"CB4" (1993)

Ingide are four young members of an endangered species -- Afvican-American males. They are the members of the rap

group CELL BLOCK 4. -

MAN SLAUGSTER, mean, unsamiling, nasty loeking in a CB4 bagebali cap and Raiders jacket, is behind the wheel.

in the seat behind ig DEAD MIXE, the band's Afrocentric member, wearing a red, black and green kufi,.

MAN SLAUGHTER scowls as DEAD MIKE talks, Then WE SEE THE CAMERA PAN TO HOMICIDE.

HOMICIDE ia the band’s pragmatic pretty boy. He sits in the passenger seat next to MAN SLAUGHTER. He is checking himgelf out in the jeep's gide mirror as he talks.

HOMICIDE and DEAD MIKE look at each other and shake their heads.

S@AB MASTER ARSON, the fourth member of CELL BLOCK 4, sits in the backseat reading Soul Tit, a black porno magazine, wien hig ever-oresent red and white straw twirling in his meuth. He grunts in reply to DEAD MIKE's question.

HOMICIDE looks back in the mirror and puts a “street* look on hia face.

BOBBY JOE KIM'ag Chinese restaurant hag just opened. A sign in the window says "Grand Opening.” There ia red, white and blue bunting on the walis.

WE SEE CELL BLOCK 4 enter. INTs CHINESE RESTAURANT =< DAY

There is a amall kitchen behind bulletproof glass. An alderly ASIAN MAN peers at them with pen and pad in hand.

_ MAN SLAUGHTER ¥o, this place ain't that bad. Nice place to take a girlie.

MAN SLAUGHTER ignores him and looks through the glass at a boiling pot of food.

WE SEE a pot of het boiling, bubbling unknown substance, BACK TO MAN SLAUGHTER MAN SLAUGITER ito Stab Master) Yo, Stab, what ig that? You recognize it?

STAB looks, stone faced, and then shakes his head “no.*

We eat here, we going out. Shit leoks worse than at Rikers.

{leeks at his watch) YO, we still got to get to Queens. This meses has killed my appetite. Lat's break out.

CELL BLOCK 4 exita the restaurant, ad libbing jokes at the ASIAN MAN's expense.

ASIAN MAN looks at CB4 exiting and then lookg INTO THE CAMERA.

| $LITLE AND CREDITS

(In thick block letters in the style of the CELL BLOCK 4 lego WZ SEE all the key above the line credits. Under these credite are black and white photoes from hip hop'z @arly days.

MUSIC: A fast beat pounda underneath. There ia no rapping, just snatches of radic reports of rap violence and a sample of the hook from Prince's *Controversy.*

The credits end with a SHOT of a brick wall. WE SEE che wall change from the look of a black and white photo to the color of red brick. The CAMERA PANS LEFT and WE SEE vintage hip hop posters plastered atop one another on the wall, They announce gigs at histeric hip hop clubs (Club 371, Harlem Werld, The Rexy, The Latin Quarter, The Diplomat Hotel) woth the Crash Crew, Afrika Bambaataa,

D.J. Hollywood, The Fearless Four, and other old school bands on the bill.

The last and biggest poster proclaims a Friday the 13th, 1983 gig at the Queens Armory. On the bill, from top toa bottom, are Grandmaster Flash & The Purious Five, Kurtia Blow, Run]-D.M.C. and in smali Letters, CELI, BLOCK 4.

MUE ICs Fades, crowd noise up.

The CAMERA MOVES through a crowd of black teeng in ingide<- out jackets, jeans, Adidas sneakers with no laces please, T-shirts, such as the infamous Yo, Baby, Yo T-shirt and gold shaing, goid rings, gold teeth, gold fingernails.

A few perform the “smurf dance,” but most are angry.

CROWD MEMBER $1 I want my goddam blow! i

CROWD MEMBER #2 i want my motherfucking cheeba!l

CROWD MEMBER #3 Puck that! I want my money!

BACKSTAGE AREA

Promoter TRUSTUS JONES and hogt YOMONEYROB are pacing backstage nervously. YOMOMEYROB ia 2 frantic, fast-talking, 25-year-old, in a purple velour sweat suit. JONES ig wearing a lime green velour sweat suit and a gold chain holding a medallion that says, “TRUSTUS.*

my age.

HOMICIDE, youthful yet world weary kid in a black hat, Leather pants, untied eneakers and extra-extra large gold chain steps to Rim.

_ HOMTCINE Yo, we ready.

Three other b-boys, all dressed identical tc HOMICIDE, waik up behind him, all locking ag cold blooded ag a witch's tit.

STAGE <- NIGET

YOMOWEYROS walks out to boos. A couple of "Old 2” bottles fly past hin.

From his POY he sees a fly girl, SISSY, in the crowd. BACK TO YOMONEYROB smiling at her. YOMONEYROB Hay now everybody just take a chili pill. It ain't my fault none of the other groups showed up, okay?

Mere meoe.

Members of the crowd bark like dogs.

YORONEYROS fconcd) Peace to the Hollig Crew.

More barks.

Loudest barks of ail.

(echo) BLOCK fecho)

(echo)

CELL

4it

AS YOMONEYROB exits, ne does a "come here® motion with his finger toward SISSY.

WE SEE SISSY pushing her way through the crowd.

CELL BLOCK 4 <- HOMICIDE, MAN SLAUGHTER, DEAD MIKE, DJ STAB MASTER ARSON <-- take the stage.

From ebove WE CAN SEE the bodies of crime victims drawn em the stage where CB4 stands.

The crowd cheers. COT TOs BAL ESTAGE TRUSTUS (to Yomoneyrob) Yo, I'm outta here.

TRUSTUS goes through the door marked "Box Gffice.* We hear the sound of several locks clicking.

STAGE HOMICIDE One for the head, two for the heart, come on, Man Slaughter! MAN SLAUGHTER ~ Lemme ask y'all a queation. Is da Bronx in the nouge? More barks. MAN SLAUGHTER (contd) Ie that right? Well, is Man~hat-tan in the house? Crowd barks louder.

cur TO: BACKSTAGE YOR@ONETROB is pushing up against SISSY. sissy Den’t make oromises your tongue can'« keep.

STAGE

Crowd mecows like a cat.

- HOMICIDE Yeah, why you wanna know? ‘Ya, Dead Mike, do you know why he Wants to know?

CELL BLOCK 4 begins performing "Straight Out of Brooklyn.”

This is a hardcore rag record in the N.N.A. mode,

MAN SLAUGHTER, whose words are delightfully offensive, stalks the stage with a cool, Rakim-like swagger == maximum attitude with minimum sweat.

MAN SLAUGHTER raps:

BOMECIDE is reminiscent of Run of Run-DMC in his hump back walk and hand gestures. His rap ia wittier than SLAUGHTER's ané it comes through in his performance.

BOMECIDE rape:

(MORE)

HOMICIDE (contd) .

in the dark/Waiting to rob you, waiting to beat you, 4 bullet in

the head is how I‘1l greet you/A

villain with a hat, it's like that/

Tiead you mother down te a train track/

Plat on her back I gave her some

ctack/It's 10 o'clock, de you know

where your Mom's at?/She moved .../

Straight Out of Broeklyniill

DEAD MIKE is the only CB4 member wearing an African medallion: inatead of a geld chain, He speaks with the elocution of a teacher trying to reach a crowd of unruly atudents. - :

(Note: Lyrics To Come)

STAB MASTER ARSON is the moat physically imposing CELL BLOCK 4 member -~ standing well over six feet with large hands. Even at the most hectic moments, STAB maintains a poker face that even Celtic center, Robert Parrish, would envy. He beging scratching the record with hands, elbpowa, nose, feet. Takes out his gold taeth and cuts records with them too! He pullg cut a bottle of lighter fiuid and pours it on the turntables.

