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-------------------------
FADE IN:
INT. SUBURBAN STREET - NIGHT
Middle-class homes populate the block. It is late. The
neighborhood is quiet, feels deserted. HEADLIGHTS pierce the
darkness. A CAR turns onto the street, slowly driving along
the curb. The car pulls into a driveway.
CUT TO:
EXT. CAR - NIGHT
A dark-haired WOMAN steps out of the car. She is wearing a
drab grey maid's uniform, apron tied around her waist. A
white surgical mask conceals her identity. She dons a pair of
latex gloves. She is THE CLEANER. She is nervous.
She goes to the trunk while dutifully attaching an ear-piece
connected to a RADIO hooked on the belt of the apron.
She opens the trunk, reaches inside and pulls out cleaning
equipment: portable caddy stocked with different detergents,
disinfectants, garbage bags, and a pistol; portable vacuum
cleaner; several mops and a bucket. She closes the trunk.
The Cleaner collects everything as best as she can and
clumsily walks to the front door, tripping on the walkway
before she reaches the door.
She rings the doorbell. Beat. She opens the unlocked front
door and skittishly lets herself into the house.
CUT TO:
INT. HOUSE - NIGHT
The CLEANER locks the door behind her. She sets (more like
drops) her equipment down onto the floor, piercing the
silence which pervades the house.
CLEANER
(into radio)
Okay, I'm in the house. What next?
She listens for a beat. Her eyes turn toward the staircase.
Her face registers unease at the instructions relayed to her.
She picks up half of her equipment and slowly ascends the
stairs. We FOLLOW her as she goes upstairs to...
THE SECOND FLOOR LANDING
The corridor is dark except for the light that emanates from
underneath the bathroom door. Uneasiness continues to pour
over her and she eases down the hall toward the bathroom.
Chills flood her spine.
Once she reaches the bathroom door, she nervously pushes the
door open to reveal...
The once pristine bathroom is splattered in blood - blood on
the walls surrounding the tub, the shower curtains, a little
on the ceiling, and the bathtub is soaked with it.
The Cleaner is instantly horrified by the blood-curdling
image and unintentionally drops her equipment. She turns away
from the grisly sight and tries to ease herself into
detachment.
She begins the inner ritual of summoning up the courage to
remain calm and do her job. Her expression transforms from
nervous indifference to awkward determination.
CUT TO:
INT. BATHROOM - NIGHT
MONTAGE. Gloved hands turn on every faucet in the bathroom.
The bloody shower curtain is ripped off its hooks and placed
in a large garbage bag.
The CLEANER douses the bloodied bathtub with detergents. She
scrubs the blood off the walls. She stands on the sink
counter to scrub the blood off the ceiling. Saving the best
for last, Natalie mops out the blood in the bathtub.
CUT TO:
EXT. HOUSE - NIGHT
Several stray DOGS sniff around two large, questionable
GARBAGE BAGS left out by the curb.
An ominous GARBAGE TRUCK enters the block, pulls to the curb
and stops in front of the house. A hooded GARBAGE MAN gets
out of the passenger side, maces the dogs away, grabs both
bags and tosses them into the back of the truck. He climbs
back into the passenger seat and the truck takes off.
CUT TO:
INT. SECOND FLOOR HALLWAY - NIGHT
The CLEANER finishes mopping the floor, mopping up her
footprints as she backs out of the bathroom and into the
hallway.
CLEANER
(into radio)
I'm finished in the bathroom.
Anything else?
(listens, exhausted)
Right.
CUT TO:
INT. HOUSE - NIGHT
MONTAGE. The CLEANER vacuums the hallway carpet.
IN THE BEDROOM
She changes the bed with fresh linen from the closet. She
places the old linen in a garbage bag. She breaks for a
moment to look at the framed picture of the home's residents -
A Black man pictured with his wife, and their two grown sons.
The Cleaner looks fondly at the picture, particularly at the
man. She was aware of a wife but never knew what she looked
like. The wife looks like a decent-enough woman. The Cleaner
also knew about the sons but never seen pictures of them. She
feels pangs of guilt for having an affair with a married man.
IN THE LIVING ROOM
The Cleaner closes the safe that has been infiltrated, re
hangs the picture that covered it and polishes the area
around the picture and the rest of the furniture in the room.
IN THE KITCHEN
The Cleaner finishes the dishes left in the sink. She places
them in the dishwasher and turns the dishwasher on.
She mops the kitchen floor using the second mop she brought
in with her.
CUT TO:
INT. HOUSE - NIGHT
The CLEANER is at the front door collecting all of her
equipment. She double checks to confirm she has everything.
She looks around (PAN) trying to remember if she forgot
anything. She unlocks the door and steps out of the house.
CUT TO:
EXT. HOUSE - NIGHT
The CLEANER calmly walks to the car and puts everything into
the trunk. She goes to the driver's side and opens the door.
Before she gets in, she rips the surgical mask off her face,
and the brunette wig off her head. She is a platinum-blonde
beauty. FREEZE-FRAME.
DISSOLVE TO:
INT. RESTAURANT - EVENING
FLASHBACK. Upscale. Posh. Light JAZZ MUSIC enhances the
atmosphere. White gloves are mandatory for the uniformed
WAITERS.
NATALIE BRASH (The Cleaner), thirty, striking, her blond hair
pulled back in a ponytail, is seated in the half-circular
booth.
Opposite her is the man we will come to know as THE AGENT. He
is thirty-ish, exquisitely dressed in a crisp, tailor-made
suit, his boyish charm offset by the street-wise glint in his
eyes behind his bifocals.
They are both holding menus, relaying their orders to their
designated WAITER.
NATALIE
I'll have the grilled tuna with
eggplant and a side order of
creamed spinach.
AGENT
Let's see...Sirloin steak, well
done, smothered in mushrooms and
onions, with a side of champagne
sauce. And I mean smothered. I
don't want to see any sign of steak
on my plate.
WAITER
Very good, sir.
The Waiter collects both menus and departs, giving the couple
their first opportunity to talk. Natalie is on her best
behavior, working her feminine goods to the maximum.
AGENT
So, Natalie Brash, you're an
actress. Anything I'd know?
NATALIE
Only if you have cable. I've had
small roles in some studio films,
but you'll find me on the cutting
room floor.
AGENT
And you're a friend of Shelton
Brown's.
NATALIE
(flinches at Brown's name)
My accountant, yes. Honestly, I
thought he was feeding me a line
about his "industry contacts."
Imagine my surprise when you called
this morning.
He gazes at her with a knowing smile as he retrieves a slim,
gold cigarette case from his coat and pulls out a cigarette.
NATALIE (CONT'D)
This is so much better than the
usual cattle calls. Tell me about
this picture you're making, the one
I'm auditioning for.
The Agent holds out his cigarette case to her.
AGENT
Smoke?
NATALIE
No thanks. And I'd appreciate it if
you didn't smoke at the table.
AGENT
Not a problem.
He politely puts away his cigarette and case. She fidgets
with the table's silverware.
NATALIE
So, Mr. Katz, again, what kind of
movie is this I'll be reading for?
Action? Comedy...?
She reaches into her oversized purse seated beside her.
NATALIE (CONT'D)
...I have my photo resume here with
me...
AGENT
My name's not Katz and I'm not a
movie producer. I only said that to
lure you here.
(flashes a smile)
NATALIE
Do you want to tell me who you are
and what this meeting's about?
AGENT
I'm an agent. And I'm here on
behalf of The Family.
Natalie withdraws noticeably at his mention of "The Family."
She tries to maintain composure.
NATALIE
(unconvincing)
I'm not sure what family you're
referring to.
AGENT
Please. You're not that good an
actress. You know I'm referring to
the same family that employs your
sugar daddy, Shelton Brown.
NATALIE
I don't know anything about
Shelton's business. He doesn't
discuss such matters with me.
AGENT
It doesn't matter. According to my
employees' handbook, you're
considered a liability.
The Waiter arrives with the wine The Agent ordered and pours
it for them. Then he gravitates to his other CUSTOMERS. The
Agent tastes his wine. Natalie doesn't touch hers yet. She is
too confused to react to him.
NATALIE
I don't understand any of this. How
am I a liability? I know nothing
about your business. I don't want
to know. Why am I here?
AGENT
Miss Brash, my job is to protect
The Family from any and all
elements that threaten to dissolve
its foundation. Your friend, our
associate, Mr. Brown, has just
become a threat to said foundation.
That makes those close to him a
threat as well.
NATALIE
(frightened)
Oh my God. You're a sleeper.
The Agent smiles emphatically at her insinuation.
AGENT
I'm just a messenger.
Natalie finally tastes her wine, nearly finishing it all in
one gulp. The Waiter arrives with their orders.
WAITER
Grilled tuna with eggplant and a
side order of creamed spinach...
He sets Natalie's order in front of her.
NATALIE
Thank you.
