<script>
  <scene>
    <scene_description>Rev. 10/21/19 (Yellow) Rev. 10/28/19 (Green) Rev. 10/31/19 (Goldenrod) Rev. 11/15/19 (Buff) Rev. 11/24/19 Conformed to Final Cut</scene_description>
    <character>JUDAS AND THE BLACK MESSIAH</character>
    <dialogue>Screenplay by</dialogue>
    <scene_description>Will Berson & Shaka King Story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas This script is the confidential and proprietary property of Warner Bros. Pictures and no portion of it may be performed, distributed, reproduced, used, quoted or published without prior written permission.</scene_description>
    <character>FULL PINK DRAFT</character>
    <dialogue>October 16, 2019</dialogue>
    <scene_description>(Macro) Red Zone Pictures, Inc. © 2019 4000 Warner Boulevard WARNER BROS. ENT. Burbank, California 91522 All Rights Reserved</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. NONDESCRIPT OFFICE - DAY (1989) 10 \*</stage_direction>
    <scene_description>THIRTY-NINE-YEAR-OLD WILLIAM O'NEAL, dapper in a suit, \* sits in a chair sweating profusely. \*</scene_description>
    <character>VOICE 1 (O.S.) \*</character>
    <dialogue>Keep it rolling, we'll just get a \* bonus one of these. \*</dialogue>
    <scene_description>O'Neal shifts in his chair. \*</scene_description>
    <character>VOICE 2 (O.S.) \*</character>
    <dialogue>(re: O'Neal) \*</dialogue>
    <scene_description>Will somebody wipe him down? \* A slate comes into frame. \*</scene_description>
    <character>VOICE 3 (O.S.) \*</character>
    <dialogue>Eyes on the Prize 2, March 3rd, \* 1989. Bill O'Neal interview. \*</dialogue>
    <character>INTERVIEWER (O.S.) \*</character>
    <dialogue>Looking back on your activities in \* the late 60s, early 70s, what \* would you tell your son about what \* you did then? \*</dialogue>
    <scene_description>O'Neal looks off camera. \*</scene_description>
    <character>STOCK FOOTAGE MONTAGE: \*</character>
    <dialogue>- BLACK CITIZENS point to a nearby burning building. \*</dialogue>
    <dialogue>- An article reads "MARTIN LUTHER KING SLAIN" \*</dialogue>
    <dialogue>- FIRES burn over a city. \*</dialogue>
    <dialogue>- An article reads "Army troops in capital as Negroes \* riot" \*</dialogue>
    <dialogue>- ARMED SOLDIERS march toward a group of BLACK CIVILANS. \*</dialogue>
    <dialogue>- A BLACK MAN speaks at a microphone. \*</dialogue>
    <character>MAN (V.O.) \*</character>
    <dialogue>Those are not riots. Those are \* rebellions. The people are \* rebelling because of the \* conditions and not because of \* individuals. No individual creates \* a rebellion. It is created out of \* the conditions. \*</dialogue>
    <scene_description>CONTINUED: - A WHITE POLICE OFFICER charges at an unarmed BLACK MAN. \* - WHITE POLICE march toward a group of BLACK CITIZENS. \* - A BLACK MAN holds up a fist as he's harassed by police. \* A musical chant rises: \*</scene_description>
    <character>VOICES (O.S.) \*</character>
    <dialogue>(singing) \*</dialogue>
    <scene_description>Revolution is the only solution. \* Revolution is the only solution. \* - A group of BLACK PANTHERS do pushups near a lake. \* - A group of BLACK PANTHERS stand united together, and \* raise their fists as one. \* - A BLACK MAN holds a "Free Huey" flag. \* - ANGELA DAVIS holds up a picture of Huey P. Newton in \* front of a class of Black children. \*</scene_description>
    <character>ANGELA \*</character>
    <dialogue>Okay. Who's this? \*</dialogue>
    <character>CHILDREN \*</character>
    <dialogue>Huey P. Newton. \*</dialogue>
    <character>ANGELA \*</character>
    <dialogue>And where's Huey? \*</dialogue>
    <character>CHILDREN \*</character>
    <dialogue>In jail. \*</dialogue>
    <scene_description>- HUEY P. NEWTON sits in a jail cell. \*</scene_description>
    <character>ANGELA (PRE-LAP) \*</character>
    <dialogue>The first thing that the Black \* Panther party did of course in \* Oakland was to set up an armed \* patrol... \*</dialogue>
    <scene_description>- Angela speaks to an offscreen INTERVIEWER. \*</scene_description>
    <character>ANGELA \*</character>
    <dialogue>In order to ensure that Black \* people were not harassed and \* intimidated by the local police \* department. \*</dialogue>
    <scene_description>- Huey stands in his cell and speaks to an interviewer \* O.S. \* CONTINUED: (2)</scene_description>
    <character>HUEY \*</character>
    <dialogue>And the police arrested the \* individual. We followed him to the \* jail and bailed the individual \* out. Whether he was a panther or \* not. \*</dialogue>
    <scene_description>- A map of the United States shows CARTOON BLACK PANTHERS \* popping up all over the U.S. \*</scene_description>
    <character>VOICE (O.S.) \*</character>
    <dialogue>The Panthers are the vanguard, \* man. We're talking about... \*</dialogue>
    <scene_description>- A MAN stands in front of an audience giving a speech. \*</scene_description>
    <character>MAN \*</character>
    <dialogue>A non-capitalistic state. That's \* what we're talking about. \*</dialogue>
    <scene_description>- A MAN speaks into a microphone. \*</scene_description>
    <character>MAN \*</character>
    <dialogue>Yeah we armed, we're an armed \* propaganda unit. But we spend most \* of our time working with these \* programs. Serving the people. \*</dialogue>
    <scene_description>- A Black Panther AMBULANCE moves past. \* - CHILDREN receive food at a free breakfast program. \* - A MAN speaks to a crowd. \*</scene_description>
    <character>MAN \*</character>
    <dialogue>Free medical clinic. Free \* breakfast for children program. \* The inter-communal institute and \* liberation schools, free legal aid \* and education for the community. \*</dialogue>
    <scene_description>We reveal footage of the MAN is on a screen in an FBI \* AUDITORIUM. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FBI HEADQUARTERS - AUDITORIUM - DAY 1 \*</stage_direction>
    <scene_description>J. EDGAR HOOVER (73) marches across the stage, addressing \* an audience of FBI AGENTS. \* \*: CONTINUED:</scene_description>
    <character>HOOVER</character>
    <dialogue>The Black Panthers are the single \* greatest threat to national security. More than the Chinese, even more than the Russians. Our \* counterintelligence program must prevent the rise of a black messiah from among their midst -- \*</dialogue>
    <scene_description>ROY MITCHELL (34), white, beefy with a crew cut watches \* Hoover intently. \*</scene_description>
    <character>HOOVER \*</character>
    <dialogue>One with the potential to unite \* the Communist, the anti-war, and \* the New Left movements. \*</dialogue>
    <scene_description>Behind Hoover, the slide changes revealing footage of \* FRED HAMPTON. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>We don't fight fire with fire, we \* fight fire with water. \*</dialogue>
    <character>HOOVER \*</character>
    <dialogue>This man. \*</dialogue>
    <character>FRED \*</character>
    <dialogue>We don't fight racism with racism. \* We're gonna fight racism with \* solidarity. \*</dialogue>
    <character>HOOVER \*</character>
    <dialogue>Frederick Allen Hampton.</dialogue>
    <character>FRED \*</character>
    <dialogue>We ain't gonna fight capitalism \* with Black capitalism, we're gonna \* fight capitalism with socialism. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. LEON'S POOL HALL - NIGHT</stage_direction>
    <character>SUPERIMPOSE:</character>
    <dialogue>CHICAGO -- 1968</dialogue>
    <scene_description>We TRACK BEHIND a billowing raincoat. WILLIAM O'NEAL (18), dressed like a G-man in a Stetson fedora, slows to a stop as he reaches a shiny red ragtop Pontiac GTO. He inspects it, also taking note of where it's parked: outside a South Side pool hall. A "CLOSED" sign hangs in the window. A2 INSIDE - O'NEAL'S POV A2 Five young black men cluster around a pool table in the back. Several wear green berets: the calling card of the Crowns, Chicago's most notorious gang.</scene_description>
  </scene>
  <scene>
    <stage_direction>B2 EXT. LEON'S POOL HALL - CONTINUOUS ACTION B2</stage_direction>
    <character>O'NEAL</character>
    <dialogue>Fucking Crowns... Of course.</dialogue>
    <scene_description>O'Neal lights a cigarette and silently deliberates his next move, wondering if it's worth the risk. He glances back at the car... and enters the establishment.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LEON'S POOL HALL - CONTINUOUS ACTION</stage_direction>
    <character>BARTENDER</character>
    <parenthetical>(addressing O'Neal)</parenthetical>
    <dialogue>We're closed.</dialogue>
    <scene_description>An older man nurses a drink at the bar. O'Neal withdraws from his pocket a badge.</scene_description>
    <character>O'NEAL</character>
    <parenthetical>(imitating Joe Friday)</parenthetical>
    <dialogue>Alright. Playtime's over. Everybody grab a fucking wall. \*</dialogue>
    <character>BARTENDER</character>
    <dialogue>What the hell is this? I just \* paid O'Mally last week.</dialogue>
    <character>O'NEAL</character>
    <dialogue>You hear me? Do I look like some \* two-bit shakedown artist to you? What the fuck does this say? The \* initials? \*</dialogue>
    <scene_description>O'Neal shoves his badge in the Bartender's face.</scene_description>
    <character>BARTENDER</character>
    <parenthetical>(incredulous)</parenthetical>
    <scene_description>FBI?</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>FBI. That's right big guy. Ay, \* where you going? Come back here, \* clown. Everybody, hands on the \* fucking table. Come here! \*</dialogue>
    <scene_description>CONTINUED: O'Neal roughly grabs CARDIGAN-CLAD Crown by the collar \* and rifles through his pockets as he marches him to the back. The Crowns reluctantly line up against the pool table. \*</scene_description>
    <character>TEX</character>
    <dialogue>We in here minding our own business. Ain't nobody causing no trouble.</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>Yeah, spread 'em open. \*</dialogue>
    <character>TEX \*</character>
    <dialogue>Fuck off me, pig. Y'all \* motherfuckers ain't got shit to do \* tonight? \*</dialogue>
    <scene_description>O'Neal withdraws a switchblade from Tex's pocket. \*</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Ah, you just minding your own \* business right? What's this? \* What's that? Fuckin' idiot. \*</dialogue>
    <scene_description>LATER, the Crowns' pockets are emptied on the pool table. \*</scene_description>
    <character>VOICE (O.S.) \*</character>
    <dialogue>I swear to God there ain't no pig \* worse than a nigga with a badge. \*</dialogue>
    <scene_description>O'Neal discovers a car key with the Pontiac logo \* engraved. He grabs a CARDIGAN CLAD TEEN. \*</scene_description>
    <character>O'NEAL</character>
    <dialogue>Alright Big Man, you're going \* downtown. \*</dialogue>
    <character>CARDIGAN-CLAD</character>
    <dialogue>What?!</dialogue>
    <character>O'NEAL</character>
    <parenthetical>(re: keys)</parenthetical>
    <dialogue>That GTO out there? The red one, \* it belong to you? \*</dialogue>
    <character>CARDIGAN-CLAD</character>
    <dialogue>Yeah.</dialogue>
    <character>O'NEAL</character>
    <dialogue>It was reported stolen two months ago. Let's go. \*</dialogue>
    <scene_description>CONTINUED: (2) O'Neal tries to push Cardigan out but he resists. Tex obstructs his path.</scene_description>
    <character>CARDIGAN-CLAD</character>
    <dialogue>Hell, naw! That's my car!</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>Easy. You're under arrest for \* grand theft auto. \*</dialogue>
    <character>CARDIGAN-CLAD \*</character>
    <dialogue>I got papers on it and everything! \*</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>Tell it to the judge.</dialogue>
    <scene_description>O'Neal pulls Cardigan-Clad around Tex, almost using him as a shield.</scene_description>
    <character>TEX</character>
    <dialogue>Say man, what the fuck is the FBI \* doing looking for a stolen car, \* huh? Y'all run outta niggas to \* assassinate?</dialogue>
    <scene_description>Cardigan-Clad thrashes, inadvertently headbutting O'Neal, \* who loses his hat. He starts to pick it up, then has second thoughts. Tex gets a clear look at O'Neal for the first time. He looks like a kid. Suspicious, Tex grabs his knife off of the pool table.</scene_description>
    <character>TEX</character>
    <dialogue>You ain't no fucking cop, nigga. \*</dialogue>
    <scene_description>He unsheathes his blade and takes a step forward.</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Stay the fuck back! \*</dialogue>
    <scene_description>O'Neal shoves still-cuffed Cardigan to the floor and makes a break for the exit with the Crowns on his heels.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LEON'S POOL HALL - MOMENTS LATER</stage_direction>
    <scene_description>O'Neal slides over the hood of the GTO and keys into the driver's side as his pursuers tumble out of the bar. Tex tries to kick in the driver's-side window.</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Stay the fuck back! \*</dialogue>
    <scene_description>His friends follow suit as O'Neal starts the engine and \* reverses, smashing into the parked car behind him. CONTINUED: Tex mounts the roof of the car and slashes a hole in the \* ragtop.</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Stay the fuck back! \*</dialogue>
    <scene_description>Tex tries to slice O'Neal's throat but before he can, \* O'Neal grabs his wrist and bites his hand. \*</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Get the fuck off my shit! \*</dialogue>
    <scene_description>O'Neal mashes his foot on the gas. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>A4 EXT./INT. PONTIAC (MOVING) - CONTINUOUS ACTION A4</stage_direction>
    <scene_description>Tex loses balance and tumbles off the roof of the car. O'Neal pants, his fear rapidly turning into excitement, as the adrenaline junkie revels in his victory.</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Motherfucker! \*</dialogue>
    <scene_description>It's short-lived, though. Blue lights flash behind \* O'Neal as he speeds through the intersection. His face falls. SMASH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COOK COUNTY JAIL - INTERVIEW ROOM - SAME NIGHT</stage_direction>
    <scene_description>Alone, O'Neal sits in a metal chair, hands cuffed behind his back, a nasty gash above his right eye. After a moment, the door is opened by a cop who grants FBI Agent Mitchell entry. He drags a table over to O'Neal and takes a perch on top.</scene_description>
    <character>MITCHELL</character>
    <parenthetical>(producing his badge)</parenthetical>
    <dialogue>Special Agent Mitchell, FBI.</dialogue>
    <scene_description>O'Neal tries to hide how impressed/intimidated he is.</scene_description>
    <character>MITCHELL</character>
    <dialogue>Almost as spiffy as yours.</dialogue>
    <scene_description>Mitchell tosses O'Neal's fake badge onto the table.</scene_description>
    <character>MITCHELL</character>
    <dialogue>Now, tell me, why the badge? Why \* not just use a knife or a gun like \* a normal car thief?</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>A badge is scarier than a gun.</dialogue>
    <character>MITCHELL</character>
    <dialogue>Would you mind explaining that for \* me? \*</dialogue>
    <character>O'NEAL</character>
    <dialogue>Any nigga on the street can get a \* gun, man -- sir. But a badge?... \* It's like you got the whole damn \* army behind you.</dialogue>
    <scene_description>Mitchell considers his point -- and intelligence. He scoops the badge back up.</scene_description>
    <character>MITCHELL</character>
    <dialogue>I'd better hold on to this, then.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Were you upset when Dr. King was murdered?</dialogue>
    <scene_description>O'Neal is caught off guard by Mitchell's sudden pivot.</scene_description>
    <character>O'NEAL</character>
    <dialogue>What?</dialogue>
    <character>MITCHELL</character>
    <dialogue>Were you upset when Dr. King was murdered?</dialogue>
    <character>O'NEAL</character>
    <dialogue>I dunno...</dialogue>
    <character>MITCHELL</character>
    <dialogue>You can be honest. \*</dialogue>
    <character>O'NEAL</character>
    <dialogue>A little bit. \*</dialogue>
    <character>MITCHELL</character>
    <dialogue>What about Malcolm X?</dialogue>
    <character>O'NEAL</character>
    <dialogue>I never thought about all that. \*</dialogue>
    <character>MITCHELL</character>
    <parenthetical>(disbelieving)</parenthetical>
    <dialogue>You just never thought about it? \*</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>No. \*</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>MITCHELL \*</character>
    <dialogue>You're looking at eighteen months \* for the stolen car and five years \* for impersonating a federal \* officer. Or, you can go home. \*</dialogue>
    <scene_description>O'Neal looks up at Mitchell, shocked. \*</scene_description>
    <character>SUPERIMPOSE:</character>
    <dialogue>TITLE CARD -- JUDAS AND THE BLACK MESSIAH</dialogue>
    <scene_description>6-8 OMITTED 6-8</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. WRIGHT JUNIOR COLLEGE - LECTURE HALL - NIGHT 19 \*</stage_direction>
    <scene_description>The medium-sized hall is packed with students: about 90% \* black. Many wear dashikis, headwraps, and traditional \* African garb. FRED HAMPTON (20) sits onstage behind a \* COLLEGE STUDENT (18), black, female, who addresses the \* crowd from a podium. Rush, Harmon, Palmer, and Winters \* stand at attention just off the stage. \*</scene_description>
    <character>COLLEGE STUDENT \*</character>
    <dialogue>...That reflected the population \* and culture of an 80% black \* student body. So they're bringing \* in Dr. Charles Hurst from Howard \* University to be president... and \* they're gonna call it Malcolm X \* College from now on! \*</dialogue>
    <scene_description>There's big applause and affirmations. Fred smirks. \*</scene_description>
    <character>COLLEGE STUDENT \*</character>
    <dialogue>It's in this spirit of activism \* and on behalf of the Wright Junior \* College Black Caucus that I'm \* proud to introduce Fred Hampton, \* Deputy Chairman of the Illinois \* Chapter of the Black Panther \* Party! \*</dialogue>
    <scene_description>Fred takes her spot in front of the dais. \* DEBORAH JOHNSON (17), Afro'd, watches intently, jotting \* notes in a compact journal. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>I don't need no mic -- Can y'all \* hear me? \*</dialogue>
    <scene_description>AD LIBBED "Yes-es" from the crowd. Fred smiles. \* CONTINUED:</scene_description>
    <character>FRED \*</character>
    <dialogue>Malcolm X College? I can dig it. \* Dr. Charles Hurst, direct from \* Howard! Right on... So, what? \* You think the students over there \* gon' be free now? \*</dialogue>
    <scene_description>Some of the students' joy begins to ebb. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>Oh, they'll let you change the \* name of your college, or your own \* name. Throw on a dashiki. 'Cause \* guess what? They still gon' drag \* your black ass to Vietnam to shoot \* a poor rice farmer or get shot \* your damn-self. That's the \* difference between revolution and \* the candy-coated facade of gradual \* reform. Reform is just the \* masters teaching the slaves how to \* be better slaves. Under reform, \* you could take the motherfucking \* masters out, and the slaves 'still \* be doing all the work for 'em! \*</dialogue>
    <scene_description>The crowd listens, rapt. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>There's a man called a capitalist. \* Don't matter what color he is. \* Black, white, brown, red -- don't \* matter. Because the capitalist \* has one goal: that is to exploit \* the people. He can have a three- \* piece suit or a dashiki. Because \* political power doesn't flow from \* the sleeve of a dashiki. \* Political power flows from the \* barrel of a gun! We in the Black \* Party don't believe in no culture \* except revolutionary culture. What \* we mean by that is a culture that \* will free you! Don't give me no \* five-and-dime costume of some \* medicine man or witch doctor or \* whatever you think the motherland \* looks like. Give me the righteous \* threads of a Mozambican FRELIMO \* fighter! Give me an AK-47 or some \* bandoliers like they got in \* Angola. Gimme some Colt .45s, of \* the folks that are trying to free \* themselves! \*</dialogue>
    <scene_description>CONTINUED: (2) The crowd applauds. A MAN rises to his feet and walks out \* of the audience. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>A dashiki ain't gon' help you when \* they come up in here wit' some \* tanks like they did in Henry \* Horner! You need tools, brother! \* And we got the tools down at 75th \* and Madison! \*</dialogue>
    <scene_description>A19 SAME SCENE - LATER A19 \* Winters and Palmer stand just outside the door with \* COLLECTION BUCKETS. Deborah Johnson approaches Fred, \* journal in hand. \*</scene_description>
    <character>DEBORAH \*</character>
    <dialogue>Hi. \*</dialogue>
    <character>FRED \*</character>
    <dialogue>Evening. \*</dialogue>
    <character>DEBORAH \*</character>
    <dialogue>I thought your speech was \* really... interesting. \*</dialogue>
    <character>FRED \*</character>
    <dialogue>Thank you, sister. \*</dialogue>
    <character>DEBORAH \*</character>
    <dialogue>... Do you like poetry? \*</dialogue>
    <character>FRED \*</character>
    <dialogue>I mean, it's cool but as Che \* Guevara said, 'Words are beautiful \* but action is supreme,' you dig? \*</dialogue>
    <character>DEBORAH \*</character>
    <dialogue>I dig. Right on... But you were \* up on that stage using words. So \* maybe next time choose them a bit \* more carefully instead of tearing \* down the folk you call yourself \* recruiting -- just 'cause they \* demonstrate a little black pride. \*</dialogue>
    <scene_description>(off of his surprised \* look) \* But just so you know, you are a \* poet. \* She departs before he can offer up a response. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BLACK PANTHER HEADQUARTERS - CLASSROOM - DAY</stage_direction>
    <scene_description>Fred strikes and lights a match, bringing it to the tip \* of his cigarette, the epitome of confident cool.</scene_description>
    <character>FRED</character>
    <dialogue>Somebody define war for me.</dialogue>
    <character>ANOTHER ANGLE</character>
    <dialogue>BOBBY RUSH (22) distributes photocopies to a classroom of about ten Panthers including JIMMY PALMER (21), JAKE WINTERS (19), DOC SATCHEL (19), and JUDY HARMON (20), the sole woman present, always wearing combat boots. Written behind Fred on the chalkboard -- "War vs. Politics." Winters enthusiastically waves his hand in the air. Palmer calls out --</dialogue>
    <character>PALMER</character>
    <dialogue>War is violent conflict between two or more parties.</dialogue>
    <character>FRED</character>
    <dialogue>Would you say we at war with the \* pigs, Comrade Palmer? \*</dialogue>
    <character>PALMER</character>
    <dialogue>Chairman, I'd take it a step further and say that every ghetto across the nation should be considered occupied territory.</dialogue>
    <scene_description>His assertion is greeted with scattered "right on's."</scene_description>
    <character>FRED</character>
    <dialogue>Right on. How 'bout politics? \*</dialogue>
    <scene_description>Fred addresses a waving Winters.</scene_description>
    <character>FRED</character>
    <dialogue>How would you define politics, brother?</dialogue>
    <character>WINTERS</character>
    <dialogue>Uh, y'know... elections...</dialogue>
    <character>FRED</character>
    <dialogue>Elections can be a part of politics, certainly. But we in the party ascribe to Chairman Mao's definition of politics.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>FRED</character>
    <dialogue>He said war is politics with \* bloodshed and politics is war \* without bloodshed. Say it with \* me, y'all.</dialogue>
    <character>GROUP</character>
    <dialogue>War is politics with bloodshed and \* politics is war without bloodshed. \*</dialogue>
    <character>FRED</character>
    <dialogue>What that mean? It mean every \* time the pigs shoot down an unarmed brother or sister in the street, Mayor Daley pulled the trigger. It mean Tricky Dick \* Nixon is the fattest, most filthy pig in the pen!</dialogue>
    <scene_description>The group laughs.</scene_description>
    <character>FRED</character>
    <dialogue>So how do we win this war? What's our most lethal weapon? Guns? Grenades? Rocket launchers?</dialogue>
    <scene_description>Tucked deep in the back of the classroom we REVEAL O'Neal; above his eye, a two-week old patch of bloodstained gauze.</scene_description>
    <character>O'NEAL</character>
    <parenthetical>(excitedly whispering to himself)</parenthetical>
    <dialogue>These niggas got rocket launchers? \*</dialogue>
