WALKS FG. AS CAMERA DOLLIES (Note understated, unemotional reply)
BACK WITH HIM. SMITH FOLLOWS.
JACKIE 2-46 304.12 307.12 3.00 SMITH TO JACKIE)

It's all I got. That's not exactly a headline.
(i.e., 'That response is not important
SMITH or sensational.' - Implying that Jackie
Look, Jack, right now, it's just me asking should give a more thorough and
profound answer)
you.
JACKIE 2-47 308.15 311.03 2.04 JACKIE TO SMITH)

(overlapping) (sighs through nose) It's all I got.
(i.e., 'That is the only response I can
think of.')
2-48 313.07 319.13 6.06 SMITH TO JACKIE)

Look, Jack, right now, it's just me asking you.
(it's just me asking you : i.e., 'only I
am asking you questions' - meaning
that as a friend and fellow African
American, Smith's questions will be
easier and kinder, and he will have
more empathy for Jackie's responses;
but this will not be the case with white
reporters)
(9)
42 2AB P/10
TITLE

But when you step out on that field, there's But when you step out on that field, there's
gonna be The New York Times and the
gonna be The New York Times and the Sporting News.
(there's gonna be : i.e., 'there will be
Sporting News. You should think about it. reporters from')
(The New York Times : prestigious
JACKIE daily newspaper published in New
If they ask somethin', I'll answer it. York City - note implication that the
reporters from The New York Times
(breathes heavily - continues under will not necessarily be sports writers -
to appear in ITALICS)
following dialogue) (Sporting News : in the 1940s, a print
magazine, the dominant publication
SMITH covering baseball - to appear in
Okay, well here's one for you. What if one of ITALICS)
these white pitchers throws at you? Look,

2-50 325.15 330.10 4.11 SMITH TO JACKIE,
they're gonna try to get under your skin. You THEN JACKIE TO SMITH)
-You should think about it.
need to be ready. -If they ask somethin', I'll answer it.
(You should think about it : i.e., 'You
JACKIE AND SMITH STOP AS CAMERA should consider that probability' - 'You
DOLLIES R. should put a lot of consideration into
how you answer them')
SMITH (cont'd) (somethin' : something - i.e., 'a
Listen, listen...you know-you know how question')
when you're at the plate...

2-51 330.14 333.05 2.07 SMITH TO JACKIE)
Okay, well here's one for you:
(here's one for you : i.e., 'here is a
question' - 'here is a question they are
likely to ask')
2-52 333.09 337.01 3.08 SMITH TO JACKIE)

What if one of these white pitchers throws at
you?
(throws at you : i.e., 'intentionally
pitches the ball in order to hit you')
2-53 343.06 348.05 4.15 SMITH TO JACKIE)

Look, they're gonna try to get under your skin.
You need to be ready.
(Look : i.e., 'Listen')
(they're...skin : i.e., 'these reporters
are going to try to provoke you')
(ready : i.e., 'mentally prepared')
2-54 349.00 351.01 2.01 SMITH TO JACKIE)

Listen, listen.
2-55 353.12 358.11 4.15 SMITH TO JACKIE)

You know how when you're at the plate...
(at the plate : i.e., 'at bat')
(10)
42 2AB P/11
TITLE
SMITH (cont'd) 2-56 358.15 362.02 3.03 SMITH TO JACKIE)

...you want to see the ball come in slow? ...you want to see the ball come in slow?
(i.e., '...you want to put yourself in a
You want to see these questions come in mental state where the ball appears
to be heading toward you slowly?')
slow too.
JACKIE EXITS R. AS SMITH FOLLOWS. 2-57 363.05 367.03 3.14 SMITH TO JACKIE)
You want to see these questions come in
SMITH (cont'd) slow too.
(exhales sharply) (i.e., 'You want to be in that same
373-05 mental state when reporters start
shouting questions at you.')
(A crowd of white reporters come
SCENE 37 - EXT. DAYTONA TRAINING toward Jackie and Smith)
FACILITY/PLAYING FIELD - DAY - MCS -
REPORTER #1, WALKING R. PAST A
GROUP OF REPORTERS AS CAMERA
PANS WITH HIM TO INCLUDE JACKIE AND
SMITH, WALKING FG.
REPORTERS
dialogue)
REPORTER #1 2-58 /373.07 379.02 5.11 REPORTER #1 TO JACKIE)

Hey, Jackie. Jackie, you think you can make Hey, Jackie. Jackie, you think you can make
it with these white boys?
it with these white boys? (make it : note double meaning - [1]
i.e., 'play well,' and [2] i.e., 'interact
THE GROUP WALK FG. AS CAMERA successfully')
DOLLIES BACK WITH THEM.
JACKIE 2-59 381.03 387.00 5.13 JACKIE TO REPORTER #1)

Uh, I had no problems with white men in I had no problems with white men in the
service or at UCLA.
the service or at UCLA.
REPORTER #2 ENTERS L.FG.
REPORTER #2 2-60 387.04 391.10 4.06 REPORTER #2 TO JACKIE)

(off) Yeah, what you gonna do (face off) if What you gonna do if one of these pitchers
throws at your head?
(on) one of these pitchers throws at your
head?
REPORTER #1
Yeah.

Yeah, Jack. Yeah, Jack.
REPORTER #4
Yeah.
JACKIE GLANCES BG.

394-15
(11)
42 2AB P/12
TITLE
SCENE 38 - MFS - SMITH.

397-08
SCENE 39 - MS - JACKIE, SURROUNDED

BY REPORTERS.
JACKIE 2-62 399.06 401.15/ 2.09 JACKIE TO MEN,

I'll duck. THEN REPORTER #1 TO JACKIE)
-I'll duck.
REPORTERS -That's a good one.
(overlapping laughter and indistinct chatter
- continues under following scene and
dialogue)
REPORTER #1
(overlapping) (chuckling) That's a good
one.
REPORTER #5 2-63 /402.03 405.03/ 3.00 REPORTER #5 TO JACKIE)

(chuckles) Hey, Jack.... Hey, Jack, what's your natural position?
(natural : i.e., 'usual')
JACKIE RESUMES WALKING FG. AS
CAMERA DOLLIES BACK.
402-01
SCENE 40 - MFS - SMITH.
REPORTER #5
(off) ...what's your natural position?
405-05
SCENE 41 - MCS - REPORTER #5 AND

JACKIE, WALKING L. AS CAMERA TRACKS
WITH THEM TO INCLUDE RICKEY,
WALKING FG. TO JACKIE'S SIDE.
JACKIE 2-64 407.02 409.11 2.09 JACKIE TO REPORTER #5)

(exhales sharply) I've been playing I've been playing shortstop.
shortstop.

Are you after Pee Wee Reese's job? Are you after Pee Wee Reese's job?
JACKIE
Uh, (exhales sharply) R-Reese plays for 2-66 416.14 419.11 2.13 JACKIE TO REPORTER #5)
Reese plays for Brooklyn.
Brooklyn. I'm still trying to make Montreal.
RICKEY AND JACKIE WALK BG. 2-67 420.06 423.00 2.10 JACKIE TO REPORTER #5)
TOGETHER AS CAMERA DOLLIES IN. I'm still trying to make Montreal.
(Rickey comes over to Jackie and
leads him away)
(12)
42 2AB P/13
TITLE

Hey, Jack. Hey, Jack, is this about politics? Hey, Jack. Hey, Jack, is this about politics?
(is this about politics : i.e., 'are you
JACKIE playing baseball in order to make a
It's about getting paid. political statement')
REPORTER #1
"About getting... 2-69 428.12 430.10 1.14 JACKIE TO REPORTER #1)
431-12 It's about getting paid.
(i.e., 'I'm just trying to make a living.')
SCENE 42 - LS - PAST WALKER AND

HOPPER TO JACKIE, RICKEY AND THE 2-70 430.14 435.08/ 4.10 REPORTER #1 TO MEN)
REPORTERS. (over scene end) "About getting paid." D'you hear what he just
said? "It's about getting paid."
REPORTER #1
...paid." D'you hear what he just said? "It's
about getting paid."

435-09
SCENE 43 - MS - HOPPER AND WALKER.
REPORTER #1 2-71 /435.12 437.06 1.10 REPORTER #1 TO MEN)

(off) He's gotta be kidding. He's gotta be kidding.
(Dixie Walker, right fielder for the
WALKER Dodgers, stands next to Clay Hopper,
Yeah. Good luck, Hop. manager for the Montreal Royals)
HOPPER
(chuckles softly) 2-72 437.10 440.03 2.09 WALKER TO HOPPER)
Yeah. Good luck, Hop.
WALKER EXITS L. (Here said wryly - Note that Walker
and Hopper are both Southerners)
RICKEY (Walker walks off as Rickey
(off) Clay... approaches with Jackie)
CAMERA DOLLIES L. AROUND HOPPER

TO INCLUDE JACKIE AND RICKEY. 2-73 444.07 448.13 4.06 RICKEY TO HOPPER)
Clay, Jackie Robinson.
RICKEY (cont'd)
...Jackie Robinson. (to Jackie) Jackie, I'd
2-74 449.01 455.15 6.14 RICKEY TO JACKIE)
like you to meet Clay Hopper. Manager of Jackie, I'd like you to meet Clay Hopper.
Manager of the Montreal Royals.
the Montreal Royals.
HOPPER AND JACKIE SHAKE HANDS. 2-75 456.03 459.12/ 3.09 HOPPER TO JACKIE)
Jack. They call me Hop.
HOPPER (They call me Hop : i.e., 'Most people
Jack. They call me Hop. refer to me by "Hop"' - Implying Jackie
459-14 should do the same)
(13)
42 2AB P/14
TITLE
SCENE 44 - MS - PAST HOPPER TO

JACKIE AND RICKEY.
HOPPER 2-76 /460.01 465.00 4.15 HOPPER TO JACKIE)

Now, we ain't doing much today. Just Now, we ain't doing much today. Just tossin'
the ball around, hittin' a few.
tossin' the ball around, hittin' a few. You can
probably toss with those fellows over there. 2-77 465.14 471.01 5.03 HOPPER TO JACKIE)
You can probably toss with those fellows
Jorgensen, come here! over there.
474-04
SCENE 45 - EXT. PRACTICE 2-78 471.05 473.11 2.06 HOPPER TO JORGENSEN)

DIAMOND/SANFORD - DAY - FS - PAST Jorgensen, come here!
SEVERAL PLAYERS ON THE FIELD TO (Jorgensen : Spider Jorgensen, third
JACKIE. baseman for the Montreal Royals,
who eventually went on to play with
PLAYERS ON FIELD the Dodgers the same time as Jackie)
(overlapping, low and indistinct chatter - (Later, the Royals play against the
Dodgers. The Dodgers are at bat.
continues under following scenes and Jackie plays second base)
dialogue)
479-12
482-06
SCENE 47 - MCS - PAST HOPPER TO

RICKEY, STEPPING L.FG.
RICKEY 2-79 487.03 491.11 4.08 RICKEY TO HOPPER)

You're not playing him at shortstop, huh, You're not playing him at shortstop, huh,
Clay?
Clay?
HOPPER 2-80 491.15 497.05 5.06 HOPPER TO RICKEY)

Oh, he's gettin' by on a quick release. His Oh, he's gettin' by on a quick release. His
arm's too weak for short.
arm's too weak for short. I think second (gettin' by : getting by - idiomatic for
'barely surviving' - i.e., 'barely making
base is his spot. the throws')
(on a quick release : i.e., 'because
RICKEY he's able to throw release the ball
I agree. quickly when he throws')
2-81 497.09 501.02 3.09 HOPPER TO RICKEY)

I think second base is his spot.
(his spot : i.e., 'a better position for
him to play')
2-82 502.10 504.10 2.00 RICKEY TO HOPPER)

I agree.
(14)
42 2AB P/15
TITLE
RICKEY (cont'd) 2-83 507.09 509.09 2.00 RICKEY TO HOPPER)

Clay, I need you to get the other players to Clay...
act like gentlemen around him.

2-84 510.09 517.08 6.15 RICKEY TO HOPPER)
HOPPER ...I need you to get the other players to act
(overlapping) Mm-hm. like gentlemen around him.
RICKEY
Treat him like they would any other 2-85 517.12 521.12 4.00 RICKEY TO HOPPER)
Treat him like they would any other
teammate. teammate.
HOPPER
Mm-hm.

Be natural, work together in harmony. Be natural, work together in harmony.
(Jackie catches a line drive before it
HOPPER hits the ground then throws to first
Mm-hm. before the base runner can make it
529-01 back. Both the runner and the batter
are out for a double play. Rickey
reacts, impressed)
SCENE 48 - FS - PAST A BATTER TO A
PITCHER, THROWING THE BALL. THE
BATTER HITS THE BALL INTO THE
INFIELD.
531-00
SCENE 49 - LS - THE BATTER, AS HE HITS

THE BALL FG. AND JACKIE ENTERS R.,
DIVING L. FOR THE BALL.
532-01
SCENE 50 - FS - JACKIE, DIVING R.FG. AS

CAMERA PANS WITH HIM. HE CATCHES
THE BALL.
JACKIE
(grunts)
JACKIE RISES.
534-09
SCENE 51 - MS - JACKIE THROWS THE

BALL L.BG. TO THE FIRST BASEMAN AS
CAMERA PANS L., OFF JACKIE, TO
REVEAL THE BATTER RUNNING AND
SLIDING INTO FIRST.
536-06
SCENE 52 - MCS - THE BATTER, SLIDING

R. INTO FIRST, AND THE FIRST BASEMAN
(LEGS).
537-04
(15)
42 2AB P/16
TITLE
SCENE 53 - MS - THE UMPIRE,

GESTURING.
UMPIRE
(grunting) (crying out)
538-05

HOPPER.
RICKEY
dialogue)
ROYAL #1 2-87 539.05 541.06 2.01 ROYAL #1 TO JACKIE)

(off) Got the double up! Got the double up!
(double up : when a runner becomes
RICKEY the second out in a double play, he
(grunts) That was practically superhuman. may be said to have been doubled up
[or doubled off] - this can refer to
CAMERA SLOWLY DOLLIES R. AROUND either the batter who has hit into a
THEM. double play or a runner who is caught
off base when a fielder catches a ball
HOPPER and throws behind the runner to a
(chuckles) (chuckling) "Superhuman"? (in fielder who touches the base to
complete a double play)
normal voice) I mean, don't get carried (i.e,. 'You made the double play!' -
Note that a double play is a baseball
away, Mr. Rickey. That's still a nigger out play in which two players are put out)
there. (to Royals) Come on in...

564-05 2-88 542.15 546.14 3.15 RICKEY TO HOPPER)
That was practically superhuman.
(That : i.e., 'That play')
SCENE 55 - FS - PAST PLAYERS, MOVING (superhuman : beyond ordinary
ABOUT THE FIELD, TO JACKIE RUNNING human capability)
R.FG. AS CAMERA PANS WITH HIM.

(off) ...now. Grab a bat. Who's up? "Superhuman"?
ROYAL #2
(off) Nice job, boys! 2-90 550.15 554.01 3.02 HOPPER TO RICKEY)
573-10 I mean, don't get carried away, Mr. Rickey.
2-91 554.05 557.05 3.00 HOPPER TO RICKEY)

That's still a nigger out there.
(Rickey reacts, but Hopper does not
notice)
2-92 563.08 568.11 5.03 HOPPER TO MEN)

(over scene end) Come on in now. Grab a bat. Who's up?
(The teams change sides)
2-93 569.06 571.07 2.01 ROYAL #2 TO MEN)

Nice job, boys!
(16)
42 2AB P/17
TITLE
SCENE 56 - MCS - RICKEY AND HOPPER,

AS CAMERA SLOWLY DOLLIES IN.
RICKEY 2-94 576.04 583.04/ 7.00 RICKEY TO HOPPER)

Clay, I realize that attitude is part of your Clay, I realize that attitude is part of your
cultural heritage.
cultural heritage.
583-06

HOPPER, AS CAMERA SLOWLY DOLLIES
L.

That you practically nursed race prejudice That you practically nursed race prejudice at
your mother's breast...
at your mother's breast, so, um, I'll let that (practically...breast : i.e., 'were raised
to be a racist from the time you were
go. born')
HOPPER
(sighs) 2-96 590.11 593.05 2.10 RICKEY TO HOPPER)
...so I'll let that go.
RICKEY (let that go : idiomatic for 'ignore that'
But I will... - i.e., 'ignore your racist comment')
597-01
2-97 596.03 599.12 3.09 RICKEY TO HOPPER)

SCENE 58 - MCS - PAST HOPPER TO (over scene end) But I will tell you this:
RICKEY, AS CAMERA SLOWLY DOLLIES
IN.

...tell you this: You will either manage You will either manage Robinson fairly and
correctly...
Robinson fairly and correctly, or you, sir,
can be unemployed. 2-99 608.03 612.07 4.04 RICKEY TO HOPPER)

614-09 ...or you, sir, can be unemployed.

HOPPER.

Yes, sir. Yes, sir.
RICKEY WALKS BG. AS CAMERA DOLLIES

SLOWLY L. AND PANS R.
ROYAL #3 2-101 622.00 625.15 3.15 ROYAL #3 TO MEN)

(off) Let's go! Come on, guys, let's go! Let's go! Come on, guys, let's go!
(Rickey walks away)
HOPPER
Way to turn two, Jackie.
2-102 626.06 629.01 2.11 HOPPER TO JACKIE)
HOPPER CLAPS HIS HANDS. Way to turn two, Jackie.
635-02 (Way to : Idiomatic praise)
(turn two : baseball jargon for
'execute a double play')
(At the Brock home, Mr. Brock sets
down some drinks as Smith and
Jackie come up the walk)
(17)
42 2AB P/18
TITLE
SCENE 60 - EXT. THE BROCK LABORATORY: IF PRINT IS TEXTLESS, TITLES #2-103 AND #2-104 ARE
HOUSE/FRONT PORCH - DAY - MCS - TO APPEAR IN THE NORMAL SUBTITLE POSITION. IF PRINT IS TEXTED,
PAST A WICKER TABLE TO JACKIE AND THESE TITLES ARE TO APPEAR AS LOW AS POSSIBLE IN THE FRAME TO
SMITH, OUT OF FOCUS, WALKING FG. MR. AVOID DOUBLE-PRINTING. PLEASE CHECK PRINT FOR PROPER
BROCK (HANDS) SETS DOWN A TRAY OF POSITIONING.
SWEET TEA IN FG.
SANFORD, FLORIDA SANFORD, FLORIDA
CAMERA CRANES UP AS JACKIE AND

SMITH WALK FG. MR. BROCK STEPS BG.
TO GREET THEM, SHAKING JACKIE'S
HAND.
MR. BROCK 2-104 643.10 646.11 3.01 MR. BROCK TO JACKIE)

(face off) Well, well, lookie here. Well, well, lookie here.
(Well, well : Idiomatic expression
TITLE FADES OUT. used to indicate mild surprise)
(lookie here : idiomatic expression of
MR. BROCK (cont'd) discovery - i.e., 'look who's here' - note
(on) Jackie, I'm Mr. Brock. that 'lookie' is diminutive of 'look')
653-00
2-105 648.03 652.14/ 4.11 MR. BROCK TO JACKIE)

SCENE 61 - MCS - MR. BROCK. Jackie, I'm Mr. Brock.
MR. BROCK
Welcome to Sanford, Florida. 2-106 654.12 657.12/ 3.00 MR. BROCK TO JACKIE)
657-14 Welcome to Sanford, Florida.
SCENE 62 - MCS - JACKIE AND SMITH.
JACKIE 2-107 /658.00 660.09/ 2.09 JACKIE TO MR. BROCK)

Thank you for having us. Thank you for having us.
660-14
SCENE 63 - MCS - MR. BROCK.
MR. BROCK 2-108 661.06 666.01/ 4.11 MR. BROCK TO JACKIE)

The day belongs to decent-minded people. The day belongs to decent-minded people.
666-03 (decent-minded : i.e., 'sensible' -
'moral')
MR. BROCK
(off) (whispering) Well...
MR. BROCK ENTERS L.FG., SHAKING

SMITH'S HAND.
MR. BROCK (cont'd) 2-109 668.12 672.10 3.14 MR. BROCK TO SMITH,
(face off) (in normal voice) Wendell, (on) (over scene end) THEN SMITH TO MR. BROCK)
-Wendell, always good to see you.
always good to see you. -You as well.
SMITH
You...
671-11
(18)
42 2AB P/19
TITLE
SCENE 65 - MCS - MR. BROCK,

GESTURING.
SMITH
(off) ...as well.
MR. BROCK 2-110 672.14 676.07 3.09 MR. BROCK TO SMITH & JACKIE)
Yeah, well, the wife's inside cookin'. You Yeah, well, the wife's inside cookin'.
know what she asked...

678-00 2-111 676.11 681.02 4.07 MR. BROCK TO SMITH & JACKIE)
You know what she asked me? She asked
me this morning:
MR. BROCK
(off) ...me? She asked me this morning:
681-13
MR. BROCK 2-112 /681.15 685.06/ 3.07 MR. BROCK TO JACKIE)

What do you serve when a hero's coming to What do you serve when a hero's coming to
dinner?
dinner?
685-07
JACKIE 2-113 687.04 690.08/ 3.04 JACKIE TO MR. BROCK)

(chuckles) Um, Mr. Brock, I'm just a Mr. Brock, I'm just a ballplayer.
ballplayer.
690-09
MR. BROCK 2-114 /690.12 698.09 7.13 MR. BROCK TO JACKIE)

Oh, no, no. You tell that to all the little Oh, no, no. You tell that to all the little colored
boys playing baseball in Florida today.
colored boys playing baseball in Florida
today. To them, you a hero. 2-115 698.13 703.12/ 4.15 MR. BROCK TO JACKIE)
703-14 To them, you a hero.
(The Dodgers and the Royals play an
exhibition game. Ed's Mother
SCENE 70 - MCS - JACKIE AND SMITH, purchases a ticket for herself and her
WHO EXITS L.FG. young son, Ed Charles)
719-11
SCENE 71 - EXT. DAYTONA BEACH/CITY

ISLAND BALLPARK - DAY - MCS - A
BOARD AT THE GATE, WHICH READS: 2-116 /719.13 722.12 2.15 NARRATIVE TITLE) (of sign)
MARCH 17 3PM MARCH 17 3PM

BROOKLYN VS. MONTREAL BROOKLYN VS. MONTREAL ROYALS
ROYALS
(Note that this is a sign outside the
box office)
(19)
42 2AB P/20
TITLE
PEOPLE OUTSIDE FIELD

dialogue)
CAMERA DOLLIES BACK TO INCLUDE

BOX OFFICE MAN HANDING TWO
TICKETS TO ED AND ED'S MOTHER, WHO
WALK FG. AS CAMERA DOLLIES BACK
WITH THEM.
BOX OFFICE MAN 2-117 723.00 726.03 3.03 BOX OFFICE MAN TO ED'S MOTHER,
(face off) Here you go, ma'am. THEN ED'S MOTHER TO BOX OFFICE MAN)
-Here you go, ma'am.
ED'S MOTHER -Thank you, sir.
Thank you, sir.
WOMAN IN LINE
(off) I'm here to see Mr. Robinson!
ED'S MOTHER 2-118 727.04 728.14 1.10 ED'S MOTHER TO ED)

Here you go. Here you go.
(Idiomatic expression of presentation)
SCORECARD VENDOR
(off) Scorecards, get your scorecards here!
735-00 2-119 729.02 732.14 3.12 SCORECARD VENDOR TO GROUP)
Scorecards, get your scorecards here!
(Scorecards : Card listing the players
SCENE 72 - MCS - LOW ANGLE - ED, in a game or match that enables a
STEPPING BG. TEXT ON THE PARK spectator to identify who is who and to
ENTRANCE READS: keep a record of the progress of play)
CITY ISLAND PARK

2-120 /735.02 736.11 1.09 NARRATIVE TITLE) (of sign)
SCORECARD VENDOR
(off) Scorecards here! Get your scorecards CITY ISLAND PARK
here!
740-09 2-121 736.15 740.07/ 3.08 SCORECARD VENDOR TO GROUP)
Scorecards here! Get your scorecards here!
(Ed pauses to look around the
SCENE 73 - MCS - ED, GLANCING R. stadium. His mother turns back to
him)
ED'S MOTHER
(off) Ed! You...
744-12 2-122 742.03 746.07/ 4.04 ED'S MOTHER TO ED)
(over scene end) Ed! You stay where I can see you.
(Ed : Note that this is Ed Charles,
SCENE 74 - MS - PAST ED TO ED'S who would later grow up to be play
MOTHER. third base in the Major Leagues for
the Kansas City Athletics and New
ED'S MOTHER York Mets [though this is not known to
...stay where I can see you. the audience])
746-08
(20)
42 2AB P/21
TITLE
SCENE 75 - MCS - ED.
ED 2-123 /746.11 750.12/ 4.01 ED TO ED'S MOTHER)

Mom, I'm ten years old! Mom, I'm 10 years old!
750-13 (Ed's Mother heads towards the
section of the stadium reserved for
African Americans)
SCENE 76 - MFS - ED'S MOTHER,
GESTURING, AS THE BLACK CROWD
WALKS BG. THROUGH AN ENTRANCE. A
SIGN ABOVE THE ENTRANCE READS:
COLORED
ED'S MOTHER 2-124 /751.00 753.06 2.06 ED'S MOTHER TO ED)

Come on. Come on.
ED ENTERS R.FG. AND THEY WALK BG.

THROUGH THE ENTRANCE AND CAMERA 2-125 753.10 757.11 4.01 NARRATIVE TITLE) (of sign)
DOLLIES IN SLOWLY.
COLORED
CITY ISLAND P.A. ANNOUNCER
(over speaker) Welcome to the inner- (Note that this is a sign on the
entrance to the stadium seats)
league game between the Brooklyn
Dodgers and their Minor League... 2-126 757.15 762.06 4.07 CITY ISLAND P.A. ANNOUNCER
763-09 ITAL OVER SPEAKER TO GROUP)
Welcome to the inner-league game between
the Brooklyn Dodgers...
SCENE 77 - EXT. CITY ISLAND
BALLPARK/FIELD - DAY - FS - PAST A
ROYALS BATTER TO KIRBY HIGBE, THE 2-127 762.10 766.09/ 3.15 CITY ISLAND P.A. ANNOUNCER
DODGERS' PITCHER, DELIVERY A PITCH. ITAL (over scene end) OVER SPEAKER TO GROUP)
...and their Minor League affiliate, the
PEOPLE ON FIELD Montreal Royals.
(overlapping, low and indistinct chatter - (The game begins. The Royals are at
bat. Reese catches a fly ball)
dialogue)

(over speaker) ...affiliate, the Montreal
Royals.
766-10
SCENE 78 - FS - PAST THE BATTER TO

THE PITCHER, DELIVERING THE PITCH.
THE BATTER HITS THE BALL BG., INTO
THE INFIELD.
CROWD AT FIELD
cries and cheers - continues under

768-07
(21)
42 2AB P/22
TITLE
SCENE 79 - FS - REESE, LEAPING TO

CATCH THE BALL AS CAMERA TILTS UP
AND DOWN WITH HIM.
REESE
(grunts)
DODGER #2 2-128 770.08 773.01 2.09 DODGER #2 TO REESE)

(off) There you go, Pee Wee! There you go, Pee Wee!
(There you go : Idiomatic
REESE exclamation of approval)
One away!
CITY ISLAND P.A. ANNOUNCER 2-129 773.09 776.08/ 2.15 CITY ISLAND P.A. ANNOUNCER
(overlapping) (over speaker) Now coming ITAL OVER SPEAKER TO GROUP)
Now coming to bat for the Royals...
to bat for the Royals...
776-09
SCENE 80 - MFS - JACKIE, HOLDING TWO

BATS. HE TOSSES ONE BAT TO THE
GROUND AND WALKS BG. TO HOME
PLATE.
CITY ISLAND P.A. ANNOUNCER 2-130 /776.12 780.14 4.02 CITY ISLAND P.A. ANNOUNCER
(over speaker) ...number nine, Jackie ITAL OVER SPEAKER TO GROUP)
...number nine, Jackie Robinson.
Robinson. (The white section reacts with
781-04 displeasure)
SCENE 81 - MS - THE WHITE CROWD,

REACTING NEGATIVELY.
WHITE CROWD AT FIELD

shouts and cries of "Boo!" - continues
WHITE SPECTATOR #1 2-131 782.03 784.14/ 2.11 WHITE SPECTATOR #1 TO JACKIE)

Get outta here! Get outta here!
785-00 (The black section applauds as
Jackie goes to bat)
SCENE 82 - MCS - ED AND ED'S MOTHER,

SEATED AMONG THE BLACK CROWD,
APPLAUDING.
BLACK CROWD AT FIELD

shouts and cheers - continues under
BLACK SPECTATOR #1 2-132 /785.03 788.01 2.14 BLACK SPECTATOR #1 TO JACKIE)

Stand up tall, Jackie! Stand up tall, Jackie!
790-10 (Stand up tall : i.e., 'Be proud of this
moment' - 'Comport yourself well
during this significant event')
(22)
42 2AB P/23
TITLE
SCENE 83 - MS - SMITH AND RACHEL,

FLANKED BY OTHER BLACK MEMBERS
OF THE CROWD.
WHITE SPECTATOR #2 2-133 /790.12 792.09 1.13 WHITE SPECTATOR #2 TO JACKIE)

(off) Get out, nigger! Get out, nigger!
(nigger : see Title #1-160)
RACHEL (Rachel stands in the colored section
Jack's got a thick skin, he'll be okay. with Smith)
SMITH
Well, how 'bout you? 2-134 792.13 796.11 3.14 RACHEL TO SMITH)
Jack's got a thick skin, he'll be okay.
RACHEL (got a thick skin : idiomatic for 'not
(chuckling) I better get one in a hurry. easily offended by criticism or insults')
BLACK SPECTATOR #2
(off) Have pride, Jackie! 2-135 799.04 801.10 2.06 SMITH TO RACHEL)
807-11 Well, how 'bout you?
(i.e., 'Well, how will you fare?')
SCENE 84 - LS - OVER THE CROWD TO

JACKIE, STANDING AT HOME PLATE. 2-136 802.15 805.03 2.04 RACHEL TO SMITH)
812-02 I better get one in a hurry.
(one : i.e., 'a thick skin')
SCENE 85 - MS - JACKIE, RUBBING DIRT

INTO HIS HANDS AND RISING AS 2-137 805.07 807.10/ 2.03 BLACK SPECTATOR #2 TO JACKIE)
CAMERA TILTS UP WITH HIM. Have pride, Jackie!
815-11
SCENE 86 - MCS - TWO WHITE

SPECTATORS, SEATED IN THE WHITE
SECTION.
WHITE SPECTATOR #3 2-138 /815.13 820.05/ 4.08 WHITE SPECTATOR #3 TO MAN)

Look. Lo-Lo-Look, there he is, black as the Look. Look, there he is, black as the ace of
spades!
ace of spades! (spades : note double meaning - [1]
one of the four suits used in cards,
WHITE SPECTATOR #3 RISES TO HIS with a black figure shaped like a
FEET AS CAMERA TILTS UP. stylized spearhead as its symbol, and
820-06 [2] derogatory slang term for
someone, especially a man, who is of
African-American descent)
SCENE 87 - MCS - ED AND ED'S MOTHER,
SEATED IN THE BLACK SECTION.
WHITE SPECTATOR #3 2-139 /820.09 825.10 5.01 WHITE SPECTATOR #3 TO JACKIE)

(off) Hey, nigger boy! What are you doing Hey, nigger boy! What are you doing playing
baseball?!
playing baseball?!
ED BRINGS HIS HANDS TOGETHER IN A

GESTURE OF PRAYER AS CAMERA
SLOWLY DOLLIES R. AROUND HIM.
BLACK SPECTATOR #3 2-140 825.14 827.12 1.14 BLACK SPECTATOR #3 TO JACKIE)

(off) (overlapping) Hit a home run, Jackie! Hit a home run, Jackie!
(In the colored section, Ed starts to
pray)
(23)
42 2AB P/24
TITLE
ED 2-141 828.00 832.15 4.15 ED TO GOD) (praying)

Please, God, let Jackie show them what we Please, God, let Jackie show them what we
can do.
can do. Please.
BLACK SPECTATOR #4 2-142 835.14 837.00 1.02 ED TO GOD) (praying)

(off) (overlapping) All right, now, Jackie Please.
Robinson!
2-143 837.04 840.13/ 3.09 BLACK SPECTATOR #4 TO JACKIE,
FEMALE BLACK SPECTATOR #1 THEN FEMALE BLACK SPECTATOR #1
(off) (overlapping) Let's go, Jackie! TO JACKIE)
840-14 -All right, now, Jackie Robinson!
-Let's go, Jackie!
(Kirby Higbe, the Dodger pitcher,
SCENE 88 - MFS - HIGBE, STANDING ON prepares to throw)
THE PITCHER'S MOUND, SHAKING HIS
HEAD.
HIGBE
(spits)
845-15
SCENE 89 - FS - JACKIE, STANDING AT

HOME PLATE, WINDING UP, THE
CATCHER AND UMPIRE IN BG.
PEANUT VENDOR
(off) Peanuts! Get your peanuts!
851-15
SCENE 90 - MCS - HIGBE, PREPARING TO

PITCH.
859-06
SCENE 91 - MS - JACKIE, AS CAMERA

DOLLIES R. AROUND HIM TO REVEAL
HIGBE AND THE OTHER PLAYERS IN BG.,
THE UMPIRE AND CATCHER IN R.FG.
HIGBE DELIVERS THE PITCH. JACKIE
DOESN'T SWING AND THE CATCHER
CATCHES THE BALL.
BLACK SPECTATOR #5 2-144 867.09 869.12 2.03 BLACK SPECTATOR #5 TO JACKIE)

(off) Come on, Jackie! Come on, Jackie!
(Higbe pitches. The ball comes in
CITY ISLAND UMPIRE high and close to Jackie's head,
Ball! prompting Jackie to quickly lean back
873-04 out of the way)
SCENE 92 - MCS - HIGBE, CATCHING THE 2-145 871.15 873.03/ 1.04 CITY ISLAND UMPIRE TO MEN)
BALL. Ball!
877-12 (See Title #1-73)
SCENE 93 - MCS - JACKIE, SMILING AND

NODDING, AS CAMERA DOLLIES R.
AROUND HIM.
883-05
(24)
42 2AB P/25
TITLE
SCENE 94 - MCS - HIGBE.

885-10
SCENE 95 - MFS - THE WHITE

SPECTATORS.
WHITE CROWD AT FIELD

WHITE SPECTATOR #4 2-146 887.07 892.07/ 5.00 WHITE SPECTATOR #4 TO JACKIE)

They're giving you a chance! Do something They're giving you a chance! Do something
about it!
about it! (They're...chance : i.e., 'You are being
892-09 allowed to play with white baseball
players')
(Do something about it : i.e., 'Take
SCENE 96 - MFS - THE UMPIRE, advantage of this opportunity')
CATCHER AND JACKIE, READYING FOR
ANOTHER PITCH AS CAMERA SLOWLY
DOLLIES R. AROUND HIM.
897-00
SCENE 97 - MCS - HIGBE, DELIVERING

THE PITCH.
DODGER #3 2-147 /897.03 900.15 3.12 DODGER #3 TO HIGBE)

(off) Let's go, Higbe! Shut him down right Let's go, Higbe! Shut him down right here!
(Shut him down : i.e., 'Don't let him
here! get a hit')
(Higbe pitches the ball inside again.
HIGBE Jackie leans back)
(grunts)
902-09
SCENE 98 - FS - PAST HIGBE TO THE

BRAGAN (THE CATCHER), THE CITY
ISLAND UMPIRE AND JACKIE.
CITY ISLAND UMPIRE 2-148 903.11 905.08 1.13 CITY ISLAND UMPIRE TO MEN)
Ball! Ball!
BRAGAN TOSSES THE BALL FG. TO

HIGBE.
907-00
SCENE 99 - MFS - HIGBE.

911-06

THE ROYALS, SEATED IN THE DUGOUT.
HOPPER 2-149 /911.08 914.09/ 3.01 HOPPER TO DUROCHER)

Durocher, tell him to throw some strikes! Durocher, tell him to throw some strikes!
914-10 (some strikes : i.e., 'some pitches
within the strike zone')
(25)
42 2AB P/26
TITLE
SCENE 101 - MCS - PAST DUROCHER TO

SEVERAL DODGERS, SEATED IN THE
DUGOUT.
HOPPER 2-150 /914.13 916.07 1.10 HOPPER TO DUROCHER)

(off) Let him hit! Let him hit!
DUROCHER
(grunts) Come on now, come on now! 2-151 916.11 918.15/ 2.04 DUROCHER TO HIGBE)
Come on now, come on now!
BLACK SPECTATOR #6
(off) He ain't...
919-01 2-152 /919.03 922.02 2.15 BLACK SPECTATOR #6 TO HIGBE)
He ain't scared of you, Higbe!
(ain't : informal contraction of 'is not')
SCENE 102 - MCS - JACKIE, SWINGING
HIS BAT AS CAMERA DOLLIES R.
AROUND HIM.
BLACK SPECTATOR #6
(off) ...scared of you, Higbe!
923-12
SCENE 103 - MFS - HIGBE, DELIVERING A

PITCH.
BLACK SPECTATOR #7 2-153 /923.15 926.06 2.07 BLACK SPECTATOR #7 TO JACKIE)

(off) You show him, Jackie! You show him, Jackie!
(Higbe pitches another high pitch.
BLACK SPECTATOR #8 Jackie does not swing)
(off) Go!
HIGBE
(grunts)
928-12
SCENE 104 - MCS - JACKIE, NOT

SWINGING AT THE PITCH.
JACKIE
(inhales sharply)
(off) Ball! Ball!
933-02
SCENE 105 - MFS - HIGBE, CATCHING

THE BASEBALL.
HIGBE 2-155 933.15 938.08 4.09 HIGBE TO JACKIE)

Come on, rook. Ain't you gonna swing at Come on, rook. Ain't you gonna swing at
something?
something? (rook : short for 'rookie' - player,
especially a professional, who is in
BRAGAN the first year of participation in a sport)
(off) Higbe...
939-12
2-156 938.12 944.15 6.03 BRAGAN TO HIGBE)
(over scene end) Higbe, just settle down. Let's get the ball
over the plate now, all right?
(get : i.e., 'throw')
(Higbe pitches the ball low and
outside. Jackie does not swing)
(26)
42 2AB P/27
TITLE
SCENE 106 - MCS - BRAGAN, AS CAMERA

DOLLIES R. AROUND HIM.
BRAGAN
...just settle down. Let's get the ball over the
plate now, all right?
CAMERA PANS R. TO JACKIE.
MALE SPECTATOR #1
(off) Let's play baseball!
POPCORN VENDOR
(off) Popcorn! Get your popcorn!
949-15
SCENE 107 - MCS - HIGBE, DELIVERING A

PITCH.
HIGBE
(grunts)
954-13
SCENE 108 - FS - PAST HIGBE TO JACKIE

AND OTHERS.
Ball... (over scene end) Ball four!
957-03 (Jackie walks to first base. The African
Americans react, pleased)
SCENE 109 - MCS - JACKIE, DROPPING

HIS BAT AND STEPPING L. THROUGH
FRAME.
CITY ISLAND UMPIRE

(off) ...four!
959-08
WHITE SPECTATOR #5 2-158 961.14 965.12 3.14 WHITE SPECTATOR #5 TO HIGBE)

(off) You stink, Higbe! You stink, Higbe!
966-11 (stink : i.e., 'are a terrible pitcher')
(Rachel and Smith react)
SCENE 111 - MCS - SMITH AND RACHEL,

SMILING.
RACHEL
dialogue)

(chuckles softly) It's just a walk. It's just a walk.
(walk : in baseball, the act of
reaching first base on four balls)
(Humorously implying that the black
spectators are getting overly excited
for a mere walk)
(27)
42 2AB P/28
TITLE
RACHEL 2-160 972.08 975.00 2.08 RACHEL TO SMITH)

Who can blame 'em? Who can blame 'em?
('em : them - i.e., 'them for getting so
SMITH excited')
(low) (groans)
975-10
SCENE 112 - FS - JACKIE, STEPPING R.

ONTO FIRST BASE AS CAMERA PANS
WITH HIM.
BLACK SPECTATOR #9
(off) Gettin' on first base!
ROYALS FIRST BASE COACH 2-161 976.13 978.05 1.08 ROYALS FIRST BASE COACH
(overlapping) Good job, Jackie. TO JACKIE)
Good job, Jackie.
(overlapping) (over speaker) Now comin' to
2-162 978.09 984.08 5.15 CITY ISLAND P.A. ANNOUNCER
bat for the Royals... ITAL (over scene ends) OVER SPEAKER TO GROUP)
980-02 Now comin' to bat for the Royals, number
three, Spider Jorgensen.
SCENE 113 - MCS - RICKEY, NODDING

WITH SATISFACTION.

(over speaker) ...number three, Spider...
983-10
SCENE 114 - MFS - HIGBE, GLANCING FG.

(over speaker) ...Jorgensen.
DODGER #4
(off) (low) Double-play ball!
986-05
JACKIE
(breathes heavily)
989-06
SCENE 116 - FS - PAST JACKIE TO HIGBE.

991-14
SCENE 117 - MCS - BRAGAN.
SPECTATOR #2 2-163 992.14 994.08 1.10 SPECTATOR #2 TO HIGBE)

(off) Let's go, Hig! Let's go, Hig!
(Hig : short for 'Higbe')
BRAGAN
All right, Higbe...
995-11
(28)
42 2AB P/29
TITLE
SCENE 118 - MCS - BRAGAN (TORSO),

GESTURING.
BRAGAN 2-164 994.12 1000.12 6.00 BRAGAN TO HIGBE)

(face off) ...shake it off, there. We got this, (over scene ends) All right, Higbe, shake it off, there. We got
this, boy. We got this, boy. Let's do it.
boy. (shake it off : i.e., 'don't be unnerved
997-09 by the fact that you just walked a
player')
(Jackie takes a very long lead off the
SCENE 119 - FS - PAST HIGBE TO JACKIE, first base bag, readying to steal to
TAKING A LEAD OFF FIRST BASE. second base)
BRAGAN
(off) We got this, boy. Let's do it.
DODGER #5
(off) Watch on one!
SPECTATOR #3
Come on, now. Throw 'im out.
1005-12
DUROCHER 2-165 1006.09 1009.12/ 3.03 DUROCHER TO HIGBE)

Well, throw it over... (over scene end) Well, throw it over there! What are you waitin'
1007-14 for?!
(Higbe throws to first but Jackie gets
back safely)
DUROCHER
(off) ...there! What are you waitin' for?!
JACKIE
(overlapping) (breathes heavily)
1009-14
SCENE 122 - FS - HIGBE, TURNING AND

THROWING THE BALL FG.
1011-01
SCENE 123 - FS - JACKIE, RUNNING R.
JACKIE
(grunts)
1011-09
SCENE 124 - MS - LOW ANGLE - PAST

THE FIRST BASEMAN (FOOT) TO JACKIE,
SLIDING FG. INTO FIRST BASE.
1012-15
SCENE 125 - MCS - THE DODGERS FIRST

BASEMAN, CATCHING THE BASEBALL
AND BENDING DOWN TO FIRST BASE AS
CAMERA TILTS DOWN WITH HIM.
1013-09
(29)
42 2AB P/30
TITLE
SCENE 126 - FS - PAST JACKIE, SLIDING

INTO FIRST, AND THE FIRST BASEMAN,
TAGGING HIM, TO THE FIRST BASE
UMPIRE.
CROWD
CITY ISLAND FIRST BASE UMPIRE 2-166 /1013.11 1014.13/ 1.02 CITY ISLAND FIRST BASE UMPIRE
Safe! TO JACKIE)
1014-14 Safe!
(Jackie remains on the ground on first
base)
SCENE 127 - MCS - ED AND ED'S
MOTHER, APPLAUDING.
1016-02
SCENE 128 - MS - SMITH AND RACHEL,

STANDING AMONG THE CROWD.
1018-06
SCENE 129 - MS - HIGH ANGLE - JACKIE.
CITY ISLAND FIRST BASE UMPIRE 2-167 /1018.08 1020.15/ 2.07 CITY ISLAND FIRST BASE UMPIRE
(off) Come on, pop up, Jack. TO JACKIE)
1021-00 Come on, pop up, Jack.
(pop up : i.e., 'get up')
(Jackie stands and takes a lead
SCENE 130 - FS - PAST HIGBE TO JACKIE, again. Higbe pitches and Jackie
RISING TO HIS FEET, AND THE FIRST starts to run)
BASEMAN, THROWING THE BALL BACK
TO HIGBE.
1023-01
SCENE 131 - MS - HIGBE, CATCHING THE

BALL. HE TURNS BG. TO THE PITCHER'S
MOUND.
1031-07
JACKIE
(blows)
1034-01

1037-02
SCENE 134 - MCS - JACKIE, TAKING A

LEAD OFF BASE AS CAMERA PANS L.
WITH HIM.
1041-13
(30)
42 2AB P/31
TITLE
SCENE 135 - FS - PAST HIGBE TO JACKIE,

TAKING A LEAD OFF FIRST BASE. HIGBE
PREPARES TO PITCH.
1048-06
SCENE 136 - MCS - JACKIE, STEPPING L.

AS CAMERA DOLLIES WITH HIM.
1050-07
SCENE 137 - MCS - HIGBE, THROWING A

PITCH L.
1054-01
SCENE 138 - MCS - JACKIE, RUNNING L.

1054-12
SCENE 139 - FS - PAST BRAGAN, THE

UMPIRE AND THE BATTER (JORGENSEN)
TO HIGBE, THROWING THE PITCH FG.
JACKIE STEALS SECOND BASE IN FG.
CITY ISLAND UMPIRE 2-168 1055.11 1057.14/ 2.03 CITY ISLAND UMPIRE TO MEN)
Ball one! Ball one!
(Jackie safely reaches second base)
BRAGAN THROWS THE BALL BG. TO
SECOND BASE.
1058-03
SCENE 140 - FS - PAST HIGBE TO THE

SECOND BASEMAN (STANKY), LEAPING
INTO THE AIR TO CATCH THE BALL, AS
JACKIE SLIDES L. INTO SECOND BASE.
JACKIE
(grunts)
1059-07
SCENE 141 - FS - PAST THE SECOND

BASE UMPIRE (TORSO), GESTURING, TO
JACKIE AND STANKY, TAGGING JACKIE
AFTER HE IS SAFE.
SECOND BASE UMPIRE

(face off) (cries out)
1060-13
SCENE 142 - MCS - ED AND ED'S

MOTHER, APPLAUDING AMONG THE
CROWD.
FEMALE BLACK SPECTATOR #2 2-169 1061.08 1064.03 2.11 FEMALE BLACK SPECTATOR #2
Yeah, Jackie! TO JACKIE)
Yeah, Jackie!
BLACK SPECTATOR #6 (Jackie gestures to Rachel)
Yeah!
1064-14
(31)
42 2AB P/32
TITLE
SCENE 143 - MFS - HIGBE, CATCHING

THE BALL AND TURNING BG. TO THE
PITCHER'S MOUND.
VENDOR
(off) Popcorn, peanuts, cold drinks, cold
beer!
1070-02
SCENE 144 - MS - JACKIE, RISING TO HIS

FEET AS CAMERA TILTS UP WITH HIM.
CAMERA DOLLIES IN TO A MCS. AS HE
GESTURES.
JACKIE
(breathes heavily)
1080-02
SCENE 145 - MCS - RACHEL, SHAKING

HER HEAD.
1083-10
SCENE 146 - MCS - JACKIE, AS CAMERA

ROYALS FIRST BASE COACH 2-170 /1083.13 1086.10 2.13 ROYALS FIRST BASE COACH
(off) Heads up, Jack. Get the sign. TO JACKIE)
1087-08 Heads up, Jack. Get the sign.
(Heads up : i.e., 'Stay aware' - 'Don't
be distracted')
SCENE 147 - MFS - HIGBE, TURNING BG. (Get the sign : i.e., 'Watch for the sign
TO DELIVER ANOTHER PITCH. to steal')
(Jackie starts to run toward third as
BEER VENDOR Higbe starts his pitch)
(off) Ice cold beer, here! Ice cold beer.
1091-05
SCENE 148 - MCS - JACKIE, AS CAMERA

1093-06
SCENE 149 - FS - JACKIE, TAKING A LEAD

OFF SECOND BASE. STANKY ENTERS
BG., READY TO CATCH THE BALL.
1096-11
SCENE 150 - MCS - HIGBE, GLANCING

BG. AT JACKIE, AS CAMERA RACKS
FOCUS TO HIM. HIGBE TURNS FG. TO
DELIVER THE PITCH.
1102-15
(32)
42 2AB P/33
TITLE
SCENE 151 - MFS - JACKIE, RUNNING L.
JACKIE
(grunts - continues under following scenes
and dialogue)
1103-10
SCENE 152 - FS - PAST HIGBE (LEGS) TO

JORGENSEN AND BRAGAN, AS HIGBE
DELIVERS THE PITCH.
BRAGAN 2-171 /1103.12 1106.05/ 2.09 BRAGAN TO HIGBE,

He's going! THEN RIGGS TO MEN)
-He's going!
BRAGAN CATCHES THE PITCH AND -Runner! Runner!
THROWS TO THIRD BASE. (He's going : Note that Higbe pitches
out to Bragan, who throws to third
RIGGS base)
(off) Runner! Runner! (Jackie gets caught between third and
second and he is surrounded by
DODGERS Dodgers)
and shouts - continues under following
scenes and dialogue)
BRAGAN 2-172 /1106.09 1108.15/ 2.06 BRAGAN TO MEN,

Come on... (over scene end) ROYALS THIRD BASE COACH TO JACKIE)
1106-07 -Come on, move!
-Get back, Jack!
(Get back : i.e., 'Run back to second
SCENE 153 - FS - PAST BRAGAN TO THE base')
THIRD BASEMAN (SCHULTZ), AS BRAGAN
THROWS THE BALL BG.
BRAGAN
...move!
1107-11
SCENE 154 - FS - SCHULTZ, CATCHING

THE BALL, AND OTHERS, AS JACKIE
ENTERS R.FG. AND SLIDES TO A STOP.
ROYALS THIRD BASE COACH

Get back, Jack!
HIGBE 2-173 /1109.03 1111.12/ 2.09 HIGBE TO SCHULTZ)

(off) Get him... (over scene ends) Get him, Schultzy! Get him, Schultzy!
1109-00 (Schultzy : diminutive of 'Schultz' -
referring to Howie Schultz, who was
later traded by the Brooklyn Dodgers
SCENE 155 - MS - JACKIE, SLIDING TO A [along with Ed Stevens] to make room
STOP. for Jackie Robinson)
HIGBE
(off) ...Schultzy!
1109-10
(33)
42 2AB P/34
TITLE
SCENE 156 - MS - JACKIE (LEGS),

SLIDING TO A STOP.
HIGBE
(off) Get him, Schultzy!
1110-12
SCENE 157 - MFS - PAST SCHULTZ TO

JACKIE, AS HE TURNS AND RUNS BG.
TOWARD SECOND BASE.
HIGBE
(off) Get him, Schultzy!
1111-13

REACTING.
1113-08
SCENE 159 - MS - JACKIE, RUNNING R.

AS CAMERA PANS WITH HIM.
1114-12
SCENE 160 - MS - PAST JACKIE,

RUNNING FG. (OUT OF FOCUS) TO
SCHULTZ, PURSUING HIM. THEY EXIT
R.FG. TO REVEAL SMITH AND RACHEL
STANDING AT THE FENCE IN A FS.,
SURROUNDED BY THE BLACK CROWD.
SCHULTZ 2-174 /1114.14 1116.04/ 1.06 SCHULTZ TO STANKY)

Here we go! Here we go!
1116-05
SCENE 161 - MFS - PAST JACKIE TO

STANKY, CATCHING THE BALL. JACKIE
SLIDES TO A STOP AND RUNS FG. AS
CAMERA TILTS DOWN, OFF THEIR
FACES.
STANKY 2-175 /1116.08 1118.13/ 2.05 STANKY TO JACKIE)

(face off) What're you gonna do now?! What're you gonna do now?! Come on!
Come on!
1118-14
SCENE 162 - FS - HIGH ANGLE - JACKIE,

RUNNING L.FG. FOR THIRD BASE AS
STANKY PURSUES HIM AND OTHER
PLAYERS LOOK ON. BRAGAN ENTERS
FG.
BRAGAN 2-176 /1119.01 1121.14/ 2.13 BRAGAN TO SECOND BASEMAN)

(off) Outside! (on) Outside! Outside! Outside! Outside! Outside!
1121-15 (Outside : In baseball, 'Throw to the
glove side of the [catching] player [so
that he does not have to reach across
his body to catch the ball]')
(Jackie runs between third and
second, avoiding the Dodger players)
(34)
42 2AB P/35
TITLE
SCENE 163 - MS - JACKIE, SLIDING FG.

HE TURNS AND RUNS BG.
BRAGAN
(off) Now! Get him!
STANKY 2-177 /1122.02 1126.02/ 4.00 STANKY TO BRAGAN)

(off) On your horse, Bragan! (over scene end) On your horse, Bragan! On your horse!
1123-13 Outside!
(On your horse : Idiomatic for 'Hurry
up')
SCENE 164 - MS - JACKIE AND BRAGAN, (Outside : See Title #2-176)
RUNNING FG. AS PLAYERS MOVE
THROUGH FRAME. SMITH AND RACHEL
LOOK ON, BG.
STANKY
(off) On your horse! Outside!
1126-04
SCENE 165 - FS - PAST JACKIE TO

STANKY, CATCHING THE BALL AT
SECOND.
STANKY 2-178 /1126.06 1127.10 1.04 STANKY TO BRAGAN)

Now! Now!
BRAGAN ENTERS L.FG. AS STANKY

PURSUES JACKIE L.FG. THROUGH
FRAME.
BRAGAN 2-179 1127.14 1130.06/ 2.08 BRAGAN TO STANKY)

Go, Stanky! Go, Stanky! Go, Stanky! Go, Stanky! Go, Stank!
1128-14 (Stank : short for 'Stanky')
(Jackie slides into third base and is
safe)
SCENE 166 - MFS - JACKIE, RUNNING L.
FOR THIRD AS CAMERA PANS WITH HIM.
BRAGAN
(off) Go, Stank!

(off) (overlapping) Down, down, down!
1130-07
SCENE 167 - MS - STANKY, THROWING

THE BALL AS HE RUNS L. AND CAMERA
PANS WITH HIM.
STANKY
and dialogue)

(off) Go!
1131-03
(35)
42 2AB P/36
TITLE
SCENE 168 - FS - JACKIE, DIVING L. FOR

THIRD BASE AS STANKY ENTERS R.FG.
AND SCHULTZ CATCHES THE BALL.
CAMERA DOLLIES L.
1132-01
SCENE 169 - MS - PAST SCHULTZ (LEGS)

TO JACKIE, SLIDING FG. INTO THIRD.
1133-06
SCENE 170 - MS - THE THIRD BASE

UMPIRE, GESTURING JACKIE IS SAFE.
1134-03
SCENE 171 - MCS - RACHEL, REACTING.
RACHEL
Oh!
BLACK CROWD AT FIELD

RACHEL
(laughs - continues under following
dialogue)
HOPPER 2-180 /1140.12 1142.09 1.13 HOPPER) (exclaiming)

(off) Hey... Hey, all right!
1140-10 (Jackie takes a long lead off third, as if
to steal home. Higbe steps off the
mound slightly. Jackie watches him
SCENE 172 - MCS - PAST HOPPER TO intently but does not move. Higbe
THE ROYALS IN THE DUGOUT. becomes annoyed)
HOPPER
...all right!
HOPPER APPLAUDS.
ROYAL #4
All right, all right, let's go...
1143-04
SCENE 173 - MCS - RICKEY,

APPLAUDING. HE GLANCES ABOUT THE
STANDS AT THE WHITE CROWD, NONE
OF WHOM ARE APPLAUDING.
ROYAL #4
(off) ...come on!
1149-11
(36)
42 2AB P/37
TITLE
SCENE 174 - MS - JACKIE, SMILING AND

RUNNING HIS HAND OVER THE BRIM OF
HIS HAT AS CAMERA SLOWLY DOLLIES
IN.
BLACK SPECTATOR #10

(off) Way to go...
1153-03

SMILING.
BLACK SPECTATOR #10

...Jackie!
1160-00
SCENE 176 - MS - PAST HIGBE TO

JACKIE. HIGBE WALKS FG. TO THE
PITCHER'S MOUND, INTO A MCS. AND
TURNS BG. TO FACE JACKIE.
1167-10
SCENE 177 - MS - HIGBE, REACTING AND

TURNING R. AS CAMERA TILTS DOWN
SLIGHTLY WITH HIM.
HIGBE
(blows)
1172-10
SCENE 178 - MS - PAST JORGENSEN TO

THE UMPIRE AND BRAGAN.
1174-12

1177-15
SCENE 180 - FS - PAST JACKIE TO HIGBE.

1180-00
SCENE 181 - MS - HIGBE, RISING TO

DELIVER THE PITCH AS CAMERA TILTS
UP WITH HIM.
1184-01

1186-08
SCENE 183 - MS - HIGBE.

1188-14
SCENE 184 - FS - HIGBE.

1191-02
(37)
42 2AB P/38
TITLE
JACKIE
(breathes heavily)
1193-13
SCENE 186 - MS - HIGBE, GESTURING

FG.
HIGBE 2-181 1196.07 1199.10/ 3.03 HIGBE TO JACKIE)

Hey! Don't you know nothin'? Hey! Don't you know nothin'?
1199-12 (nothin' : nothing - colloquial for
'anything' - i.e., 'how this game is
played')
SCENE 187 - MCS - JACKIE, RISING AS
CAMERA TILTS UP WITH HIM.

(off) You're supposed to... You're supposed to get back when I step off.
1201-08 (get back : i.e., 'run back to the base')
(off : i.e., 'off the pitching mound')
(Higbe throws the ball to third but
SCENE 188 - MCS - HIGBE, STEPPING FG. Jackie gets back in time and is safe)
AND THROWING THE BALL.
HIGBE
...get back when I step off.
1203-12
SCENE 189 - MCS - JACKIE, DASHING

R.BG. TO THIRD BASE AS CAMERA PANS
WITH HIM TO INCLUDE SCHULTZ.
CAMERA DOLLIES IN TO A MCS. OF
JACKIE AS SCHULTZ TURNS TO TAG HIM,
BUT HE'S SAFE.
CROWD
(off) (overlapping, low and indistinct chatter,
cries and shouts - continues under

1211-05
SCENE 190 - MCS - HIGBE, STEPPING BG.

TO THE PITCHER'S MOUND.
DUROCHER 2-183 1211.12 1216.09/ 4.13 DUROCHER TO HIGBE)

(off) What are you doing? You can dance... (over scene end) What are you doing? You can dance with
1213-15 him later! Focus on the plate!
(You...later : Note humor - Implying
that Higbe should stop focusing so
SCENE 191 - MCS - DUROCHER, much time and energy on Jackie and
GESTURING. concentrate on getting Jorgensen out)
DUROCHER
...with him later! Focus on the...
1216-10
(38)
42 2AB P/39
TITLE
SCENE 192 - FS - PAST JACKIE TO HIGBE,

AS JACKIE TAKES A LEAD OFF THIRD.
DUROCHER 2-184 /1216.13 1222.15 6.02 DUROCHER TO HIGBE)

(off) ...plate! Come on, now! Work the plate! Come on, now! Work the plate! Work the
plate!
Work the plate! (plate : i.e., 'batter at home plate')
1223-06 (Work the plate : i.e., 'Throw your
pitches' - 'Concentrate on getting the
batter out')
SCENE 193 - MCS - JACKIE, TAKING A (Higbe moves back onto the mound)
LEAD AS CAMERA PANS L. WITH HIM.
1227-12

1230-07
SCENE 195 - MCS - PAST HIGBE TO

JACKIE, TAKING A LEAD OFF THIRD.
1232-13
SCENE 196 - MCS - JACKIE, MOVING L. AS

DODGER #6 2-185 1236.00 1239.15/ 3.15 DODGER #6 TO HIGBE)

(off) Come on, Higbe... (over scene end) Come on, Higbe, don't worry about the
1237-03 runner. Get this guy at the plate.
(Higbe goes to pitch, fumbles and
drops the ball)
DODGER #6
(off) ...don't worry about the runner. Get this
guy at the plate.

1240-00
SCENE 198 - MS - PAST JORGENSEN TO

THE UMPIRE AND BRAGAN.
1243-02
SCENE 199 - MFS - HIGBE, PREPARING

TO PITCH AND DROPPING THE BALL.
HIGBE
(sighs - continues under following
dialogue)
CROWD
cheers, laughter and cries of "Oh!" -
dialogue)
CITY ISLAND UMPIRE 2-186 1247.03 1249.00/ 1.13 CITY ISLAND UMPIRE TO MEN)
(off) Timeout! Timeout!
1249-02 (Time during which game stops)
(39)
42 2AB P/40
TITLE
SCENE 200 - MS - JORGENSEN AND THE

UMPIRE.
CITY ISLAND UMPIRE 2-187 /1249.04 1250.15 1.11 CITY ISLAND UMPIRE TO MEN)
That's a balk. (to Jackie) Runner... That's a balk.
1252-00 (balk : act of making an illegal
motion in baseball, by pretending to
pitch but not actually pitching)
SCENE 201 - MCS - JACKIE, RISING AS
CAMERA TILTS UP. HE SHAKES HIS HEAD
AND WALKS L., EXITING, AS CAMERA 2-188 1251.03 1254.06 3.03 CITY ISLAND UMPIRE TO JACKIE)
PANS WITH HIM. (over scene end) Runner, take home.
(take home : i.e., 'you may proceed to
CITY ISLAND UMPIRE home plate')
(off) ...take home.
BLACK MALE SPECTATOR #11

(off) One more! One more, Jackie!
1256-03
SCENE 202 - MCS - RACHEL,

APPLAUDING.
1259-05
SCENE 203 - MCS - HIGBE, TURNING

AND STEPPING BG. TO THE PITCHER'S
MOUND.
HIGBE 2-189 1260.04 1262.09 2.05 HIGBE) (exclaiming)

Son of a bitch. Son of a bitch.
1263-09 (Note double meaning - [1] Vulgar
slang for 'Despicable person' -
Referring to Jackie, and [2] Vulgar
SCENE 204 - MCS - JACKIE, JOGGING R. slang expression of anger)
TO HOME PLATE AS CAMERA TRACKS (Jackie trots home. Jorgensen
WITH HIM TO INCLUDE JORGENSEN, shakes his hand)
SHAKING HIS HAND.
JORGENSEN
Discombobulated him.
1267-14
SCENE 205 - MCS - DUROCHER,

STEPPING R.FG.
DUROCHER 2-190 1268.11 1271.12/ 3.01 DUROCHER TO HIMSELF)

He didn't come to play, he came to kill. He didn't come to play, he came to kill.
1271-13 (He : Referring to Jackie)
(play : i.e., 'compete against us')
(kill : i.e., 'decimate us' - 'humiliate
SCENE 206 - MS - DUROCHER, and humble us with his skills')
STEPPING BG. ONTO THE FIELD AND (Durocher heads toward the mound.
GESTURING FOR A TIME OUT. In the colored section, Ed's Mother
turns to Ed)
DUROCHER
(whistles)
WHITE SPECTATOR #6
(off) You gotta be kiddin' me!
1276-03
(40)
42 2AB P/41
TITLE
SCENE 207 - MS - ED AND ED'S MOTHER,

APPLAUDING.
ED'S MOTHER 2-191 /1276.06 1279.05 2.15 ED'S MOTHER TO ED)

What happened? I don't understand. What happened? I don't understand.
ED
The pitcher dropped the ball. It's a balk! 2-192 1279.09 1285.12 6.03 ED TO ED'S MOTHER)
The pitcher dropped the ball. It's a balk!
Therefore, Jackie scores! Therefore, Jackie scores!
ED'S MOTHER
But he didn't do anything. 2-193 1286.00 1288.06 2.06 ED'S MOTHER TO ED)
But he didn't do anything.
ED
Oh, Mama, yes, he did. He
2-194 1288.10 1294.15 6.05 ED TO ED'S MOTHER)
discombobulated the man. Oh, Mama, yes, he did. He discombobulated
the man.
ED'S MOTHER (He...man : i.e., 'He confused and
He-- What? flustered Higbe into making that
1298-14 error')
SCENE 208 - EXT. BROCK HOUSE/FRONT 2-195 1295.03 1298.00 2.13 ED'S MOTHER TO ED)
PORCH - NIGHT - FS - MR. BROCK AND He-- What?
SMITH, SEATED ON THE FRONT PORCH, (That night, Mr. Brock and Smith sit on
AS CAMERA DOLLIES IN. the porch together)
MR. BROCK
(sighing) Whoo. (in normal voice) I hope 2-196 1304.06 1307.12 3.06 MR. BROCK TO SMITH)
I hope Jackie's sleepin' all right.
Jackie's sleepin' all right.
SMITH
(low) (chuckles)
MR. BROCK 2-197 1308.02 1314.13 6.11 MR. BROCK TO SMITH)

Chasing baseballs in the sun all day? Put Chasing baseballs in the sun all day? Put
me in my grave.
me in my grave. (chuckles) (Put me in my grave : i.e., 'That kind
of exertion would kill me')
SMITH
(overlapping) (chuckles)
1316-09
MR. BROCK 2-198 1322.03 1324.03/ 2.00 MR. BROCK TO SMITH)

(sighs) How they treatin' him out there? How they treatin' him out there?
HE RAISES A GLASS OF SWEET TEA.

1324-04
(41)
42 2AB P/42
TITLE
SCENE 210 - MCS - SMITH, SITTING BACK

IN HIS CHAIR.
SMITH 2-199 /1324.07 1327.08 3.01 SMITH TO MR. BROCK)

Well, they treat him okay. As far as I can Well, they treat him okay.
see.
2-200 1328.07 1331.00 2.09 SMITH TO MR. BROCK)
SMITH GLANCES R.FG. AND REACTS TO As far as I can see.
THE SOUND OF AN O.S. APPROACHING
CAR.
1333-14
SCENE 211 - FS - HIGH ANGLE - LUTHER,

AN OLDER WHITE MAN, DRIVING HIS CAR
L. TO A STOP AS CAMERA PANS WITH IT.
1337-11
SCENE 212 - MCS - MR. BROCK, AS

CAMERA SLOWLY DOLLIES L.
MR. BROCK 2-201 1340.05 1344.13 4.08 MR. BROCK TO SMITH)

Well, you can find good people every place. Well, you can find good people every place.
Even here in Sanford.

1350-14 2-202 1347.08 1350.05 2.13 MR. BROCK TO SMITH)
Even here in Sanford.
(A middle-aged white man drives up
SCENE 213 - FS - HIGH ANGLE - PAST to Mr. Brock's, gets out and heads
MR. BROCK TO LUTHER, STEPPING FG. toward the porch)
TO THE FENCE.
LUTHER 2-203 1355.09 1357.10/ 2.01 LUTHER TO MR. BROCK & SMITH)
(sighs) Is he in there? Is he in there?
1357-12
SCENE 214 - MFS - MR. BROCK AND

SMITH.
SMITH 2-204 1361.08 1363.04/ 1.12 SMITH TO LUTHER)

Who is it that you're looking for? Who is it that you're looking for?
1363-05
SCENE 215 - MFS - HIGH ANGLE - PAST

SMITH TO LUTHER.
LUTHER 2-205 1365.06 1367.13/ 2.07 LUTHER TO SMITH)

(scoffs) The Nigra ballplayer. The Nigra ballplayer.
1367-15 (Nigra : colloquial for 'Negro')
LUTHER 2-206 /1368.01 1370.09 2.08 LUTHER TO SMITH)

(off) Is he in there? Is he in there?
1372-07
(42)
42 2AB P/43
TITLE
SMITH 2-207 1378.06 1381.00 2.10 SMITH TO LUTHER)

He's asleep right now. Maybe you wanna He's asleep right now.
come back in...

1384-08 2-208 1383.00 1386.01 3.01 SMITH TO LUTHER)
(over scene end) Maybe you wanna come back in the
morning.
SCENE 218 - MS - LUTHER, REACTING.
SMITH
(off) ...the morning.
LUTHER 2-209 1387.06 1390.11 3.05 LUTHER TO SMITH)

(chuckles) No, I ain't coming back. Other No, I ain't coming back.
(ain't : informal contraction of 'am
fellas is coming. And they ain't happy that not')
he's staying here in Sanford, playing ball...

1402-13 2-210 1391.03 1394.10 3.07 LUTHER TO SMITH)
Other fellas is coming.
(fellas : see Title #1-132)
SCENE 219 - MCS - SMITH. (is : colloquial for 'are)
LUTHER
(off) ...with white boys. 2-211 1396.01 1401.04 5.03 LUTHER TO SMITH)
And they ain't happy that he's staying here in
SMITH RISES AS CAMERA CRANES UP Sanford...
WITH HIM.
SMITH 2-212 1401.08 1405.08 4.00 LUTHER TO SMITH)

(grunts) Well, let me tell you something, sir. (over scene end) ...playing ball with white boys.
1411-04
2-213 1409.04 1411.03/ 1.15 SMITH TO LUTHER)

SCENE 220 - MS - LUTHER, AS CAMERA Let me tell you something, sir.
SLOWLY DOLLIES IN.
LUTHER 2-214 /1411.07 1415.07 4.00 LUTHER TO SMITH)

No, you listen to me, young man. You best No, you listen to me, young man.
just skedaddle on outta here. 'Cause if they

2-215 1415.12 1420.12 5.00 LUTHER TO SMITH)
get here and he's still here, there's gonna You best just skedaddle on outta here.
(You best : i.e., 'It would be best for
be trouble. you to')
1429-10 (skedaddle on outta here : slang for
'quickly leave this place')

2-216 1421.03 1426.07 5.04 LUTHER TO SMITH)
LUTHER 'Cause if they get here and he's still here...
(off) You understand? (they : i.e., 'the angry mob')
1433-01
2-217 1427.01 1429.08/ 2.07 LUTHER TO SMITH)

...there's gonna be trouble.
(trouble : implying, 'violence')
2-218 1430.09 1432.13/ 2.04 LUTHER TO SMITH)

You understand?
(i.e., 'Do you understand what I am
trying to tell you?' - 'Do you understand
how serious this threat this?')
(43)
42 2AB P/44
TITLE
SCENE 222 - MCS - LUTHER.
LUTHER 2-219 1433.09 1435.11 2.02 LUTHER TO SMITH)

Trouble. (chuckling) Trouble, (in normal Trouble.
voice) trouble, trouble, trouble, trouble.

2-220 1436.08 1440.06/ 3.14 LUTHER TO SMITH)
LUTHER TURNS AND WALKS BG. TO HIS Trouble, trouble, trouble, trouble, trouble.
CAR. (Luther heads back to his car)
1440-08
LUTHER
(off) (chuckles)
MR. BROCK
(off) (low grunt)
SMITH 2-221 1446.05 1448.07 2.02 SMITH TO MR. BROCK)

Mr. Brock, may I please use your Mr. Brock.
telephone?
2-222 1452.00 1454.15 2.15 SMITH TO MR. BROCK)
RICKEY May I please use your telephone?
(voice over) Wake him up... (Rickey talks on the phone to Smith)
1456-09
2-223 1455.06 1458.15 3.09 RICKEY INTO PHONE TO SMITH)

SCENE 224 - INT. RICKEY'S HOTEL (over scene end) Wake him up and get him outta there.
ROOM/DAYTONA BEACH - NIGHT - MCS -
RICKEY, SITTING UP IN BED WITH THE
PHONE TO HIS EAR, AS CAMERA SLOWLY
DOLLIES IN.
RICKEY 2-224 1459.03 1466.04 7.01 RICKEY INTO PHONE TO SMITH)

(into telephone) ...and get him outta there. Put him in the car and start driving to
Daytona Beach. Now.
Put him in the car and, uh, start driving to
Daytona Beach. Now. Uh, oh, and, uh, 2-225 1466.09 1469.07 2.14 RICKEY INTO PHONE TO SMITH)
Oh, and, Wendell...
Wendell, under no circumstances are you
to tell him (grunts) what this is about. I 2-226 1470.11 1478.11 8.00 RICKEY INTO PHONE TO SMITH)
...under no circumstances are you to tell him
don't-- I--(stammers) I don't want him what this is about.
(under no circumstances are you :
getting it in his head to-to stay there and i.e., 'you are absolutely not')
fight.
1490-01 2-227 1481.01 1486.10 5.09 RICKEY INTO PHONE TO SMITH)
I don't want him getting it in his head...
(getting it in his head : idiomatic for
SCENE 225 - INT. SMITH'S BEDROOM - 'forming an impression, idea, or plan')
NIGHT - MFS - HIGH ANGLE - SMITH,
PACKING A SUITCASE.
1496-10
2-228 1486.14 1489.15/ 3.01 RICKEY INTO PHONE TO SMITH)
...to stay there and fight.
(As Smith drives Jackie out of Sanford,
a sedan turns into the road ahead of
them and then stops, forcing them to
stop. A group of white men come out
of a bar)
(44)
42 2AB P/45
TITLE
SCENE 226 - INT. JACKIE'S BEDROOM -

NIGHT - MS - JACKIE, STEPPING BG. TO
THE BED AND SITTING DOWN. HE BALLS
UP A SOCK AND TOSSES IT ANGRILY AT
THE WALL.
1508-05
SCENE 227 - INT. SMITH'S BUICK - NIGHT

- MCS - JACKIE, RIDING SLUMPED DOWN
IN THE PASSENGER SEAT.
1515-01
SCENE 228 - MS - PAST JACKIE TO SMITH,

DRIVING THE CAR R.
1520-01
SCENE 229 - MCS - PAST SMITH AND

JACKIE, AND THROUGH THE
WINDSHIELD TO A CAR PULLING ONTO
THE STREET AHEAD OF THEM AS SMITH
DRIVES BG.
1530-12
SCENE 230 - MCS - SMITH, DRIVING.