WAITER
And sirloin steak, well done,
smothered in mushrooms and onions
with a side of champagne sauce.
He sets The Agent's order in front of him.
AGENT
Perfect.
WAITER
Enjoy.
The Waiter leaves them alone. The Agent dives right into his
dinner. Natalie sits still, head down, somberly probing her
dinner with her fork.
NATALIE
So...Is this the last meal?
AGENT
That depends on you. My intentions
remain the same. I'm an Agent. I
book the assignments. I'm here on
my associates' behalf to offer you
a job.
NATALIE
(looks up, surprised)
You're kidding. You are? What kind
of job?
AGENT
Cleaning lady.
NATALIE
(beat)
That's it? You're looking for a
maid?
AGENT
Not exactly a maid, but we do need
a girl who can clean. We recently
had to let go of our last cleaner.
NATALIE
I am so afraid to ask what "let go"
means.
AGENT
Don't. And the job doesn't involve
your services in any other way.
NATALIE
What exactly is in this for me?
AGENT
You're allowed to breathe a little
longer. So how about it?
NATALIE
(wry)
Well...Since you asked so nicely,
how can I refuse? Wouldn't kill me
to work a legit job again. When do
we discuss salary?
AGENT
You'll probably only work two or
three times a year.
Depends on the nature of the job.
Start-off is somewhere in the mid
six figures per gig. Naturally,
you'll get a bump in salary based
upon job performance.
NATALIE
Mid-six figures? Just for cleaning
up after you, two or three times a
year? Twist my arm. You must be
extremely sloppy people.
AGENT
You have no idea.
NATALIE
(semi-seriously)
Does this include medical?
CUT TO:
INT. AGENT'S CAR - EVENING
THE AGENT gives NATALIE a ride home. She gazes out her
window, watching the street roll past. The Agent's eyes
remain focused on the road. Uncomfortable silence.
NATALIE
So, when do I start this cleaning
job?
AGENT
Tonight.
NATALIE
Tonight! Are you serious?
AGENT
Have to start sometime. Once I drop
you, wait for my call. Do not call
anyone tonight. Do not tell anyone
about our meeting. And do not tell
anyone about your new job.
Understand? Do you have a driver's
license?
NATALIE
Yes, I do.
AGENT
I need to borrow it. We'll supply
you with a car and everything else
you need.
You'll get your license back later.
If you have a checking account I'll
need a copy of a blank check.
Direct deposit purposes.
Natalie reluctantly fishes in her purse for her license and a
blank check.
NATALIE
May I ask why all the secrecy?
AGENT
Yeah, if you have a death wish.
NATALIE
Do I need to take anything specific
with me?
AGENT
A strong stomach would help.
NATALIE
Huh?
CUT TO:
EXT. GENTLEMEN'S CLUB - EVENING
SHELTON BROWN - 45, black yuppie supreme - is waiting outside
the entrance to the strip club. ROCK MUSIC BLARES from
inside. The uniformed DOORMAN is flagging a taxi for him.
WATCHER (O.S.)
Elvis has just left the building.
REVERSE ANGLE
A NAVIGATOR is parked a safe distance across the street.
CUT TO:
INT. NAVIGATOR - CONTINUOUS
THE WATCHER, twenty-six, watching SHELTON inconspicuously, is
on his cellular phone.
SLEEPER (V.O.)
Keep a close eye on him, brother.
THE WATCHER'S POV:
A taxi pulls up in front of the club. Shelton climbs in.
WATCHER
He's getting into a cab.
SLEEPER (V.O.)
If he makes any suspicious stops...
WATCHER
I know, I know. I'll have to pull a
drive-by.
CU: GLOVE COMPARTMENT
The Watcher opens the glove compartment to reveal the gun in
there, confirming its presence.
CUT TO:
INT. NATALIE'S APT - EVENING
NATALIE enters her home. It's been awhile since the place has
been straightened up. She tosses her purse onto the coffee
table and walks directly to the kitchen.
The den's walls are adorned with ONE-SHEETS of Natalie's
direct-to-video features bearing cheesy titles: Headhuntress;
Desperate for Love; Haunted Hospital; Angel of Vengeance;
Murder Me Again; Eve and That Damned Apple.
IN THE KITCHEN
A few days worth of dirty dishes litter the sink. The dishes
obviously won't clean themselves. Natalie helps herself to
the only can of beer left in a refrigerator stocked with
condiments.
The kittenish SHASTA, twenties, wearing only a tank top and
panties, slinks into the kitchen. Natalie feels her presence
behind her, but doesn't turn around to acknowledge her.
NATALIE
(without looking)
What are you doing here?
Shasta closes in on Natalie until her breath is on the back
of her neck.
SHASTA
I wanted to know how the audition
went.
Natalie takes another sip of her beer. She grimaces after
catching a whiff of Shasta's breath.
NATALIE
I'd rather not discuss it. You've
been smoking weed.
SHASTA
You're not about to get all "Nancy
Reagan" on me, are you?
Natalie returns to the den. Shasta follows her.
IN THE DEN
Natalie removes some of the trade papers off the couch and
collapses onto it. Shasta sits beside her.
SHASTA (CONT'D)
You should leave your hair that
color. You look hot as a blonde.
What does Shelly think of it?
Natalie keeps The Agent's warnings in mind.
NATALIE
I don't want to talk about him
tonight. I'm not good company
tonight. I'm really exhausted. I'm
sure Jimmy is wondering where you
are.
SHASTA
Jimmy's working a double tonight at
the hospital, or so he says. I'm
not supposed to know about his
other girlfriend. He'd probably
flip out if I told him I had her
first.
NATALIE
He might find it a turn-on.
Shasta heads into the bedroom to retrieve the rest of her
clothes.
SHASTA (O.S.)
Are you going to that audition
tomorrow morning for the courtroom
movie?
NATALIE
Hung Jury? I really don't want to.
It's got direct-to-video written
all over it.
But Antonio Sabato is starring in
it. I might make an exception in
his case.
CUT TO:
EXT. HOUSE - NIGHT
SHELTON exits the taxi and lets himself into his upper-class
home (THE SAME HOUSE FROM THE OPENING SCENE).
THE WATCHER
Parked in the distance, has been watching Shelton from his
car.
CUT TO:
INT. NAVIGATOR - NIGHT
THE WATCHER talks into his cell phone.
WATCHER
He's home now. Possibly in for the
night.
CUT TO:
INT. SLEEPER'S HOUSE/BASEMENT - CONTINUOUS
The basement doubles a workout room. THE SLEEPER, thirty
seven, magnetic, cool as blue steel, stripped down to his
skivvies, revealing his chiseled body, is on the mat doing
yoga. The SPEAKERPHONE sits nearby on the floor next to the
burning incense.
SLEEPER
Let's not jump to conclusions just
yet. Sweep the blind spots for
surveillance. If he's made a deal,
they'll be watching him hard. I
need the area secure.
CUT TO:
INT. NATALIE'S APT/BEDROOM - NIGHT
NATALIE, dressed in T-shirt and jeans, studies her script,
rehearsing in front of a full-length mirror. She practices
her facial expressions while reciting her lines.
NATALIE
(rehearsing)
Ladies and gentlemen of the jury.
My client, Eddy Ruger, is unjustly
accused of marrying, then murdering
his eight wives. Getting married is
not a crime. The fact that every
one of his wives died violent,
horrible deaths is nothing more
than an unlikely coincidence. He is
an innocent man unjustly accused...
The TELEPHONE RINGS. She's hesitant to answer it.
NATALIE
(answering)
Hello.
AGENT (V.O.)
It's me. Listen: the car is parked
outside. Drive the car to the
nearest movie theatre and go to
whatever show is playing. Hang onto
your ticket stub. Watch the movie
and wait for my call. There's a
cellular in the glove compartment.
Everything you'll need once you're
given your assignment is in the
trunk, including your uniform.
NATALIE
I don't understand these.
MARGARET
You may want to leave Ms. Precious
Huckleberry's license here tonight,
Ms. DuPree. You'll use that one in
case you happen to get stopped for
whatever reason. You'll find
registration and proof of insurance
in the glove compartment.
CUT TO:
INT. SHELTON BROWN'S HOUSE/DINING ROOM - NIGHT
THEODORA BROWN, 45, black, looking younger than her years,
sits quietly at the dinner table with a glass of wine. She
watches her husband eat.
SHELTON is eating his dinner ravenously. The house is quiet
except for the sound of his silverware. He is the first to
break the long stretch of silence.
SHELTON
This is really good, honey.
Sometimes I forget how good it is
to eat at home.
THEODORA
(with attitude)
Seems like I've been keeping dinner
warm for you a lot lately. Black
bastard.
SHELTON
I'm sorry, honey. I've been working
very hard these past weeks. I'll
make it up to you. But there is
something we need to talk about.
THEODORA
Damn right there is. I'm leaving
you.
Her declaration takes him completely by surprise.
