"AMERICAN FICTION" (2023)

Based upon the novel 'Erasure' by Percival Everett

We open on THELONIOUS "MONK" ELLISON (black, 50s, neurotic, tired) standing before a classroom of college students, most of them white.

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.

Some of the students laugh, but not Brittany.

2.2.

Monk, who has been affable up until now, casts an icy stare at Brittany.

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 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.

3.3.

Monk looks to Leo, puzzled.

4.4.

Monk stands and walks toward Mandy.

But Monk already is out the door.

TITLE SEQUENCE TRANSITIONING US FROM LA TO BOSTON

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).

5.5.

Arthur's office is clean, but there are stacks of bound books and printed manuscripts. He chats using wired headphones.

6.6.

Monk raises his hand to hail a cab, and we stay with him instead of going back to Arthur.

A cab pulls up to Monk and then blows right past him to pick up a WHITE MAN several feet away.

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.

A few people clap, and we now reveal a mostly empty room.

7.7.

The audience claps and begins to disperse as the panelists graciously wave. Monk leans toward the moderator.

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.

8.8.

Sintara gives a coy look to the moderator.

The audience offers some excited giggles.

The audience laughs.

Sintara nods and the moderator hands her a book.

9.9.

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.

Monk scans the room, slightly confused by what he's just witnessed.

A drunken Monk finishes a martini and motions for another.

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.

Monk enters the clinic. A SECURITY GUARD wands him down and lets him pass.

Monk approaches a desk where a RECEPTIONIST sits.

10.10.

We hear the sound of a door opening and LISA (late 50s, put together) emerges from the back.

She approaches her brother and stops a few feet away from him.

They stand and look at each other for a moment, neither of them closing the distance between them.

Lisa drives as Monk rides shotgun. A few beats of silence.

The ice breaker works and Monk smiles.

Monk and Lisa both laugh now. Lisa pulls out a cigarette and lights it.

11.11.

Lisa smiles wryly at Monk.

12.12.

They laugh again.

Lisa pulls her car into the driveway out front.

Monk and Lisa enter the home, a worn but still elegant house in Cambridge.

The live-in housekeeper, LORRAINE (black, late 60s, the barest Southern lilt), enters from the kitchen wearing her omnipresent yellow apron.

Lorraine and Monk embrace for a few moments.

13.13.

Monk smiles when he sees her.

They hug.

Monk and Agnes walk to the dining room as Lorraine goes upstairs to fetch the things.

14.14.

Monk helps Agnes into her chair.

Monk sits down across from Agnes as Lisa appears in the doorway.

She didn't, so she rushes to recover.

Monk and Lisa steal a glance at each other.

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.

15.15.

16.16.

Monk stands to help Agnes into her chair.

17.17.

Monk sits back down.

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.

Monk’s initial amusement turns to disgust, and he turns the the TV off.

Monk looks for a book in "Mythology" section, but what he wants isn't there. He stops an EMPLOYEE (20s, unenthusiastic).

Ned lifts the iPad he's carrying and types in some letters.

18.18.

Ned has walked Monk to a section called "African-American Studies."

Ned goes to leave, but Monk stops him.

Monk stares at Ned angrily for a moment.

Monk, his arms full of his books, is walking the aisles to the appropriate section. Ned is a few paces behind him.

19.19.

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.

Monk turns to her, his fists still gripping a couple books.

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.

20.20.

Lisa pulls out a cigarette and lights it.

The reverse mortgage is news to Monk.

They’re quiet for a beat.

21.21.

Just then, Lisa lurches forward and grabs her chest, clearly hurting.

But Lisa doesn't respond. She's in too much pain.

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.

22.22.

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.

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 stops for a moment and then begins again.

Cliff smirks as Lorraine crosses herself and Agnes shakes her head.

23.23.

Agnes and Lorraine are crying now. Monk folds the paper and pockets it as he turns to his brother.

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.

Cliff starts after him.

24.24.

Cliff follows after Phillip as Monk spreads the remaining ashes.

Monk comes inside to find Cliff sitting alone and having a glass of wine, the bottle open on the coffee table.

25.25.

Monk picks up a wine glass and pours some from the bottle.

26.26.

They both laugh.

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.

27.27.

Cliff doesn't answer and instead looks to the ceiling behind Monk.

Monk and Cliff stand and see that a small trickle of water is dripping from the ceiling.

There's water coming from under the bathroom door. Monk knocks but nobody answers.

He knocks again.

28.28.

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 shuts off the water and tries to rouse Agnes to lucidity, but she remains unresponsive.

Monk wraps Agnes in a towel. This act finally breaks her reverie.

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.

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.

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 hangs up and he runs across the street to help Coraline.

29.29.

They bag up all the errant groceries and stand.

