INT. A RESIDENT’S ROOM.
GARETH digs through a desk and tosses a wallet, jewelry, and a pair of candlesticks onto the bed.
CHIEF (V.O.)
Gareth looted the rooms of 14 residents before being apprehended by security guard Kenneth Bradley. Weighing approximately 253 lbs., Bradley did not consume a fatal dose of the poison. Gareth’s cause of death: asphyxiation.
BRADLEY props himself on the doorway. Snot, tears, and foam stream down his face. GARETH turns as he collapses on her and strangles her to death.
CHIEF (V.O.)
Bradley was awarded worker’s comp along with a check for $2,500 for heroism, nearly the exact amount Gareth owed in past due credit cards.
BRADLEY in a hospital room receives a check while his photograph is taken for the paper.
CHIEF (V.O.)
Gareth had done the math, and on her $6.50 per hour salary, would never be able to surmount the interest accruing on her credit card while paying for cost of living.
CHIEF (V.O.)
Her breasts measured Cup A, 28” band size, 24” under bust, 29” over bust. Pubic region unshaved. Sexual partners: 26. Two ex-husbands and six years of brief promiscuous liaisons. One abortion.
The sound of the remote switches the projector image again.
4.
Photograph of GARETH’s appartment. Empty bottles of wine. Cigarette butts. Late payment bills.
Photographs of the body and case files. Photographs of GARETH with her exes and security footage of her at a local bar.
INT. LOWER CLASS MILL HOUSE. MORNING.
CHIEF (V.O.)
On February 19, 2008...
An alarm clock buzzes, jolting GRACE, 31, upright.
GRACE Bobby! - I slept through the darn alarm.
GRACE slams a hand on the alarm.
JUMP CUT TO:
Focus on a framed photograph of smiling GRACE, husband BOBBY, and their son CAYDEN, 8, as GRACE briefly emerges from the bathroom, brushing her teeth.
GRACE (CONT'D) (Calling) You boys better be making breakfast.
JUMP CUT TO:
GRACE, fastening a “GRACE” name badge onto her blouse, stops short of entering the kitchen.
GRACE (CONT'D) Bobby! Cayden? Where the heck are y’all? (To herself) I swear.
GRACE goes to the kitchen table where several letters have been torn open and a turned over bottle of whiskey emptied.
GRACE’S POV.
GRACE files through the letters, reading the words “DEFAULT” and “FORECLOSURE” in large red letters next to “PAST DUE: $27,855.55.”
GRACE (CONT'D)
What in the world-
INT. KITCHEN.
A breeze pulls GRACE’s attention towards the ajar front door. GRACE walks to the front stoop.
EXT. FRONT STOOP.
In the street, BOBBY is sitting in an idle car with the engine running. He turns his tear-stained face towards her for a moment but doesn’t quite seem to register her.
5.
GRACE (CONT'D)
Bobby?
The car pulls forward slowly as GRACE makes her way to intercept it.
GRACE (CONT'D)
Bobby. BOBBY.
GRACE picks up her pace, but the car matches her speed, slowly overtaking her. GRACE slips and wobbles over a thin chain that unwinds through the window, trails the car, and rattles on the concrete.
GRACE (CONT'D)
Stop. Stop the car.
GRACE pounds on the driver’s side window. BOBBY adjusts the tightening chain wrapped around his neck.
GRACE (CONT'D)
BOBBY. Please. Stop the car. BEAT. No. NO, DON’T, GOD NO.
The car tears off down a steep hill towards a 4-way intersection. The lenghening chain upends GRACE to the ground. She traces the line to a nearby streetlight.
GRACE POV.
Nearing the bottom of the hill, the car jolts at full speed, and then swerves, and finally crashes into multiple cars crossing the intersection.
TEXT: On February 19, 2008, Robert “Bobby” Fields committed suicide in response to inflated mortgage rates.
TEXT: His suicide by self-decapitation led to the subsequent deaths of six innocent people.
REPORTER (V.O.)
An Oklahoma man in Tulsa today committed suicide...
CUT TO:
EXT. RISING OVERHEAD SHOT OF THE CITY OF TULSA. Multiple reporter voices overlap while bulletpoints build.
SCATTERED TEXT: In 2008, there were 48,344 reported suicides in the US. More than 10 million Americans lost their homes. 1,004,171 private individuals went bankrupt.
6.
Oklahoma is 69,899 square miles. The population of OK is: 3,957,000. There are 1,749,464 single family residences in OK. The median value is $136,800. Owner-occupied housing per unit rate is 65.6%. Divorce rates raised to 56%. 64% of Americans report having cheated at least once on their spouse or significant other. The average male has 22 sexual partners. The average female has 15.
FADE aggregate text into title: ‘I. A Case Study in PRURIENCE.’ FADE title into subbullet: “a. SHELTER.”
EXT. LOWER CLASS HOUSE. MORNING. FOUR MONTHS LATER.
The sound of moaning. A skinny cowboy resets his oversized 10 gallon hat as he crosses the lawn and knocks on the front door. The door opens.
INT. LOWER CLASS HOUSE IN OKLAHOMA SUBURBS. SLOW TRACKING SHOT.
The moaning intensifies. The door opens and DUANE leads the cowboy past a row of men seated patiently in a smokey living room. The sound of a door closing.
INT. LOWER CLASS HOUSE. BED ROOM.
Closeup of JOHN, 53, watching a homeless woman as she digs through a trashcan at the house across the street. The blinds flash momentarily before a second woman appears from the front door and begins shouting at her.
JOHN
Shameful. This used to be a community, you know. People looked out for one another.
The homeless woman doesn’t give up her pursuit and instead doubles down by throwing trash at the homeowner who retailiates with items on the porch.
JOHN (CONT'D)
Ya try to do good. Keep yer head on straight. Ignore the bad and keep on pushing the good.
DUANE’s mouth drops as the homeless woman raises two fists and approaches the homeowner who rushes back inside and slams the front door closed.
7.
JOHN (CONT'D)
Rack my brain inside and out for the answer. There’s got to be something I can do, anything, to make things right.
DUANE slams an open palm down on the dresser and exhales deeply. A large bird feather in a glass case is knocked over and broken.
JOHN (CONT'D)
Hyaa! Sorry about that.
GRACE rises kneeling at his crotch and spits his cum into an empty glass while JOHN rezips his fly. JOHN attempts to reset the keepsake, and she holds out a hand to stop him.
GRACE
S’alright.
GRACE extracts the feather from the broken glass and affixes it’s leather strap to let it dangle from her hair. She lights a smoke and joins him in watching the homeless woman bang on the front door across the street.
JOHN
‘An abnormal reaction in an abnormal situation is normal.’
GRACE
Mm-hm.
JOHN
What is one man supposed to do anyways. Stick to yer stovepipe, swim in yer lane.
GRACE
Help starts at home.
JOHN
You’re working. You’re making money.
GRACE gargles some cheap vodka and slumps onto the bed, exposing a breast through her bathrobe.
GRACE
I’m barely scraping by, John.
There’s a knock on the door. DUANE pokes his head in with a hand over his eyes.
8.
DUANE
Hate to interrupt, time is time.
JOHN thinks for a spell.
JOHN
Duane. You and your Gracie here. You two looking for some extra work?
DUANE
Could be. Doing what?
JOHN
I’ve been playing with an idea. It’s worth a year of free rent.
JOHN scribbles on a magazine.
GRACE
We’ll do it.
DUANE
Hey now.
GRACE
We’ll do it.
DUANE softly closes the door behind him.
DUANE
It depends.
JOHN
I’ve got four renters not making ends meet for months now. They need to get out.
DUANE
Like, kick them out of their houses?
JOHN
The job pays because I don’t want to know how it’s done. It pays because someone else does the work.
GRACE
One year rent and half a year in cash.
DUANE
Now hold on.
9.
Alright.
Deal.
JOHN
GRACE
They shake hands. JOHN exits.
DUANE sits on the bed and takes a pull from the bottle. He attempts to recover GRACE’s breast, and she flaps it open again. He then hands the bottle to GRACE who accepts it and pulls. They watch the homeless woman together.
DUANE
Do what now? Kick out John’s renters?
GRACE
Might do us good. Get some fresh air.
DUANE
I don’t know. BEAT. You’ve got customers.
GRACE
Last two.
DUANE Four.
GRACE No rest for the wicked.
DUANE
Suppose we could both use a little pick me up.
DUANE rummages through his pocket, and drops an assortment of different shaped pills onto the dresser. Their hands pick at a few each and down they go.
DUANE opens the door, and GRACE pulls him close as the waiting men and skinny cowboy look up from their phones, magazines, etc.
GRACE
Hey. Not the boy.
GRACE’s world becomes electric, cloudy, distorted.
10.
GRACE (CONT'D)
One moment boys...got... to... grab some...cigarettes...
GRACE goes into the kitchen and rests on the island. Her eyes grow heavy and the blinks grow longer and longer until...
DISSOLVE TO:
INT. MOMENTS LATER.
CLOSE SHOT.
The feather in GRACE’s hair bounces back and forth on her face as a blurred figure fucks her from behind.
MALE VOICE (O.C.)
I’m going to spit on your back. Is that ok?
GRACE’s eyes close. A man spits.
MALE VOICE (O.C.) (CONT'D)
I’m going to pull it out and cum in your mouth, ok?
GRACE’s eyes snap open. Her knuckles tighten as she clenches the bedsheets.
EXT. LOWER CLASS NEIGHBORHOOD. 1ST DILAPEDATED MILL HOUSE. AFTERNOON. LATER.
TEXT: Bill and Barbara Miller. 342 Valley Crest Lane, Tulsa, OK. JUNE 22, 2008.
GRACE rubs her bloodshot eyes. DUANE bites his nails.
GRACE
Not getting cold feet are you?
DUANE
Huh? Uh-
The playing radio rolls in and out of audibility as GRACE undoes her belt.
GRACE
Look he’s leaving now.
BILL exits an adjascent house, gets into his car, and leaves. BARBARA waves from the window and closes the blinds.
11.
GRACE (CONT'D)
Alright, let’s go.
EXT. DIVE BAR PARKING LOT. MOMENTS LATER.
GRACE and DUANE tail the car into a dive bar parking lot. BILL parks, exits, and enters the bar.
GRACE pops open the glove box and removes a 1/5 of vodka. She attempts a genuine laugh and takes a hit of the vodka. She laughs again, haughtily. She drinks again and checks herself in the mirror. She tussles her hair and puts on lipstick.
DUANE eyes her as she hits the vodka again.
DUANE
Ok- that’s good.
GRACE keeps chugging.
INT. DIVE BAR. MOMENTS LATER.
GRACE enters the bar laughing and stumbling.
GRACE
HAPPY MOTHER FUCKING TUESDAY!
MEDIUM SHOT.
The bar is mostly empty, save seven or eight solitary men around a bar. GRACE plops herself next to BILL who perks up.
BILL
You’re in a good mood.
CLOSE SHOT.
GRACE turns to BILL. Her eyes widen. Her lips part. She smiles.
EXT. DIVE BAR. AN HOUR LATER.
GRACE stumbles through the front door, trying to light a cigarette.
GRACE
(Shouting) And make mine a double, you stingy fuck.
The door closes and GRACE hocks a loogie and jogs sideways to the car.
12.
DUANE
Get it?
GRACE sways uncontrollably and lifts a cell phone.
GRACE
Does a pope shit in the woods? Where- where- gimme, gimme.
DUANE lifts a mirror with several lines of cocaine on it, and GRACE topples in through the passenger window to snort them all. Pause.
GRACE (CONT'D)
The hell you doing, go, go...
GRACE’s POV.
A cellphone sways out of focus in GRACE’s hand as she tries to dial a number.
NPR (RADIO)
I mean, listen, let’s look at the state of things here today. The average person can’t handle a $500 bill. The average bank account is $3,000. And get this- if we gave a lump payout of say, $10k the average american, do you know what they said? 9/10 would buy a car. Not pay their rents or mortagages...
DUANE shuts off the radio.
DUANE
You alright?
GRACE looks down the open hands in her lap and there’s a phone in one with a number already dialed out. Her hand waivers to hit the ‘Call’ button.
DUANE (CONT'D)
You got this?
GRACE facepalms DUANE away.
BARBARA (CELL) Hello?
13.
EXT. LOWER CLASS NEIGHBORHOOD. PARKED CAR. TEN MINUTES LATER.
GRACE
Yes- I need to speak with Barbara Miller of 342 Crest Valley Lane.
BARBARA (CELL)
Who is this?
GRACE
My name is Nancy Holmes, and I’m an emergency dispatcher at Regional Memoral. It is imperative that I speak with Ms. Miller.
BARBARA (CELL) Yeah, I’m her. What is it?
GRACE
Your husband Bill Miller has been in a serious accident, ma’am. He’s in critical in the emergency room.
BARBARA
Who are you-
GRACE
Ma’am. Ma’am. Did you hear what I just said? Your husband is in our emergency room.
BARBARA
Oh my god. I’m coming. I’m coming right now.
GRACE
Do you need directions?
BARBARA
No, no. You’re a drive but I know where you are. Thank you.
DUANE surveys GRACE and nods in appreciation. They watch as BARBARA MILLER runs out the front door. She reaches her car and pauses. She pulls her cell phone from her pocket and makes a call.
The cell phone in DUANE’s hands rings.
DUANE Hello?
BARBARA (CELL)
Who is this?
14.
DUANE
My name is...Duane Rogers. I’m an EMT at Regional.
GRACE rolls her eyes.
BARBARA (CELL)
Duane? Who? How did you get this phone?
DUANE
I’m sorry, ma’am, I was riding in the ambulance with your husband as we drove him in and I still have a few of his... personal... effects.
BEAT.
BARBARA (CELL)
Oh. Okay. Thank you. I’ll be there shortly.
DUANE
Yes, ma’am. Stay strong. He’s a fighter.
BARBARA MILLER pulls out of the driveway.
GRACE
Quick now.
GRACE fumbles at the door handle and spills out onto what should be concrete but turns out to be...
EXT. MILLER’S BACKYARD.
...a patch of flowers. GRACE’s head bobs as she tries to figure out what she’s doing in the bed until her hand emerges from the soil holding a screwdriver and screw.
She holds the screw up to the door and twists it into place finishing the faceplate. DUANE appears from inside.
DUANE
(Hushed) Front door’s done. I’m going to start making the boxes.
GRACE
Copy...
GRACE tests out the new door handle. She enters the home and helps herself to a beer in the fridge.
15.
DUANE
(Calling from the bedroom) What in the actual fuck, Grace. Get in here.
MATCH CUT TO:
GRACE enters a bedroom. DUANE is taking handfulls of personal effects and throwing them into the five open cardboard boxes.
GRACE peeks into the bathroom for a second to peruse the medications behind the vanity, and when she turns back, all the boxes are sealed and the room is virtually packed, save a mattress and dresser.
GRACE
We make quite the team.
DUANE checks his watch.
DUANE
It’s been 22 minutes. They have to know by now.
GRACE
Game face?
DUANE lifts his shirt revealing a pistol.
DUANE
I’m ready.
CUT TO:
EXT. SPEEDING CAR THROUGH LOWER CLASS NEIGHBORHOOD. LATER.
BARBARA slams on her breaks to stop from hitting a wall of cardboard boxes blocking the driveway. In the rear view mirror, BARBARA watches BILL pull up the rear and get out of his respective car.
WIDER SHOT.
The couple spot DUANE and GRACE watching them from inside their house, arms crossed, between the blinds and storm the house.
BARBARA and BILL shout indiscernable threats and curses through the door.
16.
INT. MILLER FOYER.
DUANE
God dammit, they aren’t fucking leaving.
EXT. MILLER HOUSE.
Neighbors start to appear around the neighborhood.
INT. MILLER HOUSE.
GRACE Fuck. Shit. Fuck.
GRACE lifts DUANE’s shirt and takes his gun.
EXT. MILLER HOUSE.
The front door opens revealing GRACE wielding a pistol.
GRACE
Back the fuck up!
BILL
You whore, I’llGRACE points it at BILL.
GRACE
Shut your fucking mouths. This is my house. You don’t pay bills here. Go ahead and call the cops, you’ll see. Now get your shit and get the fuck out of here.
Pause. BILL and BARBARA turn to collect their things. GRACE waves the gun around the neighborhood.
GRACE (CONT'D)
What the hell are you lookin’ at like you pay your bills. Go on, get back inside.
INT. MILLER HOUSE.
GRACE closes the door behind her and exhales deeply. She pounds on the door with a fist.
17.
DUANE
Good lord. Beat. We’ve got to get out of here.
GRACE
I’ll say. We’ve got work to do.
DUANE
Now? Grace. We’re in deep shit, we need...
GRACE
Quit.
Excuse me?
DUANE
GRACE
Quit then. I’ll give you a cut for one house. Go on.
DUANE doesn’t move. GRACE holds up a finger as she takes a deep slug of vodka.
GRACE (CONT'D)
What I thought.
EXT. LOWER CLASS NEIGHBORHOOD. PARKED CAR OUTSIDE 2ND MILL HOUSE. LATER.
TEXT: Max Fontaine. 60 Fairmont View, Tulsa, OK. JUNE 23, 2008.
NPR (RADIO)
So we’ve got wages that have stagnated, literally stagnated, for 50 years. FDR predicted technology would decrease the number of hours of a workweek, and now, here we are, working longer hours for essentially much less. Gas is up 150%. So are education, medical, and housing. But pay remains the same.
DUANE turns off the radio.
GRACE
How does that fuckin thing keep getting on.
DUANE
Something ain’t sitting right.
18.
Mm-hm.
