GET OUT: The Short Film

A
Goodhope E Zagamba

Screenplay

The Revised Draft

By
Will nodnarB

zagambajunior99@gmail.com
+255714440144
willnodnarb@gmail.com
+254742305315
FADE IN:

EXT. UNKNOWN LOCATION - DAWN

A car pulls up next to a MAN in a dark suit, holding a
BRIEFCASE. A TALL MAN, also in a dark suit, alights and the
1st MAN hands him the briefcase.
The TALL MAN puts the briefcase in the backseat then shuts
the door before getting back behind the wheel. He restarts
the car and drives off.
CUT TO:

INT. THE CAR - CONTINUOUS

The briefcase sits in the backseat as the car drives along

several streets.
TIME LAPSE

The car stops and the TALL MAN picks up the briefcase before
getting out.
CUT TO:

EXT. UNKNOWN STREET - CONTINUOUS

The car is parked by the road, in a deserted but well lit
street. There is another car, parked across the street.
THREE MEN alight from it and walk over to the TALL MAN.

The TALL MAN hands the briefcase to a YOUNG MAN. The YOUNG
MAN, however, is a little clumsy and the briefcase slips. He
catches it before it hits the ground, but his face remains
full of panic.

A BUILT MAN steps towards the YOUNG MAN.

YOUNG MAN
(stammering)
Please...

The BUILT MAN takes the briefcase then takes out a gun. The
YOUNG MAN turns to MR. NDALO, a 48 year old man amongst the
three men.
YOUNG MAN
Sir, please...

(CONTINUED)
CONTINUED: 2.

The BUILT MAN shoots the YOUNG MAN twice in the chest. He
then hands MR. NDALO the briefcase.
MR. NDALO and the BUILT MAN head over to the other car and
drive off.

CUT TO:

INT. MR. NDALO’S CAR - CONTINUOUS

MR. NDALO, seated in the back seat, softly runs his hands
over the briefcase, with a slight smile on his face as the
morning sun hits him from the horizon.
FADE INTO:

EXT. LUXURIOUS ESTATE - LATE NIGHT

JOPH, a 27 year old man, emerges from the shadows, as he
walks while keeping close to a perimeter wall. He’s carrying
a BACKPACK and a briefcase, identical to the earlier one.

Above the wall is an ELECTRIFIED WIRE system. A few meters

ahead of JOPH is a large heavy METAL GATE with SECURITY
CAMERAS on either side.
JOPH stops before he’s in the scope of the cameras and puts
down his backpack. He removes a TABLET from it and turns it
on.
JOPH then searches for WIFI NETWORKS and selects the one
with the strongest signal. It requests a password and JOPH
runs a software that hacks into the network and logs him in.

JOPH then browses systems logged onto the network and finds
HOME SECURITY SYSTEM. He clicks on it and runs the same
software when it requests a password.
After logging into the security system, JOPH browses through
the features. There are:
Exterior CCTV
Interior CCTV
Electric Fence
Exterior Motion Sensors
Interior Motion Sensors
Exterior Lights
Interior Lights
JOPH selects the CCTV features and creates a loop. He then
selects the Motion Sensors and disables them. Finally, he
turns off the Electric Fence.
(CONTINUED)
CONTINUED: 3.

JOPH puts back the tablet in the backpack before taking out
a CLIMBING ROPE, a GRAPPLING HOOK and a pair of WIRE CUTTING
SCISSORS.
He connects the grappling hook to one end of the rope then
throws it over the fence and skales up the wall as he pulls
himself up with the rope. When he gets to the top, he cuts a
few of the wires before jumping over.
CUT TO:

EXT. THE HOME - CONTINUOUS

THE COMPOUND
JOPH is on the ground. He is out of breath and struggling to
breath as he looks around, a bit of worry on his face. He
then reaches into his backpack and removes an INHALER. He
takes two puffs and his breathing normalizes.
JOPH puts back the inhaler and picks up the backpack and
briefcase. He puts the grappling hook back in the bag and
rolls the rope around his shoulder then cautiously walks up
to the house.
At the door, JOPH removes a LOCK PICK TOOLKIT from his
pocket and picks the lock. He then opens the door and walks
in, locking the door behind him.

CUT TO:

INT. THE LIVING ROOM - CONTINUOUS

JOPH stops for a moment at the entrance, within a spacious

corridor space leading to the living room right ahead and
other sections of the house on either side.
It is dark but there’s light coming in from the windows,
from the security lights.
JOPH steps into the living room and walks around as he runs
his hands over the leather couches, awe in his face. He then
jumps onto one of the couches and takes a heavy breath with
his eyes closed, smiling.

He then takes a look at his watch and gets up. He removes

his tablet and opens a tracking software. There is a
blinking signal and JOPH follows it into a hallway.
CUT TO:
 4.

INT. HOME OFFICE - CONTINUOUS

JOPH walks into a large well funished office. There is light
coming in from a window, illuminating the FANCY DESK with a
nice large chair behind it.

