In My Country Draft 01

SCRIPT TITLE
Written by
Name of First Writer
Based on, If Any
Address
Phone Number
FADE IN:
A STRETCH OF LAKE.
Still.
Calm.
Clear under the noon sun. And then ...
A MOTORIZED CANOE zips past, rippling the water.
A HELMSMAN steers the boat. ADESUWA ODIHI (20), pretty, and

REMI BANKOLE (early 20s), good-looking, are his passengers.
They are seated together, silently, as the helmsman steers.
REMI (V.O.)
We’ll figure this out Adesuwa.
CUT TO:
1 EXT. SCHOOL YARD - TWILIGHT (FLASHBACK) 1
The sun sets beautifully over the field, and beneath a mango
tree are Adesuwa and Remi, in Youth Service wear.
REMI
But you need to calm down.
ADESUWA
I’m twenty, you’re twenty-one,
life’s just about to start for us
were’ - I’m already ... I’m -
She’s unable to say it.
ADESUWA (CONT’D)
Remi, I’m not trading my future to
become a mother.
REMI
You won’t have to.
ADESUWA
And I’m not getting an abortion.
REMI
Not even in the question.
ADESUWA
So what do we do?
2.
REMI
The right thing.
(beat)
Tell our parents.
She sighs, clearly not liking this idea.
CUT TO:
2 EXT. CANOE - BACK TO PRESENT 2
The canoe powers through a bushy settlement. Shanty homes and

few dwellers are visible through the shrubs.
Remi stares at them with interest. Adesuwa doesn’t. She’s

still visibly pre-occupied.
ADESUWA (V.O.)
I’m scared.
CUT TO:
3 INT. BEDROOM - NIGHT (FLASHBACK) 3
AERIAL SHOT: Adesuwa and Remi in bed, lying sideways and

facing each other, inches apart.
The moon casts a beautiful glow on their faces.
ADESUWA
Telling my people ...
REMI
Shhh, we’ll do it together.
ADESUWA
It’s not as easy as you think.
REMI
If you’re nervous, let’s start with
your mom. We get that out of the
way and go to mine.
ADESUWA
How do you think they’ll take it?
REMI
Pissed. Very pissed. But I’m the
only son. They have no choice but
to accept the situation.
CUT TO:
3.
The canoe speeds. Remi sees dangerous-looking red-eyed boys

watching him from behind the bushes as the boat courses past.
ADESUWA (V.O.)
My mom is not the one making me
nervous.
A few boys appear on the shores, brandishing guns, watching

them. Remi grimaces with concern.
ADESUWA (V.O.)
Where I’m from, where I live, it
goes by many names.
Remi turns to Adesuwa with scared eyes. She holds him

comfortingly. She’s used to this.
ADESUWA (V.O.)
And none of them are good.
CUT TO:
5 EXT. GHETTO AREA - ROAD (SERIES OF SHOTS) 5
A) ROAD - NIGHT
GUNMEN jump unto a road forcing a car to stop.
The assailants force out the driver, throw him down, jump
into his vehicle and drive off.
ADESUWA (V.O.)
“The place where night never ends”.
CUT TO:
B) SHOP - NIGHT
ROUGH BOYS rob the shop as one of them pours gas on the
floor.
ADESUWA (V.O.)
“The devil’s backyard”.
Leaving, one of them lights a match and throws it on the

floor. A FLAME FLARES and WE-
CUT TO:
C) ROAD - DAY
4.
A MAN runs for dear life -- scared, glancing backwards,

panting heavily. He runs into a dead-end.
Stops. Nowhere to go. Fear on his face.
SLOW MOTION: A gang of armed youths led by OKITI (19)

approach. The man drops to his knees, weeping.
Okiti raises a sub-automatic to the man’s head with a wry

smile. The man weeps. Okiti fingers the trigger.
The man shuts his eyes.
ADESUWA (V.O.)
“Hell”.
Okiti fires AND IMMEDIATELY WE-
CUT TO:
6 INT. GHETTO AREA CATHOLIC CHURCH - DAY 6
A small crucifix.
Dangling from a rosary.
Hanging from a pair of hands, firmly clasped together. The

hands of ADESUWA’S MOM (50s).
She’s on her knees, fervently praying under her breath. The

church is small and its pews are withered.
Finishing, she makes the sign of the cross, rises to leave

and turns. REVEREND BAKO (40s) is seated close, smiling.
ADESUWA’S MOM
Ah-ah, Reverend. I no see you.
REV BAKO
I saw you. And it’s clear
everything is not fine.
She sighs wearily and sits close to him.
ADESUWA’S MOM
It’s my son.
He smiles sadly.
REV BAKO
Okiti.
She nods.
5.
ADESUWA’S MOM
I need to talk again?
He shakes his head. No need.
REV BAKO
Ask him to see me.
She turns to him with a surprised look. He just smiles.
REV BAKO (CONT’D)

He’ll come. Tell him Reverend
Bako’s asked him to come.
She rises.
ADESUWA’S MOM
Him sister dey come. Make I quick
go meet am.
REV BAKO
Send Adesuwa my love.
The canoe slows as it reaches the shore.
Remi stares ahead at the world before them: Squalor. Poverty.

A gritty reality.
They step out of the boat.
8 EXT. FAMILY SHACK - DAY (ESTABLISHMENT) 8

Built with wood, aged with time.
ADESUWA’S MOM (V.O.)

Ha. This thing no good for you.
9 INT. FAMILY SHACK - LIVING ROOM - CONTINUOUS 9
Remi and Adesuwa are seated before Adesuwa’s world-weary MOM

(50s) in the room with worn-out furniture.
ADESUWA’S MOM
You suppose reason the matter make
e no get k-leg na.
6.
REMI
Ma, I don’t want you to worry. I
promise the baby, and of course,
Adesuwa, will be taken care of.
ADESUWA’S MOM
Adesuwa know wetin I dey talk. No
be that side I dey look.
Remi turns to Adesuwa with a puzzled look. Adesuwa sighs.
ADESUWA
My brother. Okiti.
REMI
Your younger brother, the one you
told me about?
She nods.
ADESUWA
There’s a part I didn’t tell you.
He’s the area’s top gang leader.
Remi swallows hard.
ADESUWA (CONT’D)
Okiti is ruthless, he never
forgives, he’s always quick to
strike. Yes I’m his older sis. But
he fancies himself my father.
(motions to mom)
Our father.
REMI
Fine. We’ll let him know I came to
prove my commitment to take care of-
ADESUWA
No Remi. He cannot and will not
know about the baby. He mustn’t.
ADESUWA’S MOM
Na Okiti pay her school fees, warn
am say na certificate make she
bring come house.
(eyes Adesuwa)
This one wey she bring belle join
na gbege wey only God fit handle.
REMI
Maybe we should leave. Let’s see my
parents, solve this from their side-
7.
ADESUWA
We can’t. We have to see him.
REMI
Shouldn’t we be avoiding him if
this will upset him?
ADESUWA
He knows we’re here.
REMI
You told him we were coming?
ADESUWA
I didn’t have to. He has eyes
everywhere. Those boys on the
creeks, they’re his men.
Remi looks like he’s about to shit his pants.
ADESUWA (CONT’D)
Just relax. We’ll think about what
to do.
The door swings open.
OKITI (O.S.)
What to do about what?
Okiti enters with two scar-faced thugs. He’s wearing pistols

and a gun on his waist and shoulder straps. The room tenses.
ADESUWA’S MOM
(exaggerated happiness)
Okiti my beloved.
ADESUWA
Bro, na your face be dis.
Okiti sits, wearing a sardonic and menacing smile. He stares

at Remi who’s shivering.
REMI
Hi.
Okiti just stares back, no answer, still wearing the creepy

smile. Adesuwa nervously glances at her mom.
ADESUWA’S MOM
Na Remi be dis. Your sister school
mate for school.
OKITI
Wetin he find come this side?
8.
ADESUWA
I forgot his text-book here and
he’s tired of me saying I’ll bring
it everyday so he came to get it.
Okiti sits before Remi and leans close to him.
OKITI
Wetin be your agenda?
REMI
(stuttering)
My agenda? I have none, don’t know
what you’re talking about.
OKITI
My sister doesn’t forget. Why na
your book she forget for house? You
give am jazz chop?
REMI
No I would never do that.
OKITI
Never say never o. For example,
this forget-book matter fit be
style wey you dey use enter my
sister sake of say you don begin
like am.
REMI
No, that’s not what I’m doing.
OKITI
Why, you’re too much for my sister?
REMI
Of course I’m not.
OKITI
So you like my sister?
REMI
No! I mean yes, not that kind of-
(stops, takes a breath)
Yes I like your sister as a friend
and nothing more. No I don’t want a
relationship with her.
Okiti just stares at him, apparently not convinced.
REMI (CONT’D)
Because I I’m already with someone
else. Two years now. Steady.
9.
Okiti stares hard into Remi’s eyes. Remi trembles. Adesuwa

and her mom watch with muted horror. The thugs glare at Remi.
Okiti laughs. His boys crack up too.
OKITI
I brought gifts.
He nods to one of his thugs. The thug passes Adesuwa and her
mom envelopes swollen fat with money.
Both women ‘quietly’ thank (AD LIB) Okiti.
OKITI (CONT’D)
I hear say we get visitor so I say
make I come pay homage.
He rises.
ADESUWA’S MOM
Reverend wan see you.
OKITI
Bako?
Mom nods.
OKITI (CONT’D)
On top wetin?
ADESUWA’S MOM
I no know. E say make I tell you
say
Okiti sighs.
OKITI
(to Adesuwa)
What to do about what?
Adesuwa wears a confused look.
OKITI (CONT’D)
When I was coming in, you said
we’ll think about what to do. I dey
ask, “What to do about what?”
She stutters, unable to coordinate a response.
REMI
Serving in the east.
Everyone turns to Remi.

10.
REMI (CONT’D)
She wants to do something about
transferring to Lagos.
Beat.
OKITI
(to Mom)
E go be.
And then Okiti and his goons leave. Moments of silence.
And then Adesuwa, Mom and Remi let out deep, relieved sighs.
REMI
He has to know at some point. What
do we do then?
Adesuwa and her Mom glance at one another as if expecting

answers from the other. None.
10 EXT. GHETTO AREA - ROAD 10
Okiti and his boys are in an old SUV, followed by a similar

one, also packed with rough-looking armed boys.
People in the community glance their way with fear.
11 INT. GHETTO AREA CHURCH - LATER 11
AN INCENSE VESSEL -
Swings from it’s chains -- right ... left, right ... left,
right ... left, dispensing perfumed smoke -
As Reverend Bako, the one carrying it, mutters a prayer as he
swings it round the altar.
Okiti and his two thugs enter. They watch for a few moments.
OKITI
Reverend.
Rev Bako continues his rite without looking at them. Okiti

and his boys exchange confused glances.
OKITI (CONT’D)
Boss I don show. Male talk say you
wan see me.
REV BAKO
Without your pets.
11.
Okiti wears a clueless look. And then a look of realization.

With a hand gesture, he dismisses the thugs. As they leave -
REV BAKO (CONT’D)

And your instruments of death.
Okiti sighs, takes off his weapons and hands them over to one
of his boys. They leave.
Rev Bako continues incensing the altar as he speaks.
REV BAKO (CONT’D)

Your mom is worried about you.
OKITI
She no suppose. I dey take care of
am.
REV BAKO
Do you take care of you?
OKITI
Boss check me na. Forever gallant.
REV BAKO
“The path of the righteous is like
the sun. It shines brighter and
brighter till it becomes a perfect
day”.
OKITI
I don’t understand.
REV BAKO
But there’s another path that seems
right at first. But the ends is
destruction.
Okiti laughs.
OKITI
Na why momsy dey panic? God dey my
back kampe.
Rev Bako drops the censer, kneels before the altar, makes the
sign of the cross and rises to turn to Okiti.
REV BAKO
Interesting. Because it’s God who
said I should warn you.
Okiti’s smile disappears.

