Hustle & Flow_2005

AN ORIGINAL SCREENPLAY
    BY
    CRAIG BREWER
    Original White Shooting Script Revised: 6/24/04 (White)

INT. D.JAY'S CHEVY - DAY
    IN DARKNESS, we hear the sound of a struggling air conditioner. Three circles glow red - the reverse side of an old Chevy Capri cigarette lighter as it burns to life. A subtle 808 pounding is heard: BOOM ... BOOM •.• BOOM ...
    D.JAY
    See, man ain't like a dog.
    Pop! The pounding stops. The lighter ejects. D.Jay lights a cigarette and speaks to someone sitting shotgun in his parked car. D.Jay is an intense looking, black man in his thirties.
    D.JAY
    I'm talkin' about man.kind, not man like men, cuz men ... well, we a lot like a dog. You know we .•. piss on things. Sniff a bitch when we can, get a pink hard-on like they do. And we territorial. You know, we protect our own.
    {a quick drag) But, man ... he know about death. He got religion. Got a sense of history. Dogs don't know shit about birthdays or Christmas or that one day God gonna come callin'. So they walkin' through life, you know, carefree. But people like you and me, we always guessin'. Always wantin' to know "what if", naw what I mean? D.Jay scans the street quickly and turns back.
    D.JAY
    So when you say to me, hey, I don't think we should be doin' this. I gotta say, uh- huh. I don't think we should be doin' this neither. But we ain't gonna get a move on in this world layin' in the sun, lickin' our ass all day. We men. I mean, you a woman, but we man.
    (D.Jay leans back, confident)
    That said ... you tell me. What'chu wanna do with your life?
    Although she is white, NOLA opts to wear long blond mini- braids like most of the black topless dancers at the local clubs. She is, to her best recollection, 20 years old. rr.ON1'TNUF.fl \ Nola thinks. Struggles. Shrugs. Thinks some more. An idea.
    NOLA
    I don't know. I guess I could ...
    D.JAY
    Hold up.
    A car pulls alongside of D.Jay's Chevy. A beady-eyed, bearded man with pasty white skin examines Nola.
    D.JAY
    How it go, Cuz? Like what ya see?
    (He continues to stare)
    It break down to 20 in the front. 40 in the back.
    (no answer)
    Hello?
    (D.Jay turns to Nola)
    Hey. Go'on over and explain it to this mother-fucker.
    Nola steps out of the Chevy wearing yellow hot pants and platform high heels. She marches towards the trick's car and climbs in. D.Jay watches the car drive off as he takes another drag. It's a slow, hot day in Memphis. CUT TO: OPENING CREDITS CUT TO:

INT. D.JAY'S CHEVY - DAY 3 \*
    D.Jay and Nola are driving downtown in the Chevy. Nola is daydreaming while D.Jay tries to find a good tune on the old, push button, radio. Nothing sounds good - commercials.
    D.JAY
    Nothin' but jive and junk.

EXT. ARNEL'S CLUB - DAY 4 \*
    D.Jay's beat-up Chevy rolls on shiny rims as it turns into the parking lot of ARNEL'S CLUB - an urban Juke joint. \*

INT. ARNEL'S CLUB - DAY 5 \*
    Nola and D.Jay enter through the front door just as ARNEL \* tosses a babbling DRUNK at them. \*
    D.JAY \*
    Goddamn! \*
    Arne! is short and small like a black bulldog, but he's full \* of spit for a man in his fifties. He shouts at the drunk. \*
    ARNEL \*
    Pull that shit again, nigga, and I'll \* black boot ya to hell. You heard me! \*
    The drunk tries to shout back, but D.Jay grabs him by the \* hair and tosses his ass out. \*
    D.JAY \*
    Get on, now! \*
    ARNEL \*
    Thanks, D. \*
    Nola watches with wide eyes as Arnel examines the blood soaked face of the assaulted patron.
    ARNEL
    Take an angry drunk over a crazy one. Angry drunk, you see somethin' like this comin'. But them crazies ...
    (puts bar towel on the man's nose)
    Just hold that towel on it. We'll get'cha stitched.
    {crosses to D.Jay) I think that sun out there is bakin' peoples brains. D.Jay leans on the bar. Nola climbs onto the stool and spins around like she is a five year old.
    NOLA
    D.Jay, he keep the air on, and all, but it don't do nothin' but blow more hot air in my face. So I just stay sticky all day long •..
    D.JAY
    (frustrated)
    Just say it's hot.
    I CON'l' TNUF. Ol CONTINUED:
    D.JAY
    Always gotta walk around the block with yo trap smackin' just to get a yes or no. It's hot. Period. Boom.
    Arne! hands Nola an orange pop and D.Jay a beer. I r'.ON'I'TNTJF:Dl
    CONTINUED: (2)
    5
    ARNEL
    Wanna see my kitchen?
    D.JAY
    I'll take a peek.
    CUT TO:

INT. ARNEL'S KITCHEN - LATER - DAY 6 \*
    Arnel and D.Jay huddle in the back storage room of the kitchen - Arnel already has his wallet out.
    D.JAY
    You lookin' for a half or a full "0?"
    ARNEL
    Ounce'll be good. Fourth comin' up and all.
    D.Jay reaches into his back pocket and removes an ounce of pot in a clear sandwich bag.
    ARNEL
    Hey. You remember that sticky herb you brung up to my brother's house for Play- offs?
    D.JAY
    (holds up the bag)
    That ain't this, now. That's a whole 'nether zip-lock bag. Fuckin' prime product you talkin'. I use them "yellow- and-blue-make-green" bags on that shit.
    ARNEL
    How much notice you need?
    D.JAY
    Little Italian dude from Nawlin's bring me up an elbow every couple a weeks. What? You need a bag?
    ARNEL
    We got some big company come up in here for the fourth. Thought you may wanna get you some money.
    D.JAY
    Big company?
    ARNEL
    You remember Skinny? Skinny Black.
    r r.ON'PTN1W,n l
    D.JAY
    Shit. I know who Skinny is. We go back in the day. Boy was hustlin' his underground tapes down at the drive-in out the back of his Cutlass.
    ARNEL
    Not no more, he ain't. You know that last one he put out went platinum.
    D.JAY
    (thinks on that)
    Eh, now Platinum, that's more special than gold, huh?
    Arnel shoves the bag into his pocket and then pulls out a modest roll of cash.
    ARNEL
    He big time now ... but he still Memphis, you know. He and his brother Tigga hook up with they friends every July. I shut the place down, make it all private for them and they buy up my stock. No shit. They clean me out.
    D.Jay is suddenly preoccupied. His expression turns serious, sullen.
    D.JAY
    Yeah. I know Skinny. He may not .•. I mean, you know we went to different schools and all .•. but •.. yeah, I know Skinny.
    ARNEL
    You wanna make a dollar, best get up here with that good shit. Those boys ain't gonna want none a'this dirt weed.
    D.JAY
    You tryin' to hurt my feelings?
    ARNEL
    Just helpin' out a friend.

EXT. KING OF CLUBS - NIGHT
    A clap of thunder as the bottom falls out of the sky. The KING OF CLUBS sign glows bright red through the rain. Rap pounds the walls from the inside.

INT. KING OF CLUBS - NIGHT
    D.Jay enters, holding his over-shirt above his head to stay dry. MICKEY is barely audible as he chatters into the microphone from his DJ booth.
    MICKEY
    (into the mic)
    We gotta two for one goin' on through the next two songs, folks. Any of these lovely ladies will be giving two dances, two dances, fellas, for the price of one.
    We got Luscious. We got Phoebe. We got Lexus comin' up on satellite one. (notices D.Jay) 'Sup, D. Comin' down, huh? D.Jay nods and crosses to the main stage. Dancers are writhing around the various buckets and pans on the stage collecting rain dripping through the roof.
    D.JAY
    (to a dancer)
    Where Lexus at? \*
    The Dancer points. D.Jay turns and finally locates LEXUS. She \* is straddling a trucker in a chair. Her bikini top glows bright orange across her ebony skin, her hair is braided, stretching down her arching back. D.Jay motions her over. Lexus keeps hustling with a smile, surreptitiously flipping off D.Jay. He then grabs Lexus by the arm and pulls her off the customer.
    LEXUS
    Excuse me! You see me workin'?
    D.JAY
    Where you at?
    LEXUS
    I ain't at nothin'. Done three dances all day.
    ((;ON'rTNURDl CONTINUED: 8 D.JAY LEXUS Don't tell me that. They some You think I can come in here, homely, ugly-assed, toothless snap my fingers, make these hos in here pullin' in green punk asses throw they money and you say in' .... at me every night. It just don't happen some days. Shit, D. I ain't even gonna make pay out.
    MICKEY
    (over the mic)
    Alright, guys, let's put your hands together for the lovely Lexus.'
    Lexus starts walking toward the stage.
    D.JAY
    It's like I say, you can't be picky on a Wednesday. You gotta take what they slangin'.
    LEXUS
    Every bitch in here got some playa, tellin' 'em how they can hustle they tricks better than we hustlin'. Bunch'a
    side-seat drivin', mother- fuckers. I'll make my dollar just let me do my thang. Shit, I'm old school! D.Jay waves her off and walks away. Lexus pulls herself up on the pole and hangs upsidedown. CUT TO:

INT. KING OF CLUBS - DRESSING ROOM - NIGHT
    The conversations are loud and full of laughter as D.Jay sells a quarter ounce bag to a dancer in the dressing room. Lexus is getting dressed at a leisurely pace. D.Jay grabs her head as she sits to put on her shoes and puts it up to his stomach.
    D.JAY
    You hear that? That's my empty gut sayin' hurry the fuck up.
    CUT TO:

EXT. KING OF CLUBS - D.JAY'S CAR - NIGHT
    Nola awakes from the back seat, sitting up slowly as Lexus and D.Jay hop in the front seat. I C:ON'l'TNTJF,n\ CONTINUED:
    LEXUS
    I ain't doin' day shift no mo, I don't care if I gotta get a cab to drop my ass off. I ain't workin' with them skank- assed trucker-bait hos no more.
    D.JAY
    You gonna work day shift if I say. Ain't no reason .•.
    NOLA
    (to D.Jay)
    LEXUS
    (to D.Jay)
    You said, you was just You know Trudy ain't work runnin' in. I known y'all's day's no more. It just don't gonna take your sweet fuckin' make sense. Tellin' me she time ... I'd a come in. made five hundred dollars ... You heard me? Five hundred last night off some guy .who makes cotton ...
    D.JAY
    She ain't made five hundred dollars. Who? Trudy? Bitch gotta birth mark on her face look like a map a Texas. She trickin'.
    LEXUS
    She ain't trickin' .... all she did was dance for him.
    Suddenly there is a loud pound on the window. Lexus screams. D.Jay looks out to see HAROLD - a skinny, pale-skinned, junkie, wearing a few layers of thrift store wind-breakers.
    LEXUS
    What the hell-fuck?!
    HAROLD
    (from outside the window)
    Hey, D.Jay. It's Harold, man. It's me.
    D.Jay jumps out of the car slamming the door behind him. He pushes Harold back away from the car.
    HAROLD
    Whoa, man ... it's me ... it's me, D.Jay ... It's Harold!
    D.JAY
    It's a damn good thing what I usually got under my belt is under my mother-fuckin' seat. Sneak up on me like that again, you gonna be grinnin 1 out the back 'a yo' head.
    / r.ON'l'TNlJP,n I CONTINUED: (2)
    HAROLD
    Hey, D ••. um .••
    D.JAY
    D.Jay.
    HAROLD
    D.Jay ...
    D.JAY
    Yeah, we ain't friendly. Call me by my name. D.Jay.
    HAROLD
    Well, listen, you got some crank, any of
    that rock shit?
    D.JAY
    You know I'm strictly gateway. I don't deal with that.
    HAROLD
    Yeah? Well ..• what could I get for this?
    Harold removes a small electronic KEYBOARD from a sack.
    D.JAY
    Do I look like a pawn shop?
    HAROLD
    Like an ounce? What?
    D.JAY
    Shit. I wouldn't give you a toke. Where you get this at?
    HAROLD
    You know ••• just ••.
    D.JAY
    If you tell me this belonged to one of yo' kids I'm just gonna bust.
    HAROLD
    No, no ..• no way, man. I used to play on it. You know, all the time.
    D.JAY
    So it work?
    HAROLD
    Yeah, man. Like a pro.
    rr,oN~TNlJ1'DI CONTINUED : ( 3 I
    D.JAY
    (regarding the keyboard)
    Yeah. I had one of these back in the day. Not as big though.
    HAROLD
    Bigger is better, D. D.Jay. D.~.
    D.JAY
    Shut up.
    (thinks)
    I ' l l give you a quarter.
    HAROLD
    A quarter? You mean a half ..• and then some. Pawnshop'll get me more than that.
    D.JAY
    Why don't you give 'em your thumb print. See how much you get.
    HAROLD
    (relents)
    Okay.
    D.Jay reaches into his coat pocket and slaps a bag into Harold's hand.
    HAROLD
    (handing over the keyboard)
    I don't think that's really a fair trade but I ••. I understand you've got to keep an eye on your interests and all.
    D.JAY
    You pushin' me. Do you know you pushin'?
    And Harold is off into the night. D.Jay regards the keyboard. His fingers touch the keys as a subtle 808 beat pounds in his ears: BOOM ... BOOM ... BOOM.
    LEXUS
    Hey! Stevie Wonder!
    (the beat stops)
    We hungry.
    CUT TO:

IA EXT. MEMPHIS STREET - NIGHT 10A \*
    Establishing shots. D.Jay's Chevy rolls through Memphis. \*

EXT. D.JAY'S HOUSE - NIGHT
    D.Jay and his girls live in one of many shotgun houses along a crowded street. Kids run past them as they step out of the car. D.Jay calls out to an old woman on her porch.
    D.JAY
    Miss Cole! That runt bitch of yours got in my trash again. I know it won't your fault but get one yo kids to clean it up.
    SHUG
    (v .o. I Y'all got tacos? D.JAY (v .o.) Naw, we got cheeseburgers. CUT TO:

INT. D.JAY'S LIVING ROOM - NIGHT
    SHUG (short for SUGAR) is a pretty, twenty year old, black girl who is about four weeks short of giving birth - swollen beyond belief for her tiny frame. She is soft spoken, sweet. Shug bites into a burger as they all watch the TV - a local rap video program.
    SHUG
    I called the power comp'ny 'bout gettin' \* an extension on the light bill. They say I gotta come down and stand in line to get an application.
    (takes a bite)
    But I can't be standin' all day how they do down there. Not if I got Roger with me. You know, D.? You know? \*
    A video concludes - another begins. It is a SKINNY BLACK CD.
    D.JAY
    (shouting)
    Oh! There go Skinny! Eh, Lex! LEX!
    SHUG
    So what do you wanna do, D?
    LEXUS
    (approaching, pissed)
    Huh!
    ( r,oN'T' TNtJF:D)
    CONTINUED:
    D.JAY
    (pointing to the set)
    Me and Skinny Black gonna be kickin' up at Arnel's on the fourth of July, Baby. Ain't that some shit?
    LEXUS
    Who? You?
    The video is standard in aesthetics, gleaming BMW's, booty girls shaking into the lens. Skinny Black is wearing a pristine black and white camouflage suit.
    D.JAY
    Me and Skinny .•. do some catch up. You know, he used to live up on Looney and Third. Where they spray down the trolleys at.
    LEXUS
    Arn I supposed to piss myself?
    D.JAY
    (speaking to Lex as she walks away)
    Yeah, okay ... okay •.. you tell me. Who is it you know that's somebody, huh? Who?
    LEXUS
    Nobody in this crib.
    {speaking in a whiny baby voice) Where's my baby? Roger?
    SHUG
    Lex. Don't. I just got him to sleep.
    Lexus goes into the back room to retrieve her baby. D.Jay continues to watch the video as Shug complains to the back of his head.
    SHUG
    D, I know it's my part in it all to baby- sit while she at work. But she always gotta wake him up just when I get him down. I gotta have some chill time too.
    D.JAY
    You know, Skinny used to DJ over at Booker T. Just like I did at Westwood. Ain't like he the only nigga spit some flow in this town. I's doin' the same thing just a t ~ school. Ask anyone.
    /C:ON1'TNU~DI: CONTINUED: (2)
    D.JAY
    (he has to prove himself)
    I'm serious. Go ask Carlos up on the \* corner. He's in my grade. Ask him.
    SHUG
    (with a mouth full of burger)
    Gotta get that extension.

INT. D.JAY'S WORK ROOM - NIGHT
    D.Jay is still holding the small keyboard as he bites into his burger. He opens the door to his private workroom. He turns on a single bulb from above by yanking on a chain. There is a simple scale on the table, a few boxes of sandwich bags.
    D.JAY
    (to himself)
    shit •.. talk to me about platinum
    better than gold. In the day, I's like ... triple platinum. Ask anyone ..• Lexus enters holding her baby boy, ROGER, in her arms.
    LEXUS
    I gotta shower.
    D.JAY
    Uh-huh.
    LEXUS
    You gotta watch Rog.
    D.JAY
    Go give him to Shug.
    LEXUS
    She say it's her chill time.
    D.JAY
    (taking the baby)
    When's my chill time at?
    Lexus is gone. D.Jay slams the door. CUT TO:

INT. D.JAY'S WORK ROOM - LATER - NIGHT
    D.Jay pushes the POWER BUTTON on the keyboard and then pushes the POWER BUTTON on the mini fan on his table. /(:ClN'l'TNTJRDI 1 4 CONTINUED: 14 With Roger tucked under one arm, D.Jay begins pressing the different keys, listening to the various sounds, changing between the different menus. Roger is drooling, mesmerized with sounds just like D.Jay - two little boys with a new toy.
    D.JAY
    (laughing)
    Yeah, that buck ain't it.
    We CUT IN AND OUT of moments as D.Jay acclimates himself with his new keyboard. He takes Roger's hands and taps them on the keys - each key makes a different beat. They actually manage to peck out a simple beat. D.Jay laughs. The beat is interrupted by Lexus stonning into the room wearing a towel around her hips and head.
    LEXUS
    The fuck are you doin' wit my son?
    D.JAY
    Just playin'.
    LEXUS
    (pulls Roger away)
    Give me my baby.
    D.JAY
    Every time he get settled you gotta come and fuck with him. Gonna give that boy a twitch.
    The door slams. D.Jay lights a blunt and closes his eyes. \* The 808 beat can be heard softly - the pounding in his head. \* He opens his eyes and pulls the keyboard closer. Pressing the \* loop button, he matches the keyboard beat to the beat in his \* head. It fits perfectly: Pip. Tack, tack, pip, tack. \* D.Jay looks on the back of the keyboard. A single headphone \* jack is on the back. \* An idea hits as the loop continues. \* JUMP CUTS as he opens a drawer next to his massive stereo and \* removes a long cable. He pushes it into the inputs behind his \* huge stereo. \* ".4 CONTINUED: (2) 14 He picks up the remote. The treble goes to 0. Bass goes to 10. Bass boost activated. The volume dial spins to the loudest possible volume. D.Jay takes the other end of the cable and plugs it into the \* headphone jack on the keyboard. \* BOON! !Z'ACK, 2'ACK", BOOM, TACK! BOCW! TACK, TACK, B<XM, !Z'ACX! \* The room is vibrating with his beat, as the loop sounds from his towering speakers. D.Jay stands silent, allowing the beats to pound through his body. / C:ON'l" TNTJF;Dl CONTINUED: I 3)
    INT. D.JAY'S LIVINGROOM - NIGHT
    Shug awakes on the couch and stares oddly at the door to
    19
    D.Jay's work room. The TV distorts with the beat.

