"CB4" (1993)

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{,I\!UP-HOPMOCKUMENTARY)

Concept By: Chris Rock

Story :ay,Nelson George

Screenplay By; Nelacm George,

CM ia Roc:lt

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

Registration NW!lber$1 011519-00 I 061589-01

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What. IU.·Cffinl~Moorelikedhip-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.nedfore~•? 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.chau B:u:lell:4••• Bl!lliev11thatlll

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l'ADSDi:

UT 1 4 2ND STRUT - NDf YOU - DAY

TIJQS- SOMHIR, TBJ:PR&SENT

It'11ju•t another bu•J day on the •rorty Deuce.m q SD hustler•, puibandler•, plNp •how eaployee•, fa•t focd v11ndor11andpede•trtma• fflfflringrapidlyupimddOlfflthe spiritual h~ of American 111l11a:i:e.Carsrollupimd down ~ •trMt. Did we SJ&'fcar•? Bxcuu u111.'l.'heSJear111urban ~pl111 mov11r111of~ Mw jack 111ra.

Bug111jeepscrow th111frUlilil.From111111.chonec0N111.m a:pl01111onofmuaic. Houu. r..tinhip hop. Darey Manilow. Baeh j!Mp has a d11u11ignerlic111nlilaplatlil:

'l'OOBYPE ICW.OKIN * TOOBI.M

'!'heCAKDA POLLS BAC:11:'l'ORlNBAI.uunuaually long jeep 111tuckintraffic. It is a beauty of a jeep -- 111Saruoya -- with the •a4• logo looming authoritllltiwilyonita 111ide. It*lilgota boom.in:'111y111temthat'Iiiplayingarapjoi.

Drl'z cn:..i:.iU..oa:4JDP-DAY

Izulidean four yOW1g """'"'Ml'!IIof&n@ndangerl9d111p11ei1t111-- Afri~-Ameriean iulss. '!'heyar• the !Ml'!be>:>illoftherap group CBI.I.BUX:!:4.

MM SI.JwGit.t.lk,m•n,unll"'iling,NU!ltylookingin illCB4 Mll~&ll cap &nd bidars jaeltet, ia Mhind the wheal.

In the lil-tbehind ia DEAD MID, the band'111A!rcx:entrio lMIIIMr, -&ring a red, black and gr'®enku!i.

• coaaciou• natioa.

KAN SLAUGHTER acowla 111.111DEADMIDtalka. fllentm SEB THB CAMBRA l'AHTO liOMlCIDB.

IEM.ICIDB ia the band'illpra9111,111tic:prc®tt:ybay.HIiiaitain the pa11iu11eng,1i:ra111atnexttoMNSLAUGHTER. Be i• checking hi.1U111lfoutin th111j111111p.•111aidemirrora111h111talka.

MN SLAOGlffER You 111~n• t:;uthnow.

DEAD MIIU!: What about St.lb? W111ain'theard what he thi.ruu1•

HOMICIOB and DUD MID lock at each other and 111hak111their

• h111adlll.

STAB MASUR JUSOO, the to'U:!:'th!M'l'i:MllrofCELLBLOCX4,111it:111 iA tho bGelu1111111t:rliladin,gSoulTit,111blackpornom.ga:i:ine, with hi1111evl!llr-pr111untrllldandwhit:111111trawtwirlinginhi• IICuth.BIiigrunu in r•ply to DEAD MI:!Ol:'Illqw11111tion,

iOKICIDB I knlllwhe'dbe vith UIII•

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HOMICIDll Yo, man, 111a'Mthat 111hitfortha 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.

OOMICIDB l00k111l::lac:kintham.rror.md put:.111111"1111tr111111t" look on hi• faca.

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

WE SD Cl!:t.LBLOCK4enter.

Th~• i111aDall 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.

• with IIIlittlefat and IIInicethick

1.&rdaandwich and IIIaix p.ck of nutri-nt.

MAN SLAOGHT!i:Rignore111hi.aandlooka through th<lllgla111111at a boiling pot of food.

WE SU a pot of hot.boiling, bubbling w:i.knownsub111tanc111.

BACl!t'00MANSLAIJGH'l'l!:R

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

Dl:W)MID It'IIjUl!ltpeal!IeM'JbrothUlll•Ju111t. pea.111.

cm.L BLOCK 4 exit111ther1111taurant,ad libbing joke111at tl!eASU. MANtIllUp@lllllll•

AS:IAHMAN loou at Cl:14-it:ing and then look11INTO THI ~.

AS:IAH MAN (with black accent) Ching thi11,c::hingthat, that akinny boy don.'t:knew I would have kicked hia little narrow a1111ithe didn't: atop poppin' that ahitl COT TOi

TITt.& ANO C:RSDITS

ID thick block letter• in the styl• of th• Cl!!LLBLOC!t4 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.111imdwith a SHO'l:ofa brick -11. WK SD t.M wall change from th111lookof a black and white photo to th• color of rllldbrii::k.TheCA.!mAAPANS LEFT and WE SD vintage hip hop poater111pla111t111rllldatopone&netheronthe wall. They announo111g!g111&thiatorio hip hop club• (Club 371, Harl- World, The Roxy, ThlllLIi.tinQuai::ter,Th@ Diplomat Hot6l) woth th• Crau1hCrew, Afrika BU!but:aa, D .J. Holly,,,oocf,The:rearle1u11Four,andother old 111chool b&nd111on the bill.

The laat imd biggeat poater pro:::lailua Friday the 13th, l!Ullgig at the au-na Armory. On the bill, from top -t:.o bot.t.Clllll,areGrandmll.starFluh,'l'hsFuriou111!'ive,Kun:1111 Blow, Rim--D.M.C. and in small letter111,CELL BLOCK 4•

• INT t QUB.!:NSAm!ORY

The CAMDA MOWS through a crowd of black t:eenain uu11ide- out jackatm, jeazu;,Adida111111neaku111withnol&c:1:1111plea111•, '1'-111hirtlli,l!SUC:hIll.Illtheinfru110uaYo,Ba.by,YoT-shirtand gold ehaiml!, gold rings, gold 1::Mlth,gold fingernaila. A few ~form th@ "smurf da.m::e,"butmost ar111angry.

CROWD MEMBER fl Iwant 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

COT T01

J:IAC!tSTAGEARD

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

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YOK>NBYR.08 Mlln,I'm w..ring thi• h..t like ill! coat,

HONICID!, youthful yet world~ kid in IIIblackhat, 1..th•r panta, untied an61.k111r!l!Iandextra-extralargegold ehain atep!!!!tohim.

BOMICin! Yo, we ready.

TlUJS'l'US RAMdy? I just put you on th& bill 111111afavor,'cau111ey'allju111tout the joint and ah.it. You guy111&rill tough but you can •t get to thia11.

'?R.US'l'UStw:n111•-YbutHOMICIDB gr&b111hi111arm.

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

• walk up behind him, all looking Alicold blooded as a

witch•• tit.

TRUS'l'US You all that?

