All language subtitles for The.Watermelon.Woman.1996.WEB-DL.720p.h264.AAC-DEEP.english

Where do you want it?
Where do you want it?

Where you want it?

Can you smile really
pretty for the camera?

Aww, isn't that sweet?

Why don't y'all fool around?

Why don't y'all
run around, Sadie?

Oh, "pocket,"
you know the whole song.

Okay, Joshua, get up in there.

Just get up in there.

Throw yourself.

All fall down!

Okay, let me just tighten
you guys up in here.

Very nice.

Could you just angle it
a little bit more?

Great! Come over.

You two switch places.

Looks great.

Could you two guys in the back

switch places, please?

Sir!

Excuse me, sir?

We're working with
the family right now.

- Oh.
- Don't you--

don't you even see
the video equipment?

Why don't you just,
like, wait your turn?

- Okay.
- Thank you.

- Okay.
- Oh, my God, what a day.

We'll take care of it, you know.

We'll get the video done
as soon as we can

and deliver it to you, okay?

Thank you.

Let me see that.

Lord.

Ooh, I love cash!

I don't like cash,
I like checks,

but this will have to do, okay?

Uh, can I use the equipment this
weekend to work on my project?

You know, this is
the third weekend in a row

you want to use the equipment,

but you've yet
to shoot anything.

Uh-uh, my cut is $50 short.

You remember what Rose and Gwen
said in the "Go Fish" book.

If you want to make a film,
you gotta make some sacrifices.

And besides, we have to make
money payments on the camera.

Ticket to Hollywood, baby!

Excuse you, I'm not, like,
into making sacrifices

for some quote-unquote
"future," all right?

I want to take Stacey out
this weekend for dinner,

and for that I need cash today,
okay, so just give me my money--

- I'll lend you some money.
- ...and cut the attitude.

- I'll lend you some money.
- Lend me some money?

You gonna lend me
my own damn money?

You worse than white people
in a bank.

Oh, my God.
It's raining.

I don't care if it's raining.
Give me my damn money.

What does one got to do
with the other?

Give me my money, Cheryl.

Don't be frontin'
with no attitude.

Okay, I'll give you your money.

I know you're givin' it to me.

Shit.

What are you shooting anyway?

First you're arguing with me,

now, and then you're shooting?

It's urban realism!

Come on, won't this
be a nice contrast?

So these people
will really know,

on their day
of sacred matrimony--

These people don't want
to put this mess

in their video, Tamara.

Well, honey, they're paying me,

this is my impression
of their wedding.

So, how is your video going?

Uh, I'm gonna use
the equipment tonight,

if that's possible.

What are you shooting?

Come on, Cheryl,
this is the really good stuff.

This is like urban... poverty...

very raw,
it's very in, very new.

I just don't believe it.

Look, I'm tired of you
and your projects.

The Watermelon Woman,
who the hell is she?

- Turn off the camera.
- Who cares?

I don't want this stuff
to be on film.

Hi, I'm Cheryl,

and I'm a filmmaker.

Uh, no, I'm not really
a filmmaker,

but I have a videotaping
business with my friend Tamara,

and I work at a video store,

so I'm working
on being a filmmaker.

The problem is I don't know
what I want to make a film on.

I know it has to be
about black women

because our stories
have never been told,

so I've been renting movies--

No, I haven't been
renting movies,

but I get movies
from the video store

that I work at, and I've taken
all these films out

from the '30s and '40s
with black actresses in them,

like, um, Hattie McDaniel
and Louise Beavers,

and, um, in these films,
in some of the films,

the black actresses aren't
even listed in the credits,

and I was just
totally shocked by that.

So, in this one film
that came into the store,

"Plantation Memories,"

I saw the most beautiful
black mammy named Elsie,

and I just had
to show this, so...

Watch.

Missy Barbara?

Oh, don't cry, Missy.

Master Charles
is coming back for sure.

I know he is.

Do you really think so, Elsie?

Oh, yes, Missy Barbara,
I know he is.

I prayed to God all night long,
and this morning,

His little angel told me
that he was coming back.

Back to you.

Her name: The Watermelon Woman.

That's right, Watermelon Woman.

Is "Watermelon Woman"
her first name, her last name,

or is it her whole name?

I don't know,
but girlfriend has it goin' on,

and I think I've figured out
what my project's gonna be on.

I'm gonna make
a movie about her.

I'm gonna find out
what her real name is,

who she was and is,

everything I can find out
about her,

because something in her face,

something in the way
she looks and moves

is serious, is interesting,

and I'm gonna just
tell you all about it.

Hey, Tamara, is Bob here?

Late again, you know,

you really should try
to pick up the phone sometime

because I called you
this morning

to let you know Bob
was coming in early.

Or were you at
the White Dog Cafe

cruising all
the cute girls again?

No, I was home doing something

more important
than this place, thank you.

You know, you don't have
to work here, Cheryl.

Sorry I got you the damn job
in the first place.

Tamara, that was two years ago,
you know, it's time to move on.

I'm a filmmaker, you know.

Anyway, did those special order
tapes come in yet?

Yes, they're over here.

I certainly hope that...

Mike O'Reilly likes
those films as much as you do.

I can't believe you're wasting
a tape scam to order them.

I can barely stand the stuff
that Hollywood puts out now,

let alone that nigga mammy
shit from the '30s.

Oh, my God, look what's here!

A film with
The Watermelon Woman in it!

Like I said, boring stuff.

All you do since
you don't have a girlfriend

is watch those boring old films.

I'd rather watch
boring old films

than black porn like you.

Okay, there is no need to get

into my personal shit
up in here, okay?

I was just kiddin'
in the first place.

What I meant to say was, uh,

what are you doin' tonight?

Probably watching these.

You want to go out
with Stacey and me?

With a four-month-old
lesbian relationship?

She has a friend in
from out of town.

- Not another blind date, Tamara.
- Oh, come on, Cheryl,

I apologized for that
a million times.

How was I supposed to know
that she was spiritual?

It's your turn
to wait on a customer.

Spiritual is not the word.

Heavy afro-fem-centric
is the word.

Remember Sister
Yafumila Ifá In-de-lay?

You wait on a customer
'cause I just clocked in.

Tired late ass getting on
my last black nerve.

How can I help you?

Yes, do you have
The Three Tenors?

No, I'm sorry, it's out.

Thank you.

I think it's time for me
to sing my song.

What song?
Not the one you tried to--

--I mean, sang back in college.

Right, the one I sang for the...

Spike Lee audition
at the Black Deb Ball.

Tell them, Stacey.

Tell them how
I almost got the part.

Part? Are you sure you--

Are you sure you want them
to know that story?

Why not?

I'm a singer, right?

Tell them I'm a singer.

What's this about
a Spike Lee audition?

She's gonna look really
stupid if she gets up

on that stage and can't sing.

