THE UNITED STATES VS BILLIE HOLIDAY Screenplay By Suzan .

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THE UNITED STATES VS BILLIE HOLIDAYScreenplay bySuzan-Lori ParksBased on the Book, “Chasing the Scream” by Johann HariFINAL PICTURE SCRIPT

OVER BLACK:IN 1937, A BILL TO FINALLY BAN THE LYNCHING OF AFRICANAMERICANS WAS CONSIDERED BY THE SENATE.IT DID NOT PASS.BILLIE HOLIDAY ROSE TO FAME IN PART DUE TO HER SONG STRANGEFRUIT, A LYRICAL, HORRIFYING DESCRIPTION OF A LYNCHING.FADE IN:NEW YORK CITYMAY 3, 1957A1INT. TBD JANKY APARTMENT/RADIO STATION - NIGHTA1BILLIE, strung out, but dressed to the nines, forces a smileas she sits for an interview with REGINALD LORD DEVINE - anaging white gossip columnist. Think Skip E. Lowe. MISSFREDDY, her devoted stylist, stands by watching.Reginald grabs an item from his bar, sets it on his desk nextto the recorder, then places the microphone on top of it.REGINALD DEVINEI’m going to put this up here so Ican get both of us.Reginald then starts recording. Reginald and Billie both havedrinks.REGINALD DEVINE (CONT'D)My next guest has played Broadway.She’s sold out Carnegie Hall. Sheplayed in Hollywood movies oppositethe likes of Louis Armstrong. I amReginald Lord Devine - and oh mygod. Oh my god. I can’t believe wehave the opportunity to interview,as I live and breathe, the legend,the lady, my hero - Miss BillieHoliday, Miss Lady Day. Which doyou prefer, honey?FREDDYShe’d prefer you pay her her moneyfirst.Reginald grabs the cash from his desk drawer, hands it overto Freddy.

22REGINALD DEVINE(apologetically to Freddy)Here you go.Freddy eyes the money. It’s all there. He nods to Billie.REGINALD DEVINE (CONT'D)Tell me, tell me - what’s it likebeing a Colored woman?Billie and Freddy exchange a look.FREDDY(rolling his eyes)Jesus.BILLIEWould you ask Doris Day a questionlike that?REGINALD DEVINEWell, Doris Day’s not colored,silly.(then)I wanna talk Strange Fruit. Yes ouraudience wants to know. StrangeFruit. You keep getting in troublefor it. And you’re so determined tokeep singing it. Why?(laughs)Trouble maker.BILLIEYou ever seen a lynching? It’sabout human rights. You know? Thegovernment forgets that. They justwant me to shut up and sing All OfMe.FADE IN:TEN YEARS EARLIERVO 2EXT./INT. CAFE SOCIETY - NIGHTVO 2Billie performs ALL OF ME, looking beautiful in her red gown.As Jimmy enters the club and we meet the usual suspects Monroe, Glaser etc.REGINALD DEVINE (V.O.)Let’s start where it all began atthe Cafe Society. You know I lovedthat place.(MORE)

32REGINALD DEVINE (V.O.) (CONT'D)I remember seeing Lena Hornetipping in with. who? Who was it?Oh yeah, with that drunk TallulahBankhead. That’s the first time Isaw you sing, honey. Mesmerizing.Oh, and everybody was there.(laughs)The wrong kinda place for the rightkinda people.FREDDY (V.O.)(snidely)Like Jimmy Fletcher.BILLIE (V.O.)Leave him alone. He didn’t knowwhat he was walking into.FREDDY (V.O.)Yes he did.(snide)Soldier boy.REGINALD DEVINE (V.O.)You were with that famous managerback then. What was his name?FREDDY (V.O.)Crook.They all laugh.BILLIE (V.O.)Yeah, crooked ass Joe Glaser. Hewas there with my husband Monroe.Billie finishes singing ALL OF ME.BILLIEYour goodbyes left me with eyesthat cried,How can I go on dear without you,You took the best, so why not takethe rest.Baby, take all of me.3INT. CAFE SOCIETY, BILLIE’S DRESSING ROOM - LATER - FEBRUARY31947Backstage after the set. Her generously-sized dressing roomis shabby but chic; Billie’s the center of attention.Champagne flows as the elegant creme of the crowd rub elbows.

