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♪

♪ dramatic music playing ♪

♪

♪

♪

‐ Well, I guess it is about kick‐off time.

I'm gonna put this on top of here

so we can get both of us.

My next guest has appeared on Broadway.

Sold out Carnegie Hall.

She's played in movies out in Hollywood

with the likes of Louis Armstrong.

I am Reginald Lord Divine

and oh, my God... [chuckles]

Oh, my God.

I cannot believe that we have the opportunity

as I live and breathe to interview the Lady,

the legend, my hero, Miss Billie Holiday.

The Lady Day. Which do you prefer, honey?

‐ She'd prefer you pay her money first.

REGINALD: Tell me. Tell me.

What's it like to be a colored woman?

‐ Would you ask Doris Day a question like that?

‐ Well, Doris Day is not colored, silly. [laughs]

‐ Jesus.

[scoffs]

[coughing]

‐ I want to talk Strange Fruit.

Yes, Strange Fruit.

My audience wants to know.

You keep getting in trouble for it,

but you are determined to keep singing it. Troublemaker!

‐ You ever seen a lynching?

It's about human rights.

Government forgets that sometimes.

♪ "All of Me" playing ♪

They just want me to shut up and sing All of Me.

REGINALD: Let's start where it all began.

At the Cafe Society.

Oh, honey, I loved that place.

‐ ♪ Can't you see? ♪

♪ I'm no good without you ♪

REGINALD: I remember seeing Lena Horne tipping in with... Who was it?

Oh, that drunk. Oh! Tallulah Bankhead.

‐ ♪ I want to lose them ♪

REGINALD: That's the first time I saw you sing, honey.

Mesmerizing. Oh, and everybody was there. ‐ ♪ I never use them ♪

REGINALD: The wrong kind of place for the right kind of people.

FREDDY: Like Jimmy Fletcher.

BILLIE: Leave him alone. He didn't know what he was walking into.

FREDDY: Yes, he did. Soldier boy.

‐ ♪ How can I go on, dear ♪

♪ Without you? ♪

REGINALD: You were there with that famous manager back then.

What was his name?

FREDDY: Crook.

[Billie laughs]

BILLIE: Yeah, that's right. Crooked‐ass Joe Glaser.

He was there with my husband Monroe.

♪ So why not ♪

♪ Take all of me? ♪

‐ Have a good evening, sir. ‐ You as well.

‐ ♪ Your goodbye ♪

♪ Left me with eyes that cry ♪

♪ How can I ♪

♪ Go on, dear, without you? ♪

♪ You took the best ♪

♪ So why not take the rest? ♪

♪ Baby ♪

♪ Take all of me ♪

[applause]

[spits]

[indistinct chatter] [dog barking]

WOMAN: Okay, give me a lighter.

‐ Orson Welles is outside, he needs to see you again.

‐ Tell him tomorrow. Monroe's out of town.

‐ Mm‐hmm.

You got some fans in from Baltimore that want to see you.

‐ Lucio, you dig the show? LUCIO: Oh, yeah.

MONROE: And who are you? ‐ Jimmy Fletcher.

‐ She don't know you. Move. Come on, y'all.

‐ Thank you. ROSLYN: Come on, y'all, meet Lady Day.

‐ Hey, how y'all doing? Thanks for coming.

MAN: Hello, Miss Holiday. ‐ Oh, no. Please call me Billie.

‐ We love you. ‐ Ah, y'all are sweet.

So y'all came all the way from Baltimore to come see me, huh?

‐ Yes, ma'am. ‐ Yes, ma'am.

And you're gonna take me to a fancy dinner, too.

‐ Gee‐whiz! I'm from Baltimore, too.

Come here. Have some champagne. Prez, give 'em something to drink.

You just make sure he take you to Jimmie's Chicken Shack up in Harlem.

ROSLYN: Oh, God, yeah. Mm‐mm‐mm. BILLIE: That's good eatin'.

Here. Let me see that.

MONROE: Where in Baltimore are y'all from?

‐ Near Columbus Park? ‐ Okay, yeah, she's from east.

‐ Yeah. Fells Point.

WOMAN: Thank you. MAN: Thank you, Miss Holiday.

MONROE: No, nigga.

‐ I'm sorry, Mom. I was on a job interview.

‐ What job interview's, uh, at 10:30...

Don't... stop. Stop. [Fletcher grunting]

What job interviews are at 10:30 on a Sunday night?

James, your lies are unbecoming, and I'm getting tired of it.

Living off your father's hard‐earned trust.

And you know I hate when you're late. ‐ Yes.

‐ Sunday dinner's all we have together now that you've moved out.

‐ Yes. Yes, Mother, I was downtown interviewing for this writing position

with The Sun news.

I had to go to the editor's home.

I got the job.

[Fletcher groans]

‐ Your father would turn in his grave

with all that he accomplished. ‐ Mom. Mom, please.

‐ You're not fooling nobody walking around in that uniform.

Just because I don't hang in the gutter with your friends

doesn't mean I don't know what's going on.

You're hanging out with those jazz musicians

in them clubs and God...

God knows what else. Take this out of here.

‐ I do like the jazz clubs, Mom.

I even met Billie Holiday.

‐ Really? ‐ Yes, really.

You should be congratulating me on my new job that I start tomorrow.

Finally getting out of this uniform.

‐ Oh, my! Billie Holiday! [chuckles]

I hear that she is quite the lady.

‐ I don't know, Mom. I hear just the opposite.

‐ Those are just rumors.

Anytime somebody colored is doing something right,

they paint us out wrong.

♪

WAITER: Good morning, Miss Holiday. ‐ Milk. No, that's for the baby.

Mommy didn't forget about you. [indistinct dialogue]

‐ It's like a damn kennel in here.

‐ Vogue magazine want to interview me about your gowns and such.

‐ You ain't giving no interview to no magazine.

Somebody wants to hear about her they can come talk to me.

‐ They sent these over.

‐ I'll take them both. ‐ It'll cost me an arm and a leg.

‐ Shut the fuck up, Monroe.

[Billie laughs]

BILLIE: Send the dressmaker one of my husband's arms, please.

[laughter]

‐ [whispering]: Ooh, where'd he come from?

♪ saxophone playing ♪

‐ Yeah. Joe, nah, he not clicking.

‐ Hey, man. Thanks for coming in.

‐ Sorry, ma'am. ‐ Thank you.

‐ Good riddance. ‐ Ros.

‐ He was horrible. ‐ Take a look.

‐ Yeah, looks good.

MONROE: They should be running half‐page ads, at least.

You should be getting a bigger cut of the door, too.

You're practically topping the DownBeat poll.

Eleanor Roosevelt has to pull strings to get in here.

‐ He has a point.

‐ Yeah, you do kind of got a point.

Glaser.

‐ I'm working on it.

‐ When she started here, she was a nobody, and now she's a star.

‐ I'm working on it, okay?

‐ Joe's working on it, honey. ROSLYN: Give me that.

Mm‐mm. See, look. Told you.

[dogs chewing noisily]

‐ Your friend Anslinger's in the paper again.

‐ He ain't no friend of mine. ‐ Sure he is.

Glaser's friend, too, right?

GLASER: I cut Strange Fruit.

‐ No, Joe. I want to sing the damn song, all right?

The club advertises it.

People pay good money to come here and hear me sing it.

GLASER: I've told you a hundred times,

people in high places don't want you singing that song.

‐ And I've asked you over a hundred times...

"What people, Joe?"

What you looking at him for?

Shit, I'm the one who pays you.

‐ The government.

‐ Yeah, the government.

People like your buddy Anslinger, right?

‐ Quit it with that, huh?

‐ The song means a lot to me, Joe.

‐ Meeropol wrote it and he's a fucking commie.

‐ Come on. I don't care, all right?

It's important to me.

‐ You ain't singing that song.

‐ I'll sing what the fuck I want.

‐ Look, if Lady wants to sing the song, then we should sing the song.

‐ Gives a face to them little boys being lynched.

‐ Mind your business, Freddy.

Look, bitch, we ain't going through this again.

‐ You, uh, if you all ain't Anslinger's friends,

then how come you be sitting with him every night?

‐ What do you expect us to do, huh?

Run from the man? I'm trying to protect your ass.

‐ Don't lie to me, nigga.

‐ I ain't lying.

‐ I'm scratching it.

It's for your own good, okay?

[dogs barking]

MONROE: Get up, c'mon.

‐ Get the fuck off me. Come on, let's go.

‐ Fuck the feds and fuck Anslinger.

