Media Showers Pilot

MEDIA SHOWERS

"THE PILOT"

Written by

Merced ElizondoAnd

Mark Malstrom

TEASER

EST. BLACK1 1

Pitch black.

SUPER: “The Pilot”

The first upbeat of the kit score is heard --

SMASH CUT TO:

INT. NEWSPAPER BUILDING - DAY2 2

Establishing shots of the bustling newspaper’s office building, leading into the open door of an editor's office.

PAN IN TO:

INT. FIRST INTERVIEWER’S OFFICE - DAY3 3

MARA ZAMORA (26) sits in a chair across from INTERVIEWER #1's desk.

INTERVIEWER #1Tell me a bit about yourself.

MARAI'm smart, driven, and -- I don't like people very much.

Interviewer #1 gives Mara a weird look and starts to write something down. Mara looks off to the side realizing that she should not have said that.

PAN TO:

INT. SECOND OFFICE - DAY [CONTINUOUS]4 4

INTERVIEWER #2What do you expect in the way of salary?

MARAI was thinking sixty a year.

Interviewer #2 looks back at her blankly.

MARAOr fifty would be fine.

MEDIA SHOWERS PILOT 1.

No expression change for Interviewer #2.

MARAForty's stretch, but I could make it work.

Interviewer #2 still unresponsive.

MARAYa know what, twenty-five would be great.

PAN TO:

INT. THIRD OFFICE - DAY [CONTINUOUS]5 5

INTERVIEWER #3What would you do if someone called the newsroom and said there was an explosion in a nearby town?

MARAWhich town?

INTERVIEWER #3That's not really important. Any town nearby.

MARAYeah, but in Yonkers or closer to Harrison or up-state or (the Bronx --)

PAN TO:

INT. FOURTH OFFICE - DAY [CONTINUOUS]6 6

INTERVIEWER #4Who would be your key contacts in the area?

MARAI know a homeless guy that lives under a bridge in Zilker and he always gets me information on the stabbings as soon as they happen.

INTERVIEWER #4Are you serious?


Mark Malstrom

I don't think you need four interviews. There's a thing called the Rule of Threes in screenwriting. As applied here, just have three interviews and the audience will get the point. I personally like interviews 1, 2, and 4.

Mark Malstrom

MARAYeah. He’s only been arrested two times and he’s rarely ever drunk. He’s been a pretty reliable source.

Interviewer #4 gives Mara a weird look and starts to write something down.

FADE OUT

END OF TEASER


Mark Malstrom

The teaser button is a bit weak. Remember the trick of ending on an implicit or explicit question for the audience. How about we end on interviewer #4 asking Mara "Are you drunk?" Then it connects nicely to the next scene where the soccer team comes in plastered.

ACT ONE

FADE IN:

INT. EL REY MEXICAN RESTAURANT - KITCHEN - DAY7 7

Mara stands at the pass waiting for an order to come up. A stark contrast between her in a pants suit at the interviews and in a dirty apron with shoddily put-up hair now. GABE comes around the corner.

GABEAye, Mara! Vamos chica!

MARA(snapping up)

Sorry, I’m a little distracted. It's been a pretty shitty day.

GABEMore interviews?

Mara nods.

GABENo callbacks?

Mara shakes her head.

GABEDon't let that distract you. We need to get these orders out. They're back - and plastered.

CUT TO:

INT. EL REY - DINING ROOM - MOMENTS LATER8 8

The door to the restaurant swings wide open and a group of 10 to 15 Hispanic soccer players come rushing in the door, obviously drunk, and knocking things over.

Mara's words can be seen being written on the screen, semi-opaque, over the scene in the restaurant. You can hear the keys of her laptop as she types.

MARA (V.O.)They came in again, breaking stools and glasses because they won two to nothing. Whoop-dee-fucking-do.


Mark Malstrom

Suggestion from Robert: GABEStay focused. We need to get those orders out -- they're back, and they're plastered.

More shots of the team celebrating. One of them stands up on a bar stool and it immediately breaks beneath him. He climbs up on another one gives a speech in Spanish (subbed).

JULIOA hoy -- mis compañeros -- a hoy somos campeones! Ganamos por goleada contra los Europeos cabrones y nos trajo un gran orgullo para México!

CUT TO:

INT. EL REY - ENTRANCE [CONTINUOUS]9 9

Montage of Mara working like a mad woman, balancing several trays of food as she serves the soccer team. Mara spills a tray of drinks on the ground.

MARADamn it!

As she bends down to clean them up, a DOG WALKER comes in with three DOGS, all yapping and barking. Mara is visibly annoyed as the dogs rush over and start to lap up the spilt drinks.

MARANo! Get away! Stop!

DOG WALKERHey! Be careful with them!

(leaning down to talk to the dogs in a baby voice)

They’re such good little puppies. Yes they are, yes they are!

SUPER: Mara typing

MARA (V.O.)The imbecile with all the dogs was in too. I swear to God, this guy has issues. He was talking to his dogs like they were babies--

SUPER: Deletes “like they were babies”

MARA (V.O.) (CONT'D) He leaned down and started making out with his dogs. Full tongue kissing. This guy is a fucking creep.


The man is now fully making out with his tiny dogs down in the puddle of beer on the floor.

A bell is heard and Mara looks back up at the door. A GENTLEMAN in a suit walks in with a companion -- who is very obviously a HOOKER. Mara stands up and shoos the dogs away. She walks over to serve the man.

MARAMr. Murphy. What can I get you and your -- companion?

MURPHY(slurring his words)

Hey there, sweet cheeks. We’ll have a round of Patron shots. And then two of your largest Margaritas.

