AMERICAN FICTION
Written for the Screen by
Cord Jefferson
Based upon the novel 'Erasure' by Percival Everett
OVER BLACK
MONK
OK. Let's begin.
INT. USC CLASSROOM - DAY
We open on THELONIOUS "MONK" ELLISON (black, 50s, neurotic,
tired) standing before a classroom of college students, most
of them white.
MONK
Who wants to start?
BRITTANY (white, 19) raises her hand.
MONK
(CONT’D)
Yes, Brittany. Kick it off.
BRITTANY
I don't have a thought on the
reading, I just think that that
word on the board is wrong.
The camera moves now so we can see the whiteboard behind
Monk, on which is written: "Flannery O'Connor" and "The
Artificial Nigger." Monk turns to look.
MONK
No, it still had two Gs last I
checked.
Some of the students laugh, but not Brittany.
BRITTANY
It's not funny. We shouldn't have
to stare at the n-word all day.
MONK
Listen. This is a class on the
literature of the American South.
You’re going to encounter some
archaic thoughts, coarse language,
but we're all adults here, and I
think we can understand it in the
context in which it's used.
BRITTANY
Well, I just find that word really
offensive.
2.
MONK
With all due respect, Brittany, I
got over it. I’m pretty sure you
can, too.
BRITTANY
Well, I don't see why.
Monk, who has been affable up until now, casts an icy stare
at Brittany.
INT. USC HALLWAY - MOMENTS LATER
Brittany storms out of the classroom carrying all her things,
tears streaming down her bright red cheeks. We can hear
Monk's voice trailing after her.
MONK (O.S.)
(shouting)
Now, does anyone else have thoughts
on the reading?
INT. CONFERENCE ROOM - DAY
Monk is sitting before a tribunal of sorts. At a long table
in front of him are three other professors: GILDA (white,
50s), MANDEL (white, 60s), and LEO (white, 50s), the chair of
the English department.
LEO
Well, it made some of your students
uncomfortable, Monk.
MONK
When did they all become so goddamn
delicate?
MANDEL
This wasn’t an isolated incident.
MONK
What?
GILDA
Last month you asked a student if
his family had been Nazis.
MONK
Yeah, I did. He’s German. We were
reading “The Plot Against America.”
And trust me, from the way he was
squirming, they were.
2.
3.
LEO
Monk, you are a very talented
writer. We’re fortunate to have you
here --
MANDEL
(interrupting)
What? He hasn’t published in years.
(off Monk’s look)
I’ve written three novels since the
last time you published.
MONK
This is true. And the speed with
which you write only proves that
good things take time.
MANDEL
Oh, go to hell, Monk!
LEO
(intervening)
Enough. Enough! Relax, Mandy.
MONK
Yeah, relax, Mandy. And anyway, my
new book is in with Ecco and my
agent says they’re very excited
about it.
LEO
That’s great to hear. What’s it
about?
GILDA
Can we stop stalling, Leo.
Monk looks to Leo, puzzled.
LEO
Uh, listen, Monk, we’d like to give
you a break.
MONK
A break?
LEO
Just some time off.
MANDEL
Mandatory time off.
3.
4.
LEO
It’s just, you’re already going to
Boston for the festival, right? Why
don’t you just stay there for a
couple weeks?
MONK
Because I hate Boston. My family’s
there.
LEO
Well, you need some time to relax.
You’re on edge, man.
MONK
And you’re under the impression
that time spent with my family will
take the edge off. I’m fine.
MANDEL
You’re not fine. I saw you crying
in your car last week.
(to Leo)
He punched the steering wheel.
Monk stands and walks toward Mandy.
MONK
You know, if you spent less time
spying on me you could probably
write a dozen more novels that
people buy in airports, with their
neck pillows, and Cheez-Its.
MANDEL
Oh, here we go! You want to get
dirty, doggy?! Okay, well, enjoy
Boston! You can get my book at the
airport! Oh, and good luck with
Ecco!
But Monk already is out the door.
TITLE SEQUENCE TRANSITIONING US FROM LA TO BOSTON
EXT. HOTEL - LATE AFTERNOON
Monk is exiting a hotel with a Dunkin' Donuts iced coffee.
After a few steps, his phone buzzes in his pocket. It's his
agent, ARTHUR (50s, gregarious).
MONK
Hello?
4.
5.
INT. ARTHUR'S OFFICE - SAME TIME
Arthur's office is clean, but there are stacks of bound books
and printed manuscripts. He chats using wired headphones.
ARTHUR
Welcome back. How’s it feel to be
home?
INTERCUT PHONE CONVERSATION
MONK
Great. I've already had a man in a
Bruins jersey ask me if I think I'm
better than him.
ARTHUR
That's good luck here. That's
Boston's version of a ladybug
landing on you.
MONK
Any news?
ARTHUR
Patrick at Ecco is passing.
(then, quickly)
But who fucking cares -- he's an
old alcoholic.
MONK
What is that? Nine now?
ARTHUR
He said...
(reading from computer)
"This book is finely crafted, with
fully developed characters and rich
language, but one is lost to
understand what this reworking of
Aeschlyus' The Persians has to do
with the African-American
experience."
MONK
And there it is.
ARTHUR
They want a black book.
MONK
They have one. I'm black and it's
my book.
5.
6.
ARTHUR
You know what I mean.
MONK
You mean they want me to write
about a cop killing some teenager,
or a single mom in Dorchester
raising five kids.
ARTHUR
Dorchester's pretty white now. But
yes.
MONK
Jesus Christ.
(then)
Do you know that I don't even
really believe in race?
Monk raises his hand to hail a cab, and we stay with him
instead of going back to Arthur.
ARTHUR (V.O.)
Yeah. The problem is that everyone
else does.
A cab pulls up to Monk and then blows right past him to pick
up a WHITE MAN several feet away.
ARTHUR (V.O.)
Anyway, have fun at the book
festival. And just don’t insult
anyone important. Please.
INT. HOTEL EVENT ROOM - DAY
Monk is at the front with TWO OTHER AUTHORS and a MODERATOR.
A placard on an easel next to them reads, "REVITALIZING
ANCIENT LITERATURE FOR THE MODERN AUDIENCE." One of the other
authors is finishing a thought.
AUTHOR
...and writing from a historical
perspective doesn't mean you can't
make work that doesn't resonate
with today's audiences. I think of
things like Game of Thrones as
proof that nerds like us can still
find great success.
A few people clap, and we now reveal a mostly empty room.
6.
7.
MODERATOR
Unfortunately we’re going to have
to end it there. Thank you to our
authors and thanks to all of you
for attending.
The audience claps and begins to disperse as the panelists
graciously wave. Monk leans toward the moderator.
MONK
Is it just me, or was this small,
even for a book festival?
MODERATOR
Yeah, it's because we're up against
Sintara.
MONK
Who?
MODERATOR
Sintara Golden. You haven't read
her?
MONK
No. What's her book called?
SMASH CUT TO:
INT. HOTEL EVENT ROOM - DAY
INSERT -
We're extremely close on a book poster. The book's title --
"We's Lives in Da Ghetto" -- is written in big font and
accompanied by a stereotypical illustration.
BACK TO SCENE.
The camera moves from the poster to reveal the event room,
which is packed. Monk nudges past some onlookers to get a
better view. Onstage, author SINTARA GOLDEN (black, 32,
polished) sits with a MODERATOR (white, 40s).
MODERATOR
Raves everywhere: the Post,
Bookforum, the Times. The London
Review of Books said, "'We's Lives
in Da Ghetto' is a heartbreaking
and visceral debut." Plus, a little
birdie told me that perhaps there's
a TV adaptation in the works?
7.
(MORE)
8.
Sintara gives a coy look to the moderator.
SINTARA
No comment.
The audience offers some excited giggles.
MODERATOR
OK. It was worth a shot. Tell us:
What was your life like before you
were an author?
SINTARA
I did undergrad at Oberlin and
moved to New York the day after
graduation. And, a couple months
later, I was an assistant at a
publisher.
MODERATOR
And did that assistant experience
shape your writing?
SINTARA
Absolutely. I was a "first reader,"
meaning I would read all the
manuscripts in the slush pile and
send them up the ladder if they
were any good. Some of them were
great, most were not.
The audience laughs.
SINTARA
(CONT’D)
But the feeling I couldn't shake
was that, no matter how good the
books were, most every submission
was from some white dude from New
York going through a divorce. Too
few of them were about my people.
And so I'd think, Where are our
stories? Where is our
representation? And it was from
that lack that my book was born.
MODERATOR
Would you give us the pleasure of
reading an excerpt?
Sintara nods and the moderator hands her a book.
SINTARA
Thank you.
(reading)
(MORE)
8.
SINTARA (CONT’D)
9.
"Yo, Sharonda, where you be goin'
in a hurry likes dat?" D'onna ax me
when she seed me comin' out da
house. "Ain't none yo biznis, but
iffan you gots to know, I'se goin
to the pharmacy." I looks back at
the do' to see if Mama comin' out.
"The pharmacy? What fo?" she ax.
"You know," I says. "Naw," she say.
"Hell, naw. Girl, you be pregnant
again?" "Mights be," I tells her.
"And if I is, Ray Ray's gon' be a
real father this time around."
Sintara closes the book as the audience and the moderator
explode in gushing applause, with some even giving a standing
ovation. Sintara smiles and waves to her fans.
SINTARA
(CONT’D)
Thank you.
Monk scans the room, slightly confused by what he's just
witnessed.
INT. BAR - NIGHT
A drunken Monk finishes a martini and motions for another.
INT. HOTEL ROOM - BATHROOM - MORNING
Daylight breaks through the curtains onto a rumpled, empty
bed. A hungover Monk is sitting on the floor of the shower,
letting the water run over him.
INT. PLANNED PARENTHOOD SECURITY CHECK - AFTERNOON
Monk enters the clinic. A SECURITY GUARD wands him down and
lets him pass.
INT. PLANNED PARENTHOOD RECEPTION - CONTINUOUS
Monk approaches a desk where a RECEPTIONIST sits.
MONK
Hi, I'm here to see Lisa Ellison.
RECEPTIONIST
Do you have an appointment? We're
about to close.
SINTARA (CONT’D)
9.
10.
MONK
No, I'm her brother.
We hear the sound of a door opening and LISA (late 50s, put
together) emerges from the back.
RECEPTIONIST
Oh, there she is.
She approaches her brother and stops a few feet away from
him.
LISA
Hello, Monk.
MONK
Hi, Lisa.
They stand and look at each other for a moment, neither of
them closing the distance between them.
I/E. LISA'S CAR - SUNSET
Lisa drives as Monk rides shotgun. A few beats of silence.
LISA
OK, you're in a boat, the motor
cuts out, but you're in shallow
water, but you're wearing six-
hundred-dollar shoes, but your ride
to the airport is just pulling away
from the beach. Why, oh why, is
this a legal issue?
MONK
I don't know.
LISA
It's a matter of row versus wade.
MONK
Oh my god.
The ice breaker works and Monk smiles.
LISA
I think that’s one of my best.
Monk and Lisa both laugh now. Lisa pulls out a cigarette and
lights it.
MONK
When did you start smoking again?
10.
11.
LISA
Right after the divorce.
MONK
I always hated Larry.
LISA
Oh, I know. You told me right when
we started dating. Do you remember
how mad I got?
MONK
(Lisa impression)
"It's not your business who I fuck!
Who I fellate!"
LISA
I definitely did not say fellate.
MONK
I thought you did. That’s how I
heard it, anyway.
LISA
It's good to see you.
MONK
Yeah. It's good to see you, too.
How’s work?
LISA
It's not very glamorous. I go
through a metal detector every day.
MONK
What you do is important. Meanwhile
all I do is invent little people in
my head and then make them have
imaginary conversations with each
other.
LISA
Books change people's lives.
MONK
Has something I've written ever
changed your life?
LISA
Absolutely. Absolutely! My dining
room table was wobbly as hell
before your last book came out.
Lisa smiles wryly at Monk.
11.
12.
MONK
Oh my god.
LISA
It was, like, perfect. I’m telling
you--
MONK
Take me back to Logan please.
LISA
Logan cannot help you, Monk.
They laugh again.
EXT. MONK'S CHILDHOOD HOME - DUSK
Lisa pulls her car into the driveway out front.
LISA (V.O.)
Welcome home, baby!
INT. MONK'S CHILDHOOD HOME - MOMENTS LATER
Monk and Lisa enter the home, a worn but still elegant house
in Cambridge.
LISA
Hello? Hello?
The live-in housekeeper, LORRAINE (black, late 60s, the
barest Southern lilt), enters from the kitchen wearing her
omnipresent yellow apron.
LORRAINE
Mr. Monk!
MONK
Lorraine...
Lorraine and Monk embrace for a few moments.
MONK
(CONT’D)
Oh, you know how that makes me
feel. It’s just Monk.
LORRAINE
Oh, don’t do that to me. You know
I’m too old to learn new names.
(then)
How’re you doing, Ms. Lisa?
12.
13.
LISA
I’m good.
LORRAINE
You look good, Mr. Monk.
MONK
I look fat.
LORRAINE
That's the California talking. If I
took you back to Arkansas, you'd be
a beauty queen.
MONK
That’s frightening.
AGNES (70s, black, graceful), Monk and Lisa's mother, comes
slowly down the stairs.
AGNES
Is that my Monkey?
Monk smiles when he sees her.
MONK
Hi, Mother.
They hug.
AGNES
You look fat.
MONK
I know.
LORRAINE
You ready to go to dinner, Mrs.
Ellison?
AGNES
I just need my purse, and my black
cardigan.
LORRAINE
Alright. I’ll get it.
Monk and Agnes walk to the dining room as Lorraine goes
upstairs to fetch the things.
AGNES
Are you alright? You overeat when
you're depressed.
13.
14.
MONK
I'm not depressed. I’ve just been
not sleeping well lately and so
fell off my exercise routine.
AGNES
So you're not depressed, you just
bears all the hallmarks of
depression?
Monk helps Agnes into her chair.
MONK
I missed you.
Monk sits down across from Agnes as Lisa appears in the
doorway.
AGNES
Is Larry coming?
LISA
No, Mother. Larry and I separated,
remember?
AGNES
Of course I remember.
She didn't, so she rushes to recover.
AGNES
(CONT’D)
I just thought he might be join us -
- to see your brother.
LISA
OK.
Monk and Lisa steal a glance at each other.
INT. RESTAURANT - NIGHT
Monk and Lisa are at a table in a bustling Cambridge
restaurant. Their mother's chair is empty, and they're trying
to speak quickly and quietly before she returns.
MONK
I mean, is it really such a big
deal? Everyone forgets things. That
doesn't mean she's sick,
necessarily.
