Poetic Justice Page #9

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
1,115 Views


THE BACK OF THE TRUCK Where lesha wakes up from the sound of Justice and Lucky

arguing. She mumbles, "What's going on?!"

JUSTICE:
They gonna f*** you up!

LUCKY:
F*** you, b*tch!

JUSTICE:
F*** you up!

This exchange goes on one more time, then Lucky cuts it off by abruptly closing

the passenger door in Justice's face. Iesha pokes her

head up from it.

IESHA:
What you doing!? What's happening? Where my girl at?!

LUCKY (shifting into first gear): I'm leaving that b*tch!

IESHA:
Leaving her! You can't just leave my friend out here in the middle of

nowhere?! Chicago! Chicago, wake up!

67 EXT:
DESERT ROAD--DAY From on HIGH we see the truck get back on the road and

drive off as we COME DOWN to reveal

Justice. She is pissed off beyond pisstivity!

68 INT THE TRUCK--DAY Where we see Lucky driving. He is pissed off also. He is

thinking heavily about his actions.

IESHA (O.S.):
Chicago! Lucky left Justice! Lucky left Justice!

CHICAGO (O.S.):
So what! I'm trying to sleep!

IESHA (O.S.):
But he left her! He left her out in the middle of nowhere!

Chicago comes up close to the back of Lucky's head.

CHICAGO (O.S.):
Lucky. What's up, G?

Lucky sighs and looks into his side mirror.

WIPE:

69 EXT. DESERT ROAD--DAY: MINUTES LATER Justice is in the foreground, and the

truck is following along in the background.

Iesha is trying to convince her to get into the truck.

IESHA:
C'mon, Justice, get in the truck. Ain't you kinda hot? Lucky said he'd

apologize.

LUCKY Looks at lesha. His face is about as nonapologetic as you can get. Ain't

no apologies jumping off today.

IESHA:
C'mon, Justice. J! (sees something)

Justice walks past a big diamondback rattlesnake. She is so mad, she doesn 't

even notice it, Iesha plays it off and continues to call

Justice.

IESHA (turns to Lucky): Justice! She get kinda stubborn sometimes. Stop the

truck.

The truck stops, and Iesha gets out. Chicago gets into the front seat. WIDE As

we see Iesha get out of the truck and walk over to her

friend. Lucky exits the driver's side and goes to the back of the truck.

THE BACK OF THE TRUCK Where Lucky opens the wide doors to let Justice and Iesha

into the back.

Justice and Iesha come around the corner. The latter holds a consoling arm

around her friend's shoulders. Justice and Lucky come

face to face.

JUSTICE (looks up and then with a mean face): You still gonna get f***ed up!

Iesha smiles and tries to laugh it off. The two women climb inside. Lucky begins

to close the door, but not before giving his comeback

to Justice's threat.

LUCKY:
Frankly, my dear. I don't give a f***.

70 INT. ROADSIDE--THE FOREST--DAY

71 INT. JESSIESCAR--DAY HOOTCH MONTAGE We see a pair of nails being Aled with a

nail filer. A compact mirror, where we

see eye shadow being applied to a beautiful brown eye. A PAIR OF NAILS Are being

painted bright red. The hand is brought up to

reveal they belong to Colette. She admires her handiwork.

71A EXT ROADSIDE--THE FOREST--DAY HEYWOOD Walks up looking through the

viewfinder of a small videocam.

VIDEOCAM P. O. V: Where we see Jessie in the foreground standing next to her

car. In the far background we can hear the rest of

their party off in the woods. We should get the idea some of them are taking a

leak.

JESSIE:
It's not on. You gotta push the button.

HEYWOOD (V.O.):
What button?

JESSIE:
The red one.

HEYWOOD (V.O.):
Oh, this button. (pushes the button and the word REC flashes on

the screen in the left-hand corner.) It's on.

Showtime!

Jessie proceeds to act a fool and show off in front of the camera.

JESSIE:
Well, here I am. It's me. (coolly poses on her car and takes a toke of

her cigarette) In the wilderness. The wild blue yonder.

