The Dutchman

THE DUTCHMAN
Screenplay by
Qasim Basir & Andre Gaines
Sides by Breakdown Services - Actors Access

Directed by
Andre Gaines
Based on the play

DUTCHMAN written by Amiri Baraka
Cinemation Studios, Inc.

8605 Santa Monica Blvd. #83208
West Hollywood, CA 90069
FADE IN ON:
A PAINTING of a 16th century vessel lost in a storm.
TEXT FADE IN/OUT:
The Flying Dutchman was a sea captain who struggled to round

the Cape of Good Hope during a violent storm.
He swore that he would succeed even if he had to sail until

Judgment Day.
The Devil heard his oath, and took him up on it...
The Dutchman was condemned to stay at sea forever.

Fade words but for --
THE DUTCHMAN
THE PAINTING BURNS
THEATRICAL
CURTAIN CLOSES:
IN/OUT:
"ACT 1
SOMETHING WICKED THIS WAY COMES"
THEATRICAL
CURTAIN OPENS:
1 INT. EXHALE THERAPY - DAY 1
REVEAL the same tumultuous canvas of J.M.W. Turner's historic

painting "THE SLAVE SHIP" hangs on the wall.
CLOSE UP ON CLAY, a traditional black man in crisis, stuck

between his identity and what white people expect of him, his
fresh fade on par with his banker suit, his eyes shift to --
CLAY'S POV: A teak, geometric bookshelf with --
"The Interpretation of Dreams"
"The Doors of Perception"
"Homer's Odyssey"
Clay sits next to KAYA, his more free spirited, modern,

fiancé dedicated to black advancement, stares, deeply
concerned at --
2.
A stately, black man, DR. JOHN ELLIS, 70s, an oracle of human

nature, a wiseman, a gentle guide - a therapist in a white
shirt. Looks left. Then right. Back again at Clay.
DR. JOHN
So?
Clay sees a shadow-framed photo of Dr. John with Amiri Baraka

and a signed copy of his play "Dutchman."
CLAY
I mean -- I feel like you think I'm
not really... like what you
probably assume about me, as a lot
of people do, about a lot of black

people, a lot of black men
especially... that's not what I'm
going through, I don't mind
therapy, some of us don't mind. I
just, don't... what do you want me
to say? I feel like I said
everything there is to say... that
I'm prepared to say.
Dr. John follows Clay's eyes to the wall - Salvador Dalí's

surrealist piece "The Persistence of Memory," those melting
clocks...
DR. JOHN
You know, Clay, everything you just
said, which are all valid things...
but all of them had to do with what
other people think... what I think
you should say.
A beat.
DR. JOHN (cont'd)

Did you notice that?
Clay snaps back.
CLAY
That's not what I meant.
DR. JOHN
(to Kaya)
How does that make you feel?
KAYA
Me?
DR. JOHN
Yes.
3.
KAYA
Well, Clay's just been under an
enormous amount of stress lately,
between his job and this fundraiser
we are hosting... It is nice to
have someone ask me how I feel.
CLAY
You see that? - that right there?
KAYA
Please don't do that right now.
Beat.

CLAY
Fine. Go.
KAYA
It makes me feel like, if he did
talk more...
DR. JOHN
Talk to him.
KAYA
(to Clay)
If you did talk more... tell me
more about how he's - you're
feeling, we probably could've
avoided all of this. Because we
would've talked through it, and I
would've known that it was just --
CLAY
You thought that's what I wanted?
You're my fiancé, why would I want
something like that?
DR. JOHN
Well Clay, we did discuss this
option several sessions ago, as
open relationships have become far
more popular in modern --
CLAY
Discussed! We talked about it.
Jesus. Do you guys hear
yourselves.
QUICK CUT: Kaya passionate with another MAN.

4.
CLAY (cont'd)
Every time I close my eyes, all I
see is you and him.
KAYA
I thought it was for the good of
our relationship, how stuck we've
been after seven years... trying to
find some newness.
CLAY
So you find it in someone else?
I did not agree to that.
DR. JOHN

You didn't not agree to it, Clay.
Beat.
CLAY
Who are you even?
Beat.
DR. JOHN
Let's everyone take a breath.
Everyone takes a breath.
DR. JOHN (cont'd)

Would it make you feel better, if
you did it too?
CLAY
Excuse me?
DR. JOHN
Kaya went out and explored, yet she
remains with you. She came back to
you. But you're struggling deeply
with this, and her choice to act on
our conversation. What if you were
to do the same?
(to Kaya)
What if he were to do the same?
KAYA
I don't know. If that's what he
wants.
(to Clay)
If that's what you want.
5.
CLAY
If you smile while killing
somebody, they're still going to be
dead.
KAYA
Excuse me?
DR. JOHN
Too extreme. We want de-escalation
in here. Say what you mean.
CLAY
She's saying that with a big grin
on her face, but if I actually went

through with it, that would be a
very different story.
DR. JOHN
Is that the case, Kaya?
KAYA
Not at all.
DR. JOHN
Clay, you just brought up an idea,
that you manufactured about her
legitimate feelings, made yourself
upset, then blamed her for it, thus
upsetting yourself once again.
Clay and Kaya sit minds blown.
DR. JOHN (cont'd)

You know, Clay, what she just said
looked very genuine to me. There
are a lot of things that could kill
you out there, that did not seem
like one of them.
CLAY
What did you say?
Clock buzzes.
DR. JOHN
Sorry, our time's up.
Clay and Kaya get up to leave.
DR. JOHN (cont'd)

Clay, before you leave...
(a beat)
Why don't you take an apple?
6.
2B Clay sees a bowl of APPLES, considers... takes one. 2B
2 EXT. EXHALE THERAPY - AFTERNOON - MOMENTS LATER 2
Kaya and Clay exit.
Kaya tries to kiss Clay on the lips and he gives her a cheek.
KAYA
I'll see you when I see you.
Clay walks off the other direction - APPLE IN HAND.

3 INT. FINANCIAL DISTRICT OFFICE - EVENING 3
A sea of cubicles and white faces.
Clay sits in a fancy corner office. The APPLE on his desk.
INSERT: A "Diversity and Inclusion" poster.
4 INT. CLAY'S OFFICE - LATER 4
Clay banters with TWO WHITE COLLEAGUES MOS. Code switching.
On and on and on... he just nods to them and forces a grin.
Behind them, FOCUS on TV, a weather report predicts a STORM.
LATER
Clay packs up his office.
He tosses the APPLE in the trash on his way out.
5 EXT. NEW YORK CITY - STREET - EVENING 5
A dense fog.
Clay strides down the busy street.
His suit is pristine. He taps the white AirPod in his ear.
CLAY
(on the phone)
What's good?
7.
WARREN (O.S)
(over the phone)
Everything's good now. Crew's
setting up. You outside?
CLAY
Yeah man, I'm out here.
WARREN (O.S.)
Good, I thought they might chain
you to the desk late again.
CLAY
Not me. Never.

A beat.
WARREN (O.S.)
You okay?
CLAY
Nah, I'm fucked up. This Kaya
thing, it's consuming me --
WARREN (O.S.)
Consuming you? Why? She did her
thing, now you go do your thing.
Turnabout's fair play.
CLAY
You serious? Did she say that?
WARREN (O.S.)
No, but I'll bet you she thought
it. You need to relax, play the
cards you've been dealt, and get
your game face on. I need you, ok?
CLAY
Yeah. Ok.
Clay descends into the mouth of the subway.
WARREN (O.S.)
Trust, you'll be good. We'll talk
about it when --
CLAY
You're breaking up.
(nothing)
Hello..? See you on the other side.
He ends the call, plunging into the city's underbelly.

8.
6 INT. SUBWAY STATION - EVENING 6
Clay swipes his metro card and steps onto --
7 INT. NYC SUBWAY - PLATFORM - NIGHT 7
3 Ads featuring voluptuous, white women. 3
A faint, distant light.
It grows steadily... an ominous crescendo...
SCREECH. RRRUUUMMM. VVVVVRRRRR.

The endless train rushes past Clay, rumbling. WHOOOOSH.
8 INT. NYC SUBWAY - A LOWER PLATFORM - NIGHT 8
A MYSTERIOUS SEXY WOMAN on the platform.
She walks up the stairs.
SCREEEEEECH - The train approaches --
9 INT. SUBWAY - NIGHT 9
Clay is tucked stiff in a seat, iPhone in hand, vacant stare.
WHISPERS and HUSHED CONVERSATIONS.
Clay's eyes dart toward the window.
The train slows to a stop.
THE MYSTERIOUS SEXY WOMAN catches Clay's eye.
She stares at him with intent.
Smiles - predatory.
Clay smiles back, looks away...
Looks back - she's gone. The train moves again.
A long beat.
MYSTERIOUS SEXY WOMAN slithers in from the rear of the car.

Part siren, part jester, a chameleon personality, dressed in
bright, skimpy summer clothes and sandals, her lips painted a
bold shade. Sunglasses, we'll call her LULA.
9.
Clay peers in her direction.
- Caught. He goes back to his iPhone.
Lula giggles. She reaches into a full net bag.
INSIDE THE BAG: Moves aside books and fruit
PULLS OUT: An APPLE...
She plunges back into the bag...
Pulls out a GINSU KNIFE swaddled in its sleeve.
Unsheathes the blade...

Slices the APPLE in two - THWACK!
Clay tracks her.
Lula approaches Clay...
Looms beside him...
Hangs languid from the strap, crunches her apple.
A beat.
Clay forces focus on his iPhone - a PING notification - grabs

his real attention.
10 ON THE SCREEN 10
NOTIFICATION: IPHOTO's MEMORY - A YEAR AGO TODAY.
CLAY AND KAYA IN HAPPIER TIMES.
QUICK CUT: Kaya passionate with another MAN.
BACK TO SCENE
Clay quickly swipes the screen.
He glances to Lula.
Their eyes meet, and he smiles quizzical.
LULA
Hello.
Clay merely nods and looks away.

10.
LULA (cont'd)
I’m going to sit down, OK?
CLAY
Yup.
Lula swings down onto the seat...
Pushes her legs straight out - acts weary:
LULA
Oooof! Too much weight.
Clay remains glued to his screen, but Lula wants a response.

LULA (cont'd)
Too, damn, much.
CLAY
You-you talking to me?
Clay, stiff, attempts a cool lean against the window.
LULA
Seems like it.
She fiddles with her sandals...
Examines the back of her heel...
Clay glances out the pitch-black window...
She turns to him quick:
LULA (cont'd)
Nothing out there: Except a black
wall. Darkness.
CLAY
Uh huh.
LULA
Better when you were staring at me
through the window.
Clay snaps to attention.
CLAY
What?
LULA
Weren't you staring at me through
the window? At the last stop?
11.
CLAY
Staring at you?
LULA
You do know what staring means?
Right?
Awkward beat.
CLAY
(defensive)
I saw you through the window... if
that's what it means. Seems like
you were staring at me.

LULA
I was. But only after I'd turned
around and saw you staring through
that window down in the vicinity of
my ass and...
(smacks her)
...legs.
He shakes his head no, and falls back to his phone.
LULA (cont'd)
I guess you were just taking those
idle potshots. Nothing else to do.
Run your mind over people's flesh.
CLAY
Whoa. Chill out. Whatever you're
feeling, that weight is yours.
LULA
So it is a lotta weight.
Clay puzzled.
CLAY
I'm not the one, ok? Staring
through train windows sedately at
abstract asses.
LULA
That's why I came looking through
the window... so you'd have more
than that to go on. I even smiled
at you.
CLAY
Yeah, I saw.
12.
LULA
I even got into this train, going
some other way than mine. Walked
down the aisle, searching you out.
CLAY
(chuckles)
I doubt it.
LULA
Why is that so hard to believe?
CLAY
Everything's hard to believe these
days. But if it's true, it's

hilarious.
LULA
(mocking)
“It's hilarious."
She faces the window, eyes fixed on Clay's reflection.
CLAY
What was that? You say something?
LULA
Just admiring the swag. My swag.
Clay confused.
LULA (cont'd)
Got more than anyone on this train.
CLAY
Pfff. Wow.
He lowers the phone and faces Lula.
CLAY (cont'd)
(sarcastic)
You do? Ok. Tell me, where do you
think you got that swag? Huh? That
word. Its meaning. Who do you
think gave it meaning? Do you know?
LULA
Of course I know.
CLAY
Good. I hope so. No one ever
seems to.
She turns away, closes her eyes and...

