TILL

Written by

Michael Reilly & Keith Beauchamp and Chinonye Chukwu

Production Draft (white): July 29, 2021

Blue Draft: August 28, 2021
Pink Draft: August 29, 2021
 UNDER BLACK, the opening doo-wop MELODY of The Moonglows’
song, “Sincerely”, is heard through the RADIO...

FADE IN:

1 INT. MAMIE’S CAR - DAY (TRAVELING) 1

The face of 33-year-old MAMIE TILL BRADLEY fills the SCREEN,

smiling and lip-syncing to the song while driving.

MAMIE
(lip syncing)
Sincerely, oh yes, sincerely...
‘Cause I love you so dearly, please
say you’ll be mine...I’ll do
anything for you, please say you’ll
be mine...

In the passenger seat, 14-year-old EMMETT TILL, is playfully

lip syncing too.

EMMETT
(lip syncing)
Oh Lord, won’t you tell me why I
love that girlie so...She doesn’t
want me...But I’ll never, never,
never, never let her go!

The two are having a ball.

Soon, Emmett performs solo while Mamie laughs and continues

to drive. As she glances at her son, full of so much joy, her
face quietly falls with serious contemplation...

CUT TO:

2 EXT. DOWNTOWN CHICAGO - DAY 2

Mamie parks amidst a bustling metropolis filled with various

shops and upscale restaurants.

CHYRON: AUGUST, 1955. CHICAGO, ILLINOIS

Emmett haphazardly j-walks between gridlocked taxi cabs, and

weaves between PEDESTRIANS on crowded sidewalks. Mamie trails
behind. They both head towards --
 Pink Rev. (08/29/21) 2.

3 INT. MARSHALL FIELDS DEPARTMENT STORE - DAY 3

Mamie confidently walks past aisles of mostly white, affluent

CUSTOMERS. She has a shoe box under her arm and heads towards
Emmett looking at wallets several yards away.

A white male SECURITY GUARD intercepts Mamie’s path.

SECURITY GUARD
Are you looking for something?

MAMIE
(surprised)
No.

Mamie senses he is not trying to be helpful. She glances at

the sea of white Customers who will not face the same
interrogation.

MAMIE (CONT'D)
I’m just doing a little shopping.

He looks down at Mamie’s box of shoes.

SECURITY GUARD
We also have shoes in the basement.

Mamie’s jaw tightens.

MAMIE
Do your other customers know that
too --

EMMETT
(calls out)
Mama! Which one do you like b-b-
better?

He often stutters on his Bs and Ps.

Mamie gives the Security Guard a final look and speaks with
masked contempt:

MAMIE
Pardon me.

She walks to Emmett with her head held high.

Emmett holds out a wallet to Mamie.

EMMETT
I think I like this one.
 Pink Rev. (08/29/21) 3.

She flips it open to reveal a STOCK PHOTOGRAPH of the white

movie star, HEDY LAMARR. Mamie notices the Security Guard
scowling at them from afar. She subtly obstructs Emmett’s
line of sight so he wouldn’t notice the policing.

MAMIE
Will you really need a wallet while
you’re down there?

EMMETT
Pleeeeease?

Emmett pleads with a goofy, adorable smile. Mamie knows she’s

wrapped around his finger.

4 EXT. MAMIE’S HOUSE - DUSK 4

Mamie parks in front of her home. She lives in a middle-

class, all-Black neighborhood.

5 INT. MAMIE’S HOUSE - LIVING ROOM - NIGHT 5

The TV SCREEN flickers on Emmett’s face, as he mimics the

gestures of LINN BURTON on a COMMERCIAL:

EMMETT LINN BURTON (V.O.)

...If you have your doubts ...If you have your doubts
about American quality ... about American quality ...
then you haven’t been in a then you haven’t been in a
Buick lately... Buick lately...
(punctuates with fist) Own a brand new 1955 Century,
Own a brand new 1955 Century, with soft top for no money
with soft top for no money down. You’ll be the envy of
down. You’ll be the envy of every eye in town.
every eye in town.

Emmett bows to applause by his audience on the couch: ALMA

(50s) and GENE (30s), who has his arm wrapped around Mamie.

ALMA
And you didn’t stutter, not one
time!

Emmett jumps on the couch next to Mamie and stuffs a handful

of popcorn from the bowl into his mouth.

ALMA (CONT'D)
(turning off TV)
Bo, it’s time for you to go to bed -

EMMETT
Aww... --
 Pink Rev. (08/29/21) 4.

ALMA
I don’t want to hear it. You have a
full day of traveling tomorrow.
Now, give me a hug --

He does.

ALMA (CONT'D)
(to Emmett)
I’ll see you when you get back.

He turns to Gene.

EMMETT
G’night, Mr. G!

Emmett gives Gene and Mamie a big hug at the same time, like
a happy family.

EMMETT (CONT'D)
(smiling)
You two don’t get married before I
get back!

GENE
I can’t get married without my best
man!

They share a special handshake. Gene smiles and notices

Mamie’s silence, something’s wrong.

ALMA
Go on to bed, Bo.

Emmett runs upstairs to his room. Alma gets up with her

purse, ready to leave.

ALMA (CONT'D)
You should get some rest too,
Mamie.

Gene and Mamie get up too.

MAMIE
(to Gene)
I’ll call you after Bo gets on the
train.

Gene looks at Mamie one more time before kissing her on the
cheek.
 Pink Rev. (08/29/21) 5.

GENE
Goodnight.
(to Alma)
Mrs. Spearman!

He gives her a hug.

ALMA
Goodnight, Gene.

Gene realizes Alma is waiting for him to leave. He takes a

hint and leaves the house.

Now alone with her daughter:

ALMA (CONT'D)
What’s wrong?

Mamie doesn’t answer at first, but then says what’s been on

her mind:

MAMIE
We’ve never been apart this long.

ALMA
He wants to see his cousins. And
there’s nothing wrong with him
knowing where he comes from --

MAMIE
Chicago is all he needs to know. I
don’t want him seeing himself the
way those people are seen down
there.

ALMA
Those people like me?

MAMIE
Even you left Mississippi, Mama.

Beat.

ALMA
He’s becoming a young man. You have
to let him go.

Mamie doesn’t want to hear it.

MAMIE
I’ll call you tomorrow.

Alma begrudgingly concedes.

 Pink Rev. (08/29/21) 6.

On Mamie, watching Alma leave...

6 INT. EMMETT’S BEDROOM - NIGHT 6

Mamie looks on at a sleeping Emmett in his bed. She walks

over and caresses his face - his fluttering eyelids, plump
cheeks, fuzzy mustache...

As Mamie takes in his features, a protective angst washes

over her.

CUT TO:

7 INT. MAMIE’S BEDROOM - MORNING 7

BEEEP!...BEEEP!...BEEEP!

Mamie jumps up from bed at the sound of the alarm, as if she

suddenly awoke from a bad dream. She takes a beat to gather
her bearings.

8 OMIT 8

9 INT. EMMETT’S BEDROOM - DAY 9

Dizzy Gillespie’s “He Beeped When He Should Have Bopped”

plays on his record player.

Emmett SINGS to the music at the top of his lungs as he:

Puts on his socks.

Adjusts his blazer.

Places his porkpie hat atop his head.

Emmett looks at his reflection in the mirror with approval

and continues singing:

EMMETT
(singing)
“This same ol’ cat jumped right up
on the stand, b-but he couldn’t
seem to dig the b-band...”

He shoves his new wallet into his pant pocket.

KNOCK! KNOCK!
 Pink Rev. (08/29/21) 7.

Emmett opens the door to Mamie with a tie loosened around her
neck. She has knotted a perfect Windsor for Emmett to wear.

MAMIE
I got this ready for you --

Emmett takes Mamie’s hand and twirls her into his room for a
dance.

EMMETT
(singing)
“He thought he was the cream of the
crop, but he b-b-beeped when he
shoulda b-bopped!”

Mamie laughs and lets her son lead.

EMMETT (CONT'D)
(singing)
“At last the leader turned around,
and said: Listen P-pops, you had
better stop. Oh there you go, you
did it again --”

MAMIE EMMETT (CONT'D)

(singing) (singing)
“You just beeped when you “You just b-b-beeped when you
shoulda bopped!” shoulda bopped!”

They laugh and dance and twirl.

MAMIE (CONT'D)
Alright, now. You’re gonna miss
your train.

She removes the tie from her neck and tightens it around
Emmett’s shirt collar. She then turns serious:

MAMIE (CONT'D)
Bo, when you’re down there --

EMMETT
Not again, Mama. I’ve already been
to Mississippi.

MAMIE
Only one time before. And you
started a fight with another little
boy.

EMMETT
He was p-picking on me.
 Pink Rev. (08/29/21) 8.

MAMIE
You’re in the right to stand up for
yourself. But that’s not what I’m
talking about. They have a
different set of rules for Negroes
down there. Are you listening?

EMMETT
Yes...

MAMIE
You’ve got to be extra careful
around white people. You can’t risk
looking at them the wrong way --

EMMETT
I know.

She looks him directly in his eyes.

MAMIE
Emmett. Be small down there.

EMMETT
Like this?

Emmett becomes stilted like Buster Keaton and shuffles

around. Mamie shakes her head and giggles half-heartedly.

10 INT. MAMIE’S BEDROOM - DAY 10

Mamie removes a yellowed envelope from a jewelry box.

She explores the details of the envelope -- US ARMY SEAL AND

ITEM NUMBER -- then dumps the contents into her palm: a
SILVER RING with the inscription “MAY 25, 1943 LT.” Her
expression shows deep reminisce.

She turns around to Emmett.

MAMIE
Instead of your father’s ring, how
about you wear the cufflinks I got
you for Christmas? They’ll look so
handsome on you.

EMMETT
No, Mama. I wanna wear the ring.

He looks at her with pleading eyes. She gives in and

carefully hands the ring to Emmett.

He smiles widely and slides the ring onto his finger.

 Pink Rev. (08/29/21) 9.

MAMIE
Go on downstairs. I need to finish
getting ready myself.

11 EXT. ENGLEWOOD TRAIN STATION - DAY 11

Emmett and Mamie rush through the station to MOSES WRIGHT

(64) and WHEELER PARKER (16), who are waiting at the bottom
steps of the platform.

EMMETT
Uncle Mose! Wheeler!

MOSES
Morning, Mamie!

MAMIE
Morning, Preacher! Good morning,
Wheeler.

WHEELER
Hi, Miss Mamie. Hi, Bo!

MAMIE
(to Moses)
You’re leaving Chicago too soon!
You were only here a few days!

MOSES
I didn’t need no more days than
that. I got to see some family, a
few friends. Maybe we’ll get you to *
come down and see us --

CONDUCTOR (O.S.)
All aboard!

MAMIE
(smiling)
I like it just fine out here,
Preacher.

She places a hand on Wheeler’s shoulder.

MAMIE (CONT'D)
(to Emmett)
Bo, stay close to your cousins.
(to Moses)
Preacher, you and Aunty Lizzie make
sure Bo writes and calls me every
chance he gets. I need to know he’s
okay.
 Pink Rev. (08/29/21) 10.

MOSES
Don’t worry. Me and Lizzie will
have a stern eye on him. G’bye, *
Mamie!

Moses, Wheeler and Emmett walk up the steps to the train.

MAMIE
Bo! You didn’t kiss me goodbye!

Emmett slogs back down the stairs.

EMMETT
Aw, Mama. I gotta go!

He begrudgingly gives his mother a kiss on her cheek.

MAMIE
Listen to Preacher. Stay with your
cousins at all times. Be extra
careful.

EMMETT
You told me already.

She gives him a kiss on the cheek.

EMMETT (CONT'D)
You know what?

He removes his watch.

EMMETT (CONT'D)
I won’t need to keep time on
vacation. Wind it everyday --

CONDUCTOR (O.C.)
All aboard!

Emmett throws his arms around Mamie and gives her a sincere
hug.

Mamie’s eyes hold onto Emmett as he runs up the stairs and

down the platform to meet Moses waving him on. Moses tips his
hat to Mamie. The train lets out a loud WHISTLE.

Mamie watches the train move out of sight IN SLOW MOTION.

And then --

A sudden pang hits her body. She lets out a silent gasp.

She teeters against the railing, then collapses to the

ground.
 Pink Rev. (08/29/21) 11.

PORTERS and TRAVELERS swarm to Mamie’s aid, as she remains on

the ground, motionless.

TITLE: T I L L

12 OMIT 12

13 INT. TRAIN - DAY 13

The train car zips through a rural KENTUCKY LANDSCAPE,

crossing the MASON-DIXON LINE.

As Emmett looks out his window at the VIEW, a WHITE PORTER

taps him on the shoulder and indicates for him to stand up.

CUT TO:

Moses leads Emmett and Wheeler to the back of the train,

passing empty seats and sleeping cars of WHITE PASSENGERS.

Emmett sits cramped and shoulder-to-shoulder amongst BLACK

PASSENGERS. They have entered the Jim Crow South.

Soon, the train car goes DARK, as it enters a tunnel.

14 EXT. FRONT CAR LANDING - DAY (CONTINUOUS) 14

The VIEW is BLACK as the train speeds through a TUNNEL

descending further into Mississippi.

When the train exits the TUNNEL, sunlight floods the CAMERA
VIEW.

MATCH CUT TO:

MISSISSIPPI

15 EXT. GROVER FREDERICK’S COTTON FIELDS - DAY 15

A new day.

Brilliant sun rays shine over the massive field. Dozens of

FIELD HANDS are at work, picking cotton blossoms and putting
them inside their pick sacks, including Emmett and his
cousins - Wheeler; SIMMY (12); and MAURICE (16).

Sweat beads down Emmett’s face. His mouth hangs open as he

breathes laboriously.
 Pink Rev. (08/29/21) 12.

Maurice is trying to teach him how to pull a cotton blossom.

MAURICE
Pinch it here so your finger tip
doesn’t touch the bract...

He pinches a cotton blossom for Emmett to see. Emmett slaps a

horse-fly and crushes it dead in his palm.

MAURICE (CONT'D)
You listening?

EMMETT
(shows bloody palm)
Look at the size of that b-bird --

Simmy is nearby and takes a look.

SIMMY
Whoah! Where’d you get that ring?

EMMETT
Was my daddy’s. He died a hero in
the war.

SIMMY
Lemme try it on?

Emmett pulls his hand back protectively.

EMMETT
Maybe later.

He turns away and fumbles with some cotton blossoms. He’s had
enough. Wanting some fun, he looks around, then falls to the
earth with his eyes closed.

WHEELER
Bo?

Wheeler and Simmy rush over to Emmett and lean over him.

SIMMY
Bobo!

After some dramatic silence, Emmett opens one eye.

EMMETT
“From the depths of an ancient
tomb, echoes a sound that shakes
the world.” MMM. ARRG. MMM. ARRG.
 Pink Rev. (08/29/21) 13.

He stretches cotton across his face and tucks it behind his

ears. He rises stiff with rigor mortis and pretends to choke
Simmy.

EMMETT (CONT'D)
Meet the mummy, Simmy!

Simmy pushes Emmett away, laughing.

MAURICE
You’re gonna get us in trouble!

EMMETT
Or better yet, fired. I’m done
pickin’ these fields. What do you
do with all this cotton anyway?

MOSES (O.S.)
We sell it.

Moses walks over to them with a full pick sack freshly picked
cotton.

MOSES (CONT'D)
Mr. Frederick, who owns the land,
takes his share and I go to market
with our haul.

EMMETT
Sounds p-p-pretty square.

MAURICE
Pappa, you let him sass you that
way?

MOSES
What way? The boy doesn’t know
where his clothes come from! Bobo, *
after today’s work, you gonna sleep *
like a babe, mark my words. How *
much you pick? *

Emmett looks down at his mostly empty pick sack.

MOSES (CONT'D)
Simmy, what’d you pick?

Simmy looks down at his halfway filled pick sack. *

SIMMY
‘bout fifty pounds.

MOSES
Maurice?
 Pink Rev. (08/29/21) 14.

Maurice’s pick sack is full.

