BLACKBIRD

By
David Polk

An Original Screenplay

176 Dusty Rose Court

Simi Valley, CA 93065
805-428-5775
dpolk@mac.com
EXT. POST OFFICE - DAY
TOWNSFOLK gather outside an old post office, a redbrick
building in the town square. By their dress we know it’s the
1960s. Confederate flags tell us we’re in the Deep South.

As black and white people sit in fold-out chairs, we favor

THREE WOMEN - one in her seventies, another in her
mid-forties and the third, mixed-race and elegant, in her
late-thirties, with her young black son. They sit in the
front row.

A sedan with Confederate and American flags fluttering pulls

to a stop and a state trooper opens the door. A MAN in a
dark suit gets out. We see only glimpses of him - hands,
mouth, weary eyes - but a buzz of puzzlement and surprise
follow him as he walks slowly up the aisle. He sits in the
front row, across the aisle from the three women. The women
meet his eyes with a mixture of disdain and curiosity.
DISSOLVE TO:

INT. FISHER HOME, KITCHEN - DAY

IDA MAE, a heavyset black woman of about forty, hums a hymn
as she peels apples. A BABY in a high chair licks sugar from
her fingers. We hear a woman’s sweet southern voice
approaching.

WOMAN’S VOICE (O.S.)

Ida Mae, I need Mabel to go --
The woman, (MRS. FISHER) pretty, early thirties, enters and
reacts.

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.

EXT. BACK PORCH - CONTINUOUS

Ida Mae steps out of what we now see is a nice home. Shouts
toward a decrepit shack at the far end of a wooded back
yard.
IDA MAE
Mabel!

EXT. BEHIND SHACK - CONTINUOUS

CLOSE ON the pretty face of a brown-skinned girl, her doe
eyes staring straight at us.

IDA MAE (O.S.)

MABEL!
PULL BACK to reveal MABEL lying on the ground, gazing at the
sky. She gets up and walks around the shack toward the
house. In a threadbare dress, we see in the fifteen-year-old
the beginning of a truly beautiful woman.
MABEL
Comin’, Mamma!

EXT. BACK PORCH - CONTINUOUS

Ida Mae waits impatiently.
IDA MAE
Get a move on, girl! Miss Juliette
need you down to the post office to
fetch a letter for the Colonel.
 3.

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.

EXT. COUNTRY ROAD - DAY

Mabel rides along a secluded road.

EXT. POST OFFICE - DAY

The same post office from our opening scene only it’s new.
Mabel rides up and jumps off the bicycle. Goes inside.
 4.

INT. POST OFFICE - CONTINUOUS

Mabel stands in the "colored" line. At the window, she’s
greeted by a a BESPECTACLED CLERK.

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.

The boy hops to it. Meanwhile, the clerk has returned.

BESPECTACLED CLERK
Here you are, Mabel. Give my best
to the Colonel and Mrs. Fisher.

MABEL
I will, Mr. Dellums.

EXT. POST OFFICE - CONTINUOUS

Mabel goes to her bicycle, puts the mail in the basket. An

old woman, MRS. BEATTY, stops on her way inside.
MRS. BEATTY
Mabel, darling!

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, a young school teacher, stops on the steps.

MISS ROBBINS
Good afternoon, Mrs. Beatty, Mr.
Campbell. And hello there, Mabel.
MABEL
Hi, Miss Robbins.
MISS ROBBINS
Are you enjoying your summer?
MABEL
Yes, ma’am.
MISS ROBBINS
You’re keeping up with your
arithmetic, I hope?
MABEL
Yes, Miss Robbins.
 6.

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.

EXT. COUNTRY ROAD - LATE AFTERNOON

Four WHITE YOUTHS, nineteen or twenty years old, pass a

bottle of whiskey on the side of the road. Two of the boys -
CLAUDE AND CLARENCE - are redheaded twins.
CLARENCE
No damn way Schmeling could ever
beat Tunney.
CLAUDE
Guess we’ll never find out now,
will we?

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 --

Clarence clutches her throat.

CLAUDE
Is that it, you think you some sort
of special nigga? Huh?

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...

INT. ABANDONED CABIN - LATER

Mabel, gagged and crying, is held on a table by Bobby and
Harry while Claude rapes her. When he’s done he steps back,
lifts his pants.

CLAUDE
Go on, Clarence. You’re next.
 9.

Clarence excitedly drops his trousers. He fumbles around,

trying to keep her legs spread, when - BAM! - the cabin door
bursts open. The white boys turn around, shocked to see the
black youth from the post office. They’re even more
surprised when he lunges at them, attacking with all his
might.
Mabel rolls off the table and crawls to a corner, watching
as the white boys rally and begin getting the best of the
black youth. They begin beating him savagely.

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.

EXT. ABANDONED CABIN - CONTINUOUS

Claude runs through the woods with a screaming Bobby.
Clarence follows. The black youth flings the ax on the run.
It catches Clarence in the back of the head. He falls to the
ground, DEAD. The black teenager watches as Claude and Bobby
escape.

INT. ABANDONED CABIN - CONTINUOUS

Mabel is on her knees, looking into Harry’s lifeless eyes.
She shifts her gaze to Bobby’s bloody hand. She’s startled
when the black teen returns.
 10.

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.

EXT. COUNTRY ROAD - LATE AFTERNOON

The black teenager leads Mabel back to the road. He helps
her on the bicycle. She’s still in shock.
BLACK YOUTH
You g-g-gots to go home, M-M-Mable.
MABEL
But...what about you? When they
find out --
She can’t even bring herself to think about it.
BLACK YOUTH
D-D-Don’t you worry ’bout
m-m-me. Now gets to g-g-goin’!
Mabel is about to pedal off. The boy sees a letter on the
ground. He puts it in her bicycle basket. Their eyes meet.

MABEL
Henry...
BLACK YOUTH
Go!

He pushes the back of her seat, shoving her off. Watches as

she picks up speed, pedalling away faster and faster. Sure
she’s on her way, he looks around, then runs into the woods.

EXT. SHACK - DUSK

Mabel rides into the backyard, jumps off the bicycle and
lets it crash into the side of the shack. Hurries inside.

INT. FISHER HOME, DINING ROOM - SAME

Ida Mae is serving dinner to Mrs. Fisher and her husband,

the taciturn, fortyish COLONEL FISHER. They react to the
sound of the bicycle crash. Ida Mae is more than a little
embarrassed.
 11.

IDA MAE
That girl shoulda been here a hour
ago. I’ll just go get that letter
of yours, Colonel.

The Colonel nods then reaches for the salt.

INT. SHACK - CONTINUOUS

Two cramped rooms. No sign of electricity or running water.
Mabel lay curled on a thin mattress on the floor, fighting
tears. Ida Mae enters, sees her lying there.
IDA MAE
Girl, where you been?! Miss
Juliette done been askin’ ’bout
you!
Mabel begins to wail. Ida Mae is at first taken aback, then
realizes something horrible has happened. She takes the girl
in her arms, comforts her.

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!

INT. FISHER HOME, DINING ROOM - LATER

Ida Mae returns with an APPLE PIE. She puts it on the table
and starts cutting.

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.

INT. SHACK - NIGHT

Ida Mae bathes Mabel by candlelight from a wash basin, puts
a clean nightgown on her and lays her down on the thin
mattress. She pulls a blanket up to her chest.

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.

EXT. FISHER HOME - MORNING

A Model T Ford is parked out front, a police officer leaning

casually against it.

INT. FISHER HOME, FOYER - MORNING

Colonel and Mrs. Fisher talk to the SHERIFF, a weary,

white-haired man of about sixty.
SHERIFF
I’m awfully sorry to have to wake
you folks with this kind of news.

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.

INT. FISHER HOME, KITCHEN - SAME

Ida Mae listens at the door.

SHERIFF (O.S.)
With two boys dead and another
maimed, and the Stubbs boy nowhere
to be found, I’m afraid I’m gonna
have to take the girl in for
questioning.
COLONEL FISHER (O.S.)
Of course, Sheriff. We understand.

MRS. FISHER (O.S.)

Jeffrey!
COLONEL FISHER (O.S.)
Juliette, the sheriff has a job to
do.
Ida Mae hurries out the back door.
 14.

INT. FISHER HOME, FOYER - SAME

SHERIFF
Me and my deputy’ll just go ’round
back for her.

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.

INT. SHACK - MINUTES LATER

Mrs. Fisher enters to find Ida Mae hurriedly dressing a

frightened Mabel.
IDA MAE
Miss Juliette, my Mabel ain’t done
what those white boys say she did!
You know she ain’t!
MRS. FISHER
Yes, I know, Ida Mae.

MABEL
Miss Juliette, Henry just tried to
stop them. They beat him something
terrible.
MRS. FISHER
Yes, dear, I know.

INT. FISHER HOME, FOYER - LATER

The Colonel and the Sheriff wait. Mrs. Fisher comes from the
kitchen.
MRS. FISHER
She’s gone!
COLONEL FISHER
What?
MRS. FISHER
Mabel! She’s gone!
 15.

