Episode 1.2 "Set It Off" written by Mark Souza

Mraz Inc.
"Set it Off"
written by Mark Souza

TEASER

FADE IN:

EXT MRAZ INC. - MORNING
It is a bright, sunny day. Gwen Stefani’s “The Sweet Escape” plays under the scene. The shot is of the front door of the Mraz Inc. Offices. Suddenly, a shape crosses in front of the camera walking toward the doors.

It is revealed to be the back of Krystal. The shot is tight on her. When she reaches the front door, it opens for her. Surprised, she looks to her right.

ANGLE ON: MARK, who stands, holding the door open for Krystal. He is smiling widely.

MARK
Allow me.

Krystal is slightly taken aback, but smiles.

KRYSTAL
Umm, thanks.

Krystal enters the building. Mark follows.

CUT TO:

INT MRAZ INC. - CONTINUOUS
Mark and Krystal walk into the main lobby and head toward the elevators. Mark has a slight bounce to his step

KRYSTAL
Are you early today?

MARK
Nope. Nine A.M. Time to start working.

KRYSTAL
Oh. I guess I’m just not used to seeing you this early.

Mark presses the elevator button. An elevator immediately opens. Mark gestures for Krystal to enter.

MARK
Ladies first.

Krystal smiles, but looks a little suspicious of Mark’s kind demeanor. She enters the elevator, Mark enters after her.

CUT TO:

INT MRAZ INC. ELEVATOR - CONTINUOUS
Mark presses the button for the top floor. Krystal presses a button for a slightly lower floor.

MARK
What do you have to do on legal’s floor this morning?

KRYSTAL
Taylor’s briefing me on the legalities of Mraz Inc. activities.

MARK
(sarcastically)
Oh well that should be fun for you.

KRYSTAL
Tell me about it.

MARK
Do you like working here so far?

KRYSTAL
Well it’s only been a week, but so far, yeah. I do.

MARK
Good. We like having you.

KRYSTAL
Thanks.

Krystal smiles at Mark. The elevator doors open.

KRYSTAL (CONT’D)
My stop.

MARK
If you get too bored page me. I’ll say we need you for an emergency briefing or something.

Krystal gives a polite laugh and exits the elevator.

KRYSTAL
(while leaving)
I might just do that.

The elevator doors close.

CUT TO:

INT MRAZ INC. MAIN OFFICES - MOMENTS LATER
The elevator doors open to reveal Mark humming to himself. He happily walks out of the elevator and through the halls to Mraz’s office. He enters the office.

CUT TO:

INT MRAZ INC. MRAZ’S OFFICE - CONTINUOUS
MRAZ and KEATING are sitting in the office having cups of coffee when Mark enters. They look over to him when he enters. Keating looks shocked.

MARK
(cheerily)
Hey guys! How are you on this fine morning?

KEATING
What time is it?

MARK
Nine in the A.M.

KEATING
Why are you here then?

MARK
Time to start work.

KEATING
But you’ve never been here on time. You’re almost always over an hour late.

MARK
C’mon, that’s not true.

KEATING
I could check the time sheets with Andy. I’m like ninety percent sure on this.

MARK
Well whatever, I’m here now. What’s up?

MRAZ
Nothing good. I’ve been getting calls since 7 AM from reporters looking to interview me about last week’s hostage situation. This thing isn’t going away like we hoped.

MARK
Eh, it’s just a little press. Maybe we should hire a PR consultant.

MRAZ
What? No, we don’t want to control publicity we want it gone. You know that.

MARK
You’ll deal with it. Let me know if there’s going to be like a Mraz Inc. photo shoot or something. I think “Men of Mraz Inc.” could make for a good feature in GQ.

MRAZ
What?

Mraz’s question falls on deaf ears. Mark has exited.

MRAZ (CONT’D)
What the hell was that?

KEATING
Weird. Very, very weird.

CUT TO:

INT MRAZ INC. - MOMENTS LATER
Mark walks out of Mraz’s office and down a hallway. He notices ERIC slightly further down the hall.

MARK
Eric! My man! How are you?

Eric turns in disbelief to Mark.

ERIC
I’m...I’m good. Actually if you have a minute I wanted to run some ideas by you for how to improve tactical operations in -

MARK
(still cheery)
I’m just in a good mood Eric! Don’t confuse that with me actually giving a crap about what you have to say!

ERIC
Oh. I...

Eric trails off, crestfallen. Mark walks past him. After a few more moments, Mark cell phone starts to RING.

MARK
Hello...Trish! Hey, how are you?...Good, good. Looking forward to tonight...Yup, six-thirty, I’ll be there. Wouldn’t miss it...Okay, I’ll see you tonight then.

Mark hangs up the phone and walks off with even more bounce in his step.

CUT TO:

INT TRISH’S APARTMENT - SAME TIME
TRISH LYNDON, the woman Mark was just talking to, sits. She has a big smile. She hangs up the phone and the smile immediately drops away into a look of fierce determination. She looks to the other end of the room and speaks.

TRISH
Done. He expects nothing. It’s happening tonight.

ANGLE ON: ANDREA, who sits at the other end of the room. Next to her sits BRENDAN BRADLEY.

ANDREA
Good, then by tomorrow Mraz Inc. will be in the market for a new head of tactical operations.

SMASH CUT TO:

MAIN TITLES.

FADE TO BLACK.

END OF TEASER






ACT ONE

INT MRAZ INC LEGAL OFFICES - AFTERNOON
Krystal is sitting, looking extremely bored. In front of her TAYLOR is looking over some notes on his desk as he talks.

TAYLOR
Now that leads us to probably the most complex, but almost most troubling element of Mraz Inc. Now obviously we can’t file to the IRS and say that we spent x amount of money on anti-terror operations. This means we simply state certain expenses that don’t really exist. Now legally speaking the type of malfeasance we utilize could get us in a lot of trouble. So, legally, we do some interesting work to avoid trouble -

KRYSTAL
What time is it?

TAYLOR
12:30. Now as I was saying -

KRYSTAL
12:30? Oh, Mark said I was needed for a meeting at twelve thirty.

Krystal stands and starts to leave.

TAYLOR
Really? I wasn’t informed -

KRYSTAL
Oh you know Mark. I’m sure it just slipped his mind.

TAYLOR
Well we’ll finish this next time them.

KRYSTAL
(under her breath)
God I hope not.

TAYLOR
What was that?

KRYSTAL
Thanks Taylor! I’ll see you later.

Krystal exits.

CUT TO:

INT TRISH’S APARTMENT - AFTERNOON
Andrea and Brendan are still in Trish’s apartment, briefing here.

ANDREA
So as you can see, Mr. Souza will be no easy target to eliminate.

TRISH
I can handle it.

ANDREA
Yes, well your confidence aside, I’m paying you a lot of money for this operation. I expect it to get done.

TRISH
Speaking of money.

ANDREA
Brendan.

Brendan reaches into a briefcase and pulls out an envelope. He hands it to Trish, who immediately opens it. Inside is a small piece of paper.

TRISH
What’s this?

ANDREA
Confirmation of a wire transfer to your bank account. Obviously it hit some other accounts on the way so it can’t be traced back to me, but it’s all there. I assure you.

TRISH
It’ll do.

ANDREA
Good. Well, we’ll leave you to your preparations. Enjoy your date tonight.

TRISH
I’ll have his head for you tomorrow.

ANDREA
Charming. Brendan.

Andrea stands and walks out of the room. Brendan follows. Trish is left alone. She stares at the wire transfer receipt.

CUT TO:

INT MRAZ INC. CONFERENCE ROOM - AFTERNOON
Mraz is leading a briefing. Present are Mark, Keating, EDDIE and MOUMIN.

MRAZ
So the added press coverage of our business has forced us to-

He is interrupted as the door to the conference room opens and Krystal enters.

MRAZ (CONT’D)
Ah, Krystal. I’m glad you could make it. Everything went well with Taylor I hope.

KRYSTAL
Oh yeah, riveting stuff.

MRAZ
Good. So, as I was saying, the added publicity that we’re receiving has forced us to gear back on any tactical operations. We will only be using tactical in extreme situations until our visibility goes down.

EDDIE
Does this mean tactical can take a paid vacation?

MRAZ
I expect the tactical unit to stay on the ready in case they are needed. I look forward to seeing you smiling faces here every day just like always. We just won’t be sending you out into the field unless absolutely necessary.

EDDIE
I guess that’s a no.

MARK
Hey don’t worry about it guys. We’ll come up with some interesting simulations and stuff. Keep us on our toes for when something does happen.

Everyone turns to Mark, they all seem confused.

MOUMIN
Alright, if no one else is going to ask I will. What the hell happened to you?

MARK
What do you mean?

EDDIE
He means since when are you so sunny and optimistic all the time? You’ve acted like you have a ray of sunshine beaming out of your ass all day.

MARK
Oh, nothing, I guess I’m just in a good mood.

MOUMIN
It’s a woman.

KEATING
What?

MOUMIN
He’s either got laid last night or he’s got a date for tonight. Only a woman could be having this effect.

Everyone looks at Mark, expectantly.

MARK
What?

KRYSTAL
Is he right? Do you have a date?

EDDIE
Yeah, cause I doubt you got laid last night.

MARK
Well, if you guys must know, yes. I have a date tonight.

EDDIE
Who’s the unlucky lady?

MARK
Her name is Trish Lyndon. We met a couple of nights ago.

KEATING
Where did you guys meet?

MARK
A bar.

EDDIE
Classy.

MOUMIN
Congrats bro.

EDDIE
Try not to screw it up.

KRYSTAL
I’m sure it’ll go great. Just be yourself.

Mraz coughs loudly. Everyone turns their attention back to him.

MRAZ
As important as Souza’s dating status is, it has no relevance to business here. Let’s all get back to work.

Everyone rises to leave the briefing.

EDDIE
I’m taking my lunch break.

MOUMIN
I’ll come with.

MARK
Where are you guys going?

EDDIE
I don’t know. Somewhere that serves food. Come on, you can tell us more about the poor girl you’re taking out tonight.

Eddie, Moumin, and Mark exit.

KEATING
I’ll go check the messages and see if any more reporters have called looking for a sound-bite.

Keating exits. Krystal starts to exit as well.

MRAZ
Krystal.

Krystal spins around to face Mraz.

KRYSTAL
Yes?

MRAZ
I’d like you to do something for me.

KRYSTAL
Sure. What do you need?

MRAZ
I’d like you to look into this Trish Lyndon woman. Do it quietly.

KRYSTAL
Why? You don’t think -

MRAZ
I just want to be sure she’s legitimate. The last thing we need right now is for her to be a reporter looking for inside information or something.

KRYSTAL
You’re really worried about this press thing huh?