The desk has some files, a pen holder, a closed laptop and
an air freshener on it.
At the wall behind the desk, there is a large shelf with
several CLOSED CABINETS in the lower sections. In the upper
section, there are open cabinets housing books, trophies and
sculptures.
JOPH locks the door behind him and drops the backpack next
to the door. He then puts the rope on the desk and heads
over behind the desk, as he continues tracking.

The signal leads to one of the closed cabinets in the lower

section of the shelf. JOPH removes the toolkit again and
begins picking the lock.
FADE INTO:

INT. MASTER BEDROOM - SAME TIME

There is a window letting in some light here as well.

The room is large and furnished appropriately, yet with

fancy stuff. The bed is large and the sheets on it all look
expensive.
In bed is MR. NDALO and NATASHA, a 28 year old light skinned
lady with long hair. MR. NDALO is asleep, snoring, and has
his arm over NATASHA. NATASHA is facing away from MR. NDALO,
awake.
There are SIDE CABINETS on either side of the bed, with a
phone on each. On the one on Mr. Ndalo’s side, there is also
a water bottle that is half full.
NATASHA takes a look at MR. NDALO and slowly removes his
arm. She then gets out of bed. She’s in a light nightdress
that highlight her curvy physique.

She reaches into a cabinet on her side of the bed and

removes a small key from it. She then walks out of the room.
CUT TO:
 5.

INT. HALLWAY - CONTINUOUS

NATASHA walks over to a door and knocks softly. She waits
for a few seconds then knocks again, a little louder this
time.

There is the sound of someone getting out of bed and walking

over to the door. The door is unlocked and JAMES, 30,
emerges. He has a vest and a small short.
He is rubbing his eyes but then sees NATASHA and stops.
There is a bit of panic in his eyes.
JAMES
Nat?
NATASHA smiles and wraps her arms around his neck. She then
kisses him but he pulls away immediately. He looks down the
hallway then pulls NATASHA in and locks the door.
CUT TO:

INT. JAMES’ BEDROOM - CONTINUOUS

JAMES stands in front of NATASHA.
JAMES
What do you think you’re doing?

NATASHA
(still smiling)
I want to do you.
JAMES sighs then holds NATASHA by the shoulders.

JAMES
We’ve been over this, Natasha. Not
when he’s in the house.

NATASHA wraps her arms around James’ neck again.

NATASHA
Come on, he sleeps like a mad man.
Besides, the sneaking around is
even more thrilling when there’s a
chance of being caught.
NATASHA then reaches for a kiss and they make out for a few
seconds before JAMES pulls away again.

(CONTINUED)
CONTINUED: 6.

JAMES
No. You only say that now, but when
he catches us it’ll be a whole
other story.

NATASHA frowns and goes over to sit on the bed, her arms
folded. JAMES walks over to her and kneels with one knee in
front of her. He then places his hands on her thighs and
softly rubs them.
JAMES
Come on, you know I want you. We
just have to be careful.
NATASHA
(sighs)
James, I don’t want to be careful.
I want more. I want to love you
openly and all the time.
JAMES
I want that, too, but you’re
married to my brother. What more
can we do?
NATASHA smiles then gets up. She then takes James’ hand and
leads him out of the room.
FADE INTO:

INT. HOME OFFICE - SAME TIME

JOPH manages to pick the lock and opens the cabinet. The
BRIEFCASE is inside it. He takes it out and stares at it
with a large grin on his face.
Just then, he hears footsteps approaching. Quickly, he
replaces the briefcase with the one he brought and locks the
cabinet. He then gets up but it is too late. The door is
already opening. JOPH crouches underneath the desk.
NATASHA and JAMES walk in and lock the door behind them.
JAMES
What are we doing in Ndalo’s
office, Nat?
NATASHA turns and stares into James’ eyes. She then raises
the key and shows it to him. James’ eyes widen and his jaw
drops. He glances behind him then turns back to NATASHA.

(CONTINUED)
CONTINUED: 7.

JAMES
Are you out of your mind?
NATASHA
I made a copy. He doesn’t know.

JAMES
Ndalo will kill you.
NATASHA
We’ll be long gone before he finds
out.
JAMES
We?
NATASHA smiles.

NATASHA
Yes. You and I. This is our chance.
NATASHA begins walking towards the shelf but JAMES grabs her
hand and stops her.

NATASHA
What?
JAMES
I’m not so sure about this.

NATASHA frowns.
NATASHA
What is there to doubt? This is our
chance.

JAMES
He’s my brother, Nat.
NATASHA sighs then takes James’ hand.

NATASHA
Tell me, what did you do before
going to sleep?
JAMES
I washed the car.
NATASHA
What did you do before going to
sleep, James?

(CONTINUED)
CONTINUED: 8.

JAMES
I said I washed the car.
NATASHA
Oh, I know. I saw you. I just
wanted you to say it out loud. And
it’s not "the car". It’s his car.
You wash his car. You clean his
house. You trimm his flower garden.
(pause)
You brush his shows.