It was our freshman year
in college,

and it was rumored
that Spike Lee

was gonna be on campus

recruiting for his new film
on black schools.

Anyway, our little
black group on campus

decides to throw a party
in the hopes

that Spike will come
and discover us.

And Miss Yvette shows up
with this tight ass,

and I mean tight ass,
red polka-dot outfit.

- Outfit, man.
- She goes up to the DJ,

makes him turn off the music
in the middle of a slow jam,

and then starts to sing.

And...

And this boy throws
a drink in her face.

That was the first time
I had ever seen Yvette

go off like that, I mean,
she put the boy in the hospital.

It was the beginning
of what we called

Yvette's real emotional period.

Real emotional, huh?

But she's cute though,
Cheryl, don't forget that.

- Great.
- All right, ladies.

Yvette would like to perform
"Lovin' You."

Let's hear it for Yvette.

Yeah!

Behave.

Thank you. Thank you.

I'd like to dedicate
this song to my friends,

Tamara, Stacey, and Cheryl.

Great.

Um, excuse me, sir?

Can I ask you a question.

Shoot.

Uh, can you tell me,

do you know who
The Watermelon Woman is?

Watermelon Woman?

Yeah, she's the one
who originated

what we call Aunt Jemima,

like on the syrup bottles.

From the sound of the name,

she must've been
in early Hollywood cinema.

Watermelon Woman,
I think she's from Philly.

I... is she from Philly?

Isn't she the lady that wore
the fruit cocktail on her head?

No, that's Rosie Perez, Bookah.

Well, that could've been
her alias name.

Oh, child, I don't think so.

She wore the fruit cocktail
with the leaves and--

No, no, no, uh-uh.

Was that Aunt Je--

- Avocadoes and things?
- No, no.

No, that's--that's still--

isn't that Rosie?

It was not Rosie!
She was from--

This was lady was from back
in the '40s and '50s.

Oh, well,
it could've been Rosie.

She looks like she was
in the '40s and '50s.

- Ooh, Rosie gonna kill you.
- Okay, well, thank you.

- Okay, bye-bye.
- Thank you, you have a good one.

Watermelon Woman.

Do you think
you've heard of her?

- No.
- No.

My mother was
the first person I called up

because I knew she'd have
something to say

about The Watermelon Woman.

She is a collector of sorts.

A better word for her
is a collector of junk.

She never throws anything away.

Keeps things "filed" away
in the basement.

As you can see,
her "filing" system

needs updating.

I mean, look at it all.

Old books, boxes of clothing,

my dance costumes,
my brother's Star Trek models,

her dead mother
and brother's stuff.

She even has boxes
of the most remarkable props

from when she used to go
to the movies back then.

You know, picture cards
and magazines.

I just can't find them,
is the problem.

...the box was in the closet.

Why don't you
listen to me, Cheryl?

Ugh, Mom.

Then the other one.

How do I look, Cheryl?

Oh, you look fine.

Get those earrings on,
you look good.

- You think so?
- Yeah, this is for the video,

so don't worry, it's not,
you know, gonna be too deep.

So, you saw lots of films
when you were growing up

in the '30s, right?

Oh, yes, saw a lot of films.

And one of your favorite stars
was The Watermelon Woman, right?

The who?

The Watermelon Woman.

Remember the skinny girl
we talked about?

I didn't see the Waterwho--

I never heard of
The Watermelon Woman.

Oh, come--Mom!

Look, I took off from work
to come all the way out here

to ask you about
The Watermelon Woman.

Now, wait a minute, Cheryl.

You're talking to your mother.

You don't talk to me like that.

I'm sorry, I'm sorry,

but I specifically wanted
to talk to you about this,

and you acted like
you knew before.

What--did you see
any movies back then

with any other actresses?

Oh, yes, uh-huh,

but I didn't see that one.

- I saw Queenie.
- Queenie?

Yeah, she was in
"Gone With the Wind."

You mean Butterfly McQueen?

Well, okay.

She was in "Gone With the Wind."

And we saw some of these
other actresses and things.

Yeah, well, I wanted to know
about The Watermelon Woman.

She was, um, in, um,

the films by Martha Page.

Look at this box.

Martha Page is the director.

Well, look at the black woman
in the picture.

That's The Watermelon Woman.

- I've seen her face before.
- Where?

It wasn't in any film
or anything.

I saw her a couple of times
at some clubs.

- Really?
- Yeah, she was singing.

Where? What clubs?

Oh, the clubs
we used to hang out at.

Oh, The Blue Note,

Showboat, Pep's.

- No!
- Different clubs like that.

Well, who was at
the clubs with you?

Oh, there was, um,

Hattie and...

Shirley, May, Jeannie.

- Mm-hmm.
- Just a regular old gang.

You know, we'd go there.

But, um,

I don't know.

Did they like the clubs?

Oh, they were weirdos.

- No!
- Yes, weird people were there.

Uh-huh, kinda sounds like
my type of people.

Yes, you would've loved it.

- You would've loved it.
- I'm sure I would've.

You know it's, uh, two-for-one
Monday through Thursday.

Really?

Yeah.

I'm having a hard time deciding.

What do you think?
"Cleopatra Jones,"

"Jason's Lyric,"
or "Personal Best"?

Hmm, well,
"Cleopatra Jones" is really fun.

Why don't you do
"Cleopatra Jones"

and... "Carrie"?

I think the two go
really well together.

I know, but "Carrie,"
I hate Sissy Spacek.

She's all weird and pale
and thin and anorexic

in this movie.

I kind of like my girls
with meat on their bones,

you know what I mean?

Anyway, I just saw it.

Well, um, there's always, uh,

some sci-fi like "Aliens,"

or how about, uh,

"Repulsion" with
Catherine Deneuve?

She goes nuts
in her apartment one night.

Oh, I just moved in
to a new apartment.

I don't think I need that.

Well, help yourself,
it's two-for-one.

Okay, thanks for
your suggestions.

You're welcome.

- So, who's the cutie?
- Some customer.

She's got nice bone structure
if you're into white girls.

Do you think she is
or isn't in the family?

Tamara, why are you always
constantly clocking women?

We're lesbians,
remember, Cheryl?

We're into female-to-female
attraction.

Anyway, you're the one
who's supposed to be

clocking all the girls.

How long's it been since
you've been with one anyway?

A week. Remember the
emotionally-unbalanced Yvette?

Come on, Cheryl,
she was not that bad.

- Yes, she was.
- Besides, she called Stacey

last night
and she asked about you.

- Oh, she was all--
- Blah, blah, blah, blah, blah.

If you two worked
as much as you talked,

I'd have a chain
of video stores by now.

Tamara, Cheryl,

I'd like to introduce you
to your coworker,

Annie Hinkley.

Heath, Annie Heath.

Yeah, Annie Heath.

She's a Bryn Mawr
graduate, right?

Right. It's nice
to meet you, Cheryl.