~1flliOB walkllout to l::!00111.Acoupleof "Old l!:"'bottles fly p.18tbia.

'J:QRhiaPOV he ill-!!!!aflygirl, SISSY, in the crowd.

BACX TO YOMONEYROB smiling at her,

More boo••

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

• hop. word. Let'11have p-ce in

the hou••• Pe&ce to the Zulu Nation!

Melli>eraofthe crowd barlt like dog••

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

YOMO!QIYROB (contd) Plll&Cl!ItcthePlatbuah Lipat011'!1'Ping POi!IIIIII•

YOMOQYltOS (contd) Now, for th111fir111t:ti~on t.hlll111tag111 of the Queens Armory, liv111from:!U.k111r111

(echo} cm:.L

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4U (eoho)

Ji.aYOMONE!ru:>8~itlll,hedoe111a "c~ hue" motia:lwith hi111finqsr t:OlfflrdSISSY.

w SD. SISSY pUl!Jhinghu way through thlllcrow.

Cm.I, BLOCX 4 -- BOKICIOE, MAN SIAtl~, omw MIU, OJ STU ~na ARSON - take the 11tag111•

~ ~• U CAN SD th111l::lodi11111JofcrU'lll!lvicti-drawn ca t.hlllm1tagewhereca,11tandlll.

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The crowd chNra.

CUT TO;

BACD'l'AGB

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

COT TOt

MAN SLAUGH'l'BR I4"'!M~!!Ilky'alla qu41u~tion.Illlda Bronx in thl!IIhoua?

MAN SLAUGB.DR (contd)

• Ia that right?

Well, illlMwl-hat-tan in the houae?

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

CU'l'TOt

YOM0Bn!OB ia pU3hing up against SISSY.

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

BACltTO;

STAG~

Crowd !l!!!ll0wslikeacat.

g

• HOMICIDB

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

CELL BLOCJ.:4b~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.ii1111::agewithacool,RaJd.m-lik•111-gger-- IWII.X.i.lm:lmattitudewithminimw!l111waat.

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 WlUIIfat/If'I'min you

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neighborhood you better dig a lll0411t/ 'eawse I'm coming over to allt you throat/Blood 1111dripping,I'm not 111lippin'/Abitch'apantifUIil!I'½ih.at I'm rippin'/I once shot a N.n for 111lurpinghi111soup/Ioncoshot a girl for anoring too loud/I once 111hot:a faggot for w@aring my 111uit/Doo.'t call 111,1cut111,Don'tcallDIhlmda01M, I'll hold M.1111111~icaup for ran111om/ Ju111tto g@t/Straight out of Brooklyn ..•

aacma 1211rai.ini111C@ntofRunofRun-OMC in hi111hU!llpback walk and hand g-turi.u1. Bia rap i111wittier than SLAUGHTER'l:11 ~ it CO!llellthroughin hia perf~ca.

OOMJ:c:IDBrap111

• th• bead i• how I'll greet you/A

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 Brooltlynl111

ODD lillli• the only CB4 iMmbU -ru:ing an African ml!ld.allioncinsteadofagold chain. He 1111peakswitht!Mt elocution of a teacher trying to reach a crowd of unruly atudenta.

(Mot1u Lyric• To CaN)

S'l'llMASTERARSON 11111th•moat phylliicallyimpo1d.ngCELL BI.OCR4 lllllllmber-standingwell over six feet with large handa. Even at th• moat hec:tic moment.a,S'l'ABmaintains a poker face that <1vanCeltic center, Robert Par.rim, would envy. He begin• scratching the rec:ordvith i,..nds, alJxlwa, non, faat. Takiu1out hi• gold teeth and ouu rec:ord.11with~ too! He pull• out a bottle of lighter fluid ad pow:a it on the tu:rntable1111•

A8 STAB ~ER pulls out a box of match&• we hear .•.

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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..1MililC~llBlock 4 and like 110-ny innovatorllll,thlldllpth of their lagacy ha11be~ obscured by our rolling pa5sage of t:tm..

Q SD S'l'ABliteup the tu:rnt.able11.

CUT '1'01

WJ:SD BOMIC!DB throw down hi• mike •

WB SD DKAD MIU throw down his kuti.

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

CUT TOt

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

MOSICi Th• aound ot the •erooklyn" b4tatgiw• way to the ■oUDd ot feedback and diatortion.

YOMONBYOOS runs on !111:::agl!Iwithafirl!Iextinguiaher&IiiCELL B:LOCK 4 walxllloffstage cooly.

Then MAH SIAUGB'l'Dco111,1u1back•

MAN SIAUGH'l'D Lakeisha, !ll!llll!lt!111111back11tagewith 11101M11freehgolcU

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

A televi111icninan office. Th• screen then turns to video 111n.ow•

COT TOi

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A wit• irumpW11h~H1theoff button. The talavii,ionshuts off and a video ce11112ettepop11outinto th111whitehand, •

WE SD TEE C!Umll PULL BACK TO R:BVDL A. WHITB, -rly JO's, ~•p,aekled a-rock critic turned fJlll'!Mk~r,wearinga M.Gtallic::a1'-ahirtand.dingyj~.

COT TOt

WB SD two black lllti!--oneaitting, 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 !Illexpensive •uit,

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l.l

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

YCHlNBYPOB Loved it. Made ma look good.

A. WBI'l'Btalt..a seat in front of the d1111111k:.

A. W'BlTB (111heepishly) '1'hat'111notaproblem. It:'111your lllOneyand 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.

• TRUSTUS

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

A. WHITB :l.1111clearlyelllba:n:a111111<1!1dbyTROSTUS'11tat11rmnt.

TROSTUS Icontdl It•111alright, my 1111u'l.,-allhaw to eat. S.foriilIgot ru:iokil!ldwith these guyiilI waiilalow budget prooiot:er. Now I'm the bigge111tblacltl!lllm&gerin 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••• •,dthTRUSTUS and YOK>NBYR08® Of the group only HOMICID:Sand DEAD MIJCB aokllowledgeA. 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'acha.ir,alao•t ltnoc:Jc.ingA.lfBITll:dovn, yet SLAOGBTBR still doesn't look at or apealtto hi~.

Everybody grunts or aay1111,•word•or ao!M other racially 1111pecifioadlib. SLAUG:m'ER ju111t111w::k111hi•tNth.

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

A •fflll'l'B I know we've had 11110111edifferences in thllllpastwhimI WIIIIIIII1111tillwriting criticism.

MAN SLAOGH'l'D You dllll.lllnright,Whitey!Iain't forgat what you said about my Moms, IIIIUCUI

A• WHIT!: Look, I'm in tha video bu1111i.M111111111now. Back than I wa1111malting$250a r1111vi1111w. Couldn't pay my rent. I wrot:ath• odd nAffltyraviewju•t to get noticed -- to got a rap. I know you unda:r1111uwd thAt. My rep in fact giv11111111thiafilm added credibility. S11111111id11111111,the bottca line ia (he look• at Ha.n Slaughter)

• Now I juat want to cold get paid.

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

• you •how the■ the footage th.atI

lilted.

