SCARECROW AND MRS. KING
“Do You Take This Spy: Take Two”
Written by Anne Riener
March-April 2021
“Do You Take This Spy: Take Two”
Written by Anne Riener
March-April 2021
FADE IN:
PROLOGUE
EXT. RIVERFRONT - NIGHT
UP ALONG THE BANKS OF THE RIVER
The scene opens with an exhausted LEE STETSON trying in vain to outrun ALYK VARGAS, a Hispanic man in his early 40s, very physically fit, he is gaining on Lee with every stride. Unsteady on his feet as the terrain is rocky and it’s dark, Lee trips and falls a few times skinning his knees and hands in the process. Alyk leaps onto Lee and there is a brief struggle.
STRUGGLE
Alyk loses his footing on the slippery bank, but grabbing onto Lee, the two of them tumble down the bank into the river with a splash.
RIVER
Two heads bob up and down in the SWIFT moving water.
AMANDA STETSON, who is dirty and covered in scrapes and scratches herself, runs up on the riverbank, as she reaches for Lee. He reaches up with his free hand, for Amanda’s outstretched arm but can’t quite grab it and continues floating down the river.
CLOSE ON AMANDA
AMANDA
(screams)
Lee!
QUICK CUT
ACT ONE
Graphic “48-HOURS EARLIER”
EXT. A STREET – DAY (ESTABLISHING)
We are in a high-end business district. The street is lined with shops. In the middle of the block is Ruby Reds, a nail salon.
INT. RUBY RED’S – DAY
Amanda and FRANCINE DESMOND are sitting at two pedicure stations next to each other. Dressed in robes, they both have their feet soaking in basins and seem to be enjoying their pampering. A Korean woman, RUBY, rolls on a stool in front of Francine and lifts Francine’s leg, placing it on the front of the basin tub and rubs the leg down with a towel. She then massages the leg and foot. A much younger woman, SUN JUNG, rolls up to Amanda and begins to do a manicure on Amanda’s hand. She speaks with a Korean accent. The massage chair massages Amanda’s back. She is in heaven.
AMANDA
Francine, I can’t thank you enough for this amazing gift.
FRANCINE
A bride needs to look her best on her wedding day.
AMANDA
It’s really big of you to forgive us.
FRANCINE
Who said all was forgiven? I am still mad at you two for not inviting me to your first wedding.
AMANDA
Lee and I didn’t even invite the family. We eloped. Remember?
FRANCINE
Details. Details.
AMANDA
I know we didn’t start out as friends, but I now think of you as one of my closest friends and colleagues.
FRANCINE
Quit trying to butter me up.
(beat)
It won’t work.
Amanda reaches down and pulls out a box of DeVaronna chocolate from a bag she has next to her and places it on a small table between the two ladies.
FRANCINE (continued)
Bribery on the other hand.
They both laugh and share the chocolate.
FRANCINE (continued)
I know I was a bit rough on you at the beginning, especially the first couple years. I thought you had no business being in the spy business.
AMANDA
I’ll say.
(beat; whispers)
Shouldn’t we be more discreet.
FRANCINE
Don’t worry about Ruby. She’s ‘family.’
Francine whispers something to Ruby in Korean. Ruby looks at Amanda and snickers then exits.
FRANCINE (continued)
You know Amanda, it’s probably time you recruited your own eyes and ears. You aren’t always going to be out on assignments with Lee.
AMANDA
We all need people.
FRACNINE
People leave.
AMDANA
I’m sorry about your break-up with Jonathan.
FRANCINE
Que sera, sera.
Sun Jung interrupts, talking to Amanda.
SUN JUNG
Would you like tip?
AMANDA
(confused)
Tip? We aren’t done yet.
SUN JUNG
Yes, for the wedding. French manicure nails with tip are beautiful. You look pretty.
FRANCINE
Yes, go for them, Amanda. Lee will love them.
AMANDA
Okay, sure.
Sun Jung continues to work on Amanda’s nails.
Amanda (continued)
(back to Francine)
There were plenty of months, days, years where I never thought Lee and I would ever get on the same page.
(another beat)
Our timing never seemed right.
(another beat)
And then all the interruptions.
FRANCINE
You mean, “just rehearsing?”
AMANDA
Yeah, among others.
FRANCINE
I guess it shows how far people will go for love.
AMANDA
The right guy is out there for you. You just need to be patient.
(beat)
Bumping into a stranger at a train station may have led to me finding my soulmate, but equally as important to me, it has led to an unexpected friendship.
(another beat)
But you know, Francine, in the beginning you were a real. . .
FRANCINE
You can say it, Amanda.
AMANDA
Witch.
Francine nods and then eats a piece of chocolate.
FRANCINE
But to tell you the truth, I was jealous.
AMANDA
Of me?
FRANCINE
Yes. Happy little homemaker gets paired with one of the top agents in the country, getting cases that I would have killed for, all the while, I was trying to prove myself in a man’s world.
AMANDA
Fran-cine.