Monk turns to leave.

Coraline immediately realizes what she's done.

The house is aglow with light from inside.

Coraline and Monk are having some wine as Coraline puts away the groceries.

30.30.

31.31.

They laugh. The energy is becoming casually flirty.

From outside, the sound of a car engine chugs into earshot.

When Coraline doesn't make to explain who it is, Monk gets the message.

32.32.

Monk gulps down the rest of his wine.

As Monk makes his way down Coraline's front steps, we can hear Jelani's laughter coming from the house.

Monk and Cliff are packing up the car -- Lisa's old car -- as they prepare to head back to the city.

33.33.

Cliff pulls a vodka bottle out of his pocket and takes a swig.

34.34.

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.

35.35.

Monk watches her for a few beats as she walks away.

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.

Monk sits across from DR. BULGER (50s). The office is tidy. Through glass, we can see Agnes sitting outside the office.

Dr. Bulger gives Monk a moment to process this news.

Monk peers out at Agnes, who looks sweet and a little lonely.

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:

36.36.

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.

Van pulls out his gun and turns to the source of the voice.

Willy's swaying and slurring his words, but a hint of recognition comes over him at the sight of Van Go.

VAN Yeah, it me, nigga. Shit, whatchu drunk mufucka?

VAN Just leave me alone, man.

VAN Whatchu say?

Van Go grows increasingly enraged as Willy goes on.

37.37.

VAN Whatchu talkin' 'bout, punk? Hey! Watchu talkin’ ‘bout?

Willy turns to Monk, breaking the fourth wall.

Monk revises the document. As he types, Willy gets back into character.

VAN Shut up! Shut up, man. You lyin'!

VAN Then where you been? Huh? Where you been?

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.

38.38.

VAN What do I say now?

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.

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.

39.39.

VAN (CONT’D) I gots to bounce. (then, to Monk) Peace, mufucka.

Van sprints out of the room as Willy writhes on the floor.

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 laughs.

40.40.

41.41.

Monk and Coraline are eating ice cream cones as they walk down a path cutting through some tall grass.

42.42.

They laugh.

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.

Coraline retrieves her copy of “The Haas Conundrum” and a pen from her dresser.

Monk opens the book to sign it.

They both laugh. She and Monk kiss before Monk heads toward the door.

The home is completely dark when Monk walks in the door. He flicks a light switch, but nothing happens.

43.43.

Monk turns on his smartphone flashlight and uses it to guide himself forward as Lorraine steps out of the kitchen holding a camping lantern.

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.

Monk, lit by candlelight, is on the telephone. His laptop is open in front of him and a glass of scotch is nearby.

44.44.

A man, CLAUDE (Latino, 30s, also shirtless), enters the frame.

Claude and Cliff kiss before Claude snorts a line of coke.

Cliff hangs up and follows after Claude.

Back on Monk, who sets down his phone calmly and then slams his laptop shut.

45.45.

Arthur is pacing around in silence when Monk walks in.

Monk sits, but Arthur stays standing.

Monk looks confused at first and then...

Monk’s eyes go wide.

46.46.

Monk considers this.

Arthur goes to a bar car in the corner of his office.

47.47.

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.

Monk mulls over Arthur’s point for a moment.

Monk and Arthur clink their glasses and drink. A bottle of Johnnie Walker Red sits between them. They’re both looking at

48.48.

Arthur’s office phone, which is ringing on speaker as they try to contact PAULA BADERMAN (white, 50s).

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.

Arthur signals for Monk to enhance his response, so Monk begrudgingly puts some bass in his voice.

Arthur gives a thumbs up. Paula is immediately more at ease.

49.49.

Monk’s eyes go wide toward Arthur, who gives him a wink. Monk mutes the phone.

Arthur unmutes the phone.

50.50.

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).

Monk turns to look.

51.51.

Maynard steps out of his car and he and Monk shake hands.

52.52.

Lorraine comes out of the house already mid-sentence.

Lorraine stops when she sees Maynard, who smiles when he sees her.

The two look at each other as if Monk’s not even there. There’s clearly a current of electricity between them.

Maynard gets back in his car and drives off. As Lorraine heads back inside, she notices Monk smiling at her.

He laughs.

It’s golden hour. There’s a knock on the door.

53.53.

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.

Monk and Coraline share a quick kiss.

When they hear footsteps coming down the stairs, they turn to see Agnes.

She hands Agnes the flowers.

Agnes puts her arm around Coraline and kisses her on the cheek with a warmth that Monk was not expecting.

Agnes hands the flowers to Lorraine.

54.54.

Monk helps Agnes into her seat.

Coraline and Monk take their seats.

Monk and Coraline sip nightcaps on the sofa as the sun sets.

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.