It's nice to meet you, Tamara.

I'll tell you what, Cheryl,
why don't you help Annie

learn the Bob system
while waiting on this customer?

- Okay.
- Miss Attitude,

in my office.

Let's go.

Okay, so I'm taking you
up on your suggestion,

and it's two-for-one, right?

Right.

So, maybe I should go
get the tapes?

No, no, stay here
and we'll do this together.

- Okay.
- Um, name on the account?

It's Rolland,
but it's a new account.

Okay, new accounts get rung up
like any other order

except we have to get her,
uh, name and address,

phone number,
and I'll get her credit card.

Gotcha.

Can I have your credit card?

Thanks.

All right,
so the name is Rolland.

And your first name?

Diana.

And your address?

4043 Ludlow.

Thank you.

And that's 4043...

And your phone number?

Uh, 555-2112.

Okay, that's it.

Don't I have to sign something?

Oh, yeah, sorry.

You know, Cheryl, I've worked
in a video store before.

I mean, I just get the tapes
she wants and scan 'em, right?

Yeah.

So, I'm getting
"Repulsion" and...

- ..."Cleopatra Jones."
- "Cleopatra Jones," right.

I'll get 'em, they're
in alphabetical order.

Alphabetical.

Can I have my credit card back?

Oh, I'm sorry, here you go.

Thanks.

Here we go.

All right, there you go.

Thank you.

Uh, would you like a bag?

No, thanks,

Cheryl.

You're welcome.

And that's how you take
a customer order.

You mean, that's how a customer
picks up an employee.

If it's that easy, I need
to get a name tag, Cheryl.

The other day, I mentioned
my project to Tamara's mother,

and she gave me this card.

Some friend of the family,
no doubt.

She said this Lee character
is really into black film.

Tamara told me that
when she was a child,

she saw Lee trying to hit
on her older cousin Tyrone,

and Tyrone kicked him
in the balls.

Well, with a background
like that,

you know I had to go
check him out.

I even brought Miss Tammy along
to help me film it all.

So, you came to see
what I got, huh?

Yup.
What's this stuff over here?

Oh, got some posters here

from some black cast films,

like this one here,
got "Gone Harlem"

with Ethel Moses.

Kinda sultry sepia diva.

She's just reclining there.

Got July Jones,
"Juke Joint" here.

Ralph Cooper
in "Dark Manhattan."

Ralph Cooper used to MC
at the Apollo.

His son still works up there.

I like this one up here.

Got Bill Pickett,

World's Colored Champion,
"The Bull-Dogger."

- Tough.
- Oh.

Come on in here.

Now, everything is authentic

except some of the race
memorabilia in the kitchen

and, uh, this sign here.

Right up there.

Drama, 'cause you know
who serves the drama

in this household, right?

Please.

Well, what's this Royal Theatre?

The Royal,
the Standard, the Dunbar.

Those were the places to be
in the '20s and '30s.

South Street was jumpin'
with night life.

- Like South Street now?
- Hell no, girl!

South Street sucks now!

The Royal and the Dunbar,

those were black-owned--
write this down--

those were black-owned,
black-operated,

right up until and even
after the Depression.

Black folks wanted to see
the Hollywood stuff,

you know, with the stars
and the costumes.

All that junk.

Got my little office
right back here.

- See, "Film Department."
- Yes.

- Voilà.
- Wow!

What an impressive setup.

You mean expensive setup.

- Whoa, sorry there.
- That's okay.

Cheryl, ask him about
The Watermelon Woman.

Never heard that name before.

Watermelon, no, no...

Tell him the name
of the woman who directed it.

Watermelon Woman, mm-mm.

What was the name again?

Martin--

Martha, Martha Page.

She was a white woman director.

Martha, a woman, huh?

Women are not my specialty,
I tell you.

Of course they aren't.
Look at you!

What was that, Tamara?

Cheryl, I have some
Photoplay magazines

for you in the basement,
I'll get 'em for you, all right?

You can take 'em with you
when you leave.

You can be so rude sometimes.

The Royal,
the Standard, the Dunbar.

Those were the places to be
in the '20s and '30s.

20th and South, that was it!

Everyone who was anyone
wanted to be up there,

you know, in the theater,
seeing the shows

and the movies.

Really great.

If they had only played
those black cast films,

those theaters would've gone
out of business

during the Depression.

Black folks wanted to see
the Hollywood stuff,

you know, with the stars
and the costumes.

All that junk.

Yeah.

The, uh, black cast stuff
or negro stuff,

that played before
the Hollywood features.

Well, you know,

that was, uh, that was it
for the sisters back then.

You know, playing
that domestic help.

Hmm, I bet that's how
The Watermelon Woman

got her start.

Oh, don't cry, Missy.

Master Charles
is coming back for sure.

I know he is.

Do you really think so, Elsie?

Oh, yes, Missy Barbara,
I know he is.

I prayed to God all night long,
and this morning,

His little angel told me
that he was coming back.

Back to you.

There you go.

Are the green plums in yet?

Ma'am, not until Tuesday

when all the other produce
comes in.

Need anything else?

- No, I think that's it.
- You sure?

You'd expect
a young girl like that

to be quick about things.

What is she buying anyway?

Be ten dollars, please.

Um, do you want some money?

I'll pay for half of it.

No, I got it,
you can buy the wine.

Okay, that's fair.

Hey, it's Cheryl
from the video store.

Yeah, I saw you
standing in line.

- I thought I'd say hi.
- Hi.

Let's go, Diana, we have
a lot of errands to run.

- May I help you?
- Yes, carrots and broccoli.

Carrots and broccoli,
right here.

Carrots,

and we have broccoli.

Four dollars.

Damn, Tamara,
what's up with that?

Look, we gots to go
or Is is gonna be late.

For what? Can't you see
I'm just getting into it?

Dang, Cheryl, all these books!

Isn't there a limit
to how much you can take out?

Twenty. Don't you think
I asked before I came down?

I mean, it's not like I can go
and ask for information out

about The Watermelon Woman.

They only have references
on black women in film.

Well, did you ask
at the reference desk?

Tamara, pick up the book.

I don't think
you're listening to me.

I'm not listening
to you, Cheryl,

because we have to go, okay?

I promised Stacey
that I'd meet her at her house,

and I want to get there
a little bit early, you know,

give her some wine,
some flowers.

I'm trying to get some tonight.

Look, I just have to do
one more thing, then we can go.

Okay?

Cheryl, you're next, come on.

I have to be there
in 20 minutes.

- Hi.
- Hi.

Um, I'm looking for information

on The Watermelon Woman.

She was a black actress
in the 1930s.

I seem to be having
a bit of trouble.

Nothing comes up.

Check the black section
in the reference library.

Um, well, how about Martha Page?

She was a white woman director
in the 1930s.

All this information
is referenced

in the reference section.

