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 A World Of Difference

FADE IN:

EXT. CITY BUS STOP - DAY

KEITH (boyishly handsome 21-year-old transient) walks to meet

JO JO at a bus stop. Jo Jo (short obscure 19-year-old) stands
there with a brown paper bag.

JO JO
Keith.

KEITH
What’s up, Jo Jo?

JO JO
I got some vittles.

KEITH
What you got?

Jo Jo hands Keith the bag. Keith grabs the bag, opens it,
takes a whiff.

KEITH (CONT'D)
Ughh. Nah, man. Are you crazy?
This stuff’ll kill you.

Keith throws the bag on the ground.

JO JO
Did have a little odor to it.

KEITH
A little? That stuff smelt like
something died in it, rose up and
died again.

JO JO
Yeah.

KEITH
Don’t tell me you ate some of that
crap, Jo Jo.

JO JO
Huh?

KEITH
Jo Jo.
 2.

JO JO
Well, before you got here, I . . .
I . . . I just . . .

KEITH
Never mind.

A bus pulls up, and students get off.

JO JO
The money wagon.

KEITH
You take the back. I’ll get the
front.

Jo Jo walks to the rear door. Keith waits near the front

door. Students exit the bus.

KEITH (CONT'D)
Good morning, young leaders of
tomorrow. Could you spare some
change while you’re on your way to
prosperity?

JO JO
Could ya’ll spare some change
before ya’ll graduate?

STUDENT #1 stops.

STUDENT #1
Are you serious?

STUDENT #2
Here you go, man.

STUDENT #2 gives Jo Jo a half bottle of orange juice.

JO JO
Thanks.

At the front door . . .

KEITH
Can you spare some change, sir?

STUDENT #3
Sir? I’m just a freshman.
 3.

KEITH
Look here, Mr. Freshman. You’re in
college on your way towards a
degree. I call you sir because I
respect and I admire you.

STUDENT #3
You don’t even know me.

KEITH
What’s your name?

STUDENT #3
Matthew.

KEITH
Matthew, huh?

STUDENT #3
Yeah.

KEITH
Well, Matt, I want you to take a
good look at me.

Matthew looks at Keith.

KEITH (CONT'D)
I’m what you do not want to end up
like in the next four years. You
get your edumacation and stay away
from fools like me and my homey
over there.

Matthew looks at Jo Jo.

KEITH (CONT'D)
You definitely don’t want to end up
like him.

MATTHEW
Thanks for the advice.

KEITH
Thanks for the change.

MATTHEW
Oh.

Matthew goes in his pocket and gives Keith some change.

KEITH
You’re a good man, Matthew.
 4.

As Matthew steps away, Jo Jo drinks his half-bottle of orange

juice.

JO JO
Keith.

KEITH
What’s up?

JO JO
Let’s go somewhere else.

KEITH
Hold up, man. The wagon ain’t
empty yet.

Jo Jo sighs. Student #4 gets off of bus.

KEITH (CONT'D)
You got some spare change, man?

STUDENT #4
No, but I do have the classifieds
with me. Maybe you’d like to get a
job.

KEITH
Oh, well, I would appreciate that,
man. I do need a job.

STUDENT #4
No joke?

KEITH
Nah, I mean, it’s kind of hard to
get a job when you don’t have a
place to stay. And its hard to get
a place to stay when you don’t have
a job.

STUDENT #4
So why do you need the classifieds?

KEITH
It’s called going through the
motions . . .

STUDENT #4
(digs into his pockets)
Here, man.

KEITH
Preciate ya, man.
 5.

STUDENT #4
No problem.

Student #4 leaves towards campus.

KEITH
Jo Jo, let’s go man.

EXT. NEIGHBORHOOD CONVENIENCE STORE - DAY

Keith and Jo Jo walk to the back of the store. Keith pulls

some money out of his pocket and counts it.

KEITH
Seven dollars and thirty-five
cents. How much you get?

JO JO
Uh . . . seventeen cents.

KEITH
Give it here.

JO JO
For what?

KEITH
Big bank takes little bank.

JO JO
Oh, yeah.

Jo Jo gives Keith the seventeen cents.

JO JO (CONT'D)
Let’s go buy something to eat.

KEITH
Nah, we’re going to go in here and
find us some snacks, then we’re
gonna go kick it with the rest of
the crew.

JO JO
Over there by the Samaritan where
L.A And them be at?

KEITH
Yeah

Jo Jo puts his head down.

 6.

KEITH (CONT’D)
L.A. ain’t gonna do nothin’ to you.

JO JO
As long as you’re around.

KEITH
Let’s go.

EXT. - GOOD SAMARATIAN SHELTER OF HOPE - DAY

L.A. (aggressive drug dealer in his mid-twenties) tries to

sell crack to his fellow PANHANDLERS.

L.A.
I got that A-one ya’ll. What you
need?

Alex (tall, slender thug in his mid-twenties) stands by the

door of the Samaritan as a look-out.

ALEX
What we doing after this?

L.A.
I don’t know man. I need some new
clothes.

L.A. looks at the college students across the street.

ALEX
What you got planned?

L.A.
I’ll tell you later.

ISAAC (eighteen year old, hard-rock, tattooed up fellow)

walks up to L.A. They walk to the alley and L.A. sells him a
crack rock.

INT. - NEIGHBORHOOD CONVENIENCE STORE - DAY

Keith walks into the store first and strides to the back of
the store. Jo Jo comes in later and walks over to the
newspaper stand. The STORE CLERK counts money.

JO JO
Are these today’s newspapers?

Store clerk, short middle aged smart aleck, puts money into
register.
 7.

STORE CLERK
Yeah.

JO JO
How come they have yesterday’s
news?

STORE CLERK
Funny.

Jo Jo walks over to the store clerk.

JO JO
Instead of me buying a whole
newspaper filled with yesterday’s
news. How about you tell me how
many points Floyd Cambridge got
last night.

STORE CLERK
What?

JO JO
Points . . . Floyd Cambridge . . .
How . . .

STORE CLERK
Look here, young man. If you and
your partner over there think that
you can come in here with the old,
distract and steal plan . . .
you’re wrong.

JO JO
What are you talking about?

STORE CLERK
We have cameras all around this
place.

JO JO
Really?

STORE CLERK
Yeah, let me show you.

The Store Clerk comes from around the counter and points out
video cameras to Jo Jo.

STORE CLERK (CONT'D)

Very high-tech, just had them
installed last week.
 8.

Keith shakes his head and loads up on candy bars.

STORE CLERK (CONT'D)

You see that little black dot up
there?

JO JO
Yeah.

STORE CLERK
Camera. You see that little red dot
right there?

JO JO
Mm hmm.

STORE CLERK
Camera.

Keith piles up on peanuts.

JO JO
(notices Keith)
So, how long did it take ya’ll to
install those?

STORE CLERK
Yall? I installed these myself,
young trickster.

JO JO
Really?

STORE CLERK
Yes, I’m a businessman. So I must
protect my merchandise from young
scoundrels like you and Robin Hood
over there.

The Store Clerk looks at Keith.

STORE CLERK (CONT'D)

Hey let me see your pockets.

JO JO
He’s not stupid enough to steal
stuff while you’re showing me your
high-tech camera system.

STORE CLERK
Come here.
 9.

KEITH
Me?

STORE CLERK
There’s only three people in here,
buddy. You, me, and slow boy over
here.

JO JO
Slow boy?

STORE CLERK
You just be cool, stinky.

JO JO
Stinky?

KEITH
Okay, sir. I’m coming over.

Keith walks towards the store clerk with pockets bulging with
goodies.

STORE CLERK
Put your hands up.

JO JO
Put your hands up? You don’t have
a gun.

STORE CLERK
I have cameras. You’re on Real
T.V., Dusty.

JO JO
Really?

Keith clears his throat. Jo Jo looks at Keith. Keith nods

his head and takes off running.

STORE CLERK
Hey!

EXT. NEIGHBORHOOD CONVENIENCE STORE - DAY

Keith runs out of the store and knocks KAREN (21 year old,
pretty college senior) flat on her back right outside the
front door.

KAREN
Ahh!
 10.

KEITH
My bad.

Keith runs through convenience store parking lot with smooth

athleticism. SHERRY, (gorgeous 22 year old college senior)
pumps gas into her luxury sedan. Keith’s and Sherry’s eyes
meet as he jets out of parking lot.

INT. NEIGHBORHOOD CONVENIENCE STORE - DAY

The Store Clerk points at Jo Jo.

STORE CLERK
(in defensive stance)
Don’t even try it, Hobo-fett.

JO JO
Wow.

Jo Jo gives store clerk a head fake, spins around, stops on a

dime, and dashes out of convenience store.

STORE CLERK
Come back here, Runaway Hotline.

EXT. NEIGHBORHOOD CONVENIENCE STORE - DAY

Karen lays on ground attempting to get up. Jo Jo trips over

her as he flees out of the store.

KAREN
Hey . . .

JO JO
My fault.

Jo Jo gets up and takes off running.

SHERRY
This is ridiculous.

Jo Jo then runs past Sherry. Sherry looks at Jo Jo then looks

at gas meter.

KAREN
Sherry.

SHERRY
One second. Let me top off my
tank.
 11.

Sherry pumps her gas, takes her receipt, puts it in her

purse, and slowly walks toward Karen.

SHERRY (CONT'D)
Are you okay?

KAREN
No.

SHERRY
I saw the whole thing, Karen. I am
so sorry.

Sherry wipes Karen’s tears and sits next to her.

KAREN
Sherry?

SHERRY
Huh?

KAREN
Do you love me?

SHERRY
Of course I love you. You’re my
sorority sister.

KAREN
How come it took you so long to
help me?

SHERRY
I had to top off my tank, Karry
Kare.

KAREN
Okay, Sherry Share.

SHERRY
I guess we should leave now.

As Sherry stands up, leans down to help Karen to her feet,

the Store Clerk opens the door and hits Karen with the door.

BAM!

KAREN
Ahh!

STORE CLERK
Oops.
 12.

SHERRY
Get up, Karen.

Sherry and the store clerk help Karen up on her feet.

STORE CLERK
Upsy-daisy.

KAREN
Watch your hands, mister.

STORE CLERK
The police are on their way and I’m
going to need the two of you as
witnesses.

SHERRY
Okay.

Karen looks at her watch.

KAREN
I have a class in twenty minutes.

SHERRY
She has class in twenty minutes,
and I need to be leaving as well.

Sherry pulls out a business card from her checkbook.

SHERRY (CONT'D)
Here’s my card. Call me. We’ll
see what we can do.

STORE CLERK
Well, you can leave, but the stunt
girl stays.

KAREN
I have class in twenty minutes.

SHERRY
Both of us are leaving, sir. When
the police arrive, give them my
card, have them call me, and we’ll
see what we can do, okay?

STORE CLERK
You college brats are all the same.

SHERRY
Excuse me?
 13.

STORE CLERK
You know what? Just, just go,
alright? I got those guys on
camera.

SHERRY
Good for you. Let’s go, Karen.

As Sherry and Karen walk to Sherry’s car, the police arrive.

INT. NEIGHBORHOOD CONVENIENCE STORE CAMERA ROOM - DAY

POLICEMAN #1(tall military type man in his mid-thirties) and

POLICEMAN #2(short cynical type in is late twenties)
questions the three witnesses.

KAREN
I’m going to be late for class.

POLICEMAN #1
This is going to be quick and
short, ladies. After mister . . .

STORE CLERK
Prettyblouse.

POLICEMAN #1
Prettyblouse?

STORE CLERK
Yeah.

POLICEMAN #1
After Mr. Prettyblouse inserts the
tape, we will review it. And we
need both of you to confirm that
the individuals on the tape were
the same individuals that you saw
fleeing the store.

KAREN
I’m going to be late for class.

SHERRY
Karen, you are late for class.
Sir, show us the tape.

Store clerk puts the tape in the player and presses play.
The monitor shows the Store Clerk dancing around the store in
his underwear.
 14.

STORE CLERK
Oh. Let me fast-forward that.

SHERRY
Wow.

The Store Clerk fast forwards the VCR tape. When he finds
the right place, he presses play. The TV monitor shows a
blank screen but has audio of the conversation that the store
clerk had with Jo Jo about his cameras.

POLICEMAN #2
You girls can leave now.

INT. SHERRY’S CAR (MOVING) - DAY

Sherry and Karen drive down the boulevard headed toward the
campus.

KAREN
I can’t believe I’m late.

SHERRY
Get over it, Karen.
Here’s the deal. And you should
know this because you are a
psychology major.

KAREN
Okay.

SHERRY
Anytime you are in a negative
situation, you must focus on
something positive.

KAREN
How was I supposed to focus on
something positive when I was run
down by some thugs?

SHERRY
Well, one of them was cute
(beat)
And . . .

KAREN
Get over it?