Monk and Coraline exit to find Lorraine in a frenzy as Maynard tries to calm her down.

55.55.

Monk takes the flashlight and bolts away.

Monk runs down the beach with his flashlight looking for Agnes.

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.

But Agnes doesn’t respond, doesn’t even look in Monk’s direction.

Monk finally catches up to her, but she resists his efforts to intervene.

56.56.

Monk wraps his arm around Agnes and leads her back toward the house.

Coraline, Maynard, and Lorraine rush to Agnes with a blanket.

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.

57.57.

Agnes ignores her and wanders away into the hall.

Monk looks around for Agnes. At the same time, his phone starts to ring.

Monk sits down on an empty bench to take his call.

58.58.

It’s a small office laden with books of all shapes and sizes. CARL BRUNT (60s, white, patrician) is professorially stuffy.

Carl laughs a little.

Monk pauses his browsing for a moment.

59.59.

Monk considers this for a moment.

Monk is lying on the couch reading when Lorraine enters, carrying a tray of food and a beverage.

Monk sits up, surprised.

Lorraine hesitates for a beat. She’s nervous to ask.

60.60.

Lorraine smiles, clearly grateful. She turns to leave, but Monk calls after her.

Lorraine exits and Monk starts to eat his lunch. After a bite, his phone buzzes. Monk answers.

Monk and Agnes enter Arthur’s office, where Arthur sits with an assistant, LAYNE (20s).

Arthur hugs Agnes and kisses her on the cheek.

61.61.

Layne ushers Agnes out.

Arthur closes the door and immediately dives in.

62.62.

After thinking for a beat, Monk takes a seat.

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.

63.63.

Wiley and Monk shake.

Monk and Wiley sit.

A SERVER approaches.

The server departs.

64.64.

Wiley stiffens in his seat.

As Wiley speaks, Monk notices the sound of sirens. Not too strange in a city, but they seem to be getting closer.

Wiley stops talking and Monk realizes he has no idea what he’s said.

65.65.

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 stands and quickly runs from the table.

Monk is sprinting up the flights of stairs to Arthur’s office, on the seventh floor.

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.

Monk is peeing when Arthur enters.

66.66.

Monk stares at Arthur’s elated face in disbelief for a beat.

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.

67.67.

68.68.

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.

69.69.

An ORDERLY comes in with lunch: a sandwich on wheat bread and some sides.

He sets the food on a dining tray next to Agnes.

Lorraine stands to assess the lunch for herself, and she doesn’t like what she sees.

Lorraine and Agnes share a knowing look as the orderly departs.

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...

CORALINE MONK

Shut up! What?!

70.70.

Monk and Arthur are gathered at Arthur’s phone, where they’re listening to Paula on speaker.

Paula’s office is the same, but now she’s sitting with JOHN BOSCO (white, 30s, gay).

71.71.

John and Paula laugh as Monk cringes. Arthur mimes shooting himself, but then he recalls something and covers the phone.

72.72.

Monk closes his eyes and drops his head into his hands.

Monk lifts his head, revealing a smirk on his face. Arthur motions for Monk to say something.

73.73.

Arthur looks confusedly to Monk. He wasn’t expecting him to call an audible like this.

There’s a lengthy pause.

Arthur laughs a fake, panicked laugh and rushes to mute the phone as Paula and John chatter.

Monk tries to take the phone from Arthur.

Arthur shakes his head and unmutes the phone. And now we return to intercutting with Paula and John in their office.

74.74.

Once muted, Monk and Arthur get into it.

Paula returns with a decision.

75.75.

ARTHUR MONK

What? What?

Paula and John laugh as Arthur, still in shock, looks to Monk, who just shakes his head in disgust.

Monk and Coraline have just gotten home. They make their way to the kitchen.

Monk notices some commotion in the backyard. He looks out the window and sees that someone is swimming in the pool.

76.76.

Monk and Coraline step through the back gate to find a person furiously swimming laps.

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 looks around at the mess Cliff has made.

77.77.

Monk picks up the skimmer net and begins to clean out the detritus Cliff has tracked in.

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.

Cliff is giggling, followed by Coraline.

Coraline and Cliff laugh harder now.

Monk tries to wrestle Cliff to try to get back at him, but Cliff can’t stop laughing.

78.78.

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.

79.79.

CORALINE CLIFF

Awww. Awww.

Coraline gives Monk a kiss. Cliff laughs.

80.80.

Coraline laughs now, followed by Monk.

They all laugh again.

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, Monk, and Coraline continue their trek with the boxes.

Monk is annoyed by Cliff’s question. Coraline tries to pretend like she’s not interested in the answer, but she is.

81.81.

Cliff rolls his eyes at this.

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.

Agnes is unresponsive.