14.
15.
LISA
People forget dentist appointments.
She forgets I'm not married
anymore. That’s weird.
MONK
What do you suggest we do?
LISA
Why do I have to decide?
MONK
Because you're a doctor.
LISA
So are you.
MONK
I’m not that kind.
LISA
Okay, my point is you are an
intelligent adult, and I'm tired of
being the only person that takes
care of her.
MONK
Well, I don’t recall anyone
assigning you that responsibility.
LISA
No, you and Cliff just fled west as
soon as you could and made me
caretaker by default.
MONK
My work’s there. Apologies that it
keeps me from keeping up with the
family melodrama.
LISA
If you lived up the block you
wouldn’t know what was going on.
I’m stuck here taking care of that
old house and finding love letters
from dad’s affairs.
MONK
His what?
LISA
His affairs. You didn’t know he was
having affairs?
15.
16.
MONK
Uh, no. How did you?
LISA
Well he was an OB/GYN who was
traveling constantly but his
patients were in Boston.
MONK
He said he was going to
conferences.
LISA
He was making house calls. Do you
know that I saw him kiss a white
woman in the park in high school?
MONK
How white?
LISA
What do you mean how white?
MONK
Like Brahmin white, or Southie
white?
LISA
I don’t know. She had thin lips.
Looked like a bad kisser.
MONK
Did you tell Mother?
LISA
No. I wasn’t going to blow up our
lives.
(recognizing)
She’s coming back. Mom. Mom.
Monk stands to help Agnes into her chair.
LISA
(CONT’D)
(to Agnes)
Hi. How ya doin?
AGNES
Our waitress isn't wearing a bra.
LISA
OK.
MONK
I didn’t notice.
16.
17.
Monk sits back down.
INT. HOTEL ROOM - NIGHT
Monk lays atop his hotel bed wearing only his underwear. He’s
watching Get Rich or Die Tryin’ (2005) on the hotel TV,
specifically the scene in which MAJESTIC (Adewale Akinnuoye-
Agbaje) explains the “house rules” of crack dealing to some
neighborhood drug dealers.
MAJESTIC (ON TV)
See this shit? This gonna take us
out of the ghetto. But there are
rules to the house. Rule number
one: Never leave this product in
the house. Rule number two: Get
your own crew. Number three: Gotta
have discipline in your
crew...four: Don't praise a n*gga
too much... otherwise he gonna
think you soft. Rule number five:
Don't show no love. Love will get
you killed. See this? It's like a
bitch. You fuck a bitch, don't let
a bitch fuck you. You a man? You
don't need nothing or no one to get
you through. This bitch... This
bitch will take your soul...
Monk’s initial amusement turns to disgust, and he turns the
the TV off.
INT. BOOKSTORE - MORNING
Monk looks for a book in "Mythology" section, but what he
wants isn't there. He stops an EMPLOYEE (20s,
unenthusiastic).
MONK
Excuse me...
(looking at name tag)
Ned. Do you have any books by the
writer Thelonious Ellison?
Ned lifts the iPad he's carrying and types in some letters.
NED
Yeah, this way.
17.
18.
INT. BOOKSTORE - MOMENTS LATER
Ned has walked Monk to a section called "African-American
Studies."
NED
Here you go.
Ned goes to leave, but Monk stops him.
MONK
Wait a minute. Why're these books
here?
NED
I'm not sure. I would imagine that
this author, Ellison, is black.
MONK
That's me. Ellison. He is me. And
he and I are black.
NED
Oh, bingo.
MONK
No bingo, Ned. These books have
nothing to do with African-American
studies. They’re just literature.
(pointing again)
The blackest thing about this one
is the ink.
NED
I don't decide what sections the
books go in. Nobody here does.
That's how chain stores work.
MONK
Right. Ned. You don’t make the
rules.
Monk stares at Ned angrily for a moment.
INT. BOOKSTORE - MOMENTS LATER
Monk, his arms full of his books, is walking the aisles to
the appropriate section. Ned is a few paces behind him.
NED
I'm just going to put them back
after you leave.
18.
19.
MONK
Don't you dare, Ned. Do not you
dare.
Monk arrives at "Contemporary Fiction" and begins to put his
books on the shelf. He looks to his right for a brief moment
and catches a glimpse of a display for "We's Lives in Da
Ghetto." This book is haunting him. After a short beat, Lisa
steps out from behind a corner.
LISA
Monk? What are you doing?
Monk turns to her, his fists still gripping a couple books.
EXT. BAR - BACKYARD - AFTERNOON
Lisa and Monk are seated at a small café table. Other PATRONS
dot the area. Lisa has a cocktail while Monk sips a glass of
wine.
LISA
Mom’s only going to get worse.
LISA
(CONT’D)
They say mental exercise is good.
That's why I got her that gardening
book.
MONK
Does growing cucumbers count as
mental exercise?
LISA
I hate when you do that.
MONK
What?
LISA
You share your condescending
opinion as a question to try and
disguise the condescension. Why
don’t you just say you think the
gardening is idiotic?
MONK
Um, because that’s not what I was
doing.
LISA
Bullshit. Bullshit.
19.
20.
MONK
Maybe we can hire a nurse a few
times a week.
LISA
Who’s gonna pay for that?
MONK
You can't afford it?
LISA
Not after the divorce. I cannot.
MONK
It'll hurt, but we’ll probably have
to sell the beach house.
Lisa pulls out a cigarette and lights it.
LISA
Yeah, we definitely need to sell
the beach house, but that money is
going to go to pay back the reverse
mortgage that our mother took out
on the other house.
The reverse mortgage is news to Monk.
MONK
I can send some money home, but it
won't be much. Can’t Cliff chip in?
LISA
Cliff's not in a good place, OK?
MONK
Who is?
LISA
Monk, Becca took everything, and
the kids are getting teased in
school.
MONK
I didn't know.
LISA
Well, maybe you should call him.
They’re quiet for a beat.
MONK
I'm sorry I've always been so
distant.
20.
21.
LISA
You couldn't help it. You were
always Dad's favorite. And then
that made Cliff and I bond, and you
resented us for having that bond,
and then...I don’t know, you just
became self-sufficient.
MONK
We've never talked about this.
LISA
We've never talked about anything.
Is that surprising? Look at our
parents.
(scoffs)
The only emotions I can remember
Dad expressing were boredom and
rage.
MONK
Is boredom an emotion?
LISA
Great. It's Detective Dictionary.
MONK
(laughing)
You haven't called me that in
forever.
Just then, Lisa lurches forward and grabs her chest, clearly
hurting.
LISA
Oh god.
MONK
What?
But Lisa doesn't respond. She's in too much pain.
LISA
Oh god.
MONK
Oh, c’mon.
We get close on Monk's face. At first he's smiling, still
laughing at her teasing. But soon it's a look of concern, and
then terror. He stands to help her.
21.
22.
MONK
(CONT’D)
(to Lisa)
Hey --
(calling out to anyone)
Hey, help! Help! Help me! Help me!
INT. HOSPITAL HALLWAY - AFTERNOON
Monk watches through a window as a MEDICAL TEAM works on
Lisa. The window is narrow, allowing him a limited view of
his sister. After a while, he sees the doctors and nurses
start to recognize that their efforts aren't working -- Lisa
and her stopped heart remain unresponsive. Seeing their
exertions dwindle, Monk realizes what's happening and he
turns away, silent, placid. And then, without saying a word,
he walks down the hallway toward the exit.
EXT. BEACH - MORNING
We're now a couple weeks out from Lisa's death, which we'll
understand in a few moments. The camera pans over the
mourners: Monk, Agnes, Lorraine, and a new character, CLIFF
(early 50s, in much better shape than Monk). The group is
gathered on the beach behind their home.
A breeze comes in from the ocean as water laps the sand.
Cliff holds an urn and Monk holds a folded sheet of paper. He
opens the document and begins to read.
MONK
(reading)
If you are reading this, it's
because I, Lisa Madrigal Ellison,
have died. Obviously this is not
ideal, but I guess it had to happen
at some point. Hopefully I expired
under...
Monk stops for a moment and then begins again.
MONK
(CONT’D)
(reading)
Hopefully I expired under the
heaving thrusts of a sweaty Idris
Elba, or perhaps in a less
dignified manner, under the heaving
thrusts of a sweaty Russell Crowe.
Cliff smirks as Lorraine crosses herself and Agnes shakes her
head.
22.
23.
MONK
(CONT’D)
(reading)
Irrespective of how I went, I ask
that those closest to me not mourn
all that much. I lived a life that
made me proud. I was loved, and I
loved in return. I found work that
aroused my passions. I believe I
gave more than I took, and I did my
damndest to help people in need.
And on top of all that, many a
friend wrongly accused me of having
botox because of how tight my skin
stayed well into my 50s. What more
could someone ask of a life? I love
you all. Thank you for being here
today. Goodbye.
Agnes and Lorraine are crying now. Monk folds the paper and
pockets it as he turns to his brother.
MONK
(CONT’D)
Cliff...
He reaches out and takes the urn from Cliff, then makes his
way toward the water. Monk removes the lid and lets Lisa's
ashes mix with the sand on the beach. A BYSTANDER ambles by.
BYSTANDER
Are those human remains? Do you
guys have a permit for that?
CLIFF
Shut the fuck up, Phillip.
BYSTANDER
Cliff, you don’t talk to me like
that.
CLIFF
Fuck you. I just did.
BYSTANDER
What?
CLIFF
You want me to beat your ass?
BYSTANDER
(backing away)
I’m just--
Cliff starts after him.
23.
24.
CLIFF
Get the fuck outta here. I will eat
your sweater vest for dinner.
BYSTANDER
No--
CLIFF
Bitch, go!
MONK
(from afar)
Get the fuck outta here, Phillip!
CLIFF
One, two, three--
Cliff follows after Phillip as Monk spreads the remaining
ashes.
MONK
Always been a fuckin’ douche.
INT. BEACH HOUSE - KITCHEN - AFTERNOON
Monk comes inside to find Cliff sitting alone and having a
glass of wine, the bottle open on the coffee table.
MONK
Where is everybody?
CLIFF
They're exhausted. I gave Lorraine
something to help her sleep.
Mother's taking a bath and then
I'll dose her, too.
MONK
You think maybe I could get some of
that later tonight?
CLIFF
Yeah. You’re not sleeping well?
MONK
Normally I sleep fine. But
just...lately.
(then)
Does seeing a dead body ever become
normal?
CLIFF
I don’t know. I haven’t seen many.
24.
(MORE)
25.
MONK
Really?
CLIFF
I'm a plastic surgeon. If I'm
looking at a corpse, then something
went very awry.
MONK
Right.
Monk picks up a wine glass and pours some from the bottle.
MONK
(CONT’D)
Yeah, it made me feel for Mother. I
can't imagine what she went through
finding Dad...like that.
CLIFF
Yeah. So much death.
MONK
When’s the last time we were here
together?
CLIFF
Uh, maybe ten years. The kids were
still little.
MONK
How is your family, by the way?
CLIFF
You actually care?
MONK
Of course. Why would I ask? Why
would you ask me that?
CLIFF
I don’t know, Monk. You never
really call.
MONK
I get busy.
CLIFF
Everybody gets busy. You drift
away.
(shaking his head)
You want to know how my family is?
My wife left me because she caught
me in bed with a man. She took the
house, half my practice.
(MORE)
25.
CLIFF (CONT’D)
26.
My kids fucking hate me. And I
still live in fucking Tucson.
MONK
What's wrong with Tucson?
CLIFF
Oh my god. There's one gay bar and
it's full of college kids. One of
them asked me if I was Tyler Perry.
MONK
That’s terrible. I mean, Tyler
Perry lives in Atlanta, right?
CLIFF
Pfft. Fuck you, man. Shut up.
MONK
That’s nowhere near Tucson.
They both laugh.
MONK
(CONT’D)
Did you know dad had affairs?
CLIFF
Oh, for sure.
MONK
How?
CLIFF
You could just tell. Lisa told me
she saw him kissing a white woman
once.
MONK
Why did I have no idea? Why am I
the last to know?
CLIFF
‘cause you loved him too much.
Enemies see each other better than
friends.
An earth-rattling snort comes from the adjacent living room.
Monk goes to look and sees Lorraine sleeping in an almost
yogic pose while snoring. Monk turns back to Cliff.
MONK
What the hell did you give her?
CLIFF (CONT’D)
26.
27.
CLIFF
Oxycodone. Puts 'em right out.
MONK
You gave her opioids to sleep?
CLIFF
Yeah. You ever seen a heroin
addict? Those guys take naps
standing up.
MONK
It’s dangerous.
CLIFF
Look, I’m keeping an eye on her.
I’m a doctor.
MONK
So am I.
CLIFF
Right. Maybe if we need to revive a
sentence.
MONK
Um, well, uh -- why do you have
synthetic smack anyway?
Cliff doesn't answer and instead looks to the ceiling behind
Monk.
CLIFF
What is that?
Monk and Cliff stand and see that a small trickle of water is
dripping from the ceiling.
CLIFF
(CONT’D)
Ah, shit.
INT. BEACH HOUSE - SECOND FLOOR BATHROOM - MOMENTS LATER
There's water coming from under the bathroom door. Monk
knocks but nobody answers.
MONK
Mother?
He knocks again.
MONK
(CONT’D)
Mother?
27.
28.
Still no answer. Monk finally forces his way in. The bathtub
is overflowing and drenching the entire floor as Agnes sits
on a stool in her underwear, staring into nothingness.
MONK
(CONT’D)
Hey. Hey!
Monk shuts off the water and tries to rouse Agnes to
lucidity, but she remains unresponsive.
MONK
(CONT’D)
What are you doing? Hey!
(then, softer)
Mother, hey. Come on. Come on.
Monk wraps Agnes in a towel. This act finally breaks her
reverie.
EXT. BEACH HOUSE - AFTERNOON
Monk paces in front of the house as he chats on the phone. We
do not see who's on the end of the line.
MONK
I'm not sure, to be honest with
you. It's going to depend on what
the doctors say...Yeah, I'll touch
base when I know more...Thanks so
much for being understanding.
An old station wagon pulls into a driveway across the street
and out of it steps CORALINE WILSON (early 40s, black,
dreadlocks). She begins to unpack groceries from her car.
MONK
(CONT’D)
Uh, hey, Leo, one more thing...I
was wondering if, uh, maybe we
could treat this as a sabbatical as
opposed to a leave-of-absence.
Whatever happens with my mom, it's
going to cost some money.
There's a pause as Monk listens to Leo's response. As he does
this, Coraline accidentally drops a grocery bag, spilling
produce all over the street.