12.
REV BAKO (CONT’D)

You were my brightest star in
Sunday School. What happened?
Okiti’s face softens, he’s momentarily vulnerable.
OKITI
Money no dey and God wasn’t moving
fast enough.
Okiti’s PHONE RINGS.
OKITI (CONT’D)
(into phone)
Mortuary, how far?
12 EXT. EATERY - SAME TIME 12
SEUN DADA aka MORTUARY (20s), is seated by the window,

looking out as he speaks into his phone.
MORTUARY
(into phone)
Major hammer!
INTERCUT PHONE DIALOGUE.
OKITI
(walking away from Rev
Bako)
I dey hear you.
MORTUARY
One of my guys who drives a big man
in town just word me say the man
dey bank dey collect big cash.
OKITI
How much?
MORTUARY
I don’t know but na straight from
the vault.
Okiti exclaims in his native tongue.
MORTUARY (CONT’D)
The driver just text say they are
leaving soon. They will follow
route sixty-six.
OKITI
Perfect corner to waylay them.
13.
MORTUARY
We have twenty minutes to gather.
Make I assemble boys?
Okiti glances at Rev Bako. The Rev watches him. Okiti

hesitates.
MORTUARY (CONT’D)
Boss?
OKITI
Assemble boys. I’m on my way.
He ends the call.
OKITI (CONT’D)
(to Rev)
Boss, I need to move.
He turns to leave.
REV BAKO
Think about what I said Okiti.
Every choice has a consequence.
Okiti fidgets mildly with discomfort. He forces a smile.
OKITI
Pastor, e go be.
He leaves.
13 EXT. BANK - PARKING LOT - DAY 13
SLICE (early 20s), leaning on a huge SUV, waits.

From a distance, MR. TONYE MILLER (40s), emerges from the
bank with armed security. Slice dials on his phone.
SLICE
(into phone)
We’re on the move.
He ends the call.
14 INT. RUGGED HOUSE - DAY (SERIES OF SHOTS) 14
A) GUNS ON A TABLE are picked by several MALE HANDS.
B) A BAG IS ZIPPED DOWN, revealing VARIOUS KNIVES.
C) A STICK OF WEED in OKITI’S MOUTH. He lights it.

14.
C) BULLETS ARE JAMMED into the various GUNS.
D) BOYS EQUIP themselves with KNIVES.
CUT TO:
15 EXT. RUGGED HOUSE - CONTINUOUS 15
The armed boys run out and hop into two old vans.
Okiti enters the front of one of them. The vehicles speed

away.
16 INT. MR. MILLER’S SUV (MOVING) - DAY 16
Slice, the driver, is at the wheels. He glances into the rear

mirror.
Mr. Miller is sound asleep, snoring loudly. His uniformed

ORDERLY reads a newspaper.
Slice glances at the clock on the dashboard.
17 INT. FAMILY SHACK - LIVING ROOM - LATER 17
A BOTTLE OF SOFT DRINK is placed before Remi.
Adesuwa sits beside her mom with one too.
REMI
So, we chill for six months, you
move in with me and then we tell
your brother.
Adesuwa nods.
REMI (CONT’D)
Sounds good to me.
ADESUWA
Me too.
(to Mom)
Mama, how you take see am?
Adesuwa’s Mom shrugs.
ADESUWA’S MOM
Wetin we go do again na?
(to Remi)
(MORE)
15.
ADESUWA’S MOM (CONT'D)
I just hope say all your talk no be
shakara. If you comot this place,
run -
REMI
Ma I won’t run. Adesuwa doesn’t
know my house, never met my parents
or my friends. If I wanted to run,
I won’t have come all this way.
Adesuwa’s mom softens. Adesuwa smiles at Remi.
18 EXT. HIGHWAY - LATER. 18
Slice weaves the SUV through free-flowing traffic.
19 EXT. ANOTHER ROAD 19
Okiti’s two vans of assailants power through traffic, driving

at top speed.
20 EXT. FAMILY SHACK - LIVING ROOM 20
Remi paces, on his cellphone. Adesuwa watches.
REMI
(into phone)
Mommy ... mommy, calm down ... yes
ma, I’ve heard of a condom before
and I agree it’s stupid of me not
to have used one but ... mommy,
mommy wait, can you just listen for
a second ...
21 INT. OKITI’S VAN - DAY 21
Okiti points to the driver.
OKITI
That side.
(turns to his men behind)
All man set?
They answer by corking their weapons.
THUG #1
We full ground boss.
16.
Okiti faces the road, corks his shotgun.
CUT TO:
22 EXT. ROAD - CONTINUOUS 22
Okiti’s vehicles come to a halt under a tree where Mortuary

is seated.
Okiti alights, Mortuary rises to salute him. They shake

hands.
23 EXT. HIGHWAY - LATER 23
Slice turns the vehicle off the highway into a side road.
24 EXT. FAMILY SHACK - LIVING ROOM 24
Remi’s still on the phone. Adesuwa still watches.
REMI
(into phone)
I promise you and daddy, I won’t
stray from the plan. I’ll do my
Masters at St. Andrews next year
and join the Firm as a Juniour
Counselor. The mom and the baby
will be with us but I’ll get a
nanny because the mother is an
Education major. I’ve told her I’m
not letting her life stop for mine.
Several moments pass as he listens.

REMI (CONT’D)
(into phone)
Thank you very much, this won’t
happen again, I promise.
(laughs)
I’m leaving here in a bit. See you
soon.
He ends the call and turns to Adesuwa with a relieved smile.
ADESUWA
She’s fine with it?
REMI
She doesn’t have a choice.
17.
ADESUWA
What about your dad?
REMI
Once Momsy’s fine with it, he’ll be
fine with it.
Adesuwa manages a weak chuckle.
ADESUWA
Thank God.
REMI
Just relax. Life is perfect again.
25 INT/ EXT. SLICE’S SUV (MOVING)/ROAD - LATER 25
Two car tires are in the center of the road, burning.
Slice’s SUV slows to a halt in front of it.
ORDERLY
What’s that?
Chief Miller wakes.
MR. MILLER
We’re home?
ORDERLY
Not yet sir, we have an
obstruction.
Miller sees it, grimaces with confusion.

SLICE
(opening door)
Let me check it out.
ORDERLY
No.
(corks gun)
I’ll check it out myself.
Slice reluctantly enters the vehicle. The Orderly looks

around. The street is quiet, almost a ghost town.
He walks to the burning tires, leans closer to have a look --
BLAM! The Orderly’s head is blown off.
Okiti and his boys emerge from hiding, in all directions.

Slice jumps down from the SUV and runs away.
18.
As Okiti and his gang surround the SUV -- about to make entry
-- gunfire cuts them off from another SUV behind. An escort.
The assailants scamper for safety behind vehicles, trees and

in the surrounding buildings.
Okiti and Mortuary take cover behind their van.
OKITI
This your boy don craze for brain?
E no tell you say escort dey?
MORTUARY
Boss, make we comot this gbege
first.
OKITI
Comot?
(brandishes his gun)
We are taking them all down.
He shouts a cry, and his boys open fire on the escort SUV.
Four suited GUARDS in the escort van fire back. One of them
frantically makes a call to the police.
Slowly, bodies start to drop. The Guards are better trained.

Okiti’s boys are wilder and more motivated.
One of the guards is hit. Another one emerges from the other
side of the van and takes cover behind a stall.
Two of Okiti’s boys race to the stall but the Guard fires,
expecting them. He gives cover to his two men in the jeep.
Okiti makes his way through the mayhem to the vehicle of Mr.
Miller, breaks one the windows and opens the door.
He raises his gun to Mr. Miller’s head.
OKITI (CONT’D)
Where the money?
MR. MILLER
Which money, I don’t know what
you’re talking about, please.
Okiti fires the roof, the man YELPS with fright.
OKITI
I no go ask again.
19.
MR. MILLER
Please don’t shoot, it’s in my
booth.
Okiti grabs the man, drags him down and uses him as a human
shield. Everyone stops firing, careful not to hit Miller.
OKITI
Try any nonsense, you go fly first
class to hell.
MR. MILLER
I won’t sir, I promise.
As Mr. Miller opens the booth, the Guard behind the stall has
managed to sneak up close Okiti and Mr. Miller.
The Guard takes aim at Okiti, about fire ...
MORTUARY
BOSS! BEHIND YOU!
Okiti whirls in time to see the gun trained on him. He

reaches for his weapon but clearly won’t be fast enough.
Mortuary opens fire on the Guard, killing him instantly.

Okiti turns to Mortuary with a grateful look, and -
WHAM! Mr. Miller hit Okiti with the but of a sub-automatic.

Okiti slumps. Miller opens fire on Mortuary and kills him.
Again, the crossfire begins. Mr. Miller jumps into the

driver’s side of the vehicle and tries to drive away.
The door is forced open and a very enraged-looking Okiti

raises his gun at the man.
MR. MILLER
I’m sorry, I’ll give you the money
now.
Okiti shoots him in the chest. Mr. Miller slumps. One of the
Guards sees this -- is shocked. And fires more aggressively.
The cross-fire gets more intense. Okiti looks round. Many of

his boys are dead. One of his thugs takes cover with him.
THUG #2
Baba, we need to pull back. We no
fit do am.
OKITI
Lailai, we go try.
20.
THUG #2
We don try, see our men. Dead.
Blood everywhere. Baba, na bad job
be dis, make we fall back.
Okiti appears confused, considering ... And then POLICE

SIRENS sound loudly from a distance.
THUG #2 (CONT’D)
Police dey come!
OKITI
ALL MAN, RETREAT.
Okiti’s gang turn on their heels and race to a spot where

their vans are parked.
A Guard jobs down from their now bullet-riddled SUV and keeps
firing.
One of Okiti’s boys takes a bullet in the back. Just as Okiti

reaches the van, he get a bullet in the leg and falls.
One of his boys opens fire on the guard and kills him, while
another two help a wailing Okiti into the van. It drives off.
26 INT/ EXT. OKITI’S VAN (MOVING)/ROAD - CONTINUOUS 26
Okiti bleeds profusely, lamenting in pain as two of his boys

attend to the wound.
Another screams (AD LIB) at the driver to move faster, the

driver screams back that he’s doing his best (AD LIB).
The rest of the boys are quiet, dazed, slowly panting and
staring at nothing, obviously shaken by the confrontation.
THUG #3
See. Hospital.
The driver speeds to it.
27 EXT. GOLF COURSE - DAY 27
MR. PRIE MILLER (60s), the Commissioner of Police, is about

to put a ball.
Armed officers are seated close, watching. Mr. Prie Miller

makes it. His friends applaud. His PHONE RINGS.
21.
MR. PRIE MILLER

(to friends)
One second, it’s my secretary.
(into phone)
Maureen, this had better be
important.
Horror grows on his face. His golf club drops from his hand.
28 INT. HOSPITAL - EMERGENCY WARD - DAY 28
Paramedics wheel in Okiti and place him on a bed.
There is frenzy and motion as they hurry to stop the bleeding

and remove the bullet. Okiti cries all through.
29 INT. HOSPITAL - WAITING ROOM - DAY 29
Okiti’s boys -- with their weapons out of sight -- are

seated, forlorn. One paces, unhappy-faced.
Their rough and dirty looks draw looks of fear and

apprehension from others waiting in the room.
A music video plays on the TV. It’s interrupted with a

newscast.
NEWSCASTER
We interrupt your regularly
scheduled programming to bring you
this Breaking news. The death has
been confirmed of noted
industrialist, Mr. Tonye Miller, at
the hands of armed assailants this
afternoon at four-fifty five on
Mango Junction Street where he and
his retinue were ambushed.
Okiti’s boys watch with interest.
NEWSCASTER (CONT’D)
Mr. Tonye Miller was the younger
sibling of the State Commissioner
of Police, Mr. Prie Miller and the
Deputy Governor of the state, Mrs.
Solanke. Our reporter was unable to
reach both for comments.
The pacing thug turns to his colleagues with a frightened

look. They all have the same expressions.
CUT TO:
22.
30 INT. OFFICE OF THE POLICE COMMISSIONER - DAY 30
Commissioner, still in his golf wear, is seated.
His friends from the course and several seniour OFFICERS in

uniform are seated here, looking solemn and deflated.
Moments of grave silence ...
The door opens, an ASP enters.
ASP
Sir, one of the survivors confessed
that they’re from West Central.
COMMISSIONER’S FRIEND
My God. That accursed place.
ASP
And he said their leader is a man
called Okiti Odihi.
MR. PRIE MILLER

Was he killed too?
ASP
He got away with a leg wound.
MR. PRIE MILLER

(thoughtfully)
West Central.
(beat)
A haven of low-lives and scum.
Today, I’ll add a feather to its
cap. West Central, a cemetery of
the walking dead.
He turns to the ASP.
MR. PRIE MILLER (CONT’D)

I want every unit -- anti-robbery,
neighborhood patrol, bomb, all of
them -- in West Central. Their
mission is to ferret every street,
corner, home and shack for any and
everyone that could qualify to be a
suspect. Male and female.
31 EXT. POLICE STATION - DAY 31
Policemen in combat gear jump into a pickup van.

23.
MR. PRIE MILLER (V.O.)

Empty the arsenals. Those zombie
rascals will fight back with every
thing they’ve got so expect a war.
32 EXT. HIGHWAY - LATER 32
Police vans zip down the highway in a long convoy.
MR. PRIE MILLER (V.O.)

