Episode 1.10 "Dark Moon, High Tide" Written by Michael Mraz, with Taylor Shann

MRAZ INC
"Dark Moon, High Tide"
Written by Michael Mraz, with Taylor Shann

TEASER

FADE IN:

INT. CAR- NIGHT

ANDREA sits in the back seat of a MRAZ INC company car, alone and in handcuffs, angry but calm. She wears the same little black dress she wore to the Devil’s Den.

RUDEZ (V.O.)
Something big is coming.

Andrea turns, slightly. From her POV, we suddenly see RUDEZ, face bloody and distorted, sitting in the seat next to her. He grins, but it’s not a happy smile.

RUDEZ
And I can’t stop it. If I wanted to.

We hear the sound of a helicopter, flying overhead.

CUT TO:
EXT. CAR. NIGHT

We see Andrea’s face as she looks up. The camera turns to see the helicopter go down the street, towards MRAZ INC headquarters, where the car is also heading.

CUT TO:
INT. CAR. NIGHT (CON’T)

Andrea turns back to where Rudez was, but she’s alone again. She looks forward.

ANDREA
I like these calm little moments…

CUT TO:
EXT. MRAZ INC- NIGHT- (CON’T)

The car pulls up, and two ARMED GUARDS instantly come forward to open Andrea’s door. They help/pull her out of the car, she continues:

ANDREA
…before the storm.

CUT TO:

INT. MRAZ INC- BASEMENT- CON’T

During the following shots, the camera is continuously ASCENDING, going floor by floor.

The prisoners are being herded together in a massive cell, and TAYLOR is in front of them:

TAYLOR
Gentlemen! Welcome to Mraz Inc. Allow me to advise you of your rights. You have the right to answer every question we ask, or, alternatively, you have the right to be handed over, gift wrapped and ribbon-tied, to the law enforcement agency with the most warrants out for your arrest.

GOON
Man, I ain’t telling you nothing!

TAYLOR
You will. You just did.

The camera goes through the ceiling…

INT. MRAZ INC- FIRST FLOOR- NIGHT (CON’T)

A DELIVERY GUY wheels in a keg of beer. EDDIE and DUCKY are wrapping up things at the front desk.

DELIVERY GUY
Someone order three kegs of guiness?

EDDIE
Yeah, take it up to the 13th floor.

Delivery Guy wheels over to the elevator bank.

DUCKY
You staying for the party?

EDDIE
Hm. Free beer at company party- slightly less than free beer at a bar. I’m going to have to go with the bar.

DUCKY
Huh. I would’ve thought it would go the other way.

EDDIE
See, Ducky, that’s why you’re not in tactical.

The camera goes through two floors…

INT. MRAZ INC- THIRD FLOOR- NIGHT (CON’T)

ERIC and MRAZ head toward the elevator. Mraz is upset.

ERIC
Look, I’m not apologizing for hitting the guy.

MRAZ
Fine. But you are going to pick up all of his teeth. I’m not paying overtime because you can’t control yourself.

Mraz gets in the elevator, blocks Eric from entering.

MRAZ (CONT)
No, go clean up your mess. Then come to the party.

The elevator doors close on Mraz as Mraz opens his phone. Eric fumes.

ERIC
I can… totally control myself.

Eric hits the down button as the camera goes through the ceiling…

INT. MRAZ INC- FIFTH FLOOR- NIGHT (CON’T)

MARK sits at ANDY’s terminal, flicking through screens. He does not move from the chair for the entire pan.

INT. MRAZ INC- SIXTH FLOOR- NIGHT (CON’T)

A private interrogation room, with cot. STEVE plays with his cards. LINDSAY is on a phone.

LINDSAY
That’s right… Kira, her name is Kira. I don’t even know why she got caught up- alright. Well, you better. Fine. (beat, STEVE looks at her) We’ll try and make it to the party. Bye. BYE.

She hangs up.

STEVE
No more calls?

LINDSAY
(takes the phone off the hook)
No more calls.

Lindsay basically TACKLES him to the floor, which takes Steve by surprise, as we pan up through two floors-

INT. MRAZ INC- NINTH FLOOR:

KEATING waits for the elevator. The doors open and MOUMIN walks out, along with FOUR SPECIAL OPS, in full gear.

KEATING
Hey! Where you going?

MOUMIN
Gonna get my bag and then Eddie and I are going out-

KEATING
What are you talking about? The party’s on 13, man! We got-
(she almost drops the box)
We got all kinds of stuff.

TACTICAL OFFICER ONE
Yeah! I LOVE THIS JOB!

MOUMIN
I know, I know, but- there’s this plaque? That if you drink 100 guinesses in a year, they put your name up on the bar? Anyway, Eddie’s about 20 away. We’ll drop by later if we can still see straight.

KEATING
You guys suck. What about you guys?

TACTICAL OFFICER TWO
Ma’m, if it’s free, we’re drinking.

The elevator doors close on Keating as she shouts:

KEATING
See?! They know how to part-

The doors close. Moumin shakes his head, walks away, leading the Tactical officers. The other elevator door opens and KRYSTAL walks out, on her phone. The camera follows her-

KRYSTAL
That’s right… Mraz wants Rudez in solitary, Andrea in general and release Kira…

She grabs her purse off her desk, opens the door to the fire escape and begins to walk up two flights of stairs.

KRYSTAL (CONT)
I know, I know, but he’s in a good mood right now-And I don’t want anything to ruin that. Just make the arrangements and then come up to the party. And have you seen Mark?
(she stops)
No? Huh. Ok.

She hangs up, now on the ELEVENTH floor, pondering. The camera keeps panning up, going through the ceiling…

INT- MRAZ INC- TWELFTH FLOOR:

An empty room filled with glowing monitors and computer readouts. It looks like a security hub. We continue up…

INT- MRAZ INC- THIRTEENTH FLOOR:

Keating is setting up the party. The doors open and KIRA is there, tired and pissed.