MAURICE
A hundred pounds.

MOSES
Wheeler?

Wheeler’s reluctant to share, knowing it’s also a lot more

than Emmett’s. *

WHEELER
Fifty.

MOSES *
I take it back, Bobo. Stay off the *
farm.
(to the others)
City boy won’t even know how he
found a whuppin’.

They all laugh, except for Emmett.

LATER:

16 EXT. FIELDS - DUSK 16

Acres of lush farmland separate one home from another. The

slow-moving, antiquated scenery starkly contrasts the lively
Chicago metropolis.

Maurice, Wheeler, Simmy and Emmett are in a FORD SEDAN,

driving through the country landscape, passing a sign that
reads: “MONEY, MS: POP. 398”

17 OMIT 17

18 INT/EXT. BRYANT’S COUNTRY STORE - DUSK 18

ELDERLY BLACK MEN play checkers on the stoop while a half-

dozen BLACK PATRONS watch, including a Black man, named
JOHNNY B. WASHINGTON (26).

Emmett and his cousins pull up, exit their car and gather on *
the porch. Maurice takes a seat at the checkers game. Simmy
stands by. Wheeler enters the store alone. Emmett looks
around.
 Pink Rev. (08/29/21) 15.

EMMETT
(sarcastic)
I’m about raised from the dead by
this excitement.

He turns to the store and walks inside.

19 INT. BRYANT’S COUNTRY STORE - DUSK 19

As Emmett strolls the aisle, Wheeler walks out with newly

bought soda pop.

Emmett picks up some bubble gum and approaches the woman

behind the counter, CAROLYN BRYANT (21). She’s a pale-white,
former beauty queen, and wears her black hair pinned back.
Emmett straightens up.

EMMETT
You look like a movie star.

Carolyn scowls.

CAROLYN
What?

20 EXT. BRYANT’S COUNTRY STORE - DUSK 20

Wheeler drinks his pop while watching Maurice contemplate his

next checkers move.

MAURICE
Where’s Bobo?

Wheeler nods his head towards the store.

MAURICE (CONT'D)
(to Simmy)
Simmy. See to Emmett while he’s
inside.

21 INT. BRYANT'S COUNTRY STORE - DUSK 21

Emmett is holding his wallet flopped open and on view for

Carolyn to see the STOCK PHOTO of HEDY LAMAR. Carolyn bears a
striking resemblance to the movie star.

EMMETT
See?
 Pink Rev. (08/29/21) 16.

He takes a quarter from his wallet and places it on the

countertop in front of Carolyn. She looks down at it with
disdain.

Simmy grabs Emmett’s wrist.

SIMMY
C’mon!

Emmett gazes back at Carolyn.

EMMETT
B-b-bye...

Simmy looks at Emmett, surprised by his audacity to speak to *

Carolyn. Just as they reach the door -- *

EMMETT (CONT'D)
B-bye!

Carolyn ransacks the counter drawers.

22 EXT. BRYANT'S COUNTRY STORE - DUSK 22

Simmy rushes towards their car.

SIMMY
C’mon. Let’s go.

MAURICE
Yeah?

Carolyn follows in a noticeable huff, proceeding to her car.

Emmett looks after Carolyn. He blows a loud WOLF WHISTLE.

Everything stops.

Silence.

Carolyn looks back embarrassed, and then furious.

Everyone looks at Emmett, including Johnny B. Washington.

Emmett looks back at everyone; he’s genuinely confused.

JOHNNY B.
She’s gone to get a gun.

Everyone disperses, except for Emmett: he watches Carolyn

close her car door and turn back, gun dangling at her side.

Simmy grabs Emmett, rushing him inside their car.

 Pink Rev. (08/29/21) 17.

EMMETT
(smile fading)
What the hell’s going on?

Simmy pushes Emmett into the backseat of the vehicle.

Maurice peels out, making a quick turn down a dirt road.

On Emmett looking out the back window...

CHICAGO

23 INT. MAMIE’S HOUSE - BEDROOM - DAY 23

The sun shines across Mamie’s reflection in the mirror. She

stares at herself with contemplation - hair perfectly
coiffed, makeup applied, dressed in a skirt and heels.

CUT TO:

24 INT. LIVING ROOM - DAY 24

Alma nags behind Mamie down the stairs.

ALMA
Why’re you doing this to me,
Mamie?!

MAMIE
I’m not doing anything to you, I’m
going to work!

ALMA
I thought you took some time off --

MAMIE
I need to go to work, Mama...

ALMA
Gene and I had to carry you up and
down these stairs all week ‘cause
you were too weak to walk!

MAMIE
Now I don’t have to be a burden to *
you anymore --
 Pink Rev. (08/29/21) 18.

ALMA
You’re not a burden, you’re my
child! I’ll take on whatever’s
suffering you because that’s my
job! But Mamie, you scared me to
death when your legs gave out at
that station and I won’t be put
through that again, you hear me?

Mamie now has her hands on the front door handle. She has
made up her mind.

MAMIE
I need to go to work.

She walks out of the house.

25 INT. AIR FORCE PROCUREMENT OFFICE - DAY 25

A mail cart moves down a line of desks populated by WHITE

EMPLOYEES, until stopping at a cubicle with the inscribed
name panel, “MAMIE BRADLEY.” She is the only Black person in
the room.

Three FRAMED PHOTOGRAPHS sit on her desk: 1) Emmett as an

infant, 2) Emmett as a teen wearing a tie and leaning against
a television set, 3) Emmett and Mamie posing together in
their home.

The MAIL COURRIER drops envelopes marked “CONFIDENTIAL” and

“EYES ONLY” onto Mamie’s desk, but she doesn’t acknowledge
them at all. Her mind is elsewhere, completely detached from
her surroundings.

26 EXT/INT. BARBERSHOP - DAY 26

Mamie walks down the sidewalk to arrive at a storefront with

a large glass window. She stares inside, where she spots Gene
finishing a CUSTOMER’S haircut.

Mamie pushes inside and the shop door goes DING!

Gene looks concerned as soon as he sees Mamie.

GENE
What’re you doing out of bed? Is
everything alright?

Mamie is now smiling. She waits for the Customer to leave his
chair.
 Pink Rev. (08/29/21) 19.

MAMIE
That trip we planned to take Bo on?
Let’s go now!

Confused, Gene takes Mamie’s hand.

GENE
Shouldn’t you be getting some rest?
We don’t know what happened to you
last week --

MAMIE
(pulling hand away)
I was just missing Bo!

Beat.

She then admits the truth.

MAMIE (CONT'D)
I’m still missing Bo. We’ve never
been apart this long, and he’s
going to be gone another week. I
need to keep doing things to take
my mind off of this...feeling.

Gene notices a trace of sadness in Mamie’s face.

GENE
(obliges)
Okay. I can’t go today, but let’s
try in a few days...

Mamie happily goes in to hug Gene, but then pulls back --

MAMIE
Promise me we’ll go on the trip?

GENE
Of course.

They embrace, not seeing each other’s worried expressions.

MISSISSIPPI

27 EXT. ROAD - DUSK 27

A Black male teenager - WILLIE HEMPHILL (14) - walks down the

street with a bagful of groceries. A PICK-UP TRUCK skids to a
stop off the road, next to him. A man’s VOICE is heard from
the truck:
 Pink Rev. (08/29/21) 20.

ROY (O.S.)
Grab him!

In a flash, Hemphill is thrown onto the truck’s flatbed,

crashing into glass jars. A WHITE MAN’S FIST pummels his face
with punches and kicks.

HEMPHILL
What’d I do?!

In a daze, Hemphill looks up and sees Johnny B. Washington -

the Black onlooker from the store.

JOHNNY B.
Sir, I don’t think that’s him --

ROY BRYANT, a 24-year-old white man, stands over Hemphill.

ROY
You insult my wife?

HEMPHILL
No, sir.

28 INT. TRUCK - DUSK (CONTINUOUS) 28

Another white man, JW MILAM (36), sits in the driver’s seat

and is looking on from the rearview mirror.

Roy holds Hemphill’s face up for Carolyn to see from the cab
of the truck, where’s she’s been sitting this entire time.

CAROLYN
(to Roy)
That’s not him, ya dummy! You got
the wrong nigger!

29 EXT. ROAD - DUSK (CONTINUOUS) 29

ROY
(to Johnny B.)
Throw him out.

Johnny B. tosses Hemphill off the flatbed. He and Hemphill

make eye contact as the truck drives away.

MATCH CUT TO:

 Pink Rev. (08/29/21) 21.

A30 EXT. JOHNSON STREET - NIGHT A30

A CAR parks alongside a lively street that is filled with

BLACK LOCALS and watering holes. LIVE BLUES MUSIC blares from
a juke joint nearby.

PASSENGERS get out of the car and follow the music inside --

B30 INT. JUKE JOINT - NIGHT (CONTINUOUS) B30

The joint is packed with Black folks laughing, dancing and

having a good time.

Near the back, sit Emmett, Maurice, Simmy, and Wheeler,

drinking beers and whiskey. They get up and leave through the
back, to --

30 EXT. JOHNSON STREET LOT - NIGHT (CONTINUOUS) 30

As they walk towards their cars, Emmett mimics the guitar and
vocals of the BLUES SONG playing in the juke joint.

They pass two TEENAGE GIRLS also heading for their car.
Emmett smiles at them and begins to swagger up to them. But
just as he’s about to land his pick-up line, two OLDER BOYS
swoop in and successfully make their move. Emmett back
pedals. Wheeler and Simmy laugh at him.

WHEELER
Nice try!

They lean against their parked car, laughing and drinking *

beers. But Maurice isn’t smiling. He notices a few CARS
driving by in the distance.

MAURICE
You always think you’re so damn
funny, huh?

His firm tone takes everyone by surprise. Maurice lowers his

tone, making sure no PEDESTRIANS are within listening
distance.

MAURICE (CONT'D)
Why’d you whistle like that?

EMMETT
Come on. It’s been three days and
we haven’t heard nothin’ more ‘bout
what I did in Money --
 Pink Rev. (08/29/21) 22.

MAURICE
That’s ‘cause no one knows your
face ‘round here. That don’t mean
they’re not in one of those cars
lookin’ for us!

EMMETT
I said I was sorry --

MAURICE
We gotta tell Pappa.

EMMETT
We all agreed we wouldn’t say
nothin’ --

SIMMY
He’ll make Bobo go home!

MAURICE
So what?

Maurice gets in his face.

MAURICE (CONT'D)
Don’t you see what’s been goin’ on
down here? They killin’ Negroes for
doing a lot less than what you did
in Money! You ain’t no white man,
Bobo, you one of us! --

Wheeler gets between them --

WHEELER
Leave him alone, Maurice! Mrs.
Bryant must’ve kept it to herself.
No one has to know.

Maurice eyes Emmett and then takes another swig of his beer.
The boys share a silent consensus to keep their mouths shut.

As a conciliatory gesture, Simmy begins mimicking the BLUES

SONG playing from the juke joint, just like Emmett did.
Wheeler then joins in, and then Emmett. Maurice half-smiles
while eyeing the cars passing by.

CHICAGO

31 INT. MAMIE’S HOUSE - DINING ROOM - NIGHT 31

JAZZ MUSIC plays from a record player in the background.

 Pink Rev. (08/29/21) 23.

Mamie doles out a hand of cards to her friends, WILLIE MAE

(30s) and OLLIE (30s). Cigarette butts burn in an ashtray and
a few beer bottles are open on the table.

MAMIE
Willie Mae. Ollie. I swear, you two
are losing on purpose!

WILLIE MAE
You must have all the luck tonight,
Mamie.

Willie Mae and Ollie exchange glances as Mamie continues

handing out the cards. Ollie gently places her hands atop
Mamie’s, stopping her from dealing.

OLLIE
We’ve been here all night, and you
still haven’t told us what happened
to you.

Mamie is in no mood to discuss it.

MAMIE
I’m fine. I just got a letter from
Aunty Lizzy today. She said Bo’s
really happy. That’s all I needed
to hear.

Ollie considers her words and removes her hand from Mamie’s.
They resume playing cards.

WILLIE MAE
My boy, Curtis, just made it down
to Mississippi. I told my Uncle to
make sure he sees Bo tomorrow.

MAMIE
Bo would like that. It’d be nice
for him to have another friend from
the city there with him. He just
doesn’t understand how different it
is down there. Aunty Lizzy said
Bo’s been working the fields. I
can’t imagine Bo under that hot sun
all day pulling some cotton! But
Aunty Lizzy said I raised one nice,
hard-working boy! That’s my Bo...

Mamie drifts into her own world, speaking more to herself

than to her friends.
 Pink Rev. (08/29/21) 24.

MAMIE (CONT'D)
I can’t believe he’s been gone a
week! Gene and I want to go on a
trip soon, but I really want to go
down to Mississippi and bring my
son back home. If Bo could just get
his feet back onto Chicago soil
again, he’d be one happy kid --

Everything stops for a beat. Mamie catches what she just

said.

MAMIE (CONT'D)
I don’t know why I said that.

Willie Mae breaks the silence placing her cards on the table.

WILLIE MAE
(smiling)
I think your winning streak is *
over.

Mamie looks down at her cards.

MAMIE
Well, look at that.

OLLIE
Want to play one more hand?

MAMIE
(smiling)
Sure. But you deal this time.

Ollie deals, Willie Mae takes another swig of her beer and
Mamie’s smile slowly fades away...

32 INT. MAMIE’S BEDROOM - NIGHT 32

Mamie is in her nightclothes and headscarf, kneeling down in

PRAYER.

When she finishes, she takes off Emmett’s watch from her
wrist and places it by the bedside lamp.

MISSISSIPPI
 Pink Rev. (08/29/21) 25.

33 INT. MOSES WRIGHT’S HOME - LIVING ROOM - NIGHT 33

RADIO BROADCASTER #1 (V.O.)

**BROADCAST ABOUT GROWING NEGRO *
VOTING RIGHTS IN DELTA COUNTIES
AFTER BROWN VS BOARD OF EDUCATION *
RULING** *

The RADIO fills the home. Moses and his wife, ELIZABETH
(60s), sit in matching rocking chairs while holding hands,
with a lit kerosine lamp by their side. They are listening
intently when they hear a CAR PULL UP outside.

Emmett, Maurice, Wheeler and Simmy stumble into the house.

They jump when they see Moses in his chair.

MAURICE
Pappa! You and mama ain’t asleep? *

ELIZABETH
How can we sleep when you’re not
home yet?

The boys try to mask their drunkenness.

MOSES
What’d you boys get into tonight?

SIMMY
Not much, daddy. Just takin’ Bobo
around.

Moses looks at Emmett, whose face is indecipherable.

MOSES
Bobo, remember we’re leavin’ early
tomorrow to mail that letter out to
your mama, you hear?

EMMETT
Okay.

Moses takes another look at the boys before letting them run
into their bedrooms.

LATER:

34 INT. SIMMY’S BEDROOM - NIGHT 34

Emmett is writing a LETTER by kerosene light. He shares a bed

with a sleeping Simmy.

Moses enters.
 Pink Rev. (08/29/21) 26.

MOSES
You ain’t sleepin’ yet?

EMMETT
Not yet.

Moses looks down at Emmett’s unfinished letter.

MOSES
Your mama’s gonna be happy to hear *
from you. I know she misses you and
can’t wait for you to come home.
But I’m glad you came down to see
us, Bobo. *

EMMETT
Me too, Uncle Mose. *

He sets the letter down on the nightstand.

EMMETT (CONT'D)
G’night.

MOSES
G‘night.

He exits.

As Emmett blows out the kerosene lamp, the flame illuminates

part of his letter:

ON LETTER

Hi Mama,

How are you? I miss you. Uncle Mose got us working hard.

Wisps of smoke then disappear into the night...

LATER:

35 INT. LIVING ROOM - NIGHT 35

It’s the middle of the night. The house is still and quiet,
except for a few faint SNORES from the bedrooms.

And then --

CRUNCH! CRUNCH!

Tires CRUNCH gravel from right outside the house.

Someone POUNDS on the front door.

 Pink Rev. (08/29/21) 27.

