All language subtitles for Brother to Brother 2007.eng

[♪ GENTLE, SMOOTH JAZZ ♪]

[TRAIN RUMBLING]

[♪ TENDER PIANO THEME ♪]

[♪]

There are thoughts that have
the power to trap me.

I write them down
to be more honest about them

and lessen their
potential to do harm.

There's a war inside me.

[♪ SAXOPHONE ♪]

[BREAKS SQUEAL]

[HISSING DOOR]

[♪]

[SHIFT IN AMBIENCE TO RADIO]

[MUSIC STOPS ABRUPTLY]

Huhhhh.

[STREET SOUNDS]

[DOOR UNLATCHING]

I was just comin' to get some
books out of the basement.

I told you not to step foot
anywhere near this house.

But I need 'em for school.

Anything you left in this house

does not exist.

Now get out of my sight.

[DOOR BANGS]

[♪ SOFT PIANO NOTES ♪]

[♪ CONFIDENT RYHTHM ♪]

STUDENT (READING):
"If we -

"and now I mean the
relatively conscious whites

"and the relatively
conscious blacks,

"do not falter in our duty,

"we may be able,
handful that we are,

"to end the racial nightmare.
And achieve our country.

"and change the history
of the world.

"If we do not do everything,

"the fulfillment
of that prophecy

"recreated from the
Bible in a song

"by a shame, is upon us.

"God gave Noah the sign.

"No more water,
the fire next time."

Does anyone care to comment
on how this passage,

written in 1963,
might relate to the uh...

political and cultural
climate of today?

- The LA riots for one.
- That's good.

Rahsan?

Unarmed brothers
gettin' shot by the cops.

How long is that
gonna be tolerated?

- Who's writing this?

James Baldwin wasn't tolerated.

I mean, he was
basically silenced

because him being gay
was a threat

to the major leaders of
the civil rights movement.

I didn't even know
James Baldwin was gay.

RAHSAN: We're talkin'
'bout activism

and political struggle,

not what people do
with their sex organs.

If you like to
take it up the ass,

that's your business.

(OVERLAPPING)
All right, guys.

That's enough.
All right?

The majority of
people at the time

didn't care that
Baldwin was gay.

That's completely
beside the point.

- It's not, when you consider

the contribution of ideas
he made while being silenced.

I mean, what else
did he have to say?

We don't know.

We need to be talkin' about
why black people were

gettin' lynched every day
across this country.

This class is about black
political struggle.

And what I'm saying has
nothing to do with that?

Yo!

Yo, Perry, slow down.
Jesus!

Look, that guy's a fucking dick.

I hate him.

I think you got
your point across.

What is that, the first time
you opened your mouth

in that class all semester?

Well, it's probably
because I feel like,

if I open my mouth,
I'll just start screamin'.

- Just brush it off, bro.
- Phhh.

C'mon, you know he's just
tryin' to get a rise outta you.

Yeah, well, it's workin'.

Yo, did you get your ticket
for the De La show tomorrow?

I'm actually on my way
to get it right now.

Better hurry up
before it sells out.

Shit is gonna be
off the meter, man.

[EXHALING]

[CHUCKLES]

[RUMBLING]

[BREAKS SQUEAL AND HISS]

[♪ RECORD SCRATCH ♪]

[♪ DRUM ROLL♪]

[♪ FUSION JAZZ ♪]

[♪]

[♪ SAXOPHONE ♪]

Excuse me.

I was wondering if you
might be interested

in having your portrait done?

What's in it for me?

The pleasure of giving me
pleasure, for one,

and the ability to see the
reflection of your beauty

through my eyes for two.
Isn't that enough?

You can either come or not.

It's up to you.

[♪ MUSIC CLIMAXES ♪]

[♪ PIANO SOLO ♪]

[♪]

[♪ SAXOPHONE CROONS ♪]

[♪ MUSIC CONTINUES ♪]

[♪ LILTING PIANO NOTES ♪]

VOICE: So you ready
for the opening?

PERRY: I guess. I mean,
the paintings are almost done.

So my boy's steppin' out
into his SoHo debut.

Oh, please!

Hey, speakin' of debuts,

I thought you had
somethin' new for me?

Yeah, I do.

Well, what 'chu
waitin' on, an invitation?

All right, all right.

(CLEARING THROAT)
Check it, check it.

Amid conflicting reports,
the truth emerges.

Coarse-edged, an ungentle blade

for peeling back
the night's skin.

It requires great
strength in the hands,

a strength,
not as obvious as muscles.

I believe what I feel moves
unsaid in the air between us.

Satellite blackouts.

It is true.

Some of the people we love...

are terrorists.

- I'm feelin' that.
- Ah hah ha!

- That was nice.
- For real?

You took a little,
you took a minute.

I had to, you know,
the satellites...

But I liked it.

It was almost as though
it had journeyed to meet him.

The night was so blue.

If colors could be heard,
he'd paint most wondrous tunes.

Symphonious.

Think.

The dulcet clear tone of a
blue-like night.

He blew a cloud of smoke.

Soon the smoke would rise

and he would clothe
the silver smoke

in blue smoke garments.

Truly smoke is like imagination.

Damn!

Even grandpa
got a bag of tricks.

You think you started this?

I've been riffin'
on corners like this

since before your
mother was even a figment

of your grandmother's
imagination.

And you ain't
lost nothin', either.

Well, stay sharp.

And watch your back.

Hey, bring 'em on, I'm ready.

[MARCUS CHUCKLES]

[♪ COOL BEAT ♪]

She didn't card you?

What, are you crazy, man?

With a killer smile like this?

So how come a good
lookin' guy like you

isn't goin' out with anyone?

I don't know.

I mean, I've never really
been the social type.

I always feel like I have
to come up with a good line

to approach somebody.

What are you talkin' about?
Just be normal.

And what's normal?

You know, man.
Regular shit, like...

"Do you come here a lot?"

"God, this song's dope."

They know how nerve-wracking
and awkward it can be.

I mean, one of my
best lines ever, man.

I was out with this woman
for the first time

and I looked at her and I said,

"Baby, what would you do if I
busted a suave move right now?"

PERRY (SNORTING):
You did not.

- Man, hell yeah, I did.
- And what'd she say?

She said, "Well, I guess it
wouldn't be that suave

since you just said that."

And then I just leaned in
and went for it.

You're, outta your fuckin' mind.

Sometimes it's all about risk.

WOMAN: Yeah, that's what
I'm talkin' about.

This next performer has
graced the stage a few times.

He's gonna rip
somethin' new for ya.

Let's give it up for Marcus.