MONK
(CONT’D)
No, I understand...No, it's not
your fault. I'll figure something
out. Yeah. Thanks for your
help...OK, bye-bye.
Monk hangs up and he runs across the street to help Coraline.
28.
29.
CORALINE
You don't have to do that.
MONK
Oh, no. I do. It's tomato season.
Can't let them go to waste. It’s a
crime around here.
They bag up all the errant groceries and stand.
CORALINE
Thank you.
MONK
That’s what neighbors are for,
right?
Monk turns to leave.
CORALINE
Welcome to the neighborhood. I
thought that place was vacant.
MONK
Uh, it has been for a while. We
just got here last night.
CORALINE
I figured the place was haunted.
They say some old man blew his
brains out there a while back.
MONK
Oh...yeah.
Coraline immediately realizes what she's done.
CORALINE
Oh my god. I'm a fucking idiot.
Please forgive me.
EXT. CORALINE'S HOUSE - EVENING
The house is aglow with light from inside.
CORALINE (PRE-LAP)
I'm very sorry to hear that.
INT. CORALINE'S HOUSE - KITCHEN - EVENING
Coraline and Monk are having some wine as Coraline puts away
the groceries.
29.
30.
CORALINE
What did she do for a living?
MONK
She was a doctor. My whole family
is doctors basically. I'm the
outcast.
(then)
What do you do for work?
CORALINE
I'm a lawyer. Public defense.
Quincy.
MONK
That's very honorable.
CORALINE
Yeah. It's very hard. But it can be
rewarding.
MONK
May I ask you something that I’m
sure a lot of people ask you?
CORALINE
How do I feel defending guilty
people?
MONK
Yeah.
CORALINE
I love it.
MONK
Why?
CORALINE
You have to. And...they're all
guilty.
MONK
Really?
CORALINE
Yes. But that's OK. People are more
than their worst deed.
MONK
I guess I agree with that.
CORALINE
I'm sure you do. You're a writer.
30.
31.
MONK
I don't follow.
CORALINE
Well, writers have to be
nonjudgmental. You can't write
interesting characters if you're
critical of every bad decision they
make, right?
MONK
Maybe you should be the writer. I
don’t feel like much of one lately.
CORALINE
You blocked?
MONK
It’s just--I don’t think anybody
wants to buy what I write.
CORALINE
That's not true. I--I didn’t want
to say anything, but, uh, I
actually read one of your books.
MONK
Huh. Which?
CORALINE
"The Frogs."
MONK
Oh, so you're the one.
They laugh. The energy is becoming casually flirty.
CORALINE
I liked it. You’re talented.
From outside, the sound of a car engine chugs into earshot.
MONK
Are you expecting company?
CORALINE
Yeah.
When Coraline doesn't make to explain who it is, Monk gets
the message.
MONK
Oh.
31.
32.
JELANI (late 40s, black) enters.
JELANI
Hello.
MONK
Hi.
CORALINE
Jelani, this is Monk. He and his
family own the house across the
street.
JELANI
Nice to meet you.
MONK
It's a pleasure.
JELANI
Are you staying for dinner?
MONK
Uh, no. I need to go check in on my
mother.
JELANI
Cool.
MONK
Thank you, um--
Monk gulps down the rest of his wine.
MONK
(CONT’D)
For the wine. And, uh, good night.
CORALINE
Goodnight, Monk.
EXT. CORALINE'S HOUSE - DUSK
As Monk makes his way down Coraline's front steps, we can
hear Jelani's laughter coming from the house.
EXT. BEACH HOUSE - MORNING
Monk and Cliff are packing up the car -- Lisa's old car -- as
they prepare to head back to the city.
MONK
What time's your flight?
32.
33.
CLIFF
Eleven.
MONK
Do you think you could change it?
It'd be useful to have you at
Mother's doctor's appointment
today.
CLIFF
I can't. I've got to get home.
MONK
Fine. But can you chip in for her
care once we find out what's what?
It's probably going to be
expensive.
CLIFF
Things are tight right now, so --
(then)
Have you thought about firing
Lorraine?
MONK
Lorraine is family.
CLIFF
(shrugging)
Well, shit, Monk.I don't know what
to tell you, alright.
MONK
So you can't do anything?
CLIFF
I will check with my accountant
when I get back, alright?
Cliff pulls a vodka bottle out of his pocket and takes a
swig.
MONK
It's eight in the morning.
CLIFF
I'm not flying the fucking plane,
Monk.
MONK
Well, do you think you could be so
kind as to go inside and see if
Mother is ready to head out?
33.
34.
CLIFF
Ugh, fine.
(then)
Mother!
MONK
Don't yell, man. Be civilized.
CLIFF
You're just like our Dad, man.
‘till you do right by me, Monk. I
swear to fucking God.
MONK
(under his breath)
Clown.
CLIFF (O.S.)
Wanna see civilized? Mother!!
As soon as Cliff goes inside, Coraline, in a robe and pajama
pants, walks up. Jelani's car is still in front of her house.
CORALINE
Good morning.
MONK
Oh, hey. Good morning.
CORALINE
Listen, about last night...
MONK
Oh, it’s okay. You don't have to
explain. I had a good time.
CORALINE
No I -- Jelani, he’s, uh, my ex.
Or, he’s going to be. We're in the
middle of breaking up and it's
hard.
MONK
I get it.
CORALINE
I’d like to see you again. Do you
think you'll be around town the
next couple of days? Want to grab a
drink?
MONK
Yeah. I'd like that.
34.
35.
CORALINE
Yeah, me too. Drive safe.
MONK
Thanks.
Monk watches her for a few beats as she walks away.
INT. DOCTOR'S OFFICE - WAITING ROOM - DAY
Monk is sitting in a chair reading a copy of The Atlantic. He
finishes an article and flips to the next page, where he
finds a picture of...Sintara Golden. The article is a rave
review of her book. We can tell it's a rave via closeups of
words like IMPORTANT and NECESSARY. After a short while, a
NURSE enters.
NURSE
Mr. Ellison? We're ready.
INT. DOCTOR'S OFFICE - SAME TIME
Monk sits across from DR. BULGER (50s). The office is tidy.
Through glass, we can see Agnes sitting outside the office.
DR. BULGER
Her MRI shows early signs of
neurodegeneration. There's a slight
decrease in the size of the
temporal lobe, which suggests
Alzheimer's.
Dr. Bulger gives Monk a moment to process this news.
DR. BULGER
(CONT’D)
I’m very sorry, Mr. Ellison. But at
some point, she'll probably require
round-the-clock care, for her own
safety.
Monk peers out at Agnes, who looks sweet and a little lonely.
INT. MONK'S CHILDHOOD HOME - STUDY - NIGHT
Monk sits at his father’s old desk in front of his laptop, on
which there’s a blank Word document. Next to Monk is his copy
of The Atlantic, folded open to the Sintara Golden review.
The cursor on the empty page blinks mockingly at Monk. After
a few beats, he begins to type, and big, bold letters appear
atop the page:
35.
36.
MY PAFOLOGY
by Stagg R. Leigh.
Monk hits return a couple times and starts to type again. The
camera moves behind the laptop now, so we can see Monk as he
types, determined, a glint of mischief in his eyes, a smirk
growing across his face.
The camera goes wide to show that there are now two men
standing in front of Monk's desk. These are two of the
characters he's conjuring in his novel: VAN GO JENKINS
(played by Michael B. Jordan) and WILLY THE WONKER (Samuel L.
Jackson). Willy is a junkie, visibly drunk. And Van Go is a
jittery young man with a gun in his waistband. Van Go has his
back to Willy.
WILLY
Hey, young nigga!
Van pulls out his gun and turns to the source of the voice.
WILLY
(CONT’D)
(re: gun)
Whoa! Whoa! Don't shoot me,
pardner, come on.
Willy's swaying and slurring his words, but a hint of
recognition comes over him at the sight of Van Go.
WILLY
(CONT’D)
Van Go? That you?
VAN
Yeah, it me, nigga. Shit, whatchu
drunk mufucka?
WILLY
Where you runnin' to?
VAN
Just leave me alone, man.
WILLY
How yo' mama?
VAN
Whatchu say?
WILLY
I say, how yo' mama?
Van Go grows increasingly enraged as Willy goes on.
36.
37.
WILLY
(CONT’D)
Oh, shit. They ain’t tell you?
VAN
Whatchu talkin' 'bout, punk? Hey!
Watchu talkin’ ‘bout?
WILLY
Think 'bout it, Van Go. Lookit my
face. face. Lookit my midnight
black complex-- no, that’s not
right.
Willy turns to Monk, breaking the fourth wall.
WILLY
(CONT’D)
What did you want to say? You can
say it better than that, right?
Come on. What you want?
Monk revises the document. As he types, Willy gets back into
character.
WILLY
(CONT’D)
Think ‘bout it, Van Go. Lookit my
face. Lookit my coal black skin and
then look at y'own. Look at my
black eyes and then look at y'own.
Look at my big black lips and look
at y'own.
(then)
I’s your daddy whether you likes it
or not.
VAN
Shut up! Shut up, man. You lyin'!
WILLY
Nah, nah. That’s the truth, nigga.
VAN
Then where you been? Huh? Where you
been?
WILLY
I been where I always be --
survivin'. You ain't worth a piss.
Yo' mama ain't worth a piss. So,
here I am.
Van's distraught, filled with rage. He stares angrily at the
man in front of him. But after a few beats, he turns to Monk.
37.
38.
VAN
What do I say now?
MONK
I think now will come some sort of,
you know, like, some sort of dumb,
melodramatic sob story to highlight
your broken interiority. Something
like, uh, I dunno...
Monk goes back to typing. As he does, Van turns back to focus
on Willy. As Monk types, Van breaks into his soliloquy.
VAN
I hates this man. I hates my mama.
And I hates myself. I'm seein' my
face in his. I see the ape that all
them stupid girls were afraid of,
yeah. I see my long arms hangin’
down. And I see eyes that don't
care what happens tomorrow. I see
myself rockin' back on my heels,
just like this baby, just waitin',
and waitin', and waitin', and
waitin’ for sumpin that I’m not
even gonna recognize when it come.
Death is my only cure. I heard that
before. I been hearin' it. And I’m
hearin’ it now. I see...I see my
Mama cryin’, I see her screamin' in
my dreams. I see my babies. I see
my-- I see my daddy. I see myself.
Out of nowhere, he shoots Willy in the gut. Willy doubles
over and looks up at Van, clenching his wound as blood
darkens his clothing.
WILLY
What tha fuck? Whatchu do that
fo’?! the fuck was that fo'?!
Van, tears streaming down his face, stands over Willy.
VAN
Cause you ain't shit, nigga! And
you made me! So ‘cause you ain’t
shit, I ain't shit. 'Cause you
ain't shit, I ain’t shit.
Van hears the distant sound of police sirens.
38.
39.
VAN
(CONT’D)
I gots to bounce.
(then, to Monk)
Peace, mufucka.
MONK
Peace.
Van sprints out of the room as Willy writhes on the floor.
WILLY
(to Monk)
What the fuck was that fo’!?
INT. MONK'S CHILDHOOD HOME - BEDROOM - DAY
Monk watches TV in bed. The channel announces an upcoming
"Black Stories Month." It shows clips of the movies being
honored: gang violence in Baby Boy, slaves lined up in
Antebellum, a teen mother in Precious, police brutality in
Straight Outta Compton, Chris Rock’s character smoking crack
in New Jack City, Morris Chestnut shot in the back in Boyz N’
The Hood. Monk's cellphone buzzes. He looks and smiles when
he sees who's calling.
MONK
Hello?
INT. ARTHUR'S OFFICE - DAY
ARTHUR
(reading from the printed
manuscript)
"I be standin' outside in the
night. A police chopper go by and
shine some lights in some backyards
and I think, shine that light on me
mufucka. Shine me some fuckin'
light so I can see where the fuck I
be at."
Monk laughs.
INTERCUT PHONE CONVERSATION
ARTHUR
(CONT’D)
Are you serious?
MONK
You'll notice I didn't put my name
to it.
39.
40.
ARTHUR
Yes, “Stagg R. Leigh.” I did notice
that. Well done. But I still can’t
send this out.
MONK
You said you wanted black stuff.
What’s blacker than that? It's got
deadbeat dads, rappers, crack --
and he's killed by the cops in the
end. I mean, that’s black, right?
ARTHUR
I see what you're doing.
MONK
Good, because it's not subtle. I
mean, how’s that book so different
from some of the other garbage they
put there?
ARTHUR
That's not the point.
MONK
Well, it’s my point. Look at what
they publish. Look at what they
expect us to write. I'm sick of it.
And this is an expression of how
sick I am.
ARTHUR
Monk, I’m trying to sell books. Not
be a part of some crusade. Who do
you expect to publish this?
MONK
No one. I just want to rub their
noses in the horse shit they
solicit.
ARTHUR
OK. What do you want me to do?
MONK
I want you to send it out.
ARTHUR
Can I say it’s performance art?
MONK
No, send it straight. If they can’t
take the joke, then fuck them.
40.
41.
ARTHUR
Alright, but I'm only sending it to
a couple places. This thing scares
me.
MONK
Scares you? Why?
ARTHUR
Because white people think they
want the truth, but they don't.
They just want to feel absolved.
MONK
Well, fortunately that’s not my
problem. Bye.
EXT. ICE CREAM SHOP - AFTERNOON
Monk and Coraline are eating ice cream cones as they walk
down a path cutting through some tall grass.
MONK
I'm surprised you reached out. I
thought you were just being nice.
CORALINE
I'm never just being nice. I'm too
old for that. I liked you so much,
in fact, that I went out and got
another one of your books.
MONK
Really? Which one?
CORALINE
"The Haas Conundrum."
MONK
What’d you think?
CORALINE
I liked it! Susan has really great
dialogue. And I loved the aunt. You
write women well.
MONK
You think so?
CORALINE
Yeah, they aren't hothouse flowers.
41.
42.
MONK
Thank you. I appreciate that.
CORALINE
I could have done with fewer
footnotes, though.
They laugh.
INT. CORALINE'S HOUSE - BEDROOM - SUNSET
The sun is setting outside the window as Monk puts his
clothes back on in Coraline's bedroom. Coraline enters,
wearing only a robe, from an adjoining bathroom.
MONK
I've got to run.
CORALINE
How’s your mom?
MONK
In and out. I'm afraid to be away
for too long, but, uh, I'll call
you.
CORALINE
Hold on a minute.
Coraline retrieves her copy of “The Haas Conundrum” and a pen
from her dresser.
CORALINE
(CONT’D)
Sign my book.
Monk opens the book to sign it.
MONK
What’s your name again?