13.
Prepares...
LULA
What are you prepared for?
She wraps the APPLE core in a Kleenex and...
Drops it on the floor. Clay eyes her every move.
He looks out the train window;
Hypnotized by the repetitive flashes that look like...
CLAY'S POV: Waves - WHOOSH, WHOOSH, WHOOSH

The flashes MORPH into photos like...
FRAMES OF FILM: Clay and Kaya smile together, hold hands.
BACK TO THE TRAIN: Clay shuts his eyes hard, contemplates --
Glances down at the phone...
Turns and squares up to confront Lula.
CLAY
I'm prepared for whatever. You?
Lula LAUGHS! - Stops.
LULA
What do you think you're doing?
CLAY
What am I doing?
She leans in, to his ear. Sultry and dangerous:
LULA
When I looked out there... You
thought I was lookin' at you? You
think I want to pick you up, get
you to take me somewhere and fuck,
huh?
Clay stiffens - Is she serious?
CLAY
In a day where people will do
anything, anything is possible.
You know the times we're in? Have
you seen? They'll do anything.
Clay, nervous. Lula, predatory.

14.
CLAY (cont'd)
But I'm also not a fool. You got
all these questions, I have one too
- Do I look like a sucker to you?
LULA
You look like you been trying to
grow a beard. That's exactly what
you look like. You look like you
live in New Jersey with your
parents and are trying to grow a
beard. That's what.
Clay stunned.

LULA (cont'd)
You look like you've been reading
Chinese poetry and drinking
lukewarm sugarless tea.
She LAUGHS, shifts her legs. Clay - Is anyone else

witnessing this???
LULA (cont'd)
You look like death eating a soda
cracker.
Clay - embarrassed and intrigued.
CLAY
Oh, I see what this is. You're one
of those.
LULA
Those?
CLAY
You know, on the train.
(taps his temple)
You know, strugglin'.
LULA
Ha. Nooo, that's not me.
Lula checks herself, feigns seriousness.
LULA (cont'd)
I lie a lot. It helps me control
the world.
Clay LAUGHS louder than necessary.

15.
CLAY
Yeah, you and everyone else. You
really know who controls the world?
Do you you have any idea because
maybe you can explain it me.
LULA
Then tell me first, if it's true,
most of it's true, right? Jersey?
Your bumpy neck?
CLAY
Who the hell are you? How'd you
know all that? Really, I mean about
Jersey... the beard. I met you

before? You know Warren Enright?
LULA
You tried to make it with your
sister when you were ten.
Clay jolts.
LULA (cont'd)
But I succeeded a few weeks ago.
More LAUGHTER.
CLAY
What're you talking about? Warren?
You know Gina?
LULA
I told you I lie. I don't know
Warren Enright.
CLAY
You're not just picking this stuff
outta thin air.
Lula defensive.
LULA
Is Warren Enright a tall, skinny
black guy with an on-and-off
southern accent?
CLAY
So you do know him.
LULA
But I don't. I just figured you
would know somebody like that.
16.
Devious.
CLAY
Yeah. Of course.
Lula slaps her hand on Clay's knee...
Her fingers slide up his thigh...
She watches his WIDENING EYES then removes it.
Clay straightens, swallows hard, then scans for onlookers.
LULA
I’m exciting. You think I'm

exciting, don’t you?
CLAY
This is New York city. You’re OK.
LULA
Am I exciting you now?
She caresses his thigh again.
He firmly moves her hand.
CLAY
Stop. Don't do that again.
LULA
You really want me to stop?
She hovers her hand above his thigh...
Teases...
Goes into her bag to retrieve another APPLE.
LULA (cont'd)
You want this?
CLAY
No.
LULA
(hands it over)
Come on.
(grabs another)
Sorry, let's start over, OK?
Reluctant, he accepts the APPLE.

17.
LULA (cont'd)
Eating apples together is always
the first step. The original first
step. Or walking up uninhabited
Seventh Avenue in the twenties on
weekends.
CLAY
Together?
She bites into her apple and GIGGLES...
Singsong:
LULA

Can get you involved? Get us
involved. Um-huh.
(mock seriousness)
Would you like to be down with me,
Mister Man?
Clay whacks skeptical at his APPLE.
CLAY
I don't know.
He checks the iPhone notification.
That IPHOTO's MEMORY again --
He angles the screen so only he can see. Then clicks...
ON THE SCREEN: Clay and Kaya happy, attend an event.
BACK ON CLAY – He locks it. A thought crosses...
LULA
I know that look. You get lost in
a dream?
He taps the sleep button and the screen goes BLACK.
Stows it away.
CLAY
Down with you, huh?
LULA
That's what I said.
CLAY
Woman like you?
(crosses arms)
No strings?
18.
LULA
I don't like strings. Prefer some
rope.
Clay bites his APPLE.
11 INT. SUBWAY PLATFORM - MOMENTS LATER 11
Deserted, but for a --
HOMELESS BLACK MAN, played by the same actor as Dr. John,

stands alone. His gaze pierces through Clay's very soul as
he steps off the train with Lula.

Clay walks past him, eating his APPLE - wait/what?
Questions what he's seeing... Is that? He looks back.
The lights FLICKER.
Homeless Black Man - is gone.
CLAY
You see that?
Clay walks towards the stairs:
LULA
I love the nineties. Those were my
favorite, for hip hop, it ruled.
Clay shakes off the moment. Catches up.
Lula hums rhythm and blues as they climb the stairs.
LULA (cont'd)
(glances at Clay)
Oh boy. What a face. You know,
you could be a handsome man.
Train SCREECH.
CLAY
(sarcastic/loud)
Thank you sooo much. Been waiting
for someone to come along and
confirm that for me, so thank you
thank you!
LULA
I mean, look at me... my hair is
turning gray. A gray hair for each
year and type I've come through.
19.
CLAY
First you're talking crazy, now
you're talking like you're old.
LULA
But it's always gentle when it
starts.
(attention drifts)
Hugged against projects, day or
night.
CLAY
Good lord.
LULA

(refocuses)
Hey, why don't you take me to that
party you're going to?
Clay frowns at her, clocks her up and down.
CLAY
Ok, this is too much. How do you
know about the party?
LULA
Wouldn't you like to take me?
(takes his arm)
Oh, come on, ask me to your party.
Clay considers, smiles.
CLAY
I can't take you to that party.
(a beat)
I don't even know your name.
LULA
I'm Lena the Hyena.
CLAY
The famous woman poet?
LULA
Poetess! The same!
CLAY
Well, since you know so much...
what’s my name?
LULA
Morris the Hyena.
Clay disgusted.
20.
Lula GUTTURAL LAUGH.
Clay sees a WHITE HOMELESS MAN, tattered in rags.
He locks onto Clay.
Nightmarish, he's coming right towards Clay.
WHITE HOMELESS MAN

The world is not ending. It will
never end. Pay if you wanna stay.
Clay transfixed -
LULA

You want another apple?
(notices)
What's got your attention more than
me?
She sees the approaching White Homeless Man.
CLAY
Nothing. I'm just fascinated by
grown white men... who are
homeless.
LULA
What kind of thing is that to say?
CLAY
You ever seen someone run a race
backwards?
Goes right over her head.
LULA
You want the apple or not?
CLAY
Didn't want the first one, and I
only have to keep one doctor away a
day.
LULA
I bet your name is... Something
like, uh, Gerald or Walter. Huh?
(he shakes his head)
Lloyd? Norman?
CLAY
Like Warren?
21.
LULA
Well, for sure, it’s not Willie.
One of those hopeless names
creeping out of New Jersey.
Leonard? Gag...
CLAY
(considers, again)
Maybe I should just go...
LULA
You're not even going to tell me
your name?
Second thoughts.

LULA (cont'd)
Please... oh pleeease --
CLAY
Clay. My name is Clay, alright?
LULA
Clay? Really? Clay what?
CLAY
Take your pick. Jackson, Johnson,
or Williams. Does it even matter?
LULA
Oh, really? Good for you. But
it's got to be Williams. You're
too pretentious to be a Jackson or
Johnson.
(a beat)
But Clay’s OK.
CLAY
Oh, thanks. And Lena’s fine.
LULA
It’s Lula.
CLAY
You said it was Lena.
LULA
Lula the Hyena.
CLAY
Do you say anything true?
22.
LULA
(LAUGH)
I have an idea.
(leans closer)
Just say to me, Lula, Lula, why
don’t you go to this party with me
tonight?
Clay contemplates.
12 EXT. NEW YORK CITY - NEW HARLEM - NIGHT 12
Lula and Clay navigate chaos.

LULA
What else do you need to know?
CLAY
Nothing.
LULA
Nothing?
CLAY
Like I said, no strings.
LULA
(coyly)
Little string?
CLAY
(confused)
What?
LULA
(finger motion)
Piece of yarn?
CLAY
None.
LULA
Fishing line?
She imitates throwing a fishing pole and reels it in.
LULA (cont'd)
Don't you want me to keep reeling
you in?
CLAY
None.
23.
LULA
One little itty bitty, thread?
CLAY
Jesus, you don’t stop do you?
LULA
You’re acting like I said a noose.
CLAY
(stops sudden)
What did you say?
LULA
Loose, hang loose!

CLAY
That's not what you said. Do you
have any idea of what the fuck that
means? A noose? You know what the
hell my people went through, only
for people like you to --
(calms, turns)
I'm out --
Something catches his eye:
CLAY'S POV: Across the street, under the streetlamp, Clay

sees himself.
The doppelgänger looks back at him.
A city bus ROARS past.
A different MAN appears.
Clay blinks...
Lula rushes up and grabs him from behind.
LULA
Where do you go? Where do you keep
going? I promise I didn't say it.
(grips his chest)
What are you into anyway?
(rubs him)
What thing are you playing at,
Mister? Mister Clay Williams?
She grips his thigh, near the crotch.
Clay's eyes widen.

24.
LULA (cont'd)
What are you thinking about?
CLAY
Take... take your hands... off --
He struggles to compose himself.
CLAY (cont'd)
I know these tactics. You can
think you know me but I've been
around.
(overcompensates)
Seen things. I know these tactics.

LULA
People who've been around don't
have to say they've been around.
CLAY
I haven't forgotten what you said.
Lula throws her APPLE core down an alley.
LULA
I bet.
She moves her body in front of him.
LULA (cont'd)
Is it working?
CLAY
I thought you knew everything about
me. What happened?
City NOISE.
LULA
(irritated)
Don't get smart with me, play Clay.
I know you like the palm of my
hand.
CLAY
What did you call me?
Close to his face.
LULA
You liked it. You like it don't
you. Falling in line, taking
orders. What were you in the army
or something? Marine? Yes, sir.
(MORE)
25.
LULA (cont'd)
(mock)
Is that what you call the man?
Sir, yes sir. All buttoned up like
that, you must. Or is it just your
corporate job, taking orders from
the man on the high floor. Taking
your voice away --
CLAY
You don’t know me! So stop. To get
to where I am, what I had to do.
What we all had to do.
(a breath)
You wanna talk shit about me taking
some orders? Who the fuck is not?