INT. D.JAY'S WORK ROOM - NIGHT
    D.Jay circles his table, punching at the air with each beat. The pot scales vibrate. D.Jay bounces his upper body up and down furiously - a man alone with his own invention. He turns off the keyboard with the push of a button. He is panting - suddenly aware of his own heart pounding. Silence.
    CUT
    21
    TO:
    INT. D.JAY'S
    Nola snorts up some crank off a small swatch of shiny paper. D.Jay and Nola are parked by an old auto shop - hisses and pops sound from inside as D.Jay eyes a car driving up slowly.
    D.JAY
    Go easy, gal. Can't be no open candy store. We tight this whole week.
    ID.Jay nudges Nola) Put yo shine on. Here this one come. Nola wipes away sweat as the driver approaches, she attempts to put on a sexy scowl for the passing trick.
    D.JAY
    Come on, Cuz. We ain't gonna bite.
    The driver tries to get a good look at Nola but then speeds past. D.Jay shakes his head in frustration.
    D.JAY
    Goddamn! You go to IHOP to .aat. pancakes not stare at 'em. Half the lunch croWd just be window-shoppin'.
    NOLA
    Why can't we work the motels no more? Least they got air.
    t C:ON'T' TNTJF.D)
    D.JAY
    Least they take a cut, is what they do. Thirty dollars a room for one hour on top of what we already chargin'. And that's what ... for a five minute nut. I mean, that just don't make no sense. That's money outta my pocket, to keep your country cool.
    NOLA
    All I do is ask about gettin' cool and you gotta be ugly.
    D.JAY
    (D.Jay notices the car approaching)
    Hold up. He corn.in' back. You need to put on a show for this trick. Do that thing with your tongue like you do.
    NOLA
    Lex get to work inside all day at the club. I don't see why I can't.
    D.JAY
    Cuz we been over this, Nola. Ain't I told you? You got what they call a bad equilibrium. My uncle Hector had it. You knock into shit. We put you in them heels up on that stage ... tricks gonna be screamin' "timber." Here he come.
    NOLA
    I'm in heels out here, D! You don't see \* me fallin' down.
    D.JAY
    Cuz you sittin', Nola. Ain't that much of a fall to the floor. Just ..• look it •.. let me do the thinkin' for ya. Ah-ight? Just stick to what you do. And let me do what I do.
    NOLA
    One day you're gonna have to tell me about that.
    The trick's car stops alongside of their car.
    D.JAY
    About what?
    ( r.ON'l' T NfJF:D \ 21 CONTINUED: (2) 21 NOLA What the fuck it is you do. The car stops. D.Jay has turned his cold attention to Nola. Knowing she has wounded D.Jay, Nola gains a modicum of confidence. She leans across D.Jay as if he was not even there.
    NOLA
    (to the trick)
    Hey, Honey. You wanna see me walk in these heels all the way over to your lap?
    The trick nods nervously. Nola smiles and crawls back inside.
    NOLA
    (bitter)
    Look like he got air in his car. Must work as hard as you.
    Nola slams the door behind her. She parades her high-heeled saunter in front of D.Jay, and hops in the trick's car. D.Jay fumes as the car drives off. CUT TO:
    INT. CORNER GROCERY STORE -
    D.Jay's shirt is wet from sweat as he enters the CORNER
    DAY
    GROCERY STORE - a small, unassuming establishment. Nola trails behind and immediately goes for the ice cream \* freezers. \* ELROY, mid thirties, sits behind the counter. D.Jay reaches past Elroy to a pack of cigarettes in a display. Elroy glares as D.Jay cracks open the pack and lights up.
    ELROY
    You wanna do my job? I got a mop for ya.
    D.JAY
    Elroy. I'm havin' a day that just won't quit. So ... shine a little light on me, huh?
    ELROY
    You got something for me?
    D.Jay reaches into his pocket and pulls out a leather tobacco bag and a small NOTEPAD. D.Jay wipes a handful of sweat away from his brow and places the bag before Elroy. I CONTTNll~Tl I CONTINUED:
    D.JAY
    (referencing his notepad)
    Gotta grocery list, too. Gonna need a brick of that Big Easy bud for this VIP comin' in ...
    Elroy looks inside the bag and notices his hand is wet from D.Jay's sweat.
    ELROY
    (showing D.Jay his hand)
    Shit, D. I don't want yer stank on me. Look at this shit. I don't even like my own sweat on me. Sure as hell don't want yers ...
    A surge of anger hits D.Jay. He snatches the wad of cash from Elroy's hand and shoves it deep down the front of his pants into his crotch.
    D.JAY
    Tell you what. Let's get some of my sweet Juice on it. See how you like that.
    (pulls out the cash and slams it on the counter) \* Go on. Tell me you ain't gonna pick that up. Elroy glares at D.Jay but chooses not to antagonize him today. He picks up the wad of cash.
    ELROY
    Let's get you on your way, D.
    Elroy disappears into the back of the store. D.Jay looks over \* at Nola, eating an ice cream sandwich. \*
    D.JAY \*
    (spiteful) \*
    You cool now? \* Positioned directly in front of his gaze is a spinning cassette display case - a face-out cassette of SKINNY BLACK'S latest release stares back at D.Jay.
    KEY
    You still into that shit?
    D.Jay turns to see KEY. Key is a simple looking, chubby black male in his mid-thirties. He is wearing glasses and a blue button-down shirt with tan Dockers. He is cradling a dozen packs of 9 volt batteries. ?2 CONTINUED: (2) 22
    D.JAY
    Huh?
    rr.ON'T'TNUP.D\ CONTINUED: (3)
    KEY
    I remember coach Rosallis lettin' you spit some flow over the intercom in gym class. Back when we was all beat-boxing like the Fat Boys.
    D.Jay studies his face unable to come up with his name.
    KEY
    (offering his hand)
    Key Dunn. We went to East Middle.
    D.JAY
    (remembering)
    You did the after school dances. Had you spinnin' records. Huh?
    KEY
    Nothing fancy. Not like I was scratchin'. Just making sure Purple Rain got played for the ladies.
    D.Jay laughs - some welcomed nostalgia. Elroy returns with a \* healthy pound wrapped in a .brown paper bag. He stops, eyeing \* Key suspiciously. \*
    D.JAY \*
    Naw, he cool, Elroy. Give over. \*
    (back to Key) \* East Middle. Them was some days, huh? \* Key looks over at Nola sucking her ice cream covered fingers. \* He grins. \*
    KEY \*
    I see you still doin' the same. \*
    Elroy starts ringing up Key for the batteries. \*
    D.JAY \*
    We like the Post Office. You know, \* through rain or sleet or snow. \*
    (Key smiles) \* So, what? You got a dildo or sornethin'? \*
    KEY \*
    Do what? \*
    D.JAY \*
    What'chu buyin' all these batteries for? \*
    KEY \*
    Well, it ain't for a dildo. \*
    / C:ON~ T NfJF. f) l CONTINUED: ( 4)
    D.JAY \*
    (grinning) \*
    I'm just playin'. Shit. \*
    KEY \*
    They're for my microphones. \*
    D.JAY \*
    Microphones? \*
    KEY \*
    Mm-hin. \*
    D.Jay studies Key's face, cautious and curious. \*
    D.JAY \*
    Microphones. \*
    (nods) \* So. What is it you do? \*

INT. BELLEVUE BAPTIST CHURCH - DAY 24 \*
    A modest-sized gospel choir takes a deep breath and breaks into the Spiritual '~Keep Your Lamps Trimmed and Burning." We follow a gray cord from a hanging microphone to a collection of cables. Key is recording the choir from the pews of the church. D.Jay is seated in the center of the church - Nola sits in the back eating an ice cream sandwich. The choir crescendos with chilling intensity. D.Jay is unable to move as the song continues. He slowly grips the pew in front of him, his chest rising with deep breaths through his flaring nostrils. The music is working on him. The choir concludes abruptly, building into an accented climax. Key holds one hand up in the air, indicating for everyone to remain silent. Ir.ON~ TNU1'DI
    CONTINUED:
    24
    D.Jay exhales. Key presses STOP. CUT TO:

INT. D.JAY'S WORK ROOM - NIGHT
    D.Jay is smoking a blunt, holding in the smoke and gently blowing it back out. His keyboard holds a steady beat. D.Jay sighs and closes his eyes. Suddenly a wave of fear and paranoia hits. Something or someone just charged at him. He scrambles to his feet, looking around the room. What was that? He holds his chest and tries to control his rapid panting. He is alone in the room. He looks at the blunt and then quickly taps it out into the bowl. He turns the keyboard OFF. CUT TO:

INT. D.JAY'S LIVINGRODM - LATER - NIGHT
    It is unusually quiet in the room. Nola sleeps on one couch as Shug sleeps on the adjacent one. D.Jay is gently shaking Shug awake.
    D.JAY
    Hey, Shug ... you up?
    Shug opens her eyes and sits up, cradling her stomach with one hand.
    SHUG
    (waking up)
    I gotta watch the baby?
    D.JAY
    Naw. Everyone asleep.
    {looks at her stomach) So. He kickin' tonight?
    SHUG
    Usually after I eat. He really active durin' the day, though. Must be like his daddy, cuz he don't get that from me.
    D.JAY
    Yeah. Whoever that is.
    (C:ON'l'TNtJF'.DI 26 CONTINUED: 26 Shug is slightly wounded by the comment. D.JAY (with difficulty) Shug. We got history. You know, you been trickin' for me goin' on a few now. So ... there's that. (Shug nods) Me not pimpin' you 'cause of, you know .•. (referring to her stomach) It kind'a •.• puts us in a different place.
    SHUG
    You wantin' me to leave?
    D.JAY
    Naw. That ain't ..• Naw.
    D.Jay moves closer. He looks over at Nola again. His chest feels tight. Anxiety pushes in on him.
    D.JAY (CONT'D) \*
    (rubs his -hands together)
    I think I may be gettin' one of them mid- life crisis.
    (Shug listens) \* You know my Daddy's heart gave out when \* I's just twelve years old. He was a young man. I mean ..• I mean he's my age. (thinks on that) That's been fuckin' with my head. Like this is it for me. It's fuckin' with my Mode on the track, can't concentrate, can't smoke weed without feelin' l.ike I'm gettin' a heart attack and ... and I don't \* know what I'm supposed to do. \*
    SHUG
    I get bad dreams. Dreams like me givin' birth to dead dogs, sometimes I'm breast feedin' a big ole ugly catfish.
    D.JAY
    For real?
    SHUG
    But that's just my mind touchin' in on somethin' that I ain't said out loud.
    I C:ON'l' TNfTP,fll
    CONTINUED: (2)
    26
    D.JAY
    What's that?
    SHUG
    I'm scared.
    {rubs her stomach) I get so scared, D. D.Jay doesn't like how that sourided to him - too truthful. He \* stands and crosses to his work room. He looks back at Shug. \*
    D.JAY
    (lying)
    I ain't scared. \*
    Shuts the door. \* 26aA INT. D.JAY'S WORK ROOM - NIGHT 26aA \* D.Jay sits at his table. He touches his chest - fearful of \* another attack. His Mode begins to sound in his ears. Anger \* grips him. \* BOOM! BOOM! BOOM! BOOM! BOOM! BOOM! BOOM! BOOM! \* D.Jay pulls his pad out of his pocket. He flips to a clear \* page. He begins to write flow. \* CUT TO BLACK: \*:

26A EXT. MEMPHIS - DAY 26A \*
    Various morning establishing shots. \*

INT. CLASS ROOM - DAY 27 �
    A little boy is playing the violin. He is earnest in his \* efforts but terrible in his execution. \* We PAN to a microphone on a stand. We follow the cord to \* Key's recording station. \* Key is turned to the side, holding one end of a headphone to \* his ear. He winces with each awful note. \* The song concludes. Key presses stop and puts on a \* supportive, phony smile to the BOY'S MOTHER. \*
    KEY \*
    That was beautiful. \*
    CUT TO:

INT. KEY'S HOUSE - DINING ROOM - NIGHT 29 \*
    Key has fallen asleep with his mouth open, laying on the couch. The TV is on - a weather man talking about the heat index.
    YEVETTE
    Clyde? Clyde, dinner is on.
    A meatloaf is placed on the small dining room table, by YEVETTE, Key's wife. Yevette is roughly the same shape and size of Key. She works at a clothing retail store. She is confident, strong and no nonsense. She walks over and gently taps his cheek.
    YEVETTE
    Baby? Baby?
    (a finn voice and a finner slap)
    Clyde.
    Key snorts awake. He looks around as if he doesn't know where he is.

INT. KEY'S HOUSE - DINING ROOM - LATER - NIGHT
    Both Yevette and Key have their heads bowed and their eyes closed.
    KEY
    (mumbling the prayer)
    Most-gracious-and-heavenly-father-we-ask- you-bless-this-food-and-this-house-in-the- name-of-Jesus-we-pray-Amen.
    YEVETTE
    Amen.
    Yevette jumps into a tale from work as Key prepares to eat.
    YEVETTE
    So, Beth Ann tells me the reason I didn't get moved up into Sales Supervisor is because I have issues enforcing company policy with my co-workers. Who she referred to as my friends, not co-workers but friends. I said, just because I am pleasant and supportive does not mean I cannot ...
    ( a new mouthful)
    Crack a whip. Cuz I can crack a whip. I mean, you've seen me crack a whip.
    KEY
    (chewing his meatloaf)
    Mm-hm.
    YEVETTE
    I mean what are we talking about here? We're talking about folding sweaters and making sure the fitting rooms are kept clean. Sales Supervisors don't even handle the safe.
    KEY
    I know. I know.
    YEVETTE
    So I go in and I talk to Leonard. He always say, come in and air your grievances, so I did.
    Key is struggling to stay interested as he devotes his attention to pouring gravy on his mashed potatoes. I C.ON'rTNHF;I)}
    CONTINUED:
    30
    YEVETTE
    And you know what he said? He said that I would be incapable of writing someone up. Cuz I'm so friendly. I said, give me a pen, Leonard. I know everything that everybody is doing wrong. Beth Ann take way too long on her lunch break. Allen, that little shit back in receiving came to work high. Not to mention yesterday Sally was wearing a skirt from our discontinued line. And I know she didn't pay for it. Now, do you think I'm gonna turn a blind eye to these violations if I was Sales Supervisor, just cuz I'm nice?
    Key isn't aware that Yevette is waiting for an answer. He eats his dinner with his head bowed over his plate.
    YEVETTE
    Clyde?
    Key looks up at Yevette. The doorbell rings. The two look at the front door and then back at each other. CUT TO: l INT. KEY'S HOUSE - LIVING ROOM - NIGHT 31 Key opens the door to see D.Jay standing there holding a big paper sack in his hands. Nola and Lexus stand behind him.
    KEY
    D.Jay. What are you ...
    D.JAY
    I know you prob'ly sick of me, but ... if I could just ...
    YEVETTE
    (from behind Key)
    Clyde? Who is it?
    KEY
    Just a •••
    D.JAY
    (finishing Key's sentence)
    Just an old school buddy. Ain't that right. . . Clyde?
    Key looks at the sweaty, scantily dressed Nola and Lexus. Nola smiles as Lexus glares behind her braids. /C:ON'T'TNtJP.Dl
    KEY
    Yeah, come on in.
    Yevette stands cautiously in the entrance way to the living room, her hands clasped together. D.Jay enters followed by Nola in her short jeans mini skirt, and Lexus in tight spandex and over accentuated eye-liner. Key feels pressure to explain.
    KEY
    Uh, Yevette, this uh ••• this D.Jay. We went to East Middle together.
    D.JAY
    How you doin' ?
    YEVETTE
    (polite but skeptical)
    We were just having dinner.
    Yevette's eyes move to Nola and Lexus. Key stumbles his words to introduce them.
    KEY
    And this here is Nola and •..
    (not knowing Lexus)
    And .•• uh ...
    LEXUS
    (mumbled)
    Lex.
    KEY
    Legs?
    LEXUS
    Lex. Like Lexus. Like you get in and drive a fuckin' LEX-US.
    KEY
    (with a big phony smile)
    And ••• LEXUS.
    D.JAY
    I'd a left 'em in the car but Nola saw y'all got a window cooler. She sniffs out window units like a bloodhound bitch, I'm tellin' you.
    (turns to Yevette} I meant that as a complement. rC:ON'l'TNlJRfl l 11 CONTINUED: (2) 31
    YEVETTE
    Would you all ... like to sit down. Can I ... get you all anything?
    NOLA
    No, ma'am.
    D.JAY
    I'm ah-ight. Thank you.
    (to Key)
    Somewhere we can talk, you and me?
    KEY
    Come on back in the kitchen.
    Yevette is now left alone with two hookers sitting on her couch. She sits, leaning forward, trying to be polite.
    YEVETTE
    So. Where do you all work?
    Lexus releases a gruff chuckle. CUT TO:

