All language subtitles for The.Tenants.2005.1080p.WEBRip.x264-RARBG3_English

[paper crumpling]

[wind howling]

*[record player playing]

[crickets chirping]

[knocking at door]

(Levenspiel)
LESSER,
I KNOW YOU'RE IN THERE.

I HEARD THE TIPPETY-TAP
OF YOUR TYPEWRITER.

YOU KNOW I HAVE NOTHING
BUT THE GREATEST RESPECT
FOR WRITERS.

[knocking on door]

I WANT YOU SHOULD
FINISH YOUR BOOK,
WIN THE NOBEL PRIZE.

[sighing]
LEVENSPIEL.

HAVE MERCY, LESSER.

I--I CAN'T WORK WITH YOU
MAKING THAT FUCKING RACKET.

[knocking on door]

LESSER, LET ME IN.

YOU'RE AS PALE
AS A DEAD FISH, LESSER.

WHAT KIND OF LIFE IS THIS?

I DON'T UNDERSTAND
HOW YOU CAN STAY
IN THIS LOUSY FLAT ALL DAY.

LESSER, PLEASE MOVE OUT

SO I CAN BREAK UP
THIS ROTTEN BUILDING

THAT WEIGHS LIKE A HUNCH
ON MY BACK.

I CAN'T LEAVE
IN THE MIDDLE OF MY BOOK.

IF I DID,
IT WOULD TAKE ME 6 MONTHS
TO GET BACK TO WORK.

YOU DON'T KNOW
WHAT YOU'RE ASKING,
LEVENSPIEL.

LESSER, EVERY OTHER TENANT
HAS SETTLED FOR A $400 BUYOUT.

YOU, I OFFER $1,000 CASH

AND YOU LOOK AT ME
LIKE I HAVE
A SOCIAL DISEASE.

OUTSIDE OF YOUR
$72 MONTHLY RENT,

WHICH ONLY HALF PAYS
FOR THE OIL YOU USE,

I HAVE NO OTHER INCOME
COMING IN FROM THIS PLACE.

SO IF YOU'RE REALLY A MAN,
LESSER, A HUMAN BEING,

PLEASE UNDERSTAND
MY SITUATION.

LEVENSPIEL, I'M LISTENING.
I'VE WORKED HARD.

I--I, UH,
I-I'M GONNA FINISH SOON.

JUST, PLEASE,
HAVE SOME PATIENCE WITH ME.

MY LAST BOOK, FOR REASONS
I--I WON'T GO INTO,

WAS A-- WAS A BOMB.

I NEED TO REDEEM MYSELF
IN MY OWN EYES.

ONCE I HIT IT RIGHT,
THE BOOK WILL BE
OFF MY CHEST AND YOUR BACK

AND I'LL LEAVE OVERNIGHT.
NOW, GO AWAY,
FOR CHRIST SAKES.

YOU'RE EATING UP
MY WRITING TIME.

LET ME WORK IN PEACE.
JUST GO. GO.

FUCK YOUR BOOK!

MARK MY WORDS, LESSER.
IN THIS WORLD,
IT'S THE HEART THAT COUNTS.

[typewriter bell dings]

[typewriter clicking]

[sighs]

[typewriter bell dings]

[typewriter
continues clicking]

[door creaking]

[typewriter bell dings]

[typewriter clicking]

[wind howling]

[typewriter clicking]

[typewriter clicking]

[door creaking]

[typewriter clicking]

[birds twittering]

HEY, MAN,
DON'T YOU SEE ME
WRITING ON MY BOOK?

I'M--I'M--I'M SORRY.
I'M--I'M A WRITER MYSELF.

I LIVE ALONE
IN THIS BUILDING,
ALONE ON THIS FLOOR.

UH, I'M--I'M WRITING
A BOOK MYSELF.

BABY, IT'S A LONG,
HARD, LONELY LIFE.

BUT DIG THIS.

FROM NOW ON, I'LL BE HERE
WRITING ON MY BOOK DAILY.

YOU MEAN,
LEVENSPIEL IS LETTING YOU?

[snickering]
AND WHICH CAT IS THAT?

HE OWNS THE BUILDING.
HAVEN'T YOU MET HIM?

D-DIDN'T HE TELL YOU,
YOU COULD WORK HERE?

LOOK, MAN,
I AIN'T INTERESTED
IN NO JEW LANDLORD.

I WAS JUST
LOOKING FOR A PLACE
TO FINISH WRITING MY BOOK,

AND, HEY, I ENDED UP HERE.

WHAT SORT OF WRITING
DO YOU DO,
IF YOU DON'T MIND ME ASKING?

NOW THAT'S
A PERSONAL QUESTION.

AND WHAT I'M WRITIN',
IT'S MY PERSONAL BUSINESS.

NO, ALL I MEANT WAS,
OUT OF CURIOSITY,

ARE YOU WRITING FICTION,
PROSE, UH, SHORT STORIES,
OR WHAT?

IT MIGHT BE FICTION.

BUT NONETHELESS, IT'S REAL.

NOBODY SAID IT WASN'T.

HARRY.
HARRY LESSER'S MY NAME.

WILLIE SPEARMINT.

[typewriter clicking]

WELL, SORRY
FOR THE INTERRUPTION.

I'D BETTER BE GETTING
BACK TO MY OWN BOOK.

MY 3RD NOVEL.

(Lesser)
IT WAS A SURPRISE TO FIND
SOMEBODY ELSE UP HERE TYPING.

I--I--I THOUGHT FOR A SECOND
I WAS GOING CRAZY. I...

(Lesser)
I'D GOTTEN USED TO BEING
THE ONLY MAN ON THE ISLAND.

SORRY AGAIN. I--I HATE
INTERRUPTIONS MYSELF.
BUT IF YOU--YOU NEED ANYTHING,

I'M GENERALLY FREE
IN THE LATE AFTERNOONS,
LIKE, YOU KNOW, 5:00, 5:30.

YOU KNOW WHAT?
MAKE IT 6:00. 6:00 IS...

6:00 IS BETTER.

[typewriter clicking]

[knocking at door]

[sighs]

SAY, MAN,
CAN I LEAVE THIS HERE
UNTIL THE MORNING?

I DON'T WANT NOBODY
TO STEAL IT
OUT OF MY OFFICE.

I'VE BEEN HIDING IT
IN THE CLOSET,

BUT, UH, THAT AIN'T
LIKE HIDING IF YOU CAN DIG
WHAT I'M SAYING.

ARE YOU, UH,
YOU THROUGH FOR THE DAY?

WHAT'S IT TO YOU?

NOTHING.
I JUST THOUGHT I'D ASK.

I WORK FROM LIKE, UH,
8:00 TO 12:00.

4 SOLID HOURS
AND THEN I'M OUT.

OH.

MAN, I'LL TELL YOU,
THIS WRITING STUFF IS NO JOKE.

HOW LONG YOU GO FOR?

ABOUT 6 HOURS A DAY.
SOMETIMES MORE.

WHAT ABOUT YOUR MANUSCRIPT?

YOU COULD LEAVE IT HERE.

NEEDLESS TO SAY,
I WOULD RESPECT YOUR PRIVACY.

NO, SIR.

THIS STAYS WITH PAPA.

YEAH, I UNDERSTAND.

ABOUT WHAT TIME
WILL YOU BE COMING
FOR THE MACHINE?

HMM, LIKE 8:00 OR 9:00.

BUT IF I MISS A DAY,
DON'T EVEN SWEAT IT.

WELL, I'M--I'M UP BY THEN,
EXCEPT SUNDAYS.

SUNDAYS
I'M FLIPPING MY GIRL.
MMM-HMM.

WELL, I ENVY YOU THAT.

NO NEED, MAN.
THERE'S MEAT ALL AROUND.

THE WOMEN I MEET GENERALLY
WANNA GET MARRIED.

STAY AWAY FROM THAT TYPE.

HEY, LESSER. IS IT COOL
IF I LEAVE MY TYPEWRITER
UNDER THE TABLE RIGHT HERE?

[sighs]

MAN, OH, MAN, LESSER,
THIS IS A GROOVY APARTMENT.

YEAH.

I MADE SOME MONEY
ON A MOVIE SALE
ABOUT 8 YEARS AGO.

I TOOK IT ALL
IN DEFERRED PAYMENTS.

I'VE DONE FINE TILL NOW.

SHIT, LES.

IF I HAD THAT KIND OF BREAD,
I'D BE KING OF SHIT MOUNTAIN.

WHAT ARE YOU GONNA DO
WHEN IT'S ALL GONE?

WELL, IT'S ALMOST
ALL GONE NOW.

BUT MY BOOK WILL BE FINISHED
BY THE SUMMER.

THE ADVANCE ON THAT
SHOULD CARRY ME

ANOTHER 2, 3 YEARS
TILL THE NEXT ONE.

IT TAKE YOU THAT LONG
TO WRITE A BOOK? 3 YEARS?

LONGER.

I'M A-- I'M A SLOW WRITER.

BABY, YOU BETTER PUT THE PEDAL
TO THE METAL.

