SCARECROW AND MRS. KING
"Sins of the Father"
Written by Anne Riener
First Draft May 15, 2008
"Sins of the Father"
Written by Anne Riener
First Draft May 15, 2008
FADE IN:
EXT. WASHINGTON D.C. - ESTABLISHING - NIGHT
EXTERIOR PHOTOS: AERIAL SHOT WASHINGTON MALL, CLOSE UP WASHINGTON MONUMENT, WHITE HOUSE, AND JEFFERSON MEMORIAL.
INT. BRITISH EMBASSY WASHINGTON, D.C. - ESTABLISHING - NIGHT
The scene opens at an evening dinner party. We meet EMMA WADDINGTON, a 25 year-old, British, MI-6 agent. She's dressed in a caterer’s uniform serving party guests at a banquet table. The table is lined with floral arrangements and food displays. Music plays in the background. Another caterer worker replaces Emma and she leaves the table and goes outside.
PAN EMMA'S CROSSING FROM THE TABLE TO THE OUTSIDE DOUBLE DOORS
She's standing outside on the patio. A MAN approaches her and hands her a package.
MAN
Take this to the Agency immediately.
(beat)
Be careful. They're watching.
Emma takes the package and dashes off. She turns around after hearing GUNFIRE and sees the man who handed her the package fall to the ground. She runs to her car, and quickly taking out her keys, she starts the car and drives away. She soon notices she's being followed.
INT. PORSCHE (DRIVING) - NIGHT
Emma is driving. She glances out her rear view mirror. She speeds up and sees the car behind her also speed up.
EMMA
This is where I lose you.
She floors it, quickly making a left hand turn. Cars swerve to avoid hitting her.
CHASE
Emma wheels the Porsche through a maze of alleys and side streets, trying to shake those following her. She plows through crates and trashcans.
ON EMMA
Emma looks back again.
ON CAR
She one-eighties the Porsche into another alley, the other car still following. All of a sudden, a third car, a Land Rover Discovery, comes out of nowhere and Emma swerves to avoid a collision and crashes into a fire hydrant. Water shoots up and floods the streets. The young man driving the third car rushes up to her. The car that had been following skirts around the accident, leaving the scene. The young man is MATTHEW STETSON, a 21-year-old college student, tall, with curly, sandy-blond hair.
MATTHEW
(opening car door)
Oh, my gosh! Are you okay?
Emma gets out of the car. She is soaked from the fire hydrant water and steps away from the gushing water.
MATTHEW
(asks again)
Are you okay?
(beat)
I'm sorry about your car.
EMMA
Yeah.
(she turns around; noticing damage)
My car! My poor car. Do you realize that's a classic? That WAS a 1979 911.
MATTHEW
Again, I'm sorry. My brother runs a repair shop. He could probably fix it for you.
Matthew touches her.
EMMA
Don't touch me—and I don't need your help. Just get out of here, before I have you arrested.
MATTHEW
Are you sure? I could stay here and wait with you for the tow truck. This isn't the safest neighborhood for a lady at night.
EMMA
(giving him a dirty look)
What are you—bucking for sainthood? Just leave. It was my fault. I'll take full responsibility.
(beat)
You probably have some place you need to be—like helping little old ladies cross the street.
MATTHEW
(grinning)
No, nothing like that. However, I am late for dinner with my folks.
(beat)
But only if you're sure.
EMMA
I'm sure. . . I'm sure. I'll be alright. Just go.
Matthew gets back into his Discovery and leaves.
ON EMMA walking back to her car.
She opens the passenger door and notices the package is gone. She looks down the street in both directions. Then she slams the car door.
EMMA
Oh, I don't believe this.
EXT. WASHINGTON D.C. - ESTABLISHING - NIGHT
EXTERIOR PHOTOS: AERIAL SHOT WASHINGTON MALL, CLOSE UP WASHINGTON MONUMENT, WHITE HOUSE, AND JEFFERSON MEMORIAL.
INT. BRITISH EMBASSY WASHINGTON, D.C. - ESTABLISHING - NIGHT
The scene opens at an evening dinner party. We meet EMMA WADDINGTON, a 25 year-old, British, MI-6 agent. She's dressed in a caterer’s uniform serving party guests at a banquet table. The table is lined with floral arrangements and food displays. Music plays in the background. Another caterer worker replaces Emma and she leaves the table and goes outside.
PAN EMMA'S CROSSING FROM THE TABLE TO THE OUTSIDE DOUBLE DOORS
She's standing outside on the patio. A MAN approaches her and hands her a package.
MAN
Take this to the Agency immediately.
(beat)
Be careful. They're watching.
Emma takes the package and dashes off. She turns around after hearing GUNFIRE and sees the man who handed her the package fall to the ground. She runs to her car, and quickly taking out her keys, she starts the car and drives away. She soon notices she's being followed.
INT. PORSCHE (DRIVING) - NIGHT
Emma is driving. She glances out her rear view mirror. She speeds up and sees the car behind her also speed up.
EMMA
This is where I lose you.
She floors it, quickly making a left hand turn. Cars swerve to avoid hitting her.
CHASE
Emma wheels the Porsche through a maze of alleys and side streets, trying to shake those following her. She plows through crates and trashcans.
ON EMMA
Emma looks back again.
ON CAR
She one-eighties the Porsche into another alley, the other car still following. All of a sudden, a third car, a Land Rover Discovery, comes out of nowhere and Emma swerves to avoid a collision and crashes into a fire hydrant. Water shoots up and floods the streets. The young man driving the third car rushes up to her. The car that had been following skirts around the accident, leaving the scene. The young man is MATTHEW STETSON, a 21-year-old college student, tall, with curly, sandy-blond hair.
MATTHEW
(opening car door)
Oh, my gosh! Are you okay?
Emma gets out of the car. She is soaked from the fire hydrant water and steps away from the gushing water.
MATTHEW
(asks again)
Are you okay?
(beat)
I'm sorry about your car.
EMMA
Yeah.
(she turns around; noticing damage)
My car! My poor car. Do you realize that's a classic? That WAS a 1979 911.
MATTHEW
Again, I'm sorry. My brother runs a repair shop. He could probably fix it for you.
Matthew touches her.
EMMA
Don't touch me—and I don't need your help. Just get out of here, before I have you arrested.
MATTHEW
Are you sure? I could stay here and wait with you for the tow truck. This isn't the safest neighborhood for a lady at night.
EMMA
(giving him a dirty look)
What are you—bucking for sainthood? Just leave. It was my fault. I'll take full responsibility.
(beat)
You probably have some place you need to be—like helping little old ladies cross the street.
MATTHEW
(grinning)
No, nothing like that. However, I am late for dinner with my folks.
(beat)
But only if you're sure.
EMMA
I'm sure. . . I'm sure. I'll be alright. Just go.
Matthew gets back into his Discovery and leaves.
ON EMMA walking back to her car.
She opens the passenger door and notices the package is gone. She looks down the street in both directions. Then she slams the car door.
EMMA
Oh, I don't believe this.
'EXT. IFF GEORGETOWN ENTRANCE - NIGHT
INT. AGENCY - BULLPEN - NIGHT
Emma steps off the elevator and crosses into the Bullpen. The guards open the doors for her.
Francine sticks her head out of the Section Chief Office. The nameplate on the door reads 'Francine Desmond'. She sees Emma—her clothes still wet, her hair and makeup a mess.
FRANCINE
Scout! My office, now!
Emma walks over to the office and enters through the door. She sits down in one of the conference chairs in front of Francine's desk.
FRANCINE (continued)
Please do NOT tell me you lost the package.
EMMA
(under her breath)
Fine, I won't tell you.
(beat)
Agent Thomas is dead.
FRANCINE
(hands her a towel)
What happened?
EMMA
(dejected)
I went to the embassy party. I went undercover as a caterer. I met Agent Thomas on the patio, like I was supposed to. After hearing gunfire, I ran to my car, but Myslinskii's thugs chased after me.
FRANCINE
Did they catch up with you?
Francine stands up and sits at the edge of her desk.
EMMA
Not exactly. I had almost shaken them, when all of a sudden, some bozo driving his daddy's SUV comes barreling around the corner and almost plowed into me, I swerved to avoid him and ended up face to face with 'Mr. Fire Hydrant'.
FRANCINE
A plant?
EMMA
No, just some cheeky Yank college kid. Wrong place, wrong time.
(beat)
When I got back to my car, the package was gone.
FRANCINE
And who was this kid?
Emma puts her hand on the back of her neck.
EMMA
I don't know.
FRANCINE
(losing her cool)
YOU DON'T KNOW!
EMMA
I wanted to get back to the Agency as quickly as possible. I didn't catch his name.
FRANCINE
A rookie mistake.
EMMA
Oh, come on—I'm NOT a rookie.
FRANCINE
Then quit acting like one.
(beat)
Go home, Agent Waddington. I think you have caused enough problems for one day.
EMMA
Yes, Ma'am.
Emma gets up and leaves the office.
ON FRANCINE
Francine picks up the phone.
FRANCINE
(to herself)
Why do I have the strangest sense of deja' vu?
EXT. CEMETERY ARLINGTON - DAY
AMANDA STETSON hurries down a path and stops. She sits down on a park bench. Frazzled, she begins to ramble.
AMANDA
Sorry, I'm late, Mother. Hope you weren't too worried. Traffic was a nightmare. Both Phillip and Jamie are doing great, same with the daughter-in-laws. Phillip and Michelle's twins are growing like weeds. You'd hardly recognize them. The boys send their love. Lee is great, too. Busy as ever. He's supposed to be meeting me here and taking me out to lunch. Matthew is also good. He's studying hard and both Lee and I are very proud of him. He made the Dean's List last semester. He's as handsome as his father, and can't seem to keep the girls away. Don't worry, Mother, no serious girlfriends, yet. He has a great roommate, his name's Tony. Nice boy.
(beat)
I miss you like crazy and wonder why it's so easy to tell you everything now. We used to be able to tell each other everything, until, well
you know. . .
A hand touches her shoulder. Amanda looks up and sees her husband, LEE STETSON.
AMANDA
Hello, Sweetheart. I was just talking to Mother.
She holds up her hand, which he takes and sits down next to her.
ANGLE DOTTY'S TOMBSTONE
Reads "Dorothea "Dotty" Johanna West, Oct 17, 1926 – Dec 5, 2008. Beloved Wife, Mother, Mother-In-Law and Grandmother."
BACK TO SCENE
LEE
Are you ready?
AMANDA
Yeah. Give me another moment. Okay?
Lee nods his head. Amanda puts down some fresh flowers by Dotty's tombstone. Lee helps her back up on her feet.
AMANDA
Say 'hello' to Daddy from us. I love you, Mother.
Lee and Amanda head down the pathway toward the parking lot and their cars.
INT. AGENCY - BULLPEN - NIGHT
Emma steps off the elevator and crosses into the Bullpen. The guards open the doors for her.
Francine sticks her head out of the Section Chief Office. The nameplate on the door reads 'Francine Desmond'. She sees Emma—her clothes still wet, her hair and makeup a mess.
FRANCINE
Scout! My office, now!
Emma walks over to the office and enters through the door. She sits down in one of the conference chairs in front of Francine's desk.
FRANCINE (continued)
Please do NOT tell me you lost the package.
EMMA
(under her breath)
Fine, I won't tell you.
(beat)
Agent Thomas is dead.
FRANCINE
(hands her a towel)
What happened?
EMMA
(dejected)
I went to the embassy party. I went undercover as a caterer. I met Agent Thomas on the patio, like I was supposed to. After hearing gunfire, I ran to my car, but Myslinskii's thugs chased after me.
FRANCINE
Did they catch up with you?
Francine stands up and sits at the edge of her desk.
EMMA
Not exactly. I had almost shaken them, when all of a sudden, some bozo driving his daddy's SUV comes barreling around the corner and almost plowed into me, I swerved to avoid him and ended up face to face with 'Mr. Fire Hydrant'.
FRANCINE
A plant?
EMMA
No, just some cheeky Yank college kid. Wrong place, wrong time.
(beat)
When I got back to my car, the package was gone.
FRANCINE
And who was this kid?
Emma puts her hand on the back of her neck.
EMMA
I don't know.
FRANCINE
(losing her cool)
YOU DON'T KNOW!
EMMA
I wanted to get back to the Agency as quickly as possible. I didn't catch his name.
FRANCINE
A rookie mistake.
EMMA
Oh, come on—I'm NOT a rookie.
FRANCINE
Then quit acting like one.
(beat)
Go home, Agent Waddington. I think you have caused enough problems for one day.
EMMA
Yes, Ma'am.
Emma gets up and leaves the office.
ON FRANCINE
Francine picks up the phone.
FRANCINE
(to herself)
Why do I have the strangest sense of deja' vu?
EXT. CEMETERY ARLINGTON - DAY
AMANDA STETSON hurries down a path and stops. She sits down on a park bench. Frazzled, she begins to ramble.
AMANDA
Sorry, I'm late, Mother. Hope you weren't too worried. Traffic was a nightmare. Both Phillip and Jamie are doing great, same with the daughter-in-laws. Phillip and Michelle's twins are growing like weeds. You'd hardly recognize them. The boys send their love. Lee is great, too. Busy as ever. He's supposed to be meeting me here and taking me out to lunch. Matthew is also good. He's studying hard and both Lee and I are very proud of him. He made the Dean's List last semester. He's as handsome as his father, and can't seem to keep the girls away. Don't worry, Mother, no serious girlfriends, yet. He has a great roommate, his name's Tony. Nice boy.
(beat)
I miss you like crazy and wonder why it's so easy to tell you everything now. We used to be able to tell each other everything, until, well
you know. . .
A hand touches her shoulder. Amanda looks up and sees her husband, LEE STETSON.
AMANDA
Hello, Sweetheart. I was just talking to Mother.
She holds up her hand, which he takes and sits down next to her.
ANGLE DOTTY'S TOMBSTONE
Reads "Dorothea "Dotty" Johanna West, Oct 17, 1926 – Dec 5, 2008. Beloved Wife, Mother, Mother-In-Law and Grandmother."
BACK TO SCENE
LEE
Are you ready?
AMANDA
Yeah. Give me another moment. Okay?
Lee nods his head. Amanda puts down some fresh flowers by Dotty's tombstone. Lee helps her back up on her feet.
AMANDA
Say 'hello' to Daddy from us. I love you, Mother.
Lee and Amanda head down the pathway toward the parking lot and their cars.
EXT. NEDLINGER'S BAR - A FEW NIGHTS LATER
INT. NEDLINGER'S BAR - NIGHT
Emma is sitting down at a table drinking. She is alone. She looks up when she notices someone coming through the door.
EMMA
(under her breath)
Damn! What's he doing here?
INT. SURVEILLANCE VAN - NIGHT
Agent Johnson is sitting inside the surveillance van, listening to activities going on inside the bar.
JOHNSON
(into microphone)
What?
INT. NEDLINGER'S BAR
EMMA
(talks into her hidden microphone)
Nothing. . . someone I know.
In the foreground, we see Matthew sit down at the corner of the bar and exchange pleasantries with NED NEDLINGER, JR. the bartender.
MATTHEW
Evening.
NED
Evening. What can I get you?
MATTHEW
Whatever you have on tap is fine.
Ned smiles and a moment later brings Matthew his drink. Matthew takes a swig.
In the background a minute later a tall Russian, YERIK MYSLINSKII, walks into the bar and looks around. He walks over to the bar and talks to Matthew.
YERIK
(in Russian accent)
Are you the guy who ordered a cab?
MATTHEW
What?
YERIK
You didn't order a cab.
MATTHEW
No sorry, you must have the wrong person.
YERIK
(looks around and sees Emma)
Never mind. My mistake.
Yerik starts to leave. Emma stands up quickly and throws some money onto the table as she then rushes toward the door. At the same time Matthew gets up to leave, says goodbye to Ned, throws some money on the counter and bumps into Emma. Emma falls to the floor. Matthew tries to help her up.
MATTHEW
You?
EMMA
(standing up)
You?
She slaps handcuffs on him. Matthew is surprised. She then leads them out the door.
EXT. NEDLINGER'S BAR
EMMA
That is the second time you have become involved in the matters of national security. I'm placing you under arrest.
MATTHEW
On what charges?
EMMA
Obstructing justice to begin with. . .
(beat)
Then I'll think of some others along the way.
ON CAR
She shoves him into the backseat of her Agency loaner car.
QUICK CUT
INT. AGENCY - INTERROGATION ROOM - NIGHT
Matthew is sitting down at a metal table. His right arm is handcuffed to the table. Emma is questioning him.
EMMA
(losing patience)
Let me start again—your name?
MATTHEW
Why should I tell you? I've done nothing wrong.
EMMA
Done nothing wrong? I see.
(beat)
And how long have you been a part of the Russian Mafia?
MATTHEW
Russian Mafia? What are you talking about?
