"STRAIGHT OUTTA COMPTON" (2015)

Director: F. Gary Gray PROD #02443 Producer: Ice Cube Producer: Tomica Woods-Wright Producer: Matt Alvarez Producer: F. Gary Gray Producer: Scott Bernstein Producer: Dr. Dre Executive Producer: Adam Merims

STRAIGHT OUTTA COMPTON

Screenplay by Jonathan Herman and Andrea Berloff

Story by

S. Leigh Savidge & Alan Wenkus and Andrea Berloff

Notice:

This material is the property of Straight Outta LLC (A wholly owned subsidiary of Universal City Studios, Inc.) and is intended and restricted solely for studio use by studio personnel. Distribution or disclosure of the material to unauthorized persons is prohibited. The sale, copying or reproduction of this material

in any form is also prohibited.

1 TITLE/CREDIT SEQUENCE: 1

An AVALANCHE of SOUNDBITES, colliding and overlapping. Coming so fast, we can barely process them. A virtual sound book...

WAR ON DRUGS. NANCY REAGAN. CRACK. DARYL GATES. CRIPS & BLOODS. Everything from KNIVES to PISTOLS to ASSAULT RIFLES. All these images add up to a minute and a half recap of not just black history but American history. As soon as they’re done, we find ourselves plunged into --

TOTAL DARKNESS:

FADE UP: ON;

A bucket pulls up in front of a shitty-looking BROWN HOUSE with ugly bars on the windows and doors. A rusted swing-set leans sideways on the dirt/grass they call a front lawn.

SUPERIMPOSE: COMPTON, CA 1986

Inside the car is ERIC WRIGHT, 21, but you know him as --

SUPERIMPOSE: ERIC WRIGHT AKA EAZY-E

A man who is completely in his element -- comfortable and poised, ready for anything.

He hops out of the car, moves quickly to the TRUNK -- pops it open and reaches inside. With an electric screwdriver, Eazy unscrews a CERWIN-VEGA sub-woofer. Grabs a bulging BROWN BAG out of the speaker... and a 9mm -- SLAMS the trunk.

ON THE ROOF, a LOOKOUT clocks Eazy as he walks up to the front door of the decrepit house...

Eazy KNOCKS BY CODE. A dude, TONE (20s), opens a slat in the door. Gauges Eazy, EYES SKEPTICAL.

Multiple DEADBOLTS UNLOCK and an irritated Eazy enters --

It’s not what you’d call “cozy.” The carpet is torn up, stained, cigarette-burnt. Walls covered in TAGS. A PITBULL stares menacingly from the kitchen.

In addition to Eazy and Tone, there are THREE other people spread around the room: one GIRL lounges on a vinyl couch, eyes glazed; another girl, TASHA, loudly SCRAPES soul food onto the pitbull’s plate; and a JITTERY DUDE steady keeps an EYE out the WINDOW, tense, occasionally clocking --

EAZY spreads the CONTENTS of the BROWN BAG before them on a long TABLE: three FREEZER BAGS each containing 10 ounces. He looks up, ALL BUSINESS.

Tone turns to Tasha in the kitchen, nods.

TASHA opens the fridge, grabs a 40oz. --

-- hands it to Tone who CRACKS it open. Drinks...

ON THE COUCH, the GIRL grabs a SAWED-OFF SHOTGUN FROM UNDER A PILLOW. Levels it at Eazy, face grimaced, hard, strung out.

Eazy just stares right back at them. The tension’s like a pressure cooker about to burst. Until --

A WHISTLE echoes in from outside (THE LOOKOUT) --

Suddenly, everyone notices a deep RUMBLING coming from outside. Jittery Dude steps back from the window, eyes wide --

Because there’s a MASSIVE ARMORED VEHICLE rolling down the street toward them. 6 TONS of steel, with a 14-foot BATTERING RAM mounted on the front. LAPD emblazoned on the side.

Everyone in the room FLIES into action, STASHING the WEAPONS and the MONEY into hidden STASH SPOTS all over the HOUSE: Behind fake-panel LIGHT SWITCHES, hidden HATCHES beneath the FLOORBOARDS, in a fake-panel inside the FRIDGE. It’s some serious MACGYVER SHIT.

Eazy grabs his ROCKS, BEE-LINES for the BACK of the HOUSE, eyes wide, amped on adrenaline as the RUMBLING ESCALATES to an almost UNBEARABLE LEVEL --

CRASH!!! The 14-foot BATTERING RAM PUNCHES THROUGH THE WALL. DEBRIS FLIES EVERYWHERE. The RAM keeps coming until --

The GIRLS SCREAM! The ARMORED VEHICLE REVERSES, the BATTERING RAM POLE YANKING THE ENTIRE WALL OUT WITH IT, leaving a MASSIVE RAGGED HOLE where we can see --

SQUAD CARS SWARMING INTO THE AREA, COPS FLOODING TOWARD THE HOUSE -- lots of YELLING as they PIN everyone to the floor, it's too late, nobody can escape; nobody but --

EAZY-E kicks out a KITCHEN window, squeezes through, hits the dirt on the side of the house. Sprints past --

A PITBULL! The GROWLING DOG hustles for Eazy as a FLASHLIGHT hits Eazy’s back, a COP giving chase!

As they race across the back yard, the Pitbull diverts to the cop, who panics. He’s about to get mauled until --

ANOTHER COP pops around the corner! Blasts the dog with a FIRE EXTINGUISHER, filling the air with a dense cloud of expellant, as --

Eazy hops on a fence, hits the garage roof and jumps in a neighbor’s yard. Gone. He lives to slang another day...

But the SOUNDS OF CHAOS carry over, infiltrate the inky black: SIRENS HOWLING. PEOPLE SHOUTING. HELICOPTERS BUZZING. DOGS BARKING. A mad medley that continues into --

A PAIR OF OVERSIZED HEADPHONES, worn by ANDRE YOUNG. Better known as –-

SUPERIMPOSE: ANDRE YOUNG AKA DR. DRE

Eyes closed, lying on his bed, slight smile pursing his lips, he bobs his head as --

WE HEAR WHAT HE HEARS, treated to the beautiful mind of Dre. THE SOUNDS OF CHAOS are evaporated, seemingly synthesized into the dope melody Dre’s peacefully bobbing his head to...

WE HEAR the multi-tracks of the song -- levels go up and down based on Dre’s subtle FACIAL REACTIONS to the various sounds. He singles out INDIVIDUAL ELEMENTS, and as he does, WE HEAR them, highlighting some sounds, decreasing others: BASS, DRUMS, PIANO, VOICE... It’s pure instinct, pure joy. Until --

BAM-BAM! A fist on a locked door. The music stops as Dre removes his headphones. We now see --

DRE’S ROOM, populated with turn tables -- one side spinning the record he’s listening to -- DJ station and a vast sea of LPs (sure there’s Parliament, but also Duke Ellington) scattered around the room. A music junkie’s paradise.

On the other bed, his brother TYREE (17) chills as Dre opens the door to find --

VERNA GRIFFIN, 36, his Mother, and she can smell bullshit a mile away. He flashes his smooth, easy, magnetic Dre-smile.

She frowns, shakes her head.

He pulls out a sad little wad of bills, waves it in her face. Quick as lightning, she SNATCHES it away from him --

-- THROWS it back at his chest.

Dre fumes, gather the bills off the floor, heads for the kitchen --

-- but Verna stays hot on his heels --

Dre keeps going, MUTTERS under his breath -- She grabs his shoulder, SPINS him around, strong. Gets in his face.

I already know what I wanna do with my life, and it definitely ain’t sittin in a cubicle takin’ orders on some stupid ass job.

Verna’s eyes FLASH -- WHAP! She SLAPS HIM IN THE FACE --

Dre steps back, puts his hand to his cheek. Verna’s reeling as much as he is. She tries to compose herself.

Dre holds Verna’s gaze a moment longer, then turns and calmly walks back past her, into his room. He picks up his headphones, pull-out car stereo. Heads for the door, opens it...

But he’s already closed the door behind him.

Dre bounds over to a battered BLUE & WHITE DATSUN B-210 parked in the DRIVEWAY, regret settling in. He looks up to see Tyree ambling closer, carrying a bundle of errantly- selected clothes, a crate of records.

Dre takes the clothes. Tosses them in the back.

They share a CHUCKLE. Then --

Him and Dre have special brother-to-brother embrace. Then Dre hops into his car.

Tyree sullenly nods.

Dre triggers the ignition, MUSIC BLASTING, and PEELS away --

Dre rolls along in that ugly-ass Datsun. It’s still early, but the STREETS are starting to FILL UP. Dudes in doorways, on the corners, clocking him as he passes. An LA SHERIFF’S DEPT. SQUAD CAR slides past, disappears around a corner.

WE HEAR a HELICOPTER SOUND, as WE GO WIDE --

Flying high over the city, it’s quiet up here, only the sound of WIND. BELOW, we see the tight grids of SOUTH LOS ANGELES, and the densely-packed TRAFFIC heading north along the 110 FREEWAY, as it angles toward the SKYSCRAPERS of DOWNTOWN L.A.

We move NORTH and there’s DODGER STADIUM plunked at the southern tip of ELYSIAN PARK, and the LA RIVER twisting snakelike up into GRIFFITH PARK --

And NORTHWEST past the mountains of Griffith, descending into the VALLEY, where we suddenly DIVE DOWN into WOODLAND HILLS and settle upon the low-slung sprawl of --

We track backward through a school bus full of STUDENTS. Almost exclusively black and Latino kids. Late 80’s fashions. All the way in the BACK ROW we settle on O’SHEA JACKSON, who we now know as --

SUPERIMPOSE: O’SHEA JACKSON AKA ICE CUBE

Raiders cap pulled low over a shoulder-length Jheri curl. Hunched over, wearing a soon-to-be-iconic FROWN of concentration, he SCRIBBLES LYRICS into a NOTEBOOK:

“BORED AS HELL AND I WANNA GET ILL. SO I WENT TO THE SPOT WHERE MY HOMEBOYS CHILL --”

The ROAR of a powerful sports car snaps Cube’s concentration. He gazes out the school bus window to see that --

In stark contrast to those on the bus, just beyond the glass is a sea of WHITE STUDENTS. They hang out, shoot the shit in their nice clothes, hop into their nice cars. It’s a club that Cube isn’t a part of and it’s clear that he canfeelit.

He frowns, looks back down at his notebook as the bus pulls away from Taft High...

The BUS cruises Southbound on Crenshaw. And compared to the Valley, it looks like BEIRUT out there: Graffiti tags, liquor stores everywhere, boarded-up shops, DUDES loitering, drinking, slanging. Crip throws a rock and hits the bus.

FIND CUBE sitting halfway back, still doing his thing, writing rhymes, minding his own.

NEAR HIM, a few KIDS goof around, flash GANG SIGNS out the window at the passing CARS, PEDESTRIANS, not noticing --

A10 INT./EXT. TRUCK - CONTINUOUS A10

Pulling out of a side street onto Crenshaw, we see two hard- looking O.G. BLOODS. As the bus passes, they CLOCK THE KIDS flashing SIGNS. They can't believe it. Driver Grits his teeth. SPEEDS OUT after the bus --

The bus rolls to a stop. Before any KIDS can get off -- the O.G. Bloods' truck pulls in front of the bus, blocking the road. Passenger hops out.

Noticing, the BUS DRIVER goes to shut the doors, but he’s too late -- O.G. Blood gets on, strides past the BUS DRIVER -- glock 9mm in hand.

Everyone on the bus falls SILENT. By the shocked expression on the kids’ faces, they have no clue how or if they’re gonna get out of this alive.

He makes his way back to the WANNABE KIDS near the expressionless Cube. Sensing shit is about to jump off, Cube slowly reaches for the WINDOW next to him, starts SLIDING IT OPEN. He edges closer to the window, grabs his NOTEBOOK, fully prepared to jump the fuck out that window.

The O.G. Blood looks over his shoulder, scowls at all the terrified faces staring back at him.

And with that, the O.G. Blood tucks his gun, and calmly exits the bus -- leaving behind the stunned kids.

Their truck pulls away into traffic.

Cube grab his books, get up to exit the bus along with a few others, but not before glancing over at the kids, who sit there sweating, shell-shocked.

Cube shakes his head at the wannabes. No way he’s going out like that.

