0bc7352d6a0e678c0d8acc57c0c1cc3466fe9ef7
movie
http://www.awesomefilm.com/script/poeticjustice.html
The Poetic Justice
. THE END
 Justice (Janet Jackson) is a young woman living in South Central, Los Angeles. She was named Justice by her late mother, who gave birth to her while attending law school. After the shooting death of her boyfriend Markell (Q-Tip), Justice falls into a deep depression. She spends the majority of her time in the house she inherited from her grandmother, with her cat White Boy, only going out to her job at a local hair salon. Justice is a talented poet, she reads many of her poems throughout the course of the film, both to other characters and in voice over.
Justice is at the hair salon working one day when a young postal clerk named Lucky (Tupac Shakur) comes in and begins flirting with her. She rebuffs his advances with the help of her female boss; the two women pretend to be lesbians and mock Lucky with their "relationship".
Lucky has also had tragedy in his life: his main focus is caring for his young daughter Keisha. He had to forcibly remove her from the care of her mother, Angel, a crack addict who was using drugs and having sex with her drug dealer while leaving the child unattended in the apartment. Lucky dreams of a professional career in music and shows considerable promise, but he insists his cousin is the true talent.
Justice's friend Iesha (Regina King) manages to talk Justice into taking a road trip to Oakland with Iesha's boyfriend, Chicago (Joe Torry), Lucky's co-worker at the post office. Justice warily accepts, mainly because she has to go to Oakland for a hair show, and her car dies at the last minute. Unbeknownst to Justice, Lucky is Chicago's co-worker also on the trip, and she will now be sharing a postal van with him and their two mutual friends. Initially they argue, but over the course of the film soften towards each other as they discover their similarities.
The foursome make a couple of detours, the first being a family reunion barbecue they see signs for on the road. Here it becomes apparent (although there were ample hints earlier) that Iesha and Chicago's relationship is troubled. Iesha openly flirts with other men at the barbecue, while Chicago broods watching her behavior. Iesha and Chicago argue in the mailtruck until Justice talks to Iesha about her behavior with alcohol. Iesha throws up and cries on Justice and apologizes to her. The second stop is a beach where each of the four characters contemplate their separate situations in internal monologues. Next, they stop at an African Cultural Fair where Lucky and Justice grow closer as they discuss their lives. After leaving the fair, the friction between Chicago and Iesha explodes when Iesha informs Chicago she has been seeing someone on the side and he physically attacks her. Lucky initially decides not to get involved in the fight until Justice defends Iesha by kicking Chicago in the groin, and Chicago turns his physical brutality at Justice in retaliation. Lucky, Justice, along with a bleeding and shaken Iesha leave Chicago by the side of the road and continue on their journey.
Lucky stops the postal van at a beach, and Justice goes to see what's wrong. She begins opening up to him about her life and Lucky becomes sympathetic. They share a kiss and Justice walks away apparently unsure of her feelings for Lucky. She goes back to him and they share another kiss.
When the now-threesome arrive in Oakland, they are met with the news that Lucky's cousin, with whom he had been working on recording music, has been killed. Lucky blames himself for not being in Oakland sooner, believing he could have prevented the shooting had he been in town. He turns his anger on Justice, angrily blaming her for distracting him while they were on the road. Jessie gives Justice and Iesha advice about men before the hair show and Lucky's uncle and aunt give Lucky his cousin's recording equipment and decides not to come back to work and to take care of Keisha.
Some months have passed, and Lucky and Keisha meet up with Justice again back at the hair salon, just at the moment Lucky brings in his daughter Keisha. Lucky is remorseful over his conduct in Oakland and the cruel words he said to Justice there, and apologizes. She smiles at him and they share a passionate kiss. Justice smiles coyly, and then turns her attention to Keisha, fussing over her hair. Justice and Lucky's eyes meet over Keisha's head and they smile, their connection as strong as ever.
Justice ( Janet Jackson ) is a young woman living in South Central , Los Angeles . She was named Justice by her late mother , who gave birth to her while attending law school . After the shooting death of her boyfriend Markell ( Q-Tip ) , Justice falls into a deep depression . She spends the majority of her time in the house she inherited from her grandmother , with her cat White Boy , only going out to her job at a local hair salon . Justice is a talented poet , she reads many of her poems throughout the course of the film , both to other characters and in voice over . Justice is at the hair salon working one day when a young postal clerk named Lucky ( Tupac Shakur ) comes in and begins flirting with her . She rebuffs his advances with the help of her female boss ; the two women pretend to be lesbians and mock Lucky with their relationship . Lucky has also had tragedy in his life : his main focus is caring for his young daughter Keisha . He had to forcibly remove her from the care of her mother , Angel , a crack addict who was using drugs and having sex with her drug dealer while leaving the child unattended in the apartment . Lucky dreams of a professional career in music and shows considerable promise , but he insists his cousin is the true talent . Justice s friend Iesha ( Regina King ) manages to talk Justice into taking a road trip to Oakland with Iesha s boyfriend , Chicago ( Joe Torry ) , Lucky s co-worker at the post office . Justice warily accepts , mainly because she has to go to Oakland for a hair show , and her car dies at the last minute . Unbeknownst to Justice , Lucky is Chicago s co-worker also on the trip , and she will now be sharing a postal van with him and their two mutual friends . Initially they argue , but over the course of the film soften towards each other as they discover their similarities . The foursome make a couple of detours , the first being a family reunion barbecue they see signs for on the road . Here it becomes apparent ( although there were ample hints earlier ) that Iesha and Chicago s relationship is troubled . Iesha openly flirts with other men at the barbecue , while Chicago broods watching her behavior . Iesha and Chicago argue in the mailtruck until Justice talks to Iesha about her behavior with alcohol . Iesha throws up and cries on Justice and apologizes to her . The second stop is a beach where each of the four characters contemplate their separate situations in internal monologues . Next , they stop at an African Cultural Fair where Lucky and Justice grow closer as they discuss their lives . After leaving the fair , the friction between Chicago and Iesha explodes when Iesha informs Chicago she has been seeing someone on the side and he physically attacks her . Lucky initially decides not to get involved in the fight until Justice defends Iesha by kicking Chicago in the groin , and Chicago turns his physical brutality at Justice in retaliation . Lucky , Justice , along with a bleeding and shaken Iesha leave Chicago by the side of the road and continue on their journey . Lucky stops the postal van at a beach , and Justice goes to see what s wrong . She begins opening up to him about her life and Lucky becomes sympathetic . They share a kiss and Justice walks away apparently unsure of her feelings for Lucky . She goes back to him and they share another kiss . When the now-threesome arrive in Oakland , they are met with the news that Lucky s cousin , with whom he had been working on recording music , has been killed . Lucky blames himself for not being in Oakland sooner , believing he could have prevented the shooting had he been in town . He turns his anger on Justice , angrily blaming her for distracting him while they were on the road . Jessie gives Justice and Iesha advice about men before the hair show and Lucky s uncle and aunt give Lucky his cousin s recording equipment and decides not to come back to work and to take care of Keisha . Some months have passed , and Lucky and Keisha meet up with Justice again back at the hair salon , just at the moment Lucky brings in his daughter Keisha . Lucky is remorseful over his conduct in Oakland and the cruel words he said to Justice there , and apologizes . She smiles at him and they share a passionate kiss . Justice smiles coyly , and then turns her attention to Keisha , fussing over her hair . Justice and Lucky s eyes meet over Keisha s head and they smile , their connection as strong as ever .
http://en.wikipedia.org/wiki/Poetic_Justice_(film)
Poetic Justice (film)
<html><title>Poetic Justice Script</title><pre>
The "Poetic Justice" Script

COLUMBIA TITLE CARD: ONCE UPON A TTME IN SOUTH CENTRAL LOS We hear voices: one 
male, the other female. From the
tone of their speech and the accompanying music, we can tell we are entering a 
romantic scene.

FADE IN:

1 INT FANCY NEW YORK APARTMENT--DINING ROOM--NIGHT Where we see a romantic scene 
played out between a man and
a woman. Both are white. The couple have just finished a candlelit dinner.

BRAD: You like your wine? Want s'more?

She nods her approval.

PENELOPE: Mmmmm you're good. Candles, dinner, wine. What's next?

He grins.

BRAD: Let me set the mood.

He goes over to the stereo to turn it on. The Isley Brothers' "Between the 
Sheets" emanates from the speakers. Brad crosses to the
couch and into a position in which to kiss Penelope. He does, and the sound of 
"Between the Sheets" is invaded by the remix of A
Tribe Called Quest's "Bonita Applebum."

2 EXT. COMPTON DRIVE-IN THEATER DUSK:SFX

Two lines of cars wait to enter the drive-in. The heavy bass sounds of hip-hop 
music mingle in the air with that of the many window
speakers that plag the movie. In the background we can see the couple in the 
previous scene kissing on a large movie screen. An
LAPD helicopter flies overhead, transcending us into the next shot. Welcome back 
to South Central Los Angeles.

INT. COMPTON DRIVE-IN THEATER-DUSK SFX

Overhead we see a shaft of Light coming from the drive-in's projector. As we 
move past a few cars, their inhabitants are all in various
threes of sexual foreplay. Some are kissing; others are actually making love. 
All the windows are steamed up. We hear the voices of
the females as the men grunt, groan, moan, and beg over their bodies. Love is in 
the air.

CAR #1: Don't bite me so hard! You gotta be more gentle.

CAR #2 (softly): Use your tongue. Just use your tongue.

CAR #3 (with heated passion): Ohhhh! Oh, yes, ohhh! Oww! I'm sticking to the 
seat.

We come to last car, whose windows are crystal clear. Things are just beginning 
to heat up between the couple inside the car. The
woman is an "around the way" honey with soft brown skin, full brown eyes, and 
nice delicious full lips. This is Justice, who at
seventeen is still looking for her place in the world. The lucky man kissing her 
is her boyfriend, Markell, a small-time drug dealer and
former gangsta. Justice reluctantly accepts his advances, but she ain't having 
it. There is a window speaker, from which the sound of
the movie Alters into the car.

MARKELL: C'mon, let's get in the back seat.

JUSTICE: No, Markell, why can't we just watch the movie?

MARKELL: 'Cause it's boring.

He goes to kiss her again. This time, it's a nice, long, juicy powerhouse kiss 
that causes the Richter scale to jump two points. Justice
appears obviously affected. She asks the inevitable question.

JUSTICE: Markell, do you love me?

MARKELL: Of course I love you.

JUSTICE: Why? Tell me why you love me.

MARKELL (looks around): Now?

JUSTICE: Yeah, right now.

There is a pause. He thinks.

MARKELL: Okay, I love you because you too fine.

JUSTICE: Is that it?

MARKELL: Yeah.

Justice looks dissatisfied.

MARKELL: Can I have some sugar? Some butter? Some sweets?

JUSTICE: No, not yet. Get me some popcorn.

Markell 's face drops.

JUSTICE: Pleazzze?!

Markell relents and gets out of the car. He takes two steps, turns on a heel, 
and leans into the car again.

MARKELL: Hey, Justice! I was just thinking. I also love you 'cause when I was in 
tha county jail, you wrote me a lotta sweet poems.

Justice grins. Markell smiles and blows her a kiss good-bye.

4 LNT.COMPTONDRIVE-IN CONCESSION STAND--NIGHT

There are only a few customers in line; all are Black or Hispanic. Markell gets 
in line, and time slows down. We notice the abruptness
of the popcorn popping like gunshots, the sound and motion of the gurgling 
Orange Bang machine, and two thugs who stand in the
corner talking to each other. Markell seems noticeably nervous at their 
presence.

THE COUNTER Where Markell finally arrives at the front of the line.

THE CORNER Where one of the two thugs looks across the room at Markell. For a 
moment it looks as though he recognizes Markell.
He turns back to continue to talk with his friend. A fight breaks out in another 
corner, and everyone's attention is drawn in that
direction.

BACK TO COUNTER Markell completes his transaction amidst the mayhem and walks 
away popcorn in hand. In the corner, the thug
looks back toward the counter. On his face we see he now recalls where he has 
seen Markell before.

5 INT/EXT COMPTON DRIVE-IN---THE CAR--NIGHT Markell comes back to the car, 
glancing behind his back every so often.

MARKELL (looking over his left shoulder): I think I saw these fools that Pete 
and I got beef with.

Markell turns to notice that Justice is not in the passenger seat. Justice leans 
up from the back seat to kiss his cheek and tenderly run
her fingers around Markell's neck and shoulder. We notice her long fingernails. 
Markell laughs and places the popcorn on the
dashboard. Our attention is drawn to the passenger window, where the drive-in 
speaker hangs. Romantic movie music flows into the
car. On the driver's side the window is open. Suddenly, a pistol is placed next 
to Markell's head. Time slows down. The gun is fired.
Justice screams. The popcorn scatters, and the passenger window breaks from the 
traveling bullet. Time resumes. Justice's screams
turn to a whimper. There is blood on her hands. The drive-in speaker has now 
fallen on the passenger seat. We hear the romantic
movie playing in the background.

OVERHEAD As we PULL UP and away from the car. There are people running and 
screaming in every direction, and cars are leaving.
These sounds overlap into TITLE CARD: POETIC JUSTICE: The sun rises behind the 
logo.

DISSOLVE TO: 6 INT INGLEWOOD CEMETERY-DAY Where we come out of the leaves of a 
tree to see a garden of stones,
concrete symbols of souls long past. There is one lone figure standing before a 
grave. We recognize this person as Justice. We also
hear Justice speak in voice over. Over the following images she recites the 
first of many poems that move this story forward. BURN
17V: Two YEARS LATER

JUSTICE (V:O.): "Alone. Lying, thinking. Last night. How to find my soul a home. 
Where water is not thirsty. And bread loaf is not
stone. I came up with one thing. And I don't believe I'm wrong. That nobody. But 
nobody can make it out here alone."

DISSOLVE TO: 7 INT PACIFICBEAUTY COLLEGE-DAY We move past many women. Ah of them 
are dressed in white smocks and
are standing over the heads of other women who are seated in reclining beauty 
chairs. We hear the instructor giving a lesson in hair
coloring. We end on Justice listening attentively and primping the hair of the 
woman in her chair.

JUSTICE (V.O.): "Alone, all alone. Nobody, but nobody. Can make it out here 
alone. There are some millionaires with money they
can't use. Their wives run round like banshees. Their children sing the blues."

DISSOLVE TO: 8 EXT. PARKING LOT--DAY

Where Justice puts some model heads into the trunk of her car.

9 EXI: CRENSHAW BOULEVARIF-DAY We see a CRENSHAW Sign up close go past the 
frame, left to right. MONTAGE OF
IMAGES We see various images of life in the Crenshaw district of South Central 
Los Angeles. Some are static; others are hand-held
traveling shots, docu style.

1O EXT. LIQUOR STORE-DAY

There are images of people protesting a Korean liquor store, some protestors 
flash signs that read Bw BLACK/RECYCLE BLACK
WLLARS.

11 EXT. DONUTSHOP--DAY

We see a Cop come out with donuts and coffee for himself and his partner.

12 EXT. LEMERTPARK-DAY

A group of young men are curbside being interrogated by the LILPD. Nearby a 
brother with a video camera begins to record. He is
chased away by tha police. In between some of these images, we SUPERIMPOSE the 
heads of some women being done. Over these
images we continue to hear Justice's voice reading poetry. She is driving to 
work.

JUSTICE (V.O.): "They've got expensive doctors, to cure their hearts of stone. 
But nobody. No nobody. Can make it out here alone.
Alone, all alone. Nobody, but nobody. Can make it out here alone. Now if you 
listen closely, I'11 tell you what I know. Storm clouds
are gathering, the wind is gonna blow. The race of man is suffering, and I can 
hear the moan. Cause nobody. But nobody. Can make it
out here alone."

We see Justice's car pull to the curb. It is a 1992 Honda Accord, complete with 
nice rims and tinted windows. The license plate reads
2 FUNKY.

13 INT JUSTICE'S CAR--DAY

JUSTICES NOTEBOOK Where we see Justice write the last stanza of the poem.

JUSTICE (V.O.): "Alone, all alone. Nobody, but nobody. Can make it out here 
alone."

She closes her notebook. The cover reads NOTES OF A POETIC JUSTICE.

14 EXT CITYSTREET--DAY Where Justice exits her car. She uses her automatic lock 
system, which sounds off "armed" when it
locks. As she walks up the street, we see the same brothers established in the 
previous montage on their knees, with their hands behind
their heads. Justice walks past them without acknowledging their condition.

15 INT. JESSIE'S BEAUTYSALONAND SUPPLY--DAY Hair, nails, curlers, and combs. A 
woman picks up a phone and says,
"Jessie's Beauty Salon and Supply. " We have invaded this place on Friday, the 
busiest day of the week. We see many women of
various ages, shapes, and sizes receiving hair care from different stylists. No 
two heads are the same. Our attention and ears are drawn
to the loud voice of one young woman who sits on the waiting couch flipping 
through a Black hair magazine. She has short-cut hair
and eyes, nails, and temper of a Siamese cat. This is lesha.

She is talking to Heywood, who is a spiritual person. He is so cosmic that his 
sexuality is often questioned. Nearby at another booth is
Dexter, another male stylist who is very straight. His dick has guided him into 
the world of cosmetology.

HEYWOOD (over images of nails, hair, etc.): I know whatcha mean. I don't 
understand some of these women. I don't see how they
can allow themselves to be so disrespected! My body is my temple! And a temple 
should never be defiled. Especially not in this case. I
love myself.

Dexter shakes his head in shame at Heywood. He is massaging the head of one 
fine-ass sistah. She smiles. Dexter suavely bends down
and says, "You like that don 't cha. "She nods in approval.

IESHA: Yeah, well, he just did my girl all wrong. She's as 'fraid as a cat. Got 
her going around wearing sunglasses, and you know how
she like braggin about her pretty green eyes. So you know what's up with that. 
Top it off, she still in love with the nigga.