42Joe Glaser, her trusted manager (30’s) and white, rudelyinstructs A PHOTOGRAPHER where to snap photos. Billie smilesgraciously. ROSLYN, 30s, with an eye patch, is herhairdresser. She whispers -ROSLYNOrson Welles is outside, he wantsto see you again.Billie looks around to see if her husband’s watching. Then,whispers back -BILLIETell him tomorrow. Monroe’s leavingtown.That said, Roslyn speaks in her usual loud voice.ROSLYNYou got some fans in from Baltimorethat wanna see you.Billie smiles, nods her approval.4EXT. BILLIE’S DRESSING ROOM - FEBRUARY 19474Jimmy, awkward, way in the back of the crowd, tries to get aglimpse of the famous Lady Day. As he inches closer, he’sstopped by Billie’s husband, MONROE, 30s, black and rugged.MONROEAnd who are you?JIMMY FLETCHERJimmy Fletcher.MONROEShe don’t know you, soldier-boy.Keeping Jimmy at bay, he turns his attention back to Billie.5INT. BILLIE’S DRESSING ROOM - FEBRUARY 19475Roslyn introduces this awestruck poor black couple.ROSLYNCome on y’all, meet Lady Day.Billie ever the queen greets them warmly. They share a commonlook. Poor people recognize poor people. The man can barelyspeak he’s so in awe.WORKING CLASS MANHello Miss Holiday.

52BILLIECall me Billie.The man too overwhelmed to talk, tears up.WORKING CLASS WOMANWe love you.BILLIEYou’re sweet. You came all the wayfrom Baltimore to see me?WORKING CLASS WOMAN(beaming)Yes ma’am. And he’s gone take me toa fancy dinner too.BILLIEGeewhiz, I’m from Baltimore! Comeon, have some champagne.(smiles)Now you make sure he takes you toJimmy’s Chicken Shack up in Harlem.That’s some good eating.Through the crowd, Jimmy catches Billie’s eye and she giveshim the briefest smile. Monroe sees this and slams the doorin Jimmy’s face.7INT. FLETCHER HOME - SAME TIME - FEBRUARY 19477Jimmy rushes into a lavish living room. He heads towards thedining room, finding his mother, MRS. FLETCHER, late 50s,regal, seated alone at the head of the table.Jimmy kisses his mother on the cheek and quickly sits. Mrs.Fletcher is not happy that he’s late and Jimmy knows it.JIMMYSorry, mom. I was on a jobinterview.Mrs. Fletcher never looking up from her plate, knows he’slying.MRS. FLETCHERWhat job interviews are at 8:30 ona Sunday evening, James? Your liesare unbecoming and I’m gettingtired of it.(disgusted)Living off your father’s hardearned trust.(then)(MORE)

62MRS. FLETCHER (CONT'D)You know I disdain tardiness.Sunday dinners all we have togethernow that you’ve moved out.JIMMYI was downtown interviewing forthis writer’s position at The SunNews. Had to go to the editor’shome. I got the job, mom.Mrs. Fletcher eyes him, deciding whether or not he’s tellingthe truth. She wants to believe him.MRS. FLETCHERYour father would turn in his gravewith all that he accomplished.JIMMYMom, please.Mrs. Fletcher searches into her son’s eyes.MRS. FLETCHERYou’re not fooling nobody walkingaround in that uniform. Justbecause I don’t hang in the gutterwith your friends, doesn’t mean Idon’t know what’s going on, James.(then)You’re hanging out with those jazzmusicians in them clubs and godknows what else.Jimmy stands and hugs her from behind. He gives her a kiss onthe cheek. We see they are close.JIMMYI do hang out at some jazz clubs. Ieven met Billie Holiday.This brightens Mrs. Fletcher’s mood. She’s intrigued.MRS. FLETCHERReally?!Jimmy knows how to play his mother.JIMMYYes, really. You should becongratulating me on my new job. Istart tomorrow. I can finally getout of this uniform.

72MRS. FLETCHERI love that you’re writing, James.I hear that Billie Holiday is quitethe lady.JIMMYI hear just the opposite. I don’tthink she’s a lady.MRS. FLETCHERThose are just rumors. Anytimesomebody colored is doing somethingright, they paint us out wrong.8INT. CAFE SOCIETY - AFTERNOON - FEBRUARY 19478Monroe sternly watches Billie as he eats his lunch: a napkintucked in his collar, his pork chops and whiskey.A TRUE ROMANCE COMIC BOOK - Billie’s beautifully manicuredhands holding it as she reads.HER CIGARETTE SMOKE curling over the top of the book.She’s wearing slacks and heels, with her feet up on thetable. Her lovely face, animated by what’s she’s reading.It’s too early in the day for the club to be open forbusiness, but Billie and her team are working.MISS FREDDY, 40s the man in charge of Billie’s outfits, hasTWO EVENING GOWNS for her to consider. But Billie doesn’tseem to have noticed.JOE GLASER meticulously watches over the musicians.ON STAGE The great LESTER “PREZ” YOUNG, late 30s, shy, on saxophone,jamming with an AUDITIONING SAX PLAYER.BILLIEPrez, honey, from the top.LESTER YOUNGSure, Lady.They start back in, but it’s not sounding great.A WAITER brings Billie a freshly cooked steak on a plate.Billie directs the Waiter to put the food on the floor. ANGLEON MISTER - Billie’s boxer-dog, happy eating the meat on theplate.

