Poetic Justice

 

 

Screenplay by                             John Singleton

 

Produced by                               Steve Nicolaides

                                                 John Singleton

 

Directed by                                John Singleton

 

 

 

Cast List:

 

Janet Jackson                          Justice

Tupac Shakur                           Lucky

Tyra Ferrell                              Jessie

Regina King                             Iesha

Joe Torry                                 Chicago

Roger Guenveur Smith                       Heywood

Lori Petty                                 Penelope

Billy Zane                                 Brad

 

 

 

COLUMBIA TITLE CARD:

 

"ONCE UPON A TTME IN SOUTH CENTRAL LOS ANGELES"

 

We hear voices: one male, the other female. From the tone of their speech and the accompanying music, we can tell we are entering a romantic scene.

 

FADE IN:

 

 

INT. FANCY NEW YORK APARTMENT – DINING ROOM – NIGHT

 

Where we see a romantic scene played out between a man and a woman. Both are white. The couple have just finished a candlelit dinner.

 

BRAD

You like your wine? Want s'more?

 

She nods her approval.

 

PENELOPE

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

 

He grins.

 

BRAD

Let me set the mood.

 

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

 

 

EXT. COMPTON DRIVE-IN THEATER – DUSK – SFX

 

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

 

 

INT. COMPTON DRIVE-IN THEATER – DUSK – SFX

 

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

 

CAR #1

Don't bite me so hard! You gotta be more gentle.

 

CAR #2

(softly)

Use your tongue. Just use your tongue.

 

CAR #3

(with heated passion)

Ohhhh! Oh, yes, ohhh! Oww! I'm sticking to the seat.

 

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

 

MARKELL

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

 

JUSTICE

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

 

MARKELL

'Cause it's boring.

 

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

 

JUSTICE

Markell, do you love me?

 

MARKELL

Of course I love you.

 

JUSTICE

Why? Tell me why you love me.

 

MARKELL

(looks around)

Now?

 

JUSTICE

Yeah, right now.

 

There is a pause. He thinks.

 

MARKELL

Okay, I love you because you too fine.

 

JUSTICE

Is that it?

 

MARKELL

Yeah.

 

Justice looks dissatisfied.

 

MARKELL

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

 

JUSTICE

No, not yet. Get me some popcorn.

 

Markell 's face drops.

 

JUSTICE

Pleazzze?!

 

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

 

MARKELL

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

 

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

 

 

INT.COMPTON DRIVE-IN CONCESSION STAND – NIGHT

 

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

 

 

THE COUNTER

 

Where Markell finally arrives at the front of the line.

 

 

THE CORNER

 

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

 

 

BACK TO COUNTER

 

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

 

 

INT. / EXT. COMPTON DRIVE-IN – THE CAR – NIGHT

 

Markell comes back to the car, glancing behind his back every so often.

 

MARKELL

(looking over his left shoulder)

I think I saw these fools that Pete and I got beef with.

 

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

 

 

OVERHEAD

 

AS WE PULL UP and away from the car. There are people running and screaming in every direction, and cars are leaving. These sounds overlap into:

 

 

TITLE CARD:

 

"POETIC JUSTICE"

 

The sun rises behind the logo.

 

DISSOLVE TO:

 

 

INT. INGLEWOOD CEMETERY – DAY

 

Where we come out of the leaves of a tree to see a garden of stones, concrete symbols of souls long past. There is one lone figure standing before a grave. We recognize this person as Justice. We also hear Justice speak in voice over. Over the following images she recites the first of many poems that move this story forward.

 

BURN IN: "TWO YEARS LATER"

 

JUSTICE (V.O.)

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

 

DISSOLVE TO:

 

 

INT. PACIFIC BEAUTY COLLEGE – DAY

 

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

 

JUSTICE (V.O.)

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

 

DISSOLVE TO:

 

 

EXT. PARKING LOT – DAY

 

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

 

 

EXT. CRENSHAW BOULEVARE – DAY

 

We see a "CRENSHAW" Sign up close go past the frame, left to right.

 

 

MONTAGE OF IMAGES

 

We see various images of life in the Crenshaw district of South Central Los Angeles. Some are static; others are hand-held traveling shots, docu style.

 

 

EXT. LIQUOR STORE – DAY

 

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

 

 

EXT. DONUT SHOP – DAY

 

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

 

 

EXT. LEMERT PARK – DAY

 

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

 

JUSTICE (V.O.)

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

 

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

 

 

INT. JUSTICE'S CAR – DAY

 

JUSTICES NOTEBOOK

 

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

 

JUSTICE (V.O.)

"Alone, all alone. Nobody, but nobody. Can make it out here alone."

 

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

 

 

EXT. CITY STREET – DAY

 

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

 

 

INT. JESSIE'S BEAUTY SALON AND SUPPLY – DAY

 

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

 

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

 

HEYWOOD

(over images of nails, hair, etc.)

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

 

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

 

IESHA

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

 

Justice walks in.

 

JUSTICE

You telling everybody's business.

 

IESHA

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

 

JUSTICE

You ready?

 

Iesha nods a yes.

 

JUSTICE

You got your hair?

 

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

 

 

INT. THE BABYROOM – DAY

 

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

 

 

THE DOORWAY

 

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

 

BAHA

Stop! Quit!

(looking out the window, then goes to the doorway)

Here she comes!

 

 

THE SALON

 

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

 

 

EXT. JESSLE'S SALON – DAY

 

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

 

PANHANDLER

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

 

JESSIE (O.S.)