YOHONBYJtOB They'll lov. that ahit.

A. WBIT:I Okay.

A. WHITE 111lip111anothercuut.ta in t.haVCR and turm11 on the t.alevi111ion.

WB SBB hand held ollJMJ:'aintervi111w111iWOUtC111llBlock4 with BOBBY mww, CBII.RLBSB~Y, QUINCY JONES, MARIA GIBBS, MILTON BE!U.B;DENNIS IULL!:R,ROHM DENII!Oand other r111.pupcu.

A.aWB WA'?CBWIiih-r th• "Straight.out.of Brooklyn" blul.t. and C:Oll!lllllimt.111frcnCB41Nmber•ontheint.ervi-111ubj4!1Ct:111.

After the lallltint.ervi-WI: SD•••

A. WHITE, in a blue blazer, white shirt, and IIITedXoppol

• hlil.tr111tyle,walk•IN'l'OTW!:FRAMBholdingamic::ropbon•.

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'ldnt.hetI docW!lented the growth of 111~thing oall111dhip- hop. Though Iwa11 young, w111llbr~ and a !IC-calledblu.111111yeddflvilfrom the C&ucui,mountain•, Har1111111embrac:@d IM-

COT T01

SDO'fOP A GJ!APITTIEDlfALL

Th&ll& T-111hirl:'AdA•WRITEruru1DmUGB THB ~ • P'orti beat nothing hlilpP11nlli.Thlllnagangofblack )::idi,:run11 Tm!OUGB TU~ aftar hia.

BAClt TOi

A. WHIT!: (nO'Wwalking) -- and gave me T!Jt':l111tart,Now,all th••• year• later, I'V111decidedto (!-«)RE)

While A. WBI.T'&walk.Iiid.ownth•atr••ttalking, h• ignore• a Rast& trying to •ell Marcus Garvey and Bob Karley posters, J.itovah'111Witnesse•pushing th• Watchtower, folks picketing a ~orMD grocery store, and IIIyoungbi k teen being dragged away by th111cop111.A. 'NHI'l'Bisobliviou• to every- thing but hi• worda.

Just 111111A.WHITEfini111h111111hillila111tc0m1Nnt,the~ BEGINS TO SWW!: •

A. WHITE (contd)

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Hey, 111topthat.All

The c1U:14!1raii§111tol111n,andth•111creengo11111111pinningand c&rllilli.!lingdO!lfflthellitreet1u11ifonarollercoa111ter.We h-r A. WBI'l'Bllihout.inginth.Idi111tance.Th111nitspins out of control and the scr111111ngoesblack.

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

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

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

nu MASTER ARSON p,.it,sdownRight,ciiull!ll.ga:i:in.e.i

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1.1pSc:raw.

TRIJS'l't1S[contd) Gocld. LE!t''Iigot.otJiepx·eiu1contu111nca.

Camua erewa !Lndreport.eremill about waiting.

A. 'ifflITBlatalking with a cameraman when £'1/'XEDWARDS,~ beautiful bla.c:l<womanwiththe over-n:10Ua-d hi!kirof,a typic:a.lTN aru::nor.roma.n,whic:hbytheway eh• happen111to be, walu over.

EVE

A. WHITE

A. WHITE

• l?lu111uretomeet you.

A. WHITE

Erl.itgL:>r:!.fyinqt:hi11rappingriff~, ::atfi2111di:ii&ervic•!.At "A Current ,''1,111Drnv"""'h,ai:·d

• :i:-spor~•.

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•.

PODI'CH

Holding & mike illlCLlroKCLOWN, the short, .effetepre111id111nt of J'APAARecord.111.

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

• dais. As they do, a banner unfolds behind than •cell

Block 4 Is Better Than Pussy.•

PRESS AREA

Standing in front, opsn !110::thsdandenraged,i• EVE :WWAROs.·

PODIUM

PATI'YCA!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.Therei111a111creaminqwomanon itout to th• curti. She i• claiming •you ha,..no right to evict lllllll"

FE1·1INISTREPOR'l'l!:R I'm Glori& stein from Pp-In lll,lllgazine. I want to lm!.'::MwhyallraP'P@r•refer to WO!l!llmasbitchu 1

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

• Nut question, plea•••

WB SD :SW EDWAm:lS' face in Cl.OSEUP. The 111i1:1teris pi111Md.

•

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

MAN SLAUGHTER

• Go hunt.in'?

PATTY CAD

•

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

• DEAD MIU

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

WIW PAM'Y - NIGHT

DUD MiltB•its on a 1110fawithtwo bountiful -• A POSHER, WMring a gr&y sh&rkakin auit and a black b•av•r cap, walk• up with a tray.

PUSHER hold• out IIIplate of coke.

MS SD D&A.DH.IlO!:■ bakinghi ■head•no.m

MB SD tray of marijuana.

POSHl!:Jl ChMb&?

WE SJ!BDEAD HlltBahaking hi• head •no.w

WK sa tray of ec111tasy.

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

WE SEE tray of necld:lone111•

BACX 'l.'01

•

Th• reporter ■111:i::111■ hocked.

•

ll

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.

CUT '?01

CLOWN illltalking with TROSTUS JOlllll:Swh.aA.WHI'l'!:•hove• Illmicropb:>nein between tha11.

WE SD them n0'111throughA. WHIT.B'sdo,::n.1m1111ntarycamera. Thie footage will, throughout th1,11film,blilwa 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 Record11111111totallybehind you in thia sad ccm.trowrsy. (i11mile111forthill~ra1 a beat) New turn thliltshitoff.

•

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

CLOWN

EXT1 SIXTH AVENUE OFFICE BUILDING - DAY

There are pickata, moatly old white and black women. Thay carry aigna with waurmalona cro111111edoutGhoetbueteretyle. EVE EOWA.JtDSinurviawa On<!IOLDERBLAClCWOMA,,'i.

•

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

Kl!:SB.Ii:TUCAMERA POLL BACX TO SU BVE EDWARDS' image on a wide eoreen televieion.

•

The 1110:reengoeeblack.

Kl!:SD 'ml!:CAMERA PULL BACK AGAIN 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'tjoking.

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,astereo 11yliltemand,on the wall near the froDt door, the fruied photo of a pretty, conarvatively dressed black~ named OALIHA BOND.

• YOMONEYOOB (contd)

A.athey 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.ti• decorated with a Gucci deaign. ~a CL"!hear muaic booming th.rough the doorway. YOK:>NEYROBknock•@

Th• door open• cd !'LYGIRL 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'llwhat up1

YOK>HBY!IOBand BOMICIDB -lk down a h&ll-y which, like the door, i11d~rated with Gucci wall paper. In the living room, however, everything 1111decoratedwith t:ha P'endilogo.

Laying on the -t:ching Fendi aofa111areMAN SIAUGH'?ER and STAB MASTER ARSON with their ahirt:111offreceivingbackrubs from FLY MAil:'ISt2and tl in Nida' out:fit111.seat.tared around too rOOIIIarehome ooy111inva::iou111b-ooygur.