GRACE
DUANE
We ain’t these kinds of people, Grace.
GRACE
Quit being a pussy and read me Max’s number.
DUANE pulls a piece of paper from a manilla folder.
DUANE
Max Fontaine. Remember he’s divorced. 52. Worked construction for the Mills, ranch hand for a while.
GRACE nods, pauses, dials the phone number.
GRACE
Alright. (Phone clicks) Yeah, Max, this Max?
MAX (CELL) Who this?
GRACE
Yeah, Max, how ya holding in there. This is Betty, down over at Sharpton Construction. You heard of us?
MAX (CELL)
Yeah I know you.
GRACE
We got your name from a fella said you used to do some good work, real good work for the Mills boys before those fucking spicks came in and cut out yer legs from underneath ya.
MAX (CELL) That so.
GRACE
Yessir. Any who, we need another set of hands for a project. Pays good, about six weeks straight. Can you handle that amount of work?
19.
MAX (CELL)
I’m $50 a day.
GRACE
You drive a hard bargain, but that works, that works fine. You handling your booze? Can’t have no accidents.
MAX (CELL)
I’m sharp.
GRACE
Alright. We need you to come down and sign some paperwork. You know where we are?
MAX (CELL)
I know it. That’s the far side a’ town.
GRACE
We’ll pay for your gas and a half a day if you come now.
MAX (CELL) Deal.
GRACE hangs up. They watch MAX saunter out the front door and into his rusted truck.
DUANE
I’ll be.
DUANE snorts a line and passes it to GRACE. She blows the line. GRACE pulls again from the vodka and a shudder ripples through her, forcing her to close her eyes and grip the door. When they reopen,..
INT. FONTAINE HOUSE. LIVING ROOM.
..she’s gripping a bannister and vomitting on the living room floor. Something catches her eye and she kneels to inspect her vomit.
DUANE
For fuck’s sake...
GRACE rummages through her puke and pulls out an arrowhead.
GRACE
It’s nothing.
20.
GRACE bends over to help DUANE lift a heavy box, and they walk it outside to the halfway built wall of boxes in the driveway.
DUANE
And exactly what if he don’t take kindly to us packing his shit and asking him to...
DUANE gestures a fly off into the night.
DUANE (CONT'D)
You’re going to pull my gun on him too?
They reaching the front step as a truck pulls up in the driveway. MAX gets out.
MAX
(Shouting) Hell you think you’re doing?
DUANE
Shit, shit.
MEDIUM SHOT of MAX storming the front lawn. GRACE pulls the gun and holds it to her side. MAX stops abruptly.
GRACE
EVICTION. YOU’RE TOO FAR BEHIND. GET YOUR SHIT AND GET THE FUCK ON.
MAX
Fuck you, bitch. I’ll call the cops. I know my rights.
GRACE
Call ‘em then you, dumb mother fucker. See how far that gets you.
Neighbors appear in their blinds and front porches. GRACE waves the gun across the block.
GRACE (CONT'D)
MIND YOUR FUCKING BUSINESS.
MAX
This ain’t right.
GRACE
Sorry, Max. It’s just the way it is.
Something in her voice catches him. MAX smiles.
21.
MAX
It was you, wasn’t it. You pretended to be them.
DUANE shifts uncomfortably. MAX shakes his head.
MAX (CONT'D)
They gave me a job- for more than what I ask.
DUANE
Wow. Congrats, man.
GRACE Yeah, congrats.
MAX exhales.
MAX
So you get me a job and done took my home. Some trade.
GRACE
We both know you weren’t ever paying back that debt.
MAX
Still. It don’t sit right.
Beat.
GRACE
I’ll suck your dick.
MAX Pardon?
GRACE
You go peacefully. I’ll suck your dick.
MAX
I want to take one last look to make sure you got everything too.
GRACE nods and hands the gun to DUANE.
GRACE
Deal.
22.
INT. FONTAINE HOUSE. LIVING ROOM. TRUCK SHOT.
DUANE eyes the ceiling and shuffles in his chair. He faces his pistol across the room and rests it on his thigh. He drinks his beer. The POV reaches the backside of GRACE on her knees and MAX smoking a cigarette as he gets a blowjob.
FADE OUT/IN:
EXT. UNKNOWN HOUSE. THE FOLLOWING MORNING.
TEXT: Unknown. 4550 Turnbelt Ave. Tulsa, OK. June 24, 2008.
GRACE lurches forward to vomit across the front porch. She wipes her mouth and returns to fastening the new dead bolt. A shadow passes by and she notices, amidst a thick fog, that an old woman has stepped forward to approach her.
OLD WOMAN
Am I on the list too?
GRACE returns to installing the front door’s lock.
OLD WOMAN (CONT'D)
It hasn’t been so long.
GRACE
I- I’m sorry, miss, I can’t help you.
OLD WOMAN
Tell them we’ll do better. We all want to do better.
GRACE turns to eye the woman and instead realizes that many people, on their respective porches, a few milling in the street, and hiding behind curtains, are watching. One shadowed figure wearing an indian headdress moves out of view.
GRACE
I’ll be.
OLD WOMAN
You’ll tell them. We’ll pay. We’ll pay it all back.
GRACE
I don’t know what you’re fuckin’ talkin’ about, lady.
GRACE tries the handle, and it works. A medium sized rock hits her in the head. The shock of being hit spasms her head forwards and her head bangs against the door. Her hand feels the knot and blood is splotched on her fingers.
23.
GRACE (CONT'D)
Mother fucker!
OLD WOMAN
Then you’ll tell the devil when you get there.
GRACE
LADY. I DON’T KNOW WHAT IN TARNATION YOU’RE TALKIN’ ABOUT.
OLD WOMAN, holding several stones in a hand, steps back a foot and pauses. She launches another rock that nearly misses Grace’s face and bangs against the door.
GRACE (CONT'D)
(To herself) I ain’t never beat no old woman to death but today’s a new day.
GRACE moves to attack. Two more stones from radical different trajectories strike/miss her. A few more people have appeared in the street amidst the fog.
GRACE (CONT'D)
You all go on!
STRANGER behind OLD WOMAN hurls another. More stones follow. GRACE covers her face, scrambles to get inside the house,...
INT. UNKNOWN HOUSE.
...and slams the door shut. Her momentum backpedals her onto a small rug, which proceeds to slip out from underneath her like a banana peel.
DUANE unfolds another cardboard box.
DUANE
Easy now.
GRACE
Did you... Those mother...
Throwing...
DUANE observes GRACE. She stands and adjusts her clothes.
GRACE (CONT'D)
I’ll start in the back room.
GRACE crosses the room, extracts a fifth of whiskey and some pills from DUANE’s back pocket.
24.
DUANE
Maybe you should take it easy.
GRACE
“Maybe you should...” Maybe you should mind your own god damn business.
Loudly chewing the pills and chugging out her exit, GRACE bumps into the door frame as she enters the back room and...
EXT. PARSONS HOUSE. AFTERNOON. LATER.
TEXT: Jim Parsons. 13 Cherry Blossom Road. Tulsa, OK. June 24, 2008.
...finds herself twirling to a seated position on the lawn of a larger, two-story yellow house.
GRACE
Last one.
GRACE peers over her shoulder at DUANE.
DUANE
Praise Jesus. One more and we get paid.
GRACE
John’s worth more than what he said. You let me handle our payout.
GRACE dials a number and gets the disconnected line message. DUANE scrolls through his phone.
GRACE (CONT'D) Nothin.
DUANE
John’s got nothing on this one. Was a nice family of four living here, two boys. Wife stepped out, maybe took the kids. Jim stopped answering calls about six weeks ago. Nobody knows what his deal is.
GRACE
Could be hanging from the rafters.
DUANE looks around the neighborhood. GRACE sees the silhouetted headdressed figure move across the blinds.
25.
GRACE (CONT'D)
Did those blinds just-
DUANE
Whassthat?
WIDE SHOT.
GRACE and DUANE mounting the porch. GRACE pulls at the eviction notices and letters stapled to the door.
DUANE rings the doorbell. Pounds on the door.
GRACE
Jim- Jim you in there? We’re coming in.
INT. PARSONS HOUSE. FOYER.
Light spills into the still, dusty interior of the foyer as the front door opens, exposing DUANE and GRACE’s silhouettes.
DUANE enters slowly, and reels backwards, covering his nose.
DUANE
Jesus- is that gas?
DUANE tries the light switch to no avail.
GRACE
Jim- Jim you here, buddy? You’re behind eight months, we gotta get something going here.
GRACE pinches her nose and enters. She inspects a crooked picture of the family (Jim, a wife, and two boys) hanging on the wall. She straightens it. The picture changes to GRACE and her family. It holds momentarily, swings, drops, and breaks on the ground.
DUANE
I’ll take the front. You get started on back.
GRACE jumps and peers over DUANE’s shoulder into the dark haze of gas and residue coating the air.
GRACE
Nah, I’ll take the front.
DUANE
Remember who’s in charge.
26.
I am.
GRACE
DUANE
Bitch. We’re going to have a nice long talk after this is done.
GRACE
Funny.
INT. DINING ROOM
GRACE steps lightly into the dining room and quickly moves to open a nearby window. She breaths in the fresh air from outside, pushes past the dining room door, and leaves to...
INT. KITCHEN
...enter the kitchen. She tries the lights to no avail. She goes to open the backdoor, unlocks it, and it doesn’t budge.
GRACE
Duane- I can’t get the door. Duane?
GRACE walks speedily to the dining room door, and it too won’t budge. She bangs on the door and coughs. She touches her forehead and rubs her eyes. The thickening gas makes her head lull.
GRACE (CONT'D)
DUANE. That ain’t funny. Come open this door. Duane?
WIDE SHOT.
A figure stirs behind GRACE, and she spins to confront the noise. When she turns, she finds that the room has lost all discernable qualities of a kitchen, save an island counter top amidst giant bay leaves, a stool, and a seated SHADOW FIGURE.
SHADOW FIGURE appears to be crying.
GRACE (CONT'D)
Jim- that you? You alright?
GRACE moves through the ether and closer to the counter.
GRACE (CONT'D)
Jim-
27.
SHADOW BOBBY
(Sniffling) I tried to do right. You know I tried don’tcha baby?
GRACE
It’s ok. You’re ok. Why don’t you help me open this door. (Beat) Bobby?
SHADOW BOBBY
I loved you so much. Now I’m transparent. I’m nothing.
Tears well in GRACE’s eyes.
GRACE
Bobby. Why’d you have to go on leavin’ me.
SHADOW BOBBY
I’m sorry, Gracie. I was scared. I didn’t know what to do.
GRACE
Then you ask me. You’ve got to TELL me what’s going on, you...
GRACE coughs and her vision blurs.
DISSOLVE TO:
EXT. IN FRONT OF GRACE’S HOUSE. MORNING OF BOBBY’S SUICIDE.
BOBBY again pulls the car away from a screaming GRACE who pounds on the window.
GRACE
BOBBY. Please. Stop the car. BEAT. No. NO, DON’T, GOD NO.
GRACE’s POV.
Through the window GRACE spots the small boy, her son CAYDEN, 8, looking terrified in the passenger’s seat.
GRACE (CONT'D)
BOBBY, NO! Cayden- get out of that car right now.
TRACKING SHOT.
GRACE chases the car down the hill. Her slippers fly off as
28.
we hear not too far in the distance the sound of many cars colliding and glass breaking.
She makes her way through the wreckage, passing several disoriented people who struggle to walk. A man, leaned against a wheel, holds his bleeding head in his hands.
She reaches BOBBY’s car and opens the front door. His decapitated body slumps over, spurting blood onto her robe. Leaning in she finds the interior completely encased in blood, no child, and a small hole through the passenger’s side of the windshield.
GRACE stands erect. We see a small mass in several pieces, out of focus, lightly convulsing on the pavement in front of the car. People have gathered.
WIDE SHOT.
Steam and car exhaust blur the scene of terrified onlookers watching GRACE sob as she rocks her dead child.
SMASH TO:
INT. KITCHEN.
SHADOW BOBBY is gone, and in his place, renter JIM, a balding, middle-aged man with glasses and holding both hands outward placatingly, attempts to soothe a momentarily possessed GRACE.
JIM
MA’AM. Are you alright? You can’t be here. You have to get out.
GRACE pulls a butcher’s knife from a nearby knife block and stabs JIM.
GRACE
(Sobbing) I SAID STOP IT, GOD DAMMIT, STOP THE CAR BOBBY.
DUANE enters and puts his hands on his head. JIM stumbles and slumps behind the island counter and onto the ground.
DUANE
Holy shit. What’ve you done?
GRACE comes to and wipes her brow.
GRACE
I...I... Duane?
29.
DUANE
Oh fuck. You fucking killed him.
GRACE
That I did.
Oh man.
DUANE
GRACE
You gonna call the cops?
DUANE
Call the cops?! It looks like we broke in here to rob and kill the fucking guy.
GRACE
The gas leak. It...I...
Beat.
Let’s wipe up a majority of the blood, douse him, burn the rags in a different room, burn everything. John can collect the insurance.
DUANE
I-..You’re insane. So now I’m an accomplice to murder and an arsonist now?
GRACE slowly places the knife on the countertop.
DUANE (CONT'D)
Well, whatcha got to say to win me over?
GRACE
We burn the house. Cover our tracks. Sell the car.
DUANE
I told you this was no good, you fucking psychopath.
GRACE
It don’t help to lose control.
GRACE and DUANE don’t move. BEAT.
DUANE
I’m leaving.
30.
GRACE
Just- just help me move his body into the garage.
Pause.
GRACE (CONT'D) Please. That’s where he’d do it.
DUANE
Then that’s it. We’re done.
GRACE nods. DUANE rounds the kitchen counter. GRACE points to JIM’s feet. She pretends to reach for JIM’s arms and draws the revolver, points it at DUANE, and fires two rounds into his chest.
CLOSE SHOT.
GRACE runs a hand through DUANE’s hair.
GRACE Shhh. It’s ok, baby. This place wasn’t meant for you, honey. It’s going to be alright. Shhh now.
CUT TO:
INT. PARSONS’ HOUSE. GARAGE. NIGHT. HOURS LATER.
GRACE prods JIM, entangled with DUANE, with her foot. She tosses a match onto the body and flames explode upward...
EXT. PARKED CAR. LATER.
...and light the GRACE’s cigarette. She watches several neighbors standing idly around the blaze begin to disperse at the sight of flickering blue lights. The flames fill her eyes.
A cop, OFFICER WELLS, emerges from his car and inaudbly and ineffectively tries to get people’s attention for a statement.
From a hundred yards out, OFFICER WELLS spots GRACE’s car pulling away and waves a hand at her.
OFFICER WELLS (OUTSIDE THE CAR)
Hey- hold on a minute.
31.
As the car pulls off, GRACE and OFFICER WELLS make momentary eye contact. He’s mouthing something. Her eyes close and reopen...
INT. COLLEGE DORM. BATHROOM. 10 YEARS EARLIER.
TEXT: b. FOOD.
...to the inside of a dormatory toilet bowl.
ROOMMATE (OFF CAMERA)
(On the phone) I think my slut roommate is pregnant. ... She’s been throwing up all morning... I already asked for a switch, Mom.
GRACE watches her sneering ROOMMATE pass by the slightly ajar bathroom door and out the front door. She fingers the roll of toilet paper, wipes her mouth dry, and towels off the tears in her eyes. She holds a phone up to her free ear.
GRACE
Ok, she’s gone.
DAD (CELL)
Don’t you listen to that cunt, Gracie Jean. Professors make good money. Hell, I was surprised you’d even made it to college. This is a blessing, girl, you hear me? You got a meal ticket.
GRACE
Yessir.
DAD (CELL)
You’ve got to think for two mouths now. You hear me? You’re living for two. That means you do what it takes no matter what and damn the rest.
GRACE
Yes, daddy.
INT. CLASS AUDITORIUM.
JUMP CUT TO:
PROFESSOR flips through a slide with the label “Anthropology 101” at the bottom.
32.
PROFESSOR
Ok today we’ve covered a fair amount of ground. Collectivistic versus Individualistic.
PROFESSOR pauses to gauge the class’ attention, sees GRACE as she spreads her legs under her desk.
PROFESSOR (CONT'D)
Can someone give some examples of individualistic countries and three attributes?
PROFESSOR points to a raised hand.
STUDENT America, Germany, and South Africa are individualistic. We focus on individual rights... uniqueness, and self-reliance.
PROFESSOR Good. How about collectivistic?
PROFESSOR points again.
STUDENT 2
China, India, and Ecuador are collectivistic. They don’t see the individual. They’re more like cogs, interdependent. And, um, they prioritize together in solidarity over an individual’s goals.
PROFESSOR
Very nice. Which is better? Call it out, go nuts, be an individual.
Various students shout “America,” “Individualistic,” and “Collectivistic.” GRACE raises her hand.
PROFESSOR (CONT'D)
Yes?
GRACE
Neither. They both belong on a scale. Go too far either way, and it topples over.
PROFESSOR
Very interesting. SO. Three pages, next week, support your argument. Which is better? Individualistic, Collectivistic, or do you favor...
33.
PROFESSOR points to GRACE.
GRACE
Grace.
PROFESSOR
Grace’s middle of the road approach? Then after next week get your minds wrapped around studying for finals. Have a great weekend.
Class gathers up their belongings. PROFESSOR’s eyes linger on GRACE.
INT. ANTHROPOLOGY OFFICE DOOR. A SIGN FOR OFFICE HOURS.
Students pass down the hallway. A low rustle of moaning and activity is barely audible from outside the door.
INT. ANTHROPOLOGY OFFICE.
PROFESSOR fucks GRACE doggystyle across his desk.