Cube walks along the streets, Pee Chee folder and notebooks in hand, books under his arm as --

We’re given tour of the sights and sounds of South Central. The pervasive shudder of LAPD CHOPPERS TAUNT OVERHEAD, DOGS BARKING, as an LAPD SQUAD CAR CRUISES MENACINGLY PAST like a shark in festive waters.

Up ahead, BLOCK DUDES loiter on a neighbor’s untended grass.

They smile, give Cube a pound as he passes. Yell after him.

But Cube just smiles, looks back at them --

The Dudes laugh as Cube continues on. Keeps moving.

UP AHEAD, he sees Dre’s DATSUN parked across the street. No question where Cube’s headed.

A12 INT. JINX’S HOUSE - EVENING A12

Cube walks through the LIVING ROOM, where Dre’s girlfriend, LAVETTA, is feeding their baby TYRA (2) --

She points to the back room.

JINX’S ROOM, dirty but very hip-hop. JINX, 17, is digging through a crate of RECORDS, and offering them up to DRE, who waves most of them away because --

DRE’S IN THE ZONE, doing his thing on the turntables, mixing, SCRATCHING. And whatever it is sounds DOPE. Next-level shit.

Cube enters -- Lets the SONIC ACROBATICS BOOMING from Dre’s turntables marinate on him a minute.

Dre, lost in the music, doesn’t respond -- Jinx holds up two ALBUM COVERS: The Ohio Players’FUNKY WORM and The Headhunters’ GOD MADE ME FUNKY. Doesn’t make sense, yet --

Dre finally notices Cube’s in front of him --

Cube flashes the SHEET OF LYRICS from school at Dre, notices the trash bag full of clothes on the floor.

Laughs all around as we --

A Chevy Caprice cop car, light-bar strobing, has pulled aggressively onto the curb, all four doors open. CRASH OFFICERS roughly frisk the Block Dudes, as --

School shit in hand, Cube walks past, inconspicuous as possible. Can’t help but glance at the scene --

Hesitant, Cube complies. Used to getting jacked by the police, he assumes the same position the other Block Dudes are in: hands on the hood, legs back.

One of the other Crash Cops pulls out his WALKIE --

BAM! Crash Cop 1 shoves Cube against the car, kicking his legs apart, a hand on the back of his head. Cube’s NOTEBOOKS hit the pavement -- Get trampled.

WHAM! Crash Cop 2 SLAMS Block Dude 1. Forces him to interlock his fingers behind his head --

Block Dude 1 HOWLS in pain as Crash Cop 2 viciously SQUEEZES his interlocked knuckles. Crash Cop 1 shoots a look to Uniform Cop 2: Settle down, dude!

TWO MORE SQUAD CARS SCREECH onto the scene. Four UNIFORMED POLICE climb out, to make an even bigger deal out of nothing.

Cube’s Dad, HOSIE, appears up on the porch, pissed.

The Cops ignore him as Cube’s mother, DORIS, appears beside Hosie, shocked to see her son getting assaulted --

But she starts coming down the steps toward the Cop -- He UNSNAPS his holster, hand grasping his pistol.

The COP jams a FINGER inches away from Doris’ face!

Doris’ mouth drops open. The disrespect is incredible.

Uniform Cop 1 leans down, WHISPERS to Cube --

WIDE SHOT: Cube, his parents, and the Block Dudes helpless, held hostage in their own neighborhood. After every pocket is turned out, body patted down and rights violated --

The cops pile back into their cars leaving behind the stunned neighborhood. Cube grabs his NOTEBOOKS, cleans them off as --

A CHOPPER ABOVE DEAFENS ALL SOUND in a PRIMORDIAL ROAR.

A15 INT. DOO-TO’S CLUB - ENTRYWAY - MOMENTS LATER A15

Muffled MUSIC seeps into the area as SECURITY GUARDS thoroughly SEARCH everyone. One of them stares Eazy down.

Eazy LAUGHS, doesn’t give a fuck.

The Security Guard frowns as he allows them into --

15 THE MAIN FLOOR 15

MUSIC PUMPING, we FOLLOW EAZY and REN into the CLUB, which is PACKED, people partying their asses off. Everyone’s here: REGULAR FOLKS, BLOODS, SKINNY GIRLS, BIG GIRLS, DEALERS, ATHLETES. A true hood cross-section.

AS WE MOVE through the place, we see CUBE, JINX and TYREE standing near the wall: JINX and TYREE are busy clocking the GIRLS, but CUBE is studying a ripped-out page of LYRICS.

ON STAGE, wearing purple satin jackets withWORLD CLASS WRECKIN CRU on the back, DRE spins some ‘80s R&B while his boy, YELLA, leans down, hollers at a GIRL in the crowd.

Dre spots someone moving through the mass of people --

Yella quickly moves to the record crate, starts sifting through them to look like he’s busy as --

LONZO WILLIAMS, club PROMOTER and Dre’s BOSS approaches. He leans over to Dre:

Lonzo shoots Yella a look, then disappears from the stage.

Dre chuckles, immediately searches the crowd, locking eyes with CUBE. Dre gives him a NOD, and Cube takes a breath, heads toward the Stage --Moment of truth.

IN THE BACK, EAZY and REN are surrounded by ladies. But Eazy’s attention is clearly --

ON STAGE. Cube appears next to Dre, who’s cuing up a new record. He stops the music, grabs the mic:

Dre hands the mic to Cube as the crowd eyeballs him with suspicion and restraint. They’re clearly not gonna give him respect til he earns it. Cube steels himself, clenches his jaw, puffs out his chest. And time turns eternal before --

DRE drops the needle on Steve Arrington’s funked-outWEAK AT THE KNEES (hardcore NWA fans will recognize this track as the original sample for GANGSTA GANGSTA).

Cube starts rapping, his voice powerful, thick with attitude:

After only a few lines, the crowd’s CHEERING. HOLLERING. Dancing. An infectious vibe.

And we DRIFT back to Eazy, standing with Ren, feeling the fuck out of this music, pensive look on his face. Something crystallizing as we --

Yella spins a number for the crowd, who seem less energized now that Cube’s off stage. To the side, LONZO chews out Dre --

He glares at Dre before taking leave. Dre watches him go, body coiled tight. Jaw clenched.

Dre nods, yeah-yeah, but his eyes have landed on EAZY across the room --

Yella nods, commands the decks. Watches as Dre heads to --

A17 THE BACK OF THE CLUB A17

EAZY’s kicking it with REN, talking up several GIRLS. But when Eazy sees Dre approaching, he smoothly shoos them away.

Dre looks down at the purple satin.

Ren and Dre give each other a respectful nod.

Dre pauses, considering how to proceed...

Dre turns to find Yella up on stage in the DJ booth, mouthing “LONZO,” as he points into the crowd. Dre follows Yella’s finger, spots Lonzo slowly moving through, greeting people as he goes.

Eazy just smiles, nods, as Dre heads off...

Dre exits the club, usual crate of records in hand --

Dre turns to find --

TYREE, all up in the face of some DUDE.

Tyree shoves the dude -- Dre’s eyes light up!That’s my brother! He drops his crate of records, bumrushes the Dude and COLD-COCKS HIM. The Dude just drops, dazed.

Dre turns to Tyree, adrenaline pumping.

Dre can’t believe it --That’s it?

The down Dude slowly gets onto his knees, stumbles to his feet just as --

WHOOP! WHOOP! An L.A. Sheriff’s Dept. SQUAD CAR rolls into the lot, lights on Dre, Tyree and the Dude. In a hurry, the two OFFICERS are out of the car, approaching the guys --

Officer 1 gets right in Dre’s face, nose to nose.

But Dre just stands his ground, head cocked to the side, defying the Officer. In a flash --

BAM! Dre finds his face planted into the hood of the squad car! Cuffs slapped on! Same for Tyree and the Dude as we --

DRE emerges from the Police Station, police property bag in hand, to find EAZY waiting for him beside a fresh ‘63 IMPALA LOWRIDER.

Dre smiles, chuckles -- He’s clearly beyond exhausted.

At Eazy’s car, Dre and Eazy pound hug.

Dre kneels down on the pavement, takes his shoelaces from the police property bag and casually starts lacing his sneakers. But Eazy clocks a couple POLICE OFFICERS eyeballing him and Dre. Clearly, he’s not comfortable here. Hops into the car.

Eazy gestures like,we in front of the police station! Dre realizes. My bad.Hops in. Keeps lacing his sneakers...

Eazy considers for a long moment as we --

Dre sits in front of a huge MIXING BOARD, adjusting the levels on a hard-driving BEAT.

A small CREW of Kangol-wearing RAPPERS(HOME BOYS ONLY, aka HBO) are gathered around, reading pages we recognize as CUBE’S LYRICS with befuddled expressions.

Everyone turns to look at CUBE, off to the side, annoyed.

Another HBO dude chimes in --

Dre interrupts from the board, no back down in him.

Nobody says a thing. Deafening silence. Then:

The vibe is tense, unpleasant. Finally:

HBO 1 CRUMPLES the Lyrics sheet into a ball.

Cube and the HBO dudes square up, swelling and huffing -- Without hesitation, Eazy gets up, stands beside Cube. Dre whips off his headphones and flanks Cube from the other side. These dudes have each other’s back, ready to throw down.

The HBO clowns start exiting, talking shit.

Eazy wanders back over to the couch, plops down, sighs:

The three of them chuckle. Eazy sighs, shakes his head.

Off Eazy’s unsure look --

ON EAZY, self-conscious in the booth, light beaming on him.

Dre gets up from the board, DIMS THE LIGHTS way down low --

Eazy takes a breath, huddles over the mic. He puts his Locs sunglasses on, pulls his baseball cap low -- so low you can barely see him (which is exactly the point).

Dre sits behind the board with Cube. STARTS UP THE BEAT and cues Eazy --

Cube winces. Dre STOPS the track.

When Eazy tries it again, it almost sounds worse --

Dre looks at Cube. Nods.Go.

Cube exits. Then --

The frustration on Eazy’s face is apparent.

Yup. Eazy frowns. Takes a moment to compose himself...

Dre starts the track again -- ONLY THIS TIME, HE DOES SO ONE. COMPONENT. AT A TIME. BUILDING THE SONG AS IF FROM SCRATCH.

EAZY vibes with it. Can’t fuckin’ help it. Shit is dope. Finally, once THE BEAT IS FULLY REALIZED, Dre CUES him --

Dre grins. Much better. Stops the track.

Eazy groans, pulls his hat even lower, as we --

There’s a sense of ceremony here. Cube, Eazy, YELLA, REN, Jinx, DOC and few girls wait with palpable anticipation as --

DRE PUSHES PLAY on the freshly completed TRACK. It starts THUMPING from the speakers: It’sBOYZ N THA HOOD.

Pride and a sense of purpose swell in each and every one of them as LONZO POPS IN. Listens, skeptical.

The song stops and no one says a word. They know this is something special. Finally:

Reveal DOC in the background.

Lonzo scowls at Dre, exits in a huff. Yella goes to Dre, eyes wide with excitement --

They pound. Everyone LAUGHS.Truth.

Laughter as Dre cues it up, the SONG RESUMING, as we --

BOYZ IN THA HOOD is PLAYING OVER --

A STACK of VINYL RECORDS moves through a PRESS. A machine STAMPS a RED LABEL onto the MIDDLE. CLOSE ON the RED RUTHLESS LABEL -- BOYZ N THA HOOD.

IN THE RECEIVING AREA, EAZY picks up a couple BOXES of RECORDS. He PAYS for them, and hauls them away.

BOYZ keeps on THUMPING --

DRE and TYREE stand at the counter of a RECORD STORE, with a BOX OF RECORDS. The CLERK takes about SIX RECORDS --

BOYZ continues OVER --

Eazy emerges from a RUN-DOWN HOUSE, jogs across the street to his BUCKET, climbs inside, opens his STASH SPOT, stuffs a large WAD of CASH inside.A hustler is always hustlin --

Some local TEENAGERS are partying, drinking and listening to BOYZ N THE HOOD wax. And that shit has the party bumpin’.

A sense that this song is going VIRAL, in a contagious, pre- internet sort of way --

BOYZ continues as Eazy brings TWO BOXES of RECORDS to a SWAP MEET BOOTH operated by STEVE YANO. Yano excitedly collects the two boxes, hands over some cash. Deal done. Before Eazy can even bounce, some KIDS bumrush Yano for copies --

BOYZ slowly fades, iconic KDAY Disc Jockey GREG MACK spinning the TRACK over the airwaves of Los Angeles. He grins, bobbing his head, digging this shit forreal.

