JOHN
(calling)
I love you!
JOHN, on the verge of tears, looks over the water, then a group of SOLDIERS passes in front of him. JOHN moves down the pier, checking the other boats. Some of the CHILDREN in the boats are anxious; some are playing. JOHN nods to an older, white-haired BOATMAN, then the boats begin to pull away. JOHN watches the boats pulling away.
CUT TO:
MARGARET ADDAMS (32), a white matron at the Colored Orphan Asylum. She is watching the last of the CHILDREN board the boats. Next to her is PRISCILLA, and just beyond them, in the prow of a boat, we see CLAIRE.
MARGARET ADDAMS
Priscilla, get in. You’ll be safe with us.
PRISCILLA
I’m not going. I have to see about my great-aunt. She’s lame and she lives in Broadway Alley.
MARGARET ADDAMS
Well, you can’t do that! You won’t be safe on the streets, and we’ll need you on the island to get things—Priscilla!
PRISCILLA turns on her heel and strides purposefully away.
CUT TO:
CLAIRE sees PRISCILLA on the shore. We see a CLOSE-UP of CLAIRE’s face as her eyes widen. We see CLAIRE look around quickly, and then push her way through the crowd. We see her jump to the ladder, scrambling desperately not to fall into the water as the boat pulls away.
CUT TO:
JOHN, thinking that all of the children plus CLAIRE are on the boats, gives a hand signal.
CUT TO:
GRIFFIN, who stands and throws the bag he is carrying casually across his shoulder as he walks away from the waterfront.
CUT TO:
TWO BLACK TEENAGERS, who are leaning against a shed on the pier. They see GRIFFIN and follow him casually. We see that one of them is carrying an ax handle.
CUT TO:
JOHN as he peers anxiously at the boats. He is shielding his eyes from the late-afternoon sun, and his brow shows concern as he doesn’t see CLAIRE.
CUT TO:
LONG SHOT of CLAIRE on the pier. She looks around and sees JOHN looking for her.
CUT TO:
JOHN. He is looking for CLAIRE and thinks he sees her, but his vision is blocked by the SOLDIERS headed away from the pier.
CUT TO:
CLAIRE, who ducks down and walks alongside the SOLDIERS until she is off the pier.
CUT TO:
PRISCILLA going west on Morris Street toward Broadway. She keeps stopping and turning around as people pass her. She is clearly afraid but moves on. We see a figure coming up behind her. It is CLAIRE.
CUT TO:
CLOSE-UP: PRISCILLA sees CLAIRE and stops as her friend catches up with her.
PRISCILLA
What are you doing here? I saw you on the boat.
CLAIRE
What are you doing here? Where are you going?
PRISCILLA
I’m going up to Broadway Alley to see about my great-aunt. She’s so old and…fragile. I’ve been trying not to think about her. Is that terrible?
CLAIRE
There are a lot of things I’ve been trying not to think about, Priscilla. I’ll go with you.
PRISCILLA
That’s stupid. It’s much too dangerous for you.
CLAIRE
Too dangerous for me? You’re the one that’s—
PRISCILLA
Black?
A beat as both girls assess their position.
CLAIRE
Priscilla, it’s dangerous out here for both of us.
PRISCILLA
(turning away)
She’s my aunt—I have to go. You go home.
CLAIRE
(hurt, on the verge of tears)
Then go!
PRISCILLA
All right, come along. But don’t get in my way.
CUT TO:
MEDIUM SHOT: We see the two girls hurry along Morris Street and then turn the corner at Broadway.
They are walking cautiously.
CLAIRE
I think things might be calming down a bit now that the soldiers are on the streets.
PRISCILLA
Claire!
We see a young BLACK MAN running out of Rector Street. He is being chased by a group of white RIOTERS. He is fairly young and runs well, with most of the rocks and sticks thrown at him missing him.
PRISCILLA reaches out and stops CLAIRE.
PRISCILLA
Lord, when will it all end?
