MRAZ INC
“Devil's Den”
Written by Taylor Shann
TEASER
INT. MRAZ INC- HOLDING CELL- DAY
LINDSAY looks straight at the camera, in an orange prison jumpsuit, but with a calm expression.
ANGLE ON:
Lindsay’s hands, handcuffed. She holds a playing card, the Queen of Spades. She plays with the card. It seems to be made of something other than paper.
KRYSTAL (O.S.)
Where’d you get that?
ANGLE ON: KRYSTAL sits across from Lindsay. The room is very small and practical, with benches bolted into the wall. Krystal wears a bulletproof vest and holds an assault rifle.
Lindsay stares at Krystal, not answering. Then, she begins playing with the card like a magician. It dances on her fingers, goes in and out and then disappears completely. After showing there is nothing at all in her hands, she makes it reappear, and offers it to Krystal.
KRYSTAL
…’pick a card’?
Lindsay smiles. Krystal glares. Silence. ERIC bursts in.
ERIC
(in TAC gear)
We’re ready.
CUT TO:
INT. MRAZ INC- SIDE ENTRANCE SECURITY GATE
A dingy little cubicle that stands between the side entrance and the service elevator. Inside, a BURLY GUARD sits in his chair, reading the New York Post. His monitor begins beeping. He sighs, folds the paper and stares at his screen-
ANGLE ON: The monitor. It reads EAM EAM PRISONER TRANSFER 0966WOLF…
MATCH CUT:
INT. DEVIL’S DEN- COMPUTER ROOM- DAY
An expensive monitor has a window open, displaying the same message. A new message pops up: TRANSFER AUTHO 934 TEXAS
A SHAPE fills the screen, which we realize is the back of someone’s head. It blocks our view of the monitor. We hear a gravelly voice:
VOICE
The problem with Mraz Inc., is that it’s run by Mraz.
CUT TO:
INT. MRAZ INC- SIDE ENTRANCE SECURITY STATION- DAY
The Burley Guard leans out of his little room, nervously.
The service elevator door opens, and Krystal and Eric escort Lindsay out of it. They are flanked by two ARMED GUARDS. The Burley Guard, sweating, hits a button.
CUT TO:
INT. DEVIL’S DEN- COMPUTER ROOM- DAY
We see a disfigured hand typing on a keyboard.
More windows open up on the monitor, one per security camera feed. Both we and the Voice are watching a live feed of the prisoner transfer, and outside the security door.
VOICE (O.S.)
If it wasn’t for the leadership, the organization could be tolerated.
On the monitor, one of the feeds shows the side door opening…
MATCH CUT TO:
EXT. MRAZ INC- SIDE ENTRANCE- DAY
We see the same door opening in the daylight. A yellow light flashes and we hear a buzzer.
A van sits, twenty feet from the side entrance, with DRIVER and GUARDS ready.
ERIC
Prisoner Transfer! 0944! Authorization-
DRIVER
Yes, thank you-
INT. DEVIL’S DEN- COMPUTER ROOM- DAY
We see the corresponding image on the monitor. The Driver can be heard over speakers:
DRIVER (V.O.)
-you, we can handle it from here…
ANGLE ON: The eyes of the voice, darting back and forth
ERIC (V.O.)
Just want to make sure everything-
KRYSTAL (V.O.)
Hold on.. what is th-
The eyes go wide as we hear gunshots over the speakers…
EXT. MRAZ INC- SIDE ENTRANCE- DAY
The Driver is down on the ground, a dark red stain on his shoulder.
ERIC
Get down!
The street comes alive with gunfire, seemingly coming in from all directions. The other Guards return fire, only to be shot down. Krystal and Eric are kneeling, trying to get a bearing. Lindsay stands still looking around with an eerie calm. Krystal sees this, screams:
KRYSTAL
Get down you crazy-
She is cut off by gunfire. Lindsay pulls out her card, and uses it to cut through the cuffs easily.
Lindsay begins to run. Krystal aims her assault rifle, only to get hit in the neck.
She slumps down, red dripping everywhere. Eric grabs her and starts dragging her towards the door-
INT. DEVIL’S DEN- COMPUTER ROOM- DAY
The Voice begins jumping up and down, watching the drama with delight.
While we cannot see his face we see it is a hulking man with a lot of bulk, wearing a mismatched suit and screaming at the top of his lungs:
MAN
Bravo! Bra-Vo!
We hear Eric screaming over the monitors:
ERIC (O.S.)
Open the door! Open the damn door!
INT. MRAZ INC- SIDE ENTRANCE SECURITY GATE- DAY
Eric drags the unconscious Krystal in, while the Burly Guard closes the door. Bullets are still flying, at the door, only stopping when it closes.
INT. DEVIL’S DEN- COMPUTER ROOM- DAY
We see Lindsay on the monitor, still running, now well out of range of capture.
The man claps, highly amused, then stops. He turns and faces the camera:
It is RUDEZ. He is highly disfigured since the last time we’ve seen him. His eyes gleam with madness.
RUDEZ
Good show, good show. (stops, angles his head, looking around) Buddy? BUDDY!
INT. DEVIL’S DEN- BUDDY’S CHAMBER- DAY
A small, dingy room with chains and hooks on the walls. It is haphazardly lit.
BUDDY stands, staring offscreen. He cocks his head, like a bird, and looks, at best, on drugs, and worst, crazy. He holds something in his hand.
RUDEZ (O.S.)
BUDDY!
A door opens behind Buddy, bringing harsh light into the chamber. We see Rudez in sillouette. Buddy does not turn.
RUDEZ
Buddy! We’ve been cooped up here too long. It’s time to reconnect with old friends.
(disappears for a moment; reappears)
Stop playing with your food! We’ve got work to do!
Buddy waits for him to close the door, reveals the object in his hand- it is a knife. He takes a breath, then stabs at what/whoever he has offscreen…
CUT TO:
INT. MRAZ INC- SIDE ENTRANCE SECURITY GATE- DAY
Krystal’s neck wound. It is awfully bloody, but there seems to be no actual opening. The Burly Guard kneels over her. Eric runs to the Guard’s monitor, reads the message.
ERIC
We’re clear!
Krystal suddenly springs up, screaming.
KRYSTAL
Gyah! Do you have any idea how much that STINGS?!
She wipes her neck. The karo syrup comes off in her hands. Eric grins.
SMASH CUT TO:
MAIN TITLES
END TEASER
__________________________________________________________________________________
ACT ONE
On a black screen, we hear the opening strains of U2’S "Mysterious Ways".
INT. CVS- DAY
In one unbroken shot:
We see Lindsay, free of her handcuffs and wearing her prison shirt inside out, walk down an aisle in CVS. Casually, she uses her Queen of Spades to cut a support for a sale display in half.
We follow her into the next aisle, as we hear the display crash offscreen. As the EMPLOYEES scatter to pick everything up, she grabs a bottle of hair dye and walks out the front door.
INT. STARBUCKS BATHROOM- DAY
Lindsay stares at herself in the mirror. She still wears her prison gear. In a series of quick cuts
-she takes her pants off-
-She rips off half of the pant legs with her card-
-She ripe up her shirt with her hands-
-She pulls out the small bottle of hair dye-
-She dunks her head in the sink, pouring the dye on it-
-She pours the excess dye on her ripped pants-
INT. OUTSIDE STARBUCKS BATHROOM-
An ANGRY PATRON knocks on the door.
ANGRY PATRON
You almost done in there?
(knocks)
What are you doing??
Suddenly the door opens-
ANGLE ON: Lindsay, with jet black hair, an improvised tank top made out her prison shirt with an inside out jumpsuit, and black/orange pants that have been ripped into shorts.
ANGRY PATRON
Jesus. Is it Halloween already?
She gives him a look, then grabs him and kisses him. The Patron doesn’t know what to do, as she runs her hands down his back and pants. Just as quickly as it begins, it stops. She saunters away. He stares at her, dumbfounded, then goes into the bathroom.
CUT TO:
EXT. STARBUCKS- DAY
Lindsay walks out of the Starbucks, holding the Patron’s wallet. She takes out the cash and credit cards, and throws the rest on the ground. This is over in about 5 seconds.
As she walks away, her eyes dart up.
ANGLE ON: We see a ROBO-PIGEON, cocking its head, staring at her.
ANGLE ON: Lindsay, staring up at the bird, cocking her head.
MATCH CUT TO:
INT. MRAZ INC. MRAZ’S OFFICE- DAY
The same image on Mraz’s monitor. MRAZ stares at it, then turns. In his office are KEATING, Krystal, EDDIE, and Eric.
KRYSTAL
She comes in here, breaks through all the security- almost kills Brian-
ERIC
You had us scouting out all over town for a convict you said was trying to kill you-
EDDIE
And someone did get killed, let’s not forget.
ERIC
Yes- thank you- God rest him- and after ALL of that, now we’re using her as bait?
A moment. Mraz says nothing.
KEATING
It’s a lot to swallow, Mike.
MRAZ
Lindsay had her reasons.
KRYSTAL
So do all psycho-killers.
MRAZ
Her actions and Andy’s death are unrelated.
EDDIE/KRYSTAL/KEATING
I’m not/Mike!/Well-
EDDIE
Look, it boils down to this, and only this. Bitch is crazy.
KEATING
You’ve never dated a woman who’s voted, have you?
MRAZ
Lindsay Wolf did NOT kill Andy Chemelko. Anyone who thinks otherwise can leave this mission right now. Alright?
KRYSTAL
That’s not the same thing as ‘unrelated’, is it?
Pause.
MRAZ
Okay. You want a briefing? Fine. Steve?
STEVE enters.
KEATING
The intern?
EDDIE
No way.
Steve whips off a wig, and completely adjusts his posture. Eric and Eddie react, the girls don’t recognize him. Eddie is shaking his head.
STEVE
Hi guys. Long time, huh?
EDDIE
Yeah. Cause. You know. You were DEAD, YOU SON OF A-
Eddie lunges at Steve, and is held back by Keating and Krystal.
CUT TO:
INT. ANDY’S APARTMENT- DAY
A burned out shell of an apartment. MARK and DUCKY stand among the ashes and sticks of furniture. Ducky is examining a piece of the wall, Mark is pouring whiskey in his coffee.
MARK
There should be people here.
(pause)
Detectives. Forensics. Something. This is a crime scene, not an accident. People’s apartments don’t just explode.
(pause)
Well?
DUCKY
I think this building should be condemned. I can’t tell you how many fire codes were being broken BEFORE the boom. Still… Someone wanted this place to go up.
MARK
(grimaces)
Mraz wants us to let it play out for now. Get to it later.
DUCKY
Sad, but Andy’s death IS a distraction from whatever Andy was digging up…
(Mark gives him a look)
Don’t think this is easy. A guy lives 30 good years, and now he’s dead. And we’re left to pick up the pieces…
Ducky unearths a BATMAN poster that was somehow spared from the fire. They stare at it, sadly.
DUCKY
What can you do?
MARK
(rolls up the Batman poster)
Do? No, we find. We find the guy that did this.
DUCKY
(thoughtfully)
Or girl.
CUT TO:
EXT. ALLEY- SUNSET
Lindsay opens her eyes, shaking her head. She’s leaning against a barrel in a dingy alleyway. Hours have passed, the sun is setting. She shakes her head.
She hears a scraping noise against brick. She narrows her eyes, stands, holding her card like a knife.
LINDSAY
I hear you. You want me to hear you. Speak.
BUDDY (O.S.)
Me?
Buddy steps into view. He is a stringy, thin man with an uneasy smile. He has his hands in his pockets.
BUDDY
It’s just me.
LINDSAY
And who is that?
BUDDY
I’m Buddy. And I want to be your buddy.
LINDSAY
Uh. Huh. Well, I’m seeing someone, Buddy; and I’m not in the market for friends right now.
BUDDY
But I just want to play a game. A little game.
LINDSAY
(pointedly)
It’s all fun and games until someone loses an eye, Buddy.
BUDDY
Oh. I wouldn’t do anything.
(he smiles innocently)
To your eyes.
Lindsay looks around. There are no Robobirds to be seen, or escape routes. She’s on her own.
Buddy pulls out two knives, one from each pocket. Lindsay takes a defensive pose, holding her playing card to parry.
Buddy lunges, and Lindsay ducks out of the way, swinging her hand with the card. She misses Buddy, who spins around, and grabs her arm.
They struggle. The card drops, as does one of his knives. Buddy forces her to the ground. They struggle over the remaining knife, that Buddy is trying to shove into her chest. Suddenly, Buddy cries out in pain and reaches for his neck. Lindsay uses this opening to kick him against the wall.
Lindsay recovers her card and one of his knives, but Buddy is whimpering against the wall, grabbing at his neck. A metal band around it is electrocuting him.
RUDEZ (O.S.)
You ass! You had one job to do!
Rudez appears, seemingly out of nowhere, with his suit and mask. He stomps over to Buddy, and gives him a hard kick. Buddy falls to the ground.
RUDEZ
This is just like Beijing! I leave you for five minutes, and then-! Can't you control yourself for-
He stops, seeing Lindsay. He grins crookedly, which looks even stranger under the mask.
RUDEZ
You must forgive Buddy. He simply does not know how to behave… Or how to deliver a message properly.
Lindsay stares at him, ready to fight or fly.
LINDSAY
What message?
RUDEZ
(pulls out an embossed invitation)
Would the lady like to attend a party?
FADE TO BLACK
END OF ACT ONE.
_____________________________________________________________________________________
ACT TWO
INT. MRAZ INC- ANDY'S TERMINAL- DAY
ANDY’S Terminal fills the screen. It says
LOADING…
Then the list appears on the screen of Andy's terminal.
ANDY
DUCKY
EDDIE
KEATING
MRAZ
Mark stares at it. Ducky stands behind him.
MARK
This is the list Andy showed me the day he died.
DUCKY
So one of these names…
MARK
Is dealing with Andrea. Funneling money out of the company account. And, until proved otherwise, is Andy's killer.
DUCKY
I'm on that list.
MARK
(turns, faces Ducky)
Did you murder Andy and embezzle millions of dollars from the company?
DUCKY:
… no?
MARK
Okay then.
CUT TO:
INT. MRAZ INC- INTERROGATION ROOM- DAY
Steve sits in an interrogation room. It is cold and clinical, a metal chair, metal desk and bare walls. Eddie and Krystal sit, looking at him. Mraz stands against the wall, staring at the ground.
Steve plays with a deck of cards, zoned out.
STEVE
23 months. Ten in recovery. Twelve trying to figure out how to get back to her. And, one here.
KRYSTAL
And you didn’t try to contact her?
STEVE
I did. I tried. Whoever you guys have in there is very good and very bored, because every letter, every phone call, fft. She might as well have been a ghost. Like me.
MRAZ
(not looking)
We had nothing to do with that.
STEVE
Maybe, Maybe not. But. She thought you did. She was in there twenty three months, waiting. For you. For killing me.
(shuffles the cards)
Which, as far as you knew, you had. Ta-Da.
EDDIE
(after a moment)
You could have called.
STEVE
Yep. It would have been a neat trick, for a dead man.
KRYSTAL
Steve. You broke into Mraz Inc.
STEVE
I, uh, interviewed. Actually. Two month process, to become an intern here. Slowest
break-in on record, really. It’s interesting-
EDDIE
Steve, you ever read the Poetics? Aristotle. Of course you did, we took that class together. He says in there, it’s one of the principles of drama- there’s a time to masterbate, when it comes to telling the truth, and a time to stop wasting our goddamn time.
KRYSTAL
I don’t remember that.
EDDIE
Why. Why are you here?
STEVE
I wanted nothing more… than to get her out. To find her, and just run away. And now, what I want, I have. But I can’t take credit for it. I didn’t do it.
Eddie looks at Krystal. She shrugs.
KRYSTAL
Interns certainly don’t have that level of access. Unless he stole a code from-
STEVE
I did not know she was out until you evacuated the building. And only YOU guys had the pull to get her out so fast. So if you didn’t, and I didn’t, that means there’s someone else.
EDDIE
I don’t understand.
STEVE
Does anyone? You know, acting or running a multi-level spy organization, still, no one around here THINKS.
(frustrated, the cards explode out of his hand)
Someone else wanted Lindsay Wolf out of prison. And it was someone at THIS company
MRAZ
(goes to the door)
It means we have a traitor. It means Lindsay’s the key. They want her? Let her come to them. Then, we attack.
STEVE
I didn’t agree to that.
MRAZ
I didn’t ask.
