SCARECROW AND MRS. KING
"The More Things Change"
Written by Anne Riener
First Draft February 13, 2008
Author's note: I originally wrote this screenplay a couple of years ago, after rediscovering Scarecrow and Mrs. King. This was my final project in a creative writing class I was taking at the time. The story takes place 25 years after a fateful trip to a train station involving 35% chance of rain and 25 men in red hats. . .
And yes, I did get an "A" on this assignment.
"Night Crawler" originally written by George Geiger. Extracts belong to him.
"The More Things Change"
Written by Anne Riener
First Draft February 13, 2008
Author's note: I originally wrote this screenplay a couple of years ago, after rediscovering Scarecrow and Mrs. King. This was my final project in a creative writing class I was taking at the time. The story takes place 25 years after a fateful trip to a train station involving 35% chance of rain and 25 men in red hats. . .
And yes, I did get an "A" on this assignment.
"Night Crawler" originally written by George Geiger. Extracts belong to him.
FADE IN:
PROLOGUE
INT. MIDDLE EASTERN PRISON - ESTABLISHING – DAY
A celebration riot is going on inside prison walls. On TV screens we see images of 9-11: Planes crashing into the World Trade Center, thick black smoke, the towers collapsing, etc. Prisoners are yelling "Death to America."
In a lone jail cell sits a man in the shadows. All we see is his Cheshire-cat smile.
DISSOLVE TO
ACT I
EXT. WASHINGTON D.C. – DAY
EXTERIOR PHOTOS: AERIAL SHOT WASHINGTON MALL, CLOSE UP WASHINGTON MONUMENT, WHITE HOUSE AND JEFFERSON MEMORIAL.
EXT. 4247 MAPLEWOOD DRIVE HOUSE - DAY
GRAPHIC: 6 YEARS LATER
INT. 4247 MAPLEWOOD DRIVE - DAY
CAMERA ZOOMS ONTO THE SIGN
INT. AMANDA'S BEDROOM - DAY
AMANDA POV
Not much has changed in 20 years. The room has a queen-size bed, a couple of dressers, and two nightstands. Phone and alarm clock are on nightstand. AMANDA KING-STETSON is asleep in her bedroom. She is alone. An alarm clock sounds. Amanda looks at the clock and sighs. Putting on her robe, she goes across the hall to her daughter's room. She knocks on the door. Hearing no response, she enters the room.
INT. JENNIFER'S BEDROOM
JENNIFER STETSON'S room is a typical teenage girl's room. There's a white four-poster bed and dresser with posters on the walls, throw rug on the floor, make-up on the vanity, stuffed animals and dolls. Jennifer is the spitting image of her mother with brown eyes and hair. She is tall, athletic and very much a Tomboy. She is 18 and a freshman at George Washington University.
AMANDA
Wake up, Sleepyhead.
Jenny throws her comforter over her head.
JENNY
Please, Mom. Ten more minutes.
Amanda shakes her head.
AMANDA
(under her breath)
So much like her father.
(beat)
No, Dear, you will be late for your first day of school. Now get going if you're going to get in a workout before class.
Amanda throws off her comforter.
JENNY
Okay. Okay. I'm up. I'm up.
INT. KITCHEN
The kitchen and breakfast nook look much the same. Amanda is at the stove cooking breakfast. She is talking on the phone, and hangs up the phone as Jenny enters.
JENNY
Morning Mom. Coffee ready?
She grabs a cup and slice of toast.
AMANDA
Please tell me that's not all you're going to have for breakfast. You know breakfast is the...
(in unison)
...most important meal of the day.
JENNY
No, Mom. I'll grab something at school after I work out. Were you talking to Grandma?
AMANDA
Yes. She called to see how we're doing.
(beat)
My baby's first day in college. Are you excited?
JENNY
(shrugs)
I guess.
Sitting down at the breakfast nook she is holding a hairbrush.
AMANDA
(pointing at brush)
Can I do that for you?
Jenny hands her mom the hairbrush. Amanda brushes her daughter's hair putting it into a ponytail.
AMANDA (continued)
I haven't done this is a while—I've missed this.
JENNY
(Long pause)
Mom?
AMANDA
Hmmmm?
JENNY
Have you talked to Dad?
AMANDA
No.
(beat)
Jenny, I know what you are thinking, and it won't do any good. He has shut me out.
JENNY
He's hurting.
AMANDA
I know.
(beat)
He used to lean on me—now he just pushes me away.
(another beat)
He took it pretty hard when he heard Billy had been killed when the plane crashed into the Pentagon. Nine-eleven caught the intelligence community off guard. We all failed, but your dad took it personally.
JENNY
But none of this was Dad's fault. And why did he quit the Agency and. . . us?
AMANDA
(sighs)
Your dad and I made a lot of mistakes. I don't know maybe if we had been honest from the start with our family and ourselves things would have been different.
JENNY
Mom—-was I one of those mistakes?
AMANDA
Oh, my gosh, no.
(she smiles)
It was difficult trying to pull off a secret marriage, but it would have been impossible to pull off a secret pregnancy.
JENNY
I guess it would be.
AMANDA
Your dad was so excited when I told him I was pregnant with you, so don't think for a second you weren't wanted. You were Daddy's little girl the minute you were placed in his arms.
FLASHBACK SCENE - BLACK AND WHITE SILHOUETTE - JENNY'S BIRTH
Man sitting on the edge of bed. Woman is lying in hospital bed holding new born infant wrapped in receiving blanket. We only see his back. We do not see faces.
LEE
I'm sorry, Amanda. I really wanted to be here with you.
AMANDA
I know, Sweetheart. But I don't think it would have made any difference if you had been here in D.C. instead of New York. We barely made it to the hospital as it was.
LEE
But I should have been here for you. I made a promise, that I wouldn't put work before my family.
AMANDA
Lee—I know what you're trying to do. Don't compare yourself to Joe. I know if you could have been here you would have. Jennifer just proved to have her daddy's patience. She wasn't going to wait for anyone. Like someone else I know.
LEE
A-man-da...
AMANDA
Lee, really, I do understand. Phillip made a great substitute coach. Although he has informed me after what he witnessed he no longer wants children. I hope he's kidding—I want grandchildren someday.
LEE
Ummm Amanda. I'm not ready to become a grandfather, yet. I just became a father today.
AMANDA
Which reminds me—would you like to hold your daughter?
Hands Lee the baby.
AMANDA
Jennifer Rose Stetson.
LEE
Amanda, she's so beautiful. She looks just like you.
(To Jenny)
Hello, Beautiful.
(Kisses Jenny. To Amanda)
I love you, Amanda.
They kiss.
RETURN TO PRESENT DAY
AMANDA
Your dad loves you, you know. Now, stop worrying about your dad and me. You have enough on your plate this semester.
JENNY
(Noticing the time)
Shoot! Is that the time? I've got to go. Love you, Mom.
She kisses her mom on the cheek, grabs her backpack and heads out the door.
AMANDA
Love you, too.
Smiles and shakes her head. . .
CUT TO
INT. GYM – DAY
Jenny is fencing with her instructor. They are both wearing fencing uniforms, masks and carrying sabers. She is actually pretty good. She finally wins the challenge knocking her instructor's saber out of his hand and goes in for the 'kill'.
JENNY
Had enough?
Her opponent does not get up very fast.
JENNY
You okay, Dad?
Removing his mask we see LEE STETSON.
LEE
Yes, Honey. Either I'm not as young as I used to be or you're getting to be quite good.
JENNY
(Blushing)
Well, I had the best instructor in the world.
She helps him up and gives him a hug.
JENNY (continued)
Dad?
LEE
Yes, Jenny Bear.
JENNY
Do you have to call me that, Dad? I'm not a little girl anymore. I'm starting college today.
LEE
That is true. Okay. What, Jennifer Rose Stetson?
JENNY
(long pause)
Why did you and Mom name me Jennifer Rose?
LEE
I don't think—that was what you originally wanted to ask, and I know you know why—but—you were named Jennifer after your grandmother, my mother, who died when I was five.
Jenny nods.
LEE (continued)
Rose was your mother's idea.
(beat)
When I first started working as intelligence operative, I had been recruited to a special ops team known as the Oz network.
JENNY
Members of the team got code names based on characters from the Wizard of Oz. You were the Scarecrow.
LEE
Yes. I had a good friend code name—Dorothy—who had been killed in an operation that had gone wrong. She was the first close friend I had lost that way. She died surrounded by roses and for the longest time—the smell of roses made me sick. Your mother thought roses were too beautiful a flower for me to associate with pain and loss, so she gave you the middle name Rose, to remind me.
(beat)
Now tell me, what's really on your mind.
JENNY
How do you do that, Dad?
LEE
I'm a spy, Jenny. I was trained to notice people's expressions and emotions. I can tell when someone is holding something back.
(beat)
And someone who's going to major in Criminal Justice should be aware of that, too.
(another beat)
Are you sure I can't get you to change your mind on your major? Why don't you become a kindergarten teacher? It'd be a lot safer.
JENNY
Nope.
LEE
I didn't think so.
(beat)
I just want you to know, I'm proud of you, Jenny.
JENNY
I love you, Daddy.
LEE
And I love you, Jenny.
JENNY
Do you love Mom?
LEE
Yes.
JENNY
Then why aren't you living with us?
LEE
Jenny, it's complicated.
JENNY
It doesn't have to be.
(beat)
You, more then any one knows what it's like to grow up without a parent—or in your case both parents. I know it's not the same, both my parents are living, but they're living apart. You and Mom belong together. . .
LEE
Jenny. . .
Jenny's cell phone RINGS. Jenny answers it. We hear her one-sided conversation.
JENNY
Hello. Oh, hi, Mom.
(beat)
What's wrong? Yeah, he's here with me.
Handing her dad the cell phone.
JENNY (continued)
It's Mom—she wants to talk to you.
ON LEE
We hear Lee's one-sided conversation.
LEE
Amanda? What's wrong? I see. Yes.
(beat)
Okay. I'll bring Jenny and meet you at the hospital.
(another beat)
Okay. I'll see you soon.
He hangs up phone and hands back to Jenny.
JENNY
What's wrong, Dad?
LEE
It's Joe. He's had a heart attack.
Jenny gasps.
LEE
Your mom shouldn't be alone at a time like this.
EXT. GALILEE HOSPITAL – DAY
INT. GALILEE HOSPITAL PRIVATE FAMILY ROOM – DAY
Waiting room with couches, end tables, lamps, magazines, etc. Amanda and CARRIE KING are sitting on a couch holding hands. Amanda is trying to comfort Carrie.
CARRIE
What am I going to do? I can't lose him. He's all I have.
AMANDA
Nonsense. You have Phillip and Jamie and me. We're family.
PHILLIP KING and JAMIE KING come in. The boys are all grown up. They are now young men in their 30s. Lee follows in with Jenny. Amanda and Carrie stand up to hug Jenny and the boys. Lee leans against the wall.
PHILLIP
Have you heard anything about Dad?
AMANDA
No, nothing yet.
DR. SANDERS ENTERS
DR. SANDERS
Joe King's family?
They all look at him.
DR. SANDERS
Mr. King had a massive heart attack in the ambulance before arrival. We tried everything we could to bring him back, but the damage was too severe. Nothing worked. I'm sorry, but he didn't make it. Carrie sobs and falls down to the couch. Phillip and Jamie rush to her side and hold onto her. Lee looks at Amanda and sees the pain she's in, but offers no comfort.
Jenny notices.
JENNY
(whispers)
Sorry, Mom. Sorry, Carrie, Phillip, and Jamie.
She goes to each one and gives them a hug. Boys ad-lib, 'You're here. Thanks, Sis.' Lee looks at Amanda and then his daughter and step-sons, he begins to say something and then changes his mind and leaves the waiting room area. He glances back once more to Amanda.
LEE
I'll call Dotty; let her know.
He leaves.
Amanda nods. She's still in shock.
OFF AMANDA'S LOOK. . .
EXT. REFLECTING POOL - WASHINGTON D.C. – DAY
Lee is standing in front of the reflecting pool in deep thought. JEANIE MELROSE enters.
JEANIE
Lee? Lee Stetson, is that you?
Lee gives Jeanie a hug.
LEE
Jeanie! It's been a while. You look good. How are you?
JEANIE
Taking it a day at a time.
LEE
Good.
JEANIE
How's Billy's goddaughter, Jenny?
LEE
Good. Would you believe she just started classes at GWU?
JEANIE
GWU? One of the schools you got kicked out of, huh?
LEE
(chuckles)
Yeah.
JEANIE
Where has the time gone? I miss you coming over for visits with your lovely family, Lee. I haven't seen you since Billy's funeral.
(beat)
I heard about you and Amanda. I'm sorry.
Lee nods.
JEANIE (continued)
Billy wouldn't be happy knowing you blame yourself for his death. He thought the world of you and Amanda. It would have torn him up knowing he was the reason you two broke up.
LEE
That's not the reason—it's well—it's complicated.
Jeanie nods.
JEANIE
Don't let his death affect your happiness.
(beat)
And thanks for being such a good friend and don't be such a stranger, Lee.
She kisses him on the cheek, exits.
EXT. 4247 MAPLEWOOD DRIVE HOUSE – NIGHT
INT. 4247 MAPLEWOOD DRIVE HOUSE – NIGHT
There are people milling around, giving Amanda, Carrie and the boys their condolences. Phillip's wife, MICHELLE and twin daughters and
Jamie's wife, SARAH are there. The family is comforting each other. Amanda has been a gracious host, but she is starting to show signs
she is weary. She notices Lee, who is outside.
EXT. GARDEN
AMANDA
Lee? What are you doing in my garden?
LEE
Where else would I be?
Amanda gives him a timid smile.
AMANDA
(under her breath)
True. Where else would you be?
LEE
Do you need to talk?
AMANDA
(Shakes her head.)
No, just hold me.
Lee pulls her close and wraps his arms around her. Dotty, looking out the window notices them.
ON DOTTY
CUT TO
EXT. LEE'S GEORGETOWN APARTMENT – NIGHT
INT. LEE'S GEORGETOWN APARTMENT – NIGHT
Lee is sitting in his apartment drinking Scotch and listening to music. His feet are up on the coffee table. The doorbell RINGS. He gets up to open the door. Dotty is standing at the door.
LEE
Dotty?
(beat)
Is something wrong with Amanda? Jenny?
DOTTY
No, they are both fine. May I come in?
LEE
I'm sorry; where are my manners? Please come in. Can I get you something to drink?
DOTTY
No thanks, Son.
LEE
To what do I owe this pleasure?
(beat)
How's everything in Florida?
DOTTY
Lee, I'm not here for small talk.
(beat)
I know you still love my daughter and she loves you.
LEE
Dotty. . .
DOTTY
Lee, let me finish—you and Amanda both brought a lot of emotional baggage into your marriage and your decision to keep it a secret put a huge stain on that marriage from the very beginning.
LEE
I'm sorry for all the secrets—not one of my more brilliant ideas. I honestly believed it would be safer for the boys.
DOTTY
Safer for the boys or you?
(off Lee's look)
You know the ironic thing about family secrets? Nobody talks, but everyone knows. I knew something was going on between you two—a mother knows these things. Maybe I should have said something sooner.
LEE
Well, you know what they say about good intentions--
DOTTY
Lee, we can't change the past no matter how much we want. But I think you can do something about your future and I think you can start by talking to her.
LEE
I don't think she's ready to forgive me.
DOTTY
Trust me, she is.
Dotty squeezes his hand.
DOTTY (continued)
Lee, I love you like a son and I know in my heart that you and Amanda will work this out. Go, talk to her.
OFF LEE'S EXPRESSION
QUICK CUT
INT. A VERY DARK ROOM - SOMEWHERE – NIGHT
Man sitting in the shadows watching a videotape of Lee proposing to Amanda.
FLASHBACK - "NIGHT CRAWLER" - LEE AND AMANDA PROPOSAL
LEE
Amanda King. . . you are the best, the bravest, the smartest, most beautiful woman I have ever known.
AMANDA
I love you.
LEE
Then will you marry me?
AMANDA
Will I marry you?
(beat)
Oh, yeah. I'll marry you. . . we're the luckiest two people of the face of the earth.
Lee chuckles, shaking his head. Then they kiss.
RETURN TO PRESENT DAY
EXT. JEFFERSON MEMORIAL – NIGHT
CLOSE ON THE MEMORIAL
JENNY (V.O.)
Hi, Mom. I know it's getting late, that's why I'm calling.