KEATING
Can I help you?

KIRA
Yeah, your jackass lawyer said there was free booze for my pain and suffering?

MRAZ
(appearing from his office)
There is. Keating? Would you do the honors? This is a party, after all.

KIRA
Just the three of us?

KEATING
Where’s Mark?

CUT TO:

INT. MRAZ INC- FIRST FLOOR-

The elevator doors open just in time for Krystal to see Mark stalking out the front door. She catches up with him just in time-

CUT TO:

EXT. MRAZ INC- FIRST FLOOR:

KRYSTAL
You’re leaving?

MARK
(stops, puts on his dark
sunglasses)
Mraz thinks we have this whole thing in the bag. I say otherwise. Enjoy the party.

KRYSTAL
“The whole thing in the bag…” heh. Hard-boiled, Mr. Souza.

MARK
First. Mr. Souza is my Dad, and he gives out Dunkin Donuts giftcards as presents. Second. I’m Mark. Just Mark.

KRYSTAL
And who’s ‘just Mark’? Besides a guy who wears sunglasses at night.

MARK
My friend is dead, and I don’t know who did it.

KRYSTAL
Ah. You’re sure Andy’s killer isn’t in the lockup?

MARK
Sure? No. Gut reaction? Yes.
(a moment)
Look, go up and look after Mraz. I’m worried-

But he doesn’t get to finish, as Krystal kisses him. He looks at her in shock, then kisses her back.

KRYSTAL
I’m not worried about Mraz. I’m worried about you.

MARK
…I see. Uh. I gotta go.

KRYSTAL
Stay.

MARK
I gotta- I have to go. This can’t wait.

KRYSTAL
Then come back when you’re done.

MARK
… Sure.

KRYSTAL
And bring the cavalry.

MARK
There’s already two cases of Guiness upstairs.

KRYSTAL
Three.
(They laugh, awkwardly)
Just come back. I’ll be here.

Mark nods, then leaves. She watches him go, then closes the glass door. The camera begins panning up rapidly, all the way to the 12th floor…

CUT TO:

INT. MRAZ INC- THE 12TH FLOOR (CON’T)

The same dark office filled with glowing monitors. Now, a FIGURE watches Mark walk out into the streets. The camera pans to see the figure wears a full-face black mask. After a moment, the SHADOWMAN then reaches out to a lever, and pulls it.

CLOSE UP: SECURITY MONITOR:

Onscreen, we see all the doors and windows go from OPEN to LOCKDOWN.

Except for PRISON LEVEL, which goes from LOCKDOWN to WARNING: OPEN.

The Shadowman then lifts an assault rifle, and then brings the butt of it SMASHING down on the monitor-

SMASH CUT TO:

MAIN TITLES.

FADE TO BLACK.

END OF TEASER

_____________________________________________________________________________________


ACT ONE

INT. MRAZ INC 13th FL CONFERENCE ROOM- NIGHT

Bruce Springsteen’s “Glory Days” kicks in. The scene opens on the party. The group has grown a bit. Everyone seems to be enjoying themselves; drinking, talking and laughing. The camera weaves through the group of people. Tac Team Members 1 and 2 are having a Guinness chugging party by the tap.

Ducky is talking to Kira and the Delivery Guy. The Delivery Guy looks at his watch and looks straight into camera, with an impatient look. Kira looks less distressed.

Tac Team Members 3 and 4 seem to have cornered Krystal and are talking to her. Eric stands off to the side, watching.

The camera moves past them and Mraz is revealed in the corner of the room. His face “buried” in his Black Berry.

KEATING (O.S.)
Come on, Mike! This is no time for work. Let’s party!

A hand holding a Guinness comes into frame. Mraz looks up and smiles, sheepishly. He puts his Black Berry away and grabs the drink.

ANGLE ON: a wide shot of Mraz and Keating (we were following her POV).

MRAZ
Haha. Thanks for the Guinness. I guess this replaces our normal coffee routine tonight.

Keating beams a bit and laughs.

KEATING
(loaded with subtext)
Maybe now that everything’s wrapped up this could replace our routine a little more.

Mraz pauses and smiles and considers his beer. The subtext is lost on him.

MRAZ
Maybe.
(his attention fixes on something)
Oh…uh…Krystal is here. I should…go see if she set-up everything and kept Rudez in solitary and--

KEATING
(slightly deflated by his attention on Krystal)
Relax. Everything is fine.

MRAZ
You’re right. I’m just used to something going wrong, but looks like we finally have this thing in the bag.

They clink glasses.

CUT TO:

INT MRAZ INC ARMOURY, 7th FLOOR- SAME TIME

A hand grabs a rifle out a rack full of rifles. The POV turns, revealing Andrea and a room full of about 25 released prisoners, Rudez among them. She tosses the rifle to one of the men.

ANDREA
We grab any weapons we can and storm our way out of here. I don’t know how we got out of the cells. But no reason to dally.

She tosses a rifle to Rudez. He tosses it right back.

RUDEZ
Waste. Waste. WASTE.

He grabs her wrist. She struggles.

RUDEZ (CONT)
We’re in this building with Mraz. And I will have revenge. If I have revenge, maybe the storm can be prevented.

She jams her rifle under his chin. He chuckles a bit.

ANDREA
You can do whatever you like, Michael. But I’m not sacrificing my freedom and my plans for your ramblings and revenge.

He lets go.

RUDEZ
Mraz will die tonight. He can’t stop it.

Andrea gives up and starts moving.

ANDREA
That’s very nice. Alright. Whoever actually wants out of here come with me!

She walks out. Most of the contingent goes with her. 9 or 10, including BUDDY, still with bloody bandages over his eyes, stay behind.