MRAZ
The publicity severely limits our operational capabilities. I don’t like that.

KRYSTAL
Okay. I’ll look into it.

MRAZ
Thanks.

Krystal exits.

END OF ACT ONE







ACT TWO

INT ANDREA’S OFFICES - AFTERNOON
Andrea is sitting at her desk. Brendan sits across from her. He is agitated.

BRENDAN
I don’t understand why we’re doing this!

ANDREA
I already told you. We’re doing this because other than Mraz, Mark is the most important person in that company. Not just does he head tactical, but he keeps them in lock-step with Mraz’s orders. If we eliminate him, chaos will ensue.

BRENDAN
They’ll want revenge. They’ll know it was you and they’ll be looking for revenge.

ANDREA
They won’t have time to get it. We’ll have moved on our operation by then.

BRENDAN
Maybe you’re right.

ANDREA
Of course I am.

BRENDAN
But why hire some random assassin to do it? I could just as easily have -

ANDREA
You’re too important to the operation to risk any harm coming to you now. I’m not doubting your ability, but I also don’t underestimate Mark’s. As is, I don’t think we can feel secure that everything will go as planned.

BRENDAN
And if it doesn’t?

ANDREA
We’ll move forward anyway.

BRENDAN
So this whole thing is -

ANDREA
A separate entity. Go. I’ve had enough of you for today.

Brendan walks up behind Andrea.

BRENDAN
Should I come back tonight?

Andrea spins to face Brendan. She puts her hand on his chest, a little suggestively.

ANDREA
If all goes well, we’ll see.

She drops her hand and turns away again.

ANDREA (CONT’D)
But go for now. I need to be alone.

Brendan hesitates a moment, then exits.

CUT TO:

INT MRAZ INC. - AFTERNOON
Krystal is in front of a computer monitor checking information on Trish Lyndon. She seems bored, and doesn’t seem to be alarmed by anything she finds. She stands and gets a cup of coffee, then returns to her desk. With a sigh, she starts typing.

CUT TO:

INT MRAZ INC. MRAZ’S OFFICE - AFTERNOON
Mraz is in his office talking to Keating.

KEATING
I don’t know if we can keep deflecting their questions Mike. Maybe we should just pick a reporter and make a statement. Try to control the information. Our silence just makes them think something is here to unearth.

MRAZ
Maybe you’re right. I don’t know. I just want this whole thing to go away.

KEATING
Do you regret the decision to go into that hostage situation?

MRAZ
No. Too many lives were at stake for us not to do something. And in the end Andrea didn’t get what she was hoping for. I was portrayed as a hero and the police got to claim a victory. You know, after they let me out of jail and apologized for arresting me in the first place.

KEATING
They had no hand in creating that victory.

MRAZ
Still. It was the right move.

The two sit in silence for a moment.

MRAZ (CONT’D)
Call the reporter from the Times back. We’ll give him a statement. Something in the “we don’t know why I was chosen, but I felt I had a duty to those people who were trapped to go in. The business is purely import/export,” blah, blah, blah.

KEATING
Okay. I’ll write up the statement first and call him tonight.

MRAZ
Good.

Keating exits.

CUT TO:

INT MRAZ INC TACTICAL WING - AFTERNOON
Mark, Eddie, and Moumin are relaxing and talking.

EDDIE
So you have to play it right. Don’t seem too eager or she’ll be scared off. Play it cool.

MOUMIN
And be confident. Women want to know you can take charge when they need you to.

EDDIE
But don’t be bossy. You get bossy sometimes, avoid that.

MOUMIN
Yeah. Authoritative, but not bossy.

EDDIE
Be sure to get some liquor into her too, maybe then she’ll invite you home with her.

MARK
For god’s sake guys, I’m going on a date, not a tac op. It’ll be fine.

EDDIE
Yeah, that’s basically a guarantee you’re going to screw it up.

MOUMIN
Yup, shouldn’t have said that. You should knock on some wood or something.

MARK
Whatever. I’m going to go change. I’m getting out of here early so I can pick up some flowers or something.

EDDIE
Don’t buy roses, they’re cliché.

MOUMIN
Yeah, and stay away from the color red. It makes women think you just want to sleep with them.

Mark laughs as he stands up.

MARK
You guys are ridiculous.

Mark starts to exit.

EDDIE
One more thing.

MARK
Yeah?

EDDIE
Have fun, man. You deserve it.

Mark gives a slight nod and exits.

MOUMIN
He’s doomed.

EDDIE
Oh yeah. Train wreck waiting to happen.

The two laugh.

CUT TO:

INT MRAZ INC. MRAZ’S OFFICE - AFTERNOON
Mraz is sitting in his office, typing on a computer. Mark enters.

MARK
Hey.

Mraz stops typing.

MRAZ
Hey, what’s up?

MARK
Not much. Bit of a do nothing day. You?

MRAZ
Just catching up on some paperwork.

MARK
You mind if I head out early? I’d like some time to prepare for my date.

MRAZ
You’re really excited about this date aren’t you?

MARK
Do you know how long it’s been since I’ve been on a date?

MRAZ
How long have we had control of the company again?

MARK
Exactly.

MRAZ
Take off. There’s nothing for you to do here today anyway.

MARK
Thanks man. I’ll see you tomorrow, let you know how the date went.

MRAZ
I’ll look forward to hearing about it.

Mark exits the office. As he is leaving, Krystal enters.

MARK
Hey rook, have a good day today?

KRYSTAL
Can’t complain. Going to get ready for your date?

MARK
Yes, ma’am.

KRYSTAL
Have fun. Where are you taking her?

MARK
Some fancy place in the village. I don’t really know it.

Mark fishes a business card out of his wallet. He hands it to Krystal.

KRYSTAL
La Trattoria. Sounds expensive.

MARK
Yeah. Good thing I get paid so well.

MRAZ
So happy to know I’m funding your sex life.

MARK
May as well fund someone’s since your own is so stagnant. I’ll see you guys later.

Mark exits. Krystal walks over to Mraz.

MRAZ
What’s up?

KRYSTAL
I checked out everything I could about Trish Lyndon. She’s definitely not a member of the press.

MRAZ
Thank god. I didn’t want to have to go get Mark back here.

KRYSTAL
Yeah, I figured as much. I checked her financial record and she definitely works freelance, but there are no writings under her name and no known pseudonyms she could be writing under. I figure she’s probably an artist or something. I’m going to run a few more checks to be sure, but she definitely doesn’t seem like a member of any press unit.

MRAZ
Okay. Finish the check, but I think it’ll be fine. Good work Krystal.

KRYSTAL
No problem.

Krystal stands, but doesn’t exit. There is a moment of awkward silence.

MRAZ
Is there anything else?

KRYSTAL
No, it’s just...well, thank you for trusting me with this. I know it was just a background check, but I feel like I was contributing. It means a lot to me.

Mraz smiles at Krystal’s awkwardness.

MRAZ
No problem. It’s just the first of many things I’ll be trusting you with once you’re fully trained. You can be sure of it.

Krystal smiles.

KRYSTAL
Well I’ll go finish the check then.

MRAZ
Okay.

Krystal, somewhat embarrassed, exits. Mraz looks after her and smiles.

CUT TO:

INT MRAZ INC. - MOMENTS LATER
Krystal walks back to her computer. She is still beaming from her conversation with Mraz.

When she gets to the computer, she sits and starts typing. A fax machine behind her starts making noise as it produces a fax. She stops typing and turns to look at it.

She stands and walks over to the fax machine, reading the document that is coming out of the fax. Her smile suddenly drops.

ANGLE ON: The fax. At the top of the page is a picture of Trish. Right below her picture, in large lettering, is the word WANTED.

FADE TO BLACK.

END OF ACT TWO







ACT THREE

INT MARK’S APARTMENT - EVENING
“I Turn My Camera On” by Spoon plays in the background. The shot is of Mark’s bathroom mirror. A newly bought bouquet of flowers (yellow carnations) can be seen resting on the sink in front of the mirror. The shower is running.

The shower stops and Mark emerges. He has the former bound in his step as he looks into the bathroom mirror. He grabs a bottle of mouthwash and starts to swish it around in his mouth.

CUT TO:

INT TRISH’S APARTMENT - SAME TIME
Trish’s bathroom. The shot is identical to the one in Mark’s apartment, but the flowers are replaced with a handgun.

Trish also looks into her bathroom mirror. She is half-dressed, and is applying lipstick. She finishes applying the lipstick and makes a kissing face to the mirror.

CUT TO:

INT MARK’S APARTMENT - SAME TIME
Mark is now buttoning up a dress shirt in front of the mirror. He finishes buttoning and straightens his collar. He then tucks in the shirt.

CUT TO:

INT TRISH’S APARTMENT - SAME TIME
Trish is putting on a black dress. She finishes putting on the dress and zips it up. She looks at herself in the mirror and smooths out the dress over her body.

CUT TO:

INT MARK’S APARTMENT - SAME TIME
Mark is fixing his hair. He takes his time, making sure each hair is in place.

CUT TO:

INT TRISH’S APARTMENT - SAME TIME
Trish runs her hands through her hair. She whips her head forward, shooting the hair forward as well. She violently rubs her hands through and then whips her head back. She looks at the hair, satisfied.

CUT TO:

INT MARK’S APARTMENT - SAME TIME
Mark is fastening a tie. He finishes with the tie and gives himself a last once-over. Satisfied, he picks up the flowers and exits the bathroom.

CUT TO:

INT TRISH’S APARTMENT - SAME TIME
Trish is holding a switchblade. She pushes a button on it and the blade comes flying out. She smiles and closes the blade. She slips the knife into the front of her dress. She picks up the gun and checks the clip. Satisfied, she reloads the clip and exits. End Music.

CUT TO:

INT MRAZ INC. MRAZ’S OFFICE - EVENING
Mraz is pouring a small amount of Jameson into a glass. He finishes pouring and takes a sip.

KEATING (O.S.)
I guess that means it’s quitting time.

ANGLE ON: Keating, who stands in the doorway to Mraz’s office. She smiles and enters.

MRAZ
Indeed it is. Thank god. Take a seat.

Keating sits across from Mraz. She drops a printout onto his desk.

KEATING
It’s your statement to the Times. I figured you might want to know what you said before it appears in the paper tomorrow.

MRAZ
I’m sure it’s all fine. They agreed to print it?

KEATING
Oh yeah, in fact I’m pretty sure the reporter, Alan I believe, desperately wants to take me out to dinner sometime.

MRAZ
Must have good taste.

KEATING
I think he just spends too much time behind his desk alone. Probably has some sexy secretary fantasy or something.

MRAZ
Well so do I. Why do you think I hired you?

KEATING
Oh shut up.