Ag STAB MASTER pullg out a box of matches we hear ...:

WE SBE STAB lite up the turntables. A. WHITES (VO, contd) CB4. They rose like a meteor-but won't fall like a leese button. The etory begine where all great stories GQ =~ before the beginning. cur TO: WE SEZ HOMICIDE throw down hig mike.

WE SEE DEAD MIKE throw down his kufi.

il

WE SEE MAN SLAUGHTER throw down his mike, hig baseball cap and hurl one of his gold chaing into the crowd.

cur TOs Audience memberge diving and fighting for the chain,

MUSIC: The sound of the “Brooklyn” beat giveg way to the goung of feedback and digtortion.

YOMONEYROS rung. on stage with a fire extinguisher ag CELL BLOCK 4 walks off stage cooly.

nen MAN SLAUGHTER comes back.

PREEZE FRAME ON MAN SLAUGHTER's face with the flaming turntables in the background.

WE SEE THE CAMERA PULL BACK TO REVEAL ...

A televigion in an office, The screen then turns to video Snow.

a white man pugheg the off button. The television shuts off and a video cassette pops out into the white hand.

WE SEZ THE CAMERA PULL BACK TO REVEAL A. WHITE, early 30's, bespeckled ax-reck critic turned filmmaker, wearing a Metallica T-shirt and dingy jeans.

- A. WHITE

(into camera} We bought this footage from a crack- head I met hustling for quarters eutaide the Apolic. That's all we have to date of the early days but it giveg you a feel for what I'm doing.

cur TO: A WHITE'S POV WE SEE two black men -- one sitting, one standing -- behind a cluttered dask. On the wall behind them ia the

logo, TRUSTUS JONES ENTERPRISES and the slogan, “In Jones We Trugt.* TRUSTUS JONES site in an expensive suit,

looking fatter and sporting a beard. “Standing ia YOMONEYROE, wearing a Cell Block 4 jacket and a gaggle of backstage pasges on 4 chain around hig neck.

A. WHITE takes a2 aeat in front of the degk.

. A, WEITE (sheepishly)

That's not a problem. It's your

money and my first film. I won't

have any problems giving you what

thing e

A. WHITE is clearly embarrassed by TRUSTUS’ statement.

CUP PO: DOORRAY CELL BIOCK 4 burst through the door, knocking it to the flcer.

CELL BLOCK 4 exchanges “What's up’s® with TRUSTUS and YOMONEYROB. Of the group only HOMICIDE and DEAD MIKE acknowledge A. WHITE.

STAB, ag ig his manner, immediately beging going through the magazines piled atop the coffee table.

SLAUGHTER pulls hig chair up next to A. WHITE’s. In fact he bumps A. WHITE’s chair, almost knocking A. WHITE down, yet SLAUGHTER still doegn't look at or speak to him.

Everybody grunts or says, "Word"® or some other racially specific ad lib. SLAUGHTER just sucks his teeth.

A. WHITE

Lock, I’m in the videe business now. Back then I wag making $250 a review. Couldn't pay my rent. I wrote the odd nasty review just te get noticed << 20 get a rep. I know you understand that. My rep in fact gives this filz added credibility. Besideg, the bottom line ig

(ne looks at Man Slaughter) Now I just want to cold get paid.

A, WHITE Okay.

A. WHITE slips another caggette in the VCR and turng on the television.

WE SEE hand held camera interviews about Cell Block 4

with BOBBY BROWN, CHARLES BARKLEY, QUINCY JONES, MARLA GIBBS, MILTON BERLE, DENNIS MILLER, ROBERT DENIRO and

other rap experts.

As WE WATCH we hear the "Straight Out sf Brookiyn® beat and comments from CB4 members on the interview subjects.

After the lagt interview WE SBE ... BST: APOLLS THEATER =» 12878 STREET - DAY

A. WHITE, in a blue blazer, white shirt, and a Ted Koppel hairstyle, walks INTO THE FRAME holding a microphone,

SEO GP A GRAFITTIED WALL

Then a Teshirted A. WHITE rung THROUGH THE FRAME. For a beat nothing happens. Then a gang of black kidg rung THROUGH THE FRAME after him.

A, WHITE (now walking) -- and gave me my start. Now, ail these years later, I've dacided te (MORE)

While A. WHITE walks down the street talking, he ignores

& Rasta trying to sell Marcus Garvey and Bob Marley posters, Jehovah's Witnesses pushing the Watchtower, folks picketing a@ Korean grocery store, and a young black teen being dragged away by the cope. A. WHITE is oblivious to every=- thing but his words,

Ae WHITE (contd) This documentary is composed of footage from my personal archives and notes taken during my years of intimate contact with African-Americans. This film is, of course, about more than rap mugic, but how thig great country works, I feel it ig only by being truly sengitive to their world that all we real Americans can underatand our world.

Just ag A. WHITE finishes his last comment, the CAMERA BEGINS TO SHARE.

The camera is stolen, and the screen goes spinning and careening down the street ag if on a roller coaster. We hear A, WHITE shouting in the distance. Then it spins out of control and the screen goes biack.

od g fen)

STAR WASTER ARSON puts down Right On! magazing and pickse ap Servaw.

TRUSTUS {contd} Gocxi, Let's go to the prees conference.

INT; CONPRERENCE ROOM ~ DAY

Camers. crews and reporters mill about waiting.

Ae WHITE is talking with & cameraman when EVE EDWARDS, 4 beautiful black woman with the over-mousged hair of a

sypical TV anchorwoman, which by the way she happens to be, walka over.

You used tc be a fine, hard nitting eritic. I read ali of your essays

isn Dark Skin. But mow I understand you're doing an “authorized® docu-

mentazy on Cell Block 4.

A. WHITE laughs at that.

. .. A. WHITE That’ 3 nothing but tabloid journalism.

Before A. WHITE can respond there's noise from the dais. cor To: PODIUM

Holding 4 mike is CLYDE CLOWN, the short, effete president ef JAPAM Recorda.

CELL BLOCK 4 enters from a side door, and walk onto the Gais. Aa they do, a banner unfelds behind them: “Cell Bleck 4 Is Better Than Pussy.*

Cur To: PRESS AREA

Standing in front, open mouthed and enraged, is EVE EDWARDS .

PODIUM

PATTY CAKE, an Afrocentric sister (dreads, African garb, no make up), from Word to the Mother magazine, stands up.

is

cot TO:

STAB MASTER ARSON and MAN SLAUGHTER carrying a sofa out of a home. Thereis a screaming woman on it out to the curb. She ig claiming “You have no right to evict mei*

BACK G6: CONFERENCE ROOM

WE SEE EVE EDWARDS’ face in CLOSE US. The sister is pissed.

G@eing to uplift the community in economic terms?

That's a jive ass black only question. Why don’t you aak Michael J. Fox what ne‘'s doing for yuppies or Stallone if he’s gettin’ busy for Italians. Me, myself, I ain*t doin’ shit for the community!

is

cut TO: DEAD MIKE'S STORE SIGNS = DAY The signa are: . DEAD MIKE'S BEEPER WORLD DEAD MIKE'S NO I.D. NECESSARY CHECK CASHING DEAD MIKE’S GOLD CHAIN EXCHANGE

CONFERENCE ROOM

The group members begin whispering among themselves. Then HOMICIDE smiles. :

HOMICIDE | Maybe,

De BLACK (a white writer who looks like a young A. White) I‘m 0D. Black from the Village Voice. I have one queation for you. Why are you 80 angry?