TAYLOR appears at the door, in a rush.
TAYLOR
We’ve got something on the… uh, the.
(looks at everyone’s expressions)
Robobird.
Mraz storms past him, slams the door.
CUT TO:
EXT. ALLEY- SUNSET
Lindsay circles Rudez, uneasily. Rudez is smiling, but blocking her exit. Buddy remains on the ground, twitching and grasping his ‘collar.’
RUDEZ.
Tonight, at Devil’s Den. It’s a little suare, if they still use the term,
LINDSAY
I don’t know what or where Devil’s Den is.
RUDEZ
Then I’m doing something right. Think, dear, when was the last time you cut loose?
LINDSAY
Three years, give or take. What’s the occasion?
RUDEZ
You know, a little song, a little dance. Mraz's head on a lance. That kind of thing.
LINDSAY
Mraz. What do you have against Mike Mraz…
RUDEZ
Mraz? MRAZ? I owe him my life. I am in debt to him for more than he can repay. In any case, there might be a little business, there might be a lot of recreational pharmaceuticals, and darling, you look like you could use a roll in the hay. Metaphysically.
(he holds out a card)
No strings attached, of course.
LINDSAY
Maybe. Let me see-
She reaches for the card, grabs Rudez by the arm and pins it behind his back. He lets out a cry that is half laugh and half pain, and bends to his knees. Lindsay growls.
LINDSAY
Don’t follow me.
RUDEZ
I outweigh you and it’s not muscle. How-
But she’s already gone, running down the alley.
RUDEZ (CON’T)
… charming.
(he presses a button on his cane)
Easy, Buddy.
Buddy snarls, gets up, rubbing his ‘collar.’
BUDDY
She took one of my knives. Not fair, NOT fair. I only did what you told me to do, what you told me, what did I do?
RUDEZ
Do as I say, not as I do.
(twirls cane, once, thinking)
Is the enemy of my enemy my friend? Or my enemy?
BUDDY
(clicks tongue)
I eagerly await your imminent demise.
Rudez stares at Buddy, then shocks him again. Buddy cries out in pain, and Rudez suddenly grabs him, lifting him off the ground.
RUDEZ
You’re an irritating sick bastard, you know that? You know how expensive it is to keep you sweet? Do you?
(looks up, and drops him onto the ground)
Pretty bird.
ANGLE ON: One of the Robobirds. It twists its head and then flys away.
Rudez grimaces, releases Buddy from the shocking. He cracks his neck.
CUT TO:
INT. MRAZ INC- ANDY'S TERMINAL- SUNSET
Ducky stares at Mark, bleary-eyed. Mark stares at the monitor, now sporting a 5 o'clock shadow, but expression unchanged. A moment of silence.
DUCKY
You know, you can stare at that list all day, it’s still going to say-
MARK
Shut up.
DUCKY
(sighs)
Yes, it is going to say shut up. Exactimundo.
MARK
Look. The answer is here. Andy was looking here. And whatever he saw, whoever saw him had him-
DUCKY
Back up. Didn’t someone try to kill you the night Andy died?
MARK
Huh? Yeah. Some jerk in a deathcab contraption. I torched it. If he got away, horribly burned. So?
DUCKY
So? So. So, a guy tails you from the bar and tries to kill you. And Andy, going home from said bar, is bombed. So. These are unrelated, or, or what? Am I crazy?
MARK
…no. But I might be stupid.
DUCKY
I didn’t say that.
A voice over the intercom interrupts them.
INTERCOM (KEATING) (O.S.)
All staff on active duty. Briefing room, immediately.
They look at each other.
CUT TO:
INT. MRAZ INC- BRIEFING ROOM- EVENING
Mraz stands at the front. Everyone else is jammed into the briefing room, watching expectantly.
MRAZ
Alright. You’ve been on alert all day, and now, I’m going to tell you why. I know some of you have felt that I let Andy’s death… go unnoticed. Or lacked passion. Well, I mourn as well. But I mourn tonight. With bullets. For years, we’ve made it our business to stamp out parasites where we find them. In one night-tonight- we take out the hornet’s nest.
Mraz presses a button, a visual of the building containing the DEVIL’S DEN comes up.
MRAZ
What he was tracking- what killed Andy Chmelko- is inside this building. The money tracks there. This has been independently confirmed by surveillance of Lindsay Wolf.
Mraz presses another button, bringing up a still of Rudez giving Lindsay the invitation. There are murmurs.
MRAZ
Our intel indicates that tonight, all the major players will be in attendance. Rudez. Buddy- yes, THAT Buddy. And the major prize, the holy of holies… Andrea Davis. Tonight, they’re having a party. We’re gonna crash it. All of us. Eric?
ERIC
This is going to take everyone here, fully armed and equipped. Only Keating, Ducky and the Lawyer are staying behind. I know some of you are more equipped for pencil-pushing than swat-teaming, but there’s a reason you’re all trained in small-arms fire. We cover the building, the exits, and we don’t stop until the last scumbag is in cuffs.
ANGLE ON: The back of the room. Mark leans over to a very anxious Taylor.
MARK
This is legal, right?
TAYLOR
Ish. Legal-ish.
ANGLE ON: Mraz sits on the briefing table, pulling out his gun.
MRAZ
Nothing we do tonight will bring Andy… will bring our friend back. But tonight, at Devil’s Den, we will have our wake. There will be our eulogy.
(he loads his pistol)
We are going to the Devil’s Den-
(he cocks it)
and HELL is coming with us!
The room erupts in cheers. All except for Mark, who stands in the back, watching silently. And Taylor, who is drinking Jameson straight from the bottle.
FADE TO BLACK
END OF ACT TWO
__________________________________________________________________________________
ACT THREE.
OVER A BLACK SCREEN:
We hear the start of the Smashing Pumpkins' "Ave Adore". At the the start of the beat
FADE IN:
INT. DEVIL’S DEN- NIGHT
Elevator doors open, and the camera sees:
A cross between Las Vegas, a warehouse rave and Dante’s Inferno.
Lights spin wildly and pulsing music blares. Writhing bodies mix with improvised booths, featuring arms dealers and drug pushers. A lot of money is in the room.
In one shot, the camera proceeds in a bee-line to the center of the room, past security guards, men in suits, coked-out party girls. They all look at the camera in deference, and we realize that it’s someone’s POV.
At the center of the room is Rudez- he is in the spotlight, ringmaster, speaking over the sound system.
RUDEZ
Remember, we take all kinds here- jews, pimps, whores, blacks, muslims, even Baptist ministers- I don’t care if you’re a transsexual hobo, if you have cash and a cause, we’ll take your money!
(someone whispers to him, he spots Andrea)
Ah, Ms. Davis!
ANGLE ON: ANDREA, our former POV. She stands in her little black dress, wearing sunglasses. She is not happy.
ANDREA
(cold)
Michael.
CUT TO:
INT. OFFICE BUILDING- LOBBY- LATE
A large, expensive looking office building. White marble walls. Late at night. A BORED SECURITY GUARD stands at his desk. He flips through a magazine.
LINDSAY
I’m here for the audition.
BORED SECURITY GUARD
13th floor. Go ahead.
Lindsay walks past. The banks of elevators say 1-12 FLOORS and 14-29th FLOORS. She stares.
LINDSAY
Which elevator?
BORED SECURITY GUARD
13th Floor.
CUT TO:
INT. OFFICE BUILDING- ELEVATOR- LATE
The elevator doors close. Lindsay looks at the buttons 14-29. There is an entry for a keycard.
ANGLE ON: She turns the invitation over in her hands, and a keycard falls out. It says “13” on it.
Lindsay smirks, inserts the KEYCARD. The lights blink on and off, and the down arrow illuminates.
CUT TO:
INT. DEVIL’S DEN- OUTSIDE BUDDY’S CHAMBER - NIGHT
Buddy leans against the back wall, playing with his knife. Rudez and Andrea can be seen in the distance, sitting in chairs at an improvised bar. He is rolling his head.
PARTY GIRL (O.S.)
Hey.
Buddy looks up. A PARTY GIRL, probably too young to be drinking, eyes him. She has a nervous smile.
PARTY GIRL
Are you Buddy?
BUDDY
Are you pretty?
PARTY GIRL
(laughs)
They say you’re someone, uh… someone to get to know.
(whispers low)
The guy at the door says I’m out unless I know somebody here… and if I go I gotta go home… and home’s in Bensonhurst. Help me out?
Buddy looks past her. By the elevator, a muscled BODYGUARD stares, gives a single nod. Buddy looks back at the girl, and smiles wide, extending his hand.
BUDDY
I’m Buddy. And I want to be YOUR Buddy.
CUT TO:
INT. DEVIL’S DEN- ELEVATOR- NIGHT
The Bodyguard watches Buddy and the Party Girl walk up to Buddy’s room. Behind him, the elevator doors open and Lindsay steps out. The Bodyguard, without turning, shoots out his arm and blocks her from entering.
BODYGUARD
Invitation.
Lindsay hands him the invitation. He grunts, crumpling it.
BODYGUARD
Behave.
Lindsay takes a step in. She watches the Bodyguard’s gaze, looking up just in time to see Buddy closing his door.
CUT TO:
INT. DEVIL’S DEN- NIGHT
Rudez and Andrea sit at the improvised bar.
RUDEZ
The thing about momentum is, once you have it, you can’t not have it. It builds and builds and then BAM POP WOWEE. You can’t stop it. I can’t stop it. I can’t-
ANDREA
It’s 9:30 and I should be across town flirting with bartenders who can’t afford me. What do you want, Rudez?
RUDEZ
I want a lot of things. Money. Power. Competent help. Sodomy while I sleep. What I will have is Mraz. Dead.
ANDREA
And is this business or personal?
RUDEZ
This is War, Andrea. The two become the same, which is to say, irrelevant.
ANDREA
See, Michael, this is why I don’t drop in anymore. I have enough problem with blowhards like ex-Governor Sherman, I don’t need to deal with you as well. Mraz carved up your face, made you do a Phantom of the Opera bit. I understand you’re upset. But carte-blanche to go around blowing things up; I just won’t have it.
Rudez pulls out a vial, begins cutting lines of something powdery on the table.
RUDEZ
C’mon now, Andrea. We’re not savages here.
ANDREA
(sighs)
So, do you have Ketel One here, or is it strictly moonshine?
CUT TO:
INT. MRAZ INC.- CONTROL ROOM- LATE
Ducky, Taylor and Keating watch a booth of monitors, each live feeds from various command teams. They are all marked by small names- MRAZ, MARK, KRYSTAL, ERIC, etc.
DUCKY
(tense)
We should be getting audio. Why aren’t we getting audio?
KEATING
(calm)
You designed the system. The switch is off.
DUCKY
…right.
Ducky flips the switch. Taylor opens a Diet Mountain Dew®.
We hear audio from the teams.
MRAZ(V.O)
Alright… Eric, I want you with your team at the back, when they try to bolt.
ERIC(V.O.)
Copy.
MRAZ (V.O.)
Krystal, you’re with Eric on the back door. Remember, the priorities get put in separate cars. Everyone else in the paddy wagons. Ducky, when I give the G-O, you cut the power from home. Eddie, Moumin, you’re gonna take the vents; let’s give’em a little shock and awe. You’ll probably come in through the bathrooms, so, it won’t be hard.
MOUMIN (V.O)
Oh, hell.
EDDIE (V.O.)
We’re disgusted, but we copy.
MRAZ (V.O.)
The G-O is Chemelko. Again, the G-O is Chemelko. Remember. We hit them fast and hard; we WANT them to run. This thing should be over in a matter of minutes, if that.
Keating leans over into the microphone.
KEATING
Mraz, it’s Keating. How are you and Mark getting in?
MARK (V.O.)
We’re gonna walk in the front door.
Everyone in the control room balks.
DUCKY
Come back, did you say the front door?
MARK (V.O.)
Don’t wait up.
Taylor stands, exits the room, ranting
TAYLOR
I’m not hearing this, I never heard that, I’m not liable, I don’t know this is going on. Where’s the whiskey?!
CUT TO:
INT. DEVIL’S DEN- BUDDY’S CHAMBER- NIGHT
The chamber is lit almost romantically, so you can’t see the chains on the walls. Buddy stands with his back to the Party Girl, who is on the cusp of getting freaked out.
PARTY GIRL
So, your room, huh? It’s uh. It’s nice.
BUDDY
This is my studio. This is where I make art.
PARTY GIRL
Do you paint?
BUDDY
(sharp)
I sculpt.
Buddy exits to a separate room. The PArty Girl plays with her purse, looking around. Something is not right.
PARTY GIRL
Are you going to offer me a drink?
BUDDY (O.S.)
Alcohol toxifies the mind.
PARTY GIRL
(sighs)
Look, I’m just gonna come out and say it- do you have any drugs, or what?
Offscreen, we and she hear a door locking. Party Girl thinks, then pulls out her cell phone- She has no signal.
CUT TO:
INT. OFFICE BUILDING- LOBBY- LATE
The same lobby. The Bored Security Guard stares at his monitors, having already filled out the crossword on his magazine.
MARK (O.S.)
We’re here for the audition.
Bored Security Guard looks up. Mraz and Mark stand in front of him. Mraz is in his suit, Mark is in his leather jacket.
BORED SECURITY GUARD
Man. These auditions just getting weirder. 13th Floor.
They stare at the two signs 1-12th Floor, 14-29th Floor.
MRAZ
Uh. Which one?
BORED SECURITY GUARD
13th Floor. You know- actually- where’s your invitation.
(looks past them)
I’m gonna get fired. Where all ya’ll’s invitations?
Mraz and Mark stare at each other, blank. Then, Mark grabs the Guard’s head and slams it into the desk.
MATCH CUT TO:
INT. DEVIL’S DEN- IMPROVISED BAR- NIGHT
Rudez’s head snaps up, having just snorted a line of a powdery substance.
RUDEZ
A man with a gun decides to wipe out a tribe that, once upon a time, wiped out his family. The U.N. Passes a resolution. And everyone wonders who will do something about something. Meanwhile, the man with the gun, and the will to use it- that tribe is already gone.
Rudez snorts another line. Andrea puts down her drink in disgust.
ANDREA
(grimly)
How’s the cocaine?
RUDEZ
I wouldn’t know. This is- what is this?
ANDREA
(reads label)
Vicadin, Ecstacy and Children’s Benadryl.
Rudez snorts the last line, makes a Howard Dean-esque scream, then shakes his head violently.
RUDEZ
Right and wrong is easy, when no one’s trying to kill you. Words, laws, and all the political correctness of the world mean nothing, without the firepower to make it stick.
ANDREA
You’ve come to the wrong gal for anarchy, brother. I like laws. Profit is much easier, and safer when you know which rules you’re breaking. Are we done here?
RUDEZ
Listen to me.
ANDREA
Because I’ve heard enough.
RUDEZ
No, you LISTEN to ME! It’s coming.
(beat)
Something big is coming. And I can’t stop it. If I wanted to.
ANDREA
Who says?
RUDEZ
Someone on the inside. It’s already in motion. Dominos are gonna fall. But now- this- here- is the ground floor.
Rudez snorts another line, coughs, spits up on the table. It is not pretty.
ANDREA
Jesus, Michael.
RUDEZ
(closes his eyes)
A genocide is about to be inflicted on this city. Are you with me, like Buddy and Lindsay Wolf? Or will you be a statistic?
ANDREA
…you let Lindsay Wolf in here?
CUT TO:
INT. DEVIL’S DEN- BUDDY’S CHAMBER- NIGHT
The Party Girl tries the door, but it’s locked. She’s starting to get worried. She raises her voice.
PARTY GIRL
Buddy?
(pause)
… oh God, I didn’t offend you did I? I’m so sorry, I-
Buddy re-enters, wearing a poncho. His hands are behind his back. Party Girl does not see him re-enter. He stands between the Party Girl and the exit.
PARTY GIRL
Didn’t mean to- I. I shouldn’t be here. This whole night has been so-
(sees Buddy, tilts her head)
What is that?
BUDDY
It’s a Mraz Inc poncho. I got it at a picnic.
PARTY GIRL
You’re wearing a rain poncho- inside?
BUDDY
Before I slit your throat.
(beat, pulls out a roll of duct tape)
I’m going to exract your eyes.
FADE TO BLACK
END OF ACT THREE
____________________________________________________________________________________
ACT FOUR
INT. DEVIL’S DEN- PASSPORT BOOTH- NIGHT
A HAWKER sells his wares. Lindsay approaches.
