Blackkklansman
Executive Summary
Poster
Overview
Genres: Drama, Crime, Thriller, Historical, Biography, Social Issues, Comedy
Setting: 1960s-1970s, Colorado Springs, Colorado
Overview: Set in the 1970s, 'BlacKkKlansman' follows Ron Stallworth, the first Black police officer in Colorado Springs, as he embarks on an undercover mission to infiltrate the Ku Klux Klan. The story begins with Ron's initial struggles within the police department, facing racial prejudice while trying to prove himself. As he gains the trust of his colleagues, he devises a plan to connect with the Klan by using a white officer, Chuck, to attend meetings while Ron handles communications over the phone. The narrative unfolds with Ron navigating the complexities of his dual identity, the challenges of undercover work, and the moral dilemmas that arise from his mission. Tensions escalate as Ron's personal life intertwines with his professional duties, particularly in his relationship with activist Patrice Dumas. The climax builds towards a confrontation with the Klan, revealing the dangers of their extremist beliefs and the impact of systemic racism. The story concludes with Ron reflecting on his experiences and the ongoing fight against hate.
Themes: Systemic Racism and its insidious nature, Undercover work and the challenges of identity, Love and Betrayal; Personal Sacrifice, Moral Ambiguity and the Justification of Means, Racial Identity and Self-Discovery, Police Brutality and the 'Blue Wall of Silence'
Conflict and Stakes: Ron Stallworth's undercover mission to infiltrate the KKK while navigating racial tensions and personal relationships, with the stakes being his safety and the potential impact on the civil rights movement.
Overall Mood: Tense yet darkly comedic
Mood/Tone at Key Scenes:
- Scene 1: The opening scene sets a darkly satirical tone, juxtaposing historical footage with the absurdity of Klan ideology.
Standout Features:
- Unique Hook: The premise of a Black police officer infiltrating the Ku Klux Klan is both provocative and timely, offering a fresh perspective on racial tensions.
- Major Twist: The revelation of Ron's undercover identity and the tension it creates within his personal relationships, particularly with Patrice.
- Innovative Ideas: The screenplay blends dark humor with serious themes, making the absurdity of racism both entertaining and thought-provoking.
- Distinctive Settings: The contrast between the idyllic Colorado Springs and the dark, violent world of the Klan highlights the duality of American society.
Comparable Scripts:
- BlacKkKlansman
- American History X
- The Help
- 12 Years a Slave
- Selma
- Get Out
- The Butler
- Fruitvale Station
- The Wire
Writing Style:
The screenplay demonstrates a versatile writing style, blending elements of several prominent screenwriters. It consistently features sharp, often witty dialogue with a focus on tense interactions and complex character dynamics. Many scenes delve into moral dilemmas and explore social and political issues, particularly those surrounding race, identity, and power dynamics. The tone shifts between gritty realism and dark humor, depending on the specific scene.
Style Similarities:
- Quentin Tarantino
- Spike Lee
- Aaron Sorkin
Pass/Consider/Recommend
Highly Recommend
Explanation: Blackkklansman is a highly compelling and well-crafted screenplay that masterfully blends genres to deliver a powerful and timely message. The narrative is consistently engaging, driven by strong character arcs and a unique premise. While minor improvements to pacing and subplots could be considered, the screenplay's strengths significantly outweigh its weaknesses, making it a highly recommendable project.
USP: What sets 'BlacKkKlansman' apart is its unique premise of a Black detective infiltrating the KKK, which allows for a rich exploration of identity, racism, and the absurdity of hate. The screenplay's blend of humor and serious commentary on systemic racism resonates with audiences, making it a compelling piece of storytelling that reflects ongoing societal issues.
Market Analysis
Budget Estimate:$20-30 million
Target Audience Demographics: Adults aged 18-54, particularly those interested in social justice, historical dramas, and racial issues.
Marketability: The screenplay tackles relevant social issues with a mix of humor and drama, appealing to a broad audience and likely to attract attention during awards season.
The unique premise of a Black cop infiltrating the KKK offers a compelling narrative that can generate significant media interest.
Strong character development and a mix of tension and humor make it relatable and engaging for viewers.
Profit Potential: High, due to its timely themes, potential for critical acclaim, and appeal to a diverse audience.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is sharp, gritty, and realistic, blending dark humor with intense social commentary on race and power dynamics in 1970s America. The narrative is driven by strong, authentic dialogue that captures the vernacular and tension of the time, punctuated by vivid scene descriptions and internal monologues that provide insight into the characters' complex motivations.
Best representation: Scene 1 - Breaking Barriers: Ron's Interview. This scene is the best representation because it immediately establishes the writer's unique approach. The darkly satirical juxtaposition of classic Hollywood imagery with raw, hateful propaganda instantly sets the tone. It showcases the writer's ability to blend humor and horror, highlighting the absurdity of racist ideologies while simultaneously underscoring their real-world danger. This masterful combination of stylistic choices and thematic depth is a hallmark of the writer's voice throughout the screenplay.
Memorable Lines:
- MR. WOODS: There's never been a Black Cop in this City. If we make you an Officer, you would, in effect, be the Jackie Robinson of the Colorado Springs Police force. (Scene 2)
- KWAME TURE: POWER TO THE PEOPLE (Scene 9)
- Ron Stallworth: COP is Ron Stallworth you Redneck, Racist Peckerwood Small Dick Motherfucker!!! (Scene 59)
- Ron Stallworth: Every time I think about that Black Baboon putting his Filthy Black Hands on her White as Pure Driven Snow Body I wanna Puke!!! (Scene 14)
- RON STALLWORTH: Let me be clear, Mr. Duke: I do not agree with your Philosophies. However, I am a Professional and I will do everything within my means and beyond to keep you safe. (Scene 48)
Characters
Ron Stallworth:A 21-year-old Black man who becomes the first Black police officer in Colorado Springs and goes undercover to infiltrate the Ku Klux Klan.
Patrice Dumas:A strong-willed activist and president of the Black Student Union, who is passionate about civil rights and racial justice.
David Duke:The Grand Wizard of the Ku Klux Klan, who embodies the racist ideologies that Ron seeks to expose.
Chuck:Ron’s Jewish partner in the police department who assists him in the undercover operation and grapples with his own identity.
Butch:A prominent member of the Klan who is aggressive and embodies the violent racism that Ron is trying to infiltrate.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - Racist Rhetoric: A 1960s Propaganda Perspective | Propaganda, Racist, Educational | 8.5 | 9 | 8 | 9 | 8 | 6 | 8 | 7 | 8 | 8 | 8 | 7 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
2 - Breaking Barriers: Ron's Interview | Serious, Reflective, Historical | 8.5 | 8 | 9 | 9 | 8 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
3 - Confronting Prejudice | Tense, Confrontational, Racially charged | 8.5 | 9 | 8 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
4 - Confronting Authority | Tense, Defiant, Confrontational | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7.5 | 8 | 8 | 8 | 9 | 7 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
5 - A New Assignment | Tense, Serious, Intriguing | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
6 - Undercover Preparations | Tense, Humorous, Dramatic | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | |
7 - A Night of Connection | Serious, Educational, Inquisitive | 8.2 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
8 - Empowerment at Bell's Nightingale | Inspiring, Empowering, Educational | 9.2 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 7 | 10 | 10 | 9 | 8 | 8 | 8 | |
9 - Rallying Cry for Liberation | Inspiring, Empowering, Passionate | 9.2 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 7 | 9 | 9 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
10 - Conversations of Conflict and Connection | Tense, Conspiratorial, Intense, Hopeful | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 8 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
11 - Racial Harassment at the Red Lantern Inn | Tense, Dramatic, Confrontational | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
12 - Tensions in the Night | Tense, Serious, Confrontational | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
13 - A New Assignment | Serious, Intense, Reflective | 8.5 | 9 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
14 - Undercover Blunders | Intense, Racially charged, Confrontational, Suspenseful | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 10 | 8 | 10 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
15 - Infiltrating the Klan: A Bold Proposal | Serious, Tense, Confrontational, Intriguing | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
16 - Undercover Preparations | Humorous, Informative, Conversational | 8.5 | 8 | 9 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 8 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
17 - Tension in the Shadows | Tense, Suspenseful, Confrontational, Humorous | 9.2 | 9 | 9 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 10 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
18 - Tension in the Night | Tense, Suspenseful, Intense, Dramatic | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
19 - Undercover Tensions | Tense, Racist, Confrontational, Humorous | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
20 - Camaraderie in Darkness | Intense, Racist, Conspiratorial, Aggressive | 8.5 | 8 | 9 | 8 | 8 | 7 | 7 | 6 | 9 | 8 | 9 | 9 | 7 | 8 | 9 | 8 | 8 | 7 | 7 | |
21 - Identity Tested | Tense, Suspenseful, Confrontational, Humorous | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
22 - Wire Removal and Klan Absurdities | Tense, Serious, Humorous | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7.5 | 8 | 8 | 8 | 9 | 7 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
23 - Dinner of Dissonance | Serious, Reflective, Contentious, Intimate | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
24 - Undercover Realities | Tense, Informative, Serious | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
25 - A Warm Welcome to Darkness | Tense, Serious, Dark, Intense, Foreboding | 8.5 | 8 | 8 | 8.5 | 9 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
26 - Rallying the Brothers | Serious, Tense, Informative | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
27 - Tension in Butch's Armory | Tense, Serious, Challenging, Informative | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 9 | 9 | 9 | 8 | 9 | 8 | 8 | 9 | 8 | 8 | 8 | |
28 - Confrontation in the Small Room | Tense, Intense, Suspenseful | 8.5 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | |
29 - Chaos at Butch's House | Tense, Intense, Dramatic, Humorous | 8.5 | 8 | 9 | 8.5 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
30 - Fractured Loyalties | Tense, Confrontational, Emotional | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
31 - Infiltrating Hate | Tense, Confrontational, Intriguing | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7.5 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 9 | 8.5 | 8 | 8 | |
32 - Beneath the Blue Wall | Tense, Serious, Informative | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 7 | 8 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
33 - Target Practice: A Disturbing Bond | Racist, Violent, Ominous, Humorous | 8.5 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
34 - Dark Humor in the Shadows | Racist, Tense, Humorous, Confrontational | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 7 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
35 - Undercover Resolve | Intense, Reflective, Emotional | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8.5 | |
36 - Facing Intimidation | Tense, Serious, Intense, Concerned | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
37 - Night of Reckoning | Tense, Sinister, Suspenseful | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
38 - Conversations with a Klansman | Serious, Reflective, Controversial | 8.5 | 9 | 8 | 9 | 9 | 7 | 8 | 7.5 | 7 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
39 - A Leadership Dilemma | Tense, Suspenseful, Conspiratorial | 8.5 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
40 - Tensions and Traditions | Tense, Humorous, Racist, Controversial | 8.5 | 8 | 9 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
41 - Undercover Laughter | Humorous, Confrontational, Tense | 8.5 | 9 | 8 | 9 | 9 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
42 - Into the Storm Shelter | Tense, Sinister, Foreboding | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
43 - Tensions Rise: A Dangerous Mission | Tense, Serious, Suspenseful | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7.5 | 8 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
44 - A Dangerous Encounter | Suspenseful, Intense, Serious | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
45 - Divided Loyalties | Tense, Serious, Defiant | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
46 - Tensions Rise: The Assignment | Tense, Confrontational, Sarcastic, Defiant | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | |
47 - Explosive Preparations | Suspense, Tension, Dark | 9.2 | 10 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 7 | 10 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
48 - Irony in Duty | Tense, Professional, Confrontational | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
49 - Undercover Tensions | Tense, Suspenseful, Dramatic | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
50 - The Oath of Darkness | Solemn, Serious, Religious | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
51 - Echoes of Injustice | Solemn, Intense, Reflective | 8.5 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
52 - Rituals of Hate | Tense, Solemn, Barbaric, Captivated | 8.7 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
53 - Confrontation at the Banquet | Tense, Confrontational, Suspenseful | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
54 - Tension at the Steakhouse | Tense, Suspenseful, Confrontational | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
55 - Tension and Urgency | Tense, Suspenseful, Anxious | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
56 - Chaos at Patrice's Doorstep | Tense, Suspenseful, Dramatic, Intense | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 10 | 8 | 10 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | |
57 - Caught in the Act | Intense, Confrontational, Tense, Defiant | 9.2 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 10 | 9 | 9 | 9 | 8 | 9 | 10 | 9 | 9 | 8 | 8 | |
58 - Frustration in the Face of Success | Tense, Resigned, Heated, Serious | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
59 - Undercover Laughter | Satirical, Humorous, Confrontational | 9.2 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 9 | 8 | 8 | 10 | 9 | 8 | 8 | 8 | |
60 - Crossroads of Identity | Tense, Reflective, Emotional | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 10 | 9 | 9 | 8 | 8 | 8 |
Scene 1 - Racist Rhetoric: A 1960s Propaganda Perspective
Written by
Charlie Wachtel & David Rabinowitz
Based on The Book by Ron Stallworth
11/1/16 Draft
Revisions By
Kevin Willmott and Spike Lee
5/27/17
5/29/17
6/7/17
6/9/17
6/15/17
6/23/17
7/5/17
7/17/17
40 Acres And A Mule Filmworks Inc.
Da Republic of Brooklyn, New York
YA-DIG? SHO-NUFF
BY ANY MEANS NECESSARY
AND DAT'S DA BLACK POWER TRUTH, RUTH
1 FADE IN: 1
SCENE FROM "GONE WITH THE WIND"
Scarlett O'Hara, played by Vivian Leigh, walks through the
Thousands of injured Confederate Soldiers pulling back to
reveal the Famous Shot of the tattered Confederate Flag in
“Gone with the Wind” as The Max Stein Music Score swells from
Dixie to Taps.
RON STALLWORTH (V.O.)
They may have lost the Battle but
they didn't lose The War.
CUT TO:
A 1960'S EDUCATIONAL STYLE FILM
Shot on Grainy Black and White 16MM Reversal Film, The
NARRATOR BOVREGARD, a Middle Aged but handsome, White Male,
sits at a desk, a Confederate Flag on a stand beside him.
Very Official. He is not a Southerner and speaks with
Irticulation and intelligence.
BOVREGARD- KLAN NARRATOR
Yes, Friends, We are under attack.
You've read about it in your Local
Newspapers or seen it on The Evening
News. That's right. We're living in
an Era marked by the spread of
Integration and Miscegenation.
CUT TO:
FOOTAGE OF THE LITTLE ROCK NINE
being escorted into CENTRAL HIGH SCHOOL, Little Rock,
Arkansas by The National Guard.
BOVREGARD- KLAN NARRATOR
(V.O.)(CONT'D)
The recent Brown Decision forced upon
us by The Jewish controlled Puppets
on the U.S. Supreme Court compelling
White children to go to School with
an Inferior Race is The Final Nail in
a Black Coffin towards America
becoming a Mongrel Nation.
A QUICK SERIES OF IMAGES
Segregation Signs. Antebellum Photos. Happy Slaves in Old
Movies. Masters inspecting their Cotton and Tobacco with
their Slaves in The Fields. Blacks shining Shoes and working
as Butler's, Porters and Maids.
BOVREGARD- KLAN NARRATOR (V.O.)
(CONT'D)
We had a great way of Life before The
Martin Luther Coon's of The World...
CUT TO:
The Billboard of Dr. Martin Luther King Jr. sitting in the
front row of a Classroom it reads: Martin Luther King in a
Communist Training School.
BOVREGARD- KLAN NARRATOR (CONT'D)
...and their Army of Commies started
their Civil Rights Assault on our
Holy White Christian Values.
CLOSE - BOVREGARD - KLAN NARRATOR
BOVREGARD- KLAN NARRATOR (CONT'D)
Do you really want your precious
White Child going to School with A
Negro.
Footage of Black and White Children playing together,
innocent.
Another Actor STONEWALL, KLAN CO-STAR, like the Narrator but
younger, stands by a Large Screen and points with his finger
at The Screen.
STONEWALL KLAN CO-STAR
They are Lying, Dirty Monkeys...
FOOTAGE and STILLS of Stereotype Blacks Coons, Bucks and
shining Black Mammies. Black Soldiers in D. W. Griffith's
"Birth of a Nation" pushing Whites around on the Street.
CLOSE - BOVREGARD
BOVREGARD- KLAN NARRATOR
...Stopping at nothing to gain
Equality with The White Man.
FOOTAGE of Willie Best Stuttering and Muttering in Grand Ole
Coon style. Klan Co-Star pointing at The Screen continuing
his List.
STONEWALL KLAN CO-STAR
Ape like, Backwards...
Images and Scientific charts of Blacks compared to Apes and
Monkeys.
CLOSE - BOVREGARD - KLAN NARRATOR
BOVREGARD- KLAN NARRATOR
...Craving The Virgin, Pure Flesh of
White Women.
LYNCH, The MULATTO, lusting after our LILLIAN GISH in "Birth
of a Nation." Other Lusting Images of Craving Black
Beasts!!! SEXUAL PREDATORS!!!
Stonewall The Klan Co-Star continues his List.
STONEWALL- KLAN CO-STAR
Rapists, Murderers...
KING KONG on Empire State Building with Fay Wray in his hand.
GUS in "Birth of a Nation" chasing a White Woman he wants to
Rape.
CLOSE - BOVREGARD - KLAN NARRATOR
A Stereotype illustration of Jews controlling Negroes.
BOVREGARD- KLAN NARRATOR
...and the Negro's insidious tactics
under the tutelage of High Ranking
Jews! Using an Army of outside...
Stonewall The Klan Co-Star continues.
STONEWALL- KLAN CO-STAR
...Northern Black Beast Agitators...
Footage of Blacks Marching on Washington.
CLOSE - BOVREGARD - KLAN NARRATOR.
BOVREGARD- KLAN NARRATOR
...determined to overthrow The God
Commanded and Biblically inspired
Rule of The White Race.
An image of an All-American White Nuclear Family.
The Klan Co-Star gives his Final Words.
KLAN CO-STAR
It's an International... Jewish...
Conspiracy.
The Corny Stinger of Music that goes with these Education and
Propaganda Films!
CUT TO:
Ratings
Scene 2 - Breaking Barriers: Ron's Interview
Superimposed: 1972
An amazing contrast. The beautiful landscape of Colorado
Springs, the City sits nestled within the rugged Mountain
terrain. The majestic Pikes Peak, the jagged beauty of The
Garden of the Gods, The plush Broadmoor Resort, The Will
Rodgers Shrine of The Sun.
RON STALLWORTH (V.O.)
Before I moved to Colorado Springs,
I never thought much about all these
Racial, Political things...I was
asleep...
U.S. Army Troops Marching in Formation near the Sign Entry to
Fort Carson with Mountains in the background and the Entry to
NORAD (North American Air Defense Command) at Cheyenne Mountain.
CLOSE - RON STALLWORTH
Black, 21, Handsome, Intelligent, sporting a good sized Afro,
rebellious but straight laced by most 1970’s standards gets
out of his Ford Pinto staring at the cavernous opening to
Norad.
RON STALLWORTH (V.O.)(CONT'D)
...not Woke but that would soon
change.
3 INT. COLORADO SPRINGS CITY OFFICES - DAY 3
Ron stares at an Ad attached to a bulletin board.
CLOSE. THE AD READS:
JOIN THE COLORADO SPRINGS POLICE FORCE, MINORITIES ENCOURAGED
TO APPLY! Ron rips the Ad from the board.
4 INT. PERSONNEL OFFICE - COLORADO SPRINGS POLICE DEPT - DAY 4
A drab, white-walled office. Ron sits across the table from
The Assistant Chief of Personnel, MR. WOODS, Black, 40's,
business like but progressive and CHIEF TAGGERT, White,
smart, 50's, in a Police Uniform, a Man ready for change.
CHIEF TAGGERT
Would you call yourself a Womanizer?
RON STALLWORTH
No Sir, I would not.
MR. WOODS
Do you frequent Night Clubs?
RON STALLWORTH
No Sir.
CHIEF TAGGERT
Do you drink?
RON STALLWORTH
On Special occasions, Sir.
MR. WOODS
Have you ever done any Drugs?
RON STALLWORTH
Only those prescribed by My Doctor,
Sir.
Woods looks at The Chief.
MR. WOODS
That's kind of rare these days for a
young Hip Guy like you.
RON STALLWORTH
I know but my Father was in The
Military and I was raised up that
way, Sir.
CHIEF TAGGERT
How are you with people, generally?
RON STALLWORTH
Sir, they treat me right, I treat
them right, like I already said I was
raised...
CHIEF TAGGERT
...Have you ever had any negative...
Mr. Woods jumps in, impatient.
MR. WOODS
...What would you do if another Cop
called you a Nigger?
Ron goes silent. Chief Taggert looks at him. Woods waits, Ron
doesn't know how to respond, finally. Woods leans forward.
MR. WOODS (CONT'D)
There's never been a Black Cop in
this City. If we make you an Officer,
you would, in effect, be the Jackie
Robinson of the Colorado Springs
Police force.
Mr. Woods lets this sink in.
MR. WOODS (CONT'D)
And if you know anything about Jackie
Robinson you know he had to take a
lot of... guff... from his fellow
Teammates, from Fans, other Teams,
and The Press.
RON STALLWORTH
I know Jackie's Story, Sir.
MR. WOODS
Good. So, knowing that, when someone
calls you Nigger will you be able to
turn the other Cheek?
Ron evaluates the hard reality of the question. Decides.
RON STALLWORTH
If I need to, yes, Sir.
MR. WOODS
Good. We think you might be The Man
to open things up here. Chief Taggert
here will be your Branch Rickey.
Ron looks at Chief Taggert.
CHIEF TAGGERT
I'll have your back but I can only do
so much. The Weight of this is on
You...and You alone.
Ron weighs The Journey ahead.
5 OMITTED 5
Ratings
Scene 3 - Confronting Prejudice
Ron in full Uniform walks The Beat. The Cap fits but creates
Afro Puffs with his Hair which was the style back then. White
Citizens pass him on the street smiling, some surprised, some
leery of the sight. Ron nods, smiles to everyone.
7 INT. RECORDS ROOM - CSPD - DAY 7
Ron sorts a file cabinet of records as OFFICER CLOUGHERTY,
60's, White, sits on a stool, reading a Magazine clearly
looking at a Photo of something good.
OFFICER CLOUGHERTY
Ron...
Ron looks up from the filing. Officer Clougherty holds the
Magazine up and shows a Photo to Ron.
OFFICER CLOUGHERTY (CONT'D)
Whatdoyouthink?
Ron looks at the Photo of the Actress Faye Dunaway.
RON STALLWORTH
Faye Dunaway. She was great in Bonnie
and Clyde.
OFFICER CLOUGHERTY
Yeah, but ah, what you think?
RON STALLWORTH
She's a very good Actress.
OFFICER CLOUGHERTY
Y'know you want some of that.
Ron ignores it.
OFFICER CLOUGHERTY (CONT'D)
Truth be told when I see one of your
kind with a White Woman it turns my
Stomach.
RON STALLWORTH
Yeah. Why's that?
OFFICER CLOUGHERTY
He could only want one thing.
RON STALLWORTH
What would that be?
OFFICER CLOUGHERTY
You like acting dumb, Y'know.
RON STALLWORTH
No, I just like my questions to be
answered.
A VOICE of a UNIFORMED COP WHEATON calls from the other side
of the Counter.
WHEATON (O.S.)
Hey! Anybody in there? Looking for a
Toad here.
Ron walks to the Counter to see The White and sleep-deprived
Cop impatiently leaning on his elbows.
WHEATON
Get me the record for this Toad named
Raymond Jackson.
Ron pulls up the File for Raymond Jackson. The Photo shows a
Black Man in his twenties.
WHEATON
While you're at it, why don't you
grab another Toad... Steven Wilson.
Ron pulls the File... another young Black Male, ANOTHER
SEXUAL PREDATOR.
Ratings
Scene 4 - Confronting Authority
Chief Taggert strides down the hall with SGT. TRAPP a soft-
spoken White Man in his 40's, they are discussing a File. Ron
suddenly appears walking with them.
RON STALLWORTH
While I've got you both here. Sirs,
I'd like to be an Undercover
Detective.
Chief Taggert and Sgt. Trapp both stop.
CHIEF TAGGERT
What Narcotics?
RON STALLWORTH
Whatever Department works, Sir.
SGT. TRAPP
You just joined The Force, Son.
RON STALLWORTH
I know, Sir but I think I could do
some good there.
SGT. TRAPP
How so?
RON STALLWORTH
Well, I'm young. I think there's a
niche for me. Get In where I can Fit
In.
SGT. TRAPP
What do you think, Chief?
Sgt. Trapp sees the logic, looks to Chief Taggert, who stops,
considering.
CHIEF TAGGERT
Think a lot of yourself, don't cha?
RON STALLWORTH
Just trying to be of help, Sir.
RON STALLWORTH (CONT'D)
Plus, I hate working in The Records
room.
Sgt. Trapp reacts knowing Ron shouldn't have said that about
the Records Room. CHIEF TAGGERT looks at Ron, matter of fact.
CHIEF TAGGERT
Well, I think Records is a good place
for you to start.
Chief Taggert walks off without another word. SGT. TRAPP
gives a knowing look to Ron, who watches them walk away.
9 INT. RECORDS ROOM - CSPD - DAY 9
Ron behind the Counter. A SERGEANT MORRIS, White, Mid-30's, a
regular guy but there is something dangerous there, steps up.
SGT. MORRIS
Need a File on a Toad.
Ron doesn't respond.
SGT. MORRIS (CONT'D)
You Deaf? I said I need info on a
Toad.
RON STALLWORTH
No Toads here.
SGT. MORRIS
Excuse me?
RON STALLWORTH
I said, I don't have any Toads. I do
have Human Beings and if you give me
their names I can pull the Files.
Sgt. Morris scowls. Ron stares back at him, Eye to Eye.
SGT. MORRIS
Heard you think you Hot Shit but you
ain't nuthin' but a Cold Fart. Name's
Maurice, Maurice Smalls...That
respectful enough for you, Officer
Toad.
Ron pulls The File, throws it down on the Counter. As Sgt.
Morris takes The File, Ron puts his hand on it, stopping him.
RON STALLWORTH
Let me tell you something Sergeant.
The day of the Toads in The Records
Room is over. You want to find a
Toad... go look in the water out at
Rainbow Falls. They got them there.
Sgt. Morris snatches The File from the Counter and storms
off. A Bad Ass Ron watches him go.
RON STALLWORTH (V.O.)
In reality, I didn't say anything.
CUT TO:
Here is THE ACTUAL EXCHANGE. Sgt. Morris gives a cocky sneer
to Ron and SNATCHES the Folder from him.