♪

[indistinct chatter]

♪

ANSLINGER: Gentlemen.

You have to help me get this budget pushed through Congress tomorrow.

‐ We just increased your budget last year.

Thank you, Roy.

McCarthy, I gotta get me a Roy Cohn just like you.

Why is this so important to you, Harry?

‐ Drugs and niggers are a contamination to our great American civilization.

‐ Well, that's why we helped you in the first place.

‐ John, listen to me. This jazz music is the devil's work.

That's why this Holiday woman's got to be stopped.

She keeps singing this Strange Fruit song

and it's causing a lot of people to think the wrong things.

We've warned her to stop singing that, but she won't.

We've got her husband in the bag, though she won't stop singing the song.

‐ People are calling the song a musical starting gun

for the so‐called civil rights movement.

‐ Well, let me ask you a question.

You all got a plan?

We can't just arrest a nigger for singing a song.

[laughter]

‐ She's inciting a riot.

ROY: That's a misdemeanor at best.

She's a drug addict, though.

‐ Exactly.

‐ You go after that bitch on the drugs.

♪

‐ Joe Guy! [laughs]

I came down here for you to save my ass.

JOE: You don't need me to do that.

Shit, Lady...

You do that all by yourself.

[exhales sharply]

[clock ticking]

[horn honking] [dogs barking]

[cheers and applause]

GLASER: It's for your own good, okay.

I'm scratching it.

BILLIE: Thank you. [applause continues]

Can you all hear me out there?

CROWD: Yes!

‐ Oh, good. 'Cause I sure can hear you.

[laughter]

Say hi to Louis Armstrong everybody.

[cheers and applause]

We're recording a V‐Disc tonight for all our men and women in the service,

and that makes tonight all the more special.

You all are fighting a real fight out there

and we love you for it.

[cheers and applause]

♪ mournful music playing ♪

I feel lonely, Louis.

Let's say we try Solitude.

‐ Anything for you, Lady.

‐ ♪ In my solitude ♪

♪ You haunt me ♪

♪ With reveries ♪

♪ Of days gone by ♪

♪ In my solitude ♪

♪ You taunt me ♪

♪ With memories ♪

♪ That never die ♪

♪ I sit in my chair ♪

♪ Filled with despair ♪

♪ There's no one could be so sad ♪

♪ With gloom everywhere ♪

♪ I sit and I stare ♪

♪ I know that I'll soon go mad ♪

♪ In my solitude ♪

♪ I'm praying ♪

♪ Dear Lord above ♪

♪ Send me back ♪

♪ My love ♪

[applause]

[spoon clinking]

FLETCHER: Hi.

Is Miss Holiday here?

‐ You finally struck up the nerve to come see her.

BILLIE: Who is that?

‐ It's the little writer nigga here to see you.

‐ Freddy! Who is it?

‐ Little pretty motherfucker that be writing all the time.

‐ Oh! Yeah. Let him back.

‐ You can give me them flowers, she don't need 'em.

What, you scared?

You better not be one of 'em gossip folk either.

Lady, I'll be back. BILLIE: Yeah.

[door closes] No uniform tonight, soldier boy.

You're here all the time.

Jimmy Fletcher. [chuckles]

‐ Great show last night.

‐ Yeah...

Now it's quiet.

I don't like the quiet.

So noisy, you know.

♪

I've been practicing this new thing.

What you think? ‐ I like it.

‐ It's nice, right? ‐ Yeah.

‐ You don't got a girl? ‐ Nope.

I've served my time for the country, now, starting a new job.

[Billie counting, quietly]

Your boyfriend give you that stuff?

‐ Why, you want some?

‐ No, thanks.

‐ It takes the edge off, you know.

Two, three...

Pour yourself a drink.

...three.

‐ Sure.

‐ One, two, three.

One, two, three.

‐ Why don't you ever sing Strange Fruit?

‐ Strange Fruit.

I got to be pretty high to sing that one.

‐ Never heard you sing it.

‐ It's a song about important things, you know.

Things that are going on in the country.

I don't think people know I care about those things.

Most of my other songs are just about love.

‐ Well, love is important, too, right?

‐ You know, one day, I'm gonna quit the drinking.

And get off that stuff, too.

[Fletcher chuckles]

Maybe go to one of those hospitals, you know,

like Judy Garland, those movie stars.

You know how to do the waltz? That shit is so pretty.

‐ Yes.

‐ You do?

You would look good in a tuxedo.

‐ You are funny.

‐ Yeah.

'Cause I know what you want.

♪

[Fletcher chuckles]

Which one of my songs is your favorite song?

‐ All of Me.

‐ ♪ All of me ♪

♪ Why not take all of me ♪

Yeah.

All right, well, that'll be our song then.

So you really know how to do the waltz, huh? ‐ Yes.

♪

♪

[sobbing]

‐ That's good. Come on.

‐ Come now. Come on. Come on. ‐ There you go.

That's good.

FREDDY: I know. BILLIE: Right.

[crying]

‐ I'm sorry for your loss.

‐ Of course. FLETCHER: I lost my father when I was young.

‐ My Lord...

[sighs, clears throat]

‐ Chiquita sat on my lap every day.

[sobbing] ROSLYN: It was her dog.

Her dog died.

‐ It was the little one, not the big one.

Mister's all right. Yeah?

Mister's fine, right?

ROSLYN: Billie, I told you,

you can't let Chiquita eat off your plate.

That's why she choked. ‐ Ros.

[sobbing]

REGINALD: Someone tells me

you are very tight

with Tallulah Bankhead.

You know what I mean?

‐ Now wait. What Tallulah Bankhead got to do with this?

You said this interview was a retrospective on her career.

Cut the tape.

Cut the tape.

Little bitch, you got one more time to ask one more smartass question.

♪

‐ Nobody saw us come in here, right? ‐ No.

Vogue magazine wants to talk to me about you.

Should I do it? ‐ Go ahead.

Just take me to your room.

‐ James. ‐ Ma'am.

You know I can't allow her on here.

[scoffs]

‐ James, don't you know who this is?

‐ I do know who she is, Miss Bankhead.

Also know I want to keep my job.

Miss Holiday, only Negro allowed on this elevator's me.

‐ What? So Negroes can't,

but a bunch of goddamn bull daggers can.

‐ Miss Holiday, you got to take the service elevator.

‐ I'm not taking a fucking service elevator.

Just move.

Excuse me.

‐ Please.

Now, they're killing us for less down south.

Lynching men and women.

Please don't cause a fuss here.

♪

‐ Get off me.

Just don't touch me.

‐ I'll take the damn service elevator with you.

‐ Damn it.

♪

♪

[indistinct, low murmuring]

[cheers and applause]

‐ Billie! ‐ Billie!

[indistinct cheering]

WOMAN: We can't wait to hear you sing, Billie!

MAN 1: Sing Strange Fruit. MAN 2: Strange Fruit, Billie.

‐ ♪ Southern trees ♪

‐ Get her off that stage.

‐ ♪ Bear a strange ♪

♪ Fruit ♪

[doors clattering]

‐ We gotta get the hell outta here. ‐ Hey, Prez! Get off me.

WOMAN: Hey, leave her alone! MAN: What are you doing?

[indistinct shouting]

BILLIE: I'm singing this goddamn song!

I'm singing this song!

[crowd shouting in distance]

MAN: Hurry your ass up!

[car engine starts]

JOE: You're safe here, baby.

BILLIE: Hey, Joe honey, can you get me some ice cream, please?

‐ I don't want any ice cream.

‐ Come on, please, baby, just go to Libby's,

right around the corner.

That sound good. Ice cream sound good.

‐ All right, baby, I'mma get you some ice cream, okay?

‐ Thank you, honey. ‐ Hold my head up.

[laughing]

What kind of ice cream you want?

‐ Chocolate ice cream, I want chocolate ice cream.

‐ Chocolate ice cream on the way.

You ain't gettin' me no ice cream. You can't get me shit, you.

Where you going? Ice cream that way.

‐ Mm. Go somewhere where the ice cream is.

‐ Get up, Joe. ‐ Mm‐mm.

‐ Fine, I'll go get it myself.

♪ "Blue Moon" playing on record ♪

‐ Then you gotta put some clothes on.

‐ I got some clothes on.

You don't see this coat on me?

‐ Nigga, that's my coat.

‐ Shut up, stupid.

FBI AGENT: It's in here somewhere.

‐ Joe, get up, the Feds!

‐ Both of you are under arrest.

No, Holiday. Stop, stop!

Stop!