They both laugh. She and Monk kiss before Monk heads toward
the door.
INT. MONK'S CHILDHOOD HOME - NIGHT
The home is completely dark when Monk walks in the door. He
flicks a light switch, but nothing happens.
LORRAINE (O.S.)
Mr. Monk?
42.
43.
Monk turns on his smartphone flashlight and uses it to guide
himself forward as Lorraine steps out of the kitchen holding
a camping lantern.
MONK
What's going on with the lights?
LORRAINE
Ms. Lisa used to pay the bills.
(then)
Did you?
INT. CLIFF'S HOME - KITCHEN - AFTERNOON
Cliff is in trousers and an unbuttoned shirt eating fast
food. Lines of cocaine are in front of him on a small mirror.
A French pop song from the 1980s is blasting in the
background. Cliff does a line.
CLIFF
How much?
INT. MONK'S CHILDHOOD HOME - FORMAL LIVING ROOM - NIGHT
Monk, lit by candlelight, is on the telephone. His laptop is
open in front of him and a glass of scotch is nearby.
MONK
Well, I can handle the electric
bills, but these care facilities
are expensive.
INTERCUT PHONE CONVERSATION
MONK
(CONT’D)
The best one nearby is $5,600 a
month. And that’s for a shared
room. It goes up to $6,900 a month
for a private room.
CLIFF
Why are you looking at the best
one? She wasn’t the best mother.
MONK
I’m not calling to re-litigate our
childhoods.
CLIFF
Of course not. ‘Cause yours was
great.
43.
44.
MONK
Goddamnit. Are you going to help
me, or not?
CLIFF
Won’t Medicaid cover it or
something?
MONK
That’s not how it works. You don’t
know this?
A man, CLAUDE (Latino, 30s, also shirtless), enters the
frame.
CLIFF
(to Claude)
Oh, hello.
Claude and Cliff kiss before Claude snorts a line of coke.
MONK
Who’s that? What are you doing?
CLIFF
I’ve taken a lover.
MONK
You’ve “taken a lover”?
CLIFF
Yeah. Do you have a problem with
that, homophobe?
MONK
Listen, I’m not offended that
you’ve taken a lover, Cliff. I’m
offended, Cliff, that you call it
taking a lover.
CLIFF
You can eat shit, Nigga.
Cliff hangs up and follows after Claude.
CLIFF
(CONT’D)
I’ll take my lover right now.
(calling after Claude)
Hey, where you goin’?
Back on Monk, who sets down his phone calmly and then slams
his laptop shut.
44.
45.
INT. ARTHUR’S OFFICE - DAY
Arthur is pacing around in silence when Monk walks in.
ARTHUR
There you are.
MONK
Traffic was insane. What’s up?
ARTHUR
Sit down.
Monk sits, but Arthur stays standing.
ARTHUR
(CONT’D)
We sold your book.
MONK
Holy shit. I thought it was DOA.
ARTHUR
Not “The Persians.”
Monk looks confused at first and then...
MONK
No.
(off Arthur’s nod)
Get out.
ARTHUR
Paula Baderman, from Thompson-Watt.
MONK
She always passes.
ARTHUR
Not this time. They want to pre-
empt for $750,000.
Monk’s eyes go wide.
MONK
No one’s ever offered that much to
me.
ARTHUR
This is you.
MONK
No it’s not, Arthur.
45.
46.
ARTHUR
You wrote it.
MONK
As a joke.
ARTHUR
Well, now it’s the most lucrative
joke you’ve ever told.
MONK
And I’m not selling.
ARTHUR
Why not?
MONK
Because it’s trash, Arthur. You
didn’t even want to send it out the
other day. But look who’s suddenly
overcome his fears.
ARTHUR
I know. I broke the first rule of
sales: Never underestimate how
stupid everyone is.
MONK
Well, I’m not participating in
making them any stupider.
ARTHUR
Well, you haven’t...thus far, which
is admirable. But you also haven’t
made any money.
(then)
Doesn’t your mom need help these
days?
Monk considers this.
ARTHUR
(CONT’D)
Check this out.
Arthur goes to a bar car in the corner of his office.
MONK
I don’t care how drunk we get, I’m
not selling it.
ARTHUR
That’s not what I’m doing.
46.
47.
Arthur picks out three bottles, which he then brings back to
his desk, where he begins arranging them with his back to
Monk. The bottles set how he wants them, Arthur turns and
shows us what he’s put together: three types of Johnnie
Walker -- Red, Black, and Blue -- aligned in that order.
ARTHUR
(CONT’D)
Johnnie Walker Red, twenty-four
bucks. Johnnie Walker Black, fifty
bucks. Johnnie Walker Blue, one-
hundred-and-sixty dollars. You see
the metaphor?
MONK
No.
ARTHUR
These are all made by the same
company. The Red is shit, the Black
is less shit, and the Blue is good.
But fewer people buy the Blue,
because it’s expensive, and at the
end of the day, most people just
want to get drunk. For most of your
career, your books have been Blue --
they’re good, they’re complex, but
they’re not popular, because most
people want something easy. Now,
for the first time ever, you’ve
written a Red book. It’s simple,
prurient. It’s not great
literature, but it satisfies an
urge, and that’s valuable.
(off Monk’s face)
What I’m trying to illustrate is
that just because you do Red
doesn’t mean you can’t also do
Blue. You can do it all, like
Johnnie Walker. In fact, you’ve got
Johnnie Walker beat, because you
don’t even have to put your real
name on it.
Monk mulls over Arthur’s point for a moment.
MONK
(shaking his head)
Jesus. Do we drink now?
INT. ARTHUR'S OFFICE - MOMENTS LATER
Monk and Arthur clink their glasses and drink. A bottle of
Johnnie Walker Red sits between them. They’re both looking at
47.
48.
Arthur’s office phone, which is ringing on speaker as they
try to contact PAULA BADERMAN (white, 50s).
PAULA
Hello?
ARTHUR
Hello, Paula.
INT. THOMPSON-WATT - PAULA BADERMAN'S OFFICE - SAME TIME
Paula’s office is crowded with books and manuscripts. Slight
hints to her leftist leanings dot the space: a “Resist”
poster, a framed picture of RBG in a crown, etc. Paula is the
kind of nice, white neoliberal who will gladly vote for
Bernie but then balk at the idea of low-income housing on her
block.
PAULA
Arthur! So wonderful to hear from
you. I hope you’re with the man of
the hour.
INTERCUT PHONE CONVERSATION
ARTHUR
I am indeed. He’s right here next
to me.
PAULA
Mr. Leigh?
MONK
This is he.
PAULA
(surprised) )
Oh...really?
Arthur signals for Monk to enhance his response, so Monk
begrudgingly puts some bass in his voice.
MONK
Yeah, goddamnit. Motherfucker!
Arthur gives a thumbs up. Paula is immediately more at ease.
PAULA
(phew)
Oh, OK. I was a little confused at
first, but--
48.
49.
ARTHUR
We’re both very excited to discuss
Thompson-Watt’s offer.
PAULA
Yes. Well, first, let me say that
all of us here at Thompson-Watt are
thrilled with “My Pafology." It is
about as perfect a book as I’ve
seen in a long, long while -- just
raw, and real. Mr. Leigh, is this
based on your actual life?
MONK
Yeah. You think some bitch-ass
college boy can come up with this
shit?
PAULA
No, no, I don’t. You know, that
kind of visceral energy cannot be
taught, right? Stagg, may I call
you -- now is Stagg a pseudonym?
ARTHUR
(grasping for a lie)
Yes, uh, it is. Mr. Leigh can’t use
his real name because he’s
a...well, he’s a wanted fugitive.
PAULA
Oh my god. Wow.
ARTHUR
That’s why this couldn’t be a video
conference.
Monk’s eyes go wide toward Arthur, who gives him a wink. Monk
mutes the phone.
MONK
Are you crazy? What if they fact
check this?
ARTHUR
Fact check? There’s barely money to
pay editors anymore. Just go with
it.
Arthur unmutes the phone.
49.
50.
MONK
Uh, yeah, I did a, uh...a twelve
year bid, but no goin’ back. Nah
mean?
PAULA
Yeah. Yeah. You know, um, I’ve been
reading a lot about the prison
abolition movement--
MONK
(under his breath, as
Paula trails on)
Oh god...
ARTHUR
(interrupting)
I’m sorry to rush, Paula, but can
we talk business? Mr. Leigh values
his time outside of a cell.
PAULA
Of course. I’m sure you’re both
busy, so I’ll get right to it.
You’ll notice that our offer is
unusually large. And that is
because we think Mr. Leigh has
written a best-seller. We think
this is going to be the read of the
summer.
MONK
Yeah, I’m sure white people on the
Hamptons will delight in it.
PAULA
Yes, we will.
(then, clearly confused)
Th--they--we?...it’s gonna be huge.
Huge. I love it.
EXT. BEACH HOUSE - AFTERNOON
Monk’s unpacking the car by himself when a security guard
pulls up in one of those quasi-cop cars. This security guard
is MAYNARD (black, late 60s).
MAYNARD
Is that little Thelonious Ellison?
Monk turns to look.
50.
51.
MONK
My god. Maynard.
Maynard steps out of his car and he and Monk shake hands.
MAYNARD
Everyone still call you Monk?
MONK
Well, everyone but you.
MAYNARD
Thelonious is a beautiful name.
Seems sinful to not say it whole.
MONK
Well, I’m happy somebody
appreciates it.
MAYNARD
I heard about your sister. My
condolences.
MONK
Thank you.
MAYNARD
I don’t think I’ve seen you since
before your father passed.
MONK
Yeah, it’s been a while. I live in
LA now.
MAYNARD
Hollywood! Hey, do you write for
that NCIS?
MONK
Just books.
MAYNARD
Well you should try to write for
NCIS. It’s popular.
MONK
Well, maybe I will.
(then)
So, how you been?
MAYNARD
Oh, I’m good. And you?
51.
52.
LORRAINE (O.S.)
Mr. Monk!
Lorraine comes out of the house already mid-sentence.
LORRAINE
(CONT’D)
What would you like for dinner?
Lorraine stops when she sees Maynard, who smiles when he sees
her.
LORRAINE
(CONT’D)
Maynard.
MAYNARD
Hi, Lorraine. It’s been a dog’s
age.
The two look at each other as if Monk’s not even there.
There’s clearly a current of electricity between them.
LORRAINE
Well, I guess it has. You look
well.
MAYNARD
You too.
(then)
Well, I best be getting back. Good
to see you, Thelonious.
MONK
You too.
MAYNARD
(to Lorraine)
Lorraine.
Maynard gets back in his car and drives off. As Lorraine
heads back inside, she notices Monk smiling at her.
LORRAINE
Ain’t nothing to smile at.
He laughs.
INT. BEACH HOUSE - FRONT DOOR - AFTERNOON
It’s golden hour. There’s a knock on the door.
MONK
(from the living room)
There she is. Behave yourself.
52.
53.
Monk swings open the front door to find Coraline there with a
bottle of wine and some flowers.
Behind him, Lorraine sets the table for an early meal.
CORALINE
Hi.
Monk and Coraline share a quick kiss.
CORALINE
(CONT’D)
(re: wine)
Got this for you.
MONK
Thank you.
(then, to Lorraine)
Lorraine, this is Coraline.
LORRAINE
Welcome.
CORALINE
Hello.
When they hear footsteps coming down the stairs, they turn to
see Agnes.
MONK
Oh, mother. Perfect timing. This is
Coraline.
AGNES
Hello, dear. I’m Agnes.
CORALINE
Such a pleasure to meet you. I
brought you these.
She hands Agnes the flowers.
AGNES
Dahlias are my favorite. There’s a
whole world inside them.
Agnes puts her arm around Coraline and kisses her on the
cheek with a warmth that Monk was not expecting.
AGNES
(CONT’D)
Lorraine.
Agnes hands the flowers to Lorraine.
53.
54.
MONK
Mother, you sit here...
Monk helps Agnes into her seat.
MONK
(CONT’D)
Alright. And Coraline, why don’t
you sit across from mother?
Coraline and Monk take their seats.
AGNES
(to Coraline)
I’m happy you’re not white.
CORALINE
Me too.
INT. CORALINE’S HOUSE - LIVING ROOM - NIGHT
Monk and Coraline sip nightcaps on the sofa as the sun sets.
MONK
...yeah, it was pretty funny. I
think you remind her of my sister.
CORALINE
Hmm. Well, do you think we look
alike?
MONK
No, but you’re both self-assured,
and funny, and you’re
both...fantastic kissers.
They laugh and then begin to kiss, gently at first, and then
more deeply. The calm evening is interrupted when they hear
Lorraine calling for help. Monk and Coraline both stand and
rush to investigate.
EXT. CORALINE'S HOUSE - NIGHT
Monk and Coraline exit to find Lorraine in a frenzy as
Maynard tries to calm her down.
MONK
What’s wrong?
LORRAINE
I’d just stepped out for a moment
to have a cup of coffee with
Maynard. I was right in front.
54.
55.
MONK
Where’s Mother?
LORRAINE
I don’t know. The back door was
open. She’s gone.
MONK
What?
MAYNARD
We should split up.
(then, handing Monk the
flashlight from his belt)
Here. I’ve got more in the car.
Monk takes the flashlight and bolts away.
EXT. BEACH - NIGHT
Monk runs down the beach with his flashlight looking for
Agnes.
MONK
Mother! Mother!
After some frantic searching, Monk sees something in the
distance: Agnes, in her robe and slippers, walking
dangerously close to the water, oblivious to the chaos. Monk
sprints after her.
MONK
(CONT’D)
Mother! Hey! Mother!
But Agnes doesn’t respond, doesn’t even look in Monk’s
direction.
MONK
(CONT’D)
Hey! Hey! Stop! Hey!
Monk finally catches up to her, but she resists his efforts
to intervene.
MONK
(CONT’D)
Where are you going?
AGNES
Lisa’s out there! Roughhousing with
the cousins. Somebody’s going to
get hurt.
MONK
Stop! I will go tell her, OK?
55.
(MORE)
56.
AGNES
Yeah, but they--
Monk wraps his arm around Agnes and leads her back toward the
house.
MONK
I will take you back to the house,
and then I will go tell her.
AGNES
But they’re out there!
MONK
I know. I know.
AGNES
OK. You sure?
MONK
I will tell her.
AGNES
(finally starting to calm
down)
OK.
MONK
C’mon. It’s too cold out there.
AGNES
Lisa doesn’t swim very well.
MONK
I know. OK. Almost there. Alright.
Coraline, Maynard, and Lorraine rush to Agnes with a blanket.
MONK
(CONT’D)
Okay, Monkey.