82IN BILLIE’S LAP - her chihuahua CHIQUITA, contentedly eatingtreats out from Lady’s hand. She talks to him.BILLIENow roll over.The chihuahua rolls over. The boxer stops eating and rollsover too. Billie chuckles.MISS FREDDYYou got him rolling round in yourcrotch.MONROE(nonplussed)It’s a damn circus act in here.Nobody pays attention to him.MISS FREDDYVogue Magazine wants to interviewme. About your gowns and such.MONROEYou ain’t giving no interview to nomagazine. Someone wants to hearabout her they can come talk to me.Miss Freddy rolls his eyes.Billie just ignores Monroe.MISS FREDDY(re: the dresses)They sent these over.BILLIEI’ll take both of them.MONROEThey’ll cost me an arm and a leg!MISS FREDDYShut the fuck up, Monroe.BILLIEMiss Freddy? Let’s send thedressmaker one of my husband’sarms.Folks crack up at that. Monroe’s been put in his place.Now it’s time to give her attention to the auditioningmusician. Joe Glaser is wondering what she thinks. Billielistens a beat. Then -

92BILLIE (CONT'D)Joe, he ain’t clicking.JOE GLASEROk, man, thanks for coming in.The Sax Player is crestfallen. He nods thanks to Billie,packs up, leaves.Monroe, reclaiming Billie’s attention, waves a newspaperarticle in her face.MONROETake a look.A QUARTER-PAGE ADVERTISEMENT: “Come Hear Lady Day sing“Strange Fruit” at CAFE SOCIETY.”BILLIE(smiles)Looks good.MONROEThey should be running half-pageads at least. Plus, you should begetting a bigger cut of the door.Shit, you’re practically toppingthe DOWN BEAT poll. Shit, evenEleanor Roosevelt has to pullstrings to get in here.BILLIEYou got a point. Glaser?Joe Glaser lights a reefer. Never looking up from hispaperwork.JOE GLASERI’m working on it.MONROEWhen she started here she was anobody and now she’s a star.JOE GLASERI’m working on it, ok?BILLIE(to calm Monroe)Joe’s working on it.This seems to calm Monroe.

102Eyeing the newspaper again, Billie flips it over to the sideMonroe didn’t show her. Sure enough, there’s something:A PHOTOGRAPH of HARRY J. ANSLINGER, looking handsome,pinstripe suited, seated at a bank of microphones.THE CAPTION: “Harry Anslinger, head of the Federal Bureau ofNarcotics, testifies to Congress this week.”HEADLINE above the NEWS STORY: “Anslinger Promises Results.”BILLIE’S FACE, studying Anslinger’s photograph.BILLIE (CONT'D)(cutting, to Monroe)Your friend’s in the paper.MONROEHe ain’t no friend of mine.BILLIESure he is. Glaser’s friend too.Monroe doesn’t answer that. Billie eyes them both up, wantsto believe them but isn’t completely sold. Glaser ignoresher, now glancing at the SET LIST.At the bottom of the list of songs, Glaser has crossed off“Strange Fruit.” He hands it to Billie:MONROEI cut Strange Fruit.BILLIENO! I want to sing the damn song.The club advertises it and peoplewant to hear it.JOE GLASERAnd I’ve told you a hundred times,people in high places don’t wantyou singing that song.BILLIEAnd I’ve asked you one hundredtimes, what people?Joe shrugs. Looks at Monroe for help here.BILLIE (CONT'D)Don’t look over to him. I’m talkingto you. You work for me.

112JOE GLASERI’m busting my ass out there foryou kid. Why do you have to makethis shit so difficult for me?(then, finally)The Government.Billie knew it all along.BILLIEYeah, “the government.” People likeyour buddy Anslinger, right?MONROEQuit it with that, huh?BILLIEThat song means a lot to me.JOE GLASERMeeropol wrote it and he’s a goddamn Commie.BILLIEI don’t care.(determined)I’m making a statement about mypeople.JOE GLASERCome on Lady.MONROEYou’re not singing it.BILLIEI’ll sing what I want.Monroe looks at Lester Young.MONROEYou put her up to this?LESTER YOUNGIf Lady wants to sing the song MISS FREDDYNigga, it’s giving a face to allthem young boys being lynched!MONROEMind your business Freddy.(bullying Billie)We ain’t going over this again.Monroe looks as if he’s about to hit her. Joe Glaser turnsaway, not in the mood for this.

