Professional Documents
Culture Documents
By
David Polk
An Original Screenplay
MRS. FISHER
Oh, Ida Mae! How many times have I
told you? I don’t want Jenny --
She wipes the baby’s hands and mouth with a towel.
IDA MAE
Ain’t gon’ hurt her none, Miss
Juliette. Jus’ a little sumpin’
sweet.
MRS. FISHER
Nevertheless, you know I don’t want
her having sugar or molasses.
2.
IDA MAE
Yessum.
MRS. FISHER
I need Mabel to hurry to the post
office. The Colonel is expecting a
very important letter.
IDA MAE
I’ll send her directly then.
Ida Mae puts her knife down. On her way to the back door,
she gives the baby an apple slice and a smile.
MABEL
Yes, ma’am.
IDA MAE
What you frownin’ ’bout?
MABEL
I ain’t frownin’, Mamma.
Mabel starts toward the front of the house.
IDA MAE
Where you goin’?!
MABEL
To the post office, like you told
me.
IDA MAE
Get that bicycle.
MABEL
But Mamma, the gulch way is
shorter. I’ll get there faster if I
walk.
IDA MAE
Chile, what sense do that make?
MABEL
I can’t ride the bicycle through --
IDA MAE
Miss Juliette give you that bicycle
to run errands! You go on and get
it and get a move on!
Mabel sighs heavily, gets the bicycle from against the
porch. She rides away with Ida Mae looking after her.
The same post office from our opening scene only it’s new.
Mabel rides up and jumps off the bicycle. Goes inside.
4.
BESPECTACLED CLERK
Well, hello Mabel.
MABEL
Hello, Mr. Dellums. The Colonel’s
expectin’ a letter.
The clerk goes for the mail. As Mabel waits, across the room
a BLACK YOUTH, about nineteen, tall, lean and dark, sweeps
the floor. Or pretends to. He can’t take his eyes off Mabel.
POST OFFICE MANAGER
Boy, we payin’ you to push that
broom, not lean on it.
BLACK YOUTH
Y-Y-Yessir, Mr. B-B-Baker.
MABEL
I will, Mr. Dellums.
MABEL
Hello, Miss Beatty. How are you
today?
MRS. BEATTY
Oh, I’m fine, dear. ’Cept for my
arthritis actin’ up on me every
once in a while. How’s your
grandmamma?
5.
MABEL
She’s doing good. Bakin’ an apple
pie today.
MRS. BEATTY
Isn’t that nice. No better apple
pie in all the county than Ida
Mae’s.
A MAN comes out of the post office.
MAN
Afternoon, Mrs. Beatty. And hello,
Mabel.
MABEL
Hello, Mr. Campbell.
MAN
Why Mabel, look at how much you’ve
grown. How long has it been since
you sang us a song?
MRS. BEATTY
That would be a treat, wouldn’t it?
MABEL
Oh, but Miss Juliette is expecting
this mail right away.
MISS ROBBINS
Mabel was just about to sing for
us.
MISS ROBBINS
Oh how nice!
MABEL
But --
MAN
Come on, sweetheart. Sing us a
song.
ANOTHER CUSTOMER
Yeah, Mabel. Sing.
Mabel leans the bicycle on the steps. She has the voice of
an angel. Postal customers gather round to hear her. Then
other passersby. No one is more enchanted than the black
youth, who views her through a window.
When she’s finished people give her coins. Such a sweet
girl; such a beautiful voice. Mabel thanks them, climbs on
the bicycle. Pedals away through the town square.
BOBBY
It woulda been a good one though.
Damn! Why’d ol’ Tunney have to go
and retire?
HARRY
Well anybody that could whup Jack
Dempsey twice has got to be the
greatest there ever was.
7.
CLARENCE
Or ever will be. For my money,
that’s for damn sho’.
BOBBY
What money? Boy, you ain’t got no
money!
The boys guffaw. Until Claude gets their attention. Mabel’s
riding toward them. She sees Claude say something to the
boys and his malevolent grin. She steels herself and pedals
on.
Claude takes a swig of whiskey and leads the boys out to the
road, blocking Mabel.
CLAUDE
Girl, where you think you goin’?
MABEL
I been to the post office for
Colonel Fisher. He be mighty upset
if I don’t get him his mail right
away.
The boys circle her. She covers her fear.
CLAUDE
I hear Miss Juliette done stopped
performin’ her wifely duties on
account of the baby... Y’all boys
think ol’ Colonel Fisher doin’
without?
CLARENCE
Hell no! War hero like that.
HARRY
He killed fifteen Krauts in the
war.
BOBBY
Probably fucked at least that many
French whores while he was over
there. Some of ’em niggers, I bet.
The boys ogle her. Mabel tries to pedal away. Claude grabs
the handlebars.
MABEL
Let me go!
8.
HARRY
She ain’t French, but looky here --
He touches Mabel’s butt. She slaps his hand away.
MABEL
Stop it!
CLAUDE
(hissing in her face)
Who you think you talkin’ to,
girl?! Didn’t you grandmamma teach
you better than to talk to a white
man like that?
CLARENCE
Maybe she think she special ’cause
the Colonel’s pokin’ her. Little
whore.
MABEL
Please, just let me go --
MABEL
(struggling to breathe)
Stop... Let me go...please.
CLAUDE
I’ll show you how special you are.
Claude lifts her off the bicycle. Mabel kicks and screams,
fighting, biting, clawing furiously as the boys drag her
into the woods. HOLD on the bicycle...
CLAUDE
Go on, Clarence. You’re next.
9.
MABEL
Stop it! Stop it!
Mabel lunges at the nearest white boy, swinging and
scratching wildly. Harry grabs her hair and viciously slaps
her face.
HARRY
You filthy nigger whore!
Still holding her hair, he throws her onto the table, turns
her on her stomach and lifts her dress as he undoes his
pants. Mable screams out. The black youth, in a heap on the
floor, spots an AX next to the door.
Harry is about to rape Mabel when the other white boys shout
in alarm. Harry turns his head just as the ax head lands
squarely between his shoulder blades. Blood shoots from his
back like a geyser. But the black youth isn’t done yet.
The white boys try to fight back, but the black teenager
wields the ax like a man possessed. The ax comes down,
SEVERING a hand - we see Bobby HOWL in anguish. Claude grabs
him and drags him out the door. Clarence shoves the table in
front of the black youth and makes a run for it too.
BLACK YOUTH
C-C-C’mon, Mabel. We g-g-gots to
go.
She looks up at his outstretched hand, now so gentle. She
takes it and he helps her to her feet.
MABEL
Henry...
BLACK YOUTH
Go!
Mabel rides into the backyard, jumps off the bicycle and
lets it crash into the side of the shack. Hurries inside.
IDA MAE
That girl shoulda been here a hour
ago. I’ll just go get that letter
of yours, Colonel.
IDA MAE
Now, now, chile. Tell grandmamma
what happened.
It takes a few moments for Mabel to gather herself.
MABEL
On Seller’s Road... Claude and
Clarence Peppers...and two other
white boys... They...
Ida Mae holds her tight, not needing to hear the rest to
know. Now, she too is in tears.
IDA MAE
Oh, Lord, what have they done to my
baby? Oh my Lord!
COLONEL FISHER
Ida Mae, I’ve been waiting all day
for this moment. You make the best
apple pie in all South Carolina,
maybe the whole South.
12.
IDA MAE
Thank you.
She pulls the letter from her apron. Sets it on the table.
IDA MAE
Here that letter you was expectin’.
COLONEL FISHER
Thank you, Ida Mae.
MABEL
Mamma, what about Henry Stubbs and
what he done to them boys?
IDA MAE
Don’t you worry your head none
about none of them. You hear? You
just go to sleep now. Here...
Ida Mae holds a cup to her lips and Mabel drinks. She
grimaces but drinks more at Ida Mae’s urging. Ida Mae
strokes Mabel’s forehead. Mabel closes her eyes to sleep.
MRS. FISHER
You can’t really believe Mabel had
anything to do with any of this!
13.
COLONEL FISHER
Now, Juliette, calm down.
SHERIFF
The Peppers boy was very explicit,
Miss Juliette. The girl, Mabel, led
the boys into the woods to the old
Vickers cabin and...
(delicately)
...after they were done, the Stubbs
boy attacked Claude and the others
when they wouldn’t pay him.
MRS. FISHER
That’s utterly absurd!
COLONEL FISHER
Juliette --
MRS. FISHER
Jeffrey, we’ve known Mabel since
she was practically a baby! She
would never do such a thing!
COLONEL FISHER
Juliette, get a hold of yourself.
MRS. FISHER
No! Let me bring her, Sheriff.
The Sheriff and the Colonel give her a look.
MRS. FISHER
I’m sure none of us wants this to
be any more difficult than need be.
MABEL
Miss Juliette, Henry just tried to
stop them. They beat him something
terrible.
MRS. FISHER
Yes, dear, I know.
SHERIFF
How? When?
MRS. FISHER
Ida Mae said she woke up this
morning and found this.
SHERIFF
She can’t have gotten far. And she
can’t get all the way there without
help along the way. Miss Juliette,
I’m gonna have to speak to Ida Mae.
At the front door, Mrs. Fisher holds baby Jenny in her arms
and they both give the Colonel a kiss goodbye. He goes to a
Chevy pickup with "Fisher Textiles" on the side, gets in and
drives off. Mrs. Fisher waves as the truck turns onto the
country road.