[LOUD CHEERING]
Whooooo!

[♪ ROUSING BEAT ♪]

Thank you. Thank you.

All right.
This one, uhm...

somethin' I just started
workin' on yesterday.

Still a little rough
so please, bear with me.

It's all right, baby,
we like it rough.

Oh, we know how you like it.

Oh, ho-ho-haw!

MARCUS:
Yeah. Alright.

Amid conflicting reports,
the truth emerges.

Coarse-edged, an ungentle blade

for peeling back
the night's skin.

[♪ BEAT RESUMES ♪]

Hey, I just want to tell you

that I really dug your piece.

Oh, yeah?
What'd you like about it?

Oh, I... I just think
it got to the source

of a lot of the anger
that people I know feel.

I mean, who am I to talk, right?

But, like, you know,
I guess I can, cuz like

I spent most of my life
around that shit,

like brothers on lockdown
for some petty bullshit.

You know?
And you watch that

and the anger just builds,
know what I'm saying?

You readin' again anytime soon?

Nah, man.

Well, keep me posted.

I'm Danny.

Perry. Nice to meet you.

I'll see you around, man.

Caucazoids.

They never cease to amaze me.

What? He was
complimentin' you.

Like I need that
motherfucker to tell me

about my poem?

Well, what's the big deal?

I just hate when people like
that always try to tell me

about my shit.

Like you too stupid
to know what you did.

You see this anger you're
feelin' towards white people

is the same anger
brothers feel towards me

for bein' gay.

What? That's totally
different.

Oh it is?

C'mon, you know
how brothers front.

Together, they might dis you

so that nobody else thinks
that they that way.

But you know that if
you got into any real trouble,

you still fam
and they got your back.

Well, you know,
I'm not so sure about that.

Remember Little League?
'Member?

Ah, let's go
back to Little League

when everybody teased you
'cause you threw like a girl?

Who stood up for you?

Look, all right, all right.
You got me.

Championship game.

Now, why we got to
go back there?

Ninth inning. Bases loaded.

Two outs.

The Tigers are
beating us 8 to 7.

You get up to bat.

What happened?
You struck out and we lost.

Yeah, well, thank you
for reminding me, Marcus.

- I appreciate that.
- Any time man.

Ron, Big Mouth Ron starts
shovin' you, pushin' you.

"All you had to
do was hit the ball,

"just hit the ball."
Remember that?

You fell on the ground,
all cryin'.

Eyes started gettin' all watery.

The other kids come over.

"Yeah, kick his ass!
Kick his ass, Ron!"

Who jumped in and broke it up?

(QUIETLY)
You did.

- Who did?
- YOU DID!

That's right. I did.

And don't forget about it.

Everybody in the world
ain't out to get you man.

Don't worry.

I'm a find a good
brother for you.

Got my eye looking out for it.

Well, don't take too long,
man, I can't wait forever.

Peace.

Congratulations.

Thanks for comin' through.

- No doubt.
- All right.

[♪ MYSTERIOUS RHYTHM ♪]

PERRY (READING):
He blew a cloud of smoke.

Truly smoke
was like imagination.

[♪]

If colors could be heard,
he'd paint most wondrous tunes.

Symphonious.

Think.

The dulcet clear tone
of a blue-like night.

[ ♪ MUSIC FADES ♪]

[LAUGHTER]

PERRY:
That was the shit.

They way they did that.
♪ Go ooh, ooh, ooh, ♪

♪ De La! ♪
Haaa...

♪ In the house tonight.
Go ooh, ooh, ooh. ♪♪

You, that's some old
Soul Train shit.

Yo take it to the front.
Take it back! Awww!

[INTOXICATED LAUGHTER]

[CHORTLING]

I'm faaaded.

Oh, my God, I've never been
this fuckin' hungry before.

Oh.

PERRY: That was
last Halloween.

I can't believe you would go
out in public like that, man.

Hey. That was a calm year.

If it was up to me,
every day would be Halloween.

When I was like, 12,

I used to wear this
ornate lampshade on my head

and walk down the block
just outta boredom.

[GIGGLING]

And the big freak of the
ghetto award goes to...

Don't push me 'cause I'm
close to the edge...

[RAUCOUS LAUGHTER]

Oh shit.

Hee hee hee!

JIM: You all right
down there, man?

Oh, just as dandy as can be.

[CATCHING THEIR BREATHS]

Hey, is uhm, is this
your mother right here?

- That's Evelyn.

She runs the homeless
shelter where I work.

There are more pictures of her
than there are of your family.

She's all the family I have
as far as I'm concerned.

Whaddya mean?

Let's just say...

there are certain
practices I engage in that

my parents can't understand.

And you can't talk
to them about it?

It's clear that they don't wanna
have anything to do with me.

Guess you can say
I've been cut off.

That's really fucked up, man.

What are these?

The best porn compilaton
20 dollars could buy.

You mind?

Go for it.

[SOFT KISSES FROM TV]

[HEAVY BREATHING ON TV]

Are you sure you wanna do this?

Don't ask so many questions.

[SILENCE]

[BED CREAKS SOFTLY]

Hey, where are you going?

I think I'm gonna head
back to my room.

It's 3:30 in the morning.
Why don't you just stay here?

I just feel like I need
to be in my own bed.

You didn't feel that way
a few hours ago.

I'll talk to you later.

[DOOR LATCHES CLOSED]

[♪ PULSING DRONE ♪]

[CLANGING]

[BANG]

[SCREAMING]
Get out! Out!

BOYFRIEND:
Take it easy.

[YELLING]

BOYFRIEND:
No, leave him alone!

What are you doing?!

[♪ INTENSE PULSING CLANGS ♪]

[HARSH WHIR OF ENGINE]

PERRY:
How's it going Tom?

You doin' all right?

I'm hangin' in there.

Excuse me, sir?

You have to sign out.

- What's your name?
- Bruce.

- Last name?
- Nugent.

Sign next to your name, please.

PERRY: "If colors
could be heard,

"he'd paint most
wondrous tunes...

"Symphonious.

"Think.

"The dulcet clear tone
of a blue-like night.

"Truly smoke was
like imagination."

This is you, isn't it?

I guess it is.

Well, I want to talk to you.

Do you mind if I walk wit you?

You seem ready to
whether I want you to or not.

And I suppose I never
could resist the company

of a handsome young man.

[♪ TENDER PIANO NOTES ♪]

PERRY:
I really love it.

The phrasing,
the mood, everything.

It's like someone of a
completely different

time and place,
but it's exactly how I feel.

Well, I hate to be
the one to break it to you

but I'm here and now.