FRANCINE
Don’t ‘Francine’ me. I mean, I graduated at the top of my class from Sarah Lawrence, one of the top private schools in New York. Scratched and clawed my way through the Agency, devoting years to building my career, until I became Billy’s assistant and you, although you were plucked from obscurity, you proved to be the better agent.
AMANDA
What?
FRANCINE
You proved you could have it all, family and career. And you picked up things naturally, things they don’t teach in candidate training classes; you are good at reading people, you have a unique outlook on things, and have good instincts that not only Lee has come to rely on, but Billy, and yes, me too.
AMANDA
Wow, Francine, I don’t know what to say.
FRANCINE
Repeat any of that to Lee and I will have to shoot you.
AMANDA
Wouldn’t dream of it.
(beat)
Francine, you are excellent at what you do.
FRANCINE
I know.
(beat)
This doesn’t mean I’m going to give up the barbs.
AMANDA
I wouldn’t have it any other way.
Ruby enters with two glasses of sparkling water.
FRANCINE (continued)
What should we toast to?
Amanda thinks about it for a moment.
AMANDA
How about to burying the hatchet?
AMANDA FRANCINE
(in unison)
To burying the hatchet. To burying the hatchet.
Their glasses clink; we. . .
CUT TO
CLOSE ON AXE blade striking a log. The log splits.
THE CAMERA PULLS BACK to reveal Lee chopping up firewood. He places the axe down and gathers up the kindling, before heading into the house through the back door.
EXT. KING-STETSON HOUSE – DAY
Lee walks through the backdoor.
INT. KING-STETSON HOUSE FAMILY ROOM – DAY
Lee puts the kindling into the wood box near the fireplace. He then walks to the kitchen, where we see DOTTY WEST on the telephone. She looks out of sorts as she hangs up the phone.
INT. KITCHEN
LEE
That should be enough wood to last the week. It’s supposed to be cold, with some snow squalls.
DOTTY
Thank you, Son. It’s so nice to have a man around the house again.
LEE
So, who was on phone?
DOTTY
(frustrated)
That was the florist. They aren’t going to have the flowers ready in time for the wedding. I don’t know what we were thinking having the wedding on the same weekend as Valentine’s Day.
(beat)
Well, I mean, I do know this is the one-year anniversary of yours and Amanda’s wedding, but we just didn’t have enough time to prepare for everything that needed to be done for a proper wedding.
LEE
It will be okay. Maybe we can use fake flowers.
Dotty grimaces.
DOTTY
Tacky.
LEE
Let me make a few calls. I am sure I can find someone who owes me a favor.
DOTTY
By tomorrow?
(beat)
I don’t know, Lee.
LEE
Do you trust me?
DOTTY
Yes, of course, it will be fine, perfectly fine. After all, it’s about two people who love each other sharing their special day with family and friends.
(beat)
At least the wedding invites were sent out on time. Are you sure about the number of people who were invited? It wasn’t very much.
LEE
Yes, Amanda and I are still agents, so we’re keeping it lowkey.
DOTTY
So, no announcement in the newspaper.
Lee shakes his head.
LEE
No.
DOTTY
What about a church bulletin?
(beat)
The Ladies Auxiliary put an announcement in the church bulletin. I only found out about it last night while talking to Edna Gilstrap.
LEE
(shrugs)
Not much we can do about it now. And I’m sure no one reads those things.
DOTTY
What about your uncle?
LEE
I’m not marrying my uncle.
(beat)
Besides, the Colonel is a busy man. I don’t even know where he is at the moment.
DOTTY
Well, I do.
(beat)
He called while you were out chopping wood. He sounded so nice on the phone. Not the monster you make him out to be, Lee. He said to meet him at his club. Do you need the address?
LEE
No, I know where I’m going.
Lee grabs his keys from the counter and exits.
CLOSE ON DOTTY
She shrugs.
DOTTY
Just wait until Lee finds out I invited him to the wedding.
OFF HER EXPRESSION; WE. . .
CUT TO
EXT. A STREET – DAY
Lee’s Corvette is parked against the curb in front of the Officer’s Club.
INT. ARMED FORCES OFFICER’S CLUB – DAY
COLONEL (O.C.)
Skip.
LEE (O.C.)
Hello, Sir.
TRACKING LEE AND THE MAITRE D’
A MAITRE D’ is leading Lee toward a table where COLONEL ROBERT CLAYTON is sitting in the middle of the restaurant. The Colonel is nursing a drink. Lee sits down.
MAITRE D’
(to Lee)
Can I get you anything, Sir?
LEE
I’ll have a Scotch on the rocks, too.
The Maître d’ nods his head and exits.
LEE
What brings you to D.C.?
COLONEL
Amanda’s mother sent me an invite to your wedding.
LEE
That little sneak.
COLONEL
Dotty sounded like a lovely woman on the phone.
LEE
She is, I couldn’t have asked for a better mother-in-law.
The Colonel nods his head.
The Maître d’ returns with Lee’s drink and some bruschetta.
COLONEL
I hope you don’t mind; I ordered an appetizer.