    <scene_description>O'Neal looks confused when Fred writes the answer on the blackboard: "The People."</scene_description>
    <character>FRED</character>
    <dialogue>There's strength in numbers -- \* power anywhere there's people. And in order to overthrow this racist, fascist, nefarious U.S. Government, it's gonna take everybody. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. LATINO NEIGHBORHOOD - DAY 15 \*</stage_direction>
    <scene_description>POV viewed FROM ACROSS the street, we observe Fred \* pitching papers with zeal. Doc sells papers on the same \* side of the street at the opposite end of the block. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>Black Panther paper! Free your \* mind for just a quarter! \*</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>COACHMAN \*</character>
    <dialogue>Sorry, I'm on my way to work. \*</dialogue>
    <character>FRED \*</character>
    <dialogue>I'm at work, sister. I work for \* you. \*</dialogue>
    <scene_description>Fred walks alongside the woman, BETTY COACHMAN, \* persisting until she parts with a quarter. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>Information is raw material for \* new ideas. You got kids? Your \* friends got kids? \*</dialogue>
    <character>COACHMAN \*</character>
    <dialogue>Yeah. \*</dialogue>
    <character>FRED \*</character>
    <dialogue>We got a breakfast program feeds \* near 100 kids a week. \*</dialogue>
    <scene_description>REVEAL: The POV is O'Neal's. He shivers, a bundle of \* Black Panther newspapers in his hands. \*</scene_description>
    <character>FRED (V.O.) \*</character>
    <dialogue>Because we've grown so accustomed \* to being poor that we think it's normal for our kids to go to school hungry. We think it's normal for us to go to the hospital with a runny nose and come home in a body bag.</dialogue>
    <character>INT. BLACK PANTHER HEADQUARTERS - CLASSROOM - DAY \*</character>
    <dialogue>Fred at the front of the classroom, as before. \*</dialogue>
    <character>FRED \*</character>
    <dialogue>So our job as the Black Panther Party is to heighten the contradictions. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BETTER BOYS FOUNDATION - CAFETERIA - MORNING 13 \*</stage_direction>
    <scene_description>Pacing, Fred leads fifty kids in "The Black Child's \* Pledge" while Winters and others serve breakfast. Deep \* in the b.g., a sour, sleepy O'Neal dumps heaping \* spoonfuls of grits into plastic bowls. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>I pledge allegiance. \*</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>KIDS \*</character>
    <dialogue>I pledge allegiance. \*</dialogue>
    <character>FRED \*</character>
    <dialogue>To my black people! \*</dialogue>
    <character>KIDS \*</character>
    <dialogue>To my black people! \*</dialogue>
    <character>FRED \*</character>
    <dialogue>I pledge to develop. \*</dialogue>
    <character>KIDS \*</character>
    <dialogue>I pledge to develop. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BLACK PANTHER HEADQUARTERS - SUPPLY CLOSET - DAY 11 \*</stage_direction>
    <scene_description>O'Neal shifts some cereal bags out of the way. \*</scene_description>
    <character>FRED (V.O.) \*</character>
    <dialogue>My mind and body to the greatest \* extent possible. \*</dialogue>
    <character>INT. BETTER BOYS FOUNDATION - CAFETERIA - MORNING \*</character>
    <dialogue>Fred speaks to the kids, as before. \*</dialogue>
    <character>KIDS \*</character>
    <dialogue>My mind and body to the greatest \* extent possible! \*</dialogue>
    <character>FRED \*</character>
    <dialogue>I will learn all that I can. \*</dialogue>
    <character>KIDS \*</character>
    <dialogue>I will learn all that I can. \*</dialogue>
    <character>INT. BLACK PANTHER HEADQUARTERS - SUPPLY CLOSET - DAY \*</character>
    <dialogue>O'Neal plugs a hole in the wall and plasters it shut. \*</dialogue>
    <character>INT. BETTER BOYS FOUNDATION - CAFETERIA - MORNING \*</character>
    <dialogue>Fred serving breakfast, as before. \*</dialogue>
    <character>FRED \*</character>
    <dialogue>In order to give my best to my \* people in their struggle for \* liberation! \*</dialogue>
    <character>CONTINUED:</character>
    <dialogue>KIDS \*</dialogue>
    <scene_description>In order to give my best to my \* people in their struggle for \* liberation! \* The kids struggle to say the mouthful in unison. \*</scene_description>
    <character>INT. BLACK PANTHER HEADQUARTERS - CLASSROOM - DAY \*</character>
    <dialogue>Fred lectures in front of the class, as before. \*</dialogue>
    <character>FRED \*</character>
    <dialogue>So the people can decide whether \* they want to overthrow the government. Or not. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>A33 INT. BLACK PANTHER HEADQUARTERS - GROUND FLOOR - DAY A33 \*</stage_direction>
    <scene_description>Fred enters a bustling HQ from outside. As he walks by \* the reception desk, BETTY COACHMAN (17), who we watched \* purchase a paper from Fred, hands him an envelope as well \* as several slips of paper. Fred opens it as Coachman \* addresses him. \*</scene_description>
    <character>COACHMAN \*</character>
    <dialogue>These two people are waiting to \* see you from Vista. Also Brother \* Cohran called. He wanted to know \* if you willing to speak at a \* fundraiser for the theater. And \* someone named Stanley Uhuru? Said \* he wanted to speak with you about \* a credit union? \*</dialogue>
    <scene_description>Doc wheels medical equipment through HQ, aided by several \* Panthers. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>(addressing Doc) \*</dialogue>
    <scene_description>What's that? \*</scene_description>
    <character>DOC \*</character>
    <dialogue>EKG machine. For the clinic when \* we get it up and running. \*</dialogue>
    <character>FRED \*</character>
    <dialogue>Mhm. \*</dialogue>
    <scene_description>As Fred continues on, he removes from the envelope a \* letter, the contents of which cause him to smirk \* dismissively. \* A33 CONTINUED: A33 As he folds it closed, he's distracted by a familiar \* face: Deborah Johnson, the student who chastised him \* earlier. She's seated at a desk, typing. Fred pauses \* and smiles -- \*</scene_description>
    <character>FRED \*</character>
    <dialogue>(teasing) \*</dialogue>
    <scene_description>...The poet. What a pleasant \* surprise. \*</scene_description>
    <character>DEBORAH \*</character>
    <dialogue>(tongue-in-cheek) \*</dialogue>
    <scene_description>I saw your ad in the paper looking \* for a new speechwriter, so... \* figured I'd lend a hand. \* Fred grins. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>That musta been a misprint. See, \* I don't write speeches, sister. I \* just get up on stage and speak \* truth to the people. \*</dialogue>
    <character>DEBORAH \*</character>
    <dialogue>Oh, it shows... the lack of \* preparation, that is. \*</dialogue>
    <scene_description>Fred shrugs. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>It got you here. \*</dialogue>
    <scene_description>There is a flash of sexual tension between the two. Fred \* heads on back, this time getting the last word. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PANTHER HEADQUARTERS - CLASSROOM - DAY 16 \*</stage_direction>
    <scene_description>The political education class has more than doubled in size, most of the attendees women. Coachman reads from \* The Black Panther Ten Point Platform:</scene_description>
    <character>COACHMAN</character>
    <dialogue>'We want land, bread, housing, education, clothing, justice, and peace.'</dialogue>
    <character>FRED</character>
    <dialogue>Housing, justice, peace... Life, liberty, happiness... It's all right there in the Declaration of Independence.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>FRED</character>
    <dialogue>But when poor people demand it, it's a contradiction. It's not democracy. It's socialism, dig?</dialogue>
    <scene_description>Fred spies O'Neal whispering to TRACY RANDLE (20s). \*</scene_description>
    <character>FRED</character>
    <dialogue>O'Neal, stand up! \*</dialogue>
    <scene_description>O'Neal doesn't budge. Fred stares daggers for a moment. And when that doesn't get the desired result, to O'Neal's surprise, Fred sits next to him.</scene_description>
    <character>FRED</character>
    <dialogue>What is the party line in regard \* to our sisters, Comrade? \*</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>Um... \*</dialogue>
    <character>FRED \*</character>
    <dialogue>Anybody? \*</dialogue>
    <scene_description>\*:</scene_description>
    <character>DOC \*</character>
    <dialogue>'Do not take liberties with women.'</dialogue>
    <character>O'NEAL</character>
    <dialogue>Liberties? C'mon, I wasn't --</dialogue>
    <character>FRED</character>
    <dialogue>These aren't just your sisters, they're your sisters-in-arms. Act like it. Twenty pushups for discipline...</dialogue>
    <scene_description>O'Neal squirms in his chair, then abruptly gets up and walks to the front of the room.</scene_description>
    <character>FRED</character>
    <parenthetical>(as O'Neal heads to the front)</parenthetical>
    <dialogue>Captain Harmon... count 'em out.</dialogue>
    <scene_description>Harmon walks over to O'Neal who starts doing pushups.</scene_description>
    <character>HARMON</character>
    <dialogue>What's wrong, O'Neal? Down to the \* ground. \*</dialogue>
    <parenthetical>(counting them out)</parenthetical>
    <dialogue>You're scared of a little dirt? I \* could have the sister lay down a \* towel for you. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. COOK COUNTY POLICE STATION - INTERROGATION ROOM -</stage_direction>
    <character>NIGHT</character>
    <dialogue>Mitchell sits on the edge of the table across from \* O'Neal. \*</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>Comrade, answer a question for me. \* 'Does a tiger brush its teeth?' \* 'If you want knowledge, you've got \* to eat the peach. And when you eat \* the peach, then the peach give \* you the knowledge from the \* beautiful frutitiousness of said \* peach because "Power where there's \* people. Comrade." \*</dialogue>
    <scene_description>O'Neal, delighted with the sublime ridiculousness of this last nugget, just stares triumphantly at Mitchell.</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>You didn't tell me it was gon' be \* like this. These mufuckas ain't \* terrorists. They're terrorizing me.</dialogue>
    <scene_description>Mitchell practices patience.</scene_description>
    <character>MITCHELL \*</character>
    <dialogue>What can I do to help? The goal is to get close to Hampton, right? So think... what does he need that maybe your Uncle Sam might be able \* to help you provide? \*</dialogue>
    <scene_description>As O'Neal considers his question he has to suppress the urge to grin.</scene_description>
    <character>O'NEAL</character>
    <dialogue>A car.</dialogue>
    <scene_description>(off Mitchell's \* laughter) \* Fred don't drive no more. The pigs -- the, uh... police --</scene_description>
    <character>MITCHELL</character>
    <dialogue>No, that's good. You're becoming a Panther.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>O'NEAL</character>
    <parenthetical>(laughs; then)</parenthetical>
    <dialogue>The pigs were always following him \* around, giving him bullshit \* traffic violations so if you want \* me to get close to Fred? Get me a car...</dialogue>
    <scene_description>Mitchell considers his request.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT./EXT. O'NEAL'S CAR/GENE'S DELI - NIGHT</stage_direction>
    <scene_description>O'Neal rounds the block, peacocking in a shiny new Buick, matchstick in his jaw. He feels like the man. He pulls up to Gene's Delicatessen. Waiting out front \* are Fred, Harmon, Palmer, and Winters. They finish off a few Red Hots and climb in the car. \*</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Say Chairman, that wasn't no \* Goddamn pig you was eating out \* there, was it? \*</dialogue>
    <character>FRED \*</character>
    <dialogue>Somebody gotta show the pigs who's \* boss, man. \*</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>Alright, you all ready to split? \* Huh? \*</dialogue>
    <scene_description>The car pulls off. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>INT./EXT. O'NEAL'S CAR (MOVING) - LATER 23 \*</stage_direction>
    <character>FRED</character>
    <dialogue>Y'all got any weapons, give 'em here.</dialogue>
    <scene_description>Palmer pulls out a .38. Harmon pulls out of her boot a switchblade.</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Judy, is that your rabbit ass maw? \* Get your motherfuckin' boot off my \* shit? \*</dialogue>
    <scene_description>Winters pulls out a .38, .45, and small Derringer. O'Neal \* laughs. \* CONTINUED:</scene_description>
    <character>O'NEAL</character>
    <parenthetical>(impressed)</parenthetical>
    <dialogue>Yo, Winters, how many pistols you \* got man? \*</dialogue>
    <scene_description>He shrugs. \* He hands them over to Fred who eyes O'Neal expectantly.</scene_description>
    <character>O'NEAL</character>
    <dialogue>Mine's in the glove box.</dialogue>
    <scene_description>Fred opens the glove box, where O'Neal's .38 rests, and places the weapons inside.</scene_description>
    <character>FRED</character>
    <dialogue>Park as close to Leon's as you can in case we gotta haul ass outta there.</dialogue>
    <character>HARMON</character>
    <dialogue>Chairman, that's the Crowns' pool \* hall.</dialogue>
    <scene_description>O'Neal's hackles raise. It can't be the same place...</scene_description>
    <character>FRED</character>
    <dialogue>Exactly. Stay sharp. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>A23 EXT. LEON'S POOL HALL - NIGHT A23 \*</stage_direction>
    <scene_description>O'Neal parks across the street from the same pool hall he almost lost his life outside of a few months back. He does not want to get out of that car.</scene_description>
    <character>O'NEAL</character>
    <dialogue>Say Chairman, what are we doing \* here? \*</dialogue>
    <character>FRED</character>
    <dialogue>Getting the Crowns' attention.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. LEON'S POOL HALL - NIGHT</stage_direction>
    <scene_description>Old-timers observe from tall chairs. Teens, many wearing green berets, mill about; Fred and company enter. O'Neal tries to hang back but Fred directs everyone to fan out and start selling papers. O'Neal avoids eye contact with any and all. Fred and Harmon amble over to a cluster of young men and women by the bar. CONTINUED:</scene_description>
    <character>FRED</character>
    <parenthetical>(handing out fliers)</parenthetical>
    <dialogue>Evening, brothers and sisters. I \* wanted to hip y'all to a new free \* breakfast program opening on the South Side next week. Free for the babies. All you gotta do is drop your little ones off and we'll take care of the rest. Stop on by to St. Andrews and check us \* out. And if you're on the West Side or got family on the West Side, we at the Better Boys Club \* Monday through Friday.</dialogue>
    <scene_description>Fred expands his message to the pool hall at large. O'Neal lingers in a corner, hidden in the shadows.</scene_description>
    <character>FRED</character>
    <dialogue>The Illinois Black Panther Party has a mandate to feed every hungry kid in Chicago. And I'm not talking 'bout handing out turkeys on Thanksgiving. That's charity. Save that for the pushers and the preachers who call themselves doing you a favor after they done sucked you dry. Fuck charity. The Black Panther Party believes in progression. Now what that \* mean? That means first you have free breakfast, then you have free healthcare, then you have free education, and next thing you know, you look up and you done freed your motherfucking self!</dialogue>
    <scene_description>There's laughter and "right on's" among the group as Fred continues. FOCUS ON: O'Neal, who observes ROD COLLINS (17) whispering to a young man in a green beret who eyes Fred menacingly. The teen takes off his T-shirt and starts gathering pool balls in it. O'Neal's eyes widen. Collins intones --</scene_description>
    <character>COLLINS</character>
    <dialogue>You know where you at, motherfucker? This is Crowns territory.</dialogue>
    <character>FRED</character>
    <dialogue>We don't want no trouble, brother. We just passing through. \* 'Sides... the rap we on is a political one. It shouldn't really concern y'all.</dialogue>
    <scene_description>CONTINUED: (2) O'Neal watches the teen with the pool ball-stuffed T- shirt gesture to another man, also in a green beret, who flips his pool cue around, weaponizing it. They creep towards Fred. O'Neal grabs a pool stick and moves quickly.</scene_description>
    <character>COLLINS</character>
    <dialogue>Nigga, don't lecture me on \* politics. The Crowns protected \* Martin Luther King when he was \* here in 1966. \*</dialogue>
    <character>FRED</character>
    <dialogue>And he got his head split open! Damn near killed by a mob of crackers throwing Irish confetti. Bang-up job y'all did.</dialogue>
    <scene_description>Just then, the teens make their move to strike but O'Neal \* pushes Fred aside and, swinging his pool stick wildly, creates a perimeter.</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Hey! Hey! Get the fuck back! \*</dialogue>
    <scene_description>Collins pulls a pistol from his waistband and trains it \* at O'Neal. Everyone freezes.</scene_description>
    <character>FRED</character>
    <parenthetical>(showing his palms)</parenthetical>
    <dialogue>No need for that, brother. We on our way. But dig... I got a message for the big man. Tell 'em \* the Panthers want to sit down with the Crowns. Imagine what we could accomplish together...</dialogue>
    <scene_description>Fred coolly leads his cohorts out...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT./EXT. O'NEAL'S CAR (MOVING) - MOMENTS LATER</stage_direction>
    <scene_description>Excited, AD LIBBED shit-talk about the fracas that almost was. Then --</scene_description>
    <character>WINTERS</character>
    <dialogue>You sure you wanna go sit down \* with the Crowns, Chairman?</dialogue>
    <character>FRED</character>
    <dialogue>Hell, yeah. Imagine the Panthers, the Stones, the Crowns, man, the \* Disciples fighting under one revolutionary army. Them pigs \* ain't ready for that.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>PALMER</character>
    <dialogue>Tell you all one thing... I'm \* bringing my motherfucking pistol to that Goddamn meeting. \*</dialogue>
    <parenthetical>(addressing Winters)</parenthetical>
    <dialogue>You hear me Chairman? Shit. \*</dialogue>
    <character>FRED</character>
    <dialogue>All you need is a pool stick. Ain't that right, O'Neal?</dialogue>
    <scene_description>There's laughter.</scene_description>
    <character>FRED</character>
    <dialogue>You see him swinging that thing around?</dialogue>
    <character>O'NEAL</character>
    <dialogue>Hey don't you underestimate my \* skills, Goddamnit. None of y'all. \*</dialogue>
    <character>FRED</character>
    <dialogue>Nah, you got heart, Bill. You wild but you got heart.</dialogue>
    <scene_description>Though subtle, it's evident that O'Neal is affected by Fred's praise. Harmon chuckles --</scene_description>
    <character>HARMON</character>
    <dialogue>Wild Bill...</dialogue>
    <character>FRED</character>
    <dialogue>Wild Bill! Wild Bill! Tell me they \* ain't call you that in Maywood!</dialogue>
    <character>O'NEAL</character>
    <parenthetical>(smiling)</parenthetical>
    <dialogue>Nah man, they ain't called me \* nothing. \*</dialogue>
    <character>FRED \*</character>
    <dialogue>Nah? \*</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>Shit, I mighta heard it once or \* twice. \*</dialogue>
    <character>FRED</character>
    <dialogue>See, I knew it! I knew it! Wild \* Bill. \*</dialogue>
    <scene_description>The group laughs. And maybe for the first time... O'Neal feels like one of them. CONTINUED: (2)</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Goddamnit, Harmon, you and all \* these... \*</dialogue>
    <character>FRED \*</character>
    <dialogue>Pool stick to a gun fight! \*</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. O'NEAL'S WEEKLY ROOM RENTAL - NIGHT</stage_direction>
    <scene_description>O'Neal keys into a hovel-like one-room flat, takes off his jacket, tosses it on the bed. \*</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Wild Bill. \*</dialogue>
    <scene_description>GUNSHOTS ring out offscreen. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT./INT. MITCHELL'S HOUSE - ENTRANCE - DAY 31 \*</stage_direction>
    <scene_description>Mitchell opens the door for O'Neal, holding a sleeping \* infant. \*</scene_description>
    <character>MITCHELL</character>
    <dialogue>Come on in, make yourself at home \* in the den. This is Samantha. \*</dialogue>
    <character>INTERVIEWER (PRE-LAP) \*</character>
    <dialogue>What made you think you could \* trust Roy Mitchell? \*</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. NONDESCRIPT OFFICE - DAY (1989) 32 \*</stage_direction>
    <scene_description>O'Neal's interview -- \*</scene_description>
    <character>O'NEAL (V.O.) \*</character>
    <dialogue>I rode around in his car. Had \* dinner with him at his dinner \* table. You know he was, at one \* point for me he was like a role \* model. When I didn't have one. We \* had very few role models back \* then. We had Martin Luther King, \* Malcolm X, Muhammad Ali... I had \* an FBI agent. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>A31 INT. MITCHELL HOUSE - DEN - DAY A31 \*</stage_direction>
    <character>\*</character>
    <dialogue>O'Neal and Mitchell smoke cigars in silence for a bit. \*</dialogue>
    <scene_description>A31 CONTINUED: A31</scene_description>
    <character>MITCHELL</character>
    <dialogue>Y'know, I investigated the Schwerner, Chaney, and Goodman murders, down in Mississippi in '64. You familiar?</dialogue>
    <parenthetical>(as O'Neal isn't)</parenthetical>
    <dialogue>A couple kids. Trying to register Negroes to vote, that's all they were doing. Got arrested on bogus speeding charges by the sheriff's deputy, who hand-delivered them to the Klan. They shot 'em, of course. Cut off Chaney's penis. This? What you and I are doing is \* the other side of that coin. Don't \* let Hampton fool you. The Panthers and the Klan are one and the same. Their aim is to sow hatred and inspire terror. Plain \* and simple. Now, I'm all for civil \* rights, but you can't cheat your way to equality. And you certainly \* can't shoot your way to it. \*</dialogue>
    <scene_description>Mitchell tries to get a read on O'Neal. It's impossible.</scene_description>
    <character>MITCHELL</character>
    <dialogue>Anyway... I'm going to go get \* those dogs going.</dialogue>
    <scene_description>Mitchell rises. O'Neal starts to join him.</scene_description>
    <character>MITCHELL</character>
    <dialogue>No, no. Sit down. You're a guest. \*</dialogue>
    <scene_description>He grabs his coat.</scene_description>
    <character>MITCHELL</character>
    <dialogue>If you want a taste of the good stuff, there's a bottle of Scotch in the bottom cabinet. Help yourself.</dialogue>
    <scene_description>Mitchell's about to exit when...</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Hey, how much money you make, man? \*</dialogue>
    <scene_description>Mitchell is struck by his forwardness. He bristles ever so slightly before settling.</scene_description>
    <character>MITCHELL</character>
    <dialogue>It's a... It's a living. \*</dialogue>
    <scene_description>A31 CONTINUED: (2) A31</scene_description>
    <character>O'NEAL</character>
    <dialogue>Say I get you like some good \* information. Something nobody else \* knows -- Is there a bonus or \* something? \*</dialogue>
    <character>MITCHELL</character>
    <dialogue>I'm counting on it, Bill. But to \* answer your question... you \* scratch my back, I'll scratch \* yours. Make yourself at home. \*</dialogue>
    <scene_description>Mitchell EXITS towards the BACK PORCH. O'Neal puffs the \* cigar. Taking in his surroundings, he savors the house's comparative opulence and the feeling inside of having made it.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FEDERAL BUILDING - CARLYLE'S OFFICE - DAY (THE PAST) 33 \*</stage_direction>
    <scene_description>Mitchell, SPECIAL AGENT CARLYLE (40s) and AGENT #2 (30s), both white, are gathered around a typewriter at Carlyle's desk, chortling. Carlyle spikes their coffee with bourbon. When specified, they read from a document that's still in the process of being typed up.</scene_description>
    <character>CARLYLE</character>
    <dialogue>He tell you when this meeting's taking place?</dialogue>
    <character>MITCHELL</character>
    <dialogue>No. Just that Hampton wants to unify the black gangs. He'd probably help us write the darn thing for a couple more bucks. \*</dialogue>
    <character>CARLYLE</character>
    <dialogue>What fun would that be?</dialogue>