1535-15
SCENE 231 - MCS - PAST SMITH AND

JACKIE, AND THROUGH THE
WINDSHIELD TO THE CAR AHEAD OF
THEM, COMING TO A STOP.
1538-15
SCENE 232 - MCS - PAST JACKIE AND

THROUGH THE WINDOW TO A GROUP
OF MEN STANDING ON THE SIDEWALK.
MEN ON MAIN STREET

dialogue)
MAN #1 ON MAIN STREET 2-229 /1539.02 1545.08 6.06 MAN #1 ON MAIN STREET
Where-Where's he at? (over scene end) TO MAN #2 ON MAIN STREET,
THEN MAN #2 ON MAIN STREET
MAN #2 ON MAIN STREET TO MAN #1 ON MAIN STREET)
(off) I don't know. Think he's... -Where's he at?
1543-05 -I don't know. Think he's getting another one.
(Where's he at : Colloquial for 'Where
is he')
(45)
42 2AB P/46
TITLE
SCENE 233 - MFS - THROUGH THE

WINDSHIELD TO TWO WHITE MEN,
STEPPING L. TO THE CAR STOPPED
AHEAD OF THEM.
MAN #2 ON MAIN STREET

...getting another one.
MAN #1 ON MAIN STREET 2-230 /1546.02 1551.03 5.01 MAN #1 ON MAIN STREET TO JIM,
All right. (to Jim) Hey, Jim. (over scene end) THEN MAN #3 ON MAIN STREET TO MEN)
1547-06 -Hey, Jim. You escorting that boy out of
town?
-Hey, hey, look at this.
SCENE 234 - MCS - SMITH, GLANCING L. (that boy : referring to Jackie - see
OVER HIS SHOULDER. annotation for 'boys' in Title #1-92)
(The men notice Smith and Jackie)
(off) You escorting that boy out of town?

(off) (overlapping) Hey, hey, look at this.
MAN #4 ON MAIN STREET 2-231 1551.07 1553.04 1.13 MAN #4 ON MAIN STREET TO MEN)
What's that? What's that?
1554-03 (One of the white men starts to
approach the car as Jackie watches
idly)
SCENE 235 - MCS - PAST JACKIE AND
THROUGH THE WINDOW TO A GROUP
OF MEN WALKING FG.
1560-09

SMITH.

What's he want? What's he want?
1563-01 (Smith suddenly floors the car and
careens down the road, almost hitting
another car)
SCENE 237 - MS - THROUGH THE
WINDOW TO THE MEN, WALKING FG.
1566-01
SCENE 238 - MCS - SMITH, DEPRESSING

THE GAS.
1567-06
SCENE 239 - MFS - THROUGH THE

WINDSHIELD TO THE CAR AHEAD AND
TWO MEN, AS SMITH'S CAR SWERVES
AND ACCELERATES BG. TOWARD AN
ONCOMING CAR.
MEN ON MAIN STREET

screams and shouts)
JACKIE
(off) Hey, hey, hey...
1571-00
(46)
42 2AB P/47
TITLE
SCENE 240 - MCS - JACKIE, REACTING.
JACKIE
...hey, hey, hey...
1571-13
SCENE 241 - MCS - SMITH, SWERVING

THE CAR.
JACKIE
(off) ...hey!
1572-05
SCENE 242 - FS - PAST SMITH AND

THROUGH THE WINDSHIELD TO THE
ONCOMING CAR, AS SMITH SWERVES R.
JACKIE
(off) Hey! Hey!
1573-08
SCENE 243 - MCS - SMITH, DRIVING R.

PAST THE ONCOMING CAR.
JACKIE
(off) Hey!
SMITH
(pants - continues under following scene
and dialogue)
1575-09
SCENE 244 - MCS - JACKIE, REACTING.

(pants) What the hell, Wendell? What the hell, Wendell?
1581-13 (What the hell : Mildly vulgar slang
expression of bewilderment' - i.e.,
'What are you doing')
SMITH 2-234 /1582.01 1585.08 3.07 SMITH TO JACKIE)

A man came by while you was asleep. He A man came by while you was asleep.
(came by : i.e., 'visited Mr. Brock's
said more men were coming. It-It might house')
have been those fellas. Mr. Rickey said to

2-235 1585.12 1588.01 2.05 SMITH TO JACKIE)
get you to Daytona Beach ASAP. He said more men were coming.
1595-01
2-236 1588.05 1590.10 2.05 SMITH TO JACKIE)

It might have been those fellas.
2-237 1590.14 1594.15/ 4.01 SMITH TO JACKIE)

Mr. Rickey said to get you to Daytona Beach
ASAP.
(ASAP : abbreviation for 'As Soon As
Possible' - i.e., 'immediately')
(47)
42 2AB P/48
TITLE

Why didn't you say so? Why didn't you say so?
1598-12
SMITH 2-239 /1598.14 1603.03/ 4.05 SMITH TO JACKIE)

Well, Mr. Rickey was afraid that you Well, Mr. Rickey was afraid that you wouldn't
want to leave. You'd want to stay there and
wouldn't want to leave. You'd want to stay fight.
(Jackie starts to laugh)
there and fight.
1603-04
JACKIE
(chuckles) (laughs - continues under

1608-11

Man, what in the hell are you laughing at? Man, what in the hell are you laughing at?
1612-00 (in the hell : mildly vulgar slang
intensive)

(chuckling) I thought you woke me 'cause- I thought you woke me 'cause I was cut from
the team.
'cause I was cut from the team. (I was cut from the team : i.e., 'I was
1617-10 dismissed from the team' - 'I lost my
place on the team')
JACKIE
(off) (laughs - continues under following

1622-08

1624-12

You got a strange sense of humor, man. You got a strange sense of humor, man.
1632-12 (got : colloquial for 'have')
(man : slang term of address)
(The Royals play an Indianapolis
team)
(48)
42 2AB P/49
TITLE
SCENE 254 - EXT. DELAND BALL FIELD -

DAY - LS - HIGH ANGLE - PAST THE
CROWD AND THROUGH THE STADIUM
FENCE TO THE UMPIRE, STANDING AT
HOME PLATE, AND OTHER PLAYERS ON
THE FIELD.
CROWD AT DELAND FIELD

TITLE FADES IN: (over above bg.) 2-243 1633.10 1639.06/ 5.12 NARRATIVE TITLE)
DELAND, FLORIDA DELAND, FLORIDA
MAN #1 AT DELAND FIELD (Jackie runs from first to second)

(off) Come on, show him the heat now!
THE O.S. CRACK OF A BAT IS HEARD.
TITLE CUTS OUT.

1639-06
SCENE 255 - MS - JACKIE, ROUNDING

FIRST BASE AND RUNNING TO SECOND
AS CAMERA DOLLIES BACK WITH HIM.
PLAYERS ON FIELD
cries - continues under following scenes
and dialogue)
INDIANAPOLIS CATCHER 2-244 /1639.10 1644.10 5.00 INDIANAPOLIS CATCHER

(off) Two, two, two! Take 'im back. Throw (over scene end) TO INDIANAPOLIS PITCHER)
Two, two, two! Take 'im back. Throw him out
him... now!
(Two : i.e., 'Throw to second base as
JACKIE the runner is headed there')
(pants and grunts - continues under (Jackie slides into second base
before he is tagged with the ball)
1643-05
SCENE 256 - FS - PAST JACKIE TO THE

SECOND BASE UMPIRE, AS JACKIE RUNS
BG. TOWARD THE BASE.1
INDIANAPOLIS CATCHER
(off) ...out now!
1645-01
SCENE 257 - FS - JACKIE, RUNNING FG.

AND SLIDING INTO SECOND BASE.
1646-08
(49)
42 2AB P/50
TITLE
SCENE 258 - MFS - LOW ANGLE - JACKIE,

SLIDING FG. AS DIRT OBSCURES FRAME.
1647-11
SCENE 259 - FS - JACKIE, SAFE AT

SECOND, AS THE SECOND BASEMAN
STEPS L. TO TAG HIM AND CAMERA TILTS
DOWN. THE SECOND BASE UMPIRE
ENTERS R., GESTURING.
DELAND FIELD SECOND BASE UMPIRE 2-245 1648.10 1650.02/ 1.08 DELAND FIELD SECOND BASE
Safe! UMPIRE TO JACKIE)
1650-03 Safe!
(The African-American spectators,
sitting on a grassy knoll, cheer. A
SCENE 260 - MS - PAST A POLICEMAN TO white policeman looks around,
THE BLACK CROWD, APPLAUDING. disgruntled)
BLACK CROWD AT DELAND FIELD

and dialogue)
1655-08
SCENE 261 - MS - HIGH ANGLE - JACKIE,

RISING AS CAMERA TILTS UP.
JACKIE
(pants - continues under following
dialogue)
BLACK MAN #2 AT DELAND FIELD 2-246 1658.07 1661.05 2.14 BLACK MAN #2 AT DELAND FIELD
(off) You're too fast for 'em, Jackie! TO JACKIE)
You're too fast for 'em, Jackie!
DELAND P.A. ANNOUNCER
(over speaker) (low and indistinct -
dialogue)
HOPPER 2-247 1661.09 1664.11 3.02 HOPPER TO JACKIE)

(off) All right, way to go. Way to go... (over scene end) All right, way to go. Way to go, boy!
1663-07 (way to go : idiomatic expression of
approval)
SCENE 262 - MS - PAST HOPPER,

APPLAUDING, TO THE POLICEMAN AND
CROWD.
HOPPER
...boy!
MAN #2 AT DELAND FIELD 2-248 1664.15 1667.07 2.08 MAN #2 AT DELAND FIELD TO MEN)
Get that nigger off the field! Get that nigger off the field!
(nigger : see Title #1-160)
HOPPER (Jorgensen heads for home plate)
Come on, Spider...
1668-09
(50)
42 2AB P/51
TITLE
SCENE 263 - FS - JORGENSEN,

STEPPING L. TO HOME PLATE AS
HOPPER 2-249 1667.11 1671.12 4.01 HOPPER TO JORGENSEN)

(off) ...bring him in. Let's go. Come on, Spider, bring him in. Let's go.
(bring him in : i.e., 'hit the ball well so
INDIANAPOLIS PLAYER #1 Jackie can score a run')
(off) Right now... (Jackie takes a big lead off second
1675-08 base)
SCENE 264 - FS - PAST THE PITCHER TO

JORGENSEN.
INDIANAPOLIS PLAYER #1
(off) ...here, batter!
THE PITCHER GLANCES FG. AT O.S.

JACKIE.
1679-10
SCENE 265 - FS - JACKIE, STEPPING L.

OFF SECOND BASE AS CAMERA PANS
WITH HIM.
1682-14
SCENE 266 - MS - PAST THE PITCHER TO

JORGENSEN, OUT OF FOCUS.
There you go.
1686-10
SCENE 267 - MFS - JACKIE, AS THE

INDIANAPOLIS SECOND BASEMAN
MOMENTARILY ENTERS L.
INDIANAPOLIS SECOND BASEMAN 2-250 1688.03 1690.00 1.13 INDIANAPOLIS SECOND BASEMAN
We got him. TO MEN)
We got him.
MAN #3 AT DELAND FIELD (i.e.,' Don't worry, we got Jackie
(off) Come on! covered and he will not be stealing a
1691-05 base on us.')
(The Indianapolis pitcher throws the
ball and Jorgensen hits a single into
SCENE 268 - MS - THE PITCHER, left field. Jackie runs past third base
TURNING BG. AND DELIVERING A PITCH and heads toward home)
TO THE BATTER.
MAN #3 AT DELAND FIELD

(off) Come on! Come on! You got him!
THE BATTER SWINGS AND HITS THE

BALL.
1695-03
(51)
42 2AB P/52
TITLE
SCENE 269 - FS - A SHORTSTOP, DIVING

R. FOR THE BALL AS CAMERA PANS WITH
HIM TO INCLUDE JACKIE, RUNNING L.
CROWD AT DELAND FIELD


1698-15
SCENE 270 - MS - LOW ANGLE - PAST

THE POLICEMAN TO THE BLACK CROWD.
1701-10
SCENE 271 - FS - PAST THE THIRD

BASEMAN TO JACKIE, ROUNDING THIRD
AND RUNNING R. AS CAMERA TRACKS
WITH HIM.
JACKIE
(pants and grunts - continues under
INDIANAPOLIS PLAYER #2 2-251 /1701.13 1704.09 2.12 INDIANAPOLIS PLAYER #2

(off) Four! (over scene end) TO INDIANAPOLIS PLAYER #3)
1703-10 Four! Four! Four! Four!
(Four : i.e., 'Throw the ball to home
plate')
SCENE 272 - FS - PAST THE PITCHER TO (An Indianapolis Player throws the
AN OUTFIELDER, THROWING THE BALL ball in from the outfield, towards
FG. home plate)
(off) Four! Four! Four!
INDIANAPOLIS CATCHER 2-252 1704.13 1707.12/ 2.15 INDIANAPOLIS CATCHER TO MEN,

(off) No cut! No cut! (over scene end) THEN INDIANAPOLIS PLAYER #2 TO MEN)
1707-01 -No cut! No cut!
-He's running through!
(No cut : i.e., 'Don't cut off the throw' -
SCENE 273 - FS - JACKIE, RUNNING FG. In baseball, a fielder can "cut off" a
throw as this tactic may increase
INDIANAPOLIS PLAYER #2 accuracy over long distances)
(off) He's running through! (He's running through : i.e., 'Jackie is
1707-13 running to home')
(The catcher gets the ball and is
waiting for Jackie at home. Jackie
SCENE 274 - FS - THE INDIANAPOLIS runs through him and is safe)
CATCHER, AT HOME PLATE, CATCHING
THE BALL.
1708-06
SCENE 275 - MS - JACKIE, RUNNING

L.FG. AS CAMERA PANS WITH HIM TO
INCLUDE THE CATCHER. JACKIE LEAPS
FG. AT THE CATCHER.
1709-01
(52)
42 2AB P/53
TITLE
SCENE 276 - MS - THE CATCHER AND

JACKIE, AS JACKIE KNOCKS HIM TO THE
GROUND AND LEAPS L., CAMERA
PANNING WITH HIM.
JACKIE
and dialogue)
INDIANAPOLIS CATCHER
and dialogue)
1709-15
SCENE 277 - FS - PAST JACKIE AND THE

CATCHER, HITTING THE GROUND, TO
THE UMPIRE.
DELAND FIELD UMPIRE 2-253 1711.03 1712.03/ 1.00 DELAND FIELD UMPIRE TO JACKIE)
Safe! Safe!
1712-04 (As the African-American fans cheer,
the policeman approaches Jackie)
SCENE 278 - MFS - THE BLACK CROWD,

APPLAUDING.
BLACK CROWD AT DELAND FIELD

and dialogue)
1715-07
SCENE 279 - MS - HIGH ANGLE - JACKIE

AND THE CATCHER, RISING TO THEIR
HANDS AND KNEES AS CAMERA TILTS
UP WITH THEM.
JACKIE
(grunts - continues under following
dialogue)
POLICEMAN 2-254 1717.00 1719.09 2.09 POLICEMAN TO JACKIE)

(off) Get off the field. Get off the field.
JACKIE
(panting) What? 2-255 1721.00 1722.05/ 1.05 JACKIE TO POLICEMAN)
1722-07 What?
SCENE 280 - FS - PAST JACKIE AND THE

CATCHER TO THE POLICEMAN, WALKING
FG.
POLICEMAN 2-256 /1722.09 1726.01/ 3.08 POLICEMAN TO JACKIE)

Get off the field. Now. Get off the field. Now.
1726-03
(53)
42 2AB P/54
TITLE
SCENE 281 - MS - PAST JACKIE TO THE

CATCHER, AS JACKIE RISES TO HIS FEET
AND CAMERA TILTS UP WITH HIM.
JACKIE 2-257 1727.06 1728.06/ 1.00 JACKIE TO POLICEMAN)

(panting) Why? (pants - continues under Why?
(The Policeman takes his nightstick
following scenes and dialogue) out)
1728-07
SCENE 282 - MFS - PAST JACKIE TO THE

POLICEMAN, DRAWING HIS BATON AND
STEPPING FG.
POLICEMAN 2-258 /1728.10 1731.09 2.15 POLICEMAN TO JACKIE)

'Cause it's against the law, that's why. No 'Cause it's against the law, that's why.
nigger's gonna play with white boys. Now

2-259 1731.13 1735.01 3.04 POLICEMAN TO JACKIE)
you get off... No nigger's gonna play with white boys.
1736-05
2-260 1735.05 1738.10 3.05 POLICEMAN TO JACKIE)

SCENE 283 - MCS - PAST THE (over scene end) Now you get off the field, or go to jail.
POLICEMAN TO JACKIE.
POLICEMAN
...the field, or go to jail.
JACKIE 2-261 1738.14 1742.13/ 3.15 JACKIE TO POLICEMAN)

Hey, you use that thing, you better hit me You use that thing, you better hit me square
between the eyes.
square between the eyes. (use that thing : i.e., 'you hit me with
that nightstick')
HOPPER (square : i.e., 'directly')
(off) (overlapping) Hey, hey... (Implying if the Policeman intends to
1742-14 hit Jackie, he better hit him hard
enough to render him unconscious or
Jackie will inflict violence on him)
SCENE 284 - MCS - PAST JACKIE TO THE (Hopper joins the men)
POLICEMAN AND HOPPER, STEPPING
FG. BETWEEN THEM.
HOPPER 2-262 /1743.01 1746.06 3.05 HOPPER TO POLICEMAN)

...hey, hold on, now. What- What'd he do Hey, hold on, now. What'd he do wrong?
wrong?
CAMERA PUSHES IN, OFF JACKIE.
POLICEMAN 2-263 1746.10 1751.05 4.11 POLICEMAN TO HOPPER)

We ain't having no Nigras mix with white We ain't having no Nigras mix with white
boys in this town.
boys in this town. (ain't having no : colloquial for 'are
not having any' - i.e., 'will not tolerate
any')
(Nigras : see Title #2-205)
(mix with : i.e., 'integrating')
(54)
42 2AB P/55
TITLE
POLICEMAN (cont'd) 2-264 1751.09 1756.13 5.04 POLICEMAN TO HOPPER)

Y'all ain't up-states now. They gotta keep Y'all ain't up-states now. They gotta keep
separate.
separate. The Brooklyn Dodgers ain't (Y'all : Mainly Southern contraction of
'You all' - i.e., 'All of you')
changin' our way of living. (chews gum) (up-states : i.e., 'in the northern
states where this type of behavior is
Where y'all from, anyhow? accepted')
1765-07
2-265 1757.02 1762.02 5.00 POLICEMAN TO HOPPER)

SCENE 285 - MCS - PAST THE The Brooklyn Dodgers ain't changin' our way
POLICEMAN TO HOPPER AND JACKIE. of living.
(The Brooklyn Dodgers ain't : i.e.,
HOPPER 'The Brooklyn Dodgers bringing a
I'm from Greenwood, Mississippi. black player into their organization is
1768-00 not')
(way of living : i.e., 'the way we
conduct our lives' - 'our culture')
THE POLICEMAN.
2-266 1763.04 1765.05/ 2.01 POLICEMAN TO HOPPER)
POLICEMAN Where y'all from, anyhow?
(chuckling) Hell, boy, (in normal voice) you (y'all : mainly Southern contraction for
'you all' - here meaning 'you')
oughta know better. (chews gum) Now you
tell your Nigra I said to git. 2-267 /1765.09 1767.15/ 2.06 HOPPER TO POLICEMAN)
1778-04 I'm from Greenwood, Mississippi.
SCENE 287 - MCS - JACKIE. 2-268 /1768.03 1773.00 4.13 POLICEMAN TO HOPPER)
Hell, boy, you oughta know better.
RACHEL (Hell : Mildly vulgar slang expression
(voice over) So, what did you do? of surprise)
1782-13 (you oughta know better : i.e., 'As a
Southerner, you should know that a
Negro's presence on the field will not
SCENE 288 - EXT. HARRIS be tolerated')
NEIGHBORHOOD/STREET - DAY - MFS -
JACKIE AND RACHEL, HOLDING HANDS
AND WALKING FG. AS CAMERA DOLLIES 2-269 1773.07 1778.02/ 4.11 POLICEMAN TO HOPPER)
BACK WITH THEM. Now you tell your Nigra I said to git.
(git : regional for 'get' - idiomatic for
PEOPLE ON STREET 'leave')
- continues under following scenes and 2-270 1781.04 1782.12/ 1.08 RACHEL TO JACKIE) (voice over)
ITAL So, what did you do?
dialogue) (Rachel and Jackie walk down the
street)
JACKIE
Oh, I said:
2-271 1784.05 1786.06 2.01 JACKIE TO RACHEL)
Oh, I said:
(55)
42 2AB P/56
TITLE
JACKIE (cont'd) 2-272 1786.10 1794.05 7.11 JACKIE TO RACHEL)

"Okay, skipper. I'm a-gittin', I'm a-gittin', I'm "Okay, skipper. I'm a-gittin', I'm a-gittin', I'm
a-gittin'. You don't want no trouble."
a-gittin'. You don't want no trouble." (skipper : see annotation for 'skip' in
Title #2-33)
RACHEL (I'm a-gittin : i.e., 'I'm leaving')
(overlapping) (chuckling) You did not! (no : i.e., 'any')
(Note that Jackie adopts a racist
(laughs - continues under following stereotypical accent of an overly
obsequious black man)
dialogue)
JACKIE 2-273 1794.09 1796.08 1.15 RACHEL TO JACKIE)

Yes, I did. Yes, I did. Then I took a cold You did not!
shower. We lost two to one.

2-274 1796.12 1799.15 3.03 JACKIE TO RACHEL)
JACKIE GRABS RACHEL AND SWINGS Yes, I did. Yes, I did.
HER AROUND. A WHITE MAN (CRACKER)
APPROACHES IN BG.
2-275 1800.10 1803.10 3.00 JACKIE TO RACHEL)
RACHEL Then I took a cold shower.
Aw. Okay, skipper. I'm a-gittin', I'm a-gittin'. (shower : i.e., 'shower to calm myself
down')
(laughs - continues under following scene
and dialogue) 2-276 1804.00 1806.10 2.10 JACKIE TO RACHEL)

We lost two to one.
JACKIE
(overlapping) (chuckles) (chuckling) Oh, no,
2-277 1810.09 1816.01 5.08 RACHEL TO JACKIE)
you not gettin' away from me. Okay, skipper. I'm a-gittin', I'm a-gittin'.
1819-13
2-278 1816.05 1819.11/ 3.06 JACKIE TO RACHEL)

SCENE 289 - MS - JACKIE, SWINGING Oh, no, you not gettin' away from me.
RACHEL AROUND. (you : colloquial for 'you are')
(gettin' away from me : note playful
RACHEL wordplay on 'I'm a-gittin'' above)
Jack. (Jackie and Rachel see a
rough-looking white man walking
JACKIE SETS RACHEL DOWN. directly toward them)
1823-10
2-279 1820.10 1822.07 1.13 RACHEL TO JACKIE)

SCENE 290 - FS - CRACKER, WALKING Jack.
FG. INTO A MFS.
1826-03
SCENE 291 - MS - RACHEL AND JACKIE.

Get back, Rae. Get back, Rae.
1829-00 (back : i.e., 'behind me')
(Rae : see Title #1-186)
(Jackie shields Rachel)
SCENE 292 - MS - CRACKER, STEPPING
FG.
CRACKER 2-281 1830.01 1832.01/ 2.00 CRACKER TO JACKIE)

I want you to know something. I want you to know something.
1832-02
(56)
42 2AB P/57
TITLE

RACHEL.
JACKIE 2-282 1834.01 1836.00/ 1.15 JACKIE TO CRACKER)

Yeah, what's that? Yeah, what's that?
1836-02
SCENE 294 - MCS - CRACKER.

I want you to know I'm pulling for you to I want you to know I'm pulling for you to make
good.
make good. (pulling for you to make good :
1841-11 idiomatic for 'hoping that you succeed'
- i.e., 'have great empathy for you and
hope you do well')
RACHEL.

(off) A lot of folks around here feel the same A lot of folks around here feel the same way.
(folks : see Title #2-4)
way.
1846-13
SCENE 296 - MCS - CRACKER.
CRACKER 2-285 1848.07 1853.05 4.14 CRACKER TO JACKIE)

If a man's got the goods, he deserves a fair If a man's got the goods, he deserves a fair
chance, that's all.
chance, that's all. (to Rachel) Ma'am. (got the good : idiomatic for 'has the
qualities necessary [to do a job]')
CRACKER TURNS AND WALKS BG. (chance : i.e., 'opportunity [to do that
1861-01 job])
(that's all : i.e., 'that's sums up my
opinion on the matter')
RACHEL.
1866-13 2-286 1856.10 1858.05 1.11 CRACKER TO RACHEL)
Ma'am.
(Here, a polite acknowledgment of
Rachel)
(57)
42 3AB P/1
TITLE

IN ACADEMY LEADER.
11-15 26.14 = 1ST SCENE END
SCENE 1 - INT. DODGER DAYTONA

FACILITY/PLAYING FIELD - DAY - FS -
THROUGH AN ENTRYWAY TO RICKEY
STANDING ON THE FIELD. JACKIE
ENTERS L.FG. AND JOINS RICKEY.

You wanted to see me, Mr. Rickey? You wanted to see me, Mr. Rickey?
26-14 (Jackie joins Rickey on the playing
field)
SCENE 2 - EXT. DODGER DAYTONA

FACILITY/PLAYING FIELD - DAY - FS -
PAST RICKEY TO JACKIE AS CAMERA
DOLLIES IN TO A MS. JACKIE WALKS FG.

Bermuda grass grows so well here. I wish Bermuda grass grows so well here.
(Bermuda grass : A creeping grass
we could get it to grow like this up in with wiry roots, native to southern
Europe but now widespread)
Brooklyn.
JACKIE 3-3 32.14 37.08 4.10 RICKEY TO JACKIE)

Yeah. I like the way it smells when they I wish we could get it to grow like this up in
Brooklyn.
mow it. (like this : i.e., 'so vigorously')
(up in : referring to Brooklyn's
RICKEY northern location relative to Florida)
(chuckles) Me too. Jackie, it is my pleasure (Brooklyn : see Title #1-38)
to tell you that you have earned a place with

3-4 40.02 41.14 1.12 JACKIE TO RICKEY)
the Montreal Royals. Yeah.
68-15
3-5 44.14 48.02 3.04 JACKIE TO RICKEY)

I like the way it smells when they mow it.
(they : referring to groundskeepers)
3-6 49.13 51.15 2.02 RICKEY TO JACKIE)

Me too.
3-7 54.01 56.05 2.04 RICKEY TO JACKIE)

Jackie...
3-8 58.12 62.03 3.07 RICKEY TO JACKIE)

...it is my pleasure...
3-9 62.07 68.13/ 6.06 RICKEY TO JACKIE)

...to tell you that you have earned a place
with the Montreal Royals.
(earned a place : i.e., 'due to your
hard work, been selected to play')
(Montreal Royals : see Title #1-138)
(1)
42 3AB P/2
TITLE

JACKIE.

When they head north on Tuesday for When they head north on Tuesday for
opening day with Jersey City...
opening day with Jersey City, you'll be on (head : i.e., 'travel')
(opening day : see Title #1-35)
the train. (Jersey City : city and port in
northeastern New Jersey)
JACKIE
(chuckles) I won't let you down.
89-00 3-11 78.04 81.08 3.04 RICKEY TO JACKIE)
...you'll be on the train.
SCENE 4 - MS - PAST JACKIE TO RICKEY.

3-12 86.14 88.14/ 2.00 JACKIE TO RICKEY)
RICKEY I won't let you down.
Yeah, I know you won't. (let you down : idiomatic for
'disappoint you')
JACKIE
If you don't mind, I'd like to go tell my wife.
3-13 /89.02 91.05 2.03 RICKEY TO JACKIE)
RICKEY Yeah, I know you won't.
(grunts) You give her my regards.

(chuckles) If you don't mind, I'd like to go tell my wife.
108-08
3-15 102.05 105.03 2.14 RICKEY TO JACKIE)

SCENE 5 - INT. DODGER DAYTONA You give her my regards.
FACILITY/PLAYING FIELD - DAY - FS - (Old-fashioned, respectful expression
THROUGH THE ENTRYWAY TO RICKEY of friendly good wishes and greeting -
AND JACKIE. JACKIE MOVES FG., THEN i.e., 'Say hello to her for me.')
STOPS. (Jackie starts to leave, then stops and
turns back to Rickey)
JACKIE
Mr. Rickey?
117-02 3-16 115.09 117.01/ 1.08 JACKIE TO RICKEY)
Mr. Rickey?
SCENE 6 - EXT. DODGER DAYTONA

FACILITY/PLAYING FIELD - DAY - MFS -
PAST RICKEY TO JACKIE. RICKEY WALKS
BG. TO JACKIE.

Why are you doin' this? Why are you doin' this?
(doin' this : i.e., 'recruiting a black
RICKEY baseball player for your organization')
(grunts) I'm in the baseball business. With
you and the other Negro players I hope to 3-18 132.06 135.13 3.07 RICKEY TO JACKIE)
I'm in the baseball business.
bring up next year, I can put together a team (i.e., 'I'm a baseball executive.' - 'I'm a
businessman who invests in
that can... baseball.')
144-07
3-19 137.06 142.02 4.12 RICKEY TO JACKIE)

With you and the other Negro players I hope
to bring up next year...
(bring up : i.e., 'recruit')
(2)
42 3AB P/3
TITLE
SCENE 7 - MCS - JACKIE AND RICKEY.

...win the World Series. And the World (over scene end) ...I can put together a team that can win the
World Series.
Series... (World Series : a series of baseball
149-08 games played between the winners of
the American League and the
National League to decide the major
SCENE 8 - MCS - PAST RICKEY TO league championship)
JACKIE.

...means money. You believe that, don't (over scene end) And the World Series means money.
(i.e., 'And winning the World Series
you? will earn me a lot of money.')
JACKIE
I don't think it matters what I believe. Only 3-22 153.05 156.10 3.05 RICKEY TO JACKIE)
You believe that, don't you?
what I do.
RICKEY 3-23 159.03 162.11 3.08 JACKIE TO RICKEY)

Agreed. Therefore... I don't think it matters what I believe.
171-15
3-24 164.09 166.15 2.06 JACKIE TO RICKEY)

SCENE 9 - MCS - JACKIE AND RICKEY. Only what I do.
(do : i.e., 'accomplish as a baseball
RICKEY player')
...I want you to worry those pitchers till they
come apart. Run as you see fit. Sometimes 3-25 167.07 169.09 2.02 RICKEY TO JACKIE)
Agreed.
you'll get caught, but that doesn't matter.
3-26 170.12 173.03 2.07 RICKEY TO JACKIE)

(over scene end) Therefore...
3-27 173.09 178.04 4.11 RICKEY TO JACKIE)

...I want you to worry those pitchers till they
come apart.
(worry...apart : i.e., 'cause your
opposing team's pitchers so much
anxiety about you stealing a base on
them that they become agitated and
flustered')
3-28 178.08 181.09 3.01 RICKEY TO JACKIE)

Run as you see fit.
(i.e., 'Advance as many bases as you
can.' - 'Steal as many bases as you
can.')
3-29 181.13 185.10 3.13 RICKEY TO JACKIE)

Sometimes you'll get caught, but that doesn't
matter.
(caught : i.e., 'tagged out')
(3)
42 3AB P/4
TITLE

Ty Cobb got caught... (over scene end) Ty Cobb got caught plenty.
187-13 (Ty Cobb : An American Major
League Baseball outfielder who is
widely credited with setting 90 MLB
SCENE 10 - MCS - PAST RICKEY TO records during his career - Note that
JACKIE. Ty Cobb held the modern record for
most career stolen bases [892] until
RICKEY 1977 and he still holds the career
...plenty. You just run those bases like the record for stealing home [54 times])
(plenty : i.e., 'numerous times')
devil himself. Put the natural fear of God in
'em. 3-31 189.04 193.05 4.01 RICKEY TO JACKIE)

You just run those bases like the devil
JACKIE himself.
(chuckles) Yes, sir. (run those : i.e., 'run around those')
204-15 (like the devil himself : idiomatic for
'with great speed, effort and intensity')
SCENE 11 - EXT. DAYTONA BEACH TRAIN

STATION - DAY - FS - SEVERAL PEOPLE, 3-32 193.09 198.05 4.12 RICKEY TO JACKIE)
INCLUDING THE CONDUCTOR, MILL Put the natural fear of God in 'em.
ABOUT ON A PLATFORM NEXT TO THE (Idiomatic for 'Frighten them
TRAIN IN R. ED AND TWO MALE FRIENDS tremendously.' - 'Alarm them
ENTER IN BG. AND RUN L. significantly.' - Implying, 'Steal so
many bases that anytime you're on
PEOPLE ON PLATFORM base, you're a threat to steal and the
(overlapping low and indistinct chatter - pitchers will always be afraid of you.')

3-33 201.13 203.14 2.01 JACKIE TO RICKEY)
dialogue) Yes, sir.
(Ed and his two friends run onto the
STATION ANNOUNCER platform)
(over speaker) Train for Atlanta and points
north now boardin'. Train for Atlanta... 3-34 206.04 212.06 6.02 STATION ANNOUNCER
214-02 ITAL OVER SPEAKER TO GROUP)
Train for Atlanta and points north now
boardin'.
SCENE 12 - MFS - THROUGH THE (Atlanta : capital of Georgia, and its
WAITING ROOM WINDOW TO JACKIE AND largest city)
OTHER PASSENGERS. CAMERA DOLLIES (points north : i.e., 'all stops north of
BACK AS JACKIE EXITS L. AND ED Atlanta')
ENTERS R.FG.
STATION ANNOUNCER 3-35 212.10 217.02 4.08 STATION ANNOUNCER

(over speaker) ...and points north now ITAL (over scene end) OVER SPEAKER TO GROUP)
Train for Atlanta and points north now
boardin'. boardin'.
(Ed spots Jackie through the waiting
ED room window)
There he is.
ED'S TWO FRIENDS ENTER FROM R.FG. 3-36 217.06 219.09 2.03 ED TO BOYS)
224-03 There he is.
(4)
42 3AB P/5
TITLE
SCENE 13 - MS - JACKIE WALKS L.

THROUGH THE WAITING ROOM DOOR TO
THE TRAIN AS CAMERA PANS WITH HIM.
ED ENTERS L.FG.
CONDUCTOR 3-37 230.14 233.02 2.04 CONDUCTOR TO GROUP)

All aboard! (over scene end) All aboard!
232-01 (Idiomatic warning that the train is
departing the station - i.e., 'All
passengers should be onboard the
SCENE 14 - MS - ED AND HIS TWO train as we are departing!')
FRIENDS. (Jackie boards the train, then turns to
235-01 Ed)
SCENE 15 - MS - PAST THE CONDUCTOR

TO JACKIE STANDING IN THE TRAIN'S
ENTRYWAY, TOSSING A BASEBALL IN HIS
HAND. THE CONDUCTOR EXITS R. INTO
THE TRAIN.
JACKIE 3-38 237.01 239.00 1.15 JACKIE TO ED)

Young man. Young man.
239-12 (Jackie tosses Ed a baseball and Ed
catches it. The train leaves and Ed
and his two friends run beside it.
SCENE 16 - FS - ED AND HIS TWO When the train disappears down the
FRIENDS AND JACKIE. JACKIE TOSSES tracks, Ed gets down on his hands
THE BASEBALL TO ED, WHO CATCHES IT and knees and puts his ear to the rail)
IN HIS MITT. THE TRAIN MOVES BG.
241-07
SCENE 17 - MCS - ED REACTS.

244-08
SCENE 18 - MS - JACKIE SMILES AS THE

TRAIN MOVES L.
248-06
SCENE 19 - MCS - ED AND HIS FRIENDS

LOOK AT THE BASEBALL, THEN EXIT R.
260-00
SCENE 20 - FS - ED AND HIS FRIENDS

RUN BG. NEXT TO THE DEPARTING
TRAIN.
267-13
SCENE 21 - LS - THE TRAIN MOVES L.

CAMERA DOLLIES IN AND TRACKS L. AS
ED AND HIS FRIENDS RUN BESIDE IT.
CAMERA DOLLIES IN ON ED.
283-00
SCENE 22 - LS - ED AND HIS TWO

FRIENDS, RUNNING FG., AS THE TRAIN
MOVES OUT OF FRAME IN L.FG. CAMERA
DOLLIES IN TO A MCS. OF ED AS HE
STOPS RUNNING.
295-09
(5)
42 3AB P/6
TITLE
SCENE 23 - MFS - ED, LOOKING AT THE

TRAIN AS IT RECEDES IN BG. HE TURNS
R. AND MOVES TOWARD THE TRACK AS
CAMERA TRACKS WITH HIM.
306-06
SCENE 24 - MS - ED KNEELS DOWN AND

PUTS HIS EAR TO THE TRACK AS
CAMERA TILTS DOWN WITH HIM.
ED 3-39 319.03 322.06 3.03 ED TO BOYS)

I can still hear him. I can still hear him.
324-02 (hear him : note double meaning - [1]
i.e., 'hear the vibration of the train that
he is on' and [2] i.e., 'hear the sound
SCENE 25 - MCS - ED. of his voice in my head')
ED
I can still hear him! 3-40 325.15 329.02/ 3.03 ED TO BOYS)
329-06 I can still hear him!
(Roosevelt Stadium is packed with a
large crowd of people)
SCENE 26 - EXT. ROOSEVELT STADIUM -
DAY - MCS - THE HOME PLATE UMPIRE
(LEGS). HIS HAND ENTERS THE FRAME
AND BRUSHES OFF THE HOME PLATE AS
CAMERA SLOWLY DOLLIES R.
PEOPLE IN ROOSEVELT STADIUM

(off) (overlapping low and indistinct chatter,
cheers and whistles - continues under

337-05
LABORATORY: IF PRINT IS TEXTED, THE FOLLOWING TITLE #3-41 WILL
DOUBLE-PRINT OVER EXISTING TYPEFACE. CHECK PRINT FOR PROPER
SCENE 27 - LS - PAST THE FIELD TO THE POSITIONING TO AVOID DOUBLE-PRINTING.
PACKED STANDS.
TITLE FADES IN: (over above bg.) 3-41 /337.07 345.07 8.00 NARRATIVE TITLE)
JERSEY CITY - APRIL 18, 1946 JERSEY CITY - APRIL 18, 1946
OPENING DAY OF THE INTERNATIONAL OPENING DAY OF THE INTERNATIONAL
LEAGUE SEASON. LEAGUE SEASON.
TITLE FADES OUT. (INTERNATIONAL LEAGUE : a minor

league baseball league that operates
CAMERA PANS R. AND CRANES DOWN in the eastern United States)
AS SOME MILITARY PERSONNEL
CARRYING FLAGS ENTER L. AND WALK
R. BEHIND A GROUP OF UMPIRES.
ROOSEVELT STADIUM UMPIRE 3-42 355.10 357.12/ 2.02 ROOSEVELT STADIUM UMPIRE
Play ball! TO MEN)
357-14 Play ball!
(Interjection used to start the game)
(The game begins. Rachel sits in the
stands with Smith. She smiles at
Jackie who is warming up in the
batter's circle)
(6)
42 3AB P/7
TITLE
ROOSEVELT STADIUM P.A. ANNOUNCER 3-43 359.09 364.05 4.12 ROOSEVELT STADIUM P.A.
(over speaker) And now the lineup of the ITAL (over scene end) ANNOUNCER OVER SPEAKER
TO GROUP)
visiting Montreal... And now the lineup of the visiting Montreal
363-03 Royals.
(lineup : in baseball, a list of players
SCENE 29 - MCS - SMITH AND RACHEL, in a team, together with the positions
SEATED IN THE STANDS. they play)
ROOSEVELT STADIUM FAN #1

(off) Jackie!
ROOSEVELT STADIUM P.A. ANNOUNCER 3-44 364.09 369.12/ 5.03 ROOSEVELT STADIUM P.A. ITAL
(over speaker) ...Royals. Batting first, ANNOUNCER OVER SPEAKER
TO GROUP)
playing center field, Marv Rackley. Batting first, playing center field, Marv
369-14 Rackley.
(center field : fielding position
between left field and right field)
SCENE 30 - LS - PAST RACHEL AND (Marv Rackley : Marvin Eugene
SMITH TO JACKIE AND THE PLAYERS ON Rackley - outfielder who played with
THE FIELD. the Brooklyn Dodgers from
1947-1950)
ROOSEVELT STADIUM P.A. ANNOUNCER
(over speaker) Batting second, playing
3-45 /370.00 376.01 6.01 ROOSEVELT STADIUM P.A.
second base, Jackie Robinson. ITAL (over scene end) ANNOUNCER OVER SPEAKER
374-06 TO GROUP)
Batting second, playing second base, Jackie
Robinson.
SCENE 31 - MCS - RACHEL LOOKS (Rachel looks nauseated)
NAUSEATED.
ROOSEVELT STADIUM P.A. ANNOUNCER 3-46 376.07 380.03 3.12 ROOSEVELT STADIUM P.A.
(over speaker) Batting third, playing left... ITAL (over scene end) ANNOUNCER OVER SPEAKER
378-11 TO GROUP)
Batting third, playing left field, George Shuba.
(left field : the area of the outfield to
SCENE 32 - MCS - SMITH AND RACHEL, the left of a person standing at home
AS RACHEL PUTS HER HAND TO HER plate and facing towards the pitcher's
MOUTH. mound)
(George Shuba : utility outfielder and
ROOSEVELT STADIUM P.A. ANNOUNCER left-handed pinch hitter in who played
(over speaker) ...field, George Shuba. with the Brooklyn Dodgers from
1948-1955)
RACHEL (Rachel puts her hand over her
(overlapping) (low grunt) mouth)
SMITH
(overlapping) Hey, you okay? 3-47 380.07 382.08 2.01 SMITH TO RACHEL)
Hey, you okay?
RACHEL
(inhales) I think I might be sick. Excuse me,
3-48 384.00 386.07 2.07 RACHEL TO SMITH)
Wendell. I think I might be sick.

(overlapping) (over speaker) Batting fourth, 3-49 386.11 388.06/ 1.11 RACHEL TO SMITH)
Excuse me, Wendell.
playing center, Tommy Tatum. (Rachel leaves the stands)
388-08
(7)
42 3AB P/8
TITLE
SCENE 33 - MCS - RACHEL AND SMITH,

AS RACHEL MOVES R.

(overlapping) (over speaker) Batting fifth,
playing right field...
POPCORN SELLER 3-50 390.07 395.06 4.15 POPCORN SELLER TO GROUP)

(overlapping) Popcorn! Get your popcorn! (over scene end) Popcorn! Get your popcorn!
393-09 (In the restroom, Rachel stands over
a sink trying to cope with her nausea.
An Older Woman watches her
SCENE 34 - MCS - SMITH. sympathetically)

(over speaker) ...Red Durrett.
396-10
SCENE 35 - INT. ROOSEVELT

STADIUM/RESTROOM - DAY - MCS - PAST
RACHEL TO HER REFLECTION IN A
MIRROR AS SHE WIPES HER MOUTH AND
CHIN WITH HER HAND.
RACHEL
(muffled) (blows)
402-03
SCENE 36 - MS - PAST RACHEL TO AN

OLDER WOMAN WASHING AND DRYING
HER HANDS.
RACHEL
(low) (exhales)
OLDER WOMAN 3-51 408.12 411.03 2.07 OLDER WOMAN TO RACHEL)

You all right, honey? You all right, honey?
(honey : a term of endearment)
RACHEL
I'm sick. (exhales) Don't know why.
3-52 412.10 415.04 2.10 RACHEL TO OLDER WOMAN)
THE OLDER WOMAN PASSES RACHEL I'm sick.
SOME PAPER TOWELS AND SHE USES
THEM TO DRY HER FACE.
RACHEL (cont'd) Don't know why.
Mm. Thank you. (The Older Woman passes Rachel
some tissues)
(over speaker) (low and indistinct -
continues under following scenes and Thank you.
dialogue)

When did you have your monthly last? When did you have your monthly last?
437-14 (monthly last : i.e., 'last occurrence of
menstruation')
(Rachel reacts)
(8)
42 3AB P/9
TITLE
SCENE 37 - MCS - PAST RACHEL TO HER

REFLECTION IN THE MIRROR.
441-02
SCENE 38 - MS - PAST RACHEL TO THE

OLDER WOMAN.

It may be that you're pregnant. It may be that you're pregnant.
(Rachel walks back to the stands, but
THE OLDER WOMAN EXITS R.BG. remains standing)
459-10
SCENE 39 - MCS - PAST RACHEL TO HER

REFLECTION IN THE MIRROR.
464-01
SCENE 40 - EXT. ROOSEVELT STADIUM -

DAY - FS - LOW ANGLE - PAST STAIRS TO
A VENDOR WALKING L. RACHEL ENTERS
IN R.FG. AND WALKS BG. AS CAMERA
TRACKS IN BEHIND HER, REVEALING
JACKIE ON THE FIELD.
ROOSEVELT STADIUM P.A. ANNOUNCER 3-57 /464.03 471.12 7.09 ROOSEVELT STADIUM P.A. ITAL
(over speaker) Now batting for Montreal, ANNOUNCER OVER SPEAKER
TO GROUP)
number nine, Jackie Robinson. Now batting for Montreal, number 9, Jackie
Robinson.
POPCORN SELLER
(overlapping) Popcorn! (off) (low) Get your
popcorn!
479-09
SCENE 41 - MCS - RACHEL.
RACHEL
(clears throat)
ROOSEVELT STADIUM FAN #2

(off) Don't know what all the fuss is about.
RACHEL
(blows)
485-05
SCENE 42 - MS - THE JERSEY CITY

CATCHER, CROUCHED DOWN, AND
JACKIE AT BAT. AN UMPIRE STANDS
BEHIND THE CATCHER.
ROOSEVELT STADIUM FAN #3 3-58 /485.10 487.13 2.03 ROOSEVELT STADIUM FAN #3
(off) Come on, Jack! Guy's got nothing! TO JACKIE)
489-03 Come on, Jack!
(9)
42 3AB P/10
TITLE
SMITH 3-59 489.10 491.11 2.01 SMITH AS IF TO JACKIE)

Come on, Jackie. Come on, batter. Come on, Jackie.
493-13
3-60 492.04 493.12/ 1.08 SMITH AS IF TO JACKIE)

SCENE 44 - MCS - JACKIE (LEGS) , Come on, batter.
SCRAPING THE SAND WITH HIS CLEAT.
CAMERA TRACKS L. AND TILTS UP TO
THE CATCHER (TORSO) MAKING HAND
SIGNALS.
ROOSEVELT STADIUM FAN #4 3-61 /494.00 496.02 2.02 ROOSEVELT STADIUM FAN #4
(off) Put it here (indistinct)! TO MAN)
501-08 Put it here!
(The pitcher throws a high fastball
and Jackie bats it over the stadium
SCENE 45 - MS - THE JERSEY CITY wall. Jackie jogs around the bases,
PITCHER WINDS UP. scoring a home run)
JERSEY CITY PITCHER

(grunts)
509-05
SCENE 46 - FS - PAST THE UMPIRE, THE

CATCHER AND JACKIE (TORSO) TO THE
PITCHER, WHO THROWS THE BALL L.FG.
JACKIE LEANS INTO THE BALL,
REVEALING HIS FACE, AND HITS IT
HARD.
510-12
SCENE 47 - LS - PAST THE JERSEY CITY

BASEMAN ON THIRD BASE TO THE
OTHER PLAYERS ON THE FIELD. THE
BALL FLIES HIGH INTO THE AIR AND
CAMERA PANS L. WITH IT.

(overlapping exclamations and low and
indistinct chatter - continues under

512-15
SCENE 48 - MS - A JERSEY CITY

BASEMAN, LOOKING UPWARD.
514-06
SCENE 49 - MCS - HOPPER STANDS UP

AS CAMERA TILTS UP WITH HIM.
516-14
RACHEL
Woo-hoo!
518-08
(10)
42 3AB P/11
TITLE
SCENE 51 - MS - THE CATCHER AND

JACKIE. JACKIE RUNS L.
521-06
SCENE 52 - LS - A BASEMAN, RUNNING

BG. AS THE BALL FALLS INTO FRAME
AND DROPS BEHIND THE STADIUM
WALL. TWO MORE BASEMEN ENTER IN
FG.

(off) (overlapping low and indistinct chatter,
exclamations, cheers and whistles -
dialogue)
523-10
SCENE 53 - MCS - SMITH, AS THE

CROWD BEHIND HIM REACTS. CAMERA
TILTS DOWN TO THE TYPEWRITER ON
HIS LAP AS HE TYPES.
532-15
SCENE 54 - MCS - JACKIE JOGS L.

AROUND THE BASES AS CAMERA PANS
WITH HIM.
539-15
SCENE 55 - MCS - HOPPER.
HOPPER 3-62 544.04 547.08/ 3.04 HOPPER TO HIMSELF)

He may be superhuman after all. He may be superhuman after all.
547-10 (superhuman : see Title #2-88)
SCENE 56 - FS - PAST THE MONTREAL

THIRD BASE COACH TO JACKIE AND
OTHERS AS JACKIE ROUNDS THIRD
BASE. THE MONTREAL THIRD BASE
COACH BRIEFLY TAKES JACKIE'S HAND
IN A GESTURE OF APPROVAL. JACKIE
CONTINUES JOGGING R. AS CAMERA
TRACKS WITH HIM. HE GLANCES FG. AT
THE STANDS.
MONTREAL THIRD BASE COACH 3-63 550.09 552.06 1.13 MONTREAL THIRD BASE COACH
Way to go, Jack, way to go. TO JACKIE)
553-05 Way to go.
(Idiomatic expression of praise)
(Jackie looks up into the stands at
SCENE 57 - MCS - SMITH POINTS L. Smith, who points to where Rachel is
556-02 standing. Rachel points upward and
she and Jackie smile at each other)
SCENE 58 - MS - JACKIE JOGS R. AS

CAMERA TRACKS WITH HIM. HE
GLANCES R.FG.
558-05
(11)
42 3AB P/12
TITLE
SCENE 59 - MCS - RACHEL POINTS

SKYWARD.
562-00
SCENE 60 - MCS - JACKIE, SMILING, JOGS

R. AS CAMERA TRACKS WITH HIM.
567-05
SCENE 61 - MCS - RACHEL SMILES.

569-10
SCENE 62 - FS - JACKIE JOGS R. TO

HOME PLATE AS CAMERA PANS WITH HIM
TO INCLUDE SEVERAL MONTREAL
PLAYERS AND AN UMPIRE.
575-04
SCENE 63 - MCS - RACHEL, AS CAMERA

PANS R. SLIGHTLY.
RACHEL 3-64 576.14 579.04 2.06 RACHEL AS IF TO JACKIE)

Oh, Jack. (blows) Oh, Jack.
584-12 (Eight months later in a Pasadena
hospital, Jackie looks through a
nursery window at his newborn son,
SCENE 64 - INT. MATERNITY Jackie Jr.)
WARD/NURSERY - NIGHT - MS - HIGH
ANGLE - THROUGH A WINDOW TO
JACKIE JR. IN A COT AMONGST OTHER
BABIES IN COTS.
BABIES NORMAL SUBTITLE POSITION. IF PRINT IS TEXTED, THIS TITLE IS TO
(make baby sounds - continues under APPEAR AS LOW AS POSSIBLE IN THE FRAME TO AVOID
following dialogue)
PASADENA, CALIFORNIA - 8 MONTHS PASADENA, CALIFORNIA - 8 MONTHS

LATER LATER
TITLE FADES OUT.
CAMERA TRACKS BACK AND PANS R. TO

A MCS. OF JACKIE STANDING IN THE
HALLWAY OUTSIDE THE NURSERY.
JACKIE 3-66 601.08 603.13 2.05 JACKIE TO JACKIE JR.)

Yeah. (scoffing) (exhales sharply) My daddy Yeah.
left. (sniffs)
3-67 609.09 612.07 2.14 JACKIE TO JACKIE JR.)
My daddy left.
(daddy : i.e., 'father' - used especially
by a young child)
(12)
42 3AB P/13
TITLE
JACKIE (cont'd) 3-68 615.13 620.00 4.03 JACKIE TO JACKIE JR.)

He left us flat...in Cairo, Georgia. I was only He left us flat...
(left us : i.e., 'abandoned me, my
six months older than you are now. mother and my siblings')
(flat : used to add emphasis - i.e.,
(chuckles) I don't remember him. Nothing 'completely')
good, nothing bad. Nothing. You will

remember me. (exhales) I'm gonna be ...in Cairo, Georgia.
(Cairo : small city in south Georgia)
here with you till the day I die.
678-14
I was only six months older than you are
SCENE 65 - INT. BEVERLY HILLS HOTEL now.
SUITE - NIGHT - MFS - LEO DUROCHER,
ASLEEP IN BED AS THE TELEPHONE ON
THE NIGHT STAND RINGS. DUROCHER 3-71 639.07 642.01 2.10 JACKIE TO JACKIE JR.)
TURNS OVER, REVEALING LARAINE I don't remember him.
LYING NEXT TO HIM. DUROCHER PICKS
UP THE PHONE.
LARAINE Nothing good, nothing bad.
dialogue) 3-73 654.07 656.05 1.14 JACKIE TO JACKIE JR.)

Nothing.
BEVERLY HILLS - FEBRUARY 16, 1947 3-74 661.02 664.02 3.00 JACKIE TO JACKIE JR.)
You will remember me.
TITLE FADES OUT.
DUROCHER 3-75 670.12 674.14 4.02 JACKIE TO JACKIE JR.)

(into telephone) Yeah. I'm gonna be here with you till the day I die.
(be here : i.e., 'stay with you' - 'stay
RICKEY close to you')
(over telephone) Hello, Leo. (At night in a Beverly Hills hotel,
Durocher is asleep in bed with his
DUROCHER girlfriend, actress Laraine Day. The
(into telephone) (grunts) telephone rings and he answers it)

APPEAR AS LOW AS POSSIBLE IN THE FRAME TO AVOID
3-76 681.03 687.02 5.15 NARRATIVE TITLE)
BEVERLY HILLS - FEBRUARY 16, 1947
3-77 688.09 690.05 1.12 DUROCHER INTO PHONE TO PERSON)

Yeah.
3-78 690.09 693.11 3.02 RICKEY OVER PHONE TO DUROCHER)

ITAL Hello, Leo.
(13)
42 3AB P/14
TITLE
RICKEY 3-79 694.03 696.09 2.06 RICKEY OVER PHONE TO DUROCHER)

(over telephone) What are you doing? ITAL What are you doing?
DUROCHER
(into telephone) I'm bowling. No, I'm 3-80 697.05 699.07 2.02 DUROCHER INTO PHONE TO RICKEY)
I'm bowling.
snowshoeing in the Alps. I'm trying to (Used humorously to point out the
absurdity of Rickey's question, since it
sleep, Mr. Rickey. It's still dark out. is the middle of the night)
RICKEY
(over telephone) Another spring training is 3-81 699.11 702.05 2.10 DUROCHER INTO PHONE TO RICKEY)
No, I'm snowshoeing in the Alps.
upon us, Leo. In Panama. (snowshoeing : i.e., 'walking in snow
712-11 shoes')
(Alps : mountain range in southern
Europe, extending from southeastern
SCENE 66 - INT. RICKEY'S PANAMA France to Austria)
OFFICE - DAY - MFS - RICKEY.
RICKEY 3-82 702.09 706.08 3.15 DUROCHER INTO PHONE TO RICKEY)

(into telephone) I need to know your attitude I'm trying to sleep, Mr. Rickey. It's still dark
out.
towards Jackie Robinson. (out : i.e., 'outside')
718-12
3-83 706.12 712.09/ 5.13 RICKEY OVER PHONE TO DUROCHER)

SCENE 67 - INT. BEVERLY HILLS HOTEL ITAL Another spring training is upon us, Leo. In
SUITE - NIGHT - MS - LARAINE (TORSO) Panama.
AND DUROCHER, AS DUROCHER SITS (upon us : i.e., 'about to begin')
UP. (Panama : republic in Central
America)
DUROCHER (Rickey stands in his office in
(into telephone) (low grunt) I don't got an Panama)
attitude toward him.

3-84 713.07 718.10/ 5.03 RICKEY INTO PHONE TO DUROCHER)
LARAINE I need to know your attitude towards Jackie
(overlapping) (groaning) Oh, no. Robinson.
(your attitude towards : i.e., 'what you
LARAINE SITS UP, REVEALING HER think of' - used here to establish
FACE. SHE LEANS ON DUROCHER'S whether Durocher is prejudiced
SHOULDER. against Jackie because he is black)
RICKEY
(over telephone) Eight times in the Bible 3-85 723.02 726.04 3.02 DUROCHER INTO PHONE TO RICKEY)
I don't got an attitude toward him.
we're told to love our neighbor as ourself. (got : colloquial for 'have')
(attitude : note double meaning - [1]
It's, uh, one of God's... opinion or general feeling about
something, and [2] idiomatic for
LARAINE 'arrogant or assertive manner or
(overlapping) (groans) stance assumed as a challenge or for
735-01 effect')
3-86 726.08 733.01 6.09 RICKEY OVER PHONE TO DUROCHER)

ITAL Eight times in the Bible we're told to love our
neighbor as ourself.
(as : i.e., 'like we love')
(ourself : colloquial for 'ourselves')
(14)
42 3AB P/15
TITLE
SCENE 68 - INT. RICKEY'S PANAMA

OFFICE - DAY - MFS - RICKEY.
RICKEY 3-87 734.01 737.14 3.13 RICKEY INTO PHONE TO DUROCHER)

(into telephone) ...most repeated (over scene end) It's one of God's most repeated commands.
commands.
3-88 738.02 742.06 4.04 DUROCHER OVER PHONE TO RICKEY)
DUROCHER ITAL Well, I don't know much about the Bible...
(over telephone) Well, I don't know much
about the Bible, but I... 3-89 742.10 746.04 3.10 DUROCHER INTO PHONE TO RICKEY)
743-09 (over scene end) ...but I didn't go to school just to eat my lunch
either.
(i.e., '...but I acquired an education
SCENE 69 - INT. BEVERLY HILLS HOTEL because I understood its value.')
SUITE - NIGHT - MS - PAST DUROCHER
TO LARAINE. CAMERA SLOWLY DOLLIES
IN.
DUROCHER 3-90 746.08 749.04 2.12 DUROCHER INTO PHONE TO RICKEY)

(into telephone) ...didn't go to school just to I'll play an elephant if he can help us win...
(an elephant : used here to mean
eat my lunch either. I'll play an elephant if 'anyone, regardless of his race, color
or creed')
he can help us win and to make room for
him I'll send my own brother home if he's 3-91 749.08 753.13 4.05 DUROCHER INTO PHONE TO RICKEY)
...and to make room for him I'll send my own
not as good. brother home if he's not as good.
(make room for him : i.e., 'find a
LARAINE place for him on the team')
Oh, what are you gonna do with me?
DUROCHER 3-92 754.01 756.01 2.00 LARAINE TO DUROCHER)

(into telephone) Look, we're playin' for Oh, what are you gonna do with me?
(Humorously implying 'Will you send
money here, Mr. Rickey. Winning is the only me home too if I don't please you?')
thing that matters.

761-06 3-93 756.05 758.10 2.05 DUROCHER INTO PHONE TO RICKEY)
We're playin' for money here, Mr. Rickey.
(for : i.e., 'to make')
OFFICE - DAY - MS - RICKEY.
3-94 758.14 761.04/ 2.06 DUROCHER INTO PHONE TO RICKEY)
DUROCHER Winning is the only thing that matters.
(over telephone) Is he a nice guy?
RICKEY 3-95 /761.08 763.11 2.03 DUROCHER OVER PHONE TO RICKEY)

(into telephone) Well, if by nice you mean ITAL Is he a nice guy?
soft, no. No, not particularly.

772-03 3-96 763.15 768.11 4.12 RICKEY INTO PHONE TO DUROCHER)
Well, if by nice you mean soft, no.
(soft : i.e., 'mild-mannered' -
'forbearing' - 'lacking firmness or
strength of character')

No, not particularly.
(15)
42 3AB P/16
TITLE
SCENE 71 - INT. BEVERLY HILLS HOTEL

SUITE - NIGHT - MCS - PAST DUROCHER
TO LARAINE.

(into telephone) Good, he can't afford to be. Good, he can't afford to be.
Nice guys finish last.

3-99 775.05 779.11 4.06 DUROCHER INTO PHONE TO RICKEY,
LARAINE THEN LARAINE TO DUROCHER)
(overlapping) And what about nice girls? -Nice guys finish last.
-And what about nice girls?
RICKEY (Nice guys finish last : Now a
(overlapping) (over telephone) So you have common aphorism that is attributed to
Leo Durocher - i.e., 'Winning requires
no objection to him? toughness, even ruthlessness' - Note
that this expression can also have a
LARAINE sexual connotation, implying nice
(overlapping) (kisses - continues under men allow their partners to orgasm
before completing the sex act
following dialogue) themselves, which Laraine
immediately alludes to)
DUROCHER (And what about nice girls : Note
(over telephone) None whatsoever. Can I sexual connotation)
go back to sleep now?

786-13 3-100 779.15 783.06 3.07 RICKEY OVER PHONE TO DUROCHER)
ITAL So you have no objection to him?

OFFICE - DAY - MCS - RICKEY. 3-101 783.10 786.11/ 3.01 DUROCHER INTO PHONE TO RICKEY)
None whatsoever. Can I go back to sleep
RICKEY now?
(into telephone) Yes. (Can : Colloquial for 'May')
DUROCHER
(overlapping) (over telephone) All right. 3-102 /786.15 788.10/ 1.11 RICKEY INTO PHONE TO DUROCHER,
788-12 THEN DUROCHER OVER PHONE
TO RICKEY)
-Yes.
SCENE 73 - INT. BEVERLY HILLS HOTEL -All right.
SUITE - NIGHT - MCS - PAST DUROCHER (All right : To appear in ITALICS)
TO LARAINE.
RICKEY 3-103 /788.14 791.05/ 2.07 RICKEY OVER PHONE TO DUROCHER,

(over telephone) Oh, and Leo. THEN DUROCHER INTO PHONE
TO RICKEY)
DUROCHER -Oh, and Leo.
(into telephone) What? -What?
791-07 (Oh, and Leo : To appear in ITALICS)

OFFICE - DAY - MCS - RICKEY.
RICKEY 3-104 792.03 798.02/ 5.15 RICKEY INTO PHONE TO DUROCHER)

(into telephone) The Bible has a thing or The Bible has a thing or two to say about
adultery as well.
two to say about adultery as well. (has...say : i.e., 'has an opinion' -
798-04 used here to mean 'expostulates')
(Note implication that Rickey can hear
Laraine through the telephone - Also
note that Laraine was married to Ray
Hendricks at the time, though later in
the year she and Leo Durocher did
marry)
(16)
42 3AB P/17
TITLE
SCENE 75 - INT. BEVERLY HILLS HOTEL

SUITE - NIGHT - MCS - PAST DUROCHER
TO LARAINE.

(into telephone) I'm sure it's got a lot to say I'm sure it's got a lot to say about a lot. Good
night.
about a lot. Good night. (to Laraine) What (it's...lot : i.e., 'the Bible expresses
many opinions' - 'the Bible makes
am I gonna do with you? many judgments')
(Durocher hangs up the telephone)
LARAINE
Mm. I thought you knew.
812-08 3-106 806.01 808.05 2.04 DUROCHER TO LARAINE)
What am I gonna do with you?
(Note double meaning - [1] Idiomatic
SCENE 76 - EXT. PEPPER STREET expression of bemusement and
HOUSE/PORCH - DAY - MS - MALLIE, exasperation - Here implying that he
JACKIE, HOLDING JACKIE. JR, AND finds Laraine lovably incorrigible, and
RACHEL. JACKIE KISSES JACKIE JR. [2] Note sexual connotation)
BILLIE HOLIDAY
(voice over) (sings "Lover Man (Oh, Where 3-107 809.14 812.06/ 2.08 LARAINE TO DUROCHER)
I thought you knew.
Can You Be?") - continues under following (Note sexual implication)
(Jackie holds Jackie Jr. in his arms
scenes and dialogue) and kisses him as Rachel and
Jackie's mother Mallie look on)
JACKIE JR.
(makes baby sounds - continues under

(kissing) Mm-mm. (in normal voice) You You gonna take care of your mama?
gonna take care of your mama? No? You

better. No? You better.
(No : Note humor, as one of the baby
MALLIE sounds Jackie Jr. makes sounds like
(overlapping) (chuckles) "no")
JACKIE KISSES RACHEL, THEN MOVES L.

AS HE PASSES JACKIE JR. TO MALLIE.

(grunts) (kisses) (grunts) Mm-hm. You You gonna take care of my mama?
(Jackie gives Jackie Jr. to Mallie)
gonna take care of my mama?
MALLIE 3-111 828.12 830.08 1.12 MALLIE TO JACKIE JR.)

Come here, baby. Come here, baby, I got Come here, baby.
you.
3-112 830.12 834.02 3.06 JACKIE TO MALLIE,
JACKIE THEN MALLIE TO JACKIE JR.)
(overlapping) There you go. (kissing) -There you go.
-Come here, baby, I got you.
Mwah. (There you go : Idiomatic term of
presentation)
JACKIE KISSES MALLIE. (got you : i.e., 'have a hold of you')
838-00 (Jackie kisses Mallie and she takes
Jackie Jr. into the house)
(17)
42 3AB P/18
TITLE
SCENE 77 - MS - PAST RACHEL TO

MALLIE, JACKIE JR. AND JACKIE. MALLIE
TAKES JACKIE JR. BG. INTO THE HOUSE.
JACKIE AND RACHEL MOVE FG. AS
CAMERA TRACKS BACK WITH THEM.
JACKIE
(inhales and exhales through nose -

Promise me you'll write? Promise me you'll write?
(write : i.e., 'write letters to me')
JACKIE
(chuckles) When have I ever not written?
3-114 851.08 855.01 3.09 JACKIE TO RACHEL)
(inhales) (exhales through nose - When have I ever not written?
JACKIE TAKES A STEP DOWN ON THE

O.S. PORCH STEPS AND RACHEL
STANDS BEHIND HIM.

I want you to know I'm there for you, even if I want you to know I'm there for you, even if
it's words on paper.
it's words on paper. (I'm there for you : i.e., 'I love and
support you')
JACKIE (it's words on paper : i.e., 'our
Rae, you're in my heart. (chuckles) communication is by letter and not in
person')
RACHEL
You're gettin' close now, and the closer you
3-116 866.15 868.14 1.15 JACKIE TO RACHEL)
get, the worse they'll be. Rae...
JACKIE
(sighs) 3-117 870.02 872.13 2.11 JACKIE TO RACHEL)
...you're in my heart.
RACHEL (i.e., '...I love you deeply.' - '...I feel a
Don't let them get to you. deep emotional connection with you,
even when we are apart.')
3-118 882.05 887.04 4.15 RACHEL TO JACKIE)

You're gettin' close now, and the closer you
get, the worse they'll be.
(close now : i.e., 'close to moving up
to the Brooklyn Dodgers')
(they'll : used here to refer to racist
baseball players or racist people in
general - i.e., 'those that oppose you
will')
3-119 890.10 893.15 3.05 RACHEL TO JACKIE)

Don't let them get to you.
(get to you : implying, 'affect you and
your game' - note double meaning of
'get to you' - [1] i.e., 'have an
emotional impact on you,' and [2]
idiomatic for 'upset you' - 'annoy you')
(18)
42 3AB P/19
TITLE

I won't. (inhales through nose) God built I won't.
me to last.
3-121 900.02 903.00 2.14 JACKIE TO RACHEL)
RACHEL God built me to last.
Mm. (built me to last : i.e., 'made me to
endure')
JACKIE
(inhales through nose - continues under
following dialogue)

(kisses) I'll see you in Brooklyn in eight I'll see you in Brooklyn in eight weeks.
(Implying that Rachel believes Jackie
weeks. (blows through teeth) (moaning) will be moved up to the Brooklyn
Dodgers after spring training)
Oh.

It might be Montreal. (sighs) It might be Montreal.
(i.e., 'I might still be playing for the
JACKIE TAKES ANOTHER STEP DOWN, Montreal Royals in eight weeks.')
THEN TURNS TO RACHEL.

(kisses) It's gonna be Brooklyn. I know it is. It's gonna be Brooklyn.
935-00 (i.e., 'I am confident that our reunion
will be in Brooklyn.')

IN BG., A TAXI DRIVER STANDS NEXT TO 3-125 932.07 934.13/ 2.06 RACHEL TO JACKIE)
HIS CAB. I know it is.
RACHEL AND JACKIE

(kiss)
941-15
LABORATORY: IF PRINT IS TEXTLESS, TITLES #3-126 AND #3-127 ARE

SCENE 79 - EXT. PANAMA CITY - DAY - LS TO APPEAR IN THE NORMAL SUBTITLE POSITION. IF PRINT IS TEXTED,
- AERIAL SHOT - A PLANE ENTERS IN FG. THESE TITLES ARE TO APPEAR AS LOW AS POSSIBLE IN THE FRAME TO
AND FLIES BG. AS CAMERA CRANES AVOID DOUBLE-PRINTING. PLEASE CHECK PRINT FOR PROPER
DOWN AND TRACKS BG. TO REVEAL POSITIONING.
PANAMA CITY IN THE DISTANCE.
PANAMA CITY, PANAMA - MARCH 18, 1947 PANAMA CITY, PANAMA - MARCH 18, 1947
BRAGAN (Higbe writes a petition on a piece of

(voice over) Why do you think Rickey's got hotel stationary as Bragan and Hugh
Casey, a pitcher for the Dodgers, sit
us playin'... next to him on a sofa. Walker stands
nearby)
TITLE CUTS OUT.
952-13
3-127 951.00 955.05 4.05 BRAGAN TO MEN)
(over scene end) Why do you think Rickey's got us playin'
spring games here in Panama?
(19)
42 3AB P/20
TITLE
SCENE 80 - INT. TIVOLI HOTEL/HIGBE'S

ROOM - DAY - MFS - PAST HIGBE,
WRITING A PETITION, TO WALKER,
STANDING, AND CASEY AND BRAGAN
SEATED ON A COUCH. CAMERA DOLLIES
IN AND PANS SLIGHTLY R.
BRAGAN 3-128 955.09 957.01 1.08 BRAGAN TO MEN)

...spring games here in Panama? Huh? He Huh?
wants us to get used to Negro crowds. He

3-129 957.08 960.12 3.04 BRAGAN TO MEN)
wants more of them than there are of us. He wants us to get used to Negro crowds.
(get used to : i.e., 'become familiar
And he's hopin' it'll make us more with')
(For this Title and the next : i.e., 'He
comfortable being around Robinson. wants us to be the racial minority so
968-14 we become accustomed to interracial
interaction.')
SCENE 81 - MS - WALKER DRINKS A

SODA. 3-130 961.00 963.11 2.11 BRAGAN TO MEN)
He wants more of them than there are of us.
HIGBE
(off) (clears throat) All right. (clears throat)
3-131 963.15 968.12/ 4.13 BRAGAN TO MEN)
Listen up. And he's hopin' it'll make us more
973-02 comfortable being around Robinson.
SCENE 82 - MS - HIGBE, AS CAMERA 3-132 969.14 971.10 1.12 HIGBE TO MEN)

DOLLIES IN. All right.
HIGBE
This is what I got. 3-133 972.02 975.02 3.00 HIGBE TO MEN)
(over scene end) Listen up. This is what I got.
BRAGAN (Listen up : Idiomatic for 'Listen
(off) (grunts) carefully to what I have to say' - 'Pay
attention')
HIGBE (got : i.e., 'have written')
(reading) "We, the undersigned Brooklyn
Dodgers, will not play ball on the same 3-134 977.07 982.11 5.04 HIGBE) (reading)
"We, the undersigned Brooklyn Dodgers, will
field as Jackie Robinson." not play ball...
985-12 (undersigned : with their signatures
appearing below)
SCENE 83 - MCS - BRAGAN NODS.