YOMO~B You brothers ready?

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

•

STAB MASTER All.SONliftlilupa copy of MIiiMan magiu:in411 and smi1411111•

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.

'fJMIC:ILLBLOCK4 j-p pull• up in front and th,11drumJIare 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.anrobea, a bl~k a.ailor'scap and carriea a long atick decorated with African carving•.

ws SEE building front.

DEAD MID hendait.oone kn- and BA BA AC!tknighta him with his stick.

BA BA ACJt Th• 11101::herlandilllcountingonyou.

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) FrQlllbackin 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'iPARJCINGLOT - OAY

Through the len• of the OOCOMBNTARY CAMERA, lfBSl!!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.u1tAnotherAngry Black 14an•tour is an hi•toric one for the world's grNtest rap group.

A. WBITE p;il.l!IIUIISthesideoftheCB4tour bus. The bu• is decorated in a festival of hip hop style with MCM, Gucci and Feooi logos pa.intedalongside 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:minedtoget the inaide favcr1:1 on this dope extravagan.~a.

•

OOMICIDE and MAN SLAUGH'l'ERsit surrounded by roadie!ll~d girlie• in the tour bue living r00111..Faet-foodbag111are· everywhue. So are CB4 T-shirts and boxes of sneakers. Comedian Chris Rcx:kis on the VCR. The aound of e hip-hop b@at runa underneath th• dialogu111.

MA.~SLA!.JGHTER Listen I wasn't crazy lllbcutthi• doo 111hit,butI •aid •okay." Now you dre111111eduplikeyou 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:irecomparable to Kafltaor•••• c~ng• than L.L. Cool J or 111v•n N.W.A.•

A. WHIT!

(looksinto th• camera) What I triad to do in flJ'J'workis reach outside the r-:i...ofrap to tut of great literature.

KAlfSLAUGB'rmt Why you got to do that:?

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

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 llllOundofastraw slurping up the la•t of a milk •hue.

•

WE SD STAB MI\S'l'ERAI¾SONhascOlllll!Ioutoftheprivat:arear se<::tionwith two gorgeous, g'Ulll-chewinggirliu and the la11tof a huge milk shake.

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

CUT Tat

A. WB.t'l'.l!Iflia111outtourbusdoor.HilllMd!llin a clW!IPon the al!lphalt. HilllaysthlllregrOAl\ing.DOCOMBNTAR'llC1I.MDA M:OVU lH.

WJlSD A. WHITE -lking behind a man in aCB4 jacket tru:oughtha ba.Ckl!ltagillarea•Iti• YOKmEYROB, CBt'111 road IIIIUl&gu. He has hundreds of baoltat.agep&aaea dangling a.round hi• neck.

•

A. WHI'l'!: (to caffl!ilra) YoMoneyRob was ca••s tour Mn&ger, a mm:iwith a u.niqu•per ■ pectiveon 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.fa l:Ml.ndi•hotyou can only really tell by how heotio the 1111::ags door i ■• Now I've worlu1d with th- all. (IUIYoMon~Rob mantiOQIIIa 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&IIYOK)NfiROB finilllMIIIhil!Stalk,thl!lyreachtM l:!IJl.clu11tagedoor.Thedooropen•. Out.side th1u:-l!Iareasea of faces all shouting and shoving to get the atuntion •

of YO!«)NEYROB.

~FAN fl Tell Homicide hi$ bal:ly1 $motheri3 here!

F~ FAN ll That'e right, hi~ b&by'B mother is right here1Il

FEMAIJ.!lFANtl

FEM.l\Ll!:FANt2 Too lAta tor that now, honey. Re got. ra tool

TKIN T:!BNS Tell Han Slaughter w111•r111thetwin• troa laat night. And w111brO\lght our 1110ther1

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

•

Allshe enters SISSY smiltHIat:A. WBI'l'Bandwalk• by.

A. WHI'n!l Who'• that lady?

Dft't OIJSIDBCB4'S DRESSING ROOM - NIGH'l'

~ door open111.SISSY c01H111out. She's standing putting hm: lip111tickbackon wh,m YOMONll:'rnOBand.A.W!l!'n!lW1llkup.

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. lffllTE

• 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.Iwa111ju111tcurioulli.

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

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

IHMIIthem••• 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!Ifillthe 111creen. Each one -- HOMICIDB, MAN SLAUGH'l'ER,STAB MI\S'l'ERARSON and DBAD MIXE -- lie asleep in the l!lmMpo111itionina bed with th111S&l!lli!IredMtinshNts. DEAD MIKE looks particularly blililsful.

•

SISSY illltillldtoa chair. DEAD MID mtimdiB no:t to her 111tuffingahuge J:mna,nainsISSY'iBlll.Outh.Thin:111i•awhip in bi• hlmd.

BACJCTO;

BACJCSTAGI

• minded or lllll.ll.lllimbed.

SISSY ltx>k•dCJllfnatA.WBITB'a crotch.

Photo of A. WHITE 1u1leepin that S<l.l.'Moldspot.

DISSOLVE T(h

A. WHIT!: in SISSY'111bedasleep. In J.U:ALTIME.

Th• phOn\111ringllloff111creenandSISSYwalks '?BROUGHTm!:

FRAME and the C.AMli.:RAFOLLOWShlllll:'OV!lll:'toIIIdr<!ilillU!ll:'•The

wall111ofthe l:'OOIII.a:i:111linedwithlilrul.PlllhotlllofSISSYwith !laleceluritie111of every deacription.

She pico up the 1110bil111phone.

SISSY hang ■ up. Then m0V!Ulto the b4ld•

SISSY (contd)

• Yo, Whitey. Get up!

l-t

Oh.

OOTSIDB C:lll.LBLOCK4 1 sDR!JSSINGROOM

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

EV! ItoYoMonayRob) I111ittrue that black nati~list AfrOC$~trio militant radicals are trying to 111111iz111controlof this tour?

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

A,.fflafffflllilll.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 ■ •

•

TolteolI

A. lllll'?Scutahera dirty look and .mters the room®

•

In•id• th• CB4 dr•••ing room i• TROSTOS JONES and CB4'• melllber:111aveDBADMIU 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•canperform an Afro-S!u11en--

•

DEAD MIKE

TRUS'l'USJONES But:half the proce~ from today's show would go to your organization, NJ'L-- Nubiana For Liblllration.

•

when dealing with bank•. (M:>RB)

INT! CONCDT BALL - NIGHT

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

'l'M IS:u.MJ:CCOMIChailon black pimtiiand gloVtUIIwithred lilll:ldgr1Nnfinger111.OneshOO!Iisred; one shoe 1111griND.. Coincidentally, he hlillsared,blaek and gr1Nn bag on hi111 head.

IS:u.MJ:CCOMIC Grlillet.ing11,NubiM$1111.nddevi1111. Have you noticed how all the green olives are in IIIjarand the black oliwu1 are in a cM. Let th• black olives be free.

•

No one laugh• except BA BA ACX.

BA BA M:.X laughllllloudly.

a M M:.X Laugha again. Ne onlillal111edOlils.