JAMES turns away from NATASHA but she walks over and stands
in front of him.
NATASHA
To him you’re not a brother. You’re
the help.
JAMES shakes his head.
JAMES
No. He’s done so much for me. What
I do is the least I can do.
NATASHA takes his hand again.
NATASHA
Tell me, what did he say when you
asked him to start a business for
you?
JAMES
He said he will.

NATASHA
That was two years ago. Open your
eyes, James. If he wanted to, he
would have already.

NATASHA runs her hand on James’ cheek.

NATASHA
He doesn’t want to lose his help.
NATASHA lets go of JAMES and heads over to the shelf. She
pushes the chair in, pressing it against JOPH as JOPH puts
his hand over his mouth.
NATASHA unlocks the cabinet and removes the replica
briefcase before locking the cabinet again. She then walks
back to JAMES and places the briefcase in his hands.

(CONTINUED)
CONTINUED: 9.

JAMES stares at it as his jaw slowly drops again. His eyes

get glittery against the light with some tears forming as a
small smile emerges on his face.
NATASHA
Well?
JAMES places the briefcase on the desk and grabs NATASHA by
the ass, pulling her onto himself. They then lock lips and
begin making out.

He lifts her onto his waist and she wraps her legs around
him. He then moves over to the desk and places her on it.
JAMES
You know he’ll chase us to the ends
of the earth.

NATASHA
Not if he’s in prison.
JAMES
How?

NATASHA
You know his operations. If the
police were to be tipped off
anonymously, he’d be using all his
resources on his legal defence
while we roll naked on some sandy
beaches somewhere.
JAMES giggles as he takes off his vest. He then puts his
hands underneath Natasha’s night dress from below and pulls
out her innerwear. NATASHA smiles then uses her legs to pull
him onto herself, leaving no distance between their bodies.
JAMES kisses NATASHA shortly then picks up the rope on the
desk.

JAMES
(slowly)
You’ve been a very bad girl.
JAMES begins binding Natasha’s hands

NATASHA
(erotic voice)
Are you going to punish me?
JAMES
I’m going to punish you...
(pause between words)
(MORE) (CONTINUED)
CONTINUED: 10.

JAMES (cont’d)
... really really hard.

NATASHA gasps softly as JAMES lays her on her back, over the
desk. He then leans in and they begin making out again as he
runs his hands all over her body.
Beneath the desk, JOPH remains quiet as moaning sounds fill
the room. As this goes on, the air freshener falls and
splashes all over. JAMES and NATASHA pause and giggle
shortly before continuing.
Meanwhile, JOPH begins struggling to breathe. He pats his
pockets shortly before his eyes widen as he puts his hands
on his head.

The moaning sounds countinue, with some giggles in between,

while JOPH holds onto his neck as he continues struggling to
breathe.
He then opens his tablet and logs into the home lighting
system. He turns off the exterior lights and the moaning
sounds stop.
JAMES (O.S)
What happened?

NATASHA (O.S)
Don’t worry. This is even better.
JAMES (O.S)
You’re right.

Shortly afterwards, the moaning sounds continue. JOPH

gnashes his teeth and turns back on the lights. His
breathing appears even worse.
He then clicks onto the master bedroom lights and turns them
on and off, repetatively.
CUT TO:

INT. MASTER BEDROOM - SAME TIME

The lights are turning on and off and MR. NDALO gets up. He
looks around for a moments and notices NATASHA is missing.
MR. NDALO
Natasha... Natasha!

MR. NDALO gets out of bed. He has some light pajamas on. The
lights turn off completely and he shakes his head. He then
walks over to the door and heads into the hallway.
(CONTINUED)
CONTINUED: 11.

CUT TO:

INT. HOME OFFICE - SAME TIME

NATASHA and JAMES are off the desk. There’s panis in their
eyes. JAMES unbinds NATASHA and throws the rope to a corner.
He then puts on his vest while NATASHA puts on her
innerwear.
NATASHA takes the briefcase and hands it to JAMES. JAMES
nods then NATASHA gives him a kiss.
CUT TO:

INT. HALLWAY - CONTINUOUS

MR. NDALO is walking along the hallway as he looks around.

He passes by James’ room and notices that the door is open.
MR. NDALO
James?

He takes a peek inside and sees no one. He then opens the

door wider and continues down the hallway.
MR. NDALO
Natasha!

He passes by the living room and sees no one. Just then, he

sees some light in the kitchen and heads over to it.
CUT TO:

INT. KITCHEN - CONTINUOUS

MR. NDALO walks in and finds NATASHA drinking water from a
glass.

MR. NDALO
Natasha.
NATASHA puts down the glass and turns to MR. NDALO.

NATASHA
Yes, babe.
MR. NDALO
You didn’t hear me calling you?

(CONTINUED)
CONTINUED: 12.

NATASHA
I had the water in my mouth.
MR. NDALO
I’ve been calling for almost a
minute now.