RACHMANINOFF.

BERLIOZ. SCHUMANN.

YEAH, BE C-C-CAREFUL
WITH THOSE.

THOSE ARE-- THOSE ARE
PRETTY EXPENSIVE.

NOW, WHAT'S THIS GIRL
TO YOU?

OH, SHE'S REAL.

SHE TALKS TO ME.

TALKIN' AIN'T TELLIN'.

ARE YOU AN EXPERT
ON THE BLACK EXPERIENCE?

I'M AN EXPERT AT WRITING.

GOOD.

'CAUSE I HATE ALL THAT
BLACK LIKE ME BULLSHIT.

WHITE FOLKS TRYING TO TELL ME
WHAT IT'S LIKE TO BE BLACK.

NICE CRIB, LESSER.

WE MIGHT HAVE TO THROW
A PARTY IN HERE.

NOT THIS WEEK. MAYBE NEXT.

SAY, BABY,
LET'S JUST HAVE
A GOOD TIME TONIGHT.

AIN'T NO NEED FOR YOU
TO BE FROWNING DOWN
LIKE THAT.

*[music playing]
COME ON, GIRL.
STOP BEING SO UPTIGHT.

PUT A SMILE ON YOUR FACE.

YOU'RE TOO BEAUTIFUL
FOR THAT.

SAY, LESSER.
WHAT'S HAPPENING, BABY?

COME ON, BABY, COME ON.

(Willie)
HOW YOU DOING THIS EVENING?

MARY KETTLESMITH.

SAM.

WILLIE'S WHITE CHICK.

SAY, LESSER, I WOULD HAVE
BROUGHT MORE PEOPLE,

BUT IT'S COLD
AS FUCK OUTSIDE

AND YOU KNOW BLACK PEOPLE
DON'T DO WELL
IN THOSE CONDITIONS.

(Willie)
SAY, LESSER, MAN,

WHAT IS THIS SHIT
YOU LISTENING TO?

THAT'S, UH,
THAT'S--THAT'S MY MUSIC.

I GOT SOME RIGHTEOUSNESS
HERE FOR YOU.

NOT THAT WATERED-DOWN SHIT
YOU'RE USED TO.

[music stops playing]

(Willie)
HMM.

*[ Save Me
by Sitting Room Soul playing]

* PENETRATE, PENETRATE

* PENETRATE, PENETRATE

* PENETRATE, PENETRATE

* PENETRATE, PENETRATE

* AS I LOOK ALL AROUND,
ALL I CAN SEE *

* IS MORE AND MORE PEOPLE
FULL OF GREED *

* THEY HAVE ENOUGH,
YET THEY WANT SOME MORE *

* AND THEY'LL STEAL, DEAL,
OR KILL TO GET SOME MORE *

* AND TAKE YOU AND ME,
WE'RE NOT FREE
OF THIS DISEASE *

* WE GROOVE TO OUR STEP
TO BE CLEAN *

* OH, WE'VE GOT TO LEARN
TO CONTROL OUR DESIRES *

* AND WE HAVE A MESSAGE
FOR OTHERS
WHO DON'T GET SOME *

* PENETRATE, PENETRATE

* PENETRATE, PENETRATE

* PENETRATE, PENETRATE

* PENETRATE, PENETRATE *

YOU KNOW, I ONLY LIVE
A FEW BLOCKS AWAY

ON COURT AND 4TH.

[sighs]

I'M--I'M--I'M SORRY.

THAT'S OK. DON'T WORRY
ABOUT IT, HARRY.

I LIKE YOU JUST FINE.

[sniffing]

YOU SMELL WHITE.

WHAT'S WHITE SMELL LIKE?

NO SMELL AT ALL.

SAY, LESSER,
HAVE A SEAT, MAN.

COME TAKE A HIT OF THIS.

IT'S PART LEBANESE HASHISH.

DON'T SMELL IT, BOY.
SUCK IT IN YOUR GUT.

[coughing]

[laughs]

HERE. GIVE ME THAT.

WHAT'S YOUR BOOK ABOUT?

NOTHING, I GUESS.

IT'S ABOUT THIS GUY
WHO WRITES BECAUSE

HE'S NEVER REALLY
TOLD THE TRUTH

AND HE'S DYING TO.

WHAT'S YOURS ABOUT,
WILLIE?

SHIT. ME.

HOW'S IT COMING?

SMOOTH.

HOW'S YOURS?

SLOW.

SHIT, I'M GONNA WIN
THE FUCKING
NOBEL PEACE PRIZE.

THEY GONNA GIVE ME
A MILLION DOLLARS
IN CASH, BABY.

[chuckling]

AFTER ME, WILLIE.

I'M WRITING MY BEST BOOK.

IT'S A SMALL MASTERPIECE,
THIS BOOK.

THIS BOOK IS GONNA--
IS GONNA GRANT ME

IMMORTALITY.

HARRY LESSER.

I'LL BE REMEMBERED.

[laughing]

PILE ON THE SHIT, MAN.
PILE IT ON.

PILE ON THE COAL
UNTIL YOU SEE THE SMOKE.

YOU CAN HAVE THAT
IMMORTALITY SHIT.

ME, I'M GONNA
SHOVEL UP THE BREAD.

HMM. IT'S ONLY MONEY,
WILLIE.

THAT'S ALL I WANT.
FUCK EVERYTHING ELSE.

NO. ART'S THE GLORY.

ART IS THE GLORY, WILLIE.

ONLY A SCHMUCK
THINKS OTHERWISE.

SAY, LESSER, DON'T BUG ME
WITH THAT JEW WORD.

I KNOW
WHAT YOU'RE THINKING ABOUT.

DON'T THINK I DON'T.

MY BOOK WILL BE DYNAMITE.

AND I'M GONNA DROP IT
ON THE FIRST WHITE PRICK
I SEE.

[inhaling]

[gagging]

[exhaling]

FUCK OFF.

I'M WILLIE'S GIRL.

SORRY.

YOU BITE YOUR NAILS?

YES.

MY REAL NAME IS BELINSKY,
NOT BELL,

AND I'VE BEEN WILLIE'S GIRL
FOR 2 YEARS.

ANYTHING ELSE
YOU WANNA KNOW?

WHAT'S YOUR BOOK ABOUT,
LESSER?

LOVE.

WHAT DO YOU KNOW
ABOUT LOVE?

SAY, LESSER, MAN, COOL IT.

DON'T GO PULLING
THAT APE SHIT ON ME.

SAY, LESSER,
THANKS FOR THE GOOD TIME
TONIGHT, BABY.

WE GROOVE ON ART.
YOU MY MAN.

MY FAVORITE MAN.

WE'RE GONNA BE
REAL TIGHT, BABY.

[typewriter clicking]

[Willie typing]

[door opening]

SAY, LES,
LET ME PULL YOUR COAT
ABOUT SOMETHING, MAN.

WILLIE, I KNOW.
I'M SO SORRY
ABOUT LAST NIGHT.

IT WAS THE HASHISH.
I WAS STONED.

I--I--I--I WASN'T MYSELF.
I, UM-- I'M SORRY.

I WAS THINKING I COULD LEAVE
MY MANUSCRIPT HERE TONIGHT.

SURE.

SURE. NO...
DON'T--DON'T WORRY
ABOUT ANYBODY READING IT.

YOU HAVE MY WORD ON THAT.

LOOK. I'M ASKING YOU
TO READ IT.

I SAT IN MY OFFICE TODAY,
READING OVER MY BOOK.

I GOT A FUNNY FEELING
I FELL OFF TRACK
SOME-FUCKING-WHERE.

I DON'T KNOW WHY,
WHERE, OR WHEN.

ALL I KNOW IS THAT
MY VISION GOT BLURRED UP.

YOU NEED SOME DISTANCE,
WILLIE.

JUST WALK AWAY FROM IT
FOR A MINUTE.

MAN, I TRIED
THAT BULLSHIT ALREADY.

YOU CAN SAVE ME
A LOT OF WORRY
AND A LOT OF TROUBLE

IF YOU TELL ME
WHERE I WENT WRONG.

YOU WANT ME
TO READ YOUR MANUSCRIPT?

NOBODY ELSE I KNOW
HAS 2 NOVELS PUBLISHED.

I WILL IF YOU REALLY
WANT ME TO.

NOW, WOULD I BE ASKING YOU
IF I DIDN'T WANT YOU TO?

[knocking at door]

WILLIE.

I'M, UH,

I'M READY TO TALK ABOUT IT
WHENEVER YOU ARE.

I THANK YOU, LESSER,
FOR READING IT.

DRINK?

LET'S CUT
THE PRELIMINARY BULLSHIT,
LESSER,

AND GET RIGHT DOWN TO IT.

LOOK, WILLIE.

YOU ASKED ME
TO READ YOUR BOOK.

IF YOU THINK
YOU'RE GONNA BE UPTIGHT
ABOUT WHAT I SAY,

THEN MAYBE WE OUGHT TO
CALL IT OFF RIGHT NOW.