INT. SUNRISE ELDER CARE HOME - LIBRARY - DAY
Monk and Agnes walk with LUZ BORQUEZ (40s, Latina, pantsuit),
who’s showing them the facilities. It’s cozy and dignified,
not clinical or sparse like some retirement homes. A couple
RETIREES read in chairs dotting the space.
LUZ
And this is our library. It’s full
of all the classics, and we try to
get some new releases, too.
(MORE)
56.
LUZ (CONT’D)
57.
(to Agnes)
Do you like to read, Mrs. Ellison?
AGNES
No.
MONK
That’s not true. She loves to read.
She taught me to love reading.
LUZ
(to Agnes)
Perhaps we can get some of your
son’s books in here and you can
lead a book club?
Agnes ignores her and wanders away into the hall.
MONK
I’m sorry.
LUZ
It’s fine. It’s hard for a lot of
the residents at first, but she’ll
settle in.
MONK
Right. I appreciate all your help.
But, uh, how soon do you think we
get her in?
LUZ
In about a month. You can start the
paperwork today if you’d like.
MONK
Great. I’d like that.
Monk looks around for Agnes. At the same time, his phone
starts to ring.
LUZ
I’ll go check in on mom.
EXT. SUNRISE ELDER CARE HOME - DAY
Monk sits down on an empty bench to take his call.
MONK
Hello?
LUZ (CONT’D)
57.
58.
INT. CARL BRUNT’S OFFICE - SAME TIME
It’s a small office laden with books of all shapes and sizes.
CARL BRUNT (60s, white, patrician) is professorially stuffy.
CARL
Hello, Thelonious. My name is Carl
Brunt. I’m the director of the New
England Book Association.
INTERCUT PHONE CONVERSATION
MONK
Hi, Carl. I know who you are.
CARL
Oh, good. Then perhaps you also
know that each year my organization
bestows the somewhat pretentiously
named Literary Award.
MONK
Every writer knows the Literary
Award, Carl. Especially those of us
who haven’t won it.
Carl laughs a little.
CARL
Well, that’s related to why I’m
calling. Like many American
institutions, mine was recently
rattled by the notion that our lack
of diversity has led to a blindspot
in our work. So we’re kind of
trying to remedy that and, to that
end, I was wondering how you might
feel about being a judge for this
year’s award.
Monk pauses his browsing for a moment.
MONK
Um, let me say first say, Carl,
that I’m honored you’d choose me
out of all the black writers you
could go to for fear of being
called racist.
CARL
(oblivious)
Yeah, you’re very welcome.
58.
59.
MONK
But I think this sounds like a lot
of work.
CARL
Yeah, I can’t deny that. I mean,
you’re going to have to read dozens
of books. We could offer you a
modest stipend.
MONK
Even so, I’m not sure.
CARL
OK. One other crass perk I
reference when people are on the
fence is that this will allow you
the opportunity to literally judge
other writers for once, rather than
just figuratively.
Monk considers this for a moment.
MONK
Alright. I’m in.
CARL
Fantastic. OK. Great. So you’re
going to be one of five judges. The
only one we have confirmed so far
is Sintara Golden. Are you familiar
her work?
MONK
Vaguely.
INT. MONK’S CHILDHOOD HOME - FORMAL LIVING ROOM - DAY
Monk is lying on the couch reading when Lorraine enters,
carrying a tray of food and a beverage.
LORRAINE
I brought you lunch, Mr. Monk.
Monk sits up, surprised.
MONK
Wow. To what do I owe the pleasure?
LORRAINE
Well, I have a favor to ask.
Lorraine hesitates for a beat. She’s nervous to ask.
59.
60.
LORRAINE
(CONT’D)
I was wondering if I might be able
to take the afternoon off. Maynard
just came in from the beach and we
thought it might be nice to visit a
museum.
MONK
Yes, of course. I’m free today, so
I can look after Mother.
Lorraine smiles, clearly grateful. She turns to leave, but
Monk calls after her.
MONK
(CONT’D)
Lorraine. You really like him, huh?
LORRAINE
He’s a fine man.
Lorraine exits and Monk starts to eat his lunch. After a
bite, his phone buzzes. Monk answers.
MONK
Yeah?
INT. ARTHUR’S OFFICE - DAY
Monk and Agnes enter Arthur’s office, where Arthur sits with
an assistant, LAYNE (20s).
ARTHUR
The guests of honor!
(to Agnes)
Hello, Mrs. Ellison. Looking
beautiful as ever.
Arthur hugs Agnes and kisses her on the cheek.
AGNES
Hello, Arthur.
ARTHUR
(to assistant)
Layne, would you take Mrs. Ellison
to the kitchen and set her up with
some tea?
LAYNE
Right this way, ma’am.
MONK
Mother, I won’t be long.
60.
61.
AGNES
Take your time.
Layne ushers Agnes out.
ARTHUR
(calling)
Not the pods! The good tea -- for
guests!
Arthur closes the door and immediately dives in.
ARTHUR
(CONT’D)
(re: Monk’s clothes)
What is this? I told you to dress
street.
MONK
I did.
ARTHUR
Fuckin’ Sesame Street.
MONK
What’s this guy’s name? Willy?
ARTHUR
Wiley. Wiley Valdespino. He
specializes in Oscar-baity
(air quotes)
“issue” movies. He did the Middle
Passage one last year.
MONK
Somehow I didn’t see that.
ARTHUR
Of course not; you’re not
lobotomized. But if he adapts your
book, you stand to make a lot of
money.
MONK
Why can’t we just do a phone call?
ARTHUR
Well, he said if he’s going to cut
a check this large then he needs to
meet in person.
MONK
Alright, what do I need to do?
61.
62.
ARTHUR
Just make him like you. When I
talked to him, he seemed thrilled
that you’re a fugitive. Just, you
know, play that up.
MONK
What if he recognizes me?
ARTHUR
You?
MONK
Yeah. The real me.
ARTHUR
Monk, you’re not that famous. And
nobody in Hollywood reads. They get
their assistants to read things and
then summarize them. The whole town
runs on book reports.
MONK
Are you sure you can look after my
mother?
ARTHUR
She won’t leave my sight. You’ll
just be across the street anyway.
(looking at watch)
You should go. You’ll be late. He’s
waiting for you.
MONK
Well...
After thinking for a beat, Monk takes a seat.
MONK
(CONT’D)
If he wants a stereotype, maybe
it’s better I’m late.
INT. SOUTH END RESTAURANT - DAY
Monk gets into character as he enters the restaurant. He
approaches a booth in a corner of the main room, where WILEY
(white, 50s, bro-ey) sits. Wiley stands to greet Monk.
WILEY
Stagg, I presume.
MONK
That’s me.
62.
(MORE)
63.
Wiley and Monk shake.
WILEY
Hey. I’m Wiley. Nice to meet you,
brother.
Monk and Wiley sit.
WILEY
(CONT’D)
Sorry about the bourgie restaurant.
My assistant picked it. We can go
somewhere else if you’re
uncomfortable.
MONK
This is fine.
A SERVER approaches.
WILEY
What’re you drinking?
MONK
I’ll have a chenin blanc.
MONK
(CONT’D)
Your driest.
The server departs.
WILEY
Ha.
MONK
What’s funny?
WILEY
Just a strange order for a guy like
you.
MONK
Why’s that?
WILEY
Just don’t see too many convicts
drinking white wine.
MONK
You know many convicts?
WILEY
You’d be surprised. I spent a month
in the joint myself. It was some
interstate commerce shit.
(MORE)
63.
WILEY (CONT’D)
64.
It was a short stay, but I’ll tell
you what: That experience grounded
me. The people I met in there
allowed me to see a whole new world
of underrepresented stories from
underrepresented storytellers.
(then)
Can I ask what you were in for?
MONK
I don’t like to talk about that.
You feel me?
WILEY
Was it murder?
MONK
You said that, not me.
Wiley stiffens in his seat.
WILEY
You know, I gotta tell you. Before
you showed up, I was a little
worried you might be a phony. A lot
of fakes in Hollywood.
MONK
Well, I’m not from Hollywood.
As Wiley speaks, Monk notices the sound of sirens. Not too
strange in a city, but they seem to be getting closer.
WILEY
Yeah, no. That’s obvious. Clearly
you’re cut from a different cloth
than your average screenwriter.
(then)
Let me ask you. I know they sent
you some of my stuff. Did you have
a chance to see any of my movies?
Wiley stops talking and Monk realizes he has no idea what
he’s said.
MONK
Sorry, sorry. What did you say?
WILEY
Have you seen any of my movies?
MONK
Uh, nah.
WILEY (CONT’D)
64.
65.
WILEY
OK. Well, look. I like to pair
genre with real-world pathos, which
sort of elevates things. You might
be interested in this new one we’re
about to shoot, actually. It’s
about this white couple. They get
married on an old plantation in
Louisiana and all the slave ghosts
come back, and they murder
everyone.
MONK
Dear god.
WILEY
I know. It’s great, right? It’s
called “Plantation Annihilation.”
Ryan Reynolds gets decapitated with
an Afro pick in the opening scene.
(then)
He’s a friend.
An ambulance pulls up to the building across the street, its
siren roaring. An EMT leaps from the vehicle and rushes
inside. Now Monk’s really worried.
MONK
I’ve got to go.
Monk stands and quickly runs from the table.
INT. BUILDING STAIRWELL - MOMENTS LATER
Monk is sprinting up the flights of stairs to Arthur’s
office, on the seventh floor.
MONK
Mother! Mother!
INT. ARTHUR'S OFFICE - CONTINUOUS
When Monk finally reaches the office, everyone turns to look
at the commotion, including Arthur and Agnes, who are sitting
in Arthur’s office and chatting politely. Monk feels
ridiculous.
INT. ARTHUR’S OFFICE - BATHROOM - MOMENTS LATER
Monk is peeing when Arthur enters.
65.
66.
ARTHUR
Some ad exec on the third floor had
an aneurysm.
MONK
Awful.
ARTHUR
I know. Imagine exploding your
brain trying to think up a toilet
paper commercial.
MONK
I assume Wiley’s not interested. I
sprinted out of there like a
complete maniac.
ARTHUR
Actually, he’s offering $4,000,000
for the rights.
MONK
What?
ARTHUR
(nodding)
Yeah, man! He called you “the real
deal." Said that you took off the
moment you heard police sirens.
Monk stares at Arthur’s elated face in disbelief for a beat.
MONK
The dumber I behave, the richer I
get.
ARTHUR
Now you know why my parents moved
here from Puerto Rico.
INT. MONK’S CHILDHOOD HOME - STUDY - DAY
Monk sits in front of his laptop with a cup of coffee. He’s
on a Zoom call with the other NBA judges: WILSON HARNET
(white, 60s), AILENE HOOVER (white, 50s), DANIEL SIGMARSEN
(white, 50s, grumpy cowboy), and Sintara Golden.
66.
67.
INT. WILSON’S OFFICE - DAY
WILSON
I mean, we can’t be expected to
read every novel all the way
through, right?
INT. AILENE’S OFFICE - DAY
AILENE
What? No. People have worked hard
on these books. We have to respect
that.
WILSON
Hard work doesn’t demand respect.
You know, people worked hard on the
Third Reich.
AILENE
Well, I feel that we owe it to them
to read every page.
INT. DANIEL’S DEN - DAY
DANIEL
That is such horse shit. I mean,
most of it’s going to be that
Knausgård autofiction crap anyhow.
I’ll tell you right now -- I’m not
reading 600 pages about some
pretentious jackwagon discovering
masturbation. Sorry.
INT. SINTARA’S OFFICE - DAY
SINTARA
OK. Look, I think we’re all
experienced enough to assess the
general quality of something within
100 pages. If you want to read
beyond that, that’s your
prerogative.
AILENE
Well how do you feel, Monk?
MONK
Uh, I agree with Sintara, actually.
I think 100 pages is sufficient.
67.
(MORE)
68.
DANIEL
You know, this is all a crock,
anyway. I mean, pitting art against
other art for awards -- like it’s
not subjective -- it’s absurd.
AILENE
Then why did you agree to be a
judge if you feel that way?
DANIEL
Well, because it’s either me or
some other Brooklyn hack who
doesn’t think there’s a world
beyond the Hudson River, Ailene.
AILENE
It’s the East River, if you’re in
Brooklyn, Daniel.
SINTARA
You know what? Art is subjective,
but I think this is an opportunity
to highlight books that might
otherwise be undervalued. Book
sales are plummeting right now, so
perhaps this award can give someone
a real chance at a career in this
industry.
MONK
(begrudgingly)
Hear, hear.
INT. SUNRISE ELDER CARE HOME - AGNES’ ROOM - DAY
Monk, Coraline, and Lorraine are helping Agnes settle in to
her room at the home. Coraline is going through boxes as Monk
hangs a landscape painting. Lorraine and Agnes are seated at
the room’s small dining table.
MONK
Where do you want this, Mother? I
thought it it might look nice here,
with this the natural light.
AGNES
I don’t care. I never liked that
painting, anyway.
MONK
OK, well, I’ll bring some more
things from home next week.
(MORE)
68.
MONK (CONT’D)
69.
And you just tell me the pieces you
like, and I’ll bring them.
An ORDERLY comes in with lunch: a sandwich on wheat bread and
some sides.
ORDERLY
We’ve got your lunch ready for you,
Mrs. Ellison.
He sets the food on a dining tray next to Agnes.
CORALINE
(trying to be cheery)
This looks great. What is it?
ORDERLY
It’s roasted turkey and havarti on
twelve grain.
CORALINE
Sounds delicious.
Lorraine stands to assess the lunch for herself, and she
doesn’t like what she sees.
LORRAINE
Mrs. Ellison prefers white bread.
And she doesn’t like the crust. As
much as this place costs, y’all
should get the sandwiches right.
ORDERLY
I’ll make sure we take care of that
from now on, okay?
(then)
Enjoy your lunch, Mrs. Ellison.
Lorraine and Agnes share a knowing look as the orderly
departs.
I/E. CAR - DAY
Monk and Coraline are in the front seat of Lisa’s car.
Lorraine rides in the back. They’re driving along in silence,
a little somber after leaving Agnes. And then...
LORRAINE
I’m getting married.
CORALINE
Shut up!
MONK
What?!
MONK (CONT’D)
69.
70.
LORRAINE
I didn’t say nothing earlier. It
was just so sad. But Maynard asked
me yesterday.
CORALINE
Lorraine! That’s amazing! Let’s
celebrate!
LORRAINE
It’s too much excitement. I don’t
like being the center of attention.
MONK
Well, you deserve it, Lorraine. And
Maynard is a lucky man.
LORRAINE
Do you think you’d be willing to
walk me down the aisle, Mr. Monk?
