Straight Outta Compton Page #21

We had them on tape -- we had their

asses on tape.

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

EXT. SOUTH CENTRAL - STREETS - DAY

Cube drives through SOUTH CENTRAL in the epicenter of the

unfolding RIOTS. Looting stores. Burning buildings.

He drives by GRAFFITI TAGS, many of which say F*** 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:

109.

CROWD:

No justice, no peace! Everybody

say, f*** the police! No justice,

no peace! Everybody say, f*** the

police!

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.

104 OMITTED 104

105 EXT. SOUTH CENTRAL - CRENSHAW BOULEVARD - DAY 105

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.

106 EXT. SUNSET BLVD - NIGHT 106

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 -

107 INT. EAZY’S HOUSE - LIVING ROOM - NIGHT 107

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 of NEIGHBORHOOD 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.

110.

YELLA:

So all this weed. It’s for your

Ruthless artists?

EAZY:

Havin’ some cash flow problems.

They can smoke it, they can sell

it, I don’t care. As long as it

keeps 'em off my back for a minute.

YELLA:

Maybe you should think about

diversifying into my kinda sh*t.

There’s money in there, too.

Eazy laughs, shakes his head.

EAZY:

What, makin’ pornos? No thanks,

man. That’s your thing. I’ll stick

with this music sh*t. Once my new

album right here’s done, I’mma be

fine --

Eazy starts COUGHING. It doesn’t sound great.

REN:

You all right, man?

EAZY:

Yeah. Just tired. All this sh*t,

downsizin’ to a new crib, just

weighin’ on me. I’ll figure it out

though. I always do.

JERRY (O.S.)

Eric -

Jerry enters. Approaches Eazy.

JERRY (CONT’D)

Can you come by my office? I need

you to sign some checks -

But Eazy doesn’t even look up at Jerry.

EAZY:

I’ll come when I can, Jerry.

JERRY:

Eric --

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

111.

108 EXT. DEATH ROW RECORDS - LOS ANGELES - DAY 108

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:

Man, this is just the beginning...

We’re building an empire.

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.

SUGE:

You’re in my spot!

The Employee just gapes at Suge, speechless...

DRE:

Suge, it’s cool --

Suge shakes the Employee like a rag doll...

SUGE:

Did you park in my muthafuckin'

parking space or not?

EMPLOYEE:

I didn’t know, I --

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 f***!? 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.

SUGE:

Now move yo' piece of sh*t and park

my car.

Wow... The guy is scared and confused at Suge's "power drunk"

request. He slowly takes the keys.

112.

SUGE (CONT’D)

-- And I bet not see one drop of

blood in that mothafucka.

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.

109 OMITTED 109

110 OMITTED 110

111 INT. CUBE’S HOUSE - LOS ANGELES - NIGHT 111

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.

CUBE:

Hey Darrell. What you been doing? -playin’

with Shea?

Darrell nods as Kim picks up the remote, starts FLIPPING

channels. She STOPS when it lands on THE BOX, which just

happens to be playing NWA’s STRAIGHT OUTTA COMPTON. Cube

watches for a bit, lost in thought -

KIM:

Look how young you guys look.

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

CUBE:

Damn... We left some good records

on the table...

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

KIM:

Well-- ain't nobody burnt down the

table did they? Ever thought about

getting back together?

CUBE:

All the time. But we've been

feuding for so long. It might be

"ON" on sight when we see each

other. I really don't know.

113.

KIM:

That's a shame. It's terrible how

money tears us apart.

CUBE:

Yeah-- When it should be bring us

together. Somebody always wants

more then they're suppose to get.

As that's when sh*t get funky.

She nods in agreement -- as he continues working on his

script. A movie called "FRIDAY".

112 INT. NICE RESTAURANT - LOS ANGELES - NIGHT 112

Dre’s having dinner with NICOLE -- the woman who rejected him

at his party. Even though they’re both clearly feeling this.

DRE:

Aren’t you glad I tracked you down?

NICOLE:

I wasn’t exactly hiding.

They both chuckle.

DRE:

So wassup, you been havin’ good

time?

NICOLE:

Yeah... Why?

DRE:

Well I mean, I like comin’ over

your place, but you know, your

neighbors be complainin’ about “the

noise” --

Nicole smiles, shoos Dre. He smiles at her, mesmerized. God

damn this girl is special. He fills up their champagne.

DRE (CONT’D)

I think a little more privacy would

be better.

NICOLE:

So what, you want me to move?

DRE:

Yeah, maybe. I know of a perfect

spot. Plenty of room, and I know

the owner.

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