Justice walks in.

JUSTICE: You telling everybody's business.

IESHA: Yeah, I'd tell your business too if you had somethin to tell.

JUSTICE: You ready?

lesha nods a yes.

JUSTICE: You got your hair?

lesha holds up a bag of synthetic hair. Justice walks toward her station, saying 
"Hello" to the other stylists on the fly.

16 INT. THE BABYROOM--DAY Where we notice a large playpen with four babies. All 
are dressed in Baby Guess, Air Jordans, and
Fila. One baby plays with a beeper that goes off as he puts it in his mouth. 
This is the Baby Room, where the women leave their
children when they get their hair done. Start this shot off with a fine-ass 
sistah with a baby in hand walking over to the crib.

THE DOORWAY Where we see a little boy about twelve years old standing in the 
middle of these children. This is Baha, the errand
boy of the shop. Baba sits playing a Sega Game Gear, looking up from time to 
time out the window and at the fine women that pass
by. Some of the older children attempt to distract him from his game.

BAHA: Stop! Quit! (looking out the window, then goes to the doorway) Here she 
comes!

THE SALON Where all the stylists and customers turn. They know what that means.

17 EXT JESSLE'S SALON--DAY We see a hand with keys in the frame. The owner of 
these keys presses a button, which turns on
the car alarm. The license on her car reads Ms. BOOTE. At leg level we swing 
around to walk toward the salon. In front of the door
stands a Panhandler with a sign in hand.

PANHANDLER: Good morning, Jessie. Could you spare some change?!

JESSIE (O.S.): Hell, naw! And get your dirty, smelly, unemployed ass out from in 
front of my shop.

We move past the Panhandler and toward the front door of the shop.

17A INT JESSIE'S SALON-DAY BACK TO DOORWAY Where we see Jessie open her Fendi 
purse to send Baha on an errand. Since
we are at chair level, we notice her shapely bottom half. She got much ass! IDEA 
start on her purse being opened, then PAN over to
Baha as we hear Jessie offscreen.

JESSIE (O.S.): Baha, do me a favor, baby, and go to the liquor store get me a 
Honey Bun and a pack of-

BAHA (taking the money): Big Red. Yeah, I know.

WIDER As we see Baha take off for the store and Jessie turned around calling to 
him.

JESSIE: And bring me back my change!

She turns back around, and we see her face. Jessie is the owner of this shop. 
She is the queen of the hootchies in tha hood. Her attire
puts the E in ethnic, as she is wearing the hottest, most expensive outfit that 
can be bought at the Fox Hills Mall. She takes off her
sunglasses, and we can see her face.

JESSIE (in a good mood): Good morning, everybody.

ANOTHER ANGLE As Jessie walks across the room and to the corner. All the women 
in the shop are looking at her funny.

JESSIE (sweetly): What?! What? (vicious) What y'all looking at? I know I'm Ane, 
but damn! Get back to work.

THE SALON Where everybody goes about their business.

17A CONTINUED THE SINK Iesha's head is in the sink. Justice is shampooing and 
conditioning her hair. Iesha's eyes are closed to
keep the suds from stinging them.

JUSTICE: Just let that conditioning sit for five minutes.

IESHA: Where you going? You not gonna talk to me?

JUSTICE: No, I wanna go over here and talk to Jessie. It's a fivehour job 
anyway--you might as well just chill.

Justice walks away.

IESHA: All right, then, just play me like a biscuit. Hair all wet, cold.

THE COUNTER Where Justice joins Jessie, who is busy checking the receipts of the 
morning.

JUSTICE: So.

JESSIE: Yeah.

They both start laughing. A Delivery Man arrives with boxes of shampoo. A few 
sistahs throw him an in terested eye. Jessie is
checking him out also,

JUSTICE: So he's out, huh? Y'all got buckwild last night? Where'd y'all go?

JESSIE: Could you put 'em over there? Snooty Fox Motor Inn. (to the stylists) 
Y'all make sure to fill out them receipts!

JUSTICE (laughing): They still got them red walls?

JESSIE: Yep, mirrors on the ceiling. Same ole, same o'. They been filling out 
them receipts?

JUSTICE: Yeah.

JESSIE: What you know about mirrors on the ceiling? When the last time you been 
there?

JUSTICE: Snooty Fox? Don't remember.

17B INT JESSIE'S BEAUTYSALON--DAY

DOORWAY Where we see a brother, Rodney, come in with this woman.

RODNEY: Hey, my girl need her hair and nails done.

JESSIE: She got an appointment?

RODNEY: Naw.

HEYWOOD (O.S.): She ain't got no hair, either!

Some people laugh. We see the Woman. She got about as much hair as a Snap.

JESSIE: Make an appointment. (lights a smoke, touches Justice's hat) Why you 
keep wearing these hats? What you hidin?! Ooow,
keep it on.

JUSTICE (pulling her hat on): Stop.

JESSIE: You need to let me do somethin to that head of yours. Man, I'm tired. 
Got a poem for me today? Lord knows I need one.

JUSTICE: I left my notebook in the car. I'11 get it in a bit.

JESSIE: When you gonna get a man? Asking all these questions about mine. You 
still in mourning? Sportin black, don't make time to
do your own hair. Lookin tore up from tha floor up. You can always tell when a 
woman ain't givin up no coochie.

JUSTICE: I like black. Besides, I don't have no time for no man right now.

JESSIE: See, your problem is you make bad choices in men. You don't know how to 
pick 'em.

CUT TO: EXTSTREET-DAY Where we come down out of the sky to see a small U.S. 
Postal Mail jeep turn in the street and come to
the curb. We hear the heavy bass beat ofhip-hop coming from the jeep.

JUSTICE (O.S.): Look who's talking.

19 INT. POSTAL JEEP--DAY Inside the jeep a hand presses the stop/eject on the 
recorder and flips the tape.

19A EXT.CITYSTREET--DAY THE GROUND Where the jeep door opens and a pair of sharp 
Nikes come out. We travel up to reveal
the face of a young Black brother, twenty-two years, well built, rough looking, 
a close fade under a cap that reads U.S.MAIL. This is
Lucky. Not your everyday postman, but just another hard-working young South 
Central brother trying to make that hard-to-come-by
daily dollar. ANOTHER ANGLE As Lucky gets his bag and walks toward the salon 
entrance.

PANHANDLER (singing): Hey, hey wait a minute, Mr. Postman! Mr. Postman, got some 
spare change?

LUCKY: Naw, muthafucka, but I gotta spare stamp so you can mail your ass a job 
application!

CUT TO: 20 INT. JESSIE'S SALON-DAY Where Lucky enters. His eyes take in the 
sight of all these fine, beautiful sistahs. This is his
favorite part of his route. One or two women pass in front ofhim.

ANOTHER ANGLE Lucky makes his way to the counter, where he gives the mail to 
Justice, who is organizing the outgoing mail.
Jessie sits nearby.

LUCKY: Y'all didn't get nothing but bills.

Lucky looks at Justice, trying to make eye contact, which she skillfully avoids.

JUSTICE'S P.O.V.: Lucky's hands pull out mail and place it on the counter. 36, 
48, f.p.s. Justice is licking stamps and placing them on
outgoing envelopes. Lucky notices her sexy tongue.

LUCKY: Why you always looking so mad? You too fine to be looking so angry. .. . 
You must ain't got no boyfriend 'cause you always
angry!

Justice finally looks up. Blank eyes. Blank face. No interest whatsoever. Then 
her face breaks out into a mischievous smile. She looks
Lucky up and down, checkin him out.

JUSTICE (with attitude): What do you want? What do you want from me?

LUCKY: Well, I think you kinda fly. We could start with your number.

JUSTICE: Come here.

Lucky looks around.

JUSTICE (sexy): Come closer. I want to whisper somethin to you

Lucky leans in closer.

JUSTICE (coolly): Let's cut to the chase. What do you reeaally want? ... You 
wanna smell my poonani?

Lucky is taken aback. Surprised.

LUCKY: . . Uhh, yeah Here?

JUSTICE: Wait a minute, baby. (turns to Jessle, loud) Jessie! He said he wanna 
smell my poonani!

JESSIE (coolly, smoking): Really.

JUSTICE: Yeah. Should I let him smell it?

JESSIE: Yeah.

Jessie coolly walks from behind the counter and comes face to face with Lucky. 
She leans in close to his face and blows air into his
face. Lucky is surprised. Justice and Jessie start laughing. Justice hands Lucky 
the outgoing mail and walks across the shop to attend
to lesha's hair. She laughs her ass off. Lucky coolly closes his mailbag and 
walks out of the salon. Jessie looks at his exit and then in
Justice's direction. She just smiles in amusement and puts out her cigarette. 
Same ole, same o'.

21 EXT. JESSIE'S SALON-DAY Lucky exits the salon, retaining his cool despite 
being dissed.

LUCKY (Under his breath, looking back): Crazy Black bitches.

The Panhandler comes nearby. Lucky reaches into his pocket and gives him a 
quarter.

LUCKY: And don't smoke it. Here, take a stamp too. He hops into the jeep and 
drives off.

DISSOLVE TO: 22 INT SOUTH CENTRAL POST OFFICE: CENTURY BOULEVARD-DAY

A TIME CLOCK CLOSE: A second hand flows past the frame. The minute hand is 
steady. The hour hand clicks to 4:30 P.M. A time
card isplaced in. Someone is checking out. THE HALLWAY Where we see Lucky is the 
one checking out. We PUSH IN to him as he
takes his card out and places it in a slot on the wall. He then goes in his 
pocket to pull out an envelope.

THE ENVELOPE As it is opened, we can barely see that it is a paycheck.

ANOTHER ANGLE As Lucky notices the amount of the check. He looks frustrated. 
Offscreen We hear the clock tick once more.
Lucky looks around to see if anyone is watching. Then he hits the clock, 
breaking the glass.

23 INT. BATHROOM--DAY A DUFFEL BAG Being stuffed with a postal uniform. A 
handpulls out a baseball cap.

24 EXT: BATHROOM--DAY Where Lucky emerges in more comfortable clothing. As he 
walks up the hall and into...

25 INT. THA SORTIN ROOM-DAY

We start on a large CLOSE UP of George Bush's face. Suddenly, it is hit with 
many darts. Maybe a shot on dart P.O.V., as in Robin
Hood.

WIDER Where we see that we are in a Sorting Room. This is the place where mail 
is sorted by ZIP code. There are eight guys at
work. Three are brothers; the other five are Hispanic. Chicago and a Mexican 
dude, E.J., are playing darts.

CHICAGO: You see that? I tore that muthafucka's nose up!

E.J. goes up to the dartboard, to which they have taped a picture of George 
Bush.

E.J.: Yeah that was nice!

Lucky comes into the room.

LUCKY: Y'all need to get y'all asses to work before y'all get Ared!

CHICAGO AND E.J.: Fuck you.

LUCKY (gestures to Chicago): What up, souljah?

Chicago walks toward Lucky. E.J. looks a little left out.

CHICAGO: What's up? Hey you know they put two more Buddha heads on mail carrier. 
Still got me waiting, sorting with tha
Mexicans.

We see E.J. in the close background nearby, sorting mail with an open ear.

E.J.: Hey, Chicago, don't be talking bout Mexicans! I kick your ass. At least we 
got a country.

CHICAGO (whispers): I'm on Oaktown Run tomorrow. Getting a truck ready. Wanna 
go?

LUCKY: Yeah.

E.J.: Y'all going to Oakland?

Lucky cuts him a dry look that reads "Mind your own business."

CHICAGO: Cool. You gonna bring a yamp?

E.J. (now in the middle): What's a yamp?

LUCKY: A young tramp. You mind?

E.J. calls Lucky a "Puto" and goes back to sorting mail. Lucky and Chicago walk 
away and talk.

LUCKY (O.S.): And get them ZIP codes right.

ANOTHER ANGLE: MOVING

LUCKY: I dunno. Why don't you get that crazy ho' you go wit to hook me up?

CHICAGO: I'm on it. You call your cousin K-Dog?

LUCKY: Naw, not yet. I hadda And a way up there this weekend anyway. (with 
pride) Gotta work on our music thang. It's cool, we
gettin' paid to go. Gotta go, Loc.

Lucky goes to leave.

CHICAGO: Where you goin?

Lucky turns.

LUCKY: Why you need to know? You ain't my bitch! I'm off!

DISSOLVE TO 26 EXT THA PROJECTS-DAY WIDE As Lucky comes to the curb and gets 
ready to exit his car. In the far
background, we see and hear another car coming up.

27 LVT GANGSTA RIDE--DAY From the inside of the car, we roll up on Lucky getting 
out of his car. WE get the feeling something
drastic is gonna happen. 36, 48, f.p.s. Time slows down. Lucky turns around just 
as the car stops.

ANGLE On Lucky, as he turns and attempts to see who is in the car. It turns out 
to be some of his old friends.

LLOYD: What's up, Lucky?

LUCKY: What up, nigga? What y'all doing?

LLOYD: Looking for a nigga to jack.

In his lap we see a gun.

LUCKY: Ya'll need to jack that cracka Larryl Gates.

BACKSEAT GANGSTA: Who's that?

Everybody just turns and looks at him. Ne shrinks back into the back seat.

LLOYD: Yeah we gonna jack him too. Goin up to City Hall later today... ... 
Remember Lerek?

LUCKY: Yeah. He live over there. (points)

LLOYD: Not no more. Got his ass caped out yesterday.... We gonna get tha niggas 
that got him.

Lucky nods.

LUCKY: Well, later.

LLOYD: All right. Peace.

Lloyd smiles ironically.

LUCKY: Yeah, peace.

They drive off. Lucky turns and walks into tha projects

28 EXT. J-BONE'SPORCH-DAy Lucky walks up to a porch where we see a tall, 
slender, light-brown brother wearing no shirt and
smoking ajoint. This is J-Bone, Lucky's old friend. So close are they that they 
have children by the same woman. J-Bone is standing on
his porch enjoying the afternoon sun and a cool Santa Ana breeze. We hear a jet 
fly overhead. We hear a fly-ass beat flowing from
someone's apartment window.

J-BONE (Greeting): Mr. Postman! Working muthafucka!

LUCKY: Don't start! Whatsup, J-Bone.

J-BONE: Want some Thai bud?

LUCKY: Naw. Can't fuck wit that.

They pause for a moment. J-Bone's attention has wandered across the way.

ACROSS THE WAY We see an Old Woman toiling in her garden. In the projects older 
folk respect their small spaces by making them
as comfortable as possible. Some playing children run through this shot.

BACK TO PORCH

J-BONE: Hi, Ms. Jackson. ... She hate my ass.

MS. JACKSON Looks up toward J-Bone. Her face does not register the slightest 
hint of a positive response to J-Bone's greeting. In
fact it says, ,,Go to hell. " Ms. Jackson tells one of the kids, a young boy, to 
go inside. Upset and reluctant, the boy complies with his
grandmother's wishes.

THE PORCH

LUCKY: Heard 'bout Derek.

J-BONE: Yeah, Derek. D-Dog! Crazy muthafucka, huh? Ain't that about a bitch? 
(reminiscing) ... Anyway, so you here to check on
Keisha, huh?

They start walking.

LUCKY: Yeah, I'ma give Angel some money to buy her some clothes.

J-BONE: Awww, muthafucka, you don't need to do that. I'11 get her some clothes. 
Take her to the Slauson Swap Meet, Fox Hills
Mall, get her what ever she need.

LUCKY: Naw, you don't need to do that.

A crack addict walks toward J-Bone. He makes a quick transaction.

J-BONE: Ain't no thang.... It ain't like I ain't got the money. Besides, she 
call me Daddy sometimes anyway.

J-Bone walks on ahead. Lucky seems a little miffed. They walk upstairs to 
Angel's apartment.

INT. ANGEL'S PLACE--DAY Where Lucky and J-Bone enter. There are two small 
children on the floor watching television. One is a
girl, the other a boy. The girl is six years old, and the boy is four. This is 
Keisha and Antonio. On the screen are afternoon cartoons.

LUCKY: What you mean she call you Daddy?

J-BONE: Just what I said.

LUCKY (gestures to his child): Hey, little girl!

Keisha runs up into her daddy's arms.

LUCKY: Who's your daddy?

Keisha timidly points to Lucky, who smiles and looks at J-Bone.

LUCKY: That's your son, this my daughter. Don't you be forgetting.

J-BONE: Well, I'm her second daddy, since they came from the same hooka.

As if on cue and "on cue" we see a young woman of about twenty-two enter the 
room. Her face looks like that of someone who is
entering the threes of what will be a hard life. Despite this, she retains a 
beautiful but very uninnocent look. This is Angel.

ANGEL: What y'all two fools talking 'bout?

LUCKY: Talking 'bout your yamp ass. (takes a drink, then takes a second look at 
her)

We notice the unusual color of her lipstick and her nervous twitching. Angel 
begins rearranging things on her already-cluttered-up
coffee table.

LUCKY: What you cleaning up for? Place look fucked up! Normal! ... You ain't 
been basing, is you? (to J-Bone) Has she?

J-Bone doesn't say anything.

ANGEL: No, I ain't, and neither one of y'all is my husband, so y'all can't tell 
me shit. (darts back toward the bedroom)

ANGEL 5 P.O.V.: MOVING BACK AWAY FROM LUCKY

LUCKY: You know what I told ya ass bout that!

The bedroom door is slammed shut. Lucky lets his little girl out of his lap and 
loose.

LUCKY: Told her if she start doing that shit, I'm gonna take Keisha to live with 
my momma.

J-BONE: (looking at cartoons) She all right, Lucky. Believe me, I'd know.

LUCKY: Yeah. (takes a swig, then places his forty on the table) I gotta stop 
drinking this shit. Fuckin wit my brain.

From outside someone calls J-Bone. He reluctantly leaves the cartoons to sell 
some more crack. Lucky starts to take notice of all the
clutter on the coffee table. Downstairs, J-Bone makes a transaction. We see a 
piece of a crack pipe under the hair of a Black baby doll.
This catches Lucky's attention. Lucky picks it up and notices Angel's lipstick 
is on its tip. He looks from J-Bone outside toward the
bedroom. Then he gets up and walks in that direction.

