¡Menos mal que llegué a tiempo de hacerme con el último ejemplar a la venta de «Viva la vida», la joya de Baudoin y Troubs que, editada por Astiberri, acabo de devorar en el avión que me traía de Madrid. Subtitulada como «Los sueños de Ciudad Juárez»… no voy a explicarla ahora. No puedo.
Es tarde y estoy reventado. Mañana hay que madrugar. Pero me parece que el libro es uno de los mejores ejemplos de lo que es Semana Negra, el festival multicultural más populoso de Europa, en el que durante 10 días se han vendido y regalado la impresionante cifra de 43.000 libros.
Uno, es éste. De estos tipos: frontera, injusticia, muertes, compromiso, talento, creatividad, colaboración, viajes, arte, libros, dibujos… y una maravillosa conclusión: «hacer que los sueños se hagan realidad».
Gracias, amigos de Semana Negra, por seguir haciendo posible el milagro.
Hasta el año que viene. En Gijón. SN12. La 25. Porque esto es la Semana Negra… ¡y sigue!
Jesús electrificado Lens
Comentarios
4 respuestas a «Viva la vida. Viva la Semana Negra 2012»
Bienvenido de nuevo. A mi me quedan aun unos dias en China. Nos vemos en Agosto si estas por GranHada….
Only a Black woman
Assiata
Guón original
De Manuel Villar Raso ONLY A BLACK WOMAN
An Original Screenplay
Written By
Manuel Villar Raso
Fade in:
EXT: PAÇIS FADE IN:
EXT: FIELD IN MALI, AFRICA–DAY
A woman (ASSIATA) is putting handfuls of maize, onions and bread and bottles of water into a basket. She drops a bottle and stands shocked for a few seconds. Assiata has a very beautiful face, is 25 years old, wears 9 rings in her left ear and a bead-chain around her ankle.
EXT: RURAL PATH IN MALI–NIGHT LIT BY A FULL MOON
Assiata reaches the summit of the falaise, the basket on top of her head. The moon sails by like a boat. She takes the basket from her head and removes her sandals. Great tension. Then she adjusts her conona and attaches the basket to her waist. Blue fields of garlic stretch out to the right and the forest to the left, into which she enters, crouching in fear. As she walks, the moon leaps from leaf to leaf in the trees above her head, illuminating the path in front of her. She straightens up and slows down.
Based on his novel
Representation:
Jon Richard, Literary Agent
Jon Richard Literary Agency
P. O. Box 1037
Cedar Glen, CA 92321
Phone: 909-275-9353
E-Mail: jragency02@hotmail.com
EXT: BAMAKO AIRPORT, MALI–DAY (TITLES OVER)
A plane taxies into Bamako, the capital city of Mali. An American (JAMES) of about 40 is seen sitting in the plane. The plane stops.
INT: AIRPLANE—CLOSE-UP OF JAMES
James takes off a ring, looks at it and leaves it on his seat. Then he removes his sombrero and leaves it on top of the ring with a rueful smile.
EXT: PAN ON PASENGERS LEAVING PLANE AND ENTERING TERMINAL
James follows the other passengers out. All are black except him. They enter the small airport terminal. Voices and shouts can be heard—-mostly French and various Mali languages (there are 40 African languages spoken in Mali). PAN beyond the airport, revealing an arid country without vegetation.
EXT: TAXI–DAY
TAXI DRIVER
Grand Hotel? L’Amitié? You English?
JAMES
No, American. Take me to Timbuktu.
TAXI DRIVER
Timbuktu, man? This Bamako.
JAMES
Bamako? Christ, Bamako, l should have stayed put in the plane.
TAXI DRIVER
So you American, so, this first time in Mali?
JAMES
It’s the first time I’ve been to Africa.
TAXI DRIVER
You going like, Africa. BIG! You like Bamako too, it BIG like Africa. Which you want, man, le Grand Hotel or L’Amitié?
JAMES
It doesn’t matter.
TAXI DRIVER
The Grand Hotel. Yes, sir, can’t go wrong, Grand Hotel.
EXT: THROUGH WINDOW OF TAXI TOWARD HOTEL–NIGHT
View through the window of taxi shows mango trees, shunties. The Niger. Rocks, little islands, women washing by the water’s edge, horses in the water, seagulls, brilliant serenity of the water. Red sun setting, darkness spreading in the direction of the city.
INT: TAXI–NIGHT
JAMES
Pull up here.
TAXI DRIVER
Whatever you say, mister.
He parks the taxi by the river. PAN to scene as the moon disappears slowly behind clouds. River has delicate and cold appearance like cotton. Small fires on both shores help make the river itself visible in the darkness.
DISSOLVE TO
EXT: ON ASSIATA WALKING IN RURAL AREA–NIGHT
Women are sitting on large bundles of garlic around a fire. Assiata keeps away from them and goes off the path. One woman calls to her:
WOMAN
Assiata! Join us!
ASSIATA
No, no, you’re never going to hurt me again. Never again. I am never coming back, never, never.
(Sobbing)
She continues walking. Seeing an unexpected shadow in front of her, she cringes like a dog. As the shadow crosses her path, she takes off the ring of beads from her ankle, throws it away violently and continues on her way.
EXT: ON ASSIATA WALKING–EARLY MORNING
The hills are touched with gold. Baobabs reduce the otherwise complete darkness on the plain. The sky is touched with silver strings.
EXT: ON ASSIATA WALKING–DAY
Houses of differing heights, wide streets, cars and trucks show that she is entering a village. A truck slows down so that the driver can speak to her as she continues walking.
TRUCK DRIVER
Where you go, baby?
ASSIATA
To the river.
TRUCK DRIVER
To the river? Poor feet! You still long way off. You come in my truck with me. You give me little chiki chiki, and l give you celestial river.
ASSIATA turns away and goes on walking, paying him no further attention as he persists, then finally pulls away angrily.
EXT: ON ASSIATA IN THE PORT OF MOPTI–NIGHT
Many fires are burning along the river as people prepare their suppers. Barges pass by. Clearly exhausted, Assiata falls onto the sand.
EXT: ON ASSIATA LYING ON THE SAND—EARLY MORNING
A naked man speaks to her and offers her dry fish. Assiata sees through astonished eyes the life of the river.
FISHERMAN
I’ve had three women and five sons. All dead. Come with me. I am alone. I’ve got a house and fields on the other side of the river, where the woods begin.
ASSIATA
I must return home. It’s late.
FISHERMAN
And where is home?
ASSIATA
In Bamako.
FISHERMAN
Why Bamako? It’s a long way from here. Too far and so big you get lost. You’ll never get there alone. My house is on the other side of the river where the trees begin. Look!
(Points)
EXT: ON ASSIATA AT THE NIGER RIVER–NIGHT
Assiata sees with astonishment the open market by the river with its ostentatious Bubus, santififs, and mousers with gold in their ears. A naked man washes himself in the river between boats. Women are standing up to their waists in the water washing themselves.
Assiata caresses the water with her toes; she permits it to rise slowly to her waist. PAN UNDERWATER to reveal something snakelike suddenly touching her thighs and climbing higher. She panics before realizing it is only vegetation in the river. She pulls up esparto grass and throws it away with disgust. She continues wading. Water reaches her breasts and rubs her shoulder. Water is close to her eyes; it enters her mouth; she drinks it. Her head goes under.
Vegetation again encircles her body. It no longer disturbs her. She leaves the river as if freshly baptized: serene, reborn, virginal, smiling.
EXT: ON ASSIATA WALKING–DAY
She feels the ground shaking as the truck approaches and then stops beside her.
TRUCK DRIVER
Knew I’d find you, nigger. Want to come with me now, baby? What’s wrong now? Little fish swallowed your tongue?