The camera pans down the street, and we see a knot of SOLDIERS watching the whole affair. None of them moves.
Then we are back on PRISCILLA and CLAIRE and see them turn and face each other as the RIOTERS, mostly young men, pass them. The young men stop when they see the SOLDIERS. One or two of them begin to throw rocks at the SOLDIERS.
CUT TO:
A rock skips along the cobblestoned street and bounces at the foot of a SOLDIER. Another rock hits the side of a building and ricochets against a knapsack.
CUT TO:
MEDIUM SHOT: We see the SOLDIERS back away a few feet. One rubs his palm on the stock of his rifle. Another fixes his bayonet. Yet another begins to unbutton his jacket. It is clear that they are ready to respond. The RIOTERS sense this and move away uptown, grumbling.
EXT. BROADWAY ALLEY—SAME DAY
Broadway Alley is a narrow, unpaved street, barely twelve feet across, running between Twenty-sixth and Twenty-seventh Streets just west of Third Avenue. On the uptown end, there are poorly kept stables from which there is a constant stench. There is smoke coming from the windows of the west side of the alley. A BLACK MAN is passing clothing through an open window to a FRIEND. Both men are wary. The camera moves cautiously down the alley.
RIOTER
(from off-camera)
More darkies!
The MAN inside the window jumps out in a single move, and both MEN run toward the stables. They are chased by a group of RIOTERS. One of the BLACK MEN is hit in the back with a stick, but the assailant falls, tripping his laughing companions.
The attackers are bizarrely dressed, in regular clothing and some looted clothing, especially outlandish hats. They stop to see what the two black men were carrying out and pick up a Bible, which one shoves into his pants. The RIOTERS move out of the alley and saunter aimlessly down the street toward Third Avenue.
Two figures come into the alley from the Twenty-seventh Street side, and we recognize PRISCILLA and CLAIRE. As they come through the alley, a teenage BLACK GIRL climbs out of the same window that the BLACK MAN left moments before. The GIRL, startled by the presence of the two women, freezes.
BLACK GIRL
I don’t have anything! Please don’t hurt me!
PRISCILLA
We’re not here to hurt you. Do you know my aunt? Her name is Esther.
CLAIRE
Mrs. Stephenson. She’s an older woman. A friend. We wondered if she was all right.
BLACK GIRL
(obviously frightened)
She’s all right. She’s fine.
(points to a door opening)
She lives there, on the left side.
PRISCILLA and CLAIRE start toward the door as the BLACK GIRL leaves quickly.
PRISCILLA and CLAIRE enter an incredibly shabby room. CLAIRE instinctively covers her nose and mouth with her hand but still almost gags on the stench. There is a figure on the bed that we take to be PRISCILLA’s great-aunt. PRISCILLA moves quickly to the bed and starts to speak as she touches the old woman’s shoulder.
PRISCILLA
Aunt Esther! It’s me, Priscilla. We’ll take you to a safe…place….
CLOSE-UP to MEDIUM SHOT to CLOSE-UP from behind as PRISCILLA realizes that the old woman is dead. PRISCILLA shrinks away, her hands over her face.
CUT TO:
MEDIUM SHOT: CLAIRE goes to PRISCILLA and pulls her away.
CLAIRE
Are you sure?
PRISCILLA
Oooh. Claire, she’s cold. Oh, my God.
CLAIRE
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Let’s…Priscilla, let’s leave now.
As PRISCILLA and CLAIRE are leaving the apartment, CLAIRE turns and takes one more look around at the condition of the room, knowing that it was never in much better condition. She is still covering her nose and mouth with her hand as they move out into the alley.
EXT. BROADWAY—SAME DAY
CLAIRE and PRISCILLA are walking downtown rapidly toward the camera. As they pass Nineteenth Street, they see a CROWD of young whites milling about. They stop to survey the situation.
CUT TO:
A BLACK WOMAN and her CHILD come down the street, followed by some very small white children. The WOMAN, holding the CHILD by the hand, turns back and starts in the other direction but is cut off. A WHITE WOMAN pushes her down roughly.