    <character>AGENT #2</character>
    <parenthetical>(reading from letter)</parenthetical>
    <dialogue>I'm pretty sure it's actually just \* 'Dig.' Not 'Dig in.'</dialogue>
    <character>CARLYLE</character>
    <dialogue>What the fuck do you know? I know \* I've definitely heard them say \* 'Dig in' before.</dialogue>
    <character>AGENT #2</character>
    <dialogue>Oh really? Use it in a sentence. \*</dialogue>
    <scene_description>Carlyle gestures towards Agent #2 who begins typing as Carlyle speaks, gesticulating exaggeratedly. CONTINUED:</scene_description>
    <character>CARLYLE</character>
    <dialogue>These Crowns ain't nothing but a \* bunch of jive sissies. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT./INT. FIRST PRESBYTERIAN CHURCH - NIGHT 34 \*</stage_direction>
    <scene_description>BOOM BOOM BOOM -- We hear the sound of a knock on a heavy door. An eye slot opens, revealing Fred flanked by about twenty members of the party.</scene_description>
    <character>FRED</character>
    <dialogue>Deputy Chairman Fred Hampton and the Illinois Black Panther Party.</dialogue>
    <scene_description>The slot is shut, several locks disengaged, and the heavy door swung open. A34 SAME SCENE - MOMENTS LATER A34 Awaiting the Panthers in the dark church vestibule are ten Crowns, wielding rifles and pistols. Collins and a cluster of Crowns lead the Panthers up a darkened staircase. They're trailed by more armed Crowns. The lights are off and it's hard to see, only adding to the Panthers' sense of discomfort. They reach the MAIN FLOOR and approach a lone figure sitting on the edge of a raised stage, STEEL (19). He loads a machine gun, while smoking a cigarette. The Crowns who led the Panthers upstairs take the front of the room with Steel, including Collins and... Tex! The Crown who almost cut O'Neal's throat! O'Neal doesn't notice, focused not just on Steel's machine gun, but the other machine gun wielding Stones populating the balcony above them.</scene_description>
    <character>STEEL</character>
    <dialogue>Fred Hampton -- The great orator of the West Side... Your name's been ringing out, blood.</dialogue>
    <character>FRED</character>
    <dialogue>It's your world, Brother Steel.</dialogue>
    <character>STEEL</character>
    <dialogue>So. What can I do for you? \*</dialogue>
    <character>FRED</character>
    <dialogue>I want to know what we can do for \* each other. Y'all are doing some \* great work mobilizing young brothers on the South Side.</dialogue>
    <scene_description>A34 CONTINUED: A34</scene_description>
    <character>FRED</character>
    <dialogue>But we're part of a national organization, dedicated to the \* liberation of oppressed people's everywhere --</dialogue>
    <character>STEEL</character>
    <dialogue>Woo-wee! This nigga got some \* million-dollar words, don't he? They wasn't lying. \*</dialogue>
    <scene_description>The Crowns laugh. \*</scene_description>
    <character>FRED</character>
    <dialogue>We're more than just talk, brother. Our breakfast program \* feeds over 300 kids a week --</dialogue>
    <character>STEEL</character>
    <dialogue>Motherfucker, the Crowns feed more babies than General Mills. Now who \* you think employs their mamas and their daddies?</dialogue>
    <character>FRED</character>
    <dialogue>Right on, brother. Right on. Question is... Can you do even more? There's over 5,000 Crowns \* in Chicago. Between your man- power and the Panthers' political platform... we can heal this whole \* city. And if we take over, \* Chicago -- shit... Come on, man. \*</dialogue>
    <scene_description>Steel sizes him up for a moment.</scene_description>
    <character>STEEL</character>
    <dialogue>... You mind if I read you something, Brother Hampton? Somebody dumped a bunch of these pamphlets all over our front yard the other day and I just thought \* they might be of interest you...</dialogue>
    <scene_description>Steel withdraws from his pocket a newsletter, which he unfolds. Tex's gaze falls on O'Neal. Steel clears his \* throat and begins to read.</scene_description>
    <character>STEEL</character>
    <parenthetical>(reading)</parenthetical>
    <dialogue>Word on the street is that the Crowns got more rats than a Cheese Factory. Where you think they get all their money from. The pigs run their whole operation! Well lemme tell you what, chump.</dialogue>
    <scene_description>A34 CONTINUED: (2) A34</scene_description>
    <character>STEEL</character>
    <dialogue>When you lie with pigs you don't just get flies. You get Panthers itching to blow your big, Uncle Tom, watermelon head off.</dialogue>
    <scene_description>Fred can't believe his ears. \* O'Neal, feeling Tex's gaze, locks eyes with him. His \* face falls. \*</scene_description>
    <character>INT. PONTIAC - NIGHT - FLASHBACK \*</character>
    <dialogue>Tex tries to slice O'Neal's throat but before he can, \* O'Neal grabs his wrist and bites his hand. \*</dialogue>
    <scene_description>\*:</scene_description>
    <character>STEEL</character>
    <parenthetical>(reading)</parenthetical>
    <dialogue>Because what's a rat to a Big Black Jungle Cat? When the Panthers are done with the Crowns, shit...they won't have a watermelon head left to wear a crown on. Dig in? \*</dialogue>
    <scene_description>Steel looks up at Fred. \*</scene_description>
    <character>STEEL \*</character>
    <dialogue>That's you. It's your work.Dick \* Tracy!</dialogue>
    <scene_description>He fixes a wide-eyed O'Neal with a sinister grin.</scene_description>
    <character>TEX</character>
    <dialogue>I see you traded in your badge for a beret!</dialogue>
    <scene_description>Everyone eyes O'Neal suspiciously, Harmon especially. Collins swiftly approaches Tex and backhands him across \* the mouth.</scene_description>
    <character>COLLINS</character>
    <dialogue>Nigga, you know better than to speak outta turn. \*</dialogue>
    <character>TEX \*</character>
    <dialogue>It's the mothafucka that stole \* Ant's car. \*</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>COLLINS \*</character>
    <dialogue>Shut up. Apologize. \*</dialogue>
    <character>TEX</character>
    <parenthetical>(under his breath)</parenthetical>
    <dialogue>Sorry.</dialogue>
    <character>COLLINS</character>
    <dialogue>Speak up.</dialogue>
    <character>TEX</character>
    <parenthetical>(louder)</parenthetical>
    <dialogue>Sorry.</dialogue>
    <scene_description>O'Neal can't help but smile. Harmon clocks it, still eyeing him suspiciously.</scene_description>
    <character>FRED</character>
    <dialogue>If that was us murder mouthing where our guns at, huh? We came to y'all headquarters unarmed.</dialogue>
    <scene_description>Steel finishes cleaning/loading his gun and hops off stage, approaching Fred.</scene_description>
    <character>STEEL</character>
    <dialogue>...So who do you think wrote it \* then?</dialogue>
    <character>FRED</character>
    <dialogue>The pigs! Who else?</dialogue>
    <character>STEEL</character>
    <dialogue>The pigs don't write, blood.</dialogue>
    <character>FRED</character>
    <dialogue>The Feds do! They did the same shit to Martin and Malcolm!</dialogue>
    <character>STEEL</character>
    <dialogue>Uh-huh. And what happened to them?</dialogue>
    <character>FRED</character>
    <dialogue>...Same thing that's gonna happen to all of us... At least they died \* for the people. We should be so \* lucky. \*</dialogue>
    <scene_description>Steel nods, his respect for Hampton growing. But he isn't quite ready to step alongside him into the crosshairs. Not yet. He offers up his machine gun as a gift.</scene_description>
    <character>CONTINUED: (2)</character>
    <dialogue>STEEL</dialogue>
    <scene_description>You're gonna need this. Tread \* lightly, blood. \* With a whistle, he gets the Crowns to part, forming an aisle for the Panthers to proceed on their way. Fred looks disappointed but takes it in stride as he leads the Panthers out.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. FIRST PRESBYTERIAN CHURCH/STREET - CONTINUOUS ACTION</stage_direction>
    <scene_description>The Panthers spill out, relieved to be alive, but visibly frustrated. Harmon gives her car keys to Rush as they have a brief exchange with Palmer.</scene_description>
    <character>WINTERS \*</character>
    <dialogue>Hey, Chairman. Chairman. I'll take \* it off your hands. \*</dialogue>
    <scene_description>Winters takes the machine gun from Fred as the group makes its way over to a caravan of parked cars.</scene_description>
    <character>RUSH \*</character>
    <dialogue>Maybe the disciples will be more \* receptive. \*</dialogue>
    <character>FRED \*</character>
    <dialogue>You can bet the Disciples got one \* of those Fed letters too. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>A35 EXT./INT. O'NEAL'S CAR - CONTINUOUS ACTION A35</stage_direction>
    <scene_description>O'Neal is surprised when Harmon climbs in the passenger seat.</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>So what, you riding with me? \*</dialogue>
    <character>HARMON</character>
    <dialogue>You got your piece on you, comrade?</dialogue>
    <character>O'NEAL</character>
    <dialogue>Yeah, it's in the glove box. Why? \* What's up? \*</dialogue>
    <scene_description>Harmon opens the glove compartment and in a flash has the gun trained on O'Neal. Palmer hops in the backseat behind him.</scene_description>
    <character>O'NEAL</character>
    <dialogue>What the -- \*</dialogue>
    <scene_description>A35 CONTINUED: A35 Harmon places a finger to her lips. PALMER pats O'Neal down vigorously. He tears his shirt open, looking for a wire. There is none.</scene_description>
    <character>O'NEAL</character>
    <dialogue>C'mon, Judy, you know I -- \*</dialogue>
    <scene_description>A flash of LIGHTNING transitions us to -- \* \*: \*: \*:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PANTHER HEADQUARTERS - BACK LOT - LATER</stage_direction>
    <scene_description>O'Neal's car pulls into the lot and the engine shuts off.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. O'NEAL'S CAR - CONTINUOUS ACTION</stage_direction>
    <scene_description>As before --</scene_description>
    <character>HARMON</character>
    <dialogue>What was all that shit about a \* badge?</dialogue>
    <character>O'NEAL</character>
    <dialogue>Badge? \*</dialogue>
    <scene_description>Palmer grabs a fist full of O'Neal's hair.</scene_description>
    <character>O'NEAL</character>
    <dialogue>Alright. Alright. Calm down. Calm \* the fuck down. Can I talk to her? \* Can I talk to her? Y'all ain't \* gon' believe me but... I used to pretend to be a Fed sometimes -- \* when I boosted cars.</dialogue>
    <scene_description>They eye him in disbelief.</scene_description>
    <character>HARMON</character>
    <dialogue>What kinda fucking sense does that make? A pig boosting cars.</dialogue>
    <character>O'NEAL</character>
    <dialogue>What I'd do is I'd show 'em a fake \* badge and then I'd say, Your car \* was reported stolen. Then I'd hop \* in and I'd just ride. I'd just go. \* And before anybody knew the \* difference, I was in the wind. \* Dig what I'm saying? \*</dialogue>
    <parenthetical>(off their looks)</parenthetical>
    <dialogue>You'd be surprised.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>O'NEAL</character>
    <dialogue>I'd throw on a trench coat, one of them Humphrey Bogart... \*</dialogue>
    <character>HARMON</character>
    <dialogue>You steal this car?</dialogue>
    <character>O'NEAL</character>
    <dialogue>No -- Well, yes. Off a pimp.</dialogue>
    <character>HARMON</character>
    <dialogue>And a pimp believed you were a fed? What kinda amateur-hour macks you be knowing out here?</dialogue>
    <character>O'NEAL</character>
    <dialogue>I hotwired the shit, alright? \* Alright? \*</dialogue>
    <scene_description>Harmon places the gun barrel under his chin.</scene_description>
    <character>PALMER \*</character>
    <dialogue>Do it again.</dialogue>
    <character>O'NEAL</character>
    <dialogue>What?</dialogue>
    <character>HARMON</character>
    <dialogue>You say you hotwired the shit, so do it again.</dialogue>
    <character>O'NEAL</character>
    <dialogue>Okay look I... I don't have the \* tools on me to do it right this \* second... \*</dialogue>
    <character>HARMON</character>
    <parenthetical>(addressing Palmer)</parenthetical>
    <dialogue>Comrade, reach in my boot.</dialogue>
    <scene_description>Palmer does as told and retrieves Harmon's switchblade. He offers it up to O'Neal, who hesitates a moment before taking the knife and using it to pry open the ignition on the steering column. Then separates the wire bundles, strips insulation off the battery wires, twists them together, and does the same with the starter wire. He touches them together... nothing. He works the wires again... same result. Palmer and Harmon share a look.</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Alright, give me a second. Give me \* a second. \*</dialogue>
    <scene_description>O'Neal tries once more and -- finally -- there's a SPARK. He REVS the engine. CONTINUED: (2)</scene_description>
    <character>O'NEAL</character>
    <dialogue>Happy?</dialogue>
    <scene_description>Harmon lowers the gun but Palmer furrows his brow as something strikes him --</scene_description>
    <character>PALMER</character>
    <dialogue>How you get keys to a hot car? \*</dialogue>
    <scene_description>The obviousness of the implication surprises Harmon -- and momentarily stuns O'Neal. But not for long:</scene_description>
    <character>O'NEAL</character>
    <dialogue>You think I'm'a pick up a stone fox in this ride, and start the shit with a screwdriver? I had my boy replace the lock! C'mon, now!</dialogue>
    <scene_description>O'Neal starts to laugh. \*</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Can you get that motherfucker off \* me now? \*</dialogue>
    <scene_description>Harmon turns the gun away from him. \*</scene_description>
    <character>HARMON</character>
    <dialogue>Wild Bill.</dialogue>
    <scene_description>O'Neal looks out the window, his face etched with a blend of fear and excitement at the thrill of outsmarting his interrogators.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PANTHER HEADQUARTERS - CLASSROOM/LIBRARY - SAME</stage_direction>
    <character>NIGHT</character>
    <dialogue>CLOSEUP: A record needle drops on a twelve-inch --</dialogue>
    <character>WIDER ANGLE</character>
    <dialogue>Fred smokes a cigarette listening to MALCOLM X recording. \*</dialogue>
    <character>MALCOLM X (V.O.)</character>
    <parenthetical>(on vinyl)</parenthetical>
    <dialogue>They don't attack me because I'm a \* Muslim, they attack me because I'm \* Black. They attack all of us for \* the same reason. All of us catch \* Hell from the same enemy. \*</dialogue>
    <scene_description>Fred heads over to a desk and briefly jots notes on the legal pad. He begins to RECITE ALONG WITH the speech, building to a full-on Malcolm X IMPRESSION: CONTINUED:</scene_description>
    <character>MALCOLM X (V.O.)/FRED</character>
    <parenthetical>(on vinyl)</parenthetical>
    <dialogue>We're all in the same bed, in the \* same boat. We suffer political \* oppression, economic exploitation, \* and social degradation. All of our \* brothers the same enemy. The \* government has failed us. You \* can't deny that. Anytime you're \* living in the 20th century, 1964, \* and you walk around singing "We \* shall overcome," the government \* has failed us. \*</dialogue>
    <scene_description>He turns to discover Deborah watching him from the doorway. Fred grows embarrassed as he quickly lifts the needle off the record --</scene_description>
    <character>DEBORAH</character>
    <dialogue>Keep going!</dialogue>
    <character>FRED</character>
    <parenthetical>(suddenly shy)</parenthetical>
    <dialogue>Mm-mm. \*</dialogue>
    <character>DEBORAH</character>
    <dialogue>Do you know his speech 'The Black \* Revolution'??</dialogue>
    <character>FRED</character>
    <parenthetical>(doing a spot-on Malcolm X imitation)</parenthetical>
    <dialogue>Sometimes, when a person's house is on fire and the person to whom \* the house belongs is asleep, if \* someone comes in yelling fire, instead of the person to whom the \* house belongs being thankful, they \* make the mistake of charging the \* one who awakened him with having set the fire. \*</dialogue>
    <character>FRED/DEBORAH</character>
    <parenthetical>(in unison)</parenthetical>
    <dialogue>I hope that this... \*</dialogue>
    <character>DEBORAH \*</character>
    <dialogue>Little conversation tonight about \* the Black revolution won't cause \* many of you to accuse us of... \*</dialogue>
    <character>FRED/DEBORAH \*</character>
    <dialogue>(in unison) \*</dialogue>
    <scene_description>Igniting it when you find it at \* your doorstep. \* CONTINUED: (2) Deborah and Fred smile at one another. There's an intense moment of attraction between the two. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>You gotta do the voice. \*</dialogue>
    <character>DEBORAH \*</character>
    <dialogue>When you find him at your \* doorstep. \*</dialogue>
    <character>DEBORAH \*</character>
    <dialogue>I listen to him every morning. I \* feel like he never lets folks put \* words in his mouth, and no matter \* what he doesn't get flustered or \* angry. I'd like to be like that \* some day. \*</dialogue>
    <character>FRED \*</character>
    <dialogue>Right on. \*</dialogue>
    <character>DEBORAH \*</character>
    <dialogue>Right on. Anyway. I didn't mean to \* interrupt. \*</dialogue>
    <scene_description>She turns to leave. \* \*:</scene_description>
    <character>FRED</character>
    <dialogue>You want some coffee? \*</dialogue>
    <scene_description>Deborah turns back. \*</scene_description>
    <character>DEBORAH</character>
    <dialogue>Sure.</dialogue>
    <character>FRED</character>
    <dialogue>How do you take it?</dialogue>
    <character>DEBORAH</character>
    <dialogue>Black... and sweet.</dialogue>
    <scene_description>Fred returns to her desk with two coffees. \* They stare at one another intensely. Deborah smiles.</scene_description>
    <character>FRED \*</character>
    <dialogue>What? \*</dialogue>
    <character>DEBORAH \*</character>
    <dialogue>I did not expect you to be shy. \*</dialogue>
    <character>FRED \*</character>
    <dialogue>I'm not shy. \*</dialogue>
    <scene_description>CONTINUED: (3)</scene_description>
    <character>DEBORAH</character>
    <dialogue>Okay. \*</dialogue>
    <scene_description>Fred steps toward Deborah, and they passionately kiss. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT./INT. YOUNG PATRIOTS HQ/O'NEAL'S CAR - DAY</stage_direction>
    <scene_description>O'Neal's car pulls up across the street from a ramshackle storefront whose windows are obscured by metal grates. As he shuts off the engine, Fred takes the temperature of the car. His comrades, Rush and PALMER in particular, seem on edge.</scene_description>
    <character>RUSH \*</character>
    <dialogue>We ain't talking about some \* hippies playing bongos in the \* park. These are the same \* motherfuckers that hit Dr. King \* with a brick. \*</dialogue>
    <character>PALMER \*</character>
    <dialogue>I don't know how I feel about \* going up there with no pistol. \*</dialogue>
    <scene_description>All eyes turn to PALMER. \*</scene_description>
    <character>FRED</character>
    <dialogue>Right on... Best you stay behind, then.</dialogue>
    <scene_description>Fred exits, followed by all but a disgruntled Palmer. \*</scene_description>
    <character>FESPERMAN (PRE-LAP) \*</character>
    <dialogue>...Displace maybe two three times \* as many of us! \*</dialogue>
    <scene_description>\*:</scene_description>
  </scene>
  <scene>
    <stage_direction>A41 INT. YOUNG PATRIOTS HQ - MAIN ROOM - CONTINUOUS ACTION A41</stage_direction>
    <scene_description>A large Confederate flag decorates the wall. A community \* meeting is in progress. FESPERMAN (20s) addresses a \* crowd of poor Appalachians from the pulpit at the front of the room.</scene_description>
    <character>FESPERMAN</character>
    <dialogue>Well, they might think it's easy \* to throw out the white trash... but they'd better fucking burn it!</dialogue>
    <scene_description>The Panthers quietly enter and line up in the back of the \* room. \* As Fesperman eyes his new guests, the crowd follows his gaze. The room grows quiet. A41 CONTINUED: A41</scene_description>
    <character>FESPERMAN \*</character>
    <dialogue>You're Fred Hampton. \*</dialogue>
    <character>FRED</character>
    <dialogue>And you must be the Preacherman. \*</dialogue>
    <scene_description>Palmer enters and takes his place beside the other \* Panthers. \*</scene_description>
    <character>FESPERMAN (PREACHERMAN)</character>
    <dialogue>I'm a fan of y'all's paper. The \* funnies, especially.</dialogue>
    <character>PALMER</character>
    <dialogue>That flag is some motherfucking \* bullshit. \*</dialogue>
    <character>RUSH</character>
    <dialogue>Comrade. Take it easy, comrade. \*</dialogue>
    <character>FESPERMAN \*</character>
    <dialogue>That's just up there to remind us \* of our Southern heritage.</dialogue>
    <character>PALMER</character>
    <dialogue>When I look at that, I don't see \* no flag hanging. I see my uncle hanging from a tree. And a bunch \* of white devils like y'all smiling \* around his -- \*</dialogue>
    <character>ALEX</character>
    <dialogue>Who the fuck you think you're talking to? You're in our house --</dialogue>
    <scene_description>Fred looks to Fesperman, curiously, comfortable with \* confrontation and wanting to hear his perspective. He \* coolly lights a cigarette. Alex stands. \*</scene_description>
    <character>FESPERMAN</character>
    <dialogue>Cool it! Cool it! \*</dialogue>
    <parenthetical>(addressing Palmer)</parenthetical>
    <dialogue>Look, we oppressed your people for a long time --</dialogue>
    <scene_description>JAMES (20s), white, shoots out of his chair. \*</scene_description>
    <character>JAMES</character>
    <dialogue>I didn't oppress shit! My folks grew up poor. They were sharecroppers.</dialogue>
    <character>PALMER</character>
    <dialogue>AKA the overseer.</dialogue>
    <scene_description>A41 CONTINUED: (2) A41</scene_description>
    <character>FRED</character>
    <dialogue>And what if the overseer had banded with the slaves and cut the master's throat? What then, comrade?</dialogue>
    <scene_description>Fred starts to make his way towards the front of the room.</scene_description>
    <character>FRED</character>
    <dialogue>We might not be in this funky-ass ghetto right now. And I'm not talking 'bout no West Side or the \* South Side; I'm talking about this filthy-ass motherfucker right here. Shit, we almost got into it with a rat over a parking space!</dialogue>
    <scene_description>There are scattered chuckles.</scene_description>
    <character>FRED</character>
    <dialogue>I bet y'all babies getting the same bullshit education, y'all paying the same taxes to get your heads whooped in by the same motherfucking pigs... Ain't that a \* trip? We pay them. We pay the pigs to run us off our corners.</dialogue>
    <scene_description>Fred is now at the front of the room.</scene_description>
    <character>FRED (V.O.)</character>
    <dialogue>Lemme ask y'all something. If this building caught fire right now, what would y'all worry about?</dialogue>
    <scene_description>The crowd is rapt with attention. He's starting to pull them in.</scene_description>
    <character>FRED</character>
    <dialogue>Water and escape. If somebody \* were to ask you 'What's your \* culture during this fire, brother?' 'Water, that's my \* culture.' 'How 'bout your politics?' 'Water and escape.'</dialogue>
  </scene>
  <scene>
    <stage_direction>B41 EXT. CHURCH (LINCOLN PARK) - DAY B41</stage_direction>
    <scene_description>A mass of Puerto Rican funeral mourners spills out of a church, carrying a casket to a hearse. Among them, JOSÉ "CHA CHA" JIMÉNEZ (20) and members of the YOUNG LORDS: a Puerto Rican gang donning purple berets.</scene_description>
    <character>FRED (V.O.) \*</character>
    <dialogue>Well guess what? America is on \* fire right now. And until that \* fire is extinguished, don't \* nothing else mean a Goddamn thing! \*</dialogue>
    <character>\*</character>
    <dialogue>Cha Cha looks across the street. A contingent of Panthers march forward in formation. \*</dialogue>
    <scene_description>OMITTED A43 SAME SCENE - MOMENTS LATER A43 \* O'Neal, the only black diner, eats a steak across from Mitchell who jots notes in his book.</scene_description>
    <character>MITCHELL</character>
    <parenthetical>(incredulous)</parenthetical>
    <dialogue>So... Rednecks and Puerto Ricans? \* In Chicago?</dialogue>
    <character>O'NEAL</character>
    <dialogue>That mufucka Fred, man... he could sell salt to a slug. \*</dialogue>
    <scene_description>Mitchell slides five twenties across the table to O'Neal. FOCUS ON: Mitchell's book. Written inside "Panthers + Patriots + Lords = ???"</scene_description>