(laughs brutally)
Where you going?
ASSIATA
To Bamako.
TRUCK DRIVER
Got money?
ASSIATA
No.
TRUCK DRIVER
Bamako, walking? and no money? Know where it is? I go Bamako, give you a lift and then you give me chiki chiki, eh, baby?
INT: TRUCK CAB—DAY
When she looks at him, the truck driver opens the door, helps her to get in and pushes her behind the seats. He lies on her, embraces her roughly, and Assiata turns her head to one side and smiles.
DISSOLVE TO
EXT: IN BAMAKO–NIGHT
The taxi carrying James draws up at the entrance to the Grand Hotel, its headlights penetrating the fog.
INT: GRAND HOTEL
James enters the hall, followed by the taxi driver carrying suitcases. It is Christmas Eve. PAN lobby and into the bar restaurant, where a black orchestra plays Besame Mucho. Soon James enters, having registered and sent his luggage to his room.
He stops, surprised, and slumps into an easy chair. The orchestra continues playing songs of Nat King Cole. Groups of French and Spanish patrons enjoy the music. James pulls himself up and goes up to the bar.
INT: ON JAMES AT THE BAR–NIGHT
JAMES
What’s going on?
MAÏTRE D’
(Nods to DON PEDRO)
Every time he comes, the band plays only Spanish songs.
JAMES
Is he French or Spanish?
MAÏTRE D’
Mais naturallment, Spanish.
JAMES
What’s his name?
MAÏTRE D’
Pedro, but everybody calls him Don Pedro, naturellment.
JAMES
Naturellment.
INT: ON DON PEDRO–NIGHT
Don Pedro is sitting alone at a table, not noticing the music. Middle-aged with a roman nose and short hair, his face reflects a strong character. He gets up, his long arms giving an ape-like impression. He waves to the musicians, hands them a wad of money and leaves the hall.
CUT TO
James yawns and rises to go to his room. From the lobby, he sees Don Pedro cross the street and enter Le Village, a disco pub. He follows. Behind him, the orchestra in the hotel bar restaurant changes to Kora music, and the dance floor immediately fills with black customers.
INT: DISCO PUB—NIGHT—ON JAMES
Lights, smoke. Don Pedro uncorks bottles of champagne, the waiter helping him. He is surrounded by half a dozen screaming girls. The four other Spaniards from the hotel also enter noisily behind James and join him.
JAMES
Hi, I’m James Holby, me llamo Jim.
ESPAÑOL
¡Hombre!, alguien que habla español, ¿americano?
JAMES
Sí, Americano de California, no mucho español. Do you speak English?
ESPAÑOL
We speak French. This is a French speaking country. ¿Y qué haces por aquí?
JAMES
I speak French, too. Soy médico, a doctor. I work for Medicus Mundi. Where are you going?
ESPAÑOL
To Timbuktu.
JAMES
For work or pleasure?
ESPAÑOL
Television Española.
JAMES
In a land rover? Got room for a little one?
CUT TO
Assiata enters the pub, not knowing what to do. She passes by the girls at the bar, where Don Pedro is still uncorking champagne bottles. Nobody notices her. She sits in a corner and little by little raises her head.
CUT TO
Three policemen appear in the doorway. They slowly go up to a corner of the bar. Don Pedro looks at them in disgust, pays and goes off with one of the girls. James stands at the other end of the bar, facing the policemen.
CUT TO
Assiata grips the stool with both hands.
CUT TO
James is now looking at Assiata. He motions to a waiter and points to where she is sitting.
JAMES
Tell her to order anything she likes. No, wait a minute, I’ll ask her myself….
JAMES
Hello, my name’s Jim, Jim Holby. I saw you sitting alone. Would you like a drink? Let me treat you to one….
JAMES
What’s your name? … How about coming to my room at the hotel? It’s quieter…. Look, I’ll pay twenty francs.
Although Assiata never responds to any of his questions, when he stands to leave she follows him out of the disco pub.
EXT: THE GRAND HOTEL, ON JAMES AND ASSIATA–NIGHT
They cross the street and enter the hotel lobby. Jim escorts her through the door in front of him. She looks around, acting as if she has never been in a hotel before.
INT: THE GRAND HOTEL, ON JAMES AND ASSIATA–NIGHT
Assiata trips on the stairs as James leads her to his room and unlocks the door. The first thing she notices as they enter is a bowl of fruit. She takes a mango and eagerly starts to eat it as he closes the door and then crosses to her.
INT: JAMES’ HOTEL ROOM–NIGHT
JAMES
Here, take whatever you like. Not like that, though. Let me peel it first. Do you like bananas? Eat all you want to.
ASSIATA
I will never be able to eat twenty francs worth. Five is enough.
JAMES
Take the twenty francs as well. I want you to have the fruit and the money.
ASSIATA
Five is enough.
Assiata finishes eating five bananas, belches without putting her hand over her mouth and smiles. She goes up to the wardrobe, asks with her eyes if she can touch the clothes and strokes a silk jacket.
JAMES
It’s yours.
ASSIATA
It’s cold.
JAMES
Don’t you have a home? Where do you live?
ASSIATA
I live in…
JAMES
Would you like to take a bath? I’m dying for one, and it’s big enough for two. How about it?
ASSIATA
I don’t want to.
He leads her into the bathroom, turns on the hot water and holds her hand under the current. She opens her mouth in surprise.
JAMES
Look, you can take a bath by yourself. Just be careful the water doesn’t overflow.
ASSIATA
Yes, then I’d like that.
DISSOLVE TO
INT: HOTEL ROOM BATHROOM—NIGHT
Assiata stands in front of the bathroom mirror, looking at herself holding the silk jacket as if looking at a stranger. She touches her forehead and hair.
James watches her through the open bathroom door with a similar look of wonder. He comes behind her and touches her cheek, and she jumps in surprise. He leaves the bathroom and closes the door.
INT: JAMES’ HOTEL ROOM–NIGHT
James strips and lies on the bed in his underclothes. Then he reconsiders and puts on his dressing gown. He closes his eyes until Assiata comes out dressed in the silk jacket, which obviously doesn’t fit. Her eyes and skin are shining.
JAMES
You are beautiful. You are the most beautiful woman I’ve ever seen…. How old are you? … What’s your name?
ASSIATA
Assiata.
JAMES
What language is that?
ASSIATA
Dogon.
JAMES
Did you run away from home?
Assiata looks away silently.
JAMES
Silk suits you, Assiata, but take the jacket off and come to bed. Let me look at you.
Assiata looks with dismay at the bright light on the ceiling. James switches it off, leaving on only the small bedside lamp. Without undressing, Assiata comes to the bed and lies down, not looking at him.
JAMES
You’ve never been to bed with a white man, have you? Are you afraid? Afraid of me?
Assiata shakes her head, but she does not look at him.
JAMES
Tell me about your life.
Although he waits for her response, she says nothing.
JAMES
You don’t want to talk? … Well, then I’ll tell you about me. When l was 20, my father asked me what I wanted to be, and I told him, perhaps a painter, or writer. So he made me study mathematics, something I hated, then become a lawyer and follow a diplomatic career.
When I got married, I also took his advice and married the daughter of a banker. She had more money than I could ever spend in my life, but she was empty-headed, only interested in following the latest fashions, in new clothes and in going dancing.
James stops to look at her, and she seems to be asleep. Nevertheless he continues talking, mainly to himself.
JAMES
I’ve never done anything I wanted to do. I sat her on my lap, and her mouth tasted bitter—every day bitterer. I decided to study medicine and choose my second wife for myself, but she was poison. She only thought of herself, only herself and her…night adventures. But I knew that, one day, something would happen that would change my life.