SHELTON
Say what?
THEODORA
I said I'm leaving you. Don't think
I don't know what you've been up
to, with those stank, white
bitches. You must think I'm a fool.
SHELTON
Wait a minute, where is this coming
from? You and I just made love last
night...
THEODORA
We were not making love. We haven't
made love in a long time. Last
night was all about me using you to
get what I needed.
SHELTON
(calmly)
Honey, listen to me. You can't
leave me. Not now.
THEODORA
(indignantly)
And what am I supposed to do? Stay
here with you and continue to waste
my time, when I could be out there
having a life with someone who
genuinely appreciates me?
SHELTON
You don't understand what's going
on...
She throws her wine in his face. He dries his face with a
cloth napkin.
THEODORA
I've tolerated your bullshit since
we were high school sweethearts.
I'm the one who kept this family
together. I'm the one who raised
our sons. Victor has a promising
future ahead of him. I'm afraid to
think what Hector's doing with his
life, running the streets with that
gang, all because you weren't there
when he needed his father. You
promised me over and over you would
be a better husband and a better
father. But the bigger your
paycheck got, the worse you got.
You turned into O. J. I did my job.
Now it's time for me to enjoy my
life. There's a world out there
waiting for me.
She collects the dishes, though he hasn't finished his
dinner, and carries them to the kitchen.
CUT TO:
EXT. MOVIE THEATRE PARKING LOT - NIGHT
NATALIE pulls the "Family" car into the parking lot and
parks.
CUT TO:
INT. CLEANER'S CAR - NIGHT
NATALIE reaches into the glove compartment. She pulls out a
CELL PHONE and an envelope. She opens the envelope and pulls
out two driver's licenses.
CU: LICENSES
Both appear exactly alike, except one bears the name: Clara
DuPree, while the original maintains her name: Natalie Brash.
CUT TO:
EXT. SHELTON BROWN'S HOUSE - NIGHT
We DOLLY from the front of the house, to the side of the
house, and finally to the back of the house until we see
SHELTON and THEODORA through the kitchen window standing over
the sink. They appear to be arguing.
CUT TO:
INT. HOUSE/KITCHEN - NIGHT
THEODORA rinses the dishes in the sink and places them in the
dishwasher. SHELTON is behind her.
THEODORA
What do you mean you're turning
yourself in? Are you crazy?
Shelton shushes her. He turns the water on full blast, an
effort to drown out their conversation.
SHELTON
(softly)
Keep your voice down... I thought
long and hard about this. Everyone
is closing in on me. It's either do
time or turn state's. Both of those
options are unacceptable to me.
Witness protection is the only way
out of this if we want to stay
alive.
THEODORA
Have you lost your rabbit-ass mind?
This could get us killed. If the
Family knew we were even thinking
about this...
She tries to put distance between herself and Shelton. He
intercepts her, moving her closer to the sink.
SHELTON
Please keep your voice down and
talk by the sink...We're going into
the program. Tomorrow, we go on
with our lives as if nothing is
happening. My plan was to take an
early lunch and turn myself in. I
want you to do the same.
THEODORA
You're asking me to give up my
life, everything I've worked for,
so I can go on the run with you? As
if Witness Protection really works.
I think I'd rather take my chances
with the Family. What happens to
our children?
SHELTON
They know nothing. They'll be fine.
There's no other way out of this
mess. Don't pack a thing. Don't do
anything that's perceived as out of
the ordinary. No one can know about
this. Don't use the phones. Not
even the cell phones. I don't trust
them.
Theodora is on the verge of tears.
THEODORA
(angry)
I can't believe this is happening
to me...I married a fucking snitch.
I had more respect for you when you
were fucking white women.
CUT TO:
INT. MOVIE THEATRE - NIGHT
NATALIE is seated amongst other MOVIEGOERS in the crowded
theatre, with her box of popcorn, immersed in the movie.
CUT TO:
INT. SHELTON BROWN'S HOUSE - NIGHT
SHELTON belatedly activates the house alarm by entering the
eleven-digit code into the digital keypad. He turns all the
lights downstairs off.
He walks deeper into the darkened house. He feels as though
he's not alone in the house. The shadows seem to come to
alive.
He goes to the nearby hall closet. He reaches for the case
sitting on the top shelf. He removes the GUN from the case
and inserts a full clip.
CUT TO:
INT. SHELTON BROWN'S HOUSE/BEDROOM - NIGHT
THEODORA is lying on the bed. The television is on, but it
seems to be watching her. She has been crying.
She lazily removes herself from the bed and walks into the
connecting bathroom, closing the door behind her.
CUT TO:
INT. SHELTON BROWN'S HOUSE - NIGHT
SHELTON looks outside the living room window.
SHELTON'S POV:
No suspicious cars or activity outside as we PAN from one end
of the street to the other.
ANGLE BACK
We FOLLOW Shelton as he eases his way up the stairs. He
uneasily keeps the gun pointed in front of him, certain
something is amiss in the house.
THE SECOND FLOOR
There are several doors ahead, all closed, except for the
master bedroom. The television's glow from the master bedroom
illuminates the dark hall.
Shelton slowly approaches the first closed door to one of his
sons' room. The carpet muffles his footsteps. He reaches for
the doorknob and pushes the door open.
ANGLE FROM INSIDE THE ROOM
The door opens to reveal Shelton, gun in hand, with a look of
intensity on his face. A face emerges from the darkness
directly behind Shelton. It's THE SLEEPER.
CUT TO:
INT. SHELTON BROWN'S HOUSE/BATHROOM - NIGHT
THEODORA stands over the sink washing her face when she hears
a sudden THUD out in the hallway. Did Shelton trip on the
stairs again?
THEODORA
(calls out)
Shelton?
Theodora cautiously approaches the door connecting to the
hallway. She slowly turns the knob and pulls the door open.
THEODORA'S POV:
The hall is dark and silent. Nothing noticeably out of the
ordinary.
ANGLE OUTSIDE THE BATHROOM
THE SLEEPER waiting outside the bathroom door in the darkness
for her, his gloved hands coiling a garrote tightly around
his knuckles.
CUT TO:
INT. AGENT'S CAR - NIGHT
THE AGENT sits behind the wheel eating a microwaved burrito.
He's dressed in preppy attire - tweed jacket, worn cords, and
brown oxfords. He could pass himself off as a university
professor. CLASSICAL MUSIC is playing on the car stereo.
His CELLULAR PHONE RINGS.
AGENT
(answers)
Domino's, we deliver.
SLEEPER (V.O.)
Come on over.
AGENT
I'm on my way.
CUT TO:
INT. SHELTON BROWN'S HOUSE/HALLWAY - NIGHT
The bathroom light is the only light on in the house. THE
SLEEPER emerges from the son's bedroom, dragging Shelton's
body down the hall and into the bathroom to join his wife's
body in the bathtub.
CUT TO:
EXT. SHELTON BROWN'S HOUSE - NIGHT
The Agent's car pulls up into Shelton's driveway. THE AGENT
steps out and pulls out a large, bulky canvas bag from the
backseat.
He walks to the front door, wraps a handkerchief around his
hand and rings the doorbell for the benefit of neighbors
unintentionally watching. He lets himself into the house and
quickly shuts the door behind him.
CUT TO:
INT. SHELTON BROWN'S HOUSE - NIGHT
THE AGENT slips on a pair of smooth gloves. He does a quick
survey of his surroundings. He turns on the floor lamp placed
in front of the draped window.
AGENT
(calls out)
Yo! Where you at?
SLEEPER (O.S.)
Upstairs!
The Agent follows the sound of the Sleeper's voice upstairs.
CUT TO:
INT. BROWN HOUSE/BATHROOM - NIGHT
THE AGENT enters the bathroom. THE SLEEPER is undressing
Shelton and Theodora's bodies, both lying in the tub. The
Agent takes an unnatural (for him) step back.
AGENT
Holy shit.
SLEEPER
What's wrong? You act as though
you've never seen a dead body
before.
AGENT
Well, not Uncle Shelly's. He was
like family.
SLEEPER
Eulogize him later. We have to
hurry and finish this.
The Sleeper finishes undressing the bodies, placing the
clothes in one pile. The Agent pulls out a portable CD PLAYER
from his bag and sets it on the counter.
AGENT
Wu-Tang, Radiohead, or Celine Dion?
SLEEPER
Radiohead.
The Agent pops in a CD and turns the player ON. Radiohead
plays on the SOUNDTRACK. The Agent reaches into the bag and
retrieves a electric SAW. He searches for an outlet.
AGENT
Where can I plug this in?
SLEEPER
There's an outlet next to the light
switch.
The Agent plugs the saw in and sets it on the counter. He
then reaches into the bag and pulls out a pair of full-body
slickers. They put them on.
SLEEPER (CONT'D)
Call the cleaner. Have her ready.
The Agent inserts a small earphone - connected to the cell
phone attached to his belt - into his ear.