SHERIFF
How? When?
MRS. FISHER
Ida Mae said she woke up this
morning and found this.

She hands him a note. As he reads:

MRS. FISHER
Mabel ran off in the middle of the
night. To Atlanta. She was afraid
of what those boys will do to her
if she stays in town.
COLONEL FISHER
Atlanta?!

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.

INT. FISHER HOME, KITCHEN - MOMENTS LATER

The Colonel and Mrs. Fisher listen as the sheriff
interrogates Ida Mae.

EXT./INT. SHACK - SAME

The DEPUTY walks around the shack, looking for clues of
Mabel’s whereabouts. He goes inside the shack. It’s empty.

EXT. FISHER HOME - DAY

The sheriff tips his hat goodbye to the Colonel and Mrs.
Fisher and goes to the car, where the deputy waits. The
Fishers watch them drive off then close the door.

INT. FISHER HOME, NURSERY - SAME

Mabel watches from behind a shaded window as the Ford
rumbles out of the dirt yard and onto the country road.
 16.

INT. SHACK - DAY

Ida Mae is packing a small suitcase as Mabel stands by.

EXT. FISHER HOME - DAY

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.

INT. SHACK - DAY

Mabel is crying her eyes out in her Sunday dress.

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.

INT. CAR - MOVING - DAY

Mrs. Fisher drives. As the car turns onto the road, Mabel
looks back at Ida Mae in the front yard, holding baby Jenny.
 17.

INT. CAR - MOVING - LATER

Mrs. Fisher and Mabel have driven for a long time.

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.

INT. TRAIN DEPOT - DAY

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!

Mrs. Fisher looks at Mabel, smiles to give her courage and

touches her face with a white-gloved hand.
MRS. FISHER
Now you be a good girl, Mabel.

MABEL
Yes ma’am... Thank you, Miss
Juliette.

INT. TRAIN, COLORED CAR - MOVING - DUSK

Travelers in the crowded car doze or play cards or speak in
hushed tones. We find Mabel fighting sleep, clutching her
suitcase to her chest.

A distinguished black man in his thirties sits across from

her. This is DR. DOUGLAS. He smiles pleasantly at Mabel and
others seated nearby.
DR. DOUGLAS
This your first trip North, young
lady?
CITY WOMAN
You mean you cain’t tell?
Mabel looks at the CITY WOMAN, dressed in fancy city
clothes.
CITY WOMAN
The way she clutchin’ that
suitcase, you think she think all
us black folks a bunch of thieves.

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.

The woman smirks, goes back to minding her own business.

DR. DOUGLAS
So, is this your first trip North?
MABEL
(hesitant)
Yes sir.

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.

He looks back to a WOMAN at the far end of the crowded

compartment. He gives her a small wave and smile.
 20.

DR. DOUGLAS
They don’t figure black folks need
to travel with their families like
white folks do.
He smiles. Mabel seems to understand.

INT. TRAIN, COLORED CAR - MOVING - NIGHT

Through the evening, Dr. Douglas regales Mabel with tales of

Harlem.
DR. DOUGLAS
Up in Harlem, colored folks can do
whatever they set their minds to.
Singin’, dancin’, fixing cars,
fixin’ hair. In Harlem anything’s
possible. Whatever you want to do
you can do, Mabel.

MABEL
Me?

INT. TRAIN, COLORED CAR - MOVING - DAWN

Mabel wakes in her seat, alarmed that her suitcase is not

clutched to her chest. She looks around and breathes a sigh
of relief to find it on the floor next to her. Then she
notices Dr. Douglas, smiling pleasantly at her.
DR. DOUGLAS
Good morning, young lady.
MABEL
Good morning, Dr. Douglas.

INT. GRAND CENTRAL - DAY

Mabel steps off the train into a whole new world. More
people than she’s ever seen, seemingly going everywhere and
nowhere at once. She tries to get a porter’s attention but
white passengers are far more valuable. She’s overwhelmed.
Dr. Douglas appears through the crowd like a life buoy.
DR. DOUGLAS
Young lady, you doing all right?
MABEL
Oh, hello, Dr. Douglas. Is it like
this everywhere in New York?
 21.

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.

He looks at her and then at her bag.

DR. DOUGLAS
Now young lady, I hope you know by
now that you can trust me.

MABEL
You won’t be long?
DR. DOUGLAS
(his pleasant smile)
Not long at all.

Mabel reluctantly hands him her bag. He wades into the

masses. A moment later Mabel spies Dr. Douglas’ wife
standing nearby looking for someone. Mabel goes to her.
MABEL
Mrs. Douglas! Mrs. Douglas!
Mabel taps her on the shoulder. She looks blankly at Mabel.
 22.

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 --

Mabel stares into the sea of people.

WOMAN (O.S.)
Honey, are you alright? Honey?

Mabel begins pushing her way through the crowd.

MABEL
Dr. Douglas! Dr. Douglas!
Finally, she catches a glimpse of him. He’s with the city
woman. They walk out of the terminal together.
OFF Mabel’s devastation...

INT. FLOPHOUSE / BATHROOM - DAY

A bleak residence hall with dingy, flea-ridden cots. We hear

SCRUBBING. Find Mabel, looking worse for the wear, and a
black teenager, Bernice, on their knees washing the bathroom
floor.

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.

We hear FOOTSTEPS. The girls get to scrubbing harder. The

MATRON, a thin black woman, stands over them.
MATRON
You ain’t here to beat your gums.
Get to scrubbin’ or I’ll give them
beds to somebody that knows how.

INT. FLOPHOUSE - DUSK

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!

EXT. SAVOY BALLROOM - NIGHT

The marquee reads, "Chick Webb and his Orchesta, Thursday

Ladies Night". We hear music coming from the club. Mabel and
Bernice approach in overcoats that are no match for the
cold.

INT. SAVOY BALLROOM - NIGHT

The joint is jumpin’! Blacks and whites alike lay down their
best moves on the dance floor. Chick Webb jams on the drums.

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

EXT. SAVOY BALLROOM - NIGHT

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.

TAXI DRIVER (O.S.)

Y’all comin’ or not?! I gots to go!
Winston is disappointed. Bernice rolls her eyes.
 26.

MABEL
I’m sorry. Goodnight.

As the others get into the taxi Mabel walks alone down Lenox
Avenue.

EXT. HARLEM STREET - LATER

Faint sounds of music from the Savoy can be heard in the

distance. Mabel pulls her coat tighter against the cold.
Three WOMEN approach, talking animatedly. They’re
attractive, in their early twenties, wearing makeup and
stylish clothes. They could be hookers or showgirls.

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 stops, looks into the cruel, handsome face of a PIMP.

MABEL
Excuse me. I need to get home.

She tries to walk around him but he blocks her.

PIMP
It’s a cold night, Mabel. Why don’t
you come with me, let me make it a
lot warmer for you?

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.

She walks past him.

PIMP
(anger rising)
You think you too good to be one of
my girls?!
He grabs her arm, spins her around.
 27.

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!

The pimp turns to face IRIS, an Amazon of a woman, with the

other two attractive women who passed Mabel on the street.
PIMP
You bitches better mind your own
damn business!
He shows his blade. Iris reaches in her fur coat, pulls out
a long STILETTO.
IRIS
Nigga, we jus’ made her our
business.
The other women - RUBY, dark-skinned and sexy, and JOYCE,
light enough to pass - produce knives of their own.

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.

INT. COFFEE SHOP - LATER

Mabel sits talking with Iris, Ruby and Joyce.

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.

INT. PLANTATION CLUB - DAY

A big band orchestra is practicing. The BAND LEADER takes
them through their paces like a maestro. We favor a sax
player, mid-twenties, whose confidence and style, if not his
looks, make him stand out. This is NATE.
CHORUS GIRLS, including Iris, Ruby and Joyce, go through a
routine under the critical eye of a beautiful but stern
CHOREOGRAPHER.

When the band leader calls "take five", Iris exchanges a

look with Nate and he heads off through the club.
 30.

INT. HALLWAY - LATER

Nate is on O’MALLEY’S heels as they walk down the hallway.
O’MALLEY
This ain’t no charity house, Nate.
NATE
I understand, Mr. O’Malley, but you
was just saying the other day how
business done picked up. One more
cocktail waitress could only help.
O’MALLEY
Our customers expect to see a
certain kind of girl here. Not some
fresh off the farm heifer looks
like she been scrubbing floors her
whole life.
NATE
Oh, Mabel been up in Harlem four,
five months now. And trust me,
she’s the kind of girl customers
likes to look at.
They come to a vestibule at the service entrance. Mabel
stands there, in a borrowed dress and heels, looking more
like a woman than we’ve seen her.

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 regards her critically. Beat.

O’MALLEY
Have her see Fitzpatrick. She can
start tonight.

