<script>
  <scene>
    <scene_description>UNTITLED OAKLAND PROJECT April 28, 2017</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET - NIGHT</stage_direction>
    <character>SLOW-MOTION ABSTRACT IMAGES</character>
    <dialogue>We're outside. It's night. And a MAN is on fire.</dialogue>
    <dialogue>Scratch that. TWO MEN are on fire.</dialogue>
    <dialogue>Arms flailing. Wild. Swinging.</dialogue>
    <dialogue>We see pieces of a BROKEN GLASS BOWL flying in the air...</dialogue>
    <dialogue>FRUIT CHUNKS bouncing off a sidewalk...</dialogue>
    <dialogue>We go WIDE to REVEAL...</dialogue>
    <dialogue>...one of the men is COLLIN. Black (35), in a long sleeve shirt. Hair twisted. His arm is a FIERY BLAZE.</dialogue>
    <dialogue>He's PUMMELING someone on the ground, who is also on fire.</dialogue>
    <dialogue>Behind them, a BLURRY FIGURE shouts:</dialogue>
    <character>BLURRY FIGURE</character>
    <dialogue>GET HIM!</dialogue>
    <scene_description>These SURREAL IMAGES may be hard to grasp at the moment, but be patient, they will make sense in time. SMASH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COURTROOM - DAY</stage_direction>
    <scene_description>The incident we just saw has led to Collin being in court. We see Collin in a MEDIUM SHOT. He is center frame. The JUDGE is stern, but going through the motions. We don't ever see him during this scene.</scene_description>
    <character>JUDGE (O.S.)</character>
    <dialogue>Now that you have completed your two month sentence at Alameda County Jail Santa Rita, in accordance with the remainder of your sentence...</dialogue>
    <scene_description>The Judge wonders if Collin is even paying attention.</scene_description>
    <character>JUDGE (O.S.)</character>
    <dialogue>Mr. Turner? In accordance with the remainder of your sentence, you'll proceed to a halfway house facility in West Oakland for your one year probation period. You will honor the 11:00 PM curfew, maintain employment, carry out assigned chores in the home, have zero altercations with law enforcement, and not travel outside of Alameda County under any circumstances. Any infraction results in case review.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Give me a verbal confirmation that you have heard and understood these parameters.</dialogue>
    <scene_description>Collin looks into camera. He SIGHS.</scene_description>
    <character>COLLIN</character>
    <dialogue>Yeah.</dialogue>
    <scene_description>CUT TO:</scene_description>
    <character>BLACK</character>
  </scene>
  <scene>
    <stage_direction>INT. DEZ'S CAR - NIGHT</stage_direction>
    <scene_description>The car is parked. Collin's in the backseat, sitting in the middle. DEZ is smoking weed in the driver's seat. MILES is sitting shotgun. Dez is black. Miles is white. Miles is Collin's best friend. All three have fast food HAMBURGERS from KWIK WAY. Miles takes his GOLD GRILL out of his mouth, to take a bite of the burger.</scene_description>
    <character>MILES</character>
    <parenthetical>(mouthful)</parenthetical>
    <dialogue>It doesn't taste the same.</dialogue>
    <scene_description>Collin holds up one of his fries, inspecting it.</scene_description>
    <character>COLLIN</character>
    <dialogue>Oh, they're wedges now.</dialogue>
    <parenthetical>(takes a bite)</parenthetical>
    <dialogue>I'm into that.</dialogue>
    <character>MILES</character>
    <dialogue>The bun's different!</dialogue>
    <scene_description>Dez squirts some KETCHUP on his fries.</scene_description>
    <character>DEZ</character>
    <dialogue>What is Umami Ketchup?</dialogue>
    <scene_description>Miles gives up on the burger and decides to eat the fries, but even they seem to be disappointing him.</scene_description>
    <character>MILES</character>
    <dialogue>This doesn't even look like a fry!</dialogue>
    <character>COLLIN</character>
    <dialogue>That's because it's a wedge!</dialogue>
    <character>DEZ</character>
    <dialogue>OK, real spit, this isn't the old Kwik Way at all.</dialogue>
    <character>COLLIN</character>
    <dialogue>I like the wedges.</dialogue>
    <character>MILES</character>
    <parenthetical>(to Collin)</parenthetical>
    <dialogue>You would!</dialogue>
    <scene_description>Dez gets a text. Then they all get it. They all pull out their phones and look.</scene_description>
    <character>DEZ</character>
    <dialogue>Did yal just get Nak's text about her work party on Friday.</dialogue>
    <character>COLLIN AND MILES</character>
    <dialogue>Yup.</dialogue>
    <character>DEZ</character>
    <dialogue>Yal tryin to go?</dialogue>
    <character>COLLIN AND MILES</character>
    <dialogue>Nope.</dialogue>
    <scene_description>Miles drops a fry. He reaches down to grab it, and notices... ...a GUN nestled between the seats. Miles picks it up. Super nonchalant.</scene_description>
    <character>MILES</character>
    <dialogue>Oh, what is this, bruh? Little yistol?</dialogue>
    <scene_description>Collin sees the gun. This isn't good.</scene_description>
    <character>COLLIN</character>
    <dialogue>Uh, nope. Can I get out?</dialogue>
    <scene_description>This is a TWO DOOR car. Collin can't get out unless Dez or Miles lets him out. He's basically trapped in the back.</scene_description>
    <character>DEZ</character>
    <dialogue>Got the better one in the glove.</dialogue>
    <character>MILES</character>
    <dialogue>Yeah?</dialogue>
    <scene_description>Miles goes for the glove box, there is indeed another small gun. He pulls it out excitedly. Collin's getting more frustrated as he realizes what's happening... This is a gun deal. He's in the middle of a gun deal.</scene_description>
    <character>COLLIN</character>
    <dialogue>I wanna get out.</dialogue>
    <character>MILES</character>
    <dialogue>Wanna let go of one of these? Let me hold somethin'.</dialogue>
    <scene_description>Collin's getting more agitated. Tons of nervous energy. He's almost talking to himself at this point.</scene_description>
    <character>COLLIN</character>
    <dialogue>Three days Miles, I got three days. Let me out.</dialogue>
    <character>DEZ</character>
    <dialogue>Yeah, I sell you that one for 200.</dialogue>
    <character>MILES</character>
    <dialogue>I wanted something kinda... more western though. No disrespect. It just kinda look too cop-ish.</dialogue>
    <character>DEZ</character>
    <dialogue>Yeah, I mean I got like three more. One by each of Collin's feet...</dialogue>
    <scene_description>Collin looks down. Uh oh.</scene_description>
    <character>DEZ</character>
    <parenthetical>(turns to Collin)</parenthetical>
    <dialogue>Collin, grab them right quick...</dialogue>
    <scene_description>Collin reluctantly grabs the two guns near his feet, under the seats.</scene_description>
    <character>DEZ</character>
    <dialogue>...and one in the airbag thing right there, plus the one in my pocket...</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>...but you can't have that.</dialogue>
    <scene_description>Dez and Miles grab the remaining guns from the locations Dez described. They're now all holding guns.</scene_description>
    <character>COLLIN</character>
    <dialogue>Nigga! Why are there FIVE guns in the car, Dez?!</dialogue>
    <scene_description>Miles turns, gun in hand, to look at Collin.</scene_description>
    <character>MILES</character>
    <dialogue>Oooh! Yours is dope, Collin!</dialogue>
    <character>COLLIN</character>
    <dialogue>It's not mine! Let me out! Don't point that shit at me, Miles!</dialogue>
    <character>MILES</character>
    <dialogue>I'm not pointing it!</dialogue>
    <character>COLLIN</character>
    <dialogue>Stop pointing it at me!</dialogue>
    <character>MILES</character>
    <dialogue>Don't point that shit at me. I have a child!</dialogue>
    <character>COLLIN</character>
    <dialogue>I have a life, nigga.</dialogue>
    <character>MILES</character>
    <dialogue>These aren't loaded.</dialogue>
    <character>DEZ</character>
    <dialogue>Those are fasho loaded.</dialogue>
    <scene_description>Now Miles is freaked out. They are both pointing guns at each other and won't stop.</scene_description>
    <character>MILES</character>
    <dialogue>Stop pointing that!</dialogue>
    <character>COLLIN</character>
    <dialogue>Pro-ba-tion, Miles! Let me out!</dialogue>
    <character>MILES</character>
    <parenthetical>(concerned)</parenthetical>
    <dialogue>Oh, right. How'd your last check-in go today?</dialogue>
    <character>COLLIN</character>
    <dialogue>It was coo. He just mentioned like a few reminders for until Saturday.</dialogue>
    <character>MILES</character>
    <dialogue>Oh, that must feel good. That makes me really happy. What reminders?</dialogue>
    <character>COLLIN</character>
    <dialogue>DON'T GET STUCK IN A CAR WITH TWO</dialogue>
    <character>NIGGAS AND SIX GUNS, SMOKIN'</character>
    <dialogue>ILLEGAL SHIT!</dialogue>
    <character>DEZ</character>
    <dialogue>This is prescription.</dialogue>
    <character>COLLIN</character>
    <dialogue>Oh, and I'll bet these guns are all registered?</dialogue>
    <character>MILES</character>
    <dialogue>Fucked up part is even if we shot each other at the exact same time, the story would be, "Black convicted felon shoots white innocent father. White father self- defense retaliates in record time."</dialogue>
    <character>DEZ</character>
    <dialogue>"Black man forces white man to wear gold teeth at gunpoint before kidnapping and murder."</dialogue>
    <character>COLLIN</character>
    <dialogue>"Investigation into possible Jihadist motives behind black Muslim shooter in the self defense reverse racism murder case."</dialogue>
    <scene_description>Collin sees the time. It's 10:30.</scene_description>
    <character>COLLIN</character>
    <dialogue>Curfew, Miles!</dialogue>
    <parenthetical>(yells at Miles and Dez)</parenthetical>
    <character>LET ME OUT OF THE FUCKING CAR!</character>
    <dialogue>Miles turns to Dez and calmly asks:</dialogue>
    <character>MILES</character>
    <dialogue>200 for Collin's gun?</dialogue>
    <character>COLLIN</character>
    <dialogue>IT'S NOT MY GUN!</dialogue>
    <scene_description>Dez's phone beeps in his lap.</scene_description>
    <character>DEZ</character>
    <dialogue>Yup. Now get the fuck out, I got a Uber pick up.</dialogue>
    <character>MILES</character>
    <dialogue>Tight. Wait, this an Uber?</dialogue>
    <character>DEZ</character>
    <dialogue>Money every way I can get it, nigga.</dialogue>
    <character>MILES</character>
    <dialogue>In-Deed!</dialogue>
    <scene_description>Miles puts the gun in his jacket and pays Dez. Collin and Miles exit Dez's car. We go WIDE to REVEAL...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. KWIK WAY - PARKING LOT - NIGHT - CONTINUOUS</stage_direction>
    <scene_description>They were doing a gun deal in a busy fast food parking lot. Inside a brightly colored car with giant rims and tinted windows. There are tons of people walking to and fro. There's a large banner celebrating the "GRAND RE-OPENING." The Kwik Way is an Oakland staple, recently purchased and restored to appeal to the new influx of young people. Miles throws his HALF-EATEN BURGER on the ground. He angrily YELLS at the discarded food item:</scene_description>
    <character>MILES</character>
    <dialogue>YOU'RE NO KWIK WAY!</dialogue>
    <scene_description>Collin looks at the wrapper at Miles's feet.</scene_description>
    <character>COLLIN</character>
    <dialogue>Oh, you got the vegan burger too. That's why--</dialogue>
    <character>MILES</character>
    <dialogue>I didn't order a vegan burger. YOU ordered a vegan burger?</dialogue>
    <character>COLLIN</character>
    <dialogue>You have to specify meat.</dialogue>
    <character>MILES</character>
    <dialogue>I have to specify meat?!</dialogue>
    <character>COLLIN</character>
    <dialogue>Feel like this can be a truck conversation.</dialogue>
    <character>MILES</character>
    <dialogue>Okay. Okay. Onward. Make way for the Scorpion King!</dialogue>
    <scene_description>Scorpion King is a nickname Miles has for Collin, but based on Collin's reaction... it doesn't seem like he's into it. They begin walking, leaving the parking lot.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DOWNTOWN OAKLAND STREET - MOMENTS LATER</stage_direction>
    <scene_description>Collin's still carrying his leftover bag of food. They make their way down the middle of the street, walking towards their car. Miles lights up a joint and blows smoke away from Collin.</scene_description>
    <character>COLLIN</character>
    <dialogue>Why the hell'd you get that gun?</dialogue>
    <character>MILES</character>
    <dialogue>Someone come breakin' down my door at 2:00 AM. I got my girl there. My three year old. Can't hit them with some potato "wedges."</dialogue>
    <scene_description>Collin begins to rap:</scene_description>
    <character>COLLIN</character>
    <dialogue>Grand opening of the new Kwik Way / wish I knew a quicker way / headed through the bay whips is sweet, gettin tooth decay / lookin at all these candy cars / look like they belong to fancy stars but--</dialogue>
    <scene_description>Collin gets stuck. Miles chimes a set up for Collin.</scene_description>
    <character>MILES</character>
    <dialogue>...but just some mothafuckas pull up from the boulevard / Oakland city--</dialogue>
    <character>COLLIN</character>
    <dialogue>Oakland city / Pity / if you new to the view bet this all a bit dizzy / Gillespi, Paid on the blade like Gretsky</dialogue>
    <character>MILES</character>
    <dialogue>Yessssss!</dialogue>
    <character>COLLIN</character>
    <dialogue>Paid OFF of blade like Wesley-- /</dialogue>
    <character>MILES</character>
    <dialogue>Yas, come on! Got 3 more days 'til he free tho--</dialogue>
    <character>COLLIN</character>
    <dialogue>Got 3 more days 'til I'm free tho / then I'm movin up / hope I move enough / money in my pocket we get paid just for movin' stuff!</dialogue>
    <character>MILES</character>
    <dialogue>Eyyyy!</dialogue>
    <character>COLLIN AND MILES</character>
    <dialogue>Money in my pocket we get paid just for movin' stuff!</dialogue>
    <scene_description>We suddenly realize their car isn't a car at all... They get into a GIANT EZ-LIFT MOVING TRUCK. This is their job. Miles and Collin are movers.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. OAKLAND STREETS - NIGHT</stage_direction>
    <scene_description>The EZ-Lift truck drives through West Oakland. It's a ghost town at night. Streets are empty except for their truck.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MILES'S APARTMENT - NIGHT</stage_direction>
    <scene_description>They pull up in front of Miles's apartment building. It's across the street from RIVER NILE MARKET AND LIQUOR.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. EZ-LIFT MOVING TRUCK - CONTINUOUS</stage_direction>
    <scene_description>Collin puts the truck in park. Miles wraps up the conversation and starts to get out. They slap hands.</scene_description>
    <character>MILES</character>
    <dialogue>We really need cars, eventually.</dialogue>
    <character>COLLIN</character>
    <dialogue>Ey. If you have that gun on you, don't tell me. Plausible deniability.</dialogue>
    <scene_description>Miles pulls out the gun.</scene_description>
    <character>MILES</character>
    <dialogue>You mean THIS gun? HA!</dialogue>
    <character>COLLIN</character>
    <dialogue>Yes, I don't wanna be caught concealing a deadly white person concealing a deadly weapon.</dialogue>
    <character>MILES</character>
    <dialogue>THIS GUN!? RIGHT HERE??!!</dialogue>
    <scene_description>Miles waves the gun out the window. No one's around but it's still reckless. Collin reaches over and opens Miles's door. He begins pushing Miles out of the truck.</scene_description>
    <character>COLLIN</character>
    <dialogue>Alright, get the fuck out.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. EZ-LIFT MOVING TRUCK - LATER</stage_direction>
    <scene_description>Collin takes a bite of his Kwik Way burger, and hates it. He pulls up to a red light, and looks at the clock. It's 11:03pm. Uh oh. Collin is super anxious. He taps the wheel... ...staring at the RED LIGHT.</scene_description>
    <character>COLLIN</character>
    <parenthetical>(mumbling)</parenthetical>
    <dialogue>Come on... Come on... Come on...</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. OAKLAND STREET - SAME TIME</stage_direction>
    <scene_description>We are following behind a BLACK MAN running frantically, we hear heavy breathing and arms running wildly. The street looks similar to the area Collin is in.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. EZ-LIFT MOVING TRUCK - SAME TIME</stage_direction>
    <scene_description>Collin is humming along to the song, which feels oddly happy and poppy for him. He looks around and contemplates running the red light.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. OAKLAND STREET - SAME TIME</stage_direction>
    <scene_description>The black man is running towards an intersection. We hear someone behind him yell...</scene_description>
    <character>AUTHORITATIVE VOICE</character>
    <dialogue>STOP! STOP!</dialogue>
    <scene_description>He glances back, we barely get a look at his face. He bolts towards the intersection. It is frantic and shaky.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. EZ-LIFT MOVING TRUCK - SAME TIME</stage_direction>
    <scene_description>The light is still RED. Collin takes another glance at the clock, and decides to gun it through the light. As he's about to take off-- There's a COMMOTION down the street, and suddenly-- Collin's POV: A BLACK MAN, about Collin's age, runs through the crosswalk, and as he passes Collin's truck... SLOW-MOTION: Collin and the man lock eyes. One thing is very clear... The man is scared and running for his life. ...the man SLAMS his hands on the hood to brace himself, and bolts down the street in the direction Collin came from. Collin sticks his head out the window to see why the man is running, and then suddenly... ...a uniformed COP appears on foot, and...</scene_description>
    <character>COP</character>
    <dialogue>STOP!</dialogue>
    <scene_description>The cop draws his weapon--</scene_description>
    <character>BLACK MAN</character>
    <dialogue>Don't shoo--</dialogue>
    <scene_description>--and opens fire. One LOUD GUN SHOT rings out, setting off a CAR ALARM across the street. Collin falls back into the truck, taking cover. He watches the rest of the scene play out in the side mirror. The cop fires THREE more times. It's raw and brutal. The man falls to the ground. We hear other cop cars on the way. SIRENS. Collin is still looking at the mirror when-- --he locks eyes with the COP! It's extremely tense. The cop is in shock. Collin is horrified. The cop quickly looks down and away. Two other cop cars arrive. Red and blue lights flood the scene, as we hear other cars approach and screech to a stop. The CAR ALARM is still ringing loudly over all this. A SECOND COP suddenly appears at the EZ-LIFT truck window--</scene_description>
    <character>SECOND COP</character>
    <dialogue>MOVE!</dialogue>
    <scene_description>Collin doesn't need to be told twice. He puts his foot on the gas and speeds off into the night.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET NEAR COLLIN'S HALFWAY HOUSE - NIGHT</stage_direction>
    <scene_description>Collin locks the truck and walks down the street. Still stunned and in horror. He approaches the front door of a TWO STORY VICTORIAN HOUSE.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - NIGHT</stage_direction>
    <scene_description>The lights are out. Collin steps inside, and walks down the hall. There is a small light over a chore-board. The top of it reads SECOND START HALFWAY HOUSE, with a grid of names and chores. We focus on it as he passes, still in pure shock.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - COLLIN'S ROOM - MOMENTS LATER</stage_direction>
    <scene_description>Collin closes his door and locks it. His room is not much bigger than a prison cell. The space between the bed and the wall is only a few feet. He sits on the edge of the bed and stares blankly. KNOCK. KNOCK. Someone aggressively KNOCKS on the door. Collin jumps but doesn't blink or move. JAMES, the halfway house manager who we will meet later, yells through the door.</scene_description>
    <character>JAMES (O.S.)</character>
    <dialogue>11:00 PM is a required curfew, Mr. Turner!</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>It is 11:09! And you have bathroom duty this week!</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Is that understood? Verbal confirmation, please!</dialogue>
    <scene_description>Collin is completely tuned out and staring blankly. The faint sound of an AGGRESSIVE ALARM CLOCK can be heard. At the last moment, we see him turn his gaze to the door and snap out of it just enough to prepare to answer. SMASH CUT TO:</scene_description>
    <character>BLACK</character>
    <dialogue>SUPER: TWO DAYS LEFT OF PROBATION</dialogue>
    <dialogue>We hear the sounds of the final moments of the shooting. Feet running, "STOP" yelled by the cop, and then a GUNSHOT finally startles Collin awake--</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - COLLIN'S ROOM - MORNING</stage_direction>
    <scene_description>We are close on Collin's eyes jolting open. The sound of the alarm clock gets louder. He turns it off and sits up, distraught and unrested. Collin looks over at the map of the east bay on his wall. Alameda county is outlined with a marker, showing where he can and can't go. On his bedside table are travel books full of bookmarks. Collin grabs his hoop shoes and headphones.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREETS OF OAKLAND - DAY</stage_direction>
    <scene_description>Collin FREESTYLES to himself as he jogs up from Telegraph Ave. over to Piedmont Ave. He rounds the corner where we reveal...</scene_description>
    <character>THE KONA CLUB</character>
    <dialogue>We'll see more of this place later. Collin takes note of the doorway. As he passes, there's a LOUD BANG. Collin flinches and spins around.</dialogue>
    <dialogue>He sees nothing. It must have been a car backfiring. He is relieved. Not a gunshot. He keeps running until he reaches...</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. THE MOUNTAINVIEW CEMETERY - CONTINUOUS</stage_direction>
    <scene_description>Collin runs through the cemetery. He looks at the headstones. He's shook, remembering what he saw last night.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MILES'S APARTMENT - LIVING ROOM - DAY</stage_direction>
    <scene_description>SEAN (3, black) runs through the apartment. It's somewhat shadowy despite the amount of sunlight through the windows. Kids toys pepper the floor. ASHLEY (29, black) is barefoot, in shorts and a t-shirt. Her hair is still wet after a shower. Miles grabs Sean to put on his jacket. Miles is in jeans and shirtless, he is covered in small, scattered tattoos. Collin is standing in their kitchen.</scene_description>