CUT TO:
EXT. MOVIE THEATRE - NIGHT
NATALIE exits the theatre and marches to the parking lot,
while on the phone with The Agent.
NATALIE
You want me to do what?
AGENT (V.O.)
(talking over saw's loud
buzzing)
In half an hour I want you to be on
your way to Shelton's house. You
may want to use this free time to
slip on the uniform in the trunk.
NATALIE
You've got to be kidding me. I have
to clean Shelton's house?
AGENT (V.O.)
This is no ordinary cleaning job.
You'll see when you get here.
NATALIE
The hairs are standing up on the
back of my neck. What's Shelly's
address?
AGENT (V.O.)
You don't know where he lives?
NATALIE
I'm the mistress, remember? What is
that noise in the background?
She reaches the car and opens the trunk.
CUT TO:
INT. SHELTON BROWN'S HOUSE/BEDROOM - NIGHT
THE SLEEPER has changed out of his dark coveralls and into
his own preppy attire similar to The Agent's. He stands in
front of a mirror examining his appearance. For a moment, he
stands there and looks deeper at his own indifferent
reflection.
AGENT (O.S.)
The bags are filled. You ready to
bounce?
ANGLE ON THE CONNECTING BATHROOM DOOR
THE AGENT stands in the doorway wearing a slicker splattered
with blood.
SLEEPER
Yep. Let's hit it.
He checks his wristwatch.
CUT TO:
INT. HOUSE - NIGHT
THE SLEEPER and THE AGENT, both slicker-less, descend the
staircase to the first floor, each carrying heavy-looking
garbage bags in their gloved hands. The Agent also has his
canvas bag slung across his back.
The Sleeper sets his things down, retrieves his cell phone
from his belt, and dials a number. The Agent peers out the
window, on lookout.
SLEEPER
(into phone)
We're taking the garbage out now.
CUT TO:
EXT. SHELTON BROWN'S HOUSE - NIGHT
THE SLEEPER and THE AGENT step out of the house lugging their
equipment. They walk towards the street and place the garbage
bags down at the curb.
They walk nonchalantly back to the Agent's car. The Agent
tosses the Sleeper the car keys and rides shotgun. They back
out of the driveway and take off. MOVE IN on the garbage bags
- the same ones the garbage men will come to collect.
DISSOLVE TO:
INT. DINER - NIGHT
Most of the CUSTOMERS present are night people - bar-hoppers,
hustlers and hookers, etc. THE SLEEPER and THE AGENT are
seated in a booth by the window, still dressed in preppie
attire. The Sleeper is on the last cigarette in his pack.
AGENT
Serious question: if you weren't
doing what you're doing now, what
do you think you'd be doing for a
living?
SLEEPER
(beat)
I don't know. This is all I know.
They say our professions are
determined by our personalities.
Doesn't speak too highly of me, I
suppose. Don't laugh, but I took
some art classes. I've been
painting for two years now.
AGENT
Get the fuck out of here. You've
been painting?
SLEEPER
It relaxes me. I've been checking
out museums, shows, auctions...
AGENT
(can't believe his ears)
Why don't you stick your tongue up
some guy's ass while you're at it.
The Sleeper crumbles his empty cigarette pack and tosses it
hard at The Agent in good fun.
SLEEPER
Fuck you.
AGENT
The only reason I'm asking is
because I ran into this kid from
eighth grade. Jimmy Nilson. He's an
account coordinator for a computer
software company. He asked me what
I did for a living and I was at a
loss for words.
SLEEPER
Hard to imagine people in our line
of work with a past, a civilized
childhood. What about you? What
would you do?
AGENT
I wouldn't mind having my own
record label. Nothing major.
Strictly vinyl releases. And each
album would have to be a live
album. I've been listening to a lot
of jazz lately. I'm completely
addicted to live music. I'll make
you a tape.
SLEEPER
Sign The Don to your label.
AGENT
Yeah, right. Can you picture The
Don rhyming with Busta Rhymes or
Method Man?
SLEEPER
I'm still convinced he started that
fight at the Source Awards.
Through the window we see NATALIE pull the car up into the
parking lot. The Agent sees her.
AGENT
Hazel's here.
Natalie gets out of the car and cross to the diner's
entrance. The Sleeper's eyes linger a bit longer on her than
he realizes, his interest piqued.
SLEEPER
That's her?
AGENT
Yep. I'll get the keys from her and
give her a ride home.
SLEEPER
Easy on the eyes. Definitely better
looking than the other cleaners.
AGENT
You're not thinking...
The Sleeper gets up to leave.
SLEEPER
Of course not. You know I'm not
about to cross that line again.
Besides, look at her. She's a
Hollywood actress. I'm sure she's
swallowed fucking gallons.
AGENT
That's right. Convince yourself you
could never be interested in her. I
saw her first anyway.
SLEEPER
I'll go out the back way. She
shouldn't see my face.
AGENT
I'll call you later.
Just as the Sleeper leaves, Natalie arrives at the booth and
slides in across from The Agent.
AGENT (CONT'D)
Long night?
NATALIE
Fright night is more like it.
AGENT
Hungry? My treat.
NATALIE
(sighs)
I just want to go home and take a
bath, though I may never look at
bathtubs the same way ever again.
This has been by far the strangest
night of my young life.
(re: his style of dress)
Did you stop off at a geek
convention tonight?
AGENT
Ha, ha. Come on and I'll drive you
home.
CUT TO:
INT. AGENT'S CAR - NIGHT
THE AGENT drives NATALIE home.
AGENT
Tell me how you felt. I'm curious.
NATALIE
I was scared at first. Very scared.
Then, once I entered the bathroom,
that turned into total nausea.
But after I was finished in there,
I felt this...nervous excitement.
AGENT
How do you feel now?
NATALIE
(smiles)
Like a fugitive. I don't know.
There was something very...
satisfying about what I did
tonight.
AGENT
Really? Perhaps you found your
calling.
NATALIE
I don't know.
(smirks)
Maybe.
AGENT
You seem to have handled yourself
better than most girls on their
first day.
NATALIE
Not to bruise your ego, but I've
been on movie sets bloodier than
that. I did this movie called
Haunted Hospital. Did you see it?
AGENT
(deadpans)
I must have missed it somehow.
NATALIE
It's about these corpses in the
morgue that come back to life and
kill all the well-endowed, lustful
nurses. I played Nurse Bambi. I got
used to the gore on the set, the
imitation body parts everywhere. In
a way, I sort of went into
character when I saw that bloodbath
you left for me. It's a method
thing.
AGENT
Tell me exactly what you did in
that house.
NATALIE
I did everything. I cleaned the
bathroom, I vacuumed, polished the
furniture, did the dishes, wiped
the windows, changed the sheets...
The garbage bags are in the trunk.
I did everything, the entire house.
Do you know how hard it is to clean
anything with those gloves on?
AGENT
Shit. You kind of overdid it
tonight. But that's good. Shows
initiative. But the real test will
come when Jake does his thing. But
that depends on how long it'll take
for them to discover the occupants
of the house are on an extended
vacation. And I predict it won't be
long, if everybody else did his job
tonight.
NATALIE
This is just business as usual for
you, isn't it?
AGENT
This is not some small-time
operation we're running here. We're
not out pimping and hustling, or
popping unfaithful spouses for a
percentage of the insurance. The
Family is strictly top-shelf.
Natalie notices her comments to The Agent are getting bolder.
He begins to notice it too.
NATALIE
Tell me about the man I work for.
AGENT
It's best you know as few details
as possible. That's why you will
deal solely with me.
NATALIE
How shall I refer to him?
AGENT
You can call him Mad Dog.
NATALIE
And what should I call you?
AGENT
(beat)
Wolf.
CUT TO:
EXT. GOLF DRIVING RANGE - NIGHT
The emerald grass is alive under the vibrant lights. It's
nearly closing time. Few GOLFERS are left.
JONAS BROOD
Also known as THE DON, sixty-three, British, is hitting golf
balls, driving one after another. He stops, looks up to see
someone approaching him.
THE SLEEPER
Walks into view.
JONAS
Mad Dog! My peeps! What the dilly,
yo?
SLEEPER
Jonas. I knew I'd find you out
here.
Jonas resumes his swinging.
JONAS
Pick up a club. Take some swings
with me.
SLEEPER
I'll pass. The house is clean.
Jonas NODS approvingly.
JONAS
Thanks, dog. I knew you were 'bout
it, 'bout it. It's a shame it had
to come down to this. They were
like blood.
SLEEPER
Over seventeen years...
JONAS
But when it comes down to him or
us, it damn sho' wasn't gonna be
us. Know what I'm saying? Shelton
Brown was the strongest link
between The Family and The Method.
Our acquisitions are nothing more
than business fronts designed to
keep The Method intact. There's
nothing incriminating unless
Shelton translates our shorthand.
That's why they put the squeeze on
him.