MABEL
But Mamma, I don’t want to go! I’m
scared!
IDA MAE
Them white boys will try an’ take
you lower than they already has,
and ain’t nothin’ me or Miss
Juliette or even the Colonel
himself can do ’bout it if you
stays here.
MABEL
I don’t want to be without you!
Ida Mae takes her in her big arms, holds her close.
IDA MAE
Now you hush, chile. Yo Mamma gon’
always be with you. Whenever you
gets scared or lonely, you just
remember us just like this now. I
won’t never let you go, baby.
Ida Mae wipes the tears from Mabel’s face then leads her out
of the shack.
Mrs. Fisher drives. As the car turns onto the road, Mabel
looks back at Ida Mae in the front yard, holding baby Jenny.
17.
MRS. FISHER
My cousin Beatrice will be
expectin’ you in a day or two.
You’ll help look after her girls
and cook and clean.
MABEL
Yes ma’am.
MRS. FISHER
New York is a big, confusin’ place,
but I’ve written down the address
and put it in your suitcase. Show
it to a porter at the station.
MABEL
Yes ma’am.
MRS. FISHER
Now Mabel, Beatrice says the
Negroes up there can be uppity. She
won’t stand for that. Understand?
MABEL
Yes ma’am.
Mrs. Fisher and Mabel make their way through the depot. We
hear an announcement for the train to New York. Mrs. Fisher
takes an ENVELOPE from her purse and hands it to Mabel.
MRS. FISHER
Beatrice won’t be able to pay you
much, if anything, so this is so
you won’t go without.
MABEL
Miss Juliette!
MRS. FISHER
Your grandmother packed some of my
jewelry in your suitcase. The
Jewish people will give you money
for it. Not near what it’s worth -
they can’t help it, that’s just how
they are - but you can sell it to
them in an emergency. Understand?
18.
MABEL
Yes ma’am.
CONDUCTOR (O.S.)
ALL ABOARD!
MABEL
Yes ma’am... Thank you, Miss
Juliette.
MABEL
I don’t think any such thing!
CITY WOMAN
Well look it there, she speaks.
DR. DOUGLAS
Ain’t nothin’ wrong with a young
lady being careful.
(to city woman)
Surely you would know that, Miss.
19.
DR. DOUGLAS
Oh, I beg your pardon. I’m Dr.
Douglas.
He holds out his hand. She looks at it for a beat. They
shake. He smiles.
DR. DOUGLAS
Goin’ all the way to New York?
MABEL
Yes.
DR. DOUGLAS
So are me and my wife. Harlem to be
exact. That where you’re headed?
MABEL
No sir...jus’ New York City.
DR. DOUGLAS
(chortles)
I see. You have family there?
MABEL
I’m goin’ to work for Miss Juli -
for Miss Beatrice Simms. She like
family.
DR. DOUGLAS
Well then, aren’t you a lucky one.
MABEL
You said you and your wife was
goin’ to...Harlem?
DR. DOUGLAS
That’s right.
MABEL
Where is she? Your wife.
DR. DOUGLAS
They don’t figure black folks need
to travel with their families like
white folks do.
He smiles. Mabel seems to understand.
MABEL
Me?
DR. DOUGLAS
’Fraid so. Need help finding a
porter?
MABEL
Miss Juliette said they could tell
me how to get to Miss Beatrice’s.
But I can’t get none of them to
notice me.
DR. DOUGLAS
Come over here and have a seat.
I’ll go and get one for you.
MABEL
Oh, I couldn’t ask you to do that.
I’m sure you and Mrs. Douglas want
to be on your way.
DR. DOUGLAS
It’s all right, young lady. Just
you wait right here.
She sits on a bench. He starts to go then turns back to her.
DR. DOUGLAS
Porters make their money by the
number of bags they carry. I’ll
have better luck getting one over
here if they know you have a bag to
tote.
MABEL
You won’t be long?
DR. DOUGLAS
(his pleasant smile)
Not long at all.
MABEL
Hello, Mrs. Douglas. Your husband
will be right back. He went to find
a porter who could help me.
WOMAN
What’s that, honey?
MABEL
Your husband. He’ll be right back.
WOMAN
Husband? Honey, I ain’t got no
husband.
MABEL
But he just went to --
BERNICE
Come with me, girl. Freida say she
got a man that’ll get us in for
free. We won’t have to pay for
drinks, food, nothin’.
MABEL
I need to finish writing a letter
to Mamma. Besides, I ain’t got
nothin’ to wear to no Savoy.
23.
BERNICE
You got that one dress. C’mon,
Mabel. It’s Christmas time.
Down on their luck black women of all ages talk, braid each
others hair, sleep. Mabel is on a cot writing a letter. We
see enough of what she’s written to know she’s giving Ida
Mae a positive picture of her circumstances.
BERNICE
Mabel. Girl, what did I tell you?
Bernice comes up to her in what passes for a nice dress.
MABEL
I don’t really feel like it,
Bernice.
Bernice pulls Mabel’s Sunday dress from a footlocker and
drags Mabel off the cot.
BERNICE
(mocking)
"I don’t feel like it." Put this on
and let’s go, girl!
Mabel and Bernice are with FREIDA, a big woman squeezed into
a dress two sizes too small. A man walks by and leers at her
ample bosom. She smiles at him. After he’s passed.
24.
FREIDA
See, girl, I told you. Men, men and
more men!
Mabel is more captivated by the dancing than the men. But
those who notice her can’t help but do a double-take.
MABEL
(re: dancers)
My Lord, look at them.
BERNICE
(re: men)
Mmm-hmmm. Talk about fine! Mabel,
girl you play your cards right you
might find a sugar daddy tonight.
LEROY makes his way through the crowd toward the girls. He’s
with two other black men, WINSTON and GABE, all sharply
dressed, all early twenties. Leroy hands Freida a drink.
LEROY
Here you go, baby.
FREIDA
What about my friends? Leroy, you
said you would take care of them
tonight too.
LEROY
And I’m doin’ just that. These are
my boys, Winston and Gabe.
WINSTON/GABE
Ladies.
Bernice smiles her invitation. Mabel’s is less suggestive.
GABE
(to Bernice)
Can I buy you a drink?
BERNICE
That would be nice.
They walk off, his hand finding her firm, round ass.
WINSTON
And what are you drinking tonight,
pretty lady?
25.
MABEL
(at a loss)
Um... I don’t --
FREIDA
She’s havin’ what I’m havin’.
WINSTON
All right then.
BRIEF MONTAGE
of the girls and their "dates" dancing, drinking, having a
good time; of Chick Webb and his Orchestra doing what made
them legends; of dancers doing what made the Savoy the most
famous dance hall in Harlem.
END MONTAGE
Our three couples leave the ballroom. Leroy and Freida and
Gabe and Bernice are amorous. Not so Mabel and Winston.
Mabel grows nervous as Leroy hails a jitney taxi.
WINSTON
Mabel, what is it?
MABEL
Why don’t you all go on without me?
I think maybe I had too much to
drink.
FREIDA
Girl that’s the whole point!
MABEL
I need to finish something --
BERNICE
(pressing)
Mabel.
WINSTON
I can walk you back.
MABEL
No, it’s okay. Thanks.
MABEL
I’m sorry. Goodnight.
As the others get into the taxi Mabel walks alone down Lenox
Avenue.
Mabel avoids eye contact and the women stop talking as they
pass her. Then they laugh. Mabel has no idea why, but feels
wounded all the same. After only a few more steps:
PIMP
Hello, Mabel.
MABEL
I done told you before, I ain’t
interested.
PIMP
You mean to tell me the finest
thing up in Harlem is happy
scrubbing bathrooms for pennies?
Come with me, girl. I’ll treat you
like a queen.
MABEL
(anger rising)
Take your hands off me!
He presses her against a brick wall. A SWITCH BLADE suddenly
glistens in the street light.
PIMP
You don’t need that face to scrub
toilets. If that’s all you gon’ use
if for, I might as well fix you up
right here, right now.
Mabel looks him in the eyes. He sees she’s not afraid. Beat.
IRIS (O.S.)
She said leave her alone!
PIMP
(slick charm)
Hey! Now let’s not get over excited
here and go do something we gonna
regret later.
RUBY
Only one who gonna regret anything
is you, you don’t let that girl go.
JOYCE
Now.
28.
JOYCE
Honey, it’s hard enough to make it
in Harlem without a job. At home
you at least have family.
MABEL
I just can’t go back home is all.
IRIS
I don’t blame you there. I swore
once I kicked the dust of Georgia
off my heels I’d never go back and
I never will.
RUBY
Well she can’t go back to that
flophouse. That asshole will be
after her.
MABEL
I don’t got no place else to go. I
spent all the money Miss Juliette
gave me and Miss Beatrice won’t
have me now. And well, I told you
’bout the jewelry.
RUBY
Girl, you had to learn the hard
way: the sweeter they talk, the
faster you walk.
IRIS
Now Ruby, don’t go puttin’ ideas in
this girl’s head.
(to Mabel)
It’s true, most men are low as
dirt. But there are plenty of good
ones too, right here in Harlem.
Ruby reacts, clearly of a different opinion.
JOYCE
That pimp was right about one
thing. You’re too pretty to be
scrubbing toilets in a flophouse.