Flesh and blood right in front
of your very own eyes.

Well, I know that but...

I mean -

God, I don't know
where to start, uhm...

Well, how'd someone like you
end up sleeping in a shelter?

- Someone like me?
- Yeah.

I mean -

You know, a respected,
published writer

of the Harlem Renaissance.

Slept in hallways
and rooftops then.

Why would things change now?

Respected?

If you wrote about
being gay in that time,

respect was the last thing
you was gonna get.

How'd you get into writing?

[♪]

BRUCE: Langston Hughes
turned me on to it.

Night after night,
he and I would walk each other

back and forth from
his house to my house.

If we hadn't finished talking,

we'd turn right back
around and continue.

Do you see it?
It's Orion.

See those three lines
to the left?

No. I think you've been
smokin' somethin'.

All you got to do is open
your eyes, it's right there.

PERRY: So you guys
were pretty tight?

BRUCE: I was pretty
taken with him.

How could I not be?

He was good to look at,

good to listen to,
good to talk to.

And at 24, he'd been
all over the world

to places I'd only
dreamed about.

So I was thinkin' we'd
go get a cup of coffee.

There's a nice place
on 128th Street.

[♪ SWING MUSIC ♪]

Didn't your mama ever teach you
it's not polite to stare?

Smells good.
I'm starving.

I'll tell ya, the food doesn't
get much better than this.

Oh, look, there's Wally.

- Wally who?
- Thurman.

That's Wallace Thurman?

LANGSTON: Wally!
How you been?

- I been good.

(TO HIMSELF)
That's impossible.

LANGSTON: This is
my friend, Bruce.

It's his first time in New York
so he's just soaking it all in.

Well, there's certainly
a lot out there to soak in.

- Will you join me?
- Absolutely.

So how's your new job
over at the Messenger?

It's keepin' a roof
over my head, you know?

And thank God I'm a quick reader

'cause I'll tell you,
some of this stuff,

the quicker you get
through it, the better.

- That bad, huh?
- Horrendous.

But I guess it helps to see
exactly the kind of writing

I don't wanna be doing.

Excuse me.
I'm not feeling very well.

No, no, no,
stay. I, I -

I just need to get some air.

BRUCE:
There I was,

thinking of myself as this
open-minded bohemian

and the sight of
someone I admired

being so black,

it all came crashing down on me,

seeing these
prejudices within me.

I was sick at the sight
and at my own reaction.

[KNOCKING]

Come in.

Hi.

I didn't expect I'd be
seein' you again so soon.

I just wanted to apologize
for my behavior earlier today.

I - I just admire
your work so much,

and I know I must
have been incredibly rude.

I honestly think I've just
been a little overwhelmed.

Well, apology accepted.

Actually, if you
don't have any plans,

I'd love it if you
and Langston would come over

for a drink tonight.

That would be great.

Around seven?

We'll be there.

So you think he's for real?

What do you mean?

I mean, he could
just be a nut job

with a really vivid imagination.

He's for real alright.

Damn.

It's just fucked up that...

That what?

That his life turned out
the way it did.

I just think he has
different values.

I mean, his mind is different.

Like, he's an old man
but not really.

You can tell that he's
wide open and don't regret shit.

[♪ SOFT, RISING CHORD ♪]

PERRY (READING):
Some of the strongest work

in the upcoming Flipmode show

comes from Konah Johnston,
Emma Simms

and the young Perry Williams.

These are names I'm sure we'll
be hearing a lot more from

in the not too distant future.

[BIRDS TWITTER]

[♪ BOOM ♪]

♪ Yeah. Going out
to all my high rollers. ♪

♪ Omega. ♪

♪ No doubt. ♪

♪ You know how
we do it... ♪♪

[RAP HEARD THROUGH HEADPHONES]

No home training.

Whatever.

I'm sorry, man,
was that your foot?

Yeah, it was.

You and them big
clodstomper feet you got.

You know what they say, man.

Big feet.
Big shoes.

[SCOFFS]

JIM: You make me
feel so good.

I'm glad.

I like making you feel good.

I love your skin.

So smooth.

And your lips.

You are so fucking beautiful.

And you have the sweetest
black ass I have ever seen.

What are you doin'?

I gotta go.

What? Where are you going?

Out.

Uhm... I'm late.

I have to be somewhere.

I ain't even gonna say it.

I hate when them motherfuckers
prove me right, though

and they always do.
Every time.

All right, shut up.

Usually it ain't
so bold and obvious.

They at least try
to be subtle about it, but -

Jim, blatant enough
to say shit straight up.

Then so stupid he don't even
know he's bein' offensive.

You're not gonna stop, are you?

Alright. Fine.

But that's the type
of shit right there

that should knock them
blinders right off your face.

I mean, it's got to be
crystal clear to you now.

Look, maybe he was just
bein' honest.

Oh, and the fact
that his honesty

offends you doesn't
mean anything?

It could be that
he's just not aware.

- Damn!

Man, I mean, this is some
deep delusional shit goin' on.

I know sex with homeboy
must be real good

if you still don't know after
some racist bullshit like that.

MAN: We're workin' hard to
provide food and shelter

for young brothers
who are out on the street.

Anything you can give
will be greatly appreciated.

A quarter. A dime.
A nickel. Anything.

Yes, we want them
to resist the wicked ways

that some of our weaker
brothers have fallen into.

Young brothers
without the knowledge

or the know how to follow
the teachings of our Lord

who sayeth in Leviticus,
Chapter 20, Verse 10,

that if a man lies with a man
as he does a woman,

they both have
committed an abomination

and shall be put unto death.

Their blood is upon them.

MARCUS: Man, why don't
you shut the fuck up?

Don't nobody on this train need
to be hearin' that bullshit.

- So the word of the
Bible is bullshit?

Damn right when
it's words like that.

- In my heart, I still love you

but the Lord does not
condone your lifestyle.

I'll pray for you both.

- Why don't you keep your
prayers for yourself, man.

[♪ DRIVING HOUSE MUSIC ♪]

[♪ MUSIC CONTINUES ♪]

[♪]

[FAINT MOANS]

[MOANING GROWS LOUDER]

[♪ THRUMMING BASS BEAT ♪]

[MOANING RESUMES]

[TRICKLING WATER]

[♪ BEAT FADES SLOWLY ♪]

[DISTANT HONKING AND TRAFFIC]

[♪ DJEMBE DRUM BEAT ♪]

♪ No more pigs
in our community. ♪

Off the pigs!

♪ Revolution has come... ♪

Off the pigs!

I picked up a newspaper in Paris

and your face was right there.