SLEEPER
They always go after the
bookkeeper. Predictable.
The Sleeper pulls out one of his imported brand of cigarettes
and lights up.
JONAS
What about the seeds, Hector and
Victor?
He continues to slam golf balls onto the greenery, his
concentration never wavering.
SLEEPER
Victor's a college sophomore in
Atlanta. I sent in our South Beach
affiliate to take care of him.
Hector's a lost cause. He's running
the streets with a gang called the
Disciples. They supposedly loot and
gang-bang in the name of Allah. Our
homeboy connection made sure he
went down gang-related style.
CUT TO:
EXT. PARKING LOT - NIGHT
JONAS, GOLF BAG slung over his shoulder, is walking back to
his car. THE SLEEPER, parked next to Jonas, walks in stride
with him.
JONAS
Straight up, Lone Gunman was
fiendin' for this gig.
SLEEPER
You know how much Lone Gunman hates
brothers like Shelton, the ones he
claims act white. He would have had
a bloody field day with Shelly.
Jonas throws his golf bag into the trunk and unlocks his
front door.
JONAS
Like I don't have to deal with LG
on a daily, all in my grill, hating
on me because of my vocab. Did you
find a sub yet, since you kicked
Mary to the curb?
SLEEPER
As a matter of fact, I broke in a
new girl tonight.
JONAS
Tight! You don't think this one
will be a problem, do you?
SLEEPER
(beat)
If she is, I'll take care of her
like I have the others.
Jonas gives him a fatherly hug, climbs into the driver's
seat.
JONAS
One, son.
SLEEPER
Later, Jonas.
He starts his car, HIP-HOP MUSIC is blaring inside. He pulls
out of the parking lot and drives off.
CUT TO:
EXT. NATALIE'S APT HOUSE - NIGHT
The Agent's car pulls up to a stop.
CUT TO:
INT. AGENT'S CAR - NIGHT
NATALIE is too comfortable in her seat to move. WOLF (The
Agent) is in no hurry to say good night to her.
WOLF
You did good tonight. I'm
impressed.
NATALIE
Yeah, yeah. When do I get paid?
WOLF
Listen to you. Check your balance
in the morning. If there's a
problem with it, page me.
NATALIE
Okay. So when will I see you again?
WOLF
Me?
(looks away from her)
I'll call you tomorrow. Good night.
Natalie feels she's having an effect on Wolf.
NATALIE
Good night to you too.
Natalie pries herself loose from her seat and steps out of
the car. The agent watches as she lazily walks to her
apartment and lets herself in. He starts the car and pulls
off.
CUT TO:
INT. NATALIE'S APT - NIGHT
NATALIE steps into her home sweet home. She finally notices
the time when she spots the clock on the wall: it reads 2:34
A.M. Even with the room half-lit, Natalie can tell it's been
spruced up some. Someone has been there and cleaned up.
CUT TO:
INT. NATALIE'S APT/BEDROOM - DAY
TELEPHONE RINGS. NATALIE is asleep in bed. The light beaming
through her windows indicates it is late morning.
Natalie rolls over onto her back, reaches for the phone on
her night-stand.
NATALIE
(answering)
Yeah?
WOLF (V.O.)
Rise and shine, beautiful.
NATALIE
Wolf?
(alert now)
Oh God... Are you guys on a killing
spree? Another job already?
WOLF (V.O.)
You and I are going shopping. I'll
pick you up in half an hour.
NATALIE
But what do I...
Wolf has already hung up. She hangs up the phone and forces
her eyes open to check the time. She grabs the alarm clock
off the night-stand and brings it closer to her face.
CUT TO:
INT. NATALIE'S APT/DEN - CONTINUOUS
NATALIE enters the room and instantly stops in her tracks.
Sitting on the dining table is a huge bouquet of flowers. She
reaches for the card attached to the bouquet.
The card reads: "MAD DOG".
NATALIE
I guess I wasn't dreaming about
last night.
CUT TO:
INT. SUPERMARKET - DAY
NATALIE and WOLF are pushing shopping carts through the
cereal aisle. She has been picking up more products than
usual on this visit.
NATALIE
I don't mean to sound paranoid, but
I think someone broke into my house
and cleaned.
WOLF
Sounds like Ms. Olsen sent someone
over. Her way of welcoming you into
the Family.
NATALIE
Ms. Olsen?
WOLF
First Lady of The Family. She and
the Family's patriarch share a long
and complicated history. You'll get
to meet her and some of the other
cleaners one day.
NATALIE
Other cleaners? God, this feels so
unreal. I still can't believe it's
happening. And my bank account - it
was like winning the lottery. I've
never seen that many numbers in my
account in my life. Half of what I
earn usually goes to my agent, my
lawyer, publicist, bills, taxes...
WOLF
Sounds like Shelton was some sugar
daddy. We may have done you a favor
clipping him.
NATALIE
We should go out and celebrate
tonight. Let's go to that
restaurant where we first met.
WOLF
I'll have to pass.
NATALIE
Another time then? I mean none of
this would be possible if it
weren't for you.
WOLF
I can't date you, Natalie. So
please don't ask me to.
Natalie is slightly disappointed at his disclosure and tries
to play it off.
NATALIE
I wasn't asking you out on a date.
You've really changed my life. Boy,
there's an understatement. I just
wanted to take you out to dinner to
show you my appreciation for what
you've done for me.
WOLF
And that's all?
NATALIE
Yes. I can control myself. I mean I
don't want to come between you
and...
(curiously)
...your wife?
WOLF
Fishing for details can get you
killed.
NATALIE
(boldly)
Be straight with me then. Do you
find me attractive at all?
Wolf freezes in place, turns to Natalie and looks her
directly in the eye.
WOLF
I'll be straight with you. I find
you very attractive. Yes, I would
like to spend time getting to know
you better and your son. But you're
a cleaner. It's best not to get too
close to cleaners. Because if
perchance you should fuck up, or if
Jake even gets a hint of you, it's
curtains for you. Is that straight
enough for you?
Natalie feels a sudden chill. She tries to ignore his threat
as they continue to shop. She picks up a few boxes of POP
TARTS off the shelf.
NATALIE
(examines the box)
I haven't had pop tarts in a long
time.
I used to love the strawberry ones.
(looks at Wolf somberly)
Would you really kill me?
WOLF
I wouldn't. But someone would.
Natalie tries to lighten the ominous mood.
NATALIE
Isn't this just so...domestic? I
feel like such a housewife right
now.
Wolf begins to smile at the unlikely notion.
NATALIE (CONT'D)
Oh, come on. You don't think
that...
WOLF
(surrendering)
You know what? I'm gonna let you
have your little moment right now.
For the next hour or so we'll be
the Bundys. I'm Al and you're Peg.
Wolf has completely lightened up now and his boyish
exuberance makes him more attractive to Natalie.
NATALIE
Why the Bundys? They have never
been inside a supermarket. That's
not fair.
WOLF
We're not exactly the Huxtables,
now are we? Or do you not remember
what we did the night before?
NATALIE
How about Lucy and Ricky Ricardo?
Wolf begins to perform a few notes of "Babaloo" - badly. They
round the corner to the next aisle.
CUT TO:
INT. NATALIE'S APT - DAY
NATALIE is putting away her groceries in the kitchen. WOLF
comes into the house with the last two bags and sets them
down with the other two dozen bags.
WOLF
That's the last of them. Are you
sure you bought enough food?
NATALIE
I think so. More than the usual
week's supply. Now all I have to do
is learn how to cook and I'm set.
WOLF
I'll be on my way then.
NATALIE
Thank you again for everything. I
truly appreciate this. I mean it.
Wolf notices the floral bouquet Mad Dog sent her.
WOLF
I see you treated yourself to some
flowers.
NATALIE
Oh, those. They were a gift from
your friend Mad Dog.
Wolf feels a tinge of jealousy but tries to disguise it.
WOLF
How courteous of him. You know, I
was thinking about what you said,
about going out to dinner. It's not
a crime for two adults to go out
for a night on the town. It's been
a while since I enjoyed the company
of a woman...with my clothes on.
NATALIE
Great! So, swing by and pick me up
tonight.
Wolf nods to her, turns to leave through the open door and
nearly bumps into SHASTA.
SHASTA
(cooing)
Well, hello there...
NATALIE
(panicking)
Shasta!
Natalie rushes to the front door to intercept Shasta before
she gets too friendly with Wolf.
SHASTA
What's up, stranger? I didn't hear
from you this morning...
NATALIE
Right now I have company, so...
SHASTA
No wonder I didn't hear from you.
Who's your cute friend?
Natalie has no idea how to introduce Wolf.
NATALIE
This is my...uh...
WOLF
(finishes)
...Therapist.
Natalie shoots Wolf a look.
SHASTA
(excitedly)
Oooh, a doctor. One who makes house
calls too? Jackpot! I don't live
too far from here, Doc.