RUDEZ
Come, Buddy. Now we wait. We wait for him to come to us. He’ll come.

He grabs an AK 47 and examines it, admiringly.

RUDEZ (CONT)
Yes. This one will suffice.

CUT TO:

INT. MRAZ INC 13th FL CONFERENCE ROOM- NIGHT

The party continues. We focus on a conversation between Ducky (who’s a bit drunk), Kira, and the Delivery Guy. The Delivery Guy has been boxed out at this point and looks impatient.

DUCKY
…and we simply take down the bad guys.

KIRA
The bad guys? What is this a movie?!

DUCKY
Well, of course not. But…

KIRA
You can’t just run around with guns arresting people. It’s not ethical or legal.

DUCKY
Laws can be bent. And we’re doing more good than bad. We’re putting a stop to terrorism and crime that the government doesn’t even know about.

KIRA
What if you’re creating as much crime as you’re stopping? And does the government even know you’re doing this?

DUCKY
It all gets covered up with a bunch of legal mumbo jumbo. I’m actually the tech guy. It’s pretty cool. Taylor handles the rest. See, what Taylor does--

Keating steps in abruptly.

KEATING
--is remarkably uninteresting. Trust me. Blabbing company trade secrets, Ducky?

DUCKY
No, I was just--

DELIVERY GUY
(finally seeing his chance to speak)
Hey, can I get this invoice paid, I’ve been waiting for 45 minutes?

KEATING
Oh, I’m sorry. Let me run and get that for you. We’ll get you right out of here. Feel free to have a drink.
(she starts to leave and stops)
Speaking of Taylor, where is he?

CUT TO:

INT MRAZ INC LEGAL FLOOR- SAME TIME
Taylor walks down the hall, grumbling.

TAYLOR
…booking all of these illegal detainees. Should have been Souza. Don’t know why he thinks he’s so special. Mraz owes me a raise for this. I need a drink and I need it now. Guinness is going to taste soooo good--

He turns the corner. And sees a group of armed men moving toward him, led by Rudez. He freezes. They haven’t seen him. He turns to go back around the corner.

TAYLOR (CONT)
Sweet Jesus. That can’t be right. Must warn others. Must--

A shot rings out and the wall explodes just above his head. Taylor freezes in place.

CUT TO:

INT. MRAZ INC 13th FL CONFERENCE ROOM- NIGHT
Krystal stands alone, finally having escaped the two tac members. Mraz approaches with two beers.

KRYSTAL
Oh! Mike, I talked to the detention guards before they closed down. Rudez--

MRAZ
(smiling)
Krystal, relax. It’s a party we can talk about work any other time. You did a great job on this operation.

KEATING
Really? I didn’t really feel like I did much at all.

MRAZ
You were instrumental in getting a bunch of dangerous people off the street. Hopefully, things will calm down now. And we’ll have more time to…relax.

This time Mraz’s statement is loaded with subtext. And this time Krystal is oblivious.

KRYSTAL
I just hope I’m doing well for you and Mark.

MRAZ
We’re both impressed.

KRYSTAL
Good. I figured he’d be here.

MRAZ
(trying to blow off the subject) I didn’t. That’s Mark for you. Never one to be too happy about anything. I wonder where he is, anyway.

KRYSTAL
He said he had something to take care of.

CUT TO:

EXT. BUILDING FIRE ESCAPE- SAME TIME
Mark holds a MAN IN A SUIT by his shirt.

MAN
Please! Please, stop!

The camera whips around to an overhead view, revealing Mark holding the Man in the air over the edge of the fire escape; his feet dangling.

MARK
I found your name in one of Andy Chmelko’s last logs. Now he’s dead. And you will be too if you don’t talk.

MAN
Please, I—I don’t know why—I don’t know anything.

MARK
He traced the money to you and that’s where his trail ended. Where did the money go?!

MAN
What m—money?!

Mark feigns losing his grip. The man screams.

MARK
Oops. You’re getting heavy.

MAN
Wait! Maybe I do know something.

MARK
Better hurry.

MAN
I may have moved some money. For someone.

MARK
Slipping, slipping. Quicker!

MAN
You could pull me back!!

MARK
You could talk faster.

MAN
I was just the middle man. For a hit job.

MARK
Name!!

MAN
Weatherstone!!! CL Weatherstone!!

MARK
Where?!?!?

MAN
Ryan’s. I met him at Ryan’s Irish Pub.

MARK
Ryan’s, huh?

He drops the man, who screams briefly but sounds like he hits padding; he groans. Mark looks down.

ANGLE ON: The man. He lies ontop of a pile of trashbags.
Mark puts his sunglasses back on.

MARK
Lucky.

CUT TO:

INT. MRAZ INC- SIXTH FLOOR- NIGHT
Steve moves to the door. His shirt is off. Lindsay is on the cot under a sheet.

STEVE
Going to the bathroom.
(smiles)
I love you.

She smiles back. He moves out the door.

CUT TO:

HALLWAY- CONTINUOUS
Steve walks out and sees Andrea leading a group of armed men down the hall; their backs to him. He ducks back in.

STEVE
Dammit!

LINDSAY
What?!

STEVE
Prisoners. They’re out. Roaming somehow.

LINDSAY
Dammit! We have to get out of here. This company is cursed.

She starts packing and getting ready to leave. She then notices Steve hasn’t moved. She stops.

LINDSAY (CONT)
What?

STEVE
We can’t Lindsay. We have to warn Mraz somehow.

LINDSAY
No, Steve. They can deal with this themselves. It’s too dangerous! Its not worth it! They’re not worth it!!

STEVE
He’s still my friend. Despite what’s happened in the past. We have to. I have to.

She comes to him. She wells up.

LINDSAY
Steve, I already lost you once. I—I can’t—

He pulls her close.