Everyone answers to someone...
well, except y'all of course.
LULA
Y'all.
CLAY
Exactly. No fucking
accountability.
(stops her)
Stop if you want. I’m out.
She points.
LULA
That's my door. Up at the top of
the stairs. Five flights. Above a
lot of Italians, and lying
Americans. And scrape carrots
with: Also --
(looks at him)
-- The same hand I unbutton my
dress with, or let my skirt fall
down. Same hand. Lover.
CLAY
Yeah. OK.
Clay hypnotized.
LULA
And with my apple-eating hand I
push open the door and lead you, my
tender big-eyed prey, into my...
God, what can I call it... into my
hovel.
Clay studies the top of the building.

26.
Above it, DARK CLOUDS - THUNDER!
13 INT. LULA’S APARTMENT BUILDING - STAIRS - NIGHT 13
Lula and Clay climb the four-floor walk-up.
LULA
After the dancing and games, after
the long drinks and long walks,
that's when the real fun begins.
CLAY
The real fun. Which is?

LULA
Real fun in the dark house. Hah!
Real fun in the dark house, high up
above the street and the ignorant
cowboys. I lead you in, holding
your wet hand gently in my hand...
CLAY
My hand is not wet.
LULA
Which is dry as ashes.
CLAY
And cold?
LULA
Don't think you'll get out of your
responsibility that way. It's not
cold at all. You fascist! Into my
dark living room.
Clay, tired, glances down all those FLIGHTS.
14 INT. LULA’S APARTMENT - NIGHT 14
Lula ushers Clay inside. The room cloaked in darkness and

intrigue. A shadowy labyrinth, filled with theatrical
costumes, arcane artifacts, mysterious objects.
Wigs crown mannequin heads, and an assortment of props are

strewn about like they’re backstage of an enigmatic Off-
Broadway production.
CLAY
(soto)
The hell am I doin’ here?
27.
The door eerily SQUEAKS.
CLICKS shut behind him.
LULA
Excuse me?
CLAY
Nah, it's um... been a while.
LULA
Thought you were cool, Clay. Cool-
Clay. Nervous about meeting a
girl?

CLAY
I used to - I was... The party, I'm
going to be late to the party.
LULA
Sit. Let’s talk.
CLAY
Been talkin’ all night.
LULA
Endlessly.
CLAY
Yet, you want to keep going.
(beat)
I'm... not just going to the party.
I'm introducing someone there.
LULA
You still haven't asked me...to go.
She steps up close behind him. Clay stiffens.
LULA (cont'd)
(sensual)
Ask me.
His cool falls away.
CLAY
Lula, will you go to the party...
with me?
LULA
What do you wanna do?
(leans to his neck)
Your manhood. Let’s talk about
that.
28.
He covers his crotch.
CLAY
No.
LULA
I mean, what do you think we’ve
been talking about all this time?
Clay glances at his watch.
CLAY
What time is it? This thing broke?
(taps watch)
It’s like time is standing still.

LULA
There is no time when you’re in
here. When you’re with me.
CLAY
(straight, stern)
Go on then? You were talking about
my manhood.
LULA
We still are. All the time. I
felt it. Enough to make you a map
of it.
CLAY
Huh.
LULA
You wanna keep talking about it?
Or you wanna --
Lula bites her bottom lip...
Sits on the arm of her velvet sofa and opens her legs...
A beat.
Clay rushes to her, picks her up, her legs sling around him.
They lock lips - Electricity...
LULA (cont'd)
Finally.
They kiss hard. Melt.
Lula points to a door.

29.
LULA (cont'd)
Go.
Clay carries her. Bodies slam into...
15 INT. LULA’S APARTMENT - BEDROOM - NIGHT 15
Darkness, walls, bathed in deep burgundy. Clothes strewn

everywhere.
Clay lays Lula down, gentle.
LULA
No. - Throw me.

(a beat)
Hurl me onto my fateful crib!
She flings out her arms and slaps her biceps.
LULA (cont'd)
Come on!
Clay plays along, grips her arms and yanks her off the bed.
LULA (cont'd)
Now! Hard!
(slams her down)
Yes!
She rips her dress off over her head.
Clay gazes up and down at her curvy body.
He unbuttons his shirt and tosses it to the floor.
LULA (cont'd)
Uh huh. Come on.
He drops his pants.
LULA (cont'd)
Your manhood. Almost.
Clay joins her in the bed.
She pulls him into a violent kiss.
Lula flips him, straddles him.
He sits himself up and goes in for another kiss.
Instead of her lips she presses her finger against his.

30.
LULA (cont'd)
Hold on. My turn.
Lula pushes off of him and disappears into a closet.
CLAY'S POV: Tiny droplets of rain hit the window.
WHIP!
Clay flinches!
Lula reappears, at the foot of the bed.
Clay's eyes fix a long whip in her hand.

CLAY
What the fuck is that?
LULA
You don’t know what this is?
CLAY
Why do you have that?
WHIP! Strikes the foot of the bed --
CLAY (cont'd)
(jump back)
Get that fuckin’ thing away from
me!
LULA
(LAUGH)
Oh, you thought... Oh my god, come
on... read the room. This is a sex
toy. You go to a sex shop and
these are everywhere.
CLAY
That - that thing ain’t from a sex
shop. That is a very specific
thing.
LULA
Oh, poor Clay - thought you wanted
to have some fun.
CLAY
Put it away!
Lula smiles --
Drops the whip...

31.
Lula crawls back into the bed.
Straddles him.
LULA
This what you want?
She grabs her cell, turns on TRAP MUSIC.
LULA (cont'd)
Want me to shake it.
(move)
Uh, uh, uh, uh... all that.
Clay mesmerized. She’s got him.

He sinks into the bed, hypnotized by her sexy moves.
LULA (cont'd)
Want me to do it like this --
Lula goes for something in the nightstand.
Returns with a CONDOM and hands it to Clay.
He hesitates...
Puts the CONDOM on.
LULA (cont'd)
Your manhood.
CLAY
Damn right.
LULA
All I gotta do is pull it to the
side.
Lula toys with her thong. Clay helps her.
She sits on top, and puts him inside.
Clays eyes bulge.
She moves slow...
Up, down... Up, down.
He grabs her hips. She pushes his arms back down to the bed.
Are they fighting or fucking?
Both.
32.
They fuck. The room glows red.
Finish.
Clay lays there.
Lula slides the CONDOM off and disappears into the bathroom.
Clay veers into despair.
CLAY
The fuck did you just do, Clay?
16 INT. LULA’S APARTMENT - BATHROOM - NIGHT 16

Lula gazes at her reflection, satisfied. Strange...
VFX: Lula's beautiful face DISTORTS - REVEAL THE DEVIL.
THEATRICAL
CURTAIN CLOSES:
IN/OUT:
"ACT 2
THE DIVINE COMEDY"
THEATRICAL
CURTAIN OPENS:
17 INT. LULA’S APARTMENT - BEDROOM - NIGHT - MOMENTS LATER 17
Lula returns, cuddles up with him again.
LULA
Come close to my face...
Lula moves even closer.
LULA (cont'd)
I want you to say to me, many many
times, say, you can even whisper...
that you love me.
Clay turns stunned.
LULA (cont'd)
If you don’t mean it... it’s fine.
I just want to hear you say it.
A beat.
33.
CLAY
I don’t lie on love.
LULA
I said you don't have to mean it.
I just want to hear you say it.
CLAY
I wouldn't lie about something like
that.
LULA
Hah. It's the only kind of thing
you will lie about. Especially if
you think it'll keep me alive.

He sits up and scoots to the bedside.
CLAY
Sorry. I gotta go.
LULA
You said I’m going to the party
with you.
CLAY
I think I’ll just go home.
LULA
You’re just gonna fuck me and
leave? That’s what ya’ll do, right?
CLAY
Ya’ll? What you mean, ya'll?
Lula gets dressed.
LULA
You know what I mean. Men. Your
species, and especially men like
you.
CLAY
Like me?
LULA
Professional type of --
CLAY
Chill with all that, you keep doing
that, you keep sayin’ shit that’s --
LULA
That’s what? True?
34.
A standoff.
CLAY
Aye... It was real.
(dresses, eager)
See you around, yeah?
Clay steps to the door -
LULA
(SCREAM)
Aaaahhh!!!!
Clay stops.

LULA (cont'd)
Isn’t that something? I scream, the
world stops.
CLAY
What’s that supposed to mean?
LULA
You know what that means.
She rubs her arms.
LULA (cont'd)
Oh no, I even have bruises on my
arms from when you threw me down.
CLAY
Threw you? I didn't... you told me
--
LULA
I can call anyone. Say anything.
And it’s my word... against yours.
CLAY
OK - don’t... don’t play with that
shit.
LULA
Oh, wait... I actually have
evidence.
She presents the CONDOM.
LULA (cont'd)
What do you have? Your word?
She tucks the CONDOM in a small silk bag, then her purse.
35.
CLAY
This is not funny.
LULA
No, it wouldn’t be funny if I
called the police and told them --
CLAY
The hell is wrong with you?
LULA
We’re going to that party, like you
promised me. Like you said before
you fucked me and tried to leave.
(rise)

I’m not gonna let you fuck me.
A beat.
CLAY
Give me that condom. Give it to
me.
He moves for her purse.
LULA
(SCREAM)
Aaaahhh!!!!
Clay freezes.
LULA (cont'd)
I already know where you're going
anyway. You wouldn't want to be
rude would you?
He's fucked.
18 INT. LULA'S APARTMENT BUILDING - STAIRWELL - MOMENTS LATER 18
Clay steps down cautiously. Lula follows closely.
CLAY
Thought you were cool.
LULA
How would you know what's cool?
You're not cool at all.
CLAY
Didn't claim to be, don't wanna be.
36.
LULA
Who doesn't wanna be cool?
CLAY
All the cool kids who used to
torment me as a kid are abject
failures. Burned out at twenty
after doing all the things and
getting all the girls.
(beat)
That's not what I'm talking about.
I thought you wanted to have fun.
LULA
I am havin’ fun.

CLAY
Call this fun? That ain’t fun on
you. You look angry. I’m the one
who should be angry. I didn’t say
anything wrong.
LULA
Everything you say is wrong.
(mock)
That's what makes you so
attractive. Ha. In that funny-
book jacket with all the buttons.
They land at the bottom.
She grips his jacket collar.
LULA (cont'd)
What you got that jacket and tie on
in all this heat for? This hot-
ass, New York night. And why're
you wearing a jacket and tie like
that? Did your people ever burn
witches or start revolutions over
the price of tea? Come on, those
narrow-shoulder clothes come from a
tradition you ought to feel
oppressed by. A three-button suit.
What right do you have to be
wearing a three-button suit and
striped tie?
CLAY
Oh... oh, I see it now. I got it.
You're not gonna get to me again.
We stop at this party and we're out
as fast as we came. My life, you
don't know shit.
37.
LULA
Well do you know? Do you know if
your great, great grandfather was a
slave? He damn sure didn’t go to
Harva --
CLAY
I dare you to say one more thing
about my --
Lula recoils!
A concerned WHITE NEIGHBOR appears in the doorway.
WHITE NEIGHBOR

Everything OK here?
LULA
Everything OK... Clay?
Awkward beat.
CLAY
(code-switches)
Everything’s fine.
The White Neighbor moves on, suspicious.
Coast clear, Lula strides out.
Clay trails.
19 EXT. NEW YORK CITY - NIGHT - MOMENTS LATER 19
Lula zig-zags through the crowded streets, erratic.
Clay follows on a straight path.
LULA
You like what you see? All that
ass?
Lula moves her hips.
CLAY
My great, great, grandfather was a
night watchman.
LULA
Shit, that’s even worse. You’re on
their side.
(MORE)
38.
LULA (cont'd)
After all the police, the system,
the man, and your lineage is on
their side? Must feel shitty.
CLAY
I feel fine.
LULA
Bet you went to a black college
where everybody thought they were
Andrew Cuomo.
CLAY
All except me.