I AM UPTIGHT, MAN,

BECAUSE THAT'S MY NATURE,
AS WELL AS
MY PERSONAL PRIVILEGE.

WELL, I GOT MY OWN NATURE
TO CONSIDER,

AND IT LIKES
TO LIVE IN PEACE.

ALL I'M SAYING IS
IF WE CAN'T HAVE
A REASONABLE TALK

THEN LET'S JUST FORGET IT.

I'VE BEEN ON MY BOOK
FOR YEARS AND FINALLY
WANNA GET IT DONE.

AND FOR THAT,
I NEED PEACE AND QUIET.

THAT'S WHY
I LIKE IT UP HERE.

NO SERIOUS DISTURBANCES.

INSTEAD OF PREACHING
TO ME, LESSER,

YOU NEED TO GET OFF
YOUR WHITE ASS
AND SPEAK YOUR TRUE PIECE.

I DON'T WANT YOU
TO BULLSHIT WITH ME,

NOR DO I WANNA
ARGUE WITH YOU.

I HEARTILY AGREE.

[sighs]

WILLIE, WHAT CAN I
TELL YOU?

I MEAN,
WHAT CAN I SAY TO A MAN

WHO HAS SEEN THE THINGS
THAT YOU HAVE SEEN.

FIRST OFF,
THERE'S NO QUESTION
THAT YOU'RE A WRITER.

BOTH PARTS OF THE BOOK,
THE AUTOBIOGRAPHY
AND THE STORY,

BOTH STRONG AND MOVING.

I ESPECIALLY
LIKE THE LAST STORY,

"I WRITE FOR BLACK FREEDOM,"

THE ONE ABOUT, UH, EPHRAIM,
HARRY, AND THE WHITE GIRL.

STUNNING.

WHATEVER THE WRITING LACKS,
THERE'S OBVIOUSLY

A TALENT AT WORK HERE.

OH, COME ON NOW, LESSER.
WHO YOU TALKIN' TO?

YOU AIN'T TELLIN' ME NOTHIN'.

GET DOWN TO THE COLD
SHIT TRUTH OF IT ALL.

OK, WILLIE.

THE TRUTH IS
THE BOOK IS GOOD
BUT IT COULD BE BETTER.

I TOLD YOU THAT MYSELF.

NOW TELL ME
WHAT I REALLY ASKED YOU.

WHERE DID I STEER OFF TRACK?

UM, I--I WOULD SAY
THAT THE--THE FORM
OF THE WHOLE

REALLY ISN'T SUFFICIENT.

THERE'S A-- THERE'S A
FLAWED QUALITY,
WHICH YOU CALL BLURRED

THAT GIVES IT THAT--
THAT SHIFTING EFFECT
THAT SEEMS TO BOTHER YOU.

LESSER.

I'M GONNA SHOW YOU
HOW COMPLETELY

FULL OF SHIT YOU ARE
IN WHAT YOU JUST SAID.

FIRST OFF,
THE WAY YOU CLASSIFY
MY WORK, DEAD WRONG.

THE PART YOU CALL
AUTOBIOGRAPHY, MADE UP.

I MADE THE SHIT UP.
IT'S PURE FICTION.

I MADE IT UP
AS I WAS GOING ALONG.

THE GUY NARRATING?
THAT AIN'T ME.

SHIT, I WAS BORN IN HARLEM,
129TH STREET.

THEN I MOVED TO BED-STUY
WITH MY MA
WHEN I WAS 6 YEARS OLD.

THE CLOSEST
I'VE BEEN DOWN SOUTH
WAS SWIMMING AT CONEY ISLAND.

I NEVER LIVED IN DETROIT,
MICHIGAN,

DESPITE MY FATHER DID
FOR 3 YEARS

WORKING AT A SHITTY JOB
CLEANING OUT TOILETS.

ON THE OTHER HAND,
THE 4 SHORT STORIES
THAT I WROTE,

THAT SHIT WAS REAL.

IT'S ABOUT BROTHERS LIKE ME
THAT LIVE A HARD LIFE.

THEY GOT TO DEAL
WITH REDNECK MOTHERFUCKERS
LIKE YOURSELF EVERY DAY.

THAT'S THE ONLY AUTOBIOGRAPHY
THIS BOOK HAD TO BRING.

THAT'S IT. END OF STORY.

WELL, THE BOOK HAS THE TONE
OF AN AUTOBIOGRAPHY.

BUT EVEN
IF IT'S PURE FICTION,

THE POINT IS
SOMETHING'S NOT
COMING OFF RIGHT,

OR YOU WOULDN'T HAVE
ASKED ME TO READ IT.

LESSER, HOW CAN YOU BE
SO FUCKIN' SURE
ABOUT WHAT YOU SAY

IF MY BOOK TURNS OUT TO BE
2 DIFFERENT THINGS
THAN YOU THOUGHT?

IN ANY CASE, WE BOTH AGREE
IT NEEDS MORE WORK.

WORK? I WORKED MY ASS OFF
TO THE FLAT BONE.

I'VE WORKED PAST MISERY, MAN.

THIS IS MY 4TH DRAFT.
HOW MANY MORE I GOTTA DO?

MAYBE TRY ONE MORE.

FUCK THAT.

L-LISTEN. I--I... WILLIE,

I-I'VE GOT TO GET BACK
TO MY OWN BOOK NOW.

HEY, LOOK, MAN,
DON'T GIVE ME THAT GRIEF SHIT.

I KNOW HOW YOU FEEL, WILLIE.
I'VE BEEN IN YOUR SHOES.

AIN'T NO WHITE MOTHERFUCKER
BEEN IN MY SHOES.

THIS BOOK IS
ABOUT A BLACK MAN.

WHITE FICTION
IS COMPLETELY DIFFERENT.

YOU DON'T UNDERSTAND
THIS SHIT.

YOU CAN'T TURN
THE BLACK EXPERIENCE
INTO LITERATURE

JUST BY WRITING IT DOWN.

BLACK FICTION AIN'T WHITE.
IT CAN'T BE.

WE FEEL DIFFERENT,
WE WRITE DIFFERENT,
OUR CHEMISTRY IS DIFFERENT.

DIG. I WRITE FOR THE SOULS
OF ALL THE BLACK PEOPLE
CRYING OUT

THAT WE AIN'T GONNA BE SLAVES
IN THIS MOTHERFUCKING COUNTRY
NO MORE.

WE AIN'T GONNA DEAL WITH YOU
REDNECK MOTHERFUCKERS NO MORE.

YOU WOULDN'T
UNDERSTAND THAT THOUGH,
LESSER,

BECAUSE YOUR BRAIN IS WHITE.

WILLIE, A MILLION BLACK MEN

CAN HAVE THE SAME
APPALLING EXPERIENCE.

IT TAKES ONE UNIQUE MAN
TO WRITE IT DOWN.

THEN IT'S NOT A BLACK THING.
IT'S NOT A WHITE THING.

IT'S A HUMAN THING.

IT'S YOUR JOB
TO MAKE IT MY EXPERIENCE.

THAT'S WHAT
A WRITER DOES, WILLIE.
THAT'S WHAT A WRITER DOES.

BEING HUMAN AIN'T SHIT.
THEY AIN'T NEVER DONE
NOTHING FOR US.

WILLIE, WHY DON'T YOU
JUST--JUST--JUST
FIND YOURSELF A PUBLISHER

AND LET THEM READ IT, OK?
LET THEM READ IT.

THEM RAT-HEAD MOTHERFUCKERS
DON'T WANNA HEAR
WHAT MY BOOK HAS TO SAY.

THEY'RE SCARED OF IT.

WHAT A FOOL.

WHAT A BLACK-ASS FOOL
I WAS LETTING YOU
READ MY FUCKING BOOK.

[door slamming]

[typewriter clacking]

[knocking on door]

WILLIE.

WHERE YOU BEEN?

(Lesser)
I WAS, UH,

I WAS WORRIED
ABOUT YOU, WILLIE.

CALL ME BILL, LESSER.

MY WRITING NAME
IS MY REAL NAME
FROM NOW ON.

BILL SPEAR.

UM, OK. WELL,

BILL IT IS THEN.

LESSER, I WANNA
SAY SOMETHING TO YOU

GOING BACK TO THAT RAP
WE HAD THE OTHER DAY.

WON'T TAKE BUT A MINUTE.

WHAT IS IT, WILLIE?
I'M SORRY. BILL. BILL.

I WENT BY THE LIBRARY
BY MY GIRL'S HOUSE

AND, UH,
CHECKED OUT YOUR BOOKS.

BOTH OF 'EM.

I MIGHT ADD, THE 2ND BOOK

[scoffs]

GIVES OFF A BAD SMELL.

BUT THE FIRST ONE
YOU WROTE, CLASSIC.

IT'S THE TRUTH.

IRENE SAID
I BE TALKING TO MYSELF.

WOULDN'T EXPECT NOTHING
LIKE THAT FROM YOU, LES,

SUCH A SQUARE LIKE YOURSELF.

WELL, THANKS ANYWAY, BILL.

BUT THERE'S ONE THING.

WHAT?