INT. PLANTATION CLUB - NIGHT

The Plantation rivals the famed Cotton Club for Roaring 20s
extravagance. We find Mabel working as a scantily-clad
cigarette girl. She pauses to watch the chorus line perform.
The LAST DANCER in the line seems to forget the steps of the
routine. That is until the encore, when she performs it
perfectly and with additional flair. The audience loves it.

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?

She looks at a serious Italian sitting with other

well-dressed hoods.
MABEL
The man with the mustache?

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.

INT. PLANTATION CLUB, BACKSTAGE - NIGHT

The band is on a break. Mabel comes through with cigarettes.

Nate takes one.
NATE
How you doin’ tonight, Mabel?

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 look between them lasts a bit longer than it should.

MAN’S VOICE (O.S.)
Five minutes!

The band gets ready for the next performance. Mabel turns to
go. Nate admires her as she leaves.

INT. PLANTATION CLUB, DRESSING ROOM - LATER

The chorus girls relax with cigarettes from Mabel.

MABEL
Mr. O’Malley said to give him
whatever he wants. Who is he?

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.

INT. PLANTATION CLUB - LATER

TATTAGLIA and his men enjoy the show. He looks around at

Mabel. She goes to him without hesitation.
MABEL
What can I get for you, sir?

He looks at the assortment on her tray. Glances not so

discreetly at her cleavage, then up into her eyes.
TATTAGLIA
Luckies.

She gives him a pack. He reaches into his vest.

MABEL
They’re on the house, sir. Mr.
O’Malley says your money’s no good
here tonight.
His smile is cool and cruel. He tosses a five on her tray.
TATTAGLIA
That’s for you. Not O’Malley.

MABEL
Thank you, Mr. Tattaglia.

INT. PLANTATION CLUB, BACK OF HOUSE - NIGHT

The club is closing down. Mabel changes into her Sunday

dress and heads out with Ruby and Iris.

EXT. ALLEY BEHIND PLANTATION CLUB - CONTINUOUS

Mabel, Iris and Ruby meet up with Nate.

MABEL
Where’s Joyce?
 34.

RUBY
Said she’s steppin’ out with a
drummer from the Lenox Club.

They move to the boulevard, where Ruby hails a jitney. She

and Mabel say goodnight to Nate and Iris.

EXT. CITY STREET - LATER

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.

INT. PLANTATION CLUB, O’MALLEY’S OFFICE - NIGHT

Tattaglia and O’Malley sit across from each other.

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.

INT. PLANTATION CLUB, TOWNHOUSE - LATER

Tattaglia opens a bedroom door to find Joyce waiting in a
sexy peignoir.

INT. APARTMENT - NIGHT

Ruby comes out of the bathroom in nightclothes. Mabel is
curled up on the sofa, made up like a bed, penning a letter.

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.

Ruby sits next to her.

RUBY
So what you telling her in that
letter?

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.

An uneasy beat as Mabel covers.

MABEL
Well, I’d have to find one
worthwhile first.

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.

Ruby smiles, puts a gentle hand on her knee.

RUBY
Me neither. Ain’t no rush, girl...
Meantime, if you get a little itch,
just scratch it yourself.

Mabel is puzzled. Ruby laughs.

RUBY
Oh, honey. You’ll figure it out.

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.

INT. CAFE - DAY

Full of Harlem Renaissance black folks. Iris, Ruby and Mabel

are drinking coffee. Joyce enters and joins them.
IRIS
There you are!

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.

EXT. WALK-UP APARTMENT - DAY

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.

INT. APARTMENT - LATER

Mabel is trying to pick the place up. Nate watches her.

MABEL
You must think we live like pigs.
It’s just we’re hardly ever home...

NATE
It’s all right.
(takes her arm to stop her)
Really, it’s not the place I came
to see.

She looks up at him, her heart racing a mile a minute. He

touches her face gently.
MABEL
Nate... Iris...

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.

Ruby stares at them accusingly for a long beat.

NATE
Well, I’d better get goin’.
 39.

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.

INT. PLANTATION CLUB - DAY

The orchestra and the chorus girls warm up for practice.
MISS PENNY, the stern, beautiful choreographer, is angry.

MISS PENNY
What do you mean "married him"?
DANCER
That’s what her note said. Last
night in Atlantic City.

O’Malley comes over, agitated.

O’MALLEY
What’s the rumpus?

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.

He stalks off. The DANCER scurries away. As she does, Miss

Penny’s eyes fall to Mabel cleaning tables.

INT. PLANTATION CLUB, DRESSING ROOM - LATER

Miss Penny watches as Mabel tries on a chorus girl costume.

Band leader CLEO CALHOUN comes in, fit to be tied.
CLEO CALHOUN
Penny, what the hell are you
doing?! This is our biggest show of
the year!
MISS PENNY
Cleo, we’re already down three
girls and I can’t find another one
on such short notice.
 40.

(tosses a look at Mabel)

This one fits the costumes.
BEGIN MONTAGE - CHORUS GIRL

* Miss Penny and the other chorus girls teach Mabel the
routines;

* Ruby barely covers her scorn toward Mabel, but apparently

hasn’t told Iris...

* Who is the most helpful and attentive to Mabel during her

crash course;

* Cleo erupts when Nate tells him he plans to leave the band
after the New Year’s Eve performance, and

* O’Malley pays Joyce to sleep with Tattaglia as we...

END MONTAGE

INT. PLANTATION CLUB - BACKSTAGE - NIGHT

Mabel is all nerves as the chorus girls prepare to go on. We
hear the music leading to their cue. Miss Penny fixes Mabel
with a demanding glare. Mabel’s heart drops in her stomach,
but then she looks at Iris, who smiles at her. This puts her
a little more at ease until she glances at Ruby, then guilt
mixes with the butterflies.

INT. PLANTATION CLUB - CONTINUOUS

The orchestra strikes up fanfare. Banners with "Happy New

Year 1929" are lowered and the girls come out and go into
their routine. Mabel is last on the line and as is the
custom, she intentionally botches some of the steps, drawing
laughs from the audience.

O’Malley watches nervously from Tattaglia’s table as the

troupe goes into the encore. Mabel performs perfectly just
as planned, adding a flair at the end that draws rousing
applause. The mobster is impressed. O’Malley is relieved.

INT. PLANTATION CLUB, DRESSING ROOM - LATER

The girls hurry in to change, congratulating Mabel as they
do. Miss Penny enters and gives Mabel what passes for an
approving nod, then:
 41.

MISS PENNY
(to all)
That’s one number. We have three
more. Let’s go! Chop-chop!

INT. HALLWAY - LATER

The club is closing. O’Malley and Tattaglia stand in the
hallway talking. Mabel is on her way out with other chorus
girls. Tattaglia sees her and says something to O’Malley.
O’MALLEY
Mae! MAE!

The girls say they’ll wait outside. Mabel goes to O’Malley.

MABEL
Yes, Mr. O’Malley?
O’MALLEY
Mabel, someone here wants to meet
you. Mr. Tattaglia, this is Mae...
Mae, what’s your last name again?
MABEL
McDonald.

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.

INT. LENOX CLUB - NIGHT

The speakeasy is jumpin’ as blacks celebrate the New Year

into the wee hours. We find Mabel, Ruby, Iris, Nate and
other Plantation Club performers at a table living it up.
Prohibition has no effect on the flow of alcohol here.

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.

Nate and Mabel share a furtive glance.

INT. PLANTATION CLUB, BEDROOM - NIGHT

Tattaglia is fucking Joyce hard in bed.

INT. LENOX CLUB - NIGHT

The dance floor is alive. We find Mabel dancing with a man,
having a good time. She catches sight of Nate and Iris at
their table, kissing passionately. This takes the steam out
of Mabel’s engine. Meanwhile, Ruby and a woman slip out of
the club together.
 43.

INT. BEDROOM - DAWN

Joyce pretends to sleep as Tattaglia dresses. He peels off a
few bills and tosses them on the dresser. After she hears
the door close, Joyce opens her eyes. She stares blankly out
the window. The sky is just beginning to lighten.

EXT. PLANTATION CLUB, TOWNHOUSE - DAWN

Tattaglia walks down the stairs of the townhouse and goes to
a Ford. A BUTTOMAN opens the door. Neither of them notice
the car roar around the corner until the HOODS inside open
fire with Tommy guns. Tattaglia and the buttonman are cut
down in a hail storm of bullets.

INT. BEDROOM - SAME

Joyce jumps from bed and looks down from the window in time
to see the slaughter. Sickened, she turns away. Her gaze
falls to the MONEY Tattaglia left on the dresser.

INT. APARTMENT - DUSK

Mabel hums while ironing (the hymn we heard Ida Mae
humming). Joyce is in the next room on her bed, lost in her
melancholy.

MABEL
(to Joyce)
How ’bout we go to a picture show?
A talkie! Wouldn’t that be nice?
Joyce?

Mabel sets the iron aside, goes to the doorway.

MABEL
Joyce?

Mabel goes in and lays next to her.