CUT TO; @liD PARTY - NIGHT DEAD MIKE sits on a sofa with two bountiful women. A PUSHER, wearing a gray sharkskin suit and a black beaver cap, walks up with a tray.

2h PUSHER holdg out a plata of coke. WE SEZ DEAD MIKE shaking his head *no.* WE SEZ tray of marijuana.

WE SEE DEAD MIKE shaking his head *no.*

WE SEE tray of ecstasy.

WE SEE DEAD MIKE shaking his head *no.*” WE SEE tray of neckbones.

PRESS CONFERENCE

The room gets az quiet as a brokerage hougze commercial.

The reporters are shocked.

He gives thumbe down gign. Reporterg stampede out of the LOOM.

Cur TO:

CLOWN ig talking with TRUSTUS JONES when A. WHITE shoves & microphone in between them.

We SEE them now through. Ae WHITE's documentary camera. Thia footage will, throughout the film, have a slightly

eratorted quality clearly different from the rest of the iim.

CLOWN

I just want to assure you and your group of fine young men that JAPAM Records is totally bmehind you in thig sad controversy.

(smiles for the camera;

a beat) Now turn that shit off.

WE SHIFT from DOCUMENTARY CAMERA to REAL LIFE as we will often.

There are pickets, mostly old white and black women. They

carry signg with watermelons crossed cut Ghogtbugter style. EVE EDWARDS interviews one OLDER BLACK WOMAN.

. EVE . Madame, why are you cut here picketing JAPAM Recorde?

EVE EDWARDS turng TOWARD THE CAMERA.

eve a : The pretest engendered by Cell

Block 4's vicious attack on water= melon is just the latest in a long list of oucrages perpetrated by these hip-hop heathens.

WE SEE THE CAMERA PULL SACK TO SEE EVE EDWARDS’ image on a wide ecreen televigion.

The screen goes black.

WE SEER THE CAMERA PULL BACK AGAIN TO REVEAL a leather sofa in an otherwise barren apartment.

Then a televigion remote control device is thrown on it. Off screen a voice says, *Shiti*

Then HOMICIDE and YOMONEYROB ENTER THE FRAME from opposite sides anc fase each other.

HOMICIDE - : Dam. One guy thinks he's Malcolm X. One guy thinks he's a gang banger. One nigger's a mute.

As they move through HOMICIDE's apartment WE SEE that, though large, it’s basically empty save for the television, the sofa, a stereo system and, on the wall near the front door, the framed photo of a pretty, conservatively dressed black woman named DALIHA BOND.

’ HOMICIDE No, She's just the girl I left behind?

Ag they exit the CAMERA LINGERS ON DALIHA BOND’s face.

HOMICIDE and YOMONEYROB walk up toe a door that is

gecorated with a Gucci design. We can hear music booming through the doorway. YOMONEYROB knocks.

The door opens and PLY GIRL #1 opens the decor wearing 4 ‘provocatively designed maid's outfit.

FLY MAID #1 ¥O, what up?

YOMONEYROB and HOMICIDE walk down a hallway which, like the door, ig decorated with Gucci wall peper. In the living room, however, everything ia decorated with the Fandi logo.

Laying on the matching Fendi sofaa are MAN SLAUGHTER and STAB MASTER ARSON with their shirte off receiving backrubs from FLY MAINS #2 and $3 in maids’ outfits. Scattered around the room ara home boys in various b-boy gear.

STAB MASTER ARSON lifts up a copy of Ass Man magazine and smiles,

EAT: BA BA ACK'S BULLDING = DAY

An all-black building looms large IN THE FRAME. WE SEE @ red, black and green fist painted upon it. We hear Agfzican drums.

fae CELL BLOCK 4 jeep pulla up in front and the drumg are azowned cut by a drum machine beat from the jeep.

HOMICIDE Better blow your horn so he knowg we're here.

YOMONEYROB performs this redundant act. The decor opens immediately.

Prom the jeep's POV, DEAD MIKE exits with hig spiritual mentor BROTHER BA BA ACK, who's dressed in African robes, @ Black gailor's cap and carries a leng stick decorated with African carvings.

@E SEE building front.

DEAD MIKE bende to one knee and BA BA ACK knights him with his stick. a

CB4 JEEP DEAD MIKE gets in.

DEAD MIKE, HOMICIDE, MAN SLAUGHTER, STAB MASTER ARSON and YOMONEYROB put their hands together in van..

The jeep drives off.

From hig front deor BA BA ACK watches them pull away and em@iles sinisterly.

Through the lens of the DOCUMENTARY CAMERA, WE SEE A. WHITE. Now he ig dressed in full beboy attire (sneakers, gold chain) except that hia Ted 4eppel<-Like nair cemaings intact.

Be WELTE passes the side of the CB4 tour bus. The bug is a@ecorated in a festival of hip hop style with MCM, Gucci and Fendi logos painted alongside the bus along with CB4

A, WHITE (contd) So, dressed in my freshest gear, I boarded the Call Block 4 tour bus, determined to get the insida flavors on this dope extravaganza.

WE SEE THE CAMERA FOLLOW him on board.

HOMICIDE and MAN SLAUGHTER sit surrounded by roadies and girlies in the tour bus living room, Fast-food bags are everywhere. So are CB4 Teshirta and boxes of sneakers. Comedian Chris Rock ig on the VCR. The sound of a hip-hop beat runs underneath the dialogue. ,

A, WHITE How's it nangin’ homie?

Suddenly we hear sound of a straw slurping up the last of a milk shake.

WE SEE STAB MASTER ARSON has come out of the private rear section with two gorgeous, gum-chewing girlies and the last of a huge milk shake.

A, WHITE (playing to the camera) ¥o, what's up, home slice?

cUuT TO:

A. WEITS flies out tour bus door. He landg in a clump on the asphalt. He lays there groaning. DOCUMENTARY CAMERA

MOVES IN.

INTs BACKSTAGE AREA ~ NIGHT

WE SEB A. WHITE walking behind 4 man in a CB4 jacket through the backstage area. It is YOMONEYROB, CB4's road manager. He has hundreds of backstage passes dangling around his neck.

YOMONEYROB and A. WHITE walk-through the hectic backstage area. Readieg, techniciang and fane move about.

YOMONEYROS

What you. gotta know ig that record sales, concert sales, Kotex adg <= all that is nice, But if you wanna know if a band ig hot you can only - really tell by how hectic the stage coor ig. Now I've worked with them all. .

{aa YoMoneyRob mentions a

group he holds up a

backstage pass} Bootsy, Cameo, Frank Stallone, Cheryl "Pepgi* Riley <- that level of star ... But CB4 is the mose crazy hectic of all.

Just ag YOMONEYROB finishes his talk, they reach the backstage door. The door opens. Outgide there are a sea of faces all shouting and shoving te get the attention of YOMONEYROSB.

FEMALE FAN $1 Tell Homicide his baby'a mother is here!

. FEMALS FAN #2 That's right, hie baby’s mother ig tight hereii! .

FEMALE FAN €2 Teo late for that now, honey. He got me too)

cot To:

PEMALE FAN #3 T@ll Man Slaughter it's Pebbles from Bed-Sty. He knows me. I live in hig grandmother's building, apartment 4/7,

CcurT TO: YOMONE YROB Yo, let those ladies in. cur TO; Sissy YoMoneyRob | YOMONEYROB (excited)

Baby, I thought you'd never get here. YOMONEYROB leaves the doorway to personally pick SISSY, an attractive light-skinned girl, sut of the crowd and escort her inside.

As ahe enters SISSY smiles at A. WHITE and walks by.