SHERRY
Yes.
 15.

KAREN
Focus on the positive?

SHERRY
Yes.
(beat)
Try it out.

Karen thinks.

KAREN
Positive? Hmm.
(beat)
I was groped by a middle aged man?

SHERRY
What?

EXT. - GOOD SAMARITAN SHELTER OF HOPE - DAY

Keith and Jo Jo hang out with other panhandlers. L.A. stands

a few yards away with Alex.

L.A.
Jo Jo, don’t think I forgot about
you, podnah.

JO JO
I won’t.

KEITH
Don’t even acknowledge him, Jo Jo.

JO JO
I won’t.

L.A.
One day pretty Keith ain’t gonna be
around to save yo sorry stanking
self.

JO JO
‘Kay.

KEITH
Ignore him, man.

JO JO
Can we leave, Keith?

KEITH
Nah, this is our spot too.
 16.

Jo Jo shakes his head.

L.A.
(singing)
Jo Jo. Jo Jo.

KEITH
Don’t even pay him no mind. He got
to be high.

Alex walks over to L.A.

ALEX
What’s up with you and Jo Jo, man?

L.A.
He a buster. A flip-flop. A
sometimee type of fool.

INT. SHERRY’S CAR (MOVING) - DAY

Sherry’s driving. Karen sits in the passenger seat.

SHERRY
I can’t believe that guy was
dancing around the store in his
underwear.

KAREN
(laughs)
Mr. Prettyblouse? Oh, wow. Ouch, my
tailbone.

SHERRY
Ah, poor baby.

Sherry stops at a red light and starts to fix her hair. Karen
imitates her. Sherry turns to the right and recognizes Keith
and Jo Jo.

EXT. GOOD SAMARITAN HOUSE OF HOPE - DAY

Keith chats with Jo Jo.

KEITH
I don’t even think that fool from
L.A.

JO JO
Why you say that?
 17.

KEITH
He don’t talk like them L.A. boys
talk.

JO JO
Huh?

KEITH
He don’t say car, and park, and
there, like they do out there.

JO JO
Okay.

INT. SHERRY’S CAR - DAY

Sherry points at Keith and Jo Jo.

SHERRY
Look.

KAREN
What?

SHERRY
Those idiots who knocked you down.

KAREN
Where?

SHERRY
Right there.

KAREN
Sherry, I’m scared.

SHERRY
I’m going to give them a piece of
my mind.

KAREN
Sherry, no.

Sherry backs her car up and parallel parks perfectly next to

where Keith and Jo Jo are.

EXT. - STREET CORNER - DAY

The group of panhandlers are stunned at Sherry’s actions.

 18.

L.A.
What’s up with this?

JO JO
That ain’t the law, is it?

KEITH
Nah, they too pretty to be the law.
Oh snap. That’s them girls from
the store.

JO JO
Oh.

KEITH
Let’s bounce.

As Keith and Jo Jo get up to leave, Sherry gets out of her

car.

SHERRY
Hey. You two track stars knocked my
friend down.

JO JO
Sorry.

KEITH
Shut up, Jo Jo.

L.A.
Yeah, shut up, Jo Jo.

L.A. walks toward Sherry. Jo Jo hides behind Keith.

L.A. (CONT'D)
Who is you?

KEITH
L.A.

L.A.
Mind yours, pretty boy.

KEITH
This is mine.

L.A.
This yo girl?

KEITH
Nah, this is my business. Just ease
up man.
 19.

L.A. backs up. Sherry looks at Keith. Keith looks at Sherry.

Jo Jo looks at Sherry’s clothes.

JO JO
Hm.

KAREN
(from inside of Sherry’s
car)
Sherry. I’m scared.

L.A.
Shut up, trick.

KEITH
(to Sherry)
Okay, miss. Just do us all a favor.
Get back in your beemer and beam on
up out of here.

SHERRY
Can you at least apologize?

KEITH
Apologize?

SHERRY
Yes, my friend has been traumatized
and she’s late for her psychology
class.

KEITH
Look . . . I . . .

JO JO
I’ll apologize.

Jo Jo walks to the passenger side of Sherry’s car.

KEITH
Jo Jo.

JO JO
Nah, man. I feel bad. I think I
stepped on her elbow or something.

Jo Jo pulls out a candy bar. Karen presses button to raise

her window up. Jo Jo taps on the window.

JO JO (CONT'D)
Excuse me. I want to tell you that
we’re sorry for what we did.
 20.

L.A.
Soft-boy.

KEITH
Come on, Jo Jo.

SHERRY
At least he had the decency to
apologize.

KEITH
Jo Jo.

JO JO
Here’s a candy bar.

KAREN
Sherry.

Sherry walks to her car.

SHERRY
Okay, we’re going.

JO JO
Spare some change before you leave?

SHERRY
I don’t carry change.

L.A.
Spare a twenty?

SHERRY
You need more than a twenty. You
need psychological help.

L.A.
What? Girl, I’ll knock the avon off
of yo . . .

KEITH
L.A., chill, man.

L.A. stops in his tracks.

L.A.
This fool really thinks he’s
running things over here.

ALEX
Look like he handled you.
 21.

L.A.
Shut up.

Big Red (red-headed dude in his early thirties) along with

Mitch (unconcerned dope head in his thirties) pull up across
the street in a white van.

ALEX
There go Big Red and them.

L.A.
I see him.

ALEX
So, what’s up?

L.A.
He got something for me and I got
something for him. We brothel
together.

ALEX
You mean, barter?

L.A.
Yeah.

KEITH
Let’s go, Jo Jo.

Sherry walks to her car, pauses, opens her car door and
watches Keith and Jo Jo walk up the block.

INT. - SHERRY’S CAR - DAY

Karen pats on the driver’s seat.

KAREN
Get in, Sherry.

Sherry gets in the car.

SHERRY
That was exhilarating. It was
dangerous, confrontational. Its
like I stepped into another society
or something.

KAREN
Please don’t ever do that again.
 22.

SHERRY
I mean, I’ve always noticed those
people. But I’ve never had a
conversation with any of them.

KAREN
Sherry.

SHERRY
Yes.

KAREN
Will you drive? That society is
still only three feet away from us.

Sherry looks at the congregation of panhandlers.

SHERRY
Oh, okay.

She drives off.

EXT. GOOD SAMARITAN HOUSE OF HOPE - DAY

L.A. yells at Keith as he and Jo Jo walk off.

L.A.
You ain’t running nothing out here,
Keithie.

ALEX
Wait til after he leaves to talk
noise, huh?

Keith and Jo Jo walk up the block.

KEITH
See what I’m saying. Just ignore
him.

L.A.
Buster.

KEITH
(silently)
Yo mama.

Jo Jo laughs.

L.A.
Jo Jo, I still ain’t forgot you,
podnah. You still on my list, fool.
 23.

KEITH
Right after crack.

Jo Jo laughs as he and Keith stroll up the block out of ear’s

distance from L.A.

KEITH (CONT'D)
(to pedestrian)
You got any spare change?

The pedestrian shakes his head.

JO JO
(to another pedestrian)
Spare some change, brother?

PEDESTRIAN #2
Unh uh.

JO JO
Maybe we ought to just sell those
candy bars that you found at the
store.

KEITH
Ain’t nobody gonna wanna buy any
melted candy bars from two
transients.

JO JO
Transients? I’m all man, K.

KEITH
Transients means that we’re
homeless.

JO JO
Oh.
(beat)
You got to be the smartest dude
I’ve met in my life.

KEITH
Shut up.

JO JO
Serious, man. You got a gift.
You’re like the chosen one or
something.

KEITH
Stop it.
 24.

JO JO
Smart. Always using those big words
and stuff. You’re smarter than half
these college cats we be trying to
hustle.

KEITH
Come on.

JO JO
I’m not jockin’, man. I’m just
saying. You’re unique.

KEITH
There you go.

JO JO
Shoot.

Jo Jo stops Keith and puts his hands on his shoulder.

JO JO (CONT’D)
I love you man.

Keith grabs Jo Jo and throws him against a huge mirrored

glass window outside of ALL NIGHTER’s PANCAKE PALACE.

INT. - ALL NIGHTER’S PANCAKE PALACE - DAY

Students are watching Keith’s and Jo Jo’s confrontation

unbeknownst to Keith and Jo who can’t see inside.

KEITH
You smoking again?

JO JO
What? Nah?

EXT. - ALL NIGHTER’S PANCAKE PALACE - DAY

A crack pipe peeks out of his pocket. He pushes it back in.

KEITH
Jo Jo. You’re my boy and all. But
if I ever catch you smoking that
crap again. I’ll beat the stank off
of you. Hear me?

JO JO
Yeah.
 25.

KEITH
I ain’t always gonna be there to
protect you from L.A. snd them.

He let’s him go.

KEITH (CONT’D)
I got dreams man. I ain’t gonna be
here forever.

They walk up the block and approach Pedestrian #3.

KEITH
(to Pedestrian #3)
You got any change, man?

PEDESTRIAN #3
Sure.

He digs into his pockets and gives Keith some change.

KEITH
Thanks, man.

PEDESTRIAN #3
Yeah.

JO JO
God bless you.

Keith and Jo Jo walk a few steps up the sidewalk.

KEITH
Don’t say that to folk.

JO JO
What?

KEITH
God bless you.

JO JO
Why not?

KEITH
Jo Jo, we are two petty thieves who
beg people for change.

JO JO
Yeah, so?
 26.

KEITH
You think people take us seriously
when we try to get religious on
them?

JO JO
Good point.

KEITH
I get my change, say thanks, and
move on.

JO JO
Yeah.

Keith takes a deep breath and walks over to a telephone pole

where college flyers are stapled. He reads one flyer that
advertises a sorority party being held at a sorority house.

KEITH
Jo Jo?

JO JO
What’s up?

KEITH
You wanna get one last snatch and
grab in, before we turn over a new
leaf?

Jo Jo walks over to the telephone pole.

JO JO
Huh?

KEITH
We’re gonna hit up some rich kid‘s
cars tonight.

JO JO
Ooh wee.

EXT. - UNIVERSITY CAMPUS - DAY

Sherry, Karen and Melissa (beautiful 21 year old sorority

girl) converse between classes.

KAREN
My dad calls them rift-raff.

SHERRY
I don’t know what to call them.
 27.

MELISSA
I ignore them. I don’t know why
they would open up a shelter like
that near a college campus anyway.

SHERRY
Right.

KAREN
Sherry, Thank you for standing up
for me. I was scared and honored at
the same time.

MELISSA
I can’t believe you did that. Tell
me the story again.

SHERRY
No need to rehearse that again.

Sherry sees Tray (cocky, playboy fraternity senior) as he

runs to catch up to a female student across campus.

SHERRY (CONT’D)
Do I really want to go to this
party tonight?

MELISSA
Of course you do.

KAREN
She’s still not over Tray.

SHERRY
I’ve been over Tray.

Melissa turns around to look at Tray and notices FLOYD

CAMBRIDGE (22 year old, tall basketball phenom) stroll across
campus.

MELISSA
Ooh. There’s my baby. Hey Floyd!

Floyd continues to walk without hearing hear. Other students

admire him as well.

KAREN
She love her some Floyd Cambridge.

SHERRY
He’s alright.
 28.

MELISSA
That’s my boo. Number 22.

EXT. - ROSEDALE APTS. - NIGHT

Keith and Jo Jo walk across the parking lot.

KEITH
You’re not gonna ask me how we turn
over this new leaf, huh?

JO JO
I thought you were talking about
smoking weed or something.

KEITH
What?

JO JO
New leaf. New weed.

KEITH
Nah. New life.

JO JO
New life?

KEITH
I was peeping those college broads
earlier today.

JO JO
That one chic was cold.

KEITH
Both of them were. But I was
peeping out their hustle.

JO JO
What hustle?

They stop in front of Big Red’s apartment door.

KEITH
Everybody got a hustle.

JO JO
Okay.
 29.

KEITH
Theirs are a little more legit and
organized than ours.

JO JO
Keith, we’re transvestites who beg
for change.

KEITH
Transients, fool.

Keith KNOCKS on Big Red’s door.

JO JO
Big Red still be charging people to
squat here?

KEITH
Yeah.

JO JO
How much he charge?

KEITH
We ain’t gonna stay over here, man.

JO JO
Why not?

Big Red opens the door to his apartment. His apartment is

filled with runaways and transients.

KEITH
Big Red, what’s cracking?

BIG RED
Cool Keith, What’s the deal?

They slap five.

KEITH
You mind if we borrow your spot
tonight for a little peek-a-boo?

BIG RED
Ya’ll wanna post up for the night?

KEITH
Nah, just for a couple of hours.

BIG RED
Well, as you can see, we’re tight
on space.
 30.

KEITH
I see that.

BIG RED
I gotta pay my rent.

KEITH
I hear ya.