    <character>COLLIN</character>
    <dialogue>I saw the cops kill a nigga last night...</dialogue>
    <character>MILES</character>
    <parenthetical>(covering Sean's ears)</parenthetical>
    <dialogue>What do you mean you saw it?</dialogue>
    <character>COLLIN</character>
    <dialogue>Over by Broadway and 51st. He ran by the truck, then the cops showed up and shot him.</dialogue>
    <character>ASHLEY</character>
    <dialogue>Who got shot?</dialogue>
    <character>COLLIN</character>
    <dialogue>I don't know.</dialogue>
    <character>MILES</character>
    <dialogue>But he's definitely dead though?</dialogue>
    <character>COLLIN</character>
    <dialogue>Yeah, they shot him like four times.</dialogue>
    <scene_description>Hearing this, Miles and Ashley groan.</scene_description>
    <character>MILES</character>
    <dialogue>I mean he coulda lived. It ain't like they shot him 14 times like that Milwaukee dude. What's his name?</dialogue>
    <character>ASHLEY</character>
    <dialogue>Miles, not helpful. Are you okay?</dialogue>
    <scene_description>Collin SHRUGS.</scene_description>
    <character>COLLIN</character>
    <dialogue>Yeah, I'm good.</dialogue>
    <scene_description>Sean starts punching Miles like a boxer over and over again.</scene_description>
    <character>MILES</character>
    <dialogue>Ey, ok ok lil' man, I get it. It wasn't about you for a moment, you ain't gotta KO me! Show Collin them hands, boy!</dialogue>
    <scene_description>Miles puts his muscles up like Popeye.</scene_description>
    <character>MILES</character>
    <dialogue>I'm a tough guy!</dialogue>
    <character>SEAN</character>
    <dialogue>I'm tuff guy!</dialogue>
    <character>MILES</character>
    <dialogue>I'm the toughest mothafucka in all-</dialogue>
    <character>ASHLEY</character>
    <dialogue>Miles!</dialogue>
    <scene_description>Miles points at Collin, and tells Sean to...</scene_description>
    <character>MILES</character>
    <dialogue>Get him! What the hell was dude's name...</dialogue>
    <scene_description>Sean runs over and starts trying to box with Collin. Collin immediately goes into play mode with Sean. They pretend box, and run into the living room together. Miles and Ashley have a quiet conversation in the kitchen:</scene_description>
    <character>ASHLEY</character>
    <dialogue>No, it has to be Centro Vida preschool in Berkeley!</dialogue>
    <character>MILES</character>
    <dialogue>It's 200 more per fuckin week!</dialogue>
    <character>ASHLEY</character>
    <dialogue>That's because it's the only bi- lingual pre school that I can get to on the train.</dialogue>
    <character>MILES</character>
    <dialogue>Why he gotta be bi-lingual? He already bi-racial!</dialogue>
    <scene_description>Ashley looks at him not entertained and irritated.</scene_description>
    <character>MILES</character>
    <dialogue>Ok! I got it, ok, he will go to casa vida, then he can translate for us when the Mexicans take California back.</dialogue>
    <character>ASHLEY</character>
    <dialogue>Use that mouthpiece, get us fancy pre-school money.</dialogue>
    <scene_description>Miles and Ashley realize they're alone for a brief moment...</scene_description>
    <character>MILES</character>
    <dialogue>Oh goodness - My hands are QUITE cold this morning' and I need them for moving things. So I'm just gonna warm them up... on... your... booty.</dialogue>
    <scene_description>Miles puts his hands into Ashley's shorts and down her underwear like he is warming his hands on a fire. He kisses her face while he does it.</scene_description>
    <character>ASHLEY</character>
    <dialogue>HA! Excuse you! Ah, COLD! Your hands are so cold!</dialogue>
    <scene_description>His hands land on her butt, and he squeezes with relief.</scene_description>
    <character>MILES</character>
    <dialogue>Much better. Thank you kindly. Bye.</dialogue>
    <scene_description>They give one big SMOOCH and Miles reaches for his jacket.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. RIVER NILE MARKET AND LIQUOR - DAY</stage_direction>
    <scene_description>Collin and Miles dap up a few regulars standing outside the liquor store, and then walk inside.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RIVER NILE MARKET AND LIQUOR - DAY</stage_direction>
    <scene_description>The CLERK rings up a customer as Collin and Miles walk in. Miles notices the TV on behind the counter. It's the local news covering the police shooting from the night before.</scene_description>
    <character>ON SCREEN:</character>
    <dialogue>"RECENTLY RELEASED FELON DIES IN STANDOFF WITH POLICE"</dialogue>
    <character>MILES</character>
    <dialogue>This what you saw? No shit. Oh yeah, he's definitely dead.</dialogue>
    <parenthetical>(beat as he listens)</parenthetical>
    <dialogue>You see this cop?</dialogue>
    <scene_description>Collin looks up to see the Cop's face on the news. We go in close up to hear--</scene_description>
    <character>NEWSCASTER</character>
    <dialogue>The officer involved has been put on leave while details of the shooting are reviewed, which has become standard when...</dialogue>
    <scene_description>Collin stares at the image of the cop on the screen.</scene_description>
    <character>COLLIN</character>
    <dialogue>Yeah. I saw him.</dialogue>
    <character>MILES</character>
    <parenthetical>(reference the cop photo)</parenthetical>
    <dialogue>Why he wear his hat so low, ha! ...This cop see you?</dialogue>
    <character>COLLIN</character>
    <dialogue>Yeah.</dialogue>
    <scene_description>The Clerk finishes ringing up the customer in front of them.</scene_description>
    <character>MILES</character>
    <parenthetical>(to Clerk)</parenthetical>
    <dialogue>Ey, bro. You got my square.</dialogue>
    <parenthetical>(to Collin)</parenthetical>
    <dialogue>--and then you just left?</dialogue>
    <scene_description>Miles pays the Clerk a dollar for a single cigarette.</scene_description>
    <character>COLLIN</character>
    <dialogue>It was after 11, you know James always has something to say.</dialogue>
    <character>MILES</character>
    <dialogue>They didn't wanna talk to you? You not gonna be a witness?</dialogue>
    <character>COLLIN</character>
    <dialogue>Hello, police? I want to report a murder you did.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>I was there after curfew.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Yes, I'm on probation. Yeah. Convicted felon.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Back to prison? Sure, tomorrow is good for me.</dialogue>
    <scene_description>Miles notices a display case full of hand-bottled healthy "GREEN" JUICES. They look out of place in a liquor store full of junk food and cheap booze.</scene_description>
    <character>MILES</character>
    <dialogue>What the hell is this green shit? Bro!</dialogue>
    <scene_description>Miles holds up the green juice.</scene_description>
    <character>CLERK</character>
    <dialogue>It's a local artisan protein something or other. Good for you, help you live longer.</dialogue>
    <scene_description>Collin grabs one.</scene_description>
    <character>COLLIN</character>
    <dialogue>How much?</dialogue>
    <character>CLERK</character>
    <dialogue>Six dollars.</dialogue>
    <character>COLLIN AND MILES</character>
    <dialogue>WHAT?</dialogue>
    <character>MILES</character>
    <dialogue>Is it the blood of Jesus?? What the hell in this that it's six dollars?</dialogue>
    <character>COLLIN</character>
    <dialogue>Lemme get one.</dialogue>
    <scene_description>Miles looks at Collin.</scene_description>
    <character>MILES</character>
  </scene>
  <scene>
    <stage_direction>INT. EZ-LIFT MOVING TRUCK - DAY</stage_direction>
    <scene_description>They're on the way to work. Music is blasting. Collin is driving and FREESTYLE RAPS about what they see. Outside we see a montage of gentrification in full effect...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET - DAY</stage_direction>
    <scene_description>Young women walk dogs through groups of Black men.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET - DAY</stage_direction>
    <scene_description>GRAND OPENING signs on a remodeled cafe.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET - DAY</stage_direction>
    <scene_description>A street sign spinner almost hits an affluent-looking older couple.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET - DAY</stage_direction>
    <scene_description>An Asian man in a button up waits for an Uber car next to a Black man in a hoodie standing with his Pit Bull.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. EZ-LIFT OFFICE - DAY</stage_direction>
    <scene_description>Collin and Miles enter a small shop. Just a front desk and a door leading to the back locker room for employees. There's SOOTHING MUSIC playing. Miles and Collin pick up their assignments for the day from... VALERIE GUTIERREZ (27), a Filipino woman wearing workout clothes. She's pretty. Clearly built tough. Tattoo on her shoulder. Tight ponytail, hair-sprayed down. She is burning incense in the lobby and reading a textbook of some kind.</scene_description>
    <character>VAL</character>
    <dialogue>Good morning.</dialogue>
    <character>MILES</character>
    <dialogue>Namaste, Val. Your aura is really transcendent this morning.</dialogue>
    <character>MILES</character>
    <dialogue>Did you cleanse your spirit of that superiority complex?</dialogue>
    <scene_description>Val stares blankly at Miles like he is scum, then looks at Collin as if to say: Yet another example of why Miles is an idiot. She notices the green juice in Collin's hand, and just flat out ignores Miles's fake question.</scene_description>
    <character>VAL</character>
    <dialogue>Oh is that a green juice?</dialogue>
    <scene_description>Miles grabs their assignment clipboard and starts reviewing the moves for the day.</scene_description>
    <character>COLLIN</character>
    <dialogue>Oh this? Why, I guess it is a green juice, huh? It's just, you know, part of my regiment. Little green juice, little... what's that class you take?</dialogue>
    <character>VAL</character>
    <dialogue>SoulCycle.</dialogue>
    <character>COLLIN</character>
    <dialogue>Yeah. Little soul cycling. My soul is…</dialogue>
    <scene_description>He takes a sip of his drink and exhales. COUGHING.</scene_description>
    <character>COLLIN</character>
    <dialogue>Healthy.</dialogue>
    <character>VAL</character>
    <dialogue>Ah hah. Well, glad you're taking care of yourself.</dialogue>
    <character>COLLIN</character>
    <dialogue>Oh, definitely. How's the final stretch going?</dialogue>
    <character>VAL</character>
    <dialogue>Finals are going to kill me, and every time I complain, my Mom says, "nursing school is much easier. Look at Jessica and Tita Rachel"</dialogue>
    <character>COLLIN</character>
    <dialogue>It IS the family business.</dialogue>
    <character>VAL</character>
    <dialogue>Yeah well...not everyone just does what the people around them do.</dialogue>
    <scene_description>Val side-eyes Miles as she says it, then looks back at Collin. Miles hears what she says and fires back.</scene_description>
    <character>MILES</character>
    <dialogue>Collin was involved in a shoot out last night with the police.</dialogue>
    <scene_description>Collin spins around to face Miles.</scene_description>
    <character>COLLIN</character>
    <parenthetical>(mouthing silently)</parenthetical>
    <dialogue>What the fuck?</dialogue>
    <character>VAL</character>
    <dialogue>What?? Who were you OUT with??</dialogue>
    <scene_description>Collin grabs the clipboard.</scene_description>
    <character>COLLIN</character>
    <dialogue>NO!, No. He's... I was NOT ... he's just fuckin with you, babe.</dialogue>
    <scene_description>She quickly turns her attention to that fact that he called her "Babe." And freezes up.</scene_description>
    <character>COLLIN</character>
    <dialogue>...Sorry. Val. Front desk girl. uh Front desk person.</dialogue>
    <scene_description>Irritated, she just wants to get back to work.</scene_description>
    <character>VAL</character>
    <dialogue>Get going.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. EZ-LIFT LOCKER ROOM - MOMENTS LATER</stage_direction>
    <scene_description>Miles and Collin are getting ready at their lockers. There are a bunch of OTHER MOVERS getting ready for the day, including TEL and YORKIE. Yorkie's Brooklyn accent makes it very clear this guy is a recent transplant to Oakland.</scene_description>
    <character>MILES</character>
    <dialogue>Fuck Val.</dialogue>
    <character>LITERALLY THE WHOLE LOCKER ROOM</character>
    <dialogue>HEEEEYYYYY!</dialogue>
    <character>MILES</character>
    <dialogue>She disloyal. She uppity. And she's permanently in downward bitch pose.</dialogue>
    <scene_description>Yorkie gestures towards Collin.</scene_description>
    <character>TEL</character>
    <dialogue>Bro, that's his ex-girl. STAP.</dialogue>
    <character>YORKIE</character>
    <dialogue>You buggin, Miles. She got that nigga a job and lets you both take the truck home. Get out his head.</dialogue>
    <character>COLLIN</character>
    <dialogue>Thank you, Yorkie -</dialogue>
    <character>MILES</character>
    <dialogue>She HAS to let us take the truck or we can't come to work. That's just a smart business choice. She's plenty smart. I'm just saying it's a shame she only applies that intelligence towards being a particularly high caliber of bitch.</dialogue>
    <character>COLLIN</character>
    <dialogue>SIMMER. BRUH.</dialogue>
    <character>MILES</character>
    <dialogue>Val pussy probably taste like a vegan Kwik Way burger.</dialogue>
    <scene_description>Everyone bursts out LAUGHING. Collin shakes his head, and looks at Miles.</scene_description>
    <character>COLLIN</character>
    <dialogue>Too far.</dialogue>
    <scene_description>Miles laughs even harder.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PHOTOGRAPHY GALLERY - DAY</stage_direction>
    <scene_description>The boys pull up in front of a small boutique gallery in the Old Oakland district. Collin rings the intercom buzzer. We cut back and forth between the boys outside, and an ECU of a MOUTH YELLING into an intercom inside on the other end. This is PATRICK, who we will see in the next scene.</scene_description>
    <character>PATRICK (O.S.)</character>
    <dialogue>I have another 24 hours!</dialogue>
    <character>COLLIN</character>
    <dialogue>It's EZ LIFT!</dialogue>
    <character>PATRICK (O.S.)</character>
    <dialogue>Read the lease, it ends tomorrow at 3pm, you vultures! GO AWAY!</dialogue>
    <character>COLLIN</character>
    <dialogue>It's EZ LIFT!</dialogue>
    <character>PATRICK (O.S.)</character>
    <dialogue>Who??</dialogue>
    <character>MILES</character>
    <dialogue>It's EZ LIFT GODDAMN IT!</dialogue>
    <scene_description>Long pause... the blinds open for someone to peak through. Then back to the intercom.</scene_description>
    <character>PATRICK (O.S.)</character>
    <dialogue>Oh.</dialogue>
    <scene_description>We hear the BUZZER for the door, and they go inside.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PHOTOGRAPHY GALLERY - DAY</stage_direction>
    <scene_description>Miles and Collin are packing up everything inside the small gallery. PATRICK, an odd older man, gingerly helps them place frames in boxes. Miles and Collin are a little careless in the process. Patrick is being extra careful with his packing.</scene_description>
    <character>PATRICK</character>
    <dialogue>Ok that's Teresa, Rodney, Oscar. Where is Vivian... She is such an evasive little firecracker.</dialogue>
    <scene_description>He sees Miles putting two photos in a box facing each other.</scene_description>
    <character>PATRICK</character>
    <dialogue>Ohnonono! Don't have Marissa and Kathy facing each other! They do NOT get along.</dialogue>
    <scene_description>Miles slowly pulls a photo back out and spins it around to satisfy Patrick's odd request.</scene_description>
    <character>COLLIN</character>
    <dialogue>So you're really into portraits?</dialogue>
    <character>PATRICK</character>
    <dialogue>Well...</dialogue>
    <scene_description>There is a long pause. Collin looks up.</scene_description>
    <character>PATRICK</character>
    <dialogue>See there? You looked for my eyes.</dialogue>
    <character>COLLIN</character>
    <dialogue>Yeah, I'm talking to you.</dialogue>
    <character>PATRICK</character>
    <dialogue>We look into eyes when we want to better understand. To love. YET, it's impolite to stare. Why? And when we're ashamed, what do we do? We look away. Hmm.</dialogue>
    <character>MILES</character>
    <parenthetical>(stares at photo)</parenthetical>
    <dialogue>I'm not ashamed of how I feel about you.</dialogue>
    <character>PATRICK</character>
    <dialogue>My work hopes to make people fall in love.</dialogue>
    <character>COLLIN</character>
    <dialogue>With a photo?</dialogue>
    <scene_description>Miles stares at a picture of a beautiful woman, as he takes it down off the wall.</scene_description>
    <character>MILES</character>
    <dialogue>It's workin, Patrick.</dialogue>
    <parenthetical>(looks at the name tag)</parenthetical>
    <dialogue>Hellooooo Tina.</dialogue>
    <scene_description>Collin begins to pack another frame, and this photo is of trees, superimposed over street corners in the city.</scene_description>
    <character>COLLIN</character>
    <dialogue>So then... I love... trees?</dialogue>
    <character>PATRICK</character>
    <dialogue>That's from the last exhibit. I superimposed photographs of Oak trees over the neighborhoods and corners where they used to grow.</dialogue>
    <scene_description>Patrick pulls a few pictures of superimposed trees out of a box and shows them to the boys.</scene_description>
    <character>PATRICK</character>
    <dialogue>To remind people they used to be EVERYWHERE, but were cleared out to build the city. Now they're only on the damn street signs.</dialogue>
    <scene_description>Miles looks back up at the girl portraits on the wall.</scene_description>
    <character>MILES</character>
    <dialogue>Well, I see why you switched it up. The trees weren't as photogenic as Viveca here. Does... she...</dialogue>
    <character>MILES</character>
    <dialogue>live around here? I'm helping a friend get over this wicked bitch of an ex.</dialogue>
    <scene_description>Patrick, seemingly not paying attention to Miles, stares at the photo of Viveca. Patrick spins Miles around to look at Miles's name tag.</scene_description>
    <character>PATRICK</character>
    <dialogue>Miles. She IS an Oak tree, and she too is gone.</dialogue>
    <scene_description>The boys react like she died.</scene_description>
    <character>PATRICK</character>
    <dialogue>Lives way out in Antioch now.</dialogue>
    <scene_description>They react as if it's worse, she lives in Antioch. Patrick points up at one wall still filled with photographs of faces. He gestures grandly.</scene_description>
    <character>PATRICK</character>
    <dialogue>These are all people who were forced out, for the NEW Oakland. Oh boys, they are cutting us down! That's why faces, eyes! To stare is to SEE!... Here look, come here, come here...</dialogue>
    <scene_description>Patrick grabs Miles and Collin and faces them towards each other.</scene_description>
    <character>PATRICK</character>
    <dialogue>Just stare at each other a moment.</dialogue>
    <character>MILES</character>
    <dialogue>Oh, we're good. I see enough of him. We're practically married.</dialogue>
    <character>PATRICK</character>
    <dialogue>It's not sexual.</dialogue>
    <character>MILES</character>
    <dialogue>NOW it is.</dialogue>
    <character>PATRICK</character>
    <dialogue>It's just about finding the soul.</dialogue>
    <character>COLLIN</character>
    <dialogue>Yeah, man. Find my soul.</dialogue>
    <character>MILES</character>
    <dialogue>Oh I left my cycle for it at home.</dialogue>
    <character>PATRICK</character>
    <dialogue>Shhhhhh. Look into the soul of each other. SHH. SHH. SHH. Look. Deep. Look, deep. Connect. Understand...</dialogue>
    <scene_description>There is a long pause. They both twitch uncomfortably. It seems like they are going for it, taking the suggestion seriously... ...then we see Miles's hand float into the frame as he pinches Collin's nipple. Patrick laughs in resigned disappointment.</scene_description>
    <character>MILES</character>
    <dialogue>Patrick, you're a swell mothafucka and I dig everything but this part.</dialogue>
    <character>PATRICK</character>
    <dialogue>Well, maybe that's why no one came. No one's ready to take the closer look. Come now, let's finish up with these boxes.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PHOTOGRAPHY GALLERY - DAY</stage_direction>
    <scene_description>The boys load the final box from the art gallery into Patrick's truck and close the door. A few photos remain resting outside the boxes, the people in the photos stare out the door as the boys slam it closed.</scene_description>
    <character>COLLIN</character>
    <dialogue>You making room for a new show or something?</dialogue>
    <character>PATRICK</character>
    <dialogue>No. No. I sold the Gallery. It's going to be a ...Pet hotel.</dialogue>
    <scene_description>Patrick seems uncomfortable and saddened by sharing that news. The boys look confused.</scene_description>
    <character>PATRICK</character>
    <dialogue>It's a resort for dogs to get.. Spa day sort of thing. For Animals. Anyway. Thank you boys for your help today, Miles and...</dialogue>
    <character>MILES</character>
    <dialogue>Oh this is Collin, nice catchin' your vibe bro.</dialogue>
    <scene_description>Miles walks away. Patrick takes a long look at Collin. Collin looks at Patrick.</scene_description>
    <character>PATRICK</character>
    <dialogue>Are you alright?</dialogue>
    <character>COLLIN</character>
    <dialogue>Yeah, I'm.. yeah.</dialogue>
    <scene_description>Patrick attempts to stare reassuringly into Collin's eyes.</scene_description>
    <character>PATRICK</character>
    <dialogue>It's alright if you're not.</dialogue>
    <scene_description>Collin looks away uncomfortably.</scene_description>
    <character>COLLIN</character>
    <dialogue>Uh, I'm good.</dialogue>
    <parenthetical>(hands Patrick the clipboard)</parenthetical>
    <dialogue>Sign here.</dialogue>
    <scene_description>Patrick gets in his truck and walks away. They walk back to their truck a few cars down. Collin climbs into the cab, while Miles stands in the street and lights a cigarette. We start to hear faint music approaching. Collin's phone rings.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. EZ-LIFT MOVING TRUCK - CONTINUOUS</stage_direction>