James pauses again, and this time he can see that her eyes are open, although she does not look at him.
JAMES
That was my hope, and when I heard they needed doctors in Africa I decided to come here.
It was just what I was waiting for. I took a plane to Bamako with my passport and credit card in my wallet, and here I am. If I hadn’t taken that plane I would have shot myself.
Assiata’s mouth opens as he finishes talking. She touches his hand, her eyes like two brilliant pearls growing rounder and rounder, her teeth sparkling as she smiles.
ASSIATA
To be a doctor is good. Do you want to make love to me?
JAMES
I don’t want to make love to you unless you want me to.
ASSIATA
If you want, you can.
His hand runs over her body, without her seeming to feel any pleasure in his touch. He tries to kiss her, but she avoids his lips as if they were something repulsive. Her face is a mask, her body that of a passive cat.
JAMES
What’s wrong? Tell me what the matter is. Nothing is as bad as what we imagine. Come on, tell me about yourself. I am sure your story is worse than mine. Speak. It may help.
ASSIATA
I don’t know. I don’t know how to speak. I never talk in my house. The first day I went to my husband’s house, he ordered me to collect firewood. When I came back exhausted, he ordered me to water his fields of garlic on the mountain. When I returned, he knocked me to the ground and filled me with blood. He was a shaitan, a devil, and I was even afraid of his shadow.
James embraces her and again feels her trembling. They separate, and he strokes her face and lips.
ASSIATA
To speak is difficult.
JAMES
Go on. … If we don’t talk, we make the pain worse. Tell me about your parents.
ASSIATA
My father was a tree, tall and with many branches. I was the highest branch, the one that received most light. One day my father said that he couldn’t feed all of us and he had to cut me. I refused, I rejected this, but he threw me to the ground, hurting my back.
An old bald man helped me to my feet and put me in a windowless house that suffocated me. My beautiful green leaves withered and turned pale grey. He used to say that I was losing my leaves and he would have to burn me. He said I had a wound that had to be sewed up so that it would not bleed.
JAMES
Are you telling me that you were afraid of your husband?
ASSIATA
Yes.
JAMES
That he was repulsive.
ASSIATA
Yes, yes, like a devil.
JAMES
Don’t you miss your father and sisters?
ASSIATA
I miss my sisters.
JAMES
Do you want to go back?
ASSIATA
Go back? Where?
JAMES
Don’t you like what we have been doing here?
ASSIATA
I don’t like it.
JAMES
If you don’t like it, I don’t want to do it.
Assiata is startled as he stops caressing her and sits up in the bed, looking at her. But she is also grateful. She too sits up and smiles at him, a genuine smile.
ASSIATA
One day I’ll pay you back the twenty francs, Monsieur. I’ll find a job and give you back all the money.
JAMES
Jim, American Jim.
ASSIATA
One day I will give you back the twenty francs, American Jim.
EXT: KOULIKORO PORT ON THE NIGER RIVER—DAY
PAN TO
The port, a ship on the river, and boys and girls from a French high school walking in uniforms along the pier.
CUT TO
Aboard the ship, which is a riverboat, another passenger, MICHEL, is speaking to James.
MICHEL
American?
JAMES
American.
MICHEL
I am Michel Roman, a Frenchman but from Spanish origin.
JAMES
James Holby, americano de California, from unknown origin.
MICHEL
To Mopti like us?
JAMES
Do you mean this tub stops at Mopti?
MICHEL
Not quite. It continues to Timbuktu and Gao.
JAMES
I’ll go to Timbuktu. Oh, and maybe I’ll continue. Have you been to Timbuktu?
MICHEL
I used to go quite often, but since the big drought, the Niger is a dead river without interest—-without birds, crocodiles, hippos and barely any fish. There is nothing in Timbuktu. Before, the bozo fishermen had only to light torches during the night, a show not to miss. Are you from the embassy?
JAMES
No, I’m not.
MICHEL
Tourist?
JAMES
Not quite.
MICHEL
Then, you work?
JAMES
Still cold. I am a doctor. I haven´t started yet.
MICHEL
A doctor! You really surprise me. Nobody comes to or lives in Mali for nothing.
JAMES
What about you?
MICHEL
I am a special case. I came here for just three years, fleeing from an unwanted marriage and a hating army. And here I am after ten years.
JAMES
Without a special reason?
DISSOLVE TO
EXT: THE RIVERBOAT RESTAURANT–DAY
James and Michel are sitting on stools while they eat sandwiches for lunch.
MICHEL
Mon ami, there are reasons. The most beautiful women in Africa are here. The toucouleur, oh, la, la, and their prize is just a dinner. Is that a good reason?
JAMES
Maybe. Are they easy?
MICHEL
Easy? You only have to go to Le Soudiaka, Broadway, Le Village. You know them?
JAMES
I’m new in town.
MICHEL
Oh, then I will show you around the town. Give me a few days, and you will never want to go back to your country.
JAMES
Is that so? I thought you didn’t like this country.
MICHEL
Like the country? If l could bomb it completely, l would do it, for God’s sake. I met the most extraordinary and delicate creature a few days ago, the greatest eyes that I’ve seen in
(MORE)
MICHEL (cont’d)
my life, and you know what happened? I took her home with my heart jumping like a colt, and all she wanted was to work.
JAMES
Work?
MICHEL
You hear correctly. Now she is my cook, and she is driving me crazy. I don’t go out, don’t eat, and I don’t even know how I have come to be with a child like this. For the first time I have the impression that I know nothing about women.
She refuses to go out with me. She works for me and refuses to go out with me. I go to Le Village, and there she is with a white fellow. If he had been black, I would have told the owner to beat the shit out of him.
JAMES
Did they dance?
MICHEL
They sat until the very end and then left, passing by me with her smile filled with teeth. I could have killed her. Suddenly she has ruined my life. I wanted to conquer Paris with a bunch of short stories about Africa, and she has ruined my life. Without a word she made me see that all I have done till now is bullshit. I wanted to paint…
JAMES
Maybe she doesn’t like to be your maid.
MICHEL
I have offered her to eat and drink at my table. What else can I do?
JAMES
I don’t know. Maybe you haven’t insisted enough. No woman is as hard as a stone.
MICHEL
Mon ami, this one is. Will you be in Bamako next Saturday? Come to my home, and you will see for yourself.
JAMES
What’s her name?
MICHEL
Assiata, okay?
JAMES
Should l make a good impression? Then I’ll shave and shower and put on my best clothes.
MICHEL
Don’t take it too seriously!
JAMES
Well, then I’ll just shower.
EXT: RIVERBOAT LANDING–LATE AFTERNOON
The ship runs aground. A beautiful sight in the distance.
DISSOLVE TO
EXT: BAMAKO–DAY
In the fog, a taxi cruises at full speed along Le Carrefour des Jeunes, passing a great mosque, the red walls of the Grande prison and open sewers before arriving at the villa of Michel. From within the taxi, James can see Assiata at the entrance, looking at him with round eyes. He exits the taxi and approaches her.
CLOSE-UP
JAMES
We meet again.
Assiata says nothing as she turns to lead him into the villa and to a table under the fan, where Michel is already sitting, then disappears into the kitchen.
INT: ON MICHEL AT THE TABLE–DAY
MICHEL
So you have arrived. Sit down.
James joins him at the table, nodding his head to Michel but looking toward the kitchen, where Assiata has disappeared. Both are silent for a moment before Michel speaks again.
MICHEL
It is as I told you, is it not? She will return with the food shortly.
When James remains silent, Michel lifts a pitcher and pours juice into his glass.
MICHEL
Have some of the tamarindo juice while we wait for the fish capitain to be served.
