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.