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ALL SCRIPTS






                      STRAIGHT OUTTA COMPTON



 
                           Written by

                  Jonathan Herman and Andrea Berloff



                             Story by

        S. Leigh Savidge & Alan Wenkus and Andrea Berloff






1   TITLE/CREDIT SEQUENCE:                                        1

    An AVALANCHE of SOUNDBITES, colliding and overlapping. Coming
    so fast, we can barely process them. A virtual sound book...

    WAR ON DRUGS. NANCY REAGAN. CRACK. DARYL GATES. CRIPS &
    BLOODS. Everything from KNIVES to PISTOLS to ASSAULT RIFLES.
    All these images add up to a minute and a half recap of not
    just black history but American history. As soon as they're
    done, we find ourselves plunged into --

                                                   TOTAL DARKNESS:

    FADE UP: ON;

2   EXT. BROWN HOUSE - COMPTON - NIGHT                            2

    A bucket pulls up in front of a shitty-looking BROWN HOUSE
    with ugly bars on the windows and doors. A rusted swing-set
    leans sideways on the dirt/grass they call a front lawn.

    SUPERIMPOSE: COMPTON, CA 1986

    Inside the car is ERIC WRIGHT, 21, but you know him as --

    SUPERIMPOSE: ERIC WRIGHT AKA EAZY-E

    A man who is completely in his element -- comfortable and
    poised, ready for anything.

    He hops out of the car, moves quickly to the TRUNK -- pops it
    open and reaches inside. With an electric screwdriver, Eazy
    unscrews a CERWIN-VEGA sub-woofer. Grabs a bulging BROWN BAG
    out of the speaker... and a 9mm -- SLAMS the trunk.

    ON THE ROOF, a LOOKOUT clocks Eazy as he walks up to the
    front door of the decrepit house...

    Eazy KNOCKS BY CODE. A dude, TONE (20s), opens a slat in the
    door. Gauges Eazy, EYES SKEPTICAL.

                           TONE
              Who is it?

                        EAZY
              Eric! Man, we been through this
              shit a thousand times.

    Multiple DEADBOLTS UNLOCK and an irritated Eazy enters --

                        EAZY (CONT'D)
              What's the use to having this dumb
              ass knock if I gotta tell you my
              name anyway?
                                                             2.


3   INT. BROWN HOUSE - MINUTES LATER                              3

    It's not what you'd call "cozy." The carpet is torn up,
    stained, cigarette-burnt. Walls covered in TAGS. A PITBULL
    stares menacingly from the kitchen.

    In addition to Eazy and Tone, there are THREE other people
    spread around the room: one GIRL lounges on a vinyl couch,
    eyes glazed; another girl, TASHA, loudly SCRAPES soul food
    onto the pitbull's plate; and a JITTERY DUDE steady keeps an
    EYE out the WINDOW, tense, occasionally clocking --

    EAZY spreads the CONTENTS of the BROWN BAG before them on a
    long TABLE: three FREEZER BAGS each containing 10 ounces. He
    looks up, ALL BUSINESS.

                        EAZY
              Now where the money at?

                        TONE
              Man, you heard what happen? My best
              runner got cracked. They sent his
              young ass to Y.A. --

                        EAZY
              The fuck that got to do with me?

    Tone turns to Tasha in the kitchen, nods.

                        TONE
              Tasha, get this dude a 40.

    TASHA opens the fridge, grabs a 40oz. --

                         EAZY
              Do I look thirsty to you?
                  (beat)
              Where my ends at?

    -- hands it to Tone who CRACKS it open. Drinks...

                        TONE
              Why you so ruthless, Eric, damn!
              You don't want nothin' to drink?
              What you want --
                  (re: the girls)
              -- you want some pussy?

                        EAZY
              Yep. But not from these strawberry
              bitches you got right here.
                                                            3.


                    TONE
          So you just gonna disrespect my
          house like that, Cuz?

                    EAZY
          Dumb ass, this a dope house! It's
          already disrespected.

                    JITTERY DUDE
              (re: Eazy's drugs)
          Well fuck it then -- You gonna have
          to let us hold on to that right
          there.

ON THE COUCH, the GIRL grabs a SAWED-OFF SHOTGUN FROM UNDER A
PILLOW. Levels it at Eazy, face grimaced, hard, strung out.

                    EAZY
          Yeah, do what you gotta do --
          `Cause I got my homies parked
          across the street from your momma's
          house. I don't show up. They show
          out...

Eazy just stares right back at them. The tension's like a
pressure cooker about to burst. Until --

A WHISTLE echoes in from outside (THE LOOKOUT) --

Suddenly, everyone notices a deep RUMBLING coming from
outside. Jittery Dude steps back from the window, eyes wide --

                    JITTERY DUDE
          Oh, shit --

Because there's a MASSIVE ARMORED VEHICLE rolling down the
street toward them. 6 TONS of steel, with a 14-foot BATTERING
RAM mounted on the front. LAPD emblazoned on the side.

                    JITTERY DUDE (CONT'D)
          Fuckin' Batter-Ram!

Everyone in the room FLIES into action, STASHING the WEAPONS
and the MONEY into hidden STASH SPOTS all over the HOUSE:
Behind fake-panel LIGHT SWITCHES, hidden HATCHES beneath the
FLOORBOARDS, in a fake-panel inside the FRIDGE. It's some
serious MACGYVER SHIT.

Eazy grabs his ROCKS, BEE-LINES for the BACK of the HOUSE,
eyes wide, amped on adrenaline as the RUMBLING ESCALATES to
an almost UNBEARABLE LEVEL --

CRASH!!! The 14-foot BATTERING RAM PUNCHES THROUGH THE WALL.
DEBRIS FLIES EVERYWHERE. The RAM keeps coming until --
                                                                4.


    The GIRLS SCREAM! The ARMORED VEHICLE REVERSES, the BATTERING
    RAM POLE YANKING THE ENTIRE WALL OUT WITH IT, leaving a
    MASSIVE RAGGED HOLE where we can see --

                        SQUAD CARS SWARMING INTO THE AREA,
                        COPS FLOODING TOWARD THE
              HOUSE -- lots of YELLING as they
              PIN everyone to the floor, it's too
              late, nobody can escape; nobody but
              --

    EAZY-E kicks out a KITCHEN window, squeezes through, hits the
    dirt on the side of the house. Sprints past --

    A PITBULL! The GROWLING DOG hustles for Eazy as a FLASHLIGHT
    hits Eazy's back, a COP giving chase!

    As they race across the back yard, the Pitbull diverts to the
    cop, who panics. He's about to get mauled until --

    ANOTHER COP pops around the corner! Blasts the dog with a
    FIRE EXTINGUISHER, filling the air with a dense cloud of
    expellant, as --

    Eazy hops on a fence, hits the garage roof and jumps in a
    neighbor's yard. Gone. He lives to slang another day...

                                               FADE TO BLACK.

    But the SOUNDS OF CHAOS carry over, infiltrate the inky
    black: SIRENS HOWLING. PEOPLE SHOUTING. HELICOPTERS BUZZING.
    DOGS BARKING. A mad medley that continues into --

4   INT. VERNA'S HOUSE - BEDROOM - COMPTON - DAY                     4

    A PAIR OF OVERSIZED HEADPHONES, worn by ANDRE YOUNG. Better
    known as -

    SUPERIMPOSE: ANDRE YOUNG AKA DR. DRE

    Eyes closed, lying on his bed, slight smile pursing his lips,
    he bobs his head as --

    WE HEAR WHAT HE HEARS, treated to the beautiful mind of Dre.
    THE SOUNDS OF CHAOS are evaporated, seemingly synthesized
    into the dope melody Dre's peacefully bobbing his head to...

    WE HEAR the multi-tracks of the song -- levels go up and down
    based on Dre's subtle FACIAL REACTIONS to the various sounds.
    He singles out INDIVIDUAL ELEMENTS, and as he does, WE HEAR
    them, highlighting some sounds, decreasing others: BASS,
    DRUMS, PIANO, VOICE... It's pure instinct, pure joy. Until --
                                                           5.


BAM-BAM! A fist on a locked door. The music stops as Dre
removes his headphones. We now see --

DRE'S ROOM, populated with turn tables -- one side spinning
the record he's listening to -- DJ station and a vast sea of
LPs (sure there's Parliament, but also Duke Ellington)
scattered around the room. A music junkie's paradise.

On the other bed, his brother TYREE (17) chills as Dre opens
the door to find --

                    VERNA
          What happened?

VERNA GRIFFIN, 36, his Mother, and she can smell bullshit a
mile away. He flashes his smooth, easy, magnetic Dre-smile.

                    DRE
          What happened with what?

                    VERNA
          Andre, boy, don't play with me. Do
          you even care how it makes me look?
          Call in favors to get your
          thoughtless ass an interview? And
          you can't even show up?

                    DRE
              (sighs, realizing)
          Sorry, I just been so focused on
          this DJing that I forgot --

She frowns, shakes her head.

                    VERNA
          You have a child, Andre. And
          spinning records ain't payin' none
          of the bills around here right now.

                    DRE
          That ain't even true, momma. I get
          paid --

He pulls out a sad little wad of bills, waves it in her face.
Quick as lightning, she SNATCHES it away from him --

                    VERNA
          Fifty dollars? Damn, you a
          billionaire!

-- THROWS it back at his chest.

                    DRE
          It's a start --
                                                           6.


                    VERNA
          Andre, you know the rules around
          here. In this house, you gonna work
          or go to school. I don't care if
          you gonna be a janitor --

                    DRE
          -- long as I own the company. Yeah,
          I know.

Dre fumes, gather the bills off the floor, heads for the
kitchen --

                    VERNA
          But you don't own the company.
          Lonzo does.

-- but Verna stays hot on his heels --

                    VERNA (CONT'D)
          Oh, you think we're done here?

Dre keeps going, MUTTERS under his breath -- She grabs his
shoulder, SPINS him around, strong. Gets in his face.

                    VERNA (CONT'D)
          You got somethin' to say to me!?

                    DRE
              (explodes)
          You don't care what I'm fighting
          for.

I already know what I wanna do with my life, and it
definitely ain't sittin in a cubicle takin' orders on some
stupid ass job.

Verna's eyes FLASH -- WHAP! She SLAPS HIM IN THE FACE --

Dre steps back, puts his hand to his cheek. Verna's reeling
as much as he is. She tries to compose herself.

                    VERNA
          People used to tell me I was too
          young when I had you -- Said I
          wouldn't be shit, said you wouldn't
          be shit. Now I been workin' my ass
          off to get us here and I refuse to
          let you throw it all away.

Dre holds Verna's gaze a moment longer, then turns and calmly
walks back past her, into his room. He picks up his
headphones, pull-out car stereo. Heads for the door, opens
it...
                                                             7.


                        VERNA (CONT'D)
                  (regret)
              Andre --

    But he's already closed the door behind him.

5   INT./EXT. VERNA'S HOUSE - DRIVEWAY - DAY                      5

    Dre bounds over to a battered BLUE & WHITE DATSUN B-210
    parked in the DRIVEWAY, regret settling in. He looks up to
    see Tyree ambling closer, carrying a bundle of errantly-
    selected clothes, a crate of records.

                        TYREE
              Grabbed some of your stuff, man.

                        DRE
              Good lookin' out.

    Dre takes the clothes. Tosses them in the back.

                        TYREE
              When you comin' back?

                        DRE
              I don't know. Gotta figure some
              things out.

                        TYREE
              Can I come with you?

                        DRE
              You been fightin' for your own room
              this whole time and now you wanna
              come with me?

    They share a CHUCKLE. Then --

                        TYREE
              You know she's just want the best
              for you.

                        DRE
              I know, T. I want the best for me
              too -- that's way I gotta go.

    Him and Dre have special brother-to-brother embrace. Then Dre
    hops into his car.

                        DRE (CONT'D)
              When I get set up right, I'mma have
              you come with me. Don't worry about
              it. It's gonna be sooner then you
              think.
                                                                8.


    Tyree sullenly nods.

    Dre triggers the ignition, MUSIC BLASTING, and PEELS away --

                        DRE (CONT'D)
              Call you later.

6   INT./EXT. DRE'S CAR - COMPTON - MINUTES LATER                    6

    Dre rolls along   in that ugly-ass Datsun. It's still early,
    but the STREETS   are starting to FILL UP. Dudes in doorways,
    on the corners,   clocking him as he passes. An LA SHERIFF'S
    DEPT. SQUAD CAR   slides past, disappears around a corner.

    WE HEAR a HELICOPTER SOUND, as WE GO WIDE --

7   EXT. LOS ANGELES - WAY UP IN THE SKY - DAY                       7

    Flying high over the city, it's quiet up here, only the sound
    of WIND. BELOW, we see the tight grids of SOUTH LOS ANGELES,
    and the densely-packed TRAFFIC heading north along the 110
    FREEWAY, as it angles toward the SKYSCRAPERS of DOWNTOWN L.A.

    We move NORTH and there's DODGER STADIUM plunked at the
    southern tip of ELYSIAN PARK, and the LA RIVER twisting
    snakelike up into GRIFFITH PARK --

    And NORTHWEST past the mountains of Griffith, descending into
    the VALLEY, where we suddenly DIVE DOWN into WOODLAND HILLS
    and settle upon the low-slung sprawl of --

8   INT./EXT. YELLOW BUS - TAFT HIGH SCHOOL - DAY                    8

    We track backward through a school bus full of STUDENTS.
    Almost exclusively black and Latino kids. Late 80's fashions.
    All the way in the BACK ROW we settle on O'SHEA JACKSON, who
    we now know as --

    SUPERIMPOSE: O'SHEA JACKSON AKA ICE CUBE

    Raiders cap pulled low over a shoulder-length Jheri curl.
    Hunched over, wearing a soon-to-be-iconic FROWN of
    concentration, he SCRIBBLES LYRICS into a NOTEBOOK:

    "BORED AS HELL AND I WANNA GET ILL. SO I WENT TO THE SPOT
    WHERE MY HOMEBOYS CHILL --"

    The ROAR of a powerful sports car snaps Cube's concentration.
    He gazes out the school bus window to see that --

    In stark contrast to those on the bus, just beyond the glass
    is a sea of WHITE STUDENTS. They hang out, shoot the shit in
    their nice clothes, hop into their nice cars. It's a club
    that Cube isn't a part of and it's clear that he can feel it.
                                                               9.


      He frowns, looks back down at his notebook as the bus pulls
      away from Taft High...

9     INT./EXT. YELLOW BUS - LATER                                  9

      The BUS cruises Southbound on Crenshaw. And compared to the
      Valley, it looks like BEIRUT out there: Graffiti tags, liquor
      stores everywhere, boarded-up shops, DUDES loitering,
      drinking, slanging. Crip throws a rock and hits the bus.

      FIND CUBE sitting halfway back, still doing his thing,
      writing rhymes, minding his own.

      NEAR HIM, a few KIDS goof around, flash GANG SIGNS out the
      window at the passing CARS, PEDESTRIANS, not noticing --

A10   INT./EXT. TRUCK - CONTINUOUS                             A10

      Pulling out of a side street onto Crenshaw, we see two hard-
      looking O.G. BLOODS. As the bus passes, they CLOCK THE KIDS
      flashing SIGNS. They can't believe it. Driver Grits his
      teeth. SPEEDS OUT after the bus --

10    INT./EXT. YELLOW BUS - MOMENTS LATER                         10

      The bus rolls to a stop. Before any KIDS can get off -- the
      O.G. Bloods' truck pulls in front of the bus, blocking the
      road. Passenger hops out.

      Noticing, the BUS DRIVER goes to shut the doors, but he's too
      late -- O.G. Blood gets on, strides past the BUS DRIVER --
      glock 9mm in hand.

                          BUS DRIVER
                Hey what's going on? --

                          O.G. BLOOD
                Shut the fuck up, Blood!
                    (Addresses the whole bus)
                You young muthafuckas wanna die
                today?!

      Everyone on the bus falls SILENT. By the shocked expression
      on the kids' faces, they have no clue how or if they're gonna
      get out of this alive.

                          O.G. BLOOD (CONT'D)
                HUH!?

      He makes his way back to the WANNABE KIDS near the
      expressionless Cube. Sensing shit is about to jump off, Cube
      slowly reaches for the WINDOW next to him, starts SLIDING IT
      OPEN. He edges closer to the window, grabs his NOTEBOOK,
      fully prepared to jump the fuck out that window.
                                                             10.


                         O.G. BLOOD (CONT'D)
               You little Crab ass niggas could've
               got this whole bus shot the fuck
               up! We saw that bullshit you was
               throwing up out the window! Hit me
               up now!

                         WANNABE KID 1
               Didn't mean nothin' by it -- just
               playing around.

                         O.G. BLOOD
               That's yo muthafuckin problem,
               Blood! This shit ain't nuthin' ta
               play wit! It's real in the field,
               nigga! Shit's life and death! I
               kill Crips for breakfast, Blood! So
               keep yo' mothafuckin hand down when
               you see me, Understand?!

                         WANNABE KID 1
               Yes.

     The O.G. Blood looks over his shoulder, scowls at all the
     terrified faces staring back at him.

                         O.G. BLOOD
               What you little muthafuckas need to
               do is start gangbang them got damn
               books! Learn some shit better then
               what we doing! If not, I might be
               the one that kill yo' dumb ass!
               Remember me! This that Crenshaw
               Mafia, Blood!

     And with that, the O.G. Blood tucks his gun, and calmly exits
     the bus -- leaving behind the stunned kids.

     Their truck pulls away into traffic.

     Cube grab his books, get up to exit the bus along with a few
     others, but not before glancing over at the kids, who sit
     there sweating, shell-shocked.

     Cube shakes his head at the wannabes. No way he's going out
     like that.

11   EXT. SOUTH CENTRAL - DAY                                    11

     Cube walks along the streets, Pee Chee folder and notebooks
     in hand, books under his arm as --
                                                        11.


We're given tour of the sights and sounds of South Central.
The pervasive shudder of LAPD CHOPPERS TAUNT OVERHEAD, DOGS
BARKING, as an LAPD SQUAD CAR CRUISES MENACINGLY PAST like a
shark in festive waters.

Up ahead, BLOCK DUDES loiter on a neighbor's untended grass.

                    BLOCK DUDE 1
          Aw shit, here come Doug E. Fresh!

                    BLOCK DUDE 2
          Hell naw, that's Kurtis mothafuckin
          Blow. Only rapper with a Jheri
          curl.

                    ICE CUBE
          Fuck you niggas. I'm about to go
          write a rap about yo' drunk ass
          Momma. That bitch looks like The
          Egyptian Lover.

They smile, give Cube a pound as he passes. Yell after him.

                    BLOCK DUDE 1
          Why you never hang out no more?

                    BLOCK DUDE 2
          I think it's that Valley school.
          Nigga too good for us.

But Cube just smiles, looks back at them --

                    CUBE
          Nah, I already know how to
          gangbang. I'm just tryin' to learn
          how to make some of this white
          people money.

                    BLOCK DUDE 2
          I feel you, Cuz. I need some white
          people money too.

                     ICE CUBE
          Well take yo' ass to school
          sometimes.

The Dudes laugh as Cube continues on. Keeps moving.

UP AHEAD, he sees Dre's DATSUN parked across the street. No
question where Cube's headed.
                                                              12.


A12   INT. JINX'S HOUSE - EVENING                              A12

      Cube walks through the LIVING ROOM, where Dre's girlfriend,
      LAVETTA, is feeding their baby TYRA (2) --

                          CUBE
                Where Dre at?

      She points to the back room.

12    INT. JINX'S HOUSE - JINX'S ROOM - NIGHT                   12

      JINX'S ROOM, dirty but very hip-hop. JINX, 17, is digging
      through a crate of RECORDS, and offering them up to DRE, who
      waves most of them away because --

      DRE'S IN THE ZONE, doing his thing on the turntables, mixing,
      SCRATCHING. And whatever it is sounds DOPE. Next-level shit.

      Cube enters -- Lets the SONIC ACROBATICS BOOMING from Dre's
      turntables marinate on him a minute.

                          CUBE
                What you mixin'?

      Dre, lost in the music, doesn't respond -- Jinx holds up two
      ALBUM COVERS: The Ohio Players' FUNKY WORM and The
      Headhunters' GOD MADE ME FUNKY. Doesn't make sense, yet --

                          CUBE (CONT'D)
                    (blown away)
                Ohio Players and the Headhunters..?
                (to Dre) That's the shit!

                          JINX
                Crazy, right!

      Dre finally notices Cube's in front of him --

                          DRE
                Wuddup, Cube! Got them rhymes?

                          CUBE
                You know it.

      Cube flashes the SHEET OF LYRICS from school at Dre, notices
      the trash bag full of clothes on the floor.

                          CUBE (CONT'D)
                Stayin' a while?

                          JINX
                Yup. His momma kicked him out for
                that mouth.
                                                               13.


                         CUBE
               Man that mouth always gettin' you
               in trouble. We got that in common.

                         DRE
               Think you ready for Doo-to's?

                         CUBE
               Damn straight.

                         DRE
               `Cause you know that's Compton,
               right? They got bodybags at the
               door.

                         CUBE
               Ain't worried about all that. I'mma
               come with it.

                         DRE
               Yeah, you better, `cause if your
               shit ain't tight, you might end up
               in one.

     Laughs all around as we --

13   EXT. JINX'S HOUSE - NIGHT                                    13

     A Chevy Caprice cop car, light-bar strobing, has pulled
     aggressively onto the curb, all four doors open. CRASH
     OFFICERS roughly frisk the Block Dudes, as --

     School shit in hand, Cube walks past, inconspicuous as
     possible. Can't help but glance at the scene --

                         CRASH COP 1
               The fuck you lookin' at?

                         CUBE
               Nothin'. Just goin' home --

                         CRASH COP 1
               Get over here! Now!

     Hesitant, Cube complies. Used to getting jacked by the
     police, he assumes the same position the other Block Dudes
     are in: hands on the hood, legs back.

     One of the other Crash Cops pulls out his WALKIE --

                         CRASH COP 2
                   (into walkie-talkie)
               Requesting backup on Van Wick
               Street. Gang related --
                                                        14.


                    CUBE
          How you figure we in a gang? `Cause
          we black?

BAM! Crash Cop 1 shoves Cube against the car, kicking his
legs apart, a hand on the back of his head. Cube's NOTEBOOKS
hit the pavement -- Get trampled.

                    CUBE (CONT'D)
          Yo watch my notebooks!

                    CRASH COP 1
          Where the rocks at, Cuz?

                    BLOCK DUDE 1
          Ain't no rocks! Y'all muthafuckas
          just fishin'!

WHAM! Crash Cop 2 SLAMS Block Dude 1. Forces him to interlock
his fingers behind his head --

                    CUBE
          Officer, can you please explain why
          you jackin' us?

                    CRASH COP 2
          We don't have to explain shit!

Block Dude 1 HOWLS in pain as Crash Cop 2 viciously SQUEEZES
his interlocked knuckles. Crash Cop 1 shoots a look to
Uniform Cop 2: Settle down, dude!

TWO MORE SQUAD CARS SCREECH onto the scene. Four UNIFORMED
POLICE climb out, to make an even bigger deal out of nothing.

Cube's Dad, HOSIE, appears up on the porch, pissed.

                    HOSIE JACKSON
          Hey! What the hell's goin' on out
          here? Those boys all live on this
          block!

The Cops ignore him as Cube's mother, DORIS, appears beside
Hosie, shocked to see her son getting assaulted --

                    DORIS JACKSON
              (re: Cube)
          Officer, that's my son!

                    UNIFORM COP 2
          Get back inside, ma'am!

But she starts coming down the steps toward the Cop -- He
UNSNAPS his holster, hand grasping his pistol.
                                                                15.


                          DORIS JACKSON
                I just wanna know what's going on --

      The COP jams a FINGER inches away from Doris' face!

                          UNIFORM COP 2
                Get the FUCK BACK INSIDE, Lady, or
                I promise I will ruin your night!

      Doris' mouth drops open. The disrespect is incredible.

                          ICE CUBE
                You ain't gotta talk to my moms
                like that, man!

      Uniform Cop 1 leans down, WHISPERS to Cube --

                          UNIFORM COP 1
                You think we give a fuck? This
                LAPD, boy! Crash Unit! We the only
                gangstas around here!

      WIDE SHOT: Cube, his parents, and the Block Dudes helpless,
      held hostage in their own neighborhood. After every pocket is
      turned out, body patted down and rights violated --

                          UNIFORM COP 2
                All right, they check out. We got
                cards on all of `em already.
                    (to Cube and Co.)
                Stay out of trouble.

      The cops pile back into their cars leaving behind the stunned
      neighborhood. Cube grabs his NOTEBOOKS, cleans them off as --

      A CHOPPER ABOVE DEAFENS ALL SOUND in a PRIMORDIAL ROAR.

14    OMITTED                                                     14

A15   INT. DOO-TO'S CLUB - ENTRYWAY - MOMENTS LATER               A15
      Muffled MUSIC seeps into the area as SECURITY GUARDS
      thoroughly SEARCH everyone. One of them stares Eazy down.

                          SECURITY GUARD
                You really wanna be here? This club
                is full of Pirus.

                          REN
                We straight.

      Eazy LAUGHS, doesn't give a fuck.
                                                               16.


                         EAZY
               Thanks for the tip, homie.

     The Security Guard frowns as he allows them into --

15   THE MAIN FLOOR                                               15

     MUSIC PUMPING, we FOLLOW EAZY and REN into the CLUB, which is
     PACKED, people partying their asses off. Everyone's here:
     REGULAR FOLKS, BLOODS, SKINNY GIRLS, BIG GIRLS, DEALERS,
     ATHLETES. A true hood cross-section.

     AS WE MOVE through the place, we see CUBE, JINX and TYREE
     standing near the wall: JINX and TYREE are busy clocking the
     GIRLS, but CUBE is studying a ripped-out page of LYRICS.

     ON STAGE, wearing purple satin jackets with WORLD CLASS
     WRECKIN CRU on the back, DRE spins some `80s R&B while his
     boy, YELLA, leans down, hollers at a GIRL in the crowd.

     Dre spots someone moving through the mass of people --

                         DRE
               Yo, Yella, man -- Lonzo comin'!