LEE
No, that’s fine. Been chopping wood all day, I built up an appetite.
They drink and eat in silence for a moment.
COLONEL
I know we have a complicated relationship.
LEE
To put it mildly.
COLONEL
Never thought I would see the day.
LEE
See what?
COLONEL
The day that you would settle down. You picked a good woman, Skip.
LEE
Thanks, Sir.
(beat)
Thank goodness she couldn’t find the man in the red hat.
COLONEL
You turned out to be a good man, despite my less than stellar parenting skills.
LEE
You did the best you could. And I know I didn’t always make it easy for you.
COLONEL
You were stubborn as hell.
(beat)
Matthew and Jennifer would be proud of the man you have become and I am proud to call you son.
Lee is stunned and he stammers.
COLONEL
Oh, I got you something.
He slides an envelope toward Lee.
LEE
Sir, you shouldn’t have.
Lee opens the envelope. Inside is a check for an undisclosed about of money.
LEE (continued)
This is too much.
He slides the check back toward his uncle.
COLONEL
No. It’s the least I could do. As you know, I never married or had children myself. Saved up a good-sized nest egg for retirement but have more than enough to live comfortably. I want to share with you and your family. Pay off the mortgage, send the boys to college, whatever you like.
Lee looks at the check again.
LEE
This would more than cover that.
(beat)
You’re going to be at the wedding tomorrow, right?
COLONEL
I wasn’t sure I was invited.
LEE
Amanda. . . and I want you there. After all, you’re family.
Colonel Robert Clayton raises his glass in a toast.
COLONEL
What should we toast to?
LEE
How about to burying the hatchet?
LEE COLONEL
(in unison)
To burying the hatchet. To burying the hatchet.
ON GLASSES
END OF ACT ONE
ACT TWO
EXT. CHURCH – DAY (ESTABLINSHING)
Cars are lined along the street in front of a small church. The Wagoneer has “Just Married” decorations covering it.
INT. CHURCH RECEPTION HALL – DAY
SIGN ON DOOR leading into the hall
CLOSE ON SIGN
“Please, sit wherever you like, there is no bride side or groom side, just one happy blended family.”
BACK TO SCENE
The reception hall is decorated in red and white balloons and hearts, and flowers. There is a small round table with a guestbook and pen, and another table with gifts for the bride and groom. There is also a long banquet table with food, candy, punch, champagne bottles, and a large wedding cake with a bride and groom on top. Around the hall are round tables where family and friends are sitting. We see EMILY AND JAMES FARNSWORTH, JOE AND CARRIE KING, LEATHERNECK, MAVIS MARSTON, AUNT LILLIAN, AUNT MINNIE, CAPTAIN CURT, JEANIE MELROSE, T.P., HARRY THORNTON, and a few other AGENTS and NEIGHBORS.
There is an aisle with red carpet down the center of the room. At the front of the room is a wedding arch also decorated with flowers. In addition, there is a keyboard off to the side. The pianist is playing traditional wedding tunes. Lee is standing on the right of the arch next to BILLY MELROSE with REVEREND MILLS in front. Lee and Billy are dressed in tuxes.
The first person to walk down the aisle is Dotty with the Colonel. She is dressed in a nice mother-of-the-bride dress, while he is dressed in dress blues.
CLOSE ON LEE
He is all smiles.
Once Dotty and the Colonel reach the front, they split up and sit down at tables closest to the arch. Dotty sits down next to Captain Curt, who has been taking photos of the wedding with Jamie’s camera.
The next person down the aisle is Francine. She is dressed in a black bridesmaid’s dress and carrying a bouquet of flowers.
ON FRANCINE
Walking down the aisle, smiling.
ON LEE
He winks at Francine.
ON CONGREGATION
Then the “Wedding March” begins to play and those in attendance all stand.
CLOSE ON AMANDA
Amanda walks down the aisle with PHILLIP and JAMIE KING on each side of her; they are dressed in tuxes. It’s a picture-perfect moment.
PAN AS THEY COME DOWN THE AISLE
She walks down the aisle toward Lee.
ON LEE
He can’t believe how beautiful she looks all dressed in a traditional white wedding dress.
ON AMANDA
Amanda reaches the front of the wedding arch. Both Phillip and Jamie kiss her cheek. She whispers, “Love you” to the boys and they step back. Amanda hands Francine her wedding bouquet.
ON LEE AND AMANDA
Lee takes both Amanda’s hands as they stand in front of Reverend Mills. They share a look that lingers for a long moment.
LEE
(whispers)
You look beautiful.
Amanda blushes.
ON REVEREND MILLS
REVEREND MILLS
Dearly beloved, we are gathered here today in the presence of these witnesses to join Amanda King and Lee Stetson in holy matrimony. Marriage is not to be entered into lightly, but reverently, passionately, lovingly, and solemnly. Lee and Amanda come now to be joined.
(beat)
Lee, take Amanda’s hands.
(another beat)
Well, I guess we can skip that part.