Suddenly, Krystal comes running into the room. She is out of breath and holding the fax, which she slams on Mraz’s desk.

KEATING (CONT’D)
What the hell!?

KRYSTAL
(trying to catch her breath)
Trish...she’s...she’s...

MRAZ
Wanted on five separate counts of murder and nine of aggravated assault? Where did you get this!?

KRYSTAL
The FBI. I sent Trish’s info to our contact there when you put me on this. I didn’t think much of it since I was focusing on finding out if she was a journalist. The fax just came through when I went back to my desk.

MRAZ
Are you sure it’s the same person?

KRYSTAL
Well, I wasn’t at first so I compared this to her financial records. Every one of the crimes listed on the Feds report coincides with a spike in her bank account. She’s a freelance assassin Mike! And Mark’s probably meeting her for his date right now!

CUT TO:

INT LA TRATTORIA - EVENING
Mark sits alone at a table for two. He is distractedly looking at a wine list. The flowers are resting on the edge of the table.

TRISH (O.S.)
Mark?

ANGLE ON: Trish. She stands a few feet away from the table. When Mark sees her, he lets out a beaming smile and stands to greet her.

MARK
Hey. I’m so glad you could make it. You look amazing.

TRISH
Oh. Thanks.

Mark grabs the flowers from the edge of the table and holds the out to Trish. When Mark holds out the flowers, Trish tenses and looks as if she is preparing to be attacked.

MARK
These are for you.

Trish immediately relaxes and takes the flowers.

TRISH
Oh, thank you. They’re very nice.

MARK
Well please, sit. Would you like a bottle of wine? I know I could use a drink.

TRISH
(under her breath)
Oh, you have no idea how much.
(louder)
Sure. Something red.

Mark looks up at Trish and smiles.

CUT TO:

INT MRAZ INC. MRAZ’S OFFICE - EVENING
Mraz is reading over the fax. His face is very agitated. Krystal looks scared. Keating has stood up and looks worried as well.

KEATING
You ran a background check on Mark’s date?

MRAZ
Yes. Good thing too since she appears to be a contract killer.

Mraz drops the fax on his desk and opens one of the desk drawers. Keating picks up the fax and starts to read.

KRYSTAL
But who would hire someone to kill Mark?

MRAZ
Plenty of people. You haven’t worked here long enough to know, but Mark has accumulated quite a few very spiteful enemies in the past.

Mraz closes the drawer and stands to full height revealing a gun and a clip in his hands. He checks the clip.

KEATING
Andrea.

MRAZ
You think?

KEATING
Everyone else we know would want to kill Mark themselves. Commissioning someone else for the job is more Andrea’s style.

Mraz slams the clip into the gun.

MRAZ
True. Doesn’t matter much right now though. Krystal, do you still have that card Mark gave you?

KRYSTAL
Yeah it’s right here.

Krystal fishes out the card and gives it to Mraz. He grabs a pen off of his desk and writes the address on his hand, then hands the card to Keating.

MRAZ
Find Eddie and Moumin. They’re either at home or out drinking somewhere. Just find them. Tell them to meet me at that address. Oh, and be sure they’re armed.

KEATING
Wait, you’re not going in there alone are you?

MRAZ
Mark’s there already. I won’t be alone.

KEATING
Mike-

MRAZ
Just do it.

Mraz runs out of the office.

KRYSTAL
What should I do?

KEATING
Nothing. You’re new here. We’ll handle this.

Keating picks up a phone and starts dialing a number. Krystal stands, frozen. Keating slams the phone down.

KEATING (CONT’D)
Dammit Eddie! We bought you a company cell phone for a reason you idiot!

She picks up the phone and dials another number. Krystal suddenly runs out of the room. Keating doesn’t notice.

CUT TO:

INT LA TRATTORIA - EVENING
Trish and Mark are finishing an appetizer course. They have also drunk about half a bottle of wine. Trish stares intently at Mark, almost studying him. Mark looks up from his soup and notices Trish staring. Her look doesn’t waver.

MARK
(gesturing to his face)
Do I have something...?

TRISH
No.

MARK
Oh. Okay.

Mark goes back to his soup, finishing it and laying down his spoon. He looks up.

MARK (CONT’D)
I’ll be right back. I just have to use the bathroom.

TRISH
(saccharine sweet)
I’ll be here.

Mark smiles, somewhat unsure of himself and then gets up and heads toward the bathroom. Trish waits a few moments, then grabs her purse and follows. She walks into the hallway leading to the men’s bathroom just as Mark enters. She walks up to the door and listens. Taking care to make sure no one is coming, she pulls the gun and a silencer from her purse. She affixes the silencer and slips into the bathroom. She leaves the purse on the ground.

CUT TO:

EXT CITY STREET - SAME TIME
Mraz is in a cab. The cab is caught in a mass of traffic. Mraz is visibly angry.

MRAZ
I told you not to take sixth avenue at this hour. For god’s sake! Just let me off here.

Mraz reaches into his pocket and throws a twenty dollar bill through the cab’s partition. He jumps out of the cab, which hasn’t fully stopped, and starts running down the street.

CUT TO:

INT A BAR - SAME TIME
Eddie and Moumin are sitting at a bar. Eddie has a shot in front of him. They both stare at a TV which plays a basketball game.

ANGLE ON: The bar’s entrance. Krystal comes walking in with a purpose. She strides directly over to Eddie and Moumin.

KRYSTAL
Thank god you’re here!

EDDIE
You know you’re not the first woman to say that to me?

KRYSTAL
Mark’s in trouble!

MOUMIN
Isn’t he on his date right now?

EDDIE
Yes. So he is in trouble, but I’m afraid there’s nothing we can do to help in that situation.

KRYSTAL
It’s not a real date! Trish is a hired assassin. Mraz is on his way now. He wants you to meet him at the restaurant.

EDDIE
What? That’s a joke right?

KRYSTAL
Keating’s been trying to reach you. Check your cell phones.

Eddie and Moumin both take out their cell phones.

MOUMIN
Oh crap. Where are they?

KRYSTAL
I have a cab outside. C’mon!

Krystal runs out of the bar.

EDDIE
I swear only Mark can pick up a woman only to find out she’s really a hitman.
(to the bartender)
Put this on my tab. I’ll be back.

Eddie downs his shot. He and Moumin run off.

CUT TO:

INT LA TRATTORIA MEN’S BATHROOM - EVENING
Trish is walking through the bathroom, the gun held out in front of her.

TRISH
Mark?

ANGLE ON: Mark, in a stall, zipping up his fly. The door to the stall is open a crack. He hears Trish and looks confused for a moment, then smiles suggestively.

MARK
(to himself)
Well I must admit I was not expecting this.
(louder)
I’m in here.

He turns expectantly until something catches his eye.

ANGLE ON: The crack in the bathroom door. Through it a bathroom mirror can be seen. It reflects Trish’s arm, holding the gun, inching closer to the bathroom stall.

MARK (CONT’D)
(quietly)
Oh you have got to be kidding me!

ANGLE ON: Trish as she slowly approaches the bathroom stall which Mark is in. She reaches out to grab the stall door with her left hand while holding the gun with her right.

Before her hand touches the stall door, it swings open violently, slamming into Trish and knocking her down. She drops the gun, which goes skittering across the tile floor. Mark is inside the stall, holding the tops of both sides of the stall, which he used to stabilize himself as he used both feet to kick open the door. He regains his footing on the toilet and jumps down, advancing on Trish.

MARK (CONT’D)
You know I was looking forward to this date for the past three days and then you have to go and ruin it by trying to kill me! And before I even got to have my main course for Christ’s sake!

Mark is almost on Trish when she pulls out the knife from the front of her dress and extends the blade. She jumps up and swipes at Mark who is able to avoid parry, but the knife slices Mark’s tie in half.

MARK (CONT’D)
And that was my good tie too!

TRISH
Well hopefully you enjoyed the soup at least.

MARK
I hate you so much right now.

Trish lunges forward at Mark, but he sidesteps to avoid her and punches at her back, sending her sprawling forward, but avoiding dropping her to the ground.

She spins around, holding out the knife. Mark pulls off his suit jacket and pulls it taut. Trish lunges again.

Mark again sidesteps the lunge, but this time wraps his jacket around Trish’s knife arm. He tries to use it to pull her arm away from her body, but he is not positioned correctly and Trish uses her free arm to grab Mark’s jacket.

She jerks the jacket toward her and Mark, who is off balance leaves his feet and goes flying past her. She swipes at him as he falls past, but she only manages to make a small cut on his arm. Mark, manages to turn himself in the air so that he lands on his back, but he slides on the tile floor and his head collides with the bathroom’s sink. He reaches back and grabs the back of his head.

MARK (CONT’D)
Son of a bitch! That always works in the movies.

Trish tosses Mark’s jacket away and holds up the knife again, this time turning it to a traditional knife fighting grip.

ANGLE ON: Mark’s face. He looks up at Trish and his face fills with rage.

MARK (CONT’D)
Alright, now I’m really pissed off!

Mark jumps up and runs toward Trish. The camera does not follow, but sounds of struggle are heard.

FADE TO BLACK.

END OF ACT THREE







ACT FOUR

INT LA TRATTORIA MEN’S BATHROOM - CONTINUOUS
Mark charges at Trish. When he gets close, she punches at his face with her knife hand. Mark reaches out and grabs her wrist before she can make contact.

Holding her arm out, Mark slams into Trish knocking her backward into the bathroom wall. He repeatedly slams Trish’s arm into the wall until her grip on the knife gives way. Mark kicks it under one of the bathroom stalls.

Using his other hand, he backhand’s Trish across the face. He drops her wrist and goes to punch her, but before he can, she sends an elbow into his midsection.

He doubles over and Trish grabs the back of his shirt. She swings him around and throws him toward the bathroom door. He slams into it hard, but doesn’t fall to the ground. Trish runs up to him and throws a punch, which Mark blocks. With her other hand she reaches for Mark’s throat, but Mark again catches her wrist and holds her hand where it is.

As they are locked in this struggle, the bathroom door starts to open.

PATRON (O.S.)
Hey is everything alrigh-

Mark kicks backward, slamming the door shut. A muffled fall can be heard through the door.

MARK
Occupied!

Trish violently headbutts Mark, making him lose his grip on her wrist. She then punches him in the face.

While Mark is stunned, Trish grabs what remains of his tie and jerks him to the side, sending him flying back toward an open stall.

As Mark falls, Trish scrambles and retrieves her gun. She turns and aims at Mark, who has fallen into an open stall. As he falls in he grabs the door slamming it closed behind him. As he does Trish fires two shots, which hit the closed door.

ANGLE ON: Mark in the stall. As the bullets hit the door, two distinct indentations can be seen on Mark’s side of the door, right in front of his face. Mark immediately locks the bathroom door and drops to the ground.

