Bessie

Synopsis: The story of legendary blues performer Bessie Smith, who rose to fame during the 1920s and '30s.
Director(s): Dee Rees
Production: Zanuck Company
  Nominated for 1 Golden Globe. Another 23 wins & 45 nominations.
 
IMDB:
6.6
Rotten Tomatoes:
89%
TV-MA
Year:
2015
132 min
486 Views


( indistinct singing

echoing )

( gasping )

- ( muffled applause )

- Woman:
We love you, Bessie!

Man:

We love you, Bessie!

( chatter )

- Hey, Bessie...

- ( cheering continues )

- ( chatter )

- Woman:
I love you!

I love you so much!

- Bessie!

- I love you so much!

( woman whispers )

Bessie...

( voices echoing )

Man:

I love you, Bessie!

That was amazing!

( door creaking )

Hello?

Girl:

Mommy!

Where are you?!

( crying )

Where's my mama?

Mommy!

I want her back!

I want my mama back!

Where did she go?

- Woman:
Mama ain't

here to save you now.

- ( crying continues )

Woman:

Your mama dead.

- Girl:
Where's my mama?!

- Woman:
It's your fault

Mama dead.

- Bessie.

- Girl:
Where are you, Mom?

Where are you?

Woman #2:

Bessie!

( crying continues )

- ( music playing )

- ( crowd cheering )

( overlapping voices )

You ain't part of the act.

- Whoo!

- Excuse me!

Excuse me!

Excuse me!

I gotta get downstairs!

I gotta be changing!

Man:

Come on back here and put on

a good show for me tonight.

Woman:

I gotta change first.

Get on outta the way, Leroy!

Leroy:

Tape. Let's roll tape...

( Bessie laughing )

Man #2:

Ooh, yeah, girl.

( both laughing )

- ( man #2 moans )

- ( kissing )

( Bessie moans )

Come here, girl.

- Oh, yeah.

- ( both moaning )

Ah, yeah.

- Yeah.

- You like that?

- Ooh.

- Yeah.

Oh, that's nice.

Just let me

put it in.

No, I think

it's just fine

where it is.

Oh, come on, baby.

Just a little bit.

No, pap--

( cries out )

Man #2:

It's gonna feel

real good to you.

- ( Bessie grunts )

- ( gasping, groaning )

Don't mean I don't wanna

mess around a little bit.

- I just didn't

wanna do all of that.

- ( distant applause )

- ( thuds )

- Come on, now.

It's just getting

good to me.

- ( thuds )

- ( man groans )

What the hell

happened to you?

- Clarence?

- I told you

be here 9, 9:
30.

- What time is it?

- 11:
00, hell!

Come on,

go, go, go!

Wait, wait, wait.

Give me this.

( music playing )

Here, put this

on your head.

Put that on

right now.

There you go.

Come on, let's go.

Come on, now.

That's good.

Just...

( crowd cheering,

whistling )

Woke up this morning

When chickens was crowing

for days...

( overlapping voices )

Get her off the stage!

- Good Lord!

- Just let her sing anyway.

- Looked on the right

side of my pillow...

- Get off the stage!

- ( jeering continues )

- My man had gone away...

( overlapping voices )

I don't wanna hear this, man.

Go back inside.

Oh, come on.

Just let the girl sing!

By his pillow

He left a note

Reading,

"I'm sorry, Jane

You got my goat

No time to marry

- No time

to settle down"...

- ( crowd chattering )

- Get what everybody else gets.

- Well, we ain't everybody else.

No, no, no.

You said $5, sir.

A little something extra

for me and my sister.

A dollar's good enough

and a dollar's what

you'll take.

$2, sir,

for the both of us?

- For a week's work?

- That's the deal.

( birds chirping )

( woman humming )

( humming continues )

Woman:

Can you see her this time?

- ( kissing ) Hmm?

- ( coins clink )

( kisses )

You had a good week,

at least.

I know washwomen

who make more.

Don't be that way.

Well, I'm tellin' ya,

Mama ain't satisfied.

I'm gonna quit the 81.

You not.

Not if it means

quitting you.

( moans )

- ( knocking on door )

- ( giggling )

Woman #2:

Bessie, you come

out of there right now!

I told you about having

all those men in the room.

Ain't no mens here,

Miss Taylor!

- ( both laughing )

- Just us ladies, ma'am.

( giggling )

Bessie:

Go on and take her her board.