BIG RED
See if ya’ll can squeeze through
somewhere. Just don’t make too
much noise. Laws been by here
three times already.

JO JO
Man.

BIG RED
Yeah, and it’s hard to hide twenty
something people in a two bedroom
apartment.

Big Red’s cell phone RINGS.

BIG RED (CONT’D)

If you go to sleep, I’m a start
charging you.

Keith and Jo Jo enter the apartment. Big Red steps outside

to answer his cell.

BIG RED (CONT’D)

Big Red’s temporary housing
services.

L.A.
Hey.

BIG RED
What’s up?

L.A.
You got that?

BIG RED
L.A.?

L.A.
Yeah.

BIG RED
I got it man.
 31.

L.A.
Cool. I’m a send Lucy over there to
pick it up.

Big Red takes a deep breath and shivers.

BIG RED
Okay.

INT. BIG RED’S LIVING ROOM - NIGHT

Keith and Jo Jo walk through the apartment that is filled

with homeless teenagers and underachieving college drop-outs
who refuse to go back home to mommy and daddy.

KEITH
Okay. We’ll just kick it over here
for awhile.

JO JO
How long?

KEITH
A couple of hours. Just until the
party over there gets into full
blast. Then we go shopping.

JO JO
Cool.

INT/EXT SHERRY’S CAR/SORORITY HOUSE - NIGHT

Sherry and Karen put make-up on.

SHERRY
I really don’t have time for
parties.

KAREN
Me neither.

SHERRY
You think Tray’s going to be here?

KAREN
Of course.

SHERRY
Positives about Tray being here?
(beat)
(MORE)
 32.
SHERRY(CONT'D)
He’ll see how I’ve grown since he
left me.

KAREN
You’re good.

INT. BIG RED’S LIVING ROOM - NIGHT

Keith and Jo Jo sit by the window.

KEITH
You know, Jo Jo?

JO JO
What?

KEITH
I’m starting to really not like
this lifestyle.

JO JO
I hear ya, man.

KEITH
Do you really?

Mitch interjects.

MITCH
I hear ya, man. I don’t like
Lifestyle condoms either. I don’t
like condoms period.

Keith shakes his head. Mitch walks by HACKING loudly.

KEITH
It’s like everyday, me and you,
scrambling around for change and
food and a spot to squat.

JO JO
Yeah.

KEITH
I’m getting tired of this whole
routine.

JO JO
Me too.

KEITH
Check the contrast of us and them
across the street.
 33.

JO JO
Contrast?

KEITH
This goes back to the legit hustle
I was telling you about.

EXT. SORORITY HOUSE - NIGHT

Sherry and Karen walk to the door of their sorority house.

Melissa stands in the doorway.

MELISSA
Sherry-Share. Kerry-Kare.

SHERRY
(with spanish accent)
May - leesa. Que pasa?

MELISSA
Nada, nada. Please, come in.

INT. SORORITY HOUSE - NIGHT

Sorority girls and fraternity boys party together.

KAREN
I’ll text message you if we get
separated too long.

SHERRY
Okay.

Karen walks around the house with Melissa. Sherry stands by

the stairway looking at her cell phone.

MELISSA
Did you see the highlights, last
night?

KAREN
What highlight’s?

MELISSA
Floyd’s?

KAREN
Unh uh.

Karen notices Tray on the other side of the stairway

surrounded by girls. Karen text messages Sherry.
 34.

MELISSA
Ooh. I want to make a highlight
reel with him.

INT. BIG RED’S LIVING ROOM - NIGHT

KEITH
Look around you, Jo Jo.

Jo Jo looks around the apartment.

KEITH (CONT'D)
You can’t even realize that this
apartment was not made to have this
many people in it at the same time,
do you?

JO JO
It is a little overcrowded.

KEITH
A little? If something was to
catch on fire, we’d all die.

JO JO
Mm.

Keith sniffs the air.

KEITH
You smell that?

JO JO
Smell what?

KEITH
Exactly, you don’t smell anything
because you’re used to it.

JO JO
Used to what?

KEITH
The McNasty.

JO JO
The McNasty?

KEITH
The McNasty. That I have worn the
same clothes for two months, smell.
(MORE)
 35.
KEITH(CONT'D)
That, I haven’t bathed for two
months, smell. That, that ain’t me
that’s you, smell.

JO JO
I don’t smell that bad, do I?

KEITH
Worse. And what’s so crazy about
it is that I’m used to it.

JO JO
Used to it?

KEITH
It doesn’t bother me, cuz I smell
the same way.

Keith stands up and raises his hands.

KEITH (CONT'D)
We all smell the same way!

Big Red walks over to Keith.

BIG RED
Keith, calm down with all that
preaching man. You’re making my
tenants nervous.

KEITH
My bad, man.

Big Red walks into his bedroom.

INT. - BIG RED’S BEDROOM - NIGHT

Big Red lifts his mattress up and grabs a .22 pistol. He puts
it in his pocket. He grabs some air freshener and exits his
bedroom. He sprays the living room.

INT. - LIVING ROOM BY THE WINDOW

KEITH
Look at Red.

JO JO
Yeah.

KEITH
You think they gotta spray Lysol at
that party over there?
 36.

Jo Jo looks out the window.

JO JO
Probably not.

KEITH
That’s what I’m saying. It’s a
whole nutha world over there, man.

JO JO
Yeah.

KEITH
I mean, look at us and the cats in
here. We all have different
stories, man.

JO JO
Right.

KEITH
Big Red used to be just like them
across the street.

JO JO
I know.

KEITH
Went to school and everything.

JO JO
Yeah.

KEITH
Now look at him. Running a boot-
leg shelter for run-aways and
outcasts.

JO JO
That’s a legit hustle.

KEITH
No it ain’t. A legit hustle is
what they got going on over there.

JO JO
Whatcha mean?

KEITH
They are not just out there acting
a fool. They are partying for a
purpose.
 37.

JO JO
You lost me.

KEITH
You been lost. Those are kids our
age who are taking advantage of the
resources that are available to
establish decent lives in the
future.

JO JO
What are we?

Keith stands up again and raises his arms.

KEITH
We are a bunch of lazy, do nothings
who beg for change every day.

He gets the attention of the others.

JO JO
So what do we do?

KEITH
Instead of begging for change, we
make a change.

JO JO
Uh huh.

KEITH
Instead of smoking dope. Let’s have
some hope.

JO JO
Yeah.

KEITH
Instead of . . .

Big Red runs over to them.

BIG RED
Keith! Seriously man. You gotta go
with that Obama junk.

EXT. - ROSEDALE APARTMENTS - NIGHT

Outside, Keith and Jo Jo look across the street at the

sorority house.
 38.

KEITH
Looks like everything’s in full
throttle. Those college brats ought
to be good and toasted by now.

INT. - SORORITY HOUSE - NIGHT

Karen text messages Sherry on her cell phone.

KAREN’S TEXT MESSAGE

Tray is on the other side of the
staircase.

SHERRY’S TEXT MESSAGE

Watch my jelly.

Sherry spins around and walks around the staircase to the

steps, walks up the stairs and sees Tray as he hugs a girl.
Sherry slips and falls down the stairs.

EXT. - SORORITY HOUSE - NIGHT

Keith hits Jo Jo on the shoulder.

KEITH
Alright, Jo Jo, let’s go shopping.
You stay behind me and watch my
back. Keep an eye out for any cops
or any toy cops, ya dig?

JO JO
We still gonna do this?

KEITH
Yeah.

JO JO
What about the hope, the change,
and the new weed?

KEITH
New leaf.

JO JO
Yeah.

KEITH
I’m saying. After we hit this last
lick, we gonna make some changes.
 39.

JO JO
Oh.

Keith and Jo Jo look in and out of cars.

KEITH
Car alarm.

Keith walks to the next car.

KEITH (CONT'D)
Car alarm.

The next car.

KEITH (CONT'D)
Car alarm. Man. Everybody got car
alarms now-a-days.

JO JO
I know.

Keith walks up to Sherry’s car.

KEITH
Ooh. This one ain’t got no car
alarm.

Keith looks into the car and notices a college I.D. with
Sherry’s photo on it.

KEITH (CONT'D)
Mm.

As Keith walks on to the next car, Jo Jo looks into Sherry’s

car and notices that it doesn’t have a car alarm and it has a
lap top in the back seat.

KEITH (CONT'D)
Jo Jo, keep up with me.

JO JO
Right behind you.

Jo Jo pretends like he’s going to follow Keith, but he

actually stays near Sherry’s car. Keith looks at a Jeep and
notices it seems to not have a car alarm.

KEITH
Bingo. Uno. Domino.

Keith pulls out a slim jim and tries to get into the Jeep.
 40.

INT. SORORITY HOUSE - NIGHT

Sherry lays at the end of the steps. Tray strides over to

help.

TRAY
Sherry, are you okay?

Tray’s entourage of females LAUGH in the background. Karen

and Melissa hurry over.

KAREN
Sherry, what happened?

MELISSA
Are you Okay?

TRAY
Hi, Karen.

KAREN
Hi, Tray.

Tray eyeballs Karen up and down. Melissa notices.

SHERRY
Just get me out of here, you guys.

TRAY
Karen, something is very different
about you.

Melissa reaches to help Sherry. Tray slaps her hands.

MELISSA
Hey.

TRAY
Is that Floyd Cambridge over there?

MELISSA
Where?

Melissa walks off.

EXT. - BIG RED’S APARTMENT - NIGHT

LUCY (twenty year old transient floozy) KNOCKS on his door.

Big Red answers.
 41.

LUCY
Hey, Red.

BIG RED
What’s up, Loose?

LUCY
That’s Lucy.

BIG RED
I know.

LUCY
You got it?

BIG RED
Yeah.

LUCY
Well, can I come in and get it?

BIG RED
No.

LUCY
Why not?

BIG RED
Every time you come over here, you
cause trouble with my tenants?

LUCY
Tenants?

BIG RED
Squatters.

LUCY
Just give me the gun.

BIG RED
Shh.

BIG RED (CONT’D)

Where’s the money?

Lucy reaches in her pocket and pulls out a twenty dollar

bill, a crack rock, and a condom.

BIG RED (CONT’D)

What is this?
 42.

LUCY
Fifty dollars.

BIG RED
Okay. I can see where the 20
dollars and the rock could possibly
add up to thirty dollars. But whats
up with the glove?

LUCY
Do you really have to ask?

Big Red takes a deep breath and shivers.

INT. - SORORITY HOUSE - NIGHT

Karen tries to help Sherry up.

KAREN
Tray, help me, please?

SHERRY
No, I don’t want him to touch me.

TRAY
Sure.

Tray grabs Sherry by her arms and snatches her up on her

feet.

SHERRY
Aagh!

TRAY
So, Karen, have you been working
out?

KAREN
Every now and then.

SHERRY
Karen, let’s go.

KAREN
Oh, wait, I left my purse in the
kitchen.

SHERRY
I’m leaving.

Sherry limps towards the front door.

 43.

EXT. SORORITY HOUSE - NIGHT

As Keith tries to break in the Jeep, Jo Jo successfully

breaks into Sherry’s car. Suddenly, the Jeep’s hidden alarm
TALKS.

JEEP
(with a Jamaican accent)
Step away from the vehicle, mon.

KEITH
Ain’t this bout a . . .

JEEP
(starts playing music)
Back up, back up , step back from
the Jeep. Oh yeah.

KEITH
Wow.

Keith notices Jo Jo opening Sherry’s car door.

KEITH (CONT'D)
Hold up, Jo Jo. Not that one.

Police lights start flashing.

KEITH (CONT'D)
Ah, man.

The Police pull up and flash light at Keith.

POLICEMAN #1
Put your hands over your head.

The Jeep alarm still sings in the background. Policeman #2

gets out of the car. Keith puts his hands over his head. Jo
Jo hides in Sherry’s back seat. Sherry exits the sorority
house and limps to her car.

POLICEMAN #2
You can put your hands down.

Keith keeps his hands up.

POLICEMAN #2 (CONT'D)
I said put your hands down.

Keith puts his hands down.

 44.

POLICEMAN #1
What are you doing here?

KEITH
I was marveling at this car alarm.

The Jeep plays a Bob Marley-type song.

POLICEMAN #2
That is kind of original, huh?

KEITH
Yeah.

Sherry limps to her car. She sobs and hums along to the song
that plays.

SHERRY
That’s Tray’s favorite song.

By the Jeep . . .

Police #1 questions Keith.

POLICEMAN #1
So, tell us, why are you really
here?

KEITH
Like I said . . . I was . . .

Keith watches Sherry get into her car.

INT. SHERRY’S CAR - NIGHT

Sherry shuts her car door and starts the engine.

SHERRY
I knew I shouldn’t have come to
this stupid party.

Sherry sniffs the air.

SHERRY (CONT'D)
What is that smell?

Sherry starts the car and drives.