Have you checked
the reference section

of the library, Miss?

Well, both were
involved in films,

and I thought there was
some sort of non-reference book

that could be checked out
on women in film and...

Well, have you tried
the film section,

- PM 1993 to 1995?
- Yes, we have.

Why does he think
we're waiting in this line?

Shut up, Tamara.

The names again.

Uh, The Watermelon Woman
and Martha Page.

Watermelon Woman?

The only thing that's
coming up is Martha Page.

She is listed in several
non-reference titles

on women in film.

No, no Watermelon Woman.

Check the reserve desk
on the third floor.

Next on line, please.

Great news:
With my mom's help,

we went through some
of her "files" in the basement.

It took all day,
but we found info

on her old friend Shirley.

Miss Shirley.

Never married,

worked in a factory
most of her life.

I think she's in the family.

Watermelon Woman?

Oh, you mean Fae, Fae Richards.

I thought her name was
The Watermelon Woman.

The Watermelon Woman.

I don't know where
you got that mess from,

probably from when she
was making those movies.

But her name was Fae Richards.

When she sang for us,
she used her real name.

And she used to sing
for all of us stone butches.

We used to stand
in front of the stage

and fight for position

so that she would look at us.

And, um,

one time I got in a fight

with this girl
from North Philly,

who kept popping
in my space, you know?

And, um,
but when Fae would sing,

oh, God, she was beautiful,

like poetry.

Why don't you tell me
what the clubs were like

back then, like,
who was at these clubs?

The clubs were mixed, you know?

The white folks owned 'em,

the black folks attended,

and the ofays came to socialize.

And we had a real good time
there, you know?

We really did, we all got along.

Was... Fae hanging
with the ofays?

Yeah, Fae hung with the ofays
quite a bit, you know?

Especially, um, with the...

Martha--Martha Page,
is that her name?

Yeah, it was some--
one particular woman,

I think that was her name,
Martha Page.

She was, um,
big-time director.

- Yes, yes.
- Movie director.

And, uh, she and Fae
used to hang a lot,

and I think Fae, you know,
wanted to get into movies,

and, um, that's why she hung
so tough with them, you know,

and especially with Martha.

And I heard some very ugly--

If I remember
my gossip correctly,

that Martha Page was
one mean and ugly woman.

Maybe that's how you have to be
in the movie business.

Oh, no, no.

Do you have any pictures
from back then or anything?

- Yeah, I got a lot of pictures.
- Oh, good.

Used to save them
'cause, like back then,

we could buy the pictures
in the clubs,

and the performers
would sign 'em for us.

- I see.
- And I kept my mirror covered

with all of these performers.

- You'd like to see 'em?
- I'd like to see them.

All right, wow.

Let's see what's in the box.

You got any pictures
of, uh, Fae Richards?

Let me just see, I've got
so many pictures in here

of these performers.

Oh, look at that.

Oh, here it is, here it is.

Let's see, hold it up.

- Yeah, that's good.
- She was a looker, wasn't she?

Yeah, she was a looker,
all right.

Can you believe it?

Fae's a sapphic sister.

A bulldagger, a lesbian!

Oh, my gosh,
I knew something was up

when I saw
"Plantation Memories."

But with Martha Page?

Hmm, Fae was really
swinging back then.

I guess we have a thing or two
in common, Miss Richards.

The movies, and women.

Hey, Cheryl, Yvette's been
asking about you again.

- What?
- In fact, she and Stacey

are stopping by after work
tonight if you're interested.

Tamara, why'd you do that?
You know I don't like her.

What, you say
you don't like Stacey?

Yvette, it's Yvette
I don't like.

I don't like her anything.

Her clothing,
her attitude, her look...

What's wrong
with the way she dresses?

I think she dresses nice.

Besides, Cheryl, she wants you.

So? I don't care
if she wants me.

I'm into dating women
with mental health right now.

See, that's what's
wrong with you.

I think Yvette's got it goin' on
with a bip and a bang.

You'd go for that.

Annie, you got a cigarette?

I'm going out to have a break.

- Sure, I'll join you.
- All right.

Oh, honey, I'm gonna have to see
some ID with this.

Cheryl, Tamara,
did either of you

take an order for Diana Rolland?

- Who?
- Rolland, this is a new account.

I just got a call
from Big Black Productions,

and they don't have
"Bald Black Ballbusters."

The rest of her order is here.

But when you get a chance,
would you give her a call

and let her know that
that title is unavailable,

but Big Black Bob is?

Sure.

"Bald Black Ballbusters."

Isn't that funny, Tamara?

Hysterical.

You said he never
checks that stuff.

I know he knows
I ordered them under her name.

He usually doesn't, but,
"Bald Black Ballbusters"?

Tamara, what's up with that?

Okay, I was like, curious to see

what they'd look like
without hair.

Hi, can I help you?

Oh, yeah.

Thank you.

Miss Rolland.

Uh, most of the tapes
you ordered have come in,

but one of them was unavailable.

They didn't have...

Cheryl?

Yeah, sorry, here.

They didn't have this title.

Oh... bummer.

Okay, well, um,
I guess I'll just take

the rest of them then.

- Can I charge it?
- Sure.

Thank you.

Tamara, would you get that?

Uh, I'm busy.

We're all set here,
Miss Rolland.

Uh, can I give you
a bag or a hand?

Uh, no bag, but maybe a hand?

Bob, it's some woman who says
she's your girlfriend.

yeah, I'll take it, thanks.

Cheryl, would you help her out?

Thanks. Bye, Diana.

So, uh, you need a hand, huh?

Yeah.

Okay.

Look, look, I'm really sorry
about what happened back there.

I mean, it's just a way
for us to get free tapes.

Free, huh?

I mean, we just special order
them under any customer's name,

and then we, you know,
preview them and return them.

Who's "we,"
some ballbuster you work with?

That's just another employee.

I mean, I'm really sorry
about all this.

Well, it looks like
if you want to see the videos,

you're gonna have
to come to my house

because they are mine now.

What's your--what's your
address and phone number?

Look it up, you have
my account information.

- Well?
- What happened?

She wants me to come
and get the tapes.

Score!

I do need a name tag
if it's that easy.

Honey, if a dog collar
didn't do it for you,

a name tag won't either.

So, tell me more about
this project you're working on.

Is it for school?

Do I look like I'm a student?

I don't know, you could be.

I'm a filmmaker.

Oh, a filmmaker.

Uh, you got a big space here,

and a lot of it, too.

Yeah, I just moved in.

New account, remember?

You know, I actually used
to study film in Chicago.

Well, I studied film.

I studied art,
I studied art history,

I studied law,
and then I just...

- You just gave up, right?
- Right.

I needed to figure some shit out

before I wasted
more time at school.

What--what shit is that?

Like what I want to do
with my life.

You know, I want to do it all.

Do you know what I mean?