NATALIE
Shasta, he's really...
WOLF
(interrupting)
Ms. Brash, I'm sure what you
suffered from at the audition was a
panic attack. Obviously, you're
dealing with a lot of stress in
your life. Take some time off.
Relax. Feel free to call me if the
attacks continue. I really must go
now.
NATALIE
(acting along)
Thanks, Doctor. I appreciate you
stopping by at a moment's notice.
WOLF
Ladies...
Wolf excuses himself and steps out of the apartment leaving
the two women alone.
SHASTA
(noticing the groceries)
Did you buy enough food? I come
over and find you with this sexy
boy-next-door type. We could have
had a menage-a-trois in the
afternoon.
NATALIE
Is that all you think about?
SHASTA
Maybe if you thought about it more
often, you wouldn't have panic
attacks.
NATALIE
(smiles)
Maybe you're right.
CUT TO:
INT. SODA FOUNTAIN - EVENING
NATALIE and WOLF sit and share a pair of ice cream sodas.
WOLF
The Family is impressed with you.
NATALIE
Because I'm going out with you?
WOLF
Because of the job you did for us.
No clues for Jake to follow up on.
NATALIE
Who is this Jake I keep hearing
about?
WOLF
Jake the snake. Five-0. The police.
NATALIE
The police know?
WOLF
They don't know a damn thing, which
is exactly how it's supposed to go
down. There's this DT named Swan
who's had a hard-on for the family
business for the longest. Swan was
the one putting the squeeze on
Shelton to come clean. Swan also
took it upon himself to check out
the crib when he didn't hear back
from Shelton. He couldn't find a
clue, thanks largely to you.
NATALIE
(grins)
I feel like one of America's most
wanted all of a sudden, one step
ahead of the law. Shouldn't I feel
outraged, or morally conflicted, or
something?
WOLF
Not if you found your niche. Would
you like to dance?
CUT TO:
EXT. WOLF'S HOUSE - NIGHT
NATALIE and WOLF slow-dance on the veranda of Wolf's hillside
home. A panoramic view of the city is seen in the b.g.
CUT TO:
EXT. WOLF'S HOUSE - LATER
WOLF comes from the house pouring two GLASSES of wine.
NATALIE is admiring the view. He gives her a glass.
NATALIE
Thanks. It's so beautiful here. Who
knew you had such great taste.
WOLF
You're here. That should count for
something. You add to the view.
NATALIE
Smooth talker. You seem like such a
nice guy, despite what you do for a
living...
WOLF
I'm not entirely cold-blooded. I do
have feelings, you know. I can be
very, very sensitive.
NATALIE
(looking back at the view)
It must be so great to come home
with such an incredible view. I bet
the sunsets are breathtaking. I'm
thinking of buying a house myself,
now that I can afford one.
Wolf places a careful arm around her.
WOLF
Now that you got a few coins in
your pocket, right? I can help you
with that. I know someone who can
show you some nice houses.
NATALIE
That would be great.
They both just stare at each other for what feels like a long
time.
NATALIE (CONT'D)
Aren't you going to kiss me?
Wolf happily and readily obliges her.
CUT TO:
INT. MAD DOG'S HOUSE/BEDROOM - NIGHT
MAD DOG (The Sleeper) awakens from his sleep. There's a WOMAN
lying next to him in the dark asleep. Mad Dog reaches the
phone on the night-stand and dials a number. An answering
machine picks up his call.
NATALIE (V.O.)
"Hello. You reached 555-2764. I'm
sorry no one can pick up the phone
right now, but if you leave a
message after the beep, your call
will be returned at the earliest
convenience. Have a nice day."
Mad Dog hangs up his phone and lies back.
FADE TO:
INT. WOLF'S HOUSE/BEDROOM - NIGHT
WOLF and NATALIE are in bed, their bodies locked in the
rhythms of their love-making. Natalie is laughing.
WOLF
What's so funny?
NATALIE
I can't believe you yelled out your
own name.
WOLF
I was motivating myself. I may have
a healthy self-image, but I'm not
that full of myself. Did you come?
NATALIE
Oh God, yes. Didn't you feel it?
WOLF
God bless you, girl.
(kisses her)
NATALIE
Thanks for asking. That's a new one
on me.
They lay together in bed, holding each other.
NATALIE (CONT'D)
You have kids?
WOLF
None that I know of. Why? You want
to give me a kid?
NATALIE
I just met you. I usually have to
sleep with a guy twice before I
bear his children.
Natalie uncouples herself from Wolf and sits up in bed,
covering herself with the sheets, feeling shy.
WOLF
What's the matter? You're not
having regrets about tonight, are
you?
NATALIE
No, not at all.
(beat)
I lived off men most of my life.
I'm not ashamed to admit this. I
was surviving the best way I knew
how. I didn't have many options
available to me...
Wolf sits up next to her, putting his arm around her.
WOLF
You don't have to tell me any of
this, you know.
NATALIE
I'm just telling you this because
tonight wasn't about pleasing some
horny old man for rent. I wanted to
go on a real date. I wanted to
enjoy the freedom of a young lover.
I just wanted to feel like a girl
again. Sounds corny, doesn't it?
WOLF
No, it doesn't. So, maybe you'll
date me again?
NATALIE
(smiling)
Yes, I'll date you again.
They lie back into one another's arms. Wolf tickles Natalie
under the sheets to keep her smiling.
WOLF
We're a lot alike, you and I.
NATALIE
You really think so?
WOLF
More than you know. But fuck all
this mushy talk. How about I fuck
your brains out again. Is that okay
with you? Please say yes.
NATALIE
Yes. But scream my name this time,
okay?
Natalie and Wolf engage in a deep passionate kiss.
FADE TO BLACK.
NATALIE (V.O.)
You can open your eyes now.
FADE IN:
INT. HOUSE - DAY
WOLF opens his eyes now after NATALIE made him promise to
keep them closed.
WOLF'S POV:
We see the empty living room of the natural-wood hideaway
house Natalie has fallen in love. The floor-to-ceiling
windows look out onto a hillside forest.
NATALIE
(ecstatic)
So, what do you think? I just love
this place.
WOLF
If you love it, then that's all
that matters. You're the one buying
it. How many houses did the lady
show you?
NATALIE
This was the third one she showed
me, but I knew this was the one I
wanted. Just look at it...
The natural light that flows through the window compliments
the sunny dress Natalie is wearing, as she twirls across the
house. She can barely contain herself.
NATALIE (CONT'D)
...The size of the kitchen, three
bedrooms, two bathrooms, and most
importantly, I can afford it. This
is going to be my house. My own
house!
WOLF
Then by all means, go for it. You
only live once, babe.
Natalie gives Wolf a big hug and kiss.
NATALIE
I guess you would know about that
better than anyone.
CUT TO:
EXT. MAD DOG'S HOUSE - DAY
MAD DOG sits outside on his patio enjoying his current
pastime - painting. MUSIC from his CD player keeps him
company.
The TELEPHONE RINGS. He picks up the cordless phone he
brought out with him.
MAD DOG
(answers)
Yes?
JASON (V.O.)
Manny...
Mad Dog immediately recognizes Jason Swan's voice over the
phone, but has no reaction to it. He continues to paint
without skipping a beat.
MAD DOG
What do you want? I'm busy right
now.
JASON (V.O.)
We have to talk. Can I come over?
MAD DOG
I'd rather you didn't come here.
JASON (V.O.)
Tell me where we can meet then.
CUT TO:
INT. (FOUR STAR) HOTEL/LOBBY - DAY
A hotel of faded Hollywood glamour. Lt. JASON SWAN, forty
six, rugged good looks, is sitting in the lobby waiting. He's
reading an issue of Rolling Stone magazine.
MAD DOG walks into the hotel. He quickly notices Jason in the
lobby and crosses to the elevators. Jason looks around the
lobby and follows Mad Dog into the elevator.
CUT TO:
INT. HOTEL SUITE - DAY
MAD DOG and JASON enter the hotel suite Mad Dog called and
reserved in advance. The two men are face to face.
MAD DOG
Have you eaten? Do you want to call
room service?
Jason places a gentle hand on Mad Dog's shoulder.
JASON
No, I'm okay. You look good, Manny.
How are Ralphy and Tito doing?
Mad Dog sits down on the plush couch.
MAD DOG
Ralphy's good. He's going to Tokyo
in three weeks. He's looking
forward to that. It's been awhile
since he's been on a real vacation.
He's still dating the same girl he
met last year. Says it's serious. I
really haven't kept up with Tito
since he began the cross-dressing
thing. I'm not ready to deal with
that just yet.
Jason walks over and examines the mini-bar.
JASON
Tito's a drag queen now? Oh shit. I
guess that was just a matter of
time. I've been meaning to call
Ralphy though. I thought I'd
surprise Lucy with a trip to Ixtapa
for our anniversary.