In the background we can see Dexter come out of the trees zipping up his pants.

He calls back in the trees to one of the women.

DEXTER:
Hey, Marine! I think I saw a snake back there. You better hope it don't

bite your big ass!

JESSIE:
They gettin close to nature. (laughs)

Heywood laughs too, offscreen. He drops the camera. WIPE: 72 IXT. THE TRUCK--DAY

Where Lucky and Chicago ride along in the

front seat. Chicago is driving with one hand and brushing his head with the

other. Chicago starts humming a few bars of a song.

Lucky joins in with a bass beat from his mouth. We soon recognize the theme from

Sanford and Son.

73 EXT. THEROAD-DAY We see the truck drive along.

74 INT:
THE TRUCK--LATER

CHICAGO:
I'm telling ya, it was him. Saw 'em in the liquor store.

LUCKY:
Which one?

CHICAGO:
J and B on Manchester?

LUCKY:
... You out your mind!

CHICAGO:
He had the beard, tha voice, everything. He bought a forty of Red Bull.

LUCKY:
You saw Marvin Gaye in the liquor store, buying a forty? You stupid

muthafucka!

The truck makes a funny noise.

CHICAGO:
(Rrushing his head) It's thirsty. Pull the second tank.

Lucky pulls a knob. The car makes another weird noise. Chicago and Lucky look at

each other, bewildered.

BACK OF TRUCK Justice and lesha look at each other. Justice is making shapes

with a piece of string.

LUCKY:
Empty. I thought you filled 'em.

CHICAGO:
I thought you did.

Lucky gives him a look that reads "You stupid muthafucka." CUT TO: 75 EXT.

ROADSIDE COFFEE AND GAS-DAY Where we see

the truck pull into one of the stations. In the background we see an eigh teen-

wheeler semi truck pull into the other side. ANOTHER

ANGLE As Lucky hops out of the truck. He walks toward the back of the truck,

just as lesha and Justice open the back doors. We

hold on them for a moment.

IESHA:
Good, now I can get me some liquor!

They walk past as we follow them and end on Chicago.

CHICAGO:
Hey, hey, don't get crazy now! And buy me a forty and some Cheetos!

The girls walk on. Iesha waves off Chicago.

LUCKY (O.S.):
You need to put her in check! C'mon, let's hurry up. Try to stay

on schedule for a change. F*** that CP time!

THE PUMP:
OPPOSITE SIDE A foot steps out of the cab. A pair of gloves are taken

off, revealing worn callused hands. The same

hands unscrew the cap off the truck's massive gas tank.

TNE SIDE OF THE GAS PUMP THE' PUMP Where we see Lucky's hand grab the handle.

Another hand grabs at the same time.

LUCKY Looks up to see. A large white Trucker. Checked shirt, suspenders, big

leather boots. There is a short moment between Lucky

and the trucker.

LUCKY:
You mind?

T'he Trucker nods, indicating that he doesn't. He continues to study Lucky.

OPPOSITE SIDE OF THE PUMP Where Lucky inserts the nozzle into the tank and

begins to pump the gas.

CUT TO:
76 INT. ROADSIDE COFFEE AND GAS-DAY THE FREEZER Where Iesha is selecting

liquor.

IESHA:
I gotta have my Gordon's and Socko. Justice, check that freezer, see if

they got some Super Socko. ... Hey, they don't have

Old E! Y'all don't have no Old English?

THE COUNTER Where the cashier throws his hands up, indicating that they don't

carry.

JUSTICE:
Girl, don't you know they don't sell that outside of Black

neighborhoods?

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…

All John Singleton scripts | John Singleton Scripts

0 fans

Submitted by aviv on November 30, 2016

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Poetic Justice" Scripts.com. STANDS4 LLC, 2024. Web. 13 Nov. 2024. <https://www.scripts.com/script/poetic_justice_729>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Poetic Justice

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What does "O.S." stand for in a screenplay?
    A Off Screen
    B Opening Scene
    C Original Sound
    D On Stage