ROY (O.S.)
Preacher! Preacher!

Moses runs to the door.

MOSES
Who is it?!

ROY (O.S.)
It’s Mr. Bryant! I want to talk to
you about that boy!

MOSES
Sir?

ROY (O.S.)
I want that boy who did the talking
down in Money!

MOSES
Talking, sir? What talking?

ROY (O.S.)
Open up this door, Preacher!

Simmy has been listening to this exchange from outside his

bedroom. He runs back inside --

36 INT. SIMMY’S BEDROOM - NIGHT 36

-- and wakes Emmett up.

SIMMY
Bobo. Wake up!

Emmett swipes him away.

EMMETT
Leave me alone.

SIMMY
Get up. Someone’s come!

EMMETT
So what?

SIMMY
They’ve come for you!

Emmett wakes up.

EMMETT
Who’s come?
 Pink Rev. (08/29/21) 28.

37 INT. FRONT DOOR - NIGHT 37

Moses stands inside the front door, ajar. A blinding

flashlight beams into his eyes.

MOSES
I’m not sure what you mean, Mr.
Bryant --

JW shines his flashlight into Moses’ face.

JW
You got that boy from Chicago?! *

JW pushes inside, knocking Moses out of the way. Roy follows.

Both men barrel down the hallway, looking around, until they
enter --

38 INT. SIMMY’S BEDROOM - NIGHT 38

Roy shines his flashlight into Emmett’s face.

ROY
You that big-mouth nigger?

EMMETT
Who are you?

Roy and JW’s eyes go wide at Emmett’s audacity.

JW
Get your clothes on!

Emmett glances at Simmy, then reluctantly throws on his pants *

and shirt.

JW (CONT'D)
(to Simmy)
Better shut them eyes!

Simmy does. Emmett begins putting on a pair of socks.

ROY
You don’t need no goddam socks!

EMMETT
I don’t wear shoes without socks.

JW grabs a handful of Emmett’s shirt. He and Roy pull him

into --
 Pink Rev. (08/29/21) 29.

39 INT. HALLWAY - NIGHT 39

-- and drag him from under the armpits. *

*

ELIZABETH
(rushing in)
Please don’t take him!

JW
Move! *

ELIZABETH
We’ll whip him if he’s done
something wrong!

Moses glances at the SHOTGUN leaning in the dark corner of *

the LIVING ROOM, then turns to Emmett. *

MOSES *
(to Emmett) *
Don’t talk back. *

ROY
We just gonna teach him a lesson.

ELIZABETH
We’ll give you money!

Roy hesitates... JW doesn’t.

Simmy, Maurice and Wheeler have now rushed out to witness

what’s going on.

MOSES
(softer)
Please, the boy doesn’t have good
sense.

JW
He’s gonna learn.

JW and Roy drag Emmett out of the house and onto --

40 EXT. MOSES WRIGHT’S HOME - NIGHT (CONTINUOUS) 40

-- the dirt, where they meet a third man, Johnny B.

Washington.

Moses and Elizabeth run out to them:

MOSES
But Mr. Bryant!
 Pink Rev. (08/29/21) 30.

JW returns to face Moses on his stoop and raises his gun.

JW
What’d you say?

Moses sidesteps in front of Lizzie.

JW backs away, firearm still raised.

Roy and Johnny B, heave Emmett onto the flatbed of their

truck, where he is held down by HENRY LOGGINS (Black, 32) and
TOO TIGHT (Black, 20).

Roy floods Emmett’s face with light.

ROY
This the right nigger?

Emmett’s EYES GO WIDE when he sees Carolyn.

CAROLYN
(from Cab)
That’s the one.

Emmett gets flipped over and pressed flat. As the truck pulls
off, he looks up at the Black men above him and they all look
at each other. Flashes of embarrassment and pity cross Too
Tight’s face. Emmett holds his gaze on Too Tight’s eyes.

LATER:

41 OMIT 41

A42 EXT. BRYANT’S COUNTRY STORE - NIGHT A42

The truck skids to a stop. Emmett lurches back. He hears a

cab door open.

He tilts his head to watch Carolyn walking with Roy up to the

store.

EMMETT
(whispering to Too Tight)
Mister...

LOGGINS
Shut up!

EMMETT
Cut me loose. They aren’t looking.

Too Tight can’t take his eyes off of Emmett’s face.

 Pink Rev. (08/29/21) 31.

LOGGINS
But we’re lookin’!

Emmett continues looking into Too Tight’s eyes and speaks

directly to him.

EMMETT
Why’re you doing this? You’re one
of us.

Too Tight looks like he’s about to break.

TOO TIGHT
They’re the boss and they gettin’
somebody tonight! If we don’t get
ya, they gettin’ us!

His face hardens again.

TOO TIGHT (CONT'D)

Just take this beating. It’s yours.

Too Tight looks away. In a moment of opportunity, Emmett

throws an elbow to his jaw.

He crawls over the wall of the flatbed and falls to the dirt.
He gets up and runs.

He sprints down the road, full of terror, and turns into --

B42 EXT. THICKET - NIGHT (CONTINUOUS) B42

Total blackness.

Behind him, there is AUDIBLE COMMOTION and the headlights of

JW’s truck spin a u-turn and speeds towards Emmett’s
direction.

Emmett stops for a moment, trying to get his bearings.

He looks around, but there’s nothing to see but blackness.

JW, Roy, Johnny B., Loggins and Too Tight stand by the truck,
holding out flashlights. A small MOB OF WHITE MEN are now
among them, also looking for Emmett.

Loggins stares into the thicket and listens. He can sense

Emmett’s nearby.

LOGGINS
I know you’re in there, son. I can
hear you thinking... You can’t move
now because I’m listening.
(MORE)
 Pink Rev. (08/29/21) 32.

LOGGINS (CONT'D)
You can’t get back to Preacher’s
because we’ll rip that place and
everyone you love apart. You’re
stuck and you don’t know the
trouble you caused. I get that.
It’s bad. Don’t make it worse.
(beat)
What I offer is this: keep your
mouth shut. Don’t run. And I’ll see
to it you get home.
(beat)
Say ‘okay.’

Loggins hears a faint rustle in the thicket. Emmett emerges.

Loggins shines the flashlight in Emmett’s face. Emmett’s eyes
blink ‘okay.’

LATER:

42 OMIT 42

43 OMIT 43

44 EXT. ROAD - NIGHT 44

JW Milam’s truck drives through the night, with another truck

of WHITE MEN tailing behind.

45 EXT. SHERIDAN PLANTATION BARN - NIGHT (LATER) 45

Emmett’s SCREAMS are heard amidst the nighttime silence.

46 INT. SHERIDAN PLANTATION BARN - NIGHT 46

Emmett is slumped over, his face swollen and eyes barely

open. He eyes the line of men in front of him: JW, Roy and
SEVERAL WHITE MEN - LESLIE MILAM (30) amongst them.

ROY
Set him loose fellas, before the
sun comes up.

JW looks at Emmett.

JW
Yeah, alright.

But then --
 Pink Rev. (08/29/21) 33.

JW (CONT'D)
What the hell’s this?

He notices Emmett’s wallet on the ground and opens it,

discovering the glamour shot of Hedy Lamarr in the photo
slide.

LESLIE
Aw, man...look at her. She looks
like Carolyn!

JW
What the hell?

JW shows Roy the wallet and picture. Roy stiffens.

ROY
Where’d you get this?!

Emmett is too afraid to say anything.

ROY (CONT'D)
Tell me!

Emmett glances at Too Tight and Loggins, who look on

expressionless.

ROY (CONT'D)
You fucking tell me who she is!

Roy swipes JW’s .45 and slings it across Emmett’s face. On

contact --

CUT TO:

47 EXT. SHERIDAN PLANTATION BARN - DAWN 47

SCREAMS and CRIES are heard from inside the barn.

Several yards away, the hand of a Black boy shakes on a

well’s water pail. This is WILLIE REED (16). He listens to
the screams. Then there’s a long SILENCE.

FROM WILLIE REED’S POINT OF VIEW:

JW exits the barn and lights up a cigar.

Roy is in the driver’s seat of their truck, as Too Tight and

Loggins drag Emmett onto the truck’s flatbed. They throw a
blue tarpaulin over Emmett’s body.

BACK TO SCENE:
 Pink Rev. (08/29/21) 34.

Willie trips when moving from the well. He causes a RUSTLE

and JW notices. *

JW walks up to Willie.

JW
You see something?

WILLIE REED
No, sir.

He waits for Willie to run off, leaving his water behind.

48 EXT. BLACK BAYOU BRIDGE - EARLY MORNING 48

ALL FROM THE POINT OF VIEW OF EMMETT’S VISION:

Emmett’s eye opens and the tarpaulin flies away. His sight
can’t adjust to sunlight.

The blurry figures of men lifting a GIN FAN wipe past his
field of vision. The men throw his body to the ground with a
THUD.

JW *
Take off his clothes.

When pairs of Black hands tear at Emmett’s body and clothes,

Emmett releases a guttural MOAN.

ROY *
Look at that... He’s trying to
stand up!

Emmett WHEEZES, struggling for each breath. A blurry, white

hand raises a GUN...

EMMETT (O.S.)
Mama...

And then his eyes flutter shut.

MATCH CUT TO:

CHICAGO

49 INT. MAMIE’S HOUSE - BEDROOM - MORNING 49

Mamie wakes up in a panic.

RRRING! RRRING!
 Pink Rev. (08/29/21) 35.

She stares at the ringing phone, reluctant to answer it. *

MAMIE
Hello?

CUT TO:

50 INT. MAMIE’S CAR - MORNING 50

Mamie slams her car door shut.

She jams the keys into the ignition, hands trembling.

Before Mamie can back out of the driveway, Gene pulls up

behind her. She HONKS her car horn to get him to move, but he
gets out of his car instead. She then gets out of her own
car.

MAMIE
Get outta the way, Gene! I need to
get to Money! I need to get to
Money!

GENE
Money? Mamie, what’s going --

MAMIE
They took Bo!

GENE
Who took him?

MAMIE
Preacher told me two men came and
got Bo last night! I-I couldn’t
hear anything else after that! I
need to go find Bo!

Gene gently holds Mamie by her shoulders.

GENE
(steady)
Mamie. Let’s go inside. Call your
mama. And then try to get in touch
with Preacher or your Aunty Lizzy
for more information. Okay?

Mamie barely nods her head.

LATER:
 Pink Rev. (08/29/21) 36.

51 EXT/INT. MAMIE’S HOUSE - DAY 51

FAMILY and FRIENDS gather inside Mamie’s home, offering

support and homemade food.

52 INT. LIVING ROOM - DAY (CONTINUOUS) 52

Willie Mae and Ollie CHAT amongst a group of WOMEN shaking

their heads in sympathy.

53 INT. MAMIE’S HOUSE - ACROSS THE ROOM - DAY (CONTINUOUS) 53

Gene greets and shakes hands with GUESTS. He glances back at

Alma sitting on the sofa in tears. She’s barely listening to
the line of people taking turns to share words of
encouragement.

54 INT. MAMIE’S HOUSE - SOFA (CONTINUOUS) 54

One man gets out of the line and sits next to Alma - JOHN
CARTHAN (50s).

JOHN
Alma.

She doesn’t look at him.

JOHN (CONT'D)
You weren’t going to tell me?

Alma doesn’t have the energy for John’s questioning. She

turns to him:

ALMA
I sent word to your wife. Now, why
don’t you go check on your daughter
and figure out a way to help her?

John stiffens, holding back a retort. He signals to a man in

line wearing a suit and holding a file folder.

JOHN
Rayfield!

RAYFIELD MOOTY (Black, 40s) steps out of the line and

awkwardly stands over Alma and John. His demeanor is clinical
and matter-of-fact.

RAYFIELD
Ma’am.
 Pink Rev. (08/29/21) 37.

Alma looks up at him.

CUT TO:

55 INT. KITCHEN - DAY 55

A small group of ELDERLY WOMEN have been praying over Mamie.

As one ELDER leads the prayer, Mamie and the other Women
respond with “ALLELUIA!”, “PRAISE HIM!”, “YES, JESUS!”

ELDER
Father Lord, we know you are in
control, Lord Jesus! You will bring
Emmett back to Mamie, Father God!
You will bring Emmett back, Father
God! You’re our King! You’re our
Master! God, here we are! We’re
your people! And we’re calling on *
you tonight, Jesus! We give you all
the Glory! Glory to God! Glory to
God! Glory to God!

They clap and rejoice; Mamie does so half-heartedly.

ELDER (CONT'D)
He’s going to bring him back to
you, baby.

MAMIE
Thank you.

Mamie notices John standing by the entryway.

ELDER
Whatever you need, you call, you
hear me?

MAMIE
Yes, ma’am.

ELDER
And keep saying your prayers.

MAMIE
Yes, ma’am.

The Elder nods and squeezes Mamie’s hand. She and the other
Women walk out, acknowledging John on the way.

Mamie and John are left alone. There’s a noticeable distance

between the two.
 Pink Rev. (08/29/21) 38.

JOHN
No matter the differences between
me and your mama, I still have the
right to be here for you.

The emotional weight of the day comes down on Mamie and she
begins to cry.

John walks over and hugs his daughter.

JOHN (CONT'D)
We’re gonna find Bo, you hear me?

Mamie nods her head.

JOHN (CONT'D)
I brought your cousin to help us.
You remember Rayfield Mooty? He
came by the house a lot when you
were a kid? Mamie, he works with
some powerful Negro people who can
help us find Bo!

Rayfield has entered the kitchen and is now standing by,

expressionless. John steps aside to let Rayfield speak. Mamie
tries wiping away her tears, but they keep coming back.

MAMIE
I’m sorry...

Rayfield stands there, stoic, waiting for Mamie to finish.

MAMIE (CONT'D)
(composes herself)
Thank you for coming, Mr. Mooty.

He pulls out a piece of paper from his folder and hands it to *

Mamie.

RAYFIELD
I’ve been in touch with Mr. William
Huff, counsel for the NAACP
chapter, here in Chicago. He wants
to meet with you first thing
tomorrow morning. I’ve included the
address to his office here.

Mamie looks at Rayfield, confused and skeptical at the same

time.
 Pink Rev. (08/29/21) 39.

RAYFIELD (CONT'D)
He has political contacts
throughout the state of
Mississippi, and he’s in regular
contact with Mayor Daley,
Congressman Dawson, and Governor
Stratton.

She reluctantly takes the paper.

MAMIE
I do know about the NAACP, and it
sounds like he knows the right
people who can help me find Bo...

RAYFIELD
I’ll meet you at Mr. Huff’s office
at 9am.

Mamie glances at her father for assurance. John nods.

Rayfield begins to walk out, but then turns to Mamie --

RAYFIELD (CONT'D)
Mamie... I do regret seeing you
under these circumstances.

The first trace of emotion flashes across his face. Mamie

watches him leave.

56 INT. NAACP CHICAGO HEADQUARTERS - LOBBY - NEXT DAY 56

PARALEGALS populate the rooms.

POSTERS, PAMPHLETS and VARIOUS NAACP INFORMATIONAL MATERIALS

line the walls: “JOIN NOW, NAACP”; “PROTECTING THE NEGRO
VOTE”; “FIGHTING THE CITIZENS’ COUNCIL.”

Rayfield leads Mamie and Gene through a bullpen of desks.

Mamie observes her surroundings. She picks up a few
pamphlets.

57 INT. WILLIAM HENRY HUFF’S OFFICE - DAY 57

Mamie and Gene shake the hand of WILLIAM HENRY HUFF (50s).
He’s a conservative man, who speaks with assurance and
experience.

RAYFIELD
Mr. Huff, this is Mrs. Bradley and
Mr. Mobley.
 Pink Rev. (08/29/21) 40.

MAMIE
Thank you for meeting with us, Mr.
Huff.

GENE
Yes, thank you.

HUFF
(to Mamie)
I have great respect for your
cousin. His work with the United
Steelworkers has helped make it one
of the strongest Negro unions.

MAMIE
(surprised)
I didn’t know that.

They all take a seat.

