Poetic Justice

They walk on.

JESSIE

Oooh, you even walk different.

Justice just turns to look at Jessie, then she walks on.

DISSOLVE TO:

INT. / EXT. THE POST OFFICE – POV – BACK OF TRUCK – NIGHT

Lucky opens the back door, and we see him and a Dockworker talking. Several workmen begin unloading boxes and bags off the truck.

DOCKWORKER

(filling out a form)

I thought there was supposed to be two of you?

LUCKY

Nope.

DOCKWORKER

Well, see ya next time around.

LUCKY

(taking the form)

I don't think so!

INT. JUSTICE'S HOTEL ROOM – NIGHT

There is a conference going on. Justice, Iesha. Jessie, and Heywood are present. From the looks on their faces, we can tell what the topic of discussion is: men. Iesha is holding a cold towel to her eye.

HEYWOOD

Hold it there. It may swell a little. Let me see it.

She takes the towel away. We see her eye. It's a small shiner.

HEYWOOD

Awww, that ain't that bad.

IESHA

(looks at him like he's crazy)

It ain't.

Jessie looks at Iesha's eye.

JESSIE

That ain't nuthin, girl. I got this girlfriend Susan, she got this thing where she don't think a man loves her unless he beats her. Anyway, this nigga went off on her once, and her eyes were so big. You know them Dunkin' Donuts?

HEYWOOD

The big ones with the glaze on 'em?

JESSIE

Yeah, those the ones. Well, you take two of those, put them on both eyes, and that's what she looked like. You young. You gonna learn. Don't fight no man with you fists – you fight him in his wallet. Now instead of swinging on 'em, you shouda gave him some, let 'em go to sleep, reached into his wallet, and took his credit card.

HEYWOOD

And we all woulda had a party!

JESSIE

On him!

Jessie and Heywood laugh. They start reminiscing, uttering past stories. Iesha cuts them off.

IESHA

What credit card? That nigga ain't got no credit card!

Jessie turns and stops.

JESSIE

Well, shit then, you is a fool.

(laughing and looking at Iesha's eye)

Men ain't shit.

Jessie and Heywood start laughing again.

JUSTICE

That's the truth.

Jessie stops laughing.

JESSIE

Excuse me? I thought you was in love.

JUSTICE

You thought wrong. Don't assume. You assume, and you make an ass outta you and me.

JESSIE

You were already an ass. Ya'll still gotta lot to learn about the world.

Justice's face, as Jessie's words sink in.

JESSIE

C'mon, Heywood. Let's go get a drink.

(walks away, mumbles)

These little young girls don't know they cuchie from a hole in the wall. Shit, I just rest and dress, honey. Love don't live here anymore.

Justice returns to consoling her friend, but we can tell her mind is miles away.

JUSTICE

It ain't that bad.

She helps her with the towel on her eye.

THE DOORWAY

Where Colette sticks her head in.

COLETTE

Is everything all right?

Justice turns around, Iesha is cradled in her arms.

JUSTICE

No.

DISSOLVE TO:

INT. THE SOUND LAB – NIGHT

Lucky's cousin 's makeshift recording studio. We see a four track, a drum machine, a keyboard, two turntables, a large boom box, a rhyme dictionary and thesaurus, and a ton of records. The walls are covered with the faces of the heroes of hip-hop. Posters of Public Enemy, KRS-One, EPMD, and everybody else who is truly down. Among the mess Lucky spots a tape that reads "LUCKY'S NEW BEATS". He pops it in the box. We hear the beat. It is a smooth, Loc'd out gangsta groove. Lucky listens for a moment, then presses STOP OR the box. He thinks for a moment, then hits his hand on the desk and stands. Then he sits once more to think. Like "The Thinker."

DISSOLVE TO:

INT. THE SOUND LAB – DAY

The light changes to a golden hue as a new day arrives, and we see Lucky, who has apparently fallen asleep in the chair. He awakes. He sits up, leaving an afterimage of his sleeping self on the chair. When he stands, it disappears! He smells the air: Food. We hear children playing upstairs.

INT. AUNTAUDREY'S KITCHEN – DAY

Where Aunt Audrey is cooking up a storm: A real southern breakfast. We see eggs, bacon, fried chicken, biscuits, etc. Aunt Audrey is cooking to keep her mind off of the death of her firstborn. Also in the kitchen is Uncle Earl, Audrey's brother Tequan, her second son Shante, her daughter, and a few other family members young and old.