ON JENNY
JENNY
(on phone)
I'm here at the mall. I'm just wrapping up my history assignment for Dr. Burnett's class.
(beat)
No, pretty quiet—mostly tourists. I'm headed to my car now. See you soon. Love you, Mom.
She arrives to her car and opens the door. A man comes up behind her, trying to grab her, but she breaks away from him, screams, and runs. A second man grabs her and after putting a cloth over her mouth, she passes out and is carried to a waiting white panel van. In the struggle she drops her cell phone and book bag.
MAN
Phase one complete. We have Scarecrow and Mrs. King's love child.
CUT TO
EXT. LEE'S GEORGETOWN APARTMENT – NIGHT
INT. LEE'S GEORGETOWN APARTMENT - SAME NIGHT – NIGHT
The PHONE rings. Lee answers.
LEE
Hello, Stetson.
(Noticing concern in her voice)
What is it, Amanda?
AMANDA (V.O)
Have you heard from Jenny? She was supposed to be back an hour ago and I can't reach her on her cell phone.
Lee glances at his watch.
LEE
It's not that late, yet, so let's not worry. Where was she when you last spoke to her?
AMANDA (V.O.)
The Mall.
LEE
Okay. How about I swing by the house and we'll drive around looking for her? Let's not turn this into a federal case until we have all the facts.
QUICK CUT
EXT. JEFFERSON MEMORIAL – NIGHT
ON MERCEDES
Lee and Amanda pull up in Lee's Mercedes. They spot Jenny's car.
AMANDA
There's her car, but I don't see her.
LEE
She's got to be around here. Maybe her car won't start and she took the metro home. Amanda, do you have an extra key?
Amanda hands Lee a key to Jenny's car. They both get out of Lee's car. Lee starts Jenny's car, it starts right up.
LEE
(concerned)
Amanda, call her cell phone again. I'll look around.
(yelling)
JENNY! JENNY!
Amanda joins in the search.
AMANDA
Jenny. Mom and Dad are here. JENNY.
They find Jenny's book bag, papers and books are scattered.
AMANDA
Lee, now I know something is wrong. I'm calling the Agency.
Lee bends over to pick up her things. He nods in agreement; and we. . . .
END OF ACT I
PROLOGUE
INT. MIDDLE EASTERN PRISON - ESTABLISHING – DAY
A celebration riot is going on inside prison walls. On TV screens we see images of 9-11: Planes crashing into the World Trade Center, thick black smoke, the towers collapsing, etc. Prisoners are yelling "Death to America."
In a lone jail cell sits a man in the shadows. All we see is his Cheshire-cat smile.
DISSOLVE TO
ACT I
EXT. WASHINGTON D.C. – DAY
EXTERIOR PHOTOS: AERIAL SHOT WASHINGTON MALL, CLOSE UP WASHINGTON MONUMENT, WHITE HOUSE AND JEFFERSON MEMORIAL.
EXT. 4247 MAPLEWOOD DRIVE HOUSE - DAY
GRAPHIC: 6 YEARS LATER
INT. 4247 MAPLEWOOD DRIVE - DAY
CAMERA ZOOMS ONTO THE SIGN
INT. AMANDA'S BEDROOM - DAY
AMANDA POV
Not much has changed in 20 years. The room has a queen-size bed, a couple of dressers, and two nightstands. Phone and alarm clock are on nightstand. AMANDA KING-STETSON is asleep in her bedroom. She is alone. An alarm clock sounds. Amanda looks at the clock and sighs. Putting on her robe, she goes across the hall to her daughter's room. She knocks on the door. Hearing no response, she enters the room.
INT. JENNIFER'S BEDROOM
JENNIFER STETSON'S room is a typical teenage girl's room. There's a white four-poster bed and dresser with posters on the walls, throw rug on the floor, make-up on the vanity, stuffed animals and dolls. Jennifer is the spitting image of her mother with brown eyes and hair. She is tall, athletic and very much a Tomboy. She is 18 and a freshman at George Washington University.
AMANDA
Wake up, Sleepyhead.
Jenny throws her comforter over her head.
JENNY
Please, Mom. Ten more minutes.
Amanda shakes her head.
AMANDA
(under her breath)
So much like her father.
(beat)
No, Dear, you will be late for your first day of school. Now get going if you're going to get in a workout before class.
Amanda throws off her comforter.
JENNY
Okay. Okay. I'm up. I'm up.
INT. KITCHEN
The kitchen and breakfast nook look much the same. Amanda is at the stove cooking breakfast. She is talking on the phone, and hangs up the phone as Jenny enters.
JENNY
Morning Mom. Coffee ready?
She grabs a cup and slice of toast.
AMANDA
Please tell me that's not all you're going to have for breakfast. You know breakfast is the...
(in unison)
...most important meal of the day.
JENNY
No, Mom. I'll grab something at school after I work out. Were you talking to Grandma?
AMANDA
Yes. She called to see how we're doing.
(beat)
My baby's first day in college. Are you excited?
JENNY
(shrugs)
I guess.
Sitting down at the breakfast nook she is holding a hairbrush.
AMANDA
(pointing at brush)
Can I do that for you?
Jenny hands her mom the hairbrush. Amanda brushes her daughter's hair putting it into a ponytail.
AMANDA (continued)
I haven't done this is a while—I've missed this.
JENNY
(Long pause)
Mom?
AMANDA
Hmmmm?
JENNY
Have you talked to Dad?
AMANDA
No.
(beat)
Jenny, I know what you are thinking, and it won't do any good. He has shut me out.
JENNY
He's hurting.
AMANDA
I know.
(beat)
He used to lean on me—now he just pushes me away.
(another beat)
He took it pretty hard when he heard Billy had been killed when the plane crashed into the Pentagon. Nine-eleven caught the intelligence community off guard. We all failed, but your dad took it personally.
JENNY
But none of this was Dad's fault. And why did he quit the Agency and. . . us?
AMANDA
(sighs)
Your dad and I made a lot of mistakes. I don't know maybe if we had been honest from the start with our family and ourselves things would have been different.
JENNY
Mom—-was I one of those mistakes?
AMANDA
Oh, my gosh, no.
(she smiles)
It was difficult trying to pull off a secret marriage, but it would have been impossible to pull off a secret pregnancy.
JENNY
I guess it would be.
AMANDA
Your dad was so excited when I told him I was pregnant with you, so don't think for a second you weren't wanted. You were Daddy's little girl the minute you were placed in his arms.
FLASHBACK SCENE - BLACK AND WHITE SILHOUETTE - JENNY'S BIRTH
Man sitting on the edge of bed. Woman is lying in hospital bed holding new born infant wrapped in receiving blanket. We only see his back. We do not see faces.
LEE
I'm sorry, Amanda. I really wanted to be here with you.
AMANDA
I know, Sweetheart. But I don't think it would have made any difference if you had been here in D.C. instead of New York. We barely made it to the hospital as it was.
LEE
But I should have been here for you. I made a promise, that I wouldn't put work before my family.
AMANDA
Lee—I know what you're trying to do. Don't compare yourself to Joe. I know if you could have been here you would have. Jennifer just proved to have her daddy's patience. She wasn't going to wait for anyone. Like someone else I know.
LEE
A-man-da...
AMANDA
Lee, really, I do understand. Phillip made a great substitute coach. Although he has informed me after what he witnessed he no longer wants children. I hope he's kidding—I want grandchildren someday.
LEE
Ummm Amanda. I'm not ready to become a grandfather, yet. I just became a father today.
AMANDA
Which reminds me—would you like to hold your daughter?
Hands Lee the baby.
AMANDA
Jennifer Rose Stetson.
LEE
Amanda, she's so beautiful. She looks just like you.
(To Jenny)
Hello, Beautiful.
(Kisses Jenny. To Amanda)
I love you, Amanda.
They kiss.
RETURN TO PRESENT DAY
AMANDA
Your dad loves you, you know. Now, stop worrying about your dad and me. You have enough on your plate this semester.
JENNY
(Noticing the time)
Shoot! Is that the time? I've got to go. Love you, Mom.
She kisses her mom on the cheek, grabs her backpack and heads out the door.
AMANDA
Love you, too.
Smiles and shakes her head. . .
CUT TO
INT. GYM – DAY
Jenny is fencing with her instructor. They are both wearing fencing uniforms, masks and carrying sabers. She is actually pretty good. She finally wins the challenge knocking her instructor's saber out of his hand and goes in for the 'kill'.
JENNY
Had enough?
Her opponent does not get up very fast.
JENNY
You okay, Dad?
Removing his mask we see LEE STETSON.
LEE
Yes, Honey. Either I'm not as young as I used to be or you're getting to be quite good.
JENNY
(Blushing)
Well, I had the best instructor in the world.
She helps him up and gives him a hug.
JENNY (continued)
Dad?
LEE
Yes, Jenny Bear.
JENNY
Do you have to call me that, Dad? I'm not a little girl anymore. I'm starting college today.
LEE
That is true. Okay. What, Jennifer Rose Stetson?
JENNY
(long pause)
Why did you and Mom name me Jennifer Rose?
LEE
I don't think—that was what you originally wanted to ask, and I know you know why—but—you were named Jennifer after your grandmother, my mother, who died when I was five.
Jenny nods.
LEE (continued)
Rose was your mother's idea.
(beat)
When I first started working as intelligence operative, I had been recruited to a special ops team known as the Oz network.
JENNY
Members of the team got code names based on characters from the Wizard of Oz. You were the Scarecrow.
LEE
Yes. I had a good friend code name—Dorothy—who had been killed in an operation that had gone wrong. She was the first close friend I had lost that way. She died surrounded by roses and for the longest time—the smell of roses made me sick. Your mother thought roses were too beautiful a flower for me to associate with pain and loss, so she gave you the middle name Rose, to remind me.
(beat)
Now tell me, what's really on your mind.
JENNY
How do you do that, Dad?
LEE
I'm a spy, Jenny. I was trained to notice people's expressions and emotions. I can tell when someone is holding something back.
(beat)
And someone who's going to major in Criminal Justice should be aware of that, too.
(another beat)
Are you sure I can't get you to change your mind on your major? Why don't you become a kindergarten teacher? It'd be a lot safer.
JENNY
Nope.
LEE
I didn't think so.
(beat)
I just want you to know, I'm proud of you, Jenny.
JENNY
I love you, Daddy.
LEE
And I love you, Jenny.
JENNY
Do you love Mom?
LEE
Yes.
JENNY
Then why aren't you living with us?
LEE
Jenny, it's complicated.
JENNY
It doesn't have to be.
(beat)
You, more then any one knows what it's like to grow up without a parent—or in your case both parents. I know it's not the same, both my parents are living, but they're living apart. You and Mom belong together. . .
LEE
Jenny. . .
Jenny's cell phone RINGS. Jenny answers it. We hear her one-sided conversation.
JENNY
Hello. Oh, hi, Mom.
(beat)
What's wrong? Yeah, he's here with me.
Handing her dad the cell phone.
JENNY (continued)
It's Mom—she wants to talk to you.
ON LEE
We hear Lee's one-sided conversation.
LEE
Amanda? What's wrong? I see. Yes.
(beat)
Okay. I'll bring Jenny and meet you at the hospital.
(another beat)
Okay. I'll see you soon.
He hangs up phone and hands back to Jenny.
JENNY
What's wrong, Dad?
LEE
It's Joe. He's had a heart attack.
Jenny gasps.
LEE
Your mom shouldn't be alone at a time like this.
EXT. GALILEE HOSPITAL – DAY
INT. GALILEE HOSPITAL PRIVATE FAMILY ROOM – DAY
Waiting room with couches, end tables, lamps, magazines, etc. Amanda and CARRIE KING are sitting on a couch holding hands. Amanda is trying to comfort Carrie.
CARRIE
What am I going to do? I can't lose him. He's all I have.
AMANDA
Nonsense. You have Phillip and Jamie and me. We're family.
PHILLIP KING and JAMIE KING come in. The boys are all grown up. They are now young men in their 30s. Lee follows in with Jenny. Amanda and Carrie stand up to hug Jenny and the boys. Lee leans against the wall.
PHILLIP
Have you heard anything about Dad?
AMANDA
No, nothing yet.
DR. SANDERS ENTERS
DR. SANDERS
Joe King's family?
They all look at him.
DR. SANDERS
Mr. King had a massive heart attack in the ambulance before arrival. We tried everything we could to bring him back, but the damage was too severe. Nothing worked. I'm sorry, but he didn't make it. Carrie sobs and falls down to the couch. Phillip and Jamie rush to her side and hold onto her. Lee looks at Amanda and sees the pain she's in, but offers no comfort.
Jenny notices.
JENNY
(whispers)
Sorry, Mom. Sorry, Carrie, Phillip, and Jamie.
She goes to each one and gives them a hug. Boys ad-lib, 'You're here. Thanks, Sis.' Lee looks at Amanda and then his daughter and step-sons, he begins to say something and then changes his mind and leaves the waiting room area. He glances back once more to Amanda.
LEE
I'll call Dotty; let her know.
He leaves.
Amanda nods. She's still in shock.
OFF AMANDA'S LOOK. . .
EXT. REFLECTING POOL - WASHINGTON D.C. – DAY
Lee is standing in front of the reflecting pool in deep thought. JEANIE MELROSE enters.
JEANIE
Lee? Lee Stetson, is that you?
Lee gives Jeanie a hug.
LEE
Jeanie! It's been a while. You look good. How are you?
JEANIE
Taking it a day at a time.
LEE
Good.
JEANIE
How's Billy's goddaughter, Jenny?
LEE
Good. Would you believe she just started classes at GWU?
JEANIE
GWU? One of the schools you got kicked out of, huh?
LEE
(chuckles)
Yeah.
JEANIE
Where has the time gone? I miss you coming over for visits with your lovely family, Lee. I haven't seen you since Billy's funeral.
(beat)
I heard about you and Amanda. I'm sorry.
Lee nods.
JEANIE (continued)
Billy wouldn't be happy knowing you blame yourself for his death. He thought the world of you and Amanda. It would have torn him up knowing he was the reason you two broke up.
LEE
That's not the reason—it's well—it's complicated.
Jeanie nods.
JEANIE
Don't let his death affect your happiness.
(beat)
And thanks for being such a good friend and don't be such a stranger, Lee.
She kisses him on the cheek, exits.
EXT. 4247 MAPLEWOOD DRIVE HOUSE – NIGHT
INT. 4247 MAPLEWOOD DRIVE HOUSE – NIGHT
There are people milling around, giving Amanda, Carrie and the boys their condolences. Phillip's wife, MICHELLE and twin daughters and
Jamie's wife, SARAH are there. The family is comforting each other. Amanda has been a gracious host, but she is starting to show signs
she is weary. She notices Lee, who is outside.
EXT. GARDEN
AMANDA
Lee? What are you doing in my garden?
LEE
Where else would I be?
Amanda gives him a timid smile.
AMANDA
(under her breath)
True. Where else would you be?
LEE
Do you need to talk?
AMANDA
(Shakes her head.)
No, just hold me.
Lee pulls her close and wraps his arms around her. Dotty, looking out the window notices them.
ON DOTTY
CUT TO
EXT. LEE'S GEORGETOWN APARTMENT – NIGHT
INT. LEE'S GEORGETOWN APARTMENT – NIGHT
Lee is sitting in his apartment drinking Scotch and listening to music. His feet are up on the coffee table. The doorbell RINGS. He gets up to open the door. Dotty is standing at the door.
LEE
Dotty?
(beat)
Is something wrong with Amanda? Jenny?
DOTTY
No, they are both fine. May I come in?
LEE
I'm sorry; where are my manners? Please come in. Can I get you something to drink?
DOTTY
No thanks, Son.
LEE
To what do I owe this pleasure?
(beat)
How's everything in Florida?
DOTTY
Lee, I'm not here for small talk.
(beat)
I know you still love my daughter and she loves you.
LEE
Dotty. . .
DOTTY
Lee, let me finish—you and Amanda both brought a lot of emotional baggage into your marriage and your decision to keep it a secret put a huge stain on that marriage from the very beginning.
LEE
I'm sorry for all the secrets—not one of my more brilliant ideas. I honestly believed it would be safer for the boys.
DOTTY
Safer for the boys or you?
(off Lee's look)
You know the ironic thing about family secrets? Nobody talks, but everyone knows. I knew something was going on between you two—a mother knows these things. Maybe I should have said something sooner.
LEE
Well, you know what they say about good intentions--
DOTTY
Lee, we can't change the past no matter how much we want. But I think you can do something about your future and I think you can start by talking to her.
LEE
I don't think she's ready to forgive me.
