"CB4" (1993)

{,I\ !UP-HOP MOCKUMENTARY)

Concept By: Chris Rock

Story :ay, Nelson George

Writers Guild of America, :;;a.st.

What. IU.·Cffinl~ Moore liked hip-hop IIIU&ic and Rw:i-D.M.C* H.W.A. (~t•a Nigg~& With At.U!:ud~, to atraight-up uuckaru ed Pul::llic ~ cQ!lbi.ned fore~•? Or David Lett.•~ replaced Dr. Dre ed Ed LoVer as the hOBt of Yo! MTV a&psl?l

It would be time to Wl!lt.ch au B:u:lell: 4 ••• Bl!lliev11 thatlll

TIJQS - SOMHIR, TBJ: PR&SENT

It'11 ju•t another bu•J day on the •rorty Deuce.m q SD hustler•, puibandler•, plNp •how eaployee•, fa•t focd v11ndor11and pede•trtma• fflfflring rapidly up imd dOlffl the spiritual h~ of American 111l11a:i:e.Cars roll up imd down ~ •trMt. Did we SJ&'f car•? Bxcuu u111. 'l.'heSJear111urban ~pl111 mov11r111of~ Mw jack 111ra.

Bug111jeeps crow th111frUlilil. From 111111.chone c0N111 .m a:pl01111on of muaic. Houu. r..tin hip hop. Darey Manilow. Baeh j!Mp has a d11u11igner lic111nlilaplatlil:

'l'OOBYPE ICW.OKIN * TOOBI.M

'!'he CAKDA POLLS BAC:11:'l'O RlNBAI.u unuaually long jeep 111tuckin traffic. It is a beauty of a jeep -- 111Saruoya -- with the •a4• logo looming authoritllltiwily on ita 111ide. It* lil got a boom.in:' 111y111temthat' Iii playing a rap joi.

MM SI.JwGit.t.lk, m•n, unll"'iling, NU!lty looking in ill CB4 Mll~&ll cap &nd bidars jaeltet, ia Mhind the wheal.

In the lil-t behind ia DEAD MID, the band' 111A!rcx:entrio lMIIIMr, -&ring a red, black and gr'®en ku!i.

KAN SLAUGHTER acowla 111.111DEADMID talka. fllen tm SEB THB CAMBRA l'AH TO liOMlCIDB.

IEM.ICIDB ia the band' ill pra9111,111tic:prc®tt:y bay. HIiiai ta in the pa11iu11eng,1i:r a111atnext to MN SLAUGHTER. Be i• checking hi.1U111lf out in th111j111111p.•111aide mirror a111h111talka.

DEAD MIIU!: What about St.lb? W111ain't heard what he thi.ruu1 •

HOMICIOB and DUD MID lock at each other and 111hak111 their

STAB MASUR JUSOO, the to'U:!:'th !M'l'i:Mllrof CELL BLOCX4, 111it:111 iA tho bGelu1111111t:rliladin,g Soul Tit, 111 black porno m.ga:i:ine, with hi1111evl!llr-pr111unt rllld and whit:111111traw twirling in hi• IICuth. BIii grunu in r•ply to DEAD MI:!Ol:' Ill qw11111tion,

iOKICIDB I knlllw he ' d be vi th UIII•

HOMICIDll Yo, man, 111a'Mthat 111hit for tha meeting. Slaugbur, pull over to that Chink 111pot. I requira 111~ 111u111tanance•

MM SLAUGB'l'D Aw, ahut up, ni.gga. Your bou.rgia '111 showing.

BOBBY JOB llK • 111Chin-a re111taurant ~ juat o~Md. A 111.ignin the window l!llaya "Grand Opening." Th~• ia r111d, white md blue bunting on the walla.

WE SD Cl!:t.L BLOCK 4 enter.

Th~• i111 a Dall kitchen behind bulletproof gl,uu1. An alarly ASIAN ~ peers at them with P4n and p&d in hand.

MAN SLAUGB'l'D Yo, thia place ain't that bad. Mica placa to taka a girlia.

1.&rd aandwich and III aix p.ck of nutri-nt.

MAN SLAOGHT!i:Rignore111 hi.a and looka through th<lll gla111111at a boiling pot of food.

WE SU a pot of hot. boiling, bubbling w:i.known sub111tanc111.

BACl!t '00 MAN SLAIJGH'l'l!:R

MM SLAIJGHT!R Ito Stab Milster) Yo, St&b, what i11 that? You r~ognJ.111111 it?

cm.L BLOCK 4 exit111 the r1111taurant, ad libbing joke111at tl!e ASU. MANt Ill Up@lllllll •

AS:IAHMAN loou at Cl:14-it:ing and then look11 INTO THI ~.

AS:IAH MAN (with black accent) Ching thi11, c::hing that, that akinny boy don.' t: knew I would have kicked hia little narrow a1111it he didn't: atop poppin' that ahitl COT TOi

ID thick block letter• in the styl• of th• Cl!!LL BLOC!t 4 1090 n SD all the key aJX>ve the line credita. Onder th .. • credits are black and white photo• froa hip hop's early d&ya.

MUSIC1 A faat beat pound• underneath. There ia no rapping, juat anatch•• of radio report• of rap violence and a aample of th111hook !rca Prince's •controveray. 00

The credit.111 imd with a SHO'l:of a brick -11. WK SD t.M wall change from th111look of a black and white photo to th• color of rllld brii::k. The CA.!mAAPANS LEFT and WE SD vintage hip hop poater111 pla111t111rllldatop one &nether on the wall. They announo111g!g111 &t hiatorio hip hop club• (Club 371, Harl- World, The Roxy, Thlll LIi.tin Quai::ter, Th@ Diplomat Hot6l) woth th• Crau1h Crew, Afrika BU!but:aa, D .J. Holly,,,oocf, The :rear le1u11Four, and other old 111chool b&nd111on the bill.

The laat imd biggeat poater pro:::lailu a Friday the 13th, l!Ull gig at the au-na Armory. On the bill, from top -t:.o bot.t.Clllll,are Grandmll.star Fluh, 'l'hs Furiou111 !'ive, Kun:1111 Blow, Rim--D.M.C. and in small letter111, CELL BLOCK4 •

The CAMDA MOWS through a crowd of black t:eena in uu11ide- out jackatm, jeazu;, Adida111 111neaku111with no l&c:1:1111plea111•, '1'-111hirtlli, l!SUC:h Ill.Ill the infru110ua Yo, Ba.by, Yo T-shirt and gold ehaiml!, gold rings, gold 1::Mlth, gold fingernaila. A few ~form th@ "smurf da.m::e," but most ar111angry.

CROWD MEMBER fl I want my goodum blow I I

CROffl:l ~R tl I W&nt my mothufucking cheebal

CROWD MEMBER tl Fuck that.I I want my 1110N11yl

Pr~sr TRIJSTOS JONES and hoat YOKlNEYROB are pacing back111t&genervoualy. YOMJNl!:YROBia a frantic, fa.at.-ta.lking, 25-year-old, in a purple velour --t auit. JONES ia wearing a lilaa green velour ■weat auit and a gold chain holding a medallion that eaya, •TRoSTUS."

HONICID!, youthful yet world~ kid in III black hat, 1.. th•r panta, untied an61.k111r!l!I and extra-extra large gold ehain atep!!!! to him.

BOMICin! Yo, we ready.

TlUJS'l'US RAMdy? I just put you on th& bill 111111a favor, 'cau111e y'all ju111tout the joint and ah.it. You guy111&rill tough but you can •t get to thia11.

'?hr- other b-boy111, all dressed identical to !:IOMICIDE,

TRUS'l'US You all that?

'J:QR hia POV he ill-!!!! a fly girl, SISSY, in the crowd.

BACX TO YOMONEYROB smiling at her,

YOl«>NBYROB (contd) Li•t•n, we got to •t&Y chill in here, 'c111u- thia -Y be the l&at place in Nev York they allow hip

the hou••• Pe&ce to the Zulu Nation!

Melli>era of the crowd barlt like dog••

YO!«>NBYltOB(contd) P-ce t:o th• Bolli• Crew.

YOMO!QIYROB (contd) Plll&Cl!I tc the Platbuah Lipat011'!1'Ping POi!IIIIII •

Ji.a YOMONE!ru:>8~itlll, he doe111a "c~ hue" motia:l with hi111finqsr t:Olfflrd SISSY.

w SD. SISSY pUl!Jhing hu way through thlll crow.

TRUSTOS goes tm:ough the door marked mBox Office.~ We heu the ~und of several locka clicking.

MAN SLAUGH'l'BR I4"'!M ~!!Ilky'all a qu41u~tion. Illl da Bronx in thl!II houa?

MAN SLAUGB.DR (contd)

Well, illl Mwl-hat-tan in the houae?

1AN SLAUGH'l'ER I know Queens is up in hara.

YOM0Bn!OB ia pU3hing up against SISSY.

YOMONl!:YJIOB Baby, I 'm gama make you a Queen.

Crowd !l!!!ll0ws like a cat.

Yeah, why you wanna know? Yo, DMd Mike, do you. know why he wants to Jcnow?

CELL BLOCJ.:4 b~ina p11rfoJ:ming •straight out of Brooklyn.•

Thia i• a hardcore rap record in the N.ti.,i. mode. MAN SLAUGB'l'ER, whoee worda ar111delightfully offaMive, 111u.lu th.ii 1111::agewith a cool, RaJd.m-lik• 111-gger -- IWII.X.i.lm:lmattitude with minimw!l 111waat.