RUBY
Maybe she can find something at the
club? She’s pretty enough for Mr.
O’Malley.
29.
IRIS
(off Mabel’s look)
Oh, it ain’t nothin’ like that.
Most of the club bosses can’t keep
their hands off colored girls, but
O’Malley’s strictly the look don’t
touch kind. He thinks we’re a
sinful people.
JOYCE
That don’t stop him from looking
hard, though. Real hard.
IRIS
So it’s settled. I’ll have Nate
talk to him before the show
tomorrow.
MABEL
Really? Oh, thank you so much!
(then)
But what about tonight? I still
don’t have a place to stay.
RUBY
You can stay with me and Joyce!
MABEL
Are you sure? I can’t pay you or
anything. Not yet.
JOYCE
Once you start working at the club,
you’ll help pay your way.
IRIS
Who knows, if you can dance or hold
a tune, you could make your way
into the chorus line like us.
NATE
Mr. O’Malley, this is Iris’ cousin,
Mabel. Mabel, say hello to Mr.
O’Malley.
MABEL
(demure)
Hello, Mr. O’Malley.
O’MALLEY
(liking what he sees)
Turn around. Let me see what you’re
working with.
She does a slow turn. He gives her a once over.
O’MALLEY
Ever worked in a nightclub before?
MABEL
No, sir.
(a lie)
But I’ve been in plenty of them.
31.
O’MALLEY (O.S.)
(calling out)
Mae! Mae!
A cocktail waitress nudges Mabel. She looks over at
O’Malley, who is waving at her, and goes to him.
MABEL
Yes, Mr. O’Malley?
O’MALLEY
How many times do I have to tell
you, you want to watch the show,
buy a ticket!
MABEL
Sorry, Mr. O’Malley. It won’t
happen again, I promise.
O’MALLEY
Yeah, right. See that guy over
there?
O’MALLEY
That’s Mr. Tattaglia. You keep your
eye on him. He so much as looks
your way, you jump. Understand?
32.
MABEL
Yes, Mr. O’Malley.
MABEL
Things been good all week.
NATE
Things always be hoppin’ around New
Year’s.
Mabel lingers as he lights up and takes a drag. It’s easy to
see she’s smitten.
NATE
Iris says you’re gettin’ on pretty
well. Guess you’ll be stickin’
around for a while then.
MABEL
Yes, Nate, I will.
The band gets ready for the next performance. Mabel turns to
go. Nate admires her as she leaves.
RUBY
He’s a mobster. So you better give
him whatever he wants.
Mabel reacts. Iris gives her a reassuring smile.
33.
IRIS
Just give him what he wants off
your tray. You don’t need to worry
’bout nothin’ else. Them Italians
wouldn’t be caught dead with a
colored girl.
Joyce shoots Iris a look without being noticed.
MABEL
Thank you, Mr. Tattaglia.
RUBY
Said she’s steppin’ out with a
drummer from the Lenox Club.
Nate and Iris walk. He’s got his saxophone in its case.
NATE
It ain’t just about the money,
baby. I’ll get to do some
arrangements.
IRIS
But baby, Cleo’s been good to you.
He’s been good to all of us.
NATE
Iris, it’s the Duke. It’s the
Cotton Club. Think about what that
means. I ain’t gettin’ no younger.
They reach a Browstone, walk up the stairs and go inside.
O’MALLEY
With your backing, I’m sure I can
persuade some of the Cotton Club’s
top acts to come to the Plantation.
TATTAGLIA
Of course you can count on my
support, Phil. I feel our
partnership will be mutually
beneficial, for you and me
personally, but also for our mutual
interests.
O’MALLEY
On that we agree completely.
(then)
Speaking of personal benefits, I
believe you’ll find being a part
owner comes with special perks.
Delivered with the utmost of
discretion, of course.
35.
RUBY
Girl, it’s three in the morning.
MABEL
I know, but I figure it’s best to
write Mamma when the mood hits me.
MABEL
Mostly that I’m doin’ fine and that
she don’t have to worry ’bout me.
That I’m not gettin’ wild because I
work at a nightclub.
RUBY
(a small laugh)
You mean that you’re keeping your
legs closed. I can’t believe you
still ain’t been with a man yet.
RUBY
Tell me about it. But you sure got
your choice of ’em, Mabel.
(off Mabel’s reaction)
Girl, you know you do! Half the
band is already hot for you, and I
know Charlie Parsons, the drummer,
asked you out twice. And he ain’t
the only one.
36.
MABEL
(beat)
They all seem nice. I’m just not
lookin’ for a man right now.
She gets up and goes into her bedroom, closing the door
behind her. Mabel thinks for a moment, still confused, then
goes back to writing her letter.
RUBY
Mabel and me was wonderin’ what
happened to you.
JOYCE
Sorry I didn’t make it in again
last night. Hope you didn’t worry.
RUBY
It’s not whether you come in or
not. It’s all this creepin’ you
been doin’.
IRIS
Is this drummer boy of yours white?
’Cause you know, Joyce, we don’t
care if you’re passin’.
JOYCE
(offended)
I’m not passin’! You know I’d never
do that!
37.
RUBY
Then who is this man you been
seein’ but we ain’t seein’ him?
JOYCE
We ain’t ever seen you with a man,
Ruby, but you don’t see us all up
in your business.
RUBY
Nobody’s tryin’ to get in your
business.
JOYCE
What do you call it then?
IRIS
Okay. Can we just drop it?
They try to drop it. After a couple of beats:
MABEL
Why wouldn’t you want to pass?
They all look at Mabel. Uh-oh.
MABEL
You could. I thought you were white
that first time I saw you.
Joyce is about to lash out again, but curbs her emotion.
JOYCE
What’s the point in passin’. You
can lay down a white woman, but you
always get up a black whore.
Mabel, fresh from the beauty shop and looking mighty fine,
covers her pleasant surprise at finding Nate waiting outside
her apartment building.
NATE
Hey, Mabel.
MABEL
Nate. What are you doing here?
NATE
Passin’ by.
A look of anticipation passes between them.
38.
MABEL
Do you want to come upstairs?
NATE
Are Ruby and Joyce home?
MABEL
I left them at the beauty shop.
NATE
It’s all right.
(takes her arm to stop her)
Really, it’s not the place I came
to see.
NATE
My whole life, I ain’t never seen a
woman as beautiful as you.
She’s caught in his eyes. He leans in and kisses her,
tentatively at first, then deeply as she gives in to him.
They’re becoming more passionate. We hear a key in the door.
Nate and Mabel separate just as Ruby enters. She stops cold
when she sees them, guilt written all over their faces.
MABEL
Ruby. Hi.
NATE
Hey, Ruby.
After he’s left, Mabel lowers her eyes, ashamed. Ruby goes
to her, looks at her. Then she SLAPS her hard. Mabel
crumbles into tears, runs into Joyce’s bedroom and falls
onto the bed. Ruby stands there, fuming.
MISS PENNY
What do you mean "married him"?
DANCER
That’s what her note said. Last
night in Atlantic City.
MISS PENNY
Nothing I can’t handle, Mr.
O’Malley.
O’MALLEY
Alright then. Handle it. It’s New
Year’s Eve so everything’s got to
be tip top tonight. Understand?
MISS PENNY
Yes, Mr. O’Malley. Completely.
* Miss Penny and the other chorus girls teach Mabel the
routines;
* Cleo erupts when Nate tells him he plans to leave the band
after the New Year’s Eve performance, and
MISS PENNY
(to all)
That’s one number. We have three
more. Let’s go! Chop-chop!
O’MALLEY
Right. Mr. Tattaglia, this is Mae
McDonald.
TATTAGLIA
Well, Mae, you had quite a
performance tonight.
MABEL
Thank you, Mr. Tattaglia. I’m glad
you enjoyed the show.
TATTAGLIA
It’s always a good one. But you
made tonight a bit more special. I
look forward to seeing a lot more
of you.
O’MALLEY
Mr. Tattaglia’s a partner in the
club, Mae, so we like to do
everything we can to keep him
satisfied.
Mabel’s smile covers her anxiety.
42.
MABEL
Yes, Mr. O’Malley. Of course.
TATTAGLIA
(cold smile)
Well, Happy New Year, Mae McDonald.
She turns and walks down the hallway. Tattaglia watches her
until she exits.
NATE
(re: band)
These boys can really lay it down!
RUBY
Sho ’nuf.
IRIS
I thought for sure we’d finally get
to meet Joyce’s mystery man
tonight.
RUBY
Girl, please! She ain’t never had
no man here. She creepin’ ’cause
she passin’. You know it, I know
it, we all know it.
MABEL
(to Joyce)
How ’bout we go to a picture show?
A talkie! Wouldn’t that be nice?
Joyce?
JOYCE
You ever think about how hard life
is...and how easy it would be to
just stop living?
44.
MABEL
(beat, pensive)
I used to think about it a lot.
Joyce reacts minutely; surprised by the revelation. Then:
JOYCE
Remember when you asked me why I
didn’t want to pass?
MABEL
Yes.
JOYCE
I used to do it all the time when I
was a young girl. Then I came to
Harlem and all anybody could talk
about was the "New Negro Movement."
How Negroes should be proud of who
we are, whether we was blacker than
the blackest night or whiter than
whitey himself. So I refused to
pass, made a point of showin’ my
blackness in every way I could...