If they send you a bullet, send
them a bomb. They take one of ours,
taken ten of theirs. Break West
Central till it’s only fit for
scavengers and insects.
33 INT. OFFICE OF THE POLICE COMMISSIONER - BACK TO SCENE 33
ASP
Yes sir.
The ASP turns to leave.
MR. PRIE MILLER

And ASP ...
ASP turns.
MR. PRIE MILLER (CONT’D)

Their leader, what’s his name
again?
ASP
Okiti Odihi. You want him alive?
MR. PRIE MILLER
No, dead. Make it slow and painful.
CUT TO:
34 INT. HOSPITAL - EMERGENCY WARD - LATER 34
The doctors work on Okiti who’s been anaesthetized.
The doors burst open, Okiti’s boys rush in, holding up guns.
The doctors take cover and Okiti is rushed out of the ward.
CUT TO:
24.
35 INT/ EXT. OKITI’S VAN (MOVING)/ROAD - LATER 35
The driver races through traffic.
THUG #3
Wetin this man de yarn, you want
make police catch us? Dem go full
everywhere soon.
THUG #4
Boss nko, how far with him leg?
Thug #3 glances at Okiti’s leg -- bandaged but with fresh

blood staining the white cloth.
THUG #3
Anything we wan do, we go do for
our side.
36 INT. FAMILY SHACK - LIVING ROOM - EVENING 36
Remi is on his feet, about to leave.
REMI
Thank you very much mommy. Adesuwa
will see my parents on Sunday.
After that, I’ll call you ma.
ADESUWA’S MOM
Okay o. I no fit talk say I like
wetin happen but e don happen and
as una dey handle am, God go help
una.
Remi and Adesuwa chorus an AMEN.

REMI
Good night ma, thank you very much.
He turns to leave but is forced back as Okiti is brought in,

carried by two of his boys.
Adesuwa and her mom burst into a frenzy, asking what happened
(AD LIB) and assisting to carry him.
THUG #4
Mama, e don wound for leg.
ADESUWA’S MOM
Wetin happen?
THUG #4
E fall down.
25.
Adesuwa’s Mom grabs the thug by his shirt.
ADESUWA’S MOM
If you no tell me wetin una go do
my son-
THUG #4
Mama, if you no wan make e die,
free me make I find person wey go
treat am.
Adesuwa touches her mom, her mom let’s the thug go. The thugs
hurry out.
Adesuwa, her mom and Remi gather round Okiti who’s on the
floor, semi-conscious mumbling incoherently.
Rev Bako strolls down, smiling. He acknowledges neighbourly

greetings with a nod and a wave.
From behind him, a sound of several VEHICLES CRUISING DOWN

rises. He turns.
An unending convoy of POLICE VANS with OFFICERS armed for

combat, ZOOM past, one after the other.
Rev Bako turns to a woman selling foodstuff behind him.
REV BAKO
Go inside with your children and
shut the doors. Tell the rest too.
The woman hurries to obey. Rev dials on his cell.

REV BAKO (CONT’D)
(into phone)
Iya Oloja, send a message to your
people. They must shut down and go
home immediately.
38 EXT. GHETTO AREA - ABANDONED BUILDING - LATER 38
Smoke clouds the air as BOYS smoke weed and drink local
liquor. Most of them are shirtless. Music plays from a radio.
The sound of BOOTS STOMPING on the GROUND, and then several

armed policemen emerge with guns raised at the boys.
The boys leap to their feet, asking (AD LIB) for their crime.
26.
COMBAT OFFICER #1
Where is Okiti?
The boys are suddenly silent. The officer corks his gun, his
men too. They wait for a response.
One of the boys suddenly whips out a pistol, the police open
fire. Pandemonium breaks out.
39 EXT. GHETTO AREA - SERIES OF SHOTS 39
A) A STREET: Police and armed boys in the area exchange fire

on the road, each of them taking cover.
B) BUSH PATH: An armed boy runs, occasionally turning to fire

backwards. Two policemen chase him, firing back.
C) STREAMSIDE: Some boys jump into a motorized canoe, start

it and begin to cruise away on the lake.
Police appear and opens fire on them. They boys return the
fire. One of the boys is hit and falls into the water.
D) BEDROOM: A SCARED MOTHER holds her three young CHILDREN

close, shivering, as the sound of bullets and cries go on
outside.
40 INT. FAMILY SHACK - LIVING ROOM - LATER 40
Okiti is now awake, groaning in pain.
His mother weeps. Adesuwa wipes Okiti’s brows with a wet rag.
Remi comforts Adesuwa’s mom.
ADESUWA
Where are those boys? What’s going
on. My brother is in pain.
REMI
Let’s get him to a hospital
ourselves.
OKITI
NO. No hospital?
ADESUWA
No hospital? Okiti what have you
done again?
OKITI
Find me grass. I’ll be fine.
27.
REMI
Grass?
ADESUWA
Weed.
OKITI
Abeg, this pain will kill me. Grass
go cool me down.
Adesuwa turns to her Mom.
ADESUWA’S MOM
Where I fit buy am?
REMI
Mommy, I’ll go.
He rises.
REMI (CONT’D)
Where can I get it?
CUT TO:
The road is empty. Remi sneaks through town.
And then from the opposite direction, lots of boys race

towards him. He stops, wondering what’s going on.
A police van appears behind the boys ... firing shots.
Remi turns on his heels and runs for dear life.
42 INT. FAMILY SHACK - LIVING ROOM 42
Mom lambasts Okiti in her native language (AD LIB).
ADESUWA
(into phone)
Pick, pick, pick, pick ...
(paces impatiently)
Remi pick your call now.
Nearby sounds of GUNS FIRING.

28.
OKITI
Dem dey come. Underground, quick.
Hide me for underground.
CUT TO:
43 INT. FAMILY SHACK - BASEMENT - MOMENTS LATER 43
Aged pots, pans and a lot of useless stuff is here.
The door flies open, Adesuwa and her mom struggle to carry in
Okiti who groans and weeps.
ADESUWA’S MOM
Just keep quiet.
OKITI
I no fit, the leg wan kill me.
ADESUWA’S MOM
(to Adesuwa)
Wey your boyfriend with the grass?
OKITI
Boyfriend?
ADESUWA’S MOM
Shut up jo. Wey Remi?
ADESUWA
(leaving)
I’ll try him again.
44 EXT. BUSHES - SAME TIME 44

Remi, panting and sweating, is seated beneath a tree. Scared.
He carefully turns to leave. A policeman’s in the distance,

backing him. Remi waits, the policeman leaves. He rises.
He sneaks away in the opposite direction. His PHONE RINGS.

The officer turns. Remi runs.
A bullet embeds in his back. And another. Remi slumps. Dead.
45 EXT. FAMILY SHACK - LATER 45
Two police vans SCREECH to a halt and the officers jump down.
Adesuwa and her Mom quickly emerge.

29.
ADESUWA’S MOM
Police, wetin happen?
OFFICER #3
Is this the residence of Mr. Okiti?
Mom doesn’t answer.
OFFICER #3 (CONT’D)
Madam, is this the residence-
ADESUWA’S MOM
No. No one like that here.
The policemen looks back, nods at one of his colleagues.
The colleague drags down the thugs who went to look for
medical care for Okiti, now beaten up and bruised.
THUG #4
Mama, I swear, I no wan tell them-
Adesuwa’s Mom wails.
ADESUWA’S MOM
Leave my son, devil people. Wetin
you talk say him do, e no do am-
The police trot towards the entrance of the shack. Adesuwa’s

Mom throws herself in front of the door-
ADESUWA’S MOM (CONT’D)

I no kill una pickin, leave my own.
One of the officers roughly pushes her to the ground.

ADESUWA
MOMMY!
Adesuwa rushes to her mom on the ground as the officers

invade the house. Adesuwa, weeping, cradles her weak mom.
Moments later, the officers emerge.
OFFICER #4
Not there.
OFFICER #3
You’re sure?
OFFICER #4
Except they have a room we can’t
find, we checked everywhere.
30.
ADESUWA’S MOM
I don tell you, e no dey here. Go
find am with him boys.
The leading Officer turns to the captive thug.
OFFICER #3
You brought him here.
THUG #4
I swear to God.
OFFICER #3
And you said he can’t move.
THUG #4
Bullet dey him leg.
The officer turns to the house again. After a few moments ...
OFFICER #3
Burn it down.
ADESUWA
NOOO.
An officer carries a keg of petrol to the house, Adesuwa

charges at him, he pushes Adesuwa away, she falls far.
In a SERIES OF SHOTS (SLOW MOTION):
A) Petrol is poured in strategic places.
B) A LIGHTER is LIT and thrown at the house. A glorious flame

emerges.
C) The police officers jump into their vans and drive away.
D) Adesua, screaming, rushes to aid her mom who’s close to

the burning house, but the heat makes her turn back.
D) The thug, at the back of the pickup van, watches the house
burn with horror and guilt.
E) IN THE STORE, Okiti cries at the top of his voice as the

flames make their way into here.
DISSOLVE TO:
46 EXT. GHETTO AREA - ROAD (MONTAGE) 46
A) Dead bodies on the road.

31.
B) Mothers weep, cradling the dead bodies of their sons.
C) Rev Bako shedding tears as he comforts some children.
47 EXT. FAMILY SHACK - NIGHT 47
There is no longer a house. Only the skeleton of one.
Adesuwa, dirty and eyes reddened from crying, stumbles to the

lifeless body of her mom.
She falls on her knees, nestles her mom in her arms, bends
over her and weep ... and weeps ... and weeps.
FADE TO BLACK.
48 EXT. LAGOS - DAY (ESTABLISHMENT) 48
The mad hustle. Speeding traffic. Desperate dreamers.
49 INT. DANFO BUS (MOVING) - DAY 49
Adesuwa is seated by a window, head on the wall, staring out

at the crazy city flying past.
TITLE CARD: 4 WEEKS LATER
And then, she winces and quickly raises her head. She looks
back as the bus drives past what caught her attention.
ADESUWA
O WA O!
CUT TO:
50 EXT. ROAD - MOMENTS LATER 50
Adesuwa -- shocked -- makes her way slowly to a wall and

stops before it, staring.
REVERSE: POSTER OF REMI -- MISSING. She struggles not to cry.
51 EXT. CEMETERY - EVENING 51
A beautiful moon casts its light on the grounds.
Adesuwa walks to a badly done gravestone, stares at it.

32.
ADESUWA
Remi ... The world’s looking for
you and here you are. What do I do?
(tears pour)
Do I tell the police? Do I find
your mom? What do I say to her?
Your son was killed because of me.
(wipes her face)
I’m sorry Remi. Forgive me. I know
your parents are going through
hell, wondering what happened. But
whatever I do won’t bring you back.
(beat)
You’re in a better place.
(places hand on belly)
And your baby will live the life
you couldn’t. I promise you I’ll
make sure of that.
(beat)
Forgive me.
She hurries away.
SOUND OF APPLAUSE AND CHILDREN CHEERING ...
DISSOLVE TO:
52 INT. PINE WOOD PRIMARY SCHOOL - PRIMARY SIX - DAY 52
The seated children cheer two pupils, an adorable girl --

REMMY (8) -- and a chubby boy, JIDE (8), who stand in front.
The CLASS TEACHER is between the two children.
CLASS TEACHER
So, Eno Odihi is representing the
girls.
The GIRLS CHEER. Eno blows them a kiss.
CLASS TEACHER (CONT’D)

And contesting on behalf of the
boys is Jide Ojo.
The BOYS wildly CHEER. Jide flexes his muscles.

Remember, this is trivia showdown
where we test the contestants on
their favourite subject.
(to Jide)
Jide has picked Ben Ten, a cartoon
character as his favourite topic.
(MORE)
33.
(turns to Eno)
And Eno has picked-
Before she can complete it--
PUPILS
Nelson Mandela.
CLASS TEACHER
Guess we all know Eno too well.
Contestants, are you ready?
They are (AD LIB).