There is a brief chuckle as everyone sees Lee is already holding Amanda’s hands.
PAN THE CONGERGATION
BACK ON REVEREND MILLS
REVEREND MILLS (continued)
Who gives this woman to be wed?
PHILLIP JAMIE
(in unison)
We do. We do.
They then go to sit with their Grandma. Jamie takes the camera from Curt and starts to take pictures.
REVEREND MILLS
Do you, Lee, take Amanda to be your wife?
LEE
I do.
REVEREND MILLS
Do you, Amanda, take Lee to be your husband?
AMANDA
I sure do.
ON DOTTY AND CAPTAIN CURT
She is dabbing her eyes; Captain Curt squeezes her hand.
REVEREND MILLS
(to Lee)
Repeat after me.
(LEE repeats:)
I, Lee... take thee, Amanda... to be my lawful wedded wife... to have and to hold from this day forward... for better or worse...for richer or poorer... in sickness and in health... to love and to cherish... for all the days of our lives.
Lee and Amanda stare into each other's eyes.
REVEREND MILLS
(to Amanda)
(AMANDA repeats:)
I, Amanda... take thee, Lee... to be my lawful wedded husband... to have and to hold from this day forward... for better or worse... for richer or poorer... in sickness and in health... to love and to cherish... for all the days of our lives.
Amanda holds Lee closer.
REVEREND MILLS (continued)
Now the rings.
Lee takes the rings from Billy.
REVEREND MILLS (continued)
(to Lee)
Put the ring on her finger... say these words: This ring I give thee in token and pledge of my constant faith and devotion.
Lee puts the ring for her on Amanda's finger, saying:
LEE
This ring I give thee in token and pledge of my constant faith and devotion.
REVEREND MILLS
(to Amanda)
Now, give him your ring, saying: This ring I give thee in token and pledge of my constant faith and devotion.
Billy hands Lee the ring, which Lee gives to Amanda. Amanda puts the ring on Lee's finger, saying:
AMANDA
This ring I give thee in token and - pledge of my constant faith and devotion.
REVEREND MILLS
By the power vested in me by the statutes of the Commonwealth of Virginia, I now pronounce you husband and wife.
(smiling)
You may kiss the bride.
CLOSE ON LEE AND AMANDA
They kiss.
The congregation claps.
REVEREND MILLS
I present to you, Mr. and Mrs. Stetson.
Lee and Amanda walk down the aisle hand in hand, and out the front door, to much whoop and holler.
QUICK CUT
INT. RECEPETION HALL
Guests all sitting around, enjoying their time and company. Lee and Amanda milling around thanking those who came to their wedding. Music montage (Carpenters “I Won’t Last A Day Without You”) of scenes from the reception; Jamie taking photos, cutting the cake with Lee smashing cake on Amanda’s face, mouthing, “turnaround is fair play,” Amanda throwing the wedding bouquet with Francine catching it, and Lee and Amanda dancing.
INSERT PHOTO SNAPSHOTS of the wedding party.
BACK TO SCENE
INT. RECEPTION HALL
Dotty is dancing with Lee. Music plays in the background.
DOTTY
Oh, Lee. The flowers were just glorious, absolutely glorious. How did you ever manage it?
LEE
(in a low voice)
I’m a spy, remember? We have our ways.
Dotty hesitates, not sure how to respond and then gives him a big hug.
DOTTY
Love you, Son.
LEE
Thanks. . . Mother. Thanks for putting this all together. You planned a beautiful wedding.
DOTTY
Thanks for trusting me enough to plan this for you and Amanda. It was my gift to you.
LEE
You already gave me the greatest gift I could ever ask for. Thanks for raising such an amazing daughter.
DOTTY
I couldn’t have done it without Carl.
(beat; sighs)
I just wish he could have been here for the wedding. He would have adored you.
LEE
And I wish you could have known my parents.
DOTTY
I am sure they were as wonderful as you.
(beat)
Now, get to work on giving me another grandchild.
Lee’s mouth is agape. Amanda enters the SHOT and sees Lee.
AMANDA
Mother, what did you do? What did you say to him?
DOTTY
Need to know, Dear. Need to know.
She laughs.
ON BILLY
Billy stands up and taps a champagne glass to get the attention of those in the room.
BILLY
Ladies and gentleman, thank you all for coming out today to celebrate the wedding of two people we all know and love, Amanda and Lee!
(beat)
When I first met Amanda, I knew there was something special about her. And that she was the right woman for Lee. Even if it hadn’t dawned on him quite yet. I watched them change from being reluctant partners, to becoming friends, and finally falling in love. . . Lee would deny it until the cows came home, but it was obvious to everyone around just how smitten he was with her. He changed for the better without even realizing it. And we all could see it. They are quite the team, professionally, as well as, personally.
ON AUNT LILLIAN
AUNT LILLIAN
(to herself)
Professionally? Why all the hullabaloo? They’re documentary film producers.
She shakes her head.
ON BILLY
He raises his glass and everyone else in the room raises their glasses.