[♪ DRUMMING QUICKENS ♪]

And I looked around
at this French Café

and thought, what the hell
am I doin' here?

The struggle's goin' down
and I'm thinkin' about

white America's race
problem from overseas.

I bought a plane ticket
the next day.

We wanted fundamental
irrevocable liberation.

I look closer at your words

and I knew you
weren't with it, man.

You hated black folks.

Some of the very people whose
liberation I was fighting for

did not want me there.

I was spat upon

because of something
I could not control

because I'm a homosexual.

When white people criticized me,

it sent me into heated,
clear articulation

but when black people
criticized me,

it really made me want
to break down and cry.

The relationship between
black and white in America

is a power struggle.

It's there every day

in each interpersonal
relationship!

I know about white men
and black men.

- I've been menaced by both!
- That's right.

And the psychic distance
between love and hate

is the same as
the physical distance

between a smile and a sneer.

What did I ever do to you?

You do let the white man
fuck you in the ass.

Now what does that make you?
Huh?!

That makes you the lowest
scum on the earth.

And who gives you
the right to judge?

I'll show you my right,
mother fucker!

[♪ RAPID, FIERCE DRUMS ♪]

[♪ FADING INTENSITY ♪]

[CLICKING OF PROJECTER]

RAHSAN: Why are we watchin'
this in class?

PERRY: Because a friend
of mine made it

and I thought it was
important and relevant.

So now anybody can show
whatever they want

and we're forced to watch it

just because they
think it's important?

Hey, we were supposed
to do a presentation.

That's my presentation.

Well, I don't think I should
have to look at it.

Why do you care?

Maybe because you're
afraid to face yourself.

Perry. Enough.

Step on out
of the closet, brother.

Life's all right
on the other side.

Look, I've warned
the both of you.

I will not tolerate that level
of discussion in this classroom.

That's it for today.

Perry. Come here.

Now whatever personal issues
you have with Rahsan

needs to remain
outside this classroom,

is that understood?

Yeah.

It's okay for you to use that
as part of your presentation

but also I think part of
your presentation

must come from your own voice,

your own thoughts and ideas
around these issues.

How they affect you,
society and culture,

in the present.

♪ I'm gonna tell why you
these niggers is hatin' ♪

♪ Why? Cuz not givin' out full
benefits with paid vacation... ♪

BRUCE: You ever
come up here?

No, not really.

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

Look at everything
you're missing.

Looks just like Brooklyn.

A whole lot of people
doin' a whole lot of nothin'.

That's it, huh?

Yup.

[FLOORBOARDS CREAK]

God, I can't believe
it's still here.

[DOOR BANGS]

Look at you.

If an old man like me is
game for a little adventure,

you should be too.

C'mon.
You go first.

Whose big idea was this anyway?

Oh, live a little.

[STAIRS CREAK UNDERFOOT]

[♪ SWING MUSIC ♪]

BRUCE: That night Langston
and I came to visit,

we ended up staying
off and on for two years.

This building was what
we affectionately called

Niggeratti Manor.

Looks like we
missed all the fun.

He's positioned
in front of the typewriter

for some serious work.

WALLY: I'm just posing and
waiting for distraction

and here you are.

Well, you know what they say
about all work and no play.

Well, even when I'm working,
I'm playing, up here.

LANGSTON:
So how's Zora doing?

WALLY: Good.
She's been uh...

down South collecting stories
and filming all sorts of things.

- What a life!
- Yeah, no kidding.

We actually have this new idea

for a journal that we've been
bouncing back and forth.

- Something like Crisis?
- Bite your tongue.

No more weepin' and moanin'
for respect from white people.

Locke and Dubois
have had their say.

This is about younger artists,

somethin' with
spunk and passion.

Sounds like we've all been
havin' the same conversation.

We're talkin' drawing,
fiction, poetry, essays,

anything by young Negroes
with somethin' new to say.

Well, count us in.

[♪ BIG BAND MUSIC ♪]

Wally!

[♪]

[CLATTERING TYPEWRITER]

WALLY (READING):
We of the younger generation

are like all other human beings
in a period of transition.

We are eternally
discovering things

about ourselves
and our environments

which our elders
have been at pains to hide.

They have been so busy
justifying their presence

in a hostile, racist
environment,

that they've ceased
to be human beings.

With the new magazine

we will cease to look
for respectability

in the white person's eyes.

We will express
the beauty and ugliness

of our individual selves
for ourselves.

If anything is deemed
disturbing or pornographic,

then so much the better.

[♪ BAND MUSIC CONTINUES ♪]

PAINTER:
What do you think?

- I think you just finished
the cover of our magazine.

We need to show things
that other magazines won't.

If not, then why bother?

We're ready to get
low down and nasty.

There you go. Always want to go
muckin' around in the gutter.

WALLY: Now, wait a minute,
he has a point.

Bruce and I were thinking

that there are
two types of people

that upstanding Negroes
want no part of.

Queers and whores.

The types that we're
the most fond of.

We'd like to give them a little
token of our appreciation.

Heads, Wally,
you get the street walker.

Tails, the homosexual.

It's heads, street walker.

Now let's really
wreak some havoc.

[♪ BLUES GUITAR ♪]

LANGSTON: Now remember,
it's a first draft.

- Be gentle.
- Just read it.

This is a song
for the genius child,

Sing it softly
for the song is wild.

Sing it softly as ever you can -

Lest the song get out of hand.

Nobody loves a genius child.

Can you love an eagle,
tame or wild?

Wild or tame?

Can you love a monster
Of frightening name?

Nobody loves a genius child.

Kill him -
and let his soul run wild.

[CLAPPING]

It's incredible.

I thought you'd like it.
It's about you.

BRUCE: And if it seems like
we worked hard...

(SEDUCTIVELY) Lord knows
we played even harder.

[SOUNDS OF PANTING AND KISSING]

Oh, that's it. Oh...
Oh my God. Oh my God.

- I'm coming.
- Oh, I'm comin' too!

- Ohhh! Ahh...

[GASPING IN ECSTASY]

YOUNG WALLY:
Oh, that's it...

Oh God.
Oh God, I'm coming!

Oh! Me too!
Oh. OH!

Hee-hee-hee-hee!

Ha-ha-ha-ha-ha!

Bravo, Wally.

Wally, I think that's
your best piece of work yet.

Hey! Hey!
Bravo, Wally.

WALLY:
Harold, relax.

He and I share everything else
around here, why not the men?

Hoah! My Gah-haha.

Are you sure you don't have
some Negro blood in you?

If I'd have known,
I'd have joined you.

