ACT 2, SCENE 1, EXT: NETTA HOME – DAY TIME – PRESENT DAY
The TWO-FAMILY HOME is not bright-blue. The paint is dull and the siding of the home appears warped. Even the OWL ROOF ORNAMENT is tilted off kilter.
Coming from off the street and up the steps of NETTAS’ HOME is SHAUNICE WOOD, 17-18 year old, heavy set, African-American girl whose dresses tightly and brightly. She is attention-seeking in all the wrong ways.
SHAUNICE rings the doorbell of the home. Her FINGER NAILS are brightly painted. She checks her phone, looks about the street, becomes impatient and rings the bell again. A second hasn’t passed before she rings the bell repeatedly this time.
Heavy steps run to the door before it swings open.
NETTA is standing in the door way. Despite age and wrinkles, her brown eyes still have a wild quality to them. Her hair is wrapped up in a head wrap.
SHAUNICE (startled):
Oh shit! Morning, Miss.
NETTA:
It’s Sister Netta. You know this. Everyone on this block and The Bricks knows it, but your finger must have the same affliction that your ears do. Is there something wrong with it?
SHAUNICE:
My ears…?
NETTA:
No, your finger.
SHAUNICE:
Nooo…?
NETTA:
Then why does it insist on testing the durability of my doorbell?
SHAUNICE:
Sorry Sister. I thought no one heard it.
NETTA:
I heard you just fine. Good Morning, Shaunice.
SHAUNICE tries to walk into the door, but NETTA blocks her way and shows no sign of budging. A light bulb goes off on SHAUNICE’S face.
SHAUNICE:
Oh yeah. Can I come in?
NETTA:
I see you have legs. I think you could.
SHAUNICE (sighs):
May I come in?
NETTA:
Certainly.
NETTA turns from the door and walks away. Behind NETTA’S back, SHAUNICE sticks up her middle finger.
SHAUNICE (whispers):
Works fine now.
NETTA (O.S.):
Leigh! Your friend’s here!
SHAUNICE enters the house and closes the door.
ACT 2, SCENE 2 INT: NETTA HOME – LIVING ROOM
SHAUNICE follows NETTA into her LIVING ROOM. SHAUNICE walks hesitantly across the threshold and takes in all the gaudy pieces dispassionately.
The MASKS on the wall are dusty.
SHAUNICE isn’t interested in sitting down on the furniture. She is leery of touching anything.
SHAUNICE:
Every time I come in here I feel like I’m at a museum.
NETTA:
How so?
SHAUNICE looks around her as if it’s obvious.
SHAUNICE:
I mean, look at your stuff. Like is that even a color tv?
NETTA:
Hmm. You might be right. I’ve been collecting ever since I was a kid. I find it really hard to let anything go.
SHAUNICE:
Good luck with that.
NETTA sits majestically on a couch and lifts up a tea mug.
SHAUNICE checks herself out in the mirror. There are now TWO URNS on the mantle.
OS there’s faint beautiful singing that echoes through the house.
ACT 2, SCENE 3 INT: NETTA’S HOME – UPSTAIRS BATHROOM
A CELLPHONE plays an eclectic brand of hip-hop infused music.
OS A beautiful voice sings along.
Song ends to introduce DJ FYAH, ASTRO CITY’S leading radio emcee. He’s a hipster voice for the community.
OS shower shuts off and curtains open.
A hand wipes condensation from the mirror.
LEIGH SUAREZ, 17-18 year old girl, her race is ambiguous making her a chameleon of sorts. She can be all things to all people. Her maturity and craftiness are the keys to her beauty. She finds expression in music and arts.
LEIGH turns on the faucet to brush her teeth. Another song comes on and she is super excited for it. She dances and sings into her toothbrush.
FAUCET stops suddenly.
LEIGH turns the knobs back and forth.
Hard clacking of the pipes is heard almost coming out of the drain.