BILLY (continued)
To Lee and Amanda. I’m glad I thought of putting you two together.
EVERYONE
To Lee and Amanda.
They all drink.
CUT TO
INT. HOTEL ROOM – DAY
Typical small hotel room with not much more than a bed, a dresser with a television set and a table with a couple chairs. On the table we see a copy of a church bulletin, it’s opened to the wedding announcement page.
WE see a masculine hand (Alyk Vargas), holding up a knife. He plunges the knife through the bulletin and into the photo of Lee and Amanda. He speaks with just a hint of a Cuban accent.
ON LEE AND AMANDA’S ANNOUCEMENT
Knife through Lee’s head.
ALYK (O.C.)
(In Cuban)
Morir Espantapájaros.
(“Die Scarecrow”)
HOLD ON KNIFE. . .
CUT TO
INT. LEE AND AMANDA’S HOTEL ROOM – DAY
A nice appointed hotel suite; there is a king size bed, small sofa, dressing table, and writing desk. FOCUS ON THE BED. Sunlight filtering through the drapes as the CAMERA finds the couple sleeping in bed. Amanda is in bed on her side, dressed in a red nightie. Her eyes flicker open, she sighs contentedly and stirs. After a beat, Lee rolls over putting his arm around her, he pulls her close. He runs his fingers up and down her arm.
LEE
Good morning, Mrs. Stetson.
AMANDA
Good morning to you too, Mr. Stetson.
She turns to snuggle against him.
They kiss.
LEE
Having a good time?
AMANDA
Mm-hmm. New York was a great idea for our honeymoon. Lots to see, things to do, places to go. . .
(beat; smiling)
Although, we haven’t gone to very many places for some reason.
He smiles back at her.
They kiss.
LEE
Well, we could continue to lay around in bed all day.
He winks.
LEE (continued)
Or, I have planned a day of ice skating at Central Park, a horse drawn carriage ride in the afternoon, dinner at Tavern on the Green, and then a Broadway show.
AMANDA
A Broadway show! Oh Lee. . .which one?
LEE
Phantom of the Opera.
AMANDA
(gasps)
That’s the hottest ticket in town.
(beat)
Oh, Lee, you spoil me. You didn’t have to do all that for me.
LEE
I know, I wanted this honeymoon to be special. To make up for our disastrous first one.
AMANDA
(sighs)
California was not your fault.
Lee is quiet for a moment.
LEE
Thanks for letting me plan the honeymoon, it means a lot that you trusted me with it.
AMANDA
Of course I trust you, Sweetheart.
They kiss.
LEE
We better get going. Do you want to shower first or should I?
He starts to get up, but she holds him back.
LEE (continued)
It’s nearly ten, we’ve got to shower, get some breakfast.
He gives up and falls back into bed.
AMANDA
In about an hour.
They embrace and smile at each other.
AMANDA (continued)
Let’s skip the ice skating.
They throw the comforter over their heads.
CUT TO
Graphic: “48-HOURS EARILER”
EXT. NATIONAL AIRPORT (FLASHBACK) – DAY (STOCK)
A jumbo jet comes in for a landing.
EXT. NATIONAL AIRPORT – DAY (STOCK)
WIDE SHOT of the terminal building.
INT. NATIONAL AIRPORT TERMINAL – DAY
FRANK DUFFY and rookie DENNIS PARK are walking through the airport terminal. A crowd of commuters hurriedly rush to catch their flights. We also see in the background loved ones being reunited and hugs exchanged.
The two men walk along the floor of the busy terminal, HOLD as they stop. FOLLOW as they resume walking.
DENNIS
This assignment bites. Where’s the action? I need some excitement, some adventure. . . maybe a surprise or two.
FRANK
Be careful what you wish for.
(beat)
They can’t all be plum assignments, Agent Parks.
(another beat)
Well, I’ve got to go use the little boys’ room.
(another beat)
Do you think you can handle the surveillance job we have been assigned to do for a few minutes alone?
DENNIS
Pffftttt.
Frank heads toward the restrooms.
ON DENNIS
He is shaking his head. He then notices a beautiful Hispanic woman walking his way.
DENNIS
Hello, Señorita.
She ignores him and keeps walking, so Dennis jogs up to her.
WE see they are talking and flirting shamelessly, but hear no dialogue. In the foreground, stepping off the jetway and through the airport door is Alyk Vargas. Dennis, of course, does not see him.
ON ALYK
Seeing the airport surveillance babysitters are not watching him, he creeps toward the restrooms.
TRACKING Alyk as he walks into the restroom about the same time Frank Duffy comes around the corner of the restroom wall. They just miss each other.
QUICK CUT
EXT. A STREET IN FRONT OF THE MAJESTIC THEATER (REAL TIME) – NIGHT
Broadway, busy New York street scene. Patrons coming out of the theater. On the theater exterior wall is a large “Phantom of the Opera” banner.
Lee and Amanda come out of the theater doors and walk down the street hand in hand. It is lightly snowing.