But you know what I’ve learned,
Mabel?
MABEL
What?
JOYCE
Being black ain’t but the half of
what makes us miserable in this
world. It’s being a woman too -
black or white, any color under the
sun - that beats you down to where
you just don’t want to live.
Beat. Mabel puts an arm around her. Joyce holds her too. And
we leave them there, holding each other.
MABEL
Bernice.
They embrace.
BERNICE
Look at you! I don’t have to ask
how you’ve been.
MABEL
I’m doing all right... What about
you?
BERNICE
Can’t you tell?
(then a genuine smile)
So where’d you go after we left the
Savoy that night?
MABEL
It’s a long story. Now I’m in the
chorus line at the Plantation Club.
BERNICE
A showgirl!... Ain’t you something?
A car stops at the corner. The white JOHN calls to them.
JOHN
How ’bout it girls?
BERNICE
(to Mabel)
Well, I ain’t no showgirl, but the
show must go on.
JOHN
What about your friend?
BERNICE
Sorry, she ain’t workin’ tonight.
JOHN
You sure about that? I’ve got
enough for both of you.
46.
BERNICE
(a sassy, sarcastic look)
I’m sure you do, daddy.
She gets in before he can protest.
MABEL
Nate, baby, being with you feels so
right, right up until now, when I
start feeling like a dirty tramp.
NATE
Don’t say that, baby, you hear!
You’re a beautiful, loving woman
who’s --
MABEL
Who’s cheatin’ with my best
friend’s man. If it hadn’t been for
Iris, I’d still be washing
floors...or worse.
NATE
Listen, baby, I hate the situation
we in too, but we can’t help how we
feel, can we? This ain’t something
we can just turn off.
MABEL
I know, but how long can it go on
like this, Nate? At least I don’t
have to see her every day now that
she’s at the Mayflower. But
whenever I do see her I can barely
look her in the eye. It’s tearin’
at my heart, Nate!
She fights back tears. He lifts her chin, looks into her
eyes.
NATE
Just hold it together a little
while longer, sweet thing. Okay?
He kisses her. She tries to feel better.
47.
VICTOR
Look, Miss McDonald - do you mind
if I call you Mae?
MABEL
Well...my name is Mabel.
VICTOR
Mabel. Perhaps you’ve heard of me.
If not me, my studio, King
Pictures.
MABEL
I don’t get to the picture show
much.
48.
VICTOR
Yes. I imagine you wouldn’t, being
so popular on stage... I’m making a
movie, Mabel, one with an all-Negro
cast. I start shooting next month
and I need a leading lady...I think
I may have found her tonight.
She’s utterly at a loss. Can he be serious? He smiles.
MABEL
I don’t know...California. It’s so
far away. From Harlem, from you
all...and Mamma.
ANOTHER DANCER
Harlem will always be here and so
will we. And if you make it, you
can send for your grandmamma.
Mabel is considering this when:
IRIS
Since this is a night for good
news, I got some of my own... Nate
and me are finally gettin’ hitched!
As the dancers hug and kiss Iris, Ruby looks at Mabel, who
is totally devastated...
49.
JOYCE
Been feelin’ like I needed a change
for a while now.
MABEL
I sure will like havin’ you there
with me. Like a big sister. And who
knows, Mr. King might want you for
his motion picture too.
JOYCE
I don’t think he’s lookin’ for
colored girls who look white in an
all-black talkie.
Mabel stops cold. Nate is in front of their building.
JOYCE
Nate!
Joyce goes to him, gets a hug and peck on the cheek.
NATE
Hey, Joyce.
JOYCE
So Iris finally got you to settle
down.
NATE
Yeah. I guess she did.
He steals a nervous glance at Mabel, approaching slowly.
JOYCE
It’s about time. I’da left your
misbehavin’ butt a long time ago.
NATE
Then I guess it’s a good thing you
ain’t Iris.
50.
JOYCE
Mmmmm-hmmmm.
NATE
Mabel.
JOYCE
(catching on)
Oh... All right.
Joyce goes into the building. Immediately after:
NATE
Baby, let me explain --
MABEL
(emotional)
How could you? You lied to me, you
lied to Iris. You’re just a no
account, low down, dirty liar!
NATE
I know, baby. I know. But Mabel,
she’s pregnant.
(off Mabel’s shock)
It’s true. Iris is having my baby.
I couldn’t let you go all the way
to Hollywood without you knowin’
why I did it.
Mabel sinks in despair and humiliation. She rushes past him,
shrugging off his attempt to stop her, and goes inside.
JOYCE
Sure you’ll be all right without
us?
RUBY
Girl, I been waitin’ two years to
get rid of your snorin’?
JOYCE
Girl, you lie! I don’t snore!
They embrace.
IRIS
Don’t you get out there with all
that sun and forget about us.
JOYCE
You know I could never forget you,
Iris, no matter how far away I go.
They embrace. Then Joyce holds hands with Iris and Ruby. The
old friends look at each other - could this be the last time
they’re together? - then share a strong, heartfelt embrace.
Joyce goes aboard. Ruby turns to Mabel.
MABEL
Ruby I --
Ruby stops her with hug. As they embrace:
RUBY
You be good, honey. You hear.
IRIS
Mabel, a woman puts up with a lot
to survive this world. But we do
survive. It’s a hard lesson to
learn, especially when you’re
young, but we all have to live with
our choices, good and bad.
MABEL
(tears come as she realizes)
Iris, I’m so sor --
IRIS
(shushes her)
You go to Hollywood and you become
a star, you hear? I’ll be lookin’
for you up on that screen.
MABEL
Of all the girls, I always thought
you were the one who wanted it all;
to be the star, be on Broadway.
JOYCE
(a sad smile)
All I want, all I ever wanted
really, is to meet a good man, have
children and raise a family.
MABEL
Thank you, Victor.
GEORGE
We can do another take if you want,
Mr. King.
VICTOR
No, George. I think we nailed it.
(to all)
That’s a wrap, people! Great work
everyone! Mabel, sweetheart, can
you stop by my trailer after you’re
done in wardrobe?
MABEL
Yes, Victor. Of course.
MABEL
I’m really tired, George. But I’ll
think about it.
She signals for the assistant to leave her. It’s a small
gesture, but from it we see she’s comfortable being the
star.
MABEL
(a hint of flirtation)
Now, I really have to get out of
this dress.
George watches her go, trying to picture her out of that
dress.
MABEL
Victor, my name --
VICTOR
Everyone here does it. Hell, you
think I was born "Victor King"?
Igor Rosenblatt. Here’s the thing,
sweetheart: Mabel just isn’t sexy.
When you were born, your mother,
God bless her, had no idea you’d
turn out to be such a show stopper.
She thought, "Mabel’s a girl boys
will want to take to the church
picnic, get married to, raise a bus
load of kids with." But that’s not
what we’re selling, is it? No. With
that body, that voice and those
(MORE)
55.
VICTOR (CONT’D)
eyes, we’re selling sex, pure and
simple.
Mabel doesn’t know how she feels about that.
MABEL
But I was named after my mother. My
grandmother named me after she died
having me.
VICTOR
C’mon, sweetheart, don’t let a
little thing like a name hold you
back. Hell, Mae’s what they called
you back in Harlem, right?
JOYCE
You’re welcome, hon. Here, let me
freshen that coffee too.
BLACK TRUCKER
(hopeful smile)
You know, I usually likes it black,
but tonight I’d sure like to try a
little cream with it.
Joyce reaches over to the next table, takes the cream and
pours some in his cup.
JOYCE
How’s that, hon?
56.
BLACK TRUCKER
(smiles: It was worth a shot)
Just right, sugar.
She tosses him a friendly smile and moves off.
MABEL
There’ll be plenty of men there
tonight. You could get lucky.
JOYCE
I told you I’m done with show
business men. Too full of
themselves.
MABEL
Right, I forgot. You want a good
old work-a-day Joe. Like the mug
who was droolin’ over you at the
diner. I saw him through the
window.
JOYCE
Not just any old work-a-day Joe. My
work-a-day Joe.
MABEL
Oh, it’s gotten that far along
between you and this Isiah fella?
JOYCE
His name’s Ezekiel. And yeah, I
think so. I really feel it when I’m
with him, Mabel.
MABEL
(making fun)
You sure that’s not just Mr.
Johnson you been feelin’?
Beat. Joyce doesn’t take the bait.
57.
JOYCE
It’s different with him, Mabel.
Most colored men I been with want
me ’cause I’m the closest they ever
gonna get to a white woman without
gettin’ lynched. And the white
ones... I’m just some exotic whore.
MABEL
And this Ezekiel, he’s different?
JOYCE
Oh, yes. He’s a good man, Mabel. A
real good man... And I love him.
LAMBERT
It’s all done but the signing. They
just want to see the receipts from
the first week or two. Then I’ll
waltz you in and you’ll sign a
contract! They’ve already got
another picture in mind for you.
VICTOR
MGM wants me to direct.
MABEL
I can hardly believe it! It all
seems like a dream!
LAMBERT
Just keep dreaming, baby! Before
I’m done, you will be the colored
Clara Bow!
George comes up to them.
GEORGE
Evening, Mr. King, Mr. Lambert.
VICTOR
George.
GEORGE
Mind if I have a word with my
leading lady?