 45.

EXT. SORORITY HOUSE - NIGHT

Policeman #2 gets out of his car. Keith watches Sherry’s car

as it approaches him and the police.

KEITH
Oh, that’s my ride.

POLICEMAN #2
What?

KEITH
That’s my ride. That’s my ride
home right there. That red beemer.
That’s me. That’s my ride, man.

POLICEMAN #1
Check it out, Harvey. This boy got
to be lying.

Policeman #2 walks to the middle of the street and stops

Sherry’s car. The Jeep car alarm still plays in the
background. Keith tries to walk to Sherry’s car.

POLICEMAN #2
(to Keith)
Stay right there.

INT. - SHERRY’S CAR - NIGHT

Sherry sighs.

SHERRY
Now, what?

EXT. - SHERRY’S CAR - NIGHT

Policeman #2 walks to the driver’s side of Sherry’s car and

TAPS on the window. Sherry, nervously, pushes buttons and
ROLLS down all of her windows. Jo Jo’s eyes widen with fear.

POLICEMAN #2
Young lady, this’ll be real quick.

SHERRY
Yes, officer?
 46.

POLICEMAN #2
You again? This has to be a sign
from God. I’ve been praying for a
young, gorgeous lady like . . .

Policeman #2 notices Jo Jo in the backseat.

POLICEMAN #2 (CONT’D)
Do you realize that you have
someone in your . . .

JEEP (O.S.)
I told you to step away from the
vehicle. You’ve been warned, mon.

Fake GUNSHOTS ring from Jeep’s car alarm. Policemen #1 and

#2 drop down to the ground. Sherry and Jo Jo both scream.
Sherry notices Jo Jo and screams louder. Keith runs and
dives into Sherry’s car through her passenger window.

KEITH
Drive.

INT. SHERRY’S CAR - NIGHT

Sherry presses gas and speeds down the block.

SHERRY
Oh, my God, what’s happening?

KEITH
Jo Jo, you alright?

SHERRY
(frantic)
What’s happening?

KEITH
Hey, hey. Calm down.

SHERRY
I can’t breathe.

JO JO
Ah, man. She’s freaking out.

Sherry drives too fast and uncontrollably.

KEITH
Hey, pull over. Let me drive.
 47.

SHERRY
(panicking)
Huh?

KEITH
Pull over.

SHERRY
I don’t know what to do.

Keith picks up reads Sherry’s college I.D.

KEITH
(raises his voice)
Sherry, pull over.

Sherry SLAMS on the brakes. Keith shifts car gear into park.
Sherry looks at Keith and faints.

INT. SORORITY HOUSE - NIGHT

Tray and Karen make out in Kitchen. Melissa walks in.

MELISSA
Tray, that stupid car alarm of
yours went off again. Police are
out there and everything.

Tray throws his keys to Melissa.

TRAY
Handle that for me, would ya?

MELISSA
Unbelievable.

INT. SHERRY’S CAR - NIGHT

Sherry lays unconscious in the seat.

JO JO
What’s up?

KEITH
She fainted.

JO JO
Man.
 48.

KEITH
Couldn’t handle the excitement.
Help me move her to the passenger
side.

JO JO
Right on.

KEITH
Nah. You stay there, I’ll do it.

EXT. QUIET NEIGHBORHOOD - NIGHT

Keith lays the passenger seat down, gets out of car and picks
Sherry up. He looks up and sees Mr. Prettyblouse walk out of
his house

JO JO
Is she breathing?

Keith looks at her chest as it moves up and down.

KEITH
Yeah

As Keith carries Sherry, he hides his face by holding her

face in front of his.

JO JO
What are you doing?

KEITH
Shut up.

JO JO
You a freak.

Keith lays Sherry on the passenger seat and kneels down.

KEITH
(whispers)
Old dude from the store is across
the street.

JO JO
What?

KEITH
Shh.

Mr. Prettyblouse recognizes Jo Jo as he ducks down.

 49.

MR. PRETTYBLOUSE
I know that face.

Keith shuts the passenger door and runs to the driver’s side.

MR. PRETTYBLOUSE (CONT’D)

Ooh.

Mr. Prettyblouse runs toward the car. Keith gets in and

drives off.

MR. PRETTYBLOUSE (CONT’D)

Come back here, Stankonia!

INT. SHERRY’S CAR - NIGHT (MOVING)

JO JO
What we gonna do now?

KEITH
Let me think.

EXT. SORORITY HOUSE - NIGHT

Policemen #1 and #2 crouches on the ground as the Jeep alarm

goes quiet.

POLICEMAN #1
Harvey, you alright?

POLICEMAN #2
Unscathed, you?

POLICEMAN #1
I’m alright.

POLICEMAN #2
Was that a drive-by?

POLICEMAN #1
I can’t call it. All I know is
that . . .

Policemen #1 and #2 sees Melissa as she walks towards the

Jeep and presses car alarm button to turn the alarm off.

MELISSA
(mumbles to herself)
What kind of idiot gets an alarm
like that?
 50.

Policemen #1 and #2 stand up.

POLICEMAN #2
You think we should try to explain
this to the chief?

POLICEMAN #1
Explain what?

POLICEMAN #2
My sentiments exactly.

As Melissa strolls back to the sorority house, Policemen #1

and #2 get into their car and drive off.

INT. SHERRY’S CAR - NIGHT (MOVING)

Keith drives Sherry’s car.

JO JO
We rollin’ like a mug, huh?

KEITH
Where we going though?

JO JO
I don’t know, let’s just go.

KEITH
We need to take her to her place
and drop her off.

JO JO
We need to drop her off at any
place and take this ride to the
nearest chop shop and get paid.

KEITH
What you know about chop shops?

JO JO
L.A.

KEITH
L.A.?

JO JO
We were cool at one time.

KEITH
I know that, but- what, he gave you
some chop shop pointers?
 51.

JO JO
He is from Los Angeles, Keith. So
he knows a few things about chop
shops and car jackin’ and stuff.

KEITH
Please, only thing he know how to
do is sell and smoke crack
simultaneously. Oxymoron.

Jo Jo laughs.

JO JO
You called him an ox and a moron.
(beat)
He ain’t that big, though.

KEITH
This fool.

JO JO
I can’t believe we’re riding around
in a . . . what kind a car is this?

KEITH
BMW, homeboy, BMW.

JO JO
Wow.

Keith stops the car.

JO JO (CONT'D)
What are you doing?

KEITH
We can’t be driving around town in
sleeping beauty’s beemer all night.
We need a plan.

JO JO
Chop shop.

KEITH
Nah.

JO JO
Why you so protective of this
chick?

KEITH
What you talking about?
 52.

JO JO
Earlier tonight, when we were
scoping the veh-a-cles, you didn’t
even try to open this car.

KEITH
Man.

JO JO
You know this could be that new
weed you was talking about.

KEITH
How you figure that?

JO JO
This could be that last lick we hit
before we burn that new weed.

KEITH
Turn over that new leaf.

Keith starts driving again.

KEITH (CONT’D)
We’re going to the Samaritan.

JO JO
For what?

KEITH
I need to talk to Bishop Crooms.

JO JO
What you need to talk to Bishop
Crooms for?

KEITH
Advice.

JO JO
For what?

KEITH
This situation.

JO JO
How you gonna explain this
situation, Keith?

KEITH
Jo Jo, do you even know the
situation we’re in?
 53.

JO JO
Yeah.

KEITH
Explain it. Cuz I wanna know.

JO JO
Uh, we were breaking into cars, and
the cops pulled up . . . I was in
the back seat of this beaner . . .

KEITH
Beemer.

JO JO
Beemer. Then the cops just started
shooting and here we are. Bishop
might understand that.

KEITH
Wow.

Sherry starts to wake up.

KEITH (CONT'D)
(disguises his voice)
Go back to sleep, Sherry. We’re
almost there.

SHERRY
Okay, Tray.

JO JO
Tray?

KEITH
Shh.

EXT. GOOD SAMARITAN SHELTER OF HOPE - NIGHT

Lucy gives L.A. the gun that she bought from Big Red.

L.A.
Is this it?

LUCY
That’s what you wanted.

L.A. tucks it into his waist.

 54.

L.A.
I guess
(beat)
Where the juice at?

LUCY
The what?

L.A.
The A-one. Where it at?

LUCY
You told me to give it to Big Red
for the gun.

L.A.
When did I tell you that?

LUCY
Remember when we smoking earlier.
You said to . . .

L.A.
Oh, well, I don’t smoke no more.
You can’t get high off your own
supply. You know the code.

LUCY
Okay. Well, I ain’t gonna smoke no
more either.

L.A.
What? You my best customer.

LUCY
I thought customers had to pay for
stuff.

L.A.
You ain’t never paid for the A-one?

LUCY
Not with money.

L.A.
They don’t call you Loose Lucy for
nothing.

LUCY
Forget you.

L.A.
Forget you.
 55.

LUCY
Punk.

L.A.
Trick.

LUCY
Fake, broke, Scarface wanna-be.

L.A.
What?

LUCY
You heard me. Sell one, smoke
three. Still broke. Owe more
money than you make.

L.A grabs Lucy by the neck.

L.A.
Girl, I will kill right here.

LUCY
(gasps)
Not in front of Bishop.

Bishop Crooms walks out of the shelter.

BISHOP CROOMS
Hey, ya’ll.

L.A. releases Lucy.

L.A.
What’s up, Bishop?

BISHOP CROOMS
What are ya’ll doing?

L.A.
Nothing.

Lucy takes off running.

L.A. (CONT'D)
Alright then, Lucy. I’ll get atcha
later.

Bishop Crooms walks up to L.A.

BISHOP CROOMS
Mr. L.A.?
 56.

L.A.
Yeah.

BISHOP CROOMS
What’s going on?

L.A.
I just stopped by for a spot to
squat.

BISHOP CROOMS
We’re full. You know we shut down
at midnight.

L.A.
Yeah. I just didn’t realize it was
past midnight.

BISHOP CROOMS
It’s about 12:30. What happened to
that watch I gave ya?

L.A.
Huh?

BISHOP CROOMS
(talks slowly)
The watch I gave you.

L.A.
Oh, I had to . . .

BISHOP CROOMS
You pawned it, huh?

L.A.
You can’t pawn nothing without an
ID around here.

BISHOP CROOMS
What did you do with it?

L.A.
I . . .

BISHOP CROOMS
L.A., I know there’s a reason why
you keep stopping by the Good
Samaritan. You need help.

Bishop Crooms puts his hand on L.A.’s shoulder.

 57.

L.A.
I need another watch.

BISHOP CROOMS
No more watches for you, sir.

L.A.
I was just jivin’.

BISHOP CROOMS
I know, you’re good at jiving.

L.A.
I got to go, Bishop.

BISHOP CROOMS
Come back later this morning, get
you some food, clean yourself up,
we’ll talk more.

L.A.
Yeah.

BISHOP CROOMS
These doors are open to you and
will stay open to you.

L.A.
Except after midnight.

BISHOP CROOMS
Except after midnight.

L.A.
I’m gone, Bishop.

BISHOP CROOMS
Be careful.

L.A. walks up the block. Keith pulls up and parks. L.A.

stops in his tracks.

L.A.
Is that pretty boy driving that
beemer?

Bishop Crooms walks into the shelter. L.A. ducks into the
side alley and watches. Jo Jo gets out of the car. Keith
gets out of the car.

KEITH
Go get Bishop. I’m a wake her up.
 58.

JO JO
This is not cool.

KEITH
Just go get Bishop, man.

Jo Jo walks to the door and rings the buzzer. Bishop Crooms

immediately opens the door.

JO JO
Ahh!

BISHOP CROOMS
You rang?

KEITH
What you screaming for, Jo Jo?

JO JO
Nothing . . . Hey Bishop.

BISHOP CROOMS
We are full and it is way past
midnight.

KEITH
Bishop, I need to yack atcha for a
minute.

BISHOP CROOMS
Who is that?

JO JO
That’s Keith.

Keith shakes Sherry’s shoulders.

KEITH
Sherry.

SHERRY
Huh?

Sherry opens her eyes.

KEITH
Its okay, you fainted.

SHERRY
I heard gunshots.

KEITH
I know.
 59.

SHERRY
You have pretty eyes.

KEITH
Thank you.

SHERRY
Wait a minute. You’re that idiot
from this morning.

KEITH
What?

SHERRY
You and your homeys did a drive by.

KEITH
Baby, I’m homeless. I can’t afford
a car or a gun.

SHERRY
You tried to take me out.

Sherry screams.

KEITH
Shh.

Keith reaches into his pocket.

KEITH (CONT'D)
Here, have a candy bar.

SHERRY
(screaming)
Somebody help me.

BISHOP CROOMS
What’s going on out there?

JO JO
That’s why I’m here.

Bishop Crooms opens the door and steps outside.