    <scene_description>He pulls his phone out of his pocket and answers.</scene_description>
    <character>COLLIN</character>
    <dialogue>Hey, Mom.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. EZ-LIFT TRUCK - CONTINUOUS</stage_direction>
    <character>MILES</character>
    <dialogue>Oh no, Capoieristas.</dialogue>
    <scene_description>A bunch of young white people wearing loose white pants and white shirts start pouring out of a capoeira cafe a few doors down from where the truck is parked. They are barefoot, some of them playing traditional Brazilian instruments. They start to form a circle in the street, singing and clapping, about to begin a Capoiera Hoda. Two people begin playing a game in the middle, kicking, rolling and flipping. They are blocking the entire street. They sing:</scene_description>
    <character>GROUP</character>
    <dialogue>Paranaue, paranaue parana!</dialogue>
    <character>INT. EZ-LIFT MOVING TRUCK - DAY</character>
    <dialogue>COLLIN</dialogue>
    <scene_description>Well, I got the truck, so Miles and I can move it out of there right now. We're over by the parkway.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. EZ-LIFT MOVING TRUCK - DAY</stage_direction>
    <character>MILES</character>
    <dialogue>No! Ey, we gotta get through, move out the way.</dialogue>
    <character>GROUP</character>
    <dialogue>Paranaue, Paranaue parana!</dialogue>
    <scene_description>Miles sings along with the song but changes the lyrics.</scene_description>
    <character>MILES</character>
    <dialogue>Get out the wayyyyy! Get the fuck out the wayyyy of our truck!</dialogue>
    <scene_description>Miles walks right into the middle of the circle. They think he is playing and try to play with him.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. EZ-LIFT MOVING TRUCK - CONTINUOUS</stage_direction>
    <scene_description>Collin continues to watch from the cab, and narrates for his Mom.</scene_description>
    <character>COLLIN</character>
    <dialogue>Uh oh, some people just started playing capoiera around miles - yeah the brazilian.. martial art dance thing.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Of course it's all white people.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. EZ-LIFT MOVING TRUCK - CONTINUOUS</stage_direction>
    <character>MILES</character>
    <dialogue>Ey, go do your mock slave revolt dance show somewhere else!</dialogue>
    <scene_description>One of them dances around Miles. He play kicks at Miles and lands a foot on his chest softly. Miles pushes his leg away and gets really angry. He starts walking towards the dance- fighter but stops when someone else does a cartwheel in and switches places with the guy. Miles is so angry and confused. He keeps getting spun around by legs and flips.</scene_description>
    <character>MILES</character>
    <dialogue>Collin!</dialogue>
    <parenthetical>(to Group)</parenthetical>
    <dialogue>Soon as one of yal stands still I'm knockin yal back to Portland.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. EZ-LIFT MOVING TRUCK - CONTINUOUS</stage_direction>
    <scene_description>Collin decides it's time to intervene. He rolls his eyes as if this happens a lot.</scene_description>
    <character>COLLIN</character>
    <dialogue>Sigh. Mom, I gotta go.</dialogue>
    <scene_description>Collin gets out of the truck.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. EZ-LIFT MOVING TRUCK - CONTINUOUS</stage_direction>
    <scene_description>Collin gets out of the truck and walks over to help Miles. As Collin enters the circle, he puts his hand over the instrument and stops the music.</scene_description>
    <character>COLLIN</character>
    <parenthetical>(on phone, to his Mom)</parenthetical>
    <dialogue>Yeah, see you soon.</dialogue>
    <parenthetical>(to Miles)</parenthetical>
    <dialogue>Come on bruh, let's go.</dialogue>
    <scene_description>When he interrupts the instruments, a few people walk up to him. One of them tries to get Collin to leave.</scene_description>
    <character>CAPOEIRISTA #1</character>
    <dialogue>Hey man, don't disrespect the space, man!</dialogue>
    <scene_description>The man comes from Collin's side and grabs his arm, just like at Kona. Collin, caught off guard, quickly snaps and grabs the guy with his full strength and jerks him around. He is suddenly intimidating and aggressive.</scene_description>
    <character>COLLIN</character>
    <dialogue>Ey, don't fuckin touch me!</dialogue>
    <scene_description>Miles goes into fight mode as well. He pushes the guy hard.</scene_description>
    <character>MILES</character>
    <dialogue>Who the fuck are you grabbin?!</dialogue>
    <scene_description>Everyone gets alarmed. Collin immediately lets go, catching himself before he hurts someone. He pushes Miles back as well, stopping him from escalating the situation. They try to settle it with the Capoeiristas.</scene_description>
    <character>COLLIN</character>
    <dialogue>We got to get to work, go cartwheel in your dojo.</dialogue>
    <character>CAPOEIRISTA #2</character>
    <dialogue>We have a permit to perform in the street from the city!</dialogue>
    <character>MILES</character>
    <dialogue>Well you asked the wrong city then, cuz we didn't sign shit for you!</dialogue>
    <scene_description>Collin grabs Miles before he gets fired up again.</scene_description>
    <character>COLLIN</character>
    <dialogue>LET'S GO!</dialogue>
    <scene_description>The boys get back in their truck. They turn on the engine and start pulling through the group. They honk the horn while the group shouts and scoffs at them. A few yell things like, "Get out of here!" "hurry up!" "Leave!" People bang on the side of the truck. Collin honks and drives through. Miles is flipping them off and taunting them.</scene_description>
    <character>COLLIN</character>
    <dialogue>Why the fuck you always gotta take it there?</dialogue>
    <character>MILES</character>
    <dialogue>The man. Put his FOOT on me.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. EZ-LIFT TRUCK - DAY</stage_direction>
    <scene_description>Miles and Collin freestyle with each other about things they see. Miles sets Collin up with a line, and Collin raps until he can't think of anything else. Miles helps again to start him up, and then Collin keeps going.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COLLIN'S MOTHER'S HOUSE - LIVING ROOM - DAY</stage_direction>
    <scene_description>JIMMY, 7-YEAR-OLD ASIAN KID sits on a fluffy couch with an AFRICAN PRINT BLANKET thrown over the back. He's playing a very violent game similar to CALL OF DUTY. Jimmy shoots a soldier in the head. Miles and Collin stand in the front doorway, confused. Jimmy stops playing to look at them. Collin and Jimmy exchange a long stare down. Jimmy reaches for his CUP OF JUICE sitting next to him.</scene_description>
    <character>MILES</character>
    <dialogue>Who is lil' homie drinking out of that dinosaur mug you made in 5th grade?</dialogue>
    <character>COLLIN</character>
    <dialogue>My "Mugasaurus."</dialogue>
    <scene_description>Jimmy pauses for a moment, as if aware of Collin's disapproval, and then takes a sip from "Mugasaurus."</scene_description>
    <character>COLLIN</character>
    <dialogue>Mom!</dialogue>
    <scene_description>Collin charges through the house, Miles in his wake.</scene_description>
    <character>COLLIN</character>
    <dialogue>Mom!</dialogue>
    <character>NANCY (O.S)</character>
    <dialogue>I'm in the bathroom, Sir!</dialogue>
    <character>MILES</character>
    <dialogue>Who is this?</dialogue>
    <scene_description>Miles is holding the Jimmy up in the air.</scene_description>
    <character>COLLIN</character>
    <dialogue>You didn't have to pick him up, that's Marty's son!</dialogue>
    <character>MILES</character>
    <dialogue>I got questions!</dialogue>
    <scene_description>Collin and Miles peek around the corner to see Collin's old room full of little kid stuff and a bunch of drums.</scene_description>
    <character>COLLIN</character>
    <dialogue>Wait WHAT? He lives in my room!! Really???</dialogue>
    <character>NANCY (O.S)</character>
    <dialogue>Miles, put Jimmy down.</dialogue>
    <character>COLLIN</character>
    <dialogue>I'm moving home in two days!</dialogue>
    <character>MILES</character>
    <dialogue>How the hell she know I was holdin' the...</dialogue>
    <scene_description>Miles looks over to see that Jimmy has texted her.</scene_description>
    <character>MILES</character>
    <dialogue>Quick hands! You techy snitch!</dialogue>
    <character>COLLIN</character>
    <dialogue>What is happening right now!</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. COLLIN'S MOTHER'S HOUSE - KITCHEN - DAY</stage_direction>
    <scene_description>The kitchen is full of African art. Black history. Colorful. Little sculptures, artifacts. NANCY, Collin's Mom, is wearing an African print shirt, jeans and natural hair.</scene_description>
    <character>NANCY</character>
    <dialogue>Marty moved in, so we needed a room for Jimmy.</dialogue>
    <character>COLLIN</character>
    <dialogue>When were you gonna tell me you gave away my room?</dialogue>
    <character>NANCY</character>
    <dialogue>Boy, that is not YOUR room, that is my guest room that you once lived in. You really couldn't find an apartment? The whole damn city got a FOR RENT sign on it!</dialogue>
    <character>COLLIN</character>
    <dialogue>"Have you ever been convicted of a felony? If so, what was the nature of the crime?"</dialogue>
    <character>NANCY</character>
    <dialogue>Well... I just assumed you'd be here for a little bit and then eventually... you and Val would...</dialogue>
    <character>COLLIN</character>
    <dialogue>What?? -- I don't wanna talk about Val, Mom.</dialogue>
    <character>NANCY</character>
    <dialogue>You don't like talking about her, she doesn't like talking about you-- I do not understand you two.</dialogue>
    <character>COLLIN</character>
    <dialogue>How often are you talkin to her?</dialogue>
    <character>NANCY</character>
    <dialogue>I took her to get her car at Mercer's, we get our hair done together, and she came over a few days ago to borrow--</dialogue>
    <character>COLLIN</character>
    <dialogue>Mom, we're not together right now!</dialogue>
    <character>NANCY</character>
    <dialogue>OK! ok. Well Jimmy and all my drums live in guest room "A" now. Clear out the last of Shanai's stuff off HER old bed and you have the room for a bit. But it's not your bedroom, it's my guest room "B."</dialogue>
    <character>MILES</character>
    <dialogue>Where IS your sister now?</dialogue>
    <scene_description>Nancy goes to the couch side table to get a pamphlet.</scene_description>
    <character>NANCY</character>
    <dialogue>Oh, Shanai's in Bali! Teaching non- eurocentric beauty techniques to girls in underdeveloped nations, right on right on. Cosmetology degree is a success, turns out.</dialogue>
    <scene_description>She hands the pamphlet to Collin.</scene_description>
    <character>NANCY</character>
    <dialogue>Give this to Ashley please when you see her. Tell her it's from me.</dialogue>
    <scene_description>We don't get a good look at the pamphlet now, but we see Collin look at it, and put it in his pocket.</scene_description>
    <character>COLLIN</character>
    <dialogue>Okay.</dialogue>
    <character>MILES</character>
    <dialogue>What's that?</dialogue>
    <character>NANCY</character>
    <dialogue>Something for Ashley, and you'll just lose it.</dialogue>
    <character>MILES</character>
    <dialogue>You're not wrong.</dialogue>
    <scene_description>MARTY gets home, comes in and kisses Collin's mom. He's a middle-aged Chinese man who spent his whole life in Oakland.</scene_description>
    <character>MARTY</character>
    <dialogue>Hey, baby. Hey, look at this good lookin' man. How are you, brotha? Stayin' out of trouble?</dialogue>
    <scene_description>Marty gives Collin a quick hug and a pat on the back.</scene_description>
    <character>COLLIN</character>
    <dialogue>What's up, Marty? I'm good man.</dialogue>
    <scene_description>Miles walks away to investigate what's in Shanai's old room. Marty looks closer at Collin.</scene_description>
    <character>MARTY</character>
    <dialogue>You sure?</dialogue>
    <character>COLLIN</character>
    <dialogue>...Yeah, why does everyone keep asking me that today?</dialogue>
    <scene_description>Miles comes back in the room carrying a box of flat irons.</scene_description>
    <character>MILES</character>
    <dialogue>Hey, can we take these?</dialogue>
    <character>NANCY</character>
    <dialogue>Ain't nothin but a bunch of Shanai's old flat irons. What you gonna do with those?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BEAUTY SHOP - DAY</stage_direction>
    <scene_description>Miles and Collin enter a beauty shop filled with BLACK WOMEN getting their hair done. Some young. Some old. All skeptical of the white guy with the flat irons and his hood friend. Miles immediately switches demeanor to that of a trustworthy salesman. Collin leans up against the front desk, chatting with the RECEPTIONIST.</scene_description>
    <character>MILES</character>
    <dialogue>FLAT IRONS. Top of the line, alloy metallic based, heat absorbent... Metal. Variety of different grips and heat sensitivity for different... hand dexterity.</dialogue>
    <character>COLLIN</character>
    <parenthetical>(to Receptionist)</parenthetical>
    <dialogue>This is going to be a show...</dialogue>
    <character>WOMAN #1</character>
    <dialogue>Oh hell no!</dialogue>
    <character>COLLIN</character>
    <dialogue>And we're off!</dialogue>
    <character>MILES</character>
    <dialogue>We have ceramic and titanium, a number of different colors. They all heat up in under two minutes, some for home some for travel, fit right in the glove box, wide plates for long weaves, short plates for those thinking about going all natural.</dialogue>
    <character>WOMAN #1</character>
    <dialogue>They look old.</dialogue>
    <character>COLLIN</character>
    <dialogue>A quick observation by the home team!</dialogue>
    <character>MILES</character>
    <dialogue>Came from the cosmetology school after one class, out the box but not outta gas. They only use the best, to teach the worst to become the best, now I got the best in front of me and best is what you deserve, so let go of the rest, ya heard, come on!</dialogue>
    <character>COLLIN</character>
    <dialogue>Winding up now!</dialogue>
    <character>WOMAN #2</character>
    <dialogue>How much?</dialogue>
    <character>COLLIN</character>
    <dialogue>He got them talking numbers. Can he take it home!</dialogue>
    <character>MILES</character>
    <dialogue>How much was the one you are holding?</dialogue>
    <character>MILES</character>
    <dialogue>Oh my goodness, I would never - these are half whatever you got in your hand, and hand to god I'll bet they work better.</dialogue>
    <character>WOMAN #2</character>
    <dialogue>Okay. Who the hell is this white boy?</dialogue>
    <character>COLLIN</character>
    <dialogue>Final play, he slidin' into home.</dialogue>
    <character>MILES</character>
    <dialogue>West Oakland home grown bay boy bout his town business - Matter of fact one hundred percent of our profit today from these barely used, multi-colored artisanal flat irons, supports bi-lingual education for youth of Oakland, and helps support men transitioning out of incarceration for strong second chances, which we know our community needs, am I right, my brotha?</dialogue>
    <scene_description>He turns to Collin, who has his hands in his face laughing.</scene_description>
    <character>COLLIN</character>
    <dialogue>FACTS!</dialogue>
    <character>WOMAN #3</character>
    <dialogue>...How do we know they work?</dialogue>
    <character>COLLIN</character>
    <dialogue>Oh, it's a wrap, he's bout to sell every one of them damn things in that box. The boy got the mouthpiece like a mothafucka I'm tellin' you. I don't even understand how he...</dialogue>
    <scene_description>Collin looks up to see the entire room staring at him.</scene_description>
    <character>COLLIN</character>
    <dialogue>What? Why is everyone looking at my hair?</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MILES'S APARTMENT - NIGHT</stage_direction>
    <scene_description>Collin's hair is freshly pressed. Miles and Collin are sitting on the front steps of Miles's building. Miles counts his new cash.</scene_description>
    <character>MILES</character>
    <dialogue>I think it looks good.</dialogue>
    <scene_description>As he digs in his pocket for more loose cash, Miles's gun falls out of his pocket. He quickly grabs it and puts it back.</scene_description>
    <character>COLLIN</character>
    <dialogue>Oy. Plausible deniability ruined.</dialogue>
    <character>MILES</character>
    <dialogue>It ain't like I'ma shoot someone. I just like to be prepared.</dialogue>
    <scene_description>Collin SIGHS.</scene_description>
    <character>COLLIN</character>
    <dialogue>What'd you make?</dialogue>
    <character>MILES</character>
    <dialogue>We made 600... so you made 300. Here, bro.</dialogue>
    <character>COLLIN</character>
    <dialogue>Nah, that's all you. For La Raza day care.</dialogue>
    <character>MILES</character>
    <dialogue>You're gonna make it two weeks with your new Asian roommates so consider this rent money towards your own apartment. Plus, no such thing as "all me."</dialogue>
    <character>COLLIN</character>
    <dialogue>Ha! Thanks man.</dialogue>
    <character>MILES</character>
    <dialogue>Family over everything. It's good.</dialogue>
    <scene_description>Ashley walks up. Sean in one hand, shopping bag in the other.</scene_description>
    <character>MILES</character>
    <dialogue>Hey, baby.</dialogue>
    <parenthetical>(to Sean)</parenthetical>
    <dialogue>What's up, tough guy?!</dialogue>
    <scene_description>Ashley pretends to help Sean hold his muscles up.</scene_description>
    <character>ASHLEY</character>
    <dialogue>Well hello, Collin's perm!</dialogue>
    <character>COLLIN</character>
    <dialogue>Yeah... Collin loves the kids.</dialogue>
    <character>ASHLEY</character>
    <dialogue>Well whoever did that perm does not love you, that looks fuckin' terrible. You should go wherever your Mom and Val went. Your Mom's hair looks great.</dialogue>
    <character>MILES</character>
    <dialogue>What you talkin to Val for?</dialogue>
    <character>ASHLEY</character>
    <dialogue>Calmate! I didn't break the picket line, I just follow her on the social medias.</dialogue>
    <character>COLLIN</character>
    <dialogue>Everybody can still be friends with Val. It's fine, go ahead I mean, Val's a great person!</dialogue>
    <character>MILES</character>
    <dialogue>No she's not. Fuck Val.</dialogue>
    <scene_description>Ashley shakes her head, and starts to head upstairs. Collin pulls out the pamphlet his mom gave him and hands it to Ashley as instructed.</scene_description>
    <character>COLLIN</character>
    <dialogue>Oh, my Moms told me to give this to you.</dialogue>
    <scene_description>Ashley glances at the pamphlet.</scene_description>
    <character>ASHLEY</character>
    <dialogue>Oh, ok... So Collin, how bout a little celebration dinner here tomorrow night for the end of your ... probation stuff. I could do like grilled salmon, sautéed spinach, mushrooms--</dialogue>
    <scene_description>Miles pretends to throw up, Ashley notices.</scene_description>
    <character>ASHLEY</character>
    <dialogue>--and a fatty hamburger for this unhealthy full grown adult.</dialogue>
    <scene_description>Miles nods in approval and gives a thumbs up.</scene_description>
    <character>COLLIN</character>
    <dialogue>Sounds great.</dialogue>
    <scene_description>Ashley and Sean start to walk up the stairs.</scene_description>
    <character>ASHLEY</character>
    <dialogue>Miles, help me with him please.</dialogue>
    <parenthetical>(to Sean)</parenthetical>
    <dialogue>Say "goodnight Collin's perm."</dialogue>
    <character>SEAN</character>
    <dialogue>Goonite cowlin pern.</dialogue>
    <character>MILES</character>
    <dialogue>Night, bruh.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. MILES'S STREET - NIGHT - MOMENTS LATER</stage_direction>
    <scene_description>Collin is heading towards the truck. He catches his reflection in a car window. His hair needs to be fixed ASAP. Pulls out his phone and looks up Val's number. He hesitates for a moment. Should he call?</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VAL'S PLACE - NIGHT - CONTINUOUS</stage_direction>
    <scene_description>She's home, wearing sweats and a hoodie. We see takeout next to her homework. She's making FLASHCARDS. Her phone RINGS. It's Collin. She hesitates.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MILES'S STREET - CONTINUOUS</stage_direction>
    <scene_description>Collin anxiously waits to see if she'll answer. Then--</scene_description>
    <character>VAL</character>
    <dialogue>Hi.</dialogue>
    <scene_description>We begin to INTERCUT between Collin and Val.</scene_description>
    <character>COLLIN</character>
    <dialogue>Hey.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>I... I had to take my hair out today for somethin', and now I need to get it braided back again before tomorrow.</dialogue>
    <character>VAL</character>
    <dialogue>...ok?</dialogue>
    <character>COLLIN</character>
    <dialogue>And you're the only one who can do it under two hours.</dialogue>
    <character>VAL</character>
    <dialogue>Why does it have to get done in two hours?</dialogue>
    <character>COLLIN</character>
    <dialogue>Because...</dialogue>
    <parenthetical>(sighs)</parenthetical>
    <dialogue>...the 11:00 PM thing</dialogue>
    <character>VAL</character>
    <dialogue>Right. Why did you take your hair out?</dialogue>
    <character>COLLIN</character>
    <dialogue>It was... profitable to do so. I'm not tryin' to make it an us thing. I just really need my hair braided.</dialogue>
    <scene_description>This feels over the line to her. Val pauses for a while...</scene_description>
    <character>VAL</character>
    <dialogue>Let's do it at your mom's house then ok? I have to return a bowl anyway. And you have to help me memorize some stuff. This is my study time, and it needs to actually be study time. Okay?</dialogue>
    <character>COLLIN</character>
    <dialogue>Yeah, I get it. Thank you.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. COLLIN'S MOTHER'S HOUSE - NIGHT</stage_direction>
    <scene_description>Collin's sitting on the floor with his back to Val, while she twists his hair back into braids. She's most of the way done already. Collin has her textbook and flashcards on his lap. She focuses on his hair as he reads FLASHCARDS:</scene_description>
    <character>COLLIN</character>
    <dialogue>"The tendency to judge the strength of arguments based on the plausibility--"</dialogue>