ANGLE ON: Mark’s POV through the gap between the stall door and the floor. Trisch’s legs can be seen running toward the stall.

ANGLE ON: Mark, as he watches Trish approach. Suddenly, he lets out a violent kick under the stall door, aimed at Trish’s shins.

ANGLE ON: Trish as the kick hits her directly in the shin, knocking her legs back and sending her flying, head-first, into the locked door of the stall.

ANGLE ON: Mark as he unlocks the door and violently swings it out, hitting Trish again as she falls. The gun again falls to the ground, but instead of getting it,
Mark grabs Trish by the hair and pulls her into the stall.

Trish is groggy, but awake and she tries to reach up at the front of Mark’s shirt as he lifts the seat to the toilet.

ANGLE ON: Trish’s POV as she notices the knife which fell into this stall right next to the toilet. She reaches for the knife.

ANGLE ON: Mark, as he places Trish’s head on the edge of the toilet and slams down the lid. Trish’s hand closes around the knife and weakly starts to lift it, but before she can, Mark lifts the lid and slams it down on Trish’s head again.

The lid cracks at the force of the hit and Trish’s body goes limp. Mark relaxes and walks out of the stall. He retrieve’s his jacket and puts it back on. He then exits the bathroom.

CUT TO:

INT LA TRATTORIA BATHROOM HALLWAY - CONTINUOUS
Mark emerges from the bathroom. He is bleeding slightly and looks immensely disheveled. His tie is in half and his jacket is ripped.

PATRON is standing up and collecting himself after his fall. When he hears Mark come out of the bathroom he is incensed.

PATRON
Hey asshole!

PATRON turns and sees the condition Mark is in.

PATRON (CONT’D)
What the hell happened to you?!?

MARK
Don’t ask. You might want to give it a few minutes in there.

Mark sees Trish’s purse and grabs it.

MARK (CONT’D)
I just pray for your sake you didn’t order the ribs.

Mark walks off as a look of panic comes over PATRON’S face. He looks to the bathroom with dread.

CUT TO:

INT LA TRATTORIA - CONTINUOUS
Mark walks into the dining room. The other patrons gradually notice him and start staring in his direction. He takes no notice as he fishes through Trish’s purse.

A waiter comes over to him.

WAITER
Is everything alright sir?

MARK
Yes, fine. I’m going to have to be cutting my meal short. I’m sorry but...

He pulls out a bunch of hundred dollar bills from Trish’s purse.

MARK (CONT’D)
Hopefully this will cover it.

He hands the bills to the waiter, who stands dumbfounded as Mark walks off.

CUT TO:

EXT LA TRATTORIA - SAME TIME
Mraz comes running down the street. At the same time, a cab pulls up in front of the restaurant. Eddie, Moumin, and Krystal jump out of the cab.

MRAZ
Eddie! Moumin!

EDDIE
Is he inside? Are we in time?

MRAZ
God I hope so!

From off-screen, hysterical laughter can be heard. There is a mean edge to it, and it is extremely loud. Everyone turns to the sound.

ANGLE ON: Mark. He is laughing hysterically as he sees Mraz, Eddie, Moumin, and Krystal. He starts walking towards them.

MARK
Nice of you guys to show up! Sorry to say you missed all the fun!
(to Krystal)
Here! I got these for you!

Mark hands Krystal the flowers.

MRAZ
Are you okay? We found out Trish is really -

MARK
Oh she’s inside! I’m sure she’d love to meet you! I’m just going to take this cab, okay? Great! See you at work tomorrow!

Mark gets in the cab and drives away.

MOUMIN
Umm, what the hell?

KRYSTAL
They’re nice flowers.

MRAZ
C’mon. I’ve got a feeling we may have a mess to clean up in there.

Mraz, Eddie, Krystal, and Moumin enter the restaurant.

CUT TO:

INT ANDREA’S OFFICES - NIGHT
Brendan is standing, shirtless, in front of a television screen. His expression is grave.

BRENDAN
Andrea. You may want to see this.

Andrea, wearing Brendan’s shirt, walks in from another room and looks at the TV.

ANGLE ON: The TV. It shows a photo of Trish being led away from La Trattoria in handcuffs. Mraz is in the frame.

ANDREA
Well, well. Bravo Mr. Mraz.

BRENDAN
There’s nothing in the report about Mark.

ANDREA
Oh he’s fine. You can count on that.

BRENDAN
What should we do?

ANDREA
Send some lawyers, none affiliated with us, but good lawyers nonetheless, send them over to the jail. Tell them to get Ms. Lyndon off using whatever means necessary.

BRENDAN
What? But she screwed up. Why not just let her rot?

ANDREA
She may prove useful yet. She’s motivated now. We may be able to use that to our advantage.

Andrea walks off. Brendan stares at the TV for a moment, then pulls out a cellphone and dials.

CUT TO:

INT MRAZ INC. CONFERENCE ROOM - MORNING
Mraz, Keating, Eddie, Moumin, Krystal, and Taylor are all in the conference room. Mraz is looking impatient. He looks to the clock.

ANGLE ON: The clock. It reads 10:45.

Mark enters the conference room. He wears dark sunglasses and the same suit he had on for the date. The tie has been discarded. He sits down next to Eddie. He does not remove the sunglasses.

MRAZ
Mark, nice of you to join us.

Mark doesn’t respond.

TAYLOR
(directed at Mark)
What the hell is wrong with you?!?

Mark looks up at Taylor, but doesn’t respond.

TAYLOR (CONT’D)
Thousands of dollars of damages to the bathroom! A restaurant full of witnesses! Then you have the gall to use her money to pay for your meal and tip the waiter about a thousand dollars, because that won’t be conspicuous! Not to mention the restaurant’s angry because of some whackjob who kept saying he thinks the ribs might make you evil! I assume I have you to thank for that too?

MARK
(matter of factly)
She was trying to kill me.

TAYLOR
Well Maybe she should have succeeded! That would be cheaper to deal with at least!

MRAZ
Taylor! That’s enough.

TAYLOR
I’m just saying -

MRAZ
I know. I’m sure you’re very busy dealing with things. I can handle this briefing.

TAYLOR
Right. God I hate my job!

Taylor exits in a huff.

MOUMIN
He was in a better mood than usual.

MRAZ
(ignoring Moumin)
Mark, despite his lack of tact, Taylor is right. You were irresponsible last night. As soon as you saw you were in danger you should have exited the restaurant or called us.

MARK
She tried to kill me.

MRAZ
Yes and we -

KRYSTAL
(cutting off Mraz)
We’re all glad you’re all right.

MRAZ
Yes, of course. Well put Krystal. The added press will be annoying, but we’ll deal with it. What I really want to know is why Andrea would do something like this. It’s rather overt for her to come after one of us so publicly.

KEATING
Could it have been another publicity stunt? Just to get us back in the public eye.

MRAZ
She didn’t know we’d figure it out in time. There was no guarantee we’d be on the news. This feels different. She’s taking big risks with this move. That makes her dangerous. I want every resource on tracking her and finding out what she’s up to. That’s all for now.

Eddie, who has looked on the verge of bursting since Mark sat down, finally speaks.

EDDIE
Dude you got beat up by a girl!

Mark turns, slowly, to face Eddie. He does not smile.

EDDIE (CONT’D)
Whatever. You’ll be laughing about it in a week. And hey, in the end, you kicked her ass.

Mark turns away.

EDDIE (CONT’D)
Sorry we weren’t there earlier man, won’t happen again. C’mon Mo.

Eddie and Moumin exit.

KEATING
I’m going to try to control the press on this. Looks like Alan may be taking me out after all. Hope he doesn’t try to kill me. Sorry Mark.

Keating exits. Krystal stands to leave, but walks over to Mark first.

KRYSTAL
I...I’m so sorry.

Krystal leans in and gives Mark a kiss on the cheek.

KRYSTAL (CONT’D)
(quietly so only Mark can hear)
They really were nice flowers. I have them in a vase at my place.

She stands and looks at Mark, who has been like stone the entire time. She turns to Mraz and mouths the words “good luck” before exiting. Mraz grabs a chair and sits across from Mark.

MRAZ
Alright, what’s up?

MARK
What?

MRAZ
I mean I know you had a lousy night, but you’ve had worse. And who cares if Taylor’s mad? So why are you so depressed?

MARK
I don’t know, man.

Mraz doesn’t respond, he just waits.

MARK (CONT’D)
It’s just...I mean I know she tried to kill me and all but...before all that I was really starting to like her.

MRAZ
I’m sorry man.

Long silence.

MRAZ (CONT’D)
Wanna blow something up?

MARK
What?

MRAZ
Thought it might cheer you up.

MARK
(after a moment’s thought)
Taylor would get mad.

MRAZ
Yeah, probably.

MARK
Let’s just go get a drink.

MRAZ
A drink? It’s eleven in the morning.

Mark looks up at Mraz.

MRAZ (CONT’D)
Okay, let’s go get a drink.

The two stand and exit. As they do Mraz slaps Mark on the back.

FADE TO BLACK.

THE END.

A Brief Explanation from the Creators

So, Mraz Inc...

How to explain...

Well, many of you have seen or been in a production of one of these, so that should make it easier, but basically, as with so many things, Mraz Inc. is the creation of slightly drunken minds. Mike Mraz and Mark Souza (you'll recognize them from the show!...more on that later) were out enjoying some slightly alcoholic brews when a sentence which has been uttered many times by many people was said yet again, "Your life should be a TV show." However, unlike most people, we're actors with too much time on our hands and imaginations which run wild if not held in check, so we actually started writing the TV show. We also decided real life needed some embellishment, so instead of two out of work actors taking odd jobs and going out for beers, we made ourselves powerful executives of an import/export company which covertly battles terrorist factions in the United States. Simple right?

And so Mraz Inc was born. We only planned on making a few episodes, but the first one we performed was popular enough that it kept us writing, then we had a season planned out, then a three season arc, and now we have almost 44 episodes of this thing fully written, and we're no longer performing. And so the Mraz Inc blog was born!

So before jumping in, a few technical notes. The episodes are set up with one teaser and four acts. This is meant to be in the style of a normal hour long drama on television. Every act break would be a commercial. There is no swearing, no nudity, and plenty of violence (so your average network show). We also set up sweeps schedules and other wackiness which, if I were to explain, may result in one of you deciding we need to be institutionalized against our will, so that's all I'll say about that.