EXT. COFFEE SHOP – CONTINUOUS ACTION
WE FOLLOW as they walk down the street toward the coffee shop.
LEE
Could I interest you in a cup of coffee before we head back to the hotel?
AMANDA
That would be nice.
LEE
So, what did you think of the show?
AMANDA
Wow. Just wow.
(beat)
The scenery. . . the costumes. . . the music. . . the imagery
. . . did I mention the music?
(another beat)
I don’t think I can find the accurate words to describe it.
LEE
(smirks)
Wow, Amanda Stetson at a loss for words.
Amanda gently slugs him on the arm.
Lee opens the door to the coffee shop, and they enter. We TILT UP to a sign which reads: “Hot Shots Coffee Shop.”
INT. COFFEE SHOP – NIGHT
Lee and Amanda enter the coffee shop, it’s one of those trendy, open all night shops with overpriced coffee. Lee seats Amanda and then sits down. They are sitting at a table by the window. There is a menu stand on the table.
A WAITRESS arrives at their table.
WAITRESS
What can I get for you?
Lee looks at the menu.
LEE
Just a cup of coffee, but I don’t see it here.
WAITRESS
Hot Shots is a specialty coffee shop, Sir, but you can order just a cup of coffee. May I suggest an espresso, it’s the newest rage.
AMANDA
Oh, I heard about those. Caffeine rush, from what I understand. I’d be up all night.
Lee gives Amanda a seductive look.
LEE
Anything wrong with that?
Amanda blushes.
LEE (continued)
The lady will have an espresso and I’ll have a cup of coffee; cream, no sugar.
The waitress exits.
AMANDA
Did you enjoy the show, Sweetheart?
LEE
I too was swept away with the imagery and music, but not too sure about the storyline.
(beat)
I mean, I felt sorry for the phantom, a broken man, being born disfigured, bullied, thrust into hiding, but preying on a young girl like that, leading her to believe he was her guardian, her angel of the music, that her deceased father had sent to her.
AMANDA
Well, it certainly was an interesting love triangle.
(beat)
I guess it just goes to show, how far people will go for love.
Lee nods.
LEE
I could have done without those scenes in the catacombs under the opera house.
AMANDA
Does this mean we’ll have to sleep with the lights on?
LEE
No, I have you to protect me.
Lee and Amanda share a smile.
The camera PANS to the far corner of the coffee shop, we see a man sitting at the table, reading a newspaper. He drops the paper, just far enough that we see it is Alyk Vargas, he has followed Lee and Amanda to New York.
CLOSE ON ALYK VARGAS; WE. . .
CUT TO
EXT. AGENCY – ESTABLINSHING – NIGHT (STOCK)
INT. BULLPEN – NIGHT
A skeleton crew working late at the Agency. A lone MARINE stands guard at the bullpen doors, RAGMOP is mopping the hallway outside the bullpen.
Through the windows we see Francine running down the hallway, almost slipping on the wet floor. She runs over the Billy’s office and opens the door, without even knocking.
INT. BILLY’S OFFICE
Billy is sitting at his desk, working late, reading files. The only light on is a small desk lamp. He is slightly startled by Francine’s entrance.
BILLY
(recovering)
What is it, Francine?
FRANCINE
I don’t know what happened. Someone in airport surveillance really screwed up but look who came into National Airport two days ago.
She hands Billy a photograph.
ON PHOTO
It is a picture of Alyk Vargas.
BACK TO SCENE
BILLY
Damn! Do we at least know his whereabouts now?
FRANCINE
No.
(beat)
What about Lee and Amanda?
BILLY
They’re on their honeymoon.
FRANCINE
I know that!
(beat)
I’m sorry, Billy. I’m just worried about Lee, as well as Amanda.
BILLY
As am I. However, Lee did not give me his itinerary for his honeymoon, and I assume Amanda didn’t tell you either.
Francine shakes her head.
Billy picks up the phone.
BILLY (continued)
Let me give Mrs. West a call. Hopefully, she knows how to reach them.
(beat)
And get me the two agents who were on airport surveillance that day in front of me pronto.
Francine quickly exits.
ON Billy’s grim face. . .
END OF ACT TWO
ACT THREE
EXT. NIAGARA FALLS – ESTABLISHING – DAY
Ariel shots of American Falls, Bridal Veil, and Niagara Falls (STOCK). FULL SHOT Niagara Falls, and then CLOSEUP water falling over the falls.
EXT. NIAGARA FALLS STATE PARK – DAY
CLOSE ON STATE PARK SIGN – ESTABLISHING
Lee and Amanda stand at the observation deck. They are enjoying the view. There is light snow on the ground, a beautiful winter scene. The observation deck is crowded with tourists. A couple, not looking where they are going, almost run into Lee and Amanda. Lee pulls Amanda close to him.
LEE
I’m almost sorry I suggested Niagara Falls for our honeymoon. I didn’t think it would be this busy.
AMANDA
You didn’t take into account, it’s the week after Valentine’s Day.
LEE
I guess not. You aren’t sorry?
