ACT 3, SCENE 1 EXT: DOWNTOWN UNDERGROUND SUBWAY STOP – LATENIGHT
OMAR (O.S.)
(slowly coming into shot) Yeah, I’m heading back home right now. Why? Oh! You want to see me?
OMAR jogs down to steps to the subway with his messenger bag swinging at his hips, pays his toll and walks out onto the platform. He appears to be the only one there. The train is nowhere in sight at either ends of the tunnel.
OMAR:
(into cell phone) Yea, I worked late tonight. I can’t wait to get into bed.
BLACK TITLE CARD: 3 MONTHS EARLIER
OMAR is now sitting on a bench awaiting the train. He sits very relaxed almost cradling the phone to his ear one hand on his lap.
OMAR:
What if I went home to you instead? Really? (laughs) That’ll be nice. I like your bed.
As OMAR continues to adlib comes one and flirts, he looks around, making sure the coast is clear – he still is alone –he rubs his crotch slowly. He moans softly.
Back at the stairs, something green crawls down into the subway on all fours. It swings back and forth like an alligator.
From behind a subway column, a green ski-masked THUG pokes his head out and seems to slither its way further into the light.
The thing on all fours that crawled down the stairs is actually another THUG dressed in the same green and black fatigue clothes made to look like scales. He crawls from off his stomach and on to his knuckles and toes like a primate.
OMAR is so distracted one of the THUG slowly crawls up behind him and yanks his phone away and RUNS.
OMAR jumps in surprise.
The second THUG whips out a knife to cut OMAR’S bag strap, grabs the bag and RUNs.
HARD CUT TO:
ACT 3, SCENE 2 INT: HOUSE DINING ROOM – NIGHT – PRESENT
Around the table eating are OMAR, LINDA BUTLER (MOHAMED’S 30s something wife), and MOHAMED BULTER – OMAR’S mid-late 30s older brother. His face, left arm and hand are discolored and disfigured from a severe burn healed long ago.
LINDA:
Oh my god.
OMAR:
I had the same reaction. Never in all my years, no matter where I lived in the AC: The Bricks, Uptown, the Heights, I’ve never been robbed.
LINDA:
You’ve been really fortunate then.
MOHAMED:
This is the first time I’m hearing about this. What did you do?
LINDA:
Amed! Your brother’s talking about being robbed.
MOHAMED:
Tell us what you did, Omar. You must’ve done something you shouldn’t’ve. That’s why you’re finally telling me this.
LINDA:
Don’t answer.
OMAR (smiles):
It’s ok. He’s right. (Beat) I chased him.
HARD CUT BACK TO
ACT 3, SCENE 3 INT: SUBWAY – 3 MONTHS AGO
OMAR sprints the length of the platform after the THUG, who has the messenger bag flying in his grasps. The other THUG is long gone with his cellphone.
OMAR catches up to the THUG quickly and swings him around by the arm.
THUG swipes and jabs at OMAR with the knife, but OMAR dodges the swings each time.
HARD CUT BACK TO
ACT 3, SCENE 4 INT: HOME DINNER TABLE – SAME
MOHAMED:
I can’t believe that you would risk your life for a bag.
OMAR:
I was running on adrenaline. I wasn’t thinking.
MOHAMED:
You only have one body, one life, and you throw it away for a corner store handbag!
LINDA:
Ok, Amed, relax. He gets it.
MOHAMED:
No he doesn’t. You should’ve just called the police.
OMAR gives him a knowingly sarcastic glance.
MOHAMED:
So what they took your phone! Then you should’ve walked your ass to the nearest store and called the police. Hell, you could’ve called me. I would’ve made sure you got the right officers. They would’ve been all over your case and had your phone back in your hands by the time your head hit the pillow.
OMAR:
My wallet, government files, and laptop with sensitive data were in that bag. I couldn’t just let that little shit get away with it.
LINDA:
Well did you get it back?
OMAR:
All those defensive disengagement workshops at City Hall paid off.
MOHAMED rolls his eyes.
HARD CUT BACK TO
ACT 3, SCENE 5 INT: SUBWAY – SAME
OMAR dodges the THUG’S knife swings stealthily and like a ninja grabs the THUG’S knife-wielding arm and swings him until his arm is behind him and the knife is in OMAR’S hand. OMAR grabs his bag, throws the knife onto the subway tracks, rips the THUG’S ski mask off, and kicks the THUG to the floor.
OMAR:
You can’t go around stealing people’s shit.
THUG is actually JAMAL. JAMAL jumps up prepared to fight and OMAR squares up with him threateningly. JAMAL hesitates. OMAR hesitates.
SUBWAY TRAINS is finally coming.
OMAR:
You hungry?
HARD CUT BACK TO
ACT 3, SCENE 5 INT: LATE NIGHT DINER BOOTH- SAME NIGHT THREE MTHS EARLIER
OMAR AND JAMAL are sitting across from each other with a diner table covered with food between them. OMAR watches silently as JAMAL clears off his plate.