The episodes appear to be long (most clock in around 48 pages). However, since they're in script format and they move relatively quickly they shouldn't take forever to read, so we hope the apparent length won't deter you. We plan on posting one episode every 2 weeks, so you can follow us graphic novel style (except no cool drawing on the blog, sorry). In theory then this should last for about two years (44 episodes to get up remember). The format of the scripts is a little strange. In copying from our scriptwriting programs to the blog, all our formatting is lost. We've tried to edit this in a fashion that makes it easy to read but if the spacing is sometimes off, forgive us, we're only two crazy men.

Also, you may recognize some of the character names (told you I'd get to this) since they're the names of real people. Take this with a grain of salt. If you recognize the name, great, consider it an inside joke that that character was based on that person, but every character is very much a work of fiction at this point (except Rudez, he really kills people).

So that's it. Read, enjoy, have fun. We worked on these because they're a blast for us to write and read, we hope you have a fraction as much fun reading them as we did creating them. Thanks.

Episode 1.1 "Pilot" written by Mark Souza

Mraz Inc.
"Pilot"
Written by Mark Souza

TEASER

FADE IN:

INT MRAZ INC. - MORNING
A huge office building. We are in the main reception area. It is a large, open space. The floor is all tastefully tiled. The middle of the room is completely open, with no roof immediately above it, showing many of the floors that are above this one.

People dart around the reception area. No one is doing anything specific, but they all seem to think what they are doing is very important. The sheer mass of people moving around is reminiscent of an ant colony.

The camera searches around this area, taking everything in. When it has focused on everything, it moves over to reveal LAUREN KEATING, who is staring back at it.

KEATING
Welcome to Mraz Inc.!

The shot changes to reveal that the first angle was actually the POV of KRYSTAL KELLY, who is standing next to Keating.

KEATING (CONT’D)
I know it can seem a little overwhelming at first, but you get used to it.

KRYSTAL
I think I’ll be able to adapt.

KEATING
Of course you will. So would you like to start the tour?

KRYSTAL
Will you be giving it?

KEATING
I will. That is, unless I have to go deal with something else. You know bosses, whenever they need something it’s the biggest emergency in the world, all else be damned, right?

KRYSTAL
Yeah, sure.

KEATING
Well let’s begin the tour then. Follow me.

The two start walking towards an elevator bank at the far wall.

KEATING (CONT’D)
So, what’s your official position here at Mraz Inc.?

KRYSTAL
I’m not sure I have one yet.

KEATING
Oh, you must, you probably just missed it in the introductory forms.

KRYSTAL
If you say so.

KEATING
So how did you find out about Mraz Inc. anyway?

KRYSTAL
I was recommended for the job.

KEATING
I see. Well I’m sure you’ll fit in fine here. I know importing/exporting can seem dull to the layman, but I assure you, things stay pretty exciting here.

KRYSTAL
Oh, I doubt it’ll be dull.

They have reached the elevators and walk into one.

KEATING
So, where should we begin?

She looks at Krystal expectantly, Krystal stares at the workers outside of the elevator.

CUT TO:

INT A BANQUET HALL - MORNING
A large banquet hall. The room is filled with men and women in very important looking business suits. They all chat in small groups. There is a large buffet table with all sorts of breakfast fare. Most people also hold a drink of some sort.
The shot eventually finds its focus on a large group who are listing to a story told by GOVERNOR JOSH SHERMAN.

SHERMAN
(mid-sentence)
Albany? You ask me, Albany is good for two things. One? Great buffalo wings - not as good as Buffalo, of course, but that would require going to Buffalo. You know what they say about Buffalo- that's where Hell goes to take lessons. My unborn children in my balls are about to freeze off just thinking about Buffalo. That reminds me, true story, you know Frank's Red Hot Sauce? Sauce originated in Buffalo, right? Well this has nothing to do with that, BUT when I was a kid, I took a whole bottle of that stuff and -

ANDREA (O.S.)
Not your buffalo sauce story again Governor Sherman?

ANGLE ON: ANDREA DAVIS. She looks sleek and sophisticated. She wears an elegant, flattering dress and is the center of attention as soon as she is noticed.

SHERMAN
Andrea! Look at you. I think I may have had a small orgasm just at the sight of you.

ANDREA
Only a small one?

SHERMAN
It’s still before noon darling, give me some time to wake up before you expect too much.
(addressing the others in the group)
Gentlemen, Ms. Andrea Davis. She’s throwing this party this morning in honor of, oh what the hell was it again, who cares? We’re raising money for lymphoma or some nonsense, anyway, the important part is look at this woman! What's she doing with a bunch of old blowhards like us, when she should be doing blow with the cast of The Hills or whatever the hell kids watch these days. That's the ques-

ANDREA
I am enjoying myself, as I always do when I see you Governor. I’ll leave you to your story, I just wanted to say hello while I knew I could still get your attention.

SHERMAN
Darling you can have my attention morning, noon, and night.

ANDREA
Now what would your wife think of that?

SHERMAN
Maybe she’d think we should sleep in the same bed for a change, but I doubt it. Now there’s a woman cold enough to fit in in Buffalo.

ANDREA
Oh you.

Andrea walks off in the direction of the bar.

ANDREA (CONT’D)
(to herself)
You old blowhard.

She reaches the bar and flags down the BARTENDER.

ANDREA (CONT’D)
Bloody Mary please. Actually, do you know what time it is?

BARTENDER
Almost 10:30.

ANDREA
Better make it a scotch on the rocks instead then.

The bartender gets her drink in a matter of instants.

ANDREA (CONT’D)
These parties always start off so dull-

Suddenly an EXPLOSION fills the room, followed by sounds of breaking glass. About twenty men armed with assault rifles come running into the room. The lead hostage taker (HENDRICKS) runs into the center of the room and lets off a few loud shots.

HENDRICKS
EVERYONE GET DOWN AND SHUT UP! YOU ARE ALL HOSTAGES! DO WHAT I SAY AND NO ONE HAS TO GET HURT!

Andrea sips from her scotch, calmly.

ANDREA
But they always seem to end with a bang.

SMASH CUT TO:
MAIN TITLES.

FADE TO BLACK.

END OF TEASER



ACT ONE

INT MRAZ INC. - MORNING
A gym facility. The facility is almost empty. EDDIE HANSEN-NELSON and MOUMIN GHANEM are the only two working out. Moumin is getting ready to start a bench-press as Eddie spots for him.

Keating and Krystal enter the gym.

KEATING
And this is our gym. It is fully functional and open for the use of all employees. This is the weight room, there is also a cardio room just down the hall fully equipped with elliptical machines, treadmills, and stationary bikes.

Moumin starts doing the bench-press.

KRYSTAL
Why do you need a gym on premises?

KEATING
Mr. Mraz believes that a healthy employee is a happy employee. This facility saves our workers hundreds of dollars annually that they would be spending on outside use of a gym. Not to mention it keeps everyone in the building in case they’re needed on short notice.

Eddie notices Krystal and, ignoring Moumin, walks over to her.

EDDIE
(putting out his hand)
Hi. Eddie Hansen- Nelson. Are you new here?

KRYSTAL
Yes.

KEATING
Ah, Krystal this is Eddie. He’s one of our most senior employees here.
(to Eddie)
This is Krystal’s first day.

Moumin is starting to struggle with his weight-lifting.

KRYSTAL
So what is it you do here?

Eddie and Keating share a pointed look.

MOUMIN
Spot!

EDDIE
(ignoring Moumin)
Umm...well I do a lot of little things. Basically, I um...

KEATING
He does whatever the bosses need him to do.

MOUMIN
I need a spot Eddie!

EDDIE
(again ignoring Moumin)
Yeah, that’s one way to put it.
(flirtatious)
What do you do?

KRYSTAL
I’m not really sure yet.

EDDIE
Well I’m sure we’ll be able to find a position for you! No worries there.

MOUMIN
Oh you son of a -

Moumin is struggling mightily now.

KRYSTAL
Should you help him?

EDDIE
What? Nah, he’s just being dramatic.

Moumin, with a loud grunt manages to lift the bar up and set it on the bench-press rack. He gets up and storms over to Eddie.

MOUMIN
What the hell man?!

EDDIE
Moumin, meet Krystal...I’m sorry what’s your last name?

KRYSTAL
Kelly.

EDDIE
Kelly, huh? Well you know what they say, never trust a girl with two first names, right?

KRYSTAL
I guess.

MOUMIN
Nice to meet you Krystal.

KRYSTAL
You too, Moumin was it?

MOUMIN
Yeah that’s right. Moumin Ghanem. You can call me Mo.

EDDIE
And you can call me Curly, the third stooge is on a break right now.

Silence. Keating and Moumin look at Eddie like he’s an idiot. Suddenly, ERIC runs into the room.

ERIC
Eddie! Moumin! You’re needed in the main conference room ASAP!

EDDIE
Yeah? Says who?

ERIC
Order for me to get you came from Mark. I think this one comes straight from Mraz.

EDDIE
You don’t say?

MOUMIN
Any idea what it’s about?

ERIC
No, but they said come with a full arsenal. Be ready for anything.

EDDIE
Sounds like my sort of party.
(to Krystal)
Sorry to cut this short. I look forward to working with you.

MOUMIN
C’mon!

Eric rushes out of the room. Moumin follows. Eddie walks after them, pulling out a gun and checking his ammo as he leaves. Krystal watches Eddie go, then turns to Keating with a questioning look on her face.

KEATING
Oh those two! C’mon there’s a lot more to see.

Keating and Krystal leave the gym area.

CUT TO:

INT MRAZ INC. HALLWAY - CONTINUOUS
Keating and Krystal come out of the gym and into a hallway. Keating turns one way, but Krystal turns the other way, toward an unmarked door.

KRYSTAL
What’s in here?

KEATING
No, don’t!

Krystal opens the door. Behind it is a large holding facility with many jail cells. Keating immediately runs over and shuts the door.

KRYSTAL
Those looked like jail cells.

KEATING
Nope, those are actually the...umm..old shower facilities for the gym. They’re being remodeled right now so they don’t look like prison cells anymore. It’s not safe to walk around in there while construction is going on.

KRYSTAL
(skeptical)
Okay.

KEATING
C’mon, follow me.

Keating leads Krystal down the corridor. Some other employees start walking by them. Keating’s pager starts to buzz. She looks down at it. She looks up, disturbed.

KRYSTAL
Everything okay?

KEATING
Yeah, it’s just...

Keating spots ANDY CHMELKO walking by.

KEATING (CONT’D)
Andy!

ANDY
Oh, hey Lauren.

KEATING
Could you do me a favor?

ANDY
Well...

KEATING
Great! I have to go to the conference room. This is Krystal, could you just give her a tour of the place? Thanks!

Keating starts to run off.

ANDY
Wait! What level of information can I -

KEATING
She’s a new hire! Just give her a standard tour!

Keating runs off. Andy and Krystal stand awkwardly.