THE SISTER IN THE BOOK,
THE CHICK?

TO ME, SHE WASN'T BLACK.
BUT I LIKED HER ATTITUDE

AND I WOULDN'T MIND
LAYING SOME PIPE
IN HER PANTS.

WELL, AT LEAST
SHE WAS REAL ENOUGH
TO WANNA FUCK.

YEAH, SHE WAS REAL.
BUT NOT LIKE ANYBODY I KNOW.

LEAST WAYS, NOBODY BLACK.

BUT, UM, I WILL ADMIT,
IT GOT ME THINKIN'.

AFTER READIN' YOUR BOOK,
BOTH OF THEM,

[sighs]

I UNDERSTAND
WHAT YOU WAS TALKING ABOUT
WITH THAT FORM SHIT.

WHAT'S THE MATTER, MAN,
YOU ALL RIGHT?

I JUST GOT A LOT OF STUFF
ON MY MIND.

BUT YOU SEE WHAT I MEAN.

'CAUSE I DON'T WANNA BECOME
SOME HALF-ASS WHITE WRITER

OR SOME BLACK WRITER
WHO WRITES WHAT THE WHITE MAN
TELLS HIM TO WRITE.

I GOTTA WRITE
FROM THE HEART.

I MEAN, WE'RE DIFFERENT
THAN YOU, LESSER.

WE WRITE DIFFERENT,
WE FEEL DIFFERENT,
WE ARE DIFFERENT.

WHAT I WANNA DO
IS TAKE WHAT YOU KNOW,
ADD ON TO WHAT I KNOW,

PUT THEM BOTH TOGETHER
AND WRITE BLACK ART
AS A BLACK MAN SHOULD.

AND IF I GOTTA LEARN FROM YOU
OR ANY OTHER WHITE MAN,
THEN SO BE IT.

THAT'S WHAT IT'S GONNA BE.
THAT'S WHAT THE PURPOSE
IS ALL ABOUT.

SO I WANT YOU TO JUST TAKE
EVERYTHING THAT I GAVE YOU

AND THROW IT AWAY.

I GOT SOME NEW SHIT.

I GOT THIS STORY
I'M WORKING ON
WHERE THIS KID AND HIS MA,

THEY JUST GO OUT
AND KILL WHITE PEOPLE
ALL DAY IN THE SOUTH. YEAH.

I'M THINKING
ABOUT CALLIN' IT

KILL WHITEY:
A REVENGE STORY.

CHECK THIS OUT, LES.
HERE'S WHAT I WANT YOU
TO DO FOR ME.

AND I WOULDN'T BE ASKING THIS
IF WE BOTH WASN'T WRITERS.

TELL ME HOW CAN I WRITE
THE SAME THINGS,

THE SAME IDEAS,

BUT ONLY BETTER.

I DON'T KNOW
IF THIS IS A GOOD IDEA,

CONSIDERING HOW THINGS
WENT THE OTHER DAY.

WELL, BABY,
IF YOU DON'T WANNA READ
WHAT I SHOW YOU,

FUCK YOUR WHITE ASS.

[sighs]

(Levenspiel)
WHO'S THE GORILLA
IN HOZHEINER'S OLD FLAT?

FRIEND OF YOURS?

WHICH GORILLA
DO YOU HAVE IN MIND?

DON'T GET CUTE WITH ME,
LESSER.

I FOUND A TYPEWRITER
ON THE TABLE
IN THE LIVING ROOM.

ALSO AN APPLE,
LESS A FEW BITES

AND A PISS-SMELLING MATTRESS
IN THE MIDDLE OF THE FLOOR.

WHERE'S HE HIDING?

I'LL TAKE YOUR WORD FOR IT.
WHO IS THIS SON OF A BITCH?

I DON'T KNOW.
HE COMES AND GOES.

WELL, HE'S SOME KIND OF WRITER

'CAUSE I READ
SOME OF THE ROLLED UP
PAPER BALLS

HE THROWS ON THE FLOOR.

ONE BEGINS WITH
A SMALL LITTLE BOY IN HARLEM.

WHO IS HE? COLORED?

I DON'T KNOW.

WELL, YOU TELL HIM,
WHOEVER HE IS,

THAT HE'S TRESPASSING,
AND I'M GONNA THROW HIM
OUT ON HIS ASS.

YOU'RE TRESPASSING
ON MY WRITING TIME.

HEY.

SO HOW'S THE WORK
COMING ALONG?

ON AND OFF.
TOO MANY INTERRUPTIONS.

LET ME ASK YOU.
WOULD YOU TAKE $1,500,

IF I MADE THE OFFER?

I'D TAKE IT.
IT'S PURE GOLD.

I'LL KEEP IT IN MIND.

I'M WRITING
AS FAST AS I CAN.

YOU RUSH, YOU DISTORT.

IS THAT YOUR FINAL OFFER?

FINAL ONCE REMOVED.

WHAT'S FINAL I SEEK,
BUT CAN'T FIND.

YOU TELL THAT NIGGER
I'M COMING BACK WITH A COP.

TELL HIM YOURSELF.

[knocking on door]

I WENT TO GET
A TYPEWRITER RIBBON.

WHO TOOK MY STUFF,
LESSER, YOU?

LEVENSPIEL
FOUND YOUR SETUP.

WENT TO GET A COP.

WHAT THE FUCK FOR?
WHAT HARM AM I DOING HERE?

YOU'RE TRESPASSING.
IN THIS SHIT HOLE?

HE HAD ONE WRITER
TO GET RID OF.

NOW HE'S GOT 2,
AND YOU DON'T PAY RENT.

JEW SLUMLORD BASTARD.

CUT OUT THE JEW STUFF,
WILLIE.

BILL IS MY NAME, LESSER.

OK, BILL.
CUT OUT THE JEW STUFF.

[knocking on door]

OH, SHIT.

HIDE IN THE BATHROOM.

(policeman)
POLICE. OPEN UP.

LEVENSPIEL,
WHAT'S YOUR BUSINESS?

MY BUSINESS IS LEGAL, LESSER.

WE BROKE UP
YOUR FRIEND'S FURNITURE
IN THE APARTMENT

WHICH HE WAS TRESPASSING.

BUT I KNOW
YOU'RE IN POSSESSION
OF HIS TYPEWRITER,

THAT I ALREADY SAW.

I HOPE
YOU'RE PROUD OF YOURSELF.

WHAT ARE MY RIGHTS?

NOT THAT A LANDLORD HAS MANY
IN THIS FERCOCKTA CITY.

THEY'RE MY RIGHTS.

I DON'T OWE YOU
ANY APOLOGIES, LESSER.

I'M ABOUT TO SEARCH
EVERY APARTMENT
IN THIS BUILDING.

AND IF WE DON'T FIND
YOUR BLACK FRIEND
ANYWHERE ELSE,

I'LL KNOW THAT
YOU'RE HIDING HIM HERE.

BRING A SEARCH WARRANT
IF YOU WANNA GET IN.

WE WILL.

WHAT ARE YOUR PLANS,
WILLIE?

I AIN'T GOT NO FUCKING PLANS.
LOOK AT THIS SHIT.

ME AND MY GIRL JUST GOT
IN A FUCKING ARGUMENT
THE OTHER NIGHT.

I CAN'T GO BACK
TO HER PLACE.

GOD DAMN!

LISTEN, YOU CAN,

YOU CAN WORK
IN MY KITCHEN TOMORROW.

OR IF IT MAKES
YOU FEEL CLAUSTROPHOBIC,

WE CAN MOVE THE TABLE
INTO THE LIVING ROOM.

IN A COUPLE OF DAYS,
WE'LL FIND YOU A NEW PLACE.

I KNOW A SECONDHAND STORE
ON 3RD AVENUE.

WE CAN, UH, PICK UP
A FEW THINGS THERE.

LESSER, MAN,
I AIN'T GOT NO BREAD.

THAT'S WHAT ME AND IRENE
KEEP ARGUING ABOUT.

SHE WANTS ME TO GET A GIG.

WELL, DON'T WORRY
ABOUT IT.

I STILL HAVE A FEW DOLLARS
IN THE BANK.

MY MAN.

YOU ALL RIGHT, LESSER.

[Willie chattering]

HIYA, BILL.

RIGHT ON, LESSER,
RIGHT ON.

I KNOW THE ARTIST.

HIS NAME WAS LAZAR COHEN.

I KNEW THE WOMAN, TOO.
SHE WAS HIS GIRLFRIEND
AT THE TIME.

HE WORKED ON IT
FOR MANY YEARS
AND THEN GAVE UP.

HE NEVER THOUGHT
HE GOT IT RIGHT.

HIS FRIENDS PERSUADED HIM
TO RELEASE IT FOR SALE, BUT

DIDN'T DO HIM ANY GOOD.

HE'S DEAD.

HE HIT A TRUCK
WITH HIS MOTORCYCLE
ON HUDSON STREET.

(Irene)
IS WILLIE A GOOD WRITER?

I MEAN, WILL HE BE?

WELL, HE--HE COULD BE
IF HE-- IF HE STAYS WITH IT.