JAMES
Thanks.
Both sip silently on their glasses of juice as Assiata enters with the main course. She sets it in the middle of the table and serves each of them, managing to slip something into James’s hand without Michel’s noticing it. As she serves Michel, James opens his hand to reveal the twenty francs she has returned to him.
INT: MICHEL’S VILLA, DINNER TABLE–NIGHT
MICHEL
I don’t know how or why, but these dammed mosquitoes always prefer the white buttocks to those of the Africans!
JAMES
I don’t think they know the difference, as long as it is well-fed flesh.
MICHEL
If I didn’t know that these people don’t have the slightest knowledge of advanced technology, I’d think that the mosquitoes have been programmed
(MORE)
MICHEL (cont’d)
somehow in order to spread around strange diseases to us and to force us from the country.
James would appreciate the humour more if he were less occupied with warding off the mosquitoes.
MICHEL
They’d be right to do so, you know. I’ve seen Chinese, Japanese, Russians and French come here. The Chinese show them how to cultivate rice, and then they take it away. The Japanese exchange their uranium, the richest mines in the world, for outdated cans of sardines.
We Europeans, Russian and French, sell them arms—-too many table companions for a table so sober. And what do you Americans sell them? Excuse me, you are a doctor. You have come to save this country.
JAMES
You hardly eat, Assiata.
MICHEL
She doesn’t eat, doesn’t speak. You only smile, dear, and l ask myself why?
ASSIATA
I don’t need the tree. I have cut it.
JAMES
Oh, really? And what are you going to do, Assiata?
She doesn’t answer. She stands up and clears the table. They hear the noise of the silverware. Then Michel calls her, but in vain. He rises and walks to the kitchen then returns to the table and sits down again. Assiata seems to have left the villa. Michel puts his head in his hands, then shakes himself.
MICHEL
You see? I can’t understand her. I don’t know where she goes, and she could just disappear forever at any time.
JAMES
If she worries you so much, tell her that you will pay for her ticket and wait to see if she tells you where she is going. After all, she is only a black girl.
MICHEL
Mind your language, mon ami. She is not an ordinary black girl, and with her figure she could easily fall into the hands of pimps.
JAMES
That may well be true. But you
can’t behave like another pimp and force her between your sheets.
MICHEL
Force her? I offered her marriage! What else can she want?
JAMES
Did she tell you to take a hike?
MICHEL
She wouldn’t even listen to me. She doesn’t deserve any sympathy, any consideration. She deserves nothing.
JAMES
So forget about her.
MICHEL
Are you crazy? You don’t know what you’re saying.
EXT: MICHEL’S CAR–LATE NIGHT
The car heads into Bamako, passing neon lights advertising Le Village, Le Soudaka, Broadway. When Michel parks, he and James climb out and enter the nearest disco pub. They pause at the entrance and look around at all the clientele before sitting at the bar. Michele motions to the bartender, who comes to them.
MICHEL
Gin tonic.
JAMES
Scotch and water.
MICHEL
(Addressing the bartender)
No, with Seven-Up or ginger ale.
The bartender nods and walks away. Michel turns back to James.
MICHEL
Are you crazy? You shouldn’t even smell the water! What kind of doctor are you?
Both remain silent as the bartender leaves their drinks and collects the money. When he is gone, Michel continues.
MICHEL
You haven’t told me if you liked my house or not.
JAMES
It’s Okay.
MICHEL
It’s bullshit. We’ve got to find her, and I don’t know where to go.
JAMES
Maybe she is not walking the street.
MICHEL
What else could she be doing?
JAMES
Maybe she found a place where they don’t harass her.
MICHEL
In Bamako? Don’t be a fool. We’ve got to keep looking.
JAMES
It’s a hell of a big city.
MICHEL
Are you going to leave me? Let’s go back home and continue drinking. I can’t imagine going home and not finding her.
JAMES
Maybe next time. Tomorrow. I have a meeting very early at the hospital. I am sure that by this time she is home, waiting for you.
MICHEL
Think so?
JAMES
I think you’re nuts.
INT: EARLY MORNING – ON JAMES AT HOTEL
MAïTRE D’
Bonjour, Mr. Holby.
JAMES
Morning, André. Listen, I haven’t seen Don Pedro for a while. Just out of curiosity, what is he up to?
MAïTRE D’
Getting rich. He’s building the television and phone companies at Point G. He’s rolling in dough.
JAMES
Yes, I could see that. May I ask you a personal question?
MAïTRE D’
But, Mr. Holby, you don’t have to give—
JAMES
Okay. Remember the girl that I came in with a few nights ago? Do you know where she’s staying? Tall, thin, badly dressed?
MAïTRE D’
Oh, la, la, what a beauty! How could I forget her? But, Mr. Holby, I’ve never seen her before.
JAMES
Well, if you ever see her again, let me know.
MAïTRE D’
Sure, don’t worry, Mr. Holby.
EXT: BAMAKO AIRPORT–DAY
James is walking through the market area surrounding the airport. Military jeeps are noticeable everywhere. James looks at all the attractive girls. He walks into the airport and approaches the ticket area for Air Mali, but he changes his mind and leaves.
DISSOLVE TO
EXT: NEON LIGHTS OF THE DISCO PUBS, ON JAMES–NIGHT
James wanders from pub to pub, ending at Le Village, but never finds what he is looking for. Then he crosses the street and enters his hotel and can be seen from the outside climbing the stairs that lead to his room.
INT: THE GRAND HOTEL, JAMES’ ROOM–NIGHT
James is lying in bed when there is a knock on the door. He rises, dons his dressing gown, and opens the door to find Assiata. She is dressed in a beautiful yellow cotton bubu.
JAMES
Assiata!
ASSIATA
They want to kill me, Jim Holby.
JAMES
Who wants to kill you?
ASSIATA
The ones from Le Village.
JAMES
Do they know where you are? What have you done?
ASSIATA
They follow me. They make me go to Le Village. They make me do what I don’t like.
JAMES
Le Village? I thought that when you cut the tree you found something better than Le Village. Are you out of your mind?
ASSIATA
I did find it, at the hospital of the mission, but I needed clothes and asked them for some money.
JAMES
You asked those vultures for money? How much do you need? We’ll fix this up.
ASSIATA
And there are many more girls who owe them some money.
JAMES
I’m sure all of you owe them some money.
ASSIATA
Can you help them?
JAMES
I can’t help all the women in this country. Just worry about yourself. I’ll call the police.
ASSIATA
Please, don’t. They’ll kill me. They are from this place. You are a foreigner. I am a foreigner.
JAMES
Nobody can kill anybody. Have you signed anything?
She just stares at him at first. Finally she nods her head.
JAMES
I see, you have signed. Then stay here and don’t leave. I’ll come up with something. Take a rest. You look tired. Promise me you won’t go out?
She nods her head.
JAMES
Don’t open the door. Don’t answer if they knock. Stay here and don’t move, okay?
ASSIATA
Okay. Okay, Jim Holby.
DISSOLVE TO
INT: Le Village—NIGHT
Music is playing and the same girls are at the bar from last time. James is sitting at a table near the bar with a big black man in a tuxedo. He has curly hair, a cigarette in his lips, chubby cheeks and a huge belly.
JAMES
I can’t believe she owes you that much money.
MAN IN TUXEDO
See her name here.
JAMES
I am not going to pay that much, and you are going to give me that paper for a reasonable amount.
MAN IN TUXEDO
No deal.
JAMES
I’ll call the police.
MAN IN TUXEDO
Please, do.
JAMES
You lied to her.
MAN IN TUXEDO
It’s her signature.
JAMES
Look, if she’d have asked you for so much money, you wouldn’t have given it to her.