29A INII: ANGELSSLAACE-DAY THE BEDROOM Where we see Lucky opening the door. 
Inside Angel is just covering herself up
after being with a gangsta. Lucky closes the door.

IDEA. Start shot of Lucky opening the door then PAN OVER to reveal Angel and the 
Gangsta surprised then PAN back to Lucky's
reaction and he CLOSES the door.

29B INT. ANGEL'S PLACE--DAY THE HALLWAY As Lucky takes a moment to think. He 
walks off.

THE LIVING ROOM Lucky picks up Keisha

LUCKY: C'mon, we gonna go see Grandma. Your momma tripping.

Suddenly, Angel bursts from the bedroom, cursing and talking shit.

ANGEL: Who the fuck you think you is? You don't tell me what the fuck I can do! 
Who the fuck I can see!

29C EXT. ANGEL'S PLACE--DAY OVERHEAD Outside, downstairs, J-Bone begins to take 
notice of the storm brewing in the
apartment. He looks up toward the noise.

290 ANOTHER ANGLE: ON CRANE Where J-Bone runs around and up the stairs as we 
CRANE UP with him and past the front of
the apartment to see Lucky and Angel, perfectly framed in a window, arguing up a 
storm.

INT. ANGELSSPLACE-DAY BACK TO LIVING ROOM As Lucky and Angel go at it. Lucky has 
Keisha in hand. J-Bone enters the
apartment and comes in between the two of them.

LUCKY: Fuck you, bitch! How you gonna be fucking some nigga while my little girl 
around here?! (to the guy) What you looking at
nigga?

GANGSTA #1: Hey, Bone, you better tell this muthafucka to get outta ma face 
before I get my strap!

J-BONE: Lucky! Lucky, calm down, G!

LUCKY: Naw, fuck her yamp ass!

GANGSTA #1: Who is this muthafucka?

Lucky throws the Gangsta a funny look. Then, breaking the first rule of the 
street, he turns his back on him to continue arguing with
Angel.

GANGSTA #1: What you looking at, punk? Mark ass, nigga!

Gangsta #1 sucka-punches Lucky. And they both start a big fight in the middle of 
the small apartment. J-Bone joins the fight, on
Lucky's side.

J-BONE: Hey, hey!

Lucky and J-Bone kick his ass. Tha Gangsta is out cold. From the fire and light 
in Lucky's eyes, we can see shades of his previous
life. He and J-Bone stand back to admire their handiwork. Outside we can see a 
crowd has gathered from the noise.

LUCKY: Aw, shit! Ijust got offa work. I don't need this shit. C'mon, Keisha. 
Later, Bone.

Lucky walks off, daughter in hand.

30 EXT. ANGELS PLACE--DAY As Lucky, daughter in hand, quickly emerges. Behind 
him Angel throws a verbal arsenal of dirty
insults and threats such as "Fuck you, niggs!" "You don't make no money, 
anyway!" "How you know she your baby?" etc. As Lucky
walks, we lower Angel's voice and hear another one of Justice's poems. JUSTICE 
(V.O.): "In a time of secret wooing today prepares
tomorrow's ruin. Left knows not what right is doing. My heart is torn asunder. 
In a time of furtive sighs. Sweet hellos and sad
goodbyes. Half truths told and entire lies. My conscience echoes thunder."

DISSOLVE TO:

INT. JESSIE'S SALON--LATE AFTERNOON

As we see Justice standing over her notebook reading a poem to lesha while 
putting the finishing touches on her head. The salon is
nearly empty. Jessie is sitting at the counter. Heywood is on the phone.

JUSTICE: "In a time when kingdoms come. Joy is brief as summer's fun. Happiness, 
its race has run. Then pain stalks in to plunder."
(closes the notebook) So what you think?

IESHA: It's pretty. What you call it?

JUSTICE: "In a Time."

lesha's beeper goes off.

IESHA: (looking at her beeper) Uh-oh, Chicago paging me.

Iesha gets out of the chair and goes to the receptionist's phone. Heywood is on 
the phone. His face is so serious. Jessie quickly points
lesha in the direction of the pay phone on the wall. lesha sighs and walks that 
way.

JESSIE: You need some change?

IESHA (O.S.): No.

Justice begins cleaning up her station.

THE COUNTER

Where Heywood gets off the phone. From the look on his face he has heard some 
terrible news.

JESSIE: What'd they say?

Heywood crosses over to the couch, where he sits with his head down. Jessie goes 
over to console him.

THE WALL PHONE Where lesha is on the phone with Chicago.

IESHA (with attitude): What you want? Ah, huh. Ah, huh. Yeah, I'm wit it. We got 
a hair show to go to up there anyway.

CHICAGO (0.S.): Bring one'o your friends too. A Ane one.

IESHA: What you mean, a Ane one? You trying to say I got ugly friends?

Justice and lesha make eye contact. Both smile. Suddenly in the background on 
Justice, we see and hear police lights converge on
some brothers across the street. This catches Justice's attention.

BACK TO COUCH Where Jessie is still consoling Heywood. Behind them out the 
window are the police.

JESSIE: What the hell they doing now?! I'm as glad as hell we getting outta here 
tomorrow.

JUSTICE (walks up): What's wrong?

Heywood gets up and walks away. Jessie stands. Justice joins Jessie at the 
window. Both stand in profile. Red and blue flashes of light
flow across their faces. There are people leaving the shop throughout this 
scene.

JESSIE: You got your styles together for tha Oakland Show?

JUSTICE (demure): Yeah. I'ma play with Lisa and Gena's heads. If they like it, 
they like it. If they don't, they don't.

JESSIE: So you riding with us? You know we got us a little caravan going.

Justice nods. Jessie notices the stress on her face.

JESSIE: Justice. I know I ain't your momma. Hell, I ain't even old enough to be 
that. But we pretty close, and sometimes we talk like
sisters. I just gotta tell ya, baby ... you gotta move on. ... A man ain't 
nothin but a tool. You got to know when to take 'em out tha box
and when to put 'em back in. And if ya lose one--well, you just ...go get 
another. ... Take a chance, do somethin different for a
change. There's always another man somewheres out here. (looks out the window) 
You gotta know sometimes you gonna lose one.
(matter offactly) Like a blow dryer or a good brush. What I gotta do? Play Momma 
to everybody in this shop?

Justice thinks, looks down for a moment, then out the window once more. BACK TO 
THE STALLS Where we see Dexter, Heywood,
and four other stylists: Marine, Colette, Lisa, and Gena.

DEXTER: Where's my blow dryer! I'm tired of all my shit disappearing alla time!

HEYWOOD (coolly): Calm down. Calm down. Here it is. I borrowed it for a wrap I 
had to do this morning.

DEXTER: Heywood! Why you always borrowing my shit without asking?!

HEYWOOD: I asked you for it this morning, and you said yes. Why are you crying 
over it like a bitch?

DEXTER: Who you calling a bitch? If anybody's a bitch, you a bitch!

HEYWOOD: Excuse me? You wan some? Maybe you forget I was Golden Gloves. You 
catchin me on tha wrong muthafuckinday.

MAXINE: All right. All right. Dexter! As much as you talk and you borrow 
everybody else's stuff alla time. (looks over his tools) Like
my brush right here.

Maxine walks away. As she does, we notice the round beautiful fullness of her 
bootay. Her hair is dyed blood red.

DEXTER: I was gonna give it to ya, Maxine, I just got distracted. Mmm-mmm.

HEYWOOD: Shit, I was wrestlin champ at Crenshaw High School.

JUSTICES STALL Where she and lesha meet up once more. Iesha begins playing with 
her new braids in tha mirror.

JUSTICE: So what your new man talking bout?

IESHA: He want me to go onna run with 'em. (starts scrutinizing her hair) This 
is good now. I don't haveta be messing around with it.
Just walk out tha house--ya know.

JUSTICE: Yeah. What's a run?

IESHA: Oh, you know what a run is.

Iesha keeps fixing her hair. It is apparent that she is luring Justice's 
curiosity. Justice takes the bait.

JUSTICE (pulls lesha's hand away from her head): No, I don't. And stop messing 
with it. What's a run? He ain't no slanger is he?

IESHA: A run ... is, well, it's like this. You really wanna know?

Justice gives her a frustrated look.

IESHA: Well, you know my boyfriend Chicago, right?

CUT TO:

32 EXT THE POST OFFICE--DUSK Where we see Chicago point at a truck and sign a 
rec order. "That one," he says. He is brushing
his head with a flat brush and arguing with an Oriental co-worker.

IESHA (V.O.): You know he work at the post office and all. The one on Century 
and Van Ness. Well, every so often he and his friend
at work, they have to drive up to Oakland in this mail truck, see.

32A INT. JESSIE'S SALON--DUSK BACK TO SCENE

IESHA: You listening?

JUSTICE (her interest apparently lost): Yeah.

In the background the other stylists are leaving. A few of them say goodbye to 
Justice before they go. Justice resumes cleaning her
station. Her interest in lesha's proposal is lost.

IESHA (attempting to persuade): Well, we get in this mail truck and we drive up 
the coast, get drunk, eat Mexican food, and just have
a good time. It's fun! (seeing no effect) You ain't having it, huh?

JUSTICE: No, I'm not. That is too to the curb. How am I gonna look like riding 
in some mail truck? What you doing seeing some
mailman, anyway? You know they don't make no money! What he gonna do for you? 
Mail your bills for free?!

Iesha folds her arms in defiance of Justice's comments.

IESHA: (frustrated with Justice) How come you don't ever wanna have no fun no 
more? Girl, the world is just one big place waitin for
us to go out and fuck up in it. You gonna end up being a straight spinster.

We see Justice's face. She is definitely looking more hardened. Iesha pulls a 
wad of money out of her pocket and gives it to Justice.

IESHA (walking out): Later. Thanks. You a Straight Buster!

Jessie comes up.

JESSIE: What she all mad about?

JUSTICE: Nuthin.

We hear on the salon's radio the beginning of "What You See, Is What You Get!"

JESSIE: Listen, meet us at my place at eight o'clock tomorrow. Come on, let's 
close up.

We PAN over to reveal Heywood dancing. He goes over to Jessie, and they start to 
dance. Justice is left standing alone.

DISSOLVE TO: 33 EXT JESSIE'S SALON--DUSK As we see Justice, Jessie, and Heywood 
close the shop. Justice pulls the iron gate
closed and secures its front. Jessie locks the locks. A car cruises by, and we 
hear some bumping sounds of hip-hop music coming
from the inside speakers as well as the voices of some brothers shouting out 
compliments to these two beautiful sistahs. We also hear
Heywood go on about how he loves himself, how life is beautiful. He tells 
Justice, "See, that's your problem, Justice. You don't love
yourself. "

DISSOLVE TO:

34 INT. Justice's Home--NIGHT It looks though it was decorated by her 
grandmother, which in fact it was. We notice a portrait of an
elderly woman with similar features as Justice. There are also more than a few 
clocks around, one grandfather clock and a large
twenty-four-hour sandclock are prominent. Justice has nothing but time on her 
hands. The air is full of ticking mingled with the sound
of the outside streets. We dissolve through these images and slide into ...

35 INT. BATHROOM-NIGHT We START outside the doorwity and SLOWLY MOVE IN, 
invading Justice's privacy. Justice is busy
rolling her hair in the mirror. She is alone. She looks at her face in the 
mirror. She is a mess. She lets her mind wander as she looks at
the cold tile floor. Suddenly, Justice thinks she hears something. PAN from 
mirror to her face as she hears the sound.

36 INT.HALLLWAY--NIGHT Where Justice quietly stalks. She is nervous as hell. The 
sounds of the clocks become more prominent
as she moves forward. Justice's P.O.V. moving forward, as she walks down the 
stairs.

THE DOORWAY Where Justice stands. Someone is on the other side. We hear a slight 
scratch, then silence. Quiet tension. This is
broken up by the sound of a friendly meow. Justice opens the door, and a big 
white cat enters.

JUSTICE: White Boy! C'mere.

She picks him up. Pets him, then he pulls away with a screech and runs 
offscreen.

36 CONTINUED JUSTICE: Yeah, you just like a boy. I should have you fixed.

THE LIVING ROOM Where Justice picks up the remote control to turn on the 
television. On the screen is Bet's Midnight Love. There
is a montage of romantic R&B videos. A flash of static and we ...

CUT TO: 37 INT. IESHA 'S APARTMENT-NIGHT We see lesha and Chicago do a smooth, 
close, sexy Ragamuffln dance. We hear
some Ragamuffin music in the background.

37A INT.: JUTICE'S LIVING ROOM--NIGHT BACK TO JUSTICE Justice seems 
dissatisfied. She turns the television off. Across the
room we see Justice sitting at the piano. She looks bored. CLOSE On the piano 
keys as Justice presses a low-note key. The sound
transcends us into the next scene.

DISSOLVE TO: 38 INT.: JUSTICE'SLIVlNG ROOM--NIGHT As we see Justice looking 
through a collection of 45 records. She picks
out one.

THE RECORD PLAYER As the record begins to spin. The first few bars ofStevie 
Wonder's "I Never Dreamed You'd Leave in
Summer" float into the air.

JUSTICE: As she begins to groove to the music. She walks toward the kitchen.

38A INT. JUSTICE'SHOME--NIGHT VARIOUS ANGLES Of the empty rooms within the 
house.

38AA INT JUSTICE'S KITCHEN--NIGHT Where she makes popcorn. Pours it in a bowl, 
then pours tabasco sauce on it.

38B EXT. JUSTICE HOME--NIGHT THROUGH THE WINDOW FROM OUTSIDE From a voyeuristic 
POV we see Justice grooving
to the music and eating her popcorn. She picks up a candy bar offa table.

38C INT. JUSTICE'SHOME-NIGHT HACK INSIDE Justice stops dancing, candy bar in her 
mouth. She looks around for a moment
and then into a mirror. Everything seems hue, then out of nowhere she bursts 
into tears. She cries a few tears for a few seconds, then
wipes them away.

THE TELEPHONE Justice picks up the receiver and enters some digits.

39 INT. IESHAS APARTMENT-NIGHT We see a pair of lips that turn out to be a 
telephone as lesha picks up the receiver, and we
follow it to reveal her and Chicago in bed together, Iesha lies on her stomach 
with Chicago on top. Tha skins are deftnitely on. Chicago
is wearing nothing except it Chicago Bulls fisherman's cap. Ragamuffin music is 
playing in the background mon.

IESHA: Who dis? Oh, what's up, girl? You change your mind? ... Somethin wrong?

40 INT. JUSTICE'SHOME-NIGHT

JUSTICE: No. No, girl, I just wanted to talk.

40A INT. IESHAS APARTMENT BEDROOM--NIGHT BACK TO IESHA

CHICAGO (whispers): Get off tha phone. Get off tha phone. (louder) She busy!

IESHA: I'm talking to my friend, you mind?! (rolls her eyes and reaches into a 
bag of Fritos) Listen, J, I'm kinda busy. Could you call
me back later?

JUSTICE (O.S.): Yeah.

Iesha hangs up the phone.

CHICAGO: Finally.

IESHA (getting up): What you mean? You wasn't doing nuthin anyway!

41 INT. JUSTICE'SLIVING ROOM--NIGHT Where she sits. Her eyes wander around the 
room and then rest on her cat across the
way. The cat looks back at her, then turns around and walks away into the 
hallway. Justice shakes her head. Then her eyes settle on
something else.

THE COFFEE TABLE Where we move up on her notebook.

JUSTICE As she wipes a few more tears away and reaches for her notebook.

42 INT. LUCKY'S HOUSE--NIGHT A NOTEBOOK As we see it being opened. Its pages are 
ratty. We notice its pages are colored
with children's drawings: a family, a dog, a house.

THE LIVING ROOM Where we see Lucky lying on the couch like a potato watching 
television. In the foreground Keisha lies on the
floor drawing in her notebook.

ON TELEVISION Is one of those Tom Foo Infomercials. He's that Chinese guy who 
sits on a boat with a lot of pretty women (ah
white) and says, "You can be rich too. " We can't tell if Lucky is looking at 
this or is lost in his own thoughts. He mumbles a rhyme
about Black business versus Korean exploitation.

KEISHA As she looks at the screen. We hear a helicopter go overhead as its 
spotlight flows into the room. Keisha reacts to it with
indifference and continues to draw. Lucky calmly cuts his eyes in that 
direction. The Light gets his attention and prompts him to get up
and make a phone call.

LUCKY: Operator? Yeah, give me Oakland, please. Area code 415.

42B INT. COUSIN KALIL'S SOUND LAB: OAKWVD-NIGHT Where we travel past a ringing 
phone and some sound equipment to
reveal a picture of a young man. Our attention settles on his eyes. This is 
Lucky's cousin, Kalil.

SUDDENLY WE HEAR THE SOUND OF GUNSHOTS.

43A INT LUCKY'SLIVING ROOM--NIGHT BACK TO LUCKY He takes his ear away from the 
phone and looks in the direction the
shots were coming from. There is some question as to which end of the telephone 
the shots came from.

CLOSE On Lucky's face. He looks up in the direction of the gunshots and down on 
the floor.

THE FLOOR: LUCKY'S P.O. V: Where Keisha is rolled up in a ball.

LUCKY (hanging up phone): Go to bed.

Keisha gets up and goes toward the bedroom. Lucky looks at her exit, then goes 
toward the window and looks outside the blinds. On
the TV in the background is the Life Alert commercial, 'i've fallen and I can't 
get up." We see Lucky through the blinds in the
foreground and the TV in the background.

THE DOORWAY Where a woman enters. She is a short, medium-size woman, with a 
pretty but hardened face. The light in her eyes
says she still has some humor left. This is Annie, Lucky's mother. She has a bag 
of groceries in hand.