STEVE
You’re not going to lose me. I promise.

CUT TO:

INT. MRAZ INC 13th FL CONFERENCE ROOM- NIGHT
The delivery guy still waits. Everyone mingles and talks. Mraz still talks to Krystal. He looks at his watch.

MRAZ
Excuse me for a second. I should probably check on Taylor.

He walks over to the phone on the conference table. He picks it up. The line is dead. He cocks his head suspiciously. He looks at his Black Berry.

ANGLE ON: The phone screen: NO SERVICE

He walks to Ducky.

MRAZ
Ducky, our phones are out and I have no service. Any ideas?

DUCKY
Phone bill slipped through the cracks again?

He checks his.

DUCKY
That’s weird.

He takes a step. He jogs to the wall security terminal and types a bit. Mraz follows.

DUCKY
Well that makes sense.

Mraz waits but gets no more explanation.

MRAZ
What?! What makes sense?

DUCKY
Phones are out because the building is on Lockdown mode.

Mraz stares in disbelief.

MRAZ
Ducky, that doesn’t make sense. Not at all. Why are we on lockdown?

DUCKY
I don’t know. It’s not every floor. There’s one open.

MRAZ
(Calmly)
Which floor?

DUCKY
Basement.

MRAZ
(a little too calmly)
Prison level.

FADE TO BLACK.

END ACT ONE


____________________________________________________________________________________


ACT TWO

INT. MRAZ INC- SIXTH FLOOR- NIGHT

Andrea leads her group of convicts down the hall. They proceed with caution toward the elevator. Andrea hits the down button. The door opens and they file into the elevator.

ANGLE ON: Her finger hits the button marked “L”. There is a ding.

AUTOMATED VOICE
Lockdown Mode engaged. Access to lobby denied. The building will remain sealed until Lockdown Mode is disengaged.

ANDREA
So much for a grand escape…

CUT TO:

INT. MRAZ INC- SEVENTH FLOOR- NIGHT
Steve and Lindsay move down an empty hall, cautiously. They each are armed with a handgun.

STEVE
23 guns missing from the armoury. I’d say we’re up against 25-30 escapees.

LINDSAY
You said you only saw about 10 in that group.

STEVE
Right. And no sign of Rudez. Means they’re somewhere else in this building. Any idea what floor Mraz is on?

LINDSAY
No. We could check the surveillance room.

STEVE
12th Floor.

LINDSAY
No, that’s the gym facilities.

STEVE
They added an extra security room. I found it when looking through the computers yesterday. We go there, we locate everyone else.

CUT TO:

INT. MRAZ INC 12th FL CONFERENCE ROOM- NIGHT
Ducky speaks as he plugs in.

DUCKY
Dowd is securing the floor and checking exits. I’m trying to see if I can tap into our surveillance.

KEATING
Shouldn’t you just be able to access surveillance after accessing the mainframe?

DUCKY
The building lockdown makes it a bit tricky. There’s a lockdown firewall in place, to prevent loss of sensitive information if anything were to happen. So, I have to hack our own firewall.

KEATING
Can you do that?

DUCKY
Of course I can. I built it.

MRAZ
So we have 10 in here. Steve and Lindsay on the 6th floor…we think. Dowd securing the floor and Taylor is hopefully holed up somewhere. That makes 14.

Eric hurries to the group.

ERIC
Mraz!! I’ve been trying to raise Dowd for 3 minutes. Nothing but static.

MRAZ
13.

KEATING
How many were in lockdown?

MRAZ
27.

ERIC
Well at least they don’t know there are only 13 of us. They may still think we have them outnumbered.

CUT TO:

INT. MRAZ INC- THE 12TH FLOOR-CONTINUOUS
The picture dissolves to Eric talking on a security monitor. The camera zooms back, revealing Rudez and Buddy.

RUDEZ
13 against the entire criminal underworld.

BUDDY
Is the pretty with them?

RUDEZ
Yes, Buddy, go get your pretty. Be careful, listen carefully. Seems there are still a few of them prowling, if our other friends don’t get them first.

BUDDY
If I find them, they pay.

He exits the room.

RUDEZ
Yes. They will. Now, I wait for Mraz. He’ll come to me.

CUT TO:

INT. MRAZ INC 13th FL CONFERENCE ROOM- NIGHT

Mraz paces past Kira and the Delivery Guy, the camera lingers on them.

MRAZ
We can’t just wait here for them to make a move.

KEATING
We can’t endanger everyone by making any rash moves.

MRAZ
If we stay here we’re as good as dead.

Something snaps in the Delivery Guy; he’s obviously frightened.

DELIVERY GUY
You know what? I’m getting out of here. That guy’s right. Can’t just sit here. I don’t know what all you people do and I don’t wanna know anymore. I—I deliver beer. I’m a delivery guy.

He starts moving toward the door slowly during this speech.

ERIC
Sir, I would not advise going out that door.

DELIVERY GUY
It’s fine. Keep the money from the bill. It’ll be fine. I just have to go.

He turns toward the door, Eric moves to stop him but he opens and takes a step out.

ERIC
Wait!

Before the Delivery Guy can take a second step, gunshots ring out. He is riddled by bullets and falls dead against the door. Eric runs to the door, slides to it, and quickly pulls it shut.

ERIC
Damn!

MRAZ
(grimly)
Well, they know where we are now, if they didn’t before.

DUCKY
(to Keating, quietly)
Taylor’s not going to be happy about that.

KEATING
Taylor’s not going to be happy about much tonight.

CUT TO:

INT. MRAZ INC 8th FL HOLDING CELL- NIGHT

CLOSE ON: A fist slamming across Taylor’s face. It is obviously not the first he’s taken.

The camera widens showing him surrounded by 6 men; all finding the scene hilarious. They take turns.

MAN 1
You have the right to remain silent.