MONK
I’d be honored.
(then, smiling)
Wow.
INT. ARTHUR’S OFFICE - AFTERNOON
Monk and Arthur are gathered at Arthur’s phone, where they’re
listening to Paula on speaker.
PAULA (ON SPEAKERPHONE)
We are wildly excited to help you
get “My Pafology” out. The
marketing team has all kinds of
great ideas to help sell it.
ARTHUR
Great. We’re excited to hear.
INT. THOMPSON-WATT - PAULA BADERMAN'S OFFICE - SAME TIME
Paula’s office is the same, but now she’s sitting with JOHN
BOSCO (white, 30s, gay).
PAULA
John Bosco is the head of the
department. I’ll let him tell you
more.
JOHN
Hi, Stagg.
70.
71.
INTERCUT PHONE CONVERSATION
MONK
Hello.
JOHN
Nice to finally meet you, my man.
Listen, I love the book, and we are
going to sell many, many copies.
There’s already so much buzz
because of the movie deal, and we
just want to keep that momentum
going.
ARTHUR
I spoke to Wiley yesterday. He says
Michael B. Jordan is circling.
PAULA
We heard. We think he would be
absolutely perfect. You know, this
book is awards bait with a capital
B.
JOHN
And we’re thinking that if Michael
does sign on, we want to put him on
the cover, in one of those,
um...scarves, I guess you would
call them, tied around his head.
MONK
A do-rag?
JOHN
Do-rag! That’s it. Do-rag and a
tank top. With those muscles
showing.
PAULA
Whoo. Somebody call the fire
department.
JOHN
Yummy.
John and Paula laugh as Monk cringes. Arthur mimes shooting
himself, but then he recalls something and covers the phone.
ARTHUR
(whispering)
Shit, sorry, your dad. Sorry.
71.
72.
JOHN
So listen, for a release date,
we’re thinking of rushing it so
that we can get it out in time for
for Juneteenth.
PAULA
Yeah.
MONK
Juneteenth?
JOHN
We’re thinking of making a big
holiday push. Black people will be
celebrating, white people will be
feeling -- let’s be honest -- a
little conscience-stricken. We
think it’s gonna be a huge moment
for your book.
Monk closes his eyes and drops his head into his hands.
JOHN
(CONT’D)
So Stagg, are you so, so happy?
ARTHUR
We think it’s great, John. Really.
Amazing.
Monk lifts his head, revealing a smirk on his face. Arthur
motions for Monk to say something.
MONK
Yeah, it’s, uh -- it’s great.
(then)
And, you know, I’ve got an idea I
want to share with you two.
PAULA
Oh, well, I mean, we always
love to hear great ideas...
JOHN
Yeah! Cool.
MONK
I want to change the title.
JOHN
(uncertain)
OK. Um, well, just to be clear, we
love “My Pafology.”
PAULA
Love it.
72.
73.
JOHN
It’s got that Irvine Welsh,
proletariat vernacular thang.
Arthur looks confusedly to Monk. He wasn’t expecting him to
call an audible like this.
MONK
That’s why I think you’ll like the
new title even more.
PAULA
Well, OK. You know what? We are
always happy to hear new ideas.
What did you have in mind?
MONK
“Fuck.”
There’s a lengthy pause.
PAULA
Uh, I’m sorry. Pardon me?
MONK
“Fuck.” I want to call it “Fuck.”
Arthur laughs a fake, panicked laugh and rushes to mute the
phone as Paula and John chatter.
ARTHUR
(angry whispering)
What are you doing?
MONK
(angry whispering)
Screw these idiots.
ARTHUR
(angry whispering)
Stop it.
MONK
(angry whispering)
No.
Monk tries to take the phone from Arthur.
PAULA
So Stagg, what about, uh, like
“Damn” -- “Damn” -- or “Hell”?
Arthur shakes his head and unmutes the phone. And now we
return to intercutting with Paula and John in their office.
73.
74.
MONK
Nah. “Fuck.”
JOHN
OK. That’s cool. But maybe we could
maybe do that with a P-H instead?
Because that would be more
palatable to our sellers.
MONK
I don’t care about all that. And if
you don’t change the title, the
deal is off.
JOHN
Whoa, whoa, whoa.
PAULA
Yeah, no, there’s no need to be
hasty. You know what? Why don’t we--
just give us a second, and, um, a
moment, and we will get right back
to you. OK?
Once muted, Monk and Arthur get into it.
ARTHUR
What are you doing?
MONK
What are you doing? This is
ridiculous.
ARTHUR
It’s too much money we’re talking
about.
MONK
I don’t care. I’m shutting it down.
ARTHUR
Shutting wha--
MONK
(interrupting)
Shutting it down.
Paula returns with a decision.
PAULA
Are you there?
ARTHUR
We’re here.
74.
75.
PAULA
Let’s do it!
ARTHUR
What?
MONK
What?
PAULA
Yeah, we discussed it, and we think
it is very in your face in the best
way possible.
JOHN
It’s very, uh --
MONK
Black?
JOHN
That’s it! Yes, that’s it. I’m
happy you said it and not me.
Paula and John laugh as Arthur, still in shock, looks to
Monk, who just shakes his head in disgust.
PAULA
Ah, fuck!
JOHN
It’s fucking great, Stagg.
PAULA
You know, it’s so brave, actually.
INT. MONK’S CHILDHOOD HOME - NIGHT
Monk and Coraline have just gotten home. They make their way
to the kitchen.
CORALINE
I’m exhausted.
MONK
Yeah, me too. But I’ve got to stay
up a few hours reading these these
books for --
Monk notices some commotion in the backyard. He looks out the
window and sees that someone is swimming in the pool.
75.
76.
EXT. MONK’S CHILDHOOD HOME - BACKYARD - MOMENTS LATER
Monk and Coraline step through the back gate to find a person
furiously swimming laps.
MONK
Hey! Hey! Hey!
CLIFF
Ah, shit.
The swimmer stands up out of the water and we finally
see...it’s Cliff. He’s drunk and he’s got a black eye.
MONK
What are you doing here?
CLIFF
What am I doing here? What are you
doing here?
MONK
What do you mean what am I doin--
Why are you in town?
MONK
(CONT’D)
I came to see our mother. Isn’t
that what you’ve been calling me
about for weeks now.
MONK
(CONT’D)
What happened to your eye?
CLIFF
I got in a fight.
MONK
Well, get out of the pool.
Monk looks around at the mess Cliff has made.
MONK
(CONT’D)
You’re making a mess of it.
CLIFF
I don’t want to get out of the
pool. I’m a grown ass man.
(then)
Is this your girlfriend?
MONK
Yeah. You scared the shit out of
her.
76.
77.
CORALINE
I’m Coraline.
Monk picks up the skimmer net and begins to clean out the
detritus Cliff has tracked in.
CLIFF
Hi, Coraline.
(to Monk)
At least she’s not white again.
MONK
Your wife was white.
CLIFF
My wife was a beard. Beards don’t
count.
MONK
Well, get out. Fuckin’ menace.
You’ll wake the neighbors.
CLIFF
Fuck your neighbors. And fuck your
clean pool. It’s all just a part of
your superiority complex anyway.
Cliff dips underwater, grabs the net and yanks it hard,
throwing Monk off balance and sending him splashing into the
pool. Monk comes up drenched.
MONK
You are a goddamn child!
Cliff is giggling, followed by Coraline.
CLIFF
It’s probably a bad time to tell
you but I did piss down there.
Coraline and Cliff laugh harder now.
MONK
Oh, this is funny, huh?
CORALINE
I’m sorry, Monk.
CLIFF
Don’t get mad.
Monk tries to wrestle Cliff to try to get back at him, but
Cliff can’t stop laughing.
77.
78.
EXT. MONK’S CHILDHOOD HOME - BOCCE COURT - LATER
Coraline and Cliff toss bocce balls and drink wine as Monk
watches at the edge. Monk’s in a bathrobe, Cliff in
basketball shorts and nothing else. Coraline’s in her clothes
from before.
CLIFF
So I’m lying in bed with him, buck
ass naked, and in walks Claude
carrying the frozen yogurt.
CORALINE
No!
CLIFF
Yeah, I forgot that I’d shown him
where I keep the spare key. So he
just throws the yogurt at us and
then he wallops me, right in the
eye.
CORALINE
What’s the other guy do?
CLIFF
He couldn’t stop laughing. He said
that’s what he does when he gets
nervous.
MONK
You’re really going for it these
days.
CLIFF
I’ve only been gay for like five
minutes. I gotta make up for lost
time.
CORALINE
Good for you. The whole world’s
falling apart, you might as well
have some fun.
CLIFF
I appreciate that.
(then)
You know, you’re quite beautiful.
CORALINE
(bashful)
Thank you.
78.
79.
CLIFF
Can I --
(then)
What do you see in my brother?
CORALINE
He’s funny.
CLIFF
Hmm. He’s not funny.
CORALINE
No, not “ha ha” funny. Like sad-
funny.
CLIFF
OK.
CORALINE
Like a three-legged dog.
CLIFF
I see it now. Like somebody dying
on the toilet.
CORALINE
Exactly.
MONK
(stumbling)
Invariably, you, you -- you go too
far.
CLIFF
You think? I don’t think I go far
enough.
MONK
It’s becoming hurtful.
CORALINE
Awww.
CLIFF
Awww.
CLIFF
(CONT’D)
(mocking Monk)
“Invariably, you, you, you go too
far...”
Coraline gives Monk a kiss. Cliff laughs.
CLIFF
(CONT’D)
You got a kiss, man! Look at you!
Just by being pathetic.
79.
(MORE)
80.
Coraline laughs now, followed by Monk.
CLIFF
(CONT’D)
Pathetic like a three-legged dog.
They all laugh again.
EXT. SUNRISE ELDER CARE HOME - COURTYARD - DAY
Monk, Coraline, and Cliff are walking through the courtyard
carrying some banker’s boxes. They’re filled with things for
Agnes, including a stereo and some vinyl records. Cliff looks
admiringly at the grounds.
CLIFF
This is nice.
MONK
Yeah, it’s not bad.
CLIFF
What do they got there? A pergola?
MONK
That’s a gazebo.
CLIFF
Same difference.
INT. SUNRISE ELDER CARE HOME - HALLWAY - MOMENTS LATER
Cliff, Monk, and Coraline continue their trek with the boxes.
CLIFF
Hey, Monk? How the hell can you
afford this place?
Monk is annoyed by Cliff’s question. Coraline tries to
pretend like she’s not interested in the answer, but she is.
MONK
I, uh, there was some money Lisa
left for Mother.
CLIFF
I thought her divorce cleaned her
out.
MONK
I’m not familiar with what her
finances were like.
(MORE)
80.
MONK (CONT’D)
81.
But if you’re so interested in the
bills, perhaps I can start sending
them to you.
Cliff rolls his eyes at this.
CLIFF
Uh, that’s fine. Where are we
going?
MONK
Right here. 44.
INT. SUNRISE ELDER CARE HOME - AGNES' ROOM - AFTERNOON
Cliff, Coraline, and Monk enter Agnes’ room carrying the
banker’s boxes. Agnes is sitting in a chair, staring blankly
across the room. An ORDERLY is giving her water.
MONK
Surprise.
Agnes is unresponsive.
ORDERLY
We’ve had a difficult morning.
INT. SUNRISE ELDER CARE HOME - HALLWAY - MOMENTS LATER
Cliff assembles a CD player and speakers for Agnes as Monk
talks with a DOCTOR in hushed tones at Agnes’ door.
DOCTOR
We had to sedate her after she
tried to strike a nurse.
MONK
Has she done that before?
As the doctor speaks, some jazz music starts to drift from
Agnes’ room.
DOCTOR
No. She has a different demeanor
every day. Sometimes every hour.
Maybe she’ll feel better tomorrow.
(then)
I’m sorry. I need to go.
MONK
Yes, of course. Thank you.
MONK (CONT’D)
81.
82.
The doctor leaves just as Coraline returns with a small bunch
of flowers.
CORALINE
The gardener cut these right off
the bush for your mom. Sweet,
right?
MONK
Yeah, that’s great.
Coraline is mum for a couple beats, but then she can’t help
herself.
CORALINE
How can you afford it here?
(then, joking)
You’re not a drug dealer or
something, are you?
Monk does not receive the kidding well.
MONK
No, I’m a writer. And you’re my
girlfriend, not my bookkeeper.
CORALINE
(to herself)
OK.
Monk and Coraline turn to see Cliff dancing with Agnes.
Though Agnes is still not incredibly lucid, she’s able to
dance well, albeit slowly. Coraline and Monk watch in
silence. Agnes rests her head on Cliff’s chest and Cliff
smiles -- it’s the sweetest moment he’s had with his mother
in years. After a few more beats, Agnes speaks.
AGNES
I always knew you weren’t a queer.
Cliff’s face registers injury. He stops dancing and pulls
away.
MONK
She doesn’t know what she’s saying.
CLIFF
I’m going to wait outside.
Cliff exits. Agnes is completely oblivious. She returns to
the chair and stares out the window.
82.
83.
EXT. MONK’S CHILDHOOD HOME - PORCH - AFTERNOON
Monk, Coraline, and Cliff are sitting on the front porch in
total silence. Cliff, who’s clutching a suitcase, is
standoffish now, different from the unguarded man we saw
briefly in the previous scenes. An Uber pulls up and the trio
stands solemnly.
MONK
Are you sure you don’t want to stay
for Lorraine’s wedding?
CLIFF
It’s better if I go.
Cliff starts walking to the Uber.
CORALINE
It was nice to meet you, Cliff.
Cliff turns back to look at Coraline and Monk. He thinks for
a beat before responding.
CLIFF
This family’ll break your heart.
With that, Cliff turns and walks away.
CLOSE ON VIDEO SCREEN
We’re watching The Kenya Dunston Show, a daytime talk
program. KENYA DUNSTON (black, 40s) is in the style of Wendy
Williams -- high skirt, low neckline, studiedly unrefined.
Kenya sits next to a small coffee table. There’s a book in
her lap. A monitor above her right shoulder bears the show’s
logo.
KENYA
Welcome back. I’m Kenya Dunston and
today we’re going to discuss a new
novel that just debuted at number
one on the New York Times
bestseller list. It is just a
remarkable, special book. And it’s
called -- cover your kids’ eyes and
ears -- (bleep).
Kenya holds up “Fuck” by Stagg R. Leigh -- “Fuck” is blurred
out but not the name of its author. Kenya props the book open
on the table.
83.
84.
KENYA
(CONT’D)
We’re lucky enough to have the
author with us today. And for those
of you who are just joining us,
please know that Mr. Stagg R. Leigh
is coming to us from an undisclosed
location, as he is still on the run
from authorities.