THERE'S--THERE'S
NO HALF-ASSED WAY
TO BE A GOOD WRITER.

THERE'S NOTHING HALF-ASSED
ABOUT WILLIE.

YOU KNOW,
YOU REALLY HURT HIM,
WHAT YOU SAID ABOUT HIS BOOK.

I DIDN'T MEAN TO.

WELL, HE SAID
YOU DIDN'T THINK MUCH OF IT.

I--I LIKED THE STORIES
BETTER THAN THE LIFE.

THEY'RE A LOT MORE ORIGINAL.

BUT IT ISN'T
JUST AUTOBIOGRAPHICAL.

YEAH.

WILLIE CAME TO HARLEM
FROM GEORGIA WHEN HE WAS 16
WITH HIS MOM AND KID SISTER.

I THOUGHT
IT WAS MISSISSIPPI.

HE CHANGES HIS BIRTHPLACE
EVERY TIME HE TALKS ABOUT IT.

THERE'S A LOT OF STUFF
HE JUST REALLY
DOESN'T LIKE TO REMEMBER.

DID HE REALLY
DO A STRETCH IN PRISON?

2 YEARS.

YOU KNOW,
BUT MOST OF IT'S MADE UP.

WILLIE'S A VERY
IMAGINATIVE GUY.

HE ENJOYS BEING IMAGINATIVE.

YOU SHOULD HEAR
WHEN HE GETS
TO TALKING ABOUT HIMSELF.

THAT'S THE TONE I'D LIKE
TO SEE IN HIS NEXT BOOK.

WHAT DO YOU THINK OF IT
SO FAR?

WELL, I THINK IF HE STAYS
WITH IT SERIOUSLY,
IT--IT OUGHT TO BE GOOD.

HOW SERIOUSLY?

YOU HAVE TO BREAK YOUR BALLS
TO BE A GOOD WRITER?

EVERYTHING WITH YOU
IS SO FUCKING SERIOUS, LESSER.

WHEN DO YOU LAUGH?

I LAUGH WHEN I WRITE.

WHICH IS

WHAT I SHOULD BE
DOING NOW. JUST...

YOU KNOW, I READ YOUR NOVEL.
THE FIRST ONE.

AND IT WAS GOOD.
IT WAS MUCH BETTER
THAN I THOUGHT IT WOULD BE.

THE GIRL IN IT,
SHE REMINDED ME OF MYSELF,
ACTUALLY, WHEN I WAS HER AGE.

I WAS A VERY FUCKED-UP GIRL.

WHAT DO YOU MEAN?

I'D JUST QUIT COLLEGE,
AND I THOUGHT I WANTED
TO BE AN ACTRESS,

BUT, REALLY,
I WAS JUST LOOKING FOR A WAY
TO SKIP BEING MYSELF.

A LOT OF THIS CAME OUT
IN THERAPY.

ANYWAY,
I WAS A FUCKED-UP KID,

AND I WAS HAVING
A ROUGH TIME.

AND THEN I MET WILLIE.

AT FIRST WE GOT ALONG
REALLY BADLY,

BUT THEN THINGS GOT BETTER.

AND HE MOVED IN WITH ME.

HOW DO YOU AND WILLIE
STAND AS OF NOW?

WHAT DO YOU MEAN?

WELL, YOU SEEM TO BE TOGETHER,
BUT YOU SEEM TO BE APART.

YEAH, THAT'S A GOOD
DESCRIPTION OF US.

DO YOU LOVE HIM?

WHY DO YOU WANNA KNOW?

'CAUSE WE'RE SITTING HERE.

I THINK IF WILLIE LOVED ME,
WE'D PROBABLY
BE MARRIED BY NOW.

BUT OUTSIDE OF HIS LOVE
FOR BLACK PEOPLE,

I DON'T THINK
HE LOVES ANYTHING
EXCEPT HIS WORK.

WE TALK AN AWFUL LOT
ABOUT RACE AND COLOR.

ONE THING
ABOUT LOVING A BLACK MAN,

THERE'S TIMES
WHEN YOU FEEL BLACK YOURSELF.

YEAH.

WELL, MAYBE YOU SHOULD
FIND YOURSELF ANOTHER.

I GOTTA GET BACK TO WORK.

[people chattering]

[grunting]

(Willie)
HEY, LESSER,
WHERE YOU BEEN, MAN?

YOU HOLDING ME UP.
I BEEN LOOKING FOR YOU.

OH, I JUST WENT FOR A WALK.

I WENT UPTOWN TO A MUSEUM.

I LEFT A NOTE
ON YOUR DESK.

MAN, I CAN'T RAP
TO YOU RIGHT NOW.

IT'S THE WEEKEND.
I GOTTA SEE MY GIRL.

I'LL SEE YOU MONDAY.

[grunting]

[people chattering]

(Willie)
HEY, WHAT'S UP OVER HERE, MAN?

(Sam)
HEY, COME ON OVER HERE, BABY.
COME ON.

YOU WANT
SOME OF THIS SMOOTHNESS.

LESSER, MAN.
FOR CHRIST SAKES, CROSS OVER.

GOT SOME SOUL PEOPLE
OVER HERE WITH ME.

[car honking]

[all laughing]

SAY, MAN.

WE'RE HAVING A SHING-DING
AT MARY'S HOUSE TONIGHT.

HOW'D YOU LIKE TO COME ALONG?

YEAH, SURE.
WELL, JOIN THE TRAIN.

OH, NO, NOT NOW,
HOLD UP, MAN. HOLD UP.

WHAT'S UP WITH THIS?

HE'S A FUCKING GOOD WRITER.
JOIN THE TRAIN.

HI!

*[music playing]
HMM, GOOD TO SEE YOU.

I THOUGHT YOU MIGHT COME BY,
SEEING AS WE LIVE SO CLOSE
AND EVERYTHING.

[people chattering]

(Mary)
I'M REALLY GLAD YOU CAME.

I'M GLAD I CAME, TOO.

I WAS HAPPY TO SEE YOU.

LISTEN.

I HAVE A KEY
TO A FRIEND'S APARTMENT
ACROSS THE HALL.

AND AS SOON AS EVERYBODY
GETS A LITTLE HIGHER,

I'M GOING IN THERE.

YOU SHOULD COME, TOO.

IF YOU'RE IN THE MOOD TO.

ONLY, GIVE ME
ABOUT 10 MINUTES

SO NO ONE SEES US
GET UP AND WALK
RIGHT OUT OF HERE,

ONE RIGHT AFTER THE OTHER.

SAM MIGHT TAKE OFFENSE.

[knocking on door]

MARY?

(Mary)
IN HERE.

(Mary)
I HOPE YOU DON'T MIND ME
GETTING UNDRESSED FIRST.

I JUST THOUGHT
I'D BE A LITTLE WARMER
UNDER HERE.

MY GOD, YOU'RE LOVELY.

YOU'VE NEVER BEEN
WITH A BLACK WOMAN BEFORE?

NO.

DON'T MAKE TOO MUCH OF IT.
NOW, COME ON.

[tapping bed]

GET IN THE BED WITH ME.

[speaking Arabic]

YOU THINK YOU'RE WHITE?
YOU'RE WRONG.

YOU'RE REALLY BLACK.
ALL WHITE PEOPLE ARE.

BUT THE BLACKS
ARE THE TRUE WHITES.

LESSER. GET YOUR
PALE FACE ASS OVER HERE.

CHUM, WE GONNA
PLAY A LITTLE GAME.

A GAME OF NOTHING
BUT NAKED WORDS.

YOU THROW YOURS ON ME,
I'LL THROW MINES ON YOU.

THE ONE WHO CRIES MAMA LOSES,
AND WE SHIT ON HIM. YOU DIG?

WHAT'S THE POINT OF THAT?

THE POINT IS THE POINT.

I THOUGHT
WE WERE FRIENDS, BILL.

YOU GOT NO FRIENDS HERE.

SUPPOSE I DON'T PLAY.

YOU GONNA FUCK BLACK,
YOU GONNA FACE BLACK.

(man)
OFF THIS MOTHERFUCKER.

LISTEN, I'M GONNA GO
EASY ON YOU.

SO YOU CAN JOIN IN
ON THE FUN.

NOW I'M NOT GONNA GO ON
YOUR MAMA OR YOUR SISTER,
LIKE WE NORMALLY DO,

BUT, UH, GET DOWN
TO THE TOUGH SHIT FUNK OF IT.

SPECIAL FOR YOU.

LESSER, YOU THINK
YOU'RE SO HOT.

YOU GOT THE LOOK
OF A SHIT POT.

[people laughing]

NOW RAISE ME ON THAT.

OH, AND IF YOU DON'T,
WE MIGHT HAVE TO PLAY
A DIFFERENT GAME.

POKER?

MOTHERFUCKER,
HAVE YOU LOST YOUR NUTS
DOWN THE CAN?

OK, UH...

OK, WILLIE, BILL.

BILL, YOUR MOUTH
IS A PLACE OF EXCREMENT.