DOTTY
Trust me, she is.
Dotty squeezes his hand.
DOTTY (continued)
Lee, I love you like a son and I know in my heart that you and Amanda will work this out. Go, talk to her.
OFF LEE'S EXPRESSION
QUICK CUT
INT. A VERY DARK ROOM - SOMEWHERE – NIGHT
Man sitting in the shadows watching a videotape of Lee proposing to Amanda.
FLASHBACK - "NIGHT CRAWLER" - LEE AND AMANDA PROPOSAL
LEE
Amanda King. . . you are the best, the bravest, the smartest, most beautiful woman I have ever known.
AMANDA
I love you.
LEE
Then will you marry me?
AMANDA
Will I marry you?
(beat)
Oh, yeah. I'll marry you. . . we're the luckiest two people of the face of the earth.
Lee chuckles, shaking his head. Then they kiss.
RETURN TO PRESENT DAY
EXT. JEFFERSON MEMORIAL – NIGHT
CLOSE ON THE MEMORIAL
JENNY (V.O.)
Hi, Mom. I know it's getting late, that's why I'm calling.
ON JENNY
JENNY
(on phone)
I'm here at the mall. I'm just wrapping up my history assignment for Dr. Burnett's class.
(beat)
No, pretty quiet—mostly tourists. I'm headed to my car now. See you soon. Love you, Mom.
She arrives to her car and opens the door. A man comes up behind her, trying to grab her, but she breaks away from him, screams, and runs. A second man grabs her and after putting a cloth over her mouth, she passes out and is carried to a waiting white panel van. In the struggle she drops her cell phone and book bag.
MAN
Phase one complete. We have Scarecrow and Mrs. King's love child.
CUT TO
EXT. LEE'S GEORGETOWN APARTMENT – NIGHT
INT. LEE'S GEORGETOWN APARTMENT - SAME NIGHT – NIGHT
The PHONE rings. Lee answers.
LEE
Hello, Stetson.
(Noticing concern in her voice)
What is it, Amanda?
AMANDA (V.O)
Have you heard from Jenny? She was supposed to be back an hour ago and I can't reach her on her cell phone.
Lee glances at his watch.
LEE
It's not that late, yet, so let's not worry. Where was she when you last spoke to her?
AMANDA (V.O.)
The Mall.
LEE
Okay. How about I swing by the house and we'll drive around looking for her? Let's not turn this into a federal case until we have all the facts.
QUICK CUT
EXT. JEFFERSON MEMORIAL – NIGHT
ON MERCEDES
Lee and Amanda pull up in Lee's Mercedes. They spot Jenny's car.
AMANDA
There's her car, but I don't see her.
LEE
She's got to be around here. Maybe her car won't start and she took the metro home. Amanda, do you have an extra key?
Amanda hands Lee a key to Jenny's car. They both get out of Lee's car. Lee starts Jenny's car, it starts right up.
LEE
(concerned)
Amanda, call her cell phone again. I'll look around.
(yelling)
JENNY! JENNY!
Amanda joins in the search.
AMANDA
Jenny. Mom and Dad are here. JENNY.
They find Jenny's book bag, papers and books are scattered.
AMANDA
Lee, now I know something is wrong. I'm calling the Agency.
Lee bends over to pick up her things. He nods in agreement; and we. . . .
END OF ACT I
ACT II
EXT. JEFFERSON MEMORIAL LATER THAT NIGHT – NIGHT
Agency operatives are looking for clues, while search dogs are trying to locate Jenny's scent. Agent FRANK DUFFY has located Jenny's cell phone. He crosses over to Lee and Amanda who are standing with FRANCINE DESMOND.
DUFFY
Is this hers? We found it down by the Tidal Basin.
Lee nods. Amanda gasps.
FRANCINE
Duffy, I'm putting you and Johnson in charge of this investigation. We need to first figure out if this is related to the Agency or just a random kidnapping. Call Metro and file a missing persons report. Also call all hospitals and morgues.
She finishes last line almost whispering so Lee and Amanda wouldn't hear.
DUFFY
(nods)
Yes, Ma'am.
Duffy exits.
LEE
What do you want us to do?
FRANCINE
What I want you two to do is to go home. I will call if there are any developments.
Amanda starts to interrupt.
FRANCINE (continued)
I'm really sorry, guys, but there's nothing more you can do here. I need you to wait by the phone in case her abductors call with any ransom demands.
Lee and Amanda nod, understanding, but still in shock.
FRANCINE
Lee and Amanda, we'll find her.
OFF LEE AND AMANDA WALKING BACK TO CAR. . .
EXT. 4247 MAPLEWOOD DRIVE HOUSE – DAY
INT. 4247 MAPLEWOOD DRIVE HOUSE – DAY FAMILY ROOM
Amanda and Lee are lying on the sofa in the family room. Amanda has fallen asleep. Lee is holding her. The phone RINGS. Lee answers and we hear his one-sided conversation.
LEE
Hello, Jamie.
(beat)
No, she's asleep. Dr. Kelford gave her a sedative. Jamie, listen, we're waiting for a call from Francine. I'll let your mother know you called.
(another beat)
I do too.
Lee releases Amanda. She stirs but does not wake up. He gets up and walks over to the bookshelves. He picks up a picture of Jenny.
LEE
Don't give up, Jenny. Please, don't give up.
INT. RUN DOWN CABIN - VIRGINIA COUNTRY- JENNY'S CELL – DAY
The room is very bare, except for two cots in each corner. Jenny is lying on a cot. Her hands are tied behind her back. Hearing her dad's words, she sits up, but it's not easy.
JENNY
Dad, is that you?
(beat)
I don't understand. Don't give what up, Daddy?
INT. 4247 MAPLEWOOD DRIVE HOUSE - SAME DAY – DAY
Lee is pacing. Amanda is sitting on the sofa watching him. They both look like hell.
AMANDA
Lee, please stop. You're making me dizzy.
LEE
Amanda, I can't just sit here doing nothing when our daughter is out there, somewhere.
(beat)
We've both been in this business long enough to know the first 48-hours are critical in a missing person case and the Agency and police have nothing to go on.
Amanda is rocking back and forth.
AMANDA
Lee, I've never been so scared in all my life.
Lee walks over and sits down next to her, pulling her to him.
LEE
I know you are, and I am too. But we'll get her back. I promise, Amanda.
PHONE rings. Amanda and Lee both look at the phone afraid to answer it. Amanda finally answers.
AMANDA
Hello. Yes, Francine, we're both here. What have you heard?
FRANCINE (V.O.)
First, good news. Divers searched the Potomac River and no body was discovered. She's not at the bottom of the Potomac.
AMANDA
Thank God.
FRANCINE (V.O.)
Also negative on all jails, hospitals. . . and morgues.
AMANDA
Good.
FRANCINE (V.O.)
That's the good news. I don't think you or Lee's going to like what I have to tell you next, but I can't say this over an unsecured line. I need you and Lee to both come down to the Agency.
AMANDA
What are you not telling us, Francine?
FRANCINE (V.O.)
Please just get down here. I'll explain the rest when you're here.
AMANDA
We'll be there in 15-minutes.
CUT TO
EXT. IFF GEORGETOWN ENTRANCE – DAY
INT. AGENCY - GEORGETOWN FOYER – DAY
Lee and Amanda enter the 'closet' elevator. They still have the coats, but the Agency has joined the 21st century. Now there's state of the art eye and thumb print recognition scanners before the doors will close.
PAN LEE AND AMANDA FROM ELEVATOR, DOWN THE CORRIDOR, AND TO BULLPEN.
INT. AGENCY - BULLPEN – DAY
Francine comes out of the Section Chief Office. The nameplate on the door reads "Francine Desmond".
LEE
Francine, this is insane. In a city full of Spooks how is it that no one has heard anything?
FRANCINE
Hello to you too, Scarecrow. Sorry to drag you two in, but we think we might have a lead on who may have taken Jenny. Let's all go down to surveillance, shall we? Jamie has found something.
INT. AGENCY - SURVEILLANCE ROOM – DAY
Jamie gets up out of his chair walking over to Lee shaking his hand. Jamie, Lee, Amanda, and Francine are looking at surveillance tapes of Dulles International Airport.
JAMIE
Look who arrived three months ago, 5:00 p.m. on flight 325, Gate 28A on Egyptian Air. Punching a few keys on the keyboard, Jamie brings up an image on the screen of ADDI BIROL, walking through the jetway. Although he's in a disguise, Lee immediately recognizes him.
LEE
WHAT THE HELL! I heard he had died in prison six-months ago.
FRANCINE
Lee, you know intelligence in the Middle East is not very reliable. We've assembled a team to investigate, but initial reports show he may have faked his own death. The prison doctor who signed his death certificate was found murdered, so we believe he's covering his tracks.
Lee notices the dossier Francine's holding. He holds up his hand to read it.
FRANCINE
Sorry, Lee. You no longer work for the Agency. National security. . .
LEE
The hell with national security and don't give me any "need to know" B.S. either. I still hold my security clearance.
Francine hands him the dossier.
FRANCINE
We think he may have used a fake passport to get through security.
Lee scans the contents.
LEE
That bastard gets out of a maximum-security prison and then waltzes past airport security. Why isn't the TSA doing their jobs?
(beat)
And if he's got Jenny, why hasn't he been in contact with us. What twisted game is he playing now?
Someone KNOCKS on the door.
Agent ELIZABETH JOHNSON enters with a large manila envelope. Written on the outside is 'Scarecrow'.
JOHNSON
Excuse me, Ms. Desmond. This envelope was just delivered at the Georgetown entrance. It's for Scarecrow.
Francine opens the envelope. Inside is a videotape. Handing the tape over to Jamie, he puts it into the VCR, and punches play. We hear a strong Middle Eastern accented voice belonging to Addi Birol.
BIROL (V.O.)
Scarecrow. I know how Magda and Mara betrayed me to you Americans 20-years ago. You and that pretty wife of yours are going to pay for what you did. This time I will win and you will lose. You will lose everything, including your family. I think I'll start with you daughter. She's feisty, but she's quite an attractive young lady. I bet she's American soft.
(Laughs)
Remember Karbala!
ON MONITOR
The videotape shows Jenny sleep deprived and tied up.
ON LEE
Lee looks over and notices Amanda shaking uncontrollably. Amanda has flashback of herself being held captive by Addi Birol.
FLASHBACK - "NIGHT CRAWLER" - AMANDA AND ADDI BIROL
BIROL (O.C.)
Do you know her?
BIROL
(continuing; showing her Mara's picture)
Do you know her? Do you know her?
(beat)
I think you do. I think you've seen her before.
(slaps her)
So Night Crawler is my lieutenant, it's Mara.
(beat)
Disorientation, confusion. It can make us betray our best intentions. It's interesting how you deal with your apparitions.
AMANDA
I was dreaming.
BIROL
Dream again.
He lifts a laden brush out of a bowl and brings it to her face.
BACK TO PRESENT DAY
ON LEE AND AMANDA
Lee grabs Amanda.
LEE
Amanda. Talk to me.
AMANDA
Oh my God, Lee. The nightmare has returned. And he's torturing our baby!
Lee wraps his arms around Amanda.
LEE
Shh. . . it's going to okay.
Francine opens door and hands videotape to Agent FRED FIELDER.
FRANCINE
Fielder. Take this tape to Communications for voice recognition. Priority one.
FIELDER
Yes, Ma'am.
Francine turns to Lee and Amanda.
FRANCINE
Lee, I want you to take Amanda back to her house, and before you ask, Amanda, you are not working on this one.
AMANDA
(Shaking head)
Don't baby me, Francine. I know the score.
FRANCINE
Lee, Amanda, you are too close to the situation to be directly involved.
LEE
That's OUR daughter he has, so don't tell us to stay out of it, Francine.
FRANCINE
STAY OUT, BOTH OF YOU! Don't—and I repeat don't—go looking for him. Last time you crossed Birol you were lucky to get out with your lives. This time you might not be so lucky. Let the Agency teams do their jobs.
Resigning, Amanda looks over at Jamie.
AMANDA
Jamie and Phillip will need protection.
FRANCINE
Already on it—we have agents assigned to them and their families.
Both Lee and Amanda nod.
LEE
Francine, find our daughter. Help me keep my promise to Amanda to bring Jenny home.
Lee and Amanda exit.
INT. AGENCY - BULLPEN
Francine enters the Bullpen and Fielder enters a few moments later. He hands Francine the report.
FIELDER
Eighty-five percent positive it's Addi Birol.
FRANCINE
Thanks, Fred. Okay, people, gather around. We have a major flap. Terrorist Addi Birol is very much alive. We have reason to believe he's rebuilding his network here in D.C. We also have evidence that he's behind Jenny Stetson's disappearance. We need all eyes and ears on this. I don't think I need to tell you, but this one is personal. . .
CUT TO
EXT. RUN DOWN CABIN - VIRGINIA COUNTRYSIDE – DAY
INT. RUN DOWN CABIN - VIRGINIA COUNTRY- JENNY'S CELL - DAY
JENNY
(Faintly; hoarsely)
Hello.
She clears her throat. Trying again.
JENNY (continued)
Hello.
She kicks the door.
JENNY (continued)
HELLO!
(Nothing)
Who are you? What do you want?
The door opens. Birol walks in.
BIROL
Good afternoon, Ms. Stetson.
JENNY
Who are you and what do you want from me?
BIROL
Gee, I'm sorry your parents didn't mention my name.
(beat)
I am Addi Birol.
(another beat)
Twenty years ago, your parents busted my operation, dismantled my army, and sent me to prison. Scarecrow anticipated my moves last time, but this time I have the advantage.
JENNY
(defiant)
My dad got you once; he'll get you again.
She lunges at him and he slaps her.
BIROL
Oh, I know he'll come—and I'll be waiting for him. He's so predictable. Yes, he'll come.
Birol smiles.
JENNY
You think you know my dad—but you don't. He'll find me.
BIROL
Yes, I know—and when he gets here, he'll find I have reserved for him the best seats in the house to witness his family's death.
He looks at his watch.
BIROL (continued)
As a matter of fact, he should be watching your mom die. . . just about now.
JENNY
NO!
BIROL
I expect the whole world will soon fear the name of Addi Birol again.
OFF BIROL
EXT. 4247 MAPLEWOOD DRIVE HOUSE – NIGHT
ON MERCEDES
Lee and Amanda are sitting inside Lee's Mercedes.
LEE
Amanda, stay at the house. I'm going to talk to some of my 'family.'
Amanda shakes her head.
AMANDA
The more things change, the more they stay the same. Why don't you just tell me to stay in the car?
LEE
Amanda, I'm exhausted. I don't want to fight with you, but our daughter is expecting me to find her and bring her home.
AMANDA
Damn it, Lee! I'm not a rookie and I'm certainly not that civilian you met at the train station 25-years ago. Hell, you're not even an agent anymore. So promise me you won't go looking for Birol yourself.
LEE
Amanda. He'll torture her. He'll. . .
AMANDA
You don't think that thought terrifies me, too? I've been there, Lee. Remember, that madman held me hostage, too.
LEE
So you, Amanda, of all people should know that Birol won't stop. I can't just stand by and let him win.
AMANDA
Getting yourself killed isn't going to bring Jenny back.
LEE
Damn it, Amanda! I was out on those streets for over 25 years, naively believing I was making a difference-but nothing ever changes. The game is always the same, only the names of the players change.
AMANDA
Don't think about it, Lee. You were the one who told me being objective is what makes us effective.
LEE
Amanda, why do you have to be so stubborn?
AMANDA
Yes, number 12 on your LIST.
LEE
(not amused)
You could never let anything go, could you?
AMANDA
And you always had to bend the rules.
LEE
And you could never follow orders.
AMANDA
That goes both ways.
LEE
Maybe if you hadn't been so pigheaded, our marriage could have been saved.
AMANDA
Don't you dare throw that back into my face, Lee Stetson—that choice was yours. You walked out on us.
Lee, surprised at himself.
LEE
Amanda—I'm sorry—I didn't mean that—that just came out.
AMANDA
I remember one fight we had—you said it was times like that when true feelings were shared.
(beat)
I keep looking for signs of regret—but it's almost as if our marriage, our life together has meant nothing to you.
(another beat)
I don't know what it is that you want, Lee. When you figure it out let me know.
Getting out of the car, Amanda quickly walks down the path toward the front door without looking back.
ON LEE
Lee angrily hits the steering wheel.
ON THE HOUSE
Amanda turns the doorknob and opens the door. The house suddenly explodes. Flames erupt from the windows.