     Yella quickly moves to the record crate, starts sifting
     through them to look like he's busy as --

     LONZO WILLIAMS, club PROMOTER and Dre's BOSS approaches. He
     leans over to Dre:

                         LONZO
               Gonna make sure nothin's poppin'
               off outside. Keep them fat asses
               shakin'. None of that rap bullshit,
               you hear? I want people thinkin'
               `bout pussy not pistols. (then) And
               Yella, I saw you talkin to my lady.
               Keep your fuckin hands to yourself.

     Lonzo shoots Yella a look, then disappears from the stage.

                          DRE
               Why you fuckin with that nigga's
               girl, man?

                          YELLA
               Why not?

     Dre chuckles, immediately searches the crowd, locking eyes
     with CUBE. Dre gives him a NOD, and Cube takes a breath,
     heads toward the Stage -- Moment of truth.
                                                                17.


     IN THE BACK, EAZY and REN are surrounded by ladies. But
     Eazy's attention is clearly --

     ON STAGE. Cube appears next to Dre, who's cuing up a new
     record. He stops the music, grabs the mic:

                         DRE
               Compton! I got my homie -- he's
               about to get his rhyme on for
               y'all! Give it up for Ice
               muthafuckin' Cube!

     Dre hands the mic to Cube as the crowd eyeballs him with
     suspicion and restraint. They're clearly not gonna give him
     respect til he earns it. Cube steels himself, clenches his
     jaw, puffs out his chest. And time turns eternal before --

     DRE drops the needle on Steve Arrington's funked-out WEAK AT
     THE KNEES (hardcore NWA fans will recognize this track as the
     original sample for GANGSTA GANGSTA).

     Cube starts rapping, his voice powerful, thick with attitude:

                         ICE CUBE
               Here's a little somethin' about a
               nigga like me. Never shoulda been
               let out the penitentiary. Ice Cube
               would like to say, That I'm a crazy
               muthafucka from around the way.
               Since I was a youth, I smoked weed
               out, Now I'm the muthafucka that ya
               read about. Takin a life or two,
               that's what the hell I do. Don't
               like how I'm livin', well fuck you!

     After only a few lines, the crowd's CHEERING. HOLLERING.
     Dancing. An infectious vibe.

     And we DRIFT back to Eazy, standing with Ren, feeling the
     fuck out of this music, pensive look on his face. Something
     crystallizing as we --

16   INT. DOO-TO'S CLUB - LATER                                   16

     Yella spins a number for the crowd, who seem less energized
     now that Cube's off stage. To the side, LONZO chews out Dre --

                         LONZO
               I'm this close to firin' your
               monkey ass! You tryin' to start a
               riot up in here?! You know I don't
               want that hardcore shit played in
               my club, but I turn my back and you
               do that shit anyway..?
                                                              18.


                          DRE
                I'm just tryin' to keep you in
                business. Open your eyes. They went
                crazy to that shit --

                           LONZO
                You're up on that stage `cause I
                put you there. You're a bad ass DJ,
                I'll give you that, but you don't
                listen and I'm gettin' real tired
                of arguing all the time. You know
                it's plenty DJs out there who'll
                play what I want `em to play. Guys
                that don't bite the hand that feeds
                'em. Now you take a backseat to
                that shit.

      He glares at Dre before taking leave. Dre watches him go,
      body coiled tight. Jaw clenched.

                          YELLA
                Don't trip off him, homie.

                          DRE
                Man, Lonzo ain't got no vision.

      Dre nods, yeah-yeah, but his eyes have landed on EAZY across
      the room --

                          DRE (CONT'D)
                Oh shit -- Check out this nigga.
                Yo, take over for a minute.

      Yella nods, commands the decks. Watches as Dre heads to --

A17   THE BACK OF THE CLUB                                        A17

      EAZY's kicking it with REN, talking up several GIRLS. But
      when Eazy sees Dre approaching, he smoothly shoos them away.

                          EAZY
                Dr. Dre, how you been doin'?

                          DRE
                What up, E? Been a minute.

                          EAZY
                You know. Out here on the grind --
                Nice jacket.

      Dre looks down at the purple satin.

                          DRE
                It's the uniform. I make it work.
                                                        19.


                    EAZY
          You remember Ren from Kelly Park,
          right?

Ren and Dre give each other a respectful nod.

                    REN
          Wuddup, Dre.

                    EAZY
          Heard you been spendin' a lot of
          time at your auntie's house. How's
          the couch life?

                    DRE
          It's fucked up. I'm too tall for
          that shit. Plus I got my woman and
          baby livin' there. It's hard. But
          everybody can't do what you do.

                    EAZY
          Yeah, but what I do is playin' out,
          fast. Muthafuckas are gettin'
          locked up and laid down out here
          left and right. Time to make a few
          changes.

                    DRE
          Yeah. Change ain't bad. Shit, I'm
          tryin' to make a few changes my
          self.

                    EAZY
          What you mean?

Dre pauses, considering how to proceed...

                    DRE
          Man, you should think about dumpin'
          some money into this music shit. I
          got some ideas --

                    YELLA (ON THE MIC)
          Yo!

Dre turns to find Yella up on stage in the DJ booth, mouthing
"LONZO," as he points into the crowd. Dre follows Yella's
finger, spots Lonzo slowly moving through, greeting people as
he goes.

                    DRE
          Shit I gotta get back up there.
          Let's talk about this later. Think
          about it...
                                                             20.


     Eazy just smiles, nods, as Dre heads off...

17   EXT. DOO-TO'S CLUB - LATE AT NIGHT                           17

     Dre exits the club, usual crate of records in hand --

                         TYREE (O.S.)
               Do I know you!?

                            DUDE (O.S.)
               What!?

     Dre turns to find --

     TYREE, all up in the face of some DUDE.

                         TYREE
               Nigga, you heard me!

     Tyree shoves the dude -- Dre's eyes light up! That's my
     brother! He drops his crate of records, bumrushes the Dude
     and COLD-COCKS HIM. The Dude just drops, dazed.

     Dre turns to Tyree, adrenaline pumping.

                         DRE
               What he do!?

                         TYREE
               Muthafucka over here lookin' at me
               like he know me!

     Dre can't believe it -- That's it?

                          DRE
               Tyree, you gotta stop doin' this
               shit, man!

     The down Dude slowly gets onto his knees, stumbles to his
     feet just as --

     WHOOP! WHOOP! An L.A. Sheriff's Dept. SQUAD CAR rolls into
     the lot, lights on Dre, Tyree and the Dude. In a hurry, the
     two OFFICERS are out of the car, approaching the guys --

                         OFFICER 1
               We told everybody to clear this
               parking lot! What's going on!?

                         DRE
               We got this, Officer --
                                                                21.


                         OFFICER 1
               I didn't ask you what you got! Get
               the fuck home!

                            DRE
               I am home.

     Officer 1 gets right in Dre's face, nose to nose.

                         OFFICER 1
               If you don't start walking --

     But Dre just stands his ground, head cocked to the side,
     defying the Officer. In a flash --

     BAM! Dre finds his face planted into the hood of the squad
     car! Cuffs slapped on! Same for Tyree and the Dude as we --

18   EXT. COMPTON POLICE STATION - EARLY MORNING                  18

     DRE emerges from the Police Station, police property bag in
     hand, to find EAZY waiting for him beside a fresh `63 IMPALA
     LOWRIDER.

                         EAZY
               They got you for carrying records?
               That's some gangsta shit, Dre.

     Dre smiles, chuckles -- He's clearly beyond exhausted.

                         DRE
               Cops will throw a nigga in jail for
               anything.

     At Eazy's car, Dre and Eazy pound hug.

                         EAZY
               Lonzo just left you here, huh?

                         DRE
               Guess he's sick of bailing my ass
               out.

     Dre kneels down on the pavement, takes his shoelaces from the
     police property bag and casually starts lacing his sneakers.
     But Eazy clocks a couple POLICE OFFICERS eyeballing him and
     Dre. Clearly, he's not comfortable here. Hops into the car.

                         EAZY
               Mind gettin' your funny lookin' ass
               in the car before they arrest you
               for some other dumb shit?
                                                               22.


     Eazy gestures like, we in front of the police station! Dre
     realizes. My bad. Hops in. Keeps lacing his sneakers...

                         EAZY (CONT'D)
               Man, I was thinkin' about what you
               said last night.

                         DRE
               Yeah, and..?

                         EAZY
               It's interestin' --

                         DRE
               Interestin'? Tell me this, how long
               you think that shit you doin' gonna
               last, huh? You ever heard of a
               happy ending in that game?

                         EAZY
               Shit, man, this all comin' from the
               nigga I just bailed out.

                         DRE
               Listen, if you can slang dope, you
               can slang records. You got a mind
               for this shit, E.

                         EAZY
               Okay so what then -- That nigga
               last night? Is that what we doin'?

                         DRE
               What, Cube? Nah, he in a group
               right now, got some other business
               goin' on. But I got this group
               called H.B.O. from the east coast.
               Dope voices, and Cube wrote a song
               for `em that's crazy.

     Eazy considers for a long moment as we --

19   INT. LONZO'S STUDIO - DAY                                    19

     Dre sits in front of a huge MIXING BOARD, adjusting the
     levels on a hard-driving BEAT.

     A small CREW of Kangol-wearing RAPPERS (HOME BOYS ONLY, aka
     HBO) are gathered around, reading pages we recognize as
     CUBE'S LYRICS with befuddled expressions.

                         HBO 1
               What the fuck is "Gankin"? And
               what's a "6-4"?
                                                        23.


                    CUBE (O.S.)
          It's a car. A `64 Impala.

Everyone turns to look at CUBE, off to the side, annoyed.

                    CUBE (CONT'D)
          Gankin's when somebody jacks you.
          Ain't a big deal. Just sounds
          better that way.

Another HBO dude chimes in --

                    HBO 2
          I dunno, too much cussin' to get
          radio play. And honestly, nobody
          gives a fuck about Compton --

Dre interrupts from the board, no back down in him.

                    DRE
          Y'all got somethin' to say about
          Compton? Cause we might have a
          problem up in this bitch.

Nobody says a thing. Deafening silence. Then:

                    DRE (CONT'D)
          Then do the lyrics. We losin' time
          and I'm losin' patience.

The vibe is tense, unpleasant. Finally:

                    HBO 1
          This ain't us. I ain't fuckin' with
          this Jheri curl bullshit --

                    CUBE
          Fuck you then. Wearing a Kangol
          don't make you L.L. Cool J nigga,
          remember that.

HBO 1 CRUMPLES the Lyrics sheet into a ball.

                    HBO 2
          Yeah. Now what?

                    CUBE
          What you wanna do, mark ass nigga?

Cube and the HBO dudes square up, swelling and huffing --
Without hesitation, Eazy gets up, stands beside Cube. Dre
whips off his headphones and flanks Cube from the other side.
These dudes have each other's back, ready to throw down.
                                                               24.


     The HBO clowns start exiting, talking shit.

     Eazy wanders back over to the couch, plops down, sighs:

                         EAZY
               Well there goes the talent. Don't
               know a whole lot about the music
               game, but we can't start a label
               without talent.

     The three of them chuckle. Eazy sighs, shakes his head.

                         EAZY (CONT'D)
               Okay, I put up my money -- I held
               up my side of the deal, Dre. When
               you gonna deliver your side?

                         DRE
               Well shit, why don't you get on the
               mic and try it?

                         EAZY
               What? Fool, I ain't no rapper.

     Off Eazy's unsure look --

                         DRE
               You already spent the money.
               Don't you get it? Man, this song is
               all about you! This song is about
               Eazy-muthafuckin'-E! Now get in
               the booth. Let me deliver my side
               of this shit.

20   INT. LONZO'S STUDIO - LATER                                 20

     ON EAZY, self-conscious in the booth, light beaming on him.

     Dre gets up from the board, DIMS THE LIGHTS way down low --

                         EAZY
               Fuck you doin'?

                         DRE
               Just lemme produce. Get
               comfortable, man.

     Eazy takes a breath, huddles over the mic. He puts his Locs
     sunglasses on, pulls his baseball cap low -- so low you can
     barely see him (which is exactly the point).

     Dre sits behind the board with Cube. STARTS UP THE BEAT and
     cues Eazy --
                                                      25.


                    EAZY
              (dry, flat)
          Cruisin' down the street in my 6-4 -
          -

Cube winces. Dre STOPS the track.

                    DRE
          Hit that first beat hard. CRUISE-in
          down the street. CRUISE-in.

When Eazy tries it again, it almost sounds worse --

                    EAZY
          Cruisin' down the street in my 6-4 -
          -

                    CUBE
          That ain't it...

                    EAZY
          Get that dry-ass Jheri curl outta
          here, maybe I can concentrate.

                    CUBE
          You kickin' me out?

Dre looks at Cube. Nods. Go.

                    CUBE (CONT'D)
          Aiight. I'm just sayin'...

Cube exits. Then --

                    DRE
          Just gimme the words.

                    EAZY
          Nigga what?

                    DRE
          Say that shit with me -- CRUISE-in -
          -

                    EAZY
              (animated)
          Dre, you know this shit is
          hopeless, right?

                    DRE
          That! See how you just said that
          shit? Like you believe it!
                                                                26.


                         EAZY
               `Cause I do.

                         DRE
               So say this shit like you believe
               it. Like it's muthafuckin' Sunday
               and you cruisin' down the street in
               that dope-ass 6-4. Feel that shit,
               like its ya own words.

     The frustration on Eazy's face is apparent.

                         EAZY
               You really gonna make me do this,
               huh?

     Yup. Eazy frowns. Takes a moment to compose himself...

                         EAZY (CONT'D)
               Aiight, fuck it. Let's do this.

     Dre starts the track again -- ONLY THIS TIME, HE DOES SO ONE.
     COMPONENT. AT A TIME. BUILDING THE SONG AS IF FROM SCRATCH.

     EAZY vibes with it. Can't fuckin' help it. Shit is dope.
     Finally, once THE BEAT IS FULLY REALIZED, Dre CUES him --

                         EAZY (CONT'D)
               Cruisin' down the street in my 6-4.

     Dre grins. Much better. Stops the track.

                         DRE
               Hell yeah! That shit was tight.
               Only 59 more lines, E. But we gonna
               get through it. Hit that next line -
               -

     Eazy groans, pulls his hat even lower, as we --

21   INT. LONZO'S STUDIO - MANY HOURS LATER                       21

     There's a sense of ceremony here. Cube, Eazy, YELLA, REN,
     Jinx, DOC and few girls wait with palpable anticipation as --

     DRE PUSHES PLAY on the freshly completed TRACK. It starts
     THUMPING from the speakers: It's BOYZ N THA HOOD.

     Pride and a sense of purpose swell in each and every one of
     them as LONZO POPS IN. Listens, skeptical.

     The song stops and no one says a word. They know this is
     something special. Finally:
                                                        27.


                    YELLA
          Lonzo, what you think?

                    LONZO
          That some waste of time shit right
          there and trust me, it ain't gonna
          work. Won't get no radio play.

                    DRE
          You never know-- We might do a
          radio version and take it up to
          KDAY and see what happens.

                    LONZO
          This reality rap is never going to
          work, Dre. You need to hurry up and
          rap this shit up and finish that
          slow jam I had you working on. I'm
          serious, Dre! Hurry up with this...

                    DRE
          Yo, I don't know about working on
          this slow stuff anymore. After this
          I'm going to work on songs with
          DOC.

Reveal DOC in the background.

                    LONZO
          It's not a request, Dre.

Lonzo scowls at Dre, exits in a huff. Yella goes to Dre, eyes
wide with excitement --

                    DRE
          Yo, if Lonzo don't like it, you
          know that shit is dope.

They pound. Everyone LAUGHS. Truth.

                    REN
          Damn, Dre -- You just turned a
          hustler into a rapper.

                    EAZY
          Now this right here..? This some
          ruthless shit for real. Dre, you a
          muthafuckin' genius. And Cube, you
          got more of them stories to tell?
                                                               28.


                         CUBE
               Homie, I got rhymes for days. But I
               got to hear this one more
               gen...Dre, hit that shit.

     Laughter as Dre cues it up, the SONG RESUMING, as we --

22   INT. MACOLA RECORDS - LOS ANGELES - DAY                     22

     BOYZ IN THA HOOD is PLAYING OVER --

     A STACK of VINYL RECORDS moves through a PRESS. A machine
     STAMPS a RED LABEL onto the MIDDLE. CLOSE ON the RED RUTHLESS
     LABEL -- BOYZ N THA HOOD.

     IN THE RECEIVING AREA, EAZY picks up a couple BOXES of
     RECORDS. He PAYS for them, and hauls them away.

23   INT. RECORD STORE - CENTRAL AVE - COMPTON - DAY             23

     BOYZ keeps on THUMPING --

     DRE and TYREE stand at the counter of a RECORD STORE, with a
     BOX OF RECORDS. The CLERK takes about SIX RECORDS --

24   EXT. RUN-DOWN HOUSE - COMPTON - DAY                         24

     BOYZ continues OVER --

     Eazy emerges from a RUN-DOWN HOUSE, jogs across the street to
     his BUCKET, climbs inside, opens his STASH SPOT, stuffs a
     large WAD of CASH inside. A hustler is always hustlin --

25   EXT. BACK YARD HOUSE PARTY - SOUTH CENTRAL - DAY            25

     Some local TEENAGERS are partying, drinking and listening to
     BOYZ N THE HOOD wax. And that shit has the party bumpin'.

     A sense that this song is going VIRAL, in a contagious, pre-
     internet sort of way --

26   EXT. ROADIUM SWAP MEET - LOS ANGELES - DAY                  26

     BOYZ continues as Eazy brings TWO BOXES of RECORDS to a SWAP
     MEET BOOTH operated by STEVE YANO. Yano excitedly collects
     the two boxes, hands over some cash. Deal done. Before Eazy
     can even bounce, some KIDS bumrush Yano for copies --

27   INT. K-DAY RADIO STATION - LOS ANGELES - DAY                27

     BOYZ slowly fades, iconic KDAY Disc Jockey GREG MACK spinning
     the TRACK over the airwaves of Los Angeles. He grins, bobbing
     his head, digging this shit for real.
                                                             29.


                         GREG MACK
               1580 KDAY, this is Greg Mack --
               Mack Attack. That was "Boyz n tha
               Hood" by Eazy-E, local rapper out
               of Compton. Sounds like he's about
               15 years old --

     He glances over to the TELEPHONE SWITCHBOARD, which suddenly
     LIGHTS UP like crazy, with dozens of CALLERS.

                         GREG MACK (CONT'D)
               -- I know you like it. It's been
               the most requested record on this
               station ever since I played it. The
               freshest song of 1986 --

28   INT. MACOLA RECORDS - RECEIVING AREA - DAY                28

     Eazy pays for another couple boxes of records. Grabs them --

                         JERRY HELLER (O.S.)
               I heard your record.

     Eazy turns to find --

     JERRY HELLER, a middle-aged guy in a velvet track suit. His
     face is craggy, seasoned, wise. He's got terrible posture,
     but lively, hyper-alert eyes. He extends his hand to Eazy.

                         JERRY
               Jerry Heller.

                         EAZY
               Eric Wright.

                         JERRY
               Pleasure to meet you. Would it be
               possible to have a word with you,
               Eric?

                         EAZY
               About what?

29   INT. MACOLA RECORDS - OFFICE - MOMENTS LATER              29

     Jerry at his desk, Eazy on the ratty couch. Eazy lets his
     eyes wander around the shabby office. The sad furniture, the
     old and irrelevant posters on the walls.

                         JERRY
               I thought your record was good.
                                                           30.


                    EAZY
          Just good? Why you call me in here
          then --

Eazy gets up and heads for the door --

                     JERRY
          No-no-no, hang on. (beat) I thought
          it was exceptional. Please, sit
          back down.

Eazy indulges Jerry. Sits back down and stares, cold,
unreadable. Jerry rubs his eyes, frustrated, his regular
spiel isn't having its usual effect.

                    JERRY (CONT'D)
          Let's try this again. As a music
          manager, let me tell you what I can
          do for you, Eric --

                    EAZY
          Maybe I'm the one who can do
          somethin' for you.

                    JERRY
          You think because I don't have some
          flashy office, that means I don't
          know what I'm talking about? Elton
          John, War, Styx, REO Speedwagon --

                    EAZY
          You manage anybody this decade?

Jerry leans on his elbows on the desk, cocks his head at
Eazy. The balls on this kid.

                    JERRY
          Let me tell you what I see. Lotta
          raw talent. Lotta braggadoccio. But
          if you think anyone's gonna talk to
          you, if you think anyone's gonna
          let you into the building where you
          might talk to somebody -- somebody
          who matters -- you're crazy.

Eazy frowns, looks away --

                    JERRY (CONT'D)
          That's what I do for you. I will
          make you legit. I will take you
          into that building. I will protect
          you. I will block out all the noise
          of this business and we can build
          something big.
                    (MORE)
                                                              31.

                         JERRY (CONT'D)
               But you're gonna have to believe in
               me like I believe in you. If you
               don't think you can do that...

     Eazy doesn't budge. Satisfied, Jerry continues --

                         JERRY (CONT'D)
               You got more music for me?

                         EAZY
               I got everything you need.

                         JERRY
               Good, cause you're gonna have to
               follow this up. So what does N.W.A.
               stand for anyway?
                   (with a smile)
               No Whites Allowed?

     Eazy looks at Jerry. Cold as ice.

                         EAZY
               "Niggas With Attitudes."

     The smile is wiped off Jerry's face immediately.

30   EXT. SKATELAND RINK - COMPTON - NIGHT                       30

     200 or so people lined up outside, waiting to get in. NWA
     POSTERS are stapled to walls in testament to guerilla
     marketing. Notice the profusion of PEOPLE present as --

     Eazy and Ren pull into the lot, exit the car and heads
     inside, intoxicated by the sea of people.

31   INT. SKATELAND RINK - MAKESHIFT DRESSING ROOM - NIGHT       31

     Eazy addresses the guys, all business.

                         EAZY
               I asked everybody to wear something
               black today, `cause if we gonna be
               an All-Star group, we gotta look
               like an All-Star group.

     WE PULL BACK to reveal the GUYS -- Cube, Dre and Ren --
     gathered around Eazy. A whole crew is there with them, too,
     including DOC, Tyree and Jinx. And everybody's dressed in
     some type of BLACK L.A. RAIDERS GEAR, except Yella who
     approaches from the side wearing an old school purple & gold
     L.A. KINGS jersey.

                         EAZY (CONT'D)
               Damn Yella! What happened?
                                                        32.


                    YELLA
          Man, kiss my ass, I ain't got no
          Raider gear.-- Are we gettin' paid
          to wear that shit?

Eazy hits him in the face with a black t-shirt.

                    EAZY
          Put this on.

As YELLA starts to change shirts, Jerry Heller comes around
the corner talking to the promoter, nothing hip-hop about him
at all.

                    CUBE
          Aww damn-- here come The White
          Shadow.
              (no smiles)

                    REN
          Nah, Mr. Furley from "Three's
          Company."

                    EAZY
              (irritated)
          Man, shut the fuck up? This dude
          knows the game inside out. He been
          out there shopping our shit around.
          Gonna find distribution for
          Ruthless, get us on tour and bring
          a whole lot of money to the table.

                    DRE
          And then what-- How he get paid?

                    EAZY
          Just takes 20::percent:: off the
          top. That's it. We cut up 80.
          That's how managers work.

                    DOC
              (drink in hand)
          All managers don't get 20
          mothafuckin' percent!

                    EAZY
          Doc, shut yo drunk ass up. You
          don't know the music business.

DOC take another sip.

Jerry joins the group.
                                                        33.


                    JERRY HELLER
          Hey fellas, sorry I'm running late.
          I'll be honest. We've had a lot of
          passes. People are scared of you
          guys big time. They think you're
          dangerous. But I think that's a
          good thing. And we've had a couple
          nibbles, from a couple labels.
          Epic, Capitol, Priority...

                    REN
          "Nibbles"..? What's that mean?

Jerry pauses a beat, finding the best response.

                    JERRY HELLER
          Here's the thing. You guys can make
          a real record. Sell it nationwide.
          But we're not there yet. These
          labels, they're still gonna need
          some... convincing. So I invited a
          few of them to your show. So you
          have to kick ass tonight. Can you
          do that?

The guys stare back at Jerry, with the fire in their eyes.
Goddamn right they can do it -- "Hell yeah!"

                    JERRY HELLER (CONT'D)
          Let me go and make sure they're all
          here.

Jerry peels away and goes inside. Cube looks at Eazy.

                    CUBE
          And you trust this dude? Cause he
          looks like a one of my old
          muthafuckin' history teachers.

Eazy cocks his head at Cube.

                    EAZY
          You trust me?

                    CUBE
          Yeah, I trust you. But that ain't
          what we talking about --

                    EAZY
          Just leave it up to me. I'll make
          sure everything is straight. Just
          have them raps cocked and loaded.

Dre throws his arm around Eazy, puts a stop to it--
                                                             34.


                         DRE
               Come on now. Cube has never failed
               to deliver. He always comes
               correct, ready to work. That ain't
               gonna change. Aiight?

     Cube and Eazy soften, smile at each other, it's all good.

                         YELLA
               Can this muthafucka Jerry Heller
               bring in more pussy? That's worth
               20 percent!

     Everyone LAUGHS as we --

32   INT. SKATELAND RINK - MAIN FLOOR - CONTINUOUS               32

     We see the PACKED MASS of the CROWD, crammed together, hands
     in the air, SCREAMING, even though nothing's happened yet.
     The stage is pitch black as we see the silhouettes of NWA
     members manning their battle stations. More screams and
     anticipation from the crowd.

     At the BACK of the room, we see JERRY HELLER beside THREE
     nervous-looking RECORD EXECS. One of them -- BRYAN TURNER --
     glances around warily at the inner-city CROWD.

                         BRYAN TURNER
               You sure this is... safe for us..?

                         JERRY
               Try not to look so scared, Bryan.
               They smell it on ya, you're
               finished.

     Turner FREEZES and his eyes go wide -- Jerry LAUGHS.

                         JERRY (CONT'D)
               Relax. You're in for a real treat!

     Just then, the STAGE LIGHTS come on, and NWA IS ON STAGE,
     spread out in FORMATION, in their BLACK RAIDERS GEAR. DRE and
     YELLA man FOUR TURNTABLES and 2 mixers --

                         CUBE
               Yo Dre, kick in the bass!