    <character>MITCHELL \*</character>
    <dialogue>Nice work, Bill. \*</dialogue>
    <character>FRED (V.O.)</character>
    <parenthetical>(pre-lap; over megaphone)</parenthetical>
    <dialogue>Chicago is the most segregated city in America...</dialogue>
    <scene_description>OMITTED</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. POLICE PRECINCT - DAY</stage_direction>
    <scene_description>Fred stands on the precinct steps next to Cha Cha, Fesperman, and a coalition of PANTHERS, PATRIOTS, and YOUNG LORDS. A mass of protesters gather before them, carrying signs that read "Justice For Manny!," "Strength In Unity," and images of a pig with an "X" drawn through it. Riot cops with helmets and batons bar the entrance. Fred addresses the crowd.</scene_description>
    <character>FRED</character>
    <parenthetical>(on megaphone)</parenthetical>
    <dialogue>...Not Shreveport. Not \* Birmingham. But we're here to change that. The Black Panthers, the Young Lords, and the Young Patriots are forming a Rainbow Coalition of oppressed brothers and sisters of every color! Cha Cha, tell 'em why we're gathered here today.</dialogue>
    <scene_description>Fred hands Cha Cha the megaphone.</scene_description>
    <character>JIMÉNEZ</character>
    <parenthetical>(on megaphone)</parenthetical>
    <dialogue>Last week, our brother, Manuel Ramos, was shot in the head and killed by an off-duty pig. So we -- caught the pig, and turned him over to his fellow pigs. And for some reason we expected justice. Well, let's see what they do now \* that we're in front of the pigpen \* and we demand an independent \* investigation!</dialogue>
    <scene_description>A cheer emanates from the crowd. Fesperman takes the megaphone and leads a call and response.</scene_description>
    <character>FESPERMAN</character>
    <dialogue>No more pigs in our community!</dialogue>
    <character>CROWD</character>
    <dialogue>Off the pigs!</dialogue>
    <scene_description>As Fred takes in the mass of protesters, he can't help but feel a small semblance of progress if not victory. He and Deborah lock eyes and share a clandestine moment of genuine connection.</scene_description>
    <character>FESPERMAN</character>
    <dialogue>No more pigs in our community!</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>CROWD</character>
    <dialogue>Off the pigs!</dialogue>
    <character>FESPERMAN \*</character>
    <dialogue>No more pigs in our community! \*</dialogue>
    <character>CROWD \*</character>
    <dialogue>Off the pigs! \*</dialogue>
    <character>FESPERMAN \*</character>
    <dialogue>No more pigs in our community! \*</dialogue>
    <character>INT. FRED AND DEBORAH'S APARTMENT - BEDROOM - DAY \*</character>
    <dialogue>Fred and Deborah lie in bed together. \*</dialogue>
    <character>DEBORAH \*</character>
    <dialogue>Your feet are cold. Why your feet \* so cold? \*</dialogue>
    <character>FRED \*</character>
    <dialogue>My feet cold? Your feet are cold. \* That's socialism, man. You gotta \* warm 'em up. How you think Mao did \* the long march? Chinese warming \* these feet left and right. \*</dialogue>
    <scene_description>Deborah laughs. \*</scene_description>
    <character>DEBORAH \*</character>
    <dialogue>You saying I'm a foot capitalist? \* You really done call me a foot \* capitalist, Chairman? \*</dialogue>
    <scene_description>CUT TO BLACK:</scene_description>
  </scene>
  <scene>
    <stage_direction>C46 INT. NONDESCRIPT OFFICE - DAY (1989) C46</stage_direction>
    <scene_description>O'Neal's interview --</scene_description>
    <character>INTERVIEWER (O.S.)</character>
    <dialogue>So... Summer of '69. The Rainbow \* Coalition is in full swing. Fred's influence is growing. What happens next?</dialogue>
    <character>INT. FBI HEADQUARTERS - AUDITORIUM - DAY \*</character>
    <dialogue>Hoover stands in front of the projector. \*</dialogue>
    <character>CONTINUED:</character>
    <dialogue>HOOVER \*</dialogue>
    <scene_description>I want him off the street! Charge \* him with something! Anything! But \* get his Black ass off the street! \* Mitchell sits in the audience, listening. \* \*: SMASH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>D46 INT. BETTER BOYS FOUNDATION - LARGER CAFETERIA (1969) D46</stage_direction>
    <scene_description>The breakfast program has expanded to close to 60 kids. OFFICER MARONEY (30s), white, plainclothes and OFFICER \* CAPLE (30s), black, plainclothes, handcuff Fred. \* Harmon holds Deborah back. \*</scene_description>
    <character>DEBORAH</character>
    <dialogue>Y'all don't see there's kids in here? Huh? Course you're gonna go \* to a free breakfast program, pull \* something like this. Bunch of \* cowards. You disgust me. \*</dialogue>
    <character>FRED \*</character>
    <dialogue>Show some discipline. Tell Rush to \* get me a lawyer. \*</dialogue>
    <scene_description>Fred allows himself to be cuffed. Several of the kids are crying as he's escorted out.</scene_description>
    <character>FRED</character>
    <dialogue>Don't worry, y'all, I'll be right \* back.</dialogue>
    <scene_description>Deborah and most of his comrades follow Fred outside.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. NONDESCRIPT OFFICE - DAY (1989)</stage_direction>
    <scene_description>O'Neal's interview --</scene_description>
    <character>O'NEAL</character>
    <dialogue>Ice cream... He was accused of taking seventy-something dollars' \* worth of ice cream.</dialogue>
    <character>INT. MENARD STATE PENITENTIARY - PRISON CORRIDOR - DAY \*</character>
    <dialogue>A WHITE GUARD walks Fred down a prison corridor. \*</dialogue>
    <character>CONTINUED:</character>
    <dialogue>O'NEAL (V.O.) \*</dialogue>
    <scene_description>And I think he got 2-5 for that, \* if I'm not mistaken...</scene_description>
    <character>INTERVIEWER (V.O.) \*</character>
    <dialogue>How did Fred going to prison affect the party? \*</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PANTHER HQ - ALLEY/BACK ENTRANCE - NIGHT (1969)</stage_direction>
    <scene_description>O'Neal's car rolls down the alley and pulls into the lot behind Panther HQ.</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>... How didn't it? Membership \* decreased, donations started \* dwindling... Because I was so good \* at installing alarms and buzzers \* and things like that... Rush \* decided to promote me to security \* captain. \*</dialogue>
    <character>SUPERIMPOSE:</character>
    <dialogue>JULY, 1969</dialogue>
    <scene_description>O'Neal exits the car, now wearing reflective aviators. He's pinned stars on his beret, signifying his new stature within the party. He keys inside and is startled to find HERMAN HICKS (22) pointing a shotgun at him from atop the steps.</scene_description>
  </scene>
  <scene>
    <stage_direction>AA48 INT. PANTHER HEADQUARTERS - BACK STAIRS - CONTINUOUS AA48</stage_direction>
    <character>ACTION</character>
    <dialogue>O'NEAL</dialogue>
    <scene_description>Whoa! Dammit man, what the fuck \* are you doing? \*</scene_description>
    <character>HICKS</character>
    <dialogue>We got a visitor -- Brother on the run from the pigs. Can't be too careful.</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>Alright, alright, God damn it. Put \* that shit down. Gotta watch that \* shit, man. \*</dialogue>
    <scene_description>O'Neal climbs the STAIRS and enters --</scene_description>
  </scene>
  <scene>
    <stage_direction>A48 INT. PANTHER HEADQUARTERS - CLASSROOM - CONTINUOUS ACTION A48</stage_direction>
    <scene_description>-- emerging in the OUTER OFFICE, where Winters and Palmer are gathered around GEORGE SAMS (23), who quiets as O'Neal approaches --</scene_description>
    <character>SAMS</character>
    <dialogue>Who is that? \*</dialogue>
    <character>O'NEAL</character>
    <dialogue>Security Captain Bill O'Neal, \* motherfucker. Who are you? \*</dialogue>
    <character>SAMS</character>
    <dialogue>George Sams -- Security Captain of the New Haven chapter. Pardon the paranoia --</dialogue>
    <character>WINTERS</character>
    <dialogue>We got a rat!</dialogue>
    <scene_description>O'Neal tries to quell the distress roiling inside of him.</scene_description>
    <character>O'NEAL</character>
    <dialogue>What?</dialogue>
    <character>WINTERS</character>
    <dialogue>They smoked one out. In New Haven.</dialogue>
    <character>O'NEAL</character>
    <parenthetical>(barely calming down)</parenthetical>
    <dialogue>How? How? \*</dialogue>
    <character>PALMER</character>
    <dialogue>Put the squeeze on that \* motherfucker, that's how. \*</dialogue>
    <character>SAMS</character>
    <dialogue>I didn't say that. I said, the brother got some discipline, in \* the areas of the nose and mouth. \* And the brother started to show \* cowardly tendencies. So... we \* boiled some water and gave him a little more discipline.</dialogue>
    <parenthetical>(off O'Neal's horror)</parenthetical>
    <dialogue>We held a trial first. \*</dialogue>
    <character>O'NEAL</character>
    <dialogue>Shit, where he at now? \*</dialogue>
    <character>SAMS</character>
    <dialogue>He's at the bottom of the river \* with the rest of the trash. \*</dialogue>
    <scene_description>A48 CONTINUED: A48 Sams laughs, inspiring the others to mirth -- O'Neal's is clearly forced, belying his growing panic.</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Shit, I would've killed that \* motherfucker too. Killed him dead. \* I'd have beat the shit outta that \* nigga too. Boy. I woulda shot that \* nigga, stabbed his ass. Man, y'all \* lucky I wasn't there. I woulda... \* boy... bitch motherfucker. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT./INT. MITCHELL'S CAR - DAY 49 \*</stage_direction>
    <scene_description>Mitchell smokes a cigar, parked. After a moment, O'Neal's car pulls up next to his. O'Neal hops out and climbs inside Mitchell's car.</scene_description>
    <character>O'NEAL</character>
    <dialogue>Does anybody else know about me? \*</dialogue>
    <character>MITCHELL \*</character>
    <dialogue>No. \*</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>From the Bureau. \*</dialogue>
    <character>MITCHELL</character>
    <dialogue>No.</dialogue>
    <parenthetical>(off of his mistrustful look)</parenthetical>
    <dialogue>My superiors know I have a man on the inside. But... \*</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>Huh? \*</dialogue>
    <character>MITCHELL \*</character>
    <dialogue>My superiors know I have a man on \* the inside but that's it. No one \* knows your identity. \*</dialogue>
    <character>O'NEAL</character>
    <dialogue>Are you sure? \*</dialogue>
    <character>MITCHELL</character>
    <dialogue>I swear on my kids. Okay? What's \* got you all spooked?</dialogue>
    <character>O'NEAL</character>
    <dialogue>This Panther from New Haven came \* down. He talkin' about they caught \* an informant, and they tortured \* him, and they killed him, Roy. \*</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>MITCHELL</character>
    <dialogue>Who did? \*</dialogue>
    <character>O'NEAL</character>
    <dialogue>His name is George Sams. \*</dialogue>
    <scene_description>Mitchell pulls out his notebook and begins jotting notes.</scene_description>
    <character>MITCHELL</character>
    <dialogue>And who's the fella they killed, this informant?</dialogue>
    <character>O'NEAL</character>
    <dialogue>His name's Alex Rackley. Out of \* New York. I don't know, I never \* met him. Shit. \*</dialogue>
    <character>MITCHELL</character>
    <dialogue>Where's Sams hiding now? \*</dialogue>
    <character>O'NEAL</character>
    <dialogue>He's hiding at the office. Saying \* he's gonna skip town and, you \* know, get out of here. \*</dialogue>
    <character>MITCHELL</character>
    <dialogue>Okay, I need you to draw me up a \* floor plan of the office. With this intel, I can get authorization for a raid.</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>What? \*</dialogue>
    <character>MITCHELL \*</character>
    <parenthetical>(off of O'Neal's uneasiness)</parenthetical>
    <dialogue>Don't worry; I'll give you a heads- up so you can make yourself scarce.</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>Roy, are you fucking listening to \* me right now? They poured boiling \* water all over this motherfucker. \* You hear me? \*</dialogue>
    <character>MITCHELL</character>
    <dialogue>Yes I understand. I'm not \* surprised. What'd I tell you? No different than the Klan. Now you see.</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>... You're gonna have to come up with some serious fuckin' dough \* for this, alright? \*</dialogue>
    <scene_description>Mitchell bristles at O'Neal's tone. But he checks his ego for the moment.</scene_description>
    <character>MITCHELL</character>
    <dialogue>I'll make sure you're properly compensated.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. FBI HQ (CHICAGO) - CARLYLE'S OFFICE - DAY 50 \*</stage_direction>
    <scene_description>Mitchell enters Carlyle's office, excited: \*</scene_description>
    <character>MITCHELL</character>
    <dialogue>A Panther on the run from Connecticut is hiding out here in Chicago. Says he was part of a group that killed another Panther -- an informant --</dialogue>
    <character>CARLYLE</character>
    <dialogue>George Sams. A warrant's being written up as we speak. We're \* going in on Wednesday.</dialogue>
    <scene_description>Mitchell eyes him in shock.</scene_description>
    <character>MITCHELL</character>
    <dialogue>How'd you know?</dialogue>
    <character>CARLYLE</character>
    <dialogue>Sams is one of our guys. The warrant is just pretense.</dialogue>
    <scene_description>Mitchell is genuinely lost.</scene_description>
    <character>MITCHELL</character>
    <dialogue>So, Sams is the informant? So he \* didn't really kill -- \*</dialogue>
    <parenthetical>(checking notebook)</parenthetical>
    <dialogue>-- uh, Alex Rackley?</dialogue>
    <character>CARLYLE</character>
    <dialogue>No, he did. Well, he claims two \* other guys were the trigger-men, but what's he gonna say? \*</dialogue>
    <character>MITCHELL</character>
    <dialogue>Forgive me, I'm confused. So this \* Rackley kid was labeled an informant and then killed...</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>MITCHELL</character>
    <dialogue>by an actual FBI informant?</dialogue>
    <parenthetical>(as Carlyle nods yes)</parenthetical>
    <dialogue>And we're just letting him walk? For murder?</dialogue>
    <character>CARLYLE</character>
    <dialogue>It's beautiful. He's on the lam, \* right? So, every time he shows up at a Panther office, we get a warrant for harboring a fugitive. He's in the interview room right now, working with our liaison guys planning the next stop on his \* little 'tour.' \*</dialogue>
    <scene_description>Mitchell's still in shock. \*</scene_description>
    <character>MITCHELL</character>
    <dialogue>(judge-mental) \*</dialogue>
    <scene_description>Wow. That's uh... \*</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ILLINOIS PANTHER HEADQUARTERS - GROUND FLOOR - DAY 51 \*</stage_direction>
    <scene_description>Panthers survey the ransacked space. O'Neal holds a burning cigarette in his hands, calculating.</scene_description>
    <character>CARLYLE (POST-LAP) \*</character>
    <dialogue>It takes a thief to catch a thief, \* Roy. \*</dialogue>
    <character>O'NEAL</character>
    <dialogue>We got a snitch. \*</dialogue>
    <scene_description>The group eyes him in shock.</scene_description>
    <character>PALMER</character>
    <dialogue>What the fuck is you talking \* about? \*</dialogue>
    <character>O'NEAL</character>
    <dialogue>How the fuck did the pigs know \* Sams was even here? Y'all ever \* think about that?</dialogue>
    <character>PALMER</character>
    <dialogue>That motherfucker run his mouth so \* much, he probably outed his damn \* self. \*</dialogue>
    <scene_description>We clock Deborah, appearing in acute physical discomfort. CONTINUED:</scene_description>
    <character>O'NEAL</character>
    <dialogue>No nigga because they took the \* donor rolls but left the rest of the goddamn binders here. You \* understand what I'm saying? They \* went straight for the safe, then \* they went straight to the weapons \* cabinet which is right in the \* motherfucking slop closet. It's \* like they knew where everything was.</dialogue>
    <character>PALMER</character>
    <dialogue>Smarten up, brother.</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>What? \*</dialogue>
    <character>PALMER \*</character>
    <dialogue>You're falling right into the pigs' \* trap --</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>What the fuck are you talking \* about, man? You know, Jimmy, maybe \* you a Goddamn pig. You ever think \* about that? \*</dialogue>
    <scene_description>\*:</scene_description>
    <character>PALMER \*</character>
    <dialogue>Fuck you, nigga, maybe it's you!</dialogue>
    <scene_description>O'Neal SHOVES Palmer, who LUNGES back at him. But their TUSSLING is quickly broken up. Suddenly, Deborah retches, throwing up. \*</scene_description>
    <character>RUSH</character>
    <dialogue>Cool it! Both of y'all! Show some discipline! \*</dialogue>
    <scene_description>Harmon rushes to Deborah. \*</scene_description>
    <character>HARMON</character>
    <dialogue>You okay?</dialogue>
    <character>DEBORAH</character>
    <parenthetical>(brushing her off)</parenthetical>
    <dialogue>I'm fine. I'm fine.</dialogue>
    <scene_description>Harmon eyes her warily. O'Neal suddenly calls out -- CONTINUED: (2)</scene_description>
    <character>O'NEAL</character>
    <dialogue>It's a goddamn rat in here, Bobby, \* and when I find him I'm gonna \* smoke him out. You mothafuckers \* hear me? I'm gonna smoke him out. \* You thought New Haven was bad? You \* keep fuckin' with me. You keep \* fuckin' with me... \*</dialogue>
    <character>RUSH \*</character>
    <dialogue>Cool it! Cool it O'Neal! \*</dialogue>
    <scene_description>O'Neal storms out. \*</scene_description>
    <character>O'NEAL (O.S.) \*</character>
    <dialogue>Goddammit! \*</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PANTHER HEADQUARTERS - FRONT ENTRANCE/O'NEAL'S CAR -</stage_direction>
    <character>MOMENTS LATER</character>
    <dialogue>O'Neal slams the car door behind him and catches his breath, reeling. Alone, he breaks character. A slight smile crosses his lips, a part of him reveling in his mischief-making. O'Neal revs the engine and PEELS OFF --</dialogue>
    <character>INT. MENARD STATE PENITENTIARY - PRISON CORRIDOR - DAY \*</character>
    <dialogue>A WHITE GUARD slowly paces down the corridor. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MENARD STATE PENITENTIARY - FRED'S CELL - CONTINUOUS 62 \*</stage_direction>
    <character>ACTION \*</character>
    <dialogue>Fred sits on the floor, writing on a piece of toilet \* paper, his face laden with cuts and bruises. He's \* recovering from a bad beating. \*</dialogue>
    <character>FRED \*</character>
    <dialogue>Dear Comrade Deborah. \*</dialogue>
    <character>INT. FRED AND DEBORAH'S APARTMENT - KITCHEN \*</character>
    <dialogue>Deborah stands in front of the sink. \*</dialogue>
    <character>FRED (V.O.) \*</character>
    <dialogue>I dreamt of you the other night, \* and for a second, I thought I was \* home. \*</dialogue>
    <scene_description>Rush watches Deborah from the other room. Doc approaches \* Rush with a paper to sign. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MENARD STATE PENITENTIARY - FRED'S CELL - CONTINUOUS 62 \*</stage_direction>
    <character>ACTION \*</character>
    <dialogue>Fred writes, as before. \*</dialogue>
    <character>FRED (V.O.) \*</character>
    <dialogue>Pardon the delay in writing you. \* It's not by choice. \*</dialogue>
    <scene_description>C.O.! C.O.! \* Fred's ears prick. He stops writing and hides the letter \* under the bed. \*</scene_description>
    <character>FRED (V.O.) \*</character>
    <dialogue>The pigs do everything in their \* power to keep us isolated. \* Because they know the day we get \* organized, it's over for their \* asses. \*</dialogue>
    <scene_description>When the guard walks past Fred's cell, he's in the midst \* of doing push-ups. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MENARD STATE PENITENTIARY - CAFETERIA - DAY 64 \*</stage_direction>
    <scene_description>The men eat in total silence. Fred looks around at the \* despondent faces before him. \*</scene_description>
    <character>FRED (V.O.) \*</character>
    <dialogue>Not having books I find myself \* playing old speeches in my head. I \* keep coming back to this line from \* Dr. King. Let us not wallow in the \* valley of despair. Because make no \* mistake, Comrade. \*</dialogue>
    <scene_description>Fred locks eyes with one prisoner who doesn't eat. The \* man's nose wound, oozing puss. \*</scene_description>
    <character>FRED (V.O.) \*</character>
    <dialogue>This is the fucking valley. But \* where some see despair, I see \* ground zero for the revolution. \* 2,000 brothers who know who the \* enemy is. Who don't need the \* contradictions to be heightened, \* because in Menard, the \* contradictions don't get more \* Black and white. \*</dialogue>
    <scene_description>Fred gives the man a nod and rises to his feet along with \* the other prisoners. \* CONTINUED: He furtively withdraws the letter he's been writing from \* inside his waistband and tucks it underneath his tray \* before exiting in single file. \*</scene_description>
    <character>FRED (V.O.) \*</character>
    <dialogue>A lot of these brothers came here \* politicized too. They just need \* organizing. \*</dialogue>
    <scene_description>As the men file out, it is revealed that the man with the \* nose injury is naked and chained to a chair; carved into \* his chest the words "RABBLE ROUSER." He watches DENNIS \* COMPTON (39), part of the clean up crew, who picks up \* Fred's tray, retrieves the letter, and continues bussing \* trays. \* 65 OMITTED 65 \* 66 OMITTED 66 \* \*:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MENARD STATE PENITENTIARY - CORRIDOR - DAY 63 \*</stage_direction>
    <scene_description>The inmates are lined up in front of their cells. \*</scene_description>
    <character>FRED (V.O.) \*</character>
    <dialogue>By the time I'm through, I might \* fuck around have the pigs reading \* Fanon. \*</dialogue>
    <scene_description>A C.O. attacks Fred, and he fights back, punching the \* C.O. in the face. Fred is forced to the ground. \*</scene_description>
    <character>INT. FRED AND DEBORAH'S APARTMENT - LIVING ROOM - NIGHT \*</character>
    <dialogue>Deborah opens an envelope from Fred. \*</dialogue>
    <character>FRED (V.O.) \*</character>
    <dialogue>I have so many questions about how \* you're doing. About how the \* party's doing. But ain't no way \* you're getting a kite to me in \* this Hellhole. \*</dialogue>
    <scene_description>But there's no letter inside. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FEDERAL BUILDING - MITCHELL'S OFFICE - DAY 68 \*</stage_direction>
    <scene_description>FOCUS ON: Fred's handwritten letter, placed on top of a \* photocopier. \*</scene_description>
    <character>FRED (V.O.) \*</character>
    <dialogue>God forbid one of the party \* members get sent on, they could \* let me know how y'all are faring. \* But I'd rather be left in the \* dark. The last thing I want is \* y'all up in here with me. Or \* worse. \*</dialogue>
    <scene_description>The copier closes and turns on. REVEAL: Mitchell \* standing above it. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET CORNER NEAR A DELI (WEST SIDE) - NIGHT</stage_direction>
    <scene_description>Palmer smokes a cigarette. \*</scene_description>
    <character>FRED (V.O.) \*</character>
    <dialogue>Tell the comrades to be careful. \* Especially when they're out \* patrolling the pigs. \*</dialogue>
    <scene_description>He spots a group of COPS entering a deli. \*</scene_description>
    <character>FRED (V.O.) \*</character>
    <dialogue>Brother who just got in told me \* they've been vamping extra heavy \* since the summer started. \*</dialogue>
    <scene_description>Palmer storms down the block. \*</scene_description>
    <character>FRED (V.O.) \*</character>
    <dialogue>Y'all stay safe. In revolutionary \* love, Chairman Fred. \*</dialogue>
    <scene_description>Palmer reaches the deli.</scene_description>
  </scene>
  <scene>
    <stage_direction>A53 INT. DELI - CONTINUOUS ACTION A53</stage_direction>
    <scene_description>Inside, the police have lined up a HALF-DOZEN mostly older black men.</scene_description>
    <character>PALMER</character>
    <dialogue>Officers? Now what crime have \* these brothers perpetrated? \*</dialogue>
    <scene_description>Valentino whirls around, a hand on his pistol. \* A53 CONTINUED: A53</scene_description>
    <character>VALENTINO</character>
    <dialogue>Get the fuck outta here.</dialogue>
    <scene_description>Palmer places his hand on the .38 in his waistband.</scene_description>
    <character>PALMER</character>