EMMA
I saw you plan a meet with Yerik Myslinskii and then you helped him escape.
MATTHEW
You're crazy! He came up and asked me a question about a cab and I told him he had the wrong person.
EMMA
Then what were you doing at Nedlinger's?
MATTHEW
Getting a beer. Is that a crime in D.C.?
(beat; looking at two-way mirror)
Tell Ms. Peel here. . . I know my rights. You have nothing to hold me on.
EMMA
(confused)
Ms. Peel?
MATTHEW
You know—Emma Peel. British agent? The Avengers? It was a television spy series on in the 1960's.
EMMA
(beat)
You like spies, I see. Is that why you were “just getting a beer” at a known spy hangout?
MATTHEW
What?!
EMMA
So how long have you been a spy?
OFF MATTHEW'S CONFUSED LOOK
INT. AGENCY - BULLPEN - NIGHT
Agent Johnson hurries through the bullpen toward Francine's office. She knocks on the door.
FRANCINE
Enter.
JOHNSON
Ms. Desmond? Scout has someone she's questioning down in interrogation.
FRANCINE
Yeah. . . so?
JOHNSON
He wouldn't give his name, so she asked me to ID him.
FRANCINE
(confused)
And?
Agent Johnson hands her the dossier.
JOHNSON
You might want to take a look and see who she's interrogating.
Francine reads the name on the dossier.
FRANCINE
(grimaces)
Oh, this can't be happening. He's going to kill me.
(beat)
Release him now, and send Agent Waddington to my office this very instant. I'd much rather deal with her wrath than Scarecrow's.
INT. AGENCY - INTERROGATION ROOM - NIGHT
Emma is still questioning Matthew.
EMMA
I'm not going to ask you again. . . how long have you been a spy and whose side are you working for?
MATTHEW
I'm telling you, I'm not a spy.
EMMA
Then what were you doing at Nedlinger's tonight?
MATTHEW
I was thirsty.
(beat)
Is Nedlinger's really a spy hangout?
(another beat)
I overheard my dad talking to my mom about Nedlinger's one night and it's not far from my apartment. . .
His train of thought is interrupted by a knock on the door. Agent Johnson pokes her head inside.
JOHNSON
Agent Waddington, I need to see you for a moment.
EMMA
(points finger at Matthew)
Don't go anywhere.
Matthew smiles ruefully.
The door closes and the two agents stand outside the interrogation room.
INT. AGENCY HALLWAY
JOHNSON
Ms. Desmond said to cut him loose.
EMMA
What!!?
JOHNSON
Don't shoot the messenger, but she said to release him, and for you to see her in her office now.
EMMA
I don't believe this!
Emma exits.
INT. AGENCY - BULLPEN - NIGHT
Emma storms into Francine's office without knocking.
FRANCINE
(not even glancing up)
Sit down, Scout.
EMMA
(ticked off)
This is total BS!
FRANCINE
I said sit down!
Emma sits down in the chair in front of Francine's desk.
FRANCINE (continued)
I'm sure you are familiar with our legendary Scarecrow, and his partner, Mrs. King.
EMMA
Lee Stetson, codename Scarecrow, one-half of one of the best partnerships in the Agency. He recruited Amanda King, a housewife, from Arlington. She ended up having great instincts and was partnered with Stetson. They ran the Q-Bureau. To this date, no one can beat their solve rates. They later married, and a few years back they both retired from the Agency.
(beat)
What about them?
Francine hands her the dossier.
FRANCINE
The man you arrested. . . his name is Matthew Davis Stetson.
(beat)
You arrested Scarecrow and Mrs. King's son.
(another beat)
It would appear he has the same knack as his mother for being at the wrong place at the wrong time.
EMMA
Oh, my gosh!
FRANCINE
You can say that again.
END OF ACT ONE
INT. NEDLINGER'S BAR - NIGHT
Emma is sitting down at a table drinking. She is alone. She looks up when she notices someone coming through the door.
EMMA
(under her breath)
Damn! What's he doing here?
INT. SURVEILLANCE VAN - NIGHT
Agent Johnson is sitting inside the surveillance van, listening to activities going on inside the bar.
JOHNSON
(into microphone)
What?
INT. NEDLINGER'S BAR
EMMA
(talks into her hidden microphone)
Nothing. . . someone I know.
In the foreground, we see Matthew sit down at the corner of the bar and exchange pleasantries with NED NEDLINGER, JR. the bartender.
MATTHEW
Evening.
NED
Evening. What can I get you?
MATTHEW
Whatever you have on tap is fine.
Ned smiles and a moment later brings Matthew his drink. Matthew takes a swig.
In the background a minute later a tall Russian, YERIK MYSLINSKII, walks into the bar and looks around. He walks over to the bar and talks to Matthew.
YERIK
(in Russian accent)
Are you the guy who ordered a cab?
MATTHEW
What?
YERIK
You didn't order a cab.
MATTHEW
No sorry, you must have the wrong person.
YERIK
(looks around and sees Emma)
Never mind. My mistake.
Yerik starts to leave. Emma stands up quickly and throws some money onto the table as she then rushes toward the door. At the same time Matthew gets up to leave, says goodbye to Ned, throws some money on the counter and bumps into Emma. Emma falls to the floor. Matthew tries to help her up.
MATTHEW
You?
EMMA
(standing up)
You?
She slaps handcuffs on him. Matthew is surprised. She then leads them out the door.
EXT. NEDLINGER'S BAR
EMMA
That is the second time you have become involved in the matters of national security. I'm placing you under arrest.
MATTHEW
On what charges?
EMMA
Obstructing justice to begin with. . .
(beat)
Then I'll think of some others along the way.
ON CAR
She shoves him into the backseat of her Agency loaner car.
QUICK CUT
INT. AGENCY - INTERROGATION ROOM - NIGHT
Matthew is sitting down at a metal table. His right arm is handcuffed to the table. Emma is questioning him.
EMMA
(losing patience)
Let me start again—your name?
MATTHEW
Why should I tell you? I've done nothing wrong.
EMMA
Done nothing wrong? I see.
(beat)
And how long have you been a part of the Russian Mafia?
MATTHEW
Russian Mafia? What are you talking about?
EMMA
I saw you plan a meet with Yerik Myslinskii and then you helped him escape.
MATTHEW
You're crazy! He came up and asked me a question about a cab and I told him he had the wrong person.
EMMA
Then what were you doing at Nedlinger's?
MATTHEW
Getting a beer. Is that a crime in D.C.?
(beat; looking at two-way mirror)
Tell Ms. Peel here. . . I know my rights. You have nothing to hold me on.
EMMA
(confused)
Ms. Peel?
MATTHEW
You know—Emma Peel. British agent? The Avengers? It was a television spy series on in the 1960's.
EMMA
(beat)
You like spies, I see. Is that why you were “just getting a beer” at a known spy hangout?
MATTHEW
What?!
EMMA
So how long have you been a spy?
OFF MATTHEW'S CONFUSED LOOK
INT. AGENCY - BULLPEN - NIGHT
Agent Johnson hurries through the bullpen toward Francine's office. She knocks on the door.
FRANCINE
Enter.
JOHNSON
Ms. Desmond? Scout has someone she's questioning down in interrogation.
FRANCINE
Yeah. . . so?
JOHNSON
He wouldn't give his name, so she asked me to ID him.
FRANCINE
(confused)
And?
Agent Johnson hands her the dossier.
JOHNSON
You might want to take a look and see who she's interrogating.
Francine reads the name on the dossier.
FRANCINE
(grimaces)
Oh, this can't be happening. He's going to kill me.
(beat)
Release him now, and send Agent Waddington to my office this very instant. I'd much rather deal with her wrath than Scarecrow's.
INT. AGENCY - INTERROGATION ROOM - NIGHT
Emma is still questioning Matthew.
EMMA
I'm not going to ask you again. . . how long have you been a spy and whose side are you working for?
MATTHEW
I'm telling you, I'm not a spy.
EMMA
Then what were you doing at Nedlinger's tonight?
MATTHEW
I was thirsty.
(beat)
Is Nedlinger's really a spy hangout?
(another beat)
I overheard my dad talking to my mom about Nedlinger's one night and it's not far from my apartment. . .
His train of thought is interrupted by a knock on the door. Agent Johnson pokes her head inside.
JOHNSON
Agent Waddington, I need to see you for a moment.
EMMA
(points finger at Matthew)
Don't go anywhere.
Matthew smiles ruefully.
The door closes and the two agents stand outside the interrogation room.
INT. AGENCY HALLWAY
JOHNSON
Ms. Desmond said to cut him loose.
EMMA
What!!?
JOHNSON
Don't shoot the messenger, but she said to release him, and for you to see her in her office now.
EMMA
I don't believe this!
Emma exits.
INT. AGENCY - BULLPEN - NIGHT
Emma storms into Francine's office without knocking.
FRANCINE
(not even glancing up)
Sit down, Scout.
EMMA
(ticked off)
This is total BS!
FRANCINE
I said sit down!
Emma sits down in the chair in front of Francine's desk.
FRANCINE (continued)
I'm sure you are familiar with our legendary Scarecrow, and his partner, Mrs. King.
EMMA
Lee Stetson, codename Scarecrow, one-half of one of the best partnerships in the Agency. He recruited Amanda King, a housewife, from Arlington. She ended up having great instincts and was partnered with Stetson. They ran the Q-Bureau. To this date, no one can beat their solve rates. They later married, and a few years back they both retired from the Agency.
(beat)
What about them?
Francine hands her the dossier.
FRANCINE
The man you arrested. . . his name is Matthew Davis Stetson.
(beat)
You arrested Scarecrow and Mrs. King's son.
(another beat)
It would appear he has the same knack as his mother for being at the wrong place at the wrong time.
EMMA
Oh, my gosh!
FRANCINE
You can say that again.
END OF ACT ONE
ACT TWO
EXT. MATTHEW'S GEORGETOWN APARTMENT - NIGHT
A nice apartment building in Georgetown.
INT. MATTHEW'S GEORGETOWN APARTMENT - LOBBY - NIGHT
Matthew is standing in front of a row of mailboxes. He takes out a key and opens his box, taking out his mail and a small package. He turns the package over, seeing no return address he shrugs his shoulders and enters the elevator, pushing the fourth floor button.
INT. GEORGETOWN APARTMENT - HALLWAY
Matthew comes out of the elevator and crosses the hall, entering his apartment; he puts his keys and mail down on the entry table.
INT. MATTHEW'S APARTMENT - LIVING ROOM
MATTHEW
(calls out)
Tony?
There is no answer. He walks over to the message machine and pushes the button.
TONY (V.O.)
Hey, Matt. It's Tony. I'm spending the weekend at my parent's house. I won't be back until late Sunday night. Don't wait up. Later, roomie.
CANDI (V.O.)
Hello, Matt. This is Candi. We met at the supermarket last Friday. I’d like to take you up on your offer of dinner and a movie. Give me a call. 202-555-1950.
MATTHEW
(warmly)
Oh yeah, Can-di.
Matthew enters the kitchen, comes back out with a glass of milk, and sits down on the sofa. He picks up the TV remote on the coffee table and kicks up his feet. He absently watches TV for a few moments. He looks over at the entry table, stands up and walks over to the table, picks up the package, and sits back down at the sofa. He opens the package and out comes a baby book. Opening the book, he reads the first page.
MATTHEW
I didn't know you did this for me. Thanks, Grandma.
He thumbs through the pages, stopping at some milestones and photos. A letter falls out of the book and Matthew picks it up off the floor and begins reading it.
MATTHEW
"Dearest Matthew. I know I won't be around much longer and I thought there were some things you should know."
(mumbles)
"I'll start with your father. . . "
He stops reading and looks up.
MATTHEW
(surprised)
My mother and father are spies!
OFF MATTHEW'S LOOK
INT. LAND ROVER (DRIVING) - DAY
Matthew is driving down a road. He turns into a driveway and under a signpost. The sign reads 'Twist of Fate Ranch'.
EXT. STETSON HOME ROCKVILLE - DAY
Matthew pulls up in front of the house. On the porch lies a Golden Retriever. He sits up and wags his tail when he sees Matthew. Matthew calls him and then pets him when he comes over.
MATTHEW
(to the dog)
Hey, Scarecrow. Where's Dad, huh?
Matthew climbs the stairs and opens the front door.
MATTHEW
(calling out)
Dad.
There is no answer, so he heads toward the barn.
MATTHEW
(calling out again)
DAD!
LEE (O.C.)
I'm in the barn.
INT. STETSON BARN
Matthew enters the barn. It's a typical standard weather-beaten barn. Inside there are four horse stalls side by side.
MATTHEW
Dad?
LEE (O.C.)
I'm in Sally's stall.
Matthew walks toward the stalls. He sees his dad curry combing a horse.
MATTHEW
Anything wrong with Sally?
Matthew pats Sally.
LEE
No, she just needed a good brushing and currying—she's losing her winter coat.
MATTHEW
Ah. Is Mom at work?
Lee comes out of the stall.
LEE
(chuckles)
Yes, one of us needed to make the money today.
MATTHEW
What are you doing home?
LEE
Had to take care of some things your mother has been asking me to do for a while now and waiting for a delivery.
(beat)
I think I hear Greg now.
Lee and Matthew walk out of the barn. A dually pickup pulling a horse trailer is parked in front of the barn. GREG climbs out of his truck.
EXT. YARD AND CORRAL
LEE
(to Greg)
Any problems?
GREG
No problems—he loaded great.
Greg goes inside the trailer and unloads a young gelding.
GREG (continuing)
Where to, Lee?
LEE
The corral for now.
Greg leads the horse to the corral and closes the gate. Lee and Matthew follow.
GREG
Will that be all?
LEE
(shakes Greg's hand)
Thanks, Greg.
GREG
(returning handshake)
Anytime.
Greg gets back into his truck and leaves.
Matthew and Lee lean against the fence, watching the horse.
MATTHEW
Beautiful horse.
LEE
I'm glad you like him, because your mother and I got him for you.
MATTHEW
(surprised)
What?
LEE
He's green broke and going to need a lot of work, but he's a good-looking animal and should grow up quite nicely.
MATTHEW
Dad, I live in an apartment.
LEE
I know, but it's not as if we don't have room for him. We'll keep him here and in a couple of years if you decide you don't want him—you can sell him. He should be worth twice what I paid for him.
Matthew goes into the corral to get to know the horse better. He looks over at Lee.
MATTHEW
Thanks.
LEE
You're welcome.
(beat)
Any idea what you're going to name him?
MATTHEW
(pauses for a second)
I was thinking Spooks.
LEE
(swallowing hard)
Spooks?
MATTHEW
Sure, it goes with the 'S' theme. Stetson, Scarecrow, Sally, Sadie. . . Spooks.
Lee looks over at Matthew and clears his throat.
LEE
Out with it. What's on your mind, Son?
MATTHEW
Oh, not much. Just want to know how long you and Mom have been spies?
OFF LEE'S LOOK. . .
EXT. STETSON HOME - FRONT PORCH - DAY
Lee's sitting in the porch swing, sipping an iced tea. Matthew's sitting on the front steps, lazily petting the dog.
ON AMANDA'S FORD ESCAPE
Amanda pulls into the driveway and parks behind Matthew's Discovery. She gets out of the car and walks toward the front porch. She bends over, kissing Matthew on the cheek.
AMANDA
Hello, Honey. You're staying for dinner, aren’t you?
Matthew glances over at his dad.
MATTHEW
Thanks, Mom. Dinner sounds good.
Amanda sits down next to Lee. He puts his arm around her.
AMANDA
What are you two up to?
MATTHEW
Dad was just telling me an interesting story about a man in a red hat.
Amanda is surprised; she looks at Matthew and then Lee.
AMANDA
(whispers to Lee)
He knows.
Lee slowly nods his head.
AMANDA (continued)
I see.
MATTHEW
Phillip and Jamie don't know, do they?
AMANDA
No, we never told them what we really do for a living.
MATTHEW
And Grandma?
LEE
Your grandmother was never informed either.
MATTHEW
Why?
AMANDA
(looks at Lee)
In the beginning, I was told not to say anything. . . to protect your grandmother and your brothers.
LEE
I told your mom, if they didn't know anything, they couldn't become targets.
AMANDA
By the time I had become a full-time agent and my relationship with your father had changed from friends to partners to eventually marriage we figured we had twisted the truth too much that we would have hurt everyone-
MATTHEW
(interrupting)
Grandma knew the truth.
Lee and Amanda look at each other.
AMANDA
What are you talking about?
MATTHEW
Grandma sent me a letter.
(beat)
She said she knew you two were spies.
LEE
(to Amanda)
How long do you think Dotty knew?
Amanda shrugs.
MATTHEW
Grandma said it was around the time those federal agents took over the house, she suspected something, but it was after mom was shot, she really began to put the pieces together.
(beat)
She also said she knew about your elopement.
Lee and Amanda look at each other again.