MAN SU.OGB'l'ER Straight outta Brooklyn, crazy motherfucker named Man Slaughter/ I fucked you wife and now I'm fucking your daughter/I fucked you aunt, I would have fucked your aiater but the bitch WlUII fat/If 'I'm in you

neighborhood you better dig a lll0411t/ 'eawse I'm coming over to allt you throat/Blood 1111dripping, I'm not 111lippin' /A bitch' a pantifUI il!I '½ih.at I'm rippin'/I once shot a N.n for 111lurping hi111soup/I onco shot a girl for anoring too loud/I once 111hot:a faggot for w@aring my 111uit/Doo.'t call 111,1 cut111, Don't call DI hlmda01M, I'll hold M.1111111~ica up for ran111om/ Ju111t to g@t/Straight out of Brooklyn ..•

aacma 1211rai.ini111C@ntof Run of Run-OMCin hi111hU!llp back walk and hand g-turi.u1. Bia rap i111wittier than SLAUGHTER'l:11 ~ it CO!llell through inhia perf~ca.

villain with a hat, it's like that/ Tied you mother down to a train track/ Flat on her back I gave her so1111111 crack/It's 10 o'clock, do you know where your Mca's at?/She moved ••• / Straiqht out ot Brooltlynl 111

ODD lilll i• the only CB4 iMmbU -ru:ing an African ml!ld.allionc instead of a gold chain. He 1111peakswith t!Mt elocution of a teacher trying to reach a crowd of unruly atudenta.

(Mot1u Lyric• To CaN)

S'l'll MASTERARSON11111th• moat phylliically impo1d.ng CELL BI.OCR4 lllllllmber - standing well over six feet with large handa. Even at th• moat hec:tic moment.a, S'l'AB maintains a poker face that <1van Celtic center, Robert Par.rim, would envy. He begin• scratching the rec:ord vi th i, .. nds, alJxlwa, non, faat. Takiu1 out hi• gold teeth and ouu rec:ord.11 with~ too! He pull• out a bottle of lighter fluid ad pow:a it on the tu:rntable1111•

A. WHI'l'B (VO) They are the ultimate rap group. Bigger than Run-0 .M.C. More contro- versial than Public Enemy. And, Y••, larger than the Fat Boy'llll. Their M..1M ilil C~ll Block 4 and like 110-ny innovatorllll, thll dllpth of their lagacy ha11 be~ obscured by our rolling pa5sage of t:tm..

Q SD S'l'AB lite up the tu:rnt.able11.

WB SD DKAD MIU throw down his kuti.

NJ: SD MAH SLAUGHTER throw down hia llil:•, hi• b&aeball oap and hurl one of hi• gold chain• into th• crowd.

Aw1i•nc:• maaber• diving and tightin9 tor th• chain.

MOSICi Th• aound ot the •erooklyn" b4tat giw• way to the ■oUDd ot feedback and diatortion.

YOMONBYOOS runs on !111:::agl!Iwith a firl!I extinguiaher &Iii CELL B:LOCK 4 walxlll off stage cooly.

Then MAH SIAUGB'l'D co111,1u1back•

MAN SIAUGH'l'D Lakeisha, !ll!llll!lt !111111back11tage with 11101M11freeh golcU

PP.DZ!: ~ ON MM, SLAUGB'n!R' 1111 faoe with the fluling turntables in the background.

A televi111icn in an office. Th• screen then turns to video 111n.ow•

A wit• irum pW11h~H1the off button. The talavii,ion shuts off and a video ce11112ette pop11 out into th111white hand, •

WE SD TEE C!Umll PULL BACKTO R:BVDL A. WHITB, -rly JO's, ~•p,aekled a-rock critic turned fJlll'!Mk~r, wearing a M.Gtallic::a 1'-ahirt and. dingy j~.

WB SD two black lllti! -- one aitting, one standing -- behind a cluttued desk. On the -11 behind th- i• the logo, TRO$TO$ JefiB$ ENTERPRISES and the alogan, •tn Jonea W• Truat."' TROSTOS JONES aiu in !Ill expensive •uit,

looking fatter and •porting a beard. Standing i• YOK>NZYROIS, V41&rinq a Cell Bloclt 4 jacltat and a gaggle of bacJtataqe paa••• on a chai.11 around hi• neck.

YCHlNBYPOB Loved it. Made ma look good.

A. W'BlTB ( 111heepishly) '1'hat'111not a problem. It:'111 your lllOney and my first film. I won't have any probleiu giving you what you want. •

YOM:lNETIIOB That's a change. You could be real ill when you were doing that critic thing.

Don't worry. Now my~ just wants to get paid.

TROSTUS Icontd l It• 111alright, my 1111u'l., - all haw to eat. S.foriil I got ru:iokil!ld with these guyiil I waiil a low budget prooiot:er. Now I'm the bigge111t blaclt l!lllm&ger in th• world. You think I like rap. Shit, no. But --

CELL BIIXJ. 4 bur•t through the door, knooking it to th• floor.

CELL 8LOCJC4 exc.'ang•• "What's up••• •,dth TRUSTUS and YOK>NBYR08® Of the group only HOMICID:Sand DEAD MIJCB aokllowledge A. WHITB.

STAB, a1111i• hi• Nm::ler, illaediately !Mgina going through the 11&9azin•• pil•d atop the coffee taole.

SIAOGBTBR pull• hi• chair up next to A, WBITB'a. In tact he buap• A. lfBITB'a cha.ir, alao•t ltnoc:Jc.ingA. lfBITll: dovn, yet SLAOGBTBR still doesn't look at or apealt to hi~.

Everybody grunts or aay1111,•word• or ao!M other racially 1111pecifio ad lib. SLAUG:m'ER ju111t 111w::k111hi• tNth.

YOmNEYROB (to Trust.u111) He better suck their dick real good.

A • fflll'l'B I know we've had 11110111edifferences in thllll past whim I WIIIIIIII1111till writing criticism.

MAN SLAOGH'l'D You dllll.llln right, Whitey! I ain't forgat what you said about my Moms, IIIIUCUI

TllUSTUS See 1 he'111ev;m learning to apea.k the lan9UAge. White, why don't

YOHONBYJtOB They'll lov. that ahit.

A. WHITE 111lip111another cuut.ta in t.ha VCR and turm11 on the t.alevi111ion.

WB SBB hand held ollJMJ:'a intervi111w111iWOUt C111llBlock 4 with BOBBY mww, CBII.RLBSB~Y, QUINCY JONES, MARIA GIBBS, MILTON BE!U.B; DENNIS IULL!:R, ROHM DENII!Oand other r111.pupcu.

A.a WBWA'?CBWIii h-r th• "Straight. out. of Brooklyn" blul.t. and C:Oll!lllllimt.111frcn CB4 1Nmber• on the int.ervi- 111ubj4!1Ct:111.

After the lalllt int.ervi- WI: SD•••

A. WHITE, in a blue blazer, white shirt, and III Ted Xoppol

A. ffl!l'n Hello, fl!':/ n~ i• A. White. Ten y-r• ago I walked th••• mean liltr111111ta reporting for Dark Skin JUgazine. It wa• at Dark s'ldn t.het I docW!lented the growth of 111~thing oall111d hip- hop. Though I wa11 young, w111llbr~ and a !IC-called blu.111111yeddflvil from the C&ucui, mountain•, Har 1111111embrac:@d IM-

Th&ll & T-111hirl:'AdA• WRITE ruru1 DmUGB THB ~ • P'or ti beat nothing hlilpP11nlli. Thllln a gang of black )::idi, :run11 Tm!OUGB TU~ aftar hia.

While A. WBI.T'& walk.Iii d.own th• atr••t talking, h• ignore• a Rast& trying to •ell Marcus Garvey and Bob Karley posters, J.itovah'111 Witnesse• pushing th• Watchtower, folks picketing a ~orMD grocery store, and III young bi k teen being dragged away by th111cop111. A. 'NHI'l'B is obliviou• to every- thing but hi• worda.

The c1U:14!1raii§ 111tol111n,and th• 111creen go11111111pinning and c&rllilli.!lingdO!lffl the llitreet 1u11 if on a roller coa111ter. We h-r A. WBI'l'Bllihout.ing in th.I di111tance. Th111nit spins out of control and the scr111111ngoes black.

l-1.l\NSLAOGH'rER (laughing) The beginning W&lliwhaek, but I'm ld.nda with the ending. (to A. White) Yo, you a funny motherluckerl

DEAD Mill:E It'll be rightaou• when we're through with it.

'i'Rt!STUS Wh.at ii.bout '.l'O'U, Stcab?

nu MASTER ARSON p,.it,s down Right, ciiu ll!ll.ga:i:in.e.i

TRIJS'l't1S [contd) Gocld. LE!t' 'Ii go t.o tJie px·eiu1 contu111nca.

Camua erewa !Lnd report.ere mill about waiting.

A. 'ifflITB la talking with a cameraman when £'1/'X EDWARDS,~ beautiful bla.c:l< woman with the over-n:10Ua-d hi!kir of ,a typic:a.l TN aru::nor.roma.n,whic:h by the way eh• happen111to be, walu over.

A. WHITB laugh• at that.

A. WHIT!: ?hat's nothi.ng but tabloid journali•ia•

Be!ora A. WHITE can re•pond there's noise from the dai•.