LULA
And who did you think you were?
Who do you think you are now?
CLAY
Don’t worry about that.
LULA
I’m not worried, I’m interested.
CLAY
(laugh)
In college I thought I was Jacques
Prévert. But I've slowed down
since.
LULA
I bet you never once thought you
were just another one of the
blacks.
Clay stops.
She mocks serious - LAUGHS.
LULA (cont'd)
Don’t be so serious, black is the
shit right now. Wish I was black.
What’s Beyoncé say? Black is King?
CLAY
Yeah, and what the hell do we get
for it? World benefits off our
culture but we get nothing for it.
Wish you were black ... please. Of
all your lies that's the worst.
A nearby bar TV draws Clay's attention --

39.
CLOSE ON TV: A lean-muscular BLACK MAN struggles in an

underwater Houdini escape routine.
BACK ON CLAY – fascinated, dread.
CLOSE ON: The Black Man struggles against his chains.
Drowns.
LULA (O.S.)
Come on, let’s go.
ON CLAY – Snaps out of it.
Lula hails a cab.

20 INT. YELLOW CAB – CONTINUOUS 20
Clay and Lula ride in the back seat.
LULA
A black Prévert, huh? Boy, are you
corny. I take back what I said
before. Everything you say is not
wrong. It's perfect. You should
be on television.
CLAY
You have enough theatrics for the
both of us.
LULA
That’s because I’m an actress.
CLAY
Of course you are.
LULA
Well, you're wrong. I'm no
actress. I told you I always lie.
I'm nothing boo, and don't you ever
forget it.
(lighter)
Although my mother was a Socialist.
The only person in my family ever
to amount to anything. What about
your mother? I bet she was in the
movement, marching behind --
CLAY
My mother was a Republican.
40.
LULA
Oh... Ooohhh. It's all making
sense now. Bet your father voted
for the man rather than the party.
CLAY
Damn right.
LULA
Yea for him. Yea, yea for him.
And yea for America where he is
free to vote for the mediocrity of
his choice! Yea!
CLAY

Whatever.
LULA
And yea for both your parents who
even though they differ about so
crucial a matter as politics still
forged a union of love and
sacrifice that was destined to
flower at the birth of the noble
Clay -- what's your middle name?
CLAY
Clay... Clay is my middle name.
LULA
Bullshit.
CLAY
Got some nerve to call my words
bullshit after all the nonsense
spewing out your mouth all night?
LULA
Fine, Clay Clay.
(ghetto)
Clay Clay.
(proper)
A union of love and sacrifice that
was destined to flower at the birth
of the noble Clay Clay Williams.
Yea! And most of all yea yea for
you, Clay, Clay. The Black
Prévert! Yes! My Christ. My
Christ.
CLAY
Good lord.
41.
LULA
The people accept you as a ghost of
the future. And love you, that you
might not kill them when you can.
CLAY
What?
LULA
You’re a murderer, Clay, and you
know it.
(dark)
You know goddamn well what I mean.
CLAY

You are mad.
LULA
So we’ll pretend the air is light
and full of perfume.
Clay in disbelief.
LULA (cont'd)
And we’ll pretend that people
cannot see you. That is, the
citizens. And that you are free of
your own history. And I am free of
my history. We’ll pretend that we
are both anonymous beauties
smashing along through the city
streets.
(yells)
GET IT!
CLAY
That's enough!
The INDIAN CAB DRIVER look at him. He settles.
CLAY (cont'd)
Just, please. We can, we can stop
playing this game now.
LULA
You're playing a game with me?
CLAY
Come on, just. I can't bring you
to this thing. I can-not.
LULA
I'm not good enough?
42.
CLAY
It's too important, this is not
something you just bring --
LULA
What, your whore, your side-chick?
CLAY
See I didn't say any of that.
You're making up things, that make
you upset about the things you made
up.
LULA
What type of psycho-babble are you -

-
CLAY
Bottom line... do what you gotta
do. I gotta go.
(to cabby)
Sir, can you pull over?
21 EXT. NEW YORK CITY STREET - NIGHT 21
Cab pulls to a stop.
Clay gets out, attempts to close the door.
LULA
You know I still have --
CLAY
Do what you gotta do.
Clay strides away...
Lula follows...
Lula HOWLS! - And she drops to her knees.
Concerned STRANGERS flock to her aid.
Clay walks on, determined.
Lula CRIES.
Clay surrenders and glances back --
The crowd grows around Lula.
A few curious ones lock on him.

43.
CLAY (cont'd)
Fuck!
22 EXT. UPSCALE HARLEM LOFT - NIGHT 22
Clay sweaty, lingers on the corner fixated on a newly

renovated, historic building. His tie loose. Lula clings to
his arm, acting vulnerable. He steals a glance at her.
LULA
You ready?
CLAY
The party.

They approach.
LULA
(sinister)
I know it'll be something good.
Come in with me, looking casual and
significant. I'll be strange,
haughty, and silent, and walk with
long slow strides. When you get
drunk, pat me once very lovingly on
the side, and I'll look at you
cryptically licking my lips.
CLAY
I don’t get drunk.
LULA
You'll go around talking to young
men about your mind, and to old men
about your plans. If you meet a
very close friend who is also with
someone like me, we can stand
together, sipping our drinks and
exchanging codes of lust. The
atmosphere will be slithering in
love and half-love and very open
moral decision.
CLAY
Yeah. Of course.
Almost to the steps.
LULA
And everyone will pretend they
don't know your name, and then...
(a heavy pause)
(MORE)
44.
LULA (cont'd)
...later, when they have to,
they'll claim a friendship that
denies your sterling character.
She kisses his cheek... his hand...
CLAY
You done?
LULA
Then? Well, then we'll go down the
street, late night, eating apples
and winding very deliberately back
toward my place.

CLAY
So you plan to just keep this
going? Never-ending.
LULA
Endless.
CLAY
You can’t keep me --
Lula taps her clutch purse, CONDOM inside.
Clay hopeless.
WARREN
Clay?
At a grand staircase, they see WARREN and GINA sharing a

smoke. Undeniably cool - Black, sexy - dressed to the nines.
WARREN (cont'd)
It's about time!
CLAY
Warren. You should be inside.
WARREN
And you should have been here forty
minutes ago.
Warren flicks his cigarette, and gives Clay a hug.
Gina remains, piercing through Lula.
Awkward beat.
CLAY
Lula. This is Lula.
45.
LULA
What’s good wicha?
Even more awkward.
LULA (cont'd)
(to Gina)
Hieeee.
Gina is ice.
WARREN
You know, um --
CLAY

Yeah, I know.
WARREN
Cool... Cool.
Warren scans Clay for answers, then ascends up the stairs.
23 INT. UPSCALE HARLEM LOFT - NIGHT 23
A lively soiree of ELITE BLACK GUESTS.
Warren and Gina arrive to enthusiastic embraces.
GUEST
Man of the hour is back! Bro, you
can't leave your own party!
Everything stops. Even the pianist slows...
All eyes on Clay and Lula at the door.
Unfazed, Lula beams a smile.
Clay strides in to the beat, over-compensating.
CLAY
What up, what uuup? Thought I was
coming to the livest party in New
Harlem.
Guests slowly return to their libations.
From the back emerges Kaya, elegant, unaware.
Guests' eyes flit between Clay, Lula and Kaya.
Kaya scans, notices Clay, then Lula...

46.
CLOSE ON KAYA --
KAYA
Oh. OK.
Clay watches Kaya glide into another room. Missing Lula

saunter the other way.
HOST
Clay! My man. You had me
stressin'.
Clay notices Lula walking off but he's stuck.
OTHER ROOM

Kaya pauses, looks past a group at the PIANO.
Lula lingers nearby, eavesdropping --
LULA
Don't mind me.
MALIK
Mind you?
LULA
Yeah, me. I'm just here.
Chillin', tryna get to know
everyone.
MALIK
(nice)
Yeah. It is what it is. Hang out.
LULA
So you don't mind?
ZARA
He said it's cool.
Kaya arrives with drinks for Malik and Zara.
KAYA
(forces it)
We don't mind.
Kaya hands them their drinks. Lula joins the circle.
BACK TO PARTY
Clay can't find Lula or Kaya through the crowd.
BACK AT THE PIANO

47.
MALIK
I mean, if we really stopped to
think about our actions, we'd stop
even considering alternative
treatments... Think about the
landscape right now. Think about
all the kids who --
LULA
Mind, an interesting muscle, right?
ZARA
I'm sorry, who are you?
Kaya waits for the answer.

LULA
Well, that's a pretty complex
question. How much time do you
have?
ZARA
What?
LULA
The mind. Such a complex muscle,
right? I'm always toying with my
mind. Do you mind?
(puzzles them)
Wouldn't you agree? Or actually,
my mind's always toying with me.
If you could see what's going on in
here...
Points to her head, rolls her eyes crazy. Like The Joker.
MALIK
It's not a muscle.
LULA
See, I knew someone would
understand. But, how do you know?
MALIK
The mind deals with consciousness,
thought. That's not a muscle.
You're thinking of the brain -- not
a muscle either, but controls them
all.
LULA
What are you, a doctor or
something?
48.
MALIK
Yes, a neurosurgeon.
LULA
You?
ZARA
Him.
KAYA
What's the problem?
LULA
Just, when I look at you...

Anger.
LULA (cont'd)
I mean, when I think of a doctor...
(to Zara)
What do you think of? When you
think of a doctor?
ZARA
What in the hell kind of question
is that?
Everyone stares at Lula.
LULA
(feigns innocence)
Nothing against... It's not my
fault. It's what I see. It's what
we all see.
KAYA
It's not what I see.
Enough, Malik and Zara leave Kaya and Lula alone.
LULA
Something I said?
KAYA
What did you say your name was?
LULA
I didn't.
KAYA
So what's your name?
LULA
Lula's my name. And you are?
49.
KAYA
Kaya.
LULA
Kaya. I love that.
They shake.
LULA (cont'd)
Your hands are soft. Like silk.
KAYA
(pulls away)
Yeah. I like my hands.

LULA
I like silk.
Lula presents her purse.
KAYA
That's silk?
LULA
The inside is.
(weird beat)
You know, silk used to be the most
valuably traded item in history?
The process to make it was a highly
guarded secret. People would
smuggle silkworms or mulberry
seeds, and if they were caught the
punishment was death. Can you
believe that?
KAYA
I can. People do viscous things in
this world. Especially here.
LULA
Yeah, I know. Now you can go down
to the garments district and buy
enough silk to stretch from there
to Harlem... for next to nothing.
KAYA
Yeah. And?
LULA
Well, it's no longer about the
silk. It's about who's wearing it.
(refers to purse)
It's about what's inside of it.
The value of what's inside.
50.
Kaya struggles to decode Lula.
BACK TO PARTY
Clay sees in the distance Lula and Kaya. Fuck.
He sees Kaya walk away from Lula.
He breaks free and navigates to intercept Kaya in stride.
Clay grabs a drink...
Grabs Kaya – they settle into their own corner of the party.
KAYA

So you drink now?
Clay takes a deliberate sip.
KAYA (cont'd)
Hm... OK.
CLAY
Put yourself out there... people
could take advantage.
Kaya focuses across the room to Lula.
KAYA
But you're putting yourself out
there for her.
CLAY
You got some nerve.
KAYA
And did it with the quickness too.
This, this is different, I mean --
CLAY
That’s what I said.
KAYA
What?
CLAY
When you decided, without me... to
be without me.
KAYA
So that's your play? Her?
CLAY
It’s not a play.
51.
KAYA
It’s not? Did you ever stop to
think it might be? You bring
her... here?
CLAY
It’s hard to explain. She got -
She -
KAYA
Remember college? Your study
group. Up all night, burning it,
both ends. But that white boy who
barely did the work, drunk and high
every night, sleeping at the

library while you were prepping.
He stood up in front of class and
presented your work like it was
his. With the entire room
applauding for him, I looked
beyond, and saw you on stage
fuming... rage. But that's where it
ended. No way you would've outed
him. It wouldn't have been a good
play... Clay. You ate that. You
gave him credit, after doing no
work. Then years later, you called
on that favor he owed you, because
you knew his dad was an exec at
Merrill.
CLAY
What, Kaya, is your point?
KAYA
You're calculated, Clay.
CLAY
I know.
KAYA
She holding you hostage or
something?
A beat.
KAYA (cont'd)
Black, black, everything black.
The moment we pause, you're onto
that?
CLAY
I’ve never been good at acting.
You said that.
52.
KAYA
So you meant it?
CLAY
I meant it.
KAYA
Then what, she’s got some lineage?
Ten percent in her that she can
claim when applying for shit? Use
the swag sometimes, but bear none
of the shit?
CLAY
She’s not black.