YOUNG BRUCE:
GAhhhh! Wallyyy!

No, oh-ho!

Oh, my God. Oh, my God.
Oh! I'm coming.

Oh, oh please.
Oh, don't stop. Oh, oh.

Would you please get your
big Canadian lug off of me?

You know, these white boys
never get enough.

Well, somebody's gonna
have to get up

and get some gin for this party.

- What party?

- The one that's going pay
the rent next month

which is supposed to start
in less than two hours

and, as usual, it looks like
I'm gonna be the one

to drag all that booze
up on the train.

[♪ BIG BAND MUSIC RESUMES ♪]

[HAROLD CACKLES]

[♪ TRUMPETS BLARE ♪]

Hm, not bad.

- And the winner is?

- I think it requires
more research.

[♪]

ZORA:
Wally! Harold!

We're drinking
to Bruce's new loves!

May the best man win.

YOUNG BRUCE:
Excuse me.

I think my friends
are drinking without me.

- Here, here!
- Here, here!

[CAMERA CLICK]

[BASS STRUMS MISCHIEVOUSLY]

Boys will be boys.

HAROLD: These are just
for you, right?

Anything Carl wants, he gets.

You're one of the few people

who was willin' to
patronize our magazine.

This is the least we can do.

Haha!

[CLUNK]
Ow!

Owww.

[HAROLD TITTERS]

WALLY: I think
I'll survive.

So how do you want us?

Standing?

Kneeling?

Lying down, erect?

[CHORTLING]

[♪ CLASSY JAZZ PIANO ♪]

[♪ PLAYFUL TROMBONES ♪]

[♪ BLARING TRUMPET ♪]

Excellent.

[♪]

[SNICKERING]

Bruce!

I couldn't resist!

You ever go out cruising
back then?

I beg your pardon?

You're such an old soul
in that young body.

Nice try, but don't
change the subject.

I'm sorry.
What did you ask?

Cruisin'.

Trollin' around,
lookin' for trade.

Oh, yeah.

I suppose I did do that.

[♪ PLUCKING BASS ♪]

BRUCE:
You might say I was...

obsessed with it.

[♪ FINGER DRUMROLL ♪]

[♪]

[♪ TANTALIZING STRUT ♪]

[♪]

YOUNG BRUCE:
Wait a minute!

[MUSIC IS INTERRUPTED]

BRUCE: Later, when I
had to appear in court,

the judge asked the "sailor"

if the sexual encounter
was done against his will.

He said yes.
I yelled,

"There are 13 buttons
on a sailor's pants.

"You could have stopped me
any time you wanted!"

Ha-haa!

The judge dismissed the case.

Later he asked me if
I had a thing for uniforms.

I said. "Sailors, yes,
police officers, no."

I think the, uh,

judge was a little bit of
a closet case himself.

I guess some things
never change.

You got that right.

So how are things goin'
with that cute white boy

I've seen you with?

Huh. Jim?

Yeah, you know the one.

When have you seen me with him?

I keep an eye out.

So? C'mon.
Out with it.

It's not really workin' out.

I think I should just move on.

It's like one of those
things where you're always

tryin' to make someone into
somethin' they're not.

Anything just to
fill the emptiness

and to avoid bein' alone.

Wait.

How many times have you
seen us together anyway?

See, I knew it!
You are a crazy stalker,

aren't you?

I can hear it now.

"Remains of young black boy
found in the belongings

"of elderly black artist.
Details at eleven."

Elderly? I believe the word
you're looking for is

legendary.

[CHUCKLING]

You'd be surprised
at the things you notice

when you really start to look.

Eh, where are you goin'?

Sometimes a lady
needs a moment to herself.

Gather her thoughts.

Attend to business.

I guess she needs
a room of own, too, huh?

That's definitely right.

[SOFT CHUCKLE]

[♪ LIGHT JAZZ ♪]

BARTENDER: Well, well.
Ha ha heh.

You look happy tonight.

I met somebody.

Somebody who reminds me
of what it felt like

to fall in love.

Uh oh. Sounds dangerous.

You ever start
talking with someone

and feel like you've
known them forever?

Their entire past and future

flashes right before your eyes.

And your heart starts
beating faster

'cause you know how hard
their life's gonna be...

and it just tears you up inside.

I just listened
and stared at him...

and I wanted to hold him.

All right. Here we go.

I looked down at my hand

and thought to myself,

where'd this come from?

You ever think like that?

Like, what's a hot
piece of ass like me

doin' trapped in
this old man's body?

I think it,

and it's usually right
before I do something

I know I'm gonna regret.

But you usually do it anyway.

Oh, you got that right.

[WISTFUL LAUGHTER]

Here's to lost beauty.

May it always be nearby

with the potential
to keep you warm.

Wait. That is one I'm gonna
have to join you on.

[CLINK]

Why are you making all this
drama outta nothing?

Do you know how many
white guys I've met

who don't give a shit
about what's goin' on in my mind

but only wanna sleep with me

because they want
some sweet black ass

or some big black dick?

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

I don't know!

I'm not inside your head.

[JIM SIGHS LOUDLY]

God...

Look...

That night,

you knew I wasn't sure.

I mean, this is all new to me.

I don't know what I'm doing.

I never meant to put you
in an awkward position.

But -

I've been looking
for a boyfriend

for a really long time.

And I've been intensely lonely
for a really long time.

And I got kicked out
of my parents' house

recently which led to a lot
of emotional shit and...

I just need someone in my life
who is more than a friend.

Someone who's willing...

to love me.

I don't have that.

And I thought that
you might be that.

But I don't think you are.

[DOOR BANGS]
[♪ MYSTERIOUS RHYTHM ♪]

[♪]

Regrets will drift
away with time

and sometimes the thing
you're looking for

is staring you right in the face

and you're still blind to it.

[♪ MUSIC CONTINUES ♪]

How's it going?

All right.

Man, what's your deal?

Excuse me?

Look, no offense,

but I really think
I'm a little too young for you.

Hm-hm.
True.

So what do you want?

A little bit of time maybe,
that's it.

[♪ MUTED TRUMPET MELODY ♪]

[♪]

So what did you wanna
talk to me about?

I don't know.
I been worried about you.

- You find a job yet?
- I've been lookin'.

There's just not
that much out there.

Hangin' out with Parker and
Auden all day in the Village

is not what I call lookin'.

It's not like a job is gonna
jump up at Bickford's

and bite you on the ass.

- It might.
- Heh.

And don't think we don't know
you been sellin' the magazine

and keepin' the money
to feed yourself.

Mm-hm.