RON STALLWORTH (V.O.)(CONT'D)
I did it the Jackie Robinson Way and
swallowed Racial Justice for The
Bigger goal of keeping The Peace and
moving The Baserunner around The
Bases... but I wanted to lay his Ass
out but I pushed my anger down, kept
it to myself.
The Sergeant struts away. Ron watches shaking inside with
Rage.
RON STALLWORTH (V.O.)(CONT'D)
It's No wonder Jackie died at Age 53,
hair White as Snow. God Bless His
Soul.
Ratings
Scene 5 - A New Assignment
As Ron sleeps, a phone rings. Ron snaps awake and grabs at
the phone on the night table.
RON STALLWORTH
Hello.
CHIEF TAGGERT (O.S.)
It's Taggert. You sleeping?
RON STALLWORTH
Yes, Chief, I was. Just worked a
Night Shift.
CHIEF TAGGERT (O.S.)
I changed my mind, you're gonna come
in a little earlier today. We've got
an assignment for you. 12 Noon.
Sharp. Narcotics Division. Wear
Street clothes.
RON STALLWORTH
Yes Sir, see you then. Thank You.
Thank You.
Ron sits up in Bed, excited, thinking about the challenge
ahead.
11 INT. CSPD - NARCOTICS DIVISION - DAY 11
Ron, dressed in Bell-Bottoms and a Hip Italian Knit Shirt,
Marshmallow Shoes steps inside the Narcotics office, which is
literally The Basement of The Station. He looks around at The
Area Buzzing with Activity and sees
ANGLE - UNDERCOVER COPS
at their desks. Looking less like Cops and more like unkempt
Hippies or Rock N' Rollers.
CLOSE - RON
just stands there looking at all the activity.
CLOSE - CHIEF TAGGERT
waves Ron back to the rear of The Room for privacy.
CHIEF TAGGERT
Stallworth.
CLOSE - CHUCK
late 20's, long hair, looks like anything but a Cop, he
however is somewhat of a closed-off guy, all business, Ron
sits across from him. Chief Taggert steps before them.
CHIEF TAGGERT (CONT'D)
We've got limited time so I'll be
quick. That Black Radical Stokely
Carmichael is giving a Speech Tonight
at Bell's Nightingale.
Ron is surprised at this.
RON STALLWORTH
The Nightclub?
CHIEF TAGGERT
The only Black Nightclub in Town.
Chuck just listens.
CHIEF TAGGERT (CONT'D)
Carmichael is a former High Muckity-
Muck with The Black Panthers and as
far as I'm concerned, FBI Director J.
Edgar Hoover was dead right when he
said The Black Panthers is The
Greatest Internal Threat to The
Security of these United States. This
Carmichael Guy, former Panther or
not, they say he's a Damn Good
Speaker and we don't want this
Carmichael getting into The Minds of
our Good Negroes stirred up here in
Colorado Springs.
Ron's face cringes at Chief Taggert's words. He steps to Ron.
CHIEF TAGGERT (CONT'D)
Ron, your assignment is to go to this
Rally tonight and infiltrate these
Bunch of Subversive's and monitor The
Audience reaction to Carmichael's
speech. You ready?
Chuck and Chief Taggert stare at Ron.
RON STALLWORTH
Born Ready.
Ratings
Scene 6 - Undercover Preparations
Ron stands, his shirt off, as Chuck wires a Wireless
Transmitter and Microphone to his body. Another Narcotics
Cop, JIMMY ROSE, 30's, observe the instillation.
RON STALLWORTH
Any chance this thing Fucks Up?
JIMMY
A good chance.
RON STALLWORTH
Then what?
CHUCK
Just stick to The Game Plan.
RON STALLWORTH
Which is?
CHUCK
Improvise. Like Jazz. This isn't some
Big Bust. We just want some Intel,
that's it.
JIMMY
What happens if someone offers you a
Marijuana Cigarette?
RON STALLWORTH
You mean a Joint?
JIMMY
Yeah.
RON STALLWORTH
"Soul Brother, I'm already High on
Life. Can you Dig It?"
JIMMY
And if someone pulls a Gun on you?
Ron is caught off guard.
RON STALLWORTH
You expecting that?
Jimmy pulls his Gun points it in Ron's face.
JIMMY
Barrel of a 45's in your face, Finger
on the Trigger, now what?
Chuck sighs.
RON STALLWORTH
Blood, get that Gun out my face.
Peace Love and Soul.
Jimmy still holds it there.
CHUCK
Drop it.
He lowers gun. Ron gives Jimmy a wary look speaking to Chuck.
RON STALLWORTH
I de-escalate. Talk calmly, firmly.
Find a way out of there, A-Sap.
Jimmy nods, satisfied. Chuck is finished with The Wiring. Ron
takes a deep breath.
CHUCK
Relax, we'll be outside, listening
in.
RON STALLWORTH
Can I order a Drink at The Bar?
Chuck steps away, no comment.
JIMMY
That's fine, just don't get Shit
Face.
CHUCK
Got it?
RON STALLWORTH
I got it. I'm gone.
Jimmy laughs, Slaps Ron on the back.
Ratings
Scene 7 - A Night of Connection
Ron pulls an unmarked Sedan to the curb. He gets out and
looks around.
A Crowded sidewalk overflows into The Street, filling a line
that Bottlenecks into The Club with the Sign:
CLOSE SIGN - BELL'S NIGHTINGALE
ANGLE - TONIGHT: KWAME TURE SPEAKS
Ron walks to the back of the line. He becomes an Every
Brother slowly moving forward as People enter. As he moves
forward he notice a striking Woman at the Front Door.
PATRICE DUMAS
Mid 20's, an Angela Davis Afro, she wears a Hip array of
Militant wear, Black Leather Jacket, Love Beads but on her it
looks fantastic. Ron is taken by her Beauty, he watches as
she monitors the door, clearly in charge.
RON STALLWORTH
How are you doing, my Queen?
Patrice gives Ron a good look summing him up.
PATRICE
I'm doing fine, my Soldier. This is
going to be an Amazing Night.
RON STALLWORTH
Indeed it is.
PATRICE
Have you heard Brother Kwame speak
before?
RON STALLWORTH
Who?
PATRICE
Kwame Ture.
RON STALLWORTH
Actually, I haven't, I didn't know he
changed his name.
PATRICE
Yes, after he moved to Africa. He
took the names of Kwame Nkrumahm of
Ghana and his Mentor Sekou Toure of
Guinea to honor The Great Leaders.
RON STALLWORTH
That's Heavy. I can dig that. Do you
know how he got to Colorado Springs?
PATRICE
The Colorado College Black Student
Union brought him in.
RON STALLWORTH
You ah, you with Black Student Union.
PATRICE
I'm The President.
RON STALLWORTH
Right On. Right On.
Ratings
Scene 8 - Empowerment at Bell's Nightingale
The Club is PACKED, a Sea of Black Faces punctuated by an
occasional White Face. Ron moves through The Crowd. He avoids
direct Eye Contact, trying like Hell to act casual.
Ron steps to The Bar and signals The BARTENDER JABBO, 60's,
Black.
RON STALLWORTH
Rum and Coke with Lime.
As Jabbo makes his Drink, something catches Ron's Eye.
Patrice exits a door with several Black Bodyguard's.
Ron observes as a Tall figure exits with Patrice as they near
The Stage. The Tall figure hangs back covered by The
Bodyguards.
Ron on his feet, Black Fist in the air with The Crowd.
Patrice on Stage with Kwame Ture with her Fist raised too.
The Shouting and Chanting finally cease, as Patrice speaks.
PATRICE
The Black Student Union of Colorado
College is honored to bring The
Vanguard of Revolutionaries fighting
for The Rights of Black People all
over The World. Let's show some Black
Love to The One and Only, The Former
Prime Minister of The Black Panther
Party, The Brother Man with The Plan
who's giving it to the Man, put your
Hands together my People... for Our
Kwame Ture.
PANDEMONIUM! As Kwame Ture walks onto a small raised stage
with Patrice. The entire place rises to their Feet, Fists
Raised, Clapping, Shouting "Ungawa Black Power!" Ron watches
as Patrice and Kwame hug. Patrice then leaves the Stage.
Kwame soaks in the Crowd's reaction, until...
KWAME TURE
Thank you all for coming out tonight,
My Beloved Sista's and Brotha's. I
Thank you...
CLOSE - KWAME TURE
towering at Six Feet-Four with an infectious smile and
Flawless Dark Skin, he's oozing Charisma out of every pore.
He stands behind a small podium.
KWAME TURE (CONT'D)
...I'm here to tell you this evening
it is time for you to stop running
away from being Black. You are
College Students, you should think.
It is time for you to understand that
you as The growing Intellectuals, The
Black Intellectuals of this Country,
you must define Beauty for Black
People.
The Black Students in The Audience are laser focused on him.
KWAME TURE (CONT'D)
Beauty is defined by someone with a
Narrow Nose, Thin Lips, White Skin.
You ain't got none of that. If your
Lips are Thick, Bite them in. Hold
your Nose! Don't drink Coffee because
it makes you Black!
The Audience laughs! Loving it.
KWAME TURE (CONT'D)
Your Nose is Boss, your Lips are
Thick, you are Black and you are
Beautiful!
Everyone cheers including Ron!
KWAME TURE (CONT'D)
We want to be like The White people
that oppress us in this Country and
since they hate us, we hate
ourselves. You dig Tarzan? I remember
that when I was a Boy I used to go
see Tarzan Movies on Saturdays. White
Tarzan used to Beat up The Black
Natives. I would sit there yelling
"Kill The Beasts, Kill The Savages,
Kill 'Em!" Actually I was saying:
"Kill Me." It was as if a Jewish Boy
watched Nazis taking Jews off to
Concentration Camps and cheered them
on. Today, I want The Chief to beat
The Hell out of Tarzan and send him
back to Europe. But it takes time to
become Free of The Lies and their
shaming effect on Black Minds. It
takes time to reject the most
Important Lie: that Black People
inherently can't do the same things
White People can do unless White
People help them.
The Audience laughing, overwhelmed, shouting back support! A
ROAR from The Crowd. Ron finds himself clapping along.
RON STALLWORTH
Right on!!! Right On!!!
KWAME TURE (CONT'D)
The White West are the most Violent
People on The Face of The Earth. They
have used Violence to get everything
they have. And yet, they're the First
to talk about Violence. I never get
caught up with Violence. As a matter
of fact, one of my Favorite Quotes
that stops all the talk about it is
from Sartre: "What then did you
expect when you unbound The Gag that
muted The Black Mouth? That they
would chant your praises?
KWAME TURE (CONT'D)
Did you think that when those Heads
that our Fathers had forcefully bowed
down to the ground were raised again,
you would find adoration in their
eyes?" That's Jean-Paul Sartre, not
me.
Ron looks around at everyone caught up in Kwame's spell.
KWAME TURE (CONT'D)
If a White Man wants to Lynch Me,
that's his Problem. If he's got The
Power to Lynch Me, that's My Problem.
Racism is not a question of Attitude;
it's a question of Power.
Ron is struck by the remark.
KWAME TURE (CONT'D)
It is White Power that makes The Laws
and it is Violent White Power in the
form of armed White Cops that
enforces their Laws with Guns and
Nightsticks. The vast majority of
Negroes in this Country live in
Captive Communities and must endure
their conditions of Oppression
because and only because they are
Black and Powerless. Now We are being
shot down like Dogs in the streets by
White Racist Policemen. We can no
longer accept this Oppression without
retribution. The War in Vietnam is
Illegal and Immoral. I'd rather see a
Brother Kill a Cop than Kill a
Vietnamese. At least he's got a
reason for Killing The Cop. When you
Kill a Vietnamese you're a Hero and
you don't even know why you Killed
him. At least if you Kill a Cop
you're doing it for a reason.
Another Applause Break. Ron listens, challenged, torn.
Ratings
Scene 9 - Rallying Cry for Liberation
Kwame holds The Crowd in The Palm of his Hand. They stand
rapt as he reaches his rousing Finale.
KWAME TURE (CONT'D)
We are on The Move for Our
Liberation.
KWAME TURE (CONT'D)
We're tired of trying to prove things
To White People. We're tired of
trying to explain to White People
that we're not going to hurt them. We
are concerned with getting things We
want. The thing we have to have to
function. The question is, Will White
People overcome their Racism and
allow for that to happen in this
Country? If not, We have no choice
but to say very clearly, "Move on
over or We're going to move over
you," sure as the Night follows day.
Members of the Audience who were sitting already are rising
to their Feet...
CLOSE - RON
sits, claps vigorously, as if forgetting he is Undercover...
Kwame is on a Dynamic Roll!!!
CLOSE - TURE
KWAME TURE (CONT'D)
Let me remind you of a Poem By Prime
Minister Winston Churchill read when
England was getting ready to Attack
Germany. It Was written by a Black
Man named Claude McKay from Jamaica
and He wrote it for Black People. It
is called "IF WE MUST DIE". It is our
Poem Today in The United States. "If
We must Die, let it not be like Hogs
Hunted and Penned in an Inglorious
Spot While round us Bark The Mad
Hungry Dogs Makin Their Mock at Our
Accursed Lot. If We must Die, O let
Us Nobly Die, So that Our Precious
Blood may not be Shed In Vain; then
even The Monsters We Defy Shall be
constrained to Honor us though Dead O
Kinsmen!!! We Must meet The Common
Foe!!! Though Far Outnumbered Let Us
Show Us Brave And for their Thousand
Blows deal One Deathblow! What though
before us lies The Open Grave? Like
Men we'll face The Murderous,
Cowardly Pack Pressed to The Wall,
dying, but Fighting Back!"
The Black Crowd Cheers.
KWAME TURE (CONT'D)
That's Brother Claude McKay, not me.
In closing I know it's getting late,
may I leave you Sista's and Brothers
with these Last Words. "If I am not
for myself, who will be? If I am for
myself alone, who am I? If not now,
when? And if not you, who?" We need
an Undying Love for Black People
wherever We may be. Good Night and
POWER TO THE PEOPLE, POWER TO THE
PEOPLE.
The BLACK MASS STANDS AS ONE WITH KWAME TURE.
KWAME TURE AND BLACK MASS
POWER TO THE PEOPLE
POWER TO THE PEOPLE
POWER TO THE PEOPLE
Caught up in the moment, Ron gathers himself, as if
remembering why he is here. Ron takes Patrice's Hand and
raises it in Celebration and Unity!
Ratings
Scene 10 - Conversations of Conflict and Connection
Ron moves down the Greeting Line for Kwame. He watches as
Patrice stands near him. Kwame pulls her in close, whispers
something in her ear. She smiles, a bit smitten.
Ron watches as he finally reaches Kwame, shaking his hand.
RON STALLWORTH
Brother Ture, do you really think a
War between The Black and White Race
is inevitable?
Kwame pulls Ron in close toward his face. Too close.
17 INT. SURVEILLANCE CAR - BELL'S NIGHTINGALE - NIGHT 17
Chuck and Jimmy wearing Headphones listening react to ear-
splitting Audio feedback.
18 INT. BELL'S NIGHTINGALE - NIGHT 18
Ron stands mid-grip with Kwame. Nerves pinballing. Kwame
lowers his voice, looking around conspiratorially.
KWAME TURE
Brother, arm yourself. Get ready.
The Revolution is coming. We must
pick up a Gun and prepare
ourselves...Trust me, it is coming.
Kwame pulls back. Returns to his normal speaking voice.
KWAME TURE (CONT'D)
Thank you for your support, Brother.
19 EXT. BELL'S NIGHTINGALE - FRONT ENTRANCE - NIGHT 19
Ron is waiting outside as Patrice steps out. Ron nears her.
RON STALLWORTH
I don't know what you have planned
now but maybe I could buy you a
Drink?
PATRICE
I'm waiting for Kwame, I have to make
sure he gets back safely to the Hotel
and he's squared away.
RON STALLWORTH
I can dig it.
Ron starts to walk away.
PATRICE
Maybe, if it's not too late, I'll
meet you at The Red Lantern. You know
where that is?
RON STALLWORTH
I do.
PATRICE
So I'll see you then.
RON STALLWORTH
Cool. Power to The People.
Ratings
Scene 11 - Racial Harassment at the Red Lantern Inn
Ron sits at The Bar waiting for Patrice. He looks at his
watch having been there a while. He finishes his Rum and
Coke with Lime watching the door open but it is not Patrice.
He decides to call it a Night, stepping off his stool, paying
his Tab to BRO POPE, The Bartender when...
PATRICE
Sorry I'm late...
Patrice is right there near him. She flops down on the Bar
stool, exhausted.
PATRICE (CONT'D)
My sincere apologies, you won't
believe what happened.
Patrice says to Bro Pope, The Bartender.
PATRICE (CONT'D)
Bro Pope, Seven and Seven, please...
The Pigs pulled us over.
RON STALLWORTH
Say what?
PATRICE
Yeah, they knew Kwame was in Town.
Made us get out the Car. Pigs pulled
us over for no reason. Total
harassment.
RON STALLWORTH
True?
PATRICE
Truth, you know how they are.
CUT TO:
21 EXT. COLORADO SPRINGS STREET - NIGHT 21
The Car is pulled over and a Uniformed Cop gets out his Squad
Car revealing Sgt. Morris. He instructs them all with his
hand on his Revolver.
PATRICE (V.O.)(CONT'D)
Yeah, we were guilty of being Black
while driving in America!!!
SGT. MORRIS
All right everybody out the vehicle.
Now!!!
Kwame, Patrice and Two other Black Colorado College Students,
HAKIM and LEON, both Black 20's, climb out of the vehicle.
Sgt. Morris pushes Kwame against the Car.
SGT. MORRIS(CONT'D)
I don't wanna see nuthin' but Black
Asses and Black Elbows. Spread 'em!!!
Kwame, Patrice, Hakim and Leon are all Spread Eagle against
the Car. Sgt. Morris pats them down. Another Police Cruiser
pulls up. TWO MORE COPS, SMITH and WESSON, both White 50's,
get out and observe.
CLOSE - SGT. MORRIS
He takes Extra Time patting down Patrice getting in some
"Groping" in for Good Measure.
SGT. MORRIS(CONT'D)
Search The Car. I know these Niggers
are holding something.
Wesson and Smith enter Patrice's Car, searching it. Sgt.
Morris turns Kwame around, facing him.
OFFICER MORRIS (CONT'D)
You that so called Big Shot Panther
Nigger aren't you. Heard you was in
Town.
KWAME TURE
My Name is Kwame Ture... Are We
Guilty of "Drivin' While
Black"?...PIG!!!
Sgt. Morris stares him down for a moment. You think he's
gonna slug him but he thinks better. The other Cops go
through the Car searching, throwing things around.
OFFICER MORRIS
I know you Black Bastards are
holding. What you got in there some
Weed, Pills, Heroin?
Patrice, Kwame and the others just stare back, silent.
WESSON
It's clean.
Nothing more to say. Sgt. Morris gets in Patrice's Face.
SGT. MORRIS
You get this Black Panther outta'
Colorado Springs before Sunrise. Hear
ME???
CUT BACK TO:
22 INT. RED LANTERN INN - NIGHT 22
Patrice at the Bar with Ron, he is stunned.
RON STALLWORTH
Did you see the Officer's names?
PATRICE
I know I should have but the whole
thing was so frightening... I didn't.
Bro Pope, The Bartender sets the Drink down. Patrice takes a
Drink, her hand shaking. Ron observes.
RON STALLWORTH
I'm sorry.
Patrice nods, pulls herself together. Ron looks at her,
softly touches her on her back, trying to comfort, thinking
to himself, torn in many directions.
Ratings
Scene 12 - Tensions in the Night
Jimmy removes Ron's Wire while Chief Taggert watches.
CHIEF TAGGERT
What was the Room like?
RON STALLWORTH
Folks were hanging on every word.
CHIEF TAGGERT
He had them pretty riled up?
RON STALLWORTH
But I'm not sure that means Black
Folks were ready to start a Riot.
CHIEF TAGGERT
What makes you think that?
RON STALLWORTH
Nobody was talking about that. That
wasn't the Mood. Everybody was Cool.
CHIEF TAGGERT
He told a Crowd of "Black Folks" to
get ready for a Race War. That they
were going to have to arm themselves.
What about that?
RON STALLWORTH
Yeah, he said that but I think that
was just talk. You know, Rhetoric.
CHUCK (O.S.)
That's what I thought too.
Ron looks over at Chuck taking the Reel off The Reel to Reel.
CHIEF TAGGERT
Thank God Carmichael has left
Colorado Springs.
RON STALLWORTH
Kwame Ture.
CHIEF TAGGERT
What?
RON STALLWORTH
He changed his name from Stokely
Carmichael to Kwame Ture.
Chief Taggert humored by as if he is suppose to care.
CHIEF TAGGERT
Sure.
Chief Taggert starts to leave the room. Ron decides to say
it.
RON STALLWORTH
Did you hear the Story Patrice told
me about how the CSPD pulled over her
and Ture?
Chief Taggert stops, drinks in the question. Everything goes
silent. He then gives Ron a deliberate look.
CHIEF TAGGERT
No. We didn't hear that.
From Chief Taggert's look, Ron knows he did. Jimmy, Chuck
stare at Ron. A Big White Elephant in the room.
CHIEF TAGGERT (CONT'D)
Patrice. She's the one from The Black
Student Union? They brought Too-Ray
in.
RON STALLWORTH
Kwame Ture, Correct.
CHIEF TAGGERT
You got pretty Chummy with her?
If Ron pushes it more he know it will go bad. He drops it.
RON STALLWORTH
Just doing my job, Chief. Undercover.
CHIEF TAGGERT
Yeah and it better not be Under the
Cover Of The Sheets.
RON STALLWORTH
I would never jeopardize a Case...
CHIEF TAGGERT
...Prepare an In-Depth Report and
leave it at my desk. Report back to
your regular assignment tomorrow.
Ron takes this in. Dejected. Chief Taggert leaves.
JIMMY
Good work.
Ron nods, appreciative. Chuck walks away without another
word.
Ratings
Scene 13 - A New Assignment
Ron is behind the counter, filing.
CHIEF TAGGERT (O.S.)
Ron.
Ron looks up. Officer Clougherty looks up from a Magazine.
CHIEF TAGGERT (CONT'D)
Let's take a walk.
Officer Clougherty gives a smirk thinking Ron's in trouble.
25 INT. HALLWAY - CSPD - DAY 25
Chief Taggert and Ron walk down the hall.
CHIEF TAGGERT
I read your Report. Excellent work,
slept on it- I'm transferring you
into Intelligence.
RON STALLWORTH
What will I be doing, Chief?
Chief Taggert stops and looks at him.
CHIEF TAGGERT
Intelligence.
Chief Taggert walks off. Ron stands there, Jacked!!!
26 STOCK FOOTAGE 26
BOOM!!! FOOTAGE of The Kent State Shooting by National
Guardsmen. The Jackson State Shooting by Jackson Mississippi
Police. Boom!!! Greenwich Village Town House Blows up and
Fireman put out the Fire. A Bomb by the Weather Underground
has gone off prematurely. Ron speaks as The Stills and
Footage continue of The Attacks!
RON STALLWORTH (V.O.)
The Seventies was a Radical Time.
The Murder of Four Students at Kent
State during an Anti-War Protest made
Young People Madder than Hell.
RON STALLWORTH (V.O.) (CONT'D)
While The Murder of Two Black
Students at Jackson State By Jackson,
Mississippi Police was swept under
The Rug. There were too many Left
Wing Radical Groups to count: The
United Freedom Front, The Weathermen
Underground, an Off shoot of SDS,
FALN, Black Panthers, Black
Liberation Front, New World
Liberation Front and Kidnapped
Heiress Patty Hearst and the
Symbionese Liberation Army. There
were Bombings at Fresno State,
University of Wisconsin-Madison, The
City Hall in Portland. It was The War
At Home. Like the T.V. Show Mission
Impossible, My assignment - if I
wanted to accept it, was to keep tabs
on these Groups...locally. Here we
had...
There are Stills of these Groups ending on Patrice and The
Black Student Union Members at Freedom House.
RON STALLWORTH (V.O.)(CONT'D)
...the Progressive Labor Party PLP,
Committee Against Racism CAR and
INCAR International Committee Against
Racism and Patrice and her Black
Student Union Members at Colorado
College. But there was One More.
Ratings
Scene 14 - Undercover Blunders
Ron at his desk in The Intelligence Office in Street Clothing
among his COLLEAGUES. He sips Lipton Tea with Honey and
looking through various Publications. He then picks up The
Colorado Springs Gazette Newspaper.
CLOSE - Classifieds section of the Newspaper. In the bottom
right corner, in small print:
CLOSER - Ku Klux Klan - For Information, Contact 745-1209
Ron thinks a moment. Then grabs the phone. Dials.
After a few Rings, a Pre-Recorded Message Pops On:
PRE-RECORDED MESSAGE
You have reached The Colorado Springs
Chapter of The Ku Klux Klan. Please
leave a message... God Bless White
America.
There's a BEEP...
CLOSE - RON
RON STALLWORTH
Hello, this is Ron Stallworth
calling. Saw your Advertisement in
The Colorado Springs Gazette. I'm
interested in receiving some Reading
Materials. My Phone Number is 403-
9994. Looking forward to you
returning my call. God Bless White
America.
ANGLE - ROOM
Ron hangs up.
Chuck at another Desk spins around looking at Ron like he has
3 Heads.
CHUCK
Did I just hear you use your Real
Name?
RON STALLWORTH
Motherfucker!!!
CHUCK
Yeah, Motherfuckin' Amateur Hour.
What were you thinkin'?
RING!!! RING!!! Ron's Phone. Chuck and Ron stare at it. Chuck
gestures to answer it.
RON STALLWORTH
Motherfuckin' wasn't.
CHUCK
You dialed. Pick it up.
RING! RING! Ron finally answers.
RON STALLWORTH
This is Ron.
Through the Receiver, a Gravelly, Secretive Voice.
DEEP THROAT (O.S.)
This is Ken. Returning your call...
From The Organization.
RON STALLWORTH
The Organization?
DEEP THROAT (O.S.)
Yes. Well we appreciate your
interest. So what is your Story, Ron?
Ron looks around. Shrugs. Might as well do it...
RON STALLWORTH
I Hate Niggers, Jews, Mexicans,
Spics, Chinks but especially Niggers
and anyone else that does not have
pure White Aryan Blood running
through their Veins.
All Heads in the Unit turn toward Ron.
RON STALLWORTH (CONT'D)
In fact, my Sister was recently
accosted by a Nigger...
Ron is snarling now, every ounce of his Voice projecting
White Supremacist Hate. He is utterly convincing.