58.
VICTOR
Sure. Go ahead.
MABEL
Yes.
GEORGE
Hope they’re right. If not, it’s
another year in Europe for me.
MABEL
I’ve heard some of the cast talk
about working there. It seems
so...foreign.
GEORGE
It’s that all right. But they’re a
lot more open to colored folks over
there. Especially beautiful women.
You’d do well there, Mabel. Or
should I call you Mae?
MABEL
I suppose I should get used to it,
shouldn’t I?
He smiles.
GEORGE
Given any more thought to joining
me later?
MABEL
Some, yes. But I’m expecting a
friend to stop by here first.
GEORGE
I see...maybe she’d like to join
us?
Joyce has entered with her man. George ogles Joyce as they
approach, but it’s Mabel who can’t believe her eyes. Ezekiel
is "Henry Stubbs", the black youth who saved her.
59.
JOYCE
Hi, Mabel. This is Ezekiel.
Mabel stares at Ezekiel, speechless.
GEORGE
Hello, Ezekiel! I’m George Lawson.
And who is your friend here?
MABEL
(coming too)
Oh, George, this is Joyce.
GEORGE
Joyce, it’s a pleasure.
MABEL
Ezekiel?
EZEKIEL
Y-Y-Yes. P-Pleased to m-m-meet you.
George covers his snide reaction to Ezekiel’s stuttering.
GEORGE
Me and Mae were just about to head
out for a nightcap. Like to join
us?
JOYCE
That sounds good!
MABEL
No! I mean, I’m very tired. I think
I’ll just go home.
GEORGE
But, Mae --
Mabel spins on her heel and makes her way toward the exit.
Victor follows. Stops her at the door.
VICTOR
Mae, sweetheart, is everything all
right?
MABEL
(to herself)
She didn’t trust me.
EZEKIEL
Huh?
MABEL
Nothing. I’m glad you got away
safe. I worried about you for the
longest time, Henry.
(he reacts)
Sorry. Ezekiel... Every time I read
about a lynchin’, I just prayed it
(MORE)
61.
MABEL (CONT’D)
wasn’t you. How did you get all the
way to California?
EZEKIEL
Hobo-in’. T-Train mostly. Worked
odd jobs along the w-w-way.
MABEL
How long have you been here?
EZEKIEL
’Bout a year n-n-now. Old Man Tully
t-t-taught me engines.
An uneasy beat.
MABEL
Joyce seems to care about you. Do
you feel the same about her?
EZEKIEL
Yes, I c-c-care for her, Mabel...
MABEL
But?
Beat. Their eyes meet. She starts the engine and drives
away.
62.
Joyce rises from bed and pulls a silk robe over her body.
Ezekiel stirs awake.
EZEKIEL
Joyce?
JOYCE
Sugar, it’s early. Go to sleep.
I’ll wake you when breakfast is
ready.
JOYCE
(playful)
So, you like me better in the
kitchen or the bedroom?
EZEKIEL
Aw, Joyce, c’mon baby...
JOYCE
Lucky for you, you don’t have to
choose.
She sits with him at the table.
JOYCE
You never told me what you thought
of Mabel.
Ezekiel is caught off guard.
JOYCE
When you met her, you seemed a
bit...odd.
63.
EZEKIEL
Odd?
JOYCE
Yeah. Like you were star struck. I
should’ve told you she was an
actress sooner, I know.
EZEKIEL
Oh...well, I ain’t n-n-never met a
m-m-motion picture star before.
Beat.
JOYCE
Maybe it’s time for me to find a
place of my own.
EZEKIEL
But you c-c-can’t afford that.
JOYCE
I can’t afford to have my man
fallin’ for my best friend.
EZEKIEL
Baby, you d-d-don’t have to worry
’bout m-m-me. You’re all I need.
She sees that he means it. Caresses his face.
JOYCE
You know, sugar, all this cookin’s
got me awfully hungry...
He watches her as she walks slowly to the kitchen door,
looks at him over her shoulder and smiles...
MABEL
Thank you, Mr. Hammond. It’s a
pleasure to meet you too.
MR. HAMMOND
Please, have a seat.
(they all sit)
Negroes are coming out in droves to
see "Amen". Or I should say, to see
you, Mae.
LAMBERT
You’ve arrived, sweetheart. You’re
a star on the colored circuit.
MABEL
I don’t know what to say.
MR. HAMMOND
You don’t have to say anything.
Dickie here’s done all your talking
for you.
MR. HAMMOND
Hollywood’s moving into race
pictures in a big way, Mae. It’s my
job here at MGM Studios to find and
sign the best young Negroes in the
business. Actresses like you!
ON THE CONTRACT as Mabel signs.
After the set, Mabel and George go backstage and spend time
with Jelly Roll and the band. They’re enthralled by the
beautiful young starlet.
MABEL
Georgie...not tonight.
66.
GEORGE
Baby, how long I gotta wait?
OFF Mabel, not sure...
VICTOR
Ah. I’ve heard you and George are
hitting all the clubs.
MABEL
We’ve only been out a few times.
VICTOR
Relax. In this business, sleeping
with a co-star is --
67.
MABEL
Who says we’re sleeping together?!
VICTOR
All right, all right. Uncle. Listen
Mae, Jean and I are having a little
soiree Sunday. We’d love it if
you’d come. There’ll be a few
studio fat cats there, some of them
worth talking to.
DRUNK ACTOR
I was just telling Mae here I think
it’s grand that the Negroes are
getting a go in Hollywood.
68.
VICTOR
Mae’s first film is still raking
them in on the Negro circuit and
we’re midway through her second.
Look Harlan, do you mind if I steal
Mae away from you? There’s someone
I’d like her to meet.
Victor doesn’t wait. He whisks her away.
VICTOR
Sorry about Harlan.
MABEL
Not everyone’s been like him. Mr.
Powell was very charming.
VICTOR
Speaking of voices, sounds like
those speech lessons are helping.
MABEL
(a bit embarrassed)
Oh...yes. Miss Birch is a very good
teacher. It’s so good of the studio
to offer me the training.
VICTOR
It’s an investment, sweetheart.
Never forget that. In Hollywood,
nobody does anything for anybody
without expecting something in
return.
JEAN (O.S.)
There you are!
Jean comes up. She kisses Victor on the cheek.
VICTOR
My love.
JEAN
Mae, darling, are you enjoying the
party?
MABEL
Yes. thank you for inviting me.
JEAN
Of course, darling. Now, you two
mustn’t hide over here in a corner.
Victor, Norman Miller of Paramount
just arrived.
(to Mabel)
If you’ll excuse us, darling.
MABEL
(sighs)
A blackbird bit...
Outside on the porch, Ezekiel stands at the screen door.
MABEL (O.S.)
...a big black bear, but where is
the big black bear that the
blackbird bit?
MABEL
Hello, Ezekiel.
EZEKIEL
M-M-Mable.
MABEL
Joyce isn’t here. Didn’t she tell
you, she’s doing a double shift at
the diner today.
EZEKIEL
(lying)
It musta s-slipped my mind.
Mabel lets him in. Miss Birch is not pleased.
MISS BIRCH
We’re not quite finished here.
MABEL
Can we take a break, please?
MABEL
(a smile)
The studio wants me to speak
without the down home accent.
EZEKIEL
You mean they w-want you to talk
like a w-w-white gal.
She can’t deny it.
MABEL
Ezekiel, I’ve been thinking. Miss
Birch has helped me a lot. I’m sure
she could help you too.
EZEKIEL
Help me w-what?
MABEL
Why with your speech of course.
MISS BIRCH
Mae, may I have a moment please?
Mabel turns to her.
MABEL
Oh, Miss Birch. I’d like to
introduce you to Mr. Washington.
MISS BIRCH
Yes, pleased to meet you. Mae, if I
could --
MABEL
Mr. Washington is not an actor but
I’m sure you can be of assistance.
EZEKIEL
M-M-Mable, please, I --
MABEL
Now, Ezekiel, it’s no problem at
all. Right, Miss Birch?
MISS BIRCH
Well, that’s what I wanted to speak
with you about. The studio --
MABEL
(pointedly)
Has put you at my disposal for as
long as I need you. And I need you
to help Mr. Washington.
Miss Birch and Ezekiel don’t bother to protest further.
VICTOR
Cut! Brilliant!
Stage hands rush to put out the flames. An assistant rushes
to pamper Mabel. The gaunt man, who has been watching from
behind the scenes, makes his way to Mabel. He speaks with a
southern drawl. He’s AGENT PERKINS, G-Man.
PERKINS
Miss McDonald.
MABEL
Yes?
PERKINS
(flashes badge)
Agent Perkins, Federal Bureau of
Investigation. A minute of your
time?
Mabel covers her anxiety.
MABEL
Can you tell me what it’s about? As
you can see, I’m quite occupied
here.
PERKINS
It’s regarding events in Oconee
County, South Carolina.
Victor comes up to them in arrogant director mode.
VICTOR
Who the hell are you and how’d you
get on my set?!
PERKINS
(flashes badge)
Perkins, Federal Bureau of
Investigations. And I walked on.
VICTOR
(put in his place)
What’s this all about, agent
Perkins?
PERKINS
Uh-huh. But seeing as how he
obviously had feelings for you, we
thought he might try to contact
you.