LEIGH looks at it suspiciously and then leans in close.
The black pit of the DRAIN keeps clanking until
VOICE (weakly):
Help…me…
LEIGH steps back and looks behind her. No one is there. The reflection in the bathroom mirror reveal a ghastly GIRL, mid-teens in a bloody nightgown and stab wounds along her chest, but LEIGH can’t see her.
FAUCET jets back on and LEIGH whips back around perplexed.
ACT 2, SCENE 4 INT: NETTA HOME – LIVING ROOM
NETTA:
Would you like some tea? I brewed it myself. A few leaves, bits of fruit, some spices and German brown sugar I can only get from the Heights. High way robbery really, but it’s very cleansing. Clears all the nasty right out of you.
In NETTA’S HAND her TEA MUG contains brown liquid a tea leaf floating at the top.
SHAUNICE is preoccupied with her phone.
SHAUNICE:
Yeah. Nah. I’m good with all that hoodoo stuff that you do.
NETTA:
You never know. At this rate, girls like you get pregnant just by sneezing.
SHAUNICE crosses her arms.
SHAUNICE:
Has my mom been talking to you?
NETTA:
She called me crying about you a while ago. She’s worried. Maybe you should listen to her and…
SHAUNICE:
I don’t know where the hell she listens out of. You can tell her to keep my damn name out her hypercritical-ass mouth. She doesn’t own me. She doesn’t even know me.
NETTA:
I’ll be sure to tell her that when I see her at our next group at the church.
LEIGH enters the room. Hair still wet from the shower.
SHAUNICE:
Finally girl. Let’s go. Your grandmother’s throwing shade.
LEIGH:
She’s not my grandmother. (then turns) Sister Netta the pipes are acting up again. This time the water just stopped, but the faucet was on and everything. I swear I heard voices.
NETTA:
Must be the ghosts. I’ll call the Reverend.
SHAUNICE:
This place is seriously haunted? I thought people were joking.
LEIGH:
How’s a reverend going to help?
NETTA:
Oh, Leigh, he’s also a plumber.
SHAUNICE:
Nah for real. Is this place haunted?
LEIGH drags SHAUNICE out the room.
LEIGH:
Thank you, Sister. See you after school.
NETTA is presumably by herself sipping her tea. When she gets up, standing behind her is JOSH in his bloody hood and the GHASTLY GIRL riddled with stab wounds, looking in the direction that the girls left.
ACT 2, SCENE 5 EXT: NETTA HOME – DAY TIME
LEIGH closed the front door behind her. The girls walk up the street.
SHAUNICE:
Sister Netta was going to catch it if she kept talking to me like she was my mother.
LEIGH:
She’s not that bad. She just talks a lot.
SHAUNICE:
Of shit, yea! I’m not letting anyone walk over me anymore. And this is why I took you under my wing. You were all lost and asking for directions, like some ol’ helpless little bitch. You don’t know what’s life’s like here. You need to request a transfer ASAP. Your foster mother is cray. Everyone in the AC knows that. And, answer the damn question. The house has ghosts?
LEIGH:
I’m not moving again. I just figured out the Metro.
SHAUNICE:
Ok. But does the house have ghosts?
LEIGH:
Thank you for caring about me.
SHAUNICE:
You’re my daughter now. I’mma make sure I’m one proud mama.
They share a laugh. As the pass in front of a corner store: J-COOL’S VARIETY, SHAUNICE pulls LEIGH into the store.
SHAUNICE:
Gotta grab some stuff.
LEIGH:
This again?
SHAUNICE:
Just do your thing.
ACT 2, SCENE 6 INT: J-COOL’S VARIETY MARKET
Packed and condensed store with mixed goods – foods, beer, wine, and household cleaning products. Salsa is blasting from a speaker behind the register. An elderly Puerto Rican JOSE ‘COOL’ COLUMNA, 70s, owner of the store, is behind the register also watching TV news.