RON STALLWORTH (CONT'D)
...Every time I think about that
Black Baboon putting his Filthy Black
Hands on her White as Pure Driven
Snow Body I wanna Puke!!!
Silence on the other end of The Line.
DEEP THROAT (O.S.)
You're just the kind of Guy we're
looking for. When can we meet?
Chuck, Jimmy and all the other White Undercover Cops are
Rolling their Eyes. Stepping away, shaking their heads. Some
wanting to laugh but DON'T.
RON STALLWORTH
How about Friday night? After I get
off work?
The other Cops are losing their minds, Quietly.
DEEP THROAT (O.S.)
Fantastic! I'll get back to you with
details. Take care, Buddy Boy.
RON STALLWORTH
Looking forward to meeting you.
Ron looks around. Everyone in the Unit is standing around his
desk. All White Faces. Looking on, astonished.
CHUCK
Good Luck Ron with your New Redneck
Friend.
The Undercover Gang Cracks Up!
Ratings
Scene 15 - Infiltrating the Klan: A Bold Proposal
Ron is facing Sergeant Trapp, who sits at his desk, Jaw hung
slightly open.
SGT. TRAPP
They want you to join The Klan?
RON STALLWORTH
Well... they want to meet me First.
SGT. TRAPP
They want to meet you.
RON STALLWORTH
I'll need another Undercover to go in
my place.
SGT. TRAPP
Yeah... you probably shouldn't go to
that meeting.
RON STALLWORTH
You think?
Everyone has a Chuckle.
SGT. TRAPP
We'd have to go to Narcotics. Meaning
we'd have to deal with Taggert.
RON STALLWORTH
Damn.
29 OMITTED 29
30 OMITTED 30
31 INT. OFFICE OF THE CHIEF OF POLICE - DAY 31
A spacious office, its walls brimming with Books. Chief
Taggert sits behind a wooden desk, his gaze thoughtful.
CHIEF TAGGERT
This is a first for me.
Ron and Sgt. Trapp sit opposite the desk.
Chief Taggert thinks a moment.
CHIEF TAGGERT (CONT'D)
When is this meeting?
SGT. TRAPP
48 hours.
CHIEF TAGGERT
I can't spare any Men.
SGT. TRAPP
I've looked over your Logs and it
seems you can spare them.
CHIEF TAGGERT
Sgt. Trapp, Ron spoke to the Man on
the phone. When they hear the Voice
of one of my Guys, they'll know the
difference.
RON STALLWORTH
Why so, Chief?
CHIEF TAGGERT
Want me to spell it out? He'll know
the difference between how a White
Man talks and a Negro.
RON STALLWORTH
What does a Black Man talk like?
Silence.
SGT. TRAPP
Ron, I think what The Chief is trying
to say is...
RON STALLWORTH
...If you don't mind, I'd like to
talk for myself. How exactly does a
Black Man talk?
CHIEF TAGGERT
You know... YOU KNOW!!!
RON STALLWORTH
Chief, some of us can speak King's
English and Jive. I happen to be
fluent in both.
CHIEF TAGGERT
Ron, how do you propose to make this
investigation?
RON STALLWORTH
I have established contact and
created some familiarity with The
Klansmen over the phone. I will
continue that role but another
Officer, a White Officer, will play
Me when they meet Face to Face. In
essence, there will be Two Ron
Stallworth's, a Black One and a White
One. Of course the challenge is to
convince The Klan at all times they
are dealing with only ONE Ron
Stallworth...THE WHITE RON
STALLWORTH!!!...
CHIEF TAGGERT
...My Point Exactly!!!...
Ron continues talking to Chief Taggert.
RON STALLWORTH
...This other Officer and I will need
to work very closely together. We'll
need to know ever aspect of each
other's dealings with The KKK. Black
Ron Stallworth on The phone and White
Ron Stallworth Face to Face. Every
detail will be critical. We'll have
to create a Flow between us so we
never drop a Beat. So there becomes a
combined Ron Stallworth.
CHIEF TAGGERT
Can you do that?
RON STALLWORTH
I believe we can... With The Right
White Man.
32 INT. HALLWAY - CSPD - DAY 32
Ron steps outside and Chief Taggert follows him.
CHIEF TAGGERT
If anything happens to my Man there
won't be Two Ron Stallworth's.
They'll be none.
Ratings
Scene 16 - Undercover Preparations
Jimmy tapes a wire to Chuck's Chest. The adhesive curls up,
and Jimmy presses down harder.
CHUCK
Can't believe I'm doing this. Hey,
Jimmy when's the last time they let a
rookie head up an investigation. Oh
that's right, NEVER.
Ron holds his tongue. Jimmy is finished taping him up.
JIMMY
The Mic has been cutting in and out
lately, so watch that.
Ron sidles up to Chuck, plops a Trucker Hat on him. Chuck
turns to Ron outfit on display.
CHUCK
This meet your approval... Sir?
RON STALLWORTH
A Cracker. Perfect for the part.
Chuck gets the joke, frowns, pulling a shirt over The Wire.
RON STALLWORTH (CONT'D)
Let's hear it again.
CHUCK
This is the last damn time. Got it.
RON STALLWORTH
Indulge me...
CHUCK
... Ron Stallworth. I do Wholesale
Manufacturing.
RON STALLWORTH
Whereabout?
Chuck sighs.
CHUCK
Pueblo.
JIMMY
What's that commute like?
CHUCK
Straight-shot down I-25. Hour tops.
RON STALLWORTH
Long ride. What do you listen to?
CHUCK
KWYD. Christian Talk in The Morning,
although the Signal starts to cut out
near Pueblo. On the way back I go for
102.7 to get my AC/DC Fix. Only I
have to change The Station every time
that Fag Freddie Mercury pipes on.
RON STALLWORTH
Remember you've got to retain the
details of what you share with them
so I can be White Ron Stallworth.
CHUCK
Jimmy, I always wanted to grow up to
be Black. As a Kid all my Heroes were
Black Guys. Willie Mays, Wilt The
Stilt but my favorite is O.J.
JIMMY
Love Fuckin' O.J.
RON STALLWORTH
Well, don't share your Love of The
Brothers with these Guys. It's
strictly Ajax White Knight Love of
White Folks.
CHUCK
I get to play you but you don't get
to play me. Jimmy, I'd get a kick
outta seeing somebody playing me.
RON STALLWORTH
Oh, I get to play you and Jimmy and
all the other guys in the Station...
Everyday.
Chuck doesn't understand, he looks at Jimmy. Both befuddled.
RON STALLWORTH (CONT'D)
Who are you meeting?
CHUCK
Ken O'Dell.
RON STALLWORTH
Become Ken's Friend, get invited
back.
CHUCK
Is that it, Sir?
JIMMY
I'd try to leave out the part where
your Ancestors Killed Jesus Christ.
Ron shoots Chuck a look.
RON STALLWORTH
You're Jewish?
Ratings
Scene 17 - Tension in the Shadows
Ron and Jimmy sit in an Unmarked Car. Several yards away,
Chuck stands in The Lot, leaning up against a Boxy Sedan.
35 INT. UNMARKED CAR - NIGHT 35
Ron watches through Binoculars as a Beat-Up, Ivory-colored
Pickup Truck pulls in.
BINOCULARS POV: from the Truck's license plate to a
Confederate Flag Bumper Sticker that reads WHITE PRIDE.
RON STALLWORTH
It's Ken.
Ron writes down The Truck's Plate Number: KE-4108.
36 EXT. KWIK INN DINER - PARKING LOT - NIGHT 36
A White Male, BUTCH, 30's, steps out of The Pickup Truck. He
wears Corduroy Pants, Uncombed Hair to his Neck and a Fu
Manchu. He pulls on a Cigar.
BUTCH
Ron Stallworth?
CHUCK
That's me. And you must be Ken.
BUTCH
Name's Butch.
CHUCK
I was told I'd be meeting with Ken
O'Dell.
BUTCH
Change of plans, Mack. I'm gonna need
you to hop in The Pickup.
Even with his slouched shoulders, Butch towers over Chuck.
CHUCK
Okay, well how about I just follow
you...
BUTCH
...No Can Do. I gotta take you.
Security.
37 INT. UNMARKED CAR - NIGHT 37
Ron and Jimmy each wear Headphones, listening in. They look
at each other...
38 EXT. KWIK INN DINER - PARKING LOT - NIGHT 38
Chuck glances in the direction of Ron's Car, then pulls open
the rusty passenger door of Butch's Pickup.
39 EXT. HIGHWAY - NIGHT 39
The Pickup flies past. Ron and Jimmy are behind and gaining.
40 INT. BUTCH'S TRUCK - NIGHT 40
Butch adjusts his Rear-View Mirror. Eyes it suspiciously.
BUTCH
You for White Supremacy, Ron?
CHUCK
Hell Yeah!!! Been having some trouble
lately with Local Niggers.
BUTCH
Since The Civil War it's always
trouble with Niggers.
Ken said something about your Sister?
CHUCK
Makes me wanna Puke just thinkin'
'bout it.
41 EXT. HIGHWAY - NIGHT 41
The Pickup speeds up, increasing the distance between the Two
vehicles. Ron's car accelerates.
42 INT. BUTCH'S TRUCK - NIGHT 42
Chuck eyes Ron's Car in the Side-View mirror.
CHUCK
But it's also the, like, camaraderie
I'm looking for, with The Klan.
BUTCH
Da Fuck did you say?
CHUCK
Camaraderie...?
BUTCH
No. The other word.
CHUCK
The Klan...?
BUTCH
...Not "The Klan." It's The
Organization. The Invisible Empire
has managed to stay Invisible for a
reason. Do Not Ever Use That Word.
You understand?
CHUCK
I overstand... Right. The
Organization.
An uncomfortable silence. Butch leers into the Rear-View
mirror.
BUTCH
Check this Shit out... you're never
gonna believe it.
CHUCK
What?
BUTCH
There's a Nigger on our Bumper.
Chuck Freezes.
Ratings
Scene 18 - Tension in the Night
JIMMY
He sees us. Back Off.
Ron eases on the Gas.
44 INT. BUTCH'S TRUCK - NIGHT 44
One hand on The Steering Wheel, Butch opens The Glove
compartment in front of Chuck's knees and grabs a Box of
Ammunition.
BUTCH
Let's be ready, case we gotta go and
shoot A Alabama Porch Monkey.
He tosses The Box onto Chuck's lap.
BUTCH (CONT'D)
Look under your seat. Pull it out.
CHUCK
Pull out what?
Butch snaps his finger at Chuck, who jumps.
BUTCH
Under the seat!!!
Chuck reaches to his Feet. Pulls out a SAWED-OFF SHOTGUN.
BUTCH (CONT'D)
Load 'er up. One in The Chamber.
CHUCK
Is it really necessary...?
BUTCH
...I don't recall askin' your opinion
on this matter. Load it.
Chuck dutifully opens up The Box. Pulls out a Shell. Loads it
into The Chamber and pulls the action forward.
CHUCK
Ready to go.
Butch eyes The Rear-View Mirror again. Ron's Car has drifted
much farther back. Butch puffs away at his Cigar.
BUTCH
That's right, Porch Monkey. Don't be
Messin' with us.
CHUCK
The Organization.
BUTCH
Not so fast, Buddy Boy.
45 EXT. CORNER POCKET LOUNGE - PARKING LOT - NIGHT 45
Butch's Pickup turns into The parking lot of A Confederate
Bar.
46 INT. UNMARKED CAR - NIGHT 46
Eyeing The Truck, Ron and Jimmy breathe a sigh of relief.
RON STALLWORTH
Just a Bar.
Ron drives past the lot.
RON STALLWORTH (CONT'D)
Think he got a good look at My Face?
Ratings
Scene 19 - Undercover Tensions
A Cramped and Unfriendly Dive. LOW-LIFES mill about. The Air
filled with Dense Smoke. Pool Balls CRACK-SMACK.
Butch leads Chuck to The Bar Area, where KEN O'DELL, White
Male, 30's, (DEEP THROAT) stands. Ken is affable by nature,
Short and Stocky, with a Crew Cut and small Mustache.
KEN
Ron. Glad you could make it. Ken
O'Dell, Chapter President.
They shake hands.
CHUCK
I appreciate you inviting me out.
Butch lingers like a Bad Smell. Beside him a Drunk Man, DUANE
20's, gives Chuck The Stink Eye.
KEN
I've been impressed talking to you
over The Phone. I feel you have some
fine ideas that could help The Cause.
CHUCK
I meant every word I said.
Chuck's a Natural.
KEN
How 'bout some pool?
Duane hands Chuck a Pool Stick and gathers the Balls.
KEN (CONT'D)
I've had my own share of Run-Ins with
Niggers. Matter of fact, it's part of
what led me to The Organization.
CHUCK
That right?
KEN
It became my salvation. After I was
shot and wounded by some Niggers. And
my Wife... Savagely Raped by a whole
Pack of 'EM.
Chuck nods, expertly feigning sympathy.
48 INT. UNMARKED CAR - NIGHT 48
Ron and Jimmy each wear Headphones, listening in.
JIMMY
Never happened.
Ron cracks a smile.
49 INT. CORNER POCKET LOUNGE - NIGHT 49
Ken and Chuck continue to play pool.
KEN
They're taking over. That's all you
see on the TV. Anymore. Niggers.
Niggers selling Soap, Niggers selling
Automobiles, Niggers selling
Toothpaste, Niggers, Niggers,
Niggers.
DUANE
Wasn't long ago them Sumbitches
wasn't on no TV.
KEN
You forgetting Uncle Ben and Aunt
Jemima.
DUANE
Dang!!! How I forget dem' Niggers?
Duane shakes hands with Chuck.
DUANE (CONT'D)
Name's Duane, by the way.
50 INT. UNMARKED CAR - NIGHT 50
RON STALLWORTH
Mad at Sanford and Son and Flip
Wilson.
Ratings
Scene 20 - Camaraderie in Darkness
KEN
I'm a Fireman on the Lakewood Fire
Department. All you get now is how we
gotta' cater to them. We gotta' get
us some "Minorities" in the
Department. Watch ya' mouth, don't
say this, don't say that, be nice,
they're not Negroes, they're not
Colored, they're Black now.
BUTCH
They're fuckin' Goddamn Niggers!
KEN
Shit, we live up there together in
the Fire House, all of us as a Team,
We don't need some stinkin' Coons
sleeping up there with us. For Fuck's
sake!!!
Chuck shakes his head.
CHUCK
I been saying this stuff for years.
BUTCH
You ain't the only one.
CHUCK
You don't know how good it is to hear
someone that gets it.
Chuck looks around. Gets quiet.
CHUCK (CONT'D)
What kinda stuff you Guys do?
Duane swigs his Beer.
DUANE
You know, Cross burnings. Marches and
stuff so people don't Fuck wit' us.
CHUCK
I'm tired of people Fuckin' with me.
KEN
You come to the right place cuz'
Nobody Fucks with us. How much you
know about The History?
CHUCK
Some...I could know more.
KEN
We'll teach you.
DUANE
This year's gonna be big for us.
CHUCK
How so?
Duane moves in closer. Balls his hand in a fist, then opens
it quickly.
DUANE
BOOM!!! We're gonna make Fireworks,
yes we are...
Ken swoops in.
KEN
...Duane talking nonsense again? Kid
can't hold his Beer fer Shit. The
Organization is strictly Non-
Violent...
DUANE
...Like dat Dead Nigger Martin Luther
Coon.
CHUCK
Gotcha.
Chuck looks down at his Shirt -- the Top Button has flapped
off again. The next button would mean The End. CURTAINS.
He quickly buttons it. Then...
KEN
Say, Ron? Mind coming with me?
CHUCK
Where to?
BUTCH
You Undercover or something? You ask
too many questions. Let's GO!!!
Behind Ken, Butch is Laser-Focused on Chuck's every move.
Chuck sees it.
Ken points to a door. Chuck walks forward, with Ken, Duane,
and Butch tailing from behind.
Ratings
Scene 21 - Identity Tested
JIMMY
Where they going?
Ron's Face falls.
RON STALLWORTH
Lost the damn signal.
53 INT. BACK ROOM - CORNER POCKET LOUNGE -NIGHT 53
The Men move single-file through the door, Chuck first. It's
a small room, with a wooden table and some rickety chairs.
KEN
Congrats you passed The Mustard.
Ken exchanges uneasy looks with Butch.
KEN (CONT'D)
Thought we'd get the Membership
process started.
Chuck can breathe again.
CHUCK
Now we're talkin'.
Ken hands Chuck a stack of papers.
KEN
Fill these out and Mail 'em to The
National Headquarters. Once they send
your Membership Card, you'll be able
to participate in our Programs.
Chuck sings The Alcoa Jingle.
CHUCK
Alcoa Can't wait.
DUANE
I like that Commercial.
KEN
Membership Fees: Ten Dollars for The
Year. Fifteen Dollar Chapter Fee.
Robes and Hood not included, that's
Extra.
BUTCH
Fuckin' Inflation.
Chuck shakes hands with all.
CHUCK
I can't thank you Brothers enough.
KEN
Pleasure, is all ours.
Butch and Duane give polite nods.
KEN (CONT'D)
I'll take you back to your Car.
As Chuck turns to leave...
BUTCH
You're not a Jew, right?
Chuck stops.
CHUCK
You trying to offend me?
Chuck turns to Ken: you believe this Shit?
BUTCH
It's Protocol.
All eyes on Chuck. His face flares with rage.
CHUCK
'Course I'm no Stinkin' Kike.
KEN
We gotta ask it, is all. I'm
satisfied. How about you Guys?
Duane nods. Butch just stares.
BUTCH
Smells good to me.
Ratings
Scene 22 - Wire Removal and Klan Absurdities
Ron helps Chuck rip The Wire off his Chest.
CHUCK
You have me dressed like one of
the Beverly Hillbillies for
Chrissakes. I felt too Redneck for
those Guys.
RON STALLWORTH
They liked you.
CHUCK
Except for that Butch guy. And didja
have to ride his Bumper like that?
RON STALLWORTH
You got The Papers. They want you to
join.
CHUCK
Technically they want you to join.
RON STALLWORTH
They want a Black Man to join The Ku
Klux Klan. I'd call that Mission
Impossible Double Success.
CHUCK
Remember what Yogi Berra said "It
Ain't Ovah 'Till It's Ovah".
RON STALLWORTH
I never liked The Yankees. I'm a
Brooklyn Dodgers Guy, Jackie
Robinson.
55 INT. SERGEANT TRAPP'S OFFICE - CSPD - DAY 55
Sergeant Trapp sits at his desk, thumbing through The Report.
Ron and Chuck stand across from him.
SGT. TRAPP
And exactly how much should we be
worrying about them?
RON STALLWORTH
Enough that we'd like to dig deeper.
One of the Men discussed plans for a
possible Attack...
CHUCK
...I wouldn't give him that much
credit. These Yahoos like to Boast.
SGT. TRAPP
What kind of Attack?
Ron looks to Chuck.
CHUCK
Duane said "BOOM", mentioned
something about Fireworks.
Personally, I didn't buy it. Doubt
they're even capable.
Trapp bridges his hands together, contemplating.
RON STALLWORTH
Either way, we're looking for full
support from The Department.
SGT. TRAPP
Taggert might not be happy his Star
Narc is gonna be stuck on this Case.
Ron just stares at Trapp.
Ratings
Scene 23 - Dinner of Dissonance
Ron and Patrice sit across from each other, already eating.
Patrice's attire more lax, but still in her Black Leather
Jacket.
PATRICE
Most Brothers would give up after the
first time they unsuccessfully asked
me out.
RON STALLWORTH
I didn't have a good shot the first
time. You were pretty taken with
Kwame.
They both have to laugh. Patrice thinks back on it.
PATRICE (CONT'D)
The next day when we dropped him off
at the Airport he told me the
Movement needed Strong Sistah's like
me to lead the fight against
Capitalist oppression and The
Politicians and Pigs who perpetuate
it. His words almost made that whole
nightmare worth while...
Ron goes Mute.
PATRICE (CONT'D)
...What's wrong?
RON STALLWORTH
I don't really use that word.
PATRICE
What word?
RON STALLWORTH
Pigs.
PATRICE
What else would you call them?
RON STALLWORTH
Cops... Police...
PATRICE
Bunch of Racist Cops on a Power Trip.
RON STALLWORTH
So you think all Cops are Racist!!!
PATRICE
It only takes One to pull a Trigger
on a Innocent Brother.
RON STALLWORTH
I can't argue with that.
Patrice absorbs all of this.
PATRICE
Why were you at Brother Kwame's
Speech?
RON STALLWORTH
He's got some good ideas. I don't
agree with all of them but he's a
smart Brother who's worth hearing.
PATRICE
Are you Down for The Liberation of
Black People?
RON STALLWORTH
Do we always have to talk about
Politics?
PATRICE
What's more important?
RON STALLWORTH
You ever take any time off from The
Black Revolution?
PATRICE
I, We can't afford too.
Ron reaches across the table and takes Patrice's Hand.
Patrice pulls her Hand back.
RON STALLWORTH (CONT'D)
Angela Davis, can we spend some
quality time together.
PATRICE
And what did you say your J-O-B is?
RON STALLWORTH
Kathleen Cleaver, I didn't?
PATRICE
Are You A Pig?
RON STALLWORTH
You mean A Cop?
PATRICE
You A Cop?
RON STALLWORTH
NO!!! I'm a Black Man who wants to
get to know A Strong, Intelligent,
Beautiful Sista.
Patrice smiles.
Ratings
Scene 24 - Undercover Realities
It's late. Ron is the only Officer working, filling out a
Police Report and sipping a mug of Hot Lipton Tea with Honey.
Suddenly...
The Undercover Line rings. Ron freezes. Picks up the line.
RON STALLWORTH
This is Ron.
KEN (O.S.)
This is Ken. This is Ron? Your Voice
sounds different over The Phone.
Ron has to THINK FAST.
RON STALLWORTH
Allergies acting up again.
A steady Beat of Silence on The Line. Then...
KEN (O.S.)
...Yeah, I get that all the time.
Ron waits for the response.
KEN (O.S.)(CONT'D)
Well, just thought I'd say it was
great having you swing by. The
Brothers really took a liking to you.
Ron squeezes his fist. Victory. Trying to stay nonchalant:
RON STALLWORTH
I'm honored.
KEN (O.S.)
Why don't you come by Butch's this
Saturday? Meet the rest of The
Brotherhood.
58 INT. CSPD HALLWAY - DAY 58
Sgt. Trapp and Ron walk and talk.
SGT. TRAPP
Looks like the thing all these Racist
Groups want now, including the Klan,
is to become Mainstream.
RON STALLWORTH
Really.
SGT. TRAPP
I've got a friend keeps up with these
Groups. He says they're moving away
from the Ole Violent Racist style.
That's what Duke is peddling now.
RON STALLWORTH
Duke?
SGT. TRAPP
David Duke current Grand Wizard of
The Klan but he's clearly got his
Sights on Higher Office.
RON STALLWORTH
Political Office? How so?
SGT. TRAPP
Yeah, I guess they're trying to move
away from Selling Hate and moving
toward Selling Grievance.
RON STALLWORTH
Keep going.
SGT. TRAPP
Affirmative Action, Immigration,
Crime, Tax Reform, Welfare Cheats. He
said no one wants to be called a
Bigot anymore. Archie Bunker made
that too Un-Cool. The idea is in the
guise of all these issues, everyday
Americans can accept it, support it,
until eventually, one day, you get
somebody in The White House that
embodies it.
RON STALLWORTH
America would never elect somebody
like David Duke President of the
United States of America?
Sgt. Trapp just stares at Ron for a long moment.
SGT. TRAPP
For a Black Man, you're pretty naive.
Ratings
Scene 25 - A Warm Welcome to Darkness
Ron rolls to the curb in a Middle Class Neighborhood. He
pulls on Headphones and looks out his Window where...
60 EXT. BUTCH'S HOUSE - FRONT PORCH - DAY 60
A well manicured yard. Pristine. A very Green Healthy lawn.
Chuck rings The Doorbell.
The Screen Door is opened by LOUISE, White Woman, 30's,
Proper and Good-Looking. A Gold Cross dangles from her Neck.
LOUISE
Ron! So nice to meet you. I'm Louise,
Butch's Wife.
Louise hugs him.
CHUCK
Great to meet you.
Chuck walks in. She takes his Coat.
LOUISE
The Boys are right inside. Can I get
you something to drink? Iced Tea,
Fresh-Squeezed Lemonade?
Butch appears, making Chuck jump.
BUTCH
How 'bout a Beer?
CHUCK
Heya Butch. Beer is great.
ANGLE - LIVING ROOM
A handful of KLAN MEMBERS lounge on a Set of Fold-Up Chairs.
There are Chips, Snacks. Present are Duane, Ken and others
among The Small Chapter. They informally greet Chuck.
KEN
Hey! Everybody, Ron. Ron, your Soon-
To-Be Brothers.
61 INT. LIVING ROOM - BUTCH'S HOUSE - DAY 61
A few Beers in The Guys listen as Butch holds Court.
BUTCH
I'm tellin' ya, A War's A Coming. And
if we're not Ready... and Trained...
...and Willing to Fight and Die for
The Stars and Bars that'll be the End
of the Purified White Race as We know
it.
KEN
The End of Civilization.
DUANE
Damn Right...
BUTCH
Not gonna happen as long we can draw
a breath.
Ratings
Scene 26 - Rallying the Brothers
Ron listens in to The Transmitter, taking notes.
63 INT. LIVING ROOM - BUTCH'S HOUSE - DAY 63
Louise enters The Living Room with an Appetizer Platter.
LOUISE
Sorry to interrupt. I have some
Shrimp Cocktail to munch on.
They dig in.
BUTCH
Thanks Honey.
Butch turns to The Brothers.
BUTCH (CONT'D)
Brothers, it's time we go on the
Offensive. I ain't willin' to sit
back and let The Jewish Media kick us
to The Shitter. We need to make some
Noise.
The Klansmen Feed off The Energy.
BUTCH (CONT'D)
Make 'em remember who We Are and What
We Stand For.
LOUISE
I read in The Gazette some Nigger
named Carmichael held a Rally and
there's some College Nigger Girl
Patrice Dumas with the "Baboon
Student Union" attacking Our Police.
This Black Bitch is Dangerous.
Reminds me of that Commie Angela
Davis. We need to shut her mouth.
The Men exchange uneasy looks - Why is Louise in Men's
Business?
LOUISE (CONT'D)
Here, I clipped the Article.
Louise pulls The Article from her apron. Hands it to Butch.
Butch eyes it, focused on an image of Kwame and without
looking up...
BUTCH
That'll be all. Love you Sweetie.
LOUISE
One of these days you're going to
need me to do something for you. Wait
and See.
