Hutchinson took creative liberties with Hollywood history here—significantly cut down, the final script was close to the original written by Sidney Howard, who received the bulk of the screenwriting credit and was posthumously awarded an Oscar for Best Screenplay after dying in a tractor accident—and his portrayal of Hecht as morally advanced for a rich white man writing about the Confederacy in 1939 is probably one of them. When Selznick and Fleming get to Scarlett O'Hara striking her young slave Prissy across the face, Hecht declares that it is their responsibility to "make America look its ugly mug in the mirror" rather than glorify the Southern Confederate way of life and brush off the beating of a black, enslaved child as nothing more than a casualty of a rich white slave owner's distress. In his argument, Hecht attempts but fails to appeal to Selznick's experience of prejudice as a fellow Jew in Hollywood. The three men spend a significant amount of time debating the issue, with Selznick complaining that he "can't deal with the race issue now." It depends on how it's done, he says, and ensures that the black characters in his film "will have as much dignity" as the others. He refuses to change Mitchell's original story, and asserts that an ethically conscious film is not what the people want. The audience holds the real power in the film industry, Selznick says; not Fleming, Hecht, or himself, not even his father-in-law, MGM co-founder Louis B. Mayer. As his contribution to the debate, Fleming carefully considers the camera angle to use in filming the slap.