MATTHEW (continued)
She said your second marriage was for her. She thought you guys were afraid to tell her the truth, because you thought she would have been mad about all the lies.
(beat)
Grandma wasn't mad. She was hurt though, but she loved both of you and took your secrets to her grave.
Matthew stands up and kicks a stone on the ground.
AMANDA
(to Matthew)
Sweetheart, tell us what you're thinking?
MATTHEW
I just. . . I can't believe my parents are really spies.
LEE
I've never cared for that word. We prefer intelligence operatives.
MATTHEW
And you never worked for a film company.
Both Lee and Amanda shake their heads.
MATTHEW
You don't do consultant work now, do you?
AMANDA
Not exactly.
LEE
What your mother means—yes, we are no longer federal agents, but we do consulting work for private businesses.
(beat)
And just because we no longer work at the Agency does not mean we have a clean slate from our pasts. That's why it's important to keep our anonymity. To the outside world, we were documentary filmmakers.
MATTHEW
The Agency?
LEE
IFF is the front for an ultra-secret counterintelligence organization known as the Agency.
MATTHEW
Two-story brick building in Georgetown? Offices underground?
AMANDA
Yes.
MATTHEW
I was there yesterday.
LEE
WHAT?
(beat)
I'll kill Francine if she thinks she's going to recruit you.
MATTHEW
Wait a minute. . . Aunt Francine is a spy? I suppose Uncle Billy was one too.
Lee and Amanda nod their heads.
MATTHEW (continued)
Great! Next, you'll be telling me sweet Aunt Emily is a spy.
Lee and Amanda look at each other.
ON MATTHEW
MATTHEW (continued)
Oh, I don't believe it. . . is there anyone in my life that isn't a spy?
(beat)
Don't answer that. I don't want to know.
(another beat)
My whole life has been nothing but a series of lies!
AMANDA
Now Matthew. That's not fair. . . your father and I never meant to hurt you.
Matthew starts to pace.
MATTHEW
I'm sorry, Mom. Thanks for the offer of dinner, but I have to go.
He walks off toward his car and gets in.
AMANDA
(calling out)
Matt!
Lee puts his hand on her shoulder.
LEE
Let him go. We gave him a lot to digest.
(beat)
He'll come around, you'll see.
They both watch Matthew drive away.
AMANDA
I can't believe Mother knew all this time.
LEE
Come on, Amanda, you have to admit some of those excuses we came up with over the years were pretty lame.
AMANDA
Like the St. Bernard with the hangover?
Lee laughs.
AMANDA
And I know she didn't believe those all-nighters in the editing room. She knew I was spending the night at your place.
LEE
Dotty was a smart woman—like someone else I know.
He leans in and they almost kiss, but then he stops.
LEE
You know what?
AMANDA
What?
LEE
Matt never did tell us why he was at the Agency.
OFF LEE AND AMANDA'S LOOK. . .
CUT TO
EXT. MATTHEW'S GEORGETOWN APARTMENT - NIGHT
A nice apartment building in Georgetown.
INT. MATTHEW'S GEORGETOWN APARTMENT - LOBBY - NIGHT
Matthew is standing in front of a row of mailboxes. He takes out a key and opens his box, taking out his mail and a small package. He turns the package over, seeing no return address he shrugs his shoulders and enters the elevator, pushing the fourth floor button.
INT. GEORGETOWN APARTMENT - HALLWAY
Matthew comes out of the elevator and crosses the hall, entering his apartment; he puts his keys and mail down on the entry table.
INT. MATTHEW'S APARTMENT - LIVING ROOM
MATTHEW
(calls out)
Tony?
There is no answer. He walks over to the message machine and pushes the button.
TONY (V.O.)
Hey, Matt. It's Tony. I'm spending the weekend at my parent's house. I won't be back until late Sunday night. Don't wait up. Later, roomie.
CANDI (V.O.)
Hello, Matt. This is Candi. We met at the supermarket last Friday. I’d like to take you up on your offer of dinner and a movie. Give me a call. 202-555-1950.
MATTHEW
(warmly)
Oh yeah, Can-di.
Matthew enters the kitchen, comes back out with a glass of milk, and sits down on the sofa. He picks up the TV remote on the coffee table and kicks up his feet. He absently watches TV for a few moments. He looks over at the entry table, stands up and walks over to the table, picks up the package, and sits back down at the sofa. He opens the package and out comes a baby book. Opening the book, he reads the first page.
MATTHEW
I didn't know you did this for me. Thanks, Grandma.
He thumbs through the pages, stopping at some milestones and photos. A letter falls out of the book and Matthew picks it up off the floor and begins reading it.
MATTHEW
"Dearest Matthew. I know I won't be around much longer and I thought there were some things you should know."
(mumbles)
"I'll start with your father. . . "
He stops reading and looks up.
MATTHEW
(surprised)
My mother and father are spies!
OFF MATTHEW'S LOOK
INT. LAND ROVER (DRIVING) - DAY
Matthew is driving down a road. He turns into a driveway and under a signpost. The sign reads 'Twist of Fate Ranch'.
EXT. STETSON HOME ROCKVILLE - DAY
Matthew pulls up in front of the house. On the porch lies a Golden Retriever. He sits up and wags his tail when he sees Matthew. Matthew calls him and then pets him when he comes over.
MATTHEW
(to the dog)
Hey, Scarecrow. Where's Dad, huh?
Matthew climbs the stairs and opens the front door.
MATTHEW
(calling out)
Dad.
There is no answer, so he heads toward the barn.
MATTHEW
(calling out again)
DAD!
LEE (O.C.)
I'm in the barn.
INT. STETSON BARN
Matthew enters the barn. It's a typical standard weather-beaten barn. Inside there are four horse stalls side by side.
MATTHEW
Dad?
LEE (O.C.)
I'm in Sally's stall.
Matthew walks toward the stalls. He sees his dad curry combing a horse.
MATTHEW
Anything wrong with Sally?
Matthew pats Sally.
LEE
No, she just needed a good brushing and currying—she's losing her winter coat.
MATTHEW
Ah. Is Mom at work?
Lee comes out of the stall.
LEE
(chuckles)
Yes, one of us needed to make the money today.
MATTHEW
What are you doing home?
LEE
Had to take care of some things your mother has been asking me to do for a while now and waiting for a delivery.
(beat)
I think I hear Greg now.
Lee and Matthew walk out of the barn. A dually pickup pulling a horse trailer is parked in front of the barn. GREG climbs out of his truck.
EXT. YARD AND CORRAL
LEE
(to Greg)
Any problems?
GREG
No problems—he loaded great.
Greg goes inside the trailer and unloads a young gelding.
GREG (continuing)
Where to, Lee?
LEE
The corral for now.
Greg leads the horse to the corral and closes the gate. Lee and Matthew follow.
GREG
Will that be all?
LEE
(shakes Greg's hand)
Thanks, Greg.
GREG
(returning handshake)
Anytime.
Greg gets back into his truck and leaves.
Matthew and Lee lean against the fence, watching the horse.
MATTHEW
Beautiful horse.
LEE
I'm glad you like him, because your mother and I got him for you.
MATTHEW
(surprised)
What?
LEE
He's green broke and going to need a lot of work, but he's a good-looking animal and should grow up quite nicely.
MATTHEW
Dad, I live in an apartment.
LEE
I know, but it's not as if we don't have room for him. We'll keep him here and in a couple of years if you decide you don't want him—you can sell him. He should be worth twice what I paid for him.
Matthew goes into the corral to get to know the horse better. He looks over at Lee.
MATTHEW
Thanks.
LEE
You're welcome.
(beat)
Any idea what you're going to name him?
MATTHEW
(pauses for a second)
I was thinking Spooks.
LEE
(swallowing hard)
Spooks?
MATTHEW
Sure, it goes with the 'S' theme. Stetson, Scarecrow, Sally, Sadie. . . Spooks.
Lee looks over at Matthew and clears his throat.
LEE
Out with it. What's on your mind, Son?
MATTHEW
Oh, not much. Just want to know how long you and Mom have been spies?
OFF LEE'S LOOK. . .
EXT. STETSON HOME - FRONT PORCH - DAY
Lee's sitting in the porch swing, sipping an iced tea. Matthew's sitting on the front steps, lazily petting the dog.
ON AMANDA'S FORD ESCAPE
Amanda pulls into the driveway and parks behind Matthew's Discovery. She gets out of the car and walks toward the front porch. She bends over, kissing Matthew on the cheek.
AMANDA
Hello, Honey. You're staying for dinner, aren’t you?
Matthew glances over at his dad.
MATTHEW
Thanks, Mom. Dinner sounds good.
Amanda sits down next to Lee. He puts his arm around her.
AMANDA
What are you two up to?
MATTHEW
Dad was just telling me an interesting story about a man in a red hat.
Amanda is surprised; she looks at Matthew and then Lee.
AMANDA
(whispers to Lee)
He knows.
Lee slowly nods his head.
AMANDA (continued)
I see.
MATTHEW
Phillip and Jamie don't know, do they?
AMANDA
No, we never told them what we really do for a living.
MATTHEW
And Grandma?
LEE
Your grandmother was never informed either.
MATTHEW
Why?
AMANDA
(looks at Lee)
In the beginning, I was told not to say anything. . . to protect your grandmother and your brothers.
LEE
I told your mom, if they didn't know anything, they couldn't become targets.
AMANDA
By the time I had become a full-time agent and my relationship with your father had changed from friends to partners to eventually marriage we figured we had twisted the truth too much that we would have hurt everyone-
MATTHEW
(interrupting)
Grandma knew the truth.
Lee and Amanda look at each other.
AMANDA
What are you talking about?
MATTHEW
Grandma sent me a letter.
(beat)
She said she knew you two were spies.
LEE
(to Amanda)
How long do you think Dotty knew?
Amanda shrugs.
MATTHEW
Grandma said it was around the time those federal agents took over the house, she suspected something, but it was after mom was shot, she really began to put the pieces together.
(beat)
She also said she knew about your elopement.
Lee and Amanda look at each other again.
MATTHEW (continued)
She said your second marriage was for her. She thought you guys were afraid to tell her the truth, because you thought she would have been mad about all the lies.
(beat)
Grandma wasn't mad. She was hurt though, but she loved both of you and took your secrets to her grave.
Matthew stands up and kicks a stone on the ground.
AMANDA
(to Matthew)
Sweetheart, tell us what you're thinking?
MATTHEW
I just. . . I can't believe my parents are really spies.
LEE
I've never cared for that word. We prefer intelligence operatives.
MATTHEW
And you never worked for a film company.
Both Lee and Amanda shake their heads.
MATTHEW
You don't do consultant work now, do you?
AMANDA
Not exactly.
LEE
What your mother means—yes, we are no longer federal agents, but we do consulting work for private businesses.
(beat)
And just because we no longer work at the Agency does not mean we have a clean slate from our pasts. That's why it's important to keep our anonymity. To the outside world, we were documentary filmmakers.
MATTHEW
The Agency?
LEE
IFF is the front for an ultra-secret counterintelligence organization known as the Agency.
MATTHEW
Two-story brick building in Georgetown? Offices underground?
AMANDA
Yes.
MATTHEW
I was there yesterday.
LEE
WHAT?
(beat)
I'll kill Francine if she thinks she's going to recruit you.
MATTHEW
Wait a minute. . . Aunt Francine is a spy? I suppose Uncle Billy was one too.
Lee and Amanda nod their heads.
MATTHEW (continued)
Great! Next, you'll be telling me sweet Aunt Emily is a spy.
Lee and Amanda look at each other.
ON MATTHEW
MATTHEW (continued)
Oh, I don't believe it. . . is there anyone in my life that isn't a spy?
(beat)
Don't answer that. I don't want to know.
(another beat)
My whole life has been nothing but a series of lies!
AMANDA
Now Matthew. That's not fair. . . your father and I never meant to hurt you.
Matthew starts to pace.
MATTHEW
I'm sorry, Mom. Thanks for the offer of dinner, but I have to go.
He walks off toward his car and gets in.
AMANDA
(calling out)
Matt!
Lee puts his hand on her shoulder.
LEE
Let him go. We gave him a lot to digest.
(beat)
He'll come around, you'll see.
They both watch Matthew drive away.
AMANDA
I can't believe Mother knew all this time.
LEE
Come on, Amanda, you have to admit some of those excuses we came up with over the years were pretty lame.
AMANDA
Like the St. Bernard with the hangover?
Lee laughs.
AMANDA
And I know she didn't believe those all-nighters in the editing room. She knew I was spending the night at your place.
LEE
Dotty was a smart woman—like someone else I know.
He leans in and they almost kiss, but then he stops.
LEE
You know what?
AMANDA
What?
LEE
Matt never did tell us why he was at the Agency.
OFF LEE AND AMANDA'S LOOK. . .
CUT TO
INT. STETSON HOME - LIVING ROOM -DAY
Amanda is sitting down on the sofa watching Lee pace. Lee is talking on the phone.
IFF OPERATOR (V.O.)
(filtered)
International Federal Film. How may I direct your call?
LEE
This is Scarecrow. Let me talk to Francine Desmond.
IFF OPERATOR (V.O.)
(filtered)
Yes, Sir. I'm patching you through now.
INT. FRANCINE'S OFFICE
FRANCINE
Evening, Lee. I was expecting your call. How's Amanda?
INTERCUT WITH FRANCINE AND LEE
LEE
Cut the chitchat, Francine. Why was my son at the Agency, yesterday?
FRANCINE
Well you see it's really kind of funny. . .
(beat; clears throat)
. . . he was under arrest.
LEE
WHAT!? You had our son arrested. On what charges?
Amanda gets up and stands next to Lee listening in.
FRANCINE
Lee, this wasn't my fault—okay, maybe it was, indirectly.
(beat)
Your son, who is just like your wife, ended up in the middle of a surveillance operation. The moment I found out your son had been arrested, I had him released.
(another beat)
Matthew still doesn't know what you to do for a living.
LEE
(sighing)
He does now.
FRANCINE
Listen guys, I'm sorry.
(beat)
I have a young, brash, arrogant agent, who jumped the gun, so to speak, before she had all the facts—like someone else I know.
LEE
Can it, Francine.
FRANCINE
She has the makings of being a great agent, but she chews through partners faster than you.
(chuckles)
Oh, I just had a crazy thought. . . maybe I should pair Matt with Emma.
AMANDA
You wouldn't dare.
FRANCINE
I have no intention of having your son work for the Agency.
(beat)
Way too much paperwork. . . and indigestion.
AMANDA
Good-bye, Francine.
FRANCINE
Goodbye, Amanda, Lee.
Lee hangs up the phone. Amanda shakes her head.
CUT TO
EXT. MATTHEW'S GEORGETOWN APARTMENT - NIGHT
INT. MATTHEW'S GEORGETOWN APARTMENT - NIGHT
Tony enters the apartment and sees Matthew sitting on the sofa, lost in thought.
TONY
Hi, Matt. You're up late. Don’t you have a lab first thing in the morning?
MATTHEW
Yeah, I do. Just couldn't sleep.
(beat)
I think I'll have a beer. Want one?
Matthew stands up and walks toward the kitchen. He returns with two beer bottles. He hands one to Tony, who is now seated on the sofa. Matthew sits down next to him. They each take a sip. They are both silent for several moments.
TONY
You want to talk about it?
MATTHEW
About what?
TONY
About whatever is bugging you?
Matthew shakes his head.
Tony finishes his beer.
TONY
Well, I think I'll call it a night.
(beat)
Night, Matt.
Tony heads toward his room.
MATTHEW
Goodnight, Tony.
ON MATTHEW
MATTHEW
(under his breath)
What do you do if you found out everything you thought was real, wasn't?
ON TONY
Tony, standing in the doorway, overhears him.
TONY
(softly; not heard)
I know exactly what you mean.
He shuts the door to his bedroom.
INT. MATTHEW'S APARTMENT - THE FOLLOWING MORNING
There is a soft KNOCK on the door. Matthew opens the door and sees Emma standing on the other side.
EMMA
May I come in?
Matthew looks around to see if his roommate is up and then opens the door further for her.
MATTHEW
How did you find me? Never mind, you have your ways.
Emma is silent.
MATTHEW (continued)
I don't mean to be rude, but I'm kind of in a hurry. . . was there something you wanted?
EMMA
I just came by to say I'm sorry—well, about everything.
MATTHEW
Apology accepted.
There is an awkward silence between the two of them.
EMMA
So.
MATTHEW
So.
EMMA
You're Scarecrow's son?
MATTHEW
Scarecrow?
EMMA
Your father's codename.
MATTHEW
Ohhh.
(beat)
Listen, I don't know anything. My parents kept that part of their life a secret from me.
EMMA
I see.
MATTHEW
Well, that's one of us who does.
(beat)
I have a class I'm late for. . .
He points toward the door.
EMMA
Oh, yes. Of course.
(beat; shakes his hand)
It was nice meeting you, Matthew Stetson.