MABEL
Joyce, what’s got you so down?
After a long beat, Joyce looks at her.

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.

EXT. HARLEM STREET - NIGHT

Mabel walks down the street in a nice coat and heels that
show off her dancer’s legs. She looks ahead and slows her
gait. A prostitute loiters near the corner. We recognize
Bernice. Mabel walks to her.
BERNICE
Mabel? Mabel is that you?
 45.

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.

Bernice walks to the car.

BERNICE
Hey, daddy!

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.

INT. NATE & IRIS’ BEDROOM - NIGHT

Nate and Mabel are post-coital in bed.

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.

INT. PLANTATION CLUB - NIGHT

The chorus girls do their thing. For the encore, Mabel does
the Swanee Shuffle, a sexy shimmy that brings the audience
to their feet. Joining in the ovation is VICTOR KING,
rakishly handsome, early thirties.

EXT. PLANTATION CLUB - LATER

Mabel and her friends exit the service entrance and go to
the curb to hail jitney cabs. Just as one pulls up:
VICTOR (O.S.)
Miss McDonald!
Mabel turns to see Victor walking toward her, a PLATINUM
BLONDE on his arm.
VICTOR
Hello, Miss McDonald. I’m Victor
King.

They shake hands.

MABEL
Hello, Mr. King.
VICTOR
You were terrific tonight.
MABEL
(wary)
Thank you.

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.

INT. SPEAKEASY - NIGHT

Mabel’s dancer friends react to the news of King’s offer.

DANCER
Mabel, girl you goin’ somewhere
now!
ANOTHER DANCER
Yeah, girl, you could be the
colored Clara Bow!

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!

The dancers react, but Mabel is dumbstruck.

IRIS
It took three years, but we’re
finally doin’ it. Goin’ to City
Hall Thursday.

As the dancers hug and kiss Iris, Ruby looks at Mabel, who
is totally devastated...
 49.

INT. APARTMENT - NIGHT

Mabel lay on her bed-sofa staring blankly into the darkness.

EXT. HARLEM STREET - DAY

Mabel and Joyce talk as they walk.
MABEL
Won’t you miss Harlem?

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.

Mabel just stares at him. Joyce clocks the chill.

JOYCE
We were just going to kill some
time before headin’ down to the
club. Might have a beer in the
icebox if you want to visit.
NATE
Jus’ want to talk to Mabel for a
sec.

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.

INT. APARTMENT - CONTINUOUS

Mabel enters, distraught. Joyce and Ruby stand there,

frozen. Mabel burst into tears and they rush to comfort her.
 51.

INT. TRAIN DEPOT - DAY

Mabel, Joyce, Ruby and Iris walk alongside the train. A
black PORTER loaded down with luggage stops.
PORTER
He we is, ladies.
He takes the luggage aboard. Joyce turns to Ruby.

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.

Ruby kisses her tenderly - almost romantically - on the

cheek. Then Ruby moves away, leaving her alone with Iris.
MABEL
Iris... I don’t know what to say.
You’ve been so good to me...
Mabel is overcome with emotion. Iris takes her face in her
hands, looks into her eyes.
 52.

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.

They embrace and Mabel holds her tightly.

INT. TRAIN, SLEEPER CAR - MOVING - LATER

Mabel and Joyce enter their compartment.

MABEL
I didn’t know they let colored folk
have sleepers!

They begin to get settled for the night.

INT. TRAIN BUNK - MOVING - NIGHT

Mabel and Joyce lay together in the same bunk.

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.

WOMAN’S VOICE (O.S.)

You and every other woman on this
Lord’s green earth. Now you girls
stop your gabbin’. Some folks wants
to go to sleep.
 53.

PULL OUT of Mabel and Joyce’s bunk to see the sleeping

compartment is six cramped stalls with curtains covering
them.

INT. MOVIE SET - DAY

Mabel and cast members perform in front of the cameras.
VICTOR (O.S.)
Cue music!

Music begins and Mabel begins doing the Swanee Shuffle,

seducing her co-star, GEORGE, a handsome black buck in his
twenties.
VICTOR (O.S.)
That’s it, Mabel. Move closer to
him. Closer... George, you can’t
resist her. She’s driving you
mad... That’s it, really show
it...and cut! Fantastic!

Mabel switches off the vamp character like a light. It takes

George a little longer to cool down. Victor goes to them.
VICTOR
That was great, sweetheart!

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.

Victor exits. An assistant moves in and tends to Mabel.

GEORGE
Mabel, after the wrap party I know
a place where there’s some real
action. You’d like it.
 54.

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.

INT. VICTOR’S TRAILER - LATER

Mabel enters, in a nice dress, heels and pearls. A starlet.
VICTOR
Mabel, sweetheart. There’s
something I want you to see.
He stands and goes to a MOVIE POSTER on an easel. It’s for
her movie, "Amen". She’s prominent, in a clingy red dress.
VICTOR
What do you think?
MABEL
It’s very nice, Victor.
Then she notices her name on the poster. "Mae McDonald".

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?

Mabel remembers: O’Malley called her that. She despised him.

VICTOR
(moves hands across a marquee)
Can’t you see it? "Mae McDonald",
first colored sex symbol!

OFF Mabel’s bewilderment...

INT. ROADSIDE DINER - DUSK

A "colored only" roadside diner. Joyce serves a BLACK

TRUCKER.
BLACK TRUCKER
Thank you, pretty lady.

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.

EXT. ROADSIDE DINER - LATER

Joyce leaves the diner and climbs into a waiting Nash
convertible. Mabel is behind the wheel.

INT. NASH - MOVING - LATER

Mabel and Joyce cruise on Highway 1.

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.

INT. SPEAKEASY - NIGHT

A cocktail party for the cast and crew of "Amen". Mabel is
talking with Victor and her agent, DICK LAMBERT, a slick
Hollywood insider in his thirties.

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.

Victor kisses Mabel on the cheek before moving off to

mingle, but he keeps an eye on her as she talks to George.
GEORGE
They pretty high on the picture?

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?

Something catches Mabel’s eye.

MABEL
That’s up to her and her man.

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?

She recoils at his touch. Looks at him as if he could be one

of the four white boys who attacked her. He’s confused.
Mabel turns and exits. Ezekiel looks after her, deflated.
 60.

INT. BUNGALOW, MABEL’S BEDROOM - NIGHT

The room is dark. Mabel lay staring at the ceiling. We hear
a car pull up outside. The car door opens and shuts. We hear
the car drive away just as the house door opens.
Footsteps on hardwood. Mabel’s bedroom door opens. Mabel
closes her eyes. Joyce sticks her head in, sees that she’s
asleep. Beat. She closes the door. Mabel opens her eyes.

EXT. AUTO REPAIR GARAGE - ESTABLISHING - DAY

Mabel’s Nash sits out front.

INT. AUTO REPAIR GARAGE - DAY

A rusty OLD MECHANIC kicks legs underneath a Buick.
OLD MECHANIC
Ezekiel! Somebody’s here for ya.
Ezekiel slides out from under the car. Goes to the front of
the garage. He stops cold when he comes face to face with
Mabel.

INT. COFFEE SHOP - LATER

Mabel and Ezekiel talk over coffee.
MABEL
Joyce never told you about me?
EZEKIEL
She said sh-she lived with a girl.
B-b-but she didn’t say who till we
was on our w-w-way to that party.

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?

EXT. AUTO REPAIR GARAGE - DAY

Mabel and Ezekiel stop at her Nash. He looks long into her
eyes, unable to express his affection. She doesn’t need
words to know what he feels. She realizes that she feels
something too.
MABEL
Ezekiel...Henry, I never thanked
you... I don’t know how you’ve
coped with what...that day. I try
to forget but I can’t. Whenever I
think about it, I always feel
grateful to you for what you did.
You saved me... Thank you, Henry.
He silently accepts this then opens her car door for her.
She gets in.
MABEL
Ezekiel, Joyce is like a sister to
me. I can never do anything to hurt
her. Ever.

Beat. Their eyes meet. She starts the engine and drives
away.
 62.

INT. MOVIE THEATER - NIGHT

Black moviegoers enjoy "Amen". Among them, we find Joyce and
Ezekiel. He’s as mesmerized by Mabel’s image on the silver
screen as he was when she sang at the post office years ago.
Joyce looks at him, deeply in love with him.

INT. JOYCE’S BEDROOM - DAY

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.

INT. BUNGALOW KITCHEN - DAY

Joyce clears dishes away and stacks them in the sink.
EZEKIEL
Baby, that was d-d-delicious.

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...

INT. MR. HAMMOND’S OFFICE - DAY

MR. HAMMOND, pot-bellied, well-dressed, fifties, is at an
ostentacious desk in an office full of movie posters.
MR. HAMMOND
Dickie, how are you my boy?
LAMBERT
Right as rain, Bob! Right as rain!
MR. HAMMOND
And Mae McDonald! Even lovelier in
person than on the screen.
 64.