You know, I really wanted
to talk to you the other day

at the, um, produce truck,
but things were kind of crazy.

Well, your girlfriend
was giving me

these, like,
looks from hell, you know?

She's not my girlfriend.

I meant to say friend.

Your friend was giving me, like,
all these strange looks, and...

Do you wanna stay for dinner?

I'm actually cooking some food.

Okay, yeah.

Great, come in, sit down.

Okay.

Irene, we'll be late.

Haven't you had enough
of that white powder?

How could you, Irene?

You know how hard it was
to find these films?

It's like one of the few race
films that she ever starred in.

Really?

Uh, do you mind if I smoke?

No, go ahead.

You know what's so weird
about this setup?

What?

I don't know,
it just feels like...

you know, a setup, like...

I don't know, you know,

all this dinner and...

And... what?

And friendly conversation.

Well, I have to confess
that I am a little--

no, I'm very attracted to you.

What?

Um, I was just gonna say

that you're really a cute woman.

I know that.

I heard what your friend said

at the video store.

- You heard us?
- I've had the hots for you

since the minute
I saw you shelving tapes.

Can I have a cigarette?

Sure, help yourself.

Is the, um, fire in there, too?

Uh, yeah, but it's in a lighter.

So, um...

Now that we know that
we're attracted to each other,

what do we do?

- Um...
- Don't you think we should kiss?

You're a no-good lying tramp,
that's what you are!

Committing a sin that will
surely send you to hell.

I am going to hell,
but not for being a tramp,

but for being poor and living on
the streets like I've had to do.

Why can't I be happy
fitting into their world?

God made me this color,
and He did it for a reason.

I'm still in shock
over the whole

having sex with Diana thing.

I've never done anything
like this before,

let me assure you.

The hip, swinging lesbian style
isn't my forte.

You remember the Yvette thing?

I'm just an old fashioned girl

trying to keep up with the times

but Diana just
threw me for a loop.

I mean, she's not my type

but I liked it.

I don't know what to say next.

Maybe it all has to do
with this film project

which is finally
coming together.

Hollywood, The Watermelon Woman,

Fae Richards, and Diana?

Well, look who it is, folks.

Hollywood's popular Fae
"The Watermelon Woman" Richards.

Taking a break
from the cameras and the lights,

Fae's back in her hometown,
Philadelphia,

to organize a benefit
for the city's chapter

of the National Association
for the Advancement

of Colored People.

And get this, folks.

While in the city,
Ms. Richards spoke

with J. Liberty Wells,
the famous film director

and president of
Liberty Motion Pictures,

about his upcoming black-cast
gangster picture.

Wouldn't this be the icing
on the cake for Ms. Richards

who has been in search
of a studio

to make her a star.

Well, actually,
the mammy figure, um,

is a great favorite of mine,

particularly Hattie McDaniel's

brilliant performance
in "Gone With the Wind."

I really am distressed
with a lot of the tone

of recent African American
scholarship.

It tries to say
about the mammy that--

that her largeness of figure
is desexualizing,

degrading, dehumanizing,

um, and this seems to me
so utterly wrong.

Where the large woman
is a symbol

of abundance and fertility

is a kind of goddess figure,

even the presence
of the mammy in the kitchen,

it seems to me,
has been misinterpreted.

Uh, "Oh, the woman in
the kitchen is a slave,

a servant, a subordinate."

Well, my grandmothers,
my Italian grandmothers,

never left the kitchen.

In fact, this is why I dedicated
my first book to them.

And Hattie McDaniel
in "Gone With the Wind"

is a spitting image
of my grandmother

and her style and her attitude,

her ferocity and so on,

brings tears to my eyes.

The watermelon seems to me
another image that has been

misinterpreted by a lot
of black commentary.

The great extended family
Italian get-togethers

that I remember as a child

ended with the men
bringing out a watermelon

and ritualistically cutting it

and distributing
the pieces to everyone,

almost like the
communion service.

And I really dislike this
kind of reductionism,

of a picture, let's say,
of a small black boy

with a watermelon,
him smiling broadly over it,

looking at that as negative.

Why is that not instead
a symbol of joy and pleasure

and fruitfulness,

and after all, a piece
of watermelon has the colors

of the Italian flag,
red, white, and green,

so I'm biased to that extent.

But I think that, um,

if the watermelon symbolizes
African American culture,

rightly so,

because look what white
middle class feminism

stands for:
anorexia and bulimia.

Well, I've heard of
Martha Page before.

Okay, well, what
about Fae Richards,

The Watermelon Woman?

If she's in anything
after 1960, don't ask us.

We haven't covered women in
the Blaxploitation movement yet.

Okay.

The Watermelon Woman,
Fae Richards,

was lovers with Martha Page,

this white woman director.

Does...

Uh, wait a minute,
the actress was lovers

with this famous direc--

- Yes.
- Well, first of all,

I'm stunned to hear
that, um, that the director

was lesbian or bisexual.

This is news to me
in the first place, all right,

but the idea of any kind of, um,

an interracial relationship
at this time,

it's mind-boggling

because we can see
decades after World War II

in "Guess Who's
Coming to Dinner,"

you can see how charged
the question of any sort

of interracial relationship was.

So, um, it seems to me

an astounding discovery
that you have made.

Oh, well, I guess I'll just,
uh, keep on pursuing it.

Well, good luck to you.

Well, thank you,
Professor Paglia.

Thank you very much.

Stacey doesn't like
that Campari either.

What do you mean "either"?

I mean, I don't think
that Stacey likes Diana.

I walked in there and they
were being all quiet and shit.

Oh boy.

Guess it's time for Plan J.

Oh, excellent,
Stacey loves to smoke.

A little before
dinner smoke, ladies?

Oh, thank God.

Let me have a hit.

Then I said to him,
"Well, who do you think I am,

your slave?"

That beats Cheryl's story
of having to call

this snobby white woman
customer a nigger.

- Yeah, it does.
- So, Diana,

what brings you
to our fair city?

Work, school?

Um, no, I just decided to move.

I got sick of Chicago
and I decided to move to Philly,

the City of Brotherly Love.

And sisterly affection.

What?

And sisterly affection.

Brotherly and sisterly
affection, right, Stac?

Anyway, Diana, if you, uh,
came to Philadelphia

to escape the cold
Chicago winters,

don't expect it to be
any better here.

Oh, I didn't leave
to escape the cold,

I needed a mental health break.

Good answer, Cheryl
likes her women to have

that mental health
thing going on.

Well, I like my women
a little crazy

like you, darling.

So, um, Cheryl tells me
you're in school.

Business, right?

I'm getting my MBA from Wharton.

My father went to Wharton.

- Really?
- Mm-hm.

Yeah, but when he got out,
he couldn't get a job

and so he decided to join
the diplomatic corps.

He hated it but my mom loved it.

We traveled everywhere.

I was born when we were
stationed in Jamaica.