Cliff assembles a CD player and speakers for Agnes as Monk talks with a DOCTOR in hushed tones at Agnes’ door.

As the doctor speaks, some jazz music starts to drift from Agnes’ room.

82.82.

The doctor leaves just as Coraline returns with a small bunch of flowers.

Coraline is mum for a couple beats, but then she can’t help herself.

Monk does not receive the kidding well.

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.

Cliff’s face registers injury. He stops dancing and pulls away.

Cliff exits. Agnes is completely oblivious. She returns to the chair and stares out the window.

83.83.

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.

Cliff starts walking to the Uber.

Cliff turns back to look at Coraline and Monk. He thinks for a beat before responding.

With that, Cliff turns and walks away.

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 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.

84.84.

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.”

The audience applauds again, but they’re soon overshadowed, literally, by a phone call notification from Arthur. We PULL BACK to reveal...

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.

85.85.

Monk and Coraline are having pasta for dinner. Monk is clearly aggravated, eating in silence.

86.86.

Monk drops his fork onto the floor.

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.

Coraline is taken aback by Monk’s tone.

87.87.

Monk pours himself another glass of red wine.

88.88.

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.

He exits.

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.

89.89.

Monk notices Lorraine’s signature yellow apron hanging on a chair.

Maynard enters from outside carrying a small FedEx package.

Monk grabs the package as Lorraine hands over the SodStream to Maynard.

Lorraine now turns to Monk.

They hug. When they pull away, Monk extends his hand to Maynard, who shakes it.

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.

90.90.

Monk is on another Zoom call with the Book Award judges.

91.91.

Daniel and Ailene calm down.

Wilson and Daniel laugh at the dumb joke as Monk looks ill.

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.

She really does.

92.92.

Monk and Agnes arrive at the beach house and unpack their car.

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.

93.93.

The camera moves now to catch Cliff come into view in the living room, where he locks eyes with Monk in the kitchen.

Monk makes his way toward Cliff while Agnes stays with Kenny and Alvin.

Monk and Cliff are now face to face.

Cliff rushes to gather the cans and drug detritus.

Maynard and Lorraine now enter the dining room just behind Monk.

94.94.

Lorraine hugs Cliff. It’s clear this kindness means a lot to Cliff.

Kenny pokes his head out from the kitchen.

Lorraine begins to help Kenny and Alvin with breakfast, leaving Monk and Maynard alone to chat.

They share a laugh.

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.

95.95.

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.

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.

Monk steps away from the party and gazes across the road toward Coraline’s dark, empty home.

Monk turns to see Cliff.

Monk smirks, recognizing the truth there.

96.96.

Monk laughs a little at this.

Cliff kisses Monk on the forehead and heads back to the party.

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.

97.97.

Monk turns to her, slightly surprised.

There’s a lull as people run out of steam.

98.98.

Monk enters carrying a salad in a plastic clamshell container. He’s surprised to find Sintara eating sushi by herself and reading.

She goes back to her book as Monk sits and begins to eat. He looks to Sintara and hesitates before speaking.

Monk laughs.

99.99.

100.100.

As Monk considers this, the door swings open. Ailene enters and takes a seat.

101.101.

Sintara returns to her book and Monk returns to his salad.

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.

Monk scans through his phone and presses a button. We do not intercut the call.

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.

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.

102.102.

Ailene writes “Fuck” next to the number one on the board.

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.

Monk sits at Agnes’ bedside as Agnes stares off into the distance. They’re both silent for a few beats.

Agnes turns to look at Monk.

103.103.

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.

Some people laugh.

The audience claps.

104.104.

Wild applause. People stand to get a glimpse of the mysterious author.

Monk thinks for a beat, then stands, and buttons his tuxedo jacket.

Carl squints and looks out over the ballroom.

Monk calmly maneuvers through the tables to the stage.

Carl turns to look at Monk, who’s now making his way up the stage stairs.

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.

105.105.

Before Monk can speak again, we

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.

106.106.

An ASSISTANT approaches Wiley with a can of seltzer.

The assistant takes the wet can and departs.

107.107.

Monk takes a deep breath and exhales, thinking on the fly.

Carl repeats his line.

Wild applause. People stand to get a glimpse of the mysterious author.

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.

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.

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...

108.108.

We get a glimpse of the lovers looking at each other. Before Coraline can respond, we

We're back with Monk and Wiley, who is mulling over what we've just seen.

Wiley shakes his head.

Monk is quiet for a few beats, already regretting what he's about to say.

Monk is back onstage with Carl, who repeats his line.

109.109.

Monk takes the award and shunts Carl to the side.

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

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.

Monk raises his hands, one of which is holding the award. A UNIFORMED COP points.

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

Wiley is grinning ear to ear as Monk looks aghast.

110.110.

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.

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.