OS chimes ring announcing someone’s presence. LEIGH bolts straight to the register as SHANICE dashes through the aisles.
LEIGH (in Spanish):
<Hola Papi! Bueno Dias!>
J-COOL is really happy to see her. LEIGH respectfully kisses him on both sides of his cheeks. He holds both her hands.
J-COOL
<Que Bonita, senorita. Bueno Dias? Como esta?>
LEIGH:
<Better now that I’ve seen you. I think I’m still a little wet from the shower.>
J-COOL
<I see that. You in a rush?>
SHAUNICE in the aisle stealthily and brazenly pockets several candy bars.
J-COOL tries to peer over LEIGH’S shoulders. She steps in his view.
LEIGH:
<No. Tell me Papi when are you going to put me on the schedule? I need the money, and this store is in need of a feminine touch.>
LEIGH caresses J-COOL’S arm. He is smitten quickly.
J-COOL:
<Whenever you like bonita. Just call me.>
SHAUNICE goes down an aisle and grabs a package of tiny ziplock bags. She stuffs it in her hefty cleavage.
J-COOL:
<That gordita…is she going to buy something?>
LEIGH:
<oh Papi, don’t make me sad. How could you focus on her when im right in front of you? What’s good on tv?>
J-COOL:
<Gringo’s about to speak. I can’t wait to hear what he says. I can smell his narcissism.>
SHAUNICE:
Done.
LEIGH:
<Ok. Love you Papi. Miss you already.>
J-COOL:
<Later bonita.>
OS girls are laughing hysterically.
J-COOL feels flustered but turns up his television.
ACT 2, SCENE 7 INT: The Church Hall of ‘RISE: AME Church of The Bricks’
RISE is an old Catholic church now in the hands of a Methodist congregation. Colorful stain glass windows cast a kaleidoscope of colors in the pews where several camera crews, journalist, and church goers sit.
Approaching a podium is REVEREND ‘REV MAC’ JOSEPH MACCABEE, 60-70s African/African-American in a tightfitting dark-suit with a clerical white collar around his neck. He has broad shoulders and muscular build. He has pronounced salt and pepper hair that puffs up like Don King’s afro.
REV MAC
Congregation, distinguished clergy, journalists, Mayor Apostolou…
FOCUS briefly on MAYOR GEORGE APOSTOLOU, 40-50s, White, well-tailored, cleaned shaven with a coif of long swarthy hair and a winning smile. Child of a long-deceased judge and bearer of a prestigious name. Now completing his fourth term as Mayor of AC. He oozes political charm, aristocracy, and cunning.
REV MAC (continued)
It’s my honor to lead us in opening prayer. However I doubt Mayor you need any prayers. God has placed His servant where He needs to be.
CONGREGATION applauds. MAYOR APOSTOLOU looks on graciously.
INT: THE BACK OF RISE CHURCH (simultaneously)
OMAR BUTLER is nodding pleasingly. Omar is tall, handsome African-American, late 20s-early 30s, MAYOR’S CHIEF OF STAFF, born and raised in AC, collegiate, book smart and street smart.
He is currently surrounded by other assistants.
OMAR:
By the time Rev’s done, they’ll be chanting Apostolou like they calling out the Holy Spirit.
REV MAC (os)
More importantly, it’s my duty to deliver a message.
OMAR listens pensively.
INT: FRONT OF RISE CHURCH – CONTINUED
REV MAC:
Let’s us pray. Heavenly Father, bless all of us here today to bear witness to You. Let them hear you say, “Enough is enough.” I want you to stand if you or someone you know has been a victim of violence in our city. I’m not joking. Stand up. If you or someone you know has been struck down by fists, by a bullet, or by a poison they have ingested into their system, stand with me. If these things have changed the face of your family, kept mothers from sons and forced fathers away from daughters, stand up. Don’t be afraid. Stand up. I’ve served in too many of your funerals. Too many! I know where and who you are. Stand up and step forward! Enough is enough, God proclaims!
