THE

LAST
BLACK
MAN
IN
SAN
FRANCISCO
4 .11.18

Screenplay by Story by
Joe Talbot & Rob Richert Joe Talbot & Jimmie Fails
1 EXT. HP SHIPYARDS / HP BUS STOP - SUNRISE

An eight-year-old African-American girl with knockers in her

hair stands on a desolate sidewalk behind yellow caution
tape. She licks a candy and gazes upwards – spellbound.

A man in a hazmat suit glides along the pavement, Darth Vader

breaths heaving from his space-mask. He loads pieces of trash
and plants into hazardous waste bags. In the distance, more
men in hazmats crawl along a decaying dock, collecting
various items.

The little girl breaks her gaze and begins down the street,
running her hand along the caution tape. A voice appears.

PREACHER (O.S.)
Why they got suits on and we don't?
Something is going on right in
front of our face. But you stuck on
your i-phone, j-phone 12, whatever.
Blow up in your hand! You cant
Google whats goin’ on right now.
They lucky I’m a man of god now. Or
I’d suicide bomb this mother-.

Tracking with her, we land on a black man in his Sunday best.

He stands on a box, shouting at nobody in particular.

PREACHER
Are ya’ll paying attention? Why do
they have suits on and we don’t?...
Why?!?! Listen to me man!

An old lady drives by and honks supportively at the Preacher.

He waves without breaking focus.

PREACHER
They here to clean this water? Man,
this water been funky as the devils
mouth for fifty years and now they
wanna clean it up?!?!… Not for you
and me, no sir! They got plans for
us.

He points his chin in disgust at the men in white suits.

PREACHER (O.S.)
They got those suits on lookin like
a George Jetson rejects because
they weak. Weak hearts. Weak lungs.
They cant even breathe out here
without a mask on. We were made to
be put through hell to be purified.
(MORE)
 2.

PREACHER (O.S.) (CONT'D)

You understand what I’m saying
brothers and sisters. That’s why I
urge you. Do not consummate with
white women. Protect the black seed
and leave us the hell alone. Unless
you came to really help us.

Across the street at a run-down bus stop, two African-

Americans in their early 20s, JIMMIE FAILS and MONTGOMERY
ALLEN, look at the scene, idly regarding it.

JIMMIE
Crazy what jail will do to a nigga.

Montgomery studies the man while he writes in his journal.

PREACHER
They lucky I’m a man of God now or
they’d catch this fade!

JIMMIE
You think he rehearses this every
morning?

MONTGOMERY
Seems a bit more impromptu.

JIMMIE
Hm?

MONTGOMERY
I think he’s improv-ing.

PREACHER
It’s 2019 out here, we been yelling
about this water since before they
was born!

Jimmie looks anxiously for the bus down the empty road.
Camera begins to slowly push towards him.

JIMMIE
Where’s this bus, man? We’re gonna
be late.

MONTGOMERY
We’ll get there.

PREACHER
So I urge y’all to fight for your
land!

JIMMIE
We’re not gonna get there, bro.
 3.

PREACHER
Fight for your home! Fight! For!
Your! Home!

JIMMIE
Let’s skate.

Jimmie slowly looks to Mont.

Mont turns to Jimmie.

2 EXT. SAN FRANCISCO STREETS - MORNING - TRAVELING

HP SHIPYARDS - Montgomery and Jimmie ride together on his

skateboard. They kick and maneuver in unison.

They skate past decaying docks and industrial buildings. The

preacher's sermon continues as the "Main Score" begins.

PREACHER (V.O.)
This here, THIS is the edge brah.
The final frontier of manifest
destiny. The last edge of the city,
last edge of the country! Man, two
steps further and you'd be drinking
that filthy salt water.

2.1 ILLINOIS ST BRIDGE - Jimmie and Mont skate over the bridge.

PREACHER
We built these ships, dredged these
canals, in the San Francisco they
never knew existed.

2.2 HP CORNER STORE - The young men shoot past a corner store
with a man sitting in front of a mural of himself. He waves.

Hunters Point residents are out in their Sunday’s best.

2.3 PORTOLA ROSE GARDEN - They pass construction workers pulling

apart a decaying roof across from cookie-cutter homes.

PREACHER (V.O.)
And now they wanna build something
new?!? Whole blocks half in the
past, half in the future.

2.4 BERNAL HILL - Jimmie and Mont climb a mountainous hill, the
sun rising over the shipyards at their back. As they summit
the final red boulder, we see a sprawling civilization below.
 4.

PREACHER (V.O.)
But should you venture into their
San Francisco, the one they pillage
for gold, remember your truth in
the city of facades.

The young men walk hurriedly through an altogether different

world; grand Victorians line the street.

Jimmie and Montgomery zip towards the sprawling metropolis.

The duo bomb a rollercoaster hill. This is a serious journey.

2.5 EXT. DOWNTOWN - MORNING - Mont turns and stares out at all
the commuters. He drinks in the city’s new population.

2.6 TENDERLOIN - The young men pedal in unison past droves of

homeless. A shoe flies by their heads. They duck and turn to
see a crazed man running alongside them, ripping off layers
of clothes as he keeps pace. He shouts incoherently.

PREACHER (V.O.)
Look at them look at you, look down
at you. But we built them.

Jimmie and Montgomery skate past towering buildings.

2.7 FILLMORE - The young men skate through an altogether

different world; grand Victorians line the street.

PREACHER (V.O.)
We are these homes. Their eyes...

We narrow in on the details of one very special home as we

intercut with details of Jimmie skating towards it:

Two big attic windows, like eyes stare down on the street.

Jimmie staring forward, focused, skates with determination.

PREACHER (V.O.)
Their pointed brims.

A crooked witch hat tower sprouting from the roof.

Jimmie’s beanie rises into frame as he pedals.

PREACHER
We move as they move.

An old curtain flaps in the window.

Jimmies clutches his coat, flapping alongside him.

 5.

PREACHER
Our sweat, soaked in the wood.

Dew drops glisten on hand-carved fish scale walls.

Jimmie’s cheeks are dotted with sweat.

PREACHER
Gilded in our image.

Jimmie’s gold chain floats upwards glinting in the light.

A tall door with chipped gold leafing catches morning sun.

The music climbs with each new detail until!

3 EXT. "THE HOUSE" - MORNING - CONTINUOUS

Jimmie and Montgomery stand in silence. They look up at a

beautiful but crumbling three-story Victorian.

Jimmie crosses the street towards The House like a moth to a

flame, Mont just behind.

Jimmie and Mont approach the front gate and peer through the
bars.

MONTGOMERY
Are you sure they’re gone?

Jimmie pushes open the gate.

MONTGOMERY (O.S.) (CONT’D)

Jim...

Jimmie floats up the steps, beckoned by some higher spirit.

JIMMIE
(almost to himself)
Her car’s gone...

A couple with a stroller and dog pass Mont.

MONTGOMERY
(trying to appear normal)
How you doing?

The couple don’t seem to care. Mont peeks back up to Jimmie

and closes the gate behind him gently.

MONTGOMERY (CONT’D)
Let’s check the back, hm? Remember
that time he was in the kitchen?
 6.

JIMMIE
Sure, yeah- But bra, did I not tell
you...

Jimmie presses a ring of paint swatches against the railing.

JIMMIE (CONT’D)
It’s Periwinkle. Not Black.

Mont ascends the step jotting this down into his book.

MONTGOMERY
Mhmm, got it.

JIMMIE
Ugh. This garden is a nightmare...

Jimmie continues up the steps out of frame.

3.1 SIDE ALLEY - Jimmie continues forward, he’s on a mission.

MONTGOMERY
I’ll bring my Grandpa’s tools next
time.

JIMMIE
Sick...

3.2 BACKYARD - Through an empty back window, we see Jimmie rise

up the steps. He peers into The House. A moment of soothing
calm and then...

JIMMIE
Jesus, wallpaper’s peeling too.
These people...

MONTGOMERY
Yeah but Jim, you’re not gonna go
inside.

Jimmie’s eyes shift. He has other ideas.

He walks down the steps.

JIMMIE
They’re definitely gone though.

MONTGOMERY
Let’s be quick this time, hm?

JIMMIE
Yeah I know. It just takes time.
 7.

MONTGOMERY
I know, I’ll be at my spot.

3.3 FRONT OF “THE HOUSE" - Montgomery sits at his look-out perch,

flipping past old sketches of Jimmie.

Jimmie paints the windowsill.

We cut wide to see he’s standing atop a bird bath.

He leans onto his tippy toes to peer inside once more. He

sees a sad yellow table in the empty room. He leans forward a
little more...a little more, a-

WHAM! A croissant hits the window beside him. Jimmie turns.

JIMMIE
Jesus!

MARY AND TERRY ZWIGOTT stand there. Mary has a fruit in her
hand ready to throw.

MARY
He’s back again?! GET THE HECK
OUTTA HERE MAN!

She throws it. Terry grabs her arm mid-throw.

TERRY
Hun, those are 3 dollars!

MARY
Stop fffixing my house!

Jimmie tries to finish his job vigorously.

JIMMIE
I’m almost done. Hold on.

MARY
Go paint the neighbors! Theirs is
worse than ours!

Jimmie continues to work faster.

JIMMIE
I’m almost done!

MARY
Look, we will call the cops, man!
I’m serious this time.
 8.

TERRY
We’re NOT gonna call the cops. Just
stop coming back.

JIMMIE
Fine. I’ll finish it next time.
God.

MARY
NEXT TI- GET OFF MY FUCKING BIRDIE
BATH!

Jimmie jumps off. BULLSEYE! She pegs him with a bread loaf.

Jimmie runs away. She shakes her head in confused

frustration.

JIMMIE
Water the plants in the back or I
will!

MARY
Ugh! Why am I always the villain?

TERRY
Honey, I don’t like these divisive
terms like villain.

MARY
It’s insulting...I’m at the
hospital all day long. I wish I had
time to just fix up the house...
wierd-ass kid.

On the street, Mont and Jimmie make a hasty escape. Mont

drops the board and Jimmie leaps atop it.

JIMMIE (O.S.)
Bro, you were supposed to be look
out.

MONTGOMERY (O.S.)
I got distracted.

JIMMIE
You were the one so worried about
them coming home!

They laugh.
 9.

4 EXT. HP SHIPYARDS / MONTGOMERY'S HOUSE - DAY - TRAVELING

Jimmie skates down the center of the street, Montgomery

trotting beside him.

They pass kids hiding in the bushes, men in bowties selling

bean pies, girl rappers and their DP shooting a video, and a
man watching his grandson fix his car.

JIMMIE
Bra, what if OG is right - you
should really stop eating the fish
out there.

MONTGOMERY
I think it’s fine, I mean all fish
has mercury.

JIMMIE
No, but I saw a seagull with a
dick, dude.

MONTGOMERY
Well so, I guess it was male.

JIMMIE
Na bra, like a human dick.
Something wrong with that water,
bra.

MONTGOMERY
Eh, my grandpa said the hazmats are
just there to scare us.

JIMMIE
Nooo bro, they’re not...

We push past Jimmie and Montgomery, past rocky projects and a

hand-painted station wagon, and land on a group congregating
in front of Montgomery's home.

NITTY
Bra, don't kick that Tumbleweave on
me.

Nitty dodges the ball of dirt, weave, and god knows what.

As we near, we see them clearly: NITTY (the group leader),

GUNNA (the look out), FRESH (the quiet one), KOFI (Fresh's
big cousin), STUNNA (talks too much) and a few others.
Although this Greek Chorus' homes are elsewhere in Hunters
Point, this slab of concrete is where they live.
 10.

STUNNA
Aye Kofi, I seen your moms, she was
missing a little bit on top.

The group bursts out laughing. Kofi gives a weak smile,

trying to mask his wounded ego.

Montgomery and Jimmie reach the front steps of the house.

MONTGOMERY
I mean, we shower in the same
water, Jimmie.

The Greek Chorus turns - having overheard this.

GUNNA
So now these niggas showering
together?

FRESH
Probably was.

KOFI
Thats fruity.

JIMMIE
Naw I was trying to tell him don’t
eat the fish, it’s toxic.

NITTY
Well. Duh. They built the atomic
bomb right there.

The group looks out at the water. Montgomery turns back to

Nitty. A small, wry smile spreads across Montgomery’s face.

MONTGOMERY
(whispering to Nitty)
I don’t think that’s true.

Jimmie and Montgomery slowly shuffle past the Greek Chorus up

to Montgomery's house, an old sea captain's lodgings.
Hovering above the house's backyard are the most notorious
housing projects in the city.

5 INT. MONTGOMERY'S LIVING ROOM - DUSK

Jimmie sits on the couch beside Montgomery and his GRANDPA,

who both clutch beers. Grandpa's smile holds a hint of
widowed sadness he's too considerate to burden others with.
The shimmering blue light of the TV illuminates the mens'
faces as if radiating from an aquarium.
 11.

POLICEMAN (ON TV)

Can I help you?

EDMOND O’BRIEN (ON TV)

I’d like to see the man in charge.

MONTGOMERY
(whispering to Grandpa)
He’s walking him into the Chief’s
office.

GRANDPA
(smiling)
Oh dear...

EDMOND O’BRIEN (ON TV)

I’d like to report a murder.

GRANDPA
Now who's that?

JIMMIE
Edward O. Ryan?

MONTGOMERY
Mhm, Edmond O’Brien, that’s right.

POLICE CHIEF (ON TV)

Who was murdered?

They all lean in.

EDMOND O’BRIEN (ON TV)

I was.

Montgomery and Grandpa chuckle.

MONTGOMERY
Oh god.

JIMMIE
What? How?

MONTGOMERY
Just watch.

Through a window behind the trio, we see Mont's rowboat

hitched to a dock across the street. Beyond the dock, the
twinkling lights of ships sprinkle the Bay.

6 INT. MONTGOMERY'S BEDROOM - NIGHT

Mont lies in bed, writing a note on his wall.

 12.

JIMMIE (O.S.)
Hey Mont. Montgomery... How do I
get them out of the house?

MONTGOMERY
Hm?

We can hear Jimmie Peeing.

JIMMIE
What if I pee'd on their table?

After a moment, Jimmie peels back a curtain, and leans into

Mont’s bedroom.

JIMMIE (CONT’D)
Like - I just climb the birdie
bath, broke in, and pee'd all over
the little stupid yellow table?

MONTGOMERY
Wouldn't that ruin the floors?

Jimmie climbs into his cot on the floor, nested snug between
the bathroom and Montgomery’s bed.

JIMMIE
Yeah I guess you got a point there.

Jimmie stares at the ceiling, still thinking.

A gunshot reverberates in the distance.

MONTGOMERY
44 magnum.

JIMMIE
10 blocks.

MONTGOMERY
Closer.

JIMMIE
Hm....Maybe they’d let me live
there as like a caretaker for the
house.

MONTGOMERY
We like having you here Jim.

JIMMIE
I know bra...But there’s no place
like home.
 13.

Jimmie rolls over and looks at the wall. We see a picture of

him as a young boy on the front porch with lots of family.
Beyond the photograph, we see old pin ups, a work To Do list
for The House, old photos of The House, and more family
photographs.

7 EXT. MONTGOMERY'S HOUSE - NIGHT - CONTINUOUS

Faint echoes of laughter spill from the house. Below, the

Greek Chorus jaw playfully under a streetlight. The Preacher
walks past them and they fall hush. A distant foghorn groans.

As he passes out of ear shot, their laughter rises behind

him, swallowing him up. Cop car lights flash off screen.

8 EXT. HP DOCK / HP BAY - MORNING

BLACK - with a pinhole pinch of light. We are a rock in the

hand of a child. Mischievous cackles surround us. The child
launches us high into the sky.