MABEL
I haven’t seen him since I left
home almost two years ago.
PERKINS
Uh-huh. And when you left home you
went to New York City before coming
out to Hollywood, correct?
MABEL
Yes, that’s right.
PERKINS
(checks his notes)
But in the note you left your
grandmother, you said you were
headin’ to Atlanta.
VICTOR
Agent Perkins, of course Miss
McDonald will cooperate as much as
she can. But considering she’s not
a suspect and I have a film to
finish...
Beat.
PERKINS
Thank you again, Miss McDonald.
I’ll be in touch.
JOYCE
Mabel, you didn’t! How could you?!
MABEL
No! It’s not like that Joyce. I
would never do anything to hurt
you.
JOYCE
What then? Tell me, Mabel!
MABEL
(beat)
Ezekiel...I knew him back home.
JOYCE
What do you mean, "back home"?
75.
MABEL
We’re from the same home town and
we had to leave... Four white boys,
they dragged me off into the woods
and...
JOYCE
(getting the picture)
Oh, my God. Mabel...
MABEL
Henry -- Ezekiel, he stopped them.
JOYCE
Henry? --
MABEL
Joyce, he had to change his name
after...
JOYCE
After what?!
MABEL
After he killed them. Two of them,
anyway.
JOYCE
(appalled)
Killed them? My Ezekiel?
MABEL
Joyce, if he hadn’t stopped them...
JOYCE
Wait. Why are you telling me this?
What’s happened?
EZEKIEL (O.S.)
Sh-She sells seashells by the
s-seas-sh-shore. The shells she
s-s-sells are surely s-s-seashells
--
MISS BIRCH
Continue. From the beginning.
Concentrate.
EZEKIEL
(with effort)
She sells seashells by the
seashore. The s-s-shells she sells
are s-s-surely seashells. S-so if
she sells shells on the seashore,
I’m s-s-sure she sells seashore
shells.
Miss Birch gives up and goes to answer the phone.
MISS BIRCH
Hello?
MABEL (V.O.)
Miss Birch. It’s Mae McDonald.
MISS BIRCH
Oh, Miss McDonald. Hello.
MABEL (V.O.)
I need to speak with Mr.
Washington. He’s still there isn’t
he?
MISS BIRCH
Yes, he is. But we’re in the middle
of a lesson. You’ll be pleased to
know he’s progressing --
MABEL (V.O.)
(sharply)
Please put him on the line!
Miss Birch holds out the phone.
MISS BIRCH
She wants you.
Ezekiel takes the phone and puts it to his ear.
EZEKIEL
This is Ezekiel.
MABEL (V.O.)
Ezekiel. Listen to me. You have to
leave Los Angeles right away.
77.
EZEKIEL
W-W-What? Mabel, what are --
MABEL (V.O.)
Listen, a G-man came to see me on
the set today. They know you’re
here.
Ezekiel is frozen by fear. Ms. Birch notices but says
nothing.
MABEL (V.O.)
Did you hear what I said? They’ve
been looking for you all over the
country and now they’re here.
EZEKIEL
But h-h-how?
MABEL (V.O.)
I don’t know. They’re G-men.
Ezekiel, you have to leave town
right away.
Ezekiel hangs up. Realizes Miss Birch is staring at him. He
leaves in a hurry.
Mabel and Joyce come out of the diner, get into Mabel’s Nash
and drive off. Perkins’ Ford follows.
MABEL
I nearly fainted when you brought
Ezekiel into the club that night.
But you were so happy with him...I
didn’t want to ruin what you had.
JOYCE
You’ve done a good job there.
MABEL
You think I wanted this?! Any of
it?!
78.
JOYCE
Well I’m not going to lose my man.
MABEL
What are you saying?
JOYCE
I love Ezekiel or Henry or whatever
his name is, and I’m not just going
to watch him walk out of my life.
MABEL
They’re on a manhunt for him,
Joyce. G-men! He has to leave!
JOYCE
But he doesn’t have to leave alone.
MABEL
Joyce, this is not a good idea.
You’ll be running for the rest of
your life.
JOYCE
But I’ll be running with my man.
MABEL
Remember when you told me all you
wanted was to have a man and raise
his children? Is this what you want
for them, to always be looking over
your shoulder, wondering when the
G-men are coming through the door?
Joyce stops and looks at her, eyes burning with emotion.
JOYCE
I have to do this, Mabel.
(caresses Mabel’s face)
When a woman loves a man, really
loves him, there’s nothin’ gonna
stop her from being with him.
They embrace. When they part, Joyce closes the suitcase.
MABEL
Wait.
79.
MABEL
Look, maybe I don’t know what it’s
like to really love a man, but I
know what it’s like to love
someone. I love you, for leaving
Harlem to come here and take care
of me. And I love Ruby for
understanding I was too young to
know what I was doing with Nate.
And I love Iris for not turning her
back on me when she had every right
to. You’re my family. That’s the
kind of love I understand. Now take
this. You’re going to need it.
PERKINS
This a bad time to continue our
discussion, Miss McDonald?
MABEL
No. It’s fine. Please, come in.
MABEL
Agent Perkins, this is my roommate,
Joyce Babineaux.
80.
JOYCE
Hello.
MABEL
Joyce is going to San Diego for the
weekend. With her boyfriend.
JOYCE
Yes. Well, goodbye.
MABEL
Drive safe, Joyce.
They exchange a look, keeping their emotions in check. This
could be the last time they see each other. Joyce goes to
the door, pauses, then opens it and exits.
MABEL
Please, have a seat Agent Perkins.
PERKINS
Thank you.
He sits. We hear the engine of the Nash outside as it pulls
away from the house. Mabel covers.
MABEL
Would you like something to drink,
Agent Perkins?
PERKINS
Thank you, no. Exactly when was the
last time you saw Henry Stubbs?
MABEL
(beat)
After.
PERKINS
After the men attacked you?
MABEL
After they raped and beat me.
PERKINS
Did he say anything to you about
why he killed them instead of, say,
merely threatening them with the
ax?
MABEL
You’re from Down South, aren’t you
Agent Perkins?
81.
PERKINS
Richmond, Virginia.
MABEL
Then you know a colored boy who
raises a hand to a white man in
South Carolina, even to protect a
helpless colored girl, might just
as well put the rope around his own
neck... I have no idea where Henry
Stubbs is, Agent Perkins. But even
if I did, I wouldn’t tell you.
LAMBERT
Mae, sweetheart, what can I tell
you? You’re always on top of the
list, you know that.
VICTOR
(exasperated)
Mae, sweeetheart, not this again.
MABEL
It’s the best line I’ve had in my
last three films.
VICTOR
That’s not true. You had three
scenes in "Dance, Fools, Dance".
MABEL
And all of them are on the cutting
room floor.
VICTOR
Only because MGM is afraid to have
you show up Joan Crawford.
MABEL
You mean because the studio isn’t
ready to show a colored girl as a
sex symbol... Maybe I should just
go back to all-colored motion
pictures.
VICTOR
Mae, we’ve been over this before.
MABEL
And no many how many times we go
over it, we end up in the same
place. Contract or not, the
studio’s only interested in colored
actresses who play maids or cooks
and I’m too "young" to play either.
He rolls out of bed, begins to get dressed.
83.
MABEL
Where are you going?
VICTOR
You’re obviously preoccupied. I’ll
leave you to your thoughts.
She sits up, covering herself with the sheet.
MABEL
I’m sorry I’m not good company. I
don’t mean to take it out on you.
He turns to her, starts buttoning his shirt.
VICTOR
Look, Mae, I’m sorry you feel this
way, but there are certain
realities in Hollywood we have to
accept. You know that, you’ve
always known that.
VICTOR
I’m sorry, darling. Forgive me. I
just don’t like the idea of you and
him together.
MABEL
And I’m just thrilled that you
creep in and out of my bed like a
thief in the night, though everyone
in Hollywood - including your wife
- knows you’ve had affairs with a
dozen no-talent lily white
actresses.
84.
VICTOR
(beat)
Like I said, there are certain
realities we have to accept. Me and
you together, publicly, would ruin
both of our careers.
MABEL
(beat)
Yes, of course. What else what it
be?
GEORGE
It’s a small town, Mae. Smaller for
Negroes.
(then)
I won’t judge you, Mae. Others
might, but I never will. You’re a
beautiful woman, a talented actress
and a truly gifted singer... You
don’t need him.
OFF Mabel...
86.
BLONDE ACTRESS
You there! Girl!
(Mabel looks at her, Me?)
Yes, you. Run to the commissary and
bring me a pack of cigarettes and a
Coca-Cola.
MABEL
What?
BLONDE ACTRESS
(irritated)
Hurry! I don’t have all day.
MABEL
Then I suggest you start walking
now.
BLONDE ACTRESS
Who the hell do you think you are,
talking to me like that?
VICTOR (O.S.)
She’s Mae McDonald...
Victor has come up behind them.
VICTOR
...and she was a star for this
studio when you were still giving
hickeys to fullbacks in Topeka or
Tacoma or wherever you came from.
The blonde actress smirks and walks off in a huff. Victor
looks at Mabel and smiles.
87.
MABEL
(matter-of-fact)
I’m not a whore, Victor.
VICTOR
Of course you’re not! I didn’t mean
-- look, Mae, sweetheart, it’s just
coming as a shock.