NATASHA walks over to MR. NDALO and wraps her arms around
his neck.
NATASHA
I’m here, babe.
MR. NDALO is quiet for a moment then smiles.
MR. NDALO
For a moment there, I was worried.

NATASHA giggles.
MR. NDALO
It’s true. I woke up and you
weren’t there. I thought I’d lost
my world.
NATASHA
I’m your world?
MR. NDALO
You, my darling, are everything I
hold dear.
MR. NDALO pulls NATASHA closer and gives her a kiss. They
then walk out of the kitchen.

CUT TO:

INT. HOME OFFICE - SAME TIME

JOPH comes out from beneath the desk and rushes over to his
backpack. He searches inside it shortly before taking out
the inhaler. He then takes a few puffs and his breathing
stabilizes.
He sighs heavily then puts the inhaler in his pocket and the
tablet inside the backpack. He picks up the backpack and the
briefcase and stands by the door as he eavesdrops.
CUT TO:
 13.

INT. HALLWAY - CONTINUOUS

MR. NDALO and NATASHA are walking arm in arm.
MR. NDALO
Why did you come all this way,
though?
NATASHA
What do you mean?

MR. NDALO
For the water. You always share
mine.
NATASHA is quiet.

MR. NDALO
You know I don’t mind sharing with
you what is mine. Like I said,
you’re my world, and I would do
anything to keep what I hold dear.

They come upon James’ room. The door is still open and it is
empty. MR. NDALO takes a look at NATASHA then shuts the door
before continuing.
CUT TO:

INT. MASTER BEDROOM - CONTINUOUS

MR. NDALO and NATASHA walk in. NATASHA heads over to the bed
while MR. NDALO heads into the washrooms. NATASHA then
quickly picks up her phone and texts JAMES.
He knows about us.
She waits shortly and receives a reply and they go on to
have a short chat.
James:
Are you sure?
Natasha:
I’m sure. He knows.
James:
Are you with him?
Natasha:
He’s gone to the washrooms.
I’m scared.
James:
I’m bringing you something.
Put it in his water.

(CONTINUED)
CONTINUED: 14.

After a few seconds, NATASHA hears footsteps and tiptoes to

the door. She opens it slightly and JAMES hands him a small
bottle with a liquid inside.
NATASHA closes the door then heads back to the bed. She
picks the water bottle and pours the liquid inside. Just
then, MR. NDALO returns. NATASHA stretches then drops onto
the bed.
NATASHA
Come to bed, babe. It’s getting
cold here.
MR. NDALO smiles then heads over to the bed. He kisses
NATASHA then lies next to her as he holds her.
After a few seconds, he lets go of her and sits up. NATASHA
then hears him reach for the water bottle and drink from it.
She sighs and shuts her eyes.
FADE INTO:

EXT. THE HOME - SAME TIME

JOPH walks out of the front door and locks it behind him. He
then rushes over to the perimeter wall. He looks up at the
wall then removes the grappling hook.

JOPH shakes his head and stomps his foot on the ground. He
then looks back at the house and takes a heavy breath.
He then heads over to the gate. There is a small compartment
there and he puts the backpack and the briefcase in there.
He then walks back to the house.
CUT TO:

INT. HOME OFFICE - CONTINUOUS

JOPH walks in and closes the door behind him. He then begins
looking around.
CUT TO:

INT. MASTER BEDROOM - SAME TIME

NATASHA opens her eyes. She raises her head and takes a look
at MR. NDALO. He’s asleep. She then takes her phone and
texts JAMES and they have a short chat.
Natasha:
(CONTINUED)
CONTINUED: 15.

What was that you gave me?

James:
Is he asleep?
Natasha:
Yes. Did you hide the
briefcase?
James:
Come.
NATASHA takes another look at MR. NDALO then gets out of
bed. She walks over to the door and heads out of the room.

CUT TO:

INT. HALLWAY - CONTINUOUS

NATASHA finds JAMES in front of his room.

NATASHA
Was that poison?
JAMES
No, it’s just something to keep him
asleep for a while.
The two then hold one another and kiss passionately before
NATASHA pulls away.

NATASHA
Where is the briefcase?
JAMES opens the door and NATASHA sees the briefcase on the
bed. She smiles.

NATASHA
So we’re doing this, yeah?
JAMES
Yeah. Let’s go roll naked in sandy
beaches somewhere.
NATASHA
I like the way you think.
They kiss again.

JAMES
We just have to do one more thing.
JAMES takes Natasha’s hand and leads her down the hallway.

CUT TO:
 16.

INT. HOME OFFICE - SAME TIME

JOPH spots the rope in the corner and sighs with a faint
smile. He then heads over and picks it. Just then, he hears
footsteps approaching again and he frowns before getting
beneath the desk again.
The door opens and JAMES enters, followed by NATASHA. JAMES
heads over to the desk and picks up the laptop.

JAMES
The stuff in this is enough to keep
him in prison for a few years. By
the time he comes out, there will
be no trace of us.