CELL BLOCK 4 enters from a side door, and walk onto the

Block 4 Is Better Than Pussy.•

PATI'Y CA!C&,an Afrocentric aiatar (dreada, African garb, no 111&keup), frca Word to the MOther magazine, aunda up.

you weran't a rapper?

STAI MASTER ARSON and MAN SLAOGBTER carrying a •ofa out of a hOl!lil. Therei111 a 111creaminq woman on it out to th• curti. She i• claiming •you ha,.. no right to evict lllllll"

FE1·1INIST REPOR'l'l!:R I'm Glori& stein from Pp-In lll,lllgazine. I want to lm!.'::M why all raP'P@r• refer to WO!l!llm as bi tchu 1

MAN SLAUGH'l'E.R Ah, ca11e on, lady. women. Bi tchel!I. WOlllen. Bitches. People with pwu1ie111.

DEAD MIU' S STOU SIGNS - DAY

DEAD MIU*S SEEPE:RWORLD

DEAD MID'S NO I.D. ~SARY cm:cx CASHING

DEAD MID• S GOLD CHAIN EXCHANGE

Th• group me~ra begin whiapering among th•-•lv••• Then HOMICIDE -ilea.

Bec:auae I'm black. If you were black wouldn't you be angry?

PUSHER hold• out III plate of coke.

MB SD tray of marijuana.

WE SJ!BDEAD HlltB ahaking hi• head •no. w

WK sa tray of ec111tasy.

WE SD Dl!:JW MID ~king him head ~no."

WE SEEtray of necld:lone 111•

A. WHI'l'E Next you're gcmna ••Y you don't -t fried chicken.

Be give• thWlb• down eign. Reporter• et.amped• out of th• room.

CLOWN illl talking with TROSTUSJOlllll:Swh.a A. WHI'l'!: •hove• Ill micropb:>ne in between tha11.

WE SD them n0'111 through A. WHIT.B's do,::n.1m1111ntarycamera. Thie footage will, throughout th1,11film, blilw a lillightly diatorted quality clearly different from the rest of the film.

CLO'iffl I just want to assure you and your group of fine young men that JI.PAM Record11111111totally behind you in thia sad ccm.trowrsy. (i11mile111for thill ~ra1 a beat) New turn thlilt shit off.

WE smn from l:lOCUMBNTARY~ to REAL LIFE All! we will often.

There are pickata, moatly old white and black women. Thay carry aigna with waurmalona cro111111edout Ghoetbueteretyle. EVE EOWA.JtDSinurviawa On<!I OLDER BLAClC WOMA,,'i.

RW EDlm.ROS turne 'l'OWABDTB:a: CAMBRA.

Kl!: SB.Ii:TU CAMERAPOLL BACXTO SU BVE EDWARDS' image on a wide eoreen televieion.

The 1110:reengoee black.

Kl!: SD 'ml!: CAMERAPULL BACKAGAIN TO MV!:AL a laather eofa in an otherwise barren apart:lll@nt.

Then a telev1$iOn remot• control device is thrmm on it.

Off screen a voico say•, •shit1

Then HOMJ:CIDBand YOMONEYROB ENTER THE FRAM!!:from oppoeit• sides and face each other.

YOK>NBYROB To Som@ people thie is real life.

YOMON!:YROIS Yo, holme•, you know Dead Mike -liln't joking.

YOK:>NEYROB And what are you?

AIIIthey move through HOMICIDE'& ap~t WI!: SU that, though large, it's basically IM!pty save for the television, th@ 111ofa, a stereo 11yliltem and, on the wall near the froDt door, the fruied photo of a pretty, conarvatively dressed black~ named OALIHA BOND.

A.a they exit the CAMERA LINGERS ON DALJ:W\ BOND'S face.

INTi APARl'M!NT HALLWAY - DAY

HOMICIDB and YOK>NBYROB walk up to a door th<1.t i• decorated with a Gucci deaign. ~a CL"! hear muaic booming th.rough the doorway. YOK:>NEYROBknock•@

Th• door open• cd !'LY GIRL tl open• th• door wearing a provocatively d••igned maid's outfit.

FLY MAID tl Yo, what up?

YOK>NBYROB You m&kin' me up. That'll what up1

YOK>HBY!IOBand BOMICIDB -lk down a h&ll-y which, like the door, i11 d~rated with Gucci wall paper. In the living room, however, everything 1111decorated with t:ha P'endi logo.

Laying on the -t:ching Fendi aofa111 are MANSIAUGH'?ERand STAB MASTERARSON with their ahirt:111 off receiving backrubs from FLY MAil:'ISt2 and tl in Nida' out:fit111. seat.tared around too rOOIIIare home ooy111in va::iou111b-ooy gur.

YOMO~B You brothers ready?

MAN SIAUGH'l'lm soon a111I tw:-n over and she oils the front, know woot I'm 11ayin'?

STAB MASTER All.SONliftlil up a copy of MIii Man magiu:in411 and smi 1411111•

YOK'.lNEYROB(contd) Yesilh, he'm ready for the road.

An all•blacll: building loo- large IN TU FRAM!!:. WE SEE a red, black and green fist painted upon it. We hear Ml:ioan drUIMI.

'fJMI C:ILL BLOCK4 j-p pull• up in front and th,11 drumJI are d:olmed out by a drum machine b-t troa the je111p.

YOK:lNBYROBpertoriu thi• redundant act. The door opens iJmlediately.

l'rca the jeep'a POV, D!AD MIO exit• with hi• apiritu.al imntor BROTBBR BA BA AC!t, who'11 dr••••d in Atrio.an robea, a bl~k a.ailor's cap and carriea a long atick decorated with African carving•.

ws SEE building front.

DEAD MID hendai t.o one kn- and BA BA AC!t knighta him with his stick.

BA BA ACJt Th• 11101::herlandilll counting on you.

HOMICIDE

• (now b-boy etyle)

You ready to get l!ltupidl

YOl«:IQYROS Yo, equash all that. We goin' on the road. Come on, put your hand• together.

DEAD HID, BOMICIDB, HAN SLAUGHTER, STAB MASTER ARSON and YOl<>NBYROB put their hand!!! together in vllli •.

YOK>NEYROB (contd) FrQlll back in th• daya to days in the ban.It. CB4. Together :for111var !

•

rrca hi• front door SA BA ACX watch•• th- pull away and sail•• •ini•t•rly.

JIX'l'i PARJCINGLOT - OAY

Through the len• of the OOCOMBNTARY CAMERA, lfB Sl!!BA. WHITE. Now he i• dr••••d in full b-boy attire <•n.. k•r•, gold chain) except that hi• Ted 3oppel-like hair re111&in• intact.

A. WHIT!! Ar• we r~dy? Okay, (in a reportorial tone) Cell Block 4 's "J1.u1t Another Angry Black 14an• tour is an hi•toric one for the world's grNtest rap group.

A. WBITE p;il.l!IIUIIS the side of the CB4 tour bus. The bu• is decorated in a festival of hip hop style with MCM, Gucci and Feooi logos pa.inted alongside the bus along with CB4 llllignlll •

A. Wl:UTE (contd) So, dressed in my freshest gear, I bearded the Cell Block 4 tour bus, dete:i:mined to get the inaide favcr1:1 on this dope extravagan.~a.

•

OOMICIDE and MANSLAUGH'l'ERsit surrounded by roadie!ll ~d girlie• in the tour bue living r00111.. Faet-food bag111 are· everywhue. So are CB4 T-shirts and boxes of sneakers. Comedian Chris Rcx:k is on the VCR. The aound of e hip-hop b@at runa underneath th• dialogu111.

MA.~ SLA!.JGHTER Listen I wasn't crazy lllbcut thi• doo 111hit, but I •aid •okay." Now you dre111111edup like you wasn't the dud• who you wrote that revi-1 Didn't you say my lyrics "~re of a po111tio •en•ibility unueual in hip=hop."

MM SLAOGB'l'llR And yen wrote our records w•r• •a:ire comparable to Kaflta or•••• c~ng• than L.L. Cool J or 111v•n N.W.A.•

A. WHIT!

(looks into th• camera) What I triad to do in flJ'J' work is reach outside the r-:i... of rap to tut of great literature.

KAlf SLAUGB'rmt Why you got to do that:?

A. fflll'l'E Well, it's to le9iti.lllize rap.

MANSL.WGB'l'ER (in A. White's face) Legitimize? You calling - a ba11t:ard? Yo, I know who flJ'J' father was, llllUCUI

Suddenly we h-r llllOundof a straw slurping up the la•t of a milk •hue.

•

WE SD STAB MI\S'l'ERAI¾SONhas cOlllll!Iout of the privat:a rear se<::tion with two gorgeous, g'Ulll-chewing girliu and the la11t of a huge milk shake.

A. fflll'l'E (playing to the cill!ll!!llra) Yo, what's up, ho!lllll slica?

CUT Tat

A. WB.t'l'.l!Iflia111 out tour bus door. Hill lMd!ll in a clW!IP on the al!lphalt. Hill lays thlllre grOAl\ing. DOCOMBNTAR'llC1I.MDA M:OVU lH.

WJl SD A. WHITE -lking behind a man in a CB4 jacket tru:ough tha ba.Ckl!ltagill area• It i• YOKmEYROB, CBt' 111 road IIIIUl&gu. He has hundreds of baoltat.age p&aaea dangling a.round hi• neck.

•

A. WHI'l'!: (to caffl!ilra) YoMoneyRob was ca••s tour Mn&ger, a mm:i with a u.niqu• per ■ pective on the group.

YOK)NBYROB and A. WHITB -lk·through the hectic baclc ■ t.,.ge arl!I&. Roadie ■ , tachnici&na and tan• mova about.