As we descend back to earth, we tumble towards a group of

hidden kids, who all scatter except one. He sees them run off
and then looks up too late, just as the camera hurtles
towards him – WACK – we collide with his head.

From the bay, we see two groups of warring neighborhood kids

hailing scores of rocks at each other from behind makeshift
forts. A few scream insults borrowed from older brothers.

Montgomery watches the dangerous child's game unfold from the

serenity of his rowboat a hundred yards out. He sketches the
strange scene, trying to capture the drama before him, like a
blueprint for a future stage play.

Suddenly, a three-headed fish flops onto the deck of the

boat. Montgomery stares at the floundering oddity.

8.1 A moment later Mont is on the dock shouting lines, leaping

back and forth as if playing opposing characters in a scene.

He’s working out the lines of a shouting match between the

preacher and a hazmat clean up man.

Mont gets a good idea and jots it down.

9 INT. CHINESE GROCERY - AFTERNOON

*Bloop, bloop.* Red Rock Cod swim in place in an overcrowded

tank. A hand plunges into the tank and grabs one.
 14.

Montgomery stands behind the fish counter of the Chinese

supermarket, his apron smeared with fish guts. Behind him,
Mont’s colleague reaches around the tank. Jimmie bored,
making a whirlpool with his finger in the open tank.

JIMMIE
Did you get any writing done this
morning?

MONTGOMERY
Eh. Mngh. Writing is rewriting.
It's all a part of it-

An old Chinese woman politely tries to flag Mont’s colleague.

MONTGOMERY
I can help you, ma’am.

Jimmie swigs a Pepsi and Montgomery prepares her meat.

10 EXT. "THE HOUSE" - LATE AFTERNOON - TRAVELING

Jimmie weaves down the street on his board. He approaches

"The House," and slows to a halt in front.

The windows glow, as night approaches. Inside, Mary and Terry

mill about. Jimmie reviews his paint job from days prior, and
surveys the home's storybook magnificence.

His eye catches something. He approaches the house and yanks

an offending dog doo bag from the front vines. He tosses it
in the neighbor's yard and skates away.

11 EXT. RETIREMENT HOME - DUSK

A nurse helps an old man on the steps of a Victorian in the

Haight. Jimmie skates in wearing orderly clothes. He climbs
the steps where a few elderly residents sit.

12 INT. RETIREMENT HOME PHYLLIS'S ROOM - NIGHT

PHYLLIS, a frail white woman with big scared eyes, lies on

her bed, hair perfectly brushed and draped in jewelry. She
stares blankly at Jimmie as he removes her pants and preps
her for bed.

LIZZIE, her pretty granddaughter around Jimmie's age, sits on

a sofa across the room. Her phone lights her oblivious face.
 15.

Phyllis’ record player begins to skip. Jimmie looks to Lizzie, too

deep in swiping to notice the looping line "over the mountain."
Jimmie places Phyllis on the bed, her pants halfway down.

JIMMIE
(to Lizzie)
Oh, no, don't get up.

Lizzie doesn't seem to hear him. He fixes the needle. He

returns to Phyllis and lifts her again. She glances up at him
appreciatively and begins humming the tune.

PHYLLIS
Thank you James.

JIMMIE
Us natives gotta stick together.

Her initial confusion turns to a nodding smile, as if just

remembering she is a native.

STUNNA (O.S.)
He SO soft tho. You old marshmallow
powderpuff ass nigga.

13 EXT. HP SHIPYARDS / MONTGOMERY'S HOUSE - NIGHT

Gunna and Fresh laugh hard as Kofi gets roasts. Nitty pushes
through the uproar and gets in Kofi’s face, laughing.

NITTY
You weak brah - you a bitch!

Mont, walking home across the street sees Kofi getting punked
by his friends. Mont sets his bag down staring intently.

NITTY (O.S.)
I should snatch your one ass dread
lookin like a Rastafarian sperm.

KOFI
Man, y’all got me fucked up.

STUNNA
He got you fucked up!?!? Thats all
you got to say.

KOFI
Man what am I ‘sposed to do take
off on him?!?
 16.

NITTY
Psh - you know why he ain’t got
nothing else to say?!? I put that
on the fact that this niggas a
bitch brah.

14 INT. MONTGOMERY'S BEDROOM - NIGHT

Montgomery looks deep into the full-length mirror. He clears

his throat and takes a nip of whiskey from the cap. He begins
trying on different voices for size.

MONTGOMERY
What's up nigga? What...is up
nigga? Sup nigguh? Was good neeguh?
Hey nigga! How are you nigga? Good
day, nigga.

15 EXT. RETIREMENT HOME RECEPTION

Jimmie stands behind the front counter.

16 EXT. RETIREMENT HOME ROOF - PREDAWN

Jimmie sits on the steep roof of the retirement home, eating

canned oysters and surveying the city below.

In the far distance, he can see the twinkling lights of "The

House." He gazes at it like a nightwatchman at his post as
the city begins to wake at his feet.

17 INT. MONTGOMERY'S BEDROOM - MORNING

Jimmie's signature beanie, flannel, and skate-worn khakis are

strewn across Mont's bed, as if worn by an invisible man.

Mont opens the door in his long johns to find Jimmie standing
at his mirror. He's in low-hanging jeans and a studded belt,
considering two different goon shirts.

Montgomery freezes.

MONTGOMERY
Are you going to see your dad?

JIMMIE
I mean, I was thinking about it.
But nah. You ready to go?
 17.

MONTGOMERY
Nearly, I’ll get my tools.

Mont nods and returns to brushing his teeth as he walks off.

Jimmie self-consciously removes his fitted cap.

18 EXT. HP BUS STOP - AFTERNOON

Mont and Jimmie sit at their regular busstop, waiting

gardening tools in hand.

JIMMIE
Man where is this bus. We got hella
gardening.

MONTGOMERY
Hey Jim... didn’t you used to live
in that car?

JIMMIE
Oh god.

The car wipes frame

JIMMIE (CONT’D)
From a house to an El Dorado.

A rusty car clunks toward them, duck-farting and hiccuping

yellow smoke. They watch the car as it gasps for breath.

BOBBY, a middle-aged man with a sunny disposition, sticks his

head out of the taped-up window.

BOBBY
Jimmay!

JIMMIE
(unenthusiastically)
Hey, Bobby.

BOBBY
Haha! Whats your farming ass doing
in the street with a rake?

Jimmie tracks the car as it huffs its way out of frame.

The car does an illegal U-turn, hitting the curb across the
street, and screeches to a halt in front of the young men.

BOBBY
Where y'all headed?
 18.

Jimmie checks to make sure the bus isn't coming.

19 INT/EXT. BOBBY'S CAR - AFTERNOON - TRAVELING

Bobby nudges Jimmie jovially.

BOBBY
Jimmie the farmer - with your bitch
ass.

A children’s 49er’s sticker stuck to the passenger car door.

Jimmie’s scratches at it.

JIMMIE
Still the same.

Montgomery studies the backseat, which has been converted

into a bedroom with satin sheets and window curtains. Little
plastic bags litter the pillows.

BOBBY
Yeah! I like what you and your Pops
did with it.

JIMMIE
So much you drove off with it?

BOBBY
Aw, I'm just borrowing it. But man,
I seen your daddy the other day.
That man is alone!

Bobby laughs. Jimmie looks confused by this characterization.

Mont mumbles to himself in the back as not to eavesdrop.

BOBBY
Wooh! So alone.

JIMMIE
Okay?

BOBBY
I told him get a woman, or a dog!
Something!

JIMMIE
Bro...you live in a car...by
yourself.

BOBBY
Yeah, I'm not alone! People like
me, I'm liked. He over there alone,
spitting sunflower seeds in a cup.
 19.

JIMMIE
Well maybe you should go hang out
with him.

BOBBY
Maybe YOU should go hang with him!
When's the last time YOU seen him?

Jimmie looks out the window, sour.

BOBBY
That's why a man has kids, keep him
company, shit.

The car pulls to a stop.

BOBBY
Look at these motherfuckers. You
know how many of them Imma outlive?

Bobby looks out his window at people in a park on laptops.

BOBBY (CONT’D)
Park full of ulcers and panic
attacks. Hemorrhoids. Wanting
responsibility. Tryna own what’s
temporary.

Bobby looks to Jimmie, who stares at a burned out empty lot.

BOBBY (CONT’D)
Shit, that’s gonna be them next
though.

Jimmie studies a mustachioed construction worker leaning

against the empty lot’s fence, smoking a cigar.

BOBBY (CONT’D)
Used to be 100 motherfuckers in
there. With rent control. They
thought that was theirs too.
Landlord burned ‘em out. Cuz he
thought it was his. But you can’t
never own land in America.

Jimmie doesn’t respond, transfixed.

BOBBY (CONT’D)
This car ain’t mine and it wasn’t
never yours. Imma’ outlive your ass
too, Jimmie.
 20.

19.1 The worker breaths his smoke at Jimmie like a devil. The
faint sounds of striking hammers rise. We push towards the
worker, over the fence, and in the depths of hot tar fields.

Hulking construction men zap at iron with welding torches and

pound away at hunks of steaming tar like satan’s henchmen.

The sound of boiling bubbles rise as we cut to -

20 EXT. "THE HOUSE" - AFTERNOON - TRAVELLING

Jimmie and Montgomery walk through the Fillmore, gardening

tools in hand. As they approach "The House," Jimmie's eyes
widen. He continues forward, mouth agape, as men in uniforms
carry boxes past him. He stands frozen like a zombie.

Mary cries into Terry's shoulder as a mover carries a box

down the front steps of "The House." Terry looks up to see
Jimmie and Montgomery with their tools and puts a hand up as
if to say not today boys.

Jimmie turns to the nearest mover.

JIMMIE
Excuse me, what’s going on?

He shrugs and trudges back to the house. ARTURO sits in the

truck, shaking his head, upset. Jimmie approaches cautiously.

JIMMIE (CONT’D)
Sir, what’s happening?

ARTURO
She’s beautiful and I like her, but
right now I cannot do that, because
she fighting.

JIMMIE
What? Fighting what, who?

ARTURO
Fighting because her sister wants
to get her out the house. I cannot
be here.

JIMMIE
Fighting about what?

ARTURO
Yeah because her mom died and now
whose gonna have the house? Who
gonna posses the house?
 21.

JIMMIE
But for what?

ARTURO
That’s what white people do, they
lose a family and they wanna
collect it, and grab it, and posses
it. This is mine, this is yours. I
cannot help her. It’s
unprofessional.

Jimmie looks back at Mary sobbing. He glances up at the

massive house.

MONTGOMERY
So what happens to it now?

Jimmie stares at Mont.

21 EXT. HP PROJECTS - AFTERNOON - TRAVELING

Skateboard wheels roar against the pavement as Jimmie pounds

the concrete, almost in tears.

Montgomery runs alongside like a kid who never played sports.

He glances at Jimmie, wondering if he'll slow down.

Jimmie's legs seem to double in speed as his mind races. He

breaks his long stare to check on Montgomery. He's no longer
beside him. He slows to a halt and looks back.

Montgomery is kneeled over, panting. He points up.

MONTGOMERY
Wanna...Get...Candy?

Jimmie's eyes follow Montgomery's finger up the hill to a

line of people filing out of the door of a housing project.

22 INT. CANDY HOUSE - AFTERNOON

Jimmie and Montgomery stand in a line made up of mostly kids.

LORETTA, the proprietor of the makeshift store, sits behind a

folding table with a cash box on her lap.

Darrel, now counting candy bars instead of throwing rocks,

places them into a purple bag and hands it to his mother.

LORETTA
10 bucks, sweetheart.
 22.

GROWN ASS MAN

Since when?!

LORETTA
Since that’s the best deal you're
gonna get for sixty Twix, hon.

GROWN ASS MAN

Sixty? No miss, I said sixteen. How
am I gonna eat 60 Twix?

LORETTA
I don’t know your life.

GROWN ASS MAN

Man, I’m finna flip this shit.

Behind them, Montgomery studies his friend.

MONTGOMERY
Why'd they have to move out because
her mother died?

JIMMIE
I don't know...I wish they didn't
though. They were tasteless but at
least they didn't fuck it up.

Grown Ass Man exits. Loretta looks up at Jimmie and Mont.

LORETTA
Well if it isn't our own Tyler
Perry. When you gonna put me in one
of your plays?

MONTGOMERY
(blushes)
Do you have any Saltwater Taffy,
Loretta?

LORETTA
You're the only reason I stock up
on that nasty shit, so yes I do.
The usual, Jimmie?...Jimmie?

Loretta smiles apologetically at those waiting patiently.

JIMMIE
Yeah. Six please.

LORETTA
Grrah - you’re gonna get fat again.
 23.

23 EXT. HP STREET CURB - AFTERNOON

Mont lays on the sidewalk chewing his candy with his mouth
open as Jimmie stares in his lap, pensive. A moment passes.

ANDY ROY (O.S.)

Eraaay, fuhck youu Jimbo!

Jimmie slowly looks up to see ANDY ROY, a weathered, middle-

aged white skater covered in tats with his pal WHEATBERRY.

He whisks past, swinging a dead pigeon around like a lasso.

JIMMIE
(under his breath)
Yeah, fuck you back bra.

Andy Roy chucks the pigeon at an advertisement.

MONTGOMERY
Jesus. Who's that?

JIMMIE
This fool Andy. Me and my dad used
to squat with him and these fiends.

Andy continues down the empty street throwing up devil horns.

ANDY ROY
Hell ride! HAHA!

Jimmie looks over to the ad. A smiling realtor - artfully

made-over with a Hitler mustache, devil horns, and 666
sprayed across his forehead - now drips pigeon blood.

Something clicks for Jimmie.

24 INT. REAL ESTATE OFFICE - DUSK

The realtor from the ad, CLAYTON, sits in a small brick

office. A framed photo portrait of Ed Lee hangs on his wall.
Neon from a bar below spills through his window.

CLAYTON
So did I have a dick in my mouth?
Or, like, a Hitler mustache?

Jimmie smirks, a little restless. Montgomery nods politely.

JIMMIE
Hitler mustache.
 24.

CLAYTON
Fuck dude. They make us put our
faces on that stuff, so lame. Guess
it works though.

JIMMIE
Yeah we're curious about a house on
Golden Gate, near Fillmore?

CLAYTON
Golden Gate, yeah, okay. Which one?

JIMMIE
74, it's grey with like gold trim
and uh-

CLAYTON
Yup yup, with the witch hat.

Jimmie looks impressed.

JIMMIE
Yeah, exactly.

Clayton shifts excitedly in his seat.

CLAYTON
That place is pretty special, man.
I used to drive past there on my
way to school every day.

JIMMIE
Where'd you go to school?

CLAYTON
St. Ignatius. You're from here too?

JIMMIE
Third generation.

CLAYTON
Right on! Honestly, that's the kind
of property that got me into this.
If I had it, I’d take out the
inside, keep the old facade, ya
know- But, so it's for sale? I
didn't even hear about that.

JIMMIE
Well, I'm not sure. It seems like
the owner and her sister are
fighting over it.
 25.

CLAYTON
The owner?

JIMMIE
Well the lady that was living
there. But I guess her mom died.

CLAYTON
Oh man. Oof. That sounds like an
estate thing. That's a sucky
situation.

Clayton scans the room, shaking his head. Jimmie looks

nervously at Mont.

CLAYTON (CONT'D)
...and with a house like that?
They’ll be fighting over that for
years.

JIMMIE
For years?

CLAYTON
While it just sits there, yeah,
it’s a pity.

JIMMIE
So it's really just empty?