NATASHA smiles and moves closer to JAMES. She takes the

laptop and puts it back on the desk, along with her phone.
She then reaches into James’ shorts and JAMES gasps softly.
NATASHA
All of these naughty ideas. Perhaps
I should punish you.
JAMES
(nodding)
I think I deserve it.

NATASHA kisses JAMES then pushes him onto the desk. He sits
on it as she lowers her innerwear and leaves it on the
floor. She then wraps her hands around his neck and sits on
his waist while they lock lips again.

Meanwhile, beneath the desk, JOPH shakes his head when

moaning sounds start again. He reaches into his pockets,
takes out the inhaler and stares at it before putting it
back.

After a short while, the door opens again and the lights are
turned on. The moaning sounds stop immediately.
MR. NDALO is standing at the door, zero emotions in his
face.

JAMES is pulling up his shorts while NATASHA is

straightening her nightdress.
NATASHA
Babe?

MR. NDALO
(to James)
You would betray your brother for a
whore?
(CONTINUED)
CONTINUED: 17.

JAMES remains quiet.

NATASHA
Babe.

NATASHA begins walking towards MR. NDALO. MR. NDALO raises a

hand, revealing the gun he has. He points it at NATASHA and
NATASHA stops.
NATASHA
(crying)
Babe, please. It’s not...
MR. NDALO
It’s not what I think?
MR. NDALO cocks the gun.

JAMES
NO!
JAMES charges at MR. NDALO and tackles him. Three gunshots
follow.
Then, silence.
More silence.

Natasha takes her phone and runs out, jumping over MR. NDALO
and JAMES on the floor.
MR. NDALO rolls JAMES over. James’ vest is red from blood.
He is lifeless.

MR. NDALO
No! You bitch! Look what you made
me do!
MR. NDALO gets up and rushes after NATASHA.

CUT TO:

INT. THE LIVING ROOM - CONTINUOUS

NATASHA comes running but MR. NDALO emerges shortly after
her.
MR. NDALO
Stop!
NATASHA stops and MR. NDALO turns on the lights. NATASHA
turns around and raises her hands.

(CONTINUED)
CONTINUED: 18.

NATASHA
Please. He forced me.
MR. NDALO
Shut your mouth hole, woman!

NATASHA shrieks and goes on her knees as she cries.

NATASHA
I swear. He forced me. Babe, you
know I love you. I didn’t have a
choice. He was... He was raping me.
MR. NDALO
You were on top.
NATASHA looks down as she cries some more.

NATASHA
I swear he forced me.
MR. NDALO sighs and takes a seat on one of the couches.

MR. NDALO
Did he also force you to poison my
water?
NATASHA looks up, her eyes widening.

MR. NDALO
Do you just take me for a fool? I
never take any drink I leave
unattended next whores like you.

MR. NDALO gets up and moves towards NATASHA, pointing the

gun at her head.
NATASHA
(crying more)
No, please, please, please,
please...
MR. NDALO
Go to hell, bitch.
NATASHA
Wait!
NATASHA gets off her knees and stands up.
NATASHA
You can’t do this. This room has
cameras.

(CONTINUED)
CONTINUED: 19.

MR. NDALO
And?
NATASHA
Once the footage goes up to the
servers, you can never fully delete
them.
MR. NDALO
It doesn’t matter.

NATASHA
Someone will look for me. An
investigation will be carried out.
MR. NDALO is quiet for a moment then chuckles.

MR. NDALO
You think you’re the first whore
I’ve had to deal with?
MR. NDALO then walks over to a shelf with small device on
it.

MR. NDALO
All I have to do is reboot the
system. Then nothing goes up to any
servers.

MR. NDALO presses a button on the device and it indicates

that it is rebooting. He then turns back to NATASHA. She
starts crying again.
NATASHA
No, please. I’ll do anything,
please.
MR. NDALO
My brother is dead because of you.
You deserve to burn.

NATASHA takes a few heavy breaths.

NATASHA
You are an asshole. You really are.
That’s why James was going to send
you to prison. You were going to
get ass raped there because that is
what you deserve! You think I could
ever love something as hideous as
you? Even your own brother didn’t
love...

(CONTINUED)
CONTINUED: 20.

MR. NDALO fires at NATASHA severally and she drops to the

floor. Some tears roll down Mr. Ndalo’s cheeks.
Just then, the device beeps and MR. NDALO takes a look. It
indicates that the reboot is complete. Shortly afterwards,
there is another beep.

MR. NDALO moves closer and the device indicates that there
is movement in the compound. Immediately, MR. NDALO rushes
towards the door.

FADE INTO:

INT. HOME OFFICE - EARLIER

Beneath the desk, there is the sound of three shots and JOPH
gasps before putting his hands over his mouth.
MR. NDALO (O.S)
No! You bitch! Look what you made
me do!

The sound of some commotion and heavy footsteps follows.