Why, young lady, what
are you accusing me of?

It's not right.

If anybody should be keepin'
that money, it's Wally.

He's put the most into it.

Well, a job will turn up
sooner or later.

I hope so.
For your sake.

But the more important
question is,

will you still walk with me...

if I smoke this
cigarette on the street?

You are not going to do that.

Like hell I'm not.

[♪ MUTED TRUMPET RESUMES ♪]

What have I got to lose?

It's not like I have some
stellar reputation to protect.

[RESTRAINED GIGGLING]

ZORA: Well, I'm not
interested in some

high-falutin' critic's
opinion of my work anyway.

They are the last people
I'm writin' for.

Well, it is gonna affect
the amount of people

that buy the damn thing.

We might as well know
the battle we're up against.

Since you've already
read them all,

why don't you start and we'll
take turns sharing the torture.

All right.
You asked for it.

These are just
some of the highlights.

"I have just tossed
the first issue of Fire

"into the fire.

"Aaron Douglas,
in spite of the meaningless

"grotesqueness of his creations,

"has gained a reputation
as an artist.

"He is permitted to spoil
the perfectly good pages

"and the cover with his ink
and pen hodge-podge.

"Langston Hughes
displays his usual ability

"to say nothing in many words.

"Zora Neale Hurston,

"writing in the slang
of the Deep South

"betrays her own education

"and that of the vast
majority of her readership.

"Wallace Thurman
and Richard Bruce,

"in choosing to write about
prostitution and homosexuality,

"respectively,

"have decided to drag
the Negro race through the muck,

"the remnants of which
will never be fully cleansed."

[GUFFAWING]

I'm sorry.

I'm -

[CRACKING UP]

That's not funny.

The remnants of which
will never be fully cleansed.

[FITS OF LAUGHTER]

This calls for a celebration.

I say we should all go down
to Stella's for brunch

and the biggest pitcher of
mimosas that money can buy.

Thank you.

I think we should read it here.

I think you lost your mind.

No, everyone
should read the work

of the person sittin'
to the left of 'em.

You kick the person when
you want them to take over.

What about the artwork?

You have to pose like
the subject in the drawing.

Hot damn! I like it.
Langston, you start.

- I don't know know about this.
- Come on!

Let's give the people
a little taste.

- Come on!
- Ow, Jesus!

All right. All right.
Here goes.

And there I saw Cordelia,

careening in a drunken abortion
of the Charleston

and surrounded by
a perspiring circle

of hand-clapping enthusiasts.

Seeing that she was
about to leave the room,

I rushed forward
calling Cordelia.

Still eager to speak,
I heard one of the girls ask,

"Who the dicty kid?"
And Cordelia answered,

"The guy who gimme
my first two bucks."

[THUMPING THE TABLE]

Laughter. Suddenly like a
taut drum. Laughter.

Suddenly neither truth
nor lie. Laughter.

Hardenin' the dusk,
dark evenin'. Laughter.

Shakin' the lights
in the fish joint.

Rollin' white balls
in the pool rooms

and leavin' untouched

the boxcars some train
had forgotten.

Whoooo!
[CLAPPING]

You'll recognize this, Aaron.

Ha ha ha ha ha!

That's it, isn't it?

♪ Fire! ♪

♪ Fire gonna burn
my soul. ♪

♪ Fire. ♪

♪ Fire gonna burn
my soul. ♪

LANGSTON:
All right!

It's hot now!
Wooo!

♪ I ain't been good.
I ain't been clean. ♪

♪ I've been low down
stinkin' mean! ♪

♪ Fire. ♪

♪ Fire gonna
burn my soul. ♪

Wooooo!

Ah, Mr. Thurman.

So glad you can make it.
Please. Sit down.

Thank you.

I read the manuscript

and, with a few
minor adjustments,

we would seriously
consider publishing it.

We are very interested
in presenting

new and important Negro writers,

such as yourself, to the public.

There is a hunger for
the reality of Harlem life.

Telling it like it is.
No holds barred.

And I believe
that a Negro writer

has access to insights
into this world

that a white writer
can never get to.

Are we seeing
eye to eye on this?

Oh, absolutely.

So uh... what were these
minor adjustments

that you were talkin' about?

Well, I was just thinkin'
it would be interesting to...

play up the
nightclub atmosphere,

making it darker,
more menacing...

A front for numbers
running or drugs.

But that's completely
untrue to the character.

The whole point is him
openin' up the club

so he can turn his life around
and do right by Stella.

The public wants danger,

sex and violence
from Harlem stories.

A good writer has to
make concessions

to what the public wants.

But the language of the novel
preserves the folklore roots -

- If you're not writing

in easy to read English
that people can understand

then how do you expect
people to get it?

It is English.

The Negro's English.

How hard could it be to
translate that into something

that everyone can understand?

It is the oral Negro tradition.

The people that are
a part of it, recognize it.

I'm not speakin'
for these people.

I am these people.

Do you want to know
what the biggest selling book

of the past six months has been?

And from a white author.

Imagine how the public
would embrace

the authentic Negro perspective.

I think you're speaking to
the wrong writer.

Every good writer has to
make concessions

to what the public wants.

Well, these are concessions...

that I am not willing to make.

- You have a good day.
- I want to thank you

for your time,
Mr. McAllister.

[DOOR SHUTS]

Excuse me, sir.

These magazines are meant
to be displayed and sold,

not hidden away.

It's not my doing.
It's the NAACP.

What do you mean?

Apparently, there've been
a lot of complaints from

the public so we were told
not to display them.

Funny how all these
things live inside you

until you make
your peace with them.

[SOUNDS OF FIGHTING]

- C'mon. Take it easy.
- GET OUT OF MY HOUSE!

- Dad, we were just...
- Not in my house!

- Mr. Williams, stop.

It's like when my dad caught
me with this guy in my room.

He was kickin'
the shit out of me.

And he just kept screaming,
"Not in my house!"

Almost like he was
tryin' to convince himself

that I was someone else.

[PUNCH AND KICKING]
GET UP!!

Like if he just kept
poundin' on me, this...

thing would go away.

[SILENT]

PERRY: And my mother
kept sayin',

"Where did we go wrong?"

Said she felt like
killin' herself.

I thought of the times when

the thought of them
knowin' I was gay

was enough to make me
wanna kill myself.

She finally understood
how that must have felt.

No matter how far you run,

those connections
will always be there.

Family is the core stuff

and you gotta fight like hell
to let 'em know who you are.

The rest is up to them.

It's smut!
And it's filth!

- We're your children!
- No, ma'am!