LUCKY: Hi, Momma! Need some help?

ANNIE: Just like you to offer help when I only got one bag. ... So are you going 
up north to see Kalil this weekend?

LUCKY: Yeah, look like we finally gonna get this music thing going. Tryin to 
hook somebody up to listen to these tapes--so I won't
haveta be doing this post office shit no more.

ANNIE: Don't be cursing around me. Who you think I am, one'a your friends? Be 
glad you got an honest job. And don't be wearing out
your welcome, going to Oakland every other weekend. You know how your Aunt 
Audrey can get!

LUCKY: It's not even like that, Momma. (sighs in frustration)

THE KITCHEN Where Annie enters and begins to load the refrigerator up with 
goods. Lucky comes into the background.

LUCKY: Keisha's here.

Annie begins to glow with the mention of her grandchild.

ANNIE: Really? How's my grandbaby doing?

LUCKY: She fine. I want her to stay here, for good.

Annie reacts to this.

LUCKY: Angel been fucking up bad. Basing.

A pause. Silence. Neither of them says anything. Lucky begins to walk back 
toward the living room.

ANNIE: Are you gonna take care of her?

Lucky turns around. He thinks.

44 INT KEISHA'S ROOM--NIGHT

CLOSE

On Keisha in bed under covers.

CUT TO:

LUCKY: Yeah.

He walks away.

44A INT LUCKY'S LIVING ROOM--NIGHT BACK TO THE LIVING ROOM Where Lucky gets 
closer to the television and turns on
the Sega Genesis Joe Montana Football Game. He begins playing.

ANNIE (O.S.): Well, you just remember, that's your baby. I'm done raising kids! 
You need to quit playing them video games and figure
out what you gonna do with your life. Time ain't forever!

LUCKY'S FACE: As we MOVE into his face as he plays. We hear bass beats get 
louder and louder, then boom! We smash cut to...

45 INT. JUSTICE'S HOME--MORNING MONTAGE Of Justice preparing to go on the trip 
to Oakland. The music we hear comes
from her living room stereo.

46 INT JUSTICE'S BEDROOM--DAY

Where she throws her Louis Vuitton luggage bag. Several articles of clothing 
follow into the bag.

47 INT. JUSTICE'SLIVING ROOM--DAY THE TABLE Where Justice arranges her 
cosmetology tools by order of preference and
priority. We hear her mumble "I need this, and this, and this. "

48 INT. JUSTICE'SHAT ROOM--DAY Whene we see Justice look around in a room full 
of hats. She picks up a baseball cap with her
name JUSTICE On the front.

48A INT JUSTICE'SLIVING ROOM--DAY ANOTHER SETUP: THE LIVING ROOM She runs 
frantically into frame. We quickly
MOVE into her as she turns around and thinks for a moment.

49 EXT JUSTICE'SHOME--DAY THE FRONT PORCH Where Justice fills a large dog bowl 
full of Meow Mix cat food. Her cat
comes into frame at her feet and begins surveying this feast. When Justice goes 
back inside, her cat is joined by no less than eight
other neighborhood cats.

49A INT. JUSTICES HOME-DAY Justice turns off the stereo and grabs her keys.

50 EXT. JUSTICES HOME--THE FRONT WALKWAY--MORNING Where Justice walks in a quick 
hustle toward her car. She turns
off the alarm with a key-chain button. The car shouts out in an electronic 
voice, "Disarmed"

ANOTHER ANGLE As Justice tries to start up her car. It won't start. She hits the 
dashboard in frustration and thinks for a moment.

51 INT JUSTICE'S HOME--DAY THE KITCHEN Where we see Justice on the telephone. We 
hear the phone ringing on the other end.

52 INT. JESSIE'S APARTMENT-DAY JESSE'S ANSWERING MACHINE Which clicks on. We 
hear some smooth R&B music, then
Jessie's voice. Over this we see the following images.

JESSIE (V.O.) (sexy voice): Hi. This is me. If you don't know who me is, then 
you have no business calling me.

THE LIVING ROOM Where we see Jessie's meticulous but uniquely furnished 
apartment. Her place is just like her: polished, and all
about the look.

JESSIE (V.O.) If you do know who me is, then you can do me a favor.

JESISIE'S BEDROOM Where we see her large ornate bed. What tales it could tell if 
it could speak.

53 EXT. JESSIES APARTIMENT-DAY Where we see Jessie leaning up against her car, a 
1 992 Lexus. She takes the last toke of her
cigarette and throws it on the ground and extinguishes it with her sharp-ass 
shoes. In the background we hear Heywood say, "We been
waiting for half an hour. She ain't coming! Let her catch up!"

Jessie gets in the car and drives away as Justice's voice clicks in on her 
machine.

JESSIE (V.O.): Leave me a message. Okay? Thank you.

JUSTICE (V.O.) Jessie, it's me, Justice. You there? Well, I'm running a (she 
decides it's futile) Shit!

53A INT. JUSTICE'S HOME--DAY

BACK TO JUSTICE'S HOME

ANOTHER ANGLE As she hangs up the phone. She thinks for a second, then dials 
some more digits.

JUSTICE: Iesha? What's up, cow?

54 EXT. JUSTICE'S HOME--DAY Where Justice and Iesha walk past Justice's car.

IESHA: I'm telling you, girl, you gonna have fun. There ain't nothing like this.

Justice gives her car a kick and the alarm goes off. She quickly turns It off 
with her key. As they walk out, we follow with them until
we let them cross and are on their backs to reveal the truck, which is a 1990 
Ford-made U.S. Mail truck. It is all white with the
government seal painted on both its sides. Justice stops in her tracks.

JUSTICE AND IESHA As Justice takes in the sight of the truck, Iesha is all 
smiles, in contrast to Justice's discomfort.

JUSTICE: I don't believe I'm doing this.

IESHA: C'mon, we gonna have fun.

They walk toward the truck, and we see Lucky in the front seat. Lucky switches 
his US. Mail cap to a more comfortable Sox hat. He
smiles at Justice. Offscreen we hear Chicago in the back of the truck.

CHICAGO (0.S.): Muthafucka say that girl from Ethiopia! That bitch from Compton! 
How she gonna be from Ethiopia and have a kid
named Lammar?

LUCKY: She look it, though.

Justice walks back to Iesha on the side of the truck.

JUSTICE: I don't know about this.

IESHA: Why you gotta be a buster? C'mon, take a chance for a change! Cow!

55 INT. THE TRUCK---DAY Where Lucky looks back at Chicago.

CHICAGO: She Ane, Loc.

LUCKY: Humph, I know that hoe. Crazy ass. She work in a beauty shop on Fifty-
fourth.

THE PASSENGER DOOR Where Justice and Iesha get into the truck. Lucky goes back 
into his quiet, cool, unassuming mode. Iesha
is all smiles as she does the introductions.

IESHA: Lucky. This my friend Justice. Justice, this is Lucky.

JUSTICE (with attitude): Hi.

LUCKY: Whatsup.

THE BACK SEAT Where we see Iesha and Chicago.

IESHA: And you know Chicago already.

CHICAGO: Whatsup, baby.

IESHA: Baby? Well. Let's go.

Lucky starts up the engine.

56 EXT THE TRUCK--DAY We see the front of the truck: Ford symbol all up in our 
faces. We PAN past the US. Mail symbol.

57 INT. THE TRUCK--DAY Lucky shifts into first gear as we TILT UP and he smiles 
at Justice. JUSTICE Who is not amused. She
puts on sunglasses.

58 EXT. THE TRUCK--DAY

WIDE As we see the truck turn in the street to make a U.

59 EXT CRENSHAW BOULEVARD--DAY Where we see the truck go up the street and end 
on a Crenshaw sign. They are leaving
their part of the city.

60 INT. THE TRUCK--DAY From inside we see the overpass of the 10 freeway come 
up. INSERT The 10 freeway West.

A TRAFFIC LIGHT Which we hear and see turn red.

61 EXT. CORNER OF ADAMS AND CRENSHAW--DAY Where we see the truck come to stop.

THE TRUCK Where Lucky waits for the light. He looks over on the other side of 
the street.

THE BUS STOP Where an Old Woman gets her pocketbook stolen.

BACK TO LUCKY Who makes an expression that reads "Oh, well." There is no shock 
on his face. That's the way of the world, as
Earth, Wind and Fire sa;ys.

62 EXT. THE TRUCK: BACK--DAY Iesha and Chicago affectionately play with each 
other, lesha gives him a couple of love taps.

CHICAGO (laughs): You can't make your mind up whether you wanna kiss me or hit 
me, huh? That your way of saying you like my
ass?

IESHA (jokingly): I don't.

CHICAGO (makes a muscle): Feel that. Feel that muscle. That's man stuff.

IESHA: That ain't shit.

Chicago grabs one of her breasts.

IESHA: Oww, shit! Muthafucka, don't be grabbing my tittie like that !

ANGLE ON JUSTICE Who glances behind her back at Iesha and Chicago and then into 
the sideview mirror once again.

62A OMIT TIME SLOWS DOWN 63 EXT.: THE TEN FREEWAY-DAY

MONTAGE OF ROAD SIGNS Of various signs along the 10 freeway At first we go past 
signs that read LA CIENEGA, CENTURY
CITY/BEVERLY HILLS, then we begin to read 405 NORTH SACRAMENTO. Different shots 
of the truck traveling between dissolves.

64 EXT. DESERT HIGHWAY--DAY We start on a car as it comes in the other left-hand 
lane, and as it goes past, we WHIP PAN with
it to reveal the truck. Lucky and Justice are in the front seat. Justice is 
obviously bored out of her mind. Lucky adjusts his vision from
the road to her in an attempt to grab her attention.

65 INT. THE:TRUCK--DAY Lucky is driving. He looks at Justice out of the corner 
of his eye. Justice is looking out at the road. Her
face is concealed behind sunglasses. We cannot tell if she is lost in the 
scenery or in her own world. THE BACK Where Chicago and
Iesha are asleep. Iesha is cradled in his arms. FRONT SEATS Where there is 
virtual silence. All we can hear are the sounds of the
engine, the road, and other passing cars. Lucky attempts to break the ice.

LUCKY: You kinda quiet, huh?

Justice doesn 't saty anything.

LUCKY: Guess so.

JUSTICE: Don't have nuthin to say.

LUCKY: Why you so mean? What you got to be so mean about?

Justice remains silent. She continues looking out the window.

LUCKY: Oh, so you one of them angry bitches, huh? A feminist. Justice turns 
around. Lucky has gotten her attention.

JUSTICE: What did you call me?

LUCKY (matter offactly): I said you a mean bitch.

JUSTICE (taking offher glasses): No, nigga! You don't call me no bitch! You 
don't know me! You don't know nothing about me!

LUCKY: I know you a bitch! Look at the way you actin. I been trying to act all 
courteous and shit, and I gotta call you a bitch to even
get your damn attention!

JUSTICE: Fuck you, I ain't no bitch, I am a Black woman! I deserve respect! If 
I'm a bitch, yo momma's a bitch!

LUCKY: You a bitch! We ain't talking about my momma! We talking about you! Think 
you too fine to talk to nobody! L.A. bitches!
I'm tired of'em!

Justice is fuming now.

JUSTICE: Let me out!

LUCKY (coolly): Where you gonna go, huh? Where you gonna go?

JUSTICE: Fuck you! I'll walk!

66 EXT. ROADSIDE--DAY Where we see the truck pull to the side of the road. The 
passenger door opens, and Justice gets out, bag
in hand.

LUCKY: Get tha fuck out then, bitch! Walk your ass home! It'll do them big-ass 
thighs of yours some good anyway! Cottage cheese
legs! Justice turns, fuming mad. The last thing you should joke about with a 
woman is her weight, even if she has a nice body.

JUSTICE: I better not see your ass around L.A. 'cause I'm gonna get some niggas 
to fuck you up!

THE BACK OF THE TRUCK Where lesha wakes up from the sound of Justice and Lucky 
arguing. She mumbles, "What's going on?!"

JUSTICE: They gonna fuck you up!

LUCKY: Fuck you, bitch!

JUSTICE: Fuck you up!

This exchange goes on one more time, then Lucky cuts it off by abruptly closing 
the passenger door in Justice's face. Iesha pokes her
head up from it.

IESHA: What you doing!? What's happening? Where my girl at?!

LUCKY (shifting into first gear): I'm leaving that bitch!

IESHA: Leaving her! You can't just leave my friend out here in the middle of 
nowhere?! Chicago! Chicago, wake up!

67 EXT: DESERT ROAD--DAY From on HIGH we see the truck get back on the road and 
drive off as we COME DOWN to reveal
Justice. She is pissed off beyond pisstivity!

68 INT THE TRUCK--DAY Where we see Lucky driving. He is pissed off also. He is 
thinking heavily about his actions.

IESHA (O.S.): Chicago! Lucky left Justice! Lucky left Justice!

CHICAGO (O.S.): So what! I'm trying to sleep!

IESHA (O.S.): But he left her! He left her out in the middle of nowhere!

Chicago comes up close to the back of Lucky's head.

CHICAGO (O.S.): Lucky. What's up, G?

Lucky sighs and looks into his side mirror.

WIPE:

69 EXT. DESERT ROAD--DAY: MINUTES LATER Justice is in the foreground, and the 
truck is following along in the background.
Iesha is trying to convince her to get into the truck.

IESHA: C'mon, Justice, get in the truck. Ain't you kinda hot? Lucky said he'd 
apologize.

LUCKY Looks at lesha. His face is about as nonapologetic as you can get. Ain't 
no apologies jumping off today.

IESHA: C'mon, Justice. J! (sees something)

Justice walks past a big diamondback rattlesnake. She is so mad, she doesn 't 
even notice it, Iesha plays it off and continues to call
Justice.

IESHA (turns to Lucky): Justice! She get kinda stubborn sometimes. Stop the 
truck.

The truck stops, and Iesha gets out. Chicago gets into the front seat. WIDE As 
we see Iesha get out of the truck and walk over to her
friend. Lucky exits the driver's side and goes to the back of the truck.

THE BACK OF THE TRUCK Where Lucky opens the wide doors to let Justice and Iesha 
into the back.

Justice and Iesha come around the corner. The latter holds a consoling arm 
around her friend's shoulders. Justice and Lucky come
face to face.

JUSTICE (looks up and then with a mean face): You still gonna get fucked up!

Iesha smiles and tries to laugh it off. The two women climb inside. Lucky begins 
to close the door, but not before giving his comeback
to Justice's threat.

LUCKY: Frankly, my dear. I don't give a fuck.

70 INT. ROADSIDE--THE FOREST--DAY

71 INT. JESSIESCAR--DAY HOOTCH MONTAGE We see a pair of nails being Aled with a 
nail filer. A compact mirror, where we
see eye shadow being applied to a beautiful brown eye. A PAIR OF NAILS Are being 
painted bright red. The hand is brought up to
reveal they belong to Colette. She admires her handiwork.

71A EXT ROADSIDE--THE FOREST--DAY HEYWOOD Walks up looking through the 
viewfinder of a small videocam.

VIDEOCAM P. O. V: Where we see Jessie in the foreground standing next to her 
car. In the far background we can hear the rest of
their party off in the woods. We should get the idea some of them are taking a 
leak.

JESSIE: It's not on. You gotta push the button.

HEYWOOD (V.O.): What button?

JESSIE: The red one.

HEYWOOD (V.O.): Oh, this button. (pushes the button and the word REC flashes on 
the screen in the left-hand corner.) It's on.
Showtime!

Jessie proceeds to act a fool and show off in front of the camera.

JESSIE: Well, here I am. It's me. (coolly poses on her car and takes a toke of 
her cigarette) In the wilderness. The wild blue yonder.

In the background we can see Dexter come out of the trees zipping up his pants. 
He calls back in the trees to one of the women.

DEXTER: Hey, Marine! I think I saw a snake back there. You better hope it don't 
bite your big ass!

JESSIE: They gettin close to nature. (laughs)

Heywood laughs too, offscreen. He drops the camera. WIPE: 72 IXT. THE TRUCK--DAY 
Where Lucky and Chicago ride along in the
front seat. Chicago is driving with one hand and brushing his head with the 
other. Chicago starts humming a few bars of a song.
Lucky joins in with a bass beat from his mouth. We soon recognize the theme from 
Sanford and Son.

73 EXT. THEROAD-DAY We see the truck drive along.

74 INT: THE TRUCK--LATER

CHICAGO: I'm telling ya, it was him. Saw 'em in the liquor store.

LUCKY: Which one?

CHICAGO: J and B on Manchester?

LUCKY: ... You out your mind!

CHICAGO: He had the beard, tha voice, everything. He bought a forty of Red Bull.

LUCKY:You saw Marvin Gaye in the liquor store, buying a forty? You stupid 
muthafucka!

The truck makes a funny noise.

CHICAGO: (Rrushing his head) It's thirsty. Pull the second tank.

Lucky pulls a knob. The car makes another weird noise. Chicago and Lucky look at 
each other, bewildered.

BACK OF TRUCK Justice and lesha look at each other. Justice is making shapes 
with a piece of string.

LUCKY: Empty. I thought you filled 'em.

CHICAGO: I thought you did.

Lucky gives him a look that reads "You stupid muthafucka." CUT TO: 75 EXT. 
ROADSIDE COFFEE AND GAS-DAY Where we see
the truck pull into one of the stations. In the background we see an eigh teen-
wheeler semi truck pull into the other side. ANOTHER
ANGLE As Lucky hops out of the truck. He walks toward the back of the truck, 
just as lesha and Justice open the back doors. We
hold on them for a moment.

IESHA: Good, now I can get me some liquor!

They walk past as we follow them and end on Chicago.

CHICAGO: Hey, hey, don't get crazy now! And buy me a forty and some Cheetos!

The girls walk on. Iesha waves off Chicago.

LUCKY (O.S.): You need to put her in check! C'mon, let's hurry up. Try to stay 
on schedule for a change. Fuck that CP time!