KAYA
So that's not important to you.
CLAY
Of course it is. You know the
fight I've been in, you've been in
it too. Everything we've done,
including tonight, the pressure
that brought.
KAYA
What about our brown babies? What
about our foundation? Our ideas of
buying all this up and making sure
Harlem stayed black?
CLAY
What's the difference? We get all
this then what? We're still paying
the premium. Who really owns this
city? Who do you think will own
Harlem by the time we're done
fixing it all up, with our picture
perfect blocks? Lula, that's
who... You ready to hear all this?
KAYA
Maybe I would've been if you
would've fucking said it to me.
CLAY
And I probably would've said it if
I had time to sort it out. But you
left before I could. It was your
choice to leave.
KAYA
And yours to bring her in here!
53.
The room notices.
KAYA (cont'd)
(composed)
I'm not upset. I know what I said
in that office and I take full
responsibility.
(close)
But I'm talking to you like this
right now because this, this is not
you. You did your thing...
Kaya whispers seductively in Clay's ear.
KAYA (cont'd)

Now go to her. Take her pasty
white hand, and calmly show her the
door. And no one will hold it
against you.
Clay nods, OK.
NEAR THE BAR
A flamboyant BLACK BARTENDER serves drinks.
Lula gawks. Extends her glass for another.
LULA
Come on.
BARTENDER
Wait.
LULA
I don't wanna.
BARTENDER
Bitch, I said wait.
LULA
Ah, you called me bitch. I love
it.
He serves her.
BARTENDER
Here.
LULA
I'm the --
BARTENDER
Here!
54.
Lula - defeated for the first time - takes the drink.
FOUR BLACK WOMEN and Gina enjoy the moment. Lula joins them.
LULA
My girls.
BLACK WOMAN #1
Hi.
LULA
Poppin' in here, right?
BLACK WOMAN #1
Yup. It's liiit. Right ya'll.

Everyone forces nods.
GINA
So Clay, huh?
LULA
You guys are friends?
GINA
Sure. Are you guys... friends?
LULA
Labels.
GINA
So?
LULA
Not a big fan of those.
GINA
Labels?
LULA
They're so restricting. Confined.
Leaves no room for exploration.
GINA
So you're an explorer, huh?
LULA
Something like that.
GINA
You find what you're looking for?
LULA
The journey continues.
55.
GINA
Interesting... So how did you meet?
LULA
We've always known.
GINA
What?
LULA
It's like this knowing we've had
that goes beyond time. Eternity.
GINA
So how... did you meet?

Lula code-switches to street:
LULA
Girl, you don't get it.
GINA
Why are you talking like that?
LULA
This is how I talk.
GINA
Oh yeah?
LULA
Why are you talking like that?
GINA
Must be nice. Use all that shit
for fun. Fun and games. You wanna
switch? You talk like you supposed
to talk and I'll talk like I'm
'posed to talk. Come on. Let's
play.
LULA
My people, we gotta stick together.
GINA
Your people?
LULA
Yes. Absolutely without a doubt.
GINA
OK, I was trying to be nice but you
--
56.
LULA
Women. Us women, we gotta stick --
Gina calms herself.
LULA (cont'd)
Right?... Right ladies? This is
the era of the woman. Where we
stand up and take what's ours.
Together.
Dead pan.
LULA (cont'd)
Forget all this talking.

Lula LAUGHS! Finishes her drink.
LULA (cont'd)
Why don't we dance instead?
She shimmies away...
BACK TO CLAY AND KAYA
Kaya gestures at Lula dancing inappropriately.
MEN gawk - hostile glares from their PARTNERS.
Clay works his way to Lula, gets real close.
CLAY
Time to go.
Lula gets even more provocative.
CLAY (cont'd)
I mean it.
She uses her purse - threatening.
Clay scans the room paranoid. He checks his WATCH, taps it.
CLAY (cont'd)
What's wrong with this thing? This
night is... what is going on?
Warren grabs Clay's arm and pulls him onto --
24 EXT. UPSCALE HARLEM CONDO - PATIO - NIGHT 24
Warren forces Clay to sit.

57.
WARREN
Hey, hey! You in there?
CLAY
Come on bro.
WARREN
No. You're stuck on the plantation
and I'm here to break you free.
CLAY
Stop it.
WARREN
You telling me to stop it? You

gotta get her up outta here. She
is murdering the vibe.
CLAY
Do you know what time it is? It's
like we're standing still.
WARREN
Clay, she has to go... now.
(pulls out cell)
I prolly got a hundred thousand
photos in my cell, hardly look at
any of 'em, but every once and a
while, one gets me.
(finds the photo)
You know what it showed me today?
(got his attention)
Yeah. It was your event. You
probably got it too.
Warren presses play.
ON THE SCREEN
VIDEO OF CLAY AND KAYA - together:
- Clay and Kaya toast.
- Clay and Kaya dance.
- Clay and Kaya celebrate with Warren and Gina.
- Clay and Kaya look over blueprints.
BACK TO SCENE
Clay pushes the phone away.

58.
WARREN (cont'd)
This is how we build... empires!
Kings and queens like you and her.
It starts here, with us. Black
families.
CLAY
I get it, Warren.
WARREN
(points to Lula)
So why did you come with her?
THROUGH THE GLASS – Lula dances, wild.

CLAY
I know Kaya's perfect. And that
girl's fucked up. And everything
has always been perfect. But I
have never fucked up. Not once!
WARREN
So you're on some crazy ying yang
shit -- One side order, one side
chaos? Now is not the time.
CLAY
It's like we're machines. Stick to
the plan. The right school. The
right programs, the right cities.
When do I have a choice?
WARREN
That's your choice?
Clay snatches the cell from Warren's hand.
CLAY
Memories? That may as well be a
forecast. On my life. It's all
written, all of it, every second,
every step. And what did it get
us? What does it get us?
WARREN
What?
CLAY
It's not working, Warren. All the
degrees, all the mentors, all the
speeches and fundraisers. The
meetings and plans, that we have...
our parents had before us.
(MORE)
59.
CLAY (cont'd)
It's like people have to die for
everyone to finally see it in real
time. And when they're all done
apologizing, they give us the jobs,
and paint that our lives mattered
all over the streets, then we look
up and realize they painted on the
fucking streets. And eventually
everyone was going to be driving
over that shit. And you tell those
people long enough that they gotta
add a DEI department or hire us or
else, and that pendulum is going to
swing back.
(manic)

Bro, the pendulum... has swung.
And I don't know what's going to
become of us. And for the first
time in my life, I know none of it
matters.
(points to the room)
This, tonight. If you raise all
the money... if you get city
council. Hell, let's say you
eventually become president, the
highest fuckin' thing. Some fuckin'
group of white dudes with
briefcases are gonna walk in there
and tell you what the fuck to do
anyway. Where does it end?
WARREN
I don't know!
(beat)
I don't know, Clay.
A beat.
WARREN (cont'd)
But I know where it starts. I'm-a
go out there, raise this money...
(leans in)
And you're gonna wrap it up with
her.
CLAY
She... She could say anything.
She's threatening... to say
anything. Evidence and all. Don't
you see?
THROUGH THE GLASS – Warren glances at Lula...

60.
WARREN
She could say anything. I see.
(to Clay)
Fine. Do what you can. But in a
few minutes it's game time. I need
you.
He walks back to the main room and joins Gina.
Clay stands there alone.
Considers the center of attention --
Lula - dirty dances with her purse...

Clay looks around - Does anyone see this crazy shit?
He settles. Goes back into the...
PARTY
Clay subtly works his way towards Lula.
He dances with her.
LULA
I hope this night never ends.
From a distance, Kaya and Gina stare darts.
CLAY
Help me understand. What do you
want?
LULA
You don't understand? Well, don't
look at me. It's the path I take,
that's all. Where both feet take
me when I set them down. One in
front of the other.
CLAY
That's morbid as fuck. You gotta
be acting. All that self-
aggrandizement.
LULA
Well, I told you I wasn't an
actress... but I also told you I
lie all the time. Draw your own
conclusions.
CLAY
This is not funny anymore.
61.
LULA
I thought it was all funny.
CLAY
But you mean crazy funny, not ha-
ha.
LULA
Don't call me fuckin' crazy. You
men always trying to make a woman
crazy. You don't know what I mean.
CLAY
Well, tell me the almost part then.
You said almost all. What else? I

want the whole story.
OTHER ROOM – Clay notices Warren talking with Kaya intently.
LULA
All stories are whole stories. All
of 'em. Our whole story... nothing
but change. How could things go on
like that forever? Huh?
Lula gets Clay's attention back.
LULA (cont'd)
Except I do go on as I do. Apples
and long walks with deathless
intelligent lovers. But you mix it
up. Look out the window, all the
time. Turning pages. Change
change change. Till, shit, I don't
know you. Wouldn't, for that
matter. You're too serious. I bet
you're even too serious to be
psychoanalyzed. Like all those
Jewish poets from Yonkers, who
leave their mothers looking for
other mothers, or others' mothers,
on whose baggy tits they lay their
fumbling heads. Their poems are
always funny, and all about sex.
CLAY
They sound great. Like movies.
LULA
But you change.
(blankly)
And things work on you till you
hate them.
62.
More people gather at a modest stage and stare at them.
CLAY
Damn. All these people, so
suddenly. They must all come from
the same place.
LULA
Right. That they do.
CLAY
You don't know shit about them.
LULA
Yeah. About them more than I know

about you. Do they frighten you?
CLAY
Frighten me? Why should they
frighten me?
LULA
(whispers)
‘Cause even with all of them,
you're an escaped black.
An icy stare from Clay.
The Host grabs Clay away.
He scales a modest platform -- He grabs the mic.
Overlooks the concerned crowd.
CLAY
What a night, huh?
(silence)
A round of applause for our man of
the hour... Warren!
Enthusiastic APPLAUSE.
CLAY (cont'd)
Sometimes life comes at you fast.
Change happens fast. But we're
nothing if not adaptable people, am
I right?
(audience agrees)
We survey the landscape of our
lives, take stock of what's there.
We ask, 'What can I make of this
mess?' Then look inside... See
what's here.
63.
Lula watches, touched.
CLAY (cont'd)
With this city changing... these
boroughs changing, studio
apartments for three g's, prices
that make your eyes water...
Driving us further and further
out... This man, this titan among
us, dared to look inward, drew out
the best from the depths of his
soul. But he didn't stop there.
He brings out the best in all of
us. He's my friend... No, my
brother... Warren Enright.

CLAPPING.
CLAY (cont'd)
Let's get him...
CLAY (cont'd) PARTY PEOPLE

...in, right! ...in, right!
Clay makes his descent, Warren rises to the stage.
They embrace.
WARREN
This is why, Clay.
(into mic)
Isn't this all so magnificent?
Aren't you all wonderful?
Clay weaves through the crowd motivated. He sees:
Kaya – eyeing him with acknowledgement, encouragement.
WARREN (cont'd)
Put on these damn fine clothes to
come out here for me? Who am I
kiddin', ya'll always look good.
The crowd LAUGHS.
Clay settles behind Lula again.
LULA
Wow. Maybe I misjudged you.
WARREN
(into mic)
I see you, all of you.
(MORE)
64.
WARREN (cont'd)
But in all seriousness, when I
chose to run for city council...
(MOS)
CLOSE ON CLAY – EVERYTHING SLOWS DOWN.
HE SCANS THE CROWD - WARREN ON STAGE - THEN -
Rips Lula's purse and dashes away!
She pursues him through astonished partygoers.
WARREN (cont'd)
Got people running to the polls
already!