MAD DOG
I've never been to Ixtapa. I hear
it's nice though. You want to get
to the point of this meeting?
Jason takes a drink from the mini-bar and sits down.
JASON
You know Shelton Brown is missing.
He's been missing for weeks.
MAD DOG
You think something's happened to
him?
JASON
As if you didn't know. I'm too
aware of paid insiders in our
precinct. I know word got out we
were closing in on him. He's either
dead or conveniently in hiding. Did
Jonas mark him?
Mad Dog gets up and goes to the window.
MAD DOG
Give up already! You're just not
going to be satisfied until you
burn the old man at the stake,
aren't you?
JASON
Why are you so loyal to him? Do you
really like what you do for a
living? You never thought about
doing anything else with your life?
Jonas has really done a number on
you guys with his "violence creates
character" mantra.
MAD DOG
He's your father too.
JASON
Any man who conceives children only
to breed them into his henchmen and
do his dirty work for him is not a
father. I'm glad some of you guys,
like Ralphy, have legit jobs, and
are not tied to this bullshit
Method of his...
MAD DOG
Bottom line: Shelly's missing and
we're the usual suspects.
JASON
His entire family is gone. How out
of the ordinary is that?
There are no signs of foul play
that we can detect. I canvassed
Shelly's neighborhood and nothing
unusual seems to have happened.
MAD DOG
I can't help you, Jason. I don't
know anything. Shelly burned a lot
of bridges...
JASON
Manuel, Jonas is going down. I'm
gonna see to it myself. My
superiors want me nowhere near this
investigation. They think it's a
conflict of interest, but that's
not gonna hinder me. The man's
virtually untouchable. He's good at
covering his tracks. I have zero on
the man. I'm sure The Commission
can take half the credit for that.
But when I finally take him down, I
just hope I don't have to take you
down with him. I do care about what
happens to you guys. We may all
have different mothers, but I've
never considered any of you less
than my own blood. Jonas Brood gave
us all a raw deal. He eliminated
our options.
Mad Dog gazes out the window at the PEOPLE below him. He
considers the ordinariness of their lives while listening to
Jason.
Jason's beeper CHIRPS. He checks it quickly.
MAD DOG
Are you done yet?
JASON
Listen to me: I pulled myself out
before I got in too deep. I can
help you get out of this if you
want me to, Manny.
MAD DOG
(somber)
Can we just call it a day now?
JASON
Sure. Give me a call if you need to
talk. I love you, Manny.
Jason leaves Mad Dog alone in the suite with his thoughts.
Mad Dog sits down and places his head in his hands, troubled.
FADE TO:
INT. NATALIE'S HOUSE/BEDROOM - NIGHT
NATALIE is in her bedroom of her new house. It's her first
night. She's sitting up on the king-size mattress, which lies
on the floor. She intends to buy all new furniture in the
near future. There's a candle lit next to the mattress.
MORGAN can be HEARD playing in his room. She's sipping wine
and enjoying the natural ambiance the evening has to offer.
She sets her wineglass down and blows out the candle.
FADE TO:
INT. HOTEL PENTHOUSE - DAY
ANGLE ON DOOR.
A KNOCK from the other side of the door. The door is opened
to reveal...
VOICE (O.S.)
Natalie Brash. Come in, come in.
Natalie's hair has regained its natural brunette hue. She's
ushered into the penthouse suite by film director JAMIE
SAVAGE.
The penthouse is huge and obviously the best the hotel has to
offer. Jamie Savage, 25, is Hollywood's latest hotly-hyped,
young director. Also in the room are his assistants, who look
more like part of a rock band entourage:
NEO, 24, is seated at the coffee table rolling a joint, but
stops what he's doing when Natalie walks in.
Stretched out on the couch is WEST, 25, whose ear is glued to
a cell phone.
JAMIE
Gentlemen! Look alert! There's a
goddess among us.
NEO
(jumps up)
Holy shit! It's her! It's really
her!
Jamie pushes West's feet off the couch.
JAMIE
Do you mind, West?
WEST
Sorry.
West is also hypnotized by Natalie's presence.
JAMIE
(to Natalie, gestures to
West)
This is West. He's a musician. He
scores my movies.
(gestures to Rio)
And that's Neo. He's a business
major. He'll be my business manager
once the paperwork is done. Please,
have a seat, your highness.
NATALIE
(laughing)
Thank you.
Natalie takes a seat on the couch.
JAMIE
Can I get you anything? Soda,
champagne, a small country? I can
call room service if you like. The
studio is flipping the bill for all
of this.
NATALIE
That's okay. I'm good.
Jamie sits in an available chair opposite her. Neo is up
circling and snapping pictures of her throughout the
conversation with his CAMERA.
JAMIE
(to Natalie)
First, I can't even begin to
express what huge fans we are of
yours. When I went to film school,
I watched a ton of B-movies, just
to examine the value of low-budget
filmmaking. Plus, they're just
awesome to watch with a bunch of
frat brothers and a bag of chronic.
When I saw Headhuntress, I knew I
had to cast you in one of my future
films. It was such an underrated
and effervescent achievement. Not
many actresses can convincingly
portray a bounty hunter disguising
herself as a hooker to track down
the men who raped and murdered her
junkie sister.
NEO
And that shoot-out in the strip
club...Totally awesome!
NATALIE
I had no idea I made such a big
impression. I mean I have received
fan mail before...
JAMIE
Did you ever check out the website
West created in your honor?
NATALIE
Actually, I just got a computer
very recently. I heard there were a
few websites...
JAMIE
Check ours out. Total-fucking-babe
dot-com. The official unofficial
Natalie Brash website. Looks
totally professional. But I guess
you want to get down to business.
That's why you're here, right?
(to West)
Hang up the phone!
WEST
(into phone)
Let me call you later. The next
Shannon Tweed herself is here in
our hotel room.
West complies and puts away his cell phone.
NEO
(to Natalie)
I can use these pictures of you for
the website?
NATALIE
Sure. Go crazy.
JAMIE
(to Natalie)
You were honest enough to tell me
on the phone you haven't seen my
film Snake Oil, the most talked
about independent film to hit the
screens since Blair Witch. A lot of
people did see my film and that's
what matters. What began as a
student film progressed into a film
festival hit baiting a huge bidding
war. Now, I'm Hollywood's next best
thing. I'm hot. I've been offered
studio deals that will guarantee me
financial security, regardless of
how well my subsequent films do at
the box-office. I did find a
suitable studio deal that allows me
creative control and worthy follow
up project. I'm going completely
art-house with my next film...
NATALIE
...A modernized re-telling of
Othello.
JAMIE
But from the female perspective.
Hence, the film's title: Desdemona.
It's been languishing in
development hell for years. The
studio didn't want to make it
without Julia Roberts. It was
temporarily revived as a vehicle
for Gwyn Paltrow, but that fell
through. When I heard about it, I
knew I had to make it my next film
and with you in the title role.
WEST
It's gonna be dope.
NATALIE
I don't know what to say. I'm
speechless. I've yet to be offered
an opportunity like this.
JAMIE
Picture it: we're setting it in
Vegas. Desdemona is a showgirl,
just like Elizabeth Berkeley, but
better.
She meets and marries this pimp
with the heart of gold named
Orenthal.
NATALIE
Orenthal?
JAMIE
Orenthal. I can feel the
controversy already. Completing
this twisted love triangle is Indo,
the racist cop.
NEO
This movie is gonna be bigger than
Snake Oil. And the domestic take on
that one alone is one-hundred and
twenty million, and counting.
WEST
You'll be bigger than Julia
Roberts.
JAMIE
Interesting segue. We're in the
process, right now, of closing a
deal with Erin Brockovich's
brother, Eric Roberts, to play the
role of Indo.
CUT TO:
INT. NATALIE'S CAR - DAY
NATALIE is driving SHASTA home in the car Wolf gave her.
NATALIE
How was your audition for the
Cutthroat Island TV series?
SHASTA
I'll know in the morning. I'm
meeting the casting director at his
house for drinks tonight.
Natalie shoots Shasta a look.
SHASTA (CONT'D)
When's the last time you saw
Shelly? You never talk about him
anymore. I don't see him in the
club...
NATALIE
(without thinking)
What are you talking about?
Shelly's dead.
SHASTA
He's what?
Natalie can't believe her huge faux pas.
NATALIE
(correcting herself)
He's dead to me, okay? I don't need
him anymore. I pay my own bills.
I'm an independent woman.
SHASTA
Hmmm. I can only guess how you're
making ends meet.
CUT TO:
EXT. UPSCALE CITY BLOCK/BUILDING - NIGHT
ESTABLISH. A high-rent office building. The Cleaner's CAR
heads into the bowels of the underground garage.
CUT TO:
INT. UPSCALE BUILDING/UNDERGROUND GARAGE - NIGHT
The service elevator doors open. MAD DOG and WOLF, both
wearing maintenance coveralls, push a TRASH CART out of the
elevator and heads towards a nondescript van.