THE PUMP: OPPOSITE SIDE A foot steps out of the cab. A pair of gloves are taken 
off, revealing worn callused hands. The same
hands unscrew the cap off the truck's massive gas tank.

TNE SIDE OF THE GAS PUMP THE' PUMP Where we see Lucky's hand grab the handle. 
Another hand grabs at the same time.

LUCKY Looks up to see. A large white Trucker. Checked shirt, suspenders, big 
leather boots. There is a short moment between Lucky
and the trucker.

LUCKY: You mind?

T'he Trucker nods, indicating that he doesn't. He continues to study Lucky.

OPPOSITE SIDE OF THE PUMP Where Lucky inserts the nozzle into the tank and 
begins to pump the gas.

CUT TO: 76 INT. ROADSIDE COFFEE AND GAS-DAY THE FREEZER Where Iesha is selecting 
liquor.

IESHA: I gotta have my Gordon's and Socko. Justice, check that freezer, see if 
they got some Super Socko. ... Hey, they don't have
Old E! Y'all don't have no Old English?

THE COUNTER Where the cashier throws his hands up, indicating that they don't 
carry.

JUSTICE: Girl, don't you know they don't sell that outside of Black 
neighborhoods?

IESHA: Oh yeah, I forgot. Oh well, Chicago gonna have to settle for a Miller 
Light.

JUSTICE: Don't get too crazy now. You know how you get when you drink. You heard 
what your man said.

IESHA: Chicago?! I don't listen to him. He ain't my daddy!

JUSTICE: He's supposed to be your man, though.

IESHA: Sheeehit! I got him sprung! I be making that fool stutter. You know he 
start stuttering when he lying and shit.

CUT TO: 77 EXT. ROADSIDE COFFEE AND GAS-DAY CLOSE: CHICAGO

CHICAGO: Now, now, now, wait, wait, wait, see, see, see! ANOTHER ANGLE

LUCKY: Money?! You give her money?!

CHICAGO: Just sometimes. I like my woman to have tha best.

LUCKY: You getting playedl How much o' that coochie she be giving up?

77A EXT. ROADSIDE COFFEE AND GAS--DAY BACK TO STORE

IESHA: I don't hardly have to do nothing. I be rationing it to 'em.

JUSTICE: Rationing tha booty! (laughs)

77B EXT ROADSIDE COFFEE AND GAS--DAY BACK TO PUMP

CHICAGO: Aw, nigga, I be knocking that shit out every other day. She can't get 
enough o' me.

77C EXT ROADSIDE COFFEE AND GAS--DAY BACK TO STORE

IESHA: That nigga is weak! Ain't got no rhythm! Plus, he a preemie! You know 
what a preemie is? Two-minute brotha.

Justice laughs.

77D EXT.: ROADSIDE COFFEE AND GAS--DAY BACK TO PUMP

LUCKY: You paying for it!

CHICAGO: Wait, wait, wait!

LUCKY: Naw, nigga, you can't say shit! You paying for it! Paging for tha poon!

He glances across the pump. THE TRUCK Where the Trucker stands patiently with 
his arms folded.

LUCKY: Be done in a second, cuzz.

The Trucker waits. Arms folded.

77E EXT ROADSIDE COFFEE AND GAS--DAY BACK TO STORE

JUSTICE Is at the counter.

JUSTICE: You got everything?

IESHA: Yeah. So what you think of Lucky?

JUSTICE: I don't. Look.

She points to a display where we see some toy water guns.

IESHA: Oooow!

The cashier has finished. He has a total.

CASHIER: That'll be $15.35.

Justice walks back over to the counter.

JUSTICE (O.S.): I got it. Iesha, pick up some o' those blow bubbles, too.

CUT TO: 78 EXT ROADSIDE COFFEE AND GAS--DAY Where we see Justice burst out of 
the store laughing. She turns and begins
squirting water at lesha. We travel with them back to the truck as Iesha 
playfully squirts Chicago. He starts running after her. He
catches her, and they affectionately play with each other. The contrast of their 
play to the tension between Lucky and Justice is
apparent. They share a quiet, uncomfortable glance. Justice gets into the 
passenger seat.

LUCKY (to Chicago and lesha): Get in tha truck! We don't have all day! Shit! I 
gotta be somewhere.

He walks around the side of the truck. THE PUIMP Where the Trucker begins 
pumping his gas.

79 EXT. ROADSIDE COFFEE AND GAS--DAY Where we see the truck take off once more.

80 INT: THE TRUCK--DAY THE BACK Where Iesha and Chicago are kicking it. Chicago 
looks bored. Iesha is mixing the gin with the
Super Socko.

IESHA: Drink some o' this.

She hands him the Super Socko. Chicago takes a squig.

IESHA: Drink some more. To the middle.

Chicago takes a couple more drinks. He checks for the level of Socko left. Iesha 
takes the bottle back and fills it with gin. She then
proceeds to shake it up.

CHICAGO: Lemme have my forty.

He looks in the bag.

IESHA: They didn't have no Old E.

Chicago looks frustrated. Iesha has finished her concoction. She samples her 
work. Taking a small sip from the bottle.

IESHA: Mmmmmm.

She passes the bottle to Chicago, who takes a sip. Over their drinking we hear 
Justice's voice.

JUSTICE (V.O.): "Love is a juice with many tastes. Some bitter, others sweet. A 
wine which has few .. ."

81 INT. THE TRUCK: FRONT--DAY

JUSTICE'S NOTEBOOK Where we see her hand write.

JUSTICE (V.O.): "... few... vineyards."

Justice is lost in thought. Where to go from here?

LUCKY Takes notice of her writing out of the corner of his eye.

JUSTICE Notices Lucky looking at her periodically. She takes particular notice 
of his dirty nasty fingernails.

JUSTICE: Your fingernails are dirty.

Lucky looks at his fingernails. He seems kinda self-conscious and moves his 
hands to another part of the steering wheel.

LUCKY: What you writing?

JUSTICE (a beat): Stuff.

There is an uneasy space of time between them. They look at each other out of 
the corner of their eyes. They almost make eye
contact.

82 EXT THE ROAD--DAY Where we see the truck zoom up the road and into the 
distance. DISSOLVE TO:

83 INT. THE TRUCK--DAY THE BACK Where Chicago and Iesha settle in the back seat 
letting the liquor take its effect.

CHICAGO: Say you love me.

IESHA: Why?

CHICAGO: CauseI said so!

IESHA: That's what you wanna hear, huh?

CHICAGO: Yeah.

IESHA: Really? Good. (gets up, stretches her arms) You're so dumb. The more I 
teach you the dumber you get. (does a double take
and smells the air) Mmmmm. S'mthing smell good.

THE FRONT FROM THE OUTSIDE: DRIVER'S SIDE Where Lucky and Justice sit.

LUCKY: What's that smell?

Justice samples the air with her beautiful nose.

JUSTICE: Barbecue.

Chicago comes up front.

CHICAGO: Y'all smell that?

LUCKY: (his eyes catching something) Yeah.

FROM THE INSIDE OF THE WINDOW We see a sign which reads JOHNSON FAMILY REUNION.

IESHA: What this?

JUSTICE (with open eyes): Oh shit! Look!

ANOTHER ANGLE As we see a virtual ocean of Black faces in the distance. There is 
a gathering of some kind going on in a large park
by the side of the freeway. We start on this image, then PAN over to reveal the 
truck moving forward.

84 EXT. THE TRUCK--DAY As we travel alongside the truck as we see it in relation 
to the reunion. Note Three Levels: Truck in
f.g.iTrees in m.g./People in b.g./Characters speak in Long Shot.

CHICAGO: C'mon, we gonna get some barbecue.

LUCKY: We can't stay long, man. I gotta get to Oakland. Why niggas always gotta 
be thinking about eating?! You eat too much
anyway. That's why you head so big. Hair look like taco meat.

85 EXT. THE TRUCK--DAY As the truck stops and everybody gets out and walks 
toward the gathering of people. Iesha lags behind
and takes the last couple of sips from her drink. She takes one long last hit.

86 EXT THE JOHNSON FAMILY REUNION--DAY WIDE As we START on Lucky, Justice, and 
Chicago, and Iesha running to
catch up. They are walking forward just as we SWING behind them and CRANE UP to 
reveal a banner that reads JOHNSON
FAMILY REUNION.

MONTAGE OF IMAGES We see people talking, playing games, some hugging, reunions 
between relatives, old mixing with the young,
some dancing and a lot of food being cooked. This is the Johnson Family Reunion. 
We emphasize this last image of food being cooked.

LUCKY AND CHICAGO Look at each other. Their intentions are obvious.

IESHA

Catches up as we PULL BACK with her, to reveal all four of them.

IESHA: What y'all gonna do?

CHICAGO: We gonna eat.

JUSTICE: This ain't your family!

LUCKY: We Black. They don't know that.

ANGLE Where we see a brother who is walking through the crowd obviously drunk. 
He is about thirty years old and has a beard. He is
also talking very loud greeting everyone around him. Everyone around seems to be 
amused by his antics. He is known as Cousin Pete.

COUSIN PETE: My cousins! My cousins! I'm with my family! My family! (sees a 
couple of line women standing together) Mmmm,
how you doing? We related, huh?

The woman nods yes.

COUSIN PETE: Oh, really? Well, you know, third removed don't count. laughs and 
moves on)

'I'he crowd parts to reveal him as he walks toward the foursome.

COUSIN PETE: My cousins! My cousins! What's up, cousin? You got a pretty 
girlfriend here. Y'all make a good couple.

JUSTICE'S FACE As she reacts to being called Lucky's girlfriend.

COUSIN PETE: What's your name, cousin?

LUCKY: People call me Lucky.

COUSIN PETE: With a lady like this, I'd say that too. What's your name, sweet 
li'l West Coast thang?

JUSTICE: Justice.

COUSIN PETE: Justice? You mean like the law, huh?

JUSTICE: Yeah.

COUSIN PETE: How you get a name like that?!

JUSTICE: It's a long story. This is-

IESHA (putting on airs) Iesha. And this is my husband, Chicago.

We see subtle eye contact between Iesha and Justice.

CHICAGO: How you doing?

LUCKY: Yo, ah--cousin, what's your name?

COUSIN PETE: Just call me Cousin Pete. I want y'all to meet some family.

They begin to walk, Cousin Pete leading the way.

ANOTIFER ANGLE: MOVING BACK As Cousin Pete begins introducing Lucky, Justice, 
lesha, and Chicago to the Johnson family. He
introduces a few relatives, then we switch to a P.O.V. shot and we GO PAST their 
faces and see them as he says their names. We end
on three old ladies sitting at a picnic table.

COUSIN PETE (V.O.): This is Aunt Jessica, Uncle Herb, Aunt Aida Pearl, Uncle 
Fred and his wife Wilma, Cousin Isaac, Cousin
James, Cousin Kwame, the Kids, I don't know all of they names, and sitting here 
is Aunt June, Aunt May, and Aunt April. THE
BENCH Where three old women sit: Aunt April, Aunt May, and Aunt June. From their 
faces we can tell they are full of opinions.

COUSIN PETE: So y'alljust enjoy yourself, and have fun.

Iesha and Chicago go to sit down on the bench across the table from the three 
old women. Iesha sits in Chicago's lap.

LUCKY: That food looks good.

COUSIN PETE: Don't it? Go on, help yourself

Lucky and Justice walk toward the tables with food.

ANGLE: MOVING BACKWARD On lesha and Chicago

IESHA (wit to sarcasm): Goodbye. Don't they make such a nice couple?

JUSTICE Turns and throws lesha a nasty look and continues walking with Lucky.

BACK TO TABLE Where lesha and Chicago settle. They are both thoroughly amused by 
the game they are playing. The both a them
then turn to notice

THE STERN FACES OF THE THREE OLD WOMEN We PAN past the stern faces of Aunt 
April, Aunt May, and Aunt June. We rest
on June's face as she speaks...

AUNT JUNE: Are y'all in love?

IESHA AND CHICAGO Look at each other.

IESHA: Yeah.

AUNT JUNE: Do you know what love is child?

IESHA: No.

AUNT MAY: How can you be in love if'n you don't know what it is?

IESHA: That's just how things go.

The three women are quiet for a moment.

AUNT MAY: Are y'all married?

IESHA: Yeah.

AUNT APRIL: You young. How long you been married?

IESHA (looks at Chicago): Six months.

Aunt June's hawklike eyes probe Iesha.

AUNT JUNE'S P.O.V.: We see lesha's hand on Chicago's shoulder. Then we TILT UP 
to reveal her face. She looks at her hand
searching for a ring.

IESHA: Oh, I don't wear it alla time.

WIDE Of the table. You could cut the tension in the air with a knife.

AUNT JUNE (to Chicago): You don't mind if she don't wear your ring?

IESHA (answers for him): No, he don't mind.

AUNT MAY: I think he can answer for himself. If he's a real man. A real man 
always answers for himself.

CHICAGO (a beat): No. No-I don't mind.

The three women shake their heads. One says, "Shoot, my husband kill me if I 
didn 't wear no ring. "

CUT TO: 87 EXT. THE JOHNSON FAMILY REUNION--DAY THE FOOD TABLE Where Lucky is 
filling his plate with food. Justice
is nearby. Next to her is a woman with a baby. The woman is trying to fix a 
plate of food and hold the baby at the same time.

JUSTICE: Damn you greedy.

LUCKY: Gotta eat to live.

Justice notices the woman having trouble juggling baby and plate.

JUSTICE: You need help?

WOMAN: Thank you.

Justice takes the baby in her arms. Lucky looks at her out of the corner of his 
eye and continues surveying the food.

JUSTICE: Aww, she's so cute.

We see the baby's face. She is a black angel.

LUCKY (with sarcasm): You be seeing them professional men, huh? Doctors, 
lawyers, pharmacists. (tastes something, then adds)
Street pharmacists?

Justice looks at Lucky, then down at the baby.

LUCKY: Ah huh, I knew you was like that.

Justice says nothing.

The Woman finishes fixing her plate.

WOMAN: Here, I'll take her.

JUSTICE: She's beautiful. What's her name?

WOMAN: Her name is Imani.

The Woman walks off to a table and sits with another group of relatives.

JUSTICE: You got a kid?

LUCKY: Why?

JUSTICE: 'Cause you look the type.

Lucky begins to walk.

ANOTHER ANGLE: WIDE TRAVELING As they walk together and talk. In the background 
we see kids playing, and some old men
throwing horseshoes, etc.

LUCKY: What's the type?

JUSTICE: Dunno, you just look like--like--

Lucky looks at her for a second, stops walking, and walks on.

LUCKY (changing the subject): Anyway! You got any kids?

JUSTICE (vehemently): Hell, naw. I don't like kids.

They arrive at some chairs and sit down.

LUCKY: Don't look like that to me! (looks around) This is good. You ever been to 
one a' these?

JUSTICE: No. I don't have a lot of family. The family I have ain't that close.

LUCKY (looking around): Well, I never seen this many Black folks in one place 
where there wasn't no fight. Hmmm. ... Now what
about these street pharmacists you useta go out with?

JUSTICE: Yeah, I only went out with one.... He was my first boyfriend--my first 
love.

LUCKY: So you was out for tha money, huh?

JUSTICE: No. Just 'cause somebody does a certain something for a livin don't 
make 'em a bad person. Some people don't choose their
path in life. They let other folks write their story. Most of them in jail now. 
(adds)

There's some fine niggas in jail.

LUCKY: You used to count his money?

JUSTICE: Yep.

LUCKY: Write letters to 'em while he was inna county jail?

JUSTICE: Mmmm-huh. That's right.

LUCKY: You used to send 'em naked pictures while they in jail too?

CLOSE: JUSTICE'S FACE

JUSTICE (a beat): You getting too personal. ... Oh what do you know. You don't 
even keep your nails clean!

She gets up and walks awtty. Lucky just looks at her, grins, and shakes his 
head.

DISSOLVE TO:

DIFFERENT IMAGES Kids playing. Two little boys fight and are broken up by Cousin 
Pete, who says, "Y'all family. Don 't fight. "

OLD MEN THROWING HORSESHOES. Some young people are dancing. A few older folk 
join in on the fun. Lucky and Chicago
playing a game of spades with Cousin Pete and another man. Iesha going to an ice 
chest to get a Bacardi Cooler. Justice playing with
some children. The three old women sitting like statues. Lucky and Chicago 
winning a hand, then starting the game up again. Cousin
Pete shouts out, "Awright then, let's play for money, play for money!" Iesha 
getting another drink. Justice resting on the beautiful
green grass as a little girl puts a flower in her hair. Suddenly, she turns to 
notice something. One of the old women taps another as all
three direct their attention toward Iesha, who is talking to some brother, a 
fly-looking Johnny Gill type. There is definite interest in both
their eyes. Justice looks from this sight over toward Chicago.

THE CARD TABLE Where Chicago notices this also. He is pissed. Offscreen, someone 
asks him to deal his hand. He does so, never
taking his eyes off of ...

IESHA AND JOHNNY We PAN from Iesha's drunken smiling face to the handsome face 
of Johnny.

THE OLD WOMEN Are having a field day. All three of them are talking away and 
looking out the corner of their eyes.

JUSTICE Gets up from the children and walks over toward lesha. WIDE As Justice 
approaches lesha and Johnny.

JUSTICE: I gotta talk to my friend for a second.

RACK TO CARD TABLE Where we MOVE IN on Chicago's face.

LUCKY: Looks at Chicago and then over toward lesha.

HACK TO SHOT Where lesha pulls away from Justice and goes back to talking with 
her new friend.

CHICAGO Gets up and throws his entire hand down. We PAN OVER to Lucky, who takes 
off his hat and scratches his head.

LUCKY (under his breath): Oh, shit!

WIDE SHOT As Chicago walks into the shot toward lesha and Johnny. lesha looks 
over at Chicago nonchalantly. She doesn't even
acknowledge his presence. Chicago grabs her arm. Iesha pulls away and tries to 
resume her conversation. Chicago pulls her again, and
lesha walks away toward the parking lot. Johnny tries to interfere and Chicago 
pushes him. She begins cursing loudly, making it more
of a scene than it already was. Chicago and the brother get into a fight. 
Several family members attempt to break it up.