122Billie takes another look at the newspaper then at Joe andMonroe.BILLIEIf you all ain’t Anslinger’sfriends then how come you bothalways be sitting with him?JOE GLASERWe don’t sit with him. He sits withus.MONROEWhat do you expect us to do? Runfrom him? He’s a FED. We’re tryingto protect your ass.BILLIE(looks him in the eyes)Please don’t lie to me Monroe. Ifeel alone when you do.MONROEI’m not lying.Monroe grabs her, kisses her. A little too rough. Billiedoesn’t mind it at all. People turn their heads. It’s alittle uncomfortable.MONROE (CONT'D)I swear.JOE GLASERIt’s for your own good, ok?Lester’s pissed that she gave in. They both know the effectthat Monroe and Glaser have on her. Billie’s sorry she’sletting Lester down.LESTERFuck the feds and fuck Anslinger.Lester walks out.A10INT. HALLWAY,GOVERNMENT BLDG -WASHINGTON DC - ANOTHERDAY - 1947A10A confident and very handsome, HARRY ANSLINGER, 30’s walksdown a hallway holding a stack of files. He enters a stuffyparlor to a group of waiting white men seated at a roundtable.

132B10INT. OFFICE PALOR ROOM - GOVERNMENT BLDG - WASHINGTON DC B10CONGRESSMAN JOHN E. RANKIN and CONGRESSMAN J. PARNELL THOMASsit annoyed with SENATOR JOSEPH MCCARTHYCONGRESSMAN JP THOMASI wish I got me a Roy Cohn.HARRY ANSLINGERGentleman, you have to help me getthis budget pushed throughcongress.CONGRESSMAN JP THOMASWe just increased your budget lastyear. Why is this so important toyou, Harry?HARRY ANSLINGERDrugs and niggers are acontamination to our great Americancivilization!Anslinger gives his files to Senator McCarthy’s assistant,ROY COHN to pass out to the men.CONGRESSMAN JOHN E. RANKINThat’s why we helped you in thefirst place.HARRY ANSLINGERWhen the niggers use drugs theyforget their place. They defyus. That’s why this Holiday womanmust be stopped. She sings thisStrange Fruit song and it’s causinga lot of people to think .thewrong way. We’ve got the husband inthe bag. But she won’t stop singingit.Roy Cohn looks to Senator McCarthy for permission to talk.ROY COHNExcuse me sir, might I addsomething.Senator McCarthy nods okay.ROY COHN (CONT'D)People are calling the song amusical starting gun for a socalled civil rights movement.

142CONGRESSMAN JP THOMASSo what are your plans? You can’tarrest her for singing a song.HARRY ANSLINGERYes I can. She’s inciting a riot.ROY COHNThat’s a misdemeanor at best.(smiles)She’s a drug addict though.HARRY ANSLINGERExactly.CONGRESSMAN JOHN E. RANKINGo after that bitch on the drugs.10INT. MIDTOWN APARTMENT, BEDROOM - NYC, LATE AFTERNOON - APR1I0L1947A SPOON FILLED WITH HEROIN, HELD OVER A FLAME - as Billiecooks up her fix.BILLIEJoe Guy, I came down here for youto save my ass.JOE GUY, 20s, black, young and recklessly handsome unstrapshis belt tied around his arm. He’s already shot up. He grabsfor his trumpet. Plays a killer tune. Billie hums along. Shesmiles. He makes her happy.JOE GUYYou don’t need me to do that. Shit,Lady, you can do that all byyourself.Billie, her vein bulging, and her arm tied with a stocking,fills the shared syringe and shoots up.12INT. CAFE SOCIETY - NIGHT - APRIL 194712ON STAGE - Billie in her beautiful gown with her radiantsmile. She commands the stage and the mixed raced audience.This time mostly made up of American soldiers. And they areloud! Jimmy Fletcher watches.Monroe sits next to Harry Anslinger. THE AUDIENCE - a throngof radiant fans.