CUT TO:
CLOSE-UP face of the BLACK CHILD. He is terrified.
VOICE-OVER: What are you doing? Have you lost your minds?
CUT TO:
MEDIUM SHOT of CAITLIN DONAHUE, 16, 5’2” with red hair and green eyes. We see her throw both arms around the black child.
CAITLIN DONAHUE
Have you lost your minds for sure? Does it make you proud to be throwing your weight at a little child? Do you have no shame in you?
MEDIUM SHOT: We see the other women look away. Then one helps the BLACK WOMAN up.
CUT TO:
CAITLIN DONAHUE puts the child’s hand in that of the mother.
CAITLIN DONAHUE
(to the BLACK WOMAN)
They’re not really Irish, don’t be minding them.
The camera seems to dart around as small groups of whites are moving onto Broadway, where CLAIRE and PRISCILLA have stopped.
We hear he sound of a heartbeat as CLAIRE becomes more and more anxious about their position.
CLAIRE
Let’s get off Broadway. We’ll go west.
A CROWD is gathering on one side of Broadway.
PRISCILLA and CLAIRE are walking on the opposite side of the street from the CROWD, arm in arm, heads down.
We see the sidewalk from CLAIRE’s POV, and then the legs of a person in their way as we hear the impact of the light collision.
CLAIRE
Oh, I’m sorry!
The camera pans up on MAEVE’s face.
MAEVE
Oh, and what do we have here? The lovelies out and about the streets of New York! Out seeing the sights, are you?
PRISCILLA
We’re on our way home. You’re in our way, so if you would just step aside…
MAEVE pushes up on PRISCILLA.
PRISCILLA freezes for a moment and then attempts to step around MAEVE, who pushes her against the steps of a brownstone. MAEVE steps back and calls to her friends in the crowd.
MAEVE
Hey, look what we’ve got over here!
LIAM calls over.
LIAM
They’ve broken into Goodman’s! Let’s get over there!
MAEVE
(to CLAIRE)
I didn’t think you’d have the nerve to show your face, dearie. You having a good time, are you?
LIAM
Maeve, it’s Goodman’s. Let’s go.
He starts to back away, anxious to get on with the looting.
MAEVE
Liam, this is the darky lover who said I wasn’t good enough to work in her place.
LIAM looks and recognizes PRISCILLA and CLAIRE
LIAM
(takes CLAIRE’s face in his hands)
Claire, you can’t be on the street. It’s not safe out here for anybody. It’s not, I’m telling you. Go home and stay there till this is over.
MAEVE
(stunned)
Are you sweet on her? Are you sweet on her? Liam, I’m your…Liam, she’s…black.
Liam starts off, hoping Maeve will follow.
MAEVE watches him go and then turns back to CLAIRE.
MAEVE
(to CLAIRE, as CLAIRE and PRISCILLA walk quickly away)
You’re black!
CUT TO:
MAEVE watches CLAIRE go off, her face confused and angry, and then she runs off after LIAM.
CUT TO:
MEDIUM SHOT: PRISCILLA and CLAIRE run down the street as the RIOTERS are headed the other way, toward Goodman’s.
We hear the sound of heavy breathing as we follow PRISCILLA and CLAIRE down a city block and around a corner. Finally PRISCILLA stumbles against the fence of a small churchyard.
PRISCILLA
(panting)
They won’t be happy until they kill us all.
CLAIRE
(mouth open, partially bent over)
God, I can’t believe that only a week ago I was just Claire. Now what am I?
PRISCILLA
Do you think they’ll come to the Peacock after us?
CLAIRE
I don’t know. I don’t know.
PRISCILLA
Are you all right?
CLAIRE
No.
A BLACK MALE VOICE
(from off-camera)
If you’re scared, children, you’re welcome here.
PRISCILLA and CLAIRE are both startled. They look up to see a black man in a preacher’s garb.
REVEREND
I’m Reverend Curry. Our church is always open for anyone who needs refuge.