He glances over to the TELEPHONE SWITCHBOARD, which suddenly LIGHTS UP like crazy, with dozens of CALLERS.

Eazy pays for another couple boxes of records. Grabs them --

Eazy turns to find --

JERRY HELLER, a middle-aged guy in a velvet track suit. His face is craggy, seasoned, wise. He’s got terrible posture, but lively, hyper-alert eyes. He extends his hand to Eazy.

Jerry at his desk, Eazy on the ratty couch. Eazy lets his eyes wander around the shabby office. The sad furniture, the old and irrelevant posters on the walls.

Eazy gets up and heads for the door --

Eazy indulges Jerry. Sits back down and stares, cold, unreadable. Jerry rubs his eyes, frustrated, his regular spiel isn’t having its usual effect.

Jerry leans on his elbows on the desk, cocks his head at Eazy. The balls on this kid.

Eazy frowns, looks away --

Eazy doesn’t budge. Satisfied, Jerry continues --

Eazy looks at Jerry. Cold as ice.

The smile is wiped off Jerry's face immediately.

200 or so people lined up outside, waiting to get in. NWA POSTERS are stapled to walls in testament to guerilla marketing. Notice the profusion of PEOPLE present as --

Eazy and Ren pull into the lot, exit the car and heads inside, intoxicated by the sea of people.

Eazy addresses the guys, all business.

WE PULL BACK to reveal the GUYS -- Cube, Dre and Ren -- gathered around Eazy. A whole crew is there with them, too, including DOC, Tyree and Jinx. And everybody’s dressed in some type of BLACK L.A. RAIDERS GEAR, except Yella who approaches from the side wearing an old school purple & gold L.A. KINGS jersey.

Eazy hits him in the face with a black t-shirt.

As YELLA starts to change shirts, Jerry Heller comes around the corner talking to the promoter, nothing hip-hop about him at all.

DOC take another sip.

Jerry joins the group.

Jerry pauses a beat, finding the best response.

The guys stare back at Jerry, with the fire in their eyes. Goddamn right they can do it -- "Hell yeah!"

Jerry peels away and goes inside. Cube looks at Eazy.

Eazy cocks his head at Cube.

Dre throws his arm around Eazy, puts a stop to it--

Cube and Eazy soften, smile at each other, it’s all good.

Everyone LAUGHS as we --

We see the PACKED MASS of the CROWD, crammed together, hands in the air, SCREAMING, even though nothing’s happened yet. The stage is pitch black as we see the silhouettes of NWA members manning their battle stations. More screams and anticipation from the crowd.

At the BACK of the room, we see JERRY HELLER beside THREE nervous-looking RECORD EXECS. One of them -- BRYAN TURNER -- glances around warily at the inner-city CROWD.

Turner FREEZES and his eyes go wide -- Jerry LAUGHS.

Just then, the STAGE LIGHTS come on, and NWA IS ON STAGE, spread out in FORMATION, in their BLACK RAIDERS GEAR. DRE and YELLA man FOUR TURNTABLES and 2 mixers --

The bass-heavy ASSAULT of DOPEMAN kicks in. The crowd goes APESHIT. Jumping up and down. Crushed against each other --

ON STAGE, CUBE stalks to the edge, lets loose --

And and CROWD SCREAMS BACK, because THEY KNOW EVERY LYRIC!

with each other, like, Oh my God, this is sick!

IN THE CROWD, we find JERRY and the RECORD EXECS. One of the EXECS looks disgusted, WALKS OUT. Jerry watches him go...

The Exec brushes past Jerry and WALKS OUT. Jerry turns and sees that BRYAN TURNER is the only Exec still there. And he’s WATCHING with wide eyes, overwhelmed while --

UP ON STAGE, EAZY tears into his verse --

IN THE BACK OF THE CLUB, from a corner, a big man is watching, mind going, This is SUGE KNIGHT.

The last raucous PARTY-GOERS exit, leaving behind some CLEANING CREW and OUR GUYS, still riding the high of performing.

Everybody shoots YELLA a look.

They chuckle at Yella in disbelief as SUGE KNIGHT approaches.

Somewhat of an uncomfortable pause of dead air.

JERRY rounds the corner, sweating through his misshapen suit, along with BRYAN TURNER.

Suge exits... as DOC clocks his flavor-- our attend goes to Jerry and Bryan.

They all keep STARING at him, waiting. Jerry grins, enjoying stretching out this moment.

Bryan looks at Jerry, who folds his arms, chin on his chest.

Bryan hesitates, almost ashamed to say --

Everyone in NWA grimaces --

Yep. They all LAUGH in Bryan's face. He smiles too.

The laughing stops -- This gets their attention and respect.

This is the perfect time for Jerry Heller to seal the deal.

It takes a second for it to sink in. But they are as ready as they ever could be. Jerry watches, pleased as punch --

Cars zip past as we move inside --

A35 INT. AUDIO ACHIEVEMENTS STUDIO - DAY A35

Dre runs his fingers on the knobs and levels of the mixing board. There’s nowhere that he feels more at home. Eazy, Cube, Ren, Yella and Jerry are gather in the studio. Dre Inspired:

Yella rewinds the tape.

Cube and Eazy look at each other as the speech hits home as...

We begin a MEDLEY OF IN-PROGRESS AND ICONIC SONGS.

B35 INT. AUDIO ACHIEVEMENTS - BOOTH B35

Cube in the studio writing EXPRESS YOURSELF. Dre is on the mic doing EXPRESS YOURSELF. Yella is at board as everyone watches Dre.

C35 NOTE: IN BETWEEN THIS SEQUENCE, we cut back to CATCH GLIMPSESC35 of Dre in the studio CREATING -- FUCK THA POLICE, starting with the bones and building: first the DRUM MACHINE... then the SCRATCH... the BASS... an on and on. We will see Dre building this track throughout the sequence. In the back, Cube, Ren and DOC on the couch writing.

D35 IN THE BOOTH - LATER D35

Cube writes than spits the lyrics to A BITCH IZ A BITCH.

AT THE BOARD, Dre HOWLS with excitement, adjusts the levels, then cuts the beat. Beside him, Eazy and Yella are all smiles.

E35 IN THE BOOTH, Ren spits fire on the final bars ofPARENTALE35 DISCRETION IZ ADVISED--

F35 -- EAZY spitting STRAIGHT OUTTA COMPTON as -- F35

Dre’s at the soundboard, chopping up the beasts from what will become “Fuck Tha Police”.Cube, Ren, DOC and Jinx are listening while writing and eating fast food.

Jerry and Eazy are discussing business.

Cube takes notice of Jerry and Eazy, looking up from another beat-up notebook.

Cube looks at Jerry.

Before Cube can respond, Tyree enters the room as Jerry exits the room.

Tyree pulls Dre aside.

Concerned, Dre heeds Tyree’s advice and exits.

Parked along the curb, Dre’s girl LaVetta sits in what we thought was Dre’s DATSUN. It’s filled to the brim with clothes and baby gear, hatchback tied down with bungee chord.

Dre leans down to her window --

Dre doesn’t notice a TORRANCE P.D. CRUISER drift past...

LaVetta puts the car in gear, PEELS away just as the whole gang comes out, having caught the tail end of the argument.

The TORRANCE P.D. CRUISER pulls up fast, two COPS popping out. One black the other white. Weapons drawn.

The guys are confused. Food in hand.

These cops aren't playing and they don't want to be questioned.

After peeping out the cops overly aggressive posture. The guys start to comply. Mexican food hits the ground first then all the guys go face down-- spread eagle.

Torrance Cop 2 starts to call it in.

Torrance Cop 1 starts to roughly frisk the guys.

Within seconds, the Cop has Dre legs spread, frisking him roughly, hyper-extending his arms --

The whole group is getting frisked one by one. Until Jerry Heller comes to the rescue.

Jerry keeps coming.

As Jerry gets into the officers face, we see the contrast of the black guys face down on the ground with the Cops and Jerry's shoes standing over them talking.

As the insults continue-- We LINGER ON CUBE, consuming his incendiary eyes, his flared nostrils. He’s just about had enough of this shit.

Dimly lit, Cube sits hunkered over a desk, writing furiously in his notebook. As if he’s possessed. He slaps a page aside, scribbling on the back. WE CATCH GLIMPSES of ICONIC WORDS ON THE PAGE --

GOT IT BAD CAUSE I'M BROWN .... SEARCHIN’ MY CAR, LOOKIN’ FOR THE PRODUCT .... THINKIN’ EVERY NIGGA IS SELLIN’ NARCOTICS.

Dre is at the mixing board working on the instruental track for FUCK THA POLICE. The instrumental is playing without any lyrics or the hook on it.

CUBE enters the studio -- Hands the open notebook over to Eazy, who scans it, hands it over to Dre for a look.

Dre smiles as we cut to --

Dre is scratching in the iconic hook. FUCK THA POLICE-- FUCK, FUCK, FUCK THA POLICE. He continues to scratch...

38pt2 Ice Cube on the mic spitting the venomous lyrics of Fuck Tha38pt2 Police.

STRAIGHT OUTTA COMPTONcontinues over --

EAZY and JERRY walk into the new RUTHLESS OFFICES...

A LOWRIDER cruises the packed boulevard,STRAIGHT OUTTA COMPTON SCREAMING out the windows as it passes by --

A HOOPTIE that’s gotEXPRESS YOURSELF ON BLAST. And we quickly realize that --

THE ENTIRE ALBUM’S FLOATING ON THE AIR, DIFFERENT TRACKS THUMPING from DIFFERENT CARS flossing on the ‘Shaw. Literally, every car.

LOW-RIDERS bounce their hydraulics in approval. PEDESTRIANS HOLLER at the RIDERS and Riders holler back. It’s like the entire hood is partying. And in the thick of it all --

Eazy, Dre, and Cube creep down Crenshaw in Eazy’s ‘64 Impala, Ren and Yella just behind them in Yella’s Porche. They can’t believe their eyes, their hood now worshipping their music. Some full circle shit...

STRAIGHT OUTTA COMPTONFADES OUT as --

CLOSE ON the album cover toSTRAIGHT OUTTA COMPTON as it’s slid across the desk to... THE WHOLE GANG. They pass around the record, in awe, as if it were the Holy Grail.

All the GROUP MEMBERS saying goodbye to their FAMILY, FRIENDS. JERRY’s there, too, along with Bryan Turner.

But Jerry’s distracted by Eazy carrying a big duffel bag.

Jerry sidles up to EAZY, who is carrying a big, heavy, clattering DUFFEL.

Eric grins, sets down the duffel --CLUNK -- and unzips it. Jerry’s eyes bug. The duffel is full of GUNS, big and small, a Kevlar vest, a hockey mask. All things trouble.

Eazy squares off, crosses his arms.

A44 EXT. HOUSTON ARENA - HOUSTON - NIGHT A44

Out front of the arena, a mass of PROTESTORS have accumulated a large pile of NWA RECORDS as --

SUPERIMPOSE: HOUSTON, TX

B44 ON THE BUS B44

The guys watch on as a MAN drives a STEAMROLLER RIGHT OVER THE RECORDS, crushing them to pieces! The Protestors CHEER!

The TOUR BUS pulls up inside the SECURITY AREA behind the VENUE. Houston P.D., POLICE HORSES, FANS and PROTESTERS are watching as --

The bus DOOR HISSES open, and we watch expectantly for our heroes... BUT NO ONE APPEARS. All we can see is the black void inside the tour bus, its ENGINE IDLING. Finally, when we can hardly stand it any longer... NWA BURSTS OUT ONTO THE --

-- And god damn they look cool. Still dressed in all-black, but now their shit looks cleaner, more expensive. They’re all rocking a lot of GOLD -- rings and thick-rope chains.

HUGE BASS SLAMS DOWN as the mock street LIGHTS blind our eyes. The stage looks like the hood with chain link fences and yellow police tape.

We hear the SOUNDS ofSTRAIGHT OUTTA COMPTON (”YOU ARE NOW ABOUT TO WITNESS THE STRENGTH OF STREET KNOWLEDGE.”)and find DRE on the ONES AND TWOS, which sit on upside-down glowing trash cans, while the rest of the group rocks the stage.

We see CUBE REACT to the fact that here in Middle America, the majority of the audience is WHITE.Never expected that.

IN THE BACK, we see a row of UNIFORMED COPS, stone-faced, their presence alone transmitting hostility --

46 MONTAGE OF THE ROAD 46

46pt1 INT. ARENA - STAGE 46pt1

-- Eazy blows the roof off withWE WANT EAZY, all hands in the air as a sea of people vibe with him all singing:EAZY, WE WANT EAZY -- EAZY, WE WANT EAZY!