PROFESSOR
You were late again.
GRACE
Had something on my mind.
PROFESSOR
Something important?
GRACE
Like you care.
PROFESSOR
I do. I care about you.
GRACE
You do?
PROFESSOR
Of cooooourse.
PROFESSOR orgasms and slows to a halt. He pats her butt and sits in his chair.
PROFESSOR (CONT'D)
What?
GRACE
I’m pregnant.
34.
PROFESSOR
I, ah-. Huh. It’s me?
GRACE cocks her head to the side.
PROFESSOR (CONT'D)
(Exhales) Oh. Wow.
GRACE
I keep telling you to pull out.
PROFESSOR
Ha. Yes. (BEAT) How are you, are you ok?
PROFESSOR moves around the desk and kneels in front of GRACE.
GRACE
I’m a little scared. Mean, I don’t know.
PROFESSOR
Sure! I’ll bet. I am too. Well. What do we do then?
GRACE
(Tears welling) Daddy says I can’t get an abortion.
PROFESSOR strokes her hands.
PROFESSOR
Do you want one?
GRACE
I...I can’t.
PROFESSOR sighs.
PROFESSOR
You must finish college. I can’t support us, and you getting some minimum wage job at Wal-mart won’t cut it.
GRACE
How? I’ve got three years left.
PROFESSOR
It’ll be to be tough. Compile your classes into two days a week, and we’ll daycare then. How far along are you?
35.
GRACE
3-4 weeks, maybe.
PROFESSOR
So you’ll make it through summer classes and next fall, which really means only 18 months before you can find a job.
PROFESSOR gets up and goes the window and rubs his forehead.
PROFESSOR (CONT'D)
In two months I’m taking a group of grad students to Ecuador on a three month research study. I’ll get rid one of my aides off and put you on, so you can get credits and a small stipend at the same time.
GRACE
You can do that?
PROFESSOR
I know I’m always preaching togetherness, but everything runs on nepotism. This is about survival, GRACE. And now we need to be thinking about how we’re -our tribe- is going to survive. You’ll be better off knowing sooner than later that no one out there gives a damn about us. Get it?
GRACE
Got it.
PROFESSOR
Ok. (Smiles) Good.
GRACE
I should get going.
PROFESSOR
Ok. Oh- learn as much Spanish as you can. Every day.
GRACE, rising, lightly trips around the chair, and several papers fall off the desk and onto the ground. She bends over to pick them up and...
EXT. QUITO, ECUADOR. NEAR A HOTEL. EVENING.
...picks up an opened map off the ground.
36.
PROFESSOR
Grace! Come on, you’ve got to keep up.
GRACE brushes off the map and folds it into a manageable square. She bumps into a LOCAL.
GRACE
Perdoname senor.
LOCAL No hay problema.
GRACE
Perderia la cabez si... no fuera por mi cuello. (I’d lose my head if it weren’t for my neck)
GRACE gestures to her neck. LOCAL laughs.
LOCAL Yo tambien, yo tambien.
GRACE rejoins a group of graduate students shuffling luggage.
PROFESSOR
Keep your things packed. We’ll only be in the city for the night. Tomorrow morning, 7am sharp, we meet here ready to roll. Everyone clear?
The group consents.
PROFESSOR (CONT'D)
Alright. (Smiles) Let’s check in and maybe see about a margharita?
INT. HOTEL ROOM. LATER.
GRACE sits on the bed, lays back, and stretches out. A knock sounds at the door.
GRACE opens the door and PROFESSOR enters.
PROFESSOR
Heya.
GRACE spreads her legs.
GRACE
Hey you.
37.
PROFESSOR
Travel bug already bit you good.
GRACE
Mmm-mmm.
PROFESSOR
I’m going to run to the store to buy some last minute odds-and-ends. Do you need anything?
GRACE
(Pointing her foot at PROFESSOR) Just that.
PROFESSOR
Oooh my. Hold that thought. I’ll be back in an hour or so.
PROFESSOR exits, and GRACE walks to the window where she spots the group of research assistants drinking around an outdoor patio.
EXT. CAFE OUTDOOR PATIO ACROSS FROM HOTEL.
CLOSE UP
Research students’ mouths eating and drinking.
JENNIFER
I’ll bet she’s fucking him.
DAVID
He’s definitely fucking her.
SARA
Isn’t that steriotype just completely ironic by now? I mean, will there always be a percentage of teachers that have to fuck their students?
WIDE
The group mulls it over when and JENNIFER turns her head to notice GRACE standing there.
GRACE
(Small wave) Hola.
GRACE sits.
38.
DAVID
(Spanish) I for one am not going to cater to someone who didn’t get here on their own merit.
SARA
(Spanish) I’m not putting her name on my dissertation.
JENNIFER
(Spanish) I just don’t want her getting in my way.
GRACE
(Spanish) I can watch after myself.
JENNIFER smiles.
JENNIFER
So your Spanish isn’t half bad. How about your working knowledge on midcentury Taromenane customs?
SARA
Or their history with the Achuar?
DAVID
Because that’s what Erik’s thesis is on. You know. The guy who you replaced after you fucked our teacher.
GRACE blushes and turns her attention to the street. She notices PROFESSOR in a pharmacia window several stores away.
WIDE ZOOM.
PROFESSOR moves through the aisles.
JENNIFER (O.C.)
To be fair Erik isn’t exactly the brightest crayon in the box.
A pharmacist approaches PROFESSOR.
SARA (O.C.)
Did you ever notice he keeps rehashing the same bullshit talking points over and over again?
PROFESSOR makes the general ‘pregnant’ gesture around his stomach.
39.
DAVID (O.C.)
‘Did you know that the Achuar and the Taromenane actually share land without mixing tribes?’
The pharmacist nods, and they disappear further into the store.
SARA (O.C.)
‘There’s something to be learned here.’
CLOSE SHOT. GRACE ticks slightly.
JENNIFER (O.C.)
God that was the worst. Just tell me what it is you want me to learn then, fuck.
INT. HOTEL ROOM. NIGHT.
PROFESSOR and GRACE collapse panting onto the bed.
PROFESOR (Smiling) Dios mio.
GRACE idly pats his forearm.
GRACE
You did good, kid, ya did good.
PROFESSOR laughs and walks to the bathroom. The shower turns on.
PROFESSOR (O.C.)
I’d like to spend the night telling you how wonderful you are, but we’ve got such a day tomorrow.
GRACE
That’s fine. Just pencil it in for later.
PROFESSOR pokes his head out.
PROFESSOR Deal.
We hear the shower curtain draw back. GRACE rises quickly to rummage through his bag.
40.
CLOSE SHOT.
GRACE’s hands dig through PROFESSOR’s bag, revealing a bottle of medication hidden in a side pouch. The bottle turns to reveal a label.
MEDIUM SHOT.
GRACE pulls a pencil and paper from the hotel desk and copies the words. She replaces the bottle, folds the paper, and hides it in her own bag.
GRACE enters the bathroom.
GRACE (O.C.) Room for one more?
EXT. OLD JEEP. MORNING. FOLLOWING DAY.
OVERHEAD.
The jeep crosses a divide between a sweeping plain and the Amazon jungle. The road goes from highway to dirt. The canopy above is so dense that the light filters day back into night.
CLOSE JUMP CUTS.
JENNIFER eats a banana. SARA tosses a handful of peanuts into her mouth. DAVID chews gum. PROFESSOR bites into an apple. GRACE’s mouth is open in shock of the sudden changes in their surroundings.
INT. JEEP.
SARA consults a map.
SARA
Looking good. Pretty straight forward from here. Maybe another hour or so.
EXT. JUNGLE. LATER.
Jeep doors close. The group gets out, stretches.
41.
PROFESSOR
I can’t wait to see the Curaca again. You won’t believe how vivid their Guyaberas are up close.
The group circles PROFESSOR.
PROFESSOR (CONT'D)
Couldn’t hurt to go over the plan again. We leave the jeep. Walk up the strem for the last 3-4 miles. Our intention is to stay the full two months, so pay close attention to signals they might be giving out. Follow their leads. We’re mostly here to observe, document, and present on the hopes of building a lasting relationship. I know you know this but -
ALL
Smile!
PROFESSOR smiles.
PROFESSOR
Yes. Smile. They’re an extremely affable group. We may be here for science, advance our careers and -
PROFESSOR makes an on-and-on gesture.
But we’re also here to celebrate life. Nothing is more precious than the new life we create with one another.
PROFESSOR lands his eye contact on a wide-eyed GRACE.
EXT. JUNGLE. LATER.
PROFESSOR examines some markings on a nearby tree. It is a rough outline of the skulled face with sharp teeth.
DAVID
Looks similar butPROFESSOR
Must be something recent.
JENNIFER
I’ve seen that partial sun shape before but I don’t remember where.
42.
DAVID takes a picture.
SARA
Yeah. I don’t know.
PROFESSOR
Ok. Let’s press on.
EXT. VILLAGE ENTRANCE.
SARA pushes a large leaf out of her face, and it snaps back. She coughs and swallows.
GRACE
You ok?
SARA
A bug just flew into my mouth.
SARA makes a face.
SARA (CONT'D)
Didn’t catch it in time, swallowed it whole.
PROFESSOR points.
PROFESSOR
There! See the smoke?
A light trail of smoke can be seen over a series of trees roughly 100 yards ahead of the group.
GRACE
We must be-
GRACE’S POV.
Her eyes tilt from the top of the tree line and towards the foliage ahead where she notices a camoflauged figure has been standing there watching them between two trees.
WIDE SHOT.
GRACE shouts in surprise.
JENNIFER
What?
GRACE points. PROFESSOR hesitates. He snaps to, smiles, and moves forward in front of the group.
43.
PROFESSOR
Hola! Hola, amigo!
VILLAGER steps out of the treeline and approaches PROFESSOR.
CLOSE SHOT.
PROFESSOR makes a big wave and extends a hand to greet VILLAGER. VILLAGER regards the extended hand and slowly offers his own. They shake.
PROFESSOR attempts to let go, and VILLAGER’s grip tightens. PROFESSOR matches the VILLAGER’s grip momentarily. VILLAGER and PROFESSOR lock eyes, and PROFESSOR holds up his open hand in an “I surrender” pantomime and releases his fingers in the gripped hand.
PROFESSOR’S POV.
PROFESSOR turns to the group to chuckle, but his gaze meets their faces filled with abject horror.
WIDE SHOT.
Turning back, PROFESSOR sees VILLAGER has removed a hatchet from his belt and is holding it mid-air above his wrist.
Panic enters the PROFESSOR who tries to pull his arm inward. VILLAGER smiles and several witnessing tribesmen step forward, encircling the research team.
MEDIUM SHOT.
PROFESSOR shouts, scrambles, and loses his footing in an attempt to kick himself away from VILLAGER. He writhes on the ground in futility. VILLAGER hacks at PROFESSOR’s wrist, severing the hand from the arm in several blows.
CLOSE SHOT.
GRACE turns to run but finds the gaps behind her have tightened to nearly a close.
GRACE Cannibals.
44.
EXT. VILLAGE. NIGHT.
Fire dances on GRACE’s paralyzed face. She is nude, bound, and sideways on the ground. DAVID, JENNIFER, and SARA are also bound, lying beside GRACE, and sobbing.
We HEAR screaming. Pleading, unabashed, coarse screaming.
GRACE’S POV.
PROFESSOR is tied like a roasted pig and dangled over a fire.
PROFESSOR
HELP ME, YOU FUCKING CUNT. HELP. GET FREEEEEAGGGHHHHHHHHHHH.
VILLAGER #2 saws off PROFESSOR’s big toe, the only remaining toe on his right foot, and wiggles it in the air after freeing it from his body. Tribesman pantomimes gobbling up the toe to the rest of his group who laugh at the entertainment. VILLAGER #2 tosses it to nearby dog.
MEDIUM SHOT, CLOCKWISE 360’ ROTATION.
The dog retrieves the toe and disappears off-camera in GRACE’s direction.
Night turns to day as the rotation continues. GRACE vomits. DAVID, JENNIFER, and SARA lay unmoving. We enter the cooking area to see the charred, headless remains of PROFESSOR.
Day turns back into night as we finish passing the cooking area and its partial view of PROFESSOR’s head on a spit. GRACE begins to go into shock, having a clear panic attack at the sight below her bound feet. DAVID is drug, pleading and screaming, past JENNIFER and SARA. His body is hoisted upsidedown onto a lean-to which resembles the set-up of a deer cleaning system. The view continues past the cooking area as VILLAGER #3 presses a knife into DAVID’s stomach and his entrails begin to spill outward.
Night turns back into day as we see a nearly catatonic GRACE. A group of idle villagers appear to be loitering around as SARA is raped. JENNIFER spits and curses the group in spanish, and a random villager steps forward to bludgeon her in the head with a rock.
Day turns back into night as a large cauldron is carried into the cooking area and the villagers work to fill it with water. The fire underneath is lit and the water starts to boil. GRACE shouts and sobs at the sight before her. JENNIFER is no longer in her spot. SARA appears below her feet.
45.
SARA
Get a hand free and kill me, Grace. My wrists are broken. I can’t.
SARA surveys above her.
SARA (CONT'D)
There’s a broken spearhead by your feet. I’m begging you. Grace.
Night to day, the cauldron is tipped over. Vicerea, bones, and the boiled remains of JENNIFER litter the ground. We hear urgent, indistinguishable whispering exchanged between SARA and GRACE.
Day to night, three villagers are deciding between the two remaining women. They slowly pass GRACE in SARA’s direction. We hear SARA screaming, cursing them, off-camera. The view passes GRACE, and SARA is lifted by the three men, twisting and contorting herself in every way imaginable. A villager grips SARA by her hair to hold her head still and GRACE appears suddenly in the frame to slit SARA’s throat.
MEDIUM SHOT
SARA’s body limps lifelessly in the surprised villagers’ hands. GRACE sticks the spearhead into the nearest villager’s eye and grabs hold of the knife tucked into his waistline as he staggers backward in pain. The injured villager drops his portion of SARA’s body, causing the momentum to pull the middle villager stumbling towards GRACE who plummets the knife into his chest. The third villager drops SARA’s body and faces off with GRACE whose struggles to maintain balance as her legs are still bound.
GRACE inhales and dives, knife first, toward the villager.
CUT TO BLACK.
EXT. DEEP JUNGLE. LATER.
GRACE’S POV.
GRACE’s eyes open. A ray of light penetrates the jungle canopy, illuminating a small group of birds. A shudder. Leaves and branches sway in the breeze.
CLOSE SHOT.
A shaman inspects the PROFESSOR’s same prescription bottle from la pharmacia and shakes its contents.
46.
OVERHEAD.
A circular opening amidst thick jungle. GRACE, wearing tribal makeup and clothing, is bound to a crude table, arms above her head. The back of SHAMAN’s head is seen looming over her crotch.
GRACE’s POV.
We see the birds above more closely. A second, longer shudder, eyes opening and closing. A sob escapes GRACE’s lips.
CLOSE SHOT.
SHAMAN leans up from GRACE’s crotch. They hold something between two fingers but it isn’t clear. SHAMAN raises the hand.
SHAMAN POV.
The SHAMAN’s hand holds the bulb GRACE’s severed clitoris between their thumb and index finger.
GRACE’s POV.
Her body pulses. The birds fly off.
OVERHEAD.
A villager fucks GRACE while a line of men wait behind him. GRACE passes out.
DISSOLVE TO:
INT. VILLAGER TENT. TWO DAYS LATER.
GRACE jolts awake. She checks her arms, legs, and face. Her hands slowly move between her legs. She lifts the loin clothe and gasps in horror at what she sees.
EXT. VILLAGE CENTER.
GRACE erupts out of the tent and freezes. Villagers stop milling about to regard GRACE.
GRACE’s POV
A little boy playing with a dog watches GRACE. Two villagers seated around a fire eye her suspiciously. A dejected villager with a bandage around one eye stares at her with his good eye.
47.
MEDIUM TRACK SHOT.
FEMALE VILLAGER approaches GRACE and pulls her by the arm. GRACE protests lightly until she is led to a circle of women who nurse children, stitch clothing, and peel various vegetables and fruits. FEMALE VILLAGER pushes GRACE to a seat. SECOND FEMALE VILLAGER hands GRACE a mortar and a bowl of plantains. She mimics grinding the plantains. GRACE takes a plantain and slowly starts to work. SECOND FEMALE VILLAGER nods and says something to the other women, who laugh.
CUT TO:
EXT. VILLAGE CENTER FIRE. NIGHT.
GRACE’s POV.
Villagers converse, eat, and watch the fire.
CLOSE SHOT.
GRACE pushes the contents of her bowl around with her fingers. The flesh is almost indistinguishable around the corn, onion, and other additives.
GRACE’s POV.
The villagers pause to observe GRACE.
CLOSE SHOT.
GRACE lifts a piece of meat to her mouth and slowly chews.
GRACE’s POV.
Villagers watching.
CLOSE SHOT.
GRACE eats rapidly.
GRACE’s POV.
A villager makes a comment, and there are several appreciative nods and smiles.
CLOSE SHOT.
GRACE lifts the bowl high to finish the last drops.
CUT TO BLACK.
48.
EXT. VILLAGE. TWO MONTHS LATER.
TRACK SHOT.
GRACE exits a tent and turns to fasten the flap, partially revealing a sleeping male villager inside. She massages her belly, which is beginning to show the very early stages of her pregnancy, and exchanges polite nods with several villagers. A man and a woman villager touch her shoulders affectionately in passing. A male villager embraces her cheeks and rubs her stomach.