LAUGHTER.
Kaya embarrassed.
25 INT. UPSCALE HARLEM CONDO - ELEVATOR - NIGHT 25
Frantic, Clay presses the button - Nothing.
He sprints to the staircase.
26 INT. UPSCALE HARLEM CONDO - STAIRS - NIGHT 26
He races down.
27 EXT. HARLEM STREETS - NIGHT 27
Clay rounds a corner - Lula appears behind him.
LULA
Stop! Stop!
TWO POLICE OFFICERS notice her.
LULA (cont'd)
Police! Help me!
The Officers spring into action.
LULA (cont'd)
Him, that man! He took my purse!
A CHASE
The Police intercept Clay and PIN HIM DOWN.

65.
The purse falls near his face in a puddle of water.
Lula's FOOT steps in.
She kneels and retrieves the purse.
Lula enjoys Clay getting cuffed.
Clay drowns in the puddle, struggles to catch his breath.
28 INT. NYPD STATION - CELL - NIGHT 28
Clay sits against a cinder block wall, on high alert.

OLD JOHN (the same actor as Dr. John) paces.
He stops and fixes his eyes on Clay, leans in.
OLD JOHN
What do you seek, young man?
Clay averts his eyes.
OLD JOHN (cont'd)

You.
Clay quizzical...
OLD JOHN (cont'd)

I'm speaking to you.
CLAY
Don't I know you?
A beat.
OLD JOHN
I asked, what is it that you seek?
CLAY
I thought I recognized, I just... I
didn't know if you were talking to
me or --
OLD JOHN
That's not the question at hand.
CLAY
So, what, then...?
OLD JOHN
You don't understand, do you?
66.
CLAY
You haven't said anything.
OLD JOHN
Are you blind to the reality that
surrounds you?
CLAY
Sir, I --
OLD JOHN
You think you're better than us?
CLAY
What? No.

OLD JOHN
Tight ass tailored suit doesn't
quite fit anymore, does it?
Clay checks his clothes.
OLD JOHN (cont'd)

Did they rough you up? Kick you
around? Drag you across the
concrete?
CLAY
I fell.
OLD JOHN
You think your plight is unique?
Hmph... You have no idea.
He addresses OTHER MEN, then turns back to Clay.
OLD JOHN (cont'd)

From whence do you come?
CLAY
From whence?
Old John quickly turns hood --
OLD JOHN
Where the hell you from?
CLAY
I'm from here. I'm from this city.
OLD JOHN
None of us are truly from here. We
don't belong.
(MORE)
67.
OLD JOHN (cont'd)

Every man in this cell, captive to
circumstances set in motion by the
cruelty of universal law. The
conditions we've endured, our
parents, our grandparents... All
interwoven, cause and effect,
leading to this place.
CLAY
So you're trying to tell me... it's
not my fault? Not my
responsibility to pull myself --
OLD JOHN
Were your rearing conditions

favorable?
CLAY
What?
OLD JOHN
Your parents. Both present?
Raised you up well?
CLAY
Well... yeah.
OLD JOHN
Yet --
(pregnant pause)
Here you sit. Amongst the
scoundrels, rogues, degenerates,
deviants, delinquents, outlaws,
crooks, thugs, hooligans --
(leans in)
And you.
A heavy beat.
OLD JOHN (cont'd)

Why?
All eyes on Clay.
OLD JOHN (cont'd)

Is it the oppressor?
CLAY
I don't --
OLD JOHN
The white man!
Clay flinches. Old John squints at him.

68.
CLAY
No. A woman.
OLD JOHN
A white wo-man.
Clay drops his head.
29 INT. NYPD STATION - DESK - NIGHT 29
OFFICERS surround Lula, her words captivate.
LULA
I mean what's a girl to do walking

around this city?
OFFICER 1
We're always here for you. No
matter what. Always.
LULA
You guys should come to my play...
(thinks)
It's about the complexities and
depth of lying. Like what's lying
and what's truth. If sooo many
people believe something does that
make it true? What constitutes
this ever evolving word.
OFFICER 1
Well, I think truth is truth...
LULA
Is it though?
OFFICER 2
We're gonna need you to fill out
this incident report so we can
properly book your assailant.
LULA
Assailant?
OFFICER 2
Um... yes.
LULA
He's no assailant.
(matter of fact)
He's the love of my life.
Officers - confounded.
69.
OLD JOHN (PRE-LAP)

Ah, the duality of existence...
30 INT. NYPD STATION - CELL - NIGHT 30
A flickering light bulb casts strange shadows.
Clay looks back to Old John.
OLD JOHN
...Dr. W.E.B. Du Bois... Double
Consciousness - the struggle of
living in two worlds, the African
and the American. And now you find

yourself torn between desire and
duty, entrapped by the very chains
you sought to break. Beware, my
boy, for that is a far graver fate.
Clay sees Old John has a faded tattoo on his forearm --
A ship! named 'THE DUTCHMAN'.
CLAY
What's that on your arm?
OLD JOHN
A piece of my past.
CLAY
And what does it signify?
A spooky beat.
OLD JOHN
Ever heard the legend of the
Dutchman?
CLAY
What legend?
OLD JOHN
The Flying Dutchman... was a sea
captain, a man damned for his
arrogance, doomed to sail the seas
for eternity, bound to the
relentless tides until a love, pure
and steadfast, might absolve him
every seven years. How long have
you been with your woman?
A long beat.
70.
CLAY
Going on... seven years.
OLD JOHN
Time's a fickle thing. One full
rotation of the sun to root your
soul to hers, to elicit a
confession of an enduring love.
A love potent enough to quiver the
heavens and dismantle your curse.
But if you fail, you're trapped.
A perpetual cycle of yearning,
desperation... and defeat.
CLAY

Curse? There's no curse on me.
OLD JOHN
Fail, and you're adrift, sailing
your own wretched sea... forever.
CLAY
Forever? What do you mean by that?
KLINK KLINK KLINK
OFFICER 2 points his stick to Clay.
OFFICER 2
Let's go.
Clay doesn't move...
OFFICER 2 (cont'd)
You, come on!
CLAY
(to John)
What did you say? About my fate?
The dawn? I have until dawn?
Clay stands...
OLD JOHN
It's time. It's your time. But
watch ye therefore: for ye know not
when the master of the house
cometh, at even, or at midnight, or
at the cock crowing, or in the
morning...
The Officer leads Clay out.

71.
OFFICER 2
I said bring your ass!
OLD JOHN
But I'll be there to protect you.
That's a promise, man of clay.
Clay is lead away, as the the cell doors SLAM SHUT...
31 EXT. NYPD STATION - NIGHT 31
Clay's hands tremble as they tie his tie.
He sees - Kaya! and he goes to her.

CLAY
You bailed me out?
KAYA
No, I was just coming to bail you
out. How did you get out?
CLAY
(to self)
She must not have pressed charges --
KAYA
You snatchin' purses now?
CLAY
No.
KAYA
Everyone saw you.
CLAY
It's complicated. Beyond
complicated. This whole thing is --
KAYA
Don't. I already know. Warren
told me. Let's get away from here.
Talk about it at my place.
CLAY
Our place?
KAYA
Maybe we can have that conversation
too. But right now, we gotta deal
with this. You were just arrested
in front of all of New Harlem, it
could really hurt you... and me...
72.
A distant siren.
CLAY
Is it over? I just need you to --
KAYA
Clay, damn -- I mean -- everyone
knows, you never take the apple.
Just meet me at the house.
CLAY
What did you say?
Kaya leaves.

ACROSS THE STREET IN THE ALLEY
Clay goes in the opposite direction as Kaya.
We follow him at a distance.
32 EXT. NYC STREET - LATE NIGHT 32
WIND HOWLS Clay trudges down the eerie empty sidewalk.
HEAVY RAIN.
Clay is a disheveled mess.
He retrieves his WATCH from the police baggie.
It slips, falls to the cement. CRACK --
He picks it up, screen cracked, hands - still.
CLAY
(to a stranger)
Do you have the --
The stranger ignores him.
CLAY (cont'd)
I'm not... Look, I don't want
anything. I'm just --
Stranger walks off.
THUNDER! LIGHTNING!
Clay strides off.

73.
LULA (O.S.)
(faint echo)
Love me. I love you. I love me.
Clay WHIPS AROUND!
He shuffles, scans.
COLLIDES with a HOMELESS BLACK MAN (same actor as John).
Clay staggers.
CLAY
My apologies.

The Homeless Black Man glares back - rage.
CLAY (cont'd)
Wait, aren't you...? How...?
HOMELESS BLACK MAN

Leave me alone please.
CLAY
Forget it... Sir. Brotha. Do you
have the time?
HOMELESS BLACK MAN

Ain't no time!
CLAY
What time is it? What time is it!?
Frustrated, Clay jogs across the street and discovers --
He's at the entrance to Dr. John's office. -– WTF?
He checks the door... it's open.
He goes inside.
33 INT. HALLWAY - MOMENTS LATER 33
Clay walks towards Dr. John's suite.
CLAY'S POV: The hallway walls seem to stretch infinitely.
They narrow as Clay approaches Dr. John's door.
He opens it, and steps in to --

74.
34 INT. THEATER - MOMENTS LATER 34
The couch and chairs from Dr. John's office are now props on
stage, under the eerie glow of a spotlight. No walls.
Clay stares –- WTF?
He slowly approaches "the set."
CLAY'S POV: A teak, geometric bookshelf with --
"The Interpretation of Dreams"
"Homer's Odyssey"

"The Man Who Mistook His Wife for a Hat" and --
The bowl of APPLES on the coffee table - completely rotted.
Clay approaches the shadow-framed photo of Dr. John with

Amiri Baraka and a signed copy of his play "Dutchman" -- NOW
FLOATING IN MID-AIR.
CLOSE ON THE PHOTO: Instead of Amiri Baraka, Dr. John is

shaking hands with -- CLAY.
Clay grips the frame with two hands --
SMASHES IT TO THE GROUND!!
He reaches for the play through the broken glass.
Cuts himself. BLOOD.
He grabs the play, opens it.
CLAY'S POV: His bloody fingers flip pages.
SCAN TEXT ON PAGE:
"Opening scene is a man sitting in a subway seat..."
"The man is sitting alone..."
Clay looks up. He's now sitting back on the --
SUBWAY TRAIN
SCAN TEXT ON PAGE:
"Then he sees a woman hanging there beside him..."
"He looks up into her face, smiling quizzically..."

75.
"LULA: I'm going to sit down... Ok?"
Clay turns to find Lula next to him.
LULA
I'm going to sit down... Ok?
SCAN TEXT ON PAGE:
"CLAY: Sure."
CLAY
Sure.
CLAY'S POV: The play book is clutched in Clay's bloody hand.

The blood stain spreads.
LULA
You look like death eating a soda
cracker.
Clay rapidly flips through the pages to the end --
SCAN TEXT ON PAGE –- Lula's voice echoes.
"LULA: You're afraid of white people...!"
"Clay slaps her as hard as he can, across the mouth..."
"LULA: You fool...!"
"CLAY: Crazy niggers turning their back on sanity..."
"LULA: Sorry, baby, I don't think we could make it..."
LULA (cont'd)
Sorry, baby, I don't think we could
make it.
TEXT ON PAGE -- EXTREME CLOSE UP ON --
"...the girl brings up a small knife and plunges it into

CLAY'S chest. Twice."
BACK ON Clay - contemplates, horrified, imagines:
QUICK CUT: Lula stabs Clay - TWICE!
BACK ON Clay in...