BISHOP CROOMS
(to Jo Jo)
Excuse me, son.

KEITH
Sherry, calm down.
 60.

SHERRY
Don’t say my name like you know me.

KEITH
Okay, well, just calm down.

SHERRY
Stop telling me to calm down.

KEITH
(raises his voice)
Okay, well just shut up.

Sherry screams again. Keith backs up. L.A. watches from the
alley. Jo Jo goes into the shelter. Bishop Crooms walks
towards Sherry.

BISHOP CROOMS
Young lady.

KEITH
Bishop, let me explain.

BISHOP CROOMS
Explain later. We need to calm
this young lady down.

KEITH
I’ll be over here.

Keith sits down on a stoop not too far from where L.A. is.
L.A. clutches his gun.

BISHOP CROOMS
Young lady.

SHERRY
Who are you?

BISHOP CROOMS
I am Bishop Crooms.

SHERRY
Bishop Crooms?

BISHOP CROOMS
Yes.

SHERRY
I know you.

BISHOP CROOMS
You do?
 61.

SHERRY
Yeah, when I was a freshman, you
were in charge of the freshmen in
transition counseling service on
campus.

BISHOP CROOMS
And your name is?

SHERRY
Sherry.

BISHOP CROOMS
Sherry what?

SHERRY
Perry.

KEITH
Sherry Perry. What kind of name is
that?

BISHOP CROOMS
I don’t remember you, Sherry Perry.

KEITH
How can you forget Sherry Perry?

BISHOP CROOMS
Keith, we are trying to help this
young lady, not insult her.

KEITH
You right.

SHERRY
(to Keith)
Did you do anything to me?

KEITH
No.

Sherry adjusts her clothes.

SHERRY
I’m confused. What happened? I
mean, I heard gun shots, then you
jumped in my car and . . .

BISHOP CROOMS
Gun shots?
 62.

KEITH
It was a car alarm.

SHERRY
Car alarm?
(beat)
Tray.

EXT. SORORITY HOUSE - NIGHT

Tray and Karen walk to Keith’s Jeep.

TRAY
This is awesome.

KAREN
What?

TRAY
This is the fifth time I’ve had
this happen to me.

KAREN
Had what happen?

TRAY
I am about to hook up with one of
my ex’s friends.

KAREN
What?

EXT. GOOD SAMARITAN SHELTER OF HOPE - NIGHT

SHERRY
I knew I shouldn’t have gone to
that stupid party.

BISHOP CROOMS
You wanna talk about it?

SHERRY
No, sir, I’d rather just go home.

BISHOP CROOMS
You think you’d be able to make it
by yourself, driving?

SHERRY
Sure.
 63.

BISHOP CROOMS
Just to be safe, why don’t you come
inside for some orange juice or
something?

KEITH
I can use a soda.

BISHOP CROOMS
You know where the refrigerators
are, Keith. Why don’t you take Ms.
Perry with you?

SHERRY
I’ll pass, Bishop. This has been a
crazy night worth forgetting and I
just wanna go home.

KEITH
She’s too good for peasant orange
juice.

SHERRY
Whatever, Keith.

KEITH
Wow, she said my name.

BISHOP CROOMS
Keith.

Keith opens the front door and walks into shelter.

SHERRY
You know what? I will have some
orange juice before I leave.

Keith smiles as he rushes to the kitchen. Bishop holds the

door open.

BISHOP CROOMS
Do come in.

INT. GOOD SAMARITAN SHELTER OF HOPE - NIGHT

Bishop Crooms and Sherry enter the shelter. Keith walks

ahead. Sherry makes faces because of the smell. Isaac walks
up.

KEITH
(to Isaac)
You seen Jo Jo?
 64.

ISAAC
Yeah, dude, he’s in the game room.

KEITH
Cool.

As Keith walks into the Kitchen, Isaac notices Sherry.

ISAAC
Who’s the hottie, Bishop?

BISHOP CROOMS
Hottie?

ISAAC
I mean, who’s the young lady?

BISHOP CROOMS
Why don’t you ask her?

ISAAC
(to Sherry)
Who are you?

SHERRY
Sherry.

JAMIE (eighteen year old butch type female) interrupts.

JAMIE
That’s that crazy chick from this
morning.

ISAAC
Oh, yeah. Man, it looks like she
done got a little more finer.

Keith peaks out of the kitchen.

KEITH
Isaac, go get Jo Jo for me.

ISAAC
What?

KEITH
(lowers his voice)
Go get Jo Jo for me, homey.

ISAAC
Right.
 65.

Isaac goes to the back of the shelter to find Jo Jo. Keith

hurries to the refrigerator to grab a can of orange juice for
Sherry.

INT. GOOD SAMARITAN KITCHEN - NIGHT

Keith sits at the kitchen table, sips a soda. Bishop Crooms

and Sherry enter the kitchen.

BISHOP CROOMS
Sherry, we should have plenty of
juice . . .

Keith shakes and slides the can of juice over to Sherry.

KEITH
I got it, Bishop. There’s your
juice, Sherry.

BISHOP CROOMS
Alright.

MINISTER MASON (serious minded man in mid-thirties) enters

the kitchen.

MINISTER MASON
Bishop, we have a situation in the
game room.

BISHOP CROOMS
What is it now?

Bishop Crooms then leaves the kitchen with Minister Mason.

Sherry stands by the kitchen table.

KEITH
Have a seat. I won’t bite.

Sherry reluctantly sits down.

SHERRY
I’m not staying long.

KEITH
Drink your juice.

Sherry grabs the can of juice, wipes off the top of the can
with her sleeve, tears the tab off, looks in it, and slowly
takes a sip.

SHERRY
Thank you.
 66.

KEITH
No problem.

SHERRY
This has been some kind of day for
me.

KEITH
Yeah.

SHERRY
Do you have my keys?

KEITH
Yeah.

Keith stands up and checks his pockets. All he finds is his

money from pan-handling.

KEITH (CONT'D)
Oh, I think Jo Jo has ‘em. I’ll be
right back.

SHERRY
Wait. Don’t leave me here by
myself.

KEITH
Follow me.

Sherry gets up and follows Keith out of the kitchen.

EXT. GOOD SAMARITAN SHELTER OF HOPE - NIGHT

L.A. comes out of the alley and walks to Sherry’s car. He

notices laptop computer in the back of the seat. He opens
the back door and grabs the laptop. He notices the car keys
are in the ignition. He gets in the front seat and drives
off.

INT. SHELTER HALLWAY - NIGHT

Sherry and Keith walk through the hallway towards the game
room. Some of the transients recognize Sherry. JUDY
(slender, slightly challenged teenager) acknowledges Sherry.

JUDY
That’s that crazy chick from this
morning.
 67.

SHERRY
(to Keith)
Can you slow down, please?

KEITH
Huh?

JUDY
(O.S.)
Keith sure knows how to pick em,
huh?

SHERRY
(to Keith)
Slow down. I do not have enough
energy to keep up with you.

KEITH
Right. Right.

SHERRY
Plus, I kind of fell down, earlier.

KEITH
I thought it was your friend that
me and Jo Jo knocked down.

SHERRY
No, I’m talking about while I was
at . . . Ooh. I almost forgot about
that.

Keith stops.

KEITH
Forgot about what?

SHERRY
Does Bishop know that you guys are
thieves?

KEITH
Of course not.

SHERRY
I bet he does. You know, preachers
can discern things like that.

KEITH
Uh, look here, Sherry Perry. You
are in a shelter full of runaways
and drug addicts.
 68.

SHERRY
I’m aware of that.

KEITH
Bishop doesn’t have time to worry
about petty thieves. I don’t care
what he discerns.

SHERRY
I can’t believe you know what
discern means.

KEITH
Yeah.

INT. SAMARITAN GAME ROOM - NIGHT

Jo Jo shoots pool with Alex. Isaac watches along with other

panhandlers. Bishop Crooms and Minister Mason try to revive
CLYDE (18 year old transient) who has passed out. Bishop
Crooms SLAPS his face.

BISHOP CROOMS
Clyde! Clyde!

ISAAC
Leave him alone, Bishop. He’s just
having a fit because Alex beat him
in pool.

Minister Mason shakes him.

MINISTER MASON
This doesn’t look like an act to
me, Bishop.

BISHOP CROOMS
Clyde.

At the pool table . . .

Alex sucks his teeth as Jo Jo prepares to shoot.

ALEX
So, what’s up with you and L.A.?

JO JO
Nothin’.

ALEX
Come on, man.
 69.

Jo Jo shoots a terrible shot.

JO JO
What?

Bishop Crooms places Clyde’s head in his lap.

BISHOP CROOMS
Pray for him, Minister.

ISAAC
Really?

Minister Mason and Bishop Crooms bow their heads.

MINISTER MASON
Father God, we are aware of your
healing power . . .

BISHOP CROOMS
Yes, Lord.

Isaac looks at Clyde. Clyde opens one of his eyes.

MINISTER MASON
And God, we know that you are a
miracle worker . . .

BISHOP CROOMS
Well.

At the pool table while Minister Mason prays.

ALEX
Jo Jo, you’re my dude and L.A.’s my
dude. We all used to be tight.
Til you started hanging out with
pretty boy.

INT. SAMARITAN HALLWAY - NIGHT

Sherry follows Keith. TOM (doped up, mental case) walks up

to Sherry and Keith.

TOM
Keith.

KEITH
What up, Tom?

TOM
Keith.
 70.

KEITH
Tom.

TOM
Who’s the freak?

Sherry makes a face.

KEITH
Oh, this is Sherry Perry.

SHERRY
Don’t tell him my whole name.

TOM
Sherry Perry. Sounds like a mixed
drink or something.

KEITH
You can say that.

SHERRY
No, he can’t.

TOM
Uh, excuse me bar-tender. I would
like a Sherry Perry on the rocks
with a twist of lemon.

KEITH
How about a cherry, too?

TOM
Yeah, a Sherry Perry with a cherry.

SHERRY
So, not funny.

TOM
So, miss Sherry Perry with a lemon
and cherry. You got some extra
change I can carry?

SHERRY
Is that all you guys ask for?

TOM
Well, I could ask you to marry me.
But that might be unrealistic.

SHERRY
Real unrealistic. Keith, can we
get my keys now?
 71.

KEITH
Yeah. Take it easy, Tom.

TOM
Alright, Keith. Bye Bye, Sherry
Perry quite contrary.

SHERRY
Yeah.

Tom walks off. Sherry leans on the wall.

KEITH
What’s up?

SHERRY
Keith, I know this is an odd
circumstance that we’re in.

KEITH
Yeah?

SHERRY
And I wouldn’t be in this
circumstance if it wasn’t for you.

KEITH
Okay.

SHERRY
Could you please just show me a
little respect? I know this is
your territory, where everybody
knows your name.

KEITH
Right.

SHERRY
Please, just show me some respect,
don’t belittle me in front of your
people, okay?

KEITH
No problem, let’s go.

SHERRY
I’ll wait right here.
 72.

INT. GOOD SAMARITAN GAME ROOM - NIGHT

Alex shoots and makes three shots in a row. Bishop Crooms

and Minister Mason lay their hands on Clyde while Isaac looks
with disdain.

ALEX
You squatting here tonight?

JO JO
We ain’t supposed to even be in
here. Doors lock at midnight.

ALEX
Who is we?

JO JO
Me and pretty boy.

ALEX
Keith is here?

JO JO
Yeah.

ALEX
You know L.A. got some heat.

JO JO
L.A. got a gun?

ALEX
Lower your voice.

Bishop Crooms and Minister Mason overhear.

BISHOP CROOMS
Who has a gun?

ALEX
Jo Jo has a twenty-two in his
pocket.

Bishop Crooms drops Clyde’s head to the floor.

CLYDE
Ow!

ISAAC
I told you he was jiving.
 73.

JO JO
He’s lying.

BISHOP CROOMS
Jo Jo, give me the gun.

JO JO
I don’t have a gun.

Jo Jo empties his pockets. A crack-pipe falls out.

BISHOP CROOMS
What is that?

Jo Jo runs off.

MINISTER MASON
Jo Jo. You’re in the right place.
Let us help you.

Jo Jo slams open the game room door. Minister Mason is in

pursuit.

EXT. GOOD SAMARITAN HALLWAY - NIGHT

Keith and Sherry move out of the way as Jo Jo blasts through

the door.

KEITH
Jo Jo, what’s up, man?

MINISTER MASON
Out of the way.

SHERRY
Ahh!

KEITH
Jo Jo.

Jo Jo runs through the hallway with Minister Mason behind

him. Transients move out of Jo Jo’s way. Keith rushes
behind them.

SHERRY
Make sure you get my keys.

Bishop Crooms, Alex, Isaac, and the other young transients

exit the game room.
 74.

BISHOP CROOMS
From now on, no one in the game
room after midnight.