MATTHEW
(he smiles; teasing)
Same to you, Agent 99.
EMMA
(confused)
Agent 99?
MATTHEW
You know, television?
Emma shakes her head.
MATTHEW (continued)
Get Smart? It's an old television show, recently remade into a movie. Not a very good one, I might add.
EMMA
No, sorry. I don't have much time to watch the telly.
(beat)
But you must watch it a lot.
MATTHEW
No, not really. My grandma used to love to watch old spy serials on TV—I guess I know why.
He rakes his hand through his hair.
MATTHEW (continued)
I would watch them with her.
(another beat)
May I ask you a question?
EMMA
I guess.
MATTHEW
What's your name?
EMMA
What?
MATTHEW
Well, I really can't keep calling you Emma Peel or Agent 99, now can I?
(beat)
You do have a name, don't you?
EMMA
Oh, yes, of course. You're actually somewhat close. It's Emma. Emma Waddington.
(beat)
I’d best go, so you can get to your class. Goodbye, Matthew.
MATTHEW
Goodbye, Emma.
Matthew shuts the door.
EXT. MATTHEW'S APARTMENT BUILDING FRONT DOOR
Emma comes out of the front door of the apartment building.
ON SEDAN PARKED ACROSS THE STREET
INT. SEDAN
Two men are sitting inside a nondescript sedan. One thug holds up a pair of binoculars. They watch Emma leave the apartment building.
THUG 1
There she is again. Do you think she's trying to recruit him?
Thug 2 shrugs his shoulders.
THUG 2
We should tell the boss.
He picks up a cell phone and makes a call.
THUG 2 (continued)
Hello, Sir.
EXT. PARK - SOMEWHERE IN D.C.
Man walking in the park talking on the cell phone.
INTERCUT WITH YERIK AND THE TWO THUGS IN THE CAR
YERIK
Did you do what I asked?
THUG 2
Yes, Sir.
(beat)
She was at his apartment this morning.
Yerik sits down on a park bench. There is another man sitting there, ANDREI MYSLINSKII, quietly reading a newspaper.
YERIK
(turns to his partner)
She was there.
The second man nods his head.
ANDREI
(in Russian accent)
Proceed forward with the mission.
YERIK
(on the phone)
You know what to do.
THUG 2
Yes, Sir. We're on it.
The thug hangs up the phone and motions to his partner to move forward.
ON CAR AS IT PULLS AWAY FROM THE CURB.
EXT. PARK BENCH
The second man folds his newspaper neatly.
ANDREI
And the kid's positive he's Scarecrow's son?
YERIK
Da.
He hands Andrei a folder.
YERIK (continued)
Everything's in the folder.
Andrei opens the folder and we see various pictures of Lee, Amanda, Emma, and Matthew.
ANDREI
Smert shipoman.
(Translated means "Death to spies.")
EXT. NEDLINGER'S BAR - NIGHT
INT. NEDLINGER'S BAR - NIGHT
Lee, Amanda and Francine are sitting down at a table eating dinner. They are laughing and talking.
FRANCINE
Lee, Amanda, I appreciate you not holding that arrest fiasco with your son over my head.
LEE
Who says we're not? That's why you're paying for dinner.
He winks.
FRANCINE
(smiling)
Sure, it's the least I can do. Again, I apologize for my agent. She's on loan from Mi-6. They thought she could use some more training that the Agency could provide.
AMANDA
Francine, I'm sure it wasn't your fault.
FRANCINE
Thanks, I appreciate that, Amanda. Really, Emma has the makings of being a great agent someday, but she's young and needs to learn some control. I just wish I had someone to partner her with, like what Emily Farnsworth did with you, Lee.
Emma comes through the front door, scanning the restaurant; she sees Francine and walks over to her. Ignoring Lee and Amanda, she starts to talk to Francine.
ANGLE PAST LEE AND AMANDA
EMMA
Ms. Desmond, I think I just caught a break on this er—film, but I need your signature on this for the wiretap—umm…
FRANCINE
(to Lee and Amanda)
See what I mean?
(to Emma)
It's okay; my companions know what we really do for a living. And if you hadn't noticed, I'm having dinner with some old friends and I would appreciate not being bothered at the moment.
EMMA
(sounding annoyed)
I'm sorry, Ms. Desmond, but you put me on report, and I can't make a move without your authorization.
FRANCINE
How did you find me?
EMMA
(sheepishly)
Charlie told me.
FRANCINE
(under breath)
God, help me. Good help is so hard to find these days.
(to Emma; annoyed)
I made explicit instructions I did NOT want to be disturbed. How did you get the information out of him?
EMMA
Oh, Charlie, it wasn't difficult. I charmed the information out of him.
Amanda looks surprised.
FRANCINE
(to Amanda; muttering)
The 'Scarecrow effect'.
Amanda nods her head in understanding.
FRANCINE
I would appreciate in the future that you NOT use your womanly wiles on my assistant.
EMMA
It's not my fault he's weak.
(beat)
Well, do I have permission for the wiretap?
Amanda and Lee watch this exchange between Emma and Francine.
FRANCINE
No, I don't think you have enough evidence.
EMMA
How can I get enough evidence, when you're holding me back?
FRANCINE
Fine.
(beat)
What did Judge Thompson say?
EMMA
I didn't ask her.
FRANCINE
What?
EMMA
Oh, come on, Francine, it could take hours to get a warrant. . . this information I got from my informant is hot. . . I need to act on it now.
FRANCINE
No, what you need to do is follow the rules.
Amanda smirks.
LEE
(whispering)
What are you smiling at, Mrs. Stetson?
AMANDA
(rolls her eyes)
Nothing, Sweetheart.
It is at this point, the arguing between Emma and Francine stops as Emma is suddenly aware who Francine is having dinner with.
EMMA
(gasps; to Lee in awe)
Do you know who you are?
LEE
(chuckles)
Yes, I know who I am.
FRANCINE
(cutting in)
These. . . these are the people you need to apologize to for arresting their son.
EMMA
(to Lee, ignoring Amanda)
Sorry, Scarecrow.
(beat)
I know now where your son gets his good looks.
LEE
(pouring on the charm himself)
Apology accepted, but you might want to be a bit cautious in the future, ummm. . .
EMMA
Scout, Sir.
LEE
(he smiles)
Yes, Scout. You shouldn't rush to judgment when arresting people. Following protocol may seem like a waste of time but it tends to eliminate snafus like the one you made with our son.
Amanda and Francine both snort. Lee gives them a dirty look.
FRANCINE
(clears her throat)
Emma, you're dismissed.
(beat)
And I want further intel before I authorize any of this.
(another beat)
And don't go off half-cocked on your own. . . take Fred Fielder with you.
EMMA
(groans)
Fielder.
Emma exits.
Amanda and Francine share a look.)
FRANCINE
(to Amanda)
Yes, I know, it's like deja vu all over again, isn't it?
(beat; to both)
Are you sure your son isn't available?
She grins.
OFF LEE AND AMANDA'S LOOK. . .
CUT TO
EXT. MATTHEW'S GEORGETOWN APARTMENT - DAY
Matthew is coming out of the apartment front entrance, when two men approach him.
THUG 2
Excuse me, Sir.
MATTHEW
Yes?
THUG 1
We seem to be lost. Can you tell us where the Ambassador Apartments are?
MATTHEW
(he points)
You're close. . . it's actually one block north and two blocks west.
THUG 2
(pretending to listen, he also points)
One block north. . .
The three of them walk closer toward the alley when thug one jumps Matthew, while the other checks if the coast is clear. Matthew struggles for a moment, but is knocked unconscious. A black limousine pulls in front of the alley and both thugs drag Matthew into the waiting limousine. It pulls away.
INT. LIMOUSINE
The first thug, under his bosses’ direction, gives Matthew some smelling salt. Matthew stirs awake, quickly.
MATTHEW
What the hell?
YERIK
My apologies, Mr. Stetson. I'm afraid my men. . . how do you say. . . were somewhat overzealous.
Matthew looks over at each thug. They are sitting on other side of him.
MATTHEW
(rubbing his head)
Overzealous? Not quite the word that came to my mind.
Yerik shrugs his shoulders.
Matthew recognizes the man who has him.
MATTHEW (continued)
You again?
(beat)
Who are you?
YERIK
My name is Yerik Myslinskii.
(beat)
And I need your help.
MATTHEW
(confused)
You have a funny way of asking for help.
YERIK
(smiles)
I run a small security firm. Lately I have been losing some important government contracts, and you see, I don't like to lose.
Matthew notices weapons and sees there's no way out.
MATTHEW
What does this have to do with me?
YERIK
I need you go to your great uncle's company and get me his pricing models.
MATTHEW
What? Why?
YERIK
So I can outbid him, of course.
MATTHEW
Why on earth would I do that for you?
YERIK
(threatening)
I'm only going to ask this once. You will retrieve those pricing models or I will make it quite unpleasant for you and your family. Do I make myself clear?
Matthew nods.
YERIK (continued)
By the way, you will not breathe a word of this to your mother or father—after all, I'm sure you would hate to see your parents involved in a bad accident, now wouldn't you?
Matthew shakes his head. Yerik leans forward and pats Matthew on the cheek.
YERIK (continued)
Someone will be in contact with you shortly.
ON LIMOUSINE PULLING UP IN FRONT OF MATTHEW'S APARTMENT
Matthew gets out.
YERIK
Pleasure doing business with you, Mr. Stetson.
The limousine door closes and the limo pulls away from the curb and heads down the street.
MATTHEW
How did I ever end up in this mess?
END OF ACT TWO
Amanda is sitting down on the sofa watching Lee pace. Lee is talking on the phone.
IFF OPERATOR (V.O.)
(filtered)
International Federal Film. How may I direct your call?
LEE
This is Scarecrow. Let me talk to Francine Desmond.
IFF OPERATOR (V.O.)
(filtered)
Yes, Sir. I'm patching you through now.
INT. FRANCINE'S OFFICE
FRANCINE
Evening, Lee. I was expecting your call. How's Amanda?
INTERCUT WITH FRANCINE AND LEE
LEE
Cut the chitchat, Francine. Why was my son at the Agency, yesterday?
FRANCINE
Well you see it's really kind of funny. . .
(beat; clears throat)
. . . he was under arrest.
LEE
WHAT!? You had our son arrested. On what charges?
Amanda gets up and stands next to Lee listening in.
FRANCINE
Lee, this wasn't my fault—okay, maybe it was, indirectly.
(beat)
Your son, who is just like your wife, ended up in the middle of a surveillance operation. The moment I found out your son had been arrested, I had him released.
(another beat)
Matthew still doesn't know what you to do for a living.
LEE
(sighing)
He does now.
FRANCINE
Listen guys, I'm sorry.
(beat)
I have a young, brash, arrogant agent, who jumped the gun, so to speak, before she had all the facts—like someone else I know.
LEE
Can it, Francine.
FRANCINE
She has the makings of being a great agent, but she chews through partners faster than you.
(chuckles)
Oh, I just had a crazy thought. . . maybe I should pair Matt with Emma.
AMANDA
You wouldn't dare.
FRANCINE
I have no intention of having your son work for the Agency.
(beat)
Way too much paperwork. . . and indigestion.
AMANDA
Good-bye, Francine.
FRANCINE
Goodbye, Amanda, Lee.
Lee hangs up the phone. Amanda shakes her head.
CUT TO
EXT. MATTHEW'S GEORGETOWN APARTMENT - NIGHT
INT. MATTHEW'S GEORGETOWN APARTMENT - NIGHT
Tony enters the apartment and sees Matthew sitting on the sofa, lost in thought.
TONY
Hi, Matt. You're up late. Don’t you have a lab first thing in the morning?
MATTHEW
Yeah, I do. Just couldn't sleep.
(beat)
I think I'll have a beer. Want one?
Matthew stands up and walks toward the kitchen. He returns with two beer bottles. He hands one to Tony, who is now seated on the sofa. Matthew sits down next to him. They each take a sip. They are both silent for several moments.
TONY
You want to talk about it?
MATTHEW
About what?
TONY
About whatever is bugging you?
Matthew shakes his head.
Tony finishes his beer.
TONY
Well, I think I'll call it a night.
(beat)
Night, Matt.
Tony heads toward his room.
MATTHEW
Goodnight, Tony.
ON MATTHEW
MATTHEW
(under his breath)
What do you do if you found out everything you thought was real, wasn't?
ON TONY
Tony, standing in the doorway, overhears him.
TONY
(softly; not heard)
I know exactly what you mean.
He shuts the door to his bedroom.
INT. MATTHEW'S APARTMENT - THE FOLLOWING MORNING
There is a soft KNOCK on the door. Matthew opens the door and sees Emma standing on the other side.
EMMA
May I come in?
Matthew looks around to see if his roommate is up and then opens the door further for her.
MATTHEW
How did you find me? Never mind, you have your ways.
Emma is silent.
MATTHEW (continued)
I don't mean to be rude, but I'm kind of in a hurry. . . was there something you wanted?
EMMA
I just came by to say I'm sorry—well, about everything.
MATTHEW
Apology accepted.
There is an awkward silence between the two of them.
EMMA
So.
MATTHEW
So.
EMMA
You're Scarecrow's son?
MATTHEW
Scarecrow?
EMMA
Your father's codename.
MATTHEW
Ohhh.
(beat)
Listen, I don't know anything. My parents kept that part of their life a secret from me.
EMMA
I see.
MATTHEW
Well, that's one of us who does.
(beat)
I have a class I'm late for. . .
He points toward the door.
EMMA
Oh, yes. Of course.
(beat; shakes his hand)
It was nice meeting you, Matthew Stetson.
MATTHEW
(he smiles; teasing)
Same to you, Agent 99.
EMMA
(confused)
Agent 99?
MATTHEW
You know, television?
Emma shakes her head.
MATTHEW (continued)
Get Smart? It's an old television show, recently remade into a movie. Not a very good one, I might add.
EMMA
No, sorry. I don't have much time to watch the telly.
(beat)
But you must watch it a lot.
MATTHEW
No, not really. My grandma used to love to watch old spy serials on TV—I guess I know why.
He rakes his hand through his hair.
MATTHEW (continued)
I would watch them with her.
(another beat)
May I ask you a question?
EMMA
I guess.
MATTHEW
What's your name?
EMMA
What?
MATTHEW
Well, I really can't keep calling you Emma Peel or Agent 99, now can I?
(beat)
You do have a name, don't you?
EMMA
Oh, yes, of course. You're actually somewhat close. It's Emma. Emma Waddington.
(beat)
I’d best go, so you can get to your class. Goodbye, Matthew.
MATTHEW
Goodbye, Emma.
Matthew shuts the door.
EXT. MATTHEW'S APARTMENT BUILDING FRONT DOOR
Emma comes out of the front door of the apartment building.
ON SEDAN PARKED ACROSS THE STREET
INT. SEDAN
Two men are sitting inside a nondescript sedan. One thug holds up a pair of binoculars. They watch Emma leave the apartment building.
THUG 1
There she is again. Do you think she's trying to recruit him?
Thug 2 shrugs his shoulders.
THUG 2
We should tell the boss.
He picks up a cell phone and makes a call.
THUG 2 (continued)
Hello, Sir.
EXT. PARK - SOMEWHERE IN D.C.
Man walking in the park talking on the cell phone.
INTERCUT WITH YERIK AND THE TWO THUGS IN THE CAR
YERIK
Did you do what I asked?
THUG 2
Yes, Sir.
(beat)
She was at his apartment this morning.
Yerik sits down on a park bench. There is another man sitting there, ANDREI MYSLINSKII, quietly reading a newspaper.
YERIK
(turns to his partner)
She was there.
The second man nods his head.
ANDREI
(in Russian accent)
Proceed forward with the mission.
YERIK
(on the phone)
You know what to do.
THUG 2
Yes, Sir. We're on it.
The thug hangs up the phone and motions to his partner to move forward.
ON CAR AS IT PULLS AWAY FROM THE CURB.
EXT. PARK BENCH
The second man folds his newspaper neatly.
ANDREI
And the kid's positive he's Scarecrow's son?
YERIK
Da.
He hands Andrei a folder.
YERIK (continued)
Everything's in the folder.
Andrei opens the folder and we see various pictures of Lee, Amanda, Emma, and Matthew.
ANDREI
Smert shipoman.
(Translated means "Death to spies.")
EXT. NEDLINGER'S BAR - NIGHT
INT. NEDLINGER'S BAR - NIGHT
Lee, Amanda and Francine are sitting down at a table eating dinner. They are laughing and talking.
FRANCINE
Lee, Amanda, I appreciate you not holding that arrest fiasco with your son over my head.
LEE
Who says we're not? That's why you're paying for dinner.
He winks.
FRANCINE
(smiling)
Sure, it's the least I can do. Again, I apologize for my agent. She's on loan from Mi-6. They thought she could use some more training that the Agency could provide.