And we're sick and tired
of lyin' to white folks

and bourgeois Negroes
like yourselves.

You are sick!

And you are no child of mine.

My children are trained
to know better.

Like good, obedient little dogs,

waitin' for the master
to throw 'em a bone.

Maybe it's time
to feed ourselves!

This is what proper Negroes
do with trash like you.

[SPITTING]
OHHH!

Who do you think you are?!

[SHOUTING]

Don't talk to me about family

because we
are the family, okay?!

You guys went through so much.

Don't you ever think you should
write about it so people know?

Oh, it'll live on.

God!

All the shit you must have seen
by the time you were my age.

I think Langston really
taught me about kindness.

Zora taught me how to listen

and Wally?

He showed me how
to use words like weapons

and how to have fun with them.

Actually, maybe
I taught him that.

Got pretty confusing with Wally,

you know, who taught
what to whom.

I was wondering if you
might do something for me?

What?

I haven't been able to paint
in a long time and...

And what?

You remind me a lot of Wally

and since he always
used to pose for me,

I was wondering...

All I'd have to do is sit there?

And be your natural,
beautiful, self.

I guess I can do that.

When do you want to do it?

We could do it here.

Tomorrow.
Around the same time.

That sounds good.

[ ♪ ART HOUSE ELECTRONICA ♪]

[♪ DISTANT BEAT ♪]

[CONVERSATIONS]

Hey Evelyn.

You know, you are really
comin' along,

especially with this one.

I'm really proud of you, baby.

Thank you.

I'm glad you're here.

I'm glad, too.

I think I need to step
outside for a minute.

Okay.

Here he is.
Perry.

This is John Lewis.
He owns a gallery in Chelsea.

Perry's one of the painters
in the show.

Really?

What kind of work do you do?

Well, it's hard to say.
It keeps changin'.

Abstract portraits, I guess.

I don't know.
I'm not good at summin' it up.

It's probably best if you
just judge for yourself.

He did the three in the back

and he'll be happy
to show you more work

whenever it's convenient.

- Oh, that'd be wonderful.
- Excuse me.

I need to get some air.

It was nice chatting with you.

- What's up with you?
- Nothin'.

I'm just not interested in
packaging myself

as the next big deal.

Well, you better learn.

You know,

for somebody who's always
preaching about evil whitey,

you sure know how to turn on
that step 'n fetch it routine

when you need to.

Listen, man.
That starvin' artist bullshit

might be a really cool myth,

yo, but livin' it
ain't all that.

Look, I'm just not comfortable
talkin' to people like that.

Well, a few months of Ramen
noodles and tuna fish,

you'll be real comfortable
real quick.

I don't know.

It just smell like
a lot of bullshit to me.

- You know how many people
would kill to be in this show?

At your age?
While you're still in school?

- Are you crazy?!
- Yeah.

And you know how many of 'em
would end up goin' through

such a mindfuck that
they're dead junkies at 27.

But I guess that don't matter

'cause their prices are still
goin' through the roof.

I'm not goin' out like that.

Perry? You think I can have
a short word with you?

I was just about to leave, man.

I wanted to tell you,

I think your work
has a lot of potential.

Thanks.

Do you have a gallery?

No.

I was thinking, if you
approach the same themes

in a more accessible way,
you could do very well.

You have time for a quick drink?

I have to go meet somebody.

Well, maybe we can get together
some other time next week.

[♪ PENSIVE MUSIC ♪]

[DISTANT TRAFFIC]

[THUNK]

HOODED FIGURES:
Bitchass cocksucker!

Faggot motherfucker!

[FORCEFUL KICKS AND PUNCHES]

Bet you keep your fuckin' mouth
closed now, bitch! Faggot!

[PERRY CRIES OUT]

RAHSAN:
All right. That's it.

Let me get at this bitch.

Here go the fire next time,
motherfucker.

PERRY:
Rrrraaaaaaaaahhhh!

[REVERBERATING SCREAM]

[WAIL OF POLICE SIREN]

[♪ DISCORDANT CHORD ♪]

[BRUCE SIGHS]

[♪ UNEASY DRONE CONTINUES ♪]

[SHUDDERING BREATH]

[PAINED SIGH]

[GASPING]

[♪ ELECTRONIC BLIPS ♪]

[♪ GHOSTLY CHORD ♪]

[DISTORTED CLICKING]

[♪ DARK AND BROODING RAP ♪]

[COUGHING]

[WHEEZING]

Is there someone named Perry
on this floor?

Ah, first door on the left
around the corner.

Maybe you can get him
to come out.

He hasn't left his room
in, like, a week.

[KNOCKING]

[CLEARS THROAT]

Is this where all
the hot young guys are

when they're supposed to be
hanging out with me?

PERRY:
What are you doing here?

- What happened?
- Nothin'.

I don't want to talk about it.

Who did this to you?

It was dark.
I couldn't see their faces.

- Have you told anyone?

Why? The cops aren't gonna
do anything.

So you're gonna just
stay in this room in the dark

and hide from the world
for the rest of your life?

What does it matter?

It matters 'cause
you were supposed to help me

and I was counting on you
and you let me down!

All right. Get up.

- Look, what's your problem?!
- You're my problem.

A deal's a deal.

I'll meet you downstairs
in five minutes.

[DOOR CLOSES]

[DOOR SQUEAKS]

PERRY: Hey, what's this door
over here?

That's Langston's old room.

You know...

I've had two teachers
refer to him this past month.

Weren't you jealous?

Didn't you ever
want what he had?

- Never.
- Bullshit.

No, it's not!

You have no idea what kind
of sacrifice it takes

to become a spokesperson
for the entire black race.

[KNOCK-KNOCK]

What's going on?

Have you read Wally's
manuscript?

Yeah.

And does anything sound
familiar to you?

He's taken two entire
chapters from you

and he's sending it out.

So what's your point?

How can you be taking this
so lightly?

We both decided that all of us
us living together in this house

is what we're
interested in writing about.

So that gives Wally the right
to take credit for your work

and get paid for it?

Maybe some of us don't do it
for the credit.

This isn't school.
There's no teacher to impress.

You are full of shit
and you know it.

If we can't trust each other,
then who can we trust?

No one! Exactly.

It means the people you think
are your friends

will stab you in the back
in the blink of an eye

if it serves their purpose.

And then Dubois
and Locke have won.

We've become the vermin
that they think we are.

We're his family
and he's crying out for help.

It's all in the manuscript,
for Christ's sake.

You're the one who needs
to open your eyes.