MAN IN TUXEDO
We never abandon our girls.
JAMES
Listen! You’ll never see her again.
MAN IN TUXEDO
We always find our girls.
Jim rises and leaves the table, angry and frustrated. We watch as he walks across the street to the hotel.
INT: THE GRAND HOTEL, BAR RESTAURANT
Crossing the lobby, James notices Don Pedro sitting in the restaurant. He stops and, after thinking a moment, enters the restaurant and approaches Don Pedro’s table.
JAMES
Can I treat you to a drink, Don Pedro? My name is James Holby.
DON PEDRO
Yes, I know your name. And you can sit if you are willing to pay for this Moët Chandon, but it is very expensive, l warn you.
James nods to the maitre d’ to bring another bottle to replace the one Don Pedro has just emptied into his glass and holds up two fingers to indicate that he should also bring two clean glasses. The maitre d’ nods, takes the empty bottle and leaves. James sits down.
JAMES
How long have you been in Mali?
DON PEDRO
Ah, I have been in Africa more than I have wanted to be, James Holby, first with the foreign legion, then in the Congo with Lumumba. Remember Lumumba? And later with the American Thomson.
JAMES
I remember Lumumba and the European mercenaries as well. Were you, if I may ask, one of them?
The maitre d’ returns with the fresh bottle and glasses during this speech and responds for Don Pedro as he uncorks the bottle and fills a glass for James.
MAïTRE D’
He conquers the Ministry of the INT all by himself. Then leaves the country, crosses the Congo, swimming with a bullet in his shoulder! And now . . .
Don Pedro waves his hand, and the maitre d’ stops speaking, sets the bottle on the table, smiles at both men and leaves. James and Don Pedro drink silently for a few moments. It is clear that Don Pedro knows much more than he ever says. He nods his head toward the doorway through which James had entered.
DON PEDRO
Have you got what you wanted?
JAMES
They would not even listen.
DON PEDRO
So you have not gotten what you wanted at Le Village? Did you really think they would let her free so easily?
JAMES
Do you know the whole story as well? How do you know that they have her trapped?
DON PEDRO
Did you really want to make me believe that you would pay for this expensive wine just to talk with me? Besides, you are not the first man to see that girl.
JAMES
What do you mean?
A young woman (ROKIA) comes to the table before Don Pedro can reply, and both men stand up. Rokia is wearing a narrow long skirt and dozens of long braids. She sparkles with youth and overflowing gayety. Don Pedro tries to pinch her cheek, but she pushes him off.
DON PEDRO
(Introducing her to James)
Rokia is from Camerun. Rokia means “shining” in her language. Do you like her? Un americano que ha venido a salvar el país.
ROKIA
If you are talking about what I think you are, you could easily help him, mon bijou. You could simply tell Amadou. You have him on your payroll.
DON PEDRO
Everybody has him on his payroll, my Rokia. That means nothing.
Don Pedro turns his attention back to James as they resume their seats and Rokia joins them. The maitre d’ places three menus on the table and fills the extra glass with wine for Rokia as Don Pedro continues talking.
DON PEDRO
Besides, we live in the sewers, and the shit eats away at us. There is no business free from the militaries, and it’s too dangerous to question the bribery. We can’t work without it.
All three pick up the menus and begin to read them.
DISSOLVE TO
INT: SAME PLACE, TWO HOURS LATER–ON ENTERING SOLDIERS
While Don Pedro, James and Rokia are still eating dinner, a group of soldiers approach the bar, without taking their eyes off Don Pedro, the Moet Chandon and especially Rokia. As she notices their stares, she comments to Don Pedro.
ROKIA
Are they yours?
DON PEDRO
I don’t know them, but maybe they belong to Amadou.
JAMES
Who is Amadou?
ROKIA
The big fish of Bamako after Moussa. Moussa’s right hand. The people fear him more than they fear AIDS.
JAMES
I would like to speak with him right now, Don Pedro.
(He starts to rise.)
DON PEDRO
You won’t speak with anybody, Americano. Sit down. And just call me Pedro. We’ve been sitting here for two hours, talking like two French assholes, and l love this steak.
DISSOLVE TO
INT: LE VILLAGE–NIGHT
Voices, smoke, and loud music envelop Don Pedro and James as they enter and look around. When they see the man in the tuxedo, they cross to his table and sit down on either side of him.
DON PEDRO
Let’s solve the problem with this girl right now.
MAN IN TUXEDO
I’ve already told our American friend — two thousand francs.
DON PEDRO
Very well, tell François that I am here.
The man in the tuxedo walks to the bar and returns with François, owner of Le Village, a white man with a big gut and big red cheeks. He stands by the table as the man in the tuxedo resumes his seat.
DON PEDRO
François, I’m going to have to let Colonel Amadou know about this.
FRANÇOIS
How do you know the Colonel, Señor Salvador?
DON PEDRO
How do I know the Colonel? What do you think, that I was born yesterday? I am a friend of Colonel Amadou and of many more important people. How much do you want?
FRANÇOIS
Isn’t it written down?
DON PEDRO
I know what’s on the paper, and I’m not going to ask you again. Will two hundred do? Nobody has two thousand francs to lend a black girl in Bamako, not even you gentlemen. … Solucionado?
François silently accepts the money and leaves without a word. The man in the tuxedo rises and follows him.
DON PEDRO
Finished. From now on, Americano, you better not stick your nose in where it does not belong. And don’t come to me with these kinds of problems.
JAMES
I appreciate this. Muy agradecido, Pedro.
DON PEDRO
Agradéceselo a Rokia.
JAMES
Yes, thank her for me as well. Would you like a scotch?
DON PEDRO
I prefer my champagne and my own company.
Recognizing the dismissal, James rises, nods and exits. Don Pedro motions to the bartender, who immediately brings him a bottle of champagne and a glass.
DISSOLVE TO
INT: JAMES’ HOTEL ROOM–NIGHT
The room is dark as James enters, but the light from the hall reveals Assiata asleep in a fetal position on an animal skin rug by the bed. James tries not to wake her as he closes the door quietly and walks around her to the balcony.
He is sweating in the suffocating heat and takes off his shirt after opening the balcony doors to let in some air. He sits on the balcony and closes his eyes, but then he hears Assiata crying and breathing heavily.
He returns to the bedroom, lifts her up as if she were a child and takes her in his arms to the bed. She grabs his hand and breathes more easily as he lies down beside her and falls asleep.
BLACKOUT
INT: JAMES’ HOTEL ROOM — EARLY MORNING
James wakes up and looks for Assiata. He finds her again lying on the animal skin rug beside the bed.
JAMES
Assiata?
She opens her eyes and simply stares at him in answer.
JAMES
Why are you sleeping on the floor?
ASSIATA
May I go back to the hospital?
JAMES
If you promise me not to get in trouble again.
He notices the fearful expression that immediately appears on her face.
JAMES
What’s the problem now?
ASSIATA
My husband is also looking for me.
JAMES
Your husband too? And who else is looking for you, besides the gorillas from Le Village and your husband?
ASSIATA
I know my husband, and he is looking for me. He will find me, and you won’t be able to do anything.
JAMES
Why can’t we do anything? Stop shaking. We’ll find that son of a bitch.
ASSIATA
Can I stay here for a while? I’ll sleep on the floor. I won’t bother you.
JAMES
Of course you can stay, and you can sleep wherever you want. There are two beds. And you don’t bother me at all.
She hugs him but without passion. He pulls her down on his lap, but she gets up and walks to the table.
MONTAGE: A RESTLESS NIGHT—JAMES AND ASSIATA IN HIS ROOM
–Assiata takes a papaya, eats half of it, and then goes into the bathroom.