FBI AGENT: Get up. [indistinct chatter]

FBI AGENT: Give me your hands. JOE: Fuck off of me, man.

BILLIE: You drank with me backstage

pretending to be a soldier.

That's low. ‐ Punch that nigga in his face, Billie.

‐ I almost kissed your ugly ass.

You came to my baby's goddamn funeral, Jimmy.

And all the while you're just some fucking fed!

You probably don't like any of my music, do you?

‐ You're under arrest, Miss Holiday.

‐ And you're a lying Black son‐of‐a‐bitch.

‐ Policewoman will be here shortly to search you for further evidence.

‐ You're gonna search me?

You search me.

That police bitch is only gonna feel me up.

‐ No, ma'am. ‐ That's what you really been wanting.

‐ Miss Holiday, keep your clothes on, please.

‐ You gonna arrest me...

Agent Fletcher.

[breathing heavily]

[indistinct shouting]

GLASER: Keep out of the way. WOMAN: Miss Holiday!

GLASER: Give her some room. MAN: Miss Holiday.

‐ Billie, why did you...

GLASER: Talk to him. There.

Move, out of the way.

‐ You should feel ashamed.

You stay in trouble with the law, Miss Holiday.

Don't you want to set an example for your race

like Ella Fitzgerald and Marian Anderson?

‐ You know, the people that are hardest on me are my own race.

I need help.

Not jail time.

[indistinct shouting]

‐ Move.

ANSLINGER: It's Fletcher, right? FLETCHER: Yes, sir.

‐ Congratulations on your fine work.

‐ Thank you, Mr. Anslinger.

‐ The United States vs. Billie Holiday. Docket number 14‐243.

The honorable Judge Cullen Ganey presiding.

All rise.

JUDGE GANEY: We need to know the whole truth about your addiction.

We want you to help us trace the drug down to the source.

Now the police found heroin in your room at the Attucks Hotel.

Who supplies you?

[crowd murmuring]

‐ Just send me to a hospital. Get this over with.

♪

‐ Miss Holiday...

I hereby sentence you to one year and a day...

BILLIE: To jail? [crowd chattering in disbelief]

JUDGE GANEY: You'll be remanded to Alderson Women's Prison. ‐ Joe! Joe!

Wait, wait! Get your hands off me!

Hey, Joe. You told me they'd send me to a hospital.

Y'all set me up!

Y'all folks set me up. Joe, I paid your ass all that money.

Nigga, you go to jail.

I trusted you, Joe.

[door slams]

♪

GUARD: Stand up, women.

Stand up. You ain't Billie Holiday in here.

‐ Jimmy. ‐ You did it.

[yelps]

‐ I'm proud of you.

♪

[vomiting]

[coughing]

‐ Hey, Shirley, you got anything? ‐ Yes. Here you go.

[phones ringing]

SAM: They knew they couldn't get no white boys to infiltrate Harlem.

So they had us do it and you're leading it.

‐ Yes, Sam, I guess I am.

‐ You're paving the way for all of us.

Hoover and them white boys better get ready.

Can't nobody do it better than a nigga when he gets the opportunity.

[laughs]

[thuds]

‐ "You should be congratulating me on my new job

that I start tomorrow."

You lied to me, just like you lied to Miss Holiday.

Why wouldn't you tell me that you're working as a federal agent?

‐ They swear you to secrecy, Mom.

‐ You could do anything with yourself. You don't even have to work.

Why that?

‐ I didn't want to be an undertaker.

‐ The mortuary business didn't work out so bad for us, James.

Your father's money left you with opportunities

no ordinary Negroes have.

‐ Drugs are turning Harlem upside down.

I wanted to make a difference.

I am one of the first Black federal agents ever.

‐ They're using you.

It's not just about the drugs.

They don't want her singing that song,

but if she don't do it, who will?

Ain't no other Negro star bold enough to do it.

She's singing it for all of us.

That young lady is a hero.

‐ ♪ It gets worse with time ♪

♪ Oh, it's a long way down from here ♪

♪ They normally don't stay with me ♪

♪ Once the morning light appears ♪

♪ I don't have much to give ♪

♪ But here is now ♪

♪ And I pray it breaks your fall ♪

♪

♪ Breaks your fall ♪

♪ I should warn you This will probably hurt like hell ♪

[thwacks]

♪ I don't do love ♪

♪ Or lovers very well ♪

♪ I fade like flowers on days like this ♪

♪ It's amazing you maybe ♪

♪ Past that first kiss ♪

♪ I don't have much to bring ♪

♪ You've seen it all ♪

♪ And I pray it breaks your fall ♪

♪ Breaks your fall ♪

♪ 'Cause there's no remedy ♪

♪ For staying next to me ♪

♪ The pain's contagious I warned you so I blame you ♪

♪ If you stay, it's your loss ♪

♪ Probably say it's my fault and it is ♪

♪ But it is what it is ♪

♪ Oh, it gets worse with time ♪

MAN [on tape]: And, uh, even the recording dates,

Billie seemed to be so thrilled to make the tape with each other.

‐ I'll probably never even marry again.

I know I'm gonna find my ass right back up in this jail cell.

♪ Morning light comes near ♪

♪ I don't have much to give ♪

♪ But here is now ♪

♪ And I pray it breaks ♪

♪ Your fall ♪

♪ Breaks your fall ♪

‐ Why'd you do it?

‐ My father told me when I was a kid

that drugs would be the death of our people.

‐ For you to be one of them agents, you sure is stupid.

I'mma tell you something real about that person you put in jail.

She was raped...

when she was just 10 years old.

You don't know how it is to be missing something in your life

that only a fix seems to fill.

She get with these men,

and they treat her bad.

She run around, she steal little trinkets.

She look like a million bucks, but she feels like nothing.

Hop eases the pain, but then that shit come right back

and it hit harder than before.

Like a hammer.

Billie ain't got nobody.

Singing is her life and...

She give that away to the world.

So, at the end of the day, she don't hurt nobody but herself.

♪

[indistinct chatter]

[chatter stops]

‐ Here for Mr. Anslinger.

‐ What do you want? ‐ Mr. Anslinger?

It's Agent James Fletcher.

‐ Sit down.

[phone dialing]

[door opens]

‐ Come on.

‐ There's nothing on Holiday.

FLETCHER: Well, how can there be, sir? She's in jail.

Pardon me for asking,

but why is that song so important to us?

‐ Hoover says it's un‐American.

You've heard those lyrics.

They provoke people, in the wrong way.

‐ The wrong way.

What would you have me do, sir?

‐ You're a good liar.

Now, I need you to go down to the prison and tell her you're sorry.

She'll believe you.

She's a sucker for men.

♪

‐ Yes, sir.

‐ We'll make sure she never gets that cabaret license back.

‐ Miss Holiday, you can't trust anyone.

They're gonna set you up as soon as you get out of here.

They want you down and they want me to take you down again.

I won't.

‐ What's your game, man?

‐ I thought I was doing the right thing.

‐ Right thing, huh?

You look older, soldier boy.

[tapping desk]

‐ You said you'd kick that stuff.

Even in prison, you're beautiful.

‐ Don't flirt with me.

You ain't my kind of guy.

GUARD: Let's go.

WOMAN: That took forever. MAN: You know how trains can be.

ROSLYN: Hey.

‐ I hate baby's breath.

‐ Hi, baby. Mommy missed you so much.

I didn't think he'd remember me.

ROSLYN: This is Ed Fishman. He's a good manager.

BILLIE: Really?

What's he gonna do for me?

ROSLYN: Tell her.

‐ Billie Holiday headlining at Carnegie Hall.

Headlining, kid.

‐ No one will come to see me.

I've been reading the papers.

All them nasty things they're saying about me.

‐ Tickets went on sale yesterday

and we're selling pretty good.

‐ They just want to hear you sing, Lady.

‐ That's all.

Hey, why don't you stay at Lester's?

‐ Yeah, we can go over the numbers and you can eat some of Mama's chitlins.

‐ Yeah, I know what the two of y'all are thinking.

I beat it this time.

I don't plan on doing none of that shit again.

[clears throat]

Carnegie Hall, huh?

Hot damn, Prez! [Lester chuckles]

[indistinct chatter]

ROSLYN: Who are you smiling at? LESTER: Shit.

ROSLYN: Oh, hell no, not that nigga. LESTER: She's something.

‐ Take your goddamn dog. Come on.

CARTER: Well, I'll be damned.

Your little visit to her worked.

ROSLYN: I told you not to get goddamn baby's breath.

LESTER: They didn't have no goddamn tulips.