YOMONEYROB {contd} Now thie tour is official.

The door opens. SISSY comes out. She’s standing putting ner iipetick back on when YOMONEYROB and A. WHITE walk us.

Sissy Hi, how you be?

LoL. Cool J walks by.

You jingling, baby.

Ae WHITE What shows have you been in? What records have you gung on? What magazines have you appeared in?

STssy Now wait a minute. Who told you you could get all in my business?

Prom out of her bag she pulla a photo album.

Sissy I gtarted young.

A. WHITE and SISSY look through photo album, but we can't e@e@ them ... yet.

SISSz That's Melle Mel, the Suger Hill Gang, D, M and C, Wnedini and . five of those Furious guys. I even have two of Al B. Sureli!

Sissy (proudly) What can I say? Here's the CB4 S@Ction ee.

CAMERA COMES AROUND and LOOKS AT the album over A. WHITE’s« shoulder.

Polaroid pictures of all CB4 members fi11 the screen. Each one ~~ HOMICIDE, MAN SLAUGHTER, STAB MASTER ARSON and DEAD MIKE -~ lie asleep in the same position in a bed with the sams red satin sheets. DEAD MIKE looks particularly blissful.

What a man he wasi He wasn't small minded or gmall limbed.

SISSY locke down at A. WHITE's crotch. SISSY (contd)

Know what I mean? Now tell me, 6o you make videos?

You gee any videos?

SIssy Reallyi Let’*s gol

cur TO:

Phote of A. WHITE agleep in that same old spot.

A. WHITE in SISSY's bed asleep. In REAL TIME.

The phone rings off screen and SISSY walks THROUGH THE FRAME and the CAMERA FOLLOWS her over to a dresser. The walls of the room are lined with snapshots of SISSY with male celebrities of every description.

She picks up the mobile phone.

sissy

Hey, yo, money.

{a pause) What! That's weak. But he'd never de that alone.

{pause) OZ course he's right here. I juat aid what Man Slaughter told me «0.

(pause) Werd.

SissY hangg up. Then moves to che bed.

Anyway, you gotta get over to the arena. There's a problem.

A, @EITE What? STSsy And they're blaming Dead Mike.

Cur TO: OUTSIDE CELL BLOCK 4's DRESSING ROOM

A big, burly roadie and YOMONEYROB stand blocking the doorway. Media people including EVE EDWARDS are trying tO gain admittance.

WE SEZ him through the hand held leng of his DOCUMENTARY CAMERA.

Yo, ig her and go inside. Trugtuz wants you to cover this.

A. WEITER cuts her a dirty look and enters the room.

ingide the CB4 dressing room ig TRUSTUS JONES and CB4‘s memberg save DEAD MIKE are on one side of the room. On the other is BROTHER BA BA ACK and DEAD MIKE.

‘DEAD MIKE No way!

' TRUSTUS JONES But half the proceeds from today’s show would go to your organization, NPL -- Nubiang For Liberation.

. BA BA ACK To my holding company -- Raymond RPobingeon IV. I use my slave name when dealing with banks. (MORE)

Crowd is chanting "CB41} CB411° when YOMONEYROB walks on stage to the microphone.

The ISLAMIC COMIC has om black pants and gloves with red ana green fingers. One shoe is red: one shoe is green. Coincidentally, he hag a red, black and green bag on his head. ,

No one laughs except BA BA ACK.

BA BA ACK laugha loudly.

BA BA ACK laughs again. Ne one elge does.

To enthusiastic applause, DEAD MIKE walks onto the stage.

they got you brainwashed. I can

BACKSTAGE

STAGE

see the suds coming out your ears, right now. Now I got 4 righteous rap for you. ,

CuT FO: « NIGH?

. fROUSTUS JONES Yo, relax and stop letting your beourgie show. This will have no repercussions.

BACK TO2

DEAD MIKE'’s performance of *I'm Mad* ig blunt and to the point. It consists simply of two elements: a series of

CLOSE UPS

of DEAD MIKE, staring intently INTO THE CAMERA

with his face lit sv revolving green and red lights, and DEAD MIKE tearing tc pieces a giant map of the 0.S.

Lyrics:

®7'm Mad*:

Ag DEAD MIKE performe WE SEE THE CAMERA PULL BACK from the stage over the audience, past young white and black faces, to the irritated pale face of INSPECTOR O'BRIAN ROBINSON. He scowls at the stage, stuffg a cigar in his mouth and radiates a comic wave of hostility.

A SECURITY GUARD taps him on the shoulder and points to a “No Smoking® sign. ROBINSON stands up and punches the SECURITY GUARD to the floor. Then ROBINSON pulls cut

a very big gum anc a very big badge. People around him begin to panic.

cot Td: AUDIENCE Row after row of patrong begin to panic and run.

INSPECTOR ROBINSON

ROBINSON waves his gun carelessly in the air as he stands ever the SECURITY GUARD.

BACKSTAGE

cur TO: BACKSTAGE DOOR

The PROMOTER, a_heavy set black man, is headed out the door with a bag of money.

. MAN SLAUGHTER Yo, slow your roll with our money!

CELL BLOCK 4, along with TRUSTUS JONES and YOMONEYROB, confront the PROMOTER.

PROMOTER pullg cut a gun.

STAB MASTER ARSON steps forward and pulia the straw out of hia mouth and twirls it threateningly at the PROMOTER. Fer the first time in the film he speaks ...

The PROMOTER laughs, but ne shouldn't have. STAB rears back and smacks the PROMOTER upside hig head with the straw. The PROMOTER falls. The straw moves rapidly through the air. We hear grunts. WE SEE blood flying in the air. The scene is Hitchcockian in ita horror ... trust ug.

WS SEB THE PROMOTER fall.

A ROADIE, a large muscular black man in @ tank top, leans over the body ag INSPECTOR ROBINSON arrives.

Off screen we hear the slurping of a straw.

WE SEE STAB MASTER ARSON leaning against a wall with a straw in hig mouth and a milk shake in hig hand.

The ROADIE locks at ROBINSON, A beat. Then the ROADIZ gets up and rung away.

ROBINSON snatches it from JONES. STAB MASTER ARSON moves toward him. TRUSTUS JONES motions with his head *no."

WE SEZ ROBINSON from the POY of A. WHITE'S DOCUMENTARY CAMERA.

ROBINSON puta his hand over the leng. | BACK TO: REAL LIFE CAMERA

ROBINSON

I don’t like white boys who help

gpread this rap crap anymore than

I like the morons who make it. S90

Also White and all of you, just know

that I'll be around. Another incident

like tonight and T'1i have you ali up - on pollution charges.

STAB blews loudly through his straw.

A. WHITE, now in a suit and tie, stands in front of the RECEPTIONIST.

A. WHITE

Ready? Let's try again.

(pause) In the wake of the watermelon controversy, Dead Mike's threatened boycott, the riot, the mystericus beating of the Promoter and the foreboding presence cf Inspector Robinson, Trugtus Jones and Cail Bleck 4 want to refocus attention on music. As a result they reached evut te one ef the industry giants, Mr. William Morris.

A. WHITE turna to face the RECEPTIONIST. a mid-46’a4 white woman who's seen plenty of stars and ian’t impressed by Ae WHITE one bit. She wearg very thick glasses.

A. @EBITE tcontd) Excuse me.

A. WHITE

Call him againiil RECEPTIONIST cuts him a dirty look.

The RECEPTIONIST smiles and then dials.

: RECEPTIONIST Mr. Morris? ... Oh, it is a beautiful day, isn’t it? Oh, my grandchildren are fine.

She laughs. A. WHITE fumes.