     The bass-heavy ASSAULT of DOPEMAN kicks in. The crowd goes
     APESHIT. Jumping up and down. Crushed against each other --

     ON STAGE, CUBE stalks to the edge, lets loose --
                                                        35.


                    CUBE (CONT'D)
          It was once said by a man who
          couldn't quit --

And and CROWD SCREAMS BACK, because THEY KNOW EVERY LYRIC!

                    THE CROWD
          DOPE MAN PLEASE CAN I HAVE ANOTHER
          HIT???

                    CUBE
          The Dopeman said Cluck I don't give
          a shit, if your girl kneels down --

                    THE CROWD
          AND SUCKS MY DICK!!!

with each other, like, Oh my God, this is sick!

IN THE CROWD, we find JERRY and the RECORD EXECS. One of the
EXECS looks disgusted, WALKS OUT. Jerry watches him go...

                    JERRY
          So what do ya think?

                    RECORD EXEC
          Jerry, we're friends, but Compton?
              (laughs)
          I don't think so. Queens..? Maybe.
          But. If you find another Bon Jovi,
          you call me.

The Exec brushes past Jerry and WALKS OUT. Jerry turns and
sees that BRYAN TURNER is the only Exec still there. And he's
WATCHING with wide eyes, overwhelmed while --

UP ON STAGE, EAZY tears into his verse --

                    EAZY
          Yeah high-rollin', big money I'm
          foldin, Bitch on my tip for the
          dick I'm holdin'. Strung
          strawberry, jockin' me so early. Ho
          you want a hit --

                    CROWD
          YOU GOTTA GET YOUR KNEES DIRTY!!!

IN THE BACK OF THE CLUB, from a corner, a big man is
watching, mind going, This is SUGE KNIGHT.
                                                              36.


33   INT. SKATELAND RINK - LATER                                33

     The last raucous PARTY-GOERS exit, leaving behind some
     CLEANING CREW and OUR GUYS, still riding the high of
     performing.

                         DOC
               Damn Dre, ya'll wrecked these
               mothafuckas tonight!

                         DRE
               I know. Stage was shaking so much--
               thought my needles was about to
               jump off the record!

                         CUBE
               I'm still trippin' that they knew
               all the words! That's Crazy...

                         REN
               Compton is definitely on the map my
               nigga!

                         YELLA
               Did you see all the freaks that was
               out there? Lord, thank God for
               biker shorts!

     Everybody shoots YELLA a look.

                         CUBE
               We talkin' about the power of
               N.W.A. and all you saw tonight was
               pussy?

                         YELLA
               Man, pussy is power.

     They chuckle at Yella in disbelief as SUGE KNIGHT approaches.

                         SUGE
                   (surprisingly friendly)
               Man, I had a feelin' y'all was
               gonna represent tonight. Good shit.

                         EAZY
               Wuddup, Suge -- What you been up
               to, homie? Still out in Vegas?

                         SUGE
               Back and forth. Doing some
               bodyguard work among other things.
               If ya'll need my services, just let
               me know.
                                                        37.


                    EAZY
          Aight. But we don't need no body
          guards.

                    SUGE
          You never know what you need until
          you need it.

Somewhat of an uncomfortable pause of dead air.

JERRY rounds the corner, sweating through his misshapen suit,
along with BRYAN TURNER.

                    SUGE (CONT'D)
          I just came back here to give ya'll
          your props. I got my people out
          here waiting on me. But I'll be
          around.

Suge exits... as DOC clocks his flavor-- our attend goes to
Jerry and Bryan.

                    JERRY
          That was quite a show, gentlemen.
          Nice job. Very, very nice.

They all keep STARING at him, waiting. Jerry grins, enjoying
stretching out this moment.

                    JERRY (CONT'D)
          This is Eazy E and NWA. Guys, this
          is Bryan Turner.

                    CUBE
              (brazenly)
          Ice Cube, `Sup?

                    JERRY
          Uh, Bryan runs Priority Records. He
          wants to sign you.

                    BRYAN TURNER
          Immediately. Fellas, I loved the
          show. You really had the crowd on
          their feet. I think you'll fit
          perfectly with our label.

                    DRE
          That'll work. Priority Records? I'm
          not familiar with your label. What
          artist do you got over there?

Bryan looks at Jerry, who folds his arms, chin on his chest.
                                                                38.


                          BRYAN TURNER
                Nothing big. Just an R&B group.

                           REN
                Who dat?

      Bryan hesitates, almost ashamed to say --

                          BRYAN TURNER
                Uh-- The California Raisins.

      Everyone in NWA grimaces --

                          CUBE
                Them little-ass raisins on the
                commercial? Singin', "I Heard it
                Through the Grapevine"?

      Yep. They all LAUGH in Bryan's face. He smiles too.

                          BRYAN TURNER
                Laugh all you want. Those little
                fuckers went gold last year.

      The laughing stops -- This gets their attention and respect.

                           EAZY
                Gold?

                          JERRY
                Yep, almost platinum. Bryan has a
                great distribution platform.

      This is the perfect time for Jerry Heller to seal the deal.

                          BRYAN TURNER
                So what do ya say? Wanna go make a
                record?

      It takes a second for it to sink in. But they are as ready as
      they ever could be. Jerry watches, pleased as punch --

34    EXT. AUDIO ACHIEVEMENTS - TORRANCE - ESTABLISHING - DAY      34

      Cars zip past as we move inside --

A35   INT. AUDIO ACHIEVEMENTS STUDIO - DAY                       A35

      Dre runs his fingers on the knobs and levels of the mixing
      board. There's nowhere that he feels more at home. Eazy,
      Cube, Ren, Yella and Jerry are gather in the studio. Dre
      Inspired:
                                                                 39.


                          DRE
                Aiight! If your rhymes ain't tight,
                you ain't makin' the record. So you
                better have your shit together.
                Yella Boy -- Rewind that shit!

      Yella rewinds the tape.

      Cube and Eazy look at each other as the speech hits home
      as...

      We begin a MEDLEY OF IN-PROGRESS AND ICONIC SONGS.

B35   INT. AUDIO ACHIEVEMENTS - BOOTH                             B35

      Cube in the studio writing EXPRESS YOURSELF. Dre is on the
      mic doing EXPRESS YOURSELF. Yella is at board as everyone
      watches Dre.

                          DRE
                I'm expressin' with my full
                capabilities, And now I'm livin' in
                correctional facilities...

C35   NOTE: IN BETWEEN THIS SEQUENCE, we cut back to CATCH GLIMPSES
                                                                C35
      of Dre in the studio CREATING -- FUCK THA POLICE, starting
      with the bones and building: first the DRUM MACHINE... then
      the SCRATCH... the BASS... an on and on. We will see Dre
      building this track throughout the sequence. In the back,
      Cube, Ren and DOC on the couch writing.

D35   IN THE BOOTH - LATER                                        D35

      Cube writes than spits the lyrics to A BITCH IZ A BITCH.

      AT THE BOARD, Dre HOWLS with excitement, adjusts the levels,
      then cuts the beat. Beside him, Eazy and Yella are all
      smiles.

E35   IN THE BOOTH, Ren spits fire on the final bars of PARENTAL
                                                               E35
      DISCRETION IZ ADVISED --

F35   -- EAZY spitting STRAIGHT OUTTA COMPTON as --               F35

35    INT. AUDIO ACHIEVEMENTS STUDIO - DAY                         35

      Dre's at the soundboard, chopping up the beasts from what
      will become "Fuck Tha Police". Cube, Ren, DOC and Jinx are
      listening while writing and eating fast food.

                          DRE
                Now this is what I'm talkin' about.
                You hear the difference?
                                                        40.


                    YELLA
          Yeah, no doubt.

Jerry and Eazy are discussing business.

                    JERRY
          Our deal with Priority is done. I
          have the contracts for you to sign.

Cube takes notice of Jerry and Eazy, looking up from another
beat-up notebook.

                    JERRY (CONT'D)
              (to Dre)
          If this music keeps sounding like
          this. This album is going to be
          amazing.

                    DRE
          Thanks, Jerry.

                    JERRY
          The lyrics you're writing is really
          good, Cube.

                    CUBE
          I appreciate that, man.
              (to Eazy)
          Eazy what's up with our deal.

                    EAZY
          Jerry handles that.

Cube looks at Jerry.

                    JERRY
          The lawyers just started drawing
          them up.

Before Cube can respond, Tyree enters the room as Jerry exits
the room.

Tyree pulls Dre aside.

                    TYREE
          Yo Dre, there's something outside
          you need to take care of. Trust me.

Concerned, Dre heeds Tyree's advice and exits.
                                                                41.


36   EXT. AUDIO ACHIEVEMENTS STUDIO - CONTINUOUS                  36

     Parked along the curb, Dre's girl LaVetta sits in what we
     thought was Dre's DATSUN. It's filled to the brim with
     clothes and baby gear, hatchback tied down with bungee chord.

     Dre leans down to her window --

                         DRE
               So let me get this straight -- You
               gonna do this right here, right
               now?

                          LAVETTA
               What am I supposed to do? We're
               sleepin' on a twin bed, at your
               auntie's house. We have a baby,
               Andre. You expect me to wait for
               what you're doin' in there? And you
               in the streets, fuckin' around? Are
               you crazy?

     Dre doesn't notice a TORRANCE P.D. CRUISER drift past...

                         DRE
               What? I'm out here day and night
               bustin' my ass, tryin' to create
               something, and you gonna come up in
               here talkin' about some bitches?
               Are you crazy?

                         LAVETTA
               You don't get it.

                         DRE
               Nah, you don't get it.

                         LAVETTA
               Bye, Andre.

     LaVetta puts the car in gear, PEELS away just as the whole
     gang comes out, having caught the tail end of the argument.

                           YELLA
               You cool?

                         DRE
               Fuck no. I'm far from cool.

                         TYREE
               What happened, Dre? What she say?

                         CUBE
               Aww shit, here we go again...
                                                        42.


The TORRANCE P.D. CRUISER pulls up fast, two COPS popping
out. One black the other white. Weapons drawn.

                    TORRANCE COP 1 (BLACK)
          Everybody down on the ground now!

The guys are confused. Food in hand.

                    REN
          What we do?!

These cops aren't playing and they don't want to be
questioned.

                    TORRANCE COP 2 (WHITE)
              (Shoving Ren to the
               ground)
          Get your fuckin ass on the ground
          before I shoot you! That's what you
          did!

After peeping out the cops overly aggressive posture. The
guys start to comply. Mexican food hits the ground first then
all the guys go face down-- spread eagle.

                    DRE
          Why you got on the ground like
          this, officer?

                    TORRANCE COP 1
          For our protection. It's 6 of you,
          only two of us. So just sit there
          and shut up.
              (to his partner)
          Call for back up.

Torrance Cop 2 starts to call it in.

Torrance Cop 1 starts to roughly frisk the guys.

                    TORRANCE COP 1 (CONT'D)
          This is Torrance. You niggas
          supposed to be somewhere?

                    EAZY
          Yeah. Here. We workin'.

                    TORRANCE COP 1
          Working? Yeah, I bet.

                    DRE
          What we do?
                                                        43.


                    TORRANCE COP 2
          We'll find out what you did in a
          minute.

Within seconds, the Cop has Dre legs spread, frisking him
roughly, hyper-extending his arms --

                    DRE
          What the fuck --

                    TORRANCE COP 1
          Shut your hole!

The whole group is getting frisked one by one. Until Jerry
Heller comes to the rescue.

                     JERRY
          Excuse me officer, what's going on
          out here?!

                    TORRANCE COP 1
          Step back sir! Just making sure
          these thugs are clean!

Jerry keeps coming.

                    JERRY
          These are not thugs, they're
          artists!

As Jerry gets into the officers face, we see the contrast of
the black guys face down on the ground with the Cops and
Jerry's shoes standing over them talking.

                    TORRANCE COP 1
          Artists? What kind of artists?

                    JERRY
          They're rappers working in the
          studio right here.

                    TORRANCE COP 2
          Rappers? Rap is not art. It's
          jungle music. And who are you
          supposed to be?

                    JERRY
          I'm the manager.

                    TORRANCE COP 1
          Well you're wasting your time, Mr.
          Manager, `cause your rappers look
          like typical gang bangers to me.
                                                             44.


     As the insults continue-- We LINGER ON CUBE, consuming his
     incendiary eyes, his flared nostrils. He's just about had
     enough of this shit.

                         TORRANCE COP 2
               Why don't you spend your time
               managing real music like Lynyrd
               Skynyrd!

                         TORRANCE COP 1
               Or Con-Funk-Shun! Real instruments.
               Real music! Not this bullshit rap!

                         TORRANCE COP 2
               Fuckin' fad.

                         TORRANCE COP 1
                   (laughing)
               Tell me about it.

37   INT. AUDIO ACHIEVEMENTS STUDIO - EMPTY OFFICE - LATER        37

     Dimly lit, Cube sits hunkered over a desk, writing furiously
     in his notebook. As if he's possessed. He slaps a page aside,
     scribbling on the back. WE CATCH GLIMPSES of ICONIC WORDS ON
     THE PAGE --

     GOT IT BAD CAUSE I'M BROWN .... SEARCHIN' MY CAR, LOOKIN' FOR
     THE PRODUCT .... THINKIN' EVERY NIGGA IS SELLIN' NARCOTICS.

38   INT. AUDIO ACHIEVEMENTS STUDIO - CONTINUOUS                  38

     Dre is at the mixing board working on the instruental track
     for FUCK THA POLICE. The instrumental is playing without any
     lyrics or the hook on it.

                         CUBE (O.S.)
               Yo!

     CUBE enters the studio -- Hands the open notebook over to
     Eazy, who scans it, hands it over to Dre for a look.

                         EAZY
                   (sly smile)
               This gonna start some shit, Cube.

                         CUBE
                   (a grunt)
               Yeah, fuck the police.

     Dre smiles as we cut to --

     Dre is scratching in the iconic hook. FUCK THA POLICE-- FUCK,
     FUCK, FUCK THA POLICE. He continues to scratch...
                                                                   45.


38pt2   Ice Cube on the mic spitting the venomous lyrics of Fuck Tha
                                                               38pt2
        Police.

40      EXT. RUTHLESS RECORDS - LOS ANGELES - ESTABLISHING - DAY     40

        STRAIGHT OUTTA COMPTON continues over --

        EAZY and JERRY walk into the new RUTHLESS OFFICES...

41      EXT. CRENSHAW BLVD - NIGHT                                   41

        A LOWRIDER cruises the packed boulevard, STRAIGHT OUTTA
        COMPTON SCREAMING out the windows as it passes by --

        A HOOPTIE that's got EXPRESS YOURSELF ON BLAST. And we
        quickly realize that --

        THE ENTIRE ALBUM'S FLOATING ON THE AIR, DIFFERENT TRACKS
        THUMPING from DIFFERENT CARS flossing on the `Shaw.
        Literally, every car.

        LOW-RIDERS bounce their hydraulics in approval. PEDESTRIANS
        HOLLER at the RIDERS and Riders holler back. It's like the
        entire hood is partying. And in the thick of it all --

        Eazy, Dre, and Cube creep down Crenshaw in Eazy's `64 Impala,
        Ren and Yella just behind them in Yella's Porche. They can't
        believe their eyes, their hood now worshipping their music.
        Some full circle shit...

42      INT. RUTHLESS RECORDS - JERRY'S OFFICE - CONTINUOUS          42

        STRAIGHT OUTTA COMPTON FADES OUT as --

        CLOSE ON the album cover to STRAIGHT OUTTA COMPTON as it's
        slid across the desk to... THE WHOLE GANG. They pass around
        the record, in awe, as if it were the Holy Grail.

                            JERRY
                  This is only the tip of the
                  iceberg, fellas. The days of
                  selling records out of your trunk
                  are a thing of the past, Eric.

                            EAZY
                  My days of selling anything out the
                  trunk is over.

43      EXT. LEIMERT PARK - LOS ANGELES - DAY                        43

        All the GROUP MEMBERS saying goodbye to their FAMILY,
        FRIENDS. JERRY's there, too, along with Bryan Turner.
                                                         46.


                    BRYAN TURNER
          So, are you going out with them?

                    JERRY
          Are you crazy? Had a enough of that
          shit in the 70's. I'll fly out a
          couple of times and check on'em.

                    BRYAN TURNER
          Well make sure everything goes
          smooth, okay? I have enough bad
          press with Tipper Gore and P.M.R.C.
          on my ass. I'm gonna have to put
          Parental Advisory stickers on all
          the records from now on --

                    JERRY HELLER
          What's wrong with that? Bryan,
          controversy's good -- It's gonna
          help us sell more records.

But Jerry's distracted by Eazy carrying a big duffel bag.

                       JERRY
          Excuse me.

Jerry sidles up to EAZY, who is carrying a big, heavy,
clattering DUFFEL.

                    JERRY (CONT'D)
          What ya got in there, Mr. Wright?

Eric grins, sets down the duffel -- CLUNK -- and unzips it.
Jerry's eyes bug. The duffel is full of GUNS, big and small,
a Kevlar vest, a hockey mask. All things trouble.

                    JERRY (CONT'D)
          Have you lost your mind? You are
          not taking that on the bus.

                    EAZY
          Yeah we are. How we supposed to
          protect ourselves out there, Jerry?
          In fuckin' Texas? And Tennessee?
          They lynch niggas down there --

                    JERRY
          I'm not gonna let you take that
          arsenal on tour, Eric!

Eazy squares off, crosses his arms.
                                                                 47.


                             EAZY
                   Let me? Jerry, you take care of the
                   business, I'll take care of the
                   rest.

A44   EXT. HOUSTON ARENA - HOUSTON - NIGHT                        A44

      Out front of the arena, a mass of PROTESTORS have accumulated
      a large pile of NWA RECORDS as --

      SUPERIMPOSE: HOUSTON, TX

B44   ON THE BUS                                                  B44

      The guys watch on as a MAN drives a STEAMROLLER RIGHT OVER
      THE RECORDS, crushing them to pieces! The Protestors CHEER!

                             CUBE
                   Ain't that some shit... Talk some
                   truth and people lose they minds.

                             EAZY
                   They had to buy all those albums to
                   do that! More money in our pockets.

44    EXT. HOUSTON ARENA - BACKSTAGE PARKING - HOUSTON - NIGHT     44

      The TOUR BUS pulls up inside the SECURITY AREA behind the
      VENUE. Houston P.D., POLICE HORSES, FANS and PROTESTERS are
      watching as --

      The bus DOOR HISSES open, and we watch expectantly for our
      heroes... BUT NO ONE APPEARS. All we can see is the black
      void inside the tour bus, its ENGINE IDLING. Finally, when we
      can hardly stand it any longer... NWA BURSTS OUT ONTO THE --

45    INT. HOUSTON ARENA - STAGE - LATER THAT NIGHT                45

      -- And god damn they look cool. Still dressed in all-black,
      but now their shit looks cleaner, more expensive. They're all
      rocking a lot of GOLD -- rings and thick-rope chains.

      HUGE BASS SLAMS DOWN as the mock street LIGHTS blind our
      eyes. The stage looks like the hood with chain link fences
      and yellow police tape.

      We hear the SOUNDS of STRAIGHT OUTTA COMPTON ("YOU ARE NOW
      ABOUT TO WITNESS THE STRENGTH OF STREET KNOWLEDGE.") and find
      DRE on the ONES AND TWOS, which sit on upside-down glowing
      trash cans, while the rest of the group rocks the stage.
                                                                48.


                            CUBE
                  Straight outta Compton, crazy
                  muthafucka named Ice Cube, from a
                  gang called Niggaz With Attitudes.
                  When I'm called off, I got a sawed
                  off, squeeze the trigger, and
                  bodies are hauled off --

        We see CUBE REACT to the fact that here in Middle America,
        the majority of the audience is WHITE. Never expected that.

        IN THE BACK, we see a row of UNIFORMED COPS, stone-faced,
        their presence alone transmitting hostility --

46      MONTAGE OF THE ROAD                                         46

46pt1   INT. ARENA - STAGE                                      46pt1

        -- Eazy blows the roof off with WE WANT EAZY, all hands in
        the air as a sea of people vibe with him all singing: EAZY,
        WE WANT EAZY -- EAZY, WE WANT EAZY!

        DRE, REN AND EAZY RIP THROUGH THE FIRST VERSE-- As the crowd
        sings the hook again. We can hear Eazy say--

                            EAZY
                      (to the crowd)
                  Where the fuck y'all at,
                  Cincinnati!?

46pt2   INT./EXT. TOUR BUS                                      46pt2

        -- The guys watch on as the TOUR BUS rolls past a PROTEST.
        DEMONSTRATORS SHOUT at the bus, hold up SIGNS: BAN GANGSTA
        RAP, STOP DISRESPECTING WOMEN, GANGSTAS BELONG BEHIND BARS --

46pt3   INT. ARENA - STAGE                                      46pt3

        -- Dre and Ren rhyme fierce on COMPTON'S N THE HOUSE.
        Standing room only, as usual...

                            DRE
                  To the people over here --

                            REN
                  To the People over there --

                            DRE/REN
                  To the people, the people, the
                  people, people, the people, the
                  people, people from Kansas City,
                  watchin' the show --

46pt4   INT. ARENA - STAGE                                      46pt4
                                                                49.


        -- Another ARENA. Another angry PROTEST. By now, the guys
        aren't even paying attention anymore...

46pt5   INT. ARENA - STAGE                                     46pt5

        -- Cube destroys GANGSTA, GANGSTA, nostrils flared, giving it
        his all. As the CHORUS KICKS IN --

                            CUBE
                  Indianapolis in the muthafuckin'
                  house!

47pt1   INT. HOTEL ROOM - NIGHT                                47pt1

        Muffled MUSIC, LAUGHTER THUMPS through the WALLS as we find
        DRE sitting on a bed in an empty hotel room, talking to --

                            DRE (INTO PHONE)
                  I can't do it, T.

        INTERCUT WITH:

47pt2   EXT. VERNA'S HOUSE - PORCH - CONTINUOUS                47pt2

        TYREE, who's chillin' in a chair, surveying the street, all
        smiles talking to his cool-ass big brother.

                            TYREE (INTO PHONE)
                  Come on. I could meet up with y'all
                  in Dallas or -- Yo, you gotta let
                  me come fuck with you in Miami!

        Dre laughs. Misses his baby brother.

                            DRE (INTO PHONE)
                  Oh, you wanna partake in some of
                  those fat asses, huh.

                            TYREE (INTO PHONE)
                  You know it!

                            DRE (INTO PHONE)
                  So what you think moms will say
                  about you comin' on tour?

        Tyree's silence is telling.

                            DRE (INTO PHONE)(CONT'D)
                  Exactly. `Cause you got school and
                  you know she won't let you miss
                  that many days.

                             TYREE (INTO PHONE)
                  You did.
                                                        50.


                    DRE (INTO PHONE)
          Exactly my point.

                    TYREE (INTO PHONE)
          So I'm paying for your shit?

                    DRE (INTO PHONE)
          How it is, T. Youngest always do.

Tyree deflates...

                    DRE (INTO PHONE) (CONT'D)
          How moms doin'? Is she there?

                    TYREE (INTO PHONE)
          She good, but nah, you know her,
          constantly workin'.

                    DRE (INTO PHONE)
          Well make sure you take care of
          her, aiight? I'll tell you what,
          you stay your ass outta trouble and
          I'll call you when I'm on the way
          to Miami-- we'll see about getting
          you on a flight.

                    TYREE (INTO PHONE)
              (perks up)
          Aiight, man... You promise, Dre!

                    DRE (INTO PHONE)
          I got you. Just bring a lot of
          rubbers.

Dre and Tyree have a nice laugh together.

Suddenly there's a BANGING at Dre's FRONT DOOR --

                    DRE (INTO PHONE) (CONT'D)
          Hold on a second, somebody at the --

CLICK. TYREE'S GONE. Dre sets the phone down. Walks to the
door. OPENS it to find --

A BIG DUDE, standing outside, looking PISSED!

                    BIG DUDE
          Yeah nigga, I'm looking for my girl
          Felicia. Heard she was up here in
          one of these rooms.

                    DRE
          No Felicia in here, man.
                                                                51.


        Dre starts closing the door, and the DUDE jams his BOOT in,
        stopping Dre from closing the door.

                            BIG DUDE
                  Mind if I take a look?

                            DRE
                  Get your foot out my door --

        Big Dude pulls up his SHIRT, PISTOL poking out of his
        waistband -- Dre SHOVES him back and SLAMS the door! Quickly
        OPENS the DOOR to the adjacent room where --

47pt3   ON THE OTHER SIDE                                      47pt3

        There's a PARTY going on. EAZY, CUBE and REN are all partying
        with GIRLS, most of whom aren't wearing any shirts. Titties
        are everywhere, booze flowing freely.

        YELLA's in the middle, FUCKING A GIRL on one of the beds.

                            DRE
                  Yo! Any of y'all named Felicia?

        All the GIRLS shake their heads.

                            YELLA
                      (to the girl under him)
                  Hey baby. You Felicia?

                            GIRL
                  You forgot my name, muthafucka?

        She looks pissed, but they keep on fucking anyway.

                            DRE
                  I think her man's outside. And that
                  nigga strapped.

        Eyes wide, Eazy quickly pulls the GUN DUFFEL out from under
        one of the beds, unzips it, fishes through and pulls out an
        AK.

                            YELLA
                  Whoa! Eazy, you can't be blastin
                  inside the hotel --

        But Eazy just grins, heads for the door. Opens it, PEEPS out
        through the crack --

                            EAZY
                  Hey, you lookin' for Felicia?
                                                                52.


      BIG DUDE is still out there, standing about 15 feet away,
      with TWO OTHER similarly-large DUDES.

                          BIG DUDE
                She in there or what?

                          EAZY
                Yeah, she's in here. Problem is, my
                homeboy's got his dick in her
                mouth.

      Big Dude scowls, rests his hand on the butt of his pistol.

                          BIG DUDE
                What the fuck did you say?

      BACK INSIDE, Ren overhears this. Tosses a GIRL off his lap,
      grabs his 9mm from the table, COCKS it --

      IN THE HALLWAY, Eazy steps FULLY out of his room -- RACKS the
      AK and AIMS IT RIGHT AT THE 3 DUDES --

                          EAZY
                How bad you want Felicia now?