HAWKER
We got fake IDS! Real IDs that we put your name in! We got passports, From Albania to Zimbabwe! You, miss, what can I do for you? Who would you like to be?
LINDSAY
(a small smile)
I’d like to be me, just, somewhere else.
HAWKER
Hey no problem! We got a combo visa-travel ticket passport, right up your alley! I can get you anywhere except London or Russia. That’s extra.
LINDSAY
Could you do two? A couple?
HAWKER
Sure. Brother and Sister? Marriage? Whatever you want. Fake marriage license is the easiest thing to fake. But I don’t like to think of them as fakes, you know? I’d like to think of it as art. So, can I put you down for-
LINDSAY
…have you ever killed anyone?
HAWKER
Uh. Personally? No. I shot a guy once. Accident. He lived.
(grins uncertainly)
Is that, like, uh, a prerequisite to sell here? This is my first time.
Hawker becomes more uncertain as Lindsay stares him down. Finally, she says:
LINDSAY
You’re honest. For a thief. So here’s a tip.
(leans close, almost whispers)
In 5 minutes, all hell is gonna come down on this place. Get out now.
HAWKER
(swallows)
Really? But, you know… all my stuff. I can’t leave it.
LINDSAY
Warning is a warning.
There is a faint scream heard over the rave music. Lindsay quickly runs toward the sound. Hawker looks around.
HAWKER
Yes sir! Fake IDs for sale!
(quieter)
Everything must go.
CUT TO:
INT. DEVIL’S DEN- BUDDY’S CHAMBER- LATE
The Party Girl is chained up against a wall. Buddy has just silenced her with Duct Tape. She struggles. He coos to her-
BUDDY
Now, pretty. Pretty. PRETTY.
(she stops)
Do you want drugs. Or no drugs. It’s up to you.
(she stares at him)
We’re not savages. Do you want drugs? Just nod.
(she closes her eyes, nods)
You do? You want drugs. So it doesn’t hurt.
(pause)
Too bad.
Party Girl, tries to scream again, struggles. Buddy takes out his knife, methodically moves it towards her eyes-
There is a knock at the front door.
BUDDY
Later.
(knocking continues)
Later. Later. LATER.
Buddy storms to the front door, throws it open holding out his knife.
CUT TO:
INT. DEVIL’S DEN- OUTSIDE BUDDY’S CHAMBER- NIGHT
BUDDY
LATE-
Buddy stands, alone. There is no one there. The Bodyguard is in the distance, looking at him quizzically. Buddy steps back, disturbed, closes the door.
CUT TO:
INT. DEVIL’S DEN- BUDDY’S CHAMBER- NIGHT
From Buddy’s POV, we see him close the door, then turn to face Party Girl. However, in front of her is Lindsay.
In one swift motion, she slices with her Queen of Spades right across the camera horizontally. The screen goes RED-
ANGLE ON: Buddy, screaming, kneels and covers his eyes. Blood gushes out. The duct tape and knives fall to the ground.
Lindsay cuts Party Girl free, who doesn’t even wait to remove the duct tape before kicking Buddy while he’s down. After two or three solid connections, Buddy stops screaming and just moans. Party Girl stops, and starts to cry. Lindsay holds her up.
LINDSAY
There’s no time. There’s no-
(she rips off the duct tape)
PARTY GIRL
Ow!
LINDSAY
Look at me. There’s no time. What’s your name.
PARTY GIRL/KIRA
…Kira.
LINDSAY
Kira? Can you walk?
(KIRA nods)
Good. I need you to walk, walk, not run and I need you to look embarrassed and upset, but- Kira? Kira. You can’t scream. You need to just walk and look upset, and you can’t stop until you’re breathing fresh air. Then you can run. Can you do that?
KIRA
(trying not to lose it)
Yeah. I’m an actress.
LINDSAY
(tries not to smile)
Aren’t we all?
CUT TO:
INT. DEVIL’S DEN- OUTSIDE BUDDY’S CHAMBER- NIGHT
Rudez, now high as a kite, angrily stalks toward the door. Andrea and the Bodyguard follow after him-
RUDEZ
I know I heard something.
ANDREA
The voices in your head?
The door flies open, and Kira walks/runs out, ‘acting’ upset. She stops when she sees Rudez, then ‘acts’ embarrassed and walks away, toward the elevator. Rudez gives the Bodyguard a look, and the Bodyguard follows Kira.
Rudez then looks in the door, and his face falls.
RUDEZ
Buddy-
Rudez enters the room. Andrea turns and watches the Bodyguard, concerned.
CUT TO:
INT. DEVIL’S DEN- ENTRANCE- LATE
Kira reaches to press the button on the elevator. The Bodyguard grabs her before she can, pulls her back.
BODYGUARD
Hold on there.
KIRA
Let go of me.
BODYGUARD
Right now you are trying my patience.
Rudez screams with rage, offscreen. Kira turns toward it.
KIRA
…please… let me go. I just want to go home.
MRAZ (O.S.)
Hey.
They both turn to see Mraz and Mark in the elevator.
MRAZ
She said she wants to go.
The Bodyguard loosens his grip on her wrist, but does not let go. He grimaces at the pair.
BODYGUARD
Can I see your invitations please?
Mraz opens his mouth, Mark stops him.
MARK
Sure. Here’s our invitation.
Mark shoots Bodyguard with a silenced pistol, right in the head. The Bodyguard instantly lets go of Kira and falls over dead. No one notices. They walk out of the elevator and stand over the corpse. Kira stares, agog.
MARK
God, I’ve always wanted to do that.
MRAZ
You’re sick, you know that?
KIRA
…who are you?
MRAZ
We’re Mraz Inc. And you should leave.
Mraz pulls her into the elevator. Mark presses the button for her.
MARK
Relax. We’re the good guys.
KIRA
(as the doors close on her)
…who are you??
CUT TO:
INT. DEVIL’S DEN- BUDDY’S CHAMBER- NIGHT
Buddy is on the floor, grasping for his knives. He has gauze over his eyes, which is completely soaked through with blood.
Andrea stands close to the wall and the door, nervous.
Two GOONS hold Lindsay, who is being screamed at by Rudez.
RUDEZ
WHO? ARE. YOU?!
ANDREA
She’s Lindsay Wolf, and she shouldn’t be here.
RUDEZ
SHUT UP!
(he punches the wall)
Everyone is talking, everyone must be SHUT UP.
LINDSAY
(deadpan)
I was invited. Buddy was about to carve up a woman. I decided that wasn’t going to happen.
(looks around)
At least, not tonight. And not again.
RUDEZ
How dare you… how dare you treat my friends…
(grabs her by the head)
So SHAMEFULLY?!
BUDDY
Buddy can’t see… Buddy can’t see the pretty…
Andrea watches in horror as Buddy begins to duct tape the knives to his hands. She begins edging to the door.
RUDEZ
(still watching Lindsay)
Buddy. Buddy, we’re gonna get someone to look at your peepers. But until then, you can still play. You can still hear. And she’s a pretty. And she’ll scream.
(rolling his head, coming down)
She will scream. Time to scream. Time, time is on my side… yes it is…
(he stumbles backwards, groggily)
Yes it is… time to…
LINDSAY
Mike, you know I’m telling you the truth.
RUDEZ
(tries to focus on her)
…yearg…
Lindsay looks him right in the eyes.
LINDSAY
My friends, my old friends, are coming to kill you.
ANDREA
(looking out of the door)
Oh my God.
CUT TO:
INT. DEVIL’S DEN- ELEVATOR ENTRANCE- NIGHT
Mraz and Mark stand side by side, blocking the elevator and holding loaded assault rifles. PARTY GOERS begin to notice them and point. GOONS begin walking towards them.
MRAZ
You ready?
MARK
Don’t stop till you get enough.
MRAZ
(looks at him)
Get help. Seriously. I’ll pay for it.
(into his microphone)
Ducky. Chmelko.
CUT TO:
INT. MRAZ INC- CONTROL ROOM- NIGHT
Ducky says into the microphone.
DUCKY
Copy that.
He looks at Keating. She exhales, then presses her button.
KEATING
All channels, all channels. Chmelko. Chmelko.
CUT TO:
INT. DEVIL’S DEN- BATHROOM- NIGHT
The Hawker sits on the pot, counting his money and praying to himself. Then he stops, as he can faintly hear-
KEATING (V.O.)
-melko. Chme-
The voice stops. We hear rattling and clonking. Hawker stares up, scared.
Beat.
Then, MOUMIN and Eddie come crashing through the ceiling, yelling and firing assault rifles.
The Hawker screams and hides underneath his broken door.
CUT TO:
INT. DEVIL’S DEN- MAIN AREA- NIGHT
Distracted by the gunfire, the Goons look away, just in time for Mraz and Mark to start firing their rifles.
They aim high, initially not hitting anyone and causing the confusion they wanted. The Party-Goers, Drug-Dealers and Arms Dealers begin to scatter. Chaos.
CUT TO:
INT. DEVIL’S DEN- BUDDY’S CHAMBER- NIGHT
Rudez stares out the door, still sluggish. Andrea is livid.
ANDREA
She led them right to us.
Rudez growls at her, then lumbers down the steps and into the fray. The Goons follow, with Lindsay in tow.
ANDREA
Enjoy the rest of your party!
She turns and looks in the chamber…
ANGLE ON: Buddy has duct taped three knives to each hand, and is feeling his way around the room. The band of gauze, soaked through, has two dark red holes where eyes should be. Buddy looks as much like a monster as one can without make-up.
Andrea stares, then shuts him inside, and locks the door.
CUT TO:
EXT. DEVIL’S DEN- BACK ENTRANCE- NIGHT
The loading dock and fire escape for the office building.
The crowd runs out, and right into Krystal and Eric, who hold assault rifles of their own. Behind them several paddy wagon trucks, with MRAZ INC emblazoned on them; and their SWAT teams, forming a human chain.
ERIC
Alright ladies and genetlmen! In the trucks! Everyone try to get into the trucks, and we’ll try not to shoot you!
KRYSTAL
(trips a Goon, aims her gun at him)
In the truck, sunshine.
CUT TO:
INT. DEVIL’S DEN- NIGHT
The battle was over before it began.
Rudez stands in the center, where he was the ringmaster a short time ago. The place is almost deserted, his Goons have fled or are on the ground, wounded.
He still has a grip on Lindsay. She looks at the lights of the Assault rifles.
The four lights of assault rifles near Rudez. We hear the voices of Mark, Mraz, Eddie and Moumin telling him to stand down.
The lights of the assault rifles shine on Rudez’s face.
MATCH CUT TO:
INT. MRAZ INC- CONTROL ROOM- NIGHT
The same image of Rudez, via a video feed of one of the four commandos. He looks even more lost on video.
KEATING
Alright. Alright.
(to Ducky)
Cut the power.
Ducky flips the switch.
CUT TO:
INT. DEVIL’S DEN- NIGHT
The lights go off- plunging the place into darkness- and then the emergency power comes back on-
The place looks pathetic in the harsh light. Deserted booths and weapons are everywhere. Broken glass, ammunition and wounded guards litter the floor.
Rudez mutters almost to himself, not seeing his attackers.
RUDEZ
(whispering)
Something’s coming… something big… can’t stop it… even if-
There is a thunk, and Rudez crumples to the floor. Lindsay stands behind him, rubbing her fist in pain. She eyes Mraz.
LINDSAY
He’s still a big guy.
MRAZ
(lowers his rifle)
So. I think, uh. I think we’re even.
(looks around)
Yeah?
MARK
Sure.
EDDIE
I guess.
MOUMIN
Who is she again?
LINDSAY
Where’s Steve?
CUT TO:
EXT. DEVIL’S DEN- BACK ENTRANCE- NIGHT
We see Andrea being led in handcuffs, and thrown in the back of a MRAZ INC car by Krystal. They share a look before Krystal slams the door, and taps the top of the car.
The car drives off into the night.
FADE OUT.
TITLE CARD
2 HOURS LATER
INT. MRAZ INC- INTERROGATION ROOM- NIGHT
Steve sits in the same room as before. He's shuffling his special deck, and stacking the cards. He finishes, and there is one open spot. The Queen of Spades. He looks at the empty spot.
The door opens. He looks up.
It is Mraz. They share a look, then Mraz steps aside and lets Lindsay in. She holds up the beaten and bloody metal Queen of Spades.
Steve smiles. Lindsay begins to cry. They embrace.
LINDSAY
We’re free… we’re free…
STEVE
Sssh…
ANGLE ON: The face of the Queen, as it lays on the table. We hear Lindsay crying and Steve comforting her.
MATCH CUT TO:
INT. MRAZ INC- HOLDING CELL- NIGHT
Andrea’s face, at the same angle as the queen, staring at the camera, behind bars. We hear shouting and yelling just behind her. The assorted Goons, Drug Dealers and Arms Dealers are arguing and laying blame loudly.
After a moment, her face glowers with frustration. Then, she slams her pocket-bag against the bars, making a loud metal sound that shuts everyone up.
ANDREA
ALRIGHT. We all got screwed tonight. And we’re all in it, pretty deep.
(begins taking metal parts out of her handbag)
And we’re all pissed. And we all want a piece of Rudez. And Mraz.
There is some grumbling agreement. Andrea begins to assemble the parts into a device.
ANDREA
So we can sit here, bitch each other out, and get taken apart one by one in a few hours, after they’re done partying- or-
Andrea finishes her device. It is unmistakably a gun. She holds it up.
ANDREA
We can get the hell out of here.
HAWKER
(badly bruised)
Lady. The old “I got a gun, no bullets” routine ain’t-
Andrea pulls out lipstick, which is in fact, bullets. She begins loading gun. Hawker shuts up.
ANDREA
Anyone else? Okay then.
(she cocks the gun, stares at the camera)
Let’s get organized.
FADE TO BLACK
TO BE CONTINUED…
Monday, May 17, 2010
Thursday, May 6, 2010
Episode 1.8 "Running a Red" Written by Taylor Shann
Mraz Inc.
"Running a Red"
Written by Taylor Shann
TEASER
OVER BLACK SCREEN:
ANDY (V.O.)
I believe in Mraz. Inc.
INT SOLAS. - NIGHT
The bar is deserted, for the most part. ANDY sits, beer in hand. He takes a sip, then puts it down starts to speak- but stops, and takes another sip.
Andy puts the beer down, looks at the camera:
ANDY
I believe in what we do, I mostly believe in how we do it. Mraz Inc has been good to me. So when I…
We hear a DOOR OPEN, he looks up, stops. He is nervous and weary. He takes a quick sip of beer.
ANDY
So when I say what I’m saying I don’t say it lightly.
(pause)
Something is wrong at Mraz Inc. Very, very wrong.
Camera pulls back to reveal the person he is talking to: it is MARK. He has a pint of Guinness in front of him, untouched. His expression is neutral.
MARK
Well. I tell ya, I’d love to change the name to Souza Inc. But I don’t think Mraz will go for it.
Mark waits for a laugh that does not come, and then sips his Guinness. Andy finishes his beer, puts it down silently.
MARK
Well. You must be upset, because that was funny.
ANDY
It started as just a, I don’t know, a routine search I thought. But I found something yesterday… a crime. And the deeper I’m digging, the dirtier it gets. And people… well people aren’t going to like what I found.
(motions to bartender)
Another Stella? Thanks.
(pause)
I know it’s none- it’s really none of my business. That’s why I’m talking to you.
The Stella appears, and Andy takes a hearty swig. Mark does the same with his Guinness, now genuinely concerned.
ANDY
Finance, numbers, are like any ocean. There are sharks, there are, uh, minnows. And there are… bodies, Mark. There are bodies that are buried there that no one is supposed to find. And I, I, like an idiot, just kept…
MARK
You saw a dead guy? That’s what this is about?
ANDY
I found a dead guy’s bank account. The problem is, dead men don’t have 63 active transactions in the past six months.
Andy takes a sip, then produces a file.
ANDY (CON’T)
And then I looked up who was transacting with the dead man.
CUT TO:
EXT- SOLAS- NIGHT
Outside of the bar, a few moments later.
Mark bursts through the door, fuming. Andy follows him, putting on his coat and holding the door open.
ANDY
Mark! Jesus, hold on.
MARK
Where’s my gun, I want to shoot somebody.
ANDY
Calm down. I don’t know for sure who is doing it.
MARK
What we have is a serious breach of security.