ANDY
So...what is it you’re going to be doing here at Mraz Inc.?

CUT TO:

EXT POLICE MOBILE VAN - MORNING
The inside of a mobile unit that is outside of the ballroom where Andrea is. Many police officers work furiously. The NEGOTIATOR sits talking to another officer.

NEGOTIATOR
There seems to be no motive for this situation. So far no demands have been made. I don’t get it.

OFFICER (O.S.)
Sir! The demands just came in. You’re going to want to see this.

The Negotiator jumps up and runs over to the officer who called to him. He looks at a sheet of paper.

OFFICER (CONT’D)
It just came through our fax line.

Negotiator looks at the sheet, puzzled.

NEGOTIATOR
What the hell?

CUT TO:

INT MEDICAL CENTER - MORNING
Andy leads Krystal into the medical center. Not much is happening in it right now.

ANDY
This here is our medical center. It’s equipped with the finest equipment in modern medicine.

KRYSTAL
What purpose would a medical center serve for an importing/exporting company?

ANDY
Umm...well...you see...

Krystal stares at Andy, waiting for his answer.

ANDY (CONT’D)
(blurting it out)
It’s the only thing the health plan covers!

KRYSTAL
What?

ANDY
Yup, so anyway, moving right along.

Andy whisks Krystal out of the medical center.

CUT TO:

INT MRAZ INC. HALLWAY - CONTINUOUS

ANDY
Let’s check out the rest of this area. Down the hall here is the main conference room.

He starts leading Krystal down the hall.

KRYSTAL
Is that where everyone has been getting summoned to?

ANDY
Probably, I don’t really know about that. I’m a financial guy.

As Andy talks Krystal makes a beeline to the conference room door. Finally, Andy notices and rushes after her.

ANDY (CONT’D)
Hey!

Before Andy can reach her, Krystal charges into the room.

CUT TO:

INT MRAZ INC. CONFERENCE ROOM - CONTINUOUS
In the room are MICHAEL MRAZ, MARK SOUZA, TAYLOR SHANN, Keating, Eddie, Moumin, BRIAN “DUCKY” SMALLWOOD, and Eric. The conference room door opens and Krystal walks in. Andy rushes in after her. Keating jumps up out of her seat and rushes toward her.

ANDY
I’m sorry she just barged in!

KEATING
You’re not supposed to be in here!

Krystal walks directly over to Mraz and stops in front of him.

KRYSTAL
Andrea Davis.

FADE TO BLACK.

END OF ACT ONE




ACT TWO
EXT POLICE MOBILE VAN - MORNING
Negotiator is talking to the same Officer, who is stationed in front of a laptop computer.

NEGOTIATOR
What have you found on this Michael Mraz?

OFFICER
Not much sir. He’s the head of an importing/exporting corporation.

NEGOTIATOR
Any ties to these hostage takers as far as we can tell?

OFFICER
None.

NEGOTIATOR
What does he trade in? Any weaponry? Black market stuff?

OFFICER
Some weaponry. Always to military organizations. Normally America, some European allies. Everything’s above board.

NEGOTIATOR
What the hell does he have to do with this then?

Officer spins around and looks at Negotiator. Neither speaks.

NEGOTIATOR (CONT’D)
Get him on the phone. I want to have a talk with Mr. Mraz.

CUT TO:

INT MRAZ INC. - MORNING
The same moment we left off on. Krystal is standing in front of Mraz. Keating and Andy have stopped dead in their tracks. No one speaks.

MRAZ
How do you know that name?

KRYSTAL
Mr. Mraz I came here to be a help to you. I’ve done extensive research on Ms. Davis. I know she is involved in funding many terror organizations inside the United States. I also know she has a bit of a personal grudge against you.

MRAZ
Who are you?

KRYSTAL
Krystal Kelly. You hired me last week. Today’s my first day.

KEATING
Mike, we were giving her a tour of the offices. Standard protocol.

KRYSTAL
Yes, and while I enjoyed the silly little tour that Lauren and Andy here were giving me, I didn’t join this company to deal with financing issues related to trade. I know you’re into a lot more than that. I came here because I can help.

MRAZ
What exactly do you think you know?

KRYSTAL
I know the import/export thing is a front. Most of the energies of this company go to combating illegal activities on American soil. I know you and Andrea Davis have battled each other before.

TAYLOR
That’s all hearsay! We run a clean trade operation here. Check our tax returns.

MRAZ
That won’t be necessary Taylor. I think Ms. Kelly is beyond the point of that lie.
(to Krystal)
Taylor’s the head of our legal department. He gets nervous when we talk about things like this. Who else don’t you know here?

KRYSTAL
Well I know Keating and Andy obviously. I met Eddie and Moumin in the gym, though I don’t know what they do. I also saw him.

She points to Eric.

MRAZ
That’s Eric. He, Eddie, and Moumin are all tactical officers here at Mraz Inc. Andy is our head financial officer. Keating is head of personnel and my personal assistant.

DUCKY
Hi. I’m Ducky. I’m the head of research and development here. Basically I make gadgets.

KRYSTAL
Pleased to meet you. Ducky you said?

DUCKY
It’s a nickname.

The room phone starts to ring. Mraz hits a button on it.

MRAZ
Yes.

YOUNG MAN (O.S.)
NYPD for you Mr. Mraz?

MRAZ
Taylor, can you -

TAYLOR
I’m on it. Transfer the call to my cell phone.

Taylor stands and leaves the room, pulling out his cell phone as he leaves. Mraz hangs up his phone.

MRAZ
Well Krystal, since you know so much about Andrea maybe you can help us. Earlier this morning Andrea was throwing a party to raise money for a children’s cancer fund -

EDDIE
Like that’s really what she’d use the money for.

MRAZ
Anyway, at about 10:30 this morning that party was taken hostage by unknown assailants. We believe this was all Andrea’s design. We’re trying to figure out the purpose.

KRYSTAL
Have there been any demands?

MRAZ
None that we know of.

KRYSTAL
Huh.

MARK
This is ridiculous.

KRYSTAL
I’m sorry, I didn’t catch who you are?

MARK
I’m the guy who finds it suspicious that our new employee walks in here with a bunch of personal information about one of our top enemies at the exact time we’re trying to figure out a convoluted plot being executed by the selfsame enemy.

MRAZ
Mark.

MARK
Sorry Mraz, but her quick little speech on Andrea doesn’t explain how she knows about everything we do here.

MRAZ
You’ll have to excuse Mark. He’s the head of tactical and second in command here. He gets paid to be suspicious.

KRYSTAL
Here maybe this will help put your mind at ease.

Krystal reaches into her purse. Before she can pull out what she’s looking for Mark raises a gun and points it at her.

MARK
Take your hand out of your purse. Slowly.

MRAZ
Mark!

Krystal slowly removes her hand from her purse.

MARK
Put it on the ground.

She does so.

MARK (CONT’D)
Moumin, check it out.

Moumin goes to the purse and starts fishing through it.

KEATING
Mark, is this really necessary? She’s an employee here.

MARK
So?

MOUMIN
Whoa. Got something here.

Moumin pulls out a handgun from Krystal’s purse.

MARK
Quite the accessory to be carrying with you.

KRYSTAL
Take out the file that was underneath the gun.

Moumin looks back in the purse and finds a file. He flips through it quick.

MOUMIN
Looks like a background file on her.

MRAZ
Let me see that.

Moumin hands Mraz the file. He looks through it and, satisfied, hands it to Mark. Mark starts reading.

MRAZ (CONT’D)
Okay. That’ll be enough Moumin. That file seems to check out.

KRYSTAL
I have the gun because I know things can go wrong quickly and I like to be prepared. It’s something I thought you would be able to understand.

Mark finishes the file and tosses it down. He grunts his approval.

MARK
Seems legit.

MRAZ
Okay then, if we can get back to business -

Taylor rushes back into the room.

TAYLOR
The hostage-takers have given their demands!

MRAZ
What do they want?

TAYLOR
You.

CUT TO:

INT A BANQUET HALL - MORNING
The hostage-takers have assembled all of the hostages in the center of the room. Andrea and Sherman are sitting on the floor, next to each other.
Hendricks comes up to the center of the room.

HENDRICKS
Andrea Davis?

ANDREA
Yes?

HENDRICKS
Come here!

SHERMAN
Hey! She doesn’t have to go anywhere. You think just because you jackasses have guns that you’re in charge here? I have people at my beck and call that could storm this room and-

Hendricks shoots a round about a foot from Sherman’s crotch.

HENDRICKS
If you don’t shut up I’ll aim a little higher!

SHERMAN
Good luck Andrea.

Andrea slowly stands and follows Hendricks down the hall. As soon as they are away from the rest of the crowd:

ANDREA
What’s the status?

HENDRICKS
We sent out our demands through the secure fax, like you ordered. We’re waiting for a reply.

ANDREA
Good. Mraz should be here soon then.

HENDRICKS
Are you sure he’ll come?

ANDREA
Oh he’ll come.

HENDRICKS
What do you want us to do when he gets here? Dispose of him?

ANDREA
What? No, you idiot! You do nothing. I’ll handle Mraz, you just stay focused on controlling this crowd.

HENDRICKS
But -

ANDREA
Those are your orders. Give me a gun. Small and concealable if you have one.

HENDRICKS
Will this do?

Hendricks reaches down and hands a small pistol to Andrea. She takes it, checks the clip and tucks it in her purse.

ANDREA
It’ll do.

HENDRICKS
One more thing Ms. Davis?

ANDREA
Yes?

HENDRICKS
When Mraz gets here, I don’t think the police will let him in alone, how should we deal with that.

ANDREA
Oh, don’t worry about that. They’ll let him in.

ANGLE ON: Sherman. Sitting in the middle of the floor.

ANDREA (CONT’D)
We’ve got someone here who can make sure of that.

FADE TO BLACK.

END OF ACT TWO





ACT THREE

INT MRAZ INC. - MORNING
The room is now a bustle of activity. Mark, Eddie, Moumin and Eric are checking their weapons. Mraz is talking with Taylor and Keating. Andy and Ducky sit together. Krystal sits silently reading a file.

MRAZ
Alright Taylor, what do you think is the best way to proceed on this.

MARK
I already told you Mraz, we’re going in and getting those people out of there. This has gone far enough!

MRAZ
It might make more sense for me to go and see what they want.

EDDIE
(Breckin Meyer’s Robot Chicken voice)
IT’S A TRAP!

Moumin and Mark laugh.

MRAZ
Yes thank you, I know it’s a trap, still -

MARK
Still he’s egotistical enough to think he can walk directly into a trap and walk out unharmed.

MRAZ
And you’re egotistical enough to think you, Eddie, Moumin and Eric can free all those hostages by yourself.

EDDIE
No one really counts Eric.