INT. KEY'S HOUSE - KITCHEN - NIGHT
    D.Jay is brimming with enthusiasm. Key keeps his voice soft. \*
    KEY \*
    Opportunity? \*
    D.JAY \*
    Yeah. \*
    KEY \*
    For who? \*
    D.JAY \*
    For us. You and me. You got the gear. I \* got the styles. \*
    KEY \*
    One thing don't lead to another just cuz \* you want it. You may got some bacon, \* lettuce and tomato. But that don't mean \* I'm givin' you my toast. \*
    D.JAY \*
    The fuck you talkin' about? \*
    ( r.ONT TNT JR DI CONTINUED: 32 KEY \* Look, D. I know you learned a whole mess \* of shit, hustlin' on the streets, like \* you say ... but let me tell you what I \* learned workin' my job. \* {cracks a beer open for \* D.Jay and himself) \* There's two kinds a people. There's those \* who talk the talk and there's those who \* walk the walk. People who walk the walk, \* they sometimes talk the talk but most of \* the times they don't need to talk cuz \* they walkin'. \* (D.Jay tries to follow) \* Now folks who talk the talk, when it come \* time to walk, you know what they do? They \* talk somebody like me into doin' the \* walkin' for 'em. \* D.Jay removes his pad and flips to a page of flow. \*
    D.JAY \*
    Okay •.. But just look it what I got here, \* mane. \*
    KEY \*
    D... were you listenin' to what ... \*
    D.JAY \*
    (through clenched teeth) \*
    I ain 1 t a man to beg. But I will, nigga. \* Is that what you want? You think this \* easy ... come over all hat-in-hand and \* shit? \* (he has Key's attention) \* Listen to what I got. You think this \* shit 1 s whack. \* (snaps) \* I'm out'cha ya life. And that 1 s my word. \* Key takes a breath. He nods, ready to listen. D.Jay takes his \* time preparing. \*
    KEY \*
    I'm listening. \*
    D.JAY \*
    I'm goin' . Just ... \*
    (takes a breath) \* Waitin' on my Mode to kick in. \*
    KEY \*
    Y'what? \*
    I C:ON'T'TNUP.D l CONTINUED: (2)
    D.JAY \*
    Nothin'. Okay. \*
    D.Jay presses the loop button on the small Casio keyboard. A \* simplistic beat sounds. \*
    D.JAY {CONT'D) \*
    It's called Pop It. It go ... \*
    (reading) \* These bitches pop it for some paper. Pop \* that ass for some cash flow ... \*

INT. KEY'S HOUSE - LIVING ROOM - NIGHT 33 \*
    Yevette is wringing her hands together. She nervously smiles at Lexus and Nola, trying to come up with something to say. Nola beats her to it.
    NOLA
    I like your hair. Kind'a got that chocolate color in it.
    YEVETTE
    Well, thank you. I have a great guy who does it over in Germantown. The coloring, I mean.
    NOLA
    I try to do somethin.t different with my hair every couple of months. Keep the tricks guessin', you know.
    YEVETTE
    Keep the what?
    Another gruff chuckle from Lex.
    NOLA
    (pulling on her braids)
    These gotta be re-done a lot, if I wanna
    keep 'em lookin' real. Cuz these ain't my real braids. They just extensions.
    LEXUS
    Nola, shut the fuck up.
    NOLA
    No one's talkin' to you, bitch. You shut the fuck up.
    There is a loud pounding from the kitchen.
    LEXUS
    She don't want to know nothin' 'bout yo kitchen do.
    YEVETTE
    (trying)
    Well, I think ••• they look very nice.
    LEXUS
    (to Yevette)
    You don't gotta be nice to her just cuz she sitting on your couch.
    /f:ON'l'TNUROI :n CONTINUED: 33
    LEXUS
    If you think her head look like a dust mop, just say so.
    YEVETTE
    But I didn't. I mean, I don't ...
    Yevette can hear the pounding now, she turns to the kitchen, confused.
    YEVETTE
    What in ... God's ... ?
    NOLA
    I don't know why you gotta be so ugly. People say my hair looks sexy.
    LEXUS
    Yeah. And then they nut.
    Yevette stands and moves toward the kitchen door.
    YEVETTE
    Clyde?
    LEXUS
    Ugly as a swamp duck ho, is what you look like ...
    CUT TO:

INT. KEY'S HOUSE - KITCHEN - NIGHT
    Yevette opens the door to the kitchen. What she sees confuses her. D.Jay is caught up in his flow. It is biting, profane and \* bursting with energy. Key is slamming his beer bottle on the \* kitchen table to the beat, his eyes are closed, his head bobs to the flow. \*
    D.JAY \*
    (rapping) \*
    Pop it for some, pop it for some paper. \* Pop it for some paper. Pop it. \*
    KEY
    (in a chant) \*
    Now put your hands on your knees. \* Shake it, shake it, real fast. Shake it, \* shake it, real fast. Shake it, shake it, \* real fast. \* (Key giggles) \* That's the shit right there. \* I r.ON'T'TNlJRDl 14 CONTINUED: 34
    KEY
    Just needed some shake, naw what I mean? \* Needed some ass shakin' ... \*
    D.Jay turns around and stops, noticing Yevette and Nola. Key \* opens his eyes, a fat grin on his face. { r.ON'l'TN1J1'D\
    CONTINUED: (2)
    34
    KEY
    You run out a spit, nigga?
    YEVETTE
    Clyde?
    The smile on Key's face disappears. He sits upright.
    YEVETTE
    Clyde, what are you doin'?
    Key takes a deep breath and looks at a smiling D.Jay. With confidence and a touch of abandon, Key responds:
    KEY
    Walkin'. \*
    CUT
    35
    TO:
    CLOSE UP OF D.JAY'S TURNTABLE - DAY
    D.Jay puts on a record and speeds up the rhythm. Music continues. \* INT. D.JAY'S WORK ROOM - DAY 36 EXTREME CWSE UPS of outputs plugged into inputs, shelving added to the table, drilling screws into the wall. Key saws off the light from a desk lamp with an extendable arm. He then fastens the mic to the end of.it with duct tape.

INT. PAWN SHOP - DAY
    The beat continues as Key and D.Jay shop for keyboards and samplers at various pawn shops.

INT. KING OF CLUBS - NIGHT
    Lexus dances, hangs from a pole, unfolds a wad around her middle finger and hands it over to D.Jay. Mickey unplugs a smaller mixer from his console in the DJ booth and hands it over to D.Jay. D.Jay hustles nickel bags to a few dancers in the back.

INT. D.JAY'S WORK ROOM - DAY
    D.Jay sucks the last out of a roach and tosses the rest into a bowl. Key sets up his four track recorder - plugging in the ear phones. D.Jay hooks up Dr. Rhythm and puts beat to song. \* rr.ON'T'TNIJP.D) ,9 CONTINUED: 39 A large keyboard is plugged in. A label is taped to it: ELBOW. The melody is heard in the beat as D.Jay fingers the keys. Key nods, clear signal. Thumbs up.
    KEY
    Elbow on two.
    D.JAY
    (holds up the small keyboard)
    Quarter 0?
    KEY
    (switching channels)
    Quarter O on One.
    The music cross fades to the simple beat.

EXT. D.JAY'S STREET - DAY
    D.Jay's Mode is heard - an 808 beat: BOOM ... BOOM ... BOOM. Key is huffing as he carries the window air unit as D.Jay talks at him.
    D.JAY
    All my days I been listenin' to this beat in my head. Like a pounding. Sometime it sounds raw like an BBall joint. Sometime it go smooth like Otis Redding, ya naw what I'm sayin'. That beat. That song. That feeling in my gut. It's what I been callin' my Mode.
    (Key struggles and huffs)
    If my Mode is crackin', I can't be stopped. Like it's showtirne and I'm like Mike. Cuz out here on the track ... I \* gotta keep my game. It's hard out here \* for a pimp. Now, hold up ..• that sounded \* tight.
    (D.Jay scribbles in his notebook) \* It's hard out here for a pimp ... \* Key puts the air unit down to catch his breath.
    D.JAY
    What? You tired?

INT. D.JAY'S WORK ROOM - DAY 41 \*
    Music returns to the simple beat as Key hammers plywood over the windows. D.Jay plugs in Christmas lights that he has hung around the walls. Another lamp is plugged into the cluttered power pack. D.Jay squeezes in another plug for the turntable. He spins a record and lets it roll, blending with the beat.

EXT. D.JAY'S CHEVY - THE TRACK - DAY
    Nola has mastered a pair of white platform boots. She prances alongside the Chevy, along the track, as D.Jay scribbles in his notepad seated in the driver's seat. A trick's car drives up. Nola leans inside.

EXT. BY THE TRAIN TRACK - DAY
    The trick's car pulls behind a brick wall, a train passes.

INT. D.JAY'S WORK ROOM - NIGHT
    Key and D.Jay push the small air unit into the window space. Key plugs it in and pinches the power dial.
    KEY
    We cool now.
    Key twists the power switch and yelps as sparks fly.

INT. D.JAY'S LIVINGROOM - NIGHT
    Shug's TV along with all the lights blink out. The beat is cut short as we:
    CUT
    46
    TO:
    INT. D.JAY'S CHEVY/ TRICK'S
    CROSS CUTS of: D.Jay switching stations on his push button radio - Nola taking two wrinkled 20's from the trick. Another commercial on another station - Nola rips open a condom and tosses it in her mouth. The radio dial jumps back and forth - Nola turns her face away as sweat showers her off the trick's chubby face.
    D.JAY
    Goddamn •••
    I C:ON'l'TNTJF,D I
    CONTINUED:
    46
    D.Jay turns off the noise and flips open his notepad. 7 INT, D.JAY'S CHEVY - SAME DAY 47 Nola climbs in the car covered in another man's sweat. She holds out two wrinkled 20's, but D.Jay is too busy writing flow in his note pad to notice. \* Defeated and ignored, Nola places the two 20's on the seat. In silence, she carefully peeks over at his notes. D.Jay takes notice.
    D.JAY
    I'm tellin' you ..• this is hard work. To take what's in your mind •.• and put it into words that fit together like a puzzle ...
    D.Jay returns to writing. Nola curiously watches.
    NOLA
    I wish there was somethin'. You know, somethin' I could ...
    D.JAY
    Shit, baby, you're my operation. You what they call my primary investor. Making all this shit happen one trick at a time.
    Nola looks out the window, discouraged. D.Jay notices. He turns her face toward him. He gently touches her face.
    D. JAY
    Think about how I found you at the truck stop. You the smallest lot lizard I ever seen, trickin' them truckers for change.
    {serious) I love you, Nola. Not like a man loves a woman. But like a brother. Like you my own blood. Cuz I know, girl. I know what it is to be lost. Wantin' to be a part of somethin'. And I'm tellin' you. You a part of this. D.Jay takes her tiny hands and places them on the steering wheel. He wraps his hands around hers.
    D.JAY
    You know what this means?
    {she shakes her head) Means we got our hands on the wheel. We in charge, you and me. None of these tricks out here. We in charge. I r.ON'l'TN{JRDl CONTINUED:
    D.JAY
    I wanna hear you say it, so I can believe in you like you do me. Go'on.
    Nola feels D.Jay's wannth spread through her chest. His words are working on her.
    NOLA
    We're in charge.
    CUT TO:

INT. KEY'S HOUSE - DINNING ROOM - NIGHT
    Yevette made fried chicken tonight with mashed potatoes and purple peas. She sits stoned faced on her end of the table as Key fixes his paper plate to go.
    KEY
    You said you was okay with this.
    YEVETTE
    Yeah, that's what I said.
    KEY
    But that ain't what you meant?
    YEVETTE
    It's what you wanna hear. So let's just drop it. \*
    KEY
    I wanna hear what you really think.
    YEVETTE
    No you don't.
    KEY
    Yes, I do.
    YEVETTE
    You say that .•. but I know you just wanna hear what you want. So that's what I say.
    KEY
    I'm gettin' so sick of people tellin' me what I'm thinkin'. Like I don't know my own Goddamn mind.
    ( \,ON'T'TNUF',D l 48 CONTINUED: 48 YEVETTE KEY Don't you dare take that tone We already talked about this, with me! I have supported you so we wouldn't go round and in every ... round when time came ... \*
    YEVETTE
    (interrupting)
    I'm thrilled, Clyde! What woman wouldn't want their husband spending all their time in a house full of hos?
    Silence.
    KEY
    Yevette. This may turn out to be a big nothing. But if I sink my ass into that couch one more night ... I swear to Jesus •..
    {looks at his watch) I'm late. Key walks over to Yevette and kisses her on the cheek. Yevette is motionless, even after Key walks out the door. CUT TO:

INT. D.JAY'S WORK ROOM - LATER THAT NIGHT
    Key is stapling card-board drink holders to the walls. D.Jay is eating a leg of chicken from Key's plate.
    D.JAY
    What is that shit?
    KEY
    Drink holders. Poor man's sound proofing.
    D.JAY
    Yeah, you ain't so dumb, huh?
    A knock. Shug pops her head in.
    SHUG
    D, they's someone at the door for you.
    D.JAY
    You know my rates, baby.
    SHUG
    I don't think this guy wants no weed.
    D.JAY
    Go wake up Nola, then.
    ( <cON'T' TN\[)RT)\ CONTINUED:
    SHUG
    I don't think he want that either.
    / C-:ON'l'TNTJ~D \
    CONTINUED: (2)
    49
    D.JAY
    Shit. We gotta start making some rules round this crib.

INT. D.JAY'S LIVINGROOM - NIGHT
    D.Jay admonishes Shug as he makes his way to the front door.
    D.JAY
    Gotta get one 'a them red light bulbs, put on the wall. Light it up when we workin'. You know, "recording in session" and shit ..• D.Jay opens the door with a jerk.
    SHUG
    You tell me not to answer the door that'd be just fine with me. Gotta get up off the couch every time ....
    Standing on the porch is SHELBY, an optimistic looking white boy - age 25. He is wearing a white button-down shirt and a black tie.
    SHELBY
    Hey.
    D.JAY
    Shit, you Mormons are some brave mother- fuckers.
    SHELBY
    No. I'm Shelby.
    D.Jay notices he is holding a large duffle bag.
    D.JAY
    Okay, you Shelby.
    KEY
    (from the work room)
    Come on back, Shel.
    Shelby smiles at D.Jay as he passes. D.Jay is confused and unable to protest. He looks at Shug. She shrugs. D.Jay creeps through his own livingroom listening to Shelby and Key talk with casual familiarity.
    KEY
    Turntable's up. The mixer D. got has four inputs, so we should be good with both your boards.
    SHELBY
    Got a power strip?
    ( OON'l' T NlJRD\ oO CONTINUED: 50 KEY We tight. How many outlets you need?
    SHELBY
    Three. I brought my MPC.
    Shelby's MPC 3000 is slammed down on the table. D.Jay and Shug watch as Shelby removes two electronic keyboards and a drum machine from his duffle bag.
    D.JAY
    Hey, Key. Let me uh ... let me holla at cha for a few.
    Key leaves the work room behind. D.Jay leads him by the arm out of earshot of Shelby.
    D.JAY {
    Who's that?
    KEY
    That's Shelby. He plays piano at my \* church. Thought he'd come in and help us \* develop our sound. \*
    D.Jay looks over at Shelby rolling up his shirt sleeves.
    D.JAY
    You know he white, don't you?
    KEY
    He's just light skinned.
    CUT TO:

INT. D.JAY'S WORK ROOM - LATER THAT NIGHT
    Nola, shy and curious, places a glass of Kool-aid in front of Shelby. He smiles.
    SHELBY
    Thank you.
    NOLA
    I just woke up. I ain't put any make-up on or nothin' .
    D.JAY
    {cold)
    Get on, Nola. \* Nola takes the hint and disappears. I r.ON'l'TNH~D \ D.Jay studies Shelby from across the table. Shelby is aware of D.Jay's intense stare.
    D.JAY
    You just come back from a funeral?
    SHELBY
    (taking off his tie)
    Oh. I had to renew my driver's license today. I just decided, fuck it. I'm dressing up for this one. Shouldn't have gone with the white shirt, though. It bleeds in with the background. My head looks like it's floating in a tub of milk.
    (shows D.Jay his license) \* See?
    D.JAY
    (not even looking at it)
    Look it. I don't know who you are but I fly the fuckin' plane around here. This is my shit. My music. KEY D.JAY
    D ••• You understand me? \*
    SHELBY
    Sure.
    D.JAY
    My crib. My way.
    SHELBY
    Word.
    D.JAY
    And if I decide ...
    (catching on)
    WORD? Motherfucker, did you just say "word?"
    KEY
    That's just the way he ... he .•. it just sound funny comin' from a white boy ..• but ..•
    D.JAY
    Sounded like a dig to me.
    I r.ON'l' TNtlRDl CONTINUED: (2) 51
    SHELBY
    A dig?
    D.JAY
    Like I'm being made to look like a chump in my own house.
    SHELBY
    I was told you wanted to make music. And it just so happens that I'm a musician. So that's why I'm here. I can be like ...
    Shelby burst into Flight of the Bumble Bee on his keyboard. He is quite impressive, D.Jay is silenced.
    SHELBY
    Or I can be like •..
    Shelby shifts into a funky soul riff, switching the piano to an organ with a push of a button. Key smiles as Shelby tears up the keys. D.Jay sits down, humbled and curious. Nola and Shug peek around the corner. Shelby lays down a wicked melody as the keyboard pounds out the percussion. And then Shelby stops. He stares at D.Jay.
    SHELBY
    This could go on and on.
    (Shelby folds his arms)
    But ... you fly the plane, Mr. D.Jay.
    D.Jay looks over at Key and back at Shelby. Suddenly he is very intimidated. \*
    KEY
    You seen what he can do. Now show him \* what you got .
    D.Jay nervously flips through the pages of his note pad. \* Shelby sips his Kool-aid waiting for D.Jay to say something. \*
    D.JAY
    (concealing his fear)
    I keep this pad on me. Jot down some •..
    /COITT"TN1TF'.Dl CONTINUED: (3) 51
    D. JAY (CONT' DJ
    (nervous, changes subject)
    Y'all wanna burn one first?
    SHELBY
    Naw, we can toke up later. Let's hear what you got.
    D.JAY
    (flips through note pad) \*
    I just got, like a ... a few things like ... \* (reading without passion) \* I bet you won't beat that bitch. \* Whoop that bitch. \* Got us actin buck in this. \* Hoes tellin me to calm down but I'm like fuck that shit. \* I'm already on that hypnotic and that Grey Goose. \* A couple of shots of Hen that just gave \* me another boost. \* I'm feelin' ... \* D.Jay looks up at Key who has a concerned, sour face. \*
    D.JAY (CONT'D) \*
    What? \*
    KEY
    Well, D... I mean that sounds good but ...
    \*
    \*
    thing is ... we want some radio play, \* right? And if you got a song called ... \* Beat that bitch ... some might say it's ..• \* degrading. \*
    SHELBY \*
    (in D.Jay's defense) \*
    That's if bitch is a woman. This sounds \* like a tear-da-club-up song. \*
    D.JAY \*
    No. I ain't callin' no ho a bitch. \*
    SHELBY \*
    I'm tellin' you, Key. All the bitches I \* know are guys. \*
    KEY \*
    Y'all are preachin' to the choir. My .\* brother in law ... borrows money off me \* all the time ... biggest bitch this side \* of the Mississippi •.. But •.. \*
    I r.ON'l'TNrJF;D I CONTINUED: ( 4) 51
    SHELBY \*
    Alright ... D.Jay. If you had to say \* somethin' different ... other than beat \* that bitch ... what would you say? \*
    D.JAY \*
    (thinks) \*
    Whoop that trick. \* Silence. Heads nod. Everybody likes it. \*
    D.JAY (CONT'D) \*
    I think I like that better than beat that \* bitch. Like a chant. You know like ... \*
    (a soft chant) \* Whoop that trick ... Get 'em. \* Whoop that trick .•• Get 'em. \* Key joins in. The chant get louder. \*
    SHELBY
    Head sets, y'all ...
    D.JAY & KEY
    Whoop that trick ... Get 'em. Whoop that trick ... Get 'em.
    Everyone puts on their headsets. Shelby fires up the Key board and lays down a wicked theme. \*
    SHELBY
    Got some dark flow there. You just need the right ... ghetto bottom to it. Some of that Dirty South, 808 bottom. Like .•.
    D.JAY & KEY
    Whoop Whoop Whoop Whoop
    Shelby adds a beat from the MPC 3000. Boom, Boom-Boom, Boom. \* The beat rumbles through the house. Nola and Shug can't stay \* away. They move into the doorway from the hall. \*
    SHELBY \*
    (to Key) \*
    Bring up his mic if you're rolling. \*
    D.JAY & KEY \*
    Whoop that trick ... Get 'em. \* Whoop that trick ••. Get 'em. \* Whoop that trick ... Get 'em. \* Whoop that trick ... Get 'em. \* Whoop that trick •.. Get 'em. \* Whoop that trick •.. Get 'em. \* Whoop that trick ... Get 'em. \* Whoop that trick •.. Get 'em. \*
    ( C:ON'T' T NUP.D)
    Sl CONTINUED: (5) 51
    D.Jay flips to a different page in his pad and puts his mouth \* to the mic. He is getting more heated, angrier. Directing his \* flow to Shelby. Proving himself. \*
    D.JAY \*
    (rapping) \*
    I'm gonna make you suckers recognize I \* ain't playin' ho. \* If you violatin' off the top, trick, you \* gotta go. \* I done held in a lot of shit and I'm bout \* to flip. \* Now I think it's time to show you bitches \* who you fuckin' wit. \* D.Jay, that's the name. \* And I came to bring the pain. \* Ana in my chest got me bustin' at you \* lemon lanes. \* Y'ain't know, you fuckin' with a street \* nigga. \* From the gutter, pimp-type, slash, drug \* dealer. \* Shelby notices Shug and Nola grinning from ear to ear. He \* waves them in. They cautiously flank D.Jay To hear. \*
    D.JAY (CONT'D) \*
    (rapping) \*
    Born and raised in the M, Memphis \* Tennessee. \* Before it's said and done you bitches \* gonna remember me. \* This only the beginning. \* I gotta a lot to say. \* It's been a long time and you got hell to \* pay. \* Ain't no love ho. \* Just bring it to the door. \* I bar none let my nuts hang to the floor. \* So if you want some, this is your death \* wish. \* Better come corrected cuz I'm gonna break \* you off trick. \* It sounds so good! Everyone gets into it. Shelby, Shug, Nola, \* and Key chant with D.Jay. \*
    EVERYONE \*
    Whoop that trick ... Get 'em. \* Whoop that trick ... Get 'em. \* Whoop that trick. Get 'em. \* Whoop that trick.\_. Get 'em. \* Whoop that trick ••. Get 'em. \*
    lr.ON'l'TNU~DI Sl CONTINUED: I 6) 51
    EVERYONE {
    Whoop that trick •.. Get 'em. \* Whoop that trick ... Get 'em. \* Whoop that trick ... Get 'em. \*
    The whole crew is tossing their arms up and down to the \* chant. \*
    EVERYONE {CONT'D) \*
    Whoop that trick ... Get 'em. \* Whoop that trick ..• Get 'em. \* Whoop that trick ... Get 'em. \* Whoop that trick ... Get 'em. \* Whoop that trick ..• Get 'em. \* Whoop that trick ... Get 'em. \* Whoop that trick •.. Get 'em. \* Whoop that trick ..• Get 'em. \*
    Shelby hits his keys, making a dark explosion that ends the \* song. \* Silence. Everyone is panting. Overwhelmed. Inspired. \* r C:ON'T'TNTJF',n)
    CONTINUED: ( 7)
    51
    D.Jay, Key and Shelby all exchange looks. \*
    SHELBY \*
    Well, let's smoke some weed. \*
    CUT
    54
    TO:
    INT. KITCHEN - NIGHT
    Shug is washing dishes with Roger is on her hip chewing on a pacifier. She is singing a song with the beat as she works. Nola enters and fills Shelby's glass with more Kool-aid.
    NOLA
    It's nice havin' company.
    SHUG
    Mn-hm.

