Mraz Inc.
"Eye of the Storm"
Written by
Michael Mraz
TEASER
FADE IN:
EXT MRAZ INC - DAY
Weezer’s “Island in the Sun” plays. It’s a sunny day. The Mraz Inc building can be seen with light glinting off of it. The camera shot zooms into the building from afar-as if flying closer and closer to the building.
CUT TO:
INT MRAZ INC – SAME TIME
The song plays lightly under the dialogue. MRAZ stands, near a TV screen with a map on it, addressing the room.
MRAZ
--longest period of inactivity in the past year. It’s been a month since we’ve heard anything out of Andrea’s organization.
As Mraz continues talking, the camera pans over the rest of the room. Everyone seems bored, tired, and completely uninterested.
DUCKY can be seen fidgeting with some gadget. TAYLOR sits next to him- he leans forward on the table with his head propped on his hand. ERIC holds a knife. He has his palm spread flat on the table and is busy stabbing the table in the spaces between his fingers. EDDIE is passed out and leaning on MOUMIN’s shoulder. MOUMIN seems to be the only one paying attention. KEATING even leans against the wall, obviously zoned out. MARK and KRYSTAL are not among those in the room.
MRAZ (CONT.)
We can’t be sure whether this calm is a good thing or a bad thing. She may be trying to lie low after the siege on this building the night of our raid. But one thing is for sure: no information is flowing out of her camp. And that is not a good thing. We need to change that. Suggestions? Mark?
Keating stirs.
KEATING
Actually Mark hasn’t arrived yet.
MRAZ
Wonderful. Eddie?
Eddie is still asleep. Moumin makes no effort to wake him.
MRAZ (CONT.)
Eddie?!
Eddie wakes up, startled, but tries to cover it up.
EDDIE
Of course! I agree.
MRAZ
Agree with what?
EDDIE
That… course of action?
Mraz sighs. Moumin snickers to himself.
MRAZ
Keating, can you go see what’s so important that Mark can’t get to a meeting ontime.
KEATING
Right away--
She starts toward the door.
MRAZ
Look, people. I know it’s slow, but we have to stay on our toes, in case--
Just as Keating gets to the door, it opens and Mark tries to discreetly enter. He nearly slams into Keating.
MRAZ (CONT.)
Mark—
Just as the door is nearly closed, it opens again and Krystal slides in.
MRAZ (CONT.)
--and Krystal. Nice of you… both… to join us.
MARK
Sorry, I was reviewing my files on… Andrea’s recent movements…
MRAZ
Good. We were just discussing how to extract more info out of her camp. Perhaps you’d like to enlighten us?
Mark pauses for a moment.
MARK
Um… sure.
CUT TO:
INT MRAZ INC – LATER
The group files out of the conference room. Ducky yawns as he exits. Mark heads out and Mraz follows.
MRAZ
That was a hell of a suggestion in there. “Surveillance”. Specific and outside the box.
MARK
I just… I’m at a loss-
MRAZ
It’s ok. I have no clue either.
MARK
She’s just never been this quiet.
MRAZ
Hey, maybe she’s ramping up for another shot at killing you.
MARK
We can always hope.
MRAZ
I’m about to go grab lunch with Corey, its her last 2 days in town. I thought we’d go to Houstons. Want to come?
MARK
I… should probably stay in and work on this Andrea thing. I’ve been slacking on it, you’re right.
MRAZ
I didn’t say you were slacking.
MARK
No, no. We need to figure this out. Maybe I can pull Krystal on with me to brainstorm. We might be able to make use her intimate knowledge.
MRAZ
Sure… Are you sure you don’t want to come to lunch? Its on the company. Free drinks…
MARK
No. Go ahead. Give Corey a kiss for me.
MRAZ
Ok. Catch you later.
Mraz turns and walks toward the elevator. Keating brushes past. Sarcastically:
KEATING
Really nice work in there, Souza.
She doesn’t stop long enough for him to retort. He shoots her a quizzical look. He looks as the elevator door closes on Mraz. He takes a deep breath.
MARK
Krystal. I need to see you in my office.
CUT TO:
INT MARK’S OFFICE – MOMENTS LATER
Mark walks in quickly and Krystal follows. He shuts the doors, then pins her hard against the door and kisses her.
Mark breaks the kiss with Krystal. They both breath heavily.
KRYSTAL
I thought “no PDA in the office” was your rule.
MARK
Sorry. I needed that. To calm down.
There is a knock at the door, startling them both.
MARK (CONT.)
Who is it?
VOICE (O.S.)
Um… mail.
Mark opens the door. A mousey CLERK stands outside with mail in his outstretched hand. Mark grabs it and closes the door without a word. He begins to shuffle through the envelopes. Krystal grabs them and drops them on the ground.
KRYSTAL
Later. We have work to do first.
She pulls him in to a passionate kiss.
SMASH CUT TO:
MAIN TITLES.
END OF TEASER
-------------------------------------------------------------------------------------
ACT ONE
INT MRAZ INC. - MORNING
ANGLE ON: An Invitation. It reads, in script:
Mr. Mraz,
You and a guest are cordially
invited to the Governor’s Ball,
celebrating the Inaguaration of
Governor Richard Reed. The Ball
will begin at 8 PM on Thursday,
the 16th of April, at the
Hammerstein Ballroom.
The camera pulls out and reveals Mraz sitting at his desk, considering the invitation with thought. He pauses then looks up.
ANGLE ON: Keating, looking at him expectantly.
KEATING
You’re going, right?
Mraz stares at the invitation for a moment more, as if it may come alive and kill him on the spot. He looks up, apprehensively.
MRAZ
It’s tonight. You think they could have sent it any later. It’s as if they don’t really want me there at all. Just hoping I get the invitation too late.
Keating stares daggers into him.
KEATING
Are you kidding me? That’s going to be your excuse? Why are you so grumpy lately?
Mraz’s expression is mock-wounded. He clacks on the keyboard of his computer, trying to look busy.
MRAZ
Hey! Who’s grumpy? I just have a lot of work to do. I can’t just push it aside like its nothing.
Without warning, Keating grabs his laptop and spins it… revealing a game of Minesweeper on the screen.
KEATING
You look very busy! Mike, it’s dead. Andrea is doing nothing. There’s been no activity reported from any of our other targets. You’re going to this party, if I have to dress you and drive you there myself--
MRAZ
Sounds pretty fun now actually--
KEATING
Shut up! Don’t tease.
MRAZ
I really don’t want to go…
KEATING
Stop whining. It’ll be good for you to make a public appearance. We haven’t exactly had the best press as of late.
MRAZ
Fine.
Mraz sulks and pouts like a child.
KEATING
Good. Now.
(expectantly)
Who will you be taking as a guest?
He looks up, his eye catching something.
MRAZ
Krystal…
KEATING
What?
MRAZ
Krystal!
ANGLE ON: Krystal walking past Mraz’s open door. She stops at the sound of her name and steps in. No, Keating sulks- doing a bad job of hiding it.
KRYSTAL
Hey! What’s up? Something happen?
MRAZ
No, just wondering if you and Mark are still stuck working on maximizing Andrea surveillance.
KRYSTAL
No. We’re going to work on that again tomorrow. He just finished… briefing me.
MRAZ
Great! I just got an invitation to the Governor’s Ball tonight. Just wondering if you were free and wanted to be my “guest”. Have my “lawyer” meet the new governor.
Mraz waits sheepishly, trying to appear nonchalant- but badly failing.
KRYSTAL
Oh!…Uh…Well, I’d love to but…um…I’m already going…
MRAZ
You got an invitation too?
Suddenly, before she can answer, Mark pops his head into the room and walks in as if he owns the place.
MARK
Hey, Mraz! Did you get this invitation thing to the Governor’s ball?
Mark sits down across from Mraz. Barely noticing Keating sulking and Krystal awkwardly searching for an answer to Mraz.
MRAZ
Of course.
MARK
A little late, don’t you think? Almost like they don’t want us to go?
KEATING
(under her breath, but loud enough to be heard)
Probably because they know a path of destruction follows you two everywhere you go.
Everyone is silent. Mark turns and gives her a slightly confused stare.
MARK
(patronizing)
Look who’s grumpy today.
Keating glares and lets out a small growl. Mark mock surrenders.
MARK
OK. Got it. I won’t ask. Anyway, I like this new Richards guy.
(sarcastically)
Think we would have gotten an invite from Sherman?
MRAZ
Well, he seems to be trying to foster a good relationship with us, too. Krystal got an invitation as well.
There is a new moment of silence. Mark and Krystal trade a glance. Keating goes from angry to slightly confused. Mraz just looks at them both.
KRYSTAL
Well, actually… uh..
MARK
Krystal...is going as my guest.
MRAZ
She is?
Mraz tries to cover his discomfort and disappointment, once again, badly.
MARK
Oh, she was in my office when the mail came, going over strategy. Figured it’d be a good idea to bring her along and give her a taste of one of these society events. Besides, I didn’t know if you got an invitation and I thought it’d be weird if you were my date.
Everyone laughs for a moment. It seems as if the tension is at least slightly broken.
MRAZ
Well… Corey’s in town. I guess I could see if she wanted to come along. She’d love this kind of thing. Besides, she’s a smart girl. Probably be a good idea to support our cover a bit for her benefit. Don’t want her to start suspecting anything.
MARK
Great. Should be a fun night then!
MRAZ
Keating, could you call Corey and see if she’s available?
Keating glares and walks out of the room.
MRAZ (CONT)
Don’t know why her mood dive-bombed all of a sudden.
MARK
Mraz, sometimes you are extremely dense. Has anyone ever told you that?
MRAZ
What’s that supposed to mean?--
They are cut off by Eddie barging in the room- much in the manner that Mark did previously. Moumin follows quietly through the door. Mraz is clearly frustrated.
MRAZ
Doesn’t anyone knock anymore?
EDDIE
Did you guys get this invite thing to a Governor’s Ball?
The room goes silent. Mraz, Mark, and Krystal slowly turn and stare at Eddie. Moumin, who is standing right beside Eddie, slowly moves away.
EDDIE (CONT.)
What?
MARK
Let me see that.
Mark stands and yanks the paper out of Eddie’s hand. He slowly reads it. He gives it back to Eddie and sits back down.
MARK (CONT)
(calmly, matter-of-fact)
Mraz, I would like you to consider for a moment that this must be a trap. No person in their right mind would invite Eddie to a Society Event. I have serious doubts about its legitimacy.
EDDIE
Oh, screw you.
MRAZ
It’s fine, Eddie. We can use the invitation. We can see if Ducky and Rachel want to go. They always like these events.
EDDIE
Hey, what makes you think I don’t want to go? It’s my invitation.
Mraz, Krystal, and Mark stare at him again, in stunned silence. After a moment, Mark starts to snicker. Mraz and Krystal join in. Even Moumin begins to laugh. Eddie fumes. He punches Moumin in the shoulder.
EDDIE
That’s it! I’m going!
Keating walks into the room. Unenthusiastically:
KEATING
I called Corey. She said she’d love to go.
Keating observes the scene that she walked in on for a moment.
KEATING (CONT)
What’s going on here?
EDDIE
These two are just jealous that I actually got my own invitation to the Governor’s Ball thing tonight.
Keating is exasperated.
KEATING
Even Eddie is going? Eddie, of all people?!
Frustrated:
EDDIE
Sometimes, I wonder why I still work here.
MRAZ
Eddie, why don’t you take Keating as a guest? It’d be good for her to be there anyway.
Eddie seems to find this idea fun. Keating is visibly not so excited.
EDDIE
Sure!
Moumin looks wounded.
MOUMIN
But I thought I was going with you?
EDDIE
We’re all gonna pretend you didn’t just say that, Mo.
Moumin, a bit deflated, leaves the office. Keating starts to follow him out, slumping as well.
EDDIE
Hey, Lauren!
Keating turns back slowly. Eddie snaps his fingers, points at her and, winks.
EDDIE (CONT)
Pick ya up at 7!
Keating rolls her eyes and mumbles as she exits.
MARK
Your technique is flawless, Eddie. Remind me to take lessons from you someday.
EDDIE
You should all be so lucky… Well boys, I’m excited! A night on the town! I’m going to head home and get ready!!
He pats Mark and Krystal on the shoulders and heads toward the door.
MRAZ
Eddie, it’s 1 o’clock.
Eddie doesn’t turn back.
EDDIE
I know! Only 6 hours. I better hurry. Catch ya later, kids.
They all stare after him.
MRAZ
This is going to be an interesting night.
MARK
Maybe you should have Taylor on call just in case.
Mraz, Mark, and Krystal sit. There’s a silence a bit too long for comfort.
KRYSTAL
Ok! Well, I need to go… talk with Ducky… about… something.
She stands and walks out. Both Mraz and Mark stare as she exits, not realizing the other one is doing it.
MARK
Well, this’ll be fun! Haven’t done an event like this in awhile!
MRAZ
We did one a month ago. For Sherman.
MARK
Yeah but that barely counts. Lindsay tried to kill you after that. We didn’t actually have a night to enjoy ourselves.
MRAZ
What are you so happy about?
MARK
Nothing. Are you ok, Mraz?
Mraz breaks the tension and tries to cover.
MRAZ
Sure. Yeah. Definitely!
MARK
Cool! Well, then I’m gonna head home and get ready!
Mark starts out the door.
MRAZ
You’re taking a half day too?
MARK
Mike, it’s fine. There’s nothing going on. Terrorism is giving us a night off. Let’s enjoy it.
Mark exits. Mraz stares off after him, troubled.
MRAZ
Yes. Let’s.
FADE TO BLACK.
END OF ACT ONE
------------------------------------------------------------------------------------
ACT TWO
EXT MANHATTAN CENTER - NIGHT
Will Smith’s “Getting’ Jiggy Wit It” starts as the camera shot swoops in on the Red Carpet, heading into the Manhattan Center, housing the Hammerstein Ballroom. The camera pans through crowd. There are men in tuxedos and women in gowns littering the area. People pause to shake hands or pose for photo ops.
The camera comes to rest by the curb where a taxi pulls up and stops. The back door opens and a pair of feet step out in patent leather black shoes. The camera pans up to reveal Mark, in a black suit, straightening his jacket.
Krystal steps out next. She’s dressed in a white gown and high heels. She seems to have a bit of trouble getting out of the cab but Mark pays no attention- taking in the scene. Krystal finally struggles out of the back seat.
KRYSTAL
Thanks for the hand, “Date”.
Mark turns to her, oblivious to his mistake.
MARK
What?
COREY (O.S)
God, this is beautiful. Do you guys get invited to this kind of thing a lot?
ANGLE ON: COREY. She’s wearing a cream colored dress; she’s absolutely enamored by the scene. Mraz comes into view beside her, also wearing a suit.
MRAZ
All in a day’s work.
The four begin to head toward the carpet.
KRYSTAL
Don’t you think we should wait for Eddie?
MARK
Nah. We’ll be lucky if he actually ends up showing.
Just then a limo can be seen pulling up to the curb behind them. The four turn around. The door opens.
ANGLE ON: A pair of patent leather shoes stepping out, similar to the earlier shot. The camera pans up revealing Eddie in a full tux. His facial hair is trimmed, and his hair is combed back. He turns and offers his hand. A woman’s hand slips into his. Keating, looking stunning in a dark blue dress steps out of the car. He offers his arm to Keating and she loops her arm through his elbow. They walk toward the carpet.
ANGLE ON: Mark, Mraz, Krystal, and Corey; staring in disbelief.
COREY
Is that Eddie?
MRAZ
Can’t be.
COREY
I don’t think I’ve ever seen him even wear a button-down shirt.
MARK
He hasn’t. Ever.
Eddie and Keating reach them and stop.
EDDIE
Evening, Gentlemen. And ladies.
Eddie bows down and kisses Corey’s hand. He does the same to Krystal.
EDDIE
We’ll meet you by the hors d’oeuvres. But first we want to get our picture with Bloomberg. Lauren?
KEATING
Eddie.
Eddie leads them past the four. Eddie stops momentarily and grabs Mraz’s shoulder.
EDDIE
By the way, I put the limo on my company card.
Eddie pats him on the shoulder then continues walking. The four turn and stare.
CUT TO:
INT BALLROOM - LATER
Mraz, Corey, Krystal, and Mark hover near a table, taking in the crowd.
MRAZ
I’m going to go grab a drink at the bar. Anyone want anything?
KRYSTAL
I’ll have a rum and diet.
MARK
Guinness!
MRAZ
I don’t think they have Guinness here, Mark. They don’t usually serve…beer…at these things.
MARK
Whiskey sour then.
MRAZ
Okay…
COREY
I’ll come with you. Introduce me to some powerful people?
MARK
Eh, Mraz is the most powerful one in the room. What more do we need?
MRAZ
Right. Such a kidder, Mark.
Mraz and Corey leave and head off toward the bar. Mark turns to Krystal.
MARK
You look beautiful tonight.
Krystal blows off the compliment, icing him.
KRYSTAL
I was beginning to wonder if you noticed at all.
MARK
Hey. Hey. I’m sorry. Just trying not to be obvious. Sometimes I cut off too much when I’m trying to hide it.
Mark looks off in the direction where are Mraz and Corey walking.
Corey and Mraz can be seen talking to an older man at the bar. Mraz and Corey are reacting and laughing over-enthusiastically. They are paying no attention to Mark and Krystal.
Mark puts his hands on Krystal’s arms and caresses them. Then he turns her towards him. She tries to pout and avoid his eyes. He puts his finger under her chin and gently tips her head up to look into her eyes.
MARK
You’re the most beautiful girl in this room tonight. It’s taking every ounce of self-control I have not to kiss you right now.
KRYSTAL
(still not quite giving in)
Yeah?
MARK
I don’t know if I’ll be able to hold myself back all night.
KRYSTAL
(flirtatiously)
Maybe, we’ll have to find someplace to … meet… later?
MARK
Hmm. Where did I find you, Krystal Kelly? I think I’m really starting to fa--
EDDIE (O.S.)
Are we interrupting?
ANGLE ON: Keating and Eddie. They’ve snuck up while Mark and Krystal are talking. They try to cover.
MARK
Hey! Uh--
KRYSTAL
Get your picture with the Mayor?
KEATING
We sure did.
EDDIE
He even flirted with Keating. Said he could use a new assistant.
Keating blushes a bit.
MARK
Keating. Always going for those powerful executive types.
KEATING
Keep it up, Souza. I’ll hang your balls from the ceiling.
MARK
That’s disturbing.
EDDIE
I think she could do it.
MARK
I think I’ll take that as a cue to go check on our drinks.
EDDIE
Get me a Guinness!
MARK
I don’t think they-- never mind.
Mark exits.
KRYSTAL
Well I hope you don’t leave us for the Mayor. We couldn’t live without you.
KEATING
Heh. I could certainly live without Mraz Inc. Sometimes I think this place takes years off my life.
CUT TO:
INT BALLROOM BAR AREA - LATER
Mark walks up and spots Mraz and Corey still in conversation with the older man, obviously bored and in need of rescue.
MAN
--and Guiliani says to me, “Bobby, without you--
MARK
(in an Irish brogue)
Mr. Mraz.
Mraz looks to him, not missing a beat, despite a look of confusion.
MRAZ
Ah, Mr. Mccafferty. Good to see you.
MARK
Yes, I was wondering if I could have a word with you about that whiskey contract we was going to meet on on Monday. I know this is a night o’ celebration but if you could just spare a moment.
MRAZ
Sure. Sure. No problem. Corey, want to see how the futures of Fortune 500 companies are made or broken?
COREY
Sure!
Mraz returns his attention to the old man.
MRAZ
Sorry, uh, Bill?
MAN
Bob.
MRAZ
Bob! Business calls.
MAN
No problem, Mr. Mraz. Ms. Haydu. Swing by later.
MRAZ
Oh, we wouldn’t miss it.
The three walk toward another end of bar.
MRAZ
Thanks for the save.
MARK
No problem.
COREY
I lied. I don’t want to meet people anymore.
MRAZ
Accent was a nice touch. Didn’t know you had it in you anymore.
MARK
Can’t lose my Irish.
FEMALE VOICE (O.S.)
Mr. Mraz! Mr. Souza!
They turn.
ANGLE ON: ANDREA. Walking toward them in a sparkling silver gown; drink in hand. Mark jumps back.
MARK
Jesus!!
ANDREA
So nice to see you too Mr. Souza.
She holds her hand out to Corey.
ANDREA (CONT.)
And you… you are far too gorgeous to be here with Mraz.
COREY
The three of us are old friends. I just happened to be in town, so I came along.
ANDREA
That makes much more sense.
COREY
And you are…?
ANDREA
Andrea Davis.
MARK
She specializes in hostile takeovers.
ANDREA
Now, Mr. Souza, that’s just rude.
MARK
Sorry, I’m not drunk yet. My tact hasn’t kicked in.
ANDREA
Charming.
MRAZ
We were just discussing you today. Things have been quiet on your front lately.
ANDREA
Oh, you know the ebb and flow of business. Sometimes its dead. And sometimes things just … hit you… out of nowhere. Anywho. I have more important things to do than chat with you all night. Miss Haydu, lovely to meet you.
COREY
The pleasure, I’m sure, was all mine.
Andrea turns and walks off. When she’s far enough away:
COREY (CONT.)
Jeez. What was that? You could barely breath there was so much subtext flying around. Ex?
MARK
Hoo. Something like that.
MRAZ
Business rival.
CUT TO:
INT BALLROOM - LATER
Mark, Mraz, and Corey rejoin the others. Mraz passes around drinks. Mark hands Eddie a mixed drink. Eddie looks at it with disgust.
MARK
We ran into Andrea.
EDDIE
Jesus!!
KEATING
Are you guys alright?
COREY
What is it with this woman?!
EDDIE
Oh, hey Corey!
MRAZ
I should go say hi to the new Governor. Anyone care to join?
No one answers.
MRAZ
So. No then. Right. I’ll be back.
Mraz exits.
KRYSTAL
Enjoying yourself so far, Corey?
COREY
Yeah, its great. I mean LA can be very chic too. But I don’t really know anybody who runs in these kind of circles there.
KEATING
You also came at a good time. The office tends to be more of a madhouse usually. We don’t get many chances have an elegant night out.
EDDIE
My tux is starting to itch.
They all turn to Eddie. Mark shakes his head.
CUT TO:
INT OTHER SIDE OF BALLROOM - SAME TIME
Mraz weaves his way through the crowd smiling and greeting people as he goes. He looks ahead.
ANGLE ON: A tall thin man in a tux, GOVERNOR RICHARD REED, he’s mingling.
CUT TO:
INT BALLROOM - LATER
Eddie sits and scratches uncomfortably, as everyone else stands and talks.
MARK
Keating is right. It’s been rather busy lately. It’s good to have a few nights where nothing happens. It’s been so dead.
CUT TO:
INT OTHER SIDE OF BALLROOM - SAME TIME
Mraz finally reaches Governor Reed. Reed turns his attention to Mraz with recognition. Mraz puts out his hand.
MRAZ
Governor Reed, con--
Suddenly, a gunshot rings out. Mraz and Reed’s faces freeze in surprise. Reed drops to the ground. Security agents swarm the area.
CUT TO:
INT BALLROOM - LATER
The gunshot sounds. Conversation stops abruptly between Corey, Krystal, Keating, and Mark. Mark’s head snaps in the direction of the shot. Eddie pops up into frame. There is a pause.
EDDIE
You were saying something about a quiet evening?
FADE TO BLACK.
END OF ACT TWO
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ACT THREE
INT ROOM - NIGHT
Mraz sits at a table in a dimly lit room across from two SECURITY AGENTS. He looks calm; his hands are clasped in front of him.
MRAZ
You’re wasting time. You know that, right?
Agent 1 gives him and incredulous, patronizing half-smile.
AGENT 1
So you learned how to effectively run criminal investigations in business school, did you?
MRAZ
I never went to business school. You’ve obviously done your homework. I’m just smart enough to know that asking someone the same question 15 times is rather useless when you get the same response each time.
AGENT 2
Look, Mr. Mraz. We want to help you. And we can do that if you tell us what you saw?
MRAZ
I’m actually in no trouble whatsoever. We all know you have no legal grounds to hold me. It seems like you’re the ones who need the help…
Agent 1 stands and angrily slams his fists on the table.
AGENT 1
I’m finished with your attitude! There’s no way you were 2 feet away and saw nothing!! We’ve been over the tapes 50 times in the last hour! You’re the only one in position. We’ll wait here all night for you to start talking.
CUT TO:
INT BALLROOM – SAME TIME
Corey sits at a table; looking mentally exhausted. Keating stands with her arms folded. Mark and Krystal stand near each other. Eddie sits; scratching, still itchy in his tux.
KEATING
How long have they been holding him?
MARK
Just about an hour.
COREY
How can they hold onto him for so long? He obviously didn’t do anything. We all had to pass through metal detectors to get in here.
MARK
It was probably too crowded to catch anything on the tapes. He’s probably one of their best leads.
COREY
I guess the only thing we can do is wait.
Mark pauses, realization clicks in him- as if he’s just remembered something.
MARK
I need a coke…
KRYSTAL
A coke?
MARK
Yeah…ah…I‘m parched… Wanna come?
Some unspoken communication passes between them.
KRYSTAL
…Sure?
They walk off.
COREY
What was that all about?
KEATING
You know Mark. Never been good at just waiting!
EDDIE
(oblivious)
I thought they shut the bar down, with the building locked down.
Keating shoots Eddie a look and attempts to play it off.
KEATING
Oh, I’m sure he’ll scheme up something…
CUT TO:
INT ELSEWHERE IN THE BALLROOM – SAME TIME
Mark walks briskly with Krystal in tow.
KRYSTAL
Alright, what do you have up your sleeve?
MARK
I just want to have a look of my own at the security tapes.
KRYSTAL
Mark, this place is crawling with special agents. How do you think you’re getting a look at the security tapes?
MARK
I have an idea…
KRYSTAL
You know we’re supposed to be here in an unofficial capacity…
MARK
(smiling)
It’s fine, my dear, I can be discreet.
KRYSTAL
Right. Can I have an example?
CUT TO:
INT ROOM – SAME TIME
Mraz sits in the same position. He looks no worse for the wear but the Agents are obviously getting flustered.
AGENT 2
Mr. Mraz, for all intents and purposes you seem to be a normal CEO for a normal Fortune 500 company. However, you seem to have had some run-ins with the police quite often as of late…
MRAZ
In business, you sometimes make enemies…
AGENT 2
You’ve been called into a hostage situation and had two large disturbances, including an armed break-in at your main office in the past 6 months. That seems far from normal.
MRAZ
So… are you accusing me of something…?
The Agents are silent. Thwarted again.
AGENT 1
You have some connections to the Former Governor, don’t you? He hasn’t exactly been supportive of Governor Reed. Maybe he asked you to do a favor for him.