CLAYTON
Yeah, fucked up right? All these
people on the street while these
big ol’ houses just collect dust.
But shit, cold world no blanket.
Sorry I couldn't be more helpful.

JIMMIE
Yeah...

Jimmie stares at Clayton, gears turning.

Montgomery looks over at Jimmie.

25 EXT. "THE HOUSE" FRONT / ALLEY / BACKYARD - AFTERNOON - TRAVELLING

Jimmie and Mont stand silently staring up at the house. All

traces of its former residents are gone, save a pile of
newspapers. Through the curtain-less windows, the empty
parlor stares back unblinkingly at the young men.
 26.

Jimmie exhales and starts towards the towering property

draped in fog. He makes his way down the side alley, Mont
following close behind.

Jimmie pushes open a gate to the backyard, revealing an

untended garden. They face the back of the house.

JIMMIE
Bra.

A back door window is covered in faded stickers: KEEP TAHOE

BLUE / COEXIST / I'M WITH HER. A Wiccan suncatcher dangles in
it.

JIMMIE
No taste.

Jimmie approaches the door. He tries the knob - locked. He

shoulders it - barely budges.

He steps back, checking the neighbors' windows. Montgomery

takes his place beside Jimmie. They share a look. We hear
nothing but Jimmie's excited breath.

They charge towards the door. Upon impact, WE CUT TO:

26 INT."THE HOUSE" MULTIPLE ROOMS - AFTERNOON - CONTINUOUS

PARLOR - A SMASH echoes from the other side of the house. A

curtain flutters from the distant impact. The room is empty.
Tomb-like. Its vacancy heightens its magnificence.

26.1 FRONT HALLWAY - Empty. But the muffled sounds of new life -
rumbling footsteps and roused voices - creep closer through
the walls and ventilation.

26.2 ATTIC - Still empty. But the stomping grows louder, breathing
more life into the creaking floorboards.

26.3 LIBRARY - Laughter echoes off the walls. The house is coming
alive.

26.4 FRONT HALLWAY - Galumphing now thunders off the walls until -
SILENCE - Jimmie arrives in front of us.

We slowly draw away from him. Jimmie chases after us, as if

pulled by the spirit of the house.

He flies up the spiral staircase and sprints down the

hallway. His foot catches a corner, throwing him to the
ground. THUD.
 27.

26.5 MASTER BEDROOM - Jimmie rolls over onto his back, blood
spilling from his lip as he laughs hysterically.

As Jimmie catches his breath, a faint voice approaches

outside. He picks himself up and walks towards the window.

A group of tourists on Segways stare up at the house through

the mist. The crowd of expressionless faces look like an army
in matching tie-dye and helmets. They circle their guide, who
adjusts his helmet and begins his chalk talk.

TOUR GUIDE (CONT’D)

The other guides will rattle off
some stupid Summer of Love Grateful
Jefferson Quicksilverrrey. But you
distinguished truth-seekers wanna
know about in the real hep-cats who
hung out here, like James Baldwin
in his stylin’ ascots. Here! In the
"Harlem of the West" where Dizzie
and Miles would come play after
their white people gigs. Where
Mayor Moscone got blowjobs from
black hookers. Where Jim Jones
mixed his first cup of Kool Aid.

A couple older tourists look to each other. Their teen beams.

TOUR GUIDE (CONT'D)

Course, ‘long comes Mayor Joe
Alioto, spoiling all the fun,
leveling the neighborhood in the
name of urban renewal. Sorry about
your homes, and your funky shops -
you can set up a shoe shine stand
in the Safeway parking lot!
(he gasps for air)
And yet, a few glorious homes
survived Il Duce’s wrecking ball,
like this masterpiece dating clear
back to the 1800s.

JIMMIE
(to himself)
Na bra.

26.6 EXT. BALCONY - Jimmie pushes the window open and steps out.

TOUR GUIDE
Before the black stuff, this was a
all Japanese, ‘til FDR’s storm
troopers rounded em up into camps-
 28.

JIMMIE
(yelling)
This house was buuh!-

Jimmie spits a mouthful of blood to the left of the tour.

JIMMIE (CONT’D)
Sorry-

He wipes his lip dry on his sleeve.

JIMMIE (CONT’D)
This was built in the 1940s.

The tour guide looks quizzically up at Jimmie.

TOUR GUIDE
(laughs)
Hey there amigo! Uh huh- Let's wave
to our neighbor here everybody.

A few group members tepidly wave, he lowers his voice so

Jimmie wont hear. Jimmie leans forward to listen.

TOUR GUIDE (CONT’D)

That would be about 100 years late
for this style. We can see, just
from his gingerbread trim, this was
built sometime in the 1850s.

JIMMIE
1946.

The tour guide smiles embarrassedly at his group.

TOUR GUIDE
Hhhhm gonna have to disagree with
you there dudeman. No architect in
the 1940s was building in this
style.

JIMMIE
That's probably true, but this
house wasn't built by an architect.
My grandpa built this.

The group, including the tour guide, look up at the towering

piece of real estate with renewed curiosity.
 29.

TOUR GUIDE JIMMIE (CONT’D)

Well I- He arrived in WWII, bought this
lot, and built this house. The
stairs, these windows, the
columns, the archways, the witch
hat, the balustrades, the fish
scales, the little spindles, the
balcony, the wall to keep y’all
the fuck out - all of it by
James Fails the First with his
own two hands in 1946.

Jimmie looks like a king finally restored to his throne -

subjects at his feet, framed in an ornate archway.

A tubby man snaps a pic.

The guide composes himself seeing he's lost his audience.

TOUR GUIDE
Hm. Thats pretty amazing! Well, on
we go to our next stop: the closet
Patty Hearst willfully hid herself
in.

Jimmie smiles proudly as they flee. He turns.

Mont leans against a wall of the Master Bedroom, smiling.

27 INT. "THE HOUSE" PARLOR - NIGHT

The young men huddle around the orange glow of the fireplace
roasting hot dogs. The crackling fire almost feels like a
beating heart. Their long, phantom shadows climb the high
empty walls behind them.

MONTGOMERY
It's a beautiful house, Jim.

Jimmie takes that in, knowing Mont wouldn't just say it.

MONTGOMERY
More beautiful than I could have
imagined.

JIMMIE
Yeah. Not there yet but, almost.

28 INT. "THE HOUSE" MULTIPLE ROOMS - MORNING

ATTIC - Jimmie lays on the floor of the witch hat, pensive.

He stares up at the circular tower’s woodwork. He rises.
 30.

He glides through the attic like a kid on Christmas morning,

his flannel worn open like a robe. He looks up at its steep
ceilings, remembering what was and imagining what could be.

28.1 FRONT HALLWAY - Jimmie runs his hand along the wood paneling
of the staircase.

28.2 PARLOR - Jimmie stands under an archway, blue and green light
hits his face.

JIMMIE
Mont, wake up.

Montgomery starts to wake and looks up at Jimmie.

MONTGOMERY
Your hair...it fits the archway
like a puzzle piece.

JIMMIE
Telling you bro, I belong here.

28.3 ATTIC - Back inside the empty witch hat, Jimmie’s minds eye
twirls upwards towards the ceiling.

28.4 We cut to VHS FOOTAGE of:

A man clinging to a witch hat as it twirls upwards through

the sky. After a moment, we see a construction crane is
lifting the man and the witch hat higher and higher.

GRANDPA (V.O.)
And what’s happening now?

JIMMIE (V.O.)
He’s flying through the air.

GRANDPA (V.O.)
C’mon now.

JIMMIE (V.O.)
He’s flying through the air.

GRANDPA (V.O.)
Jimmie, your Grandpa was a Godly
man but he did not have super
powers.

29 INT. MONTGOMERY'S LIVING ROOM - MORNING

Jimmie, Montgomery and Montgomery’s Grandpa sit on the couch,

enraptured by the old home movie. Jimmie looks excited to be
the narrator for once.
 31.

JIMMIE
He’s on a crane, it’s hauling him
and the witch hat way high up.

GRANDPA
Wait! You got video of that day?

JIMMIE
Yeah, my dad filmed it.

GRANDPA
Hm!

The witch hat – and Jimmie’s Grandpa - are lowered until they
attach to the top of “The House.” Claps and cheers rise from
a crowd below. Jimmie’s grandpa waves from up high.

JIMMIE
Wait. How do you pause? - I think I
saw Willie Mays.

GRANDPA
Willie? No, this was after that.

Montgomery looks up from his crossword puzzle.

MONTGOMERY
Willie Mays was at the house?

GRANDPA
Mhm. Willie came and paid his
respects like we all did. You'd get
here and you'd go see Pastor Jimmie
Fails, "the first black man in San
Francisco.”

Jimmie tries to hide a proud smile. On screen, his grandpa

looks almost mythical as he descends back down to Earth.

GRANDPA
Takes a lot of charisma to let
people call you that. But he wasn't
far off.

Jimmie looks over at a shelf with photo albums.

JIMMIE
Mr. Allen, I was also wondering can
I borrow that one picture?

GRANDPA
Sure son, I ain't looking at it..

Jimmie shoots Montgomery an excited look.

 32.

30 INT. FORREST HILL STATION - MORNING

Tiled walls reverberate with the guitar strums of a greying

black man, his case open for coin. He's turned the Top 40 emo
ballad "How to Save a Life" into melancholic folk. Perhaps he
loves the song. Perhaps he knows his audience.

Beside him, a half-sleeping spanger holds a sign that reads:

I U$ed To liVe here... SF nAtive

Jimmie and Montgomery enter frame and carry us beyond the

busker. A generous goon drops a bill in his case. His music
echoes on as we follow them down a long tunnel, past a
homeless family and droves of desperate masses.

31 EXT. BART, SOMEWHERE FAR AWAY - AFTERNOON - TRAVELING

The BART train howls. Jimmie sits in the window beside

Montgomery, holding a crumpled, B&W photo. In it - a dapper,
young Grandpa Allen hugs a man that must be Jimmie's
grandfather, in an elegantly decorated room.

JIMMIE
That's gonna be us in a few hours.

We pull wide as the train shoots past cookie cutter homes and
rolling, sun scorched hills. We're not in Frisco anymore.

32 EXT. WANDA’S HOUSE - AFTERNOON

A concrete ceiling. A cloudless blue floor. The young men

walk into view, along an upside-down suburban street.

A shirtless kid lies on his back across the street, his head
hanging upside down just off the curb. A pink lowrider
rumbles past. The kid flips over to reorient himself.

Jimmie and Montgomery, now right-side up, approach a pebble-

dashed single story home. Jimmie knocks on the screen door. A
cow moos from the hill beyond the house.

WANDA
Oh Jimmie! Jimmie Jimmie Jimmie!

WANDA, a middle-aged woman in a bolo tie and hoop earrings,

yanks open the door to hug Jimmie. She rocks him back and
forth, then holds him at arms length to get a good look.

WANDA
It's so good to see you, sweetie.
 33.

33 EXT. WANDA'S FRONT YARD - AFTERNOON - MOMENTS LATER

A handsome Asian man, RICKY, skates back and forth on in the

street on Jimmie’s board.

Jimmie and Wanda sit in vintage lawn chairs; Wanda in a

chaise lounge. Montgomery sprawls on the dead lawn beside
them, pulling grass. Wanda cools herself with a battery
powered fan. They’re sweaty, overdressed for the burbs.

JIMMIE
Man, he better not break my board.

WANDA
You should be telling him thank
you, he helped me pick out that
board.
(looks at Ricky lusty)
Besides, sometimes it’s nice just
to watch. Ricky, do that trick you
used to do!

Ricky crouches to do an ollie and lands it.

Jimmie studies Wanda’s swoon.

JIMMIE
Y’all hella cute- uh, how much of
the stuff you still have, Auntie?

WANDA
(imitating Jimmie)
Oh you wanna see the STUFF? You
wanna see the STUFF?
(turning to Montgomery)
Has he been a good house guest for
you? Or does he just show up asking
you for your things?

MONTGOMERY
Oh um. Uh - not yet no.

WANDA
Uh huh, well if you gentlemen can
spare the time - I did set the beds
up in the back and Ricky’s making
his adobo.

JIMMIE
Auntie I would love to but honestly
we should head back tonight. I got
my first place.
 34.

WANDA
Woah...wow! In the city? Look at
you. Y'all must be doing pretty
well to afford a spot there.

Wanda smiles at Mont, who drinks his water like he's chewing
it.

JIMMIE
Yeah, we got lucky. It's super
empty thoough...

WANDA
Uhuh- And your daddy didn't send
you here right?

JIMMIE
No.

WANDA
You're sure?

JIMMIE
Swear to god.

WANDA
Cause I hope he's done dragging you
into his schemes.

JIMMIE
Auntie. This is for us.

Jimmie looks her deep in the eyes.

WANDA
Okay...Okay! Jayboe, I'm so proud
of you man, I miss that place.

Ricky eats shit. He looks over at Wanda with a boyish shrug.

She looks at him lustily, a spark reignited.

34 INT. WANDA'S GARAGE - AFTERNOON - MOMENTS LATER

Wanda opens a garage door, revealing leaning boxes and

precious keepsakes. The room is a treasure trove.

Jimmie lifts a gorgeous red rug, revealing chest with old

robes and thrown-like chairs. He salivates.

JIMMIE
Damn, I knew you had some of it,
but is this everything?
 35.

WANDA
Everything your dad didn’t smoke
up.

Jimmie nods.

WANDA
Sorry hun, that came out a little
harsh.

JIMMIE
I'm fine.

Jimmie lifts what appears to be an old champagne bottle,

accidentally revealing a hidden cigarette dispenser within. A
fan of old, yellowed Marlboros blossom out.

JIMMIE
Woah. That's mainey.

WANDA
I always had a feeling - out of the
family, you'd be the one to come
looking for this stuff.

JIMMIE
What's that?

Jimmie walks towards a round table with a mic and headphones

beside a Tiffany lamp.

WANDA
Oh that's my own little thing. From
now. You know I always wanted to be
a DJ.

JIMMIE
I didn't know that.

WANDA
Yeah, and it's a nice way to get to
know people out here. I just ask
'em questions and record it.

JIMMIE
That's dope.

WANDA
I'll have Ricky play it for you on
the way back. He can drive y'all.

JIMMIE
Thank you auntie. I didn't wanna
ask, but...
 36.

Jimmie bats his lashes coyly.

WANDA
Psh, he doesn't mind, right Ricky?

Ricky shrugs obligingly.

RICKY
Be nice to move somebody back for
once.

35 EXT. HIGHWAY 4 - SUNSET - TRAVELING

We hear nothing but a microphone crackling. Then bubbles.

Jimmie and Montgomery sit in the back of a stake bed truck

with chicken wire walls, surrounded by unique furniture.

Golden light strikes the rows of crops as they fly by. The
clean lines dance in perfect rhythm, one after the next.

JANE (V.O.)
Sometimes, after a long day, I like
to come home and put my head
against Ponchy's chest.
(giggles)
And when he takes a sip of beer, I
can hear the bubbles, um, bubbling.

WANDA (V.O.)
Mhm, please thank Ponchy for
letting us put a mic on his tummy.

We hear the women laugh as the bubbles fizz and pop.

Ricky smiles, as if hearing Wanda's laugh makes him miss her.

WANDA (V.O.)
And who's this we have here?

A dog snores loudly.

JANE (V.O.)
Well, Pepper only snores like this
when she's tuckered out from a long
hike. So that usually makes me feel
good, like we had an eventful day.

Ricky leans back and slides open the cab window. He shouts,
but we can barely hear him.

RICKY
How y'all doing back there?
 37.

Jimmie stares out, mesmerized by the miles of farmland.