YOMON!:YROB Thank you, I.C. Lack forh iJR opening for Profea1110r"Griffon th• upcoming Afro-Aaiatio tour. I btilitiveth111touratart:li!inB.naonhurat. Now, in a rar111aoloP4rformanc•, Dll!adMike.

To entbu■ i.a ■ ticapplause,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'isthe isam11inall of th••• pl.ac•••it iisthia1 Pork i• the whit• man and tb• whit• man i• pork. If you aver cut up a whit. ma.nyou won't find blood vessels. You'll find pork. Wh&t dOIUI white !lilp!!lllbackWl!lrdl!I?PorltI Iknow you don't see it, 'cause they got you brainwashed. I can see th• suds cClilUngoutyour ears, right now. Now I got a righteous rap for you.

BACKSTAGE - NIGH'!'

TRUS'l'USJONES Don't worry. It's tax deductible.

OB.ADMID'11 ~rformance ot I'm Madw ia blunt !indto the point. It oonai ■ t•si.lllplyottwoelement•: a e11ri1111o! CLOSS UPS ot DEAD MIKE, ata.ringinten~ly IN'l'OTHBCAMERA with hi• face lit~~ revolving gre•n and red lights, and DEAD MllCB t•.aringto pieces IIgiant map of the o.s.

•

•

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

,..DEAi! MIQ perform. Wll:sm:TBB CAMBRA POLL BAC!tfrom th• atage owr the audience, peat young whit• and black tac••, to the irritated pale face of DISPBC'l'ORO'BR.IANROBINSON, He 111oowl111atthe•tage,•tuffa a ciqar in bi• !IIOuthand radiate• a cafflicwaveof ho•tility. ,

A SECURITY GUABD t&pa hilllontbli•boulder and point• to a "No Smoking" 1Jign. ROBINSON·111u.nd111upandpunehej!Ithe Sli:CURJ:'l'YGUARDtothlllfloor.Then !IOBINSON pull111out a very big gun and a very big badge. People around him begin to panic•

•

ROBINSON waws his gun careles111lyinthe air aa he atanda over thl!ISBCUlU'I'YGUARD.

GUA!IO What's the charge?

SACJC TOt

People begin jumping onto th• •tage.

COT T01

BAC.!tSTAGB

HOMICIDE

• What did I tell you?

HOHICID!! To prot-.:thim?

BACJl'.STA.GEDOOR

ThiiPROMJTBR, a h-vy lll&tbl&ck-man,i• hMded out the door with a hag ot money.

MAN SLAUGH'l'ER Yo, 111lowyourroll with our money1

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

• TRUSTUS JONES

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

PROWTER pulls out a gun.

HOW:CIOE St.lb, lillteptohillll

S'?U MMTD ARSON !!itlilpl!Iforwardandpullsthestraw out of hi.IImouth and twirls it threateningly at the PROl«)TER. ror the fir111ttime in the tila h• 111peak111.•.

The PROMOT!:R Laughs, but he shouldn't have. STAB raarl!I baok and Sllill:::IXl!Ith•PROHYl'ERupsidehi•h-dvi ththe straw. The P!tO!«)'l'ERtalla.Thestraw movel!Irapidly through the air. W;rih-r grunts. WB SEE blood flying in the air. Th• scene is Hitchcockian in it• horror ..• tJ:Ul!ltUlill,

•

WB SD Ta! P!IOMOTBRfall.

A RO.ADIB,illlarge muacular black -n in illtanktop, l~• ov.r the body illillINSPECTORROBINSONarrive•.

Ott illcreen- hear the alurping of illi!ltraw.

WE SU STAB Mil.STERARSON leaninq againet illwallwith illstraw in hia mouth and a milk 111hakainhie hand.

The MADIE loolu1at MBINSON. A beat. Thim the MADIE get.111upandrun111away.

• KM SLAUGHTER

Thisiboy'lildroppin' 1110reshitthan a pigillOn.

ROBINSON snatch•• it !rom JONES. STAB MAST!!RARSON 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'111A.White. I'11doing a documentary on Cell Block 4.

•

I lik111themoron111who make it. so Al1110Whiteand all of,you, just know that I'll be around. Another incident like tonight and I'll ha'lleyouall up on pollution charge111.

STAB bl.oweloudly through hi111111traw.

INTi MII,I,!1'~MORRISRECEPTION Am - DAY

A. WHITB, now in a l!luitand tie, 111tand111in:!!rontofthe R:=:CEPT!ONIST.

• Mr. William Morris.

A. WBITJI:tUffllilto!ac•th• gcl!:PTIOMIST.a md-40'lll'olhit• W01Mt1,who'a1HH:1nplentyof 111tarsandie' t impr••••d by A. NHITE one bit. She w-r111 very thick gla•••••

A. WHITE (contd)

RECEPTIONIST

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 CUtlllhima 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'Bat.imdsoverher trying ·tolook important.

•

The CAMDA FOLLONS A. 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.

• (hEIIlllugMto 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 lllhinadbyan old black l!l!lmwith•sAMMY• written on the baok of hi• shirt.

WILLIAM MOmtIS LOvtldthat 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&nltyou,w I d•••rve it.

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

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

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

WILLIAM K:>RRIS(contd) Let's see •.. Okay, here we are. Negros1111. (Morris dri::l'psthebookon his desk and put1111onhi• g las1uu1) Cell Blook 4. We booked them to work a dat:s once, but they refused becau- it WAIIIIShe.t"!MnHel!!115ley'lll birthday. It.'1111IIIIOIMkindofbl111ck IUl.tiOMlholidllly• •.The group was arreated and fined $1,JOO for "lewd

• and unprofes1111ionalbehavior~in

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

W!.LLIAM MOBIS A11111111ertion,erection,whocares?The l!!IOll!ltimportantthingiathatI still collected M'/ 151 ... Okay, hare it i1111. Ihatakes off hia glu1111e1111j I ju1111tbookedthem on tour with the group Ray, Bobby;; Brown.

'l'bemusicof a ~&B dAnc• aong can b!IIIh-rdunder 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.nyproble-? After all, they're all Negro••• aran't they?

COT T01

AAY, BOBBY itB!lCMlilVIDBO

WE SU RAY, BOBBY' BROtftilperformingthair aunderd, "My Baby Bit 'l'haNw!!l:ler(andSheDidn't Give Me A OiJM)."

Video Oescripti01u My BGy Hit The Number." The puformam:::es of RAY, BOBBY i BRO'lmua a l!lhakaymixof hip-hop dance steps and old style Temptation choreography. Undar the stage lights their gray h.Airglist..ms and their sequined suits shine. Despite a new jack l::leatbehind them, RAY, OOBBY &iiBROW are still as old fashioned a111 a white leisure 111uit.

SAMPLE LYlUCS "Sha played 544 It ca111111outinthehandle. I -id 'BGy, g:l.VIII!1111111~,' She said, 'No, not enough for a candle.'~

•

The following photcs are 111uperimposl!ldoverthe•,ridec.