A. WEITS stands over her trying tc leok important.

{looking up at A. White)

Go in and make a right, then another right at the turn and then straight.

The CAMERA FOLLOWS A. WHITE past offices filled with agents and secretaries closing deals. At the very end @f the corridors is a door and on it are the words, "WILLIAM MORRIS.*

A. WHITE opens the door and WE SEE a white haired old man in @ plaid jacket, red vest, smoking a large cigar. His office is filled with papers and pictures documenting

a lifetime in show business.

WE SEE photo of WILLIAM MORRIS sitting in a chair getting hig shoes shined by an old black man with "SAMMY" written en the back of hia shirt.

BACK TOs

Asn WHITE About Cell Bleck 4, 31f «ca.

WILLIAM MORRIS walks over to @ pile of ledger books.

WILLIAM MORRIS (contd)

Let's s@e@.... Okay, here we are. Negroes.

(Morris drope the book on

his desk and puts on his

glasses) Cell Bleck 4, We booked them to work a date once, but they rafused because it wae Sherman Helmsley's birthday. It's some kind of black national holiday ... The group was arrested and fined $1,300 for *lewd and unprofessional behavior® in Daytona, Florida. I think they grabbed their balls on stage.

. WILLIAM MORRIS Assertion, erection, who cares? The most important thing ig that I still collected my 15% ... Okay, here it is. (he takas off his glasses} gzcup Ray, Bobby & Brown.

THe mugic of a2 R&B dance song can be heard under the rest of MORRIS’ dialogue.

4§

MORRIS (contd)

in their own way, and you'd cover all your bases: young, old, harmony, hippity-hoppity.

(finally, a pauge) There should be any probleme? After all, they're all Negroes, aren't they?

cur TO: RAY, BOBBY & BROWN VIDEO

WE SEE RAY, BOBBY & BROWN performing their standard, "My Baby Hit The Number (and She Didn't Give Me A Dime) ,*

Video Description: “My Baby Hit The Number." The performances of RAY, BOBBY & BROWN are a shakey mix of hip-hop dance steps and old style Temptation choreography. Under the etage lights their gray hair glistens and their sequined suits shine. Despite a new jack beat behind them, RAY, BOBBY & BROWN are still as old fashioned as

a white leisure suit.

The following photos are superimposed over the video, A. WHITE (VO, contd) Thie began in the °502 ag the Rag TOROS see

Cue TO:

Phote of THREE BLACK GUYS with their hair conked and dressed ‘50e¢ style.

-hote Of THREE WHITE: WOMEN, in '608 tube dresses. curt TOs

Photo of an Afroed, bell bottomed funk band, with many mugiciang ...

RAY, BOBBY & BROWN, in garish R&B outfits and corny dance ateps, until the end of the song.

WE SEE A. WHITE through the DOCUMENTARY CAMERA walk down a hallway to a deor that reads, “RAY, BOBBY & BROWN.* He knocks.

A southern voice comes from behind the door, asking, "Who it be???

The decor openg to reveal a jheri curleé black man, late 40's holding a plate full of ribs. He is RAY, the group's leader, with one blinding bright gold tooth right in front of hia mouth.

He licks the rib grease off his fingers, then reaches out to shake A. WHITE's hand.

In the center of the room is a buffet table filled with ribs,

pig's feet, neckbone and grits. There is a big pot of grease being used for dip. BOBBY and BROWN git on stools in front of drezsing tables eating with big gobs of greage em their lipe, face and fingers. They have plastic baga on their headg.

They reach out to shake A. WEITE's hand.

A. WHITE sits down next to the still munching RAY. A. WHITE (contd)

I just wanted to know your feelings about touring with Cell Bleck 4.

RAY

Well, Whitey, rap is a wonderful vehicle for the youth ... Kinda

like stickball. But it won't last. All that zippidy doo dah zippidy zoo shit. Remember black and white TV? Gone, Eight tracks. Gone! Betamax. Gonei Gonel Gone! But we're aetill here because what we offer the public ia profeegionailam. RPight, Bobby? Right, Brown?.

Big group mates, still gopping down food, just grunt affirmatively with grease gurgling off their lips.

RAY (contd)

The difference between rap and what we Go ig that rap ia all talk. Ne sang. Hear me good now ... SANG! Anybody can talk. I'm talkin’ Fight new, ya understand?

(he laughs) What this tour is gonna show ig what separates the rappers from ug pro=- fessional entertainers. You'll see, Whitey, you'll sae.

MOUTH OF O'BRIEN ROBINSON

CAMERA PULLS BACK so WE SEE ROBINSON sitting behind a desk with an American flag behind him.

_ He hangs up, CAMERA PULLS BACK so WE SEE EVE EDWARDS sitting acrosag the desk. CAMERA STOPS when it pulla back far enough te reveal her pretty legs.

Ag he talks ROBINSON’s eyes are focused on EVE EDWARDS‘ legs. ;

_ EVE EDWARDS You’re promising me an exclusive?.

ROBINSON geta up and walks around the desk to face her.

ROBINSON

They'll self-destruct. With your

help, we'll make sure all of America (MORE)

EVE stands up and, angrily, gets in hia face.

EVE EDWARDS

Listen, white boy. DBon'’t try and get smooth with me!

(now softer) You get me ingide dope and, maybe,

. we'll work closely. | - a

(hard again) But the information hac better be good.

EAT: HOLIDAY INN =< DAY

CB4 tour bus drives up, SEEN THROUGH A. WHITE’S DOCUMENTARY CAMERA. CB4 and YOMONEYROB exit bus and head inside Boliday Inn with CAMERA FOLLOWING.

CB4 members walk in passing sign announcing "Delta Alpha Sci Phi*® sorority meeting.

They atand in check in line. STAB MASTER ARSON ia absorbed in a copy of Tit Man magazine. MAN SLAUGHTER stands cleaning his Uzi. HOMICIDE fixea hig hair as he looks in 4 amali hand mirror.

Out of the hotel restaurant comes a group of BAP's (Black American Princesses) -- cute, well groomed, perky. One of them ia DALIEA SOND, the woman from the pisture in BOMICIDS's apartment.

Skee ages hizw in line and walks over.

MAN SLAUGHTER turns around, disgusted at HOMICIDE’s buppie >

Gemeancr.

REAL LIFE

Shhhhh i

HOMICIDE notices and quickly changes gears.

. CUP FOz CAMERA,

DALIBA | My mother wag just asking whether you're going with us to Sag Harbor again this Labor Day.

HOMICIDE

Cur TO:

DALIHA BOND FACING THE CAMERA

cw? TG:

A LIVING ROOM < NIGHT

HOMICIDE ig in front of a fireplace in his underwear

rapping.

DALIHA, lounging in a camiscle, polishes her

nailg looking bored.

$1

DALIHA BOND

But it wag always just a goof. He did write poetry and he was a totally excellent poet. I have one with me,

(she takes paper

out of her purse) He called it "Prelude To Love.*

We gwitch back and forth between the veicezs of DALIBA and HOMICIDE reciting the poem.

Cur TO:

In a park WE SEE DALIHA running through a meadow; hair

- bouncing, breasts bouncing. A vision of loveliness. HOMICIDE runs toward her too; hig chains bouncing, his Kangel sap bouncing <~- but staying on <= and his unlaced sneakerg flopping on his feet.

DALIBA stands with a CB4 baseball cap on sideways and a gold chain around her neck.

HOMICIDE walkg in from the bathroom with Lawn clippers, cutting hig hair.