Several in the CONGREGATION stand. Even some of the journalists stand. FOCUS on MELISSA DAY, talented, confident investigative reporter for Channel 8 News. She stands up hesitantly.
Cameras are flashing.
REV MAC:
Rise and be silent no more. Let the Mayor know that you are tired of the evil. Tired of being forgotten.
MAYOR APOSTOLOU is fidgeting uncomfortably in his seat, clearing his throat. He is trying hard to keep a smile.
INT: BACK OF CHURCH – SIMULTANEOUSLY
OMAR:
Shit. He’s going off script. Shut off his mic. Damn it. Someone please cut him off.
REV MAC:
We all know the story of Astro City: the city named for a piece of rock that had fallen from the heavens. From that spot, this city flourished rich in brains and wealth. Astro City is a place where dreams can come true. Just like my father and his father before him and his father before that, from bondage through cotton fields and emancipation, the Maccabees built with their hands homes, communities, and this very church, so that we could all live our dreams. I grew up with that in mind. I remember helping my father move furniture from our store into some house around the Bricks. “Don’t you ever go into that house,” he told me, but little did he know I already knew what dwelled in that house of beautiful upholstery and velvet walls: drugs, the destitute, prostitutes. It was a brothel; a den of broken people trying to find a touch of a dream that for too long was never made manifest. Oh we would pray for them off and on, but the problem remained. The problem still remains. For too many and for too long, some dreams are not made manifest. Some prayers aren’t answered.
CONGREGATION:
Preach on, Rev Mac.
OMAR:
What do you mean the feed isn’t working? Are you serious?
REV MAC:
“Blessed are the poor for they shall inherit the earth!” A shocking statement at the time delivered to the poor and destitute. You will inherit this earth! Your dreams *will* come true. Your prayers are answered! I was almost swept up by the very poison coursing beneath Astro City. (pause) I prayed for answers to this pain, and an angel came to me and showed me that with these hands…the same hands of my father and his father and his father before that…
REV MAC raising his large hands, veiny.
REV MAC:
I can help rebuild Astro City. We can break the walls between the Heights and the Bricks, Uptown and Downtown, brick by brick, and start again, before it’s too late.
OMAR can’t stand much more and speed-walks up the middle to get REV’S attention. He is tapping at his wrist watch and signally the REV to wrap it up.
REV MAC
Mayor Apostolou, look out into the faces of the hurt. Do you hear our prayers? Can you rebuilt with us? Start over brick by brick until we have the city we need?
CONGREGATION(OS)
Brick by brick! Brick by brick!
MAYOR stands to his feet with the others on the stage, but all eyes are on him and he is stunned. MELISSA DAY is smiling from ear to ear.
ACT 2, SCENE 8 INT: RISE – CHURCH BASEMENT/SOUP KITCHEN
In a kitchen sink, the MAYOR washes his face. He wipes off with a paper towel and throws it hard into a waste pin. He and OMAR are alone in this space.
MAYOR:
You were supposed to make sure this didn’t happen.
OMAR:
Honestly, I didn’t think he would go in that direction. He and I talked before about what to say.
MAYOR:
Obviously not clearly enough. I don’t think you grasp how badly he made me look Omar. The donors were watching this, and the voters, and anybody else looking to take me out. This was a political attack.
OMAR:
The Rev’s eccentric, but I don’t think he was gunning for you. I’ll talk to him again. Maybe we can get a statement from him to clarify his position on your fourth term. We could get it in the papers by tomorrow.
MAYOR:
I regret listening to you on this one. You’re my in to this demographic, but I could find others.
OMAR:
Go back out there, serve some soup, smile for the cameras, and sit and talk with some voters. Take some good pictures. I’ll follow up with the Rev. Trust me. I can fix it.