JUSTICE Is embarrassed. She looks over at Lucky.

LUCKY Looks back at her. Their eyes meet.

LUCKY (to the card group): Y'all don't mind if I take some food to go, do you?

THE TABLE Where the old women sit.

AUNT JUNE: Humph, that ain't gonna last long.

CUT TO: 88 EXT THE ROAD--DAY: OVERHEAD ON CRANE As we see the empty road, then 
ZOOM as the truck goes up into the
distance. We hear lesha and Chicago arguing.

89 INT. THE TRUCK--DAY LUCKY Is driving once more. He taps his fingers on the 
steering wheel and looks over at JUSTICE Who
looks at him shakes her head and looks out the window.

THE BACK Where Chicago and Iesha are going at it. Swinging insults like swords.

CHICAGO: What's your muthafuckin problem, huh? What's your muthafuckin problem? 
Why you disrespect me like that, huh?! Why
you disrespect me?

IESHA: Fuck you! You don't own me!

CHICAGO: Fuck you, bitch! Fuck you and your pussy!

IESHA: If I'm a bitch, why you wit me, huh? Why you wit me?! Leave, then! Step 
tha fuck off! 'Cause I ain't in the business of
keeping niggas when they don't wanna be kept! All that talking--do it while you 
walkin.

THE FRONT Justice is fed up. She looks over at Lucky.

JUSTICE: Pull over.

90 EXT. RESTSTOP--DAY Where the truck pulls over in line with a row of ten-
wheelers.

91 INT. THE TRUCK--DAY THE BACK

CHICAGO: Why we stopping?

IESHA: Good, I gotta pee.

CHICAGO: 'Cause you drinking too much! That's your goddamn problem. You an 
alcoholic bitch!

They continue arguing back and forth.

91A EXT: RESTSTOP--DAY

THE PASSENGER DOOR Justice hops out of the truck and goes toward the back. THE 
BACK Of the truck, where Iesha (bottle in
hand) opens the door.

JUSTICE (coolly): C'mere. I gotta talk to you.

Iesha faintly sees the anger on Justice's face but is not aware that it is 
directed toward her.

IESHA (sweetly and drunk): What's wrong, J? Lucky talking shit again? I'ma fuck 
him up! Where he at?

Justice lures Iesha out to the middle of the parking lot. The latter is holding 
her stomach. A few truckers walk past to notice the two
girls arguing. Iesha begins to convulse, then she throws up on the ground. She 
calmly and coolly accepts a tissue from Justice, then
says ...

IESHA: What's the problem?

Justice grabs the bottle out oflesha's hand.

IESHA: My drink!

JUSTICE (smashes the bottle on the ground): This is the problem! (pushes Iesha 
in anger) You acting like a stupid bitch, Iesha! A
stupid, alcoholic bitch! I'm tired of seeing you get drunk! That's why I don't 
go nowhere with you--'cause you get crazy! You just like
my damn ... momma was.

Iesha looks at her angry friend as if stunned. Actually, she is drunk. lesha 
sways back and forth as if in a daze. She begins crying.

IESHA (crying): I'm sorry.

Justice's anger gives way to compassion. She hugs her friend. WIDE SHOT As they 
hug each other and an eighteen-wheeler pulls out
and away. ANOTHER ANGLE As the large truck goes past, to reveal the women once 
more.

JUSTICE: It's all right. It's all right. You my girl and all, but you gotta 
chill on the liquor. Iesha continues to cry, mumbling in a
drunken tone about how much she values Justice's friendship: "You helped me when 
I had that abortion," etc. Crying gives way to
sniffles, and lesha tries to regain her composure. She turns around to see ...

REVERSE ANGLE THE TRUCK Where Lucky and Chicago sit by the front of the truck. 
Chicago is looking at Iesha.

IESHA'S FACE As she wipes her tears away and stands up straight. She looks in 
her Fend bag to pull out some tissue, maintaining her
dignity in front of the men.

IESHA: I gotta pee.

Justice looks at her friend and almost cracks a smile. They walk off toward a 
restroom.

JUSTICE (playfully): Cow.

IESHA: You a cow. Cow! Mooo!

BACK TO TRUCK

LUCKY: I'm telling you she's crazy, Loc. You better get ridda her.

CHICAGO (upset): Damn man, I gotta piss. I 'ma go over here and piss in the 
field. Get my nuts close to nature and shit.

As they walk off.

DISSOLVE TO: 92 EXT JUSTICE'SHOUSE-SEVEN YEARSEARLIER--DAY We see an early-model 
1 980s car pull up the driveway.
Out the passenger door springs a twelve-year-old Black girl. This is Justice, 
seven years younger. She runs toward the house. The
driver of the car is Geneva, Justice's grandmother.

GENEVA: Girl, you better come on back here and help me with these grocery bags!

THE STEPS Where Young Justice reluctantly shrugs her shoulders and walks back 
toward the car.

93 INT. JUSTICE'S HOUSE--THE KITCHEN--DAY Where Justice and her grandmother put 
away the groceries. Geneva snatches a
box of cookies out of Justice's hand.

GENEVA: You'll spoil your dinner. I'm making ox tails. (calls out) Alfrieda! 
Frieda! Go tell your mother to come here!

The little girl takes off.

93A INT JUSTICESHOUSE-DAY THE STAIRS As Young Justice shoots up the stairs.

938 INT JUSTICE'S HOUSE--DAY THE TOP OF THE STAIRS

Justice the adult woman arrives at the top of the stairs.

YOUNG JUSTICE: Momma! Momma! Nanny want you!

93C INT. JUSTICE'S HOUSE--DAY AN OFFICE ROOM As Justice looks in. No Momma here.

93D INT. JUSTICE'S HOUSE--DAY JUSTICE'S MOTHER'S BEDROOM No one here.

93E INT. JUSTICESSHOSSE-DAY THE BATHROOM We see Justice walk forth. She slows 
down as she discovers ANOTHER
ANGLE As we move toward the body of a woman collapsed on a tile floor of the 
bathroom.

YOUNG JUSTICE'S FACE She screams!

93F INT. JUSTICE5SHOSSE-DAY BACK TO KITCHEN As Justice's grandmother hears her 
screams.

93G INT. JUSTICE'S HOUSE--DAY THE TILE FLOOR We see an opened bottle of pills. 
Different angles of pills on the tile floor.
[Idea: Image of Justice's mother's hand open, holding pills, in the background]

OVERHEAD Justice's grandmother grabs Justice and discovers the body. ANOTHER 
ANGLE As Justice is pulled away. Geneva turns
her face away from the horror of Justice's dead mother and into the hallway 
mirror. Justice covers her face up, then slowly looks at
her reflection. The light behind her changes, and we are back into ...

94 INT. REST STOP BATHROOM--DAY Justice looking at herself in the mirror. A 
beat.Ilesha comes out of the stall behind Justice
and taps her shoulder.

ANOTHER ANGLE As lesha walks past and we end on Justice.

IESHA: Let's go.

95 EXT RESTSTOP--DAY: MINUTES LATER A BENCH Where Lucky sits eating some 
leftover barbecue. Music is playing from his
small boom box. Chicago is lost in thought. He is visibly shaken by the recent 
events. He looks out along the road and then down
toward the ground.

LUCKY: Hey, hey, hey, pick your head up. Don't be a buster! You don't want her 
to know you upset! Be cool!

CHICAGO'S FEET Where his shoelaces are untied.

CHICAGO: I gotta tie my shoelace.

LUCKY: Wait, just wait. ... Leave it untied--it'll look better that way.

CHICAGO: That shit played out years ago.

Chicago bends down to fasten his shoes. Lucky looks at him and shakes his head. 
Then he looks up to notice

CHICAGO'S P.O.V.: LOW ANGLE While he is down on his knees, Justice andIlesha 
walk up. Chicago looks up and sees Justice, who
walks away to reveal Iesha. Iesha mumbles the "shake it to the east/shake it to 
the west" cheer.

WIDE As Justice sits on one side with Lucky. Iesha puts her arms around 
Chicago's neck and gives him a kiss. Justice and Lucky
look at this exchange out of the corner of their eyes. CHICAGO As he attempts to 
stay angry in light of this loving treatment. He looks
over at Lucky.

CHICAGO (uncomfortable): Is it good?

LUCKY: Jammin.

Justice looks away, listening to the music.

JUSTICE: This is nice. Who's this?

LUCKY: My cousin Kalil.

JUSTICE: (matter offactly) He's flowing.

LUCKY: I give him ideas and stuff sometimes. That's who I'm going to see now. We 
got this music thing going.

CHICAGO (sarcastic): It's all right.

LUCKY: Fuck you, bitch. Why you always got something negative to say?! At least 
the nigga's creative!

CHICAGO: I'm creative! I know how to dress.

LUCKY: That ain't shit. You just a post-office-working nigga can't even get into 
the union. What you got?

CHICAGO: What you got? Just cause you in the union don't mean shit !

JUSTICE: Why y'all always fightin? I thought y'all was friends?

CHICAGO: We ain't friends. We just work at the same place.

There is a pause. No one but the air moves. lesha is restless. She gets up. 
Sobriety gives way to silliness. She stands and begins
stomping on the ground and slapping her legs. She continues to do the "shake it 
to the east/shake it to the west" cheer.

IESHA (to Justice): Remember this?! Audubon Junior High?! "Shake it to tha east, 
shake it to tha west--it really doesn't matter who
shakes the best!"

Justice joins in. The Two Guys just look at them crazy.

CUT TO: 96 INT THE TRUCK--DAY Chicago and Iesha poke their heads through the 
back. Everybody seems to be in a good mood.
Iesha is telling a joke.

IESHA: So we up in heaven, right? And it's Judgment Day. And this brother goes 
up to the gate. The angel at the gate says, "How
many times did you cheat on your wife?" The brother says, "I never cheated on my 
wife." So the angel checks the book and says,
"You're right." So the brother rolls on into heaven in a Rolls-Royce.... So 
another brother comes in and he says, "I can't lie. I cheated
on my wife once." So the angel checks the book, and he rolls on into heaven in a 
Cadillac. ... So then this other brother comes in and
he's a straight-up hoe, and he tells the angel, "Well, I can't remember how many 
times I cheated on my wife." So he goes and rolls into
heaven on a bike. So now he's in heaven and he's just pedaling along, and he 
rolls by the brother in tha Rolls, who is crying. So the
brother on the bike says, "Why you crying? You rollin through heaven in a Rolls-
Royce." And the brother in the Rolls says, "I just
passed my wife on roller skates!"

Everybody laughs.

JUSTICE: (looks at Lucky) You need to clean them nails. Get a manicure. Plenty 
men do it. Football players, basketball players. They
all come in the shop.

96A EXT THE ROAD--DAY

LUCKY (V.O.): You out your mind!

Where we see the truck shoot up past a beautiful California backdrop.

97 EXT ALICE'S RESTAURANT--DAY Where we see Jessie's Lexus roll up, as well as 
the other car with the girls inside.

HEYWOOD (V.O.): Finally! I could eat a horse!

JESSIE (V.O.): From the looks this place, they probably have that on the menu.

They get out of the car and walk toward the restaurant.

THE TERRACE: OUTSIDE Where some bikers sit eatin lunch.

BI KER: So I said, Fuck that! got on my bike--ran 'em over!

He picks up a bottle of Evian and takes a squig.

97A IN'I1 ALICES RESTAURANT--DAY ANOTHER ANGLE: JESSLF'S P.O.V. V As we go into 
the cafe on the backs of Heywood
and Dexter, who part to reveal a cafe full of bikers, motorists, and a Waitress. 
Jessie looks her up and down. The sound of Steely Dan
's "No Static at All " flows through the room. There is definitely a bohemian 
atmosphere here.

REVERSE ANGLE: JESSIE Checking out the place. WAITRESS: (instantattitude) How 
many?

JESSIE: Seven, please. Smoking section. I gotta have a cigarette.

WAITRESS: There is no smoking section.

JESSIE: I see. Just gimme a seat then.

WAITRESS: You can have that table over there once it's cleaned off.

THE TABLE Where a man begins setting the table.

DEXTER (to Heywood): Man, why you always rubbing your stomach?

Jessie playfully rubs Heywood's stomach. The Waitress comes back. The Waitress 
begins walking to a table across the room. Jessie
and party follow.

DEXTER: Maybe we should go to an AMIPM on the way. I'm not that hungry.

JESSIE: I don't want no frozen food, no chips. I need something hot to eat. 
Besides, these folks need to see some Black people
Sometimes. Wake 'em! Pick'em up! Give something interesting to talk about.

THE TABLE Where they arrive and pick up menus. Jessie begins to look in a menu 
as she notices behind her a couple, white,
twentysomething, who are arguing. Everybody else at the table looks over at the 
couple too. Jessie ignores this and begins to select
from the menu.

HEYWOOD: I like this. Healthy food. Good people.

MAXINE: They got avocado salad. I love avocadoes.

JESSIE: Anyway. Make sure we got some tabasco sauce at this table. You know they 
food don't have no taste to it. She looks in her
purse, pulls out a pack of cigarettes, picks one out, and lights up.

ANOTHER TABLE Where the Waitress takes another order. She keeps looking toward 
Jessie and Co.

DEXTER: Jessie, you know this is the nonsmoking section.

MAXINE: Look. Look. Girlfriend is tryin to decide whether or not to come and 
tell you to put it out.

We see the Waitress at the other table. She is definitely looking in Jessie's 
direction.

JESSIE: She better just keep thinking.

WAITRESS'S P. O.V: The Waitress begins walking toward Jessie. At the end of the 
shot she comes to the front of the table, just as
Jessie lets out a cool puff of smoke and gives a look as if to say "What the 
hell you want?"

HEYWOOD: Oh look, baby's got some courage. Here she comes.

ANGLE The Waitress arrives at the table.

WAITRESS: You have to put your cigarette out. You're ruining the environment.

THE KITCHEN Where we see Arlo Guthrie flipping burgers on the grill and smokin a 
joint.

BACK TO SCENE

JESSIE (ignoring her): I'm almost Anished. Gotta satisfy my nic-fit. Be done in 
a sec.

WAITRESS: I'm not gonna take your order if you smoke.

JESSIE (looks up): Well then, you can just stand there and wait until I finish 
my smoke.

WAITRESS: You are disturbing other customers.

JESSIE (turns around to the other table): You mind?

The couple nods they don't mind.

JESSIE (to her entourage): You mind?

Everybody at the table nods their approval.

JESSIE (sarcastically): Thank you.

The Waitress storms away as if she has been personally insulted.

JESSIE: With her Farrah Fawcett 1977 hairdo. This place is a time warp.

They all laugh loudly. Jessie continues to smoke.

BACK TO TABLE

DEXTER: I think we should go.

JESSIE: Dexter, calm down. I ain't gonna let you get lynched. This ain't 
Mississippi. (opens her purse) You see that?

We see a .38 pistol inside her purse.

JESSIE: I got it all under control. I don't play. Ask Maxine. You remember what 
I did to that nigga in Riverside that grabbed my booty?

H EYWOOD (changing subject): I wonder what happened to Justice?

COLETTE: I feel kinda bad she had to drive up by herself.

JESSIE: She ain't by herself. She probably with Iesha. Justice--now there's a 
girl who's got some problems.

98 INT: MONTEREY AQUARIUM--DAY UNDERWATER We see a montage of different 
beautiful tropical fish.

JESSIE (V.O.): Don't wanna go nowhere, don't wanna have no fun, ain't seeing 
nobody ...

We cut to a dolphin swinuning toward frame, then PAN over to reveal Justice 
looking through an underwater viewing room.

JESSIE (V:O.): I think she need a boyfriend. Justice looks over toward ...

LUCKY Who is looking in another tank. He turns to look at Justice.

98A INT. ALICES RESTAURANT--DAY

BACK TO CAFE Jessie pauses. Thinks. Puts out her cigarette and turns toward the 
Waitress.

JESSIE: Hey! Farrah! come over here and take my order!

CUT TO: 99 EXT. A OULET CALMBEAUTIFUL BEACH--DAY We see an empty beach, dunes, 
flat sand. We PAN to reveal the mail
truck parked on the sand. In the distance are four Agures. Justice, Lucky, 
lesha, and Chicago. No one speaks. Everybody is doing their
own thing. All we can hear is the voice of the Paciffe Ocean. Justice sits on 
the sand, sifting it through her hands like a funnel. We
hear her thoughts as she looks out onto the ocean.

JUSTICE (V.O.): A wise man once said, you should look at the ocean and realize 
that no matter how famous you are, or how much
money you make, you should know that you will never be as important as the 
ocean. ... Damn, why didn't I go to college?
Grandmomma would roll two times in her grave if she saw me now. (looks toward 
Lucky) Hmmm, he look kinda good. I know he got
a kid, though. Look at him. He look like the type that got a baby stashed away 
somewheres.

Lucky and Chicago are throwing rocks, seeing who can make a rock skip the 
farthest. We hear Lucky's thoughts.

LUCKY (V.O.): She's kinda cute. Got a nice little frame. Maybe I should get that 
number, see how that bootie works. ... I wonder
what Kalil's doing?

Iesha is playing in the warm sand. She has dug a hole and has placed her feet 
into it.

IESHA (V.O.): I wonder if my momma picked up my clothes from the cleaners. ... 
Oh, I know what I gotta do when I get back. I
gotta call Terry with his fine ass. Ask him to take me shoppin.

Chicago is throwing rocks in the water.

CHICAGO (V.O.): I need to just let her ass go. ... Fuck it! I can just go and 
get me another bitch. I'm a good-looking nigga. I got a
job. Income. Car. Apartment. My shit is set.

Chicago turns to look at lesha. Note: Chicago in foreground, Iesha in 
background.