MRAZ
Oh, so you are accusing me of something. Murder actually. I just want that in the open.
AGENT 2
Mr. Mraz, we’re just trying to figure out what happened.
MRAZ
In a rather threatening way, don’t you think? I think I’d better call my lawyer. We could have a serious act of defamation on our hands here.
Agent 2 stands up and exits the room. Agent 1 scowls at Mraz. Mraz returns a half grin.
CUT TO:
INT SMALL SECURITY ROOM – SAME TIME
TWO GUARDS sit watching the tape of the shooting on loop in slow motion.
GUARD 1
The angle’s just impossible. It’s like someone picked the exact spot the camera couldn’t quite catch anything.
An alarm sounds. The Guards snap out of staring.
GUARD 2
Aw damn! There’s some kind of fire in the men’s bathroom. We better get this taken care of quickly. Already enough ruckus tonight.
They run out of the room.
CUT TO:
INT HALLWAY – CONTINUOUS
The Guards exit the room, running past a couple passionately kissing, against the wall. They pass without a second glance.
Mark and Krystal break from their embrace and Mark grabs the door before it shuts.
MARK
Been waiting all night for that.
Krystal elbows him in the ribs as she passes.
KRYSTAL
A fire?! Very discreet plan, Mr. Souza.
MARK
Hey, it worked.
Mark quickly pulls out his phone and looks as if he’s disassembling it. He retrieves an ear-piece and puts it in= taps it- then continues reassembling his phone.
MARK (CONT.)
Scramble 617- Daffy.
It rings. The phone picks up.
DUCKY (O.S.)
Ducky, here.
MARK
You have a minute?
DUCKY (O.S.)
Well, Rachel and I were about to go grab a bite.
MARK
Can it wait? I really need you to analyze some film for me.
Mark plugs his phone into the console. Video play-back begins at high-speed.
CUT TO:
INT DUCKY’S HOUSE – SAME TIME
DUCKY stands with his phone in hand, dressed in a suit. RACHEL stands near the doorway behind him, dressed beautifully for a night out, holding car keys and looking impatient. Ducky slumps.
DUCKY
Sure, Mark. It can wait.
Rachel sighs, exasperated and tosses the keys to the ground and stalks off starting to undress.
CUT TO:
INT BALLROOM – SAME TIME
Corey, Eddie, and Keating are all sitting now. Eddie looks as if he’s about to jump out of his skin. He abruptly stands.
KEATING
Eddie, what’re you doing?
EDDIE
I’m sick of just sitting around here. I’m gonna go have a chat with Andrea…
KEATING
Eddie, I don’t know if that’s the best move. Maybe wait until Mark gets back.
EDDIE
Relax. I’m just going to talk. What could happen?
KEATING
So many terrible things come to mind at once, that it’s difficult for me to decide which one to say first.
EDDIE
Now is that any way to talk to your date?
Eddie smiles. Keating starts to answer but decides its not worth it to argue. Eddie walks off leaving them.
COREY
Good to see Eddie hasn’t changed.
KEATING
If he’d change, I wouldn’t have to attend so many happy hours after work.
COREY
Why is he going to talk to this Andrea woman? What good is that going to do?
KEATING
Oh, our company has a bit of a contentious relationship with her.
COREY
So I’ve gathered. That still doesn’t explain what she has to do with this.
KEATING
Probably nothing. Eddie just seems to be drawn to any action that is the direct opposite of discreet. What better to do than start casting wild accusations at our biggest rival in a very public setting?
COREY
She must be a piece of work. You all act like she’s some kind of movie villain.
KEATING
Heh. Don’t be silly, Corey. Mike just takes… business… very seriously. Andrea is harmless.
CUT TO:
INT BALLROOM, ELSEWHERE – SAME TIME
Eddie walks up to Andrea, who sits at the table, calmly, drinking a glass of wine. She looks up at him, unsurprised.
ANDREA
Well, this is a rare treat. It’s not often I get a visit from the true brains behind Mraz Inc. I usually only get those dolts, Mraz and Souza.
Eddie cracks a half smile.
ANDREA (CONT’D)
And you look rather handsome. Not often I see you in an outfit that I would pay more than $20 for.
Eddie pulls up a chair and sits across from her.
EDDIE
I’m not one for the witty verbal-sparring. I leave that to Mraz. So why don’t you shut up and tell me what’s going on?!
ANDREA
Well, it appears that some one took a shot at the new Governor. And I’m sitting here enjoying a drink, and the chaos, while the government tries to sort this all out. Hold on to your hat, we could be here for years.
EDDIE
I'm not wearing a hat. I know this is your work. I’m not stupid.
ANDREA
You’re not? Could have fooled me.
Eddie leans in menacingly.
EDDIE
You better watch it. I don’t have as much self-control in public as Mraz does.
ANDREA
Instead of threatening me, why don’t you use that atrophied organ in your head. I have nothing to gain from this. And it would be utterly idiotic for me to make such a public move. Richard Reed is no threat to me.
They glare at each other silently for a moment; a showdown.
EDDIE
Have a good evening, Andrea. I hope you make it home safely. Seems to be a lot of dangerous people here tonight.
He stands and walks away.
CUT TO:
INT SMALL SECURITY ROOM – SAME TIME
Mark looks at the screen, images flash across as Ducky manipulates the security feeds. Krystal keeps an eye on the door.
MARK
It has to be Andrea, right?
DUCKY (O.S.)
While I agree, it seems like her M.O., I’ve just run a cross check on her location in the feeds. She’s nowhere near Reed. I’ve also run a visual match on her known associates in the crowd. Nothing.
MARK
Damn it.
Krystal looks back.
KRYSTAL
We probably don’t have much time. We need to get going.
MARK
You’re right. Ducky we have to get out of here. Thanks--
DUCKY (O.S.)
Wait!
MARK
What? What is it?
DUCKY (O.S.)
This guy. He look familiar to you?
ANGLE ON: A video screen. It is frozen on a moment just before the shooting. Mraz can be seen in frame, with Governor Reed a few feet away. The screen recalibrates and the image sharpens. It’s the man Mraz and Corey were talking to earlier.
MARK
Yeah. It’s some old guy Mraz was talking to earlier. Probably some aide or advisor.
DUCKY (O.S.)
Mark, you haven’t been keeping up on your current events. That’s Robert Patsen. He worked for Sherman’s administration.
MARK
Ok. So he’s at the party for the new governor.
DUCKY (O.S.)
But he shouldn’t be there.
MARK
Ducky, we don’t have a ton of time. Can you get to the point please?
DUCKY (O.S.)
He was removed from his position. He was connected to a money laundering scheme.
MARK
And?
DUCKY (O.S.)
The person who fingered him for it? State Senator Richard Reed.
Mark's eyes widen. Suddenly commotion can be heard outside the door.
KRYSTAL
Mark?
CUT TO:
INT OUTER DOOR,SECURITY ROOM – SAME TIME
One of the Guards who went to check on the fire fumbles with the doorknob. The other one looks on.
GUARD 2
Why the hell is this locked?
GUARD 1
You must have left the automatic lock on.
Guard 2 pulls out his key and unlocks the door. He turns the knob and opens it. Both guards stop in their tracks and go alert.
GUARD 2
The hell?!?
ANGLE ON: the security room. Mark and Krystal are passionately kissing on top of the security console. Mark’s jacket is sprawled on the floor. They both stop and look up, surprised.
MARK
Oh, uh… hi! Yeah… We’ll…leave now.
FADE TO BLACK.
END OF ACT THREE
----------------------------------------------------------------------------------
ACT FOUR
INT BALLROOM- NIGHT
Keating and Corey sit alone. It’s obvious that they ran out of things to talk about long before this. Corey is playing with her I-Phone.
VOICE (O.S.)
Ladies?
They both look up. Keating stands.
ANGLE ON: Mraz.
KEATING
Mike! Is everything ok?
MRAZ
Eh, the questioning was a little tiresome, but nothing I couldn’t handle. You ok, Corey?
COREY
For such an “exciting event” this has gotten pretty boring.
MRAZ
(winking)
They make shootings of public figures more exciting in LA?
COREY
Of course. It’s Hollywood. What do you expect?
MRAZ
Where’s Mark and Krystal…?
MARK (O.S.)
Right here.
ANGLE ON: Mark and Krystal approaching.
COREY
You guys were gone for awhile.
Mraz shoots Mark an odd look. Mark brushes it off.
MARK
How’d you trick them into letting you go?
MRAZ
Oh, I didn’t.
(flashing a roguish smile)
Turns out the government doesn’t like dealing with an angry Taylor anymore than you do.
MARK
Umm…where’s Eddie?
KEATING
He went to…um…talk… to Andrea!
Both Mraz and Mark turn.
MRAZ AND MARK
What?!!
KEATING
He said… he was just going to talk…
Eddie walks in with 2 drinks in hand.
EDDIE
…and he was a perfect gentleman. (he offers a drink to Keating)
Drink? They reopened the bar… if you have enough money.
MARK
Since when do you have “enough money”.
EDDIE
Since I started carrying around my Mraz Inc corporate credit card everywhere I go.
Mraz glares.
MARK
Oh, Mraz, can I borrow you for a second? Eddie, you too. Ducky called while I was getting a drink. Something important about… the… pigeons… setting off the security sensors…
Mraz looks at him incredulously then follows as Mark walks off. Eddie follows suit, shaking his head, still itching in his tux.
EDDIE
(sincerely)
Damn pigeons.
Krystal, Keating, and Corey watch as they leave.
COREY
Eddie may not have changed but those two have gotten weird.
CUT TO:
INT BALLROOM, ELSEWHERE- SAME TIME
Mraz, Eddie, and Mark stand off to the side.
MRAZ
Between the two of you, it will be amazing if Corey hasn’t figured out something’s fishy here.
MARK
Whatever. Not important. Anyway, I managed to get my hands on the security feeds and hand them to Ducky--
MRAZ
How’d you “manage” that?
MARK
Also not important.
MRAZ
I doubt that.
MARK
Look. I think we know who’s behind this. And if we’re right, he's still here.
Mraz stops, intrigued.
CUT TO:
INT BALLROOM, ELSEWHERE- LATER
Robert Patsen stands near the bar, alone, sipping a drink. Mraz approaches.
MRAZ
Ben!
ROBERT
Bob.
MRAZ
I’m sorry again. Bob. Hell of a night, huh?
ROBERT
Yes.
MRAZ
I saw you over here and figured since we were stuck here, we could get back to our conversation from earlier.
ROBERT
Oh, sure, of course! Oh, what was I telling you again?
MRAZ
The story about Guiliani. I forgot to ask. You said you work in Governor Sherman’s administration?
ROBERT
I did? Uh, oh well, yes, I did. Do.
MRAZ
I had a business relationship with the former Governor. What did you say your last name was again? I can’t remember. Perhaps we met? You look familiar…
Robert begins to seem fidgety; ansty.
ROBERT
Oh, I uh, I doubt that.
He takes an involuntary step back. Without warning, he slams into someone behind him at the bar. There’s a splash and sound of breaking glass. Robert spins.
ANGLE ON: Eddie. His tux is soaked. His face fills with rage.
EDDIE
What the hell is wrong with you…
Eddie punches Robert in the face and tackles him to the ground.
MRAZ
Jesus! What the--
Eddie straddles Robert and grapples with him, their hands flying everywhere.
ROBERT
What are you DOING?!
EDDIE
I’ll show you… hey, what the--
MRAZ
Gun!! Oh god, he’s got a gun!!
Panic and screams erupt. AGENTS swarm the area. They pull Eddie off and swarm both Eddie and Robert. The sound fades and the picture dissolves.
DISSOLVE TO:
INT MRAZ‘S OFFICE– LATER
Mraz sits at his desk. Mark stands behind him looking out the picture window.
MARK
--seems like he had some “friends” in the event staff who let him in through one of the back entrances. That’s how he got in without presenting an invitation and without dealing with the metal detectors. Pretty shabby security.
MRAZ
Say the people who have had 2 break-ins at their base of operations in a month.
MARK
Well, one of those, we kinda let them in. So it doesn’t even really count, if you want to be technical about it.
MRAZ
Andrea wasn’t involved. Ducky analyzed every database he could access. No connection between her and Patsen.
MARK
So, we count ourselves lucky that she’s quiet. I mean she’s kept our hands full for 2 years, Mike. She owes us a breather.
MRAZ
I’m sure those are her exact thoughts. I can’t believe Patsen didn’t get rid of the weapon. It was too easy. Good idea by Eddie though.
MARK
Yeah. By the way, did you really have to send that memo that employees are now responsible for all charges on the corporate card? He’s… not so happy.
MRAZ
(innocently)
Well, Mark, it’s just good business. A lot of budget cuts this year.
MARK
Uh huh.
MRAZ
Corey’s heading back in the morning. I think she’s hoping for a less “exciting” visit the next time she’s here. I’m grabbing a drink with her. Want to join?
MARK
Oh no. I… have plans.
MRAZ
With who?
MARK
With…home. I need to head home tonight.
MRAZ
Ok suit yourself.
They share a nod; conversation finished. Mark starts walking out.
MRAZ
Oh, Mark, by the way… good work with the security tapes. You and Krystal worked well together…
Mark stops. Pauses. Then turns back to Mraz briefly.
MARK
Thanks.
Mark turns to leave, walks out and shuts the door. Mraz stares silently after him.
FADE TO BLACK.
TO BE CONTINUED…
Tuesday, January 24, 2012
Episode 1.12 "Another Day in Paradise" Written by Mark Souza
Mraz Inc.
"Another Day in Paradise"
Written by
Mark Souza
TEASER
FADE IN:
INT KRYSTAL'S BATHROOM - MORNING
The sound of a shower can be heard running. The room is full of steam. After a moment, the shower stops. The shower curtain is pulled back part of the way and KRYSTAL steps out. Only her silhouette can be seen through the steam.
She walks over to her bathroom mirror and uses her hand to wipe a small section of it clean. Her face can be seen in the mirror. She is smiling. She looks down at her body.
ANGLE ON: Krystal's midsection. It is a patchwork of old bruises. They vary in shade from deep purple to green. There are also three scars, markers of where she was stitched up to recover from her bullet wounds. Her fingers gently examine the scars.
Slowly, another set of hands enter the frame and tenderly take her hands.
ANGLE ON: The mirror. In the reflection, MARK's face has appeared. He kisses Krystal's neck. She smiles and leans her head back, resting it on his body.
MARK
Stop obsessing.
KRYSTAL
They're grotesque.
MARK
They are not. They're beautiful.
KRYSTAL
Oh really? How's that?
MARK
They're a part of you. How could they not be?
Krystal turns around and looks at Mark.
KRYSTAL
Oh shut up. You're not nearly smooth enough to pull off a line like that.
She grabs a towel off the rack and wraps it around her body. She exits the bathroom. Mark follows, wrapping a towel around himself as well. He catches up with her and grabs her hand, she turns to look at him.
MARK
Okay, maybe that was a little much. Still though, you have to stop obsessing. Just think of the scars as a reminder.
KRYSTAL
Of what?
MARK
Umm...a reminder to...always look behind you for a deranged psychopath with an assault rifle?
KRYSTAL
You're pathetic. It's no wonder you've been single for so long.
She turns away from him. He continues to hold her hand.
MARK
Oh c'mon. Don't be mad.
She turns back and quickly kisses him.
KRYSTAL
I'm just teasing. Working with you, that actually might be a good reminder to have.
She smiles and kisses him again.
KRYSTAL (CONT'D)
I like you.
She kisses him, a little more passionately this time, and pulls him close. After a moment, Mark breaks the kiss and gently pushes her away.
MARK
And I like you too, but I have to get ready for work.
KRYSTAL
Right. Work. This week flew by. Thanks again for taking it off so you could spend it with me while I recuperate.
MARK
What are you talking about? I took a beach vacation this week. I've been down in Miami checking out all the hot young co-eds.
KRYSTAL
Oh really? Find any you like?
MARK
Well I've grown quite fond of one in particular.
He pulls Krystal close.
KRYSTAL
Oh yeah? What's her name?
They're very close now, almost kissing.
MARK
(nearly whispering)
Jennifer.
Krystal pulls back, an expression of faux shock on her face. Mark laughs.
KRYSTAL
You're a jerk.
Krystal walks past him, into her bedroom. He follows.
MARK
I'm sorry. I couldn't resist.
Krystal turns and stares at him.
KRYSTAL
You're just going to have to make it up to me.
MARK
Okay. How?
Krystal drops her towel. She smiles.
KRYSTAL
I think you're going to have to show up late for work.
SMASH CUT TO:
MAIN TITLES.
END OF TEASER
_______________________________________________________________________
ACT ONE
INT MRAZ INC. - MORNING
MRAZ is sitting in his office. Across from him sits a bookish young man (GREG). Greg holds a bunch of files and is adjusting his glasses. Mraz looks bored.
GREG
So, as you can see, I have more than enough qualification to take over this job. Well, that is if you think a Masters in business from Columbia counts as a qualification, which, as someone who went there, I have to say maybe it just barely scrapes by.
Greg laughs awkwardly. Mraz is stoic. Greg notices Mraz's lack of enthusiasm and is flustered. He clears his throat and goes on:
GREG (CONT'D)
Well anyway...to prove myself a bit to you I decided to take some initiative on my own. I hope you don't mind.
MRAZ
Why would I mind?
GREG
Well, umm, I mean, you shouldn't, but best to always be careful. Anyway, I analyzed some of your public financial records.
MRAZ
Did you?
GREG
Yes, and I have to say I can make your business much more profitable without any major changes to the way things are done.
MRAZ
And how is that?
Greg fishes through some files. He hands one over to Mraz.
GREG
Well as you can see I have circled the pertinent information on this sheet. Now unless you're housing a small army in this building these overhead costs are through the roof. And, I mean, you're not housing a small army are you?
Greg laughs. Mraz stares at him. Greg's smile fades. Mraz just keeps staring.
MRAZ
I'm going to need those files you're holding.
CUT TO:
INT MRAZ INC - MOMENTS LATER
Greg scurries out of Mraz's office. KEATING looks up at him as he goes, but he avoids eye contact. She looks back to Mraz's door. Mraz stands. He holds all of Greg's files.
KEATING
What did you do?
MRAZ
Nothing. He wasn't right for the job.
KEATING
That's what you've said about everyone so far. We eventually have to replace Andy as head financial officer. These are the best of the best Mike.
MRAZ
I'm sure. Which is why they all notice that our overhead is a little higher than the average import/export business. Are there any more interviews for today?
KEATING
Two. One in half an hour. Another scheduled for 11. At one you're supposed to meet Corey at the airport.
MRAZ
Corey?
KEATING
Yes, your friend Ms. Haydu is coming in for two weeks. I put the reminder on your computer.
MRAZ
Ah, that reminds me. I think I have a computer virus.
Keating shakes her head in disbelief.
KEATING
I'll get Ducky to take a look at it.
MRAZ
Thanks. Love you.
KEATING
I don't get paid enough for this.
MRAZ
I'll ask the next interviewee if he can find a way to fix that.
KEATING
Ha ha.
Mraz winks at Keating and heads back into his office. Keating turns her attention to her desk. As she does, the elevator doors open and Mark walks out.
MARK
Good morning gorgeous.
KEATING
You. You know you took a week off, right? Not a week and an hour. The least you could do is show up on time on your first day back.
MARK
Oh, it's good to see you too. I missed you. Did you miss me?
Mark has gone over and grabbed a coffee pot sitting on a counter by the wall. It is empty.
MARK (CONT'D)
No coffee?
KEATING
The machine broke. Mraz and I buy our coffee every morning, which means the only people affected are tactical. If you guys want more coffee, buy a new coffee maker. And while you're at it you could brew it for yourself for a change.
MARK
Alright then, big man in?
KEATING
He's in his office.
Mark walks over to Mraz's office and knocks on his door.
MRAZ (O.S.)
Come in!
Mark enters the office. Mraz looks up at him. Mark goes over and sits across from
Mraz.
MRAZ (CONT'D)
You're late.
MARK
Yeah, what else is new?
MRAZ
How was your vacation?
MARK
Relaxing. I wholeheartedly suggest Miami. Lovely beaches. Lovely women. Lovely not getting shot at. The whole thing was great.
MRAZ
Glad to hear it.
Mraz shoves over a bunch of papers to Mark.
MARK
What're these?
MRAZ
Resumes. We need to hire a new Chief Financial Officer.
Mark raises his hands in mock surrender.
MARK
That is so incredibly not my department.
MRAZ
Your input could be useful.
MARK
I doubt that.
(getting up)
Well nice catching up with you. I should really go check on Eddie and Moumin.
MRAZ
Mark, this is important! We need someone to take care of finances!
MARK
(backing out of the office)
Make Taylor do it. He likes paperwork. Just give him a raise and tell him to take care of it.
MRAZ
We can't afford to give him a raise.
MARK
As new Chief Financial Officer I'm sure he'd find a way to free up some funds to pay himself.
Mark has almost backed completely out of the room by now.
MRAZ
Mark that's not a solution!
MARK
What's that? Yeah, of course I'll say hello to Eddie and Moumin for you. Later.
MRAZ
Mark!
But Mark is gone. Mraz sits alone for a minute. Finally, he pushes a button on his intercom.
MRAZ (CONT'D)
Keating, just a heads up. I may need to schedule a meeting with Taylor in the coming weeks.
CUT TO:
INT MRAZ INC. TAC ROOM - LATER
Mark enters the tac room. MOUMIN and EDDIE are tossing a tennis ball back and forth. Upon noticing Mark, Eddie snatches the ball out of the air and whips it back at Moumin, hitting him in the head.
MOUMIN
What the hell?!
EDDIE
See, and that is how you can turn a grenade attack back on your enemy. Oh, hey, Mark! You're back!
Mark laughs.
MARK
Nice try. Don't worry about it. I knew when I took the week off that meant all of tactical would have the week off.
EDDIE
Glad to hear it, because I had no idea how I was going to cover for telling the rest of tactical they could have time off until further notice.
MOUMIN
You weren't just going to throw a bowling ball at me and hope Mark was distracted by my pain?
EDDIE
(ignoring Moumin)
So, how was Miami?
MARK
Nice. The weather was great and it was nice to get away-
EDDIE
Yeah, yeah. Did you get laid?
MARK
Seriously? You just jump straight to that?
EDDIE
Did you think I'd really care about the weather?
MOUMIN
He has a point.
MARK
Indeed. Well to answer your question, mind your own business. Also, yeah I might have gotten laid.
EDDIE
Nice! That's our head of tactical.
Eddie puts up his hand for a high five. Mark looks at it but ignores it. After an awkward moment Eddie just slaps his hand with his other hand.
EDDIE (CONT'D)
All right. Good catching up. Moumin and I will be back later.
Eddie stands up to leave.
MARK
Where are you going?
EDDIE
Buy some coffee. You need to talk to Keating. She's being totally unreasonable about the coffee machine.
MARK
I'm already on it.
Eddie and Moumin start to exit.
MARK (CONT'D)
Moumin, can I talk to you for a sec?
Moumin stops and turns back.
EDDIE
I'll meet you downstairs.
Eddie exits the room. As he does, Moumin whips the tennis ball at him. As it sails out of the room:
EDDIE (O.S.) (CONT'D)
Ow! Son of a bitch!
Moumin laughs and turns back to Mark.
MOUMIN
What's up?
MARK
I was wondering if you could do me a favor. I need someone tracked down. His name is CL Weatherstone. I just need a location on him.
MOUMIN
No prob. Should I take Eddie with me?
MARK
Nah, this is strictly a locate and report back job. I don't need you to engage. I figure if you find him fast you can take the rest of the day to yourself.
MOUMIN
Sounds good. I'm on it.
MARK
Thanks. I'll talk to you soon.
Moumin exits.
CUT TO:
INT MRAZ INC. MRAZ'S OFFICE - MORNING
Mraz is standing next to DUCKY. Ducky is looking through Mraz's computer.
DUCKY
Okay, so I'm not judging or anything, but if you're going to be looking at porn on this thing you've got to let me know so I can put on the necessary phishing and spyware protections.
MRAZ
What? Porn? What are you talking about?
DUCKY
Like I said, it's none of my business, but if you look at your browser history, I mean, have you considered you might have a problem Mike? There are support groups.
Mraz turns bright red.
MRAZ
Let me see that!
Mraz looks at the computer monitor. His face contorts with rage.
MRAZ (CONT'D)
(reading)
"Big Black Dicks." "My Hot Granny." "Two Girls and a Cup!"
(looking away from the monitor)
I am going to kill Eddie and Moumin!
Laughter is heard coming from Mraz's doorway. Mraz looks up.
ANGLE ON: Krystal. She stands in Mraz's doorway laughing.
KRYSTAL
I guess things haven't changed much in the month I've been gone.
ANGLE ON: Mraz. He looks at Krystal and smiles.
FADE TO BLACK.
END OF ACT ONE
__________________________________________________________________
ACT TWO
EXT COFFEE SHOP - MORNING
Eddie and Moumin come out of the coffee shop holding two cups of coffee. Eddie starts to walk down the street but Moumin doesn't follow. Eddie turns to him.
EDDIE
You coming back to work or you just going to stand here all day?
MOUMIN
Actually Mark asked me to track down someone for him. I'm hoping to find the guy fast and take most of the day off.
EDDIE
Want some help? I could run a search, if we can find the guy's cell number we can get Ducky to give us GPS coordinates on him.
MOUMIN
Nah, I don't think that'll be necessary. I've heard of the guy, know the circles he runs with. I figure I'll do this the old fashioned way.
EDDIE
Cracking open some heads then. I like it, I'm in.
MOUMIN
I actually meant asking calm questions, and maybe bribing some people.
EDDIE
Ah I see.
(pause)
Sounds boring. I'm out.
MOUMIN
I figured.
EDDIE
Alright, well if you finish up early give me a call, maybe we can meet up.
MOUMIN
Meet up? You'll still be at work.
EDDIE
Like hell I will. If you get to take a half day you better believe I do too. In fact, I think I've already put in a good hour of work, I deserve the rest of the day to myself.
MOUMIN
We tossed around a tennis ball for the past hour.
EDDIE
I know. It was exhausting. Anyway, good luck with your whole talking to people thing, like I said give me a call if you finish early. Peace.
Eddie walks off, in a different direction than he was originally intending. Moumin just shakes his head. He takes a sip from his coffee, then pulls out this cell phone and starts looking through it.
CUT TO:
INT MRAZ INC. - SAME TIME
Mraz is leaning on the front of his desk. Krystal is sitting in a chair in front of him. Ducky is still working on Mraz's computer.
MRAZ
So, how are you feeling?
KRYSTAL
Like someone who got shot a month ago. Better though. A lot better.
MRAZ
Well I'm glad to hear that. Everything healing okay?
KRYSTAL
Everything is perfect. I had a good doctor.
(small pause)
And a good nurse from what I hear.