HUFF
Are you employed?

MAMIE
I work for the Air Force. *

GENE
(proudly)
She’s the only Negro woman in the
office.

Huff nods his head. Mamie can feel Huff looking at her and
Gene up and down.

HUFF
Mrs. Bradley. You two aren’t
married.

Mamie and Gene look at each other.

MAMIE
Um, no.

GENE
Not yet, anyway.

HUFF
Where’s Emmett’s father?

MAMIE
Louis Till died overseas, about 10
years ago. During the war.
 Pink Rev. (08/29/21) 41.

HUFF
And Mr. Bradley?

Mamie pauses. She doesn’t know where this is going, but she
responds anyway.

MAMIE
We divorced a few years ago.

Huff nods his head again.

MAMIE (CONT'D)
(firmly)
You have a lot of questions for me,
Mr. Huff, and none of them seem to
have anything to do with my son.

Huff takes a beat.

HUFF
I’ve been briefed about your case --

MAMIE
Bo’s not a case.

Huff takes another beat and tries again.

HUFF
I drafted two telegrams to send to
Governor White in Mississippi and
Governor Stratton, here in
Illinois. It’s important they know
about Emmett.

He pulls out two pieces of paper from a folder.

HUFF (CONT'D)
In light of what happened to
Reverend Lee and Mr. Smith, the
Negro press in Mississippi is
starting to write about Emmett’s
kidnapping, but it’s not creating
enough pressure needed to force a
state-wide search. As your counsel,
I’d want to utilize all the press
here, in Chicago; it’ll be more
likely to get picked up in other
cities that way. You would have to
talk to the reporters and speak in
front of cameras... So we like to
make sure that the person who is
telling the story will be in public
favor.
(MORE)
 Pink Rev. (08/29/21) 42.

HUFF (CONT'D)
It’s better I ask questions now,
than a reporter discovering
something later.

Huff spins the pieces of paper around for Mamie to read, but
she is quiet.

MAMIE
The Reverend and Mr. Lee...I heard
they were killed right before Bo
got down there...

GENE
Mamie...

He takes Mamie’s hand, not wanting her to go there. Mamie

holds out the pamphlet about the citizen’s council.

MAMIE
I know these citizens’ councils are *
everywhere down there. You think
they had a part in any of it?

Huff doesn’t want to answer, but must:

HUFF
When your message to white people
is to stop Negroes from voting or
advancing by any means short of
violence, it’s only a matter of
time before someone doesn’t stop
short of it.

GENE
Let’s just focus on finding Bo.

Gene picks up the telegrams and signals for Mamie to read

them with him.

As she and Gene look through the telegrams, Huff’s face

softens.

HUFF
Why do you call him Bo?

Mamie looks up and takes a beat.

MAMIE
When I was carrying him, my Mama’s
friend would bring him gifts all
the time and say ‘Here’s another
one for little Bobo!’ After he was
born, it just...stuck.
 Pink Rev. (08/29/21) 43.

Huff nods.

MAMIE (CONT'D)
He was a perfect baby. Born breech,
and had his share of problems,
but...he was a perfect baby.

Huff remains quiet.

58 OMIT 58

59 OMIT 59

60 INT. MAMIE’S HOUSE - BEDROOM - NIGHT 60

Mamie lies in bed, listening to DIZZY GILLESPIE playing on

the record player. When the last song finishes, a brief
silence fills the room.

Mamie moves the needle to the first song and the music begins
again. She closes her eyes to sleep.

61 EXT. CHICAGO NEIGHBORHOODS - EARLY MORNING (NEXT DAY) 61

NEWSPAPERS are thrown in front of VARIOUS HOMES.

As each newspaper lands on the ground, bits of headlines are

revealed: “CHICAGO TRIBUNE” “KIDNAPPERS ARRESTED” “CHICAGO
BOY GONE MISSING.”

62 INT. MAMIE’S HOUSE - LIVING ROOM - DAY 62

RRRING! RRRING!

Phones ring as the house buzzes with activity:

Willie Mae passes out food to FRIENDS and FAMILY with

newspapers in hand.

Alma sits silently on the couch.

Gene is on the phone, talking to the press.

 Pink Rev. (08/29/21) 44.

GENE
(into phone)
If those two men that got arrested
are telling the truth and let Bo
go, then maybe he’s alone scared
somewhere or maybe...a colored
family picked him up and are trying
to get him home. Maybe they’ll read
this paper and know Bo is ours --

Mamie is on the second line, doing the same.

MAMIE
(into phone)
I don’t care what anyone thinks Bo
did or didn’t do at that store!
They took my child! And I need him
back!

KNOCK! KNOCK!

63 EXT. MAMIE’S HOUSE - FRONT DOOR - DAY (CONTINUOUS) 63

Willie Mae answers the door to two Black NEIGHBORS with

newspapers in hand.

NEIGHBOR
Hello. We live across the street
and read what happened to Emmett.
Everyone in the neighborhood knows
that sweet boy. If there’s anyway
we can help...

Willie Mae looks back at Mamie, who’s busy on the phone.

64 INT. MAMIE’S HOUSE - BY THE PHONES - DAY (CONTINUOUS) 64

After hanging up, Mamie looks at Alma, not knowing what to

make of her silence.

RRRING!

Gene answers.

GENE
Hello?
(beat)
Mr. Huff! I’ll get Mamie.

Gene hands her his phone.

 Pink Rev. (08/29/21) 45.

GENE (CONT'D)
It sounds like he has good news.

Mamie eagerly takes the phone from him.

MAMIE
(into phone)
Mr. Huff?
(beat)
He wrote back?
(to Gene)
The Governor wants to talk to Mr.
Huff about what happened to Bo.
(into phone)
Thank you for the update, Mr. Huff.

Another KNOCK at the door.

MAMIE (CONT'D)
(into phone)
Okay, I’ll be in touch.

She hangs up and looks at Gene, looking hopeful for the first
time.

And then she turns to see a tear-stained Ollie in the

doorway. Everyone in the house has stopped what they’re
doing.

For a long time, Mamie just looks at Ollie, already knowing

what she’s about to share.

Ollie walks over to Mamie.

OLLIE
A reporter called me. He didn’t
want to tell you himself.

Mamie can’t speak.

OLLIE (CONT'D)
Bo’s body was found in a river.
Preacher just identified him to the
Sheriff. He recognized the ring Bo
was wearing. I’m so sorry, Mamie.
He’s...he’s dead.

Alma WAILS.

Mamie goes into shock.

CAMERA STAYS ON MAMIE AS SHE DISCONNECTS FROM EVERYONE AROUND

HER.
 Pink Rev. (08/29/21) 46.

She stumbles to the floor. Gene and John catch her and take
her to the couch.

The phones continue to RING.

SERIES OF SHOTS:

65 INT. COUPLES LIVING ROOM - NIGHT 65

“I LOVE LUCY” plays on a TELEVISION SCREEN. The jovial antics

of Lucy and Ricky are suddenly interrupted by a NEWS
BROADCAST:

REPORTER
We interrupt this broadcast to *
report a breaking news story. The *
body of Emmett Louis Till has been
found dead in the Tallahatchie
River, near Money, Mississippi.
Till, a Negro boy from Chicago, was
kidnapped while visiting relatives
in Money, Mississippi.

66 INT. A COUPLE’S HOME - NIGHT 66

A RADIO BROADCAST fills the home of a BLACK FAMILY.

RADIO BROADCASTER #2(O.S.)

Two men - Roy Bryant and JW Milam -
were already in police custody
after admitting to the kidnapping.
They now face a possible indictment
for the murder of Till.

67 OMIT 67

68 INT. MAMIE’S HOUSE - LIVING ROOM - DAY 68

ON TELEVISION: Roy Wilkins is interviewed by a white NEWS

HOST. A chyron - “ROY WILKINS, EXECUTIVE SECRETARY OF NAACP” -
sits on the bottom of the screen.

ROY WILKINS (O.S.)

It would appear from this lynching
that the State of Mississippi has
decided to maintain white supremacy
by murdering children. It was
because it was a boy that they went
there. They had to prove that they *
were superior.
(MORE)
 Pink Rev. (08/29/21) 47.

ROY WILKINS (O.S.) (CONT'D)

They had to prove it by taking away
a 14-year-old boy. The killers of
the boy felt free to lynch him
because there is, in the entire
state, no restraining influence of
decency. Hate! It’s like a virus in
the blood of the Mississippian. He
can’t help it.

Mamie watches Wilkins’ intently. She is a shell of herself.

Willie Mae and Ollie clean up around the house.

Gene sits next to her.

KNOCK! KNOCK!

GENE
Mamie, you need to eat something.

He goes to answer the door. Mamie ignores him and continues

watching the television.

RAYFIELD (O.S.)
Mamie?

Mamie finally acknowledges the world around her and looks up

at Gene standing with Rayfield.

CUT TO:

69 EXT. MAMIE’S HOUSE - DAY 69

Mamie closes the door behind her and Rayfield.

RAYFIELD
My...sincere condolences --

MAMIE
Stop. I can’t.
(beat)
I need Bo’s body sent back here. I
can’t have him buried in
Mississippi.

RAYFIELD
Mississippi won’t make that deal
with you --

MAMIE
Then make them! I’m sure Mr. Huff
can get...Mayor Daley or the
Governor to talk to somebody.
(MORE)
 Pink Rev. (08/29/21) 48.

MAMIE (CONT'D)
Those people in Mississippi are
trying to dump Bo in the ground
like he’s just another body! He’s
my baby. I need to see him.

Rayfield takes in her passionate words.

RAYFIELD
I’ll speak with Mr. Huff.

MAMIE
Thank you.

Mamie takes in the outside air. She hasn’t taken a deep

breath in a while.

Rayfield has something on his mind...

RAYFIELD
You have the public’s attention
right now and it would be in a
politician’s best interest to help
you during an election year.
There’s an opportunity in that.

Mamie barely nods her head.

RAYFIELD (CONT'D)
Some organizers and executive
members from the NAACP have been
speaking with the justice
department about creating
legislation to make lynching a
federal crime. What happened to
Reverend Lee was a lynching. Lamar
Smith, a lynching. Emmett... We
have an opportunity to use this
moment to help us pass this
legislation.
(pause)
It might also help you get an
indictment, and maybe even a
conviction.

Mamie listens, but the information is overwhelming.

MAMIE
I..can’t think about this right
now. I just need Bo back here.

RAYFIELD
People are paying attention right
now. This doesn’t have to be just
about Emmett --
 Pink Rev. (08/29/21) 49.

MAMIE
Mr. Mooty, my son is dead!

Rayfield retreats.

MAMIE (CONT'D)
Make sure Mr. Huff handles this
today.

RAYFIELD
Yes, ma’am.

After a beat, Rayfield nods and heads for his car.

Off Mamie watching him walk away...

70 INT. EMMETT’S BEDROOM - NEW DAY 70

The sun shines through the window, illuminating Emmett’s

empty room.

Mamie stands alone, staring at Emmett’s empty bed. She wears

a sleeveless black dress.

Gene enters, wearing a suit, and stands behind Mamie.

GENE
Your father and Rayfield are here.
I brought you a wheelchair, just in
case...I don’t want you falling
down...

Mamie continues staring at the bed.

GENE (CONT'D)
Preacher called again. He keeps
trying to apologize to you, Mamie.
Aunty Lizzie is coming up here, but
he has to stay back to finish
working the fields and talking to
the Prosecutor.

Silence. Her gaze from the bed does not waver.

MAMIE
I’ve been asking myself... Why is
this happening? Why did He take my
child from me?
(pause)
What am I supposed to do now?

Gene starts to wrap his arms around Mamie’s waist, but she
pulls away before getting emotional.
 Pink Rev. (08/29/21) 50.

MAMIE (CONT'D)
I need to get mama...

She walks out.

CUT TO:

71 INT. MAMIE’S BEDROOM - DAY 71

KNOCK! KNOCK!

Alma has been sitting on the edge of the bed, staring at

nothing in particular. She’s likely been in this same spot
for a while.

Mamie enters.

MAMIE
Mama? They’re waiting for us
downstairs.

Alma doesn’t respond.

MAMIE (CONT'D)
Mama?

ALMA
I wanted Bo to go to Mississippi. I
told you to let him go. I told you
to let him go. I told you to let
him go. I told you --

MAMIE
Mama! This isn’t your fault. Now,
we have to be strong for Bo!

Alma can’t control her tears. Mamie has never seen her mother
break down like this. She doesn’t know what to do at first,
but then she slowly takes Alma in her arms and cradles her.

72 OMIT 72

73 OMIT 73

74 EXT. CHICAGO 12TH STREET STATION - DAY 74

Masses of REPORTERS, CLERGY and SPECTATORS flank the station.

 Pink Rev. (08/29/21) 51.

Amidst the center of the frenzied crowd is Mamie in a

wheelchair, surrounded by Rayfield, John and Gene. She waits
with baited breath.

And then the TRAIN WHISTLES.

The train approaches and then comes to a stop in front of

Mamie.

A BLACK SOLDIER emerges from inside the train, unloading a

WOODEN CRATE. Mamie’s eyes lock on the crate.

THE OUTSIDE NOISE FADES AND MAMIE’S BREATHING IS ALL WE HEAR.

And then --

Mamie SCREAMS.

MAMIE
Oh God, my only child! My only
child!

She slowly gets on her feet and claws at the crate, which is
branded with the MISSISSIPPI STATE SEAL embossed on wood. The
CROWD surrounds her. FLASH BULBS ignite.

MAMIE (CONT'D)
Get him out of that box! He can’t
breathe! He can’t breathe! Oh,
Lord, take my soul!

Two BISHOPS cling to her arms to keep her from falling over.
Mamie shakes them off and gets down to her knees. Her
breathing slows while clutching the crate. For a while she
says nothing and tries to ground herself in prayer.

MAMIE (CONT'D)
Lord...show me what you want me to
do. Show me what you want me to
do...

75 OMIT 75

76 OMIT 76

77 OMIT 77
 Pink Rev. (08/29/21) 52.

78 INT. FUNERAL HOME PREP ROOM - DAY 78

White linen drapes over a body on a metal slab. Gene and John
covertly cover their mouths and nose from a foul odor. Mamie
doesn’t take her eyes off the linen.

The funeral director - A. A. RAYNER (62) - steps to Mamie’s

side.

RAYNER
I need to prepare you...

MAMIE
Remove the sheet.

Rayner slowly pulls away the white linen covering...

What Mamie sees steals her breath away.

MAMIE (CONT'D)
Oh God...

Gene tries to steady Mamie’s shoulders, but she pushes him

away --

MAMIE (CONT'D)
EVERYONE LEAVE US!

The men immediately file out of the room.

Silence.

Mamie looks down and examines Emmett’s body.

She gently touches a deteriorated --

Foot...

Knee...

Torso...

Hand...

Shoulder...

And then she pauses. Her face contorts into anguish at what
she sees next --

A partially detached tongue rests on his chin...

An eyeball hangs down on his cheek...

The other eyeball is missing...

 Pink Rev. (08/29/21) 53.

All but two teeth are missing in his mouth... *

The right ear is cut in half...

A bullet wound runs through his temple...

Mamie rests her head on Emmett’s chest and releases all her
pain and anger in a gut-wrenching sob.

She then quiets and stills herself.

She lifts her head and tenderly grazes Emmett’s face.

And then, she pauses.

She has made a decision.

79 INT. FUNERAL HOME LOBBY - DAY 79

The men stand and MURMUR to each other. They all fall silent
when Mamie appears with a newfound conviction.

MAMIE
Gene. Go back to my place and bring
back Emmett’s black suit, the one
he wore last Christmas. Mama can
tell you exactly where it is.

Mamie removes a key from her purse and hands it to Gene.

MAMIE (CONT'D)
And make sure you bring the
matching tie. Emmett loved this
suit. It’s how he’d like to be
seen.

The men pause. John steps up to Mamie.

JOHN
Seen? Mamie, he’s in no shape --

MAMIE
He’s in just the right shape! The
whole world will have to see what
happened to my son!