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

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

COT TO,

::i:1otootTHREEWHITE 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'sshort,-.liwd.psychedalic llHl<lll -- which was l&ter r111CordedbyGeorge Michael, 1md their comeback new jack Ring sm.1um, "My Ba.byBit:The Number (andShe Didn't Giw ~ A Dillllll)."

RAY, BOBBY, BROWN, in garish R&B outfits and corny dance ,step111,untilth<1endof the song.

INTa BACKSTAG!:- NIGH'l'

WE SEE A.,WHITE through the OOCOMENTARY ~ walk down a hallway to a door that reads, "RAY, BOBBY & BROW.~ &IIkll0Ck15•

•

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

Th• door opens to reveal a jheri curll!ldblackman, late 401 111holdingaplate 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:ltatherib grease off his fingers, then reache• out to ah&Jt•A. WHITE'S hand.

In the center ot th• ro<:l!:niaabu!!ettable tilled with ribs,

•

pig's feet, nec.k.boneandgrits. There i• a big pot of gr•- being 1.1aedfordip. BOUY and BROWN sit on stool• in front ot dreaaing ta.bl•• ...tingwith big gob• of gr...•• on their lipa, face and fingers® Th-,yhave plaa~ic bag• on their huda.

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

A. WHITS sits down ??,exttothe 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.Butit won't last. All that zippidy doo dab zippidy zoo shit. Remel'llberblackand '<ih.it:eT'ln Gone. Eight tracu. Gonel Bet:amax. GoneJ Gone! Gonel But we're still here because what we offer the public illlprofelil111ionalb1m.Right,Bobby? Right, Brown?

BJ.111group!Ml.tell!,111tillgoppingd~ food, ju111tgrunt affi.nlnt:iwly with gr-lilegurgling off their liplil.

Anybody can talk. I'm talkin right now, ya und1:11r111tand? (he laugha) What thia tour ia gonna 111hcwiawhat 111epsrat1:11111therapper111lromUl!Ipro- fassional anurtainers. You'll s-, Whitey, you'll see.

EXT1 Of'!'ICIALLOO!':.INGBUILDING-DAY

IlfT1 DOORNAY - •oFFICE OF SONIC POLLOTION• - DAY

K:>O'l'HOP'O'BRIENROBINSON

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

aa hang!!!up.~ PULLS BACK 1110WESEE 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'!IIIeyesare focused on EVE EDWARDS' leg!!i.

EVE EDlOJmS It won't bllea.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.84tour DUI!drives up, SEEN 'l'H!IOUGHA.WHI'l'B'SDOCUMl!:N'l'ARY CAMEM. CB4 and YOMONZ't'ROBexit bus and head inside Holiday Inn with CAMERA FOLLOWING•

DlT; HOLIDAY INN - DAY

•

CB4 -mber111walk in passing sign announcing "Delta Alpha Sci PhiQ sorority meeting.

They liltandincheck in line. STAB MASTER ARSON is aJ::u10rbedinacopy 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!llilllllIIIgroupofBA.P's(Black ~:I.can !iilrincilillllllllililllll--cutlll,wellgroomed,pl!lrky.Oneof tblim1111DALIBABOND, the woman from the picturl!Iin BOKtClDB•Illapartmomt.

She 111~111hain line and walks owir.

BOMICIDl!l (inhi• beat buppi• accent) Dali.haBond. You look wonderful!

MAIiSLAUGH'l'ERturnaaround, diaguated at HOMICIDE'& buppi• demeanor. HOMICIDE notice• a.ndquickly changea geara.

• HOMICIDE

Yo, gee, how ya livin'?

HOMICIDJ!: we need to talk•

My 1110therwasjust 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!llse11meout. When - ware together he used to play IIfew rap reoorde and bounce around the living room.

CUT TOi

A LIVING ROOM - NIGHT

HOMICIDE ia in front of a fireplace in hia underw.a.r rapping. DALIHA, lounging in IIcamisole, poliahea her • n&ila looking bored.

But it wae always just e goof. Ha did write poetry and he wea a tot.Allyexcellent poet, I have one with me. (ahe takes paper out of her purse) Be called it •Prelude To Love.~

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

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

111neak111rsfloppingonhi111feet.

Ilfft SOMICIDB 'S IIOOM- DA'!

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

• 9old abain around her neck.

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

What i111that,a riddle?

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

line, I'm get.tingpaid.

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

Sn. COlllillllilover&ndki111111111111himpa.111111ionataly,asagooey-

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

COT Tai

BO'l'BLHALLWAY - DAY

MAN SIAOGH'l'l!l:RandDEADHJ:1CEarewalking down the hall.

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

MJW SLAU~R pulle something out ofhis pocket and picks open the doer t.oHOMICIDE'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, th415irclothesare on.

•

Leaving th411doeropa.nDEAD MIKE and MAN SLAUGHTER walk over to t.h4!1bed.

A start.loo DAI.IBA111hriek111whenshe111ee111them.

DALIHA

HOMJ:CIDE Onfortun~tely, t:he111eereco=worker!II.

HOMICIDE and DALIHA stand up.

DE:ADMJ:KE My t>eautitul high yellow aiater, my naml!Iia 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!!IMlike I like rrryrice. tallow.

ffl!SD STAB M:ASTERARSON, SISSY, and TWO GIRLIES entet: the room. Following clo111eMhind i• A. lfflITE.

Now WE SD DOC!JMENTARYFOOTAGE o:fact:ivit:illllllin00.KtCIDB's J:001'11.

WE SD MAN SLAUGm'ER still trying to talk to DALJJiAwhile HOMICID! loolu1in the minor •••

WE SD STAB MASTER ARSON and DEAD MIKE and thitTWO GIRLIES hugging and fondling on t.hebed •••

•

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

A. ffl'I.ITE You don't ret.uJ:nrrtycalls.

A. lfflITE Cut that camera ot!!

EX'l't T!U!:ATERENTRANCE- NIGHT

P'&_NIenter. On the J:MrquN illthe an.'lounc-nt -- •cELL BLOCJC 4" and underneath "RAY, BOBBY IiBROWN."

RAY, BOBBY, BROWN are ending a performance*

CUT TO!

BACXSTAGB

WJISD RAY, BOBBY & BROWN performing from the wing• through tM OOCOMBNTA.RY CAMERA. They end their perform-

•

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

YCM:>NBYIIOBwalklilbythffl!Iand90••OIUib.ge. RAY st:and11 11ndwatchjillllhim,reachingint:ohi• pocket:and pull• out a box of sunflower 111eed111.

We h111arthe11oundof thundlllroU111chlil<1r11•.

RAY begim1 nervously eating hi11111unflower111(Nde•

CELL BLOCK 4 and SISSY walk INTO THE FRAM!.

•

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

RAY, obvioU111lyfru111trated,111pit111outa111eedandithits SISSY.

MAN SIJU.lGHTER Yo, Grandpa, we don't play that 111unflower111eed111hit.

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

SISSY whiapera in MAN SLAUGHTER' !iiear.