She'll cool down.

- ( coins clink )

- Miss Taylor?

Y'all are gonna have to take

that foolishness somewhere--

- Okay.

- Miss Taylor:

This is not

the only boardinghouse

in Atlanta.

( knocking )

Bessie!

Hey, look here, I'm coming

to work with you today.

I gotta get me

a new act.

- I like it.

- I like you.

I like you, too.

- ( giggling )

- ( knocking )

- ( music playing )

- Miss Taylor:
Bessie!

Man:

Good, Georgette.

Mary Watson, if I have

to tell you to smile

one more time,

we having words.

Francine, baby, you're

clomping around up there

like a horse.

A H-O-R-S-E.

Bessie, get down now.

Stop teasing.

- It's not your rehearsal.

- Hey, Mr. Scandrick.

I've been working on

a little something.

Are you saying you wanna

be in my chorus line?

Yeah, come on, girls.

Let's show him.

- And a...

- ( piano playing )

Oh, I've got

what it takes

But it breaks my heart

to give it away

It's in demand

They want it every day

I've been saving it up--

You just keep

right on saving it.

- ( dancers laugh )

- You don't like it?

It's all right, but it ain't

hitting on all the sixes.

Now, if you done

messing up my rehearsal--

What about the bag test,

James, hmm?

Yeah, give her

the test.

You must be

lighter than.

( dancers laughing )

- ( cheering )

- Man:
Whoo!

The top prize

for tonight's raffle--

a gold tooth.

That's right.

Hold up them tickets.

Hold 'em up.

I know you got 'em.

I know you got 'em.

But first,

the Queen of Melody,

the Empress of Rhythm.

We're talking about

the real Mother of the Blues,

Ma Rainey.

- ( music playing )

- Ma:
This the real

blues here.

Mm-hmm, mm-hmm.

( cheering, applause )

Ooh.

Audience:

Ooh.

Lord, you see me

weepin'

And you hear me cry

Woman:

Sing it, girl.

Lord, you see me

weepin'

And you hear me cry

I ain't weepin'

'bout no money

Just that man of mine

Lord, you see me

weepin'

And you hear me cry...

We got rehearsals

in the morning.

- I could be sleeping

or at least partying.

- Well, go on, then.

- I just wanna meet her.

- You can meet her tomorrow.

Man:

Mobile, Alabama,

we're on the road for a week,

then Gainesville, Florida.

- ( piano music playing )

- Oh, slow, slow, slow, baby.

Have mercy.

Contract's only four nights,

then we can go on to--

Why we backtracking

to Mississippi instead

of going to 'Bama?

Seem like we should

just go on from here,

maybe do a longer run

in Mobile, even add

Huntsville.

Well, we'll be

making it just in time

for cotton season

and catch everybody

with their pay, you know?

- ( distant

piano music playing )

- ( train hissing )

Oh, sh--

( train whistle blows )

Hey, get back here.

Man:

Besides, the harvest

don't start in Florida

- for another two weeks.

- Mm-hmm.

You've been using

that goober oil

like I told you?

Yes, ma'am.

Nice and soft.

Well, what about Tennessee?

You got Memphis,

you got Chattanoog-- oh!

- ( piano music stops )

- How'd you get in here?

- Can I join your show?

- You can see yourself out.

Where you from?

- Blue Goose Hollow.

- A who what?

That a street name?

Bessie:

Where I'm from, they don't

have no street names.

( chuckles )

That where your

people from, too?

They died a long time ago.

Well, the loneliest thing

in the world

is a motherless child.

Well, I got two brothers

and my sister Viola--

Rate this script:0.0 / 0 votes

Dee Rees

Diandrea "Dee" Rees (born February 7, 1977) is an American screenwriter and director. She is known for her feature films Pariah (2011), Bessie (2015), and Mudbound (2017). The latter was adapted from the 2008 novel by the same name by Hillary Jordan and earned Rees an Academy Award nomination for Best Adapted Screenplay. Rees has also written and directed episodes for television series including Empire, When We Rise, and Philip K. Dick's Electric Dreams. more…

All Dee Rees scripts | Dee Rees Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Bessie" Scripts.com. STANDS4 LLC, 2024. Web. 21 Nov. 2024. <https://www.scripts.com/script/bessie_3931>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    Who directed "The Silence of the Lambs"?
    A David Fincher
    B Stanley Kubrick
    C Francis Ford Coppola
    D Jonathan Demme