AMANDA
No, it was a very romantic idea. After all, it’s the honeymoon capital of the world.
LEE
I should have chosen Pine Top; night skiing, indoor tennis, snowmobiling, snuggling by a roaring fire, drinking hot cider.
AMANDA
You really need to stop doing that.
LEE
I know. I just wanted this week to be perfect.
AMANDA
And it is. I’m having a great time because I’m here with you, isn’t that all that really matters?
LEE
Yeah.
AMANDA
Yeah.
LEE
Tomorrow I figure we’ll go antiquing, do some hiking, visit the winery, a little drinking, a little dining, a little romance.
(he winks; beat)
Maybe we can come back someday when the Maid of the Mist is operating. Bring the boys, I’m sure they would love it.
AMANDA
Did you know Niagara Falls State Park is the oldest state park in America?
LEE
Have you been here before?
AMANDA
Once. I think I was around ten or eleven and was on a road trip with my parents visiting upstate New York.
(beat)
You?
LEE
A handful of times.
AMANDA
(teasingly)
Old girlfriends?
LEE
I probably deserve that, but no. Niagara Falls, with its proximity to the United States and the Canadian border, is a popular destination for defectors.
AMANDA
I should have known, work.
Lee looks lovingly into Amanda’s eyes.
LEE
I promise no work this time.
He pulls Amanda into a hug and they rock back and forth for a few minutes. Something seems off to Amanda.
AMANDA
Lee, is something wrong? Are you okay?
He doesn’t answer right away.
LEE
I have a feeling; I can’t quite put my finger on it. Just a sense of dread.
Amanda pulls back and looks at her husband.
AMANDA
I’m here. I’m right here. I’m not going anywhere.
LEE
I love you.
AMANDA
Good, because I love you, too.
LEE
Did you like our little side trip to Tiffany’s?
Amanda touches the new earrings she is wearing.
AMANDA
They’re beautiful.
LEE
Not half as beautiful as you.
They kiss and then wrap themselves into each other’s arms.
Lee is suddenly distracted by a man he sees in the distance. It’s Alyk Vargas. He blinks for a second, not believing what he is seeing. Amanda looks in the direction Lee is looking in. Alyk is gone, disappeared into the crowd. Lee looks like he has seen a ghost.
We hear Lee’s voice (V.O.) as a distant memory.
LEE (V.O.)
". . . A partner's a guy who laughs at your jokes, loans you his socks, and. . . one day. . . takes a bullet in the head for you."
AMANDA
(concerned)
Lee, answer me.
Lee blinks a couple times and then looks at Amanda.
AMANDA (continued)
What’s wrong?
LEE
Nothing. I thought. . . I thought I saw. . . Never mind.
AMANDA
Don’t you dare shut me out. I’m your wife. . . talk to me.
Lee nods his head.
QUICK CUT
EXT. PARK BENCH – DAY
Lee and Amanda are sitting on a park bench.
AMANDA
Who did you think you saw?
Lee blows out a deep breath.
LEE
The man who killed Sean Rivers.
Amanda looks at him blankly. The name has no recognition for her.
LEE (continued)
Maybe it’s time I told you about my old partner.
AMANDA
Only if you’re ready.
LEE
Yeah, I think I am.
(beat)
Years ago, before I recruited you, I had a partner, Sean Rivers, codename Watchman. We gave Billy nothing but fits.
(another beat; laughs)
Why do you think Billy started taking antacids?
(another beat)
We were very much alike, Sean and I. We both grew up military brats, moving around a lot, both served in Vietnam.
(another beat; clearing his throat)
We both loved the ladies. He had been married and divorced twice, but that didn’t stop him from always searching for the third Mrs. Rivers.
AMANDA
I think I know the type.
LEE
We had a great track record that couldn’t be beat, that was until you came along.
AMANDA
(chuckling)
Are you talking work or the ladies?
(beat)
Go on.
Amanda encourages him to continue.
LEE
Do you remember the D.C. bomber?
AMANDA
You were assigned to that case?
LEE
Well, several law enforcement agencies were involved in the investigation. The Agency got involved once a federal judge was targeted and killed. The bomb was nasty. Blew Justice Watts through his office door, which was torn off its hinges. The bomb squad determined the force of the blast was equal to 1 1/2 to 2 sticks of dynamite.
AMANDA
Oh, my gosh.
LEE
Yeah.
(beat)
Watchman and I received a credible tip, and it panned out.
EXT. ALLEY – FLASHBACK – DAY
An alley in D.C. somewhere. Lee’s memory is in black and white, somewhat distorted. We hear Lee’s voice over the action. We meet SEAN RIVERS, a charismatic black man, who is about the same size and body build as Lee.
INT. AGENCY SEDAN
Lee and Sean are in the car. Sean is in the driver’s seat; Lee is in the passenger seat. Lee is on the CB radio, calling for backup.
LEE (V.O.)
We had him dead to rights pinned in an alley down by the warehouse district. We had called for backup, but Vargas wasn’t going to go down without a fight.