DRE, REN AND EAZY RIP THROUGH THE FIRST VERSE-- As the crowd sings the hook again. We can hear Eazy say--

46pt2 INT./EXT. TOUR BUS 46pt2

-- The guys watch on as the TOUR BUS rolls past a PROTEST. DEMONSTRATORS SHOUT at the bus, hold up SIGNS:BAN GANGSTA RAP, STOP DISRESPECTING WOMEN,GANGSTAS BELONG BEHIND BARS--

46pt3 INT. ARENA - STAGE 46pt3

-- Dre and Ren rhyme fierce onCOMPTON’S N THE HOUSE. Standing room only, as usual...

DRE/REN To the people, the people, the people, people, the people, the people, people from Kansas City, watchin’ the show --

46pt4 INT. ARENA - STAGE 46pt4

-- Another ARENA. Another angry PROTEST. By now, the guys aren’t even paying attention anymore...

46pt5 INT. ARENA - STAGE 46pt5

-- Cube destroys GANGSTA, GANGSTA, nostrils flared, giving it his all. As the CHORUS KICKS IN --

47pt1 INT. HOTEL ROOM - NIGHT 47pt1

Muffled MUSIC, LAUGHTER THUMPS through the WALLS as we find DRE sitting on a bed in an empty hotel room, talking to --

INTERCUT WITH:

47pt2 EXT. VERNA’S HOUSE - PORCH - CONTINUOUS 47pt2

TYREE, who’s chillin’ in a chair, surveying the street, all smiles talking to his cool-ass big brother.

Dre laughs. Misses his baby brother.

Tyree’s silence is telling.

Tyree deflates...

Dre and Tyree have a nice laugh together.

Suddenly there’s a BANGING at Dre’s FRONT DOOR --

CLICK. TYREE’S GONE. Dre sets the phone down. Walks to the door. OPENS it to find --

A BIG DUDE, standing outside, looking PISSED!

Dre starts closing the door, and the DUDE jams his BOOT in, stopping Dre from closing the door.

Big Dude pulls up his SHIRT, PISTOL poking out of his waistband -- Dre SHOVES him back and SLAMS the door! Quickly OPENS the DOOR to the adjacent room where --

47pt3 ON THE OTHER SIDE 47pt3

There’s a PARTY going on. EAZY, CUBE and REN are all partying with GIRLS, most of whom aren’t wearing any shirts. Titties are everywhere, booze flowing freely.

YELLA’s in the middle, FUCKING A GIRL on one of the beds.

All the GIRLS shake their heads.

She looks pissed, but they keep on fucking anyway.

Eyes wide, Eazy quickly pulls the GUN DUFFEL out from under one of the beds, unzips it, fishes through and pulls out an AK.

But Eazy just grins, heads for the door. Opens it, PEEPS out through the crack --

BIG DUDE is still out there, standing about 15 feet away, with TWO OTHER similarly-large DUDES.

Big Dude scowls, rests his hand on the butt of his pistol.

BACK INSIDE, Ren overhears this. Tosses a GIRL off his lap, grabs his 9mm from the table, COCKS it --

IN THE HALLWAY, Eazy steps FULLY out of his room -- RACKS the AK and AIMS IT RIGHT AT THE 3 DUDES --

The DUDES gape at Eazy a moment, then SCATTER, disappearing down the hallway. Eazy LAUGHS his ass off as Ren bolts out, 9mm in hand, ready for anything --

But the coast is clear. Eazy keeps laughing. Heads back inside as we --

A48 OMITTED A48

Cube, Dre, Yella, Ren and D.O.C. stroll through, carrying bags of McDonalds. Cube’s eyes drift over to the fancy FOUR- STAR RESTAURANT across from the lobby where he can see Jerry and Eazy at a table inside, enjoying a lavish meal.

Cube heads for the restaurant --

ON THE BAR TV, NANCY REAGAN’s concerned face fills the screen.

AT A TABLE NEARBY, Jerry and Eazy devour steaks and lobster, sipping champagne.

Jerry’s distracted by the sight of Cube marching towards the table, bag of McDonald’s still in hand. Smiles up at him. Eazy doesn’t make eye contact.

Cube glances at Eazy, who’s like a statue. Cube picks up Eazy’s champagne glass, drains it, sets it back down.

With that, he turns and walks out. Jerry watches him go. Then, to no one in particular:

But Eazy’s not paying attention. Waving to a passing waiter:

The NWA tour bus blurs by, a prism of light and speed --

Cube and Dre speak in hushed tones, everyone else asleep.

WE HEAR a FAINT VIBRATING SOUND. Dre realizes it’s his PAGER. Grabs it off his bed. Sees that he’s missed TWELVE PAGES. AND EVERY SINGLE ONE IS LABELED “9-1-1.”Instinct in overdrive, he hurries to the FRONT of the bus, tells the DRIVER --

The BUS is parked in a nearly-empty PARKING LOT outside of a lonesome, isolated GAS STATION. It’s a dark, starless night.

Dre shuffles slowly out of the station, in a daze, like he just awoke from a fucked-up dream. He walks over to the BUS. But instead of getting on, he SITS DOWN on the pavement, eyes filled with shock and disbelief.

The sound of FOOTSTEPS as Ren, Yella, Cube, and Eazy exit the bus, surround Dre. They can tell something is very wrong.

ON DRE as he forces back the tears that wanna come, his voice barely a whisper:

Shocked: "What?" "Hell naw!" "What happen?" are heard amongst Cube, Eazy, Yella and Ren-- they crouch down next to Dre. Not sure what else to say or do. They wait for Dre to say more...

Face buried in his hands, Dre quietly weeps.

Jinx, Laylaw and DJ Speed gather in the front window of the bus. Not wanting to interrupt the group's moment.

Cube rests a hand on Dre's shoulder as the others tighten the circle. There’s silence... until:

Eazy moves closer. Slowly, he places a hand on Dre’s head. Rubs it. It’s a bit startling -- Eazy’s not one for tenderness. But it’s clear he feels Dre’s pain.

PULL BACK as the guys remain clustered around Dre. Looking so small, so vulnerable, crouched in front of the Bus, alone in the parking lot. NWA against the world.

FADE TO BLACK:

FADE UP: ON;

In a suit, Dre stands beside Tyree’s MEMORIAL WALL, his arm draped around his heartbroken mother, Verna. She cries without end or apology, surrounded by family, including his other brother, WARREN G, plus Eazy, Cube, Ren and Yella.

It’s solemn and quiet. Dre remains stoic, staring hard, trying his best to remain strong for his mother. All members of the band keep a close eye on him, as the pastor wraps up his eulogy.

The congregation repeats the pastor with a follow up "Amen."

A shattered Dre slumps out with his mom, Verna.

Dre doesn’t say anything. Keeps his head bowed.

He looks at his momma. This strong woman.

With that, she can no longer hold back the tears. Dre hugs her, mother and son comforting each other.

Dre fights back tears of his own, the words he’s longed to hear. As Verna slowly turns and walks away, Cube, Eazy, Ren and Yella surround him, brothers in arms. They walk out the Mausoleum.

55 TOUR BUS MONTAGE: 55

55pt1 -- Rural farmland. Flyover-ville. Where the fuck are we?55pt1

55pt2 -- Dre stares out the window, despondent, lost in thought...55pt2

55pt3 INT./EXT. TOUR BUS 55pt3

-- Cube and Ren jot lyrics on notepads as the bus passes by more PROTESTORS...

PROTESTOR 1 PROTESTOR 2 PROTESTOR 3 Ban gangsta rap! Get the hell out NWA is filth!

of here!

THUD! An egg smacks into the window OBSCURING OUR VIEW.

55pt4 INT. TOUR BUS 55pt4

-- Yella watches porn next to Eazy who’s grown bored...

Disgruntled, Yella obliges. Puts on SCARFACE. Eazy smiles.

55pt5 INT. TOUR BUS 55pt5

-- Eazy and Jerry mastermind backstage at a concert. Jerry HANDS a BILLBOARD MAGAZINE to Eazy.

Eazy scans the magazine. Drinks it in, sly smile as we --

Surrounded by GROUPIES, living the life, the GANG hangs by the pool. Odd looks are sent their way from snobby HOTEL GUESTS, a school of fish out of water as --

JERRY looks worried as he makes a bee-line toward the pool in his trademark velvet sweat suit, LETTER in hand. He officiously hands it to Eazy, who scans it. Growls:

These words catch everybody's attention. We catch a GLIMPSE OF THE LETTER on FBI stationary -- Dre snatches it from Eazy.

Now Cube leans over -- reads aloud:

That doesn't sit well with the group. Moans and growns are heard.

Jerry does not think this is the best idea ever but...

Eazy gives the letter back to Jerry, who walks off, leaving the boys all hanging pool side. After a deliberative beat:

All they guys look at each other. Eazy ain't worried about nothing-- he puts on his Locs and continues to kick it.

A57 QUICK CUTS: A57

Of different POLICE OFFICERS from DIFFERENT CITIES across the U.S., each reciting their city’s obscenity ordinance, one line bleeding into the next:

A57pt1 -- A Macon, GA OFFICER... A57pt1

A57pt2 -- A Montgomery, AL OFFICER... A57pt2

A57pt3 -- A Louisville, KY OFFICER... A57pt3

A57pt4 -- A St. Louis, MO OFFICER... A57pt4

SUPERIMPOSE: AUGUST 6, 1989 - DETROIT, MI.

We catch a serious and quiet Cube along with the rest of NWA - - and Jerry Heller -- gathered as a local POLICE OFFICER reads to them from a piece of PAPER -- Eazy has on his ski mask.

The Cop sneers at Cube, walks off, throws another shot --

He stares back at Ren one more time -- before leaving.

Eazy takes off his hockey mask. All the GUYS are looking at each other. Eazy and Jerry head off across the room for a private chat --

Ren looks at Cube -- Cube looks at Dre -- Yella looks at the perfect ass of a passing FEMALE OFFICER.

He laughs and sticks his tongue out.

With Dre spinning, Cube, Ren and Yella hype the crowd as Eazy tears up the final bars ofSTRAIGHT OUTTA COMPTON --

The CROWD goes insane as the CHORUS PLAYS OUT. Like a God, Eazy pimp strides off stage where Jerry awaits, all smiles, arms open as --

BACK ON STAGE, Cube, Dre, Yella and Ren are feeling defiant. CUBE addresses the amped CROWD:

The CROWD HOLLERS and BOOS their disapproval.

Cube raises his hand in the air, quickly SNAPS HIS MIDDLE FINGER to attention. Ren does the same with BOTH HANDS --

The CROWD RESPONDS by getting LOUDER THAN WE’VE EVER HEARD, and RETURNING the gesture.

We’re talking THOUSANDS of people, all with BOTH MIDDLE FINGERS RAISED -- this is the real shit, this is what they came here for --

Dre DROPS IT. Cube jumps right into it, pure adrenaline --

The crowd goes ape-shit! BOUNCING and THRASHING like a MOSH PIT. Pure ELECTRICITY--

Jerry Heller is suddenly alarmed by the song selection.

As Cube slices throughout the first verse --

Cops are getting agitated -- Waiting for the order to pounce. After their CAPTAIN has seen enough-- He gives the order.

At that moment, the PLAINCLOTHES COPS in the crowd pull out their BADGES and start MOVING FORWARD through the sea of people, trying to make their way to the STAGE --

Cube keeps SPITTING -- lyrics are approaching that mighty hook.

The UNDERCOVER COPS are causing a lot of commotion in the crowd... When CUBE hits the hook the CROWD JOINS IN, because they know all the lyrics --

CUBE & CROWD FUCK THA POLICE! -- FUCK! FUCK! FUCK THA POLICE!-- FUCK THAT POLICE!

POP-POP-POP -- Cube stops rapping -- the CROWD is momentarily STUNNED! What the hell was THAT? Gunfire? A fucking BOMB? Whatever it was, TOTAL CHAOS BREAKS OUT --

The CROWD starts SURGING for the EXITS. Suddenly, DOZENS MORE COPS have MATERIALIZED OUT OF NOWHERE --

All the members of NWA DROP their mics and rush off stage, while the Arena descends into mayhem behind them --

It’s CHAOTIC. Tons of COPS, both UNIFORMED and UNDERCOVER, SWARM as the Guys RACE past a LIVID Eazy and Jerry --

No time for answers, THEY RUN TOO. Jerry can’t believe the cops are on their tails.