IESHA Looks up at Chicago as if to say, "What the fuck you looking at?" Chicago 
turns back around to continue throwing rocks.
Iesha turns to Justice.

IESHA: I'ma quit Chicago. His ass is L7 soon.

CUT TO: 100 EXT. THE ROAD--DAY The truck shoots past a beautiful expanse of 
California farmland. 101 INT: THE
TRUCK--DAY: MOVING THE BACK Where lesha and Chicago sit. Both look bored. 
Iesha's legs and arms are folded. Chicago gets up
and looks into a bag and pulls out a couple of letters. He begins to open a few 
of them. lesha looks surprised.

IESHA: You can't do that.

CHICAGO: Yeah, I can. Just put it in damage pile. It's fourth-class mail anyway. 
(reads) A love letter.

He smells the paper.

CHICAGO: Obsession. (to Iesha) You wear that too. Don't you? I like the way you 
smell.

Iesha sits across the way. Arms folded.

IESHA: I don't like the way you smell!

CHICAGO (reading letter): "I can't wait to see you again. My heart arches with 
every day that you are gone. I had a dream last night,
you were here, with me." (reads on to himself)

IESHA: You know you wrong.

Chicago looks up for a moment, then back to the letter.

IESHA: I'ma quit you when we get back to L.A. I'm young. I need to be alone for 
a while. Find myself and shit.

Chicago keeps reading the letter, acting like this isn't affecting him. Iesha 
snuggles into a corner and closes her eyes. Chicago looks
over at her sleeping.

DISSOLVE TO: I 02 EXII: AFRICAN MARKET FESTNAGDAY We see images of dancers on a 
stage, people shopping at booths,
carnival games. The air is alive with the sounds and smells of an African market 
festival. What follows is a FelLiniesque scene on the
Afrocentric tip. The sounds of African drums fill the air. Between the dialogue 
some striking visuals are intercut.

ANGLE As we see Justice and Lucky walking together. Justice is taking in the 
sights and sounds of her environment. She is almost
childlike but very much an alive woman for once. She is blowing soap bubbles. 
Lucky seems lost in his own thoughts.

JUSTICE: What's wrong with you? Why you so quiet now?

LUCKY: Nuthin. I'm just thinking. I like to get out the city. Too much shit 
going down there. This is the only time I get to think. Or
when I'm with my cousin and shit.

ANOTHER ANGLE Where we notice both Iesha and Chicago are not walking together.

IESHA: I'm getting tired of all this walking, J!

CHICAGO: Me too.

BACK TO JUSTICE AND LUCKY

JUSTICE: So what you wanna do with your life?

LUCKY: Survive. Live. Shit. What you wanna do?

JUSTICE: I'm talking about goals, aspirations, shit like that.

LUCKY: I don't know yet. Music maybe.

JUSTICE: So what does your cousin rap about?

LUCKY: Stuff. Life.

JUSTICE: You sure he don't talk about typical shit?

LUCKY: What you mean typical? Like what?

JUSTICE: Like "I'm bad, I'm tha shit, I'll shoot a nigga in a minute, I get all 
the pussy." Stuff like that.

LUCKY: What you write about in that notebook you carry?

They stop to notice. A large Black bald muscular brother standing before one of 
those amusement things where you hit a peg with a
sledgehammer and it goes up to a certain height. Several spectators are waiting 
to see the man hit the peg.

JUSTICE: Poetry.

LUCKY: You trying to say my cousin's shit ain't poetry?

THE STRONGMAN Hits the peg! It flies up!

JUSTICE (V.O.): It ain't if he just talk about himself. You gotta have something 
to say. Somethin different, a perspective.

The peg hits a bell, under which is written in red letters the word REVOLUTION.

JUSTICE: A voice.

They turn to walk out of the crowd.

LUCKY: What you write about?

JUSTICE: I write about what's in my heart.

LUCKY: And what's that? (touches her shoulder)

She says nothing.

JUSTICE: I dunno. What's in yours?

LUCKY: I'm still trying to find out. (notices the fact that he has touched 
Justice)

CHICAGO Stands in a crowd. We are looking over his shoulder at lesha throwing 
baseballs into holes. She wins a little bear, which
brings a smile to her face. When she notices Chicago looking at her, it turns to 
a frown. Chicago then turns to look in Lucky and
Justice's direction.

LUCKY AND JUSTICE They are interrupted by Chicago's shouting.

CHICAGO (shouting): Why do we keep stopping? Don't we have a schedule to keep 
to?

LUCKY (shouting): We got plenty o' time. What you worried about, nigga? We 
always do this.

CHICAGO: We need to hurry up and get where we got to go. You keep 
proscratinatin. (joking) You keep trying to gib to that bitch!
That's tha problem.

JUSTICE (ignoring Chicago): There's a fruit stand over there. I wanna get some 
plums. (walks away)

CHICAGO: You can't pull that. She outta your league.

Lucky just gives him a look. Then he turns, and ... ANOTHER ANGLE Lucky and 
Chicago in a crowd ofpeople. Chicago walks away,
frustrated, as we PULL BACK and around to see the source of the drums we have 
been hearing through this entire scene. It is the Last
Poets, beating out the last couple of lines to "Niggas Are Scared of Revolution. 
"

BLACK MANL "But I'm a lover too! I'm a lover too! I love niggas! I love to see 
them walk, talk, and shoot tha shit! But there is one
thing about niggas I do not love! Niggas are scared of Revolution!"

The crowd applauds.

DISSOLVE TO: 103 LNT.THE TRUCK--DAY: MOVING THE FRONT Where we see Justice bite 
into a plum with herjuicy lips.

LUCKY: You didn't wash it.

JUSTICE: Yeah, I did.

LUCKY: How?

Justice rubs the plum back and forth between her hands and kisses it up to God. 
Lucky looks on in amazement. All that is left is the
seed, which Justice holds up proudly. She laughs.

DISSOLVE TO: 104 EXTGRASSYFlELD-DAY We see Justice walking toward us through a 
field. She walks slowly, almost
dreamlike. Over this we hear Justice's voice reading a poem. It is "Phenomenal 
Woman. "Suddenly, a zebra (yes a zebra) walks into the
shot. First one, then another, then another. Soon there is a herd. Now we know 
we are in a dream--Until we hear Lucky's voice shout
out.

LUCKY: Whatcha you doing?!

WIDE Where we see the truck at the top ofa hill that overlooks a field, in which 
we see Justice walking among African zebras.
Chicago and Iesha get out of the truck and look down. Lucky has the hood up and 
is checking the engine.

JUSTICE (shouting): I wanna pet one of them!

ON THE HILL

IESHA: OOOOH!

BACK TO FIELD Where Justice pets one of the animals.

LUCKY: They came from that castle over there. Hearst Castle! They have a some 
kinda private zoo there.

CHICAGO: They musta got out or somethin.

Chicago looks at lesha. She senses she is being watched, then she looks over at 
him and walks away. He follows her.

THE ROAD Where we see the truck by the road with the castle in the background. 
lesha has walked to the back of the truck. Chicago
comes around the corner and tries to talk to her.

He tries a smoother approach.

CHICAGO (smoothly): So you wanna quit me, huh?

He puts his arms around her waist.

CHIAGO: Don't you know how much I love you? Can I have a kiss?

She turns around to face him, and they kiss.

CUT TO: 105 INT. THE TRUCK: MOVING--DAY Where Chicago and Iesha are still 
kissing. They are getting hot and heavy. Iesha is
still doing this with some reluctance.

THE FRONT Where Justice and Lucky sit. They are chummy-chummy now; they talk 
like old friends.

JUSTICE: My first boyfriend used to get into a lot of shit. ... He got killed, 
though. Tried to jack the wrong person.

LUCKY: Tha jacker got himself jacked!

He laughs. Justice doesn't find it funny.

JUSTICE: He got killed over some stupid shit.

Lucky looks at her.

LUCKY: Then why you date fools like that?

JUSTICE: That's who I fell in love with. Didn't know no better.

LUCKY: What about now?

Justice has no reply. Lucky changes the subject.

LUCKY: How many brothers and sisters you got?

JUSTICE: None. My momma didn't have no more kids. ... She didn't get a chance 
to.

There is a somber moment. Lucky understands, vaguely. They hear a moaning sound. 
Justice motions for Lucky to be quiet. She
peeks through the curtain.

THE CURTAIN Where Iesha is now on top of Chicago. Riding him. Slowly she moves 
back and forth, her legs around his waist.

Suddenly, something is wrong. Iesha gets up.

THE BACK Where we see lesha looking frustrated.

IESHA: Is that it?!

CHICAGO: Shhh! Give me a coupla minutes.

IESHA (louder) Fuck that! You can't even hang that long! Couple minutes shit my 
ass!

CHICAGO: Fuck you.

IESHA: You can't! That's the muthafuckin problem! They begin arguing loudly.

THE FRONT: Where Lucky and Justice listen to lesha and Chicago going at it.

LUCKY: I'm getting sick of this shit.

JUSTICE: Pull over somewheres.

LUCKY: Here we go again.

CUT TO: 105A EXT. ROCK CLIFF--DAY FROM OVERHEAD We see the truck pull to the 
side of the road. Iesha hops out, closely
followed by Chicago. We MOVE slowly with them to reveal they have parked next to 
a cliff that overlooks the Pacific Ocean and some
other rocky cliffs. In the distance we see Chicago and Iesha arguing.

ANOTHER ANGLE As we see Iesha and Chicago squabble. We cannot hear them shouting 
at each other over the loud ocean waves
crashing among the rocks below the cliff. The wind is blowing with a strong 
force.

THE TRUCK Where Lucky and Justice sit. Justice is watching. Lucky minds his own 
business. He glances at his nails.

THE ROCKS Where we see the waves crashing against the side of the cliff, eroding 
its sides bit by bit. We juxtapose images of the
waves to the ballet of lesha and Chicago arguing. He pulls at her. She pulls 
away, etc. Their dialogue is drowned out by the sounds of
the raging ocean. Iesha gets fed up and walks toward the truck.

ANOTHER ANGLE As we come down and follow Iesha. We can fully hear them arguing 
now.

IESHA: You weak! You a weak-ass punk! Just 'cause work out don't mean shit! 
Think you buff! I wish I never met your sorry ass!
Sorry muthafucka!

Chicago takes his brush out of his back pocket and begins brushing his head. He 
is trying to maintain his cool because they are now in
front of Lucky and Justice.

IESHA: Yeah, that's right. Brush that hair. Weak-ass fade! Nigga dick can't stay 
hard five seconds. Watcha do, take steroids?!

We see Iesha's mouth in CLOSE UP. She continues to lay on the insults as we SLOW 
DOWN TIME. Chicago continues to brush his
head. He concentrates on looking at Iesha's mouth running a mile a minute.

REAL TIME

IESHA: That's why I'm fucking somebody else!

This catches Chicago's attention. He stops brushing his head, and calmly walks 
toward Iesha, as we PULL BACK with him to an
over-the-shoulder with Iesha.

JUSTICE Is wondering what will happen next.

CLOSE. ON CHICAGO'S FACE He is angry.

CLOSE. ON IESHA 'S FACE Who gives him a look that reads, "You ain 't gonna do 
shit!" She continues to taunt him.

ANOTHER ANGLE Lucky, as he turns away.

LUCKY: Awww, shit!

SLOW MOTION As Chicago slaps tha shit outta Iesha. Her back is to CAMERA so that 
we can see the fury in Chicago's face.

ANGLE: SLO MO Chicago's hand hitting lesha.

BACK TO NORMAL SPEED Iesha reels back, then recovers. She touches her mouth. 
There is blood on her hand. She looks up
toward Chicago. We see fire and fury in her eyes, and then... IESHA GOES 
MUTHAFUCKING CRAZY!!!

IESHA: (shou ting and echoing) Muthafucka!!!!

Iesha charges toward Chicago with fury. Hell hath no fury like a Black woman s 
scorn. Iesha and Chicago fight. Each is cursing at the
other. To our surprise this is no one-sided battle: Iesha is holding her own. 
She hits Chicago square on the chin with a wild punch.
Chicago reels back in shock and continues fighting.

Justice is going crazy. She doesn 't know what to do.

JUSTICE (to Lucky): You just gonna let 'em fight?!

LUCKY: That ain't my business.

Wild with frustration, Justice gets out of the truck and walks toward the 
fighting couple. Lucky gets outta the truck.

CHICAGO AND IESHA The tide has turned on the fight--Chicago is kicking Iesha's 
ass now. She swings a wild punch, and he
connects with a direct hit. Chicago drops back to get his bearings. We see 
Justice come up in the background. Boom! A foot slams
between Chicago's legs. Chicago grabs his crotch in pain. He slowly turns, then 
charges Justice. They tumble on the ground, and he
reels back to hit her.

LUCKY (O.S.): Hey!

ANGLE On Lucky, who walks toward us with anger.

LUCKY: What tha fuck is wrong with you, nigga?! Get the fuck offa her!

CHICAGO (getting up): What's wrong you?

LUCKY: What you beating up on females for, dude?! That shit is weak!

CHICAGO (pushes Lucky): Aw, punk. You just saying that shit 'cause you strung 
out over this bitch! Moralistic muthafucka!

Luclcy walks closer to Chicago and socks him in the stomach. He folds like a set 
of new French doors.

LUCKY: If you was a real man, your shit woulda been straight from tha git and 
you wouldn't haveto hit your girl. Punkass. (helps
Justice up) Get up. You all right?

Justice murmurs a "yes" and walks over to attend to Iesha. Lucky is left 
standing alone. He thinks.

JUSTICE AND LESHA Where Justice helps her friend up Iesha is scratched. She 
continues to curse with a bloodied mouth. Iesha
pulls away, attempting to continue fighting, only to be restrained by Justice.

IESHA (crying): Fuck that muthafucka! He getting jacked! I'ma, I'ma call Dooby, 
I'ma call Monster Loci They gonna shoot that nigga.
He ain't nobody's daddy!

Lucky looks over at Iesha. He doesn't notice Chicago getting up and charging 
him. Lucky and Chicago get into a brawl. They tumble
and wrestle, punches are thrown, kicking, all the elements of a good scrap. 
Lucky prevails. He gets up.

LUCKY: Fuck you, phunk. I'm leaving your stupid ass!

CHICAGO (coughing): You can't leave me! We got a job to do!

LUCKY: Fuck this muthafuckin job! My momma didn't have me so I could work at no 
muthafuckin post office all my life! Shit! Catch
a bus to 'Frisco.'We only forty miles away.

He walks away. Justice and Iesha are getting into the truck. Chicago suddenly 
becomes apologetic.

CHICAGO: Naw, man. I'm sorry, dude! Yo, we friends, man. Fuck them hoes! Why 
don't leave them, dude?! Why you tripping?!

WIDE As the truck drives on, leaving Chicago on the road. A duffel bag is thrown 
out the window. Chicago continues to shout out at
Lucky: "Watch you doing, man?"and "Stop bullshitting!"

ANOTHER ANGLE: BACK OF TRUCK P.O.V. As we PULL AWAY from Chicago shouting at the 
truck. We hear Justice's voice over
the following images.

JUSTICE (V.O.): "Is it true the ribs can tell the kick of a beast from a Lover's 
fist?"

36 INT. THE TRUCK--DAY THE BACK Where Justice holds lesha in her amis. Iesha 
cries.

JUSTICE (V.O.): "The bruised bones recorded well. The sudden shock, the hard 
impact. Then swollen l:ids ..."

THE FRONT Where Lucky drives alone. He is very upset.

JUSTICE (V.O.) "Sorry eyes, spoke not of lost romance, but hurt."

BACK TO ROAD Chicago staggers a couple of feet, looks around, picks up his 
brush. He sits by the side of the road and begins to
brush the back of his head.

JUSTICE (V.O.): "Hate is often confused. Its limits are in zones beyond itself. 
And sadists will not learn that. .. ."

BACK TO LUCKY Who pulls over the truck in frustration THE BACK SEAT: Leave time 
for voice over, then Justice speaks.

JUSTlCE (V.O.): "Love by nature, exacts a pain unequalled on the rack.

Justice looks up from holding her crying friend. She has noticed the truck has 
stopped moving.

JUSTICE: You all right?

IESHA: Yeah. Why we stopped?

JUSTICE: I don't know.

107 EXT THE TRUCK--DAY OVERHEAD: ON CRANE We see Justice get out of the truck as 
we DESCEND to let her pass, then go
back UP to reveal they are on an,ther peak overlooking the Pacitic Ocean. We see 
Lucky sitting on the grass i, the far distance. Justice
walks out to talk to him. A blanket drapes her shoulders. ANOTHER ANGLE As we 
see Justice come forward and drop down to sit
next to Lucky. There is a pause. Neither one of them saiys anything. All we can 
hear is the sounds of the ocean and the sea gulls.
Justice attempts to break the ice.

JUSTICE (laughs): They was gonna break up anywag. (reminiscing) I remember when 
I was little and my uncle Leon used to come
around and give me and my cousins change. He would go to the liquor store, buy a 
forty-ounce of beer, then throw us the change.
And I'd always ask for the "big nickel." I couldn't pronounce quarter, so that's 
what I'd call it. (to Lucky) Yuk, look at them nails. Give
me your hand.

Lucky gives her his hand. Justice looks in her pocket and produces a nail file. 
She begins to file Lucky's nails. Lucky shows his
discomfort.

JUSTICE: Anyway, so because of that my grandmother used to say I was always 
looking for the big nickel. Anything I did- ride a
bike, go to school, do somebody's hair--she'd say "Justice! You still looking 
for that big nickel?" That was before she died.

Lucky looks at the concern on her face.

LUCKY: When she die?

JUSTICE: About two years ago. She left me her house. My mother died when I was 
twelve. Suicide. She named me Justice cause she
was in law school when she got pregnant with me. ... I'm all alone. I got a cat, 
though.

LUCKY: Damn.

Justice looks at Lucky's nails. Their eyes meet. They kiss. Justice looks at 
Lucky's nails. Tilt to nails, clean, filed. Tilt up, they kiss.