EXT. D.JAY'S HOUSE - NIGHT
    The three men are sitting on the top step of D.Jay's front porch. They are passing a joint. Shelby is high and babbling.
    SHELBY
    {finishing up a healthy
    toke) Thing is ... and I believe this. (exhales) Rap is com.in' back home to the south. Key moans in agreement as Nola hands Shelby his Kool-aid and sits next to him
    SHELBY
    Cuz here is where it all started. Heavy percussion. Repetitive hook. Sexually suggestive lyrics. It's all blues. Back Door Man to Back That Ass Up. It's all about pain, and pussy and ...
    (quickly to Nola)
    Oh. Sorry, honey.
    I C:ON'l'TN{J1'D\ o5 CONTINUED: 55
    NOLA
    (laughing awkwardly)
    SHELBY
    (back to it)
    That's okay. And. • . and. . . making music with simple tools. By any means necessary.
    D.JAY
    By any and all means necessary.
    SHELBY
    Whether it's Son House slappin' his guitar or Public Enemy samplin' Isaac Hayes. You get what you gotta say .Qlll.. Cuz you got to. Every man, you know, has the right ... the Goddamn right ... to ...
    (everyone waits, while Shelby tries to remember)
    contribute a verse.
    QUICK CUTS of another round of toking. We jump to later.
    D.JAY
    You know ... I may pimp. I may hustle. I may got to roll in circles that folks might find ... you know, objectionable. But let me tell you ... I roll with God.
    KEY
    You got to. You got to!
    D.JAY
    Cuz for me ... God is peace of mind.
    (Key hums his approval)
    God is a standard that man should set for his'self. God ... to me ... is like .•. a distribution deal.
    Another set of tokes. Jumping to later.
    KEY
    With a whole album, ten or twelve is okay. But you make a demo that just gives a little bit of a taste, like what kind'a style we got. What makes us ... us.
    D.JAY
    Then we just gotta get it in the right hands. You know. Get us some tour dates ...
    KEY
    Tour dates? We get five tracks, I'll be grinning.
    I r.ON'l' TNU1'D I CONTINUED : (2 I 55
    D.JAY
    (refers to his notepad)
    Naw. I got this shit all mapped out. This my agenda, see? Look it. Three years from now we gotta win a Grarmny.
    KEY
    {laughing, holding in smoke)
    The fuck? We ain't gonna win no Grarmny!
    SHELBY
    Well, you know, it's an honor just to be nominated.
    KEY
    See this is what I'm talking about, D. You get to thinkin' too b-ig, you lose sight of the task at hand.
    D.JAY
    Then our first "task at handn is get our shit together by the Fourth of July. Cuz I got somebody I gotta slip this shit to.
    SHELBY
    Who?
    D.JAY
    Ya'll know Skinny Black?
    Silence. Key and Shelby exchange looks.
    KEY
    You mean, Skinny Black, Skinny Black?
    D.JAY
    Only one I know of.
    SHELBY
    I got all his early underground stuff. Back when he was good.
    D.JAY
    Nigga's paid ... I say that's pretty good.
    KEY
    So ... you really know him? You ain't just sayin' you know of him.
    D.JAY
    We went to different schools and all, but ... Yeah. I know Skinny.
    CONTINUED: ( 3)
    D.JAY
    (to Shelby)
    Nigga just went platinum.
    SHELBY
    Never won a Grammy.
    D.JAY
    (points to his pad)
    Well, he don't got an agenda like we do,
    CUT
    56
    TO:
    EXT. MEMPHIS STREET - NIGHT
    A new beat blares over D.Jay's radio as his Chevy Capri rolls through downtown. I r.owr TNURD \
    CONTINUED:
    56
    \*:

EXT. CRYSTAL PALACE SKATING RING - NIGHT
    This is the South Memphis scene. Blacks, Mexicans and bold white rednecks roam the parkinglot in packs, scanning the fresh parade of young ladies. Music, fights, flirting. D.Jay and Key sit in the front seat of the parked car. Shelby and Nola are outside, leaning against the back of the Chevy. D.Jay has two Styrofoam cups. He produces a bottle of Crown Royal and begins making their drinks.
    D.JAY
    Way you been takin' care of me and mine ... you get as fucked up as you want. I got your back tonight.
    KEY
    Ain't been lit like this in long time ... I don't know if I should be ... is that Crown? Oooo. Breakin' out the good shit. Pass that on over.
    Outside, Nola and Shelby watch the cars roll by slowly - the nightly mating ritual.
    NOLA
    Do you got a regular job, like during the day?
    SHELBY
    You mean that which pays my bills but does not feed my soul?
    NOLA
    I guess.
    / r.ON1'TN1JRD\ CONTINUED:
    SHELBY
    I restock vending machines. You know, soda. Candy. Microwave popcorn. All that shit. I gotta get up at the crack and hit all these truck stops off the interstate before I head over to the high schools. I'm alone all day and I smell like Skittles and sticky buns.
    NOLA
    I thought my job sucked.
    SHELBY
    Well, what I lack in benefits ... I make up for in Moon Pies.
    Inside the car, Key kills the last of his drink. D.Jay gives him another refill.
    KEY \*
    So this shit about Skinny ... That's real? \* Cuz even if he listens to what we got, we \* don't know what he's gonna do with it. \* It's a one in million shot, D. One in a \* million ... \*
    D.JAY \*
    If I can pimp 20 dollar tricks out the \* back of a Chevy ..• I can pimp Skinny. \*
    KEY \*
    I know it's the only plan we got but •.. \* Still sounds like winnin' the lottery. \*
    D.JAY
    (lights a cigarette)
    Just get me there, Key, and I'll do what I got to do.
    (points to himself)
    This dog, you know, he got some tricks. \*
    KEY
    You mean "old 11 dog?
    D.JAY
    Didn't say that.
    Key thinks. Takes a drink. \*
    KEY
    My wife ... She a good woman. Feeds me. \* Loves me. Gets freaky on my birthday. \*
    {they both laugh) \*
    {MORE)
    I r.ON'rTNTJF.Dl
    CONTINUED: (2 )
    KEY
    But I .•. I can't help but feel ..• \*
    (sadness hits) \* You know I talked a big game to her when \* I was young. My own studio. My own label. \* Now I'm just payin' the rent. She don't \* mind but for me ... Just whole lot of the \* same. \* (tears hit Key by \* surprise) \* I ain't talked to nobody about this. \*
    D.JAY \*
    Go' on, Key. \*
    KEY \*
    (overcome) \*
    I just been feelin' myself shut down. \* Like I missed an exit, you know, on a \* freeway, and I just can~t ... turn this \* mother-fucker around. (takes another drink) \* I wanna give you my all, D. IC:ON'l'TN!Tf'DI
    CONTINUED: ( 3)
    KEY
    58
    Cuz it ain't over for me. Naw what I mean? It ain't over. \*
    (wipes away tears)
    Damn weed and Crown got me cryin'.
    CUT TO:

EXT. D.JAY'S HOUSE - NIGHT
    D.Jay shuts the passenger side door of Shelby's car where Key has passed out. Shelby sits in the driver's seat.
    SHELBY
    Well, I better roll my ass back to Cordova. Been a night to remember.
    Shelby's car takes off. D.Jay and Nola stand side by side at the curb. Both feel exhilarated and inspired.
    NOLA
    I's thinkin' about callin' my parents.
    D.JAY
    What fer?
    NOLA
    What we're doin' now. It just feels •.• important.
    D.JAY
    It is important. It's got to be. If it don't get important ... I'm gonna shoot myself in the head.
    Nola giggles .and smiles.
    NOLA
    Thank you for letting me come tonight.
    D.JAY
    Hey. No problem.

INT. D.JAY'S HOUSE - NIGHT
    Upon opening his front door, D.Jay and Nola have walked right into the middle of a serious argument. Shug and Lexus are in each other's face. Lexus is holding Roger as he screams and cries.
    LEXUS
    You don't tell me what to do with my son, bitch! I'll do whatever the hell fuck I wanna do •••
    / CON1'TN1JTCDI: CONTINUED:
    SHUG
    You can't be screamin' like that, Lex!
    LEXUS
    I pay for all this shit. This fuckin' house should be mine.
    (upon seeing D.Jay)
    Well, check this. Look who \* showed up.
    Nola dashes past Lexus and clutches the door frame to the kitchen. She is fearful and a little paranoid.
    LEXUS (CONT'D) \*
    You supposed to pick me up three hours ago, D. I been standin' outside all night all by myself. Had to take a taxi all the way back, ate up all my little monies. So you ain't gettin' shit from me tonight.
    D.Jay tries to ignore Lexus. He walks past her towards his workroom.
    LEXUS (CONT'D) \*
    You ain't gonna never be more than what you is, D. A fuckin' chauffeur. Yeah, that's right. Come to think of it, I wanna go make some money, I wanna go shake some ass, go suck some dick .••
    (snapping her fingers)
    D.Jay go get the car, boy. I'm ready to make me some money. Go on, now. Run along, bitch.
    D.Jay crosses to Lexus, fists clinched at his side. Shug, fearful for Roger's safety, intercepts - holding D.Jay back.
    / CON~ TNURD\
    f,Q CONTINUED: (2) 60
    SHUG
    She holdin' Roger, D. She got the baby!
    LEXUS
    Yeah, here it come. Come on pimp, keep this bitch in line. Go on, do your shit, nigga.
    D.JAY
    (with restrained fury)
    You and me. We done, gal. \*
    D.Jay turns, passing Nola, and disappears into the back of the house while Lexus continues to scream after him.
    LEXUS
    Yeah, we done. Go on, play with your toys. Ya sorry-assed punk.
    SHUG
    Lex, I'm tellin' you, you gotta back off ...
    D.Jay comes out of the back of the house with two dresser drawers filled with assorted clothes hanging out of them.
    LEXUS
    What now .••
    Lexus calls after D.Jay as he opens the front door and tosses the dresser drawers out onto the cement steps.
    LEXUS
    The hell are you doing?!
    Roger is screaming now. D.Jay abruptly turns into Lexus' face.
    D.JAY
    You think your shit don't stink? You think that ass gonna be your meal ticket for the rest of your life, then you get on? See how you do without this mother-fuckin' chauffeur. D.Jay rushes back to the back room.
    LEXUS
    I ain't pickin' any of that shit up, D. You want me to leave, I'll pick up. But you can't expect me .•. you can't do this ..• not right now!
    He pulls the baby crib out of the back room, ripping it against the wall as Lexus shouts. I r.ON'l' TNlJRI)\] CONTINUED: (3)
    LEXUS
    Don't you fuckin' touch my shit. I'll get it. I'll get it! Just GET OUTTA MY SHIT, D!
    Shug tries to reason with D.Jay as he tosses the baby crib out the door. ( C:ON1' TNUF:n) so CONTINUED : I 4 ) 60
    SHUG
    D, don't. She got the baby with her ...
    In the back room, Lexus starts stuffing her possessions in a bag, fearing she won't be able to take them with her. She is trying to juggle packing and holding on to Roger at the same time.
    LEXUS
    (cursing to herself} Think I can't do on my own •.. like I need you ..• (screaming out loud) I can't do this now, D! D.Jay bursts into the room, scaring Lexus, as he grabs her by
    the arm.
    D.JAY
    Out!
    LEXUS
    Don't touch me! Get'cha hands off me, D!
    D.Jay pulls Lexus forcefully out of the room. Roger screams as Lexus pleads with D.Jay.
    LEXUS
    Where you expect me to go? HUH?
    D.Jay pushes her out the front door.
    D.JAY
    You can go to hell, all I give a fuck.
    D.Jay slams the door in her face. Hearing Roger scream outside, he turns to find both Shug and Nola starring at him.
    D.JAY
    GET'CHA GODDAMN EYES OFF ME!
    Shug keeps her distance as D.Jay passes. He slams the door to his workroom behind him. A muffled beat can be heard. Nola rushes to the bathroom and slams the door behind her.