HOMICIDE ‘ it means that Armani suit-expense account living wasn't as fulfilling tO m@ ag rocking a mic. And, bottom line, I'm getting paid.

you back. :

She comes over and kisses him passionately, ag a qooey- midnight-love song is heard on the soundtrack,

HOTEL HALLWAY - DAY MAN SLAUGETER and DEAD MIKE are walking down the hall.

$3

Bob doesn't know shit compared tG m@ and Barkley is the only pro whe plays exact and correct.

MAN SLAUGHTER pulls something out of his pocket and picks Open the door to HOMICIDE's room.

They enter the room to find DALIHA and HOMICIDE on the bed. She's on top of HOMICIDE, kissing him passionately. ceo Oh, yeah, their clothes are on.

Leaving the door open DEAD MIKE and MAN SLAUGHTER walk over to the bed.

A startied DALIHA shrieks when she sees them.

. HOMICIDE Unfortunately, these are co-workers.

HOMICIDE and DALIHA stand up. DEAD MIZE

My beautiful high yellow sister, my — nam@ is Dead Mike.

Damm, your hands are ag soft ag a wet baby's asa. ©

(in a sexy voice) I am Man Slaughter, the Grand Verbalizger Most High and let me tall you, sweet thing, I like my women like I like my rice. Yellow.

WE SEE STAB MASTER ARSON, SISSY, and TWO GIRLIES enter the room. Following close behind ig A. WHITE.

Now WE SEE DOCUMENTARY FOOTAGE of activities in HOMICIDE’s POCM.

WE SEZ MAN SLAUGSTER still trying t6 talk to DALIHA while HOMICIDE looks in the mirror ...

WE SEE STAB MASTER ARSON and DEAD MIKE and the TWO GIRLIES hugging and fendling on the bed ...

WE SEE A. WHITE trying te catch a rap with a reluctant SISSY...

Sissy Ah, baby, you know, I jugt been gettin’ -- I mean been busy. (to camera) Hey, camera guy, you know you icekin’ good in those jeang.

Fang enter. On the marquee iz the announcement -- “CELL BLOCK 4" and underneath "RAY, BOBBY & BROWN.*

INTs THEATER STAGE

RAY, BOBBY & BROWN are ending a performance.

BACKSTAGE

WE SEE RAY, BOBBY & BROWN performing from the wings . through the DOCUMENTARY CAMERA. They end their perform= ance and walk TOWARD THE CAMERA. We hear the sound of solid but polite applause.

Hear that? That's professionalism.

YOMONEYROB waiks by them and goes onstage. RAY standa and watches him, reaching into hia pocket and pulle out @ box of sunflower seeda.

We hear the sound of thunderous cheers. -

We hear more thunderous cheers. RAY begina nervously eating his sunflower seeds. CELL BLOCK 4 and SISSY walk INTO THE FRAME. MAN SLAUGHTER {to Ray) . Hear how large we ara?

RAY, obviously frustrated, spits out a seed and it hits SISSY. :

SISssyY Hey, watch out, old man!

Sissy That's right.

SISSY whispers in MAN SLAUGRTER's ear.

MAN SLAUGHTER lunges for RAY and a fight ensueg with bodies flying.

Combatants roll cut of the wings and onto the stade. SISSY confronts RAY.

RAY

Before PAY can finish his sentence, SISSY hits him with a roundhouge right.

RAY'sg gold tooth flies out of his mouth ento the stage. A KID in the crowd spots it.

| KID Yo, goldiil

Four audience members leap on stage in the never ending pursuit of gold.

WE SEE the bars. Then WE MOVE through the bars and SEE the memberg of CELL BLOCK 4 and YOMONEYROB sittoung around a call. Ne one is talking. They all lock depressed.

We hear the sound of several pairs of feet coming down the hall toward them.

But it’s not. It's ROBINSON, EVE EDWARDS and a camera crew. ROBINSON Serry, no bail for you boys. Word came down from on high.

Lights of

@ video camera come on.

DEAD MIKE walks up to the front of the cell. Through the pars, he speaks to her.

The TV lights disappear,

From the back of the cell:

MAN SLAUGHTER | Hey, witch, fuck youl

EVE seems to be weighing her options. DEAD MIKE‘s speech

affected ‘her, but who knows how much? EAT: -VIDEO PRODUCTION STUDIO <- NIGHT ZNT: EDITING ROOM = NIGHT

A. WHITE and TRUSTUS JONES sit behind a control board.

. TRUSTUS JONES Let me tell you something: I was bern on a doorstep with a note acrose my chest. It read, "De the best you can for him, world.* I had to suck the Zirst nipple come along. I didn't run away from home << I ran 6 find a home. I ran to find Ged. And the nearest I could get to God ig people. And what do people fight for? Money -- So I figure God must be money. Soa I always try to be Godly.

A. WHITE is stunned by TRUSTUS JONES’ logic.

TRUSTUS JONES

White man, this tape may be the lagt check that these boya get. Between you and me and the light- bulb, they ain't that talented.. So look, just show me what you got and I promise to explain it to you later.

A, WHITE presses a button on the console.

A monitor comes to life. Pirate coler bars. Then the ten= second countdown. Then ...

CUP TOs MONTTOR SCREEN

On a Harlem street, A. WHITE, in preppie outfit, looks INTO CAMERA.

Harlem is a place ef the unexpected. It ig alse the home of two long

time residenta who, like Bc Diddley and Chuck Berry, created a magical mugic, and were ripped off by “the Man.*

HARLEM STOOP - DAY

Two Hagidic Jews, SIMON and SAUL, are sitting on the steps

ef a building. A little black girl comas by playing jump

rope. SIMON and SAUL look INTO THE CAMERA wearing long

gray beards, black hats and starn demeanorg. In fact,

Shey have on the game kind of hats as CELL BLOCK 4 did

SA0L

That's right, whitestone.

SIMON oO Next thing we know he’s living large sporting dope gear, chillin’ with fly hoes. He wag all that.

Photos of Euripides Smalls aka MAN SLAUGHTER aa a child. Cute photoes too, with MAN SLAUGHTER's adult head super=- imposed on the child's bedy. One photo shows MAN SLAUGHTER standing in front of an orphang’ home.

WE SEE Super 8 footage of a high school graduation.

&. WHITE (VO) Abandoned by parents and raised by reaches ...

WE SEE MAN SLAUGHTER, in line with other graduates, crawling om all fourg in graduation cap and gown.

MAM SLAUGHTER stands staring out from behind prigon bars. curt Te:

MAN SLAUGHTER gitg FACING THE CAMERA, wearing prison gear, eating a hot deg ag we hear A. WHITE’s voice.

él

| A. WHITE So what crimes have you committed?

After MAN SLAUGHTER speaks, his true crimes are revealed py & close captioned TRANSLATOR.

curt TOs KOREAN GROCERY STORE - DAY

Typical New York Korean grocery. The GROCER rung out into the street and yellg at the top of hig lungs.

MAN SLAUGHTER INTERVIEW

A. WHITE walks through a fast food restaurant. A pre- Gominately black clientele is eating hamburgers and shakes.

Ae WHITE We're here to meet Frank Blewit, the first manager of Cell Block 4.

BLEWIT is 30ish, in short sleeved shirt, curly black hair, light blue shirt and navy blue tie.

SHOT OF A. WHITE AND FRANK, FACE TO FACE

A, WHITE And what did you de for them?

FRANK a Creative differences. I had other -¢hings to manage.

FRANE

Well, if you must know, I didn’t ehink they had what it takes ...