76.
35 INT. EXHALE THERAPY - NIGHT 35
The real office now pristine, untouched, Clay jumps up from

the couch, and stumbles out into the...
HALLWAY
Clay, frantic, runs down the long corridor to...
36 EXT. NYC STREET - LATE NIGHT - CONTINUOUS 36
Clay bursts outside.
He stumbles down the sidewalk completely unnerved.

FOOTSTEPS -- is he being followed?
He guns it!
A Yellow Cab appears and Clay lunges to get in.
The Cab Driver from earlier PEELS away.
Another cab - Clay FLAILS -
It's the same Cab Driver – He speeds up.
A TSUNAMI of puddle water.
Clay flounders.
CLAY'S POV: A rogue wave in the sea.
BACK TO CLAY - appears as if he's drowning on the cement!
Clay gathers himself and faces --
THE SUBWAY ENTRANCE... looms
He peers down the stairs - a life-or-death choice.
QUICK FLASHES OF MEMORIES FROM THE NIGHT --
Clay gathers his strength and chooses to go...
Down the stairs.
THEATRICAL
CURTAIN CLOSES:
IN/OUT:
77.
"ACT 3
THE BEAST MUST DIE"
THEATRICAL
CURTAIN OPENS:
37 INT. SUBWAY STATION 2 - MOMENTS LATER 37
Clay barrels down the stairs - wet.
Swipes his MetroCard.
No luck.

He pushes through to the other side.
38 INT. SUBWAY STATION 2 - PLATFORM - CONTINUOUS 38
Clay settles.
DISTANT SOUND FX!
He catches a glimpse of something that vanishes behind a

column.
Clay creeps... checks his back... surroundings.
TWO OFFICERS arrive on the platform.
Clay hides.
The Officers walk right past him and -- SCREECH!
A train whizzes by! WHOOOOSH.
A faint SCREAM.
Clay paranoid, determined, refuses to look.
DISTANT RUMBLE.
The lights appear down the tunnel.
Clay leans over, anticipating its arrival.
The sound persists, but the light doesn't get closer - weird.
He waits.
And waits.
VROOOM!!!! - The train arrives!

78.
Clay hugs the air - welcoming what's next.
PING PING - the doors open.
Clay steps on, but catches a glimpse of a figure --
Is that Lula?!
39 INT. SUBWAY - CONTINUOUS 39
He scans but sees nothing.
He finds an empty corner and collapses into a seat.

The train GROWLS into motion.
Finally, a moment of rest.
Clay watches the door connecting the cars.
A long beat.
That door stays shut.
He folds his arms, struggles to stay alert.
He looks out of it into the dark underground.
A mesmerizing rhythm, whoosh, whoosh, whoosh, whoo...
The dreamlike motion of the passing lights TRANSFORM into

WAVES CRASHING IN THE SEA.
40 EXT. VESSEL - CONTINUOUS 40
Clay's on a slave-ship!
Waves in a violent storm.
The ship lurches, tilts, he fights for control!
CRASH! Clay plummets into the raging sea.
His arms flail - he can't swim!...

25 Clay drowns. 25
BACK TO THE SUBWAY
Clay startles, awake!
He sees his reflection - Lula sits beside him!

79.
She's holding his hand...
LULA
Shhhh. Relax, go back to sleep.
I was dreaming. Dreaming with you.
He glances around the car, it's only them.
LULA (cont'd)
Let's go back. Let's get back into
the beautiful dream.
CLAY
Let go of me. Get off of me.

Clay tries to pull away.
LULA
Hold me. Hold me.
CLAY
What do you want? What do you want
from me?
LULA
I saved your life. Said I didn't
wanna press charges. What they do
to people like you? Until people
like me step in? I'm a hero.
She rests her head on his shoulder.
LULA (cont'd)
I am your hero, Clay. And you
gotta thank me for that. You keep
me alive and I saved your life!
CLAY
Would you stop! Stop with all the
madness! Please.
LULA
Who are you to judge who's mad?
CLAY
OK. OK, let's start over. It's a
new day. A new train. Why me?
Lula LAUGHS!
LULA
‘Cause you crawled through the wire
and made tracks to my side.
80.
CLAY
What? Wire?
LULA
Don't they have wire around
plantations?
CLAY
Plantations didn't have any wire.
Several PEOPLE enter the train car from the back.
LULA
You're right, they were big open
whitewashed places like heaven, and

everybody on 'em was grooved to be
there.
CLAY
Stop talking. Please, right now,
stop talking.
LULA
Just strummin' and hummin' all day.
CLAY
Now, stop it!
LULA
What are you flippin' out for,
without that you would've never had
gospel. Never had the blues.
That's how the blues was born.
That's how the blues was born.
CLAY
You don't know shit!
Lula SINGS THE BLUES as she throws things out of her bag.
Twists - wiggles, up and down the aisle.
Bumps into PASSENGERS.
Trips over their feet.
Runs into a WHITE CONSTRUCTION MAN.
LULA
Outta me fuckin' way!
He does nothing.
She sits down on a WHITE WOMAN on her cell!

81.
LULA (cont'd)
Move! Don't you know I'm singing
the gotdamn blues!
Lula gets up, the White Woman continues typing, unfazed.
LULA (cont'd)
AND THAT'S HOW THE BLUES WAS BORN.
Yes. Yes. Son of a bitch, get out
of the way. Yes. Quack. Yes.
Yes. AND THAT'S HOW THE BLUES WAS
BORN.
Clay squeezes his eyes closed.

LULA (CONT'D) (cont'd)
Ten little blacks sitting on a
limb, but none of them ever looked
like him.
She points to Clay.
Grabs him to dance!
LULA (cont'd)
AND THAT'S HOW THE BLUES WAS BORN.
Yes. Come on, Clay. Let's do the
nasty. Let me pop it on you again.
Clay refuses - embarrassed, disoriented.
CLAY
What the hell did you put in those
apples?
LULA
Mirror, mirror on the wall, who's
the fairest one of all? Snow
White, baby, and don’t you forget
it.
Lula grabs for his hands!
LULA (cont'd)
Come on, Clay. Let's get freaky on
the train. The nasty. The nasty.
Do the gritty grind, like your old
mama.
CLAY
Talk about my fuckin' mother again.
82.
LULA
Grind till you lose your mind.
Shake it, shake it, shake it, shake
it! OOOOweeee! Come on, Clay.
Let's do the body roll, let's do
the box, Roddy Rich bitch!
CLAY
What the actual fuck is wrong with
you?
Lula gets agitated:
LULA
Come on, Clay... let's do the

thing. Uhh! Uhh! Clay! Clay!
You middle-class black bastard.
Forget your social-working mother
for a few seconds and let's get
lit. Clay, you liver-lipped white
man. You would-be Christian. You
ain't no black man, you're just a
dirty white man. Get up, Clay.
Dance with me, Clay.
Clay's SHIFTS to tough street swag:
CLAY
Lula! Calm yo’ ass down, now.
LULA
Oh, you talkin’ like a real brotha
now, huh?
CLAY
Stop. I am not playin’ with you.
LULA
I’m not playin’ with you. I’m not
playin’ with you. That’s all you
know... shaking that wildroot cream-
oil on your knotty head, jackets
buttoning up to your chin, so full
of white man's words Christ, God,
get up, and scream at these people.
Like scream meaningless shit in
their hopeless faces.
She SCREAMS at a passenger.
Another walks through unfazed -- this is nothing for NYC.

83.
LULA (cont'd)
Aaaahh!
(dancing)
Expanding smells of silence. Gravy
snot whistling like sea birds.
Clay. Clay, you got to break out.
Don't sit there dying the way they
want you to die. Getup.
CLAY
Would you please sit the fuck down!
(restraining her)
Sit down, goddamn it!
LULA

(gets away)
Screw yourself, Uncle Tom.
Lula jigs.
LULA (cont'd)
There is Uncle Tom... I mean, Uncle
Thomas Woolly-Head. With old white
matted mane. He hobbles on his
wooden cane. Old Tom. Old Tom.
Let the white man hump his ol'
mama, and he jes' shuffle off in
the woods and hide his gentle gray
head. Ol' Thomas Woolly-Head.
Passengers LAUGH.
A DRUNK joins Lula in her dance, SINGS!
Clay gets up and scans the faces of the other riders.
THEY ALL LOOK LIKE CLAY – WTF??
CLAY
Lula! Lula!
She dances still SHOUTING AS LOUD AS SHE CAN.
The passengers are back, but the Drunk JOINS:
DRUNK
HEY! YEAH! TELL HIM!
CLAY
Lula... you dumb bitch. Why don't
you stop it?
He grabs her!
84.
LULA
Let me go! You black son of a
bitch.
(struggles)
Let me go! Help!
Clay drags Lula to her seat!
The Drunk grabs Clay.
They wrestle!
Clay blasts him right in the nose, drops him to the floor.
LULA (cont'd)

Aaaahh!
Clay throws Lula into her seat -- WHAM! --
CLAY
Now you shut the hell up. Just
shut up. You don't know shit. So
keep your dumb-ass mouth closed.
LULA
You're afraid of white people. And
your father was. Uncle Tom!
Clay SLAPS her - WHAM!
Lula’s head bangs against the seat.
She raises again, Clay SLAPS HER AGAIN!!
Silence.
CLAY
Now shut up! It's my turn.
He faces the passengers who sit on the edge of their seats.
The Drunk perks up for a second - then shuts up too.
Clay looks around threatening.
Passengers go back to reading or staring out the windows - as

if choreographed...
CLAY (cont'd)
Shit, you don't have any sense,
Lula, feelings neither. I could
murder you now. Such a tiny ugly
throat.
(MORE)
85.
CLAY (cont'd)
I could squeeze it flat, and, watch
you turn blue. For dull kicks.
Lula shrinks into her seat.
CLAY (cont'd)
And all these weak-faced white
people squatting around here,
staring over their papers at me.
Murder them too. Even if they
expected it. That man there --
He points to a WELL-DRESSED MAN who's not concerned.
CLAY (cont'd)

I could rip that Times right out of
his hand, as skinny and middle-
classed as I am, I could rip that
paper out of his hand and just as
easily rip out his throat. It
takes no great effort: For what? To
kill you soft idiots? You don't
understand anything but luxury.
LULA
You fool!
Clay slams Lula back against the seat! WHAM!!
CLAY
I’m not telling you again, Tallulah
Bankhead! Luxury. In your face
and your fingers. You telling me
what I ought to do. Well, don't!
Don't you tell me anything! If I'm
a middle-class fake white man...
let me be. And let me be in the way
I want. I'll rip your lousy
breasts off! Let me be who I feel
like being. Uncle Tom. Thomas.
Whoever. It's none of your fucking
business. You don't know anything
except what's there for you to see.
An act. Lies. Device. Not the
pure heart, the pumping black
heart. You don't ever know that.
And I sit here in this buttoned-up
suit to keep myself from cutting
all your throats. I mean wantonly.
You great liberated whore! You
fuck some black man and right away
you're an expert on black people.
What a bunch of shit that is.
(MORE)
86.
CLAY (cont'd)
The only thing you know is that you
come if he bangs you hard enough.
And that's all.
Lula moves but Clay looms...
Lula sinks back into the safety of her seat.
CLAY (cont'd)
Look at you, think you were moving,
tryna shake somethin'? Shit, you
don't even know how. You don't
know how. That ol’ bullshit you
do, rolling your ass like an
elephant. That's not my kind of

move. Shakin' your ass is not
Queens. It's in dark places with
basement parties and black sweat.
That kinda dance hates you... Old
bald-headed four-eyed white boys
popping their fingers... and don't
know yet what they're doing.
Clay confronts each passenger, but they don't see him.
CLAY (cont'd)
And I’m the great would-be poet.
Yes. That's right! Poet. Some
kind of bastard literature... all
it needs is a simple knife thrust.
Just let me bleed you, you loud
whore, and one poem vanished.
Clay - dominates - addresses everyone.
CLAY (cont'd)
A whole people of neurotics,
struggling to keep from being sane.
And the only thing that would cure
the neurosis would be your murder.
Simple as that. I mean if I
murdered you, then other white
people would begin to understand
me. You understand? No I guess
not.
(one finger)
Money.
(two fingers)
Power.
(three fingers)
Luxury. Like that. All of them.
Crazy niggas turning their backs on
sanity.
(MORE)
87.
CLAY (cont'd)
When all it needs is that simple
act. Murder. Just murder! Would
make us all sane.
Clay stumbles, almost collapses onto the floor.
LULA
Baby are you OK?
CLAY
(steadies)
Fuck off of me. Baby? I am not
your fucking baby! Shit. But who
needs it? I’d rather be a fool.
Insane.