Another punch.

MAN 2
How you like us readin’ you your rights?

He laughs and punches Taylor. Taylor shakes his head.

TAYLOR
About as much as I like you mother’s ugly face.

The group stops laughing and stare at him.

MAN 2
What!?

TAYLOR
Uh oh.

The man winds up and punches again.

CUT TO:

INT. MRAZ INC 13th FL CONFERENCE ROOM- NIGHT

Mraz approaches Ducky quietly, while Ducky types.

MRAZ
Ducky, I think I may have an option.

DUCKY
(staring at his keypad)
What’s that?

MRAZ
Apocalypse Protocol.

DUCKY
(he stops)
Wait, what?

MRAZ
I know.

DUCKY
It’ll be tough in our current position.

MRAZ
I know. I’ll take care of it. But for now I need you to get some kind of outside line of communication. I need to contact Mark.

CUT TO:

EXT STREETS- SAME TIME
Mark walks briskly down the street. He holds his phone. It beeps with the “no signal” tone.

ANGLE ON: The phone screen. MRAZ- NO SIGNAL.

MARK
Dammit, Mraz! Where are you?

He dials again.

ANGLE ON: The phone screen. CALLING EDDIE.

He holds the phone to his ear while it rings. And rings.

CUT TO:

INT BAR- SAME TIME
Moumin pounds on the bar chanting “Chug, chug!” as Eddie, holding one beer in his left hand, chugs a second beer in his right hand. The camera drifts to the bar, where Eddie’s phone sits, flashing and vibrating, drowned out by the sounds of the bar and Moumin.

CUT TO:

EXT STREETS- SAME TIME

Mark slams his phone shut.

MARK
Nobody can pick up?!

He walks into a door to a bar. The camera drifts up to the sign: RYAN’S IRISH PUB.

CUT TO:

INT. MRAZ INC 13th FL CONFERENCE ROOM- NIGHT

Mraz approaches Kyrstal and Eric.

MRAZ
Krystal, who was the last person you talked to about the prisoner lock-up?

KRYSTAL
The prison chief-of-guard.

ERIC
But I double checked security after he signed off. Everything was fine.

MRAZ
I’m starting to think that it had to be someone in this building.

KRYSTAL
An inside job?

MRAZ
Andy had been looking into the possibility…

KRYSTAL
What about Lindsay Wolf?

ERIC
Or that girl over there. That Kira girl? Didn’t we bring her in with the rest of them. Why was she not in there with them?

ANGLE ON: Kira. She stands toward the edge of the room alone.

MRAZ
She was cleared. She just showed up there. She had nothing to do with the meeting.

ERIC
Are you sure about that?

KRYSTAL
Maybe Eric’s right. It makes the most sense. More sense than a gut feeling from Andy, right?
CUT TO:

INT RYAN’S IRISH PUB – SAME TIME
Three PATRONS sit at the bar. DAVID, the bartender, speaks to them. There is a sound of the door opening. Everyone ignores it.

MARK (O.S.)
(growling)
Where’s CL Weatherstone!

PATRON 1
Anyone has business with CL, has business with me!

Two of the Patrons stand readying to fight.

DAVID
(genuinely excited to see him)
Souza!!

The two look at each other.

PATRON 1
Wait! Mark Souza?!

The two look at each other again; in fear.

PATRON 2
Jesus!!

They run toward the back and down a set of stairs. Mark walks menacingly into frame toward a cowering WEATHERSTONE. David looks perplexed.

DAVID
Souza?!

CUT TO BLACK.

END ACT TWO


___________________________________________________________________________________



ACT THREE

INT RYAN’S IRISH PUB – NIGHT

Weatherstone slides across the bar top, smashing glasses as he slides. He flies off the end, to the floor. He starts crawling to the door. Mark walks up and steps on his back. David follows, protesting.

DAVID
Em…ey…Mark? Could you maybe not—

Mark picks up Weatherstone and slams him against the wall. He punches him and holds him by his collar to keep him from falling.

MARK
Andy Chmelko is dead and you tried to run me down! Why?!

WEATHERSTONE
I don’t know what you’re--

MARK
Don’t lie!

DAVID
Mark, maybe he’s no—

Mark swings him and slams him into another wall.

MARK
I traced the money to your account. You were hired to kill us. I don’t appreciate it!

WEATHERSTONE
(trying to be cool about it)
OK I admit it. It was me. What else you want? It’s not like I have it in for you. It was just business. You understand, right?

MARK
Unless I have a name, I’m going to blame you. And I take it very personally when someone tries to kill me.

DAVID
Mark, you see—This is not really legal and--

MARK
It makes me not very pleasant. I missed my coffee this morning because of it and you know what happens then?!

WEATHERSTONE
What does a name matter? It was just a contract. You know I can’t reveal my sources—

DAVID
--and if somebody came by, you know—

Mark pulls out his gun and puts it to Weatherstone’s head. David jumps back. Weatherstone is now very scared.

WEATHERSTONE
Sweet Christ!!

DAVID
Mark, what the hell are you--

MARK
Please don’t make me blame you for missing my coffee!!

WEATHERSTONE
I-wait—I--

DAVID
(throws his hands up, pacing)
I’m not seeing it, I’m not--

MARK
NAME!!

WEATHERSTONE
I-—I--

Mark’s phone starts ringing; breaking the tension. He holds the gun on him for a moment then realizes he has to take the call. He lowers the gun then pulls out the phone and looks at the ID.

MARK
NOW they call!
(to Weatherstone)
I have to take this.
(turns away)
Where were yo—

CUT TO:

INT. MRAZ INC 13th FL CONFERENCE ROOM- SAME TIME

MRAZ
Mark, shut up. We only have about 30 seconds of signal. The office has been locked down by unknown source. Prisoners released. We have no weapons. Get Eddie, Moumin, and Janice-anyone else.