RAYNER
Mrs. Bradley, can I, at least, fix
him up a bit, make him more
presentable --
 Pink Rev. (08/29/21) 54.

MAMIE
No! No one’s going to understand or
believe what I just saw. They have
to see it for themselves. I want
the world to see what I just saw!

A80 EXT. FUNERAL HOME STOOP - DAY A80

Mamie walks before a SEA OF REPORTERS and a few PHOTOGRAPHERS

with newfound resolve. The Reporters and Photographers flinch
at the smell of Emmett’s body wafting out the door.

FUNERAL HOME REPORTER

What’s that smell?

Mamie takes a beat then addresses the crowd: *

MAMIE
(matter-of-fact)
That smell is my son’s body. He
came home to me reeking of racial
hatred. His face was bludgeoned.
His teeth are gone. He was shot in
the head. And now I want America to
bear witness!

She scans the crowd and then makes eye contact with a BLACK
MALE PHOTOGRAPHER. She instructs him decisively:

MAMIE (CONT'D)
Come with me.

The Photographer looks surprised, but does what he is told.

80 INT. FUNERAL HOME PREP ROOM - DAY 80

The Black Male Photographer sets a tripod with a camera near

Emmett’s feet. His body now wears a fine black suit and tie.

Mamie buttons his shirt jacket, removes lint from his sleeve,
then puts on a pair of CUFFLINKS - the finishing touch.

MAMIE
Gene? Please come be with me?

Mamie takes a stance near Emmett’s head and poses with her
hands clasped across her stomach. Her eyes angle down at
Emmett’s face. Gene takes a stance behind Mamie, clutching
her shoulders and looking into the lens. The flash bulb
IGNITES.
 Pink Rev. (08/29/21) 55.

81 OMIT 81

A82 EXT. NONDESCRIPT C.O.G.I.C. CHURCH - DAY A82 *

As church service ends, dozens of BLACK CHURCHGOERS pick up *

LEAFLETS advertising Emmett’s casket viewing. *

82 EXT. VARIOUS HOMES - DAY 82

CAMERA TRACKS a PAPER BOY tossing NEWSPAPERS onto driveways

and front lawns.

RADIO HOST (O.S.)

In a shocking update to the tragic
story of the Chicago Negro boy
slain in Mississippi, his mother
has decided to allow the public to
view his deceased body. The open
casket viewing begins today. And
all are welcome. We are certainly
curious about what they’re going to
see.

CUT TO:

83 INT. BARBERSHOP - DAY 83

The interview is played through a RADIO.

CAMERA TRACKS a line of BLACK MEN getting their hair cut.

Some read a NEWSPAPER advertising the open casket viewing,
all listen to Mamie on the radio.

MAMIE (O.S.)
The guilt begins with Mrs. Bryant.
And she should be punished along
with those men. The pressure should
start from the President of the
United States and channel all the
way down to Money, Mississippi. I
will do whatever I have to do to
ensure justice is served, even if I
have to go to Mississippi myself!

Gene works on a Customer at the end of the line, listening

intently.

CUT TO:

84 OMIT 84
 Pink Rev. (08/29/21) 56.

85 OMIT 85

A86 EXT. ROBERTS TEMPLE CHURCH OF GOD IN CHRIST - DAY A86

THOUSANDS OF MOURNERS line the street. CHICAGO POLICE

OFFICERS are attempting to corral people.

86 INT. ROBERTS TEMPLE CHURCH OF GOD IN CHRIST - DAY 86

Absolute SILENCE.

Mamie pins THREE PHOTOS OF EMMETT on the underside of the

open casket lid. Then she looks down, pressing the glass
pane.

MAMIE
(softly)
You’re not just my Bo anymore.

As Mamie steps away, the design of Emmett’s coffin becomes

clear: a glass pane covers his body so that everyone can see
into his coffin.

Mamie steps away from the coffin and her eyes grant
permission to the next MOURNER in line, a line that fills the
whole church.

Mamie moves among the Mourners, shoulder to shoulder,

touching hands and consoling the tearful.

ELIZABETH (O.C.)
Mamie.

Mamie turns to Elizabeth Wright and Wheeler. Wheeler can’t

look at Mamie.

MAMIE
Aunty Lizzie...

Elizabeth hugs her; Mamie half-heartedly reciprocates.

ELIZABETH
Simmy and Maurice wanted to stay
with their daddy. This is probably
too much for them...
(pause)
I’m so sorry... When those men
came...I tried. We all tried.

Mamie’s face is firm. She notices Wheeler crying.

 Pink Rev. (08/29/21) 57.

ELIZABETH (CONT'D)
I’m never going back, Mamie. I’ve
packed up and I’m up here for good.
Preacher and the boys will join me.

Mamie’s face now softens. She squeezes Elizabeth’s hands.

ELIZABETH (CONT'D)
I can’t look, Mamie.

MAMIE
We have to.

Mamie leads Elizabeth to the front of the line. What

Elizabeth sees causes her to collapse against Mamie.

EMMETT’S CASKET P.O.V.

Looking up through glass pane, INDIVIDUAL MOURNERS pass,

gasping at what they see beneath them.

Some Mourners collapse - USHERS AND MEDICAL STAFF assist

those overcome by the sight.

87 OMIT 87

88 OMIT 88

89 OMIT 89

90 EXT. BURR OAK CEMETERY - DAY 90

Mamie sobs, surrounded by a MASS OF PEOPLE, including: Alma,

John, Gene, Rayfield, and Elizabeth.

As Emmett’s casket descends, Mamie places her hand on it.

Mamie drops to her knees, still touching the casket as long
as she can, then lets go, watching him all the way down.

FADE TO:

TABLEAUX of various people throughout the country looking at *

the PHOTOGRAPH OF EMMETT’S BODY in JET MAGAZINE and VARIOUS
NEWSPAPERS follow:

SERIES OF SHOTS:

A91 A) PEOPLE waiting at a BUS STOP A91

B91 B) BLACK CHILDREN on NYC STOOP B91

 Pink Rev. (08/29/21) 58.

C91 C) EXECUTIVE MEMBERS in NAACP NEW YORK HEADQUARTERS C91

D91 D) WHITE POLITICAL OFFICIALS in U.S. SENATE OFFICE D91

The final tableau is of Mamie in -- *

91 INT. KITCHEN - DAY 91

She looks down at the NEWSPAPER in her hand, enraged. The

front page headline reads: “2 MEN CHARGED FOR MURDER OF
CHICAGO BOY.”

MAMIE *
My child is dead because of her and
she’s going to be fine. Carolyn
Bryant is going to be fine.

RAYFIELD
Getting a murder indictment for two
white men in Mississippi is not
easy.

Rayfield doesn’t know what else to say in response. He *

continues on with business:

RAYFIELD (CONT'D)
Their defense will try to create *
doubt about the body being
Emmett’s. If there’s no body,
there’s no murder conviction and
Bryant and Milam will only face
kidnapping charges.
(pause)
You know your child more than
anyone. You saw his body soon
after... There’s no testimony like
a mother’s.

Mamie contemplates his words, still seething.

92 EXT. NAACP CHICAGO HEADQUARTERS - DAY 92

Mamie stands between Huff, Rayfield AND SEVERAL MALE NAACP

MEMBERS. Opposite them stand PHOTO-JOURNALISTS, CAMERAMEN and
REPORTERS with microphones.
 Pink Rev. (08/29/21) 59.

HUFF
I received a letter from the
special prosecutor appointed by
Mississippi Governor White,
officially confirming the
indictment of Mr. Bryant and Mr.
Milam for the lynching of Emmett
Louis Till. Mrs. Bradley has been
invited to testify as to the
identity of her son’s remains in a
court of law.

PRESS CONFERENCE REPORTER 1

Governor White maintains the boy’s
death was not a lynching, but
‘straight murder’ --

HUFF
A lynching is not just murder, but
it is mob violence. To define what
happened to Emmett Till as a
lynching could mean federal
intervention and Mississippi
doesn’t want that.

PRESS CONFERENCE REPORTER 2

Do you have a comment about the
claims from Tallahatchie County *
Sheriff, Strider, that - and I’m
quoting - “The body we took from
the river looked more like that of
a grown man.”

RAYFIELD
They’re trying to cover-up what
they did.

PRESS CONFERENCE REPORTER 2

Mrs. Bradley?

MAMIE
I know I buried Emmett Till.

PRESS CONFERENCE REPORTER 3

Mrs. Bradley, will you be attending
the trial?

MAMIE
Yes, I will.

PRESS CONFERENCE REPORTER 3

Will you be going alone?

Beat.
 Pink Rev. (08/29/21) 60.

MAMIE
I will have the continued support
of the NAACP and Mr. Mooty.

PRESS CONFERENCE REPORTER 4

Do you have any fear entering
Mississippi right now?

Pause.

MAMIE
I will go anywhere. Talk to anyone.
Mississippi has to pay!

93 OMIT 93

94 INT. BARBERSHOP - DAY 94

DING!

Mamie walks in to Gene sweeping an empty shop. They pause

when they see each other, a silent tension between the two.

Mamie notices a framed PICTURE OF HERSELF, EMMETT AND GENE at

his workstation. As a conciliatory gesture, she comments:

MAMIE
I’ve always loved that picture.

Gene isn’t smiling.

GENE
I should be going to Mississippi
with you, Mamie. You need someone
to protect you, it’s not safe to go
alone --

MAMIE
I told you, Mr. Mooty is going with
me.

She pulls out several NEWSPAPERS from her purse and holds
them out to Gene.

MAMIE (CONT'D)
This is what they’re writing about
me down there! They’re making me
out to be some kind of jezebel! Two
reporters called to ask me about my
ex-husbands...and about you. I’m on
trial like the people who killed
Bo! Mr. Huff was right.
(MORE)
 Pink Rev. (08/29/21) 61.

MAMIE (CONT'D)
Jurors will read these stories. I
have to protect my image, if it can
help get justice for Bo.

Beat.

Gene softens. He knows Mamie is right.

GENE
I’m scared to death you won’t come
back to me.

MAMIE
I know.

GENE
We still have so much living to do
together.

MAMIE
I’m coming back to you. I promise.

They both look at each other, feelings of uncertainty linger

between them.

95 INT. NAACP CHICAGO HEADQUARTERS - OFFICE - NIGHT 95

Mamie, Huff and Rayfield sit around a table, strategizing.

RAYFIELD
We’ve organized a plan to get you
safely into a town in Mississippi
that’s about an hour away from
Sumner, where the trial is taking
place. You’ll fly to Memphis first.
Then, NAACP delegates will drive
you to Clarksdale. From there, the
field secretary from the Jackson
chapter will pick you up and drive
you to Mound Bayou. Dr. Howard will
be waiting for you at his estate.

HUFF
And we’ll continue organizing
speaking events to fundraise for
the trip. People around the country
want to meet you and hear you
speak.

MAMIE
All this just to get into
Mississippi?
 Pink Rev. (08/29/21) 62.

RAYFIELD
(matter-of-fact)
Negroes driving down these roads is
a hazard. Sheriffs throughout the
Delta are passing along Negro
license plate numbers to Klan
members. And once people know that
you’re coming, you’ll have a target
on your back. Going into
Mississippi right now is a life
threatening situation --

Huff interrupts Rayfield’s lack of assurance and comfort.

HUFF
But we’ll make sure you’re as
protected as possible.

Mamie takes in all of the information with concern. She

glances at the door, where two SECURITY MEN stand.

96 OMIT 96

97 OMIT 97

98 INT. MAMIE’S HOME - DINING ROOM - DAY 98

Mamie stares at stacks of opened mail that include: Pictures

of hand-drawn phalluses on newspaper articles; Notes that
read “ANOTHER NIGGER GONE” and “YOU’RE DEAD IF YOU COME TO
TRIAL.”

She crumples the mail together to throw away in the trash --

KNOCK! KNOCK!

Mamie jumps.

She walks to the door and looks through the peephole,

relaxing when she sees who it is. She opens the door to her
father.

CUT TO:

99 INT. LIVING ROOM - DAY 99

JOHN
Your mama wanted me to come here
and talk some sense into you about
going to Mississippi.
 Pink Rev. (08/29/21) 63.

Mamie braces herself for another argument.

JOHN (CONT'D)
But I got her to change her mind.
(pause)
Because I’m going with you.

Mamie is surprised and confused. She asks plainly:

MAMIE
Why?

John’s face drops for a second.

JOHN
Because I’m your father, and I told
you I’ll be there for you.

Mamie doesn’t know how to respond. Sensing her resistance,

John lets himself be a little more vulnerable:

JOHN (CONT'D)
I never knew how to be there for
you growing up. You were always so
strong, like your mama. But these
few weeks have given me another
chance...

Mamie takes his words in, but keeps her distance.

MAMIE
I don’t only need you when I’m
broken.

John swallows the truth of her words. He hangs his head and
barely nods. Mamie looks at her father and softens,
remembering the love she has for him.

100 OMIT 100 *

101 INT. AUDITORIUM - DAY 101 *

HANDS place cash and checks in BUCKETS, as they pass it down *

rows of AUDIENCE MEMBERS enraptured by Mamie’s words. She
speaks to an audience of hundreds. *

Rayfield, Roy Wilkins, John, Alma and several NAACP EXECUTIVE *

MEMBERS surround Mamie on stage. *
 Pink Rev. (08/29/21) 64.

MAMIE *
It was my heart beneath that glass. *
I wondered, would people feel it *
too? I have no more doubts. All of *
America is mourning with us. *

Audience CLAPS. *

MAMIE (CONT'D)
While I’m happy that Mr. Milam and
Mr. Bryant will be facing trial, I
still want to see Mrs. Bryant
punished, and any other person who
was in on this thing. My son’s
death will not be in vain!

The Audience ROARS.

MAMIE (CONT'D)
So we are going down there. And we
will bring a fight, because they’re
killing our children now! We will
have our justice in Mississippi!

The Audience gets on their feet and CLAPS wildly. *

Alma quietly takes Mamie’s hand from behind and squeezes it. *
She whispers to her: *

ALMA *
(whispering) *
I wish I could’ve been stronger for *
you. *

Mamie is moved by her mother’s words. *

As the two remain looking forward at the Audience, the *

thunderous APPLAUSE slowly fades into an ominous ECHO... *
*
MISSISSIPPI

102 EXT. MISSISSIPPI ROADS - DAY 102

A SHERIFF VEHICLE rides past open, dusty roads. It then

passes a sign: “TALLAHATCHIE COUNTY, MISSISSIPPI”

CUT TO:

103 EXT. CIVIC CENTER - DAY 103 *

The Sheriff Vehicle parks in a spot near dozens of WHITE

PEOPLE getting out of their cars.
 Pink Rev. (08/29/21) 65.

A gruff, sweaty man gets out of the Sheriff Vehicle and

follows the mass of White People inside the Civic Center.
This is SHERIFF STRIDER.

104 INT. CIVIC CENTER - DAY 104 *

A “TALLAHATCHIE COUNTY CITIZENS’ COUNCIL” banner hangs

overhead.

The room is exclusively filled with hundreds of WHITE MEN,

WOMEN AND CHILDREN. They are mostly the upper eschelon of
white society - politicians, sheriffs and such. DONATION JARS
are passed amongst the rows of people.

Tables full of SNACKS and copies of “CITIZEN: MAGAZINE” line

the walls. The COVER of the magazine features cartoonish
Black men chasing demure white women.

Strider is seated amongst the captivated crowd, listening to

a balding white man speak, SENATOR JAMES EASTLAND.

EASTLAND
We cannot permit division among our
people. When we do, we lay the
groundwork for the NAACP to
integrate our schools.

APPLAUSE.

EASTLAND (CONT'D)
Our whole civilization is because
of the creative genius of the white
race. And this system which we have
built must continue to remain. We
will not surrender!

APPLAUSE!

EASTLAND (CONT'D)
And if the niggers want to take us
to court, what will happen?

People in the crowd LAUGH.

EASTLAND (CONT'D)
That’s right, my friends. We do not
convict our own. All we have to do
is remain white!

Strider gets on his feet with the rest of the Crowd and claps
loudly.
 Pink Rev. (08/29/21) 66.