    <dialogue>No, see I live here. Now y'all get \* the fuck outta here.</dialogue>
    <scene_description>Valentino looks at Hester in astonishment. Valentino suddenly draws his pistol and shoots Palmer in \* the abdomen. Palmer FIRES back, striking Valentino, who spins around, clutching the side of his head. Hester draws his weapon, but before he can fire, Palmer SHOOTS him in the shoulder. Palmer takes a moment to assess his wounds. He's bleeding from the stomach. Unbeknownst to him, Valentino isn't seriously wounded. He shoots Palmer in the shoulder, causing him to fall on his back. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>A68 INT. HOSPITAL - STAIRCASE - DAY A68 \*</stage_direction>
    <scene_description>Winters, carrying several books under his arm, climbs the \* steps of the hospital where he spots REG (30s) operating \* a dust mop. \*</scene_description>
    <character>REG \*</character>
    <dialogue>Jake! \*</dialogue>
    <character>WINTERS \*</character>
    <dialogue>Hey, Reg. \*</dialogue>
    <character>REG \*</character>
    <dialogue>The fuck you doing up in here? I \* sure as shit know a square like \* you ain't got the clap. \*</dialogue>
    <character>WINTERS \*</character>
    <dialogue>Nah, man. Comrade Palmer got shot \* by the pigs. I'm looking in on \* him. \*</dialogue>
    <character>REG \*</character>
    <dialogue>(somewhat uneasy) \*</dialogue>
    <scene_description>Alright, Blood. Be careful. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CERMAK HOSPITAL - CONTINUOUS ACTION 69 \*</stage_direction>
    <scene_description>Winters walks down the hallway carrying several books \* under his arm. He reaches a hospital room with a \* HOSPITAL POLICE OFFICER (50s) seated next to the \* entrance, reading a newspaper. The door is closed. \* CONTINUED: Winters opens his mouth to address the cop but before he \* can -- \*</scene_description>
    <character>HOSPITAL POLICE OFFICER \*</character>
    <dialogue>No visitors allowed. \*</dialogue>
    <character>WINTERS \*</character>
    <dialogue>The nurse told me visiting hours \* aren't 'til 10 PM. \*</dialogue>
    <character>HOSPITAL POLICE OFFICER \*</character>
    <dialogue>Not for your pal, here. \*</dialogue>
    <character>WINTERS \*</character>
    <dialogue>Can I at least leave him the \* books? \*</dialogue>
    <character>HOSPITAL POLICE OFFICER \*</character>
    <dialogue>You may not. \*</dialogue>
    <scene_description>Winters fumes. Refusing to be stymied, he opens up a \* paper and begins READING ALOUD to Palmer on the other \* side of the door. The cop looks up from his paper for \* the first time. \*</scene_description>
    <character>WINTERS \*</character>
    <dialogue>(reading) \*</dialogue>
    <scene_description>If we must die, let us not be like \* hogs. \*</scene_description>
    <character>HOSPITAL POLICE OFFICER \*</character>
    <dialogue>C'mon, kid. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>A69 INT. HOSPITAL - ROOM - CONTINUOUS ACTION A69 \*</stage_direction>
    <scene_description>Palmer sits up in bed. He's worse for wear, but on the \* mend. \*</scene_description>
    <character>PALMER \*</character>
    <dialogue>Winters. \*</dialogue>
    <character>INT. CERMAK HOSPITAL - CONTINUOUS ACTION \*</character>
    <dialogue>The cop shuts his paper and stands up. Just then -- \*</dialogue>
    <character>WINTERS \*</character>
    <dialogue>Jimmy?! How you holding up, man? \*</dialogue>
    <character>HOSPITAL POLICE OFFICER \*</character>
    <dialogue>Kid, you got five seconds to fuck \* off. One, two, three, alright \* that's it... \*</dialogue>
    <character>CONTINUED:</character>
    <dialogue>WINTERS \*</dialogue>
    <scene_description>Alright. \* Winters backs away from the doorway, laughing. \*</scene_description>
    <character>WINTERS \*</character>
    <dialogue>Ay, I'mma get with you Jimmy! \*</dialogue>
  </scene>
  <scene>
    <stage_direction>A69 INT. HOSPITAL - ROOM - CONTINUOUS ACTION A69 \*</stage_direction>
    <scene_description>70 Palmer laughs and coughs. 70 \* \*:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PANTHER HEADQUARTERS - DAY 71 \*</stage_direction>
    <scene_description>Two cop cars are parked across the street from HQ. Their occupants lean against them, drinking beers, giggling. OFFICER CARCETTI (30s) harasses pedestrians and tells jokes over the loudspeaker, directing them towards the second floor of Panther HQ.</scene_description>
    <character>CARCETTI</character>
    <dialogue>Hey, Williams, is that Harriet \* Tubman? Oh I'm sorry, it's Aunt \* Jemima. I love the pancakes Miss! \*</dialogue>
    <scene_description>Folks on the street eye the cops with disdain. OFFICER WILLIAMS (20s) takes note.</scene_description>
    <character>WILLIAMS</character>
    <dialogue>'Sup, guys. \*</dialogue>
    <character>CARCETTI \*</character>
    <dialogue>I just want you all to know you \* can thank the Black Panther party \* for the increased police presence \* in your neighborhood. A glorious \* group of cop killers. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PANTHER HEADQUARTERS - THE ARMORY - HARMON'S POV -</stage_direction>
    <character>DAY</character>
    <dialogue>The cops continue in their racist revelry.</dialogue>
    <character>CARCETTI (O.S.) \*</character>
    <dialogue>I'm about to fuckin' move in over \* there. \*</dialogue>
    <scene_description>A72 INSIDE A72 Harmon peers out of the window. A nervous, sweaty O'Neal smokes a cigarette. A72 CONTINUED: A72 Also in the room, Deborah and White (a rank-and-file Panther we've seen before). Hicks enters the room.</scene_description>
    <character>HARMON \*</character>
    <dialogue>Is the back clear? \*</dialogue>
    <character>HICKS</character>
    <dialogue>Clear. \*</dialogue>
    <character>HARMON</character>
    <dialogue>You got a whistle?</dialogue>
    <scene_description>Hicks touches the pistol on his hip.</scene_description>
    <character>HARMON</character>
    <dialogue>Escort Comrade Deborah out the \* back to the safe house. \*</dialogue>
    <character>DEBORAH</character>
    <dialogue>Why? \*</dialogue>
    <scene_description>Harmon, realizing that to answer that question truthfully would mean spreading Deborah's personal business, hesitates a beat.</scene_description>
    <character>O'NEAL</character>
    <dialogue>I'll take Deborah. Come on. \*</dialogue>
    <character>HARMON \*</character>
    <dialogue>You don't even know where it is. \*</dialogue>
    <character>DEBORAH \*</character>
    <dialogue>I ain't going nowhere. \*</dialogue>
    <scene_description>Harmon gestures for Deborah to follow her into the hallway. As they walk --</scene_description>
    <character>DEBORAH</character>
    <parenthetical>(emphatic)</parenthetical>
    <dialogue>... I can protect myself.</dialogue>
    <scene_description>B72 PANTHER HEADQUARTERS - HALLWAY - CONTINUOUS ACTION B72</scene_description>
    <character>HARMON</character>
    <parenthetical>(gently)</parenthetical>
    <dialogue>I know you can... But you don't got just yourself to think about -- \* anymore.</dialogue>
    <scene_description>She gestures towards Deb's belly. There's a discernible shift in Deborah, who suddenly feels like she's under surveillance. B72 CONTINUED: B72</scene_description>
    <character>HARMON \*</character>
    <dialogue>I didn't want to have to say it \* like this but I recognize what \* you're going through with the \* Chairman being locked up and \* everything and I just... does he \* know? \*</dialogue>
    <scene_description>Harmon feels it, and is instantly struck with guilt. She starts to reach out to touch her comrade but Deborah immediately tenses up, causing Harmon to stop short.</scene_description>
    <character>HARMON \*</character>
    <dialogue>Deb, I... \*</dialogue>
    <scene_description>Remorseful, Harmon heads back inside the armory, leaving Deborah isolated in the hallway. A mix of emotions run through her: resentment at the insinuation that she's \* helpless, guilt at the thought of abandoning her comrades, and the validity of Harmon's concern.</scene_description>
  </scene>
  <scene>
    <stage_direction>C72 INT. PANTHER HEADQUARTERS - THE ARMORY C72</stage_direction>
    <scene_description>As Harmon heads for the gun closet, O'Neal tenses up.</scene_description>
    <character>O'NEAL</character>
    <dialogue>You know this ain't nothing but a \* couple drunk-ass pigs. Probably \* gonna leave here and get some \* donuts or some shit.</dialogue>
    <character>HARMON</character>
    <dialogue>Maybe. I'll tell you what they definitely not gon' do, though. And that's come up in here. Not again.</dialogue>
    <scene_description>Harmon tosses O'Neal and White shotguns.</scene_description>
    <character>HARMON</character>
    <parenthetical>(addressing Panther)</parenthetical>
    <dialogue>White, you guard the rear.</dialogue>
    <character>CARCETTI (O.S.) \*</character>
    <dialogue>Hey, Panthers, you really give a \* fuck about the people down here \* you'll come down. You \* motherfuckers think it's cool to \* shoot a cop? \*</dialogue>
    <character>HARMON \*</character>
    <parenthetical>(addressing Hicks in hushed voice)</parenthetical>
    <dialogue>Make sure she gets home safe.</dialogue>
    <scene_description>C72 CONTINUED: C72 Deborah reluctantly allows Hicks to escort her out. O'Neal freaks out at the prospect of getting in a shoot- out with the police.</scene_description>
    <character>CARCETTI \*</character>
    <dialogue>Today's the day. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PANTHER HEADQUARTERS - DAY</stage_direction>
    <scene_description>Carcetti calls up to the Black Panther headquarters. \*</scene_description>
    <character>CARCETTI \*</character>
    <dialogue>Today's the fuckin' day. Either \* you fucks come down, or we're \* coming up. \*</dialogue>
    <scene_description>Harmon opens the window, holding her SHOTGUN. \*</scene_description>
    <character>COP (O.S.) \*</character>
    <dialogue>Gun! \*</dialogue>
    <scene_description>Carcetti and his partners dive behind their cars. \* Williams speaks into his walkie. \*</scene_description>
    <character>WILLIAMS \*</character>
    <dialogue>10-1, we need backup. Black \* Panther headquarters. \*</dialogue>
    <character>CARCETTI \*</character>
    <dialogue>Hey, kid! Clear the fucking \* sidewalks! \*</dialogue>
    <scene_description>The barrel of the shotgun slowly pokes through the \* cracked window. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PANTHER HEADQUARTERS - THE ARMORY - CONTINUOUS</stage_direction>
    <character>ACTION</character>
    <dialogue>Harmon's gun is aimed, locked and loaded. But to her surprise, O'Neal backs away from the window.</dialogue>
    <character>HARMON</character>
    <dialogue>What the fuck you doing? \*</dialogue>
    <character>O'NEAL</character>
    <dialogue>I'm gonna cover you from the roof. \*</dialogue>
    <character>HARMON</character>
    <dialogue>O'Neal, where are you going? \*</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>O'NEAL</character>
    <dialogue>Trust me, it'll make better sense \* when they call for backup. And \* they're gonna call for backup!</dialogue>
    <scene_description>Harmon grits her teeth as O'Neal exits. He enters the --</scene_description>
    <character>HALLWAY</character>
    <dialogue>and peeks downstairs over the banister to see if he can sneak out the back. But White is positioned by the door.</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>Hey. \*</dialogue>
    <character>WHITE \*</character>
    <dialogue>What's up? \*</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>I'm gonna go secure the roof, \* alright? \*</dialogue>
    <character>WHITE \*</character>
    <dialogue>Right on. \*</dialogue>
    <scene_description>O'Neal runs up to the ROOF. \*</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Fuck. \*</dialogue>
    <character>EXT. PANTHER HEADQUARTERS - STREET - DAY \*</character>
    <dialogue>Carcetti and the cops aim their weapons at the Black \* Panther headquarters. \*</dialogue>
    <character>CARCETTI \*</character>
    <dialogue>Watch your back! \*</dialogue>
    <character>COP 1 (O.S.) \*</character>
    <dialogue>Look at that window. \*</dialogue>
    <character>CARCETTI \*</character>
    <dialogue>Hold your positions! \*</dialogue>
    <character>COP 2 (O.S.) \*</character>
    <dialogue>You guys see any weapons besides \* those? Any visuals? \*</dialogue>
    <character>COP 1 (O.S.) \*</character>
    <dialogue>Nothing, nothing. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PANTHER HEADQUARTERS - ROOF - DAY</stage_direction>
    <scene_description>O'Neal bursts outside and looks around. There's no accessible adjacent roof to jump to. SIRENS WAIL. \* A75 ANOTHER ANGLE A75 O'Neal peers over the edge at THREE APPROACHING COP CARS careening down the street.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PANTHER HEADQUARTERS - STREET - DAY</stage_direction>
    <scene_description>Williams spots O'Neal on the roof, shotgun at his side.</scene_description>
    <character>WILLIAMS</character>
    <dialogue>Sniper!</dialogue>
    <scene_description>He fires the first shot... at O'Neal.</scene_description>
  </scene>
  <scene>
    <stage_direction>A76 EXT. BLACK PANTHER HEADQUARTERS - ROOF - CONTINUOUS A76</stage_direction>
    <character>ACTION</character>
    <dialogue>O'Neal ducks behind the brick facade. Bullets scatter bits of brick and dust everywhere. The sound of O'Neal's comrades returning fire is heard from below. He scuttles back to the roof entrance and ducks inside --</dialogue>
  </scene>
  <scene>
    <stage_direction>B76 INT. BLACK PANTHER HEADQUARTERS - STAIRWELL - CONTINUOUS B76</stage_direction>
    <character>ACTION</character>
    <dialogue>O'Neal starts to run down the stairs. White, previously manning the back entrance downstairs, runs up to join his comrades in the firefight. O'Neal hides in the shadows.</dialogue>
    <dialogue>He creeps downstairs past the Panthers, their muzzle flashes lighting up the room. As O'Neal makes his way to the first floor, we REMAIN ON the second floor and TRACK INTO the room, UP TO the window. White and Harmon crouch on the floor as wood splinters and glass breaks around them. Ten cops are visible outside the window.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PANTHER HEADQUARTERS - BACK ENTRANCE - CONTINUOUS</stage_direction>
    <character>ACTION</character>
    <dialogue>O'Neal emerges, tosses his shotgun, and speed-walks nonchalantly along the back street.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PANTHER HQ - FRONT - DAY (LATER)</stage_direction>
    <scene_description>Close to twenty cops TRADE SPORADIC GUNFIRE with the Panthers, the windows of the second floor totally blown out. A CROWD has assembled around the periphery to watch, including Deborah, Hicks, and several other Panthers who cheer their comrades on. Deborah can't help but think about what would have happened had she remained inside that building.</scene_description>
  </scene>
  <scene>
    <stage_direction>A78 INT. PANTHER HEADQUARTERS - ARMORY - CONTINUOUS ACTION A78</stage_direction>
    <scene_description>Harmon and White take cover and fire. As Harmon digs into a box of shells and reloads, she observes that they're rapidly running out of ammo. White is shot in the shoulder. \*</scene_description>
    <character>HARMON \*</character>
    <dialogue>White! You okay? \*</dialogue>
    <scene_description>Her and White share a concerned glance. \*</scene_description>
    <character>HARMON \*</character>
    <dialogue>I'm out! \*</dialogue>
  </scene>
  <scene>
    <stage_direction>B78 EXT. PANTHER HEADQUARTERS - FRONT - CONTINUOUS ACTION - B78</stage_direction>
    <character>DAY</character>
    <dialogue>White's jacket WAVES from the blown-out window -- \*</dialogue>
    <dialogue>CAPTAIN JAMES BYRNE (30s), white, takes a BULLHORN -- \*</dialogue>
    <character>BYRNE</character>
    <parenthetical>(on bullhorn; addressing his officers)</parenthetical>
    <dialogue>Cease fire! Cease fire! Goddamn \* it! Goddamn it, cease fire! \*</dialogue>
    <parenthetical>(as the cops stop shooting)</parenthetical>
    <dialogue>Come out with your hands up!</dialogue>
    <scene_description>The Panthers anxiously await for their comrades to exit the building. After a tense beat, Harmon and White emerge, hands raised, miraculously unharmed. B78 CONTINUED: B78</scene_description>
    <character>HARMON \*</character>
    <dialogue>We're comin' out! We're comin' \* out, don't shoot! \*</dialogue>
    <character>BYRNE \*</character>
    <dialogue>Cease fire! \*</dialogue>
    <scene_description>The crowd lets out a cheer that immediately turns to screams of anguish as the two Panthers are assailed by rifle butts and boots.</scene_description>
    <character>DEBORAH \*</character>
    <dialogue>No! \*</dialogue>
    <scene_description>The bulk of the cops storm the office while the rest attempt to calm an increasingly unruly crowd, now throwing bottles and rocks. A cop pulls one such thrower from the crowd and beats them savagely. Winters forces his way to the front, having just shown up, mouth agape.</scene_description>
    <character>WINTERS</character>
    <dialogue>What the fuck happened?</dialogue>
    <scene_description>A cop marches towards the building with a gas can. Deborah observes the scene that's about to unfold. Harmon is forced into the back of a police truck. \*</scene_description>
    <character>DEBORAH</character>
    <dialogue>They're gonna burn it down! No... \* No!</dialogue>
    <scene_description>She tries to run past the blockade but Winters prevents \* her.</scene_description>
    <character>DEBORAH \*</character>
    <dialogue>Get off of me! Get off of me! \*</dialogue>
  </scene>
  <scene>
    <stage_direction>C78 INT. BLACK PANTHER HEADQUARTERS - GROUND FLOOR - C78</stage_direction>
    <character>CONTINUOUS ACTION</character>
    <dialogue>Cops go berserk, destroying everything in sight. A match is lit. WOOSH. A fireball engulfs the space as the cops run outside.</dialogue>
  </scene>
  <scene>
    <stage_direction>D78 EXT. BLACK PANTHER HEADQUARTERS - GROUND FLOOR - D78</stage_direction>
    <character>CONTINUOUS ACTION</character>
    <dialogue>The crowd screams, shouts, cries angry tears. The Panthers stare at the burning building in disbelief. \*</dialogue>
    <scene_description>CUT TO BLACK.: D78 CONTINUED: D78</scene_description>
    <character>OVER BLACK</character>
    <dialogue>WE HEAR THE SOUND OF A METAL SLOT OPENING.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MENARD STATE PENITENTIARY - THE BOX</stage_direction>
    <scene_description>It's so dark we can barely make out Fred, naked, sitting on the floor, knees to his chest.</scene_description>
    <character>WARDEN (O.S.)</character>
    <dialogue>It's over.</dialogue>
    <scene_description>After a beat, the Warden sticks a folded piece of paper through the slot. It takes Fred a moment to crawl over to it, as disoriented as he is. He unfolds the paper, in his hands a news clipping: a photograph of the scorched Panther headquarters beneath the headline "Cops Torch Terrorist Haven." He eyes it in disbelief, fighting back the tears welling in his eyes. \* Unconvinced, he unfolds the paper frantically and peers \* at the photograph closely but it's too dark to see. He finds the sole sliver of light and tries to determine the image's authenticity. FOCUS ON the charred signage in the windows of HQ. The Emory Douglas posters. A whimper escapes Fred. He tries to fight it, but the pain is too much. \* 80/81pt INT. FBI HQ (CHICAGO) - MITCHELL'S OFFICE - DAY 80/81pt Mitchell eats a pastrami sandwich, making a mess at his desk. As he's about to take a bite, his phone RINGS and \* he answers. \*</scene_description>
    <character>MITCHELL \*</character>
    <dialogue>Mitchell. \*</dialogue>
    <character>O'NEAL (V.O.)</character>
    <parenthetical>(on phone; frantic)</parenthetical>
    <dialogue>Hey listen Roy, I'm out. I'm out, \* man. \*</dialogue>
    <character>MITCHELL</character>
    <parenthetical>(on phone)</parenthetical>
    <dialogue>Calm down. Calm down, Bill -- \*</dialogue>
    <character>INTERCUT WITH:</character>
    <dialogue>81/80pt EXT. PAY PHONE NEAR DELI - DAY 81/80pt</dialogue>
    <scene_description>O'Neal is in the phone booth. A duffel bag sits just outside of it.</scene_description>
    <character>O'NEAL</character>
    <parenthetical>(on phone)</parenthetical>
    <dialogue>Don't tell me to fucking calm down, alright! I was almost \* killed! Now Fred's in jail. I \* did the damn job. And I'm out! \*</dialogue>
    <scene_description>\*:</scene_description>
    <character>MITCHELL</character>
    <dialogue>That's not how it works --</dialogue>
    <character>O'NEAL</character>
    <dialogue>'Fuck you mean that's not how it \* works? Gimme one good reason why I \* don't just book it outta here \* right now? \*</dialogue>
    <character>MITCHELL</character>
    <dialogue>Because, as I've mentioned, it's a \* year and a half for the stolen car and five years for impersonating a federal officer. And if you run, I \* will hunt you down -- \*</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>Man, shut the fuck up. \*</dialogue>
    <scene_description>O'Neal slams the phone down, to Mitchell's surprise. \* FUCK! \*:</scene_description>
    <character>RUSH (PRE-LAP) \*</character>
    <dialogue>What do we need? \*</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PANTHER HEADQUARTERS - POST-FIRE SECOND FLOOR - DAY</stage_direction>
    <scene_description>The entire floor has been burned to a crisp. Rush, Winters, Deborah, and Hicks sort through the ruins. When O'Neal enters, Hicks and Deborah eye him in shock.</scene_description>
    <character>RUSH \*</character>
    <dialogue>You the handyman. Oakland says \* rebuild immediately. What do we \* need?</dialogue>
    <scene_description>O'Neal laughs. CONTINUED:</scene_description>
    <character>O'NEAL</character>
    <dialogue>We need a Goddamn white flag, \* Bobby. You don't see this shit? \*</dialogue>
    <scene_description>TWO KIDS enter from outside. \*</scene_description>
    <character>YOUNGEST KID</character>
    <dialogue>Goddamn. They burnt the shit out this motherfucker.</dialogue>
    <character>OLDEST KID</character>
    <dialogue>Watch your mouth, man. \*</dialogue>
    <parenthetical>(addressing the Panthers)</parenthetical>
    <dialogue>Y'all need help?</dialogue>
    <scene_description>Rush shoots O'Neal a look like, "This is how we rebuild." O'Neal scoffs as Rush digs in his pocket for a few bills.</scene_description>
    <character>RUSH</character>
    <dialogue>Yeah, little brother. Run down to the store and get us a couple of \* trash cans... That's how you \* rebuild, Comrade. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PANTHER HEADQUARTERS - SECOND FLOOR - DAY</stage_direction>
    <scene_description>Headquarters has been gutted to the beams and is in the process of being rebuilt by people from the community, including Rainbow Coalition members. O'Neal finishes framing a wall and has a cluster of folks help him erect it. Older women distribute trays of cookies and punch to the laborers. Rod Collins (the Crown Fred debated in the pool hall) enters with a contingent of Crowns in tow. The Panthers, O'Neal especially, bristle.</scene_description>
    <character>O'NEAL</character>
    <parenthetical>(addressing Collins)</parenthetical>
    <dialogue>Hey! Can I help y'all? \*</dialogue>
    <character>COLLINS</character>
    <dialogue>Came to ask y'all that. Got some \* bodies if you need 'em. I know \* y'all got an army and all that but \* figured you could use some \* reserves. \*</dialogue>
    <character>DOC \*</character>
    <parenthetical>(surprised)</parenthetical>
    <dialogue>Right on.</dialogue>
    <scene_description>CONTINUED: A shocked O'Neal finds himself delegating repair tasks to the Crowns.</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Y'all know how to use a tape \* measure? This needs measuring \* right here. And then that dry wall \* right there needs to be measured \* out and flush. The rest of y'all \* can grab some of these paper rolls \* and help them with that wall. \* Right there. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. FBI HQ (CHICAGO) - CARLYLE'S OFFICE - DAY 84 \*</stage_direction>
    <scene_description>Mitchell has joined Carlyle and Hoover at the desk. \*</scene_description>
    <character>HOOVER \*</character>
    <dialogue>(gesturing towards \* homicide photos) \*</dialogue>
    <scene_description>Los Angeles leaders Bunchy Carter \* and John Huggins. Former leaders. \* Chalk marks. All that's left. \* (re: surveillance \* photo) \* Our friend Mr. Cleaver, on the lam \* in Algeria: a gift from our \* friends in Langley. \* (re: Bobby Seale mug \* shot) \* Look who's here. Our old friend \* Bobby Seale. You recognized this \* from the evening news, all bundled \* up. It must be very cold in that \* Chicago courtroom. Speaking of \* Seale, if the Seale verdict \* doesn't fall our way, we've got a \* witness who'll testify he ordered \* a hit in Connecticut. I believe \* you're familiar with George Sams, \* Agent Mitchell? \*</scene_description>