ANDY
What we have is a clue. What I need is… I’m going to keep digging. If I find a name, if I can PROVE it…
MARK
I’m not Legal. I don’t care about evidence. If you have a name, and I have your word, that’s enough.
ANDY
(takes a deep breath)
No matter whose name it might be…
MARK
The second people flip on me; they’re dead to me. I don’t care who it is. Find me the traitor, I’ll take care of it.
ANDY
…thank you, Mark. I’ve been going crazy these-
MARK
Don’t mention it. Listen, I have to go back to work.
Andy looks embarrassed. Mark starts to walk away.
MARK
(stops walking)
And Andy?
Andy looks up.
MARK
Good work.
Andy smiles, and walks away. Mark's smile vanishes. He is thinking, and begins to walk in the opposite direction.
CUT TO:
INT- CAR- NIGHT (CON’T)
We are inside a car, which is parked in an Alley. Through the windshield we see Mark walk in front of the alley.
A gloved hand turns on the engine.
CUT TO:
EXT- ALLEY- NIGHT (CON’T)
Mark is suddenly BLINDED by headlights. He shields his eyes, trying to see what or who it is.
CUT TO:
INT- CAR- NIGHT (CON’T)
We see Mark in silhouette through the windshield.
The Gloved hand shifts gears, and begins to drive as fast as possible. The tires SQUEAL.
CUT TO:
EXT- ALLEY NIGHT (CON’T)
Mark pulls out his gun, begins FIRING blindly at the car speeding towards him.
ANGLE ON:
From Mark’s POV, the car speeds towards the camera. We hear Mark’s gun firing, the flash illuminating the alley. The car keeps driving towards us, until the right headlight envelops the camera-
smash cut to:
MAIN TITLES.
FADE OUT.
END OF TEASER
------------------------------------------------------------------------------
ACT ONE
TITLE CARD:
24 HOURS AGO
FADE IN:
INT- GOVERENOR’S BALL. – EVENING
It is the going away party for GOVERNOR JOSH SHERMAN at the Ritz Carlton hotel in New York City.
Lots of party-goers and the well-to-do mingle and drink.
We hear a familiar voice near the bar:
MRAZ(O.S.)
Let me make sure I understand…
CUT TO:
INT-GOVERNOR’S BALL BAR- EVENING
MRAZ stands in a tuxedo at the bar and is sadly sober. He talks in slow, clear tones to the BARTENDER:
MRAZ
You’re saying, there’s not a drop of Jameson in this entire hotel?
BARTENDER
I’m sorry, bud. The bar in the lobby might have some…
MRAZ
(a hand on his forehead)
I can’t leave because they won’t let me back in. And I have to stay until the Governor makes his speech. And I can’t listen to that speech sober. So. What can you do for me?
BARTENDER
I got Johnny Walker Red.
MRAZ
(grimaces)
Just give me whatever bottle of beer you have.
ANDREA (O.S.)
Beer and whiskey. Whiskey and beer.
ANDREA sweeps in, wearing a black dress and holding a glass of wine. She smiles at him, but not in a friendly way.
ANDREA (CONT'D)
You’re just so all-American, Mraz. Would you like some meat and potatoes to go with your bourgeois choice of beverages?
MRAZ
Andrea.
Mraz takes the bottle, tips the guy and steps away.
ANDREA
That all you have to say to me?
MRAZ
There are words that I want to say, many of them, in the form of questions that have answers that would save lives. But this is a party, so I’ll settle with ‘Andrea’.
Andrea downs her wine, slams the glass down and offers her wrists to Mraz, as if saying “Arrest me.”
ANDREA
Go on. Like you said, it’s a party. I dare you. I’d love you to try. So would my lawyers.
(pause)
No? Well, then. I’ll settle with-
But Mraz walks away, leaving her standing.
ANDREA (CON’T)
…Mraz.
BARTENDER
Ma’m? What can I-
ANDREA
White. Two glasses. No talking.
CUT TO:
INT- RITZ CARLTON HOTEL ROOM - EVENING
Governor Josh Sherman, in a tuxedo, sits in front of a mirror. An ASSISTANT stands behind him. Sherman is tying his tie while watching CLOSED CIRCUIT TV
(CCTV) of the party.
SHERMAN
“If you want to test a man's character, give him power.” You know who said that?
ASSISTANT
Lincoln?
SHERMAN
Lincoln said that. Of course, if he was really that smart, he wouldn’t have gotten his head blown off by an actor.
Sherman looks at the CCTV, grimacing.
SHERMAN (CON’T)
Look at ‘em. Gorging themselves like it’s their job, cause it’s free. Jesus. They’re like starved wolves. Or goddamn actors.
Sherman adjusts the picture on his CCTV, zooming in on someone. He smirks.
SHERMAN (CON’T)
Except her. She is VERY attractive. Do we know her?
ASSISTANT
We’re twenty minutes late, sir.
SHERMAN
(vicious)
Look. When you wake up tomorrow, your job and title will be exactly the same. When I wake up, I’ll be… Mr. Sherman. Mister. The word’s like drinking acid So those assholes drinking on my dime can wait, you hear me?
The Assistant is mute. Sherman stares at the mirror. His face is a Jackson Pollack of emotion.
SHERMAN
Is there any word?
ASSITANT
No. Nothing different, anyway. Same request. Sorry, Sir.
There is an awful silence.
SHERMAN
Alright, give me the order. Let’s get this over with.
(looks at the CCTV)
Then we’ll get THAT over with.
ANGLE ON:
The CCTV image. This particular camera is pointed at MRAZ, sitting at a table by himself with his Heineken.
CUT TO:
INT-GOVERNOR’S BALL BAR- EVENING
The same scene. Mraz sits, sipping his beer. Mark comes up behind him, in a black suit with his tie undone. He is gleefully not sober, holding two beers.
MARK
There is a VERY attractive woman over there. Do we know her?
MRAZ
Not now.
MARK
Whoa. Okay.
MRAZ
…can you cover this? I feel like I might shoot somebody.
MARK
(confused)
I’m sorry, are you me or are you, you? I’m enjoying the old bastard’s party, and you look like you’re about to rip a puppy’s head off.
MRAZ
If it was named Andrea, I might.
There is a silence. Mark chugs one of the beers.
MARK
Ah. OK. Go home.
(Mraz looks at him)
Go on, get out of here. I can play Mr. Kiss-ass for a night.
Mraz nods silently, appreciatively, and leaves. Mark drinks the other beer, puts it down, in a thoughtful mood.
After a beat, Andrea sits down with her two glasses of wine. One is already almost empty.
ANDREA
He’s upset with me.
MARK
(bemused and with a wave)
Hello, She-Bitch!
CUT TO:
EXT- RITZ CARLTON - NIGHT
Guests are still arriving to the ball. Mraz exits, fuming. He starts walking away from the hotel, opens his cell phone, hits the speed dial.
MRAZ
It’s Mraz, authorization 934-Texas. Patch me through to Keating.
SPLIT SCREEN:
KRYSTAL, sitting at KEATING’s desk. Her phone rings, she answers it.
KRYSTAL
Office of Mike Mraz.
MRAZ
Keating it’s me. I need-
KRYSTAL
(with a smile)
Sorry, try again. Mikey.
MRAZ
…Krystal. Hello.
CUT TO:
INT- GOVERNOR’S BALL- NIGHT
Andrea and Mark sit at the same table as before.
ANDREA
Bitches. The both of you. Whiny bitches. I know we’re on opposite sides, but that doesn’t mean-
MARK
It DOES. It does. He wants to arrest you, I just want to put a bullet in your head. No offense.
ANDREA
TAKEN. Heh. You know, Mraz, he’s all about his rules. His company. His ‘Legal’. But you and I, have an equal disdain for rules. You and I-
MARK
No. I don’t fund terrorists. I don’t hurt innocents.
ANDREA
No, you just put bullets in heads! You decide who’s innocent and who’s not! Man and Superman.
(finishes her wine)
Yeah, you’re the sober yin and I’m the raging yang. Jesus Christ. Consider, Mr. Souza, petty criminals only need petty cops. If it wasn’t for my ‘side’, you’d be out of a job.
Mark says nothing. The P.A. system crackles to life.
VOICE ON THE P.A.
Ladies and Gentlemen, Governor Josh Sherman!
The room BURSTS into applause. Pomp MUSIC starts playing. Andrea and Mark reluctantly get up and applaud, then turn to each other:
BOTH
Hail to the Thief.
They stare at each other, surprised at having made the same joke.
CUT TO:
INT- MRAZ INC- EVENING
Krystal is on Keating’s headset. Andy is ten feet away, at another terminal.
KRYSTAL
Yeah, the schedule got mixed up. It’s just me and Andy on the night shift.
MRAZ (O.S.)
(over phone)
Andy and I, Krystal. Andy and I. What would your mother think?
KRYSTAL
I don’t know, she’s in Newark. You want me to call her?
ANGLE ON:
Andy’s Terminal. He is typing lazily into the computer. We can hear the continuation of Mraz’s conversation.
MRAZ (O.S.)
(over phone)
I want a lot of things, but I’ll settle for keeping your eyes and ears open.
KRYSTAL (O.S.)
What’s going on?
MRAZ (O.S.)
(over phone)
Call it intuition. A bad feeling. Something’s up.
Andy stops typing, frowns. He has found something.
MRAZ (O.S.) (CON’T)
(over phone)
Anything come over the wire?
KRYSTAL (O.S.)
Not really… well, actually I was thinking of you- The Governor just issued a pardon. Hold on. Andy?
Andy stares into space, thinking.
KRYSTAL (O.S.)
Andy. ANDY!
ANGLE ON:
Andy turns and faces Krystal, startled.
KRYSTAL:
Fax.
Andy blinks, then reaches and hands Krystal a fax out of her inbox. Krystal reads off of it.
During this, we stay on Andy, as he stares at his computer.
KRYSTAL (O.S.)
Here we go- “the Governor orders… reasons of mercy… Immediate release.” Conviction unlisted..
MRAZ (O.S.)
(over phone)
Probably trying to let one of his donors get off the hook at the last minute. What’s the name?
CUT TO:
EXT- NYC STREET– NIGHT (CON’T)
Mraz is trying to hail a cab.
KRYSTAL (O.S.)
(over phone)
Uh… Lindsay. Lindsay Wolf.
Mraz stops dead in his tracks.
KRYSTAL (O.S.) (CON’T)
(over phone)
No further details. I didn’t-
MRAZ
Confirmation. I need confirmation IMMEDIATELY.
CUT TO:
EXT- MAXIMUM SECURITY PRISON – NIGHT
The entrance to a very high tech prison facility. The gates swing open, and LINDSAY WOLF walks out. She has a little smile on her face, and she is humming a song. As she walks toward the camera, we can hear it-
It is TIME IS ON MY SIDE.
FADE OUT.
END ACT ONE
-----------------------------------------------------------------------------------
ACT TWO
TITLE CARD:
12 HOURS AGO
FADE IN:
INT. MRAZ INC- FRONT DESK DAY
Keating stands over INTERN STEVE at the front desk.
KEATING
One more time. If someone calls, and asks what we import, you say…
INTERN STEVE
We import… imports.
KEATING
And if they ask what we export?
INTERN STEVE
We export… exports.
KEATING
Very good. You're gonna be fine, Intern.
INTERN STEVE
My name is Steve, actually, um- question? One question. What do we actually import?
KEATING
(leans in close)
…well, don't tell anyone. But we import Good into the country, and we export Evil out of it… Permanently. But try explaining that to Congress, you know?
Steve stares at her, agog. There is a KNOCK. They both turn and see a hung-over Mark, with dark sunglasses and a cup of coffee behind a glass door. He waves slowly, as if every movement hurts. He enters slowly.
MARK
Where's Mraz?
KEATING
Where do you think?
(Mark nods)
I'll walk with you.
INTERN STEVE:
Wait, what if someone calls?
MARK
(to Intern)
Answer it. What do you think we're paying you for?
INTERN STEVE
Right. Right.
KEATING
(whispering to Mark)
We don't pay them.
Mark blinks, then walks away. Keating gives a thumbs up to Steve and leaves. Steve watches them go, when a phone RINGS and startles him. He picks up:
INTERN STEVE
Mraz Inc, we Import Evil!
CUT TO:
INT. MRAZ INC- HALLWAY- DAY (CON’T)
Keating and Mark walking down a hallway. The office buzzes with Monday Morning activity.
KEATING
Andy and Krystal were on the overnight when something came in over the wire. I don't know what it was, but Mraz was pretty upset…
MARK
How upset?
KEATING
Phone against the wall upset.
MARK
(sad sigh)
Same as it ever was. What is that, the third this month?
KEATING
Fourth. I’m ordering them in bulk now. What happened at that party last night?
MARK
Some ribbing from Andrea put him in a mood, but other than that-
KEATING
Whatever it was, we recalled everyone from leave and this whole place has been put on alert. You're late, actually, we've been here for 3 hours.
MARK
Late…? Wait, what time is it?
Keating looks at a wall clock. It displays all time zones of the world. The one that has NYC says "10:43".
KEATING
(slightly accusatory)
We did call. Your phone was off. Probably still is.
MARK
…I really gotta stop drinking those last call Jaegerbombs.
CUT TO:
INT. MRAZ INC- MRAZ’S OFFICE- DAY
Mraz sits in his office, with bloodshot eyes and a grim expression. He is throwing away the broken parts of his phone. There is a nice, new phone sitting on his desk.
A moment. Then, he violently SMASHES his phone against the wall, and pulls out his familiar bottle of Jameson. As he goes to angrily pour a shot, there is a quiet KNOCK at the door.
BRIAN "DUCKY" SMALLWOOD is standing in the doorway, with a laptop underneath his arm. He wears a goofy, yet cautious smile.
DUCKY
Bad time?
MRAZ
Bad night. What’s up?
DUCKY
Got a minute?
MRAZ
I always have time for Ducky.
Mraz puts the bottle away. Ducky sits, opens his laptop. He looks at the broken phone.
DUCKY
What is that, the third this month?
CUT TO:
INT. MRAZ INC- FRONT DESK- DAY
Steve sits at his desk, a deer in the headlights. His desk is covered with message notes. Andy approaches with a pile of papers.
ANDY
Hey, uh- um. I'm sorry. You’re-
STEVE
Intern Steve.
ANDY
Intern- Steve, wow. That's your full name, huh. Great. Anyway, I'm Andy, I'm in Finance, and I need you to run these account numbers. I need dates, I need dollar amounts and I need names. As soon as is possible.
Intern Steve's expression screams, “I am screwed.”
STEVE
Okay. Sure. I can do that. Do I know how to do that? I don’t-
ANDY
A trained monkey could do it.
(pause)
So I guess that means, I'll train you, and then you can be my monkey.
STEVE
Great. Happy to help.
CUT TO:
INT. MRAZ INC- MRAZ’S OFFICE- DAY
The same scene as before. Mraz is a bit more relaxed. Ducky is setting up a whole display of monitors and computers.
MRAZ
It's Andrea. She was at the ball last night, practically daring me to arrest her. And then I got the call that- well, I can’t talk about it yet, but it’s why we’re on alert.
(swivels in his chair)
I never feel more powerless than when evil taunts me in the face, and gets away with it.
DUCKY
C'mon, man. You've put away more bad guys than Bruce Willis. BRUCE F-ING WILLIS. Don't be so hard on yourself.
MRAZ
I founded this company to do the things others can't. To operate above the system. For Justice. And now, I feel of the system. Trapped by it. Frozen in it. Like… Mr Freeze.
Beat. Mraz is lost in thought. Ducky flips a switch.
DUCKY
Either that or it's Monday and you're hung over.
Finally, Mraz chuckles.
MRAZ
I'm always hung over. So what’s this?
DUCKY
Well, first, first- yes you are, and you should consider your heart. Second? This is the future.
A series of images pop up on the monitors. Each moving person or vehicle is assigned a Variable: X3, Z8, etc.
DUCKY
I call it the DSS. Ducky Survelliance System. I was going to call it BSS, but, I decided against that for acronym purposes.
MRAZ
So it's cameras. So what. We already have cameras.
DUCKY
Cameras that can do… this?
ANGLE ON: Ducky types the following command: FOLLOW X3
ANGLE ON: The image begins moving , following the person marked as X3. Mraz leans in close, watching it.
DUCKY
DSS can follow anyone, anywhere as long as it's open air. And it instantly sends back and records its images. I only have 10 prototypes right now. But can you imagine?
MRAZ
And the people don't know they're being followed.