The CITIZENS’ COUNCIL PRESIDENT walks up to the front of the

room, clapping for Eastland.

COUNCIL PRESIDENT
Thank you, Senator Eastland! As
County President, I can say it’s
been an honor to have you speak to
our membership!

The Crowd starts to settle down, in anticipation for the next

order of business.

COUNCIL PRESIDENT (CONT'D)

(to Crowd)
If the NAACP thinks we have the
slightest idea of surrendering our
heritage to a mulatto race, the
NAACP had better think again!

APPLAUSE!

COUNCIL PRESIDENT (CONT'D)

Now, this trial about that dead
nigger boy is coming up in a few
days, and it won’t be just about
Roy and JW, it’s about all of us.
As Senator Eastland said - we have
to protect our own.

APPLAUSE.

COUNCIL PRESIDENT (CONT'D)

Last week, I approached Mrs. Bryant
and asked her how the Citizens’
Council can help. She told me she
could use help paying some of her
legal fees - that’s why you see
these baskets going around. But
instead of me asking you to donate,
I thought it’d be more impactful to
hear from Mrs. Bryant, herself.
She’s been through immeasurable
pain lately, but was kind enough to
accept my invitation to tonight’s
meeting. Let’s all give her a round
of applause!

Everyone CLAPS loudly, many stand.

Carolyn Bryant has been sitting off to the side with a

TODDLER on her lap. When she’s called up to speak, she hands
her child to the OLDER WHITE WOMAN next to her and walks up
to the front of the room. Her candor is deceptively reserved.
 Pink Rev. (08/29/21) 67.

CAROLYN
I don’t have too much to say, other
than...thank you. Roy thanks you
too. It’s been hard on our boys.
All they want is their daddy to
come home.

Perfectly timed tears stream down her face.

CAROLYN (CONT'D)
Thank you.

The Crowd CLAPS again, feeling sorry and enraged for her at
the same time.

As Carolyn walks back to her seat, her tears dry up and her
eyes harden. She is expressionless.

105 EXT. MOUND BAYOU, MISSISSIPPI - DAY 105

Not too far away, the sun RISES on another part of

Mississippi:

The CAMERA FOLLOWS CARS driving through an all-Black utopic

town, where its working and middle-class RESIDENTS walk with
a sense of pride and community. All businesses are Black-
owned - BANKS, TRAIN STATION, and CARNEGIE LIBRARY.

In one of the cars...

106 INT. SEDAN - DAY (CONTINUOUS) 106

MEDGAR EVERS (30) drives Mamie and John. Medgar is a take-

charge kind of young man, who has a deep passion for the
activism work he does.

MEDGAR
Mound Bayou’s been here for about
seventy years. This is where all
the Negroes attending the trial
will be staying. It’s the safest
place for them.

As they pass the TABORIAN HOSPITAL --

MEDGAR (CONT'D)
Dr. Howard’s the chief surgeon at
Taborian Hospital. He also owns a *
really successful life insurance
company. That’s how I met him, he
gave me a job there.
 Pink Rev. (08/29/21) 68.

Mamie’s eyes widen with shock and pleasant surprise at the

sight of Mound Bayou.

107 EXT. DR. HOWARD’S HOME - DAY (CONTINUOUS) 107

They approach a lavish ranch house that’s lined with several

BLACK SECURITY GUARDS. They each have guns at their hips.

As they pull up to the gate, Medgar confers with one of the

Guards before they’re allowed to enter.

As soon as he parks in front of Dr. Howard’s house, a

SECURITY GUARD begins assisting Mamie and John out of the
car.

108 INT. SEDAN - DAY (CONTINUOUS) 108

Mamie turns to Medgar.

MAMIE
Thank you for driving us, Mr.
Evers.

MEDGAR
Please, ma’am, call me Medgar.

Just before Mamie exits the car -- *

MEDGAR (CONT'D)
Mrs. Bradley?
(pause)
Those pictures of your son in the
magazine? It changed people’s
lives. My wife is here with our
son. We’re both helping with the
investigation work for the trial.
We want to do everything we can to
bring some sort of justice for
Emmett Till.

She is moved and heartened by his words.

109 INT. DR. HOWARD’S HOME - LIVING ROOM - DAY 109

A dozen BLACK REPORTERS and several NAACP EXECUTIVE MEMBERS

move through an ornately decorated home. They are all on the
phone, writing notes down or discussing strategy with one
another.
 Pink Rev. (08/29/21) 69.

Mamie notices some walls near Reporters’ desks covered with

NEWS ARTICLES about the case from newspapers all over the
country: BALTIMORE AFRO-AMERICAN. CHICAGO DEFENDER. EBONY.
JET.

Some Reporters pause when they notice Mamie.

MEDGAR
Our nickname for this place is “the
Black command center.” Reporters *
from all the colored press will
work out of here during the trial.
They’re also helping me with some
of our investigation work for the
trial.

A reporter, JAMES HICKS (40), walks by and nods his head in

reverence.

MEDGAR (CONT'D)
That’s James Hicks, from the
Baltimore Afro-American.

He points to other Reporters:

MEDGAR (CONT'D)
Ms. Murdock. Ms. Turner. Mr.
Booker...

Medgar points to a woman - RUBY HURLEY (46) - who’s been

watching them from afar --

MEDGAR (CONT'D)
That’s Ruby Hurley, an
administrator for the NAACP. She’s
also part of the investigation
team.

JOHN
What kinds of things are you
investigating?

A BABY TOY rolls in from the hallway. Mamie spots the toy,
and then a 2-year-old BLACK BOY walking in with his mother,
MYRLIE EVERS (22). Her eyes don’t leave the Boy.

MEDGAR
Witnesses, who are brave enough to
come to trial.

Medgar notices Mamie’s gaze and walks over to Myrlie and

their child.
 Pink Rev. (08/29/21) 70.

MEDGAR (CONT'D)
This is my wife, Myrlie. And our
son, Darryl.

He picks up his son.

MYRLIE
It’s an honor to meet you, Mrs.
Bradley.
(to John)
Mr. Carthan.

Mamie tries to maintain her smile as she watches Medgar hold

his son.

Medgar points to a man - AMZIE MOORE (44) - who is working

near Ruby.

MEDGAR
That’s Amzie Moore, a member of the
Regional Council for Negro
Leadership --

DR. HOWARD (O.S.)

And I’m Dr. Theodore Howard.

They turn to see a middle-aged Black man in a crisp, white

suit and alligator shoes. He speaks with an unapologetic self-
assuredness.

DR. HOWARD (CONT'D)

What an honor it is to have you in
my home, Mrs. Bradley.

110 EXT. DR. HOWARD’S HOME - BACKYARD - DAY 110

SPLASH!

Several BLACK CHILDREN jump and swim in a large, gorgeous

pool.

Dr. Howard’s backyard is a recreational oasis for Black

people in the community.

He walks and talks with Mamie, who is observing the

surroundings.

DR. HOWARD
We’re demanding a chance to help
shape our destiny in Mound Bayou!
We have our own banks, hospitals,
school.
(MORE)
 Pink Rev. (08/29/21) 71.

DR. HOWARD (CONT'D)

I built this pool for colored
children who’ve never been allowed
to breathe ocean air.

MAMIE
Not a lot of people would use their
money the way you do.

DR. HOWARD
Money is important to the freedom
work we’re doing. Keeping Negroes
safe while we try to vote...or
speak at a trial. It all takes
money.

Mamie stares at the children playing and swimming, being

free.

MAMIE
I had a really good life in
Chicago, before they took Bo from
me. I never thought much about the
world outside of just me and Bo, my
job, my family, my friends. And
then I let the world into my life.
For the first time, I feel some
kind of purpose now, much bigger
than the life I had in Chicago.

Dr. Howard has been listening.

DR. HOWARD
Have you thought about what you’ll
do after the trial?

MAMIE
(confused)
After the trial?

DR. HOWARD
I’m sure you thought about
continuing your work with the
NAACP. Or you can join the work
we’re doing here through my
Regional Council. You have a story
that speaks to the urgency of Negro
rights in a way this country has
never heard before.

MAMIE
I’ve been sharing my story because
I want those two men to pay for
what they did.
 Pink Rev. (08/29/21) 72.

Dr. Howard pauses and gets frank with Mamie.

DR. HOWARD
Mrs. Bradley, when you put your
son’s body out, all of us felt
something. No words are more
powerful than when they come from a
mother who’s just lost her child.
But it’ll take a lot more than
righteousness when putting white
sovereignty on trial.

MAMIE
(pause)
I’m not as cynical as you, Dr.
Howard. I do believe in justice.

DR. HOWARD
I do too. And I believe justice
can’t only come from twelve jurors
who will look like the men on
trial.

Mamie hardens.

DR. HOWARD (CONT'D)

Our fight, your story, doesn’t end
with a verdict, Mrs. Bradley.

Dr. Howard watches the kids jump in the pool while Mamie
considers his words.

111 EXT. MISSISSIPPI ROAD - DAY 111

BLACK SEDANS zip past a sign that reads:

“SUMNER, MS: A GOOD PLACE TO RAISE A BOY.”

112 OMIT 112

113 EXT. COURTHOUSE - DAY 113

WHITE CHILDREN playfully run across the courthouse lawn.

WHITE ONLOOKERS stand around, chatting and drinking sodas,

while BLACK ONLOOKERS stand segregated by a CONFEDERATE
STATUE.

Television, radio and newspaper REPORTERS swarm the building.

Reporters rush a line of an arriving SEDAN --

 Pink Rev. (08/29/21) 73.

Medgar opens Mamie’s door.

Every detail of Mamie’s attire is like a suit of armor: nylon

stockings, the fringe of her dress, Emmett’s watch on her
wrist -- the hand of which clutches a classy handbag, a gem-
inlaid necklace, gold earrings and aviator glasses.

White Onlookers stare at Mamie, dumbstruck by how well-

dressed she is.

COURTHOUSE REPORTER 1
That’s the mother!

John walks protectively by Mamie’s side. Medgar divides

swarms of Reporters, making way for Mamie to walk up the
courthouse steps.

MEDGAR
Get out of the way!

COURTHOUSE REPORTER 1
Mrs. Bradley...uh, why are you
here?

COURTHOUSE REPORTER 2
C’mon, say something!

JOHN
Mamie --

MAMIE
It’s alright, daddy.

John and Medgar look at Mamie as if what she’s about to do is

a bad idea. Mamie finds a microphone.

MAMIE (CONT'D)
I’m here to confirm that I saw my
son’s body, Emmett Louis Till, and
to answer any questions the
attorneys might have --

BANG! BANG! BANG!

Mamie jumps. Medgar and John instinctively shield her. She

looks up to discover two WHITE BOYS leaning from the
courthouse window, pointing smoking CAP GUNS back at her.
They LAUGH at Mamie.

Mamie removes her sunglasses and looks directly at the two

boys.
 Pink Rev. (08/29/21) 74.

114 INT. COURTHOUSE - DAY 114

Medgar leads Mamie through a crowded hallway and up a

staircase, landing on the --

115 INT. COURTHOUSE FOYER - DAY 115

WHITES pass into the courtroom freely, but “COLOREDS” are

corralled into a separate line to be frisked.

Mamie waits with Medgar and John. *

A TALLAHATCHIE DEPUTY throws up John’s arms and pushes him

against a wall.

MAMIE
How dare you?!

JOHN
It’s okay, Mamie.

The Tallahatchie Deputy laughs at ANOTHER DEPUTY.

The Other Deputy moves toward Mamie and frisks her. She
winces when he begins to search her body.

JOHN (CONT'D)
Mamie?

She looks at her father.

JOHN (CONT'D)
It’s okay.

She and her father hold each other’s gazes as the Deputies
pat down their entire bodies.

116 INT. COURTROOM - DAY 116

Hazy cigarette smoke fills the air.

The room is mostly packed with WHITE SPECTATORS.

Two WHITE TEENS sell soda pop and beer.

WHITE CHILDREN play a game of tag, running around and around

the courtroom.

Most BLACK SPECTACTORS stand near the back.

 Pink Rev. (08/29/21) 75.

Mamie enters with Medgar and John, observing her

surroundings. Sheriff Strider pushes past them without any
regard.

STRIDER
Hello, niggahs!

Mamie bristles.

STRIDER (CONT'D)
I got about eight seats off the
side in there for you nigger
reporters, everyone else can stand.

BLACK REPORTERS and a Black photographer - ERNEST WITHERS -

make their way to the rear of the courtroom.

MEDGAR
(to Mamie and John)
There’s Mr. Hicks. We can sit with
him and the other reporters.

As Mamie heads towards Hicks, Strider steps in front of her.

STRIDER
You Mamie?

She takes him in. Strider pushes a document against Mamie.

MAMIE
What’s this?

STRIDER
It’s a damn summons. I thought you
uppity niggers could read.

He walks away. Mamie turns to John in disbelief.

JOHN *
Don’t let them get to you. Let’s
sit down.

They make their way towards a few seats. Medgar spots two
white men at a table - prosecutors GERALD CHATHAM and ROB
SMITH.

MEDGAR
(to Mamie)
Have you spoken to the prosecution
team?

MAMIE
Only once, on the phone. It was
brief.
 Pink Rev. (08/29/21) 76.

He guides Mamie over to the table.

MEDGAR
District Attorney Smith... Mrs.
Bradley.

Mamie holds out her hand for a greeting, but Smith looks at
her dumbfounded and does not raise his hand.

BAILIFF (O.C.)
All rise! The Honorable Judge
Curtis Swango presiding.

Medgar escorts Mamie back to her seat with the Black Press.

JUDGE CURTIS SWANGO (60s, white), walks into the courtroom

and takes his seat. He looks at PHOTOGRAPHERS taking photos.

JUDGE SWANGO
There will be no pictures taken
during court proceedings. Bailiff,
have the jurors come in and take a
seat. Also, get me a coke.

The Bailiff opens the door and signals for the 12 JURORS to
enter.

Mamie watches the Jurors file into the courtroom - every

single one of them is white and male. Mamie clenches her jaw.

Her eyes follow them taking a seat at the front of the room
and then she spots the backs of ROY BRYANT, JW MILAM and
CAROLYN BRYANT. Mamie’s breathing hastens. She watches
Carolyn and Roy’s CHILDREN run down the aisle, laughing...

CHATHAM
Your Honor, the State has just
learned of the existence of another
witness to the murder of Emmett
Till.

Spectators MURMUR. Mamie watches Roy and JW sit up straight,

their smiles fading at the news of surprise witnesses.

CHATHAM (CONT'D)
The State requests a recess in
order to gather the witnesses.

Judge Swango sips a soda.

Defense Attorney J.J. BRELAND stands up:

 Pink Rev. (08/29/21) 77.

BRELAND
Objection, your Honor! J.J. Breland
for the defense. This will only
delay proceedings.

JUDGE SWANGO
Objection overruled. It seems like
a reasonable request. Court will
resume at nine am tomorrow morning.

As everyone in the courtroom rises and starts to walk out of

the courtroom, Mamie’s eyes remain on Roy, JW, Carolyn and
their children.

MEDGAR
Mrs. Bradley?

MAMIE
Medgar...take me to Money.

117 INT. MEDGAR’S CAR - DAY (TRAVELING) 117

Mamie stares at the desolate COUNTRY ROADS.

118 EXT. BRYANT’S COUNTRY STORE - DAY 118

Medgar pulls off the road across from the store.

MAMIE
That’s where it happened? That
empty stoop?

MEDGAR
Yes, Ma’am. It’s been closed since
the arrest.

Mamie gets out of the car. Medgar hustles to catch up with

her across the street.

MAMIE
These people are church mouse poor.

MEDGAR
And most of all their patrons were
Negroes.

Mamie walks up the stoop and looks into the store window.

MAMIE’S P.O.V.

Lights are off. Shelves are mostly bare. The store is a ghost
of itself.
 Pink Rev. (08/29/21) 78.

MAMIE IMAGINES EMMETT LAUGHING DOWN THE AISLE. AND THEN

BUYING A PIECE OF BUBBLE GUM FROM CAROLYN BRYANT.