AUNT AUDREY

(manages a smile)

Morning, Lawrence. You hungry, baby? C'mon over here and get you somethin to eat.

Lucky goes over to the table.

LUCKY

I ain't hungry. I'm too mad to eat.

Audrey has no reply to this.

THE STOVE – A FRYING PAN

Where Aunt Audrey pulls some chicken wings out to drain on some paper towels. She pauses for a moment and attempts not to lose her composure.

UNCLE EARL

Audrey, sit down. Sit down. You gonna wear yourself out.

Audrey sits down across from Lucky. She looks as though she is in a daze of depression. Her gaze finds Lucky.

AUDREY

Lawrence and Kalil useta do music together. They used to make them tapes. They was trying to do something with they lives. Something constructive instead of destructive.

She laments for a moment.

AUDRY

Shante, check that chicken, baby. Make sure it don't burn.

(a beat)

Lawrence, I want – I want you to know you my favorite nephew. Your mother, even though we sisters, we don't alwags get along. I was always happy you and Kalil were more like brothers than cousins. Family should stick together no matter what.

LUCKY

What you gonna do with all this equipment?

SHANTE

(nonchalantly)

Sell it.

LUCKY

What?

SHANTE

We need the money.

LUCKY

Every dollar he made went into that room. Why every time people try to build and do somethin, somebody gotta come along fuck up shit?!

AUDREY

What do you think we should do?

LUCKY

Give it to me. I'll do somethin with it.

SHANTE

(sarcastic)

Like what?

AUDREY

(looks over to stove)

Shante! Turn the fire off. Take them wings out the skillet and drain off all that oil. My blood pressure's bad enough as it is.

(turns back to Lucky)

Anyway, what would you do with it?

LUCKY

(looks around)

Use it.

CUT TO:

EXT. AUDREY'SHOUSE – DAY

Where we see Lucky and some of his cousins loading the equipment back into the mail truck. Aunt Audrey gives Lucky a hug before he gets into his truck. Over these images we hear Audrey's voice.

AUDREY (V.O.)

Well, take it then. Just 'cause my baby didn't get a chance to realize his dream don't mean you can't do what you gotta do.

Lucky starts on the truck
 

EXT. THE ROAD – DAY

Traveling montage on the road. Beautiful sights of California.

DISSOLVE TO:

EXT. THE ROAD – DAY

Lucky's face from outside the truck while it is moving. The truck speeds up, and goes into the distance. We hear Justice's voice: another poem begins.

INT. THE HAIR SHOW – DAY

As we TRAVEL through the Oakland Hair Show from a docu-style perspective. Heywood is behind the camera. There are many exhibits on display. We see new products being introduced Salesmen on different montages peddling everything from mousse to gels to tools. Our attention is drawn to the various hairstyles present and the reactions of the characters to being filmed. We see Jessie and entourage walking through the crowd having a good time. She is pointing at people and making comments. Heywood points the camera at Dexter: "Sexy Dex." Eventually we see Justice. She is attending to Lisa and Gena's hair, as well as the hair of two other women. They're her models, for her hairstyles. There are many other stylists doing other people's heads also. Justice is noticeably nervous at being recorded She tells Heywood to turn that shit off. End of docu-style.

THE RUNWAY

Where we see the models come forth. Our attention is drawn to their heads as we notice their beautiful intricate hairstyles. The hairstyles are like sculpture.

A TABLE OF JUDGES

Watches the models as they come forth.

EXT. THE DESERT – DAY

Where we see Lucky walking along the road in the desert. The truck is nearby in the distance. He is thinking.

INT. THE HAIR SHOW – DAY

Justice lets out a breath. The Judges begin to talk and review their notes.

DISSOLVE TO:

AN AWARDS CEREMONY

Trophies are given out to representatives from different salons. Justice receives a trophy and is congratulated by Jessie and company. She holds it up for all to see. But she is not happy. She smiles an uneasy grin.

EXT. HIGHWAY – DAY

We end on an image of the truck going across the horizon.

FADE TO BLACK

INT. JESSIES SALON – DAY – MONTAGE

We see hair and nails being done. Everything seems normal once more in the shop. A voice changes the mood.

RITA (V.O.)

Bitch, if you don't quit staring at me, I'm gonna knock them eyes outta your head!

THE STYLLSTS

Look up.

WAITING BENCHES