AMANDA
Francine, I'm sure it wasn't your fault.
FRANCINE
Thanks, I appreciate that, Amanda. Really, Emma has the makings of being a great agent someday, but she's young and needs to learn some control. I just wish I had someone to partner her with, like what Emily Farnsworth did with you, Lee.
Emma comes through the front door, scanning the restaurant; she sees Francine and walks over to her. Ignoring Lee and Amanda, she starts to talk to Francine.
ANGLE PAST LEE AND AMANDA
EMMA
Ms. Desmond, I think I just caught a break on this er—film, but I need your signature on this for the wiretap—umm…
FRANCINE
(to Lee and Amanda)
See what I mean?
(to Emma)
It's okay; my companions know what we really do for a living. And if you hadn't noticed, I'm having dinner with some old friends and I would appreciate not being bothered at the moment.
EMMA
(sounding annoyed)
I'm sorry, Ms. Desmond, but you put me on report, and I can't make a move without your authorization.
FRANCINE
How did you find me?
EMMA
(sheepishly)
Charlie told me.
FRANCINE
(under breath)
God, help me. Good help is so hard to find these days.
(to Emma; annoyed)
I made explicit instructions I did NOT want to be disturbed. How did you get the information out of him?
EMMA
Oh, Charlie, it wasn't difficult. I charmed the information out of him.
Amanda looks surprised.
FRANCINE
(to Amanda; muttering)
The 'Scarecrow effect'.
Amanda nods her head in understanding.
FRANCINE
I would appreciate in the future that you NOT use your womanly wiles on my assistant.
EMMA
It's not my fault he's weak.
(beat)
Well, do I have permission for the wiretap?
Amanda and Lee watch this exchange between Emma and Francine.
FRANCINE
No, I don't think you have enough evidence.
EMMA
How can I get enough evidence, when you're holding me back?
FRANCINE
Fine.
(beat)
What did Judge Thompson say?
EMMA
I didn't ask her.
FRANCINE
What?
EMMA
Oh, come on, Francine, it could take hours to get a warrant. . . this information I got from my informant is hot. . . I need to act on it now.
FRANCINE
No, what you need to do is follow the rules.
Amanda smirks.
LEE
(whispering)
What are you smiling at, Mrs. Stetson?
AMANDA
(rolls her eyes)
Nothing, Sweetheart.
It is at this point, the arguing between Emma and Francine stops as Emma is suddenly aware who Francine is having dinner with.
EMMA
(gasps; to Lee in awe)
Do you know who you are?
LEE
(chuckles)
Yes, I know who I am.
FRANCINE
(cutting in)
These. . . these are the people you need to apologize to for arresting their son.
EMMA
(to Lee, ignoring Amanda)
Sorry, Scarecrow.
(beat)
I know now where your son gets his good looks.
LEE
(pouring on the charm himself)
Apology accepted, but you might want to be a bit cautious in the future, ummm. . .
EMMA
Scout, Sir.
LEE
(he smiles)
Yes, Scout. You shouldn't rush to judgment when arresting people. Following protocol may seem like a waste of time but it tends to eliminate snafus like the one you made with our son.
Amanda and Francine both snort. Lee gives them a dirty look.
FRANCINE
(clears her throat)
Emma, you're dismissed.
(beat)
And I want further intel before I authorize any of this.
(another beat)
And don't go off half-cocked on your own. . . take Fred Fielder with you.
EMMA
(groans)
Fielder.
Emma exits.
Amanda and Francine share a look.)
FRANCINE
(to Amanda)
Yes, I know, it's like deja vu all over again, isn't it?
(beat; to both)
Are you sure your son isn't available?
She grins.
OFF LEE AND AMANDA'S LOOK. . .
CUT TO
EXT. MATTHEW'S GEORGETOWN APARTMENT - DAY
Matthew is coming out of the apartment front entrance, when two men approach him.
THUG 2
Excuse me, Sir.
MATTHEW
Yes?
THUG 1
We seem to be lost. Can you tell us where the Ambassador Apartments are?
MATTHEW
(he points)
You're close. . . it's actually one block north and two blocks west.
THUG 2
(pretending to listen, he also points)
One block north. . .
The three of them walk closer toward the alley when thug one jumps Matthew, while the other checks if the coast is clear. Matthew struggles for a moment, but is knocked unconscious. A black limousine pulls in front of the alley and both thugs drag Matthew into the waiting limousine. It pulls away.
INT. LIMOUSINE
The first thug, under his bosses’ direction, gives Matthew some smelling salt. Matthew stirs awake, quickly.
MATTHEW
What the hell?
YERIK
My apologies, Mr. Stetson. I'm afraid my men. . . how do you say. . . were somewhat overzealous.
Matthew looks over at each thug. They are sitting on other side of him.
MATTHEW
(rubbing his head)
Overzealous? Not quite the word that came to my mind.
Yerik shrugs his shoulders.
Matthew recognizes the man who has him.
MATTHEW (continued)
You again?
(beat)
Who are you?
YERIK
My name is Yerik Myslinskii.
(beat)
And I need your help.
MATTHEW
(confused)
You have a funny way of asking for help.
YERIK
(smiles)
I run a small security firm. Lately I have been losing some important government contracts, and you see, I don't like to lose.
Matthew notices weapons and sees there's no way out.
MATTHEW
What does this have to do with me?
YERIK
I need you go to your great uncle's company and get me his pricing models.
MATTHEW
What? Why?
YERIK
So I can outbid him, of course.
MATTHEW
Why on earth would I do that for you?
YERIK
(threatening)
I'm only going to ask this once. You will retrieve those pricing models or I will make it quite unpleasant for you and your family. Do I make myself clear?
Matthew nods.
YERIK (continued)
By the way, you will not breathe a word of this to your mother or father—after all, I'm sure you would hate to see your parents involved in a bad accident, now wouldn't you?
Matthew shakes his head. Yerik leans forward and pats Matthew on the cheek.
YERIK (continued)
Someone will be in contact with you shortly.
ON LIMOUSINE PULLING UP IN FRONT OF MATTHEW'S APARTMENT
Matthew gets out.
YERIK
Pleasure doing business with you, Mr. Stetson.
The limousine door closes and the limo pulls away from the curb and heads down the street.
MATTHEW
How did I ever end up in this mess?
END OF ACT TWO
ACT THREE
EXT. CLAYTON DEFENSE INDUSTRIES - ESTABLISHING - DAY
INT. CLAYTON DEFENSE INDUSTRIES - DAY
Clayton Defense Industries is a private-based military company. The building is a large glass structure, several stories tall. Matthew enters the building and walks over to the guard station. A SECURITY GUARD looks up and acknowledges Matthew.
SECURITY GUARD
Can I help you, Sir?
MATTHEW
Is Robert Clayton in today?
SECURITY GUARD
Do you have an appointment?
MATTHEW
Well, no.
SECURITY GUARD
I'm sorry. You'll have to come back when you have an appointment.
MATTHEW
My name is Matthew Stetson. Mr. Clayton is my great uncle.
SECURITY GUARD
Yes, I'm sorry, Sir. I don't know why I didn't notice it before. . . you do look like your father.
MATTHEW
Yes, I have been told that a time or two.
SECURITY GUARD
Let me buzz him and see if he's available.
The security guard picks up the phone and dials a number. Matthew walks around the large glass atrium room.
SECURITY GUARD
(hangs up the phone)
Mr. Stetson, Mr. Clayton will see you.
He has Matthew sign his name to a clipboard and hands him a visitor’s pass.
SECURITY GUARD
First set of elevators. He's on the 8th floor, last room on the right. Have a good day.
MATTHEW
Thank you.
Matthew enters the elevator and pushes the button for the 8th floor.
PAN MATTHEW GETTING OFF THE ELEVATOR AND HEADING DOWN HALL
Matthew enters the Colonel's office.
COLONEL ROBERT CLAYTON (RETIRED) stands up from behind his desk when he sees Matthew enter the room.
ROBERT
(shakes Matthew's hand)
Matt, how are you?
MATTHEW
Doing good, Sir.
ROBERT
Surprised you caught me. I'm semi-retired, you know.
MATTHEW
Yes, Sir, I know. Dad told me.
ROBERT
No need to stand on formalities, Matt. At ease, Son.
(beat)
How's Skip and your Mom?
Both Matthew and Robert sit down.
MATTHEW
They're good.
ROBERT
And your brothers?
MATTHEW
Good, too.
ROBERT
Glad to hear it.
(beat)
Sorry to hear about Dotty's passing. She was a wonderful woman.
MATTHEW
Yes—that she was.
ROBERT
(nods his head)
So what do I owe this pleasure?
MATTHEW
Well, Sir, you see I have this assignment I need your help on.
ROBERT
Assignment?
MATTHEW
For school. You know I'm going to Georgetown.
Robert nods his head and leans back in his chair.
MATTHEW
(rambling)
I'm majoring in Business and was wondering if I could spend a few days interviewing and learning from your cost analyst, so I could have a better understanding of matching costs to customers to ah--
(beat)
. . . evaluate customer profitability and um—strategic and tactical planning for products and services?
Robert leans forward again and places his hands on the desk.
ROBERT
Ummm. . . yeah, well. . .
(beat)
I don't know, Matt. You know some of that information is classified.
Matthew nods his head.
ROBERT (continued)
However, if you promise not to mention the name of the company—you know, a disclaimer saying the name has been changed to protect trade secrets—I think I can let you talk to my cost analyst, although he's a bit of a bore.
Matthew stands up and shakes his uncle's hand.
MATTHEW
Thank you, Sir.
ROBERT
Would you like to stay? Maybe grab some lunch before I take you down to the accounting department?
MATTHEW
(smiles)
Thanks, Uncle Robert. That would be nice.
INT. ACCOUNTING - CLAYTON DEFENSE INDUSTRIES - DAY
Robert and Matthew enter the Accounting Department. There are several rows of cubicles. They walk past all the cubicles and into a small corner office. The nameplate on the door reads Dale Hardgrove. Robert knocks on the door and DALE HARDGROVE looks up.
ROBERT
Thanks for meeting us on such short notice, Dale. This is my great nephew, Matthew Stetson.
DALE
(shakes Matthew's hand)
How do you do, Mr. Stetson?
MATTHEW
(returning handshake)
Matt, please.
DALE
(nods head)
Dale.
(beat)
I understand you're attending Georgetown. My alma mater.
(another beat)
Majoring in Business?
MATTHEW
Yes, Sir. . . I mean Dale.
DALE
Are you going for your MBA?
MATTHEW
(shrugs)
Haven't decided yet.
ROBERT
Well, I’ll leave you two to talk.
He pats Matthew on the back.
ROBERT
Don't be such a stranger, Matt.
MATTHEW
Yes, Sir.
Robert exits.
DALE
Can I get you a cup of coffee?
MATTHEW
Yes, thank you.
DALE
How do you like it?
MATTHEW
Cream, no sugar.
DALE
Alright, I'll be right back.
Matthew nods his head and watches Dale head out of his office and walk toward the coffee station. Matthew closes the door, walks over to the computer, and punches in a few keys. After several attempts, the computer screen lights up. He hears the door open and he turns off the monitor and turns around facing the window. Dale hands him his coffee.
MATTHEW
(taking the cup)
Nice view you have.
DALE
Thanks.
Dale sits down at his desk and motions for Matthew to take a seat. Matthew sees Dale's coffee sitting close to the edge and ‘accidentally' knocks it over into Dale's lap. Dale gasps as hot coffee ends up in his lap.
MATTHEW
Oh, my gosh! How clumsy of me. Can you point me in the direction of the restrooms, so I can get you some paper towels?
DALE
No, no, that's okay. I keep a change of clothes in my locker. I'll be right back.
MATTHEW
I'm sorry.
Dale waves his hand and walks away in pain.
ON MATTHEW
Matthew turns the monitor back on, finds the file he is looking for, and prints a report. He has just finished when Dale returns. He sits down in the chair opposite Dale's desk. Dale re-enters the room and sits back down at his desk.
DALE
So what questions can I answer for you?
Matthew flips open a legal pad.
CUT TO
INT. STETSON HOME - HOME OFFICE - A FEW WEEKS LATER - DAY
LEE (O.C.)
Amanda, have you seen the Wilson file?
AMANDA (O.C.)
I put it on your desk.
ON LEE looking through a stack of files.
LEE
(hollering)
I can't find it.
Amanda enters the room.
AMANDA
Honestly, Lee.
She finds it quickly and holds it up for him. When he grabs for the file, she pulls her hand away.
AMANDA
(teasing)
Ah-ah-ah-ah! What do I get in return?
Lee comes from behind the desk and grabs for her, but she is too quick. They chase each other for a moment, but she zigs, when she should have zagged and he catches her, pinning her. Lee smiles, leans in, and they almost kiss when the DOORBELL rings. They both sigh and Amanda gives him a knowing look.
AMANDA
I'll get it.
INT. FRONT ENTRY
Amanda opens the front door. At the door is Robert Clayton.
AMANDA
Hello, Uncle Robert. Won't you come in?
She opens the door further and he enters.
ROBERT
Thanks, Amanda.
LEE (O.C.)
Amanda, who is it?
Lee enters the foyer and as soon as he sees the Colonel, he stands up straighter.
ROBERT
Skip.
LEE
Sir.
Amanda shakes her head and rolls her eyes. Even after 25 years, things have not changed.
AMANDA
What do we owe the pleasure of your company?
ROBERT
Actually, I need your help.
Amanda looks over at Lee. Lee raises his eyebrow.
QUICK CUT
INT. - HOME OFFICE
Lee, Amanda and Robert enter their home office. Lee invites the Colonel to sit down and then Lee himself sits on the edge of his desk. Amanda stands next to him.
AMANDA
Can I get you anything?
ROBERT
No, thank you, Amanda.
Robert picks up a family picture from the desk. In the photo is the whole family. He places it back on the desk.
ROBERT
You really do have a beautiful family, Skip.
(beat)
I have had lunch with Matthew a few times in the last couple of weeks. He's a good boy. Your dad would approve of his namesake.
Amanda touches Lee's shoulder.
AMANDA
We are very proud of him, as we are with all our boys.
Robert nods his head. There is an awkward silence for a moment.
LEE
What can we do for you, Sir?
ROBERT
I think I may have a traitor in my ranks.
LEE
Sir?
ROBERT
Within the last few weeks, Clayton Defense Industries has been outbid on several key military contracts.
AMANDA
Coincidence?
ROBERT
(shakes head)
No, I don't think so. The company that outbid us is too close to our initial bid based on our pricing models—and it's the same company each time.
LEE
Which company is winning these contracts?
ROBERT
Some little start-up company. . . A&Y Domestic Services.
Lee and Amanda share a look.
LEE
The Myslinskii brothers.
(beat)
And there’s nothing domestic about their company.
ROBERT
Are you familiar with them?
LEE
Oh, yeah. Andrei and Yerik Myslinskii. . . ex-KGB.
AMANDA
They have current ties with the ROC, the acronym for Russian Organized Crime. Their activities include selling narcotics, prostitution, human trafficking. Their operations are often funded by the Russian Mafia.
ON ROBERT'S CONFUSED LOOK
LEE
Hey, even the Russian Mafia needs income in this economic environment.
AMANDA
D.C. has always been a favorite town for all sorts of organized crime. The mafia is no different.
Lee stands up and starts to pace the room. Amanda sits down. Lee stops and looks at Amanda.
LEE
I would love to catch them red-handed and get them deported once and for all.
(beat; to the Colonel)
Any idea who your leak might be?
ROBERT
No.
LEE
That's okay. What I think we need to do is set up a neat little sting operation. Maybe use some fake pricing models.
(beat; shakes the Colonel's hand)
We'll find your traitor, Sir.
(another beat)
You just hired Stetson Consultants.
QUICK CUT
INT. STETSON HOME - HOME OFFICE - DAY
Amanda is talking on the phone when Lee enters the room. He waits for Amanda to hang up. He only hears one side of the conversation.
AMANDA
Thanks for the information. . . I'll inform Lee. Talk to you soon. You too. Goodbye.
Amanda hangs up the phone. Lee gives Amanda a questioning look.
LEE
One of the 'family?'
AMANDA
That was Lana. She says to say hello.
Lee nods his head.
AMANDA
She overheard Andrei talking to Yerik over the phone the other night while she was giving him a massage. It would appear that the Myslinskii brothers are on the market for the formula used to make bullet-resistant glass.
LEE
The military has been looking for something stronger and lighter than traditional materials to stop armor-piercing weapons from penetrating combat vehicles for years.
AMANDA
Isn't your uncle's company experimenting with something similar?
LEE
They've been experimenting, I think, with some sort of aluminum oxynitride.
AMANDA
Are they close?
LEE
I think they're still testing, but yes, very close.
Amanda gives Lee a look.
LEE
I recognize that look, Mrs. Stetson.
(beat)
What do you have in mind?