Montgomery gives a thumbs up, his hair rippling in the wind.

JANE (V.O.)
I suppose, most of the sounds I
like are probably pretty regular.

WANDA (V.O.)
(in a punch-in)
Far from it. Today we're joined by
our wonderful neighbor Jane from
Pine St. And now I encourage you to
listen to the sounds of your home.

The truck disappears into the distance.

36 INT/EXT. "THE HOUSE" MULTIPLE ROOMS - NIGHT

2ND FLOOR BUTLER STAIR - The sound of floorboards creaking.

Ricky, Jimmie and Mont walk up the noisy steps, hands full of
furniture.

36.1 MASTER BATHROOM - The sound of rumbling pipes. Jimmie turns

on a sink. His eyes track the sound of flowing water through
the walls, until water gushes out of the faucet.

36.2 CONSERVATORY - The sound of a flame catching. Jimmie lights

the gas sconce with a match. The hallway illuminates with a
warm yellow glow.

36.3 LIBRARY - The sound of an old ticking clock. Mont inspects

the title of a book then slides it into a shelf by an old
exposed clock.

36.4 FRONT HALLWAY - The sound of a thunderous pipe organ. Jimmie

plays an organ built into the walls. Dust shoots out of the
pipes.

36.5 PARLOR - Mont runs a finger along the beads of a glass lamp.

36.6 ATTIC - The sound of wind howling and windows shaking. Ricky
peels away, waving bye to the young men through the window.

36.7 EXT. “THE HOUSE” - All the sounds culminate in a full chorus.
It's as if the skeleton of the house - now filled with
furniture and people - has pulsing organs and blood pumping
through it. A toilet flushes.

Montgomery picks up the final furniture off the street and

starts towards the house.

MONTGOMERY
So Ricky never lived here, eh?
 38.

JIMMIE
Nah, Wanda was in this rock
climbing phase, dating this white
dude.

Jimmie begins to lift a rug when he notices TIM ELLORY - a

retired cashmere liberal with remnants of a Connecticut
accent – across the street. Tim surveys the scene trying not
to stare, while his dog poops.

Jimmie trots down the steps and towards the man, with warm
purpose. Tim looks up, surprised.

JIMMIE
Hi sir. I'm Jimmie Fails, we
haven't yet had the chance to meet.

Jimmie wipes his dusty hand and extends it. Tim takes it
instinctively. Jimmie shakes as if sealing a deal.

JIMMIE
Welcome to the neighborhood!

TIM ELLORY
A-ha ah, yes! Welcome. Tim! Tim
Ellory.

Mid-shake, Tim looks back at the house - a few pieces of

stunning, antique furniture remain on the street while
Montgomery works away in the window.

TIM ELLORY
Geez, fast moving market huh, I
don't remember a sign going up.

JIMMIE
Didn't need to, but look Tim - I
really want you to know I’m gonna
to be the best neighbor you ever
had.

TIM ELLORY
Well...alright Jimmie. Thank you!

JIMMIE
My pleasure. You'll have to pardon
me, we've got lots to do.

TIM ELLORY
Oh, of course.

Jimmie half-bows, then jogs back across the street. He grabs

an armful of furniture and carries it inside. Tim looks on
slightly dazed, as Jimmie joins Montgomery in the window.
 39.

36.8 PARLOR - Their collection of furniture sits in the center of

the dark empty parlor, like pirates treasure in a hollow
cave. The young men study their bounty, moving wrappers
strewn about like Christmas morning.

37 INT. "THE HOUSE" PARLOR - MORNING

Jimmie lies peacefully on the couch, satin pillows crowning

his head.

Mont lays on the floor on a slapdash bed of cushions and silk

sheets. Both of them are draped in tapestry-turned-comforters
with matching wildlife landscapes.

Silence.

JIMMIE
I’m gonna drink my coffee and
scratch my ass while I read the
paper.

MONTGOMERY
You don’t even read the paper.

JIMMIE
Cuz I never had a home to read it
in.

A hint of excitement enters Montgomery’s face.

MONTGOMERY
You think this can be really be our
home?

Silence.

JIMMIE
Yeah.
(beat)
I just don’t want to have to keep
it secret, and lie, you know.

MONTGOMERY
Sometimes you have to lie.

JIMMIE
Yeah...

MONTGOMERY
Plus, I think you need to be here.
The house needs you. Though I might
be crazy.
 40.

JIMMIE
You’re right though. Cuz you know
what’d be actually crazy? Leaving
it empty... Just sitting outside,
staring at it. That’s actually
crazy. We could throw a party... Or
put on one of your plays.

Montgomery’s toes wiggle at the prospect of it.

JIMMIE (CONT'D)
We could yell...AHHHHHH!

MONTGOMERY
The neighbors?

JIMMIE
AHHHHHHHHHHHHHHH!

MONTGOMERY
Zeeeeeeeeeeeee-hooooo!

38 EXT. FILLMORE HILL - AFTERNOON - TRAVELING

Jimmie sits on the back of a food truck, grinning

mischievously. He hangs on tightly as the truck zigzags over
and through the roller coaster hills.

STUNNA (O.S.)
THIS. NIGGA'S. A.

39 EXT. MONTGOMERY'S HOUSE - SUNRISE

STUNNA
BITCH.

Silhouetted against a violent orange sky like shadow puppets,

the Greek Chorus' arms flail in profile as they yell.

GUNNA
(to Nitty)
A van pulled up last night and Kofi
ran off like a bitch.

KOFI
Never bra, I didn't even see them
niggas!

FRESH
Quit lying bra, you saw ‘em.
 41.

STUNNA
(to Nitty)
He a liability bra. Li-a-bil-i-ty!

Montgomery watches from across the street, captivated by the

theatrically of the tableau. Through his eyes, it looks like
a stage production.

Fists slap together.

Mouths hurl slurs and saliva.

A pair of eyes cry angrily.

NITTY
Alright, alright, everybody shut
up. Kofi. What happened?

Kofi avoids eye-contact.

NITTY
Did you run, bra?

KOFI
Na, I didn’t run.

NITTY
Hit me.

KOFI
What?

NITTY
Hit me.

KOFI
For what? You my folks!

NITTY
Fucking hit me!

FRESH
Kofi! Hit that nigga!

Nitty socks Kofi chest, knocking the wind out of him.

NITTY
I SAID HIT ME!

GUNNA
Wow, he actually soft!

Kofi shoves Nitty back, weak.

 42.

NITTY
Haha! GOD DAMNIT man. Who brought
this nigga?

MONTGOMERY (O.S.)
That’s great! That’s great! Yes!

They turn to see Montgomery crossing the street. He

approaches Nitty.

MONTGOMERY
What are we...hm....I believe you.

Montgomery turns to each member of the group, giving notes

like a theater director. We scan their confused faces. He
arrives at Kofi.

MONTGOMERY
You’re okay there.

Montgomery lingers for a moment, then marches back across the

street.

MONTGOMERY
Keep building it!

STUNNA
Man, take yo' ass in the house!

FRESH
C'mon bra, he's retarded.

STUNNA
And!?

40 EXT. "THE HOUSE" - AFTERNOON

Red autumn leaves flit downwards like snowfall. We descend

with them past each gorgeous story and land on Montgomery in
the front yard, attempting to catch them with a garbage bag.

Jimmie cleans the roof’s gutter, cig in his mouth.

40.1 INT. “THE HOUSE” PARLOR - AFTERNOON

Jimmie and Montgomery hang a large photograph of Yosemite on

a picture ledge.

41 EXT. "THE HOUSE" BALCONY - AFTERNOON

Jimmie leans off the edge of the balcony, a rope tied to his
belt. He touches up the gold paint he can now finally reach.
 43.

42 INT. "THE HOUSE" BUTLER’S STAIRS - AFTERNOON

Jimmie stands at the bottom of a grand, but worn-out

staircase. He sips coffee from a mug.

JIMMIE
When you drop in bra, lean back.

At the top of steps, Montgomery stands awkwardly on Jimmie's

skateboard. He precariously leans over the top step, where
wooden planks have been laid to make a path down the stairs.

MONTGOMERY
I'm gonna lean forward.

JIMMIE
Bra. No.

MONTGOMERY
I'm gonna.

JIMMIE
Why would-

MONTGOMERY
Cause I'm gonna get nervous. I'm
just gonna go with that.

JIMMIE
Just- Bra. LEAN BACK. From the
start or your gonna fuck your sh-

Montgomery drops the board. He leans forward and tumbles down

the steps like a cat trying to swim. He lands upside down.

MONTGOMERY
Jesus!

43 INT. "THE HOUSE" CONSERVATORY - AFTERNOON

Jimmie carefully peels away old wallpaper, revealing long-

hidden wood beneath. Montgomery lays crumpled on the floor,
dusty and scraped up from his tumble. He scratches away glue
residue from the wall, groaning.

JIMMIE
Bruh it’s still not separating.

MONTGOMERY
(groaning)
Just gotta dampen it more.
 44.

JIMMIE
I specifically said backwards, bra.

MONTGOMERY
I wanted to know what it feels like
when you eat shit.

Jimmie shakes his head, smiling.

44 EXT. THE AMBASSADOR SRO - AFTERNOON

A black HOMELESS OPERA SINGER belts "O mio babbino caro" in

perfect Italian. His booming voice almost drowns out a couple
fighting down the street. A strung-out man dances along.

Jimmie watches, transfixed. Instead of his signature flannel

and black beanie, he's wearing the goon clothes he'd tried on
in Montgomery's mirror.

Jimmie stashes his board in a bush beside the singer and gives
him a dollar. He crosses the street into a brick building.

We tilt up the building to the 13th floor. A man sits in the

window, like a deposed king banished to some sequestered
tower. He watches the little people scurry about as he spits
sunflower seeds at the world below.

45 INT. THE AMBASSADOR SRO - AFTERNOON - MOMENTS LATER

Jimmie flips through pirated DVDs in cellophane bags. The

homemade labels read: UNDER SIEGE. CLIFFHANGER. THE PATRIOT.

JAMES SR.
I seen your cousin Al the other
day. Down there struttin’ around,
like a Frisco fruit cup. I know his
daddy mad as hell!

JAMES SR., a once-athletic man with a hard-earned rasp, sits

at a table cutting a cover for Chuck Norris' INVASION USA.
Bags of DVDs and sunflower seeds surround him.

JAMES SR.
You still skateboarding?

JIMMIE
Nah.

JAMES SR.
Hm.
 45.

JIMMIE
What?

JAMES SR.
C'mere and help me cut these out.

Jimmie joins his dad at the table, adopting a slightly

different voice than we've heard him use with Montgomery.

JIMMIE
Remember that warehouse we squatted
at with Andy and them?

JAMES SR.
Who? Those satanists?

JIMMIE
Ha, yeah, we lost it cause we
didn't pay taxes, right?

JAMES SR.
Hell na, I paid OUR share of
property tax on that. But who
cares, ol’ drafty-ass roach nest.

JIMMIE
But so, why were you doing all
that? We were able to stay there
right? Nobody was fucking with us.

JAMES SR.
At the time, yeah, but we were
trying to get it so if the cops
showed up, we could say we paid
taxes and they’d have to leave us
the fuck alone. Shit, it was that
or sleeping on the street with your
little ass.

Jimmie nods unsentimentally processing the information.

JIMMIE
Right, appreciate it dad. So... if
I'm at a place now, owners left it,
and I'm gonna pay taxes-

JAMES SR.
And you put the gas and electric in
your name?
 46.

JIMMIE
Right, I'm doing that next. But, if
I been working on it for 3 years,
rent doesn't have to be cash,
right? Labor counts as payment?

JAMES SR.
You've been working on a house 3
years? What you been doing?

JIMMIE
Painting, gardening, I fixed the
stairs up. I prolly still got a
bunch of the receipts too.

JAMES SR.
Okay, okay! You doing it like your
old man. That's good. And nobody's
come by to check on it?

JIMMIE
Nope, it's empty.

JAMES SR.
Good, that buys you time. They been
gone 3 years?

JIMMIE
Na, just recently.

JAMES SR.
Wait what? You were doing work
while they were still in it?

JIMMIE
Yeah.

JAMES SR.
Where's this house?

JIMMIE
It's the house, in Fillmore.

Jimmie's dad stops smiling.

JAMES SR.
What house?

JIMMIE
Our old house.

JAMES SR.
Fuck you mean our old house? Have
you seen that house?
 47.

JIMMIE
Yeah, I go there a lot.

JAMES SR.
Then you would know that’s not your
house. And that’s not your black
ass neighborhood.

James Sr. angrily spits a mouthful of sunflower seeds.

JAMES SR.
Little disrespectful, lying ass...

JIMMIE
What? I'm not-

JAMES SR.
Nigga, I know you skateboard.

JIMMIE
Oka-

JAMES SR.
Yeah I see all the shit down there,
everybody's little path. I'm like
30 steps ahead of y’all.

He takes a big swig of seeds.

They fall back into silence. Jimmie picks up the scissors and
starts cutting the labels.

JAMES SR.
Go on and get. Messing up my day.

Jimmie stares at him, frozen.

JAMES SR.
Go on.

46 EXT. FILLMORE BUS STOP - AFTERNOON

Jimmie sits despondent at a bus stop, his mind still

replaying the conversation as his leg restlessly taps away.

A gentleman with a grey pony tail and orange skin enters

frame. With the exception of tennis shoes, a backpack, and a
lei around his beck, he is completely naked. He puts a toilet
seat cover on the seat next to Jimmie and sits down.

Jimmie is unfazed - he’s seen this a million times.

 48.

NAKED MAN
Excuse me, have you been waiting
long?

JIMMIE
(vacantly)
Hella long, bro. I might just
skate.

NAKED MAN
Oh that's nice.

The men turn to see a cable-car-on-wheels thumping towards

them with drunk partygoers spilling over the railings.

The vehicle slows to a halt in front of them. ZACH a black

techie rips off his knock-off Ray-Ban's to get a better look.

ZACH
Oo! This guy fucks! Ey. Sundeep!!!
Bro... This guy fucks!

The others notice. Naked Man shrugs with an obliging chuckle.

PARTY BUS SQUAD

THIS GUY FUCKS. THIS. GUY. FUCKS.

Naked Man offers a polite wave. The bus pulls away.

NAKED MAN
Oh, this city.

JIMMIE
I already know bra.

47 EXT. FILLMORE HILL - SUNSET

Jimmie bombs an epic hill, pink and purple clouds behind him.
His board wobbles more...and more...and PHWACK! He dives face
first into the ground as we cut to:

48 INT. "THE HOUSE" LIBRARY - NIGHT

Jimmie hammers angrily at a wooden door frame. BOOM-BOOM-

BOOM. Blood from his scrape drips down his bare shoulder.

BOOM-BOOM-CRACK.

JIMMIE
FUCK!

Montgomery bursts in covered in paint, a roller in hand.

 49.

MONTGOMERY
You okay?

Jimmie sits in the door frame of a hidden room behind a false

bookcase. He glances back at Mont, a little embarrassed.

JIMMIE
Yeah.

Jimmie laughs, embarrassed.

MONTGOMERY
What is this?

JIMMIE
This little room I used to come in
when my dad was doing his thing.
Cool right?

MONTGOMERY
Yeah man. Did you see him today?

Jimmie scoots out as Montgomery gently swings the false wall.

Light swings back and forth on Jimmie’s otherwise dark face.

JIMMIE
Yeah.

MONTGOMERY
How’d it go?

JIMMIE
He said this was a bad idea.

MONTGOMERY
Well what do you think?

JIMMIE
Maybe he’s right.

MONTGOMERY
I thought you said he’s an idiot.

Jimmie tries not to chuckle.