MRAZ
You had a terrified CEO for a nurse, so I'm not sure good is the proper term, but I did what I had to.
KRYSTAL
And I'm extremely grateful.
MRAZ
So, can I see the scar?
DUCKY
(under his breath)
Awkward.
Krystal looks at Mraz, somewhat confused.
KRYSTAL
Umm, I mean, I'd have to take my shirt off to show you.
Ducky bumps his head on the desk.
DUCKY
Umm, hey, you know I think I need to get a, umm, chip. For computers. A computer chip. I'll just go grab that now. The chip. For your computer. Right.
Ducky exits the room. Mraz and Krystal look at each other.
MRAZ
Sorry. That was silly of me to ask.
KRYSTAL
No, I mean, you saved my life. If you want to see the scar, I'll show you, I just thought it might be awkward.
MRAZ
Of course. I don't need to see the scars. It was childish to even ask. Anyway, what brings you to the office today?
KRYSTAL
I want to get back to work.
MRAZ
So soon? Is that really a good idea?
KRYSTAL
I'm going crazy doing nothing all day. I'm not saying I'm ready to take on a full workload. I just need to get back around people. I need to be doing something.
MRAZ
Right, yeah, I can understand that. Okay, well let's set it up with Keating. I don't want you pushing yourself though. Maybe a just a few days a week to start, and if you ever feel weak or like you're pushing yourself too far, I want you to let me know immediately. All right?
Krystal walks over and kisses Mraz on the cheek.
KRYSTAL
Thank you Mike. I appreciate it.
MRAZ
Of course. It'll be good to have you back. We've missed you around here.
KRYSTAL
And I've missed you guys. Actually while I'm here, I thought I might go say hi to some people.
MRAZ
Of course. I'll talk to Keating and get you set up to start work tomorrow.
KRYSTAL
Great. Okay, I'll stop by before I leave and say goodbye.
MRAZ
Please do. But I might be out of the office picking up a friend from the airport, so if I miss you, let me just say it's really great to see you.
KRYSTAL
You too.
Krystal exits. Mraz smiles as he watches her leave.
CUT TO:
EXT A GARAGE - LATER
A mechanic (Pete) is lying on his back, working on the underside of a car being held up by a jack. Moumin enters and spots PETE under the car. He walks over to the car and lightly hits the hood. Pete scoots out from under the car.
PETE
What the hell!
As he gets out from under the car, he sees Moumin. His expression changes.
PETE (CONT'D)
Oh Jesus Christ. What do you want?
MOUMIN
Good to see you again Pete.
PETE
Yeah, yeah. Just get it over with. What do you need to know?
MOUMIN
CL Weatherstone.
PETE
What about him?
MOUMIN
Where is he?
PETE
Why do you want to know?
MOUMIN
Now Pete, is that really a question you need to ask? Here I thought we were just two old friends chatting and you go and ask a silly question like that.
PETE
Alright, look, I know where he was. He came in here to get his car fixed up. I can get you the address his credit card was listed under. It could have been a fake though.
MOUMIN
I'll take my chances.
PETE
Fine. Follow me.
Pete walks off. Moumin follows.
CUT TO:
INT MRAZ INC. - LATER
Mark is in his office. The coffee machine is set up on his desk. He is behind it. The back panel of the coffee maker had been pried off. Mark is looking quizzically at the back of the coffee machine. He reaches out to move something. As he moves it, a spark comes out of the machine and Mark jerks his arm back.
MARK
Ow! Son of a bitch!
KRYSTAL (O.S.)
So I'm guessing I shouldn't ask you to look at the wiring for my DVD player to see if you can fix it huh?
Mark looks up and smiles.
MARK
What are you doing here?
KRYSTAL
Setting up a timetable to return to work.
MARK
Wow, so soon?
KRYSTAL
What can I say? I guess this week I just got used to being around you all the time and I decided I wanted to keep that up.
She walks up and kisses Mark. He gently pushes her away.
MARK
Not at the office.
KRYSTAL
Right. I forgot, we have to be secretive. Why is it you're ashamed to tell people about me again?
MARK
That's not it and you know it. Look, we both know Mraz thinks of you as more than just a valued employee. I want to tell people, and eventually we will, but I think we have to grease the wheels with Mike first. I don't want to just drop this on him and hope he reacts maturely.
KRYSTAL
He asked me to take my shirt off earlier.
MARK
What?!
KRYSTAL
(chuckling)
Don't worry, it was innocent. He wanted to see my scar.
MARK
He wanted to see your scar? What is he, like five years old?
KRYSTAL
Hey, you wanted to see my scar.
MARK
I wanted to see you with your shirt off. The scar was not the main attraction in that scenario.
KRYSTAL
Really? Well I guess that makes sense then.
Krystal stands and walks over to the window in Mark's office that looks out at the rest of the floor.
KRYSTAL (CONT'D)
Can I ask you something?
MARK
Of course.
She closes the blinds on the window and walks over to the next.
KRYSTAL
Have you ever thought about having sex in this office?
She closes the blinds on the second window and heads to the third and final window.
MARK
You're joking.
She closes the blinds on the third window.
KRYSTAL
Am I?
She unbuttons her blouse revealing lingerie underneath. Mark stands and starts walking toward her.
MARK
You know you might actually be the perfect woman.
KRYSTAL
I really might, huh?
Mark gets to her and pulls her close.
MARK
Yeah, you really might.
KRYSTAL
Glad you think so.
They kiss. As they do, Mark reaches over and locks his office door.
CUT TO:
INT APARTMENT - LATER
ANGLE ON: The door to the apartment. We are inside the apartment, looking at the locked door. Someone fiddling with the lock can be heard. After a moment, the deadbolt releases.
The doorknob slowly turns and the door opens a tiny bit. The first thing that enters is just a gun, holding the gun in front of himself is Moumin. He enters the apartment slowly and sweeps the room. Halfway through the sweep, he stops and lowers his gun. He walks further into the room, looking at something the whole time.
MOUMIN
(to himself)
Well, there goes my half day.
ANGLE ON: The center of the room. Where Moumin is looking lies the body of CL. He has been shot in the head.
FADE TO BLACK.
END OF ACT TWO
_____________________________________________________________________
ACT THREE
INT CL'S APARTMENT - MOMENTS LATER
Moumin is examining CL's body. He is careful not to touch anything in the room. He looks around the body for a few seconds before stopping. He squats down to get a closer look at something on the floor.
ANGLE ON: A small spot of blood on the floor. It is away from the body and seems out of place in the room. Moumin looks down the floor a bit and sees another small blood spot a couple of inches away. They form a trail leading to a closed door.
Moumin unholsters his gun and walks toward the door.
CUT TO:
EXT AIRPORT - SAME TIME
Mraz stands outside an arrivals gate. He is mindlessly playing with his blackberry. He seems bored.
Passengers keep filing out of the gate, but none of them show any signs of knowing Mraz. A short, blond girl (Corey) then emerges, wheeling a small suitcase behind her.
Mraz looks up and notices COREY HAYDU. She gives a small smile. Mraz returns the smile and walks toward her.
CUT TO:
INT A BAR - SAME TIME
ANGLE ON: A pool table. The balls are set up in the typical triangle formation for a game of eightball. Almost immediately, the cue ball smacks into the balls, breaking them up.
Eddie walks around the table and assesses his break. Near him is ZAC, the bartender, he also holds a pool cue.
ZAC
So why aren't you at work again?
EDDIE
Took a personal day.
ZAC
But you were at work earlier?
EDDIE
Yeah.
ZAC
So you just left in the middle of your shift?
Eddie bends over the table and lines up his shot.
EDDIE
Mmm hmm.
ZAC
And you're allowed to do that?
EDDIE
Looks like it.
ZAC
I don't know that sounds serious.
EDDIE
I know what you're doing. You're trying to take my focus off my shot. Well, word of advice Zac, stop trying. It isn't working.
Eddie strikes his shot, easily sinking it. He stands and looks over the pool table, satisfied. He turns to Zac.
EDDIE (CONT'D)
Twenty bucks on this game right?
Zac smiles ruefully. The music in the bar changes songs and "Maps" by the Yeah Yeah Yeahs comes over the speakers. Eddie is lining up his next shot, but Zac notices the song.
ZAC
Awesome! I love this song!
EDDIE
Do you often praise your own music selections?
ZAC
What? Oh, no I didn't put this on. I just did Pandora so I had no idea what was going to play.
EDDIE
Well enjoy your song while I kick your ass then.
Eddie is about to hit his next shot when Zac starts singing along with the song.
Eddie pauses and looks up, unbelievingly, at Zac.
ANGLE ON: Zac. He is singing along with the song and playing air guitar.
Eddie walks up to Zac, looking at him like he's insane.
EDDIE (CONT'D)
Oh you have got to be kidding.
ZAC
(interrupting his singing)
What? It's an awesome song.
Zac sings again. Eddie shakes his head.
CUT TO:
INT CL'S APARTMENT - SAME TIME
Moumin has reached the door. He slowly opens it with his foot, keeping his gun trained on the opening as it grows wider.
When the door is three quarters of the way open, Moumin takes a tentative step into the room. As his foot hits the floor, someone rams into the door from the other side, sending it hurtling into Moumin, knocking him back out of the room.
As Moumin falls out of the room, the door slams shut. Moumin gathers himself quickly and stands, preparing for a fight.
He proceeds back toward the door, but as he walks toward it, very faintly, the cocking of a shotgun can be heard. Moumin's eyes widen and he dives out of the way of the doorframe as it splinters at the blast from the shotgun.
Moumin darts across the room, jumping over CL's couch to find some cover on the other side. He shoots off two shots in the direction of the door.
Silence.
Another blast.
MOUMIN
Hey! I'm not the police alright! I don't care if you killed this guy! Just stop shooting that damn shotgun at me!
Another blast.
MAN (O.S.)
He never was a good listener.
ANGLE ON: The bathroom doorway. A SECOND MAN stands in the doorway. He holds a gun at his side. He has an unobstructed view of Moumin.
MOUMIN
Seriously? There's two of you?
The man smiles. Moumin jumps back over the couch just as the man lifts his gun and fires at where Moumin was.
CUT TO:
INT LINCOLN TOWNCAR - SAME TIME
Mraz and Corey ride in the back of the car.
MRAZ
So how have you been?
COREY
Not bad. Sorry, I can't get over the fact that we're being driven around New York City in a Towncar. You've come a long way since college.
MRAZ
Yeah, and they said my BFA was worthless.
COREY
Because it's obviously your studying of acting that helped you become a successful CEO. I mean what the hell, right?
MRAZ
Admittedly, not what I was expecting.
COREY
Great for you though. I'm waiting tables just to afford a crappy studio out in L.A. Meanwhile, you and Mark are running a company and getting driven around Manhattan.
MRAZ
Mark doesn't really do much running of the company.
COREY
Yeah, yeah and I expect when I talk to him he'll say the same thing about you.
MRAZ
He better not, I control his paycheck.
Corey laughs a little. She smiles at Mraz.
COREY
It's good to see you. I miss you guys. I mean, L.A.'s nice and all but, I don't know.
A moment passes.
Mraz's phone rings. He pulls it out of his pocket and looks at the screen. The Caller ID reads "Moumin Ghanem."
COREY (CONT'D)
You need to take that?
Mraz punches the ignore button on the phone.
MRAZ
Nah, it's just work. They can live without me for a bit. Tell me about L.A.
CUT TO:
INT MRAZ INC. - SAME TIME
Keating is walking down the hall holding some files. She passes Mark’s office door. As she does, something slams into it from inside. Keating starts, dropping her files onto the floor. She looks at the door angrily as she bends down to retrieve the files.
KEATING
(mumbling to herself)
Mark and his stupid training exercises.
CUT TO:
INT MRAZ INC. - SAME TIME
We are now in Mark's office. He has his back to the door and is being pressed up against it by Krystal. They both are in their underwear. They are kissing passionately.
Krystal pulls away from Mark slightly. There's a devilish smile on her face.
KRYSTAL
Having fun yet?
Mark smiles. They start kissing again. They travel together back towards Mark's desk before they go offscreen.
ANGLE ON: A pile of their clothes on the floor. On top of the pile lies Mark's phone. It suddenly lights up and starts vibrating. The caller ID says "Moumin Ghanem." As the phone rings, a small crash followed by Krystal giggling can be heard.
CUT TO:
INT A BAR - SAME TIME
Zac is still singing along to "Maps" but he cannot be seen, neither can Eddie.
ANGLE ON: Eddie's phone. It sits on the edge of the pool table. After a second, it
lights up and starts vibrating. The caller ID reads "Moumin Ghanem."
ANGLE ON: Eddie and Zac. Zac is still playing air guitar and singing, but now Eddie is beside him, wailing on an imaginary drum set.
They continue.
CUT TO:
INT CL'S APARTMENT - SAME TIME
Moumin is in a study-type room. The door has a large desk pushed up against it.
Moumin holds his phone to his ear.
After a moment, Moumin angrily lowers the phone.
MOUMIN
You have got to be kidding me! Why is no one answering their phone?
He pulls his phone back up. He scrolls through the contacts. When he gets to Eric, he considers for a second.
CUT TO:
INT ERIC'S APARTMENT - SAME TIME
ERIC stands in the middle of his living room. He is shirtless and covered in sweat. He is perfectly still. Suddenly, he shoots his right arm out, in a punching motion. He squats down sweeping out his leg and follows with a punch to where his imaginary opponent would be.
He jumps back up. He checks his phone, which is attached to the belt of his pants. The phone shows no activity.
ERIC
Must be a slow day at the office.
He replaces his phone and gets into his still, ready stance. He stays this way for a moment, then, with a scream lashes out at an imaginary foe behind him.
CUT TO:
INT CL'S APARTMENT - SAME TIME
Moumin is still looking at his phone. Eric's number is still up. Suddenly, Moumin punches the END button.
MOUMIN
Nah.
He puts the phone in his pocket and looks toward the door. He grabs his gun and slips the clip out. He checks his ammo and shoves it back in. Slowly, he walks toward the door, without crossing in front of it.
When he reaches the wall, he places his ear against it, close to the door, and listens. Satisfied, he pulls his head back away from the wall and starts to reach toward the doorknob.
As he reaches, another blast rings out and the door splinters slightly inward. A splinter hits Moumin's hand which he sharply retracts.
MOUMIN (CONT'D)
Oh come on! You two have to run out of ammo eventually!
Another blast. The door is starting to come apart.
Frantically, Moumin looks around for something, anything, that can help him out of this predicament. Finally his eyes settle on something. He lets out a groan.
ANGLE ON: Moumin's POV. He is staring the room's window.
FADE TO BLACK.
END OF ACT THREE
________________________________________________________________________
ACT FOUR
EXT CL'S APARTMENT - MOMENTS LATER
The shot is of the outside of CL's apartment building. The building is a large co-op and the shot is from about fifteen stories up.
A window opens and Moumin pokes his head out. He looks down first. Upon seeing the height, he closes his eyes and shakes his head. He regains his composure and looks around.
About five feet to the left of the window is a small balcony that leads out from CL'S bedroom. Moumin reaches out to gauge the distance. His arm is not long enough to reach the balcony, he is about two feet short.
Moumin grabs his phone out of his pocket and looks at the screen, checking to see if anyone has called him back. As he does, another shotgun blast rings out from behind him. The noise startles Moumin, and his phone slips out of his hand.
He yells out in disgust and slaps the side of the building.
He looks back at the room one more time, then, resigned, climbs out the window. He gingerly stands on the small ledge that leads out from the window and holds the outer part of the window frame to balance himself.
He inches over to the edge of the windowsill. When there, he reaches his foot out toward the balcony. It reaches a bit farther than his arm did, but he is still a good foot and a half short of the balcony. He sighs and pulls his foot back.
Suddenly, it starts to rain. The rain quickly becomes intense. Moumin simply closes his eyes and rests his forehead against the side of the building.
MOUMIN
I hate this day.
He opens his eyes, spins toward the balcony and jumps.
CUT TO:
INT MRAZ INC. - SAME TIME
Mark and Krystal are getting dressed in his office.
MARK
I love this day. Best first day back to work I think I've ever had in my life.
KRYSTAL
Glad I could brighten your day a bit.
MARK
That you did.
Mark, buttoning his shirt, walks over and kisses Krystal. As he does, there is a knock on his door. He pulls back quickly.
MARK (CONT'D)
Just a minute!
Mark quickly buttons his shirt as Krystal tucks her shirt in. Mark, without tucking in his shirt, opens the door. Keating stands outside of it.
MARK (CONT'D)
What's up?
KEATING
Krystal?
KRYSTAL
Hi Lauren. I was just saying hello to Mark while I was here.
KEATING
Whatever. I just wanted to let you know that Mike and Corey will be arriving in the next couple of minutes if you want to say hi.
KRYSTAL
Corey? I thought we put him in jail?
MARK
Wrong Corey. Mraz and I have a friend from college who lives in LA now named Corey Haydu. And she's a woman. You should stick around and meet her. Maybe you guys will hit it off. After all you may be the only two women in the world who can deal with both of us.
KEATING
Ahem.
Mark throws his arm around Keating, smiling as he does so.
MARK
Oh come on now Keating. Do you really feel like you deal with me?
KEATING
I tolerate you. Isn't that enough?
MARK
It's the feeling of being loved. That's why I work here. Like a family we are.
EDDIE (O.S.)
Ladies and Gentlemen! Introducing the one the only Great Pool Shark Edwin Hansen-Nelson!
Mark, Keating and Krystal exchange looks. Mark smiles.
MARK
Well this ought to be good.
He walks out into the hall. Keating and Krystal follow him.
ANGLE ON: Eddie. He is leaning over a chair, softly singing something under his breath.
MARK (CONT'D)
What's up man?
Eddie straightens up and turns, pointing at Mark.
EDDIE
(singing)
You've lost that loving feeling...
KEATING
(overlapping)
Oh good god.
Eddie stumbles over to Keating and sings to her.
EDDIE
(singing)
Ohho that loving feeling...
KRYSTAL
He seems to be in a good mood.
EDDIE
(singing)
You've lost that loving feeling...
KEATING
Are you drunk? This is how you run a unit Mark?
EDDIE
(singing)
And it's gone, gone, gone, oh oh oh oh...
MARK
(laughing)
You have to admit, he's good for morale.
MRAZ (O.S.)
Guess who's here?
ANGLE ON: Mraz and Corey, standing at the end of the hall.
EDDIE
Corey! How the hell are you?!
Eddie runs up and gives Corey a hug, he lifts her and spins her around.
COREY
And hello to you Eddie. Would you please put me down?
MRAZ
Is he drunk?
MARK
(approaching Eddie and Corey)
He's just excited to see Corey.
(to Eddie)
C'mon champ, the rest of us want to say hello too.
Eddie releases Corey. She takes a second, then turns to Mark.
COREY
Thank you.
MARK
Of course. How are you, beautiful?
He leans in and gives Corey a kiss on the cheek.
COREY
Good. It's good to see you.
MARK
You too.
Mraz walks over and takes Corey by the arm.
MRAZ
Here Corey, let me introduce you around. Do you remember Keating?
Mraz walks Corey over to Keating and Krystal. There are handshakes all around. As she is introduced, Mark pulls out his cell phone. He reads something off the screen, pushes a button and holds it to his ear. As he listens, his expression changes to one of concern.
MARK
Mraz, I need to talk to you for a second.
MRAZ
Can't it wait?
As he says his next line, he turns to Mraz.
MARK
Moumin left me a message about ten minutes ago. He's-
(noticing Corey)
Just...found some...uh...major accounting errors in our books. If we don't handle it now he's...uh...dead.
EDDIE
Moumin's not an accountant.
Mark elbows Eddie sharply. Eddie doubles over. Mraz nods.
MRAZ
Keating, Krystal, would you mind showing Corey around?
KEATING
Of course. Follow us, we'll show you the inner workings of this place.
Keating, Krystal and Corey head off. Mraz and Mark look at each other.
CUT TO:
INT CL'S APARTMENT - SAME TIME
The two men stand in front of the barricaded door. The door itself is in tatters. The desk inside the room can be seen through a large hole in the door. One of the men is looking through the hole. After a moment, he pulls back still looking at the door.
MAN ONE
Anything?
MAN TWO
I don't see him. He's got to be in there somewhere though. This is the only way out.
MAN ONE
So what do we do?
MAN TWO
Wait. He has to come out eventually.
MOUMIN (O.S.)
I disagree.
The two men freeze. They slowly turn towards each other. Suddenly, their heads ram into each other. Both men collapse onto the floor. Moumin is left standing over both of them. He is wet and he looks tired.
MOUMIN (CONT'D)
Finally.
He squats down next to the men.
CUT TO:
INT MRAZ INC. - SAME TIME
Mark and Mraz walk into a conference room, purposefully. Eddie stumbles in behind them.
MRAZ
Did he say where he was?
MARK
No. He was cut off by what sounded like a shotgun blast.
MRAZ
And what was he working on?
MARK
Nothing dangerous. He was just supposed to locate someone and report back. No engagement. Nothing.
MRAZ
Where did he go?
MARK
I have no idea.
MRAZ
Well what would you have done?
MARK
I don't know, track down known associates. Maybe go back to Ryan's and see if Dave remembers him knowing anyone who was there when I confronted him.
EDDIE
Didn't he try to run you down?
Mark rolls his eyes.
MARK
Yes Eddie, he tried to run me down and he might know who was responsible for killing Andy. Please try to keep up.
EDDIE
Maybe Moumin went to a mechanic.
MRAZ
What? Why would Moumin go to a mechanic?
EDDIE
He knows some mechanics that cater to the, umm, seedier crowds. We know the guy uses a car. Maybe he went there.
MARK
Seems like a stretch.
MRAZ
I don't see it.
MARK
Yeah, thanks anyway Eddie, but I think we'll come up with something.
Eddie walks off.
MRAZ
What are you thinking?
MARK
You still have that connection at the DMV?
MRAZ
Yeah, if CL used his real name and address on his license, we can find him there. Hold on let me make the call.
Mraz pulls out his phone. Eddie walks over.
EDDIE
Don't bother. I just talked to the mechanic Moumin went to and got an address. One of you should probably drive.
Eddie exits. Mraz and Mark exchange a confused glance, then follow him.
CUT TO:
INT CL'S APARTMENT - LATER
The door to CL's apartment bursts open. Eddie, who broke down the door, stumbles and falls forward. Mark and Mraz come running in after him, guns at the ready.
Moumin is sitting in a recliner watching TV. He is calmly eating a bag of chips and sipping a beer. He turns to the three as they enter.
ANGLE ON: The two men from earlier. They are bound and gagged in the back of the room.
Mark and Mraz lower their guns.
MARK
I got your message. You okay?
MOUMIN
Yeah, great. I won't be doing any more quick favors for you though, just so you know.
MRAZ
And as for these two?
MOUMIN
Killed CL.
MARK
Why?
MOUMIN
Hired to do it.
MARK
By the same guy who hired him to kill me? Ironic.
MOUMIN
That wouldn't be ironic. That's also not what happened.
MRAZ
Then what did happen?
MOUMIN
Well not surprisingly, CL was criminal in more ways than one. Other than running people down for money, he was also a ringleader in an insurance fraud scheme. Seems he swindled someone with ties to these idiots. One thing led to another, and now he's dead.
MARK
As is our lead to Andy's murder.
MOUMIN
Yup. Anyway I'm out. Tell Taylor I said hello when you call him to clean up this mess.
Moumin stands, tossing his chips to Mraz and his beer to Mark. They each catch the items as Moumin walks out of the room.
MOUMIN (CONT'D)
(as he leaves)
By the way, Eddie's asleep.
Mraz and Mark turn to Eddie, who is asleep on the floor.
MRAZ
You deal with him. I'll call Taylor.
Mark nods.
MARK
Ah well, just another day at the office.
Mraz pulls out his phone as Mark heads toward Eddie.
FADE TO BLACK.
THE END
"Another Day in Paradise"
Written by
Mark Souza
TEASER
FADE IN:
INT KRYSTAL'S BATHROOM - MORNING
The sound of a shower can be heard running. The room is full of steam. After a moment, the shower stops. The shower curtain is pulled back part of the way and KRYSTAL steps out. Only her silhouette can be seen through the steam.
She walks over to her bathroom mirror and uses her hand to wipe a small section of it clean. Her face can be seen in the mirror. She is smiling. She looks down at her body.
ANGLE ON: Krystal's midsection. It is a patchwork of old bruises. They vary in shade from deep purple to green. There are also three scars, markers of where she was stitched up to recover from her bullet wounds. Her fingers gently examine the scars.
Slowly, another set of hands enter the frame and tenderly take her hands.
ANGLE ON: The mirror. In the reflection, MARK's face has appeared. He kisses Krystal's neck. She smiles and leans her head back, resting it on his body.
MARK
Stop obsessing.
KRYSTAL
They're grotesque.
MARK
They are not. They're beautiful.
KRYSTAL
Oh really? How's that?
MARK
They're a part of you. How could they not be?
Krystal turns around and looks at Mark.
KRYSTAL
Oh shut up. You're not nearly smooth enough to pull off a line like that.
She grabs a towel off the rack and wraps it around her body. She exits the bathroom. Mark follows, wrapping a towel around himself as well. He catches up with her and grabs her hand, she turns to look at him.
MARK
Okay, maybe that was a little much. Still though, you have to stop obsessing. Just think of the scars as a reminder.
KRYSTAL
Of what?
MARK
Umm...a reminder to...always look behind you for a deranged psychopath with an assault rifle?
KRYSTAL
You're pathetic. It's no wonder you've been single for so long.
She turns away from him. He continues to hold her hand.
MARK
Oh c'mon. Don't be mad.
She turns back and quickly kisses him.
KRYSTAL
I'm just teasing. Working with you, that actually might be a good reminder to have.
She smiles and kisses him again.
KRYSTAL (CONT'D)
I like you.
She kisses him, a little more passionately this time, and pulls him close. After a moment, Mark breaks the kiss and gently pushes her away.
MARK
And I like you too, but I have to get ready for work.
KRYSTAL
Right. Work. This week flew by. Thanks again for taking it off so you could spend it with me while I recuperate.
MARK
What are you talking about? I took a beach vacation this week. I've been down in Miami checking out all the hot young co-eds.
KRYSTAL
Oh really? Find any you like?
MARK
Well I've grown quite fond of one in particular.
He pulls Krystal close.
KRYSTAL
Oh yeah? What's her name?
They're very close now, almost kissing.
MARK
(nearly whispering)
Jennifer.
Krystal pulls back, an expression of faux shock on her face. Mark laughs.
KRYSTAL
You're a jerk.
Krystal walks past him, into her bedroom. He follows.
MARK
I'm sorry. I couldn't resist.
Krystal turns and stares at him.
KRYSTAL
You're just going to have to make it up to me.
MARK
Okay. How?