AMANDA
I think we should give them exactly what they're looking for.
OFF LEE'S LOOK. . .
EXT. D.C. STREET - DAY
Matthew is walking down the street when two thugs flank him on both sides. He looks to the right and then to the left.
MATTHEW
You've got to be kidding.
The first thug smiles at him.
MATTHEW
No, no, no. . . you tell your bosses whatever it is, I will NOT do it.
They have walked him into a back alley. Yerik comes up some stairs and faces Matthew.
YERIK
My brother and I were so pleased with how well you did your last job.
MATTHEW
No, I don't care what you say to me, I will not steal from my great uncle again.
(beat)
Why don't you just leave me and my family alone.
YERIK
I think that can be arranged after you do one more thing.
Yerik nods to one of the thugs and he grabs Matthew from behind, while the second thug punches Matthew in the stomach. Yerik lifts up Matthew's chin.
YERIK
I'm not a patient man, Mr. Stetson.
(beat)
And I would hate for something similar to happen to your parents as happened to your grandparents.
MATTHEW
(in pain)
What are you talking about?
(beat)
They were killed in a car accident.
YERIK
Interesting. Is that what your parents told you?
(beat)
They didn't bother to tell you that your grandparents were spies who went rogue and were run off the road.
Yerik notices Matthew's confused look.
YERIK
Oh, what a tangled web we weave.
(smiles)
Yes, it would be tragic if your parents suffered a similar fate. Very tragic indeed.
Yerik nods to the thug again and Matthew is hit a second time. Matthew bends over in pain. He would have fallen to the ground if not being supported by the one thug holding his arms.
YERIK
I need you to get me the formula for the experimental, bullet resistant glass your uncle is working on.
(beat)
Then we can renegotiate the terms of your contract.
The thug releases Matthew and he falls to the ground. The three men walk away.
YERIK
Oh, Mr. Stetson. You have until Thursday night. Someone will be in touch with you soon.
They exit.
Matthew struggles to get up but finally stands on his own two feet. He is bent over catching his breath.
MATTHEW
No, not this time.
INT. WAREHOUSE - D.C. AREA - NIGHT
Lee and Amanda are in the warehouse, hiding on a balcony level, behind some boxes. Amanda is holding up a pair of binoculars. The Myslinskii brother’s and a couple of their thugs show up. Scanning the area carefully, Yerik notices a figure open the door and step into the warehouse. He points to Andrei. The figure heads toward them. Amanda focuses the binoculars on the other man and just about drops them.
AMANDA
Oh, my gosh! What is HE doing here?
LEE
Who?
Amanda hands Lee the binoculars and Lee focuses on who Amanda was looking at.
LEE POV
LEE
What the hell?
ON MATTHEW; THEN BACK TO LEE
LEE
I'm going to kill him.
Amanda grabs Lee, holding him back.
ON YERIK
YERIK
Ah, Mr. Stetson, do you have what I asked for?
MATTHEW
(holds up the tube)
I do, but I won't give it to you until you promise to leave my family alone—once and for all.
YERIK
I don't think you are in any position to make demands. Just look around you—you are surrounded. Now hand it over.
The two thugs train their guns on Matthew.
Lee stealthily sneaks down the stairs and gets behind Andrei; cocking his gun.
LEE
No, Yerik. I think it is YOU that is mistaken. Tell your boys to drop them or I'll drop your brother.
Andrei raises his hands and motions for the thugs to drop their guns. He turns around and manages to kick the gun out of Lee's hands. Lee and Andrei fight. A moment later, several Agency cars roll in silently from various directions. Francine motions the agents into the building. Emma and Francine and other agents enter the warehouse.
FRANCINE
Freeze. . . federal agents!
There's an exchange of GUNFIRE between the agents and the Myslinskii gang. In the confusion, one of the Myslinskii thugs grabs Matthew from behind and uses him as a human shield to escape out the back door of the warehouse. Amanda looks up and sees Matthew being taken hostage, but there is not much she can do from her position. The door closes.
ON AMANDA
AMANDA
Matthew!
ON LEE
Lee looks up, hearing his wife call out to their son. He runs to the back door. Matthew and the thug are in the back alley when all of a sudden someone comes up behind them and strikes the thug in the back of the head. The thug drops to the ground. Matthew turns around and sees Tony, his roommate.
MATTHEW
Thank God, Tony. . .
Tony points a gun at Matthew.
MATTHEW
What the hell?
TONY
Don't worry, Bro. I've got your back.
OFF MATTHEW'S STUNNED LOOK. . .
END OF ACT THREE
EXT. CLAYTON DEFENSE INDUSTRIES - ESTABLISHING - DAY
INT. CLAYTON DEFENSE INDUSTRIES - DAY
Clayton Defense Industries is a private-based military company. The building is a large glass structure, several stories tall. Matthew enters the building and walks over to the guard station. A SECURITY GUARD looks up and acknowledges Matthew.
SECURITY GUARD
Can I help you, Sir?
MATTHEW
Is Robert Clayton in today?
SECURITY GUARD
Do you have an appointment?
MATTHEW
Well, no.
SECURITY GUARD
I'm sorry. You'll have to come back when you have an appointment.
MATTHEW
My name is Matthew Stetson. Mr. Clayton is my great uncle.
SECURITY GUARD
Yes, I'm sorry, Sir. I don't know why I didn't notice it before. . . you do look like your father.
MATTHEW
Yes, I have been told that a time or two.
SECURITY GUARD
Let me buzz him and see if he's available.
The security guard picks up the phone and dials a number. Matthew walks around the large glass atrium room.
SECURITY GUARD
(hangs up the phone)
Mr. Stetson, Mr. Clayton will see you.
He has Matthew sign his name to a clipboard and hands him a visitor’s pass.
SECURITY GUARD
First set of elevators. He's on the 8th floor, last room on the right. Have a good day.
MATTHEW
Thank you.
Matthew enters the elevator and pushes the button for the 8th floor.
PAN MATTHEW GETTING OFF THE ELEVATOR AND HEADING DOWN HALL
Matthew enters the Colonel's office.
COLONEL ROBERT CLAYTON (RETIRED) stands up from behind his desk when he sees Matthew enter the room.
ROBERT
(shakes Matthew's hand)
Matt, how are you?
MATTHEW
Doing good, Sir.
ROBERT
Surprised you caught me. I'm semi-retired, you know.
MATTHEW
Yes, Sir, I know. Dad told me.
ROBERT
No need to stand on formalities, Matt. At ease, Son.
(beat)
How's Skip and your Mom?
Both Matthew and Robert sit down.
MATTHEW
They're good.
ROBERT
And your brothers?
MATTHEW
Good, too.
ROBERT
Glad to hear it.
(beat)
Sorry to hear about Dotty's passing. She was a wonderful woman.
MATTHEW
Yes—that she was.
ROBERT
(nods his head)
So what do I owe this pleasure?
MATTHEW
Well, Sir, you see I have this assignment I need your help on.
ROBERT
Assignment?
MATTHEW
For school. You know I'm going to Georgetown.
Robert nods his head and leans back in his chair.
MATTHEW
(rambling)
I'm majoring in Business and was wondering if I could spend a few days interviewing and learning from your cost analyst, so I could have a better understanding of matching costs to customers to ah--
(beat)
. . . evaluate customer profitability and um—strategic and tactical planning for products and services?
Robert leans forward again and places his hands on the desk.
ROBERT
Ummm. . . yeah, well. . .
(beat)
I don't know, Matt. You know some of that information is classified.
Matthew nods his head.
ROBERT (continued)
However, if you promise not to mention the name of the company—you know, a disclaimer saying the name has been changed to protect trade secrets—I think I can let you talk to my cost analyst, although he's a bit of a bore.
Matthew stands up and shakes his uncle's hand.
MATTHEW
Thank you, Sir.
ROBERT
Would you like to stay? Maybe grab some lunch before I take you down to the accounting department?
MATTHEW
(smiles)
Thanks, Uncle Robert. That would be nice.
INT. ACCOUNTING - CLAYTON DEFENSE INDUSTRIES - DAY
Robert and Matthew enter the Accounting Department. There are several rows of cubicles. They walk past all the cubicles and into a small corner office. The nameplate on the door reads Dale Hardgrove. Robert knocks on the door and DALE HARDGROVE looks up.
ROBERT
Thanks for meeting us on such short notice, Dale. This is my great nephew, Matthew Stetson.
DALE
(shakes Matthew's hand)
How do you do, Mr. Stetson?
MATTHEW
(returning handshake)
Matt, please.
DALE
(nods head)
Dale.
(beat)
I understand you're attending Georgetown. My alma mater.
(another beat)
Majoring in Business?
MATTHEW
Yes, Sir. . . I mean Dale.
DALE
Are you going for your MBA?
MATTHEW
(shrugs)
Haven't decided yet.
ROBERT
Well, I’ll leave you two to talk.
He pats Matthew on the back.
ROBERT
Don't be such a stranger, Matt.
MATTHEW
Yes, Sir.
Robert exits.
DALE
Can I get you a cup of coffee?
MATTHEW
Yes, thank you.
DALE
How do you like it?
MATTHEW
Cream, no sugar.
DALE
Alright, I'll be right back.
Matthew nods his head and watches Dale head out of his office and walk toward the coffee station. Matthew closes the door, walks over to the computer, and punches in a few keys. After several attempts, the computer screen lights up. He hears the door open and he turns off the monitor and turns around facing the window. Dale hands him his coffee.
MATTHEW
(taking the cup)
Nice view you have.
DALE
Thanks.
Dale sits down at his desk and motions for Matthew to take a seat. Matthew sees Dale's coffee sitting close to the edge and ‘accidentally' knocks it over into Dale's lap. Dale gasps as hot coffee ends up in his lap.
MATTHEW
Oh, my gosh! How clumsy of me. Can you point me in the direction of the restrooms, so I can get you some paper towels?
DALE
No, no, that's okay. I keep a change of clothes in my locker. I'll be right back.
MATTHEW
I'm sorry.
Dale waves his hand and walks away in pain.
ON MATTHEW
Matthew turns the monitor back on, finds the file he is looking for, and prints a report. He has just finished when Dale returns. He sits down in the chair opposite Dale's desk. Dale re-enters the room and sits back down at his desk.
DALE
So what questions can I answer for you?
Matthew flips open a legal pad.
CUT TO
INT. STETSON HOME - HOME OFFICE - A FEW WEEKS LATER - DAY
LEE (O.C.)
Amanda, have you seen the Wilson file?
AMANDA (O.C.)
I put it on your desk.
ON LEE looking through a stack of files.
LEE
(hollering)
I can't find it.
Amanda enters the room.
AMANDA
Honestly, Lee.
She finds it quickly and holds it up for him. When he grabs for the file, she pulls her hand away.
AMANDA
(teasing)
Ah-ah-ah-ah! What do I get in return?
Lee comes from behind the desk and grabs for her, but she is too quick. They chase each other for a moment, but she zigs, when she should have zagged and he catches her, pinning her. Lee smiles, leans in, and they almost kiss when the DOORBELL rings. They both sigh and Amanda gives him a knowing look.
AMANDA
I'll get it.
INT. FRONT ENTRY
Amanda opens the front door. At the door is Robert Clayton.
AMANDA
Hello, Uncle Robert. Won't you come in?
She opens the door further and he enters.
ROBERT
Thanks, Amanda.
LEE (O.C.)
Amanda, who is it?
Lee enters the foyer and as soon as he sees the Colonel, he stands up straighter.
ROBERT
Skip.
LEE
Sir.
Amanda shakes her head and rolls her eyes. Even after 25 years, things have not changed.
AMANDA
What do we owe the pleasure of your company?
ROBERT
Actually, I need your help.
Amanda looks over at Lee. Lee raises his eyebrow.
QUICK CUT
INT. - HOME OFFICE
Lee, Amanda and Robert enter their home office. Lee invites the Colonel to sit down and then Lee himself sits on the edge of his desk. Amanda stands next to him.
AMANDA
Can I get you anything?
ROBERT
No, thank you, Amanda.
Robert picks up a family picture from the desk. In the photo is the whole family. He places it back on the desk.
ROBERT
You really do have a beautiful family, Skip.
(beat)
I have had lunch with Matthew a few times in the last couple of weeks. He's a good boy. Your dad would approve of his namesake.
Amanda touches Lee's shoulder.
AMANDA
We are very proud of him, as we are with all our boys.
Robert nods his head. There is an awkward silence for a moment.
LEE
What can we do for you, Sir?
ROBERT
I think I may have a traitor in my ranks.
LEE
Sir?
ROBERT
Within the last few weeks, Clayton Defense Industries has been outbid on several key military contracts.
AMANDA
Coincidence?
ROBERT
(shakes head)
No, I don't think so. The company that outbid us is too close to our initial bid based on our pricing models—and it's the same company each time.
LEE
Which company is winning these contracts?
ROBERT
Some little start-up company. . . A&Y Domestic Services.
Lee and Amanda share a look.
LEE
The Myslinskii brothers.
(beat)
And there’s nothing domestic about their company.
ROBERT
Are you familiar with them?
LEE
Oh, yeah. Andrei and Yerik Myslinskii. . . ex-KGB.
AMANDA
They have current ties with the ROC, the acronym for Russian Organized Crime. Their activities include selling narcotics, prostitution, human trafficking. Their operations are often funded by the Russian Mafia.
ON ROBERT'S CONFUSED LOOK
LEE
Hey, even the Russian Mafia needs income in this economic environment.
AMANDA
D.C. has always been a favorite town for all sorts of organized crime. The mafia is no different.
Lee stands up and starts to pace the room. Amanda sits down. Lee stops and looks at Amanda.
LEE
I would love to catch them red-handed and get them deported once and for all.
(beat; to the Colonel)
Any idea who your leak might be?
ROBERT
No.
LEE
That's okay. What I think we need to do is set up a neat little sting operation. Maybe use some fake pricing models.
(beat; shakes the Colonel's hand)
We'll find your traitor, Sir.
(another beat)
You just hired Stetson Consultants.
QUICK CUT
INT. STETSON HOME - HOME OFFICE - DAY
Amanda is talking on the phone when Lee enters the room. He waits for Amanda to hang up. He only hears one side of the conversation.
AMANDA
Thanks for the information. . . I'll inform Lee. Talk to you soon. You too. Goodbye.
Amanda hangs up the phone. Lee gives Amanda a questioning look.
LEE
One of the 'family?'
AMANDA
That was Lana. She says to say hello.
Lee nods his head.
AMANDA
She overheard Andrei talking to Yerik over the phone the other night while she was giving him a massage. It would appear that the Myslinskii brothers are on the market for the formula used to make bullet-resistant glass.
LEE
The military has been looking for something stronger and lighter than traditional materials to stop armor-piercing weapons from penetrating combat vehicles for years.
AMANDA
Isn't your uncle's company experimenting with something similar?
LEE
They've been experimenting, I think, with some sort of aluminum oxynitride.
AMANDA
Are they close?
LEE
I think they're still testing, but yes, very close.
Amanda gives Lee a look.
LEE
I recognize that look, Mrs. Stetson.
(beat)
What do you have in mind?
AMANDA
I think we should give them exactly what they're looking for.
OFF LEE'S LOOK. . .
EXT. D.C. STREET - DAY
Matthew is walking down the street when two thugs flank him on both sides. He looks to the right and then to the left.
MATTHEW
You've got to be kidding.
The first thug smiles at him.
MATTHEW
No, no, no. . . you tell your bosses whatever it is, I will NOT do it.
They have walked him into a back alley. Yerik comes up some stairs and faces Matthew.
YERIK
My brother and I were so pleased with how well you did your last job.
MATTHEW
No, I don't care what you say to me, I will not steal from my great uncle again.
(beat)
Why don't you just leave me and my family alone.
YERIK
I think that can be arranged after you do one more thing.
Yerik nods to one of the thugs and he grabs Matthew from behind, while the second thug punches Matthew in the stomach. Yerik lifts up Matthew's chin.
YERIK
I'm not a patient man, Mr. Stetson.
(beat)
And I would hate for something similar to happen to your parents as happened to your grandparents.
MATTHEW
(in pain)
What are you talking about?
(beat)
They were killed in a car accident.
YERIK
Interesting. Is that what your parents told you?
(beat)
They didn't bother to tell you that your grandparents were spies who went rogue and were run off the road.
Yerik notices Matthew's confused look.
YERIK
Oh, what a tangled web we weave.
(smiles)
Yes, it would be tragic if your parents suffered a similar fate. Very tragic indeed.
Yerik nods to the thug again and Matthew is hit a second time. Matthew bends over in pain. He would have fallen to the ground if not being supported by the one thug holding his arms.
YERIK
I need you to get me the formula for the experimental, bullet resistant glass your uncle is working on.
(beat)
Then we can renegotiate the terms of your contract.
The thug releases Matthew and he falls to the ground. The three men walk away.