JIMMIE
What if we shouldn’t be here
though?

MONTGOMERY
Who should be here more? Some
millionaire?

Montgomery looks up to the wood Jimmie was working on.

 50.

MONTGOMERY
They’d want it cause it looks nice.
You’re the reason it looks nice.

JIMMIE
I dunno-

DING DONG. Jimmie spins to shut the secret door. Darkness.

JIMMIE
The fuck?

MONTGOMERY
I invited somebody.

49 INT/EXT. "THE HOUSE" FRONT HALLWAY - NIGHT - CONTINUOUS

Montgomery open the door. Kofi stands there, nervous.

MONTGOMERY
What's good nigga? Glad you could
make it.

Kofi slowly enters and slaps fives with Montgomery.

MONTGOMERY
Pardon me for a sec.

Mont scurries off as Kofi takes in the biggest house he’s

ever been in.

KOFI
Y’all got a organ?

Kofi notices Jimmie staring at him from the end of the hall.
Kofi nods ‘whats up.’ Jimmie nods back slowly. Kofi continues
to the parlor.

KOFI (O.S.)
Got columns and shit...

50 INT. "THE HOUSE" PARLOR - NIGHT - MOMENTS LATER

Kofi shifts in a stiff Victorian chair. He looks over Jimmie,

a little confused by his blood-stained goon clothes.
Montgomery smiles politely. Flower arrangements plucked from
neighbors gardens sprinkle the room.

None of them quite know how to act under these foreign

circumstances. All three have beer in mismatched glass
chalices.
 51.

An eerie creaking sound comes from upstairs. Kofi looks

around the candlelit room.

KOFI
It's just y'all here?

JIMMIE
Yeah. It just makes noises.

Kofi scans the highest ceilings he’s ever seen.

Montgomery studies Kofi.

MONTGOMERY
Nice to see you in that chair. I
didn’t know you’d pick that one,
but I think I’m glad you did. It
looks good on you.

KOFI
(eying the chair)
Yeah right on bro, this shit kinda
awkward. But this place hella cool.

MONTGOMERY
Yeah, Jimmie's been doing a lot to
fix it up.

KOFI
How'd y'all get this?

MONTGOMERY
It’s Jimmie’s, his grandpa built
it. He was the first black man in
San Francisco.

KOFI
Oh shit, this that house.
(to Montgomery)
Man, he used to always talk about
this. But you know niggas in group
homes be exaggerating, tryna' act
special. But you were foreal huh?

Jimmie nods, as Kofi looks around.

MONTGOMERY
You were in a group home?

JIMMIE
Yeah. For like a year.

MONTGOMERY
Huh.
 52.

Something clicks for Montgomery. He looks back at the two of

them. A beat passes.

MONTGOMERY
You guys wanna go for a schvitz?

Jimmie turns, a smile cracks through.

JIMMIE
A schwitz?

51 INT. "THE HOUSE" SAUNA - NIGHT

The trio sit in a cloud of smoke and steam in a homemade

sauna. Montgomery has his shirt off, Jimmie and Kofi have
opted to sweat through all their clothes.

Loretta's candy bags litter the cedar seats. Jimmie takes a

final puff off a blunt and tries to pass it, no takers.

KOFI
Wait, your grandpa made this, too?

JIMMIE
Nah, these white people did.

KOFI
How was he the first, though?
(turning to Montgomery)
This nigga woofin'.

Jimmie adopts a cadence that Montgomery hasn't heard.

JIMMIE
Na bra, swear to god, whole
neighborhood was, like, a ghost
town when he came from New Orleans.
It'd all been Japanese, but-

KOFI
Fillmoe? Psh never, bra.

JIMMIE
Yeah. But they all got rounded up
into War camps. And my grandpa
wasn’t tryna move into someone
else's shit- Not like that. So he
built this.

KOFI
Fuuuuck.
 53.

MONTGOMERY
Fuuuuck.

The trio fall silent.

JIMMIE
You still skate?

KOFI
Na.

JIMMIE
Aw, you were raw, bra.

KOFI
Yeah- remember when Rick got caught
stealing from the candy lady?

Jimmie bursts out laughing.

JIMMIE
Braaaa. He was an ugly crier!

KOFI
Bra, I'm sayin'! And then Ms. Homer
made him shave his head...But her
white ass fucked up his lining. So
his shit was crooked as fuck.

JIMMIE
Lombard-Street-looking-ass...

KOFI
BRUH! Lombard Street thooough-

Kofi falls onto the floor giggling.

KOFI
Bra, I can't even...I'm finna piss
myself. Y'all got a bathroom?

JIMMIE
Yeah. Down the hall. The room with
the lil' claw-foot tub.

KOFI
Bet. Man, you niggas made it, man.
That’s crazy.

Kofi exits with a puff of steam, chuckling.

Jimmie smiles at Montgomery, grateful.

 54.

52 INT. "THE HOUSE" FRONT HALLWAY - MORNING

Jimmie grabs a screw from between his lips and drills it into
a new lock on the front door. He shuts it, proudly locks it
and looks over at Mont, deeply focused on reviving the organ.

JIMMIE
You should uh...you should have a
room, bro.

Montgomery looks up at Jimmie, embarrassed.

MONTGOMERY
Aw Jim, that’s okay.

JIMMIE
Nah, seriously. I've been in your
space forever - this spots yours
too, you know.

MONTGOMERY
Any room?

JIMMIE
I mean...sure.

53 INT. "THE HOUSE" PARLOR & DINING ROOM - MORNING - MOMENTS LATER

As if pulled by some spirit, Montgomery floats forward. His

eyes catch the corners of various rooms as he ambles forward.

Jimmie stands on a chair in the background fiddling with an

electrical box. He flips a nob and the room lights up with a
warm glow.

Montgomery enters the dining room, his head turned up at the

heavens. It’s his very own Sistine Chapel: paintings of
colorful birds spread their wings across the ceiling.

MONTGOMERY
Is this one okay?

JIMMIE (O.S.)
Yeah...I mean, you sure you want
the dining room?

Montgomery nods to himself, taking it all in. He begins to

measure the wall with his wingspan, muttering calculations.

MONTGOMERY
It's perfect.
 55.

JIMMIE (O.S.)
Dream big bra, it's yours.

54 INT. MONTGOMERY'S BEDROOM / HALLWAY - AFTERNOON

Montgomery, wearing an old werewolf mask, sorts through props

and costumes. Only a few tools remain hanging on his once-
covered walls, the rest packed away in scattered milk crates.
He begins organizing metal pulleys and clews into a crate
with other stage rigging materials.

In the next room, Jimmie paces back and forth on the phone.

JIMMIE (O.S.)
No the power’s been on. I just need
the bill in my name - uh huh.

Grandpa enters, the phone cord hitting his chest. He lifts it

and feels his way into Montgomery's room.

JIMMIE (O.S.)
Great, when will I get the first
invoice?...And there's no way you
can mail that sooner?

GRANDPA
(quietly)
He talking about paying some bills?

Mont expertly wraps a cable and packs it, mask still on.

GRANDPA
‘Cause I wouldn't say no if he
offered to chip in a little more.

MONTGOMERY
He already pays half, Grandpa.

GRANDPA
Well he's been here for a while
now. He isn't exactly family.

MONTGOMERY
I think he knows that.

Montgomery removes the mask, putting it in a crate. He pulls

a drill from a hook on the wall.

GRANDPA
So what's all this you're up to in
here?
 56.

MONTGOMERY
Just packing some things. It's for
a project.

GRANDPA
Since when? We haven't even talked
about the characters yet?

MONTGOMERY
It's a- well I'm still working-
don't quite have a plot yet.

GRANDPA
We could brainstorm a little.

MONTGOMERY
We’re in a bit of a rush, but I’d
love to soon.

GRANDPA
Oh sure. Thats okay, son.

Jimmie enters.

JIMMIE
You about ready bra?

Grandpa stands up.

GRANDPA
Well, whatever it is I’m proud of
you.

55 EXT. MONTGOMERY'S HOUSE - AFTERNOON

Catcalls from the Greek Chorus fail to land on Montgomery,

head cocked listening, fascinated. He pushes a cart full of
crates, various prop hats stacked atop his head.

FRESH
Oooh Monty, that’s hard.

NITTY
Yeah, that’s clean, you should
start rocking that bra-bra.

Jimmie hauls a chest of Montgomery's gear, shaking his head.

STUNNA
Hey Monty whats under that coat?
You flashing yo weenie to all the
girls, huh?
 57.

Jimmie yells back as he continues walking.

JIMMIE
Bro, with that hair, you look like
a Simpson.

The Greek Chorus burst out laughing. Mont smiles proudly.

STUNNA
Bra you got one shirt! You look
like a fiend!

Jimmie cracks a half-smile.

KOFI
Just like his momma and his
daddy... Yeah I remember.

Jimmie's smile vanishes. He turns to face Kofi.

NITTY
Family of fiends!

KOFI
He probably got lace curtains in
there for they little dollhouse.

The men around Kofi crack up.

KOFI
Swear to god bra, two grown-ass men
playing house! With candles and
shit! I was dying!

GUNNA
(laughing)
Look, this motherfucker so mad!

KOFI
Shoo, bra! Get on! Aye Mont’ teach
him how to vanish!

FRESH pretends to flick a match.

Jimmie breaks his stare, turns, and walks towards Montgomery.

Nitty hugs Kofi, proudly.

STUNNA (O.S.)
Kof’ got his balls back!
 58.

56 INT. "THE HOUSE" CONSERVATORY & KITCHEN - NIGHT

An expressive sketch of the Greek Chorus captures the joyous

moment they humiliated someone, Kofi standing front and
center. Montgomery's hand enters and plucks out the
Rockwellian pencil shading on FRESH.

Jimmie stands in an old robe at the corner whisking eggs with

a fork. He watches Montgomery.

JIMMIE
You’re really drawing them?...All
they do is talk shit.

MONTGOMERY
You talked shit when I met you.

JIMMIE
No I didn’t.

MONTGOMERY
You did. It’s fine though.

Jimmie watches Montgomery sip a beer and continue sketching.

JIMMIE
Well why did you hang out with me
then?

MONTGOMERY
You care about things. I liked you.

He grabs a chewed-up pencil from his crate of art supplies.

JIMMIE
You really don’t give a fuck what
anybody says?

MONTGOMERY
I shouldn’t get to appreciate them
just cuz they’re mean to me? That
seems silly.

Jimmie furrows his brow, confused. He looks up and sees a

neighbor through the window whisking eggs in her kitchen. He
studies the middle-aged woman in her robe.

JIMMIE
Let’s go out.

Dreamy, sweeping strings appear.

 59.

57 MONTAGE: FILLMORE PEOPLE-WATCHING - NIGHT

EXT. VR WINDOW - Jimmie and Mont sit in the dark, sipping

40's of beer. They peer into a window as if watching tv.

A man in a VR helmet and underwear reaches blindly in an

empty room. After a lonely moment, a girl steps into view
wearing a matching helmet and oversized shirt. They swat at
virtual predators, finally bumping into each other. They rip
off the masks and laugh hysterically.

57.1 EXT. SPLIT WINDOW - Two young women sit on opposite sides of
a converted bedroom, split down the middle by a hanging bed
sheet. Woman #1's yoga routine is interrupted by a knock at
the door. A man enters her side, tiptoes past her, ducks
under the sheet-wall, and embraces Woman #2.

JIMMIE (O.S.)
Bro, that's supposed to be a living
room.

Jimmie and Montgomery study the respective sides of the

girls' mantle, each with differing decorations.

JIMMIE
They would've done the same shit to
our house. Putting 5 people in a
room.

MONTGOMERY
We're quite fortunate.

They clink bottles.

57.2 EXT. HOUSE PARTY WINDOW - A large Victorian pulses with the
vibrations of music and the energy of millennials. A man
dances in a corner window. His gaze catches Jimmie and
Montgomery ogling from outside. He smiles and waves them in.

The young men tipsily look around, alarmed someone has caught
their peeping. They look back up at the house.

Partygoers hang over the second story balcony. A couple sit

on a fire escape; legs dangling, throwing feathers.

Jimmie finishes his bottle. The duo and walk into towards
camera, until their bodies black out the frame. They step
through the other side, into the world they'd been watching.

58 INT. HOUSE PARTY MAIN ROOM - NIGHT - CONTINUOUS

Jimmie and Montgomery enter the house, passing various

partygoers.
 60.

They stop and watch a man with Robert-Plant-hair and musical-

theater-gusto hand-dances and sing to a song playing
overhead.

Jimmie stares at him, eyes glazed. Montgomery grabs a bottle

off the shelf and swigs it, looking around.

59 INT. HOUSE PARTY ANTLER ROOM - NIGHT

SERENA, a Berkeley girl conceived to Paul Simon, nods.

JIMMIE
You know the wallpaper on the
outside wall is hella harder to
remove because it’s moist, like
condensation, but then when you
finally do, you see they used WHITE
glue. Like fucking Elmer’s. Like
what was the thought process?

SERENA
Yeah, no idea.

JIMMIE
Yeah. I know. But if you wanted to
have a tour, that would be fun.

SERENA
Sounds good - I’m gonna bring these
drinks. You’re welcome to come -

JIMMIE
Yeah, if that’s cool.

Jimmie reaches for the beer cups she’s filled.

JIMMIE (CONT’D)
Sorry I’m talking about this house.
It’s stupid. I’m just kinda excited
about it.

They walk off, revealing a pomade-preened guy explaining

Hyphy lingo to a skeptical collegiate black woman.

A trans man and his bubbly friend share a sarcastic toast.

60 INT. HOUSE PARTY KITCHEN - NIGHT

Serena sits on a counter by her friend, BILLY, an

intellectual stoner in his grandpa’s PJ’s and Sam, a sweet-
faced dude holding a huge stein of beer.
 61.

Jimmie stands awkwardly at the edge of the group.

SERENA
She’s this beautiful, vivacious
person dating so many cunty guys.
It’s like, don’t blame the
messenger I’m just trying to help.

JIMMIE
That’s shitty.

Serena turns to him politely.

SERENA
Yeah it’s hella shitty!

BILLY
But if it’s a self esteem issue,
what really can you do?

SERENA
I mean, I told her. I’m pretty sure
I told her- you can sleep with Sam
if you want.

Sam nods sheepishly. Jimmie looks confused.

A cheer from outside catches Jimmie’s attention. He looks out

the window overlooking the backyard.

Amidst a small crowd, three young bros violently yank at a

small pine tree. It sways back and forth as they wrestle it.

BILLY
So the thinking is, you have sex
with someone whose not shitty once-

Jimmie watches out the window, a little shocked.

SERENA
Exactly! And then your bar is like
too high for those cunty roadies
and untalented comedian guys.

A few onlookers outside egg on the men struggling with the

sapling. Suddenly, Jimmie appears in frame. He piles on and
begins yanking with them, to the rising cheers of the crowd.

61 EXT. HOUSE PARTY BACKYARD - NIGHT - CONTINUOUS

Jimmie looks excited to be a part of this team. With his

help, the men uproot the tree.
 62.

BRYAN, a giant, swings it overhead and victoriously drives

the root clump into the ground in an explosion of dirt.

AURA (O.S.)
You fucking idiots!! Bryan, what
the fuck is wrong with you!!

AURA shoots down the back steps, tipsy and enraged. She
shoves Bryan back as he chuckles.

BRYAN
Aw, babe, sorry, it's good.

AURA
What the fuck, my fucking landlordz
tree, you assholes!?

BRYAN
I’m gonna fix it. I’m gonna fix it.

JIMMIE
Yeah, that's my bad too. I can
help.

Jimmie leans over to pick up the tree.