All the GUYS try to make their way to an idling VAN which is waiting to whisk them away to safety, but --

Because they all just noticed TWO THINGS: 1) there are DOZENS of rabid FANS gathered outside, and 2) there are also A SHIT- LOAD OF POLICE, holding back the FANS. The GROUP is spotted by some COPS, who peel off and head STRAIGHT FOR THEM --

The COPS are immediately ON them, grabbing, frisking, CUFFING, and DRAGGING them all toward a PADDY WAGON which has materialized outside.

And as soon as the CROWD sees their beloved NWA being hauled away, they go NUTS, and start throwing BOTTLES and ROCKS at the COPS, who DUCK and SWERVE to avoid the projectiles.

The CROWD starts CHANTING, at a deafening volume --

Before it gets any hairier, the COPS start PILING NWA into the PADDY WAGON. JERRY HELLER tries to shove his way over --

But the Detroit Cops don’t give a shit, they SLAM Jerry up against a wall, hold him there.

Jerry watches helplessly as the Paddy Wagon PEELS AWAY into the night, taking our heroes away --

The bus cruises along as we PUSH INSIDE to the sound of --

Silence, save the rumble of the road. Everyone sits by himself, semi-secluded. Nobody talks. They all just stare out the windows, embroiled in thought. Exhausted. Shell-shocked.

Jerry watches a NEWS REPORT on the riot at the Detroit show.

Dre, Ren and Yella start paying attention as Eazy switches channels. Finds another report about the riot. And another. And another. Images blurring by of the concert.

The guys watch, realizing that they’re becoming a part of the zeitgeist. No longer in the news, they are the news.

64 CLOSE ON MTV NEWS REPORT (STOCK FOOTAGE) 64

CLICK! CLICK! CLICK! NWA sit at a long table being interviewed for a PRESS JUNKET, dozens of microphones thrust in their faces, cameras flashing. All the members are engaged, leaning forward, elbows on the table. They got each other’s back as WE PARACHUTE IN:

Journalist 4 quickly interjects --

The guys let that lie a moment as other JOURNALISTS speak up.

Everyone LAUGHS.

The Journalists take that in, impressed by Cube’s media savvy and forthright demeanor. Cube points to another JOURNALIST.

Laughter from the assembled. Not from Cube. Silence. Then:

The typical cookie-cutter hotel blights the beautiful desert landscape as the band exits the tour bus, enters --

CUBE walks down the hotel hallway, stops in front of a door. He KNOCKS, but there’s no answer. He notices the door is PROPPED open with the dead-bolt, so he pushes inside --

Cube enters the dark room. At the far end of the room, there’s a DESK, with a lone LAMP illuminated, casting weird, creepy shadows across the room.

And JERRY HELLER sits behind the desk, his face mostly obscured in shadow. Cube grins, bemused, because this tableau is clearly deliberate, a dramatic show of power.

Jerry ignores the comment, rises from behind the desk, carefully places a stapled sheaf of PAPERS on the desk.

Jerry sighs, shakes his head.

Cube just nods, like,yeah right. Picks up the thick contract, pages through it. It’s full of denselegalese.

Jerry stares at him for a beat. Places his hands on the desk.

Cube’s expression darkens. He clenches his jaw.

Cube flips to the last page. The Signatory page. Sure enough, there’s EAZY’s signature, DRE’s, YELLA’s, and REN’s. Cube can only shake his head with confusion, disappointment.

Jerry lays a CHECK on the desk in front of Cube, made out to O'SHEA JACKSON. And it’s for $75,000. Cube can’t help it, his eyes go wide. It’s more money than he ever dreamed of.

He reaches for the check, but Jerry pulls it back.

Cube freezes. Realizes he’s being shaken down.

Cube closes his eyes. Takes a deep breath. He must literally will himself to not implant his fist in Jerry’s face.

Cube stares hard. Knows exactly what Jerry’s implying.

Jerry just crosses his arms, looks at Cube, says nothing.

He turns and walks out of the room --

Dre, Ren and Yella lounge on the lobby couch, packed bags beside them. And they couldn’t be happier.

Face crumpled with anger, Cube approaches. Drops his bags.

Dre and Ren chuckle at Yella’s candor.

Cube's disgusted by their ignorance. Only Dre seems to be considering Cube’s words --

The bus is parked back where the tour began. Exhausted, D.O.C.

exits the bus and heads toward a BURGUNDY CHEVY BLAZER, where SUGE KNIGHT waits to pick him up. D.O.C. throws his bags in the back. Kicks it with Suge for a minute as --

Eazy exits the bus with Yella. They watch D.O.C. and Suge.

Dre exits, looking discouraged. And we understand why when an equally despondent Cube exits the bus and begins to move away from the crew. Dre catches up to him --

Cube turns to find T-BONE from the Lench Mob and Jinx, waiting for him in his CAR. He looks back at Dre --I’m out. They pound hug and Cube heads off. Hops into T-Bone’s ride.

BACK WITH DRE, considering the scene as everyone drives away, going in separate directions:

Cube leaves with T-Bone... Yella leaves with Ren... Eazy leaves with Jerry... And D.O.C. leaves with Suge...

Dre finds himself all alone, confronting a new reality.

A71 INT./EXT. T-BONES CAR - MOMENTS LATER A71

Cube rides in the passenger seat, pretty low at this point. No money, no group. JINX MOUTH IS RUNNING, but Cube’s in a daze -- doesn't hear a word he's saying.

As the car pulls up to a stop light, Cube looks over, spots a beautiful YOUNG LADY in a nice jeep on rims. She's looks back over at him, their eyes locked. Is this love at first sight? After a few magical moments. Cube finally speaks.

She smiles.

She is the only one that can get Cube to smile at this point.

B71 INT. PRIORITY RECORDS - BRYAN TURNER’S OFFICE - DAY B71

Cube, Kim by his side, is seated opposite Bryan Turner -- who's floored by the news.

Cube gets up and shakes Bryan’s hand.

Off Cube's determined look--

SUPERIMPOSE: SIX MONTHS LATER - NEW YORK CITY

CUBE, rocking a LENCH MOB JACKET, spitting new lyrics into the mic with crazy energy, a stack of notebooks on the chair beside him. It’s the creation ofNIGGA YA LOVE TO HATE --

IN THE MIXING BOOTH: CHUCK D -- Pittsburgh Pirates hat, brim low, PUBLIC ENEMYon his jacket -- along with the SHOCKLEES, JINX and DA LENCH MOB plus 2 members of the FRUIT OF ISLAM, Security and KIM. Everyone exchanging looks, impressed.

ON A SUSPENDED TV in the corner, we see LOUIS FARRAKHAN preaching to a crowd of F.O.I. It’s clear this is a very different world than the one Cube left behind in L.A.

The completed version ofNIGGA YA LOVE TO HATE POUNDS out of the SPEAKERS in DRE’s ride as he pulls up to Eazy’s crib.

Dre chuckles to himself in disbelief.Shit is dope. On the SEAT beside him, a CD with the plastic freshly torn off -- It’s Ice Cube’s AMERIKKKA’S MOST WANTED.

There’s a PARTY going on at Eazy’s huge new mansion, reminiscent of Scarface’s estate. And the gang’s all here, everyone we know... except for Cube. Over by the poolside gazebo, JERRY talks with a troubled EAZY.

Eazy looks over at DRE, across the pool -- He’s DANCING with three drop-dead BEAUTIFUL GIRLS. Dre’s smile is massive. He clearly loves this sweet life.

Eazy follows Jerry to a TABLE where he’s set up a bunch of CHECKS and PAPERS, and he hands Eazy a PEN.

Eazy starts SIGNING, even though his eyes keep drifting over to the many WOMEN partying. Jerry GRINS, noticing how quickly Eazy gets distracted.

Jerry laughs, slaps Eazy on the back as he walks off, and stands there enjoying the sunshine, the pretty girls, the party vibe. His eyes wander to the PORCH, where --

SUGE KNIGHT is standing, smoking a cigar. And Suge is STARING at Jerry, his expression blank. Almost like he’s studying Jerry. The old man stops smiling, deeply unsettled. Luckily --

DRE APPROACHES SUGE, breaking the big dawg’s gaze.

Off Dre’s confused look --

D.O.C. Interrupts --

Dre takes notice of the exchange as we --

A74 INT. PRIORITY RECORDS - BRYAN TURNER’S OFFICE - DAY A74

Cube is standing in Bryan Turner’s office, and we can tell, right off, things are tense.

Bryan stands up, holds his hands out, tries to soothe --

Cube glances around at all the GOLD and PLATINUM records adorning the walls in Bryan’s office.

Bryan puts his hands in his pockets, hangs his head. The answer is obvious. Cube stares at him a beat, then turns his back, heads out the door --

B74 INT. PRIORITY RECORDS - BRYAN’S OFFICE - LATER B74

Bryan’s still in his office, grinding through some work.

CUBE and THE LENCH MOB (same dudes we saw at Greene Street) enter, Cube holding a METAL BASEBALL BAT! IN A FLASH, he’s SMASHING THE FUCK OUT OF THE OFFICE. His boys split up, block Bryan, block the doorway -- no one in, no one out.

Cube SMASHES the GOLD and PLATINUM RECORDS on the WALLS, the ARTWORK, the GLASS COFFEE TABLE. Pretty much everything else that’s breakable.

But Cube keeps on SMASHING, until there’s nothing left to smash. THE OFFICE IS COMPLETELY DESTROYED.

Cube’s out of breath, but he looks pretty exhilarated. He drops the bat on the floor, walks out of the decimated office, followed by the other guys.

Bryan remains standing there, speechless, in shock --

Dre, Eazy, Ren and Yella work on their follow-up album. D.O.C.’s here, too, drinking gin, straight, buzzing.

IN THE BOOTH, Ren’s recordingREAL NIGGAZ...

Dre watches from the board, uncharacteristically detached.

Yella nods, but Dre doesn’t even respond. Just keeps plodding away on the board as D.O.C. proceeds unsteadily toward the door, bumping into Eazy on the way --

D.O.C. keeps on walking, barking back:

As he exits we focus back on the studio. One thing’s clear: no one’s enjoying themselves anymore.

Eazy enjoys dinner with a lovely, put-together young woman, TOMICA. She’s nobody’s groupie. She’s serious, and smart.

He smiles. She laughs affably, shakes her head.

Eazy nods, knows she’s right. His eyes catch a SEXY WOMAN sashaying past. He SMILES at her, and she SMILES back.

He turns back to Tomica, who just saw the whole thing... but she’s not mad. She’s grinning confidently, seen it before, doesn’t sweat stuff like this.

Eazy laughs. He knows a lot of women, but it’s no wonder Tomica’s his favorite.

A76 INT. DRE’S CAR - COMPTON, CA - NIGHT A76

Dre’s bobbing his head to something dope -- HIS CAR PHONE RINGS. He turns down the music. Answers.

In an instant, his face sinks -- He SLAMS the breaks, bangs a U-Turn and SPEEDS TOWARD --

B76 EXT. HOSPITAL - NIGHT B76

Dre’s CAR jumps up to the curb, in a red zone. He doesn’t care. He hops out and runs through the sliding front doors.

C76 INT. HOSPITAL ROOM - MOMENTS LATER C76

Dre stands at the bottom edge of the bed, looking down at D.O.C, unconscious, head bandaged, tubes in his face. SUGE stands a few steps away, looking somber, but still filling the room with his bulk.

Dre takes the moment in. He’s honest about it.

Suge looks at Dre, clocking his expression.

Suge nods. Contemplative.

D.O.C. groans and turns in his sleep. Both of his friends look down at him, quietly watching with concern.

CUBE sits at the head of a long conference table beside Kim. He looks DIFFERENT now -- shaved head, no more Jheri curls.

Bryan Turner emerges from outside the office, CD in hand. He's trying to keep the mood upbeat, though clearly the power dynamic between them has shifted toward Cube’s advantage.

Bryan chuckles and looks over at Cube-- who doesn't seem in the mood for small talk. Cube notices the CD in Bryan's hand.

Cube looks at Bryan, confused: Snatches the CD and he's at the CD player before Bryan can blink.

Cube hits PLAY -- Tracks forward. Then he, Kim and Bryan listen to REAL NIGGAZ on the conference room’s stereo system.

Cube doesn’t say anything, but his face shows his anger.