ERIC
Screw you guys!

TAYLOR
Everyone shut up!! You’re all insane. First off, Mraz they’ll never let you into a hostage situation, you’re a businessman remember?

MRAZ
Technically.

TAYLOR
And Mark -

EDDIE
I love it when he gets yelled at by the lawyers.

TAYLOR
What makes you think that the NYPD will be okay with allowing vigilantes, which is what you’d be, into the situation to go “take care” of the hostage-takers?

MARK
I figured we wouldn’t tell them.

TAYLOR
And how will we go about that?

MOUMIN
We could go in covert.

MRAZ
We don’t have the Intel on this building to do a covert op.

MARK
Ducky?

DUCKY
What? Oh, umm...well I do have some heat seeking devices so you could know what you’re up against, and some LCD wrist attachment that could have live uplink to my readings.

KEATING
I could get a copy of the building plans if that would help.

MARK
See? We’re fine.

DUCKY
Of course to get the heat sensitive readings we’d probably need someone inside to plant the device in a main room or something. That might be tough.

MRAZ
I can do that if we can find me a way in.

KRYSTAL
I’ve got it!

Everyone turns toward Krystal, who has just jumped up from her chair. Silence.

EDDIE
Umm...Congratulations?

KEATING
Got what?

KRYSTAL
According to this report the governor is one of the hostages. If we can get him to allow you in, the police will follow his order.

MRAZ
(to Taylor)
Is that true?

TAYLOR
Probably not, but it might be the best chance you have to get in.

MARK
How are you going to get the governor to do anything? We have no way of communicating with him.

MRAZ
I’ll worry about that later. We have a plan now, we should get moving on it. I want us ready to go in one hour.

MARK
Whoa! A plan? You’re still going in alone, I don’t like that plan. Eric will accompany you in.

MRAZ
No, Eric’s staying with you.

KEATING
I could go.

MRAZ
You need to be here to run the op.

KRYSTAL
I can accompany you. I’ll say I’m your lawyer.

TAYLOR
Good luck with that job.

KRYSTAL
If you insist on my coming in with you, I’m sure the governor will demand that as well.

MARK
Oh good, the new girl’s going to be your backup, I feel so much better.

Krystal walks over to Mark, who has just rammed a clip into his gun. She grabs his right arm and wrenches it back, pushing him into the wall at the same time. They stands face to face, Mark is in obvious pain. Eddie and Moumin have drawn their guns.

KRYSTAL
I assure you I can handle myself in any situation.

MARK
I’m sure you can, but I normally like dinner and a movie before I get to this stage with someone.

Mark, spinning his wrist, is able to grab Krystal’s arm. Using his free arm to stabilize her, he wrenches the other arm behind her back and pulls up.

MRAZ
Enough!

Mark slowly lets go of Krystal.

MRAZ (CONT’D)
You’ll come with me Krystal. Your knowledge of Andrea could be helpful. Alright everyone move out! We’ll be mobilizing in one hour.

Everyone leaves the room.

CUT TO:

INT A BANQUET HALL - MORNING
Andrea is led back into the throng of hostages at gunpoint by Hendricks. She immediately heads to the center of the circle and sits next to Sherman.

SHERMAN
Andrea are you okay? What did the bastards want?

ANDREA
They wanted me to talk to you. It seems they need someone let in here. A civilian, he should be on his way now.

SHERMAN
A civilian, no way a civilian is getting in here with a bunch of gun-toting maniacs running the show.

ANDREA
You don’t know anyone in the police force that owes you a favor? They said if the civilian doesn’t get in that they’ll starting killing one of us every ten minutes.

SHERMAN
Jesus Christ! Let me think. Someone must owe me something. I’ll see what I can do.

ANDREA
Thank you governor. You hold all of our lives in your hands.

Sherman just waves away the praise from Andrea. Andrea smiles.

CUT TO:

INT MRAZ INC. - AFTERNOON
Mraz and Krystal are walking down a hallway. Krystal is holding a briefcase and some files.

KRYSTAL
Okay, so when we get there I’ll do most of the talking. Try to make yourself seem reliant on me, it’ll give more credence to our demand that I be let in with you.

MRAZ
I doubt it’ll matter much, our getting in is totally reliant on the Governor.

KRYSTAL
About that, have we come up with a way to communicate with him?

MRAZ
No.

Ducky comes over and joins them in their walk.

DUCKY
Mraz, here’s the heat tracing device I talked about in the meeting. It needs to be left in the main room where the majority of the hostages and hostage-takers are, the range isn’t terribly strong.

MRAZ
What if there are hostiles outside the range of the device?

DUCKY
Nothing we can do about that. Tell Mark to be careful, Keating and I will monitor from here.

MRAZ
Okay. Good work.

Ducky goes off.

KRYSTAL
So what now?

The two turn a corner to see Mark, Eddie, Moumin, and Eric, in full tactical gear, waiting in front of the elevators.

MRAZ
Now, we move out.

The six of them load into an elevator as the doors close.

EDDIE
(to Krystal)
Hell of a first day, huh?

FADE TO BLACK.

END OF ACT THREE







ACT FOUR

EXT POLICE MOBILE VAN - AFTERNOON
Negotiator is talking to an HRT OFFICER.

HRT OFFICER
You’ve had time and so far no results. We’ve drawn up a sound plan for breaching the building. I think those people in there have waited long enough.

NEGOTIATOR
I haven’t even been able to sustain contact with the hostage takers. We aren’t sure how many of them are in there or their general locations, how in the world can you have a truly sound plan when you lack basic knowledge?

HRT OFFICER
I’m not saying there isn’t risk involved, but the alternative is to sit here and do nothing. That’s something I can’t accept.

NEGOTIATOR
I just need more time. There has to be something that can get these guys talking.

MRAZ (O.S.)
Maybe I can help you out with that.

ANGLE ON: Mraz. He stands in the entrance of the mobile van. Krystal stands behind him.

CUT TO:

INT SEWER - AFTERNOON
Mark, Eddie, Moumin, and Eric are rushing through the sewer system. They come up to a fork in the tunnel. Mark touches his ear.

MARK
Keating. Going to need some directions.

CUT TO:

INT MRAZ INC. - SAME TIME
Keating and Ducky are sitting in front of a bank of computer monitors. Keating is currently going over a map of the city’s sewer system.

KEATING
I read you Mark. Hold on. Okay, bear left for now. You’re still a little over a mile out.

CUT TO:

INT SEWER - SAME TIME
Mark gestures to his left. Eddie, Moumin, and Eric all run down the left pipe.
Mark follows.

MARK
Okay Keating sounds good. Any status on Mraz?

CUT TO:

INT MRAZ INC. - SAME TIME

KEATING
According to our timeline he should be arriving right now. Probably take him a while before he talks his way into the building.

MARK (O.S.)
Okay. I’ll contact you when we’re close. Tactical out.

Keating sits back and relaxes a little.

DUCKY
This plan doesn’t have a great chance of succeeding perfectly does it?

KEATING
I think it’s a stretch to call this a plan at all. Mike can make it work though. We’ll just have to wait and see.

Keating looks to Ducky. He nods slightly and looks back to the monitors.

CUT TO:

EXT POLICE MOBILE VAN - AFTERNOON
Mraz and Krystal have been let into the room. Negotiator and HRT Officer are talking to them.

NEGOTIATOR
We’ve been trying to get in contact with you!

MRAZ
I know. I got the message. That’s why I’m here.

NEGOTIATOR
What the hell connection do you have to these hostage takers!?

KRYSTAL
I don’t like your implication.

HRT OFFICER
Who are you?

KRYSTAL
I’m Mr. Mraz’s legal council. May I point out that Mr. Mraz has come here voluntarily to confront these men who asked for him. He’s here to help.

NEGOTIATOR
I just want to know what these men want with the CEO of a trading company.

MRAZ
Let’s ask them.

NEGOTIATOR
I’d love to, but they won’t talk to me. Won’t talk to anyone over the phone.

MRAZ
Then let’s go in and ask.

HRT OFFICER
Did you just say what I think you said?

NEGOTIATOR
No way. You’re not getting anywhere near that building. It’s too dangerous.

KRYSTAL
My client knows the risks, however, despite my advice, he has decided that whatever personal risk to himself is acceptable if it might help the hostages.

HRT OFFICER
How noble. You going in there would just make a breach harder to accomplish.

NEGOTIATOR
We’re not breaching!

HRT OFFICER
We have to do something!

OFFICER
Sir! Deputy Commissioner O’Hanlon for you.

NEGOTIATOR
Great.

Negotiator goes over to Officer, who hands him the phone.

NEGOTIATOR (CONT’D)
Commissioner? Yes, we’re currently working on that...What? Yes, he’s just arrived...The Governor? He’s one of the hostages he’s in no position to be giving orders...Sir, with all due respect, that’s against every procedure in the book...I don’t think-...Yes, sir. I’ll do that sir.

Negotiator hangs up the phone. He goes over to Mraz.

NEGOTIATOR (CONT’D)
Well looks like you get your wish.

HRT OFFICER
What?

NEGOTIATOR
The Governor called the deputy commissioner and ordered that Mraz here be let in.

HRT OFFICER
That’s insane!

NEGOTIATOR
It’s our orders.

HRT OFFICER
Alright, I’ll get someone on my team to gear up and escort him in there. Maybe we can work a new breach plan around this-

NEGOTIATOR
He’s to be let in unarmed and alone.

The HRT Officer spins and looks dumbfounded at the Negotiator.

MRAZ
(referencing Krystal)
If I go, she goes.

NEGOTIATOR
No way. I don’t like that you’re going. I’m not putting her in harm’s way with you.

MRAZ
Should we make another phone call to your boss?

The Negotiator looks on the verge of hitting Mraz, but finally relaxes.

NEGOTIATOR
Get two vests. Suit them up.

CUT TO:

INT SEWER - AFTERNOON
Mark, Eddie, Moumin, and Eric are still running through the system.

KEATING (O.S.)
Mark?

Mark stops. Everyone else notices and waits for him.

MARK
Go ahead Keating.

KEATING (O.S.)
You’re right at the entrance. To your left about ten feet is the entrance into the kitchen. Down about fifty yards is another entrance into the men’s bathroom.

MARK
Got it.
(to the other men)
We’ll need two teams of two. Eddie, you and -

EDDIE
Moumin will go down to the other entrance. Got it.

MARK
Actually, I was going to say -

MOUMIN
It’s fine Mark, we’ll breach through the bathroom entrance. You and Eric can breach here.

MARK
Well it wasn’t really the entrance I was-

EDDIE
Great sounds like a plan then.

Moumin and Eddie runs off. Mark just looks at Eric.

MARK
Guess you’re with me.