BRYAN AURA
Yeah it’ll be fine. What, who are you? I don't even
know you.
(turning to Bryan)
Tonight was MY night. MY-

JIMMIE
Ah- Okay, who are you. I don't even
know you. I'm from here.

Aura turns to Jimmie, confused he's still talking to her.

AURA
Uh what? Like, how did you even get
here?

JIMMIE
How did YOU get here? The fuck? I'm
born and raised here. I'm third
generation.

BRYAN
Uh, hey bud, uh, we don’t know you.
You know? So, go man, alright?

JIMMIE
Alright bud. But I'm taking the
tree.
 63.

AURA
No way asshole! Leave the tree!

JIMMIE
I feel a connection to it.

Jimmie starts towards the steps with the tree.

AURA
Why could you do thaaat?

Brian holds her waist and whispers into her ear.

BRYAN
Babe...babe...it's dead.

62 INT. HOUSE PARTY MULTIPLE ROOMS - NIGHT - CONTINUOUS

Jimmie walks through the kitchen and into the hall, tree in
tow. He reaches the main room to see the party is in full
swing. Mont, bottle in hand, is jamming with the hand-dancer.

JIMMIE
Aye, c'mon Mont.

MONTGOMERY
Dancing.

JIMMIE
Bra, I need help with the tree.

His frantic dancing slows as he drunkenly notices the

branches dragging through the living room.

63 EXT. "THE HOUSE" STREET - NIGHT - TRAVELING

The young men walk home, each carrying sides of the tree.

MONTGOMERY
(loudly)
I mean!

Jimmie eyes his neighbors' sleepy houses as they go home.

JIMMIE
Bra, shhh.

MONTGOMERY
(loudly whispering)
I hahd ah grreat time. Youuu, you
dodn't dance.
 64.

JIMMIE
Shhh, I dance.

MONTGOMERY
Yeaaah you could, but you dodnt-
soo why a tree?

JIMMIE
I dunno bra. To make a point I
guess.

Montgomery tugs the tree, stopping them.

MONTGOMERY
Theres no point! You can’t care SO
MUCH about what they think. Life
isn perzonal.

Jimmie turns back.

JIMMIE
Bra, you don’t get it.

MONTGOMERY
GET WHAT!

JIMMIE
Bra! You weren’t raised like... I
raised myself. You had someone to
make you feel good. I had to like
adapt and like win over so many
people cause I was alone. That’s
why I fucking care.

Jimmie walks up the steps to the House. Mont remains frozen.

64 INT. "THE HOUSE" ATTIC - DAWN

Jimmie lies on his newly-assembled bed. He looks small

underneath the steep towering walls, alone for the first
night in longer than he can remember.

His minds wanders to Serena and he slips his hand under the
sheets. Loud drilling and strange space-jazz burst through
the shaking walls from Montgomery's room. He pulls his hand
out from the sheets and turns to sleep.

65 INT. "THE HOUSE" CONSERVATORY - MORNING

Jimmie looks out the window at nothing but fog.

 65.

JIMMIE
(to himself)
Thick as fuck today.

66 EXT. "THE HOUSE" BACKYARD - AFTERNOON

A deep hole in the ground looks like a shallow grave.

Jimmie crouches above it, digging - his sleeves rolled up,

biceps covered in dirt, cig hanging from his lip. Montgomery,
hung over, sprawls under the newly planted tree.

Jimmie shakes his head as he digs.

JIMMIE
We need fertilizer, shit's dying.

Montgomery groans.

67 EXT. “THE HOUSE” FRONT STEPS - AFTERNOON - TRAVELING

Jimmie and Mont carry bags overflowing with asters in bloom.

They climb the first flight of stairs and come to a halt.

Mary Zwigott, the previous resident, sits on the front steps

of the house. She looks lifeless.

Montgomery looks to Jimmie, unsure if they should run.

An almost haunted wind catches the fringe of Mary’s blouse

and howls through the trees. Mary shakes her head at the
memory of her old foe.

JIMMIE
(cautiously)
Hey. What are you doing here?

Mary’s exhaustion gives way to a resigned half-smile.

MARY
What are you ever doing here?

Jimmie looks nervous. His eyes drift to the house.

JIMMIE
Uh- didn't you move out though?

Mary looks past Jimmie at Montgomery, who stands holding the

flower bags like an idiot.

MARY
Yeah. They changed the locks on me.
 66.

She studies Jimmie’s young face. It’s the first time she’s
really looked at him.

MARY (CONT’D)
What do you want, man?

JIMMIE
I’m sorry. That sucks.

Mary softens a little.

JIMMIE (CONT’D)
How long are you going to be here?

MARY
I don’t know yet. Our flight's
tomorrow so...

JIMMIE
Ok. We'll come back tomorrow then.

Jimmie nods to Montgomery who lifts the bags. Mary eyes their
tools and chuckles to herself.

MARY
Great. That’s nice.

They turn and walk away.

MARY (CONT’D)
In this crazy fucking city, you’re
still here!

68 INT. BUS - AFTERNOON - TRAVELING

The young men sit in the back of the bus, their colorful
flowers beside them.

MONTGOMERY
You think she's gonna stay there
all night?

JIMMIE
Watch bra. We'll come back and
she'll be painting the windowsill.

Jimmie glances around the bus.

Loretta’s former flame with the fez winks at Jimmie.

Further down, two oily street kids with white-people-dreads

and camping backpacks sprawl across the seats. Their pit bull
forces its snout into the girl's lap.
 67.

Jimmie's nose crinkles, as the dog sniffs her crotch with

increasing fervor. The street kids don't seem to notice.

A group of people shuffle off and on the bus.

BRENDA (O.S.)
(into phone)
Vikki, yes I know what time those
meetings start. I’m 23 years clean,
I’m the speaker, okay? I...oh my,
Vikki Imma call you right back-

Brenda drops her phone and jumps towards Jimmie. He stands to

hug her, surprised.

BRENDA (CONT’D)
Jayboe!- Sir, could you get my
phone?

JIMMIE
Hi mom.

They hug, then sit back down across from each other.

JIMMIE (CONT’D)
I thought you and Ron were in LA.

BRENDA
No, I came back a few months ago.
You know your little brothers been
asking about you.

JIMMIE
Oh, cool - this is my friend, Mont.

BRENDA
Uh huh I’m Jimmie’s mom, oh thank
you.

Montgomery extends a hand. Brenda shakes it.

MONTGOMERY
Pleasure to meet you, ma'am.

JIMMIE
How long are y'all here?

BRENDA
Oh, still seeing.

Brenda nods. A few passengers look up from their phones,

puzzled by the nonchalance of the interaction.
 68.

JIMMIE
Well, we been staying at the house.
You guys could come check it out.

BRENDA
Oh, that's nice.

JIMMIE
I mean the house, my dad’s old
house. We've been fixing it up and
stuff.

BRENDA
Ah, we’d love that. We’d love to
come over, yes.

Brenda smiles vacantly at Montgomery. He gives her an awkward

smile back. A few quiet seconds pass.

JIMMIE
Cool.

BRENDA
Well I’ll call you. I got your
number.

JIMMIE
Oh, I don’t have a phone?

BRENDA
Well we’ll just stop by then.

A moment passes.

JIMMIE
Okay well this our stop.

BRENDA
Okay, good to see you son.

She pops up to hug him once more.

BRENDA (CONT’D)
Oh my god, you’re taller than me
now.

Jimmie and Montgomery exit.

69 EXT. MONTGOMERY'S HOUSE - AFTERNOON - CONTINUOUS

The bus doors open. Through the fog, we slowly start to see
two worried pedestrians whisper in hushed tones as they walk
off. Mont and Jimmie look at them concerned.
 69.

69.1 At Monts house, candles, flowers, and the Greek Chorus are
gathered, bleary-eyed and dejected on their slab of concrete.

They avoid eye contact with one another, trying to mask their
tears. Their matching necklaces hold freshly laminated photos
of Kofi with the caption "RIP KOFI."

Jimmie and Montgomery freeze. They stare at the Greek Chorus,

first in shocked confusion, then in horror.

JIMMIE
What the fuck? What happened?

Nobody answers.

JIMMIE
What fucking happened?

GUNNA
They shot bra.

JIMMIE
What? Who?...Who?!

GUNNA
Some niggas, man.

JIMMIE
For what?

GUNNA
He tried to buff em out.

JIMMIE
For what?

STUNNA
What's with all the questions bra?

JIMMIE
I just...I don't get it. We just
seen y'all-

STUNNA
And nigga?

JIMMIE
And I don’t fuckin get it.

STUNNA
Then get on bra.
 70.

JIMMIE
No, what the fuck? It’s my friend
too!

Stunna approaches Jimmie; eyes angry. Jimmie tenses up,

protectively.

Stunna wraps Jimmie into a hug so hard the flower bag falls
out of Jimmie's hand. Jimmie stares off, expressionless.

70 INT. MONTGOMERY'S LIVING ROOM - AFTERNOON

Jimmie and Montgomery sit on the couch, lifeless. Grandpa

sits facing the open window where mourners can be heard.

GRANDPA
That poor boy. And his mother-

A moment passes.

GRANDPA
I'm sorry Jimmie...

They look to Grandpa, their bodies frozen.

GRANDPA
I hope I never made you feel like
you weren't welcome here.

Jimmie's brow furrows, confused.

JIMMIE
No, I never felt like that.

GRANDPA
Cause wherever you been, you don’t
have to tell me, but you two just
stick together.

JIMMIE
Of course Mr. Allen.

Mont and Jimmie look at each other.

GRANDPA
'Cause I won't always be here.

MONTGOMERY
Grandpa...

JIMMIE
Mr. Allen, don't worry about us.
 71.

They wrap their arms around Grandpa.

GRANDPA
Ok. Alright. I’m fine.

71 INT/EXT. MONTGOMERY'S BEDROOM - DUSK

Through the window, we see Nitty under the foggy streetlight.

He stands spiritlessly on his slab.

Beside him, a trail of dark soil from Jimmie's flower bag

lays tossed like an arching brushtroke. Nothing can be heard
but the loud thrum of crickets.

71.1 Montgomery sits in his bed looking out at Nitty stand alone.
Jimmie sits on the floor where his cot once was.

WANDA (V.O.)
We're listening to the sounds of
crickets behind Bill and Sue
Selby's home. Something cozy about
them - let's listen in.

The crickets continue.

Jimmie turns to Montgomery.

Mont scrolls through his phone, looking at the RIP messages

on Kofi’s wall.

Mont turns to Jimmie.

MONTGOMERY
I was writing a play about him, you
know.

JIMMIE
You don’t have to stop now...

Mont nods to Jimmie.

JIMMIE (CONT’D)
I know it sounds weird, but I feel
like that coulda been me...if not
for the house.

MONTGOMERY
You a funny motherfucker Jimmie.

JIMMIE
Man. I wanna go home.

Mont looks out the window.

 72.

Nitty stands alone on the corner by the vigil, alone.

Music begins as-

72 MONTAGE: HUNTERS POINT

INT. GUNNA’S HOUSE - In the late evening, Gunna consoles his

son, Darrel, as he tucks him into bed.

72.1 INT. BOBBY'S CAR - In the dead of night, Bobby plays

solitaire as he listens to the radio. His girlfriend smokes.

72.2 INT. PREACHER'S HOME - In the early hours of the morning, the
Preacher adjusts his bow tie in front of the mirror.

72.3 EXT. HP SHIPYARDS - The Preacher walks down a desolate street

under an orange sky. He places his soap box in the middle of
the frame. He steps on top, takes a deep breath, and just as
he opens his mouth-

73 EXT. "THE HOUSE" - MORNING

JIMMIE
FUCK!

Jimmie and Montgomery stand on the sidewalk in front of “The

House” which is now littered with his grandpa's furniture.
Every last piece from inside lies scattered on the concrete,
like tossed trash from a spurned lover.

Jimmie lifts a broken chair, a few shattered splinters barely

hold it together.

MONTGOMERY
Oh god.

Jimmie mechanically starts problem-solving, collecting dewy

cushions from the sidewalk and tossing them on the couch.

JIMMIE
How’d she toss all our shit?

He lifts the last cushion to find his cigarette-dispenser

broken. He clutches its remains in his hand.

MONTGOMERY
I don't think it was her...

Jimmie follows Montgomery's worried gaze to a "FOR SALE" sign

with Clayton's face printed on it, smiling back at him.
 73.

JIMMIE
Fucking...Traitor...

He storms over and kicks the sign with all his might.
Pamphlets fly everywhere.

He stares at the advertisement. Something in him changes.

JIMMIE
Okay... Okay...

He turns back to the strewn furniture and yanks open a

toppled set of drawers and pulls out a dark burgundy suit.

Jimmie starts off. Montgomery follows.

JIMMIE
Could you stay and watch the shit?

Jimmie drops his board and skates off like a cowboy.

Montgomery turns to the orphaned property.

He leans down to right a lamp and notices a tossed pamphlet.

He picks it up and inspects it. His brow furrows.

74 INT. SAN FRANCISCO BANK - AFTERNOON

Jimmie sits antsy, wearing the burgundy suit that was clearly
tailored to the larger figure of his grandfather. He taps his
shoes against the cold marble and looks across at a Latino
man in a J.C. Penney suit hammering away at a keyboard.

BANKER (O.S.)
Sorry, how can I help you today?

JIMMIE
I want to buy a house.

BANKER
A house! That's exciting. Are you
working with an agent?

JIMMIE
No, do I need to?

BANKER
No, not necessarily. Do you have a
price range in mind?

JIMMIE
I have a house in mind.
 74.

BANKER
Huh, okay. And it's on the market,
I assume? How much are they asking?

JIMMIE
At least 4 million.

BANKER
Ok and how much would you be
willing to put down?

JIMMIE
How much is usual?

BANKER
Well, typically we'd be looking to
secure at least 20%.

JIMMIE
I wouldn't have that.

BANKER
Sure that’s understandable. It’s
going to be hard to land a place
like that but suppose I asked
instead - how much do you make per -

JIMMIE
No no look, I get it. You're gonna
type up all the answers I say and
none of 'em are going to work in my
favor. I'm young, I'm black, I'm
not rich. I came here knowing all
that. But let's be real - you also
got a quota to meet. I'm not
calling you a predator-

BANKER JIMMIE
(interrupting) -but you’re trying to make your
Sir. Thats not how this works- money. So let me help you do
that... Give me whatever deal
you gotta give me. I don't care
what it is. Cuz unlike all the
other people that default, this
is the only house I'll ever
want. So I'll never miss a
monthly bill. Ever-

BANKER JIMMIE
(interrupting) Give me your highest interest
No I understand you feel that rate. Fuck me. You don't even
sir but- have to feel bad. Cuz I'm going
to pay back every single cent.
 75.

75 INT. REAL ESTATE OFFICE - DUSK

CLAYTON
OK OK you got me. YOU WIN! You
charming bastard.

Clayton fake-laughs into his phone and looks over to

Montgomery, who sits across from him. Montgomery's eyes
wander anxiously around the messy office. Clayton hangs up.

CLAYTON
How's it going man?

MONTGOMERY
Fine sir. I noticed the house we'd
discussed is now for sale.

Clayton leans back his seat, his eyes narrow.

MONTGOMERY
There were some alarming things in
your literature I thought you might
want to know. And certainly the
Bureau of Real Estate would.

CLAYTON
Uh huh...

Montgomery steadies his shaking hand, and raises the

pamphlet.

MONTGOMERY
This says the property has a view
of the Golden Gate? Which I don't
think is true, well it isn't.

Clayton's brow furrows.

MONTGOMERY
It also claims to have all original
"fixtures, floors and faucets".