MAYOR:
I wouldn’t be mad if that clown suddenly dropped dead. (beat) Don’t mess this up, Omar. I got big plans for this term.
MAYOR and OMAR walk out the swinging doors of the kitchen with smiles. They get to work shaking hands and talking to people.
Soup kitchen cafeteria is busy. REV MAC is helping to serve others. MELISSA DAY jumps out of her seat at a lunch table and runs to the MAYOR and OMAR.
MELISSA:
A word Mayor Apostolou!
MAYOR sighs and turns back with a tight smile.
MAYOR
Ms. Day. When absolutely all the other journalists have gone, there will still be you.
MELISSA:
What can I say? I’m a gnat to pretension.
MAYOR forces a smile as OMAR cringes.
MAYOR:
What, no, building code violations or political kick-backs to investigate today?
MELISSA:
Not today. I got a better story.
MELISSA whips out her cell phone which acts as her recorder.
MELISSA:
Mayor, how do you think today’s press conference went?
MAYOR
Like I told the other reporters, it went well. I’m very glad I had the chance to visit such a staple in the community like RISE.
OMAR:
The Mayor has a tight schedule to keep.
MELISSA:
Of course. This will only take a few moments. It’s for the voters really. In four terms, Mayor, you’ve placed your name on many important buildings in the city: the remodeled hospital and the newest elderly housing, just to name a few. Some people may think that’s a few too many buildings being built on your watch. Do you agree with Reverend Joseph Maccabee that these buildings need to be torn down to rebuild Astro City?
MAYOR:
Ms. Day I think our community needs to focus on better access to health and services for all the members of our community. Hospitals and assisted-living facilities are just the start of something better.
MELISSA:
All of them with your name on it.
OMAR:
He really has to go.
MELISSA:
Are you building on poisoned foundation, Mayor Apostolou? Is it time to rebuild?
OMAR:
Melissa…
MELISSA:
Omar…
OMAR (tense):
Melissa…
MELISSA (even more tense):
Omar…
There’s silence as the two stare at each other in disbelief. The MAYOR watches on.
OMAR:
You’re gonna act like this? Seriously?
MELISSA (affirmatively):
Seriously.
From the interaction, they go back and forth like a bickering couple – an old-couple whose flame fizzled out long ago.
MAYOR
Maybe I should leave you two to catch up?
In the midst of the back and forth, REV MAC has snuck up behind MAYOR APOSTOLOU and goes to shake his hand.
REV MAC:
Mayor Apostolou, I really do appreciate you coming down to my church.
MAYOR:
It’s a beautiful congregation in the heart of our city. It’s a shame I hadn’t visited sooner.
REV MAC:
Apology accepted. Please give some thought to what the congregation said. Things can’t stay the same this term. AC is facing dark times ahead. The drug epidemic in the Bricks is out of control.
REV MAC continues to shake the MAYOR’S hand aggressively, despite the MAYOR’S attempt at letting go and pulling back. REV MAC just won’t let go.
MAYOR:
Your prayer for the city may be the first step. It was very moving.
REV MAC:
Promise me you’ll do something. You’ll come back to my church? Just say yes.
FOCUS ON REV MAC’S large hands wrapped around the MAYOR’S. The veins in REV’S hands bulge and squirm as if worms are wriggling under his skin. MAYOR shakes off a bit of a daze.
MAYOR:
Say yes? Of course. Yes, excuse me. I need…It’s a little hot in here. I need some air.
REV MAC finally let go of the MAYOR’S hand. MAYOR walks away shaking his head.
MELISSA:
I didn’t see that coming.
She stops her recording with a frown and walks away.
OMAR:
George… Melissa…
REV MAC:
It’s nice to see you again, Omar. I hope I didn’t let you down.
OMAR is torn between following the MAYOR or MELISSA, but he answers the REV distantly.
OMAR:
You were great. A little over the top.