    <character>VAL</character>
    <parenthetical>(quietly to herself)</parenthetical>
    <dialogue>Oh! Jawsin… is...</dialogue>
    <parenthetical>(then answer)</parenthetical>
    <dialogue>Belief Bias effect.</dialogue>
    <scene_description>Collin shuffles to the next flashcard.</scene_description>
    <character>COLLIN</character>
    <dialogue>"The tendency to attribute one's own actions - "</dialogue>
    <character>VAL</character>
    <parenthetical>(quietly to herself)</parenthetical>
    <dialogue>Oh - Blamegamin'... you blame the game... oh...</dialogue>
    <parenthetical>(she answers)</parenthetical>
    <dialogue>Actor observer bias.</dialogue>
    <character>COLLIN</character>
    <dialogue>What are you sayin' before the answers?</dialogue>
    <character>VAL</character>
    <dialogue>Oh. Ha! You'll love this. This is for sure your fault. I made up slang words to like, help me remember.</dialogue>
    <character>COLLIN</character>
    <dialogue>You out here innovatin'? She is still town!</dialogue>
    <character>VAL</character>
    <dialogue>I'm very town! Who said I wasn't town?</dialogue>
    <scene_description>Collin turns the page and there's a picture of a SILHOUETTE OF A VASE.</scene_description>
    <character>COLLIN</character>
    <dialogue>What's this vase one?</dialogue>
    <character>VAL</character>
    <dialogue>Oh, you see a vase?</dialogue>
    <character>COLLIN</character>
    <dialogue>Why'd you say it like that?</dialogue>
    <scene_description>Collin looks at the picture again.</scene_description>
    <character>COLLIN</character>
    <dialogue>Oh, I see it. It's two faces.</dialogue>
    <character>VAL</character>
    <dialogue>It is also that. I haven't made a word for that yet, but it's... unconscious inference?</dialogue>
    <character>COLLIN</character>
    <dialogue>Yup!</dialogue>
    <character>VAL</character>
    <dialogue>Read it to me?</dialogue>
    <character>COLLIN</character>
    <dialogue>"The formation of unconscious judgments. The results of which are so impervious to conscious control, so resistant to contradiction that the effect of them cannot be overcome."</dialogue>
    <character>VAL</character>
    <dialogue>Read under the image.</dialogue>
    <scene_description>ANGLE ON: The page. We see Collin is now reading the caption beneath the image.</scene_description>
    <character>COLLIN</character>
    <dialogue>"Rubin's vase: The image is fundamentally ambiguous. People perceive a vase or faces, but not both at the same time."</dialogue>
    <character>VAL</character>
    <dialogue>So apparently you like vases.</dialogue>
    <character>COLLIN</character>
    <dialogue>How about... "Facevasin?"</dialogue>
    <character>VAL</character>
    <dialogue>Nah, it's gotta be something you'd actually SAY. It gotta still be like how slang is, enough to stick in my head.</dialogue>
    <scene_description>Collin tries to change the subject.</scene_description>
    <character>COLLIN</character>
    <dialogue>So... you know I'm a free bird tomorrow...</dialogue>
    <scene_description>Val hesitates for a moment, then politely responds.</scene_description>
    <character>VAL</character>
    <dialogue>Yeah, I know. I'm glad. Next one please. I have to learn these, ok?</dialogue>
    <scene_description>She points to the book. Collin sighs and starts again.</scene_description>
    <character>COLLIN</character>
    <dialogue>The bias of hearing a--</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. COLLIN'S MOTHER'S HOUSE - NIGHT - LATER</stage_direction>
    <scene_description>Collin walks Val to the door. Val pulls her keys out of her purse and begins the process of a very awkward goodbye.</scene_description>
    <character>VAL</character>
    <dialogue>I got a complaint today that one of our trucks disrupted a dance class - they said some black guy with dreads pushed someone.</dialogue>
    <character>COLLIN</character>
    <dialogue>That's bullshit, a guy put his hands on me and I--</dialogue>
    <scene_description>Val begins to shake her head.</scene_description>
    <character>VAL</character>
    <dialogue>It's all in your control, Collin. Take some responsibility for--</dialogue>
    <character>COLLIN</character>
    <dialogue>I didn't deny it I just said that someone ELSE put...</dialogue>
    <scene_description>Val shrugs and looks away. She doesn't want to have this conversation.</scene_description>
    <character>VAL</character>
    <dialogue>I know you're trying. At least you don't wear that fucking grill anymore.</dialogue>
    <parenthetical>(looking at Collin's hair)</parenthetical>
    <dialogue>Now you just need to cut this hair off and -</dialogue>
    <character>COLLIN</character>
    <dialogue>Heyyyy...this is me though</dialogue>
    <character>VAL</character>
    <dialogue>"Not the haaiirrr."</dialogue>
    <scene_description>It gets quiet. Collin, trying to help her out of the discomfort, puts out his arms for a hug. Val hesitates for a moment, then goes in for a two arm hug. Val closes her eyes. Collin re-adjusts, SQUEEZING tighter. She taps his back. Time for the hug to end. When they separate, Val's wiping a tear away from her eye.</scene_description>
    <character>VAL</character>
    <dialogue>I...This is just why I don't wanna--</dialogue>
    <scene_description>Suddenly, Collin's Mom interrupts, YELLING from the kitchen:</scene_description>
    <character>NANCY (O.S.)</character>
    <dialogue>COLLIN, IT'S 10:45 BABE, YOU NEED</dialogue>
    <character>TO GO, NOW! SORRY TO INTERRUPT,</character>
    <dialogue>BUT...</dialogue>
    <character>VAL</character>
    <dialogue>Yeah.</dialogue>
    <parenthetical>(yells)</parenthetical>
    <character>THANK YOU, NANCY! GOODNIGHT!</character>
    <dialogue>COLLIN</dialogue>
    <scene_description>Okay... Thanks again.</scene_description>
    <character>VAL</character>
    <dialogue>Yeah.</dialogue>
    <scene_description>There's a lot unsaid between these two.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. EZ-LIFT MOVING TRUCK - NIGHT</stage_direction>
    <scene_description>Collin drives the truck by himself. He arrives at... ...the RED LIGHT. The scene of the crime. Collin stops the truck. Waiting for a green. He looks down. A SMALL SHRINE where the man was murdered. Some CHALK MESSAGES are written near it. A group of 30-SOMETHING TRANSPLANTS walk over it casually. The light turns GREEN. Collin drives away.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MILES'S APARTMENT - NIGHT - LATER</stage_direction>
    <scene_description>Ashley and Miles are watching the news. Sean's on Ashley's lap as she drinks a bottle of GREEN JUICE and reads the pamphlet from Collin's mom. ANGLE ON: THE PAMPHLET. "THE TALK." It's got a picture of police on the front, and a young black teen. It's a guide for talking to your kids about what they should say and do if they run into the police. On the inside, is a picture of someone with their hands up, with a voice bubble that says "Don't shoot!" "I'm unarmed!" And other proclamations. Sean is sipping the Green juice, watching the TV.</scene_description>
    <character>MILES</character>
    <dialogue>Please tell me you aren't feeding my son that now.</dialogue>
    <character>ASHLEY</character>
    <dialogue>Lemon. Carrots. Ginger. Cucumber. Apple. Celery. Kale.</dialogue>
    <character>MILES</character>
    <dialogue>Two years ago "kale" didn't even exist. Now it's the goddamn savior of humanity.</dialogue>
    <scene_description>On the screen, we see the news report of the shooting Collin saw. They flash the official police photo of the cop and a mugshot of the victim.</scene_description>
    <character>MILES</character>
    <dialogue>Oh, the cop gets his work photo? Use bro's work photo!</dialogue>
    <character>ASHLEY</character>
    <dialogue>I'm always baffled with how, on your diet, you have any energy at all, let alone enough to move things all day. At least with Collin, he's running and eating better.</dialogue>
    <character>MILES</character>
    <dialogue>He doesn't run, and he's just eating like that to prove something to Val cuz she drinks shit like that.</dialogue>
    <character>ASHLEY</character>
    <dialogue>Why? SHE should be proving something to him!</dialogue>
    <character>MILES</character>
    <dialogue>Baby, that's why I love you! Exactly!</dialogue>
    <scene_description>Miles gives her a quick kiss then looks back at the TV. ANGLE ON: THE TV. They're describing the slain man as a convicted FELON, with possession of a weapon and resisting arrest. Black. Male. 30-35. Big.</scene_description>
    <character>MILES</character>
    <dialogue>Woop. Wrong cocktail. No protests for you, my g.</dialogue>
    <scene_description>Ashley, staring away from the pamphlet for a moment at the TV, hugs Sean a bit closer.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET NEAR COLLIN'S HALFWAY HOUSE - NIGHT</stage_direction>
    <scene_description>Collin parks the moving truck a block from his halfway house. He hops out and walks to the door, mumbling raps to himself. Suddenly, a LOUD POP is heard down the street, which sounds just like a gun shot. He jumps and turns around - it was a car backfiring. He calms down and heads inside. He bumps right into--</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - MOMENTS LATER</stage_direction>
    <scene_description>JAMES, the halfway house manager, is at the door ready to greet him.</scene_description>
    <character>JAMES</character>
    <dialogue>Hello, Mr. Turner.</dialogue>
    <character>COLLIN</character>
    <dialogue>Do you stand there all day? Isn't this something we could automate?</dialogue>
    <character>JAMES</character>
    <dialogue>You want a robot telling you to mop the bathroom? How bout just a robot that mops the bathroom, then we can both go to sleep.</dialogue>
    <character>COLLIN</character>
    <dialogue>Solution oriented. I like it.</dialogue>
    <character>JAMES</character>
    <dialogue>Even better, how bout mothafuckas don't get arrested for dumb shit.</dialogue>
    <character>COLLIN</character>
    <dialogue>Ah, I see where you're going with this, but get there--</dialogue>
    <character>JAMES</character>
    <dialogue>Then I won't have to enforce seemingly arbitrary tasks to establish your ability to follow rules as a representation of laws.</dialogue>
    <character>COLLIN</character>
    <dialogue>Arbitrary is the right word.</dialogue>
    <character>JAMES</character>
    <dialogue>It's your last week. Don't make me write you up on your last week. It's not like it's just a warning. The judge will extend you here another year. And then your little map box sentence starts over.</dialogue>
    <character>COLLIN</character>
    <dialogue>Convicted on dirty bathroom charges?</dialogue>
    <character>JAMES</character>
    <dialogue>Bathroom, mop, push the mop, wipe the mirror, check it off on the board. Hamster wheel. Last go round. Just do it.</dialogue>
    <character>COLLIN</character>
    <dialogue>This the dream, James? Hamster cop?</dialogue>
    <character>JAMES</character>
    <dialogue>You are a convicted felon now, Mr. Turner. You are now that until proven otherwise. Prove otherwise at all times.</dialogue>
    <character>COLLIN</character>
    <dialogue>...Got it.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - COLLIN'S ROOM - NIGHT</stage_direction>
    <scene_description>Collin has a MAP on his wall of Oakland with an outline of the area he has to stay in. He can't leave ALAMEDA COUNTY. He stares at it, then the clock. It's 11:05, past curfew. He stares at the map, traces the border with his eyes.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SURREAL COURTROOM - DAY</stage_direction>
    <character>DREAM SEQUENCE:</character>
    <dialogue>Collin's in a courtroom, sitting at the defense table.</dialogue>
    <dialogue>THE SCORPION BOWL is in the witness booth on the counter.</dialogue>
    <dialogue>As the scene continues, things become more and more surreal. The JURY are all unknown men, around Collin's age. Black, in similar street attire.</dialogue>
    <dialogue>PATRICK'S PHOTOGRAPHS are hanging on every wall of the room.</dialogue>
    <scene_description>The JUDGE remains OFF-SCREEN for now. Collin's dream is in verse. Ambient music scores the scene.</scene_description>
    <character>JUDGE (O.C.)</character>
    <dialogue>You have nearly completed your sentence, and have had no infractions on your penance. Do you have anything to say before we uncuff ya?</dialogue>
    <scene_description>Miles, dressed like an attorney, walks in front of Collin into frame.</scene_description>
    <character>MILES</character>
    <dialogue>Collin is a baaaaad mothafucka!</dialogue>
    <scene_description>Collin tries to yell, but he can't. He wants Miles to shut up. Collin has a gold bottom grill in his mouth. He tries to pull it out, but he can't. Miles begins to address the Jury. The Jury grunts and groans in reaction to Miles's appeal.</scene_description>
    <character>MILES</character>
    <dialogue>Cadillac dippin/ pimpin/ plenty women/ lean sippin/ smokin/ heavy on the marijuana tokin/ posted/ pushin a hard line out in Oakland / City of dope / the boy is dope that's why the whole city know him!/</dialogue>
    <character>JURY</character>
    <dialogue>Ey!</dialogue>
    <scene_description>Collin's grill is getting bigger and bigger. It's both on the top and bottom of his mouth now. He can't speak. Fruit hits the floor of the courtroom, and the desk, like it's falling from the ceiling. We see the eyes of the photographs looking at him.</scene_description>
    <character>MILES</character>
    <dialogue>He took a little break! / got you thinkin he just changed a few ways but he played you jake! / Pride of Oakland usually cool and collected / but that aint the mothafucka to be punk when disrespected /</dialogue>
    <character>JURY</character>
    <dialogue>NO NO NO</dialogue>
    <character>MILES</character>
    <dialogue>diss his set and catch the wreckage / burn on the boulevard, hit the cement and get met with / the type of nigga that will leave you head split / bleedin til the weekend thats how he kept the city reppin / attitude is the deadly weapon /</dialogue>
    <character>JURY</character>
    <dialogue>EYYYY!</dialogue>
    <scene_description>Collin's grill is too heavy, it pulls him down to the desk. When his face slams into the desk, he realizes there is a chain attached to the desk that leads up to his grill. Pulls his head back to tug at it. Everyone in the jury booth sips from a Scorpion Bowl. The photographs are the backs of heads now, no eye contact.</scene_description>
    <character>MILES</character>
    <dialogue>this the life we livin / and-it-been since the beginnin / and we gotta-be stuck in the soil, loyal, and-we don't do revisions / and we dont give passes to pussy footin</dialogue>
    <parenthetical>(to Collin)</parenthetical>
    <dialogue>don't be who you isn't! /</dialogue>
    <parenthetical>(to Jury)</parenthetical>
    <dialogue>cuz he aint no citizen-model-to- follow-just falsifyin how he flossin til tomorrow</dialogue>
    <scene_description>We see that the Judge is the COP that shot the man a day ago. The Cop/Judge grabs his gavel, which is now a gun. He holds it by the barrel, high above his head. Collin pulls his mouth off the chain. When it breaks, gold teeth pour out of his mouth onto the desk and bounce onto the floor. He gasps for air and yells at the Cop/Judge.</scene_description>
    <character>COLLIN</character>
    <dialogue>STOP, STOP, STOP, STOP, STOP, STOP!</dialogue>
    <scene_description>We hear the audio from the shooting again. The Cop/Judge drops the gavel, with the sound of a GUNSHOT. Collin's eyes shoot open. His alarm clock is going. SMASH CUT TO:</scene_description>
    <character>BLACK</character>
    <dialogue>SUPER: ONE DAY LEFT OF PROBATION</dialogue>
    <dialogue>Under the title card, we hear the final sounds from the shooting. Running. "STOP!" And a GUNSHOT...</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - COLLIN'S ROOM - MORNING</stage_direction>
    <scene_description>Collin jolts awake! We are close on his eyes as they burst open. The ALARM sound segues into Collin's running music...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. OAKLAND STREET - DAY</stage_direction>
    <scene_description>Collin's running again, listening to music. He passes the Kona Club...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE MOUNTAINVIEW CEMETERY - DAY</stage_direction>
    <scene_description>Collin runs straight through the graveyard. He's focused, not looking around, not dealing with death... Something catches his eye... ...the man who was shot to death by the Cop. The man is bloody and stands on top of a grave. He stares at Collin. Collin stares back, confused and frozen. The man takes a deep breath, and he looks like he's about to scream, but-- Two women joggers cross in front of Collin, knocking him out of his gaze and forcing him to move back. Collin looks back up, and the man is gone. He looks around, confused. Then goes back to running. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. RIVER NILE MARKET AND LIQUOR - DAY</stage_direction>
    <scene_description>Collin and Miles walk towards the store. Collin stops once he notices a giant poster on the side of the store. A few other guys are out front, and they dap Collin and Miles. Collin stops to look at a POLICE RECRUITMENT poster. Miles keeps walking into the store. After a moment, Miles walks back outside, realizing he lost Collin. Miles reads the poster too. In bold letters it says: "It's YOU we want!" A black kid is next to the giant text on the poster, wearing a shirt that reads: "Ready to show courage"</scene_description>
    <character>MILES</character>
    <dialogue>"It's YOU!"</dialogue>
    <character>COLLIN</character>
    <dialogue>Why did they pick THAT shirt?</dialogue>
    <scene_description>Miles and Collin walk into the store.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RIVER NILE MARKET AND LIQUOR - DAY</stage_direction>
    <character>MILES</character>
    <dialogue>Ash says OPD is payin 80k STARTING SALARY for new cops. Fucked up part is they don't hire people FROM Oakland. So the cat who pulls you over actually lives in, like, Cupertino.</dialogue>
    <character>COLLIN</character>
    <dialogue>Why not just live in Oakland?</dialogue>
    <character>MILES</character>
    <dialogue>Uh, probably because they're scared if someone knew where they lived, they'd come shoot them.</dialogue>
    <parenthetical>(to Clerk)</parenthetical>
    <dialogue>Lemme get my square, OG</dialogue>
    <scene_description>Collin grabs a Green Juice from the shelf. Miles watches him reach for it and sighs loudly.</scene_description>
    <character>COLLIN</character>
    <dialogue>Can I better myself, nigga? Can I show courage?</dialogue>
    <scene_description>Collin begins to chug some of the juice.</scene_description>
    <character>MILES</character>
    <dialogue>You're gonna wake up one day listening to vinyl, with a wooden tie, suspenders, and a gluten allergy. Counting calories and riding a Vespa! To the Whole Foods!</dialogue>
    <character>CLERK</character>
    <dialogue>Hey, you pay first!</dialogue>
    <scene_description>Collin lands six dollars on the counter.</scene_description>
    <character>COLLIN</character>
    <dialogue>They actually. Have great. Produce.</dialogue>
    <scene_description>Miles shakes his head, pulls his square from behind his ear and lights his cigarette inside the liquor store, angrily.</scene_description>
    <character>MILES</character>
  </scene>
  <scene>
    <stage_direction>INT. EZ-LIFT OFFICE - MORNING</stage_direction>
    <scene_description>Collin and Miles enter. They approach Val.</scene_description>
    <character>VAL</character>
    <dialogue>Happy sunrise.</dialogue>
    <character>MILES</character>
    <dialogue>Val, indeed the sunrise IS a blessing on this day. My soul is as moved by that as you are moved by an elliptical.</dialogue>
    <character>VAL</character>
    <parenthetical>(to Collin)</parenthetical>
    <dialogue>Does he think of these on the way here?</dialogue>
    <scene_description>Miles b-lines for the locker room. Val and Collin have a moment and try to keep it light.</scene_description>
    <character>VAL</character>
    <dialogue>Hi. Oh, those braids look good. Who did those?</dialogue>
    <character>COLLIN</character>
    <dialogue>Oh, these? Yeah it just kinda does this when I wash it now. Must be all this green juice I'm drinking.</dialogue>
    <scene_description>Collin takes a sip of his juice in front of Val.</scene_description>
    <character>VAL</character>
    <dialogue>Mmmmhmm. I know you hate it, but it's so good for you.</dialogue>
    <character>COLLIN</character>
    <dialogue>I don't hate it, I don't even notice it. It's just part of who I am now.</dialogue>
    <scene_description>Val hands him his clipboard.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. EZ-LIFT LOCKER ROOM - DAY</stage_direction>
    <scene_description>The boys are all pulling their jumpers over their clothes, switching shirts, etc. Miles, Collin, Tel, and a few others are all in there changing. Yorkie walks in wearing a San Francisco 49ers jacket. When Collin and Miles see it, they jump all over him.</scene_description>
    <character>COLLIN</character>
    <dialogue>Oh, absolutely not. Take that off!</dialogue>
    <character>YORKIE</character>
    <dialogue>Take what off?</dialogue>
    <character>MILES</character>
    <dialogue>Get that. Niner jacket. Out.</dialogue>
    <character>YORKIE</character>
    <dialogue>It's the bay.</dialogue>
    <character>LITERALLY THE WHOLE LOCKER ROOM</character>
    <dialogue>It's the city.</dialogue>
    <character>MILES</character>
    <dialogue>This the town! Raider nation only, take it off!</dialogue>
    <character>YORKIE</character>
    <dialogue>The Raiders ain't even from here, they from LA.</dialogue>
    <character>COLLIN</character>
    <dialogue>Wrong! They were here, they WENT to LA, they came back.</dialogue>
    <character>YORKIE</character>
    <dialogue>The 49ers never left!</dialogue>
    <character>MILES</character>
    <dialogue>The Niners are non-negotiable Yorkie, that jacket has to GO.</dialogue>
    <character>YORKIE</character>
    <dialogue>Tel likes the Niners!</dialogue>
    <scene_description>They all spin around to look at Tel in anger.</scene_description>
    <character>MILES</character>
    <dialogue>Don't spread your disloyal bullshit, Tel!</dialogue>
    <character>TEL</character>
    <dialogue>The Raiders are moving to Vegas!</dialogue>
    <character>WHOLE LOCKER ROOM</character>
    <dialogue>Awwww!</dialogue>
    <character>YORKIE</character>
    <parenthetical>(to Miles)</parenthetical>
    <dialogue>You couldn't tell me ONE player on the Raiders.</dialogue>
    <character>MILES</character>
    <dialogue>That's not the point, Yorkie.</dialogue>
    <character>YORKIE</character>
    <dialogue>So what if I wanna wear a Knicks jersey?</dialogue>