YERIK
Oh, Mr. Stetson. You have until Thursday night. Someone will be in touch with you soon.
They exit.
Matthew struggles to get up but finally stands on his own two feet. He is bent over catching his breath.
MATTHEW
No, not this time.
INT. WAREHOUSE - D.C. AREA - NIGHT
Lee and Amanda are in the warehouse, hiding on a balcony level, behind some boxes. Amanda is holding up a pair of binoculars. The Myslinskii brother’s and a couple of their thugs show up. Scanning the area carefully, Yerik notices a figure open the door and step into the warehouse. He points to Andrei. The figure heads toward them. Amanda focuses the binoculars on the other man and just about drops them.
AMANDA
Oh, my gosh! What is HE doing here?
LEE
Who?
Amanda hands Lee the binoculars and Lee focuses on who Amanda was looking at.
LEE POV
LEE
What the hell?
ON MATTHEW; THEN BACK TO LEE
LEE
I'm going to kill him.
Amanda grabs Lee, holding him back.
ON YERIK
YERIK
Ah, Mr. Stetson, do you have what I asked for?
MATTHEW
(holds up the tube)
I do, but I won't give it to you until you promise to leave my family alone—once and for all.
YERIK
I don't think you are in any position to make demands. Just look around you—you are surrounded. Now hand it over.
The two thugs train their guns on Matthew.
Lee stealthily sneaks down the stairs and gets behind Andrei; cocking his gun.
LEE
No, Yerik. I think it is YOU that is mistaken. Tell your boys to drop them or I'll drop your brother.
Andrei raises his hands and motions for the thugs to drop their guns. He turns around and manages to kick the gun out of Lee's hands. Lee and Andrei fight. A moment later, several Agency cars roll in silently from various directions. Francine motions the agents into the building. Emma and Francine and other agents enter the warehouse.
FRANCINE
Freeze. . . federal agents!
There's an exchange of GUNFIRE between the agents and the Myslinskii gang. In the confusion, one of the Myslinskii thugs grabs Matthew from behind and uses him as a human shield to escape out the back door of the warehouse. Amanda looks up and sees Matthew being taken hostage, but there is not much she can do from her position. The door closes.
ON AMANDA
AMANDA
Matthew!
ON LEE
Lee looks up, hearing his wife call out to their son. He runs to the back door. Matthew and the thug are in the back alley when all of a sudden someone comes up behind them and strikes the thug in the back of the head. The thug drops to the ground. Matthew turns around and sees Tony, his roommate.
MATTHEW
Thank God, Tony. . .
Tony points a gun at Matthew.
MATTHEW
What the hell?
TONY
Don't worry, Bro. I've got your back.
OFF MATTHEW'S STUNNED LOOK. . .
END OF ACT THREE
ACT FOUR
Lee comes running out the back door of the warehouse and into the alley. He looks in both directions for Matthew, then he notices the Myslinskii thug that grabbed Matthew on the ground. He takes out a pair of handcuffs, and cuffs the man. He picks the man up off the ground.
LEE
(teeth clenched)
What have you done with my son?
The thug just smiles. Lee pushes him inside the warehouse. Inside the agents have rounded up the Myslinksii gang. Lee shoves the thug in the direction of Emma.
LEE
(to Emma)
Get him out of my sight.
Emma nods her head and leaves the warehouse with the other agents and prisoners. Amanda runs up to Lee.
AMANDA
Where's Matthew?
LEE
I don't know.
AMANDA
What do you mean you don't know? Where's our son?
Lee takes hold of Amanda.
LEE
We'll find him, I promise.
Francine walks over to Lee and Amanda.
FRANCINE
What are you doing here?
LEE
What are YOU doing here?
FRANCINE
I asked first.
LEE
We arranged this set-up to catch the Myslinskii brothers red-handed with stolen documents from my uncle's company.
(beat)
Now, why is the Agency here?
FRANCINE
We got a tip.
(beat)
I'm surprised you would use your son as a mule after all you have said about keeping him out of the business.
AMANDA
(surprised)
What? Of course, we didn't use our son as a mule.
FRANCINE
Then what was he doing here?
Lee runs his hand through his hair and blows out a breath.
LEE
We don't know.
AMANDA
Now he's missing.
FRANCINE
Wait. . . wait. . . wait. I don't think we're on the same page.
Emma has come back and is standing next to Francine.
FRANCINE
(to Emma)
Are the Myslinskii brothers on their way to the Agency?
EMMA
Yes, Ma'am.
FRANCINE
(to Lee and Amanda)
Emma received a phone call from Matthew about half an hour ago that this was going down.
LEE
Matthew was wired?
FRANCINE
Lee, I barely had time to assemble a team, let alone brief Matthew, and unlike you, I would have never put a civilian in this position.
LEE
Zip it, Francine.
AMANDA
Would you two stop it? This bickering isn't helping us find our son.
LEE
She's right. I'm sorry.
FRANCINE
Me, too.
(beat)
I had no idea he was going to be here.
LEE
Neither did we.
FRANCINE
So how did he become involved?
AMANDA
Really, Francine we don't know. . . if we had known, don't you think we would have put a stop to it?
(beat)
I have the feeling Yerik put him up to this.
FRANCINE
What exactly was he exchanging?
LEE
Formula from my uncle's company.
FRANCINE
Does he have it?
Emma holds up a tube.
EMMA
I have it.
AMANDA
Actually, you don't. The real formula is safe inside our SUV. What you have there is a fake.
The four of them walk out the building and onto the street.
EXT. D.C. STREET IN FRONT OF THE WAREHOUSE
They walk over to Lee and Amanda's SUV, which is parked out front. Lee opens the car door and notices something is missing. He looks in the back and under the seat and then slams the door shut.
LEE
I don't believe it. . . it's gone!
OFF EVERYONE'S STUNNED FACES. . .
EXT. IFF GEORGETOWN ENTRANCE - DAY
INT. THE AGENCY - INTERROGATION ROOM - DAY
Lee and Amanda are standing outside the interrogation room. They are wearing guest badges. They are listening and watching Emma interrogate the thug. Francine walks up to them holding a dossier.
FRANCINE
How's it going?
LEE
It's not. He's not talking. Do you have anything?
Francine opens the file and reads.
FRANCINE
His name is Vadim Ivanov, just a petty thief, and one of Yerik's bodyguards. Nothing we can use to keep him. But I think I have an idea.
Francine enters the interrogation room.
FRANCINE
Why don't you take a break, Scout?
Emma leaves the room.
FRANCINE
How are you Vadim? Can I get you anything, coffee or soda?
VADIM
So what now, you're going to play good cop-bad cop? Sorry, but it won't work.
(beat)
And you Americans have gone soft. I know the CIA can no longer torture.
ON LEE AND AMANDA
LEE
I wouldn't mind some good ole waterboarding now.
AMANDA
(hisses)
Lee.
ON FRANCINE
FRANCINE
True. But we're not CIA.
VADIM
NSA, FBI, Justice Department what does it matter? Your hands are tied.
FRANCINE
Mine might be, but Scarecrow's aren’t.
(beat)
I could just turn a blind eye to it. I mean, who's going to believe you?
ON VADIM
He's silent, thinking about it for a moment.
VADIM
Scarecrow?
Francine nods her head.
VADIM
What do you want to know?
Francine turns to the two-way mirror and winks.
FRANCINE
Where is Matthew Stetson?
VADIM
Honestly, I don't know.
Francine walks over to the door and puts her hand on the handle.
FRANCINE
(calling out)
Scarecrow, your turn.
VADIM
Wait. . . wait. . . maybe the kid knows.
FRANCINE
The kid? What kid?
VADIM
I don't know his name. Young kid, in his 20's, olive skin, jet-black hair, Italian-
ON LEE AND AMANDA
Amanda gasps.
In the background, you still see Francine and Vadim talking.
EMMA
What?
AMANDA
Lee, do you have a picture of Matt and Tony still in your wallet? You know the one from the fourth of July picnic that Jamie took.
LEE
Yes.
Lee takes out his wallet and after finding the picture hands it to Amanda. Amanda hands it over to Emma.
AMANDA
Ask Vadim if this is him.
Emma takes the photograph and enters the interrogation room. She shows Vadim the photo.
INSERT PHOTO
It's a photo of Matthew with Tony.
BACK TO SCENE
VADIM
Yes, yes that's him.
Francine leaves the room and walks over to Lee and Amanda.
FRANCINE
Who is this?
AMANDA
His name is Tony James. He's Matthew's roommate.
INT. AGENCY - FRANCINE'S OFFICE - DAY
Francine, Lee and Amanda are sitting in Francine's office. Emma enters through the door, without knocking, and hands Francine a dossier. Francine opens the file and quickly scans the information.
AMANDA
What?
FRANCINE
Did you know Anthony Gabriel James was adopted?
Lee and Amanda nod their heads.
FRANCINE
His adoption records were sealed, but I was able to pull in some favors. Look at who his birth parents are.
Francine hands the dossier to Lee. Amanda looks over his shoulder. They both look up at her.
AMANDA
Oh, my gosh!
ON LEE AND AMANDA'S STUNNED LOOK. . .
CUT TO
EXT. ABANDONED BUILDING – D.C. - ESTABLISHING - DAY
INT. ABANDONED BUILDING – D.C. - DAY
Matthew is lying down on a cot in a small, dingy room. The room is locked from the outside. The door opens and in steps Tony.
TONY
Good morning, Matty.
Matthew sits up and glares at Tony.
MATTHEW
Don't call me that.
TONY
(smug)
Whatever you say, Mat-ty.
MATTHEW
Why are you doing this? What do you want from me?
TONY
You? Nothing.
(beat)
Scarecrow, everything.
ON MATTHEW
TONY
(continuing; after seeing Matthew's face)
Yes, I know all about your dad, Lee Stetson.
(beat)
I know your parents are spies, that your dad was orphaned at the age of five, and raised by his uncle, a career military man, who never really wanted him—I can relate.
(another beat)
He joined the Agency in 1973 and recruited your mom ten years later. They were married in 1987 and you were born a year later. You see, there's nothing that I don't know about your family.
MATTHEW
If you know my parents are spies...then you know they'll never give up looking for me.
TONY
(smiles)
I hope so. . . especially your father. You see, I have plans for him.
MATTHEW
Why? What have you got against my dad? What has he ever done to you?
TONY
Nothing. . . that's it—not a damn thing. You would think a man raised by a man who thought of him as a burden would understand.
MATTHEW
Uncle Robert never thought of my dad as a burden.
TONY
(not listening to Matthew)
Always alone, never feeling wanted. Always on the move, never having any friends.
MATTHEW
(comprehension dawning)
Are we talking about my dad or you?
TONY
(angrily)
What do you know about me?
(beat)
Nobody really knows who I am. I've lived so many lives, I've lost track of who I really am.
(another beat)
You don't know what it's like to feel rejected--
MATTHEW
I've met your parents. They love you.
TONY
The James’s are my adoptive parents, not my birth parents.
(beat)
My mother was arrested by your father, and tried and convicted for espionage, treason, kidnapping, and two counts of attempted murder.
Matthew is shocked.
ON TONY
TONY (continued)
I was born in a prison hospital, rejected by my mother. My father denied that I even existed. I became a ward of the state, moved from foster home to foster home. Do you have any idea what it's like to be nothing more than a monthly check?
(beat)
Of course not, your father never rejected you.
(another beat)
Then when I was twelve—my mother was still incarcerated—she was killed in a knife fight.
MATTHEW
I'm sorry, Tony.
TONY
You don't understand, Matthew. It was the best day of my life. I was finally freed from foster care and available for adoption.
(beat)
My birth name is Antonio Gabriele Spinelli. My adopted parents Americanized it. My birth mother was Eva Spinelli.
ON MATTHEWS CONFUSED LOOK
TONY
Your dad never mentioned my mother to you, I see. Funny he would have never mentioned her, being that he’s my father.
MATTHEW
(shaking his head)
No. . . that's impossible.
TONY
My birth certificate might say Angelo Spinelli is my father. . . but he never accepted me. And I saw the look in my mother's eyes whenever she mentioned Lee Stetson.
MATTHEW
Fine, if you think he’s your father—why don't you just ask him?
TONY
He would just deny it—reject me like everyone else.
(beat)
Did you know my mother was KGB?
ON MATTHEW'S STUNNED LOOK
TONY
(continuing; chuckles)
My mother was good. She even fooled the great Scarecrow.
(beat)
She should have killed him when she had the chance, but your meddling mother foiled that.
(another beat)
I was recruited by a couple of ex-KGB agents who knew my mother. They wanted me to deliver Scarecrow to them, but with the Myslinski brothers out of the picture—I guess I have no other option but to finish what my mother started.
(another beat)
Starting with you.
Tony cocks his gun.
Francine and Emma bust through the door, followed by Lee and Amanda. Seeing there is no way out, Tony slowly raises his hands without putting up a fight. Emma grabs the gun, and puts his arms around his back, cuffing him. She leaves the room with the suspect. Francine turns to watch Lee and Amanda embrace their son. She smiles before leaving the room.
MATTHEW
How did you find me?
AMANDA
We have our ways.
Lee and Amanda share a private laugh and both of them on either side of Matthew leave the room. . . FREEZE FRAME
END OF ACT FOUR
TAG
EXT. STETSON HOUSE - ROCKVILLE - DAY
The Stetsons are having a barbeque. Matthew, Robert, Francine and Emma are there sitting around a picnic table. Everyone is laughing and talking. Lee is standing at the grill, cooking hamburgers and hot dogs. Amanda steals a quick kiss before grabbing a plate of food, brings it to the table, and sits down. The family digs in. Matthew stands up for a second and pats his mom on the shoulder before walking over to his dad.
MATTHEW
Dad, can I ask you a question?
Lee turns off the grill and takes off his apron.
LEE
What's on your mind, Son?
MATTHEW
What's going to happen to Tony?
LEE
He'll get some therapy. After that, it's up to the courts to decide.
MATTHEW
I'd like to stand up for him as a character witness.
Lee shakes his head.
LEE
You know. . . you're a lot like your mom.
MATTHEW
Dad. . .
LEE
Hmmm?
Matthew hesitates, but Lee senses what he wants to ask.
LEE
I think I know what you want to ask and the answer is no. No, I'm not Tony's father.
(beat)
Your mother and I have talked about that night. I don’t keep secrets from her and she knows nothing happened.
Matthew nods his head.
MATTHEW
Another question.
LEE
Boy, you sure are full of questions, today—but I think you deserve the answers. What?
MATTHEW
What did happen?
Lee hesitates for a moment.
LEE
Eva.
(he sighs)
Eva played me that night like a fine tuned fiddle, and she tried to use sex as an advantage.
(beat)
I've done a lot of things in my life that I'm not proud of; however, she was married, and second, I think I was already starting to have feelings for your mother—although my head at the time would have denied it until the next century.
(long pause)
Son, now that we are alone this is a good time to bring up what happened to you the last couple of days. You should have never stolen those plans from your great uncle. You are lucky neither him, nor the government, are pressing charges. And you are damn lucky the Agency found the missing documents and the stolen formula in Tony's closet and those things did not end up in the hands of the Russians. You really should have come to us when the Myslinskii brothers first approached you.
MATTHEW
(ashamed)
Yes, Sir.
LEE
Don't call me Sir. Reminds me of all the years I spent growing up with the Colonel.
MATTHEW
Dad, one more thing.
LEE
Okay, Matthew, shoot.
OFF MATTHEW'S LOOK
LEE
Sorry, bad pun. Go ahead.
MATTHEW
Promise me, no more lies.
LEE
That, Son, I can promise you.
(beat)
Now, let's go get some food, before it's all gone.
Lee and Matthew walk over to the picnic table and sit down.
LEE
Yum. . . it all looks good.
He holds out his plate and Amanda puts food on it.
EMMA
I just wanted to say thank you, Mr. and Mrs. Stetson, for inviting me.
AMANDA
Emma, it's Lee and Amanda.
EMMA
Okay. Thanks.
The dog comes over to the table and tries to steal a hot dog.
LEE
No, Scarecrow. Go lie down.
MATTHEW
Dad?
LEE
Yes, Matt.
MATTHEW
If your codename is Scarecrow, why did you name the dog Scarecrow?
Amanda almost chokes on her hamburger. Lee pats her on the back. She holds up her hand.
LEE
Well, you see, Son, it's all your mom's fault. She started it as a joke—but the damn name stuck.
Everyone at the table laughs.
MATTHEW
Well, if we're being completely honest today.
He turns to Emma.
MATTHEW (continued)
Why the codename Scout?
EMMA
It's personal.
Matthew finishes his lunch and stands up. He holds out his hand to Emma and winks at his dad.
MATTHEW
Just walk with me.
EMMA
What?
MATTHEW
Well, I figured that maybe I could persuade you to tell me during our walk around the yard.
EMMA
Oh, you did, did you?
MATTHEW
Yep, the Stetson charm always works.