What the fuck you want me to do? Grow 'em out my ass?

BILLIE: ♪ I cried for you ♪

♪ Now it's your turn to cry... ♪

Hey, Miss Mona.

♪ To cry over me ♪

Listen, Bobby, I had an idea. ‐ What?

‐ I think we should make the tune more of a conversation, you know?

And the band take their cue from you, Prez.

You play it. You know how you play it.

♪ I cry for you ♪

[scatting]

Not now, honey. Mommy's working.

♪ I cried for you ♪

♪ Now it's your turn to cry over me ♪

‐ Yeah. ‐ You dig?

‐ I dig, I dig. Yeah. ‐ You think that'll work?

So glad to have you back, Lady.

BILLIE: Yeah, I'm not feeling too bad.

[Billie grunting]

You know, I've been thinking.

I think we should integrate the audience for the show.

You know, Blacks and whites sitting together,

you know, if...

I feel like it would be more of a party that way.

You know, Carnegie Hall and Broadway, the whole scene, you know what I mean?

It's meant to keep the Negroes out. ‐ Mm‐hmm.

‐ Let's change it up a little bit. Do something different.

‐ It's a great idea. ‐ You know.

Oh, no. Miss Mona?

‐ Yes, Miss Holiday?

BILLIE: Honey, could you pull that pinstripe suit out for me?

‐ Okay. BILLIE: Yeah, I'm gonna go pray.

♪

[humming]

♪

[humming]

♪

♪

BILLIE: It's like the whole world's out there right now.

‐ What'd I tell ya? Packed house, Billie, packed house.

ROSLYN: Will you keep your head still? ‐ You know what? Stop! Stop!

I'll do it myself.

[groans] Shit!

All right, I gotta go.

Motherfucker, what are you doing?

Who's out there right now? ED: It's funny you should ask.

I have a whole list of the most important...

[crowd murmuring]

[cheers and applause]

[cheers and applause continue]

‐ She does look incredible.

‐ Thank you. [laughs] Thank you, everybody.

[exhales sharply] Well, I'm back. [laughs]

[cheers and applause]

And jail was fun.

[laughter]

‐ Sing Strange Fruit.

[crowd cheers]

‐ I'm afraid I won't be able to do that one tonight, honey.

[crowd groans]

‐ I love you, Billie!

‐ I'm a little nervous up here tonight.

All these reporters keep asking me,

"Billie, why you do the things you do?"

You know, I should be more like this person or that person.

This is what I tell them.

♪ "Ain't Nobody's Business" plays ♪

[applause]

♪ There ain't nothing I can do ♪

♪ Or nothing I can say ♪

♪ That folks don't criticize me ♪ [crowd clapping along to beat]

♪ But I'm going to do ♪

♪ Just as I want to anyway ♪ [crowd cheers]

♪ And don't care ♪

♪ Just what people say ♪

♪ If I should take the notion ♪

♪ To jump into the ocean ♪

♪ Ain't nobody's business if I do ♪

♪ If my man ain't got no money ♪

♪ And I say take all of mine, honey ♪

♪ Ain't nobody's business if I do ♪

♪ If I give him my last nickel ♪

♪ And it leaves me in a pickle ♪

♪ Ain't nobody's business if I do ♪

♪ Well, I'd rather my man would hit me ♪

♪ Than for him to jump up and quit me ♪

♪ Ain't nobody's business if I do ♪

♪ I swear I won't call no copper ♪

♪ If I'm beat up by my papa ♪

♪ Ain't nobody's business if I do ♪

♪ Nobody's business ♪

♪ Ain't nobody's business ♪

♪ Nobody's business ♪

♪ If I do ♪

[cheers and applause]

♪

[inaudible]

♪

♪

[cheers and applause]

♪

♪

[applause]

‐ What the hell you mean you can't get my cabaret card back?

ED: We had three lawyers working on it.

They all came back empty‐handed, I...

‐ Well, they won't let me sing nowhere without my card.

No clubs, no money, no nothing.

‐ We'll work something out.

‐ You ain't working fuck out!

You son of a bitch!

‐ You're fucking high.

[glass shatters]

[snoring]

♪

‐ Of course I'm high, Ed.

[tapping foot]

I wanted to put on a great show.

All the fans...

[sighs]

and all those goddamn feds sitting in the front row.

Of course I'm high.

Shit.

How am I supposed to work

if I don't got my fucking card, huh?

♪

♪ "Hallelujah, I Love Her So" by Ray Charles playing ♪

‐ ♪ Let me tell you 'bout a girl I know ♪

♪ She is my baby and she lives next door ♪

♪ Every mornin' 'fore the sun comes up ♪

‐ How in the hell you pull this off?

Is that the band standing up there? ‐ Mm‐hmm.

‐ Is that Ros and Freddy right there? ‐ Yep.

‐ None of your goddamn business, baby. Now, get out there and sing a song.

‐ Prez, you know I can get arrested for singing without my cabaret card.

‐ Bobby Tucker swears this John Levy cat got all the hookups. Come on.

And he's a looker, too. ‐ Mmm.

Yeah.

You don't even know what we're gonna sing.

Look at y'all fools.

How y'all let him talk y'all into this?

‐ We'll figure it out like we always do.

You just gotta handle him.

All right, y'all. We kinda gotta get ready for anything.

‐ Am I gonna get arrested for singing in here?

‐ Come here.

From now on, I don't want you to worry about none of that.

I'll pay off the right people.

‐ And you would do that for me?

‐ You just got a standing ovation

and three curtain calls from a sold‐out crowd at Carnegie Hall.

Plus, the cops owe me some favors.

You and me might make a swell team.

‐ Only I decide when it's time to team up that way.

‐ You got a divorce from Monroe, didn't you?

‐ That ain't none of your business.

Shit. I'm here to sing.

Make you some money.

‐ Well, go on and make me some money then.

[indistinct bar chatter]

[cheers and applause]

‐ Thank you. [chuckles]

Well, I'm sure you've all heard,

they ain't giving me my cabaret card back yet.

Yeah, boo! WOMAN: They suck!

‐ So to keep working, I've been having to run around

singing in Washington and Philly because I don't need no card there

but tonight...

Feels good to be back home.

[applause] Thank you, John.

So, I think we're gonna try something new tonight.

Them There Eyes. Them There Eyes.

♪ "Them There Eyes" playing ♪

♪ I fell in love with you the first time I looked into ♪

♪ Them there eyes ♪

♪ You have a certain little cute way of flirtin' ♪

♪ With them there eyes ♪

♪ They make me feel so happy ♪

♪ They make me feel so blue ♪

♪ I'm fallin', no stallin' ♪ [loud passionate moaning]

♪ In a great big way for you ♪

♪ My heart is jumpin', you started somethin' ♪

♪ With them there eyes ♪

♪ Oh, baby, them there eyes ♪

♪

[moaning]

♪

♪ I fell in love with you the first time I looked into ♪

♪ You have a certain little cute way of flirtin' ♪

[both moaning]

♪ They make me feel so happy ♪

♪ They make me feel so blue ♪

♪ I'm fallin', no stallin' ♪

♪ In a great big way for you ♪

♪ I'm lookin' for the boy with the wistful eyes ♪

♪ I fell in love with them there eyes ♪

WOMAN: All right! [Billie laughing]

[cheers and applause]

MAN [on tape]: ...to that van with a sign saying,

"Welcome, Satchmo and his All‐Stars

from the New Orleans Roman Jazz band."

We played about three days concert there

and one of the nights we went out to the trumpet player's home...

SAM: Telling folks I'm a musician.

FLETCHER: Say again?

‐ Telling folks I'm a musician.

‐ Just make sure they don't ask you to play something.

[plays trumpet]

[applause]

‐ How about that, nigga? [Fletcher laughs]

‐ What you got?

‐ Marleen's whorehouse closed.

At least I ain't gotta worry about giving my wife the clap no more.

[laughter]

‐ Got anything on Louis or Charlie?

‐ Nothing that'll stick.

Do you ever feel strange about what we're doing, Jimmy?

‐ You sound like my mother.

‐ They got us down in the basement trying to take out Negroes.

The people I respect, you know?

[playing trumpet]

♪

‐ I told you they don't serve no piña coladas in here, Ros.

‐ You need to figure out how you're going to get us paid from that creep.

‐ Yeah.

‐ One moment, Miss Holiday.

Let me arrange a special table for you.

‐ Sure. Thanks. ‐ Who you looking at?

Oh, God!

‐ Hey, baby. [dog barks, snarls]

How you doing? ‐ Good.