Jo Jo runs through the hallway towards the exit. Minister

Mason and Keith chase behind.

KEITH
Jo Jo, what are you doing, man?

MINISTER MASON
Stop, boy.

AS Jo Jo makes it out of the door. Judy comes out holding a

crying baby. Minister Mason stops running to avoid hitting
her.

JUDY
Excuse me, Minister.

Keith stops running.

MINISTER MASON
Judy, you need to move out of my
way, please.

JUDY
Hey, Keith.

KEITH
What’s up, Judy?

MINISTER MASON
Judy.

JUDY
I’m moving.

Judy moves out of the way. Minister Mason runs to the door
and tries to open it, he pulls on the door.

MINISTER MASON
It won’t open. Ah nah. It won’t
open.

Keith runs to the door, turns the latch, opens the door.

MINISTER MASON (CONT'D)

Oh.

The two of them step outside.

 75.

EXT. THE GOOD SAMARITAN SHELTER OF HOPE - NIGHT

Jo Jo cuts around the corner unnoticed by the minister and

Keith. They do, however, notice a red car (not Sherry’s)
peeling off. Keith looks at where he parked Sherry’s car.
It’s gone.

KEITH
Jo Jo.

INT. TRAY’S JEEP - NIGHT

Tray and Karen sit in Tray’s jeep as they start it.

KAREN
Tray?

TRAY
Yeah?

KAREN
I really don’t think we should be
doing . . .

Tray leans over and kisses Karen.

KAREN (CONT'D)
Ninety in a fifty five speed zone.

TRAY
Lets go to my place.

KAREN
Lets.

EXT. TRAY’S JEEP - NIGHT

Tray drives his Jeep in a full circle from where he parked

outside the sorority house to the Rosedale apartments across
the street.

INT. TRAY’S JEEP - NIGHT

Karen looks at Keith.

KAREN
I thought you lived in a condo,
downtown?
 76.

TRAY
I do. I’m the apartment manager
over here, now. I have an
apartment upstairs, too. Free of
charge.

KAREN
Really?

TRAY
Yeah.

KAREN
Well, I’d rather go to your Condo,
if you don’t mind?

TRAY
Why waste gas going all the way
downtown?

KAREN
Oh.

INT. SHERRY’S CAR (MOVING) - NIGHT

L.A. drives Sherry’s car around town. He turns the radio on,
turns it to a hip-hop station.

RADIO DJ (V.O.)
We’re live at The Spot, where all
the dimes in the city dwell. Come
on out, we ain’t closing until six
in the morning.

L.A.
Hm.

L.A. stops at a red-light and sees a COLLEGE STUDENT (19 yr

old hip fellow) lost in the music that he jams to from the
headphones of his ipod. He has a Floyd Cambridge number 22
basketball jersey on.

L.A. (CONT’D)
This is my night.

L.A. parks the car and gets out.

EXT. - STREET CORNER - NIGHT

L.A. walks over to the college student who jams intensely.

He taps him on the shoulder.
 77.

L.A.
You got any spare change, man?

The college student takes off his headphones.

COLLEGE STUDENT
Huh?

L.A. pulls out his gun and smiles.

L.A.
We need to talk.

EXT. GOOD SAMARITAN SHELTER OF HOPE - NIGHT

Bishop Crooms and Sherry step outside. Alex lurks in the

back. Sherry notices her car is gone.

SHERRY
Where’s my car?

Everybody looks at Keith. Keith scratches his head.

KEITH
Uh . . .

SHERRY
Your boy stole my car.

KEITH
Jo Jo?

SHERRY
You knew this was going to happen.

KEITH
Yeah. I brought you to the Good
Samaritan, while you were sleeping,
just so Jo Jo, who was already in
your car to start with, would steal
your car, after you met Bishop and
the others.

SHERRY
Well . . .

BISHOP CROOMS
That’s it, no more kids after
midnight. The shelter will be
closed and locked up at 11:59.
 78.

MINISTER MASON
Good idea.

SHERRY
My car.

KEITH
Sherry, I’m sorry.

SHERRY
You’re sorry. I’m sorry I ever met
you.

KEITH
Look, I think I know where Jo Jo
could possibly have taken your car.

MINISTER MASON
Chop shop?

KEITH
No.
(beat)
Yeah.

SHERRY
Unbelievable.

BISHOP CROOMS
You try to help people out, and
they spit in your face.

MINISTER MASON
Literally. Like that L.A.
character did Mrs. Spikes last
week.

KEITH
L.A. squats over here sometimes?

SHERRY
Squats? That’s disgusting.

KEITH
That’s a metaphor, Sherry.

SHERRY
You know what a metaphor is?

BISHOP CROOMS
Keith, are you gonna stay here
tonight?
 79.

KEITH
Nah, I gotta find Jo Jo.

SHERRY
And my car, hopefully.

KEITH
Of course.

SHERRY
So, where’s the nearest chop shop?

KEITH
I don’t know. You got the yellow
pages, Bishop?

SHERRY
Real funny. But I’m not laughing.
You know why?

KEITH
Why?

SHERRY
My laptop, my cell phone, my purse,
my ID . . .

KEITH
Which was an excellent picture by
the way.

SHERRY
Thank you. I have car insurance,
my car can be replaced after my
parents kill me. But my laptop has
important info that I can’t
replace.

MINISTER MASON
I’m calling the cops.

SHERRY
I was waiting for someone to say
that.

KEITH
Cops?

EXT. CITY BUS STOP - NIGHT

Jo Jo runs full speed as a bus pulls up. Jo Jo gets on the

bus.
 80.

INT. CITY BUS -NIGHT

The BUS DRIVER (mean, analytical, middle-aged man) closes the

door. Jo Jo pretends like he’s digging for change in his
pockets. Bus driver drives bus forward.

JO JO
Ah, man, I must have dropped my
fifty cents while I was running to
the bus stop.

BUS DRIVER
No money. No ride.

The Bus Driver stops the bus.

Jo Jo sits down next to MATTHEW (naieve college freshman,

from that morning). Jo Jo takes off his shoes.

JO JO
Hold up, I think I got some change
in my shoe.

The college students on the bus make faces. Matthew stands

up, pulls change from his pocket and pays Jo Jo’s fare.

MATTHEW
I got you, man.

The Bus Driver continues to drive.

JO JO
Thanks, man.

MATTHEW
I remember you from this morning.

JO JO
This morning? Were you at that
store, too?

MATTHEW
No, the bus stop on Knickerbocker.
You and that cool dude were asking
for change.

BUS DRIVER
They call ‘em panhandlers.

MATTHEW
Yeah.
 81.

BUS DRIVER
I call ‘em low-budget hustlers.

JO JO
(to Bus Driver)
Is this the last route?

BUS DRIVER
Yeah. Quitting time is at 2:30 am.

MATTHEW
(to Jo JO)
So, what happened?

JO JO
Huh?

MATTHEW
How’d you end up like this?

JO JO
Like what?

MATTHEW
Homeless.

BUS DRIVER
Crack cocaine.

JO JO
How’d you know?

BUS DRIVER
It’s obvious.

MATTHEW
You ever try to quit?

JO JO
I have quit.

MATTHEW
Congratulations. How long has it
been.

JO JO
Uh . . .

Jo Jo looks at the clock on the bus.

JO JO (CONT'D)
Forty five minutes?
 82.

BUS DRIVER
That’s funny.

MATTHEW
Where are your parents?

JO JO
My parents disowned me.

BUS DRIVER
Must be gay or something.

MATTHEW
Sir, if you don’t mind, I would
appreciate it if you would stay out
of our conversation.

The Bus Driver sucks his teeth and stops at the next stop.
Lucy gets on the bus and pays her fare.

JO JO
Lucy Lu, what it do?

Lucy sits in between Jo Jo and Matthew. She is closer to

Matthew.

BUS DRIVER
And another one.

LUCY
Hey, Jo Jo. Where’s Keith?

JO JO
Probably trying figure to out how
to beat me up in my dreams.

Jo Jo notices marks on her neck.

LUCY
Why?

JO JO
I’ll tell you after you tell me,
what happened to your neck?

LUCY
What?

Jo Jo points at her neck. Matthew looks.

JO JO
Those ain’t hickies.
 83.

LUCY
L.A. got mad at me and tried to
choke me.

JO JO
Sounds like L.A.

MATTHEW
Oh, my God.

LUCY
(to Matthew)
Yeah. Do you have any change?

The Bus Driver shakes his head. Matthew goes in his pockets.
His pockets are empty.

MATTHEW
I’m sorry. I’m out of change.

LUCY
That’s okay, sweetie.

JO JO
Why did L.A. choke you?

Lucy looks at Matthew as she talks to Jo Jo.

LUCY
I called him a fake Scar-face wanna
be.

JO JO
What?

LUCY
Yeah.

JO JO
So he choked you?

LUCY
He tried to kill me.

JO JO
Again?

BUS DRIVER
Again?

Matthew is intimidated by Lucy’s stares and her closeness.

 84.

LUCY
You know he got a gun now?

JO JO
Alex told me.

LUCY
Yeah.

JO JO
Giving L.A. a gun is like giving
Bobby Brown a t.v. show.

LUCY
I know. I feel bad about it.

JO JO
You got him the gun?

LUCY
I’ll tell you later.

Jo Jo squirms in his seat.

LUCY (CONT’D)
(to Matthew)
You have cute ears.

MATTHEW
Thank you.

JO JO
Where were ya’ll at?

Lucy turns to Jo Jo.

LUCY
We were outside of the Good
Samaritan.

JO JO
I just left the Good Samaritan.

LUCY
Why would you leave the Good
Samaritan so late?

JO JO
They discovered, well, Keith is
going to discover that I still
smoke.
 85.

BUS DRIVER
I thought you said you quit.

JO JO
Matthew.

Matthew clears his throat. The Bus Driver sucks his teeth.

LUCY
Keith was with you?

JO JO
I make sure I’m with Keith at all
times if possible.

LUCY
He is special. Special and fine.
L.A. can’t stand him.

JO JO
Yeah.

LUCY
Anyway.

Lucy focus’s her attention on Matthew again

JO JO
Matthew paid my fare for me.

LUCY
Really? How sweet.

Lucy rubs Matthew’s ear. Matthew jerks and pulls the chord
to inform the Bus Driver to stop at the next stop.

LUCY (CONT'D)
This is your stop?

MATTHEW
Yeah.

Matthew gets up to leave as the bus stops.

JO JO
Alright, Matt, you take it easy.

Lucy gets up and hits Jo Jo on the shoulder.

LUCY
This is our stop, too.
 86.

JO JO
Oh yeah. This is our stop.

Matthew, Lucy, and Jo Jo get off of bus.

EXT. “THE SPOT” NIGHTCLUB - NIGHT

L.A. hops out of Sherry’s car and gets in line. Floyd

Cambridge stands in line.

FLOYD
Here for the fe fes, huh?

L.A.
Fo sho.

FLOYD
You from here?

L.A.
Nah, L.A.

FLOYD
You from L.A.? I’m from L.A.

Floyd extends his hand. L.A. slaps him five.

L.A.
Serious?

FLOYD
You must know who I am. You got my
jersey on.

L.A.
What?

FLOYD
Yeah, man. That’s me. Number 22.
Cambridge.

L.A.
(raises his voice)
I don’t know you, podnah.

FLOYD
You sure you from L.A.?

L.A.
Yeah.
 87.

FLOYD
You don’t sound like you from L.A.

L.A.
What you say, fool?

FLOYD
Fool?

L.A. pushes Floyd. Floyd swings at L.A. L.A. ducks. Floyd

hits the man behind L.A. The man attacks Floyd. Big fight
breaks out. Bouncers rush over. L.A. slips into the club.

EXT. GOOD SAMARITAN SHELTER OF HOPE - NIGHT

Alex steps outside and walks off while Keith, Sherry, and
Bishop Crooms sit on the stairs outside.

KEITH
Minister Mason’s calling the cops,
huh?

BISHOP CROOMS
Yeah, unfortunately, that needs to
be done.

Bishop Crooms notices Alex leaving the Good Samaritan.

BISHOP CROOMS (CONT'D)

Hey, you know once you leave, you
can’t re-enter.

ALEX
Yeah.

KEITH
That’s one of L.A.’s goons.

SHERRY
So, Keith, you never told me why
you and Jo Jo ended up in my car in
the first place.

KEITH
Huh?

SHERRY
I remember being stopped by a
policeman, then hearing Tray’s
stupid gunshot car alarm thingy,
that totally freaked me out . . .
 88.

Minister Mason opens the door.

MINISTER MASON
The police are on their way.

Keith stands up.

BISHOP CROOMS
Okay, Minister, make sure everybody
is in their respective bunks. And
be prepared to have a serious
meeting tomorrow morning.

MINISTER MASON
Yes, sir.

Minister Mason closes the door.

SHERRY
I remember screaming . . .