JOPH remains beneath the desk, as he takes heavy breaths.
After a while, he peeps and sees no one. There are sounds
from afar. He comes out and creeps to the door. MR. NDALO
and NATASHA are talking in the living room.

JOPH steps out of the office and heads into the hallway.
CUT TO:

INT. HALLWAY - CONTINUOUS

JOPH tiptoes his way to the entrance section. The shadows
conceal him a little, but he’s within Mr. Ndalo’s line of
sight.

MR. NDALO heads over to the device and JOPH softly unlocks
the door. He then sneaks out and locks the door behind him.
CUT TO:

EXT. THE HOME - CONTINUOUS

JOPH is just shutting the door when there are more gunshots.
He freezes for a moment and takes a few heavy breaths before
beginning to run towards the gate.

(CONTINUED)
CONTINUED: 21.

Before he gets to the gate, however, the front door opens

and MR. NDALO comes rushing after him.
MR. NDALO
Stop! Stop right there!

JOPH stops and raises his hands. MR. NDALO comes over to him
and kicks him in the stomach before hitting him in the face
with the butt of the gun, dropping JOPH to the ground.
MR. NDALO looks around shortly before kicking JOPH, while
still down.
MR. NDALO
Back to the house!
He kicks JOPH again.

MR. NDALO
Get back in there!
JOPH gets up and rushes back to the house.

CUT TO:

INT. THE LIVING ROOM - CONTINUOUS

JOPH walks in, followed by MR. NDALO. He has his gun pointed
at JOPH. MR. NDALO kicks him from behind.
MR. NDALO
Get on your knees!
JOPH delays for a moment and MR. NDALO kicks down his knees
from behind.
MR. NDALO
I said get down!
JOPH drops to his knees but keeps his hands up. MR. NDALO
comes over to face him. He looks at Joph’s face shortly then
points the gun at his head.
MR. NDALO
Who the fuck are you?

JOPH hesitates for a moment and MR. NDALO hits him with the
butt of the gun again.
MR. NDALO
Don’t make me repeat myself.

(CONTINUED)
CONTINUED: 22.

JOPH
Joph. My name is Joph.
MR. NDALO
What are you doing here, Joph?

JOPH
I... I...
The words don’t seem to be coming out and MR. NDALO kicks
JOPH in the stomach. Joph’s breath is hampered again and he
takes out his inhaler. He manages to take a deep puff before
MR. NDALO grabs it.
MR. NDALO
Answer me!

JOPH
I heard some noise. I thought
someone was in trouble. Please, I
haven’t seen anything. I won’t say
anything.

MR. NDALO
How did you get in?
JOPH remains quiet and MR. NDALO takes note of the rope
wrapped around his shoulder. He grabs hold of it and uses it
to throw JOPH over to the floor.

MR. NDALO
You’re a thief!
JOPH rolls over a few times before he comes to a stop.

JOPH
Please, my daughter. She’s sick. I
just wanted some money for her
medicine. She’s only three.

MR. NDALO chuckles then points the gun at JOPH again.

MR. NDALO
Look at my eyes.
MR. NDALO rushes at JOPH and kicks him again.

MR. NDALO
I said look at me!
JOPH looks at him.

(CONTINUED)
CONTINUED: 23.

MR. NDALO
My eyes!
JOPH looks into Mr. Ndalo’s eyes and they stare at one
another shortly.

MR. NDALO
Did you see any care for your
daughter in there?
JOPH looks down. MR. NDALO then puts his gun on Joph’s head.

MR. NDALO
You picked the wrong house.
JOPH
Wait! You need someone to help you
with the bodies. I can help you. I
know how to get rid of evidence.
MR. NDALO takes out his phone and dials a number. He then
speaks into the phone.

MR. NDALO
Bondo, I need some cleanup done at
my place... Yes, right away...
Three... Okay, hurry.
JOPH sighs and some tears fall from his eyes as he looks
down. He then shuts his eyes as MR. NDALO pulls the trigger.
ONE, TWO, THREE...
JOPH is still breathing.

The gun is out of bullets.

JOPH looks up and sighs again.
MR. NDALO hits him with the butt of the gun and he drops to
the floor. MR. NDALO then uses the rope to tie his hands and
legs together.
MR. NDALO
Whomever you pray to just bought
you one more minute. Use it to
repent.
MR. NDALO leaves the room, heading towards the kitchen.
JOPH looks around and sees Natasha’s phone on the floor,
below one of the couches. He crawls over to it and struggles
until he grabs it.
(CONTINUED)
CONTINUED: 24.

He then presses the power button but the phone requests a

finger print. JOPH looks over to NATASHA and begins crawling
towards her. As he does so, he hears MR. NDALO pulling out a
knife.

JOPH rushes and uses Natasha’s hand to unlock the phone. He

then types a message. MR. NDALO returns with a knife and
sees him with the phone.
MR. NDALO
What do you think you’re doing?
Stop that!
He rushes towards JOPH but JOPH manages to press send before
MR. NDALO grabs the phone. Just then, there is a beep on Mr.
Ndalo’s phone.