3-135 982.15 985.11/ 2.12 HIGBE) (reading)
BRAGAN ...on the same field as Jackie Robinson."
That's right.
THE LECUONA CUBAN BOYS 3-136 986.03 987.11/ 1.08 BRAGAN TO HIGBE)
(overlapping) (over speaker) (in Spanish - That's right.
(Idiomatic expression of agreement)
sing "Panama" under following scenes and (Higbe signs the petition)
dialogue)
987-12
(20)
42 3AB P/21
TITLE
SCENE 84 - MS - WALKER.
HIGBE 3-137 990.02 994.09 4.07 HIGBE TO MEN)

(off) Kirby... (over scene end) Kirby Higbe.
991-06 (Higbe passes the petition to Bragan)
HIGBE
...Higbe.
995-05
SCENE 86 - MFS - PAST HIGBE TO CASEY

AND BRAGAN. BRAGAN TAKES THE PEN
AND PETITION FROM HIGBE.
BRAGAN 3-138 /995.07 998.09/ 3.02 BRAGAN TO HIGBE,

I'll sign that. THEN HIGBE TO BRAGAN)
-I'll sign that.
HIGBE -All right.
All right.
998-11
SCENE 87 - MS - PAST CASEY TO

BRAGAN.
BRAGAN 3-139 1000.00 1003.03/ 3.03 BRAGAN TO MEN)

Brooklyn Dodger Declaration of Brooklyn Dodger Declaration of
Independence.
Independence. (Brooklyn : i.e., 'This petition will be
1003-05 the Brooklyn')
(Declaration of Independence : Note
allusion to the United States
SCENE 88 - MCS - HIGBE. Declaration of Independence - a
written statement issued and adopted
HIGBE by the Continental Congress in 1776
(chuckling) That's right. proclaiming that the 13 North
1005-07 American colonies henceforward
would govern themselves rather than
be ruled by Great Britain)
BRAGAN. BRAGAN FINISHES SIGNING
THE PETITION AND PASSES IT TO CASEY. 3-140 /1003.07 1005.05/ 1.14 HIGBE TO BRAGAN)
That's right.
CASEY (Bragan signs the petition, then
Give me that. passes it to Casey)
1012-01
3-141 1008.08 1010.07 1.15 CASEY TO BRAGAN)

SCENE 90 - MS - WALKER DRINKS HIS Give me that.
SODA. (Casey signs the petition, then holds
1015-09 up a pen to Walker. Walker cautiously
takes the pen and the petition)

BRAGAN. BRAGAN FINISHES SIGNING
THE PETITION AND HOLDS UP THE PEN.
1018-06
(21)
42 3AB P/22
TITLE
SCENE 92 - MS - WALKER PUTS HIS

SODA DOWN OUT OF FRAME AND TAKES
THE O.S. PEN.
WALKER 3-142 1025.05 1027.07 2.02 WALKER TO MEN)

(smacks lips) (sighs) (inhales) (clears (over scene end) Y'all sure about this?
(Y'all : Mainly Southern contraction of
throat) Y'all... 'You all' - i.e., 'Are all of you')
1026-03
WALKER
(off) ...sure about this?
BRAGAN 3-143 1027.11 1029.10/ 1.15 BRAGAN TO WALKER)

You wanna play ball with a nigger? You wanna play ball with a nigger?
1029-12 (nigger : see Title #1-160)
(Walker signs the petition. Jackie
heads for the dugout with the other
SCENE 94 - MCS - WALKER. Montreal Royals players. Sukeforth
approaches Jackie)
WALKER
(inhales) (sighs)
WALKER PLACES THE PETITION UP

AGAINST THE WALL. IT READS:
Hotel TIVOLI
We the undersigned Brook

will not play ball
same field as Jackie
Kirby Higbe
Bobby Bragan
Hugh Casey
WALKER SIGNS THE PETITION.

1041-11
SCENE 95 - EXT. PANAMA PRACTICE

FIELD - DAY - FS - THE MONTREAL
ROYALS TEAM, INCLUDING JACKIE, WALK
BG.
BASEBALL PLAYERS
(overlapping low and indistinct chatter -
dialogue)
MONTREAL ROYALS PLAYER #1 3-144 /1041.13 1043.08 1.11 MONTREAL ROYALS PLAYER #1
Skip's got you out in left? TO MONTREAL ROYALS PLAYER #2)
Skip's got you out in left?
(Skip : See Title #2-33)
(out in left : i.e., 'playing defense in
left field')
(22)
42 3AB P/23
TITLE
MONTREAL ROYALS PLAYER #2 3-145 1043.12 1046.05 2.09 MONTREAL ROYALS PLAYER #2
Yeah, for today. TO MONTREAL ROYALS PLAYER #1,
THEN SUKEFORTH TO JACKIE)
SUKEFORTH -Yeah, for today.
(off) Hey, Robinson. -Hey, Robinson.
(Sukeforth throws Jackie a first
MONTREAL ROYALS PLAYER #3 baseman's glove)
They're having to...
SUKEFORTH ENTERS L. AND TOSSES A

FIRST BASE GLOVE TO JACKIE.
1048-02
SCENE 96 - MCS - JACKIE, AS

SUKEFORTH ENTERS IN L.FG.
MONTREAL ROYALS PLAYER #3

(off) ...take their own balls (continues low
and indistinct under following dialogue)
JACKIE 3-146 1050.07 1052.02/ 1.11 JACKIE TO SUKEFORTH)

What do you want me to do with this? What do you want me to do with this?
1052-04

SUKEFORTH.

Well, you play first base. Well, you play first base.
1055-02
SCENE 98 - MCS - PAST SUKEFORTH TO

JACKIE.
JACKIE 3-148 /1055.05 1058.06 3.01 JACKIE TO SUKEFORTH)

Coach, I never played first base in my life. Coach, I never played first base in my life.
(I...life : i.e., 'I have never played first
SUKEFORTH base')
Well, it's like this:
1059-15
3-149 1058.10 1061.00 2.06 SUKEFORTH TO JACKIE)
(over scene end) Well, it's like this:
SCENE 99 - MCS - PAST JACKIE TO (it's like this : i.e., 'this is the current
SUKEFORTH. circumstance' - 'this is the situation')
SUKEFORTH
Brooklyn's got a solid second baseman. 3-150 1061.04 1067.00 5.12 SUKEFORTH TO JACKIE)
Brooklyn's got a solid second baseman. We
We got Pee Wee Reese over at short. got Pee Wee Reese over at short.
(solid : i.e., 'reliable' - 'proficient and
accomplished')
(short : i.e., 'shortstop' - see Title
#1-82)
(23)
42 3AB P/24
TITLE
SUKEFORTH (cont'd) 3-151 1067.07 1070.00/ 2.09 SUKEFORTH TO JACKIE)

But first base is up for grabs. But first base is up for grabs.
1070-02 (up for grabs : idiomatic for 'available
for anyone' - 'not yet claimed')
(In the Tivoli Hotel, Walker knocks on
SCENE 100 - MCS - PAST SUKEFORTH TO Stanky's door. Higbe, Casey and
JACKIE. Bragan are with him)
1073-00
SCENE 101 - INT. TIVOLI

HOTEL/HALLWAY - DAY - CS - WALKER
(HAND) KNOCKS ON STANKY'S HOTEL
ROOM DOOR. CAMERA TRACKS BACK TO
A MCS. OF HIGBE AND WALKER.
STANKY 3-152 1075.08 1077.10 2.02 STANKY TO MEN)

(off) Come on in. Come on in.
(Walker opens the door. Stanky sits in
WALKER OPENS THE DOOR TO A MFS. a chair stripped to the waist, soaking
OF STANKY, SEATED IN A CHAIR WITH his right elbow in a bucket of ice)
HIS ELBOW IN A BUCKET OF ICE.
HIGBE 3-153 1080.02 1083.14/ 3.12 HIGBE TO STANKY,

(exhales) Hey, Stank. THEN STANKY TO HIGBE)
-Hey, Stank.
STANKY -What's goin' on?
What's goin' on? (What's goin' on : Note double
meaning - [1] Idiomatic greeting, and
HIGBE [2] i.e., 'What's happening' - 'What are
(overlapping) (sniffs) you doing')
1084-00

HOTEL/STANKY'S ROOM - DAY - MCS -
THROUGH THE DOORWAY TO WALKER,
HIGBE AND BRAGAN, WITH CASEY IN BG.
HIGBE HOLDS UP THE PETITION.
HIGBE 3-154 1085.11 1089.07 3.12 HIGBE TO STANKY)

Well, we got a petition goin' on, Stank. Well, we got a petition goin' on, Stank.
(goin' on : i.e., 'happening' - note play
BRAGAN on "What's goin' on" above)
Keep Robinson in Montreal... (Stank : see Title #2-179)
1091-14 (Higbe holds up the petition)
SCENE 103 - MS - STANKY. 3-155 1089.13 1094.12 4.15 BRAGAN TO STANKY)

(over scene end) Keep Robinson in Montreal where he
BRAGAN belongs.
(off) ...where he belongs. (Keep : i.e., 'We want to keep')
STANKY
(chuckles) Can't sign now, boys. 3-156 1097.08 1100.12 3.04 STANKY TO MEN)
Can't sign now, boys.
(24)
42 3AB P/25
TITLE
STANKY (cont'd) 3-157 1101.04 1104.00 2.12 STANKY TO MEN)

I'm indisposed. How about I just catch up I'm indisposed.
(indisposed : i.e., 'unable to do so at
with you later? the moment as I am icing down my
1108-10 sore arm' - note that Stanky is not
injured so badly that he would not be
able to sign the petition)
FIELD- DAY - LS - HIGH ANGLE - JACKIE
AND SUKEFORTH, AS A FEW 3-158 1104.11 1107.12 3.01 STANKY TO MEN)
PANAMANIAN SPECTATORS LOOK ON. How about I just catch up with you later?
(Implying that he will sign the petition
SUKEFORTH at a later date)
That ball's comin' in a lot faster, Jack. (Sukeforth coaches Jackie on the
1115-01 practice field. He bats to Jackie at first
base. Jackie misses catching the
ball)
SCENE 105 - FS - SUKEFORTH BATS THE
BALL L.
1117-01 3-159 1111.00 1114.15/ 3.15 SUKEFORTH TO JACKIE)
That ball's comin' in a lot faster, Jack.
(comin'...faster : i.e., 'traveling at a
SCENE 106 - MFS - JACKIE MOVES L. TO much faster speed' when you're
CATCH THE BALL AS CAMERA PANS playing first base)
WITH HIM. HE MISSES IT.
PANAMANIAN SPECTATORS
(in Spanish) (low chatter - continues under

(off) The angle's a lot different in second. The angle's a lot different in second.
1121-05 (in second : i.e., 'when you're fielding
at second base')
SCENE 107 - FS - A PANAMANIAN KID

RUNS R.FG. WITH A BASKET OF
BASEBALLS AS CAMERA PANS R. TO A
MS.

(off) Take all the time in the world on Take all the time in the world on second.
You're gettin' it.
second. You're gettin' it. (Take...second : i.e., 'It is much
1126-08 easier to field a ball on second base')
(gettin' it : i.e., 'succeeding in
mastering it' - 'learning to catch a ball
SCENE 108 - FS - SUKEFORTH AND THE at first base')
PANAMANIAN KID, WITH JACKIE IN BG. (A Panamanian Kid brings a basket of
THE PANAMANIAN KID SETS DOWN THE retrieved baseballs to Sukeforth.
BASKET AND TOSSES A BALL TO Sukeforth bats another ball to Jackie
SUKEFORTH. and Jackie fumbles it)
SUKEFORTH
Ah, (in Spanish) muchas, uh, (in Spanish)
gracias, uh.
(muchas gracias : Spanish for 'thank you

very much')
SUKEFORTH BATS A BALL TO JACKIE.

1137-04
(25)
42 3AB P/26
TITLE
SCENE 109 - MFS - JACKIE FUMBLES THE

BALL, THEN PICKS IT UP. HE MOVES R.

(off) That's like a-- Like you have a... (over scene end) That's like you have a suitcase on your hand
1141-01 there, Jack.
(suitcase : humorously referring to
the large size of the glove and
SCENE 110 - FS - JACKIE TOSSES THE Jackie's clumsiness with it - note that
BALL R.FG. OUT OF FRAME. the first baseman's mitt is similar to a
catcher's mitt in that it has extra
SUKEFORTH padding and has no individual fingers
(off) ...suitcase on your hand there, Jack. [In shape, it is closer to a mitten than
1143-09 a glove.] It is much larger than the
other infielders' gloves; it is wide, very
deep, and it is crescent-shaped at its
SCENE 111 - FS - THROUGH A FENCE TO edges, allowing the first-baseman to
TWO PANAMANIAN MEN AS ANOTHER use the mitt like a scoop in catching
PANAMANIAN MAN LEADS A DONKEY BG. errant throws from other players on
the infield)
SUKEFORTH
(off) The new glove, it's the big one there,
Jack. You'll get used... (over scene end) The new glove, it's the big one there, Jack.
1147-11 You'll get used to it.
(get used to it : i.e., 'learn how to use
it' - 'get accustomed to it')
SCENE 112 - MS - JACKIE CROUCHES (Higbe, Bragan, Casey and Walker
DOWN AS CAMERA TILTS DOWN WITH bring the petition to Carl Furillo,
HIM. Dodgers' right fielder)
SUKEFORTH
(off) ...to it.
1151-02
SCENE 113 - INT. HOTEL/FURILLO'S

ROOM - DAY - MS - THROUGH THE
DOORWAY TO HIGBE, AS BRAGAN,
CASEY AND WALKER STAND BEHIND
HIM. HIGBE HOLDS THE PEN AND
PETITION FG. FURILLO (HAND) ENTERS
FG. AND TAKES THE PETITION.
1156-09
SCENE 114 - MCS - FURILLO TAKES THE

PEN AND PLACES THE PETITION DOWN
ON A BUREAU AS CAMERA DOLLIES IN
AND TILTS DOWN. HE SIGNS THE
PETITION.
FURILLO 3-164 1159.07 1161.06 1.15 FURILLO TO HIGBE)

Give me the pen. Give me the pen.
(Furillo signs the petition. Sukeforth
SUKEFORTH continues to coach Jackie)
(voice over) You know Mr. Rickey wants...
1170-15
(over scene end) You know Mr. Rickey wants you to play
conspicuous baseball.
(conspicuous : i.e., 'visibly
outstanding')
(Sukeforth bats to Jackie and Jackie
catches the ball)
(26)
42 3AB P/27
TITLE

FIELD- DAY - FS - THE PANAMANIAN KID
AND SUKEFORTH. PANAMANIAN
SPECTATORS ARE IN BG.
PANAMANIAN SPECTATORS
(in Spanish) (low chatter - continues under
SUKEFORTH
...you to play conspicuous baseball.
SUKEFORTH BATS A BALL L.

1175-05
SCENE 116 - FS - JACKIE RUNS L. AND

CATCHES THE BALL AS CAMERA PANS
WITH HIM. JACKIE TOSSES THE BALL R.
OUT OF FRAME.
SUKEFORTH 3-166 1179.02 1185.05 6.03 SUKEFORTH TO JACKIE)

(off) To be so... (over scene end) To be so good that the Dodgers demand to
1180-09 have you on their team.
(Jackie catches another ball)
SCENE 117 - FS - THE PANAMANIAN KID

AND SUKEFORTH.
SUKEFORTH
...good that the Dodgers demand to have
you on their team.
SUKEFORTH BATS A BALL L.

1185-13
SCENE 118 - LS - PAST JACKIE TO THE

PANAMANIAN KID AND SUKEFORTH. A
YOUTH STANDS IN L. JACKIE MOVES L.
TO CATCH THE BALL AS CAMERA
TRACKS WITH HIM. HE TOSSES THE BALL
BG. TO THE YOUTH.

That's it. That's it.
1189-09 (Expression of encouragement)
SCENE 119 - FS - THE YOUTH CATCHES

THE BALL. JACKIE ENTERS L. AND JOGS
FG.

(off) So I thought about it for awhile, and I... So I thought about it for awhile...
1193-07 (Note double meaning - [1] i.e., 'So I
thought awhile about how to get you to
play conspicuous baseball...' and [2]
i.e., 'So I thought awhile about what
the word "conspicuous" might mean...'
- Note humor)
(27)
42 3AB P/28
TITLE
SCENE 120 - FS - THE PANAMANIAN KID

AND SUKEFORTH.
SUKEFORTH 3-169 1193.09 1197.10 4.01 SUKEFORTH TO JACKIE)

...looked up "conspicuous" in the dictionary. ...and I looked up "conspicuous" in the
dictionary.
SUKEFORTH BATS THE BALL L.
1198-10
SCENE 121 - FS - SUKEFORTH AND THE

PANAMANIAN KID, WITH JACKIE IN BG.
JACKIE CATCHES THE BALL. THE
PANAMANIAN KID TOSSES A BALL L. TO
SUKEFORTH.
1202-09
SCENE 122 - MCS - SUKEFORTH

CATCHES THE BALL.

It means "to attract notice or attention." It means "to attract notice or attention."
1209-06 (Jackie dives for a really hard hit ball
and catches it)
SCENE 123 - FS - SUKEFORTH AND THE

PANAMANIAN KID, WITH JACKIE IN BG.
SUKEFORTH BATS THE BALL BG.
1211-11
SCENE 124 - MFS - JACKIE DIVES L. AND

CATCHES THE BALL AS CAMERA TRACKS
WITH HIM.
JACKIE
(grunts)
1214-01
SUKEFORTH 3-171 1218.05 1220.08/ 2.03 SUKEFORTH TO HIMSELF)

(scoffing) Hoo. (in normal voice) That's That's conspicuous.
(i.e., 'That was a conspicuous play.')
conspicuous. (Reese stands in the hallway outside
1220-10 his hotel room with Higbe, Bragan,
Casey and Walker)

HOTEL/HALLWAY - DAY - MCS - REESE.
CAMERA TRACKS BACK AND PANS L. TO
A MS. OF CASEY AND BRAGAN IN FG.,
AND HIGBE AND WALKER STANDING L.
OF REESE.
REESE 3-172 /1220.15 1228.00 7.01 REESE TO WALKER)

Look, it's like this: I got a wife, I got a baby Look, it's like this: I got a wife, I got a baby
and I got no money.
and I got no money. (Look : i.e., 'Listen')
(it's like this : see Title #3-149)
(got : colloquial for 'have')
(28)
42 3AB P/29
TITLE
REESE (cont'd) 3-173 1228.04 1231.10 3.06 REESE TO WALKER)

So I don't wanna step in anything, so.... So I don't wanna step in anything, so....
(step in anything : idiomatic for
WALKER 'involve myself in this matter' - 'take
(overlapping) (scoffs) part in this dispute' - implying 'take
action that might jeopardize my
REESE PUTS HIS HAND ON WALKER'S career')
SHOULDER.
REESE 3-174 1232.08 1236.10 4.02 REESE TO WALKER)

You want to skip me on this one, Dix. I'm You want to skip me on this one, Dix. I'm not
interested.
not interested. (want to skip me on this one : i.e.,
'should exclude me from this petition')
WALKER (Dix : short for 'Dixie' - Walker's
Yeah? What if they decide to put him at nickname)
shortstop?
3-175 1236.14 1240.00/ 3.02 WALKER TO REESE,
BRAGAN THEN BRAGAN TO REESE)
Exactly. -Yeah? What if they decide to put him at
1240-02 shortstop?
-Exactly.
(What : i.e., 'What will you do')
SCENE 127 - MCS - PAST WALKER TO (they : i.e., 'Durocher and Rickey')
REESE. HIGBE ENTERS IN L.FG. AS (him : i.e., 'Jackie')
REESE PUTS HIS ARM AROUND WALKER. (shortstop : i.e., 'shortstop instead of
you' - see Title #1-82)
HIGBE
That's right, Pee Wee.
3-176 /1240.04 1241.15 1.11 HIGBE TO REESE)
WALKER That's right, Pee Wee.
(overlapping) Yeah.
REESE 3-177 1242.03 1247.09 5.06 REESE TO MEN)

(overlapping) (chuckles) Well, I figure if he's Well, I figure if he's man enough to take my
job, he deserves it.
man enough to take my job... (figure : i.e., 'suppose' - 'believe')
(man enough : idiomatic for 'brave
WALKER enough' - 'skilled enough' - i.e.,
(scoffing) (sighs - continues under 'shows enough determination and
skill')
following dialogue)
REESE
...he deserves it.
HIGBE 3-178 1247.13 1249.13 2.00 HIGBE TO REESE)

Ah, the hell he does! Ah, the hell he does!
(the hell he does : mildly vulgar
WALKER slang for 'he certainly does not')
No. He does not have the ice water in his
veins to play big league baseball, and you 3-179 1250.01 1255.04 5.03 WALKER TO REESE)
He does not have the ice water in his veins
know it. to play big league baseball, and you know it.
(the ice water in his veins : idiomatic
for 'the ability to perform well under
pressure' - i.e., 'the composure' - 'the
mental and physical toughness')
(29)
42 3AB P/30
TITLE
BRAGAN 3-180 1255.08 1258.09 3.01 BRAGAN TO REESE,

(off) That's right. THEN REESE TO MEN)
-That's right.
REESE -So let him show what he's got.
(overlapping) So let him show what he's (what he's got : i.e., 'what he is and
isn't capable of doing' - 'his skill as a
got. Robinson can either play or he can't. baseball player')
It'll all take care of itself.

1265-15 3-181 1258.13 1262.11 3.14 REESE TO MEN)
Robinson can either play or he can't.

FIELD- DAY - MS - PAST JACKIE (LEGS) TO 3-182 1262.15 1265.10/ 2.11 REESE TO MEN)
SUKEFORTH (LEGS). JACKIE PUTS HIS It'll all take care of itself.
RIGHT FOOT ON THE BAG AS HE (i.e., 'Whatever is destined to happen
CATCHES A BALL. will happen.')
(Sukeforth continues to coach Jackie)
SUKEFORTH
(face off) It's gonna cut you off, Jack. So
3-183 /1266.01 1268.02 2.01 SUKEFORTH TO JACKIE)
right foot on the bag when it comes. There It's gonna cut you off, Jack.
(It's gonna cut you off : i.e., 'The angle
you... of the ball will be hard for you to catch
1271-07 if you're standing a certain way')
SCENE 129 - MCS - JACKIE TOSSES THE 3-184 1268.06 1271.05/ 2.15 SUKEFORTH TO JACKIE)
BALL L. CAMERA PANS R. AND TILTS So right foot on the bag when it comes.
DOWN TO SUKEFORTH. (So : i.e., 'So put your')
(bag : field marker - any one of the
SUKEFORTH four corners of the diamond-shaped
(off) ...go. That's nice, (on) Jackie. Nice, infield that a batter must touch in
order to score a run - i.e., 'base')
Jackie. Pop that foot off. (it comes : i.e., 'the ball comes
1276-08 toward you' - 'you catch the ball')
(Jackie puts his right foot on the bag)

(LEGS) TO JACKIE (LEGS). JACKIE WALKS 3-185 /1271.09 1276.05/ 4.12 SUKEFORTH TO JACKIE)
FG. There you go. That's nice, Jackie. Nice,
Jackie. Pop that foot off.
SUKEFORTH (Pop that foot off : i.e., 'Quickly take
(face off) When that ball comes, that right your foot off the base after you have
caught the ball')
foot, just... (Jackie catches the ball, then takes
1279-06 his right foot off the bag)
SCENE 131 - MCS - PAST SUKEFORTH TO 3-186 1276.14 1281.09/ 4.11 SUKEFORTH TO JACKIE)
JACKIE. When that ball comes, that right foot, just
pop that.
SUKEFORTH
...pop-pop that. (stammers)
1281-11
(30)
42 3AB P/31
TITLE

(LEGS) TO JACKIE (LEGS). SUKEFORTH
MOVES L.
SUKEFORTH 3-187 /1281.13 1285.01/ 3.04 SUKEFORTH TO JACKIE)

(face off) Pop! Pop that-- Don't leave that Pop that-- Don't leave that foot on there.
(Don't...there : Referring to the fact
foot on there. that the base runner will likely step on
1285-04 or trip over Jackie's foot if he leaves it
on the base [and possibly injuring
Jackie's foot])
SCENE 133 - INT. TIVOLI (In the middle of the night, Durocher
HOTEL/DUROCHER'S ROOM - NIGHT - lies awake in his hotel room with a
MFS - DUROCHER, LYING ON HIS BED telephone atop his stomach. The
WITH A TELEPHONE ON HIS STOMACH. telephone rings and he answers it)
CAMERA DOLLIES IN AS THE
TELEPHONE RINGS AND HE ANSWERS
IT. CAMERA CONTINUES DOLLYING IN TO
A HIGH ANGLE MS. OF DUROCHER.

(inhales) (sighs) (into telephone) Yes, Mr. Rickey.
Yes, Mr. Rickey.
RICKEY 3-189 1298.03 1302.14 4.11 RICKEY OVER PHONE TO DUROCHER)

(over telephone) Have our friends in the ITAL Have our friends in the press gone to sleep
yet?
press gone to sleep yet? (Implying that he is about to ask
Durocher to take action on something
DUROCHER that he does not want the press to
(into telephone) We are the only people learn about)
awake on this entire isthmus, Mr. Rickey.

3-190 1303.02 1308.10 5.08 DUROCHER INTO PHONE TO RICKEY)
RICKEY We are the only people awake on this entire
(over telephone) About this, uh, petition, isthmus, Mr. Rickey.
(isthmus : a narrow strip of land that
Leo. I think a deliberate violation... joins two larger areas of land - note
1317-06 that Panama is an isthmus)
SCENE 134 - INT. TIVOLI HOTEL/RICKEY'S 3-191 1308.14 1313.10 4.12 RICKEY OVER PHONE TO DUROCHER)
BEDROOM - NIGHT - MCS - RICKEY, ITAL About this petition, Leo.
SEATED ON HIS BED. (Rickey sits on his bed)
RICKEY
(into telephone) ...of the law deserves a 3-192 1314.11 1322.05 7.10 RICKEY INTO PHONE TO DUROCHER)
(over scene end) I think a deliberate violation of the law
little show of force. deserves...
(the law : referring both to the law
against segregation in sports and
also to an unwritten law or code of
conduct between baseball players to
treat their fellow players respectfully -
note that refusal to play with another
player would also go against a
player's contract)
3-193 1323.01 1327.07 4.06 RICKEY INTO PHONE TO DUROCHER)

(over scene end) ...a little show of force.
(Implying that Durocher should firmly
and forcefully impose his authority
upon the Dodgers players in order to
put a stop to the petition)
(31)
42 3AB P/32
TITLE
RICKEY (cont'd) 3-194 1328.06 1332.03 3.13 RICKEY INTO PHONE TO DUROCHER)
I leave it to you, Leo. Good night. I leave it to you, Leo.
1335-04

SCENE 135 - INT. TIVOLI Good night.
HOTEL/DUROCHER'S ROOM - NIGHT - MS
- HIGH ANGLE - DUROCHER, AS CAMERA
DOLLIES IN.

(into telephone) Good night, Mr. Rickey. Good night, Mr. Rickey.
(Later that night, the Dodgers players
DUROCHER HANGS UP THE PHONE, and coaches are assembled in the
THEN SQUASHES A FLY BETWEEN HIS hotel kitchen. Higbe stands with
HANDS. Sukeforth and Furillo)
1347-03
SCENE 136 - INT. TIVOLI HOTEL/KITCHEN

- NIGHT - MS - PAST SUKEFORTH TO
FURILLO AND HIGBE, WITH SEVERAL
MORE DODGERS IN BG.
MEN
(overlapping low and indistinct chatter -
dialogue)
HIGBE 3-197 /1347.05 1349.12 2.07 HIGBE TO SUKEFORTH)

So what are we doin' here in the middle of So what are we doin' here in the middle of
the night?
the night?
SUKEFORTH 3-198 1350.00 1353.10 3.10 SUKEFORTH TO HIGBE)

Leo... (over scene end) Leo said to get everybody together, and
1350-14 that's what I did.
(get everybody together : i.e.,
'assemble the Dodgers employees
SCENE 137 - MCS - PAST HIGBE AND here')
FURILLO TO SUKEFORTH.
SUKEFORTH
...said to get everybody together and that's
what I did.
FURILLO 3-199 1353.14 1356.01 2.03 FURILLO TO SUKEFORTH,

(overlapping) I was sleeping good, coach. THEN HIGBE TO SUKEFORTH)
-I was sleeping good, coach.
HIGBE -Down in the kitchen?
Down in the kitchen? (sleeping good : i.e., having a
pleasant sleep')
DUROCHER ENTERS IN BG., GRABS A (Down : i.e., 'Why would Durocher
SOUP POT AND BANGS IT LOUDLY want to see us')
(Down in the kitchen : Note
SUKEFORTH implication that Durocher chose such
You're gonna hear what-- a time and place for the meeting so
that the press would not be aware of
DUROCHER it)
(overlapping) Wake up... (Durocher enters, grabs a soup pot
1357-03 and bangs it loudly)
(32)
42 3AB P/33
TITLE
SCENE 138 - MS - PAST SUKEFORTH TO

FURILLO AND HIGBE AND THE OTHERS.

(off) ...now, ladies! (over scene end) Wake up now, ladies! Wake up!
1358-15 (ladies : used here derisively to refer
to the men)
(Durocher flings the pot into a shelf
SCENE 139 - MS - PAST HIGBE AND and several items clatter to the floor)
SUKEFORTH TO DUROCHER. CAMERA
DOLLIES IN AND TILTS DOWN AS HE
REACHES R. FOR ANOTHER POT.
DUROCHER
Wake up!
1360-14
SCENE 140 - FS - PAST THE PLAYERS

AND SUKEFORTH TO DUROCHER, WHO
FLINGS THE POT INTO A SHELF,
SENDING SEVERAL ITEMS CRASHING TO
THE FLOOR.
1363-10
SCENE 141 - MCS - PAST WALKER TO

BRANCA.
1365-15

It has come to my attention that some of It has come to my attention that some of you
fellas don't wanna play with Robinson.
you fellas don't wanna play with Robinson. (fellas : see Title #1-132)
1377-02

1379-09
SCENE 144 - MS - PAST DUROCHER TO

HIGBE AND OTHERS. CAMERA PANS
SLIGHTLY R.

That you've even got a petition you've drawn That you've even got a petition you've drawn
up and you're all going to sign.
up and you're all going to sign. Well, boys, (drawn up : i.e., 'prepared' - 'written')
you know what...

1392-09 3-203 1390.15 1394.00 3.01 DUROCHER TO MEN)
(over scene end) Well, boys, you know what you can do with
your petition.
(33)
42 3AB P/34
TITLE
SCENE 145 - MCS - DUROCHER, WITH

WALKER AND OTHERS IN BG.

...you can do with your petition. You can You can wipe your asses with it.
(Used here as a vulgar expression of
wipe your asses with it. dismissal, implying that the petition is
as worthless and as filled with crap
WALKER [vulgar slang for both 'excrement' and
Oh, come on, Leo. 'nonsense'] as toilet paper - Note that
1398-03 'asses' is vulgar slang for 'anuses')
SCENE 146 - MCS - DUROCHER. 3-205 1396.12 1400.00/ 3.04 WALKER TO DUROCHER,
(over scene end) THEN DUROCHER TO WALKER)
DUROCHER -Oh, come on, Leo.
Come on, what?! -Come on, what?!
1400-03 (come on : idiomatic expression of
protest, here used to be 'be
reasonable' - 'don't be so angry')
SCENE 147 - MCS - PAST WALKER TO (Come on, what : i.e., 'Why should I
BRANCA AS CAMERA DOLLIES IN ON be reasonable [when you have all
WALKER. behaved so abominably]' - 'Why
shouldn't I be angry')
WALKER
Ballplayers gotta live together, shower
3-206 /1400.08 1405.15 5.07 WALKER TO DUROCHER)
together. You know, it ain't fair to force him Ballplayers gotta live together, shower
together.
on us like this. Besides, I got a hardware
store back home... 3-207 1406.03 1409.03 3.00 WALKER TO DUROCHER)

1412-02 You know, it ain't fair to force him on us like
this.
(ain't : informal contraction of 'is not')
SCENE 148 - MCS - DUROCHER WALKS (force him on us : i.e., 'force us to
L. TO WALKER AS CAMERA PANS WITH socialize with him')
HIM.
WALKER 3-208 1409.07 1412.00/ 2.09 WALKER TO DUROCHER)

(off) ...and I-- Besides, I got a hardware store back home--
(back home : i.e., 'in my hometown')
DUROCHER (I...home : implying that when
(overlapping) Screw your hardware store, Walker's customers find out that he
has played baseball with a black
Dix! And if you don't like it, screw you. Mr. player they might no longer do
business with him)
Rickey will be happy to make other
arrangements for you. 3-209 /1412.04 1418.14 6.10 DUROCHER TO WALKER)

1424-01 Screw your hardware store, Dix! And if you
don't like it, screw you.
(Screw : Mildly vulgar slang
SCENE 149 - MCS - PAST DUROCHER TO dismissal)
WALKER. DUROCHER TURNS FG.
1428-09
3-210 1419.02 1423.15/ 4.13 DUROCHER TO WALKER)
Mr. Rickey will be happy to make other
SCENE 150 - MCS - PAST DUROCHER TO arrangements for you.
HIGBE. (Implying that Rickey will readily trade
1431-15 him to another team)
(Durocher walks over to Higbe)
(34)
42 3AB P/35
TITLE
SCENE 151 - MCS - PAST DUROCHER TO

WALKER. DUROCHER WALKS FG. AS
CAMERA TRACKS BACK WITH HIM TO
INCLUDE HIGBE IN L.FG.

Now, I don't care if he is yellow, or black, or Now, I don't care if he is yellow, or black...
(he : Jackie)
has stripes like a zebra. (For this Title and the next :
1443-11 Hyperbolically implying it doesn't
matter what Jackie looks like)
SCENE 152 - MCS - PAST WALKER TO

DUROCHER AND HIGBE. DUROCHER 3-212 1440.08 1443.09/ 3.01 DUROCHER TO MEN)
WALKS L. AS CAMERA PANS WITH HIM. ...or has stripes like a zebra.
HE GESTURES ANGRILY.

If Robinson can help us win, and everything If Robinson can help us win, and everything I
have seen says he can...
I have seen says he can, then he is gonna (everything...says : i.e., 'his skill as a
baseball player is apparent')
play on this ball club! Like it, lump it, make
your minds up to it, because he's comin'! 3-214 1453.02 1458.05 5.03 DUROCHER TO MEN)
1466-05 ...then he is gonna play on this ball club!
SCENE 153 - MCS - REESE. 3-215 1458.09 1466.03/ 7.10 DUROCHER TO MEN)
1469-01 Like it, lump it, make your minds up to it,
because he's comin'!
(lump it : slang term meaning to
SCENE 154 - MCS - STANKY. endure something unpleasant that
1471-13 cannot be changed)
(make up your minds to it : idiomatic
for 'accept it')

(inhales sharply) And think about this when And think about this when your heads hit the
pillows tonight.
your heads hit the pillows tonight. He's only (your heads hit the pillows : idiomatic
for 'you go to sleep')
the first, boys.
1485-12
3-217 1483.03 1485.10/ 2.07 DUROCHER TO MEN)
He's only the first, boys.
SCENE 156 - MCS - PAST WALKER TO (first : i.e., 'first black Dodger')
BRANCA.

(off) Only the first. Only the first.
1490-00
(35)
42 3AB P/36
TITLE

There're more comin' right behind him There're more comin' right behind him every
day...
every day and they have got talent and they (There're : There are)
(more...him : i.e., 'more aspiring
(emphasizing) wanna play. black baseball players emerging')
1499-14
3-220 1494.14 1499.12/ 4.14 DUROCHER TO MEN)

SCENE 158 - MCS - PAST BRAGAN TO ...and they have got talent and they wanna
REESE. play.
(wanna play : implying 'enjoy playing
DUROCHER baseball and do not have the negative
(off) Oh, yeah, they are gonna come attitude that some of you white players
have')
scratchin' and divin'.
1505-07
3-221 1500.13 1505.05/ 4.08 DUROCHER TO MEN)
Oh, yeah, they are gonna come scratchin'
SCENE 159 - MCS - PAST TWO PLAYERS and divin'.
TO DUROCHER, WHO WALKS R. TO (scratchin' and divin' : scratching and
HIGBE AS CAMERA TRACKS WITH HIM. diving - i.e., 'play with energy,
determination and ambition' - note
DUROCHER allusion to the action of making a
So I would forget your petition and worry defensive play at all costs)
about the field, because unless you fellas...

3-222 /1505.09 1510.06 4.13 DUROCHER TO MEN)
DUROCHER MOVES L. AS CAMERA So I would forget your petition and worry
TRACKS WITH HIM. about the field...
(forget : i.e., 'disregard' - 'dispose of')
DUROCHER (cont'd) (the field : i.e., 'your performances
...pay a (face off) little (on) more attention to out on the baseball field')
your work, they're gonna run you right outta

3-223 1510.10 1515.11 5.01 DUROCHER TO MEN)
the ball park! ...because unless you fellas pay a little more
1521-01 attention to your work...
(For this Title and the next : i.e., '...you
will quickly be replaced by the eager
SCENE 160 - MCS - HIGBE, WITH OTHERS new black baseball players!')
IN BG.
1525-10
3-224 1515.15 1520.02 4.03 DUROCHER TO MEN)
...they're gonna run you right outta the ball
SCENE 161 - INT. TIVOLI HOTEL/RICKEY'S park!
OFFICE - DAY - MS - BRAGAN. (Bobby Bragan meets with Rickey in
his office)
RICKEY
(off) Bragan, most of your teammates have
3-225 1526.05 1530.14/ 4.09 RICKEY TO BRAGAN)
already, uh-... Bragan, most of your teammates have
1531-00 already...
(36)
42 3AB P/37
TITLE
SCENE 162 - MS - RICKEY, SEATED

BEHIND HIS DESK.
RICKEY 3-226 /1531.02 1536.12 5.10 RICKEY TO BRAGAN)

...-uh, recanted on this (stammers) petition ...recanted on this petition nonsense.
(recanted on : i.e., 'withdrawn their
nonsense. Are you really here to tell me you support for')
don't wanna play with Robinson?

1542-00 3-227 1537.00 1541.14/ 4.14 RICKEY TO BRAGAN)
Are you really here to tell me you don't wanna
play with Robinson?
SCENE 163 - MFS - PAST RICKEY TO
BRAGAN.
BRAGAN 3-228 /1542.06 1544.08 2.02 BRAGAN TO RICKEY)

Yes, sir. My friends back in Birmingham Yes, sir.
would never forgive me.

1548-07 3-229 1544.13 1548.05/ 3.08 BRAGAN TO RICKEY)
My friends back in Birmingham would never
forgive me.
SCENE 164 - MS - RICKEY. (Birmingham : a city in Alabama
where, in the 1940s, racial
RICKEY segregation was strictly enforced -
Well, what about your friends in Brooklyn? note that in the 1950s and 1960s,
1551-07 Birmingham received national and
international attention as a center of
the civil rights struggle for African
SCENE 165 - MS - BRAGAN. Americans)
BRAGAN
I don't know. 3-230 /1548.09 1551.05/ 2.12 RICKEY TO BRAGAN)
1555-02 Well, what about your friends in Brooklyn?
(Note double meaning : [1] Referring
to his teammates and how they
SCENE 166 - MS - RICKEY. depend on him as a player, and [2]
Implying the friends he's made in
RICKEY Brooklyn are more open-minded than
Mm. Then I will accommodate you. As long those back home)
as you give me your word that you will do

3-231 1552.02 1554.03 2.01 BRAGAN TO RICKEY)
your very best for this team... I don't know.
1569-01
3-232 1558.14 1562.07 3.09 RICKEY TO BRAGAN)

SCENE 167 - MFS - PAST RICKEY TO Then I will accommodate you.
BRAGAN. (accommodate you : i.e., 'agree that
you do not have to play with Jackie')
RICKEY
...until I can work out a trade.
3-233 1563.03 1568.15/ 5.12 RICKEY TO BRAGAN)
As long as you give me your word that you
will do your very best for this team...
(give me your word : i.e., 'promise
me')
(do your very best : i.e., 'work hard')
3-234 1569.09 1572.05 2.12 RICKEY TO BRAGAN)

...until I can work out a trade.
(work out a trade : i.e., 'negotiate your
trade to another team')
(37)
42 3AB P/38
TITLE
BRAGAN 3-235 1572.09 1577.05/ 4.12 BRAGAN TO RICKEY)

(overlapping) Wait, d-do you think I would Do you think I would quit on anyone? I don't
quit, sir.
quit on anyone? I don't quit, sir. (quit on : i.e., 'abandon' - 'stop
1577-07 working hard for')
RICKEY 3-236 /1577.09 1581.07/ 3.14 RICKEY TO BRAGAN)

Only on yourself, apparently. Only on yourself, apparently.
1581-09 (Implying that Bragan has only injured
himself and his career by being
racist)
SCENE 169 - MS - BRAGAN.
1584-09

(38)
42 4AB P/1
TITLE

IN ACADEMY LEADER.
11-15 66.01 = 1ST SCENE END
SCENE 1 - EXT. PENN STATION - NIGHT -

FS - LOW ANGLE - A LARGE AMERICAN
FLAG AS CAMERA TILTS DOWN TO THE
BUSY ENTRANCE.
PEOPLE OUTSIDE PENN STATION

dialogue)
LETTERING ON THE ENTRANCE AWNING

READS: 4-1 17.14 21.13 3.15 NARRATIVE TITLE) (of sign)
TO TRAINS TO TRAINS
CAMERA CONTINUES TILTING DOWN TO (Jackie exits Penn Station and

INCLUDE JACKIE AS HE WALKS FG. AND searches for a taxi)
GESTURES AS CAMERA TRACKS BACK
WITH HIM.
JACKIE 4-2 24.00 26.01 2.01 JACKIE) (calling)

Taxi! Taxi!
CAMERA CONTINUES TRACKING BACK

TO INCLUDE SMITH, L.FG.

Hey, Jack. Hey, Jack.
(Jackie crosses the street to Smith)
MAN OUTSIDE PENN STATION
(off) Hey, taxi!
JACKIE STEPS FG. INTO A MS. AS

CAMERA SETTLES.

You again. You again.
(Idiomatic expression of
SMITH disappointment at seeing someone
That's right. Me again. There something again)
wrong with that, Jack?

4-5 40.14 44.04 3.06 SMITH TO JACKIE)
WOMAN OUTSIDE PENN STATION That's right. Me again.
(off) Catch that cab!
JACKIE 4-6 46.00 48.14 2.14 SMITH TO JACKIE)

Where's the car? There something wrong with that, Jack?
(There : i.e., 'Is there')
4-7 50.00 52.04 2.04 JACKIE TO SMITH)

Where's the car?
(the : i.e., 'your')
(1)
42 4AB P/2
TITLE

Right this way. Right this way.
(Smith drives Jackie through New
SMITH EXITS L.FG. JACKIE FOLLOWS, York. Jackie looks out the windshield,
EXITING. fascinated by all the buildings they're
66-01 passing. They pass a movie theater
with a large marquee)
SCENE 2 - EXT. NEW YORK STREET -

NIGHT - LS - LOW ANGLE - THE
BUILDINGS OF NEW YORK AS CAMERA
TRACKS BACK. A NEON SIGN OVER A
MARQUEE READS: 4-9 /66.04 68.11 2.07 NARRATIVE TITLE) (of marquee)
NEW YORKER NEW YORKER
CAMERA TILTS DOWN TO REVEAL JACKIE (Landmark movie theater located on

AND SMITH DRIVING FG. IN SMITH'S the Upper West Side in Manhattan,
BUICK IN A MCS. JACKIE GLANCES which fell into ruin and was
ABOUT. demolished in the late 1970s)
79-01 (Smith tries to engage Jackie in
conversation)
SCENE 3 - INT. SMITH'S BUICK - NIGHT -

MS - PAST SMITH TO JACKIE.

Uh. they can't keep you in Montreal for long. They can't keep you in Montreal for long.
(Montreal : see Title #1-139)
After these exhibition games, they're gonna
have to bring you up. 4-11 85.02 89.09 4.07 SMITH TO JACKIE)
95-09 After these exhibition games, they're gonna
have to bring you up.
(exhibition games : sports contest
SCENE 4 - MS - PAST JACKIE TO SMITH. played purely as a display of skill and
an entertainment for spectators,
SMITH having no bearing on team or
Uh, you don't have two words to rub individual standings)
(bring you up : i.e., 'promote you to a
together, do you? position on the Dodgers')
CAMERA RACKS FOCUS TO JACKIE IN A

MCS. 4-12 98.12 102.12 4.00 SMITH TO JACKIE)
107-03 You don't have two words to rub together, do
you?
(you...together : humorous for 'you
SCENE 5 - MS - PAST SMITH TO JACKIE don't have much to say' - 'you are not
AS HE TURNS ON THE RADIO. SMITH very talkative' - note humorous
TURNS IT OFF. alteration of the idiomatic expression
118-08 'don't have two pennies to rub
together,' meaning someone is
extremely poor)
121-04
(2)
42 4AB P/3
TITLE

You ever wonder why I sit down behind You ever wonder why I sit down behind third
base with my typewriter on my knees?
third base with my typewriter on my knees?
Does that ever cross your mind? 4-14 131.07 134.02 2.11 SMITH TO JACKIE)
134-09 Does that ever cross your mind?
(Idiomatic for 'Do you ever think about
that?')
SCENE 8 - MCS - JACKIE, GLANCING
ABOUT, CONTINUED UNDER
FOLLOWING SCENES.
138-10

It's because Negro reporters aren't allowed It's because Negro reporters aren't allowed
in the press box.
in the press box. (press box : section in a sports
146-00 stadium or similar venue kept
exclusively for journalists to work in)

(off) So guess what? So guess what?
151-02

You, Mr. Robinson, are not the only one You, Mr. Robinson, are not the only one with
something at stake here.
with something at stake here. (with something at stake here : i.e.,
157-02 'with something to prove' - 'who wants
to see this sport [and this nation]
progress')
SCENE 12 - MCS - JACKIE AS O.S. SMITH (Smith stops the car)
BRINGS THE CAR TO A STOP.

(sighs) I apologize. I apologize.
167-03
SCENE 13 - MCS - SMITH REMOVES HIS

GLASSES.
169-15

You've been there for me through this more You've been there for me through this...
(there for me : i.e., 'supporting me')
than anyone besides Rae and Mr. Rickey.
181-06
4-20 176.11 181.04/ 4.09 JACKIE TO SMITH)
...more than anyone besides Rae and Mr.
Rickey.
(3)
42 4AB P/4
TITLE

184-11
JACKIE 4-21 /184.14 187.11/ 2.13 JACKIE TO SMITH)

But I guess that's what bothers me. But I guess that's what bothers me.
(exhales through nose - continues under

187-13

How do you mean? How do you mean?
191-14 (How : i.e., 'What')

I don't like needing someone to be there for I don't like needing someone to be there for
me.
me. I don't like needing anyone for (For this Title through Title #4-25 :
Note implication that Jackie equates
anything. I never have. needing another person with being
210-11 too dependent on another person and
not being self-sufficient enough)

4-24 201.08 205.03 3.11 JACKIE TO SMITH)
SMITH I don't like needing anyone for anything.
You a hard case, Jack Robinson.
216-07
4-25 206.14 209.00 2.02 JACKIE TO SMITH)
I never have.
221-03
4-26 212.02 215.05 3.03 SMITH TO JACKIE)
You a hard case, Jack Robinson.
SCENE 21 - MCS - SMITH. (You : Colloquial for 'You are')
(hard case : person who is rough,
SMITH tough, and ruthless - here used
Hey, is it okay if I keep driving you, or affectionately)
should I let you get out so you can walk?

230-14 4-27 222.10 224.04 1.10 SMITH TO JACKIE)
Hey.

236-00 4-28 225.05 230.13/ 5.08 SMITH TO JACKIE)
Is it okay if I keep driving you, or should I let
you get out so you can walk?
SCENE 23 - MCS - SMITH. (Note humorous allusion to Jackie
"needing" a ride from Smith)
SMITH (Jackie smiles. Rickey reads an
Huh? excerpt from the New York Sun to
238-09 Parrott, who sits across the desk from
him)
(4)
42 4AB P/5
TITLE
SCENE 24 - MCS - JACKIE SMILES AND

GESTURES FOR SMITH TO RESUME
DRIVING.
245-11
SMITH
(chuckles)
247-13
JACKIE
(chuckles)
252-04
SCENE 27 - EXT. BRANCH RICKEY'S

OFFICE - DAY - LS - LOW ANGLE - THE
CORNER OF THE EXTERIOR OF THE
BUILDING AS CAMERA TRACKS L. AND
ZOOMS IN SLIGHTLY.
RICKEY 4-29 255.09 261.01/ 5.08 RICKEY TO PARROTT) (reading)

(voice over) (reading) "Branch Rickey (over scene end) "Branch Rickey cannot afford to upset team
chemistry...
cannot afford... (chemistry : spontaneous reaction of
257-11 individuals to each other, especially a
mutual sense of attraction or
understanding)
OFFICE - DAY - MCS - RICKEY, SEATED AT
HIS DESK, READING FROM A
NEWSPAPER, CONTINUED UNDER
FOLLOWING SCENES.
RICKEY
(reading) ...to upset team chemistry...
261-02
SCENE 29 - MCS - PARROT, SEATED

ACROSS FROM RICKEY, LISTENING,
CONTINUED UNDER FOLLOWING
SCENES.
RICKEY 4-30 262.04 267.01 4.13 RICKEY TO PARROTT) (reading)

(off) (reading) ...so the only thing keeping (over scene end) ...so the only thing keeping Robinson off the
Dodgers now, plainly...
Robinson...
264-14
SCENE 30 - MFS - PAST PARROT TO

RICKEY.

(reading) ...off the Dodgers now, plainly, is (over scene end) ...is the attitude of the players.
the attitude of the...

268-12
(5)
42 4AB P/6
TITLE
SCENE 31 - MCS - PARROT.

(off) (reading) ...players. If it softens at the (over scene end) If it softens at the sight of Jackie's skills...
(it softens : i.e., 'the players' attitudes
sight... become positive')
272-03

(reading) ...of Jackie's skills, he'll join the ...he'll join the club sometime between April
10th and April 15th.
club sometime between April tenth and
April fifteenth. Otherwise... 4-34 281.00 287.02/ 6.02 RICKEY TO PARROTT) (reading)
Otherwise, Robinson will spend the year
RICKEY LOWERS THE NEWSPAPER. back in Montreal."
(Rickey slams the newspaper down
RICKEY (cont'd) on his desk)
(in normal voice) ...Robinson will spend the
year back in Montreal."
RICKEY RAISES THE NEWSPAPER UP.

287-03
SCENE 33 - MCS - PAST RICKEY (HAND)

TO PARROT AS RICKEY TOSSES THE
NEWSPAPER ONTO THE DESK IN
ANNOYANCE. RICKEY EXITS R.
RICKEY 4-35 288.04 291.01/ 2.13 RICKEY) (exclaiming)

(off) Oh, for the love of Pete. Oh, for the love of Pete.
291-03 (Idiomatic expression of frustration)
(The telephone rings)
SCENE 34 - MCS - RICKEY, GESTURING,

AS THE TELEPHONE RINGS AT HIS
RECEPTIONIST'S DESK, CONTINUED
RICKEY 4-36 291.11 296.14/ 5.03 RICKEY TO PARROTT)

He batted six-twenty-five in the exhibition He batted .625 in the exhibition games
against them.
games against them. (He batted .625 : i.e., 'His batting
296-15 average was .625')
(them : i.e., 'the Dodgers')
SCENE 35 - MCS - PAST RICKEY (HAND),

ENTERING LOWER R.FG., TO PARROT.
RICKEY 4-37 /297.02 299.03 2.01 RICKEY TO PARROTT)

Us, them-- (face off) Against... Us, them--
300-04 (Us : Note that Rickey corrects the
pronoun as he himself is part of the
Dodgers organization - Also note
pointed allusion to the "us and them"
mentality prevalent in the Dodgers
organization regarding the addition of
Jackie to the team)
(6)
42 4AB P/7
TITLE
RICKEY 4-38 299.07 301.14 2.07 RICKEY TO PARROTT)

...us! Judas Priest! (over scene end) Against us!
304-13
4-39 302.03 304.11/ 2.08 RICKEY) (exclaiming)

SCENE 37 - MCS - PARROT, GLANCING Judas Priest!
ABOUT. (Idiomatic interjection of anger - Note
a euphemism for 'Jesus Christ!')
RICKEY (The telephone continues to ring)
(off) (sighs) Jane Ann, are you out there?
309-00
4-40 306.14 308.15/ 2.01 RICKEY TO JANE ANN)
Jane Ann, are you out there?
SCENE 38 - MCS - RICKEY ANSWERS (Jane Ann : Name of Rickey's
THE TELEPHONE. receptionist)
(There is no response so Rickey
RICKEY picks up the receiver)
(low) (grunts) (in normal voice) (into
telephone) Branch Rickey. Yes, um, this is 4-41 316.01 318.01 2.00 RICKEY INTO PHONE TO PERSON)
Branch Rickey.
him. (smacks lips) The commissioner...
326-11
4-42 319.10 323.04 3.10 RICKEY INTO PHONE TO PERSON)
Yes, this is him.
SCENE 39 - MCS - PARROT. (him : colloquial for 'he')
RICKEY
(off) (into telephone) ...of what? 4-43 325.14 328.12 2.14 RICKEY INTO PHONE TO PERSON)
329-13 (over scene end) The commissioner of what?
(i.e., 'Who wants to talk to me?' - 'The
commissioner of what organization
SCENE 40 - MCS - RICKEY. wants to talk to me?' - Note that a
commissioner is the administrative
RICKEY head of a sport)
(into telephone) Uh, yes, put him through.
(whispering) (to Parrott) The 4-44 330.12 332.13 2.01 RICKEY INTO PHONE TO PERSON)
Yes, put him through.
Commissioner of Baseball. (put him through : i.e., 'connect his
336-12 call') (Rickey covers the mouthpiece)
SCENE 41 - INT. COMMISSIONER'S 4-45 333.01 335.14 2.13 RICKEY TO PARROTT)

OFFICE - DAY - MFS - HIGH ANGLE - PAST The Commissioner of Baseball.
A MANICURIST, SEATED, TO HAPPY, (Commissioner of Baseball :
SEATED AT HIS DESK RECEIVING A Commissioner of Major League
MANICURE, CONTINUED UNDER Baseball - Chief executive of Major
FOLLOWING SCENES. League Baseball and its associated
Minor Leagues)
HAPPY (Happy Chandler, the commissioner
(into telephone) Branch. (chuckles) How of baseball, gets a manicure while
talking on the telephone)
are ya?
4-46 337.05 339.15 2.10 HAPPY INTO PHONE TO RICKEY)

Branch. How are ya?
(7)
42 4AB P/8
TITLE
RICKEY 4-47 340.03 343.10 3.07 RICKEY OVER PHONE TO HAPPY)

(over telephone) Good, Happy. What can I ITAL Good, Happy. What can I do for ya?
(Happy : Albert Benjamin "Happy"
do for ya? Chandler, Sr., the Commissioner of
Major League Baseball from 1945 to
HAPPY 1951)
(into telephone) How'd you feel about
losing Durocher for the year, Branch? 4-48 343.14 348.07/ 4.09 HAPPY INTO PHONE TO RICKEY)
348-08 How'd you feel about losing Durocher for the
year, Branch?
(How'd : How would)
INT. BRANCH RICKEY'S OFFICE - DAY - (Rickey reacts)
MFS - PAST PARROT TO RICKEY AS
CAMERA SLOWLY TRACKS IN.
RICKEY 4-49 350.09 357.10 7.01 RICKEY INTO PHONE TO HAPPY)

(into telephone) Um, I'm sorry, Happy, I'm sorry, Happy, I thought you said lose
Durocher for a year.
(chuckles) (chuckling) I (in normal voice)
thought you said lose Durocher for a
(chuckling) year.
HAPPY 4-50 358.03 360.04/ 2.01 HAPPY OVER PHONE TO RICKEY)

(over telephone) I got a notice today... ITAL I got a notice today...
360-05
SCENE 42 - INT. COMMISSIONER'S

OFFICE - DAY - MFS - PAST THE
MANICURIST TO HAPPY AS CAMERA
SLOWLY TRACKS IN.
HAPPY 4-51 /360.08 367.15 7.07 HAPPY INTO PHONE TO RICKEY)

(into telephone) ...from the Catholic Youth ...from the Catholic Youth Organization vowin'
a ban on baseball...
Organization vowin' a ban on baseball if (Catholic Youth Organization :
organization for young Catholics
Durocher wasn't punished for his moral initiated by Bishop Bernard J. Sheil of
Chicago in 1930 - in the U.S., CYO is
looseness. mainly known for its organized sports
372-12 programs, notably boxing, basketball,
baseball, track and field, and
volleyball, as well as marching bands
- note that the Brooklyn chapter of the
CYO was very influential at the time)
(ban : refusal to deal with something
such as an organization, a company,
or a process, as a protest against it
and to force it to become more
acceptable)
4-52 368.03 372.11/ 4.08 HAPPY INTO PHONE TO RICKEY)

...if Durocher wasn't punished for his moral
looseness.
(moral looseness : referring to
Durocher's relationship with Laraine
Day, an actress married to Ray
Hendricks at the onset of her affair
with Durocher)
(8)
42 4AB P/9
TITLE
INT. BRANCH RICKEY'S OFFICE - DAY -

MFS - PAST PARROT TO RICKEY AS
CAMERA SLOWLY TRACKS IN.
RICKEY 4-53 374.09 376.10/ 2.01 RICKEY INTO PHONE TO HAPPY)

(into telephone) (scoffing) (chuckles) (in You're jokin'.
normal voice) You're jokin'.

376-11

OFFICE - DAY - MFS - PAST THE
MANICURIST TO HAPPY AS CAMERA
SLOWLY TRACKS IN. HAPPY TAKES HIS
HAND AWAY FROM THE MANICURIST AS
HE LEANS R. AND LIFTS UP A
NEWSPAPER FROM HIS DESK.
HAPPY 4-54 /376.14 380.15/ 4.01 HAPPY INTO PHONE TO RICKEY)

(into telephone) I wish I were, Branch, but I wish I were, but it's this business of this
actress out in California.
it's this business... (business : situation or event that is
381-00 characterized by difficulty, fuss, or
unpleasantness)
(Happy picks up a newspaper. There
SCENE 44 - MCS - HIGH ANGLE - HAPPY is a photograph of Durocher and
(HAND) AS HE LIFTS THE NEWSPAPER Laraine on the front page of the
FG. AN ARTICLE FEATURES A PHOTO OF Society section next to a headline)
DUROCHER HOLDING HANDS WITH AN
ACTRESS, AND THE ACCOMPANYING
SECTION HEADING AND HEADLINE
READS: 4-55 /381.03 385.02 3.15 NARRATIVE TITLE) (of newspaper)
Society LIP'S LOVE NEST

Durocher Exits Love Nest With Married
LIP'S LOVE NEST Actress
Durocher Exits Love Nest
With Married Actress (LIP : Durocher's nickname)
(LOVE NEST : place, such as a small
HAPPY apartment or secluded house, where
(face off) (into telephone) ...of this actress lovers can be together)
(Durocher Exits Love Nest With
out in California. She's recently divorced Married Actress : to appear in
ITALICS)
and Durocher's...
386-12
(over scene end) She's recently divorced and Durocher's the
SCENE 45 - MS - PAST THE MANICURIST cause.
(TORSO) TO HAPPY AS CAMERA SLOWLY (the cause : i.e., 'named as the
TRACKS L. AND PUSHES IN SLIGHTLY. reason the divorce occurred' - note
that Catholics forbid divorce)
HAPPY
(into telephone) ...the cause. They-They say
4-57 389.11 393.07/ 3.12 HAPPY INTO PHONE TO RICKEY)
they (chuckling) may (in normal voice) even They say they may even be illegally married.
(They : i.e., 'People in the know')
be illegally married. (they : i.e., 'Durocher and Laraine')
393-08
(9)
42 4AB P/10
TITLE

MFS - PAST PARROT TO RICKEY.
RICKEY 4-58 395.04 397.15/ 2.11 RICKEY INTO PHONE TO HAPPY)

(into telephone) (chuckles) Now, I know Now, I know you're joking.
you're joking.
398-00

OFFICE - DAY - MS - PAST THE
MANICURIST (LEGS AND HANDS) TO
HAPPY AS HE LEANS BACK IN HIS CHAIR
AND PLACES HIS HAND ON THE
MANICURIST'S KNEE. SHE RESUMES
THE MANICURE, CONTINUED UNDER
FOLLOWING SCENES. CAMERA SLOWLY
PUSHES IN.
HAPPY 4-59 /398.03 400.03 2.00 HAPPY INTO PHONE TO RICKEY)

(into telephone) I'm not. Thing of it is, I'm not.
Branch, this, um, this CYO, they, uh, they

buy a lot of seats, they draw a lot of water, Thing of it is, Branch...
(Thing of it is : i.e., 'What is especially
and I can't afford to ruffle their feathers. worrisome')
(chuckles) (chuckling) I'm s-I'm sorry, (in

normal voice) am I-am I mixing... ...this CYO, they buy a lot of seats, they draw
420-01 a lot of water...
(draw a lot of water : note double
meaning - [1] i.e., 'exert a lot of
SCENE 47 - INT. BRANCH RICKEY'S influence,' and [2] i.e., 'bring in a lot of
OFFICE - DAY - MS - PAST PARROT TO money to our sport')
RICKEY AS CAMERA TRACKS IN, OFF
PARROT. RICKEY LEANS FG.,
GESTURING. 4-62 412.08 416.08 4.00 HAPPY INTO PHONE TO RICKEY)
...and I can't afford to ruffle their feathers.
HAPPY (ruffle their feathers : idiomatic for
(over telephone) ...my metaphors, there? 'upset or agitate them')
RICKEY
(into telephone) Happy, you know very well 4-63 417.00 421.15 4.15 HAPPY INTO PHONE TO RICKEY)
(over scene end) I'm sorry, am I mixing my metaphors, there?
my organization is entering a tempest. (mixing my metaphors : combining
two or more metaphors, often
producing a silly or humorous effect)
4-64 422.03 428.03 6.00 RICKEY INTO PHONE TO HAPPY)

Happy, you know very well my organization is
entering a tempest.
(tempest : note double meaning - [1]
i.e., 'severe commotion or
disturbance, especially an emotional
upheaval' - referring to Jackie coming
to play on the Dodgers, and [2] i.e.,
'severe storm with very high winds
and often rain, hail, or snow')
(10)
42 4AB P/11
TITLE
RICKEY (cont'd) 4-65 428.07 432.00 3.09 RICKEY INTO PHONE TO HAPPY)
(into telephone) I need Durocher at the I need Durocher at the helm.
(at the helm : note double meaning -
helm. He's the only man that can handle [1] i.e., 'leading the team during this
tumultuous time,' and [2] i.e., 'steering
this much trouble. In fact, he loves it. You're the boat through the storm')
cuttin' off my right hand!

441-00 4-66 432.04 435.13 3.09 RICKEY INTO PHONE TO HAPPY)
He's the only man that can handle this much
trouble.
OFFICE - DAY - MS - PAST THE
MANICURIST (HAND) TO HAPPY AS 4-67 436.01 438.00 1.15 RICKEY INTO PHONE TO HAPPY)
CAMERA SLOWLY TRACKS IN. In fact, he loves it.
(he loves it : i.e., 'Durocher thrives in
HAPPY chaotic and hostile situations')
(into telephone) (sighs) (smacks lips) I
have no choice. I'm gonna sit your 4-68 438.04 440.15/ 2.11 RICKEY INTO PHONE TO HAPPY)
You're cuttin' off my right hand!
manager, Branch. Leo Durocher is (Idiomatic for 'Severely debilitating me
and my organization by suspending
suspended from baseball for a year. Durocher' - Note that a 'right hand' is
454-07 somebody who is of invaluable
assistance to another)

MCS - RICKEY, INCENSED AND 4-69 441.12 444.05 2.09 HAPPY INTO PHONE TO RICKEY)
GESTURING, AS CAMERA SLOWLY I have no choice.
TRACKS IN.
RICKEY 4-70 444.09 448.05 3.12 HAPPY INTO PHONE TO RICKEY)

(into telephone) Happy, you can't do this, I'm gonna sit your manager, Branch.
(sit : not allow to participate -
you son of a bitch! suspend)
RICKEY REACTS AS THE COMMISSIONER

HANGS UP ON HIM. HE SLAMS DOWN 4-71 448.09 454.05/ 5.12 HAPPY INTO PHONE TO RICKEY)
THE TELEPHONE RECEIVER. Leo Durocher is suspended from baseball
466-07 for a year.
SCENE 49 - INT. DODGER LOCKER 4-72 456.02 460.00 3.14 RICKEY INTO PHONE TO HAPPY)
ROOM - DAY - MS - DUROCHER ANGRILY Happy, you can't do this, you son of a bitch!
KNOCKS THE DOOR OFF A LOCKER AS (son of a bitch : see Title #1-162)
HE STEPS FG. (Happy ends the call. Later, Durocher
slams his locker door shut then exits
DUROCHER with his belongings)
(grunts)
DUROCHER STEPS R. AND PICKS UP A

TRAVEL BAG AND BOX OF BELONGINGS
AS CAMERA PANS WITH HIM. HE WALKS
BG. THROUGH THE DOORWAY INTO A
MFS. A SIGN ON THE DOOR READS:
MANAGER
(11)
42 4AB P/12
TITLE
SPORTS NEWS ANNOUNCER 4-73 474.10 480.03/ 5.09 SPORTS NEWS ANNOUNCER TO GROUP)
(voice over) (over speaker) As the search ITAL (voice over)
As the search continues to replace Leo
continues to replace Leo Durocher, I have it Durocher, I have it on good authority...
(I have it on good authority : i.e., 'I
on good authority... have heard from a very reliable
480-04 source')
(Rickey sits alone in his office,
listening to the radio broadcast)
OFFICE - DAY - MCS - RICKEY, SEATED,
LISTENS INTENTLY TO THE RADIO AND
REACTS AS CAMERA TRACKS BACK TO A
MS.
SPORTS NEWS ANNOUNCER 4-74 /480.07 486.01 5.10 SPORTS NEWS ANNOUNCER
(over speaker) ...that former Yankee ITAL OVER RADIO TO GROUP)
...that former Yankee manager Joe McCarthy
manager Joe McCarthy has turned down has turned down the request...
(turned down : i.e., 'rejected')
the request of Branch Rickey to take the
reins of the Brooklyn Dodgers. He is not the 4-75 486.05 490.12 4.07 SPORTS NEWS ANNOUNCER
ITAL OVER RADIO TO GROUP)
only man to say no. And so with the ...of Branch Rickey to take the reins of the
Brooklyn Dodgers.
nineteen forty-seven season about to (take the reins of : idiomatic for
'assume charge or control of' - i.e.,
begin, the Dodgers are still without a 'manage')
manager.
4-76 491.00 494.05 3.05 SPORTS NEWS ANNOUNCER
RADIO ANNOUNCER ITAL OVER RADIO TO GROUP)
(over speaker) Now we present once again He is not the only man to say no.
(i.e., 'Rickey has asked other people
Mary-- to assume the role, and also got a
511-12 refusal.')

And so with the 1947 season about to
begin...

...the Dodgers are still without a manager.
4-79 509.06 511.11/ 2.05 SPORTS NEWS ANNOUNCER

Now we present once again Mary--
(Note implication that the station is
returning to a soap opera or drama
broadcast)
(The phone rings in Jackie's hotel
room, waking him up from a deep
sleep)
(12)
42 4AB P/13
TITLE
SCENE 51 - INT. MCALPIN HOTEL ROOM -

DAY - MCS - THE TELEPHONE RINGS AS
CAMERA TRACKS BACK AND PANS R. TO
REVEAL JACKIE, ASLEEP IN BED. HE
AWAKENS AND GROGGILY ANSWERS
THE PHONE.
JACKIE 4-80 529.08 531.07 1.15 JACKIE INTO PHONE TO PERSON)

(breathes heavily) (inhales sharply) (into Hello?
telephone) (groaning) Hello? (breathes
heavily - continues under following
dialogue)
JANE ANN 4-81 531.11 536.03 4.08 JANE ANN OVER PHONE TO JACKIE)
(over telephone) Mr. Robinson? This is ITAL Mr. Robinson? This is Jane Ann in Mr.
Rickey's office.
Jane Ann in Mr. Rickey's office. He needs to
see you right away. He has a contract for 4-82 536.07 539.04 2.13 JANE ANN OVER PHONE TO JACKIE)
ITAL He needs to see you right away.
you to sign.
JACKIE 4-83 539.08 542.07 2.15 JANE ANN OVER PHONE TO JACKIE)
(into telephone) (grunts) Contract for me to ITAL He has a contract for you to sign.
(Jackie, who is still half asleep, does
sign. M'kay. (breathes heavily) (grunts) not react to the news)
JACKIE HANGS UP THE RECEIVER, THEN

BOLTS FG., ALERTLY AWAKE, AND PICKS 4-84 543.11 546.13 3.02 JACKIE INTO PHONE TO JANE ANN)
UP THE RECEIVER AGAIN. Contract for me to sign.
JACKIE (cont'd)
(into telephone) Hello? 4-85 547.09 549.08 1.15 JACKIE INTO PHONE TO JANE ANN)
M'kay.
JACKIE HANGS UP THE RECEIVER AND (i.e., 'Okay.')
QUICKLY SITS UP, EXITING R. (Jackie sleepily hangs up the phone
and tries to go back to sleep. He
JACKIE (cont'd) immediately bolts awake and picks
(in normal voice) Shoot! up the phone again)
568-10
4-86 562.14 564.11 1.13 JACKIE INTO PHONE TO JANE ANN)

Hello?
4-87 565.04 567.03 1.15 JACKIE) (exclaiming)

Shoot!
(Mild interjection of alarm, here said in
response to the dial tone he hears on
the other end of the telephone as the
call had already been disconnected)
(Jackie sits at a desk with the contract
in front of him. Rickey has gathered
as many people into his office as he
could hastily find to commemorate
this significant occasion. He positions
them around Jackie)
(13)
42 4AB P/14
TITLE

OFFICE - DAY - MCS - A PRESS
PHOTOGRAPHER TIGHTENS A
FLASHBULB INTO HIS CAMERA, THEN
EXITS R., REVEALING JACKIE SEATED AT
RICKEY'S DESK FOR HIS CONTRACT
SIGNING. RICKEY, BG., POSITIONS THE
GROUP HE HAS HASTILY ASSEMBLED
FOR THE OCCASION, CONTINUED
RICKEY 4-88 569.04 572.06 3.02 RICKEY TO SUKEFORTH,

(off) Clyde, you're good. (on) (to Jane Ann) THEN TO JANE ANN)
Clyde, you're good. Jane Ann, get in there.
Jane Ann, (low) get in there. (you're good : i.e., 'you're in a good
position' - 'remain standing where you
SUKEFORTH are')
(overlapping) Come on.
RICKEY 4-89 572.10 574.04 1.10 SUKEFORTH TO JANE ANN)

Harold... Come on.
575-06
4-90 574.08 578.15 4.07 RICKEY TO PARROTT)

SCENE 53 - MCS - JACKIE, GLANCING (over scene end) Harold, telegram the press. Say this:
ABOUT.

(off) ...telegram the press. (face off) Say "Today the Brooklyn Dodgers organization...
this: (off) "Today the Brooklyn Dodgers
organization...
584-02
SCENE 54 - MCS - RICKEY STEPS R.FG.

THROUGH THE GROUP AS CAMERA
PANS WITH HIM TO INCLUDE PARROT,
TAKING NOTES.

...has purchased the contract of Jackie ...has purchased the contract of Jackie
Robinson from the Montreal Royals.
Robinson from the Montreal Royals. He will
report immediately." 4-93 590.09 593.08/ 2.15 RICKEY TO PARROTT)

593-10 He will report immediately."
(report : i.e., 'begin playing for the
Dodgers')
SCENE 55 - MCS - RICKEY (TORSO) (Rickey hands a pen to Jackie, who
HANDS JACKIE A PEN. signs his contract to play for the
598-02 Brooklyn Dodgers)
SCENE 56 - MCS - PAST RICKEY AND

JACKIE TO PARROT.
PARROTT \
(low) Okay.
600-13
(14)
42 4AB P/15
TITLE
SCENE 57 - CS - HIGH ANGLE - JACKIE

(HANDS) SIGNS THE CONTRACT, WHICH
READS: 4-94 /600.15 603.12 2.13 NARRATIVE TITLE) (of contract)
day of April A.D. 1947 BROOKLYN DODGERS BASEBALL CLUB

BROOKLYN DODGERS BASEBALL CLUB (Club)
(Club)
Jack Robinson
(Player) 4-95 604.00 605.13/ 1.13 NARRATIVE TITLE) (of contract)
605-14 Jack Robinson

(Player)
SCENE 58 - MFS - RICKEY, JACKIE AND (A photographer captures the

THE OTHERS POSE FOR A FLASH moment. In the middle of the night,
PHOTOGRAPH. Jackie stares outside his hotel
window, worried about the days
RICKEY ahead. Rachel approaches)
(low) (chuckles)
610-12
SCENE 59 - INT. MCALPIN HOTEL ROOM -

NIGHT - LS - THE NEW YORK SKYLINE AS
CAMERA TRACKS BACK, CRANES UP
SLIGHTLY, AND PANS L. TO REVEAL
JACKIE, SHIRTLESS, IN A MCS. RACHEL
WALKS FG. FROM THE SHADOWS AND
THEY EMBRACE.