    <character>COLLIN</character>
    <dialogue>Wear your Knicks jersey all you want, that's your turf. That's your business. But if you wear a Lakers jersey in here...</dialogue>
    <character>MILES</character>
    <dialogue>We'll kill you!</dialogue>
    <character>YORKIE</character>
    <dialogue>Why yal gettin mad hot right now!</dialogue>
    <character>COLLIN</character>
    <dialogue>What's that mean?</dialogue>
    <character>MILES</character>
    <dialogue>Are you sayin we're out of pocket?</dialogue>
    <character>YORKIE</character>
    <dialogue>What does that mean??</dialogue>
    <character>TEL</character>
    <dialogue>It's like, bein' hella extra.</dialogue>
    <character>MILES</character>
    <dialogue>Shut the fuck up Tel, you've done enough!</dialogue>
    <parenthetical>(to Yorkie)</parenthetical>
    <dialogue>It's like being hella extra!</dialogue>
    <character>YORKIE</character>
    <dialogue>Y'all can't use slang to explain slang. I'm trying to get it.</dialogue>
    <character>MILES</character>
    <dialogue>OK, so, out of control. To, like, not have a handle on things, to be out of hand. To have your hands out means they're are out of pocket, you're "outta pocket".</dialogue>
    <character>COLLIN</character>
    <dialogue>No. "Outta pocket" is from pool, when the ball hits the pocket too hard, and pops back out. You tryin' to make moves but you're "outta pocket."</dialogue>
    <character>YORKIE</character>
    <dialogue>Well which one is it?</dialogue>
    <character>COLLIN & MILES</character>
  </scene>
  <scene>
    <stage_direction>EXT. OAKLAND CRACK HOUSE - DAY</stage_direction>
    <scene_description>Miles and Collin walk all the way up to a rundown duplex in East Oakland. ANGELA, the Real Estate Agent (35, Asian) who oversees the building is waiting in front of the place. She is on her phone.</scene_description>
    <character>ANGELA</character>
    <dialogue>Going to clear it out, gut it, get it down to just its bones, rip everything old out, then rebuild it with great, new, you know, modern everything. Cuz it's such a great shell, you know?</dialogue>
    <scene_description>The boys step up, Collin took everything she said in.</scene_description>
    <character>COLLIN</character>
    <dialogue>...We're with EZ Lift.</dialogue>
    <character>ANGELA</character>
    <dialogue>Hey - Just pull out EVERYTHING and take it down to the dump.</dialogue>
    <character>ANGELA</character>
    <dialogue>All the junk and then apparently a couch and trash upstairs. It can all just go. OK, thanks so much, byeeee.</dialogue>
    <scene_description>She walks away from them and resumes a phone conversation.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. EAST OAKLAND DUPLEX - DAY</stage_direction>
    <scene_description>Miles and Collin are almost finished loading dusty furniture into the back of the EZ-lift moving truck. They lip-sing along to a Bay Area favorite as they clean - Player's Ball by Too Short & e40. They do impressions of each of the parts as they pick things up and throw them out.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. EAST OAKLAND DUPLEX - DAY</stage_direction>
    <scene_description>Miles wanders around the empty house, smoking his weed. It's hot as hell. They are walking through and checking empty rooms, making sure they got everything. Walls are decaying. Dust everywhere.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. EAST OAKLAND DUPLEX - UPSTAIRS HALLWAY - MOMENTS LATER</stage_direction>
    <scene_description>They walk up the stairs, to the door at the end of the hall. It is closed. Miles looks at the clipboard.</scene_description>
    <character>MILES</character>
    <dialogue>Couch in upstairs bedroom...</dialogue>
    <scene_description>Miles opens the door and immediately closes it again.</scene_description>
    <character>MILES</character>
    <dialogue>Nope.</dialogue>
    <scene_description>Collin opens the door and looks in.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. EAST OAKLAND DUPLEX - ATTIC - CONTINUOUS</stage_direction>
    <scene_description>There are SIX DRUG ADDICTS, fully high on heroin. Needles all over the floor. In the corner is a couch, with one drug addict lying across it.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. EAST OAKLAND DUPLEX - UPSTAIRS HALLWAY - CONTINUOUS</stage_direction>
    <scene_description>Collin quietly shuts the door again.</scene_description>
    <character>MILES</character>
    <dialogue>I don't do zombies.</dialogue>
    <character>COLLIN</character>
    <dialogue>They are heroin addicts.</dialogue>
    <character>MILES</character>
    <dialogue>Feel like you're really splitting hairs here--</dialogue>
    <character>COLLIN</character>
    <dialogue>We're gonna just go in there...</dialogue>
    <character>MILES</character>
    <dialogue>I really really really don't want to. Like I really--</dialogue>
    <character>COLLIN</character>
    <dialogue>--gonna grab the couch real quiet--</dialogue>
    <character>MILES</character>
    <dialogue>--please please Collin please like we could just--</dialogue>
    <character>COLLIN</character>
    <dialogue>--AND YOU ARE GONNA TUCK IT AND</dialogue>
    <character>HELP ME, CUZ WHAT I'M NOT BOUT TO</character>
    <dialogue>DO IS GET A WRITE UP TWO DAYS SHY</dialogue>
    <character>OF... NIGGA!</character>
    <dialogue>Miles jumps at Collin to cover his mouth and lower his voice.</dialogue>
    <character>MILES</character>
    <dialogue>ALRIGHT. Alright.</dialogue>
    <parenthetical>(long exhale)</parenthetical>
    <dialogue>Okay. Let's just get the couch. Quickly.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. EAST OAKLAND DUPLEX - ATTIC - MOMENTS LATER</stage_direction>
    <scene_description>This is a heist scene. Super quiet. Stealthy. Dangerous. Miles and Collin CREEP through the door. The room is dimly lit and in decay. The blinds are closed and it is silent. Completely bare except for the people, some needles, a few random belongings, and a COUCH under the window. SIX PEOPLE are passed out sitting up against the walls, on top of blankets, etc. Mostly black folks, a couple white. One addict is laying on the couch itself. This is COUCH MAN. Collin and Miles slowly creep around the passed-out addicts, trying to be as quiet as possible. They reach the couch, and each take a side. They have a brief silent conversation with hand movements. Lots of exaggerated MIMING. Collin communicates that they will grab Couch Man by the ankles and lower him to the floor. They lift Couch Man up. He's nearly lifeless. His head rolls back, and he moans a little. Miles looks at Collin. They whisper to each other.</scene_description>
    <character>MILES</character>
    <dialogue>This ISN'T zombie shit to you?</dialogue>
    <character>COLLIN</character>
    <dialogue>Do not drop this man.</dialogue>
    <scene_description>They slowly lower Couch Man to the floor. They slide over, grab the bottom of each side of the couch, and LIFT... ...they realize it's crazy heavy.</scene_description>
    <character>COLLIN</character>
    <dialogue>As if this person's life couldn't get any lower, he bout to wake up wondering where the fuck the couch magically went.</dialogue>
    <character>MILES</character>
    <dialogue>Sh sh sh sh please just go. Please.</dialogue>
    <scene_description>Collin swings his side out and starts to head towards the door. Couch Man is now directly under the couch, between Collin and Miles. As they walk, Miles has to step over the guy, and he takes it extra slow. They're still trying to make as little noise as possible. Once they get the couch past the man--</scene_description>
    <character>MILES</character>
    <dialogue>Honestly, I can't believe he didn't hear none of that.</dialogue>
    <scene_description>As Miles finishes his sentence, he looks back down and notices the man is NO LONGER ON THE FLOOR--</scene_description>
    <character>COUCH MAN (O.S.)</character>
    <dialogue>Ey.</dialogue>
    <scene_description>Miles shoots up in pure horror. Couch Man is right over his shoulder.</scene_description>
    <character>MILES</character>
    <dialogue>KKKKEEEEEEEEEEEEEEE--</dialogue>
    <scene_description>Collin looks totally in shock. Miles swings all the way out, spinning the couch around so Collin is face to face with Couch Man and Miles is on the other side.</scene_description>
    <character>COLLIN</character>
    <dialogue>My man, we gotta take this couch out of here!</dialogue>
    <character>COUCH MAN</character>
    <dialogue>You can't take my trumpet!</dialogue>
    <scene_description>Couch Man climbs onto the couch as they struggle to hold it in the air! Couch Man slides his hands into the cushions of the couch, moving stuff around.</scene_description>
    <character>MILES</character>
    <dialogue>Trumpet... gotta be... slang for somethin'.</dialogue>
    <character>COLLIN</character>
    <dialogue>Just let him... look for whatever it is that he--</dialogue>
    <scene_description>The man pulls out a SLIGHTLY DIRTY TRUMPET from under one of the cushions. He awkwardly slides off the couch.</scene_description>
    <character>MILES</character>
    <dialogue>Oh no bullshit, he really got a trumpet.</dialogue>
    <character>COUCH MAN</character>
    <dialogue>I played this. Forever. I got this. uh, Sly and the Family Stone.</dialogue>
    <character>COLLIN</character>
    <dialogue>My moms loves them, they hit.</dialogue>
    <character>COUCH MAN</character>
    <dialogue>Thank you.</dialogue>
    <scene_description>Collin and Miles look at each other, unsure how to process that response.</scene_description>
    <character>COUCH MAN</character>
    <dialogue>You know Sweet Jimmy's?</dialogue>
    <character>COLLIN</character>
    <dialogue>Yeah, the club that used to be where the Parish is.</dialogue>
    <character>COUCH MAN</character>
    <dialogue>Jimmy took care of everybody. I didn't have nothin to play, shit I could play, but had nothin to play so he got me this. I just get on and the red and blue and green and yellow lights be on and...</dialogue>
    <parenthetical>(making trumpet sounds with his mouth)</parenthetical>
    <character>"BRAPP BRAPP BRAPPP."</character>
    <dialogue>He inflates his cheeks and simulates playing. Despite holding a trumpet. He stares at them both with big eyes.</dialogue>
    <dialogue>It goes on for a while.</dialogue>
    <character>MILES</character>
    <dialogue>You played at Jimmy's?</dialogue>
    <character>COUCH MAN</character>
    <dialogue>Mmhmm. Til fools kept messin' it all up. All up. Killin' and fightin'. Niggas Can't have nothin'.</dialogue>
    <scene_description>He locks in on Miles for a moment.</scene_description>
    <character>COUCH MAN</character>
    <dialogue>Ey young blood, I sell it to you for twenty dollars.</dialogue>
    <character>COLLIN</character>
    <dialogue>Nah, OG. You need to keep that.</dialogue>
    <character>COUCH MAN</character>
    <dialogue>Aha shiet, I need to keep that? Sho do, but need to keep twenty dollars too.</dialogue>
    <character>MILES</character>
    <dialogue>I'll give you dub for that, OG.</dialogue>
    <character>COLLIN</character>
    <dialogue>My man, ey my man don't sell your horn.</dialogue>
    <character>COUCH MAN</character>
    <dialogue>Ey, don't come between me and my shit!</dialogue>
    <character>MILES</character>
    <dialogue>SOLD my dude, for dub, throw that back on the couch.</dialogue>
    <scene_description>Miles pulls a twenty-dollar bill out of his pocket while balancing his side of the couch on his knee. He hands it to the man, who takes it and looks at it, before slightly celebrating in a SMALL EXCITED DANCE. The man glances at the trumpet again. Kisses his hands and taps the trumpet. He taps it a few times like he is going to miss it. Collin is clearly disappointed in Miles. Behind them, ANOTHER ADDICT has woken up.</scene_description>
    <character>ANOTHER ADDICT</character>
    <dialogue>How much you give me for a boat?</dialogue>
    <scene_description>Miles jumps a bit. They pause to react. Miles finally answered.</scene_description>
    <character>MILES</character>
    <dialogue>What kinda boat we talkin'?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. OAKLAND MAIN STREET - DAY</stage_direction>
    <scene_description>Collin and Miles are sitting in a small sailboat, which is hooked to the back of the EZ-Lift Moving Truck. The sailboat has a note written on butcher paper reading "$300." Miles lights a cigarette. Miles is SHOULDER-DANCING, trying to attract customers.</scene_description>
    <character>MILES</character>
    <dialogue>"ARTISAN SAILBOAT, PLATINUM</dialogue>
    <character>SEAWORTHY!"</character>
    <parenthetical>(to Collin)</parenthetical>
    <dialogue>It's not like he was just gonna pick up his jazz career tomorrow now that he's out of heroin!</dialogue>
    <character>COLLIN</character>
    <dialogue>He kept it this long, you dangled money in front of him. That's low level shit. Let him have the damn trumpet!</dialogue>
    <scene_description>A BALDING WHITE GUY parks his car next to them, gets out and goes to the meter. He looks at Collin and Miles suspiciously.</scene_description>
    <character>COLLIN</character>
    <dialogue>You just... funded his downfall. That's a new low for you.</dialogue>
    <character>MILES</character>
    <dialogue>He is waking up in a traphouse with five heroin addicts while two mothafuckas lift his unconscious body off a couch he wasn't even sharing. The fall has already happened!</dialogue>
    <character>COLLIN</character>
    <dialogue>You didn't help.</dialogue>
    <character>MILES</character>
    <dialogue>"SAIL BOAT! Get your port starboard sailboat, nauticals included"</dialogue>
    <character>COLLIN</character>
    <dialogue>You are never gonna sell this boat. Or that trumpet.</dialogue>
    <character>MILES</character>
    <dialogue>Fine! You wanna give me this much shit? YOU get it back to him.</dialogue>
    <scene_description>Miles hands Collin the trumpet. Collin looks at the trumpet. Balding White Guy hits his car alarm button over and over again as he walks away. 5 or 6 times. Just to be sure.</scene_description>
    <character>MILES</character>
    <parenthetical>(to the Balding White Guy)</parenthetical>
    <character>HEY! WE GET IT! IT'S GOT AN ALARM!</character>
    <parenthetical>(to Collin)</parenthetical>
    <dialogue>How'd you get your hair braided so fast?</dialogue>
    <character>COLLIN</character>
    <dialogue>I had... Val came by Mom's house and did it.</dialogue>
    <scene_description>Miles throws his hands up in the air, and shakes his head. Then crosses his arms.</scene_description>
    <character>COLLIN</character>
    <dialogue>Ok, air out Nigga. What's your real problem with Val?</dialogue>
    <character>MILES</character>
    <dialogue>Val is a disloyal bitch. When you were locked up, did she put money on your books? Did she come to Rita even one time?</dialogue>
    <character>MILES</character>
    <dialogue>I came twice a week, 45 minutes each way, put 500 on your books. Ask me why?</dialogue>
    <character>COLLIN</character>
    <dialogue>She talked to me on the phone.</dialogue>
    <character>MILES</character>
    <dialogue>She didn't come see you once in two months. How gracious of her to call. And what'd she talk about? Changin' your life around? Like...you're not a...drug dealer, thug, nothin. You went to jail on a ...fire technicality!</dialogue>
    <character>COLLIN</character>
    <dialogue>Did I?</dialogue>
    <character>MILES</character>
    <dialogue>YES! Who knew hipsters were so flammable. What were we supposed to do different?</dialogue>
    <character>COLLIN</character>
    <dialogue>"WE" maybe shouldn't--</dialogue>
    <character>LOCAL GUY (O.S.)</character>
    <dialogue>Ey, cuttie. What the boat do?</dialogue>
    <character>COLLIN</character>
    <dialogue>No. Way.</dialogue>
    <scene_description>They look up to see LOCAL GUY leaning out of an SUV, talking to them. We're about to get a deep dive into Bay Area Lingo.</scene_description>
    <character>MILES</character>
    <dialogue>Shit, I got the joog! for Sail, fishin', floatin', fuckin', get you a flight to Boston in a private function. Perfect for gettin' into somethin', oh boy.</dialogue>
    <character>LOCAL GUY</character>
    <dialogue>Is it hot or cold?</dialogue>
    <character>MILES</character>
    <dialogue>Warm to the touch. No burn tho.</dialogue>
    <character>LOCAL GUY</character>
    <dialogue>What's the intel on the Vin Diesel?</dialogue>
    <character>MILES</character>
    <dialogue>No fingerprints.</dialogue>
    <character>LOCAL GUY</character>
    <dialogue>Dusty trail?</dialogue>
    <character>MILES</character>
    <dialogue>Very. It's gouda.</dialogue>
    <character>LOCAL GUY</character>
    <dialogue>Cuz I can't be slippin round the way way with somethin' outta pocket, ya underdig? Get blurped and have to peel out cuz I got a few hammers tucked. Niggaz got laundry.</dialogue>
    <character>MILES</character>
    <dialogue>On mamaz, it was in the cut.</dialogue>
    <character>LOCAL GUY</character>
    <dialogue>A bill though? What's the part 2?</dialogue>
    <character>MILES</character>
    <dialogue>Not a thang. Pockets is touchin so we tryin' to get it off and do it movin'.</dialogue>
    <character>LOCAL GUY</character>
    <dialogue>Mmm. I might need to let that marinate.</dialogue>
    <character>MILES</character>
    <dialogue>Look, if you bout that life, it's a come up. That bill ain't but a small thang to a giant! I say let's make moves, throw me three hundo, I'll clip the woo wop to the rear view and less is more, ya dig?</dialogue>
    <character>LOCAL GUY</character>
    <dialogue>Fast.</dialogue>
    <scene_description>The man hands him $300 in twenty-dollar bills. Miles walks back to Collin.</scene_description>
    <character>COLLIN</character>
    <dialogue>What'd he say?</dialogue>
    <character>MILES</character>
    <dialogue>I'm not sure but he gave me 300 bucks so... success.</dialogue>
    <character>COLLIN</character>
    <dialogue>Ha! Mouthpiece for days.</dialogue>
    <character>MILES</character>
    <dialogue>It's the bounce of it man, people like it. Folks wanna listen more when you make it sound pretty.</dialogue>
    <character>COLLIN</character>
    <dialogue>Aiight. I'm bout to head back to the office and punch us both out.</dialogue>
    <character>MILES</character>
    <dialogue>She didn't come see you ONCE while you did two months in Rita, bruh.</dialogue>
    <character>COLLIN</character>
    <dialogue>Yeah I know, I was there.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. EZ-LIFT OFFICE - DAY</stage_direction>
    <scene_description>Val is closing up shop. Collin enters as two customers, RIN and TIN, are walking out. Rin does a DOUBLE TAKE at the sight of Collin.</scene_description>
    <character>RIN</character>
    <dialogue>Yo, did you used to work the door at Kona Club?!</dialogue>
    <scene_description>Collin's worried about where these questions are heading...</scene_description>
    <character>COLLIN</character>
    <dialogue>Uh, yeah, a minute ago.</dialogue>
    <scene_description>Rin loses his mind and turns to his friend.</scene_description>
    <character>RIN</character>
    <dialogue>Bro, this is the Scorpion Bowl dude I told you bout!</dialogue>
    <scene_description>Collin's reaction says only one thing: Uh oh. Not this story.</scene_description>
    <character>TIN</character>
    <dialogue>What dude--?</dialogue>
    <character>RIN</character>
    <dialogue>Bro, I never told you about the Scorpion Bowl shit at Kona? This dude is a LEGEND!</dialogue>
    <scene_description>Collin does not want this story rehashed.</scene_description>
    <character>COLLIN</character>
    <dialogue>We don't have to...</dialogue>
    <character>RIN</character>
    <dialogue>Okay, so I'm in Kona Club on Piedmont Ave...</dialogue>
    <scene_description>It's time to see why Miles calls him the Scorpion King. SMASH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KONA CLUB - NIGHT</stage_direction>
    <character>HEIGHTENED FLASHBACK:</character>
    <dialogue>This sequence is not reality. We're seeing a ridiculous dramatized version of Rin's story.</dialogue>
    <dialogue>We see the actors delivering the dialogue, but we hear Rin's voice instead. Exaggerated impressions and all.</dialogue>
    <dialogue>Rin's in the Kona Club on one end of the bar. Rin describes the environment exactly as we see it:</dialogue>
    <character>RIN (V.O)</character>
    <dialogue>Tiki bar type place, lots of bare titty statues and island shit.</dialogue>
    <scene_description>PREPPY WHITE GUY orders a drink at the other end of the bar.</scene_description>
    <character>RIN (V.O</character>
    <dialogue>This white boy orders this thing they got called the Scorpion Bowl.</dialogue>
    <scene_description>ANGLE ON: The SCORPION BOWL. It's insane, the size of a small goldfish bowl. The craziest drink you've ever seen at a bar. An OPEN FLAME burns in the middle of the drink. Preppy White Guy's eyes go WIDE. He's in awe.</scene_description>
    <character>RIN (V.O.)</character>
    <dialogue>So homeboy is a transplant for sure. Flannel button up, ski slope haircut, shirt tucked in. Picks up the scorpion bowl, his mind is blown.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. EZ-LIFT OFFICE - DAY</stage_direction>
    <scene_description>Collin shakes his head. Val is leaning in to hear the details. Dreading where the story is heading.</scene_description>
    <character>COLLIN</character>
    <dialogue>It's not worth--</dialogue>
    <scene_description>We begin to INTERCUT with Rin telling the story at EZ-Lift:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. KONA CLUB - NIGHT</stage_direction>
    <character>RIN (V.O.)</character>
    <dialogue>Now out front is this nigga minding his own business, workin the door checkin' ID's and shit.</dialogue>
    <scene_description>We PULL BACK to REVEAL... The guy working the door is Collin. Miles is next to him on a stool. They both have bottom grills in.</scene_description>
    <character>RIN (V.O.)</character>
    <dialogue>There's a white boy on the stool next to him, couple people on the sidewalk. I was on my way out for a smoke so I'm right behind the uber-bro. He busts through the front door, flame drink in hand, blows right past bruh and yells--</dialogue>
    <scene_description>Preppy White Guy emerges with the drink, super amped, trying to get to his friends on line outside. Rin walks out separately to have a smoke, off to the side.</scene_description>
    <character>PREPPY WHITE GUY (V.O.)</character>
    <parenthetical>(Rin's voice)</parenthetical>
    <character>GUYS LOOK AT THIS FUCKING FIRE</character>
    <dialogue>DRINK, ISN'T IT INSANE?!</dialogue>
    <scene_description>Back in the EZ-Lift Office, Rin points at Collin.</scene_description>
    <character>RIN</character>
    <dialogue>And he runs up like...</dialogue>
    <scene_description>Collin steps up to Preppy White Guy holding the drink.</scene_description>