MARAOf course (sir --)

Mr. Murphy slaps her ass as she walks away and goes back to canoodling with his mistress. As Mara is walking away we hear her voice over again.

MARA (V.O.)And sure enough Congressman Murphy was in today with yet another whore --

SUPER: Deletes “yet another whore”

MARA (V.O.) (CONT'D) -- a new treat. A chippendale from the strip club across the street. Guess he’s not cheating on his wife with only women anymore.

The scene in the booth transforms from a female hooker to a male CHIPPENDALE whispering sweet nothings into Congressman Murphy’s ear.

MURPHYSomething wrong, sweetheart?

MARA(snapping out of it)

Nope.

Mara slams the shots on the table.

CUT TO:


INT. HOTEL ROOM - SAME TIME10 10

Six people lay strewn about the completely trahsed room. It’s silent for a beat, until BOBBY (38) starts loud pounding on the door.

BOBBY (O.S.)Wake up, you ingrates!

The group in the hotel room shift slightly in their places, but do not get up. Bobby comes across a MAID in the hall.

BOBBYHey, I need the key to get into this room.

MAID (O.S.)No entiendo.

BOBBY (O.S.)(louder)

Key!

A kerfuffle is heard outside the room. Suddenly, the door swings open, Bobby key in hand, and the Maid flustered in the background.

BOBBYDamn it! Get up, you idiots.

Bobby grabs a cloche and tray from the nearby room service cart and starts banging them together, like cymbals. Finally the group in the room starts to get up, all in a haze -- hungover.

TAZ(groggily)

What the hell, Bobby? It’s like--

Taz looks at the BROKEN WATCH on his wrist.

TAZ (CONT'D)Oh, shit! We have to be at the club in 10 minutes!

BOBBYOh (god)-- Why the hell do you think I’m here?


Mark Malstrom

Condense B characters and plot. Characters we don’t care about. Focus on the band being down on their luck. Connect it as well as we can to Mara’s story. Have Mara bump into them as she’s walking.

MONTAGE

The group gets up and starts to gather their things. People go in and out of the bathroom trying to shit, shower, and shave. They stumble into each other while doing this all. They pick up guitars and other instruments and it becomes clear that this is a band.

END MONTAGE

Bobby walks around trying to pick up some of the mess the band has made, in a futile attempt.

BOBBYOW! FUCK!

Bobby reaches down and pulls a hypodermic needle out of his shoe.

BOBBY (CONT'D)(to Taz, holding up the needle)

I thought you were going to get off this shit!

TAZDon’t look at me.

(points to Gopher)

GOPHER(shrugs)

What? I need my fix.

Gopher walks over towards the bathroom, stops for a second by Misfit, and throws up all over his shoes and pants.

MISFITOh, god! My shoes!

GOPHER(wiping the vomit out of his beard)

I did you a favor.

MISFITYou asshole!

Misfit lunges at Gopher and the two start to brawl. In another corner of the room, KAT and KNIFE are graphically making out. Bobby backs Taz into a corner to talk to him.

BOBBYYou’ve got to get this shit under control.

(MORE)


It’s your band, I’m just your manager. You’re the captain now.

Bobby backs away and Taz reluctantly steps up to his post.

TAZEverybody, SHUT UP!

The whole room stops in their tracks.

TAZ (CONT'D)We need to get our shit together!

BOBBYThis gig tonight needs to be one of the best you’ve ever played--

TAZ(sidebar Bobby)

Hey... Can you let me (do this)--

BOBBYOh, yeah. Sorry.

TAZThis gig tonight needs to be one of the best we’ve ever played. We get to debut our new song tonight, and it needs to be completely polished.

BOBBYI’ve worked tirelessly to get you guys playing wherever I could (this past year)--

TAZ(aside)

Bobby, come on.

Bobby puts his hands up in surrender.

TAZBobby’s been working hard to get us back on top. Let’s stop letting him down.

BOBBYYeah, stop letting me down!

Taz shoots Bobby a final look. He backs down.

TAZGopher.

BOBBY (CONT'D)


Gopher looks up from the half eaten hoagie he has picked up from the floor and continued to eat.

TAZ (CONT'D)You need to get off the needle. No more drugs or alcohol for you -- for good. As soon as we’re finished playing tonight’s show, you’re going to rehab. (Paid for by Bobby).

BOBBY(over)

Yes, absolutely. Wait, what?

TAZKnife, you and Kat are sleeping on opposite sides of the room. The back and forth, love/hate thing you two have going isn’t good for the band. And, frankly, it’s not good for either of you.

Kat and Knife look at each other and slowly move apart.

TAZ (CONT'D)Misfit. Just... Clean yourself up. Have some self respect.

Misfit begins to object, but Gopher punches him in the arm before he gets the chance.

TAZ (CONT'D)Finally, Sherry, my dear. You’re perfect. Keep doing whatever you’re doing.

Audible groans from the band members and Bobby.

TAZ (CONT'D)Oh, shut up. Now, Misfit: grab the guitars, stick bag, and a six pack. The rest of you insufferable bags of dicks: let’s go.

They file out the door and slam it behind them.

CUT TO:

INT. MARA’S APARTMENT - NIGHT11 11

Mara flings her apartment door open. It may be dingy and above a loud laundromat, but it’s home to her.


ABUELA (68) is sitting in her recliner watching a telenovela with the volume on full blast.

MARAAbuela! Gabe made rellenos, just for you!

Abuela turns off the television and swivels around in her chair.

ABUELAAye, Mara! ¿Cómo fueron las entrevistas?

MARA(curtly)

I don’t want to talk about them. Come sit and eat.

ABUELARealmente no debe mantener cosas embotelladas.