ON LEE
Lee sits staring in shock.
ON AMANDA
Amanda lies on the ground, not moving.
ON THE HOUSE
House continues to be consumed by fire.
END OF ACT II
EXT. JEFFERSON MEMORIAL LATER THAT NIGHT – NIGHT
Agency operatives are looking for clues, while search dogs are trying to locate Jenny's scent. Agent FRANK DUFFY has located Jenny's cell phone. He crosses over to Lee and Amanda who are standing with FRANCINE DESMOND.
DUFFY
Is this hers? We found it down by the Tidal Basin.
Lee nods. Amanda gasps.
FRANCINE
Duffy, I'm putting you and Johnson in charge of this investigation. We need to first figure out if this is related to the Agency or just a random kidnapping. Call Metro and file a missing persons report. Also call all hospitals and morgues.
She finishes last line almost whispering so Lee and Amanda wouldn't hear.
DUFFY
(nods)
Yes, Ma'am.
Duffy exits.
LEE
What do you want us to do?
FRANCINE
What I want you two to do is to go home. I will call if there are any developments.
Amanda starts to interrupt.
FRANCINE (continued)
I'm really sorry, guys, but there's nothing more you can do here. I need you to wait by the phone in case her abductors call with any ransom demands.
Lee and Amanda nod, understanding, but still in shock.
FRANCINE
Lee and Amanda, we'll find her.
OFF LEE AND AMANDA WALKING BACK TO CAR. . .
EXT. 4247 MAPLEWOOD DRIVE HOUSE – DAY
INT. 4247 MAPLEWOOD DRIVE HOUSE – DAY FAMILY ROOM
Amanda and Lee are lying on the sofa in the family room. Amanda has fallen asleep. Lee is holding her. The phone RINGS. Lee answers and we hear his one-sided conversation.
LEE
Hello, Jamie.
(beat)
No, she's asleep. Dr. Kelford gave her a sedative. Jamie, listen, we're waiting for a call from Francine. I'll let your mother know you called.
(another beat)
I do too.
Lee releases Amanda. She stirs but does not wake up. He gets up and walks over to the bookshelves. He picks up a picture of Jenny.
LEE
Don't give up, Jenny. Please, don't give up.
INT. RUN DOWN CABIN - VIRGINIA COUNTRY- JENNY'S CELL – DAY
The room is very bare, except for two cots in each corner. Jenny is lying on a cot. Her hands are tied behind her back. Hearing her dad's words, she sits up, but it's not easy.
JENNY
Dad, is that you?
(beat)
I don't understand. Don't give what up, Daddy?
INT. 4247 MAPLEWOOD DRIVE HOUSE - SAME DAY – DAY
Lee is pacing. Amanda is sitting on the sofa watching him. They both look like hell.
AMANDA
Lee, please stop. You're making me dizzy.
LEE
Amanda, I can't just sit here doing nothing when our daughter is out there, somewhere.
(beat)
We've both been in this business long enough to know the first 48-hours are critical in a missing person case and the Agency and police have nothing to go on.
Amanda is rocking back and forth.
AMANDA
Lee, I've never been so scared in all my life.
Lee walks over and sits down next to her, pulling her to him.
LEE
I know you are, and I am too. But we'll get her back. I promise, Amanda.
PHONE rings. Amanda and Lee both look at the phone afraid to answer it. Amanda finally answers.
AMANDA
Hello. Yes, Francine, we're both here. What have you heard?
FRANCINE (V.O.)
First, good news. Divers searched the Potomac River and no body was discovered. She's not at the bottom of the Potomac.
AMANDA
Thank God.
FRANCINE (V.O.)
Also negative on all jails, hospitals. . . and morgues.
AMANDA
Good.
FRANCINE (V.O.)
That's the good news. I don't think you or Lee's going to like what I have to tell you next, but I can't say this over an unsecured line. I need you and Lee to both come down to the Agency.
AMANDA
What are you not telling us, Francine?
FRANCINE (V.O.)
Please just get down here. I'll explain the rest when you're here.
AMANDA
We'll be there in 15-minutes.
CUT TO
EXT. IFF GEORGETOWN ENTRANCE – DAY
INT. AGENCY - GEORGETOWN FOYER – DAY
Lee and Amanda enter the 'closet' elevator. They still have the coats, but the Agency has joined the 21st century. Now there's state of the art eye and thumb print recognition scanners before the doors will close.
PAN LEE AND AMANDA FROM ELEVATOR, DOWN THE CORRIDOR, AND TO BULLPEN.
INT. AGENCY - BULLPEN – DAY
Francine comes out of the Section Chief Office. The nameplate on the door reads "Francine Desmond".
LEE
Francine, this is insane. In a city full of Spooks how is it that no one has heard anything?
FRANCINE
Hello to you too, Scarecrow. Sorry to drag you two in, but we think we might have a lead on who may have taken Jenny. Let's all go down to surveillance, shall we? Jamie has found something.
INT. AGENCY - SURVEILLANCE ROOM – DAY
Jamie gets up out of his chair walking over to Lee shaking his hand. Jamie, Lee, Amanda, and Francine are looking at surveillance tapes of Dulles International Airport.
JAMIE
Look who arrived three months ago, 5:00 p.m. on flight 325, Gate 28A on Egyptian Air. Punching a few keys on the keyboard, Jamie brings up an image on the screen of ADDI BIROL, walking through the jetway. Although he's in a disguise, Lee immediately recognizes him.
LEE
WHAT THE HELL! I heard he had died in prison six-months ago.
FRANCINE
Lee, you know intelligence in the Middle East is not very reliable. We've assembled a team to investigate, but initial reports show he may have faked his own death. The prison doctor who signed his death certificate was found murdered, so we believe he's covering his tracks.
Lee notices the dossier Francine's holding. He holds up his hand to read it.
FRANCINE
Sorry, Lee. You no longer work for the Agency. National security. . .
LEE
The hell with national security and don't give me any "need to know" B.S. either. I still hold my security clearance.
Francine hands him the dossier.
FRANCINE
We think he may have used a fake passport to get through security.
Lee scans the contents.
LEE
That bastard gets out of a maximum-security prison and then waltzes past airport security. Why isn't the TSA doing their jobs?
(beat)
And if he's got Jenny, why hasn't he been in contact with us. What twisted game is he playing now?
Someone KNOCKS on the door.
Agent ELIZABETH JOHNSON enters with a large manila envelope. Written on the outside is 'Scarecrow'.
JOHNSON
Excuse me, Ms. Desmond. This envelope was just delivered at the Georgetown entrance. It's for Scarecrow.
Francine opens the envelope. Inside is a videotape. Handing the tape over to Jamie, he puts it into the VCR, and punches play. We hear a strong Middle Eastern accented voice belonging to Addi Birol.
BIROL (V.O.)
Scarecrow. I know how Magda and Mara betrayed me to you Americans 20-years ago. You and that pretty wife of yours are going to pay for what you did. This time I will win and you will lose. You will lose everything, including your family. I think I'll start with you daughter. She's feisty, but she's quite an attractive young lady. I bet she's American soft.
(Laughs)
Remember Karbala!
ON MONITOR
The videotape shows Jenny sleep deprived and tied up.
ON LEE
Lee looks over and notices Amanda shaking uncontrollably. Amanda has flashback of herself being held captive by Addi Birol.
FLASHBACK - "NIGHT CRAWLER" - AMANDA AND ADDI BIROL
BIROL (O.C.)
Do you know her?
BIROL
(continuing; showing her Mara's picture)
Do you know her? Do you know her?
(beat)
I think you do. I think you've seen her before.
(slaps her)
So Night Crawler is my lieutenant, it's Mara.
(beat)
Disorientation, confusion. It can make us betray our best intentions. It's interesting how you deal with your apparitions.
AMANDA
I was dreaming.
BIROL
Dream again.
He lifts a laden brush out of a bowl and brings it to her face.
BACK TO PRESENT DAY
ON LEE AND AMANDA
Lee grabs Amanda.
LEE
Amanda. Talk to me.
AMANDA
Oh my God, Lee. The nightmare has returned. And he's torturing our baby!
Lee wraps his arms around Amanda.
LEE
Shh. . . it's going to okay.
Francine opens door and hands videotape to Agent FRED FIELDER.
FRANCINE
Fielder. Take this tape to Communications for voice recognition. Priority one.
FIELDER
Yes, Ma'am.
Francine turns to Lee and Amanda.
FRANCINE
Lee, I want you to take Amanda back to her house, and before you ask, Amanda, you are not working on this one.
AMANDA
(Shaking head)
Don't baby me, Francine. I know the score.
FRANCINE
Lee, Amanda, you are too close to the situation to be directly involved.
LEE
That's OUR daughter he has, so don't tell us to stay out of it, Francine.
FRANCINE
STAY OUT, BOTH OF YOU! Don't—and I repeat don't—go looking for him. Last time you crossed Birol you were lucky to get out with your lives. This time you might not be so lucky. Let the Agency teams do their jobs.
Resigning, Amanda looks over at Jamie.
AMANDA
Jamie and Phillip will need protection.
FRANCINE
Already on it—we have agents assigned to them and their families.
Both Lee and Amanda nod.
LEE
Francine, find our daughter. Help me keep my promise to Amanda to bring Jenny home.
Lee and Amanda exit.
INT. AGENCY - BULLPEN
Francine enters the Bullpen and Fielder enters a few moments later. He hands Francine the report.
FIELDER
Eighty-five percent positive it's Addi Birol.
FRANCINE
Thanks, Fred. Okay, people, gather around. We have a major flap. Terrorist Addi Birol is very much alive. We have reason to believe he's rebuilding his network here in D.C. We also have evidence that he's behind Jenny Stetson's disappearance. We need all eyes and ears on this. I don't think I need to tell you, but this one is personal. . .
CUT TO
EXT. RUN DOWN CABIN - VIRGINIA COUNTRYSIDE – DAY
INT. RUN DOWN CABIN - VIRGINIA COUNTRY- JENNY'S CELL - DAY
JENNY
(Faintly; hoarsely)
Hello.
She clears her throat. Trying again.
JENNY (continued)
Hello.
She kicks the door.
JENNY (continued)
HELLO!
(Nothing)
Who are you? What do you want?
The door opens. Birol walks in.
BIROL
Good afternoon, Ms. Stetson.
JENNY
Who are you and what do you want from me?
BIROL
Gee, I'm sorry your parents didn't mention my name.
(beat)
I am Addi Birol.
(another beat)
Twenty years ago, your parents busted my operation, dismantled my army, and sent me to prison. Scarecrow anticipated my moves last time, but this time I have the advantage.
JENNY
(defiant)
My dad got you once; he'll get you again.
She lunges at him and he slaps her.
BIROL
Oh, I know he'll come—and I'll be waiting for him. He's so predictable. Yes, he'll come.
Birol smiles.
JENNY
You think you know my dad—but you don't. He'll find me.
BIROL
Yes, I know—and when he gets here, he'll find I have reserved for him the best seats in the house to witness his family's death.
He looks at his watch.
BIROL (continued)
As a matter of fact, he should be watching your mom die. . . just about now.
JENNY
NO!
BIROL
I expect the whole world will soon fear the name of Addi Birol again.
OFF BIROL
EXT. 4247 MAPLEWOOD DRIVE HOUSE – NIGHT
ON MERCEDES
Lee and Amanda are sitting inside Lee's Mercedes.
LEE
Amanda, stay at the house. I'm going to talk to some of my 'family.'
Amanda shakes her head.
AMANDA
The more things change, the more they stay the same. Why don't you just tell me to stay in the car?
LEE
Amanda, I'm exhausted. I don't want to fight with you, but our daughter is expecting me to find her and bring her home.
AMANDA
Damn it, Lee! I'm not a rookie and I'm certainly not that civilian you met at the train station 25-years ago. Hell, you're not even an agent anymore. So promise me you won't go looking for Birol yourself.
LEE
Amanda. He'll torture her. He'll. . .
AMANDA
You don't think that thought terrifies me, too? I've been there, Lee. Remember, that madman held me hostage, too.
LEE
So you, Amanda, of all people should know that Birol won't stop. I can't just stand by and let him win.
AMANDA
Getting yourself killed isn't going to bring Jenny back.
LEE
Damn it, Amanda! I was out on those streets for over 25 years, naively believing I was making a difference-but nothing ever changes. The game is always the same, only the names of the players change.
AMANDA
Don't think about it, Lee. You were the one who told me being objective is what makes us effective.
LEE
Amanda, why do you have to be so stubborn?
AMANDA
Yes, number 12 on your LIST.
LEE
(not amused)
You could never let anything go, could you?
AMANDA
And you always had to bend the rules.
LEE
And you could never follow orders.
AMANDA
That goes both ways.
LEE
Maybe if you hadn't been so pigheaded, our marriage could have been saved.
AMANDA
Don't you dare throw that back into my face, Lee Stetson—that choice was yours. You walked out on us.
Lee, surprised at himself.
LEE
Amanda—I'm sorry—I didn't mean that—that just came out.
AMANDA
I remember one fight we had—you said it was times like that when true feelings were shared.
(beat)
I keep looking for signs of regret—but it's almost as if our marriage, our life together has meant nothing to you.
(another beat)
I don't know what it is that you want, Lee. When you figure it out let me know.
Getting out of the car, Amanda quickly walks down the path toward the front door without looking back.
ON LEE
Lee angrily hits the steering wheel.
ON THE HOUSE
Amanda turns the doorknob and opens the door. The house suddenly explodes. Flames erupt from the windows.
ON LEE
Lee sits staring in shock.
ON AMANDA
Amanda lies on the ground, not moving.
ON THE HOUSE
House continues to be consumed by fire.
END OF ACT II
ACT III
EXT. GALILEE HOSPITAL - ESTABLISHING – NIGHT
INT. GALILEE HOSPITAL ER – NIGHT
An EMT is wheeling Amanda into the emergency room on a gurney. Lee is by her side, not letting go of her hand. A NURSE comes up to them.
NURSE
(Talking to the EMT)
What do we have, Bill?
EMT
We have an injured federal agent. She was involved in an explosion. She has been floating in and out of consciousness and has 2nd degree burns on her arms and face. She's responsive to pain stimuli. Her BP is 110 over 70. We started an IV on scene and she was given 2cc of Demerol for pain.
NURSE
Thanks, Bill. We'll take it from here.
(To Lee)
Sir, you've got to let go. We'll take good care of her, I promise.
INT. ER EXAM ROOM
Privacy curtain is drawn.
DR. ALLEN ENTERS
DR. ALLEN
Is this our injured federal agent?
He shines a penlight into her eyes.
DR. ALLEN (continued)
Is radiology ready for us? I want X-Rays and CAT Scan. Do we have an E.T.A. on N.E.S.T.?
CUT TO
INT. AMANDA'S HOSPITAL ROOM - SEVERAL HOURS LATER – NIGHT
Amanda is hooked up to all sorts of monitoring equipment. She has an IV in her right hand. Her arms are bandaged. Lee is sitting at her bedside holding her hand. Lee looks exhausted and worried. There is a guard posted outside Amanda's room.
FLASHBACK SCENE - "NIGHT CRAWLER" - LEE'S ANGST
BILLY (O.C.)
Forget it, Scarecrow. . . the best thing you can do is to stay away.
LEE
Damn it. Billy. . . he's a terrorist with nothing to lose and he's got Amanda, and he took her to get to me. Don't you see that?
BILLY
I know which one of my agents is in trouble. . . I always know. Does she know about Night Crawler?
LEE
Yes. She knows Night Crawler is my source, and that's all. Birol won't believe her.
BILLY
(reads from note)
'Night Crawler for the woman.' Stay out of it, Lee, because if he gets to you, he'll use Amanda to break you, and we lose the best source we've got.
(softer)
Could you watch Amanda suffer? Lee shakes his head no.
QUIDD
How'd he pick her out, Scarecrow?
LEE
Random, or he figured the CSN crew for a front or he figured out something else. I don't know. If I knew I would have stopped him.
QUIDD
So he duped all his lieutenants about the interview.
LEE
And he outsmarted me and he bagged Amanda all by himself, and now he's got us by the back pockets because we don't have a clue. I do this for a living, doc.
BILLY
Then act like a professional. Let Yusef and A-TAC get her. We can't even let her family know until Birol makes this public. You go charging after him, he'll simply. . . eliminate the need! You know what I mean?
(beat)
Why don't you bunk down in Tac Center out of harm's way.
QUIDD
I'll make it a medical order. Scarecrow. . . put you out for a few days. It'll be best. . .