      The DUDES gape at Eazy a moment, then SCATTER, disappearing
      down the hallway. Eazy LAUGHS his ass off as Ren bolts out,
      9mm in hand, ready for anything --

                          REN
                Where they go?

      But the coast is clear. Eazy keeps laughing. Heads back
      inside as we --

A48   OMITTED                                                     A48

48    INT. HOTEL - LOBBY - DAY                                     48
      Cube, Dre, Yella, Ren and D.O.C. stroll through, carrying
      bags of McDonalds. Cube's eyes drift over to the fancy FOUR-
      STAR RESTAURANT across from the lobby where he can see Jerry
      and Eazy at a table inside, enjoying a lavish meal.

                          CUBE
                Meet y'all upstairs.

      Cube heads for the restaurant --

49    INT. HOTEL - RESTAURANT - CONTINUOUS                         49
      ON THE BAR TV, NANCY REAGAN's concerned face fills the
      screen.
                                                        53.


                    NANCY REAGAN
          For the sake of our children, I
          implore each of you to be
          unyielding and inflexible in your
          opposition to drugs. Our young
          people are helping us lead the way.
          Not long ago in Oakland,
          California, I was asked by a group
          of children what to do if they were
          offered drugs. And I answered, just
          say no.

AT A TABLE NEARBY, Jerry and Eazy devour steaks and lobster,
sipping champagne.

                    JERRY
              (concerned)
          Another one called-- said she was
          pregnant by you too. Eric, you
          gotta slow down. You can't fuck'em
          all...

                    EAZY
          Yeah, I know.
              (Deep breathe)
          All these chicks want is money. If
          I was broke, they're wouldn't even
          be calling.

                    JERRY
          Yeah well, you start making a
          little money, problems come with
          it.

                    EAZY
          White people problems?

                    JERRY
          Money problems are race neutral.
          But I'll help you through all of
          it. I'll put you in touch with --

Jerry's distracted by the sight of Cube marching towards the
table, bag of McDonald's still in hand. Smiles up at him.
Eazy doesn't make eye contact.

                    JERRY (CONT'D)
          Evening, Cube...

                    CUBE
          What's the deal on them contracts,
          Jerry? I'm still waitin' on 'em...
                                                                54.


                         EAZY
               Man, stop asking about them fuckin'
               contract. They're coming --

                         JERRY
               It's all right, Eric. Cube's right
               to ask, and I'm remiss in not
               updating you guys.
                   (to Cube)
               Contracts are being finalized as we
               speak. Truth is, attorneys will
               bleed you dry going over `em. Wish
               I was paid by the hour...

                         CUBE
               Yeah me too. I just like to know
               what's goin' on. Since I wrote a
               lot of lyrics on this record.

                          JERRY
               Everybody knows how important you
               are, Cube. Just give us a little
               more time.

     Cube glances at Eazy, who's like a statue. Cube picks up
     Eazy's champagne glass, drains it, sets it back down.

                         CUBE
               Shit's pretty good. Someday, huh?

     With that, he turns and walks out. Jerry watches him go.
     Then, to no one in particular:

                         JERRY
               He wants to be you so freaking bad.
               This kid has issues. At some point,
               you gotta trust somebody...

     But Eazy's not paying attention. Waving to a passing waiter:

                         EAZY
               Waiter! Another round over here...

50   EXT. OPEN ROAD - NIGHT                                       50

     The NWA tour bus blurs by, a prism of light and speed --

51   INT. TOUR BUS - MIDDLE OF NOWHERE, USA - NIGHT               51

     Cube and Dre speak in hushed tones, everyone else asleep.
                                                             55.


                         DRE
               Nah, I think you over reacting.
               Eazy's one of us, Cube. What you
               thinking don't even make sense --

                         CUBE
               Know what don't make sense? Eazy
               chillin' with Jerry eatin' steak
               and lobster while we at Mickey D's.
               That shit don't make sense.

                         DRE
               Look, I hear that, but I think we
               should ride this wave. Don't be
               jumpin' to conclusions until you
               know for sure,

     WE HEAR a FAINT VIBRATING SOUND. Dre realizes it's his PAGER.
     Grabs it off his bed. Sees that he's missed TWELVE PAGES. AND
     EVERY SINGLE ONE IS LABELED "9-1-1." Instinct in overdrive,
     he hurries to the FRONT of the bus, tells the DRIVER --

                         DRE (CONT'D)
               We gotta stop. Gotta get somewhere
               with a phone --

                         DRIVER
               But we're in the middle of nowh --

                         DRE
               Stop the fuckin' bus, man!

52   EXT. GAS STATION - MIDDLE OF NOWHERE, USA - MOMENTS LATER 52

     The BUS is parked in a nearly-empty PARKING LOT outside of a
     lonesome, isolated GAS STATION. It's a dark, starless night.

     Dre shuffles slowly out of the station, in a daze, like he
     just awoke from a fucked-up dream. He walks over to the BUS.
     But instead of getting on, he SITS DOWN on the pavement, eyes
     filled with shock and disbelief.

     The sound of FOOTSTEPS as Ren, Yella, Cube, and Eazy exit the
     bus, surround Dre. They can tell something is very wrong.

                         YELLA
               Yo, Dre. What's goin' on?

     ON DRE as he forces back the tears that wanna come, his voice
     barely a whisper:
                                                        56.


                     DRE
          My Moms called. Tyree. He's dead.
          Somebody killed my little
          brother...

Shocked: "What?" "Hell naw!" "What happen?" are heard amongst
Cube, Eazy, Yella and Ren-- they crouch down next to Dre. Not
sure what else to say or do. They wait for Dre to say more...

                    DRE (CONT'D)
          He got into a fight near Leimert
          Park. A big mothafucka fell on top
          of him -- broke his neck. He killed
          Tyree. I can't believe this shit.

Face buried in his hands, Dre quietly weeps.

Jinx, Laylaw and DJ Speed gather in the front window of the
bus. Not wanting to interrupt the group's moment.

Cube rests a hand on Dre's shoulder as the others tighten the
circle. There's silence... until:

                    CUBE
          Never told y'all, but when I was
          twelve, my sister got murdered by
          her own husband-- A fuckin' wanna
          be cop who couldn't make it in the
          academy. Life changed for me that
          day. Everything became serious--

                    EAZY
          Dope game took my cousin's life. I
          remember when they found him.

                    DRE
          He shoulda been out here with me.
          If he was out here-- It never
          woulda happened...

                    REN
          Or it could've happened in another
          way. Can't blame yourself, Dre...
          Life has to end for all of us, but
          love don't. Feel me? Tyree is
          always gonna be with you. No matter
          what.

Eazy moves closer. Slowly, he places a hand on Dre's head.
Rubs it. It's a bit startling -- Eazy's not one for
tenderness. But it's clear he feels Dre's pain.
                                                             57.


                         EAZY
               Gonna be aiight, Dre... We with
               you.

     PULL BACK as the guys remain clustered around Dre. Looking so
     small, so vulnerable, crouched in front of the Bus, alone in
     the parking lot. NWA against the world.

                                                 FADE TO BLACK:

     FADE UP: ON;

53   INT. MAUSOLEUM - LOS ANGELES - DAY                           53

     In a suit, Dre stands beside Tyree's MEMORIAL WALL, his arm
     draped around his heartbroken mother, Verna. She cries
     without end or apology, surrounded by family, including his
     other brother, WARREN G, plus Eazy, Cube, Ren and Yella.

     It's solemn and quiet. Dre remains stoic, staring hard,
     trying his best to remain strong for his mother. All members
     of the band keep a close eye on him, as the pastor wraps up
     his eulogy.

                         PASTOR
               Death is a threshold we all have to
               pass through. No one is exempt.
               Tyree will set a place for us on
               the other side and we will see him
               again. The flesh will always return
               to the earth. But our spirits will
               live on forever. Amen!

     The congregation repeats the pastor with a follow up "Amen."

54   INT. MAUSOLEUM - LATER                                       54

     A shattered Dre slumps out with his mom, Verna.

                         DRE
               If I brung him out on tour with me,
               like he wanted --

                         VERNA
               This is not on you, Andre.

     Dre doesn't say anything. Keeps his head bowed.

                         VERNA (CONT'D)
               Andre.

                         DRE
               We was supposed to kick it... Next
               chance I got --
                                                                  58.


                            VERNA
                  This is not your fault. Understand
                  me? Stop this nonsense. Stop it
                  now.

        He looks at his momma. This strong woman.

                            VERNA (CONT'D)
                  Your brother looked up to you. And
                  you took great care of him. We both
                  did. It's time to let someone else
                  take care of him now.

        With that, she can no longer hold back the tears. Dre hugs
        her, mother and son comforting each other.

                            VERNA (CONT'D)
                  I'm proud of you... So proud of
                  you, baby...

        Dre fights back tears of his own, the words he's longed to
        hear. As Verna slowly turns and walks away, Cube, Eazy, Ren
        and Yella surround him, brothers in arms. They walk out the
        Mausoleum.

55      TOUR BUS MONTAGE:                                            55

55pt1   -- Rural farmland. Flyover-ville. Where the fuck are we?
                                                               55pt1

55pt2   -- Dre stares out the window, despondent, lost in thought...
                                                               55pt2

55pt3   INT./EXT. TOUR BUS                                        55pt3

        -- Cube and Ren jot lyrics on notepads as the bus passes by
        more PROTESTORS...

                            CUBE
                  Check this out --

           PROTESTOR 1          PROTESTOR 2       PROTESTOR 3
        Ban gangsta rap!     Get the hell out   NWA is filth!
                             of here!

        THUD! An egg smacks into the window OBSCURING OUR VIEW.

                            REN
                  We should get out and beat his ass.

55pt4   INT. TOUR BUS                                             55pt4

        -- Yella watches porn next to Eazy who's grown bored...

                            EAZY
                  Man shut that off. Put on my shit.
                                                                59.


        Disgruntled, Yella obliges. Puts on SCARFACE. Eazy smiles.

55pt5   INT. TOUR BUS                                          55pt5

        -- Eazy and Jerry mastermind backstage at a concert. Jerry
        HANDS a BILLBOARD MAGAZINE to Eazy.

                            JERRY
                  Moving up on the Billboard 200
                  albums chart, Holding our bullet
                  the R&B, Hip-Hop chart. I mean, you
                  have any idea how many records
                  we're selling? Ruthless has
                  arrived. Eric, we are huge!

        Eazy scans the magazine. Drinks it in, sly smile as we --

56      EXT. HOTEL - POOL SIDE - NIGHT                               56

        Surrounded by GROUPIES, living the life, the GANG hangs by
        the pool. Odd looks are sent their way from snobby HOTEL
        GUESTS, a school of fish out of water as --

        JERRY looks worried as he makes a bee-line toward the pool in
        his trademark velvet sweat suit, LETTER in hand. He
        officiously hands it to Eazy, who scans it. Growls:

                            EAZY
                  The muthafuckin' FBI?

        These words catch everybody's attention. We catch a GLIMPSE
        OF THE LETTER on FBI stationary -- Dre snatches it from Eazy.

                            DRE
                  Damn, they comin' after us, too?

        Now Cube leans over -- reads aloud:

                            CUBE
                  "... advocating violence and
                  assault is wrong and we in the law
                  enforcement community take
                  exception to such action." Have
                  they ever heard of freedom of
                  speech? What the fuck can they do
                  to us?

                            JERRY
                  It's a warning. A message to our
                  record label about "Fuck the
                  Police". We should really think
                  about not performing that song for
                  a while.
                                                                 60.


       That doesn't sit well with the group. Moans and growns are
       heard.

                           JERRY (CONT'D)
                     (over their PROTESTS)
                 Relax. RELAX. No need to worry--
                 All I'm saying is, we should be
                 aware of this threat...

                           CUBE
                 If it was from the LAPD, then I'd
                 be worried.

                           EAZY
                 We should all be happy, not
                 worried. This is a gift, man. More
                 free publicity for NWA.
                     (waves letter)
                 That's why we gonna send this to
                 the press. Let everybody know about
                 this kind of harassment and
                 intimidation by the government.
                 Right, Jerry?

       Jerry does not think this is the best idea ever but...

                           JERRY
                 Well, uh. If that's what you wanna
                 do, then maybe we --

                           EAZY
                 Do it, Jerry. Let everybody see
                 this bullshit.

       Eazy gives the letter back to Jerry, who walks off, leaving
       the boys all hanging pool side. After a deliberative beat:

                            CUBE
                 I guess freedom of speech don't
                 mean shit.

                           REN
                 Not if you a nigga wit an attitude.

       All they guys look at each other. Eazy ain't worried about
       nothing-- he puts on his Locs and continues to kick it.

A57    QUICK CUTS:                                                A57

       Of different POLICE OFFICERS from DIFFERENT CITIES across the
       U.S., each reciting their city's obscenity ordinance, one
       line bleeding into the next:

A57pt1 -- A Macon, GA OFFICER...                                A57pt1
                                                               61.


                           GA OFFICER
                 No person shall disturb the peace
                 by --

A57pt2 -- A Montgomery, AL OFFICER...                        A57pt2

                           AL OFFICER
                 -- Participating or abetting in any
                 rude, indecent, riotous, drunken or
                 violent conduct --

A57pt3 -- A Louisville, KY OFFICER...                        A57pt3

                           KY OFFICER
                 -- Using any vulgar, obscene or
                 abusive language in a public place -
                 -

A57pt4 -- A St. Louis, MO OFFICER...                         A57pt4

                           MO OFFICER
                 -- Inciting any other person to
                 commit any breach of the peace, or --

57     INT. JOE LOUIS ARENA - BACK STAGE - DETROIT - NIGHT         57

       SUPERIMPOSE: AUGUST 6, 1989 - DETROIT, MI.

       We catch a serious and quiet Cube along with the rest of NWA -
       - and Jerry Heller -- gathered as a local POLICE OFFICER
       reads to them from a piece of PAPER -- Eazy has on his ski
       mask.

                           POLICE OFFICER
                 -- committing any obscene, indecent
                 or immoral act in a public place.
                 Note also that performance of the
                 song "F The Police" will not be
                 permitted. Refusal to abide by all
                 Detroit City Ordinances will result
                 in immediate arrest and forfeiture.

                           CUBE
                 Are we finished, man? We got a show
                 to do.

       The Cop sneers at Cube, walks off, throws another shot --

                           POLICE OFFICER
                 Just watch yourselves.

                           REN
                 Yeah-- You watch yourselves too.
                                                              62.


     He stares back at Ren one more time -- before leaving.

     Eazy takes off his hockey mask. All the GUYS are looking at
     each other. Eazy and Jerry head off across the room for a
     private chat --

     Ren looks at Cube -- Cube looks at Dre -- Yella looks at the
     perfect ass of a passing FEMALE OFFICER.

                         YELLA
                   (to himself)
               Yeah man, fuck the po-lice for
               real.

     He laughs and sticks his tongue out.

58   INT. JOE LOUIS ARENA - STAGE - LATER                        58

     With Dre spinning, Cube, Ren and Yella hype the crowd as Eazy
     tears up the final bars of STRAIGHT OUTTA COMPTON --

                         EAZY
               This is the auto-biography of the
               E, and if you ever fuck with me
               you'll get taken, by a stupid dope
               brotha who will smother, word to
               the motherfucka, straight outta
               Compton.

     The CROWD goes insane as the CHORUS PLAYS OUT. Like a God,
     Eazy pimp strides off stage where Jerry awaits, all smiles,
     arms open as --

     BACK ON STAGE, Cube, Dre, Yella and Ren are feeling defiant.
     CUBE addresses the amped CROWD:

                         CUBE
               Yo hold up, hold up -- Y'all know
               what the muthafuckin' po-lice just
               told us back stage? They tired to
               tell us-- what the fuck we can't
               say-- what the fuck we can't play!

     The CROWD HOLLERS and BOOS their disapproval.

                         CUBE (CONT'D)
               Put ya middle finger in the air!

     Cube raises his hand in the air, quickly SNAPS HIS MIDDLE
     FINGER to attention. Ren does the same with BOTH HANDS --

     The CROWD RESPONDS by getting LOUDER THAN WE'VE EVER HEARD,
     and RETURNING the gesture.
                                                          63.


We're talking THOUSANDS of people, all with BOTH MIDDLE
FINGERS RAISED -- this is the real shit, this is what they
came here for --

                    CUBE (CONT'D)
          This NWA -- We do what the fuck we
          wanna do! We say what the fuck we
          wanna say! So, all I wanna tell
          that cop talking shit back stage is
          -- Yo Dre, I got something to say!

Dre DROPS IT. Cube jumps right into it, pure adrenaline --

                    CUBE (CONT'D)
          FUCK THE POLICE COMIN' STRAIGHT
          FROM THE UNDERGROUND. A YOUNG NIGGA
          GOT IT BAD CAUSE I'M BROWN --

The crowd goes ape-shit! BOUNCING and THRASHING like a MOSH
PIT. Pure ELECTRICITY--

Jerry Heller is suddenly alarmed by the song selection.

As Cube slices throughout the first verse --

Cops are getting agitated -- Waiting for the order to pounce.
After their CAPTAIN has seen enough-- He gives the order.

At that moment, the PLAINCLOTHES COPS in the crowd pull out
their BADGES and start MOVING FORWARD through the sea of
people, trying to make their way to the STAGE --

Cube keeps SPITTING -- lyrics are approaching that mighty
hook.

The UNDERCOVER COPS are causing a lot of commotion in the
crowd... When CUBE hits the hook the CROWD JOINS IN, because
they know all the lyrics --

                    CUBE & CROWD
          FUCK THA POLICE! -- FUCK! FUCK!
          FUCK THA POLICE!-- FUCK THAT
          POLICE!

POP-POP-POP -- Cube stops rapping -- the CROWD is momentarily
STUNNED! What the hell was THAT? Gunfire? A fucking BOMB?
Whatever it was, TOTAL CHAOS BREAKS OUT --

The CROWD starts SURGING for the EXITS. Suddenly, DOZENS MORE
COPS have MATERIALIZED OUT OF NOWHERE --

All the members of NWA DROP their mics and rush off stage,
while the Arena descends into mayhem behind them --
                                                             64.


59   INT. JOE LOUIS ARENA - BACK STAGE - CONTINUOUS               59

     It's CHAOTIC. Tons of COPS, both UNIFORMED and UNDERCOVER,
     SWARM as the Guys RACE past a LIVID Eazy and Jerry --

                         EAZY
               What the fuck did you DO!?

     No time for answers, THEY RUN TOO. Jerry can't believe the
     cops are on their tails.

60   EXT. JOE LOUIS ARENA - LOADING AREA - CONTINUOUS             60

     All the GUYS try to make their way to an idling VAN which is
     waiting to whisk them away to safety, but --

                            REN
               Aw fuck...

     Because they all just noticed TWO THINGS: 1) there are DOZENS
     of rabid FANS gathered outside, and 2) there are also A SHIT-
     LOAD OF POLICE, holding back the FANS. The GROUP is spotted
     by some COPS, who peel off and head STRAIGHT FOR THEM --

                         ICE CUBE
               Here we go y'all...

     The COPS are immediately ON them, grabbing, frisking,
     CUFFING, and DRAGGING them all toward a PADDY WAGON which has
     materialized outside.

     And as soon as the CROWD sees their beloved NWA being hauled
     away, they go NUTS, and start throwing BOTTLES and ROCKS at
     the COPS, who DUCK and SWERVE to avoid the projectiles.

     The CROWD starts CHANTING, at a deafening volume --

                         CROWD
               FUCK THE POLICE. FUCK THE POLICE.
               FUCK THE POLICE. FUCK THE POLICE --

     Before it gets any hairier, the COPS start PILING NWA into
     the PADDY WAGON. JERRY HELLER tries to shove his way over --

                         JERRY
               You have no right! This is illegal!
               You can't do this --

     But the Detroit Cops don't give a shit, they SLAM Jerry up
     against a wall, hold him there.

                         COP
               Stay fucking put, old man!
                                                               65.


     Jerry watches helplessly as the Paddy Wagon PEELS AWAY into
     the night, taking our heroes away --

61   OMITTED                                                        61

62   INT./EXT. TOUR BUS - OPEN ROAD - THE NEXT DAY                  62

     The bus cruises along as we PUSH INSIDE to the sound of --

63   INT. TOUR BUS - MOVING                                         63

     Silence, save the rumble of the road. Everyone sits by
     himself, semi-secluded. Nobody talks. They all just stare out
     the windows, embroiled in thought. Exhausted. Shell-shocked.

     Jerry watches a NEWS REPORT on the riot at the Detroit show.

                         JERRY
               What the fuck were you guys
               thinking? They can hold us libel
               for inciting a riot! No one cares
               that the police started it...

     Dre, Ren and Yella start paying attention as Eazy switches
     channels. Finds another report about the riot. And another.
     And another. Images blurring by of the concert.

                         JERRY (CONT'D)
               Whether you like it or not, you are
               a political group. Never give these
               assholes a reason to hurt you. Next
               time they might take it.

     The guys watch, realizing that they're becoming a part of the
     zeitgeist. No longer in the news, they are the news.

                         KURT LODER (PRE-LAP)
               The explosive Compton rap group,
               N.W.A. --

                                                     HARD CUT TO:

64   CLOSE ON MTV NEWS REPORT (STOCK FOOTAGE)                       64
                         KURT LODER
               -- aka Niggers With Attitudes,
               officially had their video banned
               here at MTV due to gang-like images
               that could incite violence. This is
               not the first scrape with
               controversy for the band --
                                                             66.


65   INT. HOTEL - CONFERENCE ROOM - CONTINUOUS                 65

     CLICK! CLICK! CLICK! NWA sit at a long table being
     interviewed for a PRESS JUNKET, dozens of microphones thrust
     in their faces, cameras flashing. All the members are
     engaged, leaning forward, elbows on the table. They got each
     other's back as WE PARACHUTE IN:

                         JOURNALIST 1
               How do you explain insighting a
               riot in Detroit? What do you have
               to say about that?

                         EAZ
               We didn't insight shit.

                         DRE
               You just got a snapshot of how
               Americans honestly feel.

                         REN
               We didn't create that.

                         JOURNALIST 2
               Your songs glamorize the lifestyle
               of gangs, guns and drugs.

                         CUBE
               My art is the reflection of my
               reality. What do you see when you
               go outside of your door. I know
               what i see.

                         YELLA
               And it ain't glamorous.

                         CUBE
               And by the way, the hood gets AKs
               from Russia and cocaine from
               Columbia.

                         EAZY
               We don't even have passports. Check
               the source.

                         REN
               Who is responsible for that?

                         JOURNALIST 3
               You are experiencing a metoric
               rise. How can you explain that
               artits like Axl Rose from Guns and
               Roses are wearing your tshirts and
               hats?
                                                               67.


                         DRE
               Isn't it obvious. Real recongnize
               real.

                         CUBE
               WE must of struck a nerve.

     Journalist 4 quickly interjects --

     The guys let that lie a moment as other JOURNALISTS speak up.

                         JOURNALIST 4
               Will you be more careful about what
               you say, and how you say it?

                         REN
               Nope.

     Everyone LAUGHS.

                         CUBE
               Hell no. Last I heard, this is
               America and we got Freedom of
               Speech. Pretty sure that includes
               rap music. Exercisin' our Free
               Speech across this whole damn
               country, openin' people's eyes. Far
               as I'm concerned that's our job.

     The Journalists take that in, impressed by Cube's media savvy
     and forthright demeanor. Cube points to another JOURNALIST.

                          JOURNALIST 4
               So Cube, what's a guy from Compton
               do when he starts making real money
               like this?

     Laughter from the assembled. Not from Cube. Silence. Then:

                         JOURNALIST 4 (CONT'D)
               Cube..?


66   EXT. DOUBLETREE SUITES - PHOENIX - ESTABLISHING - NIGHT      66

     The typical cookie-cutter hotel blights the beautiful desert
     landscape as the band exits the tour bus, enters --

67   INT. DOUBLETREE SUITES - PHOENIX - NIGHT                     67

     CUBE walks down the hotel hallway, stops in front of a door.
     He KNOCKS, but there's no answer. He notices the door is
     PROPPED open with the dead-bolt, so he pushes inside --
                                                                68.


68   INT. DOUBLETREE SUITES - JERRY'S SUITE - CONTINUOUS          68

     Cube enters the dark room. At the far end of the room,
     there's a DESK, with a lone LAMP illuminated, casting weird,
     creepy shadows across the room.

     And JERRY HELLER sits behind the desk, his face mostly
     obscured in shadow. Cube grins, bemused, because this tableau
     is clearly deliberate, a dramatic show of power.

                         JERRY
               It's nice to see you, Cube.

                         CUBE
               Well I can barely see you, Jerry.
               What's with all this Godfather
               shit?

     Jerry ignores the comment, rises from behind the desk,
     carefully places a stapled sheaf of PAPERS on the desk.

                         JERRY
               I know you've been very eager to
               sign a contract with Eric's
               company, Ruthless Records.

                         CUBE
               It's your company too, right? You
               and Eric. All for one, one for all.

     Jerry sighs, shakes his head.

                         JERRY
               That's incorrect. It's not my
               company. I work for you. I've made
               that clear from the beginning.

     Cube just nods, like, yeah right. Picks up the thick
     contract, pages through it. It's full of dense legalese.

                          CUBE
               Alright, cool. So I can take this
               one, show it to a lawyer or
               somethin'?

     Jerry stares at him for a beat. Places his hands on the desk.

                         JERRY
               Cube, lawyers get paid to make
               trouble. That's what they do --
               create problems where problems
               don't exist.
                                                        69.


                    CUBE
          But I have no idea what it says. At
          least let me take it to show my
          family.

                    JERRY
          I can assure you, it's all
          standard. You can read it now, if
          you like.

Cube's expression darkens. He clenches his jaw.

                    CUBE
          Jerry, you know I can't understand
          this legal shit. None of us can.
          That's why we need to show it to a
          lawyer--

                    JERRY
          Cube, I thought you knew? Everyone
          else signed already. You're the
          only one who hasn't.

Cube flips to the last page. The Signatory page. Sure enough,
there's EAZY's signature, DRE's, YELLA's, and REN's. Cube can
only shake his head with confusion, disappointment.

                    CUBE
          What the fuck..?

                    JERRY
          Look. Cube. This is a great thing.
          This is what you always wanted your
          whole life. And there's also this.