A little boy runs to GRACE and pulls on her hand. She pretends to be a monster, and he giggles and runs away.
EXT. VILLAGE. STREAM.
GRACE kneels at a stream and washes her face. She drinks several handfuls of water. She vomits. FEMALE VILLAGER appears and gently rubs GRACE’s back.
FEMALE VILLAGER
Hierbas. En el matorral. Vamos.
GRACE
Vale.
EXT. OUTSIDE THE VILLAGE CENTER.
Large bay leaves in ruffle. FEMALE VILLAGER’s head pops up, appearing through the foliage.
FEMALE VILLAGER
Ah! Aqui!
FEMALE VILLAGER holds a bright yellow plant high above her head. GRACE smiles and whoops.
GRACE’S POV.
GRACE’s hands push a large bay leaf from her view. A lady bug is on her hand.
CLOSE SHOT.
The ladybug walks across the top of GRACE’s hand. It flies to the jungle floor. Following its flight path, GRACE notices something inorganic lying on the ground. She pulls at the fabric and reveals PROFESSOR’s pants. She lifts the pants and searches the pockets, removing the keys to the jeep.
CLOSE SHOT.
49.
A cheerful FEMALE VILLAGER carries a handful of yellow plants as she pushes through thick foliage.
FEMALE VILLAGER (CONT'D)
Eyyy, guerrera! Mucho...
FEMALE VILLAGER finds GRACE. GRACE turns, holding the keys in her hand. FEMALE VILLAGER reads GRACE’s expression. The smile leaves her face. FEMALE VILLAGER inhales deeply as if to shout and...
JUMP CUT TO:
EXT. DEEP JUNGLE. 20 MINUTES LATER.
...GRACE races and fights her way through jungle foliage. A horn blares in the not-too-far-off distance.
EXT. DEEP JUNGLE. HILL.
GRACE runs down the slope of a hill. Her momentum carries her slamming into a tree at the base, knocking the wind out of her and spinning her around.
EXT. DEEP JUNGLE. AN OPENING.
WIDE SHOT.
GRACE halts her run, panting, to pause at the edge of a clearing.
CLOSE SHOT.
Grace surveys the treeline.
GRACE’s POV.
Nothing moves.
CLOSE TRACKING SHOT.
GRACE inhales and dead sprints towards the jeep. She crosses the fifty yards of opening and reaches the driver’s side door. She unlocks and opens the door.
A spear passes through the driver’s door window, shattering the glass. GRACE screams and turns.
WIDE SHOT.
50.
ONE-EYED VILLAGER, wielding a knife, is running at full speed towards GRACE and the JEEP.
CLOSE SHOT.
GRACE jumps into the driver’s seat. The ignition turn. She floors it. The tires skid as the jeep lurches forward. A knife smashes into the window before pulling off. GRACE sobs.
EXT. JUNGLE ROAD.
OVERHEAD SHOT.
The jeeps returns over the partition between jungle and paved road.
INT. JEEP.
GRACE sobs, punching her fists on the steering wheel.
MATCH CUT TO:
INT. PERUVIAN HOSPITAL ROOM. DAY.
DOCTOR slams a chart closed.
DOCTOR
Te sientes mejor hoy? (You’re feeling better today?)
GRACE nods.
DOCTOR (CONT'D)
Bien, enviare a una enfermera para que te vigile mas tarde. (Good. I’ll send in a nurse to check in on you later.)
GRACE
Medico? (Doctor?)
DOCTOR Si?
GRACE
Que es... Miso-posotol? (What is...)
DOCTOR
Pardon?
51.
GRACE takes a notepad and pen from a desk. She writes, tears off the sheet, and hands it to DOCTOR.
DOCTOR (CONT'D)
No, no, senora. Es demasiado tarde para eso. (No, ma’am. It’s too late for that)
GRACE
Para que? (For what?)
DOCTOR
Misoprostol. Es un medicamento del mercado negro para abortar. Muy peligroso. (Misoprostol. It’s a black market drug for abortion. Very dangerous.)
DOCTOR touches GRACE’s shoulder.
DOCTOR (CONT'D)
Eres afortunado. Un poco de budin te animara. (You’re fortunate. A little pudding will cheer you up.)
DOCTOR leaves. GRACE pulls the wheeled food tray to the bed.
GRACE’s POV.
A bowl of pudding with PROFESSOR’s big toe sticking out of the center. The spoon maneuvers around it.
MEDIUM SHOT.
GRACE vomits over the side of the bed towards a trash can. She falls off the bed and onto all fours.
SMASH CUT TO:
INT. GRACE’S HOUSE. LIVING ROOM. NIGHT.
JOHN and GRACE are seated opposite one another. He holds a brown bag in his lap.
CLOSE SHOT.
JOHN
Shouldn’t your pimp be here.
GRACE
I ain’t got no pimp.
JOHN hands her the bag.
52.
JOHN
Half a year.
GRACE
And a year free starting now.
JOHN
And a year free starting now.
GRACE nods and rummages through the bag. JOHN looks around.
JOHN (CONT'D)
What did-
GRACE look up. JOHN smiles.
JOHN (CONT'D)
(Changing his mind) What’re you going to do now?
GRACE
World’s my fuckin’ oyster, innit.
JOHN
I’ll let you know if anything else comes up.
GRACE
You do that.
EXT. TULSA STREETS. MORNING.
JUMP CUT TO:
Rows of homeless surrounded by liquor bottles, beer bottles, and trash. A shop owner chases a young man holding two cases of water and a bag out of a convenient store. Two prostitutes argue and fight after one throws a cup of liquid in the other’s face.
TEXT: c. WATER.
INT. GRACE’S HOUSE. LIVING ROOM.
Two blue collar men play on their phones in the living room waiting for their session. A radio is playing “Coconut” loudly. The kitchen counter is littered with wrappers, beer cans, and liquor bottles. GRACE ‘risky business’ slides across the kithchen floor topless in her socks, wobbling to stop. Her hips gyrate to the beat. She sings along halfheartedly.
53.
EXT. OUTSIDE. STREET.
A man idles in a car with the windows rolled down outside the house. The blaring music is lightly audible from the street.
INT. KITCHEN.
GRACE pours tequila and orange juice over ice in a blender. She takes a swig from a beer, whistles appreciatively, and adds it to the blender.
GRACE “DOCTOR! Ain’t there nothin’ I can take?
GRACE hits blend and rests her head on the blender.
EXT. DRIVEWAY.
A small man approaches the front door. He pauses, recollects himself, and continues on.
INT. KITCHEN.
RADIO ANNOUNCER
That was “Coconut” by Harry Nilsson, reminding us...
GRACE drinks from the blender.
RADIO ANNOUNCER 2
Not to mix clear with dark?
ANNOUNCERS share a laugh and GRACE laughs in mock with them as she lights a cigarette.
RADIO ANNOUNCER
I know I’ll bet getting one...or two... or five after my shift. O’Grady’s will be hosting another happy hour from 5-9...
A knock at the door.
EXT. GRACE’S HOUSE. FRONT DOOR.
The man shifts from one foot to another. He remembers to take off his cowboy hat and holds it in both hands.
54.
INT. FOYER.
The two clients wince as GRACE slides into the foyer holding the blender, loses control, and falls.
EXT. FRONT DOOR.
The door opens. GRACE is covered in liquor smoothie.
GRACE
WHAT.
INT. BED ROOM.
CLOSE SHOT.
The sound of a beer bottle opening. CURTIS, a nervous middleaged Indian man, avoids eye contact.
CURTIS
They’re always there. Every day. I can’t run my business...
GRACE stands over the seated man, guzzling a beer.
GRACE
You want something to drink?
CURTIS
Water, kindly.
GRACE opens a second beer, pushes it onto him, and sits in a chair. Two VILLAGERS wielding spears stand sentry behind her.
CURTIS fidgets with the bottle.
GRACE
You shy or somethin’?
CURTIS
I don’t know why I came, I-
CURTIS rises.
GRACE
Easy, Curt. So a crew of blacks are holding up yer store. That about the long and the short of it?
GRACE inhales her cigarette. CURTIS nods and sits.
55.
GRACE (CONT'D)
(Blowing a ring) So what do you want me to do about it?
CURTIS
I was told...our ‘mutual acquaintance’...ah...told me that you were...a creative. I’ve never been good at thinking outside the box. Run the business. Keep the shelves stocked. That’s all I know, ma’am.
GRACE
Call the cops.
CURTIS lifts his head.
CURTIS
I did. I do. They leave for a day, come back, it gets worse and worse. They’re drunk all the time, harassing my family, stealing from my store. Threatened to kill me if I done call again.
GRACE
How many?
CURTIS
Sometimes two. Sometimes 8-10. They’re gang-affilliated. Hoover Crips.
GRACE
Security cameras?
CURTIS nods.
What kind?
GRACE (CONT'D)
CURTIS
Four old sony’s. 480p, no audio.
GRACE
Where?
CURTIS
Outside the front door on the corners. They’re dangerous, ma’am. Pistols, maybe an automatic.
56.
How much?
GRACE
CURTIS
What’re you going to do?
GRACE
To get them to go away- how much?
CURTIS
$3000?
GRACE Five.
CURTIS
Ma’am, I don’t make that kind of money...
GRACE Four.
CURTIS nods. GRACE finishes her beer and rolls onto the carpet. She crawls between CURTIS’ legs. CURTIS stands.
CURTIS
What are you doing?
GRACE
Liability reasons. Think of it as a handshake.
CURTIS
I would never. I can’t. I have a family.
GRACE puts her hands on her hips.
GRACE
Then I can’t trust you. There’s the door.
CLOSE SHOT.
CURTIS exhales deeply and puts a hand over his eyes.
WIDE SHOT of the living room.
The standing backside of CURTIS covers most of GRACE while she fellates him.
CLOSE SHOT.
57.
GRACE runs a finger around her lips.
MATCH CUT TO:
EXT. CONVENIENT STORE. AFTERNOON. LATER.
CLOSE UP.
GRACE’s mouth makes a loud gulp and “Ahh” sound after drinking a refreshing beverage.
EXT. STREET SIDE.
A car pulls off onto a highway shoulder.
INT. CAR.
GRACE finishes her beer. She slouches forward and rests her arms and head onto the steering wheel. She idly tosses the empty bottle onto the floorboard.
GRACE’S POV.
The sound of bottles clinking together. In the distance, four large African American men laze about, drinking on a stoop in front of the convenient store. Two play catch with a tennis ball.
INT. CAR.
GRACE digs around the bottles in the passenger floorboard and retrieves a notepad. She takes notes.
GRACE
Intersection... bout (hiccup), sixty-seventy steps in.
CLOSE SHOT.
GRACE closes an eye to see better.
GRACE (CONT'D)
There’s the cameras. Few fellars, playin, b-ballin.
INT. CAR.
GRACE tosses the notepad to her right. Turns on the radio.
58.
GRACE
All in a hard day’s work.
RADIO ANNOUNCER 1
Before we get back to your favorite hits, little reminder.. Flannerty’s ...be popping off tonight. Happy hour, all night, come wet that (hiccups) whistle.
RADIO ANNOUNCER 2
(Drinking) I’m already there.
RADIO ANNOUNCER 1
Me toooo. Now here’s something to get us all in the mood.
RADIO sound of beers opening, cheers. LMFAO “Shots” plays through the following three scenes.
EXT. CONVENIENT STORE. EVENING.
The sound of a bottle opening. The car swerves over the curb, cuts off an on-coming car, and pulls away, horn-blaring.
CUT TO:
INT. DEPARTMENT STORE.
Sony cameras, a Hawaiian shirt, chips&candy, and several bottles of liquor move on a checkout counter conveyor belt. GRACE winks at the store clerk.
CUT TO:
INT. GUN STORE.
A scan gun rings up a box of ammunition, an extended magazine, and a pistol. GUN SHOP OWNER behind the register points to a sign that says “Mandatory Background check” and takes a swig of a beer. GRACE makes an emphatic gesture towards the back room, and they go together, closing the door.
JUMP CUT TO:
The door reopens. GRACE tosses a stack of bills at GUN SHOP OWNER who is still seated in the back room. She collects the gun and supplies off the counter as she goes.
CUT TO:
59.
INT. GRACE’S HOUSE. KITCHEN.
Three shot glasses are filled haphazardously. A liquor bottle crushes a pill. GRACE’s hands sprinkle the powder over the shots.
EXT. GRACE’S HOUSE. ROOF.
WIDE SHOT.
GRACE extends her arms, digging a Sony camera under a roof tile while balancing on a step ladder. The ladder gives out, and she falls into some bushes.
CAMERA POV.
GRACE paces out steps. LITTLE VILLAGE BOY runs past her. She waves her arms in the air from a distance. She points left and right. Opens and closes her mouth. She falls over attempting a cartwheel.
INT. GRACE’S HOUSE. KITCHEN.
GRACE inspects the footage on a laptop, rewinding and playing back the video of her with her arms raised and waving about. She closes the laptop. The music stops abruptly.
CUT TO BLACK.
EXT. CONVENIENT STORE. AFTERNOON. THE NEXT DAY.
The sound of a minibottle opening. GRACE stumbles down the sidewalk, dropping a mini-bottle and catching herself on a street sign post. Several cars pass. She pulls a handful of pills from her pocket and closes an eye to survey the contents.
GRACE POV.
Her hand, holding several different colored pills, wobbles. She thumbs through them.
GRACE (O.S.)
Eenie meanie you... not you, moe... mmhmm, you too, joe.
WIDE SHOT.
We see GRACE is around the corner from the convenient store where five men loiter on the stoop out front.
60.
She takes and crunches a couple of pills in her mouth, accidentally drops a few, bends over to retrieve them, and straightens herself up. She ties her hair back. She slaps herself hard. She does it again and shudders. She pounds her chest with closed fists.
REAR GRACE TRACKING SHOT.
GRACE rounds the sidewalk and into the entrance of the parking lot. She stops and holds a hand high in the air.
GRACE (CONT'D)
Yoo-hoo, boys!
Sixty yards away, GANG LEADER and GANG MEMBERS 1-4 turn to look.
GANG LEADER
(Calling) Sup bitch?
GRACE
(Calling) Sup faggot. Just wanted to make sure the CVS is that way?
GRACE extends her whole arm and points clearly in the direction of the four way intersection. GANG LEADER stands.
GANG LEADER Fuck’d she just say?
GRACE
(Calling) I just figured I’d shop at a store where there weren’t so many niggers laying about.
GANG LEADER approaches, thirty yards now, with crew in tow.
GANG LEADER
Are you out yo fuckin’ mind bitch?
GRACE steps back and holds her hands high in surrender.
GRACE
Do you fucking retards know where the CVS is or not?
GANG LEADER stops ten feet short of GRACE. Beat. He smiles.
GANG LEADER
Tell me I’m on TV right. She’s fucking around, right?
61.
GRACE
You got me. New show, big niggers, small dicks.
Various reactions from the gang.
GRACE (CONT'D)
You wanna whip it out for me or tell me where the god damn CVS is, you fucking cuck?
GANG LEADER lifts his shirt revealing a pistol.
GANG LEADER
For real. You shouldn’t be talking to people like that.
GRACE
Good thing you ain’t no person. You’re nothing. Bet all you apes gotta carry those things around to make yourself feel big.
GANG MEMBERS lift shirts revealing guns.
GANG LEADER
Get the fuck out of here.
GRACE plants her feet and puts her hands on her hips.
GRACE
Stupid. Idiot. Good for fuck all. Your parents wish they never had you.
As GANG LEADER rests a hand on his gun’s grip, GRACE unholsters a pistol from her lower back, raises it, and fires two rounds into GANG LEADER’s chest.
GRACE swivels left. GANG MEMBERS 1-3 reach for their guns. GANG MEMBER 4 turns to run.
She fires two rounds into GANG MEMBER 1 who falls. GRACE hits GANG MEMBER 2 as his gun jams and he attempts to pull back the slide. GANG MEMBER 3, far right, fumbles to loosen his gun from his sweater and realizes it’s too late.
GRACE’s sights turn to and fire on GANG MEMBER 3 who has pivoted to attack her barehanded. The first shot lands ambiguously into GANG MEMBER 3 as he lands a hay-maker squarely on the bridge of GRACE’s nose. Both collapse.
OVERHEAD.
62.
The gun hits the pavement as they do and scatters 8-10 feet away.
WIDE SHOT.
The bedlam subsides. GANG LEADER sputters blood. A few customers, CURTIS, and GANG MEMBER 4 look on in the blurred distance of the background.
PAUSE. GRACE starts, slowly.
OVERHEAD SHOT.
GRACE groans and rolls onto her back. A hand rises to touch at the splattered blood across her face and broken nose. She closes her eyes momentarily.
CLOSE SHOT.
GRACE turns her head to the unmoving GANG MEMBER 3.
GRACE POV.
GANG MEMBER 3 lies still. GRACE peers down at her legs and nudges him with her foot. Her eyes return to his face. GANG MEMBER 3’s eyes are open and returning her stare.
OVERHEAD SHOT.
They both lift their heads to spot the gun laying several feet above their heads.
CLOSE SHOT.
GRACE (CONT'D)
Don’t let me get it.
GANG MEMBER 3
I won’t.
OVERHEAD SHOT.
GRACE and GANG MEMBER 3 explode from inertia to a frenzy of crawling across the concrete. Both hands reach the gun simultaneously. As they attempt to retract the weapon, their bodies draw together. The gun disappears into the mass. A single shot rings out, and both bodies collapse again.
EXT. CONVENIENT STORE. STOOP. SECONDS BEFORE.
CLOSE SHOT OF GANG MEMBER 4.
63.
GANG MEMBER 4 reacts to the single shot. The surrounding customers and CURTIS run back inside the store.