I love you. I love you.
JACKIE
I love you. 4-97 664.05 666.08 2.03 JACKIE TO RACHEL)
I love you.
JACKIE AND RACHEL (Crowds of people pour into Ebbets
(kiss) Field. There is a large sign outside
674-13 the park)
SCENE 60 - EXT. EBBETS FIELD - DAY -

LS - SEVERAL PEOPLE WALK BG.
TOWARD EBBETS FIELD AS CAMERA
CRANES UP. A LARGE SIGN READS: 4-98 /675.00 678.00 3.00 NARRATIVE TITLE) (of sign)
EBBETS FIELD EBBETS FIELD
PEOPLE OUTSIDE EBBETS FIELD (Former Major League Baseball park

(overlapping, low and indistinct chatter - located in the Flatbush section of
Brooklyn, home of the Brooklyn
continues under following scenes and Dodgers, named after Charles
Ebbets, an American sports executive
dialogue) who owned the Brooklyn Dodgers
from 1902 to 1925)
(15)
42 4AB P/16
TITLE
SCENE 60 - (CONTINUED) LABORATORY: IF PRINT IS TEXTLESS, TITLE #4-99 IS TO APPEAR IN THE

TITLE FADES IN: (over above bg.) APPEAR AS LOW AS POSSIBLE IN THE FRAME TO AVOID DOUBLE-
PRINTING. PLEASE CHECK PRINT FOR PROPER POSITIONING.
OPENING DAY - APRIL 15, 1947
TITLE FADES OUT. 4-99 681.04 690.06/ 9.02 NARRATIVE TITLE)

690-06
OPENING DAY - APRIL 15, 1947
SCENE 61 - INT. DODGER LOCKER (OPENING DAY : See Title #1-35)

ROOM - DAY - MCS - A MAIL CLERK (Jackie enters the locker room. Some
DISTRIBUTES MAIL TO THE PLAYERS' of the players ignore his presence
MAIL SLOTS AS CAMERA TRACKS BACK altogether while others give him
AND PANS R. TO REVEAL JACKIE outwardly hostile looks)
STEPPING FG. INTO THE LOCKER ROOM.
JACKIE GLANCES ABOUT AS HE STEPS
L., THEN BG. AS CAMERA PANS AROUND
WITH HIM TO INCLUDE THE OTHER
PLAYERS AS THEY REACT, BG.
MEN INSIDE DODGER LOCKER ROOM

dialogue)
DODGER #1
(off) I guess it is.
DODGER #2
(off) What do you think? I don't-- You know,
I'm not too worried.
BRAGAN 4-100 716.10 718.12 2.02 BRAGAN TO MEN)

(grunts) Lookie here. Lookie here.
(See Title #2-104)
JACKIE WALKS R.BG. AS CAMERA (Babe Hamburger, the clubhouse
TRACKS IN BEHIND HIM TO INCLUDE manager, greets Jackie)
BABE.
BABE 4-101 726.12 732.15 6.03 BABE TO JACKIE)

Hey, you're looking for your locker, aren't Hey, you're looking for your locker, aren't you,
son? Follow me.
you, son? Follow me. (son : familiar form of address for a
young man)
BABE TURNS AND WALKS BG. AS JACKIE (Jackie follows Babe toward the back
FOLLOWS, WALKING PAST A LINE OF of the locker room. Gene Hermanski,
PLAYERS AS CAMERA CONTINUES TO an outfielder, extends his hand)
TRACK IN BEHIND HIM. HERMANSKI
STEPS FG. AND SHAKES HANDS WITH
JACKIE.
HERMANSKI 4-102 739.15 743.05 3.06 HERMANSKI TO JACKIE)

I'm Hermanski. Welcome to Brooklyn. I'm Hermanski. Welcome to Brooklyn.
(Jackie shakes Hermanski's hand)
JACKIE
Greetings.
4-103 743.09 745.06 1.13 JACKIE TO HERMANSKI)
Greetings.
(Note humorously formal salutation)
(Ralph Branca, a pitcher, extends his
hand)
(16)
42 4AB P/17
TITLE
JACKIE STEPS BG. AS CAMERA PANS L.

TO INCLUDE BRANCA, STEPPING FG. TO
SHAKE HANDS ALSO.
BRANCA 4-104 746.01 748.09 2.08 BRANCA TO JACKIE)

(off) Hey, man. (on) Ralph Branca. (low Hey, man. Ralph Branca.
(Hey : Slang greeting)
chuckles - continues under following (man : see Title #2-242)
dialogue)
JACKIE 4-105 748.13 750.05 1.08 JACKIE TO BRANCA)

Greetings. Greetings.
BRANCA
Greetings. (low) (chuckling) Okay. 4-106 750.09 752.11 2.02 BRANCA TO JACKIE)
Greetings. Okay.
BRANCA EXITS L. AS JACKIE CONTINUES (Babe leads Jackie to a uniform
TO WALK BG. hanging off a wall hook. There is a
754-03 folding chair below the uniform)
SCENE 62 - MCS - JACKIE WALKS FG.,

GLANCING ABOUT, AS CAMERA TRACKS
BACK WITH HIM.
757-06
SCENE 63 - MFS - THREE PLAYERS IN

VARIOUS STAGES OF CHANGING INTO
UNIFORMS AS ONE OF THEM STARES AT
O.S. JACKIE AND TURNS BG.
759-09
SCENE 64 - MCS - JACKIE STEPS L. AS

BABE 4-107 /759.11 763.05 3.10 BABE TO JACKIE)

(off) I just found out today. The best... (over scene end) I just found out today. The best I can do.
761-14 (out : i.e., 'out that you were joining
the team')
(The best I can do : i.e., 'This
SCENE 65 - MFS - PAST JACKIE TO BABE, makeshift area was the best I could
GESTURING TO JACKIE'S UNIFORM ON A do on such short notice')
RACK, AS CAMERA TRACKS IN TO A MS.
BABE 4-108 763.09 767.10 4.01 BABE TO JACKIE)

...I can do. I'll get you straightened out I'll get you straightened out tomorrow. Okay?
(you straightened out : i.e., 'situated
tomorrow. O-Okay? correctly' - 'your locker prepared' - note
that to straighten something out is to
JACKIE correct or make something better)
Uh, (stammers) it's okay. (breathes heavily
- continues under following scene) 4-109 767.14 770.02 2.04 JACKIE TO BABE)
It's okay.
BABE EXITS L. JACKIE GLANCES FG., (Jackie picks up his jersey with the
THEN STEPS L.BG. TO THE UNIFORM. team name on the front, then turns the
780-12 jersey around to display his jersey
number "42." Jackie walks through the
tunnel and steps out onto the field,
where he is immediately besieged by
reporters and photographers)
(17)
42 4AB P/18
TITLE
SCENE 66 - MCS - HIGH ANGLE - PAST

JACKIE (TORSO) TO THE UNIFORM,
WHICH HAS TEXT ON THE FRONT THAT
READS:
Dodgers
JACKIE (TORSO) TURNS OVER THE

UNIFORM TO REVEAL TEXT ON THE
BACK THAT READS:
42
CAMERA TILTS UP TO JACKIE'S FACE AS

HE REVERENTLY ADMIRES THE
UNIFORM.
JACKIE
(chuckles)
796-08
SCENE 67 - FS - WALKER SHAKES HIS

HEAD AS HE AND OTHER PLAYERS LOOK
ON, THEN RESUME CHANGING INTO
THEIR UNIFORMS.
806-14
SCENE 68 - EXT. EBBETS FIELD/TUNNEL

- DAY - LS - JACKIE ENTERS L.FG. AND
WALKS BG. AS CAMERA TRACKS IN
BEHIND HIM IN A MS.
PEOPLE IN EBBETS FIELD

whistles and cheers - continues under

815-03
SCENE 69 - MCS - JACKIE WALKS FG. AS

CAMERA TRACKS BACK WITH HIM.
824-14
SCENE 70 - MS - JACKIE WALKS BG. AS

CAMERA TRACKS IN BEHIND HIM.
835-03

MCS - LOW ANGLE - JACKIE STEPS FG.
OUT OF THE TUNNEL AND GLANCES
DOWN AS HE BRIEFLY HESITATES AND
CAMERA PUSHES IN. JACKIE STEPS
R.FG., FACE OFF.
844-11
(18)
42 4AB P/19
TITLE
SCENE 72 - FS - HIGH ANGLE - JACKIE

PUTS ON HIS CAP AS HE WALKS FG. OUT
OF THE TUNNEL ONTO THE FIELD AND
CAMERA CRANES UP AND TRACKS BACK
WITH HIM. THE CROWD REACTS, BG.,
SEVERAL OF THEM STANDING AND
APPLAUDING.
REPORTER OUTSIDE TUNNEL

(low) See him coming out right now.
SPORTS REPORTERS AND

PHOTOGRAPHERS
cries of "Jackie!" - continues under
SPORTS PHOTOGRAPHERS ENTER L.

AND R. AS THEY GATHER AROUND
JACKIE AND TAKE HIS PHOTOGRAPH,
SCENES. JACKIE STOPS WALKING AND
GLANCES ABOUT AS CAMERA SETTLES
INTO A MS.
SPORTS PHOTOGRAPHER 4-110 857.03 860.01 2.14 SPORTS PHOTOGRAPHER TO JACKIE)

(off) Robinson, can we get a photo? (on) Robinson, can we get a photo?
Robinson, turn around! Come on, come on,

4-111 862.06 866.05/ 3.15 SPORTS PHOTOGRAPHER TO JACKIE)
Mr. Robinson. Robinson, turn around! Come on, come on,
866-06 Mr. Robinson.
SCENE 73 - MFS - FANS APPLAUD AND

WAVE.
MALE FAN #1 IN STANDS 4-112 867.05 869.10/ 2.05 MALE FAN #1 IN STANDS TO JACKIE)
(off) Good luck, sir! Good luck, sir!
869-12 (Jackie looks around the stands,
trying to find Rachel. A section of
disgruntled fans heckle Jackie)
SCENE 74 - MCS - JACKIE GLANCES
ABOUT AS CAMERA TRACKS L.
872-06
SCENE 75 - FS - JACKIE, GLANCING

ABOUT, SURROUNDED BY THE SPORTS
REPORTERS.
875-07
SCENE 76 - FS - PAST THE FANS TO

JACKIE AND THE REPORTERS.
878-02

ABOUT.
885-06
(19)
42 4AB P/20
TITLE
SCENE 78 - MS - WALKER, SEATED IN

THE DUGOUT, SMACKS HIS GLOVE WITH
HIS FREE HAND.
889-07

ABOUT.
DISGRUNTLED FANS
and shouts - continues under following
MALE DISGRUNTLED FAN #1 4-113 /889.11 892.14/ 3.03 MALE DISGRUNTLED FAN #1 TO JACKIE,
(off) Get out of here! THEN MALE DISGRUNTLED FAN #2
TO JACKIE)
MALE DISGRUNTLED FAN #2 -Get out of here!
(off) (overlapping) We don't need you! -We don't need you!
MALE DISGRUNTLED FAN #3

(off) (overlapping) Why'd you come?!
892-15
SCENE 80 - MFS - A GROUP OF

DISGRUNTLED FANS, GESTURING.
MALE DISGRUNTLED FAN #1

(off) Get out of here!
MALE DISGRUNTLED FAN #4 4-114 /893.02 895.12/ 2.10 MALE DISGRUNTLED FAN #4 TO JACKIE)
(overlapping) Boo! Get out of here! Boo! Get out of here!
895-14 (Boo : Interjection used to express
disapproval or contempt of
somebody)
SCENE 81 - MCS - JACKIE REACTS. (Jackie sees two black fans standing
898-09 up and clapping for him)
SCENE 82 - FS - PAST JACKIE TO SOME

AFRICAN-AMERICAN FANS AS THEY
SMILE, APPLAUD AND CHEER.
BLACK EBBETS FIELD FAN 4-115 899.02 903.01/ 3.15 BLACK EBBETS FIELD FAN
(echoing) Yeah! There he is! How's about-- TO MALE FRIEND)
Yeah! There he is!
? (There he is : Idiomatic expression of
903-03 admiration)
(Jackie sees Rachel holding baby
Jackie in her arms and smiling at
SCENE 83 - MCS - JACKIE. him. The national anthem is sung
907-02 while everyone stands at attention)
SCENE 84 - MFS - RACHEL, HOLDING

JACK JR. IN HER ARMS.
911-06
SCENE 85 - MCS - JACKIE REACTS.

916-02
(20)
42 4AB P/21
TITLE
SCENE 86 - MCS - TWO UMPIRES

(TORSOS) HOLDING THEIR CAPS OVER
THEIR HEARTS AS CAMERA TRACKS L.
TO REVEAL EVERETT MCCOOEY
STANDING AT A MICROPHONE, BG.
CAMERA RACKS FOCUS TO HIM IN A MFS.
EVERETT MCCOOEY
(off) (into microphone) (singing "Star
Spangled Banner") O say can you (on) (into
microphone) see by the dawn's early light,
What so proudly we hailed

934-10
SCENE 87 - LS - PAST THE CROWD TO

THE FEW CEREMONIAL FIGURES ON THE
FIELD AND THE REMAINDER OF THE
CROWD IN THE STANDS, BG.
EVERETT MCCOOEY
(over speaker) (echoing) (singing "Star
Spangled Banner") at the twilight's last
gleaming,

(overlapping) (singing "Star Spangled
Banner" - continues under following

940-13
SCENE 88 - MCS - RICKEY AND PARROT,

HANDS OVER THEIR HEARTS, AS RICKEY
SINGS ALONG AND PARROT HALF-
HEARTEDLY MIMES ALONG, THEN GIVES
UP THE EFFORT.
EVERETT MCCOOEY
Spangled Banner") Whose broad stripes
and bright stars through the perilous fight,
RICKEY
(singing "Star Spangled Banner") Whose
broad stripes and bright stars through the
perilous fight,
952-14
(21)
42 4AB P/22
TITLE
SCENE 89 - MS - SMITH HOLDS HIS HAT

OVER HIS HEART AS CAMERA SLOWLY
TRACKS IN.
EVERETT MCCOOEY
Spangled Banner") O'er the ramparts we
watched, were so gallantly streaming?

966-06
SCENE 90 - FS - THE DODGERS STAND

ALONG THE BASE LINE, HATS OVER
THEIR HEARTS.
EVERETT MCCOOEY
Spangled Banner") And the rockets' red
glare,
971-14
SCENE 91 - MFS - THE FANS IN THE

STANDS AS CAMERA PANS R.
EVERETT MCCOOEY
Spangled Banner") the bombs bursting in
air Gave...
980-06
SCENE 92 - MS - RACHEL HOLDING JACK

JR. AS CAMERA SLOWLY TRACKS IN.
EVERETT MCCOOEY
Spangled Banner") ...proof through the
night that our flag was still there

992-14
SCENE 93 - MS - THE DODGERS AS

CAMERA TRACKS R. PAST BRANCA TO
JACKIE IN A MCS.
EVERETT MCCOOEY
Spangled Banner") O say does that star-
spangled banner yet wave, O'er the land of
the free,
(22)
42 4AB P/23
TITLE
BRANCA
(overlapping) (singing "Star Spangled
Banner") O say does that star spangled
banner yet wave, O'er the land of the free,
EVERETT MCCOOEY
Spangled Banner") and the home of the
brave?

whistles and cheers - continues under
EBBETS FIELD UMPIRE 4-116 1028.03 1030.03/ 2.00 EBBETS FIELD UMPIRE TO MEN)
(off) Play ball! Play ball!
(See Title #3-42)
JACKIE PUTS ON HIS CAP AND STEPS L.
1030-06
SCENE 94 - MCS - RICKEY AND PARROT

AS RICKEY PUTS HIS HAT BACK ON
EBBETS FIELD P.A. ANNOUNCER

(over speaker) (echoing) Attention,
Dodgers fans, (continues low and indistinct

(overlapping) Another opening day, Harold. Another opening day, Harold.
All future, no past.

PARROTT All future, no past.
(sighs) It's a blank page, sir. (i.e., 'The season's promise lies
before us, and last year's statistics
RICKEY have no bearing.' - See Title #1-109)
(chuckles)
RICKEY BEGINS TO SIT DOWN. 4-119 1040.15 1044.07 3.08 PARROTT TO RICKEY)
It's a blank page, sir.
BARBER (It's a blank page : i.e., 'The
(voice over) Hello again, everybody. upcoming season is filled with
1047-11 possibility')
4-120 1046.01 1047.10/ 1.09 BARBER TO GROUP) (voice over)

ITAL Hello again, everybody.
(Red Barber, the play-by-play
announcer for the Dodgers,
broadcasts from his booth)
(23)
42 4AB P/24
TITLE
SCENE 95 - INT. EBBETS

FIELD/BROADCAST BOOTH - DAY - MCS -
BARBER, SEATED IN THE BROADCAST
BOOTH, AS CAMERA TRACKS AROUND R.
BARBER 4-121 /1047.14 1053.14 6.00 BARBER TO GROUP)

(into microphone) It's The Ol' Redhead It's The Ol' Redhead speaking here from
high up in the catbird seat at Ebbets Field.
speaking here from high up in the catbird (The Ol' Redhead : nickname for
Walter Lanier "Red" Barber an
seat at Ebbets Field. Welcome to opening American sportscaster primarily
identified with radio broadcasts of
day of the nineteen forty-seven Brooklyn Major League Baseball, calling
play-by-play across four decades with
Dodgers season. As many of you know, the the Cincinnati Reds [1934–38],
Brooklyn Dodgers [1939–1953], and
Dodgers finished ninety-six and sixty last New York Yankees [1954–1966] - note
that 'Ol'' [Old] is used to express
season. Respectable, but still two games affection or familiarity - also note that
Barber got his nickname due to his
behind St. Louis, who would, of course, go red hair)
(high up in the catbird seat :
on to take the World Series. idiomatic for 'in position or situation
that gives somebody power and an
edge over others, especially
competitors or opponents' - also used
here literally to refer to how high up in
the stands the broadcast booth is -
note that this [or 'sitting in the catbird
seat'] was a signature phrase of Red
Barber)
4-122 1054.02 1060.14 6.12 BARBER TO GROUP)

Welcome to opening day of the 1947
Brooklyn Dodgers season.
4-123 1061.02 1068.03 7.01 BARBER TO GROUP)

As many of you know, the Dodgers finished
96-60 last season.
(96-60 : implying that the Dodgers
won 96 and lost 60 games)
4-124 1068.07 1072.12 4.05 BARBER TO GROUP)

Respectable, but still two games behind St.
Louis...
(Respectable : i.e., 'That record is
deserving of respect')
(still two games behind St. Louis :
i.e., 'the St. Louis Cardinals won two
more games than the Dodgers')
4-125 1073.00 1076.13 3.13 BARBER TO GROUP)

...who would, of course, go on to take the
World Series.
(take : i.e., 'win')
(World Series : see Title #3-20)
(24)
42 4AB P/25
TITLE
BARBER (cont'd) 4-126 1077.01 1081.12/ 4.11 BARBER TO GROUP)

(into microphone) The Dodgers looking to The Dodgers looking to move up this year
and win the pennant.
move up this year and win the pennant. (move up : i.e., 'move up in the
1081-13 rankings' - 'better their record')
(pennant : flag that symbolizes a
championship in some sports,
SCENE 96 - EXT. EBBETS FIELD - DAY - especially baseball)
LS - HIGH ANGLE - JACKIE WARMS UP IN (Jackie warms up in the batter's circle)
THE BATTER'S CIRCLE, SWINGING TWO
BATS.
EBBETS FIELD P.A. ANNOUNCER 4-127 /1082.02 1085.00 2.14 EBBETS FIELD P.A. ANNOUNCER
(over speaker) (echoing) Now batting for ITAL OVER SPEAKER TO GROUP)
Now batting for the Dodgers....
the Dodgers, the first baseman, number
forty-two, Jackie Robinson.

whistles and cheers and boos - continues
JACKIE TOSSES ONE BAT TO THE

GROUND AS HE WALKS L. TO HOME
PLATE AND CAMERA PANS WITH HIM.
BARBER
(voice over) One out. Bottom of the first. 4-128 1085.04 1088.08 3.04 BARBER TO GROUP) (voice over)
ITAL One out. Bottom of the 1st.
Headed to the plate now for his first big (Bottom of the 1st : i.e., 'It's the
second half of the 1st inning')
league at bat is Dodger rookie...
1094-10
ITAL Headed to the plate now for his first big
SCENE 97 - INT. EBBETS league at bat is Dodger rookie:
FIELD/BROADCAST BOOTH - DAY - MCS - (big league : see Title #3-179)
BARBER. (at bat : baseball player’s turn to bat)
(rookie : see annotation for 'rook' in
BARBER Title #2-155)
(into microphone) ...Jackie Robinson.
Jackie is very definitely brunet. 4-130 /1094.12 1097.00 2.04 BARBER TO GROUP)
1100-08 Jackie Robinson.
SCENE 98 - EXT. EBBETS FIELD - DAY - 4-131 1097.11 1100.06/ 2.11 BARBER TO GROUP)
FS - JACKIE WALKS FG. TO HOME PLATE, Jackie is very definitely brunet.
JOINING THE BRAVES' CATCHER, L., AND (Note wry humor)
AN UMPIRE, L.BG., AS CAMERA TRACKS (Jackie stands at home plate and
BACK WITH HIM. JACKIE COLLECTS goes through his batting ritual)
SOME DIRT AND RUBS IT ON HIS HANDS.
BARBER 4-132 1103.11 1111.03 7.08 BARBER TO GROUP) (voice over)

(voice over) The Dodgers still without a ITAL The Dodgers still without a manager as Leo
Durocher was suspended earlier this week.
manager as Leo Durocher was
suspended...
1108-05
(25)
42 4AB P/26
TITLE
SCENE 99 - MCS - JACKIE (FEET)

SCRAPES THE DIRT IN THE BATTER'S
BOX.
BARBER
(voice over) ...earlier this week.
1112-15
SCENE 100 - MS - JACKIE ADJUSTS HIS

CAP AND SWINGS THE BAT, WARMING
UP, CONTINUED UNDER FOLLOWING
SCENES.
1117-14
SCENE 101 - MCS - RACHEL, SEATED IN

THE STANDS, HOLDING JACK JR..
MALE FAN #2 IN STANDS 4-133 /1118.01 1120.02/ 2.01 MALE FAN #2 IN STANDS TO JACKIE)
(off) You got this, Jackie! You got this, Jackie!
1120-03 (You got this : Idiomatic
encouragement - i.e., 'You will
succeed')
SCENE 102 - LS - HIGH ANGLE - PAST
JACKIE TO THE OTHER PLAYERS ON THE
FIELD.
BARBER 4-134 /1120.06 1124.01 3.11 BARBER TO GROUP) (voice over)

(voice over) It's a short-sleeve afternoon. ITAL It's a short-sleeve afternoon.
1124-04 (short-sleeve : idiomatic for 'warm' -
implying that the day is warm enough
to wear a short-sleeve shirt)
SCENE 103 - LS - PAST THE BRAVES
CATCHER AND JACKIE TO SAIN ON THE
PITCHER'S MOUND.
BARBER 4-135 /1125.00 1129.09/ 4.09 BARBER TO GROUP) (voice over)

(voice over) Johnny Sain looking in. When ITAL (over scene end) Johnny Sain looking in. When he's got that
fastball working...
he's got that fastball... (Johnny Sain : name of the pitcher for
1127-15 the Boston Braves)
(looking in : i.e., 'looking to the
catcher for a sign')
SCENE 104 - FS - SAIN WINDS UP. (fastball : baseball pitch at top
speed)
BARBER (working : i.e., 'under control')
(voice over) ...working, what I mean to say...
1129-11
4-136 /1129.13 1134.06 4.09 BARBER TO GROUP) (voice over)
ITAL (over scene ends) ...what I mean to say is, he can toss a lamb
SCENE 105 - MS - JACKIE WAITS FOR THE chop past a hungry wolf.
PITCH AS CAMERA TRACKS IN. (what I mean to say is : i.e., 'in other
words' - 'another way to phrase it is')
BARBER (he...wolf : humorous for 'he can
(voice over) ...is, he can toss a lamb chop... throw very fast and very accurately')
1132-01 (Sain throws his pitch and Jackie hits
a line drive)
SCENE 106 - FS - SAIN PITCHES L. AS

CAMERA PANS WITH THE BALL.
BARBER
(voice over) ...past a hungry...
1133-03
(26)
42 4AB P/27
TITLE
SCENE 107 - FS - PAST SAIN TO JACKIE

AS HE HITS THE BALL R.FG., DROPS THE
BAT AND RUNS L.FG. TOWARD O.S.
FIRST BASE.
BARBER 4-137 1134.10 1138.11/ 4.01 BARBER TO GROUP) (voice over)

(voice over) ...wolf. Oh, and it's a hard-hit... ITAL (over scene end) Oh, and it's a hard-hit ball down the third
1135-10 baseline.
(down the third baseline : implying
that the ball is in fair territory - note
SCENE 108 - FS - JACKIE RUNS L. AS THE that a baseline is a line running from
BALL TUMBLES FG. ALONG THE THIRD home plate to first base and from
BASELINE. CAMERA PANS L. AS ELLIOT home plate to third base, and
(TORSO) ENTERS L. AND CATCHES THE extending into the outfield as foul
BALL, RUNS R., AND LEAPS UP AS HE lines)
PREPARES TO THROW. CAMERA TRACKS (Third baseman Bob Elliott efficiently
R. AND CRANES UP WITH ELLIOT, FACE fields the ball and throws it to first
ON. base)
BARBER
(voice over) ...ball down the third baseline. 4-138 /1138.15 1143.10/ 4.11 BARBER TO GROUP) (voice over)
ITAL (over scene ends) Elliott is on it, gobbles it up and makes the
Elliott... long toss across the diamond.
1138-13 (is on it : i.e., 'is in good defensive
position to get the ball')
(gobbles it up : i.e., 'quickly scoops
SCENE 109 - FS - ELLIOT THROWS THE up the ball in his glove')
BALL R. AS CAMERA PANS AND TILTS UP (diamond : in baseball, the area of a
WITH IT. baseball field bounded by the home
plate and the three bases - note a nod
BARBER to the shape made by the bases and
(voice over) ...is on it, gobbles it up and home plate - i.e., 'infield')
(Jackie appears to cross first base
makes... before the ball is caught but he is
1140-09 called out by the first base umpire)
SCENE 110 - MCS - RICKEY AND

PARROT, GLANCING ABOUT.
BARBER
(voice over) ...the long...
1141-11
SCENE 111 - MS - JACKIE RUNS FG.

TOWARD FIRST BASE.
BARBER
(voice over) ...toss across...
1142-14

R.FG. OVER FIRST BASE, PAST THE
BRAVES FIRST BASEMAN (FOOT), AS
BARBER
(voice over) ...the diamond.
1143-11
(27)
42 4AB P/28
TITLE
SCENE 113 - FS - PAST EBBETS FIELD

FIRST BASE UMPIRE TO JACKIE AND
BRAVES FIRST BASEMAN AS JACKIE
RUNS FG. PAST FIRST BASE SAFELY.
BRAVES FIRST BASEMAN THEN
CATCHES THE BALL.
EBBETS FIELD FIRST BASE UMPIRE 4-139 /1143.14 1145.13 1.15 EBBETS FIELD FIRST BASE UMPIRE
You're out! TO JACKIE)
You're out!
boos - continues under following scenes
and dialogue)
JACKIE
and dialogue)
JACKIE REACTS, INCREDULOUS, AND

TURNS BG. AS CAMERA TRACKS IN TO A
MCS.

(voice over) And Robinson is out. ITAL And Robinson is out.
1149-00 (Parrott reacts)
SCENE 114 - MCS - PAST RICKEY,

GESTURING, TO PARROT AS HE REACTS.
PARROTT 4-141 /1149.03 1154.06 5.03 PARROTT

Aw, come on! Ump, get some glasses! TO EBBETS FIELD FIRST BASE UMPIRE)
1155-04 Aw, come on! Ump, get some glasses!
(Aw : Interjection of disgust)
(come on : Idiomatic remonstration,
SCENE 115 - FS - PAST JACKIE TO here used to mean 'get the call right')
DODGERS FIRST BASE COACH, (Ump : Short for 'Umpire')
GESTURING, AS JACKIE WALKS R.BG., (get some glasses : humorously
GLANCING ABOUT, AND CAMERA implying that Ebbets Field First Base
TRACKS WITH HIM. Umpire has bad vision if he missed
such an easy call)
DODGERS FIRST BASE COACH (The first base coach reacts)
You blew it! Al, you blew that call!
1158-10
4-142 /1155.06 1158.09/ 3.03 DODGERS FIRST BASE COACH
TO EBBETS FIELD FIRST BASE UMPIRE)
SCENE 116 - MS - EBBETS FIELD FIRST You blew it! Al, you blew that call!
BASE UMPIRE GLARES AS CAMERA (You blew it : Slang for 'You bungled
TRACKS L. it' - i.e., 'You made a mistake')
(Al : Name of Ebbets Field First Base
DODGERS FIRST BASE COACH Umpire)
(off) You blew it!
BARBER 4-143 /1158.13 1160.13 2.00 DODGERS FIRST BASE COACH

(voice over) It was a... TO EBBETS FIELD FIRST BASE UMPIRE)
1161-05 You blew it!
(28)
42 4AB P/29
TITLE
SCENE 117 - MS - JACKIE WALKS BG.,

GLARING FG. OVER HIS SHOULDER, AS
CAMERA TRACKS IN WITH HIM. HE
GLANCES AWAY BG.

(voice over) ...close play at first. A tie ITAL (over scene end) It was a close play at first. A tie usually goes
to the runner but not this time.
usually... (play : particular action or move in a
1163-14 game)
(A tie : i.e., 'A situation in which the
runner and the ball reach the base at
SCENE 118 - MS - SMITH REACTS, the same time')
SEATED IN THE STANDS WITH HIS (goes to : i.e., 'is decided in favor of')
TYPEWRITER. (Smith reacts)
BARBER
(voice over) ...goes to the runner but not this 4-145 1167.05 1173.01/ 5.12 BARBER TO GROUP)
(over scene end) So that first big league hit will remain to be
time. So that first... seen.
1169-06 (that first big league hit : i.e, 'the first
notable hit by Robinson in the major
leagues')
SCENE 119 - INT. EBBETS (will remain to be seen : i.e., 'has not
FIELD/BROADCAST BOOTH - DAY - LS - yet happened')
PAST BARBER TO THE FIELD. (Burt Shotton, former manager of the
Cleveland Indians, sits in Rickey's
BARBER office. They stare at the opposing
(into microphone) ...big league hit will teams' lineup written on a chalkboard)
remain to be seen.
1173-03

OFFICE/OUTER OFFICE - DAY - MFS - THE
DOORS OF RICKEY'S OFFICE AS CAMERA
TRACKS IN. TEXT ON THE FROSTED
GLASS PORTIONS OF THE DOORS
READS:
BROOKLYN
NATIONAL PRIVATE
LEAGUE
BASEBALL
CLUB
SHOTTON 4-146 1175.04 1179.04 4.00 SHOTTON TO RICKEY)

(voice over) So the Giants got... So the Giants got Mize batting cleanup.
1177-01 (Giants : New York Giants - note that
the New York Giants and the Brooklyn
Dodgers were crosstown rivals)
SCENE 121 - INT. BRANCH RICKEY'S (got : colloquial for 'have')
OFFICE - DAY - MS - SHOTTON, SEATED (Mize : John Robert "Johnny" Mize,
BY RICKEY'S DESK, GAZES R.BG. TO the first baseman for the Giants)
LISTS OF PLAYERS ON THE (cleanup : the fourth position in the
CHALKBOARD. A PORTION OF THE batting order, usually held out for a
HANDWRITTEN TEXT READS: hitter who can bat in runs)
Boston Philadelphia New York
SHOTTON TURNS FG. AS CAMERA

TRACKS R.
SHOTTON
...Mize batting cleanup.
1182-03
(29)
42 4AB P/30
TITLE
SCENE 122 - MFS - PAST SHOTTON TO

RICKEY AS CAMERA TRACKS BACK.

Shame about Leo. Shame about Leo.
(i.e., 'It is unfortunate that Durocher
RICKEY was banned.')
Inevitable, I suppose. (grunts) I asked him
if she was worth it, he said yes. 4-148 1186.15 1190.03 3.04 RICKEY TO SHOTTON)
Inevitable, I suppose.
SHOTTON
(chuckles)
4-149 1190.07 1194.07 4.00 RICKEY TO SHOTTON)
RICKEY I asked him if she was worth it, he said yes.
(chuckles) How's the retirement? (she : referring to Laraine)
1199-09 (it : i.e., 'the suspension')
SCENE 123 - MS - PAST RICKEY (TORSO) 4-150 1197.07 1199.08/ 2.01 RICKEY TO SHOTTON)
TO SHOTTON, GESTURING. How's the retirement?
(the : i.e., 'your')
SHOTTON
Aw, it's just fine. You know, the roses...
1205-09 4-151 /1199.15 1202.07 2.08 SHOTTON TO RICKEY)
Aw, it's just fine.
SCENE 124 - MS - RICKEY STEPS L. AND

SITS DOWN AS CAMERA CRANES DOWN 4-152 1203.07 1205.08/ 2.01 SHOTTON TO RICKEY)
WITH HIM TO INCLUDE SHOTTON, R.FG. You know, the roses are--
(Rickey reacts)
SHOTTON
(off) ...are, uh--
RICKEY 4-153 1207.12 1212.13 5.01 RICKEY TO SHOTTON)

(overlapping) (chuckles) Hell of a thing Hell of a thing when a man's got good
health...
when a man's got good health and plenty of (Hell of a thing : Idiomatic for 'It's a
shame')
money and absolutely nothing to do.
SHOTTON 4-154 1213.11 1215.15 2.04 RICKEY TO SHOTTON)

(overlapping) (grunts) ...and plenty of money...
1218-15
4-155 1216.03 1218.14/ 2.11 RICKEY TO SHOTTON)

SCENE 125 - MS - PAST RICKEY TO ...and absolutely nothing to do.
SHOTTON.
SHOTTON 4-156 1219.12 1224.03/ 4.07 SHOTTON TO RICKEY)

(chuckles) (chuckling) Well, (in normal Well, I'm perfectly happy.
voice) I'm-I'm-I'm-I'm perfectly happy.

1224-05
SCENE 126 - MS - PAST SHOTTON TO

RICKEY.
RICKEY 4-157 1224.12 1226.11/ 1.15 RICKEY TO SHOTTON)

Is that so? Is that so?
1226-13
(30)
42 4AB P/31
TITLE
SCENE 127 - MS - PAST RICKEY TO

SHOTTON.

(low) (chuckles) (in normal voice) You know When I took the Cleveland uniform off two
years ago...
I-- When I took the Cleveland uniform off (When...off : i.e., 'When I retired from
baseball')
two years ago, I promised the missus I-- I'd
never put on another uniform again. 4-159 1235.02 1241.10 6.08 SHOTTON TO RICKEY)
...I promised the missus I'd never put on
So...the roses are (chuckling) beautiful... another uniform again.
1246-05 (the missus : humorous for 'my wife')
(I'd...again : note double meaning -
[1] figuratively, 'I'd never work in
SCENE 128 - MCS - RICKEY, GESTURING, baseball again,' and [2] literally, 'I
CONTINUED UNDER FOLLOWING would never put on another baseball
SCENES. uniform again')
SHOTTON
(off) ...and, uh, I sleep better too. 4-160 1242.01 1246.04/ 4.03 SHOTTON TO RICKEY)
So the roses are beautiful...
RICKEY
Roses and sleep are two wonderful things,
4-161 /1246.08 1249.13 3.05 SHOTTON TO RICKEY)
Burt. (low) (grunts) (in normal voice) But ...and I sleep better too.
sleep you can get when you're in your

4-162 1250.01 1254.06 4.05 RICKEY TO SHOTTON)
casket... Roses and sleep are two wonderful things,
1257-15 Burt.
SCENE 129 - MCS - SHOTTON. 4-163 1254.10 1261.06/ 6.12 RICKEY TO SHOTTON)
(over scene end) But sleep you can get when you're in your
RICKEY casket, and flowers look great on top of it.
(off) ...and-and flowers look great on top... (in your casket : i.e., 'dead')
1261-08

...of it. But, uh, you don't look like a dead But you don't look like a dead man to me,
Burt.
man to me, Burt. (you...me : i.e., 'you're not dead yet so
1268-06 I don't understand your preoccupation
with roses and sleep')
SCENE 131 - MCS - SHOTTON.

(low) (chuckles) (in normal voice) What's What's this about, Branch?
(i.e., 'Why are we having this meeting,
this about, Branch? Branch?')
1271-09

(low) (chuckles) (grunts) (in normal voice) I I need you to manage the Dodgers for me,
Burt.
need you to manage the Dodgers for... (Shotton immediately shakes his
1282-05 head)
(31)
42 4AB P/32
TITLE
RICKEY
(off) ...me, Burt. (low) (chuckles - continues

No. No.
RICKEY
(off) (overlapping) Now...
1284-09
RICKEY 4-168 /1284.12 1291.12/ 7.00 RICKEY TO SHOTTON)

...wait-wait-wait, we're a ship without a Now, wait, we're a ship without a captain and
there's a typhoon comin'.
captain and there's a typhoon comin'. (we're a ship without a captain : i.e.,
'we're a team without a leader')
SHOTTON (there's a typhoon comin' : i.e., 'we
(off) I'm-I'm... are embroiled in a very volatile
1291-14 situation' - note that a typhoon is a
violent tropical storm in the western
Pacific and Indian oceans)
SCENE 135 - MCS - SHOTTON. (Note continuation of boat, captain
and storm metaphor from Titles #4-64
SHOTTON and #4-65)
...sorry, but I-- No.
1295-03
4-169 /1292.00 1294.10 2.10 SHOTTON TO RICKEY)
I'm sorry, no.

Don't you miss the game, Burt? Don't you miss the game, Burt?
1299-07

(off) Workin' with the players? Helping to Workin' with the players?
get...
1305-02 4-172 1304.02 1307.14 3.12 RICKEY TO SHOTTON)
(over scene end) Helping to get the best out of the team?

...the best out of the team? Go on, look me (over scene end) Go on, look me in the eye and tell me you
don't.
in the eye... (look me in the eye : idiomatic for 'be
1310-05 completely honest with me')
(32)
42 4AB P/33
TITLE
RICKEY
(off) ...and tell me you don't.

Baseball's the only life for an old pepper Baseball's the only life for an old pepper pot
like me.
pot like me. But I promised my wife... (pepper pot : alliterative slang term
1322-06 for someone with a bad temper - note
humor as Shotton is known for his
kindly, calm demeanor)

(off) ...Branch. (over scene end) But I promised my wife, Branch.
RICKEY
You promised he-her you'd-you'd never put 4-176 1323.09 1327.13 4.04 RICKEY TO SHOTTON)
You promised her you'd never put on a
on a uniform again. You didn't promise her uniform again.
(For this Title and the next : Note
you wouldn't manage. humorously pedantic interpretation of
1331-06 Shotton's promise to his wife)
SCENE 141 - MCS - SHOTTON. 4-177 1328.01 1331.05/ 3.04 RICKEY TO SHOTTON)
You didn't promise her you wouldn't
RICKEY manage.
(off) Wear a, buh, a suit and a tie...
1335-11
(over scene end) Wear a suit and a tie like Connie Mack.
SCENE 142 - MCS - RICKEY. (Connie Mack : Cornelius
McGillicuddy, Sr., the longest-serving
RICKEY manager in Major League Baseball
...like-like Connie Mack. history, who was known for wearing a
1338-04 suit rather than a baseball uniform
like other managers)
SHOTTON
(scoffs)
1342-01

Come on, Burt. What do you say? Come on, Burt.
1348-11

SCENE 145 - MCS - SHOTTON. What do you say?
(i.e., 'Will you manage the Dodgers?')
SHOTTON
(low) (grunts)
1351-15
(33)
42 4AB P/34
TITLE

Burt, I need ya. What do you say? Burt, I need ya.
NAT KING COLE

(voice over) (sings "Straighten Up and Fly 4-182 1357.14 1360.03 2.05 RICKEY TO SHOTTON)
What do you say?
Right") (Shotton enters the locker room. He
1364-05 wears a Dodgers warmup jacket)
SCENE 147 - INT. POLO

GROUNDS/VISITOR'S LOCKER ROOM -
DAY - MCS - JACKIE, SEATED AT A TABLE,
AS THE OTHER DODGERS GET
DRESSED AND SOCIALIZE, CONTINUED
UNDER FOLLOWING SCENES. SHOTTON
ENTERS L.BG.
NAT KING COLE

(over speaker) (sings "Straighten Up and
Fly Right" - continues under following
MEN INSIDE DODGER LOCKER ROOM

laughter - continues under following
SHOTTON 4-183 1367.14 1370.12/ 2.14 SHOTTON TO MEN)

All right, men. (over scene end) All right, men. Men?
1368-12
SCENE 148 - MS - HERMANSKI AND

ANOTHER PLAYER, SEATED, GAZING AT A
DOCUMENT ON A CLIPBOARD.
SHOTTON
(off) Men?
1370-13
SCENE 149 - MS - BRANCA, GLANCING

ABOUT.
1373-10
(34)
42 4AB P/35
TITLE

SHOTTON, OUT OF FOCUS, AS JACKIE
TURNS BG. SHOTTON STEPS FG.,
GLANCING ABOUT AND GESTURING, AS
CAMERA RACKS FOCUS TO HIM IN A MFS.
SHOTTON 4-184 1374.05 1376.03 1.14 SHOTTON TO MEN)

Men? I know you've all, uh, heard the news. Men?
(The players quiet down and look at
I'm-I'm your new manager. I-I don't have Shotton)
much to say to you. Just, uh, don't be afraid

4-185 1380.02 1384.14 4.12 SHOTTON TO MEN)
of ol' Burt Shotton as your manager. You I know you've all heard the news. I'm your
new manager.
can win the pennant in spite of me.
1408-03
4-186 1385.02 1388.01 2.15 SHOTTON TO MEN)
I don't have much to say to you.
SCENE 151 - MCS - PAST SHOTTON
(ARM) TO REESE AND ANOTHER PLAYER
AS THEY REACT, GLANCING ABOUT. 4-187 1390.06 1392.07 2.01 SHOTTON TO MEN)
Just...
SHOTTON
(off) There's, uh....
1411-00 4-188 1394.12 1398.05 3.09 SHOTTON TO MEN)
...don't be afraid...
SCENE 152 - MCS - BRANCA REACTS,

GLANCING ABOUT. 4-189 1398.09 1403.05 4.12 SHOTTON TO MEN)
...of ol' Burt Shotton as your manager.
SHOTTON (ol' : see annotation for 'The Ol'
(off) There's nothing... Redhead' in Title #4-121)
1413-15
4-190 1404.08 1408.01/ 3.09 SHOTTON TO MEN)

SCENE 153 - MCS - SHOTTON STEPS FG., You can win the pennant in spite of me.
GLANCING ABOUT. (in spite of me : i.e., 'despite my
presence' - note humorously self-
SHOTTON deprecating statement and tone,
...I can do to hurt ya. continued in Title #4-192)
1420-14 (The players react)
SCENE 154 - MS - PAST SHOTTON 4-191 1409.11 1410.15/ 1.04 SHOTTON TO MEN)
(TORSO) TO SUKEFORTH AS HE REACTS. There's....
SHOTTON
(face off) So... 4-192 1413.02 1416.10 3.08 SHOTTON TO MEN)
1426-00 (over scene end) There's nothing I can do to hurt ya.
(hurt ya : hurt you - i.e., 'ruin your
ability to win')
SCENE 155 - MS - PAST JACKIE TO (Sukeforth reacts to Shotton's "pep
SHOTTON AS HE TURNS FG. talk")
SHOTTON
...uh.... (to Jackie) You Robinson? 4-193 /1426.02 1427.10 1.08 SHOTTON TO MEN)
1432-10 So....
(Shotton looks around the locker room
and sees Jackie)
SCENE 156 - MCS - JACKIE NODS AND
SMILES.
1435-06 4-194 1431.01 1432.09/ 1.08 SHOTTON TO JACKIE)
You Robinson?
(Jackie nods)
(35)
42 4AB P/36
TITLE

SHOTTON AS THEY SHAKE HANDS.
SHOTTON 4-195 /1435.11 1437.15 2.04 SHOTTON TO JACKIE)

I thought so. (to men) So let's get out there I thought so.
(Note humor as it's very obvious who
and beat those, uh, who are we playing? Jackie is)
1444-08 (Shotton shakes Jackie's hand)
SCENE 158 - MS - PAST SHOTTON 4-196 1440.10 1444.07/ 3.13 SHOTTON TO MEN)
(TORSO) TO SUKEFORTH. So let's get out there and beat those-- Who
are we playing?
SUKEFORTH
Giants, Burt.
4-197 /1444.11 1446.09/ 1.14 SUKEFORTH TO SHOTTON)
DODGERS Giants, Burt.
cries of "Giants" - continues under

1446-10

SHOTTON, GLANCING ABOUT.
SHOTTON 4-198 /1446.13 1451.05 4.08 SHOTTON TO MEN)

Giants! Let's go beat the Giants! Giants! Let's go beat the Giants!
(Bob Cooke, a reporter for the Herald
THE DODGERS APPLAUD AS SHOTTON Tribune, sits in the press box with
EXITS L.FG. CAMERA TILTS DOWN TO other reporters as Jackie walks
JACKIE IN A MCS. toward the plate)
DODGERS
cheers and cries of "Yep" - continues under

DODGER #4
(off) Come on, boys, let's go!
1457-06
SCENE 160 - INT. POLO

GROUNDS/PRESS BOX - DAY - LS - HIGH
ANGLE - THE PLAYERS ON THE FIELD AS
CAMERA TRACKS BACK TO INCLUDE
POLO GROUND REPORTER #4 AND
COOKE, BOTH SEATED. CAMERA RACKS
FOCUS TO THEM IN A MCS.
PEOPLE IN POLO GROUNDS

whistles, cheers and boos - continues
(36)
42 4AB P/37
TITLE
POLO GROUNDS P.A. ANNOUNCER 4-199 1458.01 1461.15 3.14 POLO GROUNDS P.A. ANNOUNCER
(over speaker) (echoing) Now batting, ITAL OVER SPEAKER TO GROUP)
Now batting, number 42...
number forty-two, first baseman, Jackie
Robinson. 4-200 1462.03 1467.01 4.14 POLO GROUNDS P.A. ANNOUNCER

ITAL OVER SPEAKER TO GROUP)
COOKE ...first baseman, Jackie Robinson.
(smacks lips) You mark my words and
circle this date. (smacks lips) Negroes are 4-201 1469.11 1472.15 3.04 COOKE TO MEN)
You mark my words and circle this date.
gonna... (mark my words : idiomatic for 'give
1474-14 your attention to what I am saying
because it is true and important [and
you'll want to remember I said this at
SCENE 161 - MCS - ANOTHER a later date]')
REPORTER, SEATED AND GLANCING (circle this date : i.e., 'remember this
ABOUT, AS POLO GROUND REPORTER date' - note allusion to circling a date
#2, SEATED, LOOKS ON, BG., on a calendar to commemorate it)
SCENES.
4-202 1473.03 1478.07 5.04 COOKE TO MEN)
COOKE (over scene end) Negroes are gonna run the white man
(off) ...run the white man straight out of straight out of baseball.
(run...baseball : i.e., 'dominate the
baseball. sport of baseball and white players
1478-13 will not be able to compete')
SCENE 162 - MCS - COOKE, GLANCING

ABOUT AND GESTURING, AS POLO
GROUND REPORTER #3 AND POLO
GROUND REPORTER #1 LOOK ON,
SEATED, BG., CONTINUED UNDER
FOLLOWING SCENES.
COOKE 4-203 1479.05 1482.12 3.07 COOKE TO MEN)

(smacks lips) I'm not prejudiced. It's I'm not prejudiced. It's physiological.
physiological. They have a longer heel

4-204 1483.00 1488.04/ 5.04 COOKE TO MEN)
bone. Gives them an unfair speed They have a longer heel bone. Gives them
an unfair speed advantage.
advantage. (Note that Cooke is referring to the
1488-05 discredited "race science" theory that
characterizes athletic ability as being
a product of racialized biology)
SCENE 163 - MCS - ANOTHER (Another Reporter reacts, skeptical.
REPORTER REACTS, SKEPTICAL. Barber offers his play-by-play)
BARBER
(voice over) Here's Robinson. 4-205 1491.07 1495.06 3.15 BARBER TO GROUP) (voice over)
1492-06 ITAL (over scene ends) Here's Robinson. Jack holds that club down
by the end...
(club down by the end : i.e., 'baseball
SCENE 164 - MCS - COOKE, GLANCING bat close to the end of the handle')
ABOUT.
BARBER
(voice over) Jack holds that...
1494-01
(37)
42 4AB P/38
TITLE
SCENE 165 - EXT. POLO GROUNDS - DAY

- FS - JACKIE WARMING UP AT HOME
PLATE.

(voice over) ...club down by the end, rear ITAL ...rear foot at the back end of the box, slight
open stance, bent at the knees.
foot at the back end of the box, slight open (box : batter's box - rectangular area
on either side of home plate on a
stance, bent at the knees. baseball diamond, in which the batter
stands)
JACKIE GETS A HIT. (open stance : batting stance in
1503-12 which the front foot is farther from the
inside of the batter's box than the back
foot)
SCENE 166 - FS - PAST THE HOME PLATE (Jack swings at his first pitch and hits
UMPIRE, CATCHER AND JACKIE TO THE a home run into left field)
OUTFIELD AS THE BALL FLIES BG. INTO
LEFT FIELD. THE CATCHER STANDS UP
AS JACKIE RUNS R., EXITING. THE
UMPIRE WALKS BG.

(voice over) Jack swings. That ball is ITAL Jack swings.
screaming out to left. Hartung watching it

4-208 1505.13 1511.00 5.03 BARBER TO GROUP) (voice over)
go and...so long! Home run! ITAL That ball is screaming out to left. Hartung
1514-03 watching it go and....
(left : i.e., 'left field')
(Hartung : Clint Hartung,
SCENE 167 - INT. POLO right-handed pitcher and right fielder
GROUNDS/PRESS BOX - DAY - MCS - in Major League Baseball who played
PAST COOKE TO POLO GROUND with the New York Giants from 1947 to
REPORTER #3 AND #1 AS POLO 1952)
GROUND REPORTER #1 SITS DOWN
AND EVERYONE REACTS.
POLO GROUND REPORTER #1 ITAL So long! Home run!
(chuckles - continues under following (So long : Idiomatic farewell - Note
humorous implication that Barber is
dialogue) saying goodbye to the ball)
(Home run : See Title #1-18)
BARBER
(voice over) Jackie Robinson has his first
Major League home run. ITAL Jackie Robinson has his first Major League
home run.
ANOTHER REPORTER
(off) (chuckles - continues under following
scene)
1520-12
(38)
42 4AB P/39
TITLE
SCENE 168 - MCS - PAST ANOTHER

REPORTER, GLANCING ABOUT AND
GESTURING, TO POLO GROUND
REPORTER #2.
ANOTHER REPORTER 4-211 /1520.14 1527.00 6.02 ANOTHER REPORTER TO COOKE)

W-Was that because his heel bone was Was that because his heel bone was longer,
Bob?
longer, Bob, hm? (Was that : i.e., 'Was Jackie able to
hit that home run' )
POLO GROUND REPORTER #2 (Note humor)
(overlapping) (laughs - continues under (The reporters type away on their
typewriters. Another Reporter
following scenes and dialogue) pretends to be typing Cooke's earlier
1527-09 words)
SCENE 169 - MCS - PAST COOKE TO

POLO GROUND REPORTER #3 AND #1.
POLO GROUND REPORTER #3


1531-04
SCENE 170 - MCS - PAST ANOTHER

REPORTER, GLANCING ABOUT, TO POLO
GROUND REPORTER #2 AS THEY BOTH
RESUME TYPING.
ANOTHER REPORTER 4-212 1535.05 1540.15 5.10 ANOTHER REPORTER TO HIMSELF)

(chuckles) "Heel bone longer." (reading)
1543-10 "Heel bone longer."

(39)
42 5AB P/1
TITLE

IN ACADEMY LEADER.
11-15 22.15 = 1ST SCENE END
SCENE 1 - EXT. MACDONOUGH

STREET/BROOKLYN - DAY - LS - ALICE
RUNS FG. ALONG THE SIDEWALK. LAB LABORATORY: IF PRINT IS TEXTLESS, TITLE #5-1 IS TO APPEAR IN
THE NORMAL SUBTITLE POSITION. IF PRINT IS TEXTED, THIS TITLE IS TO
TITLE FADES IN: (over above bg.) APPEAR AS LOW AS POSSIBLE IN THE FRAME TO AVOID DOUBLE-
PRINTING. PLEASE CHECK PRINT FOR PROPER POSITIONING.
BROOKLYN - APRIL 22, 1947
TITLE FADES OUT. 5-1 12.14 18.14 6.00 NARRATIVE TITLE)
ALICE RUNS R. UP THE WALK AND BROOKLYN - APRIL 22, 1947

STEPS TO THE ROBINSON'S APARTMENT
AS CAMERA PANS AND TILTS WITH HER (Alice, the Robinsons' babysitter,
TO A MFS. races down the street to the
Robinsons' apartment. Inside, Rachel
PEOPLE ON STREET holds Jack Jr. and opens the door for
(off) (overlapping, low and indistinct chatter Alice)
and shouts)
22-15
SCENE 2 - INT. 526 MACDONOUGH

STREET/BROOKLYN - DAY - MFS -
RACHEL HOLDS JACK JR. AS SHE GAZES
BG. OUT A WINDOW. SHE TURNS AND
CARRIES HIM R.FG. AS SHE OPENS THE
FRONT DOOR, REVEALING ALICE.
RACHEL
(sighs)
JACK JR.
(cries out)
RACHEL
(in high voice) (grunts)
ALICE WALKS FG. INTO THE APARTMENT.
ALICE 5-2 29.10 32.09 2.15 ALICE TO RACHEL)

Sorry I'm late. Class ran long. Sorry I'm late. Class ran long.
(ran long : i.e., 'extended beyond the
ALICE STEPS BG. AND REMOVES HER scheduled or allotted time')
COAT. RACHEL CARRIES JACK JR. L.
AND SETS HIM DOWN IN A CRIB AS
CAMERA PANS WITH HER, THEN TILTS
DOWN WITH JACK JR. INTO A MCS.
5-3 32.13 34.14 2.01 RACHEL TO ALICE)
RACHEL That's okay.
That's okay. It's so cold and raw out, I don't
want him getting sick at the game. (face off) 5-4 35.07 41.08 6.01 RACHEL TO ALICE)
It's so cold and raw out, I don't want him
(whimpers) getting sick at the game.
45-08 (It's : i.e., 'The weather is')
(raw : unpleasantly cold and damp
weather)
(out : i.e., 'outside')
(him : i.e., 'Jack Jr.')
(Rachel sets Jack Jr. in his crib)
(1)
42 5AB P/2
TITLE
SCENE 3 - MCS - RACHEL STEPS BG. AS

CAMERA TILTS UP TO BRIEFLY INCLUDE
ALICE, STEPPING L.FG. CAMERA TRACKS
IN WITH RACHEL.
JACK JR.
(off) (grunts - continues under following
dialogue)
RACHEL 5-5 48.02 50.09 2.07 RACHEL TO ALICE)

(exhales sharply) Fed him already. Fed him already.
RACHEL COLLECTS HER JACKET AND

PURSE AND STEPS R.FG. AS CAMERA
PANS WITH HER.
JACK JR.
(off) (makes baby noises - continues under
following dialogue)

All of his bits are on the table over there. All of his bits are on the table over there.
(bits : i.e., 'pacifiers')
RACHEL NOTICES A STAIN ON HER
SLEEVE.
RACHEL (cont'd)
(exhaling) Oh.
57-08
SCENE 4 - MS - ALICE.
ALICE 5-7 /57.12 59.09/ 1.13 ALICE TO RACHEL)

He'll be nice and warm in here. He'll be nice and warm in here.
59-10 (nice : implying 'comfortable')
SCENE 5 - MFS - PAST ALICE TO RACHEL

AS SHE OPENS THE DOOR.

Thank you, Alice. Thank you, Alice.
63-09 (Rachel leaves the apartment. At
Ebbets Field, Red Barber addresses
the crowd from the broadcast booth
SCENE 6 - MCS - RACHEL STEPS BG. above the stadium)
INTO THE ENTRYWAY, CLOSING THE
DOOR BEHIND HER.
66-11
SCENE 7 - EXT. EBBETS FIELD - DAY - LS

- LOW ANGLE - THE FACADE OF EBBETS
FIELD AS CAMERA CRANES UP.
CROWD AT EBBETS FIELD

(off) (overlapping cheers - continues under
(2)
42 5AB P/3
TITLE
TEXT OF A LARGE SIGN READS: 5-9 /66.14 69.13 2.15 NARRATIVE TITLE) (of sign)
EBBETS FIELD EBBETS FIELD
BARBER (See Title #4-98)

(voice over) Bottom of the first. The skies...
74-01
ITAL Bottom of the 1st.
SCENE 8 - INT. EBBETS (See Title #4-128)
FIELD/BROADCAST BOOTH - DAY - LS -
PAST BARBER, SEATED, TO THE FIELD.

(into microphone) ...are leaden now. The skies are leaden now. Pretty
threatening.
EBBETS FIELD P.A. ANNOUNCER (leaden : i.e., 'gloomy' - 'a dull gray
(over speaker) Next up for the Dodgers... color')
(Pretty : Rather - Quite)
BARBER (Pretty threatening : Implying, 'The
(overlapping) (into microphone) Pretty skies appear stormy')
threatening.

(over speaker) ...the first baseman...
BARBER 5-12 77.15 80.15 3.00 BARBER TO GROUP)

(overlapping) (into microphone) Eddie (over scene end) Eddie Stanky, safe at first.
(first : i.e., 'first base')
Stanky, safe at... (Jackie steps up to bat as Rickey and
79-12 Parrott watch from the stands)

MCS - RICKEY AND PARROT, SEATED IN
THE STANDS. RICKEY NODS.

cheers, whistles, and shouts - continues

(over speaker) ...number forty-two...

(voice over) (overlapping) ...first. And Jackie ITAL And Jackie Robinson steppin' to the plate.
(steppin' to the plate : i.e.,
Robinson steppin' to the plate. 'approaching home plate' - implying,
'preparing to bat')
(over speaker) (overlapping) ...Jackie...
84-06
(3)
42 5AB P/4
TITLE
SCENE 10 - LS - JACKIE, PHILLIES

CATCHER SEMINICK AND EBBETS FIELD
UMPIRE TAKE THEIR RESPECTIVE
POSITIONS AT HOME PLATE. JACKIE AND
SEMINICK STEP L. AS THE UMPIRE
STEPS FG.

(over speaker) ...Robinson.

(voice over) There's a slight breeze comin' There's a slight breeze comin' in from right
field, blowing towards left.
in from right field... (comin' in : i.e., 'blowing')
88-05
SCENE 11 - MCS - JACKIE PICKS UP

SOME DIRT AND RUBS IT INTO HIS
HANDS AS CAMERA TILTS WITH HIM.

(voice over) (stammering) ...blowing (in (over scene end) It shouldn't give much of an advantage to the
right-handed hitters.
normal voice) towards left. It shouldn't give (Note that a breeze blowing in a given
direction can cause the ball to carry
much of an advantage to the right-handed... farther out once it is hit into the air, but
95-01 in this case, Barber is stating that the
breeze isn't strong enough to carry a
ball)
SCENE 12 - MFS - CHAPMAN STEPS FG. (Ben Chapman, manager of the
OUT OF THE PHILLIES DUGOUT. CAMERA Phillies, calls to Jackie from the
PANS L. AND TILTS UP WITH HIM. dugout. Jackie ignores him as he
steps to home plate)
BARBER
(voice over) ...hitters.
CHAPMAN 5-16 96.13 98.01/ 1.04 CHAPMAN TO JACKIE)

Hey, nigger! Hey, nigger!
98-02 (nigger : see Title #1-160)

(off) Black nigger! Black nigger!
101-13
SCENE 14 - MS - RACHEL REACTS,

SEATED IN THE STANDS, AS CAMERA
TRACKS IN.

(off) Hey, why don't ya go back to the cotton Hey, why don't ya go back to the cotton fields
where you come from, huh?
fields where you come from, huh? I saw... (huh : see Title #1-93)
108-03 (Referring to the fact that African
Americans, when owned as slaves in
the antebellum South, were frequently
tasked to pick cotton in the fields of
wealthy white plantation owners)
(4)
42 5AB P/5
TITLE
SCENE 15 - MS - JACKIE STEPS L.FG. AS

CHAPMAN LOOKS ON, OUT OF FOCUS,
R.BG., CONTINUED UNDER FOLLOWING
SCENES.
CHAPMAN 5-19 /108.05 111.09/ 3.04 CHAPMAN TO JACKIE)

...you swing your way out of a jungle. I saw you swing your way out of a jungle.
(swing...jungle : implying Jackie [and
MEN IN DUGOUT other African Americans] are
(overlapping laughter - continues under descended from anthropoid apes)

111-11

BARBER.
BARBER 5-20 /111.13 115.15/ 4.02 BARBER TO GROUP)

(into microphone) Chapman, the Phillies Chapman, the Phillies manager, seems to
be chirping something...
manager, seems to be chirping (Phillies : Philadelphia Phillies)
(chirping : speaking in a lively
something... fashion - note that Barber is
intentionally understating the racial
CHAPMAN vitriol expressed by Chapman for the
(off) (overlapping) Swingin' on a vine! radio audience)
116-00

LS - HIGH ANGLE - CHAPMAN, CLAPPING,
SCENE.

(voice over) ...out to Robinson. ITAL ...out to Robinson.
(out to : i.e., 'at')
CHAPMAN
(overlapping) Come on, nigger, nigger,
nigger, nigger...

(voice over) (overlapping) Chapman, a ITAL (over scene end) Chapman, a hothead during his playing
days with the Yankees...
hothead... (hothead : slang for 'a quick-
119-11 tempered or impetuous person')
(his playing days : i.e., 'the period of
time he spent playing professional
SCENE 18 - FS - CHAPMAN. baseball')
CHAPMAN
...nigger, nigger.

(voice over) (overlapping) ...during his ITAL (over scene end) ...has carried that reputation right into his
managing.
playing days with the Yankees has carried (carried : i.e., 'continued')
(Stanky takes a lead off first base)
that...
123-03
(5)
42 5AB P/6
TITLE

REACT. RICKEY SHAKES HIS HEAD AND
GESTURES DISMISSIVELY.
BARBER
(voice over) ...reputation right into his
managing.
CHAPMAN
(off) (overlapping) Hey, nigger, nigger,
nigger, nigger, nigger!

127-13
SCENE 20 - FS - STANKY STEPS L. AWAY

FROM FIRST BASE AS THE PHILLIES
FIRST BASEMAN GETS READY FOR THE
PLAY.
MALE SUPPORTER #1 IN STANDS

(off) Try to...
130-10
SCENE 21 - MS - STANKY STEPS L. AND

R., ANTICIPATING THE PLAY.

(off) ...get him home. Don't listen to him!
133-01
SCENE 22 - MS - PAST EBBETS FIELD

UMPIRE (TORSO) TO SEMINICK,
CROUCHED, GLANCING FG. OVER HIS
SHOULDER FOR THE SIGNAL.
134-10
SCENE 23 - MCS - CHAPMAN PROVIDES

THE SIGNAL FOR THE PITCH,
GESTURING BETWEEN HIS NOSE,
MOUTH AND EAR.
MALE SUPPORTER #1 IN STANDS 5-24 137.13 139.13/ 2.00 MALE SUPPORTER #1 IN STANDS
(off) He's got half a mind, Jackie. TO JACKIE)
139-14 He's got half a mind, Jackie.
(He's got half a mind : Humorously
implying that Chapman is a half-wit,
SCENE 24 - MS - PAST EBBETS FIELD who cannot use his full mental
UMPIRE (TORSO) TO SEMINICK AS HE reasoning to behave in a thoughtful or
TURNS BG. intelligent way)
141-02
(6)
42 5AB P/7
TITLE
SCENE 25 - MCS - PAST SEMINICK TO

EBBETS FIELD UMPIRE AS SEMINICK
SMACKS HIS FIST IN HIS GLOVE, THEN
LOWERS HIS R. HAND BETWEEN HIS
LEGS AND RELAYS THE SIGNAL FOR THE
PITCH, GESTURING WITH HIS FINGERS.
CAMERA TILTS DOWN TO SEMINICK'S
HAND.
MALE RACIST #1 IN STANDS 5-25 142.15 145.00/ 2.01 MALE RACIST #1 IN STANDS TO MEN)
(off) Take that monkey out now! Take that monkey out now!
(monkey : racial epithet for a black
CHAPMAN person)
(off) You all... (i.e., 'Remove Jackie from the game!')
145-02
SCENE 26 - MFS - PHILLIES PITCHER

LEONARD NODS AND PREPARES TO
PITCH.
CHAPMAN 5-26 /145.04 149.04 4.00 CHAPMAN TO JACKIE)

(off) ...right? You don't look all right. You all right? You don't look all right.
149-13
SCENE 27 - MS - JACKIE TAKES A

PRACTICE SWING.

(off) Nigger, nigger, nigger! Nigger, nigger, nigger!
153-02
SCENE 28 - MCS - JACKIE ADOPTS HIS

BATTING STANCE.
CHAPMAN 5-28 153.09 156.14 3.05 CHAPMAN TO JACKIE)

(off) Come on, nigger, nigger, nigger, Come on, nigger, nigger, nigger, nigger,
nigger, nigger!
nigger, nigger... (Come on : Used here as an
156-15 idiomatic taunt)
(Note that Chapman uses the same
pattern and rhythm used to taunt
SCENE 29 - FS - PAST JACKIE TO batters, altering the more common
LEONARD AS HE THROWS A FASTBALL "Come on, batter, batter, batter" or
FG. AT JACKIE, NARROWLY MISSING HIM. "Hey, batter, batter, batter" to include a
racial epithet to unnerve Jackie)
CHAPMAN (Dutch Leonard, the Phillies' pitcher,
(off) ...nigger! throws a fastball at Jackie, who falls
159-08 to the ground to avoid being struck)
(7)
42 5AB P/8
TITLE
SCENE 30 - MS - JACKIE DROPS TO THE

GROUND, NARROWLY EVADING THE
PITCH, AS SEMINICK (TORSO) CATCHES
THE BALL. CAMERA TILTS DOWN WITH
JACKIE.

gasps, shouts, and exclamations of "Oh!" -
dialogue)
CHAPMAN
(off) (in high voice) Whoo!
161-02

REACT.
WHITE SPECTATOR #1 IN STANDS

Ooh.
163-07
SCENE 32 - MCS - RACHEL REACTS,

SITTING UP IN HER SEAT.
167-00
SCENE 33 - MCS - HANDLEY AND HIGBE,

SEATED IN THE DUGOUT.
HIGBE 5-29 /167.02 169.10/ 2.08 HIGBE TO JACKIE)

Welcome to the big leagues, rook! Welcome to the big leagues, rook!
169-11 (big league : see Title #3-179)
(rook : see Title #2-155)
(Implying plays of this nature are
SCENE 34 - MCS - SHOTTON, SEATED IN typical in Major League Baseball)
THE DUGOUT, GLANCING ABOUT.

(off) Come on, now, get up. Can't... Come on, now, get up.
173-14 (Come on : Idiomatic expression of
urging)
SCENE 35 - MCS - HANDLEY AND HIGBE,

GLANCING ABOUT. 5-31 /174.00 177.08 3.08 HIGBE TO JACKIE)
Can't take the heat, get outta the kitchen,
HIGBE rook.
...take the heat, get outta the kitchen, rook. (Can't...kitchen : Idiomatic for, 'If you
can't withstand the pressure, you
(to Bragan) Right, (chuckling) Bobby? should remove yourself from the
179-11 situation' - Implying, 'If you can't
handle a pitch of that nature, perhaps
you should not be playing baseball')
5-32 178.06 179.10/ 1.04 HIGBE TO BRAGAN)

Right, Bobby?
(Bragan doesn't respond. Jackie rises
and dusts himself off)
(8)
42 5AB P/9
TITLE
SCENE 36 - MCS - BRAGAN, SEATED

NEARBY, GLANCES ABOUT BUT DOES
NOT REPLY.

(off) (chuckles) Those are nice... (over scene end) Those are nice dance moves, Bojangles.
182-14 (Those are nice dance moves : Wryly
referring to Jackie's fall)
(Bojangles : Chapman's racist
SCENE 37 - MS - JACKIE STANDS UP AND nickname for Jackie - alluding to Bill
DUSTS HIMSELF OFF AS CAMERA TILTS "Bojangles" Robinson, an African-
UP WITH HIM. HE PICKS UP HIS HAT AND American tap dancer and actor of
PUTS IT BACK ON. stage and film)
CHAPMAN
(off) ...dance moves, Bojangles. Leave your 5-34 185.03 189.13/ 4.10 CHAPMAN TO JACKIE)
Leave your hat on the ground, maybe
hat on the ground, maybe somebody'll somebody'll throw some money in it.
(Alluding to street performers who
throw some money in it. typically collect tips in their hats as
189-14 compensation for their performances)
SCENE 38 - MCS - SMITH REACTS,

SEATED IN THE STANDS.

(off) Huh? Put on... Put on a little show, nigger.
193-11 (little : used to imply insignificance)
SCENE 39 - MFS - CHAPMAN.
CHAPMAN
...a little show, nigger.
196-01
SCENE 40 - MCS - JACKIE GLANCES

ABOUT AS HE STRUGGLES TO MAINTAIN
HIS COMPOSURE, CONTINUED UNDER
FOLLOWING SCENES.

(off) Do a little shuffle. Do a little shuffle.
200-01 (Do : i.e., 'Perform')
(shuffle : a type of footwork in tap
dance)
SCENE 41 - MCS - RICKEY, GESTURING, (Parrott looks at Rickey with concern)
AND PARROT, GLANCING ABOUT.

(off) Come on, midnight! Come on, midnight!
(midnight : offensive slang for a
RICKEY black person)
He's all right, he's all right.
CHAPMAN 5-38 201.15 204.01 2.02 RICKEY TO PARROTT)

(off) All right, nigger. He's all right, he's all right.
205-11 (He : i.e., 'Jackie')
(Implying, 'Jackie is maintaining
control of himself.')
5-39 204.05 205.10/ 1.05 CHAPMAN TO JACKIE)

All right, nigger.
(9)
42 5AB P/10
TITLE
SCENE 42 - MCS - JACKIE SETTLES BACK

INTO THE BATTER'S BOX AND TAKES A
PRACTICE SWING.

(off) Let's do this. Ya oughta be careful in Let's do this. Ya oughta be careful in this
sunshine.
this sunshine. (Let's do this : Implying, 'Let's see
211-07 you hit the ball')
SCENE 43 - FS - CHAPMAN.

Tar baby skin gonna melt. Tar baby skin gonna melt.
214-12 (Tar baby : Racial epithet for a black
person - After a fictional character, a
doll made of tar and turpentine used
SCENE 44 - MCS - JACKIE TAKES A to entrap Br'er Rabbit, in the second of
PRACTICE SWING, THEN ADOPTS HIS the Uncle Remus stories)
BATTING STANCE. (Leonard throws another fastball at
Jackie, who again falls to the ground
MALE RACIST #1 IN STANDS to avoid being struck)
(off) One more in his ear, now!
218-14
SCENE 45 - MFS - LEONARD WINDS UP.

221-05

LEONARD AS HE THROWS ANOTHER
PITCH AT JACKIE'S HEAD. JACKIE LEANS
L. TO AVOID IT.
222-01
SCENE 47 - MS - JACKIE DROPS TO THE

GROUND, NARROWLY EVADING THE
PITCH, AS CAMERA TILTS DOWN WITH
HIM.
223-07
SCENE 48 - FS - STANKY AND THE

PHILLIES FIRST BASEMAN STEP R.
TOWARD FIRST BASE.

(off) You can't hit that? You can't hit that?
225-04
(10)
42 5AB P/11
TITLE
SCENE 49 - MS - STANKY JOGS R. TO

FIRST BASE AS CAMERA PANS WITH HIM.
MALE RACIST #2 IN STANDS 5-43 /225.07 228.04 2.13 MALE RACIST #2 IN STANDS TO LEONARD)
(off) (low) One more! Strike him! One more! Strike him!
(Strike him : i.e., 'Hit Jackie')
CHAPMAN (Jackie rises)
(off) Hey, why don't you get that boy that you
sent down... 5-44 228.08 235.11/ 7.03 CHAPMAN TO JACKIE)

231-00 (over scene end) Hey, why don't you get that boy that you sent
down to the International League. Huh?
(sent down : i.e., 'demoted')
SCENE 50 - MS - JACKIE STANDS UP AND (International League : see Title #3-
DUSTS HIMSELF OFF AS CAMERA TILTS 41)
UP WITH HIM. (Implying that the Dodgers should get
Ed Stevens, one of two players [the
CHAPMAN other being Howie Schultz] traded for
(face off) ...to the International League. (on) Jackie, back on the team - Note that
Schultz went to the Philadelphia
Huh? 235-13 Phillies while Stevens was demoted
to the Montreal Royals)

That's where Africans play, ain't it? That's where Africans play, ain't it?
237-15 (ain't : colloquial for 'isn't')
SCENE 52 - MCS - SMITH REACTS.

(off) Who was that? Who was that?
241-03 (Implying, 'Whose place on the team
did you take?')

Who'd you put out of a job, nigger? Who'd you put out of a job, nigger?
244-01 (Who'd you put out of a job : i.e.,
'Whose job did you [unfairly] steal')
(Jackie's teammates watch from the
SCENE 54 - MCS - BRANCA, SEATED IN dugout)
THE DUGOUT WITH STANKY AND REESE.
BRANCA 5-48 244.13 247.08/ 2.11 BRANCA AS IF TO JACKIE)

Come on, Jackie. Come on, Jackie.
urging, here meaning 'Hit the ball')
SCENE 55 - LS - PAST JACKIE TO

LEONARD AS HE PITCHES AND JACKIE
HITS THE BALL L.BG.