    <character>INT. PANTHER HEADQUARTERS - CLASSROOM - FLASHBACK \*</character>
    <dialogue>George Sams laughs as he smokes a cigar. \*</dialogue>
    <character>INT. FBI HQ (CHICAGO) - CARLYLE'S OFFICE - DAY \*</character>
    <dialogue>Mitchell tries to hide his discomfort. \*</dialogue>
    <character>MITCHELL \*</character>
    <dialogue>Yes, sir. \*</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>HOOVER \*</character>
    <dialogue>Very well. Have a seat, Gentlemen. \*</dialogue>
    <scene_description>Hoover shuts the binder and gestures for the men to have a seat. They do as told.</scene_description>
    <character>HOOVER</character>
    <dialogue>How are the boys? Jack and Tyler?</dialogue>
    <scene_description>Mitchell reacts with a mix of flattery and suspicion, clearly surprised that Hoover knows his son's names.</scene_description>
    <character>MITCHELL</character>
    <dialogue>Good, sir. Thank you. Tyler just \* started Little League. Kid's got quite an arm on him. \*</dialogue>
    <character>HOOVER</character>
    <dialogue>And your daughter, Samantha? She \* must be... What, eighteen months \* now, is it?</dialogue>
    <character>MITCHELL</character>
    <parenthetical>(even more unnerved)</parenthetical>
    <dialogue>That's right. She's... growing \* fast. Every day. \*</dialogue>
    <character>HOOVER</character>
    <dialogue>They always do, don't they? Tell \* me, what will you do when she brings home a Negro?</dialogue>
    <character>MITCHELL</character>
    <dialogue>When she brings home a negro...? \*</dialogue>
    <character>HOOVER</character>
    <dialogue>Your daughter, Samantha. What will you do the day she brings home a young Negro male --</dialogue>
    <character>MITCHELL</character>
    <parenthetical>(growing angry)</parenthetical>
    <dialogue>She's an infant, sir.</dialogue>
    <character>HOOVER</character>
    <dialogue>I'm well aware. And that's not an \* answer to my question.</dialogue>
    <scene_description>Mitchell realizes there's no way out of this line of questioning.</scene_description>
    <character>MITCHELL</character>
    <dialogue>...She won't. \*</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>HOOVER</character>
    <dialogue>Why not?</dialogue>
    <character>MITCHELL</character>
    <parenthetical>(flustered)</parenthetical>
    <dialogue>Because...</dialogue>
    <scene_description>As Mitchell struggles to find a diplomatic answer his face turns red. Hoover enjoys watching him thrash for a moment.</scene_description>
    <character>MITCHELL \*</character>
    <dialogue>Respectfully, Director Hoover, why are we talking about my daughter?</dialogue>
    <character>HOOVER</character>
    <dialogue>You killed in Korea.</dialogue>
    <character>MITCHELL \*</character>
    <dialogue>Yes. \*</dialogue>
    <character>HOOVER \*</character>
    <dialogue>Not for country. Maybe that's why \* you enlisted. But you killed for survival. You would have done anything to get back home safe to \* your family, wouldn't you? Of \* course. Think of your family now, \* Agent Mitchell. When you look at \* Hampton, think of Samantha because \* that's what's at stake if we lose this war. Our entire way of life. Rape, pillage, conquer, do you \* follow me?</dialogue>
    <character>MITCHELL</character>
    <parenthetical>(fuming)</parenthetical>
    <dialogue>I do, Sir. Hampton's in Menard \* doing five -- \*</dialogue>
    <character>HOOVER</character>
    <dialogue>Hampton's getting out while the \* State Supreme Court considers his appeal...</dialogue>
    <parenthetical>(off of his shock)</parenthetical>
    <dialogue>...In the interim, your CI is our \* best chance at neutralizing him, \* Agent Mitchell. \*</dialogue>
    <scene_description>Mitchell appears wary and unsettled, reeling from Hoover's interrogation and the sudden news of Fred's freedom.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT./EXT. O'NEAL'S CAR/MENARD STATE PENITENTIARY - DAY</stage_direction>
    <scene_description>O'Neal sits in the driver's seat, Rush next to him, both grinning wide as they watch Fred emerge.</scene_description>
    <character>HOOVER (POST-LAP) \*</character>
    <dialogue>Maybe it's time to speak to O'Neal \* more creatively. \*</dialogue>
    <character>SUPERIMPOSE:</character>
    <dialogue>OCTOBER, 1969</dialogue>
    <scene_description>Fred exits a massive castle-like prison. Deborah awaits in the parking lot. The pair embrace. Deborah whispers something in his ear. Fred's eyes grow wide. He steps back and peers down at her belly. She opens her sweater, revealing a slight bump and looks up at Fred with a hopeful smile. He laughs in disbelief. The gravity of the moment only amplifies his happiness.</scene_description>
    <character>FRED \*</character>
    <dialogue>You look beautiful, you know that? \*</dialogue>
    <scene_description>He kisses her tenderly, then takes her by the hand and leads her to O'Neal's idling CAR.</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Woo! You all save that shit 'til \* you get back to the house. \*</dialogue>
    <scene_description>They climb in the backseat. Fred greets O'Neal and Rush \* with warm hands on their shoulders. \*</scene_description>
    <character>RUSH</character>
    <dialogue>You look good, Chairman.</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>How you feeling? \*</dialogue>
    <character>FRED \*</character>
    <dialogue>I missed y'all motherfuckers, man. \*</dialogue>
    <scene_description>Fred waves him off. Everyone laughs.</scene_description>
    <character>O'NEAL</character>
    <dialogue>So where you wanna go? You hungry? \* What you want? \*</dialogue>
    <character>FRED</character>
    <parenthetical>(slightly somber)</parenthetical>
    <dialogue>Headquarters.</dialogue>
    <scene_description>O'Neal shares a sly smile with Rush.</scene_description>
    <character>O'NEAL</character>
    <dialogue>Headquarters it is, boy. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BLACK PANTHER HEADQUARTERS - GROUND FLOOR RENOVATED -</stage_direction>
    <character>SAME DAY</character>
    <dialogue>Rush leads Fred, Deborah, and O'Neal inside the newly renovated Panther offices. Fred can't believe his eyes.</dialogue>
    <character>FRED</character>
    <dialogue>How? I... it was burnt down. I saw it --</dialogue>
    <character>RUSH</character>
    <dialogue>The whole neighborhood came out. The pushers, the grannies, the Crowns... Everybody. \*</dialogue>
    <scene_description>(re: O'Neal) \* This one, especially. He led the charge.</scene_description>
    <character>O'NEAL</character>
    <dialogue>Nah...</dialogue>
    <character>RUSH</character>
    <dialogue>Don't be modest, brother. You practically lived here.</dialogue>
    <scene_description>Fred touches the walls, almost trying to make sure they're real.</scene_description>
    <character>FRED</character>
    <parenthetical>(growing emotional)</parenthetical>
    <dialogue>Power... anywhere there's people... Power. \*</dialogue>
    <scene_description>Fred looks at O'Neal and nods in deep appreciation.</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Right on. \*</dialogue>
    <character>FRED</character>
    <dialogue>Thank you, brother.</dialogue>
    <scene_description>Winters leads a mass of Panthers burst inside from the back door, mobbing Fred.</scene_description>
    <character>WINTERS \*</character>
    <dialogue>Chairman! \*</dialogue>
    <character>FRED</character>
    <dialogue>I was wondering why it was so quiet! I was, like, these mufuckas must be out here feeding these babies overtime if they not \* gon' welcome a brother home, Goddammit! Come on, man. I missed \* y'all motherfuckers, man. \*</dialogue>
    <scene_description>CONTINUED: There's laughter and AD LIBBED celebratory chatter. There's a group hug. \*</scene_description>
    <character>WINTERS \*</character>
    <dialogue>Alright let me out of here, let me \* out of here! \*</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>A90 INT. BLACK PANTHER HEADQUARTERS - GROUND FLOOR RENOVATED - A90</stage_direction>
    <character>ONE HOUR LATER</character>
    <dialogue>The radio has been turned on. Cups of soda are poured and passed around. Doc is on the phone. \*</dialogue>
    <character>DOC \*</character>
    <dialogue>Black Panther Party headquarters. \*</dialogue>
    <scene_description>He hangs up. \*</scene_description>
    <character>DOC \*</character>
    <dialogue>Rush? \*</dialogue>
    <scene_description>Rush joins him. \* Fred, who's speaking to a WOMAN, notices. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>'Scuse me, sister. \*</dialogue>
    <scene_description>He walks over to Doc and Rush. \*</scene_description>
    <character>FRED</character>
    <dialogue>What's up?</dialogue>
    <character>DOC</character>
    <dialogue>...Jimmy Palmer died. \*</dialogue>
    <character>FRED</character>
    <dialogue>What? How?</dialogue>
    <character>DOC</character>
    <dialogue>He was shot... while you were gone --</dialogue>
    <character>WINTERS</character>
    <parenthetical>(overhearing)</parenthetical>
    <dialogue>Who was shot?</dialogue>
    <scene_description>Doc hesitates a moment, understanding Winters' sensitivity to the matter. Someone turns down the radio. A90 CONTINUED: A90</scene_description>
    <character>FRED</character>
    <dialogue>Jimmy Palmer.</dialogue>
    <character>WINTERS</character>
    <dialogue>He's fine, y'all know that. \*</dialogue>
    <scene_description>Fred looks to Doc to explain.</scene_description>
    <character>DOC</character>
    <dialogue>...He died, Jake... last night. \*</dialogue>
    <character>WINTERS</character>
    <dialogue>...Nah... That's impossible. I \* just talked to him the other day. \* Anybody got the number for \* Loretto? \*</dialogue>
    <character>DOC</character>
    <dialogue>He was moved. To the County Hospital. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>A84 INT. CERMAK HOSPITAL - HALLWAY - DAY A84 \*</stage_direction>
    <scene_description>Jimmy Palmer wakes from a drugged slumber, surprised to \* find his gurney on the move. Wheeling him are two cops \* wearing shit-eating grins. Palmer tries to sit up but \* he's cuffed to the gurney. \*</scene_description>
    <character>PALMER \*</character>
    <dialogue>Get these fucking... Get this shit \* off of me. Hey, motherfuckers! \*</dialogue>
    <character>INT. BLACK PANTHER HEADQUARTERS - GROUND FLOOR RENOVATED \*</character>
    <dialogue>Fred wilts. \*</dialogue>
    <character>FRED</character>
    <dialogue>They killed him. They fucking \* killed him. \*</dialogue>
    <scene_description>Winters' eyes fill with bitter tears. He bursts out of the room.</scene_description>
    <character>RUSH</character>
    <dialogue>Jake! Jake!</dialogue>
    <scene_description>The revelry ceases as the Panthers reflect on their fallen comrade. Even O'Neal is emotionally affected. \*</scene_description>
    <character>CONTINUED:</character>
    <dialogue>AUDIENCE (V.O.)</dialogue>
    <parenthetical>(pre-lap)</parenthetical>
    <dialogue>Chairman Fred! Chairman Fred!</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PEOPLE'S CHURCH - LATER THAT AFTERNOON</stage_direction>
    <scene_description>Fred's largest, most diverse audience yet. They clap and stomp, chanting his name. In addition to the Young Patriots, there are a significant number of white people present, including Mitchell in a disguise of sorts: bell- bottomed jeans, a turtleneck, and longshoreman's cap. \* Fred emerges from the church's rear and strides down the aisle to thunderous applause. Flanking him in the front and rear are O'Neal and members of the security cadre. They stand below the stage, a stoic contrast to the \* frenzied crowd. Hanging behind them is a banner that reads "WELCOME HOME CHAIRMAN FRED!" Deborah looks on near the front row.</scene_description>
    <character>FRED</character>
    <parenthetical>(taking the mic)</parenthetical>
    <dialogue>I'm free...</dialogue>
    <scene_description>The crowd goes wild. Fred smiles wide.</scene_description>
    <character>FRED</character>
    <dialogue>I'm free, y'all. I need everybody \* to repeat after me -- I am! \*</dialogue>
    <character>AUDIENCE</character>
    <dialogue>I am!</dialogue>
    <character>FRED</character>
    <dialogue>A revolutionary!</dialogue>
    <character>AUDIENCE</character>
    <dialogue>A revolutionary!</dialogue>
    <character>FRED</character>
    <dialogue>I am!</dialogue>
    <character>AUDIENCE</character>
    <dialogue>I am!</dialogue>
    <character>FRED</character>
    <dialogue>A revolutionary!</dialogue>
    <character>AUDIENCE \*</character>
    <dialogue>A revolutionary! \*</dialogue>
    <character>FRED \*</character>
    <dialogue>I am! \*</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>AUDIENCE \*</character>
    <dialogue>I am! \*</dialogue>
    <character>FRED \*</character>
    <dialogue>A revolutionary! \*</dialogue>
    <character>AUDIENCE \*</character>
    <dialogue>A revolutionary! \*</dialogue>
    <character>FRED \*</character>
    <dialogue>I am! \*</dialogue>
    <character>AUDIENCE \*</character>
    <dialogue>I am! \*</dialogue>
    <character>FRED \*</character>
    <dialogue>A revolutionary! \*</dialogue>
    <character>AUDIENCE \*</character>
    <dialogue>A revolutionary! \*</dialogue>
    <character>FRED \*</character>
    <dialogue>I am! \*</dialogue>
    <character>AUDIENCE \*</character>
    <dialogue>I am! \*</dialogue>
    <character>FRED \*</character>
    <dialogue>A revolutionary! \*</dialogue>
    <character>AUDIENCE \*</character>
    <dialogue>A revolutionary! \*</dialogue>
    <character>FRED \*</character>
    <dialogue>I am! \*</dialogue>
    <character>AUDIENCE \*</character>
    <dialogue>I am! \*</dialogue>
    <character>FRED \*</character>
    <dialogue>A revolutionary! \*</dialogue>
    <scene_description>O'Neal remains stoic but echoes Fred's call.</scene_description>
    <character>O'NEAL/AUDIENCE</character>
    <dialogue>A revolutionary!</dialogue>
    <character>FRED</character>
    <dialogue>Drummer, lemme hear the people beat!</dialogue>
    <parenthetical>(as live drumming starts)</parenthetical>
    <dialogue>This is what we call the people's beat, started in 1966 by Huey Newton and Bobby Seale. \*</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>FRED</character>
    <dialogue>It's the beat that manifests in you, the people. They can't never stop the Party unless they stop the people! Ain't you high? Ain't you high? I'm high... off the people!</dialogue>
    <scene_description>The Audience joins in the following call-and-response, half chant/half singsong, which grows louder and LOUDER:</scene_description>
    <character>FRED</character>
    <dialogue>I'm high!</dialogue>
    <character>AUDIENCE</character>
    <dialogue>I'm high!</dialogue>
    <character>FRED</character>
    <dialogue>I'm high! \*</dialogue>
    <character>CROWNS</character>
    <dialogue>I'm high!</dialogue>
    <character>FRED</character>
    <dialogue>High-high-high-high-high!</dialogue>
    <character>AUDIENCE</character>
    <dialogue>High-high-high-high-high!</dialogue>
    <character>FRED</character>
    <dialogue>Off the people!</dialogue>
    <character>AUDIENCE</character>
    <dialogue>Off the people!</dialogue>
    <character>FRED \*</character>
    <dialogue>So, if you're asked to make a commitment at age twenty and you say, I'm too young to die'... \* you're dead already. If you dare to struggle, you dare to win. If you dare not struggle, then, Goddammit, you don't deserve to win!</dialogue>
    <scene_description>Raucous applause. A contingent of Crowns, including Rod Collins and Steel, \* are revealed to be standing in the crowd. \*</scene_description>
    <character>FRED</character>
    <parenthetical>(raising his fist)</parenthetical>
    <dialogue>Put a fist in the air for comrade Jimmy Palmer.</dialogue>
    <scene_description>CONTINUED: (3) Most of the audience members raise their fists in the air, Mitchell not among them. He grows cross as he looks at the same blonde white girl he eyed before, her fist raised enthusiastically. Fist in the sky, O'Neal nods vigorously with every proclamation Fred makes. Something is happening to him in this moment. Something unexpected and jarring. Maybe it's Palmer's death, or the experience of rebuilding headquarters, or Fred putting an arm around him earlier. But for the first time, the Chairman's words are penetrating O'Neal's cold soul.</scene_description>
    <character>FRED</character>
    <dialogue>Jimmy Palmer died a revolutionary death! He stood face-to-face and toe-to-toe with pig Daley's henchman, and made the greatest sacrifice one can ever make!</dialogue>
    <scene_description>The crowd cheers. \*</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Right on! \*</dialogue>
    <scene_description>O'Neal zeros in on the few audience members whose fists aren't in the air. He locks eyes with Mitchell. His jaw almost hits the floor. His handler is in this very moment looking him in the eyes, a witness to this sudden ideological conversion.</scene_description>
    <character>FRED \*</character>
    <dialogue>I don't believe I was born to die in a car wreck; I don't believe I'm going to die slipping on ice...</dialogue>
    <character>ON DEBORAH</character>
    <dialogue>unsure how to feel about what she's hearing.</dialogue>
    <character>FRED</character>
    <dialogue>... I don't believe I'm gonna die because I got a bad heart. I believe I'm going to die doing what I was born for. I believe I'm going to die high off the people. I'm gonna die for the people 'cause I live for the people. \*</dialogue>
    <scene_description>The crowd cheers. \*</scene_description>
    <character>FRED</character>
    <dialogue>I live for the people 'cause I love the people.</dialogue>
    <scene_description>CONTINUED: (4)</scene_description>
    <character>AUDIENCE</character>
    <dialogue>Right on!</dialogue>
    <character>FRED</character>
    <dialogue>And as for them bloodthirsty, \* murderous pigs -- some of you might be in the audience right now, sitting on a tape recorder, gun in your hair -- lemme make it plain...</dialogue>
    <scene_description>O'Neal almost melts under Mitchell's intense gaze.</scene_description>
    <character>FRED</character>
    <dialogue>...Kill a few pigs and get a \* little satisfaction.</dialogue>
    <scene_description>Mitchell reacts. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>Kill some more and you get some \* more satisfaction. Kill 'em all and you get complete satisfaction!</dialogue>
    <scene_description>The crowd cheers. \* \*:</scene_description>
    <character>FRED</character>
    <dialogue>It's not a question of violence or non-violence. It's a question of resistance to fascism or non- existence within fascism. You can murder a liberator, but you can't murder liberation; you can murder a revolutionary, but you can't murder a revolution; you can murder a freedom-fighter, but you can't murder freedom!</dialogue>
    <scene_description>The diverse crowd bursts into raucous applause. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>I say I am! \*</dialogue>
    <character>AUDIENCE \*</character>
    <dialogue>I am! \*</dialogue>
    <character>FRED \*</character>
    <dialogue>A revolutionary! \*</dialogue>
    <character>AUDIENCE \*</character>
    <dialogue>A revolutionary! \*</dialogue>
    <scene_description>CONTINUED: (5)</scene_description>
    <character>FRED \*</character>
    <dialogue>I am! \*</dialogue>
    <character>AUDIENCE \*</character>
    <dialogue>I am! \*</dialogue>
    <character>FRED \*</character>
    <dialogue>A revolutionary! \*</dialogue>
    <character>AUDIENCE \*</character>
    <dialogue>A revolutionary! \*</dialogue>
    <character>FRED \*</character>
    <dialogue>I am! \*</dialogue>
    <character>AUDIENCE \*</character>
    <dialogue>I am! \*</dialogue>
    <character>FRED \*</character>
    <dialogue>A revolutionary! \*</dialogue>
    <character>AUDIENCE \*</character>
    <dialogue>A revolutionary! \*</dialogue>
    <character>FRED \*</character>
    <dialogue>I am! \*</dialogue>
    <character>AUDIENCE \*</character>
    <dialogue>I am! \*</dialogue>
    <character>FRED \*</character>
    <dialogue>A revolutionary! \*</dialogue>
    <character>AUDIENCE \*</character>
    <dialogue>A revolutionary! \*</dialogue>
    <character>FRED \*</character>
    <dialogue>Drummer let me hear the people \* beat! Let me hear the people beat. \*</dialogue>
    <scene_description>The crowd erupts with chants of "Chairman Fred!" Fred \* takes a moment to survey the crowd. What once seemed impossible suddenly feels within his grasp: a united people's revolution.</scene_description>
    <character>FRED \*</character>
    <dialogue>Put your fist in the air! \*</dialogue>
    <scene_description>OMITTED</scene_description>
  </scene>
  <scene>
    <stage_direction>A93 EXT. REG'S HOUSE - NIGHT A93</stage_direction>
    <scene_description>Winters sits outside Reg's trailer home. Reg, the \* janitor from the hospital, arrives carrying a coke. \*</scene_description>
    <character>REG</character>
    <dialogue>Winters? The fuck you doing here? \*</dialogue>
    <character>WINTERS</character>
    <dialogue>... Looking for some answers.</dialogue>
    <character>REG \*</character>
    <dialogue>Answers to what? \*</dialogue>
    <character>WINTERS \*</character>
    <dialogue>Remember I saw you not too long \* ago? At the hospital? \*</dialogue>
    <character>REG \*</character>
    <dialogue>Yeah. \*</dialogue>
    <character>WINTERS \*</character>
    <dialogue>The pigs took my man outta there -- \*</dialogue>
    <character>REG</character>
    <dialogue>I don't know about that. \*</dialogue>
    <scene_description>He starts going inside. Winters follows him up the steps of the house.</scene_description>
    <character>WINTERS</character>
    <dialogue>...I was thinking maybe you could \* ask a couple questions --</dialogue>
    <character>REG</character>
    <dialogue>And fuck my money up? Nigga, do \* you have any idea how treacherous them crackers is down there? I \* want no parts of that. \*</dialogue>
    <character>WINTERS</character>
    <dialogue>Reg, Reg, please man. \*</dialogue>
    <character>REG \*</character>
    <dialogue>Look man. I'm cold and I'm hungry. \* Now get out of my way. \*</dialogue>
    <scene_description>Reg steps toward the building but Winters stops him. The \* men look one another in the eye, a confrontation brewing.</scene_description>
    <character>WINTERS</character>
    <dialogue>Come on, brother. \*</dialogue>
    <scene_description>A93 CONTINUED: A93</scene_description>
    <character>REG</character>
    <dialogue>I ain't your brother. Now get the \* fuck off my porch before you end up like your boy there. \*</dialogue>
    <scene_description>That does it. Winters tries to stop Reg from going \* inside but Reg is stronger and angry. Reg shoves Winters \* hard to the ground, which causes the rifle previously hidden beneath his coat to fall to the ground. Reg's eyes grow wide. As Winters bends down to retrieve it, Reg slams the door shut.</scene_description>
    <character>WINTERS</character>
    <dialogue>I just want to know what happened - \* - Reg! Ay! Reg! I just want to \* know what happened to my friend! \* Reg! \*</dialogue>
    <scene_description>A frustrated Winters backs away from the door.</scene_description>
    <character>REG (O.S.) \*</character>
    <dialogue>(on phone) \*</dialogue>
    <scene_description>Across the street from the oil \* refinery. Londale and 45th. Yes. \* He's got a gun. A big one. \* Winters scrambles down the hill. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FRED AND DEBORAH'S APARTMENT - BEDROOM - NIGHT 94 \*</stage_direction>
    <scene_description>Fred retrieves a cigarette and lighter from his pants. \* He's about to spark when he notices a small journal on the floor with a collage of black, feminine, revolutionary images culled from magazines/newspapers taped to the front. He glances in the direction of the bathroom before opening the book. He flips through it. More collage work. A photo of Betty Shabazz. And then a journal entry titled: "Are you a bad motherfucker? Or just a bad mother?"</scene_description>
    <character>DEBORAH (O.S.)</character>
    <dialogue>What are you doing? That's \* private. \*</dialogue>
    <scene_description>Fred looks up to discover Deborah back in the room. \*</scene_description>
    <character>FRED</character>
    <dialogue>You think you're gonna be a bad \* mother?</dialogue>
    <character>DEBORAH</character>
    <dialogue>...It was a question. \*</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>FRED</character>
    <dialogue>Why you gotta ask yourself then? \*</dialogue>
    <character>DEBORAH</character>
    <dialogue>I don't know. Maybe the fact that I'm bringing a child into a war zone? These aren't considerations you have to make. You get to go up there and talk about dying a revolutionary death and how your body belongs to the revolution because you don't have another \* person growing inside your body.</dialogue>
    <scene_description>Fred considers her point.</scene_description>
    <character>FRED</character>
