Poetic Justice Page #13

Synopsis: Poetic Justice is a 1993 American romantic drama film starring Janet Jackson and Tupac Shakur with Regina King and Joe Torry. It was written and directed by John Singleton. The main character, Justice, writes poems which she recites throughout the movie. The poems featured in the film were written by Maya Angelou, and Angelou also appears in the film as one of the three elderly sisters whom the characters meet at a roadside family reunion. The Last Poets make an appearance toward the end of the film. Poetic Justice reached #1 in the box office its opening weekend, grossing $11,728,455. It eventually grossed a total of $27,515,786.
Genre: Drama, Romance
Production: Columbia Pictures Corporation
  Nominated for 1 Oscar. Another 4 wins & 4 nominations.
 
IMDB:
6.0
Metacritic:
51
Rotten Tomatoes:
31%
R
Year:
1993
109 min
1,137 Views


Justice the adult woman arrives at the top of the stairs.

YOUNG JUSTICE:
Momma! Momma! Nanny want you!

93C INT. JUSTICE'S HOUSE--DAY AN OFFICE ROOM As Justice looks in. No Momma here.

93D INT. JUSTICE'S HOUSE--DAY JUSTICE'S MOTHER'S BEDROOM No one here.

93E INT. JUSTICESSHOSSE-DAY THE BATHROOM We see Justice walk forth. She slows

down as she discovers ANOTHER

ANGLE As we move toward the body of a woman collapsed on a tile floor of the

bathroom.

YOUNG JUSTICE'S FACE She screams!

93F INT. JUSTICE5SHOSSE-DAY BACK TO KITCHEN As Justice's grandmother hears her

screams.

93G INT. JUSTICE'S HOUSE--DAY THE TILE FLOOR We see an opened bottle of pills.

Different angles of pills on the tile floor.

[Idea:
Image of Justice's mother's hand open, holding pills, in the background]

OVERHEAD Justice's grandmother grabs Justice and discovers the body. ANOTHER

ANGLE As Justice is pulled away. Geneva turns

her face away from the horror of Justice's dead mother and into the hallway

mirror. Justice covers her face up, then slowly looks at

her reflection. The light behind her changes, and we are back into ...

94 INT. REST STOP BATHROOM--DAY Justice looking at herself in the mirror. A

beat.Ilesha comes out of the stall behind Justice

and taps her shoulder.

ANOTHER ANGLE As lesha walks past and we end on Justice.

IESHA:
Let's go.

95 EXT RESTSTOP--DAY: MINUTES LATER A BENCH Where Lucky sits eating some

leftover barbecue. Music is playing from his

small boom box. Chicago is lost in thought. He is visibly shaken by the recent

events. He looks out along the road and then down

toward the ground.

LUCKY:
Hey, hey, hey, pick your head up. Don't be a buster! You don't want her

to know you upset! Be cool!

CHICAGO'S FEET Where his shoelaces are untied.

CHICAGO:
I gotta tie my shoelace.

LUCKY:
Wait, just wait. ... Leave it untied--it'll look better that way.

CHICAGO:
That sh*t played out years ago.

Chicago bends down to fasten his shoes. Lucky looks at him and shakes his head.

Then he looks up to notice

CHICAGO'S P.O.V.: LOW ANGLE While he is down on his knees, Justice andIlesha

walk up. Chicago looks up and sees Justice, who

walks away to reveal Iesha. Iesha mumbles the "shake it to the east/shake it to

the west" cheer.

WIDE As Justice sits on one side with Lucky. Iesha puts her arms around

Chicago's neck and gives him a kiss. Justice and Lucky

look at this exchange out of the corner of their eyes. CHICAGO As he attempts to

stay angry in light of this loving treatment. He looks

over at Lucky.

CHICAGO (uncomfortable): Is it good?

LUCKY:
Jammin.

Justice looks away, listening to the music.

JUSTICE:
This is nice. Who's this?

LUCKY:
My cousin Kalil.

JUSTICE:
(matter offactly) He's flowing.

LUCKY:
I give him ideas and stuff sometimes. That's who I'm going to see now. We

got this music thing going.

CHICAGO (sarcastic): It's all right.

LUCKY:
F*** you, b*tch. Why you always got something negative to say?! At least

the nigga's creative!

CHICAGO:
I'm creative! I know how to dress.

LUCKY:
That ain't sh*t. You just a post-office-working nigga can't even get into

the union. What you got?

CHICAGO:
What you got? Just cause you in the union don't mean sh*t !