Clayton nods slowly.

MONTGOMERY
And are you planning on disclosing
there's no septic Fresh? So any day
now, the garden could be flooded
with...shit.

CLAYTON
Where's this going man?
 76.

MONTGOMERY
Well, together this seems like
false advertising, which is grounds
to void a sale. Potentially revoke
a license. Perhaps it isn’t worth
it to you to take this on.

CLAYTON
I thought it might've been you
guys.

MONTGOMERY
Excuse me?

CLAYTON
What's your deal man?

MONTGOMERY
I don’t have a deal.

CLAYTON
Look, someone else on this floor
would've got it if it wasn't
me...at least I’m from here, right?

Montgomery tries his best to stare down Clayton, and hide his
nervous hands under the table.

CLAYTON
I put your stuff on the street. I
could've had it trucked off but I
left it out for you guys.

MONTGOMERY
I'm serious. I will report you.

CLAYTON
For what? Listing a view of the
bridge? And fixtures? I literally
copy pasted that shit. Go ahead.

MONTGOMERY
Well you’re lying about the history
of the house. You're saying here
it's 100 years older than it
actually is.

CLAYTON
No I'm not?

MONTGOMERY
Yes, you are. James Fails built
this house in 1946.
 77.

CLAYTON
James who?

Clayton goes into his desk. He pulls out a photocopy of a

very old document.

CLAYTON
What are you talking about? 1857.
Architect's Gil-hoo-ley- some shit.

All oxygen leaves Montgomery's lungs.

CLAYTON
Look, if you need a week to find
somewhere else, then take it. But
don't try to pull some squatters
rights shit on me, man.

Clayton tosses Jimmie's electric bill across the table.

CLAYTON
I know your name. I don't want to
call the cops. I don't want to do
that to you.

Montgomery stares at Clayton, shell-shocked.

76 EXT. "THE HOUSE" - NIGHT

Montgomery arrives home to find the furniture is gone. All

that remains is the couch, upside-down. Mont climbs over it
and looks up.

Jimmie sits like a gargoyle on the front porch rail above -

soaked in sweat. He tranquilly smokes.

Montgomery climbs the last step. He studies Jimmie.

MONTGOMERY
Where’d you go?

JIMMIE
Doesn't even matter bra. I got
everything inside... except the
couch. Shit fell on me.

Jimmie laughs darkly. Montgomery looks concerned.

MONTGOMERY
Jim, I spoke to the realtor-

JIMMIE
Fuck that guy.
 78.

MONTGOMERY
Yeah well he’s gonna keep throwing
us out. And eventually call the
cops.

Jimmie shakes his head, stewing.

MONTGOMERY (CONT’D)
I don’t know how much longer we can
keep doing this.

JIMMIE
I understand if you can’t, but I’m
not leaving bro.

MONTGOMERY
Jimmie, he said your-

JIMMIE
Where else am I gonna go? My dads
in an SRO. My aunt’s out in
bumfuck. My mom...I don’t even know
where my mom is. I’m not leaving.
I’m the last one left.

MONTGOMERY
We have my house-

JIMMIE
I can’t go back there bro.

Mont starts to cry.

JIMMIE (CONT’D)
Bro...don’t cry...this house, this
is what I do. It’s what WE do.
Shit, you said it - who deserves to
be here more than us? Right? This
place is ours. We can’t just give
up now. We gotta fight, right?

Mont wipes away his tears and tries to force a smile.

JIMMIE (CONT’D)
Right?

Mont nods, a cancerous lump in his throat.

MONTGOMERY
Yeah...yeah, you’re right. I’m with
you Jim.

Jimmie nods appreciatively at Mont and looks away.

 79.

Mont stares at Jimmie long and hard. An idea begins to brew.

77 INT. "THE HOUSE" DINING ROOM - NIGHT

Montgomery scribbles furiously into a notepad. He rips out

the sheet, places it onto a growing stack, and cracks his
back.

The pocket doors slide open behind him.

JIMMIE (O.S.)
Oh shit. You're writing?!

Mont turns to see Jimmie in his doorway. Mont nods solemnly.

MONTGOMERY
It's a play. I'd like to put it on
here in a week. If that's alright?

JIMMIE
Fuck yeah. Get it bra!

Jimmie exits. Montgomery turns back to his opus.

A soulful voice begins singing Scott McKenzie’s “If You’re

Going to San Francisco.”

78 MONTAGE: A CREATION

EXT. HAIGHT ST. - Mike Marshall croons for passing tourists.

78.1 INT. "THE HOUSE" DINING ROOM - Montgomery sits at a sewing

machine stitching together two different t-shirts.

78.2 EXT. "THE HOUSE" FRONT STAIRWELL - Jimmie discovers a new

realtor sign affixed to the front gate. He tears it down.

Mont watches from the top of the stairs, worried.

78.3 EXT. HP SHIPYARDS - Montgomery hands a flier for his play to

the preacher, who sits on his box eating a sandwich.

78.4 EXT. “THE HOUSE” NEIGHBORHOOD -Jimmie hands fliers to white

neighbors, calling out to them like a carnie.

78.5 INT. "THE HOUSE" CORNER OF A ROOM - Montgomery finds Jimmie

with a hammer in hand, sleeping. He pulls a blanket on him.

78.6 EXT. HP BAY - Montgomery shouts lines, leaping from one side
of his boat to the other. He rehearses with himself, as if
playing opposing characters in a scene.
 80.

78.7 EXT. “THE HOUSE” SIDE ALLEY - Jimmie looks up from his
gardening to see a pair of drones flying overhead.

78.8 INT. "THE HOUSE" BUTLER’S STAIR - Montgomery watches Jimmie

with troubled eyes, as Jimmie lacquers the step. A script
drops. He grabs it and looks up at Montgomery above.

JIMMIE
Damn, you wrote all this?

MONTGOMERY
There’s more...but I’d rather you
see that in person.

78.9 EXT. HAIGHT ST. - Montgomery stands intrigued watching Mike

Marshall sing his heart out. A man on a monowheel zips past.

79 INT. "THE HOUSE" ATTIC - MORNING

Velvet curtains frame white text projected on the back wall.

The text recalls Old Hollywood posters:

THE LAST BLACK MAN IN SAN FRANCISCO

a Stage Play by Montgomery Allen

As the acapella voices compete for the last note, we pull

back to see chairs now arranged in precise rows.

DING DONG.

JIMMIE (O.S.)
Montgomery?

DING-DONG-DING-DONG!

JIMMIE (O.S.) (CONT’D)

Shit. Hella fucking early.

Jimmie carries us down the stairs towards the front door. The
house looks better than it ever has, in near museum condition.

80 INT/EXT. "THE HOUSE" MULTIPLE ROOMS - MORNING - CONTINUOUS

Through stained glass with a crest of a “T,” we see Jimmie’s

dad standing in the doorway. He's wearing his nice clothes: a
roomy green suit and a Stetson hat.

Jimmie opes the door.

JAMES SR.
Why you dressed up like a whiteboy?
 81.

Jimmie looks down at his regular outfit. James Sr. can see he
caught his son off guard and pivots.

JAMES SR.
Oh, it’s for your little show, huh?

JIMMIE
Uh, yeah.

He looks past Jimmie and makes his way inside for the first
time in years.

JAMES SR.
Man.

He peaks in the parlor, nodding to himself as he struts,

aided by his cane.

Montgomery emerges from the basement with a chair, upholstery

still ripped from having been tossed on the sidewalk.

JAMES SR.
You mess up my daddy's chair, Mont-
gum-ery?

MONTGOMERY
Oh, no sir. We're, was a...

Montgomery looks to Jimmie for help.

JAMES SR.
You got stage fright huh?

James Sr. passes Montgomery, patting his shoulder.

JAMES SR.
I don't care about the chair, son.

He walks down the hall and sits down at the organ. He yanks a
few knobs and begins playing something resembling Bootsy
Collins’ “I’d Rather Be With You.” He stops and smiles.

JAMES SR.
My daddy hated when I played that
shit.

81 INT. "THE HOUSE" MAIN STAIRCASE - MORNING - MOMENTS LATER

James Sr. sits, studying the staircase railing. He runs his

cane across the wood.
 82.

Below, Mont welcomes in Tim Ellory and his wife, holding a

flier. The couple make their way upstairs, taking a moment to
drink in the home they’ve only ever seen from outside.

JAMES SR.
Come on in, don’t be shy. His
grandpa built this. Not bad for a
black man huh?

TIM ELLORY
Oh no, very good, very good.

James Sr. chuckles proudly as the couple passes.

JIMMIE
I guess you’re not so worried
anymore huh?

JAMES SR.
Na, you still an idiot. But you’re
my idiot-

James turns to another group admiring the architecture as

they pass.

JAMES SR.
Crazy part is we don’t work here,
this is ours. But we’re hiring
help, applications upstairs, go on
ahead.

James Sr. chuckles to his son.

JIMMIE
I honestly didn’t think you would
come.

JAMES SR.
Yeah well at my age, a trip like
this-
(he taps his heart)
Figured I should come see how this
was all working out though. I know
you think I be getting mad just to
get mad, but I got my reasons.

A moment passes.

James Sr.’s eyes float to the front hall below. Jimmie turns
to follow his gaze.

Wanda stands looking at a framed photo she gave Jimmie. In

it, Grandpa Fails theatrically holds a hammer for camera by
the front step.
 83.

Wanda looks up. She sees the men and inhales deeply.

WANDA
Well...the two James'.

JAMES SR.
(lifting himself)
Ahh, Miss Wa-Wa! How you doing
little sis?

Wanda ascends the staircase.

WANDA
Fine - you look good James.

JAMES SR.
(laughs)
Oh, you know me.

JIMMIE
What about me?

WANDA
You too, sweetie.

She reaches them and scoops the men into a hug. In his
family’s arms, Jimmie melts.

MONTGOMERY (O.S.)
Curtain's up in 10!

Nobody moves.

82 INT. "THE HOUSE" ATTIC - AFTERNOON

An eclectic audience fills the makeshift theatre. Wanda

introduces herself to Andy Roy and Gunna; Tim Ellory
pontificates to Bobby who think he's kidding; the hand dancer
teaches Gunna's children air guitar. New faces fill the gaps
between those we've met.

The audience falls silent as the lights drop. The curtains

creep open to reveal an eerie blue spotlight on Montgomery.

He stands in profile, dressed exactly like Kofi - oversized t-

shirt, Jordans and fake ducktails in his hair.

Behind him, a diorama of his street in Hunters Point. Soft

sounds of the harbor play from a speaker.

Montgomery suddenly springs to life.

 84.

MONTGOMERY (AS KOFI)

What Imma hit you for, you my
folks!

Montgomery flips 180 degrees, revealing he's in two-face. The

second half of his costume is a replica of Nitty.

MONTGOMERY (AS NITTY)

Alright alright, but I cant have
soft niggas around me breh. Hit me.

Montgomery flips 180 degrees back to "Kofi's" profile.

MONTGOMERY (AS KOFI)

For what bro? For what?

Montgomery flips to Nitty.

MONTGOMERY (AS NITTY)

Hit me nigga! Man up!

Jimmie enters dressed as Death, a long black robe ends at his

white skeletal make-up. He slips behind a bush, then a
mailbox, ever closer.

MONTGOMERY (AS KOFI)

No bra!

MONTGOMERY (AS NITTY)

You SOFT breh. They gone call you a
bitch at your funeral! Hit me!

Kofi erupts, wailing at the air wildly.

MONTGOMERY (AS KOFI)

AhhhhhhHHHHHHHHH!

BOBBY
He cold.

He turns to face the crowd in two-face.

Lights drop on HP, leaving Kofi alone in the spotlight.

MONTGOMERY (AS KOFI)

Alright, yeah nigga! I don't give a
fuck! Come see me! Who hiding out
there? Man up!

Jimmie runs up, raises a finger gun. BANG! - The audience

jumps at the sound effect and white strobe flash. BANG! -
Another flash. They disappear.

DARKNESS.
 85.

The audience is hushed, all breath taken out of the room.

MONTGOMERY (O.S.)
No words. No words...Please send e-
hugs.

A projection appears, crisp white text against the black:

"No words. No words. Please send e-hugs.

#KOFIWORLD [world emoji]"

MONTGOMERY (O.S.)
Hazel Greene. 135 likes.

The text disappears with a click. Then another:

"Just smoked w you the other day. Crazy.

[smoking hand emoji]"

MONTGOMERY (O.S.)
Just smoked with you the other day.
Crazy. - John Bishop. 206 likes. 10
shares.

As another slide appears, we pull wide to see Montgomery is

now dressed like the street Preacher.

MONTGOMERY (AS PREACHER)

Are these the people that knew
Kofi?

The low solemn voices of a black male choir rise.

MONTGOMERY (AS PREACHER)

Got yelled at by my bitch boss for
being late. Sorry theres no timer
for grief! Thinking of you always,
Koofi - Leah Tanaka. 320 likes.

The next text appears.

MONTGOMERY (AS PREACHER)

(shouting)
Man, can't beLIEVE we lost my bra.
BUT you wouldn't want me to be sad
Ko', so I put my PAIN into my
MUSIC!! MAKE sure y'all LIKE the
post!! - Rrrrodney Tuck.

The curtains widen to reveal that the choir is made up of all

the street musicians we've met throughout the film.
 86.

MONTGOMERY (AS PREACHER)

(top of his lungs)
Mr. Tuck MOVED to FLORIDA 10 years
ago. They share ONE mutual friend.
His post links to a song called
"NETFLIX AND PILLS." ARE THESE THE
PEOPLE THAT KNEW KOFI?

More Facebook posts appear on screen, flicking on and off too

fast to fully read. The choir softens into a funereal hum.

Montgomery steps forward, slowly making eye contact with each

person in the room as the house lights fade up on them.

In the audience, the Preacher looks touched.

MONTGOMERY (AS PREACHER)

Kofi had more dimensions than a
POST could reflect. Or a PLAY could
capture. So I summon YOU. Celebrate
the life he lived, not through
those who SPEAK loudest, but by the
memories he LEFT US ALL- MA’AM!!!

Montgomery points to Loretta. His voice softens.

MONTGOMERY (AS PREACHER)

- how will you remember Kofi?

Loretta hesitates for a moment, unsure of whether or not to

speak. Montgomery nods encouragingly and Loretta stands.

LORETTA
Kofi was a good kid. He used to
walk my niece home when she first
moved out here. He kept his hands
to himself. He was always a little
gentleman. I wish he'd had more
time-

Loretta's eyes begin to tear as she looks at her sons. Unable

to continue, she takes a seat.

MONTGOMERY (AS PREACHER)

And what about you, sir?

Montgomery points to Andy Roy. Andy stands, wipes his face.

ANDY ROY
Kofi, man? On a board, he was a
natural. A lotta people gotta work
for it but he had it. He’d like
olley the Gonz gap. He’ll be
missed.
 87.

Montgomery nods and turns to Tim Ellory, who blushes.

TIM ELLORY
Oh I, I never knew him.

Montgomery turns to Wanda beside him. She regretfully shakes

her head as well. Montgomery turns to his Grandpa.

MONTGOMERY (AS PREACHER)

And you, Grandpa Allen?

Bobby nudges Grandpa to alert him. He's already aware.

GRANDPA
Well, I coached Kofi in Pop Warner.
He'd stay behind to help me pack up
every day, never made a fuss. Only
boy who ever did that.

MONTGOMERY (AS PREACHER)

And you, my friend?

Montgomery points at Jimmie, who has snuck into the middle of

the audience. Jimmie stands.