–Assiata comes out with a towel around her belly, still eating the fruit. She falls on the bed beside James.
–After they lie there awhile and James is drifting back to sleep, Assiata slips off the bed and lies back down on the animal skin rug on the floor.
–Shortly after she falls asleep, Assiata suddenly begins screaming and crying again, awakening James. He sees that she is dreaming, puts her back on the bed and lies down next to her, caressing her shoulders, calming her.
–Waking up with the morning light, James discovers that Assiata is once more sleeping on the animal fur rug. This time he does not move her; instead, he just turns over and goes back to sleep himself.
DISSOLVE TO
INT: THE HOTEL ROOM–DAY
Waking up to the sunshine of midday, James once again looks for and discovers Assiata sleeping on the floor. He goes to her and she opens her eyes, not moving.
JAMES
Why are you always on the floor?
ASSIATA
You pushed me off the bed.
JAMES
I did? I’m sorry. I carried you to the bed and lay down next to you because you were screaming and crying on the floor.
ASSIATA
I did that?
JAMES
You must have been having a nightmare. Where were you and who were you talking to?
ASSIATA
I don’t know. I just remember that I wanted to run away, but I couldn’t because I was pregnant.
JAMES
Are you?
ASSIATA
No, but in the dream I was. I was dragged by a strong wind, and when I was thrown against the rocks the wind was hurting me. I was burnt by the sun. That must be when I cried.
(MORE)
ASSIATA (cont’d)
But now I remember the dream I had after that. I was a cloud. I always wanted to be a cloud. It’s curious. As a cloud, I made lightning and threw drops of icy rain over my village, and when the drops hit the ground they turned into words. It was very beautiful.
DISSOLVE TO
INT: JAMES’ HOTEL ROOM–NIGHT
JAMES
Do you want to go out to eat?
ASSIATA
Do you mind going alone?
JAMES
I can wait.
ASSIATA
There is enough fruit.
JAMES
As you wish.
DISSOLVE TO
The room is now dark, but enough light comes through the balcony from the white and blue streetlights to highlight James and Assiata lying on the bed. Assiata is moving around under a sheet, while James is lying next to her but on top of the sheet. He watches her and then brushes her shoulder with his hand. Music can be heard from the restaurant below them.
JAMES
You’re sweating. Do you always sweat like this?
ASSIATA
It’s a habit. At night I always wake up crying. A black man was chasing me, old and bald, with a gold earring on his right ear, wearing sunglasses. Without a word, he stuck a big beetle in my belly and disappeared like a ghost.
JAMES
We’ll face your ghosts right now.
ASSIATA
At night?
JAMES
That’s when they can best be seen. Are you afraid to come out with me?
ASSIATA
I will go wherever you tell me to.
EXT: ON JAMES AND ASSIATA WALKING–NIGHT
They walk through the area around the GARE, or train station, which includes bars, whores, people dining, and the trains. When Assiata sees the trains, she becomes very nervous. James takes her by the hand, and she does not resist this time.
ASSIATA
What do you think about matrimony?
JAMES
It’s the most used exit.
ASSIATA
I think it’s horrible.
JAMES
I guess it depends on whom you marry.
ASSIATA
Does it ever succeed?
JAMES
I am not the one to advise anybody on this subject. Just stay here with me, and I promise you will stop being afraid.
ASSIATA
I don’t want to marry anybody, if you don’t mind.
JAMES
No problem.
ASSIATA
I want a job and my own house.
JAMES
You’ll have it.
ASSIATA
What l mean is for me only.
JAMES
But you’ll feel very lonely.
ASSIATA
I’ve always wanted to be alone.
DISSOLVE TO
INT: JAMES’ HOTEL ROOM–NIGHT
ASSIATA
At the hospital there are nuns that try to help people, and they are happy without men.
JAMES
All right, be a nun then. Are you trying to tell me that I bother you?
ASSIATA
Not you, the others.
JAMES
Who else is in your life?
ASSIATA
Nobody.
JAMES
Not even me?
ASSIATA
You’re different. You’re good and clean, but one day you’ll go off and then what? I’d like to help people, help the girls at the nightclub, help the women in Mali who work like slaves and are ignorant. They don’t have any opinions, you understand? I think this is more important than matrimony.
JAMES
You see it that way, but having one thing doesn’t mean leaving out the other. I understand you want to be free and that is the most important thing for you right now. I also think that your heart hasn’t belonged to anybody, although it would not matter to me if it had. Have you ever had anybody in your heart?
ASSIATA
Nobody.
JAMES
Wonderful.
ASSIATA
What are you doing?
JAMES
What am I doing? While you are on guard and alert, I won’t do anything.
ASSIATA
I like to hear you speak.
JAMES
From now on you are my family. I’ll never leave you.
ASSIATA
I like what you’re saying to me.
JAMES
I’ll always tell you what you like to hear.
DISSOLVE TO
Hours later, James and Assiata are lying on the bed, both naked except for the sheet they share. His lips touch hers, and she responds. He caresses her as they talk.
JAMES
When did they do this to you?
ASSIATA
When I was little. They do this to all the women when they are little girls.
JAMES
Do they cut the clitoris, too? To all women? And why do they do that?
ASSIATA
I don’t know. It’s a punishment, like when drought comes to our country.
JAMES
And when I make love to you, do you feel anything?
ASSIATA
I will feel what you want me to feel.
He takes her gently into his arms. At the end they are making love, as night becomes day becomes night again.
INT: JAMES’ HOTEL ROOM–NIGHT
James is lying in bed under a rumpled and twisted sheet. Assiata emerges from the bathroom in a towel, walks past the bed and enters the closet. James watches her.
JAMES
Why are you getting dressed?
ASSIATA
I’m leaving.
JAMES
Leaving? You can’t leave me after last night.
ASSIATA
I’ll never leave you. My heart will always be yours.
JAMES
But you’re leaving. I don’t understand anything.
ASSIATA
You don’t understand anything, and we’ve said everything.
JAMES
You can’t go. Look at me, honey.
ASSIATA
I am looking at you. This is my way of looking.
JAMES
I’ll do what you tell me to do. I’ll be good to you.
ASSIATA
I know, and I will be good to you.
JAMES
But you are leaving. I don’t want to see you begging.
ASSIATA
Begging? I wash laundry. I work in the hospital, and you should work too. You know I earn my living.
JAMES
I’ll pay you what they pay you, and you can take care of me.
ASSIATA
Don’t be a fool! You don’t need me, and if you do, I’ll do for you without money.
JAMES
You can’t go out alone in the street at night.
ASSIATA
You shouldn’t worry about me. Since I met you, the words have come back to me. They are my best protection.
JAMES
And your husband?
ASSIATA
You have killed him for me. I am not afraid of him nor of the night. You killed too the fear of the night that haunted me.
INT: JAMES’ HOTEL ROOM–MORNING
A knock on the door discovers James alone in the bed. He is half asleep, ignores the knock, but notices as an envelope is slipped under the door. After hearing steps walk away, he slips out of bed and picks up the envelope.
CLOSE UP ON ENVELOPE
James sits back on the bed and opens the airmail envelope. A picture falls out of a young girl. On the back is written in big letters: “I LOVE YOU DADDY! COME HOME!”
James looks at the picture of his daughter, then sets it aside and reads the letter. He lies back down with both the letter and the picture in his hand, sets them on the pillow. African music can be heard from downstairs. He stares at the picture and drifts back to sleep.
EXT: THE GRAND HOTEL ENTRANCE–DAY
A land rover is waiting outside the hotel. One of the young Spaniards is in the driver’s seat. Another is putting some luggage in the back. The streets are filled with cars and people.