YO!«)MEYROB What you. gotta know in that record sale&, concert salsu, Kot.x ad& -- all that i111nice. But if you mum& know i.f a l:Ml.ndi• hot you can only really tell by how heotio the 1111::ags door i ■ • Now I ' ve worlu1d with th- all. (IUI YoMon~Rob mantiOQIII a group he holds up a backstage pa111m) Bootsy, Cameo, Frank Stallone,

Cheryl Pepsi• Riley -- that lewl of star ... But CB4 1111the most. crazy hectic of all.

Julllt &II YOK)NfiROBfinilllMIII hil!S talk, thl!ly reach tM l:!IJl.clu11tagedoor. The door open•. Out.side th1u:-l!I are a sea of faces all shouting and shoving to get the atuntion •

of YO!«)NEYROB.

~FAN fl Tell Homicide hi$ bal:ly 1 $ mother i3 here!

F~ FAN ll That'e right, hi~ b&by'B mother is right here 1 I l

FEMAIJ.!l FAN tl

FEM.l\Ll!: FAN t2 Too lAta tor that now, honey. Re got. ra tool

TKIN T:!BNS Tell Han Slaughter w111•r111 the twin• troa laat night. And w111 brO\lght our 1110ther1

FEHALB FAN fl Tell Han Slaughter it'111 Pebblea trom Bed-Sty. Be know•-• I live in hi• granda:lther'111 building, 111part:111ent4J.

cur 'l"Or

YO.K)N!:YROO (excited) Baby, I thought you'd never get here.

YOmN!ilYROB1-v- the doorway to PGX'~M.lly pick SISSY, an attractive light-skinned girl, out.of the crowd and eacort her i1.U1ide.

•

All she enters SISSY smiltHI at: A. WBI'l'B and walk• by.

A. WHI'n!l Who'• that lady?

Dft't OIJSIDB CB4'S DRESSING ROOM - NIGH'l'

~ door open111. SISSY c01H111 out. She's standing putting hm: lip111tick back on wh,m YOMONll:'rnOBand. A. W!l!'n!l W1llk up.

L. L. Cool J walks by.

•

L.L. You jingling, baby.

YOK>NEYROB I lll- Cell Block 4 gave you a gift. Coaaider it aort ot a token ot their erection ..•

A. lffll TE

• What shows have you been in?

What r-ordll! have you sung on? What m.gazinee have you appeared in?

A. WHJ:T:! I •m. ll!fJ:t:ry. I wa111ju111t curioulli.

Prom out of her bag ah• pull• a photo album.

• A. W8ITB and SISSY look through photo album, but we can't

IHMII them • • • yet•

A. mu:TZ But they*re all &l!llNp.

CA!mRA a:)M.§ ABOUND imd LOOKS AT the album over A. mtl:ff • 111 111houlder.

Polaroid pictures of all CB~ member.i!Ifill the 111creen. Each one -- HOMICIDB, MANSLAUGH'l'ER,STAB MI\S'l'ERARSON and DBAD MIXE -- lie asleep in the l!lmM po111ition in a bed with th111 S&l!lli!I red Mtin shNts. DEADMIKE looks particularly blililsful.

•

SISSY illl tillld to a chair. DEAD MID mtimdiB no:t to her 111tuffing a huge J:mna,na in s ISSY' iB lll.Outh. Thin:111 i• a whip in bi• hlmd.

BACJCTO;

• minded or lllll.ll.ll limbed.

SISSY ltx>k• dCJllfnat A. WBITB'a crotch.

Photo of A. WHITE 1u1leep in that S<l.l.'Mold spot.

Th• phOn\111ringlll off 111creen and SISSY walks '?BROUGHTm!:

FRAME and the C.AMli.:RA FOLLOWShlllll:' OV!lll:' to III dr<!ilillU!ll:' • The

wall111of the l:'OOIII. a:i:111lined with lilrul.Plllhotlllof SISSY with !lale celuritie111 of every deacription.

She pico up the 1110bil111phone.

SISSY hang ■ up. Then m0V!Ul to the b4ld •

SISSY (contd)

• Yo, Whitey. Get up!

l-t

Oh.

OOTSIDB C:lll.LBLOCK4 1 s DR!JSSINGROOM

A big, burly J::01!!.dieand 'lOMONBYROBstand blocking the doorway. Media people including EV! !DmUWS are trying to gain admittance.

EV! Ito YoMonayRob) I111 it true that black nati~list AfrOC$~trio militant radicals are trying to 111111iz111control of this tour?

EVl!: Don't try to ston!II wall-• flunky!

A,. fflaff fflllilll .up.

Q SD him through the hand held lens of hi ■ OOCOMKNTARY ~.

YOfolJNBYRO!S Yo, ig her and go in ■ id•* Tru ■ tu ■ wana you to cover thi ■ •

•

Tolteol I

A. lllll'?S cuta her a dirty look and .mters the room®

•

In•id• th• CB4 dr•••ing room i• TROSTOS JONES and CB4'• melllber:1 11ave DBAD MIU are on one •id• of the room. On the other i• BROTBBR BA BA ACJCand DEAD MID.

TRUS'l'USJONES No. Let's compromise. We'll l•t you have the opening act: and o-d M.1.k•can perform an Afro-S!u11en --

•

•

when dealing with bank•. (M:>RB)

INT! CONCDT BALL - NIGHT

Crowd i• chanting •ca, I I Cl:141l" w~ YO.l«>NBYROBwalk• on liltage to th• microphone.

'l'M IS:u.MJ:C COMIChail on black pimtii and gloVtUIIwith red lilll:ld gr1Nn finger111. One shOO!I is red; one shoe 1111griND.. Coincidentally, he hlills a red, blaek and gr1Nn bag on hi111 head.

IS:u.MJ:C COMIC Grlillet.ing11, NubiM$11 11.nd devi 1111. Have you noticed how all the green olives are in III jar and the black oli wu1 are in a cM. Let th• black olives be free.

•

No one laugh• except BA BA ACX.

BA BA M:.X laughllll loudly.

a M M:.X Laugha again. Ne onlill al111e dOlils.

YOMON!:YROB Thank you, I . C. Lack for h iJR opening for Profea1110r"Griff on th• upcoming Afro-Aaiatio tour. I btilitive th111 tour atart:li! in B.naonhurat. Now, in a rar111 aolo P4rformanc•, Dll!ad Mike.

To entbu■ i.a ■ tic applause, DEADMIJCS -lka onto th• •~g•.

OBAO MJ:lCB I've been to tb• Bronx, I've been to Oaktown, I've even been to BrixtOD. But if there i• Olli!! thing th&t'is the isam11 in all of th••• pl.ac••• it iis thia1 Pork i• the whit• man and tb• whit• man i• pork. If you aver cut up a whit. ma.n you won't find blood vessels. You'll find pork. Wh&t dOIUI white !lilp!!lllbackWl!lrdl!I? Porlt I I know you don't see it, 'cause they got you brainwashed. I can see th• suds cClilUng out your ears, right now. Now I got a righteous rap for you.

BACKSTAGE - NIGH'!'

TRUS'l'US JONES Don't worry. It's tax deductible.

OB.ADMID'11 ~rformance ot I'm Madw ia blunt !ind to the point. It oonai ■ t• si.lllply ot two element•: a e11ri1111 o! CLOSS UPS ot DEAD MIKE, a ta.ring inten~ly IN'l'O THB CAMERA with hi• face lit~~ revolving gre•n and red lights, and DEAD MllCB t•.aring to pieces II giant map of the o.s .

•

•

bring th• noi•• every cha.nee I get/ So tuck the police/and fuck the ~lanl I'm mad! I

,.. DEAi!MIQ perform. Wll: sm: TBB CAMBRAPOLL BAC!t from th• atage owr the audience, peat young whit• and black tac••, to the irritated pale face of DISPBC'l'ORO'BR.IAN ROBINSON, He 111oowl111at the •tage, •tuffa a ciqar in bi• !IIOuth and radiate• a cafflic wave of ho•tility. ,

A SECURITY GUABD t&pa hilll on tbli •boulder and point• to a "No Smoking" 1Jign. ROBINSON·111u.nd111up and punehej!I the Sli:CURJ:'l'YGUARDto thlll floor. Then !IOBINSONpull111 out a very big gun and a very big badge. People around him begin to panic •

•

ROBINSON waws his gun careles111ly in the air aa he atanda over thl!I SBCUlU'I'YGUARD.

GUA!IO What's the charge?

SACJC TOt

People begin jumping onto th• •tage.

HOMICIDE

• What did I tell you?

HOHICID!! To prot-.:t him?

BACJl'.STA.GEDOOR

Thii PROMJTBR, a h-vy lll&t bl&ck-man, i• hMded out the door with a hag ot money.

MAN SLAUGH'l'ER Yo, 111lowyour roll with our money1

CELL BLOCll:4, along with TROSTOSJONES and YOMON:!YROB, confront the P:11:0MOTER.

• TRUSTUS JONES

If you don't mind, we'll guard our 111hue ourselves.

PROWTER pulls out a gun.

HOW:CIOE St.lb, lilltep to hillll

S'?U MMTD ARSON !!itlilpl!Iforward and pulls the straw out of hi.II mouth and twirls it threateningly at the PROl«)TER. ror the fir111t time in the tila h• 111peak111.•.