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 pushes a contract across the desk.

LAMBERT
It’s fifty dollars a week for five
years, Mae.

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.

EXT. JOYCE & MABEL’S BUNGALOW - ESTABLISHING - DAY

Mabel’s Nash is parked out front.

MABEL (O.S.)
Peter Piper picked a peck of
pickled peppers. A peck of pickled
peppers Peter Piper picked. If
Peter Piper picked a peck of
pickled peppers, where’s the peck
of pickled peppers Peter Piper
picked?
 65.

MISS BIRCH (O.S.)

Again.

INT. JOYCE & MABEL’S BUNGALOW - DAY

MISS BIRCH, an Old Maid speech coach, sits in front of Mabel

as she does her elocution exercise.
MABEL
Peter Piper picked a peck of
pickled peppers. A peck --
The telephone RINGS.
MABEL
Excuse me.

Miss Birch frowns with irritation as Mabel answers the

phone.
MABEL
Hello?... Oh, hi... Yes, of course
I would... Alright, make it nine.

EXT. JAZZ CLUB - ESTABLISHING - NIGHT

On the marquee: "Jelly Roll Morton & His Red Hot Peppers".

INT. JAZZ CLUB - NIGHT

Mabel and George are at a table enjoying the music. He puts
an arm around her. Their eyes meet. Something is there.

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.

INT. PACKARD ROADSTER - NIGHT

George and Mabel stop necking.
GEORGE
Well, can I come in?

MABEL
Georgie...not tonight.
 66.

GEORGE
Baby, how long I gotta wait?
OFF Mabel, not sure...

INT. JOYCE & MABEL’S BUNGALOW - LATER

Mabel enters and leans against the door. After the sound of
a car driving away outside, we become aware of the sound of
Joyce and Ezekiel making love in Joyce’s room. Mabel closes
her eyes to block them out.

INT. JOYCE’S BEDROOM - LATER

Ezekiel stares at the ceiling. Joyce sleeps peacefully
beside him. Over this we hear the screams of agony and fear
of the white teenagers as Ezekiel remembers what happened in
the abandoned cabin. He closes his eyes to block them out.

INT. MOVIE SET - DAY

Mabel the jungle princess sings a love song. Spectacular.

VICTOR
Cut! Print!

EXT. STUDIO LOT - LATER

Mabel, still in jungle costume, is deep in thought.
VICTOR
Mae, sweetheart, you all right?
MABEL
I’m fine. Just a little tired is
all.

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.

Their eyes meet. Something is growing between them.

MABEL
What time?

EXT. KING RESIDENCE - NIGHT

Guests mingle around the pool. Victor and wife JEAN, a
refined Jewess in her late thirties (not the platinum blonde
we saw him with in Harlem) are an engaging couple.

We find Mabel doing her best to seem interested in a DRUNK

ACTOR praddling on about his latest film.
DRUNK ACTOR
...I told Louie - that’s Louie
Mayer - "Look, Louie, I don’t care
what you’re paying in insurance,
I’m doing my own stunts."
(Mabel smiles, takes a drink)
Hey, I think it’s great that the
studios are doing darkie motion
pictures. Really, you Negroes are
the best singers and dancers
around!
Victor comes up to them. Mabel’s eyes scream "Help!"
VICTOR
Mae, sweetheart! I see you’ve met
Harlan Glover.
MABEL
Yes...Yes I have.

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.

They glance over at actor WILLIAM POWELL (of "Thin Man"

fame), chatting amiably with a starlet.
VICTOR
Mark my words, Dick will be one of
few silent film actors to make it
in talkies.
MABEL
He does have a wonderful voice. And
he’s very handsome.

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.

Beat. She looks at him.

MABEL
So what do you expect...from me?
But she already knows the answer.
 69.

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.

INT./EXT. JOYCE & MABEL’S BUNGALOW - DAY

Mabel and Miss Birch have been at it a long time.
MABEL
A blackbird bit a big black bear,
but where is the big black bear
that the blackbird bit?
MISS BIRCH
Again.

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?

He looks in at Mabel, as always enthralled by her. She looks

over and sees him there. Comes to the door.
 70.

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?

Miss Birch leaves in a huff and fumes on the porch.

EZEKIEL
Folks down home would hardly know
it’s you t-t-talkin’.

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.

On the porch, Miss Birch doesn’t like what she’s hearing.

She comes back inside.
 71.

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.

EXT. STUDIO LOT - DAY

A gaunt, SERIOUS-LOOKING MAN in a dark suit, white shirt and
black tie walks the lot. He stops and speaks to a security
guard, who turns and points. The man thanks him and
continues.

INT. MOVIE SET - DAY

Mabel the jungle princess is surrounded by angry African

tribesmen threatening to burn her alive in a roaring fire.
Suddenly, George, a buff jungle warrior, swings to her
rescue. He spears a few tribesmen before the others retreat
into the make-believe jungle. Mabel and George screen kiss.
 72.

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?

OFF Mabel’s growing concern...

 73.

INT. VICTOR’S TRAILER - LATER

Mabel and Victor sit across from Perkins.
VICTOR
Agent Perkins, if Miss McDonald
isn’t a suspect, why’d you come all
the way out here from South
Carolina looking for her?
PERKINS
We know Henry Stubbs has spent time
in Chicago, St. Louis and Kansas
City and have reason to believe
he’s been in the Los Angeles area
for at least a year. We believe
Miss McDonald may be able to help
us locate him.
MABEL
And as I told you, Agent Perkins, I
barely knew Henry back home.

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.

Mabel is thrown. She can barely remember the note or the

lies that Mrs. Fisher told her to write in it.
MABEL
Obviously, I changed my mind.
 74.

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.

INT. ROADSIDE DINER - DUSK

Joyce stops charming a weary truck driver and smiles at
Mabel when she enters the diner. The smile vanishes when she
clocks the look on Mabel’s face. Joyce goes to Mabel.

INT. BACK ROOM - CONTINUOUS

Mabel closes the door behind them.

JOYCE
Mabel, what’s going on?
MABEL
There’s something I need to tell
you, Joyce. It’s about
Ezekiel...and me.
Joyce reacts, fearing the worst about them.

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?

EXT. ROADSIDE DINER - DUSK

Perkins and another AGENT sit in a Ford, watching the diner.

INT. JOYCE & MABEL’S BUNGALOW - DUSK

EZEKIEL (O.S.)
Sh-She sells seashells by the
s-seas-sh-shore. The shells she
s-s-sells are surely s-s-seashells
--

A phone RINGS. Miss Birch ignores the ringing.

 76.

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.

EXT. ROADSIDE DINER - DUSK

Mabel and Joyce come out of the diner, get into Mabel’s Nash
and drive off. Perkins’ Ford follows.

INT. NASH - MOVING - DUSK

Mabel drives while Joyce frets.

JOYCE
Why didn’t you tell me?

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.

INT. BUNGALOW, JOYCE’S BEDROOM - DUSK

Joyce is busily packing a suitcase.

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 leaves the room. We watch from Joyce’s POV as she

crosses to her bedroom, hear her looking for something.
Mabel returns holding a strongbox. It’s full of CASH.
MABEL
(hands her a lot of money)
Here, take this.
JOYCE
Mabel, no! I can’t --

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.

INT. BUNGALOW LIVING ROOM - CONTINUOUS

Joyce is about to leave. She and Mabel are startled by a

KNOCK at the door. Mabel answers. It’s Perkins.
MABEL
Agent Perkins.

PERKINS
This a bad time to continue our
discussion, Miss McDonald?
MABEL
No. It’s fine. Please, come in.

He eyes Joyce and her suitcase suspiciously.

PERKINS
Somebody plannin’ a trip?

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.

EXT. AUTO REPAIR GARAGE - DUSK

Ezekiel walks fast down the street. He stops, surprised to
see Joyce waiting for him behind the wheel of the Nash.

INT. MOVIE SET - DAY

William Powell and actress JEAN ARTHUR perform a scene.
Mabel enters, dressed as a maid, says her lines and exits.

INT. LAMBERT’S OFFICE - DAY

Mabel sits across from her agent, Dick Lambert.

LAMBERT
Mae, sweetheart, what can I tell
you? You’re always on top of the
list, you know that.

Mabel tosses a script on his desk.

MABEL
Dickie, when I signed with MGM I
thought I’d be seeing parts for
more than maids and colored kitchen
girls. What happened to me becoming
the colored Clara Bow?
LAMBERT
I know, I know. But look on the
bright side, you’re getting steady
work. That voice over for Jean
Harlow was big. Mae, since the
stock market crashed, the motion
picture business is the only growth
business in America. You’ve just
got to be patient.
 82.

INT. BUNGALOW, MABEL’S BEDROOM - NIGHT

Mabel and Victor are in bed kissing. He stops.
VICTOR
What is it?
MABEL
Would you like peas or broccoli
with your potatoes, sir?

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.