MABEL
We’ve been sleeping together for
over a year, Victor. It never
crossed your mind that you could
get me pregnant?
VICTOR
I just assumed you took care of
that sort of thing.
MABEL
Because that’s what whores do.
VICTOR
Mae! You know I care for you!
(then)
Look, everything’s going to be
fine, sweetheart. I promise. This
isn’t the first time this has
happend. There are people here in
Hollywood who can take care of
this, discreetly.
Their eyes meet. It’s obvious they’re on different pages.
88.
VICTOR
(realizing)
Mae. Sweetheart, no! What the hell
are you thinking?!
MABEL
You don’t have to be involved,
Victor, but --
VICTOR
No, "buts", Mae! Understand?!
You’re getting rid of it and that’s
that!
MABEL
(matter-of-fact)
No, Victor, I’m not.
He takes her by the shoulders.
VICTOR
Are you out of your mind?! Jean
will put up with a lot but she
won’t stand for some half-breed
picanniny running around Hollywood!
Her family will cut her off and
I’ll lose the financing for my next
film!
Mabel covers that he’s just ripped her heart out.
MABEL
You won’t have to worry about that,
Victor. I’m moving to Paris.
VICTOR
But you’re under contract to MGM!
MABEL
Not since this morning. I tore up
my contract.
VICTOR
Mae, this is nuts! Don’t I get a
say in any of this?!
Beat. She goes to the door, turns and looks at him.
MABEL
I’ll forward my address when I’m
settled, if you ever want to see
the half-breed picanniny.
And like that she’s gone.
89.
OLD MAN
When you’re done here, go on down
to plot sixty-six on the far side
of the yard.
JOYCE
Hi, baby.
She kisses Ezekiel full on the lips.
EZEKIEL
Hey.
EZEKIEL
Good sleep will h-h-help. How you
feelin’?
JOYCE
I feel okay. She’s kicking a lot.
That’s good.
EZEKIEL
(a smile)
You’re so sure it’s a she?
JOYCE
(a smile)
Mmmmmm-hmmmm. And the one after
will be a girl too.
Ezekiel turns somber. She clocks the mood swing. Touches his
forearms affectionately.
JOYCE
Baby, this is what I want. It’s
what I’ve always wanted.
EZEKIEL
You c-c-could have --
(pauses so he doesn’t stutter)
You could have had a better life.
In Harlem, in Hollywood.
JOYCE
But I wouldn’t be with you. I
wouldn’t have our son. I wouldn’t
be carryin’ our daughter...
91.
She feels the baby kick, takes his hand and puts it on her
stomach. He feels it too and they share a smile. Then she
collects his dishes and takes them to the sink.
EZEKIEL
I was thinking, Jane would be a
nice name - if it is a girl.
JOYCE
That is a nice name. But I’ve
already decided on a name.
(off his look)
Henrietta.
Beat. He lets the significance of it sink in.
EZEKIEL
All right.
He goes to the coal burning stove. Puts more coal in.
EZEKIEL
It’s cold out; gonna get colder.
JOYCE
Ezekiel.
EZEKIEL
Yeah, baby.
JOYCE
Mabel’s motion picture is playin’
down at the Corona.
EZEKIEL
Joyce, we can’t afford --
She stops him with fingers pressed gently to his lips.
JOYCE
It took a lot for her to make it up
on that screen. But none of it
woulda happened if not for you.
(beat)
You’re a good man, Ezekiel. Not
just a gravedigger or a chicken
plucker or a stable boy. I want you
to go and see what you helped make
(MORE)
92.
JOYCE (CONT’D)
possible by being a man who did
what was right.
They kiss, tenderly, lovingly.
REVERSE and we see thick black plumes of smoke and the glow
of huge fires.
93.
BLACK MAN
Man, you cain’t go in there!
EZEKIEL
My wife! My baby! JOYCE! JOYCE!
JOSEPHINE
(in French, subtitled)
Thank you. Thank you all, my
darlings!
94.
MABEL
So are you! And you were incredible
out there!
RUBY
After Josephine we’re all
yesterday’s news. How long have you
been in Paris? I’m so happy to see
you! And...
MABEL
Oh, yes. Ruby, this is my husband,
George Lawson.
RUBY
(taken aback)
Husband?
GEORGE
Hello, Ruby. Mae’s talked about you
so much I feel we’ve already met.
RUBY
(recognizing him)
You starred with Mabel in her first
two movies. I remember you now.
MABEL
Now George is with the American
Negro Film Troupe.
GEORGE
Not as prestigious as my lady here,
but it keeps me busy.
RUBY
Mabel, you have to meet Josephine!
95.
RUBY
Yes.
Mabel and George step into the dressing room.
MABEL
Hello, Miss Baker. You were
fabulous!
JOSEPHINE
Thank you, darling. You must call
me Josephine! I just adored your
films!
MABEL
Thank you!
RUBY
We’re not exclusive. She goes with
men too. But I don’t mind. That’s
just how it is here in Paris.
MABEL
And I thought Hollywood was
risque...
(off Ruby’s mild offense)
I’m sorry, Ruby. I’m glad you’re
happy, really, I am.
RUBY
What about you?
MABEL
Sure. I’m happy.
RUBY
George sure is a sweet piece of
pecan pie. You say you got married
on the cruise over?
MABEL
Yeah. Georgie got the captain to
marry us.
RUBY
A colored man who’s fine and
romantic?... You have to excuse me,
Mabel, but that sounds almost too
good to be true.
MABEL
I’m just lucky, I guess.
Beat. Ruby just looks at her. Knows better.
RUBY
How far along are you?
MABEL
(about to protest, then)
...Three months.
RUBY
Does he know it’s not his?
MABEL
My God! How do you know these
things?! You and Iris and Joyce,
it’s like you’re all psychic!
Mabel clocks a change in Ruby.
97.
MABEL
Did I say something?
RUBY
Oh, honey...I thought you knew. I
just figured since --
MABEL
Ruby, what is it?!
RUBY
Mabel, Joyce is dead.
It’s as if Mabel’s been shot through the heart.
RUBY
It was a fire. Almost three months
ago, right before Christmas.
(beat)
Mabel...both her babies died too.
Tears roll down Mabel’s cheeks. Ruby reaches across the
table to comfort her.
MABEL
We didn’t want to risk that they
would use my mail and track her and
Ezekiel down, so we agreed we
wouldn’t write... All I could do
was pray for her every day. I
prayed God would let her know how
much I missed her. And loved her.
RUBY
I’m sure she knew, honey. Whether
or not God had anything to do with
it.
Mabel stops walking. Ruby turns to face her.
MABEL
What about Ezekiel?... Did Iris say
what happened to him?
RUBY
No. But, Mabel honey, everybody in
that building died that night.
98.
MABEL
(stopping him)
I’ll be on the set tomorrow.
He smiles supportively then exits. Mabel takes a drag from a
cigarette then a drink of wine. She closes her eyes.
MABEL
Not yet, anyway... Maybe I deserve
this, Ruby. Georgie knew I was
carrying a white man’s baby but he
married me anyway.
RUBY
That’s horseshit and you know it.
He knew you’d be a star here and
didn’t want to miss out on what it
could do for his lousy career.
(beat)
Mabel, you know you should leave
him.
MABEL
(beat)
I don’t know, Ruby.
RUBY
You don’t need him. And you said
yourself you never really loved
him.
MABEL
I said I didn’t love him the way
Iris loved Nate or the way Joyce
loved Ezekiel.
RUBY
Which means you don’t love him
enough, which means you shouldn’t
stay with him.
MABEL
(pensive)
I know you’re right. I just don’t
want to think about it now. I’ve
got four films lined up already,
here in Paris, in London and in
Budapest. I’ll be so busy when I
start working again, I’ll hardly
ever see him.
We hear a GURGLE. Mabel and Ruby stop walking. WIDEN to show
Mabel has been pushing a baby carriage. She smiles down at
her six-month-old daughter, MARTINIQUE.
MABEL
(cooing)
Martinique, my angel. Mommy’s here.
MABEL
(scoffs)
They didn’t like Josephine when she
went back. What makes you think
they’ll like me any better?
RUBY
Honey, you know I adore you, but
you’re not Josephine Baker. You’ll
play in Harlem for exactly the
reasons she didn’t.
MABEL
And what about you? You expect me
to just leave you here knowing a
war’s coming?
RUBY
Now I can’t go home. My dancin’
days are long gone and there ain’t
no good place in America for a
colored bull dyke, not even Harlem.
MABEL
Stop talking like that, Ruby. You
know I don’t like it.
RUBY
Fine, but it’s true. I’d rather die
a dyke in Paris than live a lie in
New York City. Besides, the war,
when it comes, won’t last forever.
Martinique, now six but possesing her mother’s beauty,
enters from another room.
MARTINIQUE
Mommy! Mommy!
MABEL
(embracing her)
Angel!
MARTINIQUE
Did you and Aunt Ruby buy anything
for me?
103.
RUBY
Well your mother didn’t. But you
know Aunt Ruby will never let you
down, sweetheart.
Martinique hugs Ruby. Mabel and Ruby share a bittersweet
smile.
RUBY
Now, you promise me you’ll be good
and look out for your mother. And
I’ll promise to write you at least
once a week. How’s that?
MARTINIQUE
I promise.
They hug tightly. Ruby kisses her all over her face. She
stands to say goodbye to Mabel.