MR. NDALO checks it out. It’s a text from Natasha’s phone,

reading:
Babe, there’s nothing between
your brother and I. Please
don’t do something drastic.

MR. NDALO grunts and points at JOPH with the knife.

MR. NDALO
I was going to make this quick, but
I guess you just bought yourself a
few more minutes of agony.

JOPH
You asked how I got in here. I
hacked your system and disabled the
security protocols.

MR. NDALO
It doesn’t matter anymore.
JOPH
It does. That text I just sent, you
can’t get rid of it. You could try
to delete it but it’s already in
some server somewhere. Even if you
get rid of the phones, it will be
retrieved.

MR. NDALO puts the knife on Joph’s neck.

MR. NDALO
Even if you’re telling the truth,
all you’re doing is making matters
worse for yourself.

(CONTINUED)
CONTINUED: 25.

JOPH
My point is, I’m good with tech. I
hacked your system, I can delete
that text permanently. You need me
alive.

MR. NDALO takes the knife off of Joph’s neck and looks
through the texts on Natasha’s phone. He selects the texts
to JAMES and stops at the one that reads:
Yes. Did you hide the
briefcase?

His eyes widen as his grip on the phone and knife tighten.
MR. NDALO
These thieves!

MR. NDALO punches JOPH, dropping him to the floor, then

rushes out of the room.
CUT TO:

INT. HOME OFFICE - CONTINUOUS

MR. NDALO rushes in and heads to the shelf. He takes out a
key and opens the cabinet. He sees that it’s empty and he
shouts. He then rushes out.

CUT TO:

INT. HALLWAY - CONTINUOUS

MR. NDALO rushes through the hallway and heads into James’
room. He sees the briefcase and picks it up. He then turns
on the lights and opens the briefcase.
There’s pieces of wood inside. Mr. Ndalo’s eyes widen as he
gnashes his teeth before he shouts once more. He then closes
the briefcase and gets up.

FADE INTO:

INT. THE LIVING ROOM - LATER

JOPH is struggling to get back up when MR. NDALO returns.

MR. NDALO
You came here for my briefcase.
Where is it?

(CONTINUED)
CONTINUED: 26.

JOPH
You have it.
MR. NDALO rushes over to JOPH and begins hitting him with
the briefcase, over and over.

MR. NDALO
Where...
(hit)
... is...
(hit)
... my...
(hit)
... briefcase!?
JOPH keeps rolling over as he tries, with zero success, to
avoid getting hit.

JOPH
(screaming)
I don’t know! I don’t know
anything!

There is a BELL sound and MR. NDALO stops. He is breathing

heavily as he tries getting a look through the window.
JOPH
It’s the police.

MR. NDALO
You called the police?
JOPH
The gunshots did.

MR. NDALO takes out his phone and logs into the home
security system. He selects the exterior CCTV and the
footage shows a police car and two uniformed officers at the
gate. They press the bell again.

MR. NDALO
Damn it!
MR. NDALO looks at JOPH, rage in his eyes.
JOPH
Listen to me. Now you really need
my help.
MR. NDALO drops the briefcase and removes the knife. He
begins walking towards JOPH. As he does so, JOPH begins
shouting, softly, but adding his volume with every step MR.
NDALO takes.
(CONTINUED)
CONTINUED: 27.

MR. NDALO stops and JOPH stops shouting.

JOPH
I don’t want the police any more
than you do. Let me help you hide
the bodies then you go speak with
the police.
MR. NDALO
You think I can trust you? I just
need to shut you up permanently.

JOPH
Come on, we’re both facing
jailtime.
MR. NDALO
I’ll say you broke in. I subdued
you after you killed my brother and
wife.
JOPH
And how long do you think that will
hold up? Cameras, remember. Your
best bet is to get rid of the
police now the work on covering up
later on.
MR. NDALO shakes his head then takes another step towards
JOPH. Consequently, JOPH begins screaming, forcing MR. NDALO
to stop.
JOPH
You have to make up your mind
quickly, man. We hide the bodies,
you talk to the police and everyone
goes their way.
MR. NDALO
So I’m just supposed to let you go
after you steal from me then send
that incriminating text?
JOPH
Dude, that was a lie. As long as no
one finds the phones, there’s no
server anywhere with the records.
Unless the government wants to
admit that it has been monitoring
people’s messages.

(CONTINUED)
CONTINUED: 28.

MR. NDALO
What if it is now that you’re
lying?

The BELL rings again.

JOPH
Okay, I see the hole I dug myself
into. How about this? I want to
tell you something true. Look into
my eyes and determine if I’m lying
or not.
MR. NDALO
What?

JOPH
The briefcase. I hid it in one of
the compartments at the gate. I
forgot my rope in here so I came
back for it. That’s when all the
shooting begun.
MR. NDALO remains quiet.
JOPH
Make up your mind.

MR. NDALO begins walking towards JOPH again.

JOPH
Come on!