- You were born in Jamaica?
- Yeah.

I love telling people
where I was born.

But we lived everywhere,
we lived in Germany

and California

and Iceland.

Iceland?

Iceland, Bangladesh, Tel Aviv.

I've lived just
about everywhere.

I see.
Well, honey, I gotta tell you,

I was born and bred
in the U.S. of A.

Cheryl, how's
your project going?

I hear The Watermelon Woman's
gettin' pretty ripe.

Yeah, it is, Tammy.

But, uh, the project's
doing well.

Tell Stacey how you're gonna
make your big move

to Hollywood with this project.

I almost forgot,
I have awesome news.

- What?
- My brother's mother-in-law

used to know this
famous casting agent.

- And?
- And they know the Page family,

as in Martha Page.

- You're kidding?
- No, I'm serious.

Six degrees of separation

but here it's only two.

Anyway, I called
Mrs. Page-Fletcher

and, um, she would
love to talk to us

about Martha and her life
and the movie.

Us? I thought
this was Cheryl's project.

That's great, Diana.

You're so sweet.

- Cheers.
- So why does Cheryl always

hook up with these
typical white devil types?

She doesn't always
date white women.

And when she does,
they're just so...

You know what
the most distressing thing is

about this project?

It's Tamara.

I mean, in the past
she'd been--

I mean, we've been friends,

we've been friends
for a long time.

I mean, we've been friends
for years.

She got me the job at the store,

we've done everything together,

we're running buddies.

But somehow, on this project,

something's going on
between the two of us

that's just not working out.

Something is different.

I mean, something's changed.

I don't know if it's me,
I don't know if it's her.

It's just really upsetting.

Damn, she's cute.

Tamara, that's what you've
been saying about all of them.

Why don't you focus
on the performer for a while?

Isn't that why we brought
Little Orphan Annie along?

Besides, I'm getting footage
for my video project.

Come on, Tamara, we're working.

Cheryl, I help you
with your stuff.

Besides, who could resist
capturing all these fine,

and I mean fine,
black women on film?

Hey, isn't that my
Native Studies teacher, Greta?

Oh, and I bet that's
her girlfriend too.

Cheryl, are you seeing this?

Annie, you supposed to be
videotaping the performer,

not your friends.

- Sorry.
- Tamara, why don't you

focus on the performer, okay?

This is the last act.

You're doing a great job, Annie.

- Thanks, Cheryl.
- Shh!

I think she's about to finish.

So...

what's up with you and Annie?

What do you mean
what's up with me and Annie?

I don't like her.

Obviously, you treat her
like shit all the time.

I mean, she's just a kid
who was trying to help us out.

Help us out?

She got paid, didn't she?

I mean, she gets on my
last black lesbian nerve

with all that piercing,
hair dyed business.

You gonna smoke
that joint, Bogart?

Uh, Tamara...

you know, we're different too,

so what's up with that?

Yeah, but see,
we're not different

amongst a group
of ritzy black folk.

I mean, we were there...

...to get their business and
to be professional, all right?

We weren't there
to look like a bunch

of hip hop, multicultural mess.

I mean, Cheryl, look
at what she was wearing.

She's just all weird.

I mean, that dog collar,
her hairstyle, her age.

I just can't get with it.

Damn, man, that's a good roach,
I wanna save that!

I'm sorry, I'm sorry.

I'm sorry.

No, thank you.

No, I don't want any.

I'm sorry, Cheryl, okay?

I guess this stuff
going on with Stacey's

got me a little bit stressed.

What's up with you and Stacey?

Nothing.
I mean, she's gone frigid on me.

Zilch.

Well, don't you think
that Stacey's--

I don't know what to think.

I mean, listen to me
for a second.

Don't you think that Stacey is

A, going to school,

B, working all the time,

and C, you know,
might just be stressed out?

I mean, what do you expect?

A little nookie once in a while.

Okay, we've been going out
for a while now

and I don't even have
a key to her place.

- Really?
- Yeah.

Diana gave me the keys
to her place last week.

I did not invite you
over here to talk about

your wannabe black girlfriend.

Tamara, Diana doesn't
want to be black.

I mean, I'm getting into her,
can't you see that?

All I see is that once again
you are going out

with a white girl acting
like she wants to be black

and you are being a black girl
acting like she wanna be white.

I mean,
what's up with you, Cheryl?

You don't like the color
of your skin nowadays?

Tamara, I'm black;
I mean, who's to say

that dating somebody white
doesn't make me black?

I mean, who's to say
anything about who I fuck

in the goddamn
first place, okay?

Well, Stacey says she thinks
Diana's into chocolate.

I mean, come on, Cheryl,
she lives in that big loft

all by herself and volunteers.

"Volunteers."

At, like, some agency
that works with

not only poor kids
but poor black kids.

What's up with that, Cheryl?

Tamara, you're
just so fucked up.

- You're just so fucked up.
- See?

- I'm sick of you. God.
- Hey.

Hey, Cheryl, there were
all these mad cuties there.

You should have been there,
it was a really fun place.

Hey, look, Cheryl.
They set up dyke archives

I was telling you about
in New York.

- Oh, wow.
- I went there when I went

to that rave last weekend.

Oh, great.

So you're gonna go
all the way to New York

to find out that
they only have stuff

on white lesbians,
right, Cheryl?

Actually, you know, Tamara,
there's a really great

black lesbian collection.

- See, there it is.
- Oh, wow, here it is.

- Really good for your project.
- Yeah, she's right.

They have a whole
black lesbian collection.

- You're so helpful.
- Hey, no problem, and, you know,

I'm going up there
next weekend too.

If you need a ride,
I can give you one.

You're so helpful, Annie.

I mean, you probably
know a place

to get a good
clit piercing, don't ya?

Tamara, why don't
you lay off her, okay?

- What's it to you?
- Don't worry about it, Cheryl,

she's just jealous.

Oh, right.

Look, Tamara, just because
you and I are different

doesn't mean you have to
treat me like shit all the time.

I'm sorry, did I hurt
your poor little feelings?

You suck.

Hear that, Cheryl? I suck.

- What is the problem here?
- Oh, nothing.

Um, I'm just here
talking to Tamara

about the work schedule

'cause I'm gonna go
to the archives

with Annie on Friday

and she's gonna work for me,
right, buddy?

Yup, and Cheryl--
we worked it out--

Cheryl is gonna work for me
both Saturday and Sunday.

Right, buddy?

Well, Heckle and Jeckle,
it doesn't matter to me

who is working for who

as long as you remember
we open late Sunday.

Are they giving you grief?

No, don't worry about it, Bob.

All right, are you learning
the Bob system?

Bob, I've been here
for months now.

Time does fly, doesn't it?

Yeah, Bob, time does fly

and people do change.

Hey, sister, how ya doin'?

You, uh, been to
the archives before?

Psst, Annie, uh-uh,

leave the sister alone.