MABEL
How many times are we going to say
goodbye?
RUBY
At least once more, I hope... Give
my love to Iris when you see her.
MABEL
I will... Ruby, there’s something
I’ve always wanted to know but
never had the nerve to ask. Why
didn’t you tell --
104.
RUBY
Because I loved you too much.
They share a long heartfelt look. Then they embrace, more as
sisters than lovers.
RUBY
(softly)
Goodbye.
They embrace and hold one another for a while. When they
part they smile.
IRIS
Let me look at you!
MABEL
Iris, it’s so good to see you!
IRIS
And who is this?
IRIS (CONT’D)
within a year Duke goes on tour,
Cleo’s band takes over at the
Cotton and he hires me to
choreograph.
MABEL
You were always the best girl on
the line, Iris. You taught me
everything I know about dancing.
IRIS
Thank you for saying that, but we
both know you were a natural.
MABEL
Thank you.
IRIS
I can tell you’ve been a good
mother. That’s not easy in this
business.
MABEL
(beat, sensitive)
Did you ever think about trying
again?
IRIS
Think about, yes. Trying? Well,
let’s just say neither Nate or me
tried too hard. I figured losing
one in the oven was a sign we
weren’t fit. And with Nate...well,
being Nate.
Mabel lowers her eyes, feeling the shame of her youth. Iris
takes her hands in her own. Smiles.
IRIS
Oh sugar, any woman who falls in
love with a musician is askin’ for
hurtin’. But me and Nate, we have
our way. He can’t do without me and
God knows I can’t imagine livin’
without him. I got what I paid for,
sugar, and I’m satisfied with it.
106.
MABEL
Nate is doing well? His own band,
the records and the radio.
IRIS
Best ax I’ve ever heard. And you
know I’ve heard ’em all... So in
her wire, Ruby said you were
thinking about singing?
The marquee reads, "Duke Ellington & His Orchestra & Mae
McDonald".
MABEL
Yes, hello?... Iris... No... Iris,
what is it?...
(shocked, in denial)
No... No.
IRIS
She was brave to stay the way she
did. I could never have been so
brave.
MABEL
She knew she’d never come home.
That we’d never see each other
again... Oh why didn’t she come
with us?! Why?!
Mabel crumbles into Iris’ arms.
MABEL
(blows smoke)
Victor.
VICTOR
I heard you were headlining here.
I’m on a flight back to L.A.
tonight or I’d come see you.
108.
MABEL
You see me now.
VICTOR
So how’ve you been, Mae?
MABEL
Good. Touring. Three weeks here
then Kansas City, Chicago, Detroit.
VICTOR
Sounds better than good. And...how
is Marti?
MABEL
So you know her name.
VICTOR
I’d like to know more. Mae, I want
to meet her.
VICTOR
Mae, please --
MABEL
Thanks for stopping by, Victor.
Don’t miss your flight.
The band members filter back out. Mabel stubs out her
cigarette. She and Victor lock eyes for a beat then she
turns and goes to the bandstand.
109.
MABEL
(to band)
All right, boys, let’s take it from
the top.
MRS. FISHER
I had Jeffrey tear it down after
you left. Your grandmamma lived in
the house with us ever since.
MABEL
She never told me in any of her
letters.
MRS. FISHER
I’m not surprised.
(a smile)
She fussed for years that her bed
inside was too soft.
MABEL
I should have brought her out to
Los Angeles when I had the chance.
MRS. FISHER
Mabel, dear, she didn’t love you
any less because you weren’t here.
And what you did while you were
away filled her with so much pride
and happiness. That’s what you
should remember.
MISS ROBBINS
Good afternoon, Mrs. Fisher.
MRS. FISHER
Hello, Miss Robbins. You remember
Mabel McDonald.
MISS ROBBINS
Oh, my! Mabel?!
MABEL
Hello, Miss Robbins.
MRS. FISHER
Mabel is a big star in colored
motion pictures. She sings in
nightclubs too.
MISS ROBBINS
Oh, is that so! How wonderful!
MRS. FISHER
She’s back in town to tend to her
grandmamma’s things. She passed a
week ago Thursday.
MISS ROBBINS
I’m so sorry to hear that, Mabel.
MABEL
Thank you, Miss Robbins.
As the women reminise on the post office steps, a POLICE CAR
stops out front. Mrs. Fisher and Mabel say goodbye to Miss
Robbins. Before turning to continue up the steps, Mrs.
Fisher sees the police car. Mabel clocks a change in her.
MABEL
Miss Juliette, what is it?
MABEL
What about the other one?
MRS. FISHER
Bobby Carlisle. Drowned over in
Crater Lake three years ago. Some
said he was drinkin’ before he went
in. But that’s no surprise. He was
a drunk long before then.
MARTINIQUE
Good night, Mommy. Mommy?
MABEL
Yes, angel?
MARTINIQUE
Will we see Miss Juliette and Jenny
again after tomorrow?
MABEL
Yes. I think we will.
MARTINIQUE
I would like that.
Mabel kisses Martinique goodnight, leans over to turn out
the lamp and notices a framed PHOTO on the nightstand. It’s
a picture of her as a little girl, sweet and innocent, her
big eyes beckoning to us. Beat. Mabel turns out the light.
113.
MABEL
Ezekiel...you’re not stuttering.
He pulls a piece of creased paper from his back pocket.
Unfolds it and hands it to her.
MABEL
(reading)
A blackbird bit a big black bear,
but where is the big black bear
that the blackbird bit?
EZEKIEL
I almost didn’t. I barely ate or
slept for weeks. I just wanted to
die. But somehow I kept on goin’.
After a few years of wandering, I
found myself in Savanah. That’s
where I was when Mamma got word to
me about Miss Ida Mae.
MABEL
I know you must know this, but
Joyce loved you dearly.
MABEL
I thought about you often after you
and Joyce left Los Angeles.
Wondered what my life might have
been like...if you had spoken to me
before...
EZEKIEL
You’ve done fine for yourself
considering...considering how
things got started.
MABEL
I’ve thought about that too,
Ezekiel. Because of me, you’ve had
to spend your life running. You
could’ve had a better life.
EZEKIEL
Mabel. If I had to I’d do it all
again. And not just because of how
I feel about you. What Claude and
those boys did was wrong... I’m
just sorry I didn’t get there --
MABEL
(stops him with a touch)
You got there, Ezekiel.
EZEKIEL
The way I figure it, it’ll take ’em
a while to figure out Joe Loomis is
Henry Stubbs. By that time we could
be deep enough into war that the
government’ll need every able
bodied man they can get.
Mabel doesn’t like the sound of that at all.
116.
MABEL
Before Uncle Sam asks Negroes to
fight Nazis in Europe, surely he
can create more jobs and build
better schools for us here.
EZEKIEL
Mabel you’re not some sort of
Communist are you?
MABEL
No, Ezekiel, I’m not a Communist.
She stops walking. Faces him.
MABEL
Since the day I left here I’ve felt
like I’ve been searching for
something... When I saw you
tonight, out there in front of the
Fisher house, I knew I’d finally
found it... Henry, I don’t want to
go another ten years wondering
whether you’re alive or dead, happy
or sad. And I don’t want to go
another minute wondering if what
I’m feeling right now is real.
MABEL
You can do whatever you want. After
all these years, don’t you deserve
a chance? Don’t we?
She caresses his face. They look long into each other’s
eyes. Kiss deeply. Then:
MABEL
We leave for the train station
tomorrow at noon. You’ll be here?
EZEKIEL
(beat)
Yes. I’ll be here.
Mabel stands on the porch fretting. She checks her watch for
the hundreth time. 12:45 p.m. Mrs. Fisher comes out of the
house, coat on and ready to go.
118.
MRS. FISHER
Mabel, dear, we can’t wait any
longer. You’ll miss the train and
your plane.
Mabel looks out to the road. Scans both directions.
MAYOR
...and she became a symbol of grace
and beauty, not just for our fair
town, but for our entire state, as
evidenced by the presence here
today of our esteemed lieutenant
governor.
Eyes turn to Lieutenant Governor Claude Peppers in the front
row. Across the aisle from him are the three women from our
opening scene - Mrs. Fisher, seventies, Jenny, mid-forties
and ADULT MARTINIQUE, the mixed-race beauty in her late
thirties, sitting with her young son. The women all look at
Claude, whose lifetime of heavy drinking has taken a toll.
As the mayor continues:
119.
MAYOR
I’d like to ask Mabel’s daughter to
do the honors. Miss Lawson, if you
please.
ADULT MARTINIQUE
Why are you here then, Mr. Peppers?
CLAUDE
I’ll have to answer to God for my
sins, Miss Lawson. And when the
time comes, I’ll accept what he has
in store for me. But there’s one
thing I need to do before that day
comes. Since I cain’t say it to
your mamma, I’m here to say it to
you... I’m sorry, Miss Lawson. If I
could undo it all, I would.
Beat. Martinique meets his eyes.
121.
ADULT MARTINIQUE
I don’t accept your apology, Mr.
Peppers. Add it to the list of
things to take up with God.
She leaves him there. He watches her as she goes to her son.
MARTINIQUE’S SON
Mommy, who was that man?
ADULT MARTINIQUE
No one, Henry darling. No one at
all.
FADE TO BLACK.
THE END