CUT TO:

INT. RYAN’S IRISH PUB- SAME TIME

MRAZ (O.S.)
I repeat, we need immediate—

Mark listens. Static, then the disconnection tone. Mark turns back to Weatherstone.

MARK
I have to go. We’re gonna continue this another time. I promise you. Don’t run too far.

He reaches into his coat and tosses a fold of bills on the bar.

MARK (CONT.)
Sorry, Dave. For the damages.

He leaves. Weatherstone picks himself up.

DAVID
Great. I’m sure that’ll help.
CUT TO:

INT MRAZ INC 3rd FL- SAME TIME
Andrea paces, as one of her crew works on a computer.

ANDREA
Anything yet.

HACKER
No. Every exit to the building is locked down. There’s no way in or out til lockdown is lifted.

ANDREA
Can you disengage the lockdown?!

HACKER
No. the firewalling is too complex. Whoever put this together was a computer genius.

ANDREA
I’m sure Mr. Smallwood would be delighted to hear that.

She hits him with the butt of the rifle. He cries out.

ANDREA (CONT.)
Idiots! You’re the best of the criminal underworld?!
(calming herself)
Fine, fine! Still can get out of this unscathed.

CREW MEMBER #1
How we gonna do that, lady?!

ANDREA
Relax. All good things come to those who wait. We just have to have a little patience. I have a plan. Trust me, I’m not walking out of here in handcuffs.

CUT TO:

INT. MRAZ INC 13th FL CONFERENCE ROOM- SAME TIME

Mraz addresses the 9 remaining people in the room. Ducky stands with him.

MRAZ
There’s a failsafe protocol in place to prevent this building from falling into the wrong hands. And I’m afraid it may be our last option.

KEATING
Failsafe protocol?

DUCKY
The Apocalypse Protocol. Core meltdown of the building.

KRYSTAL
Core meltdown?

KEATING
Self- destruct.

DUCKY
Right.

KEATING
Mike, you have the building rigged to explode?

MRAZ
We have a small arsenal in this building, not to mention countless pieces of sensitive information. We needed to. If it ever feel into the wrong hands.

ERIC
But if you blow the building… We’re still all stuck inside.

MRAZ
Well luckily the location of the only disengage switch and the location of the meltdown switch are one and the same. You and Krystal will lead the rest of the group down to the third floor and wait for the disengage of the lockdown. I’ll go first, try to draw the men watching this room, and get to that location.

KEATING
Where’s “that location”?

MRAZ
My office.

KEATING
You think you’re doing this alone?

MRAZ
No reason to risk anyone else. I’ll be fine.

KEATING
No. You’re not doing this.

MRAZ
I’m not asking permission.

Krystal steps forward.

KRYSTAL
Well, then I’m going with you.

Keating looks at her, then steps forward too.

KEATING
So am I.

MRAZ
Ladies, please--

KEATING
We’re not asking permission.

Mraz opens his mouth to protest and realizes he’s defeated.

CUT TO:

EXT MRAZ INC - NIGHT

Mark runs up to the building. Janice leans against the locked-down front door.

JANICE
I sure hope you have a key. When you left a message to meet you here I didn’t expect to be left out in the cold.

MARK
That’s the problem. The building is locked down. Mraz and others are stuck in there and the 30 prisoners we just brought in are roaming free.

JANICE
What? How?

MARK
Good question.

JANICE
You have no information do you?

MARK
Nope.

JANICE
Great.

MARK
Seen Eddie or Moumin?

EDDIE
Right here.

ANGLE ON: Eddie and Moumin. Obviously not completely sober.

MARK
This is not going to be easy.

CUT TO:

INT. MRAZ INC 13th FL CONFERENCE ROOM- SAME TIME
Mraz stands with Krystal and Keating, getting ready.

MRAZ
This’ll be simple. In and out.

He looks to Eric.

MRAZ (CONT.)
Make sure you take care of what we talked about before you head out. I trust you.

ERIC
Done. Thanks. Good luck.

They prepare by the door. Mraz takes a breath then slams through.

CUT TO:

INT. MRAZ INC 13th FL HALL- CONTINUOUS

Mraz pops into the hall. Fire opens up. Mraz fires behind cover of the door. Covered, Keating and Krystal scurry down the hall toward the stairwell behind him. He hits one gunman and kicks the door closed, then runs toward the doorway; firing. The other men pursue, realizing it's Mraz.

CUT TO:

INT MRAZ INC 12th FL – SAME TIME

Lindsay and Steve move down the floor slowly. The gunfire can be heard from above. They freeze and look up.

STEVE
It’s from above. We need to go.

LINDSAY
Wait! Steve!

STEVE
Sounds like it’s the next fl—

Steve turns back toward the camera. A few gunshots sound. Steve’s head snaps back. He falls. Lindsay runs to him.

LINDSAY
Steve!!!

She looks up.

ANGLE ON: Buddy. Holding a smoking handgun down to his side. He drops the gun slowly. He feels for his knife, as a smile spreads across his face.

BUDDY
I got one… You’re not the pretty. But I remember your voice. I remember it well.

Lindsay snarls and rises slowly; pulling her knife.

CUT TO:

INT. MRAZ INC 13th FL CONFERENCE ROOM- CONTINUOUS

Ducky walks to Eric.

DUCKY
I found Taylor.

He shows Eric a surveillance image of Taylor tied to a chair surrounded by men.

ERIC
There’s nothing we can do for him. I’m sorry.

DUCKY
There’s something I can do.

ERIC
No, Ducky. It’s too late. You’re coming with us.

DUCKY
I’m getting Taylor. I’ll meet you all at the bottom.

ERIC
I don’t have time to argue.

DUCKY
No you don’t.

Eric looks at him; it’s a losing battle. He turns.