108 INT. THE TRUCK--DAY Where we see Iesha inside. She has cried herself to 
sleep.

108A EXT. THE ROAD--DAY THE GRASS Where Lucky and Justice continue to kiss. 
Justice stands up for a moment, looks off into
the distance. We hear her thoughts over the following images.

JUSTICE (V.O.): Give me your hand. Make room for me to lead and follow you 
beyond this rage of poetry. The she opens the blanket
up like a cape and surrounds Lucky. The make love.

JUSTICE (V.O.): Let others have the privacy of touching words and love of loss 
of love. For me, give me your hand.

WIDE As we see them against the backdrop of the grass and the beautiful Pacific 
Ocean. The blanket erupts with the ripple of their
bodies.

DISSOLVE TO:

109 EXT. THE ROAD--DAY Where we see the truck shooting up the pacific Coast 
Highway

110 INT. THE TRUCK--DAY Where Lucky and Justice ride on. Suddenly something 
catches Justice's eye.

JUSTICE'S P. OV: Off the road she sees a dilapidated empty drive-in theater. She 
and Lucky exchange a glance.

DISSOLVE TO: 111 EXT WINDMILL VALLEY--DUSK We see a windmill. Then another, then 
another Then we see a whole hill
covered with windmills. We see the truck coming through the hills. The hills are 
revered with windmills.

DISSOLVE TO: 112 EXT: THE ROAD--DUSK We start on the truck coming up the road, 
then PAN with it to REVEAL a sign that
reads YOU ARE NOW ENTERING OAKLAND.

DISSOLVE TO: 113 INT. TRUCK--DUSK Where Lucky and Justice ride along.

LUCKY'S P.O.V. Where he sees a big brawl in the street. Docu-style realism sets 
back in. BACK TO TRUCK Justice turns to Lucky
and smiles. Lucky just looks at her. Then he lowers the boom.

LUCKY: I gotta tell you something.

Justice turns her attention out the window. She sighs. She can sense this is 
gonna be something heavy. JUSTICE'S P.O.V.: Subjective
to objective, then reveal Justice. There is a car accident in the street.

JUSTICE: What? Oh shit, don't tell me you got somethin!

LUCKY: No. But listen--I'm only saying this cause I like you and you should know 
before anything else happens.

114 EXT. OAKLAND NEIGHBOURHOOD--NIGHT Where we see the mail truck turn a corner 
and go up a street. In the far distance
we can see the red lights of an ambulance.

115 INT: THE TRUCK-NIGHT Where the flashing lights fall upon Lucky's face. He 
ignores them and pulls to the curb.

JUSTICE: A little girl, huh? Why didn't you tell me that shit from the 
beginning?

LUCKY: I didn't think it was important. How was I to know we wuz gonna ... hold 
on, let me just check in with my cousin.

He gets out of the truck. 115A EXT OAKLAND NEIGHBOURHOOD--NIGHT A WALKWAY Where 
Lucky gets out of the truck and
walks up to his Aunt Audrey's house, notebook in hand. He is on cloud nine and 
in the best of spirits. People are running past him and
down the street toward the ambulance and police lights.

BACK TO TRUCK Where Justice and Iesha emerge.

IESHA (stretching:) What we doing here? How come we didn't go to the hotel? 
Shit, I'm tired.

THE DOORWAY Where Lucky arrives to notice that it is open. Empty. Dark.

LUCKY: Kalil! Aunt Audrey! Anybody in here!?

He goes in. ANOTHER ANGLE: NEW SHOT As Lucky comes back out and looks down the 
street. He senses something wrong.
Lucky hops off of the porch and runs with the rest of the crowd down the street. 
We follow with him some ways then swing around
in front of him. Lucky pauses in shock. We hear screams. Lucky comes forward as 
we move with him to reveal his cousin Kalil on a
bloody stretcher, his aunt Audrey frozen in shock, and a crowd of spectators 
standing around. Lucky makes his way to his aunt, and
they embrace. CLOSE UP: LUCKY As he looks up from his aunt toward the ambulance. 
In the background an attendant is trying to get
some information from Lucky and his aunt. They say nothing. Also we hear the 
various voices of people in the crowd with a thousand
explanations of what happened. TIMESLOWS DOWN JUSTICE AND IESHA Walk up. Both 
stand there in shock. We frame up
Lucky holding his aunt in the foreground, with the two women in the background.

116 INT. AMBULANCE DOOR P.O.V. Where the door is closed and the truck moves 
away, revealing Lucky and his aunt still
embracing. He leads her toward her home.

DISSOLVE TO: 117 INT. THE TRUCK--NIGHT Lucky is driving. Justice sits in the 
next seat. Solemn. Iesha is in the back quiet and
frozen .

118 EXT. OAKLAND HOTEL--NIGHT We see Jessie come down some stairs and enter some 
change into a cigarette machine. It
takes her change, she hits it a couple of times, and a pack comes out.

THE PARKING LOT The truck comes into the lot, and Justice and Iesha hop out. 
Lucky comes around from the driver's side. Iesha
looks as though she wants to say something to Lucky, but she can 't bring out 
the words.

IESHA: You all right?

Lucky has no reaction. Iesha backs up and reluctantly walks away, leaving Lucky 
and Justice alone.

LUCKY Walks over to the front grill of the truck and sits down.

JESSIE As Iesha walks past her, and she watches and waits to talk to Justice. 
JUSTICE Follows him and sits next to him. She puts
her arms around Lucky and tenderly kisses him. She kisses his neck, face, etc. 
The music gets higher. Everything is romantic, then

Lucky puts his head down then looks back up.

LUCKY: I mighta got there on time if I hadn't been fucking around wit you.

He walks away.

JUSTICE (confused, shocked): What?!

ANOTHER ANGLE: WLDE SHOT: PARKING LOT: SFX As we see the truck start up and back 
away from Justice. Leaving her
standing there alone. She walks toward the hotel and Jessie.

JESSIE: You scraping the bottom of the pudding cup now, huh?

JUSTICE (pissed off): Know what you talking about before you judge.

They walk on.

JESSIE: Oooh, you even walk different.

Justice just turns to look at Jessie, then she walks on.

DISSOLVE TO: 119 INT/EXT. THE POST OFFICE--P.O.V. BACK OF TRUCK--NIGHT Lucky 
opens the back door, and we see
him and a Dockworker talking. Several workmen begin unloading boxes and bags off 
the truck.

DOCKWORKER (filling out a form): I thought there was supposed to be two of you?

LUCKY: Nope.

DOCKWORKER: Well, see ya next time around.

LUCKY (taking the form): I don't think so!

120 INT JUSTICE'SHOTEL ROOM--NIGHT There is a conference going on. Justice, 
Iesha. Jessie, and Heywood are present. From
the looks on their faces, we can tell what the topic of discussion is: men. 
lesha is holding a cold towel to her eye.

HEYWOOD: Hold it there. It may swell a little. Let me see it.

She takes the towel away. We see her eye. It's a small shiner.

HEYWOOD: Awww, that ain't that bad.

IESHA (looks at him like he's crazy): It ain't.

Jessie looks at Iesha's eye.

JESSIE: That ain't nuthin, girl. I got this girlfriend Susan, she got this thing 
where she don't think a man loves her unless he beats her.
Anyway, this nigga went off on her once, and her eyes were so big. You know them 
Dunkin' Donuts?

HEYWOOD: The big ones with the glaze on 'em?

JESSIE: Yeah, those the ones. Well, you take two of those, put them on both 
eyes, and that's what she looked like. You young. You
gonna learn. Don't fight no man with you fists--you fight him in his wallet. Now 
instead of swinging on 'em, you shouda gave him
some, let 'em go to sleep, reached into his wallet, and took his credit card.

HEYWOOD: And we all woulda had a party!

JESSIE: On him! Jessie and Heywood laugh. They start reminiscing, utteringpast 
stories. Iesha cuts them off.

IESHA: What credit card? That nigga ain't got no credit card!

Jessie turns and stops.

JESSIE: Well, shit then, you is a fool. (laughing and looking at lesha's eye) 
Men ain't shit.

Jessie and Heywood start laughing again.

JUSTICE: That's the truth.

Jessie stops laughing.

JESSIE: Excuse me? I thought you was in love.

JUSTICE: You thought wrong. Don't assume. You assume, and you make an ass outta 
you and me.

JESSIE: You were already an ass. Ya'll still gotta lot to learn about the world.

Justice's face, as Jessie's words sink in.

JESSIE: C'mon, Heywood. Let's go get a drink. (walks away, mumbles) These little 
young girls don't know they cuchie from a hole in
the wall. Shit, I just rest and dress, honey. Love don't live here anymore.

Justice returns to consoling her friend, but we can tell her mind is miles away.

JUSTICE: It ain't that bad.

She helps her with the towel on her eye. THE DOORWAY Where Colette sticks her 
head in.

COLETTE: Is everything all right?

Justice turns around, Iesha is cradled in her arms.

JUSTICE: No.

DISSOLVE TO: 121 INT: THE SOUND LAB--NIGHT Lucky's cousin 's makeshift recording 
studio. We see a four track, a drum
machine, a keyboard, two turntables, a large boom box, a rhyme dictionary and 
thesaurus, and a ton ofrecords. The walls are covered
with the faces of the heroes of hip-hop. Posters of Public Enemy, KRS-One, EPMD, 
and everybody else who is truly down. Among
the mess Lucky spots a tape that reads LUCKY.S NEW BEATS. He pops it in the box. 
We hear the beat. It is a smooth, Loc'd out
gangsta groove. Lucky listens for a moment, then presses STOP OR the box. He 
thinks for a moment, then hits his hand on the desk
and stands. Then he sits once more to think. Like "The Thinker. "

DISSOLVE TO: 121A INT THESOUNDLAB DAY The light changes to a golden hue as a new 
day arrives, and we see Lucky, who
has apparently fallen asleep in the chair. He awakes. He sits up, leaving an 
afterimage of his sleeping self on the chair. When he stands,
it disappears! He smells the air: Food. We hear children playing upstairs.

122 INT. AUNTAUDREY'S KITCHEN--DAY Where Aunt Audrey is cooking up a storm: A 
real southern breakfast. We see eggs,
bacon, fried chicken, biscuits, etc. Aunt Audrey is cooking to keep her mind off 
of the death of her firstborn. Also in the kitchen is
Uncle Earl, Audrey's brother Tequan, her second son Shante, her daughter, and a 
few other family members young and old.

AUNT AUDREY (manages a smile): Morning, Lawrence. You hungry, baby? C'mon over 
here and get you somethin to eat.

Lucky goes over to the table.

LUCKY: I ain't hungry. I'm too mad to eat.

Audrey has no reply to this.

THE STOVE: A FRYING PAN Where Aunt Audrey pulls some chicken wings out to drain 
on some paper towels. She pauses for a
moment and attempts not to lose her composure.

UNCLE EARL: Audrey, sit down. Sit down. You gonna wear yourself out.

Audrey sits down across from Lucky. She looks as though she is in a daze of 
depression. Her gaze finds Lucky.

AUDREY: Lawrence and Kalil useta do music together. They used to make them 
tapes. They was trying to do something with they
lives. Something constructive instead of destructive.

She laments for a moment.

AUDRY: Shante, check that chicken, baby. Make sure it don't burn. (8 beat) 
Lawrence, I want--I want you to know you my favorite
nephew. Your mother, even though we sisters, we don't alwags get along. I was 
always happy you and Kalil were more like brothers
than cousins. Family should stick together no matter what.

LUCKY: What you gonna do with all this equipment?

SHANTE (nonchalantly): Sell it.

LUCKY: What?

SHANTE: We need the money.

LUCKY: Every dollar he made went into that room. Why every time people try to 
build and do somethin, somebody gotta come along
fuck up shit?!

AUDREY: What do you think we should do?

LUCKY: Give it to me. I'll do somethin with it.

SHANTE (sarcastic): Like what?

AUDREY (looks over to stove): Shante! Turn the fire off. Take them wings out the 
skillet and drain off all that oil. My blood pressure's
bad enough as it is. (turns back to Lucky) Anyway, what would you do with it?

LUCKY (looks around): Use it.

CUT TO: 123 EXT. AUDREY'SHOUSE-DAY Where we see Lucky and some of his cousins 
loading the equipment back into the mail
truck. Aunt Audrey gives Lucky a hug before he gets into his truck. Over these 
images we hear Audrey's voice.

AUDREY (V.O.): Well, take it then. Just 'cause my baby didn't get a chance to 
realize his dream don't mean you can't do what you
gotta do.

Lucky starts un the truck

123A EXT. THE ROAD--DAY Traveling montage on the road. Beautiful sights of 
California.

DISSOLVE TO: 124 EXT THE ROAD--DAY Lucky's face from outside the truck while it 
is moving. The truck speeds up, and goes
into the distance. We hear Justice's voice: another poem begins.

125 INT. THA HAIR SHOW--DAY As we TRAVEL through the Oakland Hair Show from a 
docu-style perspective. Heywood is
behind the camera. There are many exhibits on display. We see new products being 
introduced Salesmen on different montages
peddling everything from mousse to gels to tools. Our attention is drawn to the 
various hairstyles present and the reactions of the
characters to being filmed. We see Jessie and entourage walking through the 
crowd having a good time. She is pointing at people and
making comments. Heywood points the camera at Dexter: "Sexy Dex. " Eventually we 
see Justice. She is attending to Lisa and Gena's
hair, as well as the hair of two other women. They're her models, for her 
hairstyles. There are many other stylists doing other people's
heads also. Justice is noticeably nervous at being recorded She tells Heywood to 
turn that shit off. End of docu-style. THE RUNWAY
Where we see the models come forth. Our attention is drawn to their heads as we 
notice their beautiful intricate hairstyles The
hairstyles are like sculpture. A TABLE OF JUDGES Watches the models as they come 
forth. 

126 EXT. THE DESERT--DAY Where we see Lucky walking along the road in the 
desert. The truck is nearby in the distance. He is
thinking.

126A INT: THA HAIR SHOW--DAY Justice lets out a breath. The Judges begin to talk 
and review their notes.

DISSOLVE TO: AN AWARDS CEREMONY Trophies are given out to representatives from 
different salons. Justice receives a trophy
and is congratulated by Jessie and company. She holds it up for all to see. But 
she is not happy. She smiles an uneasy grin.

1268 EXT HIGHWAY-DAY We end on an image of the truck going across the horizon. 
FADE TO BLACK:

127 INT. JESSIES SALON--DAY MONTAGE We see hair and nails being done. Everything 
seems normal once more in the shop. A
voice changes the mood.

RITA (V.O.): Bitch, if you don't quit staring at me, I'm gonna knock them eyes 
outta your head!

THE STYLLSTS Look up. WAITING BENCHES Where two women sitting across from each 
other are looking at each other like cats
in a fight. The first one is Rita, the second one is Simone. Simone is kinda 
prissy. She talks to her friend next to her.

SIMONE: I can't even deal wit her skainchie ass! She just better stay away from 
James.

A HAIR STATION Where Jessie is doing someone's head.

JESSIE: Hey, hey, hey, why we gotta have this here? Take your shit out in the 
street. I got enough problems as it is.

RITA (stands up to leave, looks at Simone): Yeah, bitch, you can say what you 
want. But remember this, every time you kiss him, you
tasting my pussy!

127 CONTINUED JUSTICES STATION Where she stands attending to a client's head. 
Her face looks much as it did at the beginning
of the film. Only this time she is made up more. Justice finishes the woman 's 
head and begins cleaning up.

THE DOORWAY Where Rita leaves, and Lucky enters with Keisha in hand. He is 
dressed in very casual attire. As soon as he enters,
his presence is felt by every woman in the shop. Justice looks up and, noticing 
Lucky, excuses herself from her client and goes over
toward the counter.

LUCKY'S P.O.V.: As we slowly move forward toward Justice. She looks around to 
see the reactions from the other women.

BACK TO LUCKY Who reaches the counter and casually leans against it, looking at 
the other women. His gaze reaches a couple of
them, who instinctively look away. He turns to face Justice.

LUCKY: What's up?

JUSTICE: Who's this?

KEISHA: Keisha.

They shake hands.

JUSTICE: My name's Justice.

KEISHA: What's Justice?

Lucky and Justice just smile.

LUCKY (motions toward the couch): Mind if we sit down?

ANOTHER ANGLE As the party of three all sit down. Simone and her friend sit 
across from them. Both women are nosy and attempt
to listen in on the conversation between Lucky and Justice.

LUCKY: Ah, mm, well, listen I want you to know I'm sorry. I made a mistake.

JUSTICE: Come closer. I wanna whisper somethin to you.

LUCKY: Get the fuck outta here. I ain't fallin for that shit again.

JUSTICE: Naw, seriously--come here.

They look at each other. Get closer. They kiss. The kiss is initiated by 
Justice, which surprises Lucky.

THE SHOP Where Jessie and the rest of the salon look equally surprised.

JUSTICE: Your nails look clean.

LUCKY (looks at nails): I wonder why? (to Simone and party) What you looking at?

Justice's gaze turns away from Lucky to Keisha.

JUSTICE: What did you do to this little girl's hair?

LUCKY: Nuthin.

JUSTICE: It looks like it. C'mere, little girl.

ANGLE As Justice guides Keisha toward her station. She sits Keisha in the chair 
and proceeds to analyze what can be done with her
hair.

THE COUCH Where Lucky looks at Justice playing with his daughter's hair. There 
is a glazed look on his eyes.

LUCKY'S P. 0· V.: MOVIN TOWARD JUSTICE As he/we see Justice skillfully workin on 
Keisha's hair. We hear Justice's voice over
as she says another poem. At the end of the poem, Justice looks up toward 
Lucky/us. She smiles.

THE END


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Which city are Justice, Lucky, lesha and Chich headed to on their road trip?
Which city are Justice , Lucky , lesha and Chich headed to on their road trip ?
Oakland
Oakland
Oakland
Oakland