Krystal drops her towel. She smiles.
KRYSTAL
I think you're going to have to show up late for work.
SMASH CUT TO:
MAIN TITLES.
END OF TEASER
_______________________________________________________________________
ACT ONE
INT MRAZ INC. - MORNING
MRAZ is sitting in his office. Across from him sits a bookish young man (GREG). Greg holds a bunch of files and is adjusting his glasses. Mraz looks bored.
GREG
So, as you can see, I have more than enough qualification to take over this job. Well, that is if you think a Masters in business from Columbia counts as a qualification, which, as someone who went there, I have to say maybe it just barely scrapes by.
Greg laughs awkwardly. Mraz is stoic. Greg notices Mraz's lack of enthusiasm and is flustered. He clears his throat and goes on:
GREG (CONT'D)
Well anyway...to prove myself a bit to you I decided to take some initiative on my own. I hope you don't mind.
MRAZ
Why would I mind?
GREG
Well, umm, I mean, you shouldn't, but best to always be careful. Anyway, I analyzed some of your public financial records.
MRAZ
Did you?
GREG
Yes, and I have to say I can make your business much more profitable without any major changes to the way things are done.
MRAZ
And how is that?
Greg fishes through some files. He hands one over to Mraz.
GREG
Well as you can see I have circled the pertinent information on this sheet. Now unless you're housing a small army in this building these overhead costs are through the roof. And, I mean, you're not housing a small army are you?
Greg laughs. Mraz stares at him. Greg's smile fades. Mraz just keeps staring.
MRAZ
I'm going to need those files you're holding.
CUT TO:
INT MRAZ INC - MOMENTS LATER
Greg scurries out of Mraz's office. KEATING looks up at him as he goes, but he avoids eye contact. She looks back to Mraz's door. Mraz stands. He holds all of Greg's files.
KEATING
What did you do?
MRAZ
Nothing. He wasn't right for the job.
KEATING
That's what you've said about everyone so far. We eventually have to replace Andy as head financial officer. These are the best of the best Mike.
MRAZ
I'm sure. Which is why they all notice that our overhead is a little higher than the average import/export business. Are there any more interviews for today?
KEATING
Two. One in half an hour. Another scheduled for 11. At one you're supposed to meet Corey at the airport.
MRAZ
Corey?
KEATING
Yes, your friend Ms. Haydu is coming in for two weeks. I put the reminder on your computer.
MRAZ
Ah, that reminds me. I think I have a computer virus.
Keating shakes her head in disbelief.
KEATING
I'll get Ducky to take a look at it.
MRAZ
Thanks. Love you.
KEATING
I don't get paid enough for this.
MRAZ
I'll ask the next interviewee if he can find a way to fix that.
KEATING
Ha ha.
Mraz winks at Keating and heads back into his office. Keating turns her attention to her desk. As she does, the elevator doors open and Mark walks out.
MARK
Good morning gorgeous.
KEATING
You. You know you took a week off, right? Not a week and an hour. The least you could do is show up on time on your first day back.
MARK
Oh, it's good to see you too. I missed you. Did you miss me?
Mark has gone over and grabbed a coffee pot sitting on a counter by the wall. It is empty.
MARK (CONT'D)
No coffee?
KEATING
The machine broke. Mraz and I buy our coffee every morning, which means the only people affected are tactical. If you guys want more coffee, buy a new coffee maker. And while you're at it you could brew it for yourself for a change.
MARK
Alright then, big man in?
KEATING
He's in his office.
Mark walks over to Mraz's office and knocks on his door.
MRAZ (O.S.)
Come in!
Mark enters the office. Mraz looks up at him. Mark goes over and sits across from
Mraz.
MRAZ (CONT'D)
You're late.
MARK
Yeah, what else is new?
MRAZ
How was your vacation?
MARK
Relaxing. I wholeheartedly suggest Miami. Lovely beaches. Lovely women. Lovely not getting shot at. The whole thing was great.
MRAZ
Glad to hear it.
Mraz shoves over a bunch of papers to Mark.
MARK
What're these?
MRAZ
Resumes. We need to hire a new Chief Financial Officer.
Mark raises his hands in mock surrender.
MARK
That is so incredibly not my department.
MRAZ
Your input could be useful.
MARK
I doubt that.
(getting up)
Well nice catching up with you. I should really go check on Eddie and Moumin.
MRAZ
Mark, this is important! We need someone to take care of finances!
MARK
(backing out of the office)
Make Taylor do it. He likes paperwork. Just give him a raise and tell him to take care of it.
MRAZ
We can't afford to give him a raise.
MARK
As new Chief Financial Officer I'm sure he'd find a way to free up some funds to pay himself.
Mark has almost backed completely out of the room by now.
MRAZ
Mark that's not a solution!
MARK
What's that? Yeah, of course I'll say hello to Eddie and Moumin for you. Later.
MRAZ
Mark!
But Mark is gone. Mraz sits alone for a minute. Finally, he pushes a button on his intercom.
MRAZ (CONT'D)
Keating, just a heads up. I may need to schedule a meeting with Taylor in the coming weeks.
CUT TO:
INT MRAZ INC. TAC ROOM - LATER
Mark enters the tac room. MOUMIN and EDDIE are tossing a tennis ball back and forth. Upon noticing Mark, Eddie snatches the ball out of the air and whips it back at Moumin, hitting him in the head.
MOUMIN
What the hell?!
EDDIE
See, and that is how you can turn a grenade attack back on your enemy. Oh, hey, Mark! You're back!
Mark laughs.
MARK
Nice try. Don't worry about it. I knew when I took the week off that meant all of tactical would have the week off.
EDDIE
Glad to hear it, because I had no idea how I was going to cover for telling the rest of tactical they could have time off until further notice.
MOUMIN
You weren't just going to throw a bowling ball at me and hope Mark was distracted by my pain?
EDDIE
(ignoring Moumin)
So, how was Miami?
MARK
Nice. The weather was great and it was nice to get away-
EDDIE
Yeah, yeah. Did you get laid?
MARK
Seriously? You just jump straight to that?
EDDIE
Did you think I'd really care about the weather?
MOUMIN
He has a point.
MARK
Indeed. Well to answer your question, mind your own business. Also, yeah I might have gotten laid.
EDDIE
Nice! That's our head of tactical.
Eddie puts up his hand for a high five. Mark looks at it but ignores it. After an awkward moment Eddie just slaps his hand with his other hand.
EDDIE (CONT'D)
All right. Good catching up. Moumin and I will be back later.
Eddie stands up to leave.
MARK
Where are you going?
EDDIE
Buy some coffee. You need to talk to Keating. She's being totally unreasonable about the coffee machine.
MARK
I'm already on it.
Eddie and Moumin start to exit.
MARK (CONT'D)
Moumin, can I talk to you for a sec?
Moumin stops and turns back.
EDDIE
I'll meet you downstairs.
Eddie exits the room. As he does, Moumin whips the tennis ball at him. As it sails out of the room:
EDDIE (O.S.) (CONT'D)
Ow! Son of a bitch!
Moumin laughs and turns back to Mark.
MOUMIN
What's up?
MARK
I was wondering if you could do me a favor. I need someone tracked down. His name is CL Weatherstone. I just need a location on him.
MOUMIN
No prob. Should I take Eddie with me?
MARK
Nah, this is strictly a locate and report back job. I don't need you to engage. I figure if you find him fast you can take the rest of the day to yourself.
MOUMIN
Sounds good. I'm on it.
MARK
Thanks. I'll talk to you soon.
Moumin exits.
CUT TO:
INT MRAZ INC. MRAZ'S OFFICE - MORNING
Mraz is standing next to DUCKY. Ducky is looking through Mraz's computer.
DUCKY
Okay, so I'm not judging or anything, but if you're going to be looking at porn on this thing you've got to let me know so I can put on the necessary phishing and spyware protections.
MRAZ
What? Porn? What are you talking about?
DUCKY
Like I said, it's none of my business, but if you look at your browser history, I mean, have you considered you might have a problem Mike? There are support groups.
Mraz turns bright red.
MRAZ
Let me see that!
Mraz looks at the computer monitor. His face contorts with rage.
MRAZ (CONT'D)
(reading)
"Big Black Dicks." "My Hot Granny." "Two Girls and a Cup!"
(looking away from the monitor)
I am going to kill Eddie and Moumin!
Laughter is heard coming from Mraz's doorway. Mraz looks up.
ANGLE ON: Krystal. She stands in Mraz's doorway laughing.
KRYSTAL
I guess things haven't changed much in the month I've been gone.
ANGLE ON: Mraz. He looks at Krystal and smiles.
FADE TO BLACK.
END OF ACT ONE
__________________________________________________________________
ACT TWO
EXT COFFEE SHOP - MORNING
Eddie and Moumin come out of the coffee shop holding two cups of coffee. Eddie starts to walk down the street but Moumin doesn't follow. Eddie turns to him.
EDDIE
You coming back to work or you just going to stand here all day?
MOUMIN
Actually Mark asked me to track down someone for him. I'm hoping to find the guy fast and take most of the day off.
EDDIE
Want some help? I could run a search, if we can find the guy's cell number we can get Ducky to give us GPS coordinates on him.
MOUMIN
Nah, I don't think that'll be necessary. I've heard of the guy, know the circles he runs with. I figure I'll do this the old fashioned way.
EDDIE
Cracking open some heads then. I like it, I'm in.
MOUMIN
I actually meant asking calm questions, and maybe bribing some people.
EDDIE
Ah I see.
(pause)
Sounds boring. I'm out.
MOUMIN
I figured.
EDDIE
Alright, well if you finish up early give me a call, maybe we can meet up.
MOUMIN
Meet up? You'll still be at work.
EDDIE
Like hell I will. If you get to take a half day you better believe I do too. In fact, I think I've already put in a good hour of work, I deserve the rest of the day to myself.
MOUMIN
We tossed around a tennis ball for the past hour.
EDDIE
I know. It was exhausting. Anyway, good luck with your whole talking to people thing, like I said give me a call if you finish early. Peace.
Eddie walks off, in a different direction than he was originally intending. Moumin just shakes his head. He takes a sip from his coffee, then pulls out this cell phone and starts looking through it.
CUT TO:
INT MRAZ INC. - SAME TIME
Mraz is leaning on the front of his desk. Krystal is sitting in a chair in front of him. Ducky is still working on Mraz's computer.
MRAZ
So, how are you feeling?
KRYSTAL
Like someone who got shot a month ago. Better though. A lot better.
MRAZ
Well I'm glad to hear that. Everything healing okay?
KRYSTAL
Everything is perfect. I had a good doctor.
(small pause)
And a good nurse from what I hear.
MRAZ
You had a terrified CEO for a nurse, so I'm not sure good is the proper term, but I did what I had to.
KRYSTAL
And I'm extremely grateful.
MRAZ
So, can I see the scar?
DUCKY
(under his breath)
Awkward.
Krystal looks at Mraz, somewhat confused.
KRYSTAL
Umm, I mean, I'd have to take my shirt off to show you.
Ducky bumps his head on the desk.
DUCKY
Umm, hey, you know I think I need to get a, umm, chip. For computers. A computer chip. I'll just go grab that now. The chip. For your computer. Right.
Ducky exits the room. Mraz and Krystal look at each other.
MRAZ
Sorry. That was silly of me to ask.
KRYSTAL
No, I mean, you saved my life. If you want to see the scar, I'll show you, I just thought it might be awkward.
MRAZ
Of course. I don't need to see the scars. It was childish to even ask. Anyway, what brings you to the office today?
KRYSTAL
I want to get back to work.
MRAZ
So soon? Is that really a good idea?
KRYSTAL
I'm going crazy doing nothing all day. I'm not saying I'm ready to take on a full workload. I just need to get back around people. I need to be doing something.
MRAZ
Right, yeah, I can understand that. Okay, well let's set it up with Keating. I don't want you pushing yourself though. Maybe a just a few days a week to start, and if you ever feel weak or like you're pushing yourself too far, I want you to let me know immediately. All right?
Krystal walks over and kisses Mraz on the cheek.
KRYSTAL
Thank you Mike. I appreciate it.
MRAZ
Of course. It'll be good to have you back. We've missed you around here.
KRYSTAL
And I've missed you guys. Actually while I'm here, I thought I might go say hi to some people.
MRAZ
Of course. I'll talk to Keating and get you set up to start work tomorrow.
KRYSTAL
Great. Okay, I'll stop by before I leave and say goodbye.
MRAZ
Please do. But I might be out of the office picking up a friend from the airport, so if I miss you, let me just say it's really great to see you.
KRYSTAL
You too.
Krystal exits. Mraz smiles as he watches her leave.
CUT TO:
EXT A GARAGE - LATER
A mechanic (Pete) is lying on his back, working on the underside of a car being held up by a jack. Moumin enters and spots PETE under the car. He walks over to the car and lightly hits the hood. Pete scoots out from under the car.
PETE
What the hell!
As he gets out from under the car, he sees Moumin. His expression changes.
PETE (CONT'D)
Oh Jesus Christ. What do you want?
MOUMIN
Good to see you again Pete.
PETE
Yeah, yeah. Just get it over with. What do you need to know?
MOUMIN
CL Weatherstone.
PETE
What about him?
MOUMIN
Where is he?
PETE
Why do you want to know?
MOUMIN
Now Pete, is that really a question you need to ask? Here I thought we were just two old friends chatting and you go and ask a silly question like that.
PETE
Alright, look, I know where he was. He came in here to get his car fixed up. I can get you the address his credit card was listed under. It could have been a fake though.
MOUMIN
I'll take my chances.
PETE
Fine. Follow me.
Pete walks off. Moumin follows.
CUT TO:
INT MRAZ INC. - LATER
Mark is in his office. The coffee machine is set up on his desk. He is behind it. The back panel of the coffee maker had been pried off. Mark is looking quizzically at the back of the coffee machine. He reaches out to move something. As he moves it, a spark comes out of the machine and Mark jerks his arm back.
MARK
Ow! Son of a bitch!
KRYSTAL (O.S.)
So I'm guessing I shouldn't ask you to look at the wiring for my DVD player to see if you can fix it huh?
Mark looks up and smiles.
MARK
What are you doing here?
KRYSTAL
Setting up a timetable to return to work.
MARK
Wow, so soon?
KRYSTAL
What can I say? I guess this week I just got used to being around you all the time and I decided I wanted to keep that up.
She walks up and kisses Mark. He gently pushes her away.
MARK
Not at the office.
KRYSTAL
Right. I forgot, we have to be secretive. Why is it you're ashamed to tell people about me again?
MARK
That's not it and you know it. Look, we both know Mraz thinks of you as more than just a valued employee. I want to tell people, and eventually we will, but I think we have to grease the wheels with Mike first. I don't want to just drop this on him and hope he reacts maturely.
KRYSTAL
He asked me to take my shirt off earlier.
MARK
What?!
KRYSTAL
(chuckling)
Don't worry, it was innocent. He wanted to see my scar.
MARK
He wanted to see your scar? What is he, like five years old?
KRYSTAL
Hey, you wanted to see my scar.
MARK
I wanted to see you with your shirt off. The scar was not the main attraction in that scenario.
KRYSTAL
Really? Well I guess that makes sense then.
Krystal stands and walks over to the window in Mark's office that looks out at the rest of the floor.
KRYSTAL (CONT'D)
Can I ask you something?
MARK
Of course.
She closes the blinds on the window and walks over to the next.
KRYSTAL
Have you ever thought about having sex in this office?
She closes the blinds on the second window and heads to the third and final window.
MARK
You're joking.
She closes the blinds on the third window.
KRYSTAL
Am I?
She unbuttons her blouse revealing lingerie underneath. Mark stands and starts walking toward her.
MARK
You know you might actually be the perfect woman.
KRYSTAL
I really might, huh?
Mark gets to her and pulls her close.
MARK
Yeah, you really might.
KRYSTAL
Glad you think so.
They kiss. As they do, Mark reaches over and locks his office door.
CUT TO:
INT APARTMENT - LATER
ANGLE ON: The door to the apartment. We are inside the apartment, looking at the locked door. Someone fiddling with the lock can be heard. After a moment, the deadbolt releases.
The doorknob slowly turns and the door opens a tiny bit. The first thing that enters is just a gun, holding the gun in front of himself is Moumin. He enters the apartment slowly and sweeps the room. Halfway through the sweep, he stops and lowers his gun. He walks further into the room, looking at something the whole time.
MOUMIN
(to himself)
Well, there goes my half day.
ANGLE ON: The center of the room. Where Moumin is looking lies the body of CL. He has been shot in the head.
FADE TO BLACK.
END OF ACT TWO
_____________________________________________________________________
ACT THREE
INT CL'S APARTMENT - MOMENTS LATER
Moumin is examining CL's body. He is careful not to touch anything in the room. He looks around the body for a few seconds before stopping. He squats down to get a closer look at something on the floor.
ANGLE ON: A small spot of blood on the floor. It is away from the body and seems out of place in the room. Moumin looks down the floor a bit and sees another small blood spot a couple of inches away. They form a trail leading to a closed door.
Moumin unholsters his gun and walks toward the door.
CUT TO:
EXT AIRPORT - SAME TIME
Mraz stands outside an arrivals gate. He is mindlessly playing with his blackberry. He seems bored.
Passengers keep filing out of the gate, but none of them show any signs of knowing Mraz. A short, blond girl (Corey) then emerges, wheeling a small suitcase behind her.
Mraz looks up and notices COREY HAYDU. She gives a small smile. Mraz returns the smile and walks toward her.
CUT TO:
INT A BAR - SAME TIME
ANGLE ON: A pool table. The balls are set up in the typical triangle formation for a game of eightball. Almost immediately, the cue ball smacks into the balls, breaking them up.
Eddie walks around the table and assesses his break. Near him is ZAC, the bartender, he also holds a pool cue.
ZAC
So why aren't you at work again?
EDDIE
Took a personal day.
ZAC
But you were at work earlier?
EDDIE
Yeah.
ZAC
So you just left in the middle of your shift?
Eddie bends over the table and lines up his shot.
EDDIE
Mmm hmm.
ZAC
And you're allowed to do that?
EDDIE
Looks like it.
ZAC
I don't know that sounds serious.
EDDIE
I know what you're doing. You're trying to take my focus off my shot. Well, word of advice Zac, stop trying. It isn't working.
Eddie strikes his shot, easily sinking it. He stands and looks over the pool table, satisfied. He turns to Zac.
EDDIE (CONT'D)
Twenty bucks on this game right?
Zac smiles ruefully. The music in the bar changes songs and "Maps" by the Yeah Yeah Yeahs comes over the speakers. Eddie is lining up his next shot, but Zac notices the song.
ZAC
Awesome! I love this song!
EDDIE
Do you often praise your own music selections?
ZAC
What? Oh, no I didn't put this on. I just did Pandora so I had no idea what was going to play.
EDDIE
Well enjoy your song while I kick your ass then.
Eddie is about to hit his next shot when Zac starts singing along with the song.
Eddie pauses and looks up, unbelievingly, at Zac.
ANGLE ON: Zac. He is singing along with the song and playing air guitar.
Eddie walks up to Zac, looking at him like he's insane.
EDDIE (CONT'D)
Oh you have got to be kidding.
ZAC
(interrupting his singing)
What? It's an awesome song.
Zac sings again. Eddie shakes his head.
CUT TO:
INT CL'S APARTMENT - SAME TIME
Moumin has reached the door. He slowly opens it with his foot, keeping his gun trained on the opening as it grows wider.
When the door is three quarters of the way open, Moumin takes a tentative step into the room. As his foot hits the floor, someone rams into the door from the other side, sending it hurtling into Moumin, knocking him back out of the room.
As Moumin falls out of the room, the door slams shut. Moumin gathers himself quickly and stands, preparing for a fight.
He proceeds back toward the door, but as he walks toward it, very faintly, the cocking of a shotgun can be heard. Moumin's eyes widen and he dives out of the way of the doorframe as it splinters at the blast from the shotgun.
Moumin darts across the room, jumping over CL's couch to find some cover on the other side. He shoots off two shots in the direction of the door.
Silence.
Another blast.
MOUMIN
Hey! I'm not the police alright! I don't care if you killed this guy! Just stop shooting that damn shotgun at me!
Another blast.
MAN (O.S.)
He never was a good listener.
ANGLE ON: The bathroom doorway. A SECOND MAN stands in the doorway. He holds a gun at his side. He has an unobstructed view of Moumin.
MOUMIN
Seriously? There's two of you?
The man smiles. Moumin jumps back over the couch just as the man lifts his gun and fires at where Moumin was.
CUT TO:
INT LINCOLN TOWNCAR - SAME TIME
Mraz and Corey ride in the back of the car.
MRAZ
So how have you been?
COREY
Not bad. Sorry, I can't get over the fact that we're being driven around New York City in a Towncar. You've come a long way since college.
MRAZ
Yeah, and they said my BFA was worthless.
COREY
Because it's obviously your studying of acting that helped you become a successful CEO. I mean what the hell, right?
MRAZ
Admittedly, not what I was expecting.
COREY
Great for you though. I'm waiting tables just to afford a crappy studio out in L.A. Meanwhile, you and Mark are running a company and getting driven around Manhattan.
MRAZ
Mark doesn't really do much running of the company.
COREY
Yeah, yeah and I expect when I talk to him he'll say the same thing about you.
MRAZ
He better not, I control his paycheck.
Corey laughs a little. She smiles at Mraz.
COREY
It's good to see you. I miss you guys. I mean, L.A.'s nice and all but, I don't know.
A moment passes.
Mraz's phone rings. He pulls it out of his pocket and looks at the screen. The Caller ID reads "Moumin Ghanem."
COREY (CONT'D)
You need to take that?
Mraz punches the ignore button on the phone.
MRAZ
Nah, it's just work. They can live without me for a bit. Tell me about L.A.
CUT TO:
INT MRAZ INC. - SAME TIME
Keating is walking down the hall holding some files. She passes Mark’s office door. As she does, something slams into it from inside. Keating starts, dropping her files onto the floor. She looks at the door angrily as she bends down to retrieve the files.
KEATING
(mumbling to herself)
Mark and his stupid training exercises.
CUT TO:
INT MRAZ INC. - SAME TIME
We are now in Mark's office. He has his back to the door and is being pressed up against it by Krystal. They both are in their underwear. They are kissing passionately.
Krystal pulls away from Mark slightly. There's a devilish smile on her face.
KRYSTAL
Having fun yet?
Mark smiles. They start kissing again. They travel together back towards Mark's desk before they go offscreen.
ANGLE ON: A pile of their clothes on the floor. On top of the pile lies Mark's phone. It suddenly lights up and starts vibrating. The caller ID says "Moumin Ghanem." As the phone rings, a small crash followed by Krystal giggling can be heard.
CUT TO:
INT A BAR - SAME TIME
Zac is still singing along to "Maps" but he cannot be seen, neither can Eddie.
ANGLE ON: Eddie's phone. It sits on the edge of the pool table. After a second, it
lights up and starts vibrating. The caller ID reads "Moumin Ghanem."
ANGLE ON: Eddie and Zac. Zac is still playing air guitar and singing, but now Eddie is beside him, wailing on an imaginary drum set.
They continue.
CUT TO:
INT CL'S APARTMENT - SAME TIME
Moumin is in a study-type room. The door has a large desk pushed up against it.
Moumin holds his phone to his ear.
After a moment, Moumin angrily lowers the phone.
MOUMIN
You have got to be kidding me! Why is no one answering their phone?
He pulls his phone back up. He scrolls through the contacts. When he gets to Eric, he considers for a second.
CUT TO:
INT ERIC'S APARTMENT - SAME TIME
ERIC stands in the middle of his living room. He is shirtless and covered in sweat. He is perfectly still. Suddenly, he shoots his right arm out, in a punching motion. He squats down sweeping out his leg and follows with a punch to where his imaginary opponent would be.
He jumps back up. He checks his phone, which is attached to the belt of his pants. The phone shows no activity.
ERIC
Must be a slow day at the office.
He replaces his phone and gets into his still, ready stance. He stays this way for a moment, then, with a scream lashes out at an imaginary foe behind him.
CUT TO:
INT CL'S APARTMENT - SAME TIME
Moumin is still looking at his phone. Eric's number is still up. Suddenly, Moumin punches the END button.
MOUMIN
Nah.
He puts the phone in his pocket and looks toward the door. He grabs his gun and slips the clip out. He checks his ammo and shoves it back in. Slowly, he walks toward the door, without crossing in front of it.
When he reaches the wall, he places his ear against it, close to the door, and listens. Satisfied, he pulls his head back away from the wall and starts to reach toward the doorknob.
As he reaches, another blast rings out and the door splinters slightly inward. A splinter hits Moumin's hand which he sharply retracts.
MOUMIN (CONT'D)
Oh come on! You two have to run out of ammo eventually!
Another blast. The door is starting to come apart.
Frantically, Moumin looks around for something, anything, that can help him out of this predicament. Finally his eyes settle on something. He lets out a groan.
ANGLE ON: Moumin's POV. He is staring the room's window.
FADE TO BLACK.
END OF ACT THREE
________________________________________________________________________
ACT FOUR
EXT CL'S APARTMENT - MOMENTS LATER
The shot is of the outside of CL's apartment building. The building is a large co-op and the shot is from about fifteen stories up.
A window opens and Moumin pokes his head out. He looks down first. Upon seeing the height, he closes his eyes and shakes his head. He regains his composure and looks around.
About five feet to the left of the window is a small balcony that leads out from CL'S bedroom. Moumin reaches out to gauge the distance. His arm is not long enough to reach the balcony, he is about two feet short.
Moumin grabs his phone out of his pocket and looks at the screen, checking to see if anyone has called him back. As he does, another shotgun blast rings out from behind him. The noise startles Moumin, and his phone slips out of his hand.
He yells out in disgust and slaps the side of the building.
He looks back at the room one more time, then, resigned, climbs out the window. He gingerly stands on the small ledge that leads out from the window and holds the outer part of the window frame to balance himself.
He inches over to the edge of the windowsill. When there, he reaches his foot out toward the balcony. It reaches a bit farther than his arm did, but he is still a good foot and a half short of the balcony. He sighs and pulls his foot back.
Suddenly, it starts to rain. The rain quickly becomes intense. Moumin simply closes his eyes and rests his forehead against the side of the building.
MOUMIN
I hate this day.
He opens his eyes, spins toward the balcony and jumps.
CUT TO:
INT MRAZ INC. - SAME TIME
Mark and Krystal are getting dressed in his office.
MARK
I love this day. Best first day back to work I think I've ever had in my life.
KRYSTAL
Glad I could brighten your day a bit.
MARK
That you did.
Mark, buttoning his shirt, walks over and kisses Krystal. As he does, there is a knock on his door. He pulls back quickly.
MARK (CONT'D)
Just a minute!