Hell, naw! And get your dirty, smelly, unemployed ass out from in front of my shop.

 

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

 

 

INT. JESSIE'S SALON – DAY – BACK TO DOORWAY

 

Where we see Jessie open her Fendi purse to send Baha on an errand. Since we are at chair level, we notice her shapely bottom half. She got much ass! IDEA start on her purse being opened, then PAN over to Baha as we hear Jessie offscreen.

 

JESSIE (O.S.)

Baha, do me a favor, baby, and go to the liquor store get me a Honey Bun and a pack of –

 

BAHA

(taking the money)

Big Red. Yeah, I know.

 

 

WIDER

 

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

 

JESSIE

And bring me back my change!

 

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

 

JESSIE

(in a good mood)

Good morning, everybody.

 

 

ANOTHER ANGLE

 

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

 

JESSIE

(sweetly)

What?! What?

(vicious)

What y'all looking at? I know I'm Ane, but damn! Get back to work.

 

 

THE SALON

 

Where everybody goes about their business.

 

 

CONTINUED THE SINK

 

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

 

JUSTICE

Just let that conditioning sit for five minutes.

 

IESHA

Where you going? You not gonna talk to me?

 

JUSTICE

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

 

Justice walks away.

 

IESHA

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

 

 

THE COUNTER

 

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

 

JUSTICE

So.

 

JESSIE

Yeah.

 

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

 

JUSTICE

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

 

JESSIE

Could you put 'em over there? Snooty Fox Motor Inn.

(to the stylists)

Y'all make sure to fill out them receipts!

 

JUSTICE

(laughing)

They still got them red walls?

 

JESSIE

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

 

JUSTICE

Yeah.

 

JESSIE

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

 

JUSTICE

Snooty Fox? Don't remember.

 

 

INT. JESSIE'S BEAUTY SALON – DAY – DOORWAY

 

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

 

RODNEY

Hey, my girl need her hair and nails done.

 

JESSIE

She got an appointment?

 

RODNEY

Naw.

 

HEYWOOD (O.S.)

She ain't got no hair, either!

 

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

 

JESSIE

Make an appointment.

(lights a smoke, touches Justice's hat)

Why you keep wearing these hats? What you hidin?! Ooow, keep it on.

 

JUSTICE

(pulling her hat on)

Stop.

 

JESSIE

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

 

JUSTICE

I left my notebook in the car. I'll get it in a bit.

 

JESSIE

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

 

JUSTICE

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

 

JESSIE

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

 

CUT TO:

 

 

EXT. STREET – DAY

 

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

 

JUSTICE (O.S.)

Look who's talking.

 

 

INT. POSTAL JEEP – DAY

 

Inside the jeep a hand presses the stop/eject on the recorder and flips the tape.

 

 

EXT. CITY STREET – DAY – THE GROUND

 

Where the jeep door opens and a pair of sharp Nikes come out. We travel up to reveal the face of a young Black brother, twenty-two years, well built, rough looking, a close fade under a cap that reads "U.S. MAIL". This is Lucky. Not your everyday postman, but just another hard-working young South Central brother trying to make that hard-to-come-by daily dollar.

 

 

ANOTHER ANGLE

 

As Lucky gets his bag and walks toward the salon entrance.

 

PANHANDLER

(singing)

Hey, hey wait a minute, Mr. Postman! Mr. Postman, got some spare change?

 

LUCKY

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

 

CUT TO:

 

 

INT. JESSIE'S SALON – DAY

 

Where Lucky enters. His eyes take in the sight of all these fine, beautiful sistahs. This is his favorite part of his route. One or two women pass in front of him.

 

 

ANOTHER ANGLE

 

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

 

LUCKY

Y'all didn't get nothing but bills.

 

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

 

 

JUSTICE'S POV

 

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

 

LUCKY

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

 

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

 

JUSTICE

(with attitude)

What do you want? What do you want from me?

 

LUCKY

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

 

JUSTICE

Come here.

 

Lucky looks around.

 

JUSTICE

(sexy)

Come closer. I want to whisper somethin to you.

 

Lucky leans in closer.

 

JUSTICE

(coolly)

Let's cut to the chase. What do you reeaally want?... You wanna smell my poonani?

 

Lucky is taken aback. Surprised.

 

LUCKY

... Uhh, yeah Here?

 

JUSTICE

Wait a minute, baby.

(turns to Jessie, loud)

Jessie! He said he wanna smell my poonani!

 

JESSIE

(coolly, smoking)

Really.

 

JUSTICE

Yeah. Should I let him smell it?

 

JESSIE

Yeah.

 

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

 

 

EXT. JESSIE'S SALON – DAY

 

Lucky exits the salon, retaining his cool despite being dissed.

 

LUCKY

(under his breath, looking back)

Crazy Black bitches.

 

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

 

LUCKY

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

 

DISSOLVE TO:

 

 

INT. SOUTH CENTRAL POST OFFICE – CENTURY BOULEVARD – DAY

 

A TIME CLOCK CLOSE

 

A second hand flows past the frame. The minute hand is steady. The hour hand clicks to 4:30 P.M. A time card is placed in. Someone is checking out.

 

 

THE HALLWAY

 

Where we see Lucky is the one checking out.

 

WE PUSH IN to him as he takes his card out and places it in a slot on the wall. He then goes in his pocket to pull out an envelope.

 

 

THE ENVELOPE

 

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

 

 

ANOTHER ANGLE