The PROMOT!:R Laughs, but he shouldn't have. STAB raarl!I baok and Sllill:::IXl!Ith• PROHYl'ER upside hi• h-d vi th the straw. The P!tO!«)'l'ERtalla. The straw movel!I rapidly through the air. W;ri h-r grunts. WB SEE blood flying in the air. Th• scene is Hitchcockian in it• horror ..• tJ:Ul!lt Ulill,

•

WB SD Ta! P!IOMOTBRfall.

A RO.ADIB,ill large muacular black -n in ill tank top, l~• ov.r the body illillINSPECTORROBINSONarrive•.

Ott illcreen - hear the alurping of ill i!ltraw.

WE SU STAB Mil.STERARSONleaninq againet ill wall with ill straw in hia mouth and a milk 111hakain hie hand.

The MADIE loolu1 at MBINSON. A beat. Thim the MADIE get.111up and run111away.

• KM SLAUGHTER

Thisi boy'lil droppin' 1110reshit than a pigillOn.

ROBINSON snatch•• it !rom JONES. STAB MAST!!R ARSON lllOVi!Ul! toward him. TROSTOS JONES motiooa with hia h-d •no.w

• R:>BINSON

Tough guy, huh?

WZ SU ROBINSON !rca the POV of A. WBIT'B'SDOCUMENTARY CAMERA.

A., WHITE I '111 A. White. I '11 doing a documentary on Cell Block 4.

•

I lik111 the moron111who make it. so Al1110White and all of,you, just know that I'll be around. Another incident like tonight and I'll ha'lle you all up on pollution charge111.

STAB bl.owe loudly through hi111111traw.

A. WHITB, now in a l!luit and tie, 111tand111in :!!ront of the R:=:CEPT!ONIST.

• Mr. William Morris.

A. WBITJI:tUffllil to !ac• th• gcl!:PTIOMIST. a md-40'lll 'olhit• W01Mt1,who' a 1HH:1nplenty of 111tars and ie' t impr••••d by A. NHITE one bit. She w-r111 very thick gla•••••

A. WHIT!: I've been waiting two hours. Hy crew i• on overtilll!l:I.

RECEPTIClf!ST Well, what do you want lM to do about it?

RECEPTIONIST CUtlll him a dirty look.

The RECEPTIONIST smiles and then dial111.

• RECEPTION! ST

Mr. Morris?••• Oh, it is a beautiful day, isn't it? Oh, my grandchildren are fine.

She laugh1111. A. WHITE:fWllelil.

ru!:CEP'I'IONIST (contd) You shouldn't talk that way at yOJ.r ag:1:1S

A. WBI'l'B at.imds over her trying ·to look important.

•

The CAMDA FOLLONSA. WHITE P••t otfic•• filled with agent• and ••cret&rie• clo•ing deal•. At the very end of th• corridor• i• a door and on it are th• wordll, •lfILIJAH MORRIS. •

A. WBITB opena the door and WE SE~ 11, white haired old !llan in a plaid jaaxet, red veat, amoxing a large cigar. Bia office i• tilled with paper• and picture• doc:um-,.ting a lifetime in ahow bu•ineaa.

• (hEIIlllugM to hiln!Hllf)

I'm joking, I'm joking.

Wn.LIAM MOlUUS Don't get me wrong -- I love working with Negroee. Abaolutaly delightful paople. Delightful. Me and Saaiy u~ to maat daily baGk when the offi~ was on Sr011d-y. see tMt pic:rtur@ ther@?

n SD photo of WILLIAM .!«>IUUSaitting in a chair getting hi• ehoae lllhinad by an old black l!l!lm with •sAMMY•written on the baok of hi• shirt.

WILLIAM MOmtIS LOvtld that Sammy. Lovtld him like a son •. Had the best handa on the •treet • What rhythm!

•

•

WILLIAM K:>RR.IS You don't have to flatter the old man, but ~th&nlt you,w I d•••rve it.

A. WHI'l'B About Cell Block 4, sir

WlLLIAK llCIMUS Oh, y-h, the hippity hop guya.

w:ILLIAM J«)RJUS -lk• over to a pile of ledger book•.

WILLIAM K:>RRIS (contd) Let's see •.. Okay, here we are. Negros1111. (Morris dri::l'ps the book on his desk and put1111on hi• g las 1uu1 ) Cell Blook 4. We booked them to work a dat:s once, but they refused becau- it WAIIII She.t"!Mn Hel!!115ley'lll birthday. It.'1111IIIIOIM kind of bl111ck IUl.tiOMl holidllly • •. The group was arreated and fined $1,JOO for "lewd

• and unprofes1111ional behavior~ in

Daytona, Florida. I think they grabbed their balls on stage.

W!.LLIAM MOBIS A11111111ertion,erection, who cares? The l!!IOll!lt important thing ia that I still collected M'/ 151 ... Okay, hare it i1111. Iha takes off hia glu1111e1111j I ju1111tbooked them on tour with the group Ray, Bobby;; Brown.

'l'be music of a ~&B dAnc• aong can b!III h-rd under the rest of roruus• dialogue.

l«lRRIS (contd) in their own vay, and you'd cover all your baseai young, old, Mrmony, hippity-hoppity, (finally, a pauae) There ahould be a.ny proble-? After all, they're all Negro••• aran't they?

WE SU RAY, BOBBY' BROtftilperforming thair aunderd, "My Baby Bit 'l'ha Nw!!l:ler (and She Didn't Give Me A OiJM)."

Video Oescripti01u My BGy Hit The Number." The puformam:::es of RAY, BOBBY i BRO'lm ua a l!lhakay mix of hip-hop dance steps and old style Temptation choreography. Undar the stage lights their gray h.Air glist..ms and their sequined suits shine. Despite a new jack l::leat behind them, RAY, OOBBY &ii BROW are still as old fashioned a111 a white leisure 111uit.

SAMPLE LYlUCS "Sha played 544 It ca111111out in the handle. I -id 'BGy, g:l.VIII !1111111~, ' She said, 'No, not enough for a candle.'~

•

The following photcs are 111uperimposl!ld over the •,ridec.

Photo of 'l'BR!m BLACKGUYS with their hair conked &nd dressed '50• atyle.

A, WBITB (VO, contd) In th• '601:1 th•y were the Soul Babes,

COT TO,

::i:1oto ot THREE WHITE WOMB."!, in '60a tub• dre•a••.

COT TO;

Photo ot an Atroed, bell bottomed funk band, with many

• muaiciallJI •••

A. WHIT!: (VO, contd) ••• before evolving into Ray, Bobby , Brown. The group ia so old, their tirat LP w1mt only wood. Through all these yeara, th• group had two hita, wThere•s A Thin Line Between Art and Shit,~ recorded tor Motown's Dark Side label in 1968 -- Berey Go.rdy's short,-.liwd.psychedalic llHl<lll -- which was l& ter r111Corded by George Michael, 1md their comeback new jack Ring sm.1um, "My Ba.by Bit: The Number (and She Didn't Giw ~ A Dillllll)."

RAY, BOBBY, BROWN, in garish R&B outfits and corny dance ,step111, until th<1 end of the song.

WE SEE A., WHITE through the OOCOMENTARY ~ walk down a hallway to a door that reads, "RAY, BOBBY & BROW.~ &II kll0Ck 15•

•

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

Th• door opens to reveal a jheri curll!ld black man, late 40 1 111 holding a plate full of ribs. He is RAY, the group's llMder, nth one blinding bright gold tooth right in front of his l!IQUth.

He lio:lta the rib grease off his fingers, then reache• out to ah&Jt• A. WHITE'S hand.

In the center ot th• ro<:l!:nia a bu!!et table tilled with ribs,

•

pig's feet, nec.k.bone and grits. There i• a big pot of gr•- being 1.1aed for dip. BOUY and BROWN sit on stool• in front ot dreaaing ta.bl•• ... ting with big gob• of gr ... •• on their lipa, face and fingers® Th-,y have plaa~ic bag• on their huda.

They reach out: to shake A. W&ITS's hand.

A. WHITS sits down ??,ext to the atill a.mching RAY.

A. iffll'n (contd) I just wanted to know yow:: f~ling111 about touring with Cell Block 4.

•

vehicle for the youth .•. Kinda like lilt:ickball. But it won't last. All that zippidy doo dab zippidy zoo shit. Remel'llber black and '<ih.it:e T'ln Gone. Eight tracu. Gonel Bet:amax. GoneJ Gone! Gonel But we're still here because what we offer the public illl profelil111ionalb1m. Right, Bobby? Right, Brown?

BJ.111group !Ml.tell!, 111till gopping d~ food, ju111t grunt affi.nlnt:iwly with gr-lile gurgling off their liplil.

Anybody can talk. I'm talkin right now, ya und1:11r111tand? (he laugha) What thia tour ia gonna 111hcwia what 111epsrat1:11111the rapper111 lrom Ul!I pro- fassional anurtainers. You'll s-, Whitey, you'll see.

EXT1 Of'!'ICIAL LOO!':.ING BUILDING - DAY

IlfT1 DOORNAY - •oFFICE OF SONIC POLLOTION• - DAY

K:>O'l'HOP' O'BRIEN ROBINSON

CAMBRA POLLS BACK ao WE SU ROBINSON sitting behind a d••k with an American flag behind hia.

aa hang!!! up. ~ PULLS BACK 1110 WE SEE EVE EDWARDS sitting across the desk. ~ STOPS wh~ it pulls back far enough to reveal her pretty legs.

• ROBINSON (contd)

Just as I told you. This inquiry ha111 mupport at the highEl•t level of our government.