INT. THE BATHROOM - NIGHT
    Nola removes the small bag of blow from her pocket. She snorts it up using her pinky fingernail. She then crawls into the bathtub and looks above her at the bare bulb. The blow takes effect as the muffled sounds grow louder and closer. A moth flutters around the bulb, burning its wings. i (;ON'l' TNTJ~Tl I
    CONTINUED:
    61
    The beat stops. CUT TO BLACK:

EXT. UNDER THE OLD BRIDGE - DAY 62 \*
    D.Jay leans against his car and smokes a cigarette. The cars roll by on the bridge above as D.Jay stares at the Mississippi and ponders his troubles. He pulls out his pad and stares at a blank page. Closing his eyes, D.Jay begins waving his hand up and down to a beat in his head. We begin to hear the beat as we: CUT TO:

INT. D.JAY'S WORK ROOM - DAY
    The beat continues as we MOVE to later that day. Shelby and D.Jay are huddled over the drum machine tapping out a new beat with their fingers.
    SHELBY
    Okay ... wait ... check this?
    Shelby tries a new beat. Key adjusts the input level on his mixer, one side of his headset to his ear.
    KEY
    That's workin'. Kick that 8, man.
    Key's beeper goes off - a frown comes to his face followed by a stressful breath.
    D.JAY
    Y'all keep talkin' on this 8.
    SHELBY
    Short for 800 megahertz. It's one of the lowest audible bass beats you can make. I'm talkin' serious, hoopty shakin' shit. It's that ...
    He demonstrates, tapping a square that creates a low "Boom" that shakes the walls.
    D.JAY
    Shit. Crack a tooth on that.
    Key steps out of the room as Shelby starts laying down a tune to the beat on the keyboard - a wicked anthem. r r.oN~ TN\[TF:T) l
    CONTINUED:
    63
    The two suddenly realize that Key is having an argument on the phone. They stop and listen.
    KEY
    (into the phone)
    Like I said ... when I finish up ...
    (listens)
    I'm not gonna put a time on it. I'll get it done when I get it done. If I start telling you a certain ...
    (listens)
    If I tell you a certain time, then you gonna hold me to it and I'll probably be late and I. ..
    (listens, gets angry)
    We're not gonna do this now ... I said we' re not ...
    Key notices D.Jay is watching him from the next room.
    KEY
    We'll talk about this later, Yevette.
    (listens)
    Later, Yevette! Like I said ...
    Key looks at the phone. Yevette hung up on him. Key is about to slam the phone down on the receiver but manages to keep his cool. He hangs up the phone and walks back towards D.Jay.
    D.JAY
    We gonna get to work?
    Key ignores D.Jay as he passes. CUT TO:

INT. D.JAY'S WORK ROOM - DAY
    D.Jay is reciting rap from his pad as Shelby provides the beat loop. \*
    D.JAY \*
    (rapping) \*
    Man it seems like I'm ducking, dodging bullets everyday. \* Niggas hatin' on me cause I got hoes on \* the track. \* But I gotta stay paid, I gotta stay above \* water. \* Couldn't keep up with my hoes. \* That's when shit got harder. \* North Memphis is where I'm from. I'm \* seventh street bound. \* IC:ONTTNlJF.D\ CONTINUED:
    D.JAY
    Where niggas all the time end up lost and \* never found. \* Man these girls they do group things leave a big headache. \* I'm hopin every night they don't end up being dead .. \*
    And then everything stops. Key has turned off the sound of the drum machine and the keyboards. He is visibly frustrated.
    D.JAY (CONT'D) \*
    What's wrong?
    ( r.ON'l' TNTJP.n 1 CONTINUED: (2) 64 KEY I think we got to make a choice whether or not we want to make some free-style, free-for-all or if we gonna actually make a track. You know, one that might get some radio play.
    D.JAY
    I thought that's what we was doin'.
    KEY
    No. We doin' a whole lot of flow, is what we doin'. It just goes on and on and on.
    SHELBY
    There's no hook.
    D.JAY
    So let's get some hook. I mean, you the producer. Fuck. Just say what's gotta be done.
    KEY
    We gotta lay something down. Anything. Even if it's shit. Like I been saying, the way to completion is in layers.
    D.JAY
    I don't want to lay shit on top of shit.
    KEY
    (pissed, folding his arms, leaning back)
    Well that's the wonder of audio tape, D. You can just tape right over the shit.
    There is a silence that hurts. D.Jay stands up.
    D.JAY
    Do you need some ass? Cuz I got some right outside this door.
    KEY
    Man, fuck you, D.
    D.JAY
    Fuck me? Naw! Fuck Yevette! She the one got you wound like a clock ...
    SHELBY
    Hey, guys. Let's keep it light.
    /CON'T'TNTJRD): CONTINUED: (3) 64
    KEY
    (standing, furious)
    You listen to me, ya dirt-rascal pimp. You keep my wife's name out-cha mouth.
    D.JAY
    Sound like she the one need to put somethin' in her mouthl Naw what I mean?
    Key lunges at D.Jay. Shelby grabs them both as their faces get so close they could kiss.
    SHELBY
    Whoa! Could we not do this? Could we just .•• smoke a joint for Christ sake!
    A knock is at the door. Everyone freezes.
    D.JAY
    Who is it?
    SHUG
    It's me, Shug.
    D.JAY
    We workin' now, Gal. What'chu want?
    SHUG
    I got somethin' for you.
    The three men exchange looks and then carefully release each other. They all slowly return to their stations.
    D.JAY
    Yeah, come on, Shug.
    Shug enters holding a box.
    SHUG
    I'm sorry, y'all. Didn't mean to disturb
    yo recording. She removes a green lava lamp. Everyone looks at it with confusion and curiosity as she sets it up on the table.
    SHUG
    They had this interview with Skinny Black on TV. Look like he got one of these in \* the studio he use. So I thought I'd go down to the Mall and get you one.
    I r.ON1'TNlJ~Tl I CONTINUED: ( 4) She turns it on. green colors ooze in a hypnotic motion. The men are captivated. Shug smiles at her contribution and leaves. Silence.
    D.JAY
    (with awe and respect)
    Now, that's bottom bitch right there. KEY SHELBY
    Good woman. Good good woman. Wow! It's like she was a little angel, just flew in and flew out. D.Jay leans in and looks at the lava lamp.
    D.JAY
    All of this. It's bigger just sittin' in this tiny room. We got everything we need and I ain't got shit in my head.
    KEY
    It takes time.
    D.JAY
    (holds his head)
    I'm tryin' to squeeze a dollar out of a dime. I ain't gotta cent.
    Silence. Shelby stares at the lava lamp.
    SHELBY
    Do you all believe in omens?
    CUT TO:

INT. D.JAY'S WORK ROOM - LATER - DAY 65 \*
    Shelby is laying down a simple melody on the keys, no percussion. Shug is listening intently.
    SHELBY
    Okay, I'm going to play with you until you've got the melody down. But don't rush it. We've got time to get it right.
    Nola sits down in the corner of the workroom. She hugs her knees, nervous for Shug. D.Jay looks helpless in the corner= as he watches Shelby coax a performance out of Shug. ( C:ON'T' TNUP.Dl CONTINUED: 65 KEY Shug, I'm gonna need you to move closer to the rnic. (she complies) Can you hear yourself. Say something.
    SHUG
    Hello?
    Thumbs up from Key.
    SHELBY
    What we need right now is what we call "hook." It's like the chorus of a song.
    (he hands a sheet of lyrics to Shug)
    These are the lyrics. Real simple. But we need some soul behind·it.
    KEY
    Kill the fans.
    D.Jay snaps at Nola. She turns off the fans.
    SHELBY
    Okay, I suck. But I'm gonna sing it with you until you got it down. Cover your ears. \*
    SHELBY
    (singing and snapping)
    You know it's hard out here for a pimp. \* When ya tryin' to get the money for the \* rent. \* With the Cadillac and gas money spent. \* Cause a whole lotta bitches jumpin' ship. \*
    (speaking quickly to Shug)
    Sing with me. And ...
    Shug leans into the rnic. She is timid and soft, occasionally \* looking at D.Jay for encouragement. \*
    SHUG & SHELBY
    (singing with Shelby) \*
    You know it's hard out here for a pimp. \* When ya tryin' to get the money for the \* rent. \* With the Cadillac and gas money spent. \* Cause a whole lotta bitches jumpin' ship. \*
    SHELBY
    Come on, Shug. Get behind it.
    ICON'l'TNlJ~Dl CONTINUED: (2) 65 She tackles the verse again, this time much more aggressively. Nola rocks back and forth, she snaps her \* fingers with Shug. \*
    SHUG \*
    (singing) \*
    You know it's hard out here for a pimp. \* When ya tryin' to get the money for the \* rent. \* D.Jay moves closer to Shug, drawn to her sudden talent. They \* look at each other as she sings: aggressive, passionate.
    SHUG (CONT'D) \*
    \[singing) \*
    With the Cadillac and gas money spent. \* Cause a whole lotta bitches jumpin' ship. \*
    D.JAY
    {firm, commanding)
    Bitch, you better let it out. D.Jay smacks her on the ass. It pushes Shug into a state of control. She sings right at D.Jay who glares and grins with awe and approval. \*
    SHUG \*
    (perfect) \*
    You know it's hard out here for a pimp. \* When ya tryin' to get the money for the \* rent. \* With the Cadillac and gas money spent. \* Cause a whole lotta bitches jumpin' ship. \* (again, better) \* You know it's hard out here for a pimp. \* When ya tryin' to get the money for the \* rent. \* With the Cadillac and gas money spent. \* Cause a whole lotta bitches jumpin' ship. \* Shelby barks at Key as D.Jay and Shug remain locked into each others eyes. This is his girl. \*
    SHELBY
    That's the money take, right there.
    KEY
    {rewinding, listening)
    Hold on ...
    NOLA
    Hey, I wanna do one.
    I C:ON'l' TNll~Tl \ '5 CONTINUED: (3) 65
    D.JAY
    Nola, hush up! \*
    Nola shrinks back into the corner. Shelby barks at Key again.
    SHELBY
    You got that down or don't you?
    KEY
    Alright everybody out! We gotta work on this alone. You too, D. Let us work.
    D.Jay is surprised at being kicked out of his own room - but he is quick to obey. They all exit, shutting the door behind him.

INT. O.JAY'S LIVING ROOM - DAY 66 \*
    D.Jay remains standing, staring at the closed door as Shug sits down on the couch, Nola beside her. It is as if the three are waiting for a baby to be born. I r.ON'l'TNOF:DI
    CONTINUED:
    66
    A muffled beat lifts D.Jay and the girl's attention to the \* door. D.Jay takes a breath, nervous. \* Through the door they listen to Shelby and Key shout. Then there is silence. \* Shelby opens the door.
    SHELBY
    (to D.Jay)
    You're on, dog.
    CUT TO:

INT. D.JAY'S WORK ROOM - DAY 67 \*
    QUICK CUTS: Red dots rise as the FOUR TRACK rewinds. Plug in. Push. Adjust levels. Scans through the-menu of the MPC 3000. Key listens and then: / C:ON'l'TNlmn \
    CONTINUED:
    67
    KEY
    D. We layin' you down now. That means it's a fixed length. Don't do more than what you got down on your pad.
    D.Jay is scared and excited. He rubs the sweat off his palms and removes his notepad from his back pocket. CUTS of rewinding tape - Shug's voice is playing in reverse.
    KEY
    Alright, kill the fans.
    The fans are turned off again.
    KEY
    (hearing something in his headphones)
    Is the TV on in the ... Shhhhh.
    All is quiet in the room. But outside the neighborhood is still alive. A pounding muffled bass beat can be heard.
    D.JAY
    Goddamn it!
    D.Jay opens the bottom drawer behind him and removes two quarter ounce bags of bud.
    D.JAY
    (as he leaves)
    This day is fuckin' with my Mode.
    CUT TO:

EXT. R.L.'S HOUSE - DAY
    D.Jay knocks on the door of the shotgun house next to his. R.L. opens the door - the man is muscular and fierce looking. Behind him are two of his friends - equally as fierce looking - playing on a Playstation. The rap music is deafening. D.Jay puts on a smile as all eyes are on him.
    D.JAY
    R.L .... I know we've had some words in the past. Some of 'em wasn't too friendly. But I respect you and your boys right to do whatever it is you want to do in your own house and do it as much as you want to do it. But the thing is ...
    fC:ON'T'TNUF.nl
    CONTINUED:
    D.JAY
    68
    is I got something going on in my crib that requires some .•. silence ••..
    One of R.L.'s boys stands in the back - all eyes on D.Jay.
    D.JAY
    And though I would never demand ... I can only suggest with a gesture of neighborly, you know ..• friendship ...
    (holding out the two bags of bud)
    ... to please ... consider the MUTE button for a spell.
    R.L. takes the bags of bud, opens one, sniffs it. He then points the remote in his hand toward the stereo. All goes quiet. R.L. shuts the door.

EXT. D.JAY'S HOUSE - DAY 69 \*
    D.Jay leaps his fence. A few children are running up his sidewalk with squirt guns - screaming and shouting.
    D.JAY
    Uh-uh. Naw. Y'all take that shit up to your own yards. Go play somewhere's else.
    A brave boy squirts D.Jay in the side of the head and bursts into laughter. D.Jay grips the dying tree in his front yard and rips a switch off.
    D.JAY
    Oh, you think that's funny?
    (running after the boy)
    I know your daddyl I know your daddy!
    The kids scramble in all directions. CUT TO:

INT. D.JAY'S WORK ROOM - DAY 70 \*
    D.Jay sits in his seat - he is almost out of breath.
    D.JAY
    We gonna need to get some more drink holders.
    KEY
    Stand by everyone.
    ( \.ON'T' TNUP.D l 70 CONTINUED: 70 SHELBY Standing by.
    D.JAY
    Yeah, me too. I'm here.
    Key hits it. He spins his finger in the air and mouths the words: Rolling. Shug's voice explodes over the headphones. She sounds \* incredible. She has to cover her mouth she's so excited. \*
    D.JAY (CONT'D) \*
    (rapping) \*
    With my eyes I done seen some crazy \* things in these streets. Gotta couple hos working on the changes for me. But I gotta keep my game tight like Kobe on game night. Like takin from a ho don't know no \* better, I know that ain't right. \* The same people killed the same people deal. The same people live in poverty with no meals. It's fucked up where I live but this is how it is. It might be new to you but it's been like this for years. It's blood sweat and tears when it comes down to this shit. I'm trying to get rich before I leave up out this bitch. I'm trying to have things but it's hard for a pimp, but I'm praying and I'm hoping to God I don't slip Shug's hook returns. Her and Nola are dancing to it. Key \* looks concerned. He keeps adjusting levels something is \* wrong. \* D.Jay is about to start on the second verse. Suddenly, the \* tape stops.
    KEY
    Cutting.
    SHELBY \*
    WHAT!
    / r.ON1'TN!JF,D I 7Q CONTINUED: (2) 70
    D.JAY \*
    Nigga, I gotta another verse! \*
    KEY
    D, I gotta talk to you.
    CUT TO:

EXT. D.JAY'S HOUSE - LATE DAY 71 \*
    D.Jay and Key are in a heated debate on the porch.
    KEY
    You gotta understand ... I only bring this up cuz things goin' so good. I mean this is gain' a whole lot better than I thought. I just want it to be perfect.
    D.JAY
    It sounded perfect to me.
    KEY
    It don't matter what sounded good to you, D. It matters what I hear through the current. And I'm tellin' you that microphone ain't shit.
    D.JAY
    What's wrong with it?
    ( r.ON'l' TNfJF:Dl CONTINUED: 71 KEY {holding it up)
    The mies we're using got a wider pattern, \* D. They're too flat. You start screamin' they distort and pop out.
    D.JAY
    Just when I get up you gotta fuck with my Mode. I ain't gonna be that live again. I don't care what mic I'm on. Shit was live.
    KEY
    It was live, D. It was also distorted.
    D.Jay storms off. CUT TO:

INT. MUSIC SHOP - DAY
    The SHOP OWNER is resisting D.Jay's hustle. He is a portly, red-breaded, sweaty guy, with black-rimmed glasses.
    D.JAY
    I just don't see why I gotta pay so much more money for that microphone and the one right next to it, look just like it, cost half. If I buy two can I get 'em both for ninety dollars.
    Nola is bored and browsing through the CD collection.
    SHOP OWNER
    These are studio quality. They cost two hundred and fifty dollars. Why would I give you two at ninety apiece.
    D.JAY
    Cuz the customer always right. Ain't nobody told you that?
    SHOP OWNER
    Not in this case, sir, no. If you want quality, you have to pay for it.
    The shop owner briefly looks over at Nola browsing the portable stereos.
    D.JAY
    What was that?
    / CON'l'TNTJF,O\ CONTINUED:
    SHOP OWNER
    What?
    D.JAY
    What'chu lookin' at?
    SHOP OWNER
    Nothin' .
    D.JAY
    Now, hold up, Sparky. I ain't gonna pop. See the thing is •.• I got it good with that one over there. She my girl and all but she ain't really my girl.
    The shop owner looks confused. D.Jay peeks over at Nola.
    D.JAY
    Now, she gonna wanna lock that door and see what kind'a specials you got gain' on in back. And me? I'm the kind'a man that can walk right outside and leave somethin' like her behind - cuz, truth is, she don't .belong to me. Not like that.
    (D.Jay pauses for effect)
    And maybe, when she ready to go, she can take somethin' that don't belong to her neither.
    The shop owner looks down at the microphone.
    D.JAY
    (shrugging)
    Like you say ... If you want quality ... you gonna have to pay.
    D.Jay pats him on the shoulder as he walks away. He whispers into Nola's ear. She listens and then looks over at the nervous shop owner. She rolls her eyes and furiously whispers into D.Jay's ear. He whispers back - a little louder this time, grabbing her arm. forcefully. She pulls away with a jerk. D.Jay exits with a broad smile.
    D.JAY
    Y'all be good.
    Nola inhales and exhales deliberately, turning the lock on the door. She turns to the Shop Owner. CONTINUED: (2)
    NOLA
    (unable to fak~ a smile)
    Hey.

INT. D.JAY'S CHEVY - OUTSIDE THE PAWN SHOP - LATER - DAY
    Nola opens her door and slams it shut behind her as she plops down beside D.Jay. D.Jay looks at her, expectantly, but she reveals nothing.
    D.JAY
    You got somethin' for me?
    Nola explodes at D.Jay, hitting him in the shoulder. It startles him at first.
    NOLA
    Don't you ever do that to me again!
    D.JAY
    Now, hold up ...
    NOLA
    I ain't some fuckin' cash machine, where you can get shit for freel I gotta have a say in what -r do. I gotta have a say! I ain't gonna suck dick every time you come up short! Fuck you, D! Fuck you!
    D.JAY
    (pulling out a twenty) Now I was gonna pay you what you make ... weren't in there for more than half a minute. Ain't like you sweatin' bullets in the back of some niggaz car •.. Hey you got somethin' for me? DO YOU GOT
    SOMETHIN' FOR ME?!
    Nola reaches into her bag and throws the microphone at D.Jay.
    NOLA
    Here! Take it! You fuckin' earned it.
    D.JAY
    Shit, Nola! You can't be throwin' this! This here a dynamic rnic, studio quality. Couple hundred dollars right here!
    D.Jay realizes that Nola is sobbing. He tries to touch her but she pulls away.
    D. JAY
    Now don't get like this. Hey. You heard me?
    ( r.ON'l' TN1l1'D\ 73 CONTINUED: 73 D.JAY (CONT'D) (it's rare that Nola cries, so D.Jay gets a little nervous)
    We ... We take care of our shit, Nola. By any means. We do what we gotta do. Ain't that right? Huh?
    (No answer)
    Look it. You think I want this? You think I wanna spend the rest of my life pimpin' yo pimpled country ass ••. well, I don't, baby. NOT ME !
    D.Jay grips the wheel attempting to quell his angry.
    NOLA
    (through her tears)
    Don't you know, D? Don't you know what I do in them cars.
    (sorrow over takes her)
    E'erybody got somethin' to do! And I just want ..•
    D.JAY
    What? Say it!
    NOLA
    Somethin' I can ...
    D.JAY
    WHAT DO YOU WANT TO DO?!
    NOLA
    NOT THIS!
    Nola tries to swallow her tears, looking out the window.
    D.JAY
    The way I saw it ... you was on the other side of the table, you know, with me. More like a .•. a executive producer.
    NOLA
    Ain't that just another way to say I gotta eat dick.
    The statement silences D.Jay. Nola wipes the tears from her face and the snot from her nose. D.Jay leans close.
    D.JAY
    I think I got you dressed all wrong. Bitch like you need to be in a suit. Get you a mobile with an earphone jack. I'm tellin' you •..
    1C:ON'l' T NUF'.D \ CONTINUED: (2)
    D. JAY
    once I get you into some different shoes, you gonna feel better .•. You gonna look like you in charge.
    NOLA
    (looks him dead in the eye)
    D. I know when you mess with my head to get what you want. And I let you do it. Cuz sometimes I need my head to be messed with. But right now ... just don't do it, okay?
    D.Jay nods respectfully and starts up the car. They drive away.
    CUT
    74
    TO:
    INT. KEY'S HOUSE - KITCHEN - NIGHT
    The oven timer dings. Yevette removes a baked ham from her oven.