EMMA
Always?
She stands up and walks with him.
EMMA
(in the distance)
I have to tell you, I'm a highly trained agent. I've been instructed on how to resist charm.
INT. PORCH
Lee and Amanda have now made it up onto the porch and are sitting on the porch swing, watching Matthew and Emma walk toward the corral. Amanda sighs.
LEE
What was that sigh for?
AMANDA
I was just thinking about how we tried so hard to keep everything a secret. . . to keep Matthew out of the spy business—and look where it got us.
LEE
We ended up hurting him the most.
AMANDA
Yes, we did. I guess we should have known better than anyone we couldn't stop fate.
Lee shakes his head.
LEE
Do you think he's going to take as long as I did to realize what's right in front of him?
Amanda looks up at Lee and smiles.
AMANDA
No.
(beat)
Like father, like son, he picked the right woman.
LEE
Actually, technically, I think she picked him.
(beat)
You know he's right about the Stetson charm; you girls never could resist it.
AMANDA
Oh, really?
LEE
However, he's wrong—it's not the charm that attracts you.
AMANDA
It's not?
LEE
(he smiles)
Nope. It's the danger, excitement, intrigue.
During this exchange, Lee and Amanda have moved closer together.
AMANDA
Oh, shut up and kiss me.
They share a passionate kiss and we. . . FREEZE FRAME
FADE OUT :
THE END
Lee comes running out the back door of the warehouse and into the alley. He looks in both directions for Matthew, then he notices the Myslinskii thug that grabbed Matthew on the ground. He takes out a pair of handcuffs, and cuffs the man. He picks the man up off the ground.
LEE
(teeth clenched)
What have you done with my son?
The thug just smiles. Lee pushes him inside the warehouse. Inside the agents have rounded up the Myslinksii gang. Lee shoves the thug in the direction of Emma.
LEE
(to Emma)
Get him out of my sight.
Emma nods her head and leaves the warehouse with the other agents and prisoners. Amanda runs up to Lee.
AMANDA
Where's Matthew?
LEE
I don't know.
AMANDA
What do you mean you don't know? Where's our son?
Lee takes hold of Amanda.
LEE
We'll find him, I promise.
Francine walks over to Lee and Amanda.
FRANCINE
What are you doing here?
LEE
What are YOU doing here?
FRANCINE
I asked first.
LEE
We arranged this set-up to catch the Myslinskii brothers red-handed with stolen documents from my uncle's company.
(beat)
Now, why is the Agency here?
FRANCINE
We got a tip.
(beat)
I'm surprised you would use your son as a mule after all you have said about keeping him out of the business.
AMANDA
(surprised)
What? Of course, we didn't use our son as a mule.
FRANCINE
Then what was he doing here?
Lee runs his hand through his hair and blows out a breath.
LEE
We don't know.
AMANDA
Now he's missing.
FRANCINE
Wait. . . wait. . . wait. I don't think we're on the same page.
Emma has come back and is standing next to Francine.
FRANCINE
(to Emma)
Are the Myslinskii brothers on their way to the Agency?
EMMA
Yes, Ma'am.
FRANCINE
(to Lee and Amanda)
Emma received a phone call from Matthew about half an hour ago that this was going down.
LEE
Matthew was wired?
FRANCINE
Lee, I barely had time to assemble a team, let alone brief Matthew, and unlike you, I would have never put a civilian in this position.
LEE
Zip it, Francine.
AMANDA
Would you two stop it? This bickering isn't helping us find our son.
LEE
She's right. I'm sorry.
FRANCINE
Me, too.
(beat)
I had no idea he was going to be here.
LEE
Neither did we.
FRANCINE
So how did he become involved?
AMANDA
Really, Francine we don't know. . . if we had known, don't you think we would have put a stop to it?
(beat)
I have the feeling Yerik put him up to this.
FRANCINE
What exactly was he exchanging?
LEE
Formula from my uncle's company.
FRANCINE
Does he have it?
Emma holds up a tube.
EMMA
I have it.
AMANDA
Actually, you don't. The real formula is safe inside our SUV. What you have there is a fake.
The four of them walk out the building and onto the street.
EXT. D.C. STREET IN FRONT OF THE WAREHOUSE
They walk over to Lee and Amanda's SUV, which is parked out front. Lee opens the car door and notices something is missing. He looks in the back and under the seat and then slams the door shut.
LEE
I don't believe it. . . it's gone!
OFF EVERYONE'S STUNNED FACES. . .
EXT. IFF GEORGETOWN ENTRANCE - DAY
INT. THE AGENCY - INTERROGATION ROOM - DAY
Lee and Amanda are standing outside the interrogation room. They are wearing guest badges. They are listening and watching Emma interrogate the thug. Francine walks up to them holding a dossier.
FRANCINE
How's it going?
LEE
It's not. He's not talking. Do you have anything?
Francine opens the file and reads.
FRANCINE
His name is Vadim Ivanov, just a petty thief, and one of Yerik's bodyguards. Nothing we can use to keep him. But I think I have an idea.
Francine enters the interrogation room.
FRANCINE
Why don't you take a break, Scout?
Emma leaves the room.
FRANCINE
How are you Vadim? Can I get you anything, coffee or soda?
VADIM
So what now, you're going to play good cop-bad cop? Sorry, but it won't work.
(beat)
And you Americans have gone soft. I know the CIA can no longer torture.
ON LEE AND AMANDA
LEE
I wouldn't mind some good ole waterboarding now.
AMANDA
(hisses)
Lee.
ON FRANCINE
FRANCINE
True. But we're not CIA.
VADIM
NSA, FBI, Justice Department what does it matter? Your hands are tied.
FRANCINE
Mine might be, but Scarecrow's aren’t.
(beat)
I could just turn a blind eye to it. I mean, who's going to believe you?
ON VADIM
He's silent, thinking about it for a moment.
VADIM
Scarecrow?
Francine nods her head.
VADIM
What do you want to know?
Francine turns to the two-way mirror and winks.
FRANCINE
Where is Matthew Stetson?
VADIM
Honestly, I don't know.
Francine walks over to the door and puts her hand on the handle.
FRANCINE
(calling out)
Scarecrow, your turn.
VADIM
Wait. . . wait. . . maybe the kid knows.
FRANCINE
The kid? What kid?
VADIM
I don't know his name. Young kid, in his 20's, olive skin, jet-black hair, Italian-
ON LEE AND AMANDA
Amanda gasps.
In the background, you still see Francine and Vadim talking.
EMMA
What?
AMANDA
Lee, do you have a picture of Matt and Tony still in your wallet? You know the one from the fourth of July picnic that Jamie took.
LEE
Yes.
Lee takes out his wallet and after finding the picture hands it to Amanda. Amanda hands it over to Emma.
AMANDA
Ask Vadim if this is him.
Emma takes the photograph and enters the interrogation room. She shows Vadim the photo.
INSERT PHOTO
It's a photo of Matthew with Tony.
BACK TO SCENE
VADIM
Yes, yes that's him.
Francine leaves the room and walks over to Lee and Amanda.
FRANCINE
Who is this?
AMANDA
His name is Tony James. He's Matthew's roommate.
INT. AGENCY - FRANCINE'S OFFICE - DAY
Francine, Lee and Amanda are sitting in Francine's office. Emma enters through the door, without knocking, and hands Francine a dossier. Francine opens the file and quickly scans the information.
AMANDA
What?
FRANCINE
Did you know Anthony Gabriel James was adopted?
Lee and Amanda nod their heads.
FRANCINE
His adoption records were sealed, but I was able to pull in some favors. Look at who his birth parents are.
Francine hands the dossier to Lee. Amanda looks over his shoulder. They both look up at her.
AMANDA
Oh, my gosh!
ON LEE AND AMANDA'S STUNNED LOOK. . .
CUT TO
EXT. ABANDONED BUILDING – D.C. - ESTABLISHING - DAY
INT. ABANDONED BUILDING – D.C. - DAY
Matthew is lying down on a cot in a small, dingy room. The room is locked from the outside. The door opens and in steps Tony.
TONY
Good morning, Matty.
Matthew sits up and glares at Tony.
MATTHEW
Don't call me that.
TONY
(smug)
Whatever you say, Mat-ty.
MATTHEW
Why are you doing this? What do you want from me?
TONY
You? Nothing.
(beat)
Scarecrow, everything.
ON MATTHEW
TONY
(continuing; after seeing Matthew's face)
Yes, I know all about your dad, Lee Stetson.
(beat)
I know your parents are spies, that your dad was orphaned at the age of five, and raised by his uncle, a career military man, who never really wanted him—I can relate.
(another beat)
He joined the Agency in 1973 and recruited your mom ten years later. They were married in 1987 and you were born a year later. You see, there's nothing that I don't know about your family.
MATTHEW
If you know my parents are spies...then you know they'll never give up looking for me.
TONY
(smiles)
I hope so. . . especially your father. You see, I have plans for him.
MATTHEW
Why? What have you got against my dad? What has he ever done to you?
TONY
Nothing. . . that's it—not a damn thing. You would think a man raised by a man who thought of him as a burden would understand.
MATTHEW
Uncle Robert never thought of my dad as a burden.
TONY
(not listening to Matthew)
Always alone, never feeling wanted. Always on the move, never having any friends.
MATTHEW
(comprehension dawning)
Are we talking about my dad or you?
TONY
(angrily)
What do you know about me?
(beat)
Nobody really knows who I am. I've lived so many lives, I've lost track of who I really am.
(another beat)
You don't know what it's like to feel rejected--
MATTHEW
I've met your parents. They love you.
TONY
The James’s are my adoptive parents, not my birth parents.
(beat)
My mother was arrested by your father, and tried and convicted for espionage, treason, kidnapping, and two counts of attempted murder.
Matthew is shocked.
ON TONY
TONY (continued)
I was born in a prison hospital, rejected by my mother. My father denied that I even existed. I became a ward of the state, moved from foster home to foster home. Do you have any idea what it's like to be nothing more than a monthly check?
(beat)
Of course not, your father never rejected you.
(another beat)
Then when I was twelve—my mother was still incarcerated—she was killed in a knife fight.
MATTHEW
I'm sorry, Tony.
TONY
You don't understand, Matthew. It was the best day of my life. I was finally freed from foster care and available for adoption.
(beat)
My birth name is Antonio Gabriele Spinelli. My adopted parents Americanized it. My birth mother was Eva Spinelli.
ON MATTHEWS CONFUSED LOOK
TONY
Your dad never mentioned my mother to you, I see. Funny he would have never mentioned her, being that he’s my father.
MATTHEW
(shaking his head)
No. . . that's impossible.
TONY
My birth certificate might say Angelo Spinelli is my father. . . but he never accepted me. And I saw the look in my mother's eyes whenever she mentioned Lee Stetson.
MATTHEW
Fine, if you think he’s your father—why don't you just ask him?
TONY
He would just deny it—reject me like everyone else.
(beat)
Did you know my mother was KGB?
ON MATTHEW'S STUNNED LOOK
TONY
(continuing; chuckles)
My mother was good. She even fooled the great Scarecrow.
(beat)
She should have killed him when she had the chance, but your meddling mother foiled that.
(another beat)
I was recruited by a couple of ex-KGB agents who knew my mother. They wanted me to deliver Scarecrow to them, but with the Myslinski brothers out of the picture—I guess I have no other option but to finish what my mother started.
(another beat)
Starting with you.
Tony cocks his gun.
Francine and Emma bust through the door, followed by Lee and Amanda. Seeing there is no way out, Tony slowly raises his hands without putting up a fight. Emma grabs the gun, and puts his arms around his back, cuffing him. She leaves the room with the suspect. Francine turns to watch Lee and Amanda embrace their son. She smiles before leaving the room.
MATTHEW
How did you find me?
AMANDA
We have our ways.
Lee and Amanda share a private laugh and both of them on either side of Matthew leave the room. . . FREEZE FRAME
END OF ACT FOUR
TAG
EXT. STETSON HOUSE - ROCKVILLE - DAY
The Stetsons are having a barbeque. Matthew, Robert, Francine and Emma are there sitting around a picnic table. Everyone is laughing and talking. Lee is standing at the grill, cooking hamburgers and hot dogs. Amanda steals a quick kiss before grabbing a plate of food, brings it to the table, and sits down. The family digs in. Matthew stands up for a second and pats his mom on the shoulder before walking over to his dad.
MATTHEW
Dad, can I ask you a question?
Lee turns off the grill and takes off his apron.
LEE
What's on your mind, Son?
MATTHEW
What's going to happen to Tony?
LEE
He'll get some therapy. After that, it's up to the courts to decide.
MATTHEW
I'd like to stand up for him as a character witness.
Lee shakes his head.
LEE
You know. . . you're a lot like your mom.
MATTHEW
Dad. . .
LEE
Hmmm?
Matthew hesitates, but Lee senses what he wants to ask.
LEE
I think I know what you want to ask and the answer is no. No, I'm not Tony's father.
(beat)
Your mother and I have talked about that night. I don’t keep secrets from her and she knows nothing happened.
Matthew nods his head.
MATTHEW
Another question.
LEE
Boy, you sure are full of questions, today—but I think you deserve the answers. What?
MATTHEW
What did happen?
Lee hesitates for a moment.
LEE
Eva.
(he sighs)
Eva played me that night like a fine tuned fiddle, and she tried to use sex as an advantage.
(beat)
I've done a lot of things in my life that I'm not proud of; however, she was married, and second, I think I was already starting to have feelings for your mother—although my head at the time would have denied it until the next century.
(long pause)
Son, now that we are alone this is a good time to bring up what happened to you the last couple of days. You should have never stolen those plans from your great uncle. You are lucky neither him, nor the government, are pressing charges. And you are damn lucky the Agency found the missing documents and the stolen formula in Tony's closet and those things did not end up in the hands of the Russians. You really should have come to us when the Myslinskii brothers first approached you.
MATTHEW
(ashamed)
Yes, Sir.
LEE
Don't call me Sir. Reminds me of all the years I spent growing up with the Colonel.
MATTHEW
Dad, one more thing.
LEE
Okay, Matthew, shoot.
OFF MATTHEW'S LOOK
LEE
Sorry, bad pun. Go ahead.
MATTHEW
Promise me, no more lies.
LEE
That, Son, I can promise you.
(beat)
Now, let's go get some food, before it's all gone.
Lee and Matthew walk over to the picnic table and sit down.
LEE
Yum. . . it all looks good.
He holds out his plate and Amanda puts food on it.
EMMA
I just wanted to say thank you, Mr. and Mrs. Stetson, for inviting me.
AMANDA
Emma, it's Lee and Amanda.
EMMA
Okay. Thanks.
The dog comes over to the table and tries to steal a hot dog.
LEE
No, Scarecrow. Go lie down.
MATTHEW
Dad?
LEE
Yes, Matt.
MATTHEW
If your codename is Scarecrow, why did you name the dog Scarecrow?
Amanda almost chokes on her hamburger. Lee pats her on the back. She holds up her hand.
LEE
Well, you see, Son, it's all your mom's fault. She started it as a joke—but the damn name stuck.
Everyone at the table laughs.
MATTHEW
Well, if we're being completely honest today.
He turns to Emma.
MATTHEW (continued)
Why the codename Scout?
EMMA
It's personal.
Matthew finishes his lunch and stands up. He holds out his hand to Emma and winks at his dad.
MATTHEW
Just walk with me.
EMMA
What?
MATTHEW
Well, I figured that maybe I could persuade you to tell me during our walk around the yard.
EMMA
Oh, you did, did you?
MATTHEW
Yep, the Stetson charm always works.
EMMA
Always?
She stands up and walks with him.
EMMA
(in the distance)
I have to tell you, I'm a highly trained agent. I've been instructed on how to resist charm.
INT. PORCH
Lee and Amanda have now made it up onto the porch and are sitting on the porch swing, watching Matthew and Emma walk toward the corral. Amanda sighs.
LEE
What was that sigh for?
AMANDA
I was just thinking about how we tried so hard to keep everything a secret. . . to keep Matthew out of the spy business—and look where it got us.
LEE
We ended up hurting him the most.
AMANDA
Yes, we did. I guess we should have known better than anyone we couldn't stop fate.
Lee shakes his head.
LEE
Do you think he's going to take as long as I did to realize what's right in front of him?
Amanda looks up at Lee and smiles.
AMANDA
No.
(beat)
Like father, like son, he picked the right woman.
LEE
Actually, technically, I think she picked him.
(beat)
You know he's right about the Stetson charm; you girls never could resist it.
AMANDA
Oh, really?
LEE
However, he's wrong—it's not the charm that attracts you.
AMANDA
It's not?
LEE
(he smiles)
Nope. It's the danger, excitement, intrigue.
During this exchange, Lee and Amanda have moved closer together.
AMANDA
Oh, shut up and kiss me.
They share a passionate kiss and we. . . FREEZE FRAME
FADE OUT :
THE END