JIMMIE
My last memory of Kofi is him
talking shit to me. He said some of
most fucked up shit anybody ever
said to me. But Kofi also got
jumped for defending me from older
kids at our group home. He didn’t
like to fight and he fought for me
then. People aren’t one thing.

MONTGOMERY (AS PREACHER)

THAT. All of it!

Montgomery turns to his congregation, smiling proudly.

MONTGOMERY (AS PREACHER)

What would’ve happened if Kofi had
the chance to show himself? All
forms of himself?

Nobody answers.

MONTGOMERY (AS PREACHER)

The world had a box for him. And he
never pushed beyond it.
(scans the walls)
(MORE)
 88.

MONTGOMERY (AS PREACHER) (CONT'D)

Perhaps...if Kofi had grown up just
a few neighborhoods over - he
could've been gentle. And proud to
have been that.

FRESH starts to tear up.

MONTGOMERY (AS PREACHER)

But we aren't gathered here solely
to mourn. Let us break the boxes.

Montgomery bangs his fist against the newly painted wall.

MONTGOMERY (AS PREACHER)

Let us give each other the courage
to SEE and BE SEEN.

He points at Loretta.

MONTGOMERY (AS PREACHER)

YOU - Robin Hood of sweets!

He points at Wanda's husband, Ricky.

MONTGOMERY (AS PREACHER)

YOU - once-jailed activist!

He whips a finger up at Jimmie.

MONTGOMERY (AS PREACHER)

And YOU! You, Jimmie, are what is
great about this city! You're a
fantastic human. A great friend.

Jimmie self-consciously shifts as people look at him.

MONTGOMERY (AS PREACHER)

We're here in this reborn relic
because of what this man has done!

From Jimmie's expression we can see Montgomery is off-script.

MONTGOMERY (AS PREACHER)

Let us see him now. Self-taught
historian, carpenter, master
decorator, working class hero,
lover of lost San Francisco, friend
to all friends. YOU. You are seen.
Let us really look at Jimmie Fails
the Third.

The color drains from Jimmie's face as those who haven't

already turned to look at him shift in their seats.
 89.

MONTGOMERY (AS PREACHER)

And we don't NEED any of this to
see you. This, our little
tabernacle, is but a place to
congregate today. BUT tomorrow,
you, YOU EXIST beyond these walls
of your forefathers.

He slams his hands against the walls, cracking the wood. The
whole audience jumps. Jimmie's jaw hardens.

Montgomery smiles warmly at Jimmie as he approaches him.

MONTGOMERY (AS PREACHER)

You exist! In every form of
yourself! You - you are not this
floor!

Montgomery lifts the chair Jimmie just fixed and pounds it to

the floor for effect. Its leg breaks, rattling Montgomery.

JIMMIE
Bra, what are you doing?

Montgomery freezes, panting.

MONTGOMERY (AS PREACHER)

You are not this house, Jimmie.
And, and, it's time YOU KNOW.

JIMMIE
I don’t need to know, let’s stop.

James Sr.’s jaw clenches.

MONTGOMERY (AS PREACHER)

You extend beyond these wa-

JIMMIE
Alright bra, enough.

MONTGOMERY (AS PREACHER)

Jimmie you don’t need-

JIMMIE
BRO. STOP-

MONTGOMERY (AS PREACHER)

YOUR GRANDPA DIDN'T BUILD THIS
HOUSE.

Silence.

Jimmie stares at Montgomery.

 90.

JIMMIE
Yes he did. He built this house.

MONTGOMERY
Jim, he didn’t.

JIMMIE
He fucking did. How you gone tell
me?

MONTGOMERY
I saw the deed.

Jimmie looks to everyone, embarrassed. He turns back to Mont.

JIMMIE
You don’t get it...I’m not fucking
great.

Montgomery studies him, confused.

JIMMIE
Get outta here Mont.

Montgomery’s confusion turns to shock.

JIMMIE
I’m not any of those things! Get
out of my house.

Jimmie marches out of the room. Chairs squeak as others begin

to rise slowly. Montgomery stands there, listless.

83 INT./EXT. “THE HOUSE” MASTER BEDROOM - AFTERNOON

Jimmie sits in the bay window watching the crowd spill out
onto the street.

James Sr. enters and playfully puts his dukes up to Jimmie.

He softly faux-jabs Jimmie’s chin. Jimmie doesn’t laugh.

JAMES SR.
What, you in here watching TV?

James’ gaze follows Jimmies to the people outside.

JAMES SR.
Man, they don't deserve to be in
here anyway.

JIMMIE
Neither do we.
 91.

James Sr. sucks his teeth and starts to roll a cigarette.

JAMES SR.
You gone really let some ol’ other
ass nigga tell you what’s true?
C’mon Jayboe, get your spine up,
son. Have some pride.

James Sr. smiles. Jimmie doesn't.

Jimmie finally turns to him. He looks him in the eyes,

searching.

JIMMIE
I been knowing.
(beat)
But you say it.

Jimmie studies his father. A range of emotions flash over

James Sr.’s face.

JAMES SR.
Say what?

JIMMIE
The truth, I been knowing. This
whole time. I’m a liar just like
you. Now you say it.

James looks at his son, naked.

JAMES SR.
Fuck outta here, man.

JIMMIE
Say it.

After a moment, James Sr. lifts himself and passes his son.
He staggers down the steps, walks towards the front door and
pulls out the cigarette, his hands trembling. He lights it
with the same motion Jimmie does, and opens the door to a
strong wind. He exits.

84 EXT. "THE HOUSE" - AFTERNOON - CONTINUOUS

James Sr. clutches the collar of his coat, bracing for the
wind. Jimmie looks on from the window above.

The last parcel of life has left the house. Its emptiness
heightens its magnificence.
 92.

85 INT. "THE HOUSE" MULTIPLE ROOMS - AFTERNOON

Through archways, windows, and door frames - we see Jimmie

trapped between the walls that once gave him freedom:

Jimmie skates through the deserted house, his face

expressionless. Down the hallway, into the kitchen, back into
the parlor, and round the hallway again.

Jimmie stops skating, picks up his board, and sends it

crashing into the door frame. THWACK. He screams as he swings
it harder. On impact, WE CUT TO:

86 INT. "THE HOUSE" DINING ROOM - AFTERNOON

Jimmie sits, cradling the two splintery halves of his board.

Montgomery’s unfinished room stares back at him: tools and
rigs sit awkwardly on the ornate shelving.

SQUEAK. The gate outside swings shut. Jimmie turns his head.

87 INT/EXT. "THE HOUSE" MULTIPLE ROOMS & BACKYARD - AFTERNOON

Jimmie walks down the long hallway, ears piqued - he can hear
footsteps in the brush. He arrives at the back door.

Wanda is leaned over something in the backyard.

WANDA
This is the sound of my hands
through - well I guess these are
asters now? Used to be tulips.

Jimmie watches his Aunt take a deep breath.

JIMMIE
(whispering)
Auntie.

She turns to see him, bleary-eyed and dejected.

88 EXT. "THE HOUSE" BACKYARD - AFTERNOON - MOMENTS LATER

Wanda and Jimmie sit in silence in the yard.

JIMMIE
(softly)
I been telling people he built it
so long I almost forgot it wasn’t
true.
 93.

Jimmie’s barely has any voice left.

WANDA
You were telling your truth Jayboe.
You were just lying to do it.

Wanda flashes a sad smile and looks up at the house.

WANDA (CONT’D)
This was ours. And then it wasn’t.
So you just tell yourself whatever
you need to feel like it still is,
right? We all did that. But you got
a chance to get out from underneath
that now.

JIMMIE
I don’t want to. I just want it.

WANDA
Yeah, I know. I seen your daddy
build his whole life around that,
around some story we got told when
we were kids. Shit, I did too.
Makes you feel good. Feel special.
I don’t think your grandpa even
took it that serious to be honest.
Folks back then didn’t really care
if it was true or not. Just made
them happy to have something to
aspire to.

Wanda looks to Jimmie.

WANDA (CONT’D)
I’m hella proud of you though - you
almost made it real. All this work
you did. It’s incredible. But you
gotta really ask yourself now if
you want that? Spend your life here
working on this. Fighting for this.
Cause you could make this place
yours, I believe you could. But if
you leave, it's not your loss, it's
San Francisco's. That's how I think
about it anyways. Fuck San
Francisco.

JIMMIE
I love you Auntie, I’m sorry.
 94.

WANDA
Well I love you and I’m not. You my
little, bold, bad-ass, beautiful
nephew, man.

They hug.

JIMMIE
Make all that the opening monologue
for your next show.

WANDA
Psh more like the pep talk I need
to keep me going out there in
Antioch.

Jimmie hugs her harder.

WANDA (CONT’D)
You're always welcome out there you
know.

Jimmie nods, remembering his sobering new reality.

89 INT. "THE HOUSE" DINING ROOM - NIGHT

Jimmie sits in a pool of gold light, deep in thought. He’s

surrounded by darkness.

90 INT. BUS - SUNRISE - TRAVELING

Jimmie sprawls across a seat, still in a meditative state.

San Francisco whirs past.

Two voices cut through the rattling wheels.

BECCA (O.S.)
No - it’s 5 dollars for coffee. Not
some fancy triple foam ice-cream
shit. Coffee. Black.

NINA (O.S.)
It’s absurd.

Almost too broken to move, Jimmie turns his head a few

degrees to look down the nearly empty car.

BECCA and NINA, two thirty-somethings in pencil skirts and

blouses, are en route to work. Nina applies foundation, while
Becca stares into her coffee, defeated.
 95.

BECCA
Yeah, but I need it, to wake up, at
5am, to trek, across town, to temp,
with a masters degree. While my mom
pretends NOT to freak out.

NINA
Ugh, can we go back to New York
already?

BECCA
Seriously fuck this city.

JIMMIE
Excuse me-

The girls turn to Jimmie, caught off guard. He remains

slumped.

JIMMIE
You don't get to hate San
Francisco.

NINA
Er, soooorry, who are you?

BECCA
Yeah, thanks dude, I'll hate what I
want.

JIMMIE
Do you love it?

BECCA
I mean, it's- Yeah, I'm here. Do I
have to love it, like...

JIMMIE
You don't get to hate it unless you
love it.

Jimmie rocks with the train. Nina and Becca turn away.

NINA (O.S.)
Classic MUNI shit.

91 EXT. HP SHIPYARDS & HP BAY - MORNING - TRAVELING

Jimmie walks down the street, holding his broken board like a
wounded warrior returning from battle. He passes the
neighborhood kids playing in a pile of leaves, two women in
scrubs waiting for a bus, the old man in his fez and kimono.
 96.

Jimmie reaches the dock. He looks out over the water.

Montgomery sits on his rowboat, watching life on land unfold

from his usual safe distance.

He sees Jimmie. The two hold eye contact.

Montgomery collects his fishing gear and begins to paddle in.

91.1 HP DOCK - From Montgomery's perspective, we slop towards

Jimmie standing on the dock, statuesque. We bump up and down
against the chop...less...and less...until we sail smoothly
to him.

Montgomery steps onto the dock and sees his broken board.

Jimmie shakes his head, avoiding eye contact.

MONTGOMERY (CONT’D)
I’m sorry I did that, Jim. It was a
stupid play.

JIMMIE
No it wasn’t. I’m sorry I didn’t
tell you the truth. I just wanted
it to be true, it felt so good, you
know.

MONTGOMERY
That’s okay-

Jimmie hugs him tight.

Montgomery hugs him back.

MONTGOMERY
Jimmie. You hungry?

JIMMIE
Yeah. Starving.

92 EXT. MONTGOMERY'S HOUSE - MORNING

Jimmie and Mont walk towards the house. Mont’s finger through
the gill of a fish he’s caught. None of the Greek Chorus are
around, only burnt candles, empty bottles and dead flowers.

93 INT. MONTGOMERY'S LIVING ROOM - NIGHT

Jimmie, Montgomery and Grandpa watch an old movie. Montgomery

rapt by the tension, explains the plot to Grandpa, who looks
glad to have his boys back. He squeezes Montgomery's arm.
 97.

94 INT. MONTGOMERY'S BATHROOM - NIGHT

Jimmie watches Montgomery, who stands in the bathtub in undies

and boots. He whistles as he scrapes the scales off a petrale.

JIMMIE
Why are you in your tightie
whities?

MONTGOMERY
I'm cleaning fish.

Jimmie smiles and begins chuckling. It's as if Montgomery's

quirks were put on earth for him alone to enjoy.

95 INT. MONTGOMERY'S BEDROOM - NIGHT

Jimmie grabs his cot from under the bed and rolls it out.
Mont whispers goodnight to a drawing of his mom on the wall.

Jimmie stares at the ceiling, then at Montgomery. He watches

his friend sleep, at peace. Jimmie's eyes float to the
painting above Montgomery's head:

A boat struggles against the chop of the San Francisco Bay.

96 INT. MONTGOMERY'S BEDROOM - MORNING

Montgomery wakes, one side of his hair flattened from the

pillow. He sits up to find Jimmie's cot rolled up.

97 INT. MONTGOMERY'S LIVING ROOM & KITCHEN - MOMENTS LATER

Montgomery walks into the living room. Grandpa lies asleep on

the recliner under a blanket. Montgomery shuts off the TV.

He enters the kitchen and finds a flier folded in half.

Below the play’s header, “THE LAST BLACK MAN IN SAN

FRANCISCO,” is "MONTGOMERY" in beautiful handwriting.
Montgomery takes a seat and opens the flyer. It reads:

"I'M SORRY I DIDN'T KNOW HOW TO SAY GOODBYE. THANK YOU FOR
BEING MY BEST FRIEND."

97.1 Montgomery stares down at the card and then out the window.

With the twinkling harp-plucks of Sam Cooke's “DEEP RIVER,”

we push towards the window. The song rises as we see that
Mont's red rowboat is gone. Montgomery looks out at the Bay.
 98.

98 MONTAGE: DEEP RIVER

EXT. BUS STOP - Montgomery sits at a bus stop, mumbling to

himself as he waits patiently.

98.1 INT. GROCERY STORE - Montgomery, the last black man in San
Francisco, stands behind the fish counter. He stares, eyes
slightly out of focus, at the rows of dead fish on ice.

98.2 INT. BUS - Montgomery sits on the bus, staring out.

98.3 EXT. THE BAY - We glide over deep water and slowly tilt up to
find Jimmie, rowing against the chop like Montgomery's
painting. Freedom, fear, and determination fill his face.

98.4 EXT. "THE HOUSE" - Montgomery stares up at the now lifeless

house from across the street. Stripped of its molding and
intricate detail, the renovated facade now boasts a two car
garage beneath it.

98.5 INT. "THE HOUSE" PARLOR & FRONT HALLWAY - Young couples pass
between rooms, whispering in hushed tones. Montgomery floats
past them like a ghost. The house is staged for purchase: an
Ikea couch, reclaimed wood table, cardboard books and wax fruit.

Montgomery picks up a fake fruit and stares at it in his

hand. He glances into the library with a purposeful look.

98.6 INT. "THE HOUSE" LIBRARY - A couple inspects the built-in

bookcases, failing to notice one of the shelves behind them
slowly creak open and reveal a shadowy cavity.

From the darkness, out leaps a dust-covered Montgomery,

fingers gnarled like a vengeful ghost! Just before they can
scream-

99 EXT. HP SHIPYARDS / HP DOCK - DUSK

Montgomery dangles his feet over the edge of the dock. The
faint sounds of sirens blare somewhere far away.

Behind him, a candlelit vigil makes its way past his house
with signs reading RIP KOFI. They cast flickering gold shadows
onto Montgomery's reflection in the water. He stares out at
the Bay as the incoming mist begins to fog his view.

END.