BACK TO SCENE

She turns away from the window.

119 EXT. MOSES WRIGHT’S HOME - DAY 119

Maurice and Simmy are playing in front of their home. They

freeze when they see Mamie and Medgar pull up in their car.

CUT TO:

120 INT. MOSES WRIGHT’S HOME - SIMMY’S BEDROOM - DAY 120

Simmy hands Mamie Emmett’s HAT, one of his COMIC BOOKS and
his UNFINISHED LETTER.

MAMIE
Your mama tells me you’re all
moving up north after the trial.

SIMMY
Daddy says it’s not gonna be safe.

Mamie scans the letter and her eyes turn glassy. Simmy puts
his head down. Maurice’s eyes fill with tears.

MAURICE
We’re sorry, ma’am....

MAMIE
You didn’t know this was going to
happen.

She holds them tightly. Mamie re-composes herself.

MAMIE (CONT'D)
Where’s your daddy? *

SIMMY
(pause)
The riverbank. He goes there a lot
lately.

As she walks out of the room and into --

 Pink Rev. (08/29/21) 79.

A121 INT. MOSES WRIGHT’S HOME - HALLWAY - DAY A121

She clocks a SHOTGUN hanging over the mantle in the LIVING

ROOM.

CUT TO:

121 OMIT 121

122 OMIT 122

123 OMIT 123

124 EXT. TALLAHATCHIE RIVERBANK - DAY 124

Mamie swats tall reeds and grasses descending the bank. She
finds Moses sitting on a log by the riverbank. He turns to
look at her.

MOSES
You gon’ sit?

She doesn’t.

MAMIE
I saw your boys.

MOSES
Was probably hard for them to see
you. Simmy hasn’t been able to
sleep.

He asks again:

MOSES (CONT'D)
You gon’ sit?

She doesn’t.

MAMIE
Did you have a shotgun in your
house the night they took Bo?

Moses pauses.

MOSES
I’ve been wanting to explain to you
what happened --
 Pink Rev. (08/29/21) 80.

MAMIE
You told me what happened!

MOSES
White men came knockin’ on my door,
Mamie --

MAMIE
I know that part --

MOSES
They had a gun --

MAMIE
You have a gun! How long did you
stand there, doing nothing while
they took my child?!

MOSES
If I’d shot them, they would’ve
killed all of mine! It’d be huntin’
season for every Negro in Money!
(beat)
We have to live here, Mamie. Emmett
was with my boys when he went to *
talk to some white woman! You
understand what that means down
here?

MAMIE
Don’t you dare blame my boy for
what happened to him!

MOSES
I don’t blame him, I... I had to
make a choice that night. In a
moment, I had to choose.

MAMIE
And you chose yours over mine.

MOSES
It wasn’t just two white men with a
gun that night. It was every white
man who’d rather see a Negro dead *
than breathin’ the same air as him! *
Every sheriff, every judge in this
town was at my door that night! I
was facin’ a lot more than two men
with a gun.

Mamie begins to understand, but it still hurts.

 Pink Rev. (08/29/21) 81.

MAMIE
He was my only child.

MOSES
I know.

Beat.

MAMIE
That’s why you’re moving after the
trial, because you’re going to
testify?

Beat.

MOSES
No Negro in Money has ever spoken
against a white man.

Silence.

125 EXT. SHERIDAN PLANTATION COTTON FIELDS - NIGHT 125

Medgar, Ruby and Amzie keep a low profile running through

cotton fields.

They slow to a crouch at a berm, looking down on a row of

SHARECROPPER’S HOMES and the BIG HOUSE beyond. When the
lights go off in the Big House, the three of them rise and
look ahead.

CUT TO:

126 EXT. SHERIDAN PLANTATION SHARECROPPERS’ HOMES - NIGHT 126

Ruby and Amzie creep up to the home. Ruby knocks.

AMZIE
Not so loud.

Ruby knocks again, this time, creating a STIRRING inside.

Medgar stands by on the dirt.

ADD (O.S.)
(whispering)
What y’all want?

RUBY
Let’s have a conversation inside.

An elderly Black man, ADD REED (60s), barely opens the door.
 Pink Rev. (08/29/21) 82.

ADD
(closing door)
We’ve been hassled already.
(louder)
Get your foot outta my door.

Dogs BARK. Medgar looks back at the Big House door.

RUBY
Come out or we’re coming in.

ADD
You gonna get us killed!

Front porch lights turn ON at the Big House.

Medgar lifts his hand to his waist belt, when...

He catches sight of a young, Black man - WILLIE REED (18) -

escaping from a side window of the sharecropper home. Medgar
takes off.

127 EXT. SHERIDAN PLANTATION WOODS - NIGHT 127

Medgar pursues Willie through woods.

Willie breaks through thick brush onto --

128 EXT. MISSISSIPPI ROAD - NIGHT (CONTINUOUS) 128

He sprints down the road until an on-coming VEHICLE cuts him

off, forcing him to stop. The headlights are blinding.

Willie looks like a deer caught in the headlights.

Medgar has now caught up with Willie.

MEDGAR
Willie Reed. You’re pretty fast.

HICKS exits the vehicle.

Medgar gives Hicks a look, as if to say “we’ve found our

man.”

129 OMIT 129

 Pink Rev. (08/29/21) 83.

130 INT. HALLWAY/DR. HOWARD’S FORMAL STUDY - NIGHT 130

Mamie creeps towards the study door, overhearing

conversation. The door is partially open:

RUBY (O.S.)
We need to keep him here, in case
he runs again!

WILLIE REED (O.S.)

I’m not gonna run! I’ll tell ‘em
what I saw that night!

RUBY (O.S.)
What about your grandparents? You
said they heard some sounds from
the barn too?

WILLIE REED (O.S.)

I promised I’ll keep ‘em out of it!

DR. HOWARD (O.S.)

I’ll pay whatever it costs to
protect your family after
testifying --

MAMIE’S P.O.V. -

Willie freezes at the sight of Mamie. Everyone else turns

around and faces Mamie.

LATER:

131 INT. DR. HOWARD’S FORMAL STUDY - NIGHT 131

Willie Reed is standing, being fitted for a suit. He’s

wearing borrowed pants and a loose-fitted button down shirt.
Ruby holds out a jacket.

RUBY
This suit should fit you fine, but
it’s burning up in that courtroom.

WILLIE REED
I’ll be fine, ma’am. Thank you.

Medgar looks down at Willie’s feet. *

MEDGAR *
I have some shoes that are about
your size.

He walks out.
 Pink Rev. (08/29/21) 84.

Mamie and Hicks are to the side, observing the scene and
talking privately:

HICKS
He’s a field hand for JW’s brother
and lives on the farm not too far
from where he saw JW, Roy Bryant
and several other men take Emmett.
Willie’s family also works for the
Milams and heard some noise that
night.

MAMIE
There were other men?

It pains Hicks to confirm, but he nods his head.

HICKS
Colored men.

MAMIE
Colored men did this to my boy?

HICKS
They all worked for Milam and
Bryant. I found out Bryant paid for
them to skip town.

Mamie feels the emotion bubbling up inside her. She abruptly

walks away from Hicks and towards Willie --

MAMIE
Let me put that on right for you.

Willie’s been struggling to put on his tie. Mamie begins to

tie a Windsor knot over Willie’s shirt collar. She doesn’t
look him in the eyes.

MAMIE (CONT'D)
It means a lot what you’re doing.
Thank you.

WILLIE REED
It’s the right thing to do.

She finishes the knot and catches Willie’s gaze. Medgar comes *
back with the shoes. Mamie steps back and looks at Willie’s
entire outfit.

132 INT. DR. HOWARD’S KITCHEN - NIGHT 132

A tea kettle WHISTLES.

 Pink Rev. (08/29/21) 85.

Myrlie Evers pours herself and Mamie a cup of tea.

MYRLIE
It’s difficult for me to fall
asleep before Medgar gets home.

They’re both sitting down.

MYRLIE (CONT'D)
I’ve wanted to meet you. What you
did with those photographs, what
you’re doing now...

MAMIE
It’s nothing a mother wouldn’t do
for her child.

Beat.

MYRLIE
How do you do it?

Mamie thinks about it.

MAMIE
I realized...Emmett wasn’t just
mine anymore. The world was going
to change because of him.

Her words resonate with Myrlie.

MAMIE (CONT'D)
How old’s your son?

MYRLIE
Two. We almost didn’t take him with
us from Jackson, but...I’m trying
to keep the family together as much
as possible these days.
(pause)
I’m sure you’ve heard about what
happened to our friends, Lamar
Smith and Reverend Lee?

MAMIE
(nodding)
Yes, I have.

MYRLIE
Medgar and I worked closely with
them. We did good work. We got a
lot of Negroes registered to vote
for the first time in Mississippi.
(beat)
(MORE)
 Pink Rev. (08/29/21) 86.

MYRLIE (CONT'D)
And that created the biggest
targets on our backs.

Myrlie chokes up. She takes a sip of her tea to help hold
back emotion. Silence.

MYRLIE (CONT'D)
I believe in the fight we’re in for
our people, but I don’t want my son
to have to live in fear. I have
enough fear for the both of us,
every time I wait for Medgar to
come home.

Beat.

MAMIE
Emmett just wanted to go on
vacation and have fun with his
cousins. He never thought anything
would happen to him. He knew how
different things were down here,
but I didn’t raise him to have any
fear growing up. I wanted him to be
a boy and not have his childhood
taken away from him.
(beat)
But it happened anyway.

She takes a sip of her tea.

MAMIE (CONT'D)
We do the best we can.

Both women look at each other, connected.

133 INT. COURTROOM - DAY 133

Moses walks into the courtroom like a gang-plank. With each

step, the witness stand seems even further from him.

He walks past Simmy and Maurice, who sit near the back of the
courtroom. The boys look terrified for their father, but
Moses gives them a reassuring nod.

He walks past Mamie and glances at her. They share a moment

of shared strength.

CUT TO:
 Pink Rev. (08/29/21) 87.

134 INT. COURTROOM - DAY 134

MOSES
Someone was at the front door
yelling, “Preacher...Preacher...I
want to talk to you and that boy!”

District Attorney Chatham examines Moses Wright.

CHATHAM
Do you know Mr. Bryant?

MOSES
Couldn’t see him all that well, but
he owns the meat market.

CHATHAM
And you know Mr. Milam, do you?

MOSES
Not by name. But I know him.

CHATHAM
And how do you know him?

MOSES
He showed up at my door, standing
there with a flashlight in one hand
and a pistol in the other.

CHATHAM
And what happened next?

Moses softens his gaze. He glances at Simmy and Maurice.

MOSES
He held my family at gun point...
Then dragged my nephew from my home
and drove off.

VOICE (O.C.)
(hushed)
Sambo.

Mamie catches one of the Jurors laugh at the “Sambo” remark.

CHATHAM
And would you recognize Mr. Milam,
were you to see him again?

MOSES
Yes, sir. I would.
 Pink Rev. (08/29/21) 88.

The room goes silent, except for the soft WHIRRING of a

ceiling fan.

Moses glances across the courtroom at Simmy and Maurice, then

stands tall. With an outstretched finger at J.W. Milam --

MOSES (CONT'D)
There. He. Is.

The courtroom erupts into outrage. Moses still stands.

A PHOTOGRAPHER (Ernest Withers) leans forward with his

inconspicuous camera and snaps a photo.

Judge Swango bangs the gavel and brings some order.

CHATHAM
(louder)
Was there anyone else?

MOSES
(speaking fast)
When those men dragged Emmett to
the truck, I heard one ask a person
in the cab, “Is this the right
boy?” The answer was “yes.”

CHATHAM
Who did that man’s voice belong to?

MOSES
It was a voice lighter than a
man’s.

Every White Man gets to his feet SHOUTING FURIOUSLY.

WHITE MAN 1
Get that nigger outta here!

WHITE MAN 2
You’re dead, niggah!

JUDGE SWANGO
Order! Order in this courtroom!

Mamie looks around at the chaos.

Amzie immediately gets up from his seat and moves to the back
of the door.

JUDGE SWANGO (CONT'D)

Get outta here, Mose.

He slams his gavel.

 Pink Rev. (08/29/21) 89.

JUDGE SWANGO (CONT'D)

I’m calling a brief recess!

Dodging hits and RACIAL SLURS, Moses signals for Simmy and *
Maurice to leave with him. They quickly follow Amzie out of *
the courtroom into -- *

A135 INT. COURTHOUSE FOYER - DAY (CONTINUOUS) A135 *

As the doors close behind Moses, he and Mamie share a final *

glance. *
*

135 OMIT 135

136 INT. COURTROOM - DAY 136

Willie and two of his relatives - ADD and MANDY - stand

before defense attorney BRELAND, shaking with nerves. Willie
has completely sweated through his suit.

ADD
My grandson, Willie, came to me
about some noise in the barn. I
went over. I saw Leslie Milam and a
man I didn’t know. He had a gun --

MANDY
(jumps in)
He was a tall man with a bald head.

Roy stares daggers into Mandy.

WHITE VOICE (O.C.)

You’re dead, nigger!

BRELAND
(to Willie)
What’d you think you heard?

WILLIE REED
I heard loud hollering and licks
comin’ from that shed. It sounded
like a boy.
(pause)
I saw JW Milam. I saw a green truck
with a white top. As they drove
off, there was four white men in
the cab and three colored men in
the back.
(MORE)
 Pink Rev. (08/29/21) 90.

WILLIE REED (CONT'D)

One was sitting on the bottom and
two others sat beside a body.

BRELAND
Are you sure that’s what you heard?

WILLIE REED
Yes, sir.

BRELAND
If that’s what you heard, why
didn’t you do anything about it?
Why not, yell out or call for help?

Willie is at a loss for words. Breland knows why he couldn’t

do anything about it.

WILLIE REED
I...I...couldn’t...

BRELAND
No further questions.

Willie is dumbstruck. He looks up at Mamie (sitting to the

side) with shame. Mamie nods back with understanding.

JUDGE SWANGO
(to Witnesses)
You can leave now.

Willie, Add and Mandy slowly walk out of the courtroom,

passing by JW’s glare and Roy’s smirk.

137 INT. BATHROOM - DAY 137

Mamie stands in a bathroom stall, spinning Emmett’s watch on

her wrist while her eyes are closed. She prays silently.

She gets out of the stall and looks at herself in the mirror -
less makeup and jewelry this time. She adjusts her simple
black dress and prepares herself for --

138 INT. COURTROOM - DAY 138

All twelve Jurors eye Mamie with indifference or contempt.

Mamie looks back at them from the stand, with disdain.

BAILIFF
You swear to tell the truth, the
whole truth and nothing but the
truth so help you God?
 Pink Rev. (08/29/21) 91.

MAMIE
Yes sir, I do.

District Attorney, SMITH, questions Mamie:

SMITH
Mamie, did you have a son, who in
his lifetime was known as Emmett
Till?

MAMIE
Yes, sir.

SMITH
How old was he?

MAMIE
Fourteen years of age.

SMITH
Is his father living today?

MAMIE
No Sir. He died in Service.

SMITH
When your husband, the father of
Emmett Till, was killed overseas,
were his belongings sent to you?

MAMIE
Yes, Sir.

SMITH
I now hand you a ring that has
engraved on it “May 25, 1943, with
the large initials L T.”’ Was it
among the belongings that were sent
to you?

Mamie pauses to look at the ring.

MAMIE
Yes, Sir.

SMITH
And that was the ring Emmett had
came down here to Mississippi with?

MAMIE
Yes, Sir.
 Pink Rev. (08/29/21) 92.

SMITH
Mamie, I wish you would state to
the court and jury whether you
could identify the body you saw
there at the funeral home as that
of your son, Emmett Till?

MAMIE
I could.

Mamie takes her time, speaking to the whole room.

MAMIE (CONT'D)
It’s hard to describe what a mother
knows...

SMITH
Please.