Glad we're finally having dinner tonight.

‐ Yeah, about that...

I gotta run by the number house. ‐ What?

Baby, no, come on. You said you was eating with us tonight.

‐ I'm sorry. Forgot I had business.

I'll see you back at the club. ‐ Yeah, sure.

Hey, Levy!

Goddamn! You done shorted me my money again, nigga.

‐ Told you.

BILLIE: Hey, who's that? ROSLYN: Louis McKay.

Some so‐called businessman.

He's really just a boxer and a damn pimp. He's trouble.

‐ Your table is ready, Miss Holiday. Just this way.

‐ Luigi, that ain't necessary.

Miss Holiday will be dining with me tonight.

‐ Oh.

That's mighty swell of you.

Ain't that nice, Ros.

Come on, let's go.

‐ The table's just for two, though.

‐ Oh.

Well...

Well, you wouldn't want to eat with us, would you?

Do you?

I'll see you at the club later. Yeah?

Here, take the baby from me.

Take the baby. Take the baby. Take her!

♪

ANSLINGER: Tallulah Bankhead. [door closes]

Thank you for meeting me.

I'm Federal Agent Harry Anslinger.

‐ Who the hell do you think you're playing with?

What is this?

‐ I know you're friends with Miss Holiday.

We're trying to help her.

‐ [scoffs] I just bet you are.

‐ We have intel that you don't approve of her drug use.

‐ I am unaware of any drug use by Miss Holiday.

‐ Would you consider her a friend?

‐ Yes.

Billie's got lots of friends.

‐ I hear she likes to get to know her lady friends... intimately.

‐ I wouldn't know about that.

‐ Are you sexually involved with Miss Holiday?

♪

TALLULAH: The whole thing was unnerving.

BILLIE: Darling, I'm sorry you had to go through all that, Bankhead.

‐ You're not still using that stuff, are you?

‐ Come on, Bank. It's such a nice day. Can't we just enjoy it, please?

‐ How's that John Levy treating you?

‐ Well, I'm singing in his club.

‐ I heard he's stealing your money.

You could do better. They're all using you.

‐ What makes you think I'm not using him?

[dog whining]

Mister, knock it off. Come on.

You'll never understand my life, white girl.

See, Mister can beg, but he can't heel.

But it's not his fault. I ain't train him right.

I'm gonna train this one. ‐ Yeah.

‐ Small world.

‐ Only if you following me.

‐ Hmm! I'll follow you to the moon and back, Lady.

Train that dog for you for free.

How about we ditch these snow bunnies and go get into some black shit?

[Billie laughing]

‐ I loathe the East End.

Really, Billie?

♪ "Lady Sings the Blues" playing ♪

He won't miss us none.

I've been singing here all this time.

Packing that motherfucker.

Did he think he not gonna pay us? Shit.

♪ She's got them bad ♪

♪ She feels so sad ♪

♪ And wants the world to know ♪

♪ Just what her blues is all about ♪

What you mean, "No"?

‐ Nigga, I'm tired of going to jail.

‐ Come on, Joe. Baby, please, okay?

I just need a little‐‐ I need a little taste. A little taste.

‐ Why? You've been clean for a minute now.

You said we could beat this shit, Billie,

and we can.

‐ Look, I know I did, Joe, okay?

I know I did, but...

You know, you gotta understand, baby.

Right now, I'm in a situation, you know.

And this fucking Levy cat...

You know, he's been fucking with me, you know?

‐ Look, there's always gonna be somebody fucking with us.

Hey, what happened to that clinic you was talking about?

‐ Fuck!

Look, fuck that clinic shit, Joe.

I need some now.

‐ Man, shit. Look, how about we just go together?

Look, you done took his cash.

Why don't we make some good use of it?

‐ It's not his cash.

This is not his money.

Nigga, this my motherfucking money.

You know what, Joe? Fuck you. ‐ Billie...

‐ If you're not gonna help me, I'm gonna find somebody who can.

♪ I'm telling you ♪

♪ She's got them bad ♪

♪ But now the world will know ♪

♪ She's never gonna sing them no more ♪

♪ No more ♪

[thunder rumbles]

‐ Oh, Jesus.

Hey, come on.

Come on.

[Billie groans]

[indistinct chatter]

ROSLYN: You're so silly! [Billie laughing]

‐ Hey, daddy.

[Billie yelps] ROSLYN: Whoa!

‐ Sneaking into my money and then try to come back to my club.

‐ Come on, y'all, now. Stop!

Billie, no!

[blow lands] [Billie screams]

‐ Do something.

[screams]

BILLIE: Fuck!

‐ Clean your ass up.

ROSLYN: Come on, baby. Come on, get up!

Come on. Get up.

‐ Get the fuck off me. ‐ No, Billie! Stop!

‐ Motherfucker, get back here!

‐ Billie, stop! Come on!

Please.

Please, Billie, stop.

[both sobbing]

♪ "Lover Man" playing ♪

‐ ♪ I don't know why but I'm feeling so sad ♪

♪ I long to try something I've never had ♪

♪ Never had no kissin' ♪

♪ Oh, what I've been missin' ♪

♪ Lover man, oh, where can you be? ♪

♪ The night is cold and I'm so all alone ♪

♪ I'd give my soul just to call you my own ♪

♪ Got a moon above me ♪ [crowd applauds]

♪ But no one to love me ♪

♪ Lover man, oh, where can you be? ♪

♪ I've heard it said ♪

♪ That the thrill of romance ♪

♪ Can be like a heavenly dream ♪

♪ I go to bed with a prayer ♪

♪ That you'll make love to me ♪

♪ Strange as it seems ♪

♪ Someday we'll meet ♪

♪ And you'll dry all my tears ♪

♪ Then whisper sweet ♪

♪ Little things in my ear ♪

♪ A‐hugging and a‐kissing ♪

♪ Oh, what we've been missing ♪

♪ Lover man ♪

♪ Where can you be? ♪

REPORTER #1: Holiday heads to Hollywood...

hopefully without heroin.

REPORTER #2: Billie Holiday takes San Francisco by storm.

She has been the victim of both narcotic agents and dope peddlers

who have harassed her constantly.

BILLIE: This gal sure can play.

♪ Memphis Minnie "Pig Meat On the Line" playing on radio ♪

Maybe I should learn to play the guitar.

‐ You know, some people say we have a very unhealthy thing going on here.

‐ Why?

'Cause I punched you in the lobby?

[snickering]

Yeah, you gonna learn to pay me on time.

Would you believe I ain't used in almost two months?

‐ Yes, I can, baby.

How come we don't ever talk about marriage?

You know how much I need you.

‐ Shut up, Levy.

You're already married, remember?

‐ And I told you I was getting a divorce.

‐ Yeah.

I like our arrangement just fine.

‐ Oh. Is that right?

Well maybe this gift will change your mind.

‐ What?

What you gone and got me, daddy?

‐ Just a little somethin'. ‐ What?

[chuckles] ‐ Come here.

[elevator bell dings]

‐ What is this? ‐ No, don't worry about that.

‐ What is this? ‐ Nothing.

‐ Levy, what is this?

I'm not taking this shit.

♪

♪

FLETCHER: The fact that the drug works, the spoon, syringe and so forth

were found in a waste paper basket. It was odd, yes.

Typically, the...

The junkie will keep their works close by.

And‐‐ and she was holding the opium, but I...

‐ So it could have been a frame up?

‐ I‐I didn't say that.

‐ What you mean by that then?

‐ I, I...

[crowd murmuring]

‐ Fuck.

‐ People, please, please. Back off.

[reporters chattering]

‐ What happened in there, Billie?

‐ Well, they tried framing me, but they got caught red‐handed.

‐ What's next for you, Billie?

‐ I'm tourin' America.

Yeah, that's right. Yeah, I'm going on tour.

You all can catch me on tour.

[laughter]

‐ You looked like Nat King Cole up there.

The opium was on her, but I... [stammering]

You sounded like Stepin Fetchit.

All of our hard work just went down the drain.

‐ You wanted me to lie up there?

‐ You had a job to do and you failed.

Now guess what, Nat King Fucking Fetchit?

You're going on tour.

♪ "Gimme a Pigfoot" playing ♪

‐ Why that Black ass federal agent keep following us for?

This nigga's still following us.

‐ Yeah, I seen him two miles back.

‐ Why don't he go fuck with some white people?

‐ ♪ Up in Harlem every Saturday night ♪

♪ Where the highbrows get together ♪

♪ It's just too right ♪

♪ They all congregate ♪

♪ And all night... ♪

‐ Let me see what it says.