LEE
(motions a warning)
Don't you try me. . .
QUIDD
Easy. . . think it over. Your first loyalty is to your source. Nightcrawler has been at considerable risk for us. You owe it. . .
LEE
I know exactly what I owe, Doc, and if I have to I'll pay it back in my own blood.
RETURN TO PRESENT DAY
LEE
I should have killed Birol when I had the chance. Then he would have never been able to hurt you or our family. I'm sorry, Amanda. I failed you.
DR. SCARDELLI ENTERS.
SCARDELLI
Mr. Stetson. We meet again. Dr. Scardelli. I'm in charge of your wife's care.
LEE
(Nodding.)
How is she?
SCARDELLI
She's in serious but stable condition. She has a concussion, and for the most part her cuts, scrapes and burns are superficial. She'll probably be in a lot of pain when she wakes up, but we'll help her manage the pain. She's in a coma. That's normal. It's the body's way of dealing with trauma and stress.
(beat)
I understand your daughter's missing.
Lee nods.
SCARDELLI (continued)
I'm sorry to hear. Your wife's doing fine—all we can do now is wait.
Lee shakes his hand.
LEE
Thanks, Doc.
The doctor leaves and Phillip enters the room. Phillip is livid.
PHILLIP
(through clenched teeth)
What the hell are you doing here, Lee? Haven't you done enough to this family? Jenny's missing and Mom was almost killed.
Jamie enters.
PHILLIP
(Continuing; noticing Jamie)
You know, bro—you were right about not trusting Lee. I wish I had listened to you.
JAMIE
Phillip. . .
PHILLIP
(to Lee)
Except for Jenny you've given my mom nothing but heartache. THIS IS ALL YOUR FAULT, LEE!
Nurse enters.
NURSE
Keep it down or I'm going to have to ask you all to leave. Mrs.Stetson needs her rest.
Phillip cringes when she refers to his mom as Mrs. Stetson.
LEE
I'll leave.
Lee, who has been silent during Phillip's verbal assault, slowly heads out the door.
PHILLIP
Mom needs her family now, not a part-time husband. Why don't you do us all a favor and sign the divorce papers and leave our family alone. We were happy before you entered our lives.
Lee looks back once more at her. Then closes the door.
JAMIE
Go to hell, Phillip!
EXT. BOTANICAL GARDENS WASHINGTON D.C. – DAY
Standing in the gardens Lee looks at his watch. MAGDA PETRAK comes up behind Lee. She is wearing a burka hiding her face. Lee does not turn around. He knows she's there.
LEE
Thanks Magda, for meeting me.
MAGDA
You don't need to thank me. Mara and I are still grateful for helping us and our mother defect.
LEE
You took a big chance being out here in public. Are you safe?
MAGDA
We're safe for now.
LEE
I don't want you to take any unnecessary risks.
MAGDA
We have a debt to you and Amanda, but we are not sure what we can do with a price on our heads.
Lee nods.
LEE
What can you tell me?
MAGDA
Birol's hatred for you is what's driving him, but I don't even know if you'll be able to stop him this time, Lee. He's more powerful than ever.
LEE
I have to try. He's has my daughter.
Magda nods her head, understanding.
MAGDA
He's...
GUN FIRE rings out and Magda is hit. Lee catches her before she falls.
LEE
Magda. . . where his hideout. . . where is he holding Jenny?
MAGDA
Nightcrawler.
LEE
Night Crawler? Does this have to do with Mara?
MAGDA
No. . . night-craw-lers. . .
She dies in Lee's arms.
EXT. RUN DOWN CABIN - VIRGINIA COUNTRYSIDE - DAY
INT. RUN DOWN CABIN - VIRGINIA COUNTRY- JENNY'S CELL – DAY
Jenny is sleeping on a cot. She's having a dream. Jenny's P.O.V.
FLASHBACK SCENE - BLACK AND WHITE SILHOUETTE - WIZARD OF OZ
Jenny is about 5-years old. She knocks on her mom and dad's bedroom door, entering before she hears an answer, she climbs into bed between her mom and dad. It's dark, so we do not see faces.
LEE
What's the matter, Jenny Bear?
JENNY
(through sobs)
I had a dream about the flying monkeys. I dreamed they carried me away and I was lost. I couldn't find my way back to you and Mom. They pulled apart the Scarecrow, so he couldn't save me and bring me back home.
AMANDA
It's okay, Munchkin. It was only a dream.
JENNY
I'm scared.
LEE
Honey, there's no reason to be scared. Think about the movie. What happens to the Scarecrow next?
(beat)
His friends were able to work collectively, and were able to put him back together, and rescue Dorothy. By working together, they could accomplish anything.
(another beat)
I also have it on good authority that the Scarecrow isn't going anywhere. Okay?
JENNY
Okay, Daddy.
LEE (O.C.)
Don't worry Jenny. The Scarecrow will always protect you.
RETURN TO PRESENT TIME
Jenny sits up with some difficulty as her hands are still tied.
JENNY
Dad, is that you? Please take me home.
LEE (V.O.)
Not yet. . . .but I will.
JENNY
Dad, don't leave.
Her eyes open and she sees Addi Birol sitting in a chair next to her cot. Watching her.
BIROL
He's not going to answer you.
(beat)
Dear old Dad...isn't here.
(another beat)
But don't worry—it will all be over soon. Very soon.
Birol touches her on the cheek. She flinches.
BIROL (continued)
I must be going now. It's time to rip out some straw from the Scarecrow.
INT. AMANDA'S HOSPITAL ROOM - DAY
Dotty is sitting in a chair beside Amanda's bed. Dotty is reading a book. Amanda begins to stir.
AMANDA
Mmmmm. Lee?
DOTTY
Amanda, it's Mother. I'm here for you.
AMANDA
Mother? What happened?
DOTTY
I'll tell you everything, but first let me find the doctor for you. Dotty opens the hospital room door.
DOTTY
She's waking up.
Dr. Allen enters.
DR. ALLEN
Hello, Mrs. Stetson. My name's Doctor Allen. How are you feeling?
AMANDA
Like I was run over by a Mack truck.
DR. ALLEN
I'll prescribe something for the pain.
He writes down something in her chart.
DR. ALLEN (continued)
You have some second-degree burns on your arms and a little bump on your head, but we'll take good care of you.
He squeezes her arm. Dr. Allen exits.
QUICK DISSOLVE TO
INT. AMANDA'S HOSPITAL ROOM - AN HOUR LATER – DAY
Dotty, Jamie, and Phillip are at Amanda's bedside. Dotty is holding Amanda's hand. Noticeably absent is Lee.
DOTTY
It's okay, Amanda.
AMANDA
Mother, I'm so glad you and the boys are here. Is there any word on Jenny? And where's Lee?
JAMIE
Lee was here, but Dufus ran him off.
(beat)
A-TAC and the Agency have agents looking for Jenny.
(another beat)
I'll call the Agency and see if they have heard anything new.
Jamie exits.
PHILLIP
Mom, I'm glad to see you're awake.
(beat)
I guess I better call everyone and let them know you're going to be okay.
Amanda nods. Phillip exits.
AMANDA
Okay, Mother. What happened? I can handle the truth.
DOTTY
The truth—the truth, Amanda—your house was blown to bits and pieces. You're lucky you weren't blown to smithereens also.
AMANDA
My house?
DOTTY
I'm sorry, but the house is a total loss.
(beat)
The news organizations are reporting it as a gas explosion, but the Agency believes it was a bomb.
(another beat; displeased)
So the lies continue.
Amanda is at a loss for words.
AMANDA
Oh, Mother, what am I going to do?
DOTTY
(softening; she hugs her)
There—there, Dear. Is there anything I can do for you, Baby?
AMANDA
(almost a whimper)
I want Jenny. . . and Lee.
INT. GALILEE HOSPITAL CAFETERIA - DAY
Lee is sitting at a table drinking a cup of coffee. Dotty enters the cafeteria she sees Lee. She walks over to him and sits down at the same table.
LEE
Dotty. Can I buy you a cup of coffee?
DOTTY
Yes, thanks, Lee.
Lee gets up, buys Dotty coffee from the vending machine and brings it back to her.
DOTTY
Lee, I'm looking for answers. Promise me you will tell me the truth.
LEE
(hesitating, but then relents)
Okay.
DOTTY
Is there any word on Jenny?
LEE
No. I know the Agency and police are exhausting all resources looking for her.
DOTTY
Who's got my granddaughter? And don't give me any of your canned Agency response.
LEE
Dotty, I don't work for the Agency anymore.
(beat)
But I believe you have a need. . . no, a right to know—it's Addi Birol.
DOTTY
THE TERRORIST! Lee, why does he have Jenny?
LEE
He took Jenny to get to Amanda and me. Twenty-years ago, we were responsible for breaking up his terrorist organization and putting him behind bars.
DOTTY
Oh, my God!
(beat)
Lee, honestly, do you think my granddaughter is still alive?
LEE
Right now, yes. I believe as long as he continues to use her as a pawn, he'll keep her alive.
Dotty pats him on his knee.
DOTTY
I better go check on Amanda. Thanks, Lee, for being honest. Please, bring my granddaughter home, and stay safe.
Lee nods.
CLOSE ON LEE
CUT TO
INT. RUN DOWN CABIN - VIRGINIA COUNTRY- JENNY'S CELL – DAY
Jenny is sleeping on a cot. She is having a dream.
JENNY'S P.O.V.
FLASHBACK SCENE - BLACK AND WHITE SILHOUETTE - WIZARD OF OZ
Amanda's reading to Jenny. Jenny's about 10-years old. Amanda's sitting in a rocking chair; we only see the back of her head. Jenny's lying down in her bed. Amanda's reading 'The Wizard of Oz' to her.
AMANDA
'Aunt Em had just come out of the house to water the cabbages when she looked up and saw Dorothy running toward her. 'My darling child!' she cried, folding the girl in her arms and covering her face with kisses. 'Where in the world did you come from?' 'From the Land of Oz,' said Dorothy gravely. 'And here is Toto, too. And Oh, Aunt Em! I'm so glad to be home again.'
(closing the book)
The end.
JENNY
(brief pause)
Mom, that's not fair.
AMANDA
What's not fair, Sweetheart?
She kisses her forehead.
JENNY
If Dorothy had the power to go home the first day she was in Oz, why didn't Glinda tell her?
AMANDA
Good question, Jenny. You're right, she could have—but then it would have been a very short book.
JENNY
I guess—and then she wouldn't have met her friends and gone on all those adventures with the Scarecrow, Tin Man, or the Cowardly Lion.
AMANDA
True, and what did Dorothy learn?
JENNY
(thinking about it)
Dorothy needed to be ready before she could go home. It was only after she learned from her experiences in Oz that Glinda tells her she had the power all the time. . .
AMANDA
. . . right at her feet.
JENNY
But Dorothy had to discover that all by herself.
AMANDA
Yes, and it was only after facing adversity was she finally able to return.
JENNY
What's add-veer-city?
AMANDA
Adversity. Facing our fears.
Jenny nods in understanding.
AMANDA (continued)
What's the theme of the story?
JENNY
Our heart's desire is found within ourselves.
She points to her chest.
AMANDA
That's my smart girl.
Amanda tucks her little girl in.
RETURN TO PRESENT TIME
JENNY
(waking up)
I'm ready to go home.
EXT. D.C. AUTO REPAIR SHOP – DAY
INT. D.C. AUTO REPAIR SHOP – DAY
Auto repair shop. Cars are in the bay. Toolboxes and tools litter the shop. Phillip's in coveralls. He's working on a car standing over the hood. Jamie enters.
JAMIE
Phillip, are you crazy, calling off the Agency watchdogs?
PHILLIP
Listen, little brother, I don't need a babysitter. I'm not ten anymore.
JAMIE
They're protecting you and your family. Look what happened to Mom and Jenny. How would you feel if something happened to Michelle or the twins?
Phillip shakes his head.
PHILLIP
Lee put you up to this. Didn't he? I can take care of myself and my family.
JAMIE
Do you realize Mom could've died?
PHILLIP
Yeah—and it would have been all Lee's fault. He recruited her. She was a housewife, a mother, someone who was always home for us. 'Mr. American Spy' comes along and seduced her, lied to us and betrayed our trust.
JAMIE
Get over it, Phillip!
PHILLIP
Just look at you—couldn't stay away from the 'family business', could you?
JAMIE
Yes, because just like Mom and Lee, I thought I could make a difference.
PHILLIP
Lee. . . Lee. . . Lee. I'm so sick and tired of hearing about Lee. Since when did you jump onto the Lee Stetson bandwagon?
JAMIE
Lee's a great guy. And you're one to talk—you used to be president of the Lee Stetson fan club.
A panel van pulls in front of the bay door, honking it's HORN.
Phillip walks over to the van, but speaks to Jamie first.
PHILLIP
Jamie, I think you should just leave.
Jamie starts to leave the repair shop and is grabbed by one of Birol's lieutenants. She puts a cloth over his face and Jamie passes out. Phillip grabs a wrench and runs toward Jamie's abductor. A second man pulls a gun on Phillip and motions for him to follow them out of the garage. As Phillip's leaving he notices the agent assigned to Jamie slumped over the steering wheel, dead. Both Jamie and Phillip are put into the panel van. The van pulls away. . .
And, WE. . .
END OF ACT III
EXT. GALILEE HOSPITAL - ESTABLISHING – NIGHT
INT. GALILEE HOSPITAL ER – NIGHT
An EMT is wheeling Amanda into the emergency room on a gurney. Lee is by her side, not letting go of her hand. A NURSE comes up to them.
NURSE
(Talking to the EMT)
What do we have, Bill?
EMT
We have an injured federal agent. She was involved in an explosion. She has been floating in and out of consciousness and has 2nd degree burns on her arms and face. She's responsive to pain stimuli. Her BP is 110 over 70. We started an IV on scene and she was given 2cc of Demerol for pain.
NURSE
Thanks, Bill. We'll take it from here.
(To Lee)
Sir, you've got to let go. We'll take good care of her, I promise.
INT. ER EXAM ROOM
Privacy curtain is drawn.
DR. ALLEN ENTERS
DR. ALLEN
Is this our injured federal agent?
He shines a penlight into her eyes.
DR. ALLEN (continued)
Is radiology ready for us? I want X-Rays and CAT Scan. Do we have an E.T.A. on N.E.S.T.?
CUT TO
INT. AMANDA'S HOSPITAL ROOM - SEVERAL HOURS LATER – NIGHT
Amanda is hooked up to all sorts of monitoring equipment. She has an IV in her right hand. Her arms are bandaged. Lee is sitting at her bedside holding her hand. Lee looks exhausted and worried. There is a guard posted outside Amanda's room.
FLASHBACK SCENE - "NIGHT CRAWLER" - LEE'S ANGST
BILLY (O.C.)
Forget it, Scarecrow. . . the best thing you can do is to stay away.
LEE
Damn it. Billy. . . he's a terrorist with nothing to lose and he's got Amanda, and he took her to get to me. Don't you see that?
BILLY
I know which one of my agents is in trouble. . . I always know. Does she know about Night Crawler?
LEE
Yes. She knows Night Crawler is my source, and that's all. Birol won't believe her.
BILLY
(reads from note)
'Night Crawler for the woman.' Stay out of it, Lee, because if he gets to you, he'll use Amanda to break you, and we lose the best source we've got.
(softer)
Could you watch Amanda suffer? Lee shakes his head no.
QUIDD
How'd he pick her out, Scarecrow?
LEE
Random, or he figured the CSN crew for a front or he figured out something else. I don't know. If I knew I would have stopped him.
QUIDD
So he duped all his lieutenants about the interview.
LEE
And he outsmarted me and he bagged Amanda all by himself, and now he's got us by the back pockets because we don't have a clue. I do this for a living, doc.
BILLY
Then act like a professional. Let Yusef and A-TAC get her. We can't even let her family know until Birol makes this public. You go charging after him, he'll simply. . . eliminate the need! You know what I mean?
(beat)
Why don't you bunk down in Tac Center out of harm's way.
QUIDD
I'll make it a medical order. Scarecrow. . . put you out for a few days. It'll be best. . .
LEE
(motions a warning)
Don't you try me. . .
QUIDD
Easy. . . think it over. Your first loyalty is to your source. Nightcrawler has been at considerable risk for us. You owe it. . .
LEE
I know exactly what I owe, Doc, and if I have to I'll pay it back in my own blood.
RETURN TO PRESENT DAY
LEE
I should have killed Birol when I had the chance. Then he would have never been able to hurt you or our family. I'm sorry, Amanda. I failed you.