[people murmuring]

LESSER. YOU A MAMMY-RAMMER,

SHIT FOR BRAINS, NO GOOD,
REDNECK MOTHERFUCKER.

(man)
OH!

WHAT GOOD IS A CONTEST
OF IMPRECATION?

ALL THIS DOES
IS RAISE BAD FEELINGS.

WOULD YOU LISTEN
TO THIS SOFT BULLSHIT?

SAM, SAM, SAM, SAM.

THIS HONKY BELONGS TO ME.

CHILL OUT.
HE'S MY GUEST.

WILLIE, BABY,
CAN WE GO HOME?

GO. GO. GET.

WELL, CAN'T YOU COME WITH ME?

IRENE, GO FUCK YOURSELF.

(man)
OOH.

WELL, IF I COULD,
WHAT ARE YOU GONNA DO
FOR KICKS?

[people laughing]

YEAH, WHATEVER, BITCH.

(Willie)
NOW, LESSER.

I CALLED YOU A TWO-BIT,
GOOD-FOR-NOTHING,
REDNECK MOTHERFUCKER.

NOW, AREN'T YOU
GONNA ANSWER BACK?

IF YOU HAVE TO DO THIS,
WHY DON'T YOU WRITE IT?

I THOUGHT YOU WERE A WRITER.

LOOK, MOTHERFUCKER.

DON'T TELL ME HOW TO WRITE.

I DON'T NEED
NO JEW MOTHERFUCKERS

TRYING TO TELL ME
HOW AND WHAT TO WRITE.

IF YOU HAVE SOME
S-SORT OF COMPLAINT
WITH ME,

WHY DON'T YOU
SAY IT DIRECTLY?

IF WHAT YOU HAVE TO SAY
IS NONE OF YOUR BUSINESS
IN THE FIRST PLACE,

THEN LET SAM SAY IT.

I TOLD YOU NOT TO LET
THIS REDNECK SHIT-EATER

COME ALONG HERE
IN THE FIRST PLACE.

HOW MUCH MORE
OF A MOTHERFUCKING COWARD
ARE YOU GONNA BE?

JUST ANSWER THE QUESTION
THAT I LAID DOWN.

OK, BILL. OK.

I--I COULD CALL YOU
A FILTHY PRICK.

I WITHDRAW THAT.

NO, YOU NOT, MOTHERFUCKER.
YOU AIN'T WITHDRAWING NOTHING.

THAT'S THE RULES
TO THIS SHIT.

NOW THE REASON
WHY YOU WANNA WITHDRAW

IS 'CAUSE
YOU REALLY WANNA CALL ME
A FILTHY NIGGER PRICK.

BUT YOU AIN'T GOT THE BALLS
TO SAY IT, DO YOU?

I DIDN'T-- I DIDN'T--
I DIDN'T SAY THAT ONE.

I--I DIDN'T--
I DIDN'T SAY THAT.

I--I THOUGHT OF THAT
BECAUSE I KNEW THAT

THAT'S WHAT
YOU WANTED TO HEAR.

YEAH, FINE AND DANDY.

NOW I'M GONNA CALL YOU
A MOTHERFUCKING, REDNECK,
JEW, SHIT-EATING,

DICK-SUCKING,
DYKE-FACED MOTHERFUCKER.

[people chuckle]

I GET THE MESSAGE, BILL.

I GET THE MESSAGE.

AND I CONCEDE THE GAME.

THAT'S MY LAST WORD.

SAY, BROTHERS.
LET THE WHITE SPOOK EXIT.

GET THE FUCK
OUT OF HERE, LESSER.

(woman)
BYE.

DAMN, LESSER,
I AIN'T GET SHIT DONE.

NOT ONE FUCKING SENTENCE.

MAN, I TELL YOU.

HUNG-OVER
LIKE A MOTHERFUCKER.

[sighs]

[Willie sighs]

I WANT YOU TO KNOW, LESSER,
AS I SAVED
YOUR ASS LAST NIGHT.

SAVED WHOSE ASS?

SAM WANTED THE BROTHERS
TO BEAT UP ON YOU
FOR PUTTING MEAT TO HIS GIRL,

BUT I COOLED THEM OUT
WITH THAT GAME.

WELL, IN THAT CASE, THANKS.

I'M GRATEFUL.

YOU SURE AS SHIT
DON'T LOOK IT.

TRUST ME.

I JUST WANTED YOU
TO KNOW THAT.

[typewriter clicking]

(Irene)
LISTEN, TORVALD.

I HEARD WHEN A WIFE ABANDONS
HER HUSBAND'S HOUSE,

AS I AM DOING NOW,

HE'S LEGALLY FREE FROM
ALL OBLIGATIONS TOWARDS HER.

IN ANY CASE, I SET YOU FREE
FROM ANY OBLIGATION.

YOU ARE NOT TO FEEL YOURSELF
BOUND TO ME

IN THE SLIGHTEST WAY,
ANY MORE THAN I SHALL.

THERE MUST BE PERFECT FREEDOM
ON BOTH SIDES.

HERE, HERE'S YOUR RING BACK.

GIVE ME MINE.

ALL OVER.

ALL OVER. NORA.

WILL YOU NEVER
THINK OF ME AGAIN?

I KNOW I SHALL
OFTEN THINK OF YOU
AND THE CHILDREN

AND THIS HOUSE.

(Lesser)
IRENE.

IRENE, IT'S LESSER.

WHAT ARE YOU DOING HERE?

I CAME TO TELL YOU
I LOVE YOU, IRENE.

I THOUGHT
YOU'D WANT TO KNOW.

I THOUGHT YOU LIKED MARY.

I SLEPT WITH HER
FOR WANT OF YOU.

YOU'RE IN LOVE WITH ME
BECAUSE I'M WILLIE'S
JEWISH WHITE GIRL.

YOU TRYING TO SAVE ME
FROM A LIFE OF POVERTY
AND CRIME WITH A BLACK MAN?

AN EX-CON?

MY LOVE

PROFESSES NO MORE THAN LOVE.

I LOVE YOU.

I WANT YOU.

WHAT KIND OF WANT?

THE LONG WANT.

SAY IT PLAINLY.
I'M NOT VERY SUBTLE.

I WANNA MARRY YOU
AFTER I FINISH MY BOOK.

YOU'RE BOTH ALIKE.

MY FEET ARE COLD.

LET'S GO UPSTAIRS.

[coughs]

(Irene)
TAKE OFF YOUR COAT.

WHY A BLACK JESUS?

OH, WILLIE WON'T LET ME HANG
ANY PICTURES OF WHITES.

AND I WON'T HANG
PICTURES OF FLOWERS.

I LIKE REAL FLOWERS.

BUT WHY JESUS?

RATHER THAN H. RAP BROWN?

IS THERE A BLACK MOSES?

I BELIEVE IN GOD.

I'M AFRAID OF
WHAT WE'RE DOING
EVEN THOUGH I WANNA DO IT.

YOU WORRIED ABOUT WILLIE?

AND MYSELF.

I'M ALSO REALLY AFRAID

OF GETTING INVOLVED
WITH ANOTHER WRITER.

I LOVE YOU, IRENE.

(Irene)
WOULD YOU CONSIDER
MOVING TO SAN FRANCISCO?

SURE.

AFTER I FINISH MY BOOK.

I'VE MADE UP MY MIND.

I'M GIVING UP ACTING.

I'M NOT A NATURAL.

THIS IS MY LAST PLAY.

I'M FED UP WITH MY LIFE HERE.
I'M FED UP WITH NEW YORK.

YEAH.

OK.

SO COULD WE SAY,

3, 4, MAYBE 5 MONTHS
AT THE LATEST?

SURE.

JUST WORRIED ABOUT WILLIE.

WHAT DO YOU MEAN?

HE DOESN'T REALLY
HAVE ANYBODY.

AND I'VE BEEN PRETTY MUCH
SUPPORTING HIM
SINCE HE MOVED IN WITH ME.

HE HAS VERY LITTLE
TO LIVE ON AS IT IS,
AND I JUST...

I DON'T WANT HIM
TO GO BACK TO RUNNING
NUMBERS OR DEALING.

HE'LL GET A JOB.

I WORKED PLENTY
OF SHITTY JOBS
WRITING MY FIRST BOOK

AND I STILL HAD TIME
TO WRITE.

YEAH, BUT ANY JOB HE GOT
WOULD PAY HIM HALF AS MUCH
AS WHAT YOU EARNED

AND MAKE HIM WORK
TWICE AS HARD.

I WORKED MY ASS OFF.

I KNOW WE'RE NOT,
BUT I JUST FEEL LIKE
WE'RE A COUPLE OF WHITEYS

GIVING SOME NIGGER
A KICK IN THE ASS.

COME ON.
I DON'T FEEL THAT WAY.

ALL THIS AMOUNTS TO
IS 2 PEOPLE,

YOU AND WILLIE,

FINALLY AGREEING
TO END AN AFFAIR.

THAT'S ALL.

FORGET ABOUT THE,

THE WHITEY BIT.

[telephone ringing]

HELLO.