‐ Shit say, "I'm cured for good now".

That bitch probably high right now, talking about...

‐ What she got on, man? What she got on?

‐ ♪ Ole Hannah Brown from way across town ♪

♪ Gets full of coin ♪

♪ And starts breaking them down ♪

♪ And at the break of day ♪

♪ You can hear ole Hannah say ♪

♪ Gimme a pigfoot... ♪

♪ And a bottle of beer ♪ [cheers and applause]

♪ Send me gate, I don't care ♪

[laughing]

♪ I want a pigfoot ♪

♪ And a gang of gin ♪

Hey, you. Come here.

How did I do? ‐ You've done fantastic.

We're sold out. Don't stop.

[cheers and applause]

[singing continues, indistinct]

♪

[cheers and applause]

ALL: ♪ Gimme a pigfoot and a bottle of beer ♪

‐ December. Friday.

‐ Okay, here we go.

[man grunts] ‐ Ain't you been watchin'.

Jesus ain't watch Freddy's hand.

‐ In Jesus' name, y'all better hope he watchin' Freddy's hand.

‐ In Jesus name, we gonna watch your hand with that money you not paying us.

LESTER: Jesus said he's gonna give us some money.

FREDDY: That's what we gonna do while we bringin' the Holy Spirit in here.

LESTER: Shut the fuck up. [group mutters indistinctly]

‐ Oh, hell, no. I know you better get the fuck out of here.

BILLIE: Hey, hey, hey, leave him alone. Leave him alone.

‐ After all the trouble this cat done caused us?

‐ Leave him be.

FREDDY: Lady, you know, a hard head make a soft ass.

You ain't learned your lesson yet.

‐ It's complicated.

Come here. Sit down.

LESTER: You can fuck around with this one right here if you want to,

but I need to get paid.

If the club ain't have the money, then why we play?

‐ They gave us what they had, Prez.

Come on, man. You know we'll make it up at the next one.

Thanks for what you did for me in that courtroom.

‐ They want you to think that they fired me.

‐ Is you still working for 'em?

‐ It's complicated.

[indistinct chatter]

‐ So you really just here to hang out?

[exclaiming]

FREDDY: You know he got some candy for you.

BILLIE: Hey, Candyman.

‐ Let me blow a bubble.

‐ What you get?

All right. Here's what we got.

LESTER: Yeah, that is all we got.

‐ Okay.

‐ I sure hope you gave him enough for me.

‐ You know, I did. ‐ Shut the fuck up, Freddy.

‐ What, you mad 'cause I ain't got my lipstick on?

[all laugh]

FREDDY: He be gettin' so mad at me sometimes.

That man crazy about me.

‐ Freddy, play the damn game.

‐ ♪ Workin' hard every night, oh ♪

♪ Tryin' to get paid, oh ♪

♪ Might get laid ♪

‐ I'm trying to get sane.

BILLIE: Why we don't do that track? [Freddy vocalizes]

LESTER: We'll do... ‐ Billie's Blues, yeah.

‐ Uh‐oh. Wait. Wait. Mm‐mm. Mm‐mm.

So, Billie, how you gonna pay that drug man?

But I ain't got nothing.

‐ Come on, Ros.

Y'all know I need my medicine.

‐ Medicine, my ass.

‐ You knew what you was getting yourself into

when you decided to come on the road.

ROSLYN: Shut up, Freddy. I wasn't even talking to you.

FREDDY: Just gotta do like I do.

ROSLYN: Shut the fuck up. BILLIE: The hell you do.

Nah, Freddy... FREDDY: That bitch don't pay me my money,

I take her shit. ‐ Get outta my goddamn clothes.

‐ I'm just letting you know I'm gonna take everything

except your bra and your panties.

I can't‐‐ I can't wear that size. [all laughing]

I can't wear a gown. I ain't gonna...

BILLIE: If you gonna do it, do it right.

Here. ‐ Hey, Fletcher.

You're gonna follow us around the whole country in that car?

‐ I ain't got nothing better to do.

‐ I trust you about as far as I can throw your ass.

ROSLYN: Oh.

‐ The Lady trusts me.

‐ No, I don't.

[all laugh]

LESTER: You better damn not.

ROSLYN: All right, now shut up. This is serious.

BILLIE: Here we go.

‐ Hypothetically speaking, all right?

Let's say you catch Freddy.

Now, even though he don't have no drugs on hand,

in the trunk of his car, there is a considerable amount.

What then? ‐ She said "considerable amount."

‐ You drive around with drugs in the trunk of your car?

‐ She said, "Hypothetically." Nigga, I don't even got no car.

You see me driving a car, that shit is stolen.

I promise you that. [all laugh]

‐ Well, if it's your car,

then they could probably bust you for possession or something.

BILLIE: Damn. ‐ Now that's some ridiculous shit.

‐ Why the FBI shittin' on me?

‐ All right, ladies and gentlemen, let's keep this party going.

It is time for the main event.

ROSLYN: Okay. Well, it's time for me to go. Y'all have a blessed night.

BILLIE: Come on, Ros. You ain't got to go!

You ain't got to go! ROSLYN: It's all right.

‐ Bye. ‐ Bye, bitch.

[indistinct chatter]

‐ Pray for us, Ros.

‐ ♪ The devil and I got up to dance a slow dance ♪

♪ The devil and I began to dance a slow dance ♪

♪ She showed her tongue and had the nerve to ask me ♪

♪ Yes, all at once, she had the nerve to ask me ♪

♪ I would leave your body... ♪

‐ Do it.

‐ ♪ 'Cause it's your soul I came here for ♪

LESTER: If you're with us, go ahead and do it.

Mr. Federal Agent.

‐ ♪ There's no way in the world to save you now ♪

♪ This kiss, the sweetest poison that I found ♪

♪ And before I let you go ♪

♪ I'll take you down ♪

BILLIE [echoing]: Relax.

Let that shit kick in.

♪

You feel it?

That shit good, ain't it?

Come with me.

‐ ♪ She said there is to be no turning back ♪

♪ I'm strong and beautiful in black ♪

♪ The devil and I were caught up in a slow dance ♪

BILLIE: I never had a chance to play with dolls.

Momma.

I started working when I was six.

Momma.

‐ Hey, Eleanora. ‐ Hey. You seen my Momma?

‐ No.

WOMAN: I missed you, beautiful.

‐ Where the fuck is my mother?

‐ She down the hall, Eleanora.

‐ ♪ I'll take you down ♪

♪ I'll take you down ♪

‐ Momma.

‐ ♪ I'll take you down ♪

‐ Momma.

Shit.

‐ ♪ I'll take you down ♪

BESSIE SMITH [on radio]: ♪ Ain't nobody ♪

♪ Bizness if I do ♪ [humming along]

♪ If I do ♪

♪ If my friend ain't got no money ♪

‐ Momma, where you been?

‐ You got to go, Eleanora.

‐ Why?

‐ It's time for you to figure out how to make your own money now.

Come on.

‐ I don't want to go, Momma.

‐ You're a woman now, Eleanora.

It's a woman's job to keep her man happy, all right?

‐ What you mean "happy"?

‐ What the fuck do you think I mean "happy"?

Happy!

Make that nigger happy. Touch him, caress him.

‐ I don't want to be a fucking whore.

‐ Well, it's good enough for me, ain't it? Huh?

Go on, you can do it.

There ain't no room for you here.

You takin' up space.

Ms. Gerty around the corner, she got a room for you.

‐ Please don't make me go, Momma.

I want to stay with you.

‐ I‐‐

I told Ms. Gertrude to look after you.

Come on now. You come back anytime you want.

[song continues playing on radio]

FREDDY: The fuck you think? She think she can't go no damn where. She a superstar.

I can go any damn where I want to.

[indistinct dialogue]

BILLIE: Be careful with this feeling.

This love right here, baby.

It won't love you back.

I promise.

♪

[child crying]

[crying continues]

[man sobbing]

CHILD: Daddy, get Momma down from that tree.

[sobbing]

[wailing]

Daddy!

[child screaming]

[screaming and wailing continues]

[screaming echoes]

[voices fade]

[chair clatters]

♪

[inaudible]

♪

[sobs]

‐ Come on.

‐ I've got it ready. Come on, come on.

Come on.

‐ Help me out, please.

[footsteps approaching]

‐ Get your hands off her. ‐ Stop! Stop!