Jide won the coin toss so you
start. The first of you who is
unable to answer two questions
loses.
(beat)
Go.
Jide looks into a paper.
JIDE
Nelson Mandela is famous for being
a freedom fighter and president of
South Africa but he once appeared
in an American movie. Which movie
was this?
Eno rolls her eyes.
ENO
Malcolm X, 1993.
(reading her note)
What’s Ben Ten’s full name?
The boys laugh.
JIDE
Ben Tennyson.
(re: note)
Which of Mandela’s parents named
him Nelson?
ENO
None of them. His teacher gave him
the name on his first day in
elementary school.
(re: paper)
What’s the name of the aliens that
kidnapped Ben Ten’s grand-daddy?
34.
JIDE
Easy peasy. The Highbreeds.
(re: paper)
When is Nelson Mandela
International Day celebrated?
She playfully yawns.
ENO
July 18, his birthday.
(beat)
Who created Ben Ten’s Omnitrix?
JIDE
The Azmuth.
(re: paper)
What was Nelson Mandela wearing
when he was arrested?
ENO
He was dressed as a chef.
She looks down into her paper and we --
DISSOLVE TO:
53 INT. PINE WOOD PRIMARY SCHOOL - PRIMARY SIX - MINUTES LATER53
JIDE
(reading)
What does four-triple six-four
represent in Mandela’s life?
ENO
His prison number.
(re: paper)
Who was the first actor to provide
the voice of Ben Ten?
Jide hesitates. Eno chuckles.
JIDE
Wait jo.
Moments pass.
CLASS TEACHER
Time up.
ENO
Tara Strong. She’s a girl.
The girls laugh.

35.
JIDE
(reading)
What was Mandela’s favourite sport?
ENO
Of all the questions you should
ask.
(hiss)
Boxing.
The girls cheer her.
ENO (CONT’D)
(reading)
Diamond head is one the aliens Ben
Ten changes into. What planet is he
from?
JIDE
Aunty, she’s asking me very
difficult questions.
CLASS TEACHER
You answer or lose, Jide.
He waits. Doesn’t know.
ENO
He’s from Petropia.
JIDE
How could I forget?
The class cheers Eno, the winner. She takes a bow.
54 INT. ADESUWA’S CAR (MOVING) - ROAD - LATER 54
Adesuwa drives, Eno is seated behind. The car is old and

rickety but determined to survive.
ENO
Mommy, you should have been there.
ADESUWA
Sorry love, I was upstairs for the
teacher’s staff meeting.
(smiles)
But I heard your classmates
cheering for you. And I was proud
of you from upstairs.
36.
ENO
I don’t know why boys never learn.
We beat them at debate, quiz,
trivia. They only know Man U.
Adesuwa laughs.
55 INT. ADESUWA’S FLAT - KITCHEN - NIGHT 55
Adesuwa and Eno, now in home clothes, prepare dinner.

Adesuwa’s home is clean but humble and spare.
ADESUWA
Of course you can be like him but
it’s ridiculous to be him. I mean,
do you want to go to prison for
twenty seven years?
ENO
Mommy, if that’s what it takes to
make Nigeria great again, I will.
ADESUWA
On your behalf and mine, I reject
that in Jesus name.
ENO
Amen. How about becoming the
president like him?
ADESUWA
On your behalf and mine, I receive
that in Jesus name.
ENO
(chuckling)
Amen.
And then from a distance, the sound of COMMOTION.
ENO (CONT’D)
What’s that?
ADESUWA
Probably a thief, probably
football. These days you can’t tell
the difference. Stay here.
56 EXT. ADESUWA’S FLAT - CONTINUOUS 56
NEIGHBOURS, shouting and screaming, pursue someone.

37.
Adesuwa emerges -- leaving the door open behind her.
ADESUWA
(to a neighbour)
Wetin happen?
NEIGHBOUR
Two thief on top okada run come
this side. We don seize their bike,
we go catch them now.
Adesuwa watches for a few moments, shakes her head, enters.
57 INT. ADESUWA’S FLAT - KITCHEN - MOMENTS LATER 57
Eno stirs the meal. Adesuwa enters.
ENO
What was it?
ADESUWA
They said it was a thief. It’ll be
done in two minutes, set the table.
Eno leaves
58 INT. ADESUWA’S FLAT - LIVING ROOM - NIGHT 58
Eno enters the humble but decent and well-kept space,

carrying plates and sets the table.
She turns to leave and freezes.
A MAN (late 20s) is by the door -- which is open -- bent

over, sweating and panting, looking weary.
STRANGER
(loud whisper)
Please help me. I didn’t do
anything, they want to kill me.
(pant-pant)
Please don’t shout, please.
Eno -- dazed -- just nods.
59 ADESUWA’S FLAT - KITCHEN - CONTINUOUS 59
Eno enters, still looking dazed. Adesuwa cheerfully dishes

the meal into two plates.
38.
ENO
Uh, we need to talk.
ADESUWA
Please, anything but Mandela.
ENO
Yeah, not Mandela this time.
Someone else.
DOORBELL RINGS.
ADESUWA
(leaving)
One second.
60 ADESUWA’S FLAT - ENTRANCE - MOMENTS LATER 60
Adesuwa opens the door. Three NEIGHBOURS.
ADESUWA
Oga Jimoh.
JIMOH
Mama, you hear wetin happen?
ADESUWA
I comot now-now, dem say thief come
dis side.
JIMOH
Two thief. We don catch one, burn
am.
Adesuwa looks shocked.

JIMOH (CONT’D)
Yes! Na so dem kill person for Ako
Junction two weeks ago. No mercy
for these people again.
ADESUWA
Na wa o.
JIMOH
We still dey find the second one
and person talk say dem see am for
this side.
ADESUWA
My house? God forbid. No be this
side dem go see thief.
39.
The men laugh.
JIMOH
Abeg o, in case you see or hear
anything, you get my number.
ADESUWA
No wahala.
They bid her farewell (AD LIB) and leave.
Adesuwa shuts the door, turns to enter. Eno is at the dining,

standing, looking awkward.
ADESUWA (CONT’D)
Waiting for me?
ENO
He’s here.
ADESUWA
Who? What are yo--
Shock appears on her face, realizing.
ADESUWA (CONT’D)
Where did y-
Stranger emerges. Adesuwa grabs a metal decoration.
STRANGER
Please, I won’t harm you. If I go
out, they will burn me.
ADESUWA
If you stay here I will kill you.
STRANGER
I swear to my God who made me, I
won’t do anything. I just want them
to go and I’ll go.
(kneels)
See me on my knees. Please.
Adesuwa stares at him with killer eyes, unsure.
ADESUWA
Eno, your room. Take your food and
lock the door behind you.
ENO
Mommy, I don’t want to leave you.
40.
ADESUWA
Eno, trust me, mommy is fine. Oya
go.
Eno quickly obeys. Adesuwa moves to the dining, picks a

carving knife and drops the decoration.
She holds it with the finesse of someone who knows how to use
it as a weapon, and marches to the Stranger.
Scared, he moves back on his knees.
ADESUWA (CONT’D)
Flat. On your face.
He obeys. She searches him. No weapons. She finds a pink

female purse stuffed with cash, raises it.
ADESUWA (CONT’D)
Kneel.
He obeys. She brandishes the purse before him.
ADESUWA (CONT’D)
You don’t deserve my kindness.
STRANGER
I know. See, I’m a graduate but --
ADESUWA
Abeg shut up. Every thief, burglar
and armed robber uses that line.
Labourers that build houses, are
they graduates? Bus drivers, those
boys in traffic, are they stealing?
He just shakes his head, defeated.
STRANGER
Please. One hour and I’ll go.
She stares hard at him. And sits, knife firmly held up.
ADESUWA
Twenty minutes.
STRANGER
They will still be around.
ADESUWA
Should I make you go now?
STRANGER
Oya sorry, twenty minutes.
41.
ADESUWA
Just stay there. On your knees.
STRANGER
Thank you.
Moments pass.
ADESUWA
So what next?
He looks startled at being spoken to.
ADESUWA (CONT’D)
Today you’re lucky. Tomorrow,
you’re back in the game, hoping you
never get caught. And then what?
Make a career out of crime and
retire one day, abi?
STRANGER
I don’t kill, I don’t harm people.
I just take money when I can.
ADESUWA
Wow, correct man. You’re just a
thief, no big deal.
STRANGER
I’ll stop by God’s grace.
ADESUWA
God’s grace has other priorities,
you can stop by choice but I know
you people. You never stop.
STRANGER
I’ll stop, I swear.
ADESUWA
Exactly how you all sound. I know
una die. Me, West Central girl.
STRANGER
You?
ADESUWA
Born, raised, ghetto to my bones,
blood and cells.
His eyes widen with surprise.

42.
ADESUWA (CONT’D)
See now. As I take position this
dagger? I hold am like learner? If
you feel say na demo, near me.
He raises both hands in resignation.
ADESUWA (CONT’D)
I could break a bottle by the edge
since I was ten. For JSS Two, one
guy wey touch my yansh, I use
coconut wey just fall from tree
dash am wound for head. My first
boyfriend robbed a bank when he was
sixteen. They killed someone in my
front when I was thirteen. That was
the first of many times I witnessed
people die. I no be butter girl,
forget this package.
(beat)
But I chose education because I
didn’t want to end up like my
friends, like - like --
(difficult to say)
Like my brother.
And then she tenses again.
ADESUWA (CONT’D)
This life never ends well. Never.
STRANGER
(sober)
My partner. The one they just ...
they just burnt .. He too was in
West Central before the raid.
ADESUWA
Before the raid? What’s his name?
STRANGER
Korede Slasher.
CUT TO:
61 EXT. FAMILY SHACK - NIGHT (FLASHBACK) 61
The police van speeds away from the burning shack with the
Thug that led them to Okiti’s house. We CLOSE UP ON the thug.
43.
ADESUWA (V.O.)
Korede Slasher? With the scar-face?
CUT TO:
62 INT. ADESUWA’S FLAT - LIVING ROOM - BACK TO PRESENT 62
STRANGER
You know him?
She fights the urge to cry.
ADESUWA
Know him? Korede na my juniour
brother boy. Okiti the Bullet.
STRANGER
Mighty Okiti? You be him sister?
Long beat as Adesuwa stares into space -- anger, hurt, pain.
ADESUWA
It never ends well for you.
63 EXT. ADESUWA’S FLAT - NIGHT 63
Stranger marches away, head bowed, disappearing fast into the

night. Behind him at the door, Adesuwa watches, troubled.
64 INT. ADESUWA’S FLAT - BEDROOM - LATER 64
Adesuwa, on the bed, stares at a faded photo of herself,

Okiti and their mom, much younger and laughing heartily.
She lifts a pillow to her face, gagging her cry.
65 EXT. MARKET - DAY 65
Adesuwa, with shopping bags, examines fruits and vegetables.
66 INT. ADESUWA’S FLAT - ENTRANCE - LATER 66
As Adesuwa enters --
ADESUWA
Eno, your mother must be getting
old o. Just realized I forgot the-
44.
She stops at the sound of PEOPLE CHUCKLING. Frowning, she

takes a step into the Living Room. And is shocked.
ENO
There you are Mommy. Guess who
dropped by?
The thieving Stranger is seated close to Eno.
ENO (CONT’D)
And with plenty gifts and a friend.
She motions to two huge polythene bags.
ADESUWA
What friend?
AFAM (O.C.)
An old one.
Adesuwa turns to the commanding baritone. Shock registers on

her face as her eyes fall on AFAM (50s), seated in a corner.
Regal and distinguished as he’s fierce and deadly, he’s a man

to be respected and feared, loved and not to be trifled with.
AFAM (CONT’D)
Adesuwa Odihi. Mama Church pickin.
Baby Bullet sister.
(smiles)
The acorn has become an oak tree.
ENO
(excited)
Uncle Afam you know my mommy?
ADESUWA
(to Stranger)
OUT OF MY HOUSE.
Eno and Stranger are shocked.
ENO
If I have to say it again, I’ll
sound an alarm to the neighbours.
Stranger turns to Afam. Afam nods. Stranger leaves.
ADESUWA
Eno. Inside. Now.
ENO
But Mommy -
45.
Adesuwa turns to Eno with that withering look only mothers

can deploy. Eno swallows in fear and runs in.
It’s just Adesuwa and Afam. She sits.
ADESUWA
I thought you died in prison.
He has a good laugh.
AFAM
I didn’t die on three tours of duty
as an army Captain. I didn’t die as
the presiding principality of West
Central, na prison I go come kpai?
Prison was vacation and vacation
ended three years ago.
(and then)
I’m sorry about what happened to
Okiti. If I wasn’t in jail, you
know that police raid story for
different.
ADESUWA
Wetin happen don happen.
AFAM
Okiti for no die.
ADESUWA
He’s dead. And I’ve moved on.
AFAM
Your loyalty to the streets no
move. Thank you for saving my boy.
ADESUWA
I want nothing to do with that
life.
(cautiously)
Or anyone connected to it.
He glares at her menacingly. She stares back with all her

will-power, trembling slightly. Afam smiles.
AFAM
I understand.
67 EXT. ADESUWA’S FLAT - CONTINUOUS 67
Afam emerges, Adesuwa follows.
He turns to face her.