DUCKY
Not unless the perp starts to suspect pigeons.
MRAZ
(genuine admiration)
Robot Pigeons. You crazy son of a bitch. How are you able to do this?
DUCKY
Yeah… about that.
(holds a bunch of bills)
Full disclosure? I went a bit into the hole on this one.
CUT TO:
INT. MRAZ INC- ANDY’S TERMINAL- DAY
Andy looks worse than Mraz, if that’s possible. He types with a mad desperation. Coffee cups litter his desk. He sips from one, and stares at his screen.
ANGLE ON: His monitor asks him a question: EXECUTE? (Y/N)
Andy hesitates. Suddenly, a hand grabs his shoulder-
ANDY
Jesus!
INTERN STEVE (O.S.)
Sorry!
Steve appears behind him, carrying papers.
INTERN STEVE
Didn’t mean to, uh, scare the bejesus out of you.
ANDY
That’s… that’s okay… whew… What’ve you got?
INTERN STEVE
Uh, let’s see… dates, dollar amounts, and names. That was it, right?
Andy takes the list and stares at it.
ANGLE ON: Andy’s POV, as he scans from name to name:
ANDY
DUCKY
EDDIE
KEATING
It lingers on the last one:
MRAZ
Andy closes his eyes in pain.
ANDY
And you’re sure this is accurate.
INTERN STEVE
This is all who accessed the file. You can add names but you can’t remove them. Someone may be adding names to cover their tracks, but it’s one of these five. Is there a problem?
ANDY
No, no. Thank you. This is, uh. Good work.
INTERN STEVE
Oooh oooh AH AH AH!
Andy stares at Steve.
INTERN STEVE
Monkey! Ha… uh… I’ll just be going.
Steve leaves. Andy watches him go, then turns to his computer.
ANGLE ON: EXECUTE? (Y/N)
Andy types: Y.
PROCESSING…
ONE (1) MATCH FOUND:
ANDREA
Andy sits upright in his chair.
ANDY
Andrea?
CUT TO:
INT. ANDREA’S APARTMENT- LIVING ROOM- DAY
Andrea is having a midday cocktail party. A HIRED GOON is trying to get her attention.
ANDREA
Yes?
HIRED GOON
Sorry, Ms. Andrea, there’s some broad here who says she knows you. I don’t recognize her.
ANDREA
Some ‘broad.’
(to her guests)
Excuse me. Pre-feminism Muscle calls.
CUT TO:
INT. ANDREA’S APARTMENT- ATRIUM- DAY
Andrea is dragging her hired goon to the front door.
ANDREA
And if you EVER say the word Broad again I swear to God they’ll never find the-
There is the sound of FIST HITTING FLESH as a 2nd HIRED GOON is sent flying through the front door and against the wall. Lindsay steps over the body and into the room, calm but ready to spring.
The 1st hired goon pulls a gun, but Andrea stops him. She wears the same smile she flashed Mraz.
ANDREA
Lindsay. Dear. You don’t call, or write. You beat up the help.
LINDSAY
I. Want.
ANDREA
(tones herself down)
What can I do for you?
LINDSAY
I want my money. I want my tools. And I want them both, right now.
ANDREA
(pause)
Birdo, be a dear.
(pause)
Fetch.
The 1st hired goon (BIRDO) nods dumbly and runs off. Andrea sits in an atrium chaise-lounge.
ANDREA
Anything else, while you’re in this mood? Nice to see you, by the way.
ANGLE ON: Lindsay looks straight at the camera, eyes focused.
LINDSAY
… Mraz. I want. Michael. Mraz.
FADE TO BLACK.
END ACT TWO
-------------------------------------------------------------------------------
ACT THREE
TITLE CARD:
6 HOURS AGO
FADE IN:
INT MRAZ INC. CONFERENCE ROOM- AFTERNOON
Mark stands in front of a room of RECRUITS, still wearing the dark sunglasses. A slide projected behind him says, “RECON TRAINING 102”. EDDIE and MOUMIN sit to the side of Mark, looking beyond bored.
MARK
We call this play a Running a Red. As in, herring. And if you don’t know what a Red Herring is… well, then HR isn’t doing it’s job. Now.
Mark clicks the slide projector. A new SCENE is depicted, a heavily armed entrance. Narrating with a laser pointer:
MARK (CON’T)
You have the target here. Entrance to target is heavily armed, and no doubt brimming with malicious evil. You want to enter target, with minimal collateral damage and no loss of team members. How do you do this?
Mark clicks the slide projector. In the new SCENE, a man dressed up like a CLOWN is running around with an assault rifle, while the GURADS are trying to catch him.
MARK (CON’T)
You create a highly visible, unavoidable, but ultimately non-lethal diversion. You manufacture a distraction that requires immediate attention and throws target into disarray. In this case, a clown with a machinegun.
Mark clicks the slide projector. In the new SCENE, the guards are beating the clown mercilessly, while two COMMANDOS sneak into the building.
MARK (CON’T)
This is a very simple, very useful tactic. But it cuts both ways. Anyone with a brain and a willing stooge can run a Red. The trick is to know when the threat is real, and when it’s a…
There is a SNORE. Eddie has passed out. Moumin is trying not to laugh. Mark whips off his sunglasses.
MARK (CON’T)
…clown. This concludes the a/v portion. And now, for some final words, please welcome special visiting commando lecturer, Eddie, Ladies and Gentlemen!
Mark starts the clapping, which is loud and wakes Eddie up. Moumin is now whole-heartedly guffawing.
Eddie looks around, groggily. He stumbles to the lectern, and peers at the audience. There is a silence. Finally:
EDDIE
(points finger)
Don’t screw up.
Eddie walks away and leaves the room. Moumin runs up to the lectern.
MOUMIN
Uh, so- That will be on the test. Study hard. Peace out!
CUT TO:
INT. MRAZ INC- ANDY’S TERMINAL- AFTERNOON
Andy, leans against his chair. He looks dejected and tired. Krystal walks by, stops, smiles at Andy.
KRYSTAL
Busy night, huh?
ANDY
What?
KRYSTAL
Last night. The Fax. The, crisis. No sleep. Remember?
ANDY
(thinks, pauses)
Can I ask you a question?
KRYSTAL
Shoot.
ANDY
If you had to choose between doing the Right thing… that might get you in trouble and might even get you fired… and letting something go, which would mean absolutely no trouble. Well? Am I crazy?
KRYSTAL
I'm going to need a little bit more info than that.
ANDY
I found something that, well, might be big. Internal. Big.
KRYSTAL
Well, if you want, I can probably get it to Mraz-
ANDY
I don't know, every bit of common sense is telling me to drop this, but…
KRYSTAL
This company survived the Mexican Nuke Scandal, I think we can survive whatever you find in Finance. No offense.
Andy makes a "brush off" gesture. Krystal smiles.
KRYSTAL (CON’T)
Look, it's trite, but I say you do the Right thing. If nothing else, Mraz will believe you.
ANDY
What if it involves him?
Krystal's expression changes.
KRYSTAL
Now that IS crazy.
Krystal walks away. Andy stares into space.
CUT TO:
INT. MRAZ INC- MRAZ’S OFFICE- AFTERNOON
Mraz is seated at his desk. In his office: Keating, Eddie, Moumin, Ducky and, still in dark sunglasses, Mark. Eddie is in the center of the group:
EDDIE
Look, I had a choice to make. Recruits go one of two ways. I told them to right way to go.
KEATING
“Don’t screw up.”
EDDIE
(small satisfied nod)
The defense rests.
MRAZ
What the hell is going on here? The past 24 hours I feel like I’ve been in crazyland! What do you think this is? A game?!
A cell phone rings with the Theme to LEGEND OF ZELDA. No one moves. Finally, Ducky reaches into his pocket. The phone stops ringing.
DUCKY
Rachel and I haven’t figured out how to change that yet.
EDDIE
Uh. Huh.
MARK
Jesus, Mraz, what crawled up your ass and laid eggs before it died? What’s going on?
Mraz says nothing, turns away. Ducky begins punching up images on the monitors.
KEATING
Mike… I don’t share his choice of words? But he’s right. You’ve been on edge all day. This place is on full alert and we don’t know why.
EDDIE
Yeah, man. What the hell?
MRAZ
Lindsay Wolf is free.
Utter silence and shock. Even Ducky stops typing.
MRAZ
It came over the wire last night. 2 hours before his term was up, Governor Sherman, he, pardoned her. She walked out of Maximum Security, free. Free to network. Free to disappear.
EDDIE
(knowingly)
Free to act.
KEATING
Oh God. She’s coming after you.
MARK
(deeply upset)
Well. If you’d told me that sooner, I wouldn’t have spent all afternoon dicking around with college grads.
(stands)
Let’s pick her up.
MRAZ
We can’t. Look, she’s-
KEATING
I’ll pull all units under your command. Total sweep by sundown-
MARK
Where can we find her?
MRAZ
She’s a free citizen. We can’t just pick-
EDDIE
Gonna be difficult. Once upon a time, she trained with us.
MOUMIN
We’re gonna have to go old school. Safe house to safe house. No sleep till Brooklyn.
MRAZ
What am I, a ghost? Listen, this is my-
MARK
No it’s not.
(pause)
You’re her target. You’re our asset to be protected. That’s where your involvement ends.
MRAZ
That’s crap.
KEATING
That’s Mraz Inc Op-Protocol.
EDDIE
She should know, man, she’s the only one who reads ’em.
MRAZ
(faltering)
I am- this investigation-
MARK
You can’t lead this investigation without being in the field. You can’t be in the field, you’d be a liability. You’ve already cost us valuable time by withholding intel.
(to others)
Let’s go.
MRAZ
…Mark…
But Mark is gone. Moumin and Eddie follow him out. Keating lingers a moment, then leaves. Beat.
Ducky stands up and slowly begins to walk out.
MRAZ
And you had nothing to say.
DUCKY
I had nothing to add.
MRAZ
What about your- what about Robobirds? I could use them-
DUCKY
Mike, they’re prototypes. You told me to have a demonstration ready, not an active test.
Mraz says nothing. Unknown to both of them, one of the 10 monitor images has gone to STATIC.
DUCKY
(at door)
Honestly Mike? If anyone was going to spot a drone following her, it’s Lindsay Wolf.
CUT TO:
EXT. NEW YORK- ALLEYWAY- AFTERNOON
A smoking remains of one of Ducky's DSS birds. A gloved hand picks it up and inspects it.
It is Lindsay. She stares with idle curiosity.
LINDSAY
Where do they get these wonderful toys?
CUT TO:
TITLE CARD:
3 HOURS AGO
CUT TO:
INT. MRAZ INC- ARMORY- EARLY EVENING
The various teams are suiting up. In a series of quick cuts, we see Eddie, Moumin, and Keating arming themselves. The last one is Mark.
As Mark checks his clip, Andy runs up to him.
ANDY
We gotta talk.
MARK
Not now.
ANDY
It’s, uh. Pressing.
MARK
Andy, Lindsay Wolf has been free for almost an entire day. She’s armed, she’s dangerous and talk to me after we catch her, okay? Mraz’s life is in danger.
Mark gets a few steps away when Andy explodes:
ANDY
This whole COMPANY is in danger, Mark!
(Mark stops walking)
Have I ever asked you to look at something that wasn’t important? Wasted your time? Have I ever… I’m asking you, friend. Brother. Coworker. Will you trust me?
(pause)
Sorry, I’ve been up for 24 plus hours. Was that over the top?
MARK
A bit.
ANDY
Yeah. A bit. Look- just- I know you have to go. Meet me in three hours. I’ll have more info then. SOLAS.
MARK
Alright. SOLAS. Three hours.
CUT TO:
INT. MRAZ INC- MRAZ’S OFFICE- EARLY EVENING
Mraz stands, picking up the pieces of his phone(s). He looks thoroughly dejected and tired.
Krystal knocks on the door, in the same way that Ducky did earlier.
KRYSTAL
Bad time?
MRAZ
(a little laugh)
Always. The strike teams?
KRYSTAL
You know the policy. Do overnight one night, get the next night off. I just wanted to make sure you were okay.
MRAZ
I’m fine.
(she stares at him)
No, I’m not. I’m an idiot. I put myself over Mraz Inc.
KRYSTAL
You did the right thing.
MRAZ
I don’t know. There’s a woman out there, who is pissed and who wants to kill me. She may have a point.
A moment. Krystal looks at some of the papers piled on his desk. Krystal smiles.
ANGLE ON: The post reads: GOV. SHERMAN TO HOLD PARTY ON FIRST NIGHT AS PRIVATE CITIZEN.
KRYSTAL
You know, in the movies… what happens to the man who sits inside his impregnable fortress, while all his guards are trying to keep out the one assassin trying to get in?
MRAZ
Don’t try to cheer me up.
KRYSTAL
Seriously.
MRAZ
The assassin gets in, and the man must face down the assassin. Usually loses.
KRYSTAL
So you can stay here waiting for your angel of death, or…
(holds up newspaper)
You can bust some fat heads.
Mraz stares at the paper, then at her. He gets it.
MRAZ
Wanna go to a party?
CUT TO:
INT. MRAZ INC- DUCKY’S LAB- EARLY EVENING
Ducky sits typing on a keyboard, silently. Prototypes for the Robobird sit all around the lab.
His phone RINGS. He picks it up:
DUCKY
Go for Ducky.
LINDSAY (O.S.)
Hello… old friend.
DUCKY
(stops typing)
Hello.
LINDSAY(O.S.)
I’m coming, Ducky. I’m coming for Mraz.
DUCKY
So I heard. You’ve got everyone here, uh… very concerned.
LINDSAY (O.S.)
No one has to die… except Mike.
DUCKY
It’s revenge, right? For him?
LINDSAY (O.S.)
Only Mraz has to die.
DUCKY
Yes, you’ve made that, uh, crystal. I meant more… as opposed to killing my friend and your former boss, what can we give you? What do you want?
LINDSAY (O.S.)
I want. What I had.
The phone goes dead. Ducky stares at it.
FADE TO BLACK
END ACT THREE
---------------------------------------------------------------------------------
ACT FOUR
TITLE CARD:
NOW
FADE IN:
CUT TO:
EXT. SHERMAN’S APARTMENT- NIGHT
A gorgeous entire-floor New York apartment. From outside, we see people in rich clothes drinking.
CUT TO:
INT. SHERMAN’S APARTMENT- NIGHT
We see Ex Governor Sherman entertaining GUESTS. He is having a ball, telling jokes loudly.
SHERMAN
So I says to Mabel I says… look, if you want the bird up your dress, I’ll do it, but first… I need to know how you voted in 2006!
The Guests burst into laughter, although a few of them exchange “huh?” looks.
MRAZ (O.S.)
That’s funny. But I know a better one.
The crowd of Guests parts and there is Mraz, with Krystal on his arm. They look fantastic. Mraz has a glass of Jameson in his hand.
MRAZ
What do you call a big, fat, pathetic white Republican man who’s afraid of change and has lost all purpose in life?
KRYSTAL
I don’t know, Michael. What do you call all of that?
MRAZ
The elephant in the room.
Sherman and Mraz stare each other down. Finally, after a moment:
A DRUNK WHITE PARTY GUEST:
Daaaaaaaamn!
CUT TO:
INT. MRAZ INC- DUCKY’S LAB- EARLY EVENING
Ducky sits, his eyes now bloodshot, watching his 9 working monitors. He drinks a Red Bull™, eyes darting from screen to screen.
DUCKY
I know you’re there Lindsay. I know… I know.
Monitor 7 suddenly has a flash. Ducky frowns, zooms in on the image… it’s a CAR speeding…
CUT TO:
EXT. ALLEY- EVENING (CON’T)
That same CAR trying to run down Mark misses him by an inch as he ROLLS out of the way.
Mark hits the ground, pulls out a gun, and starts firing wildly.
ANGLE ON: The TIRES of the car, squealing in reverse.
ANGLE ON: The front of the CAB. One of the headlights is SHOT OUT. Suddenly, two gun muzzles SMASH out of the headlights, breaking the other. The engine revs.
Mark stops FIRING, and jumps behind a dumpster as the CAB begins FIRING mercilessly.
CUT TO:
INT. MRAZ INC- DUCKY’S LAB- EVENING (CON’T)
Ducky realizes that the intended victim is Mark.
DUCKY
Jesus…
Ducky reaches for the phone, when a gloved hand grabs his wrist and slams the phone down.