) INT. KEY'S HOUSE - DINNING ROOM/ INT. D.JAY'S WORK ROOM - 75
    NIGHT \*
    Yevette prepares a plate for herself at the empty dinning room table. \* Key shouts at Shelby over the beat. \*
    KEY \*
    High hat! Put some high hat shit on top! \* Right there with the kick. It should go \* like, boom, boom, tack •.. ba-TEEK! \*
    With a deep sigh Yevette looks at Key's empty chair. She then shakes the sorrow away, laces her fingers and bows her head. \* Shug is laying down in the bathtub covered in blankets. Key \* is adjusting a mic positioned over her. \*
    KEY (CONT'D) \*
    Try it now, baby. \*
    SHUG \*
    (singing) \*
    Keep Hustlin' ... Keep flowin'. \*
    KEY \*
    (calling out) \*
    How was that? \* ( C:ON'l' TNlTRfll CONTINUED: 75 SHELBY \* (o.c. I \* Tell her to put some dick in it! \*
    KEY \*
    (gently to Shug) \*
    He say you need to put more dick in it, \* baby. \*
    SHUG \*
    (sweet as can be) \*
    Okay. \* We see Yevette pray. \*
    YEVETTE \*
    (praying) \*
    Most gracious and heavenly father .•• We \* ask that you bless this food and bless •.. our home .•• / r.ON'l' TNlJ~Dl
    CONTINUED: (2)
    75
    Yevette cannot continue. Tears come to her eyes as she covers her mouth. Looking at the empty chair, Yevette calms herself. There is a refreshing sense of clarity in her eyes - the woman has made up her mind. = TO:

EXT. D.JAY'S HOUSE - NIGHT 76 \*
    Yevette is dressed in a conservative brown blouse, holding a covered serving plate. She knocks. Shug opens the door.
    YEVETTE
    Hi.
    Hey.
    YEVETTE
    I'm ... my name is Yevette, I'm Clyde 1 s ... Excuse me ... Key's wife.
    SHUG
    He in back with the rest of the fellas. They fixin' to cut.
    YEVETTE
    Cut?
    SHUG
    Yeah. They recordin' somethin'. It's what they call it. Cut.
    YEVETTE
    Well ... I just wanted to drop this off. It's nothing, really. Just, sandwiches and ... there's dill sauce in the middle to dip if ...
    Yevette hears a loud rhythm· from the other room. She tries to fan away the tears welling in her eyes.
    YEVETTE
    I don't want to disturb him or ••• or cause any fuss ..• I just ...
    (distracted by Shug's stomach)
    Boy are you pregnant.
    Shug takes the dish from Yevette and takes her by the hand. / C:ON'T'TNUF',D \: CONTINUED:
    SHUG
    Come on in. It's okay.
    CUT TO:

INT. D.JAY'S WORK ROOM - NIGHT 77 \*
    Shug opens the door to the back room where all the boys are crammed and working. \* Nola is sitting on the floor by the fan carefully writing D.Jay on the tape labels; Key has his headphones on, testing \* levels; D.Jay mumbles through some flow scribbled in his notebook; Shelby is huddled by the MPC 3000 going over beats. \* Shelby is creating really loud beats on the drum machine. He stops temporarily to speak with D.Jay.
    SHELBY
    I think you should throw your best ball. To me that's the second bit.
    SHUG
    Hey fellas?
    D.JAY
    We gonna gab or we gonna roll?
    Key slaps his hands together and turns around toward the table.
    KEY
    (taking cormnand)
    Alright, alright. Let's beat this bitch! \*
    Upon seeing Yevette next to Shug, terror seizes Key as he snatches the headphones off his head and stands.
    KEY
    Oh ... shit ...
    Everyone else in the room turns to see Yevette.
    SHUG
    Shelby, Mickey ... this here is Yevette. This is Key's wife.
    ( C:ON'l' TNTJF.TI l 77 CONTINUED: 77 Shelby and Mickey stand. Yevette is thankful that Shug is doing all the talking. Key is paralyzed.
    SHUG
    (handing the serving tray to D.JayJ And look, y'all. She brought everybody sandwiches. YEVETTE There's dill sauce. For you to dip, if ...
    (her eyes meet Key's)
    you all want ...
    D.Jay stands, facing Yevette.
    D.JAY
    You know, Key worked· real hard on this last one. You should stay and listen.
    YEVETTE
    I didn't want to interrupt. I thought ..• it being dinner time .••
    D.JAY
    We'd like it if you could stay.
    (to Key)
    Huh, Key?
    Key remains staring at Yevette who stares back expectant, nervous.

INT. D.JAY'S WORK ROOM - NIGHT
    D.Jay is petting the new studio mic fastened to the desk lamp arm.
    D.JAY
    This track here ... It's a piece of my heart. So, before I put my mouth to this mic and do this, I'd like to bless it with a kiss from our primary investor.
    D.Jay slowly spins the new mic to Nola. She is embarrassed but Shelby encourages her.
    SHELBY
    Go on, girl.
    Nola kisses the mic with her eyes closed. The mic spins back toward D.Jay. l r.ON'T'TNUF,D \ CONTINUED:
    KEY
    Well, just like our primary investor, this mic is real hot. So fans off.
    The fans are turned off. A beat is heard as we push in on the blades slowly turning to a stop. CUT TO:

INT. D.JAY'S WORK ROOM - LATER - NIGHT 79 \*
    D.Jay is concentrating hard. His flow is tight and confident. \* Tape is rolling. \*
    D.JAY \*
    (rapping) \*
    This is my life and it's a battle \* within'. I gotta survive even if I'm \* sinnin' to win. \* And if I show no remorse I reap the \* devil's reward. \* He said he'll give me riches but I'm \* searchin' for more. \* When I was young witness my dad standin for right. \* Black pride in him even though he passin' \* for white. \* Took years from my life now I'm rnissin it, mane. \* Mom on some other shit now I'm missin 1 \* the plan. \* So I'm stuck in that fuck the world mold. \* Adolescence to a teen the world been so cold. \* Then my pimpin' ass uncle put me up on \* the game. \* It really ain't no love it's bout that paper mane. \* Put me in the position got me out on a mission. \* Collectin' from the hos turned me about \* pirnpin'. \* A nigga from Memphis dealin' with life in \* the struggle. \* Missin the gift I was givin so I just stay bout my hustle. \* Shug is heard in the hook. We cut back to her in the bathtub, \* recording the hook, singing soulfully into the mic hanging \* over her. \* I r.ON1'TNTJ~fl) CONTINUED:
    SHUG \*
    (singing) \*
    Keep hustlin' ... \*
    D.JAY \*
    (rapping) \*
    It ain't over for me, no it ain't over \* for me. \*
    SHUG \*
    (singing) \*
    Keep flowin' ... \*
    D.JAY \*
    (rapping) \*
    I'm'a step my game up and get what's \* comin to me. \* Hook repeats. \* Shug sits in a chair in the corner of the room. She rubs her \* stomach as her head moves to the beat, mouthing the words. \*
    D.JAY (CONT'D) \*
    Now I'm just getting by and it's fuckin with me. \* See others doin' big things they was \* nothing to me. \* I'm seeing what I use to be and it's lookin legit. \* Got my hands on some music started fuckin with it. Put it down hard then I start bumpin to \*
    \*
    this. \* Let me check my connection cause we go back in the day. \* They was cookin for dro heard I was hustling hay. \* Got me connin' my nigga spittin game to \* my hos. \* This is my opportunity feel like anything goes. \* I was never s'pose to see the new millennium mane. \* And I refuse to let my daddy "Die in vain". \* So I give it my all you feel my struggle \* and pain. \* If you ain't feelin what I'm spittin trick you lame to the game. \* But the closest one to me\_ know I'm holdin it down. \*
    I f:ON'l' TN1JJCDI CONTINUED: (2)
    D.JAY
    You gonna feel me one day I'm gonna be \* hurtin the town. \*
    SHUG \*
    (singing) \*
    Keep hustlin' ... \*
    D.JAY \*
    (rapping) \*
    It ain't over for me no it ain't over for \* me. \*
    SHUG \*
    (singing) \*
    Keep flowin' ... \*
    D.JAY \*
    (rapping) \*
    I 'rn' a step my game up and get what's \* comin to me. \* Hook repeats. \* As the track concludes we spin around the room, stopping briefly at each of our crew. WE SPIN TO: Shelby on keyboard. SPIN TO: Nola listening. SPIN \* TO: Mickey grinning. SPIN TO: Shug closing her eyes and grooving. SPIN TO: Yevette looking at her man in awe. SPIN TO: Key winking at Yevette and pressing stop on the four- track. There is silence. CUT TO:

EXT. ARNEL'S CLUB - NIGHT
    D.JAY
    (from inside the club)
    You a business man, Arne!. Let me ask you somethin'. You ever get ... depressed?

INT. ARNEL'S KITCHEN - NIGHT
    Sitting on two crates, both D.Jay and Arnel share a blunt in the storage room. They are playing dominoes. ( C:ON'T' TNHF:n 1 CONTINUED: 81 ARNEL You mean sad?
    D.JAY
    (thinks)
    Way I see it. A man who make his own pay- roll. You know, hustlin' his own agenda?
    (Arnel nods)
    That's a whole lotta pressure to lay on a man. Not like his troubles stop at the end of the day. The shit stay with you.
    (sighs)
    I get down, that's all.
    ARNEL
    That's gonna happen when a man try to take charge of his own destiny. Hard thing to claim - destiny.
    D.JAY
    I got that taken care of.
    ARNEL
    You think so, huh?
    D.JAY
    Ain't like it's somethin' a man can't get control of. He just gotta do it.
    ARNEL
    Okay, D. Lay it on me. What's your destiny.
    D.JAY
    I aim to be a media empire.
    ARNEL
    And how you figure to be that?
    D.Jay removes a zip-lock bag of light brown marijuana. Arnel eyes the bag.
    D.JAY
    Yellow and blue make green.
    ARNEL
    Is that ... ?
    D.JAY
    Uh-huh.
    I C:ON'l' TN1JRD \ 91 CONTINUED: (2 ) 81
    ARNEL
    (referring to his joint)
    Why the fuck we smokin' this?
    D.JAY
    This for Skinny.
    (D.Jay pauses for effect)
    When he come in tomorrow, on the Fourth, \* I'm gonna make a gesture. You know, my own little firecracker finale.
    ARNEL
    You just bein' friendly or you wantin' an autograph?
    D.JAY
    Autograph? Shit, I want a contract. I want distribution. Back-end publishing points. Fuckin' standees with my pimpin' mug on da front.
    ARNEL
    What'chu talkin' about ••. Standees?
    D.JAY
    (removes his pad)
    In two years, way I figure, Skinny gonna be wantin' my autograph. Cuz that's when I go platinum. Me. D.Jay ... \*
    D.Jay looks at a Skinny Black CD Release poster on Arnel's \* wall. \*
    D.JAY (CONT' DJ \*
    (glares with confidence) \*
    That's the name. \* And I came to bring the pain. \* We PUSH IN on Skinny's face in the poster. \*
    D.JAY
    Ani in my chest got me bustin' at you lemon lames.
    His Mode starts pounding as we PUSH IN CLOSER: D.JAY'S eyes \* and SKINNY'S FACE. \* BOOM! BOOM! BOOM! BOOM! BOOM! BOOM! BOOM! \*
    CUT TO BLACK: \*
    lA EXT. D.JAY'S HOUSE - SUNSET 81A \*
    Establishing shot. \*

INT. D.JAY'S BATHROOM - DAY 84 \*
    D.Jay loops his black belt through and buckles it. Shug is sitting on the toilet watching him prepare for the evening. He looks impressive, dressed in black with his long leather coat.
    SHUG
    Ain't you gonna be hot in your coat?
    /C:ON'T'TNtJP.0) CONTINUED:
    D.JAY
    Good leather breathe a bit. Keep you at \* the ... you know .•.. the temperature you wanna be at.
    Shug smiles. D.Jay picks up a rolled up sock. A simple silver watch rolls out of the sock and into D.Jay's palm.
    D.JAY
    This was my Daddy's. Ain't much shine on it but ... you know, in the day, this was the shit. He worked for the school district ... he fixed up all them school buses.
    SHUG
    Yeah?
    D.JAY
    Yeah. I see them buses today and I be all, "my daddy worked on them."
    (a brief smile)
    But, uh ... he been doin' it for like, goin' on 10 years. So the school district gave him this. Thought about burying him with it ... but I thought, you know, maybe I should have, like, a heirloom, you know?
    He snaps it on and positions it just right.
    D.JAY
    Wear it for luck. Help me get my Mode on.
    Shug stands up, nervous at first, but a deep breath calms her.
    SHUG
    I got you somethin'.
    (Shug offers a small box)
    I been watchin' the videos and all, and it be like all the rappers got some chain.
    D.Jay opens it and groans in appreciation and awe.
    D.JAY
    Oh, shit!
    He removes a gold medallion. It is in the shape of his name: \* D.JAY. ( C;ON'T' TNtJF!D) CONTINUED: (2)
    SHUG
    Always talkin' about your name bein' real, you know ... thought people could see how you like it spelled out. With the J-A-Y.
    D.JAY
    See this is what I'm talkin' about. I gotta have my people think this shit up. Cuz I didn't even think of somethin' like THIS. You know?
    (admiring it)
    This shit is perfect.
    Shug takes it from his hands and attaches it around his neck. Their faces are very close.
    SHUG
    D ••• ?
    D.Jay waits for Shug to continue but soon realizes she is crying.
    SHUG {
    I get like thiS ..• cuz I 1 m pregnant.
    (trying to collect herself.)
    Lettin' me sing. On the demo, like you let me do. I felt ...
    (she wipes her face and tries to breath)
    Special. And I know, you gonna be movin' on and movin' up. And y'all gonna get really good people backin' you up.
    (D.Jay wipes away her tears)
    But for me ... you need to know, it meant the world to me. It meant the world. And I wanted to thank you.
    D.Jay kisses her on her wet cheek. He lifts the D.JAY medallion and looks at it. CUT TO: \*:

EXT. D.JAY'S HOUSE - PORCH - DAY 86 \*
    D.Jay and Shug cross to the door. They peeks outside to see \* Shelby, Key, and Nola waiting by the Chevy. \*
    KEY
    (from the street)
    Don 1 t you gotta be there at nine?
    D.JAY
    (calls out to Key)
    He gonna be there all night, Key.
    (to Nola)
    Go calm that nigga down.
    Nola joins the others. D.Jay checks his pockets. Shug sees he is nervous.
    D.JAY
    I ain't scared, you know?
    SHUG
    I know.
    Shug gently touches his a.rm. D.Jay nods and closes the door. He crosses to his crew by the car but he is preoccupied with the sensation of Shug's touch.
    SHELBY
    (looking at the medallion)
    Oh wow. Check it out! How cool is that?
    KEY
    I got extra demos in the car in case he got some label folks around. They cassettes now. He want a CD, he gonna have to hit us back.
    SHELBY
    (still enamoured with the medallion)
    I want one of these, man. Do I get one?
    KEY
    (noticing D.Jay is preoccupied)
    What's wrong with ya, D?
    SHELBY
    You got your Mode on?
    A thought hits D.Jay. I C:ON'T' TNUF,n l CONTINUED:
    D.JAY
    Hold up.
    D.Jay bounds up his steps.

INT. D.JAY'S HOUSE - DAY 87 \*
    He throws open the front door, startling Shug who has been spying out the front window. D.Jay grabs Shug with controlled force bringing his lips to hers. The girl collapses under his uncharacteristic passion. She moans, clutching his face, as he holds her almost upside down in his embrace. The kiss finally concludes. D.Jay stands Shug upright and burns into her eyes with his. Shug holds the bottom of her stomach and breaths evenly trying not to give birth right then and there. D.Jay nods proudly, certain of one thing in his life if nothing else. He shuts the door behind him.
    D.JAY
    Yeah, I got my Mode.
    CUT TO:

EXT. ARNEL'S CLUB/ D.JAY'S CAR - LATE DAY 90 \*
    D.Jay pulls up in his Chevy into the parking lot. The music stops as he turns off the car. He slides a demo tape from a stack positioned on his dash.
    D.JAY
    {looking into the mirror)
    Show time, D. He steps out of his car. His confident swagger ebbs as he sees the tricked out Cadillac Escalades parked out front .. He swings the front door open and slams into YELLOW JACKET, a large looking man dressed in (surprise) a yellow jacket.
    D.JAY (CONT'D) \*
    What's up, Cuz. Happy. Fourth. \*
    YELLOW JACKET
    Sorry man, we're closed for tonight.
    D.JAY
    Arnel know I'm supposed to be here.
    YELLOW JACKET
    It's a private party and I know everyone who supposed to be here. So ...
    Arnel calls from the back.
    ARNEL
    Hey! He good. He good, man. I already told Skinny.
    YELLOW JACKET
    (chews on a tooth pick)
    Ah-ight. Show me some love, bra.
    D.JAY
    I don't tip the doonnan, '~Bra."
    YELLOW JACKET
    Put your arms up.
    D.Jay sighs and complies. Yellow Jacket pats him down.
    ((;ON'T'TNHP.D\
    qo CONTINUED: 90
    YELLOW JACKET
    Welcome to the party.
    CUT TO:

INT. ARNEL'S CLUB - LATE DAY 91 \*
    D.Jay enters through the front door of Arnel's. He cautiously scans the place for Skinny Black. Music blares. Twenty or so have collected in front of the large table. Skinny remains hidden. Arne! breaks D.Jay's concentration.
    ARNEL
    They aim to party tonight.
    D.JAY
    Where's he at?
    ARNEL
    Up yonder at the big table.
    D.Jay looks to the mass of bodies, all with their backs turned toward him. Girls in booty shorts giggle and worm their way through the onlookers.
    D.JAY
    I don't see him.
    ARNEL
    I'll take ya on over. You ready?
    D.JAY
    Shit, I ain't in no rush. Can I get a drink first?
    Arnel and D.Jay move to the bar. Arne! pours a drink while D.Jay's eyes scan the face of the entourage.
    ARNEL
    It's always strange to see him, you know. Up close. Bein' that I known the man all his life, I still got it in my head that he a hundred feet tall from that music video where he walking through that city like King Kong.
    D.Jay turns to Arnel and drinks. Ir.ON~ TNTTF,D 1 CONTINUED:
    D.JAY
    They do that shit with computers. He ain't that big.
    ARNEL \*
    (can't hear) \*
    Huh? \*
    D.JAY \*
    I say, he ain't that big! \*
    A loud, annoying voice sounds over the party.
    SKINNY BLACK
    WHO THE FUCK IS THAT?
    D.Jay and Arnel freeze as the group separates and stares back at them. Sitting at the table wearing black, bottle-rimmed sunglasses, camouflage designer threads, and a mouth full of platinum, is none other than SKINNY BLACK. D.Jay was right - he's not that big.
    SKINNY BLACK
    I can't believe what my own Goddamn eyes is seein' ! I'm gonna have to get me a seeing-eye-nigga just tell me what I'm lookin' at fo'sho!
    D.Jay can barely breathe. He believes Skinny is talking about him.
    SKINNY BLACK
    Is it? Can it be? My one, my only?
    D.Jay is about to answer, but is cut short by a deep, booming voice from behind him.
    SLOBS
    SKINNY, DAT YOU?
    Arnel and D.Jay turn to the door and see SLOBS, an enormously round man dressed in a blue velour jump suit.
    SKINNY BLACK
    SLOBS! l !
    They dog each other a.s they approach. I C:ON'l'TNlJ~T))
    CONTINUED: (2)
    91
    SLOBS
    Is that my bone assed, buck- toothed, Ethiopian poster- boy, too big for his own pampered britches, mother- fucker?
    SKINNY BLACK
    You corn-fed, belly bustin', ass crack as long as the fuckin' M-I-crooked-letter- crooked-letter--I-P-P on ya own feet cuz you can't see ya own dick when ya take a piss, bitch!
    They are both in each others face. All is quiet. All eyes on them.
    SLOBS
    (big ass smile)
    Yeah, that's me, baby.
    They embrace and mumble incoherent love to each other.
    SKINNY BLACK
    Back in the day, nigga ... back in the day ... back ... IN ... THE ... DAY!
    (leads Slobs to his table)
    Need to get a drink in ya hand and a pussy in ya fat lap! Com'on! Hey Tigga! Tigga, Slobs from the hood up in this!
    Slobs bumps past D.Jay on his way over. D.Jay keeps his composure, still shell-shocked from earlier.
    ARNEL
    You ready to go over?
    D.JAY
    Hold up.