    <character>COLLIN (V.O.)</character>
    <parenthetical>(Rin's voice)</parenthetical>
    <dialogue>Ey, you can't bring alcohol out here you gotta go back inside.</dialogue>
    <character>RIN (V.O.)</character>
    <dialogue>But dude throws over his shoulder--</dialogue>
    <character>PREPPY WHITE GUY (V.O.)</character>
    <parenthetical>(Rin's voice)</parenthetical>
    <dialogue>Chill out, bro!</dialogue>
    <character>RIN (V.O.)</character>
    <dialogue>So homie steps out and says--</dialogue>
    <character>COLLIN (V.O.)</character>
    <parenthetical>(Rin's voice)</parenthetical>
    <dialogue>I'm not playin'. Take the drink back inside, your friends can see it in there.</dialogue>
    <character>RIN (V.O.)</character>
    <dialogue>And dude goes--</dialogue>
    <character>PREPPY WHITE GUY (V.O.)</character>
    <parenthetical>(Rin's voice)</parenthetical>
    <dialogue>I'm just out here for two seconds, chill! If you get fired, I'll get you another job, dog.</dialogue>
    <scene_description>Preppy White Guy LAUGHS. (But it's Rin's LAUGH.)</scene_description>
    <character>TIN (V.O.)</character>
    <dialogue>WHAT?!</dialogue>
    <character>RIN (V.O.)</character>
    <dialogue>Right?! So doorman says--</dialogue>
    <character>COLLIN (V.O.)</character>
    <parenthetical>(Rin's voice)</parenthetical>
    <dialogue>Never mind. You're done. Give me the goblet thing. You can't come back inside.</dialogue>
    <character>PREPPY WHITE GUY (V.O.)</character>
    <parenthetical>(Rin's voice)</parenthetical>
    <dialogue>What are you fuckin dumb?! I already paid!</dialogue>
    <scene_description>Preppy White Guy turns to go back into the bar.</scene_description>
    <character>RIN (V.O.)</character>
    <dialogue>--and dude tries to book it back into the bar on some "I go where I please" shit.</dialogue>
    <scene_description>Collin stops him from entering.</scene_description>
    <character>RIN (V.O.)</character>
    <dialogue>Bro here stops dude right as he gets to the door, and dude slaps his arm away.</dialogue>
    <scene_description>Preppy White Guy slaps Collin's arm away.</scene_description>
    <character>RIN (V.O.)</character>
    <dialogue>Now homeboy on the stool starts yellin'--</dialogue>
    <scene_description>Miles jumps up from the stool and begins YELLING:</scene_description>
    <character>MILES (V.O.)</character>
    <parenthetical>(Rin's voice)</parenthetical>
    <character>EY BRUH, YOU BETTER ACT LIKE KNOW</character>
    <dialogue>WHERE YOU ARE.</dialogue>
    <scene_description>Preppy White Guy tries to enter the bar for a second time!</scene_description>
    <character>RIN (V.O.)</character>
    <dialogue>Then dude tries to go back inside Kona again.</dialogue>
    <scene_description>Collin stops him again.</scene_description>
    <character>RIN (V.O.)</character>
    <dialogue>Bro stops him again by the arm, but this time dude yells--</dialogue>
    <character>PREPPY WHITE GUY (V.O.)</character>
    <parenthetical>(with Rin's voice)</parenthetical>
    <character>WHAT THE FUCK, GET OFF ME!</character>
    <dialogue>Preppy White Guy yanks his arm and KICKS Collin in the leg!</dialogue>
    <character>RIN (V.O.)</character>
    <dialogue>Then this shit went BAD.</dialogue>
    <scene_description>We see the fight in SLOW-MOTION exactly as Rin describes it. In case you didn't realize it already... We are now discovering the origin of the abstract SLOW-MOTION FOOTAGE from the opening of the film!</scene_description>
    <character>RIN (V.O.)</character>
    <dialogue>Now, remember dude is carrying a giant alcoholic Scorpion Drink that has a flame in the middle, the drink spills and goes fuckin EVERYWHERE. And it's all on fire...</dialogue>
    <scene_description>Just as Rin describes, in operatic SLOW-MOTION. Flames are everywhere, the guy is on fire, part of Collin is on fire, the alcohol on the ground is on fire.</scene_description>
    <character>RIN (V.O.)</character>
    <dialogue>They fall out on the sidewalk - And this man SNAPS.</dialogue>
    <character>COLLIN (V.O.)</character>
    <parenthetical>(with Rin's voice)</parenthetical>
    <character>AW YOU FUCKIN' DRUNK FUCKBOY!</character>
    <dialogue>This has now become a scene. People everywhere.</dialogue>
    <character>RIN (V.O.)</character>
    <dialogue>...these two are on fucking FIRE. And Fuckboy won't let go of his arm so bro here grabs the Scorpion Bowl and hits the drunk fuckboy with it until...</dialogue>
    <character>COLLIN HITS THE GUY WITH THE BOWL!</character>
    <dialogue>RIN (V.O.)</dialogue>
    <scene_description>...the bowl shatters and there's flaming FRUIT everywhere. There's like chunks of pineapple and watermelon hitting people and cars. The fire is huge, and there's blood all over. He keeps hitting him and hitting him and hitting him!</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. EZ-LIFT OFFICE - NIGHT</stage_direction>
    <scene_description>Collin stares blankly at Rin and Tin. Tin looks at Rin and then back at Collin in shock.</scene_description>
    <character>TIN</character>
    <dialogue>THAT REALLY HAPPENED??!</dialogue>
    <scene_description>Val looks hurt and sad.</scene_description>
    <character>VAL</character>
    <dialogue>Yeah. It did.</dialogue>
    <scene_description>BACK TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. KONA CLUB - NIGHT</stage_direction>
    <scene_description>The re-creation continues: We see the fight from further back, and reveal VAL watching them stomp the kid on the sidewalk. She was inside the bar, and came out to see what the commotion was. She is horrified.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. EZ-LIFT OFFICE - NIGHT</stage_direction>
    <character>VAL</character>
    <dialogue>If you stuck around a little longer, you would have seen his white boy on the stool run over and they both stomp this drunk burnt kid out, beat him til he's unconscious, yelling "Welcome to Oakland!"</dialogue>
    <scene_description>Rin and Tin realize this is their time to leave.</scene_description>
    <character>RIN</character>
    <dialogue>I seen dude the other day. His face is all weird shaped still.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Well, we gotta go.</dialogue>
    <character>COLLIN</character>
    <dialogue>This was fun.</dialogue>
    <scene_description>They leave. Collin turns back to Val at the counter.</scene_description>
    <character>VAL</character>
    <dialogue>"His. Face. Is. All. Weird. Shaped."</dialogue>
    <character>COLLIN</character>
    <dialogue>It was already like that.</dialogue>
    <character>VAL</character>
    <dialogue>You are 'bout to get a restart. You've got to get away from Miles.</dialogue>
    <character>COLLIN</character>
    <dialogue>Don't. Okay? He's my best friend.</dialogue>
    <character>VAL</character>
    <dialogue>Is he though? I get that you grew up together, but he's gonna get you fuckin' killed.</dialogue>
    <character>COLLIN</character>
    <dialogue>Miles has had my back since we were like 11, and when I went to jail HE came and visited me all the time--</dialogue>
    <character>VAL</character>
    <dialogue>Yeah, out of guilt, for pushing you into a fight and then not going to jail with you! What if that guy had had a gun? Or if Miles's dumbass had had a gun?</dialogue>
    <character>VAL</character>
    <dialogue>Or if the cops had shown up while you were stomping that white boy? You think they'd have shot Miles?</dialogue>
    <scene_description>Collin's had enough. She took it too far.</scene_description>
    <character>COLLIN</character>
    <dialogue>Good night, Val.</dialogue>
    <character>VAL</character>
    <dialogue>Collin, I'm trying to--</dialogue>
    <character>COLLIN</character>
    <dialogue>Yeah, I get it.</dialogue>
    <scene_description>Collin walks out the door.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MILES'S APARTMENT - KITCHEN - NIGHT</stage_direction>
    <scene_description>Ashley is finishing up cooking. The table is set, and she is stirring, sizzling, baking. Miles is in there counting out his money.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MILES'S APARTMENT - SEAN'S ROOM - NIGHT</stage_direction>
    <scene_description>Collin and Sean are playing with a TRAIN SET, pushing trains along the track, when Collin looks up at...</scene_description>
    <character>SEAN'S BED FRAME</character>
    <dialogue>Collin pauses. Looking intently at the frame... Sean PUNCHES Collin to get his attention.</dialogue>
    <character>COLLIN</character>
    <dialogue>I built these bed pieces. Well, not these ones, but like this.</dialogue>
    <character>SEAN</character>
    <dialogue>You don't make beds!</dialogue>
    <character>COLLIN</character>
    <dialogue>I don't, but I did for a little while. It was like a temp job...</dialogue>
    <character>SEAN</character>
    <dialogue>Where do you make beds?</dialogue>
    <character>COLLIN</character>
    <dialogue>In... jail.</dialogue>
    <character>SEAN</character>
    <dialogue>Why were you in jail?</dialogue>
    <character>COLLIN</character>
    <dialogue>Ummm... For being a tough guy.</dialogue>
    <character>SEAN</character>
    <dialogue>I made this train in class.</dialogue>
    <scene_description>Collin LAUGHS. Moment is broken.</scene_description>
    <character>ASHLEY (O.S.)</character>
    <dialogue>Food time!</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MILES'S APARTMENT - KITCHEN - NIGHT</stage_direction>
    <scene_description>Dirty dishes are all that's left of dinner. Miles has some hamburger left on his plate. Collin and Sean are on the couch eating carrots together, watching TV. Miles is rolling a joint. He watches Sean eat carrots.</scene_description>
    <character>MILES</character>
    <dialogue>Sean, try this hamburger.</dialogue>
    <character>ASHLEY</character>
    <dialogue>He likes his carrots!</dialogue>
    <character>MILES</character>
    <dialogue>He doesn't know his options!</dialogue>
    <character>ASHLEY</character>
    <dialogue>Baby do you want carrots or hamburger?</dialogue>
    <scene_description>Miles and Collin each hold out some food for Sean.</scene_description>
    <character>MILES</character>
    <dialogue>Hamburger!</dialogue>
    <character>COLLIN</character>
    <dialogue>Carrots!</dialogue>
    <character>MILES</character>
    <dialogue>Hamburger!</dialogue>
    <character>COLLIN</character>
    <dialogue>Carrots!</dialogue>
    <scene_description>Sean goes for the napkin and puts it in his mouth.</scene_description>
    <character>MILES & ASHLEY</character>
    <dialogue>Napkin.</dialogue>
    <character>ASHLEY</character>
    <dialogue>Oy. Collin, tonight's the last night! No more piss testing!</dialogue>
    <character>ASHLEY</character>
    <dialogue>No more curfew! Are you going to smoke with your friend here?</dialogue>
    <character>COLLIN</character>
    <dialogue>I actually think I'm cool off the weed now.</dialogue>
    <scene_description>Miles looks up in shock, and throws down the joint he was rolling.</scene_description>
    <character>MILES</character>
    <dialogue>It's like... I see that it's him, and I hear that it's him, but then he says these things.</dialogue>
    <character>ASHLEY</character>
    <dialogue>Oh we got you something today.</dialogue>
    <parenthetical>(to Sean)</parenthetical>
    <dialogue>Can you go get the shirt for daddy?</dialogue>
    <scene_description>Sean runs out of the room.</scene_description>
    <character>ASHLEY</character>
    <dialogue>Sean pointed at this and I was like "yup, you are your Daddy's son, alright."</dialogue>
    <scene_description>Sean comes back and gives a rolled up shirt to Miles. Miles unrolls it, then spins it around to show everyone. In bold block letters it reads:</scene_description>
    <character>KILL A HIPSTER</character>
    <dialogue>SAVE YOUR HOOD</dialogue>
    <dialogue>Seeing it, Miles pretends to get choked up.</dialogue>
    <character>MILES</character>
    <dialogue>That's my BOY!</dialogue>
    <scene_description>Miles gets up excited and runs to put it on. When he gets up, he shakes the dinner table and almost knocks everything over.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MILES'S APARTMENT - MILES'S BATHROOM - MOMENTS LATER</stage_direction>
    <scene_description>Miles finishes putting on his new shirt in the mirror.</scene_description>
    <character>MILES</character>
    <parenthetical>(yelling to other room)</parenthetical>
    <dialogue>It feel kinda small though. Ain't it kinda too small?</dialogue>
    <scene_description>Collin and Ashley walk in the bathroom door to inspect him. Miles tries to pull the shirt down more to make it bigger.</scene_description>
    <character>ASHLEY</character>
    <dialogue>Aw, baby. You look so good!</dialogue>
    <character>COLLIN</character>
    <dialogue>Yeah baby you look good.</dialogue>
    <character>MILES</character>
    <dialogue>THIS SHIRT IS TOO SMALL, AND YAL</dialogue>
    <character>KNOW IT!</character>
    <dialogue>Miles pushes past them both, and goes to the living room.</dialogue>
    <dialogue>They exit the bathroom, following Miles...</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MILES'S APARTMENT - LIVING ROOM - CONTINUOUS</stage_direction>
    <scene_description>...only to see Miles frozen. We hold on him for a moment. Then we go WIDE to see what he's looking at... Sean is holding Miles's gun. EVERYONE is frozen. Complete shock. Ashley finally manages to speak.</scene_description>
    <character>ASHLEY</character>
    <dialogue>Baby, p... put that down.</dialogue>
    <character>MILES</character>
    <parenthetical>(authoritatively)</parenthetical>
    <dialogue>Sean, put that down. Right now!</dialogue>
    <scene_description>Sean LAUGHS and turns it around...</scene_description>
    <character>...AND STARES DOWN THE BARREL.</character>
    <dialogue>COLLIN</dialogue>
    <scene_description>It's loaded. Nobody move. The three of them slowly make their way towards Sean. They try to circle him, and get closer without making any sudden movements. Sean glances at Collin, who is making his way around the couch. Ashley starts crying quietly.</scene_description>
    <character>MILES</character>
    <dialogue>Hey, Sean. Put that down...</dialogue>
    <character>ASHLEY</character>
    <dialogue>Baby, I need you to put that down.</dialogue>
    <scene_description>Collin inches closer and closer, until he is right in front of Sean. Sean is staring down the barrel, and then looks up at Collin. They stare at each other for a moment. Then suddenly... ...Collin swipes the gun from him! Ashley runs over, grabs Sean, and starts CRYING. She is facing away from them both.</scene_description>
    <character>ASHLEY</character>
    <dialogue>Is that your gun, Collin?</dialogue>
    <scene_description>Collin and Miles meet eyes for a long moment... Collin looks away first.</scene_description>
    <character>COLLIN</character>
    <dialogue>No.</dialogue>
    <character>ASHLEY</character>
    <dialogue>GET OUT, MILES! GET THE FUCK OUT!</dialogue>
    <character>MILES</character>
    <dialogue>It was a fuckin accident, I...</dialogue>
    <character>ASHLEY</character>
    <dialogue>YOU BROUGHT A FUCKIN GUN IN THIS</dialogue>
    <character>HOUSE! GET THE FUCK OUT, NOW!</character>
    <dialogue>NOOOWW!</dialogue>
    <scene_description>Miles starts grabbing his money off of the table while she yells. He is moving slowly like HE is mad. He looks back at Ashley who is crying and furious, then walks out the door. Collin, filled with remorse and guilt, puts the gun in his back pocket and walks out the door behind Miles.</scene_description>
    <character>COLLIN</character>
    <dialogue>I'm sorry we...</dialogue>
    <character>ASHLEY</character>
    <dialogue>YOU LET HIM BUY A FUCKING GUN! GET</dialogue>
    <character>OUT!</character>
    <dialogue>Collin walks out and shuts the door.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. MILES'S APARTMENT - NIGHT</stage_direction>
    <scene_description>Miles takes a swig of his flask, POWER WALKING fast towards the corner. Collin is walking beside him, both are a bit irritated with each other. Collin hands Miles back his gun.</scene_description>
    <character>COLLIN</character>
    <dialogue>Just get rid of it!</dialogue>
    <scene_description>Miles snatches back his gun, looks around, then stuffs it in his waistline.</scene_description>
    <character>MILES</character>
    <dialogue>You couldn't just say it was yours for two seconds?</dialogue>
    <character>COLLIN</character>
    <dialogue>No, it's not my gun! I told you I didn't want nothin' to do with that thing.</dialogue>
    <character>MILES</character>
    <dialogue>It doesn't make it yours. It just makes it NOT mine!</dialogue>
    <character>COLLIN</character>
    <dialogue>I'm not gonna be the one who brought a gun around a three-year- old.</dialogue>
    <character>MILES</character>
    <dialogue>Now I'm the dad who brought a gun around his kid?!</dialogue>
    <character>COLLIN</character>
    <dialogue>Well, ain't that what happened?</dialogue>
    <character>MILES</character>
    <dialogue>I know what happened!</dialogue>
    <scene_description>Miles and Collin both get texts from NAK. It's about the party. Their screens read, "Yal gotta come to my work party tonight."</scene_description>
    <character>MILES</character>
    <dialogue>Fuck it.</dialogue>
    <character>COLLIN</character>
    <dialogue>Fuck it, what fuck it? Fuck what?</dialogue>
    <character>MILES</character>
    <dialogue>We goin to that party.</dialogue>
    <character>COLLIN</character>
    <dialogue>The hell we are.</dialogue>
    <character>MILES</character>
    <dialogue>We can't go back in there, what - you wanna spend your first night with no curfew at the halfway house?</dialogue>
    <character>COLLIN</character>
    <dialogue>I am not goin to no fuckin party where no bullshit can happen.</dialogue>
    <character>MILES</character>
    <dialogue>Bullshit happens out HERE. Nak's work party is squarest as square places get. It's techies and artisan beer. I'm calling an Uber.</dialogue>
    <scene_description>Collin looks around for another option. Sees a cop car parked across the street at the Laundromat.</scene_description>
    <character>COLLIN</character>
    <dialogue>Fine, but I'm not bein' around no hot shit tonight.</dialogue>
    <character>MILES</character>
    <dialogue>It's here already.</dialogue>
    <scene_description>Just as Miles finishes his sentence, Dez pulls up in his scraper car with the Uber sticker in the window.</scene_description>
    <character>DEZ</character>
    <dialogue>My niggaz! Your Uber is arriving!</dialogue>
    <character>MILES</character>
    <dialogue>DEZ! What are the odds, of this.</dialogue>
    <character>COLLIN</character>
    <dialogue>Of-fucking-course we did.</dialogue>
  </scene>
  <scene>
    <stage_direction>I/E. NEW CAR - NIGHT</stage_direction>
    <scene_description>Dez is driving, with Miles sitting shotgun and Collin in the backseat. Music blasts OBNOXIOUSLY LOUD. Subwoofers attracting a lot of attention. They swerve through Oakland. Miles dancing in his chair, leaning on the steering wheel, smoking a cigarette. They drive past a COP, Collin sees it. Miles yells out the window, being ignorant.</scene_description>
    <character>COLLIN</character>
    <dialogue>Bruh, sit the fuck down!</dialogue>
    <scene_description>He pulls Miles back into the car.</scene_description>
    <character>MILES</character>
    <dialogue>Just cuz YOU don't wanna celebrate, fine I'll celebrate for you.</dialogue>
    <character>COLLIN</character>
    <dialogue>Don't yell out the window like a fuckboy.</dialogue>
    <character>MILES</character>
    <dialogue>Oh, I'm a fuckboy tonight. Better a fuckboy than a snitch, bruh.</dialogue>
    <character>COLLIN</character>
    <dialogue>Fuckboy.</dialogue>
    <character>MILES</character>
    <dialogue>Snitchin' ass Collin.</dialogue>
    <character>COLLIN</character>
    <dialogue>Fuck. Boy.</dialogue>
    <character>MILES</character>
    <dialogue>Snitch.</dialogue>
    <character>DEZ</character>
    <dialogue>As your driver, I'ma just keep it professional and stay out of this.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. WEST OAKLAND HOUSE PARTY - NIGHT</stage_direction>
    <scene_description>Collin and Miles head inside the party and look for their friends. It's a hipster party. Plastic cups and drinking games, bongs and jello shots. As they walk up the stairs they run into SID, white and a very enthusiastic party host.</scene_description>
    <character>SID</character>
    <dialogue>That shirt is fuckin EPIC. "Kill a Hipster, Save Your Hood." I love it.</dialogue>
    <scene_description>He pats Miles on the chest, and keeps walking.</scene_description>
    <character>COLLIN</character>
    <dialogue>There's Nak.</dialogue>
    <character>MILES</character>
    <dialogue>...I'm getting a drink.</dialogue>
    <scene_description>Miles leaves Collin and heads towards the kitchen. Collin heads over to NAK (female, 30s, Black), a few others, and TERRY (29). He's a well dressed, preppy, Black man who is apparently here with Nak.</scene_description>
    <character>COLLIN</character>
    <dialogue>What's good, ya'll?</dialogue>
    <character>NAK</character>
    <dialogue>Collin, this is Terry, we work together at Youth Radio. Terry... Collin. He's a free man today.</dialogue>
    <scene_description>Terry stands to shake Collin's hand.</scene_description>
    <character>COLLIN</character>
    <dialogue>Sup.</dialogue>
    <character>TERRY</character>
    <dialogue>How's it going, man?</dialogue>
    <scene_description>Sid comes by to check on them again.</scene_description>
    <character>SID</character>
    <dialogue>Hey, everyone good? You guys need dranks? No? You good? Good? There's plenty of drank in the kitchen homies. Feel free!</dialogue>
    <scene_description>Everyone starts to sit down on a couch and place their cups on the coffee table. Just as they do, Sid freaks out.</scene_description>
    <character>SID</character>
    <dialogue>Oh! No cups! These are actually original Oakland Oak tree stumps, 140 years old. Isn't that crazy? Oh and check this out...</dialogue>
    <scene_description>Sid leads them over to the wall over the fireplace, where a photo is hanging of himself, wearing a tribal gown and sandals, long hair in a bun, hugging a group of African children, with them all wearing American clothing.</scene_description>
    <character>SID</character>
    <dialogue>Some of us execs started a non- profit to build water filtration systems in Ghana, spent the last two months over there and these kids changed my life. That's Nahimbi, Tarani, Terendi, and Nahandi. They are AMAZING. They taught us a lot about love and culture. And ourselves.</dialogue>
    <scene_description>A friend of Sid, JEFF, grabs him for a big hug and pulls him away from the group. The crew stares in shock at the picture.</scene_description>
    <character>NAK</character>
    <dialogue>I... I hate him so much.</dialogue>