Mark quickly buttons his shirt as Krystal tucks her shirt in. Mark, without tucking in his shirt, opens the door. Keating stands outside of it.
MARK (CONT'D)
What's up?
KEATING
Krystal?
KRYSTAL
Hi Lauren. I was just saying hello to Mark while I was here.
KEATING
Whatever. I just wanted to let you know that Mike and Corey will be arriving in the next couple of minutes if you want to say hi.
KRYSTAL
Corey? I thought we put him in jail?
MARK
Wrong Corey. Mraz and I have a friend from college who lives in LA now named Corey Haydu. And she's a woman. You should stick around and meet her. Maybe you guys will hit it off. After all you may be the only two women in the world who can deal with both of us.
KEATING
Ahem.
Mark throws his arm around Keating, smiling as he does so.
MARK
Oh come on now Keating. Do you really feel like you deal with me?
KEATING
I tolerate you. Isn't that enough?
MARK
It's the feeling of being loved. That's why I work here. Like a family we are.
EDDIE (O.S.)
Ladies and Gentlemen! Introducing the one the only Great Pool Shark Edwin Hansen-Nelson!
Mark, Keating and Krystal exchange looks. Mark smiles.
MARK
Well this ought to be good.
He walks out into the hall. Keating and Krystal follow him.
ANGLE ON: Eddie. He is leaning over a chair, softly singing something under his breath.
MARK (CONT'D)
What's up man?
Eddie straightens up and turns, pointing at Mark.
EDDIE
(singing)
You've lost that loving feeling...
KEATING
(overlapping)
Oh good god.
Eddie stumbles over to Keating and sings to her.
EDDIE
(singing)
Ohho that loving feeling...
KRYSTAL
He seems to be in a good mood.
EDDIE
(singing)
You've lost that loving feeling...
KEATING
Are you drunk? This is how you run a unit Mark?
EDDIE
(singing)
And it's gone, gone, gone, oh oh oh oh...
MARK
(laughing)
You have to admit, he's good for morale.
MRAZ (O.S.)
Guess who's here?
ANGLE ON: Mraz and Corey, standing at the end of the hall.
EDDIE
Corey! How the hell are you?!
Eddie runs up and gives Corey a hug, he lifts her and spins her around.
COREY
And hello to you Eddie. Would you please put me down?
MRAZ
Is he drunk?
MARK
(approaching Eddie and Corey)
He's just excited to see Corey.
(to Eddie)
C'mon champ, the rest of us want to say hello too.
Eddie releases Corey. She takes a second, then turns to Mark.
COREY
Thank you.
MARK
Of course. How are you, beautiful?
He leans in and gives Corey a kiss on the cheek.
COREY
Good. It's good to see you.
MARK
You too.
Mraz walks over and takes Corey by the arm.
MRAZ
Here Corey, let me introduce you around. Do you remember Keating?
Mraz walks Corey over to Keating and Krystal. There are handshakes all around. As she is introduced, Mark pulls out his cell phone. He reads something off the screen, pushes a button and holds it to his ear. As he listens, his expression changes to one of concern.
MARK
Mraz, I need to talk to you for a second.
MRAZ
Can't it wait?
As he says his next line, he turns to Mraz.
MARK
Moumin left me a message about ten minutes ago. He's-
(noticing Corey)
Just...found some...uh...major accounting errors in our books. If we don't handle it now he's...uh...dead.
EDDIE
Moumin's not an accountant.
Mark elbows Eddie sharply. Eddie doubles over. Mraz nods.
MRAZ
Keating, Krystal, would you mind showing Corey around?
KEATING
Of course. Follow us, we'll show you the inner workings of this place.
Keating, Krystal and Corey head off. Mraz and Mark look at each other.
CUT TO:
INT CL'S APARTMENT - SAME TIME
The two men stand in front of the barricaded door. The door itself is in tatters. The desk inside the room can be seen through a large hole in the door. One of the men is looking through the hole. After a moment, he pulls back still looking at the door.
MAN ONE
Anything?
MAN TWO
I don't see him. He's got to be in there somewhere though. This is the only way out.
MAN ONE
So what do we do?
MAN TWO
Wait. He has to come out eventually.
MOUMIN (O.S.)
I disagree.
The two men freeze. They slowly turn towards each other. Suddenly, their heads ram into each other. Both men collapse onto the floor. Moumin is left standing over both of them. He is wet and he looks tired.
MOUMIN (CONT'D)
Finally.
He squats down next to the men.
CUT TO:
INT MRAZ INC. - SAME TIME
Mark and Mraz walk into a conference room, purposefully. Eddie stumbles in behind them.
MRAZ
Did he say where he was?
MARK
No. He was cut off by what sounded like a shotgun blast.
MRAZ
And what was he working on?
MARK
Nothing dangerous. He was just supposed to locate someone and report back. No engagement. Nothing.
MRAZ
Where did he go?
MARK
I have no idea.
MRAZ
Well what would you have done?
MARK
I don't know, track down known associates. Maybe go back to Ryan's and see if Dave remembers him knowing anyone who was there when I confronted him.
EDDIE
Didn't he try to run you down?
Mark rolls his eyes.
MARK
Yes Eddie, he tried to run me down and he might know who was responsible for killing Andy. Please try to keep up.
EDDIE
Maybe Moumin went to a mechanic.
MRAZ
What? Why would Moumin go to a mechanic?
EDDIE
He knows some mechanics that cater to the, umm, seedier crowds. We know the guy uses a car. Maybe he went there.
MARK
Seems like a stretch.
MRAZ
I don't see it.
MARK
Yeah, thanks anyway Eddie, but I think we'll come up with something.
Eddie walks off.
MRAZ
What are you thinking?
MARK
You still have that connection at the DMV?
MRAZ
Yeah, if CL used his real name and address on his license, we can find him there. Hold on let me make the call.
Mraz pulls out his phone. Eddie walks over.
EDDIE
Don't bother. I just talked to the mechanic Moumin went to and got an address. One of you should probably drive.
Eddie exits. Mraz and Mark exchange a confused glance, then follow him.
CUT TO:
INT CL'S APARTMENT - LATER
The door to CL's apartment bursts open. Eddie, who broke down the door, stumbles and falls forward. Mark and Mraz come running in after him, guns at the ready.
Moumin is sitting in a recliner watching TV. He is calmly eating a bag of chips and sipping a beer. He turns to the three as they enter.
ANGLE ON: The two men from earlier. They are bound and gagged in the back of the room.
Mark and Mraz lower their guns.
MARK
I got your message. You okay?
MOUMIN
Yeah, great. I won't be doing any more quick favors for you though, just so you know.
MRAZ
And as for these two?
MOUMIN
Killed CL.
MARK
Why?
MOUMIN
Hired to do it.
MARK
By the same guy who hired him to kill me? Ironic.
MOUMIN
That wouldn't be ironic. That's also not what happened.
MRAZ
Then what did happen?
MOUMIN
Well not surprisingly, CL was criminal in more ways than one. Other than running people down for money, he was also a ringleader in an insurance fraud scheme. Seems he swindled someone with ties to these idiots. One thing led to another, and now he's dead.
MARK
As is our lead to Andy's murder.
MOUMIN
Yup. Anyway I'm out. Tell Taylor I said hello when you call him to clean up this mess.
Moumin stands, tossing his chips to Mraz and his beer to Mark. They each catch the items as Moumin walks out of the room.
MOUMIN (CONT'D)
(as he leaves)
By the way, Eddie's asleep.
Mraz and Mark turn to Eddie, who is asleep on the floor.
MRAZ
You deal with him. I'll call Taylor.
Mark nods.
MARK
Ah well, just another day at the office.
Mraz pulls out his phone as Mark heads toward Eddie.
FADE TO BLACK.
THE END
Wednesday, January 18, 2012
Episode 1.11 "Headlights on Dark Roads" Written by Mark Souza
MRAZ INC.
"Headlights on Dark Roads"
Written by Mark Souza
TEASER
FADE IN:
INT MRAZ INC TOP FLOOR - NIGHT
"Street Fighting Man" by Rage Against the Machine plays over the scene.
EDDIE stands. Around his feet is a pile of broken glass. He wipes glass away from his clothing and checks his hands and arms to make sure there is no glass imbedded there.
As he does, MOUMIN gracefully drops from the roof and lands right next to Eddie.
MOUMIN
You certainly know how to make an entrance.
EDDIE
Shut up.
MOUMIN
So what now?
EDDIE
Well lockdown is obviously disengaged, which makes me think the self-destruct is also probably disengaged. I guess that just leaves a building full of bad guys for us to hunt down.
Eddie pulls out a gun and checks his ammo. He runs off. Moumin follows. The camera pans down quickly through the floors.
CUT TO:
INT MRAZ INC 12TH FLOOR POOL AREA - CONTINUOUS
The pool area is quiet. It is empty, except in the middle of the pool is the body of BUDDY, facedown and obviously dead. Around his body, the water is all red.
The camera pans out the door of the pool area and into the 12th floor hallway. In the hallway stands LINDSAY. She is draping a plastic shower curtain over the body of STEVE.
When she is finished, she sits next to Steve's body, and sobs.
CUT TO:
INT MRAZ INC 8TH FLOOR HOLDING CELLS - CONTINUOUS
The camera continues to pan down to the 8th floor where DUCKY is helping TAYLOR to his feet.
TAYLOR
So, how bad is this mess?
DUCKY
Hard to say. I have no idea how many prisoners are still out there. Self-destruct is deactivated though, so that's probably a good sign.
TAYLOR
Maybe we should wait here then, until we know more.
DUCKY
Not a good idea. The electrical current that went through these guys is enough to knock someone out, but I doubt it would be fatal. They could wake up any second.
TAYLOR
Fair point. Let's move.
Taylor puts his arm around Ducky and, slowly, they leave the room.
CUT TO:
INT MRAZ INC MRAZ'S OFFICE - CONTINUOUS
KEATING is crouched over the lifeless body of KRYSTAL. She is applying CPR. MRAZ crouches next to her.
MRAZ
Anything?
KEATING
Weak pulse, shallow breaths.
MRAZ
She needs to get to a hospital.
KEATING
I couldn't agree more, but moving her in this state will be dangerous, we need a stretcher or something. Some way to immobilize her.
Mraz looks around his office. His eyes settle on something the camera cannot see.
CUT TO:
INT MRAZ INC STAIRWELL - CONTINUOUS
ERIC leads His group down the stairwell. They approach the door to the lobby. Eric hold his hand up, signalling everyone to stop.
He looks through the window of the stairwell's door.
ANGLE ON: ERIC'S POV ANDREA stands to the side of a group of ten other prisoners. She is talking to someone, but Eric cannot see who.
Eric ducks back into the stairwell and exhales loudly.
ERIC
(to himself)
Can't ever be easy can it?
CUT TO:
INT MRAZ INC LOBBY - CONTINUOUS
Andrea stands in front of MARK and JANICE. They still have their guns pointed at Andrea. Police sirens can be heard in the distance.
ANDREA
Well this is awkward. Here you are, pointing your guns at an unarmed group while the police are just moments away. That'll be hard to explain. And that doesn't even mention the fact that there are probably dead bodies strewn all over this place. So if you don't mind, I'll just be leaving now.
Mark and Andrea stare each other down for a minute. Finally, Mark signals Janice to lower her gun. She does. Andrea starts to walk towards the front door.
MARK
You know, you're right Andrea. That's going to be really hard to explain. Of course another hard thing to explain might be why you called the police to a locked down office building.
Andrea spins toward Mark. She is just steps from the front door.
ANDREA
Wha-
Mark runs full speed into Andrea, basically hip-checking her out the front door. As she falls back onto the sidewalk, Mark bolts for the security controls behind the front desk. He types something into the control panel just as Andrea gets to her feet.
Andrea head back to the door, but before she makes it a large steel curtain falls in front of the door, locking her out and everyone else in.
AUTOMATED VOICE
Lockdown mode: Engaged.
Mark looks toward Janice, then at the ten criminals in front of her.
MARK
We're going to need some zip ties.
SMASH CUT TO:
MAIN TITLES.
FADE OUT.
END OF TEASER
___________________________________________________________________________
ACT ONE
INT MRAZ INC ELEVATOR - NIGHT
Krystal's body is laid out on a large piece of wood duct taped to two office chairs. Mraz straddles her, applying chest compressions. Keating stands next to them. As they go down in the elevator, an automated voice comes on. It is the same one from earlier.
AUTOMATED VOICE
Lockdown Mode: Engaged.
MRAZ
What the hell?!
KEATING
I thought you disengaged lockdown?
MRAZ
I did. Someone else must have put it back on.
KEATING
Who knows how to do that?
MRAZ
Just senior staff. You, me, Mark, Eddie, Ducky, Taylor might be able to fudge it. Not many people.
KEATING
Why would they re-initiate when we just turned it off?
MRAZ
I have no idea. We'll just have to shut it off when we get to the lobby.
KEATING
I though the only way to do that was in your office.
MRAZ
No. My office is just the only place you can initiate apocalypse protocol. Lockdown can be disengaged from a few different stations. Thankfully, the lobby is one.
KEATING
But this won't let us off at the lobby now that lockdown is on, will it?
MRAZ
It will. The elevator will have to drop us off before it goes into lockdown mode.
Keating looks nervously at Mike. As they look at each other GUNSHOTS ring out below them.
KEATING
It sounds like they're coming from the lobby.
MRAZ
Great.
CUT TO:
INT MRAZ INC STAIRWELL - SAME TIME
Eric is briefing the other tactical officers in the stairwell.
ERIC
Okay. I counted at least ten escapees out there, including Andrea. We have to assume they are armed, probably more heavily than we are. Our job will be to take out as many as possible while drawing their fire away from the front doors so these people can get to safety.
KIRA
Excuse me?
Eric looks over at KIRA who is sitting on the stairs. Her arms are handcuffed behind her back.
KIRA (CONT'D)
How do you expect me to run to safety with my arms chained behind my back.
ERIC
I don't.
Eric walks over to Kira, taking out a handcuff key as he does. Kira lets out a sigh of relief. Eric uncuffs one of her wrists, but then immediately uses the free cuff to cuff Kira to the stairway's railing.
KIRA
What the hell?!
ERIC
When this is over, we'll come back and you and I will have a little chat.
KIRA
And if one of these crazy people with guns come by in the meantime?!
ERIC
I guess they'll get to thank you in person. Alright men, let's move out on my go.
KIRA
Screw you!
Eric has turned away from Kira and focuses on the stairwell door.
CUT TO:
INT MRAZ INC LOBBY - SAME TIME
Janice holds her gun on the group of criminals. Mark comes over with a box full of zip tie style handcuffs. One of the criminals (HACKER) takes a step forward.
HACKER
Do you two really think the ten of us will just let you tie us up? When all you have is two handguns?
JANICE
See, now I can understand why you think two people with two measly handguns couldn't possibly take on ten hardened criminals in such close quarters, but I want you to ask yourself something. Knowing the reputations that the two of us have, don't you think it's possible that if you resist, we just might kill everyone other than you in a matter of seconds then save you for last so we can dismantle you with our bare hands for being an inconvenience? Don't you think that might be possible?
Hacker swallows nervously. Mark takes out the first zip tie.
MARK
Alright, who's first?
Hacker steps forward with his wrists held together in front of him. Mark goes over and cuffs him using the tie. As he does, a shot rings out and hacker's head explodes. More shots follow and others in the crowd of criminals fall.
Mark and Janice dive for cover as they return fire. The criminals all scatter. Mark dives in front of the front desk just as it is riddled with bullets. The security equipment shoots off sparks and small electrical explosions.
Janice and Mark have both found cover and are firing at the shots when the elevator doors open revealing: an empty elevator. From inside the elevator:
MRAZ
Eric?!
Over the shots, yelling can be heard.
ERIC
Mraz, I'm a little busy right now!
MARK
Eric!?
ERIC
Mark!? Is that you!?
MARK
Yes you idiot!! I'm the one you've been firing at!!
ERIC
Hold your fire!!
The firing stops. It is revealed that Eric and the two tac officers were the ones firing at Janice and Mark. Mark strides over toward Eric.
ERIC (CONT'D)
Sorry about th-
Mark reaches Eric and shoves him against the wall.
MARK
You could have killed me you idiot! What the hell were you thinking?
ERIC
I was thinking about getting these people safely out of the building!
MARK
And you thought a gunfight would be the best way to accomplish that goal!?
ERIC
I made a decision! In case you haven't noticed, it's been a little crazy here!
MARK
I have noticed actually! I wanted to commend you on the job you've done in the hour I've been gone! Allowing nearly thirty prisoners to escape and arm themselves -
MRAZ
Mark!
MARK
What?!
Mark spins toward Mraz and, for the first time, sees Krystal in the elevator.
Keating has taken over CPR.
MARK (CONT'D)
Oh my god! What happened?
MRAZ
No time to explain. Why are we in lockdown?
MARK
I initiated it.
MRAZ
Well disengage it. She needs to get to a hospital!
MARK
That might not be the best idea. Outside is crawling with police right now. We open up and there are a lot of questions we don't have answers to.
MRAZ
(a bit hysterical)
She's going to die! Disengage the goddamn system!
MARK
Mike-
MRAZ
Now!
MARK
Okay.
Mark goes over to the front desk security console. It has been mostly destroyed from the gunfight.
MARK (CONT'D)
This is fried. I can't disengage from here.
MRAZ
Well do something!
KEATING
Where's the closest disengage point?
MARK
Eighth floor, just outside the holding cells.
ERIC
I'll go!
MARK
Not alone you won't!
ERIC
I can do this!
MARK
No you really can't. You don't have the clearance to disengage lockdown. I'll go with you.
JANICE
(pointing to one of the people near the stairwell)
Isn't that guy a doctor?
Mraz, Eric and Mark' heads all shoot over to the man in the stairwell. He (DOCTOR), confused, looks back at them.
MRAZ
Doctor!
DOCTOR
Yes?
MRAZ
We have an injured employee here. Are you equipped to treat gunshot wounds here?
DOCTOR
In the medical wing we are, though it would be better if more of the staff were around.
JANICE
I bet she thinks it would be better if she hadn't been shot. Life ain't perfect.
DOCTOR
Yes. Of course. I can try.
MRAZ
Get in the elevator! We're running out of time as it is.
The doctor runs over to the elevator. Mraz gets in after him.
MARK
Mike! There are still a bunch of criminals running around the offices!
MRAZ
Take care of it! I'll be in medical.
The elevator doors close.
MARK
Great. Did anyone see where the criminals we had here ran off to? The ones you didn't shoot, I mean.
ERIC
They scattered.
MARK
Probably went to try and arm themselves. We have to secure this place.
JANICE
Hunting expedition. Sounds fun.
MARK
Janice, first off, could you get to the second floor supply closet and get us some radios? I want to be in touch with Moumin and Eddie if possible.
JANICE
On it.
Janice runs off.
MARK
God. What a mess. How the hell did this happen?
ERIC
I don't know, but...I have someone who might. Follow me.
Eric leads Mark over to the stairwell door. Mark looks in the stairwell.
ANGLE ON: Kira. She looks tired and angry.
CUT TO:
EXT MRAZ INC - SAME TIME
Andrea stands outside of the building. There are about ten police cars parked outside the building. Many of the officers have guns drawn and pointed at Andrea. She has her hands up in the air.
ANDREA
Officers, please, I think there's been a misunderstanding.
She laughs nervously.
FADE TO BLACK.
END OF ACT ONE
________________________________________________________________________
ACT TWO
INT MRAZ INC LOBBY - NIGHT
Mark walks down the lobby toward the elevators. Janice also enters the lobby and starts heading towards Mark. AS she speaks she tosses a walkie talkie at Mark.
JANICE
Think fast.
Mark reaches up and catches the radio.
JANICE (CONT'D)
Radios just like you asked for. One for you and I have one as well. Can I go off and start hunting down bad guys now?
MARK
Knock yourself out.
Janice starts to run off.
MARK (CONT'D)
Janice?
She spins back to look at Mark.
MARK (CONT'D)
Try not to kill anyone if you don't have to.
JANICE
I make no promises.
She exits. Mark walks to the elevator and hits the down button. He then raises the radio to his mouth.
MARK
Eddie. Moumin. Come in.
CUT TO:
INT MRAZ INC 20TH FLOOR - SAME TIME
Eddie is standing, almost as if he is posing. He looks off into the distance, one of his knees is up, suggesting that his foot is perched on something, and his opposite hand is on his hip.
EDDIE
What do you think?
ANGLE ON: Moumin. He looks bored.
MOUMIN
Fine. You look like George Washington. Can we move on now?
ANGLE ON: Eddie. We can now see his whole body. He is indeed posed like George Washington, except his foot is perched on top of two prone bodies lying on the floor. Their wrists and ankles are bound and they are gagged.
Eddie smiles at Moumin and steps off the men. He addresses them.
EDDIE
Okay guys, here's the deal. As much as I'd like to bring you back down to holding right now, there's still a lot of your buddies running loose in this place and I think your presence while we hunt them down would serve as a major hindrance. So...we're going to leave you here. I know, I know it sucks being bound and gagged on the hard tile floor, but it could always be worse. So you boys sit tight and someone will be by in a bit to take care of you, all right?
A squawk emits from radios attached to Moumin and Eddie's belts.
MARK (O.S.)
(through the radios)
Eddie. Moumin. Come in.
Moumin grabs his radio.
MOUMIN
Mark. We're here.
MARK (O.S.)
Good. Glad to hear you actually followed protocol for once and grabbed radios.
EDDIE
(into his radio)
Only way we could brag about how many people we've caught. So far we're at five by the way.
MARK (O.S.)
Glad to hear it. There's plenty more in the building though, so keep at it.
MOUMIN
What's the deal with lockdown being initiated again?
MARK (O.S.)
That was me. I don't want anyone getting out of here. And we have a heavy police presence outside right now. I don't want them getting in either.
EDDIE
Cops. Great.
MARK (O.S.)
Don't worry about that now. Just focus on rounding up the rest of these nutcases. I'll be busy with an interrogation to try and figure out what happened here, but Janice will be hunting with you guys. Keep me apprised of your progress. Over and out.
EDDIE
Janice is helping now huh?
MOUMIN
You thinking what I'm thinking?
EDDIE
Friendly competition?
Moumin smiles at Eddie. Eddie lifts his radio to his lips.
EDDIE (CONT'D)
Catch all that Janice? We've got five already. Working our way down to you as you come up. Let's see who makes more friends on the way to middle shall we?
CUT TO:
INT MRAZ INC 3RD FLOOR - SAME TIME
Janice is sneaking up behind one of the men who escaped from the lobby. Her radio goes off, Eddie's message to her comes over the speaker.
The man in front of Janice turns at the sound, but before he can react Janice springs up at him. She drives the heel of her hand into the man's nose. His nose immediately starts spewing blood. He staggers back, but as he does Janice jumps up, sending a roundhouse kick into the man's temple. He falls to the ground in a heap.
With incredible speed, Janice zipties the man's wrists and ankles. She then rips a piece of the man's shirt and ties it around his face, serving as a sort of grotesque tourniquet. She stands, admiring her work. As she stands, she pulls the radio off of her belt.
JANICE
You're on. Two for me so far.
CUT TO:
INT MRAZ INC MEDICAL - NIGHT
The elevator doors open and Mark walks out. He walks over to a small viewing area where Mraz and Keating look in on Krystal.
MARK
How is she?
KEATING
No word yet.
MARK
Mraz, can I talk to you for a second.
MRAZ
Later.
MARK
It'll just be a second.
MRAZ
I said later.
MARK
Look, I know you're worried about Krystal, but there's still a situation in progress going on in this building and we need to handle it.
MRAZ
Then handle it. I'll be here.
MARK
I could use your help.
MRAZ
(suddenly angry)
And I could have used yours an hour ago! Maybe if you had been here instead of out chasing your own hunches Krystal wouldn't be lying in there right now!!
Mraz turns back to the viewing window. Mark takes a step back. Keating doesn't seem to know what to do. Mark gestures to her to meet him outside. She nods. Mark exits the viewing room.
KEATING
I'll be right back Mike.
Mraz says nothing. Keating walks out and meets Mark.
KEATING (CONT'D)
Wow.
MARK
Yeah.
KEATING
He's just worried.
MARK
I know, we all are. That doesn't mean we stop working the problem at hand though. Can I drag you away from here for a while?
KEATING
I don't know. I want to be here for Mike.
MARK
No offense Lauren, but do you even think he realizes you're here right now?
Keating is visibly stung by the comment. She also seems to realize the truth in it.
KEATING
What do you need?
MARK
I need your help.
KEATING
Doing what?
MARK
I need you to oversee something.
KEATING
What could possibly need overseeing right now?
MARK
An interrogation.
KEATING
You want me to watch your interrogation of a suspect?
MARK
In a manner of speaking. C'mon, I'll explain on the way.
Mark leads Keating to the elevators. One opens immediately and they climb aboard.
The camera pans back just as the doors close to reveal Mraz standing in the doorway of the viewing room. He watches the elevator doors close.
As those doors close, the doors to the other elevator start to open. Mraz slowly unholsters his gun and takes a step toward the opening elevator.
The door opens fully and Lindsay steps out. She holds Steve's body in her arms. She walks toward Mraz.
MRAZ
Oh god.
LINDSAY
It was the creepy little one, Buddy, or whatever his name is. He ambushed us.
Lindsay gently places Steve's body on the ground.
MRAZ
God. I'm sorry Lindsay. Do you know where Buddy is now?
LINDSAY
(icily)
Dead.
Mraz and Lindsay lock eyes. In a moment, Mraz understands. He nods.
MRAZ
Good.
Mraz looks down at Steve's body and shakes his head.
LINDSAY
I was thinking...if a medical officer is here...maybe they could...help.
Mraz looks at Lindsay with a sad expression. He bends down next to Steve's body and feels for a pulse. Obviously, there is none.
MRAZ
He's gone Lindsay.
LINDSAY
Maybe not.
MRAZ
There's nothing anyone can do right now.
LINDSAY
They can try! He promised me! He promised me he'd be all right and Steve doesn't break his promises!
MRAZ
I know this is hard, but-
LINDSAY
JUST TRY!
MRAZ
I can't. We're short staffed as it is. I need the medical personnel here focusing on people who can be saved. Steve can't be.
LINDSAY
He's supposed to be your friend!
MRAZ
He is. But I can't bring back the dead.
Lindsay lunges at Mike, grabbing him and pushing him against the wall. Her hand instinctively wraps around his throat. He does nothing to resist.
MRAZ (CONT'D)
You already killed the man who did this to Steve. It wasn't me.
Lindsay stares into Mraz's eyes for a long moment.
LINDSAY
(in a venomous whisper)
It may as well have been.
She releases Mraz's throat and walks toward the elevator. Mraz watches her until:
DOCTOR (O.S.)
Mr. Mraz?
Mraz spins to see the doctor. His face looks grim.
MRAZ
What is it? How is she?