(voice over) Robinson, waiting for the pitch. ITAL Robinson, waiting for the pitch.
(Leonard pitches to Jackie, who hits
CROWD AT EBBETS FIELD the ball)
cheers, whistles, and shouts - continues

250-13
(11)
42 5AB P/12
TITLE
SCENE 56 - MCS - CHAPMAN.

(voice over) Swings, and it's a... ITAL (over scene end) Swings, and it's a fly ball out to left.
252-02 (it's : i.e., 'the hit is')
(fly ball : in baseball, a hit that goes
high but usually not very far)
SCENE 57 - MCS - SMITH. (left : i.e., 'left field')
(Phillies fielder Del Ennis catches the
BARBER ball)
(voice over) ...fly ball out to left.
254-02
SCENE 58 - MCS - RICKEY AND PARROT.

256-06
SCENE 59 - LS - LOW ANGLE - THE BALL

AS IT FALLS AND IT CAUGHT BY ENNIS AS
CAMERA TILTS DOWN TO INCLUDE HIM
IN A MS.

(voice over) Ennis settles under... ITAL (over scene end) Ennis settles under it for the out.
259-07 (settles under it : i.e., 'moves directly
under the trajectory of the ball and
prepares to catch it')
SCENE 60 - MS - TWO BLACK
SPECTATORS REACT.
BARBER
(voice over) ...it for the out.

groans - continues under following scenes
and dialogue)
BLACK SPECTATOR #1 IN STANDS

(low) Oh, man.
261-03
SCENE 61 - MCS - SMITH REACTS,

DISAPPOINTED.

(over speaker) Center...
264-11
SCENE 62 - LS - JACKIE TOSSES HIS BAT

DOWN AS HE JOGS R. AND CAMERA
PANS WITH HIM.

(over speaker) ...fielder (continues low and
indistinct under following dialogue)
(12)
42 5AB P/13
TITLE

(voice over) Sky's starting to clear now, the ITAL Sky's starting to clear now, the sun pushing
its way through.
sun pushing its way through. (Sky's starting to clear now : i.e., 'The
269-14 clouds are clearing - Implying, 'The
weather is beginning to improve')
(pushing its way through : i.e.,
SCENE 63 - MFS - CHAPMAN CLAPS AND 'breaking through the clouds')
STEPS BG. TOWARD THE PHILLIES
DUGOUT.
CHAPMAN 5-53 270.06 272.15 2.09 CHAPMAN TO MEN)

Nigger can't play. Nigger can't play.
273-12 (can't play : i.e., 'has poor baseball
skills')

PARROT.

It's all right, he can take it. God built him to It's all right, he can take it.
(take it : i.e., 'withstand the abuse')
last.
283-09
God built him to last.
SCENE 65 - MS - PAST BRAGAN TO HIGBE (Implying, 'Jackie has the ability to
AS HIGBE STANDS UP AND EXITS R.FG. endure hardship' - See Title #3-121)
JACKIE (TORSO) ENTERS L.BG. AND SITS (Jackie returns to the dugout and sits
DOWN, FACE ON. beside Bragan in silence. Later, the
299-00 scoreboard is shown)
SCENE 66 - MCS - BRAGAN, GLANCING

ABOUT.
303-10
SCENE 67 - MCS - JACKIE REACTS,

GLANCING ABOUT.
313-02
SCENE 68 - EXT. EBBETS FIELD - LATER -

DAY - LS - THE SCOREBOARD READS:
AT BAT BALLS STRIKES OUTS

TEAMS 1 2 3 4 5 6 7 8 9 R H E TEAMS 1
2 3 4 5 6 7 8 9 10 R P
PHILA. 0 0 0 0 0 1 CINCI. 21
BKLYN 000 0 CHICAGO 0 3
BATTING ORDER UMPIRES PLATE

BASES

(over speaker) Now batting, (continues low
and indistinct under following scene and
dialogue)
(13)
42 5AB P/14
TITLE

(voice over) No score, bottom of the fourth. ITAL No score, bottom of the 4th.
317-01 (No score : Implying, 'Neither team
has scored a run')
(Spider Jorgensen is at first base,
SCENE 69 - FS - STANKY TAKES Eddie Stanky at bat)
PRACTICE SWINGS AT HOME PLATE. IN
THE BG., JORGENSEN, OUT OF FOCUS,
STEPS L. AWAY FROM FIRST BASE,
ANTICIPATING THE PLAY.

(voice over) Spider Jorgensen taking a ITAL Spider Jorgensen taking a small lead off
first.
small lead off first. Jorgensen, a rookie... (small : i.e., 'modest')
323-00 (lead off first : referring to a runner
stepping off the base he is currently
on [in this case, first base] in
SCENE 70 - INT. EBBETS anticipation of the next batter's hit, so
FIELD/BROADCAST BOOTH - DAY - MCS - that he has a lead in running to the
BARBER. next base)
BARBER
(into microphone) ...spent last season in 5-58 321.14 326.01/ 4.03 BARBER TO GROUP)
(over scene end) Jorgensen, a rookie, spent last season in
Montreal. Montreal.
326-02 (in Montreal : i.e., 'playing for the
Montreal Royals')

LS - PAST STANKY TO LEONARD AS HE
PITCHES L.FG.
328-08
SCENE 72 - MFS - STANKY GETS A HIT

AND RUNS L. SEMINICK STANDS UP,
REMOVING HIS MASK, BG.

(voice over) Here's the pitch. And... ITAL Here's the pitch.
331-02 (i.e., 'The pitcher has delivered the
pitch.')
(Stanky hits the ball and gets on
SCENE 73 - LS - STANKY RUNS L. base)
TOWARD FIRST, EXITING, AS THE
PHILLIES OUTFIELD SCRAMBLES TO
FIELD THE BALL.

and cheers - continues under following

(voice over) ...Stanky lines a single out to ITAL And Stanky lines a single out to right field.
(lines : i.e., 'hits')
right field. (single : the most common type of
base hit, accomplished through the
act of a batter safely reaching first
base by hitting a fair ball)
(14)
42 5AB P/15
TITLE
PHILLIES PLAYER #1 5-61 335.01 336.03/ 1.02 PHILLIES PLAYER #1

Three! TO PHILLIES PLAYER #2)
336-04 Three!
(Implying, 'Throw the ball to third
base!')
SCENE 74 - FS - STANKY RUNS R. TO
FIRST BASE, THEN L.BG. PAST IT. HE
SIDESTEPS FG. BACK TOWARD THE
BASE AS THE PHILLIES INFIELD RELAYS
THE BALL L., BG.
MALE SUPPORTER #2 IN STANDS 5-62 337.10 339.15 2.05 MALE SUPPORTER #2 IN STANDS
(off) Hung low. Now there you go. TO STANKY)
Hung low. Now there you go.
EBBETS FIELD P.A. ANNOUNCER (Hung low : i.e., 'You hit a line drive
(over speaker) Next up for the Dodgers... with a low arc so it couldn't be caught')
342-01 (Now there you go : Idiomatic
expression of encouragement)
SCENE 75 - MS - JACKIE TOSSES DOWN

ONE OF TWO BATS AS HE WALKS L.BG. 5-63 340.03 342.01/ 1.14 EBBETS FIELD P.A. ANNOUNCER
TOWARD HOME PLATE AND CAMERA ITAL OVER SPEAKER TO GROUP)
PANS WITH HIM. Next up for the Dodgers:
(Jackie walks to home plate, ready to
EBBETS FIELD P.A. ANNOUNCER bat again)
(over speaker) ...Jackie Robinson.
346-10
5-64 342.13 345.02 2.05 EBBETS FIELD P.A. ANNOUNCER
SCENE 76 - MCS - SMITH. Jackie Robinson.
CHAPMAN
(off) Hey! 5-65 349.02 350.03/ 1.01 CHAPMAN TO REESE)
350-04 Hey!
CHAPMAN 5-66 351.02 353.02/ 2.00 CHAPMAN TO REESE)

Hey, Pee Wee! Hey, Pee Wee!
353-04 (Pee Wee : i.e., 'Pee Wee Reese')
SCENE 78 - MCS - BRANCA, ANOTHER

PLAYER, AND REESE AS THEY REACT.
CHAPMAN 5-67 /353.06 356.04 2.14 CHAPMAN TO REESE)

(off) Hey, what's this nigger doin' for you... Hey, what's this nigger doin' for you all...
356-05 (what's...all : i.e., 'what has Jackie
accomplished as a ballplayer that
makes him worthy of being your
SCENE 79 - MS - JACKIE STEPS R.FG. equal' - implying that the inferior level
AND BENDS DOWN, FACE OFF, TO of Jackie's abilities don't seem worth
COLLECT DIRT FOR HIS HANDS. breaking baseball's segregated
policies - note that 'you all' is
CHAPMAN colloquial for 'all of you')
(off) ...all that you let him drink out of the
same water fountain as you? 5-68 357.06 361.12/ 4.06 CHAPMAN TO REESE)
361-13 ...that you let him drink out of the same water
fountain as you?
(15)
42 5AB P/16
TITLE

REACT.
CHAPMAN
(off) Huh? I...
365-12
CHAPMAN 5-69 /365.14 368.11/ 2.13 CHAPMAN TO REESE)

...hope you don't take showers with him... I hope you don't take showers with him...
368-12 (take showers with him : i.e., 'use the
showers at the same time as him')
SCENE 82 - MCS - JACKIE RUBS THE

DIRT IN HIS O.S. HANDS AND
STRUGGLES TO MAINTAIN HIS
COMPOSURE, CONTINUED UNDER
FOLLOWING SCENES.
CHAPMAN 5-70 370.00 372.00 2.00 CHAPMAN TO REESE)

(off) ...'cause you gonna be a... ...'cause you gonna be a mess!
372-01 (i.e., '...because all of you will get dirty
as a result!' - Note racist allusion to
Jackie's skin being dark from being
SCENE 83 - MCS - BRANCA, ANOTHER dirty)
PLAYER AND REESE REACT. (Jackie's teammates ignore
Chapman)
CHAPMAN
(off) ...mess!
376-01
SCENE 84 - MCS - JACKIE STEPS R.

(off) 'Ey, nigger! 'Ey, nigger!
379-05

You like white women? You like white women?
381-06 (You like : i.e., 'Are you sexually
attracted to')
SCENE 86 - MCS - RACHEL REACTS.

(off) Huh? (chuckling) Hey, (in normal (over scene end) Hey, which one-a these Dodger wives are
you climbin' on tonight?
voice) which one-a... (one-a : one of)
384-10 (climbin' on : i.e., 'having sex with')
(Jackie gestures for a timeout)
(16)
42 5AB P/17
TITLE
SCENE 87 - MS - JACKIE, IN BATTING

POSITION, GESTURES AND STEPS R.,
CALLING A TIME OUT.
CHAPMAN
(off) ...these Dodger wives are you climbin'
on tonight?
EBBETS FIELD UMPIRE 5-74 388.03 389.13/ 1.10 EBBETS FIELD UMPIRE TO MEN)
(off) Time! Time!
(i.e., 'Timeout!'- See Title #2-186)
CHAPMAN
(off) Oh, wait...
389-15
CHAPMAN 5-75 /390.01 394.04 4.03 CHAPMAN TO MEN)

...timeout, hold on. He's gotta take a nap. Wait, timeout, hold on. He's gotta take a nap.
(hold on : i.e., 'wait')
PHILLIES PLAYER #2 (He : i.e., 'Jackie')
(overlapping) Oh, come on. (chuckles) (He's gotta take a nap : Note racist
implication that Jackie is lazy and
CHAPMAN wants to take a rest during his at bat)
Hey, which one is it?
396-06
Hey, which one is it?
SCENE 89 - MCS - BRANCA, ANOTHER (one : note double meaning - [1] i.e.,
PLAYER AND REESE. 'player,' and [2] i.e., 'woman' - 'wife')
CHAPMAN
(off) I think I... 5-77 398.10 401.05 2.11 CHAPMAN TO JACKIE)
400-00 (over scene end) I think I know!

...know! Dixie? Dixie?
404-00 (i.e., 'Are you attracted to Dixie
Walker's wife?')
SCENE 91 - MS - WALKER.
406-01
CHAPMAN 5-79 407.07 412.07 5.00 CHAPMAN TO WALKER)

(chuckles) (chuckling) Sorry. (in normal (over scene end) Sorry. Dixie, I hate to be the one to tell ya.
(I...ya : i.e., 'It is emotionally difficult
voice) Dixie, I hate to be the one to tell... for me to inform you of the following
412-08 facts' - Note sarcasm)
(17)
42 5AB P/18
TITLE
SCENE 93 - MS - WALKER STEPS FG. OUT

OF THE DUGOUT AS CAMERA TILTS UP
WITH HIM.
CHAPMAN 5-80 413.11 419.02/ 5.07 CHAPMAN TO WALKER)

(off) ...ya. I saw her walkin' earlier... (over scene end) I saw her walkin' earlier with a little bit of a
416-06 bow in her step.
(her : i.e., 'your wife')
(Implying Walker's wife's walk is
SCENE 94 - FS - CHAPMAN. impeded because she is sore from
having sex with Jackie)
CHAPMAN
...with a little bit of a bow in her step.
419-03
SCENE 95 - MS - WALKER REACTS.
CHAPMAN 5-81 419.14 421.10/ 1.12 CHAPMAN TO WALKER)

(off) (chuckles) It'll be fine. It'll be fine.
421-11 (i.e., 'The situation will resolve itself.')
SCENE 96 - MS - JACKIE, LIVID, TAKES

PRACTICE SWINGS AND ADOPTS HIS
BATTING STANCE.
CHAPMAN 5-82 /421.14 427.06 5.08 CHAPMAN TO WALKER)

(off) It'll be fine. He looks like a nice It'll be fine. He looks like a nice boy.
(boy : see annotation for 'boys' in
(emphasizing) boy. (in normal voice) (to Title #1-92)
(Jackie prepares to bat)
Jackie) That right, (emphasizes) boy?
430-10
That right, boy?

Come on, nigger, nigger, nigger! Come on, nigger, nigger, nigger!
433-06
SCENE 98 - MFS - LEONARD GLANCES

BG. TO SECOND BASE, WHERE
ANOTHER DODGER AWAITS THE PLAY.
THE PHILLIES SECOND BASEMAN RUNS
L.

(voice over) Two men on for Robinson. ITAL Two men on for Robinson.
438-00 (on : i.e., 'on base')
(for Robinson : i.e., 'for Robinson to
advance')
(Leonard pitches. Jackie hits a pop
fly)
(18)
42 5AB P/19
TITLE

LEONARD AS HE PITCHES L.FG. JACKIE
HITS A POP FLY BALL O.S.

(voice over) Here's the pitch from Leonard. ITAL Here's the pitch from Leonard.
Swung on, and it's a...

LEONARD POINTS UPWARD AND JOGS ITAL (over scene ends) Swung on, and it's a towering infield pop-up.
L.FG. AS SEMINICK STANDS AND RUNS (Swung on : i.e., 'Jackie swung at the
R.BG. pitch')
(it's : i.e., 'Jackie's hit is')
LEONARD (towering : i.e., 'very high')
(overlapping) Up! Up! (infield : referring to the area
443-00 composed of the baseball diamond
plus a region beyond it)
(pop-up : in baseball, a high fly ball
SCENE 100 - MCS - JACKIE, GAZING that travels a relatively short distance
UPPER R. from home plate - i.e., 'pop fly')
(Leonard points skyward as the
BARBER Phillies' catcher, Seminick, prepares
(voice over) ...towering infield... for the play)
444-06
SCENE 101 - MCS - CHAPMAN, GAZING

UP.
BARBER
(voice over) ...pop-up.
446-14
SCENE 102 - LS - LOW ANGLE - THE BALL

IN THE SKY.
450-10
SCENE 103 - MCS - JACKIE STEPS R. AND

REACTS, DISAPPOINTED.

(voice over) Seminick settles... ITAL Seminick settles under it.
453-11 (settles under it : see Title #5-51)
SCENE 104 - FS - LEONARD JOGS L.FG.

AS CAMERA PANS WITH HIM. SEMINICK
ENTERS L., STEPPING R., AND CATCHES
THE BALL.
BARBER
(voice over) ...under it.
LEONARD 5-89 454.14 460.02/ 5.04 LEONARD TO SEMINICK,

Hey, is that a home run? THEN SEMINICK TO LEONARD)
-Hey, is that a home run?
SEMINICK -Yeah. If you're playin' in an elevator shaft.
(off) Yeah. (on) If you're playin' in an elevator (Hey, is that a home run : Note
sarcasm)
shaft. (If...shaft : Wryly implying, 'If a home
460-03 run is decided based on how high
one hits the ball instead of how far')
(Seminick catches the ball for an out)
(19)
42 5AB P/20
TITLE

BARBER.

(into microphone) Can-a corn, and Can-a corn, and Robinson is out.
(Can-a corn : Baseball jargon for 'A
Robinson is out. high, easy-to-catch fly ball' - Note
allusion to an old-time grocer’s
EBBETS FIELD P.A. ANNOUNCER method of getting canned goods
(over speaker) (overlapping) (low and down from a high shelf. Using a stick
with a hook on the end, a grocer could
indistinct - continues under following scene tip a can so that it would fall for an
easy catch in his apron - Also note
and dialogue) that in the very early days of baseball,
the outfield was called the “corn field”
CROWD AT EBBETS FIELD [especially in early amateur baseball
(off) (overlapping, low and indistinct chatter the outfield may have been a farm
field])
and boos - continues under following

464-06
SCENE 106 - FS - JACKIE WALKS R. AS

466-07
SCENE 107 - MS - CHAPMAN.

You don't belong here, nigger! You don't belong here, nigger!
470-03 (You don't belong here : Note double
meaning - [1] i.e., 'You are not fit to
play professional baseball,' and [2]
SCENE 108 - MFS - PAST JACKIE TO i.e., 'You do not belong among white
ANOTHER OF THE DODGERS WALKING people')
BG. CARRYING A BAT. JACKIE GRABS
THE BAT AS HE STEPS BG. AND CAMERA
TRACKS IN TO A MS. JACKIE TURNS FG.,
FURIOUS.

(off) You hear me? Why don't you look in the You hear me? Why don't you look in the
mirror?
mirror? This a white man's game. (hear : i.e., 'understand')
479-02

SCENE 109 - MCS - CHAPMAN WALKS L. This a white man's game.
AS CAMERA TRACKS WITH HIM. (i.e., 'Baseball is a game intended for
white people to play and watch.')
CHAPMAN
All right? Get that through your thick monkey
skull! All right? Get that through your thick monkey
483-08 skull!
(Get...skull : Harsh, offensive idiom
for 'Understand this point')
(Clutching his bat, Jackie stares
angrily at Chapman)
(20)
42 5AB P/21
TITLE
SCENE 110 - MCS - JACKIE REACTS AS

CAMERA TRACKS IN.
JACKIE
(exhales sharply through nose)
490-09

PARROT AS RICKEY TAKES HIS CIGAR
FROM HIS MOUTH AND THEY REACT.
494-02

497-00
JACKIE
(breathes heavily)
499-15
RACHEL 5-95 501.07 503.12 2.05 RACHEL AS IF TO JACKIE)

Look at me, baby. Look at me, baby.
505-07 (baby : term of affectionate address)

ABOUT.
JACKIE
(breathes heavily)
509-09
RACHEL 5-96 510.10 513.15/ 3.05 RACHEL AS IF TO JACKIE)

(low) Look at me, baby. Look at me. Look at me, baby. Look at me.
514-01 (Jackie turns away and enters the
tunnel under Ebbets Field, smashing
his bat to pieces against the wall.
SCENE 117 - MCS - JACKIE, Jackie kneels on the ground as
CONFLICTED, TURNS AND QUICKLY Rickey approaches him)
WALKS R.BG. DOWN THE STAIRS TO THE
TUNNEL AS CAMERA TILTS DOWN WITH
HIM TO A FS.
JACKIE
(pants)
520-07
(21)
42 5AB P/22
TITLE
SCENE 118 - INT. TUNNEL/EBBETS FIELD

- DAY - MFS - JACKIE WALKS FG. AND
SMASHES THE BAT INTO THE WALLS IN A
BURST OF ANGER AND FRUSTRATION,
SCENE, AS CAMERA FOLLOWS.
JACKIE
(screams - continues under following
scene)
532-00
SCENE 119 - FS - JACKIE BREAKS THE

BAT AND THROWS HIS CAP DOWN IN
DISGUST. HE STRIKES THE WALL WITH
HIS FIST AND COLLAPSES INTO A
KNEELING POSITION, DISTRAUGHT,
SCENES.
JACKIE
(breathes heavily) (screams) (cries)
RICKEY ENTERS L.FG. AND WALKS BG.

560-15
SCENE 120 - MS - PAST RICKEY (TORSO)

TO JACKIE, GESTURING WITH THE BAT
FRAGMENT, AS HE RISES UP INTO A
CROUCHING POSITION. RICKEY WALKS
BG., THEN STOPS.
JACKIE 5-97 /561.01 562.15 1.14 JACKIE TO RICKEY)

No! (pants) (in wavering voice) No. (pants) No!
The next white son of a bitch that opens his

5-98 567.06 569.04 1.14 JACKIE TO RICKEY)
mouth, I'll smash his goddamn teeth in. No.
(pants - continues under following

5-99 571.00 578.03 7.03 JACKIE TO RICKEY)
dialogue) The next white son of a bitch that opens his
mouth, I'll smash his goddamn teeth in.
JACKIE KNEELS, TOSSING THE BAT (son of a bitch : see Title #1-162)
HANDLE BG., AND BRIEFLY LOWERS HIS (opens his mouth : i.e., 'says
HEAD TO THE FLOOR. something to me')
(goddamn : vulgar slang intensive)
RICKEY
(face off) You can't do that, Jack.
5-100 578.15 581.14 2.15 RICKEY TO JACKIE)
JACKIE You can't do that, Jack.
(sniffs) (panting) I'm supposed to just let
this go on? (pants - continues under 5-101 591.07 595.07 4.00 JACKIE TO RICKEY)
I'm supposed to just let this go on?
following dialogue) (let this go on : idiomatic for
'withstand this abuse without taking
any retaliatory action')
(22)
42 5AB P/23
TITLE

(face off) These men have to live with These men have to live with themselves.
(These men : Implying, 'Men like
themselves. Chapman' - 'Racists')
(i.e., ''These racists have to live the
JACKIE STANDS UP AND STEPS FG. AS horrible lives of racists.' - Implying that
CAMERA TILTS UP WITH HIM TO INCLUDE Jackie does not need to retaliate
RICKEY'S FACE. against these men as their worst
punishment is being their horrible
JACKIE racist selves )
(panting) I have to live with myself too. Right
now I'm livin' a sermon out there. (pants - 5-103 601.11 605.05 3.10 JACKIE TO RICKEY)
I have to live with myself too.
continues under following dialogue) (Here used to mean, 'I have to
maintain my integrity.')
RICKEY STEPS BG., GESTURING.
RICKEY 5-104 606.10 611.02 4.08 JACKIE TO RICKEY)

You don't matter now, Jack. You're in this Right now I'm livin' a sermon out there.
(out there : i.e., 'on the field')
thing. You don't have the right to pull out (i.e., 'I'm constantly being tested.' - 'I'm
suffering.' - Implying that Jackie is
from the backing of people that believe in suffering in the face of racism
because he is having to 'turn the other
you, that respect you, that need you. cheek' [see Title #1-178] - Also note
play on 'live with myself')
JACKIE
(overlapping) (panting) Is that so?
5-105 613.05 616.07 3.02 RICKEY TO JACKIE)
You don't matter now, Jack.
(You : i.e., 'Your feelings as an
individual')
5-106 617.02 619.08 2.06 RICKEY TO JACKIE)

You're in this thing.
(in this thing : implying, 'a part of the
struggle for equality and civil rights')
5-107 619.12 624.11 4.15 RICKEY TO JACKIE)

You don't have the right to pull out from the
backing of people...
(pull out : to withdraw, as from a
situation or commitment)
(the...respect you : i.e., 'the support of
the African-American community)
5-108 624.15 630.06 5.07 RICKEY TO JACKIE)

...that believe in you, that respect you, that
need you.
(need you : implying, 'require a public
figure that represents them')
5-109 630.10 632.10 2.00 JACKIE TO RICKEY)

Is that so?
(so : i.e., 'true' - 'the case')
(23)
42 5AB P/24
TITLE

If you fight, they won't say that Chapman If you fight, they won't say that Chapman
forced you to.
forced you to. They'll say that you're in over (they : i.e., 'the media')
your head. That you don't belong here.

5-111 639.05 646.04 6.15 RICKEY TO JACKIE)
JACKIE They'll say that you're in over your head. That
(overlapping) (panting) Do you know what you don't belong here.
(in over your head : idiomatic for
it's like havin' somebody do this to you? 'involved in a situation that is too
difficult for you to deal with' - 'involved
(breathes heavily - continues under in a situation that you are not qualified
to deal with')
following dialogue) (here : i.e., 'in Major League
Baseball')
RICKEY
No. No. You do.
5-112 646.08 651.09 5.01 JACKIE TO RICKEY)
RICKEY STEPS FG. Do you know what it's like havin' somebody
do this to you?
RICKEY (cont'd) (do this to you : i.e., 'treat you this
You're the one livin' the sermon. In the way')
wilderness.
5-113 651.13 653.09 1.12 RICKEY TO JACKIE)
No.
5-114 654.12 656.10 1.14 RICKEY TO JACKIE)

No.
5-115 657.12 659.12 2.00 RICKEY TO JACKIE)

You do.
5-116 663.06 665.06 2.00 RICKEY TO JACKIE)

You're the one...
5-117 667.00 669.11 2.11 RICKEY TO JACKIE)

...livin' the sermon.
(i.e., '...suffering right now.')
5-118 673.07 676.01 2.10 RICKEY TO JACKIE)

In the wilderness.
(For this Title and the next : Referring
to the temptation of Christ as detailed
in the Gospels of Matthew, Mark, and
Luke. After being baptized, Jesus
fasted for forty days and nights in the
Judaean Desert. During this time, the
devil appeared to Jesus and tempted
him. After refusing each temptation,
the devil departed and angels came
and brought nourishment to Jesus -
Metaphorically implying Jackie must
suffer the indignation and resist the
temptation to fight back against the
verbal abuse he is incurring if he is to
ultimately win the struggle for equality
in baseball)
(24)
42 5AB P/25
TITLE

Forty days. All of it. Only you. Forty days.
JACKIE
(chuckling) There's not a goddamn thing I 5-120 679.02 681.02 2.00 RICKEY TO JACKIE)
All of it.
can do about it. (i.e., 'The entire struggle.')
RICKEY STEPS BG.

5-121 684.10 686.11 2.01 RICKEY TO JACKIE)
RICKEY Only you.
Of course there is! You can get out there (Implying, 'You are alone in this
struggle and must overcome it
and hit! yourself.')
JACKIE
(overlapping) (sniffs) (pants - continues 5-122 688.04 692.04 4.00 JACKIE TO RICKEY)
There's not a goddamn thing I can do about
under following dialogue) it.
(goddamn : vulgar slang intensive)
RICKEY (about it : i.e., 'to change or combat
You can get on base and-and score. You the situation')
can win this game for us. We need ya.

5-123 692.08 694.12 2.04 RICKEY TO JACKIE)
Everybody needs ya! You're medicine, Jack! Of course there is!
JACKIE SHAKES HIS HEAD.

5-124 695.00 699.00 4.00 RICKEY TO JACKIE)
JACKIE You can get out there and hit!
(grunts and cries - continues under (get out there and hit : i.e., 'take to the
field and hit the ball' - implying,
following scene) 'display your exemplary skills as a
730-08 baseball player')
SCENE 121 - FS - RICKEY AND JACKIE AS 5-125 699.04 703.14 4.10 RICKEY TO JACKIE)
RICKEY EMBRACES JACKIE AND You can get on base and score.
JOSTLES HIM IN A REASSURING
MANNER.
5-126 704.02 708.10 4.08 RICKEY TO JACKIE)
RICKEY You can win this game for us.
(grunts) (us : i.e., 'the Dodgers and fans')
JACKIE
(pants - continues under following scene 5-127 710.04 712.05 2.01 RICKEY TO JACKIE)
We need ya.
and dialogue)
AS THE O.S. CROWD REACTS TO THE 5-128 712.09 715.10 3.01 RICKEY TO JACKIE)
GAME, JACKIE BEGINS TO STEP BG. Everybody needs ya!
(Everybody : i.e., 'Society')
5-129 715.14 719.02 3.04 RICKEY TO JACKIE)
groans and shouts - continues under You're medicine, Jack!
(Metaphorically implying Jackie is
following scenes and dialogue) going to improve society and the
749-07 treatment of African Americans by
playing baseball, thus changing the
perception of African Americans
among racist whites and offering
black people a public figure to aspire
to)
(25)
42 5AB P/26
TITLE

JACKIE AS HE WALKS BG. THEN PAUSES
AT THE EXIT, GLANCING ABOUT.

(over speaker) Your attention, Dodgers
fans. There are two (continues low and
indistinct under following dialogue)
DODGER #1 5-130 765.07 768.14 3.07 DODGER #1 TO MEN)

(off) Let's go, fellas. Let's go, fellas.
(fellas : see Title #1-132)
DODGER #2
(shouts indistinctly)

They're takin' the field. They're takin' the field.
(They're : i.e., 'The Dodgers are')
RICKEY WALKS BG. (takin' : i.e., 'moving onto')
DODGER #3
(off) Now, get out there. 5-132 775.00 777.02 2.02 DODGER #3 TO MEN)
Now, get out there.
DODGERS (FEET) CROSS R. PAST THE (out there : i.e., 'onto the field')
EXIT.
DODGER #4 5-133 777.06 779.01 1.11 DODGER #4 TO MEN)

(off) Be smart, fellas. Be smart, fellas.
(Be smart : Implying, 'Play well')
DODGER #5
(off) Let's go!
5-134 779.05 781.00 1.11 DODGER #5 TO MEN)
EBBETS FIELD P.A. ANNOUNCER Let's go!
(over speaker) Next week, three games (Idiomatic expression of
encouragement)
with the Chicago Cubs, and finishing out
(continues low and indistinct under
following dialogue)

Who's playin' first? Who's playin' first?
(i.e., 'Are you going to take your place
EBBETS FIELD P.A. ANNOUNCER at first base [or do we have to send in
(over speaker) (indistinct to:) three games a substitute]?')
against the Saint Louis Cardinals. Go to
any ticket window now and get your tickets
for (continues low and indistinct under
following dialogue)

I'm gonna need a new bat. I'm gonna need a new bat.
(Jackie returns to the field. It is now
RICKEY PATS JACKIE'S SHOULDER. the bottom of the eighth inning)
809-13
(26)
42 5AB P/27
TITLE

LS - THE SCOREBOARD.

and cheers - continues under following

(voice over) Eight zeros hangin' on the ITAL (over scene end) Eight zeros hangin' on the scoreboard for the
Phillies, seven for the Dodgers.
scoreboard for the... (Eight...Phillies : Implying the Phillies
812-12 haven't scored a run in eight innings)
SCENE 124 - FS - LOW ANGLE - THE

SCOREBOARD.
BARBER
(voice over) ...Phillies, seven for the
Dodgers.
TEXT ON THE SCOREBOARD READS:
AT BAT BALLS
TEAMS 123456789RH
PHILA. 00000000 01
BKLYN 0000000 06

(voice over) No score, with the... ITAL (over scene end) No score, with the bottom of the 8th comin'
up.
EBBETS FIELD P.A. ANNOUNCER (8th : i.e., '8th inning')
(over speaker) (overlapping) (low and (comin' up : i.e., 'next')
(Jackie steps to home plate and
indistinct - continues under following scene prepares to bat)
and dialogue)
816-12
SCENE 125 - MFS - PAST SEMINICK AND

EBBETS FIELD UMPIRE TO CHAPMAN,
OUT OF FOCUS.
BARBER
(voice over) ...bottom of the eighth comin'
up.
JACKIE ENTERS L.BG. AND STEPS R.FG.

TO HOME PLATE AS HE PREPARES TO
BAT. JACKIE PICKS UP SOME DIRT AS
CAMERA TILTS WITH HIM.

All right, nigger. Hey, boy! All right, nigger.
827-09
5-140 823.03 826.04 3.01 CHAPMAN TO JACKIE)

Hey, boy!
(27)
42 5AB P/28
TITLE
SCENE 126 - MCS - JACKIE RISES UP

INTO FRAME AS HE RUBS THE DIRT
ONTO HIS O.S. HANDS.

(off) Porch monkey! Hey, nigger, I know you Porch monkey!
(Racial epithet for a black person,
can hear me. referring to perceived common
834-15 behavior of groups hanging out on
front porches or steps of urban
apartment complexes in U.S. cities)
SCENE 127 - MCS - BRAGAN REACTS, (Jackie ignores Chapman)
SEATED IN THE DODGERS DUGOUT.

(off) You know what you're here for, don't Hey, nigger, I know you can hear me.
you?
839-08 5-143 836.04 839.07/ 3.03 CHAPMAN TO JACKIE)
You know what you're here for, don't you?
(what you're here for : i.e., 'the real
SCENE 128 - MCS - STANKY REACTS, reason you were hired by the
SEATED IN THE DODGERS DUGOUT. HE Dodgers')
GLANCES ABOUT, THEN STEPS L., FACE
OFF.

(off) Huh? You're here to get the nigger You're here to get the nigger dollars for
Rickey at the gate.
dollars for Rickey at the gate. (Implying that by placing a black
848-02 ballplayer on his team, Rickey will
attract a black audience to games and
capitalize on a previously-ignored
SCENE 129 - LS - STANKY BRISKLY demographic)
WALKS FG. ONTO THE FIELD. (Incensed, Stanky rises from the
dugout and approaches Chapman)
CHAPMAN
(off) You don't...
852-07 5-145 851.10 854.10/ 3.00 CHAPMAN TO JACKIE)
(over scene end) You don't belong here, nigger!
SCENE 130 - MS - CHAPMAN.
CHAPMAN
...belong here, nigger!
854-11
SCENE 131 - MFS - STANKY WALKS FG.,

GESTURING.
STANKY 5-146 /854.14 856.02/ 1.04 STANKY TO CHAPMAN)

Sit down. Sit down.
856-03
(28)
42 5AB P/29
TITLE

JACKIE TO STANKY AND CHAPMAN, OUT
OF FOCUS, AS STANKY STEPS R.BG. TO
CHAPMAN. SEMINICK REMOVES HIS
FACE MASK AS HE AND JACKIE REACT,
GLANCING ABOUT.
STANKY 5-147 /856.07 859.00 2.09 STANKY TO CHAPMAN)

You sit down or I sit you down. You sit down or I sit you down.
(or I sit you down : implying, 'or I will
CHAPMAN fight you and knock you to the ground')
What's the problem, Stank?
STANKY 5-148 859.04 861.03/ 1.15 CHAPMAN TO STANKY)

You're the... What's the problem, Stank?
861-05 (Stank : see Title #2-179)
SCENE 133 - MCS - PAST CHAPMAN TO 5-149 /861.07 866.01 4.10 STANKY TO CHAPMAN)
STANKY. You're the problem, you goddamn disgrace.
What the hell kinda man are you?
STANKY (You're the problem : i.e., 'You're the
...problem, you goddamn disgrace. What one who is causing the problem')
(What...you : i.e., 'What kind of morals
the hell kinda man are you? You know he do you hold yourself to')
can't fight back. Why don't you try pickin' on

5-150 866.05 873.03 6.14 STANKY TO CHAPMAN)
someone who can fight... You know he can't fight back. Why don't you
871-01 try pickin' on someone who can fight back.
(he can't fight back : implying, 'he
would be blamed for the altercation
SCENE 134 - MCS - PAST STANKY TO were he to fight back')
CHAPMAN. (pickin' on someone : idiomatic for
'bullying')
STANKY
...back.
CHAPMAN 5-151 873.07 877.01/ 3.10 CHAPMAN TO STANKY)

I'm not gonna fight you, get thrown outta the I'm not gonna fight you, get thrown outta the
game.
game. (thrown outta : i.e., 'ejected from' -
877-02 note that this entails the individual
leaving the immediate playing area)

BARBER.

(into microphone) Stanky now having a Stanky now having a chin-wag with his
ex-teammate Chapman.
chin-wag with his ex-teammate Chapman. (having a chin-wag : idiomatic for
881-14 'engaging in a light, informal
conversation' - note another case
where Barber is intentionally
understating the situation to shield
the radio audience)
(29)
42 5AB P/30
TITLE
SCENE 136 - LS - HIGH ANGLE -

CHAPMAN AND STANKY.

(off) (into microphone) Both men, masters Both men, masters of distraction.
(masters of distraction : implying,
of distraction. Stanky, of course, from 'adept at maneuvering the focus of
one's attention away from one issue
second and Chapman from the dugout. and onto another, usually to achieve a
goal or other means while the party is
We'll have to wait and see what the umpire preoccupied')
does, since he's...

892-00 5-154 885.02 888.13 3.11 BARBER TO GROUP)
Stanky, of course, from second and
Chapman from the dugout.
SCENE 137 - MCS - BARBER. (from second : i.e., 'as a second
baseman')
BARBER (from the dugout : i.e., 'as a coach')
(into microphone) ...well within his rights to
kick Stanky right outta the game. 5-155 889.01 891.14/ 2.13 BARBER TO GROUP)
896-09 We'll have to wait and see what the umpire
does...

FS - PAST SEMINICK AND JACKIE TO 5-156 /892.02 896.08/ 4.06 BARBER TO GROUP)
EBBETS FIELD UMPIRE, STANKY AND ...since he's well within his rights to kick
CHAPMAN. EBBETS FIELD UMPIRE Stanky right outta the game.
STEPS BG., GESTURING. (he's well within his rights : i.e., 'he
has the authority')
EBBETS FIELD UMPIRE (kick Stanky right outta : i.e., 'eject
Hey, twelve! That's enough. Back to the Stanky from')
dugout.
903-02 5-157 897.02 903.00/ 5.14 EBBETS FIELD UMPIRE TO STANKY)
Hey, 12! That's enough. Back to the dugout.
(12 : referring to the number on
SCENE 139 - MCS - PAST CHAPMAN TO Stanky's jersey)
STANKY, GESTURING. (That's enough : Idiomatic
expression of intolerance - i.e., 'Stop
STANKY immediately')
You shut your mouth or I shut it for ya. (Back : i.e., 'Return')
906-03
5-158 /903.04 906.02/ 2.14 STANKY TO CHAPMAN)

SCENE 140 - MCS - PAST STANKY TO You shut your mouth or I shut it for ya.
CHAPMAN. (shut your mouth : harsh expression
for 'stop speaking')
STANKY (I shut it for ya : i.e., 'I will punch you
This ain't happenin'. in the mouth so that you will be forced
to stop speaking')
STANKY BEGINS TO BACK AWAY L.FG.
908-15
5-159 /906.06 908.12/ 2.06 STANKY TO CHAPMAN)
This ain't happenin'.
(Implying, 'I will not allow you to
continue verbally abusing Jackie.' -
For 'ain't' see Title #2-152)
(Stanky starts back toward the dugout)
(30)
42 5AB P/31
TITLE
SCENE 141 - MCS - PAST CHAPMAN TO

STANKY AS HE TURNS AND JOGS BG. AS
CAMERA PANS L. WITH HIM.
CHAPMAN 5-160 912.02 917.05/ 5.03 CHAPMAN TO STANKY)

Hey, Stank? (over scene end) Hey, Stank? What's it like bein' a nigger's
912-15 nigger?
(a nigger's nigger : offensive slang
term for an individual who caters to
SCENE 142 - MCS - CHAPMAN. the needs of African Americans)
CHAPMAN
What's it like bein' a nigger's nigger?
917-07
SCENE 143 - FS - PAST CHAPMAN TO

STANKY, GLANCING FG. OVER HIS
SHOULDER AS HE JOGS BG.
STANKY 5-161 /917.09 922.01/ 4.08 STANKY TO CHAPMAN)

I don't know, Chapman. What's it like to be I don't know, Chapman. What's it like to be a
redneck piece of shit?
a redneck piece of shit? (redneck : a disparaging term for a
922-02 member of the white rural laboring
class, especially one who is regarded
as having a provincial, conservative,
SCENE 144 - MS - JACKIE TAKES often bigoted sociopolitical attitude)
PRACTICE SWINGS, CONTINUED UNDER (piece of shit : vulgar slang for a
FOLLOWING SCENE. 'person of low moral character')
(Jackie prepares to bat)
(off) Come on, Jackie. Hit it...
928-11
SCENE 145 - MCS - JACKIE SETTLES

INTO HIS BATTING STANCE.

(off) ...out of the park!
FEMALE SUPPORTER #1 IN STANDS

(off) (overlapping) (low) All right, Jackie.
(continues low and indistinct)

(voice over) Robinson up. ITAL Robinson up.
932-14 (up : i.e., 'at bat')
SCENE 146 - MS - LEONARD PITCHES

L.FG.

(voice over) Here's the pitch. ITAL Here's the pitch.
(Leonard pitches. Jackie hits a single
LEONARD and runs to first base)
(grunts)
938-09
(31)
42 5AB P/32
TITLE
SCENE 147 - MS - JACKIE HITS THE O.S.

BALL AND STEPS L.FG. AS CAMERA
TRACKS IN TO A MCS.

and dialogue)
940-12
SCENE 148 - MFS - LEONARD STAGGERS

FG., GLANCING R.BG.

(off) Grab your...
941-13
SCENE 149 - MCS - CHAPMAN LEANS

BACK R.BG.

(off) ...base!

(off) (low) Go!
943-07
SCENE 150 - FS - JACKIE TOSSES DOWN

THE BAT AS HE RUNS R. TOWARD FIRST
BASE AND CAMERA PANS WITH HIM.

(voice over) And Jack pokes a soft hit past... ITAL And Jack pokes a soft hit past second.
946-11 (pokes : i.e., 'hits)
(The ball drops between two Phillies
players)
PARROT AS THEY REACT.
BARBER
(voice over) ...second.
949-07
SCENE 152 - LS - A PHILLIES

OUTFIELDER RUNS FG. AS THE BALL
ENTERS UPPER FRAME AND LANDS ON
THE FIELD. A SECOND OUTFIELDER
ENTERS L. AND RUNS R. IN HIS MISSED
ATTEMPT TO CATCH IT ALSO.
PHILLIES OUTFIELDER 5-165 950.09 952.01/ 1.08 PHILLIES OUTFIELDER

Sorry! TO PHILLIES PLAYER)
Sorry!
THE PHILLIES OUTFIELDER BELATEDLY
CAPTURES THE BALL AFTER IT
BOUNCES.
952-02
(32)
42 5AB P/33
TITLE
SCENE 153 - FS - JACKIE RUNS FG. OVER

FIRST BASE, HESITATES, THEN BACKS
UP TO THE BASE IN A MS.

(voice over) Not much of a hit to speak of, ITAL Not much of a hit to speak of, but Jackie is
standing on first.
but Jackie is standing on first. (Not...of : Implying, 'The hit was not a
958-15 very hard-hit ball')
(is standing on first : i.e., 'has made
it to first base')
SCENE 154 - MCS - BLACK SPECTATOR
#2 IN STANDS, SEATED, APPLAUDS.
BLACK SPECTATOR #2 IN STANDS 5-167 959.11 961.10 1.15 BLACK SPECTATOR #2 IN STANDS
Go, Jackie. TO JACKIE)
Go, Jackie.
(over speaker) Center...
962-00 5-168 /962.02 965.06/ 3.04 EBBETS FIELD P.A. ANNOUNCER
Center fielder, number 7, Pete Reiser.
SCENE 155 - MCS - PAST RICKEY,
NODDING, TO PARROT.

(over speaker) ...fielder, number seven...
965-07
SCENE 156 - MCS - SMITH REACTS.

(over speaker) ...Pete Reiser.

(voice over) (overlapping) Mr. Pete Reiser ITAL (over scene end) Mr. Pete Reiser steps up into the batter's
box.
steps up into the batter's... (batter's box : see Title #4-206)
968-12 (Jackie takes a lead off first base)
SCENE 157 - MCS - JACKIE STEPS L.FG.

AWAY FROM FIRST BASE.
BARBER
(voice over) ...box.
MAN #1 IN STANDS
(off) (low) You know, he's gonna start
dancing...
970-12
SCENE 158 - LS - PAST LEONARD (LEGS)

TO JACKIE AS HE SIDESTEPS L.,
ATTEMPTING TO STEAL SECOND.
MAN #1 IN STANDS
(off) (low) ...over there. Don't let him get
ahead.
MAN #2 IN STANDS
(off) You got him.
(33)
42 5AB P/34
TITLE
MAN #3 IN STANDS
(off) Turn to him! Turn to him!
BARBER 5-170 973.15 980.12/ 6.13 BARBER TO GROUP)

(voice over) (overlapping) Robinson with (over scene end) Robinson with another big lead off first. He's
just as restless as a cat with a hot foot.
another... (with : i.e., 'taking')
975-08 (big : i.e., 'sizeable')
(with a hot foot : i.e., 'who cannot stay
on its feet for very long without moving
SCENE 159 - INT. EBBETS around')
FIELD/BROADCAST BOOTH - DAY - MCS - (Metaphorically implying Jackie is
BARBER. eager to run and steal a base)
BARBER
(into microphone) ...big lead off first. He's
just as restless as a cat with a hot foot.

980-13

FS - JACKIE SIDESTEPS L.
983-05
SCENE 161 - FS - PAST LEONARD TO

JACKIE, THE PHILLIES FIRST BASEMAN,
AND THE DODGERS FIRST BASE COACH
AS LEONARD WINDS UP.
DODGERS FIRST BASE COACH 5-171 985.11 987.07/ 1.12 DODGERS FIRST BASE COACH
Back. TO JACKIE)
Back.
LEONARD THROWS THE BALL BG. (i.e., 'Get back to base.')
TOWARD THE FIRST BASEMAN. JACKIE (Leonard throws the ball to first base.
DIVES R.BG. TOWARD FIRST BASE. Jackie slides to touch the base)
LEONARD
(grunts)
987-09
SCENE 162 - MS - PAST PHILLIES FIRST

BASEMAN (LEGS AND HAND) TO JACKIE
AS HE DIVES FG. ONTO THE BASE.
PHILLIES FIRST BASEMAN CATCHES THE
BALL AND TAGS JACKIE BUT IS TOO
LATE. CAMERA TRACKS R. AND PANS L.
TO A MCS.
JACKIE
(grunts)
989-01
CHAPMAN
Whoa!
990-11
(34)
42 5AB P/35
TITLE
SCENE 164 - FS - PAST JACKIE, FACE

DOWN ON THE BASE, AND PHILLIES
FIRST BASEMAN, RISING UP, TO EBBETS
FIELD FIRST BASE UMPIRE, GESTURING.
EBBETS FIELD FIRST BASE UMPIRE 5-172 /990.12 991.10/ 0.14 EBBETS FIELD FIRST BASE UMPIRE
Safe! TO JACKIE)
991-10 Safe!
SCENE 165 - MCS - JACKIE REACTS AND

RISES UP, FACE OFF.
JACKIE
(grunts) (face off) (grunts)
996-06
SCENE 166 - MCS - PAST PHILLIES FIRST

BASEMAN TO JACKIE AS THE FIRST
BASEMAN THROWS THE BALL R.FG. AND
JACKIE STANDS UP. CAMERA TILTS UP
WITH JACKIE.

(voice over) The Flatbush faithful voicing ITAL (over scene end) The Flatbush faithful voicing their approval of
Jack...
their... (The Flatbush faithful : Referring to
999-13 fans of the Dodgers - Note alliteration
- For 'Flatbush,' see Title #1-53)
SCENE 167 - MCS - RACHEL SMILES.

(voice over) ...approval of Jack, as this ITAL (over scene ends) ...as this type of scrappy play is exactly what
they've grown to expect of their beloved
type... Bums.
1002-05 (scrappy : fighting with enthusiasm
and determination - i.e., 'plucky')
(Bums : note double meaning - [1]
SCENE 168 - MCS - JACKIE STEPS R., homeless people living on the street,
EXITING, REVEALING LEONARD AS and [2] people considered to be
CAMERA RACKS FOCUS TO HIM AND irresponsible or worthless)
ZOOMS IN TO A MFS. LEONARD NODS (beloved Bums : referring to the
AND GLANCES ABOUT AS HE READIES Dodgers - Note that the Brooklyn
FOR THE NEXT PLAY. Dodgers were nicknamed 'Brooklyn's
beloved Bums' - Possibly because of
BARBER the street character nature of Jack
(voice over) ...of scrappy play is exactly what Dawkins, the Artful Dodger in Charles
Dickens' Oliver Twist, sportswriters in
they've grown to expect of their... the early 20th century began referring
1007-06 to the Dodgers as the 'Bums' - Also
note alliteration)
(Jackie takes another lead off first
SCENE 169 - MCS - JACKIE SIDESTEPS L. base)
AWAY FROM FIRST BASE AGAIN AS
BARBER
(voice over) ...beloved bums.
JACKIE
(overlapping) (grunts softly - continues
under following scene)

1009-01
(35)
42 5AB P/36
TITLE
SCENE 170 - FS - JACKIE AND THE

PHILLIES FIRST BASEMAN AS JACKIE
SIDESTEPS L. AWAY FROM THE BASE.
PHILLIES COACH 5-175 1009.08 1011.06 1.14 PHILLIES COACH TO LEONARD)

(off) Play now. (over scene end) Play now.
1010-05 (Implying, 'Concentrate now.')
SCENE 171 - MFS - LEONARD LEANS R.

INTO A PRE-WINDUP STANCE.
PHILLIES COACH 5-176 1012.04 1014.01 1.13 PHILLIES COACH TO LEONARD)

(off) Work it. Work it.
1014-07 (Implying, 'Work the plate' - i.e., 'Do
your best to get the batter out.')
SCENE 172 - MCS - JACKIE SIDESTEPS

L. AS CAMERA PANS WITH HIM.
JACKIE
(breathes heavily)
1017-03

PARROT AS THEY REACT.
1019-11
SCENE 174 - MFS - CHAPMAN REACTS.

1022-01
RACHEL 5-177 /1022.07 1027.01/ 4.10 RACHEL AS IF TO JACKIE)

Steal it, sweetheart. Take it. Steal it, sweetheart. Take it.
1027-03 (Steal : i.e., 'Steal second base' - See
Title #1-79)
(sweetheart : term of affectionate
SCENE 176 - MCS - JACKIE (LEGS AND address)
HANDS) AS HE LOWERS HIS HANDS, (Take it : Implying, 'Steal second
WAVING THE FINGERS. base')
(As Leonard delivers the pitch, Jackie
JACKIE steals to second base. Reiser swings
(face off) (echoing) (breathes heavily - and misses the ball, as Seminick
throws the ball to second base)
continues under following scene)
1029-08
SCENE 177 - MCS - JACKIE, ALERT.

1031-14
SCENE 178 - MFS - LEONARD LEANS R.

INTO HIS PRE-WINDUP STANCE.
1034-13
(36)
42 5AB P/37
TITLE
SCENE 179 - FS - PAST LEONARD TO

JACKIE AND PHILLIES FIRST BASEMAN
AS JACKIE SIDESTEPS L., TAKING A
LARGE LEAD OFF FIRST BASE, AS
1038-00
SCENE 180 - FS - LEONARD PITCHES FG.
LEONARD
(grunts)
1040-08
SCENE 181 - MS - JACKIE RUNS L. AS HE

ATTEMPTS TO STEAL SECOND BASE.
JACKIE
(grunts)
1041-05
SCENE 182 - MFS - PAST REISER TO

SEMINICK AND EBBETS FIELD UMPIRE
AS REISER SWINGS AND MISSES THE
BALL.
EBBETS FIELD UMPIRE 5-178 1041.15 1044.06/ 2.07 EBBETS FIELD UMPIRE TO REISER,
Strike three, you're out. (over scene end) THEN LEONARD TO MEN)
-Strike three, you're out.
SEMINICK CATCHES THE BALL, RISES UP -He's going!
AND STEPS FG. AS HE THROWS IT FG. (He's going : Implying, 'Jackie's
running to second base')
SEMINICK (The second baseman fails to catch
(grunts - continues under following scene) the ball as Jackie continues on to
1043-06 third base)

REISER TO JACKIE, RUNNING L., AS
SEMINICK THROWS THE BALL BG.
LEONARD
(off) He's going!
1044-07
SCENE 184 - FS - THE PHILLIES SECOND

BASEMAN MISSES THE BALL AS JACKIE
ENTERS R. AND SLIDES L. TO STEAL
SECOND BASE.
JACKIE
(grunts)
JACKIE RISES UP, GLANCING ABOUT.

1046-00
(37)
42 5AB P/38
TITLE
SCENE 185 - MS - JACKIE RUNS FG.,

ATTEMPTING TO STEAL THIRD BASE,
FOLLOWED BY PHILLIES SECOND
BASEMAN.
JACKIE
and dialogue)
LEONARD
(off) Three! Three!
1048-11

BG. AS CAMERA TRACKS IN BEHIND HIM.
LEONARD
(off) Bring it in!
1051-01
SCENE 187 - FS - JACKIE RUNS L.FG. AS

DODGERS THIRD BASE COACH 5-179 /1052.07 1054.03/ 1.12 DODGERS THIRD BASE COACH
(off) Down! TO JACKIE, THEN EBBETS FIELD THIRD
1052-05 BASE UMPIRE TO JACKIE)
-Down! Down!
-Safe!
SCENE 188 - FS - PAST PHILLIES THIRD (Down : i.e., 'Slide into base')
BASEMAN (TORSO) TO JACKIE AS HE
SLIDES FG., STEALING THIRD BASE, AND
CAMERA TILTS DOWN WITH HIM TO A MS.
DODGERS THIRD BASE COACH

(off) Down!
JACKIE
dialogue)
EBBETS FIELD THIRD BASE UMPIRE

(off) Safe!
1054-04
SCENE 189 - MCS - CHAPMAN REACTS,

LEANING R.BG.
1056-12
SCENE 190 - MCS - RACHEL REACTS,

LEANING BG.

(voice over) The Dodgers, with an ITAL (over scene end) The Dodgers, with an excellent chance
here...
excellent...
1062-15
(38)
42 5AB P/39
TITLE

REACT.

(voice over) ...chance here, as Robinson ITAL (over scene end) ...as Robinson has practically willed himself
into scoring position.
has practically willed... (practically willed : implying, 'through
1065-15 dogged determination gotten')
(into scoring position : i.e., 'a position
that will allow him to score')
SCENE 192 - MS - HIGH ANGLE - JACKIE
RISES UP AT THIRD BASE.
BARBER
(voice over) ...himself into scoring...
1067-05
SCENE 193 - FS - JACKIE STANDS UP AT

THIRD BASE AS DODGERS THIRD BASE
COACH APPLAUDS, OUT OF FOCUS, BG.
PHILLIES THIRD BASEMAN ENTERS R.
AND STEPS L.
BARBER
(voice over) ...position.
DODGERS THIRD BASE COACH 5-182 1068.07 1070.08/ 2.01 DODGERS THIRD BASE COACH
Thatta boy. TO JACKIE)
Thatta boy.
FEMALE SUPPORTER #2 IN STANDS (Idiomatic expression of
(off) Whoo! encouragement)
1070-10 (Hermanski steps to home plate and
prepares to bat)
SCENE 194 - MFS - SEMINICK AND

HERMANSKI AT HOME PLATE AS
HERMANSKI STEPS FG. AND TAKES
SOME PRACTICE SWINGS, CONTINUED

(voice over) Young Gene Hermanski steps ITAL Young Gene Hermanski steps to the plate,
playing right today.
to the plate, playing right today. (playing right today : i.e., 'playing out
1078-10 in the right field today' - referring to the
fact that Hermanski, as an outfielder,
played both left and right field)
CHAPMAN 5-184 /1079.00 1080.08/ 1.08 CHAPMAN TO LEONARD)

Come on! Come on!
1080-09 (Idiomatic expression of urging, here
meaning 'Strike him out!')
(Hermanski hits a single and Jackie
SCENE 196 - FS - LEONARD GLANCES L. jogs to home plate, scoring a run)
TOWARD O.S. THIRD BASE.
1083-05
SCENE 197 - MCS - JACKIE EDGES L.FG.,

TAKING A LEAD OFF OF THIRD BASE, AS
CAMERA TRACKS BACK WITH HIM.
1089-07
(39)
42 5AB P/40
TITLE
SCENE 198 - FS - LEONARD ASSUMES

HIS PRE-WINDUP STANCE.
1094-05
SCENE 199 - MCS - JACKIE QUICKLY

MOVES L.FG.
1095-12
SCENE 200 - FS - LEONARD PITCHES FG.

1096-14
SCENE 201 - MS - HERMANSKI HITS THE

BALL R.FG.
1097-14
SCENE 202 - LS - PAST HERMANSKI TO

THE OUTFIELD AS THE BALL SAILS L.BG.
AND HERMANSKI RUNS R.BG., EXITING.
CAMERA TILTS UP AND PANS L.
SLIGHTLY AS JACKIE ENTERS L.BG.,
RUNNING R.FG. TOWARD HOME PLATE.

(voice over) Oh, and Hermanski cracks a ITAL Oh, and Hermanski cracks a single to left...
(cracks : i.e., 'hits')
single to left and Robinson is able to trot (left : i.e., 'left field')
home...
1103-05 5-186 1101.01 1104.15 3.14 BARBER TO GROUP) (voice over)
ITAL (over scene end) ...and Robinson is able to trot home for the
first run of the game...
SCENE 203 - MFS - JACKIE RUNS FG., (trot home : i.e., 'leisurely return to
THEN SLOWS TO A WALK, DEFIANTLY home plate')
GLANCING ABOUT.

(voice over) ...for the first run of the game ITAL ...that may also be the decider.
(the decider : i.e., 'the run that
that may also be the decider. decides which team will win')
1109-03
SCENE 204 - MCS - CHAPMAN TURNS

AND STEPS BG. TOWARD THE PHILLIES
DUGOUT.
CHAPMAN 5-188 1114.04 1116.02 1.14 CHAPMAN TO HIMSELF)

All right. All right.
1117-00 (The crowd responds enthusiastically
to Jackie's run)
SCENE 205 - FS - LOW ANGLE - THE

SCOREBOARD IS UPDATED TO READ:
AT BAT BALLS
TEAMS 123456789RHE
PHILA. 00000000 012
BKLYN 00000001 06

(over speaker) Batting for the Dodgers...
1122-08
(40)
42 5AB P/41
TITLE
SCENE 206 - MS - A GROUP OF

APPLAUDING BLACK SPECTATORS.

(over speaker) ...number ten, catcher
Bruce...
BLACK SPECTATOR #3 IN STANDS 5-189 1122.11 1126.01/ 3.06 BLACK SPECTATOR #3 IN STANDS
(overlapping) Jackie! TO JACKIE, THEN BLACK SPECTATOR #4
IN STANDS) (exclaiming)
BLACK SPECTATOR #4 IN STANDS -Jackie!
(overlapping) Whoo! All right. -Whoo! All right!
1126-03 (All right : Interjection of approval)
SCENE 207 - MFS - A GROUP OF

APPLAUDING SPECTATORS.

(over speaker) ...Edwards.
WHITE SPECTATOR #2 IN STANDS 5-190 1127.00 1129.05/ 2.05 WHITE SPECTATOR #2 IN STANDS
Hey, Robinson! TO JACKIE)
1129-07 Hey, Robinson!
(Jackie returns to the dugout and sits
beside Stanky)
SCENE 208 - MS - STANKY, SEATED IN
THE DODGERS DUGOUT, AS JACKIE
ENTERS L.BG. AND STEPS R., SITTING
DOWN.
1139-14

ABOUT, AS CAMERA SLOWLY ZOOMS IN.

(off) (low) On the board! (in normal voice)
On the board!
JACKIE 5-191 1152.04 1153.08/ 1.04 JACKIE TO STANKY)

Thanks. Thanks.
1153-09
SCENE 210 - MCS - STANKY.
STANKY 5-192 1158.07 1160.04 1.13 STANKY TO JACKIE)

For what? You're on my team. What the hell For what?
(Idiomatic expression of denial - i.e.,
am I supposed to do? 'There is no need to thank me.')
1166-09
5-193 1163.01 1166.08/ 3.07 STANKY TO JACKIE)

SCENE 211 - MCS - JACKIE REACTS, You're on my team. What the hell am I
GLANCING ABOUT. supposed to do?
1172-09 (What...do : Implying, 'It should be
expected of me to stand up for you')
SCENE 212 - MCS - STANKY, GLANCING

ABOUT.
1177-03
(41)
42 5AB P/42
TITLE
SCENE 213 - MCS - PAST STANKY TO

JACKIE AS STANKY STANDS UP AND
PATS JACKIE ON THE SHOULDER,
SCENE.
STANKY 5-194 /1177.06 1178.15/ 1.09 STANKY TO JACKIE)

Nice hit. (grunting) (exhales - continues Nice hit.
(Chapman is interviewed by reporters
under following scene) in the visitor's locker room)
1179-00
SCENE 214 - MCS - PAST STANKY

(TORSO) TO JACKIE AS STANKY STEPS L.,
EXITING. JACKIE REACTS AND LEANS R.

(voice over) All this fuss over a... (over scene end) All this fuss over a rookie.
1192-14 (over : i.e., 'concerning')
SCENE 215 - INT. VISITOR'S LOCKER

ROOM - DAY - MCS - PAST REPORTER
TWO (SHOULDER AND HAND) TO
CHAPMAN, SEATED.
PEOPLE IN LOCKER ROOM

dialogue)

...rookie. What, he's got ten, twelve at bats. What, he's got 10, 12 at bats.
(he's...bat : i.e., 'he's been at bat no
Y'all gonna spoil him. more than a dozen times')
REPORTER TWO
(face off) Yeah, Chapman, do you think... 5-197 1199.07 1201.06 1.15 CHAPMAN TO MEN)
1203-03 Y'all gonna spoil him.
(Implying, 'You're going to make him
believe he's always deserving of this
SCENE 216 - MS - PAST CHAPMAN TO A type of media attention.')
GROUP OF REPORTERS AS CAMERA
TRACKS R.
5-198 1201.10 1204.12 3.02 REPORTER TWO TO CHAPMAN)
REPORTER TWO (over scene end) Chapman, do you think it cost you the
...it cost you the game? game?
(it : note double meaning - [1] i.e.,
CHAPMAN 'your taunting Jackie,' and [2] i.e., 'i.e.,
(chuckling) No. (in normal voice) I think that 'Jackie stealing third base')
(cost you the game : i.e., 'resulted in
a single out to the left field cost us the a loss for the Phillies')
game. (chuckles)
5-199 1205.00 1211.10 6.10 CHAPMAN TO REPORTER TWO)
No. I think that a single out to the left field
cost us the game.
(I...game : Implying, 'I think
Hermanski's hit resulted in our loss')
(42)
42 5AB P/43
TITLE
REPORTER THREE 5-200 1212.15 1216.02/ 3.03 REPORTER THREE TO CHAPMAN)

You think you were a little hard on You think you were a little hard on
Robinson?
Robinson? (a little hard : i.e., 'used
1216-03 unnecessarily harsh language')
SCENE 217 - MCS - PAST REPORTER

TWO (ARM) TO CHAPMAN AS CAMERA
TRACKS IN.
CHAPMAN 5-201 /1216.06 1221.12 5.06 CHAPMAN TO REPORTER THREE)

(chuckling) No. (in normal voice) Look, we No. Look, we treat him the same way we
treat Hank Greenberg...
treat him the same way we treat Hank (Look : i.e., 'Listen')
(Hank Greenberg : an American MLB
Greenberg, 'cept we call him a (chuckling) professional baseball player in the
1930s and 1940s, nicknamed "The
kike (in normal voice) instead of a coon. Hebrew Hammer" for his Jewish
heritage)
Whenever we play exhibitions with the
Yankees, we call Joe DiMaggio "The Wop." 5-202 1222.00 1225.12 3.12 CHAPMAN TO REPORTER THREE)
...'cept we call him a kike instead of a coon.
All right? They laugh about it. And it's ('cept : except)
(kike : a derogatory slur used to refer
forgotten when the game's over. to Jews)
1240-12 (coon : offensive slang for a black
person)
SCENE 218 - INT. DODGERS LOCKER

ROOM/SHOWER - DAY - MCS - JACKIE 5-203 1226.00 1233.09 7.09 CHAPMAN TO REPORTER THREE)
PENSIVELY SHOWERS, CONTINUED Whenever we play exhibitions with the
UNDER FOLLOWING SCENE, AS CAMERA Yankees, we call Joe DiMaggio "The Wop."
TRACKS IN TO A CS. (exhibitions : see Title #4-11)
(Joe DiMaggio : see Title #1-7)
JACKIE (Wop : offensive slang for a person
(breathes heavily) of Italian descent)
1257-15
5-204 1233.13 1236.12 2.15 CHAPMAN TO REPORTER THREE)

SCENE 219 - FS - JACKIE. All right? They laugh about it.
JACKIE
(voice over) I don't care if they like me. 5-205 1237.05 1240.10/ 3.05 CHAPMAN TO REPORTER THREE)
1264-00 And it's forgotten when the game's over.
(it's : i.e., 'the slurs are')
(Jackie showers in the Dodgers
locker room)
5-206 1261.00 1263.14/ 2.14 JACKIE TO RACHEL) (voice over)

ITAL I don't care if they like me.
(they : referring to the people in Major
League Baseball)
(Later, Jackie walks with Rachel
under the stands)
(43)
42 5AB P/44
TITLE
SCENE 220 - INT. UNDER THE

STANDS/EBBETS FIELD - DAY - MCS -
JACKIE WALKS FG. AS CAMERA TRACKS
BACK WITH HIM.

I didn't come here to make friends. I don't I didn't come here to make friends.
(I didn't come here : i.e., 'My purpose
even care if they respect me. I know who I in playing for the Dodgers was not')
am.
1276-15 5-208 1272.02 1276.13/ 4.11 JACKIE TO RACHEL)
I don't even care if they respect me. I know
who I am.
SCENE 221 - MCS - RACHEL AND JACKIE (I know who I am : Implying, 'I am
(SHOULDER) WALK FG. AS CAMERA self-confident' - 'I do not need the
TRACKS BACK WITH THEM. approval of others')
JACKIE
(face off) Got enough... 5-209 1280.07 1283.11 3.04 JACKIE TO RACHEL)
1281-06 (over scene end) Got enough respect for myself.

WALK FG. AS CAMERA TRACKS BACK
WITH THEM.

...respect for myself. But I do not want them But I do not want them to beat me.
(beat me : i.e., 'defeat me' - implying,
to beat me. 'get the better of me' - 'make me quit' -
1290-12 here referring to Chapman's heckling
and how it almost made Jackie stoop
to his level)
(SHOULDER) WALK FG. AS CAMERA
TRACKS BACK WITH THEM.

They're never gonna beat you. They're never gonna beat you.
1295-09
SCENE 224 - MCS - JACKIE WALKS FG. AS

CAMERA TRACKS BACK WITH HIM. HE
STOPS AS CAMERA SETTLES.

(exhales) They (exhales) came close today. They came close today.
1310-01 (Referring to the fact that Jackie had
an emotional breakdown after
Chapman's heckling)
SCENE 225 - MCS - PAST JACKIE TO (Parrott angrily enters Rickey's office)
RACHEL AS SHE REACTS.
JACKIE
(inhales sharply - continues under
following scene)
1314-04
(44)
42 5AB P/45
TITLE

AS HE PLACES HIS HANDS ON HER
NECK AND PULLS HER TOWARD HIM.
JACKIE
(exhales)
1326-02

OFFICE - DAY - MFS - THE DOOR OPENS,
REVEALING PARROT AS HE ENTERS,
STEPPING FG.
1328-15
SCENE 228 - MFS - PAST RICKEY,

SEATED AT HIS DESK, TO PARROT AS HE
THROWS DOWN HIS HAT IN ANGER AND
STEPS FG., GESTURING.
PEOPLE IN OFFICE
dialogue)
PARROTT 5-213 1330.06 1337.03/ 6.13 PARROTT TO RICKEY)

I'm goin' in that Phillies dugout tomorrow, I'm goin' in that Phillies dugout tomorrow,
and I'm gonna wring Ben Chapman's neck!
(pants) and I'm gonna wring Ben (wring XXX's neck : idiomatic for,
'express my anger toward XXX')
Chapman's neck! (Rickey chuckles)
1337-05
SCENE 229 - MS - RICKEY, HOLDING A

STACK OF DOCUMENTS.
RICKEY
scene and dialogue)

1341-03
SCENE 230 - MS - PARROT.
PARROTT 5-214 1341.10 1344.07 2.13 PARROTT TO RICKEY)

Did I say something funny? Did I say something funny?
1345-00
(45)
42 5AB P/46
TITLE
SCENE 231 - MS - RICKEY SETS THE

DOCUMENTS ON THE DESK, FG.

When I first told you about Robinson, When I first told you about Robinson,
Harold...
Harold, you, uh, you were against it. Now, (Robinson : implying, 'hiring
Robinson')
all of the sudden you're worried about him.
1358-06
...you were against it.
SCENE 232 - MS - PARROT. (it : i.e., 'the idea')
RICKEY
Wonder how that happened. 5-217 1355.00 1358.05/ 3.05 RICKEY TO PARROTT)
Now, all of the sudden you're worried about
PARROTT him.
Why, any decent-minded person would--

(off) (overlapping) (interrupting) Sympathy... Wonder how that happened.
1363-08

SCENE 233 - MS - RICKEY. Why, any decent-minded person would--
(Why : Interjection used to express
RICKEY indignation)
...Harold. It's a Greek word. It means "to (decent-minded : i.e., 'sensible' -
'moral' - see Title #2-108)
suffer."
1370-05
5-220 /1363.10 1365.10 2.00 RICKEY TO PARROTT)
Sympathy, Harold.
SCENE 234 - MS - PARROT. (Sympathy : Implying the reason
Parrott is angry is because he
RICKEY sympathizes with Jackie's plight)
(off) "I sympathize with you" means "I...
1373-07
5-221 1366.04 1370.04/ 4.00 RICKEY TO PARROTT)
It's a Greek word. It means "to suffer."

...suffer with you." That Philadelphia (over scene end) "I sympathize with you" means "I suffer with
you."
manager is, uh... (chuckles) he's doin' me
a service. 5-223 1376.08 1381.00 4.08 RICKEY TO PARROTT)

1384-15 That Philadelphia manager is....
(i.e., 'Chapman is....')

PARROTT He's doin' me a service.
A service?
RICKEY 5-225 1385.08 1389.04/ 3.12 PARROTT TO RICKEY,

(off) Yes. He's... THEN RICKEY TO PARROTT)
1389-06 -A service?
-Yes.
(46)
42 5AB P/47
TITLE

...creating sympathy... (over scene end) He's creating sympathy on Jackie's behalf.
1391-14 (He's : i.e., 'His behavior toward
Jackie is')

(off) ...on Jackie's behalf. "Philadelphia"... (over scene end) "Philadelphia" is Greek.
1398-01 (i.e., 'The word "Philadelphia" is of
Greek origin.')

...is Greek. Means "brotherly love." Means "brotherly love."
1405-15 (brotherly love : a kindly and lenient
attitude toward people - note irony)
(Rickey's intercom buzzes)
SCENE 240 - MFS - PAST RICKEY TO
PARROT AS RICKEY'S INTERCOM
BUZZES.
JANE ANN 5-229 1408.09 1411.12/ 3.03 JANE ANN OVER INTERCOM TO RICKEY)
(over intercom) Bob Bragan to see you, Mr. ITAL Bob Bragan to see you, Mr. Rickey.
(to see you : i.e., 'is here to meet with
Rickey. you')
1411-14
SCENE 241 - MS - RICKEY LEANS R. AND

TURNS A KNOB ON THE INTERCOM.

What in Satan's fire does he want? (into What in Satan's fire does he want?
(in Satan's fire : slang intensive -
intercom) (to Jane Ann) All right, send him note humorous allusion to 'in the hell')
in.
1420-11 5-231 1419.01 1420.10/ 1.09 RICKEY INTO INTERCOM TO JANE ANN)
All right, send him in.
(Bragan enters Rickey's office)
PARROT, OUT OF FOCUS, AS RICKEY
LEANS BACK R. IN HIS CHAIR. PARROT
STEPS L., SETS DOWN HIS HAT, AND
SITS DOWN AS CAMERA RACKS FOCUS
TO HIM IN A MS.
RICKEY
(sniffs - continues under following scene)
1425-10

1428-09
(47)
42 5AB P/48
TITLE
SCENE 244 - FS - PAST RICKEY TO

PARROT AS BRAGAN ENTERS BG. AND
STEPS L.FG.
BRAGAN
(low) Um-Um....
1438-06
RICKEY 5-232 /1438.12 1440.12/ 2.00 RICKEY TO BRAGAN)

What do you want, Bragan? What do you want, Bragan?
1440-13
SCENE 246 - MS - PAST PARROT TO

BRAGAN.
BRAGAN 5-233 1442.15 1445.06 2.07 BRAGAN TO RICKEY)

Uh, (stammers) Mr. Rickey, I, uh.... Mr. Rickey, I....
(stammers) I-...
1448-13

(off) ...-I would like, um.... (over scene end) I would like....
RICKEY
What do you want?! 5-235 1450.10 1452.09/ 1.15 RICKEY TO BRAGAN)
1452-10 What do you want?!
SCENE 248 - MS - PAST PARROT TO

BRAGAN.