REV MAC:
You gotta be willing to go over the top. That’s the only way change is made. The enemy certainly would, without fail. See you Sunday?
OMAR:
Of course.
REV MAC:
Tell your brother to come along too, and to bring his wife.
OMAR:
I’ll see what I can do.
REV MAC watches OMAR catch up with the MAYOR. REV looks at his hands and flexed them open and close.
ACT 2, SCENE 8 EXT: AC HIGH – AFTERNOON
SHAUNICE and LEIGH are outside the school and leaning against the concrete walls. SHAUNICE is smoking a cigarette and tries to pass it to LEIGH.
LEIGH:
Can’t. I’m saving my voice for Studio.
SHAUNICE:
Girl, you’re the only person I know that takes an elective seriously.
LEIGH:
I’m about the only friend of yours that goes to class. If you want to graduate, you need to go in there with me sometimes. You’d be surprise the kind of stuff that goes on in there.
SHAUNICE:
Like what?
LEIGH bursts into some dance moves and starts to sing-song her response. She hits the last note with some power.
LEIGH dances into JAMAL ‘JAY-ROC’ COLE, late teens, 17-18, African-American, broody, handsome hipster. Majority of the time he has his hands stuffed in his jacket, where, unbeknownst to all, his hands are always close to his notepad and pen.
JAMAL:
Watch ya self, ma.
LEIGH:
Oh shit, Oh sorry.
While SHAUNICE laughs, LEIGH is a bit at a loss for words.
JAMAL:
Nah, it’s alright. These bobos ain’t shit. You got a nice voice by the way.
LEIGH is flattered.
LEIGH:
Uh…ok…yea…thank you…I guess…yeah thanks.
SHAUNICE:
Oh my god, the thirst is real.
JAMAL
Can I bum a loosey off you?
SHAUNICE reaches into her cleavage and pulls out a pack cigarettes. She shakes one and hands one to JAMAL.
JAMAL:
Damn. You packin anything else in there?
SHAUNICE:
Just a few things. Jay-Roc, this is Leigh. Leigh Jay-Roc. Leigh’s been here for 4 months.
JAMAL (a bit exacerbated):
I know. (To LEIGH) Just call me Jamal. Not Jay-Roc.
SHAUNICE:
Since when?
JAMAL:
News travels fast in the AC. Apparently not fast enough for Shaunice though. Welcome to the AC, Leigh. Are you going with us?
LEIGH:
Going where?
Across the street, a dark-tinted car pulls up to the curb. The grill and headlights look eerily familiar. The bass on the reggaeton music is so high, the hood vibrates. The passenger side window rolls down half way to reveal, RICKY ‘RIC-ROC’ GUERRA, Latino, late teens, 16-18, long-hair pulled into a pony tail, hefty build, more brawns than brains, loyal to a fault.
RICKY doesn’t smile as he nods for the gang to come over.
SHAUNICE:
We’re grabbing something to eat.
LEIGH:
We just had lunch.
SHAUNICE:
How to make it in the AC? Rule One. Don’t eat the school meat, not unless they do first.
JAMAL strolls over to the car. SHAUNICE follows.
SHAUNICE:
Another rule: Don’t leave a homegirl behind.
LEIGH:
But studio is next.
SHAUNICE:
Girl, please don’t leave me alone with all these boys.
JAMAL:
We don’t bite.
LEIGH coughs uncomfortably.
ACT 2, SCENE 9 INT: LOCO’S CAR – AFTERNOON
Vintage feel. Leather seats. Clutter on the floor. Has a musty, smoky look inside, because JAMAL, SHAUNICE, RICKY, and the driver, LOCO ZANE are passing a blunt around. When it comes to LEIGH, she turns it down and passes it to JAMAL.
The BRIGHT EYES of the driver, LOCO ZANE –mixed race, late teens, 18-20, but looks older, alluring eyes, almost appears angelic, unique laugh, speaks charmingly, but there is always something lurking beneath the surface with him – He looks back at LEIGH from the rearview mirror.