Louise trudges out of the Living Room without answering.
Butch hands The Clipping to The Klansmen, who pass it around
the room. When it reaches Ken, he sets it down.
KEN
How 'bout We focus on our Bread and
Butter. The Next Cross Burning.
Which, Chuck, you'll be lucky enough
to participate in if your Membership
Card comes soon enough...
CHUCK
...That'd be a tremendous Honor.
Where?
KEN
The Highest Hills get the most Eyes.
Ken looks for approval. Nods all around.
Ratings
Scene 27 - Tension in Butch's Armory
Ron takes in The Audio. He records more Notes.
65 INT. LIVING ROOM - BUTCH'S HOUSE - DAY 65
Butch rises, burps, his balance uncertain.
BUTCH
Hey Ron, I gotta show you something.
Butch plops a Hand on Chuck's Back. Chuck rises.
ANGLE - SMALL ROOM
Butch flips on the lights.
BUTCH (CONT'D)
Looka here.
Various Guns adorn The Walls -- Rifles, Shotguns, Handguns.
Pinned on The Far Wall: White Supremacist Memorabilia
including a Magazine Cut-Out of KKK Grand Wizard David Duke.
CHUCK
Wow. This is really... something.
Butch pulls a rusted Double-Barreled Shotgun off The Rack.
BUTCH
Here's my favorite. Twelve Gauge.
Butch smirks and points The Two Barrels at Chuck's chest.
BUTCH (CONT'D)
I call this...The Jew Killer.
Chuck Freezes. Butch's Finger Rests on The Trigger.
Teasingly? Seriously? Butch stares, challenging Chuck to make
a Move. Any Move.
CHUCK
That's a Remington Model 1900.
A long Beat. Then: Butch smiles.
BUTCH
Indeed it is.
Butch places the gun back on the rack. Ken outside The Door.
KEN (O.S.)
Almost done in here? We still have
some items on The Agenda...
BUTCH
...Not just yet. Gotta make sure
there's no Jew in him.
Chuck keeps quiet.
ANGLE - HALLWAY
KEN
Come on Man, this is just
Straight-Up Offensive. We're
talking about someone who's gonna be
our Brother in a couple months. Is
there a Star of David around his
Neck? Does CHUCK got a YA-MA-KA on
his HEAD for Pete's sake?
BUTCH (O.S.)
Just Protocol. My House, My Rules.
Ratings
Scene 28 - Confrontation in the Small Room
Butch sets a hand on Chuck's Back, guiding him past Ken.
BUTCH (CONT'D)
This way.
CHUCK
Where...uh...where ya takin' me? I
told you already I'm not thrilled
with you callin' me a Jew.
BUTCH
Tough Titty.
Ken follows as Butch leads Chuck into the
ANGLE - DEN
BUTCH (CONT'D)
Take a seat.
Butch sets Chuck down on a chair.
KEN
Butch it ain't necessary, Man. This
is how you lose recruits!
BUTCH
I'd like some privacy.
Butch pushes Ken backward, through and out The Den door. He
slams The Door closed and locks it.
CHUCK
Is all this necessary?
Butch opens a Desk Drawer and takes out a POLYGRAPH MACHINE.
CHUCK (CONT'D)
A Lie Detector?
67 INT. UNMARKED CAR - DAY 67
RON STALLWORTH
Shit.
He turns the ignition and drives forward.
68 INT. DEN - BUTCH'S HOUSE - DAY 68
Butch sets The Polygraph in front of Chuck. Urgent knocking
on the door.
KEN (O.S.)
Open up, Butch! Enough is Enough!!!
BUTCH
Lower your Arm right here.
CHUCK
I didn't sign up for this.
BUTCH
You don't know what you signed up
for.
Butch reaches in and lowers his Arm for him, then slides the
Blood Pressure cuff over Chuck's Arm. Chuck rips it off,
jumps up, knocking the chair over.
CHUCK
These things don't even work half the
time! I'm no Goddamn Jew!!!
Ken persistently bangs on The Door. Butch pulls out a Shiny
Pistol from his belt.
BUTCH
Siddown.
Ratings
Scene 29 - Chaos at Butch's House
Gun in hand, Ron crouches beside the Unmarked car, parked at
the curb near Butch's House.
He notices a NEIGHBOR taking out The Trash. Ron puts his Gun
away. His Eyes are on THE LOOK OUT.
70 INT. DEN - BUTCH'S HOUSE - DAY 70
Chuck sits in The Chair as Butch sticks Electrodermal Sensors
on Chuck's hands.
BUTCH
Ask anybody, they'll say I'm a real
Friendly Guy. Thing is, I'm only
Friendly to my Friends, not JEW
Friendly, Damn Sure not Nigger
Friendly.
CHUCK
Butch. This is Nuts.
Ken is still banging away at the door.
KEN (O.S.)
Let me in!
Butch tightens The Blood Pressure Cuff on Chuck's arm.
BUTCH
Let's warm up. What is the surname of
your Biological Father?
CHUCK
Fuck this.
BUTCH
Let me see your Dick.
CHUCK
WHAT!
BUTCH
I hear you Jews do something Funny
with ya Dicks. Some weird Jew Shit.
Let me see if your Dick looks Funny.
CHUCK
You tryin' to suck my Jew Dick?
Faggot.
BUTCH
Who you callin' a Faggot?
71 EXT. BUTCH'S HOUSE - DRIVEWAY - DAY 71
Ron bolts onto Butch's Front Lawn, unsure what to do but
knowing that he GOTTA DO something.
Ron picks up a Flower Pot and CHUCKS IT -- CRASH! It goes
straight through the Kitchen Window, shattering The Glass.
72 INT. DEN - BUTCH'S HOUSE - DAY 72
Butch springs up. Through the window pane, he can see the
backside of Ron -- a Black Man wearing a faded denim jacket.
Ron is "Low Running" now.
BUTCH
There's a Fuckin' Black Lawn Jockey
on my Green Lawn!
Butch storms out of The Den. Chuck rips off The Polygraph
Sensors and follows.
73 EXT. FRONT LAWN - BUTCH'S HOUSE - DAY 73
All of The Klan Members, including Chuck and Louise, pour
onto the Lawn.
Butch bursts out of The Front door with his Pistol. He Fires
at Ron -- who is USAIN BOLT-ING down The Street. BANG! BANG!
BANG!
Butch fires again just as Ron reaches The Unmarked car. Ron
jumps inside... SQUEEEEEL! The Car peels off.
BUTCH
Almost got 'im.
Chuck seizes the opportunity. He runs onto The Street.
CHUCK
Yeah, keep drivin' you Black
Spearchucker!!! Piece a Shit
Nigger!!!
Chuck is Foaming at The Mouth. Everyone stares at him,
momentarily surprised at his outburst.
CHUCK
Butch, you still want me to take your
Lie Detector Test!!!
Ken looks from Chuck to Butch. Butch can only shrug.
ANGLE - STREET
Neighbors poke their heads out from across The Street. Ken
looks to The Chapter Members gathered around.
KEN
Everybody go Home NOW!!! Get Outta
HERE!!!
74 INT. UNMARKED CAR - DAY 74
Ron speeds away, down The Residential Streets. He looks down
at his Body. No wounds. He slows his breathing. Too Close for
COMFORT.
75 INT. SERGEANT TRAPP'S OFFICE - CSPD - DAY 75
Sgt. Trapp flips through The Report. Ron and Chuck watch.
SGT. TRAPP
Lie Detector? Shots Fired? A Goddamn
ClusterFuck!!! You Dickheads are
putting me in a Tough Spot here. If
Taggert heard about this...
RON STALLWORTH
Is he gonna hear about it, Sarge?
Sgt. Trapp thinks a moment, then opens a drawer under his
desk and throws The Report into it.
Ratings
Scene 30 - Fractured Loyalties
Ron and Chuck emerge from Sgt. Trapp's office.
RON STALLWORTH
Think we dodged a Bullet there.
Chuck gives him a Hard look.
RON STALLWORTH (CONT'D)
Y'know what I mean.
CHUCK
I didn't say it in there with the
Sergeant but that Racist Peckerwood
had a Gun in my Face and he was an
Ass Hair away from pulling The
Trigger.
RON STALLWORTH
And he didn't.
CHUCK
But he could have and then I woulda
been Dead... for what? Stoppin' some
Jerkoffs from playing Dress up?
RON STALLWORTH
It's Intel.
CHUCK
I'm not risking my Life to prevent
some Rednecks from lighting a couple
Sticks on Fire.
RON STALLWORTH
What's your problem?
They stop walking.
CHUCK
I don't have a problem.
RON STALLWORTH
Why aren't you into this?
CHUCK
Why should I be into this.
RON STALLWORTH
Because you're Jewish, My Brother.
CHUCK
Kiss my Jewish Ass.
Chuck steps away.
RON STALLWORTH
Yeah, that's what I thought.
Chuck turns back.
CHUCK
What you trying to say?
RON STALLWORTH
Nothin'.
CHUCK
What?
Ron looks around, no one around.
RON STALLWORTH
You're passing, Man.
CHUCK
What?
RON STALLWORTH
You're passing for a WASP!!!
CHUCK
What?
RON STALLWORTH
White Anglo Saxon Protestant.
Passing. It's what some Light-Skinned
Black Folks do, they pass for White.
Chuck understands now. He glares at Ron.
RON STALLWORTH (CONT'D)
Doesn't that Bullshit they say Piss
you off.
CHUCK
Of course it does.
RON STALLWORTH
Then why you acting like you ain't
gotta' stake in this!
CHUCK
That's my Damn Business! And if I
choose to leave this case, I will!
RON STALLWORTH
But you won't.
Chuck storms away!
RON STALLWORTH (CONT'D)
I'm gonna get your Membership Card so
you can go on this Cross Burning and
get in deeper, right Chuck?
Chuck says nothing, walking away.
RON STALLWORTH (CONT'D)
Right Chuck?! You still on board,
right!
CHUCK
Yeah, yeah, I'm still on board... for
Now!!!
Ratings
Scene 31 - Infiltrating Hate
Ron studies his packet of KKK materials. He sees a number for
the KKK Headquarters. He dials. A Message clicks on:
VOICE (O.S.)
Wake up White Man!!! The Negro wants
your White Woman and your Job! The
Jew wants your Money...
The Recording is interrupted by a PLEASANT-SOUNDING MAN.
PLEASANT MAN (O.S.)
Hello and whom am I talking to?
RON STALLWORTH
Good afternoon. My name is Ron
Stallworth, calling from Colorado
Springs. How are you today, Sir?
PLEASANT MAN (O.S.)
Quite well. What can I do for you?
RON STALLWORTH
I'm calling because I desperately
want to participate in my Chapter's
Honorary Events but I can't until I
receive my Membership Card.
PLEASANT MAN (O.S.)
Of course, I can help you with that.
RON STALLWORTH
Thank you. Who am I speaking with?
PLEASANT MAN (O.S.)
This is David Duke.
Ron has Died and gone to Heaven.
RON STALLWORTH
I'm sorry... did you just say you're
David Duke?
DAVID DUKE (O.S.)
That's me...
RON STALLWORTH
...Grand Wizard of The Ku Klux Klan?
That David Duke?
DAVID DUKE (O.S.)
That Grand Wizard and National
Director.
RON STALLWORTH
Really? National Director too?
DAVID DUKE (O.S.)
Really.
RON STALLWORTH
I'm honored to be speaking with you.
I'm not afraid to say it...I consider
you a True White American Hero.
DAVID DUKE
Are there any other kind?
78 INT. KKK NATIONAL OFFICE - DAY 78
DAVID DUKE 30's has a trim Red Mustache and a mop of Sandy
Hair which drapes his ears. He plays the role of a Southern
Gent but his piercing pale-Blue Eyes reveal a Monster.
Duke wears a Three-Piece Suit and sits at a neat Office Desk.
DAVID DUKE
And I'm just happy to be talking to a
True White American.
INTERCUT RON WITH DAVID DUKE:
RON STALLWORTH
Amen, Mr. Duke. Seems like there's
less and less of us these days.
Now about that Membership Card...
Duke unwraps a stick of Juicy Fruit Gum, his favorite.
DAVID DUKE
...I understand the situation. We've
been having some Administrative
problems that have caused a backlog.
...Tell you what, Ron. I'll see to it
personally that your Membership Card
is processed and sent out today.
RON
Thank you, Mr. Duke. I can't express
to you how much I appreciate this.
DAVID DUKE
The pleasure is all mine. I look
forward to meeting you in person One
Day and God Bless White America.
79 INT. CSPD - DAY 79
Ron rushes out of the room buzzing about speaking to Duke he
immediately KNOCKS shoulders with someone going the other
way. When he turns around it's... Sgt. Morris, who turns
back giving a smirk.
SGT. MORRIS
Watch where you're going. You could
get hurt like that Hot Shot.
Sgt. Morris marches on leaving Ron to contemplate.
Ratings
Scene 32 - Beneath the Blue Wall
Ron wires up Chuck.
RON STALLWORTH
That Cop that pulled Kwame Ture over
that night... was it Sgt. Morris?
Chuck is surprised.
CHUCK
How'd you know.
RON STALLWORTH
I can smell em' a Mile away now.
Chuck ponders for a moment, then says.
CHUCK
He's been a Bad Cop for a long time.
RON STALLWORTH
Yeah.
CHUCK
Yup. Does that kinda' Shit all the
time. Few years ago, he Shot and
Killed a Black Kid... he said he had
a Gun. The Kid wasn't the type. I
think Morris planted one on him.
RON STALLWORTH
Why's he tolerated?
CHUCK
You wanna' be the Guy that Rats him
out.
Ron goes quiet.
CHUCK (CONT'D)
We're a Family. We stick together.
For Good or Bad. You ever get your
Ass in a Jam, you'll appreciate The
Blue Wall of Silence.
RON STALLWORTH
Yeah, reminds me of another Group.
Ron finished. Chuck steps away buttoning his shirt.
81 EXT. OPEN FIELD - DAY 81
POP! A Bullet strikes a Beer Bottle in an Open Field.
BUTCH
Bullseye.
Butch looks up from his Shotgun. All around him, other
Chapter Members line up in a row, firing their Guns at
Bottles. Some are wearing Green Army Field Jackets.
Nearby, a couple of fold-up tables stocked with plates of
Grilled Meat and Bowls of Cheese Doodles.
Chuck is locked in conversation with Ken, who could not care
less about the Firing Range behind him.
KEN
... and then you got what used to be
a decent Bar, The Hide N Seek Room,
turned into a Filthy Fag Bar
overnight.
CHUCK
Fags everywhere these days.
Chuck is still mostly focused on Butch and his crew.
KEN
They're trying to Colonize. First
they get their own Bars, then they
want Equal Treatment... soon it'll be
Marriage Licenses...
CHUCK
...Forget Dem Fags... Some of these
Guys Army-trained?
Ken turns around for a moment, then turns back, dismissive.
KEN
A lot of 'em are. Fort Carson...
CLOSE - CHUCK
observes TWO MYSTERY MEN, both 30's, they look classier than
the rest of The Gang handling M-16's.
CHUCK
I've not seen those Macs before.
KEN
Steve and Jerry.
CHUCK
Yeah, who are they?
KEN
That's classified.
Ken steps away leaving Chuck to ponder the Two Mystery Men.
CUT TO:
Ratings
Scene 33 - Target Practice: A Disturbing Bond
Ron is in the Car quite a ways away with a huge Telephoto
lens on a 33MM Camera. He focuses in on...
THE TWO MYSTERY MEN (STEVE AND JERRY) (RON'S CAMERA POV)
Ron CLICKS off numerous Photos of them. And then CLICKING on
all the various Klansmen enjoying the outing.
RON BEHIND THE CAMERA
focusing in on his Targets: CLICKING! Ken, Duane, Butch, all
of them.
CUT BACK TO:
CLOSE - CHUCK
Chuck nears the Target area seeing something that makes him
laugh out loud.
CHUCK
Gezzus.
The Targets are...
THE OFFICIAL RUNNING NIGGER TARGET
in the form a Black Silhouette of a Running Black Man with an
Afro, Big Lips, Butt, etc.
CHUCK (CONT'D)
Get a load of that!!!
BUTCH
Helps with practicin' for Nigger
Looters. Dem' Sum-bitches Run like
Roaches when you Flip the switch in
the Kitchen late at Night.
Butch and Duane shoot their Hand Guns at the Black Man
Targets! They HIT The Bulls-Eye targets on his Head, Lips,
Butt, Body.
CHUCK
Damn good shooting.
BUTCH
I don't know how that Black Bastard
got away the other day.
CHUCK
Let's hope we get another chance.
Butch gives him an ominous.
BUTCH
We will.
Duane suddenly pipes up.
DUANE
Hey, Ron! Take my Forty-Five Auto
wanna see what you can do.
Duane hands Chuck his pistol. He takes it, his hand sweaty.
ALL EYES ON CHUCK
as he takes aim at a Black Man Running Target Fifty Feet
away. The Klansmen observing. BANG!!! A Hole rips in the
Black Man Target Head!!! Then the Butt!!! Body! And Lips!!!
KLANSMEN
Good Shot!!! Shit! Got that Coon Dead
in The Ass! Nice One!!!
DUANE
That's one deaaaaaad Jungle Bunny!!!
The Gang eyes Chuck, impressed. Duane claps Chuck back.
BUTCH
Where'd you learn to shoot like that?
CHUCK
My Ole Man gave me a Toy Cap Gun when
I was a Kid, been shooting ever
since.
They all laugh. Chuck laughs along with them.
Ratings
Scene 34 - Dark Humor in the Shadows
Everyone is gone now. Ron walks through observing The Scene
looking over the remnants of the gathering.
CLOSE - RON
Ron picks up the Official Running Nigger Target full of
Bullet Holes.
84 INT. RON'S APARTMENT - DAY 84
Knocking at the door. Ron opens it and finds Butch standing
there. The two stare at each other for a moment, finally.
BUTCH
Wrong house.
Butch backs away as Patrice peeks from around Ron seeing
Butch. Butch sees her, turning to walk away.
PATRICE
Who was that?
Ron steps on the porch and watching Butch drive away.
RON STALLWORTH
Nobody.
INT. KITCHEN - BUTCH'S HOUSE - DAY
Duane, Ken and Butch are in the kitchen talking, drinking
beer and eating snacks. Chuck enters.
CHUCK
Hey, sorry had to work late. How you
guys doing?
Everyone greets Chuck, but Butch says. Chuck grabs a beer
from a cooler, pops the tab.
BUTCH
You got a Twin.
Everyone goes quiet looking at Chuck.
CHUCK
What?
BUTCH
And he's a Nigger.
Chuck looks dumbfounded. Butch nears him.
BUTCH
Looked in the Phone Book and went
over what I thought was your place
and found a Nig there.
Butch looks deadly. Duane and Ken look at Chuck. Finally.
CHUCK
My number's unlisted.
Butch just continues to stare.
CHUCK (CONT'D)
What address did you go to?
BUTCH
Over on... Bluestem.
CHUCK
I don't live on Bluestem. I live off
59th street...
BUTCH
So you don't know that Nigger?
CHUCK
Oh, that's that Nigger I keep in the
woodpile.
Everyone laughs. Butch finally cracks a grin.
CHUCK
113 59th street. Come by sometime
we'll have a beer.
Duane and Chuck clink cans.
BUTCH
And y'know what? That loud mouth
Black Student Union bitch that's been
in the paper complaining about the
Police. She was there.
CHUCK
Hate that Fuckin' Cunt.
BUTCH
Like to close those Monkey Lips
permanently.
CHUCK
Yeah, after I get em' 'round da Head
of my Dick.
Everyone laughs, agreeing.
Ratings
Scene 35 - Undercover Resolve
Ron in his car parked outside the Post Office excitedly rips
open A Letter from the KKK National Office. He grins and
claps his hands!
86 INT. INTELLIGENCE UNIT - CSPD - DAY 86
Chuck stands looking at what looks like a Credit Card as Ron
sits at his desk, leaning back, satisfied.
Close on the card as Chuck reads it.
CHUCK
Ron Stallworth
Member in Good Standing
Knights of the Ku Klux Klan
RON STALLWORTH
That's us the Stallworth twins.
CHUCK
Yeah, funny, but you didn't have that
Crazy Fuck Butch staring at you
asking where you lived.
RON STALLWORTH
I called to warn you, but you must
have already taken off.
CHUCK
Are you seeing that Girl from The
Black Student Union?
This surprises Ron.
RON STALLWORTH
Patrice. Yeah.
CHUCK
Are you Fucking kidding me?
RON STALLWORTH
What's the problem?
CHUCK
You don't cross those lines. This is
about an Investigation. Not a...
Relationship.
RON STALLWORTH
You're right, I'm messin' up. Hate to
violate that Blue Wall of Silence.
Chuck has no response to that.
CHUCK
Well, Butch noticed her at your
place. And they hate her guts.
RON STALLWORTH
Is she a Target?
CHUCK
I don't know. Maybe.
Ron goes quiet, concerned.
CHUCK
And don't let Chief know about
Patrice! He won't like it either.
Just how far do you plan to take
this?
RON STALLWORTH
Far as I can. Far as Chief let's me.
An excited Ron goes to the once stark empty white walls now
covered with numerous Klansmen Photos. Ron SLAPS the Photos
of Active Duty Soldiers.
RON STALLWORTH (CONT'D)
We got Active Duty Soldiers from Fort
Carson. Going to the CID with this.
Ron SLAPS the photo of Steve and Jerry.
RON STALLWORTH (CONT'D)
Our Mystery Boys Steve and Jerry.
Still don't know who they are.
Ron SLAPS photos of Butch, Duane, Louise.
RON STALLWORTH (CONT'D)
We got Butch's Old Klan Crew.
Ron turns to Chuck and he SLAPS a photo of Ken.
RON STALLWORTH (CONT'D)
And we got new Klan Ken.
CHUCK
He's a General without an Army.
Butch's crew is stronger than him.
Chuck looks at Ron, amazed.
CHUCK (CONT'D)
You've really been talking to David
Duke?
RON STALLWORTH
Oh Hell yeah!!!
Ron SLAPS The Large Photo of David Duke.
RON STALLWORTH (CONT'D)
That's my Ace Boon Coon Running
Partner! And now that you got that...
Ron points at the Membership Card.
RON STALLWORTH (CONT'D)
...Ronny Boy. We are on a Roll,
Baby!!!
Ron laughs, stops, looks at Chuck, who is in another place.
RON STALLWORTH (cont'd)
What?
Ron goes and sits near Chuck.
RON STALLWORTH (cont'd)
Talk to me.
CHUCK
This Shits getting to me.
Chuck gets up and steps away.
CHUCK (CONT'D)
I've been working Undercover a long
time. Nothing ever bothered me
before... this does.
RON STALLWORTH
Hey, Man, it gets me too. Bad.
CHUCK
You know, when Butch had me in that
room and I kept having to deny I was
Jewish. It made me think.
Chuck looks at Ron.
CHUCK (CONT'D)
I have been passing.
Ron listens.
CHUCK (CONT'D)
See, my, Parents split up when I was
a Kid and My mother kinda fell away
from things. So I never thought much
about being Jewish. I was always just
another White Kid.
Ron continues to listen.
CHUCK (CONT'D)
My Grandfather survived Buckenwald.
RON STALLWORTH
I'm sorry to hear.
CHUCK
He passed away a couple years ago.
Ron understands the weight of this.
CHUCK (CONT'D)
And every time that fuckin' Butch
made me deny I was Jewish... I
thought of him.
Chuck looks up at Ron his eyes full of Anger and Hurt.
CHUCK (CONT'D)
Let's get these Muthafuckas.
RON STALLWORTH
Let's get these Muthafuckas.
They SLAP each other Five!
Ratings
Scene 36 - Facing Intimidation
Ron reaches his Front Door carrying sacks of Groceries. With
one hand that's slightly free, he unlocks the front door.
88 INT. RON'S APARTMENT/KITCHEN - NIGHT 88
Ron sets the groceries down on the kitchen counter when the
phone RINGS. He grabs a Phone on the wall.
RON STALLWORTH
Hello.
Ron listens.
RON STALLWORTH (CONT'D)
HEY! Okay, Okay, I'll be right there.
89 EXT. FREEDOM HOUSE - NIGHT 89
Ron drives up and gets out his Car and walks up meeting
Patrice and other Members of the Black Student Union outside
holding flyers.
Patrice stands there looking very upset she shoves a Flyer
out at Ron. He takes it, reads.
THE FLYER (RON'S POV)
A drawing of a Hooded and Robed Klansman. Above the Drawing,
there's Text: You Can Sleep Tonight Knowing The Klan Is
Awake.
2 SHOT - PATRICE AND RON
RON STALLWORTH
Where'd you find them?
PATRICE
I found this one on my Car. But
they're all over The Neighborhood,
too.
Ron looks around seeing Residents and Students holding the
Flyers discussing them, some upset, others bewildered.
PATRICE (CONT'D)
Do you think this is Real?
RON STALLWORTH
It's Real.
ANGLE - STREET
Hakim, Leon and the Others react not having seen anything.
PATRICE
This is intimidation.
RON STALLWORTH
Clearly, this is about the Black
Student Union and you.
PATRICE
Me?
RON STALLWORTH
You've been outspoken about the
incident with the Police when Kwame
was here.
PATRICE
So the next time they'll have a
Burning Cross out Front.
RON STALLWORTH
They're trying to get to you. Don't
let them in. Like you said they want
to intimidate make themselves feared.
If you don't let 'em scare you. They
got nothing. But keep your eyes open.
Be Cool.
HAKIM
That's the problem we've been too
Cool!
LEON
Way too Cool!
RON STALLWORTH
Maybe the both of you should call The
Cops.
HAKIM
How we know this ain't some of the
KKK's Honky-Pig-Partners passing out
this Shit!
Patrice and Ron step away from the guys. They walk and talk.
PATRICE
Leon and Hakim have Big Mouths.
RON STALLWORTH
They have the right to their opinion.
Quiet as it's kept I kinda' agree
with him.
Ratings
Scene 37 - Night of Reckoning
A Fleet of Pickups rides uphill. A Flat Bed on the end of The
Convoy has an Eighteen-Foot Wooden Cross fastened on it.
A CSPD Patrol Car drives past The Convoy, headed downhill.
91 INT. DUANE'S CAR - WINDING ROAD - NIGHT 91
Duane, riding with Chuck, watches The Patrol Car pass in the
opposite direction.
DUANE
Soak the Wood in Kerosene, we light a
Cig on a pack of matches. Gives us
time to Beat It before The Cross
catches Fire. Safeguard against CSPD.
CHUCK
Must be quite a sight.
DUANE
The Best. You can see it for Miles.
Freaks out The Jew Media and puts
Niggers on their Nigger Toes.