I'd like to not be traded, sir. I'd like to not be traded, sir.
PARROT REACTS, GLANCING L.BG. OVER

HIS SHOULDER AT BRAGAN.
1458-14

(off) If it's not too late. If it's not too late.
RICKEY
What about Robinson? 5-238 1464.08 1466.14/ 2.06 RICKEY TO BRAGAN)
1467-00 What about Robinson?
(Implying, 'What about your reluctance
to play on a team with Robinson?')
(48)
42 5AB P/49
TITLE
SCENE 250 - MCS - LOW ANGLE -

BRAGAN.

(grunts softly) The world's changin'. I guess The world's changin'.
(Implying, 'Attitudes toward African
I can live with the change. Americans and their place in society
1478-15 are changing.')
5-240 1475.01 1478.02 3.01 BRAGAN TO RICKEY)

I guess I can live with the change.
(Implying, 'I support the social
change.' - 'I support what Jackie
stands for.')

(49)
42 6AB P/1
TITLE

IN ACADEMY LEADER.
11-15 26.02 = 1ST SCENE END
SCENE 1 - INT. EBBETS FIELD LOCKER

ROOM - DAY - FS - HIGBE, STANDING AT
HIS LOCKER AND FILLING A BOX WITH
HIS BELONGINGS AS SEVERAL TEAM
MEMBERS LOOK ON AROUND HIM.
HANK WILLIAMS
(over speaker) (sings "Move It On Over" -
dialogue)
HIGBE 6-1 13.03 21.03 8.00 HIGBE TO MEN)

I mean, I-I-I can't believe it. I speak my I mean, I can't believe it. I speak my mind,
and they trade me.
mind, and they trade me. (to Jackie) This (speak my mind : i.e., 'give my frank
opinion' - referring to his writing the
ain't the America I know. petition against having Jackie on the
team and encouraging other players
CAMERA DOLLIES BACK ON A MCS. OF to sign it)
JACKIE, HIS BACK TOWARD HIGBE. (they : i.e., 'the Dodgers')
BRANCA IS SEATED NEXT TO HIM. (In the locker room, the players,
26-02 including Jackie, put their uniforms on
as Higbe, angry, packs his
belongings into a box)
SCENE 2 - MS - HIGBE, GAZING R. AT O.S.
JACKIE.
6-2 23.05 26.00/ 2.11 HIGBE TO JACKIE)
HIGBE This ain't the America I know.
Uh-uh. Home of the free, land of the brave? (ain't : informal contraction of 'is not')
(Implying that American standards of
You hear me?! decency have changed - Note irony,
31-09 since opposing racism is the decent
stance to adopt)
SCENE 3 - MCS - JACKIE AND BRANCA.

HIGBE IS IN BG. 6-3 27.04 31.07/ 4.03 HIGBE TO JACKIE)
Home of the free, land of the brave? You
WALKER hear me?!
Where they sending you, Hig? (Home...brave : Note allusion to
lyrics from "The Star-Spangled
HIGBE Banner," America's national anthem)
Pittsburgh. (You hear me : i.e., 'Jackie, are you
39-12 listening to me')
6-4 33.07 36.00 2.09 WALKER TO HIGBE)

Where they sending you, Hig?
(Where they sending you : i.e., 'What
team are you being traded to')
(Hig : see Title #2-163)
6-5 37.14 39.10/ 1.12 HIGBE TO WALKER)

Pittsburgh.
(Note that the Pittsburgh Pirates are a
Major League Baseball club based in
Pittsburgh, Pennsylvania)
(1)
42 6AB P/2
TITLE
SCENE 4 - MS - HIGBE.
HIGBE 6-6 40.08 47.01 6.09 HIGBE TO WALKER)

For cash and some I-talian outfielder For cash and some I-talian outfielder named
Gionfriddo.
named Gionfriddo. Pittsburgh. I mean.... (For...some : i.e., 'For the trade, the
55-11 Dodgers will be receiving monetary
compensation and an')
(I-talian : Note that Higbe
SCENE 5 - MCS - JACKIE AND BRANCA. pronounces "Italian" with a long "I"
HIGBE FINISHES GATHERING HIS sound instead of a short "I" sound, so
BELONGINGS IN BG. it sounds like "Eye-talian" instead of
"Ih-talian")
HIGBE (Gionfriddo : Albert Francis "Al"
Good luck, boys. You gonna need it. (off) Gionfriddo [1922-2003] an outfielder
Pittsburgh! who batted and threw left-handed. He
was acquired by the Brooklyn
HIGBE WALKS R.BG., EXITING. Dodgers from the Pittsburgh Pirates
midway through the 1947 season,
DODGER #1 IN LOCKER ROOM and he is most famous for his heroic
(low) Man. catch of a drive off the bat of the New
York Yankees' Joe DiMaggio in Game
DODGER #1 IN LOCKER ROOM 6 of the 1947 World Series)
(sighs) There he goes.
78-15
6-7 51.07 55.02 3.11 HIGBE TO MEN)
Pittsburgh. I mean....
SCENE 6 - INT. PENNOCK'S (Implying that he is shocked and
OFFICE/SHIBE PARK - DAY - MS - HERB unhappy about his trade and having to
PENNOCK, THE PHILADELPHIA GENERAL live in Pittsburgh in particular)
MANAGER, SEATED AT HIS DESK AND (Higbe leaves)
SPEAKING INTO THE PHONE.
PENNOCK 6-8 60.12 63.14 3.02 HIGBE TO MEN)

(into telephone) Branch, it's Herb. Good luck, boys. You gonna need it.
RICKEY
(over telephone) Hello, Herb. What can I do 6-9 71.02 73.05 2.03 HIGBE) (exclaiming)
Pittsburgh!
for you? (The Philadelphia General Manager,
Herb Pennock, calls Rickey from his
PENNOCK office)
(overlapping) (into telephone) (smacks
lips) Branch, how long have we known 6-10 /79.01 81.07 2.06 PENNOCK INTO PHONE TO RICKEY)
Branch, it's Herb.
each other?
88-06
6-11 81.11 84.13 3.02 RICKEY OVER PHONE TO PENNOCK)
ITAL Hello, Herb. What can I do for you?
SCENE 7 - INT. RICKEY'S OFFICE - DAY -
MS - RICKEY, HOLDING THE PHONE TO
HIS EAR. 6-12 85.01 88.05/ 3.04 PENNOCK INTO PHONE TO RICKEY)
Branch, how long have we known each
PEOPLE OUTSIDE OFFICE other?
dialogue)
(2)
42 6AB P/3
TITLE
RICKEY 6-13 89.09 93.10 4.01 RICKEY INTO PHONE TO PENNOCK)

(into telephone) Oh, twenty years, maybe Oh, 20 years, maybe more.
more.
PENNOCK 6-14 93.14 95.10/ 1.12 PENNOCK OVER PHONE TO RICKEY)

(over telephone) That's right, been over ITAL That's right.
some...
95-11 6-15 /95.14 99.09 3.11 PENNOCK INTO PHONE TO RICKEY)
Been over some solid road together.
(i.e., 'We have known each other, and
SCENE 8 - INT. PENNOCK'S had a good relationship, for a long
OFFICE/SHIBE PARK - DAY - MS - time.')
PENNOCK.
PENNOCK 6-16 99.13 106.08 6.11 PENNOCK INTO PHONE TO RICKEY)

(into telephone) ...solid road together. So, So you can trust me when I tell you
Brooklyn's due here tomorrow...
um, you can trust me when I tell you (Brooklyn's due here : i.e., 'the
Brooklyn Dodgers are playing the
Brooklyn's due here tomorrow, but you Philadelphia Phillies in Philadelphia')
cannot bring that nigger down here with...

111-14 6-17 107.12 111.12/ 4.00 PENNOCK INTO PHONE TO RICKEY)
...but you cannot bring that nigger down
here...
SCENE 9 - MS - RICKEY. (nigger : see Title #1-160)
PENNOCK
(over telephone) ...the rest of your team. 6-18 /112.00 114.05 2.05 PENNOCK OVER PHONE TO RICKEY)
ITAL ...with the rest of your team.
RICKEY
(into telephone) Why's that, Herb? His
6-19 118.03 120.15 2.12 RICKEY INTO PHONE TO PENNOCK)
name is Jackie Robinson, by the way. Why's that, Herb?
124-10
6-20 121.03 124.09/ 3.06 RICKEY INTO PHONE TO PENNOCK)

SCENE 10 - MS - PENNOCK. CAMERA His name is Jackie Robinson, by the way.
SLOWLY PUSHES IN. (by the way : incidentally)
PENNOCK
(into telephone) Yeah, Branch, I understand 6-21 /124.13 128.07 3.10 PENNOCK INTO PHONE TO RICKEY)
Yeah, Branch, I understand he's got a
he's got a name, but we're just not ready for name...
that sort of thing here in Philadelphia. Now,

6-22 128.11 134.04 5.09 PENNOCK INTO PHONE TO RICKEY)
I'm afraid that we're not gonna be able to ...but we're just not ready for that sort of thing
here in Philadelphia.
take the field against your team if that boy's (that sort of thing : i.e., 'interracial
baseball')
in uniform.
142-02
6-23 135.03 142.01/ 6.14 PENNOCK INTO PHONE TO RICKEY)
Now, I'm afraid that we're not gonna be able
to take the field against your team if that
boy's in uniform.
(I'm afraid : i.e., 'I regret to say')
(we're...field : i.e., 'the Philadelphia
Phillies will not play')
(that boy : i.e., 'Jackie' - see
annotation for 'boys' in Title #1-92)
(3)
42 6AB P/4
TITLE
RICKEY 6-24 142.10 147.15 5.05 RICKEY INTO PHONE TO PENNOCK)

(into telephone) Well, what you do with your Well, what you do with your team is your
decision, Herb.
team is-is your decision, Herb. But my
team's gonna be in Philadelphia... 6-25 148.03 151.14/ 3.11 RICKEY INTO PHONE TO PENNOCK)
151-15 But my team's gonna be in Philadelphia
tomorrow...
SCENE 12 - MS - PENNOCK.
RICKEY 6-26 /152.02 155.11/ 3.09 RICKEY OVER PHONE TO PENNOCK)

(over telephone) ...tomorrow, with ITAL ...with Robinson.
Robinson. And if...

155-13
RICKEY 6-27 /155.15 161.00 5.01 RICKEY INTO PHONE TO PENNOCK)

(into telephone) ...we have to claim the And if we have to claim the game as a forfeit,
so be it.
game as a forfeit, so be it. That's nine to (forfeit : a game in which the
forfeiting team [here, the Philadelphia
zero... Phillies] automatically loses)
164-05 (so be it : idiomatic expression of
resignation and acceptance - i.e.,
'then that is what will happen')
SCENE 14 - MS - PENNOCK.
RACHEL 6-28 161.04 164.03/ 2.15 RICKEY INTO PHONE TO PENNOCK)

(over telephone) ...in case you forgot. That's 9-0...
(Note that in the event of forfeiture, the
PENNOCK score is recorded as "9-0," as per rule
(into telephone) You know what, Branch? 2.00 of the Major League Baseball
Rules Book. Also note that a "9-0"
You've had a hell of a hair across your ass score equates to the number of
innings in a regulation game)
over this for a long time and I'd like to know
what it is you think you're trying to prove. 6-29 /164.07 166.05 1.14 RICKEY OVER PHONE TO PENNOCK)
175-13 ITAL ...in case you forgot.
6-30 166.09 171.15 5.06 PENNOCK INTO PHONE TO RICKEY)

You know what, Branch? You've had a hell of
a hair across your ass over this for a long
time...
(had...this : vulgar for 'been extremely
bothered and irate that baseball was
segregated' - note that 'hair across
your ass' is slang for 'in a foul mood' -
'angry')
6-31 172.03 175.12/ 3.09 PENNOCK INTO PHONE TO RICKEY)

...and I'd like to know what it is you think
you're trying to prove.
(prove : i.e., 'demonstrate to
everyone')
(4)
42 6AB P/5
TITLE
RICKEY 6-32 /176.00 179.13/ 3.13 RICKEY INTO PHONE TO PENNOCK)

(into telephone) You think God likes You think God likes baseball, Herb?
baseball, Herb?
179-15
SCENE 16 - MCS - PENNOCK.
PENNOCK 6-33 180.13 185.00/ 4.03 PENNOCK INTO PHONE TO RICKEY)

(into telephone) Wha--? (grunts) What the What the hell is that supposed to mean?
(the hell : mildly vulgar slang
hell is that supposed to mean? intensive)
185-01
SCENE 17 - MCS - RICKEY, GESTURING.
RICKEY 6-34 /185.04 188.12 3.08 RICKEY INTO PHONE TO PENNOCK)

(into telephone) It means someday you're It means someday you're gonna meet God...
gonna meet God and when he inquires as

6-35 189.00 195.15 6.15 RICKEY INTO PHONE TO PENNOCK)
why you didn't take the field against ...and when he inquires as why you didn't
take the field against Robinson in
Robinson in Philadelphia, and you answer Philadelphia...
(take the field : i.e., 'allow your team
that it's because he was a Negro, it may not to play')
be a sufficient reply!
204-13 6-36 196.03 200.01 3.14 RICKEY INTO PHONE TO PENNOCK)
...and you answer that it's because he was a
Negro...
SCENE 18 - EXT. THE BENJAMIN
FRANKLIN HOTEL - DAY - FS - HIGH
ANGLE - THE DODGERS BUS PULLS FG. 6-37 200.05 204.11/ 4.06 RICKEY INTO PHONE TO PENNOCK)
INTO THE HOTEL DRIVEWAY. ...it may not be a sufficient reply!
(The Dodgers bus pulls up to a hotel
WOMAN ON STREET in Philadelphia)
For seven-thirty.
MAN ON STREET LABORATORY: IF PRINT IS TEXTLESS, TITLE #6-38 IS TO APPEAR IN THE

Oh, at seven-thirty? NORMAL SUBTITLE POSITION. IF PRINT IS TEXTED, THIS TITLE IS TO
APPEAR AS LOW AS POSSIBLE IN THE FRAME TO AVOID DOUBLE-
TITLE FADES IN: (over above bg.) PRINTING. PLEASE CHECK PRINT FOR PROPER POSITIONING.
BEN FRANKLIN HOTEL, PHILADELPHIA -

MAY 9, 1947 6-38 205.15 212.15 7.00 NARRATIVE TITLE)
TITLE FADES OUT. BEN FRANKLIN HOTEL, PHILADELPHIA -

MAY 9, 1947
CAMERA CRANES DOWN.
(BEN : Short for 'Benjamin' - Note that
WOMAN ON STREET Benjamin Franklin was one of the
Whoa. Founding Fathers of the United
States, and lived in Philadelphia)
MAN ON STREET
Look at that.
WOMAN ON STREET
The Dodgers?
MAN ON STREET
(low) Yeah.
(5)
42 6AB P/6
TITLE
TEXT WRITTEN ON THE SIDE OF THE

BUS READS: 6-39 217.06 221.04/ 3.14 NARRATIVE TITLE) (of bus)
Brooklyn Dodgers Baseball Club Brooklyn Dodgers Baseball Club

Dodgers
(Note that this text is written on the
CAMERA PANS R. WITH BUS. side of the bus)
221-06 (Parrott steps off the bus, followed by
the players. There is a placard next to
the door)
SCENE 19 - MCS - A BELLHOP (LEGS)
PICKS UP A SUITCASE. CAMERA TILTS UP
ON HIM, NOTICING THE O.S. BUS.
225-04
SCENE 20 - MFS - THE BUS. CAMERA

PUSHES IN ON IT.
229-11
SCENE 21 - MCS - THE BELLHOP WALKS

BG. INTO THE HOTEL.
233-11
SCENE 22 - MS - PARROTT STEPS OFF

THE BUS, FOLLOWED BY THE PLAYERS.
THERE IS A PLACARD NEXT TO THE
DOOR THAT READS: 6-40 /233.13 235.09 1.12 NARRATIVE TITLE) (of placard)
DEM BUMS DEM BUMS
DODGERS PLAYERS (DEM : THEM - Colloquial for 'Those')

(overlapping, low and indistinct chatter - (BUMS : Dodgers - See Title #5-174)
dialogue)
PARROTT 6-41 235.13 242.07 6.10 PARROTT TO MEN)

Okay, guys, we got twenty minutes to check Okay, guys, we got 20 minutes to check in
and get to Shibe, so chop-chop!
in and get to Shibe, so chop-chop! (check in : i.e., 'register at the hotel')
(Shibe : Shibe Park, known later as
CAMERA DOLLIES L. AND PANS R. ON Connie Mack Stadium, was a
THE HOTEL MANAGER, ANGRILY baseball park located in Philadelphia)
APPROACHING. (chop-chop : pseudo Chinese slang
for 'hurry')
HOTEL MANAGER
(off) Hey! (on) Hey. Out.
247-10 6-42 242.13 244.07 1.10 HOTEL MANAGER TO PARROTT)
Hey!
6-43 245.02 247.08/ 2.06 HOTEL MANAGER TO PARROTT)

Hey. Out.
(Out : i.e., 'Get out of here')
(The Hotel Manager approaches,
followed by hotel security)
(6)
42 6AB P/7
TITLE
SCENE 23 - MS - PARROTT REACTS AND

STEPS FG. REESE LOOKS ON FROM BG.
HOTEL MANAGER 6-44 /247.12 249.13 2.01 HOTEL MANAGER TO PARROTT)

(off) And get that bus outta here. And get that bus outta here.
CAMERA PANS R. WITH PARROTT TO

INCLUDE HOTEL MANAGER IN R.FG.
PARROTT 6-45 250.01 255.15/ 5.14 PARROTT TO HOTEL MANAGER)

Oh, no, no, no, no, we have-we have Oh, no, no, no, no, we have reservations.
We're the Dodgers.
reservations. We're the Dodgers.
SHOTTON GETS OFF THE BUS IN BG.

AND REACTS TO THE CONFRONTATION.
HOTEL MANAGER 6-46 /256.03 261.02 4.15 HOTEL MANAGER TO PARROTT)

No, your... No, your team is not welcome here. Not
256-01 while you have ball club Negroes with you.
(ball club Negroes : i.e., 'the Negroes
on your team')
SCENE 24 - MCS - PAST PARROTT TO
HOTEL MANAGER.
HOTEL MANAGER
...team is not welcome here. Not while you
have ball club Negroes with you.
PARROTT 6-47 261.06 264.13/ 3.07 PARROTT TO HOTEL MANAGER)

You-You... (over scene end) You just mean that Robinson can't stay here,
262-06 right?
SCENE 25 - MCS - PAST HOTEL

MANAGER TO PARROTT AND SHOTTON.
PARROTT
...just mean that Robinson can't stay here...
264-14
SCENE 26 - MCS - JACKIE. THE OTHER

PLAYERS MILL ABOUT, CONTINUED
PARROTT
(off) ...right?
SUKEFORTH WALKS R.FG. TOWARD THE

O.S. CONFRONTATION.
HOTEL MANAGER 6-48 265.07 271.02/ 5.11 HOTEL MANAGER TO PARROTT)

(off) No, I mean your entire team has... (over scene end) No, I mean your entire team has been
268-09 refused.
(7)
42 6AB P/8
TITLE

HOTEL MANAGER.
HOTEL MANAGER
...been refused.
PARROTT 6-49 /271.06 276.08 5.02 PARROTT TO HOTEL MANAGER,

We've been... (over scene ends) THEN HOTEL MANAGER TO PARROTT)
271-04 -We've been staying here for 10 years.
-And you can stay away that long too.
(The Hotel Manager gestures rudely
SCENE 28 - MCS - PAST HOTEL at Parrott. Shotton and Sukeforth
MANAGER TO SHOTTON AND PARROTT. approach)
PARROTT
...staying here for ten years.
273-04
SCENE 29 - MCS - PAST SHOTTON TO

HOTEL MANAGER.
PARROTT
(off) Come on, now. How--
HOTEL MANAGER
(overlapping) And you can stay...
274-10
SCENE 30 - MCS - PAST HOTEL

MANAGER TO SHOTTON AND PARROTT.
SUKEFORTH LOOKS ON FROM BG.,
SCENES.
HOTEL MANAGER
...away that long too.
SHOTTON 6-50 276.12 280.01 3.05 SHOTTON TO HOTEL MANAGER)

(overlapping) Oh, (in wavering voice) whoa. (over scene end) Hold on. Now, wait, we should talk about
this.
(in normal voice) Ho-Ho-Hold on. Now, (Hold on : Idiomatic expression
meaning 'Wait a moment')
wait, we-we...
SUKEFORTH
(overlapping) Hey.
279-04
(8)
42 6AB P/9
TITLE
SCENE 31 - MFS - PAST JACKIE TO THE

CONFRONTATION BETWEEN HOTEL
MANAGER, PARROTT, SHOTTON AND
SUKEFORTH. REESE WALKS FG. PAST
JACKIE. CAMERA TRACKS BACK WITH
HIM.
SHOTTON 6-51 280.05 283.05 3.00 SHOTTON TO HOTEL MANAGER)

...should talk about this. Who put you up to Who put you up to this? Is it the Phillies
behind this?
this? Is it the Phillies behind this? (put you up to this : idiomatic for
'persuaded you to do this' - i.e.,
REESE 'convinced you to ban us from this
They're not gonna let us stay here, fellas. hotel')
(Is...this : i.e., 'Did someone from the
(sniffs) (grunts) They don't want us here. Philadelphia Phillies organization
encourage you to ban us from the
HOTEL MANAGER hotel')
(overlapping) No! (low and indistinct) (Reese, who was standing nearby,
walks toward the players, who are
SHOTTON watching from beside the bus)
(overlapping) So this is your decision?
HOTEL MANAGER 6-52 283.09 286.10 3.01 REESE TO MEN)

It's my decision. They're not gonna let us stay here, fellas.
291-00 (fellas : see Title #1-132)
SCENE 32 - MCS - WALKER. SEVERAL 6-53 288.13 290.15/ 2.02 REESE TO MEN)
PLAYERS LOOK ON FROM BEHIND HIM. They don't want us here.
SHOTTON
(off) You're making the hotel's decision?
This is your call?
HOTEL MANAGER
(off) (overlapping) That's right.
SHOTTON AND HOTEL MANAGER

continues under following scene and
dialogue)

Yeah, well maybe forty-two's got enough (over scene end) Yeah, well maybe 42's got enough friends in
town we can bunk up.
friends in town... (42's got : i.e., 'if 42 has' - 'if Jackie
296-04 has')
(bunk up : i.e., 'stay with them and
share beds')
(Note sarcasm)
(9)
42 6AB P/10
TITLE
SCENE 33 - MCS - JACKIE. WALKER IS IN

BG.
WALKER
...we can bunk up.
HOTEL MANAGER 6-55 298.06 302.00 3.10 HOTEL MANAGER TO MEN,

(off) (overlapping) But it's the ca-- It's the-It's THEN SUKEFORTH TO HOTEL MANAGER)
-It's the rule we're gonna go with.
the rule we're gonna go with. -We got a reservation.
(go : i.e., 'comply')
SUKEFORTH
(off) (overlapping) We got a reservation. We
got a reservation.
SHOTTON 6-56 302.04 304.11 2.07 SHOTTON TO HOTEL MANAGER,

(off) (overlapping) Well, why-why is that? THEN SHOTTON TO HOTEL MANAGER)
-Why is that?
Why? (indistinct to:) Open your eyes. -That is the rule!
HOTEL MANAGER
(off) (overlapping) That is the rule!
JACKIE 6-57 304.15 307.09 2.10 JACKIE TO WALKER)

(overlapping) What's that supposed to What's that supposed to mean?
(i.e., 'What are you implying by your
mean? comment?')
JACKIE TURNS BG. CAMERA RACKS

FOCUS ON WALKER.
WALKER 6-58 308.08 311.00 2.08 WALKER TO JACKIE)

It's not supposed to mean a thing. I just It's not supposed to mean a thing.
(It's...thing : i.e., 'I'm not implying
know when you can't get in the hotels, you anything in particular')
got people's houses you can stay at.

316-00 6-59 311.04 315.15/ 4.11 WALKER TO JACKIE)
I just know when you can't get in the hotels,
you got people's houses you can stay at.
SCENE 34 - MFS - JACKIE WALKS FG. (Jackie approaches Walker. The
INTO A MS. CAMERA TRACKS BACK TO players gather around them)
INCLUDE WALKER IN L.FG. THE OTHER
PLAYERS SURROUND THEM.
WALKER 6-60 316.07 318.06 1.15 WALKER TO JACKIE)

(off) Ain't that right? Ain't that right?
(Ain't : Informal contraction of 'Isn't')
SHOTTON
(low) (overlapping) Grandpa?! (continues
low and indistinct under following scenes
and dialogue)
(10)
42 6AB P/11
TITLE
HOTEL MANAGER
(face off) (overlapping) Yeah! I'm taller than
you, gramps! Hey, listen, don't you get in my
face! Hey! (continues low and indistinct
under following scene and dialogue)
JACKIE 6-61 321.04 322.15 1.11 JACKIE TO WALKER)

What? (chuckling) What do you (in normal What?
voice) want from me, Walker?

328-07 6-62 325.10 328.05/ 2.11 JACKIE TO WALKER)
What do you want from me, Walker?

WALKER.
WALKER 6-63 329.12 331.10/ 1.14 WALKER TO JACKIE)

An apology. An apology.
HOTEL MANAGER
(off) Look...
331-11
SCENE 36 - MCS - JACKIE. BRANCA IS

BEHIND HIM.
HOTEL MANAGER
(face off) ...you spit on me! (continues low
and indistinct under following dialogue)
JACKIE 6-64 /331.14 335.14 4.00 JACKIE TO WALKER)

You want an apology? For what? For You want an apology? For what?
places like this?

339-12 6-65 337.10 339.11/ 2.01 JACKIE TO WALKER)
For places like this?
(i.e., 'Because of the intolerance of
SCENE 37 - MCS - PAST JACKIE TO hotel managers like this one?' -
WALKER. 'Because hotels exist that won't allow
Negroes?')
HOTEL MANAGER
(off) I'm the manager! (continues low and
indistinct under following scenes and
dialogue)
WALKER 6-66 340.11 346.15/ 6.04 WALKER TO JACKIE)

No. For turning this season into a damn No. For turning this season into a damn
sideshow.
sideshow. (damn : mildly vulgar slang
347-01 intensive)
(i.e., 'For causing so much controversy
that all the attention of the press, the
public and the Dodger bosses is on
you and not on the games.' - Note that
a 'sideshow' is a minor attraction
offered in addition to the main
entertainment at a circus or fair)
(11)
42 6AB P/12
TITLE
PARROTT 6-67 /347.03 348.07 1.04 PARROTT TO JACKIE & WALKER)

Hey, fellas. Hey, fellas.
(Used here to placate the men - i.e.,'
WALKER Calm down.')
(off) I'm a...
348-08

WALKER.
WALKER 6-68 /348.11 351.14/ 3.03 WALKER TO JACKIE)

...ballplayer, all right? I'm here to play ball! I'm a ballplayer, all right? I'm here to play
351-15 ball!
SCENE 40 - MCS - JACKIE. THE

CONFRONTATION IN BG. ESCALATES.
PARROTT IS STANDING BETWEEN THE
TEAM AND THE CONFRONTATION.

So am I. I'm here to win. So am I.
HOTEL MANAGER
(face off) (overlapping) I told you, the 6-70 356.00 357.13/ 1.13 JACKIE TO WALKER)
I'm here to win.
reservations don't matter to me. (continues
low and indistinct under following scenes
and dialogue)
357-15
SCENE 41 - MCS - PAST REESE AND

JACKIE TO WALKER.
REESE 6-71 /358.01 360.12 2.11 REESE TO JACKIE & WALKER)

All we want to do is win. We on the same All we want to do is win. We on the same
page?
page? (We on the same page : Idiomatic for
'Are we all in agreement')
WALKER
Yeah, well, how the hell we supposed to
6-72 361.00 364.01 3.01 WALKER TO REESE)
win sleeping on a bus? Well, how the hell we supposed to win
sleeping on a bus?
JACKIE (sleeping : i.e., 'if we are exhausted
Yeah, well... from having to sleep')
365-03
6-73 364.05 368.13/ 4.08 JACKIE TO WALKER)

SCENE 42 - MCS - JACKIE. (over scene end) Maybe it'll do you some good the way you
been swinging the bat lately.
JACKIE (it'll do you some good : i.e.,
...maybe it'll do you some good, the way you 'sleeping on a bus will benefit you')
(the...lately : implying that Walker has
been swinging the bat lately. not been batting well recently)
368-14 (Jackie turns to walk away. Walker
reacts and grabs Jackie's arm. The
players pull them away from each
other)
(12)
42 6AB P/13
TITLE
SCENE 43 - MCS - WALKER, REACTING.
WALKER 6-74 /369.01 373.11/ 4.10 WALKER TO JACKIE,

Hey, you... (over scene end) THEN JACKIE TO WALKER)
369-08 -Hey, you watch your mouth!
-Hey, you watch your hand.
(watch your mouth : i.e., 'be careful
SCENE 44 - MS - WALKER REACHES BG. about what you say' - 'speak to me
AND VIOLENTLY GRABS JACKIE, more respectfully')
STARTING A FIGHT. THE OTHER (watch your hand : i.e., 'make sure
PLAYERS REACH IN AND TRY TO PULL you don't touch me again' - note
THEM APART. pointed repetition of 'watch your')
WALKER
...watch your mouth!
DODGER PLAYERS
cries and exclamations of "Hey!" -
dialogue)
REESE
Hey, hey, hey, hey, hey!
JACKIE
(overlapping) Hey, you watch your hand.
WALKER
(overlapping) Watch your ass!
373-13

WALKER, REACTING AS SEVERAL
PLAYERS PULL HIM BG.
WALKER 6-75 /373.15 376.11/ 2.12 WALKER TO JACKIE)

Don't you ever talk to me like that again! Don't you ever talk to me like that again!
376-12
SCENE 46 - MCS - JACKIE, BEING

PULLED BG. BY SOME OTHER PLAYERS.
JACKIE 6-76 /376.15 379.01/ 2.02 JACKIE TO WALKER)

Watch your hand! Watch your hand!
379-03
SCENE 47 - MS - WALKER, REACTING.
STANKY
Take it easy! Now take it easy.
WALKER 6-77 /379.05 382.09 3.04 WALKER TO JACKIE)

(overlapping) You hear me?! (over scene end) You hear me?! Watch yourself!
380-11
(13)
42 6AB P/14
TITLE
SCENE 48 - MCS - PARROTT.

SUKEFORTH APPROACHES FROM BG. AS
SHOTTON FIGHTS WITH HOTEL
MANAGER IN BG.
WALKER
(off) Watch yourself! (indistinct chatter and
shouts - continues under following scenes
and dialogue)
REESE
(off) I'm not gonna stand for this shit!
383-07
SCENE 49 - MCS - SHOTTON AND HOTEL

MANAGER.
HOTEL MANAGER 6-78 /383.09 388.02/ 4.09 HOTEL MANAGER TO SHOTTON,

You spit on me now? THEN SHOTTON TO HOTEL MANAGER)
-You spit on me now?
SHOTTON -If I spit on you, it'd be an improvement.
(overlapping) Spit on you? If I spit on you, (it'd be an improvement : i.e., 'that
would raise you to another level' -
it'd be an improvement. implying that the Hotel Manager is
inferior to spittle)
HOTEL MANAGER
(overlapping) All right...
388-04

SHOTTON AND HOTEL MANAGER.
PARROTT REACTS.
HOTEL MANAGER 6-79 /388.06 390.11 2.05 HOTEL MANAGER TO MEN)

...that's it . You go home, all right?! That's it. You go home, all right?!
(That's it : Idiomatic expression that
WALKER indicates one has reached the limit of
(indistinct to:) Get used to it! Every time we one's tolerance)
show up--
PARROTT 6-80 390.15 393.10/ 2.11 PARROTT TO MEN)

(overlapping) All right, that's enough!! All right, that's enough!
(Shotton and the Hotel Manager stop
SHOTTON AND THE HOTEL MANAGER arguing. Walker steps away from
STOP ARGUING AND TURN TOWARD HIM. Jackie, who is still being held back by
393-12 the other players)
SCENE 51 - MCS - PAST SHOTTON TO

HOTEL MANAGER.
REESE
(off) Hey, come on, man!

(off) Hey, hey! (over scene end) Hey, hey! Get used to it, fellas.
395-15
(14)
42 6AB P/15
TITLE
SCENE 52 - MFS - WALKER, REACTING

AND GESTURING. CAMERA PUSHES BG.
TOWARD HIM AS SEVERAL PLAYERS
PUSH HIM BG.
WALKER 6-82 397.12 401.11/ 3.15 WALKER TO MEN)

Get used to it, fellas. This how it's gonna This how it's gonna be. Every time we show
up, the circus is in town!
be. Every time we show up, the circus is in (it's gonna be : i.e., 'we will be
treated')
town! (the circus is in town : i.e., 'we will
401-12 have to deal with commotion and
strife because of Jackie' - note
allusion to his "sideshow" comment
SCENE 53 - MCS - JACKIE, BEING HELD above)
BACK BY BRANCA AND SOME OF THE
OTHERS.
DODGER PLAYERS
cries and exclamations of "Come on" and
"All right" - continues under following

I'm not going anywhere! I'm right here! I'm not going anywhere!
(going anywhere : i.e., 'leaving the
BRANCA Dodgers')
(overlapping) All right, Jackie.
HERMANSKI 6-84 405.03 407.01/ 1.14 JACKIE TO WALKER)

(overlapping) All right, Jackie. I'm right here!
407-03 (In his office, Pennock reads a
newspaper article as Ben Chapman
sits nearby, listening)
SCENE 54 - INT. PENNOCK'S
OFFICE/SHIBE PARK - DAY - MS -
PENNOCK, READING A NEWSPAPER.
PENNOCK 6-85 408.14 413.06 4.08 PENNOCK TO CHAPMAN) (reading)

(smacks lips) (reading) "There is a great "There is a great lynch mob among us.
(great lynch mob : used here to
lynch mob among us. They go unhooded mean 'large group of racist people' -
note that a 'lynch mob' is a group of
and work without a rope." people who capture and hang
somebody without legal arrest and
trial, in order to punish an alleged
transgressor or to intimidate, control
or otherwise manipulate a population
- note an excerpt from sports
journalist Jimmy Cannon's column)
6-86 413.10 418.10 5.00 PENNOCK TO CHAPMAN) (reading)

They go unhooded and work without a rope."
(go unhooded : i.e., 'do not wear
masks to hide their identity' - alluding
to the white hoods worn by the Ku
Klux Klan, a racist group with a history
of lynching)
(work without a rope : i.e., 'do not
lynch by literally hanging someone,
but are almost just as injurious')
(15)
42 6AB P/16
TITLE
PENNOCK (cont'd) 6-87 418.14 421.13 2.15 PENNOCK TO CHAPMAN)

That's you, not me. (reading) "We must That's you, not me.
(i.e., 'This description applies to you,
remember that all this country's enemies not to me.' - 'They are alluding to your
behavior, not mine.')
are not beyond the frontiers of our
homeland." 6-88 422.13 427.01 4.04 PENNOCK TO CHAPMAN) (reading)

"We must remember that all this country's
CAMERA DOLLIES BACK INTO A MFS. AND enemies...
CRANES DOWN ON CHAPMAN, SEATED (this...homeland : i.e., 'America's
IN L.FG. enemies can be internal' - implying
that racist Americans are harming and
CHAPMAN betraying their country)
A Jew probably wrote that.
PENNOCK TURNS FG. AND ANGRILY 6-89 427.05 431.13 4.08 PENNOCK TO CHAPMAN) (reading)
THROWS THE NEWSPAPER ONTO HIS ...are not beyond the frontiers of our
DESK. homeland."
PENNOCK
(overlapping) I don't care who wrote it. It's in 6-90 432.01 434.00 1.15 CHAPMAN TO PENNOCK)
A Jew probably wrote that.
the damn papers! (Note racism)
437-09
6-91 434.04 437.08/ 3.04 PENNOCK TO CHAPMAN)

SCENE 55 - MCS - CHAPMAN. I don't care who wrote it. It's in the damn
441-07 papers!
(damn : see Title #6-66)
(papers : i.e., 'newspapers')
SCENE 56 - MCS - PENNOCK SITS.
PENNOCK 6-92 447.09 450.07 2.14 PENNOCK TO CHAPMAN)

(sighs) (smacks lips) This is not good, This is not good, Ben.
Ben. Makes the entire Phillies organization

6-93 451.04 455.01 3.13 PENNOCK TO CHAPMAN)
look racist. You gotta do something about Makes the entire Phillies organization look
racist.
it.
457-12
6-94 455.05 457.11/ 2.06 PENNOCK TO CHAPMAN)
You gotta do something about it.
SCENE 57 - MCS - CHAPMAN. (do something about it : i.e., 'take
action to alter people's perception' -
CHAPMAN 'fix this situation')
Me? Look, I'm defending baseball.
462-14
6-95 /457.15 462.12/ 4.13 CHAPMAN TO PENNOCK)
Me? Look, I'm defending baseball.
SCENE 58 - MCS - PENNOCK. (defending baseball : i.e., 'protecting
the institution of baseball by trying to
PENNOCK stop it from becoming integrated')
It's time for you to step up and defend the
Phillies. 6-96 /463.00 468.00/ 5.00 PENNOCK TO CHAPMAN)

468-01 It's time for you to step up and defend the
Phillies.
(step up : idiomatic for 'take
responsibility')
(defend the Phillies : i.e., 'protect the
Phillies' reputation [rather than the
state of baseball]')
(16)
42 6AB P/17
TITLE
PENNOCK 6-97 468.11 476.06 7.11 PENNOCK TO CHAPMAN)

(off) This started on the field, it's gonna end This started on the field, it's gonna end on
the field, and we're done talking about it.
on the field, and we're done talking about it. (This...end on the field : i.e., 'You
sullied our reputation on the baseball
CHAPMAN field and now you will restore our
(sighs) (smacks lips) All right. reputation on the baseball field')
483-01 (we're done talking about it : i.e.,
'there will be no further discussion,
you must comply with my orders')
SCENE 60 - INT. SHIBE PARK/VISITOR'S
LOCKER ROOM - NIGHT - MS - PARROTT
WALKS FG. DOWN A CORRIDOR, 6-98 479.11 481.10 1.15 CHAPMAN TO PENNOCK)
PASSING TWO DODGERS PLAYERS. All right.
(Parrott enters the visitor's locker
DODGERS PLAYERS room, where the Dodgers are suiting
(off) (overlapping, low and indistinct chatter up for the game. He nervously
approaches Jackie, who is sitting with
- continues under following scenes and Smith)
dialogue)
PARROTT 6-99 484.01 486.09 2.08 PARROTT TO DODGER #1 & #2,

Hey, fellas. THEN DODGER #1 TO PARROTT)
-Hey, fellas.
DODGER #1 -Hey.
Hey.
PARROTT
(clears throat)
PARROTT TURNS L. INTO THE LOCKER

ROOM. CAMERA PANS WITH HIM ON
JACKIE, GETTING HIS UNIFORM ON, AND
SMITH.
SMITH
(low and indistinct - continues under
following dialogue)
PARROTT 6-100 499.04 502.13 3.09 PARROTT TO JACKIE)

Uh, h-- Uh, excuse me. Hi. Jackie. (to Excuse me. Hi. Jackie.
Smith) Uh, Wendell. (to Jackie) Um...

505-11 6-101 503.01 504.14 1.13 PARROTT TO SMITH)
Wendell.

PARROTT.
PARROTT 6-102 /505.13 507.10 1.13 PARROTT TO JACKIE)

...a request came in. Uh, Ben Chapman... A request came in.
509-01
6-103 507.14 512.02/ 4.04 PARROTT TO JACKIE, THEN TO SMITH)

SCENE 62 - MCS - JACKIE. (over scene end) Ben Chapman, he's the manager for the
Phillies.
JACKIE
(sniffs)
PARROTT
(off) ...he's the, uh, manager for the...
512-03
(17)
42 6AB P/18
TITLE
PARROTT 6-104 /512.06 513.14/ 1.08 PARROTT TO SMITH)

...Phillies. You knew that. You knew that.
514-00
SCENE 64 - MCS - SMITH NODS.
PARROTT 6-105 /514.02 517.06/ 3.04 PARROTT TO JACKIE)

(off) Uh, he'd like his photo... (over scene end) He'd like his photo taken with you.
SMITH
(overlapping) (low) Yeah, I did.
516-01
SCENE 65 - MS - PAST JACKIE AND

PARROTT.
PARROTT
...taken with you.
MALE SINGER
(over speaker) (sings - continues under

517-08
JACKIE 6-106 521.12 523.12/ 2.00 JACKIE TO PARROTT)

You been drinkin', Harold? You been drinkin', Harold?
523-13 (You been drinkin' : i.e., 'Are you
drunk' - Humorously implying that
Parrott's request is both unbelievable,
SCENE 67 - MCS - PARROTT. given Chapman's racist attitude
toward Jackie, and inconceivable,
PARROTT since Jackie has been treated so
Wha-- (chuckles) (chuckling) No. No. (in despicably by Chapman)
normal voice) I wish. No, Mr. Rickey, uh, he

6-107 528.09 532.01 3.08 PARROTT TO JACKIE)
thinks it's a good idea. No. No. I wish.
537-00 (I wish : Humorously implying that he
would appreciate the relaxing effect of
alcoholic drink at this stressful
SCENE 68 - MCS - SMITH. moment)
PARROTT
(off) Uh, he says it's gonna be in every 6-108 532.05 536.14/ 4.09 PARROTT TO JACKIE)
No, Mr. Rickey, he thinks it's a good idea.
sports page across the country.
543-04
6-109 538.06 543.03/ 4.13 PARROTT TO JACKIE)
He says it's gonna be in every sports page
across the country.
(it's : i.e., 'the photograph of you and
Chapman is')
(across the country : i.e., 'in America')
(18)
42 6AB P/19
TITLE
PARROTT 6-110 /543.07 548.13/ 5.06 PARROTT TO JACKIE)

An example that even the most hardened An example that even the most hardened
man can change.
man can change. (An example : i.e., 'The photograph of
548-15 the two of you together will show')
(most hardened : i.e., 'toughest' -
'most unwaveringly racist')
SCENE 70 - MCS - JACKIE. (change : i.e., 'reverse his opinion' -
'become tolerant')
JACKIE
(exhales) Chapman hasn't changed. He's
6-111 552.01 558.06/ 6.05 JACKIE TO PARROTT)
just trying to save face. Chapman hasn't changed. He's just trying to
558-07 save face.
(save face : idiomatic for 'restore his
reputation [in the public eye]')
PARROTT 6-112 558.15 563.12 4.13 PARROTT TO JACKIE)

Mr. Rickey says it doesn't matter if he's Mr. Rickey says it doesn't matter if he's
changed.
changed. As long as it looks like he's (he's...changed : i.e., 'Chapman is
still a racist, it just needs to appear to
changed. the press and the public that he is no
568-01 longer a racist')
SCENE 72 - MCS - JACKIE AND SMITH. 6-113 564.00 567.09 3.09 PARROTT TO JACKIE)
As long as it looks like he's changed.
SMITH
Jackie, you've seen the questions come in
6-114 570.06 574.06 4.00 SMITH TO JACKIE)
slow. Jackie, you've seen the questions come in
slow.
JACKIE (See Title #2-57)
(overlapping) (sighs through nose)

Now, just see this photo come in even Now, just see this photo come in even
slower.
slower. (Implying that agreeing to be in the
579-09 photograph with Chapman allows
Jackie will be in control of the
situation and that he may even use it
SCENE 73 - MCS - PARROTT. to his advantage)
PARROTT
Chapman said he'd come down here. Or, 6-116 /579.11 585.09/ 5.14 PARROTT TO JACKIE)
Chapman said he'd come down here. Or he
uh, he could meet you in the runway. could meet you in the runway.
585-11 (down here : i.e., 'to the locker room')
(runway : referring to a passageway
between offices at the top of Shibe
Park Stadium)
(19)
42 6AB P/20
TITLE

JACKIE RISES AND STEPS FG. CAMERA
TILTS UP WITH HIM AND DOLLIES BACK
TO INCLUDE PARROTT IN R.FG.
JACKIE 6-117 /585.13 587.05 1.08 JACKIE TO PARROTT)

No. On the field. Where everyone can see. No.
CROWD AT SHIBE PARK

(voice over) (overlapping, low and indistinct 6-118 594.08 596.14 2.06 JACKIE TO PARROTT)
On the field.
chatter, cries and cheers - continues under (On : i.e., 'Chapman and I will have
our photograph taken together on')
6-119 598.09 600.11 2.02 JACKIE TO PARROTT)

CHAPMAN Where everyone can see.
(voice over) Did World War Three... (Jackie and Chapman stand at home
602-08 plate before a group of reporters and
photographers)
SCENE 75 - EXT. SHIBE PARK FIELD -

NIGHT - FS - JACKIE AND CHAPMAN, 6-120 600.15 606.08 5.09 CHAPMAN TO MEN)
ADDRESSING A GROUP OF REPORTERS (over scene end) Did World War III break out? Look at all of
AND PHOTOGRAPHERS. y'all.
(Did...out : Humorously implying that
CHAPMAN there are a lot of reporters present to
...break out? Look at all of y'all. (to document this moment, as if it were
something truly life-changing such as
Baumgartner) They even dug you up, World War III - Also implying that this
photograph shouldn't merit such
Baum. This must be important. (to men) attention)
(break out : i.e., 'erupt' - 'start')
Listen, I want to say something. Uh, (y'all : mainly Southern contraction for
'you all' - i.e., 'you')
Jackie's been accepted into baseball and
the Philadelphia organization wish him all 6-121 607.06 612.04 4.14 CHAPMAN TO BAUMGARTNER)
They even dug you up, Baum. This must be
the luck that we can. important.
625-06 (They even dug you up : i.e., 'The
teams' owners went to the great effort
of getting you here')
(Baum : Short for 'Baumgartner' -
note that Stan Baumgartner was a
former player for the Philadelphia
Phillies and the Philadelphia Athletics
- upon retirement he became a
sportswriter)
6-122 612.08 615.09 3.01 CHAPMAN TO MEN)

Listen, I want to say something.
6-123 617.01 619.14 2.13 CHAPMAN TO MEN)

Jackie's been accepted into baseball...
6-124 620.02 625.05/ 5.03 CHAPMAN TO MEN)

...and the Philadelphia organization wish
him all the luck that we can.
(wish him all the luck that we can :
note rather ambiguous remark)
(20)
42 6AB P/21
TITLE
SCENE 76 - MCS - PAST A REPORTER TO

CHAPMAN.
CHAPMAN 6-125 627.06 633.01/ 5.11 CHAPMAN TO MEN)

I just hope that our trial of fire has helped I just hope that our trial of fire has helped
him along.
him along. (trial of fire : a test of one's abilities,
633-02 especially the ability to perform well
under pressure - implying that his
racist goading of Jackie was meant to
SCENE 77 - MS - JACKIE. help Jackie learn to play well while
under pressure)
PHOTOGRAPHER #1 (helped him along : i.e., 'been
(off) How about a picture? beneficial to him')
636-04
6-126 635.01 639.04 4.03 PHOTOGRAPHER #1

SCENE 78 - MCS - PAST A REPORTER TO (over scene end) TO JACKIE & CHAPMAN)
CHAPMAN. How about a picture? You shake hands.
Bury the hatchet.
PHOTOGRAPHER #1 (Bury the hatchet : Idiomatic for 'Make
You shake hands. Bury the hatchet. peace' - 'Resolve your differences')
JACKIE
(off) You wanna bury the... 6-127 639.08 641.15 2.07 JACKIE TO CHAPMAN)
640-06 (over scene end) You wanna bury the hatchet?
SCENE 79 - FS - JACKIE, CHAPMAN AND

THE REPORTERS.
JACKIE 6-128 644.02 645.15 1.13 JACKIE TO CHAPMAN)

...hatchet? Sure. (face off) (sighing) Ah. Sure.
(Jackie picks up a baseball bat and
REPORTER #2 IN SHIBE PARK approaches Chapman)
(face off) (overlapping) (low and indistinct
chatter)
REPORTER #3 IN SHIBE PARK

Yep.
JACKIE LEANS DOWN AND PICKS UP A

BASEBALL BAT.
650-04
SCENE 80 - MCS - JACKIE STEPS R.

TOWARD CHAPMAN. CAMERA PANS WITH
HIM. THEY BOTH HOLD THE BAT FROM
EITHER END OF IT.
JACKIE 6-129 650.08 652.12 2.04 JACKIE TO MEN)

We'll use a bat. (to Chapman) That way we We'll use a bat.
don't have to touch skin.

6-130 654.14 658.04 3.06 JACKIE TO CHAPMAN)
REPORTER #2 IN SHIBE PARK That way we don't have to touch skin.
(off) (overlapping) (low and indistinct
chatter)
(21)
42 6AB P/22
TITLE

(low) All right. All right.
PHOTOGRAPHER #1
Come on, fellas.
661-04
SCENE 81 - MFS - JACKIE AND CHAPMAN

POSE AS THE PHOTOGRAPHERS SNAP
PHOTOS.

All right, do it. All right, do it.
(Jackie and Chapman, both holding
PHOTOGRAPHER #2 separate sides of the bat, pose for the
That's good. Right here. photographers, who snap several
photos)
CROWD AT SHIBE PARK
6-133 664.04 665.12/ 1.08 PHOTOGRAPHER #2
cheers - continues under following scenes TO JACKIE & CHAPMAN)
That's good. Right here.
and dialogue) (That's good : i.e., 'That is a good
pose')
REPORTER #2 IN SHIBE PARK (Right here : i.e., 'Look here' - 'Look
(overlapping) (low and indistinct - in my direction')
continues under following scene)
A FLASH OF WHITE OBSCURES THE

FRAME.
665-13
SCENE 82 - MCS - A PHOTO, DEPICTING

JACKIE AND CHAPMAN.

FRAME.
667-03

JACKIE AND CHAPMAN.

FRAME.
668-08

JACKIE AND CHAPMAN.

FRAME.
669-14
(22)
42 6AB P/23
TITLE
SCENE 85 - MS - PAST A
PHOTOGRAPHER TO JACKIE AND
CHAPMAN, POSING.
PHOTOGRAPHER #3 6-134 672.10 674.14/ 2.04 PHOTOGRAPHER #3 TO JACKIE

(off) One more. (to Chapman) This way, & CHAPMAN, THEN TO CHAPMAN)
One more. This way, Ben.
Ben. (This way : i.e., 'Look in my direction')
674-15 (A magazine cover depicts a photo of
Jackie and Chapman, holding the bat)
SCENE 86 - INT. LOCKER ROOM - DAY -

MCS - HIGH ANGLE - A MAGAZINE, THE
COVER OF WHICH IS ONE OF THE
PHOTOS OF JACKIE AND CHAPMAN. THE
NAME OF THE MAGAZINE READS: 6-135 /675.05 677.09 2.04 NARRATIVE TITLE) (of magazine)
SPORTING LIFE SPORTING LIFE

FOR JUNE JACKIE ROBINSON
TEXT UNDERNEATH JACKIE READS: (SPORTING LIFE : American weekly

newspaper with a particular focus on
JACKIE ROBINSON baseball)
(Red Barber broadcasts from the
BARBER booth)
(voice over) It's Ostermueller on the mound.
680-01
ITAL It's Ostermueller on the mound.
SCENE 87 - EXT. FORBES
FIELD/PITTSBURGH - DAY - CS -
OSTERMUELLER (HANDS) PREPARES TO
THROW A PITCH.
CROWD AT FORBES FIELD

shouts and cheers - continues under LABORATORY: IF PRINT IS TEXTLESS, TITLES #6-137 AND #6-138 ARE
TO APPEAR IN THE NORMAL SUBTITLE POSITION. IF PRINT IS TEXTED,
following scenes and dialogue) THESE TITLES ARE TO APPEAR AS LOW AS POSSIBLE IN THE FRAME TO
AVOID DOUBLE-PRINTING. PLEASE CHECK PRINT FOR PROPER
MALE FORBES FIELD FAN #1 POSITIONING.
(off) There you go, Jack! There is it!
PITTSBURGH - MAY 17, 1947 PITTSBURGH - MAY 17, 1947
CAMERA TILTS UP ON HIM.
TITLE FADES OUT.
MALE FORBES FIELD FAN #2

(off) All right, Muelli!

(voice over) Ostermueller, deliberate. ITAL Ostermueller, deliberate.
(deliberate : slow, careful and
methodical)
(23)
42 6AB P/24
TITLE
BARBER (cont'd) 6-139 685.06 691.00 5.10 BARBER TO GROUP) (voice over)
(voice over) What I mean to say is, he's one ITAL (over scene end) What I mean to say is, he's one of the
slowest working pitchers in the game.
of the slowest working... (What I mean to say is : See Title
688-12 #4-136)
(The Pittsburgh catcher signals for
Ostermueller to throw the ball at
SCENE 88 - MCS - THE PITTSBURGH Jackie's head)
CATCHER (HAND) SIGNALS A PITCH.
BARBER
(voice over) ...pitchers in the game.
MALE FORBES FIELD FAN #3

(off) All right, Mueller! (continues low and
indistinct under following scene)

691-13
SCENE 89 - MCS - THE PITTSBURGH

CATCHER.
693-15
SCENE 90 - MCS - OSTERMUELLER

NODS.
696-02
SCENE 91 - MCS - JACKIE, AT BAT.

699-07
SCENE 92 - MCS - OSTERMUELLER

PITCHES.

(voice over) Here's the windup. And.... ITAL Here's the windup. And....
(windup : a pitcher’s preparation to
OSTERMUELLER pitch in baseball including pulling the
(grunts) arm back just before releasing the
704-02 ball)
(Ostermueller throws the ball, hitting
Jackie in the head and knocking him
SCENE 93 - FS - JACKIE PREPARES TO down)
SWING. THE BALL HITS HIM IN THE HEAD.
JACKIE
and dialogue)
CROWD AT FORBES FIELD

(24)
42 6AB P/25
TITLE

(voice over) Oh, my! ITAL (over scene ends) Oh, my! He hit Jackie Robinson right in the
head. And Jackie is down!
JACKIE FALLS TO THE GROUND. (Oh, my : Exclamation of shock and
706-03 astonishment)
(Branca, enraged, leads the other
Dodgers onto the field to fight the
SCENE 94 - MCS - JACKIE HITS THE Pittsburgh players. Branca heads
GROUND, IN PAIN. straight toward Ostermueller. An
Umpire steps in and struggles to
BARBER keep them apart)
(voice over) He hit...
707-07
SCENE 95 - MCS - REESE REACTS.
BARBER
(voice over) ...Jackie Robinson...
708-06
SCENE 96 - MCS - RACHEL, SEATED IN

THE CROWD, REACTS.
BARBER
(voice over) ...right in the head. And Jackie...
710-14
SCENE 97 - MS - BRANCA ANGRILY

WALKS FG. ONTO THE FIELD, FOLLOWED
BY THE OTHER DODGERS. CAMERA
TRACKS BACK WITH HIM.
BARBER
(voice over) ...is down!
DODGER PLAYERS
shouts - continues under following scenes
and dialogue)
HERMANSKI 6-142 /711.01 714.04 3.03 HERMANSKI TO OSTERMUELLER)

(overlapping) What are you doing out there, What are you doing out there, Ostermueller?!
Ostermueller?!
BRANCA 6-143 714.15 716.01/ 1.02 BRANCA TO OSTERMUELLER)

Hey! Hey!
716-02
(25)
42 6AB P/26
TITLE
SCENE 98 - MCS - OSTERMUELLER.
BRANCA 6-144 717.03 722.02 4.15 BRANCA TO OSTERMUELLER)

(off) Ostermueller, you creep! (over scene end) Ostermueller, you creep! You gotta bat too!
719-09 Don't you forget it!
(creep : slang for 'unpleasant,
obnoxious person')
SCENE 99 - FS - PAST OSTERMUELLER (gotta bat too : i.e., 'will also be
TO BRANCA AND THE DODGERS, batting at some point during this
APPROACHING. game' - note threat, implying that
when Ostermueller is batting, he will
BRANCA also be hit in the face with the ball)
You gotta bat too! Don't you forget it!
OSTERMUELLER 6-145 722.06 724.15/ 2.09 OSTERMUELLER TO BRANCA)

Hey, I'm ready... (over scene end) Hey, I'm ready, you wop bastard!
723-03 (ready : i.e., 'ready for a confrontation
with you')
(wop : see Title #5-203)
SCENE 100 - MS - OSTERMUELLER, (bastard : vulgar slang for 'thoroughly
GESTURING. despicable person')
OSTERMUELLER
...you wop bastard!
725-00
SCENE 101 - MS - BRANCA WALKS L.FG.
BRANCA 6-146 /725.03 727.14/ 2.11 BRANCA TO OSTERMUELLER)

(in wavering voice) (emphasizing) Oh, Oh, yeah?! "Wop bastard"?
yeah?! (in normal voice) "Wop bastard"?
It's...
728-00
SCENE 102 - MS - PAST OSTERMUELLER

TO BRANCA, APPROACHING. AN UMPIRE
STEPS BETWEEN THEM, TRYING TO
STOP THE FIGHT.
BRANCA 6-147 /728.02 730.14/ 2.12 BRANCA TO OSTERMUELLER)

...coming right between your eyes. I'm It's coming right between your eyes. I'm
gonna come like a kamikaze!
gonna come like a kamikaze! (It's coming : i.e., 'When I am pitching
to you, I will throw the ball')
OSTERMUELLER (come like : hit you as forcefully as')
(overlapping) This for him? (kamikaze : a World War II Japanese
730-15 pilot trained for the suicide mission of
flying an aircraft packed with
explosives into an enemy target, often
a ship)
(A brawl begins)
(26)
42 6AB P/27
TITLE
SCENE 103 - MS - PAST BRANCA AND

THE UMPIRE TO OSTERMUELLER,
REACTING. SEVERAL DODGERS PULL
BRANCA BACK.
OSTERMUELLER 6-148 /731.02 735.09/ 4.07 OSTERMUELLER TO BRANCA,

He doesn't belong here! He doesn't belong THEN FORBES FIELD UMPIRE TO MEN)
-He doesn't belong here!
here! (continues low and indistinct under -Get off! Knock it off!
(here : i.e., 'in professional baseball')
following scenes and dialogue) (Get off : i.e., 'Get off the field')
(Knock it off : i.e., 'Stop fighting!')
BRANCA
(indistinct shouts - continues under
A FIGHT ERUPTS.
PIRATES AND DODGERS

FORBES FIELD UMPIRE

(overlapping) Get off! Knock it off!
735-11
SCENE 104 - MS - JACKIE, STILL ON THE

GROUND, SURROUNDED BY THE FEET
OF THE FIGHTING PLAYERS.
740-07
SCENE 105 - MCS - OSTERMUELLER,

BEING HELD BACK BY OTHER
PITTSBURGH PLAYERS AND THE
UMPIRE.
745-10
SCENE 106 - MFS - THE BRAWL. CAMERA

TILTS DOWN AND PANS R. ON JACKIE,
SITTING UP AND GLANCING ABOUT AT
THE FIGHTING.
750-12
(27)
42 6AB P/28
TITLE
SCENE 107 - MCS - PAST

OSTERMUELLER AND THE UMPIRE TO
BRANCA. PLAYERS FROM BOTH SIDES
HOLD THEM BACK.
BRANCA 6-149 752.15 756.15/ 4.00 BRANCA TO OSTERMUELLER)

You don't belong here! I'll send you back to I'll send you back to Schmeling and
Goering...
Schmeling and Goering... (Schmeling : Max Schmeling [1905-
757-01 2005] a German boxer who was
heavyweight champion of the world
between 1930 and 1932 - note that in
SCENE 108 - MS - JACKIE, SEATED ON June 1938, Max Schmeling traveled to
THE GROUND AND REACTING. New York to face his rival African-
American boxer Joe Louis. In their
BRANCA pre-fight coverage, American reporters
(off) ...and the rest of your dead Kraut cast Schmeling as a Nazi villain
[despite the fact that Schmeling has
buddies! never officially pledged his support for
the Nazi regime]. Louis knocked
PLAYER IN BRAWL Schmeling out before a crowd of
(face off) You want some, Piner?! 70,000, signaling for many Americans
the first great blow to the Hitler
OSTERMUELLER regime)
(off) He doesn't belong here! (Goering : Hermann Goering [1893-
765-04 1946] - a German politician, military
leader, and leading member of the
Nazi Party)
SCENE 109 - INT. BROOKLYN CITY BUS - (For this Title and the next : i.e., 'I am
DAY - MCS - JACKIE AND RACHEL, going to soundly beat and kill you')
SEATED. HE HAS HIS ARM AROUND HER. (Dazed, Jackie sits up and surveys
SHE IS DISTRAUGHT. the situation)
770-05
6-150 /757.03 760.08 3.05 BRANCA TO OSTERMUELLER)

SCENE 110 - MCS - PAST RACHEL TO ...and the rest of your dead Kraut buddies!
JACKIE. (Kraut : derogatory term for a German
- alluding to 'sauerkraut' - note that
RACHEL Ostermueller is of German descent)
(cries - continues under following dialogue) (buddies : i.e., 'friends')
JACKIE
(exhales through nose) They're just 6-151 760.12 762.13 2.01 PLAYER IN BRAWL TO PINER)
You want some, Piner?!
ignorant. Hm? (You want some : i.e., 'You want to
791-11 fight')
SCENE 111 - MCS - PAST JACKIE TO 6-152 763.01 765.03/ 2.02 OSTERMUELLER TO BRANCA)
RACHEL. He doesn't belong here!
(Jackie and Rachel ride a bus home.
RACHEL Rachel is forlorn)
If they knew you, they would be ashamed.

(breathes heavily) They're just ignorant.
810-03 (They're : Referring to the Phillies, [or
perhaps racists in general]')
6-154 792.15 798.02 5.03 RACHEL TO JACKIE)

If they knew you, they would be ashamed.
(you : i.e., 'what an exceptional man
you are')
(Reese enters Rickey's office, carrying
a letter)
(28)
42 6AB P/29
TITLE

OFFICE - DAY - MFS - REESE OPENS THE
DOOR AND ENTERS. HE IS HOLDING A
DOCUMENT.
PEOPLE OUTSIDE OFFICE

dialogue)
816-04
SCENE 113 - MS - RICKEY, SEATED AT

HIS DESK.
RICKEY 6-155 817.09 820.06/ 2.13 RICKEY TO REESE)

What can I do for you, Pee Wee? What can I do for you, Pee Wee?
820-08
SCENE 114 - MS - REESE.
REESE 6-156 822.00 826.15 4.15 REESE TO RICKEY)

Well, Mr. Rickey, it's like this. The series in Well, Mr. Rickey, it's like this:
(it's like this : see Title #3-149)
Cincinnati next week?
RICKEY 6-157 827.09 830.15/ 3.06 REESE TO RICKEY)

(off) Yes. The series in Cincinnati next week?
831-01 (series : referring to a series of
consecutive games against one
team)
SCENE 115 - MS - PAST REESE (TORSO)
TO RICKEY.
6-158 /831.03 835.11 4.08 RICKEY TO REESE)
RICKEY Yes. Important road trip.
Important road trip. We're only three games (Important road trip : Implying 'It is
important that we win our games on
out of first. that trip)
REESE
(face off) Yes, sir. 6-159 836.10 840.10/ 4.00 RICKEY TO REESE,
840-11 THEN REESE TO RICKEY)
-We're only three games out of first.
-Yes, sir.
SCENE 116 - MS - PAST RICKEY TO (out of first : i.e., 'behind the team
REESE. that's in first place')
REESE
Now, you know I'm from Kentucky. 6-160 841.11 843.14/ 2.03 REESE TO RICKEY)
843-15 Now, you know I'm from Kentucky.
(Kentucky : Southern U.S. state)
(29)
42 6AB P/30
TITLE

TO RICKEY.
RICKEY 6-161 844.08 852.00/ 7.08 RICKEY TO REESE)

Then Cincinnati will nearly be a home Then Cincinnati will nearly be a home game
for you.
game for you. (Cincinnati : city in southwestern
852-02 Ohio, just north of Kentucky)
(home game : used here to mean 'a
game played in your home state' -
SCENE 118 - MS - PAST RICKEY TO note that a 'home game' is a game
REESE, WHO PUTS THE DOCUMENT ON played on a team's home ground)
THE DESK. (Reese tosses the letter onto Rickey's
desk. Rickey opens it)
REESE
Well...I got this letter. Apparently, some
6-162 852.14 854.10 1.12 REESE TO RICKEY)
people aren't too happy about me playing Well...
with Robinson.
6-163 857.15 860.08 2.09 REESE TO RICKEY)
RICKEY ...I got this letter.
(grunts)
867-07
6-164 861.05 866.11 5.06 REESE TO RICKEY)
Apparently, some people aren't too happy
SCENE 119 - MCS - RICKEY READS THE about me playing with Robinson.
LETTER.
RICKEY 6-165 873.09 875.05/ 1.12 RICKEY) (reading)

(reading) "Nigger lover. "Nigger lover.
875-07 (Extremely derogatory slang term for
white people perceived to be
sympathetic toward African Americans
SCENE 120 - MCS - REESE. and their plight)
RICKEY
(off) (reading) Watch yourself. We'll get 6-166 877.04 879.10 2.06 RICKEY) (reading)
Watch yourself.
you... (i.e., 'Be careful.' - Note implicit threat)
881-02
6-167 880.04 883.10 3.06 RICKEY) (reading)

SCENE 121 - MCS - RICKEY FOLDS THE (over scene end) We'll get you, carpetbagger."
LETTER BACK UP. (get you : implying 'injure you' - 'kill
you')
RICKEY (carpetbagger : a pejorative term
(reading) ...carpetbagger." (chuckles softly) Southerners gave to Northerners who
moved to the southern United States
Pretty typical stuff. after the Civil War to suggest that they
888-15 were opportunistic and exploitative.
The term referred to the observation
that these newcomers tended to carry
SCENE 122 - MCS - REESE. bags made from used carpet)
REESE
Well, it's not typical to me, sir. 6-168 887.01 888.14/ 1.13 RICKEY TO REESE)
894-09 Pretty typical stuff.
(i.e., 'This is a fairly typical letter from
an angry racist.')
6-169 892.01 894.08/ 2.07 REESE TO RICKEY)

Well, it's not typical to me, sir.
(Implying that he is not used to
receiving such threats)
(30)
42 6AB P/31
TITLE

TO RICKEY.
RICKEY
(chuckles)
HE RISES.
902-07
SCENE 124 - MFS - REESE AND RICKEY,

WHO WALKS FG. TOWARD A FILE
CABINET. CAMERA TRACKS BACK WITH
HIM.
RICKEY 6-170 905.08 910.00 4.08 RICKEY TO REESE)

How many of those letters have you gotten, How many of those letters have you gotten,
Pee Wee?
Pee Wee?
REESE 6-171 911.14 915.02/ 3.04 REESE TO RICKEY)

Just the one. Ain't that enough? Just the one. Ain't that enough?
(the : i.e., 'this')
RICKEY PULLS A FOLDER FULL OF (Rickey produces three folders full of
LETTERS FROM THE CABINET. letters from a nearby filing cabinet and
915-04 tosses them on the table before
Reese)
SCENE 125 - MCS - RICKEY (HAND)

TOSSES THE FILE DOWN ON THE TABLE.
916-14
SCENE 126 - MCS - REESE.
RICKEY
(off) (chuckles)
918-14

REESE. RICKEY PRODUCES TWO MORE
FOLDERS AND PLACES THEM ON THE
DESK.
REESE 6-172 923.02 925.04 2.02 REESE TO RICKEY)

What are those? What are those?
RICKEY
Well, I'll tell you what they aren't. 6-173 926.02 929.12/ 3.10 RICKEY TO REESE)
929-14 Well, I'll tell you what they aren't.
SCENE 128 - MCS - PAST REESE TO

RICKEY.
RICKEY 6-174 930.05 937.02 6.13 RICKEY TO REESE)

They aren't letters from the Jackie They aren't letters from the Jackie Robinson
fan club.
Robinson fan club. (Implying that they are hate mail, and
full of threats)
(Rickey hands Reese a stack of
letters and walks back to his desk)
(31)
42 6AB P/32
TITLE
RICKEY HANDS REESE A STACK OF

LETTERS AND EXITS L. CAMERA TILTS
DOWN ON THE FIRST LETTER, WHICH
READS:
GET OUT
OF
BASEBALL
OR
YOUR
BABY BOY
WILL DIE
REESE 6-175 946.05 951.03/ 4.14 REESE) (reading)

(chuckles softly) (reading) "Get out of "Get out of baseball or your baby boy will
die."
baseball or your baby boy will die." (Implying that the writer of the letter
will kill Jackie Jr.)
REESE TURNS THE PAGE TO THE NEXT (Reese flips to the next letter)
LETTER.
951-05
SCENE 129 - MCS - REESE, READING A

LETTER. RICKEY IS SEATED AT HIS DESK
IN BG.
REESE 6-176 952.12 957.04 4.08 REESE) (reading)

(reading) "Quit baseball or your nigger "Quit baseball or your nigger wife...."
(Quit : Slang for 'Leave')
wife...." (nigger wife : referring to Rachel)
961-03 (Reese, upset, reluctantly flips to the
next letter)

964-01
SCENE 131 - MCS - REESE, READING.

RICKEY IS IN BG.
REESE 6-177 966.03 970.01 3.14 REESE) (reading)

(reading) "Get out of the game or be killed." "Get out of the game or be killed."
(breathes heavily) Does Jackie know?

6-178 974.03 976.05 2.02 REESE TO RICKEY)
REESE TURNS AND STEPS BG. INTO A Does Jackie know?
MS. CAMERA TILTS DOWN, FACE OFF (know : i.e., 'know about these
REESE, AND PUSHES BG. threatening letters')
RICKEY
Well, of course he does. And the FBI. 6-179 976.09 979.14 3.05 RICKEY TO REESE)
Well, of course he does.
6-180 980.03 982.12 2.09 RICKEY TO REESE)

And the FBI.
(FBI : Federal Bureau of
Investigation, the principle federal
investigative agency of the U.S.)
(32)
42 6AB P/33
TITLE
RICKEY (cont'd) 6-181 983.08 987.11 4.03 RICKEY TO REESE)

They're taking a threat in Cincinnati pretty They're taking a threat in Cincinnati pretty
seriously.
seriously. So excuse me if I don't get too (threat : i.e., 'threat against Jackie')
(pretty : i.e., 'extremely')
upset about you getting called a
carpetbagger. You should be proud. 6-182 987.15 995.06 7.07 RICKEY TO REESE)
998-03 So excuse me if I don't get too upset about
you getting called a carpetbagger.
SCENE 132 - MCS - REESE.