Clay leans into Lula again.
CLAY (cont'd)
And you listen to me... You tell
this to your father, who’s probably
the kind of man who needs to know
at once. So he can plan ahead.
Tell him not to preach so much
rationalism and cold logic to these
niggas. Let them alone. Let them
sing curses at you in code and see
your filth as simple lack of style.
Don't make the mistake, through
some irresponsible surge of
Christian charity, of talking too
much about the advantages of
Western rationalism, or the great
intellectual legacy of the white
man, or maybe they'll begin to
listen. And then, maybe one day,
you'll find they actually do
understand exactly what you are
talking about, all these fantasy
people. All these blues people.
And on that day, as sure as shit,
when you really believe you can
accept them into your fold, as half-
white trusties, with no more blues,
except the very old ones, and not a
watermelon in sight, the great
missionary heart will have
triumphed, and all of those ex-
coons will be stand-up Western men,
with eyes for clean hard useful
lives, sober, pious and sane, and
they'll murder you.
Clay SLAPS THE WINDOW next to Lula's face. She jumps!

88.
CLAY (cont'd)
They'll murder you, and have very
rational explanations. Very much
like your own. They'll cut your
throats, and drag you out to the
edge of your cities so the flesh
can fall away from your bones...
LULA
I’ve heard enough.
CLAY
I bet you have. I'm almost at my
stop. And I'm getting the fuck off
this train.

(stands)
Do what you gotta do with your
twisted, fucked up purse. I'll
take my chances in court. I'm done
being a hostage to your insanity.
LULA
No. No you're not. It's eternity,
remember. Remember Clay?
Lula steps after him.
LULA (cont'd)
Really? You think you can just
walk away? From me? Men like you
beg for a woman like me! You dare
walk away! Get back here!
Wild and desperate she reaches into her bag.
LULA (cont'd)
So be it!
CLAY'S POV: Lula's eyes turn red.
LULA (cont'd)
make it.
She lunges towards Clay with a KNIFE.
LULA (cont'd)
Aaaahhh!
-- Clay catches the tip.
LULA (cont'd)
Sorry is right.
89.
Clay turns to the passengers.
CLAY
Ah! What are you doi --
Clay and Lula struggle.
LULA
Get this man off me! Hurry, now!
Lula SCREAMS - Passengers rush to her aid - the Drunk, the

White Man, pull Clay away.
Outnumbered and wounded, Clay loses ground.

Clay SHOULDER CHECKS the Drunk,
Lula SCREAMS and stabs the knife at Clay!
LULA (cont'd)
How dare you!
But Clay fights back, shakes off another passenger and slams
the White Man into the subway door.
Clay and Lula lock in this deadly dance.
LULA (cont'd)
Look at me! Look at me!
RAGE!
LULA (cont'd)
How dare you deny me!
The TRAIN TURNS A BUMPY CORNER.
LIGHTS FLICKER!
Lula SCREAMS -- SCREECH!!
LIGHTS FLICKER!
BLACK OUT
Quiet...
WHINE, steel on steel - the train GRINDS to a halt.
Darkness. Silence.
The lights flicker back on.
Clay's harsh face - sweaty - in shock.

90.
He checks his body, blood seeps from his stomach.
He looks to the seat beside him --
-- There sits Lula... A warped smile on her face.
LULA (cont'd)
I thought you loved me. Everyone
loves me. I just wanted to hear
you say it. Why didn't you just
say it?
Her head drops.
See the Knife she wielded punctured into her side.

Passengers sprawled unconscious around her.
Clay is in the center of it all, frozen. PING PING.
The SUBWAY CAR DOOR slides open.
An OLD BLACK CONDUCTOR (John) comes in, doing a sort of

restrained soft shoe, half mumbles the words of some song.
His eyes meet Clay's and freeze.
Clay is struck, this is definitely the man he's been seeing.

Old John is in a uniform now. Fucking hell.
Old John scans the scene... stern disappointment.
OLD JOHN CONDUCTOR

Damn, young man.
CLAY
I - I didn't. I didn't --
The subway doors - CHIME - slide open ominously.
Clay watches as no one enters.
The doors are about to close when a HAND stops them.
The doors creep back open and two Police Officers enter...
Clay slowly raises his hands in surrender - defeated -

broken.
LULA
(weak)
Help me.
The officers quickly assess the scene. Decision made --

91.
SUBWAY POLICE 1
Stay where you are! Don't move!
Don't you fuckin' move!
One officer rushes to Lula's aid. The other cuffs Clay.
SUBWAY POLICE 1 (cont'd)

We're gonna get you help. Did he
do this?
(to Clay)
Did you do this?!
Clay's face is blank. There's nothing he can say.
The Officers scream into their radio for back-up.

SUBWAY POLICE 2
Answer the officer!
He faces Old John Conductor:

Did you see what happened here?
Old John Conductor remains silent. He just glares at the

Police with no fear. He's already aware of the outcome.

Answer me!
Silence.
VOICE
I saw it.
All heads swing towards --
Corner of the Car - A BLACK WOMAN sits, gaze steady.
BLACK WOMAN PASSENGER

I saw everything.
SUBWAY POLICE 2
You saw everything?
Clay, bound by the handcuffs, held firm by the officers.

Why you arresting him?
(points to Lula)
She attacked him.
Both Police check with each other. Nod.

92.
SUBWAY POLICE 1
We'll take your statement down at
the station.

(rises)
But... she attacked him.
SUBWAY POLICE 1
Sit down. This is an active crime
scene and we're taking this man
down to the station.

But why, he was the victim of --

SUBWAY POLICE 2
Sit, down!
The Woman flinches, stunned.
Her gaze meets Clay's who shakes his head, no use.
Four more SUBWAY POLICE board in military gear!
SUBWAY POLICE 1
Take him away.
They lead Clay away until --
LULA (O.S.)
...how dare you think you can walk
away. Get back here!
Clay and the Officers halt, turn towards the source.
LULA (O.S.) (cont'd)

All right!
The Black Woman, HOLDS HER IPHONE HIGH PLAYING BACK A VIDEO!
ON THE PHONE SCREEN
Lula lunges towards Clay with the knife.
LULA (cont'd)
make it... Aaaahhh!
CLAY
What the f --
LULA
Sorry is right.
93.
Clay looks at the other passengers.
CLAY
Ah! What are you doi --
Lula and Clay struggle.
LULA
Get this man off me! Hurry, now!
BACK TO SCENE
Everyone is frozen in silence.
Clay's eyes meets the Black Woman's.

He nods at her -- sweaty, tearful, grateful.
LOOKS DOWN: An APPLE rolls in the aisle between his feet.
JUMP TO
Medics carry Lula's limp body away.
The police officers stand in stunned silence.
SUBWAY POLICE 1
Oh. Umm...
Old John Conductor offers Clay a wink and grin...
Then saunters to the back of the car and through the doors...
Clay watches him go in wonder and, exits onto the...
PLATFORM
He stops, looks over and notices...
There is no car - no John – only an empty tunnel.
41 INT. SUBWAY STATION - MOMENTS LATER 41
Clay, exhausted, walks up the stairs...
And more stairs...
And more stairs... WTF?
As if he's on an M.C. Escher staircase...
A BLAZE OF LIGHT FROM ABOVE gives him hope.

94.
42 EXT. NEW YORK CITY - STREET - EARLY MORNING 42
Clay arrives above ground.
WIDE ON Clay, solitary, stands taking in the dawn.
Clay emotional.
With measured strides, Clay navigates the block...
He raises his chin to the sky...
Closes his eyes, basks in the warm light.
He walks... Past plastered advertisements of white women

marketing various products.
He double takes at a poster for a play - A modern rendition

of Amiri Baraka's historic play, THE DUTCHMAN - A provocative
image of a white woman seated on a black man's lap in a New
York City Subway Car.
He contemplates.
43 EXT. THE BROWNSTONE - MORNING 43
A place we've seen from the iPhoto memory, now renovated.
Clay trudges up the stairs towards the porch...
Reaches out to knock.
The door swings open, revealing Kaya.
A pregnant beat.
KAYA
You gonna come in?
CLAY
Yes please.
As Clay steps inside...
FADE TO BLACK.

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The Dutchman - Screenplay - 8.7.23

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Sides by Breakdown Services - Actors Access

Based on the play

Cinemation Studios, Inc.

A PAINTING of a 16th century vessel lost in a storm.

TEXT FADE IN/OUT:

The Flying Dutchman was a sea captain who struggled to round

He swore that he would succeed even if he had to sail until

The Devil heard his oath, and took him up on it...

The Dutchman was condemned to stay at sea forever.

Sides by Breakdown Services - Actors Access

THE PAINTING BURNS

1 INT. EXHALE THERAPY - DAY 1

REVEAL the same tumultuous canvas of J.M.W. Turner's historic

CLOSE UP ON CLAY, a traditional black man in crisis, stuck

CLAY'S POV: A teak, geometric bookshelf with --

"The Interpretation of Dreams"

"The Doors of Perception"

Clay sits next to KAYA, his more free spirited, modern,

A stately, black man, DR. JOHN ELLIS, 70s, an oracle of human

Clay sees a shadow-framed photo of Dr. John with Amiri Baraka

Sides by Breakdown Services - Actors Access

Dr. John follows Clay's eyes to the wall - Salvador Dalí's

DR. JOHN (cont'd)

Clay snaps back.

Sides by Breakdown Services - Actors Access

QUICK CUT: Kaya passionate with another MAN.

Sides by Breakdown Services - Actors Access

Everyone takes a breath.

DR. JOHN (cont'd)

Sides by Breakdown Services - Actors Access

Clay and Kaya sit minds blown.

DR. JOHN (cont'd)

Clay and Kaya get up to leave.

DR. JOHN (cont'd)

2B Clay sees a bowl of APPLES, considers... takes one. 2B

2 EXT. EXHALE THERAPY - AFTERNOON - MOMENTS LATER 2

Kaya and Clay exit.

Clay walks off the other direction - APPLE IN HAND.

Sides by Breakdown Services - Actors Access

A sea of cubicles and white faces.

Clay sits in a fancy corner office. The APPLE on his desk.

INSERT: A "Diversity and Inclusion" poster.

4 INT. CLAY'S OFFICE - LATER 4

Clay banters with TWO WHITE COLLEAGUES MOS. Code switching.

On and on and on... he just nods to them and forces a grin.

Behind them, FOCUS on TV, a weather report predicts a STORM.

Clay packs up his office.

He tosses the APPLE in the trash on his way out.

5 EXT. NEW YORK CITY - STREET - EVENING 5

Clay strides down the busy street.

His suit is pristine. He taps the white AirPod in his ear.

Sides by Breakdown Services - Actors Access

Clay descends into the mouth of the subway.

He ends the call, plunging into the city's underbelly.

6 INT. SUBWAY STATION - EVENING 6

Clay swipes his metro card and steps onto --

7 INT. NYC SUBWAY - PLATFORM - NIGHT 7