MARA(changing the subject)

What did you do today?

ABUELAHoy es club de costura--

MARAOh, right. How’s Tía Ana?

ABUELASiendo un desastre. Sabe que no ha tenido sexo en 10 años?

MARAOh, god! Abuela! I’m eating! I don’t want to think about Ana’s old saggy body.

Abuela swats Mara on her head.

ABUELARespeta a los ancianos!

CUT TO:


INT. APARTMENT BEDROOM - NIGHT12 12

Mara looks in on Abuela asleep in her bed. She clutches her Rosary in her hand and looks back at Abuela. Suddenly the phone rings.

INT. APARTMENT KITCHEN - NIGHT13 13

Mara walks over and answers the phone on the wall.

MARAHello.

RUSS(overly cheerful)

Hi! This is Russ and I’m calling from VacuTech!

MARAListen here, you little prick: If you call this number again I swear to God, I’ll have your head so fast --

A dial tone is heard on the other end. Mara hangs up the phone. After a beat the phone rings again.

MARAHey assclown, what the hell didn’t you understand our last conversation? Put me on with your manager or I’ll (have your job so fast--)

INT. SUSAN’S OFFICE AT SLUGNEWS - NIGHT [CONTINUOUS]14 14

SUSAN(over)

It just so happens that I am the manager.

INTERCUT MARA/SUSAN15 15

MARAOh -- my God. I’m so sorry. I didn’t mean to--

SUSANThat’s fine. I like a little bite from my reporters.


MARAI’m sorry... Who is this?

SUSANSusan Brennan. The Editor-in-Cheif of Slugnews --

MARAOh! Is this about my interview?

SUSANYour what? No. My secretary forwarded a link from your blog to me. I like your writing style. Can you come in tomorrow? Around 9:00 PM?

MARAI’ll be there.

INT. SUSAN’S OFFICE AT SLUGNEWS - NIGHT16 16

Susan’s secretary BREE (19) pops her head into Susan’s office.

BREEMs. Brennan, your two o’clock.

Susan is frantically rearranging the massive piles of PAPERS on her desk. She looks up for a quick moment. As Mara — dressed in a pants suit — brushes past Bree, entering Susan’s office.

SUSANHave a seat.

MARAI’d prefer to stand.

SUSANHave it your way.

Without looking up, Susan sits down in her chair. Mara awkwardly follows her lead and sits down as well.

SUSAN (CONT'D)(gesturing)

Bree won’t stop talking about your blog, and I have to admit, I liked it quite a bit myself --


MARAI really do have better examples of reporting, if you’ll just --

Mara pulls out Daily Texan CLIPPINGS from the BINDER she carries with her. Susan immediately dismisses her.

SUSANNo, that’s fine. I don’t need to see anything else. The blog is just the kind of writing style we need.

MARAYou need? Need for what?

SUSAN(looking down, jotting notes on a knee pad)

We’re launching a new Life and Arts section next month. We need editors who can write and entertain.

(looks up)And you, Mara...

(looking down at papers)Zamora.

(looks back up)You can write.

(beat, looking back down again)

And entertain.

MARAOh, well... That’s not really what I do. I graduated magna cum laude from Moody. I’ve been studying assignment reporting

SUSANI don’t care about any of that. We’ve got an open position for a Life and Arts reporter and I’m offering it to you.

Mara hesitates.

SUSANOh, for (fuck’s sake)--

(softer)Listen: We launch this in next month’s paper. That’s two weeks until print. I need to fill the spot in the next three days to make the roll out smooth. Think about it.


MARASure.

(beat)I appreciate (the offer)--

SUSANOh, get out.

A beat. Mara gathers her things and begins to exit Susan’s office.

SUSANBree! Where the hell are those one sheets sales sent over?

INT. EL REY - DAY17 17

It’s much drearier inside the restaurant than when we last saw it. It’s raining outside and dark. Lots of yelling throughout the restaurant, in Spanish and English. The scene is painted with a much more drab palette. The scene plays out silently, without dialogue.

Mara walks out of the kitchen holding a ticket. A new BUSBOY carrying a try of DIRTY PLATES, not watching where he’s going slams into Mara hard with hid body, throwing him off balance. The Busboy drops the tray on the ground. Several of the dishes shatter. Soup slops out of a half-full bowl and splatters onto Mara’s clothes and face. She closes her eyes angrily and wipes the soup off of her face.

INT. MARA’S APARTMENT - LATE NIGHT18 18

Mara walks in, even dirtier than she was in the previous scene, and throws her apron and bag on the couch.

AUBELA(concerned)

Chica! ¿Qué pasa?

MARA(furious)

Everything! Everything’s wrong!

Abuela looks shocked. What did she do?

MARALo siento, abuela. It’s just these shifts Derek has me working. I’m always tired--


AUBELA(matter-of-factly)

No tienes nada de qué quejarse. Por lo menos tienes un trabajo. Piense en las personas sobre el bienestar.

MARA(beat)

Well...

ABUELADios (mío)-- ¿No dejar que hiciste?

MARANo, no! It’s good news. Sort of.

AUBELA¿Pues...?

MARAI got offered another job. At a newspaper. Well, not a newspaper, but (a news organization)--

AUBELA¡Es genial! ¿Qué miras decepcionado?

MARA(air-quotes)

It’s for the “Life and Arts” section. They want me -- me! -- to write about movies and galley openings and--

AUBELA(over)

¿Qué demonios te quejas?

MARAAubela, I’m a real journalist. Do you remember how much of your savings you gave me to go to a real journalism school? I can’t write about--

AUBELA(sternly)

Nunca! Nunca ser tan arrogante como para pensar que algo está por debajo de ti.


(Never be so arrogant as to think something is beneath you.)

(calmer)Eres una chica inteligente. Aproveche la oportunidad y tomar lo que es tuyo. No seas como yo...

Mara walks over to Abuela and takes her hand.

MARAAubela, don’t (do that)--

AUBELANo hacer mis errores.

The grinding is audible as the gears turn in Mara’s head. Abuela gets up from her recliner and goes into her room, obviously upset by whatever they were talking about. Mara stays crouched next to the recliner for a beat, gets up, and goes to the phone.

MARA(into the receiver)

Mara Zamora for Ms. Brennan.

FADE OUT

END OF ACT ONE


ACT TWO

FADE IN:

INT. SLUGNEWS LOBBY - DAY19 19

Mara comes in through the large double glass doors. As she approaches reception, HARMONY (29) glances up at her for a split-second and then returns to her personal activities.

HARMONY(on headset, playfully)

No, shut up! I’m telling you he’s getting his life together -- No! For real this time!

MARA(assertively)

Hi, I don’t have an appointment or anything, but I need (to talk to)--

Harmony holds up a finger to Mara.

HARMONYNo, he actually moved out of his mama’s house! He’s living with his dealer now which (is great because) --

MARANo, really. I need to see--

HARMONY(to Mara)

I’m kind of in the middle of something here.

(back on headset)I mean it depends on what you consider a job job, ya know.

MARAOh, yeah totally. A job job.

Harmony, oblivious as always, doesn’t even notice Mara mocking her.

HARMONYGirl, listen: You just need to tell your brother to start locking his door.


MARA(valley girl accent)

Oh, God. Don’t you hate when you walk in on your brother--

Bree walks into the reception area from the bullpen.

BREEMara. Susan’s been expecting you.

MARAShe has?

Bree leads Mara through another set of large glass doors into the...

INT. SLUGNEWS BULLPEN - DAY [CONTINUOUS]20 20

MARAI know I wasn’t scheduled to start for another (week)--

Mara is stopped, dead in her tracks, as she is awestruck by the vibrant, active, living news bullpen. Tickers fly by on the walls. Phones ringing off the hook. A NEWS TEAM brushes past Mara, frantically, on their way out the door, presumably to cover a breaking story.

BREEPretty great, right?

(beat)Susan’s just in her office.

Mara follows Bree, mouth still agape.

INT. SUSAN’S OFFICE - DAY [CONTINUOUS]21 21

Bree opens the door for Mara and heads off somewhere else. Without looking up from whatever she’s working on, Susan addresses Mara.

SUSANI was surprised to get your call. Surprised. Also glad.

Susan looks up at Mara.

MARAWell, I really needed the money--

Susan gets up and walks out of her office. Mara follows behind.


INT. SLUGNEWS BULLPEN - DAY [CONTINUOUS]22 22

SUSANDon’t bullshit me, Miss Zamora. I know your kind.

Susan looks back at Mara, quickly giving her a once-over. She turns her head back.

SUSANYou think Life and Arts editor is beneath you.

MARANo, I really (don’t)--

The two pass DALIA’s (26) desk. She is frantically taking information down from her phone conversation.

DALIAAnd the explosion occurred on the runway? You’re sure?

SUSAN(to Mara)

This is Dalia Mann, our senior field reporter.

(to Dalia)Say “hi,” Dalia.

Dalia gives Susan the finger and continues her call.

SUSANOh well. On we go.

Mara looks at Susan, stunned at the interaction. The pair continues on. Dalia jumps up in the background.

DALIAAlright, we’re going to the old landing strip north of Queens. Get me one van and two photographers. And someone get legal on the phone!

Mara turns around to see the action taking place behind her. When she turns back, Susan has not stopped walking. Mara rushes to catch up with Susan. They walk through a corridor in the rear of the bullpen.

SUSAN(continuing her thought)

But that’s fine. Because you’re determined. I see the fire in your eyes.


MARAHuh?

INT. SLUGNEWS ANNEX - DAY [CONTINUOUS]23 23

SUSANAh, yes. Here we are.

Mara looks around.

MARAWhere?

SUSANIt’s been a lot of things.

(musing, as she walks around the room)

The sports news corridor, the photography darkroom, our breakroom, storage for broken printing presses, and now -- the Life and Arts “Global Headquarters”

MARAGlobal headquarters?

SUSANWell. It’s what you’ve got to work with.

Susan’s phone buzzes in her hand.

SUSAN (CONT'D)(looking at her phone)

Oh, no...

MARAWhat is it? If somebody’s out I can --

SUSAN(looking at her phone)

You stay right here, I’ll be back.

Susan rushes off back down the hallway.

MARA(indignantly, to herself)

Alright... Never mind.

Mara begins to wander the Life and Arts wing of the bureau. She takes in several old photographs on the wall.


As she moves down the hall, looking at them, sounds of ferocious typing can be heard, growing louder. Distracted by this, she follows the sound to an office. The door is slightly ajar and the light coming from the office is the only light in the hallway.

Mara opens the door ever-so slightly. Sitting inside, JONATHAN (36), wearing a sweater and very concentrated on his work. His office is filled with posters from Casablanca, Citizen Kane, The Godfather, and the like. He notices Mara at the door, stops typing, and looks up at her for a split-second.

SUSANWhat part of “right there” didn’t you understand?

Mara jumps, startled.

MARAIs everything (okay)?

SUSAN(over)

I guess you two have met already, then.

JONATHANSusan, who is this?

SUSANMara, Jonathan is our star film critic.

JONATHAN(to Susan)

I’ve told you time and again that I haven’t the energy nor the time to talk to your aspiring screenwriter friends.

SUSAN(to Mara)

The only editor for our Life and Arts division, until now.

JONATHAN(to Susan)

We still need to talk (about that).

SUSAN(over)

No, we do (not).


JONATHAN(over)

There’s no reason to separate Life and Arts off into it’s own section. My reviews were fine on the front page.

SUSANAnd they’ll be fine on page 23 too.

(to Mara)Get settled in, I’ll be back in an hour.

JONATHANWait, where are you going? You can’t just walk off and win an argument, Susan! At least, take your little friend with you.

SUSANI’m sorry, Dave. I’m afraid I can’t do that. She’s sharing your office, not mine.

Jonathan jumps up from his desk.

JONATHANShe’s WHAT?

INT. CLUB RADIANCE - BACKSTAGE - DAY24 24

The band enters through the alleyway. They’re all wearing sunglasses, have a coffee in hand and instruments in tow. They walk through the curtains, on stage.

INT. CLUB RADIANCE - MAINSTAGE - DAY [CONTINUOUS]25 25

The band begins to set up their instruments, slowly. Gopher bends over to set up his kit mics and exposes his ass crack. Knife sees it and silently calls Misfit’s attention to it. Knife picks a penny up off of the stage, throws it, and lands it right in Gopher’s coin slot.

GOPHEROh! What is that? Oh, oh! It’s so cold! Get it out!

Knife and Misfit burst into laughter as Gopher dances around on stage. Both watching the buffoonery, Sherry leans over to talk to Taz.


SHERRYYou know we won’t survive if this keeps up.

TAZI know.

SHERRYGot a plan?

TAZNot this time.

SHERRYWell, you better come up with one soon. If this band collapses, your body ain’t the one I’m pulling out of the rubble.

TAZMaybe we’ve been chasing this dream for too long. All of our friends have moved on. Flytrap had his first grandkid last week.

SHERRYWhat? You want babies now? Your biological clock is ticking, you pussy?

TAZJesus, alright. I’ll come up with something.

INT. CLUB RADIANCE - BAR AREA - DAY26 26

Bobby enters through the side door, in a Brooks Brothers suit and sunglasses.

BOBBYVal!

Behind the bar, VAL (45), takes inventory of stock on a clipboard. She snaps around when she heard Bobby.

VALHow the hell are you, you sadistic son of a bitch?

BOBBYHey. We said we wouldn’t talk about that night anymore.


They laugh.

VALAre you reppin’ The Hyenas?

Val gestures towards the stage. The men are now all sitting on an amp and ogling the women as they continually jump for the curtain rope, trying to pull it shut.

BOBBY(embarrassed)

Yeah... high school friends. You know how it is.

VALYeah. Listen, I was going to talk to them but since you’re here I’ll just let you tell them.

BOBBYThat does not sound good.

VALIt’s not. This is there last night playing here, barring a miracle. We actually lost money the last time they played. The owner isn’t going to keep footing the bill for them.

BOBBY(sighing)

I figured as much. This was the only club I called that was still willing to book them.

VALSorry, Bobby.

BOBBYIt’s not your fault.

INT. UPSCALE RESTAURANT27 27

Think Eleven Madison Park. A black-tie restaurant, the band being the only people eating there in leather garments. They tear through the gourmet food with their hands.

Bobby puts down his napkin and clears his throat to speak. Before he begins, Sherry elbows Taz in the ribs.

TAZFUCK!


Taz doubles over in pain. Sherry puts her hands to her face, realizing that she may have overdone it.

GOPHER(mouth half-full)

What’s up Taz? You okay?

The others are staring at Taz. He realizes that he now has to speak.

TAZI think everybody’s been doing really great and... Just keep doing what you’re doing--

SHERRYThat’s your brilliant plan? Positive reenforcement?

TAZIt’s better than anything you’ve come up with!

SHERRYOh, you known what? This is why I cheat on you! You’re about as good at coming up with plans as you are in bed!

Taz and Sherry devolve into a screaming match. Bobby gets angrier and angrier until he explodes out of his chair.

BOBBYJust, SHUT UP! BOTH OF YOU SHUT UP! Do you think anyone cares about your little lovers quarrel?

SHERRY(trailing off)

Well, I (think some people do).

BOBBY(over)

You’re wrong! Couldn’t be more wrong! You all keep getting distracted. Focusing on completely unimportant facets of your mundane lives, you can’t even see the issues in front of you!

The whole restaurant is silent. Bobby looks around, sits back down in his chair, and puts his napkin back in his lap. The restaurant resumes normal chatter.


BOBBY (CONT'D)This is the last club that will still book you. If they drop you after tonight... That’s it. You’re over.

The band is silent for a beat.

TAZRight, so just like I was saying: Keep doing great.

Sherry swats Taz on the side of his head.

INT. SLUGNEWS ANNEX - JONATHAN AND MARA’S OFFICE - DAY28 28

Mara is seated in the corner of the office at what looks to be a children’s table with her laptop. She and Jonathan keep exchanging awkward eye contact. Susan throws open the door to their office.

SUSANMara.

MARAOh, thank God. Susan.

SUSANCongrats. You’re going out on assignment.

Susan slams a flyer from Club Radiance with the band member’s faces on it. Transition from the Club Radiance logo on the flyer to the Club Radiance logo on the building.

EXT. CLUB RADIANCE - DUSK29 29

Mara walks up to the door and reaches for the handle when a BOUNCER of the small head, large neck variety puts his arm in front of the door. Mara looks up at him.

BOUNCERSorry, little missy. You ain’t getting in without a press pass or a ticket. And I don’t see no press pass on you, so unless you got a ticket.

MARAOh, no. It’s fine. I’m with Slugnews.


BOUNCERI don’t care what cult sent you. You ain’t getting in without the proper ID.

MARAI don’t think you understand. I have to cover this event. I work for a newspaper, sort of.

BOUNCERSort of?

(shaking his head)Nope, I don’t care. Leave. And don’t come back without a ticket or press pass.

Mara walks away indignantly.

EXT. CLUB RADIANCE - SIDE ALLEY - DUSK30 30

Mara attempts to scale the wall of the club, using the wrought iron bars on the windows, to no avail. She slumps down against the wall. In the distance, Mara sees The Hyenas approaching the alley and jumps up to talk to them.

MARAHey, aren’t you all The Hyenas?

Knife blindly pulls a sharpie out of his vest pocket and tries to sign Mara’s tits.

KNIFEWho should I make it out to?

MARA(shoving Knife)

Get off me. No. I’m a reporter.

Bobby shoves his way to the front of the group.

BOBBYFrom Susan’s bureau?

MARAYeah.

BOBBYOh, great come with us. We’ll get you set up on the front row.

(turning around to address the band)

Don’t fuck this up. (MORE)


She could single-handedly bring your careers back from the grave.

EXT. CLUB RADIANCE - DUSK [CONTINUOUS]31 31

Bobby approaches the Bouncer.

BOBBYLet us through, meathead.

BOUNCERBut she doesn’t--

BOBBYI don’t give a flying fuck what “she doesn’t.” Let us in.

Bobby holds up his manager badge and the Bouncer reluctantly lets the group into the club.

INT. CLUB RADIANCE - HALLWAY - DUSK [CONTINUOUS]32 32

The band begins to wander off into various parts of the club. It’s now clear that they’re drunk. A STAGEHAND rushes to meet the band in the hallway.

STAGEHANDNo, no, no. Everyone this way. Follow me.

The band files into the dressing room, with Bobby and Mara at the end. As Mara tries to enter the room, Bobby stops her.

BOBBYWe’ve got a great front row spot for you. Go talk to the ticket manager and they’ll get you set up.

Bobby turns into the room and closes the door. Mara looks around and decides to wait in the hall for more action.

SUPER: Mara typing

MARA (V.O.)The band seemed pretty easygoing during our meet-and-greet, but the manager was pretty uptight.

SUPER: Deletes “pretty uptight”

BOBBY (CONT'D)


MARA (V.O.) (CONT'D) -- was kind of an asshole. It felt like he was hiding something.

The door to the dressing room swings open, and Gopher leaves without fully shutting the door behind him. Inside Mara sees each member of the band taking turns doing lines of cocaine.

SUPER: Mara typing

MARA (V.O.)They sure knew how to get ready for a show. The lines of cocaine--

SUPER: Deletes “lines of cocaine”

MARA (V.O.) (CONT'D) Mountains of cocaine they had in their dressing room could have been taken straight out of a scene from Scarface.

Gopher walks back past Mara muttering to himself.

GOPHERI should not have had that extra burrito for 3rd lunch.

The rest of the band walks out of the dressing room just as Gopher gets back.

GOPHEROh, man. Did I miss out on--

Noticing Mara, Bobby cuts him off.

BOBBYLet’s go... Make sure the instruments are in tune.

The Stagehand passes by the band on their way to then stage. She/he is carrying a plastic water bottle.

GOPHER(to the Stagehand)

Hey can I have that?

STAGEHANDOh, no. I was going to--

Gopher grabs the bottle from the Stagehand’s hands.

GOPHERThanks, dude.


Gopher proceeds to chug the entire water bottle, crumple it up, and throw it on the ground. The Stagehand looks pissed.

MARA (V.O.)These guys are real rock stars. They take what they want without asking.

SMASH CUT TO:

INT. SLUGNEWS ANNEX - MARA’S OFFICE - NIGHT [CONTINUOUS]33 33

MARANo... No one’s going to care about that.

Mara starts typing again.

MARA (CONT'D)He grabbed the water bottle out of the stagehand’s hands--

CUT TO:

INT. CLUB RADIANCE - HALLWAY - DUSK [CONTINUOUS]34 34

The previous scene, with Gopher drinking the water, plays back in reverse up to the point where Gopher took the bottle away from the Stagehand.

SUPER: Mara typing

MARA (V.O.)And threw the entire thing in her/his face.

Gopher throws the water from the bottle all over the Stagehand.

GOPHERTerrible water.

Knife and Misfit are messing around behind Gopher and the Stagehand. Misfit shoves Knife into the wall. Knife returns the gesture with twice the power, knocking Misfit to the ground and giving him a bloody nose. The rest of the band laughs at the pitiful scene.

SUPER: Mara typing


MARA (V.O.)They were playing around, like children.

Knife leans down to help Misfit get up.

SUPER: Deletes it all.

MARA (V.O.) (CONT'D) They’re a brutal bunch. Throwing elbows and getting in fist fights moments before they go on.

The scene rewinds and plays out with Knife and Misfit violently going at it.

The Stagehand walks up to Mara and breaks her “dream sequence.”

STAGEHANDI’m going to need you to go to the floor now.

MARAOh, yeah. Sorry.

INT. CLUB RADIANCE - FLOOR - DUSK35 35

Mara gets into her spot and looks up to the stage.

INT. CLUB RADIANCE - MAINSTAGE - DUSK [CONTINUOUS]36 36

The band plays a series of terrible original 80’s power ballads in a montage. The crowd is unengaged and starting to thin. As their set goes on, the crowd gets sparser.

TAZWe’re going to take a quick break. Go have a drink at the bar!

Taz gathers the band in a huddle.

TAZDoes everyone remember the chords?

The band affirms: “Yep.”

TAZAlright, I think it’s time to bring it out.


SHERRYAre you sure.

KNIFEIt’s the best shot we’ve got.

KATIf we want to stay relevant.

GOPHERHell, even if we just want a chance to play it again.

Misfit mumbles something inaudible due to the tampons shoved in his nose.

TAZAlright, we’re all in agreement, then?

The band affirms: “Yep.”

TAZLet’s do it. On 3. 1-2-3.

They all yell something different: “Break!” “Go team!” “New song!” “Hyenas!”

TAZOkay, that’s my fault. I should have planned something to say.

They all go back to their positions on stage.

TAZThis is a new song we’ve been working on. We hope you like it. It’s called “Awake”.

As they start playing, the crowd gradually starts filtering back over to the stage. They like it.

INT. CLUB RADIANCE - BAR AREA - DUSK [CONTINUOUS]37 37

Bobby leans over to Val.

BOBBYI always had faith in them.

VALUh huh.


BOBBYNo, really.

VALI totally believe you.

The band keeps playing and the crowd even starts to make noises of joy.

VAL (CONT'D)Well, at the very least we may not loose money this time around. But it looks like this will be a profitable show.

More montage shots of the band preforming their new song.

END OF ACT TWO


ACT THREE

INT. SLUGMEDIA BUILDING - GREG’S OFFICE - DAY38 38

GREG HARGROVE (64) sits at his desk, reading over a packet entitled “BUYOUT TERMS AND CONDITIONS”. Susan suddenly barges in.

ERINI’m so sorry, sir. She flew past me. I couldn’t--

GREGIt’s fine, Erin. You can go.

(to Susan)Well, I can’t assume this will be a friendly visit.

Susan holds a paper in her hands.

SUSAN(quoting the paper)

“Turner Broadcasting, one of the world’s leading authorities on news...”

(to Greg)Oh, that’s rich.

GREGSusan...

SUSAN(quoting the paper)

“...is in buyout talks with an unnamed executive at Slugmedia Incorporated.”

GREGAre you going to let me make my case?

SUSANA BOYOUT?

GREGI guess not...

SUSAN(yelling)

Journalistic integrity is all we have left!

(MORE)


Selling the entire company, to Turner? Have you no shame?

GREGPlease, sit down.

SUSAN(still yelling)

What? So we can become the newest marketing arm of Ted Turner’s propaganda machine?

GREG(yelling back)

God damnit, Susan! Sit down!

Susan sits down, shocked by Greg’s outburst.

GREG(sigh)

The paper’s losing money. It’s a dying investment. I know that’s not (what you want to hear--)

SUSAN(over)

Greg--

GREG(emphasis)

I know that’s not what you want to hear, but it’s true. I’m not a journalist. I’m an accountant who stumbled his way into a C-suite position. You know that. I’ve got to do what makes the most sense for the business.

SUSANIt’s a shame. We worked so well together.

GREGYou mean where I stayed out of your way and you did whatever you wanted?

SUSANI thought it was a pretty good arrangement.

SUSAN (CONT'D)


GREGWe’re losing more every quarter and advertisers are jumping off this sinking ship. We’re operating under our variable costs, and within the next few months under our fixed costs. There’s no way we can survive without an external buyer.

SUSANAnd you thought Turner was the best external option?

GREGNo, Turner thought Turner was the best option. They came to us with an offer before we were even thinking about looking.

(beat)You’ll retain your position. Editor-in-Cheif.

SUSANWhat good is Editor-in-Cheif with a corporate giant breathing down your back?

GREGThey have big plans for Slugnews. Podcasts, an interactive video series, and your own television network--

SUSANTelevision? Ha! Oh, Greg. How far we’ve fallen.

GREGThe only place people get their news anymore is Twitter or TV. Pick your poison. Would you rather start delivering each of your articles in 140 characters?

SUSANA TV network would make a mockery of everything Slugnews stands for. Our paper is built on integrity and TV news is just -- made up bullshit.


INT. SLUGNEWS BULLPEN - DAY39 39

Susan walks through the bullpen on her way back to her office, when Mara catches her.

MARAI just finished the third draft of the band story and emailed it to you.

SUSAN(distracted)

Huh? Yeah. Great. Sure.

MARAI’d love to get your notes on it when(ever you get a chance)--

SUSAN(looking down at paper)

Sure. Schedule it with Bree.

Susan goes into her office, shuts the door, and draws the blinds. Mara continues on to the annex, walking past Dalia’s desk.

MARAHey. Dalia, right?

DALIAYeah.

(looking up from her notepad)

Do you work here?

MARAYeah.

(holds up name badge)Life and Arts.

DALIARight. Did you need something?

MARAOh, um. How was the explosion?

DALIAThe what?

MARAThe explosion. At the landing strip.


DALIA(back to looking at her notepad)

It wasn’t an explosion. One of the prop-planes’ engines caught on fire.

MARAOh, cool!

DALIANot really. Three in the hospital.

MARAOh.

(beat)Hey, do you think that maybe, sometime you could--

DALIA(looking back up)

Look, kid. Whatever you have, I’m not buying it. I need to finish up my story notes.

Mara walks off, now more downtrodden.

INT. SLUGNEWS ANNEX - MARA’S OFFICE - DAY40 40

Jonathan and Mara are once again sitting in silence, starring at their computers.

MARAWhat are your favorite movies?

JONATHANWhat?

MARAYa, know. Like top three all time favorite movies.

JONATHANAll About Eve, Citizen Kane, and Seven Samurai.

MARADidn’t even have to think about it, huh?

JONATHANStupid questions tend to repeat themselves.


Mara glares at Jonathan. He still has not taken his eyes off of his screen. More silence.

JONATHANSo, you left early yesterday to see a show?

MARAYeah, as part of my beat. It’s not like I was out partying.

JONATHANGet anything good?

MARAYeah, actually I got some pretty hard hitting stuff, even if it was just about a local band.

JONATHANI’m sure it’ll go great in the Life and Arts section.

MARAWhy do you hate Life and Arts so much? I mean, I know it’s not real journalism, but it’s what you like to do and it’s your very own department.

Jonathan picks his head up at the “real journalism” comment.

JONATHAN(with air-quotes)

Movie reviews are just important, if not more so than “real journalism”.

MARAI didn’t mean to--

JONATHANJust because you can’t fathom that someone might get more use out of a carefully crafted analysis of cinema’s best than stories of rising oil prices.

MARAReally, I was just--


JONATHANMovies are not so lowly to be downgraded to the last page Life and Arts section.

MARAAt you get a whole page for them.

JONATHANI’d rather have two lines on the front page than the entire back page.

CUT TO:

INT. SLUGNEWS ANNEX - MARA’S OFFICE - NIGHT41 41

Mara is alone in the office, listening to music through her earbuds and polishing her 6th draft of the band story. A message pops up on her computer.

SUPER: From: Susan -- Come to my office.

INT. SUSAN’S OFFICE - NIGHT42 42

Mara knocks and then opens the door. Susan has a tumbler of bourbon on her desk and is reading Mara’s piece.

SUSANDid this bit here really happen? They really started full out brawling?

MARA(bullshitting)

Oh, yeah. For sure. They were big guys too.

Susan looks up from the paper and eyes Mara a bit. She’s not sure what to make of it, but eventually accepts it.

SUSANWell, it’s damn good. I can tell you that.

Mara’s eyes brighten.

MARAReally?


SUSANOh, yeah. You keep delivering pieces like this and you’ll be moving up.

MARAThat’s where I’m hoping to go. Up.

SUSAN(changing subject)

Have a seat. Relax. You’ve spent too long working on that project.

Mara sits down in front of Susan’s desk.

SUSAN (CONT'D)Bourbon?

MARAOh, no thanks. I’m more of a tequila person.

SUSANHa! Yep. I’ve been there. Just don’t drink the work. It can really mess you up.

MARAYou don’t strike me as much of a partyer.

SUSANWe’ve all had our days.

MARAIs there a special occasion?

SUSANFor the bourbon? No. Not unless you consider despair a special occasion.

MARAThe paper seems to be getting pretty good stories recently.

SUSANIt’s not all sunshine and lollipops.

Susan pours more bourbon into her tumbler.


SUSANYa know, Mara Zamora, you remind me a lot of another spunky wannabe reporter from a while back. She wanted everything in the world to go out and report what she thought was real news. Car bombings, murders, rape. And oh, boy did she get what she wanted, but eventually you’ll realize that the world’s a dark place and sometimes you’re better off staying in the pastures where the sun shines.

MARAThere’s very little that scares me.

SUSANI would have said the same thing back then. But, oh. You’ll learn.

CUT TO:

INT. HOTEL ROOM - DAY43 43

Parallel to the first scene we found the band in, they are once again passed out all over the hotel room. A phone starts ringing.

TAZ(groggily, slurred)

Hello?

The person on the other end of the phone begins to yell at him. He’s awake now.

MISFIT(half-asleep)

What the hell was that?

Bobby barges in as more phones begin to go off.

BOBBYI can’t believe you idiots screwed me like this, yet again!

GOPHER(into his phone)

Huh?...Who is this?...Oh, Yeah? Why don’t you come say that to my face!

Bobby hands his tablet to Taz. The band starts pulling out their phones and tablets to read the story.


TAZMountains of cocaine?

KATAll out brawl?

SHERRYPoured water...?

KNIFEThis is all a bunch of bull--

MISFITWhat are you talking about? It’s all your fault?

KNIFEI’ll show you “my fault”!

Knife and Misfit start wrestling, angrily.

GOPHERUm, guys. I think someone leaked our numbers.

TAZBobby, what is this? What are we gonna do about this?

Bobby throws his hands in the air and walks to the door.

BOBBYI sure as hell don’t know, but the good news is that it’s not my problem anymore. I’m dropping you.

CUT TO:

INT. SLUGNEWS ELEVATOR - DAY44 44

Mara gets in the elevator. As it rises, she can see a mass of people gathered in one corner of the bullpen. She quickly exits the elevator to see what’s going on.

INT. SLUGNEWS BULLPEN - DAY45 45

Mara walks over towards the mass of people. She pushes her way to the front to see a cork board with an article pinned to it. At the top of the cork board it says ARTICLE OF THE MONTH. Pinned to the board is Mara’s band article. Mara gasps.


JOURNALIST #1(to Mara)

Is that your work? Good stuff.

JOURNALIST #2Yeah, that was surprisingly good for coming from the Life and Arts department.

Mara sees Dalia in the crowd.

DALIAMara, right?

MARAYeah.

DALIAGood job with the piece. If you want me to look at some of your other writing sometime, you know where my desk is.

MARAReally? Yeah, that’d be amazing.

Jonathan stands at the back of the bullpen, eying Mara. He’s angry that she won Article of the Month. He clutches his movie review for The Hateful Eight in his hands.

Mara pushes out the back of the crowd. Susan is there waiting for her.

SUSAN(slyly)

Don’t let that get to your head. I’ve got your next assignment for you.

Susan hands Mara a piece of paper with her assignment details.

MARAI’m on it.

CUT TO WHITE

THE END


Media Showers Pilot

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Transcript of Media Showers Pilot