MR. NDALO
I want to untie you.
JOPH
No. Throw me the knife.

MR. NDALO throws the knife towards JOPH and JOPH quickly
cuts himself free. The BELL rings again.
JOPH
We don’t have much time.

JOPH picks up his inhaler then heads over to NATASHA and

rolls her over to the carpet. He then pushes a couch over
the bloodstain.
JOPH
Help me out here, man.
MR. NDALO comes over and grabs the carpet from one end. They
then carry her into the hallway.
(CONTINUED)
CONTINUED: 29.

CUT TO:

INT. HALLWAY - CONTINUOUS

JOPH and MR. NDALO arrive at the office entrance and lay
down the carpet. They then roll JAMES onto it and carry both
of them into the office. They then exit and lock the office
behind them.
JOPH
Do you have a smaller carpet?
MR. NDALO rushes away and returns shortly afterwards with a
carpet. He lays it over the bloodstain.
The BELL rings again.

JOPH
Okay, put on anothe shirt then go
speak with them. I’ll hide. Give
them a good excuse.

MR. NDALO nods while JOPH heads towards the kitchen area.
FADE INTO:

EXT. THE HOME - CONTINUOUS

MR. NDALO comes out of the house, wearing a different pair
of pajamas. He heads over to the gate and the OFFICERS shine
a light on his face. He squints as he puts his hands over
his eyes.

OFFICER 1
We’ve been here for five minutes
now.
MR. NDALO
Sorry Officer. I was asleep.
OFFICER 2
We got reports of gunshots from
this residence. You’re saying you
slept through that?

MR. NDALO
I didn’t hear anything.
OFFICER 1
How many people do you live with
here?

(CONTINUED)
CONTINUED: 30.

MR. NDALO
Uh...
OFFICER 1
You don’t know how many people you
live with? Open up.
MR. NDALO
I live with two other people. But
they’re not here at the moment.

OFFICER 1
I said open up.
MR. NDALO is silent for a moment.
OFFICER 2
Open up.
MR. NDALO
Officer, I’m sorry. Do you have a
warrant? I can’t let you in without
one.
OFFICER 2 chuckles.
OFFICER 2
(to Officer 1)
Another pretentious law expert.
(to Mr. Ndalo)
We have cause for entry. Now open
up.
MR. NDALO remains quiet and OFFICER 1 moves closer.

OFFICER 1
(softly)
Listen, sir, we have confirmation
of a notorious criminal breaking
into houses in this area. You don’t
have to say anything. We know he
threatens his victims. Just open
the gate and we’ll deal with him.
He’s extremely dangerous and we
have a shoot to kill order on him.

MR. NDALO is silent for a moment then opens the gate. The
OFFICERS walk in.
OFFICER 1
Is he inside?

MR. NDALO nods.

(CONTINUED)
CONTINUED: 31.

OFFICER 1
Has he hurt anyone?
MR. NDALO nods.
OFFICER 2
Is there a place you can hide?
MR. NDALO nods again then rushes towards the section behind
the house.

The OFFICERS draw their guns and start walking towards the
house. As they get close, the front door opens and they
stop.
JOPH (O.S)
I surrender! Please, I surrender.

OFFICER 2
Come out with your hands in the
air!
A few moments pass by then JOPH come out with his hands in
the air.
OFFICER 1
On your knees!
JOPH gets on his knees. OFFICER 2 then rushes over to him
and cuffs him behind his back.
OFFICER 1
Sir, we’re sending an ambulance
over. Stay where you are until more
officers arrive.

The OFFICERS then frogmatch JOPH into the car outside the
gate. There is another OFFICER behind the wheel. The car
then drives off.

TIME LAPSE
MR. NDALO emerges and looks around. He then heads over to
the gate and searches the compartments. There is no
briefcase.

Just then, another police car arrives. TWO OFFICERS alight

and rush into the compound, their guns raised. They spot MR.
NDALO and point their guns at him.
OFFICER 3
Put your hands up and get on the
ground!
(CONTINUED)
CONTINUED: 32.

MR. NDALO hesitates for a moment.

OFFICER 4
Get on the ground!
MR. NDALO gets on the ground, face down.

MR. NDALO
I was told to wait here.
OFFICER 3
Told by whom?
MR. NDALO
The other officers.
OFFICER 3
What other officers?
MR. NDALO looks up, confusion all over his face.
CUT TO:

INT. THE POLICE CAR - SAME TIME

OFFICER 1 and OFFICER 2 are seated on either side of JOPH in
the back seat. OFFICER 1 uncuffs JOPH.

JOPH
Did you get it?
The DRIVER reaches into the front passenger seat, where
there is the briefcase and the backpack. She picks up the
briefcase and passes it to the backseat.

They all then burst into laughter.

JOPH
I swear I’m not going in again.
Next time I play the police.

OFFICER 1
No one ever needs to go in again.
This is the score of a lifetime.
They burst into laughter again as the DRIVER accelerates.

FADE OUT: