ACT FOUR

23.

EXT. Ramada Hotel – Evening

KEITH walks over to one of the journalists who seems to be in charge of the surroundings. Clearly, KEITH knows him.

KEITH:

Paul, have you seen Jason or Vera?

PAUL:

No. Why?

KEITH:

Well, Jason I haven't seen in a while. I know he isn't the most reliable person, but he's an intern. I seriously doubt that he'd purposely leave this kind of a story. Vera was just around about a half an hour ago, but I haven't seen her since then, and she's definitely not the type to just desert this. She's serious about this story.

PAUL:

Ever think maybe they're meeting in mop closets?

KEITH chuckles.

KEITH:

Nah, Vera can't stand him.

PAUL:

I don't blame her. The guy's not anyone's favourite person.

KEITH:

Well, thanks. If you see them, let me know.

PAUL:

Will do, Keith.

KEITH walks away, looking around for the two.

24.

INT. Ramada Hotel Lobby – Evening

JASON and VERA are sitting in a corner, surrounded by many other frightened individuals. The "terrorists" are pacing back and forth, guns in view.

JASON:

(quietly, to Vera)

Still don't believe they're terrorists?

VERA shoots him a look, and goes back to observing the men, who are currently discussing quietly amongst themselves at the front desk.

JASON:

How are we going to get out of here?

VERA:

I don't know.

JASON:

Well, we better figure it out soon. Who knows when these guys will completely lose their minds.

VERA:

They already have.

JASON:

But they haven't killed anyone.

VERA:

Yet.

JASON:

Exactly. Yet. We need to get out of here.

MUSIC CUE: Begin playing "Tiny Cities Made of Ashes" by Sun Kil.

VERA looks over and sees a family huddled in the opposite corner of the room. The husband, who looks to be in about his mid-forties, is comforting his wife and two children, who look to be between 8 and 10.

VERA:

I can't leave everyone else in here.

JASON:

Oh, come on! If there is any time to be selfish, this is it! Stop trying to protect everyone. You're not Buffy.

VERA:

I'm not trying to be. I just can't leave them here.

JASON sighs and shifts his position. VERA rolls her eyes at his selfishness.

MUSIC CUE: Abruptly stop playing "Tiny Cities Made of Ashes" by Sun Kil.

25.

INT. Vera's Home – Late Afternoon

We open this scene with a close-up shot of the clock ticking. It is 6:45 PM. CARI and NADINE are sitting at the island nibbling on munchies, clearly wondering where VERA is.

NADINE:

Did she say if she was working late?

CARI:

No, I don't think so.

The phone rings. NADINE goes to the phone to answer it.

CARI:

Ten bucks.

NADINE:

(on phone)

Hello?

(beat)

What?

(beat)

She's on TV? What channel?

(beat)

Okay. Thanks.

NADINE hangs up and grabs the remote, switching on the television. She flips to channel seven, which is in the middle of showing a report on the hostage situation. They are showing a clip from earlier in the day, with VERA, JASON, and KEITH in the background at the reporter desk.

CARI:

She's at the hotel?

NADINE:

Oh, my God.

NADINE picks up the home phone and dials.

26.

INT. Ramada Hotel Lobby – Late Afternoon

VERA and JASON continue to sit in the corner of the room. The men are still busy discussing their plans at the front desk. We slightly hear VERA'S phone vibrating in her pocket, and JASON notices as well. She glances over to the men, who shoot a look her way. It's too dangerous to try and pick up the phone. She looks at JASON, who has a hopeful look on his face. The buzzing stops.

27.

INT. Vera's Home – Late Afternoon

NADINE has the phone pressed up against her ear, and we hear VERA'S voicemail along with her.

VERA:

(voicemail)

This is Vera. Either I can't answer, I'm away from the phone, or I just don't want to talk to you. Leave a message, and I might call you back.

NADINE gives up, and slams the phone down.

CARI:

Calm down, I'm sure she's fine. It's not like she's inside. She's an intern, they wouldn't let her do anything so dangerous.

NADINE:

Yeah, I guess.

NADINE pulls her cell phone out of her jeans pocket and begins typing a text message.

28.

INT. Ramada Hotel Lobby – Late Afternoon

JASON and VERA continue to sit in their positions against the wall. JASON turns to VERA, impatient, and whispers to her.

JASON:

Come on, it's our best shot. Use your phone—call someone for help.

VERA:

Do you see those guns? They can be used to shoot people. If I take my phone out, they will kill me.

JASON:

No, they won't.

VERA:

If they have reason to believe that either of us could get in contact with someone, they'll kill both of us.

JASON sighs and goes back to his position. VERA'S cell phone begins vibrating again. She glances over to the men, who are now busy looking over building plans. She looks at JASON, who nods, and pulls out her cell phone. VERA takes shifts her position so that she can better hide her position. She reads the text message from NADINE, and we cut to the screen on her cell phone:

Where are you? I saw you on TV. Why are you at the hotel? Why aren't you picking up? I'm getting worried—call!

VERA looks up again, and sees that the men are still too busy to notice her. She begins replying.

JASON:

Oh, good, finally something gets done.

VERA shoots him a look and continues typing.

29.

INT. Vera's Home – Late Afternoon

CARI is sitting on the couch watching the news while NADINE eats an apple and paces back and forth in the kitchen.

CARI:

Honey, I'm sure she's fine! She's probably just busy writing up an article or something.

MUSIC CUE: Begin playing "Paint the Silence" by South.

We cut to a shot of only NADINE as her cell phone beeps. It's a message from VERA. NADINE opens up her phone and reads as we cut to the screen on her phone:

Being held hostage with Jason at hotel. Find Keith outside—help!

We cut to a close-up shot of NADINE'S worried look. As she walks into the living room where CARI is, we cut to a wide shot inside the living room of both girls. NADINE begins grabbing her stuff.

CARI:

What's wrong?

NADINE:

Vera.

CARI:

Something is wrong?

NADINE:

I hope you have those ten bucks. She's one of the hostages being held inside the hotel, she's not busy working on an article. And when we get her out of there, I'll be sure to tell her how worried you were.

NADINE, frustrated and angry, goes outside, slamming the door behind her. CARI rushes up, grabbing her coat, and runs outside, locking the door on her way out.

30.

EXT. Ramada Hotel – Evening

We see a close-up shot of the front of NADINE's red Intrepid, closer to the tires, as it comes to a screeching stop outside the yellow tape. CARI and NADINE get out and begin searching for KEITH.

31.

EXT. Ramada Hotel – Reporter Desk – Evening

We see a lengthy wide shot of KEITH as he stands behind a younger man, who is busily typing away on a laptop. KEITH points to the screen and lets him know of a way he can improve the article. We cut to a shot of CARI and NADINE thanking someone for informing them of who KEITH is. We cut to a closer shot of KEITH at the desk. CARI and NADINE run up to him, panicking and out of breath—more so with NADINE.

MUSIC CUE: Begin fading out "Paint the Silence" by South.

NADINE:

Are you Keith?

KEITH:

I am. And you are?

NADINE:

I'm Nadine, this is Cari. We're Vera's roommates.

KEITH:

Oh. Have you happened to have seen her? Because she ditched a while ago and I'd love a chance to ask for her explanation before I inform her boss of her indiscretions.

NADINE:

She text messaged me. She's being held hostage inside the hotel. She said some guy named Jason is with her. She needs help!

A look of panic washes over KEITH'S face.

KEITH:

Oh, my God.

KEITH is suddenly put into action, and begins letting others around him know of the news.

CARI:

(to Nadine)

Do you think she's going to be okay?

NADINE, who is clearly still mad at Cari, looks at her friend determinedly.

NADINE:

I'm going to make sure of it.

CARI gives a look of support and apology.

CARI:

Me too. She's my best friend, too, you know?

NADINE:

I know.

KEITH:

(yelling, to everyone)

If anyone—and I mean anyone—breaths a word of this on air, I will hunt you down. We need to figure this out, and having the entire city know every detail of the situation will not help.

(to Nadine)

Do you have your phone with you?

NADINE nods.

32.

INT. Ramada Hotel Lobby – Evening

MUSIC CUE: Begin playing "Gravity/Falling Down Again" by Alejandro Escovedo.

JASON and VERA continue to sit in their spot, looking more and more impatient as each second ticks by. VERA looks up at the clock behind the front desk, which shows a time of 8:00PM. Worry begins to consume her, and she is now fighting back tears. JASON notices and puts an arm around her.

JASON:

Hey. Hey. It's going to be okay.

RAZZE shoves JASON back against the wall.

RAZZE:

You don't move!

JASON holds his hands up in defence, and RAZZE walks away.

VERA:

(quietly, to Jason)

You don't know that.

JASON:

I do.

VERA is clearly unconvinced.

JASON:

(continued)

We're going to get out of here. I promise.

VERA:

Don't make any promises you can't keep.

MUSIC CUE: Begin fading out "Gravity/Falling Down Again" by Alejandro Escovedo.

JASON gives up. Obviously nothing he does will help, because VERA clearly doesn't trust or like him, as far as he can tell. VERA's cell phone begins vibrating again. She looks up, and pulls out her phone, hiding it as best as she can. We cut to the screen:

We're here. We're getting help—stay calm! We love you.

VERA begins softly crying. It's not much, but the tears are there. JASON is concerned.

JASON:

What happened? What did they say?

(beat)

What's going on, Ver?

VERA shows him the message. He has a confused look on his face.

JASON:

So, that's a good thing, isn't it?

VERA:

We love you. It's like they've almost given up before even starting.

JASON:

I seriously doubt it.

VERA looks over at the men, who all have guns in their hands.

VERA:

I don't want to die.

JASON:

I promise everything will be okay. I promise. I won't let them do anything to you.

VERA:

Why are you being so nice all of a sudden?

JASON:

What do you mean?

VERA:

Usually you're so snarky and mean. Why is that?

JASON pauses for a moment.

JASON:

Everything's going to be okay.

VERA:

I'm serious. Why are you—

JASON:

We'll get out of this soon.

VERA gets a defeated look on her face and goes back to sitting quietly against the wall, wiping the tears from her face. She is no longer crying, though.

33.

INT. Newsroom – Evening

We are viewing a wide shot of the newsroom. The place is still buzzing, and news reports are playing on the televisions. Everyone is either typing or jotting down notes while watching the news. We pan over to VAL, who is over at her editor's desk, typing on her computer. JENNA, a thirty-something redhead reporter, comes over to VAL'S desk. VAL holds up one finger and continues typing. She finishes momentarily, and looks up.

VAL:

Okay, go.

JENNA:

Keith is on line one. He sounds worried.

VAL:

Hmm. I wonder what about? Thanks, Jenna.

JENNA walks away, and VAL picks up her phone, pressing "line one".

VAL:

Keith, how's it going?

34.

EXT. Ramada Hotel – Reporter Desk – Evening

KEITH holds the cell phone to his ear.

KEITH:

I cannot even baby-sit adults, don't ever let me look after your kids!

VAL:

(on the other line)

Why? What's wrong?

KEITH:

I kind of lost track of Vera and Jason…

35.

INT. Newsroom – Evening

VAL:

You lost track of them?

KEITH:

(on the other line)

Vera's roommates got a text message from her. She's in the hotel.

VAL is suddenly filled with fear and worry, with a little bit of anger mixed in there.

VAL:

How did they get in there?

KEITH:

(on the other line)

I don't know.

VAL:

Okay. I'll be right over.

VAL hangs up the phone and stands up.

VAL:

James?

JAMES:

(going up to the desk)

Yeah?

VAL:

I'll be gone for a while. An emergency came up. You're in charge.

VAL grabs her stuff and heads for her car.

36.

EXT. Ramada Hotel – Late Evening

KEITH is sitting at the desk going over some building plans with the police when VAL walks up.

VAL:

So what do we know?

KEITH:

Vera sent a text message to her roommate, Nadine.

KEITH nods behind him and NADINE makes a slight wave, worry written all over her face.

KEITH:

(continued)

Vera and Jason are being held hostage in the hotel. From the little the police have been able to observe, we all think that it's most likely that everyone is being held in the lobby. We're assuming that Jason and Vera would be in there as well, unless maybe the terrorists know that they are journalists.

VAL:

Yeah, they probably have a little something against journalists.

KEITH:

Just a little.

MUSIC CUE: "Run" by Air

OFFICER #1:

So here's the plan, people.

Things are being set in motion and everything is becoming a little more fast-paced. No more slow or mellow scenes until the end of the action sequence.

37.

INT. Ramada Hotel Lobby – Night

RAZZE and LEN are looking out the window, which is mostly covered with black tape, and discreetly talking. JASON and VERA continue to attempt to mask themselves in the corner.

JASON:

(unconvincingly)

Any time now. Any time.

VERA:

Everything will be okay, huh?

JASON:

It will.

VERA:

Come on. Even you don't believe that anymore. Look around! Everything is notokay.

KILBE, over at the front desk, hangs up the phone in annoyance and frustration, and goes over to LEN and RAZZE.

KILBE:

They're refusing to do anything. It's time for us to.

RAZZE:

(looking out the window)

There are so many news crews out there.

KILBE:

(smiling)

Good.

KILBE goes over to JASON and VERA and grabs a hold of JASON'S arm, pulling him up. He drags JASON over to the door, amidst pleas from VERA to let him go, and opens up the front doors. Reporters immediately turn on the blinding lights, and flashing blue and red police lights are going off. A few red taser beams are being pointed toward the front door, but once it's realized that JASON is a hostage, they move to the side. Police continue to hold their guns steadily aimed at KILBE, who walks a step closer to the stairs, using JASON as a shield. He holds a gun to JASON's head.

KILBE:

If anyone so much as attempts to take me down, I swear to you that he will go down with me! My boys will kill everyone inside before you can even make it up these steps. Is that clear? Good. I want my money, and a safe trip out of here. You have one hour before I start making my point even more clear. Either you take that deal, or you're looking at a busy night in the morgue.

OFFICER #1:

One hour? Even if we contact the federal units, I still can't guarantee that a safe trip will be ready in an hour!

KILBE:

Well, you're going to have to figure it out then, aren't you?

Suddenly, every hostage from inside the building comes running outside, knocking over JASON and, most importantly, KILBE. Gunshots begin going off, both from the police and the terrorists, and panic ensues.

38.

INT. Ramada Hotel Lobby – Night

Inside, VERA, purposefully setting herself behind the crowd, surprises RAZZE from behind, slamming a coat rack to the back of his head. He falls to the ground, unconscious.

VERA:

Sorry. I'm not much with the damseling.

The man from before, who VERA saw comforting his family, sneaks up behind LEN, shielding his family behind him. The man throws a chair at LEN, who doesn't fall over but is momentarily stunned. He turns to face the man and is promptly punched in the nose, falling backwards. We see this last shot as a close-up of LEN's face as the man punches him, and LEN falls backwards out of the frame. All is quiet inside the building, but we can still hear the events going on outside.

39.

EXT. Ramada Hotel – Night

Panic continues to ensue as VERA opens the doors to the hotel. There are people running everywhere, though the gunshots have dispersed. The police are waiting for the crowd to do the same, so they can get a clear shot at KILBE. VERA notices JASON struggling with KILBE, trying to get the gun away from him. She runs toward them and uses all of her weight to pull KILBE off of JASON. She accomplishes her task, but not without falling over herself. KILBE reaches for his gun, and VERA quickly kicks it away, standing up. In the midst of all this, a shot goes off.

MUSIC CUE: Stop playing "Run" by Air here.

We cut to a mildly slow-motion shot of JASON as he stands up, getting a shocked and worried look on his face. The same looks can be seen on the faces of characters in the following shots: KEITH, VAL, NADINE and CARI.

MUSIC CUE: Continue with "Run" by Air here.

We now cut to a shot of VERA kneeling on the ground, clutching her right arm, which is bleeding. CARI has run closer to VERA in worry. KILBE grabs her leg and pulls her over. KILBE stands up, having grabbed his gun, and moves closer to CARI, pointing it at her. She begins to cry, practically begging with her eyes to be spared. JASON suddenly kicks KILBE in the stomach. The force causes him to stumble back a few steps, which, in turn, causes him to fall backwards down the cement stairs. He is officially knocked out.

MUSIC CUE: Fade out "Run" by Air.

CARI sighs in relief, and JASON and VERA share a glance.

40.

EXT. Ramada Hotel – Night

MUSIC CUE: "Time Flies Tomorrow" by Paul Westerberg

Ambulance lights are flashing as we slowly zoom towards one of them from a wide shot. VERA is having her arm bandaged up. We cut to a close-up of VERA. Then to a person who wasn't as lucky as her being wheeled away on a gurney. Back to VERA. She cringes upon seeing the dead person, albeit covered by a white sheet.

JASON walks up to VERA, and motions to her arm.

JASON:

How are you feeling?

VERA:

Like I got shot.

JASON:

Yeah.

VERA:

I was lucky, though.

JASON:

(off her stare into nowhere)

Hey, you here?

VERA:

(sighing)

Yeah.

JASON:

I told you everything would be okay.

The corners of VERA's lips slightly tilt upwards in a half-smile, but she's just too decimated to give it all the effort it needs. CARI walks up behind JASON, grabbing his hand. VERA sees this, and frowns slightly.

CARI:

You ready?

JASON, looking slightly guilty, sheepishly says…

JASON:

Yeah.

…and walks off with CARI. VERA sighs, but is too tired to give it a lot of thought. NADINE walks up to the ambulance. The E.M.S. worker finishes bandaging up VERA, and begins putting his tools away. NADINE smiles with relief at VERA, and the two hug. They continue to embrace…

NADINE:

I'm so glad you're okay.

VERA:

Thanks. You, too.

…until now. They smile at one another and stand up, slowly walking past the slightly dispersed crowd.

NADINE:

Was it scary?

VERA:

Yeah. The top five scariest moments of my life all occurred in one day. Who'd have thunk it?

NADINE:

(chuckles slightly)

I'm so sorry. We were trying to get you out of there—

VERA:

I know. You were trying everything, I know. I would do the same for you and Cari, you know?

NADINE:

Yeah, I do.

VAL catches up to them. NADINE smiles, and excuses herself.

NADINE:

I'll just be… over there.

NADINE walks away, leaving VERA and VAL to continue the slow-paced walk.

VAL:

That was very brave of you to try and save the day like that.

VERA:

Thanks.

VAL:

Don't do it again.

VERA:

What?

VAL:

I don't want my top intern getting shot every time she covers a story.

VERA smiles, disbelieving.

VERA:

Top intern?

VAL:

Like I said, that was very brave. It takes a lot of guts to do what you did today, and I mean everything you did. I know you went in there because of Jason, and you didn't even like him. Loyalty to your fellow reporter, and bravery: two qualities that I look highly upon in my employees. And you've shown it all in one week.

VERA:

(smiling)

Wow, thanks.

VAL:

So, you ready for that Retterman interview?

The two share a chuckle before…

VAL:

(continued)

Don't worry about it, get some rest. I'll see you Monday.

VAL walks away, and VERA continues walking.

MUSIC CUE: Fade out "Time Flies Tomorrow" by Paul Westerberg.

She passes by a news reporter. We subtly zoom in on the reporter as she speaks…

REPORTER:

Though two there were two casualties today, police are calling the final scenes of the dramatic event a close miracle.

We begin zooming out from the REPORTER's face, and we are now…

41.

INT. Vera's Home – Early Morning

Someone is watching the live news report on TV.

REPORTER:

The number of injuries is unknown, but counselling is expected to be offered to the victims and their families.

JASON and CARI are cuddling on the couch when VERA walks inside. She drops her keys on the little desk near the door, and notices the new couple. She tries to mask her feelings, but in a close up of her face we see a tinge of jealousy.

CARI:

Hey, hun. How are you?

VERA:

Tired. Has Nadine gone to bed?

CARI:

Yeah, about a half hour ago.

VERA:

Okay. I'm going to go introduce myself to the sandman. See you in the morning.

CARI:

'Night.

VERA begins the trek up the stairs, and JASON'S glance follows her.

42.

INT. Vera's Room – Early Morning

MUSIC CUE: Quietly begin playing "Sometimes the Sun" by The Lashes.

VERA walks in and closes the door behind her. She drops her things down on the floor and plops down on her bed, closing her eyes. She doesn't bother to even pull a blanket over herself. Her head turns to the side and she opens her eyes to see a picture of herself and two other women. She is younger in the photo—maybe early-mid teens.

A beep sounds, and VERA lifts her head up. A blinking message on the screen of her laptop, which is plugged into the wall behind the desk, is telling her that she has a new e-mail message. She clumsily gets up and sits down in the chair, clicking on the blinking message. We cut to the computer screen:

Hi honey,

I'm in California. I just got here two days ago, and I already feel like I've seen everything. I guess I'm just more of a big city girl, minus the beaches. How's Lailea?

I'm sorry for everything. I miss you.

Love,

Mom

Cut to VERA's sad, disappointed face. Cut back to the screen, as the mouse heads toward the delete button. As soon as it clicks—louder than usual for dramatic effect—we cut to BLACK.

THE END.

17