As she finishes buttoning his shirt:

MABEL
That doesn’t make it any less
disappointing... Victor, I’ve been
thinking, perhaps I should try
Europe. George Lawson said --
VICTOR
George Lawson? Don’t tell me that
Commie’s been sniffing around.

She pushes him away.

MABEL
Sniffing around?? I’m not a bitch,
Victor. Yours or anyone else’s.

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.

INT. BUNGALOW, KITCHEN - DAY

Mabel sits at the table reading a letter.

IDA MAE (V.O.)

I saw your last movin’ picture.
Chile, I’m just so proud every time
I see you up there on that screen.
And with Mr. Dick Powell! You know,
he’s one of Miss Juliette’s
favorites. Miss Jenny ain’t done
been to the cinema house ’cause she
still just a baby, but I tells her
all ’bout you when I gives her her
baths or reads her stories at
night... Oh, Mabel honey, I miss
you so much. But I know the Lord’s
been good to you since you left me.
And I know one day you’ll find a
good man to make you happy, and
have a baby of your own for us both
to love...
OFF Mabel...

EXT. HOLLYWOOD STREET - DAY

Mabel strolls down the street, looking mighty fine in a

pretty dress, heels and movie star sunglasses. White men and
women steal glances at her.
GEORGE (O.S.)
Mmmmmm-mmmmm!
Mabel slows, looks up at George.
GEORGE
Greta Garbo ain’t got nothin’ on
you.
Mabel smiles.
 85.

INT. CAFE - LATER

Mabel and George talk over coffee.
GEORGE
Europeans - especially the French -
appreciate Negro artists. They
can’t get enough of us. Josephine
Baker is a goddess. Duke Ellington
is a god.
MABEL
But I’m still under contract. I
can’t sail off to Europe and start
making films.
GEORGE
Why not? Actors rip up their
contracts all the time in
Hollywood. Mae, if MGM doesn’t know
what they’ve got, that’s their
loss. Plenty of film makers in
Europe will jump at the chance to
feature a colored star with your
talent and beauty.
MABEL
(pretty smile)
Tell you what, Georgie, I’ll give
it serious thought.
GEORGE
Is it just the contract that’s got
you stuck here?

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.

INT. BUNGALOW, MABEL’S BEDROOM - DAWN

Mabel lay awake in bed, staring at the ceiling. Suddenly,
she grimaces, then rushes out of bed and to the bathroom. We
hear her vomiting.

EXT. STUDIO LOT - DAY

Mabel is waiting pensively. A snotty BLONDE ACTRESS
approaches.

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.

INT. VICTOR’S TRAILER - MINUTES LATER

Victor is stunned.
VICTOR
You’re sure?
MABEL
Yes.
VICTOR
Positive?
(off her What did I just tell
you? look)
And it’s mine?
Now the look is more angry than annoyed.

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.

EXT. GRAVE SITE - DAY

A gravedigger is digging a grave. He’s so far in the whole
that we can’t see him yet. But we see the shovel at work and
dirt flying out.
A weathered, white-haired OLD MAN walks to the grave. Looks
down at the gravedigger. He speaks with a thick New England
accent.

OLD MAN
When you’re done here, go on down
to plot sixty-six on the far side
of the yard.

The shoveling stops.

EZEKIEL (O.S.)
Yes, sir. R-R-Right away.
The old man walks away. Ezekiel climbs out of the grave.
Sticks his shovel in a mound of dirt. He lights a cigarette
and takes a deep drag.

EXT. PLOT SIXTY-NINE - LATER

A mound of dirt in front of the open grave. Ezekiel climbs

out, sticks his shovel in the dirt. He sits on the edge of
the grave with his feet dangling inside. Pulls a creased
piece of paper from his overalls. Unfolds it. Reads.
EZEKIEL
A blackbird bit a big black bear,
but where is the big black bear
that the blackbird bit?. A
blackbird bit a big black bear...

EXT. DESOLATE BOSTON STREET - ESTABLISHING - DUSK

A light snow falls on decripit tenements.

INT. TENEMENT APARTMENT - DUSK

Ezekiel enters the shabby apartment. A TODDLER sits on the

floor playing with a wooden toy. Ezekiel goes to him, kisses
him on top of his curly head. The toddler looks up and
smiles.

Joyce comes in from another room. She’s still pretty, but

worn-looking. What we notice most about her is her advanced
state of pregnancy.
 90.

JOYCE
Hi, baby.
She kisses Ezekiel full on the lips.
EZEKIEL
Hey.

INT. TENEMENT APARTMENT, KITCHEN - LATER

Ezekiel is eating a dinner of beans and cornbread. Joyce
enters and joins him at the table.
JOYCE
He’s asleep now. The fever’s had
him restless and cranky.

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.

She puts two coins in his hand.

EZEKIEL
What’s this for?

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.

EXT. CORONA MOVIE HOUSE - NIGHT

A few black moviegoers file inside the run-down movie house.

Ezekiel stares at the "Princess of Tanzania" movie poster.
Mabel the titular princess is held by George, with a fiery
jungle and bloodthirsty natives in the background.

INT. CORONA MOVIE HOUSE - LATER

Ezekiel watches, mesmerized, as Mabel sings the jungle love
song we heard her sing on the movie set.

QUICK FLASH to 15-year-old Mabel singing in front of the

post office, Henry Stubbs, broom in hand, watching her from
inside.
BACK TO Ezekiel watching Mae McDonald on the silver screen.

EXT. DESOLATE BOSTON STREET - NIGHT

A Model T Ford rolls slowly down the street.

INT. FORD - NIGHT

Agent Perkins and the other agent are in front of a
tenement.

EXT. BOSTON STREET - NIGHT

Ezekiel walks down the street. Pulls the collar of his coat
up against the cold and snow. We become aware of the faint
sound of ACTIVITY. Ezekiel hears the sound, looks into the
distance.

REVERSE and we see thick black plumes of smoke and the glow
of huge fires.
 93.

EXT. DESOLATE BOSTON STREET - CONTINUOUS

Tenements are hopelessly ablaze. Residents of nearby
buildings watch helplessly. Ezekiel runs up to his building.
It’s engulfed in flames.

EXT. FORD - SAME

Perkins and the other agent sit in front of the tenement. No
fires. No crowd. Clearly not Ezekiel’s neighborhood.

EXT. BURNING TENEMENT - SAME

Ezekiel tries to run into the inferno. Two black men hold
him back.

BLACK MAN
Man, you cain’t go in there!
EZEKIEL
My wife! My baby! JOYCE! JOYCE!

OFF Ezekiel’s anguish...

INT. CABARET - NIGHT

A spectacular revue is going on. At center stage, the

incomprehensible JOSEPHINE BAKER, costumed for the "Dance
Banane" - her most famous number.
PAN to find the likes of ERNEST HEMINGWAY, LANGSTON HUGHES
and MARLENE DIETRICH among the enthralled audience. Mabel
and George are there too.
Suddenly, a LEOPARD appears onstage. Josephine takes the
beast by its leash.
JOSEPHINE
(in French, to the leopard)
Chiquita, Chiquita, my darling.
She continues her performance. At the climax, Chiquita
escapes into the orchestra pit, terrorizing the musicians
but thrilling Josephine and the audience to no end.

JOSEPHINE
(in French, subtitled)
Thank you. Thank you all, my
darlings!
 94.

As a wrangler gets hold of Chiquita and Josephine exits, we

notice that one of the chorus girls is Ruby!

INT. CABARET, DRESSING ROOM - LATER

Mabel and Ruby embrace, overjoyed to see each other again.

RUBY
Look at you! You’re gorgeous, girl!

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.

INT. JOSEPHINE’S DRESSING ROOM - MOMENTS LATER

Josephine greets Ruby with kisses for both cheeks.
RUBY
Josephone, darling, I’d love you to
meet a dear friend of mine. Mae
McDonald.
JOSEPHINE
The actress?!

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!

INT. BISTRO - DAY

Mabel and Ruby talk over espressos.
RUBY
It’s a wonder every Negro in
America hasn’t come to Paris. To
think of how they treat us there
compared to here.
MABEL
I’d heard how much they adored
Josephine, but I never would’ve
believe it until last night... She
seems to really like you, Ruby.
RUBY
That’s another thing about Paris
that makes it more...livable.
MABEL
Ruby...you and Josephine Baker?!
 96.

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.

EXT. CHAMPS-ELYSEES - DAY

Mabel and Ruby walk slowly down the street.

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.

INT. PARIS APARTMENT - DUSK

An elegant apartment with a view of the Eiffel Tower. Mabel
sits on the sofa in a luxurious robe, staring blankly into
space. She doesn’t even flinch when the phone rings. George
enters, dressed to the nines. He answers the phone.
GEORGE
(in French, subtitled)
Hello? Yes, Rene, she will be
available for shooting tomorrow...
No, you have my word. She’s just a
little under the weather... No, in
America that’s what we say when
someone is feeling ill... Well,
because -- never mind. Mae will be
on set tomorrow, Rene... Yes.
Goodbye.
He hangs up and looks at Mabel. She’s still somewhere else.
GEORGE
In case you missed it, that was
Rene. He wants you on set tomorrow.
Mae!
She slowly looks at him.
GEORGE
Mae, baby, listen, another week of
filming and you can take time off
to have the baby, come back and do
two films next year, just like we
planned. But you can’t blow this
for us by not showing up?
Understand?
MABEL
(re: wine glass)
Would you mind?