Jerry lays a CHECK on the desk in front of Cube, made out to
O'SHEA JACKSON. And it's for $75,000. Cube can't help it, his
eyes go wide. It's more money than he ever dreamed of.

                    CUBE
          Damn. (beat) Thanks, man.

He reaches for the check, but Jerry pulls it back.

                    JERRY
          Soon as you sign this contract, the
          money is all yours.

Cube freezes. Realizes he's being shaken down.

                    CUBE
          That's my money anyway, Jerry. I
          earned it. I wrote a lot of hit
          songs. I been on tour for months.
                    (MORE)
                                                              70.

                         CUBE (CONT'D)
               Performing. Gettin' arrested and
               shit. And you gonna try to gank me?

                         JERRY
               That's ridiculous.

                         CUBE
               Give me my money, Jerry.

                         JERRY
               You're kidding me, right? Who do
               you think pays for everything? All
               the hotel rooms, the parties, the
               transpo? You think that's free?

     Cube closes his eyes. Takes a deep breath. He must literally
     will himself to not implant his fist in Jerry's face.

                         CUBE
               Why all this now,   Jerry? Back in
               the beginning, if   you thought we
               were so good, why   didn't you just
               give us contracts   then?

                         JERRY
               Nothing's a sure thing, Cube. Even
               a great talent can crash and burn.
               Too much ego, too much excess, too
               many expectations -- it tends to
               ruin things. You oughta keep that
               in mind.

     Cube stares hard. Knows exactly what Jerry's implying.

                         CUBE
               I'm gonna ask one more time. Are
               you sayin' I can't have the money I
               earned, unless I sign this
               contract, right now, without
               showin' it to anybody?

     Jerry just crosses his arms, looks at Cube, says nothing.

                         CUBE (CONT'D)
               Bye, Jerry.

     He turns and walks out of the room --

69   INT. DOUBLETREE SUITES - LOBBY - DAY                        69

     Dre, Ren and Yella lounge on the lobby couch, packed bags
     beside them. And they couldn't be happier.
                                                               71.


                         REN
               I'mma get me a El Camino with some
               gold Daytons and a Phantom top.

                         YELLA
               I can't wait to get out of that "po-
               man's Porsche" and get me some real
               shit --

     Face crumpled with anger, Cube approaches. Drops his bags.

                         CUBE
               Y'all signed that Ruthless contract
               without a lawyer?

                         REN
               Yeah -- And we got paaaaaid!

                         YELLA
               For $75,000 dollars, I don't give a
               fuck what's in that contract!

     Dre and Ren chuckle at Yella's candor.

                         DRE
               You ain't signed?

                         CUBE
               Hell naw I ain't signin' that
               bullshit. Don't y'all think it's a
               little fucked up that Jerry won't
               let us show it to nobody? That seem
               honest to y'all? If he offered us
               seventy-five thousand, he probably
               owes us double that.
                   (to Ren)
               Thought we talked about this, dude?

                         REN
               It is what it is... I don't trust
               Jerry but I trust Eric.

     Cube's disgusted by their ignorance. Only Dre seems to be
     considering Cube's words --

                         CUBE
               At this point, Eric and Jerry in
               this thing together. Believe dat!

70   EXT. LEIMERT PARK - LATE AFTERNOON                           70

     The bus is parked back where the tour began. Exhausted,
     D.O.C.
                                                        72.


exits the bus and heads toward a BURGUNDY CHEVY BLAZER, where
SUGE KNIGHT waits to pick him up. D.O.C. throws his bags in
the back. Kicks it with Suge for a minute as --

Eazy exits the bus with Yella. They watch D.O.C. and Suge.

                    EAZY
          What up with Doc and Suge?

                     YELLA
          Guess that dude's "managing" him
          now. One day you Bobby Brown's
          bodyguard, next day you reppin'
          talent. Everybody wanna get into
          the act...

Dre exits, looking discouraged. And we understand why when an
equally despondent Cube exits the bus and begins to move away
from the crew. Dre catches up to him --

                     DRE
          Yo Cube-- You can't just sign that
          shit, homie..? Keep making
          history..?

                    CUBE
          Naw man, not like this. I'd rather
          be broke then get fucked -- Why did
          you sign that shit, Dre?

                    DRE
          Nigga, I got bills to pay -- and I
          need to put some money in my
          Momma's hands after Tyree passed.

                    CUBE
          Yo, I get it. Everybody gotta do
          what they gotta do. They're gonna
          take care you. You they're bread
          and butter.

                    DRE
          Cube, we Ruthless.

                    CUBE
          Nah, we NWA. They Ruthless.

                    T-BONE (O.S.)
          You comin', Cube?

Cube turns to find T-BONE from the Lench Mob and Jinx,
waiting for him in his CAR. He looks back at Dre -- I'm out.
They pound hug and Cube heads off. Hops into T-Bone's ride.
                                                                 73.


      BACK WITH DRE, considering the scene as everyone drives away,
      going in separate directions:

      Cube leaves with T-Bone... Yella leaves with Ren... Eazy
      leaves with Jerry... And D.O.C. leaves with Suge...

      Dre finds himself all alone, confronting a new reality.

A71   INT./EXT. T-BONES CAR - MOMENTS LATER                       A71

      Cube rides in the passenger seat, pretty low at this point.
      No money, no group. JINX MOUTH IS RUNNING, but Cube's in a
      daze -- doesn't hear a word he's saying.

                          JINX
                Can't believe you left the group,
                man. What you gonna do now? Guess
                we gotta start working on some solo
                stuff, huh? Cube? Cube?!

      As the car pulls up to a stop light, Cube looks over, spots a
      beautiful YOUNG LADY in a nice jeep on rims. She's looks back
      over at him, their eyes locked. Is this love at first sight?
      After a few magical moments. Cube finally speaks.

                          CUBE
                How you doing? My name O'Shea.
                What's yours?

                          KIM
                Kim.

                          CUBE
                Hey Kim-- You the best thing I've
                seen all day.

      She smiles.

                          CUBE (CONT'D)
                You believe in love at first sight?

                          KIM
                What you think?

      She is the only one that can get Cube to smile at this point.

                                                      DISSOLVE TO:

B71   INT. PRIORITY RECORDS - BRYAN TURNER'S OFFICE - DAY         B71

      Cube, Kim by his side, is seated opposite Bryan Turner --
      who's floored by the news.
                                                            74.


                    BRYAN
          Wow, you're really leaving the
          group...

                    CUBE
          Yeah, I'm tired of the games. Eazy
          puts everything on Jerry and Jerry
          puts everything on Eazy. They can
          have it.

                    BRYAN
          How do you feel about that Kim? Is
          he making a big mistake?

                    KIM
          I don't think so-- after hearing
          everything that happened, I
          would've left too. Now he has the
          chance to showcase all his talents.

                    BRYAN
          Well, I believe in you Cube, so
          I'll tell ya what: there's not a
          lot of money in this right now, but
          if this first record hits, I'll
          make it up to you on the next one.

Cube gets up and shakes Bryan's hand.

                    CUBE
          Well get ready--   `cause these
          albums are gonna   be comin' real
          fast. I'm hungry   and I got a lot to
          say that's gonna   fuck the world up.

                     BRYAN TURNER
          Who're you gonna get to produce?
          Ruthless is probably gonna veto Dre
          working on the project. So what's
          your plan?

                    CUBE
          If I can't get the best producer in
          the in the west. I gotta go get the
          best in the east.

Off Cube's determined look--

                                                  HARD CUT TO:

SUPERIMPOSE: SIX MONTHS LATER - NEW YORK CITY
                                                                75.


71   INT. GREENE STREET STUDIO - NEW YORK CITY - DAY              71

     CUBE, rocking a LENCH MOB JACKET, spitting new lyrics into
     the mic with crazy energy, a stack of notebooks on the chair
     beside him. It's the creation of NIGGA YA LOVE TO HATE --

                         CUBE
               Kickin' shit called street
               knowledge. Why more niggas in the
               pen than in college? Now cause of
               that line I might be your cellmate.
               That's from the nigga ya love to
               hate.

     IN THE MIXING BOOTH: CHUCK D -- Pittsburgh Pirates hat, brim
     low, PUBLIC ENEMY on his jacket -- along with the SHOCKLEES,
     JINX and DA LENCH MOB plus 2 members of the FRUIT OF ISLAM,
     Security and KIM. Everyone exchanging looks, impressed.

     ON A SUSPENDED TV in the corner, we see LOUIS FARRAKHAN
     preaching to a crowd of F.O.I. It's clear this is a very
     different world than the one Cube left behind in L.A.

72   INT./EXT. DRE'S LOW RIDER - EAZY'S HOUSE - DAY               72

     The completed version of NIGGA YA LOVE TO HATE POUNDS out of
     the SPEAKERS in DRE's ride as he pulls up to Eazy's crib.

                         CUBE TRACK
               (FUCK YOU ICE CUBE!) Yeah, HA-HA!
               I'm the nigga ya love to hate --

     Dre chuckles to himself in disbelief. Shit is dope. On the
     SEAT beside him, a CD with the plastic freshly torn off --
     It's Ice Cube's AMERIKKKA'S MOST WANTED.

73   EXT. EAZY'S HOUSE - CALABASAS - DAY                          73

     There's a PARTY going on at Eazy's huge new mansion,
     reminiscent of Scarface's estate. And the gang's all here,
     everyone we know... except for Cube. Over by the poolside
     gazebo, JERRY talks with a troubled EAZY.

                          EAZY
               Cube's record's in the Billboard
               top 20! Our shit never even came
               close to that. He's blowin' the
               fuck up --

                         JERRY
               It's gonna be fine, Eric. It's not
               just NWA anymore, it's our whole
               Ruthless roster.
                         (MORE)
                                                        76.

                    JERRY (CONT'D)
          We've got D.O.C., we've got
          Michel'le, we've got Above the Law.
          We're moving up to the next level.

                     EAZY
          We gotta keep Dre happy. Keep him
          motivated.

Eazy looks over at DRE, across the pool -- He's DANCING with
three drop-dead BEAUTIFUL GIRLS. Dre's smile is massive. He
clearly loves this sweet life.

                    JERRY
          Look at him. You think he needs
          anymore motivation than that?

                    EAZY
          Yeah I get it. He drownin' in
          pussy. But that don't mean --

                    JERRY
          You gotta stop worrying so much.
          Let me do the worrying for you.
          Fact is, Ren can write just as good
          as Cube. Maybe even better. Come
          over here a minute --

Eazy follows Jerry to a TABLE where he's set up a bunch of
CHECKS and PAPERS, and he hands Eazy a PEN.

                    JERRY (CONT'D)
          Need your autograph on these checks
          and a few other things. Just sign
          right here --

Eazy starts SIGNING, even though his eyes keep drifting over
to the many WOMEN partying. Jerry GRINS, noticing how quickly
Eazy gets distracted.

                    EAZY
          We done with this shit now?

                    JERRY
          We're done.

                    EAZY
          Thanks, Jerry. I'mma go fuck now.

Jerry laughs, slaps Eazy on the back as he walks off, and
stands there enjoying the sunshine, the pretty girls, the
party vibe. His eyes wander to the PORCH, where --
                                                              77.


      SUGE KNIGHT is standing, smoking a cigar. And Suge is STARING
      at Jerry, his expression blank. Almost like he's studying
      Jerry. The old man stops smiling, deeply unsettled. Luckily --

      DRE APPROACHES SUGE, breaking the big dawg's gaze.

                          DRE
                Wuddup, Suge -- You good?

                             SUGE
                Are you?

      Off Dre's confused look --

                          SUGE (CONT'D)
                Just figured you might be a bit
                fucked up after hearin' Cube's
                shit.

                          DRE
                Fucked up about what? I been
                bangin' that shit.

      D.O.C. Interrupts --

                          D.O.C.
                Wuddup, Dre. There's some bitches
                up in here, right? (to Suge) Yo,
                you take care of that shit for me?

                             SUGE
                I'm on it.

      Dre takes notice of the exchange as we --

A74   INT. PRIORITY RECORDS - BRYAN TURNER'S OFFICE - DAY      A74

      Cube is standing in Bryan Turner's office, and we can tell,
      right off, things are tense.

                          CUBE
                I'm just tellin' you what you told
                me. If Amerikkka's Most blew up,
                you'd advance me for the follow-up.
                That's what you said.

                          BRYAN TURNER
                It's more complicated than that,
                Cube, there's metrics --

                          CUBE
                Come on, Bryan. I don't even know
                what that means.
                          (MORE)
                                                                 78.

                          CUBE (CONT'D)
                Man, I got a kid on the way -- and
                I just bought a house on the
                strength of what you told me. You
                gave me your word.

      Bryan stands up, holds his hands out, tries to soothe --

                          BRYAN TURNER
                Cube. Relax. We're on the same team
                here. I'm your biggest fan --

                          CUBE
                It's like this shit keeps happenin'
                to me, no matter what I do. When
                people do the work, they should get
                paid. Why you making it seem like
                I'm begging for some shit that's
                technically mine?

                          BRYAN TURNER
                Of course your not begging -- and
                I'm not trying to be difficult.

      Cube glances around at all the GOLD and PLATINUM records
      adorning the walls in Bryan's office.

                          CUBE
                But you can't help me. That's what
                you're sayin'.

      Bryan puts his hands in his pockets, hangs his head. The
      answer is obvious. Cube stares at him a beat, then turns his
      back, heads out the door --

                          BRYAN TURNER
                Cube, wait, Cube, come back --

B74   INT. PRIORITY RECORDS - BRYAN'S OFFICE - LATER              B74

      Bryan's still in his office, grinding through some work.

                          CUBE (O.S.)
                Shoulda kept your word, Bryan.

      CUBE and THE LENCH MOB (same dudes we saw at Greene Street)
      enter, Cube holding a METAL BASEBALL BAT! IN A FLASH, he's
      SMASHING THE FUCK OUT OF THE OFFICE. His boys split up, block
      Bryan, block the doorway -- no one in, no one out.

                          BRYAN TURNER
                STOP! STOP! WHAT THE FUCK, CUBE!??!
                                                               79.


     Cube SMASHES the GOLD and PLATINUM RECORDS on the WALLS, the
     ARTWORK, the GLASS COFFEE TABLE. Pretty much everything else
     that's breakable.

                         BRYAN TURNER (CONT'D)
               FINE! FINE, I'LL GET YOU YOUR
               MONEY! JUST STOP!

     But Cube keeps on SMASHING, until there's nothing left to
     smash. THE OFFICE IS COMPLETELY DESTROYED.

     Cube's out of breath, but he looks pretty exhilarated. He
     drops the bat on the floor, walks out of the decimated
     office, followed by the other guys.

     Bryan remains standing there, speechless, in shock --

74   INT. AUDIO ACHIEVEMENTS STUDIO - LATER                       74

     Dre, Eazy, Ren and Yella work on their follow-up album.
     D.O.C.'s here, too, drinking gin, straight, buzzing.

     IN THE BOOTH, Ren's recording REAL NIGGAZ...

                         REN
               ... Prisoner like a hostage. You
               shoulda covered your muthafuckin'
               head like an ostrich. Deep in the
               dirt cause you a sucka. And your
               ass up high so I can kick the
               muthafucka --

     Dre watches from the board, uncharacteristically detached.

                         EAZY
               That's what I'm talkin' about. Cube
               ain't shit.

                         DRE
               How you figure? That record's still
               the hottest shit out there.

                         YELLA
               For real. Cube killed it --

                         EAZY
               That's why we gotta go hard at him.
               We gonna look like some bitches if
               we just take that shit.

                          D.O.C.
               Take what? (beat) I don't know what
               the fuck you talkin' about. I like
               that shit.
                                                             80.


     Yella nods, but Dre doesn't even respond. Just keeps plodding
     away on the board as D.O.C. proceeds unsteadily toward the
     door, bumping into Eazy on the way --

                         EAZY
               Man, why you gotta be drunk all the
               time? Get your shit together.

     D.O.C. keeps on walking, barking back:

                         D.O.C.
               Get your own shit together, lil
               nigga --

     As he exits we focus back on the studio. One thing's clear:
     no one's enjoying themselves anymore.

75   INT. FANCY RESTAURANT - LOS ANGELES - NIGHT                 75

     Eazy enjoys dinner with a lovely, put-together young woman,
     TOMICA. She's nobody's groupie. She's serious, and smart.

                         TOMICA
               This place is nice. Wow, I didn't
               realize this was a real "date"
               date. I thought we were just going
               out to eat. You bring all your
               females here?

                         EAZY
               Only the special ones. (beat)
               Actually I've never been here
               before, but I heard it's good.
                   (Jokingly)
               High as it is, it better be.

     He smiles. She laughs affably, shakes her head.

                         TOMICA
               You know I have a job, right?

                         EAZY
               Excuse me, Miss Record Executive.

                         TOMICA
               Executive Assistant. Ya know, you
               don't have to impress me. We
               could've went to Fat Burgers. I
               just like hangin with you. You make
               me laugh. That's good enough for
               me, you know? We can just chill.

     Eazy nods, knows she's right. His eyes catch a SEXY WOMAN
     sashaying past. He SMILES at her, and she SMILES back.
                                                                 81.


      He turns back to Tomica, who just saw the whole thing... but
      she's not mad. She's grinning confidently, seen it before,
      doesn't sweat stuff like this.

                          TOMICA (CONT'D)
                Yeah, she had a nice ass. But she
                might wanna fix those teeth.

      Eazy laughs. He knows a lot of women, but it's no wonder
      Tomica's his favorite.

A76   INT. DRE'S CAR - COMPTON, CA - NIGHT                        A76

      Dre's bobbing his head to something dope -- HIS CAR PHONE
      RINGS. He turns down the music. Answers.

                          DRE (INTO PHONE)
                Wuddup.

      In an instant, his face sinks -- He SLAMS the breaks, bangs a
      U-Turn and SPEEDS TOWARD --

B76   EXT. HOSPITAL - NIGHT                                       B76

      Dre's CAR jumps up to the curb, in a red zone. He doesn't
      care. He hops out and runs through the sliding front doors.

C76   INT. HOSPITAL ROOM - MOMENTS LATER                          C76

      Dre stands at the bottom edge of the bed, looking down at
      D.O.C, unconscious, head bandaged, tubes in his face. SUGE
      stands a few steps away, looking somber, but still filling
      the room with his bulk.

                          SUGE
                Doc shouldn't even be alive. He got
                thrown from the car-- hit a tree.

                          DRE
                Goddamn. Is he paralyzed?

                          SUGE
                Nah. His throat got crushed. Doctor
                said he'll never talk right again.

                          DRE
                Vocal chords?

                          SUGE
                All fucked up. Career could be in
                jeopardy (beat). Where's Eazy and
                Jerry?

      Dre takes the moment in. He's honest about it.
                                                             82.


                         DRE
               I don't know.

                         SUGE
               Them niggas ain't loyal. Taking
               they're fuckin' time to come see
               the man. That's why I got my people
               looking into his contracts at
               Ruthless. Gotta protect what he got
               left.

     Suge looks at Dre, clocking his expression.

                         SUGE (CONT'D)
               What do you think about Jerry?

                         DRE
               He aiight. I guess.

     Suge nods. Contemplative.

                         SUGE
               What about your paperwork? Is it
               cool?

                         DRE
               I dunno. I just focus on the music.
               (beat). Maybe your people could
               look into my shit too?

                         SUGE
               Most definitely. I can arrange
               that.

     D.O.C. groans and turns in his sleep. Both of his friends
     look down at him, quietly watching with concern.

76   INT. PRIORITY RECORDS - CONFERENCE ROOM - DAY               76

     CUBE sits at the head of a long conference table beside Kim.
     He looks DIFFERENT now -- shaved head, no more Jheri curls.

     Bryan Turner emerges from outside the office, CD in hand.
     He's trying to keep the mood upbeat, though clearly the power
     dynamic between them has shifted toward Cube's advantage.

                         BRYAN TURNER
               Cube, Kim -- Great to see you guys.
               How's that new house treating you?

                         KIM
               The new house is great. Thanks for
               asking. How's the new office?
                                                           83.


                    BRYAN TURNER
              (making light of it)
          Great. I never did like the design
          of the old one anyway.

Bryan chuckles and looks over at Cube-- who doesn't seem in
the mood for small talk. Cube notices the CD in Bryan's hand.

                    CUBE
          What you got, Bryan? I know you
          called me up here for somethin'.

                    BRYAN TURNER
          It's the new NWA record. I wanted
          to play it for you first, before
          you heard it anywhere else --

Cube looks at Bryan, confused: Snatches the CD and he's at
the CD player before Bryan can blink.

                    BRYAN TURNER (CONT'D)
          About one minute in --

Cube hits PLAY -- Tracks forward. Then he, Kim and Bryan
listen to REAL NIGGAZ on the conference room's stereo system.

                    DRE (ON TRACK)
          ... We started out with too much
          cargo. So I'm glad we got rid of
          Benedict Arnold.

Cube doesn't say anything, but his face shows his anger.

                    CUBE
          Benedict Arnold.

                    KIM
          They're trying to call you some
          kind of a traitor.

                    CUBE
          I'm a traitor!? I didn't say shit
          about NWA on Amerikkka's Most
          Wanted! But now they're trying to
          diss. Okay.

CLOSE ON Cube's eyes, full of fire -- Kim notices Cube
building tension. She gently rubs his arm and leans in close
to whispers--

                    KIM
          Baby, tell me what you're thinking.
                                                              84.


                          CUBE
                I can't wait to get to the
                mothafuckin' studio!

77    INT. RECORDING STUDIO - LOS ANGELES - DAY                   77

      CUBE at the mic, spitting with the most audacious fury we've
      ever seen on the most brutal diss track ever: NO VASELINE.

                          CUBE
                God DAMN I'm glad y'all set it off.
                Used to be hard, now you're just
                wet and soft. First you was down
                with the AK. And now I see you on a
                video with Michel'le. Lookin' like
                straight Bozos. I saw it comin',
                that's why I went solo.

      At the BOARD, JINX looks to THE LENCH MOB in the room -- Oh,
      shit, this is getting real --

A78   INT OR EXT. SOMEWHERE IN THE CITY - DAY                     A78

      Dre and D.O.C. sit and listen to NO VASELINE-- with every
      line D.O.C. makes a different "dunk face" indicating how
      embarrassed he is for his homie Dre.

                          CUBE (ON TRACK)
                Yella Boy's on your team so you're
                LOSIN'! And yo, Dre? Stick to
                producin'. Callin' me Arnold, but
                you Been-A-Dick. Eazy saw your ass,
                and went in it QUICK.

      As we pan over to Dre, we can see that he kind of digs the
      creativity and lyrics. He confirms it with a slight smirk and
      chuckle. Clearly blowing the song off.

78    INT. JERRY'S LIVING ROOM - DAY                              78

      NO VASELINE CONTINUES over --

      Jerry and N.W.A., minus Dre and D.O.C., listen to the track,
      faces grimaced:

                          CUBE (ON TRACK)
                Y'all disgrace the C-P-T. `Cause
                you gettin' fucked out your green
                by a white boy, with No Vaseline.

      Ren and Yella slouch in the corner, looking very unhappy.
                                                        85.


                    CUBE (ON TRACK) (CONT'D)
          ... So don't believe what Ren say,
          cause he goin out like Kunta Kinte.
          But I got a whip for ya, Toby; used
          to be my homie, now you act like
          you don't know me --

But Cube has saved the best for last. He unleashes upon EAZY
and JERRY, who LISTEN intently, jaws dropped.

                    CUBE (ON TRACK) (CONT'D)
          You little maggot, Eazy E turned
          faggot. With your manager, fella,
          fuckin' MC Ren, Dr. Dre, and Yella.
          But if they were smart as me, Eazy
          E would be hangin' from a tree.
          With no vaseline, just a match and
          a little bit of gasoline. Light 'em
          up, burn 'em up, flame on. Til that
          Jheri curl is gone. On a permanent
          vacation, off the Massa plantation.
          Heard you both got the same bank
          account -- Dumb nigga, what you
          thinkin' about? Get rid of that
          Devil real simple: put a bullet in
          his temple. Cuz you can't be the
          Nigga 4 Life crew with a white Jew
          tellin' you what to do --

Jerry looks absolutely livid, while Eazy just looks caught
off guard. Jerry gets up and TURNS OFF the music --

                    YELLA
          That shit's kinda funny.

Everybody gives YELLA the look.

                    REN
          Mothafucka got us! What we gonna
          do? I got my pen ready to serve
          that fool. Just say the word.

Eazy is still trying to digest the track.

                    JERRY
          We'll sue that worthless fuck.
          Defamation, libel... That anti-
          Semitic piece of shit, I'm gonna
          call up my friends at the J.D.L.
          and we'll see how he likes that,
          little bastard.
              (off Eazy's despondent look)
          Eric, come on, we gotta get
          organized here, we gotta fight --
                                                              86.


                         EAZY
               Stop it, Jerry. Relax man. Niggas
               don't know what anti-Semitic means -
               - It's just a battle rap.

                         JERRY
                   (still hopping mad)
               I always knew Cube was a rotten
               human being. And people are gonna
               know the facts. I'll make sure of
               it. I can't believe you're not as
               angry as I am, what's wrong with
               you? Didn't you hear what he said?

                         EAZY
               I heard it, Jerry. You deal with it
               your way, I'll deal with it mine.
               All we got to do is hit the studio
               and end this boy career.

                         YELLA
               I don't know about all that.

                         JERRY
               Well call Dre and you guys go do it!

     And Jerry storms out, leaving the crew behind --

                         REN
               Damn, E. Who work for who?

                         EAZY
               Who you see sitting in the big
               chair mothafucka?!

     Eazy re-establishes that he's the top dog at Ruthless.

79   OMITTED                                                    79

80   OMITTED                                                    80

81   EXT. JERRY'S HOUSE - FRONT - NIGHT                         81

     Jerry pulls into his driveway, gets out of the car, carrying
     a bag of groceries, starts walking toward the door. He hears
     a CAR DOOR SLAM, and he TURNS, sees a gleaming-new EL CAMINO
     parked across the street. A very large BLACK MAN we haven't
     seen before has emerged, and is walking toward him.

     The Man STOPS about fifteen feet away from Jerry, and stands
     there, just staring, patiently, ominously.
                                                               87.