ANGLE ON: Ducky’s face, as Lindsay whispers in his ear:
LINDSAY:
Duck…Duck…Duck…
A pause.
DUCKY
(barely a whisper)
Goose.
CUT TO:
INT. SHERMAN’S APARTMENT- OFFICE- EVENING (CON’T)
Sherman sits in his office, jacket off, drinking a beer. He is miserable and pissed.
SHERMAN
So, I’m just curious. What part of, President of Mraz Inc, where in the job description does it say- I can show up and crash any party I feel like?
KRYSTAL
What crashing? You advertised it in the “Post.”
Krystal throws down the paper. Sherman stares at it for a moment.
SHERMAN
This reminds me. I have to fire EVERYBODY. Alright. So, what I can do for you, so that you’ll get out of my house?
MRAZ
I don’t really give a damn if you hand out pardons right and left to inside traders, rich kids who do blow… I could care less. But when you decide to pardon a cold blooded killer, someone with the ability to kill a man from sixty yards with nothing but a spork-
KRYSTAL
A spork? Really?
MRAZ
Someone who in fact has no larger purpose in life left but to kill me-
SHERMAN
Please, Mraz, this is New York. Anyone I meet who doesn’t want you dead, I get suspicious.
KRYSTAL
You’re stalling. And we don’t have time. Lives are at stake.
SHERMAN
“lives…” If I had a nickel, I’d have a dollar eighty-three.
CUT TO:
EXT. ALLEY- EVENING
Mark hides behind an industrial trash bin. The CAB keeps firing at his position. It’s getting rough.
MARK
Alright. You want to play it soft, we’ll play it soft. You want to play it hard?
(pulls out explosive)
We’ll play it hard.
CUT TO:
INT. MRAZ INC- DUCKY’S LAB- EVENING
Ducky is now tied to his chair. Lindsay is using the Robobirds to find Mraz.
LINDSAY
Where is he, Ducky?
DUCKY
Well, it’s tricky. If I knew, I wouldn’t tell you. But I don’t know, so I can’t.
LINDSAY
Where is Mraz, Ducky?
DUCKY
It’s not his fault.
(she stops typing)
I’m sorry. But it was a mission with risks, and Steve knew it, and he accepted it. And now he’s dead, and I’m sorry. But it’s not Mike’s fault.
Lindsay mutters something, holding her knife.
DUCKY
What?
Lindsay leaps onto Ducky with her knife, screaming.
LINDSAY
Liar! LIAR!
CUT TO:
INT. SHERMAN’S APARTMENT- OFFICE- EVENING (CON’T)
Sherman waves his hands expansively:
SHERMAN
What cracks me up about this, other than the fact that you’re so obviously attracted to her it hurts-
(Mraz balks)
Is that you haven’t thought it through. You assume I did what I did because she was who she was. I don’t know who Lindsay Wolinski is.
KRYSTAL
(blushing)
Wolf.
SHERMAN
Wolinski, Wolf, wha-wha-whattever. Wasn’t even on the pardon list. I was all set to enjoy my party. And then THIS.
(brandishes Fax)
Even when the damn Governor gets a request from Mraz F-ing Inc, he’s gotta take notice.
MRAZ
…excuse me?
SHERMAN
Read it yourself. It’s an official request from MRAZ INC.
CUT TO:
EXT. ALLEY- EVENING (CON’T)
Mark rolls into the ALLEY path.
The CAR takes the bait, revving and driving towards him, guns blazing.
Mark waits, waits… bullets bounce off the ground next to him.
ANGLE ON: The CAR speeding towards us.
ANGLE ON: Mark watches it, calmly.
As the CAR is about to run him down, he throws up the EXPLOSIVE and rolls out of the way. It sticks to the CAR, which makes a sharp U-TURN at the other end of the ALLEY.
Mark stands, holds up his detonator. He clicks it.
CUT TO:
INT- CAR- NIGHT (CON’T)
The GLOVED HANDS rise up in shock and dismay as the CAR EXPLODES. We hear a SCREAM, but it is cut short.
CUT TO:
INT- SHERMAN APARTIMENT- OFFICE- NIGHT
Mraz angrily waves the paper at Sherman:
MRAZ
I never signed this. This order didn’t come from me.
SHERMAN
Look. If someone over there is photocopying signatures to get their girlfriend out of jail, I can’t help you. The order came on your stationary. I owed you one last favor. We’re even, which means, we’re done.
(stands)
Now get out. I have a girl from the Midwest who thinks Albany is in Albania, and I don’t want to disappoint her. OUT!
CUT TO:
INT- MRAZ INC- DUCKY’S OFFICE- NIGHT (CON’T)
Lindsay holds the knife very close to Ducky's throat.
LINDSAY
Now… before I have to start filleting a good friend of mine… where is Mraz…
DUCKY
Your concern is touching… but again, and until further notice… I don’t know where he is…
A single tear runs down Lindsay’s face. She closes her eyes. Then, she raises her knife-
STEVE (O.S.)
STOP!
Lindsay and Ducky turn, and their shock is equal.
ANGLE ON: In the doorway stands intern Steve. But all his youthful naïveté and innocence is gone. His face is now a mask of weariness and relief.
INTERN STEVE
I knew.
(he takes a step in)
I knew if I interned here long enough.
(offers her a hand)
I’d find you again.
Lindsay drops the knife. Shaking, she takes his hand.
They embrace. Lindsay begins to cry. Ducky lets out a huge sigh of relief.
CUT TO:
EXT- ALLEY- NIGHT
Mark watches the car burn. Eddie runs up with an assault rifle, then slows down.
EDDIE
That your handiwork?
MARK
Yeah. Standard killer with customized car deal. Amateur-hour, really.
EDDIE
Looks real enough.
MARK
Nothing compared to Lindsay Wolf. But an amusing disctraction, nonethe-
Mark stops.
EDDIE
Still, legal’s gonna have a-
MARK
Distraction. Oh shi-
He begins to run-
EDDIE
What is it? What?
CUT TO:
INT- ANDY’S APARTMENT- NIGHT
A small but homey apartment. BATMAN memorabilia lines the place. Andy enters, locks the door behind him.
He puts down his stuff, goes through his mail. Sighs.
ANGLE ON: He opens his fridge, grabs a beer.
ANGLE ON: He runs down his shelf of DVDs, picks out BATMAN BEGINS.
ANGLE ON: He pops the DVD in, presses play, settles onto his chair.
Andy presses power on the TV. Nothing happens but a low, persistent beep. He looks confused. He presses power again. Nothing. He puts down his beer, walks over to the entertainment center.
The beep gets louder. He squints-
ANGLE ON:
Several small metal boxes, attached to the TV. One of them has a little red light.
ANGLE ON: We can see Andy's face and the red light. His expression goes from confusion, to shock, to acceptance before it goes GREEN-
CUT TO:
EXT- STREETS- NIGHT
Mark turns the corner just in time to see Andy’s apartment EXPLODE. The shockwave sends him to the ground.
Fire and debris rain down from the fifth floor walkup’s window. Car alarms SCREAM into the night.
Mark looks up, looks down, puts his head in his hands.
FADE TO BLACK.
TO BE CONTINUED...
"Running a Red"
Written by Taylor Shann
TEASER
OVER BLACK SCREEN:
ANDY (V.O.)
I believe in Mraz. Inc.
INT SOLAS. - NIGHT
The bar is deserted, for the most part. ANDY sits, beer in hand. He takes a sip, then puts it down starts to speak- but stops, and takes another sip.
Andy puts the beer down, looks at the camera:
ANDY
I believe in what we do, I mostly believe in how we do it. Mraz Inc has been good to me. So when I…
We hear a DOOR OPEN, he looks up, stops. He is nervous and weary. He takes a quick sip of beer.
ANDY
So when I say what I’m saying I don’t say it lightly.
(pause)
Something is wrong at Mraz Inc. Very, very wrong.
Camera pulls back to reveal the person he is talking to: it is MARK. He has a pint of Guinness in front of him, untouched. His expression is neutral.
MARK
Well. I tell ya, I’d love to change the name to Souza Inc. But I don’t think Mraz will go for it.
Mark waits for a laugh that does not come, and then sips his Guinness. Andy finishes his beer, puts it down silently.
MARK
Well. You must be upset, because that was funny.
ANDY
It started as just a, I don’t know, a routine search I thought. But I found something yesterday… a crime. And the deeper I’m digging, the dirtier it gets. And people… well people aren’t going to like what I found.
(motions to bartender)
Another Stella? Thanks.
(pause)
I know it’s none- it’s really none of my business. That’s why I’m talking to you.
The Stella appears, and Andy takes a hearty swig. Mark does the same with his Guinness, now genuinely concerned.
ANDY
Finance, numbers, are like any ocean. There are sharks, there are, uh, minnows. And there are… bodies, Mark. There are bodies that are buried there that no one is supposed to find. And I, I, like an idiot, just kept…
MARK
You saw a dead guy? That’s what this is about?
ANDY
I found a dead guy’s bank account. The problem is, dead men don’t have 63 active transactions in the past six months.
Andy takes a sip, then produces a file.
ANDY (CON’T)
And then I looked up who was transacting with the dead man.
CUT TO:
EXT- SOLAS- NIGHT
Outside of the bar, a few moments later.
Mark bursts through the door, fuming. Andy follows him, putting on his coat and holding the door open.
ANDY
Mark! Jesus, hold on.
MARK
Where’s my gun, I want to shoot somebody.
ANDY
Calm down. I don’t know for sure who is doing it.
MARK
What we have is a serious breach of security.
ANDY
What we have is a clue. What I need is… I’m going to keep digging. If I find a name, if I can PROVE it…
MARK
I’m not Legal. I don’t care about evidence. If you have a name, and I have your word, that’s enough.
ANDY
(takes a deep breath)
No matter whose name it might be…
MARK
The second people flip on me; they’re dead to me. I don’t care who it is. Find me the traitor, I’ll take care of it.
ANDY
…thank you, Mark. I’ve been going crazy these-
MARK
Don’t mention it. Listen, I have to go back to work.
Andy looks embarrassed. Mark starts to walk away.
MARK
(stops walking)
And Andy?
Andy looks up.
MARK
Good work.
Andy smiles, and walks away. Mark's smile vanishes. He is thinking, and begins to walk in the opposite direction.
CUT TO:
INT- CAR- NIGHT (CON’T)
We are inside a car, which is parked in an Alley. Through the windshield we see Mark walk in front of the alley.
A gloved hand turns on the engine.
CUT TO:
EXT- ALLEY- NIGHT (CON’T)
Mark is suddenly BLINDED by headlights. He shields his eyes, trying to see what or who it is.
CUT TO:
INT- CAR- NIGHT (CON’T)
We see Mark in silhouette through the windshield.
The Gloved hand shifts gears, and begins to drive as fast as possible. The tires SQUEAL.
CUT TO:
EXT- ALLEY NIGHT (CON’T)
Mark pulls out his gun, begins FIRING blindly at the car speeding towards him.
ANGLE ON:
From Mark’s POV, the car speeds towards the camera. We hear Mark’s gun firing, the flash illuminating the alley. The car keeps driving towards us, until the right headlight envelops the camera-
smash cut to:
MAIN TITLES.
FADE OUT.
END OF TEASER
------------------------------------------------------------------------------
ACT ONE
TITLE CARD:
24 HOURS AGO
FADE IN:
INT- GOVERENOR’S BALL. – EVENING
It is the going away party for GOVERNOR JOSH SHERMAN at the Ritz Carlton hotel in New York City.
Lots of party-goers and the well-to-do mingle and drink.
We hear a familiar voice near the bar:
MRAZ(O.S.)
Let me make sure I understand…
CUT TO:
INT-GOVERNOR’S BALL BAR- EVENING
MRAZ stands in a tuxedo at the bar and is sadly sober. He talks in slow, clear tones to the BARTENDER:
MRAZ
You’re saying, there’s not a drop of Jameson in this entire hotel?
BARTENDER
I’m sorry, bud. The bar in the lobby might have some…
MRAZ
(a hand on his forehead)
I can’t leave because they won’t let me back in. And I have to stay until the Governor makes his speech. And I can’t listen to that speech sober. So. What can you do for me?
BARTENDER
I got Johnny Walker Red.
MRAZ
(grimaces)
Just give me whatever bottle of beer you have.
ANDREA (O.S.)
Beer and whiskey. Whiskey and beer.
ANDREA sweeps in, wearing a black dress and holding a glass of wine. She smiles at him, but not in a friendly way.
ANDREA (CONT'D)
You’re just so all-American, Mraz. Would you like some meat and potatoes to go with your bourgeois choice of beverages?
MRAZ
Andrea.
Mraz takes the bottle, tips the guy and steps away.
ANDREA
That all you have to say to me?
MRAZ
There are words that I want to say, many of them, in the form of questions that have answers that would save lives. But this is a party, so I’ll settle with ‘Andrea’.
Andrea downs her wine, slams the glass down and offers her wrists to Mraz, as if saying “Arrest me.”
ANDREA
Go on. Like you said, it’s a party. I dare you. I’d love you to try. So would my lawyers.
(pause)
No? Well, then. I’ll settle with-
But Mraz walks away, leaving her standing.
ANDREA (CON’T)
…Mraz.
BARTENDER
Ma’m? What can I-
ANDREA
White. Two glasses. No talking.
CUT TO:
INT- RITZ CARLTON HOTEL ROOM - EVENING
Governor Josh Sherman, in a tuxedo, sits in front of a mirror. An ASSISTANT stands behind him. Sherman is tying his tie while watching CLOSED CIRCUIT TV
(CCTV) of the party.
SHERMAN
“If you want to test a man's character, give him power.” You know who said that?
ASSISTANT
Lincoln?
SHERMAN
Lincoln said that. Of course, if he was really that smart, he wouldn’t have gotten his head blown off by an actor.
Sherman looks at the CCTV, grimacing.
SHERMAN (CON’T)
Look at ‘em. Gorging themselves like it’s their job, cause it’s free. Jesus. They’re like starved wolves. Or goddamn actors.
Sherman adjusts the picture on his CCTV, zooming in on someone. He smirks.
SHERMAN (CON’T)
Except her. She is VERY attractive. Do we know her?
ASSISTANT
We’re twenty minutes late, sir.
SHERMAN
(vicious)
Look. When you wake up tomorrow, your job and title will be exactly the same. When I wake up, I’ll be… Mr. Sherman. Mister. The word’s like drinking acid So those assholes drinking on my dime can wait, you hear me?
The Assistant is mute. Sherman stares at the mirror. His face is a Jackson Pollack of emotion.
SHERMAN
Is there any word?
ASSITANT
No. Nothing different, anyway. Same request. Sorry, Sir.
There is an awful silence.
SHERMAN
Alright, give me the order. Let’s get this over with.
(looks at the CCTV)
Then we’ll get THAT over with.
ANGLE ON:
The CCTV image. This particular camera is pointed at MRAZ, sitting at a table by himself with his Heineken.
CUT TO:
INT-GOVERNOR’S BALL BAR- EVENING
The same scene. Mraz sits, sipping his beer. Mark comes up behind him, in a black suit with his tie undone. He is gleefully not sober, holding two beers.
MARK
There is a VERY attractive woman over there. Do we know her?
MRAZ
Not now.
MARK
Whoa. Okay.
MRAZ
…can you cover this? I feel like I might shoot somebody.
MARK
(confused)
I’m sorry, are you me or are you, you? I’m enjoying the old bastard’s party, and you look like you’re about to rip a puppy’s head off.
MRAZ
If it was named Andrea, I might.
There is a silence. Mark chugs one of the beers.
MARK
Ah. OK. Go home.
(Mraz looks at him)
Go on, get out of here. I can play Mr. Kiss-ass for a night.
Mraz nods silently, appreciatively, and leaves. Mark drinks the other beer, puts it down, in a thoughtful mood.
After a beat, Andrea sits down with her two glasses of wine. One is already almost empty.
ANDREA
He’s upset with me.
MARK
(bemused and with a wave)
Hello, She-Bitch!
CUT TO:
EXT- RITZ CARLTON - NIGHT
Guests are still arriving to the ball. Mraz exits, fuming. He starts walking away from the hotel, opens his cell phone, hits the speed dial.
MRAZ
It’s Mraz, authorization 934-Texas. Patch me through to Keating.
SPLIT SCREEN:
KRYSTAL, sitting at KEATING’s desk. Her phone rings, she answers it.
KRYSTAL
Office of Mike Mraz.