He pours her a glass of red wine.

GEORGE
Mae, I’m sorry about your friends.
I know it’s been hard on you. But
you’ve got to get over it. It’s bad
for you and it’s bad for the baby.
He kisses her forehead then goes to the apartment door.
 99.

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.

INT. BEDROOM - NIGHT

We hear the sounds of two people making passionate love. PAN
into the darkened room to find a WHITE WOMAN straddling a
black man. After they climax, the woman rolls onto the bed
and we see George. The woman snuggles in close to him.
WHITE WOMAN
(in French, subtitled)
That was marvelous, baby.

INT. MOVIE SET - DAY

It’s the climactic scene of a multi-racial murder mystery. A
debonaire PRIVATE DETECTIVE (black) summarizes his theory in
a room of the usuals - the MURDERER (white), the POLICE
CHIEF (black) a dimwitted SIDEKICK (white) and the film’s
beautiful love interest, Mabel.
The murderer grabs Mabel and presses a gun in her side
(which we can’t see because she’s standing behind a DESK
GLOBE). Mabel and the detective share a conspiratorial look.
Suddenly, she stomps on the murderer’s foot and the
detective shoots him.
DIRECTOR (O.S.)
Cut! Perfect! That’s a wrap!
As the actors begin to disband, a stagehand moves the globe,
REVEALING that Mabel is very pregnant.

EXT. BOULEVARD SAINT-GERMAIN - DAY

MID CLOSE SHOT of Mabel and Ruby walking.
RUBY
Honey, don’t blame yourself. It’s
not your fault Paris freely gives
black men the two things they can’t
get in America - white women and
heroine. Just be glad he ain’t
addicted to heroine too.
 100.

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.

BEGIN MONTAGE - A STAR RISES

 101.

INTERCUT in our montage, scenes of Mabel on set and on

screen in a variety of films - dramas, comedies, adventure
tales, musicals, romance - as the years pass and her fame
throughout Europe grows.

* Mabel and George happily celebrate Martinique’s first

birthday in their Paris apartment;

* Mabel signing autographs at a London premier;

* George post-coital with a white woman, shooting heroine;
* Mabel encloses a photo of Martinique in a letter to Ida
Mae;

* Another birthday for Martinique, this one less happy as

Mabel and George bicker;

* Mabel and Ruby celebrate Martinique’s fourth birthday. We

see that their closeness seems to be taking a different
form;

* Mabel sings with Josephine Baker at a Berlin cabaret;

* Mabel looks on coolly as George moves out of their
apartment;

* Ruby and Mabel kiss for the first time as we...

END MONTAGE

EXT. PARIS STREET - DAY

Mabel and Ruby, fashionably dressed and carrying bags from

trendy boutiques, arrive at a Dusenberg. A DRIVER opens the
door for them.

INT. DUSENBERG - MOVING - DAY

Mabel and Ruby in the back seat.
MABEL
What am I supposed to do in
America? There are even fewer roles
for Negroes than there were when I
left.
RUBY
Who says you have to act? Harlem’s
just as hot for jazz singers as it
was before we left. And Lord knows
you can sing.
 102.

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.

INT. PARIS APARTMENT - DAY

Mabel and Ruby enter. Put down their shopping bags.

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.

EXT. DOCK - DAY

Porters pull loads of Mabel’s luggage as Mabel, Ruby and
Martinique make their way to the boarding plank.
RUBY
Here we are. This is where you
board.
Ruby kneels to say goodbye to Martinique.
RUBY
I’m gonna miss you, sweetheart, but
I’ll be thinking about you every
day.
MARTINIQUE
I’ll miss you too, Aunt Ruby.

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.

INT. IRIS’ APARTMENT - DAY

Iris, still the force we remember, opens her arms wide.

IRIS
Mabel! Come here, girl!

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?

She looks down at Martinique, standing by Mabel’s side.

IRIS
Don’t tell me this is little
Martinique. Oh, sweetie, you’re
just so adorable!
MABEL
Marti, say hello to your Aunt Iris.
MARTINIQUE
Hello.

INT. IRIS’ APARTMENT - LATER

Mabel and Iris sit on the sofa, talking. Off to the side,
Martinique quietly plays with three new DOLLS.
IRIS
It’s funny how things work out,
isn’t it? Nate left Cleo to play
with Duke at the Cotton Club and
(MORE)
 105.

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.

Beat. They look at Martinique.

IRIS
She’s so beautiful, Mabel.

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?

EXT. APOLLO THEATER - ESTABLISHING - NIGHT

The marquee reads, "Duke Ellington & His Orchestra & Mae
McDonald".

INT. APOLLO THEATER - NIGHT

The place is packed. The orchestra finishes a number. Then
DUKE ELLINGTON takes the microphone to address the audience.
DUKE ELLINGTON
Ladies and gentlemen. I’m delighted
to have our featured singer join us
here tonight. She’s just back from
performing on screen and on stage
in Paris and London. I give you the
beautiful, the talented, the
magical, Mae McDonald.
A spotlight hits Mabel, stunning in a white gown. Over Mabel
singing a torch song, INTERCUT a MONTAGE: headlines and
newsreel footage of the onset of World War II - Nazi
Germany’s conquest of Western Europe - ending with the
tragic fall of Paris and a BOMBED OUT CABARET.

EXT. HARLEM APARTMENT - NIGHT

A sedan pulls to the curb. A waiting doorman opens the door
of the car and Mabel exits the back seat, dressed in evening
wear as if returning from a performance. She enters the
building.

INT. HARLEM APARTMENT - NIGHT

Mabel enters to a RINGING telephone. She takes off her coat.

Answers the phone.
 107.

MABEL
Yes, hello?... Iris... No... Iris,
what is it?...
(shocked, in denial)
No... No.

Mabel sinks into a chair. On the phone, we barely hear Iris

saying, "Mabel. I’m on my way." But Mabel drops the phone
and collapses in tears, overwhelmed by grief.

INT. HARLEM APARTMENT - DAY

Mabel looks worn and dispirited. Iris sits next to her on

the sofa, comforting her. Nate - Iris’ saxophone-playing
husband and Mabel’s first lover - stands nearby.

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.

INT. JAZZ CLUB - DAY

Mabel practices a jazz standard with a QUARTET. A FIGURE
appears at the front of the club just as they finish the
number. Mabel tells the group to take five. She lights a
cigarette and notices the figure as he steps out of the
shadow. It’s Victor. He comes to her.
VICTOR
Mae. You look great.

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.

Mabel takes another drag on her cigarette. Exhales the smoke

slowly.
MABEL
She’s seven, Victor. Seven. You
were shooting in London four years
ago. You could have met her then,
or sooner if you really wanted to.
Beat. He expected that, but it stung all the same.
VICTOR
Mae, I’m sorry I hurt you. That I
didn’t come to Paris to see you and
Marti. But she is my daughter.
MABEL
She’s my daughter, Victor. I
brought her into this world without
you, I’ve raised her so far without
you and I intend to keep doing so,
without you.

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.

Victor turns and leaves.

INT. HARLEM APARTMENT - DAY

It’s Martinique’s seventh birthday but all the guests at her
party are adults - actors, musicians, dancers - the people
of her mother’s world. Iris brings out a birthday cake with
candles lit. Instead of singing "Happy Birthday", Nate blows
a jazzy rendition on his sax.
LATER

Mabel is mingling with guests. We hear the phone RING. Iris

answers. We see her react to what she’s heard. She looks at
Mabel.

EXT./INT. TRAIN DEPOT - DUSK

A passenger train leaves the station. When it clears frame,
we see Mabel on the platform, holding Martinique’s hand.
They walk through the depot, Mabel carrying a suitcase.

MRS. FISHER (O.S.)

Mabel!
Mabel looks up to find Mrs. Fisher, older of course, but
just as lovely. With her is her fresh-faced daughter, JENNY,
now sixteen. They go to Mabel and Martinique. Mabel puts
down her bag and gazes into Mrs. Fisher’s eyes.
MABEL
(emotions rising)
Miss Juliette.

Mrs. Fisher smiles a sad smile and they embrace.

EXT. FUNERAL - DAY

A chilly fall day. About two-dozen MOURNERS listen as a
MINISTER gives his sermon. Mabel sits with Mrs. Fisher and
their daughters. Mabel wipes tears from her eyes.
 110.

EXT. FISHER HOME - DAY

Mabel gazes in the woods in the backyard. The shack is gone.
Mrs. Fisher comes up behind her.

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 touches her shoulder. Mabel turns to face her.