KEITH
Screaming is a good oultet.

Sherry goes into deep thought.

INT. TRAY’S APARTMENT - NIGHT

Karen sits on the couch. Tray listens to his voice mail.

SHERRY (V.O.)
Tray, I just wanted to let you know
that it is still over, so don’t
bother calling me anymore.

Boop!

Karen shifts in her seat.

TRAY
I know that. No confirmation
needed.

BIG RED (V.O.)

Uh, sir. This is Big Red. I mean,
Leopold from downstairs. Just
wanted to explain to you why the
cops were here earlier. Uh. That
idiot next door called and told
them . . .

Boop!
 89.

Karen scratches her head.

TRAY
Ran out of room.

BIG RED (V.O.)

Oh . . . yeah. She called and told
them that there was some illegal
activity going on down here. So
not true. Maybe a little weed
smoking here and there and some
rough . . .

Boop!

TRAY
I’ll check with him tomorrow.

BIG RED (V.O.)

Uh . . . I forgot what I called you
for.

Boop!

CRYSTAL (V.O.)
Tray, this is Crystal from
apartment three-B. That red headed
fellow has about fifty of those
stanky, panhandling, druggie,
cretans in his apartment making all
kinds of strange noises . . .

Boop!

CRYSTAL (V.O.) (CONT'D)

Stinking up the hallways and what
not. I’ve called the police twice
already. And . . . I am so
attracted to you. Could you come
over for dinner some time?

Boop!

TIFFANY (V.O.)
Tray, are you coming to the party
tonight? Stephanie and I decided to
take you up on your offer.

Boop!

CAROL (V.O.)
Tray, this is Carol. You left your
underroos at my house last night.
(MORE)
 90.
CAROL(CONT'D)
I’ll be sure to give you them
personally at the party.

Boop!

TRAY
Crazy girl.

BIG RED (V.O.)

Will you tell that crazy woman to
quit calling the police? We are
not doing anything wrong. Hey,
don’t eat that thats my pet iguana.

Boop!

SHERRY (V.O.)
Tray, I just wanted to tell you
that Karen and I are going to the
party and I would really appreciate
it if you’re not there.

Boop!

Tray moves to the sofa.

TRAY
Now, what were we up to?

KAREN
I was just leaving.

TRAY
What?

KAREN
I can’t do Sherry like this.

TRAY
Like what? She’ll never know.

KAREN
I’ll know.

TRAY
Wow.

KAREN
Yeah, I’m leaving.

As Karen gets up to leave, Tray jumps in her way.

TRAY
Wait a minute, baby.
 91.

KAREN
Tray, get out of my way. I’m going
home.

TRAY
Okay. Okay. But let me take you
home.

KAREN
Well . . .

TRAY
Come on, it’s the least I can do.

KAREN
Okay, I guess.

TRAY
Alright. Just let me cut my camera
off right quick.

KAREN
What?

Tray grabs a remote control, points it at a video camera

placed on a bookshelf, and presses the “off” button.

TRAY
Let’s go.

KAREN
Unbelievable.

EXT. COLLEGE CAMPUS - NIGHT

Lucy walks with her arms interlocked with Matthew’s. Jo Jo

walks behind, then Matthew stops walking.

MATTHEW
Well, it was nice meeting you. I’m
home now.

LUCY
You’re not going to invite us up to
your apartment?

JO JO
Dorm.

LUCY
Dorm?
 92.

MATTHEW
Non-residents aren’t allowed after
midnight. Especially females.

Lucy starts crying.

JO JO
What’s wrong, Lucy?

MATTHEW
Yeah, what’s the matter?

LUCY
For once in my life, I would like
to take a shower and sleep in a
warm bed.

JO JO
Aww, Lucy.

Matthew pulls out his wallet and gives Lucy fifty dollars.

MATTHEW
You can’t stay in my dorm. Here,
take this fifty and get a hotel
room or something.

JO JO
Matt, you are too much.

Lucy grabs Matthew and kisses him on the mouth.

LUCY
Too much.

Matthew smiles, walks off, and wipes his mouth as he goes on

campus. Lucy and Jo Jo give each other dap and walk off.

EXT. GOOD SAMARITAN SHELTER OF HOPE - NIGHT

Keith, Sherry, and Bishop all sit on the steps. Bishop Crooms
gets up.

BISHOP CROOMS
I’m an old man. I need my rest.
Keith, can you stay here with Ms.
Perry until Minister Mason comes
back or until the police arrive?

KEITH
I don’t feel comfortable snitching
on my homey.
 93.

BISHOP CROOMS
Keith. Its not about snitching.
It’s about doing the right thing.

KEITH
What is the right thing?

BISHOP CROOMS
The right thing is the right way.

KEITH
The right way.

BISHOP CROOMS
The only way.

SHERRY
The positive way.

KEITH
The Jesus way?

BISHOP CROOMS
Yes!

KEITH
Well, I don’t think Jesus would
have snitched on his homies.

Keith runs off.

BISHOP CROOMS
Keith!

SHERRY
There goes the track star, again.

BISHOP CROOMS
That’s it. I’m closing this place
down. A.S.A.P.

SHERRY
Why?

BISHOP CROOMS
I’m just gonna focus on church
ministry. These kids are too
difficult to handle.

Bishop Crooms gets up and goes into the shelter.

SHERRY
What about my car?
 94.

Policeman #1 and #2 pull up to the shelter.

INT. “THE SPOT” NIGHTCLUB - NIGHT

L.A. walks into the club and sees that the crowd has formed
around the dance floor. He presses through to the front of
the crowd and sees Mr. Prettyblouse (the store clerk) dancing
in the middle of the dancefloor.

L.A.
I came over here for this.

CROWD
Go Prettyblouse. Go Prettyblouse.

EXT. “THE SPOT NIGHT CLUB” - NIGHT

Police cars encamp the parking lot. Floyd Cambridge gets

escorted to a polic paddy wagon with others from the fight.

FLOYD
I didn’t do nothing.

A REPORTER (gorgeous latina in her mid twenties) and

CAMERAMAN (stocky 35 year old) are on the scene.

REPORTER
We are live at ‘The Spot’ nightclub
where star basketball forward,
Floyd Cambridge has been arrested
for assault. Details tonight after,
“That Can’t Be My Daddy.”

INT. TRAY’S JEEP (MOVING) - NIGHT

Tray and Karen are on their way to Karen’s apartment.

TRAY
I just want to tell you that I
admire you for not sleeping with
me.

KAREN
Thank you?

TRAY
You’ve shown me something.

Karen looks out of her window and sees Keith as he runs full
speed down the block.
 95.

KAREN
Hey, that’s that guy from this
morning.

TRAY
Huh?

KAREN
Nothing.

EXT. KNICKERBOCKER RD. - NIGHT

Keith stops running. He stops by the All Nighter Pancake

House and catches his breath.

INT. ALL NIGHTERS PANCAKE HOUSE - NIGHT

Keith notices Jo Jo and Lucy eating pancakes at booth.

KEITH
What’s up ya’ll?

Jo Jo sees Keith and chokes.

LUCY
Jo Jo.

KEITH
What is this, man? You trying to
die tonight? Stealing peoples cars
and now you kicking it with L.A.’s
girl.

Jo Jo coughs.

LUCY
Jo Jo. Breathe. Breathe.

Mitch sweeps around the area. Mitch stops and does the
Heimlich on Jo Jo.

KEITH
I was . . . I was going to do that.

MITCH
No problem.

LUCY
Jo Jo, you alright, baby.
 96.

KEITH
Baby? What are you doing, Jo Jo?
You decided to go solo and go all
the way left, huh?

Jo Jo clears his throat. Mitch nods, goes back to his

sweeping.

JO JO
Let me explain.

KEITH
Where’s the car?

JO JO
What car?

KEITH
Sherry’s car.

JO JO
I didn’t take her car.

KEITH
You ran out the Samaritan . . .

JO JO
Yeah.

KEITH
You had the keys, right?

JO JO
Why would I have the keys? You
drove.

Keith sits down.

KEITH
I left the keys in the car.

JO JO
You thought I took the car, K?

KEITH
Yeah. Well you ran out of there
like you won the lottery or
something.

JO JO
Bishop didn’t tell you?
 97.

KEITH
Tell me what?

JO JO
My stem fell out of my pocket while
I was in the game room.

KEITH
What you need a stem for, Jo Jo?

JO JO
Huh?

KEITH
That’s why you hanging out with
Lucy? What, ya’ll are crack
buddies, now?

LUCY
For your info, we both quit smoking
about an hour ago. Huh, baby?

JO JO
Ease up on the baby stuff, would
you? Now’s not the time.

EXT. GOOD SAMARITAN SHELTER OF HOPE - NIGHT

Policeman #1 and #2 exit their car. Minister Mason comes out

of the shelter. Sherry sits on the stairs with her head in
her hands.

POLICEMAN #1
Did you summon the police, sir?

MINISTER MASON
Yes, I did.

POLICEMAN #2
Pertaining to a car theft?

MINISTER MASON
Yes, sir.

POLICEMAN #1
Describe the car, please.

MINISTER MASON
Sherry, you want to describe your
car to the officers?

Sherry looks up.

 98.

POLICEMAN #2
We really need shorter shifts.

POLICEMAN #1
This is the third time we’ve seen
this young lady.

POLICEMAN #2
This fine young lady.

POLICEMAN #1
Not in front of the Rev., Harvey.

POLICEMAN #2
Oh.

Sherry stands up lethargically.

SHERRY
I drive a red, 2004 250si BMW.

Sherry starts crying.

POLICEMAN #2
What’s wrong, pudding?

EXT. “THE SPOT” NIGHT CLUB - NIGHT

L.A. pulls away in Sherry’s car amidst the chaos that he left
earlier. L.A. drives up the street.

EXT. SHERRY’S CAR (MOVING) - NIGHT

L.A. drives past past Tray.

KAREN
That was Sherry. I hope she didn’t
see me.

TRAY
Maybe that wasn’t her.

KAREN
That was her.

TRAY
Don’t worry about it. You like
pancakes?
 99.

INT. SHERRY’S CAR (MOVING) - NIGHT

L.A. sees Alex walking down the street. He stops the car
next to him, calls out the window.

L.A.
Say fool, you got any spare change?

ALEX
I need to be asking you that . . .
L.A.? Nah, man. What you . . .
Where’d you . . . When did you?

L.A.
Get in the car, boy.

Alex gets in the car.

ALEX
Man, when did you get this beemer?

L.A.
Tonight. I found it over there by
the Samaritan.

ALEX
That was you?

L.A.
Yeah.

ALEX
Everybody thought that it was Jo
Jo.

L.A.
Good.

INT. 24 HOUR DONUT SHOP - NIGHT

Keith, Jo Jo, and Lucy sit at a booth.

KEITH
We need to go back to the Samaritan
and explain this to everybody.

LUCY
Let’s go.
 100.

KEITH
You think ya’ll ready to come out
and expose ya’ll’s relationship so
early.

JO JO
I love her, Keith.

LUCY
Aww, baby.

Lucy kisses Jo Jo.

KEITH
Wow. I’m jealous.

LUCY
Really? Cuz I’ll dump him in a
minute for you, Keith.

JO JO
What?

LUCY
I’m serious.

KEITH
No, that’s alright. Let’s go
ya’ll.

Keith, Jo Jo, and Lucy leave the donut shop.

EXT. GOOD SAMARITAN SHELTER OF HOPE - NIGHT

Sherry continues to cry.

MINISTER MASON
She had a rough night.

SHERRY
I really just want to go home.

POLICEMAN #2
We’ll take you home, sweetie.

Sherry gets up and gets into the backseat of the police car.
Policeman #1 and #2 shake Minister Mason’s hand, then they
both get into the police car and drive off.
 101.

INT. POLICE CAR - NIGHT (MOVING)

Sherry sniffles in the backseat of the police car.

POLICEMAN #1
Where to, young lady?

SHERRY
I live in the Salado towers off of
Knickerbocker and 30th.

POLICEMAN #2
Over there by the Pancake House?

SHERRY
About a couple blocks up, actually.

POLICEMAN #1
Beautiful.

POLICEMAN #2
Maybe we can stop and get us a few
stacks after we drop her off?

POLICEMAN #1
Beautiful.

The police car radio broadcasts.

RADIO (V.O.)
Seven eighty-two, they have the
suspect enroute to the station, no
need for back up.

POLICEMAN #2
What suspect?

Police #1 picks up the receiver and turns around to look at

Sherry.

POLICEMAN #1
Might be your boy.

He speaks into the receiver.

POLICEMAN #1 (CONT’D)
Seven seventy-two to home. What
suspect is enroute?

RADIO DJ (V.O.)
The suspect is a 6’6’’ black male,
Floyd Cambridge.
 102.

POLICEMAN #2
Cambridge?