DOCTOR
Not good. That's why I'm out here.
MRAZ
What? Tell me!
DOCTOR
I think you should come in here.
Mraz, confused, follows the doctor back into the medical room.
CUT TO:
EXT MRAZ INC - NIGHT
Andrea is being handcuffed by one of the officers. She looks livid.
ANDREA
I'm telling you you're making a mistake. What you're doing right now is basically throwing away your career, and all because you won't listen to me.
OFFICER
I'm sure. I'm going to need to Mirandize you now, so if you'd be so kind as to shut up for ten seconds, I'd really appreciate it.
A screech of tires. A car door slamming. Both the officer and Andrea look toward the noise. A smile comes onto Andrea's face.
ANDREA
Well it's about time.
ANGLE ON: GOVERNOR JOSH SHERMAN. He stands in front of his limo.
SHERMAN
Someone here want to explain what's going on? And I do hope that explanation has to do with an S & M fantasy that explains why you numbskulls have a good friend of mine in handcuffs.
OFFICER
(under his breath)
Oh Christ.
FADE TO BLACK.
END OF ACT TWO.
__________________________________________________________________
ACT THREE
EXT MRAZ INC - NIGHT
Sherman is standing next to the officer. He is unhappy.
SHERMAN
So let me get this straight, she explains that this was a misunderstanding and you decide the best course of action is to arrest her!
OFFICER
With all due respect sir, misappropriating this much force on a whim-
SHERMAN
Misunderstanding. Not whim. Two different words. Or did they not teach you that at the remedial community college that unleashed you on the world!
OFFICER
Why are you even here right now?
SHERMAN
Because I'm the damned governor and I feel like being here!
OFFICER
You're not the governor for much longer.
SHERMAN
Well I guess we have something in common then. In a month's time we'll both be out of a job. Now get out of here you ingrate! Go explain to your boss why he's about to have his ass reamed by the still sitting governor of New York.
Sherman turns away from the officer, who shakes his head with disdain, but signals the other officers to leave with him. Sherman goes over to Andrea.
ANDREA
Thank you for that. You have my eternal gratitude.
SHERMAN
Yeah yeah, I don't need smoke blown up my ass unless it involves a cheap hotel room and some leather lingerie. I didn't get you out of this for your eternal gratitude.
ANDREA
Why did you get me out then?
SHERMAN
I want information. What's going on here tonight? What's going on with Mraz Inc. in general? Basically, I want to know what you know?
ANDREA
What do you care? That officer was right, you aren't governor for much longer. The election happened, your successor is in place. I should know, I was at the going away party.
SHERMAN
Maybe I'm not quite ready to be put out to pasture. Anyway, I'm in politics. It's not about the position you hold, but the cards, info on a company like Mraz Inc. could be a useful card.
Andrea sizes up Sherman.
ANDREA
You know governor, you might not be as big an ass as I first thought. Buy me a drink, I'll tell you some things that might just surprise you.
Sherman smiles. He offers his arm to Andrea. She takes it and they walk off.
CUT TO:
INT MRAZ INC MEDICAL - NIGHT
Mraz and Doctor stand in a well furnished hospital room. Krystal lies on a bed in the middle of the room. She is hooked up to monitors all around her. She looks pale.
MRAZ
What is it you needed me to see doctor?
DOCTOR
Well Ms. Kelly was shot three times. In a way, she was lucky, none of the bullets hit in critical areas and two of the bullets were through and through. However, it seems one of the bullets didn't get through cleanly and bounced around in her for a bit, causing more serious damage.
MRAZ
I don't need a crash course in bullet wounds doctor. Can you fix it?
DOCTOR
In theory, yes.
MRAZ
In theory?
DOCTOR
She requires surgery.
MRAZ
We're set up to do that here.
DOCTOR
Yes, but surgery's not really a one man job. I need someone to assist. Someone, needs to pass me instruments, provide suction so that I can see, and monitor her vitals.
MRAZ
Okay. Is there anyone else from medical who was in the building?
DOCTOR
Not that I know of. And honestly, I need to get this operation started ASAP. The longer we wait, the worse her chances are.
MRAZ
Well what do you suggest then?
Doctor looks up at Mraz.
DOCTOR
How are you with the sight of blood?
Mraz meets the doctor's gaze as he realizes what he's being asked to do.
CUT TO:
INT MRAZ INC INTERROGATION ROOM - SAME TIME
Mark and Keating walk down a hall towards Eric. He stands guard in front of a door.
MARK
How is she?
ERIC
Unhappy. As expected.
MARK
Okay. You're relieved.
ERIC
What? I was hoping to be a part of this interrogation.
MARK
Well, that's not going to happen. Keating's here, she can monitor the interrogation. I want you to head to the main security room and provide support for Eddie, Moumin, and Janice.
ERIC
Can't Keating handle that?
MARK
There are armed men running around this building right now. I'm not sending Keating to the security room by herself. You're trained, you go. That's an order.
ERIC
Fine. Here's the key for the handcuffs.
Eric hands over a key and walks off.
KEATING
Are you sure this is a good idea?
MARK
We need information and we need it quick. If she was behind this then we need to know why she did it, how she pulled it off, and, most importantly, whether there's more to come.
KEATING
I agree, but-
MARK
But nothing. This will work. Trust me.
KEATING
Fine. I'll be in the observation room.
Keating walks over to a second door and enters. Mark grabs the radio off his belt.
MARK
Eddie, Moumin, Janice. Just want to let you know Eric is headed to the main security room. He can monitor the whole building from there and alert you to enemy positions. Also, I will be silencing my radio for the time being. Over.
Mark clicks off his radio. He looks to the door, takes a deep breath, and enters.
CUT TO:
INT MRAZ INC 5TH FLOOR - SAME TIME
Janice flies across the room, slamming into the wall, face first and hard. She turns back in the direction she came from and stares hard. Her lip has started to bleed. She wipes the blood away and looks at it. She looks back toward her unseen assailant.
JANICE
Well finally, a decent fight. Bring it, bitch.
Janice readies herself.
ANGLE ON: The assailant. He readies himself, then starts charging at Janice.
ANGLE ON: Janice. Without hesitation, she reaches behind her back and pulls out her gun, she quickly aims at a low angle and fires. The bullet hits the assailant in the foot, mid stride. He immediately face plants and skids across the tile floor. He comes to rest a couple of feet in front of Janice, who has already taken out zip ties and is binding his wrists.
JANICE (CONT'D)
Really? You didn't see that coming at all? What? Did you think I brought the gun for show or something? Sometimes people are just plain stupid.
She has finished binding him. She pats him on the head.
JANICE (CONT'D)
Nice try though. I admire your gumption.
(into her radio)
That's four guys.
CUT TO:
INT MRAZ INC STAIRWELL - SAME TIME
Eddie and Moumin are walking down the stairs.
MOUMIN
Four already. She's good.
EDDIE
She's lucky. We've swept five floors and haven't even seen anyone. And hell that last guy we got wasn't even armed. Just seeing us almost made him crap his pants.
MOUMIN
Yeah, he was funny.
EDDIE
I'm telling you. I feel a little embarrassed that this idiot fringe was able to hold this place captive before we got here.
MOUMIN
Well, I mean, everyone here was prepared to party, not get in gunfights.
EDDIE
Good point I guess. Ready for the next floor?
MOUMIN
Lead the way.
Eddie reaches out and opens the stairwell door. Almost immediately, a burst of gunshots rings out. Eddie ducks backs into the stairwell.
MOUMIN (CONT'D)
Jesus Christ! You okay?
EDDIE
Yeah. Thankfully, whoever's down there has no idea how to shoot an automatic rifle. Nothing even got close to me.
Moumin is looking through the stairwell door's window now.
MOUMIN
Oh, you have got to see this.
EDDIE
What?
Eddie looks through the window. He starts to laugh.
EDDIE (CONT'D)
You've got to be kidding me.
MOUMIN
What should we do?
EDDIE
Those two just tried to shoot me. I'm going to have fun with this. Turn off your radio and follow me.
Eddie runs down the stairs. Moumin follows.
ANGLE ON: The window in the stairwell door. Through it we can see two figures in the distance. They are Taylor and Ducky.
CUT TO:
INT MRAZ INC HALLWAY - SAME TIME
Eric runs down the hallway. In front of him the hall cuts to the left.
Eric comes up on the left turn and slows down. He creeps along the side of the wall and peeks down the hall toward the security office.
Outside the security door stands five armed men. They do not see Eric, but they stand guard, watching the hall. Eric ducks back behind the wall.
ERIC
(to himself)
Oh you have got to be kidding me. Moumin and Eddie have barely run into anyone and I walk straight into the freaking armada.
(grabbing his radio)
Commencing radio silence.
(turns off radio)
Here goes nothing.
CUT TO:
INT MRAZ INC MEDICAL - NIGHT
Mraz and the Doctor are working on Krystal. The doctor is trying to extract the bullet, while Mraz is holding a small device that suctions out blood from the area the doctor is working.
DOCTOR
I still can't see. Just a little more suction to the right here.
Mraz moves the device over slightly. After a moment, a loud beeping starts from behind him.
MRAZ
Doctor?
The doctor looks up at the monitor that is beeping.
DOCTOR
Son of a bitch!
MRAZ
Bad news?
DOCTOR
Well it sure as hell isn't good. We need to get this bullet out and we need to do it now.
The doctor goes back to work. Mraz looks down at Krystal, concerned.
CUT TO:
INT MRAZ INC INTERROGATION ROOM - SAME TIME
Kira sits in the room. She is handcuffed to the table and obviously not happy about it. Mark enters the room.
MARK
Kira Blaskovich.
KIRA
Yeah?
MARK
I hope you don't mind I just have few questions for you.
KIRA
I do mind.
MARK
Well I guess I can't expect everything I hope for. I'll ask anyway.
KIRA
You can't hold me here! This is an illegal detention!
MARK
Shut up.
KIRA
Or what? What are you going to do if I don't?
MARK
Kira, this company has the capacity to hold you indefinitely. We will create a cover story explaining your disappearance. I don't think it'll be that hard considering where we found you. Quite the crowd you hang out with.
KIRA
I'm not telling you anything.
MARK
I was afraid you might feel that way, but I assure you, you will talk and you will tell me whatever I want to know.
KIRA
Oh will I? What are you going to do? Torture me?
MARK
Torture. You know torture is a funny thing. It's just as likely to get false information as true. In fact, it was created to elicit false confessions. Did you know that?
KIRA
No. Fascinating though, you ever consider being a history professor?
MARK
Normal questioning of subjects, building a bond, eliciting trust, these are much more effective methods of gathering pertinent information.
KIRA
Well you're doing a bang up job.
MARK
(ignoring her)
Unfortunately, I don't have the time for that method. So I'll use bargaining instead.
KIRA
You're going to offer me something for information?
MARK
Yes. Your life.
KIRA
(Kira laughs)
What?
MARK
You see holding you indefinitely. That would be expensive. And if I don't get truthful information in the next ten minutes or so, well it might be too late to do me any good. So if I don't think you'll tell me anything you're useless to me. So I may as well kill you.
Mark places his gun on the interrogation table in front of him.
KIRA
You're bluffing.
MARK
I can see why you might think that, but a good friend of mine was shot today and currently, I blame you for that.
KIRA
Maybe. You're still bluffing though. I know liars. I can see it in your eyes. You're lying.
Mark nods. He picks up the gun and checks the chamber. Seeing it is loaded, he slowly stands. He lifts the gun towards Kira.
KIRA (CONT'D)
Very theatrical, but I still don't buy it.
Mark shakes his head sadly. He cocks the gun. As he does, Keating burst through the door.
KEATING
MARK WHAT THE HELL DO YOU THINK YOU'RE -
Gunshot. Kira screams.
CUT TO BLACK.
END OF ACT THREE.
____________________________________________________________________
ACT FOUR
INT MRAZ INC INTERROGATION ROOM - CONTINUOUS
Kira is still screaming. Mark stands, gun in hand, but it is not pointed towards Kira. It points to the door where Keating was. Her body is on the floor. A bullet wound shows in the center of her chest.
Mark turns towards Kira, who is still screaming. He walks up to her and points the gun at her, he walks close enough that the barrel is touching Kira's forehead.
MARK
(calmly)
Shut up.
Kira does.
MARK (CONT'D)
Now two of my friends have been shot today. I blame you for both.
KIRA
But you just-
MARK
I said I blame you for both. Now you will tell me everything you know, and you will tell me right now.
Kira looks up. There are tears in her eyes.
CUT TO:
INT MRAZ INC STAIRWELL - SAME TIME
Lindsay sits on a landing in the stairwell. She holds a picture in her hands. She looks at it, silently crying.
ANGLE ON: The photo. It is of her and Steve, riding a horse. They are holding each other and smiling at the camera.
She drops her head and silently cries. Suddenly, a gunshot rings out. Lindsay's head snaps up. She quickly tucks the picture away and pulls out a gun. She opens the stairwell door and walks through.
CUT TO:
INT MRAZ INC MEDICAL - SAME TIME
Mraz and Doctor are still working on Krystal. The monitors are beeping slightly more frantically. Doctor looks nervous.
DOCTOR
Dammit. I need more pressure. Get over here!
Mraz, confused, walks over to the same side the doctor is on.
MRAZ
What's going on?
DOCTOR
She's hemorrhaging. I need to get this bullet out, then I can stitch her up and stop the bleeding. I need you to stick your hand in here and apply pressure.
MRAZ
I thought I was providing suction?
DOCTOR
Now you're providing both.
MRAZ
You want me to stick my hand...inside of her?
DOCTOR
If you want to save her life! Now!
Mraz looks very unsure, but he slowly places his hand where the doctor is indicating.
CUT TO:
INT MRAZ INC INTERROGATION ROOM - SAME TIME
Mark is still pointing the gun into Kira's forehead. It appears he is applying some forward pressure, pushing the barrel of the gun into her forehead. She pulls her body back, but can only go so far because of the handcuffs. She is crying fully now.
KIRA
I don't know anything!
MARK
This isn't a game anymore Kira! People are dead! Tell me now or you'll be joining their ranks!
Kira just sobs.
MARK (CONT'D)
Fine. Just remember, you did this to yourself.
Mark takes a step back, keeping the gun trained on Kira's head.
KIRA
(through tears; weakly)
Please don't...
LINDSAY (O.S.)
Drop the gun!
ANGLE ON: Lindsay. She stands in the doorway, gun pointed at Mark.
MARK
Lindsay? What are you doing here?
LINDSAY
Let her go.
MARK
I can't do that. She may be the reason all of this happened today.
LINDSAY
She's not.
MARK
How do you know that?
LINDSAY
Steve's dead. If she were responsible, I'd know.
MARK
Jesus. I didn't know that. I'm sorry. I don't think you're thinking clearly about this.
LINDSAY
Drop the gun.
MARK
Okay, I'll put the gun down.
Mark slowly places his gun on the ground.
LINDSAY
Now let her go.
MARK
Lindsay, that's a mistake.
LINDSAY
Then it's one I'm going to make! And do not think you're going to stop me!
MARK
(shaking his head)
Fine.
He slowly places the handcuff keys on the interrogation table. Lindsay, keeping her gun on Mark, walks over and unlocks the cuffs.
KIRA
Thank you.
LINDSAY
We're leaving now. Don't follow us.
Lindsay and Kira exit the interrogation room. After a few moments, Mark slams his fist into the wall.
KEATING
(from the floor)
You just let them go?
MARK
I didn't think taking on Lindsay with a gun full of blanks was the best idea, so yeah I let them go.
Keating has rolled over and is facing Mark. The bullet wound can still be seen, but she appears fine.
KEATING
Help me up. You didn't tell me these squib things hurt so much.
Mark walks over and helps Keating up off the ground.
KEATING (CONT'D)
So, now what?
MARK
I radio Eddie and Moumin. Lindsay may have taken her from here, but the building is still on lockdown. We'll get them back.
CUT TO:
INT MRAZ INC HALLWAY - SAME TIME
The five armed men stand in front of the security door.
ERIC (O.S.)
I don't care! There are five men out there with semi-automatic rifles! I'm not dying for this company! Easy for you to say! You're safe on another floor! That's it I'm not talking about this anymore, I'm surrendering and that's final!
The armed men have slowly started down the hallway, towards Eric's voice. Suddenly Eric emerges from the hallway, his hands held high.
ERIC (CONT'D)
I'm unarmed!
The men look at each other for a second. One nods. Two men lower their weapons and advance toward Eric. The other three also walk to Eric, but keep their weapons up.
Eric is whispering something but we can't hear what it is.
MAN #1
Hey, what are you saying?
ERIC
(loud enough to hear)
3...2...1
Eric closes his eyes tight and covers his ears with his hands just before a loud, blinding explosion goes off from where he had emerged from.
CUT TO:
INT MRAZ INC 4TH FLOOR - SAME TIME
Janice is hog tying yet another goon. When she finishes she stands up and admires her work.
JANICE
This is getting too easy.
As soon as the words leave her lips, a small electrical hum can be heard and Janice starts violently shaking and falls to the floor. Behind her stand Lindsay and Kira.
Lindsay is holding a stun gun.
LINDSAY
Grab her radio.
KIRA
Why?
LINDSAY
Monitor communication. We'll stay one step ahead of them that way.
Kira runs up to Janice and grabs her radio. Lindsay and Kira run off, leaving Janice, unconscious, on the floor.
CUT TO:
INT MRAZ INC 10TH FLOOR - SAME TIME
Ducky and Taylor stand in the middle of the hallway. Taylor leans heavily on Ducky and looks tired. Ducky holds an automatic rifle.
TAYLOR
What now?
DUCKY
I don't know. Those goons holding you must have taken the bait and figured we'd move downstairs, but obviously someone else has stumbled upon our location. I say we move again.
TAYLOR
Easy for you to say.
DUCKY
I just think we're sitting ducks if we stay here. I mean, I can shoot a rifle, but holding off trained criminals while supporting you as we stand in the middle of a wide open hallway...
TAYLOR
I see your point. Let's move.
A small creak, like a door opening.
DUCKY
Did you hear that?
TAYLOR
It came from behind us.
The sound of a gun cocking. A gruff voice comes from offscreen.
GRUFF VOICE (O.S.)
Move and I blow your head off.
ANGLE ON: Ducky and Taylor. The emotion on their faces is unmistakable: fear.
CUT TO:
INT MRAZ INC HALLWAY - SAME TIME
Eric stands in the middle of the flashbang explosion. He takes his hands off of his ears and opens his eyes. The five men are stumbling, disoriented.
Eric reaches to the man closest to him. He grabs the man's head and slams it into his knee. The man falls, unconscious, onto the ground.
Eric turns and grabs the heads of two other men. He slams them together, knocking both men out.
The other two men are farther back from Eric. He runs at one of them, but before reaching him jumps into a low jumpkick. He connects with the man's shins. The man falls forward. Eric spins out of the way of the man's fall, then jumps over the man, grasping for the man's rifle. They start to struggle.
ANGLE ON: The last man. He has dropped his rifle. The man seems to be getting over the effects of the flashbang. He notices his rifle on the ground next to him. He immediately crouches down and grabs the rifle. As he does:
ERIC (O.S.)
Don't.
ANGLE ON: Eric. He holds the fourth man's rifle and is pointing it at the fifth. He stands next to the fourth man, his left foot pushing heavily on the back of the man's neck.
The fifth man looks up at Eric. He drops the rifle and slowly raises his hands.
CUT TO:
INT MRAZ INC 10TH FLOOR - SAME TIME
Taylor and Ducky are kneeling on the floor of the hallway. Their hands are clasped behind their heads. They look terrified.
DUCKY
I never thought I'd be executed. I'm a techie for god's sake. Techies don't get executed.
GRUFF VOICE (O.S.)
Stop talking.
TAYLOR
Look, I'm a lawyer. I figure someone like you could use a good lawyer. I promise you, if you just let us live I will help you in any way I can, and I have a lot of ways.
MOUMIN
Seriously, that's all it takes?
Taylor and Ducky's expressions change to confusion. They remain on their knees with their hands clasped though. Offscreen, Eddie starts coughing.
ANGLE ON: The full floor. Eddie and Moumin are the only people behind Taylor and Ducky.
EDDIE
(still coughing)
Christ, that Christian Bale-Batman voice is harder to do than you might think. I need some water or something.
DUCKY
What's going on?
MOUMIN
What's going on is you can get up now. We were just messing with you.
TAYLOR
Messing with us?
EDDIE
Yeah next time you might want to identify your target as being hostile before you fire at them.
DUCKY
That was you earlier?
EDDIE
Yep, thankfully you're a lousy shot.
DUCKY
Hey, I had Taylor and I wasn't really expecting anyone. I didn't get a chance to properly aim and-
MOUMIN
Alright calm down there tough guy. I'm sure you're very formidable at the range.
Moumin reaches down and turns on his radio. Immediately, Mark's voice can be heard through it.
MARK (O.S.)
Does anyone have their radio on?!
Moumin grabs the radio and talks into it.
MOUMIN
Eddie and I hear you Mark, we were in momentary radio silence. What's up?
MARK (O.S.)
Kira Blaskovich and Lindsay Wolf are on the loose in the building. I want you to keep an eye out for them.
EDDIE
Isn't Lindsay on our side?
MARK (O.S.)
Not anymore.
EDDIE
Okay, we're on it.
CUT TO:
INT MRAZ INC INTERROGATION ROOM - CONTINUOUS
Mark talks into his radio.
MARK
Good. Also, Eric should be checking in soon from the security hub. When you hear from him I want him to tell you where Lindsay and Kira are. Also, I need to find Ducky. I need to talk to him.
MOUMIN (O.S.)
Don't need Eric for that one. We're standing next to Taylor and Ducky right now.
MARK
Put Ducky on.
CUT TO:
INT MRAZ INC 10TH FLOOR - CONTINUOUS
Moumin hands Ducky the radio.
DUCKY
Mark, good to hear from you. What's up?
MARK (O.S.)
I need to know if there's any way out of this building while it's on lockdown.
DUCKY
None. All exits are locked and all windows and the glass doors in front of the building -
ERIC (O.S.)
I've arrived in the security hub.
MARK (O.S.)
Great hold on just a second Eric. You were saying Ducky.
DUCKY
Just that all glass is covered by metal sheets when lockdown is initiated. No way in or out.
MARK (O.S.)
No exceptions.
DUCKY
No. Not unless there was a security override that went into effect when lockdown was started.
MOUMIN
What's security override?
DUCKY
If there is something in the path of the metal sheeting then the sheets won't close. That way no one gets cut in half by the sheeting.
EDDIE
Does it have to be a person in the path?
DUCKY
No, any object would trigger security protocol.
EDDIE
Hmm.
MARK (O.S.)
What are you thinking Eddie?
EDDIE
Well when Moumin and I were on the roof and lockdown disengaged, I feel through the skylight. It's possible some of the glass could have been in the path.
CUT TO:
INT MRAZ INC STAIRWELL - CONTINUOUS
Lindsay and Kira are listening to the conversation through Janice's radio.
DUCKY (O.S.)
Eric can check that. On the building schematic screen, is the roof of the building showing up as green or red.
ERIC (O.S.)
Red.
DUCKY (O.S.)
That's security override.
Lindsay clicks off the radio and looks at Kira.
LINDSAY
That's our exit. Move.
They start running up the stairs.
CUT TO:
INT MRAZ INC INTERROGATION ROOM - SAME TIME
Mark talks into the radio.
MARK
Okay Eddie get back to the roof. Moumin, escort Taylor and Ducky down to medical. Eric is the path to security clear?
ERIC (O.S.)
Should be.
MARK
Okay Keating get up there and help Eric monitor this.
(into radio)
Keating will meet you up there. Keep your radios on everyone. And keep an eye out for Janice. I don't like that she's still silent.
CUT TO:
INT MRAZ INC SECURITY HUB - SAME TIME
Eric is staring at a bunch of monitors as they cycle through security camera feeds. One of them shows Janice, unconscious, where Lindsay and Kira left her.
ERIC
I think I just found why Janice is silent.
CUT TO:
INT MRAZ INC MEDICAL - LATER
The waiting area outside medical is quiet. Mark sits in a chair near the elevators. His radio squawks.
MARK
Go ahead.
CUT TO:
INT MRAZ INC TOP FLOOR - CONTINUOUS
Eddie stand beneath the open skylight. He holds two radios.
EDDIE
I was too late. They must have heard our radio chatter. They slipped out through the skylight. Left Janice's radio behind.
CUT TO:
INT MRAZ INC MEDICAL - CONTINUOUS
MARK
Okay. Coordinate with Keating and Eric about rounding up anyone else who's still running around this place and getting everyone into holding.
The stairwell door opens. Moumin, Taylor, and Ducky step out.
MARK (CONT'D)
Good, you guys are here. Moumin, I want you and Eddie to coordinate with Keating and Eric and collect any remaining scum in this building. Eddie's already started.
MOUMIN
On it.
Moumin runs off.
DUCKY
It's quiet down here.
MARK
I think the doc just went down back to grab some coffee. See if you can find him, will you Ducky? I'll keep an eye on Taylor.
DUCKY
I'll be right back.
Ducky runs off. Mark helps Taylor into a seat.
MARK
Hell of a night.
TAYLOR
You can say that again.
MARK
This is going to be hard to cover up.
TAYLOR
Impossible. Too many bodies lying around to pretend nothing happened.
MARK
We'll need a convincing scapegoat.
TAYLOR
From your mouth to God's ears.
MARK
How's Kira and Lindsay sound to you?
TAYLOR
What? Lindsay lost Steve in this and Kira-
MARK
Was probably responsible.
TAYLOR
We don't know that.
MARK
Yes we do. And Lindsay helped her escape. They chose their side.
TAYLOR
Still...
MARK
You have a better idea?
Taylor says nothing.
MARK (CONT'D)
Then we both know what has to happen.
Taylor nods. Ducky comes running back with the Doctor.
MARK (CONT'D)
Hey doc. Think you can patch this guy up.
The doctor gives a quick examination of Taylor's wounds.
DOCTOR
Think so. These don't look too bad.
TAYLOR
Looks can be deceiving. I feel like I've been run over by a truck.
DOCTOR
I think I can help that too. C'mon.
MARK
Doctor.
The Doctor turns back to Mark.
MARK (CONT'D)
Good work tonight.
DOCTOR
I did everything I could.
MARK
I know. It's appreciated.
The Doctor nods. He, Taylor, and Ducky walk off and enter a room down the hall. After they're gone, Mark walks down the hall to another door. He enters. Inside, Mraz sits next to Krystal's bed. The room is silent.
MARK (CONT'D)
Hey.
MRAZ
Hey.
MARK
Quiet in here.
MRAZ
I turned down the volume on the monitors. Beeping was driving me crazy.
MARK
Is that safe?
MRAZ
As safe as having a CEO assist in a complex surgery.