PAN
From the hotel to the hospital, to people eating at a snack stand, then back to the hotel just as James comes out and goes up to the driver of the land rover. He is holding the letter in his hand.
JAMES
Where are you guys going?
ESPAÑOLES
To the desert, Americano, to Timbuktu.
JAMES
Tenéis un sitio para mí?
ESPAÑOLES
Diez minutos, only ten minutes to pack your bags.
JAMES
Five will be enough.
DISSOLVE TO
The land rover is roaring and swerving on the road along the Niger, red and imposing fear. The Spaniards are singing a Spanish song at the top of their voices. James can barely be heard as he shouts at the driver.
JAMES
Stop! Stop here, please!
The driver finally acknowledges his request and screeches to a halt on the side of the road. He stares at James, who grabs his bag and is ready to leave the land rover.
JAMES
I’m sorry, I can’t continue. Do you always drive this stoned?
ESPAÑOLES
Whenever we can, Americano!
JAMES
You’re poisoning yourselves.
ESPAÑOLES
Poisoning? Esto es el paraíso! Paradise, amigo!
James shakes his head as he climbs out of the land rover and starts walking back toward Bamako. A taxi can be seen approaching him as the scene fades.
EXT: THE HOSPITAL PATIO, NURSE DORMITORY–DAY
Near the patio is a hut where the nurses sleep. Some of them are washing themselves in the fountain near the palm trees. Assiata can be seen in a nurse uniform greeting James at the door of the hut.
JAMES
Can I come in? I am coming in.
ASSIATA
You can come in. I am leaving.
JAMES
Where are you going?
ASSIATA
To work.
JAMES
We have to talk.
ASSIATA
Now?
JAMES
Right now.
ASSIATA
What do we have to talk about?
JAMES
About leaving, about staying, whatever, but together.
ASSIATA
Where would we go?
JAMES
To the States. I have a house, and I can find you a job.
ASSIATA
We’ve already spoken about this, and I can’t go. Maybe some day. Do you have to return to your country?
JAMES
I should. I have a daughter and lots of problems.
ASSIATA
Will you come back?
JAMES
As soon as possible.
ASSIATA
Go. I’ll be waiting for you here.
INT: LE VILLAGE–NIGHT
At a party in the disco pub, a band, including a piano, saxophone and two guitars, is playing Spanish music. Not surprisingly, we see Don Pedro. Rokia and James are with him, but James is restless. After Don Pedro and Rokia go to the dance floor, he too leaves the table and exits.
EXT: THE GRAND HOTEL—-NIGHT
James comes out of Le Village and crosses the street to the hotel, where he can be seen climbing the stairs.
INT: JAMES’ HOTEL ROOM—NIGHT
James enters his room. Assiata is sleeping nude on the bed, her head on her arm. James looks at her breasts and her belly then lies down next to her. He strokes her hair but is careful not to awaken her.
PAN TO
The wall in front of the bed, which is covered with a strange collage of night creature figures: heads, snakes, spiders, serpents, etc. James falls asleep.
DISSOLVE TO
INT: JAMES’ HOTEL ROOM–DAY
When James wakes up, Assiata is gone, and another letter has been slipped under his door, which he reads.
EXT: FRONT OF HOTEL–DAY
James, holding the letter in his hand, is hailing a taxi. We can see some of the letter: “Club Lido. Pool.” He puts it in his pocket as he enters the taxi.
JAMES
To the Club Lido. Do you know how to get there?
TAXI DRIVER
Of course, sir.
EXT: CLUB LIDO–DAY
The taxi stops at the entrance and James exits after paying. He looks around the grounds and notices the pool area to the right. He follows the sidewalk in that direction, clearly looking for someone. At a poolside table, Michel stands up and waves. James heads in his direction.
MICHEL
Mon ami, at last I see you.
Michel indicates the other chair for James as he slumps back into his own chair. He waits until James sits down before continuing.
MICHEL
I’ve seen her. Every night she goes to the Broadway, and do you want to know what’s even more wonderful? She sees me
(MORE)
MICHEL (cont’d)
And acts as if she never knew me! There’s nothing to do. She has changed.
JAMES
Does she go alone?
MICHEL
She enters alone, dances alone or with other sluts. And sure, there is somebody else, because she’s not a girl to be left alone. That’s the mystery!
Michel looks at James accusingly; he obviously knows more than he is saying. James does not notice; he is thinking about Assiata spending her nights at the Broadway without him. He speaks more to himself than to Michel.
JAMES
There has to be someone. Of course there is. We have seen each other, but never in the Broadway.
MICHEL
You are not a friend! What hurts me most is that I took fifteen days finding that out.
JAMES
I swear to you that I don’t know what’s the matter with me. I was about to take the first plane home, several times, and I’ve stayed because … I am so obsessed with her, Michel. Day and night, just Assiata. I need her.
MICHEL
You need her! And what about me? … Don’t be stupid—take the first plane that leaves. You won’t get anything from her.
INT: CLUB LIDO, THE RESTAURANT-DAY
James and Michel are eating lunch. At the table next to them is a man in a military uniform (AMADOU) sitting with a young couple. CHARLIE is dressed for horseback riding, while his wife DEBBIE wears only a bikini.
MICHEL
Take the plane. Don’t think twice about it. The tuareg around Timbuktu have revolution in their blood, and they are raising hell. There are rumors of a coup d’etat and that there will be executions. Every day I find my staying here more absurd, and the stench of this country grows worse for me. In France, at this stage of the game, I would be a painter or a writer.
He stops speaking and studies the people at the next table, who have been laughing and speaking in French while he talked.
MICHEL
Look at those three. Even the vultures would reject their bones.
JAMES
What do they do?
MICHEL
That couple went broke in your country, or they were being persecuted. Here, they’ve brought their slot machines, and they call it progress. A hundred francs a game, when nobody has a decent place to drop dead! «Disgusting,” isn’t that how you say it? And what can you say about that animal,
Amadou? When he smiles, you can see his fangs, like Dracula. When the Europeans were in control here, at least there was some dignity!
JAMES
When you French were in control, you mean.
MICHEL
People ate! That’s more than you can say now.
DISSOLVE TO
EXT: IN FRONT OF THE BROADWAY–NIGHT
In the lights from the Broadway can be seen a military van parked in front of the doors. Six girls come out of the Broadway, being herded toward the van by two officers, the last one holding Assiata. James and Michel follow them out. James approaches the officer angrily.
JAMES
Let go of her.
MICHEL
Don’t hit him, officer. My friend is a foreigner, a doctor, and he lives in the Grand Hotel.
OFFICER
This is none of his business.
The girls and the officers board the van. It pulls away.
JAMES
Where are they taking them?
MICHEL
To the caserne, of course, les salauds!
JAMES
Prisoners?
MICHEL
Don’t be foolish! Once in a while they do raids, when they need women, which is constantly. Tomorrow, they’ll be found in a field. Do you want me to tell you how?
JAMES
How do you know what they are going to do?
MICHEL
How does your African baptism feel? Does it hurt?
EXT: MICHEL’S CAR–DAY
Michel has been driving James around all morning as they looked for any signs of Assiata. They pass the last open—and empty—fields as the camera picks them up, and then return to the outskirts of Bamako.
JAMES
We should make a complaint.
MICHEL
To the police?
JAMES
To the Ministry of the INT. They know you there.
MICHEL
Get that out of your head. What do you think, that they don’t know what’s happening? Maybe they just wanted to teach you a lesson.
JAMES
Why me?
MICHEL
Why you? Why her? How the hell do I know? Let’s stop by the hospital. Maybe they know something.
DISSOLVE TO
INT: THE GRAND HOTEL–DAY
James enters the lobby and heads straight for his room. Entering, he sees Assiata putting some clothes on a hanger as she walks toward the closet. Her naked breasts are dripping with water from a recent bath.