                         JERRY
               Help you with something?

                         LARGE MAN
               This your house?

     Jerry looks at the Man. Glances up and down the street.
     There's nobody around. It couldn't be quieter.

                         JERRY
               Who's asking?

                         LARGE MAN
               It's a real nice house.

     Jerry glances at the front door of the house. Seems to be
     gauging, in his mind, how long it will take to get there.

                         JERRY
               Who are you? Are you with Suge
               Knight? Someone else? Ice Cube?

     The Man doesn't answer. Instead, he just gazes upon the
     house, the lush surrounding lawn, the trees.

                         LARGE MAN
               Have yourself a good night, Jerry.

     He makes a hat-tipping gesture to Jerry. Except he's not
     wearing a hat. Then he walks back to the car, climbs inside.
     Jerry watches him go, alarmed --

82   INT. HOTEL - LOBBY - NEW YORK CITY - DAY                     82

     We are in a HALLWAY adjacent to the AUDITORIUM where a RAP
     PANEL is about to take place.

     Find CUBE drifting down the escalator along with THE LENCH
     MOB, and they're all decked out in their Lench Mob Gear.

     Coming up the escalator on the other side, is the rap group
     ABOVE THE LAW (ATL), all wearing gear blazing the RUTHLESS
     RECORDS logo.

     As the two groups approach each other, they both get QUIET,
     and their faces pull into angry sneers. The animosity between
     the two groups is tense, palpable, dangerous.

     Just as they're about to PASS each other --

                         ATL GUY 1
                   (under his breath)
               Fuckin' traitor...
                                                                88.


      But Cube and his boys heard that shit.

                          CUBE
                Fuck'd y'all say!?

                          ATL GUY 2
                Ruthless, muthafuckas!

      AND THEN IT POPS OFF! Some of the ATL CREW hop the escalator
      divider, others sprint down the other side to attack --

      THE LENCH MOB CREW, at the foot of the escalator, they all
      start BRAWLING like crazy. PUNCHING each other in the face,
      grappling, cursing --

      There's so many FISTS flying -- such a tangle of BODIES --
      it's hard to tell who's hitting who. It's fucking CHAOTIC and
      UGLY, and it culminates in --

      The moving violent mass SMASHING INTO A LARGE GLASS DISPLAY,
      SHATTERING it. Just then --

      A LENCH MOB GUY runs up to a downed an ATL GUY, winds back to
      kick him while he's down, but before the kick lands, we --

                                                      HARD CUT TO:

A83   ARCHIVAL FOOTAGE                                           A83

      An OFFICER KICKS the downed RODNEY KING while three other
      L.A.P.D. OFFICERS (known as the L.A. Four) mercilessly beat
      the man. We all recognize this as the RODNEY KING BEATING.
      Raw, gritty, horrific. WE PULL BACK to reveal --

83    INT. AUDIO ACHIEVEMENTS STUDIO - DAY                           83

      The members of NWA (minus Cube, of course) watch the NEWS
      FOOTAGE while in the studio, finishing up some new TRACKS for
      their follow-up album NIGGAZ 4 LIFE.

                          DRE
                Still can't believe it. It's like
                they're enjoying themselves.

                          EAZY
                Least they got it on video. LAPD
                gonna have a real good time on that
                level 3 prison yard, know what I
                mean?

                          DRE
                Yep, we got they asses this time.
                Tape don't lie.
                                                              89.


     The room is over-crowded -- because everyone has an
     ENTOURAGE. JERRY is also there and he doesn't look thrilled
     about it, nor is he happy to see --

     SUGE KNIGHT in the room, hovering behind DRE at the Board,
     accompanied by a very large GERMAN SHEPHERD.

     Jerry tries to make his way over to Dre, but SUGE blocks his
     path, and the HUGE DOG stares at Jerry.

                         JERRY
               Just need a word with Dre --

                         SUGE
               It can wait. Let the man work.

     Jerry looks at the dog, the dog looks back. Stymied, Jerry
     turns and exits the studio, jaw clenched.

     After he leaves, Dre sighs. He looks tired, depressed.
     Totally over it. He PLAYS BACK the track he's been working
     on, listens. Tries to feel it. But something's missing.

     Irritated, Dre gets up, exits the studio. Suge follows --

84   EXT. AUDIO ACHIEVEMENTS STUDIO - PATIO - MOMENTS LATER       84

     Suge comes out the back door just behind Dre --

                         SUGE
               Yo Dre. Hold up.

     -- gestures for Dre to sit with him at a nearby table.

                         SUGE (CONT'D)
               I did what you asked. Had my people
               look into your contracts.

     Dre's interest is piqued.

                         SUGE (CONT'D)
               It ain't good. Not that I'm
               surprised or anything. Gotta watch
               yourself.

                         DRE
               What you mean by that?

     Suge pulls out a thick FILE. Places it on the table.

                         SUGE
               Everything you need to know. It's
               all in there.
                         (MORE)
                                                             90.

                         SUGE (CONT'D)
                   (off Dre's sober look)
               You know I can help you with this.

     Dre considers a moment...

                         DRE
               Nah. I got this.

85   INT. AUDIO ACHIEVEMENTS STUDIO - THE NEXT NIGHT              85

     Eazy sits alone in the studio, listening to some NEW TRACKS.
     It's late, and there's nobody else around as --

     Dre comes in through the door, holding the FILE from Suge.
     Eazy notices the file, along with Dre's nervous energy.

                         EAZY
               So, what'd you wanna see me about?
               Sounded all worked up on the phone.

     Dre sits down across from him, full of purpose, fired up.

                         DRE
               I know you don't like hearin' this
               shit. But it's about Jerry. We
               gotta get rid of that muthafuck --

                         EAZY
               Is that seriously the reason you
               wanted to talk? I thought we were
               past all that --

                         DRE
               I found out some information, Eric.
               Real shit. I had some people look
               at this, and I ain't gettin' my
               fair share.

     Eazy finally turns and looks Dre in the eyes.

                         EAZY
               You know why you rich, Dre? You
               know why you live in a big ass
               house and don't sleep on a couch no
               more? Do you know why you fuck the
               finest bitches? That's Jerry, dude.
               He broke us through the door. He
               made this shit happen, and you
               wanna turn on him just like Cube --

                         DRE
               Cube was right, fool! You gotta
               look at these papers, E. Just look
               and you'll see.
                         (MORE)
                                                              91.

                          DRE (CONT'D)
                We made it because our shit is
                dope, Eric, not because of Jerry.
                We can keep going and own the
                goddamn world, we just can't be
                fuckin' with him no more.

      Eazy just shakes his head, turns back to the Board. Dre looks
      pained. Can't believe he can't get through.

                          DRE (CONT'D)
                Dude. We go back a long, long way.
                You and me. We started this NWA
                shit. I just want it to be right.

                          EAZY
                You think that's right, turning
                your back on somebody? After all
                he's done for us?

                          DRE
                You mean all he's done for you.

      Eazy doesn't say anything. Dre stands up --

                          DRE (CONT'D)
                Look at me, man. Why won't you look
                at me? It's like I don't mean shit
                to you. Like I never meant shit.

      Eazy won't look at Dre, shrugs. Cruelest shrug you ever saw.
      Dre looks hollowed out by it.

                          DRE (CONT'D)
                Thought you were my brother.

                          EAZY
                Thought you were mine, too.

      Dre walks out the door -- SLAMS it so hard, the walls shake.
      A platinum NWA record slides off the wall, breaks on the
      floor. Eazy FLINCHES, even though he wishes he didn't.

A86   OMITTED                                                  A86

B86   INT. AUDIO ACHIEVEMENTS STUDIO - DAY                     B86
      Ren and Yella enter to find Eazy on the mixing board, more
      than a little out of his element. They look at one another,
      confused -- Clearly, something's up.

                          REN
                Everything cool, E?
                                                               92.


      No response. Eazy just keeps poking around on the board...

                          YELLA
                Yo where Dre at anyway --

                          EAZY
                Man, fuck Dre.

      They've finally got Eazy's undivided but heated attention.

                          YELLA
                Whatchu mean?

                          EAZY
                Why don't y'all ask him.

                          REN
                Fuck you talkin' about? He comin'
                or not --

                          EAZY
                That nigga quit. So nah, he ain't
                comin'. But fuck it, we gonna keep
                this shit movin'. Don't need that
                punk anyway...

      Disbelief washes across Ren and Yella's faces as we --

C86   INT. CAN AM STUDIOS - DAY                                 C86


      Suge grits on a cigar sitting next to Dre who's at the mixing
      board working on the track to "Deep Cover".

                          SUGE
                This shit sounds good.

                          DRE
                None of this means anything, while
                I'm under contract with Ruthless.

                           SUGE
                Don't worry about that. I promise
                you that I'll get you out of your
                contracts.

      Dre gets back to the work at hand as   --

      Warren G and SNOOP DOGG burst into the studio. Snoop Dog is
      dressed head to toe in blue.

                          SNOOP
                What's up, Cuz.
                                                             93.


     Snoop greets everyone around the room pounding each and every
     person. To the surprise and dismay to the room full of bloods
     especially Suge Knight.

                         SUGE
               Yo who the fuck's this, Warren?

                           WARREN G
               My bad.

                         SNOOP
               Snoop Doggy Dog, Cuz. Who are you?

     The Bloods around the room are tripping on Snoop. Before it
     escalates, Dre gets up, greets Snoop properly.

                         DRE
               Glad y'all came by. Your demo was
               tight.

                         SNOOP
               Thanks, Dre.

                         DRE
               Well listen, I'm workin' on a track
               for this movie called "Deep Cover."
               I want you to get down on it.

                           SNOOP
               For real?

     Dre smiles back at Snoop: Yup, for real.

                         SNOOP (CONT'D)
               Oh hell yeah...

     Snoop walks into the booth, puts on some headphone's as we --

86   INT. EAZY'S HOUSE - NIGHT                                 86

     The PHONE RINGS. Eazy answers --

                           EAZY
               Hello?

                          SUGE (FILTERED)
               We need to talk about them
               contracts.

                         EAZY
               Talk to Jerry.
                                                                94.


                         SUGE (FILTERED)
               Don't wanna talk to Jerry. It's
               your company. You're the man.

     Eazy doesn't say a word, considering, deeply conflicted.

                         SUGE (FILTERED) (CONT'D)
               Come by the studio. We'll be here
               all night. Just workin'. We just
               wanna squash this. Make it right
               for you.

87   EXT. S.O.L.A.R. STUDIOS - LOS ANGELES - LATE NIGHT           87

     Parked across the street, Eazy looks at the building, not
     happy about it. Enemy territory. He opens up his STASH BOX in
     a hidden panel below the radio. There's a PISTOL inside. He
     reaches in, puts his hand around it. Hesitates, hearing --

     A DISTANT POLICE SIREN. Pulls his hand away, leaves the
     piece. He hops out of the car, walks toward --

88   INT. S.O.L.A.R. STUDIOS - STUDIO - MINUTES LATER             88

     Eazy enters the Studio, sees only SUGE sitting there, smoking
     a cigar, petting his DOG. He comes further into the room,
     peeks around, looking for --

                         EAZY
               Where the hell is Dre? You said
               he'd be here --

                         SUGE
               Don't worry about Dre. (beat) Truth
               be told, he ain't got nothing to do
               with this right here.

     Suge pulls out a sheaf of papers, and a pen.

                         SUGE (CONT'D)
               Here's what's gonna happen. You're
               gonna sign these. Releasing Dre and
               The D.O.C. from Ruthless.

                         EAZY
               Whatever homie. You think I'm
               signing that shit, you crazier then
               I thought. I'm out --

     Eazy just laughs, heads for the door. But before he gets
     there, it OPENS, revealing --

     A LARGE DUDE wearing Blood-Red. He enters the studio, crosses
     his arms. A massive barrier.
                                                           95.


                    SUGE
          Naw. I think you gonna stay awhile.

SLAM! Eazy SPINS to see TWO MORE BLOODS entering through a
side door. One of them holds a metal BASEBALL BAT. The other
has a SHOTGUN dangling at his side.

Eazy now realizes he's just walked into a straight-up buzz-
saw. But he shows no fear. He puffs his chest out.

                    EAZY
          Fuck you, Suge. I ain't scared of
          none you niggas, cuzz!

Suge just stares at Eazy a long uncomfortable while.

                    SUGE
          You can talk tough all you want--
          but this ain't no record.
              (heart attack serious)
          Don't make me change you, Eric
          Wright.

                    EAZY
          The fuck is that supposed to mean?

                    SUGE
          These niggas will take something
          from you that you can't get back.

                    BLOOD
          Just let me murder this Crab, Suge.

Suge stands, eyes cold, black, as the THUGS moves behind
Eazy.

                    SUGE
          Naw. That's too easy.
              (to Eazy)
          I got a whole night planned for you
          if you don't sign them release
          forms.

Eazy's eyes shoot to the Blood, back to Suge.

                    SUGE (CONT'D)
          It could happen quick, Eric. Or it
          could take a long, long time. You
          better choose right. Because you
          know where I come from. This
          Bompton nigga!

EAZY'S FACE can't hide his fear anymore. Or his anger.
                                                               96.


                         EAZY
                   (so quiet, to himself)
               Dirty mothafucka...

     WHAP! A large HAND falls on Eazy's SHOULDER -- pushing him
     hard down in a chair.

89   EXT. JERRY'S HOUSE - BACK YARD - LATER                       89

     Eazy sits slumped in a chair, drinking a beer next to the
     pool. His eyes look hard, flat, broken somehow --

     CLICK! THERE'S A GUN TO HIS HEAD, revealing --

     JERRY, in his BATHROBE looking freaked out, holding the gun.
     He immediately LOWERS it.

                         JERRY
               Jesus Christ, Eric. You can't
               just... I thought you were --

     But Eazy isn't rattled at all. He just sits there, blank.

                         JERRY (CONT'D)
               Are yo okay? Eric. Why don't we go
               inside? All right? Come on...

     Jerry helps Eazy out of the chair, ushering him into --

90   INT. JERRY'S HOUSE - KITCHEN - MOMENTS LATER                 90

     Eazy follows Jerry into the kitchen as Jerry pulls some
     leftovers from the fridge. Slides them over to Eazy. But Eazy
     isn't interested. Instead, he pulls out a bag of weed. Rolls
     a joint, lights it. Takes a long drag -- Exhales a lot more
     than just smoke...

                         JERRY
               Hey. You gotta tell me what's going
               on. I can tell when something's --

     Eazy leans on the counter. Finally looks at Jerry.

                         EAZY
               I gotta kill that mothafucka, Suge. I
               just wanted you to know that shit's
               about to get thick around here.

                         JERRY
               You're not gonna do that.

                         EAZY
               I didn't come over here to ask you -
               - I came to tell you.
                         (MORE)
                                                        97.

                    EAZY (CONT'D)
          You the one that wanted to be down
          with this gangsta shit. So here we
          go.

                    JERRY
          You do that, it's gonna ruin
          everything we've built --

Eazy suddenly SNAPS into intense anger --

                    EAZY
          I have to do it! This is the
          streets, muthafucka! I don't have a
          choice! He came at me! He came at
          us. We don't hit back, it's over!
          Done! Put a fork in this shit!

Jerry closes his eyes, takes a breath. Tries to keep his tone
relaxed, so that he can, in turn, relax Eazy.

                    JERRY
          Eric. Listen to me. I never said we
          won't hit back. But this isn't
          Compton. We don't hit back with
          bullets. We do it with lawyers. We
          drain those assholes.

Eazy calms down a little bit.

                    EAZY
          I don't care about the money,
          Jerry. Ain't about the money.

Jerry puts a fatherly hand on Eazy's shoulder. Looks at him.

                    JERRY
          Of course it is. You're smarter
          than those criminals. You wanna
          kill somebody? Then you'll be in
          prison, forever. No more family. No
          more Ruthless. No more anything.

Eazy stares back at Jerry.

                    JERRY (CONT'D)
          If you kill this man. His problems
          are over and yours are just
          beginning -- Lets hit 'em where it
          really hurts.

Eazy is more conflicted then ever before --
                                                              98.


91    INT. EAZY'S HOUSE - STAIRS TO BEDROOM - NIGHT             91

      Through the darkness we see movement. It's Eazy. He moves in
      a slow and laborious fashion as he enters --

      THE BEDROOM where Tomica sleeps in their bed, safely tangled
      in sheets. Eazy doesn't even bother shedding his clothes.
      Simply slumps closer, sliding quietly under the covers.
      Without a word, she wraps Eazy in an embrace.

A92   EXT. CUBE'S HOUSE - BACK YARD/POOL - DAY                 A92

      Kim looks on as the CNN CREW's CAMERAS FILM CUBE in the midst
      of a tense INTERVIEW -- A JOURNALIST peppers him with
      questions:

                          JOURNALIST
                Are you Anti-Semitic?

                          CUBE
                What? I thought this interview was
                about the Rodney King trial?

                          JOURNALIST
                The J.D.L. has recently gotten
                involved, saying that the lyrics
                regarding your former manager Jerry
                Heller --

      But Cube's too smart to fall for this crap.

                          CUBE
                I'm not Anti-Semitic. I'm Anti-
                Jerry Heller. Let me ask you a
                question -- do they condone Jerry's
                behavior when it comes to my
                situation? Him trying to get me to
                sign a contract without legal
                representation?

                          JOURNALIST
                I have no idea.

                          CUBE
                Well, you get me that answer and
                then we can continue on this topic.
                Until then, let's talk about the
                beating of an unarmed motorist --
                Rodney King and the trial of 4
                guilty L.A.P.D. Officers who seem
                to be Darryl Gates' standard issue -
                -
                                                             99.


                         JOURNALIST
               But it isn't just the Jewish
               community. The Korean grocer
               community have also accused you of
               racism, mostly because of your song
               "Black Korea" --

                         CUBE
               Come on, man. That don't even make
               no sense. Black Korea is just a
               warning. That's it. I'm a
               journalist, just like you!
               Reporting on what's going on in the
               hood. But the difference is that
               I'm brutally honest about it. Cause
               sugar coating will get you
               diabetes.

     A couple of members of the Nation of Islam are quietly seen
     in the background as the journalist struggles, tries to gain
     a foothold --

                         JOURNALIST
               What's your relationship with the
               Nation of Islam?

     Cube just smiles, shakes his head.

                          CUBE
               There my brothers. That question
               alone just proves how unprepared of
               a "sandbag reporter" you really
               are. You wanna talk about Anti-
               Semitism? Then it's "Black Korea,"
               and now you wanna talk about the
               Nation of Islam? Seriously, man.
               What's your agenda? You can't focus
               on one thing? Ask me something
               interesting. I'm not an elected
               official. I'm an artist. You
               haven't asked me one damn question
               about music. I'm America's
               conscience. I represent the good,
               the bad and the ugly. What you
               represent?

92   INT. DRE'S HOUSE - LIVING ROOM - DAY                      92

     The massive room's focal point is a BASIC STUDIO SETUP: SSL,
     some turntables, a mic, some keyboards, a tower of speakers.

     SUPERIMPOSE: SIX MONTHS LATER
                                                       100.


Dre sits in the epicenter of it all, motionless, lost. It's
the first time we've seen him anywhere near a soundboard and
not creating on it. He just stares into the nothingness --

A TAP ON GLASS alerts us to SNOOP, Warren G and DOC (small
scare on DOC's neck) outside. Dre stands. Opens the window.

                    DRE
          What you fools doin' out here?

                    WARREN G
          Watching you daydream for the last
          five minutes.

                    DOC
              (raspy voice)
          Looking stupid as a mothafucka.

                    SNOOP
          Come take a ride with us Dr. Dre.
          You gotta get out this house, Cuz
          and get your mind right.

INT. DRE'S CAR - LOS ANGELES - MINUTES LATER

Snoop at the wheel, they ride listening to ATOMIC DOG by
George Clinton. Snoop's at the wheel, smoking a JOINT
(surprise), Dre shotgun, Warren G and D.O.C. in the back.

                    SNOOP
          What you so tense for, Cuz?

                      DRE
          I'm cool.

                    WARREN G
          No you not. You been up in that
          house for a month now, and not one
          track? Wassup, what's wrong?

                    DRE
          First time in my life, I feel like
          I'm forcin' it.

                      WARREN G
          Why?

                    DRE
          Too much outside interference --
          Eazy and Jerry tryin' to starve me
          out. Playin' games with my money.
          Tryin' to get me back in there on
          my hands and knees --
                                                            101.


                          SNOOP
               Is that why you ain't got no
               furniture?

     Snoop holds out the jay.

                         SNOOP (CONT'D)
               This shit'll chill you out.

                         DRE
               Nah, that ain't me. I'm good.

                         WARREN G
               Come on, big bro. Loosen up.

                         DRE
                   (reconsidering)
               Fuck it, gimme that shit.

     Dre takes a deep pull, holding it in before COUGHING out a
     massive cloud. They all laugh. And Dre takes another hit. An
     even bigger one.

                         DRE (CONT'D)
               Wow. What is in this shit?

                         SNOOP
               That shit right there? That's the
               Chronic.

     Dre TURNS UP the music.

                         SNOOP (CONT'D)
               You never smoked before?

                         DRE
               No. I can feel it in my nuts, man.
               Is that normal?

     Dre finds himself laughing with the guys as they cruise on...

94   INT. DRE'S HOUSE - LIVING ROOM - DAY                         94

     Dre's behind the SSL, listening to a rhythm based on Leon
     Heywood's I'M GONNA DO SOMETHING FREAKY TO YOU. Warren G,
     Snoop, and D.O.C are in different corners of the room. Smoke
     floats over Snoop's head like a halo.

     The vibe is positive and laid back, but as we look at Dre's
     face we can tell what he's thinking: something's missing.

     Dre turns to the MOOG Keyboard situated on the side of the
     board and starts noodling with a melody. It's almost
     familiar. But not quite.
                                                               102.


     Then he hits it: Da do dee dah dee dah dah dee do deee...

     Just like that, we've witnessed the birth of AIN'T NUTHIN'
     BUT A G THANG.

                         SNOOP
               Oh shit. Keep playing that.

     Dre does the same ten notes -- That's it! It's G THANG.

                         SNOOP (CONT'D)
                   (freestyling)
               One. Two. Three into the Four.
               Snoop Doggy Dogg and Dr. Dre is at
               the door... (rap continues)

     Just like that, musical history is being created.

95   EXT. JERRY'S HOUSE - BACK YARD - DAY                         95

     Tapdancing for a slightly fatigued Eazy, Jerry tries hard to
     convince him that --

                         JERRY
               We're about to get back into the
               game in a big way, Eric --

                         EAZY
               Yeah? How you figure?

                         JERRY
               Are you just trying to insult me?

     Eazy stares back at Jerry, like indulge me.

                         JERRY (CONT'D)
               Did you forget about Ren's album?
               Or the fact that you're working on
               an album that I believe is gonna be
               bigger than anything NWA ever --

                         EAZY
               Do you really believe that
               bullshit? All I know is Cube's
               doin' big things, makin' movies and
               shit. And I keep hearin' about this
               album Dre workin' on --

                         JERRY
               Dre's a fuckin' producer, Eric!
               Producer's don't rap! It's never
               gonna work! Period!
                                                               103.


96      OMITTED                                                     96

97      OMITTED                                                     97

98pt1   OMITTED                                                98pt1

98      I/E. DRE'S HOUSE - BEDROOM TO BACKYARD - DAY                98

        The MUSIC IS BUMPIN'! There's a party going on somewhere in
        this house, but not in this room. We're close up on a pair of
        blue Chuck Taylors with a pair Dickies and boxers draped on
        them. As we pull back, we realize that some LUCKY BASTARD is
        GETTING HEAD from a SEXY WOMAN with nice curves.

        As we pull back further, we can't even see who the Lucky
        Bastard is because another AMAZING FEMALE is sitting on his
        face, MOANING and smoking a blunt. Just as we attempt to
        register what's going on --

        We track another SPECTACULAR FEMALE in a two-piece bikini.
        She grabs the blunt from her, hits it and walks out to the
        balcony. She blows out the smoke and passes it to one of the
        HOMIES who's already rolling up more blunts from the pound of
        weed sitting on the table in front of him.

        From there we crane down, passing the DJ rig on the second
        floor balcony. Even the DJ has GIRLS around him, a blunt in
        his mouth, and a drink in his hand.

        We crane down further to the bottom floor where MORE GIRLS in
        BIKINIS get sprayed by GUYS with SUPER SOAKERS and CHAMPAGNE
        BOTTLES. It's an impromptu "wet T-shirt" contest.

        As we pull back across the pool, a few more TOPLESS GIRLS
        jump in and we realize we're at one of those famous Dr.
        Dre/Death Row pool parties. People everywhere. Sex in the
        air. Freezer-bags stuffed with high-grade weed are being
        passed out to everybody by Snoop Dogg himself.

        We catch a glimpse of two nice looking LADIES walking over to
        the bar. We will come to know one of them as NICOLE. But
        first--

        IN THE GAZEBO, we find Dre smoking a blunt and playing
        DOMINOES with D.O.C., laughing, blowing off some much-needed
        steam. Until --

        Dre's eyes settle on Nicole, who's different from the rest.
        She's not drunk, or dancing, or flirting. She's beautiful,
        but in an understated way. When her friend gets up and walks
        away, Nicole turns, like she senses Dre's gaze. Looks right
        at him, with clear, bright, but wary eyes. He heads over --
                                                       104.


                    DRE
          You look like you're ready to go.

                    NICOLE
              (smiles)
          I'm just waiting on my friend. I
          knew I should've drove.

                    DRE
          You're not having fun?

                    NICOLE
          Oh no, it was fun. I had a lot of
          fun. But now it's starting to get a
          little wild.

                     DRE
          Yeah, it does get crazy around here
          sometimes.
              (extending his hand)
          Hi, I'm Andre.

                    WOMAN (NICOLE)
          I know.
              (shaking his hand)
          I'm Nicole.

                    DRE
          Hey Nicole, why don't you come over
          here with me and kick it for a
          while til your friend gets back.

She considers a moment. Then --

                    NICOLE
          I don't know, maybe another time
          and another place. But not now.

And with that, a visibly tipsy Warren G walks over, trying to
dump some USED COALS out of a kettle-style GRILL --

                    WARREN G
          Yo Dre, we're can I dump this shit?