MARK
How is she?
MRAZ
She'll live. The doctor says she could wake up any time within the next twelve hours. How's everyone else?
MARK
As well as can be expected. They're wrangling the last of our "prisoners" as we speak. I expect to be able to disengage lockdown within the hour.
MRAZ
Good. Once it's disengaged let everyone go home. It's been a long night.
MARK
For you too. You should think about going and getting some rest too.
MRAZ
I'm going to stay here for a while longer. She should see a familiar face when she wakes up.
MARK
Well I'll be in security if you need to be relieved. I want to go over the logs, see if we can find out for sure how this happened.
MRAZ
I thought Kira was responsible.
MARK
I'm sure she was. I just want to know how she did it.
(pause)
Well, good night. Let me know if she wakes up.
Mraz nods. Mark exits.
CUT TO:
INT MRAZ INC HOLDING CELLS - LATER
"Headlights on Dark Roads" by Snow Patrol plays over this sequence. Keating is walking with Eric. They are checking each cell. Each one is filled with the men from earlier. They reach the end of the cells. Eric Exits. Keating looks back down the row. She flicks a switch and the room goes dark.
CUT TO:
INT A BAR - SAME TIME
Eddie and Moumin sit at the bar. They have shots of whiskey in front of them. They solemnly clink glasses and take the shots.
CUT TO:
INT MRAZ INC SECURITY HUB - SAME TIME
Mark watches monitors showing security footage.
CUT TO:
INT JANICE'S APARTMENT - SAME TIME.
The apartment is dark. Janice walks in and turns on a lamp which casts a dull light on her studio apartment. She tosses her gun on the bed. She walks past the bed toward the bathroom. The camera stays behind her. As she proceeds, she pulls off her shirt, showing her bare back. It has a large bruise on it, at the center of which are two deep red spots from the stun gun. She turns on the light in the bathroom and throws the door shut.
CUT TO:
INT MRAZ INC MEDICAL - SAME TIME
Mraz still sits near Krystal. He looks exhausted. He checks his watch. Slowly, he leans forward and kisses Krystal on the forehead. He leans back in the chair.
CUT TO:
EXT CITY STREETS - SAME TIME
Lindsay and Kira are running down the street. They pass in front of a bar that is playing the news on their many TVs. Lindsay and Kira stops and looks at the televisions. All of them show full screen pictures of the two of them. They stand for a moment, then run off.
CUT TO:
INT MRAZ INC SECURITY HUB - SAME TIME
Mark stands in front of two monitors. They are both frozen. The time stamps are the same. One shows a shadowy figure in the security hub. The other shows Kira, looking bored at the party.
ANGLE ON: Mark's face. He stares at the monitors, then, slowly, closes his eyes.
FADE TO BLACK.
END OF ACT FOUR.
___________________________________________________________________
CODA
INT MRAZ INC MEDICAL - NIGHT
Krystal is still lying in her bed. Very slowly, her eyes open. She blinks and looks around. Her eyes stop at a point outside the camera frame. She smiles.
KRYSTAL
(weakly)
You're here.
Mark leans into frame, coming close to Krystal and grabbing her hand in his.
MARK
I am. I brought the cavalry too. Just like you asked. Mike wanted to be here too, but Keating convinced him to go sleep.
KRYSTAL
I'm glad. I'm glad it's you.
MARK
Well, I don't sleep anyway so...
KRYSTAL
What happened? I don't remember much.
MARK
You were shot, but you're fine now.
KRYSTAL
I was shot? I don't remember. The last thing I remember is-Oh god, I kissed you before the party. I'm sorry. I shouldn't have-
MARK
Shh.
Mark leans forward and gently kisses Krystal. Krystal's eyes fill with tears.
MARK (CONT'D)
What's wrong?
KRYSTAL
Will you stay with me? For the night I mean?
MARK
I'm not going anywhere.
Krystal pulls Mark toward her. He gently joins her on the bed and lies next to her.
FADE TO BLACK.
THE END.
"Headlights on Dark Roads"
Written by Mark Souza
TEASER
FADE IN:
INT MRAZ INC TOP FLOOR - NIGHT
"Street Fighting Man" by Rage Against the Machine plays over the scene.
EDDIE stands. Around his feet is a pile of broken glass. He wipes glass away from his clothing and checks his hands and arms to make sure there is no glass imbedded there.
As he does, MOUMIN gracefully drops from the roof and lands right next to Eddie.
MOUMIN
You certainly know how to make an entrance.
EDDIE
Shut up.
MOUMIN
So what now?
EDDIE
Well lockdown is obviously disengaged, which makes me think the self-destruct is also probably disengaged. I guess that just leaves a building full of bad guys for us to hunt down.
Eddie pulls out a gun and checks his ammo. He runs off. Moumin follows. The camera pans down quickly through the floors.
CUT TO:
INT MRAZ INC 12TH FLOOR POOL AREA - CONTINUOUS
The pool area is quiet. It is empty, except in the middle of the pool is the body of BUDDY, facedown and obviously dead. Around his body, the water is all red.
The camera pans out the door of the pool area and into the 12th floor hallway. In the hallway stands LINDSAY. She is draping a plastic shower curtain over the body of STEVE.
When she is finished, she sits next to Steve's body, and sobs.
CUT TO:
INT MRAZ INC 8TH FLOOR HOLDING CELLS - CONTINUOUS
The camera continues to pan down to the 8th floor where DUCKY is helping TAYLOR to his feet.
TAYLOR
So, how bad is this mess?
DUCKY
Hard to say. I have no idea how many prisoners are still out there. Self-destruct is deactivated though, so that's probably a good sign.
TAYLOR
Maybe we should wait here then, until we know more.
DUCKY
Not a good idea. The electrical current that went through these guys is enough to knock someone out, but I doubt it would be fatal. They could wake up any second.
TAYLOR
Fair point. Let's move.
Taylor puts his arm around Ducky and, slowly, they leave the room.
CUT TO:
INT MRAZ INC MRAZ'S OFFICE - CONTINUOUS
KEATING is crouched over the lifeless body of KRYSTAL. She is applying CPR. MRAZ crouches next to her.
MRAZ
Anything?
KEATING
Weak pulse, shallow breaths.
MRAZ
She needs to get to a hospital.
KEATING
I couldn't agree more, but moving her in this state will be dangerous, we need a stretcher or something. Some way to immobilize her.
Mraz looks around his office. His eyes settle on something the camera cannot see.
CUT TO:
INT MRAZ INC STAIRWELL - CONTINUOUS
ERIC leads His group down the stairwell. They approach the door to the lobby. Eric hold his hand up, signalling everyone to stop.
He looks through the window of the stairwell's door.
ANGLE ON: ERIC'S POV ANDREA stands to the side of a group of ten other prisoners. She is talking to someone, but Eric cannot see who.
Eric ducks back into the stairwell and exhales loudly.
ERIC
(to himself)
Can't ever be easy can it?
CUT TO:
INT MRAZ INC LOBBY - CONTINUOUS
Andrea stands in front of MARK and JANICE. They still have their guns pointed at Andrea. Police sirens can be heard in the distance.
ANDREA
Well this is awkward. Here you are, pointing your guns at an unarmed group while the police are just moments away. That'll be hard to explain. And that doesn't even mention the fact that there are probably dead bodies strewn all over this place. So if you don't mind, I'll just be leaving now.
Mark and Andrea stare each other down for a minute. Finally, Mark signals Janice to lower her gun. She does. Andrea starts to walk towards the front door.
MARK
You know, you're right Andrea. That's going to be really hard to explain. Of course another hard thing to explain might be why you called the police to a locked down office building.
Andrea spins toward Mark. She is just steps from the front door.
ANDREA
Wha-
Mark runs full speed into Andrea, basically hip-checking her out the front door. As she falls back onto the sidewalk, Mark bolts for the security controls behind the front desk. He types something into the control panel just as Andrea gets to her feet.
Andrea head back to the door, but before she makes it a large steel curtain falls in front of the door, locking her out and everyone else in.
AUTOMATED VOICE
Lockdown mode: Engaged.
Mark looks toward Janice, then at the ten criminals in front of her.
MARK
We're going to need some zip ties.
SMASH CUT TO:
MAIN TITLES.
FADE OUT.
END OF TEASER
___________________________________________________________________________
ACT ONE
INT MRAZ INC ELEVATOR - NIGHT
Krystal's body is laid out on a large piece of wood duct taped to two office chairs. Mraz straddles her, applying chest compressions. Keating stands next to them. As they go down in the elevator, an automated voice comes on. It is the same one from earlier.
AUTOMATED VOICE
Lockdown Mode: Engaged.
MRAZ
What the hell?!
KEATING
I thought you disengaged lockdown?
MRAZ
I did. Someone else must have put it back on.
KEATING
Who knows how to do that?
MRAZ
Just senior staff. You, me, Mark, Eddie, Ducky, Taylor might be able to fudge it. Not many people.
KEATING
Why would they re-initiate when we just turned it off?
MRAZ
I have no idea. We'll just have to shut it off when we get to the lobby.
KEATING
I though the only way to do that was in your office.
MRAZ
No. My office is just the only place you can initiate apocalypse protocol. Lockdown can be disengaged from a few different stations. Thankfully, the lobby is one.
KEATING
But this won't let us off at the lobby now that lockdown is on, will it?
MRAZ
It will. The elevator will have to drop us off before it goes into lockdown mode.
Keating looks nervously at Mike. As they look at each other GUNSHOTS ring out below them.
KEATING
It sounds like they're coming from the lobby.
MRAZ
Great.
CUT TO:
INT MRAZ INC STAIRWELL - SAME TIME
Eric is briefing the other tactical officers in the stairwell.
ERIC
Okay. I counted at least ten escapees out there, including Andrea. We have to assume they are armed, probably more heavily than we are. Our job will be to take out as many as possible while drawing their fire away from the front doors so these people can get to safety.
KIRA
Excuse me?
Eric looks over at KIRA who is sitting on the stairs. Her arms are handcuffed behind her back.
KIRA (CONT'D)
How do you expect me to run to safety with my arms chained behind my back.
ERIC
I don't.
Eric walks over to Kira, taking out a handcuff key as he does. Kira lets out a sigh of relief. Eric uncuffs one of her wrists, but then immediately uses the free cuff to cuff Kira to the stairway's railing.
KIRA
What the hell?!
ERIC
When this is over, we'll come back and you and I will have a little chat.
KIRA
And if one of these crazy people with guns come by in the meantime?!
ERIC
I guess they'll get to thank you in person. Alright men, let's move out on my go.
KIRA
Screw you!
Eric has turned away from Kira and focuses on the stairwell door.
CUT TO:
INT MRAZ INC LOBBY - SAME TIME
Janice holds her gun on the group of criminals. Mark comes over with a box full of zip tie style handcuffs. One of the criminals (HACKER) takes a step forward.
HACKER
Do you two really think the ten of us will just let you tie us up? When all you have is two handguns?
JANICE
See, now I can understand why you think two people with two measly handguns couldn't possibly take on ten hardened criminals in such close quarters, but I want you to ask yourself something. Knowing the reputations that the two of us have, don't you think it's possible that if you resist, we just might kill everyone other than you in a matter of seconds then save you for last so we can dismantle you with our bare hands for being an inconvenience? Don't you think that might be possible?
Hacker swallows nervously. Mark takes out the first zip tie.
MARK
Alright, who's first?
Hacker steps forward with his wrists held together in front of him. Mark goes over and cuffs him using the tie. As he does, a shot rings out and hacker's head explodes. More shots follow and others in the crowd of criminals fall.
Mark and Janice dive for cover as they return fire. The criminals all scatter. Mark dives in front of the front desk just as it is riddled with bullets. The security equipment shoots off sparks and small electrical explosions.
Janice and Mark have both found cover and are firing at the shots when the elevator doors open revealing: an empty elevator. From inside the elevator:
MRAZ
Eric?!
Over the shots, yelling can be heard.
ERIC
Mraz, I'm a little busy right now!
MARK
Eric!?
ERIC
Mark!? Is that you!?
MARK
Yes you idiot!! I'm the one you've been firing at!!
ERIC
Hold your fire!!
The firing stops. It is revealed that Eric and the two tac officers were the ones firing at Janice and Mark. Mark strides over toward Eric.
ERIC (CONT'D)
Sorry about th-
Mark reaches Eric and shoves him against the wall.
MARK
You could have killed me you idiot! What the hell were you thinking?
ERIC
I was thinking about getting these people safely out of the building!
MARK
And you thought a gunfight would be the best way to accomplish that goal!?
ERIC
I made a decision! In case you haven't noticed, it's been a little crazy here!
MARK
I have noticed actually! I wanted to commend you on the job you've done in the hour I've been gone! Allowing nearly thirty prisoners to escape and arm themselves -
MRAZ
Mark!
MARK
What?!
Mark spins toward Mraz and, for the first time, sees Krystal in the elevator.
Keating has taken over CPR.
MARK (CONT'D)
Oh my god! What happened?
MRAZ
No time to explain. Why are we in lockdown?
MARK
I initiated it.
MRAZ
Well disengage it. She needs to get to a hospital!
MARK
That might not be the best idea. Outside is crawling with police right now. We open up and there are a lot of questions we don't have answers to.
MRAZ
(a bit hysterical)
She's going to die! Disengage the goddamn system!
MARK
Mike-
MRAZ
Now!
MARK
Okay.
Mark goes over to the front desk security console. It has been mostly destroyed from the gunfight.
MARK (CONT'D)
This is fried. I can't disengage from here.
MRAZ
Well do something!
KEATING
Where's the closest disengage point?
MARK
Eighth floor, just outside the holding cells.
ERIC
I'll go!
MARK
Not alone you won't!
ERIC
I can do this!
MARK
No you really can't. You don't have the clearance to disengage lockdown. I'll go with you.
JANICE
(pointing to one of the people near the stairwell)
Isn't that guy a doctor?
Mraz, Eric and Mark' heads all shoot over to the man in the stairwell. He (DOCTOR), confused, looks back at them.
MRAZ
Doctor!
DOCTOR
Yes?
MRAZ
We have an injured employee here. Are you equipped to treat gunshot wounds here?
DOCTOR
In the medical wing we are, though it would be better if more of the staff were around.
JANICE
I bet she thinks it would be better if she hadn't been shot. Life ain't perfect.
DOCTOR
Yes. Of course. I can try.
MRAZ
Get in the elevator! We're running out of time as it is.
The doctor runs over to the elevator. Mraz gets in after him.
MARK
Mike! There are still a bunch of criminals running around the offices!
MRAZ
Take care of it! I'll be in medical.
The elevator doors close.
MARK
Great. Did anyone see where the criminals we had here ran off to? The ones you didn't shoot, I mean.
ERIC
They scattered.
MARK
Probably went to try and arm themselves. We have to secure this place.
JANICE
Hunting expedition. Sounds fun.
MARK
Janice, first off, could you get to the second floor supply closet and get us some radios? I want to be in touch with Moumin and Eddie if possible.
JANICE
On it.
Janice runs off.
MARK
God. What a mess. How the hell did this happen?
ERIC
I don't know, but...I have someone who might. Follow me.
Eric leads Mark over to the stairwell door. Mark looks in the stairwell.
ANGLE ON: Kira. She looks tired and angry.
CUT TO:
EXT MRAZ INC - SAME TIME
Andrea stands outside of the building. There are about ten police cars parked outside the building. Many of the officers have guns drawn and pointed at Andrea. She has her hands up in the air.
ANDREA
Officers, please, I think there's been a misunderstanding.
She laughs nervously.
FADE TO BLACK.
END OF ACT ONE
________________________________________________________________________
ACT TWO
INT MRAZ INC LOBBY - NIGHT
Mark walks down the lobby toward the elevators. Janice also enters the lobby and starts heading towards Mark. AS she speaks she tosses a walkie talkie at Mark.
JANICE
Think fast.
Mark reaches up and catches the radio.
JANICE (CONT'D)
Radios just like you asked for. One for you and I have one as well. Can I go off and start hunting down bad guys now?
MARK
Knock yourself out.
Janice starts to run off.
MARK (CONT'D)
Janice?
She spins back to look at Mark.
MARK (CONT'D)
Try not to kill anyone if you don't have to.
JANICE
I make no promises.
She exits. Mark walks to the elevator and hits the down button. He then raises the radio to his mouth.
MARK
Eddie. Moumin. Come in.
CUT TO:
INT MRAZ INC 20TH FLOOR - SAME TIME
Eddie is standing, almost as if he is posing. He looks off into the distance, one of his knees is up, suggesting that his foot is perched on something, and his opposite hand is on his hip.
EDDIE
What do you think?
ANGLE ON: Moumin. He looks bored.
MOUMIN
Fine. You look like George Washington. Can we move on now?
ANGLE ON: Eddie. We can now see his whole body. He is indeed posed like George Washington, except his foot is perched on top of two prone bodies lying on the floor. Their wrists and ankles are bound and they are gagged.
Eddie smiles at Moumin and steps off the men. He addresses them.
EDDIE
Okay guys, here's the deal. As much as I'd like to bring you back down to holding right now, there's still a lot of your buddies running loose in this place and I think your presence while we hunt them down would serve as a major hindrance. So...we're going to leave you here. I know, I know it sucks being bound and gagged on the hard tile floor, but it could always be worse. So you boys sit tight and someone will be by in a bit to take care of you, all right?
A squawk emits from radios attached to Moumin and Eddie's belts.
MARK (O.S.)
(through the radios)
Eddie. Moumin. Come in.
Moumin grabs his radio.
MOUMIN
Mark. We're here.
MARK (O.S.)
Good. Glad to hear you actually followed protocol for once and grabbed radios.
EDDIE
(into his radio)
Only way we could brag about how many people we've caught. So far we're at five by the way.
MARK (O.S.)
Glad to hear it. There's plenty more in the building though, so keep at it.
MOUMIN
What's the deal with lockdown being initiated again?
MARK (O.S.)
That was me. I don't want anyone getting out of here. And we have a heavy police presence outside right now. I don't want them getting in either.
EDDIE
Cops. Great.
MARK (O.S.)
Don't worry about that now. Just focus on rounding up the rest of these nutcases. I'll be busy with an interrogation to try and figure out what happened here, but Janice will be hunting with you guys. Keep me apprised of your progress. Over and out.
EDDIE
Janice is helping now huh?
MOUMIN
You thinking what I'm thinking?
EDDIE
Friendly competition?
Moumin smiles at Eddie. Eddie lifts his radio to his lips.
EDDIE (CONT'D)
Catch all that Janice? We've got five already. Working our way down to you as you come up. Let's see who makes more friends on the way to middle shall we?
CUT TO:
INT MRAZ INC 3RD FLOOR - SAME TIME
Janice is sneaking up behind one of the men who escaped from the lobby. Her radio goes off, Eddie's message to her comes over the speaker.
The man in front of Janice turns at the sound, but before he can react Janice springs up at him. She drives the heel of her hand into the man's nose. His nose immediately starts spewing blood. He staggers back, but as he does Janice jumps up, sending a roundhouse kick into the man's temple. He falls to the ground in a heap.
With incredible speed, Janice zipties the man's wrists and ankles. She then rips a piece of the man's shirt and ties it around his face, serving as a sort of grotesque tourniquet. She stands, admiring her work. As she stands, she pulls the radio off of her belt.
JANICE
You're on. Two for me so far.
CUT TO:
INT MRAZ INC MEDICAL - NIGHT
The elevator doors open and Mark walks out. He walks over to a small viewing area where Mraz and Keating look in on Krystal.
MARK
How is she?
KEATING
No word yet.
MARK
Mraz, can I talk to you for a second.
MRAZ
Later.
MARK
It'll just be a second.
MRAZ
I said later.
MARK
Look, I know you're worried about Krystal, but there's still a situation in progress going on in this building and we need to handle it.
MRAZ
Then handle it. I'll be here.
MARK
I could use your help.
MRAZ
(suddenly angry)
And I could have used yours an hour ago! Maybe if you had been here instead of out chasing your own hunches Krystal wouldn't be lying in there right now!!
Mraz turns back to the viewing window. Mark takes a step back. Keating doesn't seem to know what to do. Mark gestures to her to meet him outside. She nods. Mark exits the viewing room.
KEATING
I'll be right back Mike.
Mraz says nothing. Keating walks out and meets Mark.
KEATING (CONT'D)
Wow.
MARK
Yeah.
KEATING
He's just worried.
MARK
I know, we all are. That doesn't mean we stop working the problem at hand though. Can I drag you away from here for a while?
KEATING
I don't know. I want to be here for Mike.
MARK
No offense Lauren, but do you even think he realizes you're here right now?
Keating is visibly stung by the comment. She also seems to realize the truth in it.
KEATING
What do you need?
MARK
I need your help.
KEATING
Doing what?
MARK
I need you to oversee something.
KEATING
What could possibly need overseeing right now?
MARK
An interrogation.
KEATING
You want me to watch your interrogation of a suspect?
MARK
In a manner of speaking. C'mon, I'll explain on the way.
Mark leads Keating to the elevators. One opens immediately and they climb aboard.
The camera pans back just as the doors close to reveal Mraz standing in the doorway of the viewing room. He watches the elevator doors close.
As those doors close, the doors to the other elevator start to open. Mraz slowly unholsters his gun and takes a step toward the opening elevator.
The door opens fully and Lindsay steps out. She holds Steve's body in her arms. She walks toward Mraz.
MRAZ
Oh god.
LINDSAY
It was the creepy little one, Buddy, or whatever his name is. He ambushed us.
Lindsay gently places Steve's body on the ground.
MRAZ
God. I'm sorry Lindsay. Do you know where Buddy is now?
LINDSAY
(icily)
Dead.
Mraz and Lindsay lock eyes. In a moment, Mraz understands. He nods.
MRAZ
Good.
Mraz looks down at Steve's body and shakes his head.
LINDSAY
I was thinking...if a medical officer is here...maybe they could...help.
Mraz looks at Lindsay with a sad expression. He bends down next to Steve's body and feels for a pulse. Obviously, there is none.
MRAZ
He's gone Lindsay.
LINDSAY
Maybe not.
MRAZ
There's nothing anyone can do right now.
LINDSAY
They can try! He promised me! He promised me he'd be all right and Steve doesn't break his promises!
MRAZ
I know this is hard, but-
LINDSAY
JUST TRY!
MRAZ
I can't. We're short staffed as it is. I need the medical personnel here focusing on people who can be saved. Steve can't be.
LINDSAY
He's supposed to be your friend!
MRAZ
He is. But I can't bring back the dead.
Lindsay lunges at Mike, grabbing him and pushing him against the wall. Her hand instinctively wraps around his throat. He does nothing to resist.
MRAZ (CONT'D)
You already killed the man who did this to Steve. It wasn't me.
Lindsay stares into Mraz's eyes for a long moment.
LINDSAY
(in a venomous whisper)
It may as well have been.
She releases Mraz's throat and walks toward the elevator. Mraz watches her until:
DOCTOR (O.S.)
Mr. Mraz?
Mraz spins to see the doctor. His face looks grim.
MRAZ
What is it? How is she?
DOCTOR
Not good. That's why I'm out here.
MRAZ
What? Tell me!
DOCTOR
I think you should come in here.
Mraz, confused, follows the doctor back into the medical room.
CUT TO:
EXT MRAZ INC - NIGHT
Andrea is being handcuffed by one of the officers. She looks livid.
ANDREA
I'm telling you you're making a mistake. What you're doing right now is basically throwing away your career, and all because you won't listen to me.
OFFICER
I'm sure. I'm going to need to Mirandize you now, so if you'd be so kind as to shut up for ten seconds, I'd really appreciate it.
A screech of tires. A car door slamming. Both the officer and Andrea look toward the noise. A smile comes onto Andrea's face.
ANDREA
Well it's about time.
ANGLE ON: GOVERNOR JOSH SHERMAN. He stands in front of his limo.
SHERMAN
Someone here want to explain what's going on? And I do hope that explanation has to do with an S & M fantasy that explains why you numbskulls have a good friend of mine in handcuffs.
OFFICER
(under his breath)
Oh Christ.
FADE TO BLACK.
END OF ACT TWO.
__________________________________________________________________
ACT THREE
EXT MRAZ INC - NIGHT
Sherman is standing next to the officer. He is unhappy.
SHERMAN
So let me get this straight, she explains that this was a misunderstanding and you decide the best course of action is to arrest her!
OFFICER
With all due respect sir, misappropriating this much force on a whim-
SHERMAN
Misunderstanding. Not whim. Two different words. Or did they not teach you that at the remedial community college that unleashed you on the world!
OFFICER
Why are you even here right now?
SHERMAN
Because I'm the damned governor and I feel like being here!
OFFICER
You're not the governor for much longer.
SHERMAN
Well I guess we have something in common then. In a month's time we'll both be out of a job. Now get out of here you ingrate! Go explain to your boss why he's about to have his ass reamed by the still sitting governor of New York.
Sherman turns away from the officer, who shakes his head with disdain, but signals the other officers to leave with him. Sherman goes over to Andrea.
ANDREA
Thank you for that. You have my eternal gratitude.
SHERMAN
Yeah yeah, I don't need smoke blown up my ass unless it involves a cheap hotel room and some leather lingerie. I didn't get you out of this for your eternal gratitude.
ANDREA
Why did you get me out then?
SHERMAN
I want information. What's going on here tonight? What's going on with Mraz Inc. in general? Basically, I want to know what you know?
ANDREA
What do you care? That officer was right, you aren't governor for much longer. The election happened, your successor is in place. I should know, I was at the going away party.
SHERMAN
Maybe I'm not quite ready to be put out to pasture. Anyway, I'm in politics. It's not about the position you hold, but the cards, info on a company like Mraz Inc. could be a useful card.
Andrea sizes up Sherman.
ANDREA
You know governor, you might not be as big an ass as I first thought. Buy me a drink, I'll tell you some things that might just surprise you.
Sherman smiles. He offers his arm to Andrea. She takes it and they walk off.
CUT TO:
INT MRAZ INC MEDICAL - NIGHT
Mraz and Doctor stand in a well furnished hospital room. Krystal lies on a bed in the middle of the room. She is hooked up to monitors all around her. She looks pale.
MRAZ
What is it you needed me to see doctor?
DOCTOR
Well Ms. Kelly was shot three times. In a way, she was lucky, none of the bullets hit in critical areas and two of the bullets were through and through. However, it seems one of the bullets didn't get through cleanly and bounced around in her for a bit, causing more serious damage.
MRAZ
I don't need a crash course in bullet wounds doctor. Can you fix it?
DOCTOR
In theory, yes.
MRAZ
In theory?
DOCTOR
She requires surgery.
MRAZ
We're set up to do that here.
DOCTOR
Yes, but surgery's not really a one man job. I need someone to assist. Someone, needs to pass me instruments, provide suction so that I can see, and monitor her vitals.