MRS. FISHER
You were good, Mabel. You sent
money, you wrote. She knew you
loved her. Besides, Ida Mae would
never have left home.
MABEL
I should have come home sooner.

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.

INT. FORD - MOVING - DAY

Mrs. Fisher drives. Mabel gazes out the window at the rural
poverty that would have been her life.
 111.

EXT. POST OFFICE - DAY

Mabel and Mrs. Fisher approach the post office (the same one
from our earlier scenes). Coming out of the building is a
familiar-looking woman. This is Miss Robbins, the teacher.

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?

She follows Mrs. Fisher’s eyes to the car. It has "County

Sheriff" printed on the side. Mabel stares at the car for a
long couple of beats before Mrs. Fisher takes her by the
elbow and guides her up the stairs.
 112.

INT. FISHER HOME, PARLOR - DAY

Mabel and Mrs. Fisher are talking.
MRS. FISHER
He was elected sheriff a year ago.
Married Lucy Burke. They got two
girls now. Most folks in the county
seem to fancy him.
Mabel lets this sink in. Uneasily. After the tension passes.

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.

INT. FISHER HOME, BEDROOM - NIGHT

Mabel tucks Martinique into bed.
MABEL
Good night, my angel. Sweet dreams.

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.

EXT. FISHER HOME, FRONT PORCH - NIGHT

Mabel is smoking a cigarette. She looks out onto the dark
yard and beyond to the country road. Someone is standing at
edge of the road. Mabel tries to make out who it might be.
She tosses the cigarette, walks toward the road.
The closer she gets to the person the more she can’t believe
her eyes. She walks faster. A smile comes. The someone is
Ezekiel. She runs the final few yards to meet him. Stops
right in front of him. They look long into each other’s
eyes. Then they embrace.
MABEL
Ezekiel! Oh, Ezekiel!
EZEKIEL
Mabel.
After their long embrace:
MABEL
(concern growing)
What are you doing here?! Ezekiel,
it’s too dangerous! Claude Peppers
is sheriff now!
EZEKIEL
I know all about Claude Peppers.
But when I heard about Miss Ida
Mae, I knew you would come home.
She stares at him, pleasantly surprised.

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?

She looks up at him and they share a big smile.

 114.

EXT. JETTY - NIGHT

Mabel and Ezekiel sit on a jetty, looking out at a small
lake. A full moon reflects on the water. It’s beautiful.
MABEL
I’m so sorry, Ezekiel. I don’t know
how you found strength to go on.

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.

He smiles to himself, remembering better times.

EZEKIEL
I was a lucky man, I know... But
that’s not what kept me goin’ all
those years... It was you, Mabel.
Mabel looks at him. Not surprised.
EZEKIEL
From the first time I saw you - you
couldn’ta been more than twelve
years old - I thought you were the
most beautiful thing God created.
And when I heard you sing, well, I
knew for sure you were an angel
here on earth.
MABEL
(beat)
Why...why didn’t you ever say
anything? I must’ve passed you a
hundred times at the post office or
in the square.
EZEKIEL
I couldn’t put two sentences
together without falling all over
myself. No, I was happy just to
love you from a distance.
There’s a silence between them, then:
 115.

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.

EXT. COUNTRY ROAD - NIGHT

Mabel and Ezekiel walk along the road.
EZEKIEL
I suspect war’s bound to come, and
when it does I’ll join up.
MABEL
Oh, Ezekiel, you’ll be giving
yourself away to the FBI.

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.

Beat. He strokes her cheek. They kiss, tentatively at first,

then deeply and with the passion of their pent-up longing.

EXT. FISHER HOME - LATER

Mabel and Ezekiel walk hand-in-hand up the pathway from the
road to the house.
MABEL
Come to New York with Marti and me.
EZEKIEL
Mabel, I --
MABEL
Yes, Henry, you can. The FBI thinks
you died in that fire in Boston.
And I haven’t heard from them in
almost ten years. You’ll be safe in
Harlem. With me.
EZEKIEL
And what am I supposed to do up in
Harlem?
 117.

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.

INT. FISHER HOME, BEDROOM - LATER

Mabel slides into bed with a sleeping Martinique. She holds
the child close, then closes her eyes, smiling to herself.

EXT. COUNTRY ROAD - LATER

Ezekiel walks down the road. Suddenly, CAR HEADLIGHTS turn
on behind him. Ezekiel stops, turns. We hear tires crushing
gravel as the car slowly approaches. It stops a few yards
before reaching Ezekiel.

A tall, red-headed man wearing a uniform and badge climbs

out. Sheriff Claude Peppers walks toward Ezekiel. They stand
a few feet apart, look each other in the eyes.
CLAUDE
Henry Stubbs. Welcome home, boy.
OFF Ezekiel’s quiet dignity...

EXT. ANOTHER STRETCH OF COUNTRY ROAD - CONTINUOUS

Quiet. Dark. Still. Suddenly interrupted by a single GUNSHOT

that echoes through the night.

EXT. FISHER HOME, FRONT PORCH - DAY

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.

INT. FORD - MOVING - DAY

Mrs. Fisher is driving with Mabel next to her. Jenny and

Martinique are in back. The Ford turns out of the Fisher
yard and onto the road. Mabel takes a long look back at the
home as they drive away. Then she turns her head to look out
the back window. No sign of Ezekiel. Her eyes drift down to
Martinique.
ADULT MARTINIQUE (V.O.)
I’d never seen Mother so sad.

EXT. POST OFFICE - DAY

BACK TO THE CEREMONY at the very beginning of our film. The
MAYOR is at the podium talking about Mabel, her career and
what she meant to the town. Over this:

ADULT MARTINIQUE (V.O.)

It wasn’t until several days later
that Mrs. Fisher phoned to tell
Mother that he was dead, found shot
and left on the side of the road.
No suspects in his killing. But
Mother already knew...She knew
death was the only thing that would
keep them apart. And she didn’t
need the police or the FBI to
figure out who killed him.

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.

ADULT MARTINIQUE (V.O.)

We stayed in America during the
war. Mother toured with her jazz
quartet and even had supporting
roles in two big studio movies,
neither of them directed by my
father... After the war, we moved
back to Paris, where she met and
eventually married jazz drummer Hal
Bixby. In Europe, Mother starred in
more than twenty films and stage
plays between 1946 and 1962. She
became known as the Black Marlene
Dietrich and, in Europe at least,
was to film what Josephine Baker
had become to stage. A show
stopper.

MAYOR
I’d like to ask Mabel’s daughter to
do the honors. Miss Lawson, if you
please.

A smattering of applause as Martinique stands and goes to

the podium. She and the mayor unveil a glamorous PORTRAIT of
Mabel.
ADULT MARTINIQUE (V.O.)
We returned to the States in 1964.
Though she never acted again,
Mother did become active in the
Civil Rights Movement, taking part
in demonstrations in Brooklyn,
Cleveland, Chicago, all throughout
Mississippi and, of course, the
March on Selma.
The ceremony ends. Several officials join the Mayor in
paying their respects to Martinique, Mrs. Fisher and Jenny.

ADULT MARTINIQUE (V.O.)

Though Mother had become a huge
star in Europe, when she died of
heart failure in Harlem in 1968,
hardly anyone in the media made
note. Not even Ebony magazine
reported her passing. But the
people in her hometown - black and
white - didn’t forget.
White-gloved attendants take the portrait from the easel and
carry it carefully inside the post office.
 120.

EXT. POST OFFICE - LATER

Martinique, her son, Mrs. Fisher and Jenny are leaving the
ceremony. Claude steps up to them. The moment is thick with
tension. He asks for a moment to speak with Martinique. They
move off for a private moment.
CLAUDE
It was a nice ceremony. Your mamma,
she had a very impressive career.
ADULT MARTINIQUE
Mr. Peppers, I don’t know why
you’re here. Perhaps it’s a public
relations ploy to gain votes.
Regardless, I hardly think we have
anything to talk about.
CLAUDE
I understand your feeling that way,
Miss Lawson. As for gaining votes,
I expect I lost more than I gained
by being here today.
Several whites scowl at Claude and Martinique talking.
ADULT MARTINIQUE
Well I hope you didn’t come all the
way from Columbia to ask for
forgiveness. I’m afraid that’s a
wasted trip. Yes, I know all about
you and what you did - to my
mother...and to Henry Tubbs.
CLAUDE
It’s not forgiveness I came for,
Miss Lawson... Though I do regret
the things I’ve done...

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.

INT. POST OFFICE - DAY

The white-gloved workers mount Mabel’s portrait on a wall.

ADULT MARTINIQUE (V.O.)

They hung her portrait in their
local Hall of Fame, alongside a
former U.S. President, a former
U.S. Senator and Mrs. Fisher’s
husband, the Colonel. Mother
would’ve liked that...
ON MABEL’S PORTRAIT, her smile and those big, beautiful doe
eyes, as we...

FADE TO BLACK.
THE END