    <character>TERRY</character>
    <dialogue>I'm going to get some "drank" from the kitchen. "Anyone want anything? No? No? You good?"</dialogue>
    <scene_description>Terry heads to the kitchen.</scene_description>
    <character>NAK</character>
    <parenthetical>(to Collin)</parenthetical>
    <dialogue>Where's your platonic life mate?</dialogue>
    <scene_description>Collin gestures towards Miles in the kitchen. In his new shirt, Miles blends in with the crowd of white hipsters.</scene_description>
    <character>COLLIN</character>
    <dialogue>It's like releasing a wild animal into a fake habitat for the first time. Checkin' it out, doesn't trust anything--</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. WEST OAKLAND HOUSE PARTY - KITCHEN - CONTINUOUS</stage_direction>
    <scene_description>Miles walks around a corner and notices that this party has been catered by the new Kwik Way. Trays of pre-made burgers are laid out, ALL with stickers that say "VEGAN." POTATO WEDGES are in little trays. Miles sighs uncontrollably. Another dude, EDDIE (late 20s, white) is standing by the counter. Terry enters the kitchen looking for the drinks.</scene_description>
    <character>MILES</character>
    <dialogue>This isn't fuckin Kwik Way! Kwik Way doesn't cater! It's Kwik, it's round the Way, it's in the name!</dialogue>
    <character>EDDIE</character>
    <dialogue>Who the fuck ordered ALL vegan. You bougie fucktards.</dialogue>
    <character>MILES</character>
    <dialogue>My bruh, thank you. Finally a mothafucka wit' some perspective, ya dig.</dialogue>
    <scene_description>Miles pats the dude on the arm as Eddie walks off. Pouring drinks, Terry laughs and scoffs a little at Miles. Miles immediately turns his attention to Terry scoffing at him.</scene_description>
    <character>MILES</character>
    <dialogue>You good?</dialogue>
    <character>TERRY</character>
    <dialogue>Yeah, "I'm good." Lol.</dialogue>
    <scene_description>As Terry walks away with two drinks, he tries to have a "teachable moment" with Miles. He notices Miles's gold teeth.</scene_description>
    <character>TERRY</character>
    <parenthetical>(to himself)</parenthetical>
    <dialogue>Oh, the grill! You have a grill in. Wow.</dialogue>
    <parenthetical>(to Miles)</parenthetical>
    <dialogue>You know, you don't have to act ghetto to hang here. Have fun, bud. Welcome to Oakland.</dialogue>
    <scene_description>Terry pats Miles's back, and heads back to the living room. Miles stays there, processing what just happened. He stares down at the Kwik Way burgers. He looks back at the sea of people partying in the kitchen.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. WEST OAKLAND HOUSE PARTY - LIVING ROOM - CONTINUOUS</stage_direction>
    <scene_description>Terry walks back to Nak and Collin. He is excited to tell them about the "hipster kid" he just met.</scene_description>
    <character>TERRY</character>
    <dialogue>Oh, man. It doesn't stop. Some hipster kid in the kitchen is full on culture vulture. "What it do my bruh, it's lit!" Just, so many layers. I was like "Um, don't talk like that. That's not you."</dialogue>
    <character>COLLIN AND NAK</character>
    <dialogue>Ha!</dialogue>
    <character>NAK</character>
    <dialogue>Stick together everyone! Lock arms!</dialogue>
    <character>TERRY</character>
    <dialogue>I made two more I'll be right back.</dialogue>
    <scene_description>Terry walks back to the kitchen. Collin takes a sip of his drink. He looks up at where Terry is walking, and sees Miles, fuming mad, staring at the wall in the kitchen. His fists are balled. He is staring at himself in a mirror. BREATHING HEAVILY. Collin realizes that Miles is who Terry was making fun of.</scene_description>
    <character>COLLIN</character>
    <dialogue>Oh, fuck.</dialogue>
    <scene_description>It's too late.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. WEST OAKLAND HOUSE PARTY - KITCHEN - CONTINUOUS</stage_direction>
    <character>MILES GRABS TERRY BY THE COLLAR AND STARTS HITTING HIM OVER</character>
    <dialogue>AND OVER! Terry tries to fight him off but Miles is way more mad and violent, swinging Terry around.</dialogue>
    <dialogue>Collin runs over and grabs Miles, pulling him out of the kitchen, and through the living room.</dialogue>
    <dialogue>Terry is bleeding on the floor, people helping him up.</dialogue>
    <character>COLLIN</character>
    <dialogue>C'mon, bruh!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. WEST OAKLAND APARTMENT - NIGHT - MOMENTS LATER</stage_direction>
    <scene_description>Collin pulls Miles away from the house. Terry comes out the front door, embarrassed, and looking for a rematch. Dozens of people from the party follow him outside, until there is a crowd on the sidewalk.</scene_description>
    <character>TERRY</character>
    <dialogue>Ey white boy, no, get over here!</dialogue>
    <character>MILES</character>
    <dialogue>Come on then!</dialogue>
    <scene_description>Miles pulls off his shirt, revealing he is covered in tattoos. Terry runs at Miles and grabs him by his arms, and pushes him against the house. Terry hits him a few times. Miles grabs him by his neck, and decks him, knocking Terry against a car. Terry reaches out as he falls and tries to put Miles in a HEADLOCK and starts to choke him. Miles head butts him sharply, and Terry falls. Miles punches him in the face, and kicks him in the ribs, 2, 3, 4 times. Collin watches in horror as the whole crowd is yelling at Miles to stop. Miles continues to kick Terry, yelling incoherent things. Finally he steps back. Some of Terry's friends run over and pick him up. He's in bad shape but manages to stand up. The whole crowd is looking at Miles. A small circle is around him, as he stands in the middle alone. He is bleeding, spits out some blood. He looks over and sees Collin. They lock eyes, Miles looks hurt and furious. Sid, nearly hyperventilating, comes out from the crowd. He looks at Miles with disgust and yells:</scene_description>
    <character>SID</character>
    <dialogue>GET THE FUCK OUT OF HERE!</dialogue>
    <scene_description>Miles spins around, looks at him and is wildly offended all over again.</scene_description>
    <character>MILES</character>
    <dialogue>WHAT? GET THE FUCK OUTTA WHERE? YOU</dialogue>
    <character>GET THE FUCK OUTTA HERE!</character>
    <dialogue>Miles pulls THE GUN out from his back pocket, and holds it in the air over his head. He fires off a few shots!</dialogue>
    <character>COLLIN</character>
    <dialogue>NO!</dialogue>
    <scene_description>The crowd goes into a PANIC, fleeing the scene in every direction.</scene_description>
    <character>MILES</character>
    <dialogue>Y'all want Oakland, right? Ya'll love it here, right? Y'all get the fuck outta here!</dialogue>
    <scene_description>Collin grabs Miles, pulling him down the street as the two begin to run off. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ABANDONED PARKING LOT - NIGHT</stage_direction>
    <scene_description>They're running away from the party now. Tension is high between them. They run a few blocks and spill into an abandoned lot. They stop to catch my breath.</scene_description>
    <character>MILES</character>
    <dialogue>Gimme my pistol!</dialogue>
    <character>COLLIN</character>
    <dialogue>Hell no. Are you fucking crazy?! Really Miles, really? Had to go down, tonight!!!?? Then what? They call the police and come shoot my black ass not you?!</dialogue>
    <character>MILES</character>
    <dialogue>Fuck is your problem? You didn't do a fuckin thing!</dialogue>
    <character>COLLIN</character>
    <dialogue>That's Nak's patna!</dialogue>
    <character>MILES</character>
    <dialogue>Is that YOUR patna?? I don't give a fuck if it's her patna. Shit, I backed YOU up in the exact same situation, and you didn't even help!</dialogue>
    <character>COLLIN</character>
    <dialogue>Yeah, cuz that was fuckin' stupid.</dialogue>
    <character>MILES</character>
    <dialogue>What does that mean? YOU'RE mad at ME and I'm stupid now?</dialogue>
    <scene_description>YES!</scene_description>
    <character>MILES</character>
    <dialogue>For WHAT? For being exactly who the fuck I've always been?</dialogue>
    <character>COLLIN</character>
    <dialogue>For being hella extra at all times when nobody is comin for you, yes! Why is that still?</dialogue>
    <character>MILES</character>
    <dialogue>Still? Look who the fuck I am, WHERE the fuck I grew up, Collin! This how I survived out here! I ain't nothin new, YOU the one actin brand new. Why I gotta act like that?</dialogue>
    <character>COLLIN</character>
    <dialogue>I dunno, since you had a kid, since I got locked up, since were two grown ass men, and you ain't got to!</dialogue>
    <character>MILES</character>
    <dialogue>--and WHAT! I'm supposed to switch it up for who? Is that why you eat fuckin' vegan burgers and drink juice to impress some female? You don't wanna be YOU no more, you wanna what, fit in with them hipster kids like you ain't from here?</dialogue>
    <character>COLLIN</character>
    <dialogue>I ain't got to prove I'm from here!</dialogue>
    <character>MILES</character>
    <dialogue>Well good for you!</dialogue>
    <character>COLLIN</character>
    <dialogue>Nigga you got somethin to prove to everyone!</dialogue>
    <character>MILES</character>
    <dialogue>That's what happens when everyone around you got you FUCKED UP! YOU can dress however you want Collin, but nobody got you fucked up ever, you a big black dude with dreads in West Oakland, no one is misreadin' you.</dialogue>
    <character>COLLIN</character>
    <dialogue>Yeah... I know.</dialogue>
    <character>MILES</character>
    <dialogue>YEAH.</dialogue>
    <character>COLLIN</character>
    <dialogue>Yeah, my nigga...</dialogue>
    <character>MILES</character>
    <dialogue>Yeah.</dialogue>
    <character>COLLIN</character>
    <dialogue>No. Say it.</dialogue>
    <character>MILES</character>
    <dialogue>What?</dialogue>
    <character>COLLIN</character>
    <dialogue>Say nigga.</dialogue>
    <scene_description>Miles pauses for a while.</scene_description>
    <character>MILES</character>
    <dialogue>Fuck you.</dialogue>
    <character>COLLIN</character>
    <dialogue>Say it. Say nigga. Say, "Yeah my nigga!"</dialogue>
    <character>MILES</character>
    <dialogue>...no.</dialogue>
    <character>COLLIN</character>
    <dialogue>SAY IT!!!!!!!</dialogue>
    <character>MILES</character>
    <dialogue>No, I don't say that shit.</dialogue>
    <character>COLLIN</character>
    <dialogue>Why not??</dialogue>
    <character>MILES</character>
    <dialogue>Because it's... What?</dialogue>
    <character>COLLIN</character>
    <dialogue>Because why?!</dialogue>
    <character>MILES</character>
    <dialogue>Cuz I'm not callin' you that. I'm not a disrespectful mothafucka!</dialogue>
    <character>COLLIN</character>
    <dialogue>But I can call YOU "nigga?" Nigga?</dialogue>
    <character>MILES</character>
    <dialogue>Go nuts!</dialogue>
    <character>COLLIN</character>
    <dialogue>Why???</dialogue>
    <character>MILES</character>
    <dialogue>Because you started calling me that when we were like twelve and I didn't trip.</dialogue>
    <character>COLLIN</character>
    <dialogue>If it's so offensive, why do you let me call you it?</dialogue>
    <scene_description>Long pause, staring at each other. Miles is completely confused.</scene_description>
    <character>COLLIN</character>
    <dialogue>You're a nigga, Miles.</dialogue>
    <character>MILES</character>
    <dialogue>What?</dialogue>
    <character>COLLIN</character>
    <dialogue>You're fuckin nigga, Miles. Okay?</dialogue>
    <character>MILES</character>
    <dialogue>No, I'm not.</dialogue>
    <character>COLLIN</character>
    <dialogue>Oh, you're not?? You're not just like me? You don't act just like me? I'M a nigga. In fact you do more nigga shit than I do. You.....</dialogue>
    <character>MILES</character>
    <dialogue>Yeah, but I'm not....</dialogue>
    <character>COLLIN</character>
    <dialogue>Black? No you're a nigga, just like me. And I'm wonderin' why you get to walk around with the white force field on.</dialogue>
    <character>MILES</character>
    <dialogue>What?</dialogue>
    <character>COLLIN</character>
    <dialogue>Why do you get to be safe?! - Ashley is right, you don't care about shit. You go around actin' an ass like there's no consequences for nothin! Meanwhile I try to keep our shit in order and help... and every time a nigga sees me they think I do the dumb ass, no sense, bad dad, irresponsible gun carryin' kinda' shit you do. Meanwhile I take care of my shit, do our time sheets every week, pick us up, keep YOU outta dumb shit - While you go and buy guns, what, for your fuckin FAMILY? You're the nigga! You're the nigga they out here looking for!</dialogue>
    <scene_description>Miles is stuck for a second. Collin starts to walk away from Miles. He is walking home.</scene_description>
    <character>MILES</character>
    <dialogue>Where the fuck are you goin?</dialogue>
    <character>COLLIN</character>
    <dialogue>You not fuckin up my shit tonight Miles. I'm THIS fuckin close.</dialogue>
    <scene_description>Miles stands there shocked, until Collin is out of frame.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET - NIGHT</stage_direction>
    <scene_description>Miles walks home alone, bleeding, looking around. He walks down a main street. No one bothers him.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET - NIGHT</stage_direction>
    <scene_description>Collin walks home alone, nervous, looking over his shoulder constantly. Scanning the streets. He decides to jog.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MILES'S APARTMENT - NIGHT</stage_direction>
    <scene_description>Miles walks in, not expecting anyone to be awake. Ashley is sitting at the table. Miles is still covered in blood. She starts to scold him but then notices how he looks.</scene_description>
    <character>ASHLEY</character>
    <dialogue>You better not have that fuckin gun on you. Cuz if-- Miles, what the hell?!</dialogue>
    <character>MILES</character>
    <dialogue>I got into a fight. Think I broke my hand.</dialogue>
    <scene_description>Ashley's expression changes from furious to shock to deep disappointment and dismay.</scene_description>
    <character>ASHLEY</character>
    <dialogue>What the fuck were you fighting about?</dialogue>
    <character>MILES</character>
    <dialogue>Just...</dialogue>
    <parenthetical>(...realizing)</parenthetical>
    <dialogue>Nothing important.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MILES'S APARTMENT - LATER</stage_direction>
    <scene_description>Miles is holding his hand in the freezer. Ashley comes in with an ACE BANDAGE and begins wrapping his palm. He is sitting in a chair and she kneels next to him. She is doing it with anger, and too fast. Ashley is upset, and biting her tongue. Ashley finishes tying the bandage and YANKS hard.</scene_description>
    <character>MILES</character>
    <dialogue>Ow!</dialogue>
    <character>ASHLEY</character>
    <dialogue>Shut up.</dialogue>
    <scene_description>She yanks again.</scene_description>
    <character>MILES</character>
    <dialogue>OW!</dialogue>
    <character>ASHLEY</character>
    <dialogue>Shut up!</dialogue>
    <scene_description>Miles looks at her hopelessly.</scene_description>
    <character>MILES</character>
    <dialogue>Yes, I got into a fight! You wanna be mad about that?</dialogue>
    <character>ASHLEY</character>
    <dialogue>Yes! But, no! You are pickin the wrong fights. Alright... THIS...</dialogue>
    <parenthetical>(motions to the apartment)</parenthetical>
    <dialogue>...is already hard. THIS is work. HE is WORK, and I don't feel like you're HERE with me right now.</dialogue>
    <character>MILES</character>
    <dialogue>I didn't buy the gun on some TOUGH shit, I was tryin' to--</dialogue>
    <scene_description>Ashley's tone turns a bit more solution driven, but still desperate.</scene_description>
    <character>ASHLEY</character>
    <dialogue>I know why you thought you needed to get a gun--</dialogue>
    <character>MILES</character>
    <dialogue>I shoulda been more careful with where I had it.</dialogue>
    <scene_description>Ashley SMACKS him upside the head.</scene_description>
    <character>ASHLEY</character>
    <dialogue>No, stupid! You shouldn't have made a decision to buy a gun without me! Or goin' out and brawlin' with niggaz and god knows what the hell could happen to you.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>It's not just YOU in this!</dialogue>
    <character>MILES</character>
    <dialogue>OK, THIS was some mothafucka...</dialogue>
    <character>ASHLEY</character>
    <dialogue>Before you give me another excuse, which with your mouthpiece will seem like an airtight defense-- let me ask you something. Were you afraid when you came out here and saw Sean holding the gun?</dialogue>
    <character>MILES</character>
    <dialogue>Yeah.</dialogue>
    <character>ASHLEY</character>
    <dialogue>OK, so me too. And do you think that if you had told me about possibly buying a gun, I might have seen that scenario coming?</dialogue>
    <scene_description>Miles looks at the floor and processes. Then he starts nodding.</scene_description>
    <character>MILES</character>
    <dialogue>That's a really good point. That's a REALLY good point.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>If you go out and get a job in sales, you can list me as a reference.</dialogue>
    <scene_description>Ashley YANKS on his hand wrap, way harder than she meant</scene_description>
    <character>MILES</character>
    <dialogue>OWWW!!</dialogue>
    <character>ASHLEY</character>
    <dialogue>HA! Maybe if you niggas weren't so wi -</dialogue>
    <character>MILES</character>
    <dialogue>Don't call me that.</dialogue>
    <character>ASHLEY</character>
    <dialogue>What? Nig --</dialogue>
    <character>MILES</character>
    <dialogue>Don't call me that.</dialogue>
    <scene_description>Ashley pauses.</scene_description>
    <character>ASHLEY</character>
    <dialogue>Ok.</dialogue>
    <character>MILES</character>
    <dialogue>I love you.</dialogue>
    <character>ASHLEY</character>
    <dialogue>I love you too.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CORNER OF COLLIN'S STREET - NIGHT</stage_direction>
    <scene_description>Collin has jogged the whole way back. When he gets to the corner of his street, he stops to look up at the street sign. He stares at the Oak tree. As he is standing there, a COP CAR flies by before abruptly stopping a few cars past Collin... Collin stops for a moment, but then starts walking quickly towards his halfway house. The cop car turns around slowly and creeps until it's right behind Collin. Following him at the same pace he is walking. ANGLE ON: Collin's pocket with the gun. Collin realizes... ...he still has Miles's gun.</scene_description>
    <character>COLLIN</character>
    <parenthetical>(to himself)</parenthetical>
    <dialogue>Fuck fuck fuck fuck fuck.</dialogue>
    <scene_description>The cops SHINE THE LIGHT on Collin, and he freezes. He faces them. A deer caught in headlights. They hold the light on him for what feels like forever. But then... The cop radio CHATTERS. The light clicks off... ...and the cop car SPEEDS OFF. Collin drops to his knees. He BREATHES HEAVILY and stares in the direction that the car went.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - NIGHT</stage_direction>
    <scene_description>Collin walks in the front door, closes it, and stands there in the hallway. He is quiet, standing alone. He looks at the chore board in the hall, his name still has "BATHROOM DUTY" written next to it.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - COLLIN'S ROOM - MOMENTS LATER</stage_direction>
    <scene_description>He walks into his room, and locks the door behind him. He gets ready for sleep, takes his pants and shirt off, then sits on the edge of the bed. He pulls THE GUN out of his pocket and stares at it. Stuffs it back in his jean pocket on the floor, and lays on his back.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VAL'S BEDROOM - CONTINUOUS</stage_direction>
    <scene_description>Val's phone rings, she is studying for exams. We INTERCUT between Val and Collin for this conversation:</scene_description>
    <character>VAL</character>
    <dialogue>Hi.</dialogue>
    <character>COLLIN</character>
    <dialogue>...Hi.</dialogue>
    <character>VAL</character>
    <dialogue>...um</dialogue>
    <character>COLLIN</character>
    <dialogue>How's the memorizing going?</dialogue>
    <character>VAL</character>
    <dialogue>Yeah, trying to get these Psychology terms down.</dialogue>
    <character>COLLIN</character>
    <dialogue>What...name did you come up for the double picture one? The faces and vase one.</dialogue>
    <character>VAL</character>
    <dialogue>Oh! That one I like. I called it "Blindspottin'."</dialogue>
    <character>COLLIN</character>
    <dialogue>...why blindspottin?</dialogue>
    <character>VAL</character>
    <dialogue>Because it's all about how you can look at something and miss the other thing there. So you always got a blind spot.</dialogue>
    <character>COLLIN</character>
    <dialogue>But you don't have a blindspot once someone points out the other picture to you.</dialogue>
    <character>VAL</character>
    <dialogue>Mmmm, but you can't go against what your brain wants to see first. So you're blind to the spot you aren't seeing, you got a blind spot, "blindspottin'"</dialogue>
    <scene_description>Collin takes that in for a while. The call is quiet.</scene_description>
    <character>VAL</character>
    <dialogue>Collin?</dialogue>
    <character>COLLIN</character>
    <dialogue>When you look at me...do you see the fight first?</dialogue>
    <scene_description>Val is quiet on the other end for a long time. She puts her head down. Collin drops his head too. Her silence says everything.</scene_description>
    <character>COLLIN</character>
    <dialogue>Good luck with your tests tomorrow, Val.</dialogue>
    <character>VAL</character>
    <dialogue>...Coll--</dialogue>
    <scene_description>And he hangs up.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - COLLIN'S BEDROOM - MORNING</stage_direction>
    <scene_description>The alarm clock jolts him awake. No gunshot. Collin opens his eyes. It's a new day. He wakes up, and looks at the map on the wall. He rips it down, throws it in the trash. He picks up the TRUMPET. Looks it over.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COLLIN'S HALFWAY HOUSE - BATHROOM - MOMENTS LATER</stage_direction>
    <scene_description>Collin cleans the horn in the sink, the mouth guard, all the valves, etc. It shines a surprising amount with a little love and care. He attempts to blow it, but no sound comes out. He pulls a valve on the bottom, holds it over the drain, and watches a DIRTY UGLY OOZE slide out of the trumpet. It's a lot, draining into the sink. He tries the trumpet again, and it makes a HUGE SOUND. We hear James off in the distance:</scene_description>