(irritated) A let of people make mistakes. There are those who turned down the Rolling Stenes, who turned down the Beatles. I know at least four white people who don’t like Milli Vanilli. Se I don't mind being the man who turned down Call Block 4. It didn't ruin my career or anything

like that. A. WHITE

Well, then, thank you for your time. FRANK

Tell them I want my nickel! I want

oy nickel} BAT: NEW YORK CITY STREET

A. WHITE is asking passeraby about CB4. Thig ig REAL DOCUMENTARY FOOTAGE.

MAN ON THE STREET QUESTIONS

be you like rap music? Do you listen to Cell Block 4? What makeg a2 rap record good? What dees (group member's namé@) mean to you?

Then one well-dressed BUPPIE steps. In his Brooks Brothers suit, round wire framed glagseg, this gent defines upward mobility.

TWO ROCK CRITICS -< a nerdy, bookish, pale white man in a Lou Reed T-shirt and a serious, Afrocentric brother with a hat and beard -- are being interviewed. Both sit looking INTO THE CAMERA.

. WHITE CRITIC Well, I'd frame Homicide in a more universal context. He works with a@ cynical brilliance in the urban troubadour tradition of Springsteen, Reed, Sting, Vanilli and Abdul, as in Paula's late period..

court To:

CB4 performs "If You Move Too Fast, req Bugt Your Ass.* (Lyrica)

8$

Near the ena of the performance A. WHITE speaks.

A, WHITE (VO) Praised ag the Stevie Wonder of trap, Homicide's career began at & Rikere Island talent show.

famates sit under police guard ag M.C. YOMONEYROS, looking as he did at Queens Armory, walks to center stage, All of the inmates are wearing white gloves.

The crowd *meows" rather sweetly.

The crowd *meows.*

YOMONEYROB icontd) Peace to the Brownaeville Bad Mother=- fuckers.

Deg barks.

HOMICIBZ, in prison gear and hip-hop attitude, walkg on stage carrying a roll of toilet paper. As he recites, he unrolls.

HOMICIBE | I'm Homicide from Call Bleck 4 and the name of my poem ig *I Didn‘tt (MORE)

HOMICIDE {fcontd) De It." Just becauge I had the easn, deeen’t mean I killed ner ase, I didn't deo it. Just becauge blood wag in my hand, it doean't mean I stabbed the man. I didn’t do it.

The inmates reapond enthusiastically tc HOMICIDE’s first two verses. HOMICIDE, already pumped up, now gets manic.

HOMICIDE begins shouting, "1 didn'e do it*® until two guards come on stage to carry him away. The inmates applaud politely.

cot TO: HOMICIDE'S CELL HOMICIDE sita holding an ice pack to his forehead.

EAT: SUBURBAN HOME - DAY

A neat two-story home in Teaneck, New Jersey. A. WHITE walks up to the door. The mail box gays, "The Browns.“ He atraighteng hia tie and rings the bell.

MRS. ALBERTA BROWN, HOMICIDE’s mother, a sweet faced, middle-aged woman, cpens the door. She hag a brown cat under On@ arm.

§7

Bb, WHITE Alberta Brown? I'm A. White.

HOMICIDE's rocm igs as clean and wholesome ag Tom Cruise's

in Born on the 4th .of July. As A. WHITE waiks around the room ALBERTA points out the highlights.

ALBERTA BROWN

That's his science project award. That's his school crossing guard merit citation. He won that big one for hia entry in the “Alice Walker Promising African-American Poetry*® contest. He wag really proud of that one.

A. WHITE picks up a prom phote of HOMICIDE with a homely blonde in his arm and makeg a disgusted face.

A eute pig-tailed BLACK GIRL enters wearing a beige outfit,

He's still away at camp.

6&8

ALBERTA then glape the hell out ef ALBERTINA and then tcurne to emile sheepishly INTO THE CAMERA

Bats City STREET =~ DAZ HOMICIDE standa next to a cherry red jeep.

He holde up a computer chis.

' HOMICIDE (contd?) Snap thia into your glove compartment, turn the key and you're good to ge. So what's up under the hood?

HOMICIDE pulls up hood, revealing a giant stereo speaker. A CB4 gong now booms out.

Be folds hig armg and stares INTO THE CAMERA hard. INP: BARLEM RESTAURANT = DAY

it's dark and homey. There are grease staing on the

walle and heavy-set women behind the counter. In the

back there are tables. A. WHITE walks in looking for

SLIM LIGHTIN’, an old black man sitting alone at a table with an empty plate in front of him. A sign behind him reads: "Dec's Rib Shack. Home of the Big Ags Biacuit.* Next to the sign ig an illustration of a fat, round biscuit with a big emile and top hat.

A. WHITE ; You didn't mention money on the phone. I don’t pay for interviews.

A, WHITE (to camera) Okay, cut it.

Screen goes black. Then, after a beat, comes back on. SLIM LIGHTIN' is sitting with a half-empty bottle of Jack Daniels next to him and a huge biscuit in front of him. He looks INTO CAMERA.

He begins eating and drinking and dees both during the entire interview. In carving the biscuit he finds a

Swatch watch inside, He makes no mention of this unusual event and simply wraps it onto his wrist without commenting on this bizarre event.

Cur TO: STAB MASTER ARSON cutting and seratching *Good Times.* cor TCs

STAB stands on 4 street corner making vulgar eign language at young girle walking by.

A. WHITE (VO)

Stab Master Argon, also known by hia middle name ©, was the strong silent type and precisely becauge no one knew what he thought Stab Master emerged as Cell Block é's acknowledged leader. It was said, "He talked with hands.”

cur TO: CELL BLOCK 4 CONCERT - NIGHT

A WHITE EXECUTIVE stands on stage with CB4 handing the group platinum albuma.

ig pop.

SPAB MASTER ARSON is the last toe receive his racord. He immediately takes the glass enclosed plaque and breaks it ever his knee. He then takes the platinum record out and Becks it inte hig gold chain.

MAN SLAUGHTER AND HOMICIDE INTERVIEW Both are FACING THE CAMERA. A. WHITE (0¢)

When did you know Stab wag your leader?

A. WHITE walks up to the building and rings the buzzer. The sign, "Save The Black Man® is on the door.

The deor opens te reveal BA BA ACK, a tall, 40ish black man, Gressed in all black, save a huge African medallion, around hig neck and a red, black and green kufi.

BA BA ACK turns and moves into the houge. The CAMERA FOLLOWS him ingide. The walls are black. The ceilings are black. The floors are black. Some moldings and adeer knebs are painted black, Maps of Africa hang from the walle.

In the living room BA BA ACK sits FACING THE CAMERA. Behind him are huge: blow-ups of Al Sharpton and Marion Barry hanging on the walls behind him.

Ae WHITE clears hig throat nervously.

of African Americans by African- Americang ig the issue.

At this point BA BA ACK removes nia kufi, revealing a head of Shaptonesque biow dried hair.

| BA BA ACK (contd) |

Only when we can define curaelves

without questioning by you so-

called Caucasians will this be a

iand ef freedom.

CAMERA ZOOMS IN SLOWLY ON Al Sharpton poster. — Screen turns to video snow.

EDITING RCOM - NIGHT ; TRUSTUS JONES and A. WHITE behind the edit board.

We hear an off-screen voice, "Crap. Same old crap.* They turn to see ROBINSON and TWO UNIFORMED COPS. ROBINSON

In fact it's so foul the public meeds to be protected from it.

ROBINSON snaps hia fingers and the TWO COPS push A. WHITE an@ JONES out of the way and begin grabbing video tapes.

ROBINSON shoves a legal document in JONEZS' hand as the THO COPS exit.

Cor TOs *°& CURRENT APFALE" BROADCAST EVE EDWARDS ig on a talevigion set,

A. WHITE'S DOCUMENTARY FOOTAGE

WE SEE SHOT of DALIHA, HOMICIDE, MAN SLAUGHTER, SISSY, etc. in HOMICIDE's room. From A. WHITE’s confiscated footage.