ERIC
Try to contain your excitement.

MARK
C’mon, we breach through the kitchen once Keating gives the word.

Mark runs off, Eric follows.

CUT TO:

EXT ENTRANCE TO BANQUET HALL - AFTERNOON
Mraz and Krystal are now wearing bulletproof vests. They stand outside the building. Mraz looks to Krystal. She nods. Mraz taps his hand to his ear.

MRAZ
We’re entering the building now.

Mraz and Krystal walk towards the entrance.

CUT TO:

INT MRAZ INC. - SAME TIME

KEATING
We read you Mike. Good luck.

Keating hits a few buttons on her computer.

KEATING (CONT’D)
Mark, Mraz is entering the building.

CUT TO:

INT SEWER - SAME TIME
Mark and Eric stand below a ventilation grate.

MARK
We read you. We’re all in position. Waiting on your go.

CUT TO:

INT BANQUET HALL - SAME TIME
Mraz and Krystal enter the banquet hall. They walk through a hallway and come to the entrance to the main room where all the hostages are seated in the middle of the floor. Mraz bends down and places something on the ground. He gets up slowly.

ANDREA (O.S.)
Mr. Mraz. So nice of you to join us.

ANGLE ON: Andrea. She stands behind Mraz, holding a gun to his head.

CUT TO:

INT MRAZ INC. - SAME TIME
A computer monitor in front of Ducky suddenly becomes alive with thermal images.

DUCKY
Mraz got the sensor down. I’m getting a reading.

KEATING
Mark you should have the thermal imaging report. It may not account for everyone but it’ll get you started. You have a go.

CUT TO:

INT SEWER - SAME TIME
Mark looks at the device on his wrist. It lights up with the same thermal imaging that just appeared on Ducky’s monitor.

MARK
Got it. Alright everyone we’re a go. I repeat we are a go!

Mark turns to Eric and nods. Eric rams the butt of his gun into the grate and rushes in. Mark follows.

CUT TO:

INT BATHROOM - SAME TIME
A HOSTAGE TAKER is using a urinal. After a moment, A loud crash is heard. He immediately zips his fly and grabs his gun, spinning around just in time to see Moumin, who punches him in the face. The man slumps to the ground as Eddie runs over and trains his gun on the man. Moumin kicks away the man’s gun, grabs two zip ties and binds the man’s feet, then binds his wrists to the urinal. Eddie goes to the bathroom door and waits until Moumin is near him. He then spins around and exits the bathroom with Moumin following.

CUT TO:

INT KITCHEN - SAME TIME
Mark and Eric rush into the kitchen. There are two HOSTAGE TAKERS having sandwiches. They jump up and grab their guns at the sight of Mark and Eric. Eric shoots one man in the knee as Mark runs up and tackles the other one.

Mark grabs the man’s hair and slams his face into the ground, knocking him out. Eric runs up to the other man, who has fallen to the ground, and kicks him in the chest, knocking him backward. He disarms the man and the sound of zip ties being tied can be heard from Mark.

CUT TO:

INT BANQUET HALL - SAME TIME
Andrea has led Mraz and Krystal away from the main entrance. She still holds her gun on them.

MRAZ
Andrea, this isn’t the reception I was hoping for.

ANDREA
Too bad. Don’t worry though, I don’t plan on shooting you.

MRAZ
What are you planning? Why did you have me come here?

ANDREA
Well we haven’t seen each other in a while. I thought it would be nice to get reacquainted. I must admit I expected you to come alone.
(to Krystal)
Who exactly are you anyway?

KRYSTAL
I’m the newest member of Mraz Inc.

ANDREA
Nice. Hiring them purely on looks now Mraz?

KRYSTAL
I wouldn’t be so quick to underestimate me if I were you.

ANDREA
Well thankfully you’re not. Anyway, Michael, I was hoping we could chat.

MRAZ
This seems like a lot of trouble to go through just for a conversation Andrea. You should have just called the office.

ANDREA
Oh, I didn’t call you here just to talk.

MRAZ
What else did you have in mind then?

ANDREA
Publicity Mr. Mraz. Your days of working in a veil of anonymity are over. You’re about to become as hated by the public as you are by me.

Mraz stares at Andrea. She smiles.

CUT TO:

INT BANQUET HALL - SAME TIME
Eddie and Moumin run out of the bathroom and into a small room. There are two men in the room standing watch. Before they can even register Eddie and Moumin, the two are shot and fall to the floor, dead.

MOUMIN
Wasn’t this mission supposed to be non-lethal?

EDDIE
If possible. If you’d like, in the next room, I’ll let you run at the men with guns and try to talk them into surrendering before I shoot.

MOUMIN
Point taken.

They run through the room, toward the main hall.

CUT TO:

INT BANQUET HALL - SAME TIME
Mark and Eric come through the kitchen to a door leading to the main hall. They look through the door’s windows and see the remaining HOSTAGE TAKERS and HOSTAGES. Hendricks is currently pointing his gun directly at Sherman.

ERIC
He’s going to shoot him@!

MARK
Eric no!

Before the words are even out, Eric has run into the room and fires wildly at Hendricks, who dives out of the way and returns fire. Eric dives away as well.

MARK (CONT’D)
Dammit!

Mark rushes into the room, firing his gun as he goes.

CUT TO:

INT BANQUET HALL - SAME TIME
Mraz, Krystal, and Andrea are in the same positions.

MRAZ
What do you mean publicity?

ANDREA
Well you see I never liked how you go around shooting people and fighting crime, if you will, and yet you remain anonymous to most people. You still appear to be nothing more than a businessman. That’s going to change today. The men in that room have orders to start killing hostages two minutes after you arrive, starting with our lovely Governor Sherman. You’ll be known as the egotistical idiot who ended up causing a veritable bloodbath here. You won’t be able to show your face in public again.

Gunshots are heard from the main hall.

ANDREA (CONT’D)
And it sounds like the killing has begun.

CUT TO:

INT BANQUET HALL - SAME TIME
Eddie and Moumin hear the gunshots and start running faster. Suddenly, the doors to the main hall open and hostages start running out screaming. Moumin and Eddie muscle their way through the throng and emerge in the middle of a gunfight. Mark and Eric are shooting at the multiple hostage-takers, who are dropping like flies. Eddie immediately raises his gun and shoots a man who was firing in Mark’s direction. Moumin also starts firing.

CUT TO:

INT BANQUET HALL - SAME TIME
The door to the main hall opens and some hostages run out. Andrea turns, and when she does, Mraz grabs her arm and wrenches the gun out of her grasp. He retrieves it and points it at her.

MRAZ
I have a feeling the only people who will be dying today will be the men you hired. You should know I never travel alone Andrea.

ANDREA
It doesn’t matter. You’ll still be in the papers. You still won’t be anonymous anymore.

KRYSTAL
Neither will you. I imagine all the reporters will want to know which of the hostage-takers caused that black eye you have.

ANDREA
What black -

Before she can finish, Krystal punches her in the face, knocking her to the floor. She turns to Mraz, smiles slightly, and shrugs.

KRYSTAL
Told her not to underestimate me.

CUT TO:

EXT POLICE MOBILE VAN - SAME TIME
HRT Officer jumps up at the gunshots.

HRT OFFICER
Shots fired! We’re going in! Let’s move!

The team of HRT officers all start rushing towards the building.

CUT TO:

INT BANQUET HALL - SAME TIME
The main hall. The gunfire has stopped. The only people remaining standing are Mark, Moumin, Eddie and Eric. In the middle of the room lying in a fetal position, but still very much alive, is Sherman.

MARK
(to Eric)
What the hell were you thinking!!!

ERIC
He was about to shoot Governor Sherman!

MARK
You don’t know that! Jesus Christ you almost got us all killed!

EDDIE
All in all though, I’d say we did pretty well. Living hostage-takers - 0. Living good guys - 4.

MOUMIN
Guys, I don’t think all that gunfire went unnoticed. Might be time for us to leave.

MARK
Moumin’s right. Everyone out through the kitchen.

Moumin, Eddie and Eric all exit. Mark walks over to Sherman.

MARK (CONT’D)
Governor, are you okay?

SHERMAN
Who the hell are you people!?

MARK
You don’t need to know that. Just remember, if anyone from Mraz Inc. calls you asking for a favor, you owe us.

Mark runs off.

CUT TO:

INT BANQUET HALL - SAME TIME
HRT units bust through the front door of the building and come upon Mraz, Krystal and Andrea.

HRT OFFICER
Everybody down on the floor! Now!

Mraz, Andrea and Krystal all get on their knees and put their hands up. The HRT officers come over and start to cuff them.

FADE TO BLACK.

FADE IN:

INT MRAZ INC - NIGHT
Mark is sitting in Mraz’s office. Mraz, looking bedraggled comes in and sits down.

MRAZ
Hey.

MARK
Hey champ. How are you?

MRAZ
Eight hours dealing with angry police and lawyers, how do you think I am?

MARK
They let you out though. That’s good.

MRAZ
Yeah Krystal bought us time until Taylor arrived. He’s still dealing with them now. He’s not happy.

MARK
I imagined he wouldn’t be.

MRAZ
Couldn’t you have avoided killing so many people? It didn’t make things any easier for us.

MARK
Blame Eric. He was the hothead this time. Thought one of the hostiles was going to shoot Sherman. He just jumped in firing.

MRAZ
He may have been right. Andrea told me that was the plan. Start killing people once I arrived.

MARK
You don’t say? Eric was right then? That’s got to be a first. How’d the new girl hold up through the whole thing?

MRAZ
Krystal was amazing actually.

MARK
Oh god, you’ve got to be kidding me.

MRAZ
What?

MARK
You’re falling for her already aren’t you?

MRAZ
What? No. I was just impressed.

MARK
Sure you were. Damn, you work quick. I mean we just hired her and already you’re salivating.

MRAZ
I am not salivating.

MARK
I mean granted, the girl’s a looker but -

MRAZ
That’s not what I meant!

MARK
Right.

Mark smiles at Mraz.

MRAZ
You’re an asshole.

MARK
I’ve been called worse. C’mon, let’s get out of here, I’ll buy you a drink, you look like you could use one.

Mark stands and starts to leave. Mraz follows him.

MRAZ
You know Andrea was right about one thing.

Mark stops.

MRAZ (CONT’D)
We’re not going to be working under the veil anonymity anymore.

MARK
Eh. So your face is in the paper now, whatever. Maybe Krystal will find you more attractive now that you’re famous.

MRAZ
Maybe. I mean...oh screw you.

MARK
(laughing)
C’mon, we’ll worry about it tomorrow.

Mark exits.

MRAZ
Right. Tomorrow.

Mraz turns off the lights in his office.

FADE TO BLACK.

THE END.