DR. SCARDELLI ENTERS.
SCARDELLI
Mr. Stetson. We meet again. Dr. Scardelli. I'm in charge of your wife's care.
LEE
(Nodding.)
How is she?
SCARDELLI
She's in serious but stable condition. She has a concussion, and for the most part her cuts, scrapes and burns are superficial. She'll probably be in a lot of pain when she wakes up, but we'll help her manage the pain. She's in a coma. That's normal. It's the body's way of dealing with trauma and stress.
(beat)
I understand your daughter's missing.
Lee nods.
SCARDELLI (continued)
I'm sorry to hear. Your wife's doing fine—all we can do now is wait.
Lee shakes his hand.
LEE
Thanks, Doc.
The doctor leaves and Phillip enters the room. Phillip is livid.
PHILLIP
(through clenched teeth)
What the hell are you doing here, Lee? Haven't you done enough to this family? Jenny's missing and Mom was almost killed.
Jamie enters.
PHILLIP
(Continuing; noticing Jamie)
You know, bro—you were right about not trusting Lee. I wish I had listened to you.
JAMIE
Phillip. . .
PHILLIP
(to Lee)
Except for Jenny you've given my mom nothing but heartache. THIS IS ALL YOUR FAULT, LEE!
Nurse enters.
NURSE
Keep it down or I'm going to have to ask you all to leave. Mrs.Stetson needs her rest.
Phillip cringes when she refers to his mom as Mrs. Stetson.
LEE
I'll leave.
Lee, who has been silent during Phillip's verbal assault, slowly heads out the door.
PHILLIP
Mom needs her family now, not a part-time husband. Why don't you do us all a favor and sign the divorce papers and leave our family alone. We were happy before you entered our lives.
Lee looks back once more at her. Then closes the door.
JAMIE
Go to hell, Phillip!
EXT. BOTANICAL GARDENS WASHINGTON D.C. – DAY
Standing in the gardens Lee looks at his watch. MAGDA PETRAK comes up behind Lee. She is wearing a burka hiding her face. Lee does not turn around. He knows she's there.
LEE
Thanks Magda, for meeting me.
MAGDA
You don't need to thank me. Mara and I are still grateful for helping us and our mother defect.
LEE
You took a big chance being out here in public. Are you safe?
MAGDA
We're safe for now.
LEE
I don't want you to take any unnecessary risks.
MAGDA
We have a debt to you and Amanda, but we are not sure what we can do with a price on our heads.
Lee nods.
LEE
What can you tell me?
MAGDA
Birol's hatred for you is what's driving him, but I don't even know if you'll be able to stop him this time, Lee. He's more powerful than ever.
LEE
I have to try. He's has my daughter.
Magda nods her head, understanding.
MAGDA
He's...
GUN FIRE rings out and Magda is hit. Lee catches her before she falls.
LEE
Magda. . . where his hideout. . . where is he holding Jenny?
MAGDA
Nightcrawler.
LEE
Night Crawler? Does this have to do with Mara?
MAGDA
No. . . night-craw-lers. . .
She dies in Lee's arms.
EXT. RUN DOWN CABIN - VIRGINIA COUNTRYSIDE - DAY
INT. RUN DOWN CABIN - VIRGINIA COUNTRY- JENNY'S CELL – DAY
Jenny is sleeping on a cot. She's having a dream. Jenny's P.O.V.
FLASHBACK SCENE - BLACK AND WHITE SILHOUETTE - WIZARD OF OZ
Jenny is about 5-years old. She knocks on her mom and dad's bedroom door, entering before she hears an answer, she climbs into bed between her mom and dad. It's dark, so we do not see faces.
LEE
What's the matter, Jenny Bear?
JENNY
(through sobs)
I had a dream about the flying monkeys. I dreamed they carried me away and I was lost. I couldn't find my way back to you and Mom. They pulled apart the Scarecrow, so he couldn't save me and bring me back home.
AMANDA
It's okay, Munchkin. It was only a dream.
JENNY
I'm scared.
LEE
Honey, there's no reason to be scared. Think about the movie. What happens to the Scarecrow next?
(beat)
His friends were able to work collectively, and were able to put him back together, and rescue Dorothy. By working together, they could accomplish anything.
(another beat)
I also have it on good authority that the Scarecrow isn't going anywhere. Okay?
JENNY
Okay, Daddy.
LEE (O.C.)
Don't worry Jenny. The Scarecrow will always protect you.
RETURN TO PRESENT TIME
Jenny sits up with some difficulty as her hands are still tied.
JENNY
Dad, is that you? Please take me home.
LEE (V.O.)
Not yet. . . .but I will.
JENNY
Dad, don't leave.
Her eyes open and she sees Addi Birol sitting in a chair next to her cot. Watching her.
BIROL
He's not going to answer you.
(beat)
Dear old Dad...isn't here.
(another beat)
But don't worry—it will all be over soon. Very soon.
Birol touches her on the cheek. She flinches.
BIROL (continued)
I must be going now. It's time to rip out some straw from the Scarecrow.
INT. AMANDA'S HOSPITAL ROOM - DAY
Dotty is sitting in a chair beside Amanda's bed. Dotty is reading a book. Amanda begins to stir.
AMANDA
Mmmmm. Lee?
DOTTY
Amanda, it's Mother. I'm here for you.
AMANDA
Mother? What happened?
DOTTY
I'll tell you everything, but first let me find the doctor for you. Dotty opens the hospital room door.
DOTTY
She's waking up.
Dr. Allen enters.
DR. ALLEN
Hello, Mrs. Stetson. My name's Doctor Allen. How are you feeling?
AMANDA
Like I was run over by a Mack truck.
DR. ALLEN
I'll prescribe something for the pain.
He writes down something in her chart.
DR. ALLEN (continued)
You have some second-degree burns on your arms and a little bump on your head, but we'll take good care of you.
He squeezes her arm. Dr. Allen exits.
QUICK DISSOLVE TO
INT. AMANDA'S HOSPITAL ROOM - AN HOUR LATER – DAY
Dotty, Jamie, and Phillip are at Amanda's bedside. Dotty is holding Amanda's hand. Noticeably absent is Lee.
DOTTY
It's okay, Amanda.
AMANDA
Mother, I'm so glad you and the boys are here. Is there any word on Jenny? And where's Lee?
JAMIE
Lee was here, but Dufus ran him off.
(beat)
A-TAC and the Agency have agents looking for Jenny.
(another beat)
I'll call the Agency and see if they have heard anything new.
Jamie exits.
PHILLIP
Mom, I'm glad to see you're awake.
(beat)
I guess I better call everyone and let them know you're going to be okay.
Amanda nods. Phillip exits.
AMANDA
Okay, Mother. What happened? I can handle the truth.
DOTTY
The truth—the truth, Amanda—your house was blown to bits and pieces. You're lucky you weren't blown to smithereens also.
AMANDA
My house?
DOTTY
I'm sorry, but the house is a total loss.
(beat)
The news organizations are reporting it as a gas explosion, but the Agency believes it was a bomb.
(another beat; displeased)
So the lies continue.
Amanda is at a loss for words.
AMANDA
Oh, Mother, what am I going to do?
DOTTY
(softening; she hugs her)
There—there, Dear. Is there anything I can do for you, Baby?
AMANDA
(almost a whimper)
I want Jenny. . . and Lee.
INT. GALILEE HOSPITAL CAFETERIA - DAY
Lee is sitting at a table drinking a cup of coffee. Dotty enters the cafeteria she sees Lee. She walks over to him and sits down at the same table.
LEE
Dotty. Can I buy you a cup of coffee?
DOTTY
Yes, thanks, Lee.
Lee gets up, buys Dotty coffee from the vending machine and brings it back to her.
DOTTY
Lee, I'm looking for answers. Promise me you will tell me the truth.
LEE
(hesitating, but then relents)
Okay.
DOTTY
Is there any word on Jenny?
LEE
No. I know the Agency and police are exhausting all resources looking for her.
DOTTY
Who's got my granddaughter? And don't give me any of your canned Agency response.
LEE
Dotty, I don't work for the Agency anymore.
(beat)
But I believe you have a need. . . no, a right to know—it's Addi Birol.
DOTTY
THE TERRORIST! Lee, why does he have Jenny?
LEE
He took Jenny to get to Amanda and me. Twenty-years ago, we were responsible for breaking up his terrorist organization and putting him behind bars.
DOTTY
Oh, my God!
(beat)
Lee, honestly, do you think my granddaughter is still alive?
LEE
Right now, yes. I believe as long as he continues to use her as a pawn, he'll keep her alive.
Dotty pats him on his knee.
DOTTY
I better go check on Amanda. Thanks, Lee, for being honest. Please, bring my granddaughter home, and stay safe.
Lee nods.
CLOSE ON LEE
CUT TO
INT. RUN DOWN CABIN - VIRGINIA COUNTRY- JENNY'S CELL – DAY
Jenny is sleeping on a cot. She is having a dream.
JENNY'S P.O.V.
FLASHBACK SCENE - BLACK AND WHITE SILHOUETTE - WIZARD OF OZ
Amanda's reading to Jenny. Jenny's about 10-years old. Amanda's sitting in a rocking chair; we only see the back of her head. Jenny's lying down in her bed. Amanda's reading 'The Wizard of Oz' to her.
AMANDA
'Aunt Em had just come out of the house to water the cabbages when she looked up and saw Dorothy running toward her. 'My darling child!' she cried, folding the girl in her arms and covering her face with kisses. 'Where in the world did you come from?' 'From the Land of Oz,' said Dorothy gravely. 'And here is Toto, too. And Oh, Aunt Em! I'm so glad to be home again.'
(closing the book)
The end.
JENNY
(brief pause)
Mom, that's not fair.
AMANDA
What's not fair, Sweetheart?
She kisses her forehead.
JENNY
If Dorothy had the power to go home the first day she was in Oz, why didn't Glinda tell her?
AMANDA
Good question, Jenny. You're right, she could have—but then it would have been a very short book.
JENNY
I guess—and then she wouldn't have met her friends and gone on all those adventures with the Scarecrow, Tin Man, or the Cowardly Lion.
AMANDA
True, and what did Dorothy learn?
JENNY
(thinking about it)
Dorothy needed to be ready before she could go home. It was only after she learned from her experiences in Oz that Glinda tells her she had the power all the time. . .
AMANDA
. . . right at her feet.
JENNY
But Dorothy had to discover that all by herself.
AMANDA
Yes, and it was only after facing adversity was she finally able to return.
JENNY
What's add-veer-city?
AMANDA
Adversity. Facing our fears.
Jenny nods in understanding.
AMANDA (continued)
What's the theme of the story?
JENNY
Our heart's desire is found within ourselves.
She points to her chest.
AMANDA
That's my smart girl.
Amanda tucks her little girl in.
RETURN TO PRESENT TIME
JENNY
(waking up)
I'm ready to go home.
EXT. D.C. AUTO REPAIR SHOP – DAY
INT. D.C. AUTO REPAIR SHOP – DAY
Auto repair shop. Cars are in the bay. Toolboxes and tools litter the shop. Phillip's in coveralls. He's working on a car standing over the hood. Jamie enters.
JAMIE
Phillip, are you crazy, calling off the Agency watchdogs?
PHILLIP
Listen, little brother, I don't need a babysitter. I'm not ten anymore.
JAMIE
They're protecting you and your family. Look what happened to Mom and Jenny. How would you feel if something happened to Michelle or the twins?
Phillip shakes his head.
PHILLIP
Lee put you up to this. Didn't he? I can take care of myself and my family.
JAMIE
Do you realize Mom could've died?
PHILLIP
Yeah—and it would have been all Lee's fault. He recruited her. She was a housewife, a mother, someone who was always home for us. 'Mr. American Spy' comes along and seduced her, lied to us and betrayed our trust.
JAMIE
Get over it, Phillip!
PHILLIP
Just look at you—couldn't stay away from the 'family business', could you?
JAMIE
Yes, because just like Mom and Lee, I thought I could make a difference.
PHILLIP
Lee. . . Lee. . . Lee. I'm so sick and tired of hearing about Lee. Since when did you jump onto the Lee Stetson bandwagon?
JAMIE
Lee's a great guy. And you're one to talk—you used to be president of the Lee Stetson fan club.
A panel van pulls in front of the bay door, honking it's HORN.
Phillip walks over to the van, but speaks to Jamie first.
PHILLIP
Jamie, I think you should just leave.
Jamie starts to leave the repair shop and is grabbed by one of Birol's lieutenants. She puts a cloth over his face and Jamie passes out. Phillip grabs a wrench and runs toward Jamie's abductor. A second man pulls a gun on Phillip and motions for him to follow them out of the garage. As Phillip's leaving he notices the agent assigned to Jamie slumped over the steering wheel, dead. Both Jamie and Phillip are put into the panel van. The van pulls away. . .
And, WE. . .
END OF ACT III
ACT IV
EXT. GALILEE HOSPITAL - DAY
NT. AMANDA'S HOSPITAL ROOM - SAME DAY – DAY
Amanda's sitting on the edge of the hospital bed. She's dressed in street clothes waiting to be released. Neither she nor Lee know that Phillip and Jamie have been kidnapped. Lee knocks on the door and enters her room. There's a guard still posted outside Amanda's room.
LEE
Amanda, can I come in?
She motions for him to come in. He stands at the side of her bed.
LEE
(nervous)
How are you feeling? You look better then when they brought you in.
AMANDA
I'm okay. I'm waiting for Mother to come around with the car.
(beat)
What do you want, Lee?
LEE
Amanda—I just want to say I'm sorry for everything. I'm sorry for what I said to you the other night. And Phillip was right; I should have never gotten you involved.
AMANDA
We've been through all this before, Lee. I chose to be involved--
(beat)
. . . and if I had never taken that package, I would have never met my husband, partner or my best friend.
LEE
A-man-da. . .
AMANDA
Listen, Lee. We need to work this out or it's going to keep tearing us apart.
LEE
I don't want to lose you. What do I have to do to prove it?
Amanda takes his hand.
AMANDA
Talk to me. We used to be able to talk to each other.
(beat)
Maybe, you could start by telling me what you are feeling.
LEE
You know expressing my feelings was never easy for me. By not feeling, I could avoid the pain. My parents, Dorothy, Eva, Billy—even you.
(beat)
I almost lost you, not to Birol, or by a gunman in California, but by my own stubbornness.
AMANDA
You haven't lost me. I'm still here and I'm not going anywhere.
Lee sits on the edge of Amanda's hospital bed.
LEE
Can you forgive me?
AMANDA
I forgave you a long time ago.
LEE
I still love you, you know?
AMANDA
And I love you.
They kiss.
Francine walks in. She rolls her eyes.
LEE
(shaking his head)
Some things never change.
AUGIE SWANN then enters the hospital room.
AUGIE
Lee?
LEE
Augie?
AUGIE
Lee, my man. I was out checking up on my repair shops this afternoon. My last stop being the one on 15th. You know, I bought those shops when I won the Mega Cash Lotto, which was a good thing since both the mud wrestling and limo business went belly-up.
(beat)
Hey, Ms. Desmond, you're looking good. Could I interest you in an espresso? I got some two for one coupons.
FRANCINE
Not in this lifetime.
LEE
Oh Augie—is there a point?
AUGIE
Hey, what can I say, Ms. Desmond's hot.
FRANCINE
Don't mess with me. I'm armed.
LEE
Augie, if you don't get to the point soon, I'll shoot you myself.
AUGIE
All right. Sheesh, Lee. Anyway, I was driving up to shop on 15th when I saw Mrs. Stetson's two sons getting into a van. It looked like Phillip was drunk.
AMANDA
Why do you say that?
AUGIE
He was staggering—and two guys were holding him up. Now, I run a respectable business, I will not tolerate drunkenness. But since, he's your son—I'll let to slide. This once.
Lee and Amanda exchange glances.
AMANDA
That doesn't sound like Phillip.
AUGIE
Maybe he fell off the wagon—it happens to the best of us. . .
LEE
Augie. . . is there a reason you came here to tell us this.
AUGIE
Oh yeah—I almost forgot. I found this note in the shop—it was addressed to you and Mrs. Stetson.
Augie hands Lee the note. Lee reads it. His face goes pale.
AMANDA
Lee, what does the note say?
LEE
Karbala.
AMANDA
(shakes her head)
No! He's got them, too.
Lee throws Augie against the wall.
LEE
Augie? What do know about this?
AUGIE
Nothing, Lee. Just what I told you.
LEE
You better be telling me the truth—or help me...