"As much as he wanted
to be a great novelist,

"he knew deep down

"that he could only ever be
a mediocre journalist,

"his writing forever encumbered

"by obsessive rendering of
actual occurrences,

"never being able to let his
imagination run wild

"and soar to the heights
he wished were possible.

"All the younger writers
of our generation

"were mired in decadence.

"We were a curiosity,
even to ourselves."

Shut up!

Paul's suicide at the end.

What, that character's
supposed to be me?

It isn't me.
It's him.

Look.
I am a real writer.

And I am trying
to build a career.

I don't wanna have to worry

about my friends
stealing from me.

When we started this, we wanted
to say something important.

What happened to that?

Where's this going?

We wanted to make it.

No.

You wanted to make it.

That wasn't on
anybody else's agenda.

I'm leaving.

Fine! Hey, run away
like you always do.

Yeah, that'll fix it!

[DOOR SLAMS]

[♪ SORROWFUL GUITAR MELODY ♪]

BRUCE:
And sure enough...

his prophecy came true.

Instead of slashing his wrist,

he slowly drank
himself to death.

Grand, immediate gestures,
like the slashing of wrists

could only be done
in Wally's fiction.

But in two years,
he was dead at 34.

The first of us to go.

But where did Langston go?

And Zora and Aaron
and the rest of 'em?

Slowly, we all moved out.

I still saw them,

but after that day,
it wasn't the same.

Times changed.

The depression set in,

and people really thought our
excesses was what brought it on.

Why?

Well, the idea was that
we weren't out being good,

productive workers
because we were too busy

giving in to our base desires

and blacks and queers
were the vices

that needed to be cleaned up

to get the country
back on its feet.

White people ran back downtown

almost as quickly
as they'd come up.

It never really was the same.

That sense of risk
and magic was gone.

Well...

Maybe you can get a little
bit of it back tonight.

So how do you want me?

I've been waiting to hear
you say that.

Okay. No funny business
now, alright?

All right.

Go over by the fireplace
in that chair.

[♪ VIBRANT JAZZ DUET ♪]

[♪ MUSIC GROWS IN COMPLEXITY ♪]

[♪ MELODY ♪]

[♪ DUET CONTINUES ♪]

[♪ MELODY DEVELOPS ♪]

[♪ RESOLVING CHORD ♪]

[SOFT SILENCE]

[DEEP INHALE AND EXHALE]

Bruce?

Bruce?

Bruce!!

Bruce, oh, my God!!
Bruce!! Wake up!!

[CART CLATTERS]

One... two... three.

[SIREN WAILING]

[INTERCOM CHATTER]

NURSE: Excuse me,
Mr. Williams?

It seems as if you're
his only relation,

and we need to know what kind

of arrangements
you want to make?

What do you mean?

- For the body.

I haven't thought about that.

[TRAIN RUMBLING]

[♪ GENTLE, HYPNOTIC JAZZ ♪]

[♪ TENDER PIANO THEME ♪]

[♪]

[BIRD TWITTERS]

[CHEST CREAKS OPEN]

[\{♪ MUSIC QUIETLY FADES ♪]

[PAPER RUSTLES]

[SOFT RUSTLING]

[♪ REFLECTIVE PIANO SOLO ♪]

[♪]

PERRY (READING):
I first met Bruce Nugent

on the street,
doing what he does best.

Making magic out of
words and rhythm.

[WAVES LAPPING]

His ability to use words

to transport me
to different realities

would forever alter my
perception of the world.

He taught me how to weave spells

and conjure myths,

the power of which
would not be denied.

[♪ TRANQUIL PIANO MELODY ♪]

Through him,
I learned the complexity

of what was inside me
was also outside,

if I was willing to look deeper.

With words and images,

I could convey
the truth of my experience,

putting it down
and passing it on.

[♪ MUSIC CRESTS WITH WAVES ♪]

[♪ RISING NOTES ♪]

[♪ NOTES FLOAT AWAY ♪]

[♪ FINAL SHIMMER ♪]

[WATER FLOWING]

[BIRDS SINGING]

[HARMONIZING VOICES]
♪ I've known rivers ♪

♪ Dusky rivers ♪

[♪ LIVELY, LOOPING JAZZ BEAT ♪]

[SOLO VOICE]
♪ Rivers I have seen ♪

♪ Rivers I have known ♪

♪ Ancient than the world ♪

♪ Older than the blood ♪

♪ I've known rivers,
I've known rivers ♪

♪ All through Africa ♪

♪ and North America, ♪

♪ South America
and Australia ♪

♪ Oh, I've known rivers,
I've known rivers ♪

♪ I've known rivers
in the North and South ♪

♪ I've known rivers
in the East and the West ♪

♪ I've know rivers
all over this world ♪

♪ I've sailed some
and seen the rest, ♪

♪ I've known rivers,
I've known rivers ♪

♪ I've known rivers,
ancient dusky rivers ♪

♪ And my soul has grown deep,
like rivers, rivers, rivers. ♪

♪ Rivers,
like the rivers. ♪

[♪ SAXOPHONE SOLO ♪]

[♪]

♪ Rivers I have seen,
rivers I have known ♪

♪ Ancient than the world,
Older than the blood ♪

♪ I've known rivers,
I've known rivers. ♪

♪ All through Africa
and North America, ♪

♪ South America
and Australia ♪

♪ Oh, I've known rivers,
I've known rivers ♪

♪ I've known rivers
in the North and South ♪

♪ I've known rivers
in the East and the West ♪

♪ I've known rivers
all over this world ♪

♪ I've sailed some
and seen the rest, ♪

♪ I've known rivers,
I've known rivers ♪

♪ I've known rivers,
Ancient dusky rivers ♪

♪ And my soul has grown deep
like the rivers, rivers, ♪

♪ rivers, rivers,
like the rivers... ♪

[♪ SAXOPHONE SOLO ♪]

[♪]

♪ Rivers I have seen ♪

♪ Rivers I have known ♪

♪ Ancient than the world,
Older than the blood ♪

♪ I've known rivers,
I've known rivers ♪

♪ All through Africa
and North America, ♪

♪ in South America
and Australia ♪

♪ I've known rivers,
I've known rivers ♪

♪ I've know rivers
in the North and South ♪

♪ I've know rivers
in the East and the West ♪

♪ I've know rivers
all over this world ♪

♪ I've sailed some
and seen the rest ♪

♪ I've known rivers,
I've known rivers. ♪

♪ I've known rivers,
Ancient dusky rivers ♪

♪ And my soul has grown deep
like the rivers, rivers, ♪

♪ rivers, rivers,
like the rivers, rivers... ♪♪

[♪]

[♪ SAXOPHONE SOLO ♪]