LOCO:
You don’t smoke?
LEIGH:
Nah, I’m good.
LOCO:
Shaunice, where’d you pull this zero from?
LOCO laughs brightly and infectiously. His teeth are nearly white and his eyes glisten with joy. OS RICKY laughs with him.
JAMAL, LEIGH, and SHAUNICE are squeezed in the back. LEIGH is pressed against JAMAL. They trade awkward smiles and glances at each other.
The conversations in the car are rapid, quick, bouncing back and forth from person to person, almost blurring into each other, building up speed.
RICKY:
Hey, Pink Shirt, you gotta name?
JAMAL:
Yea, not Pink-Shirt. Where’s your manners?
LEIGH:
My name’s Leigh.
RICKY:
Ain’t that a boy’s name?
JAMAL:
Yo, Loco, who’s whip is this?
LOCO:
You see that I’m driving it, don’t you?
JAMAL:
Quit playing. Where’d you cop this from for real? I don’t want to go back to lock up.
LOCO:
Then don’t ask, because if I tell you, I have to hurt you.
JAMAL:
Ohhh, I’m scared.
LOCO (laughs):
You betta be, nigga.
RICKY:
I mean, I’m cool if you’re a dude. You don’t look like some of the busted trannies do.
SHAUNICE:
Pay Ricky no mind. He’s been bounced around from home to home on his head.
JAMAL:
Big facts!
LEIGH:
Leigh’s actually short for Marleigha.
LOCO’S eyes peer at her from the rearview mirror again.
LOCO:
Where you from, Marleigha?
LEIGH:
Just Leigh, and why do you want to know?
LOCO:
Why you gotta come at me like that? I’m saying you look Spanish. You from Uptown? We got some smoke over there. I wonder if you know them.
LEIGH shakes her head.
LEIGH:
I’m not about that.
RICKY:
Yea, I’m half Puerto Rican, half Indian, half Black and Irish.
JAMAL:
I told you that doesn’t make sense. Those are too many halves, bro.
SHAUNICE:
We are hotboxing the shit outta this car.
RICKY:
It’s that good-good.
LEIGH:
No one could see us right?
LOCO:
The windows are smoked.
SHAUNICE:
What did I tell you about going with the flow?
LEIGH:
I was just making small talk. Like, why is the sky blue? Or do you have a license to drive?
LOCO laughs in response.
LEIGH is a little worried.
SHAUNICE:
I think you’ve caught a contact. You’re acting paranoid.
JAMAL (to LEIGH):
It’s alright. Loco’s just fucking with you.
LOCO:
Not yet, but if she wants to later, I’m down.
JAMAL playfully slaps the back of LOCO’S head.
SHAUNICE reaches into her cleavage and pulls out a box of candy and hands them to RICKY.
LOCO:
Just what the doctor ordered. Thank you nurse.
LOCO caresses the back of SHAUNICE’S head. She brims from ear to ear.
RICKY holds the box to his cheeks.
RICKY:
Wow, they feel like warm biscuits.
JAMAL turns to LEIGH
JAMAL:
Did Nurse tell you about the party tonight?
LEIGH:
This is the first that I’m hearing about a party.
SHAUNICE:
You don’t want to miss it.
JAMAL:
Where we going? I thought we were getting grub.
LOCO:
Chill. I’m the captain now.
LEIGH:
LOOK OUT!
The car brakes hard and screeches to a stop nearly hitting the ELDERLY BAGLADY as she crossed the street with her shining cart of cans and bottles.
LOCO leans on the horn and punches it for the BAGLADY to move. He rolls down his window and screams at her.
LOCO:
You see that? She jumped in front of the car like she wanted to die. Move bum! Or I’ll move you.
LOCO starts to get out of the car, but JAMAL struggles to hold him down. SHAUNICE starts laughing hysterically.