They ride in silence for a moment.
CHUCK
A lot of these Guys in The Army?
DUANE
Yeah, even got a few in Active Duty.
CHUCK
I'm a Military Guy myself.
Duane's eyes light up.
CHUCK (CONT'D)
Oh yeah? Know anything about C4?
DUANE
Enough to set it off.
Chuck stops talking. He might've revealed a bit too much.
Duane lets him off The Hook:
CHUCK (CONT'D)
Honestly, I never messed with C4.
CUT TO:
92 EXT. OPPOSITE HILLSIDE - NIGHT 92
Ron watches as Ken and Butch argue through Night Vision
Binoculars. Ron says on the Walkie-Talkie.
RON STALLWORTH
Send another one.
CUT TO:
Another Patrol Car passes.
DUANE
Damn, that's The Second One. Pigs are
out tonight.
93 EXT. TOP OF THE HILL - HILLSIDE - NIGHT 93
The Convoy crests The Hill, pulls to The Side of The Road.
The Klansmen dismount and gather around The Flatbed Truck
carrying the Wooden Cross.
Another CSPD Patrol Car appears. It passes by, not slowing.
BUTCH
That makes Three Piggy Wiggys.
Everyone stops what they're doing.
Butch turns and catches Chuck’s eye. It almost seems as if
he's staring directly at Chuck...
CUT TO:
94 RON LOOKING THROUGH THE BINOCULARS 94
lowers them, grins to himself.
RON STALLWORTH
Good job, Men.
CUT TO:
THE PICKUP TRUCKS
Peeling out, heading back down The Hill.
95 INT. PATRICE'S HOUSE - DAY 95
Patrice comes outside and gets in Car taking off. Butch has
been watching her the whole time sitting in his pick up
truck. He spits, tosses his cigar and follows her.
Ratings
Scene 38 - Conversations with a Klansman
It's late. Ron's on the phone in mid-conversation. It is
intercut with David Duke speaking on the sofa in his office:
DAVID DUKE
...I don't share this with many
people, but My family had a Black
Housekeeper growing up. Her name was
Pinky. She was probably the closest
Woman to me other than Mother.
RON STALLWORTH
That surprises me.
DAVID DUKE
I know. People think I hate Black
People. I don't and the Klan doesn't.
Ron gives a "This Is Crazy!" Look.
DAVID DUKE
They just need to be with their own.
That's what Pinky would say, she had
no problem with Segregation because
she wanted to be with her own kind.
RON STALLWORTH
Sounds like she was a Mammy to you.
DAVID DUKE
She was. You ever see "Gone with the
Wind." That's the relationship I had
with Pinky.
RON STALLWORTH
You were Scarlett and she was Mammy.
DAVID DUKE
That's right. When she died it was
like we lost one of the Family.
RON STALLWORTH
A good Nigger's funny that way. In
that sense they're like a dog. They
can get real close to you and when
you lose em'. Just breaks your heart.
DAVID DUKE
Well said Ron.
RON STALLWORTH
I knew a Nigger once.
DAVID DUKE
Yeah.
RON STALLWORTH
Yeah. He lived across the street from
us. I must of been Six or Seven. His
name was Willie. Me and Willie played
together everyday. One day My Father
came home early from work and told me
I couldn't play with Willie anymore
because I was White and Willie was a
Nigger.
Duke laughs.
DAVID DUKE
That's rich.
Ron's face reveals the story is probably true, but reversed.
RON STALLWORTH
Ain't it.
DAVID DUKE
Well, you're an upstanding White
Christian Man. I tell you this is why
we need more people like us in Public
Office. To get this Country back on
Track.
RON STALLWORTH
Amen.
DAVID DUKE
For America to Achieve our Greatness
again.
RON STALLWORTH
Absolutely. Sure wish we had the
chance to chat Face to Face.
DAVID DUKE
In due time my friend. I'll be in
Colorado Springs for your
initiation...
RON STALLWORTH
You'll be in Colorado Springs?
DAVID DUKE
Yes-Siree-Bob.
Ron smiles and takes a SMALL NOTE PAD from his jacket pocket
and writes something down.
Ratings
Scene 39 - A Leadership Dilemma
Ron, at his desk, is on the Undercover Phone Line.
KEN (O.S.)
I've gotta be honest with you. I've
been losing support from The Comrades
over the last few months and with The
Elections coming up next month, I
don't think I'd carry The Vote.
RON STALLWORTH
The Vote...?
KEN (O.S.)
We need a new Leader. Someone
everyone can unite behind. Butch
would Love to be The One but we can't
let that happen. He's a Crazy Son Of
A Bitch. A Loose Cannon. We need
someone Articulate, who displays
Great Leadership qualities... It
should be you, Ron. You should be
Chapter President.
Ron sits there a moment, unable to say a word. After he
composes himself:
RON STALLWORTH
That's quite an Honor.
KEN (O.S.)
You will be a Great Chapter
President.
RON STALLWORTH
I 'm having to visit my sick Father
in El Paso I don't know if I'll have
time. I'll have to think about it.
KEN (O.S.)
You're a Smart and Diligent Man. I've
got no doubt you could handle it.
98 INT. NARCOTICS DIVISION - CSPD - DAY 98
Ron, giddy, stands at Chuck's Desk. He is putting on his
jacket preparing to leave.
CHUCK
No. No. No. We can't do it.
RON STALLWORTH
Imagine the access we'd have!!!
CHUCK
It could make the Case, but it's
Borderline Entrapment. Did you give
them an excuse why I couldn't do it?
Ron and Chuck walk out the office going down the hall
talking. Ron explains the excuse he used to Chuck.
99 INT. UNMARKED CAR - NIGHT 99
The Car's parked across The Street. Ron listens in.
Ratings
Scene 40 - Tensions and Traditions
The Whole Chapter is present. Half of them are open-carrying.
In a corner, Duane teaches Chuck the historic Klan handshake.
Index and Middle Finger extended along The Inside Wrist.
KEN
I just want to say that I'm very
pleased with the Recruitment efforts
from all you Brothers. Give
yourselves a round of applause...
Muted claps.
KEN (CONT'D)
It'll make Mr. Duke Proud!!! Now, I
have one more thing to say. I think
it's time for some new Blood to get
in here. I'm planning to step down as
your President.
Members exchanged looks. Butch can't hide his smile.
KEN (CONT'D)
I'd like to make a nomination...
Mr. Ron Stallworth for Chapter
President.
The Room is Silent.
BUTCH
We just met this Guy.
DUANE
He just walked in off the street.
BUTCH
Let me ask a question. Is there
anybody in this House that is willing
to put their Neck on the Line for
Ron?
KEN
I will vouch for Ron.
All eyes turn to Chuck.
CHUCK
It's a Big Honor but I can't accept.
Problem is, what you Good Men need is
a President who will be on CALL 24/7,
I'll be looking after my ill Father
in Dallas.
101 INT. UNMARKED CAR - NIGHT 101
Ron on headphones squints, WORRIED, saying to himself.
RON STALLWORTH
El Paso, Chuck, El Paso...
102 INT. KEN'S HOUSE - DINING ROOM - NIGHT 102
KEN
On the Phone you said you were
visiting your Father in El Paso.
The rest of the Chapter Members are paying attention now.
CHUCK
Did I say El Paso?
KEN
You sure did.
BUTCH
Ron which One is it?
The whole Room waits.
CHUCK
Dallas is where my Plane layover is.
El Paso is where my Father is.
They buy it. We think.
DUANE
Dallas where they killed that Nigger
Lover Kennedy.
The Chapter chatters in agreement.
CHUCK
I just hope my Father isn't cared for
by some Texicano Spic Nurse.
Collective moans.
BUTCH
Hold on now, they got Big Teets.
WetBacks Wet Nurse ya Ole Man to
Health.
Big Laughs.
CHUCK
My Father's a Good Man. And he
deserves the best care for the Time
he has left.
KEN
We'll pray for ya Pop's health.
Ratings
Scene 41 - Undercover Laughter
Ron is on the Undercover Phone Line. Sgt. Trapp sits behind
him. Ron has his Receiver out so that Trapp can listen in.
RON STALLWORTH
I'm anxious to meet you and it will
be something I share with my Family
for Generations to come.
INTERCUT RON AND SGT. TRAPP WITH DAVID DUKE AT HIS DESK:
DAVID DUKE
I'm eager to meet you too, Ron.
Ron and Sgt. Trapp make eye contact. Sgt. Trapp nods, a laugh
threatening to spring out of his Face.
RON STALLWORTH
Say, Mr. Duke... I just have to ask.
Aren't you ever concerned about some
Smart-Aleck Negro calling you and
pretending to be White?
Sgt. Trapp covers his Mouth.
DAVID DUKE
No, I can always tell when I'm
talking to a Negro.
RON STALLWORTH
How so?
DAVID DUKE
Take you, for example. I can tell you
are a pure Aryan White Man by the way
you pronounce certain words.
Sgt. Trapp is doubled over now.
RON STALLWORTH
Any examples?
DAVID DUKE
Take the word "are". A pure Aryan
like you or I would say it
correctly... like "are". Negroes
pronounce it "are-uh".
RON STALLWORTH
You are so White... Right. I want to
thank you for this Lesson because if
you had not brought it to my
attention, I would never have noticed
the difference between how We talk
and how Negroes talk.
Sgt. Trapp is laughing so hard he is shaking violently. He
shakes his head as if to implore Ron to stop.
RON STALLWORTH (CONT'D)
From now on I'm going to pay close
attention to my Telephone
conversations so I can make sure I'm
not talking to one of dem' Sneaky
Coloreds.
Ron cups The Receiver, looks at Sgt. Trapp, whispers.
RON STALLWORTH (CONT'D)
You okay?
Sgt. Trapp gets up and bumbles away. Ron speaks into The
Phone:
RON STALLWORTH (CONT'D)
I would love to continue this
conversation when you are in Colorado
Springs. Beautiful here, Sir. God's
Country.
DAVID DUKE
That's what I've heard, Ron. You have
a nice day.
RON STALLWORTH
You too.
Ron hangs up, laughing. He calls to Sgt. Trapp:
RON STALLWORTH (CONT'D)
It's over!!! You can come back!!!
Just then-- The Undercover Phone rings. Ron hesitates. It's
strange timing. He picks up.
RON STALLWORTH (CONT'D)
Hello?
BUTCH (O.S.)
It's Butch.
Ron quickly cups The Receiver.
BUTCH (O.S.)(CONT'D)
Catch you at a bad time?
RON STALLWORTH
Not at all. Just... finishing a Meal.
BUTCH (O.S.)
Meeting. My House. Tonight. Don't
tell Mealy Mouth Ken.
Ratings
Scene 42 - Into the Storm Shelter
Chuck looks down at a Steel Door built into The Ground, its
latch left open. He looks around. Paranoid.
105 INT. STORM SHELTER - SHORTLY AFTER 105
Chuck enters The Short Stairwell, steps to The Cement Floor.
BUTCH (O.S.)
Welcome to The Promised Land.
The Room is Tight. Military Outfits hang from The Wall,
surrounding The Group of Klansmen, who sit on Milk Crates. In
the corner, a Sniper Rifle rests on a swivel near Boxes of
Canned Goods and Stacked Cots.
Chuck finds an empty Crate, Squats.
Butch stands underneath a single hanging Light-Bulb.
BUTCH (CONT'D)
In about a week's time, we will be
welcoming Mr. Duke to our City. Now,
there's a lot of Folks who aren't too
happy about that. But we are going to
March and show these Bastards we
don't talk Revolution, we Deliver.
BUTCH (CONT'D)
We're going to put an End to The War
against The White Race.
Butch lets that hang in The Air for a moment.
BUTCH (CONT'D)
Who's packing tonight?
One by one, Brothers brandish Weapons. Except Chuck.
BUTCH (CONT'D)
Where's your Piece, Ron?
CHUCK
I don't carry it All The Time.
The Chapter Members laugh teasingly.
BUTCH
I got ya covered.
Butch reaches behind his back, pulls out a Smith & Wesson .45
caliber and hands it to Chuck.
BUTCH (CONT'D)
We're gonna need your Good Shot come
next Sunday.
CHUCK
What's gonna happen next Sunday?
A beat. Butch regards the rest of the Men with gravity.
BUTCH
The War is gonna come to us.
CHUCK
What?
Butch grins.
BUTCH
Just make sure that when you're at
The Steakhouse, you've got your new
friend with Ya.
Ratings
Scene 43 - Tensions Rise: A Dangerous Mission
Ron's unmarked car and Chuck's truck parked on the cement
Court.
CHUCK
Duke will be at the Steakhouse for
the Grand Initiation.
CHUCK (CONT'D)
That's when Ron Stallworth takes his
vows to the Klan.
RON STALLWORTH
Butch is talking about a March?
CHUCK
Yeah. If they do the Streets will be
filled with Protesters.
RON STALLWORTH
Black Panthers, Progressive Labor
Party. Everywhere Duke goes they'll
have a presence.
CHUCK
Butch wants a fight of some kind.
RON STALLWORTH
I don't think any of the Anti-Klan
Protesters would go that far.
CHUCK
I don't know, what's Patrice saying?
RON STALLWORTH
What, I'm like suppose to be spying
on her.
CHUCK
It's what we do.
RON STALLWORTH
She's not under investigation!
Chuck is frustrated, goes quiet, then tries to understand.
CHUCK
You worried about her?
RON STALLWORTH
How can I not be?
Chuck lifts up his shirt revealing Butch's Handgun.
CHUCK (CONT'D)
Butch gave it to me. We get them on
Weapons Charges. Prevent them from
trying anything. It's the best way to
protect her.
RON STALLWORTH
...Then what? They're off on a
misdemeanor, Free to plan their next
move?
Chuck sighs, frustrated.
CHUCK
It's gotta be the March. They're
planning something when they have all
that opposition in one place.
RON STALLWORTH
We're in this deep and we still can't
figure these dumb crackers out.
107 OMITTED 107
Ratings
Scene 44 - A Dangerous Encounter
Ron arrives. Sits at his Desk. A deep sigh. But then...
He sees something. On his Desk. A Simple Note:
ACACIA PARK. 12 PM. BRING CASE BOOK. AGENT Y - FBI.
109 EXT. ACACIA PARK - DAY 109
Bright Sunlight. Lunch Hour. Ron sits on a Park Bench.
MAN (O.S.)
Mr. Stallworth.
Ron turns. A WHITE MALE (40's) in a Track Suit is standing
behind him.
RON STALLWORTH
Agent... Y?
AGENT Y
That's right. Figured I'd get some
Running in. May I sit?
RON
A Free Country?
110 EXT. ACACIA PARK - DAY 110
ANGLE - BENCH - DAY
Ron and Agent Y sit on The Park Bench side by side.
Agent Y flips through Ron's Investigation Case Book.
AGENT Y
Names of Chapter Members?
Ron reaches over and flips to a Page with a List of Names.
Agent Y runs his Finger down The List and suddenly stops. He
then continues going down The List, then stops again. He
pulls out a Small Ledger and makes a note.
RON STALLWORTH
What is this about?
Agent Y turns back.
AGENT Y
Two Names on your list work at NORAD.
RON STALLWORTH
The Two Mystery men. Steve and Jerry?
AGENT Y
Their real names are Paul William
Tomlinson and Scott Edward Peters.
Two Clowns with Top Security
clearances. These Klansmen are in
charge of monitoring our Safety.
Agent Y lets this sink in. Even Ron is surprised by this.
AGENT Y (CONT'D)
You've done a Service to your... Free
Country.
Agent Y slips Ron a folder full of Papers.
AGENT Y (CONT'D)
We've been monitoring your
Investigation. Impressive.
Ron flips through the Papers. Various documents about The
History of The Colorado Klan.
RON STALLWORTH
Anything else you can give me?
Agent Y takes a thoughtful pause.
AGENT Y
Last night, Fort Carson reported
several C4 Explosives missing from
their Armory. No suspects.
RON STALLWORTH
KKK...?
Agent Y doesn't say anything. Not confirming, not denying.
RON STALLWORTH (CONT'D)
We thought they might pull something.
But not like this?
AGENT Y
You won't see this on the News. For
obvious reasons but I thought it
might be of interest to you.
Agent Y rises to his feet. Ron rises as well.
RON STALLWORTH
You need to give me something else.
If there's gonna be an Attack, I need
to know when.
AGENT Y
You're the one with the Impressive
Investigation.
RON STALLWORTH
But... can't you, The FBI pitch in?
AGENT Y
Who said I was FBI?
RON STALLWORTH
Not I.
AGENT Y
Because we never had this
conversation.
Agent Y takes off toward a Path and starts Jogging.
Ratings
Scene 45 - Divided Loyalties
Ron and Patrice are going at it as across the street The
Freedom House Protestors assemble to March on the KKK.
RON STALLWORTH
You can hate me, think I'm a Damn
Fool, whatever. Just promise me you
won't go to The Protest.
PATRICE
I'm going. The Black Student Union is
going too.
RON STALLWORTH
I can't say specifics but I know the
Klan is planning an Attack. Today.
PATRICE
Then we have to tell The People.
RON STALLWORTH
No. No one can know while it's an
Active Investigation...
PATRICE
Active Investigation?
RON STALLWORTH
...Confidentially... The KKK has
Explosives.
PATRICE
How do you know all this? You a Cop?
RON STALLWORTH
I'm not a Cop.
Silence.
PATRICE
What are you, then?...
Ron takes a moment. Then...
RON STALLWORTH
...I'm a Undercover Detective. I've
been investigating The KKK.
PATRICE
You lied to me.
RON STALLWORTH
I know, but... it's beside the point.
We think there's a chance they're
gonna, set a Bomb off at Today's
Event.
PATRICE
Then I need to tell The Protesters.
RON STALLWORTH
The Klan can't know that we know. We
think they wanna start something,
like a Race War. Remember Kwame? We
both stood there and listened while
he predicted this Shit.
PATRICE
I take my Duties as President Of The
Black Student Union seriously.
RON STALLWORTH
All the good it does. You could sit
in the middle of Nevada Avenue and
set yourself on Fire and The KKK will
still be here.
PATRICE
I'd be doing something. Unlike you.
RON STALLWORTH
Unlike? Don't think because I'm not
wearing a Black Beret, Black Leather
Jacket and Black Ray Bans screaming
"KILL WHITEY" doesn't mean I don't
care about my People.
Patrice takes this in.
PATRICE
That night we saw Kwame... were you
Undercover then too?
RON STALLWORTH
Patrice...
PATRICE
...Answer the question. Were you
Undercover The Night we met?
Ron is silent.
PATRICE
Are you for The Liberation of Black
People?
RON STALLWORTH
I'm a Undercover Detective for The
Colorado Springs Police Department.
It's my J-O-B.
PATRICE
House Niggers said they had Jobs too.
You disgust me.
112 OMITTED 112
Ratings
Scene 46 - Tensions Rise: The Assignment
Butch is on the phone.
BUTCH
It's off.
113 INT. INTELLIGENCE UNIT - RON'S DESK - DAY 113
INTERCUT WITH BUTCH. Ron on the phone with Butch.
RON STALLWORTH
The March?
BUTCH
Yeah.
RON STALLWORTH
What's going on?
BUTCH
You'll know soon enough.
CLICK! Ron hangs up the phone, dreading this. He turns to
Sgt. Trapp and Chuck who have been standing there, listening.
RON STALLWORTH
Butch just said the March was
cancelled.
CHUCK
What! Why?
All Ron can do is shake his head. He paces, concerned.
SGT. TRAPP
Could it be all the Death Threats?
RON STALLWORTH
No, they're use to that.
CHUCK
Convenient how the March got called
off and Patrice is safe now.
Ron stops pacing, Chuck looks at him, sarcastic.
RON STALLWORTH
What? I got the Klan to call off the
March to protect her.
CHUCK
Yeah, and now we don't know where or
who is the target!
RON STALLWORTH
This is all Butch! He called off the
March because he's going to War. He
could attack anybody at anytime!
Chief Taggert walks in unexpectedly with Sgt. Morris.
Everyone snaps up, respectful.
CHIEF TAGGERT (CONT'D)
I have a Special Assignment for Ron.
SGT. TRAPP
Ron already has an assignment.
RON STALLWORTH
What's more important than preventing
an Attack?
Chief Taggert hands Ron "The David Duke Death Threat Fax."
CHIEF TAGGERT
Because of the very credible threats
to David Duke's Life here in Colorado
Springs, I would like that he be
given a Security Detail while he
visits our City.
RON STALLWORTH
What's this have to do with me?
CHIEF TAGGERT
You're gonna be David Duke's
Bodyguard.
A Shockwave.
RON STALLWORTH
I don't think that's a wise
decision...
SGT. MORRIS
...Duke needs protection. There's no
one else available.
CHIEF TAGGERT
Ron, it's Nut Cracking Time. Put your
Personal Politics aside.
RON STALLWORTH
It's not about that and you know it.
David Duke and I have been speaking
over the phone, several times. If he
recognizes my voice... or if any of
the Klansmen do, it could compromise
The Entire Investigation... A
Clusterfuck.
CHIEF TAGGERT curls a smile.
CHIEF TAGGERT
Correct me if I'm wrong but didn't
you boast that you were fluent in
both English and Jive?
Ron is quiet.
CHIEF TAGGERT
Do you remember that?
SGT. MORRIS
Answer The Chief!
Ron goes at Sgt. Morris.
RON STALLWORTH
Man, who you think you're talking to.
You've been trying to sabotage me
since Day One.
CHIEF TAGGERT
Gentlemen.
SGT. MORRIS
Why you getting so worked up, Boy?
RON STALLWORTH
Who you callin' Boy? I got your Boy.
Hangin' loose with the juice.
Chief raises his eyebrows from the comment. A pissed Sgt.
Morris turns to Chief Taggert for support but he says
nothing. Sgt. Morris, then Exits. Chief says to Ron.
CHIEF TAGGERT (CONT'D)
If you let him get to you that easy,
you ain't got a Shot with David Duke.
Ron takes his SMALL NOTE PAD out and writes something down
again. Chief Taggert looks at him confused.
Ratings
Scene 47 - Explosive Preparations
A work light shines over them. WALKER, 40’s, a tattooed Ex-
Con and Demolitions Expert, instructs Butch, Duane and
Louise. They stand around a large work bench in the garage.
He carefully removes a large C4 Bomb from his gym bag.
WALKER
First, The Primary Target.
Walker speaks to Louise. He sets The Bomb on the work bench.
WALKER (CONT’D)
Butch says you’re placing it. So all
you have to do is set the bag on the
front porch, back porch, side wall,
doesn’t matter. It just has to be
against the building. You can place
it anywhere. There’s enough C4 here
to take the whole thing out.
BUTCH
Understand?
LOUISE
I understand.
WALKER
All you have to do is when you’re
ready to place it.
Walker puts his Finger on the Toggle Switch.
WALKER (CONT'D)
Flip this switch. That’s it.
BUTCH
Miss BSU Bitch is bringing in some
Old Coon to speak. The place should
be packed. So Walker nothing but
rumble?
WALKER
And Barbecue Niggers.
Duane grins, liking that. Walker carefully removes another
Smaller Bomb from the bag. He can hold it in one hand.
BUTCH
Plan B.
WALKER
For your Secondary target. It's small
enough to conceal in your purse.
Louise nods. Walker sets it on the bench speaking to Butch.
WALKER (CONT’D)
The Mailbox connected to the House?
BUTCH
Correct.
Walker speaks again to Louise.
WALKER
Again, when you’re ready, Flip The
oggle. Place this inside The Mail
Box. In case there’s a problem, I’ve
attached a magnet to the back.
Walker turns it over pointing it out.
WALKER (CONT’D)
If for some reason you can’t place
this in the Mail Box you can connect
it to anything metal. A good spot is
the rear wheel well of a Car near the
Gas Tank. That'll double the impact.
Walker then takes out a Remote Control Detonator placing his
Thumb over The Button.
WALKER (CONT’D)
Get a safe distance away and change
the Channel. Boom-Boom.
BUTCH
Can you handle it, Honey?
LOUISE
You can count on me.
He gives her a peck on the lips.
Ratings
Scene 48 - Irony in Duty
Ron still in plain clothes parks his unmarked car in the lot
of The Luxurious Antlers Hotel on South Cascade Ave.
He walks toward the entrance, where the Six Bikers stand
around Duke's Sedan. The Bikers all look up simultaneously.
RON STALLWORTH
I'm Mr. Duke's Security Detail.
They look at each other, then back at Ron. They say nothing.
Just then Duke emerges from The Hotel, wearing a neatly
pressed Suit and Tie. He nods to the Bikers, then looks up at
the Plainclothes Black Detective in front of him.
Ron steps forward, extending a hand.
RON STALLWORTH (CONT'D)
Hello, Mr. Duke. I'm a Detective from
The Colorado Springs Police
Department and I will be acting as
your Bodyguard today.
Duke smiles and shakes Ron's hand.
DAVID DUKE
Detective, pleased to meet you.
RON STALLWORTH
As you may know, there have been
several credible Threats against your
Well-Being.
Ken and Duane walk outside The Hotel seeing Ron standing with
David Duke.
KEN
Da Heck's going on here?
DAVID DUKE
There are Threats on my Life. This
Detective has been assigned as my
Bodyguard.
Ken and Duane smile broadly.
RON STALLWORTH
Let me be clear, Mr. Duke: I do not
agree with your Philosophies. However
I am a Professional and I will do
everything within my means and beyond
to keep you safe.
Duke stands there a moment, processing all of this. Maybe
he's heard that voice somewhere before? Then...
DAVID DUKE
I appreciate your Professionalism.
115 EXT. COLORADO SPRINGS - CITY STREETS - DAY 115
Chuck's Car snakes through The Streets of Colorado Springs,
arriving at an Apartment Building.
116 INT. CHUCK'S CAR - DAY 116
Chuck picks up Radio. Intercut with Ron in his unmarked car.
RON STALLWORTH
You there?
CHUCK
Yeah, I'm here, Ron.
RON STALLWORTH
Ready for the Lion's Den.
CHUCK
Sure, are you ready Ron?
RON STALLWORTH
Ron was born ready.
CHUCK
Born ready was Ron. Ron be careful.
RON STALLWORTH
You too, Ron.
Ratings
Scene 49 - Undercover Tensions
Ron sits there, radio in hand.
RON STALLWORTH
I'll be listening with both Ears.
118 EXT. STREETS - DAY 118
BIKERS that look like Hells Angels Types lead a Motorcade
through the streets of Colorado Springs with Two Vans behind
them.
119 INT. VAN - DAY 119
Chuck sits squeezed between Two BIKERS.