[glass shatters]

♪

[cries]

[door clatters]

♪

‐ ♪ Southern trees ♪

♪ Bear a strange fruit ♪

♪ Blood on the leaves ♪

♪ And blood at the root ♪

♪ Black bodies swinging ♪

♪ In the southern breeze ♪

♪ Strange fruit hanging ♪

♪ From the poplar trees ♪

♪

♪ Pastoral scene ♪

♪ Of the gallant south ♪

♪ The bulging eyes ♪

♪ And the twisted mouth ♪

♪ Scent of magnolia ♪

♪ Sweet ♪

♪ And fresh ♪

♪ Then the sudden smell ♪

♪ Of burning flesh ♪

♪ Here is a fruit ♪

♪ For the crows to pluck ♪

♪ For the rain to gather ♪

♪ For the wind to suck ♪

♪ For the sun to rot ♪

♪ For the trees ♪

♪ To drop ♪

♪ Here is a strange ♪

♪ And bitter ♪

♪ Crop ♪

[rope stretching]

[thunder rumbling]

ANSLINGER [on phone]: We need to nail this bitch.

Are you telling me she hasn't done drugs the entire time she's been on the road?

FLETCHER: No, sir.

Are you there, sir?

‐ Make sure you call me tomorrow.

‐ Yes, sir.

[line disconnects] [thunder rumbles]

Thought you were asleep.

‐ You were making a phone call...

...to your boss.

‐ Yes.

‐ You tell him everything I do.

‐ No.

‐ You tell him you shot up?

Tell him you been fucking me good?

Take your shit off, nigger.

What are they going to give you, Jimmy?

Shiny gold watch and a brand‐new car?

Your picture in the paper?

I get all of that every day of the week.

Come on, Jimmy.

[kissing]

[moaning]

[grunting, moaning]

What?

‐ Not like this.

‐ What?

Then, like what?

Like what?

‐ Hey.

Like this.

[rain pattering]

♪

[breathing heavily]

[birds chirping]

♪

[engine rumbling]

[laughter]

[indistinct dialogue]

[laughs]

[laughter]

‐ Oh!

♪

♪

♪

♪

[indistinct dialogue]

[indistinct chatter]

MAN: What you doing? ‐ I got smoke in my eye.

ROSLYN: Watch out. Freddy will knock it to first.

Come on, Lester. What the fuck!

FREDDY: What the fuck kind of throw is that?

[indistinct chatter]

‐ Come on. ‐ Come on, baby.

LESTER: God damn! [laughing]

WOMAN: Yes!

ROSLYN: Oh, shit.

[Fletcher laughing]

[indistinct shouting]

FREDDY: This motherfucker must take him some vitamins.

‐ Look at Miss Freddy.

Hey, hey, what's up with the bags?

What's up with the bags, Billie?

‐ Jimmy, we got to talk.

We really got to talk.

‐ How about we...

How about we go back to New York?

Hmm?

Take you in my car, we can...

get you the help you need.

‐ No, that's not gonna work.

You gotta find you a nice girl, okay?

And that ain't me.

I know what you thinking.

Dumb.

Me, I only know a certain kind of love that makes me feel safe.

At least what you and I got here is...

I don't understand this.

I don't feel in control.

[car approaching]

‐ Billie.

You called saying you were stranded,

so I drove all night to get here.

Let's go.

We got a plane to catch.

‐ I'm coming.

LOUIS: Billie, let's go.

‐ I'm sorry, Jimmy. ‐ Yeah.

FREDDY: Billie, I know goddamn good and well

you ain't about to leave us out here like no stray mutts.

We got no damn gas money to get home.

‐ All right, Ros, Freddy, come on.

‐ Lady, I thought we was family.

You don't do this shit to family.

‐ And I'll wire the money as soon as I get home.

Don't look at me that‐‐

LESTER: So done with your shit, Billie. BILLIE: Take my bag, Ros.

‐ Fuck. The fuck we supposed to do?

‐ Billie, let's go.

Let's go!

♪

‐ See you in church, soldier boy.

‐ Fuck you, bitch.

LESTER: Come on, Carl. Let's get on the goddamn bus.

‐ Billie.

LESTER: We gotta figure out some kind of way to get home.

LOUIS: Got a plane to catch now. Let's go.

♪

I got my eye on you, little nigger.

That shit ain't funny around here neither.

[indistinct chatter]

Louis McKay came to save the day, bitch!

[indistinct office chatter]

[chatter stops]

‐ Where's my stuff, Shirley? ‐ I don't know.

‐ Where's my shit? ‐ I don't know Mr. Fletcher.

You'll have to ask Mr. Williams.

‐ What's going on, Sam? Where is my stuff?

‐ Sorry, Jimmy.

I don't know. What do you want me to say?

‐ Where is my shit, Sam?

‐ They took it.

They're moving you over to Administration, Jimmy.

They want me to pick up where you left off.

[indistinct chatter]

‐ This drug war is just a war on us.

SAM: I got a family, man.

I can't leave.

They're gonna fuck you, too.

GEORGE JESSEL: Now, let's get on with this straight.

In the more realistic sense,

the big comeback of her career was launched not tonight,

but over five years ago,

when there was a year of darkness.

When she fell victim to one of society's most dreaded illnesses,

the use of narcotics.

Billie, it's a privilege to have you with us tonight.

‐ Thank you, George. It's an honor to be here.

‐ Now, Billie, this is the usual part of our procedure in this show

where we introduce from the audience the family of our guests,

those near ones who were there,

to give the strength and security needed

when their kinfolk are in trouble.

But there's no one here to remember for Billie.

No family.

Not a single relative that she knows.

‐ Yes, well, I have my husband.

Mr. Louis McKay.

♪

♪

[inaudible]

[applause]

[announcer speaking in French]

[reporter speaking in German]

♪

[reporter speaking in Italian]

[indistinct dialogue]

‐ I'm going to see the goddamn Pope.

‐ Sit your ass down. You ain't going no‐fucking‐where.

[cameras snapping] [indistinct chatter]

‐ Take the picture, man.

Man, take the goddamn picture.

‐ I wasn't looking.

‐ Good times. ‐ Time.

‐ Yes. ‐ Good time.

That's how you say it right? "I love you good time"?

‐ Good time?

‐ That's right.

♪

[indistinct chatter]

WOMAN: Your gum, Ms. Holiday.

♪

♪

♪

‐ You motherfuckers just can't stand seeing two beautiful Black people

running around in this world having a good time in life.

And now you here wasting my time.

‐ There wasn't enough on you to make a case.

You guys got lucky.

‐ I'm a lucky guy.

‐ Well, her luck's running out.

You can get on the right side.

Help me plant some heroin on her.

We need her to talk.

‐ Shit.

I can't make her say nothing.

Just like I can't make her stop singing that goddamn song.

‐ She tells everybody you live off her money.

‐ She wouldn't have any money if I ain't keep her in line.

CARTER: So you're wearing the pants, right?

‐ Damn right.

‐ Well, maybe she's got you by the balls.

[scoffs]

♪ "God Bless This Child" playing ♪

[indistinct chatter]

‐ ♪ Them that's got shall have ♪

♪ Them that's not shall lose ♪

♪ So the Bible said and it still is news ♪

♪ Mama may have ♪

♪ Papa may have ♪

♪ But God bless the child that's got his own ♪

♪ That's got his own ♪

♪ Yes, the strong get smart ♪

♪ While the weak ones fade ♪

♪ Empty pockets ♪

♪ Don't ever make the grade ♪

♪ Mama may have ♪

♪ Papa may have ♪

♪ But God bless the child that's got his own ♪

♪ That's got his own ♪

♪ Money, you've got lots of friends ♪

♪ They're crowding around your door ♪

♪ But when you're gone and spending ends ♪

♪ They don't come no more ♪

♪ Rich relations give ♪

♪ Crusts of bread and such ♪

♪ You can help yourself ♪

♪ But don't take too much ♪

♪ Mama may have ♪

♪ Papa may have ♪

♪ But God bless the child that's got his own ♪

♪ That's got his own ♪

‐ You can have the bitch.

REGINALD: Her audience wants to know about Louis McKay.

You two seemed so in love and...

then he vanished.

Poof!

‐ Yeah, McKay and me, we're separated.

He's trying to control my estate.

But my friend Jimmy's been with me and he's been helpful.

‐ Helpful, all right.

He's a Fed.

‐ What is the government's problem with Billie Holiday?

Why is the government always after you?

‐ My song.

Strange Fruit.

It reminds them that they're killing us.

Reminds them.

It reminds you, too, Reginald.

‐ Lady, don't say that.

See, this is why she's always getting in trouble.

I'll edit that part out.

