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Ali Script

Ali Script

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Published by diego_cine

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Published by: diego_cine on Oct 04, 2013
Copyright:Attribution Non-commercial

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ALIbySTEPHEN J. RIVELE &CHRISTOPHER WILKINSON andERIC ROTH & MICHAEL MANNstory byGREGORY ALLEN HOWARD
 
FADE IN:EXT. MIAMI STREET - MOVEMENT - NIGHT (1964)in the dark. Coming toward us. Up and down in sync to anINSTRUMENTAL LEAD-IN from somewhere. A slip of light. glimpse of somebody in shadow under a sweatshirt hood,staring at us, in and out of the dark as...INT. THE STAGE, HAMPTON HOUSE CLUB - EMPTY FRAME - NIGHTA man walks into the shot, grabs a microphone, slips out ofhis jacket and looks at us. He wants to tell us something.He's in a lavender light. This is SAM COOKE. What he callsout...a throaty mixture of gospel, soul and sex...is "Let mehear it!" And WOMEN SHRIEK. He says, "Yeah!" They answer,shrieking, "Oh, yeah!"...EXT. MIAMI STREET - HOODED MAN'S FACE - NIGHTup and down, running along a dark road in the dead of night,passing vacant lots with debris amid trees and fadedbuildings. He is CASSIUS CLAY. He runs in constructionboots. His eyes stare from under the hood. He passes thehusk of an abandoned car, a pastel storefront. We're inOvertown, Miami's inner-city black neighborhood.INT. THE STAGE, HAMPTON HOUSE CLUB (MIAMI) - SAM COOKEshouts, "Don't fight it! We gonna feel it!" The women inthe audience answer: "Gotta feel it!"EXT. MIAMI STREET - CASSIUS - NIGHTnow runs diagonally across NW 7th INTERCUT with Cookeshouting, "Yeah!"EXT. MACARTHUR CAUSEWAY - CASSIUS - NIGHTSAM COOKE'S AUDIENCE (O.S.)Oh, yeah!Cassius runs toward us. Off to the side in the black- mirrored water of Biscayne Bay, leaden clouds in a black sky.And now Sam Cooke SINGS "...because you make me wanna mooove...!" and breaks into the first verse of "Feel It."But we see Cassius' eyes are FOCUSED, CONCENTRATED,ELSEWHERE. To where is this man running? Why is hisexpression so distant? A WHITE LIGHT suddenly hits him from behind. He looks over at...
 
2.WIDE FROM THE FRONT: CASSIUS + A METRO-DADE POLICE CARthat's slowed, clocking the suspicious, running black man.The driver starts to pull over, to hassle Cassius. Then,the cop riding shotgun gets a radio call. He taps thedriver's shoulder. They take off, the driver laughing.Cassius looks after the white cops. He is neither relievednor angry. He's dismissive. And, instead, he seessomething else...INT. A BOARD ROOM - GORDON DAVIDSON - DAYand six other patrician, white business-people of Louisvillein their green baize and wood-paneled Luxo boardroom. Theyspeak soundlessly and patronizingly to Cassius Clay, Sr.,seated at the foot of the table. It relates to the stack ofcontracts in front of him. He is in a suit and tie, hishair and moustache are dapper. His tie's a little loud. Hehas his hands folded deferentially in front of him.LSG BOARD MEMBER(reading)"...the successor trustee shall befully authorized to pay or dispersesuch sums from the income orprincipal as may be required."(beat)Do you understand so far, Mr. Clay?CASSIUS CLAY, SR.Uh, yes, I do.We get the impression that, if he doesn't understand whathe's being told, he's faking it. He is conforming,delivering socially mandated deference...FRONTAL: CASSIUS, SR.and BEYOND HIM, seated against the wall, is Cassius, Jr. insport jacket and tie. Right now he looks to his left and tothe right, and only then do we notice the entire wall he'sagainst is covered with pictures of thoroughbreds and studsthis Louisville Sponsoring Group owns as well. He is oneamong their sporting possessions. He doesn't like it. Helooks at the back of his father listening.LSG BOARD MEMBERAre you sure, sir?CASSIUS CLAY, SR.Yeah. I follow you.

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