6-183 995.14 998.01/ 2.03 RICKEY TO REESE)
REESE You should be proud.
(chuckles softly) Well, I'd just like to play (Implying that he should be proud that
the racists consider him worthy of
ball, sir. That's all. harassing, since that must mean he
1007-15 is standing up for what is right)
SCENE 133 - MCS - RICKEY. 6-184 1003.09 1007.13/ 4.04 REESE TO RICKEY)
Well, I'd just like to play ball, sir. That's all.
RICKEY (play ball : i.e., 'play baseball, and not
Oh, I understand. I bet Jackie just wants to have to deal with this kind of
controversy')
play ball. I bet he wishes he wasn't leading (all : i.e., 'simply how I feel')
the League in hit by pitch. I bet he wishes

6-185 1008.09 1011.03 2.10 RICKEY TO REESE)
people didn't want to kill him. The world's Oh, I understand.
not so simple anymore. Guess it never

6-186 1011.07 1015.07 4.00 RICKEY TO REESE)
was. I bet Jackie just wants to play ball.
(bet : i.e., 'assume that')
6-187 1015.11 1020.05 4.10 RICKEY TO REESE)

I bet he wishes he wasn't leading the
League in hit by pitch.
(leading...pitch : i.e., 'the Major
League baseball player who has
been hit the most times by a pitch
from the pitcher')
6-188 1020.09 1024.15 4.06 RICKEY TO REESE)

I bet he wishes people didn't want to kill him.
6-189 1026.10 1030.10 4.00 RICKEY TO REESE)

The world's not so simple anymore.
(simple : i.e., 'straightforward and
uncomplicated')
6-190 1032.03 1035.03 3.00 RICKEY TO REESE)

Guess it never was.
(33)
42 6AB P/34
TITLE
RICKEY (cont'd) 6-191 1036.00 1038.07 2.07 RICKEY TO REESE)

We just, uh.... Baseball ignored it, now we We just....
can't.
1044-01 6-192 1040.01 1043.15/ 3.14 RICKEY TO REESE)
Baseball ignored it, now we can't.
(it : i.e., 'racism' - 'how difficult life can
SCENE 134 - MCS - REESE. be')
REESE
Yes, sir. 6-193 1052.03 1054.02/ 1.15 REESE TO RICKEY)
1054-04 Yes, sir.
(The Dodgers play the Cincinnati
Reds on Crosley Field)
SCENE 135 - EXT. CROSLEY
FIELD/CINCINNATI - DAY - LS - HIGH
ANGLE - THE FIELD, AS THE TEAMS
CHANGE OFFENSIVE/DEFENSIVE
POSITIONS AT THE END OF AN INNING.
THE DODGERS TAKE THE DEFENSIVE
SIDE.
CROWD AT CROSLEY FIELD

cheers - continues under following
dialogue)
TITLE FADES IN: (over above bg.) LABORATORY: IF PRINT IS TEXTLESS, TITLES #6-194 AND #6-195 ARE
TO APPEAR IN THE NORMAL SUBTITLE POSITION. IF PRINT IS TEXTED,
CROSLEY FIELD, CINCINNATI - JUNE 21, THESE TITLES ARE TO APPEAR AS LOW AS POSSIBLE IN THE FRAME TO
1947 AVOID DOUBLE-PRINTING. PLEASE CHECK PRINT FOR PROPER
POSITIONING.
TITLE FADES OUT.
CROSLEY FIELD PA ANNOUNCER 6-194 1055.06 1059.06 4.00 CROSLEY FIELD PA ANNOUNCER
(over speaker) No hits, no runs for the ITAL OVER SPEAKER TO GROUP)
No hits, no runs for the Dodgers. The Reds
Dodgers. The Reds are coming to bat. are coming to bat.
1062-06
6-195 1059.10 1062.06/ 2.12 NARRATIVE TITLE)

SCENE 136 - FS - AS THE DODGERS RUN
OUT ONTO THE FIELD, THE CROWD CROSLEY FIELD, CINCINNATI - JUNE 21,
REACTS, JEERING AND BOOING. 1947
CROWD AT CROSLEY FIELD (CROSLEY FIELD : A major league

(overlapping, low and indistinct chatter, baseball park located in Cincinnati,
Ohio. It was the home field of the
shouts and cries of "Boo!" - continues National League's Cincinnati Reds
from 1912-1970)
under following scenes and dialogue) (The Dodgers defensive crew runs out
1065-15 onto the field, lead by Reese. The
crowd reacts negatively. A young boy,
Freckles, is seated with his dad in the
SCENE 137 - MS - REESE, RUNNING crowd)
R.FG. CAMERA PANS WITH HIM.
1070-08
(34)
42 6AB P/35
TITLE
SCENE 138 - MCS - FRECKLES' DAD AND

HIS SON FRECKLES, SEATED AMONGST
THE CROWD.
FRECKLES 6-196 /1071.00 1074.07 3.07 FRECKLES TO FRECKLES' DAD)

How many times do you think Pee Wee's How many times do you think Pee Wee's
gonna score today?
gonna score today?
FRECKLES' DAD 6-197 1074.11 1076.07 1.12 FRECKLES' DAD TO FRECKLES)

Well, I don't know, son. I remember when I Well, I don't know, son.
was a kid, I saw Honus Wagner play,

6-198 1076.11 1082.11 6.00 FRECKLES' DAD TO FRECKLES)
scored three times that day. (stammers) I remember when I was a kid, I saw Honus
Wagner play, scored three times that day.
We'll just have to wait and see. (Honus Wagner : an American Major
League Baseball shortstop
FRECKLES nicknamed "The Flying Dutchman"
Wow, that would be great. due to his superb speed and German
heritage ["Dutch" in this instance
FRECKLES' DAD being an alteration of "Deutsch"]
Yeah. Historians consider him to be the
1087-14 greatest shortstop of all time)
SCENE 139 - MS - JACKIE STEPS FG. 6-199 1082.15 1087.12/ 4.13 FRECKLES' DAD TO FRECKLES,
ONTO THE FIELD. THE CROWD ERUPTS THEN FRECKLES TO FRECKLES' DAD)
IN JEERS AND BOOS. -We'll just have to wait and see.
-Wow, that would be great.
CROWD AT CROSLEY FIELD (Wow : Interjection of wonder)
(overlapping, low and indistinct chatter, (that would be great : i.e., 'it would be
wonderful to see Pee Wee play
shouts and cries of "Boo!" - continues equally as well')
(Jackie runs onto the field. The crowd
under following scenes and dialogue) reacts negatively)
1094-06
SCENE 140 - MS - SOME OF THE CROWD,

REACTING.
CROSLEY FIELD MAN #1

Nigger!
CROSLEY FIELD MAN #2 6-200 1094.15 1097.09/ 2.10 CROSLEY FIELD MAN #2 TO JACKIE)
We don't want you here! We don't want you here!

(overlapping) Go home!
CROSLEY FIELD WOMAN #1

(overlapping) Go home!

(overlapping) Yeah!
1097-10
(35)
42 6AB P/36
TITLE
SCENE 141 - MCS - FRECKLES' DAD AND

FRECKLES, REACTING TO THE CRIES OF
THE CROWD.
FRECKLES' DAD 6-201 /1097.13 1101.11 3.14 FRECKLES' DAD TO JACKIE)

Hey! Hey, Nigger boy! Hey! Hey, Nigger boy!
(boy : see annotation for 'boys' in
CROSLEY FIELD MAN #4 Title #1-92)
(overlapping) Boo!

(off) (overlapping) Go home!
FRECKLES' DAD 6-202 1101.15 1104.08/ 2.09 FRECKLES' DAD TO JACKIE)

(overlapping) Get the hell out of Cincinnati! Get the hell out of Cincinnati!
1104-09
SCENE 142 - MCS - BRANCA.

(off) Boo!
FRECKLES' DAD 6-203 1105.02 1107.12 2.10 FRECKLES' DAD TO JACKIE)

(off) We don't want you here! We don't want you here!
1108-07
SCENE 143 - MCS - FRECKLES' DAD.
FRECKLES' DAD 6-204 /1108.13 1110.14/ 2.01 FRECKLES' DAD TO JACKIE)

Go back to Brooklyn! Go back to Brooklyn!

(off) You the... 6-205 /1111.02 1113.03 2.01 CROSLEY FIELD MAN #6 TO JACKIE)
1111-00 You the batboy, sambo?!
(batboy : person employed to look
after the equipment, especially the
SCENE 144 - MCS - FRECKLES, bats, of a baseball team)
REACTING. (Sambo : offensive term for an
African American)
(off) ...batboy, sambo?!
FRECKLES' DAD 6-206 1113.07 1115.13 2.06 FRECKLES' DAD TO JACKIE)

(face off) Hey, nigger! I'm talkin' to you! Get Hey, nigger! I'm talkin' to you!
the hell outta...

1117-02 6-207 1116.01 1119.10/ 3.09 FRECKLES' DAD TO JACKIE)
(over scene end) Get the hell outta Cincinnati! We don't want
you here, boy!
SCENE 145 - FS - JACKIE, RUNNING BG. (Freckles reacts before reluctantly
ONTO THE FIELD. joining in the racist slurs)
FRECKLES' DAD
(off) ...Cincinnati! We don't want you here,
boy!
1119-11
(36)
42 6AB P/37
TITLE
SCENE 146 - MCS - FRECKLES.
FRECKLES 6-208 1123.10 1125.12 2.02 FRECKLES TO JACKIE)

Nigger! We don't want you here! Nigger!
1129-04
6-209 1126.08 1129.03/ 2.11 FRECKLES TO JACKIE)

SCENE 147 - INT. CROSLEY FIELD We don't want you here!
BROADCAST BOOTH - DAY - MCS -
BARBER, SEATED AND SPEAKING INTO
HIS MICROPHONE.

(into microphone) Cincinnati fans Cincinnati fans expressing their displeasure
as the Dodgers take the field.
expressing their displeasure as the (expressing their displeasure : note
that Barber is intentionally
Dodgers take the field. understating the racial vitriol
1135-05 expressed by the Cincinnati fans for
the radio audience)
(The Dodgers throw the ball amongst
SCENE 148 - EXT. CROSLEY themselves, warming up)
FIELD/CINCINNATI - DAY - LS - JACKIE,
ON FIRST BASE, WARMS UP WITH THE
REST OF THE TEAM.

(voice over) Jackie Robinson at first. "The ITAL Jackie Robinson at first. "The Brat" Eddie
Stanky at second.
Brat" Eddie Stanky at second. Spider (at : i.e., 'playing' - 'positioned at')
Jorgensen at third. (The Brat : idiomatic for a
1141-10 'overindulged child' - Stanky's
nickname)
SCENE 149 - MS - JACKIE, WARMING UP.

BARBER ITAL (over scene end) Spider Jorgensen at third. And the captain,
(voice over) And the captain, Pee Wee Pee Wee Reese, at short.
(short : i.e., 'shortstop' - see Title #1-
Reese, at short. 82)
1144-11

REESE, APPROACHING. A LARGE
BANNER IN BG. READS:
Heirloom Beer

(voice over) Fans, ask any man and they'll ITAL Fans, ask any man and they'll tell you, the
Gillette Superspeed razor is a honey.
tell you, the Gillette Superspeed razor is a (Gillette : a brand of men's safety
razors)
honey. May be the... (a honey : outdated idiomatic for
1153-05 'great')
(37)
42 6AB P/38
TITLE

(voice over) ...sweetest shaving razor you'll ITAL Maybe the sweetest shaving razor you'll ever
use.
ever use. Look sharp... (sweetest : idiomatic for 'best')
1157-11

REESE, APPROACHING. HE STOPS IN A
MCS.

(voice over) ...feel sharp, be sharp. ITAL Look sharp, feel sharp, be sharp.
(sharp : idiomatic for 'stylish' -
CROSLEY FIELD MAN #7 'handsome' - note play on the
(off) We don't want no niggers here! sharpness of the razor)
(Reese runs from his position toward
REESE Jackie at first base. The crowd
They can say all they want. We're just here continues to react negatively)
to play ball.
6-216 1161.06 1163.06 2.00 CROSLEY FIELD MAN #7 TO JACKIE)
CROSLEY FIELD MAN #8 We don't want no niggers here!
(off) Get him off the field!
JACKIE GLANCES ABOUT AT THE O.S. 6-217 1163.10 1168.07 4.13 REESE TO JACKIE)
CROWD. They can say all they want. We're just here to
play ball.
JACKIE (say all they want : implying 'taunt you
It's just a bunch of crackpots still fighting as much as they like, but you should
ignore them')
the Civil War.
6-218 1168.11 1171.00 2.05 CROSLEY FIELD MAN #8 TO GROUP)

Get him off the field!
6-219 1171.04 1176.14 5.10 JACKIE TO REESE)

It's just a bunch of crackpots still fighting the
Civil War.
(It's just : i.e., 'This crowd merely
consists of')
(crackpots : slang for 'odd, eccentric
people' - 'stupid people')
(still fighting the Civil War : i.e,
'behaving as divisively as people did
during the American Civil War' -
'unwilling to accept that slavery was
abolished and black people are now
equal to whites')
(38)
42 6AB P/39
TITLE
REESE 6-220 1177.09 1182.12 5.03 REESE TO JACKIE)

(chuckles) Well, hell, we'd have won that Well, hell, we'd have won that son of a gun if
the cornstalks would have held out.
son of a gun if the cornstalks would have (we'd : i.e., 'we Southerners would')
(son of a gun : affectionate term for
held out. We just ran out of ammunition. 'thing' - referring to the Civil War)
1184-07 (the cornstalks would have held out :
i.e., 'our supplies of cornstalks had
not depleted' - humorously implying
SCENE 153 - MCS - PAST REESE TO that [particularly toward the end of the
JACKIE. war], the Confederacy was so
desperate for weaponry that they used
JACKIE cornstalks in place of rifles - implying
Better luck next time, Pee Wee. that Southerners will continue to fight
1191-02 even when it is obvious that they can't
win because their weaponry is vastly
inadequate to the Northerners [much
SCENE 154 - MCS - PAST JACKIE TO like the racists' 'weaponry' being
REESE, WHO PUTS HIS ARM AROUND inadequate against the changing tide
JACKIE. THEY FACE THE CROWD. of America] - also note possible
allusion to the Corn Stalk Militia of
CROWD AT CROSLEY FIELD Kentucky, so-called due to use of
(overlapping, low and indistinct chatter, cornstalks during musters and drills)
shouts and cries of "No!" - continues under

6-221 1183.00 1185.12 2.12 REESE TO JACKIE)
following scenes and dialogue) (over scene end) We just ran out of ammunition.
REESE
Ain't gonna be a next time, Jackie. 6-222 1188.01 1191.00/ 2.15 JACKIE TO REESE)
Better luck next time, Pee Wee.
CROSLEY FIELD MAN #9 (Better luck next time : Used here
(off) Hey, Reese! wryly, since if the Confederacy had
1202-01 won the Civil War, slavery may not
have been abolished)
(Reese puts his arm around Jackie)
SCENE 155 - FS - JACKIE AND REESE,
FACING BG. TOWARD THE REACTING
CROWD. 6-223 1196.09 1199.02 2.09 REESE TO JACKIE)
Ain't gonna be a next time, Jackie.
CROSLEY FIELD MAN #9 (Implying that he will use his influence
(off) Carpetbagger! to fight against racism and a divided
America)
REESE
All we got's right here.
6-224 1199.06 1202.15 3.09 CROSLEY FIELD MAN #9 TO REESE)
CROSLEY FIELD MAN #10 (over scene end) Hey, Reese! Carpetbagger!
(off) You're a disgrace, Reese! (Carpetbagger : See Title #6-167)
REESE
Right now. You know what I mean? 6-225 1203.03 1209.08 6.05 REESE TO JACKIE)
1210-06 All we got's right here. Right now. You know
what I mean?
(Referring to their love of baseball and
implying that they should not allow
intolerance to corrupt what they love)
(39)
42 6AB P/40
TITLE
SCENE 156 - MCS - REESE AND JACKIE.

Thank you, Jackie. Thank you, Jackie.
JACKIE
What are you thanking me for? 6-227 1218.02 1220.11 2.09 JACKIE TO REESE)
What are you thanking me for?
REESE (Reese gestures up toward the
I got family up there from Louisville. I need crowd)
'em to know. I need 'em to know who I am.

6-228 1225.09 1229.02 3.09 REESE TO JACKIE)
CROWD AT CROSLEY FIELD I got family up there from Louisville.
(overlapping, low and indistinct chatter, (up there : i.e., 'in the stands')

6-229 1232.06 1234.13 2.07 REESE TO JACKIE)
following scenes and dialogue) I need 'em to know.
1242-08
6-230 1237.04 1240.03 2.15 REESE TO JACKIE)

SCENE 157 - MCS - FRECKLES, I need 'em to know who I am.
REACTING MOVED. (who I am : i.e., 'what I believe in')
1247-11 (Some of the crowd reacts, cheering.
Freckles reacts, moved. The Umpire
steps onto the field, toward Reese
SCENE 158 - MCS - BRANCA. and Jackie)
PEANUT VENDOR
(off) Peanuts! Right here!
1252-03
SCENE 159 - FS - CROSLEY FIELD

UMPIRE STEPS ONTO THE FIELD.
CROSLEY FIELD UMPIRE 6-231 /1252.05 1254.04/ 1.15 CROSLEY FIELD UMPIRE TO REESE)
Hey, number one! Hey, number 1!
1254-05 (Referring to Reese and his jersey
number)
SCENE 160 - LS - PAST JACKIE AND

REESE TO CROSLEY FIELD UMPIRE.
CROSLEY FIELD UMPIRE 6-232 1255.04 1258.05/ 3.01 CROSLEY FIELD UMPIRE TO REESE)
You playing ball or socializing? You playing ball or socializing?
1258-07
SCENE 161 - MCS - REESE AND JACKIE.
JACKIE
(chuckles)
REESE 6-233 1261.04 1263.02 1.14 REESE TO CROSLEY FIELD UMPIRE)

Playing ball, ump. Playing ball, ump.
(ump : see Title #4-141)
(40)
42 6AB P/41
TITLE
CROSLEY FIELD UMPIRE 6-234 1263.06 1266.09 3.03 CROSLEY FIELD UMPIRE TO MEN,
Play ball! THEN CROSLEY FIELD MAN #11
TO JACKIE)
CROSLEY FIELD MAN #11 -Play ball!
(off) Don't let 'em get to ya! -Don't let 'em get to ya!
(Play ball : See Title #3-42)
REESE HANDS JACKIE A BASEBALL. (Don't let 'em get to ya : i.e., 'Don't let
CAMERA DOLLIES AROUND R. BEHIND intolerant people distress you')
JACKIE.

Playing ball. Maybe tomorrow we'll all wear Playing ball.
forty-two. That way they won't tell us apart.

6-236 1270.06 1277.03 6.13 REESE TO JACKIE)
REESE RUNS L.BG. INTO A FS. CAMERA Maybe tomorrow we'll all wear 42. That way
PANS L., OFF JACKIE. they won't tell us apart.
1285-09 (won't tell us apart : i.e., 'won't be
able to discern which player you are' -
note humor)
SCENE 162 - MCS - JACKIE. (Reese runs back to his position)
CROSLEY FIELD WOMAN #2

(off) Come on, Jackie! 6-237 1289.02 1291.15/ 2.13 CROSLEY FIELD WOMAN #2 TO JACKIE)
1292-01 Come on, Jackie!
(Come on : Idiomatic expression of
encouragement - i.e., 'Play well')
SCENE 163 - INT. VISITOR'S LOCKER (In the locker room, Jackie is seated
ROOM - DAY - FS - JACKIE, NAKED as the rest of the team showers.
EXCEPT FOR A TOWEL, IS SEATED IN Branca, wearing only a towel, passes
THE LOCKER ROOM AS THE OTHER Jackie on his way to the showers. He
PLAYERS ARE SHOWERING. BRANCA, stops)
WEARING ONLY A TOWEL, WALKS FG.
PAST HIM.
DODGERS PLAYERS
dialogue)
BRANCA
(grunts softly)
1300-01
SCENE 164 - MCS - BRANCA STOPS AND

TURNS L. TOWARD O.S. JACKIE.

All right, let me ask you something, Jackie. Let me ask you something, Jackie.
How come you never shower until

6-239 1309.00 1312.07/ 3.07 BRANCA TO JACKIE)
everybody else is done? How come you never shower until everybody
1312-08 else is done?

1316-00
(41)
42 6AB P/42
TITLE
BRANCA 6-240 1317.14 1319.10/ 1.12 BRANCA TO JACKIE)

What are you, shy? What are you, shy?
1319-11
JACKIE 6-241 1326.11 1330.01/ 3.06 JACKIE TO BRANCA)

I don't want to make anyone feel I don't want to make anyone feel
uncomfortable.
uncomfortable.
1330-02

We're a team. On a hot streak. Come on, We're a team. On a hot streak.
(On a hot streak : Slang for 'We have
half those wins were on account of you. had a consecutive series of
successes' - i.e., 'We have won a
You're the bravest guy I ever saw. consecutive number of games')
1343-00
6-243 1335.00 1338.11 3.11 BRANCA TO JACKIE)

SCENE 169 - MCS - JACKIE. Come on, half those wins were on account
1346-10 of you.
(Come on : Idiomatic expression of
encouragement)
SCENE 170 - MCS - BRANCA. (on account of : i.e., 'because of' -
'due to')
BRANCA
You're leading us, you're afraid to take a
6-244 1340.05 1342.15/ 2.10 BRANCA TO JACKIE)
shower? (chuckles) You're the bravest guy I ever saw.
1352-12 (I ever saw : colloquial for 'I've ever
seen')

1355-14 6-245 1348.05 1352.10/ 4.05 BRANCA TO JACKIE)
You're leading us, you're afraid to take a
shower?
SCENE 172 - MCS - BRANCA STARTS TO
WALK AWAY, BUT STOPS AND TURNS
BACK.

Come on, take a shower with me, Jackie. Come on, take a shower with me, Jackie.
1366-04 (Jackie reacts)

1368-14

(stammers) I-I didn't mean it like.... I didn't mean it like....
1377-14 (Implying that he does not have
homosexual feelings for Jackie)

1380-09
(42)
42 6AB P/43
TITLE

That came out a little wrong. That came out a little wrong.
1385-12 (i.e., 'I didn't quite articulate my intent
very well.')
SCENE 177 - MCS - JACKIE, SMILING.
BRANCA 6-249 /1385.14 1388.08/ 2.10 BRANCA TO JACKIE)

(off) I was not saying just take a shower I was not saying just take a shower with me.
(me : i.e., 'me on my own')
with me.
JACKIE
(low) (overlapping) (chuckles softly)
1388-09
BRANCA 6-250 /1388.12 1392.11/ 3.15 BRANCA TO JACKIE)

I was saying, why don't we all go and take a I was saying, why don't we all go and take a
shower.
shower--
1392-13
BRANCA 6-251 /1392.15 1394.07 1.08 BRANCA TO JACKIE)

(off) Like, why-- As a team... Like, why--?
JACKIE
(overlapping) (chuckles) 6-252 1394.11 1398.10/ 3.15 BRANCA TO JACKIE)
1396-10 (over scene end) As a team, why don't we shower together.
BRANCA
...why don't we shower together.
1398-12
JACKIE 6-253 1400.00 1402.10/ 2.10 JACKIE TO BRANCA,

(chuckles) Branca? (over scene end) THEN BRANCA TO JACKIE)
1401-03 -Branca?
-Yeah.
BRANCA
Yeah.
1402-12
JACKIE 6-254 1405.11 1406.15/ 1.04 JACKIE TO BRANCA)

Stop. Stop.
1407-00 (Implying 'Don't embarrass yourself
any further.')
(43)
42 6AB P/44
TITLE

Yeah. Yeah.
1410-08
SCENE 185 - MFS - JACKIE AND BRANCA.

I'm stopping. I'm stopping.
1416-12 (Branca and Jackie enter the
showers. Nobody reacts except for
Walker, who angrily walks out. The
SCENE 186 - INT. VISITOR'S LOCKER Dodgers play against the St. Louis
ROOM/SHOWERS - DAY - MS - PAST Cardinals at Ebbets Field. Reb Barber
WALKER, SHOWERING WITH THE OTHER narrates the game from inside his
PLAYERS, TO BRANCA AND JACKIE, WHO broadcasting booth)
ENTER.
DODGERS PLAYERS
dialogue)
DODGER IN SHOWER LABORATORY: IF PRINT IS TEXTLESS, TITLES #6-257 THROUGH #6-259

(off) (sings nonsensically) ARE TO APPEAR IN THE NORMAL SUBTITLE POSITION. IF PRINT IS
TEXTED, THESE TITLES ARE TO APPEAR AS LOW AS POSSIBLE IN THE
BRANCA EXITS R.FG. JACKIE STEPS FG. FRAME TO AVOID DOUBLE-PRINTING. PLEASE CHECK PRINT FOR
INTO A MCS. AND SHOWERS. WALKER PROPER POSITIONING.
REACTS ANGRILY IN BG. AND LEAVES.

(voice over) We're in the last... (over scene end) We're in the last of a four-game series with
1458-02 the Cardinals.
SCENE 187 - INT. EBBETS FIELD

BROADCAST BOOTH - DAY - MCS -
BARBER, SEATED AND BROADCASTING.

BROOKLYN - AUGUST 20, 1947 BROOKLYN - AUGUST 20, 1947
BARBER
(into microphone) ...of a four-game series 6-259 1462.06 1464.08/ 2.02 BARBER TO GROUP)
These two teams are in a dogfight for first.
with the Cardinals and these two teams (dogfight : idiomatic for 'fierce battle' -
i.e., 'tough contest')
are in a dogfight for first. (first : i.e., 'first place')
(Jackie is at bat)
TITLE FADES OUT.
1464-09
(44)
42 6AB P/45
TITLE

FS - JACKIE PREPARES TO BAT.

(voice over) Top of the eleventh now, all tied ITAL Top of the 11th now, all tied up at 2.
(Top of the 11th : i.e., 'The first half of
up at two. For those of you just tuning in... the 11th inning' - Note that if teams
1471-06 are tied after 9 innings, they keep
playing innings until one team leads
after the home team bats)
SCENE 189 - FS - PAST JACKIE TO THE (all tied up at 2 : i.e., 'the teams are
CARDINALS PITCHER. tied at two runs per team')
BARBER
(voice over) ...how did we get here? Well, 6-261 1469.03 1473.02 3.15 BARBER TO GROUP) (voice over)
ITAL (over scene end) For those of you just tuning in, how did we
it's been double trouble, as Robinson get here?
(tuning in : i.e., 'starting to listen to
knocked... this broadcast')
(how did we get here : i.e., 'what has
HE PITCHES. happened in the game up until now')
1477-03

SCENE 190 - MS - JACKIE HITS THE BALL. ITAL Well, it's been double trouble...
(double : see Title #2-87 - note
BARBER rhyme with trouble)
(voice over) ...in Stanky... (Jackie hits a double run)
1478-03

SCENE 191 - FS - JACKIE HITS THE BALL ITAL (over scene ends) ...as Robinson knocked in Stanky with a
FAR INTO L.BG. AND RUNS R., EXITING. double in the 3rd.
(knocked in Stanky : i.e., 'allowed
BARBER Stanky to score')
(voice over) ...with a double in the third.
CARDINAL CATCHER ENTERS R.FG. AND

STEPS BG.
CARDINALS CATCHER 6-264 1481.00 1483.05/ 2.05 CARDINALS CATCHER TO PLAYER)

Shoot two! Shoot two! Shoot two! Shoot two!
1483-07 (Shoot two : i.e., 'Throw the ball to
second base')
(Later, Walker hits a double run)
SCENE 192 - FS - WALKER, PREPARING
TO BAT. CAMERA PUSHES IN TO A MS. AS
HE HITS THE BALL.

(voice over) And Dixie Walker did the same ITAL And Dixie Walker did the same with a double
in the 8th.
with a double in the eighth.
1487-07
(45)
42 6AB P/46
TITLE
SCENE 193 - FS - WALKER HITS THE

BALL L.BG. AND RUNS R. CARDINALS
CATCHER ENTERS FG. AND STEPS BG.
CARDINALS CATCHER 6-266 1490.03 1492.09 2.06 CARDINALS CATCHER TO PLAYER)

Second... (over scene end) Second base! Second base!
1490-13 (Second base : i.e., 'Throw the ball to
second base')
SCENE 194 - MS - LOW ANGLE -

CARDINALS CATCHER.
CARDINALS CATCHER
...base! Second base!

(voice over) But it wasn't enough, as the... ITAL (over scene end) But it wasn't enough, as the Cardinals tied it
1494-10 up with two of their own in the 9th.
(it : i.e., 'that score' - 'that effort')
(two of their own : i.e., 'two doubles')
SCENE 195 - MCS - SLAUGHTER (FEET), (9th : i.e., '9th inning')
A CARDINALS PLAYER, STEPS TO HOME
PLATE. CAMERA CRANES UP ON HIM AS
HE PREPARES TO BAT.

(voice over) ...Cardinals tied it up with two of ITAL This game is crucial to the Red Birds.
(Red Birds : nickname for the
their own in the ninth. This game is crucial Cardinals - also note that 'redbird' is
another name for the 'cardinal' is a
to the Red Birds. They are five games out, North American crested finch, the
male of which has bright red plumage
with the Dodgers not having relinquished with a black face)
first place since June thirtieth.

EBBETS FIELD MAN #1 ITAL They are five games out...
(off) (low) You got a ballplayer! (out : i.e., 'behind the leading team')
BARBER
(voice over) They call him "Country." 6-270 1505.11 1510.15 5.04 BARBER TO GROUP) (voice over)
ITAL ...with the Dodgers not having relinquished
Slaughter's... first place since June 30th.
(Enos Slaughter steps up to bat for
SLAUGHTER the Cardinals. Hugh Casey is pitching
(overlapping) (spits) for the Dodgers)
1514-08

ITAL They call him "Country."
(They : Used to refer to people in
general as seen in a position of
authority)
(Country : nickname that implies that
Slaughter is from a rural area)
(46)
42 6AB P/47
TITLE
SCENE 196 - INT. EBBETS FIELD

BROADCAST BOOTH - DAY - LS - HIGH
ANGLE - THE FIELD. SLAUGHTER
PREPARES TO BAT.

(off) (into microphone) ...hitless in four trips. (over scene end) Slaughter's hitless in four trips. "Fireman"
Casey in his second inning of relief.
"Fireman" Casey... (Slaughter : Enos Bradsher
1517-13 Slaughter [1916-2002], a Major
League Baseball right fielder)
(Slaughter's hitless : i.e., 'Slaughter
SCENE 197 - MCS - BARBER, has not hit the ball')
BROADCASTING. (trips : implying 'trips to the plate' -
i.e., 'at bats')
BARBER (Fireman Casey : referring to Hugh
(into microphone) ...in his second inning of "Fireman" Casey, a Major League
Baseball pitcher who pitched for the
relief. Brooklyn Dodgers from 1939 to 1942,
1520-10 then 1946 to 1948)
(in his second inning of relief : i.e., 'is
pitching his second inning as relief
SCENE 198 - EXT. EBBETS FIELD - DAY - pitcher' - note that a 'relief pitcher'
FS - OVER SOME OF THE AUDIENCE TO enters the game after the starting
THE FIELD. CASEY PITCHES. pitcher is removed for various
reasons)
BARBER
(voice over) This game is just as tight as a
new pair of shoes on a rainy day. Casey ITAL This game is just as tight as a new pair of
shoes on a rainy day.
goes into his windup. (just...day : idiom used here to mean
1528-09 'incredibly close')
SCENE 199 - MS - SLAUGHTER HITS THE 6-274 1525.06 1528.03 2.13 BARBER TO GROUP) (voice over)
BALL. ITAL Casey goes into his windup.
1529-14 (windup : see Title #6-140)
(Casey pitches. Slaughter hits a
ground ball. Reese catches it and
SCENE 200 - FS - OVER SOME OF THE throws it to Jackie on first base)
AUDIENCE TO THE FIELD. SLAUGHTER
RUNS R.
1530-13
SCENE 201 - FS - REESE CATCHES THE

GROUND BALL AND THROWS IT R.FG. TO
O.S. JACKIE.

(voice over) Slaughter hits a hard ground ITAL (over scene end) Slaughter hits a hard ground ball right at
Reese, who fires it over to Jack at first.
ball right at Reese, who fires it... (ground ball : a batted ball that rolls
1534-01 or bounces on the ground)
(fires it : i.e., 'quickly throws it')
SCENE 202 - MS - JACKIE, AT FIRST BASE, (Jackie catches it. Slaughter digs his
CATCHES THE BALL AND HOLDS HIS shoe spikes high into Jackie's calf
FOOT ON THE BASE AS SLAUGHTER and Jackie falls down, in agony)
APPROACHES FROM BG.
BARBER
(voice over) ...over to Jack at first.
1535-04
(47)
42 6AB P/48
TITLE
SCENE 203 - MCS - JACKIE (FEET) AS

SLAUGHTER (FEET) DIGS HIS SHOE
SPIKES HIGH INTO JACKIE'S CALF.
JACKIE
(face off) (grunts)
1536-07
SCENE 204 - MS - JACKIE FALLS DOWN,

IN AGONY. CAMERA CRANES DOWN
WITH HIM.
JACKIE
(grunting) (cries out - continues under
following dialogue)
BARBER 6-276 1537.09 1539.06/ 1.13 BARBER) (exclaiming) (voice over)

(voice over) Oh, my! ITAL Oh, my!
(See Title #6-141)
CASEY
(overlapping) Hey!
1539-08
SCENE 205 - MCS - RACHEL, IN THE

CROWD, REACTS AND RISES. CAMERA
TILTS UP WITH HER.

(voice over) Robinson is down. Slaughter ITAL (over scene end) Robinson is down. Slaughter spiked him
high up on the leg and he is down!
spiked him high up... (spiked him : i.e., 'hit him with his
1543-09 spiked shoes')
(Jackie's teammates run over and
surround him)
SCENE 206 - FS - JACKIE, ON THE
GROUND. HIS TEAMMATES RUN OVER
AND SURROUND HIM.
JACKIE
(low) (grunts and groans - continues under
BARBER
(voice over) ...on the leg and he is down!
STANKY
(overlapping) (low and indistinct) Easy,
Jackie.
SUKEFORTH 6-278 1547.07 1551.12 4.05 SUKEFORTH TO SLAUGHTER)

(off) (overlapping) Goddamn it, Slaughter! (over scene end) Goddamn it, Slaughter! You knew what you
1549-07 were doing! You spiked my guy!
(Goddamn it : Vulgar slang
expression of extreme displeasure)
(guy : i.e., 'player')
(48)
42 6AB P/49
TITLE
SCENE 207 - MCS - RICKEY, STANDING

IN THE CROWD.

SUKEFORTH
(off) You knew what you were doing! You
spiked my guy!
6-279 1552.00 1553.13 1.13 RICKEY AS IF TO JACKIE)
RICKEY Get up, Jackie.
(low) Get up, Jackie.
EBBETS FIELD MAN #1

(low) (overlapping) Come on! Get on up!
6-280 1554.06 1557.09/ 3.03 RICKEY AS IF TO MEN)
RICKEY Get him up, boys, get him up.
(low) Get him up, boys, get him up. (Stanky, Casey, Reese and another
1557-11 player tend to Jackie, who writhes
about in pain)
SCENE 208 - MS - STANKY, CASEY,

REESE AND ANOTHER PLAYER TEND TO
JACKIE, WHO WRITHES ABOUT IN PAIN.
JACKIE
(sucks air through teeth - continues under
following dialogue)
6-281 /1557.13 1560.08/ 2.11 STANKY TO JACKIE)
STANKY Just stay off it, team doc will be right out.
Just stay off it, team doc will be right out. (to (it : i.e., 'your leg')
(doc : short for 'doctor')
Casey) Hugh... (right out : i.e., 'here momentarily')
1560-10
SCENE 209 - MCS - STANKY AND CASEY.
JACKIE
(off) (grunts and groans - continues under
following dialogue)
STANKY 6-282 /1560.12 1565.14/ 5.02 STANKY TO CASEY)

...next guy up, you hit him right in the head, Hugh, next guy up, you hit him right in the
head, all right? You clean his clock.
all right? You clean his clock. (guy up : i.e., 'Cardinals player who is
batting')
JACKIE (clean his clock : idiomatic for
(off) (overlapping) No, no, no, no, no, no, 'punish him severely' - 'hurt him
badly')
no, no, no.
1565-15
(49)
42 6AB P/50
TITLE
SCENE 210 - MCS - HIGH ANGLE -

JACKIE.
JACKIE 6-283 /1566.02 1569.15 3.13 JACKIE TO MEN, THEN REESE TO JACKIE)
No. Get me up. (pants and grunts - -No. Get me up.
-No, lay down, man. You're staying.
continues under following dialogue) (lay : colloquial for 'lie')
(You're staying : i.e., 'You need to
REESE stay where you are' - 'Remain still')
(face off) No, no, no, lay down, man. You're
staying.
CASEY
(off) (overlapping) Stay down, Jackie. Stay
down.

(overlapping) No, no. No, no. Get me up! No. Get me up!
(Stanky and the others help Jackie to
(pants and grunts - continues under his feet)
CASEY
(off) Stay, Jackie.
1572-13
SCENE 211 - MS - STANKY AND THE

OTHERS HELP JACKIE TO HIS FEET.
CAMERA CRANES UP.

STANKY 6-285 1575.11 1577.12 2.01 STANKY TO JACKIE)

(low) Get up. (in normal voice) Easy, kid. Easy, kid.
1580-07 (Easy : i.e., 'Be careful')
(kid : affectionate term of address for
a young person)
JACKIE. REESE AND CASEY LOOK ON
FROM BG.

(panting) Just get him out. (pants) Just get Just get him out.
(get him out : i.e., 'make him get an
him out. (pants) Understand? (pants - out [either through pitching or
fielding]')
continues under following scenes)
1590-06
6-287 1586.02 1588.07 2.05 JACKIE TO MEN)
Just get him out.
STANKY.
1593-13 6-288 1588.11 1590.05/ 1.10 JACKIE TO MEN)
Understand?
(50)
42 6AB P/51
TITLE

JACKIE.
JACKIE 6-289 /1593.14 1595.15 2.01 JACKIE TO MEN)

(panting) Game's too important. (pants) Game's too important.
(important : i.e., 'important to
Just get him out. (pants - continues under jeopardize it retaliating for what
happened')
following dialogue)
REESE 6-290 1599.01 1601.08 2.07 JACKIE TO MEN)

All right. Just get him out.
JACKIE
(overlapping) Go play ball. (pants - 6-291 1602.13 1604.08 1.11 JACKIE TO MEN)
Go play ball.
REESE 6-292 1604.12 1607.15 3.03 REESE TO JACKIE, THEN STANKY TO MEN)
You a tough man, Jackie. -You a tough man, Jackie.
-Let's get him out.
STANKY (In the Dodger clubhouse, Jackie is
Let's get him out. on his stomach on the trainer's table
as stitches are sewn into his leg.
CASEY Several reporters are standing
(low) Good man. nearby)
REPORTER #1 AT TRAINER'S TABLE

(voice over) Jackie, what are... 6-293 1608.07 1613.03 4.12 REPORTER #1 AT TRAINER'S TABLE
1609-08 (over scene end) TO JACKIE)
Jackie, what are saying? He spiked you on
purpose?
SCENE 215 - INT. DODGER (on purpose : i.e., 'intentionally')
CLUBHOUSE/TRAINER'S TABLE - DAY -
MS - OVER JACKIE, ON HIS STOMACH ON
THE TRAINER'S TABLE AS STITCHES ARE
SEWN INTO HIS LEG, TO SEVERAL
REPORTERS STANDING NEARBY

...saying? He spiked you on purpose?
JACKIE 6-294 1613.07 1615.14 2.07 JACKIE

(overlapping) (grunts) You saw the play. My TO REPORTER #1 AT TRAINER'S TABLE)
You saw the play.
foot was on the inside of the bag, he was
out by a mile, but he kept coming. 6-295 1616.02 1621.02/ 5.00 JACKIE
TO REPORTER #1 AT TRAINER'S TABLE)
1621-04 My foot was on the inside of the bag, he was
out by a mile, but he kept coming.
(by a mile : hyperbolic for 'by a
SCENE 216 - MS - THE REPORTERS. substantial distance' - i.e., 'without any
doubt')
REPORTER #2 AT TRAINER'S TABLE (coming : i.e., 'running toward me')
So it was on purpose?
REPORTER #3 AT TRAINER'S TABLE 6-296 /1621.06 1624.06/ 3.00 REPORTER #1 AT TRAINER'S TABLE
Slaughter said it was an accident. TO JACKIE, THEN REPORTER #3
1624-07 AT TRAINER'S TABLE TO JACKIE)
-So it was on purpose?
-Slaughter said it was an accident.
(51)
42 6AB P/52
TITLE
SCENE 217 - MCS - THE REPORTERS

(TORSOS) AND JACKIE.

(face off) Yeah.
JACKIE 6-297 1625.05 1627.11/ 2.06 JACKIE TO MEN)

What are you asking me for, then? What are you asking me for, then?
1627-14 (i.e., 'If Slaughter told you it was an
accident, why are you asking my
opinion?')
SCENE 218 - MS - THE REPORTERS.
REPORTER #3 AT TRAINER'S TABLE 6-298 /1627.15 1631.09 3.10 REPORTER #3 AT TRAINER'S TABLE
Are you calling Slaughter a liar? (over scene end) TO JACKIE, THEN REPORTER #2
1630-01 AT TRAINER'S TABLE TO JACKIE)
-Are you calling Slaughter a liar?
-Is he a liar, Jackie?
SCENE 219 - MCS - THE REPORTERS
(TORSOS) AND JACKIE.

(off) Is he a liar, Jackie?

(face off) (overlapping) (stammers -
JACKIE 6-299 1631.13 1636.00/ 4.03 JACKIE TO MEN)

Am I calling him a liar? What are you gonna Am I calling him a liar? What are you gonna
write?
write? (Rickey enters)

(off) What are you saying--?

(off) (overlapping) We're calling--
RICKEY 6-300 /1636.04 1641.11/ 5.07 RICKEY TO MEN, THEN REPORTER #1

(off) (interrupting) Get out... (over scene end) AT TRAINER'S TABLE TO RICKEY)
1636-02 -Get out of here! Get out!
-Come on, Rickey, let him finish the story!
SCENE 220 - MS - RICKEY ENTERS.
RICKEY
...of here!
1637-07
SCENE 221 - MS - THE REPORTERS

REACT.
RICKEY
(off) Get out!

(overlapping) Come on, Rickey, let him
finish the story!
RICKEY
(off) (overlapping) Go on, go on...
1641-13
(52)
42 6AB P/53
TITLE
SCENE 222 - MS - SCENE 223 - MCS -

THE REPORTERS (TORSOS) AND JACKIE.
RICKEY ENTERS L.FG., OBSCURING THE
REPORTERS. CAMERA TILTS UP, OFF
JACKIE.
RICKEY 6-301 /1641.15 1644.10 2.11 RICKEY TO MEN)

(face off) ...let me talk to my first baseman. Go on, let me talk to my first baseman.

(off) Is he a liar, Jackie? 6-302 1644.14 1648.03 3.05 REPORTER #2 AT TRAINER'S TABLE
TO JACKIE, THEN RICKEY TO MEN)
REPORTER #1 AT TRAINER'S TABLE -Is he a liar, Jackie?
(overlapping) (groans and stammers - -Go!
RICKEY
Go!

All right, all right.
RICKEY 6-303 1648.07 1651.04/ 2.13 RICKEY TO MEN)

Gettin' stitched up, for Pete's sake. Gettin' stitched up, for Pete's sake.
(Gettin' stitched up : i.e., 'Jackie is
THE REPORTERS SHUFFLE L.FG., PAST getting stitches')
RICKEY. (for Pete's sake : idiomatic
1651-06 expression used here as an
intensive)
SCENE 224 - MS - THE REPORTERS

SHUFFLE BG. THOUGH THE DOOR.
REPORTER #2 AT TRAINER'S TABLE 6-304 /1651.08 1653.11/ 2.03 REPORTER #2 AT TRAINER'S TABLE
Just trying to do our job, Rickey. TO RICKEY)
1653-12 Just trying to do our job, Rickey.
SCENE 225 - MCS - RICKEY TURNS BG.

TOWARD O.S. JACKIE.
1657-13
SCENE 226 - MCS - RICKEY STEPS R.FG.

CAMERA TILTS DOWN, FACE OFF, AND
PANS R. ON JACKIE (LEGS) AND THE
TRAINER, WHO HAS FINISHED
STITCHING THE WOUND.
RICKEY 6-305 1665.05 1669.02/ 3.13 RICKEY TO BABE, THEN BABE TO RICKEY)
(face off) Looks good, Babe. -Looks good, Babe.
-Thank you, sir.
BABE
(face off) Thank you, sir.
1669-05
(53)
42 6AB P/54
TITLE
SCENE 227 - MS - PAST RICKEY AND

OVER JACKIE TO THE TRAINER. RICKEY
WALKS L.FG. CAMERA PANS WITH HIM AS
HE CLOSES THE DOOR.

Sticking up for himself is something you'd Sticking up for himself is something you'd
expect of any man.
expect of any man. (scoffs) Some find it (Sticking up for : i.e., 'Defending')
galling...
1683-02 6-307 1680.12 1685.11 4.15 RICKEY TO JACKIE)
(over scene end) Some find it galling in a Negro.
(galling : i.e., 'irritating' -
SCENE 228 - MCS - JACKIE. THE TRAINER 'presumptuous')
LEAVES IN BG. (Babe leaves)
RICKEY
(off) ...in a Negro.
1686-03

1688-11
SCENE 230 - MS - JACKIE ROLLS ONTO

HIS BACK.
1691-03
JACKIE
(off) (exhales sharply)
1701-01
SCENE 232 - MS - RICKEY SITS NEAR

JACKIE.

You know what I saw this morning? I was You know what I saw this morning?
passing a sandlot, little white boy was up at

6-309 1709.08 1715.10 6.02 RICKEY TO JACKIE)
bat. (chuckles) You know what he was I was passing a sandlot, little white boy was
up at bat.
doing? (sandlot : a vacant lot used by
children for playing games, especially
JACKIE baseball)
Sittin' on a fastball?

He was... You know what he was doing?
1726-15
6-311 1724.04 1726.13/ 2.09 JACKIE TO RICKEY)

SCENE 233 - MCS - RICKEY. Sittin' on a fastball?
(i.e., 'Not swinging his bat when he
RICKEY was thrown a fastball?')
...pretending he was you.
1729-09
6-312 /1727.01 1729.08/ 2.07 RICKEY TO JACKIE)
He was pretending he was you.
(54)
42 6AB P/55
TITLE

(off) Rubbing dirt on his hands. Swinging Rubbing dirt on his hands.
with his arms outstretched, like you...

1739-09 6-314 1734.06 1741.01 6.11 RICKEY TO JACKIE)
(over scene end) Swinging with his arms outstretched, like
you do.

...do. Little white boy...pretending he is a Little white boy pretending he is a black
man.
black man.
1749-10

(exhales sharply) Why'd you do this, Mr. Why'd you do this, Mr. Rickey?
(do this : i.e., 'sign a black man to a
Rickey? Major League team' - 'decide to
1760-15 integrate baseball')
SCENE 237 - MS - RICKEY AND JACKIE.
RICKEY
(smacks lips) (grunts) (low groan)
RICKEY RISES AND STEPS L.FG.

1781-04

We had a victory over fascism in Germany. We had a victory over fascism in Germany.
1786-00 (We : i.e., 'By winning World War II,
America and her allies')
SCENE 239 - MS - PAST RICKEY (TORSO)

TO JACKIE, WHO SITS UP.

(face off) It's time-time we had a victory over It's time we had a victory over racism at
home.
racism (on) at home.

No. Why? Why'd (emphasizing) you (in No.
normal voice) do it?

1801-03 6-320 1794.11 1796.12 2.01 JACKIE TO RICKEY)
Why?

RICKEY. 6-321 1799.06 1801.02/ 1.12 JACKIE TO RICKEY)
Why'd you do it?
RICKEY (Implying that he wants to know
(very low) (stammers) Rickey's personal motivation for
1806-00 wanting to fight against racism)
(55)
42 6AB P/56
TITLE

Come on. Tell me. Come on.
1812-03
6-323 1810.12 1812.02/ 1.06 JACKIE TO RICKEY)

SCENE 242 - MCS - RICKEY STEPS L. Tell me.
AND SITS. CAMERA PANS WITH HIM.

I love this game. I love baseball. Given my I love this game.
whole life to it. Forty-odd years ago, I was a

6-325 1821.13 1824.10 2.13 RICKEY TO JACKIE)
player-coach at Ohio Wesleyan University. I love baseball.
We had a Negro catcher. Best hitter on the

6-326 1827.07 1830.07 3.00 RICKEY TO JACKIE)
team. Charlie Thomas. Fine young man. I Given my whole life to it.
(Given : i.e., 'I have committed')
saw him laid low...broken, because of the
color of his skin. And I didn't do enough to 6-327 1834.11 1842.04 7.09 RICKEY TO JACKIE)
Forty-odd years ago, I was a player-coach at
help. Told myself I did, but I didn't. Ohio Wesleyan University.
(Forty-odd : i.e., 'Over forty')
(player-coach : a member of a sports
team who simultaneously holds both
playing and coaching duties)
(Ohio Wesleyan : a private liberal
arts college in Delaware, Ohio)
6-328 1843.03 1849.05 6.02 RICKEY TO JACKIE)

We had a Negro catcher. Best hitter on the
team.
6-329 1850.05 1854.14 4.09 RICKEY TO JACKIE)

Charlie Thomas. Fine young man.
6-330 1855.11 1862.15 7.04 RICKEY TO JACKIE)

I saw him laid low, broken, because of the
color of his skin.
(laid low : idiomatic for 'suffering')
(broken : i.e., 'whose spirit was
irretrievably damaged [from the unjust
treatment he received]')
6-331 1863.03 1866.03 3.00 RICKEY TO JACKIE)

And I didn't do enough to help.
(help : i.e., 'try to rectify the situation')
6-332 1866.07 1870.00 3.09 RICKEY TO JACKIE)

Told myself I did, but I didn't.
(Told myself : i.e., 'I convinced
myself')
(56)
42 6AB P/57
TITLE

There was something unfair at the heart of There was something unfair at the heart of
the game I loved.
the game I loved. And I ignored it. (i.e., 'In essential ways, baseball was
1882-01 corrupted by racism.')
SCENE 243 - MCS - JACKIE. 6-334 1879.14 1882.00/ 2.02 RICKEY TO JACKIE)
1886-00 And I ignored it.

(low grunts) But a time came when I could But a time came...
no longer do that. (in wavering voice) (clicks

6-336 1892.15 1896.06 3.07 RICKEY TO JACKIE)
tongue) You-- (cries softly) You let me love ...when I could no longer do that.
(do that : i.e., 'ignore it')
baseball again.
1913-07
6-337 1907.14 1911.12 3.14 RICKEY TO JACKIE)
You let me love baseball again.
SCENE 245 - MCS - JACKIE
RICKEY
(off) (cries softly - continues under following
scene)
1917-11

(smacks lips) Thank you. (clears throat - Thank you.
(The outside of the Robinson
continues under following scene) apartment is shown)
1924-13

1932-10
SCENE 248 - EXT. BROOKLYN

APARTMENT - DAY - FS - HIGH ANGLE -
THE STREET OUTSIDE THE ROBINSON
APARTMENT. SOME CHILDREN ARE
PLAYING.
PEOPLE OUTSIDE APARTMENT

dialogue)
(57)
42 6AB P/58
TITLE
JACKIE 6-339 1933.06 1937.08 4.02 JACKIE TO RACHEL) (voice over)

(voice over) Last long road trip of the year. ITAL Last long road trip of the year.
And two long faces, huh?

6-340 1939.05 1943.00 3.11 JACKIE TO RACHEL) (voice over)
YOUNG GIRL OUTSIDE APARTMENT ITAL And two long faces, huh?
I'm so excited. (low and indistinct chatter (long faces : idiomatic for 'sad faces'
- implying that he and Rachel will
to:) The player, they knew he was gonna miss each other - note play on 'long
road trip')
score.
1944-00

(58)
42 7AB P/1
TITLE

IN ACADEMY LEADER.
11-15 17.10 = 1ST SCENE END
SCENE 1 - INT. 526 MACDONOUGH

STREET/BEDROOM - DAY - MCS - JACKIE,
PACKING HIS O.S. SUITCASE.
JACKIE
(exhales sharply through nose)
17-10
SCENE 2 - MCS - RACHEL, PICKING UP A

CAP OFF THE DRESSER AND CARRIES IT
R. AS CAMERA PANS WITH HER TO
INCLUDE JACKIE IN R.FG. RACHEL PUTS
THE CAP ON.
JACKIE
(grunts softly)

Try not to lunge at the plate. Try not to lunge at the plate.
37-06 (lunge at the plate : to move the
upper body, especially the head,
overeagerly toward home plate when
SCENE 3 - MCS - PAST RACHEL TO anticipating the pitch - i.e., 'cover the
JACKIE. outside part of the plate with your bat
so much')
JACKIE (Jackie packs for a series of out-of-
You serious? town games as Rachel looks on. She
42-07 tries on his baseball cap)
SCENE 4 - MCS - PAST JACKIE TO 7-2 40.04 42.05/ 2.01 JACKIE TO RACHEL)
RACHEL. You serious?
RACHEL
That's why they're throwin' the fastballs 7-3 /42.11 46.14 4.03 RACHEL TO JACKIE)
That's why they're throwin' the fastballs
inside. Fight those inside fastballs off... inside.
(fastball : see Title #4-135)
(inside : of a pitched ball, passing
between home plate and the batter)
(Implying that because of Jackie's
tendency to try to cover the outside
part of the plate, he is unable to get a
hit when the pitch comes in fast and
inside [or is in danger of getting hit by
the pitch])
7-4 48.13 52.03 3.06 RACHEL TO JACKIE)

Fight those inside fastballs off...
(i.e., 'If you can learn to ward off those
inside fastballs by either fouling them
off or hitting them outright...')
(1)
42 7AB P/2
TITLE
RACHEL (cont'd) 7-5 52.07 58.10/ 6.03 RACHEL TO JACKIE)

...sooner or later they won't be able to help ...sooner or later they won't be able to help
but throw a curve.
but throw a curve. (sooner or later : idiomatic for
'eventually')
RACHEL WRAPS HER ARMS AROUND (won't...but : i.e., 'will have to' - 'will be
JACKIE, PLACING THE HAT UPON HIS forced to')
HEAD. (curve : i.e., 'curveball,' a type of pitch
58-14 in baseball thrown with a
characteristic grip and hand
movement that imparts forward spin
SCENE 5 - MCS - PAST RACHEL TO to the ball causing it to dive in a
JACKIE. downward path as it approaches the
plate)
JACKIE
And what'll happen then...
62-08 7-6 60.11 64.03 3.08 JACKIE TO RACHEL)
(over scene end) And what'll happen then, coach?
(coach : Jackie's wry nickname for
SCENE 6 - MCS - PAST JACKIE TO Rachel, since she's giving him
RACHEL. playing advice)
(Rachel imitates the sounds of a ball
JACKIE being hit and a cheering crowd)
...coach?
RACHEL
(makes sound of baseball being hit)
(makes sound of crowd cheering -
JACKIE
scene and dialogue)

73-03
SCENE 7 - MCS - PAST RACHEL TO

JACKIE.
RACHEL
dialogue)

(chuckling) Is that right? Is that right?
(i.e., 'Is that what's going to happen?' -
RACHEL In response to Rachel's implication
Mm-hm. (chuckles) that Jackie will get impressive hits,
base runs and home runs)
JACKIE
Well, you know, if we win enough of these
7-8 79.00 84.04 5.04 JACKIE TO RACHEL)
next games... Well, you know, if we win enough of these
next games...
(2)
42 7AB P/3
TITLE
JACKIE (cont'd) 7-9 85.00 87.08/ 2.08 JACKIE TO RACHEL)

(smacks lips) ...we bring home the ...we bring home the pennant.
(bring home : note double meaning -
pennant. [1] i.e., 'return home with' and [2] i.e.,
87-10 'win')
(pennant : i.e., 'the National League
Pennant' - given to the team with the
SCENE 8 - MCS - PAST JACKIE TO best performance in the league, and
RACHEL. that they will advance to the World
Series - see also Title #4-126)
RACHEL
You bring yourself home.
7-10 89.09 92.06 2.13 RACHEL TO JACKIE)
JACKIE SITS DOWN ON THE BED AS You bring yourself home.
CAMERA DOLLIES BACK. (i.e., 'All that matters to me is that you
return home.' - Note play on 'bring
JACKIE home the pennant')
(exhales sharply - continues under
following dialogue)

That'll be plenty. That'll be plenty.
(plenty : i.e., 'more than enough to
JACKIE satisfy me' - 'more than enough to
(grunting) (moans - continues under make me happy')

96-07
SCENE 9 - MCS - RACHEL AND JACKIE,

KISSING HER BREASTS.
RACHEL
(moans - continues under following
dialogue)

(kisses) You're in my heart. (exhales You're in my heart.
(See Title #3-117)
sharply through nose) (Smith types in his room)
105-01
SCENE 10 - INT. ROOM - DAY - MS -

SMITH, SEATED AT HIS DESK, TYPING ON
HIS TYPEWRITER.
SMITH 7-13 105.13 110.14/ 5.01 SMITH TO GROUP) (voice over)

(voice over) Since the fourth of July, the ITAL Since the 4th of July, the Brooklyn Dodgers
have gone on a hot streak...
Brooklyn Dodgers have gone on a hot (gone on a hot streak : see Title #6-
242)
streak...
110-15
(3)
42 7AB P/4
TITLE
SCENE 11 - EXT. MACDONOUGH STREET

- DAY - FS - JACKIE, CARRYING HIS
LUGGAGE OUTSIDE HIS BUILDING.
SMITH 7-14 /111.02 114.01 2.15 SMITH TO GROUP) (voice over)

(voice over) ...holding off all challengers. ITAL ...holding off all challengers.
(holding off : i.e., 'defeating' - 'foiling
During that time and during this season, I the attempts against them by')
have watched Jackie Robinson submerge

7-15 115.07 118.03 2.12 SMITH TO GROUP) (voice over)
himself to serve something greater. ITAL During that time and during this season…
125-02
7-16 118.07 125.00/ 6.09 SMITH TO GROUP) (voice over)

SCENE 12 - EXT. SPORTSMAN PARK/ST. ITAL …I have watched Jackie Robinson
LOUIS - DAY - FS - PAST A CARDINALS submerge himself to serve something
BATTER TO CASEY, PITCHING A greater.
BASEBALL FG. (submerge himself : i.e., 'control his
temper and impulsive reactions')
PEOPLE AT SPORTSMAN PARK (something greater : i.e., 'a greater
(overlapping cheers, low and indistinct cause' - 'a more meaningful goal')
(In St. Louis, the Dodgers play against
chatter - continues under following scenes the St. Louis Cardinals)
and dialogue)
SMITH
(voice over) And...
127-07
SCENE 13 - FS - PAST THE CATCHER

AND BATTER TO CASEY, AS THE BATTER
HITS THE BALL.

(voice over) ...I don't mean the Brooklyn ITAL (over scene end) And I don't mean the Brooklyn Dodgers,
though he's doin' that too.
Dodgers... (the Brooklyn Dodgers : i.e., 'merely
129-08 serving as a reliable player on the
Brooklyn Dodgers')
SCENE 14 - LS - LOW ANGLE - THE SKY.
SMITH
(voice over) ...though he's doin' that too.
133-09
SCENE 15 - FS - SLOW MOTION - JACKIE,

RUNNING FG.

(voice over) The man flat-out has guts. A... ITAL The man flat-out has guts.
138-07 (flat-out : bluntly - in a direct manner)
(guts : idiomatic for 'courage')
(4)
42 7AB P/5
TITLE
SCENE 16 - LS - PAST THE CROWD TO

THE PLAYERS ON THE FIELD, AS THE
CROWD RISES TO THEIR FEET.

(voice over) ...stand-up force of nature, he's ITAL (over scene end) A stand-up force of nature, he's complicated
everything but himself.
complicated everything... (stand-up : note double meaning - [1]
141-14 i.e., 'physically standing' - 'literally
standing, physical' and [2] idiomatic
for 'honorable' - 'trustworthy' - note
SCENE 17 - MFS - THE CARDINALS allusion to Jackie 'standing up'
PLAYERS IN THE DUGOUT, RISING TO [fearlessly confronting] societal norms
THEIR FEET AS CAMERA PANS L. and segregated civil liberties)
(force of nature : i.e., 'natural, forceful
SMITH entity affecting humanity on a grand
(voice over) ...but himself. He's changing scale' - note that 'force of nature'
literally refers to natural phenomena,
the world... such as earthquakes or
145-10 thunderstorms)
(complicated everything but himself :
i.e., 'forced others to consider the
SCENE 18 - FS - JACKIE, RUNNING FG. issue of race in a more complex,
AS CAMERA DOLLIES BACK WITH HIM. nuanced way than before, without
compromising his own racial identity
SMITH or role in the resulting controversy')
(voice over) ...and refusing to let it change
him. 7-20 143.14 148.14/ 5.00 SMITH TO GROUP) (voice over)

149-00 ITAL (over scene end) He's changing the world and refusing to let it
change him.
SCENE 19 - MCS - JACKIE (LEGS),

RUNNING BG. 7-21 /151.04 154.02 2.14 SMITH TO GROUP) (voice over)
ITAL (over scene end) But baseball isn't tennis.
SMITH (tennis : i.e., 'an individual sport like
(voice over) But... tennis')
151-02
SCENE 20 - MFS - JACKIE, RUNNING BG.
SMITH
(voice over) ...baseball isn't tennis.
153-04
SCENE 21 - FS - THE DODGERS

DUGOUT, AS CAMERA DOLLIES IN.
SMITH 7-22 154.07 157.01 2.10 SMITH TO GROUP) (voice over)

(voice over) It... ITAL (over scene end) It takes a team.
155-04 (i.e., 'It requires a team.' - Implying the
other Brooklyn Dodgers also deserve
credit for forwarding the cause of
SCENE 22 - FS - JACKIE, RUNNING FG. integration and civil rights by
AS CAMERA TILTS UP WITH HIM. accepting Jackie as their teammate)
SMITH
(voice over) ...takes a team.
157-12
(5)
42 7AB P/6
TITLE
SCENE 23 - MFS - BRANCA, RISING AS

CAMERA DOLLIES IN AND JACKIE
(TORSO) ENTERS L.FG.

(voice over) Joining together... ITAL (over scene end) Joining together was a start.
159-13 (a start : i.e., 'an important initial
step')
(Jackie leaps up, reaching over the
SCENE 24 - MCS - JACKIE, REACHING FG. roof of the Dodgers dugout to make a
OVER THE DUGOUT AS CAMERA TILTS spectacular catch. Branca saves him
DOWN TO HIS GLOVE. HE CATCHES THE from falling into the dugout as both
BALL. men fall onto the field)
SMITH
(voice over) ...was a start.
162-01
SCENE 25 - MFS - JACKIE (TORSO) AND

BRANCA, EMBRACING HIM.

(voice over) Staying... ITAL (over scene end) Staying together, a big step forward.
163-06 (Staying together : i.e., 'Remaining
united and displaying cooperation
amongst themselves)
SCENE 26 - MCS - LOW ANGLE - JACKIE, (a big step forward : i.e., 'an
FALLING BG. TO THE GROUND AS important advance')
CAMERA TILTS DOWN WITH HIM TO
INCLUDE BRANCA, LYING ATOP HIM, AND
BRAGAN.

(voice over) ...together, a big step forward. ITAL But working together is how you win.
(you win : note double implication -
But working together is how you win. [1] implying 'a baseball team wins
games' and [2] implying 'lasting
SLOW MOTION SEQUENCE ENDS. societal change is achieved')
169-01
SCENE 27 - MFS - ST. LOUIS UMPIRE,

RAISING HIS ARM AS A DODGERS
PLAYER RACES FG. PAST HIM.
ST. LOUIS UMPIRE 7-26 /169.03 170.04/ 1.01 ST. LOUIS UMPIRE
Out! TO CARDINALS PLAYER)
170-04 Out!
(See Title #4-139)
SCENE 28 - MFS - THE CARDINALS,

REACTING IN THE DUGOUT.
CARDINAL #1
(grunts) (mutters indistinctly - continues
MALE FAN
(off) Jackie!
172-11
(6)
42 7AB P/7
TITLE
SCENE 29 - MCS - HIGH ANGLE -

BRANCA, JACKIE AND BRAGAN.
BRAGAN 7-27 /172.13 176.08 3.11 BRAGAN TO JACKIE)

Jackie, you son of a gun, I could kiss ya! Jackie, you son of a gun, I could kiss ya!
(you son of a gun : idiomatic
BRANCA expression of praise and amazement)
Nice catch. (grunts) (I could kiss ya : Implying Bragan is
delighted by Jackie's catch)
JACKIE
(overlapping) (pants) Yours or mine?
181-03 7-28 177.00 178.11 1.11 BRANCA TO JACKIE)
Nice catch.
SCENE 30 - EXT. SPORTSMAN

PARK/DODGERS DUGOUT - DAY - MCS - 7-29 178.15 181.01/ 2.02 JACKIE TO BRANCA)
SEVERAL CHILDREN (ARMS), REACHING Yours or mine?
DOWN FROM THE STANDS FOR (i.e., 'You catching me from falling or
AUTOGRAPHS. me catching the ball?' - Note humor)
(Several children lean over the dugout
YOUNG FANS roof to get Jackie's autograph)
(face off) (overlapping exclamations of
"Jackie!", low and indistinct chatter) (on)
(overlapping exclamations of "Jackie!", low
and indistinct chatter - continues under
following dialogue)
CAMERA DOLLIES BACK TO INCLUDE

JACKIE, SIGNING AUTOGRAPHS.
SMITH 7-30 182.00 185.15 3.15 SMITH TO GROUP) (voice over)

(voice over) Down the stretch on the last ITAL Down the stretch on the last long road trip of
the year…
long road trip of the year, Jackie Robinson (Down the stretch : A term used in
baseball for when a team is
and the Brooklyn Dodgers are doing exactly approaching the end of the season in
pursuit of the pennant or
that. championship)
192-04
7-31 186.03 191.03 5.00 SMITH TO GROUP) (voice over)

SCENE 31 - INT. ROOM - DAY - MCS - ITAL …Jackie Robinson and the Brooklyn
SMITH. Dodgers are doing exactly that.
(doing exactly that : i.e., 'working
SMITH together and winning games')
(voice over) They're holding off the (Smith types in his room)
Cardinals and streaking towards the

7-32 /192.06 197.06 5.00 SMITH TO GROUP) (voice over)
pennant. ITAL They're holding off the Cardinals and
200-07 streaking towards the pennant.
(holding off : see Title #7-14)
(streaking towards the pennant : i.e.,
'rapidly advancing toward winning the
pennant' - for 'pennant,' see Title
#4-126 and Title #7-9)
(At a payphone in Cincinnati, Parrott
calls Rickey, who is in his office in
Brooklyn)
(7)
42 7AB P/8
TITLE
SCENE 32 - INT. CROSLEY FIELD

CONCOURSE - DAY - MCS - PARROTT,
STANDING AT A PAYPHONE.
PEOPLE IN CONCOURSE
dialogue)
PARROTT 7-33 201.08 205.04 3.12 PARROTT INTO PHONE TO RICKEY)

(into telephone) (in wavering voice) Boss, we did it.
(panting) Boss, (pants) we did it. (pants)

7-34 205.08 208.13 3.05 PARROTT INTO PHONE TO RICKEY)
We did it, we swept Cincinnati! (pants) We did it, we swept Cincinnati!
(swept : won all the games in a
Yeah. (inhales sharply) series between two teams)
(Cincinnati : i.e., 'all the games we
RICKEY played against the Cincinnati
(over telephone) (overlapping) Great, great, Cardinals')
Harold.
211-03 7-35 209.01 211.01/ 2.00 RICKEY OVER PHONE TO PARROTT)
ITAL Great, great, Harold.

OFFICE - DAY - MS - PAST RICKEY TO A
CHALKBOARD, UPON WHICH TEXT IS
WRITTEN:
Brooklyn
St. Louis
Boston
New York
Cincinnati
Chicago
Pittsburgh
Philadelphia
CAMERA SLOWLY DOLLIES IN ON
RICKEY.
RICKEY 7-36 /211.08 214.03 2.11 RICKEY INTO PHONE TO PARROTT)

(into telephone) One more win could do it. One more win could do it.
(do it : i.e., 'win us the pennant')
Who's pitchin' tomorrow for the Pirates?
217-08
7-37 214.07 217.07/ 3.00 RICKEY INTO PHONE TO PARROTT)
Who's pitchin' tomorrow for the Pirates?
SCENE 34 - INT. CROSLEY FIELD
CONCOURSE - DAY - MCS - PARROTT, AS
CAMERA SLOWLY DOLLIES IN.
PARROTT 7-38 219.04 221.11 2.07 PARROTT INTO PHONE TO RICKEY)

(into telephone) (inhales sharply) Ostermueller.
(At Forbes Field in Pittsburgh, Jackie
Ostermueller. steps up to bat as the Dodgers play
222-12 against the Pittsburgh Pirates)
(8)
42 7AB P/9
TITLE
SCENE 35 - EXT. FORBES FIELD - DAY -

MCS - LOW ANGLE - OSTERMUELLER,
STANDING AT THE PITCHER'S MOUND.
PEOPLE AT FORBES FIELD

(off) (overlapping cheers, low and indistinct
chatter - continues under following scenes
and dialogue)

(voice over) Fritz Ostermueller on the ITAL Fritz Ostermueller on the mound. He's 12-8
on the season.
mound. He's twelve and eight on the... (on the mound : i.e., 'on the pitcher's
230-03 mound' - 'is the current pitcher')
(He's 12-8 on the season : i.e., 'He
has pitched 12 winning games and 8
SCENE 36 - CS - OSTERMUELLER (WAIST losing games this season')
AND HAND), CLUTCHING THE BASEBALL.
BARBER LABORATORY: IF PRINT IS TEXTLESS, TITLE #7-40 AND TITLE #7-41 ARE
(voice over) ...season. TO APPEAR IN THE NORMAL SUBTITLE POSITION. IF PRINT IS TEXTED,
THESE TITLES ARE TO APPEAR AS LOW AS POSSIBLE IN THE FRAME TO
TITLE FADES IN: (over above bg.) AVOID DOUBLE-PRINTING. PLEASE CHECK PRINT FOR PROPER
POSITIONING.
PITTSBURGH - SEPTEMBER 17, 1947
BARBER 7-40 231.00 233.01 2.01 NARRATIVE TITLE)

(voice over) A big game today in Pittsburgh.
PITTSBURGH - SEPTEMBER 17, 1947
TITLE FADES OUT.
CAMERA PANS R. TO JACKIE, STEPPING 7-41 233.05 235.07 2.02 BARBER TO GROUP) (voice over)
ONTO HOME PLATE WITH HIS BAT ITAL A big game today in Pittsburgh.
RAISED. (A big : i.e., 'An important')
BARBER (cont'd)
(voice over) A win and the Dodgers will 7-42 235.11 240.04 4.09 BARBER TO GROUP) (voice over)
ITAL A win and the Dodgers will have clinched the
have clinched the National League National League pennant…
(A win and : i.e., 'If the Dodgers
pennant, Yankees having already defeat the Pirates')
(clinched : settled the outcome of
clinched... something that was uncertain in a
positive way - i.e., 'decisively won')
JACKIE BENDS DOWN AND RUBS DIRT
ON HIS HANDS AS CAMERA TILTS DOWN
WITH HIM. 7-43 240.08 244.06 3.14 BARBER TO GROUP) (voice over)
241-07 ITAL (over scene end) …Yankees having already clinched in the
American League.
(American League : one of two
SCENE 37 - MCS - OSTERMUELLER, leagues that make up Major League
LEANING AS CAMERA TILTS DOWN WITH Baseball in the United States and
HIM. Canada)
BARBER
(voice over) ...in the American League.
DODGERS PLAYER #1
(off) (overlapping) Nice and relaxed, nice
and relaxed, now.
(9)
42 7AB P/10
TITLE

(voice over) There's bad blood... ITAL (over scene end) There's bad blood here, as Ostermueller
245-10 beaned Robinson in the head earlier in the
season…
(bad blood : enmity or bitterness
SCENE 38 - MFS - THE CATCHER, THE among individuals or groups of
UMPIRE AND JACKIE, STANDING UP AS people)
CAMERA TILTS UP WITH HIM. (beaned : thrown a pitch intentionally
to hit the batter if he does not move
BARBER out of the way, especially when
(voice over) ...here, as Ostermueller directed at the head - note that 'bean'
is slang for 'head')
beaned Robinson in the head earlier in the
season...
JACKIE STEPS L. TO THE PLATE AS

252-00
SCENE 39 - MCS - JACKIE (FEET),

SMOOTHING THE DIRT BESIDE THE
PLATE.

(voice over) ...prompting quite a rhubarb at ITAL …prompting quite a rhubarb at the time.
(rhubarb : quarrel, fight or heated
the time. discussion - note that this was one of
Barber's catchphrases)
PIRATES PLAYER #1
(off) Strike this boy out, now.
PIRATES PLAYER #2
(off) Stick it in his...
258-06

THE BAT.
PIRATES PLAYER #2
(off) ...ear, Fritzie!

(voice over) (overlapping) Two teams have ITAL Two teams have gone their separate ways
since…
gone their separate ways since, with (gone their separate ways : i.e., 'not
played against each other')
Ostermueller now all that's left...
264-02
ITAL (over scene end) …with Ostermueller now all that's left
SCENE 41 - MCS - OSTERMUELLER, AS standing in the Dodgers' way…
CAMERA DOLLIES L. AROUND HIM. (standing in the Dodgers' way : i.e.,
'to overcome')
BARBER
(voice over) ...standing in the Dodgers' way
as they chase the pennant that eluded... ITAL (over scene end) …as they chase the pennant that eluded
268-00 them last year.
(chase : i.e., 'pursue winning')
(Bragan and the other Dodgers look
on from the dugout)
(10)
42 7AB P/11
TITLE
SCENE 42 - MS - PAST SHOTTON TO

BRAGAN AND OTHER DODGERS IN THE
DUGOUT.
BARBER
(voice over) ...them last year.
BRAGAN 7-49 270.00 272.09 2.09 BRAGAN TO JACKIE)

Come on, Jackie, let's... (over scene end) Come on, Jackie, let's go!
encouragement)
(let's go : idiomatic expression of
SCENE 43 - MCS - JACKIE, SWINGING encouragement)
THE BAT.
BRAGAN
(off) ...go!
DODGERS PLAYER #1
(off) Here you go, here you go, look alive!
DODGERS PLAYER #2
(off) (overlapping) Reach back and put a
charge into one, Jack!

275-06
DODGERS PLAYER #2
(off) What do you say, yeah?!
277-07
SCENE 45 - FS - OSTERMUELLER,
PITCHING FG.

(voice over) Here comes the pitch. ITAL Here comes the pitch.
280-12
SCENE 46 - MCS - PAST JACKIE TO THE

CATCHER AND UMPIRE. JACKIE DOES
NOT SWING AT THE BALL.