    <parenthetical>(pause)</parenthetical>
    <dialogue>So you regret it? \*</dialogue>
    <character>DEBORAH</character>
    <dialogue>What?</dialogue>
    <character>FRED</character>
    <dialogue>Having my baby?</dialogue>
    <scene_description>The question startles her.</scene_description>
    <character>DEBORAH</character>
    <dialogue>Do you? \*</dialogue>
    <character>FRED</character>
    <dialogue>When I dedicated my life to the \* people... I dedicated my life. You dig? Wasn't 'til Menard I \* realized what that meant. 'Cause \* in order to survive in there... a part of me had to die, man. You \* couldn'ta told me that when I got \* out... That I had had every reason \* to live.</dialogue>
    <parenthetical>(off of her look)</parenthetical>
    <dialogue>So do you regret it?</dialogue>
    <scene_description>Deborah retrieves her journal and flips through it. \*</scene_description>
    <character>FRED</character>
    <dialogue>Do you?</dialogue>
    <character>DEBORAH</character>
    <dialogue>I want to share something with \* you. \*</dialogue>
    <scene_description>CONTINUED: (2) She finds the entry she was looking for.</scene_description>
    <character>DEBORAH</character>
    <dialogue>Like the masses I was in awe/When I first laid eyes on everything you are/I heard that speech and when that indent pierced your cheek/I knew we'd make noise, I \* just thought it'd be in the streets/ What magic a philistine and a poet could create -- \*</dialogue>
    <character>FRED</character>
    <dialogue>A philistine? Who you calling a philistine?</dialogue>
    <character>DEBORAH</character>
    <dialogue>You're seriously interrupting me right now?</dialogue>
    <scene_description>Fred grumbles.</scene_description>
    <character>DEBORAH</character>
    <dialogue>What magic a philistine and a poet could create/However \* contradictory, it would seem that it's fate/We educate, we nurture, we feed and we lobby \*</dialogue>
  </scene>
  <scene>
    <stage_direction>A94 EXT. OIL REFINERY - NIGHT A94 \*</stage_direction>
    <scene_description>Taking heavy gunfire, Winters cocks his gun, pops out and \* FIRES. The cops fire back. \*</scene_description>
    <character>DEBORAH (V.O.) \*</character>
    <dialogue>Perhaps we're here for more than \* just war with these bodies. \*</dialogue>
    <scene_description>Many of Winters' bullets find their marks. Cops go down. \* Winters takes cover, crawling to an open doorway as \* gunfire is returned his direction. \*</scene_description>
    <character>DEBORAH (V.O.) \*</character>
    <dialogue>(pre-lap) \*</dialogue>
    <scene_description>Will my comrades think me \* treasonous? \*</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FRED AND DEBORAH'S APARTMENT - BEDROOM - CONTINUOUS 96 \*</stage_direction>
    <character>ACTION \*</character>
    <dialogue>As before -- \*</dialogue>
    <scene_description>\*: CONTINUED:</scene_description>
    <character>DEBORAH \*</character>
    <dialogue>Can it please have your \* dimples?/Will my chairman look at me differently?/Will its eyes have your twinkle?Will our child be the \* apple of his eye?/Or constantly get the compromise?/The rata-tat- tat of gunfire, the clink of a jail cell -- lullabies/We scream and we \* shout and we live by this anthem... But is power to the people, really worth the ransom? \* Because that's what a mother does - \* - gives the world the most precious things she loves/And I love you and I love our baby \* too/And there's nothing more \* radical than seeing that through/Born pure to the blood, with the heart of a panther</dialogue>
    <scene_description>Fred's eyes well with tears. \* DISSOLVE TO:</scene_description>
    <character>EXT. REFINERY - FENCE - NIGHT</character>
    <dialogue>DEBORAH (V.O.) \*</dialogue>
    <scene_description>(post-lap) \* No regrets... \* Winters limps toward a fence, mulling hopping it. Then he turns back towards the police, rage in his eyes.</scene_description>
    <character>DEBORAH (V.O.)</character>
    <parenthetical>(post-lap)</parenthetical>
    <dialogue>...I know my answer. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. REFINERY - NIGHT</stage_direction>
    <scene_description>Officer Rappaport (20s) creeps through the oil drums, tracking Winters, or so he thinks. THROUGH a series of holes in the drums we observe the Winters tracking Rappaport and, as quickly as we see him, he disappears. Rappaport reaches the rounded edge of an oil drum. He hesitates before peeking around the corner. The shooter steps from behind a different drum and shoots Rappaport in the abdomen. As he writhes on the ground, the shooter approaches and stands over him.</scene_description>
    <character>RAPPAPORT \*</character>
    <dialogue>Please. Please. Please. \*</dialogue>
    <scene_description>CONTINUED: Rappaport begs for his life as the shotgun is placed to his cheek.</scene_description>
    <character>RAPPAPORT \*</character>
    <dialogue>Please, no. \*</dialogue>
    <scene_description>REVEAL: Winters standing above him. He fires the gun. His face is spattered with blood. A barrage of bullets greets him. CUT TO BLACK.:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BLACK PANTHER HEADQUARTERS - CONTINUOUS ACTION 55 \*</stage_direction>
    <scene_description>O'Neal's car screeches to a halt outside of headquarters. \* He hops out and keys inside. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BLACK PANTHER HEADQUARTERS - GROUND FLOOR - 56 \*</stage_direction>
    <character>CONTINUOUS ACTION \*</character>
    <dialogue>O'Neal bursts inside and is surprised to find it empty. \*</dialogue>
    <dialogue>CLICK -- O'Neal freezes at the sound of a cocked gun, the \* barrel pressed to the back of his head. Trembling, he \* raises his hands in the air slowly and tries to peek \* behind him at the gunman. It's him -- dressed in his G- \* man outfit. \*</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>Whoa whoa whoa. Hey, don't shoot \* me. Please don't kill me. I'm not \* a rat. I'm not a rat, I swear. \*</dialogue>
    <scene_description>Fed O'Neal shoots Panther O'Neal in the head. \* \*:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. O'NEAL'S WEEKLY ROOM RENTAL - NIGHT (REALITY) 57 \*</stage_direction>
    <scene_description>O'Neal wakes up, sweat-drenched. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MRS. WINTERS' HOUSE - KITCHEN - DAY 109 \*</stage_direction>
    <scene_description>The PHONE RINGS. MRS. WINTERS (40s) pours a cup of \* coffee and carries two cups over to the kitchen table \* where Fred awaits. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>Thank you. \*</dialogue>
    <scene_description>CONTINUED: The PHONE CONTINUES TO RING. Fred looks in its direction \* curiously. \*</scene_description>
    <character>MRS. WINTERS \*</character>
    <dialogue>You welcome. \*</dialogue>
    <character>FRED \*</character>
    <dialogue>Do you want me to get that? \*</dialogue>
    <character>MRS. WINTERS \*</character>
    <dialogue>It's probably one of them crank \* callers. As if it ain't bad \* enough I'll never see my son \* again. You think the mothers of \* those police officers that killed \* the Soto brothers are getting \* harassed like this? Please. \*</dialogue>
    <scene_description>Fred wilts. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>...I know what you gonna say but -- \*</dialogue>
    <character>MRS. WINTERS \*</character>
    <dialogue>No. Stop. Stop that. \*</dialogue>
    <character>FRED \*</character>
    <dialogue>I'm sorry, Mrs. Winters. \*</dialogue>
    <scene_description>She quells the agitation before it can bubble up. \*</scene_description>
    <character>MRS. WINTERS \*</character>
    <dialogue>Let's talk about something else. \* How's Deborah? \*</dialogue>
    <character>FRED \*</character>
    <dialogue>...Tired of being pregnant. \*</dialogue>
    <scene_description>They laugh. \*</scene_description>
    <character>MRS. WINTERS \*</character>
    <dialogue>Yeah. Yeah. Tell her cherish it. \* All of it. Those early days \* are... \*</dialogue>
    <scene_description>(smiling wistfully) \* You know even when I think about \* Jake in my mind he's always seven. \* That's how I remember him. My \* little boy. I remember one time \* in church, he said, 'Mama, can I \* be excused?' I said, 'Why, Jake?' \* You know, figuring he was bored or \* something. And he goes, 'Mama, I \* have to pass gas.' \* CONTINUED: (2) They laugh. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>Sound like Jake. \*</dialogue>
    <character>MRS. WINTERS \*</character>
    <dialogue>So well-behaved. \*</dialogue>
    <scene_description>(beat) \* Those folks, they trying to paint \* my Jake as some cold-blooded \* killer. He did that. He did that. \* But that ain't all he did... Tell \* 'em about my Jake, Chairman. \* Please. \* Fred places a sympathetic hand on hers, wishing there was \* something he could do. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>Yes. \*</dialogue>
    <character>MRS. WINTERS \*</character>
    <dialogue>It don't seem fair that that's his \* legacy. \*</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. FRED AND DEBORAH'S APARTMENT - CONTINUOUS ACTION</stage_direction>
    <scene_description>O'Neal, Rush, and Fred stand outside. \* O'Neal opens his car trunk. Inside: several bricks of C- \* 4.</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Here. C-4. We got enough there we \* could blow up city hall, some more \* shit. \*</dialogue>
    <character>RUSH \*</character>
    <dialogue>Fuck is wrong with you? \*</dialogue>
    <character>FRED \*</character>
    <dialogue>Calm down, Comrade. Calm down. \*</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>What do you mean what's wrong with \* me, man? Y'all fucking crazy? \* We're not gon' win this war. So we \* gotta do something big and we \* gotta do it now. \*</dialogue>
    <character>\*</character>
    <dialogue>FRED</dialogue>
    <scene_description>You out of your mind. \* CONTINUED:</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>...Complete satisfaction. Ain't \* that what you told me? Kill 'em \* all, complete satisfaction... \*</dialogue>
    <character>FRED \*</character>
    <dialogue>I didn't mean it like that. \*</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>I call you comrade 'cause we at \* war! You the one that gave me the \* game, man. Jimmy Palmer. Alright \* you remember Little Bobby? Franko \* Diggs, Thomas Lewis, Bunchy Carter... Jake Winters -- \*</dialogue>
    <character>FRED</character>
    <dialogue>All you're looking to do is add more names to that list. You bomb \* city hall, they gonna bomb us! \*</dialogue>
    <character>O'NEAL</character>
    <parenthetical>(pause)</parenthetical>
    <dialogue>I'm ready to die for the people, comrade. How 'bout you?</dialogue>
    <scene_description>Fred lunges for O'Neal but is restrained.</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Is it a Goddamn revolution or \* what? Huh? What are we doing this \* shit for? \*</dialogue>
    <scene_description>Fred lunges for O'Neal again, but again Rush holds him \* back. \*</scene_description>
    <character>FRED</character>
    <dialogue>Get the fuck out of here! Get this \* shit the fuck out of here, you \* fucking idiot! Get the fuck on, \* man. \*</dialogue>
    <scene_description>O'Neal eyes him with a combination of shock and hurt.</scene_description>
    <character>O'NEAL</character>
    <dialogue>Well then fuck it then, I'm out! \* This whole shit gonna crumble! \* Motherfucker. Fuck is you talking \* 'bout, nigga? \*</dialogue>
    <scene_description>O'Neal slams his trunk and climbs in his car as the Panthers escort Fred back towards the apartment. He starts the engine and peels off.</scene_description>
  </scene>
  <scene>
    <stage_direction>A102 INT./EXT. O'NEAL'S CAR (MOVING) - DAY A102</stage_direction>
    <scene_description>As O'Neal drives, his agitation gives way to relief as he realizes --</scene_description>
    <character>O'NEAL</character>
    <dialogue>Goddamn it! \*</dialogue>
    <scene_description>Relief gives way to regret, to relief again. He rips the previously concealed wire off of his bare chest and tosses it on the passenger seat. He then rolls down the window, takes off his Panther beret, and tosses it out... finally free. \* OMITTED</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FBI HQ (CHICAGO) - CARLYLE'S OFFICE - DAY</stage_direction>
    <character>SECRETARY (V.O.) \*</character>
    <dialogue>F.B.I., how may I direct your \* call? \*</dialogue>
    <scene_description>A smiling Mitchell and Carlyle huddle around Carlyle's desk, enjoying cigars. Carlyle is on speakerphone.</scene_description>
    <character>CARLYLE</character>
    <dialogue>Special Agent Carlyle for Director \* Hoover. \*</dialogue>
    <scene_description>There's BEEP. \*</scene_description>
    <character>HOOVER \*</character>
    <dialogue>Hello. \*</dialogue>
    <character>CARLYLE \*</character>
    <dialogue>Director Hoover, good afternoon \* sir. I am calling with good news, \* with great news. Two hours ago the \* Illinois Supreme Court denied Hampton's appeal. He's going back \* to Menard.</dialogue>
    <character>HOOVER \*</character>
    <dialogue>I know. \*</dialogue>
    <character>CARLYLE \*</character>
    <dialogue>Well that's what we want, right? \*</dialogue>
    <character>HOOVER (V.O.)</character>
    <parenthetical>(over phone)</parenthetical>
    <dialogue>...Prison made Huey Newton a \* celebrity.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>HOOVER (V.O.)</character>
    <dialogue>It made Eldridge Cleaver a \* bestselling author. Prison is a \* temporary solution. \*</dialogue>
    <scene_description>Silence hangs in the air. The two men look at each other, coming to comprehend Hoover's unspoken directive.</scene_description>
  </scene>
  <scene>
    <stage_direction>A108 INT. FRED AND DEBORAH'S APARTMENT - DINING ROOM - A108 \*</stage_direction>
    <character>CONTINUOUS ACTION \*</character>
    <dialogue>Deborah enters in her nightgown, rubbing the sleep from \* her eyes. Fred sits at the dining room table, several \* open boxes of old newspapers and magazines at his feet. \* He stares at a clipping in his hands, absorbed in his \* thoughts. Deborah startles him. \*</dialogue>
    <character>DEBORAH \*</character>
    <dialogue>What you doing? \*</dialogue>
    <character>FRED \*</character>
    <dialogue>Going through old shit. \*</dialogue>
    <scene_description>Deborah takes the clipping from his hands. It is of \* Emmett Till -- the famous side-by-side photo of his \* smiling, beatific face next to his mangled carcass. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>My mom used to babysit him, \* y'know... Not all the time but \* his family lived across the street \* so every now and then she'd watch \* him. We didn't go to the funeral. \* It was too much for her. I don't \* even think I saw the photo 'til \* months later. But I remember when \* I did, thinking, 'There's people \* in this world that want to do that \* to me. Or my brother? Or my \* sister?' That's when I knew I had \* to protect them. Looking at that \* photo, how could you not feel that \* way? Now here I am. About to go \* to Menard. Where I won't be able \* to protect anybody... Not even my \* own son. \*</dialogue>
    <scene_description>Deborah touches Fred's face. \*</scene_description>
    <character>DEBORAH \*</character>
    <dialogue>The party will protect him. You \* hear me? The people will protect \* him. \*</dialogue>
    <scene_description>A108 CONTINUED: A108 Deborah places her arm around Fred and embraces him. His \* mood turns somber as he rests his head on her nine-month- \* pregnant belly. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. GOLDEN TORCH RESTAURANT (DOWNTOWN CHICAGO) - DAY</stage_direction>
    <character>(1969)</character>
    <dialogue>Mitchell eats a bloody steak. He looks up to see O'Neal, dressed in a suit, turtleneck, and sunglasses ensemble, strolling into the restaurant. \*</dialogue>
    <dialogue>Mitchell regards this latest incarnation of O'Neal with a \* cynical smirk.</dialogue>
    <character>O'NEAL</character>
    <parenthetical>(sitting down)</parenthetical>
    <dialogue>Hey. Roy Boy. How are you? Look \* man. Sorry, I'm late. I just... \* you know. How's it going? It's \* groovy, right? \*</dialogue>
    <scene_description>Silence. O'Neal removes his shades -- \*</scene_description>
    <character>O'NEAL</character>
    <dialogue>What can I do for you, Roy? \*</dialogue>
    <scene_description>O'Neal's hubris both amuses and annoys Mitchell.</scene_description>
    <character>MITCHELL</character>
    <dialogue>You been to Hampton's apartment, right?</dialogue>
    <character>O'NEAL</character>
    <dialogue>Right. \*</dialogue>
    <character>MITCHELL</character>
    <dialogue>A lot of guns there?</dialogue>
    <character>O'NEAL</character>
    <dialogue>Of course.</dialogue>
    <character>MITCHELL</character>
    <dialogue>Good. I need you to draw me a blueprint of the place.</dialogue>
    <character>O'NEAL</character>
    <parenthetical>(confused)</parenthetical>
    <dialogue>You must not uh... Fred's going \* back to Menard. I think it's his \* appeal getting revoked. Something \* like that. \*</dialogue>
    <character>MITCHELL</character>
    <dialogue>No, I'm aware. \*</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>O'NEAL \*</character>
    <parenthetical>(more confused)</parenthetical>
    <dialogue>Alright, well if you're aware, I \* don't understand... \*</dialogue>
    <character>MITCHELL</character>
    <dialogue>You don't have to understand, \* Bill. You just gotta draw me the \* blueprint.</dialogue>
    <scene_description>O'Neal hesitates. Something seems off. Mitchell has never been this cold and evasive.</scene_description>
    <character>O'NEAL</character>
    <dialogue>Listen, Roy. \*</dialogue>
    <scene_description>It's clear to O'Neal that his words aren't penetrating.</scene_description>
    <character>O'NEAL</character>
    <dialogue>...You got him, man. You... You \* won... What more do you want? \*</dialogue>
    <scene_description>Mitchell says nothing. Just shoves meat in his mouth.</scene_description>
    <character>O'NEAL</character>
    <parenthetical>(concerned)</parenthetical>
    <dialogue>...You gonna kill him, Roy? Huh? \*</dialogue>
    <scene_description>Silence. \*</scene_description>
    <character>MITCHELL</character>
    <dialogue>I saw you, y'know.</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>What? \*</dialogue>
    <character>MITCHELL \*</character>
    <dialogue>That day at the speech? I watched \* you. I remember thinking to \* myself, 'Either this guy deserves \* the Academy award, or he really believes this shit.'</dialogue>
    <character>O'NEAL</character>
    <parenthetical>(growing angry)</parenthetical>
    <dialogue>Hey come on, man, I was doing my \* Goddamn -- I was doing the job you \* told me to do. I was doing what \* the fuck you said. 'The fuck you \* talking about man? \*</dialogue>
    <character>MITCHELL</character>
    <dialogue>Tell you what, Bill -- Let's say \* I put a call into New Haven PD.</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>MITCHELL</character>
    <dialogue>Get them to send me a few snapshots of your friend Alex Rackley after they dragged him from the river, cigarette burns all over his body, skin peeling off from where the Panthers poured \* boiling water all over his cock. \*</dialogue>
    <parenthetical>(off of his look)</parenthetical>
    <dialogue>If they did that to Rackley, imagine what they'll do when they find out their security captain is \* a fucking rat. A fucking rat. \*</dialogue>
    <scene_description>Mitchell slides his notebook and pen in front of O'Neal who remains frozen in disbelief. \* O'Neal slams on the table. After a beat, he reluctantly \* opens the notebook and starts drawing. FOCUS ON: NOTEBOOK.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SWANKY BAR - NIGHT</stage_direction>
    <scene_description>The place is dead. WAYNE, 50s/60s, who clocked O'Neal in \* the bar earlier, sits near the entrance flirting with \* DARLENE, forties, black, a chain-smoking alcoholic but \* she'll catch you slipping before you catch her.</scene_description>
    <character>WAYNE</character>
    <dialogue>They name all these ships like \* Apollo and all that, right like \* Black people but there ain't no \* Black astronauts, right? \*</dialogue>
    <scene_description>She laughs. \*</scene_description>
    <character>WAYNE \*</character>
    <dialogue>I like seeing you smile. How 'bout \* we continue this at my pad? \* Nightcap? \*</dialogue>
    <character>DARLENE \*</character>
    <dialogue>Please. \*</dialogue>
    <character>WAYNE \*</character>
    <dialogue>I've got more than enough alcohol, \* you know. \*</dialogue>
    <scene_description>She stands and walks to a stranger seated alone at the \* opposite end of the bar: O'Neal, several drinks in the bag, a near-empty glass of whiskey on the bar.</scene_description>
    <character>DARLENE</character>
    <parenthetical>(addressing O'Neal)</parenthetical>
    <dialogue>Hi. I'm Darlene. \*</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>Hey. Bill. \*</dialogue>
    <scene_description>One gets the sense maybe O'Neal wants to be alone. But \* not Darlene. \*</scene_description>
    <character>DARLENE</character>
    <dialogue>What brings you out so late, Bill? \*</dialogue>
    <character>O'NEAL</character>
    <dialogue>You know. It's quiet. And nobody \* knows who the hell I am. \*</dialogue>
    <character>DARLENE</character>
    <dialogue>Mysterious. So what do you do, \* Mystery Man? \*</dialogue>
    <character>O'NEAL</character>
    <dialogue>I used to work for the FBI. \*</dialogue>
    <scene_description>Darlene emits a raspy CACKLE before polishing off her gin and tonic with one final draw.</scene_description>
    <character>DARLENE</character>
    <dialogue>Top me off while I run to the \* ladies', Eliot Ness.</dialogue>
    <scene_description>She departs. The moment she's GONE --</scene_description>
    <character>WAYNE</character>
    <dialogue>Shit, they letting niggas work for \* the FBI now? Is that right? Why \* don't you get me an application, \* brother? Mr. FBI Man? \*</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>Hey, man, would you shut the fuck \* up? \*</dialogue>
    <scene_description>Wayne grabs his newspaper from the bar and rises off his \* stool, making his way towards him. \*</scene_description>
    <character>WAYNE</character>
    <dialogue>Hey hey hey hey. \*</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>Goddamnit. \*</dialogue>
    <character>WAYNE \*</character>
    <dialogue>Mitchell warned me about you. \*</dialogue>
    <scene_description>O'Neal's blood runs cold as the man plops next to him, occupying Darlene's space. CONTINUED: (2)</scene_description>
    <character>WAYNE \*</character>
    <dialogue>Yeah. \*</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>What? \*</dialogue>
    <character>WAYNE</character>
    <dialogue>Look here, just relax. We're \* hiding in plain sight, nobody know \* we're here. \*</dialogue>
    <scene_description>The man deftly unfolds his newspaper, REVEALING a SMALL UNMARKED ENVELOPE --</scene_description>
    <character>WAYNE</character>
    <dialogue>Check this out, I got this article \* I want you to read, right? \* Article in this paper. Very \* important. \*</dialogue>
    <parenthetical>(closing newspaper back)</parenthetical>
    <dialogue>I need you to let the Chairman \* read it tomorrow night. Put that \* in his drink.</dialogue>
    <scene_description>He slides the paper in front of O'Neal --</scene_description>
    <character>O'NEAL</character>
    <dialogue>I don't know what the fuck you \* talking about, man. Fuck outta \* here with that shit. \*</dialogue>
    <scene_description>The man smiles, staring at O'Neal like, "You sure that's how you want to play it?" After a long beat --</scene_description>
    <character>WAYNE</character>
    <dialogue>My mistake.</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>Articles and shit, man. \*</dialogue>
    <character>WAYNE \*</character>
    <dialogue>Nah, that's my mistake. Guess I \* had the wrong guy. Sorry about \* that. I'll get outta here. \*</dialogue>
    <scene_description>The man gets up and EXITS without the newspaper. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SWANKY BAR - NIGHT 107 \*</stage_direction>
    <scene_description>O'Neal follows Wayne out of the bar. \*</scene_description>
    <character>O'NEAL \*</character>
    <dialogue>HEY! Hey, who are you man? \*</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>WAYNE \*</character>
    <dialogue>Hey, don't worry about it, Slick. \* Just get back inside. \*</dialogue>
    <character>O'NEAL</character>
    <dialogue>Nigga, I'm not gonna poison him. \* You hear me? You fuckin' hear me? \*</dialogue>
    <character>WAYNE</character>
    <parenthetical>(laughing)</parenthetical>
    <dialogue>Come on, man. You watch too many \* movies. All it's gonna do is make \* him sleepy. You want him to go \* easy, right?</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>Who the fuck are you man? Tell me \* your fuckin' name. Did Roy send \* you? \*</dialogue>