MAMIE
The first thing I noticed when I
became a mother was that my hands
were busy, all the time. Rocking,
carrying, swaying. Always full, one
hand for him, and one hand for what
he needed. When time came to place
him down, so he could make his own
way around, I’d touched every inch
of him, every bend. My hands knew
him with my eyes closed. Just like
I would know his laughter in a
crowded room. It’s the same thing,
when you know all of someone.

Mamie breathes in strength then closes her eyes. She reaches

out, her hands gripping the memory.

MAMIE (CONT'D)
I started by laying my hands on a
foot, then I found his knees. I
remembered him as my fingers traced
his hair line, and bumped over the
crease of his eye lids. He was
spoiled and puffed, but these were
the same parts of a boy I nurtured
and loved. Nothing and no one could
hide him from me.
(beat)
A mother knows.
(beat)
Your mother would know.

Smith’s expression softens.

 Pink Rev. (08/29/21) 93.

Mamie’s gaze finds and remains fixed on the Jury.

MAMIE (CONT'D)
And I knew. I knew he was my boy,
Emmett Till, beyond any doubt.

Jury members search for comfort, adjusting in their chairs.

The eyes of every Black Person in the room stream tears.

Smith looks at Mamie with the utmost respect: her words have
penetrated him.

SMITH
Thank you. Ahh. Thank you, Ms.
Bradley.
(beat)
I believe that’s all any of us
would need to hear.

The courtroom is silent, but for the clearing of throats and

occasional sniffle, then Defense Attorney Breland makes noise
with some papers.

BRELAND
Mamie. Do you happen to remember
the date Emmett Till’s father died?

MAMIE
Yes, sir. July the second, 1945.

BRELAND
Where was he when he died?

MAMIE
In Europe.

BRELAND
Did you have any insurance on
Emmett Till?

MAMIE
Um, yes sir.

BRELAND
How much did you have?

MAMIE
I had a ten cent and fifteen cent
policy, two weekly policies, and
they equalled four hundred dollars.

BRELAND
To whom are those policies payable?
 Pink Rev. (08/29/21) 94.

Mamie looks at John and Medgar, confused by the question.

SMITH
We object to that Your Honor!

JUDGE SWANGO
Objection overruled. Witness answer
the question.

MAMIE
I was the beneficiary on one and my
mother was on the other.

BRELAND
He ever cause, or get into trouble
in Chicago?

MAMIE
No more than any other boy.

BRELAND
Did he attend a reform school?

MAMIE
What for? No.

BRELAND
You have been quoted in the colored
press, “I told him several times
before he left Mississippi that he
should kneel in the street and beg
for forgiveness, should he insult a
white person.”

Mamie’s jaw clenches.

MAMIE
Not those exact words.

BRELAND
Did you caution him not to insult
white women?

MAMIE
I referred to white people in
general.

BRELAND
Did you caution your son how to
conduct himself and behave himself
while he was down here in
Mississippi?

Mamie’s eyes narrow.

 Pink Rev. (08/29/21) 95.

MAMIE
Several times.

BRELAND
Several times. Do tell us how.

MAMIE
I will give you a literal
description of what I told him...
How coming down here, he would have
to adapt himself to a different way
of life.
(caustic)
Be very careful about how he spoke
and to whom he spoke, and to always
remember to say “Yes, Sir” and “No,
Ma’am”. I told him that if ever an
incident should arise where there
would be any trouble of any kind
with white people, that if it got
to the point where he even had to
go down on his knees before them,
well, I told him not to hesitate to
do so.
(angry)
Like, if he bumped into somebody on
the street, and then they might get
belligerent or something. Well I
told him to go ahead and humble
himself, so as not to get into any
trouble. But you know...

BRELAND
No, I don’t. Please continue,
Mamie.

MAMIE
(almost holds back but...)
Well, I raised him with love for
fourteen years. My sudden warnings
about hate weren’t going to get
through.

Breland looks pleased by Mamie losing control of her

emotions.

BRELAND
Now, I hand you what purports to be
a photograph of your son.

He hands her the PHOTOGRAPH of Emmett leaning against a

television.
 Pink Rev. (08/29/21) 96.

MAMIE
This was taken in my home two days
after Christmas.

Breland then hands Mamie a PHOTOGRAPH of Emmett’s corpse.

BRELAND
Now, tell the court and jury what
this is?

MAMIE
This picture is of my son after
Mississippi sent him back to
Chicago, dead.

The Jury’s expressions hardens, feeling accused by Mamie’s

words.

BRELAND
No further questions.

Mamie looks about the room, feeling the eyes of White

Spectators like daggers.

JUDGE SWANGO (O.C.)

And for the prosecution.

CHATHAM
The State rests.

Mamie’s face falls.

JUDGE SWANGO (O.C.)

The court will have a recess.

Gavel STRIKES.

Mamie is off balance.

MAMIE
(to herself)
They killed my son again.

Her face hardens.

139 OMIT 139

140 EXT. DR. HOWARD’S HOME - BACKYARD - DUSK 140

BLACK GIRLS AND BOYS glide in the pool water, the pure blue
water glistening over their beautiful skin.
 Pink Rev. (08/29/21) 97.

Mamie looks on at the freedom and joy in their movements.

DR. HOWARD (V.O.)

To be a black body, is perilous,
wearing this dark skin while our
nation resists turning what once
was property back into human
beings.

141 INT. DR. HOWARD’S STUDY - NIGHT 141

DR. HOWARD
What you’re feeling right now is
discouraged. You’re ready to throw
up your hands at the situation. But
our struggle isn’t new, although
you’re new to it. We can’t only
consider this moment we’re in when
it’s tied to a larger fight for
complete freedom for every Negro in
America. In your son’s death, the
world has changed and you now have
the opportunity to make sure this
change lasts a lot longer than a
single moment.

Mamie sits across from Dr. Howard in his ornately decorated

study. She listens intently.

142 INT. MAMIE’S GUEST ROOM - NIGHT 142

Mamie crumples and throws away all of her collected

NEWSPAPERS on the trial.

She stands at the center of the room and contemplates.

143 INT. COURTROOM - DAY 143

Breland examines DR. OTKEN (60s, white).

BRELAND
In your opinion, do you think a
mother would have been able to
identify that body?

DR. OTKEN
No way someone could tell who it
is. I would estimate the body must
have been there eight to ten days.
Max two weeks.
 Pink Rev. (08/29/21) 98.

Mamie tightens her jaw, holding in her rage.

CUT TO:

144 OMIT 144

145 INT. COURTROOM - DAY 145

Smith cross-examines Sheriff Strider.

SMITH
Did you certify that the body found
was Emmett Till?

STRIDER
No, I didn’t. I just said it was a
dead body. You couldn’t even tell
if the body was white or black.

SMITH
Thank you, Sheriff Strider. You are
excused.

Sheriff Strider rises and speaks while staring Mamie down.

STRIDER
If you want my honest opinion, I
think the boy’s mammy and the NAACP
plotted this whole thing. That boy
is still alive somewhere.

Mamie stares right back.

CUT TO:

146 INT. COURTROOM - DAY 146

JUDGE SWANGO
Will the jury please retire to the
jury room.

The entire JURY gets up and exits into the jury room. Mamie
and several ONLOOKERS watch incredulously.

JUDGE SWANGO (CONT'D)

The testimony that is being offered
here of a prior incident at the
store in Money is irrelevant, and
should not be admissible.
 Pink Rev. (08/29/21) 99.

S. CARLTON
May we still continue the testimony
for the sake of the record? --

SMITH
(with objection)
Your honor --

JUDGE SWANGO
(to Smith)
Sit down!

Swango thinks about it. He looks at all the Reporters,

waiting at the edge of their seats.

JUDGE SWANGO (CONT'D)

I see no harm in letting Mrs.
Bryant share her side of things if
she wants to. Everybody else has.
It’s only fair.

He turns to Carolyn, who sits at the witness stand.

JUDGE SWANGO (CONT'D)

(tenderly)
You think you can handle that,
dear?

Carolyn nods her head, performing a demureness Mamies sees

right through.

JUDGE SWANGO (CONT'D)

(to S. Carlton)
You may proceed.

Mamie clenches her jaw.

Defense Attorney, S. CARLTON, approaches the stand:

S. CARLTON
Mrs. Bryant, was anyone in the
store with you on Wednesday night,
the 24th day of August, 1955?

CAROLYN
I was alone. But my children were
in the back. The living quarters.

S. CARLTON
And what time of day was it?

CAROLYN
After dark.
 Pink Rev. (08/29/21) 100.

S. CARLTON
Alone. At night time with your
children. Just tell the court what
happened next.

CAROLYN
This nigger man came in the store
and stood by the candy case.

Mamie glares at Carolyn, who shows no regard for her.

S. CARLTON
And you?

CAROLYN
I was back behind the counter. I
asked the man what he wanted.

S. CARLTON
And then did you get him the
merchandise?

CAROLYN
Yes.

S. CARLTON
And what did you do then?

CAROLYN
I held out my hand for the money.

S. CARLTON
Will you show the Court how you
held your hand out?

CAROLYN
I held out my hand like this --

Carolyn holds out her hand.

S. CARLTON
And did he give you the money?

CAROLYN
No...He caught my hand.

S. CARLTON
Will you show the Court just how he
grasped your hand?

CAROLYN
Like this --

She demonstrates with her hand.

 Pink Rev. (08/29/21) 101.

S. CARLTON
And was that a strong grip or a
light grip that he had when he held
your hand?

CAROLYN
A strong grip.

S. CARLTON
And will you show the Court what
you did? How did you get loose?

CAROLYN
Well, I just jerked it loose, like
this --

Carolyn wrestles her hand free.

Mamie shakes her head in disbelief at Carolyn’s performance.

S. CARLTON
Just what did he say when he
grabbed your hand?

CAROLYN
(looking helpless)
“How about a date, baby?”

S. CARLTON
When you freed yourself, what
happened then?

CAROLYN
I turned to the back of the store.

S. CARLTON
And he went on his way?

CAROLYN
No. He came after me. Caught me
down by the cash register.

Mamie resigns to the lies and theatrics on display.

S. CARLTON
Mrs. Bryant, can you demonstrate
for the court?

She steps off the witness stand, meeting S. Carlton on the

floor. She moves his hand.

S. CARLTON (CONT'D)
He grabbed you with his left hand
around your back?
 Pink Rev. (08/29/21) 102.

CAROLYN
Yes.

S. CARLTON
His right hand on your right hip?

CAROLYN
Here.

S. CARLTON
What did he say?

CAROLYN
He said: “you needn’t be afraid of
me, I’ve been with white women
before --

CUT TO:

147 EXT. COURTROOM - DAY 147

Mamie stands in the hall with John and Medgar, as people file
out of the courtroom. She is resolved.

MAMIE
I’m ready to go.

MEDGAR
Should I get you when they read the
verdict?

MAMIE
No. I’m ready to leave Mississippi.
Now.

JOHN
But what about the verdict?

Beat.

MAMIE
I know what the verdict is.
(pause)
This isn’t the only battle to
fight.

She heads out of the courthouse.

 Pink Rev. (08/29/21) 103.

148 EXT/INT. COUNTRYSIDE - DAY 148

Medgar drives Mamie and John back down country roads. They
pass an array of beautiful, southern BLACK PEOPLE, some of
whom recognize Mamie. She eyes them too. And then --

RADIO HOST (O.S.)

The jurors have reached a verdict
in the trial against JW Milam and *
Roy Bryant...not guilty.

Medgar and John’s faces sadden, but Mamie’s remains *

expressionless. They continue driving down the roads.

FADE TO:

149 EXT. PROTEST RALLIES - DAY 149

SERIES OF SHOTS:

A sea of MASSIVE PROTESTS in Oakland, Montgomery, Chicago,

Saint Louis and New York City.

All kinds of SIGNS are held up by the thousands: “MURDERERS

GONE FREE!” “NEGROES ARE AMERICAN TOO!” “WE DEMAND THE
FREEDOM TO LIVE!”

150 EXT. HARLEM RALLY - DAY 150

Mamie climbs a metal staircase to a platform perched atop a

sound truck, where Roy Wilkins greets her. She takes in the
THOUSANDS OF PEOPLE in the audience, holding SIGNS.

MAMIE
(into microphone)
I would like to give honor to God,
who is the source of my strength
and the reason for my being. I
thank you, Mr. Wilkins, and the
NAACP for inviting me to speak
before this beautiful crowd here in
Harlem, New York City.

Crowd CHEERS with AUDIBLE AFFIRMATIONS.

MAMIE (CONT'D)
(into microphone)
My son’s brutalized body meant
nothing to Mississippi’s criminal
justice system... And while they
blamed the victim as usual, the
federal government stood idly by.
(MORE)
 Pink Rev. (08/29/21) 104.

MAMIE (CONT'D)
If this country fails to protect
the black body from hate, America
has yet to meet her promise: either
freedom for everyone, or freedom
fails!

CHEERS.

MAMIE (CONT'D)
(into microphone)
One month ago, I had a nice
apartment in Chicago. I had a good
job. I had a son. When something
happened to the Negroes in the
South, I said ‘That’s their
business, not mine.’ Now I know how
wrong I was. The lynching of my son
has shown me that what happens to
any of us, anywhere in the world,
had better be the business of us
all!

The CROWD erupts in even louder CHEER and PRAISE.

SMASH CUT TO:

CHICAGO

151 INT. MAMIE’S HOUSE - NIGHT 151

Mamie shuts her front door, after a long day. She’s returning
home, suitcase in hand. She takes in the quiet of her home.

CUT TO:

152 INT. MAMIE’S BEDROOM - NIGHT 152

She --

Unpacks her suitcase...

Removes her high heels and jewelry (including Emmett’s

watch)...

Wraps her hair in a headscarf and lays down on her bed.

She sits in silence for a beat and then turns to her record
player.

She gets up to play a DIZZY GILLESPIE record and takes in the

music with reminisce.
 Pink Rev. (08/29/21) 105.

She then has a thought...

153 INT. EMMETT’S BEDROOM - NIGHT (CONTINUOUS) 153

With the music filling the house, Mamie enters Emmett’s room
and turns on the light. The room has been completely
untouched.

Mamie takes a few steps inside and looks around at the very
place she and Emmett had danced the day he left for
Mississippi.

And then she stares ahead...

WE ENTER MAMIE’S IMAGINATION:

The CAMERA PANS AROUND to reveal Emmett standing by the

doorway, dressed in vacation clothes and the hat he wore to
Mississippi. He is all smiles.

Mamie turns to Emmett and smiles back. *

CUT TO:

**THE FOLLOWING IS A CACOPHONY OF SHOTS THAT BLUR TOGETHER

LIKE A DREAM**

154 EXT. ROAD - DAY 154

Mamie, Emmett and Gene drive down a sunny road, all in

vacation attire. Emmett is playing around in the backseat.
Mamie and Gene are laughing hysterically.

155 EXT. BEACH - DAY 155

Mamie jumps into the water with Emmett and Gene. Mamie and
Emmett’s faces are full of joy as they float in the perfectly
blue water.

156 INT. CHURCH - DAY 156

It’s Mamie’s wedding day. John and Emmett walk her down the
aisle to Gene. She passes Alma, Ollie and Willie Mae on her
way to the altar. Emmett looks up at her with a smile; Mamie
smiles back.

When she reaches the altar, Mamie gives Emmett a hug.

She and Gene kiss.

 Pink Rev. (08/29/21) 106.

157 INT. RECEPTION HALL - DAY 157

Mamie, her family and friends all dance together, having a *

ball. *

Mamie takes Emmett’s hand and the two of them dance together. *

As they dance, the crowd fades and the world becomes just the
two of them.

They laugh and dance and twirl. *

They look into each other’s eyes, filled with so much joy! *

Until Mamie’s face begins to fall... *

Emmett slowly lets go of Mamie’s hand... *

And reality sets in... *

The music stops. *

FADE OUT.

158 OMIT 158

THE END

**NOTE: There will be a CODA after the film concludes that

shows real-life images of all the major characters in the
film. The CODA will also include images and brief sentences
describing the immediate effects of Mamie’s story on the
Civil Rights Movement - from Rosa Parks refusing to give up
her seat on the bus to the 1963 March on Washington.