ERIC
Alright everybody! Get ready to move on my go.

Everyone begins to file past. As Kira passes, Eric grabs her. She looks down.

ANGLE ON: A hand-cuff on her wrist.

KIRA
What the hell--?

ERIC
You didn’t think you’d get away with it did you?

CUT TO:

EXT. MRAZ INC - NIGHT

Muse’s “New Born” begins playing. Mark, Eddie, Moumin, and Janice stare up at the building.

CUT TO:

INT. MRAZ INC 8th FL HOLDING CELL- SAME TIME

Taylor breathes heavily, trying to keep consciousness.

CUT TO:

INT MRAZ INC 3rd FL - SAME TIME

Andrea sits patiently. The men around her nervously buzz.

CUT TO:

INT MRAZ INC 12th FL – SAME TIME

Lindsay stalks toward Buddy, who is smiling.

CUT TO:

INT. MRAZ INC 13th FL CONFERENCE ROOM- CONTINUOUS

Eric is crouched by the door, gun in hand. The others are lined up behind him. He holds his arm up, then drops it; mouthing the word “Go!”

CUT TO:

INT STAIRWAY - SAME TIME

Mraz, Keating, and Krystal make their way up the stairs.

CUT TO:

INT MRAZ’S OFFICE – SAME TIME

The camera winds through the darkened office then focuses on a shape in front of Mraz’s window. It is Rudez, staring out at the view. He smiles.

RUDEZ
He’s coming.

CUT TO BLACK.

END ACT THREE


__________________________________________________________________________________



ACT FOUR

EXT MRAZ INC- NIGHT

The camera focused on the locked-down front door. All is quiet. Two gunshots cut through the sound. They spark on the metal covering on the door. And don’t even leave a scratch. The camera pulls back revealing Mark aiming and Eddie, Moumin, and Janice standing on either side of him.

MARK
Well. That didn’t work.

EDDIE
Nice plan, chief. Any other bright ideas?

Mark slowly turns to him, finds no retort, then they all slowly turn back to the door.

CUT TO:

INT MRAZ INC 12th FL HALLWAY- SAME TIME

There is a primal scream as Lindsay swings her knife at Buddy’s head. On instinct, he narrowly ducks and her knife hits the wall. He takes a blind, vicious swing at her mid–section and she jumps back narrowly avoiding.

She charges at him - enraged – slamming her shoulder into his head. He slashes her on the abdomen but she seems not to feel it. She pushes him back and roundhouse kicks him through a door.

CUT TO:

INT MRAZ INC 12th FL POOL ROOM- CONTINUOUS

Buddy tumbles through the door, struggling to keep his balance.

A wide shot: an Olympic-sized pool fills the room. The lights are out. Lindsay stalks through the door. They are only illuminated by the pool lights.

CUT TO:

INT MRAZ INC 3rd FL – SAME TIME

Andrea sits patiently, calmly; holding some knowledge to herself.

CREW MEMBER 1
We’re running out of patience, Miss Davis. What’s the plan or things’ll get dicey here.

ANDREA
Wouldn’t want to risk that. Once the lock is disengaged then we simply walk out unarmed. They can’t shoot us dead in the street. They aren’t legal law enforcement. It’s simple. Now ditch the weapons and line up at the stairwell.

CUT TO:

INT MRAZ INC 13th FL HALLWAY- SAME TIME

Eric, flanked by Tac Team Member 1, and the group head down the hall. The two other Tac Members bring up the rear.

ERIC
Looks like Mraz drew the rest of the hostiles. It worked. To the stairs!

CUT TO:

INT MRAZ INC 9th FL HALLWAY- SAME TIME

Ducky runs down the hall. He stops at a door labeled “Tech and Equipment”. He hits the keypad and goes through the door.

CUT TO:

INT MRAZ INC EXECUTIVE FLOOR- SAME TIME

Mraz creeps through a door into the main office room. There is a dead “prisoner” on the floor, with a handgun next to him. Keating and Krystal cautiously follow. Mraz picks up the gun and moves cautiously through the office.

It is dead quiet. He holds both guns. They close in on his office door. They stop at the door. He slowly opens it.

ANGLE ON: the dark office. Empty.

MRAZ
(whispering)
Shotgun by my desk. The switches are there too. Keating, keep an eye on the door. If you see anything, get inside. We’ll be safe in here. Let’s go, Krystal.

CUT TO:

INT MRAZ’S OFFICE- CONTINUOUS
Mraz runs to his desk. Krystal watches vigilantly. Mraz pulls the shotgun from under his desk and lays it on the floor. He then hits a keypad on a drawer. It opens revealing 2 more keypads. He considers for a moment and types in one- hits enter.

AUTOMATED VOICE
Meltdown Initiated. Please, vacate building. 10 minutes. Meltdown Initiated.

KRYSTAL
The lockdown?

Caution lights start flashing. Mraz starts to type in the lockdown code. AK 47 burst. Krystal screams in pain and falls. Mraz looks up.

MRAZ
Krystal!! No!

ANGLE ON: Rudez. He aims the AK 47 and is walking toward Mraz.

RUDEZ
Ruined another life, Mraz. Time to pay the piper.

Mraz pulls the two hand-guns and starts firing. Rudez returns fire. Mraz ducks down behind his desk but the AK 47 shells mutilate it. He dives for cover behind a piece of furniture. Bullets rain.

CUT TO:

EXT MRAZ INC- NIGHT

Eddie, Moumin, and Janice crowd around Mark working on an outdoor keypad.

MARK
Nothing. None of the access codes are doing anything.

MOUMIN
Well you must have done something. That light wasn’t flashing before.

MARK
What?

Moumin points to a flashing blue-white light, one story up on the corner of the building.

MARK
Christ!

JANICE
What?!