INT. ARNEL'S CLUB - BATHROOM - NIGHT 92 \*
    D.Jay opens the door to the cramped bathroom. A drunk kid in baggy jeans is drying his hands under a air-dryer. D.Jay waits as the dryer stops. The drunk guy pushes the button again to start it up.
    D.JAY
    (tossing him out)
    They dry, punk!
    The door slams. He faces himself in the mirror.
    D.JAY
    Get'cha Mode on, D.
    He is now ready. / r.ON'l' TNOP.n I
    ARNEL
    (v.o.)
    Skinny. I think you already know my boy D.Jay.

INT. ARNEL'S CLUB - NIGHT
    Skinny Black looks at D.Jay with an absent expression. He is surrounded by guys on cell phones and tight dressed honeys. Skinny squints behind his glasses.
    SKINNY BLACK
    Hey ... I don't know who this nigga is.
    D.Jay jumps, in extending his hand.
    D.JAY
    Good to see you again, Skinny. Been a while since you been back home, ain't it?
    SKINNY BLACK
    Got my people tellin' me I been away too long. Like I'ms cornin' back. Like they's a back to get back to. I said, FUCKl Best place to keep Memphis is in my rear-view, ya-naw-I'm-sayin'? Ya-naw-what-I'm- sayin'? Who-ever-the-fuck-you-is, ya-naw- what-I'm-sayin'?
    ARNEL
    Skinny, this is the man I was telling you
    about.
    SKINNY BLACK
    (remembering, to Arnel)
    Oh! Oh! Oh this here the man?
    D.JAY
    That's me. I'm the man.
    ARNEL
    This here, D.Jay.
    D.JAY
    We went to different schools but .•.
    Skinny Black flashes a gold grin.
    SKINNY BLACK
    D.J.? D.J. what? Like D.J., like short fo'somethin' D.J.? Or you sayin' like you a
    {motions like he's scratching) Vip, vip, verp kind'a D.J.? I r.ON'l'TN!W,fl I CONTINUED:
    D.JAY
    (awkward)
    Just ...
    (fumbles with medallion)
    ... just D.Jay.
    SKINNY BLACK
    Nigga, you got somethin' for me?
    D.Jay is thrown by Skinny's directness. He holds a demo tape in his hands.
    D.JAY
    Well, yeah. But before I give over, I just gotta say ...
    SKINNY BLACK
    Every time I come to Memphis, my boys hook me up wit some dirt weed, taste like they grown it out the ass a'some redneck. But my boy Arnel say you slangin' the prime.
    Realizing now, what he is referring to, D.Jay reaches in his pocket and pulls out the prime pot. He hands it over to Skinny Black, but the man in the Yellow Jacket grabs it first.
    SKINNY BLACK
    What do I owe you?
    D.JAY
    It's cool. You know, we old friends, Skinny.
    SKINNY BLACK
    Have a seat my blood brother.
    ( smells the pot)
    :Mmmm. You ain't fuckin' around with this bag. I just might be in love.
    D.JAY
    Remember when you was at the drive-in?
    SKINNY BLACK
    (unable to hear over the music)
    What?
    D.JAY
    The drive-in. You was sellin' your underground tapes ...
    ( C.ON'T' TNtrRD)
    CONTINUED : ( 2 ) 93 Tigga pulls a HOT GIRL dressed up in a sexy UNCLE SAM outfit, \* onto his lap for Skinny to see. Skinny explodes with horny \* delight. \*
    SKINNY BLACK
    {checking her out) \*
    GOD ... BLESS ... AMERICA! GAL THAT I \*
    LOOOOOOVE! \*
    Tigga and Skinny's crew begin singing and cutting up. \*
    SKINNY & CREW \*
    (loud and obnoxious) \*
    STAND BESIDE HER! AND GUIDE HER ... \*
    D.Jay looks down at his demo tape in his hands. He is losing control of the sit. He started off wrong. He rubs the back of his neck and then adjusts the chain and medallion around his neck.
    The sound in the room fades away. D.Jay inhales and glares at Skinny Black. \* His MODE comes to his aid: BOOM! BOOM! BOOM! BOOM! BOOM! \* He grins, takes a breath and interrupts Skinny Black and his \* crew. \*
    D.JAY
    Hey, Skinny? Man, I wanna ask you sornethin'.
    (Skinny passively looks his way)
    What the fuck happened to you?
    Skinny Black and Yellow Jacket look at D.Jay, stunned into silence.
    SKINNY BLACK \*
    Huh? \*
    YELLOW JACKET
    The fuck did you just say?
    D.JAY
    (cool as ice)
    I remember when you started cuttin' that underground shit ... it just flew through Memphis. Like a typhoon. I couldn't walk my ass down half a block without the pavement crumblin' under my feet from some Cacti boomin' with yo tracks out the back.
    /CON'l'TNlTP.Dl CONTINUED: (3)
    D.JAY
    (D.Jay looks a little sad, turns away)
    I just miss ya Skinny, that's all.
    Skinny doesn't know what to say - he struggles with anger and anticipation. He pushes the UNCLE SAM GIRL away. \*
    SKINNY BLACK
    Miss me? Nigga I don't even .••
    (pissed)
    / C.ON'l'TNTJRDl
    CONTINUED : ( 4 ) 93
    SKINNY BLACK
    So. What? You sayin' I can't cut it no mo? Like I ain't the shit?
    D.JAY
    You know one day this all gonna be gone. This club, this city, the whole fuckin' US of A. It all gonna turn to dust, you heard me? But then a whole new civilization of people gonna dig. They gonna find, like, the pyramids in Egypt, they gonna find the fuckin' Empire State. But if they wanna know about my people, my hos, my boys ••. all they gotta do is find your first underground tape ••.
    Skinny Black joins in. Nodding.
    D.JAY
    North Third Thugs.
    &
    Skinny is now completely into D.Jay, leaning in over the small table.
    SKINNY BLACK
    You know, I cut that motherfucker myself. In my mommas laundry room, man. It raw as hell but I put everything I had in that. Made my own covers with magic marker. Talkin' real ghetto, D.
    D.JAY
    But that's the sign of genius, Skinny. It's not enough to fuckin' climb Mt. Everest ... you gotta do with the least amount of tools.
    SKINNY BLACK
    It's about the man. One man.
    D.JAY
    One man and his skills.
    SKINNY BLACK
    Like the samurai say. You know, a sword only as powerful as its master.
    O.JAY
    Ain't the size of the dog in the fight but the ...
    D.JAY & SKINNY BLACK
    ... fight in the dog.
    /CON'l'TNUF.D) CONTINUED: (5) 93
    SKINNY BLACK
    (slaps hands with D.Jay)
    My nigga.
    D.JAY
    Now I know a man gotta do what a man gotta do.
    {glance at Yellow Jacket) Gotta surround himself with people think they gotta say in who Skinny Black is. Them big labels ain't nothin' but a pimp of a different color ...
    SKINNY BLACK
    Oh they pimpin' me. Ain't no lie. I'm a ho on the corner. No doubt. Got me tourin' the chittlin' circuit all through the surmner ... gotta split my paper with them greedy number-crunchin' mother- fuckers. Ain't like it was back in the day.
    D.JAY
    Skinny •.. you .ain't gotta explain shit. You do what Skinny Black wants to do and Memphis'll be there for you. Like you was here for us back in the day.
    D.Jay removes an old cassette tape and slides it across the table to Skinny Black. Skinny looks down to see his old underground tape. He colored his own name like a graffiti tag. It is over a decade old. Skinny carefully picks it up and, to the wonder of all around, removes his shades.
    SKINNY BLACK
    My underground. Look, Tigga. Slobs, look at what this nigga got.
    (genuine)
    I ... can't believe you got one of these, man. I don't got none of these left.
    D.JAY
    (leans in for effect)
    Skinny, you got thousands of these in you. Just come back home.
    Everyone is silent. They all look to Skinny Black. r C--:ON'T'TNIJF.n) CONTINUED: (6)
    SKINNY BLACK
    (to D.Jay, holding up his bag of prime weed)
    You stand behind yo' product?
    D.JAY
    Is a pig's pussy pork?
    CUT TO:

INT. ARNEL'S CLUB - BACK ROOM - LATER - NIGHT
    Rap music, fuzzy and heavy on bass through Arnel's twenty year old amplifiers. D.Jay's fingers break open a cigar, gutting the tobacco and replacing it with his New Orleans herb. With a roll and a lick, the two are ready to share a smoke - the blunt is passed back and forth between D.Jay's lips and Skinny Black's platinwn grin. They laugh together from a separate room of the club. Skinny's friends continue their party from a distant table. Skinny is now half way through a story that he can barely get out - a mild case of the giggles.
    SKINNY BLACK
    Had me this Mustang. Fuckin' tight ride. hood snout, maple dash ... two-toned metallic monster motherfucker. I go to m'lady's crib over in the Courts.
    D.JAY
    (laughing)
    I had a lady in the Courts, too. Had a few.
    SKINNY BLACK
    I go inside. Get my ugly on. Corne out and my ride is gone. And I nut pretty damn fast ... these fools rnust'a snagged my ride
    (snapping his fingers)
    like that.
    D.JAY
    Gone in sixty seconds.
    I r.ON'l'TNllP,D\
    SKINNY BLACK
    So I call up my crew. I say, "pick me up." Cuz I knew they only one place these fools go cruisin' in my hot ride.
    D.JAY
    Millbranch.
    &
    D.JAY
    Nobody cruise Millbranch no more. It all down·on Riverside now.
    SKINNY BLACK
    So we roll down to Millbranch and we wait. And sho'nuff. Here come my car.
    Ilaughs) We roll up in front. Box them mother- fuckers in. Twenty niggaz come rushin' at 'em. Pullin' these fools out my ride. And I'm screarnin' like a woman, "Don't touch my car! Don't touch my car! Ain't you seen my two-tone metallic?" Their laughter dies down. They both take another hit off the blunt. D.Jay eases in for the kill.
    D.JAY
    Skinny. I ain't a scrap of cheese off yo' table •.. but. ..
    (holds up the demo tape)
    My heart beats in this motherfucker. I put my blood in it.
    SKINNY BLACK
    Is that for me? Can I take that?
    D.JAY
    I ain't tryin' to play you. You the only one I want to give this to. Cuz I respect you. Cuz we old friends.
    SKINNY BLACK
    That's the truth man, and I miss you, Jay.
    D.JAY
    (lifting his medallion)
    It's D.Jay. Ain't no tag. Just D.Jay.
    SKINNY BLACK
    D.Jay. Okay. My bad, D.Jay.
    I C:ON'l'TNTJRnl g4 CONTINUED: (2) 94
    D.JAY
    If you could just give me a shot. Help get my voice heard ... that .... that would ... I don't have words, Skinny. I don't have words.
    SKINNY BLACK
    Hey man .•• I got somethin' to tell you.
    D.JAY
    Okay.
    SKINNY BLACK
    It's important. You listenin'?
    D.Jay Nods. Skinny Black is having a hard time focusing. He wobbles on his feet and grabs on to D.Jay.
    SKINNY BLACK
    Everybody gotta have a dream.
    (again)
    Everybody ... gotta have a dream.
    D.Jay nods, not knowing what to make of this statement. But he rolls with it.
    D.JAY
    I hear you.
    Skinny blinks, steadies himself.
    SKINNY BLACK
    Where da bathroom at?
    CUT TO:

INT. ARNEL'S CLUB - AT THE BAR - LATER - NIGHT
    D.Jay pulls himself up to the bar. He tries to conceal his glee from Arnel, but a grin escapes.
    ARNEL
    How'd it go?
    D.JAY
    I fuckin' played it like a pro.
    ARNEL
    (slides D.Jay a drink)
    Tell it, D.
    lr.ON'l'TNUF,Dl CONTINUED:
    D.JAY
    My Mode is poundin 1 • Got it deep in my gut. All he gotta do is play it. Gonna be •.• undeniable. Just you wait.
    (takes a swig)
    You gonna need to get yo weed from some other hustler.
    ARNEL
    I'm happy for you, D. You earned it.
    D.JAY
    My ladies. My precious ••• Shug ••• and Nola. How they came through for me. Let me tell you, Arnel ..• I just wanna give back to 'em. Ain't gonna feel like a man 'till I give back.
    ARNEL \*
    (takes a hold of his arm)
    You on your way.
    D.Jay takes one last swig of beer and slaps a twenty on the bar as well as a demo tape.
    D.JAY
    That's for you, Arne!. Gonna take a piss and roll.
    ARNEL
    See you, D.

INT. ARNEL'S CLUB - BATHROOM - NIGHT
    D.Jay bursts into the bathroom, catching his reflection in the mirror over the two sinks. He focuses his eyes, chasing his buzz away. And then an echoed mumble from somewhere in the bathroom. It sounded like an attempt at language but came out as a garble of slurs and vowels. D.Jay is cautious more than curious as he opens the only stall in the bathroom. He slowly pushes it open. Skinny Black is passed out on the floor in front of the toilet with his pants around his knees. He is mumbling incoherently, occasionally flinching like a dog having a nightmare. rC.ON'l' TNTJF.D l
    D.JAY
    Ain't this some shit.
    D.Jay kneels down next to him, almost at eye level with Skinny Black.
    D.JAY
    Hey? Skinny? You need to piss, let's try it standing up.
    SKINNY BLACK
    (barely audible)
    Talk to me .•• about ..• shit ..•
    D.JAY
    That's right. I'm talkin' to you. You need some help, dog?
    No clear answer comes from Skinny Black. D.Jay stands Skinny Black up, holding him in place with one hand.
    D.JAY
    Tell you what? Ain't many in this world put a man's dick away for a brother who can't. Best show me some love for this.
    D.Jay pulls Skinny Black's pants up and buckles his belt. Skinny Black is still mumbling.
    D.JAY {
    You know ... we go on the road one day, I ain't gonna do this. A man could do all kinds of trouble to you right now, you wouldn't even ...
    Something catches D.Jay's eye. He lets go of Skinny Black, letting him fall to the floor - smack. D.Jay is stunned. He cannot swallow, he cannot blink, he cannot look away. He kneels before the toilet looking inside. He slowly reaches into the toilet to retrieve his demo tape. Dripping with piss and God knows what else, D.Jay lifts the tape out of the toilet. The tape from inside the cassette has been pulled out, hanging like a long tangled braid. A rage builds in D.Jay as he lifts Skinny Black up against the wall. The rage turns to unbearable hurt. I C:ON'T' TN1JRD): CONTINUED: ( 2 I 96
    D.JAY
    (Holding the tape up)
    Tell me this fell out'cha pocket. TELL ME THIS FELL OUTTA YOUR POCKET!
    Skinny wakes up briefly, slurring, trying to talk.
    SKINNY BLACK
    Hey ...
    D.JAY
    Hey, what ... go on, Skinny, speak up.
    SKINNY BLACK
    You ... you could ...
    D.JAY
    What? What can I do?
    SKINNY BLACK
    You can suck my dick, bitch.
    D.Jay nods. His rage is oddly calm.
    D.JAY
    You suck on this.
    D.Jay crams the demo from the toilet into Skinny Black's mouth. He pushes it in hard.
    D.JAY
    SUCK ON THIS!
    D.Jay's fury overtakes him. He throws Skinny Black to the floor and pounds his face repeatedly. After five hits to his face, Skinny reaches into his coat and removes a silver .45 pistol. With another punch from D.Jay, he drops the gun to the floor. D.Jay grabs it and pushes the muzzle up against Skinny Black's face.
    D.JAY
    Oh, you want this? YOU WANT THIS! Look at me, Skinny. LOOK AT ME MOTHERFUCKER!
    There is sudden silence save the music pounding from the club outside. D.Jay realizes where his anger has taken him. Reason returns. Fear pervades. / r.ON1' TNTJ1'D I CONTINUED: (3 )
    D. JAY
    (softly)
    Skinny?
    D.Jay kneels down next to Skinny Black, lightly slapping his bloody cheeks attempting to bring him back to consciousness.
    D. JAY
    You need to wake up, now. Come on ... wake up, Skinny.
    Skinny lets out a groan. D.Jay stands quickly, suddenly spooked.
    D.JAY
    Shit. Oh, shit. D. What did you do ...
    The noise from outside increases suddenly as the man in the YELLOW JACKET enters the bathroom.
    YELLOW JACKET
    Yo, Skinny! Where •.. ?
    He sees Skinny on the floor and D.Jay standing above him holding the gun.
    YELLOW JACKET
    What the fuck!
    It all happens at once. Yellow Jacket quickly reaches inside his coat pocket. D.Jay simply lifts his hand and fires, hitting Yellow Jacket in the shoulder. Blood splatters against the back wall. Yellow Jacket screams and slips falling to the dirty floor tiles - his fresh wound hitting first. Another howl. D.Jay steps back in fear. He points the gun at Skinny and then back at Yellow Jacket struggling on the floor and then to the door, open wide to the now silent club.
    D.JAY
    (to Yellow Jacket)
    Don't you move! You hear me!
    D.Jay notices Yellow Jacket looking out the bathroom door to his friends.
    D. JAY
    (calling out)
    Hey! I'm comin' out! I see a gleam of \* steel, I'm'a shoot. Anybody don't wanna \* get shot best step back! I'm coming out!
    I C:ON'T' TNUP.D): CONTINUED: I 4 I D.Jay keeps the gun pointed at Yellow Jacket as he creeps to the front door. INT. ARNEL'S CLUB - NIGHT 97 D.Jay appears in the doorway of the bathroom before a silent and captive audience. Yellow Jacket squirms on the floor, clutching his shoulder. He clinches his teeth attempting to contain his pain. Tigga moves forward. D.Jay points the gun right at Tigga.
    D.JAY
    Not tonight, Tigga.
    (Tigga stops I You wanna test me? Back up! (they aren't fast enough) NIGGA BACK UP! D.Jay's shout scares himself just as much as it scares the crowd. As he backs toward the door, D.Jay notices Arnel behind the bar, looking at D.Jay with confusion and fear. D.Jay attempts to apologize with his eyes but it is already taking too long to get out of the club. With a burst of speed, D.Jay takes off out the door.