‐ You don't have to edit shit for Harry Anslinger.

He was in charge of Prohibition, remember?

See us drinking, don't you?

[scoffs]

He can't afford to lose with drugs.

‐ But it's a war on drugs, not on you, Lady.

[sighs]

‐ Yeah, that's what they want you to believe.

They say they want the names of my suppliers.

They don't want no names.

They want to destroy me.

[inhales sharply]

He wants me to stop singing what's in my soul.

‐ Well, why don't you stop singing the damn song?

Wouldn't your life be easier if you just behaved?

‐ ♪ I'm a fool ♪

♪ To... to... want ♪

I can't seem to get these words.

Where is that? Lady Sings the Blues?

PRODUCER: You recorded that one a few years back, Billie.

ROSLYN: Baby, we're gonna go home, okay?

BILLIE: Jimmy.

♪ Lady sings the blues ♪

♪ I'm telling you ♪

Shit. Where's my rum?

♪

♪

♪ Can't no grave hold my body down ♪

♪ You know when the first trumpets sound ♪

♪ I'm going to get up out of the ground ♪

♪ Can't no grave hold my body down ♪

‐ ♪ Well, well, well, can't no grave... ♪

‐ ♪ Can't no grave ♪

I should have been a gospel singer, you know.

‐ Gospel singer?

‐ Yeah, gospel.

[chuckles]

I like Sister Rosetta.

She bring a little sunshine to death, you know.

Prez died.

His wife wouldn't let me sing at the funeral.

I miss him.

‐ I'm sorry.

‐ You remember last time we was all together?

I left him there, Jimmy.

‐ I love you, Billie Holiday.

‐ My liver don't work no more.

They say it's cirrhosis.

SISTER ROSETTA: I want you to blow!

‐ I want you to blow!

♪ Blow, blow, blow, blow, blow, blow ♪

♪ Can't no grave hold my body down ♪

♪ No, no, no ♪

♪ Can't no grave... ♪

[laughing]

[coughing]

‐ ♪ Can't no grave hold my body down ♪

♪ Oh, yes ♪

♪ When I hear that trumpet sound ♪

FLETCHER: Ms. Mona, call a doctor.

[coughing]

[ambulance siren wailing]

‐ Your fans love you.

Look at this.

Look here.

Look.

NAACP says, "Billie Holiday is the voice of our people."

‐ Try not to blame yourself for any of this.

‐ You got well‐wishers crowding up in the street outside.

It's pretty wild out there.

‐ That's swell.

Give me some of that.

[sighs deeply]

I must look a mess.

[both chuckle]

Hey, help me paint my nails, would you?

[Fletcher chuckles]

‐ Uh...

That... I don't know how to do that, Billie.

‐ Come on, man.

Get my purse.

‐ Yeah.

‐ I got two bottles in there. ‐ Okay.

‐ Give me that blood red.

‐ Blood red.

All right.

‐ You know what you're doing, right? ‐ I told you, I don't.

You don't listen.

♪

Hello, sir.

ANSLINGER: You're out of line being here.

‐ Maybe he's supplying her.

‐ If you obstruct us, we have enough to tie you to her.

And that's a long way down.

‐ You hate her.

Despite all this shit in her life,

she's made something of herself, and you can't take it,

because she's strong,

beautiful,

and Black.

♪

♪

‐ Get up, nigger.

‐ Come on! Stop! Hey, what you all doing?

‐ Stop it, y'all! [glass shatters]

SAM: Yo.

Come on, what are we doing?

LOUIS: Hey, baby.

I heard you wasn't feeling so good.

‐ Yeah, all of a sudden, I'm not.

‐ Let me take you home.

BOTH: No!

‐ Jimmy, come here.

What do critics think about my last record?

‐ Thought you didn't care about the critics.

‐ I don't.

I want folks to like it, you know.

‐ The critics didn't like it.

‐ Did you like it?

‐ Yes.

♪

‐ Go on, scram,

so I can get this man out of here.

‐ Jimmy. Jimmy.

Anslinger's gonna be here in a minute.

We gotta go.

‐ See you in church, soldier boy.

‐ Hey, princess.

We need to talk about these papers, honey.

I need you to sign them.

SAM: She may not talk to you.

FLETCHER: I don't feel good about this, brother.

[humming]

Hey, blondie.

ROSLYN: [chuckles] Jimmy.

[sighs]

Ooh. It is a mess in there.

‐ Yeah.

‐ My friend's a nurse here.

Jimmy, they're going to take her off Methadone

and she's in withdrawal.

[crying] If they do it, they're going to kill her.

So you have to do something, Jimmy,

because those bastards won't let me in there.

So you have to do something, you hear me? You have to do something.

FLETCHER: Shh.

[sobbing]

‐ Anslinger's going to plant heroin on her.

ANSLINGER: Hello, sweetie.

My wife is a big fan.

‐ She understands what you need.

Billie and me discussed things.

She hasn't been well, but she's sorry for the trouble she's caused

and she's ready to help.

‐ For the record, I'm going to need you to state your name.

‐ My name is Billie Holiday.

LOUIS: Go on, Lady. Go ahead and speak your peace.

‐ You're a victim of drugs.

We know that.

‐ I blame nobody but myself.

‐ Go ahead and tell 'em what you need to tell 'em, baby.

‐ Ms. Holiday, you want to clear your name, right?

Get us off your case and you'll never see us again.

‐ You think I'm going to stop singing that song?

Your grandkids will be singing Strange Fruit.

Y'all motherfuckers think y'all got something on me?

[scoffs]

You don't.

You stupid bitches don't got shit on me.

[sniffles]

Suck my Black ass.

[laughing]

[laughing]

[laughter continues]

[coughing]

[breathes shakily]

CROWD [chanting]: Let Lady live! Let Lady live!

[chanting continues]

♪

♪

[sobbing]

♪

♪

PRESIDENT KENNEDY: Harry Jacob Anslinger, distinguished citizen,

for your dedicated efforts to combat the illegal traffic of narcotic drugs

have earned for you the respect of the world community.

Signed, John F. Kennedy.

♪

♪

[music fades]

♪ sweeping majestic music playing ♪

‐ ♪ All of me ♪

♪ Why not take all of me ♪

♪ Can't you see? ♪

♪ I'm no good without you ♪

♪ Take my lips ♪

♪ I want to lose them ♪

♪ Take my arms ♪

♪ I never use them ♪

♪ Your goodbye ♪

♪ Left me with eyes that cry ♪

♪ How can I go on, dear ♪

♪ Without you ♪

♪ You took the part ♪

♪ That once was my heart ♪

♪ So why not ♪

♪ Take all of me ♪

[indistinct dialogue]

‐ One, two, three. Here we go. One, two, three.

‐ One, one, two. ‐ One, two, three.

One, two, three. One, two, three.

Out. ‐ Out.

‐ In. That's the wrong spin, Jimmy.

‐ It's... Okay.

‐ One. One... Get off of my Prada dress, please.

BOTH: One, two, three. One, two, three.

One, two, three.

One, two, three.

One, two... Jimmy!

Prada! The dress is Prada!

‐ They didn't make Prada back then.

‐ Fuck you, nigger.

‐ Billie!

♪

‐ ♪ All of me ♪

♪ Why not take all of me ♪

♪ Can't you see? ♪

♪ I'm no good without you ♪

♪ Take my lips ♪

♪ I want to lose them ♪

♪ Take my arms ♪

♪ I never use them ♪

♪ Your goodbye ♪

♪ Left me with eyes that cry ♪

♪ How can I ♪

♪ Go on being without you ♪

♪ You took the best ♪

♪ So why not take the rest ♪

♪ Baby ♪

♪ Take all of me ♪

♪ "Tigress and Tweed" playing ♪

‐ ♪ Say, say, say ♪

♪ Mm, say, say, say ♪

♪ Say a prayer for me ♪

♪ Strange fruit come down off that tree ♪

♪ Cut it down under your feet ♪

♪ Juicy fruit so bitter sweet ♪

♪ Fruit stand tall these roots go deep ♪

♪ Strange fruit bussin on these thieves ♪

♪ Ancestors don’t take defeat ♪

♪ Left the scent of victory ♪

♪ In the air, tigress and the tweed ♪

♪ Oh, lentheric ♪

♪ You carry it, I'm tired ♪

♪ Grin and bear it the truth of it is you carry the ♪

♪ Future you and your chariots ♪

♪ Say a prayer ♪

♪ Say, say, say, say ♪

♪ Mm, say, say, say ♪

♪ Say a prayer for me ♪