WHIP PAN to the CAR. NATALIE steps out of the car wearing her
maid's uniform and a short, brown bob wig, looking drab. She
goes to the trunk to get her equipment.
CUT TO:
INT. UPSCALE BUILDING/OFFICE CORRIDOR - NIGHT
NATALIE steps out of the service elevator and into the
exorbitant hallway. The office corridor reeks of money.
CUT TO:
INT. UPSCALE BUILDING/OFFICE - NIGHT
A spacious office. The wall is covered with diplomas and
pictures of political fat cats. Behind the leather chair,
posited at the large desk, is dried blood sprayed on the
wall, indicating someone was shot in the head while seated at
the desk.
NATALIE uses a pair of FORCEPS to extract the incriminating
slug out of the wall within the bloody section of the wall.
The tiny pieces of skull and brains do not bother her.
JUMP CUT TO:
INT. UPSCALE BUILDING/OFFICE - LATER
NATALIE is scrubbing the blood off the walls when she notices
something on the desk - a rose with a card attached. Her
gloved hand picks up the card.
The card reads: "MAD DOG"
Natalie smiles at Mad Dog's sweet gesture.
CUT TO:
EXT. JONAS BROOD'S MANSION - NIGHT
ESTABLISH. Jonas Brood's stately mansion.
CUT TO:
INT. JONAS BROOD'S MANSION/STUDY - NIGHT
High ceilings. Cavernous fireplace. State-of-the-art
ENTERTAINMENT WALL. JONAS ushers his starting line-up into
his Gothic study: MAD DOG; WOLF; GHOSTFACE KILLER (The
Watcher); PSYCHO, twenty-three; UNDERTAKER, thirty-one; LONE
GUNMAN, twenty-eight, mixed-race; and DR. DEATH, forty-two,
mousy, unassuming.
Lone Gunman and Wolf head directly to the grand pool table
and begin a game. Psycho takes on the role of bartender at
the wet bar. Dr. Death peels an apple with a large,
frightening, tailor-made KNIFE.
Jonas is front and center.
JONAS
Take a good look at me. I am the
original Method Man. I got years
tagging me like graffiti. When you
hit my age, the race against time
is on. And the bitch won't ease
off. So, this coming New Year's
Eve, my Head-Nigga-In-Charge card
expires. I'm hooking up a
corporation making each and every
one of my seeds shareholders. Each
and every one of you will run the
show and divvy up the ends.
Jonas's proposal leaves the men speechless.
DR. DEATH
(confused)
I'm not sure what the heck you
said, but it sounded like you're
actually planning on retiring and
sharing the wealth?
WOLF
(to Jonas)
You're not dying, are you?
JONAS
No, I'm not dying. This has always
been a family business. I want it
to stay that way, even after I'm
gone. My legacy.
Mad Dog, suspecting something faulty, pulls out a cigarette.
MAD DOG
Any other reason why you're
stepping down? Because I don't see
you making a big decision like this
unless something was up.
JONAS
I feel you, son. I know what you're
saying. Peep the repertoire: I've
been on the paper chase for forty
five mother-fucking years. That
means sleeping with one eye open
for forty-five mother-fucking
years, and keeping my shit John
Blaze for forty-five mother-fucking
years.
That's mad long when you think
about the other family businesses
that tried to maintain, but fell
off. And if they fell off, it's
because I pushed them! It's just
time to move on while I'm still
fresh, reap the benefits. The
ball's in your court, kids. Play
your positions and get money. I
busted my balls building this name.
Don't let if fall off. Undertaker,
what's the 4-1-1, yo?
Undertaker has his small notebook of reminders out.
UNDERTAKER
Yeah. First, there's the Stella
Warsaw contract. Who had that job?
LONE GUNMAN
(raises his hand)
That was mine.
CUT TO:
INT. STELLA WARSAW'S HOUSE - DAY
FOLLOW SHOT. STELLA WARSAW, forties, an attorney, walks into
her home, sets her briefcase down and walks to the kitchen.
UNDERTAKER (V.O.)
Our associate who placed the
contract wants to hit you off with
an extra bonus for a job well
done...
Stella barely has one foot in the kitchen when arms from
overhead suddenly swoop down, wrapping a cord around her
throat, and yanking her up. PAN DOWN to her feet performing a
violent dance in mid-air only six inches above the floor.
UNDERTAKER (V.O.)
...He says that even though her
experience as a criminal attorney
couldn't save him from receiving
three life sentences, he feels
better knowing that other "good
fellas" such as himself won't ever
have to suffer because of her.
CUT TO:
INT. JONAS BROOD'S MANSION/STUDY - NIGHT
RESUME.
UNDERTAKER
He said to call his people and let
them know what color you'd like
your Bentley.
LONE GUNMAN
Someone pass me a phone right now.
I'm calling his ass.
Wolf pats Lone Gunman on the shoulder.
UNDERTAKER
Dr. Death, you had the Gino Bianco
job?
DR. DEATH
Aw, shucks. What's wrong now?
UNDERTAKER
(sighs)
You were only supposed to do the
groom-to-be...
CUT TO:
INT. LOFT - NIGHT
PULL BACK. We see a bachelor party massacre: TWELVE MALE
GUESTS and TWO TOPLESS FEMALE DANCERS all lying across the
loft's floor in bloody chaos. Bodies shot, strangled,
stabbed, and the groom-to-be lynched.
UNDERTAKER (V.O.)
...not the entire bachelor party.
CUT TO:
INT. JONAS BROOD'S MANSION/STUDY - NIGHT
RESUME.
UNDERTAKER
Plus, there were all kinds of
evidence left behind, but nothing
incriminating, thank God.
You may want to mention that to
your cleaner.
JONAS
Damn, Doc. Did you wild the fuck
out or what?
DR. DEATH
(apologizing)
It was getting late, the party was
taking forever to finish...I had to
be at my daughter's school play...
JONAS
Just chill, son. Everything's cool.
But I most definitely got to give
props to my boy Mad Dog. You're
still the man.
LONE GUNMAN
Shelton Brown. That's the one I
really wanted. I hate sell-out
brothers like him. It makes me ill
as a black man to see those Oreo
cookies.
WOLF
He didn't marry a white woman, if
that's any consolation.
LONE GUNMAN
He didn't marry a cave bitch, but I
guarantee you he was fucking one.
Mad Dog and Wolf share a furtive glance.
GHOSTFACE
You fuck white women, LG.
LONE GUNMAN
But that's different.
GHOSTFACE
Bullshit! How is that different?
PSYCHO
Maybe it's his white half that digs
white women.
GHOSTFACE
If that's the case, we know his
black half ain't eating pussy.
LONE GUNMAN
Fuck all y'all. I'm single. I can
fuck any race, creed, color, and
species I want, just like Captain
Kirk. Ain't that right, Pops?
JONAS
Word is birth!
Jonas and Lone Gunman HIGH-FIVE each other. There's a KNOCK
at the door. The MAID enters.
MAID
Dinner's ready.
CUT TO:
INT. JONAS BROOD'S MANSION/DINING ROOM - NIGHT
JONAS and his MEN are eating dinner in the exquisite dining
room. Five different entrees are being served by Brood's
KITCHEN STAFF. Brotherly BANTER bounces back and forth.
MAD DOG
Jason's not going to be thrilled to
hear that you're just walking away
from all of this, Jonas. He told me
he was going to do everything in
his power to shut you down.
Everyone stops talking. Silence. Jonas's mood instantly
sinks.
JONAS
When did you see him?
MAD DOG
He came to see me a few weeks after
Shelly disappeared.
JONAS
That's Jason for you. Still player
hating his old man. I wish he'd
learn to hate the game, not the
player.
DR. DEATH
Why don't we rub out that darn cop
once and for all? He's always
trying to penis-block us.
JONAS
I thought I made it clear that
nothing happens to Jonas Jr.
Nothing.
DR. DEATH
He's not one of us, Dad. He could
hurt The Family. Come on let me pop
him...
JONAS
Shut the fuck up, Peter, before you
make me lose my cool up in here!
That's my firstborn and your older
brother you're talking about
popping. I'll be damned if anything
happens to him or any of you. Each
one of you is my flesh and bone.
I'd rather take a bullet than see
any one of my own dead.
MAD DOG
Well, Jason definitely has a bullet
with your name on it.
JONAS
I know he thinks I played him and
all of you dirty. But it never went
down like that. I never
disrespected any of your moms. And
I never disrespected any of my
eighteen children. I didn't force
any of you guys into the family
business, did I? People be buggin'
because they can't understand that
everything I did in my life, I did
it all to take care of mine. My
mission was to see to it that you
didn't have to live like I did.
Life was rough growing up in the
hood. We had to make due. Eight
wives, eighteen children, twenty
two grandchildren...And I took care
of you all. If I had to do it all
over again, I would not hesitate.
DR. DEATH