GANG MEMBER 4 POV.
In the distance, GANG MEMBER 3 and GRACE separate.
CLOSE SHOT.
GANG MEMBER 4 cautiously crosses the parking lot.
GANG MEMBER 4 Jamaal. Jamaal.
GANG MEMBER 4 stops several yards away and makes eye contact with GRACE. Using GANG MEMBER 3’s body as a rest, GRACE rolls and fires three rounds into GANG MEMBER 4’s chest.
JUMP CUT TO:
EXT. CONVENIENT STORE. STOOP. MOMENTS LATER.
GRACE enters the store. She crosses by the paned windows and passes by several gawking customers and down an aisle. She opens the fridge, removes a 40 oz. malt liquor, and turns back. She exits the store and sits on the stoop.
MEDIUM SHOT.
VILLAGERS in partial view surround GRACE. Customers congregate at the window. GRACE lifts the 40 oz. to her mouth and pauses. She puts it back down.
A MOTHERLY WOMAN and LITTLE BOY exit the store. MOTHERLY WOMAN nods to LITTLE BOY who brings GRACE a water. MOTHERLY WOMAN takes the 40oz. away and holds up a wet wipe. More customers tend to GRACE, replacing VILLAGERS with Okies.
CLOSE SHOT.
MOTHERLY WOMAN goes to dab at GRACE’s face who instinctively flinches. MOTHERLY WOMAN persists, and GRACE allows the her to dress her wounds.
GRACE takes a large gulp of water. Her eyes droop, and...
FADE TO BLACK.
64.
EXT. TULSA STREET. NIGHT.
Dozens of homeless congregate under a bridge. Sevearl shadowy figures attack, kicking and punching an unsuspecting person sleeping in a park. A homeless woman moves down an empty road like a zombie. A tweaker’s eyes dart to and fro at a billboard.
TEXT: d. SLEEP.
INT. OFFICER WELLS’ RESIDENCE. BEDROOM. MORNING. NEXT DAY.
A boy, CALEB, 6, hums, sings, and talks indiscernable nothings to herself.
WELLS POV.
An eyelid lifts open to the blurry world and closes. CALEB giggles.
CLOSE SHOT.
CALEB uses a finger to lift open OFFICER WELLS’ left eyelid and lets it flop closed. The hand pulls his mustache. He stirs awake.
OFFICER WELLS
C’mon boy-o, leave the stash alone.
CALEB bounces up and down.
CALEB
(Whispers) Get up, get up.
OFFICER WELLS
Just a few more minutes.
CALEB
Momma says breakfast is ready and there’s gonna be words if you waste any more your time lying around in bed all day.
OFFICER WELLS
Did she now?
CALEB
Mmhmm. Says I can have your pancakes too if you don’t come down in a hot five.
OFFICER WELLS smiles.
65.
OFFICER WELLS
Does that mean I get to eat yours if I beat you there.
CALEB
Nooo!
INT. WELLS RESIDENCE. KITCHEN.
OFFICER WELLS enters and collapses into a chair. MRS. WELLS is cooking and bouncing a crying baby.
OFFICER WELLS
You tell this one he could have my flapjacks.
CALEB
Tell him, mom!
MRS. WELLS
I can neither confirm nor deny my involvement pertaining to jacks, cakes, or any other breakfast pastries.
OFFICER WELLS
I see. So does that mean someone is guilty of bending the truth?
CALEB.
Un-uh!
OFFICER WELLS
Permission to tickle the culprit?
MRS. WELLS turns.
MRS. WELLS Permission granted.
CALEB squeels.
INT. FOYER.
MRS. WELLS walks OFFICER WELLS to open the front door.
MRS WELLS
Another long one?
OFFICER WELLS nods, sighs.
66.
MRS. WELLS
Just how long do they think they can keep you all going on these shifts?
OFFICER WELLS
Not an easy one to sugar coat, I’m afraid. Busy year. You name itit’s happening somewhere.
MRS. WELLS
Ok. Ok.
MRS. WELLS kisses OFFICER WELLS and hands him a thermos.
JUMP CUT TO:
EXT. DRIVEWAY. OLD CIVIC.
OFFICER WELLS waves to MRS WELLS who closes the front door. He pulls a small fifth from the glovebox, pours some whiskey into his thermos, and swishes it around.
INT. POLICE STATION.
OFFICER WELLS enters. He approaches a semicircle of cops who are creating a commotion at something.
WELLS POV.
A 32” television plays the surveillance tape from the convenient store. A grainy, low-res image shows two bodies crawling in the distance and a brief flash.
OFFICER HUGH
Here we go, here we go. This is the best part.
On screen, GANG MEMBER 4 walks precariously towards the bodies.
OFFICER HUGH (CONT'D)
Wait for it...
GANG MEMBER 4 is shot several times and falls. Cops make noises, applaud.
OFFICER WELLS
What is this?
67.
OFFICER HUGH
Stand your ground out by that Paki’s convenient store on 5th. Woman asks the wrong guys for directions-
RANDOM COP
You mean those mother fuckers didn’t help the wrong woman.
OFFICER HUGH
Yeah, at any rate, a few Crips go to intimidate her, one reaches for his gun, and before you know it-
OFFICER HUGH gestures toward the TV.
OFFICER WELLS
She kill them?
RANDOM COP
All four of ‘em. Good fuckin’ riddance.
OFFICER HUGH
Check it out.
WELLS POV.
The tape rewinds and plays from GRACE making big gestures toward the intersection. She holds her hands up in defense. GANG LEADER makes an obscured movement. GRACE fires.
CLOSE SHOT.
OFFICER WELLS bobs his head in surprise.
WELLS POV.
GANG MEMBER 3 punches GRACE, and they fall. More commotion from the cops.
RANDOM COP (OFF CAMERA)
That’s the best part right there.
CLOSE SHOT.
OFFICER WELLS
What’d she want?
OFFICER HUGH (O.C.)
Directions to a CVS.
MEDIUM SHOT.
68.
OFFICER WELLS
Why- she’s at a convenient store already.
OFFICER HUGH
Prescription, maybe, I dunno.
OFFICER WELLS
Huh. Seems...
OFFICER HUGH
Aggressive?
Yeah.
OFFICER WELLS
OFFICER HUGH
I hear ya. It’s odd. There were plenty of witnesses though. Save the last guy-
WELLS POV.
A repeat showing of GANG MEMBER 4 falling.
OFFICER HUGH (CONT'D)
She’s in her right to lump him into the group too. I mean, why’s he coming forward after seeing all his homies get lit up. For good reason I’d have blown his brains out too after all that.
OFFICER WELLS
Where is she now?
OFFICER HUGH
(Smiles) In chief’s office.
OFFICER WELLS She is?
OFFICER HUGH
(Shrugging) She’s not a damn criminal, WELLS. Hell, she’s going to be a hero. Chief’s in there shaking her hand right now.
OFFICER WELLS
I’ll be.
OFFICER HUGH
Yup. You look like shit by the way.
69.
OFFICER WELLS
Get fucked.
OFFICER HUGH
Fuck your mom.
OFFICER WELLS sits at his desk.
WELLS POV.
At the back of the bureau, GRACE exits CHIEF’s office. CHIEF shakes her hand. Officers stand to deliver general hoopla.
CLOSE SHOTS.
OFFICER WELLS furrows his brow. GRACE and CHIEF pass by OFFICER WELLS’ desk. They make eye contact momentarily, and he recognizes her.
GRACE exits.
OFFICER WELLS approaches CHIEF who doesn’t stop walking.
OFFICER WELLS
We’re gonna let her walk?
CHIEF
It’s too god damn early, WELLS.
OFFICER WELLS
You talk to the owner of the convenient store?
CHIEF
You look like shit.
OFFICER WELLS
Where’d she get the gun?
CHIEF
Guy thinks he made detective.
RANDOM COP snickers.
OFFICER WELLS
It’s just all very convenient.
CHIEF rolls his eyes at OFFICER WELLS.
CHIEF
Do us all a favor... don’t have any more kids. Now get the fuck out of my station.
70.
EXT. POLICE STATION.
OFFICER WELLS jogs to meet GRACE’s car as she pulls out of the parking lot. She rolls down the car window.
GRACE
Yeah?
OFFICER WELLS
Ma’am? Ma’am. Hot damn, it really is you. Had to see you for myself, come offer you my appreciation.
GRACE
Ah, that’s mighty kinda yah, partnur. If you don’t mind-
OFFICER WELLS
I was wondering-
GRACE
I already told ‘em everything there is to tell.
OFFICER WELLS
It’s just- twice in two weeks. Must be a lot for you.
GRACE
What’re you talkin’ about?
OFFICER WELLS
Recognized you from the house fire on Grayson. I was the officer who responded that night. They found a body inside.
GRACE
Ah-not exactly sure I know what you’re talking about.
OFFICER WELLS
Pause.
Mmhm.
GRACE
I ought to be getting along.
OFFICER WELLS
Where to this time?
Beat. GRACE blows out the bloody tissue in her nose.
71.
GRACE
Funny. You’re funny.
OFFICER WELLS
Let me buy you a cup of coffee?
GRACE shakes her head at how ludicrous the offer sounds, laughing as she pulls away.
EXT. CONVENIENT STORE. MORNING.
OFFICER WELLS idly watches porn on his phone in his squad car.
WELLS POV.
The last customer in the parking lot leaves the store and gets in their car.
WIDE SHOT.
WELLS finishes his last of his drink and crosses the parking lot, giving a perfunctory survey of the remaining red tape and outlines. WELLS enters the convenience store.
INT. CONVENIENT STORE COUNTER.
CURTIS watches the news coverage of his convenient store on a small TV. Headline “Tulsa Woman Stands Her Ground, Locals Cry Hero” superimposes local interviewees. The door sensor chimes.
CURTIS
Hi, welcome...
CURTIS turns and straightens up.
CURTIS (CONT'D)
Oh, hello officer.
WELLS
She is somethin’, ain’t she.
CURTIS
It’s a miracle she’s alive.
WELLS
Say that again.
CURTIS
Can I help you with? You here to clear out the crime scene?
72.
WELLS
Uh, yeah. Yeah. Gotta grab some cones and the tape and all that.
CURTIS
Can I offer you a drink or-?
WELLS
That’d be mighty kind a ya, actually. Let me just...
OFFICER WELLS fills up his coffee mug.
WELLS (CONT'D)
Must come as a bit of a relief to ya.
CURTIS
How do you mean?
WELLS
Well those pieces of shit must’ve been driving you nuts and all.
CURTIS
Not losing any sleep over it.
WELLS
‘D hope not. You know we tried, right?
OFFICER WELLS lays down a $20.
CURTIS
Pardon?
WELLS
I responded to one of your calls about eight months ago. No stash.
OFFICER WELLS uses a finger to cover his mustache.
CURTIS
Okay, sorry, I recognize you. Water under the bridge.
WELLS
Hell we all knew about this place being a hangout too. Regular topic around the office. Threatened those boys to no end.
CURTIS
We all have our limits.
73.
OFFICER WELLS nods appreciatively.
WELLS
Isn’t that the truth.
CURTIS
It’s on the house.
WELLS
Nossir. How much money you’ve lost, I can’t imagine.
CURTIS takes the $20.
CURTIS
Thank you for saying that.
WELLS
Not in the least. Out of curiousity, you know her?
CURTIS Sorry?
WELLS
The woman. She come in here often?
CURTIS
Can’t say I remember. Get a lot of people passing through here.
WELLS
Never met her before?
CURTIS
Can’t say I had.
Pause.
WELLS
I’ll let you get to it then.
OFFICER WELLS exits. Through the paned glass, CURTIS watches OFFICER WELLS clean up the cones and red tape.
EXT. GUN STORE. LATER.
OFFICER WELLS’ squad car pulls into the parking lot. There is a heavy activity of foot traffic in and around the store.
74.
RADIO CALLCENTER
Attention all cars: Active shooting, possible homocide on State and Fir. Calling all units in the area.
OFFICER WELLS turns down the volume.
INT. GUN STORE.
CLOSE SHOT.
GUNSHOP OWNER holds his brow and shakes his head.
GUNSHOP OWNER POV.
He holds a fax from the DOJ denying GRACE’s gun purchase. The emboldened red words read “DENIED”...”DOCUMENTED INSTITUTIONALIZATION AT ST. JOHN’S”...”DOCUMENTED SUBSTANCE ABUSE.”
A monitor plays the security footage of GRACE’s blowjob in one window, and in another live view, OFFICER WELLS walks in.
CLERK enters.
CLERK
Boss, got a cop wants a word.
GUNSHOP OWNER
Sure, one second.
GUNSHOP OWNER POV.
A mouse clicks and drags a file labeled “April 2008” into the trash can.
GUNSHOP OWNER pauses.
GUNSHOP OWNER POV.
The mouse selects all the folders, moves them to the trash can, and clicks “Empty Trash Can.”
MEDIUM SHOT.
GUNSHOP OWNER appears from the backroom and moves behind the counter.
GUNSHOP OWNER (CONT'D)
Can I do you for, officer? Got some beauty 1911s in earlier this week you might have an eye for.
75.
OFFICER WELLS
Got a gun registered to a...
OFFICER WELLS consults a notepad.
OFFICER WELLS (CONT'D)
A ‘GRACE FIELDS.’ Purchased from this store.
GUNSHOP OWNER
Alright. Something the matter?
OFFICER WELLS
She’s the gal on the news.
OFFICER WELLS points to the TV.
GUNSHOP OWNER
No kidding. Maybe I should call the media and try to get a plug.
OFFICER WELLS cocks his head.
OFFICER WELLS
When’d she purchase it?
GUNSHOP OWNER
Have to look at my records. Not too long ago.
OFFICER WELLS
Long enough for a background check.
GUNSHOP OWNER
‘Course. We always do our due diligence.
OFFICER WELLS
Let me see it.
GUNSHOP OWNER shuffles.
OFFICER WELLS (CONT'D)
Something the matter?
GUNSHOP OWNER folds his arms.
GUNSHOP OWNER
There’s a nice way a’ askin’.
OFFICER WELLS
Are you refusing to cooperate in an on-going investigation?
76.
GUNSHOP OWNER
It’s an investigation now. For what crime?
OFFICER WELLS
Murder.
GUNSHOP OWNER
Clearly, but-
OFFICER WELLS Go get the paperwork.
GUNSHOP OWNER shrugs.
GUNSHOP OWNER No.
OFFICER WELLS
Excuse me?
GUNSHOP OWNER
I said “No.”
OFFICER WELLS
Do you know what obstruction of-
GUNSHOP OWNER
I know what’s what. Now this here’s a store that tries to make money. Time is money. So if you ain’t buying and you don’t have a warrant, then...
GUNSHOP OWNER shrugs.
OFFICER WELLS
There’s a nice way of doing things.
GUNSHOP OWNER
Fuck your nice. I got a family to feed, roof to put over their damn heads, and I don’t need this shit today. Woman’s a hero in my opinion.
Cheers of confirmation from nearby customers boulsters
GUNSHOP OWNERS indignation.
GUNSHOP OWNER (CONT'D)
In fact, get the fuck on out. Go on. Get fucking riding, cowboy.
PAUSE. OFFICER WELLS exits.
77.
OFFICER WELLS
(Over his shoulder) I’ll be back.
GUNSHOP OWNER
(Calling) No you won’t.
EXT. TULSA STREETS. EVENING. LATER.
Protestors in the streets. Teenagers run away after looting a brick and mortar. Lines of tired people outside a “State Welfare Office.”
INT. POLICE STATION.
CLOSE SHOT.
OFFICER WELLS’ head droops. He falls asleep at his desk. A loud BANG springs him awake and his hand goes for his gun.
MEDIUM SHOT.
CHIEF stands over him. He drags a chair loudly to his desk and sits.
CHIEF
Easy fella. I was coming to apologize for my attitude from earlier, WELLS.
OFFICER WELLS
Sir, it’s alright, I-
CHIEF
I was. Then come to find out you were in the area when that shooting on Fir was going on. Now I see you counting sheep at your desk. And christ man,...
CHIEF sniffs.
CHIEF (CONT'D)
That’s clearly whiskey. So you’re drinking too.
OFFICER WELLS straightens up, looks for notes.
OFFICER WELLS
Sir, I took some initiative to look into the gang shooting.
78.
CHIEF
Gang shooting?
BEAT. Chief looks to the heavens.
CHIEF (CONT'D)
WELLS. You’re suspended.
OFFICER WELLS starts. CHIEF holds up his hands.
CHIEF (CONT'D)
I don’t want to hear it. Look I get it, you’ve got a new kid. It’s a lot to take in. But you’ve become more of a liability than an asset.
OFFICER WELLS
Something isn’t right, sir. That convenient store manager, he’s-
CHIEF
Wow. Ok. Look me in the eyes.
CLOSE SHOTS.
CHIEF (CONT'D)
The only reason your suspension is with pay is because I pity you. You’re right, man, we can’t go endorsing some wild vigilantism, but holy fuck. Wake up. Look around you.
OFFICER WELLS Yessir.
CHIEF
Take this time to reflect. Come back to reality.
OFFICER WELLS Yessir.
CHIEF
Go home. And do not touch that gang shooting case again. The dynamics are... beyond our limitations. Understood?
OFFICER WELLS
Mmhm.
79.
OFFICER WELLS lays his head down on the desk and rocks it back and forth. He closes his eyes...
FADE TO BLACK.
EXT. WELLS RESIDENCE. EVENING.
...and when they open, OFFICER WELLS is staring at his front door.
INT. FOYER.