    <scene_description>The man enters his car.</scene_description>
    <character>O'NEAL</character>
    <dialogue>If you a Fed, show me your fuckin' \* badge. Hey! Show me your fuckin' \* badge man, please. \*</dialogue>
    <scene_description>The man smiles, digs in the glove compartment, and tosses a small wallet to O'Neal. He starts the engine and pulls off, leaving O'Neal rattled to his core. The old badge case feels strangely familiar in his hands. O'Neal opens it slowly -- revealing HIS OLD FAKE FBI BADGE! CUT TO BLACK. \*:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FRED AND DEBORAH'S APARTMENT - VARIOUS LOCATIONS - 111 \*</stage_direction>
    <character>NIGHT</character>
    <dialogue>IN THE KITCHEN: Rush is in the doorway. Fred leans \* against the counter, smoking a cigarette. He holds in his hands a fat envelope of money, ruminating about what to do. Collins stands across from him.</dialogue>
    <character>COLLINS</character>
    <dialogue>Consider it a gift from the Crowns. Ain't no shame in running. It's not like they giving you a choice.</dialogue>
    <character>RUSH</character>
    <dialogue>Maybe -- maybe he's right, \* Chairman. Go overseas. \*</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>RUSH</character>
    <dialogue>Start an international proletariat \* revolution. At least that way you're still in the fight.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. O'NEAL'S CAR - NIGHT 110 \*</stage_direction>
    <scene_description>The car is parked. O'Neal sits in the shadows, staring \* out the windshield. He stares at Fred's apartment across \* the street. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>A112 INT. FRED AND DEBORAH'S APARTMENT - LIVING ROOM A112 \*</stage_direction>
    <scene_description>O'Neal enters, visibly rattled. He tries to ignore the stares from the other diners and stands across the room \* from Fred. \*</scene_description>
    <character>COLLINS (O.S.) \*</character>
    <dialogue>Cuba's not an option? Why not? \*</dialogue>
    <character>RANDLE (O.S.) \*</character>
    <dialogue>Algeria. \*</dialogue>
    <character>COLLINS (O.S.) \*</character>
    <dialogue>Shit, even better. \*</dialogue>
    <scene_description>MARK CLARK (22) is seated next to O'Neal. \*</scene_description>
    <character>CLARK</character>
    <parenthetical>(offering hand for a shake)</parenthetical>
    <dialogue>Mark Clark. Deputy Minister of Defense, Peoria Chapter. Central ordered me to come down and check out how y'all do things here in \* the Windy City. \*</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>Yup. \*</dialogue>
    <character>CLARK</character>
    <dialogue>And your name, comrade?</dialogue>
    <character>O'NEAL</character>
    <dialogue>Oh -- Bill.</dialogue>
    <character>CLARK</character>
    <dialogue>What cadre you in, Bill?</dialogue>
    <scene_description>O'Neal glances over at Fred, who's listening intently to the conversation taking place at the other end of the table. A112 CONTINUED: A112</scene_description>
    <character>O'NEAL</character>
    <dialogue>Man, I'm not even in no... \*</dialogue>
    <character>CLARK</character>
    <dialogue>Thinking 'bout joining up? Right on. Right on, Bill. I started \* out in the NAACP myself. Then I \* had to leave. Them Negroes move \* too damn slow for me... \*</dialogue>
    <scene_description>O'Neal's attention is clearly elsewhere. Clark drops it. At the opposite end of the room: \*</scene_description>
    <character>COMPTON \*</character>
    <dialogue>I know a guy, kites up checks, passports, driver's licenses, things of that nature.</dialogue>
    <character>DEBORAH</character>
    <dialogue>Yeah but, how far we gon' get when \* one of us is thirty-seven weeks pregnant?</dialogue>
    <character>DOC</character>
    <dialogue>You could be in Havana in less than twenty-four hours. And they have some of the best doctors in the world.</dialogue>
    <character>RANDLE</character>
    <dialogue>Okay, let's just hope that's not \* the day that Nixon decides to nuke \* that motherfucker.</dialogue>
    <parenthetical>(off laughter)</parenthetical>
    <dialogue>Look, Algeria, they've got \* Minister Eldrige. Not to mention bungalows by the sea.</dialogue>
    <scene_description>At the mention of bungalows there's a slight shift in Fred's demeanor. He takes a drink of Kool-Aid from his amber-tinted glass.</scene_description>
    <character>DOC</character>
    <dialogue>Cuba got ocean for days. You know how long it'll take to get to Algeria? Cuba's a hop and a skip away.</dialogue>
    <character>RUSH</character>
    <dialogue>There is a network of safe houses \* heading south. I could put a call into Central --</dialogue>
    <scene_description>A112 CONTINUED: (2) A112</scene_description>
    <character>FRED</character>
    <dialogue>Y'all spending all this time talking 'bout me going to Algerian \* bungalows when we need to be \* talking about how we gonna build \* this motherfucking medical clinic. \* Is the party about me or is it \* about the people? Hm? \*</dialogue>
    <character>COLLINS \*</character>
    <dialogue>Chairman... \*</dialogue>
    <scene_description>Off of their looks, some confused, others mildly embarrassed, Fred reaches behind his waist and grabs the \* envelope of cash given him by Rod Collins. Collins can't \* believe it.</scene_description>
    <character>FRED</character>
    <dialogue>It's five years. You know how \* many people we could save in five years? With a medical clinic? In \* the middle of the West Side? Far \* as I'm concerned, that's an easy decision. Doc, you run it.</dialogue>
    <scene_description>Fred hands the envelope to Doc. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>Name it after Jake. So when \* people hear the name Jake Winters, they think about healing. And loving. Like he loved us.</dialogue>
    <scene_description>The mood grows somber.</scene_description>
    <character>FRED</character>
    <parenthetical>(rubbing Deborah's belly)</parenthetical>
    <dialogue>And when I get out... me and Deb can have our second...</dialogue>
    <parenthetical>(off of her look)</parenthetical>
    <dialogue>And third, and fourth...</dialogue>
    <character>DEBORAH</character>
    <dialogue>Okay, easy now. \*</dialogue>
    <character>ANOTHER ANGLE</character>
    <dialogue>Everyone laughs except O'Neal, who's crying. He catches Mark Clark staring at him and quickly wipes away his tears, fearing a witness to his betrayal. But instead, Clark nods respectfully, almost moved to tears himself, albeit for drastically different reasons.</dialogue>
    <scene_description>A112 CONTINUED: (3) A112</scene_description>
    <character>FRED</character>
    <dialogue>I was gonna cap it at five, baby. Five's a good number, right?</dialogue>
    <character>DEBORAH</character>
    <dialogue>Let's see how you do with the one.</dialogue>
    <scene_description>There's laughter and chatter among the assembled.</scene_description>
    <character>RUSH \*</character>
    <dialogue>Speaking of children, Chairman, \* I'm gonna go ahead and get back to \* my family. \*</dialogue>
    <character>FRED \*</character>
    <dialogue>Take care, Comrade. \*</dialogue>
    <character>RUSH \*</character>
    <dialogue>Alright. See you in the morning, \* Comrade. \*</dialogue>
    <scene_description>Rush exits. \* Suddenly, O'Neal stands. Before he knows it, he's \* approaching Fred. He stands over him, sweat beading his brow. Fred looks up at him expectantly. O'Neal opens his mouth. Is he going to confess? Nothing comes out --</scene_description>
    <character>FRED</character>
    <parenthetical>(concerned)</parenthetical>
    <dialogue>What's up? \*</dialogue>
    <scene_description>O'Neal takes a nervous gulp of air.</scene_description>
    <character>O'NEAL</character>
    <dialogue>Can I get another drink... you \* want a refill, Chairman? \*</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. FRED'S APARTMENT - NIGHT 113 \*</stage_direction>
    <scene_description>O'Neal stands atop the stoop, peering up and down the block for any signs of the cops or FBI. But the street is dead quiet. He heads down the steps, crosses the street, and enters his car. He glances up at the apartment window one more time, starts the car, and pulls off.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FRED'S APARTMENT - VARIOUS LOCATIONS - LATER</stage_direction>
    <scene_description>In the LIVING ROOM, Compton sleeps in the middle of the floor. Hicks and Randle share a twin bed, sleeping head- to-foot, next to a SHOTGUN. CONTINUED: Clark sits near the door, flicking a LIGHTER on and off. \* Shadows of feet moving are visible beneath the door. \* Whispers emanate from the other side. He slowly closes \* the lighter... \*</scene_description>
    <character>CLARK</character>
    <parenthetical>(whispering)</parenthetical>
    <dialogue>Hey. Hey. Wake up. \*</dialogue>
    <scene_description>Compton sits up.</scene_description>
    <character>COMPTON \*</character>
    <dialogue>(to Hicks) \*</dialogue>
    <scene_description>Hey. Hey. Wake up. Somebody at \* the door. Hey, Tracy. \* Tracy and Hicks wake. They follow Clark's gaze to the \* door. The light from the vestibule, visible just beneath the door, GOES OUT. Hicks gets to his feet. \*</scene_description>
    <character>HICKS</character>
    <dialogue>I'ma go wake the Chairman.</dialogue>
    <scene_description>Hicks RACES DOWN THE HALLWAY on his tiptoes. Compton drifts down the hall after him. The doorknob TURNS; an attempt is made to push the door open but it's locked. KNOCK-KNOCK: Clark slowly rises to his feet. \*</scene_description>
    <character>CLARK</character>
    <dialogue>I'm coming -- \*</dialogue>
    <scene_description>Suddenly, he's SHOT (through the door) in the heart and \* his shotgun goes off reflexively, BLASTING the ceiling. \* Officer Caple (who previously arrested Fred) kicks the door down and shoots Randle as she reaches for the SHOTGUN at the foot of the mattress. SERGEANT BLART (40), white, shoots her a second time. An officer with a TOMMY GUN FIRES CEASELESSLY at the south wall, inches above Harris, COVERING HER WITH DRYWALL. AS HE SPRINTS DOWN THE HALLWAY, Compton observes a gun butt SHATTER the KITCHEN window. He ducks into the SOUTH BEDROOM as Officer Maroney (who previously hit Harmon with a flashlight) and his team pour in, firing at Fred's bedroom from the other direction. IN THE NORTH BEDROOM, Doc, Collins, and Coachman huddle on the floor, CAUGHT IN THE CROSSFIRE. Bullets TEAR through the walls, beds, and paint cans. They SCREAM, ALL SHOT MULTIPLE TIMES. CONTINUED: (2) IN THE SOUTH BEDROOM: Hicks and Deborah try to wake Fred. \* Deborah tries to climb on top of Fred and protect him but Hicks tugs her down.</scene_description>
    <character>DEBORAH \*</character>
    <dialogue>Chairman! Chairman, wake up! \* Wake up! Chairman! Chairman, wake \* up! Wake up! Wake up! \*</dialogue>
    <scene_description>Fred lifts his head a few inches off the mattress, eyes rolling back, then plops it right back down. Bullets SPLINTER furniture, SHATTER the window, even VIBRATE the bed. BULLETS RIP THROUGH WALLS from both directions. IN THE LIVING ROOM, the shooting STOPS.</scene_description>
    <character>CAPLE</character>
    <dialogue>Turn on the fucking lights! \*</dialogue>
    <character>DOC (O.S.) \*</character>
    <dialogue>We can't... we've been shot...</dialogue>
    <character>CAPLE</character>
    <dialogue>Turn on the light or you'll be \* shot more! \*</dialogue>
    <scene_description>In the north bedroom, Doc struggles to his feet and flips \* the light switch, revealing the carnage in the bedroom. \*</scene_description>
    <character>CAPLE</character>
    <dialogue>Get the fuck up!</dialogue>
    <scene_description>The three victims, covered in BLOOD and SPATTERED PAINT, make it to their feet. They stagger to the door where Foreman SHOVES them down the hall. Caple heads the OTHER WAY, past several stationed cops --</scene_description>
    <character>HICKS (O.S.)</character>
    <dialogue>We're coming out! We're coming \* out! \*</dialogue>
    <scene_description>Outside the SOUTH BEDROOM, Hicks has stuck both hands out beyond the doorframe. One cop, already pressed defensively against the wall, GRABS a wrist and VIOLENTLY TUGS Hicks out, forcing him to the floor in the KITCHEN, where he KICKS him repeatedly. There's another volley of SHOTS into the SOUTH BEDROOM, and then:</scene_description>
    <character>COMPTON (O.S.)</character>
    <dialogue>Stop shooting, stop shooting! We got a pregnant sister in here, \* Goddamnit! \*</dialogue>
    <scene_description>CONTINUED: (3)</scene_description>
    <character>BLART</character>
    <dialogue>Everybody out, now! I said now! \*</dialogue>
    <character>COP \*</character>
    <dialogue>Keep those hands up! \*</dialogue>
    <scene_description>Compton and Deborah EMERGE, hands up. They're immediately grabbed, Deborah by her hair, and shoved down the HALLWAY, through a gauntlet of cops. Maroney JAMS his pistol in Deborah's pregnant belly --</scene_description>
    <character>MARONEY</character>
    <dialogue>Whaddaya know, we got a broad here.</dialogue>
    <scene_description>IN THE SOUTH BEDROOM, Blart, Caple, and Maroney stare down at Fred, still "sleeping" in the same position. \*</scene_description>
    <character>BLART</character>
    <dialogue>...Looks like he's gonna make it. \*</dialogue>
    <scene_description>Caple LEVELS his .38 SNUB-NOSE. AT FRED'S HEAD. IN THE KITCHEN, FOCUS ON Deborah: She dare not emit so much as a whimper, her back to the SOUTH BEDROOM. She FLINCHES as she hears TWO SHOTS. Then --</scene_description>
    <character>MARONEY (O.S.)</character>
    <dialogue>He's good and dead now.</dialogue>
    <scene_description>CUT TO BLACK.:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT./INT. O'NEAL'S CAR - NIGHT</stage_direction>
    <scene_description>O'Neal retrieves his .38 from the glove box and sticks it down the small of his back. He takes a moment to consider what he's about to do.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. GOLDEN TORCH RESTAURANT - BAR - NIGHT</stage_direction>
    <scene_description>O'Neal enters and spots Mitchell drinking alone at a table. Before making his way over, he gives the room a glance. Everywhere he looks, eyes surveil him. The place is crawling with feds, he's certain. The bar is empty. He heads over to Mitchell who doesn't rise to greet him.</scene_description>
    <character>MITCHELL</character>
    <dialogue>Bill. Good to see you. Come on \* in. \*</dialogue>
    <scene_description>CONTINUED: Mitchell offers O'Neal a chair. \*</scene_description>
    <character>MITCHELL \*</character>
    <dialogue>Hey. Relax. It's just us. I \* know you don't trust me but it's true.</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>Why'd you call me here, man? What \* do you want? \*</dialogue>
    <scene_description>Mitchell withdraws from his pocket an envelope almost \* identical to the one containing the powder. He offers it to O'Neal, who's frozen.</scene_description>
    <character>MITCHELL</character>
    <dialogue>Take it.</dialogue>
    <scene_description>O'Neal hesitates.</scene_description>
    <character>MITCHELL</character>
    <dialogue>You don't have to if you don't want to. But I think you'll be glad you did.</dialogue>
    <scene_description>O'Neal trepidatiously accepts the envelope and takes a peek inside: $300 in cash and a pair of keys.</scene_description>
    <character>MITCHELL</character>
    <parenthetical>(off of O'Neal's confusion)</parenthetical>
    <dialogue>They're for a gas station -- in Maywood. It's yours. There's a \* lot of money in gas. Consistent \* money. Legal money. You own your \* own business now, Bill. You're \* free. What do you need, you need \* a drink? \*</dialogue>
    <character>O'NEAL \*</character>
    <dialogue>No, I don't need a... \*</dialogue>
    <character>MITCHELL \*</character>
    <dialogue>You need a drink? Excuse me, can \* you get this man a scotch? \*</dialogue>
    <character>CLOSEUP ON O'NEAL'S FACE</character>
    <dialogue>as he eyes the money in his hand, a wave of disparate emotions coursing through him.</dialogue>
    <scene_description>CONTINUED: (2)</scene_description>
    <character>MITCHELL \*</character>
    <parenthetical>(after a moment)</parenthetical>
    <dialogue>So... Where are things with the \* party? Any news?</dialogue>
    <scene_description>O'Neal looks up at Mitchell in disbelief.</scene_description>
    <character>O'NEAL</character>
    <dialogue>...Fred's dead, man. I ain't no \* Goddamn Panther no more. \*</dialogue>
    <scene_description>Mitchell takes a sip of his drink.</scene_description>
    <character>MITCHELL</character>
    <parenthetical>(not asking)</parenthetical>
    <dialogue>You sure about that?</dialogue>
    <scene_description>O'Neal considers the envelope in his hand as he contemplates Mitchell's query... then he puts it in his pocket.</scene_description>
    <character>SUPERIMPOSE:</character>
    <dialogue>William O'Neal remained an active member of the Black \* Panther Party and a paid FBI informant until the early \* 1970s, earning today's equivalent of over $200,000. \*</dialogue>
    <dialogue>In 1989, he gave his first and only on-screen interview \* for the docu-series "Eyes on the Prize 2." \*</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. NONDESCRIPT OFFICE - DAY (1989) (FOOTAGE)</stage_direction>
    <character>THE ACTUAL ARCHIVAL FOOTAGE --</character>
    <dialogue>INTERVIEWER (O.S.) \*</dialogue>
    <scene_description>What would you tell your son about what you did then?</scene_description>
    <character>O'NEAL (V.O.)</character>
    <dialogue>I think I'll let your documentary put a cap on that story. I don't \* know. I don't know what I'd tell \* him other than I was part of the struggle. That's the bottom line. I wasn't one of those armchair revolutionaries. One of those people that want to sit back now and judge the actions or inactions of people when they sat back on the sideline and did nothing. At least I had a point of view. I was \* dedicated. And then I had the courage to get out there and put it on the line. And I did.</dialogue>
    <scene_description>CONTINUED:</scene_description>
    <character>O'NEAL (V.O.)</character>
    <dialogue>I think I'll let his -- let history speak for me.</dialogue>
    <scene_description>FADE TO BLACK.:</scene_description>
    <character>OVER BLACK</character>
    <dialogue>SUPERIMPOSE:</dialogue>
    <dialogue>"Eyes on the Prize 2" premiered on PBS January 15th, \* 1990, Martin Luther King Day. \*</dialogue>
    <dialogue>Later that evening, William O'Neal committed suicide. \*</dialogue>
    <dialogue>At the time of his assassination, Fred Hampton was only \* 21 years old. Mark Clark, also slain, was 22. \*</dialogue>
    <dialogue>During the raid the Chicago Police fired 99 shots. The \* Black Panthers fired 1. Nevertheless, the seven \* survivors faced numerous charges, including attempted \* murder. \*</dialogue>
    <character>EXT. AA RAYNOR & SONS FUNERAL SERVICE - DAY - ARCHIVAL \*</character>
    <dialogue>FOOTAGE \*</dialogue>
    <dialogue>Hundreds of men and women stand outside a funeral home. \*</dialogue>
    <character>INT. FUNERAL HOME - DAY - ARCHIVAL FOOTAGE \*</character>
    <dialogue>Men and women pay their respects. \*</dialogue>
    <dialogue>A WOMAN gives a speech. \*</dialogue>
    <character>WOMAN \*</character>
    <dialogue>Remember this. Prayer is good. \* If Fred could be murdered while he \* slept, remember what can happen to \* you while you're on your knees \* facing that. \*</dialogue>
    <character>EXT. CHICAGO STREET - DAY - ARCHIVAL FOOTAGE \*</character>
    <dialogue>Citizens carry a banner reading "AVENGE FRED HAMPTON." \*</dialogue>
    <dialogue>A CHANT sounds celebrating Fred. \*</dialogue>
    <scene_description>CUT TO BLACK: \*: CONTINUED: In 1970, the survivors of the raid along with Hampton and \* Clark's mothers filed a $47.7 million lawsuit alleging a \* conspiracy among the FBI, Chicago Police Department, and \* State's Attorney's Office to assassinate Fred Hampton. \* After 12 years of fighting for justice, the case was \* settled for $1.85 million, at the time the longest civil \* trial in US history. \* 25 days after the assassination, Deborah Johnson gave \* birth. \* She remained an active member of the Black Panthers until \* the Illinois chapter's dissolution in 1978. \* Today Johnson, now known as Akua Njeri, serves on the \* Advisory Board of the Black Panther Party Cubs, a \* revolutionary organization continuing the ongoing fight \* for the self-determination of Black people. \* Fred Hampton Jr. is the party's Chairman. \* SUPERIMPOSE: \* An IMAGE of Mama Akua Njeri and Chairman Fred Hampton Jr. \*</scene_description>
    <character>FRED (PRE-LAP) \*</character>
    <dialogue>We always say in the Black Panther \* party, they can do anything they \* want to us. We might not be back, \* I might be in jail, I might be \* anywhere, but when I leave you \* remember I said, the last words on \* my lips were, "I am." \*</dialogue>
    <character>CROWD \*</character>
    <dialogue>I am! \*</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CHICAGO - DAY - ARCHIVAL FOOTAGE \*</stage_direction>
    <scene_description>Footage of the real Fred Hampton. \*</scene_description>
    <character>FRED \*</character>
    <dialogue>A revolutionary! And you're gonna \* have to keep on saying that. \* You're going to have to say that I \* am the proletariat. I am the \* people. I'm not the pig. You've \* got to make a distinction. \*</dialogue>
    <scene_description>CUT TO BLACK. \*: \*: \*: \*: CONTINUED: \*: \*:</scene_description>
    <character>THE END</character>
  </scene>
</script>

Summary: In 1968, 19-year-old petty criminal William O'Neal is arrested in Chicago after attempting to steal a car while posing as a federal officer. He is approached by FBI Special Agent Roy Mitchell, who offers to have O'Neal's charges dropped if he works undercover for the bureau. O'Neal is assigned to infiltrate the Illinois chapter of the Black Panther Party (BPP) and its leader, Fred Hampton. O'Neal begins to grow close to Hampton, who works to form alliances with rival gangs and militia bands while extending community outreach through the BPP's Free Breakfast for Children Program. Hampton's persuasive oratory skills eventually help to form the multiracial Rainbow Coalition along with the Young Lords and Young Patriots Organization. Hampton also falls in love with Deborah Johnson, a fellow BPP member. O'Neal begins to relay intel to Mitchell, who in return compensates him with money. After Hampton is arrested and imprisoned for allegedly stealing $71 worth of ice cream bars, O'Neal begins to rise through the ranks and is promoted to security captain. When a shootout between the Chicago Police and the BPP occurs at the chapter office, O'Neal sneaks out as the police bomb the office. Outraged that he could have been killed himself, O'Neal attempts to quit being an informant, but Mitchell refuses. Three months later, Hampton is released from prison while appealing his charges and he reunites with Deborah, now pregnant with his child. BPP member Jimmy Palmer, who was hospitalized with non-life-threatening injuries after being shot by a police officer, dies unexpectedly while being transferred to another hospital. Assuming police have murdered Jimmy, fellow member Jake Winters engages in a shootout with police, killing several officers before being gunned down himself. After Hampton's appeal is rejected, FBI Director J. Edgar Hoover orders Hampton be "neutralized" before he returns to prison. Mitchell corners O'Neal into helping with the plan by warning him that the BPP will retaliate against him if they find out he's an informant, and O'Neal reluctantly agrees to help. O'Neal is later handed a vial of sedatives and ordered to drug Hampton's drink with it by another undercover FBI collaborator, who hands O'Neal his old fake FBI badge. The next evening, BPP members gather at Hampton's apartment before he must depart for prison. An allied gang leader offers Hampton money to flee the country, but he turns it down and instead orders a clinic to be established with the money under Jake's name. As the evening progresses, O'Neal reluctantly drugs Hampton's drink and departs soon after. Hours later, officers and agents raid the apartment and assassinate Hampton after shooting or injuring the other Black Panthers, while Deborah is arrested. Later, O'Neal meets with Mitchell, who gives him money and a pair of keys to a gas station he now owns. O'Neal attempts to quit again but reluctantly accepts the money and keys and puts them in his pocket. Archive footage is shown of Hampton's speeches, including his funeral procession, and an interview O'Neal gave in 1989. The title cards state that O'Neal continued to work as an informant within the BPP before committing suicide in 1990. A lawsuit was filed against the FBI in 1970 and 12 years later was settled for $1.85 million. As of the film's release, Fred Hampton Jr. and his mother serve as chairman and board member of the Black Panther Party Cubs.