OMAR:
Damn, you were really hungry. Now that you’re fed can I get your name?
JAMAL remains silent. He sits back like he’s fixing to run.
OMAR:
Listen, I got a cop in my family. I can phone him up right now and have you in cuffs by the time you even make it around the block.
JAMAL:
You some kind of pervert? You get off on messing wit kids?
OMAR:
He speaks! No. I’m just trying to talk to you. What’s your name? Where you from?
JAMAL:
Jay-Roc from the C-Brick Crips.
OMAR:
If you have to steal to eat, your Croc fam’s failing you bad.
JAMAL:
The fuck you know about Crips?
OMAR:
Drop the mask already. You’re turning yourself into a caricature.
JAMAL caught off guard.
OMAR:
A Caricature is…
JAMAL:
I know what the hell it is. I ain’t no caricature.
OMAR:
No, you didn’t strike me as one either. Smart enough to know what a caricature is, but dumb enough to steal.
JAMAL:
I ain’t dumb. You do what you got to do in the AC.
OMAR:
You could’ve dipped on me many times when we were walking over here, but you didn’t. Why?
JAMAL (shrugs):
Why’d you ask me if I was hungry?
OMAR:
Because if you were ready to risk your life for a couple dollars, maybe you needed help. Not my wallet.
JAMAL:
I don’t need help. I can take care of myself.
OMAR:
I believe you, but is that how you want your story to end? Alone? My brother and I had it rough too, but we couldn’t’ve gotten through it without each other and without (pointing at JAMAL’S head) this. We had to be smart about what we were doing. That’s the key out of this hell. That’s the only rule that matters.
JAMAL:
You some kind of social worker?
OMAR:
No, I got out the hood a long time ago, and I’m working for the Mayor now.
JAMAL:
So what? You’re a cuffed boy for the man. Want a cookie?
OMAR:
I’m making enough money to buy myself and my would-be mugger almost every damn thing on this menu.
JAMAL:
I didn’t ask you to do that.
OMAR:
You’re right, but it was the right thing to do. You gotta get the hell out this gang, nephew.
JAMAL:
We eat food together and now we’re related?
OMAR:
Life has fucked both our parents. We might as well be blood. Seriously, what do you see yourself doing years from now?
JAMAL:
I don’t know.
OMAR:
Seriously. Have you worked before? Are you good at anything? I could connect you to the right people.
JAMAL:
I rap a little.
OMAR:
You any good? Spit some bars.
JAMAL:
You wanna hear some? right now?
OMAR:
I could still call the police if you want.
JAMAL sighs and pulls out a worn down notepad from his pocket.
OMAR:
And he carries a pen and paper. Do kids even do that anymore?
JAMAL is bashful to read it at first.
JAMAL:
<slam poetry about his name being JAMAL.>
OMAR:
That’s talent. DJ Fyah is a friend of mine. I should connect you to him. (Beat) So Jamal’s your real name?
JAMAL:
Nah, it’s my turn to ask you questions. What’s your name?
OMAR:
Omar Butler.
JAMAL:
Nice to meet you Omar. I’m Jamal.
OMAR:
Nice to meet you Jamal.
They shake hands that turns into a signature Croc dap.
ACT 3, SCENE 6 INT: DINNER TABLE – SAME
LINDA:
I hope what you said to him hit home. These kids don’t know how precious their lives are anymore.
MOHAMED:
Yea, way to go Omar. You should take your buy-a-thug-a-lunch program national. Did you get your shit back?
OMAR:
He gave it back to me so I could pay for dinner.
MOHAMED:
And, who was it you were talking to on the phone?
OMAR:
Excuse me?
LINDA:
Watch out. He’s in full-on detective mode now.
MOHAMED:
You started by saying you were on the phone with this woman you were talking to. Melissa dumped you a while ago.
LINDA:
Oh I really liked her.
MOHAMED:
So, who’s the woman you’re boning now?
OMAR is speechless until his cellphone rings. Literally save by the bell.
OMAR
It’s the Mayor. (he excuses himself and then into the cell phone) Hello. Right now? I’m with my family. (sighs) Yea. I understand. Just give me a few. (to the dinner) Sorry. Duty-calls.
MOHAMED:
Apostolou can eat a dick.
LINDA:
AMED!
OMAR:
Love you too, brother. Night Linda. By the way Rev Mac wants to see us in church.
While OMAR leaves, LINDA caresses MOHAMED’S scarred hand.
MOHAMED:
I don’t care what you say, babe, my brother’s an idiot.
ACT 3, SCENE 7 INT: NETTA’S HOME- SAME
LEIGH walks into the home and is startled to see NETTA standing in a dark living room. She is dressed in a sexy red number.
LEIGH:
You scared me. (beat) You look nice. Are you going out?