As he talks ROBINSON'!IIIeyes are focused on EVE EDWARDS' leg!!i.

EVE EDlOJmS It won't bll ea.y atopping Cell Block 4. Sexism has a lot of eupportars.

ROBINSON get• up and walk!! around th• deek to !ace her.

EVE •tanda up and, angrily, get ■ in hi• face.

C.84 tour DUI! drives up, SEEN 'l'H!IOUGH A. WHI'l'B 'S DOCUMl!:N'l'ARY CAMEM. CB4 and YOMONZ't'ROBexit bus and head inside Holiday Inn with CAMERA FOLLOWING•

DlT; HOLIDAY INN - DAY

•

CB4 -mber111 walk in passing sign announcing "Delta Alpha Sci PhiQ sorority meeting.

They liltand in check in line. STAB MASTER ARSON is aJ::u10rbed in a copy of Tit Man maga$ine. MAN SLAOGH'rE.R stands cleaning his U~i. HOMICIDE fixes hi• hair as he looks in a a1Rll hand mirror.

Out of th@ hotel restaurant cOl!llilllll III group of BA.P's (Black ~:I.can !iilrincilillllllllilillll l -- cu tlll , well groomed, pl!lrky. One of tblim 1111DALIBABOND, the woman from the picturl!I in BOKtClDB • Ill apartmom t.

She 111~111ha in line and walks owir.

BOMICIDl!l (in hi• beat buppi• accent) Dali.ha Bond. You look wonderful!

MAIiSLAUGH'l'ERturna around, diaguated at HOMICIDE'& buppi• demeanor. HOMICIDE notice• a.nd quickly changea geara.

• HOMICIDE

Yo, gee, how ya livin'?

HOMICIDJ!: we need to talk •

My 1110ther was just asking wheth111r

• you're going with us to Sag Harbor

again this Labor O&y.

HOMICIDE

DALIW\ BOND FACING THE CAMERA

I cannot believe it. It just really gro!llse11 me out. When - ware together he used to play II few rap reoorde and bounce around the living room.

CUT TOi

• n&ila looking bored.

we awitch back and forth b•t-•n the voices of DAI.IHA and

HOMICIDE reciting the po ...

CUT 1'01

In a park WE SEE DAI.IHArunning through a meadow; hair

bOmcing, brei1.111tsbouncing. A viaion of lovelin4i!!1u1. HOMICIDE runs. toward her too; hi111chains bouncing, hi!! Kangol cap bouncing - but staying on -- and his unlaced

111neak111rsflopping on hi111feet.

Ilff t SOMICIDB' S IIOOM- DA'!

DALIBA •t.tt.nd• with a CB4 baseball cap on •id•-Y• and 111

• 9old abain around her neck.

BOHICIDB walks in from the bllthroom vith lawn clip~i::111, cutting his hair.

What i111that, a riddle?

• to me as rocking a me. And, bot:!:.0111

line, I'm get.ting paid.

Love. I love Albert Brown, I want you !».ck.

Sn. COlllillllilover &nd ki111111111111him pa.111111ionataly,as a gooey-

midnight-lova song ia heard on th<!! soundtrack.

COT Tai

BO'l'BL HALLWAY- DAY

MAN SIAOGH'l'l!l:Rand DEADHJ:1CEare walking down the hall.

MAN SIAUGm'ER Yo, this is Homicide's room. He'll be down with Jordan.

MJW SLAU~R pulle something out of his pocket and picks open the doer t.o HOMICIDE'lilt'OQII.

They enter the room to find DAI.IBAand HOMICIDE on the bed. She's on top of HOMICIDE, kissing him passionately . ••• Oh, yeah, th415ir clothes are on.

•

Leaving th411doer opa.n DEADMIKE and MAN SLAUGHTER walk over to t.h4!1bed.

A start.loo DAI.IBA 111hriek111when she 111ee111them.

HOMICIDE and DALIHA stand up.

DE:AD MJ:KE My t>eautitul high yellow aiater, my naml!I ia Dead Mike.

• (in a •exy voice)

I am Han Slaughter, the Grand Verbalizer Mo•t High and let me tell you, sweet thing, I like rrry WO!!IM like I like rrry rice. tallow.

ffl! SD STAB M:ASTERARSON, SISSY, and TWO GIRLIES entet: the room. Following clo111e Mhind i• A. lfflITE.

Now WE SD DOC!JMENTARYFOOTAGE o:f act:ivit:illllll in 00.KtCIDB's J:001'11.

WE SD MAN SLAUGm'ER still trying to talk to DALJJiA while HOMICID! loolu1 in the minor • • •

WE SD STAB MASTER ARSON and DEAD MIKE and thit TWO GIRLIES hugging and fondling on t.he bed •••

•

WE SD A. WHITE trying to catch a rap with a reluctant SISSY.

A. ffl'I.ITE You don't ret.uJ:n rrty calls.

A. lfflITE Cut that camera ot!!

EX'l't T!U!:ATER ENTRANCE - NIGHT

P'&_NI enter. On the J:MrquN ill the an.'lounc-nt -- •cELL BLOCJC 4" and underneath "RAY, BOBBY Ii BROWN."

RAY, BOBBY, BROWN are ending a performance*

CUT TO!

•

ance and -a orow,.iu, THB CAMBRA. We hear the aound of aolid but polite applauae.

YCM:>NBYIIOBwalklil by thffl!I and 90•• OIUib.ge. RAY st:and11 11nd watchjillll him, reaching int:o hi• pocket: and pull• out a box of sunflower 111eed111.

We h111arthe 11ound of thundlllroU111chlil<1r11•.

RAY begim1 nervously eating hi11111unflower 111(Nde•

CELL BLOCK 4 and SISSY walk INTO THE FRAM!.

•

MAN SLAOGBTlm (to Ray) Bear how large we are?

RAY, obvioU111ly fru111trated, 111pit111out a 111eedand it hits SISSY.

MAN SIJU.lGHTER Yo, Grandpa, we don't play that 111unflower 111eed111hit.

MAN S!AUGBTER Jezebel? Her naJN'111 Si!ii!!Y, fool •

SISSY whiapera in MAN SLAUGHTER' !ii ear.

•

RAY

•

If the shoe !itai

MAN SLAOGHTl!:Rlunge• !or RAY and a fight ensues with bodi•• lying.

Combatant• roll out of the winga and onto the atage.

SISSY confronta RAY.

Before RAY can finish his sentence, SISSY hit!! him with a rol.l.l'l.dhoul!le right.

RAY' s gold tooth flies out of his ll!OUth onto the stage.

A KID in the crowd 111pou it.

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

•

WE SU the bars. Then WE !«:lV'B through the bars and SEE the """ll!NJ:'111 of CELL BLOCX 4 Md YOK>NEYROB 111ittoung around a cell. No one is U.lking. Th<!!y all look depressed.

We h-r the aound of 111ol!lveralpair!!! of feet coming down the hall t.fflfard them.

But it'll! not. It's ROBINSON, EVE EDtiARDS and !I. caml!lra crew.

ROBINSON

• Liqhtll of. a video camera come on.

BVE 1!:DWAROS I underatand that you •pear-headed thi• campaign.

EVB !DWA.ru::iS Thank you, Inap~tor RobinlKm. On tonight's program, we will explore the drugs, 111a: Md violence of Cell Block 4, a group who roaa out of jail Md, inevitably, ended up back insido1 .

DEAD MIKE -us up to the front. of the cell. Through the

•

ffHI 'N ilqht:s disappear,

EVE l!:DWAlmS Don't try to ~ !li!lt:4:lr" m111. A bad man i• a bad man and Cell Block 4 is sexist, mi11ogynist and, be11id••• you guys hate 'ill'Om!ln •

From th• back of tha cell1

MAN SLAOGm'ER Hey, witch, fuck you!

• ROBINSON

Seel See, you're doing the right thing, Eve,

EVE 1:1ee1N1to be weighing her option.. DEADMI.KE'Iii •peech affected her, but vho know• hov much?

EXT1 VlDll:O PROOOCTIClfSTUDIO - NIGHT

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

• A. WHITE

How can you be so cold? A band you nurtured is about to be destroyed. They all have recordlil. A judge, taking into account the negative publicity Eve Edwards has genarated, might t.'>irow t.'>ie book.

A. WB!T:S is •tunned by TROSTUS JONES' logic •

A@ WHITE Could you aay that again?

•

• bulb, they ain't that talented.

So look, juat ahow me vhat you got and I promi•• to explain it to you l•ter*

A. WHITE pre•••• a button on the conaole.

A monitor comes to lite. First color b&ra. Then th• ten- second countdown. Then .•.

MONl'l'OR SCmmN

On a Harlem str-t, A. WHITE, in preppie outfit, looks IN'I'O CAMl::RA.

• music, and were ripped off by ~the

Man.

Two Hasidic Jews, SIMON and SAUL, are aitting on the atepa of a building. A little black girl COl!!ll!II!! by playing jump rope. SIMON.and SAOL look INTO TlU!: ClU>mRAwearing long gray bea:i:48, black hats and 111tern demeanorm. In fact, thGy h£VII on the same kind of hat:11 all! CELL BLOCK4 did ill 1983.

SL"!ON So, one day thia kid Euripides Small• COD!!lil to deliver trom Balducci's. Ba heara us rap.

PhotOlil of Euripides Smalls aka MANSLAUGHTER as a child. Cute photo111too, with MAN SLAUGHT'.:::R'sadult h-d super- i.mpaaed on the child' :s body. One photo ahow111MANSLAUGi.'f'rlm

•

standing in front of an orphlilns' home.