120 INT. VAN - DAY 120
The Van stops and the Door is RIPPED open. Ken stands there,
big smile on his face as he motions them to come out.
KEN
Sorry for the Extra Security today.
Can't be too careful. Ready to meet
Mr. Duke?
121 INT. RESTAURANT - DAY 121
Chuck follows Ken to a large Table near the back, where
Butch, Duane and other Chapter Members stand around chatting
with David Duke.
Everyone stands around in awe of The Grand Wizard. Duke turns
and smiles as Chuck approaches.
KEN
Mr. Duke, our newest recruit, Ron
Stallworth.
He shakes both of their Hands.
DAVID DUKE
Ron, it's my pleasure to finally meet
you in person.
Both of Duke's hands clasp Chuck's hand tight.
CHUCK
You as well.
Duke pauses a moment as he processes Chuck's voice. Is this
the same person he's been talking to on the phone?
CLOSE - RON
watches from the side worried about the outcome. Duke SLAPS
Chuck on the back appearing like best buddies. Ron continues
to observe.
122 ANGLE - RESTAURANT/COCKTAILS - DAY 122
The room filled with People mingling eating Hors d'oeuvres.
Ken stands between Chuck and Duke as he holds Court.
Chuck, Duane, Ken, Butch and Louise all drink it up totally
impressed and star struck. Butch does a double take when he
sees Ron.
BUTCH
What's that doing here?
DUANE
Fuckin' Cop assigned to guard Mister
Duke. Isn't that the living shits.
Butch stares at Ron, pondering the door meeting.
Ratings
Scene 50 - The Oath of Darkness
The Mood now Solemn and Deadly Serious and Religious. Chuck
and Ten other INDUCTEES stand in a cramped waiting room. They
all wear Klan robes. The other inductees are grinning ear to
ear, like Kids on Early Morning Christmas.
FRED WILKENS steps in. Fred is 35, Clean-Shaven, in shape
underneath his flowing Klan robe.
FRED
I'm Fred Wilkens, Colorado's Grand
Dragon. I welcome you all to this
Sacred Ceremony.
Fred stands tall, beaming. Chuck wipes his brow.
FRED (cont'd)
In a moment you will take a Life Oath
to join the most Sacred Brotherhood
this Nation has ever seen.
Fred allows for a dramatic pause. Duke addresses them.
DAVID DUKE
My Brothers in Christ, Nobel Prize
recipient and Co-Creator of the
Transistor and my dear friend,
William Shockley, who's scientific
work ushered in the Computer Age, has
proven through his research with
Eugenics that each of us have flowing
through our veins the Genes of a
Superior Race. Today, we celebrate
that Truth.
Chuck and the others stand strong and ready.
FRED (cont'd)
Hoods on, Gentlemen.
The Inductees pull on their Hoods, covering their Faces.
Chuck hesitates, then pulls his hood on.
124 INT. STEAKHOUSE/KITCHEN AREA - DAY 124
Ron sees a Black WAITER, JOSH, 50, and nears him, whispering
in his ear. The Waiter looks around and gestures for Ron to
follow him. Ron follows Josh up a back set of stairs. He
points to a door and Ron SLAPS twenty dollars in his hand.
Josh leaves. Ron goes through the door.
125 INT. STEAKHOUSE/STORAGE ROOM - DAY 125
Ron enters the small storage room full of Janitorial
supplies. He looks through a small window down at the Private
Room below.
126 INT. FREEDOM HOUSE - DAY 126
The House is filled to capacity watching Patrice speaks at
the podium as JEROME TOMPKINS, Black, 80, a Mane of Silver
Hair, a distinguished Gentleman, sits across from her.
PATRICE
I am extremely honored today to
introduce our speaker for today
Mister Jerome Tompkins. Mr. Tompkins
was born in 1898 in Waco, Texas.
127 INT. PRIVATE ROOM - STEAKHOUSE - DAY - INTERCUT 127
The Inductees step inside a dark room lit only by Candles.
David Duke's Voice, ghostly, Calls from The Darkness.
DAVID DUKE (O.S.)
God... give us True White Men. The
Invisible Empire demands strong
Minds, Great Heart, True Faith, and
ready hands...
The Inductees align themselves in a row.
DAVID DUKE (O.S.) (CONT'D)
Men who have Honor. Men who will not
Lie. Men who can stand before a
Demagogue and damn his treacherous
flatteries without winking.
Chuck can see Duke now, illuminated by Candles, wearing his
own Ceremonial Robe. His Hood does not cover his Face.
CUT TO:
Ratings
Scene 51 - Echoes of Injustice
Tompkins is at the Podium. He speaks slowly but with
strength.
JEROME TOMPKINS
It was a nice spring day, Waco, Texas
May 15th, Nineteen Hundred and
Sixteen.
CUT BACK TO:
129 INT. PRIVATE ROOM - STEAKHOUSE - DAY 129
Chuck looks around and the Room comes into Focus: He is
surrounded, on all sides, by Klansmen wearing Robes and Hoods
and holding Candles. It's a Surreal, Hair-Raising experience.
JEROME TOMPKINS (V.O.)(CONT'D)
Jesse Washington was a friend of
mine. He was Seventeen, I was
Eighteen. He was what they called
back then, Slow. Today it's called
Mentally Retarded.
CUT BACK TO:
130 INT. FREEDOM HOUSE - DAY 130
CLOSE - JEROME TOMPKINS
JEROME TOMPKINS (CONT'D)
They claim Jesse Raped and Murdered a
White Woman named Lucy Fryer. They
put Jesse on Trial and he was
convicted by an All White Jury after
deliberating for Four Minutes.
CUT TO:
131 INT. PRIVATE ROOM - STEAKHOUSE - DAY 131
CLOSE - DAVID DUKE
DAVID DUKE
God give us real Men, Courageous, who
flinch not at Duty. Men of Dependable
Character, Men of Sterling Worth.
Then Wrongs will be Redressed and
Right will Rule The Earth. God give
us True White Men!
Silence. Then...
DAVID DUKE (CONT'D)
Ron Stallworth, come forward.
CUT TO:
132 INT. STEAKHOUSE/STORAGE ROOM - DAY 132
Ron looks down from the window. Chuck steps toward Duke.
CUT TO:
133 INT. FREEDOM HOUSE - DAY 133
CLOSE - JEROME TOMPKINS
JEROME TOMPKINS
I was working at the Shoe Shine
Parlor. After the verdict, a Mob
grabbed Jesse, wrapped a Chain around
his Neck and dragged him out the
Court House. I knew I had to hide.
CUT TO:
134 INT. PRIVATE ROOM - STEAKHOUSE - DAY 134
DAVID DUKE
Ron Stallworth. Are you a White, Non-
Jewish American Citizen?
Chuck is breathing hard.
CHUCK
Yes.
DAVID DUKE
Yes, what?
CHUCK
I am a White, Non-Jewish American
Citizen?
CUT TO:
135 INT. FREEDOM HOUSE - DAY 135
CLOSE - PATRICE
Tears roll down her face.
JEROME TOMPKINS (V.O.)
The Attic of the Parlor had a Small
Window and I watched below as The Mob
marched Jesse along Stabbing and
Beating him.
Finally, they held Jesse down and cut
his Testicles off in Front of City
Hall.
CLOSE - JEROME TOMPKINS
JEROME TOMPKINS (CONT'D)
The Police and City Officials were
out there just watching like it was a
TV Show.
CUT TO:
Ratings
Scene 52 - Rituals of Hate
Duke looks into Chuck's Eyes. Chuck returns The Stare.
DAVID DUKE
Are you in favor of a White Man's
Government in this Country?
INT. STEAKHOUSE/STORAGE ROOM - DAY
Candles from The Ceremony reflecting in the window in front
of Ron's face as he watches The Madness.
JEROME TOMPKINS (V.O.)
They cut off Jesse's Fingers and
poured Coal Oil over his Bloody Body,
lit a Bonfire and for two hours they
raised and lowered Jesse into the
Flames over and over and over again.
CUT TO:
INT. PRIVATE ROOM - STEAKHOUSE - DAY
CLOSE - Chuck stands there holding in his emotions.
INT. FREEDOM HOUSE - DAY
CLOSE - JEROME TOMPKINS
JEROME TOMPKINS
The Mayor had a Photographer by the
name of Gildersleeve come and take
Pictures of the whole Lynching.
DAVID DUKE (O.S.)
Ron Stallworth. Are you willing to
dedicate your Life to the Protection,
Preservation and Advancement of the
White Race?
CUT TO:
138 PHOTOS OF THE LYNCHING OF JESSE WASHINGTON 138
Horrific, Barbaric, Simply Unreal!
CUT TO:
INT. PRIVATE ROOM - STEAKHOUSE - DAY
David Duke holds an Aspergillus in one Hand, a Bowl of Water
in the other Hand. The Inductees drop to their knees.
DAVID DUKE
In Mind, in Body, in Spirit.
Duke sprinkles Water on each Inductee.
CUT TO:
139 INT. FREEDOM HOUSE - DAY 139
More Lynching Photos!!! WE SEE one of the Post Cards on the
back is written: THIS IS THE BARBECUE WE HAD LAST NIGHT. MY
PICTURE IS TO THE LEFT WITH A CROSS OVER IT. YOUR SON, JOE
JEROME TOMPKINS (V.O.)
They was sold as Post Cards. They put
Jesse's charred Body in a Bag and
dragged it through Town then sold
what was left of his remains as
Souvenirs.
CUT BACK TO:
141 INT. PRIVATE ROOM - STEAKHOUSE - DAY 141
CLAPPING and CHEERING from the Audience filled with pride.
The Inductees on their Feet. The End of The Ceremony.
Wives and Parents are crying with Joy. Children watch.
JEROME TOMPKINS (V.O.)
Good Folks cheered and laughed and
had a High Ole' Time. They estimate
close to Twenty Thousand people
watched it.
JEROME TOMPKINS (V.O.) (CONT'D)
They brought The Children on Lunch
hour. All I could do was Watch and
Pray they wouldn't find me.
INT. FREEDOM HOUSE - DAY
MORE LYNCHING PHOTOS of The Enormous Crowd. No one Hides
their Faces. Everyone is proud to be there.
142 INT. FREEDOM HOUSE - NIGHT 142
The Crowd at the Lecture is Destroyed by The Story. People
are Weeping, Tears streaming down faces, Leon and Hakim sit
there, stunned. Patrice her Eyes Red with Tears leads the
audience around the room examining the LYNCHING PHOTOS that
are on display.
143 INT. STEAKHOUSE/STORAGE ROOM - DAY 143
Ron sees Chuck's Ceremony completed and goes downstairs.
144 INT. PRIVATE ROOM - STEAKHOUSE - NIGHT 144
The lights are now on, The Candles extinguished, The Hoods
have been removed. Everyone sits watching as D.W. Griffith's
The Birth of a Nation is projected on a Screen. The newly
installed Klansmen and their Families watching the Film with
faces of amazement.
JEROME TOMPKINS (V.O.)
One of the reasons they did that to
Jesse was that Movie that had come
out a year before. It gave the Klan a
Rebirth. It was what was a Big, Big
thing back then. What they call a
Blockbuster! Everybody saw it. Even
The President of The United States,
Woodrow Wilson showed the Movie in
the White House, he said "it was
History written with Lighting".
Duke, Chuck, Butch, Duane, Ken and the others watch
captivated. The Klan riding to the rescue defeating The
Black Beasts!!!
CLOSE - RON
observes it all from the back of the room the only Black
person there. He is like an Alien from Another Planet.
145 OMITTED 145
Ratings
Scene 53 - Confrontation at the Banquet
It's a large space with a long banquet table. Ken welcomes
Duke up to The Head Table podium.
KEN
Please everyone rise as The Grand
Wizard leads us in a toast.
Duke steps to the podium. Duke raises his glass.
DAVID DUKE
Look around, tonight we are
privileged to be among White Men such
as yourselves, Real Warriors for The
Real America, the One Our Ancestors
Fought and Died for.
Everyone's face in the room brightens as Duke fills them all
with inspiration.
DAVID DUKE (CONT'D)
We are the True White American Race
the Backbone from whence came Our
Great Southern Heritage. To the USA!
Everyone in the hall shouts: TO THE USA! Everyone stands,
hoisting their glasses upward. Ron can see Holsters-- on
Belts, on Legs, on Ankles.
Ron's mouth goes agape realizing Everyone in the Room is
Armed.
David Duke at the banquet table shoves a forkful of Prime Rib
into his mouth as he chats casually with Ken and Fred.
Butch and Louise sit near The Head Table, eating. Chuck sits
on the opposite end. Ron watches as Louise rises from her
seat. She leans down giving Butch a peck on his Cheek.
CLOSE - LOUISE (RON'S POV)
leaves the banquet hall and Ron watches her go out the front
door. Butch goes over to Duke leaning down to greet him.
BUTCH
I just want to say how Honored I am
to be in your presence.
They shake hands in the traditional Klan manner.
DAVID DUKE
The Honor is Mine.
CLOSE - WALKER
walks through the maze of tables with his second helping of
food when he notices...
CLOSE - CHUCK (WALKER'S POV)
talking at the table with Ken and Duke. Duke and Chuck are
very chummy laughing and telling stories like old friends.
Walker stares hard at Chuck like he trying to place him. He
sits next to Butch still staring at Chuck. Walker nods to
himself, speaking quietly.
WALKER
He's a Cop.
BUTCH
Who?
WALKER
That guy.
Butch looks at Chuck.
BUTCH
Ron?
WALKER
No, that guy.
Walker is talking about Chuck too.
BUTCH
Ron's a Cop?
WALKER
No, his name is Chuck.
BUTCH
Who's Chuck?
Walker looks at Chuck as he speaks to Duke.
WALKER
Who’s Ron, that’s Chuck.
BUTCH
What the Fuck are you talking about?
WALKER
That guy was the Cop that sent me to
Prison 15 years ago for Armed Fucking
Robbery.
Chuck eating with Duke.
WALKER (O.S.)
His name is Chuck... Zimmerman.
Butch is shocked.
BUTCH
What!
WALKER
Yeah, he’s a Fuckin’ Pig.
BUTCH
What's his name?
WALKER
Chuck Zimmerman.
BUTCH
Isn't that a Jew name?
WALKER
I don’t know... probably.
BUTCH
So Ron Stallworth is a fucking Jew.
WALKER
Coulda’ been worse.
Butch looks at him.
WALKER (CONT’D)
Coulda’ been a Nigger.
Butch thinks to himself, then looks over at
RON
who is standing not far away from David Duke. Ron is watching
BUTCH
and Walker focusing on Chuck. The Two, Ron and Butch, share a
long uncomfortable stare. Butch has figured it all out.
BUTCH
He is a Nigger.
Walker turns to Butch.
BUTCH (CONT'D)
That Cop guarding Duke. Zimmerman is
using his name.
WALKER
Let's tell Duke.
Walker starts to rise, Butch lowers him back.
BUTCH
No, Duke's crazy about that guy. Let
it go for now, I'll find the moment.
No, now it's White People Time.
Butch turns to Louise, whispering, they all then rise. Ron
knows something is askew. He gives Chuck a look. Chuck sees
it as Ron walks over to Duke.
RON STALLWORTH
...Mr. Duke, a favor to ask. Nobody's
gonna believe me when I tell them I
was your Bodyguard.
Ron holds up a Polaroid Camera.
RON STALLWORTH (CONT'D)
Care to take a Photo with me?
Duke laughs, looking around the table.
DAVID DUKE
I don't see any harm in that. Hey
Fred... why don't you get in here
too?
Fred Wilkens, equally amused, walks over. Chuck is already
out of his Seat, walking to Ron. Ron glances over seeing
BUTCH, WALKER AND LOUISE AT THE BACK DOOR(RON'S POV)
She has her purse and Walker hands her a gym bag. Butch pecks
her on the lips. She exits the steakhouse with the gym bag.
CLOSE - RON
then turns to Chuck.
RON STALLWORTH
You mind taking it, Sir?
ANGLE - ROOM
Chuck nods and Ron hands him The Polaroid Camera.
Ron walks back and stands in between Duke, THE GRAND WIZARD
and Fred, THE GRAND DRAGON.
RON (CONT'D)
One... Two... Three!
Right as the Camera Flashes, Ron drapes his arms around both
Duke and Fred, pulling them in real close.
The Polaroid clicks and spits out the Photo instantly.
Duke is startled for a brief second... then it all happens in
a FLASH.
Duke and Ron spring toward Chuck, each making a Mad Dash for
the Photo.
Ron grabs it first. Duke lunges to grab the Photo from Ron's
hands but Ron yanks it away.
RON STALLWORTH(CONT'D)
If you lay one Stubby Finger on me,
I'll arrest you for assaulting a
Police Officer. That's worth about
Five Years in Prison. Try me. See if
I'm playing.
The Room falls into Dead Silence. Klansmen mouths hang open,
watching their Leaders threatened by a DETECTIVE NIGGER.
Duke gives Ron the most vicious look imaginable.
Ron stares back. It's a SHOWDOWN.
Several Men in the Room have their hands at their Waists,
seconds away from drawing their Guns.
Ron can do only one thing: he smiles.
RON STALLWORTH(CONT'D)
Thanks for the Photo, Mr. Duke. Big
Fan. God Bless AMERICA.
Duke shakes his Head in Disgust.
DAVID DUKE
GET OUT!!!
Bikers and others surround Ron. Chuck looks wary knowing
something is up. He gets in Ron's face, threatening.
CHUCK
Boy you get ya' ass out NOW!
Ron breaks off from the roomful of disdain cutting through
the watching crowd pushing past bodies heading toward the
front door. Suddenly, Ron's arm is grabbed...
BUTCH (O.S.)
Where's your girlfriend.
Ron turns finding Butch holding his arm.
BUTCH
Detective Stallworth?
Ron JERKS his arm away heading to the exit.
Ratings
Scene 54 - Tension at the Steakhouse
Ron rushes through the Lot hopping in his unmarked Car.
148 INT. RON'S CAR - DAY 148
Ron throws the Car into gear. He Yells into his Radio.
RON STALLWORTH
Attention all Units. Be on the
lookout for a White Pickup with a
"White Pride" Bumper Sticker. License
plate: KE-4108.
Ron guns it down the street.
RON STALLWORTH
Request Backup. FREEDOM HOUSE.
149 INT. STEAKHOUSE - DAY 149
Walker and Butch sit on both sides of Chuck. Chuck grins at
them, then does a double take at Walker, who stares at him.
BUTCH
Ron, I believe you know my friend.
Chuck stares at Walker playing it totally cool.
CHUCK
No, I don't believe we've ever met.
WALKER
It's been a few years ago. Fifteen to
be exact.
CHUCK
No, sorry, I can't place you.
DAVID DUKE
Did you Guys go to school together?
WALKER
No, I went to a Private School in
Leavenworth, Kansas.
BUTCH
Isn't that where the Prison is?
WALKER
Matter a fact it is.
Walker looks at Chuck, who says nothing.
BUTCH
You know something about that. Don't
you, Chuck?
Butch's eyes burn into Chuck, who doesn't flinch. Suddenly,
Josh the Waiter interrupts.
JOSH
There's an emergency phone call in
the lobby for a -- Butch Anderson.
Butch rises.
BUTCH
Don't say another word.
I'll be right back. Chuck.
Butch walks off. Walker watches him leave turning to Chuck,
who plays it cool. A confused Duke observes it all.
Ratings
Scene 55 - Tension and Urgency
A nervous Louise is on the phone clearly rattled.
LOUISE
Jesus! They’ve got Cops everywhere
here! Somebody tipped them off.
A Police Cruiser drives past.
LOUISE (CONT’D)
My God there goes another one!
Butch talks to her from the Lobby of The Steakhouse trying to
keep their conversation private.
BUTCH
All right, calm down, we planned for
this. We’ll go to Plan B. Okay?
LOUISE
Okay... Plan B.
BUTCH
You can do this. All right. I'll be
right there.
LOUISE
All right... Love You.
Dial tone. Butch has already hung up. She hangs up.
INT. STEAK HOUSE/LOBBY - DAY
Butch eyes Walker at the table with Chuck and Duke. Butch
waves to Walker. Duane sees Butch and rushes to join them.
WALKER
Excuse me Mister Duke.
Walker reluctantly leaves.
DAVID DUKE
What was all that about? And why did
he keep calling you Chuck?
CHUCK
We were in prison together. Years
ago. It's an inside joke.
Duke nods, concerned.
DAVID DUKE
I hope everything's all right?
CHUCK
Yeah, but I think he may have
violated his Parole. Excuse me...
Chuck stands watching Butch and Gang exit the Steakhouse.
150 EXT. ACADEMY BOULEVARD - DAY 150
Ron's Car weaves in between Traffic driving like crazy.
151 EXT. FREEDOM HOUSE - DAY 151
Ron zooms up to Freedom House SCREECHING to a stop! The event
is over. There are a few people outside conversing after the
event. Ron sees Leon and jumps out of the car.
RON STALLWORTH
Where's Patrice!!!
LEON
She took Mister Hopkins to her place.
She having a few friends over.
Ron climbs back in burns rubber heading to Patrice's place!
152 INT. DUANE'S CAR - DAY 152
Duane speeds toward Patrice's House with Butch in the
passenger seat and Walker hovering over them in the rear.
153 OMITTED 153
Ratings
Scene 56 - Chaos at Patrice's Doorstep
Louise drives up. She sits there for a long moment staring at
Patrice's House. Louise decides. She gets out of the Car
carrying her purse. She looks like an Avon lady coming to
call. She walks up on Patrice’s porch looking around. She
carefully sets
HER PURSE
down by a pillar on the porch and slowly removes the Bomb.
She opens the mailbox to place the Bomb. She nervously flips
the toggle switch when she sees...
PATRICE
drive up. Flustered, Louise grabs her purse to put the Bomb
back inside while looking at Patrice and friends getting out
of the car.
Patrice talks to Mr. Tompkins, not noticing her. Louise sets
the purse back down on the porch. Did she get the Bomb back
inside the purse? Louise quickly leaves the porch striding to
her car sweating, crazy nervous. Patrice, Mr. Tompkins and
Hakim are conversing entering the House.
LOUISE
briskly moves toward the rear of Patrice’s Car.
RON
whips around the corner seeing Louise through the windshield!
He SCREECHES to a stop!
LOUISE
tries to nonchalantly head back to her vehicle.
RON
jumps out the car yelling!
RON STALLWORTH
CSPD! Stay where you are!
Louise looks back at Ron, increasing her pace.
RON STALLWORTH(CONT'D)
Don’t move!!!
Louise breaks into a run. Ron dashes after her grabbing her
as she opens the Pick Up Truck door.
RON STALLWORTH (CONT’D)
Where’s that Bomb? Did you place it!
The Two fight as she SCREAMS scratching and clawing at Ron.
The Fight moves from the Pick Up Truck as he throws her down
on the grass of a near by lawn, subduing the SCREAMING
Louise.
RON STALLWORTH (CONT’D)
Where is it!!!
Ron reaches back for his handcuffs...
CSPD OFFICER BURNS
Freeze!
Ron looks right and OFFICER BURNS has his Gun pointed at him.
Then looks left finding, OFFICER SWARTZ, both White, 30’s,
has his revolver aimed at him.
CSPD OFFICER BURNS (CONT’D)
Get off her!
Ron slowly rises up off Louise gradually turning to them.
With his hands raised you can see Ron’s shoulder holster and
38 CALIBER SNUB-NOSE
Officer Swartz sees it!
CSPD OFFICER SWARTZ
He’s got a Gun!
RON STALLWORTH
I’m a Cop! I’m a COP!!!
Louise springs up from the lawn! Pleading crazy to cops!
LOUISE
He attacked me! That Nigger attacked
me, he tried to Rape me! Arrest him!
Swartz and Burns look at each other, unsure.
RON STALLWORTH
I’m Undercover!!!
CSPD OFFICER BURNS
Show me your badge!
Ron goes to reach in his pocket but the two Officers make
aggressive moves with their Guns! Ron catches himself! He
doesn’t want to get shot! He decides to just tell them.
RON STALLWORTH
It’s in my pocket.
LOUISE
You gonna believe this Nigger or me?
CSPD OFFICER SWARTZ
Get on the ground!
RON STALLWORTH
I’m a Cop goddammit! She’s got a
Bomb! She’s a Terrorist!
CSPD OFFICER SWARTZ
Get on the ground NOW!!!
Ron slowly lowers down to his knees and the two Cops push him
down face down on the street!
BUTCH
drives up with Duane and Walker in the back seat.
BUTCH
SHIT! Whatda’ fuck, Louise...
Duane sees the purse on the porch.
DUANE
There’s the purse! It’s there!
THE PURSE (DUANE’S POV)
resting by one of the pillars on the porch clearly visible
from the street.
BUTCH
Gimme’ a detonator.
Walker unzips his Bag quickly handing a Detonator to Butch.
RON
yells at the Cops trying to explain!
RON STALLWORTH
THAT WOMAN HAS A BOMB SHE’S TRYING TO
BLOW THAT HOUSE UP!
Patrice hearing the commotion steps out on the porch with her
friends.
In the Car, Duane sees Patrice on the porch.
DUANE
There she is! Do it!
RON STALLWORTH
PATRICE!
Officer Swartz jabs Ron in the Belly with his Nightstick. Ron
doubles over.
PATRICE
Ron???
In the Car, Butch says.
BUTCH
You’re Dead Black Bitch.
Patrice looks down spotting
THE PURSE (PATRICE'S POV)
on the porch. Ron recovering from the blow SCREAMS to her!
RON STALLWORTH
PATRICE GET AWAY FROM THE HOUSE!
LOUISE
finally sees Butch in the car. Butch sees her, nods. She then
sees that they are parked...
NEXT TO PATRICE’S CAR!!!
Patrice runs to Butch, screaming!
LOUISE
NO! BUTCH NO!
Butch pushes the Button!
THE BOMB
is attached to the inside of the wheel well of Patrice’s car.
PATRICE’S CAR
EXPLODES! THEN IT BLOWS UP BUTCH’S CAR NEXT TO IT!!! A double
explosion!!! THE IMPACT BLOWS OUT WINDOWS EVERYWHERE! Louise
is hurled to the street! Glass and car parts flying! Ron and
the Cops are ROCKED by the force of the HUGE BLAST!
THE TWO CARS TOTALLY DESTROYED! ENGULFED IN FLAMES!!!
Louise on her knees on the street, weeping!
RON STILL HANDCUFFED
through the smoke and flames is able to make eye contact with
Patrice, on the steps of her porch. She is shaken but all
right. SIRENS in the distance heading toward them!
155 OMITTED 155
156 OMITTED 156
Ratings
Scene 57 - Caught in the Act
The place is full of Off Duty Cops and their Girlfriends, a
few Wives but mainly Cops drinking and having a good time.