‘Reporters ang cameras are get up. A news PRESS SECRETARY steppe to the microphone. A Confederate flag ig prominent in the background of the frame:

The GOVERNOR ig wearing a round orange button.

He reaches under the dais, pullg up a watermelon and then takes & giant bite out of it. The crowd applauds.

Bang! A aneaker hag been hurled through the television screen.

WE SEE CELL BLOCK 4°s members sitting in &@ prison reaction reom. MAN. SLAUGHTER reaches into the television to pull his sneaker out.

Ag MAN SLAUGHTER walks away from the screen, WE SEB DEAD MIKE furiously scratching hig aneakered feet.

cur Toz REACTION ROOM DOORWAY - DAY A. ®BiTE anc JONES enter. TRUSTUS JONES

You gaw the snow 2 44@¢@.

MAN SLAUGHTER sees A. WHITE, walks over to him and punches him to the floor.

HOMICIDE helps A. WHITE to a chair,

Mourners enter from all walks of African-American lite ts pay final respect tc DEAD MIKE.

African-American life to pay final aspects to Dead Mike.

IME; BAPTIST CHURCH - DAY

A long line awaite ite chance tO view DEAD MIKE’s body. | Cur TO:

DEAD MIKE's body in the coffin. He looks absolutely

blissful lying dead in his usual beboy attire with lots

ef gold on.

DBAD MIKE’s POV of mourners viewing him. TWO B-BOYS walk . £wTO THE FRAME. .

B-BOY #2 Yo, Man, he'a fucked up. My man told him to be careful.

They walk away. CUT TO:2 DEAD MIKE etill blissful, but gold chainlesa.

As they EXIT THE FRAME, SISSY enters, an attractive black woman in her early 20's, with a crazy long, definitely artificial hairweave, who is crying her eyes out. SISSY is sobbing up a storm, when, from behind -- seemingly out of the hair itself ~=- a hand reaches up and gives SISSY a handkerchieZ.

Behind SISSY, WE SEE a teenaged black girl, in jeane, leather jacket and chewing bubble gum. Her job ig to make sure SISSY's extra large hairweave doesn’t hit the flcer. She ig WEAVETTE (it even says so on her jacket). As Sissy cries, WEAVETTE blows a bubble.

WE SEE SISSY now leaning INTO THE CAMERA to kiss DEAD MIRE. The CAMERA is momentarily covered with SISSY‘'s Weave.

SISSY walks away crying. WEAVETTE exits with har chewing gum and blowing bubbles.

Next INTO THE FRAME is BA BA ACK. He stands sternly over DEAD MIKE’s body.

Then he looks up at the altar.

CUT TG: PAINTING OF JESUS ON THE CROSS

BA BA ACK frowning.

cur TO:

BA BA ACK looking back down at DEAD MIKE and then up to the altar again.

CUT TOs

Marion Barry‘s face replacing Jesus' face on the cross.

cur TO: BA BA ACK smiles, then walks away.

A WHITE and hig camera are next INTO THE FRAME.

Ae WHITE reaches into hig pocket and pulle out a rope enain,

From DEAD MIKE'S POV, WE SEE aAm place the gold chain around DBAD MIKE’s neck.

From A. “W ITE’: POV, WE SEE DEAD MIKE with the gold chain en. A. WHITE and the CAMERAMAN EXIT THE PRAME.

WE SEE A WELL DRESSED BLACK MAN, 30, walk INTO THE FRAME. Dregged in a dark suit, tie and white shirt, he aprearg to be the first “*normal® mourner. A family friend or relative perhaps?

He punches him emack in the mouth or, for our purposes, the CAMERA, with a solid right hand.

WE SEE WELL DRESSED BLACK MAN'S POV of DEAD MIKE. DEAD MIKE now frowning with a black eye.

CUT PO:

STAB MASTER ARSON's turntables are on the coffin lid. Tiree microphones are set up in front of the casket. DB2D MIKE’a kufi ig on one microphone.

HOMICIDE

This ia dedicated to Dead Mike. He

can't rap tonight, go I'll man his

ground. HOMICIDE puts DEAD MIKE'’s kufi atop his hat and begins rapping hia and DEAD MIKZ's lines on “I Think Bead Mike's Been Fixed." (Lyrics To Come)

| DISSOLVE TOs

Save the memberg of CELL BLOCK 4, JONES, YOMONEYROSB, A. WHITE, SISSY and DALIBA standing silently around the eoffin. CUE TOs

CHURCH DOORWAY

EVE and ROBINSON enter. EVE is leading a reluctant ROBINSON by the hand.

. BOMICIDE You two have a lot of nerve coming in herei A & WHITES .

Where's the film crew, you ghouls?

EVE EDWARDS

Z etill don't like you guys or what you stand for. But Dead Mike waa actually a good brother with heart. He didn't deserve to die such a horrible Geach.

(ee Robinson) Zan’ that right, Inapector?

ROBINSON ig silent.

BXT: THEATER =< NIGHT

Fang roll in. Marquee reada: “CELL BLOCK 4, FINAL CONCERT, HELPING DOLPHINS. *

CELL BLOCK 4 DRESSING ROOM

CELL BLOCK 4, JONES, A. WHITE, SISSY, DALIBA are eitting areund. JONES iz in the center of the room,

- A. WHITE ; You guys have 4 unique opportunity. -* . ۩ strike a blow for free speech.

ZI think you should do the illest, atoopiest, cold gettin’ dumb rap you can imagine.

STAB MASTER ARSON rubs his hands together and then waiks to his turntables.

Cur PO: THEATER STAGE

Through A. WHITE'S DOCUMENTARY CAMERA, WE SEE CELL BLOCK 4 take the stage to cheers. STAB MASTER ARSON begina cutting up a beat.

HOMICIDE and MAN SLAUGHTER alternate saying each of the following worda:

HOMICIDE/MAN SLAUGHTER

We are Call Block 4. A group before ite time, of ita time, like Jimmy Walker.

(ag each name ia mentioned,

. their photo appears)

ese Pater Lemongello, Franklin Ajaye, Jim Baker, the Beastie Boys, Bohannon, Morton Bowney Jr., Son Johnson's ginging career, Ruth Buzzi, Ralph Sampson, Gary Hart, Bon Johngon's acting career, Chice DeBarge, Vanity ang Apollonia. That level eof star =< yea, we are all that -~ wag like 2 flame of paggion. It was good while it lasted, but that was only fifteen minutes. Now, in our last performance, we have one thing to say te the world.

HOMICIDE and MAN SLAUGHTER grab their "private parts.*

The FOOTAGE mixes CB4 LIVE on atage with INSERTS of other Fap stars and plain old ordinary folks, all rapping the song's whclesomely nasty lyrica:

SWEAT OF MY BALLS

Rippin’ and robbin’ and rappin’ and vrhymin'/Life sometimes can be so tirin'/ But there's one thing I can always rely on/That's the Sweat of My Balla/

That's the Sweat of My Balls ...

Fightin’ and lyin’ and lickin' and atylin'/These dam women can be 86 triflin'/But there's one thing I can always control/

{chorus} My Balis My Balls My Balis My Balls

Now WE SEE them performing through A. WHITE'S DOCUMENTARY CAMERA.

Then A. WHITE himself jumps on atage with SISSY and does @ nasty hip-hop dance with her.

The song ende with them all walking offstage together. CAMERA ZOOMS IN ON CELL BLOCK 4 160, CRBOITS ROLL OVER LOGS.

THE BND