(voice over) And Robinson takes outside. ITAL (over scene end) And Robinson takes outside. Ball one.
(takes : i.e., 'considers the pitch' -
BALL ONE UMPIRE 'withholds from swinging, assessing
(overlapping) Ball one! the pitch as')
283-14 (outside : of a baseball pitch, on the
far side of home plate from the batter)
(Higbe looks on from the Pirates
SCENE 47 - MCS - PAST HIGBE TO THE dugout)
PIRATES IN THE DUGOUT.
BARBER
(voice over) Ball one.
HIGBE 7-52 285.00 287.00/ 2.00 HIGBE TO OSTERMUELLER)

Come on, Fritz, let's get this boy! Come on, Fritz, let's get this boy!
287-01 (get this boy : i.e., 'defeat this boy' -
'strike this player out')
(Ostermueller glares at Jackie)
(11)
42 7AB P/12
TITLE
SCENE 48 - MS - OSTERMUELLER,
POINTING AS CAMERA DOLLIES IN.
OSTERMUELLER 7-53 287.09 290.01 2.08 OSTERMUELLER TO JACKIE)

You don't belong here. And you never will. You don't belong here.
292-10 (i.e., 'You don't belong on a
professional baseball team.' -
Implying, 'Black players should not be
SCENE 49 - MCS - JACKIE, SWINGING allowed on professional baseball
THE BAT. teams')
BARBER
(voice over) Robinson crowding the plate. 7-54 290.06 292.08/ 2.02 OSTERMUELLER TO JACKIE)
And you never will.
Jack hasn't backed down to a pitcher all
season. 7-55 /292.12 295.06 2.10 BARBER TO GROUP) (voice over)

ITAL Robinson crowding the plate.
DODGERS PLAYER #1 (crowding the plate : when a batter
(off) (overlapping) All right, now! sets his stance extremely close to the
plate, sometimes covering up part of
DODGERS PLAYER #2 the strike zone. This angers pitchers
(off) (overlapping) There you go, Jackie! and, if done repeatedly, can lead to a
brush-back pitch [a pitch that forces
Way to be... the batter to move away from the
300-14 plate] or even a ball being thrown at
the batter's head to clear the plate)
SCENE 50 - MCS - PAST STANKY TO THE

OTHER DODGERS. 7-56 295.10 299.01 3.07 BARBER TO GROUP) (voice over)
ITAL Jack hasn't backed down to a pitcher all
DODGERS PLAYER #2 season.
(off) ...up there! (backed down to : i.e., 'been
intimidated by')
STANKY
You got nothin' for him, Ostermueller! But
7-57 299.05 300.13/ 1.08 DODGERS PLAYER #2 TO JACKIE)
he's got somethin' for you! There you go, Jackie!
(There you go : Idiomatic expression
DODGERS PLAYER #3 of approval and encouragement)
(off) (overlapping) Here we go...
307-08
7-58 301.08 307.06/ 5.14 STANKY TO OSTERMUELLER)
You got nothin' for him, Ostermueller! But
SCENE 51 - MCS - OSTERMUELLER, he's got somethin' for you!
PITCHING. (got : colloquial for 'have')
(You got nothin' for him : i.e., 'You
DODGERS PLAYER #3 don't have a pitch or tactic that Jackie
(off) ...Jack! can't handle')
(somethin' for you : i.e., 'a hit you
PIRATES PLAYER #4 won't be able to stop from occurring')
(off) Get the out!
BARBER 7-59 310.15 314.00 3.01 BARBER OVER SPEAKER TO GROUP)

(voice over) (over speaker) Ostermueller ITAL (over scene end) Ostermueller winds and throws.
(winds : i.e., 'winds up' - see
winds and... annotation for 'windup' in Title #6-140)
(At Ebbets field, Rickey stands alone,
OSTERMUELLER listening to the game on the radio,
(overlapping) (grunts) broadcast over the field's public
312-12 address system)
(12)
42 7AB P/13
TITLE

MCS - LOW ANGLE - A SPEAKER, AS
CAMERA DOLLIES BG. AND CRANES
DOWN TO REVEAL RICKEY IN A LS.,
STANDING IN THE EMPTY STADIUM.
PEOPLE AT FORBES FIELD

(over speaker) (overlapping cheers, low
and indistinct chatter - continues under

(over speaker) ...throws, low and away, ball ITAL (over scene end) Low and away, ball two.
(away : a pitch outside the strike
two. (echoing) Fritz seems to be pitching zone, on the opposite side of the plate
as the batter)
around Jackie, or as they say in the trade,
trying to get him to chase. Robinson's 7-61 317.05 320.05 3.00 BARBER OVER SPEAKER TO GROUP)
ITAL Fritz seems to be pitching around Jackie...
having a fine rookie standard... (pitching around Jackie : i.e.,
328-05 'pitching away from Jackie' - 'pitching
evasively')
SCENE 53 - MCS - RICKEY, AS CAMERA

DOLLIES IN. 7-62 320.09 324.15 4.06 BARBER OVER SPEAKER TO GROUP)
ITAL ...or as they say in the trade, trying to get him
BARBER to chase.
(over speaker) (echoing) ...batting three-oh- (as...trade : i.e., 'as professional
baseball players and sportswriters
one with thirty-one doubles and ten home refer to it')
(chase : swing at a pitch well outside
runs. He has stolen... of the strike zone)
334-05
7-63 325.04 328.04/ 3.00 BARBER OVER SPEAKER TO GROUP)

SCENE 54 - EXT. FORBES FIELD - DAY - ITAL Robinson's having a fine rookie standard...
MCS - OSTERMUELLER, THROWING A (rookie : see annotation for 'rook' in
PITCH. Title #2-155)
(standard : implying, 'season')
BARBER
(voice over) ...twenty-seven bases this
7-64 /328.08 333.01 4.09 BARBER OVER SPEAKER TO GROUP)
season and... ITAL ...batting .301 with 31 doubles and 10 home
runs.
PIRATES PLAYER #5 (batting : i.e., 'with a batting average
(off) (overlapping) Here we go! of' - note that a batting average is
defined as the number of hits divided
BARBER by at bats - see Title #1-114)
(voice over) ...has yet to be thrown out
attempting. 7-65 333.05 338.13/ 5.08 BARBER OVER SPEAKER TO GROUP)

ITAL (over scene end) He has stolen 27 bases this season and
OSTERMUELLER has yet to be thrown out attempting.
(overlapping) (grunts - continues under (stolen : see 'steal' in Title #1-79)
(thrown out : to put out a base runner
following scene) by throwing the ball to the player
338-14 guarding the base to which the base
runner is moving)
(be thrown out attempting : i.e., 'have
any of his attempts at stealing bases
thwarted by the opposing players')
(At Forbes Field, the game continues.
Ostermueller throws another pitch)
(13)
42 7AB P/14
TITLE
SCENE 55 - MS - PAST JACKIE TO THE

CATCHER AND UMPIRE.
BALL ONE UMPIRE

Ball three!

(voice over) (overlapping) Needless to say, ITAL Needless to say, Ostermueller being careful
with him.
Ostermueller being careful with him. (being careful with : i.e., 'pitching
carefully to')
JACKIE (In Brooklyn, Rachel pushes her baby
(overlapping) (sighs) in a carriage down the street as
344-07 several neighbors sit outside,
listening to the game on radios)

- DAY - FS - A BLACK MAN ON A STOOP,
TUNING HIS RADIO.
PEOPLE ON STREET
dialogue)

(over speaker) It's three and oh now. ITAL It's 3-0 now.
(i.e., 'The pitch count is 3 balls and
CAMERA PANS L. TO A MFS. OF RACHEL, zero strikes.')
PUSHING A STROLLER R. DOWN THE
STREET AS CAMERA TRACKS WITH HER.
MAN #1
(off) (overlapping) That's it, come on,
Jackie!
WOMAN #1
(off) Come on, he can do it.
BARBER 7-68 350.14 355.04/ 4.06 BARBER OVER SPEAKER TO GROUP)

(over speaker) (overlapping) Robinson ITAL Robinson patient, waiting for something he
can swing on.
patient, waiting for something he can swing (something he can swing on : i.e., 'a
pitch that he can hit strongly')
on. (At Forbes Field, the game continues)
MAN #1
(face off) (overlapping) Come on, now.
355-05

MCS - JACKIE.
JACKIE 7-69 356.00 358.04 2.04 JACKIE TO OSTERMUELLER)

Give me something. Give me something I Give me something.
(something : i.e., 'a pitch')
can hit.
362-11
7-70 360.06 362.10/ 2.04 JACKIE TO OSTERMUELLER)
Give me something I can hit.
(14)
42 7AB P/15
TITLE
SCENE 58 - MS - OSTERMUELLER.
OSTERMUELLER 7-71 363.02 364.11/ 1.09 OSTERMUELLER TO JACKIE)

You want it? You want it?
364-12
JACKIE 7-72 /365.00 367.05 2.05 JACKIE TO OSTERMUELLER)

What are you afraid of? What are you afraid of?
368-02 (Ostermueller nods)
CATCHING THE BASEBALL AND
STEPPING BG. ONTO THE PITCHER'S
MOUND.
FEMALE PIRATES FAN #1

(off) Come on, Pirates!
377-01

THE BAT.
PIRATES PLAYER #1
(off) Let him see it, now!
JACKIE 7-73 382.01 384.12 2.11 JACKIE TO OSTERMUELLER)

What are you afraid of? (exhales sharply) What are you afraid of?
386-02
PREPARING TO PITCH AS CAMERA
DOLLIES IN.

(voice over) Ostermueller looking in for the ITAL Ostermueller looking in for the sign.
(looking in : see Title #4-135)
sign. (the sign : i.e., 'the catcher's sign' -
note that a catcher calls the game by
OSTERMUELLER sending signs to the pitcher calling for
Be careful what you ask for, boy. a particular pitch. After he moves into
his crouch, the catcher gives the sign
PIRATES PLAYER #6 by placing his non-glove hand
(off) Heads up, here we... between his legs and using his fist,
394-11 fingers, wags, or taps against his
inner thigh to tell the pitcher what type
of pitch to throw as well as the
SCENE 63 - MCS - JACKIE, PREPARING location)
TO BAT.
PIRATES PLAYER #6 7-75 390.12 394.07/ 3.11 OSTERMUELLER TO JACKIE)

(off) ...go. Be careful what you ask for, boy.
(Be...for : Implying the next pitch will
PIRATES PLAYER #1 be one Jackie cannot manage to
(off) Twenty-one! successfully hit - Note variant of 'Be
399-09 careful what you wish for,' an adage
that suggests fulfilled wishes often
contain unforseen and undesirable
consequences)
(15)
42 7AB P/16
TITLE
BARBER
(voice over) And...
401-10
PITCHING.

(voice over) ...here comes the pitch. ITAL And here comes the pitch.
(Ostermueller pitches, and Jackie
OSTERMUELLER gets an impressive hit)
(grunts)
404-13

THE BAT.
406-14
SCENE 67 - FS - PAST THE UMPIRE AND

CATCHER TO JACKIE, HITTING THE BALL
BG.
JACKIE
(grunts)
408-10
JACKIE
(grunts)

(voice over) Oh, and that's a deep fly ball to ITAL Oh, and that's a deep fly ball to left.
(deep fly ball to left : i.e., 'hit sending
left. the ball high in the air and deep into
413-15 the left outfield')
(At Ebbets field, Rickey emotionally
reacts)
MCS - RICKEY, SMILING AS CAMERA
DOLLIES IN.
BARBER 7-78 /414.01 417.08 3.07 BARBER OVER SPEAKER TO GROUP)

(over speaker) Kiner on his horse, I don't ITAL Kiner on his horse, I don't think he'll get
there.
think he'll get there. Back, back, back and.... (Kiner : Ralph Kiner, an outfielder for
the Pittsburgh Pirates from 1946 to
1953)
(on his horse : see Title #2-177)
(get there : i.e., 'run fast enough to
catch the ball')
7-79 417.12 419.15 2.03 BARBER OVER SPEAKER TO GROUP)

ITAL Back, back, back, and....
(Back, back, back : i.e., 'The ball is
flying farther and farther back')
(16)
42 7AB P/17
TITLE
BARBER (cont'd) 7-80 421.03 423.13 2.10 BARBER OVER SPEAKER TO GROUP)
(over speaker) (chuckling) Oh-ho-ho, (in ITAL Oh, doctor!
(Made-up expression of astonishment
normal voice) doctor! Robinson got his - Note that this was one of Barber's
catchphrases)
pitch! It's a home run.
429-10
7-81 424.06 427.07 3.01 BARBER OVER SPEAKER TO GROUP)
ITAL Robinson got his pitch!
SCENE 70 - EXT. FORBES FIELD - DAY - (got his pitch : i.e., 'got the pitch he
MS - SMITH, SEATED AMONG THE wanted')
CROWD, AS CAMERA DOLLIES IN.
BARBER 7-82 427.11 429.09/ 1.14 BARBER OVER SPEAKER TO GROUP)

(voice over) And barring a miracle ITAL It's a home run.
(At Forbes Field, Smith sits in the
comeback, the Dodgers are going to the stands with his typewriter and smiles)
World Series!
438-04 7-83 431.02 438.02/ 7.00 BARBER TO GROUP) (voice over)
ITAL And barring a miracle comeback, the
Dodgers are going to the World Series!
SCENE 71 - EXT. MACDONOUGH STREET (barring a miracle comeback : i.e.,
- DAY - FS - RACHEL, PUSHING THE CART 'unless the Pirates make significant
R. AS CAMERA TRACKS WITH HER. and very unlikely gains in the
PEOPLE IN THE NEIGHBORHOOD remainder of the game')
CHEER AND REACT TO THE BROADCAST (World Series : see Title #3-20)
OF THE BALL GAME. (In Brooklyn, Rachel continues
walking with the stroller as her
PEOPLE ON MACDONOUGH STREET neighbors excitedly react)
(overlapping cheers, exclamations of
"Whoo!", laughter, low and indistinct chatter
- continues under following scene and
dialogue)
MAN #2 7-84 /438.08 440.03 1.11 MAN #2) (exclaiming)

Yes! (laughs) Yes!
WOMAN #2
(cries out and laughs - continues under

441-06
SCENE 72 - MS - RACHEL, PUSHING THE

CART R. AS CAMERA TRACKS WITH HER.
MAN #2 7-85 /441.08 444.08 3.00 MAN #2 TO WOMAN #2)

He did it, he did it! He did it, he did it!
448-01 (In the Pirates dugout at Forbes Field,
Higbe throws down his cap in
disgust)
MCS - JACKIE, REACTING, AS HE STEPS
L.
452-13
(17)
42 7AB P/18
TITLE
SCENE 74 - MS - OSTERMUELLER, AS
CAMERA DOLLIES IN.
457-12
SCENE 75 - MCS - PAST HIGBE TO HIS

TEAMMATES, AS HIGBE THROWS OFF HIS
HAT IN ANGER.
HIGBE 7-86 462.00 464.06/ 2.06 HIGBE) (exclaiming)

Pittsburgh! Pittsburgh!
464-08 (Said here as an interjection of
disgust and disappointment in his
team - See Title #6-9)
SCENE 76 - FS - JACKIE, RUNNING FG. (Jackie runs the bases as the crowd
AS CAMERA DOLLIES BACK WITH HIM. cheers. In their dugout, the other
470-04 Dodgers applaud except Walker)
SCENE 77 - MS - THE DODGERS IN THE

DUGOUT, APPLAUDING AS CAMERA
DOLLIES L.
STANKY 7-87 470.08 472.01 1.09 STANKY) (exclaiming)

Yes! Yes!
HERMANSKI
Way to go, Jackie! 7-88 472.07 474.15 2.08 HERMANSKI TO JACKIE)
Way to go, Jackie!
DODGERS PLAYER #4 (Way to go : Idiomatic approval)
(off) Go, Jackie!

(voice over) Jack in his home run trot... ITAL Jack in his home run trot now…
(home run trot : the slow run of a
WALKER SITS AT THE BACK OF THE runner around the bases after he has
DUGOUT WITH HIS ARMS CROSSED. hit a home run)
481-11
SCENE 78 - MCS - SLOW MOTION -

JACKIE, RUNNING BG. INTO A MFS. AS
CAMERA DOLLIES BG.

(voice over) ...now, and even the home ITAL …and even the home crowd here at Forbes
recognizing something special when they
crowd here at Forbes recognizing see it.
(home crowd : the immediate city's
something special when they see it. residents as supporters of the local or
"home" team)
SLOW MOTION SEQUENCE ENDS. (Forbes : Forbes Field - the home
487-15 stadium of the Pittsburgh Pirates in
1947)
(18)
42 7AB P/19
TITLE
SCENE 79 - MCS - PAST SHOTTON,

SMILING, TO THE DODGERS,
APPLAUDING.

(voice over) All the same, I can practically ITAL All the same, I can practically hear the roar...
(All the same : Idiomatic expression
hear the... that takes into account a contradiction
- i.e., 'Even though it's impossible' -
BRAGAN 'Nevertheless')
(overlapping) Whoo! (practically : i.e., 'almost' - 'virtually')
492-04

- DAY - MS - SLOW MOTION - RACHEL,
PUSHING THE CART R. AND SMILING AS
CAMERA TRACKS WITH HER.
BARBER 7-92 /492.07 496.03/ 3.12 BARBER OVER SPEAKER TO GROUP)

(over speaker) ...roar from the heart of ITAL ...from the heart of Flatbush back in Brooklyn.
(heart : i.e., 'center')
Flatbush back in Brooklyn. (Flatbush : see Title #1-53)
496-05 (Smith types on his typewriter)

FS - JACKIE, RUNNING L.FG. AROUND
THE BASES AS CAMERA PANS WITH HIM
AND TILTS DOWN, OFF HIS FACE.
SLOW MOTION SEQUENCE ENDS.

500-08

MCS - RICKEY, REMOVING HIS HAT.
504-11
SCENE 83 - MS - PAST RICKEY TO THE

EMPTY STADIUM.
512-08

MCS - SLOW MOTION - JACKIE, RUNNING
L.FG. AS CAMERA TRACKS WITH HIM.
521-05
SCENE 85 - MS - BARBER, APPLAUDING

AS CAMERA DOLLIES IN.
527-07
SCENE 86 - FS - A DODGERS PLAYER,

APPLAUDING, AS JACKIE ENTERS L.FG.
AND RUNS BG. TOWARD HOME PLATE AS
CAMERA DOLLIES IN BEHIND HIM.

544-05
(19)
42 7AB P/20
TITLE
SCENE 87 - MS - SMITH, SMILING, AS THE

CROWD APPLAUDS AROUND HIM,
GIVING JACKIE A STANDING OVATION.
FEMALE JACKIE FAN #1 7-93 548.00 552.12 4.12 FEMALE JACKIE FAN #1 TO JACKIE)
Yeah, whoo! Jackie, yeah, yeah! Whoo! Jackie, yeah, yeah!
Whoo! (face off) Jackie! (laughing) Yeah! (in
normal voice) Whoo! Yeah! (laughs)
(cheers indistinctly - continued under
following dialogue)
FEMALE JACKIE FAN #2

(overlapping) Go, boy! (laughs) Yeah!
Whoo! (cheers indistinctly - continued
SMITH BEGINS TYPING ON HIS

TYPEWRITER.
SMITH 7-94 553.05 557.12 4.07 SMITH TO HIMSELF)

(overlapping) Robinson rounds third... Robinson rounds third...
(rounds third : i.e., 'turns as he runs
(sighs) headed for home...sweet home. over third base')
577-06
7-95 564.09 567.03 2.10 SMITH TO HIMSELF)

SCENE 88 - MCS - SLOW MOTION - …headed for home...
JACKIE, RUNNING L.FG. AS CAMERA (headed for : i.e., 'moving toward' -
TRACKS WITH HER. 'going to')
(home...sweet home : note double
SLOW MOTION SEQUENCE ENDS. meaning - [1] i.e., 'home plate,' and
586-00 implying the home run is especially
gratifying and [2] i.e., 'his home in
Brooklyn [soon]' - also note that 'home
SCENE 89 - EXT. BROOKLYN/SUBWAY sweet home' is an idiomatic
PLATFORM - DAY - CS - HIGH ANGLE - expression that conveys appreciation
HANDS SET A STACK OF NEWSPAPERS upon returning to a primary residence)
DOWN IN FG. THE HEADLINE READS:
The New York Times 7-96 569.09 571.15 2.06 SMITH TO HIMSELF)
HAIL TO THOSE BROOKLYN BUMS ...sweet home.
(At a subway platform in Brooklyn,
JACKIE (HAND) PICKS UP A NEWSPAPER Jackie picks up a newspaper)
AS CAMERA TILTS UP TO A LOW ANGLE
MCS.
600-10 7-97 586.08 590.10 4.02 NARRATIVE TITLE) (of newspaper)
The New York Times

SCENE 90 - EXT. FORBES FIELD - DAY - HAIL TO THOSE BROOKLYN BUMS
FLASHBACK - FS - SLOW MOTION -
JACKIE, RUNNING L. AS CAMERA (The New York Times : See Title
TRACKS WITH HIM. #2-49)
(HAIL : to salute, greet or acclaim
SLOW MOTION SEQUENCE ENDS. enthusiastically)
(BROOKLYN BUMS : an affectionate
FLASHBACK SEQUENCE ENDS. nickname for the Brooklyn Dodgers -
610-08 see Title #5-174)
(20)
42 7AB P/21
TITLE

- DAY - FS - RACHEL, STANDING ON THE
BUILDING STOOP AS CAMERA DOLLIES
IN SLOWLY.
617-00
SCENE 92 - MCS - JACKIE, RUNNING

R.FG. AS CAMERA TRACKS WITH HIM.
621-11
SCENE 93 - MCS - RACHEL, SMILING AND

STEPPING FG.
625-10

FLASHBACK - MFS - SLOW MOTION -
JACKIE, RUNNING BG. TO HOME PLATE
AS CAMERA DOLLIES IN.
631-02
SCENE 95 - FS - JACKIE, WALKING L.

ONTO HOME PLATE AS CAMERA TRACKS
WITH HIM, SHAKING HANDS WITH
BRANCA.
FLASHBACK SEQUENCE ENDS.

646-11

- DAY - MFS - HIGH ANGLE - JACKIE,
RUNNING R.FG. AS CAMERA PANS WITH
HIM TO INCLUDE RACHEL, EMBRACING
JACKIE. CAMERA CRANES DOWN AS HE
PICKS HER UP AND TWIRLS HER. THEY
KISS AS CAMERA DOLLIES IN.
664-03

FLASHBACK - MCS - SMITH, APPLAUDING.
669-13
SCENE 98 - MCS - SLOW MOTION -

JACKIE, REMOVING HIS HAT AND WAVING
TO THE STANDS AS CAMERA DOLLIES IN
SLOWLY.

690-09

694-13
(21)
42 7AB P/22
TITLE

OFFICE - DAY - CS - RICKEY (HAND),
HOLDING A BASEBALL, AS CAMERA PANS
R. TO INCLUDE RICKEY, SMOKING A
CIGAR IN HIS CHAIR.
WYNONA CARR
(voice over) (sings "The Ball Game" -
dialogue)
THE IMAGE FREEZE FRAMES.
BRANCH RICKEY WAS BRANCH RICKEY WAS ELECTED TO THE

ELECTED TO THE NATIONAL BASEBALL HALL OF FAME IN
NATIONAL BASEBALL 1967.
HALL OF FAME IN 1967.
(NATIONAL BASEBALL HALL OF
TITLE FADES OUT. FAME : an American history museum
721-12 and hall of fame located in
Cooperstown, New York, that serves
as the central point for the study of the
SCENE 101 - EXT. BASEBALL FIELD - DAY history of baseball in the United
- FS - SLOW MOTION - REESE, DIVING R. States and beyond, displays
AND CATCHING A BALL AS CAMERA PANS baseball-related artifacts and exhibits,
WITH HIM. HE RUNS R.FG. AND TAGS and honors those who have excelled
FIRST BASE, GETTING THE RUNNER in playing, managing, and serving the
OUT. REESE RISES AS CAMERA TILTS UP sport)
WITH HIM.
PEE WEE REESE WAS PEE WEE REESE WAS ELECTED TO THE
ELECTED TO THE NATIONAL BASEBALL HALL OF FAME IN
NATIONAL BASEBALL 1984.
TITLE FADES OUT.

748-12
(22)
42 7AB P/23
TITLE
SCENE 102 - INT. ROOM - DAY - MCS -

SMITH, TYPING AT HIS DESK.
WENDELL SMITH BECAME THE FIRST WENDELL SMITH BECAME THE FIRST
AFRICAN-AMERICAN SPORTSWRITER AFRICAN-AMERICAN SPORTSWRITER
TO JOIN THE BASEBALL WRITER'S
ASSOCIATION OF AMERICA IN 1948.
7-101 758.07 762.10 4.03 NARRATIVE TITLE)
TITLE FADES OUT.
763-04 TO JOIN THE BASEBALL WRITER'S
ASSOCIATION OF AMERICA IN 1948.
SCENE 103 - EXT. BASEBALL FIELD - DAY (BASEBALL WRITERS' ASSOCIATION

- MFS - SLOW MOTION - STANKY, OF AMERICA : a professional
RUNNING R. AND DIVING TO CATCH A association for baseball journalists
BALL AS CAMERA PANS AND TILTS writing for daily newspapers,
DOWN WITH HIM. magazines and qualifying Web sites)
EDDIE STANKY WENT ON EDDIE STANKY WENT ON TO MANAGE THE

TO MANAGE THE ST. LOUIS ST. LOUIS CARDINALS,
CARDINALS, THE CHICAGO
WHITE SOX AND THE
TEXAS RANGERS. 7-103 775.08 780.00 4.08 NARRATIVE TITLE)
TITLE FADES OUT. THE CHICAGO WHITE SOX AND THE

TEXAS RANGERS.
780-11 (TEXAS RANGERS : a professional
baseball team based in Arlington,
Texas)
(23)
42 7AB P/24
TITLE
SCENE 104 - MCS - BRANCA, NODDING

AND SMILING AS CAMERA SLOWLY
DOLLIES IN.
RALPH BRANCA WAS RALPH BRANCA WAS A THREE TIME

A THREE TIME ALL-STAR. ALL-STAR.
HE WON 21 GAMES IN 1947.
HE LIVES AND WORKS (WAS A THREE TIME ALL-STAR : i.e.,
IN RYE, NEW YORK. 'was selected three times to be a
member of an all-star team,' an honor
TITLE FADES OUT. in professional baseball - note that
795-11 all-star teams compete in the Major
League Baseball All-Star Game, also
known as the "Midsummer Classic",
SCENE 105 - MCS - CHAPMAN, SMILING an annual baseball game between
AS CAMERA DOLLIES IN. players from the National League and
the American League)
IN 1948 BEN CHAPMAN HE WON 21 GAMES IN 1947. HE LIVES AND

WAS FIRED AND NEVER WORKS IN RYE, NEW YORK.
MANAGED AGAIN.
(RYE, NEW YORK : a city in the state
TITLE FADES OUT. of New York, close to New York City)
806-14
7-106 800.01 805.14 5.13 NARRATIVE TITLE)

SCENE 106 - EXT. BASEBALL FIELD - DAY
- FS - SLOW MOTION - WALKER, IN 1948 BEN CHAPMAN WAS FIRED AND
RUNNING FG. AND DIVING FOR A NEVER MANAGED AGAIN.
BASEBALL AS CAMERA TILTS DOWN
WITH HIM. (FIRED : idiomatic for an abrupt
dismissal from a position of
THE IMAGE FREEZE FRAMES. employment or service - i.e.,
'dismissed' - 'discharged')
DIXIE WALKER WAS TRADED THE 7-107 816.14 821.07 4.09 NARRATIVE TITLE)
FOLLOWING SEASON...
DIXIE WALKER WAS TRADED THE
TITLE FADES OUT. FOLLOWING SEASON...
...TO PITTSBURGH. 7-108 823.07 827.01/ 3.10 NARRATIVE TITLE)
TITLE FADES OUT. ...TO PITTSBURGH.

827-01
(i.e., '...to the Pittsburgh Pirates.' -
Note irony)
(24)
42 7AB P/25
TITLE
SCENE 107 - EXT. TRAIN TRACKS - DAY - LABORATORY: IF PRINT IS TEXTLESS, TITLE #7-109 AND TITLE #7-110
FS - ED CHARLES, TOSSING A ROCK UP ARE TO APPEAR IN THE NORMAL SUBTITLE POSITION. IF PRINT IS
INTO THE AIR AND HITTING IT WITH A TEXTED, THESE TITLES ARE TO APPEAR AS LOW AS POSSIBLE IN THE
PIECE OF WOOD AS CAMERA DOLLIES FRAME TO AVOID DOUBLE-PRINTING. PLEASE CHECK PRINT FOR
IN. PROPER POSITIONING.

7-109 839.06 847.01 7.11 NARRATIVE TITLE)
ED CHARLES GREW UP TO BECOME
A MAJOR LEAGUE BASEBALL PLAYER. ED CHARLES GREW UP TO BECOME A
MAJOR LEAGUE BASEBALL PLAYER.
TITLE FADES OUT.
HE WON THE WORLD SERIES IN 1969 HE WON THE WORLD SERIES IN 1969
WITH THE MIRACLE METS. WITH THE MIRACLE METS.
TITLE FADES OUT. (MIRACLE METS : a nickname of the

856-11 roster for the 1969 New York Mets
season, which culminated with them
winning the World Series over the
SCENE 108 - PHOTO MONTAGE/BLACK Baltimore Orioles)
BACKGROUND. A PHOTO OF RACHEL
AND JACKIE ROBINSON FADES IN
SCREEN L.
TITLE FADES IN SCREEN R.: (over above 7-111 859.00 863.07 4.07 NARRATIVE TITLE)
bg.)
RACHEL ROBINSON STARTED THE
RACHEL ROBINSON STARTED JACKIE ROBINSON FOUNDATION IN 1973.
THE JACKIE ROBINSON
FOUNDATION IN 1973.
IT PROVIDES STUDENTS WITH 7-112 863.11 869.15 6.04 NARRATIVE TITLE)
SCHOLARSHIPS TO COLLEGES
ACROSS THE COUNTRY. IT PROVIDES STUDENTS WITH
SCHOLARSHIPS TO COLLEGES ACROSS
TITLE FADES OUT. THE COUNTRY.
A PHOTO OF JACKIE IN HIS DODGERS

UNIFORM FADES IN SCREEN R.
TITLE FADES IN SCREEN L.: (over above 7-113 871.10 878.03 6.09 NARRATIVE TITLE)
bg.)
JACKIE ROBINSON WAS NAMED MAJOR
JACKIE ROBINSON WAS NAMED LEAGUE ROOKIE OF THE YEAR IN 1947.
MAJOR LEAGUE ROOKIE OF
THE YEAR IN 1947. (ROOKIE OF THE YEAR : an award
given annually to one player from
TITLE FADES OUT. each league as voted on by the
Baseball Writers Association of
A PHOTO OF JACKIE ROBINSON, ROY America)
CAMPANELLA, AND DON NEWCOMBE
FADES IN SCREEN L.
(25)
42 7AB P/26
TITLE
TITLE FADES IN SCREEN R.: (over above 7-114 880.00 887.00 7.00 NARRATIVE TITLE)
bg.)
IN 1948 HE WAS JOINED BY ROY
IN 1948 HE WAS JOINED CAMPANELLA AND IN 1949 BY DON
BY ROY CAMPANELLA NEWCOMBE.
AND IN 1949 BY
DON NEWCOMBE. (JOINED BY : i.e., 'joined on the
Brooklyn Dodgers by fellow African-
TITLE FADES OUT. American player')
(ROY CAMPANELLA : see Title #1-
A PHOTO OF JACKIE ROBINSON SLIDING 104)
INTO BASE FADES IN SCREEN R. (DON NEWCOMBE : an American
former Major League Baseball
TITLE FADES IN SCREEN L.: (over above right-handed starting pitcher who
bg.) played for the Brooklyn/Los Angeles
Dodgers, Cincinnati Reds, and
HE WON THE Cleveland Indians - note that Don
WORLD SERIES IN 1955 AGAINST Newcombe was also African-
THE NEW YORK YANKEES, American and instrumental in
STEALING HOME IN GAME ONE. breaking the "color barrier")
TITLE FADES OUT.

7-115 889.04 895.11 6.07 NARRATIVE TITLE)
ANOTHER PHOTO OF JACKIE FADES IN
SCREEN L. HE WON THE WORLD SERIES IN 1955
AGAINST THE NEW YORK YANKEES,
TITLE FADES IN SCREEN R.: (over above
bg.)
7-116 895.15 898.11 2.12 NARRATIVE TITLE)
HE WAS ELECTED TO
THE NATIONAL BASEBALL STEALING HOME IN GAME ONE.
(STEALING HOME : See Title #1-79)
TITLE FADES OUT.
909-00
7-117 901.06 907.13 6.07 NARRATIVE TITLE)
DISSOLVE TO: HE WAS ELECTED TO THE NATIONAL

BASEBALL HALL OF FAME IN 1962.
(26)
42 7AB P/27
TITLE
SCENE 109 - EXT. BASEBALL FIELD - DAY

- ARCHIVAL MONTAGE - A SERIES OF
SHOTS DEPICTING VARIOUS BASEBALL
PLAYERS WEARING #42 JERSEYS.
PEOPLE AT BASEBALL FIELD LABORATORY: IF PRINT IS TEXTLESS, TITLE #7-118 THROUGH TITLE #7-
(overlapping cheers, low and indistinct 120 ARE TO APPEAR IN THE NORMAL SUBTITLE POSITION. IF PRINT IS
TEXTED, THESE TITLES ARE TO APPEAR AS LOW AS POSSIBLE IN THE
chatter - continues under following scenes FRAME TO AVOID DOUBLE-PRINTING. PLEASE CHECK PRINT FOR
PROPER POSITIONING.
and dialogue)
EVERY YEAR IN APRIL, ALL MLB PLAYERS EVERY YEAR IN APRIL, ALL MLB PLAYERS
WEAR WEAR THE NUMBER 42
THE NUMBER 42 AS A REMINDER OF
JACKIE'S (MLB : Abbreviation of 'Major League
ACCOMPLISHMENTS ON AND OFF THE Baseball')
FIELD.
TITLE FADES OUT. 7-119 919.13 927.12 7.15 NARRATIVE TITLE)

928-14 (over scene end)
AS A REMINDER OF JACKIE'S
ACCOMPLISHMENTS ON AND OFF THE
FADE TO: FIELD.
SCENE 110 - PHOTO GRAPHIC/BLACK (ON AND OFF THE FIELD : i.e., 'in
BACKGROUND. A PHOTO OF JACKIE baseball and beyond the realm of
ROBINSON FADES IN SCREEN R. baseball')
TITLE FADES IN SCREEN L.: (over above

bg.) 7-120 931.06 939.09 8.03 NARRATIVE TITLE)
42 THE NUMBER "42" IS THE ONLY NUMBER

THE NUMBER "42" RETIRED BY ALL OF BASEBALL.
IS THE ONLY NUMBER
RETIRED BY ALL OF BASEBALL. (RETIRED : i.e., 'taken out of
circulation [as a gesture of honor to
TITLE FADES OUT. Jackie Robinson]')
946-00
FADE TO:
SCENE 111 - END CREDITS/BLACK

BACKGROUND.
ET #1 FADES IN: (over above bg.)
WRITTEN AND DIRECTED BY

BRIAN HELGELAND
ET #1 FADES OUT.
PRODUCED BY
THOMAS TULL
ET #2 FADES OUT.
(27)
42 7AB P/28
TITLE
EXECUTIVE PRODUCERS
DICK COOK
JON JASHNI
ET #3 FADES OUT.
EXECUTIVE PRODUCER
JASON CLARK
ET #4 FADES OUT.
CO-PRODUCERS
DARRYL PRYOR
JILLIAN ZAKS
ET #5 FADES OUT.
DIRECTOR OF PHOTOGRAPHY
DON BURGESS, A.S.C.
ET #6 FADES OUT.
PRODUCTION DESIGNER
RICHARD HOOVER
ET #7 FADES OUT.
EDITED BY
KEVIN STITT, A.C.E.
PETER MCNULTY
ET #8 FADES OUT.
COSTUME DESIGNER
CAROLINE HARRIS
ET #9 FADES OUT.
VISUAL EFFECTS SUPERVISOR

JAMIE DIXON
ET #10 FADES OUT.

MUSIC BY
MARK ISHAM
ET #11 FADES OUT.

MUSIC SUPERVISORS
PETER AFTERMAN
MARGARET YEN
ET #12 FADES OUT.
(28)
42 7AB P/29
TITLE
CASTING BY
VICTORIA THOMAS
ET #13 FADES OUT.

CHADWICK BOSEMAN
ET #14 FADES OUT.

HARRISON FORD
ET #15 FADES OUT.

NICOLE BEHARIE
ET #16 FADES OUT.

CHRISTOPHER MELONI
ET #17 FADES OUT.

ANDRE HOLLAND
ET #18 FADES OUT.

ALAN TUDYK
ET #19 FADES OUT.

LUCAS BLACK
ET #20 FADES OUT.

HAMISH LINKLATER
BRETT CULLEN
ET #21 FADES OUT.

RYAN MERRIMAN
BRAD BEYER
GINO ANTHONY PESI
ET #22 FADES OUT.

T.R. KNIGHT
MAX GAIL
TOBY HUSS
JAMES PICKENS
ET #23 FADES OUT.
(29)
42 7AB P/30
TITLE
MARK HARELIK
DEREK PHILLIPS 7-121 1602.11 1608.01 5.06 NARRATIVE TITLE)
JESSE LUKEN
IN MEMORY OF RICHARD FOWKES
ET #24 FADES OUT.
ET #25 FADES IN: (over above bg.) (RICHARD FOWKES : a veteran
entertainment executive who ran
A business affairs for Legendary
BRIAN HELGELAND Entertainment, the production
FILM company of 42. He passed away in
2012)
ET #25 FADES OUT.
42 LAST FRAME OF PICTURE IS 1624.06

ET #26 FADES OUT. END OF REEL 6AB
END CREDIT ROLL-UP BEGINS. END OF FILM
(30)
42 7AB P/1
TITLE
Second Unit Director

ALLAN GRAF
Unit Production Managers

MARK KAMINE
JASON CLARK
COUNT BASIE
(voice over) (sings "Did You See Jackie
Robinson Hit That Ball")
First Assistant Director/Co-Producer

ERIC N. HEFFRON
Second Assistant Director

CRAIG COMSTOCK
Visual Effects Producer

LORI J. NELSON
CAST
Jackie Robinson CHADWICK BOSEMAN

Branch Rickey HARRISON FORD
Rachel Robinson NICOLE BEHARIE
Leo Durocher CHRISTOPHER MELONI
Dixie Walker RYAN MERRIMAN
Pee Wee Reese LUCAS BLACK
Wendell Smith ANDRE HOLLAND
Ben Chapman ALAN TUDYK
Ralph Branca HAMISH LINKLATER
Harold Parrott T.R. KNIGHT
Red Barber JOHN C. MCGINLEY
Clyde Sukeforth TOBY HUSS
Burt Shotton MAX GAIL
Kirby Higbe BRAD BEYER
Mr. Brock JAMES PICKENS, JR.
Joe Garagiola GINO ANTHONY PESI
Clay Hopper BRETT CULLEN
Eddie Stanky JESSE LUKEN
Pete Reiser JAMEY HOLLIDAY
Bobby Bragan DEREK PHILLIPS
Spider Jorgensen JAMIE RUEHLING
Gene Hermanski BLAKE SANDERS
Carl Furillo JOHNNY KNIGHT
Hugh Casey CLINT O’BRIEN
Ed Charles DUSAN BROWN
Ed’s Mother CHERISE BOOTHE
Birmingham Catcher FRIEDEL PINKSTON
Fritz Ostermueller LINC HAND
Everett McCooey THOMAS HELGELAND
Luther MATT CLARK
Happy Chandler PETER MACKENZIE
Bob Cooke JOE INSCOE
Mallie MONNAE MICHAELL
Duff Harris KAROLE FOREMAN
42 7AB P/2
TITLE
Dutch Leonard C.J. NITKOWSKI

Andy Seminick SCOTT CALLAWAY
Phillie One JAMES RACKLEY
Phillie Two AARON FARB
Monarch Batter ANTHONY S. GOOLSBY
Reporter One LOU CRISCUOLO
Reporter Two ROSS HUGHES
Reporter Three JOE KNEZEVICH
Herb Pennock MARK HARELIK
Fan One KENNY COOK
Fan Two DAVID SWEENEY
Miss Bishop RHODA GRIFFIS
Babe Hamburger DAN FENLAN
Policeman MAURY COVINGTON
Freckles HENRY FRIEDMAN
Freckle’s Dad HOLDEN HANSEN
Spectator One DAN MENGINI
Spectator Two JON KOHLER
Doctor MARC GOWAN
Jimmy Powers JACKSON WALKER
Eddie Dyer DANNY VINSON
Photographer ARI BLINDER
Cracker WILLIAM FLAMAN
Older Woman DENISE MOYE
Hotel Manager PETER JURASIK
Another Reporter MICHAEL H. COLE
Jane Ann JANET METZGER
Racist City Island Fan DAX GRIFFIN
White Gas Station Attendant JAYSON WARNER SMITH
Boy JEREMY TAYLOR
Bus Driver CHRISTOPHER HARVEY
Alice KELLEY JAKLE
Laraine Day JUD TYLOR
Panamanian Kid TOBIAS MICHAEL FINN
Shouting Fan ERCELL A. GRIMES, JR.
City Island Umpire DWIGHT W. HOUSER, JR.
Roosevelt Home Umpire BARRY SUTTLE
Ball One Umpire ANDREW B. ROBERTS
Negro League Umpire JIMMIE L. COLEMAN
Umpire One STEVE HICKS
Umpire Two WAYNE HICKEY
Umpire Three ANDREW MULLINS
Umpire Four DENNIS A. SPEARS
Umpire Five GARY MILLER
Reporter Four TODD WILSON
Enos Slaughter DAVID THOMS
Deland Umpire RICHARD TAVERNARO
Dodger Bat Boy HUNTER CLOWDUS
Stunt Coordinator ALLAN GRAF

Stunts
JASHA BALCOM SCOTT DALE NICK DEKAY
EDDIE DAVENPORT CHRIS GANN RASHUN HARRIS
TERRENCE JULIEN HORACE KNIGHT MATTHEW MOWELL
MATTHEW AUSTIN MURRAY AUSTIN PRIESTER BUDDY SOSTHAND
Baseball Players
TUCKER ALLEN CHANCE BEAM MATTHEW BROOKS CHAD CANNON
TOM CAPALLO NATE CHANCEY KYLE CYPRYSIAK BRETT DENNEY
BARRY FOWLER ANDREW GINTHER JEREMY HAZEN CHRIS HENEGAR
AUSTIN HESTER MATTHEW HILL DANIEL HOWARD MATTHEW HUBBARD
CHAD JOHNSON BRANDON KERSEY LUKE LARGE BRIAN LAUDERDALE
KEITH LAW BEN LODERHOSE MITCHELL MCBEE KIRKLAN MOORE
MARC NELLIST ANDREW PAUL DARREN RADCLIFF DANNY SAWYER
JAKE SHARROCK JACK STEWART JUSTIN WILLINGHAM
42 7AB P/3
TITLE
Aerial Coordinator MIKE PATLIN

Pilots RON ALEXANDER
JOSEPH REED SHEPHERD
Production Supervisor NOELLE GREEN

Supervising Art Director AARON HAYE
Art Director DENNIS BRADFORD
Assistant Art Directors
SHARON K. DAVIS JUSTIN MILLER
LAUREN ROSENBLOOM CAMERON BEASLEY
Set Decorator CINDY CARR
A Camera/Steadicam Operator MATT MORIARTY

First Assistant A Camera DON STEINBERG
Second Assistant A Camera DOUG PRICE
B Camera Operator MICHAEL BURGESS
First Assistant B Camera JEFF CIVA
Second Assistant B Camera TREY TWITTY
First Assistant C Camera SUZANNE TRUCKS
Second Assistant C Camera DWIGHT CAMPBELL
Digital Imaging Technicians CARISSA RIDGEWAY TUDOR
MARK GILMER
Camera Utility SAUL MCSWEEN
Video Assist Operator JAMES GALLIMORE
Still Photographer D. STEVENS
Script Supervisor DAWN GILLIAM
Production Sound Mixer JEFFREY S. WEXLER, CAS

Boom Operator DON COUFAL
Utility Sound Technician JASON LEWIS
Assistant Costume Designer CHRISTOPHER KRISTOFF

Costume Supervisor VIRGINIA BURTON
Key Costumer DANIEL H. GEORGE
Costumers DUSTIN ANGUS
SHAVON GIHAN
BRIDGETT MCGUIRE
E. DEE BIDDLECOME
Costume Researcher VIOLETTE FAISON
Ager/Dyers KEITH HUDSON
CHANDRA MOORE
Cutter/Fitter JOANNA SCHMINK
Stitchers SYNITHIA F. COCHRAN
KIM ROLLINS DOMETROVICH
KATHLEEN FARRIS
Makeup Department Head BRAD WILDER

Key Makeup Artist DENISE L. PAULSON
Makeup Artist for Mr. Ford BILL CORSO
Makeup Artists MICAH LAINE
SARAH MAYS
LAY’NA ANDERSON
42 7AB P/4
TITLE
TRACY EWELL
TERESA FOSHEE
Hair Department Head KELVIN R.TRAHAN

Key Hair Stylist CATHERINE A. MARCOTTE
Hairstylists MARY C. EVERETT
BRYAN WHISNANT
LANCE ALDREDGE
CONI ANDRESS
MAURICE BEAMAN
PORTIA SIMPSON
Hairstylist to Mr. Ford KAREN ASANO-MYERS
Wigmakers BOB KRETCHMER
VICTORIA WOOD
Chief Lighting Technician JAMES R.TYNES

Assistant Chief Lighting Technician JAMES F. CORNICK
Set Lighting Technicians
IAN CONE DREW FRAZIER KYLE D. HUTSON
MIKE LAIRD JARED J. MAHLER BUFORD MANLEY
TROY MUHAMMAD RAY MYERS DAVE OSBORNE
DARRELL SU’ CHARLES ANTHONY M. SUAREZ JASON ALAN VARGAS
Board Operator JOHN SANDAU
Rigging Chief Lighting Technician LAMARR GRAY
Rigging Assistant Chief Lighting Technician GREG ARGARIN
Key Grip
STEVE SMITH
Best Boy Grip
JEFFREY JOHNSON
A Dolly Grip
SEAN DEVINE
B Dolly Grip
DANNY ECKLER
Grips
ROBERT ACOX NICHOLAS K. BAIRD JONATHAN BROWN
KENNETH BOLTON PETER BUDD JEREMY BURGESS
MACKENZIE CUSHING ROBERT DUKE KENNETH T. HOWARD
SHAWN NEARY DARRYL WILSON
Key Rigging Grip CHARLEY GILLERAN
Best Boy Rigging Grip KEVIN FAHEY
Special Effects Coordinator BOB SHELLEY

Special Effects Foreman GREGORY S. PRUETT
Property Master J.P. JONES

Assistant Property Master MICHAEL D’IMPERIO
Property Assistant ELIOT LEVIN
Additional Property Assistants
ED FITZGERALD FRANK GRAY III
CARIANNE LANCE STEPHANIE NICOLE MILLER
Executive in Charge of Production TY WARREN

Visual Effects Executive KIM LOCASCIO
Production Executive ERIC HEDAYAT
Production Controller BRIAN WENSEL
42 7AB P/5
TITLE
Finance Executive MARIE ELDER

Production Resources ETHAN STEARNS
Additional Editor STEPHEN M. RICKERT, JR.
Post Production Supervisor JAKE RICE

Assistant Editors KRIS COLE
BLAIR MILLER
Visual Effects Editor ADAM AVERY
Supervising Music Editor THOMAS MILANO
Music Editor JOHN FINKLEA
Post Production Assistants MICHAEL PAUKERT
BENJAMIN VAN ALLEN
JARROD DANIEL
Stock Footage Researcher JODI TRIPI
Production Coordinator PAULA STIER

Assistant Production Coordinator DAVID BUEHRLE
Travel Coordinator KATHRYN GALBERTH
Production Secretary THOMAS WARD
Asst. Production Coordinator- Macon SARAH SPEARING
Asst. Production Coordinator-Chattanooga MIKE HUBERT
Asst. Production Coordinator- Birmingham DONA SPANGLER
Production Accountant DONNA GLASSER HANCOCK

First Assistant Accountant BILL PHILLIPS
Additional First Assistant Accountant ANDI LARSEN
Key Assistant Accountant JAMES D’DAMERY, JR.
Second Assistant Accountants PAUL OLIVIER, JR.
ANI VANOYAN
MISSY HINTZ
Payroll Accountants LEE OGLE
KAREN TURNER
Accounting Clerk GARY EBRON
Post Production Accountant DAVID M. RODRIGUEZ
Location Manager ERIC HOOGE

Assistant Location Managers
ERIN FISHER CARLOS TAPIA GRULLON
CALEB HINSHAW STEPHEN DIRKES
Location Assistant RYAN DIRKES
Site Rep THOMAS M. SMITH
Second Second Assistant Director MARVIN J. WILLIAMS, JR.
Additional Second Assistant Director TIM FITZGERALD
Casting Associate BONNIE GRISAN

Casting Assistant ANDREW HADZOPOULOS
Location Casting JACKIE BURCH
Location Casting Assistant SAMY BURCH
Extras Casting ROSE LOCKE
JAMIE CATRETT
Key Extras Casting Assistant KELLI WILCOXEN
42 7AB P/6
TITLE
Extras Casting Assistant JASON WILCOXEN

Promo Extras JESSICA BROWN
DONNA KREAM
Inflatable Crowd Supervisor RICHARD MCINTOSH
Unit Publicist ERNEST MALIK
Art Department Coordinator KELLY RICHARDSON

Senior Set Designers FOREST P. FISCHER
MIKE STASSI
Set Designer DANNY BROWN
Graphic Designers MARTIN CHARLES
LISA YEISER
Leadperson SHANE REED
Set Decorating Buyers MARY M. STACY
VERA SMITH
On-Set Dressers RYAN KUTCH
JOSEPH SORELLE
Gangbosses PAUL MILLER
ANDY RUSK
Set Dressers
MARK D. KEEVER JESSICA LANG
RAHMON ROSE DOUGLAS STANLEY
BURT WELLEFORD
Set Dec Coordinator RON HAMMOND
Baseball Stadium Consultant ERIC PASTORE
Construction Coordinator THEODORE SUCHECKI

General Foreman THOMAS S. HALL
Construction Foreman- Chattanooga TOMMY R. BRUCE, JR.
Construction Foreman- Birmingham CHRISTOPHER FERRIS
Construction Gangbosses
JODY STORCH MARSHAL DAVENPORT
SAMUEL MCGEHEE TREY OLLMAN
WILLIAM S. THOMAS
Metal Foreman MARK NAVE
Lead Scenic ANN STACY
Paint Foremen TODD HAT
GRAHAME MENAGE
KEITH D. SMITH
Paint Gangbosses SANDRA J. COOK-LITHERLAND
TRACY TURNER
Scenic Painters JASON JACKSON
CAARA STONEY
TAKASHI TAKEMURA
Paint Utility EMILIA VRATTOS
Standby Painter CHRISTOPHER AMERSON
Key Greensman JERRY WEST
Greens Foreman CHARLES A. MADDOX
Greensmen REUBEN ALFORD
PAUL PERKINS
KEVIN ROWLAND
Strike Foreman TONY KUPERSMITH
42 7AB P/7
TITLE
Construction Buyer LAUREN ASHLY SUCHECKI

Supervising Set Medic DERRON DELANEY
Set Medics
BOBBY LEE BURKS, JR. BILLY DEACON
SABRINA S. JACKSON THERESA KHOURI
STACY PRATER
Caterer MARIO’S CATERING

MARIO GONZALEZ
EDGAR ADAM GONZALEZ
Chef ARTURO PADILLA
Key Craft Service STEPHANIE BEMAN
Craft Service Assistants BRITNEY LOZANO
REMINGTON STEELE
Background Catering MIKE MAXWELL AND COMPANY
MIKE MAXWELL
Background Key Craft Service ELIZABETH MAXWELL
Transportation Coordinator ROBERT FOSTER, JR.

Transportation Captain CINDI L. RANDALL
Transportation Captain- Birmingham JIMMIE D. BRADFORD
Transportation Captain- Chattanooga STEVE MOFFITT
Co-Captains WAYNE R. SHORT
DEBORAH D. BOWDEN
Dispatcher ROB VERDERY
Picture Car Coordinator DAVID CARLTON WHITE
Picture Car Captain NATHAN MAY
DOT Compliance CLINT FUMANTI
Assistant to Mr. Helgeland IAN HELGELAND

Assistants to Mr. Tull JENNIFER PRESTON
REBEKAH STURM
Assistants to Mr. Cook CYNDY PAYO
ANDREA F. TORRES
Assistant to Mr. Jashni AMANDA SIFUENTES
Assistant to Mr. Clark JOSEPH J. MICUCCI
Assistant to Ms. Zaks CAITLIN CHASSAING
Assistant to Mr. Graf STACIE MCKINNON
Assistant to Mr. Ford COBY GREENBERG
Baseball Trainer- Los Angeles DENNIS REITZ

Baseball Trainer to Mr. Boseman DAVID IDEN
Physical Trainer- Los Angeles PHIL CARLSON
Baseball Coaches- Atlanta PETER J. SMITH
BRADLEY C. BOURAS
Athletic Trainer IRELIAM GUADALUPE
Jackie Robinson Stand In TREY JACKSON

Rachel Robinson Stand In KENDRA BARECE
Branch Rickey Stand In ERIK THRISK
Utility Stand Ins CHRIS FINLEY
COREY BURKES
42 7AB P/8
TITLE
Key Production Assistant DAVID M. CHAMPION

Production Assistants
TAMMY AUERBACH PHILIP BANKS SEAN BRITTS
LAURIE BOOKHARDT JAMES CROAK DANIEL HELMS
DANIELLE KING MATTHEW MAYER LES MORGAN
ELIZABETH NOURI WALKER OLESEN DAVID OSTER
RONALD JAMES SEVERTSGAARD STEPHEN STUMBERG GEORGIA THOMPSON
MATT TRAYLOR DANIEL VEST
DGA Trainee EMMA BARBER
Animals Provided by ATLANTA DOGWORKS ANIMAL TALENT

Rights and Clearances by ENTERTAINMENT ANCES, INC.
CASSANDRA BARBOUR
LAURA SEVIER
Re-Recording Mixers
JEFFREY J. HABOUSH
CHRIS CARPENTER
Supervising Sound Editor JON JOHNSON

Dialogue Supervising Sound Editor DARREN KING
Dialogue Editor KIMBERLY DRUMMOND
Sound Effects and Design Editor YANN DELPUECH
Sound Effects Editor SHAUGHNESSY HARE
Foley Editor MIGUEL RIVERA
Foley Editor/Assistant Sound Editor BRAD SOKOL
Assistant Sound Editor JON GREASLEY
Re-Recordist FRED W. PECK III
ADR Coordinator KAREN DEAN
Los Angeles ADR Mixer JOHN T. GRAVES
New York ADR Mixers BILL HIGLEY
MARK DESIMONE
ADR Voice Casting CAITLIN MCKENNA
Foley Artists GORO KOYAMA
ANDY MALCOLM
Foley Re-Recording Mixers DON WHITE
JACK HEEREN
IAN RANKIN
Foley Recordists JENNA DALLA RIVA
STEPHEN MUIR
Foley Assistant SANDRA FOX
Re-Recorded at SONY PICTURES STUDIOS
WILLIAM HOLDEN THEATER
Sound Design and Editorial by KING SOUNDWORKS
Foley Recorded at FOOTSTEPS POST PRODUCTION
SOUND, INC
Visual Effects Coordinator STACY OLIVER

Visual Effects Set Coordinator WESLEY BARKER
Set Scanner JOHN M. SCHMIDT
42 7AB P/9
TITLE
Visual Effects Production Assistant ASHLEY SILOAC

Pre Viz Artists TOM BRUNO
MONTY GRANITO
RANKO TADIC
Associate Music Supervisor ALISON LITTON

Orchestrations by BRAD DECHTER
Additional Orchestrations GREG BALLINGER
TIM SIMONEC
Music Preparation by MARK GRAHAM
JOANN KANE MUSIC SERVICES
Score Recorded at ABBEY ROAD STUDIOS
Recording Engineer PETER COBBIN
Pro Tools Recordist LEWIS JONES
Assistant Engineer MATT JONES
Score Mixed by DENNIS SANDS
Mix Assistant ADAM OLMSTED
Orchestra Contracted by ISOBEL GRIFFITHS
Assistant Orchestra Contractor LUCY WHALLEY
Orchestra Leader EVERTON NELSON
Trumpet Solos PHILLIP COBB
Piano Solos MARK ISHAM
Conductor ROBERT ZIEGLER
Librarian JILL STREATER
GLOBAL MUSIC SERVICE
Session Prerecords TYLER PARKINSON
Assistant to Mark Isham ALLISON GEATCHES
SECOND UNIT
Director of Photography
MICHAEL BURGESS
First Assistant Director
JOHN G. SCOTTI
Second Assistant Director
CHRISTOPHER T. SADLER
A Camera OperatorBOB M. SCOTT
First Assistant A Camera
LEE BLASINGAME
Second Assistant A Camera ROSS DAVIS
Digital Imaging Technician
JONATHAN CARBONARO
ALAN M. GITLIN
Sound Mixers TODD RUSSELL
GLEN TREW
Boom Operators KEVIN CERCHIAI
MARK ZIMBICKI
Video Assist Operator JOHN TRUNK
Script Supervisor LISA MCNEIL
Chief Lighting Technician STEVE ZIGLER
Assistant Chief Lighting Technician GARLAND GALLASPY
Key Grip JEFF HOWERY
Best Boy Grip JIM GORDON
Dolly Grip FRED COOPER
Grips
HOWARD FOX VINCENT MAURICE HARRISON JIMMY HENDRIX
EVAN HURST CHRISTOPHER JOHNSON BRUCE MOBLEY
42 7AB P/10
TITLE
GEOFF PAGE SCOTT PHELPS KELLY B. PRICE

MIKE RODIA JACOB ROSS CHRIS VARCONIE
Second Second Assistant Director BEN WHITE
Production Assistants ETHAN D. FIRESTONE
MICHAEL A. FRY
MANDY HUGHES
BRAHEEIM ROBERTS
NEW YORK UNIT
Art Director CHARLES E. MCCARRY

Set Decorator DAVID SCHLESINGER
B Camera First Assistant Camera GLENN KAPLAN
B Camera Second Assistant Camera JEFF PINETTE
Sound Mixer FELIX ANDREW
Boom Operator NEIL DANZIGER
Sound Utility GRAHAM GARDNER
Video Assist Operator DEVIN DONEGAN
Gaffer JOE GRIMALDI
Best Boy Electric MICHAEL J. MAURER
Extras Casting GRANT WILFLEY CASTING
Extras Casting Associate ALLISON HALL
Key Grip KEVIN W. LOWRY
Best Boy Grip PAUL CANDRILLI
Dolly Grip JOHN GATLAND
Makeup Artist CARLA WHITE
Hairstylists MILTON BURAS
J. FERRARA
JOHN QUAGLIA
WERNER SCHERER
Assistant Costume Designer SUE GANDY
Costume Supervisors MJ MCGRATH
THOMAS STOKES
Propmaster/Picture Car Coordinator KATIE CLINEBELLE
Production Coordinator BETSY ALTON
Assistant Production Coordinator MATTHEW F. PRESTON
Payroll Accountant SARA LANE
Location Manager DAVID VELASCO
Transportation Captain DENNIS SALOMONE
Leadman DICK TICE
Construction Coordinator PETER BUNDRICK
Key Carpenter JOSEPH KATTON
Lead Scenic ALEX GORODETSKY
Key Second Assistant Director MATT LAKE
Set Medic ADAM LEVY
Caterer MOVIELAND CATERING
ALLAN STERNS
Craft Service WILSON RIVAS COMPANY
Visual Effects By
HAMMERHEAD PRODUCTIONS
42 7AB P/11
TITLE
Visual Effects Supervisor Justin Other Jones

Co-Visual Effects Supervisor Seungyong Lee
Visual Effects Producer Michelle Eisenreich
Visual Effects Line Producer Shin Nam
Visual Effects Executive Producers Dan Chuba
Youngki Lee
Compositors
Rob Cribbett Tommy Tran Caitlin Content
Jon Doyle Linda Tremblay Rob Blue
Shira Mandel Daniel Mellitz Brady Doyle
Minhee Lee Wondae Seo Minyoung Choi
Sejung Kim Kyungjin Lee Changhee Jung
Sunho Hwang
Crowd System Development Michael T. Kennedy
CG Supervisor Jason Yanofsky
3D Artists
Hector De La Torre Jeabum Park
Derick Dressel Chris Blazick
FX Artist Eric Mancha
Digital Matte Painting Supervisor Rebecca Marie
Digital Matte Painters
Sameer Shah Brandon Gonzales
Erin Kanoa Ethan Ayer
Tracking Supervisor Candida Nunez
Tracking Artists
Michael Ramirez Paul Hopkins
Hyunseung Yu Hyunwook Kim
Seonkyung Kim Sihyun Bang
Rotoscope Artists Deborah Hiner
Teddy Susanto
Budi Setyawan
Visual Effects Coordinator Kelly Rae Green
Visual Effects Assistant Coordinator Isaac Lipstadt
System Administrator Derek Zavada
I/O Angella Szynkowski
Production Assistants Samuel Cornwell
Katrina Kim
Visual Effects By
SHADE FX
Visual Effects Supervisor Bryan Godwin
Visual Effects Producer David Van Dyke
Compositing Sequence Supervisor Harimander Singh Khalsa
Digital Effects Producer Shane Strickman
Technical Support John Riddle
Visual Effects Coordinator Ryan Andersen
Compositors
Kyle Gray Joseph A. Spano III
Charles Baden Rohini Montenegro
Nicholas HIegel Ryan J. Quinlan
Russell Fell
Lead CG Lighting Artist Gabriel Vargas
42 7AB P/12
TITLE
Rotoscoping Neiko Nagy

Daniel A. Flores
Digital Artist Andrew Pellicer
Additional Visual Effects By

Avery FX, Inc.
Digital Intermediate Services provided by

LIGHT IRON
DI Colorist
CORINNE BOGDANOWICZ
DI Producer
DES CAREY
DI Editor
MATT BLACKSHEAR
DI Finishing Artist
MONIQUE EISSING
DI Management
MICHAEL CIONI PETER CIONI
KATIE FELLION PAUL GEFFRE
DI Assistants PAUL REHDER
RYAN MCKEAGUE
Outpost Engineers AARON KROGER
CHRIS PEARISO
NICK LAREAU
High Definition Color Correction ZACHARY DAVID MEDOW
Titles Designed by PIC
PAMELA GREEN JARIK VAN SLUIJS JARRED BUCK
JOSEPH DENK PHOEBE UPKE ALEXANDRA USECHE
HYUNMIN BAE ARPINE ALEXANIAN
Opticals by OUTBACK POST
RON BARR
End Crawl by SCARLET LETTERS
Lab Color Timer HARRY MULLER
Camera Equipment By West Coast Camera Rentals
Camera Dollies By Chapman / Leonard Studio Equipment,
Inc.
SONGS
“Good Rockin’ Tonight” “Shame On You”

Written Roy Brown Written by Donnell Clyde Cooley, Jr.
Performed by Wynonie Harris Performed by Spade Cooley
Courtesy of Gusto Records, Inc. Courtesy of Sony Music Entertainment
By arrangement with Sony Music Licensing
“Moon Glow” “Begin The Beguine”

Written by Irving Mills, Will Hudson and Edgar De Written by Cole Porter
Lange Performed by Melora Hardin
Performed by Artie Shaw & His Orchestra Courtesy of Hollywood Records, Inc.
Courtesy of Bluebird/Novus/RCA Victor
“Be Honest With Me” “Star Spangled Banner”

Written by Gene Autry and Fred Rose Written by Francis Scott Key
Performed by Gene Autry Performed by The United States Coast Guard Band
Courtesy of Columbia Records Courtesy of Altissimo! Recordings
42 7AB P/13
TITLE
By arrangement with Sony Music Licensing By arrangement with Naxos and Source/Q
“Lover Man (Oh, Where Can You Be?)” “Panama”

Written by James Davis, Roger Ramirez, Jimmy Written by Ernesto Lecuona
Sherman Performed by The Lecuona Cuban Boys
Performed by Billie Holiday Courtesy of YOYO MUSIC S.A.
Courtesy of The Verve Music Group under license
from Universal Music Enterprises
“Masabi” “Moonlight Memories”

Written by Roberto Ravelo Fiol Written by Tom McGowan
Performed by Alberto Socarrás Y Su Orquesta Courtesy of 5 Alarm Music
Cubanacan
Courtesy of Columbia Records
"Rose of Tralee" “The Star Spangled Banner”

Written by Charles William Glover Written by Francis Scott Key
Performed by Thomas Helgeland
“Take Me Out To The Ballgame” “Straighten Up And Fly Right”

Written by Albert Von Tilzer and Jack Norworth Written by Nat King Cole and Irving Mills
Performed by Ed Alstrom Performed by Nat King Cole Trio
Courtesy of King Cole Productions/Capitol Records
Under license from EMI Film & Television Music
“The Sidewalks Of New York” “Don’t Get Around Much Anymore”

Written by Charles B. Lawlor and James Blake Written by Duke Ellington and Bob Russell
Performed by Ed Alstrom Performed by Duke Ellington
Courtesy of Columbia Records
“I’m Gonna Move To The Outskirts Of Town” “Move It On Over”

Written by Roy Jordan, William Westley Weldon Written and performed by Hank Williams
Performed by Louis Jordan & His Tympany Five Courtesy of Mercury Nashville Records under license from Universal
Courtesy of Geffen Records under license from Music Enterprises
Universal Music Enterprises
“The Ball Game” “Did You See Jackie Robinson Hit That Ball?”
Written and performed by Sister Wynona Carr Written by Buddy Johnson
Courtesy of Concord Music Group, Inc. Performed by Count Basie
Courtesy of Bluebird/Novus/RCA Victor
The Producers Wish to Thank
Mrs. Rachel Robinson
Marty Edelman
Hank Aaron
Joe Morgan
42 7AB P/14
TITLE
Derek Jeter
The Jackie Robinson Foundation

Rachel Robinson – Founder
Della Britton Baeza – President & CEO
LaTonya F. Johnson – Vice President & COO
Allison J. Davis – Director of Communications
Damian Travier – Director, Education and Leadership Development
The Jackie Robinson Foundation Scholars:

Joel Boyd
Aun’Joli J. Ferguson
Lauryn N. Nwankpa
Neima T. Patterson
Eboni Price
Kendall Putmon
Michael E. Tabb, Jr.
City of Macon, GA
City of Atlanta, GA
This project was completed with assistance from the Georgia Film, Music & Digital Entertainment Office,
a division of the Georgia Department of Economic Development.
Governor, State of Tennessee Bill Haslam

Tennessee Film, Entertainment & Music Commission
Department of Economic and Community Development
Filmed on location in Tennessee
In association with Rivr Media, LLC
City of Birmingham, AL
Friends of Rickwood
The State of Alabama Film Office
Filmed on location in Alabama
Shaw Industries, Inc.

Dickies Clothing
Engel Foundation
Bill Francis, Baseball Hall of Fame
Special thanks to the United States Department of Defense
Photos Courtesy of:

Bettman/Corbis
AP Images/AP Photo
Footage Courtesy of:

The WPA Film Library
Images of War
Historic Films Archive, LLC
F.I.L.M. Archives, Inc.
Getty Images/Archive Films
Rare Sportsfilms, Inc.
42 7AB P/15
TITLE
Corbis Motion
CriticalPast
Special Thanks to Major League Baseball
Major League Baseball Properties Tim Brosnan

Howard Smith
Chris Tully
Associate Producers for Major League Baseball Robin Jaffe

Nick Trotta
Library and Research Advisors Joe Porciello

David Kaufmann
Michael LaManna
Los Angeles Dodgers

Atlanta Braves Cincinnati Reds Philadelphia Phillies
Pittsburgh Pirates St. Louis Cardinals San Francisco Giants
Special Thanks to Major League Baseball Licensees and Sponsors
The Major League Baseball trademarks and footage depicted in this motion picture were licensed with
permission of Major League Baseball Properties, Inc. and MLB Advanced Media, LP.
All rights reserved.
MLB MLB Production

(logo) (logo)
Prints by FILMED WITH

TECHNICOLOR RED CAMERA
(logo) (logo)
DOLBY ® DIGITAL SONY DYNAMIC DIGITAL SOUNDTM DATASAT

(logo) (logo) (logo)
MPAA # 48134 (IATSE LABEL)

(logo) (logo)
Soundtrack Album on WATERTOWER MUSIC

(logo)
Georgia
(logo)
Dialogue and certain elements of the film have been dramatized.
This motion picture

© LEGEND PICTURES, LLC
42 7AB P/16
TITLE
Story and Screenplay

© LEGEND PICTURES, LLC
Original Score
© 2013 WARNER-BARHAM MUSIC, LLC
All material is protected by Copyright Laws of the United States and all countries throughout the
world. All rights reserved. Country of First Publication: United States of America. Warner Bros. and
Legend Pictures, LLC are the authors of this motion picture for purposes of copyright and other
laws. Any unauthorized exhibition, distribution or copying of this film or any part thereof (including
soundtrack) is an infringement of the relevant copyright and will subject the infringer to severe civil and
criminal penalties.
In Memory of Richard Fowkes
FADE OUT.
CREDIT ROLL-UP ENDS.

1608-01

1609-14
FADE IN:
SCENE 113 - WARNER BROS.

DISTRIBUTION CLOSING
CLOUD SHIELD LOGO.
Distributed by
(logo)
A TimeWarner Company
1617-01
FADE OUT.

1624-06
EXHIBITION REEL FOOTAGE: 1612-07
END OF REEL 7AB
END OF FILM

Combined Continuity & Master English Spotting/Subtitle List

Загружено:

Сведения о документе

Оригинальное название

Авторское право

Доступные форматы

Поделиться этим документом

Поделиться или встроить документ

Параметры публикации

Этот документ был вам полезен?

Это неприемлемый материал?

Авторское право:

Доступные форматы

Combined Continuity & Master English Spotting/Subtitle List

Загружено:

Авторское право:

Доступные форматы

Warner Bros.

Combined Continuity & Master English Spotting/Subtitle List

Reel 1AB 1560-15 Reel 2AB 1844-14

Total Number of Reels: 7 (2,000 Ft.)

START MEASURING 0.00 AT START MARK LABORATORY: 0.00 AT START MARK

77.06 = 2ND SCENE END

89.02 = 4TH SCENE END

SCENE 3 - BLACK FRAMES.

SCENE 4 - ANIMATED LEGENDARY

MT #1 POPS IN: (over above bg.)

WARNER BROS. PICTURES

SMITH 1-1 69.01 76.01 7.00 SMITH TO AUDIENCE) (voice over)

NEWS ANNOUNCER 1 1-2 79.07 83.06/ 3.15 NEWS ANNOUNCER 1 TO GROUP)

ARCHIVAL FOOTAGE SEQUENCE ENDS.

SCENE 9 - BLACK BACKGROUND/MAIN

SMITH (Note that this was Jackie Robinson's

SCENE 11 - ARCHIVAL FOOTAGE

SCENE 12 - MS - SEVERAL AMERICAN

SCENE 13 - NEWSPAPER GRAPHIC - A

continues under following scenes and

THE HEADLINE OF THE NEWSPAPER

SCENE 14 - MCS - A CROWD OF

ONE OF THE CIVILIANS HOLDS UP A

SMITH 1-6 /98.09 105.01 6.08 SMITH TO AUDIENCE) (voice over)

SCENE 17 - MCS - A RETURNED SAILOR,

SCENE 18 - MS - SOME CELEBRATING

SCENE 19 - MCS - FOOTAGE OF STANLEY

SMITH 1-7 105.05 110.00/ 4.11 SMITH TO AUDIENCE) (voice over)

SCENE 21 - MCS - FOOTAGE OF

under following scenes and dialogue)

SCENE 22 - MS - FOUR BASEBALL

SMITH 1-8 /110.08 114.03/ 3.11 SMITH TO AUDIENCE) (voice over)

SCENE 24 - MS - A YOUNG BOY, PLAYING

LOU COSTELLO 1-9 /114.07 116.06 1.15 LOU COSTELLO ON TV

SCENE 26 - MCS - TELEVISION FOOTAGE

BUD ABBOTT 1-11 118.10 120.10 2.00 BUD ABBOTT ON TV

1-12 120.14 122.12/ 1.14 BUD ABBOTT ON TV

SCENE 28 - FS - FOOTAGE OF A LARGE,

SMITH 1-13 /123.00 128.07/ 5.07 SMITH TO AUDIENCE) (voice over)

SCENE 29 - LS - HIGH ANGLE - FOOTAGE

SCENE 30 - NEWSPAPER BOX SCORE

SMITH 1-14 /128.11 132.12 4.01 SMITH TO AUDIENCE) (voice over)

SCENE 31 - INT. OFFICE - DAY - MCS -

SMITH 1-15 133.00 137.00 4.00 SMITH TO AUDIENCE) (voice over)

how you voted or the color of your skin.

SCENE 32 - ARCHIVAL FOOTAGE

CROWD AT BASEBALL GAME

following scenes and dialogue)

SMITH 1-17 141.12 146.06/ 4.10 SMITH TO AUDIENCE) (voice over)

SCENE 34 - FS - HIGH ANGLE - THE

SCENE 35 - FS - HIGH ANGLE - A PLAYER

SCENE 36 - LS - HIGH ANGLE - THE

SCENE 37 - MCS - LOW ANGLE - A

SMITH 1-20 152.15 157.12/ 4.13 SMITH TO AUDIENCE) (voice over)

SCENE 40 - MS - THE COMMANDER AND

SMITH 1-21 /158.00 162.12 4.12 SMITH TO AUDIENCE) (voice over)

SCENE 42 - MS - HIGH ANGLE - A PARADE

SMITH 1-22 163.00 168.00 5.00 SMITH TO AUDIENCE) (voice over)

SCENE 44 - MS - FOOTAGE OF A SIGN

SCENE 45 - MS - FOOTAGE OF A SIGN

THE SIGN READS:

SCENE 46 - MCS - FOOTAGE OF A THE

SCENE 47 - MFS - FOOTAGE OF SEVERAL