NETTA:
I’m meeting up with a friend. Your plate is in the oven if you want it. (beat) It’s past your curfew. Where’ve you been? J-Cool told me you weren’t working today.
LEIGH:
Sorry. I lost track of time. Thank you for the food, but I’m kinda tired. I won’t be late again.
As LEIGH walks up the stairs, NETTA scoffs at an offensive odor.
NETTA:
You reek, you lil’ heathen.
LEIGH stops at the base of the stairs.
LEIGH:
You can’t talk to me like that.
NETTA:
The school called and said you missed classes. I bet you were hanging out with Shaunice smoking your life away.
LEIGH:
Oh my god, fall back. Like what are you doing right now?
NETTA:
I told you Astro City is a dangerous place. There’s rules. You can’t trust everyone.
LEIGH:
You’re not my mother. You don’t have to act like you care. Matter-of-fact, let’s just pretend this conversation never happened. I won’t complain to my social worker, and you can still collect your checks.
Unbeknownst to LEIGH behind her and coming down the stairs, step by step, slowly and silently, is JOSH in his BLOODY GHOST costume.
NETTA:
I may not be your mother, but I know what your mother feels when she can’t hold you anymore. She’s lost you, and it has left her empty.
LEIGH:
Sister, you CLEARLY don’t know my mother.
GHOST is getting closer to LEIGH and it is midway down the stairs
NETTA (tearful):
The day the police came to my door and told me that some monster killed my son, I died with him. I won’t ever get him back. I won’t get justice. The monster that took Josh is still out there, and I can’t lose anything else to it. I won’t.
LEIGH:
I told you you’re not my mother. You don’t have to worry about me.
GHOST is right behind LEIGH just standing there, inches from her neck.
NETTA:
If you say Astro City fast enough, you’ll hear its true name beneath the lie. ASTRO-CITY. ASTRO-CITY. ASTRO-CITY.
NETTA repeats Astro City so fast and loud, it frightens LEIGH away. She runs up the stairs. No ghost is there.
The faster NETTA goes the more it sounds like she’s saying ATROCITY.
ACT 3, SCENE 8 INT: BEDROOM – same night.
In her bedroom, Leigh slams the door shut. OS you can hear NETTA yelling ATROCITY still. LEIGH’S cell phone is already in her hand.
LEIGH:
You’re right. Sister Netta’s cooked. When does the party start?
Act 3, SCENE 9 INT: LOCO’S CAR – NIGHT
The car is parked. JAMAL is in the passenger seat scribbling in his beat-up notepad. LOCO has just finished handing a tiny bag to someone in the backseat in exchange for some money. As the person leaves satisfied, LOCO places the money in the armrest where A WAD OF CASH is stacked.
LOCO rolls down the window and drives off. He keeps looking in JAMAL’S direction suspiciously.
LOCO:
What you writing now?
JAMAL is quiet. He’s busy writing.
LOCO:
Nigga, you deaf?
JAMAL:
What?
LOCO yanks the pad from JAMAL’S hand.
JAMAL:
Don’t play with my shit like that.
LOCO scans it quickly before JAMAL yanks it back.
LOCO:
Is this about that square? Bro, for real? I know at least 10 bad bitches that’ll slob our jocks right now.
JAMAL:
You don’t think she’s bad?
LOCO:
All bitches are birds, but at least I know where your head’s at. I see you writing a lot more now.
JAMAL:
It’s what kept me busy when I was locked up.
LOCO:
I respect that, but you out now. Been out. You don’t need that shit. We family. I got you. Whatever you need.
JAMAL:
It’s not a big deal, Loco.
LOCO:
Nah it’s a big deal cause your mind ain’t here bro. You thinking about some Uptown chic.
JAMAL:
Why you getting amped?
LOCO is upset and quickly changes directions in his drive and takes them to the Downtown area. He runs through stop signs.
JAMAL:
Yo, be careful. Where are we going?
LOCO:
If you don’t want to do this anymore, just say so.
JAMAL:
Are you hearing shit? I never said I was leaving. What’re we doing down here?
LOCO:
Main Street is what separates the Heights from The Bricks, them from us. It’s always been us versus them. The OGs used to talk about it all the time. You came from the Bricks. Don’t forget that. When Uptown niggas were gonna jump you, I told you where to lay low.
JAMAL:
Aite, I got it. I don’t need a history lesson. You just passed a red light.
LOCO:
When I had nothing to eat, you held me down. When you first got released, who blazed you up? Uptown, Heights, it really won’t matter if I don’t got my right and if his head ain’t in the right place. Ricky’s already dumb as shit.
JAMAL:
Big facts.
LOCO:
So you here or nah?
LOCO is waiting for a response. JAMAL is thinking about it, taking it all in.
JAMAL:
I told you I’m not going anywhere.
LOCO:
Aite, then. You scared me for a second.
LOCO slaps JAMAL across the head playfully and they dap each other. As LOCO resumes driving, JAMAL smiles weakly.
END OF ACT 3