CLOSE ON Cube’s eyes, full of fire -- Kim notices Cube building tension. She gently rubs his arm and leans in close to whispers--

CUBE at the mic, spitting with the most audacious fury we’ve ever seen on the most brutal diss track ever:NO VASELINE.

At the BOARD, JINX looks to THE LENCH MOB in the room --Oh, shit, this is getting real --

A78 INT OR EXT. SOMEWHERE IN THE CITY - DAY A78

Dre and D.O.C. sit and listen to NO VASELINE-- with every line D.O.C. makes a different "dunk face" indicating how embarrassed he is for his homie Dre.

As we pan over to Dre, we can see that he kind of digs the creativity and lyrics. He confirms it with a slight smirk and chuckle. Clearly blowing the song off.

NO VASELINE CONTINUES over --

Jerry and N.W.A., minus Dre and D.O.C., listen to the track, faces grimaced:

Ren and Yella slouch in the corner, looking very unhappy.

But Cube has saved the best for last. He unleashes upon EAZY and JERRY, who LISTEN intently, jaws dropped.

Jerry looks absolutely livid, while Eazy just looks caught off guard. Jerry gets up and TURNS OFF the music --

Everybody gives YELLA the look.

Eazy is still trying to digest the track.

And Jerry storms out, leaving the crew behind --

Eazy re-establishes that he's the top dog at Ruthless.

Jerry pulls into his driveway, gets out of the car, carrying a bag of groceries, starts walking toward the door. He hears a CAR DOOR SLAM, and he TURNS, sees a gleaming-new EL CAMINO parked across the street. A very large BLACK MAN we haven’t seen before has emerged, and is walking toward him.

The Man STOPS about fifteen feet away from Jerry, and stands there, just staring, patiently, ominously.

Jerry looks at the Man. Glances up and down the street. There’s nobody around. It couldn’t be quieter.

Jerry glances at the front door of the house. Seems to be gauging, in his mind, how long it will take to get there.

The Man doesn’t answer. Instead, he just gazes upon the house, the lush surrounding lawn, the trees.

He makes a hat-tipping gesture to Jerry. Except he’s not wearing a hat. Then he walks back to the car, climbs inside. Jerry watches him go, alarmed --

We are in a HALLWAY adjacent to the AUDITORIUM where a RAP PANEL is about to take place.

Find CUBE drifting down the escalator along with THE LENCH MOB, and they’re all decked out in their Lench Mob Gear.

Coming up the escalator on the other side, is the rap group ABOVE THE LAW (ATL), all wearing gear blazing the RUTHLESS RECORDS logo.

As the two groups approach each other, they both get QUIET, and their faces pull into angry sneers. The animosity between the two groups is tense, palpable, dangerous.

Just as they’re about to PASS each other --

But Cube and his boys heard that shit.

AND THEN IT POPS OFF! Some of the ATL CREW hop the escalator divider, others sprint down the other side to attack --

THE LENCH MOB CREW, at the foot of the escalator, they all start BRAWLING like crazy. PUNCHING each other in the face, grappling, cursing --

There’s so many FISTS flying -- such a tangle of BODIES -- it’s hard to tell who’s hitting who. It’s fucking CHAOTIC and UGLY, and it culminates in --

The moving violent mass SMASHING INTO A LARGE GLASS DISPLAY, SHATTERING it. Just then --

A LENCH MOB GUY runs up to a downed an ATL GUY, winds back to kick him while he’s down, but before the kick lands, we --

A83 ARCHIVAL FOOTAGE A83

An OFFICER KICKS the downed RODNEY KING while three other L.A.P.D. OFFICERS (known asthe L.A. Four) mercilessly beat the man. We all recognize this as the RODNEY KING BEATING. Raw, gritty, horrific. WE PULL BACK to reveal --

The members of NWA (minus Cube, of course) watch the NEWS FOOTAGE while in the studio, finishing up some new TRACKS for their follow-up albumNIGGAZ 4 LIFE.

The room is over-crowded -- because everyone has an ENTOURAGE. JERRY is also there and he doesn’t look thrilled about it, nor is he happy to see --

SUGE KNIGHT in the room, hovering behind DRE at the Board, accompanied by a very large GERMAN SHEPHERD.

Jerry tries to make his way over to Dre, but SUGE blocks his path, and the HUGE DOG stares at Jerry.

Jerry looks at the dog, the dog looks back. Stymied, Jerry turns and exits the studio, jaw clenched.

After he leaves, Dre sighs. He looks tired, depressed. Totally over it. He PLAYS BACK the track he’s been working on, listens. Tries to feel it. But something’s missing.

Irritated, Dre gets up, exits the studio. Suge follows --

Suge comes out the back door just behind Dre --

-- gestures for Dre to sit with him at a nearby table.

Dre’s interest is piqued.

Suge pulls out a thick FILE. Places it on the table.

Dre considers a moment...

Eazy sits alone in the studio, listening to some NEW TRACKS. It’s late, and there’s nobody else around as --

Dre comes in through the door, holding the FILE from Suge. Eazy notices the file, along with Dre’s nervous energy.

Dre sits down across from him, full of purpose, fired up.

Eazy finally turns and looks Dre in the eyes.

Eazy just shakes his head, turns back to the Board. Dre looks pained. Can’t believe he can’t get through.

Eazy doesn’t say anything. Dre stands up --

Eazy won’t look at Dre, shrugs. Cruelest shrug you ever saw. Dre looks hollowed out by it.

Dre walks out the door -- SLAMS it so hard, the walls shake. A platinum NWA record slides off the wall, breaks on the floor. Eazy FLINCHES, even though he wishes he didn’t.

A86 OMITTED A86

B86 INT. AUDIO ACHIEVEMENTS STUDIO - DAY B86

Ren and Yella enter to find Eazy on the mixing board, more than a little out of his element. They look at one another, confused -- Clearly, something’s up.

No response. Eazy just keeps poking around on the board...

They’ve finally got Eazy’s undivided but heated attention.

Disbelief washes across Ren and Yella’s faces as we --

C86 INT. CAN AM STUDIOS - DAY C86

Suge grits on a cigar sitting next to Dre who’s at the mixing board working on the track to “Deep Cover”.

Dre gets back to the work at hand as --

Warren G and SNOOP DOGG burst into the studio. Snoop Dog is dressed head to toe in blue.

Snoop greets everyone around the room pounding each and every person. To the surprise and dismay to the room full of bloods especially Suge Knight.

The Bloods around the room are tripping on Snoop. Before it escalates, Dre gets up, greets Snoop properly.

Dre smiles back at Snoop:Yup, for real.

Snoop walks into the booth, puts on some headphone’s as we --

The PHONE RINGS. Eazy answers --

Eazy doesn’t say a word, considering, deeply conflicted.

Parked across the street, Eazy looks at the building, not happy about it. Enemy territory. He opens up his STASH BOX in a hidden panel below the radio. There’s a PISTOL inside. He reaches in, puts his hand around it. Hesitates, hearing --

A DISTANT POLICE SIREN. Pulls his hand away, leaves the piece. He hops out of the car, walks toward --

Eazy enters the Studio, sees only SUGE sitting there, smoking a cigar, petting his DOG. He comes further into the room, peeks around, looking for --

Suge pulls out a sheaf of papers, and a pen.

Eazy just laughs, heads for the door. But before he gets there, it OPENS, revealing --

A LARGE DUDE wearing Blood-Red. He enters the studio, crosses his arms. A massive barrier.

SLAM! Eazy SPINS to see TWO MORE BLOODS entering through a side door. One of them holds a metal BASEBALL BAT. The other has a SHOTGUN dangling at his side.

Eazy now realizes he’s just walked into a straight-up buzz- saw. But he shows no fear. He puffs his chest out.

Suge just stares at Eazy a long uncomfortable while.

Suge stands, eyes cold, black, as the THUGS moves behind Eazy.

Eazy’s eyes shoot to the Blood, back to Suge.

EAZY’S FACE can’t hide his fear anymore. Or his anger.

WHAP! A large HAND falls on Eazy’s SHOULDER -- pushing him hard down in a chair.

Eazy sits slumped in a chair, drinking a beer next to the pool. His eyes look hard, flat, broken somehow --

CLICK! THERE’S A GUN TO HIS HEAD, revealing --

JERRY, in his BATHROBE looking freaked out, holding the gun. He immediately LOWERS it.

But Eazy isn’t rattled at all. He just sits there, blank.

Jerry helps Eazy out of the chair, ushering him into --

Eazy follows Jerry into the kitchen as Jerry pulls some leftovers from the fridge. Slides them over to Eazy. But Eazy isn’t interested. Instead, he pulls out a bag of weed. Rolls a joint, lights it. Takes a long drag -- Exhales a lot more than just smoke...

Eazy leans on the counter. Finally looks at Jerry.

Eazy suddenly SNAPS into intense anger --

Jerry closes his eyes, takes a breath. Tries to keep his tone relaxed, so that he can, in turn, relax Eazy.

Eazy calms down a little bit.

Jerry puts a fatherly hand on Eazy’s shoulder. Looks at him.

Eazy stares back at Jerry.

Eazy is more conflicted then ever before --

Through the darkness we see movement. It’s Eazy. He moves in a slow and laborious fashion as he enters --

THE BEDROOM where Tomica sleeps in their bed, safely tangled in sheets. Eazy doesn’t even bother shedding his clothes. Simply slumps closer, sliding quietly under the covers. Without a word, she wraps Eazy in an embrace.

A92 EXT. CUBE’S HOUSE - BACK YARD/POOL - DAY A92

Kim looks on as the CNN CREW's CAMERAS FILM CUBE in the midst of a tense INTERVIEW -- A JOURNALIST peppers him with questions:

But Cube’s too smart to fall for this crap.

A couple of members of the Nation of Islam are quietly seen in the background as the journalist struggles, tries to gain a foothold --

Cube just smiles, shakes his head.

The massive room’s focal point is a BASIC STUDIO SETUP: SSL, some turntables, a mic, some keyboards, a tower of speakers.

SUPERIMPOSE: SIX MONTHS LATER

Dre sits in the epicenter of it all, motionless, lost. It’s the first time we’ve seen him anywhere near a soundboard and not creating on it. He just stares into the nothingness --

A TAP ON GLASS alerts us to SNOOP, Warren G and DOC (small scare on DOC's neck) outside. Dre stands. Opens the window.

Snoop at the wheel, they ride listening to ATOMIC DOG by George Clinton. Snoop’s at the wheel, smoking a JOINT (surprise), Dre shotgun, Warren G and D.O.C. in the back.

Snoop holds out the jay.

Dre takes a deep pull, holding it in before COUGHING out a massive cloud. They all laugh. And Dre takes another hit. An even bigger one.

Dre TURNS UP the music.

Dre finds himself laughing with the guys as they cruise on...

Dre’s behind the SSL, listening to a rhythm based on Leon Heywood’s I’M GONNA DO SOMETHING FREAKY TO YOU. Warren G, Snoop, and D.O.C are in different corners of the room. Smoke floats over Snoop’s head like a halo.

The vibe is positive and laid back, but as we look at Dre’s face we can tell what he’s thinking: something’s missing.

Dre turns to the MOOG Keyboard situated on the side of the board and starts noodling with a melody. It’s almost familiar. But not quite.

Then he hits it: Da do dee dah dee dah dah dee do deee...

Just like that, we’ve witnessed the birth of AIN’T NUTHIN’ BUT A G THANG.

Dre does the same ten notes -- That’s it! It’s G THANG.

Just like that, musical history is being created.

Tapdancing for a slightly fatigued Eazy, Jerry tries hard to convince him that --

Eazy stares back at Jerry, likeindulge me.

98pt1 OMITTED 98pt1

The MUSIC IS BUMPIN'! There’s a party going on somewhere in this house, but not in this room. We're close up on a pair of blue Chuck Taylors with a pair Dickies and boxers draped on them. As we pull back, we realize that some LUCKY BASTARD is GETTING HEAD from a SEXY WOMAN with nice curves.

As we pull back further, we can't even see who the Lucky Bastard is because another AMAZING FEMALE is sitting on his face, MOANING and smoking a blunt. Just as we attempt to register what's going on --

We track another SPECTACULAR FEMALE in a two-piece bikini. She grabs the blunt from her, hits it and walks out to the balcony. She blows out the smoke and passes it to one of the HOMIES who's already rolling up more blunts from the pound of weed sitting on the table in front of him.

From there we crane down, passing the DJ rig on the second floor balcony. Even the DJ has GIRLS around him, a blunt in his mouth, and a drink in his hand.