MRAZ
Okay. Is there anyone else from medical who was in the building?
DOCTOR
Not that I know of. And honestly, I need to get this operation started ASAP. The longer we wait, the worse her chances are.
MRAZ
Well what do you suggest then?
Doctor looks up at Mraz.
DOCTOR
How are you with the sight of blood?
Mraz meets the doctor's gaze as he realizes what he's being asked to do.
CUT TO:
INT MRAZ INC INTERROGATION ROOM - SAME TIME
Mark and Keating walk down a hall towards Eric. He stands guard in front of a door.
MARK
How is she?
ERIC
Unhappy. As expected.
MARK
Okay. You're relieved.
ERIC
What? I was hoping to be a part of this interrogation.
MARK
Well, that's not going to happen. Keating's here, she can monitor the interrogation. I want you to head to the main security room and provide support for Eddie, Moumin, and Janice.
ERIC
Can't Keating handle that?
MARK
There are armed men running around this building right now. I'm not sending Keating to the security room by herself. You're trained, you go. That's an order.
ERIC
Fine. Here's the key for the handcuffs.
Eric hands over a key and walks off.
KEATING
Are you sure this is a good idea?
MARK
We need information and we need it quick. If she was behind this then we need to know why she did it, how she pulled it off, and, most importantly, whether there's more to come.
KEATING
I agree, but-
MARK
But nothing. This will work. Trust me.
KEATING
Fine. I'll be in the observation room.
Keating walks over to a second door and enters. Mark grabs the radio off his belt.
MARK
Eddie, Moumin, Janice. Just want to let you know Eric is headed to the main security room. He can monitor the whole building from there and alert you to enemy positions. Also, I will be silencing my radio for the time being. Over.
Mark clicks off his radio. He looks to the door, takes a deep breath, and enters.
CUT TO:
INT MRAZ INC 5TH FLOOR - SAME TIME
Janice flies across the room, slamming into the wall, face first and hard. She turns back in the direction she came from and stares hard. Her lip has started to bleed. She wipes the blood away and looks at it. She looks back toward her unseen assailant.
JANICE
Well finally, a decent fight. Bring it, bitch.
Janice readies herself.
ANGLE ON: The assailant. He readies himself, then starts charging at Janice.
ANGLE ON: Janice. Without hesitation, she reaches behind her back and pulls out her gun, she quickly aims at a low angle and fires. The bullet hits the assailant in the foot, mid stride. He immediately face plants and skids across the tile floor. He comes to rest a couple of feet in front of Janice, who has already taken out zip ties and is binding his wrists.
JANICE (CONT'D)
Really? You didn't see that coming at all? What? Did you think I brought the gun for show or something? Sometimes people are just plain stupid.
She has finished binding him. She pats him on the head.
JANICE (CONT'D)
Nice try though. I admire your gumption.
(into her radio)
That's four guys.
CUT TO:
INT MRAZ INC STAIRWELL - SAME TIME
Eddie and Moumin are walking down the stairs.
MOUMIN
Four already. She's good.
EDDIE
She's lucky. We've swept five floors and haven't even seen anyone. And hell that last guy we got wasn't even armed. Just seeing us almost made him crap his pants.
MOUMIN
Yeah, he was funny.
EDDIE
I'm telling you. I feel a little embarrassed that this idiot fringe was able to hold this place captive before we got here.
MOUMIN
Well, I mean, everyone here was prepared to party, not get in gunfights.
EDDIE
Good point I guess. Ready for the next floor?
MOUMIN
Lead the way.
Eddie reaches out and opens the stairwell door. Almost immediately, a burst of gunshots rings out. Eddie ducks backs into the stairwell.
MOUMIN (CONT'D)
Jesus Christ! You okay?
EDDIE
Yeah. Thankfully, whoever's down there has no idea how to shoot an automatic rifle. Nothing even got close to me.
Moumin is looking through the stairwell door's window now.
MOUMIN
Oh, you have got to see this.
EDDIE
What?
Eddie looks through the window. He starts to laugh.
EDDIE (CONT'D)
You've got to be kidding me.
MOUMIN
What should we do?
EDDIE
Those two just tried to shoot me. I'm going to have fun with this. Turn off your radio and follow me.
Eddie runs down the stairs. Moumin follows.
ANGLE ON: The window in the stairwell door. Through it we can see two figures in the distance. They are Taylor and Ducky.
CUT TO:
INT MRAZ INC HALLWAY - SAME TIME
Eric runs down the hallway. In front of him the hall cuts to the left.
Eric comes up on the left turn and slows down. He creeps along the side of the wall and peeks down the hall toward the security office.
Outside the security door stands five armed men. They do not see Eric, but they stand guard, watching the hall. Eric ducks back behind the wall.
ERIC
(to himself)
Oh you have got to be kidding me. Moumin and Eddie have barely run into anyone and I walk straight into the freaking armada.
(grabbing his radio)
Commencing radio silence.
(turns off radio)
Here goes nothing.
CUT TO:
INT MRAZ INC MEDICAL - NIGHT
Mraz and the Doctor are working on Krystal. The doctor is trying to extract the bullet, while Mraz is holding a small device that suctions out blood from the area the doctor is working.
DOCTOR
I still can't see. Just a little more suction to the right here.
Mraz moves the device over slightly. After a moment, a loud beeping starts from behind him.
MRAZ
Doctor?
The doctor looks up at the monitor that is beeping.
DOCTOR
Son of a bitch!
MRAZ
Bad news?
DOCTOR
Well it sure as hell isn't good. We need to get this bullet out and we need to do it now.
The doctor goes back to work. Mraz looks down at Krystal, concerned.
CUT TO:
INT MRAZ INC INTERROGATION ROOM - SAME TIME
Kira sits in the room. She is handcuffed to the table and obviously not happy about it. Mark enters the room.
MARK
Kira Blaskovich.
KIRA
Yeah?
MARK
I hope you don't mind I just have few questions for you.
KIRA
I do mind.
MARK
Well I guess I can't expect everything I hope for. I'll ask anyway.
KIRA
You can't hold me here! This is an illegal detention!
MARK
Shut up.
KIRA
Or what? What are you going to do if I don't?
MARK
Kira, this company has the capacity to hold you indefinitely. We will create a cover story explaining your disappearance. I don't think it'll be that hard considering where we found you. Quite the crowd you hang out with.
KIRA
I'm not telling you anything.
MARK
I was afraid you might feel that way, but I assure you, you will talk and you will tell me whatever I want to know.
KIRA
Oh will I? What are you going to do? Torture me?
MARK
Torture. You know torture is a funny thing. It's just as likely to get false information as true. In fact, it was created to elicit false confessions. Did you know that?
KIRA
No. Fascinating though, you ever consider being a history professor?
MARK
Normal questioning of subjects, building a bond, eliciting trust, these are much more effective methods of gathering pertinent information.
KIRA
Well you're doing a bang up job.
MARK
(ignoring her)
Unfortunately, I don't have the time for that method. So I'll use bargaining instead.
KIRA
You're going to offer me something for information?
MARK
Yes. Your life.
KIRA
(Kira laughs)
What?
MARK
You see holding you indefinitely. That would be expensive. And if I don't get truthful information in the next ten minutes or so, well it might be too late to do me any good. So if I don't think you'll tell me anything you're useless to me. So I may as well kill you.
Mark places his gun on the interrogation table in front of him.
KIRA
You're bluffing.
MARK
I can see why you might think that, but a good friend of mine was shot today and currently, I blame you for that.
KIRA
Maybe. You're still bluffing though. I know liars. I can see it in your eyes. You're lying.
Mark nods. He picks up the gun and checks the chamber. Seeing it is loaded, he slowly stands. He lifts the gun towards Kira.
KIRA (CONT'D)
Very theatrical, but I still don't buy it.
Mark shakes his head sadly. He cocks the gun. As he does, Keating burst through the door.
KEATING
MARK WHAT THE HELL DO YOU THINK YOU'RE -
Gunshot. Kira screams.
CUT TO BLACK.
END OF ACT THREE.
____________________________________________________________________
ACT FOUR
INT MRAZ INC INTERROGATION ROOM - CONTINUOUS
Kira is still screaming. Mark stands, gun in hand, but it is not pointed towards Kira. It points to the door where Keating was. Her body is on the floor. A bullet wound shows in the center of her chest.
Mark turns towards Kira, who is still screaming. He walks up to her and points the gun at her, he walks close enough that the barrel is touching Kira's forehead.
MARK
(calmly)
Shut up.
Kira does.
MARK (CONT'D)
Now two of my friends have been shot today. I blame you for both.
KIRA
But you just-
MARK
I said I blame you for both. Now you will tell me everything you know, and you will tell me right now.
Kira looks up. There are tears in her eyes.
CUT TO:
INT MRAZ INC STAIRWELL - SAME TIME
Lindsay sits on a landing in the stairwell. She holds a picture in her hands. She looks at it, silently crying.
ANGLE ON: The photo. It is of her and Steve, riding a horse. They are holding each other and smiling at the camera.
She drops her head and silently cries. Suddenly, a gunshot rings out. Lindsay's head snaps up. She quickly tucks the picture away and pulls out a gun. She opens the stairwell door and walks through.
CUT TO:
INT MRAZ INC MEDICAL - SAME TIME
Mraz and Doctor are still working on Krystal. The monitors are beeping slightly more frantically. Doctor looks nervous.
DOCTOR
Dammit. I need more pressure. Get over here!
Mraz, confused, walks over to the same side the doctor is on.
MRAZ
What's going on?
DOCTOR
She's hemorrhaging. I need to get this bullet out, then I can stitch her up and stop the bleeding. I need you to stick your hand in here and apply pressure.
MRAZ
I thought I was providing suction?
DOCTOR
Now you're providing both.
MRAZ
You want me to stick my hand...inside of her?
DOCTOR
If you want to save her life! Now!
Mraz looks very unsure, but he slowly places his hand where the doctor is indicating.
CUT TO:
INT MRAZ INC INTERROGATION ROOM - SAME TIME
Mark is still pointing the gun into Kira's forehead. It appears he is applying some forward pressure, pushing the barrel of the gun into her forehead. She pulls her body back, but can only go so far because of the handcuffs. She is crying fully now.
KIRA
I don't know anything!
MARK
This isn't a game anymore Kira! People are dead! Tell me now or you'll be joining their ranks!
Kira just sobs.
MARK (CONT'D)
Fine. Just remember, you did this to yourself.
Mark takes a step back, keeping the gun trained on Kira's head.
KIRA
(through tears; weakly)
Please don't...
LINDSAY (O.S.)
Drop the gun!
ANGLE ON: Lindsay. She stands in the doorway, gun pointed at Mark.
MARK
Lindsay? What are you doing here?
LINDSAY
Let her go.
MARK
I can't do that. She may be the reason all of this happened today.
LINDSAY
She's not.
MARK
How do you know that?
LINDSAY
Steve's dead. If she were responsible, I'd know.
MARK
Jesus. I didn't know that. I'm sorry. I don't think you're thinking clearly about this.
LINDSAY
Drop the gun.
MARK
Okay, I'll put the gun down.
Mark slowly places his gun on the ground.
LINDSAY
Now let her go.
MARK
Lindsay, that's a mistake.
LINDSAY
Then it's one I'm going to make! And do not think you're going to stop me!
MARK
(shaking his head)
Fine.
He slowly places the handcuff keys on the interrogation table. Lindsay, keeping her gun on Mark, walks over and unlocks the cuffs.
KIRA
Thank you.
LINDSAY
We're leaving now. Don't follow us.
Lindsay and Kira exit the interrogation room. After a few moments, Mark slams his fist into the wall.
KEATING
(from the floor)
You just let them go?
MARK
I didn't think taking on Lindsay with a gun full of blanks was the best idea, so yeah I let them go.
Keating has rolled over and is facing Mark. The bullet wound can still be seen, but she appears fine.
KEATING
Help me up. You didn't tell me these squib things hurt so much.
Mark walks over and helps Keating up off the ground.
KEATING (CONT'D)
So, now what?
MARK
I radio Eddie and Moumin. Lindsay may have taken her from here, but the building is still on lockdown. We'll get them back.
CUT TO:
INT MRAZ INC HALLWAY - SAME TIME
The five armed men stand in front of the security door.
ERIC (O.S.)
I don't care! There are five men out there with semi-automatic rifles! I'm not dying for this company! Easy for you to say! You're safe on another floor! That's it I'm not talking about this anymore, I'm surrendering and that's final!
The armed men have slowly started down the hallway, towards Eric's voice. Suddenly Eric emerges from the hallway, his hands held high.
ERIC (CONT'D)
I'm unarmed!
The men look at each other for a second. One nods. Two men lower their weapons and advance toward Eric. The other three also walk to Eric, but keep their weapons up.
Eric is whispering something but we can't hear what it is.
MAN #1
Hey, what are you saying?
ERIC
(loud enough to hear)
3...2...1
Eric closes his eyes tight and covers his ears with his hands just before a loud, blinding explosion goes off from where he had emerged from.
CUT TO:
INT MRAZ INC 4TH FLOOR - SAME TIME
Janice is hog tying yet another goon. When she finishes she stands up and admires her work.
JANICE
This is getting too easy.
As soon as the words leave her lips, a small electrical hum can be heard and Janice starts violently shaking and falls to the floor. Behind her stand Lindsay and Kira.
Lindsay is holding a stun gun.
LINDSAY
Grab her radio.
KIRA
Why?
LINDSAY
Monitor communication. We'll stay one step ahead of them that way.
Kira runs up to Janice and grabs her radio. Lindsay and Kira run off, leaving Janice, unconscious, on the floor.
CUT TO:
INT MRAZ INC 10TH FLOOR - SAME TIME
Ducky and Taylor stand in the middle of the hallway. Taylor leans heavily on Ducky and looks tired. Ducky holds an automatic rifle.
TAYLOR
What now?
DUCKY
I don't know. Those goons holding you must have taken the bait and figured we'd move downstairs, but obviously someone else has stumbled upon our location. I say we move again.
TAYLOR
Easy for you to say.
DUCKY
I just think we're sitting ducks if we stay here. I mean, I can shoot a rifle, but holding off trained criminals while supporting you as we stand in the middle of a wide open hallway...
TAYLOR
I see your point. Let's move.
A small creak, like a door opening.
DUCKY
Did you hear that?
TAYLOR
It came from behind us.
The sound of a gun cocking. A gruff voice comes from offscreen.
GRUFF VOICE (O.S.)
Move and I blow your head off.
ANGLE ON: Ducky and Taylor. The emotion on their faces is unmistakable: fear.
CUT TO:
INT MRAZ INC HALLWAY - SAME TIME
Eric stands in the middle of the flashbang explosion. He takes his hands off of his ears and opens his eyes. The five men are stumbling, disoriented.
Eric reaches to the man closest to him. He grabs the man's head and slams it into his knee. The man falls, unconscious, onto the ground.
Eric turns and grabs the heads of two other men. He slams them together, knocking both men out.
The other two men are farther back from Eric. He runs at one of them, but before reaching him jumps into a low jumpkick. He connects with the man's shins. The man falls forward. Eric spins out of the way of the man's fall, then jumps over the man, grasping for the man's rifle. They start to struggle.
ANGLE ON: The last man. He has dropped his rifle. The man seems to be getting over the effects of the flashbang. He notices his rifle on the ground next to him. He immediately crouches down and grabs the rifle. As he does:
ERIC (O.S.)
Don't.
ANGLE ON: Eric. He holds the fourth man's rifle and is pointing it at the fifth. He stands next to the fourth man, his left foot pushing heavily on the back of the man's neck.
The fifth man looks up at Eric. He drops the rifle and slowly raises his hands.
CUT TO:
INT MRAZ INC 10TH FLOOR - SAME TIME
Taylor and Ducky are kneeling on the floor of the hallway. Their hands are clasped behind their heads. They look terrified.
DUCKY
I never thought I'd be executed. I'm a techie for god's sake. Techies don't get executed.
GRUFF VOICE (O.S.)
Stop talking.
TAYLOR
Look, I'm a lawyer. I figure someone like you could use a good lawyer. I promise you, if you just let us live I will help you in any way I can, and I have a lot of ways.
MOUMIN
Seriously, that's all it takes?
Taylor and Ducky's expressions change to confusion. They remain on their knees with their hands clasped though. Offscreen, Eddie starts coughing.
ANGLE ON: The full floor. Eddie and Moumin are the only people behind Taylor and Ducky.
EDDIE
(still coughing)
Christ, that Christian Bale-Batman voice is harder to do than you might think. I need some water or something.
DUCKY
What's going on?
MOUMIN
What's going on is you can get up now. We were just messing with you.
TAYLOR
Messing with us?
EDDIE
Yeah next time you might want to identify your target as being hostile before you fire at them.
DUCKY
That was you earlier?
EDDIE
Yep, thankfully you're a lousy shot.
DUCKY
Hey, I had Taylor and I wasn't really expecting anyone. I didn't get a chance to properly aim and-
MOUMIN
Alright calm down there tough guy. I'm sure you're very formidable at the range.
Moumin reaches down and turns on his radio. Immediately, Mark's voice can be heard through it.
MARK (O.S.)
Does anyone have their radio on?!
Moumin grabs the radio and talks into it.
MOUMIN
Eddie and I hear you Mark, we were in momentary radio silence. What's up?
MARK (O.S.)
Kira Blaskovich and Lindsay Wolf are on the loose in the building. I want you to keep an eye out for them.
EDDIE
Isn't Lindsay on our side?
MARK (O.S.)
Not anymore.
EDDIE
Okay, we're on it.
CUT TO:
INT MRAZ INC INTERROGATION ROOM - CONTINUOUS
Mark talks into his radio.
MARK
Good. Also, Eric should be checking in soon from the security hub. When you hear from him I want him to tell you where Lindsay and Kira are. Also, I need to find Ducky. I need to talk to him.
MOUMIN (O.S.)
Don't need Eric for that one. We're standing next to Taylor and Ducky right now.
MARK
Put Ducky on.
CUT TO:
INT MRAZ INC 10TH FLOOR - CONTINUOUS
Moumin hands Ducky the radio.
DUCKY
Mark, good to hear from you. What's up?
MARK (O.S.)
I need to know if there's any way out of this building while it's on lockdown.
DUCKY
None. All exits are locked and all windows and the glass doors in front of the building -
ERIC (O.S.)
I've arrived in the security hub.
MARK (O.S.)
Great hold on just a second Eric. You were saying Ducky.
DUCKY
Just that all glass is covered by metal sheets when lockdown is initiated. No way in or out.
MARK (O.S.)
No exceptions.
DUCKY
No. Not unless there was a security override that went into effect when lockdown was started.
MOUMIN
What's security override?
DUCKY
If there is something in the path of the metal sheeting then the sheets won't close. That way no one gets cut in half by the sheeting.
EDDIE
Does it have to be a person in the path?
DUCKY
No, any object would trigger security protocol.
EDDIE
Hmm.
MARK (O.S.)
What are you thinking Eddie?
EDDIE
Well when Moumin and I were on the roof and lockdown disengaged, I feel through the skylight. It's possible some of the glass could have been in the path.
CUT TO:
INT MRAZ INC STAIRWELL - CONTINUOUS
Lindsay and Kira are listening to the conversation through Janice's radio.
DUCKY (O.S.)
Eric can check that. On the building schematic screen, is the roof of the building showing up as green or red.
ERIC (O.S.)
Red.
DUCKY (O.S.)
That's security override.
Lindsay clicks off the radio and looks at Kira.
LINDSAY
That's our exit. Move.
They start running up the stairs.
CUT TO:
INT MRAZ INC INTERROGATION ROOM - SAME TIME
Mark talks into the radio.
MARK
Okay Eddie get back to the roof. Moumin, escort Taylor and Ducky down to medical. Eric is the path to security clear?
ERIC (O.S.)
Should be.
MARK
Okay Keating get up there and help Eric monitor this.
(into radio)
Keating will meet you up there. Keep your radios on everyone. And keep an eye out for Janice. I don't like that she's still silent.
CUT TO:
INT MRAZ INC SECURITY HUB - SAME TIME
Eric is staring at a bunch of monitors as they cycle through security camera feeds. One of them shows Janice, unconscious, where Lindsay and Kira left her.
ERIC
I think I just found why Janice is silent.
CUT TO:
INT MRAZ INC MEDICAL - LATER
The waiting area outside medical is quiet. Mark sits in a chair near the elevators. His radio squawks.
MARK
Go ahead.
CUT TO:
INT MRAZ INC TOP FLOOR - CONTINUOUS
Eddie stand beneath the open skylight. He holds two radios.
EDDIE
I was too late. They must have heard our radio chatter. They slipped out through the skylight. Left Janice's radio behind.
CUT TO:
INT MRAZ INC MEDICAL - CONTINUOUS
MARK
Okay. Coordinate with Keating and Eric about rounding up anyone else who's still running around this place and getting everyone into holding.
The stairwell door opens. Moumin, Taylor, and Ducky step out.
MARK (CONT'D)
Good, you guys are here. Moumin, I want you and Eddie to coordinate with Keating and Eric and collect any remaining scum in this building. Eddie's already started.
MOUMIN
On it.
Moumin runs off.
DUCKY
It's quiet down here.
MARK
I think the doc just went down back to grab some coffee. See if you can find him, will you Ducky? I'll keep an eye on Taylor.
DUCKY
I'll be right back.
Ducky runs off. Mark helps Taylor into a seat.
MARK
Hell of a night.
TAYLOR
You can say that again.
MARK
This is going to be hard to cover up.
TAYLOR
Impossible. Too many bodies lying around to pretend nothing happened.
MARK
We'll need a convincing scapegoat.
TAYLOR
From your mouth to God's ears.
MARK
How's Kira and Lindsay sound to you?
TAYLOR
What? Lindsay lost Steve in this and Kira-
MARK
Was probably responsible.
TAYLOR
We don't know that.
MARK
Yes we do. And Lindsay helped her escape. They chose their side.
TAYLOR
Still...
MARK
You have a better idea?
Taylor says nothing.
MARK (CONT'D)
Then we both know what has to happen.
Taylor nods. Ducky comes running back with the Doctor.
MARK (CONT'D)
Hey doc. Think you can patch this guy up.
The doctor gives a quick examination of Taylor's wounds.
DOCTOR
Think so. These don't look too bad.
TAYLOR
Looks can be deceiving. I feel like I've been run over by a truck.
DOCTOR
I think I can help that too. C'mon.
MARK
Doctor.
The Doctor turns back to Mark.
MARK (CONT'D)
Good work tonight.
DOCTOR
I did everything I could.
MARK
I know. It's appreciated.
The Doctor nods. He, Taylor, and Ducky walk off and enter a room down the hall. After they're gone, Mark walks down the hall to another door. He enters. Inside, Mraz sits next to Krystal's bed. The room is silent.
MARK (CONT'D)
Hey.
MRAZ
Hey.
MARK
Quiet in here.
MRAZ
I turned down the volume on the monitors. Beeping was driving me crazy.
MARK
Is that safe?
MRAZ
As safe as having a CEO assist in a complex surgery.
MARK
How is she?
MRAZ
She'll live. The doctor says she could wake up any time within the next twelve hours. How's everyone else?
MARK
As well as can be expected. They're wrangling the last of our "prisoners" as we speak. I expect to be able to disengage lockdown within the hour.
MRAZ
Good. Once it's disengaged let everyone go home. It's been a long night.
MARK
For you too. You should think about going and getting some rest too.
MRAZ
I'm going to stay here for a while longer. She should see a familiar face when she wakes up.
MARK
Well I'll be in security if you need to be relieved. I want to go over the logs, see if we can find out for sure how this happened.
MRAZ
I thought Kira was responsible.
MARK
I'm sure she was. I just want to know how she did it.
(pause)
Well, good night. Let me know if she wakes up.
Mraz nods. Mark exits.
CUT TO:
INT MRAZ INC HOLDING CELLS - LATER
"Headlights on Dark Roads" by Snow Patrol plays over this sequence. Keating is walking with Eric. They are checking each cell. Each one is filled with the men from earlier. They reach the end of the cells. Eric Exits. Keating looks back down the row. She flicks a switch and the room goes dark.
CUT TO:
INT A BAR - SAME TIME
Eddie and Moumin sit at the bar. They have shots of whiskey in front of them. They solemnly clink glasses and take the shots.
CUT TO:
INT MRAZ INC SECURITY HUB - SAME TIME
Mark watches monitors showing security footage.
CUT TO:
INT JANICE'S APARTMENT - SAME TIME.
The apartment is dark. Janice walks in and turns on a lamp which casts a dull light on her studio apartment. She tosses her gun on the bed. She walks past the bed toward the bathroom. The camera stays behind her. As she proceeds, she pulls off her shirt, showing her bare back. It has a large bruise on it, at the center of which are two deep red spots from the stun gun. She turns on the light in the bathroom and throws the door shut.
CUT TO:
INT MRAZ INC MEDICAL - SAME TIME
Mraz still sits near Krystal. He looks exhausted. He checks his watch. Slowly, he leans forward and kisses Krystal on the forehead. He leans back in the chair.
CUT TO:
EXT CITY STREETS - SAME TIME
Lindsay and Kira are running down the street. They pass in front of a bar that is playing the news on their many TVs. Lindsay and Kira stops and looks at the televisions. All of them show full screen pictures of the two of them. They stand for a moment, then run off.
CUT TO:
INT MRAZ INC SECURITY HUB - SAME TIME
Mark stands in front of two monitors. They are both frozen. The time stamps are the same. One shows a shadowy figure in the security hub. The other shows Kira, looking bored at the party.
ANGLE ON: Mark's face. He stares at the monitors, then, slowly, closes his eyes.
FADE TO BLACK.
END OF ACT FOUR.
___________________________________________________________________
CODA
INT MRAZ INC MEDICAL - NIGHT
Krystal is still lying in her bed. Very slowly, her eyes open. She blinks and looks around. Her eyes stop at a point outside the camera frame. She smiles.
KRYSTAL
(weakly)
You're here.
Mark leans into frame, coming close to Krystal and grabbing her hand in his.
MARK
I am. I brought the cavalry too. Just like you asked. Mike wanted to be here too, but Keating convinced him to go sleep.
KRYSTAL
I'm glad. I'm glad it's you.
MARK
Well, I don't sleep anyway so...
KRYSTAL
What happened? I don't remember much.
MARK
You were shot, but you're fine now.
KRYSTAL
I was shot? I don't remember. The last thing I remember is-Oh god, I kissed you before the party. I'm sorry. I shouldn't have-
MARK
Shh.
Mark leans forward and gently kisses Krystal. Krystal's eyes fill with tears.
MARK (CONT'D)
What's wrong?
KRYSTAL
Will you stay with me? For the night I mean?
MARK
I'm not going anywhere.
Krystal pulls Mark toward her. He gently joins her on the bed and lies next to her.
FADE TO BLACK.
THE END.
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