CUT TO:
The front of a black Baptist church. An OLDER MAN stands in the doorway at the top of some steps.
PRISCILLA and CLAIRE hesitate for a moment, then quickly go to the church and up the steps. Several YOUNGER MEN are standing near the door. One of them has a rifle, and another has a pistol.
REVEREND CURRY
(nods toward the armed men)
(to PRISCILLA and CLAIRE as he enters the church with them)
“He that hath no sword, let him sell his garment, and buy one.” Now may not be the time to turn the other cheek.
The camera pans the interior of the church. It is dark except for the late-afternoon light coming through the stained-glass windows and a few candles. There are shadowy figures, and we see BLACK PEOPLE in small groups. Some are praying.
CUT TO:
CLOSE-UP: CLAIRE is wide-eyed as she looks around the church. We hear a BLACK WOMAN singing; she is joined in a rich but subdued harmony of earnest voices.
SINGERS
(from off-camera)
You hear the lambs a-crying,
Hear the lambs a-crying,
Hear the lambs a-crying,
Oh, shepherd, feed-a my sheep.
CUT TO:
CLOSE-UP: A BLACK WOMAN, one of the singers, heavy in her shoulders and bosom, caught up in the passion of the song, and of the moment.
SINGERS
(cont’d)
I don’t know what you stay here for,
Don’t know what you stay here for,
Don’t know what you stay here for,
Oh, shepherd, feed-a my sheep.
Our Savior spoke these words so sweet:
“Oh, shepherd, feed-a my sheep.”
Said, “Peter, if you love me, feed my sheep.”
Oh, shepherd, feed-a my sheep.
CUT TO:
MEDIUM SHOT: We see the involvement of the entire church, the light subdued, candles away from the windows, sweat gleaming from black faces.
We hear an angry crowd outside, shouts and curses. But inside, the quiet singing continues. A YOUNG BLACK BOY reaches out and takes CLAIRE’s hand. He smiles shyly at her.
CUT TO:
CLOSE-UP of CLAIRE’s face as she smiles back, but her eyes are teary as she realizes that this is a side of black life she knows nothing about.
SINGERS
(cont’d)
Oh, Lord, I love Thee, Thou dost know
Oh, shepherd, feed-a my sheep.
Oh, give me the grace to love Thee more;
Oh, shepherd, feed-a my sheep.
CUT TO:
We see CLAIRE AND PRISCILLA sitting in the pews with the black
parishioners.
CUT TO:
CLOSE-UP of a clock on a shelf. It is four thirty.
CUT TO:
The outside of the church. It is beginning to rain. A horse-drawn carriage approaches. A SERVANT WOMAN appears at the gate of a house on the street; she opens the gate and the carriage goes in. The DRIVER gets out, looks around cautiously, and locks and padlocks the gate. He throws a blanket over the horse and quickly goes into the house.
CUT TO:
INT. of church. CLOSE-UP of clock. It is five thirty.
CUT TO:
PRISCILLA, CLAIRE, and REVEREND CURRY at the front of the church.
REVEREND CURRY
Things look a little quieter now. The rain will help. But you are welcome to spend the night here.
PRISCILLA
Thank you. Thank you so much. But we’d better be getting along now.
REVEREND CURRY
Then feel free to come any Sunday.
CLAIRE
(quietly, almost to herself)
I will, I will.
EXT. MERCER STREET—SAME DAY
We are looking from south to north up Mercer Street at a group of weary SOLDIERS. Two of them stand in front of a boarded-up window. Above the boards we see the sign GOODMAN’S FINE GOODS.
FIRST SOLDIER
You know, I got a daughter almost six months old I haven’t seen. I’d love to see her before I die. I thought I always wanted a boy child, a son. When April told me the baby was a girl, I was disappointed at first. Then I started thinking about the little girl, and I found myself crying because she was so beautiful. Ain’t that something? She being so beautiful and all and me never having laid eyes on her? Ain’t that something?