We crane down further to the bottom floor where MORE GIRLS in BIKINIS get sprayed by GUYS with SUPER SOAKERS and CHAMPAGNE BOTTLES. It’s an impromptu "wet T-shirt" contest.

As we pull back across the pool, a few more TOPLESS GIRLS jump in and we realize we're at one of those famous Dr. Dre/Death Row pool parties. People everywhere. Sex in the air. Freezer-bags stuffed with high-grade weed are being passed out to everybody by Snoop Dogg himself.

We catch a glimpse of two nice looking LADIES walking over to the bar. We will come to know one of them as NICOLE. But first--

IN THE GAZEBO, we find Dre smoking a blunt and playing DOMINOES with D.O.C., laughing, blowing off some much-needed steam. Until --

Dre’s eyes settle on Nicole, who’s different from the rest. She’s not drunk, or dancing, or flirting. She’s beautiful, but in an understated way. When her friend gets up and walks away, Nicole turns, like she senses Dre’s gaze. Looks right at him, with clear, bright, but wary eyes. He heads over --

She considers a moment. Then --

And with that, a visibly tipsy Warren G walks over, trying to dump some USED COALS out of a kettle-style GRILL --

Warren G staggers off with the hot coals. They smile at Warren's walk off.

She gets up and heads off leaving Dre with a big smile on his face. As she goes --

She turns. Smiles back. Disappears into the party. But it’s clear he’s crushing hard on this girl.

The PARTY is still going strong but we see some underlying tension developing.

On one side, we have SNOOP’S CREW -- many of them straight-up Long Beach Rollin 20's CRIPS. While Suge’s crew, on the other side, are various Compton BLOODS.

SNOOP is FREESTYLING for a small GROUP gathered around him, blowing all their minds --

Snoop STOPS mid-flow, and STARES, wide-eyed, at the HOUSE --

Everyone TURNS! GIRLS IMMEDIATELY START SCREAMING because --

DRE’S HOUSE IS ON FIRE! Huge orange FLAMES lick up the siding, spreading quickly. BLACK SMOKE pours into the sky!

Everybody SCATTERS, tripping over each other, falling on the lawn, because let’s not forget everyone is WASTED.

Find DRE, watching the flames, almost hypnotized by them, because it doesn’t seem real. Warren G staggers up beside him, watching on, eyes like saucers.

Dre suddenly snaps out of it. Because --

Against all logic, Dre storms INTO THE BURNING HOUSE as the SOUNDS of DISTANT SIRENS ring out --

Dre and Suge talk in a corner of the studio. Voices low.

Dre shakes his head.

As they walk to the other side of the studio we WIDEN TO REVEAL JIMMY IOVINE. He’s older and white, wearing glasses with a baseball cap pulled low over his eyes.

Jimmy smiles.

The word special resonates with Dre. He nods.

Suge smiles.

A sprawling city of orphans, calm before the storm.

SUPERIMPOSE: APRIL 29, 1992

Jerry turns the volume up as Eazy plops down on the couch beside him --

PUSH IN CLOSE ON EAZY, seeing the verdict.

Eazy continues to watch, pained and perplexed, as we see --

Cube drives through SOUTH CENTRAL in the epicenter of the unfolding RIOTS. Looting stores. Burning buildings.

He drives by GRAFFITI TAGS, many of which sayFUCK THA POLICE. He sees a CRIP and a BLOOD, tying their RED and BLUE bandanas together in front of one such tag: a SYMBOL of the GANG TRUCE.

NEARBY, crowds of young people CHANT:

A very proud Cube watches. His own words turned into a unifying slogan for the riots. And we see --

103 ARCHIVAL NEWS FOOTAGE 103

Of the riots -- angry, violent. Years upon years worth of rage unleashed in a three day period. Marshall Law. Police brutality. Race hatred. The worst of humanity.

Calm now, we behold a virtual wasteland of smoldering cars and buildings. Shell-shocked, CITIZENS wander around, trying to make their neighborhood livable again as --

A ‘64 IMPALA rolls down the boulevard. Dre, Snoop, D.O.C. and Warren G silently observe the damage, shell-shocked.

Eazy cruises down Sunset. He looks older, more anguished.

SUPERIMPOSE: ONE YEAR LATER

He passes by TOWER RECORDS where a massive mural of THE CHRONIC cover art fills up the entire side of the building. Eazy beholds it with a confluence of admiration and envy. As the bite of that really starts to sting, Eazy looks --

ACROSS THE STREET, he spots a BILLBOARD for Cube’s movie, BOYZ N THA HOOD. Cube is front and center, alongside CUBA GOODING JR. Eazy can’t believe it as we --

Times are hard. Eazy’s not ballin’ like he was. Surrounded by MOVING BOXES and basic studio equipment, a few HOMIES do their thing on the board, the makings ofNEIGHBORHOOD SNIPER playing, as Eazy, Ren and Yella huddle over --

THREE HUGE, ONE-POUND BAGS OF WEED sit on the coffee table. They divide them into smaller BAGS.

Eazy laughs, shakes his head.

Eazy starts COUGHING. It doesn’t sound great.

Jerry enters. Approaches Eazy.

But Eazy doesn’t even look up at Jerry.

But Eazy just keeps ignoring him. Annoyed, Jerry exits --

Death Row’s a thriving office space, especially in contrast to Ruthless. A few DOPE CARS sit parked out front as --

Dre SCREECHES up in his brand-new, WHITE FERRARI TESTAROSA -- Suge’s just behind him in a RED MERCEDES SL AMG CONVERTIBLE. A car is parked in Suge’s parking space. Suge blocks the car in. Suge’s Goons wait for him to exit his car. Dre and Suge hop out, ALL EYES ON THEM --

Dre LAUGHS as ...

Suge storms off, flanked by his GOONS, bee-lining for the EMPLOYEE’S. He grabs the Employee by the collar and hauls him out of his car to his feet.

The Employee just gapes at Suge, speechless...

Suge shakes the Employee like a rag doll...

Suge pulls out a PISTOL and CRACKS the Employee across the face with it, blood gushing from his nose --

Startled, Dre shoots to a stand.What the fuck!? Even more so when Suge drags the bleeding Employee across the parking lot before tossing him against a car. Suge give the guy his keys.

Wow... The guy is scared and confused at Suge's "power drunk" request. He slowly takes the keys.

And everyone watches in utter silence as Suge spins and struts into Death Row Records brand new offices. LOUD SILENCE.

Off Dre, disturbed by Suge’s violent display.

Cube sits in the living room, watching basketball, and doing something we haven’t seen before: WRITING A SCREENPLAY.

Kim walks through, visibly PREGNANT, holding SHEA (1). Hands Cube a beer. He reaches for her, kisses her belly as their toddler, DARRELL (3), runs in. Hops up on Cube’s lap.

Darrell nods as Kim picks up the remote, starts FLIPPING channels. She STOPS when it lands onTHE BOX, which just happens to be playing NWA’sSTRAIGHT OUTTA COMPTON. Cube watches for a bit, lost in thought --

Cube looks for a moment -- shakes his head, in disbelief.

Kim walks closer-- rubs his shoulders lovingly...

She nods in agreement -- as he continues working on his script. A movie called "FRIDAY".

Dre’s having dinner with NICOLE -- the woman who rejected him at his party. Even though they’re both clearly feeling this.

They both chuckle.

Nicole smiles, shoos Dre. He smiles at her, mesmerized.God damn this girl is special. He fills up their champagne.

Nicole finally gets what Dre’s saying. Smiles.

Nicole considers, conflicted. Dre can’t stand it any longer.

Dre drinks his glass of champagne down.

They share a laugh as Nicole raises her glass -- CLINK. Dre downs his glass as we --

Dre walks Nicole to her door, and pretty soon they’re kissing. It’s nice, but after a bit, she pulls away.

Dre looks surprised.

They both laugh.

She kisses him on the cheek.

Nicole turns, walks into the building, leaving Dre standing there, embarrassed, angered.

Head full of steam, he stumbles back, hops into his --

Dre walks into Death Row feeling the sting of Nicole’s words still reverberating in his head as --

We reveal two pitbulls snarling and lunging at each other being restrained by heavy duty chains. The screams and yells of a betting crowd of Bloods permeate the hallway as we see the Death Row signature electric chair squarely at the end. A guy walking a pitbull on a hain moves pass the screaming Bloods and howling dogs runs into Dre.

The rowdy circle of betters grow more and more boisterous as the pitbulls are about to get it on.

We hear 2Pac's iconic verse from "Hail Mary" as Dre enters the studio as the dog fight starts back in the hallway to reveal --

The control room of Studio A is in complete chaos. Bottles everywhere along with blunt smoke, Homies and Hoodrats. TUPAC is in the recording booth spitting out lyrics.

He's made an alter around him with lyric sheet stands -- each stand has 2 to 3 notebooks full of raps on it. When they notice Dre, the engineer stops the track.

Dre pushes the talk-back button and looks at Tupac through the glass.

Dre hands a CD to the engineer ---

Dre looks at the engineer ---

California Love screams out the speakers... we hear the iconic first few bars with Roger Troutman’s signature voice singing, California Love.

We hear the sound of what seems like muffled gunshots coming from another room. Pop. Pop. Pop. Everyone is like what the fuck.

This doesn't sit well with Dre. He exits to see what’s up.

We reveal a pitbull snarling at an emasculated poor bastard that is on the floor all bloody, in his underwear holding a glass of champagne. The pitbull continues to lunge at his face looking to rip his soul out. WE REVEAL Suge smoking a big cigar and laughing. He's at the center of a room full of Bloods and hoodrats plus Blood #1, Goon Girl and Goon #1, all intently watching the last moments of this emasculated homeboys toast.

Dre opens the door at the far end of the room not expecting to see this spectacle. There's several blown holes in the wall where the gun shots were fired just above the cowering man’s head.

Bruised and bloody with one eye closed shut, the Poor Bastard raises the glass with a shaky hand and a quivering voice. Pit bull continues to stand at attention.

Everyone in the room holds up their champagne glasses. Dre can't believe his eyes. There's even two (plain clothes) off duty COPS there with badges and gun holsters -- glasses raised high.

BLOOD#1 What else!?

The Poor Bastard looks over at Dre.

Suge approaches Dre puts his hand on his shoulder.

The Cop #2 is on the couch with some street girls holding a champagne glass in her hand looks at Dre then over to Suge, who's laughing.

Cop raises the glass.

Suge’s Goons get in position.

GOON #1 Better watch ya mouth, Blood.

GOON #2 (dismissive) Nigga, you ain't nothing but a producer around here.

This sends Dre into orbit. He goes after Blood #1. The whole conference room jumps in between them -- keeping these two human pit bulls from scrappin'. Everybody jumps but Suge who amused by the whole thing -- puffs on his cigar. Dre is being held back by the Off Duties. While Goon #1 is being held back by Goon #2 and a few others. World War III averted for now.

Dre breaks free and storms out.

113pt2 TESTAROSA 113pt2

And just sits there, seething. Reaches in the back seat, grabs a bottle of Hennessey. Takes a swig... Then --

A sudden look of determination washes over him. He TEARS out into the street, tires SQUEALING -- ERRRR!

PASSING CARS, swerving, Dre punches the gas, RPMs maxed out. Shifts, flying through an intersection -- the needle passes 100mph. Keeps going, loving the release, the control...

A POLICE CRUISER, coming the opposite direction, spots Dre’s Testarosa -- In a flash, they bang a U-turn, peeling so fast, smoke clouds the night air --

ON DRE, distant police lights now strobing off of his face from the rear view mirror. Fuck! Thinking fast, he switches off his headlights. Hits the gas, needle bottoming-out!

As he reaches the next intersection, Dre makes a hard left -- SCREECHES to a stop, tucking into a spot along the side of the road. Shuts off his car. Waits, breathing fast, as --

THE POLICE CRUISER barrels around the corner -- SLAMS THE BRAKES! Two LAPD OFFICERS fling open their doors, guns leveled at Dre’s car!

Eyes wide, adrenaline coursing through his veins, chest heaving, Dre grits his teeth. He’s stuck... and he knows it.

Dre complies, reaches his hands out of his window.

The two officers carefully approach, guns at the ready. OFFICER 2 slaps the cuffs on Dre, regret immediately registering on his face as we --

Nicole hops out of her car and hurries into --

Dre and NICOLE sit across from each other, Plexiglas between them, talking via phone receivers.