•

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!leright.

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

A KID in the crowd 111pouit.

Four audience melllbersleapon stage in the never ending pursuit of gold.

•

WE SU the bars. Then WE !«:lV'Bthroughthe bars and SEE the """ll!NJ:'111ofCELLBLOCX4Md YOK>NEYROB 111ittoungaround a cell. No one is U.lking. Th<!!yall look depressed.

We h-r the aound of 111ol!lveralpair!!!offeetcomingdown the hall t.fflfardthem.

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

ROBINSON

• Liqhtllof.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:sdisappear,

EVE l!:DWAlmS Don't try to ~!li!lt:4:lr"m111.Abadman 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 1:1ee1N1tobeweighing her option.. DEAD MI.KE'Iii•peech affected her, but vho know• hov much?

EXT1 VlDll:OPROOOCTIClfSTUDIO - 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.'>irowt.'>iebook.

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'ORSCmmN

On a Harlem str-t, A. WHITE, in preppie outfit, looks IN'I'OCAMl::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!!byplayingjump rope. SIMON.and SAOL look INTO TlU!:ClU>mRAwearing long gray bea:i:48,black hats and 111terndemeanorm. In fact, thGy h£VII on the same kind of hat:11all!CELLBLOCK 4 did ill1983.

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

SIKJN

PhotOlilofEuripides Smalls aka MAN SLAUGHTER as a child. Cute photo111too,with MAN SLAUGHT'.:::R'sadulth-dsuper- i.mpaaedon the child':sbody. One photo ahow111MANSLAUGi.'f'rlm

•

standing in front of an orphlilns'home.

WE SEE Su~r S footage of a high lilchoolgraduation.

WB SEE MAN SLAUGHTER, in lina vith other graduat.es,

crawling on all fours in graduation cap and gown.

~ SLAUGmBR !i!Und111staringout from behind pri!l!Onbar•.

Ctl'l'ro1

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

•

A.tterMAN SLAUGm.'ER speaks, his true cri1111,uwarerevealed by a cloae captioned TRANSLATOR.

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

•

the street and yells at the top of his lungs.

MAN SI.IUJGm'ERINTERVIEW

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

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

A. WBITB walk• through a faat food reataurant. A pre- • dolli.natelyblack 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 a111kingpassers.by&bout CB-6. Thi.ais REAL ~'?.IUI.Y FOOTAGE,

MAH OK ffll!!STREETQUESTIONS

00 you l.J.kerapmuaic? Do you listen to Cell Block 4? What maluu, a rap record good? What does (group ill:illml:;er'a n4ll:la)msanto 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,Afrooentricbrother 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.111111eitunderpolicllguardalllM.C•YOMONEYROB, looking aa he did at 0u-ru11Antiocy, walka to center auge. All of the im11Ataaan wearing white glOW111. •

YOMONEYROB {contd) Peace to the Hollie Crew.

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

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

HOMICIDE (contd)

Do It. Just because I h&d th• caah, doesn't lM!lllnIkilled her 1111s,Ididn't do it. Just because

•

blood -Iiiin 1ll'fh&.nd,itdoean't l:M!llinIatabbedthe !!1iU1.Ididn'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 guard11come on st11g11tocarry him 11-y. The iruut,u1 applaud politely.

COT TOi

HOMICIDI 9SCELL

• black 11nt11rtain11r11,hadtostruggle

again11t poverty until J/CUcould make l!IOneyent4!1rtainingwefortunate residents o! white neighborhoods.

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

MRS. A'U'!Em.'ABROWN'ROMICIDB'Illmother,II Ill-etfaced' middle-aged wo-n, opens the door. Sh• has a brown cat Wlder Oll4iu:m.

ALBER'l'ABROWM 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!:Iiea111clean and whol<111111auall§TomCruiao'm in Bom on the 4th .ofJuly. A.IllA.WHITEwallu1around the room ALBER'l'Apointsout the highlights.

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

A cute pig-tailed BLACK GIRL enter111wearinga beige outfit.

W•ll

ALBBRl'A then 1:11Ap•thehell 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!!Xtto!:Icherryredj••P•

WMICIDI!: Yo, bu ■ tthi ■• Thi ■S&ra.noyai ■ th@ de!fe■ tn@w thing from th• land o! the ri•inq yen. It'!:Igot an engine th&t define ■ dope.

He holda up a computer chip.

BOMICIDl!:pull!:!uphood, rlllVMling !:Igiant11t:1:1re1101:1pe&k111r• A CB-4111011gnowboomaout.

He folds hi!:I111.l:ffllllandstaruINTOTU~ hard.

• IN'l': ~ RBS'l'AURAN'l'-DAY

It' 1:1darkand h01111i1y.Thar111aregr11111.11111mtainsonthe walls and hlllavy-Ntwomen 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 "DocIIllRibShack• HO!MI of tha Big AllllllBi111cuit•" Next to th11111ignii!!anillu111trationofa fat, round biacui t with IIIbig11111il11andtophat.

A• WBI'l'l!l Slim Lightin'?

A. WHI'l'l!l Ye ■,we ■ pokeon 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,aftera beat, comes baclc on. SLIM LIGHl'IN'ia sitting with a half~mpt.y bottle ot Jack Dani111l111nexttohi.Illandahuge bi111cuitin front of him. He look111INTO c:AMERA.

A. WHITE (OC)

• He begin111-ting and drinking and d0111111bothduringthe entire interview. In carving tha bi111euithlllfindsa Swatch weu:h inside. He make111no mention of thi111unusual event and simply wr111p111itontohi111wristwithout commanting on thi111bizarreevent.

• TV tor fifty dollar• and I put it

(MORE)

iO

• atick IImidget inaidel Cleaned

lllillout!Stole 'fr/AirJordana•

did ••Y much though.

CUT T01

STAB MAST!lll!lARSONcuttingand acratching •Good Ti:me111."

COT '1'01

STAB 111tand11ona 11tr1111tcornerlllllltingvulgar111ignlanguage at y01mg girl!IIwalking by.

CUT '1'01

•

A ffiU:'l'!lEXECUTIVEstand11on111tagewithCB4handing the group platinum albums.

S1'ABMMffR ~N i8 the l&8t to receive hia record* He 1 ri!J.eulytake• the gla1111enoloeedplaqua and breaks it OMr hb ~e. He then takes the platinum record out and bl:x!.keitintohie gold ch&in.

CUT '1'01

MAN SLAOGH'HR AND HOMICIDE IN'l'llRVIXN

Both U:llll'ACINGTHE CAMBRA.

A. WHIT"!iOC) When did you know St.1.bwazyour leader?

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

EXT! BA BA AClt'SBUILDING - DAY

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

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

The door operu1to reveal BA BA ACK, a tall, 40ililhblack man, drelilsedin all black, save a huge African !Mdallion, around hie neck and a red, black and green kufi.

•

BA BA ACK turns and l!IOV!!llillintothehouse.TheCAMERA 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-up111ofAl Sharpton and Marion l:la:o:yhangingon 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-American111have al-ya called our peopl• monlt•Y•• But a monkey's got a pale face and ■ tr!lighth.llir,muchlike 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 Shapton111111quoblowdriedhair.