SHERRY
Melissa is going to be heart
broken.

INT. TRAY’S JEEP (MOVING) -NIGHT

Tray drives Karen to the pancake house.

KAREN
Does it have a drive-thru?

TRAY
It should. It’s open twenty-four
seven.

KAREN
I’ll take a couple wheat stacks, I
guess.

TRAY
Cool.

INT. SHERRY’S CAR (MOVING) - NIGHT

L.A. and Alex are joyriding.

L.A.
Look in that purse right there.
See if that broad got any more
money. I’m starving.

Alex grabs Sherry’s purse and looks through it.

ALEX
Nothing.

L.A.
No credit cards, nothing.

ALEX
Nah, just these pancake house
coupons.

L.A.
Hm.

L.A. does a U-turn and turns on Knickerbocker Road.

 103.

L.A. (CONT'D)
Gangsters eat pancakes.

EXT. KNICKERBOCKER RD. - NIGHT

Keith, Jo Jo, and Lucy walk down the block.

KEITH
Looks like I’m a have to look out
for you, too, now. Huh, Lucy?

JO JO
I got her back, K.

LUCY
Front, side, and everything else.
Huh, baby?

JO JO
Yes, ma’am.

KEITH
Wow.

As police sirens roar up the street. Keith, Jo Jo, and Lucy

duck inside an alley.

KEITH (CONT'D)
We need to be careful, ya’ll. Jo
Jo’s wanted for car theft.

JO JO
Yeah.

LUCY
Let’s go back.

KEITH
What if the cops show up?

EXT. ALL NIGHTERS PANCAKE PALACE - NIGHT

A police car speeds by.

 104.

INT. TRAY’S JEEP - NIGHT

Tray and Karen pull into the pancake house parking lot. Tray
recognizes one of his frat brother’s car and parks next to
it.

KAREN
I thought we were going through the
drive thru.

TRAY
Doesn’t service Jeeps. Something
about a height limit or something.

Just then, a big Hummer drives up to the drive thru.

TRAY (CONT'D)
Yeah.
(beat)
Come on. I’ll buy you a hot cocoa.

KAREN
Whatever.

INT. ALL NIGHTER PANCAKE PALACE - NIGHT

Tray opens the door for Karen. She reluctantly walks in. Jo
Jo recognizes Karen. Keith has his back to the entrance.
Tray escorts Karen to his friend’s table.

TRAY
I used to pick up a lot of hotties
over here, boy.

KAREN
Wow.

TRAY
I think this is where I first met
Sherry.

KAREN
Really.

PETE (tall, handsome, intellectual) stands up and exchanges

handshakes with Tray. Pete has ERICA (gorgeous, sorority
girl) and Melissa at his table. Karen stands there
impatiently.

PETE
Tray.
 105.

TRAY
Pete.

PETE
Join us.

Tray sits down, except Karen.

TRAY
So what ya’ll doing?

MELISSA
Uh, waiting on pancakes.

Erica laughs.

TRAY
Have we met?

MELISSA
Wow.
(beat)
Hey Karen.

KAREN
Hey.

An alert SOUND is made. Pete pulls out his blackberry and

reads.

PETE
What?

TRAY
What’s up?

PETE
Floyd Cambridge got arrested for
assault.

MELISSA
Are you serious?
(beat)
My baby!

Karen sits next to Melissa.

MELISSA (CONT’D)
I’m sure it is a misunderstanding.

TRAY
Well, he is from the mean streets
of L.A.
 106.

PETE
It was just a matter of time, I
guess.

TRAY
Yup.

Melissa gets up and storms toward the restroom. Karen

follows.

TRAY (CONT’D)
Erica, what you know about
videography?

Across the shop . . .

JO JO
Keith, ain’t that Sherry’s friend
over there?

Keith turns to look.

KEITH
Where?

JO JO
Uh . . . eight o’clock?

Keith turns toward the entrance and notices L.A. and Alex as
they pull up in Sherry’s car.

JO JO (CONT'D)
No, I mean 12 o’clock or uh 10. . .

KEITH
Hold up, Jo Jo.

Keith watches as L.A. and Alex get out of Sherry’s car.

KEITH (CONT'D)
Ya’ll duck down under the table.

Jo Jo, Keith, and Lucy duck down under the table. Jo Jo hits
his head on the table.

JO JO
Ouch.

KEITH
(whispers)
L.A. and his boy pulled up in
Sherry’s car.
 107.

LUCY
You must like this Sherry girl.

JO JO
(whispers)
I don’t blame him.

LUCY
(whispers)
What?

KEITH
Shh.

L.A. and Alex walk up to the counter.

LUCY
(whispers)
What are we going to do?

KEITH
(whispers)
I don’t know. Let me think.

ALEX
(to L.A.)
Man, I don’t think this is too
smart.

L.A.
Look, man. We gangstas. Gangstas
ain’t got time to be smart. Now
get the coupons.

INT. - ALL NIGHTER’S PANCAKE PALACE LADIES RESTROOM - NIGHT

Melissa wipes the tears from her eyes. Karen stares blankly
into the mirror.

MELISSA
How is he going to get drafted now
that he’s a felon?

KAREN
I made a huge mistake hooking up
with Tray.

MELISSA
You think?
 108.

KAREN
When Sherry finds out, she’s going
to kill me.

MELISSA
I’m going to kill the dude who got
my baby arrested.

KAREN
Are you that delusional? That boy
don’t know you.

Melissa grabs Karen by the face.

MELISSA
He will. He’s my destiny.

KAREN
Okay.

Melissa releases Karen and storms out of the restroom. Karen

fearfully follows.

INT. POLICE CAR - NIGHT

Sherry has visions of Keith and his smooth style of running

as she stares blankly out the window. She recognizes her car
parked at the donut shop.

SHERRY
My car. My car. My car is over
there. Stop. Stop.

Policeman #1 SLAMS on the brakes.

POLICEMAN #2
Where?

SHERRY
The pancake house.

Policeman #1 does a U turn and pulls into the donut shop

parking lot.

INT. - ALL NIGHTERS PANCAKE PALACE -NIGHT

Jo Jo and Lucy kiss under the table. Keith watches.

KEITH
(whispers)
Come on, ya’ll.
 109.

LUCY
(whispers)
I can’t help it, I’m excited.

At the front counter . . .

CASHIER LADY
(to Alex)
May I help you?

L.A.
Alex, get me some chocolate chip
ones, man. I’m going to the car
right quick.

ALEX
Bet.

L.A. walks past Karen and Melissa toward the exit. He sees
the police investigating Sherry’s car and turns around. He
rushes back to the line and knocks Karen’s down.

KAREN
Hey.

ALEX
(to cashier lady)
Yeah, I got these coupons. Uh, You
think that maybe we could . . .

L.A.
(whispers in Alex’s ears)
Laws outside, man.

ALEX
I told you.

CASHIER LADY
Sir?

L.A.
(whispers)
Be cool, man. You say they think
Jo Jo took the car, right?

ALEX
Yeah.

L.A.
(whispers)
We’re going to tip toe on up out of
here, bruh.
 110.

Alex turns around and starts walking towards the exit with
L.A. Melissa gets out of their way, while Karen gathers
things that dropped from her purse.

MELISSA
Tray, Pete. Ya’ll just gonna sit
there while Thirty Cent here just
knocked Karen down?

L.A. stops in his tracks.

L.A.
Thirty Cent?

From under the table . . .

LUCY
Oh, Lord.

As L.A. walks toward Melissa. Alex strolls out of the

pancake shop.

Karen then sees L.A., Jo Jo, and Lucy under the table as she
gathers up her stuff. Keith comes from under the table.
Pete and Tray stand up.

KEITH
L.A.

L.A.
Pretty boy?

EXT. - ALL NIGHTERS PANCAKE PALACE - NIGHT

As Policeman #1 and #2 investigate Sherry’s car, Alex walks

past them all the way across the parking lot next to Tray’s
Jeep. Policeman #1 notices Alex’s suspicious behavior.

POLICEMAN #1
(to Alex)
Hey, you!

Alex jerks around and hits Tray’s Jeep, setting off the
alarm.

JEEP
Step away from the vehicle, mon.

POLICEMAN #2
Ah, man, we ain’t falling for that
again.
(MORE)
 111.
POLICEMAN #2(CONT'D)
I’m going in here to get whomever
owns that Jeep to shut that off.

POLICEMAN #1
Give em a ticket, too.

Alex runs off.

POLICEMAN #2
Hey.

SHERRY
(from police car)
He’s not the one who stole it. Jo
Jo is.

POLICEMAN #2
We’re going to need you to identify
this Jo Jo dude. If he’s a dummy,
then he’s in there.

The Jeep sings a Bob Marley-type song in the background.

INT. - DONUT SHOP - DAY

Keith walks toward L.A.

KEITH
(to L.A)
How you gonna show up in here in a
stolen car?

L.A. pulls out a gun.

Policeman #2 comes in.

POLICEMAN #2
Will the owner of the blue Jeep out
there please. . .

L.A.
(to policeman)
Stop right there. Put your hands
up and throw down your gun.

Policeman #2 complies.

POLICEMAN #2
You must be Jo Jo.

L.A.
Nah, I ain’t Jo Jo. I wish I was
though. I wouldn’t be here.
 112.

Jo Jo then SNEEZES from under the table. L.A. (with gun

pointed at Policeman #2) squats and sees Jo Jo underneath the
table with Lucy.

L.A. (CONT'D)
Ain’t this ‘bout a . . . Jo Jo get
out from under there.

EXT. PANCAKE PALACE - NIGHT

Policemen #1 completes his evaluation of Sherry’s car. Sherry

gets out of police car. Jeep continues to sing.

POLICEMAN #1
No damage has been done . . . Uh,
the ignition hasn’t been tampered
with. No signs of forced entry.
Nothing.

SHERRY
That’s because Jo Jo had the keys.

Sherry and Policemen #1 have their backs to the donut shop.

They have no clue of what is going on in the shop. Tray’s
Jeep alarm continues to sing in the background.

POLICEMAN #1
The suspect had the keys?

SHERRY
Yep.

POLICEMAN #1
Why’d ya’ll give him the keys?

Sherry starts dancing to the music.

POLICEMAN #1 (CONT’D)
What are you doing?

SHERRY
Focussing on the positive..

POLICEMAN #1
Positive?

SHERRY
I’m no longer focussing on the
negative.

POLICEMAN #1
Alright.
 113.

SHERRY
I found my car. My laptop is still
in there. This is a great song.

Policeman #1 starts dancing.

POLICEMAN #1
I know, huh?

He unrhythmaticaly dances closer to Sherry,

INT. PANCAKE PALACE - NIGHT

Everybody in the shop has their eye on L.A. L.A. Is focused

on Jo Jo. Everybody inches up closer to L.A. as he talks to
Jo Jo.

L.A.
Why you always kicking it with
Keith?

L.A. aims his gun at Jo Jo.

JO JO
Huh?

L.A.
We uae to be noys, man. Then pretty
boy comes on the block and you
start hanging with him.

Lucy comes from underneath the table.

LUCY
Baby?

L.A./JO JO
Huh?

L.A.
What is this about?

Tray notices Lucy. He puts his head down and shivers.

L.A. (CONT’D)
Baby? You with Jo Jo, now?

LUCY
Yes.
 114.

L.A.
Ah. I’m shooting this fool

KEITH
No.

Everybody in the shop rushes L.A. A gun shot goes off.

Everybody beats up somebody who they think is L.A. They
actually beat up on Mitch. L.A. slips out the exit door and
watches Sherry and Policeman #1 dancing to Tray’s Jeep alarm.
As L.A. slowly opens the door, the music stops. L.A. starts
running.

JEEP
You have been warned.

Policeman #1 spots L.A.

POLICEMAN #1
Hey.

Tray’s Jeep alarm gives off fake gunshots. L.A. screams and
passes out.

POLICEMAN #1 (CONT'D)
That was rather feminine, wasn’t
it?

Sherry and Policeman #1 look at each other.

INT - ALL NIGHTERS PANCAKE PALACE - NIGHT

Sherry enters and sees everybody stomp on Mitch, assuming

that he is L.A.

SHERRY
What the . . .

Karen and Melissa run to Sherry. Keith notices Sherry and

stops pouncing on Mitch.

KAREN
Sherry?

Sherry squints her eyes at Keith.

SHERRY
Jerk!

KAREN
It’s not all his fault. I willingly
gave in. But we didn’t do anything.
 115.

SHERRY
What are you talking about?

MELISSA
(to Karen)
Quit while you’re ahead.

KAREN
Who’s the jerk again?

Sherry points at Keith.

SHERRY
He’s the jerk.

KAREN
Oh.

Keith walks up to Sherry.

KEITH
Got your car back, huh?

SHERRY
No thanks to you, pretty boy.

(CONT’D)

(CONT'D)
 116.

(CONT’D)