Ron is in the corner talking with Patrice. They are sharing a
drink looking very intimate. Ron sees something.
RON STALLWORTH
Jezzus Christ.
PATRICE
What?
RON STALLWORTH
Your Boyfriend.
Patrice turns and sees.
PATRICE
Oh My God.
Sgt. Morris nears them with a Beer in his hand.
SGT. MORRIS
Who's da' Soul Sistah, Stallworth?
You been holding out on me.
Patrice stares at him with contempt.
PATRICE
You don't remember me do you?
Sgt. Morris stares at her.
PATRICE (CONT'D)
Kwame Ture.
Sgt. Morris doesn't know who that is.
PATRICE
Stokely Carmichael.
SGT. MORRIS
Oh Yeah, Yeah, you looked good that
night but you look even better now.
PATRICE
How often do you do that to Black
People?
SGT. MORRIS
Do what?
PATRICE
Pull us over for nothing. Harass us.
Put your hands all over a Woman in
the guise of searching her. Call us
everything but A Child of God.
SGT. MORRIS
I don't know what you're talking
about.
RON STALLWORTH
It's like what I told you. He just
likes taking advantage but in the end
he's All Hat and No Cattle.
Sgt. Morris looks around then leans in close to Patrice and
Ron. He speaks softly issuing a deadly threat.
SGT. MORRIS
Let me tell you both something, I've
been keeping you People in line in
this City for years. What I did to
your Girl that night, I can do to any
of you, Anytime, Anyplace. That's my
prerogative. I can even Bust a Cap on
one of you if I feel like it, and
nuthin' will be done about it. Get
it? Wish the both of you got blown up
instead of Good White Folks.
Sgt. Morris raises up.
RON STALLWORTH
Oh I get it.
Ron looks at Patrice.
RON STALLWORTH (CONT'D)
You get it, Patrice?
PATRICE
Oh, I totally and completely get it?
Sgt. Morris looks confused with their response.
RON STALLWORTH
Good.
Ron turns toward the Bar and shouts.
RON STALLWORTH (CONT'D)
You get it, Chuck?
Behind the Bar, Chuck leans out from the back room waving to
Ron wearing Headphones recording The Conversation.
CHUCK
Oh, We got it! We got it all!
Ron stands removing his Shirt revealing The Wire he is
wearing. Sgt. Morris is in shock.
RON STALLWORTH
You get it, Chief?
Sgt. Trapp appears taking the Beer from Sgt. Morris' hand
turning him around putting Handcuffs on him. Chief Taggert
comes from the back nearing Sgt. Morris. The two lock eyes.
CHIEF TAGGERT
Oh, I really, really get it. You're
under arrest for Police Misconduct,
Sexual Misconduct and Police
Brutality.
Sgt. Trapp and the Chief usher Sgt. Morris, who is babbling
like a Fool out of The Bar reading him his rights.
Ratings
Scene 58 - Frustration in the Face of Success
Ron, walking taller than usual, steps inside The Unit. Some
of his Colleagues notice and give him a Low-Key Ovation. At
is Desk are Chuck, who is in Great Spirits.
CHUCK
There he is... Man of the Minute.
RON STALLWORTH
... not an Hour?
Ron smiles, gives Fives all around. They all share a laugh.
CHUCK (CONT'D)
That Polaroid Stunt you pulled? When
you threw your Arms around them, I
swear to God I almost Shit myself!
RON STALLWORTH
Told you, Ron was born ready.
CHUCK
Born ready is Ron.
Sgt. Trapp steps out of his Office.
SGT. TRAPP
There's The Crazy Son of a Bitch!!!
Trapp gives Ron a Bear Hug.
SGT. TRAPP (CONT'D)
You did good.
RON STALLWORTH
Sarge. We did good.
Ron and Chuck eyes meet, bonded.
SGT. TRAPP
Chief wants to see you.
Chuck nudges Ron.
CHUCK
Hey... early promotion?
Ron smiles.
159 INT. OFFICE OF THE CHIEF OF POLICE - DAY 159
Ron and Sgt. Trapp sit opposite Chief Taggert.
CHIEF TAGGERT
Again, I can't commend you enough for
what you've achieved. You know there
was not a Single Cross Burning the
entire time you were involved?
RON STALLWORTH
I'm aware.
CHIEF TAGGERT
But... as all good things come to an
end...
Sgt. Trapp shakes his head, resigned.
RON STALLWORTH
What?
CHIEF TAGGERT
Budget Cuts.
RON STALLWORTH
You can do this.
CHIEF TAGGERT
Inflation... I wish I had a choice.
Besides, it looks like there are no
longer any tangible Threats...
RON STALLWORTH
...Sounds like we did too good a job.
CHIEF TAGGERT
Not a Bad Legacy to leave.
Taggert takes a deliberate pause. Then, THE Sucker Punch...
CHIEF TAGGERT (CONT'D)
And I need you to destroy all
Evidence of The Investigation.
RON STALLWORTH
Excuse me?
SGT. TRAPP
Chief, are you sure that's necessary?
CHIEF TAGGERT
We prefer that The Public never knew
about this Investigation.
Ron is heated.
RON STALLWORTH
If they found out...
CHIEF TAGGERT
...Cease all further contact with The
Ku Klux Klan. Effective immediately.
That goes for Chuck too. Ron
Stallworth... The Klansman never
existed here in Colorado Springs.
RON STALLWORTH
This is some Fucked up Bullshit.
CHIEF TAGGERT
Take a week off. Go on vacation with
your friend. We'll hold down The Fort
until you get back. Get you another
assignment.
Ron storms out. Trapp follows.
Ratings
Scene 59 - Undercover Laughter
Ron reflects as he feeds Investigation documents in a
Shredder. The documents shred into pieces as he speaks.
RON STALLWORTH (V.O.)
The way it always works. The Truth is
erased, so no can learn from it.
We’re fed the same BS, it’s all okay,
normal, nothing to see here. While
the World of Hate Lives, Grows and
Multiplies.
Just then. The Undercover Phone Line rings on Ron's desk.
Ron stares at the Phone, still ringing. He looks at The
Documents in his hand, about to feed them into The Shredder.
Ron stops. Throws The Documents in a Folder. Sweeps some
Folders into his Briefcase. Leaves as The Phone still rings.
161 INT. LOBBY - CSPD - DAY 161
Ron is walking fast now, trying to make it out of The
Building with The Evidence but he remembers something.
He stops, turns back.
162 INT. INTELLIGENCE DIVISION - CSPD - DAY 162
Ron sits at his Desk, on The Undercover Phone Line. Chuck and
Sgt. Trapp are behind, both close enough to listen, giggling.
RON STALLWORTH
I'm sorry we didn't get to spend more
One-on-One time together.
INTERCUT RON, CHUCK, AND TRAPP WITH DAVID DUKE:
DAVID DUKE
Well, that tragic event. I had just
met those Fine Brothers in the cause.
RON STALLWORTH
Our Chapter is just shaken to the
core. And poor Louise not only does
she lose her Husband but she's facing
a healthy Prison Sentence.
DAVID DUKE
My God. And then there was that one
Nigger Detective who threatened me.
RON STALLWORTH
Goddamn Coloreds sure know how to
spoil a Celebration.
Chuck snorts. Ron holds in a Belly-Laugh.
DAVID DUKE
You can say that again.
Ron cracks up into his Hand. Sgt. Trapp is wheezing-- his
Face Bright Pink. Chuck is laughing hard in the background.
RON STALLWORTH
Can I ask you something? That Nigger
Detective who gave you a hard time?
Ever get his name?
DAVID DUKE
No, I...
RON STALLWORTH
...Are-uh you sure you don't know who
he is? Are-uh you absolutely sure?
Duke looks at his Phone. Ron puts his hand over The Receiver.
RON STALLWORTH
I can't do it Jackie. I'm not gonna'
kill myself. I can't die at 53.
Ron takes out his SMALL NOTE PAD out revealing a list of
Racial epitaphs he had written down being on this
Investigation. He reads from it to Duke on the phone.
RON STALLWORTH (CONT'D)
Cuz' dat Niggah Coon, Burr Head,
Gator Bait, Spade, Spook, Sambo,
Spear Chuckin', Big Lipped Buckwheat,
Purpled Gummed, Welfare Queen, Tar
Baby, Mississippi Wind Chime...COP is
Ron Stallworth you Redneck, Racist
Peckerwood Small Dick Motherfucker!!!
CLICK. Ron SLAM DUNKS THE RECEIVER LIKE SHAQ.
CLOSE - DAVID DUKE
David Duke's Jaw Drops.
163 INT. INTELLIGENCE DIVISION - CSPD - DAY 163
THE WHOLE OFFICE EXPLODES IN LAUGHTER. COPS ARE ROLLING ON
THE OFFICE FLOOR.
Ratings
Scene 60 - Crossroads of Identity
Folders of Evidence sit on The Kitchen Table in a stack. Ron
takes a Mug of Lipton Tea outside...
165 INT. RON'S APARTMENT - BALCONY - NIGHT 165
...where he sips it peacefully. The Polaroid of David Duke,
Fred Wilkens and Ron hugged up as friends.
CLOSE - POLAROID
Ron hugged up, between David Duke and Fred Wilkens.
He then looks behind at The Klan Membership Card shifting in
his hands, his gaze fixated on the words.
Close - Ron Stallworth
KKK Member in Good Standing
Patrice comes up from behind.
2 - SHOT - PATRICE AND RON
PATRICE (O.S.)
Have you Resigned from The KKK?
RON STALLWORTH
Affirmative.
PATRICE
Have you handed in your Resignation
as a Undercover Detective for the
Colorado Springs Police Department.
RON STALLWORTH
Negative. Truth be told I've always
wanted to be a Cop...and I'm still
for The Liberation for My People.
PATRICE
My Conscience won't let me Sleep with
The Enemy.
RON STALLWORTH
Your Enemy, this Cop, saved your
life.
PATRICE
You're absolutely right. And I Thank
you for it.
Patrice kisses Ron Good Bye. WE HEAR The Door close.
He looks in the distance: The Rolling Hills surrounding The
Neighborhood lead towards Pike's Peak, which sits on the
horizon like a King on A Throne.
Then he sees it: Something Burning.
CLOSER-- WE SEE a CROSS being lit, its Flames dancing,
sending embers into The BLACK, Colorado Sky.
CUT TO BLACK.
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
ron stallworth | Ron Stallworth's character arc begins with his determination to break barriers as the first Black officer in the Colorado Springs Police Department, showcasing his resilience in the face of racial prejudice. As he transitions into undercover work, he grapples with the duality of his identity, torn between his professional duties and personal beliefs. Throughout the screenplay, Ron faces escalating challenges that test his moral compass, leading to moments of internal conflict and growth. By the climax, he confronts the realities of systemic racism and the ethical implications of his undercover assignment, ultimately choosing to stand up against bigotry and injustice. In the resolution, Ron emerges as a more self-aware and principled individual, having navigated the complexities of his role while remaining committed to his values and the fight for equality. | While Ron's character arc is compelling, it could benefit from deeper exploration of his internal conflicts and relationships with other characters. The screenplay presents a strong foundation for his journey, but there are moments where his emotional struggles could be more vividly portrayed. Additionally, the stakes of his undercover work could be heightened to create a more intense sense of urgency and moral dilemma, allowing for a more impactful transformation. | To improve Ron's character arc, consider incorporating more scenes that delve into his personal relationships, particularly with Patrice and his colleagues, to highlight the emotional stakes of his journey. Additionally, introducing moments of vulnerability where Ron questions his choices and the implications of his actions could enhance the depth of his internal conflict. Increasing the tension in his undercover assignments, perhaps by introducing more direct threats to his safety or the safety of those he cares about, would also elevate the stakes and provide a clearer path for his growth and resolution. |
chief taggert | Throughout the screenplay, Chief Taggert undergoes a gradual transformation. Initially, he represents the institutional resistance to change, embodying the prejudices and systemic racism within the police force. As the narrative progresses, he is confronted with the realities of Ron's experiences and the impact of his own beliefs. This leads to moments of introspection where Taggert begins to question his own biases and the implications of his authority. By the end of the feature, while he may not fully embrace change, he shows signs of growth, recognizing the need for a more inclusive approach within the department, albeit reluctantly. | While Chief Taggert serves as a critical antagonist representing systemic issues, his character arc could benefit from deeper exploration. His transformation feels somewhat superficial, as it lacks significant moments of vulnerability or realization that would make his journey more compelling. The screenplay could further develop his internal conflict, showcasing how his beliefs are challenged not just by Ron's actions but also by the consequences of his own decisions. This would create a more nuanced portrayal of a character who is not just a symbol of authority but also a product of his environment. | To improve Chief Taggert's character arc, consider incorporating key scenes that highlight his internal struggle and moments of doubt. For instance, showing him grappling with the consequences of his decisions on the community or witnessing the impact of systemic racism firsthand could add depth. Additionally, introducing a mentor or a peer who challenges his views could facilitate a more gradual and believable transformation. Finally, allowing Taggert to have a pivotal moment of choice at the climax of the story could solidify his growth and make his character arc more impactful. |
chuck | Chuck's character arc follows his transformation from a pragmatic and skeptical undercover officer to a conflicted individual who confronts the moral complexities of his mission. Initially, he is focused on the mission and supportive of Ron, but as he becomes more entrenched in the Klan, he faces increasing internal conflict. His experiences force him to question his identity and the ethical implications of his actions. Throughout the screenplay, Chuck evolves from a reluctant participant to a resilient figure who ultimately asserts his beliefs and stands up against the racism and bigotry he encounters. By the end, he emerges as a stronger character, having reconciled his undercover role with his personal convictions, leading to a powerful moment of defiance against the Klan. | While Chuck's character arc is compelling, it could benefit from clearer moments of transformation that highlight his internal struggle. The screenplay should ensure that his conflicts are not only external but also deeply personal, allowing the audience to connect with his journey on an emotional level. Additionally, the balance between humor and seriousness should be carefully managed to avoid undermining the gravity of the situations he faces. Chuck's interactions with Ron could be further developed to showcase their evolving relationship, emphasizing how their partnership influences Chuck's growth. | To improve Chuck's character arc, consider incorporating more flashbacks or internal monologues that reveal his past experiences with racism and how they shape his current beliefs. This would provide context for his internal conflict and make his journey more relatable. Additionally, create pivotal moments where Chuck must make difficult choices that challenge his values, allowing for a more pronounced transformation. Strengthening his relationship with Ron can also enhance the emotional stakes, as their dynamic could serve as a catalyst for Chuck's growth. Finally, ensure that Chuck's moments of defiance against the Klan are impactful and resonate with the audience, reinforcing his character's resilience and moral integrity. |
patrice | Throughout the screenplay, Patrice evolves from a passionate activist who primarily focuses on external battles against systemic oppression to a more introspective character who begins to understand the importance of internal struggles and personal relationships. Initially, she is depicted as a fierce warrior for social justice, unyielding in her beliefs and often clashing with those who do not share her views. However, as the story progresses, she encounters challenges that force her to confront her own vulnerabilities and the complexities of her relationships, particularly with Ron. This journey leads her to a deeper understanding of the interconnectedness of personal and political struggles, ultimately allowing her to grow into a more holistic leader who values collaboration and empathy alongside her fierce activism. | While Patrice is a compelling character with strong convictions, her arc could benefit from more nuanced development. Currently, her character is primarily defined by her activism, which, while powerful, risks making her feel one-dimensional. The screenplay could explore her personal life, relationships, and internal conflicts more deeply to create a more rounded character. Additionally, her interactions with Ron could be expanded to show how their differing perspectives challenge her beliefs and lead to personal growth, rather than simply serving as a catalyst for his reflection. | To improve Patrice's character arc, consider incorporating subplots that delve into her personal life, such as her family background, friendships, or romantic relationships, which could provide insight into her motivations and vulnerabilities. Additionally, create moments of doubt or conflict within her activism that force her to reevaluate her approach and beliefs. This could involve facing the consequences of her actions or grappling with the emotional toll of her activism. By allowing Patrice to experience setbacks and moments of introspection, the screenplay can present a more complex and relatable character who embodies both strength and vulnerability. |
butch | Butch begins as a menacing and authoritative figure, fully immersed in his extremist beliefs and willing to resort to violence to assert his dominance. Throughout the screenplay, he faces challenges that test his loyalty and beliefs, particularly when confronted by Chuck's evolving perspective and the consequences of his actions. As the story progresses, Butch's facade of control begins to crack, revealing his insecurities and the fragility of his power. In a climactic moment, he is forced to confront the consequences of his violent actions, leading to a potential moment of self-reflection. Ultimately, Butch's arc culminates in a choice: to double down on his extremist beliefs or to reconsider his path, setting the stage for a potential redemption or tragic downfall. | While Butch is a well-defined antagonist with a clear embodiment of hate and aggression, his character arc could benefit from deeper exploration of his motivations and vulnerabilities. Currently, he appears one-dimensional, primarily serving as a vehicle for conflict rather than a fully realized character. The screenplay could enhance his arc by providing moments of introspection or conflict that challenge his beliefs, allowing the audience to see the human side of his character, even if it is deeply flawed. This would create a more nuanced portrayal that could evoke a range of emotions from the audience, rather than simply fear and disdain. | To improve Butch's character arc, consider incorporating flashbacks or dialogue that reveal his backstory, exploring the origins of his extremist beliefs and the experiences that shaped him. Introducing a personal relationship or a moment of vulnerability could create opportunities for internal conflict, allowing the audience to empathize with him, even if they do not agree with his views. Additionally, presenting a rival within the Klan who challenges his authority could create tension and force Butch to confront his insecurities. Ultimately, allowing for a moment of choice at the climax—where he must decide between violence and a different path—could add depth to his character and make his arc more compelling. |
ken | Ken's character arc begins with him as a confident and aggressive leader, fully immersed in the ideology of the hate group. As the story unfolds, he faces challenges that force him to confront the violent and destructive nature of the organization he leads. His initial loyalty to the group is tested as he grapples with the consequences of their actions and the impact on his own beliefs. By the climax, Ken experiences a pivotal moment of realization that leads him to question his values and the path he has chosen. In the resolution, he ultimately decides to step down as Chapter President, nominating Ron as his successor, symbolizing a shift away from hate and a desire for redemption, albeit still grappling with the remnants of his past. | While Ken's character arc presents a compelling journey from a confident leader to a questioning individual, it risks falling into predictable tropes of redemption without fully exploring the complexities of his internal conflict. The transition from a hate-driven leader to someone seeking redemption may feel rushed or unearned if not adequately developed. Additionally, the portrayal of his discomfort with violence could benefit from deeper exploration, allowing the audience to understand the nuances of his character beyond mere loyalty to the group. | To improve Ken's character arc, consider incorporating more moments of introspection and conflict throughout the screenplay. Allow him to engage in conversations that challenge his beliefs, showcasing his internal struggle more vividly. Introduce a subplot involving a personal relationship or a past trauma that connects him to the very minorities he despises, adding depth to his character. Gradually reveal his discomfort with the group's actions through small, impactful moments rather than a sudden realization. This will create a more believable and relatable transformation, making his eventual decision to step down feel more earned and impactful. |
duane | Duane begins as a devoted follower of Butch and the Klan, fully immersed in their racist ideologies and activities. As the story progresses, he faces a pivotal moment when the consequences of their actions lead to a tragic event that affects him personally. This moment serves as a catalyst for change, forcing Duane to confront the reality of his beliefs and the impact of his actions. Struggling with guilt and the loss of a close ally, he begins to question the ideologies he once embraced. By the end of the screenplay, Duane's character arc culminates in a moment of redemption where he chooses to distance himself from the Klan, seeking to make amends for his past and advocating against the very beliefs he once held dear. | While Duane's character serves as a strong representation of blind loyalty and the dangers of extremist ideologies, his arc could benefit from deeper emotional exploration. The transition from a loyal follower to a questioning individual feels somewhat abrupt and may lack the necessary buildup to make it believable. Additionally, the motivations behind his initial commitment to the Klan could be further developed to provide a more nuanced understanding of his character. | To improve Duane's character arc, consider incorporating flashbacks or moments of introspection that reveal his background and the factors that led him to embrace such extremist beliefs. This could create a more empathetic portrayal of his character. Additionally, introducing a mentor or a pivotal relationship that challenges his views throughout the story could provide a more gradual and believable transformation. Finally, allowing Duane to experience small moments of doubt or conflict earlier in the screenplay could help foreshadow his eventual change, making his redemption arc more impactful. |
david duke | Throughout the screenplay, David Duke begins as a charismatic leader who rallies his followers with persuasive rhetoric, exuding confidence and authority. As the story progresses, his interactions with Ron expose the cracks in his facade, revealing the underlying insecurities and desperation that fuel his extremist beliefs. In the climax, Duke faces a confrontation that challenges his ideology, leading to a moment of vulnerability where he must confront the consequences of his actions. Ultimately, he doubles down on his beliefs, showcasing the tragic persistence of hate, but leaving room for the audience to question the fragility of his power and the potential for change in others influenced by him. | While David Duke's character is compelling as a representation of charismatic evil, his arc could benefit from deeper exploration of his motivations and vulnerabilities. The current portrayal leans heavily on his confident exterior without delving into the psychological factors that drive his extremist views. This could risk making him a one-dimensional antagonist rather than a complex character. Additionally, the arc could be strengthened by showing moments of doubt or conflict that humanize him, even if only briefly, to create a more nuanced portrayal of hate and its origins. | To improve Duke's character arc, consider incorporating flashbacks or moments of introspection that reveal his past experiences and the formative events that shaped his beliefs. This could provide context for his actions and make him more relatable, even if his ideology remains reprehensible. Additionally, introducing a rival character or a personal loss that challenges his worldview could create a more dynamic conflict, allowing for a potential moment of redemption or a deeper descent into his hatred. Finally, exploring the impact of his rhetoric on his followers could add layers to his character, illustrating the broader consequences of his beliefs and actions. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
High Dialogue Scores Correlate with High Emotional Impact | Scenes with dialogue scores of 8 or higher consistently show high emotional impact scores (8 or higher). This suggests strong dialogue is crucial in conveying emotion effectively. Consider exploring how to further elevate emotional impact in scenes where dialogue scores are lower (e.g., scenes 16, 31, 38, 41). |
Tense Tone and High Stakes | A significant number of scenes with a 'Tense' tone also receive high scores for 'High Stakes'. This indicates the effective use of tension to heighten the importance of the narrative events. Maintaining this balance is key to keeping the audience engaged. |
Racist Tone and Lower Dialogue/Character Change Scores | Scenes tagged with 'Racist' tend to have lower scores in 'Dialogue' and 'Character Changes'. This might indicate that these scenes, while effectively conveying the tone, could benefit from more dynamic dialogue or more pronounced character development to enhance their impact and avoid reliance solely on the 'Racist' tone for engagement. Explore whether nuanced dialogue could deepen the impact of these scenes without compromising the tone. |
Inspiring/Empowering Tones Lead to High Overall Scores and Character Development | Scenes with 'Inspiring' and 'Empowering' tones consistently achieve high overall grades and exceptionally high scores in 'Characters'. These are your strongest scenes. This suggests these tones are particularly effective at driving plot and character arc. Consider using these tones strategically to balance the more tense scenes. |
Humorous Tone and Inconsistent Emotional Impact | Scenes utilizing 'Humorous' tones show inconsistent 'Emotional Impact' scores, suggesting that the humor might sometimes overshadow the emotional depth. Analyze whether the humor always complements or sometimes detracts from the intended emotional arc. Refining the balance of humor and emotional impact could improve these scenes. |
High Concept and Plot Scores, But Room for Improvement in Other Areas | Many scenes boast high scores in 'Concept' and 'Plot,' demonstrating strong foundational story elements. However, several scenes lag in 'Dialogue,' 'Emotional Impact,' or 'Character Changes.' This suggests that while the story's framework is solid, improving dialogue and emotional depth in these specific scenes will elevate the overall screenplay quality. |
Confrontational Scenes Drive Conflict, but May Need Emotional Refinement | Scenes with 'Confrontational' tones consistently score highly in 'Conflict,' suggesting effective conflict creation. However, some of these scenes could benefit from improved 'Emotional Impact' scores to deepen the audience's connection to the characters' experiences within these confrontations. |
Late Act Surge in Emotional Weight | There's a noticeable increase in emotional impact, particularly in the later half of the screenplay (scenes 56-60). This indicates that the emotional stakes rise dramatically towards the conclusion. While this is often desirable, consider ensuring that the emotional build is gradual and consistent throughout to prevent a sense of abruptness. |
Writer's Craft Overall Analysis
The screenplay demonstrates a strong command of dialogue and a talent for creating tension and conflict, particularly in exploring complex themes of race, power, and identity. Many scenes effectively build suspense and showcase compelling character interactions. However, there's a recurring need for enhanced character development, particularly in exploring motivations and internal conflicts beyond dialogue, and refinement of plot structure beyond simply establishing conflict.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | 'Save the Cat!' by Blake Snyder | This book directly addresses plot structure, character arcs, and creating engaging narratives, directly addressing the identified needs for improved plot structure and character development. |
Book | 'Screenplay: The Foundations of Screenwriting' by Syd Field | This classic text provides a solid foundation in screenplay structure, pacing, and character development, which are all areas needing attention in the screenplay, as evidenced by the repeated feedback. |
Screenplay | Study screenplays by Aaron Sorkin ('The Social Network'), Spike Lee ('Do the Right Thing'), and Quentin Tarantino ('Inglourious Basterds') | These writers excel in dialogue-driven scenes, complex character dynamics, and exploring challenging themes—areas highlighted as both strengths and areas for improvement in the provided analyses. Comparing and contrasting their techniques will enhance the writer's own approach. |
Video | Watch masterclasses or interviews with Aaron Sorkin, Spike Lee, and Quentin Tarantino. | Learning directly from these masters about their creative processes will offer invaluable insights beyond simply analyzing their work. These videos offer direct access to their thoughts on character development, dialogue, and thematic exploration. |
Course | A screenwriting course focusing on structure and character development. | Structured learning will provide a framework for enhancing the screenplay's weaknesses. A course will offer feedback and guidance on crafting compelling narratives beyond the individual scene level. |
Stories Similar to this one
Story | Explanation |
---|---|
BlacKkKlansman | This film, directed by Spike Lee, shares a similar premise of an African American detective infiltrating the Ku Klux Klan. It explores themes of racism, identity, and the absurdity of hate, paralleling Ron Stallworth's undercover operation and his interactions with Klan members. |
American History X | This film delves into the life of a former neo-Nazi skinhead who tries to prevent his younger brother from going down the same wrong path. It addresses themes of racism, redemption, and the impact of hate, resonating with the racial tensions and personal struggles depicted in the screenplay. |
The Help | Set in the 1960s, this film focuses on the lives of African American maids working in white households in Jackson, Mississippi. It highlights the systemic racism and social injustices of the time, similar to the historical context and racial dynamics explored in the screenplay. |
12 Years a Slave | This film tells the true story of Solomon Northup, a free Black man who is kidnapped and sold into slavery. It powerfully addresses themes of racial injustice and the struggle for dignity, paralleling Ron's journey as he navigates a racially charged environment. |
Selma | This historical drama chronicles the 1965 Selma to Montgomery voting rights marches led by Martin Luther King Jr. It captures the civil rights movement's struggles and triumphs, echoing the themes of activism and racial equality present in Ron Stallworth's story. |
Get Out | This horror film uses satire to explore racism and cultural appropriation through the story of a Black man who uncovers disturbing secrets about his white girlfriend's family. The tension and commentary on race relations resonate with the screenplay's exploration of racial identity and prejudice. |
The Butler | This film follows the life of a Black man who serves as a White House butler over several decades, witnessing significant moments in civil rights history. It parallels the historical backdrop and personal experiences of Ron Stallworth as he navigates his role in a racially divided society. |