MARK
Eddie, Moumin get to the roof now. You have 5 minutes. You need to breach! We’ll keep trying from here.

EDDIE
How?!

MARK
A window! Anything!

JANICE
What’s going on?!

MARK
Mraz initiated building meltdown.

CUT TO:

INT MRAZ INC 12th FL POOL ROOM- SAME TIME

Lindsay continues attacking with Buddy narrowly avoiding, as he returns wide, violent thrusts towards the sound of her breath. Lights flash around them.

AUTOMATED VOICE
Eight minutes. Eight minutes.

LINDSAY
That means I’ve only got 8 minutes left to kill you.

She swings at Buddy’s shoulder and this time he is too slow to avoid. He cries out. He pulls a second knife and launches into a wild dervish of assault with both weapons. She blocks with her knife and her arms; taking many slashes. He pounces but she blocks both knives driving her wrists into his.

She stabs her knife through his left wrist. He screams out and drops a knife. She round house kicks him again, sending him into the pool.

Buddy thrashes and lets out a slew of high-pitched screams. Lindsay jumps in. Blood begins diffusing into the water.

CUT TO:

INT MRAZ INC 8th FL HOLDING ROOM- SAME TIME

Taylor is now barely awake but his tormentors have not tired. Another begins to move in. The men stop at a voice.

DUCKY (O.S.)
Gentleman!

ANGLE ON: Ducky. He walks in with his hands up over his head.

DUCKY
I suggest you pick on someone your own size.

They look at each other then begin to circle Ducky. Ducky holds his hands up.

CUT TO:

INT MRAZ’S OFFICE- SAME TIME

Mraz hides behind furniture. Another blast of AK-47 shells.

RUDEZ
Can’t hide forever!

Mraz dives again behind a desk; firing. Rudez returns fire. He looks from behind the furniture.

ANGLE ON: Rudez. He holds the gun. Krystal is by his feet. She isn’t moving. Blood can be seen.

He looks to the other side for an opening.

ANGLE ON: Keating quietly slipping through the door. She meets his eyes. She has a scared but confident look. She starts crawling behind furniture the other way toward his desk.

AUTOMATED VOICE
Six minutes. Six Minutes.

MRAZ
Hear that Rudez?

RUDEZ
He speaks! The great Mike Mraz!

MRAZ
In six minutes, we both go up.

RUDEZ
How fitting.

ANGLE ON: Keating crawling; out of Rudez’s sight.

Mraz jumps up and fires again. Rudez shoots; Mraz dives rotating Rudez’s view away from Keating. He lands and looks at his guns. Both clips are spent.

CUT TO:

EXT MRAZ INC ROOF – SAME TIME

Eddie and Moumin pant.

EDDIE
I’m gonna kill Mark for this. Skinny bastard. 30 floors in 5 minutes.

MOUMIN
Shouldn’t we not be on top the building that’s about to blow up?

EDDIE
Don’t think about it. Don’t sweat the things you can control.

MOUMIN
But--

EDDIE
There. The skylight over the main floor.

Eddie jumps on top and starts pounding.

CUT TO:

INT MRAZ INC 8TH FL HOLDING CELL – SAME TIME
The men circle Ducky.

DUCKY
One request: not the face.

MAN 1
No guarantees.

DUCKY
Oh. And Taylor: feet up! Up!

Taylor looks at him confused at first, then lifts his feet from the ground. Ducky hits a button on his watch. There is a loud buzz and sparks. The men fall to the floor.

DUCKY
Whew! Thank god that worked and thank god you’re on a wooden chair.

TAYLOR
Wha--?

DUCKY
Failsafe I installed for days like today. Electrified floor.

TAYLOR
What about you?

DUCKY
Insulated boots.

ANGLE ON: Ducky kicks thick rubber boots together.

CUT TO:

INT MRAZ INC 12TH FL POOL ROOM – SAME TIME

Buddy screams, as Lindsay holds him under. He thrashes back up for a moment.

BUDDY
I can’t swim! Please don’t…please!

She holds him under. He thrashes under the water. Then it goes weak. And finally stops. Lindsay stays there; unmoving.

AUTOMATED VOICE
Three minutes. Three minutes.

CUT TO:

INT MRAZ’S OFFICE- SAME TIME

Mraz stands from behind his hiding place. His hands up and empty. Rudez aims.

MRAZ
The building is about to go down. We should get out. No reason for us to die today.

RUDEZ
Always reason for you to die, Mraz. You brought this tide. It’s your fault. But I can stop it maybe. I kill you and the tide goes down. The storm--

He takes aim. A shotgun shot rings out. Then another, and another. Rudez finally falls. Keating stands behind with a shotgun. As he dies:

RUDEZ
--will come.

AUTOMATED VOICE
One minute. One minute.

MRAZ
The override!

Mraz runs to his desk and taps the pad.

AUTOMATED VOICE
Lockdown disengaged.

Mraz taps a few more.

AUTOMATED VOICE
Meltdown aborted.

Mraz exhales. Keating collapses against the desk.

CUT TO:

EXT MRAZ INC ROOF – SAME TIME

The metal curtain pulls out from under Eddie. He falls onto the skylight and breaks through, landing on the floor below. Moumin looks down at him laughing.

CUT TO:

EXT MRAZ INC – SAME TIME

The door opens. Out walks 10 “prisoners” followed by Andrea. Janice and Mark snap their weapons out.

MARK
Freeze!

ANDREA
No need, Mr. Souza. Citizen’s arrest. I rounded them up and disarmed them. I even called the authorities.

She holds up her phone. Sirens sound in the distance.

CUT TO:

INT MRAZ’S OFFICE- SAME TIME

Mraz and Keating are in the same place we left them. Keating checks Krystal.

KEATING
Mraz? Krystal isn’t breathing!

CUT TO BLACK.

TO BE CONTINUED