(Willie)
IRENE, I WON'T BE
COMING AROUND THIS FRIDAY.

THIS CHAPTER'S GIVING ME
A HARD TIME RIGHT NOW,

AND I GOT TO STAY ON IT.

WELL, I'M SORRY TO HEAR THAT.

I WILL BE AROUND
IN ABOUT A WEEK OR 2.

YOU KNOW, I'M TELLING YOU.

I CAN THINK OF
A WHOLE LOT OF THINGS
I WANNA DO TO YOU RIGHT NOW.

WELL, DON'T DEPEND ON IT.

DON'T THINK I'M NOT
THINKING ABOUT YOU, BABY.

ALL RIGHT.
I'LL SEE YOU LATER.

WHEN ARE WE
GONNA TELL HIM?

WHAT DO YOU MEAN?

YOU KNOW WHAT.

EITHER YOU TELL HIM,

OR I TELL HIM,

OR WE TELL HIM TOGETHER.

CAN WE JUST
LET IT DIE NATURALLY?

I'D LIKE IT BETTER
IF WILLIE TELLS HIMSELF

AND THEN HE TELLS ME
IT'S OVER.

BUT IF IT COMES TO ACTUALLY
HAVING TO TELL HIM,

I'D LIKE TO DO IT MYSELF.

THE SOONER THE BETTER.

OR HE'LL BE KNOCKING
ON YOUR DOOR NEXT FRIDAY
EXPECTING TO SLEEP WITH YOU.

SEX ISN'T
THE IMPORTANT THING.

(Willie)
HOW'S EVERY LITTLE THING,
LESSER?

KEEP KNOCKIN'
AT YOUR FUCKING DOOR,

BUT NOBODY GETS UP
TO OPEN IT.

YOU HIDIN' ON ME?
YOU FIND A GIRL?

I'VE BEEN GETTING OUT
MORE LATELY.

MY BOOK IS MOVING AND

SO AM I.

SO YOU GOT PAST

YOUR ROUGH,
SWAMPY PLACE, HUH?

YEAH, THAT'S RIGHT.

MINES KEEPS JAMMIN' ME UP.

EVERY MORNING WHEN I WAKE UP
I SEE THAT BIG FUCKING
TYPEWRITER MACHINE

STARING AT ME
LIKE A MOTHERFUCKIN' EAGLE.

"NONE BUT THE BRAVE
DESERVE THE FAIR!"

SAY WHAT?

IT'S A POEM.

BLACK OR WHITE?

JOHN DRYDEN. ENGLISHMAN.

YEAH, RIGHT ON.

I WILL READ IT.

ANYWAY, WHY I CAME UP HERE
IS, UH,

I WANT YOU TO TAKE A LOOK
AT THIS NEW CHAPTER.

THE MOTHER IN IT'S
GIVING ME TROUBLE.

CAN'T SEEM TO GET HER
TO DIE RIGHT.

I DONE WROTE IT LIKE 20 TIMES

AND NOW I THINK SHE'S EXPIRING
LIKE SHE OUGHT TO BE.

HOW DO YOU FEEL
ABOUT IT YOURSELF?

IF I REALLY KNEW,
I WOULDN'T ASK YOU.

HONEST TO GOD, I WOULDN'T.

BUT, LESSER,
IF YOU CAN GIVE IT
A READ FOR ME TODAY,

WE CAN RAP ABOUT IT
FOR ABOUT A HALF HOUR.

EVERY GOOD BOOK
IS WRITTEN IN UNCERTAINTY.

I'LL TAKE A LOOK AT IT.

THANKS, LESSER.
IT'D BE A REAL RELIEF.

ESPECIALLY TO HELP ME
GET THIS PART
OF THE BOOK FINISHED.

I HAVEN'T SEEN MY GIRL
IN ABOUT A MONTH

AND I GOT BLUE BALLS.

REALLY NEED TO SPEND
SOME TIME WITH HER.
CAN YOU DIG WHAT I'M SAYING?

SHE PESTIFIES ME,
BUT, HMM, HMM, HMM...

WHAT A SWEET LAY.

DO YOU LOVE HER?

MAN, THAT'S MY BUSINESS.

AND IF I GET TO SEE HER

DEPENDS ON THAT CHAPTER
YOU HAVE OVER THERE.

NOW, IF YOU TELL ME
I GOT IT RIGHT,
OR HALFWAY RIGHT,

THEN I GET TO FUCK OFF
MY WEEKEND WITH HER.

BUT, UH, IF YOU THINK
IT NEEDS A LITTLE MORE WORK,

AND I AGREE WITH YOU,

THEN I HAVE TO BANG IT OUT
SOME MORE.

SO TAKE A LOOK AT IT
AND TELL ME WHAT YOU THINK.

*[music playing]

HOW'D IT GO?

I AM SO OVER IT.

WILLIE GAVE ME
HIS BOOK TODAY.

I CAN'T DO THIS.
I CAN'T.

WE GOT TO TELL HIM
SOMETHING.

I KNOW. I KNOW.
HE CAME BY THE HOUSE TODAY.

WHAT? WHEN?

RELAX, HARRY.

HE JUST TOOK A SHOWER
AND HE CHANGED HIS UNDERWEAR
AND THEN HE LEFT.

HE WAS GONE BEFORE I WAS EVEN
OUT OF THE BATHROOM.

ALL HE CARES ABOUT
IS HIS BOOK.

YOU GOT TO TRUST ME
ON THIS ONE.

I TRUST YOU.

LET ME TELL HIM.

[typewriter clicking]

BILL.

BILL, I READ YOUR CHAPTER.

SPEAK YOUR PIECE, LESSER.

BILL, I REALLY DON'T THINK
WE OUGHT TO FOOL AROUND
WITH YOUR BOOK ANYMORE.

AT THIS STAGE,
WHATEVER YOU THINK
YOU'RE DOING RIGHT,

YOU OUGHT TO GO ON DOING.

YOU KNOW,
YOU'RE A GIFTED WRITER.

ULTIMATELY,
IT'S YOUR BOOK.

ALL I WANT TO KNOW,

WHAT I REALLY
NEED TO KNOW IS,

DID I GET THE BOY
AND THE MAMA RIGHT?

ARE THEY FOR REAL, MAN?

AND DON'T BULLSHIT ME
ON THAT.

FOR THE FIRST
COUPLE OF PAGES.

UP TO THE MOTHER'S DEATH.

THEN AFTER THAT, BILL,
THE STREAM OF CONSCIOUSNESS...

IT JUST--
IT JUST DOESN'T WORK.

YOU TRYING
TO FUCK WITH MY MIND
AND CONFUSE ME, MAN?

HUH? YOU TRYING TO KILL OFF
MY NATURAL WRITING

BY PRETENDING YOU INTERESTED
IN MY FUCKING FORM OF IT ALL.

KNOWING YOU'RE AFRAID
OF THE TRUTH
OF WHAT MY BOOK HAS TO SAY.

WHICH IS BLACKS HAVE TO MURDER
YOU WHITE MOTHERFUCKERS
FOR CRIPPLING OUR LIVES.

GET YOUR ASS OFF
MY MOTHERFUCKING SPOT.

I CAN'T BELIEVE
I WAS BELIEVING IN YOU.

GET YOUR JEW ASS
OUT MY MOTHERFUCKING PAD.

FUCK IT.

[siren wailing]

[knocking at door]

BILL.

THERE'S MORE TO IT
THAN I TOLD YOU, BILL.

SAY, MAN, I'M QUITTIN'
THIS WRITING THING.

IT'S NO FAULT OF YOURS.

I DECIDED
IT AIN'T NO GIG FOR ME.

I GOTTA GET OFF MY BROKE ASS
AND GET THIS TRUE ACTION.

GET OUT THERE
WITH MY BROTHERS
IN THE STRUGGLE.

WRITING IS ACTION.

DON'T GIVE UP ON THAT, BILL.

ACTION IS MY ACTION.

FORGET WHAT I SAID

AND WRITE THE WAY YOU HAVE TO.

WHAT WAS YOU GONNA SAY
WHEN YOU FIRST
CAME IN HERE, LESSER?

THIS.

AFTER I FINISH MY BOOK,

IRENE AND I
ARE GETTING MARRIED.

WE'RE IN LOVE, BILL.

WE FIGURED YOU WOULDN'T CARE
ONE WAY OR THE OTHER

BECAUSE YOU HAD MORE OR LESS
BROKEN UP WITH HER.

[sighs]

YOU SAID SO TO BOTH OF US.

I WISH
I'D TOLD YOU THIS BEFORE.

THAT WAS MY GIRL.

I TAUGHT HER
EVERYTHING SHE KNOW.

SHE DIDN'T EVEN KNOW
HOW TO FUCK
UNTIL I TAUGHT HER.

[Willie grunting]

(Willie)
YOU FUCK HER?

[both grunting]

[Lesser groaning]

I'M GONNA TEACH YOU SOMETHING,
MOTHERFUCKER.

(Lesser)
MAN! WHAT ARE YOU DOING?

