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.