                    DRE
          Do it look like I give a fuck right
          now? Can't you see I'm tryin' to
          make a Love Connection?

                    NICOLE
          No, he's trying make a friend
          connection.
                                                               105.


                         WARREN G
               Aiight, regulate that shit!

     Warren G staggers off with the hot coals. They smile at
     Warren's walk off.

                         DRE
               A friend connection?

                         NICOLE
               Speaking of friends, I need to go
               find mine before she gets too lost.

                         DRE
               You want me to help you?

                         NICOLE
               No, seems like you need to get back
               to your game. I'll talk to you
               later.

     She gets up and heads off leaving Dre with a big smile on his
     face. As she goes --

                         DRE
               I'mma find you, Nicole!

     She turns. Smiles back. Disappears into the party. But it's
     clear he's crushing hard on this girl.

99   PATIO - MOMENTS LATER                                        99

     The PARTY is still going strong but we see some underlying
     tension developing.

     On one side, we have SNOOP'S CREW -- many of them straight-up
     Long Beach Rollin 20's CRIPS. While Suge's crew, on the other
     side, are various Compton BLOODS.

     SNOOP is FREESTYLING for a small GROUP gathered around him,
     blowing all their minds --

                         SNOOP
               FREESTYLE TBD...

     Snoop STOPS mid-flow, and STARES, wide-eyed, at the HOUSE --

                         SNOOP (CONT'D)
               What the fuhhhh --

     Everyone TURNS! GIRLS IMMEDIATELY START SCREAMING because --

     DRE'S HOUSE IS ON FIRE! Huge orange FLAMES lick up the
     siding, spreading quickly. BLACK SMOKE pours into the sky!
                                                             106.


      Everybody SCATTERS, tripping over each other, falling on the
      lawn, because let's not forget everyone is WASTED.

      Find DRE, watching the flames, almost hypnotized by them,
      because it doesn't seem real. Warren G staggers up beside
      him, watching on, eyes like saucers.

                          WARREN G
                Your house is on fire.

                          DRE
                Yeah. (beat) Shit's crazy, right.

                          WARREN G
                Maybe I shouldn't have thrown them
                coals in the trash.

      Dre suddenly snaps out of it. Because --

                          DRE
                MY FUCKIN' MASTERS!

      Against all logic, Dre storms INTO THE BURNING HOUSE as the
      SOUNDS of DISTANT SIRENS ring out --

100   INT. CAN AM STUDIOS - OFFICE - DAY                          100

      Dre and Suge talk in a corner of the studio. Voices low.

                          DRE
                What do you mean that everyone is
                passing on this record?

                          SUGE
                What do you think?

      Dre shakes his head.

                          SUGE (CONT'D)
                They all turned it down. "Too many
                live instruments. It's not hip-
                hop."

                          DRE
                It's not hip-hop? Shit, it's the
                future. Ain't no more money in
                sampling everythang.

                          SUGE
                This guy has a lot of money. This
                is the only shot we got.

                          DRE
                Okay, shoot.
                                                       107.


As they walk to the other side of the studio we WIDEN TO
REVEAL JIMMY IOVINE. He's older and white, wearing glasses
with a baseball cap pulled low over his eyes.

                    JIMMY
          (extends his hand)
          Jimmy Iovine. Interscope Records.
          It's nice to meet you. Dre or Dr
          Dre. What should I call you?

                    DRE
          Dre's cool. How are you doing? I
          heard John McClain gave you my
          album. What did you think?

Jimmy smiles.

                     JIMMY IOVINE
          I think it was great.
              (beat)
          So, you're the artist on this
          record. Who produced it?

                       DRE
          I did.

                    JIMMY IOVINE
          Who engineered it?

                       DRE
          I did.

                    JIMMY IOVINE
          Listen. I don't know anything about
          hip hop. And to be honest with you,
          I don't necessarily care for it.
          But I know this is special.

The word special resonates with Dre. He nods.

                       DRE
          Thank you.

                    SUGE
          We'd love to bring it to
          Interscope. But there's a problem.

                    JIMMY IOVINE
          What's the problem?

                     SUGE
          Ruthless. Lawsuits.
              (beat)
          Contracts.
                                                             108.


                          JIMMY IOVINE
                How about this. Give me three
                weeks. But I don't want to hear any
                bullshit about you shopping it
                anywhere else. If you do that. I
                believe I can get you out of this
                mess. Sound good?

      Suge smiles.

101   EXT. LOS ANGELES - DAY                                      101

      A sprawling city of orphans, calm before the storm.

      SUPERIMPOSE: APRIL 29, 1992

                          JERRY (PRE-LAP)
                Eazy. You may wanna see this.

102   INT. JERRY'S HOUSE - LIVING ROOM - CONTINUOUS               102

      Jerry turns the volume up as Eazy plops down on the couch
      beside him --

                          TOM BROKAW (V.O.)
                ... a stunning verdict of "not
                guilty" for the L.A. Four today in
                Simi Valley...

      PUSH IN CLOSE ON EAZY, seeing the verdict.

                           JERRY (O.S.)
                Sorry...

                           EAZY
                Sorry? We all ought to be sorry...
                    (then)
                We had them on tape -- we had their
                asses on tape.

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

      EXT. SOUTH CENTRAL - STREETS - DAY

      Cube drives through SOUTH CENTRAL in the epicenter of the
      unfolding RIOTS. Looting stores. Burning buildings.

      He drives by GRAFFITI TAGS, many of which say FUCK THA
      POLICE. He sees a CRIP and a BLOOD, tying their RED and BLUE
      bandanas together in front of one such tag: a SYMBOL of the
      GANG TRUCE.

      NEARBY, crowds of young people CHANT:
                                                               109.


                          CROWD
                No justice, no peace! Everybody
                say, fuck the police! No justice,
                no peace! Everybody say, fuck the
                police!

      A very proud Cube watches. His own words turned into a
      unifying slogan for the riots. And we see --

103   ARCHIVAL NEWS FOOTAGE                                       103

      Of the riots -- angry, violent. Years upon years worth of
      rage unleashed in a three day period. Marshall Law. Police
      brutality. Race hatred. The worst of humanity.

104   OMITTED                                                     104

105   EXT. SOUTH CENTRAL - CRENSHAW BOULEVARD - DAY               105

      Calm now, we behold a virtual wasteland of smoldering cars
      and buildings. Shell-shocked, CITIZENS wander around, trying
      to make their neighborhood livable again as --

      A `64 IMPALA rolls down the boulevard. Dre, Snoop, D.O.C. and
      Warren G silently observe the damage, shell-shocked.

106   EXT. SUNSET BLVD - NIGHT                                    106

      Eazy cruises down Sunset. He looks older, more anguished.

      SUPERIMPOSE: ONE YEAR LATER

      He passes by TOWER RECORDS where a massive mural of THE
      CHRONIC cover art fills up the entire side of the building.
      Eazy beholds it with a confluence of admiration and envy. As
      the bite of that really starts to sting, Eazy looks --

      ACROSS THE STREET, he spots a BILLBOARD for Cube's movie,
      BOYZ N THA HOOD. Cube is front and center, alongside CUBA
      GOODING JR. Eazy can't believe it as we --

107   INT. EAZY'S HOUSE - LIVING ROOM - NIGHT                     107
      Times are hard. Eazy's not ballin' like he was. Surrounded by
      MOVING BOXES and basic studio equipment, a few HOMIES do
      their thing on the board, the makings of NEIGHBORHOOD SNIPER
      playing, as Eazy, Ren and Yella huddle over --

      THREE HUGE, ONE-POUND BAGS OF WEED sit on the coffee table.
      They divide them into smaller BAGS.
                                                       110.


                    YELLA
          So all this weed. It's for your
          Ruthless artists?

                    EAZY
          Havin' some cash flow problems.
          They can smoke it, they can sell
          it, I don't care. As long as it
          keeps 'em off my back for a minute.

                    YELLA
          Maybe you should think about
          diversifying into my kinda shit.
          There's money in there, too.

Eazy laughs, shakes his head.

                    EAZY
          What, makin' pornos? No thanks,
          man. That's your thing. I'll stick
          with this music shit. Once my new
          album right here's done, I'mma be
          fine --

Eazy starts COUGHING. It doesn't sound great.

                    REN
          You all right, man?

                    EAZY
          Yeah. Just tired. All this shit,
          downsizin' to a new crib, just
          weighin' on me. I'll figure it out
          though. I always do.

                    JERRY (O.S.)
          Eric --

Jerry enters. Approaches Eazy.

                    JERRY (CONT'D)
          Can you come by my office? I need
          you to sign some checks --

But Eazy doesn't even look up at Jerry.

                    EAZY
          I'll come when I can, Jerry.

                    JERRY
          Eric --

But Eazy just keeps ignoring him. Annoyed, Jerry exits --
                                                             111.


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

      Death Row's a thriving office space, especially in contrast
      to Ruthless. A few DOPE CARS sit parked out front as --

      Dre SCREECHES up in his brand-new, WHITE FERRARI TESTAROSA --
      Suge's just behind him in a RED MERCEDES SL AMG CONVERTIBLE.
      A car is parked in Suge's parking space. Suge blocks the car
      in. Suge's Goons wait for him to exit his car. Dre and Suge
      hop out, ALL EYES ON THEM --

                          DRE
                Man, this is just the beginning...
                We're building an empire.

      Dre LAUGHS as ...

      Suge storms off, flanked by his GOONS, bee-lining for the
      EMPLOYEE'S. He grabs the Employee by the collar and hauls him
      out of his car to his feet.

                          SUGE
                You're in my spot!

      The Employee just gapes at Suge, speechless...

                          DRE
                Suge, it's cool --

      Suge shakes the Employee like a rag doll...

                          SUGE
                Did you park in my muthafuckin'
                parking space or not?

                          EMPLOYEE
                I didn't know, I --

      Suge pulls out a PISTOL and CRACKS the Employee across the
      face with it, blood gushing from his nose --

      Startled, Dre shoots to a stand. What the fuck!? Even more so
      when Suge drags the bleeding Employee across the parking lot
      before tossing him against a car. Suge give the guy his keys.

                          SUGE
                Now move yo' piece of shit and park
                my car.

      Wow... The guy is scared and confused at Suge's "power drunk"
      request. He slowly takes the keys.
                                                                112.


                          SUGE (CONT'D)
                -- And I bet not see one drop of
                blood in that mothafucka.

      And everyone watches in utter silence as Suge spins and
      struts into Death Row Records brand new offices. LOUD
      SILENCE.

      Off Dre, disturbed by Suge's violent display.

109   OMITTED                                                     109

110   OMITTED                                                     110

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

      Cube sits in the living room, watching basketball, and doing
      something we haven't seen before: WRITING A SCREENPLAY.

      Kim walks through, visibly PREGNANT, holding SHEA (1). Hands
      Cube a beer. He reaches for her, kisses her belly as their
      toddler, DARRELL (3), runs in. Hops up on Cube's lap.

                          CUBE
                Hey Darrell. What you been doing? --
                playin' with Shea?

      Darrell nods as Kim picks up the remote, starts FLIPPING
      channels. She STOPS when it lands on THE BOX, which just
      happens to be playing NWA's STRAIGHT OUTTA COMPTON. Cube
      watches for a bit, lost in thought --

                          KIM
                Look how young you guys look.

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

                          CUBE
                Damn... We left some good records
                on the table...

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

                          KIM
                Well-- ain't nobody burnt down the
                table did they? Ever thought about
                getting back together?

                          CUBE
                All the time. But we've been
                feuding for so long. It might be
                "ON" on sight when we see each
                other. I really don't know.
                                                                113.


                          KIM
                That's a shame. It's terrible how
                money tears us apart.

                          CUBE
                Yeah-- When it should be bring us
                together. Somebody always wants
                more then they're suppose to get.
                As that's when shit get funky.

      She nods in agreement -- as he continues working on his
      script. A movie called "FRIDAY".

112   INT. NICE RESTAURANT - LOS ANGELES - NIGHT                  112

      Dre's having dinner with NICOLE -- the woman who rejected him
      at his party. Even though they're both clearly feeling this.

                          DRE
                Aren't you glad I tracked you down?

                          NICOLE
                I wasn't exactly hiding.

      They both chuckle.

                          DRE
                So wassup, you been havin' good
                time?

                          NICOLE
                Yeah... Why?

                          DRE
                Well I mean, I like comin' over
                your place, but you know, your
                neighbors be complainin' about "the
                noise" --

      Nicole smiles, shoos Dre. He smiles at her, mesmerized. God
      damn this girl is special. He fills up their champagne.

                           DRE (CONT'D)
                I think a little more privacy would
                be better.

                          NICOLE
                So what, you want me to move?

                           DRE
                Yeah, maybe. I know of a perfect
                spot. Plenty of room, and I know
                the owner.
                                                              114.


      Nicole finally gets what Dre's saying. Smiles.

                          NICOLE
                After a few months, you sure you're
                ready for that, Andre?

                          DRE
                Yeah. I'm really feelin' you like
                that.

                          NICOLE
                I'm feelin' you too, but...

      Nicole considers, conflicted. Dre can't stand it any longer.

                           DRE
                Hey you know what, don't worry
                about it right now. Was just a
                thought...

      Dre drinks his glass of champagne down.

                          DRE (CONT'D)
                Listen, I don't mean to change the
                temperature in here. But it had to
                be crazy, bein' married to a Laker.

                          NICOLE
                Wasn't what I'd call a good fit. It
                got crazy once we moved to L.A. I
                definitely went through some
                unnecessary shit when he started
                acting like an asshole. But I have
                a beautiful son and all that other
                nonsense is behind me now.

                          DRE
                Look, no offense, but I'm a little
                glad he was an asshole.
                    (raising his glass)
                His loss is my gain. To assholes.

                           NICOLE
                    (playfully)
                Chin-chin.

      They share a laugh as Nicole raises her glass -- CLINK. Dre
      downs his glass as we --

113   EXT. NICOLE'S APARTMENT - WESTWOOD - LATER                113

      Dre walks Nicole to her door, and pretty soon they're
      kissing. It's nice, but after a bit, she pulls away.
                                               115.


                    NICOLE
          All right -- Good night.

Dre looks surprised.

                    DRE
          Really? Good night?

                    NICOLE
          Are you okay to drive?

                       DRE
          No.

They both laugh.

                    NICOLE
          Good night, Andre.

                    DRE
          See, I can't help thinkin', maybe
          you want me to come inside...

                    NICOLE
          Of course I do.

                    DRE
          So what's different now?

                     NICOLE
          I got a lot of things to think
          about.
              (beat)
          You're asking me to move in...
          That's a big step. I like you,
          Andre. But there's a lot going on
          around you.

                    DRE
          What do you mean?

                    NICOLE
          I read the papers. I'm not stupid.
          I know about the whole Death Row
          business, the assault charges, the
          shooting... Just seems dangerous.
          My son's my world.

                    DRE
          But I thought we been havin fun.
                                                                116.


                           NICOLE
                 Fun is fun, Andre. But I refuse to
                 walk away from one crazy life into
                 another.

       She kisses him on the cheek.

                           NICOLE (CONT'D)
                 I'll a call you.

       Nicole turns, walks into the building, leaving Dre standing
       there, embarrassed, angered.

       Head full of steam, he stumbles back, hops into his --

113A   INT. DEATH ROW RECORDS - HALLWAY - NIGHT                  113A

       Dre walks into Death Row feeling the sting of Nicole's words
       still reverberating in his head as --

       We reveal two pitbulls snarling and lunging at each other
       being restrained by heavy duty chains. The screams and yells
       of a betting crowd of Bloods permeate the hallway as we see
       the Death Row signature electric chair squarely at the end. A
       guy walking a pitbull on a hain moves pass the screaming
       Bloods and howling dogs runs into Dre.

                           GUY WITH DOG
                 Dre, you want to put some money on
                 this red nose?

                           DRE
                     (A little dazed and
                      confused)
                 Nah man, I'm good.

       The rowdy circle of betters grow more and more boisterous as
       the pitbulls are about to get it on.

                           DRE (CONT'D)
                 Where's Pac at?

                           GUY WITH DOG
                 Studio A...

113B   INT. DEATH ROW RECORDS STUDIO A - CONTINUOUS              113B

       We hear 2Pac's iconic verse from "Hail Mary" as Dre enters
       the studio as the dog fight starts back in the hallway to
       reveal --

       The control room of Studio A is in complete chaos. Bottles
       everywhere along with blunt smoke, Homies and Hoodrats. TUPAC
       is in the recording booth spitting out lyrics.
                                                       117.


He's made an alter around him with lyric sheet stands -- each
stand has 2 to 3 notebooks full of raps on it. When they
notice Dre, the engineer stops the track.

Dre pushes the talk-back button and looks at Tupac through
the glass.

                    DRE
          Wha'up Pac?

                    TUPAC
          Oh shit! Wha'up Dre...
          I'm about to hit niggas in the
          mouth with this new album.
          Suge said you got some heat for a
          nigga.

                    DRE
          Nigga what? I do...guess who I
          worked with last night.

                       TUPAC
          Who dat?

Dre hands a CD to the engineer ---

                    DRE
          Roger fuckin' Troutman. Man this
          shit is fire. Wait til you hear it.

                    TUPAC
          Oh! OK what you thinking about
          calling it?

                    DRE
          I'm thinking about calling it
          California love.

Dre looks at the engineer ---

                       DRE (CONT'D)
          Press play

California Love screams out the speakers... we hear the
iconic first few bars with Roger Troutman's signature voice
singing, California Love.

We hear the sound of what seems like muffled gunshots coming
from another room. Pop. Pop. Pop. Everyone is like what the
fuck.

This doesn't sit well with Dre. He exits to see what's up.
                                                              118.


113C   INT. DEATH ROW CONFERENCE ROOM - NIGHT                  113C

       We reveal a pitbull snarling at an emasculated poor bastard
       that is on the floor all bloody, in his underwear holding a
       glass of champagne. The pitbull continues to lunge at his
       face looking to rip his soul out. WE REVEAL Suge smoking a
       big cigar and laughing. He's at the center of a room full of
       Bloods and hoodrats plus Blood #1, Goon Girl and Goon #1, all
       intently watching the last moments of this emasculated
       homeboys toast.

       Dre opens the door at the far end of the room not expecting
       to see this spectacle. There's several blown holes in the
       wall where the gun shots were fired just above the cowering
       man's head.

                           DRE
                 What the fuck y'all doin?

                           SUGE
                     (drunk with power)
                 Yo Dre, you just in time. Watch
                 this. Get up!
                     (To the Poor Bastard)
                 You know what to do.

       Bruised and bloody with one eye closed shut, the Poor Bastard
       raises the glass with a shaky hand and a quivering voice. Pit
       bull continues to stand at attention.

                           POOR BASTARD
                 I'd like to make a toast...

       Everyone in the room holds up their champagne glasses. Dre
       can't believe his eyes. There's even two (plain clothes) off
       duty COPS there with badges and gun holsters -- glasses
       raised high.

                           POOR BASTARD (CONT'D)
                 ...to Death Row Records...

                           ROOM
                 To Death Row...

                           GOON GIRL
                     (clowning him)
                 May the west coast reign forever.

                           POOR BASTARD
                     (scared)
                 May the west coast reign forever.

                           BLOOD#1
                 What else!?
                                                       119.


                    POOR BASTARD
          I'd like to make a toast to Suge.
          For making this all happen.

                    SUGE
          Don't forget to toast Dr. Dre. you
          little bitch ass mothafucka!

The Poor Bastard looks over at Dre.

                    DRE
              (frustrated)
          Hold the fuck up! Put cha' glasses
          down. Put your fuckin clothes on.
          What the fuck is going on around
          here?! Seriously, what's going on?!

Suge approaches Dre puts his hand on his shoulder.

                     DRE (CONT'D)
              (to Suge)
          Nah Nah...
              (to Room)
          What the fuck is this shit. Is this
          why we got money? To act like we
          ain't got no god damn sense?! We
          could of did all this kind of dumb
          shit back in Compton!
              (to the room)
          This what you muthafuckas turned
          into!? Seriously!

                    SUGE
          Its okay, Dre.

The Cop #2 is on the couch with some street girls holding a
champagne glass in her hand looks at Dre then over to Suge,
who's laughing.

                    DRE
          This shit is stupid! Do ya'll know
          what it took for us to get here. Do
          y'all know what you doin'? Y'all
          fuckin' it up! Y'all fucking it up!
              (to off duty cops)
          And what the fuck ya'll doing
          here?!

Cop raises the glass.

                    DRE (CONT'D)
          Really, ok...
                                                              120.


                             SUGE
                       (laughing)
                   Who fuckin' shit up! You trippin.
                   We can do anything we want to do.
                   We started this shit. This is us.

                             DRE
                   Nah, Nigga. Death Row is us.
                       (pointing around)
                   This other shit -- is you!

       Suge's Goons get in position.

                             GOON #1
                   Better watch ya mouth, Blood.

                             DRE
                   'Tha fuck you talking too?

                             GOON #2
                       (dismissive)
                   Nigga, you ain't nothing but a
                   producer around here.

                             DRE
                   What the fuck?!!!

       This sends Dre into orbit. He goes after Blood #1. The whole
       conference room jumps in between them -- keeping these two
       human pit bulls from scrappin'. Everybody jumps but Suge who
       amused by the whole thing -- puffs on his cigar. Dre is being
       held back by the Off Duties. While Goon #1 is being held back
       by Goon #2 and a few others. World War III averted for now.

                             DRE (CONT'D)
                   Get the fuck off me.

       Dre breaks free and storms out.

                             SUGE
                   Man don't even trip off this
                   muthafucka. What he going to do?
                   Where he going to go?

113pt2 TESTAROSA                                             113pt2

       And just sits there, seething. Reaches in the back seat,
       grabs a bottle of Hennessey. Takes a swig... Then --

       A sudden look of determination washes over him. He TEARS out
       into the street, tires SQUEALING -- ERRRR!
                                                                121.


      PASSING CARS, swerving, Dre punches the gas, RPMs maxed out.
      Shifts, flying through an intersection -- the needle passes
      100mph. Keeps going, loving the release, the control...

      A POLICE CRUISER, coming the opposite direction, spots Dre's
      Testarosa -- In a flash, they bang a U-turn, peeling so fast,
      smoke clouds the night air --

      ON DRE, distant police lights now strobing off of his face
      from the rear view mirror. Fuck! Thinking fast, he switches
      off his headlights. Hits the gas, needle bottoming-out!

      As he reaches the next intersection, Dre makes a hard left --
      SCREECHES to a stop, tucking into a spot along the side of
      the road. Shuts off his car. Waits, breathing fast, as --

                          DRE (TO HIMSELF)
                Come on, come on, come --

      THE POLICE CRUISER barrels around the corner -- SLAMS THE
      BRAKES! Two LAPD OFFICERS fling open their doors, guns
      leveled at Dre's car!

      Eyes wide, adrenaline coursing through his veins, chest
      heaving, Dre grits his teeth. He's stuck... and he knows it.

                          LAPD OFFICER 1 (VIA LOUDSPEAKER)
                Driver! Put your hands out of your
                window where we can see them! Now!

      Dre complies, reaches his hands out of his window.

      The two officers carefully approach, guns at the ready.
      OFFICER 2 slaps the cuffs on Dre, regret immediately
      registering on his face as we --

                                                     SMASH CUT TO:

114   EXT. JAIL - PASADENA - ESTABLISHING - DAY                   114

      Nicole hops out of her car and hurries into --

115   INT. JAIL - VISITING AREA - DAY                             115

      Dre and NICOLE sit across from each other, Plexiglas between
      them, talking via phone receivers.

                          NICOLE
                Anybody else been here to see you,
                your so-called friends at Death
                Row?
                                                                122.


                          DRE
                Nope. You're the only one I wanna
                see anyway.

      She surveys him, pain in his eyes.

                          NICOLE
                112 days? That doesn't even make
                sense.

                          DRE
                Yeah, well... That's what happens
                when you violate your probation.

      They sit there, just being in the awkward, contrived moment.

                           NICOLE
                You got one phone call and you
                called me?

                          DRE
                `Cause you were right. Only other
                person that tells it to me like it
                is-- is my moms. So I know you
                care.

      She looks at him, nods, dabs at her wet eyes.

                          DRE (CONT'D)
                I fucked up. But I've had a lot of
                time to think in here, and I
                promise you, things are gonna be
                different from now on.

      That lies there a minute. Then --

                          NICOLE
                You take care of yourself, Andre.

      She stands, heads away... And we see the reflexive
      disappointment on Dre's face before...

116   INT. EAZY'S NORWALK HOUSE - BEDROOM - NIGHT                 116

      Tomica and Eazy lie in bed together. He stares at the
      ceiling, and she runs her hand soothingly down his arm.

                          EAZY
                I feel like I don't know what I'm
                doin' anymore. I don't even know
                where the money's going.

      Tomica props herself up on her elbow, looks at him.
                                                             123.


                          TOMICA
                I can help, you know. Show me the
                files, the bills, the contracts. I
                know the business, I know how it
                all works. Let me look. Baby, if
                you're feelin' this way, Jerry's
                not doin' right by you.

      Eazy puts his arm around her, pulls her close. They both lie
      there a little longer, just breathing.

                          EAZY
                Okay. After New York. Workin' on
                that International Distribution
                with Sony. Jerry don't know about
                that. I wanna keep it that way.

      Tomica nods, smiles. Encouraged he has a plan again.

117   EXT. NEW YORK CITY - CHELSEA - NIGHT                     117

      Establish MANHATTAN, in winter, after hours. Dirty snow on
      the sidewalks. Cold-as-shit wind blowing off the Hudson. A
      line of CLUB KIDS on the 12th Avenue sidewalk, in front of
      the massive brick edifice of the legendary --

118   INT. TUNNEL NIGHTCLUB - VIP - NIGHT                      118

      ICE CUBE sits in a BOOTH, surrounded by friends, label-execs,
      and hangers-on. It's pretty clear that Cube is a huge
      celebrity at this point. He even has some big, unsmiling
      THUGS (The Lench Mob) standing close.

      Cube, mid-conversation, suddenly STOPS talking... Because he
      SEES that EAZY-E is entering the VIP with 2 HUGE SAMOANS,
      making his way over.

                          CUBE
                    (to his crew)
                Heads up y'all. This lil nigga
                might wanna do something.

      Cube stands up -- ready for whatever.