152For the first time, Anslinger sees Billie up close. He takesin every detail of her person, her dress, her hair, herjewelry, her figure.ON STAGE - LOUIS ARMSTRONG on trumpet, BOBBY TUCKER, late20s, on piano and Billie, in fine form, smiles. She has topractically scream over the crowd.BILLIEHere we are! Beautiful little show!Billie yells out to a group of loud soldiers in the back.BILLIE (CONT'D)(loud)Can you hear me over there?(beat)Cause I can hear you.Everyone laughs. They immediately quiet down. She can controlany audience.BILLIE (CONT'D)Say hi to Louis Armstrongeverybody!Louis nods. The audience applauds like crazy for them.BILLIE (CONT'D)We’re recording a V-disk, for allof our men and women in theservice, and that makes tonight allthe more special.(sincere)You all are fighting a real fightout there. We love you for it.Don’t we Louis?LOUIS ARMSTRONG(smiles)Yes Lady!Folks cheer, and Jimmy joins them. Monroe applaud politely.Anslinger looks around, not liking what he sees. Billie’spatriotism, and her fans, white and black, some wealthy, manyworking class, all loving her. Lots of SOLDIERS IN UNIFORM,of all colors, cheering her on.FROM THE BANDSTAND - Billie sees, Anslinger and Monroesitting together again. Monroe is in deep conversation withAnslinger. She is sucker punched by this. Billie finallycatches Monroe’s attention. She smiles at him, hiding herfeelings of betrayal.

162BILLIE(to Louis Armstrong)I feel lonely, Louis. How about wetry, “SOLITUDE”.Louis throws his famous smile.LOUIS ARMSTRONGAnything for you, Lady.She counts the other MUSICIANS in. Eyeing Monroe andAnslinger she sings.BILLIE(singing)In my solitude, you haunt me, withdreadful ease, of days gone by, inmy solitude, you taunt me, withmemories, that never die.The audience in rapt attention.You could hear a pin drop.BILLIE (CONT'D)(singing).I sit in my chair, and filledwith despair, there's no one couldbe so sad, with gloom everywhere Isit, and I stare, I know that I'llsoon go mad.Monroe shifts uncomfortably. Anslinger’s poker face softensunder her spell. Jimmy Fletcher is spellbound.Anslinger, leaning forward now, his eyes enchanted, somethingdeep within him stirring. Uncertain of what to do withhimself, he wipes his face with his hand.14INT./EXT. BILLIE’S DRESSING ROOM, CAFE SOCIETY - ANOTHERNIGHT - APRIL 1947The crush of friends is long gone.14Billie, high and alone.JUST OUTSIDE THE DOOR Miss Freddy sits. Jimmy approaches with some flowers. MissFreddy looks him up and down, greedy.MISS FREDDYWhat you looking for?JIMMYIs the lady around?

172MISS FREDDYSo you finally struck up the nerveto come see her?He calls for Billie.Billie?Yeah?MISS FREDDY (CONT'D)BILLIEMISS FREDDYLady, this writer nigga wants tosee you.BILLIESend him back.MISS FREDDYYou better not be one of thosegossip people.(to Billie)I’m gonna go get something to eat.As Jimmy peeks in. Billie tries to move her drug works out ofsight.BILLIENo uniform tonight, soldier boy?JIMMY FLETCHERHi.BILLIEYou here all the time JimmyFletcher.Jimmy is surprised that she remembered his name. Smiles.comes into the room. Hands her the flowers.JIMMY FLETCHERGreat show tonight.BILLIEAnd now it’s quiet. I don’t likethe quiet. It’s so noisy, you know?They stare at each other. Sexual tension.BILLIE (CONT'D)You don’t got a girl?He

182JIMMY FLETCHERNope. I served my time for ourcountry. Now, you know, hoping tofind a good job.(re: the drugs)Your boyfriend give you that?Billie just smiles, the beautiful sphinx.BILLIEYou want some?JIMMY FLETCHERNo thanks.BILLIEIt takes the edge off, you know.Jimmy simply nods.BILLIE (CONT'D)Pour yourself a drink?JIMMY FLETCHERSure.She hands him an opened bottle and a whiskey glass. He poursfor himself. She takes back the bottle. They clink bottle towhiskey glass.BILLIECheers.They drink.Him from the glass, her from the bottle.JIMMY FLETCHERWhy don’t you ever sing “StrangeFruit”?BILLIEI gotta be pretty high to singthat.JIMMY FLETCHERNever heard you sing it.This lights up Billie a little.BILLIEIt’s a song about important thingsthat are going on in our country. Idon’t think people know that I careabout that stuff. Most of my othersongs are only about love.

192JIMMY FLETCHERLove’s important too. Right?Billie takes a moment, studying Jimmy. There’s somethinginteresting about this guy.BILLIEOne day I’ll quit the drinking andI’ll get off the junk to

52 BILLIE Call me Billie. The man too overwhelmed to talk, tears up. WORKING CLASS WOMAN We lo

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