46.
AFAM
I will leave as you wish but I be
who I be and I never take a good
deed for granted. If life ever
gives you a reason to need my help,
make your way to Free Zone and ask
for Afam. They’ll know I’m the one
who sent you.
She doesn’t answer. He WHISTLES.
Six THUGS emerge from all sides and two rugged jeeps pull up
to him. One of the boys opens the back door for him.
AFAM (CONT’D)
By the way, Eno is a genius.
He enters the vehicle and so do his boys. Afam stares at her

as the vehicle leaves. Adesuwa lets out a sigh of relief.
68 INT. ADESUWA’S FLAT - BEDROOM - LATER 68
Adesuwa is seated on the bed plaiting Eno’s hair
ENO
He was your real uncle?
ADESUWA
No, Uncle Afam was our big bros in
the area. He was a soldier who did
well for the government but we
don’t know why he left. In West
Central, everyone feared him.
ENO
So he was a bad person?
ADESUWA
No, he was ...
(searching for the right
words)
He protected women, gave money to
the elderly, made sure people were
safe. But the ways he did it, the
things he did to make sure there
was order ... let’s just say the
police and the laws of the land
frown on those methods.
(and then)
So, what did I say you should do if
he comes again?
47.
ENO
Not open the door for him.
ADESUWA
And if I’m not around?
ENO
Call you immediately.
ADESUWA
Good.
Beat.
ENO
He said he knew your brother.
Adesuwa is surprised. She forces a smile.
ENO (CONT’D)
Aunty Nancy told me about your
essay. What did you write?
69 INT. GREENWOOD SCHOOL - KINDERGARTEN - DAY 69
Adesuwa helps a child colour a picture.
ADESUWA
Careful, within the lines ...
And then an 8 YEAR OLD BOY appears at the door, panting.
LITTLE BOY
Aunty Emem said I should call you.
Eno just fainted.
CUT TO:
70 INT. GREENWOOD SCHOOL - HALLWAY - DAY 70
Two MALE TEACHERS rush unconscious Eno to the exit. Adesuwa

follows, screaming Eno’s name. Several teachers follow.
71 INT. HOSPITAL - LATER 71
SHAKY HAND-HELD SHOT: DOUBLE-DOORS burst open, Eno is wheeled

in by paramedics who are shouting (AD LIB) medical jargon.
Adesuwa follows, screaming Eno’s name.
They reach the entrance of the Emergency Ward.

48.
MALE NURSE
You can’t come in here. We assure
you we’ll do our best.
Adesuwa weeps softly. Two teachers hold her on either side.
DOCTOR FRANK (V.O.)

Aortic stenosis.
72 INT. HOSPITAL - HALLWAY - LATER 72
DOCTOR FRANK (50s) and Adesuwa stand outside the ward.
DOCTOR FRANK
It’s an abnormal narrowing of the
aortic valve in the heart.
ADESUWA
I don’t understand.
Doctor Frank looks round. Reaches for a straw in his bottle.
DOCTOR FRANK
Think of it like this straw. It’s
thick so I get lots of fluid but a
thin one will make me strain and
apply pressure to suck the drink.
(beat)
That’s how a valve works. If it
narrows, blood carrying oxygen is
reduced through that channel and
the heart has extra work to squeeze
the little it can through.
(drops straw)
When that happens, one symptom will
be loss of consciousness. Like what
happened to Eno.
ADESUWA
What are other symptoms?
DOCTOR FRANK
Sudden shortness of breath and
anginal chest pain.
Adesuwa looks like she’s about to faint. She glances over the
doctor’s shoulder at Eno, sleeping, in the open ward.
ADESUWA
What’s the way out Doctor?
DOCTOR FRANK
A valve replacement surgery.
49.
ADESUWA
My God. Is it expensive?
He sighs.
CUT TO:
73 INT. GREENWOOD SCHOOL - HEAD TEACHER’S OFFICE - LATER 73
The HEAD TEACHER (late 4Os) peers into a bill, drops it on

the table and looks up at an anxiously-waiting Adesuwa.
HEAD TEACHER
We’re with you every step of the
way. Your commitment here has been
sterling so we’re together in this.
ADESUWA
Thank you ma.
HEAD TEACHER
(re: bill)
Now this. You know our pockets. We
can’t afford to pay this bill.
ADESUWA
I don’t want you to pay it. I want
you to loan me the money.
(and then)
I’ll sign an undertaking not to
resign till it’s fully deducted
from my salary. Anything ma --
HEAD TEACHER
Adesuwa, we won’t loan you a dime.
Adesuwa’s face falls.
HEAD TEACHER (CONT’D)

We’ll give you some money. And you
may commence a ‘leave with pay’.
ADESUWA
Thank you ma. Thank you so much.
Only God can pay you back ...
74 INT. BANK MANAGER’S OFFICE - LATER 74
Adesuwa is seated across BANK MANAGER (40s).
ADESUWA
Collateral?
50.
BANK MANAGER
It’s a staple of every loan
transaction. Even this one.
ADESUWA
Sir, you know the situation.
BANK MANAGER
Yes, you clearly articulated your
plight and I sympathize with you.
But regardless, a collateral is non-
negotiable for any kind of loan.
ADESUWA
I have nothing. My car is old, my
house is rented, I own nothing.
(almost in tears)
This is the last place I can get
help from, and that’s it?
BANK MANAGER
I didn’t make these rules, I was
put here to enforce them. Sorry.
She rises, dazed, picking her things.
BANK MANAGER (CONT’D)

What about family and friends?
ADESUWA
Eno’s my only family and friend.
BANK MANAGER
Look. My hands are tied but I have
a friend who may be able to assist.
CUT TO:
75 INT. TV STUDIO - DAY 75
JACKIE OKORO (20s), stunning, presents STRAIGHT-TO-CAMERA.
JACKIE OKORO
Welcome to Gist with Jackie. Today
on the show, we’re starting with
Adesuwa Odihi, a teacher with
Greenwood School, whose daughter,
Eno, is battling a heart condition
called Aortic Stenosis.
She turns to Adesuwa who’s nicely-dressed and made up.

51.
JACKIE OKORO (CONT’D)

Thank you for joining us, Adesuwa.
ADESUWA
Thank you for having me Jackie.
JACKIE OKORO
How’s Eno doing?
ADESUWA
Holding on strong. She’s the
toughest little girl I know.
JACKIE OKORO
Awww. I’m sure this must be
devastating for you.
Adesuwa nods, trying not to cry.
ADESUWA
I keep asking myself where it came
from and how she’ll get out of it
but I - I just can’t see ... I just-
She buries her face in her hands as the tears emerge. Jackie
places a hand on Adesuwa comfortingly and turns to CAMERA.
JACKIE OKORO
We’ll shed light on Eno’s condition
but here’s the bottom-line. The
surgery is expensive and Adesuwa
needs our help. Time to be our
sister’s keeper.
76 INT. HOSPITAL - PRIVATE WARD - NIGHT 76

Eno lies in bed, weary-faced. Adesuwa reads to her.
ADESUWA
(reading)
“Reach for the sun so that if you
fall, you’ll land on the treetops’,
and then, hope rose within him.”
Adesuwa turns the page. Eno sadly stares at her.
ADESUWA (CONT’D)
Let me know if I’m too fast.
ENO
I have a question.
52.
ADESUWA
Go ahead my love.
ENO
Am I going to die?
Adesuwa shudders.
ENO (CONT’D)
Please mommy, don’t tell me I’ll be
fine if I won’t. Am I going to die?
Adesuwa stares back with pained eyes, trembling slightly.
77 INT. GREENWOOD SCHOOL - STAFF ROOM - DAY 77
Two TEACHERS show Adesuwa figures on a tablet device.
TEACHER #1
(re: documents)
This morning, another five thousand
came in, making a total of ...
seven hundred thousand.
Adesuwa chuckles hysterically.
ADESUWA
Professionals need to be flown in
from India, medication needs to be
imported, Eno needs prime intensive
care, not to mention the daily-
increasing hospital bills.
(sighs)
I’m grateful for the donations. God
bless the givers. But we’re still
far from the mark. Too far.
Adesuwa’s PHONE RINGS.
ADESUWA (CONT’D)
(into phone)
Yes please?
Her eyes widen with fear.
CUT TO:
78 INT. HOSPITAL - EMERGENCY WARD - DAY 78
Eno convulses as the army of doctors battle to stabilize her.
She begins to slip away. The frenzy intensifies.

53.
And just when it seems she’s lost, the doctors get a reading.
She’s back. And stabilized.
79 INT. HOSPITAL - DOCTOR FRANK’S OFFICE - LATER 79
Adesuwa is seated across Doctor Frank.
DOCTOR FRANK
Another cardiac arrest will be
fatal. Already, her comatose state
reveals inertia in the brain. This
is very close to what we call a
vegetative state. That means -
ADESUWA
(dazed)
Her senses aren’t functioning.
DOCTOR FRANK
Look even if Eno survives the
condition, she may be vegetative
for the rest of her life.
(cautious)
Which is why we sometimes recommend
that family members ... graciously
put their loved ones out of misery.
(beat)
By permitting us to pull the plug.
Confusion grows on Adesuwa’s face.
ADESUWA
Wait. To pull the plug, doesn’t
that mean ... killing the patient?
DOCTOR FRANK
Not killing, putting them to sleep.
Permanently.
(quickly adds)
It sounds cruel but in cases like
this, it’s the best option because -
ADESUWA
YOU WILL NOT KILL MY ANGEL.
(rises angrily)
If you can’t help us, we’ll find
someone who can.
Storms out.
54.
80 EXT. ROAD - LATER 80
Adesuwa strolls, visibly troubled.
She walks towards an OKADA RIDER and an AREA BOY about to

fight -- both men mouthing off (AD LIB).
Her eyes slit -- a brainwave.
81 EXT. FREE TOWN - DAY (ESTABLISHMENT) 81
Grim. Squalid. A ghetto like the ones you know.
82 EXT. BARRACKS HOUSE - DAY 82
Smoke of weed fogs the air. Pop Naija music blares from
speakers. A local liquor seller advertises her wares.
And hanging all around are criminal types.
Adesuwa approaches. One of the boys sees her, frowns with

curiousity and glances at the rest.
Slowly, they turn to her with puzzled looks. Adesuwa

fearlessly approaches. The music is switched off.
ADESUWA
Good afternoon. I’m looking for
Afam. They said I’ll find him here.
And from the smoke, Afam emerges, surprised to see her.
ADESUWA (CONT’D)
Your friend is sick.
(tears)
Help me.
CHILDREN (V.O.)
AMEN.
83 INT. PRIVATE WARD - LATER 83
Eno lies comatose in bed. Her CLASSMATES are gathered close

to her bed and the CLASS CAPTAIN prays for her.
CLASS CAPTAIN
And you’ll get well fast and go
back home to your mommy ...
Adesuwa and Afam enter.

55.
CLASS TEACHER
You’ll get well fast and come back
to school in Jesus name.
CLASSMATES
AMEN.
As the children quietly CHATTER (AD LIB) round the bed --
ADESUWA
Donations are still coming in. We
have a little over a million naira
now but it’s too small and there’s
no time. Look at her.
He stares at Eno with compassion.
ADESUWA (CONT’D)
You were right. She’s a genius. But
what use to us is a dead genius?
(beat)
She saved you. I don’t care how you
do it, help me save her now.
Afam’s expression hardens with determination. He stares hard

at Eno, turns and exits. Adesuwa looks surprised at his exit.
84 EXT. BUSH HIGHWAY - DAY 84
The convoy of the MINISTER OF HEALTH powers down. The road is

flanked by a heavy bush right and left.
85 INT. MINISTER’S SUV - CONTINUOUS 85

The Minister smiles at the screen of his phone as he scrolls
through nude pictures of girls.
86 EXT. ROAD - CONTINUOUS 86
The convoy nears the end of the road.
A huge tree trunk rolls out of the bush and unto the road,
forcing the pilot vehicle to brake suddenly.
87 INT/ EXT. MINISTER’S SUV/ ROAD - CONTINUOUS 87
The Minister jerks forward and his phone drops.
MINISTER
What’s going on?
56.
His ARMY AIDE cocks his gun.
ARMY AIDE
Stay here sir.
The man alights and all the SECRET SERVICE GUARDS alight and
form a protective barricade around the Minister’s vehicle -
The PILOT DRIVER examines the tree and glances at the bush.
PILOT DRIVER
It’s an old one. Someone did this.
The men train their guns in every direction. Eyes darting

light, left, front and back. Tension in the air as they wait.
And then, from inside the bushes, a thousand glimmering and

glittering flashes of light. They gradually emerge ...
Revealing scores of raised machetes, with the sunlight

bouncing off the shiny blades. The mean-faced thugs carrying
approach calmly and silently.
The minister’s men clutch their guns more tightly.
And then a second and third line of thugs armed with hand
guns, rifles, hunting knives, clubs and chains appear behind
the ones carrying machetes.
The Minister’s Guards turn as rustling is heard in the bushes

behind and more machete-wielding boys and others with guns
and combat weapons behind them emerge also.
The thugs stop a few paces from the Minister’s vehicle.
The Minister’s guards share fearful glances and lower their

weapons. They are outmanned and outgunned.
The thugs clear and Afam emerges -- garbed in a camouflage,

dark glasses and beret like a communist revolutionary.
He calmly marches past the Minister’s security who watch

helplessly to the Minister’s vehicle.
He reaches for the door. It’s locked. Afam motions to the

driver to unlock it. The trembling driver quickly obeys.
Afam opens the door, glares at the minister. The Minister is

clearly scared but trying not to be.
AFAM
Come. You and I are taking a walk.
57.
The Minister drops and follows Afam. He glances at his men

who are unable to do anything.
The boys clear for Afam and the Minister to walk through.
The thugs then approach the Minister’s guards and begin to

disarm them. They take their communication gadgets too.
88 INT. HIDEOUT - LATER 88
The Minister is tied to a chair in the centre of the room.