OFFICER WELLS enters the house. In a flurry of activity, a dog jumps on his legs. His son CALEB runs around him. MRS. WELLS with screaming baby pass him in the hallway to hand him bills.
INT. BEDROOM.
In bed, OFFICER WELLS stares blankly out the window.
MRS. WELLS (O.C.) Plumber says there’s a backup all the way out to the main.
OFFICER WELLS Mmhm.
MRS. WELLS (O.C.) Quoted us an arm and a leg too.
OFFICER WELLS I’ll bet.
MRS. WELLS enters.
MRS. WELLS You alright?
OFFICER WELLS
Yeah. Yeah, I’m fine.
OFFICER WELLS yawns and falls asleep until...
FADE TO BLACK.
A loud wail pulls OFFICER WELLS from a deep sleep. The baby monitor on the nightstand lights up red with the newborn’s cries.
80.
INT. BABY’S ROOM.
OFFICER WELLS finishes changing the baby. He puts the child back into the crib and lies on the floor.
OVERHEAD SHOT.
Lying on his back, he extends and arm and gentle rocks the crib and his eyes close until...
FADE TO BLACK.
CALEB jumps on his chest. CALEB. Daddy!
OFFICER WELLS
CALEB, god dammit, daddy was sleeping. You can’t jump on me like that.
CALEB freezes. His face contorts and emits a rising, sustained cry.
OFFICER WELLS (CONT'D)
Oh buddy, I’m sorry. I’m sorry, honey. You caught daddy by surprise...
OVERHEAD SHOT.
OFFICER WELLS, still on his back, extends his opposite arm to rub CALEB’s back and closes his eyes...
FADE TO BLACK:
INT. WELLS RESIDENCE. FOYER. And reopens them pulling away from a kiss on MRS. WELLS cheek.
MRS. WELLS
Stay safe.
OFFICER WELLS crosses the front door threshold.
MRS. WELLS (CONT'D)
OFFICER WELLS pauses with his back to MRS. WELLS.
81.
Jimmy-
MRS. WELLS (CONT'D)
Don’t you raise your voice like that to my son again, you hear?
OFFICER WELLS doesn’t turn around. He nods slightly.
EXT. DRIVEWAY. OLD CIVIC.
OFFICER WELLS backs out of the driveway.
EXT. SUBURBS. OLD CIVIC.
The civic pulls up to a four-way stop.
CLOSE SHOT.
OFFICER WELLS rests his head on his hand. He doesn’t know where to go.
The civic pulls forward.
EXT. CONVENIENT STORE. MORNING. MOMENTS LATER.
OFFICER WELLS parks across the street from the store.
OFFICER WELLS POV.
OFFICER WELLS watches customers come and go. Cars pass. He closes his eyes...
FADE TO BLACK.
EXT. CONVENIENT STORE. AFTERNOON.
The distant, obscure sound of people yelling back and forth wakes OFFICER WELLS. He checks the time. It’s 12:34p. He rolls down his window.
OFFICER WELLS POV.
A drug addict paces back and forth at the convenient store entrance, gesturing impatiently at the front door to CURTIS who is trying to get into his car.
CURTIS (DISTANT)
I said ten minutes. Just relax. Ten minutes.
CURTIS gets in his car and pulls out of the parking lot. OFFICER WELLS puts his car in drive and follows him.
82.
EXT. GRACE’S HOUSE. OLD CIVIC. LATER.
OFFICER WELLS watches as CURTIS exits the driveway and climbs back into his car. The time is 12:36. He scribbles it and the license plate down in his notepad. His eyes close.
FADE TO BLACK.
EXT. GRACE’S HOUSE. OLD CIVIC.
A door slams nearby and OFFICER WELLS awakens. A large burly man stands at GRACE’s front door. The door opens, and the man enters. OFFICER WELLS notes the time: 5:32p. His phone rings.
MRS. WELLS (CELL)
You headed home?
OFFICER WELLS
Twenty more.
MRS. WELLS (CELL)
Ok, see you soon. Love you.
OFFICER WELLS
Love you.
OFFICER WELLS hangs up. He searches the contacts in his phone and dials a number.
OFFICER WELLS (CONT'D)
Hey Hugh.
OFFICER HUGH Wells.
OFFICER WELLS
Can you run a plate for me?
OFFICER HUGH $50.
OFFICER WELLS Huh?
OFFICER HUGH
You’re suspended and you want me to pull a favor for you for whatever it is you shouldn’t be doing. $50.
OFFICER WELLS tapes the phone on his forehead.
OFFICER WELLS
Ok. F355G29.
83.
OFFICER HUGH
Nicholas Lambert. Oh I know him. He owns that mom and pop over by the new supercenter.
OFFICER WELLS Clothes?
OFFICER HUGH
Some. Little of everything. Poor guy can’t be doing too well with the department store being right there.
OFFICER WELLS
Uh-huh.
OFFICER HUGH
Why’dya ask?
OFFICER WELLS
I dunno.
OFFICER HUGH
It’s $50 either way. BEAT. Wells?
OFFICER WELLS hangs up. The front door opens, and the large burly man reappears awkwardly. He moves briskly, zips his fly, furtively glancing left and right at the street, and gets into his car.
WELLS POV.
OFFICER WELLS yawns, his eyes close again and...
FADE TO BLACK.
INT. WELLS RESIDENCE. BABY'S ROOM. NIGHT.
OVERHEAD SHOT.
...pulls away with OFFICER WELLS, eyes closed, on his back, baby on his chest, with a smile on his face.
INT. CALEB’S BEDROOM. MORNING.
CALEB gets out of bed and moves into the hall...
84.
INT. HALLWAY.
...where he peaks his head into the baby’s room. No one is there, so he jumps into the parent’s room doorway. No one is in bed, but the shower is on, so he turns and continues walking...
INT. KITCHEN.
...to find OFFICER WELLS cooking breakfast.
OFFICER WELLS
About time, monkey.
OFFICER WELLS turns holding a small water gun.
OFFICER WELLS (CONT'D)
You thought you could get away with it, huh?
CALEB freezes, smiles. CALEB. Daaaad.
OFFICER WELLS nods at the table. There’s a small squirt gun there.
OFFICER WELLS
Careful now. Unless you feel lucky.
CALEB dives for the gun. They exchange shots at one another. MRS. WELLS enters carrying the baby.
MRS. WELLS
What’s with all the rukus?
CALEB and OFFICER WELLS turn and fire on MRS. WELLS who squeels and runs away.
MRS WELLS
Not ‘ma babay’!
INT. FOYER.
MRS. WELLS kisses OFFICER WELLS.
MRS. WELLS
Something funny about you today.
OFFICER WELLS
I dunno. I got a good feeling.
85.
MRS. WELLS
Alright, then.
EXT. TULSA STREETS. OLD CIVIC. MORNING.
More protests. Trash fires. A woman’s purse is stolen.
EXT. SHOPPING PLAZA.
Passing a “SUPERSTORE GRAND OPENING” banner in front of a massive department store, OFFICER WELLS turns into a parking lot and stops in front of a “Tulsa General Store.”
INT. TULSA GENERAL STORE.
OFFICER WELLS enters.
NICHOLAS
Howdy, officer. Can I do you fer?
OFFICER WELLS
Like to get a coupla words if you don’t mind.
NICHOLAS
Sure thing.
OFFICER WELLS
Know this woman?
NICHOLAS waivers momentarily as OFFICER WELLS holds up a photograph of GRACE.
NICHOLAS
Nossir.
OFFICER WELLS
You know it’s illegal to lie to a cop, right.
NICHOLAS shrugs.
OFFICER WELLS (CONT'D)
I saw you at her house yesterday, Nick. What’d she say to you?
NICHOLAS opens his mouth and closes it again.
OFFICER WELLS (CONT'D)
I’m worried someone is going to get hurt, Nick.
86.
Tears well in NICHOLAS’ eyes.
OFFICER WELLS (CONT'D)
This store, your life. It can all be rebuilt. This woman murdered four people at that convenient store. Whatd’ya think she aims to do next? What’d she say Nick.
NICHOLAS straightens up, crosses his arm, and averts his gaze.
NICHOLAS
Why don’t you ask her yourself.
OFFICER WELLS turns.
WELLS POV.
Across the street, GRACE exits her parked car in the department store parking lot. She sways pulling out a heavy backpack from the rear seat, nearly bumping into a young mother and her two children, and ambles towards the entrance.
INT. DEPARTMENT STORE.
A shopping cart bumps into GRACE.
SUICIDE NOTE (V.O. FEMALE VOICE)
To whom it may concern, I’ve lost too much to care any more. I can’t tell you what goodness is supposed to look like here.
SHOPPER (Smiling big) Pardon.
GRACE grabs a cart and heads down an aisle.
SUICIDE NOTE (V.O. MALE VOICE) I ain’t worth a damn. I offer nothing. I am lost and afraid in a sea of scared and lonely people.
GRACE pauses midway through an aisle. She pulls out a few pills from her pocket, halfway raises them to her mouth, and drops them scattering on the ground. She slaps her face to bring herself back from stasis, reviving her distant and lost faculties. She places the backpack in the shopping cart.
87.
SUICIDE NOTE (V.O. FEMALE VOICE) (CONT'D)
I am the by-product of your collective actions. I am a necessary reminder.
GRACE looks left and right and opens the bag, revealing a tank of gasoline.
SUICIDE NOTE (V.O. MALE VOICE) (CONT'D) Fuck you is why.
GRACE shakes her head.
GRACE (TO HERSELF) Fuck it all.
OFFICER WELLS (O.C.) Whatcha got there.
GRACE turns sharply.
OFFICER WELLS (CONT'D) Easy.
OFFICER WELLS rests his hands on his gun belt.
GRACE
I’m... not right... (Fierce) I ain’t got to tell you shit.
OFFICER WELLS
I don’t care.
GRACE smiles. GRACE I know.
GRACE laughs uncontrollably.
CUT TO:
A pair of black boots stride through the department store’s automatic doors.
MOTHER with the two children gabs with CHECKOUT LADY. They pause their conversation and turn their heads as a figure approaches.
Horror crosses MOTHER and CHECKOUT LADY’s faces. Their muted screams follow as the figure raises a shotgun and points it in their direction.
88.
CHECKOUT LADY is blown away, viscera and blood erupting from her neck and upper torso. The shotgun sways left and explodes MOTHER.
CUT TO:
INT. DEPARTMENT STORE AISLE. MOMENTS EARLIER.
Two shotgun blasts ring through the department store. OFFICER WELLS draws his pistol and points it at GRACE.
OFFICER WELLS WHAT DID YOU DO.
GRACE
I don’t know, I don’t know what that is.
More shots ring out and screams build throughout the store. Two teenagers appear between shopping lanes and collapse as they are shot in the back.
TRACKING SHOT.
GRACE recoils with OFFICER WELLS. They simultaneously crouch and squat their way to the end of the aisle.
CLOSE SHOT.
GRACE (CONT'D)
I’m carrying.
GRACE lifts her shirt and hovers a hand over her gun. OFFICER WELLS nods. GRACE draws her pistol.
OFFICER WELLS POV.
Peeking between grocery store aisles, GUNMAN rushes into view between the checkout lines and aisles and drops his shotgun. GUNMAN swings a strapped automatic rifle into his arms and checks the barrel. A TRAPPED CLERK makes a screaming dive at GUNMAN with scissors and is gunned down en route.
CLOSE SHOT.
OFFICER WELLS Flank.
GRACE nods.
ABOVE AISLES WIDE SHOT.
89.
GUNMAN fires and shoots and pandemoniam ring out through the store. Glass shatters somewhere. OFFICER WELLS follows GUNMAN parallel along aisles.
Several shoppers run as a group from their hiding spot and towards the front exit. GUNMAN’s automatic tears through them. YOUNG MAN screams in agony and attempts to drag himself the rest of the way.
WELLS POV.
Outside the paned windows, VIGILANTE wielding a revolver appears, failing to hide himself well. GUNMAN reloads as he tracks VIGILANTE. OFFICER WELLS glances wide to see GRACE who has appeared at the far end of the store with her sights aimed towards GUNMAN.
CLOSE SHOT.
OFFICER WELLS exhales. His shaking hands pull back the gun’s slide. He nods to GRACE as the GUNMAN raises his rifle.
OFFICER WELLS (CONT'D)
(To himself) This is your moment, Jim. You can do it.
MEDIUM SHOT.
OFFICER WELLS raises his body, steadily walks towards and holding his firearm in line with GUNMAN who shoots and executes VIGILANTE through the windows. OFFICER WELLS’ first three rounds land short and scattered, ascending on a line with GUNMAN. The following fourth and fifth rounds clip GUNMAN in the hip and side of his bulletproof vest. The jolt brings GUNMAN face to face with OFFICER WELLS along with his rifle, which spreads a chain of bullets across OFFICER WELLS. Blood spurts from OFFICER WELLS’ exposed shoulder and right leg, instantly leveling the man.
CUT TO:
CLOSE SHOT.
GRACE is frozen.
GRACE POV.
The backside of GUNMAN leans on an aisle, drops the automatic, and withdraws a handgun. GUNMAN hops toward OFFICER WELLS, leaving a trail of blood. GUNMAN blocks the view of OFFICER WELLS, and we hear faint desperate murmuring and pleading.
90.
MEDIUM TRACK SHOT.
GUNMAN raises the pistol and stands.
GRACE POV.
GUNMAN and OFFICER WELLS exchange indiscernible dialogue. OFFICER WELLS becomes visible for a moment and makes eye contact with GRACE between spasms and shock.
MEDIUM TRACK SHOT.
GRACE rushes forward pointing her pistol and stops to aim. GUNMAN executes OFFICER WELLS. She fires and hits GUNMAN’s lower torso and legs. His body folds backwards.
GRACE and GUNMAN exchange fire. The GUNMAN fires blindly and is lucky to catch GRACE in the stomach. GRACE groups her remaining rounds into the mass of body and armor.
CUT TO:
GUNMAN is sprawled on his back. GRACE attempts to hold in her entrails. She stands over him. She kicks off his helmet to reveals the sweaty average looking man inside.
CLOSE SHOT.
Her head tilts one way and so does his. She tilts it the other way, and he mimics her again. GUNMAN smiles.
GUNMAN Do it.
MEDIUM SHOT.
GRACE fires a round into his kneecap. GUNMAN screams. GRACE fires a round into his other kneecap. GUNMAN screams again. GRACE shakes her head and looks up to the sky.
GRACE places a boot on the side of GUNMAN’s head and presses his face profile with the ground. His body protests, unsuccessfully, as she places the barrel on his jaw.
GUNMAN (CONT'D) No, no, no,...
GRACE POV.
GRACE blows off GUNMAN’s jaw.
MEDIUM SHOT.
91.
GRACE wobbles backwards several steps and collapses.
FADE OUT.
FADE IN:
INT. HOSPITAL ROOM. GRACE’S BED. MORNING. SIX DAYS LATER.
TEXT: e. LOVE.
“LOVE” is crossed out and replaced with “FAME.”
CLOSE SHOT.
A middle aged woman FRANCENE watches GRACE wake up. FRANCENE smiles.
FRANCENE
There she is. Welcome back, sleeping beauty.
GRACE
Where am I?
FRANCENE
St. Francis Memorial.
GRACE feels herself.
FRANCENE (CONT'D)
Yup. Still in one piece.
GRACE
What’s...
GRACE pauses. FRANCENE nods.
FRANCENE
What’s. Beat. Did you know the world record for sleeping is 11 consecutive days? 17 year old young man kept himself awake for 11 days. Second place goes to a British hypnotist at 8 days.
GRACE
Admirable.
FRANCENE
11 days, can you imagine. Staying awake I mean. The sleeping part is easy. It’s just funny how ‘it all’ balances out.
92.
GRACE
Don’t think I catch your meaning.
MEDIUM SHOT.
The room is adorned with get well cards, flowers, and candy boxes. FRANCENE leans back in her chair and throws a piece of candy at GRACE.
FRANCENE
How long do you think you’ve been lying there?
GRACE
I dunno.
FRANCENE
Oh come on, be fun, play along. Take a guess.
GRACE
Three days?
Six.
FRANCENE
FRANCENE slaps her leg.
FRANCENE (CONT'D)
I was -this close- to calling the world records folks to get nab you second place, and here you go and ruin it all by waking up.
GRACE smirks.
GRACE
Sorry to disappoint.
FRANCENE shrugs.
FRANCENE
Not going to ask me who I am or why I’m here?
GRACE
Wasn’t planning on it.
FRANCENE
You’re a charmer, huh. I like that. Who would expect anything less than fire from our little Annie Oakley.
93.
GRACE
Your what?
FRANCENE turns on the TV. “Annie Oakley” headlines, playback of b-roll, overlap the spanning week. FRANCENE turns off the TV.
FRANCENE
You’re a bonafide hero.
FRANCENE inspects GRACE.
FRANCENE (CONT'D)
Kinda thought I’d get a little more of a reaction.
GRACE stirs.
GRACE I need a drink.
GRACE’s eyes well up with tears.
FRANCENE
Aw hun, I know. But he deserved it. The man was a monster.
GRACE
No...I...
GRACE shakes her head. FRANCENE moves to comfort her.
FRANCENE
Ok, ok. Easy now. Take a breath and listen to me. As of today, there are two stories. One: a simple housewife loses her husband and son only to find herself fighting for her life at every turn.
GRACE And the other?
FRANCENE
Is unconfirmable. Conspiracy nonsense. The beauty about me loveI don’t care. This world has always been mad. What matters is that I think you’re amazing. We need more people like you. Plus- you’re a book.
GRACE A book?
94.
FRANCENE
Yeah, a book. You like money, right? Big piles of money. Fuck you money.
GRACE lays her head on her pillow and closes her eyes.
GRACE
Why not.
FRANCENE
Why not! So here here’s my pitch. If you follow me, I promise to show you how...
FRANCENE furnishes a packet of paper. GRACE signs.
FRANCENE (CONT'D)
Oh. You don’t want to read it?
GRACE
Nope.
FRANCENE
Great. Great.
FRANCENE hands GRACE a check.
GRACE POV.
The check is for $50,000.
CLOSE SHOT.
GRACE smiles. FRANCENE smiles.
FRANCENE (CONT'D)
Now repeat after me hun: Selfdefense is a human right.
GRACE
(Mimics) Self-defense is a human right.
FRANCENE
I did what anyone would have done.
GRACE
I did what anyone would have done.
FRANCENE
What a world.
95.
GRACE
What a world.
FRANCENE
You’re fun. This is gonna be fun. I’m gonna take good care of you.
EXT. HOSPITAL.
FRANCENE rolls GRACE out of the hospital. A crowd of people holding signs cheer her. Reporters call her name.
FRANCENE
Y’all know the drill. Leave the woman be. You’ve got my number.
REPORTER
Just one statement.
GRACE grips the wheels and pulls the chair to a halt.
REPORTER (CONT'D)
Why do you think the police have an active investigation open for you?
GRACE
They do?
REPORTER
What was in the backpack?
GRACE
Look here, I don’t live up on some hill. I live down here. And down here, if I’m not mistaken, selfdefense is not only a right, it’s a requirement.
REPORTER
Millions of people have been waiting to hear your side of the story. Do you have anything to say to them?
GRACE
I want to believe that I did what anyone would’ve done. I mean. My god. What a world.
96.
JUMP CUT TO:
FRANCENE
That’ll do it, everyone. You all have my card.
FRANCENE pushes GRACE through the crowd.
INT. FANCY OFFICE. STUDIO. NEXT DAY.
A photographer adjusts lights on a black backdrop with when GRACE and FRANCENE enter.
FRANCENE
Ok, hun, this might be uncomfortable but we need you to disrobe. I promise everything will stay...
GRACE is already kicking off her pants and standing in front of the lights. The photographers stops what he’s doing and looks to FRANCENE.
FRANCENE (CONT'D)
Don’t look at me, do your god damn job.
A camera fires bursts shots.
FLASH CUT TO:
INT. FANCY OFFICE. CONFERENCE ROOM.
A large digital 3D image of GRACE, adorning a cowboy hat, boots, and chaps rotates on a monitor. A mouse clicks a button turning the hat into braids.
FRANCENE
Ah I like that. Cut the chaps.
Another click and the pants disappear revealing GRACE’s bare legs and panties. Another click and the chaps turn into plain blue jeans.
FRANCENE (CONT'D)
What about one of those...
FRANCENE snaps her fingers.
GRACE
Bluejean skirt.
97.
Another click adds a vintage bluejean skirt to GRACE’s figure.
FRANCENE
What do we think, Fred?
An older man FRED strokes his mustache and considers.
FRED
I like it. Think it’ll be too on the nose?
FRANCENE
Irony is in, Fred. 88% of undecideds didn’t feel threatened. 92% of moderates loved the throwback. And the extremists... those retards like anything we do.
A light peal of laughter.
FRED
And your projections?
FRANCENE
So with focus groups through the roof, and she’s got street cred. No bullshit. Straight shooterliterally.
Another series of chuckles.
FRED Francene.
FRANCENE
We’re looking at 4-5 million connections. Increase of about.. 2.3 Million. 3 at the high end.
FRED Mmhm.
FRANCENE
It’s worth it, Fred. Let’s ride it out.
GRACE Plus I-
GRACE pushes the assistant working the computer aside and takes the mouse. The clothes disappear off the image, revealing a topless GRACE in panties.
98.
FRANCENE
Look at those tits. I mean c’mon.
GRACE (Calling) Soak it up, boys.
Genial appreciation and whistling surround FRED who smiles broadly and palms the table.
JIM
Sold! Welcome aboard, GRACE. Anything you need, you let Francene here know.
FRED and the others exit, leaving FRANCENE and GRACE. FRANCENE sits.
CLOSE SHOT.
FRANCENE leans in to GRACE.
FRANCENE
Try not to talk over me during these things, ok?
GRACE
‘Course. Sorry bout that.
FRANCENE
It’s nothing.
FRANCENE picks up her phone and starts typing.
GRACE
So, uh, what is all this for?
FRANCENE looks up and inspects GRACE’s face.
FRANCENE
Seriously? We’re caught in a war between opposing ideals. A multilateral offensive that seeks to strip the individual of their rights and subject them to various human rights crimes.
GRACE doesn’t move.
FRANCENE (CONT'D)
We’re selling guns.
GRACE
Ah.
99.
FRANCENE Problem?
GRACE
Nah.
FRANCENE
Need anything?
GRACE
Coke?
A-Cola?
GRACE cocks her head.
FRANCENE
EXT. OUTDOOR GUN RANGE. SOCIAL MEDIA VIDEO.
GRACE
Hi everyone! What a blessed day! I’m here at Nick’s Shooter’s Paradise outside of Tulsa holding the infamous model Remmington 1911 model used in the department store shooting. The fellas at Nicks-
Camera flashes to two gun range employees.
GRACE (CONT'D)
SNORT CUT TO:
Were nice enough to recreate a department store shooting scenario with targets for me. Using this range and ones like it where custom scenarios can be created are a beneficial way for our veterans or anyone who’s undergone trauma to reduce PTSD. Here we go.
TRACKING SHOT.
Camera follows GRACE through the course. She moves down cardboard aisles and fires on targets.
GRACE (CONT'D)
Woo! Alright, y’all. Stay safe out there. At the end of the day, ain’t nobody looking out for you but yourself.
SNORT CUT TO:
100.
INT. FANCY OFFICE. CONFERENCE ROOM.
FRANCENE smiles as she holds up a check and a straw. A loud sound of snorting...
SNORT CUT TO:
INT. GRACE’S HOUSE. LIVING ROOM.
Carries us to the space configured for a television interview. GRACE and REPORTER sit opposite of one another.
REPORTER
What was going through your mind at that moment when you knew, you had to choose. You could turn and leave or push forward...
GRACE
I thought... god dammit. (Sorry). I thought, be the change. We’re in a pivotal moment in society, ya know. I’ve never felt held. By anyone. Ever. My husband... he...
GRACE wipes a tear away.
REPORTER
Terrible story. I’m so sorry for your loss.
GRACE
When he did what he did, I asked myself. How hard was the fight? How hard is it to get up and say I exist, dangit. I deserve to live.
REPORTER
And that’s when you went to OFFICER WELLS?
GRACE
That’s right. I saw Mr. Wells. I saw the gunman, playing judge and jury, and I said, I’ll fight for you. Kill me if you must. But at least I’m not going quietly into that dark night.
REPORTER
GRACE. It’s been an absolute pleasure.
(MORE) 101.
REPORTER (CONT'D)
Anything you’d like to say to your fans, the community,...America?
GRACE
Just- Keep fighting the good fight. The system is rigged against all of us, but that doesn’t mean it has to pit us against one another.
REPORTER (O.C.)
Very nice. We got it, everyone.
WIDE SHOT.
Everyone in the room is wearing nice tops, blazers, and no pants. REPORTER passes a plate of cocaine and the sound of sniffing circulates.
INT. FANCY OFFICE. AFTERNOON.
FRANCENE hands GRACE the straw, but holds the check steady. They speak quickly.
FRANCENE
‘The system is rigged against all of us?’
GRACE No good?
FRANCENE
It’s borderline anarchist.
GRACE
Right, sorry.
FRANCENE
It’s fine, I mean, it does work with our libertarian base, but those kooks will go for anything. Remember it’s the moderates we want.
GRACE
Gotcha. Moderates.
FRANCENE’s phone vibrates.
FRANCENE
Wow-wow-wee-woo. 18 mother fucking million followers.
102.
SNORT CUT TO:
GRACE
18 million. Wow-wow-wee-woo.
FRED bursts in.
JIM
18 MILLION.
FRED holds up a rolled up $100 bill. Sniffing goes around.
SNORT CUT TO:
EXT. NEIGHBORHOOD. MID-DAY. SOCIAL MEDIA VIDEO.
GRACE walks up the middle of the street.
GRACE
Hey everyone, Blap, Blap! I’m on Sycamore Lane. This road has 14 houses in default. 14 houses with 14 families. And I. Bought. THEM. ALL. Plus the street.
The camera points to people watching from their windows. She fires a couple of rounds into the air.
GRACE (CONT'D)
Come on out! Everyone come on out!
Back to GRACE.
The total debts were passed off and folded into a combined package. Not to bore y’all with math, so hold tight.
Text is superimposed.
GRACE (CONT'D)
14 houses averaged only $37,000 each in total debt. 14 times $37,000 is exactly: $518,000 (or half a million). Our good friends at Smith&Wesson found their combined debtors and offered $25,000 for each and PAID their mortgages. Left the titles in their names. These people don’t even know it...their homes are fully owned!
GRACE knocks on a door. A nervous man CLIFF answers.
103.
CLIFF
Yeah? Oh my god, you’re- Honey!
GRACE
Is this the Webbers’? Cliff and JoAnn Webber?
JOANN comes to the door.
CLIFF Yess’m.
GRACE
Well Smith&Wesson just bought your debt. The home is yours now.
JOANN cries.
GRACE (CONT'D)
Plus a brand new 9mm to boot!
CLIFF
This can’t be...
GRACE unholsters her gun.
GRACE
You better believe it!
GRACE proffers some cocaine, and CLIFF shrugs. He takes a bump, and they fire their guns into the air. GRACE points the camera back at herself.
GRACE (CONT'D)
I’d like to see your banks and federal government do this shiiiiiit.
Likes and hearts and a unique “S” symbol filter through the live stream.
EXT. TULSA CITY.
A cop shouts at a vandal spraypainting a large “S” symbol on a building.
WIDE SHOT.
The cop races to the vandal and is stopped in his tracks when he sees how many downtown buildings have been tagged with the “S.”
104.
INT. FANCY OFFICE. AFTERNOON.
FRANCENE holds two checks.
FRANCENE
I’d like to see your banks and federal government do this shit? Grace, what the fuck.
GRACE
I got carried away.
FRANCENE
You think?! For the last time, you’re not anti-establishment. You’re pro-gun.
GRACE thumps her head.
GRACE
Pro-gun, pro-gun...
FRANCENE
Are you fucking with me?
Pause.
FRANCENE (CONT'D)
Don’t fuck with me. I will pull the plug on your whole life, girl.
GRACE
Beat.
I ain’t.
FRANCENE
Not. Stop pretending to be a hick around me too.
GRACE
I’m not.
FRANCENE
The ghostwriter is done with the meat of the book and needs to sit down with your parents to get your background. A chapter or two at the most. You want to set that up or-
GRACE
I will.
105.
FRANCENE
Anything we need to know?
GRACE
No. I just... What if we did two books? The first one centered on this and a next on a deep dive.
FRANCENE
Oh I like that. Very good.
GRACE
Capitalize on the base.
FRANCENE
This one. She’s learning.
FRED collides through the conference room door.
JIM ONE HUNDRED. FIFTY. MILLION.
FRANCENE drops her phone. FRED howls. FRANCENE howls. They all howl. He holds up another bill.
SNORT CUT TO:
EXT. ANOTHER LOWER CLASS NEIGHBORHOOD. SOCIAL MEDIA LIVE STREAM. ONE MONTH LATER.
People are lined up in the street watching GRACE’s broadcast.
GRACE
See this street? Mine. Houses? MINE. You watch-I get PAID-I buy HOUSES-You FUCK-You get HOUSES. Now get over here, babycakes.
A middle aged woman enters the frame.
GRACE (CONT'D)
What’s your name?
AMY
Amy.
GRACE
Amy- you want your house or do you want me to demolish it?
AMY
I want it!
106.
GRACE
Alright you know the deal, Spin. Those. Wheels!
AMY spins a large wheel with addresses on it and another with sexual acts.
AMY
Oh please let it be Harry or Vince.
The first wheel lands on ‘455 Hillcrest Lane.’ The second lands on ‘Oral Sex.’
GRACE
Uh oh, 455 Hillcrest. Who lives in that shithole?
An old woman approaches and AMY is upset.
GRACE (CONT'D)
You know the deal. 10m or to orgasm. You want your house or you want me to demolish it?
GRACE points to a bulldozer that raises and lowers its arm. Streams of hearts and exclamation points and votes pass through the social media feed. AMY’s neighbors begin to cheer her on.
AMY
I’ll...I’ll do it.
GRACE
This stream comes with an 18 or older disclaimer. Contestants are free individuals choosing to perform sexual acts.
The camera swings to a police car and officer with arms crossed at the base of the neighborhood.
GRACE (CONT'D)
AND THIS IS PRIVATE FUCKING PROPERTY. PROCEED!
General cheers and hoopla from the neighborhood as AMY goes down on the old lady.
GRACE (CONT'D)
You boys laugh, you’ll be buttfucking next mark my words.
(MORE)
107.
Let’s take a commercial break for some porn sites, gun commercials, and i dunno, whatever else those corporate people are paying to...yadda yadda...
EXT. MASSAGE PARLOR. LATER.
A contract painter attempts to cover the huge “S” that has been spraypainted on the side of the building.
TEXT: ‘f. Security & Safety’ is crossed out and ‘f. POWER’
INT. MASSAGE PARLOR.
UNDERSHOTS.
FRED’s face is pressed into the massage chair.
FRED 150 million, BILL. 2 million in Okla--ahhhh-oma alone. Don’t fuck around. You and I both know what that means.
BILL groans.
CHARLES
I’m not saying we don’t want her endorsement...
FRED Need, Bill. Need.
CHALES
I’m not saying we don’t want her endorsement. The governor is concerned about that amount of extremist rhetoric that comes with it and rightly so.
FRED Malarky.
CHARLES
Side note: you should be too, frankly. The whole dang state is getting tagged in that...
FRED
I know, I know.
GRACE (CONT'D) 108.
FRANCENE
Primaries are in the bag. General is coming up.
CLOSE SHOT.
FRANCENE rolls onto her back and props her arms under her head.
FRANCENE (CONT'D)
What if over the next month, on a PAC-funded endeavor, you were to feed us aggressive talking points to support your message.
CHARLES
I’m listening.
FRANCENE
The governor can’t be so plainspoken, so here’s what we do- GRACE goes on the huge annual gun show circuit, selling her book and inciting the base with all the things our man can’t say directly.
FRED rolls over on his back.
FRED
You’ll be running two very public campaign trails at the same time. Your conservative one and our...moderate one.
CHARLES
Grace- you’re on board with all this?
OVERHEAD SHOT.
GRACE is on her back, arms under her head, getting fingered under her towel by her masseuse.
GRACE
Does a tranny democrat butt-rape taxpayer dollars.
FRANCENE (O.C.)
We’ll work on the language.
CHARLES (O.C.)
I dunno, she’s got a point.
109.
They chuckle. The masseuse turns to GRACE who shows no arousal.
GRACE
What? Don’t fuckin’ look at me. This dude thinks we’re in love over here.
OVERHEAD OF THE ROOM.
More laughter. Everyone is getting happy endings.
JIM
Yeah, don’t look at me either.
FRANCENE
Whore.
CHARLES
Haha. Cast my vote, you slut.
EXT. GUNSHOW PARKING LOT. MORNING. TWO MONTHS LATER.
People mill in from the parking lot. Guns and money pass hands between trucks. A “Don’t Tread on Me” flag. A “LBGT: Liberty, Beer, Guns, Trump” bumper sticker.
OVERHEAD SHOT.
The meandering line of people make a large prominent “S”.
EXT. FRONT GATE.
Bodyguards push people aside as GRACE and a rapidly texting FRANCENE make their way through the crowd.
JOHN leans on an unstable post. He coolly tips his hat to GRACE.
INT. GUNSHOW BOOTH.
The entourage arrives at the booth, and a fan bumps into a poster marketing Grace’s book Grace under Fire.
GRACE
Easy with that.
110.
GRACE points her index finger as a gun. The fan scambles to upright the poster and holds their hands high. Onlookers laugh and applaud.
JUMP CUT TO:
INT. GUNSHOW BOOTH. AFTERNOON.
A signed book closes and is passed it to fan. Francene taps away on her cell. The air is chilly between them.
GRACE
Let’s call it.
FRANCENE
(Unmoved) 20 more.
GRACE
I said let’s call it.
FRANCENE keeps texting. GRACE tilts her head in FRANCENE’s direction and she shows no effort in responding.
CLOSE POV.
A book drops in front of GRACE.
GRACE (CONT'D) Howdy partner. Who’s it to.
FRANK Frank.
GRACE
Alright, Franky-boy.
GRACE opens the book.
GRACE’s POV.
A note falls out of the sleeve. GRACE picks it up. It reads “WE NEED TO TALK. 568.893.3345. S.”
GRACE eyes FRANK.
FRANK
Frank. With an ‘S.’
FRANCENE looks up for a moment. GRACE passes the book back.
GRACE
Funny. Don’t quit your day job.
111.
FRANK exits. GRACE exits the back of the tent.
FRANCENE
Alright everyone, hate to do it, but Annie Oakley needs a break. Come back in an hour.
EXT. BEHIND THE TENT.
FRANCENE enters under a flap. GRACE staggers to finish drinking a bottle of beer.
FRANCENE
Bitch- 20 means 20.
GRACE
(Slow exhale) Don’t fucking talk to me like that. And stop calling me Annie-God-Damn-Oakley.
FRANCENE
Excuse me?
Let it go.
GRACE
FRANCENE
You know you have been a proper cunt these past two months.
GRACE
You ain’t exactly roses, lady.
FRANCENE
Jesus fuck woman. I’ve given you the world. The world. And you stick your damn nose up at me? Look at yourself for chrissakes.
FRANCENE blows a line.
GRACE
Say one more word.
FRANCENE
Ooooh, what if I cross this line, huh?
FRANCENE toes a line in the dirt with her boot.
Beat.
112.
GRACE
I’m serious. One more word.
FRANCENE
Or you’re-
GRACE squares off with FRANCENE and puts a hand on her holster. FRANCENE balks at first, then steels herself.
FRANCENE (CONT'D)
Well. (Her voice breaks) I ain’t got all day.
GRACE smirks, tosses the bottle, and reenters the tent, shoving past a shaken FRANCENE.
INT. GUNSHOW BOOTH.
GRACE, seated, is falling apart. She is having a hard time doing anything. A book drops on the table.
GRACE Yeah?
JOHN Make it out to an old friend.
GRACE
(Flatly) John.
JOHN In the flesh.
GRACE Is that with or without an ‘H’?
JOHN
(Whispering) Make it out with three ‘O’s.
JOHN smiles.
Uh huh-
GRACE
GRACE writes “FUCK OFF” in big letters and signals to a security guard who escorts JOHN away.
JOHN
Sure, you’re busy, I get it. We’ll catch up in a bit.
FRANCENE enters.
113.
FRANCENE
I gotta do something real quick. I’ll be back.
FRANCENE exits.
Another book drops.
Uh-huh.
GRACE
MRS. WELLS (O.C.)
Why was he following you? In the store?
GRACE
Huh?
GRACE looks up to see MRS. WELLS.
MRS. WELLS
My husband. What were you two talking about in the store.
GRACE
I don’t know what th-
MRS. WELLS
Tell me.
GRACE
There ain’t nothing to tell.
MRS. WELLS
I saw the footage. You paused. You got my husband killed.
MRS. WELLS lurches towards GRACE, knocking the table and her chair somersaulting backwards. GRACE draws her pistol.
MRS. WELLS (CONT'D) DO IT. That’s what you want. MURDERER. FUCKING WHORE.
Crowds form. Cell phones raise. Security approaches.
MRS. WELLS (CONT'D)
She killed my husband. In that department store shooting. Why was he there Grace? He was following her, and now she wants to kill me too.
114.
GRACE
This woman... attacked me outta no where...I...
DAD (O.S.)
Gracie Jean!
GRACE turns. FRANCENE is with an old man, Grace’s DAD.
FRANCENE
Grace. Are you the girl who got attacked by those cannibals all those years ago?
DAD
Gracie, baby, put down the gun. Your old man is here.
GRACE
I didn’t..she made me..
MRS. WELLS
She’s crazy, I knew it.
GRACE steps towards the back of the tent shaking. Everything fades away except JOHN, FRANCENE, DAD, and MRS WELLS. Her son CAYDEN appears, hiding between DAD and FRANCENE.
GRACE
Cayden...baby...honey...I...
GRACE takes another step back and an arm appears through the flap and seizes the gun in her hand. A single shot rings out, and the crowd dives for cover.
EXT. BEHIND THE TENT.
FRANK leads GRACE by the hand through a dark, obscure crowd. The sea of people parts and hands reach out to touch GRACE.
GRACE cries.
GRACE
...what’s happening...
FRANK
You didn’t call.
GRACE
(Sobbing) My baby..why...what’d...
FRANK
You don’t realize how important you are GRACE.
115.
GRACE
I’m not.
GRACE begins to notice how everyone is watching her.
FRANK
We need you.
GRACE
You don’t. I’m messed up, Frank.
FRANK
We do.
For what?
INT. LARGE TENT.
GRACE
Folding chairs and tables and charts fill the tent. A giant “S” on a banner. Serious, contemplating figures fill the room in lively debate. A hush goes over the room as GRACE and FRANK enter.
FRANK A revolution.
CORIOLANUS
Grace. My name is CORIOLANUS.
Grace sniffles dejectedly.
GRACE
Hi Corey.
CORIOLANUS Coriolanus.
GRACE
Corey-ole-
CORIOLANUS Anus.
GRACE Anus.
CORIOLANUS Coriolanus.
GRACE
Corey-ul-anus.
116.
CORIOLANUS
And we need you GRACE, more than you know.
GRACE
Okay.
CORIOLANUS
Our great state has been oppressed by the tyranny of federal governance for far too long.
GRACE
Oh.
CORIOLANUS
We need a symbol. Fierocity of Joan of Arc. The strong will of Qiu Jin. The tenacity of Leading Liberty Marienne. You.
GRACE
Me.
CORIOLANUS
That’s right.
GRACE
What do you need me to do?
CORIOLANUS
In a few moments, our Governor, the man you’ve been lobbying for these past few months, will be taking questions from the audience. We want you... to speak on our behalf.
GRACE
What do you want me to say?
CORIOLANUS
Ask him... whatever you want.
GRACE
Whatever I want?
CORIOLANUS
That’s it.
FRANK leads GRACE to the exit.
CORIOLANUS (CONT'D)
And GRACE-
117.
They stop.
CORIOLANUS (CONT'D)
Remember. It’s your world. Say...Do... Whatever you’d like.
EXT. GUNSHOW ARENA.
GRACE is swept past a small line and banner with the GOVERNOR’s face that reads: “Make Oklahoma OK” and up to security. The security officer waves his wand over GRACE and her holster. The alarm rings and a red light flashes.
VILLAGER DRESSED AS A SECURITY OFFICER
Good to go.
GRACE
But what about-
VILLAGER DRESSED AS A SECURITY OFFICER
Good to go. Ma’am.
INT. GUNSHOW ARENA.
A huge open space, previously used as a rodeo, seemingly encompasses an untold thralling mass of Tulsa citizens. Everything is shadowed, save a bright light on the GOVERNOR standing center stage and a spotlight on a lecturn for citizens to ask questions.
CONCERNED CITIZEN
Thank you, sir.
CONCERNED CITIZEN steps out of the light. GRACE is lifted by unseen hands to the lecturn.
GOVERNOR
My goodness, is it? GRACE! Grace under Fire, herself, everyone.
General applause and shouts rings out.
GOVERNOR (CONT'D)
Now we have never formally met, little lady, but there’s no time like the present. What can we do for you here today? If you’re hear to ask for lighter gun laws, then you’ve come to the right place, right folks?
A lone cough.
118.
GRACE
Sir. I don’t want to talk about guns.
GOVERNOR
Well that’s alright. What’s on your mind?
GRACE
What’s... on my mind.
CAYDEN takes GRACE’s hand. She looks into her son’s eyes. Tears stream down GRACE’s face.
GRACE (CONT'D)
My boy. He’s always on my mind.
GRACE stifles a sob.
GOVERNOR
Oh my. It’s alright. It’s okay.
GRACE
When the market flipped, my husband killed himself and took my son with him.
GOVERNOR
Grace. I’m so sorry.
GRACE
And I look at... I look at this state. The land around us. And I want to know, how do we not get to keep our homes? There’s no one else to put in them.
GOVERNOR
Grace. It’s complicated. There’s so many parties involved. Federal and state funding. Interoperability within the banking structure. The macro economics alone would take us all month to work through.
GRACE looks at her open hand. CAYDEN is gone.
GRACE
Then I don’t want none of it.
GOVERNOR
I’m deeply sorry for your loss, but that’s just how it is.
119.
(MORE)
GOVERNOR (CONT'D)
We’re setting up protective measure to ensure-
GRACE
Enough. Enough. I want out.
GOVERNOR chuckles.
GOVERNOR Sorry? Out?
GRACE
Of this conversation. This whole(Swirls her arms around) All of it.
GOVERNOR
There are other states and countries in this world, GRACE. Could we get another question...
GRACE
No. You fucking used car salesman. Smooth talking piece of shit.
GOVERNOR
(Waves) Alright that’s enough.
A broadcast camera emerges from the dark fog with an “On-Air” light.
GRACE
Put your own people out of their homes, families, out on the god damn street to die. To fight like dogs.
GOVERNOR Security.
GRACE
Making us tear each other apart for the right to live. Cannabalize ourselves. I want out. WE want OUT.
A loan voice shouts “SECEDE!”
GOVERNOR
Everyone calm down. Let’s not let this devolve into another separatist conversation. Society-
GRACE looks into the audience and notices everyone is both facing her and holding a gun.
120.
GRACE POV.
GRACE drops some pills on the lectern. She unpins her holster and uses the butt of her gun to break up the pill.
GRACE
Enough. Break the shackles. Destroy the institutions that enslave us.
GRACE rails a line of a blue powder off the lecturn.
GRACE (CONT'D) BURN IT ALL. DEATH TO TYRANTS! SECEDE!
GRACE raises her pistol. Half a dozen bodyguards appear on stage and chaos explodes. Bullets are fired into the crowd and returned. Agents fall one after another. A random audience member takes a bullet for GRACE. GOVERNOR is shot in the stomach and keels over.
EXT. TULSA STREETS. BANK. AFTERNOON.
A Molotov cocktail flies through the lobby window of “National Bank.” Several gunmen pull men and women in suits from its front doors. They are lined up in the streets and executed.
EXT. OKLAHOMA CITY STREETS. CAPITOL COURTHOUSE. AFTERNOON.
A judge froths at the mouth and grips at a tassle wrapped around his neck as he is drug backwards through a grassy cistern. A woman screams as the rope around her neck becomes taut, and she is hoisted squirming into the air. The yard is filled with people either hanged or being hanged.
EXT. OKLAHOMA CITY NEIGHBORHOOD. A STATE SENATOR’S HOME. AFTERNOON.
A man hurredly beckons his family to get into the open car in the driveway. Several whistles collects his attention, and his wife screams. A mob with baseball bats close in as he waves his arms defenselessly.
EXT. STATE LINES. AN OPEN FIELD. AFTERNOON.
GRACE smears red paint across her face and turns to face the throng of armed National Guards and Army men.
121.
Her horse gallops forward, revealing her exposed breasts and bandaged abdomen along with a larger and equally formidable line of Okie natives wielding weapons.
NATIONAL GUARD P.A. (O.C.)
Put down your weapons. Return to your homes.
GRACE
(Microphone) WE REVOKE YOUR LAWS. REMOVE YOURSELVES FROM OUR LAND.
NATIONAL GUARD P.A. (O.C.)
Put down your weapons. Return to your homes.
GRACE
YOU ARE OUT NUMBERED AND OUTGUNNED. REMOVE YOURSELF FROM OUR LAND.
INT. TENT. AFTERNOON.
PRESIDENT smokes a cigar in deep contemplation.
PRESIDENT
If you damn fools want to shoot yourselves in the foot, then don’t let me stop you.
He turns, strides to a table where GRACE with two armed bodyguards await, exhales deeply, and signs a document.
PRESIDENT (CONT'D)
I’d say good luck, but I wouldn’t mean it. This is-
GRACE spits in PRESIDENT’s direction.
PRESIDENT (CONT'D)
You remember that for when your people start starving and you need my help.
GRACE
Get the fuck out.
INT. TELEVISION STUDIO. TWELVE YEARS LATER.
B-roll and voiceover of an evergreen news report. A graphic of the state of Oklahoma with the ‘barrel’ highlighted.
122.
REPORTER (V.O.)
In an even more bizarre and stunning turn of events following Oklahoma’s secession from the United States- they’ve agreed to sell off the state’s ‘barrel’- over to Texas.
ENVIRONMENTAL SCIENTIST INTERVIEWEE
It was a rather ingenious move. Lower the population, center the footprint. The sale to Texas was a multi-year, multi-billion dollar deal to fund and situate the state of Oklahoma as one large eco-farm.
A graphic overlays the state demarking large scale areas for: “COMPOST,” “WATER PROCESSING,” “LIVE STOCK,” “BASIC MATERIALS,” and “AGRICULTURE.”
ENVIRONMENTAL SCIENTIST INTERVIEWEE (CONT'D)
While the graphic is obviously generalized, the funding allows them to automate sustainability up to a point. Basic needs like water, food, and waste disposal run on a free, automated, deliverable system.
REPORTER
But at what cost? How has the culture shifted and what has happened to quality of life? For the first time recorded in over 10 years- I was able to secure an exclusive with Madam Grace outside the city of Tulsa.
EXT. OKLAHOMA FIELDS. OUTSIDE THE CITY. AFTERNOON.
REPORTER walks alongside GRACE who rests both hands akimbo on holstered pistols. They meander through a small town as the visible cityscape behind them is mostly razed. Large buildings are gutted and foliage overgrows most everything.
REPORTER
Madam, thank you for allowing me to-
GRACE
Let me cut you off right there. You see this, camera guy? Shoot that.
123.
The camera zooms in on the city behind them.
GRACE (CONT'D)
No more fancy banks. Skyscrapers. No roads. No cars. Sold ‘em all. Horses and bikes for everyone. And them, shoot them-
The camera pans to a small cluster of people. Everyone, including the children, is armed with a pistol. Four musicians play in the streets. A woman paints on an aisle. The children kick a soccer ball.
GRACE (CONT'D)
Guns on everyone. Modern Sparta. In return? Freedom. Guess how much time of their day is spent working? Four hours. Four. That’s it. Everyone’s needs are covered.
REPORTER
And the work- is it mandated?
GRACE
Mandated? The fuck did you just say to me, bitch. I work the god damn fields side-by-side. I clean the compost mounds. There’s no TV all day here. No getting fat and doing nothing all day. You can get the fuck out if that’s the life you want to live.
REPORTER
I mean to say, is how do you schedule the people’s workloads?
GRACE
Really pushing it, lady. This isn’t slavery. It’s survival. If you can’t do the jobs, then you can’t survive.
They pass older folks working inefficiently with spades and hoes.
REPORTER
What about the elderly and the sick? The handicapped? How do you find uses for them?
GRACE
They find their uses. Everyone has use.
124.
They pass mentally-ill people who severely regard a spade and hoe, trying to understand what their functions are.
REPORTER
And the mentally ill? How do you punish those who refuse to work? Or break your codes?
GRACE
Well no one breaks the laws here. There’s no reason to.
REPORTER
So all crime is just- gone?
An executioner pulls a lever and a row of people with bags on their heads are hung.
GRACE
You’d, ah, think so, ya know, if you give everyone basic needs then what’s anyone got to steal or-
They pass a brothel with normal looking people working the booths.
REPORTER
Rape? Domestic violence? All just gone.
GRACE
We’d legalize prostition that’s for sure.
REPORTER
And do your women and men take turns being whores for four hours a day when its their shift?
GRACE
I suppose it wouldn’t hurt... Sex is good for you right. Mentally and physically... I...
REPORTER
Forgive me for saying it, but it doesn’t seem like you’ve thought it all through.
GRACE draws her pistol.
125.
REPORTER (CONT'D)
And shooting me- that’s the solution? Avoiding the tough questions- that’s how you all work?
GRACE
Shut your mouth. Shut up.
REPORTER
Do you even know how anything works?
GRACE
SHUT THE FUCK UP. YOU FUCKING IDIOT. YOU FUCKING PIECE OF GARBAGE PIECE OF SHIT. KNOW NOTHING FUCKING CUNT.
CALEB (O.C.) MOM! MOMMY!
GRACE shakes her head violently.
SMASH CUT TO:
EXT. GUNSHOW BOOTH. AFTERNOON. EARLIER.
GRACE backpedals another step. Tears stream down her face.
CALEB (O.C.) MOM!
CALEB appears in the semi-circle crowd.
MRS. WELLS STAY THERE, CALEB.
A man in the crowd holds back CALEB.
SECURITY OFFICER
Put down the gun, ma’am. Look at what’s happening. Put down the gun.
GRACE sobs.
GRACE POV.
MRS WELLS shakes on her knees. Dozens of eyes and cameras are afixed on her, mouths agape. The gun trembles in her hands.
GRACE
I’m sorry, everyone. I never wanted...I...I’m Sorry. I-
126.
GRACE turns the gun on herself, swivels her body, and pulls the trigger. Her body collapses to reveal that the bullet has hit FRANCENE in the chest.
FRANCENE
That bitch.
FRANCENE collapses.
CUT TO BLACK.
INT. POLICE STATION.
B-roll flashes rapidly at first and slows to uncomfortable levels of aggressive close-ups.
CHIEF (V.O.)
The gun lobbyist and social media influencer GRACE FIELDS, famous for her historied past and recently scandalous online show “Wheel of Sex,” eventually committed suicide at a gun show in Tulsa, Oklahoma. Her actions have since sparked another round in the federal gun debate discussion. Her breasts measured Cup C, 32” band size, 28” under bust, 29” over bust. Pubic region partially shaved. Sexual partners: we estimate around 426. Net worth was approximately $3,422,000.
The sound of the remote clicks the projector off. CHIEF looks around the room. An officer raises his hand.
RANDOM COP
The fuck, Chief?
CHIEF
Now I have to read a list of preassigned data points. It’ll take about an hour, so hit the head now if you need to go.
The projector turns back on and the images change.
CHIEF (V.O.)
Nearly 75% of current American homes are at the risk of foreclosure. The average penis size had dropped .4” over the past two decades.
(MORE) 127.
CHIEF (V.O.) (CONT'D)
Dalmations have an average 44 spots. Suicide amongst teens has risen 500% over the past 10 years. Dr. Dre and Eminimem are worth a combined $1.08 billion. A majority of women chose the B CUP as their preferred breast size. Men chose the C CUP.
THE END.
128.