EXT. ARNEL'S CLUB - NIGHT
    D.Jay runs to his car, trying to keep Skinny's gun pointed at the front door just in case. He scrambles for his keys. The Chevy roars as D.Jay cranks it to life. Four members of Skinny Black's crew leap out of the club. One aims a pistol at D.Jay's car as he flies out of the parking lot. He fires twice. The back window of the Chevy shatters. CUT TO:

INT. KING OF CLUBS - NIGHT
    D.Jay enters the club crossing to the DJ booth immediately. Mickey is changing discs.
    D.JAY
    Mickey.
    MICKEY
    Hey, man. How'd it go?
    (\,ON'f'TNURD)
    CONTINUED: D.Jay moves Mickey away from the booth with urgency.
    D.JAY
    Mickey, I need some cash and I need it right now. How much can I use from you?
    MICKEY
    I just came on, D. Girls tips me when they pay out and that ain't gonna be for hours.
    LEXUS
    HEY!
    D.Jay turns to see Lexus dressed in a string bikini. She unleashes her furry from the stage.
    LEXUS
    You see me?
    (grabs one of her tits)
    You see this? It's all real, baby. Head to toe. I ain't no front-faggot-bitch! You hear me?
    D.Jay is caught in her tirade. He can't even look away.
    LEXUS
    I'll be right here. On ill¥ stage. Dain' ID.¥ thing. Now who the fuck is you? Huh? I wanna hear ya, baby. Come on! Nh.o the. fill:k is. jlQ\].l?

EXT. KING OF CLUBS - NIGHT
    D.Jay throws the door to the club open gripping the side of the building to steady himself. He takes deep breaths to stave off nausea. Reaching under his leather coat, D.Jay retrieves Skinny's gun. With his free hand, he grips the silver watch on his opposite wrist - the hand holding the gun. A decision has been made.

100A INT. D.JAY'S CHEVY - NIGHT 100A \*
    As D.Jay drives up his street, his view through the \* windshield glows with blue and red pulsating lights. \*

EXT. D.JAY HOUSE - NIGHT 101 \*
    I C:OITT' HJOF:DI: CONTINUED: The police are there in full force. Arnel is with them, reluctantly, along with the remaining Skinny Black crew, \* including Tigga. D.Jay pulls to the side of the road and hops out.
    TIGGA \*
    There he is! There that mutha-fucka go, \* right there! Shoot his ass! \*
    D.Jay immediately raises his hands into the air. The police spin around and pull their side arms into position.
    POLICE
    Put down your weapon and step away from the car.
    D.JAY
    (stepping away form the car)
    I ain't got nothin' on me, it's in the glove.
    SHUG
    (running toward D.Jay)
    D.Jay! D.Jay!
    Nola runs after her trying to stop her. Three police officers hold her back. Key and Shelby rush to the end of the street.
    D.JAY
    Ease up, Shug, it's ah-ight.
    NOLA
    {screaming at the police}
    Get off her! Get off herl
    TIGGA
    Hey! Shoot him! Shoot the motherfucker!
    The police wrestle Shug to the ground as she screams. BOOM! A firework sounds above. \*
    SHUG
    (crying)
    I just wanna go with him! I wanna go!
    D.JAY
    (yelling at the cops)
    Goddanunit, get off her! She's pregnant! \* Get off! Key get them niggaz off my girl!
    I r.oN~ TNUJCD\ 1~1 CONTINUED: (2) 101 Key looks shell shocked. Shelby rushes to help Nola with Shug.
    POLICE
    (calling out to D.Jay)
    Put your hands on the hood of your car!
    D.JAY
    Get 'em off her!
    SHUG
    D.Jay ... D.Jay, please ... !
    The police help Shug up to her feet. Nola and Shelby comes to her side and helps her stand.
    POLICE
    Come to the front of the earl Do it! Now!
    D.Jay slowly moves to the front of the car, hands raised. Shug is on her knees, sobbing into Nola's stomach. D.Jay turns to the front of the car slowly putting his palms down on the hood of his own Chevy. He is slammed from behind by three officers. Shug screams out. Nola has tears running down her face as she holds tightly onto Shug, quivering in her arms.
    KEY
    (yelling at the officers)
    He turned himself in! He turned himself in! Don't dog pile him like that!
    Nola can see D.Jay with his face on the hood of the Chevy - he is grunting in pain and humiliation. Tigga has made it closer to D.Jay. He taunts him.
    TIGGA
    That's my brother you fuckin' with! \* That's my brother! I'm gonna get you \* stuck! In the joint, Bitch! \*
    The police empty his pockets. Three demo tapes are sprawled out on the hood of the car followed by his notepad. A sudden panic comes over Nola. She rushes past the police to the side of the Chevy.
    NOLA
    D.Jay? D.Jay?
    / C.ON'l'TNTJF,Tl 1 1~1 CONTINUED: (3) 101 D.Jay opens his eyes as another officer tries to move Nola back. She resists.
    NOLA
    (pleading)
    Tell me what to do. Please tell me what to do.
    Her plea is exactly what D.Jay needs to hear - his confidence restored.
    D.JAY
    Pick up my pad.
    (Nola picks up the pad)
    Disc Jockeys, baby. Get ya ass off the track and get our shit some play. Put it in their hands, baby. Make 'em play it!
    The cops lift D.Jay up and pull him away.
    D.JAY
    I got a stack of demos in the car. Tell Key and Shelby to get that shit on disc. In two weeks I wanna hear my music in the yard at 201. You in charge Nola. Say it.
    POLICE
    You have the right to remain silent, anything you say can and will be held against you in a court of law •..
    NOLA
    (crying)
    D ���
    D.JAY
    Say it, Nola! Nola follows him as they pull him away. Tigga brakes free and \* punches D.Jay to the ground.
    SHELBY
    HEY!
    KEY
    Get the FUCK OFF HIM!
    Nola covers her mouth as police push Tigga back. A fight has now erupted between the members of Skinny's crew and D.Jay's neighbor, R.L .. Shelby and Key are filled with rage, they race at Tigga. \* Shelby is the first to clock him as the two join the fight. D.Jay is lifted to his feet again, blood leaking from his nose. He is smiling - alive with confidence for Nola's benefit. /C:ON'l'TNTJF,Dl
    D.JAY
    Come on, baby! Who's in charge?
    NOLA
    (sobbing)
    I'm in charge.
    D.JAY
    There you go. Say it again, partner.
    NOLA
    I'M IN CHARGE!
    D.Jay is shoved in the back seat of a squad car. It has now turned to mayhem: photographers, neighborhood thugs pounding the car. The squad car disappears around the corner, leaving Shug weeping and Nola standing alone in the street, quivering in the pulsating lights. Fireworks crackle in the night sky. \*

)2 INT. D.JAY'S JAIL CELL - DAY 102
    The cell door opens. With a grinding rhythm the b~rs move past D.Jay's unmoving eyes. D.Jay walks through the corridor, his head lowered, his hands in his pockets. A Prison Guard walks behind him.

INT. PRISON VISITATION ROOM - DAY
    D.Jay enters the room divided by protective glass - prisoners on one side, visitors on the other. Sitting with his arms crossed, looking appropriately pensive, is Key. D.Jay picks up the phone. Key waits a moment before picking up his side, choosing to stare at D.Jay instead.
    D.JAY
    I tried callin' the house but •.. the phones •.•
    KEY
    Yeah. They got turned off. But it's okay. Me and Yevette, we pitching in.
    ( C:ON'I' TNTTF.Ol 1 03 CONTINUED: 103 Key removes a picture of a baby girl and places it up against the plexi. I r.ON'rTNn~n)
    KEY
    Baby girl, in case you was wonderin'.
    D.JAY
    (sadness and joy)
    Awe ... she's precious. Look at that. What she callin' it?
    KEY
    Named her Kiesha.
    D.JAY
    Kiesha? No shit. That's a good handle. I like that. Kiesha.
    D.Jay suddenly tears up. It surprise him, embarrasses him. Key puts the picture away abruptly.
    D.JAY
    With what I got to do .•. with the pe·ople I got in my life ••• it feels like an eternity in here. I can't get my Mode back. I don't hear a thing.
    KEY
    Whenever you say somethin' serious to me, you always say, "look me in the eye.'' You know?
    ID.Jay nods) Now I want you to look ma in the eye. (leans in) Did you know Skinny Black ••. before that night? D.Jay sits in silence for a moment.
    D.JAY
    This little girl, Keisha .•. she gonna dream large like kids do, you know. One day she gonna ask me if she can grow up and be President.
    (silence)
    Now I know this girl got a ho for a momma and some trick for a daddy, ain't nobody know where he at. But I tell you, Key, I'm gonna look that girl right in the eyes ••. and I'm gonna lie. Cuz sometimes you got to.
    Key understands. He takes a breath.
    D. JAY
    So what'chu been doin'?
    I r.ON'l'TN1J1'D l CONTINUED: (3)
    KEY
    Back to a whole lot more of the same.
    CUT TO:

EXT. STREET - DAY
    Key is sweating as he loads his gear into the back of his van.
    KEY
    (v .o. I I'm back to recording depositions and school recitals. We CUT AHEAD to him waiting at a stop light. Next to him, a car load of young ~en roll up in a convertible blaring rap music .. Key looks sad and defeated.
    KEY
    (v.o.)
    You talk about eternity. Yeah, that's been on my mind, too.

)5 INT. TRUCK STOP VENDING MACHINES - DAY 105
    Shelby is pushing a crate of soda cans through the front door of a truck stop. He waves to the woman behind the counter.
    KEY
    (v.o.)
    It's been on all our minds.
    Shelby begins stocking the machine with product.

INT. D.JAY'S HOUSE - DAY
    Shug holds her baby in her arms and looks out the window as if she is waiting for D.Jay to come home.
    KEY
    I
    (v.o. We was just dead. Locked up just like you. But ain't no sorrow gonna take away Shug's song, let me tell you. She got love for you, D. When you talk on eternity. You think about your woman. She softly hums a song. CUT TO:

INT. PRISON VISITATION ROOM - DAY
    D.Jay nods. He ponders Shug's sadness and takes a breath.
    D.JAY
    What about Nola?
    KEY
    Nola. Well •.. let me say this. That girl got a Mode of her own.
    CUT TO:

EXT. RADIO STATION - DAY
    High hat beats as we see D.Jay's Chevy roll up and stop. Nola steps out dressed in a tight, mini-skirt suit. In her ear is a mobile phone headset. The cord dangles free because there is no phone. She tucks the slack in her small purse.
    KEY
    (v.o. I That girl hit the bricks runnin'. Somehow she got it in her head that she was in charge. 09 INT. RADIO STATION - DAY 109
    We pan across the mix board.
    KEY
    (v.o.)
    She hit every shake joint and station Memphis got and then some. Now I don't know how she did it ... but let me say that girl got some skills.
    We see Nola suggestively sitting on a DJ's lap. She passes him a joint and puts on the charm.
    NOLA
    We can't lay around lickin' our ass all day like a dog. I mean, we man. I know I'm a girl and all but ...

EXT. RADIO STATION - DAY
    Nola hops in the Chevy and cranks the engine. She starts pushing the buttons on the old radio. I CON'l'TNlJP,T) l CONTINUED:
    NOLA
    (v. o.)
    We mankind.
    The dial hops to different sides and stops on a familiar beat. It is the Whoop That Trick song. \* The camera spins and stops on our crew hearing the track for the first time. \*
    HOOK \*
    Whoop that trick. .. get 'em. \* Whoop that trick ... get 'em. \* Whoop that trick ... get 'em. \* Whoop that trick ... get 'em. \*
    . SPIN TO:

EXT. TRUCK STOP VENDING MACHINES - DAY
    Shelby drops a case of sodas as he runs over to the front counter. He reaches past the woman and grabs her radio. He cranks up the volume and grins wildly.
    HOOK \*
    Whoop that trick ... get 'em. \* Whoop that trick ... get 'em. \* Whoop that trick ... get 'em. \* Whoop that trick ... get 'em. \*
    SPIN TO:

EXT. STREET - DAY
    The boys in the convertible are bouncing to the track. They flinch as Key starts screaming out his van window.
    KEY
    That's D.Jay ... That's D.Jay! THAT'S MY BOY D.JAAAAAAAA'IAi'IAiWWWWWWWWAY!
    SPIN TO:

INT. KING OF CLUBS - DAY
    Mickey bobs his head to the track in the booth. We SPIN TO the stage and see Lexus look over her shoulder with a glare. SPIN TO: l4 INT. D.JAY'S HOUSE - KITCHEN - DAY 114 \* Shug is crying with joy. Her tiny baby is on her lap. She is rapping along with D.Jay bouncing her baby. SPIN TO:

EXT. RADIO STATION - D.JAY'S CHEVY - DAY
    Nola is on top of the world. Sitting in the driver's seat, she pops a cigarette in her mouth. She pushes in on the cigarette lighter. / C:ONTTNTJ~n \ CONTINUED: It pops out. The music stops as we: CUT TO:

INT. PRISON VISITATION ROOM
    D.Jay can't hide his awe. Key reaches into his pocket and pulls out D.Jay's notepad and flips through the pages.
    KEY
    So, if you don't mind ••• Nola and I got a few points we would like to go over in regards to your agenda.
    {a big smile from D.Jay) If you got a minute to spare.
    D.JAY
    (returning the grin)
    I got more than a minute. I got eleven months.
    CUT TO:

INT. D.JAY'S JAIL CELL - DAY
    The Prison Guard escorts D.Jay back to his cell. The Prison Block Manager rushes up and stops them.
    BLOCK MANAGER
    Albert, hold up.
    The Prison Guard stops D.Jay.
    BLOCK MANAGER
    (addressing D.Jay)
    You the man on the radio. That Whoop that \* trick song. \*
    PRISON GUARD
    What'chu talkin' about?
    BLOCK MANAGER
    This that guy who stomped on Skinny. You know that song, Whoop that trick .•. get \* 'em. , . \*
    PRISON GUARD & BLOCK MANAGER
    (singing)
    Whoop that trick .... Get 'em. Whoop that \* trick ... Get'em. \*
    ( C:ON'f TNUP.D)
    CONTINUED:
    PRISON GUARD
    Ito D.Jay)
    Oh yeah. Shit. That's you? / CcON'l' TNTJF:0 l CONTINUED: (2) D.Jay grins and shrugs. His confidence returning.
    BLOCK MANAGER
    (looks over his shoulder)
    You know ••. we in the rap game, too.
    D.Jay turns to the Block Manager who grins proudly.
    D.JAY
    Naw shit?
    PRISON GUARD
    See, we got it gain' on both sides, being from the streets and now, you know, being officers of the law. Gonna be my tag. Goin' as 5-0. You know, like my stage name. Big 5-0.
    D.Jay can not believe what he is hearing. The Block Manager secretly hands him a demo tape: BIG 5-0 and BLOCK C.
    BLOCK MANAGER
    When you get a chance, in the rec room. Let us know what you think.
    D.Jay takes the tape and smiles.
    D.JAY
    Well ... you know what they say.
    BLOCK MANAGER
    What's that?
    D.JAY
    Everybody gotta have a dream.
    D.Jay turns away and walks back to his cell with the guard keeping a respectful distance. The 808 pounding returns to his ears and swagger: BOOM •.. BOOM ... BOOM ... BOOM. D.Jay's smile fades as his Mode returns. He looks right at us - hungry, determined. The 808 can't get any louder. BOOM ... BOOM .•. BOOM ... BOOM ... BOOM ... BOOM ... BOOM ... BOOM! CUT TO BLACK:
    THE END

Summary: DJay is a pimp and drug dealer living in Memphis, Tennessee, who is dissatisfied with his life, and is going through a midlife crisis. After reacquainting himself with an old friend and sound technician, Key, DJay decides to make hip hop music. Key and his sound-mixer friend Shelby help DJay put together several songs in which he expresses the frustrations of struggling to survive in the ghetto. DJay proves his talent through rhyming as well as writing lyrics, and his first song appears to have a decent chance of getting local radio play. The group experiences setbacks throughout the creative process. DJay must hustle those around him in order to procure equipment and recording time; in particular, he offers Nola, his top prostitute, to a microphone salesman, and she is outraged afterwards. They argue, but he says he will put her in charge of something one day. Also, Key's relationship with his wife becomes strained. DJay throws out one of his prostitutes, Lexus, along with her infant son, for ridiculing him. Pregnant Shug, another of DJay's girls, joins in the creative process, singing hooks. The group eventually records several tracks, including "Whoop That Trick" and "It's Hard out Here for a Pimp". After their first recording, DJay gains romantic feelings toward Shug, even sharing a passionate kiss. DJay's friend Arnel informs him that Skinny Black, a successful Memphis rapper, will be returning for a Fourth of July party. DJay gains admittance under the pretext of providing marijuana, with the true intention of giving Black his demo tape. Black is dismissive at first, but DJay successfully persuades him into taking the tape. Before leaving the party, DJay discovers that a drunken Black has destroyed his tape. DJay confronts Black who insults him. In a fit of rage, DJay nearly beats Black to death but attempts to resuscitate him. A member of Black's entourage enters the bathroom and pulls out his gun. DJay shoots the man in his arm with Black's gun and escapes. DJay arrives home to find the police and Black's associates waiting for him. DJay turns himself in and tells Nola to safeguard his writing pad with his lyrics on it, also placing her in charge of sending his songs to radio stations. He then exchanges a glance with a tearful Shug before a brawl breaks out after one of Black's crew sucker punches him. DJay is charged with assault and possession of a firearm and is sentenced to 11 months in prison. While serving his time, DJay is visited by Key and learns that Nola has successfully gotten radio DJs to play his songs, which have become local hits. The pair then prepare to discuss their future business plans. Two correctional officers ask DJay to listen to their demo. Humbled and flattered, DJay accepts.