(beat; frustrated)
Francine—what the hell? I thought they were under Agency protection.
FRANCINE
I don't know what could have happened. They both had babysitters. I will get to the bottom of this.
LEE
Francine, no excuses—we deserve answers.
(dejected)
Damn it! I always knew this day would come.
As Francine exits the room, Dotty enters. Noticing the concern on everyone's faces.
DOTTY
What's going on, Lee?
LEE
Birol has the boys, too.
DOTTY
Oh, dear God, no.
(venomous)
What do you plan on doing about this, Mr. Stetson?
LEE
Dotty, please. . .
DOTTY
Don't you Dotty me. . .
AMANDA
Mother. Lee. Now is not the time to lash out in anger.
DOTTY
You're right, Dear. I'm sorry, Lee.
LEE
(nods)
I'm sorry, too.
(To Augie)
Augie, what can you tell me about this van? Color, model, plate number? Anything?
AUGIE
No, sorry man, I did not see the number, but they were Virginia plates, and it was an older white panel van.
LEE
Virginia? Are you sure?
AUGIE
Yes-oh, and the van had a design of some kind, maybe a snake or a dirty river—I don't know.
Lee has a confused look on his face.
Francine comes back into the room.
FRANCINE
Confirmed. Agent Thompson, who was watching Jamie, was found dead in his car in front of the repair shop where Phillip works.
AMANDA
Mother, go back to the hotel. I'm going to go with Lee.
LEE
Amanda, what are you doing?
AMANDA
I'm going with you.
LEE
No.
AMANDA
Yes.
LEE
No.
AMANDA
Yes.
LEE
No, Amanda. It's too dangerous. He's already tried to kill you and he killed Magda this morning. I don't know what I would do if something happened to you or the boys or Jenny.
AMANDA
Lee, you can't always protect me.
(beat)
And I—I plan on getting my children back.
LEE
How?
AMANDA
We stopped him once before, we'll do it again. But only if we do this together—once upon a time, we made a great team.
LEE
The best.
They kiss.
FRANCINE
Enough, you two. Don't you ever stop?
LEE
Zip it, Francine.
AMANDA
(getting back on track)
What do we know so far?
LEE
Not much to go on. We have an older white panel van with Virginia plates and a strange design on the side.
(beat)
Oh, and Magda's last words to me.
AMANDA
Which was?
LEE
She said 'Night Crawler.'
AMANDA
Night Crawler? What does Mara have to do with this?
LEE
Nothing. I asked Magda if she meant Mara and she said no.
AMANDA
Night crawler? Snake design?
(realizing)
Oh, Augie. I could hug you.
She hugs Augie.
AUGIE
Ahhhh-Amanda-Mrs. King—uhhh Stetson. Ummmm. He's still packing a piece.
AMANDA
It's okay, Augie. He's harmless.
(turning to Lee)
Lee, she meant nightcrawlers.
LEE
Amanda, where are you going with this?
AMANDA
Earthworms, Lee.
LEE
Huh?
AMANDA
Nightcrawlers are earthworms used for fish bait. The design on the van was probably an earthworm. The van most likely was a work van for pickers. Nightcrawlers are harvested in certain locations in North America including. . .
IN UNISON
Virginia.
LEE
Francine, I need to cash in some favors. We need to go to the Agency and pick up some supplies.
(beat)
Come on, Amanda, lets get our children, and bring them back home.
Lee takes Amanda's hand. They all head out the door.
CUT TO
EXT. RUN DOWN CABIN - VIRGINIA COUNTRYSIDE – DAY
INT. RUN DOWN CABIN - VIRGINIA COUNTRY- JENNY'S CELL – DAY
The door to Jenny's cell opens. Jamie and Phillip are pushed into the room. Jamie runs to Jenny and unties her. She hugs Jamie, and then Phillip.
PHILLIP
Are you okay?
JENNY
Yes. I'm just a little scared.
JAMIE
Did he hurt you?
JENNY
He roughed me up some. . .
JAMIE
He didn't—he didn't touch—you know. . .
Jenny shakes her head.
JENNY
No.
PHILLIP
Thank God.
Jenny starts crying. She sits down on the cot.
JAMIE
It's all right, Jenny. We'll make it out of here. Do you hear me?
JENNY
He killed Mom. He told me he's going to kill the rest of us in front of Dad.
PHILLIP
(realizing)
Mom? Mom's alive. She was hurt. . . but she's alive.
JENNY
She is?
Jamie sits down beside her.
JAMIE
Yes.
JENNY
What about Dad?
JAMIE
Lee's okay. He's worried. He's worried about you and Mom.
Birol enters slamming the door.
Jenny jumps. Phillip makes a run for him. Birol points a gun at Jenny and Jamie.
BIROL
If you value the life of your brother and sister, stay where you are, Mr. King.
Phillip stops. He looks at Birol, full of hatred.
BIROL
So, Mrs. King lives. Doesn't matter. After today all the Stetsons and Kings will be dead.
Phillip lunges again at Birol. Birol hits him in the head with the butt of the gun. Phillip falls to the floor.
BIROL (continued)
Now, if you'll excuse me I have some final preparations to make before your mother and father arrive.
He exits, laughing.
Jamie rushes to Phillip, helping him up.
JAMIE
That was really stupid.
PHILLIP
(thinking)
Lee's worst nightmare has come true.
JAMIE
What?
PHILLIP
Do you remember when Lee and Mom came clean about their marriage and their jobs? Lee admitted he was worried because he had made a lot of enemies over the years and was concerned they would use Mom, Grandma, or us to get to him.
JAMIE
Yes.
PHILLIP
That's why they kept their marriage secret: to protect us. He's always loved us and I—I was a complete ass to him.
JAMIE
You're right. You have been, Dork Breath.
They both laugh. Jenny starts to cry again. Jamie holds her. Phillip walks over to her kneeling down on the floor beside her.
PHILLIP
It's alright, Jenny. Lee will figure a way to get us out of this. He always does.
CUT TO
EXT. AGENCY - ROOFTOP HELIPAD - EARLY EVENING
Francine and EFRAIM BEAMAN duck under the blades to enter the Agency helicopter. Lee and Amanda do the same, closing the door. Everyone puts on their headsets. DAN PETERS, the pilot, does a final system check. Amanda and Francine are on a laptop doing research. They are all dressed in commando gear. Outside, it is lightly raining.
ON HELICOPTER - INSIDE SHOT
AMANDA
We found a match to the logo design that Augie described on the van. The van's registered to Appalachian Mountain Farms.
FRANCINE
The farm is located in the Blue Ridge Highlands, Dan. Let's roll.
ON HELICOPTER - OUTSIDE SHOT
The helicopter flies off.
ON HELICOPTER - INSIDE SHOT
Lee, Amanda, Francine and Beaman are checking and double-checking equipment: walkie-talkies, service revolvers and clips, etc. Lee and Beaman are looking over maps.
BEAMAN
According to the GPS, the farm is about a mile away in the northeast direction.
FRANCINE
Dan, drop us off in the cover of those trees.
DAN
Yes, Ma'am.
LEE
Okay, guys, we're hoofing it from here out.
ON HELICOPTER - OUTSIDE SHOT
The helicopter hovers just above the ground, low enough for everyone to get out. Lee helps Amanda out and Beaman helps Francine. The helicopter then flies off.
EXT. VIRGINIA COUNTRYSIDE - FIELD – NIGHT
They all run to the edge of the property. Looking across the field at the run-down cabin. They synchronize watches and do a final equipment check. Amanda opens her backpack and hands Lee some black and orange gas grenades.
AMANDA
(to Lee)
Reformulated ZAP Gas. G-Z-P 3.
LEE
Leatherneck supplied us with these bionic ears. The range with the booster is good up for up to one mile. Beaman, you stay out here and talk us in. Francine, you go around back. Amanda and I will go through the front. Be on the lookout for his soldiers.
Francine breaks open a vial and gives Lee a shot and does the same for Amanda. She breaks open another vial, which Amanda takes and injects into Francine.
FRANCINE
Okay, we've been neutralized for ten minutes.
They all run in a crouched position until they get to the edge of the house, using the house as cover. Lee motions to Francine to go around back.
LEE
(talking into his walkie-talkie)
Okay, Beaman, tell us what you see?
BEAMAN
The laser scan shows three people in the bedroom closest to the door, and one person in the front room. I'm also picking up voices. . . but can't tell how many.
Lee takes the butt of his gun to break open a window. Then he throws in a couple of the ZAP gas grenades.
INSIDE HOUSE
The room fills with smoke.
ON LEE
Lee breaks down the front door.
PAN AMANDA AND LEE AS THEY RUN INSIDE, GUNS DRAWN.
INT. RUN DOWN CABIN - VIRGINIA COUNTRY- JENNY'S CELL – NIGHT
They spot Phillip, Jamie and Jenny in the one room. In the hallway is a man face down. Lee kicks the man's gun away.
AMANDA
Phillip, Jamie, Jenny. Thank God, you're alright.
JENNY
Mom, Dad—I'm so glad to see you, but I don't feel so good.
JAMIE
It's ZAP gas, isn't it?
LEE
Yes, it is. We're going to help you lie down, so you'll be more comfortable. You won't be able to move for a few minutes, but it will soon pass.
Lee and Amanda help Phillip, Jamie and Jenny down on the cots. Lee goes out to check on the man in the hallway.
LEE
Okay, Birol, my business with you just started.
He turns the man over; realizing it's not Birol.
LEE
Damn, it's not him.
Amanda is stoking Jenny's hair.
AMANDA
What?
Lee grabs the man by his shirt collar, and picks him up.
LEE
Where's your boss? Where's Birol?
The man spits in Lee's face. Lee turns him over and handcuffs the man. Francine rushes in.
LEE
Please tell me you have him, Francine.
FRANCINE
What do you mean—don't you have him?
LEE
Where the hell have you been?
FRANCINE
Geez—Scarecrow, I thought I would stop at the salon and get my nails done, before I came in to help you. What do you think—I had to take out two of Birol soldiers before I could come through the back door.
LEE
Damn, where the hell is Birol?
(talking into his walkie-talkie)
Beaman, do you see or hear anyone else? Beaman?
(beat; no answer)
We've lost Beaman, too.
FRANCINE
(on the radio; trying to contact him herself)
Beaman? Efraim, answer me.
Still no answer.
FRANCINE (continued)
I'm going to check on Beaman. I'll meet you two at the rendezvous point.
LEE
Francine, good luck.
FRANCINE
I'll see you two on the flip side.
Francine exits.
AMANDA
Lee, we need to get the boys and Jenny out of here.
PHILLIP
No, wait mom. I need to say something to Lee.
(beat)
Lee, I am so sorry about what I said to you at the hospital. I don't regret that you came into our lives.
LEE
Phillip, it's okay, Son.
(beat)
I just want you to know that I always thought of you and Jamie as my sons and I'm sorry for ever hurting you guys. I love both of you, but right now we need to get out of here, before Birol comes back.
Amanda helps Jamie and Phillip up and they head toward the door. Lee picks up Jenny and carries her. They are startled when the door slams shut.
Addi Birol enters; gun drawn on them.
BIROL
How touching.
Amanda and Jenny gasp.
LEE
This is between you and me, Birol. Let them go!
Lee puts Jenny down.
BIROL
No. This is between all of us. It would be too easy to just kill you.
(beat)
I still know you so well—-you brought a few more people this time, but still you didn't come in here with an army. Now, Mrs. King and Scarecrow, if you would please drop your weapons and kick them over here.
Lee and Amanda drop their guns and kick them out of the way. Birol, while still keeping an eye on them, picks the guns up.
BIROL (continued)
With you two out of the way, I'll have no problems rebuilding Karbala right here on American soil.
(beat)
As God wills it, who should I kill first?
He points the gun at Phillip, Jamie, Amanda, and then Jenny.
LEE
You bastard! Pull that trigger and I swear you'll always have to look over your back, because I'll hunt you down, like the dog you are.
BIROL
(smiling)
Maybe I should have some fun with your daughter first.
He grabs her arm.
AMANDA
NOOOO!
Jenny squirms free of Birol's grip and stomps on his foot. Phillip rushes up to Birol, shoving him. Birol throws Phillip against the wall. The moment Birol is distracted, Lee vaults, grabbing the gun on the floor. Lee spins around, shooting Birol, but not before Birol gets off a round striking Lee. Lee falls backwards. Birol drops to the floor.
AMANDA
LEEEEEE!
JENNY
Daddy! Are you okay?
Amanda and Jenny rush to his side.
LEE
Jenny Bear, I'm okay. . . I think?
(beat)
Okay, maybe not.
Lee tries to get up. Amanda and Jenny help him up off the floor, laying him on one of the cots. Beaman runs in, gun drawn. Jamie is kneeling down by Birol, checking for a pulse. Phillip finds a towel and places it on Lee's wound.
JAMIE
He's dead.
LEE
Beaman. Glad to see you finally decided to join the party. Where the hell were you?
BEAMAN
Sorry. Francine and I were busy rounding up Birol's lieutenants. Agency backup has arrived.
(beat)
I'll call for an ambulance, Stetson.
LEE
No, no ambulance. I hate hospitals. I hate doctors.
(beat; in pain)
Never mind. Go call an ambulance.
Beaman exits.
LEE
Damn, I don't remember it hurting this much when I was younger. Getting old sucks.
Amanda shakes her head and hugs him. Lee whimpers and we. . . FREEZE FRAME
END OF ACT IV
TAG
EXT. PENTAGON MEMORIAL - ARLINGTON NATIONAL CEMETERY – DAY
Lee is standing looking at the Pentagon Memorial, Arlington National Cemetery. He is reading the names on the memorial. His arm is in a cast. Amanda comes up behind him, putting her hands on his shoulder.
AMANDA
I thought I'd find you here.
LEE
I needed to be here today.
(beat)
Just like my parents—it was easier to stay away then face the pain of losing him all over again.
(another beat)
I really do miss him.
AMANDA
I know, Sweetheart. He was a good friend and mentor, and I miss him, too.
(beat)
Do you want to be alone?
LEE
No, I never want to be alone again.
Amanda smiles shyly.
AMANDA
I'm so glad you agreed to take the president's offer and head A-TAC. I don't think they could have found a better man for the job.
LEE
Thanks, Amanda. The position I offered you is still open.
He takes her hands into his.
LEE
I want you by my side again, and this time I don't plan on letting the world get in our way. I plan on spending the rest of my life with you
(another beat)
—for all the days of our lives.
AMANDA
I love you, Lee. I'm glad you finally decided to come back.
LEE
Like Dorothy—I had to figure it out on my own.
He pulls her close to him.
AMANDA
Welcome home, Scarecrow.
FREEZE FRAME
FADE OUT:
THE END
EXT. GALILEE HOSPITAL - DAY
NT. AMANDA'S HOSPITAL ROOM - SAME DAY – DAY
Amanda's sitting on the edge of the hospital bed. She's dressed in street clothes waiting to be released. Neither she nor Lee know that Phillip and Jamie have been kidnapped. Lee knocks on the door and enters her room. There's a guard still posted outside Amanda's room.
LEE
Amanda, can I come in?
She motions for him to come in. He stands at the side of her bed.
LEE
(nervous)
How are you feeling? You look better then when they brought you in.
AMANDA
I'm okay. I'm waiting for Mother to come around with the car.
(beat)
What do you want, Lee?
LEE
Amanda—I just want to say I'm sorry for everything. I'm sorry for what I said to you the other night. And Phillip was right; I should have never gotten you involved.
AMANDA
We've been through all this before, Lee. I chose to be involved--
(beat)
. . . and if I had never taken that package, I would have never met my husband, partner or my best friend.
LEE
A-man-da. . .
AMANDA
Listen, Lee. We need to work this out or it's going to keep tearing us apart.
LEE
I don't want to lose you. What do I have to do to prove it?
Amanda takes his hand.
AMANDA
Talk to me. We used to be able to talk to each other.
(beat)
Maybe, you could start by telling me what you are feeling.
LEE
You know expressing my feelings was never easy for me. By not feeling, I could avoid the pain. My parents, Dorothy, Eva, Billy—even you.
(beat)
I almost lost you, not to Birol, or by a gunman in California, but by my own stubbornness.
AMANDA
You haven't lost me. I'm still here and I'm not going anywhere.
Lee sits on the edge of Amanda's hospital bed.
LEE
Can you forgive me?
AMANDA
I forgave you a long time ago.
LEE
I still love you, you know?
AMANDA
And I love you.
They kiss.
Francine walks in. She rolls her eyes.