MRAZ
Keating it’s me. I need-
KRYSTAL
(with a smile)
Sorry, try again. Mikey.
MRAZ
…Krystal. Hello.
CUT TO:
INT- GOVERNOR’S BALL- NIGHT
Andrea and Mark sit at the same table as before.
ANDREA
Bitches. The both of you. Whiny bitches. I know we’re on opposite sides, but that doesn’t mean-
MARK
It DOES. It does. He wants to arrest you, I just want to put a bullet in your head. No offense.
ANDREA
TAKEN. Heh. You know, Mraz, he’s all about his rules. His company. His ‘Legal’. But you and I, have an equal disdain for rules. You and I-
MARK
No. I don’t fund terrorists. I don’t hurt innocents.
ANDREA
No, you just put bullets in heads! You decide who’s innocent and who’s not! Man and Superman.
(finishes her wine)
Yeah, you’re the sober yin and I’m the raging yang. Jesus Christ. Consider, Mr. Souza, petty criminals only need petty cops. If it wasn’t for my ‘side’, you’d be out of a job.
Mark says nothing. The P.A. system crackles to life.
VOICE ON THE P.A.
Ladies and Gentlemen, Governor Josh Sherman!
The room BURSTS into applause. Pomp MUSIC starts playing. Andrea and Mark reluctantly get up and applaud, then turn to each other:
BOTH
Hail to the Thief.
They stare at each other, surprised at having made the same joke.
CUT TO:
INT- MRAZ INC- EVENING
Krystal is on Keating’s headset. Andy is ten feet away, at another terminal.
KRYSTAL
Yeah, the schedule got mixed up. It’s just me and Andy on the night shift.
MRAZ (O.S.)
(over phone)
Andy and I, Krystal. Andy and I. What would your mother think?
KRYSTAL
I don’t know, she’s in Newark. You want me to call her?
ANGLE ON:
Andy’s Terminal. He is typing lazily into the computer. We can hear the continuation of Mraz’s conversation.
MRAZ (O.S.)
(over phone)
I want a lot of things, but I’ll settle for keeping your eyes and ears open.
KRYSTAL (O.S.)
What’s going on?
MRAZ (O.S.)
(over phone)
Call it intuition. A bad feeling. Something’s up.
Andy stops typing, frowns. He has found something.
MRAZ (O.S.) (CON’T)
(over phone)
Anything come over the wire?
KRYSTAL (O.S.)
Not really… well, actually I was thinking of you- The Governor just issued a pardon. Hold on. Andy?
Andy stares into space, thinking.
KRYSTAL (O.S.)
Andy. ANDY!
ANGLE ON:
Andy turns and faces Krystal, startled.
KRYSTAL:
Fax.
Andy blinks, then reaches and hands Krystal a fax out of her inbox. Krystal reads off of it.
During this, we stay on Andy, as he stares at his computer.
KRYSTAL (O.S.)
Here we go- “the Governor orders… reasons of mercy… Immediate release.” Conviction unlisted..
MRAZ (O.S.)
(over phone)
Probably trying to let one of his donors get off the hook at the last minute. What’s the name?
CUT TO:
EXT- NYC STREET– NIGHT (CON’T)
Mraz is trying to hail a cab.
KRYSTAL (O.S.)
(over phone)
Uh… Lindsay. Lindsay Wolf.
Mraz stops dead in his tracks.
KRYSTAL (O.S.) (CON’T)
(over phone)
No further details. I didn’t-
MRAZ
Confirmation. I need confirmation IMMEDIATELY.
CUT TO:
EXT- MAXIMUM SECURITY PRISON – NIGHT
The entrance to a very high tech prison facility. The gates swing open, and LINDSAY WOLF walks out. She has a little smile on her face, and she is humming a song. As she walks toward the camera, we can hear it-
It is TIME IS ON MY SIDE.
FADE OUT.
END ACT ONE
-----------------------------------------------------------------------------------
ACT TWO
TITLE CARD:
12 HOURS AGO
FADE IN:
INT. MRAZ INC- FRONT DESK DAY
Keating stands over INTERN STEVE at the front desk.
KEATING
One more time. If someone calls, and asks what we import, you say…
INTERN STEVE
We import… imports.
KEATING
And if they ask what we export?
INTERN STEVE
We export… exports.
KEATING
Very good. You're gonna be fine, Intern.
INTERN STEVE
My name is Steve, actually, um- question? One question. What do we actually import?
KEATING
(leans in close)
…well, don't tell anyone. But we import Good into the country, and we export Evil out of it… Permanently. But try explaining that to Congress, you know?
Steve stares at her, agog. There is a KNOCK. They both turn and see a hung-over Mark, with dark sunglasses and a cup of coffee behind a glass door. He waves slowly, as if every movement hurts. He enters slowly.
MARK
Where's Mraz?
KEATING
Where do you think?
(Mark nods)
I'll walk with you.
INTERN STEVE:
Wait, what if someone calls?
MARK
(to Intern)
Answer it. What do you think we're paying you for?
INTERN STEVE
Right. Right.
KEATING
(whispering to Mark)
We don't pay them.
Mark blinks, then walks away. Keating gives a thumbs up to Steve and leaves. Steve watches them go, when a phone RINGS and startles him. He picks up:
INTERN STEVE
Mraz Inc, we Import Evil!
CUT TO:
INT. MRAZ INC- HALLWAY- DAY (CON’T)
Keating and Mark walking down a hallway. The office buzzes with Monday Morning activity.
KEATING
Andy and Krystal were on the overnight when something came in over the wire. I don't know what it was, but Mraz was pretty upset…
MARK
How upset?
KEATING
Phone against the wall upset.
MARK
(sad sigh)
Same as it ever was. What is that, the third this month?
KEATING
Fourth. I’m ordering them in bulk now. What happened at that party last night?
MARK
Some ribbing from Andrea put him in a mood, but other than that-
KEATING
Whatever it was, we recalled everyone from leave and this whole place has been put on alert. You're late, actually, we've been here for 3 hours.
MARK
Late…? Wait, what time is it?
Keating looks at a wall clock. It displays all time zones of the world. The one that has NYC says "10:43".
KEATING
(slightly accusatory)
We did call. Your phone was off. Probably still is.
MARK
…I really gotta stop drinking those last call Jaegerbombs.
CUT TO:
INT. MRAZ INC- MRAZ’S OFFICE- DAY
Mraz sits in his office, with bloodshot eyes and a grim expression. He is throwing away the broken parts of his phone. There is a nice, new phone sitting on his desk.
A moment. Then, he violently SMASHES his phone against the wall, and pulls out his familiar bottle of Jameson. As he goes to angrily pour a shot, there is a quiet KNOCK at the door.
BRIAN "DUCKY" SMALLWOOD is standing in the doorway, with a laptop underneath his arm. He wears a goofy, yet cautious smile.
DUCKY
Bad time?
MRAZ
Bad night. What’s up?
DUCKY
Got a minute?
MRAZ
I always have time for Ducky.
Mraz puts the bottle away. Ducky sits, opens his laptop. He looks at the broken phone.
DUCKY
What is that, the third this month?
CUT TO:
INT. MRAZ INC- FRONT DESK- DAY
Steve sits at his desk, a deer in the headlights. His desk is covered with message notes. Andy approaches with a pile of papers.
ANDY
Hey, uh- um. I'm sorry. You’re-
STEVE
Intern Steve.
ANDY
Intern- Steve, wow. That's your full name, huh. Great. Anyway, I'm Andy, I'm in Finance, and I need you to run these account numbers. I need dates, I need dollar amounts and I need names. As soon as is possible.
Intern Steve's expression screams, “I am screwed.”
STEVE
Okay. Sure. I can do that. Do I know how to do that? I don’t-
ANDY
A trained monkey could do it.
(pause)
So I guess that means, I'll train you, and then you can be my monkey.
STEVE
Great. Happy to help.
CUT TO:
INT. MRAZ INC- MRAZ’S OFFICE- DAY
The same scene as before. Mraz is a bit more relaxed. Ducky is setting up a whole display of monitors and computers.
MRAZ
It's Andrea. She was at the ball last night, practically daring me to arrest her. And then I got the call that- well, I can’t talk about it yet, but it’s why we’re on alert.
(swivels in his chair)
I never feel more powerless than when evil taunts me in the face, and gets away with it.
DUCKY
C'mon, man. You've put away more bad guys than Bruce Willis. BRUCE F-ING WILLIS. Don't be so hard on yourself.
MRAZ
I founded this company to do the things others can't. To operate above the system. For Justice. And now, I feel of the system. Trapped by it. Frozen in it. Like… Mr Freeze.
Beat. Mraz is lost in thought. Ducky flips a switch.
DUCKY
Either that or it's Monday and you're hung over.
Finally, Mraz chuckles.
MRAZ
I'm always hung over. So what’s this?
DUCKY
Well, first, first- yes you are, and you should consider your heart. Second? This is the future.
A series of images pop up on the monitors. Each moving person or vehicle is assigned a Variable: X3, Z8, etc.
DUCKY
I call it the DSS. Ducky Survelliance System. I was going to call it BSS, but, I decided against that for acronym purposes.
MRAZ
So it's cameras. So what. We already have cameras.
DUCKY
Cameras that can do… this?
ANGLE ON: Ducky types the following command: FOLLOW X3
ANGLE ON: The image begins moving , following the person marked as X3. Mraz leans in close, watching it.
DUCKY
DSS can follow anyone, anywhere as long as it's open air. And it instantly sends back and records its images. I only have 10 prototypes right now. But can you imagine?
MRAZ
And the people don't know they're being followed.
DUCKY
Not unless the perp starts to suspect pigeons.
MRAZ
(genuine admiration)
Robot Pigeons. You crazy son of a bitch. How are you able to do this?
DUCKY
Yeah… about that.
(holds a bunch of bills)
Full disclosure? I went a bit into the hole on this one.
CUT TO:
INT. MRAZ INC- ANDY’S TERMINAL- DAY
Andy looks worse than Mraz, if that’s possible. He types with a mad desperation. Coffee cups litter his desk. He sips from one, and stares at his screen.
ANGLE ON: His monitor asks him a question: EXECUTE? (Y/N)
Andy hesitates. Suddenly, a hand grabs his shoulder-
ANDY
Jesus!
INTERN STEVE (O.S.)
Sorry!
Steve appears behind him, carrying papers.
INTERN STEVE
Didn’t mean to, uh, scare the bejesus out of you.
ANDY
That’s… that’s okay… whew… What’ve you got?
INTERN STEVE
Uh, let’s see… dates, dollar amounts, and names. That was it, right?
Andy takes the list and stares at it.
ANGLE ON: Andy’s POV, as he scans from name to name:
ANDY
DUCKY
EDDIE
KEATING
It lingers on the last one:
MRAZ
Andy closes his eyes in pain.
ANDY
And you’re sure this is accurate.
INTERN STEVE
This is all who accessed the file. You can add names but you can’t remove them. Someone may be adding names to cover their tracks, but it’s one of these five. Is there a problem?
ANDY
No, no. Thank you. This is, uh. Good work.
INTERN STEVE
Oooh oooh AH AH AH!
Andy stares at Steve.
INTERN STEVE
Monkey! Ha… uh… I’ll just be going.
Steve leaves. Andy watches him go, then turns to his computer.
ANGLE ON: EXECUTE? (Y/N)
Andy types: Y.
PROCESSING…
ONE (1) MATCH FOUND:
ANDREA
Andy sits upright in his chair.
ANDY
Andrea?
CUT TO:
INT. ANDREA’S APARTMENT- LIVING ROOM- DAY
Andrea is having a midday cocktail party. A HIRED GOON is trying to get her attention.
ANDREA
Yes?
HIRED GOON
Sorry, Ms. Andrea, there’s some broad here who says she knows you. I don’t recognize her.
ANDREA
Some ‘broad.’
(to her guests)
Excuse me. Pre-feminism Muscle calls.
CUT TO:
INT. ANDREA’S APARTMENT- ATRIUM- DAY
Andrea is dragging her hired goon to the front door.
ANDREA
And if you EVER say the word Broad again I swear to God they’ll never find the-
There is the sound of FIST HITTING FLESH as a 2nd HIRED GOON is sent flying through the front door and against the wall. Lindsay steps over the body and into the room, calm but ready to spring.
The 1st hired goon pulls a gun, but Andrea stops him. She wears the same smile she flashed Mraz.
ANDREA
Lindsay. Dear. You don’t call, or write. You beat up the help.
LINDSAY
I. Want.
ANDREA
(tones herself down)
What can I do for you?
LINDSAY
I want my money. I want my tools. And I want them both, right now.
ANDREA
(pause)
Birdo, be a dear.
(pause)
Fetch.
The 1st hired goon (BIRDO) nods dumbly and runs off. Andrea sits in an atrium chaise-lounge.
ANDREA
Anything else, while you’re in this mood? Nice to see you, by the way.
ANGLE ON: Lindsay looks straight at the camera, eyes focused.
LINDSAY
… Mraz. I want. Michael. Mraz.
FADE TO BLACK.
END ACT TWO
-------------------------------------------------------------------------------
ACT THREE
TITLE CARD:
6 HOURS AGO
FADE IN:
INT MRAZ INC. CONFERENCE ROOM- AFTERNOON
Mark stands in front of a room of RECRUITS, still wearing the dark sunglasses. A slide projected behind him says, “RECON TRAINING 102”. EDDIE and MOUMIN sit to the side of Mark, looking beyond bored.
MARK
We call this play a Running a Red. As in, herring. And if you don’t know what a Red Herring is… well, then HR isn’t doing it’s job. Now.
Mark clicks the slide projector. A new SCENE is depicted, a heavily armed entrance. Narrating with a laser pointer:
MARK (CON’T)
You have the target here. Entrance to target is heavily armed, and no doubt brimming with malicious evil. You want to enter target, with minimal collateral damage and no loss of team members. How do you do this?
Mark clicks the slide projector. In the new SCENE, a man dressed up like a CLOWN is running around with an assault rifle, while the GURADS are trying to catch him.
MARK (CON’T)
You create a highly visible, unavoidable, but ultimately non-lethal diversion. You manufacture a distraction that requires immediate attention and throws target into disarray. In this case, a clown with a machinegun.
Mark clicks the slide projector. In the new SCENE, the guards are beating the clown mercilessly, while two COMMANDOS sneak into the building.
MARK (CON’T)
This is a very simple, very useful tactic. But it cuts both ways. Anyone with a brain and a willing stooge can run a Red. The trick is to know when the threat is real, and when it’s a…
There is a SNORE. Eddie has passed out. Moumin is trying not to laugh. Mark whips off his sunglasses.
MARK (CON’T)
…clown. This concludes the a/v portion. And now, for some final words, please welcome special visiting commando lecturer, Eddie, Ladies and Gentlemen!
Mark starts the clapping, which is loud and wakes Eddie up. Moumin is now whole-heartedly guffawing.
Eddie looks around, groggily. He stumbles to the lectern, and peers at the audience. There is a silence. Finally:
EDDIE
(points finger)
Don’t screw up.
Eddie walks away and leaves the room. Moumin runs up to the lectern.
MOUMIN
Uh, so- That will be on the test. Study hard. Peace out!
CUT TO:
INT. MRAZ INC- ANDY’S TERMINAL- AFTERNOON
Andy, leans against his chair. He looks dejected and tired. Krystal walks by, stops, smiles at Andy.
KRYSTAL
Busy night, huh?
ANDY
What?
KRYSTAL
Last night. The Fax. The, crisis. No sleep. Remember?
ANDY
(thinks, pauses)
Can I ask you a question?
KRYSTAL
Shoot.
ANDY
If you had to choose between doing the Right thing… that might get you in trouble and might even get you fired… and letting something go, which would mean absolutely no trouble. Well? Am I crazy?
KRYSTAL
I'm going to need a little bit more info than that.
ANDY
I found something that, well, might be big. Internal. Big.
KRYSTAL
Well, if you want, I can probably get it to Mraz-
ANDY
I don't know, every bit of common sense is telling me to drop this, but…
KRYSTAL
This company survived the Mexican Nuke Scandal, I think we can survive whatever you find in Finance. No offense.
Andy makes a "brush off" gesture. Krystal smiles.
KRYSTAL (CON’T)
Look, it's trite, but I say you do the Right thing. If nothing else, Mraz will believe you.
ANDY
What if it involves him?
Krystal's expression changes.
KRYSTAL
Now that IS crazy.
Krystal walks away. Andy stares into space.