The audience erupts in applause.
“Stagg’s” silhouette appears on the monitor next to Kenya
before taking over the whole screen -- at the bottom of the
silhouette a chyron appears: “STAGG R. LEIGH,
AUTHOR/FUGITIVE.”
KENYA
(CONT’D)
Ah, Stagg. Tell us: is this novel a
true story?
MONK
(voice modulated)
Not factually, but it is the true
story of what it’s like to be black
in America, like me. And it ain’t
pretty.
KENYA
Amen to that.
MONK
(voice modulated)
During my time in prison, I learned
that words belong to everybody.
So this book is my contribution to
this wonderful country of ours.
Where a black convict can become
rich simply by telling the story of
his unfortunate people.
KENYA
Mmm. Yes! Yes...
The audience applauds again, but they’re soon overshadowed,
literally, by a phone call notification from Arthur. We PULL
BACK to reveal...
I/E. UBER - DAY
Monk is riding in the back of the car and watching the clip
on his phone, his face contorted into a sour grimace. He
answers the call.
84.
85.
MONK
Yeah.
INT. ARTHUR’S OFFICE - SAME TIME
ARTHUR
Get this: The FBI called Thompson-
Watt today to try to get Stagg R.
Leigh’s identity.
INTERCUT PHONE CONVERSATION
MONK
What?
ARTHUR
Don’t worry. They’re not gonna give
him up.
MONK
Give who up? It’s me. And I haven’t
done anything.
ARTHUR
They don’t know that.
MONK
Look, this has gone too far.
ARTHUR
Relax. The fugitive stuff’s getting
us mountains of free press. Plus,
as you said, you haven’t done
anything. It’s not like they can
arrest you.
MONK
I wish I could go back to not
selling books.
ARTHUR
I don’t. Bye.
INT. CORALINE’S HOUSE - LIVING ROOM - NIGHT
Monk and Coraline are having pasta for dinner. Monk is
clearly aggravated, eating in silence.
CORALINE
Is everything alright?
85.
86.
MONK
Yeah. I’m just a little stressed
out. This Book Award stuff is a bit
more work than I expected.
Monk drops his fork onto the floor.
MONK
(CONT’D)
Shit.
CORALINE
It’s no biggie. Got more forks in
the kitchen.
Monk goes into the kitchen to get a new fork. As he’s doing
this, he clocks a copy of “Fuck” on the counter, poking out
from underneath Coraline’s bag. He grabs it.
MONK
What’s this?
CORALINE
Oh, my friend got it for me. Have
you read it?
MONK
Of course not. Have you?
Coraline is taken aback by Monk’s tone.
CORALINE
Yeah.
MONK
What’d you think of it?
CORALINE
I liked it.
MONK
What did you like about it?
CORALINE
Um, I--
MONK
(interrupting)
It didn’t offend you?
CORALINE
You just said you didn’t read it.
What’s your problem?
86.
87.
MONK
Why don’t you answer my question?
CORALINE
You answer mine.
MONK
My problem is that books like this
aren’t real. They flatten our
lives.
CORALINE
What do you mean?
MONK
I mean that my life is a disaster,
but not in the way you’d think
reading this shit. Books like this
reduce us, and they do it over and
over again, because too many white
people -- and people, apparently,
like you-- devour this slop like
pigs at a dumpster to stay current
at fucking cocktail parties or
whatever.
CORALINE
You’ve got a lot of opinions for
someone who hasn’t published
anything for years.
MONK
And you’ve published what exactly?
CORALINE
Okay, what is wrong with you? Why
are you acting like this?
MONK
I’m not acting like anything.
CORALINE
You’ve been acting like a weirdo
for weeks. You’re obfuscating and
sneaking around. You’re fucking
unknowable. And maybe you think
being an enigma is chic and artsy,
but I think it just makes you an
asshole.
Monk pours himself another glass of red wine.
87.
88.
MONK
Well, um, you don’t understand my
life, and you can’t, so just leave
it at that.
CORALINE
One day maybe you’ll learn that not
being able to relate to other
people isn’t a badge of honor.
(then)
I think you should leave.
MONK
Well you know what I think?
CORALINE
You should leave, Monk.
The tone in her voice is clear and direct. Monk gulps down
the rest of his wine and puts the glass down on the table. He
gathers his things to leave, pointing at the copy of “Fuck”
that’s place on the same table.
MONK
(re: book)
Nonsense...
He exits.
INT. MONK’S CHILDHOOD HOME - FOYER - DAY
Monk helps Lorraine, Maynard, and Maynard’s sons, BURT and
JEFF (both black and in their 40s), move the last of
Lorraine’s things into a moving truck out front. Lorraine
enters from the kitchen carrying a SodaStream.
MONK
You guys need any help with that?
BURT
Nah, we’re good.
MONK
Thought you could use a little
brawn.
JEFF
We got it.
LORRAINE
Mr. Monk, you mind if I keep the
soda maker? You don’t like bubbly
water anyhow, right?
88.
89.
MONK
It’s all yours.
LORRAINE
Thank you.
Monk notices Lorraine’s signature yellow apron hanging on a
chair.
MONK
Hey, what about this?
LORRAINE
No. I always hated that color. It’s
just the one your father bought.
Maynard enters from outside carrying a small FedEx package.
MAYNARD
Thelonious, this just came for you,
Monk.
MONK
OK, thanks.
Monk grabs the package as Lorraine hands over the SodStream
to Maynard.
LORRAINE
(to Maynard)
This is the last of it.
Lorraine now turns to Monk.
LORRAINE
(CONT’D)
Goodbye, Mr. Monk.
MONK
Goodbye, Lorraine.
They hug. When they pull away, Monk extends his hand to
Maynard, who shakes it.
MONK
(CONT’D)
Drive safe. Guess I’ll see you at
the wedding.
MAYNARD
Alright.
After Maynard and Lorraine exit, Monk opens the package and
out slides a copy of “Fuck” with a note on Thompson-Watt
letterhead: “We’re delighted to submit this book for
consideration in the Book Awards.” Monk looks horrified.
89.
90.
INT. MONK’S CHILDHOOD HOME - STUDY - LATER
Monk is on another Zoom call with the Book Award judges.
INT. WILSON’S OFFICE - DAY
WILSON
Thompson-Watt apparently raced to
publish it.
INT. AILENE’S OFFICE - DAY
AILENE
Yeah, I heard that they ran 300,000
copies already. And they’re
reprinting more soon. I mean, it’s
going like gangbusters.
INT. DANIEL'S DEN - DAY
DANIEL
Christ on a crutch. It better be
good.
WILSON
I heard the writer’s a fugitive.
DANIEL
That would explain the title. He
didn’t go to charm school.
AILENE
I think that background is a plus.
I am thrilled to read a BIPOC man
hurt by our carceral state.
DANIEL
Wait -- are you one of those
“defund the cops” nuts?
AILENE
Yes. And I wouldn’t expect you to
understand.
DANIEL
Well, I hope someone you love
doesn’t ever get raped or murdered.
90.
91.
INT. SINTARA’S OFFICE - DAY
SINTARA
Can we not have this conversation
now, please?
Daniel and Ailene calm down.
MONK
Look, criminal or not, I don’t
think we should add it. We’re
already weeks into the process, and
I don’t know about any of you, but
I’ve got more than a dozen books
that haven’t even opened yet.
AILENE
It was published within the
submission window. I think we have
to accept it.
WILSON
It’s just one more. And from the
looks of it, it should be a quick
read.
DANIEL
A quick “Fuck,” huh? I’ve had some
of those.
Wilson and Daniel laugh at the dumb joke as Monk looks ill.
AILENE
Bye, guys. Bye.
INT. SUNRISE ELDER CARE HOME - AGNES' BEDROOM - DAY
Monk, who’s wearing a suit and tie, enters to find Agnes
applying the finishing touches to her makeup. Monk beams a
genuine smile when he sees her.
AGNES
Hi, Monkey.
MONK
You look beautiful.
She really does.
91.
92.
EXT. BEACH HOUSE - DAY
Monk and Agnes arrive at the beach house and unpack their
car.
INT. BEACH HOUSE - KITCHEN - DAY
Monk and Agnes enter to find two strange men: KENNY (20s,
white, very in shape, only in a speedo) and ALVIN (40s,
black, also very in shape). Kenny is chopping up some fruit
as Alvin stirs eggs for omelettes in large bowl. There are
poppers and White Claw cans littering the kitchen table.
KENNY
Oh, hello!
AGNES
(to Monk, unsure )
Monkey, do we know these men?
MONK
No, mother. This isn’t the
Alzheimer’s. These are actual
strangers.
(then, to Kenny and Alvin)
Who are you people?
KENNY
We’re Cliff’s friends.
MONK
Of course you are.
KENNY
We met him a few days ago. I’m
Kenny. This is Alvin.
ALVIN
Are you Monk?
MONK
I am. How did you know?
ALVIN
Well Cliff said Monk is a real
tight-ass.
MONK
Oh, did he? Delightful.
(then, re: chair)
Mother, you sit here.
(then)
Lorraine?
92.
(MORE)
93.
The camera moves now to catch Cliff come into view in the
living room, where he locks eyes with Monk in the kitchen.
CLIFF
What the hell are you doing here?
MONK
You first.
Monk makes his way toward Cliff while Agnes stays with Kenny
and Alvin.
INT. BEACH HOUSE - LIVING ROOM - CONTINUOUS
Monk and Cliff are now face to face.
CLIFF
Shit. The wedding.
MONK
Yeah.
CLIFF
Oh, fuck. I didn’t go to the
airport that day. I needed some
time to myself.
Cliff rushes to gather the cans and drug detritus.
MONK
Time to oneself implies -- by
definition -- time alone.
CLIFF
Christ, here we go. Detective
Dictionary.
Maynard and Lorraine now enter the dining room just behind
Monk.
LORRAINE
Oh, Mr. Cliff...
MONK
(to Maynard and Lorraine)
I’m sorry, guys. I’ll handle it.
(to Cliff)
You need to leave. Don’t bother to
clean up. Just go.
MAYNARD
No, it’s alright.
(to Cliff)
(MORE)
93.
MAYNARD (CONT’D)
94.
Please, stay. It’s a celebration.
It’s good to see you, Cliff.
CLIFF
It’s good to see you, too, Maynard.
But I don’t want to impose.
LORRAINE
You can’t impose. You’re family.
Lorraine hugs Cliff. It’s clear this kindness means a lot to
Cliff.
CLIFF
OK. Let me clean up a bit.
Congratulations.
Kenny pokes his head out from the kitchen.
KENNY
Can we make y’all some breakfast? I
can whip up a killer smoothie and
Alvin used to work the omelette
station on a cruise ship.
LORRAINE
That sounds lovely. Thank you.
Lorraine begins to help Kenny and Alvin with breakfast,
leaving Monk and Maynard alone to chat.
MONK
(to Maynard)
It’s very kind of you to let them
stay.
MAYNARD
It’s easier to deal with other
people’s families than your own.
MONK
I regret to inform you that in a
couple hours, this will be your
family.
They share a laugh.
EXT. BEACH HOUSE - AFTERNOON
Monk, Agnes, Cliff, Burt, Jeff, Kenny, and Alvin are gathered
behind the house with a small coterie of OTHERS as Lorraine
and Maynard are married by a PASTOR beneath a small arbor
decorated with flowers.
MAYNARD (CONT’D)
94.
95.
Most everyone is in formal clothes, but Cliff and his friends
have to make do, with Kenny still in his Speedo and a
Hawaiian shirt. Cliff is weeping. He catches the bouquet.
EXT. BEACH HOUSE - BACK PORCH - DUSK
Everyone is dancing. The motley crew has grown to enjoy each
other’s company. Monk takes in the joyful scene, but it’s
clear his head is elsewhere.
EXT. BEACH HOUSE - FRONT PORCH - NIGHT
Monk steps away from the party and gazes across the road
toward Coraline’s dark, empty home.
CLIFF (O.S.)
Did you piss her off?
Monk turns to see Cliff.
MONK
Yeah.
CLIFF
Did you shut her out?
MONK
Yeah.
CLIFF
Dad shut everyone out, too. And
lied all the time. Look how that
turned out.
MONK
I find myself getting very angry
these days, like dad.
CLIFF
These days?
Monk smirks, recognizing the truth there.
CLIFF
(CONT’D)
I’ve been thinking lately about how
dad died not knowing I’m gay.
MONK
I think he suspected it.
95.
96.
CLIFF
He may have. But he didn’t know for
sure. He never knew the entirety of
me. And now he never will. That
makes me real sad.
MONK
Well, what if he had known and
rejected you?
CLIFF
At least he’d be rejecting the real
me. I know that sounds crazy, but
there’d be some relief in that.
MONK
It doesn’t sound so crazy.
CLIFF
People want to love you, Monk. I
personally don’t know what they see
in you, but they want to love you.
Monk laughs a little at this.
CLIFF
(CONT’D)
You should let them love all of
you.
Cliff kisses Monk on the forehead and heads back to the
party.
INT. HOTEL CONFERENCE ROOM - DAY
Monk and the NBA judges discuss their choices for the Book
Award finalists. A list of titles are up on a white board,
ranked from 10 to 4. The top three spots are empty.
DANIEL
It was dog shit. I mean, some
mollycoddled chump faffing on and
on about his dead mom. Who cares?
WILSON
OK, so that means that “Bury Me
Standing” is fourth. Let’s talk
about “Fuck.”
MONK
Could we not?
96.
97.
AILENE
Personally, I adored it. It was
like gazing into an open wound.
WILSON
I agree. I think it’s the strongest
African American novel I’ve read in
a long time -- since yours, of
course, Sintara.
DANIEL
I actually liked it much more than
I was expecting. I mean, this is a
gutsy piece of work. And necessary
for the times.
AILENE
What did you think, Sintara?
SINTARA
I found it to be pretty pandering,
actually.
Monk turns to her, slightly surprised.
MONK
You did?
SINTARA
Yes. Did you not?
MONK
I very much did. I thought it was
simplistic and meaningless.
DANIEL
Of course it’s simplistic -- it’s
the language of the gutter. Not
some prissy graduate thesis.
MONK
Language of the gutter? Jesus
Christ.
There’s a lull as people run out of steam.
WILSON
I think our blood sugar’s low. How
about we take a break for lunch?
SINTARA
Fine by me.
97.
(MORE)
98.
INT. HOTEL CONFERENCE ROOM - LATER
Monk enters carrying a salad in a plastic clamshell
container. He’s surprised to find Sintara eating sushi by
herself and reading.
MONK
I’m sorry.
SINTARA
Oh, no, you’re fine.