Afam enters with two thugs, sizes up the Minister.
AFAM
Comfortable?
MINISTER
Just like my armchair at home.
AFAM
You want food?
MINISTER
I tend to lose my appetite when I’m
kidnapped.
AFAM
Cigarette? Weed?
MINISTER
As Minister of Health, those things
should not be affiliated with me.
(and then)
In public. Any one is fine.
Afam nods at one of his men. He puts a joint in the
Minister’s mouth and lights it. Afam sits across him.
AFAM
You’ll do something for me.
MINISTER
Direct all ransom demands to the
government. I’m simply a servant of
the system.
ADESUWA
I don’t want your money. I want you
to save a child. My sick friend.
Minister wears an amused look.
CUT TO:
58.
MONTAGE SEQUENCE:
ON TV -
FEMALE NEWSCASTER
In a departure from the norm, the
Minister’s kidnappers have not
demanded a ransom. They asked that
he use his position to influence
the treatment of Eno Odihi, the
child of a teacher, Adesuwa Odihi,
who’s been asking for funds to pay
for her treatment.
CUT TO:
MONTAGE SEQUENCE -- SERIES OF DISSOLVES
twitter home page
@thegodfather: this is the wrong way to ask but for the right
cause. The Minister must save the girl.
@politicalanimal: Abegy jor! U know how many sick kids are

out there? Why this one?
@kaffylite: I am a mother and I know what it feels like to

lose my beloved. Let the minister do the needful.
facebook home page
Tuface (Innocent Idibia): I stand with the people. I stand

with Eno. I will give what I have, Minister give what you’ve
been asked. #nothingdoyou #standwithEno.
CUT TO:
MONTAGE SEQUENCE -- VOX POP (SERIES OF SHOTS)
ELDERLY MAN
Yes he should. Is he not the
Minister of Health? His own kids go
to London, Switzerland, America,
India, when they get sick.
LAWYER
The Minister cannot be made to do
anything against his will, it is a
breach of his fundamental human
right. If this is not nipped in the
bud, it will start a bad precedent.
59.
RADICAL STUDENT
I swear that kidnapper mess up. If
it’s me, I’ll make him give free
treatment to a hundred people
across the state. People are
suffering, we have a minister and a
budget for medical research and
innovation, what has happened?
Nothing. Kidnapper, abeg carry go.
(balls fist)
Chop your knuckle.
CUT TO:
89 INT. HOSPITAL - PRIVATE WARD - EVENING 89
Adesuwa strokes Eno’s hair, seated beside her.
Doctor Frank enters, watches for a few moments.
DOCTOR FRANK
Miss Odihi, I understand you’re
under a lot of pressure --
ADESUWA
I’ll make a deposit tomorrow at the
very least, sorry. My mind has been-
DOCTOR FRANK
Not that. The kidnap.
ADESUWA
What kidnap?
DOCTOR FRANK
You haven’t heard?
And then, the sound BOOTS STOMPING on the ground. Doctor

Frank hurries to the exit to see the cause.
POLICEMAN (O.S.)
Is this Eno Odihi’s ward?
DOCTOR FRANK
Yes it is, how may I-
He’s pushed out of the way as several armed POLICEMEN swarm

INTO SHOT, and stride inside. Adesuwa is scared and shocked.
ADESUWA
WHAT IS THIS?
60.
POLICEMAN
Adesuwa Odihi?
ADESUWA
Yes, please tell me what’s -
She’s violently dragged away as she screams Eno’s name
CUT TO:
90 INT. INTERROGATION ROOM - LATER 90
Two FISTS SLAM on a table. Adesuwa jumps, startled. The owner

of the fists, INSPECTOR ALI (late 40s), faces her with rage.
INSPECTOR ALI
DO I LOOK LIKE A FOOL?
ADESUWA
I swear to God.
INSPECTOR ALI
SWEAR TO ME.
ADESUWA
I KNOW NOTHING ABOUT IT, NOTHING.
INSPECTOR ALI
Even though it’s all over TV,
social media, EVEN THOUGH IT’S
BECAUSE OF YOUR DAUGHTER?
ADESUWA
I’ve been with her, that’s all I
care about right now.
Inspector Ali roars with laughter as he menacingly paces.
INSPECTOR ALI
The Minister of Health is
kidnapped, and the only demand of
his kidnapper is not money or
diamonds or those things idiots
like that ask for.
(turns to Adesuwa)
It’s to save your daughter.
ADESUWA
I’m confused too.
He grabs a form off the table.

61.
INSPECTOR ALI
(reading)
Your statement says you attended
West Central High School.
She swallows.
ADESUWA
I did.
INSPECTOR ALI
So you lived where society’s worst
rejects live and you’re saying you
didn’t put one of them up to this.
Now she’s angry, fighting back tears.
ADESUWA
I left West Central eight years ago
and never set foot there since. So
I don’t know criminals and whoever
else can do this.
INSPECTOR ALI
Yet someone did. And on behalf of
you. Adesuwa Odihi, you are not
telling the truth.
ADESUWA
I am.
Inspector Ali springs across to Adesuwa, yanks her to her

feet and slams her against the wall. She screams.
He pins her against the wall with his palm round her neck.
INSPECTOR ALI
Everyday I meet people like you.
Innocent-sounding, baby-faced,
people who won’t hurt a fly. But
you know what I find out everyday?
The devil disguises as an angel of
light.
ADESUWA
(weeping)
I need to go back to my daughter.
INSPECTOR ALI
You’ll never see your daughter if
you don’t say the truth.
ADESUWA
I have said the truth.
62.
INSPECTOR ALI
The truth is you arranged for the
kidnap of the minister.
ADESUWA
I didn’t.
INSPECTOR ALI
YOU DID!
The door opens, an officer enters with a phone.
OFFICER #1
(re: the phone)
For you sir. It’s the I.G.
He lets her go. She falls, weeping. He takes the call.
INSPECTOR ALI
(into phone)
Yes sir. Yes she’s here with me
right now. I’m still interroga-
Stops, listens for some moments. His face sours.
INSPECTOR ALI (CONT’D)

(into phone)
Yes sir. Understood. Thank you sir.
Ends call, gives Officer the phone.

You’re to be released with
immediately. Order from the I.G.
She’s surprised. Ali nods at the Officer, who motions Adesuwa

to move. She scrambles to her feet and heads for the door.

Adesuwa, don’t mistake leaving the
premises for being free o.
She hurries out.
91 EXT. POLICE STATION - DAY 91
As Adesuwa emerges, the PRESS besiege her with questions (AD

LIB) and recorder devices are thrust in her face.
She’s walking through the sea of press-people.

63.
PRESS PERSON
Miss Odihi, are you involved in the
kidnap of the Minister?
She stops, turns to the reporter. All are quiet.
ADESUWA
No. I don’t even know this ...
person asking him to treat my
daughter.
(beat)
But I support the cause. Because
it’s my child who’s going to die if
I don’t get help. I support the
cause because my baby represents
millions out who can’t afford the
help they need. I support this
because if the Minister did his
work and health-care was available
and affordable to all, we won’t be
having this conversation.
More questions follow as she makes her way through.
92 INT. MINISTER’S RESIDENCE - LIVING ROOM - DAY 92
MADAM SOPHIA (late 50s), the Minister’s wife, is on the phone

-- in a corner of the room.
There are police, secret service, family members and

sympathizers in the background.
MADAM SOPHIA
(into phone)
The I.G just confirmed that they’ve
let her go. I swear to God Almighty
sir, you can check the news.
93 INT. HIDEOUT - SAME TIME 93
Afam, on the phone, paces before the Minister.
AFAM
(into phone)
If I see another stunt like that -
MADAM SOPHIA
I swear to God the everlasting
Father, it won’t happen-
64.
AFAM
Madam, you swear too much. Let me
finish my threat.
MADAM SOPHIA
Sorry sir, continue.
AFAM
If I see anything that endangers
that woman or her girl, I will chop
your husband into many little
pieces and fedex you the parts.
MADAM SOPHIA
I reject it in Jesus name, sorry --
I mean, yes sir. No more nonsense.
AFAM
Tomorrow.
He cuts the line, turns to the Minister.
AFAM (CONT’D)
Minister you love this place.
No answer.
AFAM (CONT’D)
Because I see no other reason why
Eno is not receiving treatment.
MINISTER
You heard me make the calls. I’ve
set things in motion but there’s
protocol. These things take time.
AFAM
You’re the Minister of Health.
MINISTER
Precisely why I mustn’t subvert the
laws I swore to uphold.
AFAM
ARE YOU KIDDING ME?
MINISTER
I am not. Contrary to the prevalent
view that all Nigerian politicians
are corrupt, I am the anomaly.
Afam pistol-whips him across the face with his gun.

65.
AFAM
I didn’t get that sir, kindly
repeat.
MINISTER
I will not be intimidated by
urchins who -
Afam pistol-whips him again.
AFAM
I thought the first slap would
reset your thinking but it seems to
have worsened your condition. Do
you require one more dose to put
you in mint condition?
Before the Minister can respond, Afam hits him again. The
Minister bleeds on the mouth.
AFAM (CONT’D)
Say something, I need to be sure
the symptoms have cleared.
The Minister weakly but defiantly stares back. And he wisely

keeps shut.
AFAM (CONT’D)
Good. Now listen. Call me an urchin
again. You go know say chicken wey
curse farmer wey own am don apply
for visa to pepper-soup.
Afam motions for a stool. It’s placed before him, he sits.
AFAM (CONT’D)
How long will it take you to get
Eno fixed?
MINISTER
Organ replacements are tough. The
required parts are harvested from
people, we need the consent of the
family. The organs have to be iced -
AFAM
I asked for a timeline.
MINISTER
Give or take, a few weeks.
Afam chuckles, raises his gun to the Minister.

66.
AFAM
You have a few hours.
MINISTER
(trembling)
Realistically, a few days.
AFAM
I’ll give you one. Tomorrow.
The Minister gulps. Afam’s PHONE RINGS.
Afam motions for all to be silent and wags a warning-finger

at the Minister. The Minister nods.
AFAM (CONT’D)
(into phone)
Adesuwa, how far?
94 INT/ EXT. TAXI (MOVING) - LATER 94
Adesuwa is at the back, on her phone.
ADESUWA
(into phone)
Please tell me you’re not behind
this.
AFAM
Behind what?
ADESUWA
The Minister’s kidnap.
AFAM
Adesuwa I’m busy right now.
ADESUWA
Afam wait, TELL ME. Please.
Moments of silence.
AFAM
How is Eno doing?
ADESUWA
Hanging in there.
AFAM
Good.
67.
He cuts the line. DIALOGUE SEQUENCE ENDS. He turns to

Minister with renewed determination.
AFAM (CONT’D)
Move.
The Minister is given a phone. He dials.
95 INT. MINISTER’S RESIDENCE - LIVING ROOM - LATER 95
The POLICE COMMISSIONER (40s) is with a frantic Sophia.
MADAM SOPHIA
Secret service, the police, even
private security, and all of you
cannot locate my husband.
POLICE COMMISSIONER
We will. In forty-eight hours.
MADAM SOPHIA
Forty-eight hours is too long.
POLICEMAN
The kidnappers call with a burner
phone, they know we’ll trace them
if they use the Minister’s line.
MADAM SOPHIA
Maybe he should just help them
treat the girl.
POLICE COMMISSIONER
It will be wrong to accede to their
requests. Already your husband made
calls to people who can’t help.
(beat)
He’s buying us time.
She sighs wearily, picks a framed photo and sadly gazes into
it. We don’t see the picture. Tears roll down her face.
96 INT. HOSPITAL - PRIVATE WARD - LATER 96
NURSES change Eno’s drip, Doctor Frank checks her vitals.