CUT TO:
INT. MRAZ INC- MRAZ’S OFFICE- AFTERNOON
Mraz is seated at his desk. In his office: Keating, Eddie, Moumin, Ducky and, still in dark sunglasses, Mark. Eddie is in the center of the group:
EDDIE
Look, I had a choice to make. Recruits go one of two ways. I told them to right way to go.
KEATING
“Don’t screw up.”
EDDIE
(small satisfied nod)
The defense rests.
MRAZ
What the hell is going on here? The past 24 hours I feel like I’ve been in crazyland! What do you think this is? A game?!
A cell phone rings with the Theme to LEGEND OF ZELDA. No one moves. Finally, Ducky reaches into his pocket. The phone stops ringing.
DUCKY
Rachel and I haven’t figured out how to change that yet.
EDDIE
Uh. Huh.
MARK
Jesus, Mraz, what crawled up your ass and laid eggs before it died? What’s going on?
Mraz says nothing, turns away. Ducky begins punching up images on the monitors.
KEATING
Mike… I don’t share his choice of words? But he’s right. You’ve been on edge all day. This place is on full alert and we don’t know why.
EDDIE
Yeah, man. What the hell?
MRAZ
Lindsay Wolf is free.
Utter silence and shock. Even Ducky stops typing.
MRAZ
It came over the wire last night. 2 hours before his term was up, Governor Sherman, he, pardoned her. She walked out of Maximum Security, free. Free to network. Free to disappear.
EDDIE
(knowingly)
Free to act.
KEATING
Oh God. She’s coming after you.
MARK
(deeply upset)
Well. If you’d told me that sooner, I wouldn’t have spent all afternoon dicking around with college grads.
(stands)
Let’s pick her up.
MRAZ
We can’t. Look, she’s-
KEATING
I’ll pull all units under your command. Total sweep by sundown-
MARK
Where can we find her?
MRAZ
She’s a free citizen. We can’t just pick-
EDDIE
Gonna be difficult. Once upon a time, she trained with us.
MOUMIN
We’re gonna have to go old school. Safe house to safe house. No sleep till Brooklyn.
MRAZ
What am I, a ghost? Listen, this is my-
MARK
No it’s not.
(pause)
You’re her target. You’re our asset to be protected. That’s where your involvement ends.
MRAZ
That’s crap.
KEATING
That’s Mraz Inc Op-Protocol.
EDDIE
She should know, man, she’s the only one who reads ’em.
MRAZ
(faltering)
I am- this investigation-
MARK
You can’t lead this investigation without being in the field. You can’t be in the field, you’d be a liability. You’ve already cost us valuable time by withholding intel.
(to others)
Let’s go.
MRAZ
…Mark…
But Mark is gone. Moumin and Eddie follow him out. Keating lingers a moment, then leaves. Beat.
Ducky stands up and slowly begins to walk out.
MRAZ
And you had nothing to say.
DUCKY
I had nothing to add.
MRAZ
What about your- what about Robobirds? I could use them-
DUCKY
Mike, they’re prototypes. You told me to have a demonstration ready, not an active test.
Mraz says nothing. Unknown to both of them, one of the 10 monitor images has gone to STATIC.
DUCKY
(at door)
Honestly Mike? If anyone was going to spot a drone following her, it’s Lindsay Wolf.
CUT TO:
EXT. NEW YORK- ALLEYWAY- AFTERNOON
A smoking remains of one of Ducky's DSS birds. A gloved hand picks it up and inspects it.
It is Lindsay. She stares with idle curiosity.
LINDSAY
Where do they get these wonderful toys?
CUT TO:
TITLE CARD:
3 HOURS AGO
CUT TO:
INT. MRAZ INC- ARMORY- EARLY EVENING
The various teams are suiting up. In a series of quick cuts, we see Eddie, Moumin, and Keating arming themselves. The last one is Mark.
As Mark checks his clip, Andy runs up to him.
ANDY
We gotta talk.
MARK
Not now.
ANDY
It’s, uh. Pressing.
MARK
Andy, Lindsay Wolf has been free for almost an entire day. She’s armed, she’s dangerous and talk to me after we catch her, okay? Mraz’s life is in danger.
Mark gets a few steps away when Andy explodes:
ANDY
This whole COMPANY is in danger, Mark!
(Mark stops walking)
Have I ever asked you to look at something that wasn’t important? Wasted your time? Have I ever… I’m asking you, friend. Brother. Coworker. Will you trust me?
(pause)
Sorry, I’ve been up for 24 plus hours. Was that over the top?
MARK
A bit.
ANDY
Yeah. A bit. Look- just- I know you have to go. Meet me in three hours. I’ll have more info then. SOLAS.
MARK
Alright. SOLAS. Three hours.
CUT TO:
INT. MRAZ INC- MRAZ’S OFFICE- EARLY EVENING
Mraz stands, picking up the pieces of his phone(s). He looks thoroughly dejected and tired.
Krystal knocks on the door, in the same way that Ducky did earlier.
KRYSTAL
Bad time?
MRAZ
(a little laugh)
Always. The strike teams?
KRYSTAL
You know the policy. Do overnight one night, get the next night off. I just wanted to make sure you were okay.
MRAZ
I’m fine.
(she stares at him)
No, I’m not. I’m an idiot. I put myself over Mraz Inc.
KRYSTAL
You did the right thing.
MRAZ
I don’t know. There’s a woman out there, who is pissed and who wants to kill me. She may have a point.
A moment. Krystal looks at some of the papers piled on his desk. Krystal smiles.
ANGLE ON: The post reads: GOV. SHERMAN TO HOLD PARTY ON FIRST NIGHT AS PRIVATE CITIZEN.
KRYSTAL
You know, in the movies… what happens to the man who sits inside his impregnable fortress, while all his guards are trying to keep out the one assassin trying to get in?
MRAZ
Don’t try to cheer me up.
KRYSTAL
Seriously.
MRAZ
The assassin gets in, and the man must face down the assassin. Usually loses.
KRYSTAL
So you can stay here waiting for your angel of death, or…
(holds up newspaper)
You can bust some fat heads.
Mraz stares at the paper, then at her. He gets it.
MRAZ
Wanna go to a party?
CUT TO:
INT. MRAZ INC- DUCKY’S LAB- EARLY EVENING
Ducky sits typing on a keyboard, silently. Prototypes for the Robobird sit all around the lab.
His phone RINGS. He picks it up:
DUCKY
Go for Ducky.
LINDSAY (O.S.)
Hello… old friend.
DUCKY
(stops typing)
Hello.
LINDSAY(O.S.)
I’m coming, Ducky. I’m coming for Mraz.
DUCKY
So I heard. You’ve got everyone here, uh… very concerned.
LINDSAY (O.S.)
No one has to die… except Mike.
DUCKY
It’s revenge, right? For him?
LINDSAY (O.S.)
Only Mraz has to die.
DUCKY
Yes, you’ve made that, uh, crystal. I meant more… as opposed to killing my friend and your former boss, what can we give you? What do you want?
LINDSAY (O.S.)
I want. What I had.
The phone goes dead. Ducky stares at it.
FADE TO BLACK
END ACT THREE
---------------------------------------------------------------------------------
ACT FOUR
TITLE CARD:
NOW
FADE IN:
CUT TO:
EXT. SHERMAN’S APARTMENT- NIGHT
A gorgeous entire-floor New York apartment. From outside, we see people in rich clothes drinking.
CUT TO:
INT. SHERMAN’S APARTMENT- NIGHT
We see Ex Governor Sherman entertaining GUESTS. He is having a ball, telling jokes loudly.
SHERMAN
So I says to Mabel I says… look, if you want the bird up your dress, I’ll do it, but first… I need to know how you voted in 2006!
The Guests burst into laughter, although a few of them exchange “huh?” looks.
MRAZ (O.S.)
That’s funny. But I know a better one.
The crowd of Guests parts and there is Mraz, with Krystal on his arm. They look fantastic. Mraz has a glass of Jameson in his hand.
MRAZ
What do you call a big, fat, pathetic white Republican man who’s afraid of change and has lost all purpose in life?
KRYSTAL
I don’t know, Michael. What do you call all of that?
MRAZ
The elephant in the room.
Sherman and Mraz stare each other down. Finally, after a moment:
A DRUNK WHITE PARTY GUEST:
Daaaaaaaamn!
CUT TO:
INT. MRAZ INC- DUCKY’S LAB- EARLY EVENING
Ducky sits, his eyes now bloodshot, watching his 9 working monitors. He drinks a Red Bull™, eyes darting from screen to screen.
DUCKY
I know you’re there Lindsay. I know… I know.
Monitor 7 suddenly has a flash. Ducky frowns, zooms in on the image… it’s a CAR speeding…
CUT TO:
EXT. ALLEY- EVENING (CON’T)
That same CAR trying to run down Mark misses him by an inch as he ROLLS out of the way.
Mark hits the ground, pulls out a gun, and starts firing wildly.
ANGLE ON: The TIRES of the car, squealing in reverse.
ANGLE ON: The front of the CAB. One of the headlights is SHOT OUT. Suddenly, two gun muzzles SMASH out of the headlights, breaking the other. The engine revs.
Mark stops FIRING, and jumps behind a dumpster as the CAB begins FIRING mercilessly.
CUT TO:
INT. MRAZ INC- DUCKY’S LAB- EVENING (CON’T)
Ducky realizes that the intended victim is Mark.
DUCKY
Jesus…
Ducky reaches for the phone, when a gloved hand grabs his wrist and slams the phone down.
ANGLE ON: Ducky’s face, as Lindsay whispers in his ear:
LINDSAY:
Duck…Duck…Duck…
A pause.
DUCKY
(barely a whisper)
Goose.
CUT TO:
INT. SHERMAN’S APARTMENT- OFFICE- EVENING (CON’T)
Sherman sits in his office, jacket off, drinking a beer. He is miserable and pissed.
SHERMAN
So, I’m just curious. What part of, President of Mraz Inc, where in the job description does it say- I can show up and crash any party I feel like?
KRYSTAL
What crashing? You advertised it in the “Post.”
Krystal throws down the paper. Sherman stares at it for a moment.
SHERMAN
This reminds me. I have to fire EVERYBODY. Alright. So, what I can do for you, so that you’ll get out of my house?
MRAZ
I don’t really give a damn if you hand out pardons right and left to inside traders, rich kids who do blow… I could care less. But when you decide to pardon a cold blooded killer, someone with the ability to kill a man from sixty yards with nothing but a spork-
KRYSTAL
A spork? Really?
MRAZ
Someone who in fact has no larger purpose in life left but to kill me-
SHERMAN
Please, Mraz, this is New York. Anyone I meet who doesn’t want you dead, I get suspicious.
KRYSTAL
You’re stalling. And we don’t have time. Lives are at stake.
SHERMAN
“lives…” If I had a nickel, I’d have a dollar eighty-three.
CUT TO:
EXT. ALLEY- EVENING
Mark hides behind an industrial trash bin. The CAB keeps firing at his position. It’s getting rough.
MARK
Alright. You want to play it soft, we’ll play it soft. You want to play it hard?
(pulls out explosive)
We’ll play it hard.
CUT TO:
INT. MRAZ INC- DUCKY’S LAB- EVENING
Ducky is now tied to his chair. Lindsay is using the Robobirds to find Mraz.
LINDSAY
Where is he, Ducky?
DUCKY
Well, it’s tricky. If I knew, I wouldn’t tell you. But I don’t know, so I can’t.
LINDSAY
Where is Mraz, Ducky?
DUCKY
It’s not his fault.
(she stops typing)
I’m sorry. But it was a mission with risks, and Steve knew it, and he accepted it. And now he’s dead, and I’m sorry. But it’s not Mike’s fault.
Lindsay mutters something, holding her knife.
DUCKY
What?
Lindsay leaps onto Ducky with her knife, screaming.
LINDSAY
Liar! LIAR!
CUT TO:
INT. SHERMAN’S APARTMENT- OFFICE- EVENING (CON’T)
Sherman waves his hands expansively:
SHERMAN
What cracks me up about this, other than the fact that you’re so obviously attracted to her it hurts-
(Mraz balks)
Is that you haven’t thought it through. You assume I did what I did because she was who she was. I don’t know who Lindsay Wolinski is.
KRYSTAL
(blushing)
Wolf.
SHERMAN
Wolinski, Wolf, wha-wha-whattever. Wasn’t even on the pardon list. I was all set to enjoy my party. And then THIS.
(brandishes Fax)
Even when the damn Governor gets a request from Mraz F-ing Inc, he’s gotta take notice.
MRAZ
…excuse me?
SHERMAN
Read it yourself. It’s an official request from MRAZ INC.
CUT TO:
EXT. ALLEY- EVENING (CON’T)
Mark rolls into the ALLEY path.
The CAR takes the bait, revving and driving towards him, guns blazing.
Mark waits, waits… bullets bounce off the ground next to him.
ANGLE ON: The CAR speeding towards us.
ANGLE ON: Mark watches it, calmly.
As the CAR is about to run him down, he throws up the EXPLOSIVE and rolls out of the way. It sticks to the CAR, which makes a sharp U-TURN at the other end of the ALLEY.
Mark stands, holds up his detonator. He clicks it.
CUT TO:
INT- CAR- NIGHT (CON’T)
The GLOVED HANDS rise up in shock and dismay as the CAR EXPLODES. We hear a SCREAM, but it is cut short.
CUT TO:
INT- SHERMAN APARTIMENT- OFFICE- NIGHT
Mraz angrily waves the paper at Sherman:
MRAZ
I never signed this. This order didn’t come from me.
SHERMAN
Look. If someone over there is photocopying signatures to get their girlfriend out of jail, I can’t help you. The order came on your stationary. I owed you one last favor. We’re even, which means, we’re done.
(stands)
Now get out. I have a girl from the Midwest who thinks Albany is in Albania, and I don’t want to disappoint her. OUT!
CUT TO:
INT- MRAZ INC- DUCKY’S OFFICE- NIGHT (CON’T)
Lindsay holds the knife very close to Ducky's throat.
LINDSAY
Now… before I have to start filleting a good friend of mine… where is Mraz…
DUCKY
Your concern is touching… but again, and until further notice… I don’t know where he is…
A single tear runs down Lindsay’s face. She closes her eyes. Then, she raises her knife-
STEVE (O.S.)
STOP!
Lindsay and Ducky turn, and their shock is equal.
ANGLE ON: In the doorway stands intern Steve. But all his youthful naïveté and innocence is gone. His face is now a mask of weariness and relief.
INTERN STEVE
I knew.
(he takes a step in)
I knew if I interned here long enough.
(offers her a hand)
I’d find you again.
Lindsay drops the knife. Shaking, she takes his hand.
They embrace. Lindsay begins to cry. Ducky lets out a huge sigh of relief.
CUT TO:
EXT- ALLEY- NIGHT
Mark watches the car burn. Eddie runs up with an assault rifle, then slows down.
EDDIE
That your handiwork?
MARK
Yeah. Standard killer with customized car deal. Amateur-hour, really.
EDDIE
Looks real enough.
MARK
Nothing compared to Lindsay Wolf. But an amusing disctraction, nonethe-
Mark stops.
EDDIE
Still, legal’s gonna have a-
MARK
Distraction. Oh shi-
He begins to run-
EDDIE
What is it? What?
CUT TO:
INT- ANDY’S APARTMENT- NIGHT
A small but homey apartment. BATMAN memorabilia lines the place. Andy enters, locks the door behind him.
He puts down his stuff, goes through his mail. Sighs.
ANGLE ON: He opens his fridge, grabs a beer.
ANGLE ON: He runs down his shelf of DVDs, picks out BATMAN BEGINS.
ANGLE ON: He pops the DVD in, presses play, settles onto his chair.
Andy presses power on the TV. Nothing happens but a low, persistent beep. He looks confused. He presses power again. Nothing. He puts down his beer, walks over to the entertainment center.
The beep gets louder. He squints-
ANGLE ON:
Several small metal boxes, attached to the TV. One of them has a little red light.
ANGLE ON: We can see Andy's face and the red light. His expression goes from confusion, to shock, to acceptance before it goes GREEN-
CUT TO:
EXT- STREETS- NIGHT
Mark turns the corner just in time to see Andy’s apartment EXPLODE. The shockwave sends him to the ground.
Fire and debris rain down from the fifth floor walkup’s window. Car alarms SCREAM into the night.
Mark looks up, looks down, puts his head in his hands.
FADE TO BLACK.
TO BE CONTINUED...
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