[glass shattering]
FUCK YOU!

HELP!

GOD DAMN IT! SHIT!

[grunts]

[grunting]

I'LL TEACH YOU,
MOTHERFUCKER.

(Levenspiel)
YOU DIRTY SONS OF BITCHES!

I'LL GET A COURT ORDER,
GOD DAMN IT.

[Lesser gasping]

[continues gasping]

MY GOD, LESSER, LOOK WHAT
YOU'VE DONE TO YOURSELF.

YOU'RE YOUR OWN
WORST ENEMY.

BRINGING A HALF-NAKED
NIGGER INTO THIS HOUSE.

[panting]

IF YOU DON'T TAKE MY ADVICE
AND MOVE OUT,

YOU'LL WAKE UP ONE MORNING
PLAYING A TAMBOURINE
IN YOUR GRAVE.

[telephone ringing]

[beeping]

(Irene)
YES.

IRENE.

[door buzzing]

(Irene)
I BEGGED YOU
TO LET ME TELL HIM.

WHY DIDN'T YOU
AT LEAST TELL ME
THAT YOU WERE GOING TO?

THERE WAS NO CHANCE.
IT--IT--IT CAME UP SUDDENLY.

BULLSHIT
THERE WAS NO CHANCE.

YOU HAD TO TELL HIM.
IT'S YOUR PROFESSION
TO TELL EVERYBODY EVERYTHING.

YOU COULDN'T WAIT.
I WAITED. I WAIT.

I WAITED TOO DAMN LONG
FOR YOU TO TELL HIM.

YOU'RE CRAZY IF YOU THINK
HE WAS ABOUT TO LEAVE YOU.

IT WOULD'VE GONE ON
LIKE THIS FOR YEARS.

I HAD TO TELL HIM SOMETHING.
I KNOW HIM.

I KNOW WILLIE WASN'T HAPPY
WITH ME ANYMORE. I KNOW HIM.

WHAT ARE YOU CONCERNED ABOUT?
HIM OR ME?

I TOLD YOU THAT I LOVE YOU.
I'M CONCERNED ABOUT WILLIE.

HE TRIED TO THROW ME
OUT A FUCKING WINDOW!

[shouting]
WOULD YOU FUCKING GET THAT?

[sobbing]

HE CALLED ME ALL THESE
FILTHY NAMES AND THEN

HE TOLD ME HE COULDN'T STAND
THE SIGHT OF ME ANYMORE.

THIS ALL JUST TURNED OUT
EXACTLY THE OPPOSITE
OF WHAT I HAD HOPED.

I THOUGHT THAT
HE'D STILL FEEL AFFECTION
FOR ME WHEN WE BROKE UP.

AND THAT
HE'D REMEMBER THE GOOD TIMES.

ALL RIGHT.
DON'T CRY. COME ON.

I JUST WISH
YOU'D LET ME TELL HIM.

I WISH YOU HAD.

HARRY, I'M FRIGHTENED FOR YOU.

M-ME? W-WHY?

BECAUSE THEY COULD EASILY
GET AT YOU

IN THAT CREEPY,
EMPTY TENEMENT.

YOU KNOW, WILLIE'S FRIENDS
ARE VERY LOYAL TO HIM.

THEY COULD HIDE IN THE STAIRS
OR IN THE HALL.
THEY COULDN'T DO THAT HERE.

THE ELEVATOR MAN
WOULD CALL THE COPS.

WHY DON'T YOU JUST COME
AND STAY HERE WITH ME
FOR A LITTLE WHILE?

ANYBODY WHO'S OUT
TO GET ME CAN GET ME.

ELEVATOR MAN
OR NO ELEVATOR MAN.

HOW ARE YOU GOING TO LIVE
IN THE SAME BUILDING WITH HIM?

NO, HE'S NOT SEE...
HE'S NOT GONNA SEE.

HE'S NOT GONNA STAY THERE.
THERE'S NO WAY.

BECAUSE THE--THE LANDLORD'S
FOUND HIS PLACE AGAIN.
SO HE...

HARRY,
LET'S JUST GET MARRIED.

WE--WE COULD JUST MOVE
TO ANOTHER CITY
OR A DIFFERENT NEIGHBORHOOD.

THAT'S WHAT WE'LL DO.

AS SOON AS I FINISH MY BOOK.

[train wheels squealing]

[police siren wailing]

[breathing heavily]

NO! NO!

NO, NO, NO!

[shouting]

NO! NO!

[Lesser continues shouting]

(Irene)
THAT'S IMPOSSIBLE, HARRY.

IRENE. I CAN DO THIS.

THIS HAS HAPPENED
TO OTHER PEOPLE.

I'M--I'M--I'M NOT
THE FIRST WRITER
THAT THIS HAS HAPPENED TO.

T.E. LAWRENCE
LEFT HIS ENTIRE MANUSCRIPT

OF 7 PILLARS OF WISDOM
ON A TRAIN.

CARLYLE ACCIDENTALLY CHUCKED
ALL OF HIS FRENCH REVOLUTION

INTO JOHN STUART MILL'S
FIREPLACE. I MEAN,

I--I CAN--
I CAN DO THIS, IRENE.

I KNOW-- I KNOW I CAN.
I--I... LISTEN.

I REMEMBER MOST OF WHAT
I REWORKED, I DO.

I CAN-- I CAN DO THIS.

WELL, HOW LONG
IS IT GONNA TAKE?

6 MONTHS.

AT MOST.

WHAT ABOUT SAN FRANCISCO?

IRENE. IRENE.

I'M, UH...

I'M A CREATURE OF HABIT.

I NEED TO FINISH THE BOOK
WHERE I STARTED IT.

I THOUGHT YOU WANTED
MORE FROM YOUR LIFE
THAN YOUR WRITING.

IT'S WHAT YOU TOLD ME
THE FIRST NIGHT
WE SLEPT TOGETHER.

I DO.

AND I LOVE YOU.

BUT FOR THE TIME BEING,
MY FIRST PRIORITY
IS MY BOOK.

YOU KNOW, HARRY,

ALL YOU DO ALL DAY
IS SIT ON YOUR ASS WRITING.

AND ALL YOU DO ALL DAY
WHEN YOU COME OVER HERE

IS SIT ON YOUR ASS READING.

WHY DON'T YOU JUST
SAVE TIME ALL AROUND
AND GO FUCK YOUR BOOK.

[typewriter clicking]

[knocking on door]

(Levenspiel)
LESSER. I FOUND OUT
I'M A SICK MAN.

MY DOCTOR
GAVE ME A WARNING.

I'VE GIVEN UP CIGARS,
BUT IT DOESN'T HELP.

$10,000 IS
MY ABSOLUTE TOP OFFER.

[knocking on door]

I'VE RECEIVED IN THE MAIL
A BID FROM A MONEY GROUP,

AN OFFER TO TAKE OVER
THIS PROPERTY
FOR HIGH-RISE CONSTRUCTION.

I AM CONSIDERING THAT OFFER.

I KNOW. I KNOW.

IT WAS A LITTLE COLD OF ME
TO SEND A LETTER,

BUT IT'S NOT EASY
TO REACH YOU

SINCE YOU TURNED
YOUR PHONE OFF,

AND I COULDN'T WAIT
ANY LONGER.

I'VE WAITED LONG ENOUGH.

IRENE--
HARRY, DON'T BOTHER.

I'M GOING TO SAN FRANCISCO

WITHOUT YOU.

YOU'RE FREE TO FINISH
YOUR BOOK NOW.

IRENE, JUST WAIT FOR ME.

I'VE WAITED LONG ENOUGH.

AND I'VE WAITED ONCE BEFORE.

I'M THROUGH WAITING.

YOU KNOW,
I'VE ALWAYS BEEN
ATTRACTED TO THESE

CHARACTERS LIKE YOU
AND WILLIE

WHO WERE MORE DEEPLY INVOLVED
WITH THEIR WORK THAN WITH ME.

AND MAYBE THAT'S
WHAT I WANTED THEN,

BUT THAT ISN'T
WHAT I WANT NOW.

HARRY, I WANT A FAMILY.

IRENE, YOU--YOU DESERVE THAT.

WHAT A BOURGEOIS
SHIT I'VE BECOME.

[chuckles]

IRENE.

IRENE,

I LOVE YOU.

I LOVE YOU.

I WANT-- I WANT TO MARRY YOU.

YOU'RE ALREADY MARRIED,
HARRY,

TO YOUR FUCKING BOOK.

NO BOOK IS AS IMPORTANT
AS YOU ARE.

I KNOW THAT.

I KNOW THAT.

THAT'S SUCH BULLSHIT.

IT'S YOU AND YOUR BOOK.

FOREVER,
TILL DEATH DO YOU PART.

AND IF IT'S NOT THIS ONE,
THEN IT'S THE NEXT.

I GOTTA GO.

GOOD LUCK, HARRY.

[typewriter clicking]

[footsteps approaching]

[typewriter clicking]

(Willie)
LESSER!

LESSER!

LESSER!

[Willie screams]

[groaning]

[gun firing]

[coughing]