LEE
(shaking his head)
Some things never change.
AUGIE SWANN then enters the hospital room.
AUGIE
Lee?
LEE
Augie?
AUGIE
Lee, my man. I was out checking up on my repair shops this afternoon. My last stop being the one on 15th. You know, I bought those shops when I won the Mega Cash Lotto, which was a good thing since both the mud wrestling and limo business went belly-up.
(beat)
Hey, Ms. Desmond, you're looking good. Could I interest you in an espresso? I got some two for one coupons.
FRANCINE
Not in this lifetime.
LEE
Oh Augie—is there a point?
AUGIE
Hey, what can I say, Ms. Desmond's hot.
FRANCINE
Don't mess with me. I'm armed.
LEE
Augie, if you don't get to the point soon, I'll shoot you myself.
AUGIE
All right. Sheesh, Lee. Anyway, I was driving up to shop on 15th when I saw Mrs. Stetson's two sons getting into a van. It looked like Phillip was drunk.
AMANDA
Why do you say that?
AUGIE
He was staggering—and two guys were holding him up. Now, I run a respectable business, I will not tolerate drunkenness. But since, he's your son—I'll let to slide. This once.
Lee and Amanda exchange glances.
AMANDA
That doesn't sound like Phillip.
AUGIE
Maybe he fell off the wagon—it happens to the best of us. . .
LEE
Augie. . . is there a reason you came here to tell us this.
AUGIE
Oh yeah—I almost forgot. I found this note in the shop—it was addressed to you and Mrs. Stetson.
Augie hands Lee the note. Lee reads it. His face goes pale.
AMANDA
Lee, what does the note say?
LEE
Karbala.
AMANDA
(shakes her head)
No! He's got them, too.
Lee throws Augie against the wall.
LEE
Augie? What do know about this?
AUGIE
Nothing, Lee. Just what I told you.
LEE
You better be telling me the truth—or help me...
(beat; frustrated)
Francine—what the hell? I thought they were under Agency protection.
FRANCINE
I don't know what could have happened. They both had babysitters. I will get to the bottom of this.
LEE
Francine, no excuses—we deserve answers.
(dejected)
Damn it! I always knew this day would come.
As Francine exits the room, Dotty enters. Noticing the concern on everyone's faces.
DOTTY
What's going on, Lee?
LEE
Birol has the boys, too.
DOTTY
Oh, dear God, no.
(venomous)
What do you plan on doing about this, Mr. Stetson?
LEE
Dotty, please. . .
DOTTY
Don't you Dotty me. . .
AMANDA
Mother. Lee. Now is not the time to lash out in anger.
DOTTY
You're right, Dear. I'm sorry, Lee.
LEE
(nods)
I'm sorry, too.
(To Augie)
Augie, what can you tell me about this van? Color, model, plate number? Anything?
AUGIE
No, sorry man, I did not see the number, but they were Virginia plates, and it was an older white panel van.
LEE
Virginia? Are you sure?
AUGIE
Yes-oh, and the van had a design of some kind, maybe a snake or a dirty river—I don't know.
Lee has a confused look on his face.
Francine comes back into the room.
FRANCINE
Confirmed. Agent Thompson, who was watching Jamie, was found dead in his car in front of the repair shop where Phillip works.
AMANDA
Mother, go back to the hotel. I'm going to go with Lee.
LEE
Amanda, what are you doing?
AMANDA
I'm going with you.
LEE
No.
AMANDA
Yes.
LEE
No.
AMANDA
Yes.
LEE
No, Amanda. It's too dangerous. He's already tried to kill you and he killed Magda this morning. I don't know what I would do if something happened to you or the boys or Jenny.
AMANDA
Lee, you can't always protect me.
(beat)
And I—I plan on getting my children back.
LEE
How?
AMANDA
We stopped him once before, we'll do it again. But only if we do this together—once upon a time, we made a great team.
LEE
The best.
They kiss.
FRANCINE
Enough, you two. Don't you ever stop?
LEE
Zip it, Francine.
AMANDA
(getting back on track)
What do we know so far?
LEE
Not much to go on. We have an older white panel van with Virginia plates and a strange design on the side.
(beat)
Oh, and Magda's last words to me.
AMANDA
Which was?
LEE
She said 'Night Crawler.'
AMANDA
Night Crawler? What does Mara have to do with this?
LEE
Nothing. I asked Magda if she meant Mara and she said no.
AMANDA
Night crawler? Snake design?
(realizing)
Oh, Augie. I could hug you.
She hugs Augie.
AUGIE
Ahhhh-Amanda-Mrs. King—uhhh Stetson. Ummmm. He's still packing a piece.
AMANDA
It's okay, Augie. He's harmless.
(turning to Lee)
Lee, she meant nightcrawlers.
LEE
Amanda, where are you going with this?
AMANDA
Earthworms, Lee.
LEE
Huh?
AMANDA
Nightcrawlers are earthworms used for fish bait. The design on the van was probably an earthworm. The van most likely was a work van for pickers. Nightcrawlers are harvested in certain locations in North America including. . .
IN UNISON
Virginia.
LEE
Francine, I need to cash in some favors. We need to go to the Agency and pick up some supplies.
(beat)
Come on, Amanda, lets get our children, and bring them back home.
Lee takes Amanda's hand. They all head out the door.
CUT TO
EXT. RUN DOWN CABIN - VIRGINIA COUNTRYSIDE – DAY
INT. RUN DOWN CABIN - VIRGINIA COUNTRY- JENNY'S CELL – DAY
The door to Jenny's cell opens. Jamie and Phillip are pushed into the room. Jamie runs to Jenny and unties her. She hugs Jamie, and then Phillip.
PHILLIP
Are you okay?
JENNY
Yes. I'm just a little scared.
JAMIE
Did he hurt you?
JENNY
He roughed me up some. . .
JAMIE
He didn't—he didn't touch—you know. . .
Jenny shakes her head.
JENNY
No.
PHILLIP
Thank God.
Jenny starts crying. She sits down on the cot.
JAMIE
It's all right, Jenny. We'll make it out of here. Do you hear me?
JENNY
He killed Mom. He told me he's going to kill the rest of us in front of Dad.
PHILLIP
(realizing)
Mom? Mom's alive. She was hurt. . . but she's alive.
JENNY
She is?
Jamie sits down beside her.
JAMIE
Yes.
JENNY
What about Dad?
JAMIE
Lee's okay. He's worried. He's worried about you and Mom.
Birol enters slamming the door.
Jenny jumps. Phillip makes a run for him. Birol points a gun at Jenny and Jamie.
BIROL
If you value the life of your brother and sister, stay where you are, Mr. King.
Phillip stops. He looks at Birol, full of hatred.
BIROL
So, Mrs. King lives. Doesn't matter. After today all the Stetsons and Kings will be dead.
Phillip lunges again at Birol. Birol hits him in the head with the butt of the gun. Phillip falls to the floor.
BIROL (continued)
Now, if you'll excuse me I have some final preparations to make before your mother and father arrive.
He exits, laughing.
Jamie rushes to Phillip, helping him up.
JAMIE
That was really stupid.
PHILLIP
(thinking)
Lee's worst nightmare has come true.
JAMIE
What?
PHILLIP
Do you remember when Lee and Mom came clean about their marriage and their jobs? Lee admitted he was worried because he had made a lot of enemies over the years and was concerned they would use Mom, Grandma, or us to get to him.
JAMIE
Yes.
PHILLIP
That's why they kept their marriage secret: to protect us. He's always loved us and I—I was a complete ass to him.
JAMIE
You're right. You have been, Dork Breath.
They both laugh. Jenny starts to cry again. Jamie holds her. Phillip walks over to her kneeling down on the floor beside her.
PHILLIP
It's alright, Jenny. Lee will figure a way to get us out of this. He always does.
CUT TO
EXT. AGENCY - ROOFTOP HELIPAD - EARLY EVENING
Francine and EFRAIM BEAMAN duck under the blades to enter the Agency helicopter. Lee and Amanda do the same, closing the door. Everyone puts on their headsets. DAN PETERS, the pilot, does a final system check. Amanda and Francine are on a laptop doing research. They are all dressed in commando gear. Outside, it is lightly raining.
ON HELICOPTER - INSIDE SHOT
AMANDA
We found a match to the logo design that Augie described on the van. The van's registered to Appalachian Mountain Farms.
FRANCINE
The farm is located in the Blue Ridge Highlands, Dan. Let's roll.
ON HELICOPTER - OUTSIDE SHOT
The helicopter flies off.
ON HELICOPTER - INSIDE SHOT
Lee, Amanda, Francine and Beaman are checking and double-checking equipment: walkie-talkies, service revolvers and clips, etc. Lee and Beaman are looking over maps.
BEAMAN
According to the GPS, the farm is about a mile away in the northeast direction.
FRANCINE
Dan, drop us off in the cover of those trees.
DAN
Yes, Ma'am.
LEE
Okay, guys, we're hoofing it from here out.
ON HELICOPTER - OUTSIDE SHOT
The helicopter hovers just above the ground, low enough for everyone to get out. Lee helps Amanda out and Beaman helps Francine. The helicopter then flies off.
EXT. VIRGINIA COUNTRYSIDE - FIELD – NIGHT
They all run to the edge of the property. Looking across the field at the run-down cabin. They synchronize watches and do a final equipment check. Amanda opens her backpack and hands Lee some black and orange gas grenades.
AMANDA
(to Lee)
Reformulated ZAP Gas. G-Z-P 3.
LEE
Leatherneck supplied us with these bionic ears. The range with the booster is good up for up to one mile. Beaman, you stay out here and talk us in. Francine, you go around back. Amanda and I will go through the front. Be on the lookout for his soldiers.
Francine breaks open a vial and gives Lee a shot and does the same for Amanda. She breaks open another vial, which Amanda takes and injects into Francine.
FRANCINE
Okay, we've been neutralized for ten minutes.
They all run in a crouched position until they get to the edge of the house, using the house as cover. Lee motions to Francine to go around back.
LEE
(talking into his walkie-talkie)
Okay, Beaman, tell us what you see?
BEAMAN
The laser scan shows three people in the bedroom closest to the door, and one person in the front room. I'm also picking up voices. . . but can't tell how many.
Lee takes the butt of his gun to break open a window. Then he throws in a couple of the ZAP gas grenades.
INSIDE HOUSE
The room fills with smoke.
ON LEE
Lee breaks down the front door.
PAN AMANDA AND LEE AS THEY RUN INSIDE, GUNS DRAWN.
INT. RUN DOWN CABIN - VIRGINIA COUNTRY- JENNY'S CELL – NIGHT
They spot Phillip, Jamie and Jenny in the one room. In the hallway is a man face down. Lee kicks the man's gun away.
AMANDA
Phillip, Jamie, Jenny. Thank God, you're alright.
JENNY
Mom, Dad—I'm so glad to see you, but I don't feel so good.
JAMIE
It's ZAP gas, isn't it?
LEE
Yes, it is. We're going to help you lie down, so you'll be more comfortable. You won't be able to move for a few minutes, but it will soon pass.
Lee and Amanda help Phillip, Jamie and Jenny down on the cots. Lee goes out to check on the man in the hallway.
LEE
Okay, Birol, my business with you just started.
He turns the man over; realizing it's not Birol.
LEE
Damn, it's not him.
Amanda is stoking Jenny's hair.
AMANDA
What?
Lee grabs the man by his shirt collar, and picks him up.
LEE
Where's your boss? Where's Birol?
The man spits in Lee's face. Lee turns him over and handcuffs the man. Francine rushes in.
LEE
Please tell me you have him, Francine.
FRANCINE
What do you mean—don't you have him?
LEE
Where the hell have you been?
FRANCINE
Geez—Scarecrow, I thought I would stop at the salon and get my nails done, before I came in to help you. What do you think—I had to take out two of Birol soldiers before I could come through the back door.
LEE
Damn, where the hell is Birol?
(talking into his walkie-talkie)
Beaman, do you see or hear anyone else? Beaman?
(beat; no answer)
We've lost Beaman, too.
FRANCINE
(on the radio; trying to contact him herself)
Beaman? Efraim, answer me.
Still no answer.
FRANCINE (continued)
I'm going to check on Beaman. I'll meet you two at the rendezvous point.
LEE
Francine, good luck.
FRANCINE
I'll see you two on the flip side.
Francine exits.
AMANDA
Lee, we need to get the boys and Jenny out of here.
PHILLIP
No, wait mom. I need to say something to Lee.
(beat)
Lee, I am so sorry about what I said to you at the hospital. I don't regret that you came into our lives.
LEE
Phillip, it's okay, Son.
(beat)
I just want you to know that I always thought of you and Jamie as my sons and I'm sorry for ever hurting you guys. I love both of you, but right now we need to get out of here, before Birol comes back.
Amanda helps Jamie and Phillip up and they head toward the door. Lee picks up Jenny and carries her. They are startled when the door slams shut.
Addi Birol enters; gun drawn on them.
BIROL
How touching.
Amanda and Jenny gasp.
LEE
This is between you and me, Birol. Let them go!
Lee puts Jenny down.
BIROL
No. This is between all of us. It would be too easy to just kill you.
(beat)
I still know you so well—-you brought a few more people this time, but still you didn't come in here with an army. Now, Mrs. King and Scarecrow, if you would please drop your weapons and kick them over here.
Lee and Amanda drop their guns and kick them out of the way. Birol, while still keeping an eye on them, picks the guns up.
BIROL (continued)
With you two out of the way, I'll have no problems rebuilding Karbala right here on American soil.
(beat)
As God wills it, who should I kill first?
He points the gun at Phillip, Jamie, Amanda, and then Jenny.
LEE
You bastard! Pull that trigger and I swear you'll always have to look over your back, because I'll hunt you down, like the dog you are.
BIROL
(smiling)
Maybe I should have some fun with your daughter first.
He grabs her arm.
AMANDA
NOOOO!
Jenny squirms free of Birol's grip and stomps on his foot. Phillip rushes up to Birol, shoving him. Birol throws Phillip against the wall. The moment Birol is distracted, Lee vaults, grabbing the gun on the floor. Lee spins around, shooting Birol, but not before Birol gets off a round striking Lee. Lee falls backwards. Birol drops to the floor.
AMANDA
LEEEEEE!
JENNY
Daddy! Are you okay?
Amanda and Jenny rush to his side.
LEE
Jenny Bear, I'm okay. . . I think?
(beat)
Okay, maybe not.
Lee tries to get up. Amanda and Jenny help him up off the floor, laying him on one of the cots. Beaman runs in, gun drawn. Jamie is kneeling down by Birol, checking for a pulse. Phillip finds a towel and places it on Lee's wound.
JAMIE
He's dead.
LEE
Beaman. Glad to see you finally decided to join the party. Where the hell were you?
BEAMAN
Sorry. Francine and I were busy rounding up Birol's lieutenants. Agency backup has arrived.
(beat)
I'll call for an ambulance, Stetson.
LEE
No, no ambulance. I hate hospitals. I hate doctors.
(beat; in pain)
Never mind. Go call an ambulance.
Beaman exits.
LEE
Damn, I don't remember it hurting this much when I was younger. Getting old sucks.
Amanda shakes her head and hugs him. Lee whimpers and we. . . FREEZE FRAME
END OF ACT IV
TAG
EXT. PENTAGON MEMORIAL - ARLINGTON NATIONAL CEMETERY – DAY
Lee is standing looking at the Pentagon Memorial, Arlington National Cemetery. He is reading the names on the memorial. His arm is in a cast. Amanda comes up behind him, putting her hands on his shoulder.
AMANDA
I thought I'd find you here.
LEE
I needed to be here today.
(beat)
Just like my parents—it was easier to stay away then face the pain of losing him all over again.
(another beat)
I really do miss him.
AMANDA
I know, Sweetheart. He was a good friend and mentor, and I miss him, too.
(beat)
Do you want to be alone?
LEE
No, I never want to be alone again.
Amanda smiles shyly.
AMANDA
I'm so glad you agreed to take the president's offer and head A-TAC. I don't think they could have found a better man for the job.
LEE
Thanks, Amanda. The position I offered you is still open.
He takes her hands into his.
LEE
I want you by my side again, and this time I don't plan on letting the world get in our way. I plan on spending the rest of my life with you
(another beat)
—for all the days of our lives.
AMANDA
I love you, Lee. I'm glad you finally decided to come back.
LEE
Like Dorothy—I had to figure it out on my own.
He pulls her close to him.
AMANDA
Welcome home, Scarecrow.
FREEZE FRAME
FADE OUT:
THE END