JAMES
Assiata! Are you feeling okay? What happened?
ASSIATA
(Calmly)
I am not going to die so easily.
She finishes hanging the clothes in the closet and walks over to him. He hasn’t moved from where he stopped just inside the door.
ASSIATA
Aren’t you going to hug me?
James wraps his arms around her, grateful she is alive.
JAMES
My love! What have they done to you?
ASSIATA
Nothing. Do I look different?
JAMES
No, and if you feel fine so do I.
ASSIATA
Sure you feel fine? . . .
I am tired, Jim, and I have a headache, that’s all. When I wake up, I will make you forget night and day.
JAMES
I am sure. You sleep and rest now. I don’t want you to talk. When you wake up, I will also make you forget the nights and the days.
ASSIATA
I need you.
JAMES
And I need you, too.
ASSIATA
You are a wonderful man.
JAMES
You really are a wonderful woman.
ASSIATA
I don’t know, but for you I will be.
JAMES
I am sure.
ASSIATA
And you won’t hate me for—?
JAMES
Shuss! Never. You’re going to see how everything changes.
ASSIATA
And you won’t leave me?
JAMES
Never.
ASSIATA
From now on, you’ll be able to love me all that you want. I’ll go with you wherever you go.
JAMES
With you, I like this place.
ASSIATA
I will be with you after I rest.
JAMES
There will be a wonderful meal waiting for you.
INT: MISSION, WORKER’S COLLECTIVE DORMITORY–DAY
Washerwomen, novices, and cleaners share this room. Assiata is moving in with the help of a nun, who places a rosary and an image of the Sacred Heart at the head of what will be Assiata’s bed.
NUN
Come here, come on, come on… In the Roman Empire, saints were those who preferred to die rather than losing their faith. Saints they were and saints they are, since then, those who defend their purity and virginity…
DISSOLVE TO
INT: UNFM MEETING–NIGHT
The UNFM is the Women’s Union of Mali, officially Union National des Femmes du Mali. Assiata has just spoken. A group of elegant women are applauding her timidly.
SECRETARY GENERAL
Thank you, Assiata. You have taught us with your example that what we’ve done until now isn’t enough. It isn’t enough to teach dances to our women,
(MORE)
SECRETARY GENERAL (cont’d)
nor how to give birth, nor how to treat the water or eat. We lower ourselves when we allow practices that degrade women as human beings, when we don’t protest how women of ironsmiths circumcise our daughters and cut their clitoris, for instance. And you know that 15% of our daughters die in that process! We lower ourselves when . . .
DISSOLVE TO
INT: JAMES’ HOTEL ROOM–NIGHT
A knock on the door draws James from the balcony. He crosses the room quickly, obviously expecting someone, and opens the door. Hair done with beautiful braids, wearing enormous earrings and a cinnamon tilbi, her long nails shining with a matching color, Assiata smiles at him.
ASSIATA
Well, aren’t you going to say anything to me?
JAMES
Gorgeous.
ASSIATA
That’s all?
JAMES
You had me worried. It’s been two days since I saw you.
He steps back as she enters the room and closes the door behind her. She walks toward him, extending her hands.
ASSIATA
You shouldn’t worry. I don’t want you to worry. If I come to the hotel every night would you stop worrying?
As he grabs her hands, pulls her to him, and wraps his arms around her, she laughs and pulls back a little, walking to the dresser while she speaks. She moves her lips impulsively to the mirror, as if she were going to kiss their reflection.
ASSIATA
If I say that I am upset, it doesn’t mean that you have to ruin my hair and make-up! We have to leave.
JAMES
Where do we have to go?
ASSIATA
To Kouloula.
JAMES
To Kouloula? Doesn’t the President live there?
ASSIATA
He ‘s celebrating the anniversary of the revolution, and he has invited all members of L’Union des Femmes. My friends tell me that we have to go, and I agree with them. What do you think?
JAMES
I think you are crazy. Have you already forgotten what happened? I won’t allow it.
ASSIATA
What will you do to stop me from going?
JAMES
I was about to take a bath, and we both fit in the bathtub together.
ASSIATA
Nothing like your bathtub, white devil! What are you laughing at?
JAMES
I think you are nuts, you little black devil, and that you are becoming too conceited.
ASSIATA
I am a black goddess that adores you.
INT: JAMES’ HOTEL ROOM–DAY
Assiata and James are having breakfast in their bathrobes.
ASSIATA
They want me to talk in the towns, at the meetings. I am nervous. I don’t know how to give speeches. I wouldn’t know what to say, but they are calling for me. Will you help me?
JAMES
I’ll be there whenever you need me.
ASSIATA
I am asking you now. Will you write my speeches?
JAMES
But you don’t know how to read.
ASSIATA
Don’t be an idiot. I may not know how to read yet, but I can learn.
JAMES
I’ll do whatever you want me to do.
ASSIATA
Okay, then, let’s begin.
JAMES
Why are you in such a hurry?
ASSIATA
I don’t have time to lose.
JAMES
As you wish. Let’s start, then. Lie down on that sofa and close your eyes. Then tell me how the new Assiata is going to be.
ASSIATA
Lying down with closed eyes?
JAMES
Yes, that’s how it’s done in my country. Now, close your eyes, open your mouth and let it all come out. … Don’t worry, you just try.
ASSIATA
The Assiata you knew has killed the cry of death of the cicadas and doesn’t need to hide her head beneath the sheets to sleep anymore. She sleeps well, and she doesn’t dream.
She is not afraid of her husband and has suddenly awakened to a hand that caresses and encourages her to be bold, to a mouth that smiles at her charms. Before this, I don’t remember a single time in my life when somebody smiled at her charms.
My husband was going to Camerum, and they wanted to sew up my sex again. But the time to live had arrived, and I couldn’t bear to love a pig anymore.
My third son was dying, and when my neighbors congratulated me on his death, when we took him up to a cave to be eaten by vultures, I suddenly saw and understood, and my eyes opened to horizons higher than the flight of those vultures.
My head buzzed like a swarm of bees. My head still buzzes, and what troubles me most is to hear my friends at the UNFM run this country down, saying that in Mali nothing will ever happen. What troubles me most is not knowing what to reply, not knowing who l am, what I am doing here and why I am going to die. Will you help me?
JAMES
I’ll help you if you help me.
ASSIATA
How can I help you?
JAMES
Don’t you know how? By infecting me with your contagious faith and vitality.
ASSIATA
I’ll infect you, mon amour. Until I met you, I didn’t know what it was to be a woman. Now, I am more woman every day, and you will be more man every day. I will make you more of a man every day, white devil.
INT: JAMES’ HOTEL ROOM–DAY
JAMES
I shall have to go back to the States one of these days.
ASSIATA
Will you return soon?
JAMES
As soon as possible, you little black devil. You have electricity, Baby, didn’t you know? Besides I have to return to work at the hospital.
ASSIATA
Of course. When will you leave?
JAMES
In a few days.
ASSIATA
Do it tomorrow.
JAMES
Why tomorrow?
She finishes brushing her teeth, gives him a quick kiss, and leaves without answering.
EXT: BAMAKO AIRPORT, AIR MALI–DAY
James is at the airport with Michel buying his ticket.
JAMES
New Orleans. Round trip.
MICHEL
I thought you lived in California.
JAMES
I did, but my parents left me a house in New Orleans as well. My wife is there now with Pearl.
MICHEL
Is Pearl the name of your daughter? Too literary. By the way, is something wrong with Assiata?
JAMES
No, nothing’s wrong.
MICHEL
You never know with these women
[…] […]
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