Come over here
and work the camera.

I think it's about time
we, you know, get started.

I think MJ is ready for us.

All right.

Welcome to the Center

for Lesbian Information
and Technology.

Actually, we're
very disorganized here

but it's because we're just
a volunteer-run collective

and you know how hard it is,
things take time.

But, you know, someday
we're gonna have a great system

where people are
gonna donate materials

and then they're
gonna be logged,

they're gonna be categoried,

they're gonna be sorted,

they're gonna be stored.

But right now
they're just in boxes.

Well, um, I came to find out
about the black collection

on lesbians.

Is that a separate collection
or...?

It's very separate.

We received a very generous gift

from the Foundation

but they wanted it to be used
exclusively

for African American lesbians

so if we have any photographs
that there are white people in,

we just cross them out.

Now come with me
and I'll show you the files.

For example, you might find
this very interesting.

Now, here we have--
let's see--

all kinds of
really great things.

Oh, look.
Here's a map.

This is a map
of the most popular

lesbian and gay hot spots
of Manhattan

in the '20s and '30s.

- It's just incredible.
- Wow.

Hm, looks like there were
more dyke bars then

than there are now.

Actually, there were no
exclusively female bars.

It was mostly mixed speakeasies

and then the young
white debutante crowd.

You know, they'd race uptown
at midnight

for a big plate
of yardbirds and strings.

What?

Fried chicken and spaghetti.

And then they'd wash it all down
with a big, cold,

frosty glass of
100 proof iced tea.

Doesn't that sound great?

I'd really like to
have one right now.

I mean, you know,
I'm in recovery and everything

but there's nothing wrong
with remembering

the way things used to be.

Well, anyway, let's just
keep it anonymous.

Um, do you have anything
on black lesbians,

say, in Philadelphia?

Yes, we do!

We have a whole box.

Now, let me just show you--

Whoa, baby.
Thank you, MJ.

Well, this is
a little disorganized

'cause, you know, we are
an all volunteer collective

and these things take time.

But there's a lot of
fascinating material

and I hope you'll
enjoy yourself.

These are photos
of The Watermelon Woman,

Fae Richards!

Oh my God.

Look, it says, "To June Walker,
a special friend."

Get that, Annie, get that.

Excuse me, you do not have
permission to photograph this.

This is confidential.

This is a safe space.

Yes, yes, I'm very sorry.

Um, but I'd like
to find out how--

like, can I find out
who donated the stuff?

I have to discuss it
with the collective.

We meet every other month.

And if we come to consensus,
I'll call you and let you know.

- Okay.
- In the meantime,

respect your sisters.

Yes, sisters.

R-E-S.

But this has to be documented,

I'm sorry.

Get it, Annie, get it all.

This is great,
I'm so glad we're here.

- Aren't you glad we came?
- I am so glad we came.

Get it all.

I told you this was
confidential!

Give me that!

It's time to go.

We got all we need.

Great, Annie, let's go.

Looks like I'm not
the only one interested

in this stuff.

A new book on Hollywood lesbians

has appeared at Giovanni's Room,

our lesbian and gay bookstore,

and Hollywood Lesbians...

...by Doug McKeown.

I wonder if he's a lesbian.

Anyway, there's a section
on director Martha Page

and Fae's name comes up.

I wanna show you this picture

'cause this is the killer.

"Some folks even say
that she was once

head over heels in love
with The Watermelon Woman

who starred as the help

in most of these early
1930 women's films."

I wonder what kinda help
she offered.

I wonder if Fae was into Martha

or Martha was into Fae.

Hm, you know?

I just think that Fae
had to have something else

going on in her life, you know?

Something more--
somebody else.

What you're watching now
is footage from an interview

Diana arranged
with Mrs. Page-Fletcher,

Martha's younger sister.

The whole thing
was quite disturbing.

First, she started
by describing Fae all wrong.

She started talking shit
about Fae

and all those "coloreds"
her sister employed.

If that wasn't bad enough,

she made it seem like
Fae was just another actress

her sister Martha
had worked with.

She said...

Martha was doing
very well in Hollywood

and she encouraged
some of her former cast

to come to audition
for her new picture.

My story's all wrong.

You're not trying to infer
that something went on

between the two of them?

Cheryl's doing
a video documentary

about Fae Richards
who was in--

And who was lovers
with your sister.

My sister was not
that kind of woman.

I've told every writer--

I think Diana knew what was up

but she kept quiet
most of the time.

I wasn't gonna be quiet, no way.

I went off on that old woman.

Come on, Mrs. Page-Fletcher.

Look, we know that Martha
and Fae were intimate.

What? Have I, um, you know,
scared you with some truth?

I mean, come on, everybody
knew that Martha was that way.

I mean, every book
and every article I read

has said this fact.

Cheryl.

It got messy after that.

She asked us to leave.

I can't believe
she was so oblivious

to the fact that her sister
was lovers with this woman.

I mean, come on!

It was almost like
Fae never existed.

Is there some problem, ma'am?

This is a mess.

Excuse me.

Cheryl.

Mrs. Page-Fletcher,
I'm sorry.

What's that, uh,
"The Sound of Music"?

No, silly, it's
"Chitty Chitty Bang Bang."

- Sing another one.
- I can't just sing something

off the top of my head.

Oh, come on, I love
the way you sing.

Okay.

Wait, wait, wait, wait,
where did you learn that one?

Wasn't that the theme song
at your prom?

Diana, darling,
remember I'm black

and the, uh,
theme song at my prom

was "Sail On" by the Commodores.

My boyfriend was black
and he knew all the words.

- You had a black boyfriend?
- I had two.

No, actually, I had three
black boyfriends.

What did your parents say?

Nothing, they're
liberal hippie types.

Actually, my father's
sister's first husband

was an ex-Panther.

His name was Tyrone Washington.

What is so funny?

You're such a mess, that's all.

What does that mean?

Nothing.

I have to go work
on the project.

The project can wait, Cheryl.

First tell me what
you meant by that.

I don't know what I meant.

I just have to go work
on the project, okay?

This project is really
becoming a crutch.

Diana, if you want me to stay,

you don't have to
mention the project.

Just go.

I'll talk to you later.

Looks like one
of our crackhead friends.

What are you doing?

- Just minding my business.
- Minding your business?

Boy, don't you know
this is private property?

Hey, where'd you get
that camera?

I'm not a boy
and the camera's mine.

Well, you look like one,
you little crackhead freak.

- Come up with some ID.
- I don't have any ID.

No ID and possible
stolen property?

Hey.

Hello, is this June Walker?

I got your name
from the CLIT archives.

My name is Cheryl
and I'm a filmmaker.

Yes.

Yes, I'm a sister.

Yes.

A video project
about Fae Richards' life.

I was wondering if you had
information on her, like--

She's what?

Oh, yes.

You were together with her
for over 20 years?