BA BA A,Clt(contd) Only when wa can define ourMlvea without questioning by you so- called Caucasian111willthis be a land ot fr411edom.

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

EDITING ROOM - NIGHT

TRUS'l'USJORIS Not bad, Whitey.

They turn to Sa!IIIROBINSONsndTWO UNIFOmmD COPS.

OODlNSOl!isnaps his fin911rmand tha TWO COPS push A. WHITE

TR!JSTUSJONBS Thim i• police brutality!

A. WHIT:s Thi• i• cenaorahipl

ROBilfSON ahovea a legal document in JONES' hand 1!Ulthe

• TWO COPS exit.

cur T01

• •A COJUtKNTAl"PAIR•BROADCAST

A. l<oHITE'SDOCOM!NTARY FOO'l'AGl!:

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

• top critic, now reducGd to a

leacherowi groupiedom by contact with th111group. A tidal -VE! of outrage ha!ii!-shedacro1u1the ahor111s of our country. For exllU!lpla,note the petriot.io 111ta:nc111oftheGovernor of Florida.

CONFEU:NCE ROOM

~porterfl and Oll.l'.!lllil!rlUIarelilQtup.An-lllPrui:SSSECRETARY mtlllpetot.M microphone. A Confllld11ratoflagisprom.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 !Mmberliaitting in 4 prison reaction room. MAN SLAOGHTER reachea into the television to pull hi• sneaker out.

•

wan.tato 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.aMMi SLAlJG:i:m!!Rwalkll!awayfromthe $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!!!rtohilllandpunche• him to the floor.

•

•

HOMICIDE helpa A. WHITE to IIIchair.

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

CLOSB OP - DEAD MIJCE'SFEET

•

Mournar111enur from all walks of African-Allll!lricanlifeto pay final re111pacttoDEAD MIU.

A long line awaitlilitachance tc vi.w DEAD !O:D'111body.

COT TO&

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

COT T01

OBAD MIU' S POV of lll01.u::n,u:'lilviewinghim.~B•BOYS-lk INTO TU Pl\AMB®

They walk away.

COT ror

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

AllthlilyEXITTD FRl!..ME,SISSYMt.er11,&ffattract.iv•black WO!Mn in her tiarly 20 1 111,withIiicrazylong,d11finitel.y artificial h&irw11av11,who im crying har 11y111i1out.SXSSY is ~i.ng up a 111t.orm,when,frcmbehind -- 1H1-.ingly out of the hair it.self -- a hand reachesup and give• SISSY a h&ndkeu:chief.

Behind SISSY, WE SEE a t.etmagedblack girl, in jeen111, leather jAcket and chewing bubbl11gum. Ber job i11t.o lllllklllilUl:'11SISSY'S11xt.r11largehairw11av11dOl!lsn't.hitthll floor. She 1111WEAVETTE (it.even says so on her jacket). AllSISSY crie11,WEAWTTE blOWIIIIIIbubble. • WE SEE SISSY now leaning INTO THE CAMBRA to ki111111DEAD MID. Th/I~ 1111momentarilycovered with SISSY' 111 weave.

SISSY walk11,11:1,mycrying.WBAVE'l"l'Eexitlllwithliarch-ing gum and bla.,ingbubbles.

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

Then he l©Oklllup 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?

A. WHITB

A. WK!:TE reaches intc hie pocket end pulls cut a rope chain.

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

A. WHITE (contd)

•

CtlTTO:

FT.om A. '"-'I1'::!:',POV,WESEED&IWMID with th111goldchein 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 flllmilyfriendor relative J;1®rhaps?

He pum::helilhim111mackinthe 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!!BWELL DRESSED BLAC!tMAN'S ?OV of DEAD MIJCJ!:.DEAD MIJCEnow frowning with a black eye.

COT TO,

STA& KASTBR ARSON'ii turntable• ar111onth• coffin lid. Th.r..microphon•• ara set up in front of the caak•t • DUD N.I!CB'akufi ia on onl!Imicrophone.

•

BOMJ:CIDBputa DBAD MI.1CB'111kufiatophi• hat and o.gin• rapping hi• and DEAD HilCII'slineaon •1 Thin.ItDead Mik•'Iii hen Pixed."

(Lyric• To Come)

DISSOLVE TOt

Save the lNlllb,o,;:-sofCELLBLOCK4,JONES, YO~B, A. WRITE, SISSY and DALIHA standing silently around the

cmro,

BW and mBINSON enter. EVE.i!!ileadinga reluc::tant • iOJ.!IINSONbythehand.

TRUSTUS JONES

• That's what I like to h-r.

Fans roll in• Marquee r-dlllt WCBLL 1:H.OCX4,FINAL CONCERT , mi:LPING DOLPHINS.• •

Ctn'TO 1

CELL BLOCK 4 DRESSING ROOM

CELL BLOCK 4, JONES, A. WHITE, SISSY, WI.LIMAue aitting around. JONES i111inthe cl!lnterof.the rOQII.

YOMO!iEYOOB D&111nright,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 1110fta111111butter pop do do. Steb, give !ll4!ilIIIbeat!

S'rllMASTER 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 taklllthe 11t111g111toch111111rs.STABMASTERARSONbeginllEcutting up IIIb111111t.

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

HOMICIDE/MAN SLAUGl:l.TER We 111:i:111CellBlock4.Agroup before itllEti.ma,otit111ti!ll4!il,lik111Jil:ml!y Wi1lk111r. (a3 -ch ruuM is :untioned, their photo app-rl!E) ••• Peter Llllmongello,Franklin Ajay1111, Jim Blllk111r,theS.aatieBoys, Bohannon, Morton Downey Jr., Don Jobnll!On'& •inging oareer, Ruth Buz1111i,Ralph Sampa:on,Gary Hart, Don Jobnaon' 1111 acting oare111r,ChicoD1111Barg1111,Vanity and Apollonia. Th&t l1111v1111lofmtar-- Y••• w1111areallthat -- w11111111like1111 l&llMIofp&••ion. It wam good while it luted, but that wa1111onlyfifteen minu tea. Now, Cinour la•t pertor111&.0ce, we have one thing to say to th• world.

•

Bl

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

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

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

SWEAT OP MY BALLS

Rippin* .md robbin' and rappin' and rhyain'/Life aometi-a can be ao tirin'/ But there's one thing I can al-ys rely on/That'• th• s-•t ot.M:lrBalla/ (chorua) Hy hlla Hy l:1&11111 My hll111 Hy hlla That.•111theSweat of My Ball111•••

Fightin' and lyin' and liokin' and atylin'/The111111dumWO!Mn oan 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::mingthroughA. WW:TE'S OOCUMBNTARY CAMBlUI..

Then A. WIT!: hillu:1elfjump111onstagewith SISSY and does a nasty hip-hop dance with her.

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

C,.,M.'UAZOOKillINONCELL BLOClt 4 LOGO,.

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