      Eazy and his Bodyguards arrives at the booth. There's a tense
      silence -- almost a stand off before anyone speaks. Everybody
      looks to them, seeing how they're gonna react. After all,
      these two have dissed each other, ferociously and publicly,
      for years. Still, Eazy gives Cube a friendly, vaguely
      submissive smile.

                          EAZY
                Relax everybody. Just came in the
                club-- heard you were over here.
                                                             124.


                          CUBE
                    (Still ready)
                Yeah. I'm over here. (beat) What
                you need?

                          EAZY
                I don't need shit. Out here with
                Bone Thugs-- Was just in the
                neighborhood. Wanted to say wassup.

      The tension between the sides eases up a bit, but not
      completely. They both stand there, neither sure what to say
      to the other.

                          EAZY (CONT'D)
                Saw your movie. It was good.

      Cube slowly smiles. Knows that wasn't easy for Eazy.

                          CUBE
                Thought you said it was an after-
                school special.

      They both smile, laugh. Give each other a pound. In truth,
      they missed each other. Homie hug.

                          EAZY
                Missed you, boy.

                          CUBE
                Missed you too, E. Wish we could've
                work shit out.

                          EAZY
                Guess it all happened like it was
                supposed to. You a movie star-- I'm
                a music mogul. Dre. Well Dre is
                tripping right now, but he's doing
                his thang. Just wanted to come over
                here and put something on your
                mind..

      Cube is curious.

119   INT. TUNNEL NIGHTCLUB - VIP - AFTER HOURS                119

      The club has mostly emptied out. Only a few die-hards remain
      as we find Cube and Eazy slumped over their table, loose with
      alcohol. The vibe is cool, friendly, like the old days. But
      we notice Eazy has a subtle, persistent COUGH...

                          EAZY
                I wish all that bullshit never
                happen between us.
                          (MORE)
                                                         125.

                    EAZY (CONT'D)
          Definitely never wanted it to get
          physical-- we should've kept it on
          wax.

                    CUBE
          Never should've dissed each other
          in the first place. Made our fans
          choice between us. That ain't cool.

                    EAZY
          Yeah you right.
              (After a few beats)
          Ever though we was going to be this
          big?

                    CUBE
          Nope. I was reminiscing with my
          wife the other day. What it felt
          like-- In the beginning. We were so
          young and ferocious. Doing music
          straight for the hood. Trying to be
          ghetto stars... I thought I knew
          everything back then -- But I
          didn't know shit.

                    EAZY
          Me neither. I'm still trying to
          figure this stuff out. One minute
          I'm slangin' in a crack house --
          next thing I know, they invite me
          to the White House.

Cube laughs, shakes his head.

                    CUBE
          Yeah. I get it. Everything changes
          so fast. Feels like it was 20 years
          ago. If we were still together do
          you know how large we'd be?

They both sit there, thinking about that shit, amazed.

                    EAZY
          You ever think about fuckin' with
          some new NWA shit?

Cube frowns, contemplates for a moment.

                    CUBE
          I'd be lyin' if I said I never
          thought about it.

Eazy's eyes flash. That's what he was hoping to hear.
                                                             126.


                          EAZY
                Me too, Cube. Been thinkin' about
                it a lot. (beat) Be like 1989
                again. We changed the world
                forever. Mothafuckas can never go
                back to that fake shit after us. It
                gets no realer then NWA. No matter
                what...

      After a quick thought.

                          CUBE
                If you can get Dre to do it, I'm
                in. But check this out homie-- I
                ain't doin' it if Jerry's around.
                He done made enough off us.

                          EAZY
                I hear you.

      An EMPLOYEE walks by, pushing a broom, glaring at them. It's
      time to go. They both stand up.

                          CUBE
                Cool. We done talked til the damn
                club closed -- I got a car coming.
                You need a ride back to your hotel?

                          EAZY
                Naw, I'm cool. I wanna walk.

                           CUBE
                    (really?)
                Walk? It's cold as fuck Eric, this
                ain't L.A.

                          EAZY
                I'm good. Hit me up later.

      Another HUG, this one last a little longer then normal. Eazy
      doesn't say anything else. Just heads for the exit, without
      looking back. Cube watches him go off into the cold night...

120   EXT. NEW YORK STREETS - NIGHT                            120

      Eazy walks back to his hotel in the freezing cold, his hands
      jammed in his pockets. The wind blows mercilessly. Eazy is
      shivering like crazy. But he keeps walking.

      It's a longer walk than he thought. He tries to hail a cab,
      but of course, none stop. He keeps trudging along, his breath
      making clouds, through the lonesome pre-dawn City --
                                                               127.


121   EXT. JAIL - DAY                                             121

      Dre emerges from the JAIL, shielding his eyes from the
      suddenly-blinding SUNSHINE. Interestingly, this is the SECOND
      TIME we've seen him get picked up from jail.

      NICOLE is there, waiting by her car. He wraps her in his
      arms, and they stand that way, together, for a long time.

122   INT. JERRY'S HOUSE - KITCHEN - DAY                          122

      Jerry has the PAPERS on the counter for Eazy's signature. But
      something's different this time. Eazy doesn't just sign.
      Instead, he starts GATHERING the papers into a pile.

                          JERRY
                Wait, aren't you gonna sign --

                          EAZY
                I'mma take these home with me. I'll
                sign 'em. Get'em back to you in a
                couple days.

      Jerry looks alarmed.

                          JERRY
                But this is how we've always done it.
                You have a lot on your plate Eric,
                there's no need to add to it --

                          EAZY
                It's cool, Jerry. They're my bills,
                my checks. I mean look, my name's
                right there.

      Eazy grins at Jerry, points to his name on the checks.

                          JERRY
                I just wish we could do it here. I
                don't want anything to get
                misplaced or lost --

                           EAZY
                Don't worry so much, Jerry. I can
                handle it.

      Eazy picks up the pile of papers and heads for the door.
      Jerry stares after him, visibly shaken --

123   INT. EAZY'S NORWALK HOUSE - NIGHT                           123

      Tomica watches on as Eazy finishes READING the immaculately-
      organized PAPERS she's laid out for him. He puts them down.
                                                             128.


                          TOMICA
                You had to know the truth sometime.
                Now you do.

                          EAZY
                Cube tried to warn me. So did Dre.
                And I didn't listen. I fucked up.

      And we stay with Eazy a moment, reeling, pissed....

124   INT. JERRY'S HOUSE - KITCHEN - LATER                        124

      Eazy walks into their familiar meeting place to find Jerry
      slumped at the table.

                          JERRY
                Where the fuck have you been? I've
                been calling you --

      Jerry glances down at the PAPERS in Eazy's hand, sees the
      flat look on Eazy's face... and gets it.

                          JERRY (CONT'D)
                So what was it, the groupie? The
                executive assistant? Did she even
                go to college? Come on. You're
                smarter than that, Eric --

                          EAZY
                This ain't about Tomica, Jerry.
                It's about you. And you really
                gotta stop acting like you never
                did anything wrong.

                          JERRY
                Look, I know you're upset. But I'd
                strongly advise you to take a
                breath, let me look at the
                paperwork --

      Eric lets out a low, rumbling laugh.

                          EAZY
                Jerry, for real? You can stop
                givin' me advice. As of, like, now.
                I'm getting NWA back together. It's
                happening. But you ain't gonna have
                nothing to do with it this time.

      Jerry's voice starts to RAISE in volume, desperation growing.

                          JERRY
                Why would you say something like
                that? You're not thinking straight.
                          (MORE)
                                                                129.

                          JERRY (CONT'D)
                I know what's best for you, and for
                Ruthless, and we've built a trust
                over years of hard work. That trust
                is our foundation, Eric.

      Eazy laughs again, but this time... the laugh deteriorates
      into a ragged, hacking COUGH. Jerry watches, concerned --

                          JERRY (CONT'D)
                Are you okay? You don't look --

                          EAZY
                Trust. God damn, that's a word. Let
                me tell you somethin', Jerry. Trust
                is a muthafucka.

      Jerry is now full-on YELLING at Eric, who remains calm.

                          JERRY
                Look, if what I've done is so
                illegal, why have I never been sued?
                I'm such a thief, such a liar, such a
                motherfucker, how come nobody's come
                to collect? This is business. This is
                how it works. It's not always pretty,
                but all of it, everything I've put
                into this company, my whole LIFE for
                all these years, it's for you, Eric.

      Eazy absorbs this. Then --

                          EAZY
                You're fired, Jerry.

      Jerry, who is now beet-red, starts to BELLOW with rage --

                          JERRY
                Goddammit, Eric! This is not how we
                do things! This is a business and I
                won't let you --

      But Eazy's already out the door. Enraged, Jerry wipes his arm
      across the table sending everything SMASHING onto the floor!

125   INT. DRE'S HOUSE - BACK YARD - DAY                          125

      Long gone are the days of the infamous Dr. Dre pool parties
      as Dre and Nicole relax by the pool. Dre's huge, early-model
      CELL PHONE rings from a table beside him. He picks it up --

                          DRE
                Hello?

      After a short pause, a familiar, gravelly voice comes on.
                                                             130.


                          EAZY'S VOICE
                Wassup Andre, it's Eric.

      Dre's eyes widen. Eazy's the last person he ever expected to
      hear from.

                          DRE
                 Yeah? Wassup wit you?

      INTERCUT WITH:

126   INT. EAZY'S NORWALK HOUSE - BACK YARD - CONTINUOUS         126

      Chilling by his modest pool, Eazy looks worn but determined.

                          EAZY
                Just felt like callin' --

      Dre is still vaguely mystified, at a loss.

                           DRE
                Yeah. Okay.
                    (beat)
                Wassup?

                          EAZY
                You know. Doin' my thing. Makin
                records. Killin' all that pussy out
                there.

      Seated a few feet away from Eazy, Tomica rolls her eyes.

                          EAZY (CONT'D)
                How about you?

                          DRE
                Just makin' tracks.

                          EAZY
                That Snoop record you did was big.
                850,000 copies in the first week?!
                Congratulations on the success of
                that.

                          DRE
                Good lookin' out.

                          EAZY
                Well look, I know you're busy, but
                I talked to Cube, and we were,
                like, talkin' about some...
                possibilities.

      Dre gets up, walks around the edge of his pool, processing.
                                                                131.


                          EAZY (CONT'D)
                And by the way, if you ain't heard--
                I ain't fuckin' with Jerry Heller
                no more. Nigga's fired.

      Something in those words causes Dre to soften... a bit.

                          DRE
                Really. Well it's about time. He's
                the reason why we broke up.

                          EAZY
                Listen man, I know everything got
                messed up and went the wrong way. I
                wish it didn't. I wish we can go
                back to the days of Skateland when
                we were all just young, hungry and
                ferocious. The world's most
                dangerous group. Before all the
                money and fame got between us.

                          DRE
                Yeah me too-- cause I'm not proud
                of all the shit I did, either.

      Eazy looks vaguely relieved Dre said that.

                          EAZY
                So you think maybe, we can make
                somethin' happen?

                          DRE
                Yeah, that's sounds cool -- Let's
                stay in touch.

                          EAZY
                Fair enough.

      They both hang up. Eazy turns to Tomica, big smile.

                          EAZY (CONT'D)
                Everybody's all in. NWA is back!

127   INT. EAZY'S NORWALK HOUSE - MAKESHIFT STUDIO - CONTINUOUS 127

      Ren and Yella work the kinks out of a dope new beat -- Tomica
      enters, Eazy in tow, looking a bit sluggish.

      SUPERIMPOSE: TWO MONTHS LATER

                          REN
                Wuddup, y'all.
                                                               132.


                          YELLA
                Hey so, when are Dre and Cube gonna
                roll in here?

                          REN
                Yeah, you know -- Gettin' kinda
                anxious to get this new shit goin'.

                           EAZY
                I don't know. Hopefully soon. Let's
                just get ready. New NWA gonna
                change the game, just like back in
                the day --

                          REN
                No doubt. I got books of new shit --

      Eazy's legs buckle. He leans on the Board, winded --

                          YELLA
                Yo, you alright, Eazy?

                          EAZY
                Yeah. Just. Like. Need some fresh
                air, somethin' --

      PANIC flashes in his eyes as he moves toward the door,
      suddenly CRUMPLES TO THE FLOOR, out cold --

                          TOMICA
                Eric!

      They all hurry over to him --

128   EXT. LOS ANGELES STREET - DAY                               128

      An AMBULANCE blares through the night, running red lights,
      hurtling toward the hulking edifice of CEDARS SINAI --

129   INT. CEDARS - EAZY'S ROOM - DAY                             129

      Eazy lies in a propped-up hospital bed, watching TV. He
      doesn't look ill, just annoyed with the situation. Tomica
      sits in a chair beside him, flipping through a magazine.

      A young DOCTOR walks in, carrying a chart. He looks troubled,
      preoccupied. His eyes dart from Tomica... to Eazy.

                          TOMICA
                You gonna say something? Is it a
                respiratory infection -- pneumonia?
                                                       133.


                    DOCTOR
          Yes, well, it is those things...
          and more, I'm afraid... We ran a
          full blood battery and -- (beat)
          Mr. Wright, I'm sorry but you've
          tested positive for the HIV virus.

Tomica reflexively stands, her hand over her mouth. Eazy
squints, smiles, looks at the Doctor like he's crazy.

                    EAZY
          Get the fuck outta here.

                    DOCTOR
          The normal T-cell count is anywhere
          between 500 and 1500. Right now,
          your T-cell count is... 14.

Tomica just stands there, mouth agape, speechless. Eazy's
smile slowly fades to a look of pure dread.

                    EAZY
          But I ain't no faggot.

                    DOCTOR
          Mr. Wright, there are actually
          quite a few ways that the virus can
          be transmitted --

                    EAZY
          It's wrong. No way. Test me again.
          Test my shit again --

                    DOCTOR
          We've actually run the test five
          times, with five different
          samples... and the results remain --

Tomica suddenly lets out a choked CRY, runs from the room.
Eazy watches her go, overwhelmed, confused... and then, all
at once, he gets it. Voice trembles a little.

                    EAZY
          Tomica. She's pregnant. Oh fuck.
          Does that mean she --

                    DOCTOR
          No. Not necessarily. But we'll need
          to test her, too.

                    EAZY
          So what do we do? What's the
          treatment? Let's get started.
                    (MORE)
                                                               134.

                          EAZY (CONT'D)
                I got work to do. How long's it
                gonna take to get me healthy again?

      The Doctor looks at Eazy, struggles a bit. He pulls up a
      chair, sits down next to the bed.

                          DOCTOR
                Mr. Wright. You need to understand.
                You're very, very sick --

                          EAZY
                But I don't even feel that bad...

                          DOCTOR
                With treatment, and palliative
                care, we can probably keep you
                comfortable for... maybe six
                months. At the very most.

      Panic washes over Eazy in a flood --

                          EAZY
                Comfortable? What you mean
                comfortable? Six months!?

                          DOCTOR
                I'm truly sorry, Mr. Wright.

      Eazy realizes that he's dying.

                                                      HARD CUT TO:

130   B-ROLL OF A CROWD OUTSIDE OF CEDARS SINAI (STOCK FOOTAGE) 130

                          REPORTER (V.O.)
                Last week, the rap world was
                stunned to learn in a press
                conference held by his lawyer, that
                Eazy-E had been admitted to Cedars
                Sinai Hospital in Los Angeles and
                diagnosed as suffering from full-
                blown AIDS.

131   INT. CUBE'S HOUSE - CONTINUOUS                             131

      WE HEAR the STOCK FOOTAGE CONTINUE over --

      At home, sitting on the couch with Kim and their KIDS, Cube
      watches on, stunned. Kim kisses him, leans on his shoulder as
      they try to process the shock --
                                                               135.


                          RON SWEENEY (ON TV)
                Eazy started getting sick about a
                month ago but hadn't shown signs of
                improvement, so he checked into the
                hospital. They ran extensive tests
                and as a result we found out
                that... he has what he has...

132   EXT. CEDARS - COURTYARD - DAY                              132

      Outside the hospital, we see PEOPLE have started to GATHER.
      About a dozen or so. They stand there quietly, shuffling
      around, staring up at the Hospital --

133   INT. CEDARS - EAZY'S ROOM - THE NEXT DAY                   133

      Tomica sits in a chair pulled right beside Eazy's bed. They
      hold hands, look at each other. They've both been crying.

                          EAZY
                Just glad you're okay. You and the
                baby.

      Tomica takes his hand, kisses it, cries.

                          TOMICA
                No. We can beat this. Together.

      Eazy nods reassuringly, but you can see in his eyes he
      doesn't believe it. Eazy's PHONE rings. He answers it.

                          EAZY
                Yo.

                          REN'S VOICE
                    (filtered)
                Eazy! What the fuck, cuz? People
                been sayin' some crazy shit. Like
                you got AIDS or somethin'? Can you
                believe that? Muthafuckin' Eazy-E
                got AIDS? Niggas be starting too
                many rumors, huh?

      SILENCE. Ren is hit with the reality as Eazy TURNS OFF the
      phone -- Sticks it in the bedside table drawer. It's pretty
      clear he's never gonna turn it on again.

                          TOMICA
                Who was that?

      Eazy doesn't respond, just lies there, despondent.
                                                              136.


134   EXT. SOUNDSTAGE - VIDEO SHOOT - DAY                       134

      Dre's chilling on a couch as NICOLE appears from around the
      corner holding a wireless phone --

                          NICOLE
                It's for you.

      He grabs the phone, leans it on his shoulder.

                           DRE
                What up.

      Dre's face contorts with confusion as he listens...

135   INT. CEDARS - EAZY'S ROOM - NIGHT                         135

      Tomica and Yella stand by Eazy's bedside. Eazy looks drained,
      depressed. Various members of Eazy's FAMILY are also present.
      Yella holds a CASSETTE in his hand.

                          YELLA
                It's Bone Thugs' new LP. It's good,
                Eric. It's gonna be huge when it
                drops. Everybody thinks so. Want me
                to play it for you?

                          EAZY
                Put it on the table. I'll listen
                later. Thanks for stoppin' through.
                Hit you when I get outta here.

      Yella nods sadly, places the cassette on the bedside table
      and exits. Handwritten on the cover, it says BONE.

136   INT. CEDARS - EAZY'S ROOM - THE NEXT DAY                  136

      Tomica sits holding Eazy's hand, staring at him with haunted
      eyes. RON SWEENEY stands in the background, along with Eazy's
      Family. Someone else is there now, too. A PASTOR.

                          TOMICA
                I can't. That's not the way it
                should happen. It's not right --

                          EAZY
                Please. It's gotta happen, baby.
                I'm having my surgery tomorrow, so
                it has to happen now. Because I
                might not. Wake up.

      Eazy's clearly struggling to come to terms with this.
                                                       137.


                    TOMICA
          Don't say that.

                    EAZY
          It's true, Tomica. I gotta make
          this right. Ron says it's the only
          way to protect everything I built.

Tomica looks to Ron, who nods. She stares off into space,
slowly shaking her head. Her life has become a nightmare.

                    TOMICA
          It's so... fucked up --

                    EAZY
          Hey. Listen to me. It doesn't
          matter what people think. They
          don't know. They don't understand.
          There's no other way. Please. I
          know it's not the way you pictured
          it. You deserve better.

He reaches out, puts his hand on her stomach.

                    EAZY (CONT'D)
          But if we don't do this, I won't be
          able to protect either of you.

After looking deep into Eazy's eyes -- He needs her.

                    TOMICA
          Okay. I love you, Eric.

Ron steps forward, followed by the FAMILY, who gather around
Eazy's bed. Finally, the PASTOR, who smiles kindly at them.

                    PASTOR
          Are we ready?

Tomica and Eazy nod their heads yes. The Pastor reaches out,
holds Tomica's hand in one hand, Eazy's hand in the other.

                    PASTOR (CONT'D)
          Tomica Woods, do you take Eric
          Wright to be your lawfully wedded
          husband, to have and to hold...

Tomica tries not to cry, but it's impossible. The tears flow,
and all she can do is wipe them away. Eazy won't stop looking
at Tomica. Like she's the last thing he'll ever see.
                                                                138.


137   EXT. CEDARS - COURTYARD - NIGHT                             137

      Outside the Hospital, the VIGIL has grown in size. There's
      now about a HUNDRED PEOPLE standing outside. Holding candles.
      Many of them are crying. Holding pictures of Eazy.

138   INT. CEDARS - EAZY'S ROOM - LATER                           138

      DRE quietly enters the room, nobody in there except him and
      Eazy. He walks to the bed. Looks down at his friend, whom he
      hasn't seen in four years: Eazy's eyes are closed, a
      RESPIRATOR doing his breathing for him.

      NOTE: The BONE TAPE is still sitting, untouched, on the
      bedside table. Eazy never got a chance to listen to it.

      Dre stands there, staring down, in this extended, surreal
      moment. He bends down, so his mouth is close to Eazy's ear.

                          DRE
                    (softly)
                Yo, Eazy. Wanna tell you somethin'.
                I know you can hear me. I know
                you're still in there --

      We PULL BACK, so WE CAN'T HEAR WHAT DRE IS SAYING. And we
      won't hear it, because that's between Dre & Eazy.

      After a few moments, Dre stands up straight. Whatever he had
      to say to Eazy, he's finished now. He walks to the door --

      On his way out, he passes TOMICA as she's coming in. He looks
      at her. Then he looks at the ring on her finger. Walks away,
      without saying a word...

139   INT. CEDARS - OUTSIDE EAZY'S ROOM - A SHORT TIME LATER      139

      A phalanx of POLICE guards the front entrance, preventing the
      MOB OUTSIDE from getting in.

      OUTSIDE EAZY'S DOOR, find CUBE sitting in a chair. He spots
      DRE walking out, looking glazed. Cube gets up. They stand
      there looking at each other.

                            CUBE
                S'up Dre?

                          DRE
                Good to see you, Cube.

      It's been awhile. Lot of water under the bridge. They finally
      step to each other, and hug quickly, intensely.
                                                             139.


                          CUBE
                You see him? How he look?

                          DRE
                He looks the same -- like Eric just
                sleeping. But he's in a coma. Got a
                machine breathing for him --

      Cube frowns, looks at the ground, pained.

                          CUBE
                Can't see him like that, man. This
                is bad. I asked one of his homies
                to call me when he wakes up.

      Dre nods, doesn't push it. He understands. As they exit
      together, they pass the Police Guards, in tight formation by
      the door, protecting the Hospital. Protecting Eazy.

140   EXT. CEDARS - COURTYARD - LATER                            140

      MORE PEOPLE keep arriving to the VIGIL. A steady flow. They
      all stare up at the Hospital, watching, waiting. The crowd
      STRETCHES far in all directions, clogging the street --

141   INT. CUBE'S HOUSE - BEDROOM - DAY                          141

      Cube lies on the bed with Kim, watching TV. The PHONE RINGS
      on the bedside table. Cube stares at it --

142   EXT. DRE'S HOUSE - PORCH - DAY                             142

      Phone to his ear, Dre listens a while, nods, face desolate.
      Seated beside him, Nicole rubs his back, consoling her man.

                             DRE
                Okay.

      Dre hangs up. Looks over to Nicole.

                             DRE (CONT'D)
                He's gone.

      She hugs him tight as we --

143   EXT. LOS ANGELES - EVERYWHERE - DAY INTO NIGHT             143

      A moment of quiet beauty. A TIME-LAPSE of the magnificent
      City of Los Angeles. From hazy, sun-blasted MORNING, to an
      explosively-hued SUNSET, into the electricity of NIGHT.

      We hear EAZY'S VOICE, one last time, through some of the
      final words he released to his fans.
                                                               140.


      The TIDES on the beach rise and fall. Endless VEHICLES swarm
      the FREEWAYS like teeming blood vessels in veins. Clouds race
      across the sky like an avalanche, a river --

144   INT. DEATH ROW RECORDS - DAY                               144

      Dre strides down the lipstick red hallway, lined with
      platinum records, a determined look on his face. Enters --

      THE CONFERENCE ROOM

      To find Suge, looking confused, sitting at the end of the
      long conference table. He's wearing another absurd Red-Devil
      suit, fedora, gold watch on a chain, flanked by a couple of
      jacked-up BLOODS. And his DOG is still by his side.

                          SUGE
                What's the urgency, Dre?

                          DRE
                I'm out, man. I'm out of Death Row.

                          SUGE
                You're not making any sense. Death
                Row and Dr. Dre are one in the
                same. You can't just up and go.

      Dre does not avoid Suge's gaze. He looks right at him.

                          DRE
                Gonna do my own thing now. Start
                fresh. Nobody to answer to but
                myself. It's time, Suge.

                          SUGE
                You're one stupid muthafucka. You
                just gonna throw away all this
                money? `Cause if you leave,
                everything we created is mine.

      Suge starts to breathe hard through his nose. He's pissed.

                          DRE
                What we created? Ha -- Well you can
                have it.

                          SUGE
                You ain't takin nobody with you.
                Death Row stays Death Row. And if
                you even think about touching my
                money? You know how I handle shit.
                                Blue Rev. (9/15/14)            141.


                             DRE
                   Do what you gotta do. I'm still
                   out.

                             SUGE
                   You're not gettin none of it.

                             DRE
                   I don't give a fuck-- You can't put
                   a price on peace of mind. So you
                   can keep the artists, the money,
                   the masters and the bullshit. I'm
                   startin' my own thing.

      Suge stands there, huge, scary. He stares cold daggers into
      Dre's eyes, but Dre refuses to look away.

      Suge finally nods. Something softens in him.

                             SUGE
                   What you gonna call it?

      Dre grins.

                                DRE
                   Aftermath.

      Dre walks away, smiling as --

      STRAIGHT OUTTA COMPTON kicks in and we see the people and
      things that have been impacted by NWA. We begin with all the
      things that made NWA possible. We'll end with all the things
      that NWA made possible. A little something we like to call...

145   NWA HISOTRY:                                               145   *

      BEFORE FINAL CREDITS...                                          *

      We'll see the actual real life members of N.W.A. in all of       *
      their glory back in the day, chronicling what they went on to    *
      do, and culminating with a PICTURE OF NWA, staring menacingly
      at the camera.

      The most dangerous band in the world.

                                                         FADE OUT.

Straight Outta Compton



Writers :   Jonathan Herman  Andrea Berloff
Genres :   Drama


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