SHAUNICE:
I’m so high.
LOCO (laughs, but serious):
All I needed was a reason to fuck someone up today.
JAMAL:
Yo chill, Loco. Just give her some time to cross.
LOCO:
Nah, bro. She playing us. I should run her ass over for being stupid.
JAMAL:
Don’t do that. She probably wasn’t paying attention.
RICKY:
Bump that, Loco! I got you if you wanna do something, bro.
JAMAL:
For real, chill.
LOCO finally closes the car door and JAMAL turns to LEIGH.
JAMAL:
You ok?
LEIGH nods but she is preoccupied with the BAGLADY who seems to be staring directly at her even through the tinted windows. They are making intense eye contact. BAGLADY’S eyes bat quickly.
SHAUNICE (soberly):
Is she looking at me?
LOCO doesn’t wait for the BAGLADY to fully make it across. He goes around her and honks as he drives past.
SHAUNICE:
She’s definitely looking at me. How’s she doing that?
JAMAL:
Pay attention, Loco. We don’t need to crash.
LEIGH notices something on JAMAL’S forearm, almost below his wrist. JAMAL tries to pull down his sleeve, but LEIGH spots the THREE-C TATTOO pattern.
JAMAL:
Why are we back in the hood?
ACT 2, SCENE 10 EXT: BRICKS – AFTERNOON
Outside the car are the bricked project homes of BRICKS. More concrete than greenery.
ACT 2, SCENE 11 INT: LOCO’S CAR – CONTINUED
LOCO:
Keep the car running. Ricky and I gotta make a play.
LOCO gives RICKY a look that makes him smile.
ACT 2, SCENE 12 INT: A-BRICKS APT, SAME DAY
While RICKY peruses the nicely decorated and furnished apartment, LOCO has his arms about VINCENT – an older man of 40-50s.
LOCO:
You ain’t just an OG to me. I consider you family. You showed me the streets when no other man could. So how Imma look calling you uncle if we got problems?
VINCENT:
We don’t got problems, Loco.
LOCO:
So don’t have me putting in work for your old ass, if you ain’t gonna give me mine.
VINCENT:
See that’s your problem. You think you grown; that you know shit. I told you already. Open your ears. Your shit ain’t here. The Mayor’s pushing the Housing Authority to clean up the Bricks and I gotta keep my place clean. But what do you know about holding down a front?
LOCO:
See now you’re pushing tickets, bro. The Mayor has nothing to do with our deal. We’re the Crips. We’re The Bricks. We’re Astro City. Not the Mayor. Not no Housing Authority.
RICKY stumbles upon a bat.
RICKY:
You shitting me, bro? Mom dukes always said I had a nice swing.
RICKY is fascinated the bat and starts to practice some swings.
VINCENT:
You break anything in here it’s your ass.
LOCO:
Don’t mind Ric. You talking to me.
VINCENT:
Nah conversation over.
VINCENT flashes a gun from his waistband.
LOCO laughs and then he pulls out a box cutter from his pocket and extends the blade.
VINCENT:
The fucks that? You gonna cut me? You as crazy as you look, for real.
RICKY:
I got your back Loco.
RICKY points at VINCENT with the bat.
LOCO:
Make sure you shoot to kill, because I like handing out line ups.
LOCO’s grip tightens around the box cutter.
VINCENT:
No man has a death wish that bad. You after something else. What? You want to be your own man? You want power? Respect?
LOCO:
You see me standing here, don’t you? You ain’t that ol’.
VINCENT:
My boy stood there too. Near damn at my hip. You see how they did him. Someone’s gotta bleed for that. I can’t do it on my own. I’m tired. If you handle that for me, then you got power. Then you got my respect.
LOCO:
We got this. Just tell us what we gotta do.
LOCO’s smile widens.
LOCO:
Who’s gotta bleed?
END OF ACT 2