Adesuwa enters hastily but wearily.
DOCTOR FRANK
Adesuwa.
ADESUWA
How is she?
68.
DOCTOR FRANK
Fine, she’s fine. Here, sir.
He helps her settle down, examines her with concern.
ADESUWA
Thank you, I’m fine. They tried to
shake me up but I’m good.
He gestures to the nurses to leave. And then -
DOCTOR FRANK
It’s about the Minister’s kidnap,
right?
She nods.
DOCTOR FRANK (CONT’D)

And of course, you don’t have any
idea of who could be behind it.
Beat.
ADESUWA
I don’t.
DOCTOR FRANK
Be strong.
Adesuwa nods. He leaves. She smiles lovingly at Eno.
She glances at the TV. And then she quints.
She reaches for the remote, increases the volume. We stay on

Adesuwa’s increasingly shocked reaction.
NEWSCASTER #3 (V.O.)
... And though it occurred eight
years ago, the incident remains a
sore wound in the Bankole family.
REVERSE: On TV is a still photo of REMI BANKOLE with Madam

Sophie and the Minister, laughing. They’re his parents.
Remi Bankole, the son and only
child of the kidnapped minister,
disappeared in unexplained
circumstances and is presumed dead.
Adesuwa hyper-ventilates.
69.
Police are working round the clock
to prevent the Minister’s demise
and a grim repeat of history.
97 INT. HOSPITAL - OUTSIDE PRIVATE WARD - MOMENTS LATER 97
The doors burst open and Adesuwa stumbles out, panting

heavily, inching her way to the exit.
98 EXT. HOSPITAL - LATER 98
Adesuwa runs out, keeps running. And running. She stops,

panting heavily. And the world spins around her.
CUT TO:
99 INT. ADESUWA’S FLAT - BEDROOM - SERIES OF SHOTS 99
Adesuwa throws her mattress off the bed. Brings out chest of
documents. Rummages through it. Finds an old photo.
Stares at it.
AFAM (V.O.)
Adesuwa this is not a good time.
100 INT. HIDEOUT - EVENING 100
Afam and his boys smoke weed as he speaks into the phone.
AFAM
(into phone)
I was about to go and -
ADESUWA (V.O.)
I need to see you now.
AFAM
That won’t be possible.
ADESUWA
Make it possible, Afam, please.
Nothing’s ever been more important.
AFAM
I’m not in town.
70.
ADESUWA
Afam, I found something that can
help Eno.
(beat)
But it won’t work without you.
Afam visibly contemplates.
ADESUWA (CONT’D)
Afam did you hear m-
AFAM
Go Freetown. Ask for the Den. Call
me when you reach there.
He cuts the line.
AFAM’S THUG
Boss, softly. E fit be police wey
dey push am.
Afam takes a long drag of the joint, throws it down.
AFAM
That’s why I send am go Den.
101 EXT. UNCOMPLETED STOREY BUILDING - ROOFTOP - NIGHT 101
Two of Afam’s thugs patrol.
AFAM’S THUG #2
E be like say she don show.
One of them looks more closely, reaches for his phone.

AFAM’S THUG #3
(into phone)
Boss, she don show. No. Nobody dey
tail am.
102 EXT. UNCOMPLETED STOREY BUILDING - MOMENTS LATER 102
Adesuwa, draped in a shawl, approaches cautiously.
BOYS emerge from the dark, towards her. She freezes, fright
in her eyes. And then Afam emerges. She looks relieved.
AFAM
You’re alone.
She nods.
71.
AFAM (CONT’D)
Were you followed?
ADESUWA
Of course. After the police picked
me, they put a tail on me.
Afam’s boys tense up and exchange surprised glances.
ADESUWA (CONT’D)
But I comot for West Central no
mean say West Central comot for me.
CUT TO:
103 EXT. MARKET AREA - ONE HOUR AGO (FLASHBACK) 103
A MAN moves through, watching Adesua in the distance.
Adesuwa disappears into a crowd. The Man hurries to the spot.

She’s nowhere to be found. He looks right and left.
Behind him, a Keke passes with Adesuwa inside, watching him.
CUT TO:
104 EXT. UNCOMPLETED STOREY BUILDING - BACK TO PRESENT 104
Afam almost smiles.
ADESUWA
I need to see the Minister.
AFAM
I never told you I had him.
ADESUWA
You don’t have to, just take me to
him.
Afam makes to protest, she gives him the photo.
AFAM
Who be dis?
CUT TO:
CLOSE ON “REMI AND ADESUWA” PHOTO, quivering lightly.

72.
PULL OUT TO REVEAL Minister holding it, trembling with shock

and emotion. He looks up at Afam and Adesuwa, speechless.
ADESUWA
He called his mom that morning
before we left for West Central.
She wasn’t happy and she said you
won’t be happy but agreed he should
bring me over the next day. Your
wife said something, she said the
“Minotaur of the labyrinth --
MINISTER
(completing the sentence
along with Adesuwa)
“Will swallow you whole”.
(light stutter)
I was there when she took the call.
(and then)
Minotaur of the labyrinth ... what
my friends called me. Back then.
He raises the photo again, stares hard into it.
MINISTER (CONT’D)
S-so you’re saying th-this child -
ADESUWA
Eno Omoghene Odihi, is Remi’s
child. Your granddaughter.
Loud silence. Determination possesses Minister’s face.
MINISTER
Give me my phone.
One of the boys brings the burner phone.
MINISTER (CONT’D)
No. Mine.
THUG #3
You know I no fit-
MINISTER
Listen you mindless scoundrel, if
I’m getting this done, I’m getting
it done in my capacity as a high
officer of the state. Now pass me
my damn phone. I lost a son, I’m
not losing my grand-daughter.
Afam nods. They give his phone. As he dials ...

73.
MINISTER (CONT’D)
(to Adesuwa)
Head straight to the hospital. I’m
having her transferred to a state-
of-the-art facility.
Adesuwa listens with relief. Afam listens with enraged shock.
MINISTER (CONT’D)
Give or take, the surgery happens
in an hour, no more than two.
(into phone)
Doctor Suresh, where are you?
(beat)
That’s fifty minutes to Lagos.
You’re getting on the next flight.
I have a level-one emergency,
Ends call, dials again.
MINISTER (CONT’D)
(to Adesuwa)
You’re still here?
She hurries out, almost laughing with joy.
MINISTER (CONT’D)
(into phone)
Dr. Kimberly, wherever you are, I’m
arranging a private carrier to
bring you down. Immediately.
Afam spitefully watches as the Minister makes another call.
106 INT. MINISTER’S RESIDENCE - LIVING ROOM - NIGHT 106

Pandemonium as the police hurry right and left.
POLICE COMMISSIONER
I WANT EYES ON EVERY ENTRY AND EXIT
POINT OF THAT HOSPITAL.
He turns to an Officer on the dining before an open laptop.
POLICE COMMISSIONER (CONT’D)

Progress?
SURVEILLANCE OFFICER
Within the hour sir.
And in the centre of the rush and activity, is Madam Sophia,

eyes and mouth wide open in shock, holding her phone.
74.
POLICE COMMISSIONER
Madam, it will all be over soon.
MADAM SOPHIA
You heard what he said?
POLICE COMMISSIONER
Pinch of salt madam. Kidnappers can
be very cunning.
MADAM SOPHIA
My husband saw his picture. They
showed it to him. He saw Remi.
Commissioner PHONE RINGS.
POLICE COMMISSIONER
It’s the I.G Madam. One second.
He leaves, Madam Sophia takes the framed photo -- it’s a

family picture of herself, the Minister and Remi.
107 INT. HOSPITAL - HALLWAY - LATER 107
Eno, attached to life-support, is wheeled towards the exit.

Adesuwa and Doctor Frank follow.
CUT TO:
108 INT. AMBULANCE - MOMENTS LATER 108
Eno is moved into the ambulance, Adesuwa enters too.
109 INT. HIDEOUT - NIGHT 109
MINISTER
(into phone)
The valve is ready? Good. Start the
second she arrives.
Ends call. Looks up at Afam.
MINISTER (CONT’D)
I need to be at that hospital.
Afam takes the Minister’s phone, flings it against the wall.
MINISTER (CONT’D)
WHAT ON EARTH? WE NEED THAT.
Afam slaps the Minister hard. Everyone is startled.

75.
AFAM
Don’t look so surprised Your
Excellency.
AFAM (CONT’D)
Na you first slap me. Five-fingered
dirty backhand across my face. You
could have saved that child. By now
she’d be fine, you’d be free. Me
and my boys, we go don waka.
(pained)
So you were ready to let her die
till you hear say na your blood.
Minister looks away, guilty.
110 EXT. ROAD - NIGHT 110
The ambulance zig-zags through traffic.
111 INT. AMBULANCE (MOVING) - CONTINUOUS 111
Adesuwa strokes Eno’s hair.
ADESUWA
(to Eno)
Eno, remember your dreams. First
Nigerian lady president. Being like
Mandela. You have to win this.
She continues to mutter (AD LIB) words of hope.
112 INT. MINISTER’S RESIDENCE - LIVING ROOM 112

Madam Sophia’s on the phone, pacing.
MADAM SOPHIA
(into phone)
That’s another twenty minutes. Is
there a way we can airlift them?
She marches away, visibly distraught as she listens and walks

past the Commissioner who we follow, speaking into his cell.
POLICE COMMISSIONER
(into phone)
All assault units. When we get a
lock, the closest are moving in.
The Surveillance officer arrives in a hurry, nods at the

Commissioner and raises a tablet device with a map on-screen.
76.
POLICE COMMISSIONER (CONT’D)

(into phone)
Wait. We’re good to go.
SURVEILLANCE OFFICER
(re: a red point on the
map)
Freetown East.
POLICE COMMISSIONER
(into phone)
Alert Area J and K to assemble at
Labat. Our location is Freetown.
Afam smokes weed, pacing through the smoke he exhales.
AFAM
Minister. You know wetin e mean?
That word, Minister.
MINISTER
It means ... to serve.
AFAM
Clap for your self.
MINISTER
My hands are tied.
AFAM
Try.
The Minister claps as far as his loosened ropes would allow.

AFAM (CONT’D)
To serve who?
MINISTER
To serve the people.
AFAM
Is the people your family alone?
MINISTER
No.
AFAM
Your paddy for golf course?
MINISTER
No.
77.
AFAM
Una pickin?
MINISTER
No.
Afam stops before the Minister.
AFAM
This urchin standing before you
graduated from the NDA. Rose to a
Captain. Was in the front-lines of
the war against terror with bullet
scars and medals to show for it.
You know what happened? The
Nigerian factor.
MINISTER
Kindly specify.
AFAM
You know how a relationship is
supposed to be give and take? I
gave this nation my time and
service, it gave me crumbs from the
national cake.
Minister chuckles contemptuously.
AFAM (CONT’D)
You have something to say?
MINISTER
If I won’t be struck on the face
with a gun.
AFAM
I promise sir, speak freely.
MINISTER
The masses, the poor, people who
live on the side of the fence where
the grass isn’t so green, you’re
full of excuses, excuses, excuses.
The government hates us. The
government won’t help us. The
government ruined our lives. The
real tragedy of the poor is the -
AFAM
(along with the Minister)
Poverty of their aspirations.
(MORE)
78.
AFAM (CONT'D)
Yes, we’ve read Adam Smith too you
cock-sucking shit-brained thieving
agent of a thieving government. But
until your vampires in power create
a level playing field, you have no
moral grounds to conclude that the
poor are lazy.
MINISTER
As you have none to assume that the
rich are evil.
AFAM
How about you sir? You held out on
helping an innocent girl till you
learnt she’s your grandchild.
MINISTER
I’m not perfect, who is? We all
watch out for our own.
AFAM
And everyone who doesn’t share our
surname, even the innocent, can go
to hell with their problems?
MINISTER
Turn back the hands of the clock if
you can and I’ll do it again. You
know why? Because there are a
million little girls out there who
need help and if all their daddys’
and uncles and older brothers could
hold me hostage to make me save
their own, there wouldn’t be a
health system to manage. How about
the millions of old people who are
infirm, pregnant women without
means, people living with mental
disorders? Should I cherry-pick who
I choose to save or spread the
scarce medical resources at my
disposal as far as they can go?
AFAM
It shouldn’t be scarce in the first
place if monies meant for drugs and
medication and facilities weren’t
finding their way into your private
offshore accounts.
79.
MINISTER
Assumptions. And since you know
your Economics, I should remind you
that resources, even medical ones,
will always be scarce. We’re all
servants of opportunity cost, the
negotiation between what we have
and what we should forego.
AFAM
America, Britain, India, if their
resources were scarce, would you go
there for checkups and treatments?
Beat. The Minister has no answer.
AFAM (CONT’D)
Did your tongue decide to take a
time-out?
MINISTER
This discussion is pointless.
You’re rigid and unrepentantly
stiff-necked.
Afam punches him in the face.
MINISTER (CONT’D)
You didn’t come across as a man who
doesn’t keep his word.
AFAM
Don’t be ridiculous sir. I promised
not to hit you with a gun.
(raises fist)
This isn’t a gun.
He leans in to the Minister with his gun.
AFAM (CONT’D)
But if anything happens to that
child, you’ll be getting a bullet.
114 INT. AMBULANCE (MOVING) - NIGHT 114
Adesuwa holds Eno, anxious. The van stops with a jerk.
DRIVER (O.S.)
We’re here.
CUT TO:
80.
115 EXT. NEW HOSPITAL - CONTINUOUS 115
Medics rush Eno into the more sophisticated hospital.
116 INT. NEW HOSPITAL - COLD ROOM - SAME TIME 116
A LAB TECHNICIAN uses a device to place the valve on ice.
117 INT. NEW HOSPITAL - THEATRE - SAME TIME 117
Nurses set up the operation room.
118 INT. NEW HOSPITAL - CHANING ROOM - SAME TIME 118
A CAUCASIAN SURGEON washes his hands under the running tap.
119 INT. MINISTER’S RESIDENCE - LIVING ROOM - SAME TIME 119
Madam Sophia is on the phone, hopeful.
MADAM SOPHIA
(into phone)
Okay, okay, okay ... please hurry.
120 EXT. LAGOS - NIGHT 120
A team of police pickup vans speed through the city.
121 INT. HIDEOUT - NIGHT 121