She surveys him, pain in his eyes.

They sit there, just being in the awkward, contrived moment.

She looks at him, nods, dabs at her wet eyes.

That lies there a minute. Then --

She stands, heads away... And we see the reflexive disappointment on Dre’s face before...

Tomica and Eazy lie in bed together. He stares at the ceiling, and she runs her hand soothingly down his arm.

Tomica props herself up on her elbow, looks at him.

Eazy puts his arm around her, pulls her close. They both lie there a little longer, just breathing.

Tomica nods, smiles. Encouraged he has a plan again.

Establish MANHATTAN, in winter, after hours. Dirty snow on the sidewalks. Cold-as-shit wind blowing off the Hudson. A line of CLUB KIDS on the 12th Avenue sidewalk, in front of the massive brick edifice of the legendary --

ICE CUBE sits in a BOOTH, surrounded by friends, label-execs, and hangers-on. It’s pretty clear that Cube is a huge celebrity at this point. He even has some big, unsmiling THUGS (The Lench Mob) standing close.

Cube, mid-conversation, suddenly STOPS talking... Because he SEES that EAZY-E is entering the VIP with 2 HUGE SAMOANS, making his way over.

Cube stands up -- ready for whatever.

Eazy and his Bodyguards arrives at the booth. There’s a tense silence -- almost a stand off before anyone speaks. Everybody looks to them, seeing how they're gonna react. After all, these two have dissed each other, ferociously and publicly, for years. Still, Eazy gives Cube a friendly, vaguely submissive smile.

The tension between the sides eases up a bit, but not completely. They both stand there, neither sure what to say to the other.

Cube slowly smiles. Knows that wasn’t easy for Eazy.

They both smile, laugh. Give each other a pound. In truth, they missed each other. Homie hug.

Cube is curious.

The club has mostly emptied out. Only a few die-hards remain as we find Cube and Eazy slumped over their table, loose with alcohol. The vibe is cool, friendly, like the old days. But we notice Eazy has a subtle, persistent COUGH...

Cube laughs, shakes his head.

They both sit there, thinking about that shit, amazed.

Cube frowns, contemplates for a moment.

Eazy’s eyes flash. That’s what he was hoping to hear.

After a quick thought.

An EMPLOYEE walks by, pushing a broom, glaring at them. It’s time to go. They both stand up.

Another HUG, this one last a little longer then normal. Eazy doesn’t say anything else. Just heads for the exit, without looking back. Cube watches him go off into the cold night...

Eazy walks back to his hotel in the freezing cold, his hands jammed in his pockets. The wind blows mercilessly. Eazy is shivering like crazy. But he keeps walking.

It’s a longer walk than he thought. He tries to hail a cab, but of course, none stop. He keeps trudging along, his breath making clouds, through the lonesome pre-dawn City --

Dre emerges from the JAIL, shielding his eyes from the suddenly-blinding SUNSHINE. Interestingly, this is the SECOND TIME we’ve seen him get picked up from jail.

NICOLE is there, waiting by her car. He wraps her in his arms, and they stand that way, together, for a long time.

Jerry has the PAPERS on the counter for Eazy’s signature. But something’s different this time. Eazy doesn’t just sign. Instead, he starts GATHERING the papers into a pile.

Jerry looks alarmed.

Eazy grins at Jerry, points to his name on the checks.

Eazy picks up the pile of papers and heads for the door. Jerry stares after him, visibly shaken --

Tomica watches on as Eazy finishes READING the immaculately- organized PAPERS she’s laid out for him. He puts them down.

And we stay with Eazy a moment, reeling, pissed....

Eazy walks into their familiar meeting place to find Jerry slumped at the table.

Jerry glances down at the PAPERS in Eazy’s hand, sees the flat look on Eazy’s face... and gets it.

Eric lets out a low, rumbling laugh.

Jerry’s voice starts to RAISE in volume, desperation growing.

Eazy laughs again, but this time... the laugh deteriorates into a ragged, hacking COUGH. Jerry watches, concerned --

Jerry is now full-on YELLING at Eric, who remains calm.

Eazy absorbs this. Then --

Jerry, who is now beet-red, starts to BELLOW with rage --

But Eazy’s already out the door. Enraged, Jerry wipes his arm across the table sending everything SMASHING onto the floor!

Long gone are the days of the infamous Dr. Dre pool parties as Dre and Nicole relax by the pool. Dre’s huge, early-model CELL PHONE rings from a table beside him. He picks it up --

After a short pause, a familiar, gravelly voice comes on.

EAZY’S VOICE Wassup Andre, it’s Eric.

Dre’s eyes widen. Eazy’s the last person he ever expected to hear from.

INTERCUT WITH:

Chilling by his modest pool, Eazy looks worn but determined.

Dre is still vaguely mystified, at a loss.

Seated a few feet away from Eazy, Tomica rolls her eyes.

Dre gets up, walks around the edge of his pool, processing.

Something in those words causes Dre to soften... a bit.

Eazy looks vaguely relieved Dre said that.

They both hang up. Eazy turns to Tomica, big smile.

Ren and Yella work the kinks out of a dope new beat -- Tomica enters, Eazy in tow, looking a bit sluggish.

SUPERIMPOSE: TWO MONTHS LATER

Eazy’s legs buckle. He leans on the Board, winded --

PANIC flashes in his eyes as he moves toward the door, suddenly CRUMPLES TO THE FLOOR, out cold --

They all hurry over to him --

An AMBULANCE blares through the night, running red lights, hurtling toward the hulking edifice of CEDARS SINAI --

Eazy lies in a propped-up hospital bed, watching TV. He doesn’t look ill, just annoyed with the situation. Tomica sits in a chair beside him, flipping through a magazine.

A young DOCTOR walks in, carrying a chart. He looks troubled, preoccupied. His eyes dart from Tomica... to Eazy.

Tomica reflexively stands, her hand over her mouth. Eazy squints, smiles, looks at the Doctor like he’s crazy.

Tomica just stands there, mouth agape, speechless. Eazy’s smile slowly fades to a look of pure dread.

Tomica suddenly lets out a choked CRY, runs from the room. Eazy watches her go, overwhelmed, confused... and then, all at once, he gets it. Voice trembles a little.

The Doctor looks at Eazy, struggles a bit. He pulls up a chair, sits down next to the bed.

Panic washes over Eazy in a flood --

Eazy realizes that he's dying.

130 B-ROLL OF A CROWD OUTSIDE OF CEDARS SINAI (STOCK FOOTAGE)130

WE HEAR the STOCK FOOTAGE CONTINUE over --

At home, sitting on the couch with Kim and their KIDS, Cube watches on, stunned. Kim kisses him, leans on his shoulder as they try to process the shock --

Outside the hospital, we see PEOPLE have started to GATHER. About a dozen or so. They stand there quietly, shuffling around, staring up at the Hospital --

Tomica sits in a chair pulled right beside Eazy’s bed. They hold hands, look at each other. They’ve both been crying.

Tomica takes his hand, kisses it, cries.

Eazy nods reassuringly, but you can see in his eyes he doesn’t believe it. Eazy’s PHONE rings. He answers it.

REN’S VOICE (filtered) Eazy! What the fuck, cuz? People been sayin’ some crazy shit.Like you got AIDS or somethin’? Can you believe that? Muthafuckin’ Eazy-E got AIDS? Niggas be starting too many rumors, huh?

SILENCE. Ren is hit with the reality as Eazy TURNS OFF the phone -- Sticks it in the bedside table drawer. It’s pretty clear he’s never gonna turn it on again.

Eazy doesn’t respond, just lies there, despondent.

Dre’s chilling on a couch as NICOLE appears from around the corner holding a wireless phone --

He grabs the phone, leans it on his shoulder.

Dre’s face contorts with confusion as he listens...

Tomica and Yella stand by Eazy’s bedside. Eazy looks drained, depressed. Various members of Eazy’s FAMILY are also present. Yella holds a CASSETTE in his hand.

Yella nods sadly, places the cassette on the bedside table and exits. Handwritten on the cover, it saysBONE.

Tomica sits holding Eazy’s hand, staring at him with haunted eyes. RON SWEENEY stands in the background, along with Eazy’s Family. Someone else is there now, too. A PASTOR.

Eazy’s clearly struggling to come to terms with this.

Tomica looks to Ron, who nods. She stares off into space, slowly shaking her head. Her life has become a nightmare.

He reaches out, puts his hand on her stomach.

After looking deep into Eazy's eyes -- He needs her.

Ron steps forward, followed by the FAMILY, who gather around Eazy’s bed. Finally, the PASTOR, who smiles kindly at them.

Tomica and Eazy nod their headsyes. The Pastor reaches out, holds Tomica’s hand in one hand, Eazy’s hand in the other.

Tomica tries not to cry, but it’s impossible. The tears flow, and all she can do is wipe them away. Eazy won’t stop looking at Tomica. Like she’s the last thing he’ll ever see.

Outside the Hospital, the VIGIL has grown in size. There’s now about a HUNDRED PEOPLE standing outside. Holding candles. Many of them are crying. Holding pictures of Eazy.

DRE quietly enters the room, nobody in there except him and Eazy. He walks to the bed. Looks down at his friend, whom he hasn’t seen in four years: Eazy’s eyes are closed, a RESPIRATOR doing his breathing for him.

NOTE: The BONE TAPE is still sitting, untouched, on the bedside table. Eazy never got a chance to listen to it.

Dre stands there, staring down, in this extended, surreal moment. He bends down, so his mouth is close to Eazy’s ear.

We PULL BACK, so WE CAN’T HEAR WHAT DRE IS SAYING. And we won’t hear it, because that’s between Dre & Eazy.

After a few moments, Dre stands up straight. Whatever he had to say to Eazy, he’s finished now. He walks to the door --

On his way out, he passes TOMICA as she’s coming in. He looks at her. Then he looks at the ring on her finger. Walks away, without saying a word...

A phalanx of POLICE guards the front entrance, preventing the MOB OUTSIDE from getting in.

OUTSIDE EAZY’S DOOR, find CUBE sitting in a chair. He spots DRE walking out, looking glazed. Cube gets up. They stand there looking at each other.

It’s been awhile. Lot of water under the bridge. They finally step to each other, and hug quickly, intensely.

Cube frowns, looks at the ground, pained.

Dre nods, doesn’t push it. He understands. As they exit together, they pass the Police Guards, in tight formation by the door, protecting the Hospital. Protecting Eazy.

MORE PEOPLE keep arriving to the VIGIL. A steady flow. They all stare up at the Hospital, watching, waiting. The crowd STRETCHES far in all directions, clogging the street --

Cube lies on the bed with Kim, watching TV. The PHONE RINGS on the bedside table. Cube stares at it --

Phone to his ear, Dre listens a while, nods, face desolate. Seated beside him, Nicole rubs his back, consoling her man.

Dre hangs up. Looks over to Nicole.

She hugs him tight as we --

A moment of quiet beauty. A TIME-LAPSE of the magnificent City of Los Angeles. From hazy, sun-blasted MORNING, to an explosively-hued SUNSET, into the electricity of NIGHT.

We hear EAZY’S VOICE, one last time, through some of the final words he released to his fans.

The TIDES on the beach rise and fall. Endless VEHICLES swarm the FREEWAYS like teeming blood vessels in veins. Clouds race across the sky like an avalanche, a river --

Dre strides down the lipstick red hallway, lined with platinum records, a determined look on his face. Enters --

THE CONFERENCE ROOM

To find Suge, looking confused, sitting at the end of the long conference table. He’s wearing another absurd Red-Devil suit, fedora, gold watch on a chain, flanked by a couple of jacked-up BLOODS. And his DOG is still by his side.

Dre does not avoid Suge’s gaze. He looks right at him.

Suge starts to breathe hard through his nose. He’s pissed.

Blue Rev. (9/15/14) 141.

Suge stands there, huge, scary. He stares cold daggers into Dre’s eyes, but Dre refuses to look away.

Suge finally nods. Something softens in him.

Dre grins.

Dre walks away, smiling as --

STRAIGHT OUTTA COMPTON kicks in and we see the people and things that have been impacted by NWA. We begin with all the things that made NWA possible. We’ll end with all the things that NWA made possible. A little something we like to call...

145 NWA HISOTRY: 145 *

BEFORE FINAL CREDITS... *

We’ll see the actual real life members of N.W.A. in all of * their glory back in the day, chronicling what they went on to * do, and culminating with a PICTURE OF NWA, staring menacingly at the camera.

The most dangerous band in the world.