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…
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