    <character>JAMES (O.S.)</character>
    <dialogue>Oh HELL no! It's 7am! Better be some cleaning going on!</dialogue>
    <scene_description>Collin SMILES. We see a mop behind him.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. KONA CLUB - DAY</stage_direction>
    <scene_description>Collin has earbuds in, rhyming to himself. He rounds the corner, glancing at Kona's door. As he passes Kona, he steps on something squishy and stops. He looks down, and it's... ...a strawberry, right where his fight happened. He shakes it off and keeps running.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MOUNTAIN VIEW CEMETERY - DAY</stage_direction>
    <scene_description>He enters the cemetery and starts his loop. After a bit, he looks up to see the BLACK MAN WHO WAS SHOT staring at him. Sitting on top of a HEADSTONE. Collin looks forward and keeps running when he notices... ...a SECOND BLACK MAN sitting on another headstone. He closes his eyes trying to will the hallucination out of his mind. Collin opens his eyes and keeps going. But then notices another, and another, and another. Other people are walking through the cemetery, but they can't see all the black men sitting on the headstones. More and more appear, staring at him.</scene_description>
    <character>COLLIN LOOKS AROUND AND NOW EVERY HEADSTONE IN HIS SIGHT HAS</character>
    <dialogue>A BLACK MAN, HIS AGE, WEARING HOODIES, STARING AT COLLIN!</dialogue>
    <dialogue>Collin is frantic, running fast to get out. Eyes nearly closed, he bursts out onto the street. He keels over to catch his breath. Collin stands up and looks back. Now he sees what everyone else sees...</dialogue>
    <dialogue>...just rows of gravestones.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MILES'S APARTMENT - DAY</stage_direction>
    <scene_description>Miles answers the door for Collin. Collin looks distraught. Ashley is dressing Sean in the background, Miles and Collin don't say anything to each other. Collin is still wearing his running clothes.</scene_description>
    <character>ASHLEY</character>
    <dialogue>Hey Collin!</dialogue>
    <character>MILES</character>
    <dialogue>We late, we gotta go straight to the first appointment. I called the office & got the address.</dialogue>
    <scene_description>Ashley comes over, acting silly. She jumps towards him in celebration.</scene_description>
    <character>ASHLEY</character>
    <dialogue>Colliiiiiin! You are freeeeeee! Do you feel liberated today? Fresh start fresh start fresh start.</dialogue>
    <scene_description>She grabs Sean and dances with him.</scene_description>
    <character>COLLIN</character>
    <dialogue>Yeah, I'm good.</dialogue>
    <character>ASHLEY</character>
    <dialogue>And not a scratch on ya! Must got them quick hands quick hands!</dialogue>
    <character>MILES</character>
    <parenthetical>(under his breath)</parenthetical>
    <dialogue>That's not why.</dialogue>
    <scene_description>Sean runs up, jumping over them both, then he punches Collin.</scene_description>
    <character>COLLIN</character>
    <dialogue>A-ha-how! Excuse me?</dialogue>
    <scene_description>Sean puts his dukes up, keeps punching Collin.</scene_description>
    <character>COLLIN</character>
    <dialogue>Ha! Stop!</dialogue>
    <character>ASHLEY</character>
    <dialogue>Sean, quit being a tough guy, don't punch Collin.</dialogue>
    <character>COLLIN</character>
    <dialogue>Ease up, lil man!</dialogue>
    <scene_description>Sean gives a big LAUGH, they play box and spill into the living room. Collin tries to avoid the punches. Collin sits down to be eye-level with Sean. They're at a standoff. Collin and Sean stare at each other to see if Sean is going to PUNCH again. Finally, he does.</scene_description>
    <character>COLLIN</character>
    <dialogue>Ey, quit it!</dialogue>
    <scene_description>Sean goes for it again. Collin changes his tone, points at Sean, and forcefully commands him.</scene_description>
    <character>COLLIN</character>
    <dialogue>STOP!</dialogue>
    <scene_description>Right then, Sean throws his hands up in the air over his head. And says:</scene_description>
    <character>SEAN</character>
    <dialogue>Don't shoot!</dialogue>
    <scene_description>The room is quiet, Collin processes this. They are alone in the room, a 3-year-old with his hands up, and Collin with his finger pointed. He sits back in shock. His terror begins to return. He slumps back into the chair, he recedes back into his own head. We overhear Ashley, almost in the distance.</scene_description>
    <character>ASHLEY</character>
    <dialogue>Oh, good, baby! See they said he was too young for that pamphlet, but he took right to it.</dialogue>
    <scene_description>Sean giggles. Collin is frozen, staring at Sean. Looks almost on the verge of tears. Collin slowly, uncomfortably slips backwards as everything else seems to fall away. We see Sean as a fully grown man standing in front of him, dressed like Collin.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. OAKLAND STREETS - DAY</stage_direction>
    <scene_description>Like a dream, we see rows of street signs are going by, over and over again as the signs drive by. We see the the EZ LIFT TRUCK rolling down the street overhead</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOUSE IN EL SOBRANTE - DAY</stage_direction>
    <scene_description>Collin opens his eyes. Miles and Collin are in the EZ-Lift truck and have arrived at a house in North Oakland. A woman and her son are standing on the porch to greet the boys. This is RACHEL. Her son is around Sean's age. They get out and make their way up the steps, to greet her on the porch. Rachel has a FORCED SMILE when they get up the stairs.</scene_description>
    <character>RACHEL</character>
    <dialogue>Um... Good morning.</dialogue>
    <character>MILES</character>
    <dialogue>Good morning. We're with EZ Lift for Rachel?</dialogue>
    <character>RACHEL</character>
    <dialogue>Oh! Hi, ok. Thanks for coming. So... It's just a ton of boxes in the living room mostly. My son and I are going take off, but my...</dialogue>
    <character>RACHEL</character>
    <dialogue>um... husband is downstairs. I got a storage from you guys so it's just all going back there until I figure out what to do.</dialogue>
    <character>MILES</character>
    <dialogue>Oh ok. So all the boxes are just in here?</dialogue>
    <scene_description>Miles opens the door, and the alarm goes off. Rachel spins back around.</scene_description>
    <character>RACHEL</character>
    <dialogue>Sorry about that, I cancelled the service, but it beeps by default when it's open. Just pull it closed when you're done. Say bye, Zander!</dialogue>
    <scene_description>Rachel looks at Collin on the way down the stairs. He's still in a daze from earlier. Rachel's momentarily confused by this, but keeps walking. She gets in her car and drives off. They notice her car is already filled with belongings.</scene_description>
  </scene>
  <scene>
    <stage_direction>I/E. HOUSE IN EL SOBRANTE - DAY</stage_direction>
    <character>MOVING MONTAGE:</character>
    <dialogue>The boys pick up boxes and load them into the truck. They still aren't talking.</dialogue>
    <dialogue>We see them in the living room lifting and clearing them out.</dialogue>
    <dialogue>Moving some furniture...</dialogue>
    <dialogue>Miles notices a manilla envelope on the table with a wedding ring left on it....</dialogue>
    <dialogue>Walking the boxes down the stairs...</dialogue>
    <dialogue>Loading the truck with boxes...</dialogue>
    <dialogue>Red sticker boxes on one side and blue on the other...</dialogue>
    <dialogue>And finally...</dialogue>
    <character>END OF MONTAGE</character>
    <dialogue>...Collin breaks the silence.</dialogue>
    <character>COLLIN</character>
    <dialogue>I'll go get the last box.</dialogue>
    <character>MILES</character>
    <dialogue>Ok...I'll finish packing the truck.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. HOUSE IN EL SOBRANTE - DAY</stage_direction>
    <scene_description>Collin enters the nearly empty living room. Just a few items are left. A LAMP. A CHAIR. A COUPLE TURNED DOWN PICTURE FRAMES. Collin walks over and turns over one of the frames on the mantle. It's a photo of a uniformed cop, Collin freezes... It's the COP who murdered the young man. While Collin stands there, stunned, he hears a CRASH from the basement. He can't tell if it's in his head. He hears another CRASH, the sound of GLASS SHATTERING...and looks towards the top of the stairs, the door to the basement is ajar. Collin stands at the top of the steps to the basement, and looks down. He hears something else down in the basement fall over and break. His mind is racing. Shock. Horror. Collin is also filled with another feeling. Anger. He balls his fists.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOUSE IN EL SOBRANTE - BASEMENT - CONTINUOUS</stage_direction>
    <scene_description>Collin descends the staircase to the dark basement. As Collin approaches the first turn in the stairs, he sees an OAKLAND POLICE DEPARTMENT flag hung on the wall. He turns another corner, and finds the officer, in sloppy stained clothes. He's standing over a broken sculpture and a few other shattered belongings. The cop is winded, breathing heavily. Distraught and beaten down. The cop looks up, recognizes Collin. Collin recognizes him. The cop looks towards his coffee table. Collin notices his eyes dart, and looks there too. The cop's firearm is sitting there. The cop shifts his weight as if he is going to go for it, and Collin panics in fear. Collin dives his hand into his pocket, pulls out Miles's gun, and points it at the Cop. Just then...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOUSE IN EL SOBRANTE - LIVING ROOM - DAY</stage_direction>
    <scene_description>...Miles comes through the front door looking for Collin.</scene_description>
    <character>MILES</character>
    <dialogue>Yo!</dialogue>
    <scene_description>The alarm begins to BEEP loudly and rhythmically. Miles spots the picture frame flipped over to reveal the photo. He looks at it curiously, like he's seen it before... Suddenly it clicks.</scene_description>
    <character>MILES</character>
    <dialogue>Shit.</dialogue>
    <parenthetical>(yelling)</parenthetical>
    <character>COLLIN!</character>
    <dialogue>The BEEPING of the door alarm continues. Miles sees the open door to the basement--</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. HOUSE IN EL SOBRANTE - BASEMENT - CONTINUOUS</stage_direction>
    <scene_description>Miles bolts down the stairs. He sees the flag at the turn, hits the corner, and freezes when he sees Collin. Collin breathes heavily, gun in hand, pointed at the cop. The frozen cop in front of him. Miles doesn't move a muscle. The alarm sounds, in between BEEPS you could hear a pin drop. The alarm sounds just like the alarm in Collin's dreams. Collin is sweating, and won't stop staring into the eyes of this cop. The same way he stared at the wall of his bedroom in the halfway house. The same way he stared frozen in moments of pure fear these last four days. The cop tries to speak.</scene_description>
    <character>COP</character>
    <dialogue>Don't -</dialogue>
    <scene_description>Collin interrupts him:</scene_description>
    <character>COLLIN</character>
    <dialogue>HOW!!! HOW?</dialogue>
    <dialogue>Are you just LIVING? Just living your life. Moving with your wife...</dialogue>
    <scene_description>The cop switches his focus back to the gun. Collin notices:</scene_description>
    <character>COLLIN</character>
    <dialogue>Oh, does this scare you? What you know about scared?</dialogue>
    <character>MILES</character>
    <dialogue>Collin...</dialogue>
    <character>COLLIN</character>
    <dialogue>Were you worried someone come'd to get ya?</dialogue>
    <character>MILES</character>
    <dialogue>Collin.</dialogue>
    <character>COLLIN</character>
    <dialogue>What? I'm just talkin' to him! You said to make it fun to listen to, right nigga?</dialogue>
    <scene_description>Miles gets quiet again, he doesn't want any part of this.</scene_description>
    <character>COLLIN</character>
    <dialogue>Like a tree on a sign, nigga we cut right down Paul Bunyan ass cops come to chop me at the knees and search the trunk in my own town Did you count his rings when you bled him? When you dead him How old was he? HUH, HOW OLD WAS HE!</dialogue>
    <character>COP</character>
    <dialogue>COLLIN</dialogue>
    <dialogue>That's how many years you decided didn't mean shit</dialogue>
    <scene_description>Collin gestures with the gun idly.</scene_description>
    <character>MILES</character>
    <dialogue>Collin...</dialogue>
    <character>COLLIN</character>
    <dialogue>Moving people in and out for a fee feeding this town decay an appetite of me an appetizer, huh. I MUST be tasty I have to stay angry cuz yal get hazy Stop. and look. and see and yeah you might think you know what's happening but you don't ...FEEL it like WE do.</dialogue>
    <character>COLLIN</character>
    <dialogue>To feel it, it has to... BE you. CUT you You ain't felt what the cut do THEN you'll see the faces, leave the Vases Make this the "fight of our fucking TIME" Whose time is it, is it my time yet, is our time? I paid the fine, I did the time, watched YOU make panicked frantic man fleeing the scene flatline Was it worth it? HUH! Are you perfect??? HUH! Were you right about what's goin' round In Oakdown, where down is up, up is down you monsters have me feelin' like the monster in my own town And I'll say it while I'm rappin, nigga Cuz everybody condition to listen to a rappin' nigga But I'm rappin' to the active nigga You the one cappin' niggas! Huntin' us til a headstone stuck in the mud In a city on the come up but throws no rope down for the ones who it broke down But stuck it out, which turned us some "thugs!" Now the city all brand new, and you throwin out US? / Might as well both break shit, make a fuss! I'm both pictures! See both pictures! SEE BOTH PICTURES!</dialogue>
    <scene_description>Collin starts breaking everything left in the room. Vases, picture frames against the wall.</scene_description>
    <character>COLLIN</character>
    <dialogue>SEE BOTH PICTURES!</dialogue>
    <scene_description>GOES INTO DOUBLE TIME. He puts the gun up and walks towards the cop, gets to the last line.</scene_description>
    <character>COLLIN</character>
    <dialogue>Guess I'm a little bigger what a picture /</dialogue>
    <character>COLLIN</character>
    <dialogue>This might shift the winter Everybody want a body of a cop to splinter I mean why wouldn't I split him he out splittin' wigs for 80k a year And ain't even from here who gone miss him if he disappear--</dialogue>
    <character>MILES</character>
    <dialogue>Hey!</dialogue>
    <scene_description>When Miles speaks, the music go away, we hear how quiet and horrific this is outside of Collin's head:</scene_description>
    <character>COLLIN</character>
    <dialogue>And me the enabler enabling this to be I get no mistakes! But you can mistaken me? You get to make the mistake of takin' aim at me? Do you think you should die for it? If everybody blind, who gonna miss an eye for an eye for it.</dialogue>
    <character>MILES</character>
    <dialogue>Hey!</dialogue>
    <scene_description>The music is back, we are back in Collin's reality:</scene_description>
    <character>COLLIN</character>
    <dialogue>Fillin up with fear I know you feel it, I been feelin' it for years In fact I don't remember ever never feelin' it</dialogue>
    <scene_description>Double time continues for a bit.</scene_description>
    <character>MILES</character>
    <dialogue>Collin!!</dialogue>
    <scene_description>Collin finishes his line and pulls the trigger. Nothing happens, the gun isn't loaded.</scene_description>
    <character>COLLIN</character>
    <dialogue>Difference between you and me is I ain't no killer. I ain't no killer.</dialogue>
    <scene_description>Collin lowers the gun, the cop breathes for the first time. He almost looks disappointed. Collin turns and locks in with Miles, they stare at each other for a good long time. It reminds us of the stare Patrick asked for. Finally Collin looks at the floor, sadness takes him over, and he silently walks away. As he passes, he hands Miles the gun on the way out. Miles reluctantly takes it. Once Collin is out the door, the cop drops to the floor, and starts to tear up. The cop looks up at Miles. Miles looks back at him, unsure of what to say.</scene_description>
    <character>COP</character>
    <dialogue>I didn't mean t...</dialogue>
    <character>MILES</character>
    <dialogue>Doesn't matter.</dialogue>
    <scene_description>Miles walks away and closes the door. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. EZ-LIFT TRUCK - DAY</stage_direction>
    <scene_description>Miles is driving for the first time. They sit in silence. Collin looks out the window. Miles watches Oakland the way they did on the first day, gentrification on top of the hood, restaurants changing, cops around, people walking dogs, crews hanging on corners while girls in sunglasses try to get by. The clash of worlds pushed together. They both see it. Miles looks at Collin. Collin keeps staring out the window.</scene_description>
    <character>MILES</character>
    <dialogue>You good?</dialogue>
    <scene_description>Collin looks back at Miles.</scene_description>
    <character>COLLIN</character>
    <dialogue>No.</dialogue>
    <scene_description>Miles looks at Collin before nodding.</scene_description>
    <character>MILES</character>
    <dialogue>Hey... Can I get a run invite, bruh? Maybe I wanna run!</dialogue>
    <scene_description>The almost good joke gives Collin an excuse to LAUGH.</scene_description>
    <character>COLLIN</character>
    <dialogue>You ain't finna run, Nigga!</dialogue>
    <character>MILES</character>
    <dialogue>I can run! I can be about fitness, I can drink green juice too -</dialogue>
    <scene_description>Miles grabs the green juice in the cupholder. Collin whips his head around to watch Miles take a sip. Miles puts it to his lips, and humorously braces for a terrible tasting drink. He immediately pulls his head back and smacks his lips.</scene_description>
    <character>MILES</character>
    <dialogue>Son-of-a-bitch. That's not bad.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. TRUCK - DAY</stage_direction>
    <scene_description>They ride off down the street, we watch the truck disappear. We can still hear their conversation as they drive away.</scene_description>
    <character>COLLIN (O.S.)</character>
    <dialogue>Who is the next move?</dialogue>
    <character>MILES (O.S.)</character>
    <dialogue>Heatherrrrrrr ... Neel. In the hills.</dialogue>
    <character>COLLIN (O.S.)</character>
    <dialogue>That's Derek Carr's girlfriend.</dialogue>
    <character>MILES (O.S.)</character>
    <dialogue>Who?</dialogue>
    <character>COLLIN (O.S.)</character>
    <dialogue>Quarterback of the Raiders.</dialogue>
    <character>MILES (O.S.)</character>
    <dialogue>Oh WHAT!?! Oh, it's my turn to air out now baby. She bout to hear all about this VEGAS move! They leaving OAKLAND and I am UPSET, HEATHER! Girl, GET YO MAN! He is a disloyal punk, turf hopping-- Vegan and Vegas kinda even sound similar, might be a conspiracy, my bruh. Maybe it's all connected!</dialogue>
    <scene_description>Their dialogue gets quieter and quieter and...</scene_description>
    <character>WE ROLL CREDITS</character>
  </scene>
</script>

Summary: Collin Hoskins, an African-American convicted felon, is struggling to finish the last three days of his probation. Collin, along with his short-tempered white best friend, Miles Turner, works for a moving company located in Oakland, California. One night while waiting for a red light, Collin witnesses a white police officer fatally shoot a fleeing black man. As Collin is haunted by the incident, he begins to have nightmares and experiences hallucinations. At the same time, Miles becomes distraught by the gentrification of Oakland and a resulting sense of loss of identity, home, and belonging. Miles purchases a handgun from a friend on the basis of self-protection, an action of which Collin strongly disapproves. Collin tries to reconnect with his ex-girlfriend Val; there is an awkward distance between them despite their feelings for each other. A witness recounts the fight which led to Collin's incarceration: Collin was working door at a local club when a drunk white customer stepped outside to show off a flaming drink. Collin informed him that this violated state liquor laws but the man verbally abused and shoved Collin, starting a fight which ended with the man beaten and set aflame; Val shockingly witnessed the end of this scene. As Miles continues to display erratic behavior, Val warns Collin of the dangers that may result from a continued friendship with Miles. On Collin's last evening of probation, Miles's young son Sean finds the gun and Collin narrowly averts a tragic accident. Horrified, Sean's mother Ashley forces Miles and Collin to take the gun and leave. Miles and Collin go to a party at an upscale new house owned by an enthusiastic newcomer to Oakland. The "shoot a hipster" T-shirt that Sean gave Miles is misinterpreted as being an ironic self-effacing statement, and the only other African-American man at the party takes issue with Miles's persona, misinterpreting it as cultural appropriation. They get into a physical fight and Miles takes out his frustrations, beating the man. Ordered to leave, Miles terrorizes the host and his guests by firing his gun into the air while proclaiming his authenticity to the neighbourhood. Collin rushes Miles away before the police arrive and takes his gun. In an explosive argument, Collin criticizes Miles for his reckless behavior and the trouble it keeps causing him. Miles returns home and reconciles with Ashley while she treats his injuries, and he realizes that he doesn't face the same struggles as his loved ones. Collin phones Val and, referencing the face–vase illusion from her college studies, asks if she has a blind spot with him and whether she can see past her recollection of the fight. With his probation completed, Collin continues to feel psychologically troubled by the police shooting he witnessed. As he and Miles are finishing a moving job, the house is revealed to be that of Officer Molina, the police officer Collin witnessed killing a man. Collin holds the officer at gunpoint, and Miles watches as Collin launches into a freestyle rap, criticizing the relationship between the police and African Americans, as well as the gentrification in Oakland. He breaks some of the officer's property, but does not shoot the gun, leaving the distraught officer behind. Following a moment of solemnity, Collin and Miles repair their friendship as they drive to their next job.