MONK
I’m not interrupting?
SINTARA
No.
She goes back to her book as Monk sits and begins to eat. He
looks to Sintara and hesitates before speaking.
MONK
Do you mind if I ask you something?
SINTARA
Sure.
MONK
Um...what about “Fuck” did you find
pandering?
SINTARA
Oh. I can’t really put my finger on
it, but...it’s not different from
some of what’s out there, but it
just felt...”soulless” is the word
that I’m gonna use? You said you
agreed, right?
MONK
I do. I think it seems written to
satisfy the tastes of guilt-ridden
white people.
SINTARA
Yeah, the kind of book critics will
call “important” and “necessary”
but not “well-written.”
Monk laughs.
MONK
Exactly.
(then)
(MORE)
98.
MONK (CONT’D)
99.
Okay, so -- and please don’t take
offense at this -- but how is
“Fuck” so very different from your
book?
SINTARA
Is that what this is about? You
think my book’s trash.
MONK
No. To be honest, I haven’t read
your book. I’ve read excerpts, and
it didn’t seem so dissimilar.
SINTARA
I did a lot of research for my
book. Some of it was actually taken
from real interviews. Maybe you’ve
been up in your ivory tower of
academia for so long you’ve
forgotten that some people’s lives
are hard.
MONK
Your life? You went to an
exclusive, bohemian college. You
had a job at a fancy publishing
house in New York.
SINTARA
So what? I don’t need to write
about my life. I write about what
interests people.
MONK
You write what interests white
publishers fiending black trauma
porn.
SINTARA
They’re the ones buying the
manuscripts. Is it bad to cater to
their tastes?
MONK
If you’re OK feeding people’s base
desires for profit...
SINTARA
I’m OK with giving the market what
it wants.
MONK (CONT’D)
99.
100.
MONK
That’s how drug dealers excuse
themselves.
SINTARA
And I think drugs should be legal.
MONK
But you-- you’re not fed up with
it? Black people in poverty, black
people rapping, black people as
slaves, black people murdered by
the police, whole soaring
narratives about black folks in
dire circumstances who still manage
to maintain their dignity before
they die-- I mean, I’m not saying
these things aren’t real, but we’re
also more than this. And it’s like
so many writers like you can’t
envision us without some white boot
on our necks.
SINTARA
Do you get angry at Bret Easton
Ellis or Charles Bukowski for
writing about the downtrodden? Or
is your ire strictly reserved for
black women?
MONK
Nobody reads Bukowski thinking his
is the definitive white experience.
But people -- white people -- read
your book and confine us to it.
They think that we’re all like
that.
SINTARA
Then it sounds like your issue is
with white people, Monk, not me.
MONK
That may be, but I also think that
I see the unrealized potential of
black people in this country.
SINTARA
Potential is what people see when
they think what’s in front of them
isn’t good enough.
As Monk considers this, the door swings open. Ailene enters
and takes a seat.
100.
101.
AILENE
So, what are we talking about?
Sintara returns to her book and Monk returns to his salad.
EXT. HOTEL STAIRWELL - DAY
Monk is sitting on the top step. After a few beats of
contemplation, he pulls out his phone and goes to his text
thread with Coraline. He composes a message: “I’m sorry. I’d
like to tell you some things. Would you be my date to the
book awards in a couple weeks?” He sends it. A few seconds
later, he sees the text bubbles signifying that Coraline is
typing something. But after several moments, they disappear.
Monk looks dejected. A moment later, Ailene sticks her head
out the door.
AILENE
We’re starting again.
MONK
I’ll be right there.
Monk scans through his phone and presses a button. We do not
intercut the call.
MONK
(CONT’D)
Yeah, can I speak to Arthur? Yeah,
it’s Monk.
(then)
Hey, I’m fine. Listen, you think
you can set up another meeting with
Wiley? I’ve got a new idea for him.
For a different kind of movie.
As he descends the steps, he pauses for a moment to look at
the photograph hanging on the wall -- Gordon Parks,
'Untitled, Harlem, New York,' 1947.
INT. HOTEL CONFERENCE ROOM - DAY
The judges have moved around from their initial positions.
Monk is now next to Sintara and the other three are grouped
together at the other side of the table. On the board, the
rankings are all filled out, save for number one.
AILENE
I think it’s “Fuck” for me.
DANIEL
Me too.
101.
102.
WILSON
I agree.
SINTARA
I disagree. I’m sorry.
MONK
I think it would be a mistake to
award this book anything at all.
DANIEL
Well, it’s two versus three, so
“Fuck” is the winner.
Ailene writes “Fuck” next to the number one on the board.
AILENE
(as she writes)
“Fuck” is the winner.
(then)
You know, it’s not just that it’s
so affecting. I just think it’s
essential to listen to black voices
right now.
In a wide shot, we see the division of the room: the three
white judges on one side, the overruled black judges on the
other.
EXT. SUNRISE ELDER CARE HOME - AGNES' ROOM - DAY
Monk sits at Agnes’ bedside as Agnes stares off into the
distance. They’re both silent for a few beats.
MONK
Mother.
Agnes turns to look at Monk.
MONK
(CONT’D)
Did you know dad was cheating on
you?
AGNES
He was bad at keeping secrets.
MONK
Why didn’t you leave him?
AGNES
He would have been even more lonely
without me.
102.
103.
MONK
You thought he was lonely?
AGNES
Your father was a genius. Geniuses
are lonely, because they can’t
connect with the rest of us.
(then)
You’re a genius, son.
MONK
I certainly don’t feel like one
half the time.
AGNES
That’s because you’ve always been
so hard on yourself, Cliffy.
INT. BANQUET HALL - NIGHT
Monk, his fellow judges, and DOZENS OF GUESTS in black tie
are gathered at the awards gala. It’s not incredibly
glamorous -- this is a book award, after all. Monk, dateless,
sits at a circular table of OLD WHITE PEOPLE picking at
salads. Onstage, Carl Brunt, carrying a trophy, steps to a
lectern and clears his throat into the microphone. The
audience quiets down.
CARL
And now, the final award of the
evening. I promise to leave you
alone and let you eat after this.
Some people laugh.
CARL
(CONT’D)
But, before I announce the winner,
I would like to acknowledge our
group of judges -- our incredibly
diverse group of judges -- who’ve
sacrificed valuable time so we can
all celebrate here tonight. So if
you could your hands together --
they did a fantastic job.
The audience claps.
CARL
(CONT’D)
OK, without further ado: this
year’s Literary Award goes to --
oh, I knew it: By Stagg R. Leigh,
”Fuck”!
103.
104.
Wild applause. People stand to get a glimpse of the
mysterious author.
CARL
(CONT’D)
I’m not sure if Mr. Leigh is going
to grace us with his presence
tonight. He’s famously cagy about
attention.
INT. BANQUET HALL - MONK’S TABLE - SAME TIME
Monk thinks for a beat, then stands, and buttons his tuxedo
jacket.
INT. BANQUET HALL - STAGE - SAME TIME
Carl squints and looks out over the ballroom.
CARL
Hold on, OK, I see some-- someone’s
coming.
INT. BANQUET HALL - AUDIENCE - SAME TIME
Monk calmly maneuvers through the tables to the stage.
INT. BANQUET HALL - STAGE - SAME TIME
Carl turns to look at Monk, who’s now making his way up the
stage stairs.
CARL
(in mic, to audience)
Oh, uh, Thelonious Ellison one of
our judges...weirdly walking toward
the stage...no idea why.
(covering mic, to Monk)
Hey, what’s going on?
MONK
Excuse me.
Monk takes the award, shunts Carl to the side, and approaches
the mic. As he does, he spots Coraline staring at him from
the back of the room. He locks eyes with her.
The camera moves behind Monk, so we can only see his
silhouette beneath the bright lights. Carl and the audience
stare at Monk, confused.
104.
105.
MONK
(CONT’D)
I have a confession to make.
Before Monk can speak again, we
SMASH TO BLACK.
OVER BLACK
WILEY (PRE-LAP)
Wait, wait, wait. Smash to black?
No fucking way, dude.
INT. “PLANTATION ANNIHILATION SET” - DAY
The filmmaking detritus and garish branding on the backs of
some directors’ chairs let us know we’re on the set of Wiley
Valdespino’s latest film. Wiley is reading Monk’s script as
Monk sits beside him.
MONK
What’s wrong with that?
WILEY
(re: script)
There's no resolution here. What's
he gonna say?
MONK
I don't know. I think that's what's
interesting about it.
WILEY (O.S.)
He should say something. What did
you say?
MONK
Nothing. I walked out of the
ceremony and the next day I called
you to say I wanted to write this
movie.
WILEY (O.S.)
Well, Monk the character should say
something.
MONK
I don't want him to do some
grandiose speech spoon-feeding
everyone the moral of the story.
There is no moral. That’s the idea.
I like the ambiguity.
105.
106.
WILEY
OK, look. You're a good writer, and
this is almost there. But novels
aren’t movies, OK? Nuance doesn't
put asses into theater seats. We
need a big finish.
An ASSISTANT approaches Wiley with a can of seltzer.
WILEY
(CONT’D)
(re: can)
What is this?
ASSISTANT
It’s the seltzer you asked for.
WILEY
Why's it all wet?
ASSISTANT
Condensation?
WILEY
Condensation? You a fucking
weatherman now?
(then, to Monk)
You want anything?
MONK
No, I'm fine. Thank you.
WILEY
(to assistant)
This is Monk. We're gonna make a
movie with him if he can get the
ending right.
ASSISTANT
(to Monk)
Nice meeting you.
MONK
You as well.
WILEY
(to assistant)
Get me a flat white.
(handing back the can)
And hey: Never again.
The assistant takes the wet can and departs.
106.
107.
WILEY
(CONT’D)
Alright, what other endings you got
in that big brain of yours?
Monk takes a deep breath and exhales, thinking on the fly.
MONK
How about if --
SMASH CUT TO:
INT. BANQUET HALL - STAGE - NIGHT
Carl repeats his line.
CARL
This year’s Literary Award goes to -
- Stagg R. Leigh, ”Fuck”!
Wild applause. People stand to get a glimpse of the
mysterious author.
INT. BANQUET HALL - MONK’S TABLE - SAME TIME
The people at Monk’s table stand to applaud. Monk smirks,
stands, and buttons his tuxedo jacket. As the audience looks
around for a glimpse at Stagg, Monk makes his way to the
exit. He doesn’t look back at the ecstatic crowd as the door
swings shut behind him.
EXT. CITY STREET - NIGHT
Monk walks down the sidewalk, passing drunken revelers and
buskers and beggars. He’s clearly headed somewhere specific.
He stops at a crosswalk and hails a cab. Without noticing, he
runs past a giant “Fuck” ad on the side of a building.
Someone has tagged a giant “YOU” next to the book’s title.
EXT. CORALINE’S HOUSE - NIGHT
And now we see where Monk’s been headed. There’s a yellow
glow in the window. Monk walks toward the house as the cab
drives away. Monk can see Coraline reading a magazine by
lamplight. She looks up and meets his gaze. A few moments
later, Coraline opens the door. She says nothing, just
stares. After a couple beats, Monk speaks...
MONK
I’d like to apologize. I haven’t
been myself lately.
107.
108.
We get a glimpse of the lovers looking at each other. Before
Coraline can respond, we
SMASH TO BLACK.
OVER BLACK
MONK (PRE-LAP)
What about that?
INT. "PLANTATION ANNIHILATION" SET - DAY
We're back with Monk and Wiley, who is mulling over what
we've just seen.
WILEY
Will she forgive him?
MONK
Dunno. The real Coraline won’t
return my calls. Maybe the movie
Coraline is more forgiving.
Wiley shakes his head.
WILEY
No, it's too pat. Makes the whole
thing feel like a rom-com. We don't
wanna make a rom-com. We wanna make
something real. Give me something
real.
Monk is quiet for a few beats, already regretting what he's
about to say.
MONK
I mean, we could just --
SMASH CUT TO:
INT. BANQUET HALL - STAGE - NIGHT
Monk is back onstage with Carl, who repeats his line.
CARL
(covering mic, to Monk)
Hey, what’s going on?
MONK
Excuse me.
108.
(MORE)
109.
Monk takes the award and shunts Carl to the side.
MONK
(CONT’D)
Beat it.
As he approaches the mic, he spots Coraline staring at him
from the back of the room. He locks eyes with her and then
begins
MONK
(CONT’D)
I have a confession to make.
Just as Monk is about to continue, the doors to the banquet
hall burst open and five COPS flood in. A DETECTIVE (white,
40s) in a kevlar vest rushes the stage, his gun drawn.
DETECTIVE
Stagg Leigh! On the ground! Now!
MONK
What?! No! I’m not Stagg R. Leigh!
He doesn’t exist. I’m Monk!
Thelonious Ellison!
DETECTIVE
You’re a fugitive! On the ground
now!
MONK
No, that was all a marketing
gimmick! It was all lies!
Monk raises his hands, one of which is holding the award. A
UNIFORMED COP points.
UNIFORMED COP
He’s got a gun!
The police start to unload their weapons on Monk, who
collapses backward in SLO-MO. As orchestral music swells, we
get a bird’s-eye view of Monk, dead, blood pooling around his
body. Cops surround him as the camera zooms out and we
FADE TO BLACK.
INT. “PLANTATION ANNIHILATION” SET - DAY
Wiley is grinning ear to ear as Monk looks aghast.
WILEY
He’s dead? They smoke him? It’s
perfect. Yes! That is perfect. Time
to pick out your tux, my brother.
(MORE)
109.
WILEY (CONT’D)
110.
We’re going to the big show.
(then, to his assistant)
Hey, come transcribe this. We got
it.
MONK
(under his breath)
Fuck.
EXT. STUDIO BACKLOT
Monk, a bit defeated, steps out of a building onto the
backlot of some nameless studio, carrying his script. It’s a
beautiful day in L.A. and PEOPLE run to and fro. But Monk is
only looking for one person: Cliff, who’s waiting for him in
a vintage convertible. Monk gets in the passenger’s seat.
CLIFF
So, are they gonna make your movie
or what?
MONK
Unfortunately yes.
CLIFF
Ay! You know what? Good luck
finding someone handsome enough to
play me.
MONK
I think they have.
CLIFF
Who they got?
MONK
Tyler Perry.
The brothers laugh. As Cliff starts the car, Monk turns to
his right and sees a SLAVE EXTRA from “Plantation
Annihilation” resting between takes. Monk locks eyes with the
extra, a younger man wearing Airpods; he throws Monk a peace
sign, the universal symbol of solidarity. Monk nods at the
man as the car takes off into the sunny day.
THE END
WILEY (CONT’D)
110.