WE SEE Su~r S footage of a high lilchool graduation.

WB SEE MANSLAUGHTER, in lina vith other graduat.es,

crawling on all fours in graduation cap and gown.

~ SLAUGmBR !i!Und111 staring out from behind pri!l!On bar•.

Ctl'l' ro1

MAN SLACJG!n'BR•ita FAC:NG TSE CAMl:rnA, w-ring priaon g-r, eating a hot dog as we hear A. WHITE'111voice.

•

A.tter MAN SLAUGm.'ER speaks, his true cri1111,uware revealed by a cloae captioned TRANSLATOR.

Typical New York Korean grocery. The GROCER runl!l·out into

•

the street and yells at the top of his lungs.

MAN SI.IUJGm'ER INTERVIEW

A. WIU:TE (OC) I understand that yar. hed proble- in l!lchool.

IN'?; P'AST !'000 P'R.ANCHISE - DAY

A. WBITB walk• through a faat food reataurant. A pre- • dolli.nately black client•l• i• ••ting hamburger• and ahakes.

BLBNIT i• 30iah, in •hort llllNV«I •hirt, curly black hair, light blu. ahirt and navy blue tie.

CUT TCh

Frui..NK

•

So whet do you -nt to talk a.bout Ulrket.ing, pro1110tion111,distribution?

• a nickel. Hey, Frank, here'e five

(OORE)

•

FRJUD: Creative differencae. I had other thing• to menage.

• It didn't ruin my career or anything

like that.

A. RITB ie a111king passers.by &bout CB-6. Thi.a is REAL ~'?.IUI.Y FOOTAGE,

MAH OK ffll!! STREET QUESTIONS

00 you l.J.ke rap muaic? Do you listen to Cell Block 4? What maluu, a rap record good? What does (group ill:illml:;er' a n4ll:la) msan to you?

Th«i ons well-dressed BUPPIE atopa, !n hia Brooks Brother• auit, roimd wire t'rai.d gl.&aaea, this gent define• upward mobility,

TWO ROCX CRITICS -- a nerdy, bookish, pale white man in a Lou ~ed T-8hirt and a seriou111, Afrooentric brother with a hat and beard -- are being interviewed. Both sit looking INTO THE CAMERA. •

CUT T01

CB4 performs Mif You Move Too Faat, I'll Bust Your Aas.w (Lyric•)

•

acrewin'/I like to take my time when (!-«)RE)

Near the and of the performance A. WBITK •peak•.

INT; RillRS ISLAND AUDITORIUM (1982) - D.I.Y

Inmat.111111ei t under policll guard alll M.C • YOMONEYROB,looking aa he did at 0u-ru11 Antiocy, walka to center auge. All of the im11Ataa an wearing white glOW111. •

YOMONEYROB {contd) Peace to the Hollie Crew.

HOMICIDE, in priaon gear and hip-hop attitu~, -lk• on stagilli carrying a roll ot toilet pll,per. Aa he reci te111, h• UDrolla.

the name of rrry poem i• I Didn't (MORE)

•

blood -Iii in 1ll'f h&.nd, it doean't l:M!llinI a tabbed the !!1iU1. I didn't do it.

The inmat•• reapond enthuai&atically to HOMICIDB'11!irat two verses. HOMICIDB, already pumped up, now get• manic.

HOMICIDB begins 11houting, "I didn't do it" until two guard11 come on st11g11 to carry him 11-y. The iruut,u1 applaud politely.

COT TOi

• black 11nt11rtain11r11, had to struggle

again11t poverty until J/CU could make l!IOney ent4!1rtaining we fortunate residents o! white neighborhoods.

A n-t two-story home in Teamick, New Jersey. A. WHITE val.Its up to the door. Th• -i l box aays , •Th• Brcwns . • Ba straighten• hi• tie and rings the bell.

MRS. A'U'!Em.'A BROWN' ROMICIDB'Ill mother, II Ill-et faced' middle-aged wo-n, opens the door. Sh• has a brown cat Wlder Oll4 iu:m.

ALBER'l'A BROWM Oh, thia's Albert's puaay. I'm juat watching her until he gets b&ck. Come on in. I"was just fixing some brownies.

INT; HOMICID&'S ROOM - DAY

HOMICID£'e r0a!:I ie a111 clean and whol<111111auall§ Tom Cruiao'm in Bom on the 4th .of July. A.Ill A. WHITE wallu1 around the room ALBER'l'A points out the highlights.

A. WHITS picks up a prom photo of HOMICIDE with a homely blonde in his arm and l'!!,11.Xl!l!il a disgusted face.

A cute pig-tailed BLACK GIRL enter111 wearing a beige outfit.

W•ll

ALBBRl'A then 1:11Ap•the hell out of ALBBRl'INAand then tur:ru1 to saile •h•epishly INTO TBE CAM!alA•

BX'!'; CITY STREJ!:T~ DAY

•

HOMICIDE ■ t:And• ll<l!!Xt to !:I cherry red j••P•

WMICIDI!: Yo, bu ■ t thi ■ • Thi ■ S&ra.noya i ■ th@ de!fe■ t n@w thing from th• land o! the ri•inq yen. It'!:I got an engine th&t define ■ dope.

He holda up a computer chip.

BOMICIDl!: pull!:! up hood, rlllVMling !:I giant 11t:1:1re1101:1pe&k111r• A CB-4111011g now booma out.

He folds hi!:I 111.l:ffllll and staru INTO TU~ hard.

• IN'l': ~ RBS'l'AURAN'l' - DAY

It' 1:1 dark and h01111i1y. Thar111 are gr11111.11111mtains on the walls and hlllavy-Nt women behind the countlllr. In th111

SIJ:M LIGHTIN', an old black un sitting alone at a tabllll with an empty plate in front of him. A sign behind him read1u "Doc I Ill Rib Shack• HO!MI of tha Big Allllll Bi111cui t •" Next to th111 11ign ii!! an illu111tration of a fat, round biacui t with III big 11111il11and top hat.

A • WBI 'l'l!l Slim Lightin'?

A. WHI 'l'l!l Ye ■ , we ■ poke on the phone.

A. WHIT!: You didn't mention money on th• phone. I don't pay for interview..

•

A. WHIT! (to camera) Okay, cut it.

Screen goe111black. '11len, after a beat, comes baclc on. SLIM LIGHl'IN' ia sitting with a half~mpt.y bottle ot Jack Dani111l111next to hi.Ill and a huge bi111cuit in front of him. He look111INTO c:AMERA.

• He begin111 -ting and drinking and d0111111both during the entire interview. In carving tha bi111euit hlll finds a Swatch weu:h inside. He make111no mention of thi111 unusual event and simply wr111p111 it onto hi111wrist without commanting on thi111 bizarre event.

• TV tor fifty dollar• and I put it

(MORE)

iO

• atick II midget inaidel Cleaned

lllill out! Stole 'fr/ Air Jordana •

did ••Y much though.

CUT '1'01

•

A ffiU:'l'!l EXECUTIVE stand11 on 111tage with CB4 handing the group platinum albums.

S1'AB MMffR ~N i8 the l&8t to receive hia record* He 1 ri!J.euly take• the gla1111enoloeed plaqua and breaks it OMr hb ~e. He then takes the platinum record out and bl:x!.ke it into hie gold ch&in.

Both U:lll l'ACING THE CAMBRA.

A. WHIT"! iOC) When did you know St.1.b waz your leader?

MAN SLAUGRl'ER Sure %%®a**• I think it was *®® ahit, I don't know.

EXT! BA BA AClt'S BUILDING - DAY

A. WHITS walu up to the building a..nd ring ■ th• buzzer. The ■ ign, •save The Slack Man~ i ■ on the door.

A. l<iHITE (VO) For in ■ ight into the controver ■y mm:iy began studying the work of Ba Ba Ack, head of the SAVE Tm!: NUBIAN MALE FOUNDATION, l.U\d Dead Mike's epiritual ll!lffltor.

The door operu1 to reveal BA BA ACK, a tall, 40ililh black man, drelilsed in all black, save a huge African !Mdallion, around hie neck and a red, black and green kufi.

•

BA BA ACK turns and l!IOV!!llill into the house. The CAMERA FOLLOWS him inside. The walls are black. The ceilings are black. The floors are black. some moldings and door knobs are paintad black. Maps of Africa hang from the walls.

In th@ living room BA BA ACX ait ■ FACING THE CAMBRA. Behind him are huge·blow-up111 of Al Sharpton and Marion l:la:o:y hanging on the wall ■ behind hilll.

A. WHIT'! What role did you play in o-d Mike'111education?

BA BA ACJ: I told him to think independently with a global consciowm.e111e, to~ alway ■ on th• look-out for d.::eptic.1 and l!lisin!ormat:ion. For ex&mple, Ew:'cp-n-American111 have al-ya called our peopl• monlt•Y•• But a monkey's got a pale face and ■ tr!light h.llir, much like you, Mr. White.

A* NRI'l'Bcl••r• hi• throat nervou•ly.

At thi ■ point BA BA ACK removes hie kufi, r•v•&ling a h•ad of Shapton111111quoblow dried hair.

BA BA A,Clt (contd) Only when wa can define ourMlvea without questioning by you so- called Caucasian111 will this be a land ot fr411edom.

CAM!imA ZOOMS IN SLOWLY ON Al Sharpton po111t.u.

