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The Black housekeeper woke up, wanting to avenge his family, and grappled with Chris inside the car.

The out-of-control vehicle slammed headfirst into a tree by the roadside.

The crash killed the Black housekeeper, while Chris survived.

Chris abandoned the car and fled. Ruth chased after him with a gun, accompanied by the Black gardener—Ruth's grandfather—as backup.

The Black gardener lunged at Chris, and the two wrestled.

Beside them, Ruth looked for an opportunity to fire.

At the most critical moment, remembering how his Black compatriots had reacted to camera flashes before, Chris grabbed the camera on him and snapped a photo of the Black gardener.

The flash stimulated a brief awakening of the Black gardener's original consciousness.

The Black gardener stood up and approached Ruth harmlessly, snatched away her gun, and fired a shot at Ruth first.

The powerful blast knocked Ruth straight to the ground, leaving her barely alive.

Rather than frightening the audience, the scene made them feel exhilarated.

This was revenge.

The audience immediately erupted in cheers, venting their emotions at this satisfying moment.

Just as the fans cheered wildly, the Black gardener looked resolute. He raised the gun in his hand, aimed it at himself, and pulled the trigger.

With a gunshot, the Black gardener committed suicide on the spot.

The audience in the theater immediately burst into an uproar.

But Kevin, as the director, had not hidden anything. Earlier, he had practically made it clear that Black consciousness and white consciousness coexisted within the same body.

So the Black audience was stunned at first, then their peanut-sized brains connected it with the earlier plot and understood.

The Black gardener had killed himself because he did not want his body to continue being used by white people.

He did not want to become a white man's slave.

"Hero! Hero! He is a hero to us Black people!"

"Black people will never be slaves!"

"Black people will never be slaves!"

"Black people will never be slaves!"

"."

The slogan instantly rang out in perfect unison throughout the theater. This scene in Get Out was not actually that complicated. Or rather, given Black people's intelligence, it was not suitable to make these things too complicated.

That would only screw themselves over.

Something that was practically spelled out like this, where they only needed to watch the movie from beginning to end and think a little to understand it, was the kind of movie most suitable for Black people.

At the same time, it used Black people's most sensitive history of slavery to make them empathize.

This was a standard politically correct Black film.

Kevin knew full well just how ruthless political correctness would become in the future, so putting an equality label on himself in advance was a very good choice.

The movie continued.

Chris came to Ruth's side, a trace of sadness flashing across his face.

No matter what, he had loved Ruth.

Lying sprawled on the ground, Ruth revealed a vicious look. She turned her body and reached for the gun beside the Black gardener, her hand only just touching it.

When Chris gently took it away and set it aside.

Only then did all the viciousness vanish from Ruth's face, replaced by a gentle smile.

As if the person who had been determined to kill Chris earlier had not been her at all.

Chris looked at her gently, preparing to see her through her final moments. He had never wanted to hurt Ruth. Even when Ruth had been chasing him down, all he had wanted was to escape.

A police siren sounded, and a patrol car suddenly drove toward them.

The gentle expression on Ruth's face changed once again.

Like a venomous snake, she wanted to deliver Chris a fatal blow at the very end.

Using the last of her strength, Ruth cried for help at the police car. She knew very well that in an era like this, when a police officer heard a white woman like her crying for help—

With a Black man standing in front of her, there was only one implication.

Being shot to death was Chris's best possible ending.

"Bitch, she's a bitch!"

"She's so vile!"

"Chris, don't!"

"····"

The Black audience, who deeply shared the same feelings about police discrimination, could not help cursing.

Everyone knew that at this moment, Chris had fallen into an even more dangerous life-or-death crisis than before.

Those damned white cops would not listen to his explanation.

In the situation before them, Chris had only one ending: being shot dead by the police.

The patrol car stopped ahead, and the door opened.

A smug smile appeared on Ruth's face. Her scheme was about to succeed.

Chris's expression, meanwhile, was exceptionally grim.

Just then, a Black man poked his head out from the patrol car.

It was the police officer friend Chris had called at the beginning.

Chris relaxed and greeted his friend, no longer sparing Ruth another glance.

Ruth, unwilling to accept it, swallowed her final breath.

Chris got into his friend's car and slowly drove away from the town····--

"Oh ho ho ho!"

"Smith, you're amazing! This really is a wonderful movie."

"Chris!"

"···"

Among the crowd, some called out Will Smith's real name, while others called out the movie's male lead.

But without exception, they were all praising Will Smith.

Kevin, as the director, also kept a low profile and stayed behind the scenes.

He did not need to have much fame in front of the public. What directors needed more was recognition within the industry.

As long as he had a reputation in the industry, he would never lack investors, authority within production crews, or such things.

With the premiere underway, Get Out was officially scheduled for release on May 1.

As Kevin's second film, jointly invested in by two powerful film companies in the industry, Get Out secured screenings in one thousand theaters with suitable promotion.

As for screens, it secured four thousand, nearly one-fifth of the North American film market share for the May Day release window.

Barring any surprises, Kevin's Get Out was destined to be the king of this May Day release window.

Get Out's reputation from the premiere rapidly built over the next two days under the media's promotion.

At the same time, Harvey Weinstein bribed film critics to start smearing Get Out.

But this level of grudge was not enough for Harvey Weinstein to pay too high a price. A few tens of thousands of dollars to have people attack Kevin was already his limit.

As for directly attacking Get Out, even Harvey Weinstein did not have the nerve.

New Line Cinema might have been one thing, but Warner Bros. was not someone he could afford to provoke.

The Big Five were on an entirely different level from those film companies.

That was also why Kevin was willing to give up profits and share the investment returns with them.