Afam is on the phone.
AFAM
(into phone; excited)
At least una don reach there, abi?
CUT TO:
122 INT. NEW HOSPITAL - ENTRANCE - NIGHT 122
The door swing open as DOCTOR SURESH (50s), a distinguished-

looking Indian doctor, rushes in with a small bag.
DOCTOR SURESH
Doctor Suresh, here for Eno -
81.
MALE NURSE #3
This way sir, we’ve been expecting
you.
Male Nurse #3 takes Suresh’s bag and leads him away.
123 INT. NEW HOSPITAL - HALLWAY - SAME TIME 123
Eno is rushed down. Adesuwa jogs along, on her phone.
ADESUWA
(into phone)
She dey go theatre now.
AFAM
Those foreign doctors don reach?
ADESUWA
Yes, at least they’ll start and --
Eno jerks wildly. The doctors try to stabilize her.
ADESUWA (CONT’D)
ENO, ENO!
AFAM
ADESUWA! ADESUWA NA WETIN.
The Minister watches Afam with horror.
AFAM (CONT’D)
ADESUWA TALK TO ME.
Eno stops moving, grows limp. Deathly silence.
Adesuwa looks from one face to the next, expecting answers.
AFAM (CONT’D)
Adesuwa ... Adesuwa ...
MINISTER
What’s going on?
A doctor covers Eno with a sheet.
DOCTOR
Time of death, nine-thirty four
p.m. Patient, Eno Oghene Odihi.
Adesuwa lets out a blood curdling scream. Afam screams in

rage. The Minister shakes his head with grief.
82.
END PHONE INTERCUT.
The Minister sheds tears. Afam breathes deep, in and out.
AFAM
Federal Minister of Health. You
were empowered to serve us all.
(beat)
But you dey look face. You decide
who deserves the privilege and Eno
didn’t qualify. An innocent child.
MINISTER
(weeping)
God forgive me, God forgive me, God
have mercy, Lord forgive me ...
Afam shoots the Minister in the head. He falls back.
POLICE SIRENS (OVER-LAPPING)
124 EXT. HIDEOUT - SERIES OF SHOTS 124
The armed officers take positions at the rear and in front.
125 INT. HIDEOUT - SERIES OF SHOTS 125
The officers stealthily move through, searching the rooms.
They burst into the holding room. Mice feed on the severed
neck of the Minister’s body. Afam and his boys are gone.
ASSAULT OFFICER
(into walkie-talkie)
Sparrow to Alpha. We just located
the Minister. Deceased.
(beat)
The culprit is at large.
126 INT. NEW HOSPITAL - HALLWAY - NIGHT 126
Adesuwa’s arms are round Eno’s lifeless body, weeping.
The medics stand behind her. Armed policemen march down.
The medics give way for them. Two grab her by each arm.
ADESUWA (V.O.)
“We’ll figure this out Adesuwa”.
What Remi said to me that day.
83.
127 EXT. SCHOOL YARD - TWILIGHT (FLASHBACK) 127
Beneath the tree, Adesuwa and Remi, in Youth Service wear.
ADESUWA (V.O.)
He didn’t stay to see how wrong he
was. How both our worlds would burn
because of an innocent, passion-
driven youth service affair.
(beat)
I lost my family.
128 INT. MINISTER’S RESIDENCE - NIGHT (MONTAGE) 128
Madam Sophia weeps, inconsolable. Family try to console her.
ADESUWA (V.O.)
He lost his. And everyone who got
involved ...
129 INT. POLICE STATION - MORNING (MONTAGE) 129
Afam walks in, to the counter and stretches out his hands.
AFAM
My name is Afam Okere. I am
responsible for the kidnap and
murder of Mr. Bolade Bankole, the
Federal Minister of Health.
Police surround and raise their guns to his head.
ADESUWA (V.O.)
Joined us in hell too.
130 EXT. PRISON - MORNING 130
The gates open. Adesuwa emerges, thinner, aged ...
ADESUWA (V.O.)
After two and a half years
incarceration for aiding and
abetting kidnap for not reporting
the Minister’s whereabouts ...
(beat)
My sentence was cut short by the
new governor’s prerogative of
mercy. And I should have lost hope.
But there wasn’t reason to.
84.
A small crowd of WOMEN are across her with ‘Congratulations’

placards. They begin to applaud Adesuwa. She weeps for joy.
ADESUWA (V.O.)
For one, my quest to save Eno
became a cause women across the
nation warmed up to.
131 INT. FEMALE BILLIONAIRE'S OFFICE - DAY (MONTAGE) 131
Adesuwa is seated across an elegant WOMAN IN POWER.
ADESUWA (V.O.)
And some put their money where
their mouth was.
(beat)
Monies in seven figures.
132 EXT. ADESUWA CHILDREN SPECIALIST CENTRE - DAY 132
ADESUWA (V.O.)
To make me the flag-bearer for the
cause of getting prompt and
affordable medical treatment for
the most expensive ailments
children suffer.
133 INT. NEW BUILDING - DAY 133
Adesuwa, elegantly dressed, reads to many beautiful kids.
ADESUWA (V.O.)
A cause I have given my life to.
(beat)
I lost my man, my mom, my family.
But in all these, comfort wasn’t
far from me.
Adesuwa’s attention is drawn to the entrance and she smiles

happily. We don’t see who she’s looking at.
134 INT. NEW HOSPITAL - HALLWAY - NIGHT (FLASHBACK) 134
Adesuwa’s arms are round Eno’s lifeless body, weeping.
The medics stand behind her. Armed policemen march down.
The medics give way for them. Two grab her by each arm.
And then, Doctor Suresh arrives with the Male Nurse #3.
85.
DOCTOR SURESH
She’s gone?
DOCTOR
She’s gone.
He looks un-convinced. Yanks off the sheet.
DOCTOR SURESH
Defibrillator paddles. Twenty five.
DOCTOR
Doctor we -
DOCTOR SURESH
NOW.
They quickly obey. Suresh takes the pedals, places them on

Eno’s chest and shocks. Eno’s body jerks.
DOCTOR SURESH (CONT’D)

AGAIN.
Adesuwa struggles against the police.
ADESUWA
LET ME SEE.
They stop, holding her as she watches.
Suresh shocks her again. Eno’s body jerks. Nothing.
DOCTOR SURESH
One more.
They charge it up. He sends bolts into her.

Eno springs to a sitting position and coughs.
Adesuwa’s EYES WIDEN to their limits. Eno sees her mom and
smiles weakly.
DOCTOR SURESH (CONT’D)

Into the theatre.
Eno is wheeled away from Adesuwa. And Adesuwa led away,

further from Eno ... but smiling with joy beyond description.
135 EXT. ADESUWA CHILDREN SPECIALIST CENTRE - DAY 135
Adesuwa keeps smiling towards the entrance -- and Eno enters

shot, in a new uniform and two years older but cute as ever.
86.
Eno sits by her mom, and Adesuwa resumes the reading with
more life and vigour.
The angelic-faced children listen with happy smiles.
ADESUWA (V.O.)
My baby came back. And now I have
many more.
136 INT. ADESUWA CHILDREN SPECIALIST CENTRE - WARD - DAY 136

(MONTAGE)
Adesuwa and Eno stroll through the ward, smiling at children,

joking with them, laughing with them ...
ADESUWA (V.O.)
I couldn’t afford to treat mine.
Now I take care of many more.
137 INT. ADESUWA’S FLAT - BEDROOM - NIGHT 137
Adesuwa tucks a sleeping Eno into bed.
ADESUWA (V.O.)
Think of it, her father wasn’t
wrong. Everything did work out well
in the end.
She smiles, walks to the door, glances at Eno and switches

off the light.
FADE OUT.

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SCRIPT TITLE

Name of First Writer

Based on, If Any

Clear under the noon sun. And then ...

A MOTORIZED CANOE zips past, rippling the water.

A HELMSMAN steers the boat. ADESUWA ODIHI (20), pretty, and

They are seated together, silently, as the helmsman steers.

1 EXT. SCHOOL YARD - TWILIGHT (FLASHBACK) 1

She sighs, clearly not liking this idea.

2 EXT. CANOE - BACK TO PRESENT 2

The canoe powers through a bushy settlement. Shanty homes and

Remi stares at them with interest. Adesuwa doesn’t. She’s

3 INT. BEDROOM - NIGHT (FLASHBACK) 3

AERIAL SHOT: Adesuwa and Remi in bed, lying sideways and

The moon casts a beautiful glow on their faces.

4 EXT. CANOE - BACK TO PRESENT 4

The canoe speeds. Remi sees dangerous-looking red-eyed boys

A few boys appear on the shores, brandishing guns, watching

Remi turns to Adesuwa with scared eyes. She holds him

5 EXT. GHETTO AREA - ROAD (SERIES OF SHOTS) 5

GUNMEN jump unto a road forcing a car to stop.

Leaving, one of them lights a match and throws it on the

A MAN runs for dear life -- scared, glancing backwards,

Stops. Nowhere to go. Fear on his face.

SLOW MOTION: A gang of armed youths led by OKITI (19)

Okiti raises a sub-automatic to the man’s head with a wry

The man shuts his eyes.

Okiti fires AND IMMEDIATELY WE-

6 INT. GHETTO AREA CATHOLIC CHURCH - DAY 6

Dangling from a rosary.

Hanging from a pair of hands, firmly clasped together. The

She’s on her knees, fervently praying under her breath. The

Finishing, she makes the sign of the cross, rises to leave

She sighs wearily and sits close to him.

He shakes his head. No need.

She turns to him with a surprised look. He just smiles.

REV BAKO (CONT’D)

7 EXT. CANOE - BACK TO PRESENT 7

The canoe slows as it reaches the shore.

Remi stares ahead at the world before them: Squalor. Poverty.

They step out of the boat.

8 EXT. FAMILY SHACK - DAY (ESTABLISHMENT) 8

ADESUWA’S MOM (V.O.)

9 INT. FAMILY SHACK - LIVING ROOM - CONTINUOUS 9

Remi and Adesuwa are seated before Adesuwa’s world-weary MOM

Remi turns to Adesuwa with a puzzled look. Adesuwa sighs.

Remi swallows hard.

Remi looks like he’s about to shit his pants.

The door swings open.

Okiti enters with two scar-faced thugs. He’s wearing pistols

Okiti sits, wearing a sardonic and menacing smile. He stares

Okiti just stares back, no answer, still wearing the creepy

Okiti sits before Remi and leans close to him.

Okiti just stares at him, apparently not convinced.

Okiti stares hard into Remi’s eyes. Remi trembles. Adesuwa

Okiti laughs. His boys crack up too.

Both women ‘quietly’ thank (AD LIB) Okiti.

Adesuwa wears a confused look.

She stutters, unable to coordinate a response.

Everyone turns to Remi.

And then Okiti and his goons leave. Moments of silence.

Adesuwa and her Mom glance at one another as if expecting

10 EXT. GHETTO AREA - ROAD 10

Okiti and his boys are in an old SUV, followed by a similar