Fruitvale Station | Based on the true story of Oscar Grant, this film depicts the events leading up to his tragic death at the hands of police. It highlights systemic racism and police brutality, themes that resonate with Ron's experiences as a Black officer in a predominantly white police force. |
The Wire | This critically acclaimed TV series explores the complexities of crime, law enforcement, and social issues in Baltimore. It addresses systemic racism and the challenges faced by individuals within the police force, similar to Ron's struggles in the screenplay. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
Undercover Cop | Ron Stallworth, a Black police officer, goes undercover to infiltrate the Ku Klux Klan. | The undercover cop trope involves a law enforcement officer assuming a false identity to gather information on criminal organizations. A classic example is in '21 Jump Street,' where officers go undercover in a high school to bust drug dealers. |
Racial Tension | The screenplay highlights the racial tensions of the 1970s, particularly through Ron's experiences as the first Black officer in the CSPD. | Racial tension is a common theme in narratives exploring race relations, often depicted through conflict between different racial groups. An example is 'American History X,' which delves into the complexities of racism and redemption. |
The Token Minority | Ron is portrayed as the first Black officer in a predominantly white police department, representing the token minority in a racially charged environment. | The token minority trope refers to the inclusion of a single character from a marginalized group to give the appearance of diversity. An example is 'The Breakfast Club,' where the character of Brian serves as the token nerd among a diverse group of students. |
Love Across Enemy Lines | Ron develops a romantic relationship with Patrice, a strong advocate for Black rights, despite his undercover role in the KKK. | This trope involves characters from opposing sides of a conflict forming a romantic relationship, often highlighting the complexities of love and loyalty. A notable example is 'Romeo and Juliet,' where two lovers come from feuding families. |
The Mentor | Chief Taggert serves as a mentor figure to Ron, guiding him through the challenges of being a Black officer. | The mentor trope features a character who provides guidance and support to a younger or less experienced character. An example is Mr. Miyagi in 'The Karate Kid,' who teaches Daniel both martial arts and life lessons. |
The Big Bad | The KKK is portrayed as the primary antagonistic force against Ron and the civil rights movement. | The big bad trope refers to a clear antagonist that embodies the main conflict in the story. An example is Voldemort in the 'Harry Potter' series, representing the ultimate evil against which the protagonists fight. |
The Call to Action | Ron receives a call from Chief Taggert, prompting him to take on the undercover assignment. | The call to action trope is a pivotal moment that propels the protagonist into the main conflict of the story. An example is in 'The Hobbit,' where Gandalf's invitation leads Bilbo to join the adventure. |
The Misunderstood Villain | Characters like David Duke are portrayed with a veneer of charm, masking their sinister intentions. | This trope involves a villain who appears relatable or sympathetic, complicating the audience's perception. An example is Loki in the 'Thor' series, who oscillates between villainy and heroism. |
The Final Confrontation | The climax involves Ron confronting the KKK and the implications of his undercover work. | The final confrontation trope is the climactic moment where the protagonist faces off against the antagonist, often leading to resolution. An example is the final battle in 'The Avengers,' where the heroes unite against Loki. |
Theme | Theme Details | Themee Explanation | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Systemic Racism and its insidious nature | The film opens with historical footage depicting the Confederacy and a 1960s educational film promoting racist stereotypes. Throughout, the screenplay depicts pervasive racism within the police department, the KKK, and broader society. The systemic nature of the oppression is highlighted through the casual racism displayed by many characters, and by the way that institutional structures protect and enable racist behavior. | This theme explores how racism isn't merely individual prejudice but a deeply ingrained system that protects and perpetuates itself. It's not confined to overt acts of violence but manifests in subtle ways, shaping institutions and individual attitudes. | ||||||||||||
Strengthening Systemic Racism and its insidious nature:
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Undercover work and the challenges of identity | Stallworth's infiltration of the KKK requires him to constantly negotiate his identity and maintain his cover, leading to internal conflict and moral dilemmas. He must balance his personal values with the demands of his mission. Chuck's undercover work introduces similar tensions. | This theme explores the psychological strain of undercover work, the difficulties of maintaining a false persona, and the impact on one's sense of self. | ||||||||||||
Love and Betrayal; Personal Sacrifice | Stallworth's relationship with Patrice Dumas, a Black activist, creates a compelling conflict of interest. His undercover work puts her in danger, forcing him to make difficult choices and potentially betray her trust. The tension between his professional life and personal relationships adds depth to his struggle. | This theme explores the sacrifices individuals make in the fight for justice and the complexities of navigating personal relationships in the face of moral dilemmas. | ||||||||||||
Moral Ambiguity and the Justification of Means | Stallworth's methods are morally ambiguous. He infiltrates a hate group, using deception and potentially putting others at risk. The film explores the ethical challenges of using questionable tactics to achieve a just outcome. | The film forces viewers to question the morality of Stallworth's tactics, forcing a reflection on the justification of potentially unethical actions in the pursuit of a greater good. | ||||||||||||
Racial Identity and Self-Discovery | Stallworth's journey involves a growing awareness of his racial identity and the challenges he faces as a Black man in a racist society. He initially displays a lack of political awareness, but his experiences force him to confront his own prejudices and the realities of systemic racism. | This theme explores the process of self-discovery and identity formation within a context of racial oppression. | ||||||||||||
Police Brutality and the 'Blue Wall of Silence' | The film depicts instances of police brutality and the complicity of some officers in protecting abusive colleagues. This highlights the systematic problems within law enforcement and how the institution often fails to address internal corruption. | This theme underscores the systemic issues within law enforcement and how it can perpetuate and cover up racism. |
Screenwriting Resources on Themes
Articles
Site | Description |
---|---|
Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
---|---|
Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
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Summary: | The writer's voice is sharp, gritty, and realistic, blending dark humor with intense social commentary on race and power dynamics in 1970s America. The narrative is driven by strong, authentic dialogue that captures the vernacular and tension of the time, punctuated by vivid scene descriptions and internal monologues that provide insight into the characters' complex motivations. |
Voice Contribution | The writer's voice contributes to the script by creating a compelling and thought-provoking narrative that is both entertaining and deeply unsettling. The blend of dark humor and gritty realism prevents the story from becoming overly didactic, while the sharp dialogue and vivid descriptions immerse the audience in the tense atmosphere of the time. This unique blend enhances the themes of racial injustice, infiltration, and the absurdity of hate, adding layers of depth and complexity to the story. |
Best Representation Scene | 1 - Racist Rhetoric: A 1960s Propaganda Perspective |
Best Scene Explanation | This scene is the best representation because it immediately establishes the writer's unique approach. The darkly satirical juxtaposition of classic Hollywood imagery with raw, hateful propaganda instantly sets the tone. It showcases the writer's ability to blend humor and horror, highlighting the absurdity of racist ideologies while simultaneously underscoring their real-world danger. This masterful combination of stylistic choices and thematic depth is a hallmark of the writer's voice throughout the screenplay. |
- Overall originality score: 9
- Overall originality explanation: The screenplay presents a highly original exploration of race relations, undercover operations, and the complexities of identity within a historical context. It effectively intertwines humor and serious themes, showcasing authentic character interactions and dialogue that resonate with contemporary issues. The use of real historical figures and events, combined with the unique premise of a Black cop infiltrating the KKK, adds layers of originality that challenge conventional narratives.
- Most unique situations: The most unique situations in the screenplay are Ron Stallworth's undercover phone conversations with David Duke, where he cleverly navigates racist ideologies while maintaining his cover, and the juxtaposition of the Klan's initiation ceremony with the powerful speech by Jerome Tompkins about the lynching of Jesse Washington, highlighting the stark contrast between the two worlds.
- Overall unpredictability score: 8.5
- Overall unpredictability explanation: The screenplay maintains a high level of unpredictability through its intricate plot twists and character developments. The tension between Ron's undercover work and his personal relationships, particularly with Patrice, creates a dynamic that keeps the audience guessing about the outcomes. Additionally, the escalation of violence and the unexpected decisions made by characters, such as the bomb plot and the confrontation with Sgt. Morris, contribute to a narrative that defies typical genre conventions.
Goals and Philosophical Conflict | |
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internal Goals | The protagonist's internal goals evolve from seeking acceptance and recognition as the first Black police officer to grappling with his identity and the complexities of fighting against systemic racism while working undercover. Throughout the script, Ron's journey includes a growing desire for justice, personal integrity, and reconciling his undercover role with his commitment to the Black community. |
External Goals | Ron’s external goals shift from becoming a police officer to infiltrating the KKK and gathering evidence against them, highlighting his commitment to fighting hate and protecting his community. His initial aims evolve to include ensuring the safety of his loved ones and directly confronting white supremacy. |
Philosophical Conflict | The overarching philosophical conflict is the tension between systemic racism and the pursuit of equality. This is characterized by Ron’s struggle against the oppressive ideologies of the KKK and the broader societal structures that perpetuate discrimination. |
Character Development Contribution: The protagonist's goals and conflicts significantly contribute to his development from a newcomer seeking acceptance to a confident individual committed to justice. Each challenge refines his understanding of his identity and purpose, ultimately culminating in a greater sense of agency.
Narrative Structure Contribution: The evolving goals and conflicts punctuate the narrative arc, driving the plot forward as Ron navigates various dangers, deepening the stakes, and maintaining tension throughout the screenplay. Significant scenes highlight Ron's growth and the overall impact of his undercover mission.
Thematic Depth Contribution: The interconnectedness of goals and conflicts infuses the screenplay with themes of identity, resilience against discrimination, and the moral complexities of one's choices. The narrative explores the nuances of race, power, and the struggle for justice, ultimately forging a powerful commentary on systemic racism.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
---|---|
Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
---|---|
How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay's physical environment encompasses diverse locations in Colorado Springs, Colorado, during the 1970s. These range from the picturesque mountain landscapes and suburban neighborhoods to the bustling downtown area, a racially tense police department, seedy dive bars, a luxurious hotel, and a crowded nightclub. The setting often reflects the mood of the scene – the beauty of Colorado Springs contrasts with the grim reality of racism and violence, while the claustrophobic atmosphere of the Klan's meeting places emphasizes the secretive and dangerous nature of their activities.
- Culture: The dominant cultural elements are those of the 1970s, including the counterculture movement, the Black Power movement, and the resurgence of white supremacist groups like the Ku Klux Klan. Racial tensions are palpable, shaped by the lingering effects of segregation and the ongoing fight for civil rights. The screenplay also depicts the cultural clash between these opposing ideologies, symbolized by the presence of both the Black Student Union and the KKK. The film's opening sequence explicitly uses 1960s-era propaganda films to illustrate the cultural roots of the Klan's ideology.
- Society: The societal structure is deeply hierarchical and racially stratified. The police department itself reflects this, showcasing the power dynamics between officers and the challenges faced by a Black officer trying to navigate a predominantly white institution. White supremacy is a dominant ideology, particularly among the Klan, who use intimidation and violence to maintain their power. The screenplay also portrays the activism of Black citizens and their efforts to resist oppression, revealing a society grappling with profound social and political change.
- Technology: Technology in the screenplay is representative of the 1970s, with the use of wiretapping equipment, telephones, and surveillance techniques playing a crucial role in the undercover investigation. The presence of NORAD and the military reflects the Cold War context. In contrast, older technologies, such as the use of 16mm film in the opening sequence, highlight the enduring legacy of past racist ideologies.
- Characters influence: The world elements directly shape the characters' experiences and actions. Ron Stallworth's journey is profoundly affected by the racism he faces in the police department and the wider society. His actions are a direct response to the cultural and societal pressures he encounters. Other characters, such as Patrice Dumas and the members of the Black Student Union, actively challenge the prevailing racism. The Klan members' actions are shaped by their white supremacist beliefs and their fear of social change.
- Narrative contribution: The world-building elements are integral to the narrative. The setting of Colorado Springs in the 1970s provides a specific historical context, while the contrast between the picturesque landscape and the realities of racism creates dramatic tension. The undercover operation forms the central plot, driving the narrative forward through various locations and interactions between Ron and members of both the police force and the KKK. The scenes within the police department reveal the internal conflicts and power struggles within the institution.
- Thematic depth contribution: The world-building contributes significantly to the thematic depth. The contrast between the idyllic setting and the pervasive racism underscores the film's central theme of the insidious nature of prejudice. The interplay between the Black Power movement and the KKK highlights the struggle for equality and the fight against oppression. The characters' individual struggles within this complex social and political context amplify the thematic exploration of identity, justice, courage, and the enduring power of hate. The use of historical footage and propaganda further emphasizes the long-lasting impact of racist ideologies.
central conflict
The central conflict revolves around Ron Stallworth's struggle to navigate his identity as a Black police officer infiltrating the Ku Klux Klan while confronting systemic racism and personal relationships.
primary motivations
- Ron Stallworth's desire to bring about change within the police force and combat racism.
- Patrice Dumas's commitment to Black liberation and activism.
- The Klan's motivation to maintain white supremacy and resist integration.
catalysts
- Ron receiving the opportunity to work in the Intelligence Unit.
- The rise of civil rights activism and the threat perceived by the Klan.
- Ron’s decision to call the KKK and express interest in joining.
barriers
- Racial prejudice and hostility from fellow officers and Klan members.
- The internal conflict Ron faces regarding his undercover role and personal relationships.
- The systemic issues within the police department that hinder effective action against the Klan.
themes
- Racism and its pervasive impact on society.
- Identity and the complexities of belonging.
- The struggle for justice and equality.
stakes
The stakes include the safety of Ron and Patrice, the potential for violence from the Klan, and the broader implications for civil rights and community safety.
uniqueness factor
The story uniquely combines elements of dark comedy and drama, presenting a true story of a Black man infiltrating a white supremacist organization, which challenges conventional narratives about race and identity.
audience hook
The tension between Ron's undercover work and his personal relationships, particularly with Patrice, keeps the audience engaged as they anticipate the consequences of his dual identity.
paradoxical engine or bisociation
The paradox lies in Ron's position as a Black man working within a racist organization, highlighting the absurdity of racism while simultaneously exposing its dangers.
paradoxical engine or bisociation 2
The bisociation can also be seen in the juxtaposition of Ron's undercover role against the backdrop of civil rights activism, creating a tension between personal duty and moral obligation.
Engine: Gemini
Highly Recommend
Executive Summary
Blackkklansman is a highly compelling and well-crafted screenplay that masterfully blends genres to deliver a powerful and timely message. The narrative is consistently engaging, driven by strong character arcs and a unique premise. While minor improvements to pacing and subplots could be considered, the screenplay's strengths significantly outweigh its weaknesses, making it a highly recommendable project.
- The screenplay's opening sequence immediately sets a powerful tone by juxtaposing historical imagery of the Confederacy with contemporary racial tensions. The use of archival footage and inflammatory Klan propaganda effectively establishes the film's central themes and creates a strong emotional impact. The scenes featuring Kwame Ture's speech are similarly powerful, displaying his charisma and articulating core themes of the film. high ( Scene 1 Scene 14 )
- Ron Stallworth's character arc is exceptionally well-developed. His journey from a seemingly naive young officer to a courageous undercover operative is both believable and inspiring. The screenplay effectively highlights his internal conflicts, his unwavering commitment to justice, and his evolution as a person. high ( Scene 4 Scene 8 Scene 25 )
- The infiltration of the KKK is expertly depicted. The screenplay masterfully uses humor and tension to create a suspenseful and engaging narrative, even as the audience knows the protagonist is not in danger. The writing convincingly portrays the absurdity and danger of the Klan and its members without overplaying either element. high ( Scene 27 Scene 36 Scene 47 Scene 60 Scene 65 )
- The romantic subplot between Ron and Patrice adds depth and emotional complexity to the narrative. It provides a counterpoint to the intense undercover work and allows for moments of levity and human connection. medium ( Scene 56 Scene 157 )
- The screenplay effectively utilizes historical context to enhance the narrative's impact. The inclusion of Jesse Washington's lynching is particularly powerful, providing a chilling reminder of the brutality of racism and underscoring the film’s central message. high ( Scene 138 Scene 142 )
- In some places, the pacing feels slightly uneven. Certain scenes could benefit from tighter editing to maintain a consistent level of suspense. low ( Scene 55 Scene 107 )
- The screenplay omits scenes (5 and 29-30), potentially leading to slight narrative gaps or abrupt transitions. While these might be justified by the final cut of the film, they warrant consideration in the script itself. low ( Scene 29 Scene 30 )
- While the screenplay provides a strong resolution, a brief epilogue showing the long-term consequences of the investigation could add emotional weight and leave the audience with a more lasting impression. low
- The phone call with David Duke is a masterclass in tension and unexpected humor. The conversation's unexpected tone and reveals significantly build on the overall narrative. high ( Scene 77 )
- The introduction of Agent Y adds another layer of intrigue and suspense to the narrative. The ambiguity surrounding Agent Y's identity and his actions raises questions about the limits of justice and the nature of covert operations. medium ( Scene 108 Scene 109 Scene 110 )
- The climax involving the bomb threat and the shootout is a thrilling and emotionally charged sequence. The rapid-fire action and unexpected twists keep the audience on the edge of their seats. high ( Scene 154 )
- Underrepresentation of female characters While Patrice Dumas plays a significant role, other female characters are largely underdeveloped or serve primarily as plot devices (e.g., Louise, the Klansman's wife). The screenplay could benefit from exploring a wider range of female experiences and perspectives, adding complexity and realism to the narrative. medium
Engine: Claude
Recommend
Executive Summary
The screenplay for "BlacKkKlansman" is a compelling and thought-provoking exploration of racial tensions in 1970s America. The story follows Ron Stallworth, the first African-American detective in the Colorado Springs Police Department, as he embarks on an undercover operation to infiltrate the local chapter of the Ku Klux Klan. Through a complex and engaging narrative, the screenplay examines the intersections of race, politics, and law enforcement, while also delivering a powerful commentary on the persistence of racism and the ongoing struggle for civil rights. The film's unique blend of drama, humor, and historical significance make it a standout in the genre.
- The opening sequence effectively sets the tone for the film, using a satirical propaganda film to establish the historical context and the film's thematic focus on racism and white supremacy. high ( Scene 1 )
- The screenplay's use of stock footage and news reports to provide context and commentary on the social and political landscape of the 1970s is both informative and visually engaging. medium ( Scene 13 (26) )
- The interactions between Ron Stallworth and David Duke, the Grand Wizard of the Ku Klux Klan, are particularly well-written, showcasing the protagonist's wit and resourcefulness as he navigates the deception and manipulation of his undercover role. high ( Scene 14 (27) Scene 38 (96) )
- The confrontation between Ron and Patrice, the president of the Black Student Union, is a powerful and emotionally charged scene that explores the complexities of their relationship and the moral dilemmas faced by the protagonist. high ( Scene 45 (111) )
- The KKK initiation ceremony and the interweaving of historical events, such as the lynching of Jesse Washington, create a visceral and impactful sequence that underscores the film's thematic exploration of racism and the legacy of violence. high ( Scene 49 (123) Scene 51 (129) )
- The resolution of the narrative thread involving the planned KKK attack could be more clearly and consistently established, as the sudden cancellation of the march and the subsequent events feel somewhat abrupt and leave some unanswered questions. medium ( Scene 46 (112) Scene 47 (112) )
- The exchange between Ron and Chuck regarding Patrice could be further developed to more fully explore the protagonist's conflicting loyalties and the ethical dilemmas he faces as an undercover officer. medium ( Scene 43 (106) )
- The abrupt ending, with the Chief of Police ordering the destruction of all evidence and effectively erasing the investigation, could be expanded upon to provide a more satisfying and impactful conclusion to the narrative. medium ( Scene 58 (159) )
- The screenplay could benefit from more development of the relationship between Ron and Patrice, as their connection and its impact on the protagonist's moral and professional journey is not fully explored. medium ( Scene 16 (34) Scene 17 (35) )
- The confrontation between Chuck and Butch in the storm shelter could be further expanded to provide more insight into Chuck's internal conflict and the emotional toll of his undercover role. medium ( Scene 28 (70) Scene 29 (71) )
- The exchange between Ron and Sergeant Morris highlights the systemic racism within the police force and provides a compelling commentary on the complex relationship between law enforcement and the African-American community. high ( Scene 7 (9) )
- The screenplay's exploration of David Duke's efforts to rebrand the Ku Klux Klan and move towards a more "mainstream" political approach is a timely and relevant commentary on the evolution of white supremacist ideology. high ( Scene 24 (58) )
- The confrontation between Ron, Patrice, and Sergeant Morris serves as a powerful and impactful conclusion, highlighting the continued struggle against police brutality and racial injustice. high ( Scene 57 (157) )
- Lack of nuance in character development While the screenplay does a strong job of exploring the complex racial and political dynamics at play, there are moments where the characterization could be more nuanced. For example, the relationship between Ron and Patrice, while compelling, could benefit from deeper exploration of their individual motivations and the impact of Ron's undercover work on their connection. medium
- Pacing issues in certain sequences The screenplay occasionally struggles with pacing, particularly in the second half, where the resolution of the KKK attack plot feels a bit rushed and abrupt. This could be improved through more consistent narrative momentum and a more gradual build-up to the climactic events. medium
Engine: GPT4
Highly Recommend
Executive Summary
The screenplay for 'BlacKkKlansman' is a powerful and timely exploration of race relations in America, blending humor and drama to tackle serious themes of racism and identity. The character arcs are well-developed, particularly Ron Stallworth's journey as he navigates the complexities of being a Black man infiltrating the KKK. The narrative is compelling, with a strong pacing that maintains tension throughout. The screenplay effectively uses historical context to enhance its themes, making it both relevant and engaging for contemporary audiences.
- The screenplay effectively uses historical context and humor to set the tone, engaging the audience from the start. high ( Scene 1 (Opening scenes with historical footage) Scene 2 (Ron Stallworth's introduction) )
- The climax is intense and impactful, showcasing the stakes of Ron's undercover work and the real dangers of hate. high ( Scene 57 (Final confrontation with the KKK) )
- The dialogue is sharp and witty, highlighting the absurdity of the KKK's beliefs while showcasing Ron's cleverness. high ( Scene 160 (Ron’s final phone call with David Duke) )
- The character development of Patrice adds depth to the narrative, illustrating the impact of racism on personal relationships. medium ( Scene 90 (Patrice's speech) )
- The screenplay's ability to balance humor with serious themes is a significant strength, making it both entertaining and thought-provoking. high ( Scene 28 (Ron’s phone call with the KKK) )
- Some scenes could benefit from tighter pacing to maintain engagement, particularly during exposition-heavy moments. medium ( Scene 4 (Ron’s interview with the police department) )
- The transition between comedic and serious tones can feel abrupt at times, which may disrupt the flow of the narrative. medium ( Scene 12 (Ron’s first undercover assignment) )
- Some supporting characters lack depth, which could enhance the overall narrative and provide more conflict. medium ( Scene 23 (Ron’s interactions with other officers) )
- The resolution could be more impactful; some plot threads feel rushed or unresolved. medium ( Scene 45 (Ron’s final confrontation with the KKK) )
- The romantic subplot could be developed further to enhance emotional stakes. medium ( Scene 56 (Final scenes with Patrice) )
- More background on Ron's personal life could provide additional context for his motivations. medium ( Scene 10 (Ron’s apartment) )
- Additional scenes showcasing the impact of the KKK's actions on the community would strengthen the narrative. medium ( Scene 14 (Kwame Ture's speech) )
- More interactions with other officers could highlight the systemic issues within the police force. medium ( Scene 22 (Ron’s interactions with his colleagues) )
- A deeper exploration of the psychological toll of undercover work on Ron would add depth to his character. medium ( Scene 30 (Ron’s undercover work) )
- More focus on Patrice's activism could enhance the theme of resistance against racism. medium ( Scene 45 (Patrice's activism) )
- The use of historical footage effectively grounds the narrative in reality, enhancing its impact. high ( Scene 1 (Opening scenes with historical footage) )
- The climax serves as a powerful commentary on the ongoing struggle against racism. high ( Scene 57 (Final confrontation with the KKK) )
- Patrice's character adds a strong female perspective to the narrative, enriching the story. medium ( Scene 90 (Patrice's speech) )
- The clever dialogue showcases the absurdity of the KKK's beliefs, making it both humorous and poignant. high ( Scene 28 (Ron’s phone call with the KKK) )
- The final confrontation with Duke encapsulates the film's themes of identity and resistance. high ( Scene 160 (Ron’s final phone call with David Duke) )
- Character Development While Ron's character is well-developed, some supporting characters lack depth, which could enhance the overall narrative. For example, characters like Chief Taggert and Patrice could benefit from more backstory to enrich their motivations and relationships with Ron. medium
- Pacing Issues Certain scenes, particularly those heavy on exposition, could be tightened to maintain engagement. For instance, the early police department scenes could be more concise to keep the momentum going. medium
Memorable lines in the script:
Scene Number | Line |
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2 | MR. WOODS: There's never been a Black Cop in this City. If we make you an Officer, you would, in effect, be the Jackie Robinson of the Colorado Springs Police force. |
9 | KWAME TURE: POWER TO THE PEOPLE |
59 | Ron Stallworth: COP is Ron Stallworth you Redneck, Racist Peckerwood Small Dick Motherfucker!!! |
14 | Ron Stallworth: Every time I think about that Black Baboon putting his Filthy Black Hands on her White as Pure Driven Snow Body I wanna Puke!!! |
48 | RON STALLWORTH: Let me be clear, Mr. Duke: I do not agree with your Philosophies. However, I am a Professional and I will do everything within my means and beyond to keep you safe. |