Get Out Page #9

It is now clear that their conversations have been fake. Theyare all hanging on Chris’ actions.

56.

INT. ARMITAGE UPSTAIRS HALLWAY - DAY

Chris walks to Rose’ room.

INT. ROSE’S BEDROOM - DAY

Chris exits the bathroom in Rose’s room. The bed is made. He

picks his phone up from the dresser. It’s unplugged and out ofbatteries. That’s odd. He plugs it in again as he hears aCREAK down the hall.

INT. ARMITAGE UPSTAIRS HALLWAY - DAY

Chris leaves Rose’s room. A door at the end of the hallway isa crack open. Chris slowly walks down the hall, and peersinside. A couple lacrosse trophies and one for ju-jitsu.

Jeremy’s room. Movement inside. It’s Georgina making the bed.

The door creaks alerting her of his presence, she turnsslowly. Before she sees him he walks quickly back to Rose’sroom just as she comes upstairs.

ROSE:

Hey! You okay?

Chris waves for her to join him back in her room.

INT. ROSE’S BEDROOM - DAY

Chris speaks quietly and frantically to Rose.

CHRIS:

The housekeeper unplugged myphone.

Rose sighs. “Not this again.”

CHRIS (CONT’D)

I’m trying to check in with Rod,

and I got no juice.

ROSE:

I’m sure it was an honest mistake.

CHRIS:

Yeah, or maybe not. Maybe shedoesn’t like the fact that I’m

with you.

ROSE:

Chris...

57.

CHRIS:

What? It’s a thing.

ROSE:

You think my family’s housekeepergives a sh*t who you’re with?

That’s crazy bae.

Chris sits on the bed and rubs his forehead.

CHRIS:

Forget it. Nevermind.

ROSE:

Look, I get it. This whole thingis stressful. I mean, they’recircling you like hyenas downthere. I just don’t get why you’retaking it out on George andWalter.

CHRIS:

(passive aggressive)

You’re right. I’m being paranoid.

I just need a minute and I’ll bedown.

ROSE:

Fine.

Rose leaves a little annoyed.

INT. CHRIS’ APARTMENT - DAY

Rod eats a cheeseburger and watches a true crime show onChris’ couch with Sid the dog. His PHONE RINGS.

ROD:

Hey.

INTERCUT WITH:

INT. ROSE’S ROOM - SAME TIME

Chris is alone in Rose’s room. He peers out the window.

CHRIS:

Bruh. What’s up?

ROD:

Not much. Sid’s chillin’. We

eatin’ burgers. What’s up withyou?

58.

CHRIS:

Yeah...

ROD:

Uh oh. That doesn’t sound good.

CHRIS:

They just got me over here meetingall the family friends. It’s likethey never met a black dude thatdoesn’t work for them or some

sh*t.

ROD:

Oh, they got you on display?

CHRIS:

Exactly. Also, I got hypnotisedlast night...

ROD:

Nigga, what the f***? Oh, Hell no!

CHRIS:

Yeah, to quit smoking. Rose’s momis a hypnotherapist-

ROD:

--Nope. I don’t give a f*** ifshe’s Dr. Drew up in this b*tch.

You ain’t getting in my head.

CHRIS:

(Seeing Rod’s point)

Right.

ROD:

Who knows what they’ll make youdo. You know white people intosome crazy sex slave sh*t.

Chris laughs.

CHRIS:

Yeah, I’m like 99% sure they’renot a kinky sex family, but-

ROD:

Why not? Jeffery Dahmer ateniggas’ heads, but that was afterhe f***ed the heads.

ROD (CONT'D)

You think they saw that shitcoming? Hell no.

(MORE)

59.

ROD (CONT’D)

One second they think they justgonna suck some dick, next secondthey sucking dick but their headisn’t on their body Chris.

CHRIS:

And thanks for that image, rightthere.

ROD:

I saw that on A&E, so that’s real

life.

CHRIS:

It’s the black people out herethat are the weirdest. The help.

It’s like they’re possessed or...

ROD:

Hypnotised.

CHRIS:

(dry)

Ha ha-

ROD:

I’m just connecting the dots youpresenting me with. The momputtin’ trances on niggas andfuckin’ them. It’s clear as dayand that’s f***ed up. She hot?

CHRIS:

What’s f***ed up is: You’re thefirst line of defense againstterrorism.

ROD:

This is good sh*t tho.

CHRIS:

Oh, and the one other black guestis like the whitest-most dude at

the party.

Rod laughs.

CHRIS (CONT’D)

I mean Rod, if you could see whatthis dude is wearing.

ROD:

Send me a picture. You are aphotographer.

(MORE)

60.

ROD (CONT’D)

You should be documentin’ this

sh*t.

CHRIS:

(amused)

Aiight. I’ll try.

ROD:

And yo, don’t say I didn’t warnyou ‘cause my ass sure as Hellain’t coming up to the country tosave you from no f***in’ witchcoven... Unless the mom’s hot. She

hot?

CHRIS:

Thanks Rod, bye.

Chris hangs up and brings his phone with him. He opens thedoor. Georgina stands right outside it, eerie smile and all.

Chris is startled.

GEORGINA:

Hello.

CHRIS:

Hi.

Georgina’s voice is shaky and careful.

GEORGINA:

I owe you an apology. I shouldn’tbe touching things that don’tbelong to me.

CHRIS:

Oh, no. It’s cool. I was justconfused.

GEORGINA:

I lifted your cellular phone thismorning to wipe down the dresserand it accidentally came undone,

see?

CHRIS:

Yeah, I-

GEORGINA:

Rather than meddle with it

further, I left it that way.

61.

CHRIS:

Really, it’s okay. I didn’t mean

to rat you out.

Georgina eyes get lost for a moment. There’s a pain behind hersmile.

CHRIS (CONT’D)

...get you in trouble.

GEORGINA:

Oh no, no, no, no, no, no...

Aren’t you the sweetest thing? Notat all. The Armitages are so goodto us; They treat us like family.

EXT. BACKYARD - AFTERNOON

Chris walks back into the back yard where Dean entertainsseven people Chris hasn’t met. They turn as Chris approachessmiling eagerly. They all seem to share a private joke.

DEAN:

Chris! There you are. I wanted tointroduce you to some old friends.

We’ll do it quickly. Down theline: David and Marcia Wincott,

Ronald and Celia Jeffries, Hiroki

Tanaka, and Fredrich and Jessika

Walden.

Each couple - DAVID and MARCIA, RONALD and CELIA, HIROKI,

FREDRICH and JESSIKA - waves as they are named.

CHRIS:

Too many names to remember but...

The couples all laugh nervously.

HIROKI:

(to Dean in Japanese)

Can we ask him questions?

DEAN:

(Japanese)

Of course.

HIROKI:

Do you find that being AfricanAmerican has more advantages ordisadvantages in the modern world?

Chris pans the crowd who all give him their undividedattention. The silence is long. Chris sighs. He looks forRose. She is off talking to someone.

62.

CHRIS:

Yeah, I don’t know, man.

They all smile like hungry vampires. Chris is veryuncomfortable with this unprovoked group interrogation. Andre/

Logan and Phil approach.

CHRIS (CONT’D)

That’s actually a great question.

Logan! They were asking me aboutthe African American experience.

Maybe you could take this one.

Andre/Logan is a little caught off guard but dives in.

ANDRE/LOGANMy life as an African American hasbeen, for the most part, verygood. It’s hard to be too specificas I haven’t much desired to leave

the house in a while.

The crowd chuckles. Chris takes out his phone.

PHIL:

We’ve become homebodies...

ANDRE/LOGAN

(To Phil)

But recently, even when you go tothe city, I’ve just had nointerest.

(To the group)

The chores are my sanctu-

With the attention on Andre/Logan, Chris subtly backs awayfrom the conversation. He raises his phone toward Andre/Loganand the group and snaps a picture. The FLASH POPS.

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