JUSTICE:
Why y'all always fightin? I thought y'all was friends?

CHICAGO:
We ain't friends. We just work at the same place.

There is a pause. No one but the air moves. lesha is restless. She gets up.

Sobriety gives way to silliness. She stands and begins

stomping on the ground and slapping her legs. She continues to do the "shake it

to the east/shake it to the west" cheer.

IESHA (to Justice): Remember this?! Audubon Junior High?! "Shake it to tha east,

shake it to tha west--it really doesn't matter who

shakes the best!"

Justice joins in. The Two Guys just look at them crazy.

CUT TO:
96 INT THE TRUCK--DAY Chicago and Iesha poke their heads through the

back. Everybody seems to be in a good mood.

Iesha is telling a joke.

IESHA:
So we up in heaven, right? And it's Judgment Day. And this brother goes

up to the gate. The angel at the gate says, "How

many times did you cheat on your wife?" The brother says, "I never cheated on my

wife." So the angel checks the book and says,

"You're right." So the brother rolls on into heaven in a Rolls-Royce.... So

another brother comes in and he says, "I can't lie. I cheated

on my wife once." So the angel checks the book, and he rolls on into heaven in a

Cadillac. ... So then this other brother comes in and

he's a straight-up hoe, and he tells the angel, "Well, I can't remember how many

times I cheated on my wife." So he goes and rolls into

heaven on a bike. So now he's in heaven and he's just pedaling along, and he

rolls by the brother in tha Rolls, who is crying. So the

brother on the bike says, "Why you crying? You rollin through heaven in a Rolls-

Royce." And the brother in the Rolls says, "I just

passed my wife on roller skates!"

Everybody laughs.

JUSTICE:
(looks at Lucky) You need to clean them nails. Get a manicure. Plenty

men do it. Football players, basketball players. They

all come in the shop.

96A EXT THE ROAD--DAY

LUCKY (V.O.):
You out your mind!

Where we see the truck shoot up past a beautiful California backdrop.

97 EXT ALICE'S RESTAURANT--DAY Where we see Jessie's Lexus roll up, as well as

the other car with the girls inside.

HEYWOOD (V.O.):
Finally! I could eat a horse!

JESSIE (V.O.):
From the looks this place, they probably have that on the menu.

They get out of the car and walk toward the restaurant.

THE TERRACE:
OUTSIDE Where some bikers sit eatin lunch.

BI KER:
So I said, F*** that! got on my bike--ran 'em over!

He picks up a bottle of Evian and takes a squig.

97A IN'I1 ALICES RESTAURANT--DAY ANOTHER ANGLE: JESSLF'S P.O.V. V As we go into

the cafe on the backs of Heywood

and Dexter, who part to reveal a cafe full of bikers, motorists, and a Waitress.

Jessie looks her up and down. The sound of Steely Dan

's "No Static at All " flows through the room. There is definitely a bohemian

atmosphere here.

REVERSE ANGLE:
JESSIE Checking out the place. WAITRESS: (instantattitude) How

many?

JESSIE:
Seven, please. Smoking section. I gotta have a cigarette.

WAITRESS:
There is no smoking section.

JESSIE:
I see. Just gimme a seat then.

WAITRESS:
You can have that table over there once it's cleaned off.

THE TABLE Where a man begins setting the table.

DEXTER (to Heywood): Man, why you always rubbing your stomach?

Jessie playfully rubs Heywood's stomach. The Waitress comes back. The Waitress

begins walking to a table across the room. Jessie

and party follow.

DEXTER:
Maybe we should go to an AMIPM on the way. I'm not that hungry.

JESSIE:
I don't want no frozen food, no chips. I need something hot to eat.

Besides, these folks need to see some Black people

Sometimes. Wake 'em! Pick'em up! Give something interesting to talk about.

Rate this script:3.7 / 7 votes

John Singleton

John Daniel Singleton (born January 6, 1968) is an American film director, screenwriter, and producer best known for directing Boyz n the Hood. For the film, he was nominated for the Academy Award for Best Director, becoming the first African American and youngest person to have ever been nominated for the award. Singleton is a native of South Los Angeles and many of his early films, such as Poetic Justice (1993), Higher Learning (1995), and Baby Boy (2001), consider the implications of inner-city violence. Some of his other films include dramas such as Rosewood (1997) in addition to action films such as Shaft (2000), 2 Fast 2 Furious (2003), and Four Brothers (2005). more…

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