They turn to Sa!III ROBINSONsnd TWOUNIFOmmD COPS.

OODlNSOl!isnaps his fin911rm and tha TWOCOPS push A. WHITE

TR!JSTUS JONBS Thim i• police brutality!

A. WHIT:s Thi• i• cenaorahipl

ROBilfSON ahovea a legal document in JONES' hand 1!Ul the

• TWO COPS exit.

cur T01

• •A COJUtKNT Al"PAIR• BROADCAST

A. l<oHITE'S DOCOM!NTARY FOO'l'AGl!:

WE SD SHOT of DALIHA, HOMICIDE, MM SU.OGH'l'BR, SISSY, etc. in HOMICIDE' m room. From A. fflllTE' m conf imcated fooug&.

• top critic, now reducGd to a

leacherowi groupiedom by contact with th111group. A tidal -VE! of outrage ha!ii! -shed acro1u1 the ahor111s of our country. For exllU!lpla, note the petriot.io 111ta:nc111of the Governor of Florida.

CONFEU:NCE ROOM

~porterfl and Oll.l'.!lllil!rlUIare lilQt up. A n-lll Prui:SS SECRETARY mtlllpe to t.M microphone. A Confllld11rato flag is prom.inent ia the background of tha frllU!llll.

l?MSS SECRETARY 'l'h• Governor of Florida.

The GOWRNOR i• wearing a round orange button.

He reach•• Wl~r the dais, pulls up a watermelon and then takes a giant bite out ot it. Th• crowd applauds.

Bangl

A sneaker has been hurled through the televiaion screen.

WB SEE CELL BWCJC 4' s !Mmberli ai tting in 4 prison reaction room. MAN SLAOGHTERreachea into the television to pull hi• sneaker out.

•

wan.ta to do the right thing, but sha's too caught up in the system.

MAN SLAUGB'n:R Being back in the joint has l!lllde you silly.

A.a MMi SLAlJG:i:m!!R walkll! away from the $Creen, n SEE OEJ.D MJ:ll turioualy scratching his sneakered feet.

COT TCh

QAC:TION ROOM DOORWAY - DAY

A. W&ITB and JONES enter.

MAN SLAUGHTER s-s A. WBITE, wal.ka ov!!!r to hilll and punche• him to the floor.

•

•

HOMICIDE helpa A. WHITE to III chair.

TltUSTUS JONES Liaten up. The trial ia tomorrow and thing• don't look good.

CLOSB OP - DEAD MIJCE'S FEET

•

Mournar111enur from all walks of African-Allll!lrican life to pay final re111pact to DEADMIU.

A long line awai tlil i ta chance tc vi.w DEAD!O:D' 111 body.

COT TO&

DEAD Mill'lll body in the coffin. a. looka ab.alutely bliaaful lying dead in hi• uaua.l b-boy attire with lota of gold on.

They walk away.

COT ror

O&.M>IUD atill blisaful, but gold chai.nleaa.

All thlily EXIT TD FRl!..ME,SISSY Mt.er11, &ff attract.iv• black WO!Mn in her tiarly 20 1 111, with Iii crazy long, d11finitel.y artificial h&irw11av11, who im crying har 11y111i1out. SXSSY is ~i.ng up a 111t.orm, when, frcm behind -- 1H1-.ingly out of the hair it.self -- a hand reaches up and give• SISSY a h&ndkeu:chief.

Behind SISSY, WE SEE a t.etmaged black girl, in jeen111, leather jAcket and chewing bubbl11 gum. Ber job i11 t.o lllllkll lilUl:'11SISSY'S 11xt.r11large hairw11av11 dOl!lsn't. hit thll floor. She 1111WEAVETTE (it. even says so on her jacket). All SISSY crie11, WEAWTTE blOWIIIIII bubble. • WE SEE SISSY now leaning INTO THE CAMBRAto ki111111DEAD MID. Th/I ~ 1111momentarily covered with SISSY' 111 weave.

SISSY walk11 ,11:1,mycrying. WBAVE'l"l'Eexitlll with liar ch-ing gum and bla.,ing bubbles.

Next INTO TUX ~ is BA BA ACJ:. He 111t.and111111t.ernly over DEAD MIU:'111 body.

Then he l©Oklll up at the altar.

CUT TOi

CUT TOi

BA BA AClt frowning.

CUT TOi

aA 3A ACJC looking back down at DEAD MllCE and then up to

th• altar again.

• CUT TOi

Marion Barry'e face rerlacing J••u•' !ace on the croee •

CUT '?01

• BA BA AC!t •ail••, then walk• away.

A WHITE and hi• camera are next INTO TH!: FRAME.

CM!ER!\MAN Shouldn't ha have e gold chain on?

From DEAD MJ:D'S POV, WE SEE him place the gold cha:i.n around DEAD MID'lll neck.

A. WHITE (contd)

•

CtlT TO:

FT.om A. '"-'I1'::!:', POV, WE SEE D&IWMID with th111gold chein Qn. A. WHITB and the ~ EXIT THE 1rRAM.E.

WE SU A QLL DRESSED BLACK MAN, JO, walk INTO THE l!"RAME. Dreseed in a dark suit, tie and white shirt, ha appeara tc b• the firet "nor?Ml" mow:nar. A flllmily friend or relative J;1®rhaps?

He pum::helil him 111mackin the mouth or, tor our purpose•, th• CAMS.RA, withs solid right hand.

WELL DRESSED BLAC!t lQ.N (contd) Thia ain't over.

WE Sl!!B WELL DRESSED BLAC!t MAN'S ?OV of DEAD MIJCJ!:. DEAD MIJCEnow frowning with a black eye.

COT TO,

STA& KASTBR ARSON'ii turntable• ar111on th• coffin lid. Th.r.. microphon•• ara set up in front of the caak•t • DUD N.I!CB'a kufi ia on onl!I microphone.

•

BOMJ:CIDBputa DBAD MI.1CB'111kufi atop hi• hat and o.gin• rapping hi• and DEAD HilCII' s linea on • 1 Thin.It Dead Mik• 'Iii hen Pixed."

(Lyric• To Come)

DISSOLVE TOt

Save the lNlllb,o,;:-s of CELL BLOCK 4, JONES, YO~B, A. WRITE, SISSY and DALIHA standing silently around the

cmro,

BW and mBINSON enter. EVE. i!!i leading a reluc::tant • iOJ.!IINSON by the hand.

TRUSTUS JONES

• That's what I like to h-r.

Fans roll in• Marquee r-dlll t WCBLL 1:H.OCX 4, FINAL CONCERT , mi:LPING DOLPHINS.• •

Ctn' TO 1

CELL BLOCK 4 DRESSING ROOM

CELL BLOCK 4, JONES, A. WHITE, SISSY, WI.LIMA ue aitting around. JONES i111 in the cl!lnter of. the rOQII.

YOMO!iEYOOB D&111n right, so •it your ass down.

MAN SIAUGa:T!:R SHIT, THAT MA.RBSMl!: SO P'U:JtIN' MADI

MAN SLAOGHTitR I know. I hate having to agr111111with him* Fuck all that 1110ft a111111butter pop do do. Steb, give !ll4!ilIII beat!

S'rll MASTER ARSON rubs his hand• together imd then walk1111 to hi• tw:11table111.

CO'? TOI

THEATER STAGE

• Tnrough A. WHITE'S DOCUMENTARY CAMERA, WE SEE CELL BLOCK 4 taklll the 11t111g111to ch111111rs. STAB MASTERARSONbeginllE cutting up III b111111t.

HOMICIDE and MAN SLAUGHTER alt.am.ate saying -ch of the following wordau

HOMICIDE/MAN SLAUGl:l.TER We 111:i:111Cell Block 4. A group before itllE ti.ma, ot it111 ti!ll4!il, lik111 Jil:ml!y Wi1lk111r. (a3 -ch ruuM is :untioned, their photo app-rl!E) ••• Peter Llllmongello, Franklin Ajay1111, Jim Blllk111r,the S.aatie Boys, Bohannon, Morton Downey Jr., Don Jobnll!On' & •inging oareer, Ruth Buz1111i,Ralph Sampa:on, Gary Hart, Don Jobnaon' 1111 acting oare111r, Chico D1111Barg1111,Vanity and Apollonia. Th&t l1111v1111lof mtar -- Y••• w1111are all that -- w11111111like 1111 l&llMI of p&••ion. It wam good while it luted, but that wa1111only fifteen minu tea. Now, C in our la•t pertor111&.0ce, we have one thing to say to th• world.

•

Bl

BONICIDB and MANSLAOGHl'BR grab their "private part•.%

HOMICIDE/MM SLAOGBTl:R (contd) Lick. th• •weat ot our ball•!

• The 1"00TAGB m.xea CB4 LIV! on •t&ge vi th INSERTS of other rap au:i:111 and plain old ordinary folk•, all rapping th• song's vholeeoaely nuty lyrica:

Fightin' and lyin' and liokin' and atylin'/The111111 dum WO!Mnoan be 1110 triflin'/But there's one thing I can alway1111control/ (choru!il) My Balls Hy Balla

• Hy hlla

My hlls

Now a SU them perfo:i::ming through A. WW:TE'S OOCUMBNTARY CAMBlUI..

Then A. WIT!: hillu:1elf jump111on stage with SISSY and does a nasty hip-hop dance with her.

The 1&onganda with them all walking offstag;, tog;,tner.

C,.,M.'UA ZOOKillIN ON CELL BLOClt 4 LOGO,.

•