Yes, yes.

Look, do you think I could
come over and talk to you,

maybe even interview you
for this project?

What?

I used smoked turkey wings

not pork, why do you ask?

Okay.

Yes, ma'am.

Okay, eleven o'clock.

With lunch in hand.

Bye.

If you're looking
for Ms. June,

she's not there.

Yeah, I was supposed
to meet her today for lunch.

Oh yeah, she told,
you're the girl who puts,

um, turkey wings
in her greens, right?

Yeah, yeah, will she
be back soon?

Uh, no, the ambulance
came yesterday

and took her off
to the hospital.

No!

- Yeah.
- No, what happened?

She'd been having, like,
heart pains all this week, so,

I had to go over there and--

you know, I had to call
the ambulance for her.

But, um, she told me
to give you something.

Okay, uh... you gonna
be able to carry that?

Yeah, I got my bags and stuff.

- Okay.
- But could you take these?

- No, that's--
- Oh, come on. Please?

Have you ever tasted greens
with smoked turkey wings?

No.

Okay, great, thank you.

Well, you wanna
come in and join me?

I can't, I can't.

Um... do you know
what hospital they took her to?

No, but she said she's
gonna call me tonight though

and let me know.

Well, can you take
my number and, um...

let me know where she is
so I can give her a call, okay?

And please don't forget
to call me, okay?

All right.

Thank you so much for your help.

- Okay, thank you.
- You're welcome.

- Enjoy, okay?
- All right.

Yeah, yeah, it's me.

You don't sound like yourself.

Guess what? Stacey and I are
going away for the weekend

to the Poconos.

Can you work for me?

I don't know, but, you know,
I went to visit--

I went to visit
Fae's lover, right?

Yeah, but did you hear
the part about Stacey and me?

Tamara, you're not
listening to me.

I went to visit Fae's lover.

Kool and the Gang, Cheryl,
I heard you.

Anyway, her name is June
and she was in the hospital

and I went there
and it was just fucked up,

just totally fucked up, man.

I just...

She left me this note.

Read it quick,
Bob's here clocking me.

- Get off the phone.
- All right.

- Um, just come by the store.
- Tamara.

Hi, how can I help you?

Do you have
"New York, New York"?

- Sure.
- No-no, no, no.

Take this to the back.

Can I help you?

I just want to get that movie.

- Do you want a job?
- Sure.

"Dear Cheryl,

you sounded so excited
over the phone

that I had to write down
some thoughts

before they escaped me."

All that talk about Fae

and that white woman

got me to remember
some unpleasant things

about the past.

Things that upset me
and things that had upset Fae

when she was alive.

I was so mad that you
mentioned the name

of Martha Page.

Why do you even want
to include a white woman

in a movie on Fae's life?

Don't you know she had
nothing to do

with how people
should remember Fae?

I think it troubled her soul

for the world to see her
in those mammy pictures.

She did so much, Cheryl,

that's what you have
to speak about.

She paved the way
for kids like you

to run around making movies
about the past

and how we lived then.

Please, Cheryl,

make our history
before we are all dead and gone.

But if you are really
in the family,

you better understand
that our family

will always only have
each other.

I know this is a lot
to be writing down

but I wanted to remember it
for you now

so that the next time I see you

we can make it right.

Well, things haven't been going

the way I thought
they'd be going.

Diana and I aren't
Diana and I anymore

and Tamara, girlfriend...

...let's just hope we can
work things out soon.

You know, I thought
it was gonna be easy.

I thought I was gonna be able
to use the camera

to document my search for Fae

but instead
I'm left empty-handed

except for
this package from June.

You know, I wish that
neighbor of yours had given me

your phone number
in the hospital

because there were so many
things I wanted to ask you

face to face.

I mean, I know she meant
the world to you

but she also meant
the world to me

and those worlds are different.

But the moment she
shared with you

the life she had with
Martha on and off the screen,

those are precious moments

and nobody can change that.

But what she means to me,

a 25-year-old black woman,

means something else.

It means hope,

it means inspiration,

it means possibility.

It means history.

And most importantly,
what I understand

is that I'm gonna be
the one who says,

"I am a black lesbian filmmaker

who's just beginning

but I'm gonna say a lot more

and have a lot more work to do."

Anyway...

what you all have
been waiting for.

The Biography of
The Watermelon Woman,

Fae Richards, Faith Richardson.

The first record of Fae
that I could find

was this photo,
"Faith Richardson,

winner of the Beechy Beechum
Bicarbonate Jingle Contest,

Philadelphia, 1922."

I know that she worked
as a maid for several years

and I know that she danced
in the chorus on South Street,

but I'm not sure how
she got into her first film.

She must have met Martha Page
at some club or something.

This one is stamped,
"Newark Studios"

and on the back it says,
"The Watermelon Woman

and Sandra Vincent
in 'Jersey Girl,' 1931."

I think this is
Fae's first film with Page.

In fact, I know it is.

And from what I can tell,
this is the beginning

of their relationship
both on and off the screen.

Newark Studios' biggest hit

was the 1933 film
"Louisiana Lady."

Martha scored with this one

and got her ticket to Hollywood.

Fae scored too.

She was signed with
Silverstar Studio

and played in several
of their movies,

usually as a household maid
or cook.

"Mr. Owen Meets His Match"

with Claude Thornton and
The Watermelon Woman, 1937.

This was a big year for Fae.

In 1937, she also starred
in my all-time favorite,

"Plantation Memories."

This one's titled,
"Elsie calls on the Lord."

I wrote to the studio and got
these glamorous photos of Fae

taken in 1938.

It looks like she was trying
to bust out of the mammy roles

but, of course, in 1938,
that couldn't really work.

Oh, don't cry, missy.

Master Charles is comin'
back for sure.

I know he is.

Do you really think so, Elsie?

1939's a big year for Fae.

I don't know what
happened between her and Martha

but she definitely
moved back to Philly.

She really worked hard
at becoming

the film star she wanted to be.

Fae no longer calls herself
The Watermelon Woman.

In all of her films
at Liberty Studios,

she goes by the name
Fae Richards.

I am going to hell
but not for being a tramp,

but for being poor
and living on the streets

like I've had to do.

Why can't I be happy
fitting into their world?

God made me this color
and He did it for a reason.

Fae worked it
at Liberty Studios.

J. Liberty cast her as a lead

in all kinds of
black-cast films.

Comedies, melodramas,
and even gangster pictures.

Problem is, she never got her
chance to be a big star

because black-cast films
were on their way out.

So, in the '40s,
Fae started singing again

all over Philly.

At The Standard,
at The Dunbar, Pep's.

She had quite a following.

The next picture I have of her
is not until 1957

and it's kinda sad to see
what happened to her

because it looks like
she stopped performing.

But it's also kinda good

'cause she met June Walker,
a special friend,

who took care of her
until the day she died.