EXT. ALLEY
A firefight breaks out. Sean and Lee use the Agency sedan as cover.
LEE (V.O.)
A firefight broke out, and shots were exchanged. Sean and I were using the Agency sedan as cover.
ANGLE SEDAN AND ALLEY
In the background, we see Alyk Vargas pull his WIFE out of their car and puts her in front of him. She is screaming, terrified.
LEE (V.O.)
Next thing we know, Vargas pulled his wife out of the car and was using her as a human shield.
ANGLE ON DUMPSTER AND ALYK VARGAS AND HIS WIFE
A stray bullet ricochets off a dumpster and she collapses to the ground.
LEE (V.O.)
A stray bullet ricocheted off a dumpster and she was hit. She later died of her injuries. With nothing to lose, Vargas charged after me.
CLOSE ON LEE
WE see Lee dropping the empty clip and trying to reload. Then we see Alyk Vargas raising his gun.
LEE (V.O.)
Unfortunately, my clip was empty, and as I was reloading my gun, he appeared almost on top of me. He fired his weapon at pointblank range. I thought I was dead, when out of nowhere, Sean leaped between Vargas and me, taking the bullet that was meant for me. The bullet went through Sean and hit me too.
PULL BACK TO REVEAL SEAN
Sean mouths “No!” while leaping between Alyk and Lee. Sean recoils after being shot and Lee and Sean both fall to the ground.
DISSOLVE TO
EXT. PARK BENCH – DAY (REAL TIME)
LEE (continued)
Vargas escaped before backup arrived. He flew back to Cuba, where he was hailed a hero and given a hero’s return. Because of the political climate between our two counties, if I were to step foot into Cuba, I would be shot on sight or hung without a trial for being an American spy.
CLOSE ON AMANDA
LEE (O.C.)
Orlando Gravas keeps an eye on him, and I receive reports from time to time. Unfortunately, the bas**** is untouchable.
Amanda takes Lee’s hand and squeezes it. They are both silent for a while.
AMANDA
But why would Vargas risk capture after all these years?
LEE
Revenge.
(beat)
The bullet that ricocheted off the dumpster was fired from my gun.
(another beat)
I killed his wife.
CLOSE ON AMANDA; OFF HER LOOK, WE. . .
EXT. LEISURE INN – ESTABLISHING – DAY
TRACKING, FOLLOWING LEE AND AMANDA as they enter the bed and breakfast hotel. It’s a nice B&B with views of the river rapids.
INT. LEISURE INN LOBBY - DAY
There is a check-in desk in front of them. The Bed and Breakfast manager JEREMY WOODS grabs their attention.
JEREMY WOODS
Mr. Stetson.
LEE
Yes.
JEREMY WOODS
A Mr. Melrose has called here twice looking for you.
He hands Lee the phone messages.
LEE
Thanks.
(beat)
Do you have a payphone?
JEREMY WOODS
Yes, of course, Sir.
The manager points in the direction of the phone, which is in a corner of the lobby.
INT. LOBBY – PAYPHONE
Lee and Amanda walk over to the phone and Lee makes a call.
BILLY (V.O.)
(filtered)
Lee?
LEE
Yeah.
INTERCUT:
INT. BILLY’S OFFICE
BILLY
Thank, God. Is Amanda with you?
LEE
She’s standing right next to me.
BILLY LEE
(in unison)
Alyk Vargas. . . Alyk Vargas. . .
LEE
Damn! Then it was him I saw at the park today.
BILLY
I want you and Amanda to stay where you are. I’ll be sending you a watchdog. Francine and I will be there in a few hours to bring you guys back to D.C.
LEE
We don’t need babysitters.
BILLY
This isn’t open for debate, Scarecrow.
LEE
Yeah, yeah, see you soon.
Lee hangs up the phone.
LEE (continued)
Billy wants us to stay put for now.
CUT TO
INT. WINE BAR – NIGHT
Lee and Amanda are drinking cocktails at a bar. The restaurant has rich mahogany paneling and a roaring wood fire in a stone fireplace. They are sitting at a table, when two gentlemen approach them. The agents are THOMAS COLE AND DAVID REIMANN.
AGENT COLE
Scarecrow?
LEE
Yeah.
Lee stands up and shakes both agents’ hands.
LEE
Lee Stetson, and this is my wife, Amanda.
AGENT REIMANN
Pleased to meet you, although wish it were under better circumstances.
LEE
You got here quick.
AGENT REIMANN
We are associated with the New York office, but stationed at a satellite office in Buffalo.
Lee puts some money down on the table and the four of them walk toward the lobby.
PAN THEM WALKING INTO THE LOBBY
INT. LOBBY – NIGHT
JEREMY WOODS
Oh, Mr. Stetson, this package just arrived for you.
The manager is about to push the package toward them.
ALL
(yelling)
No!! Don’t touch it!!
OFF JERMEY’S SHOCKED EXPRESSION. . .
END OF ACT THREE
ACT FOUR
EXT. LEISURE INN ENTRANCE AND PARKING LOT – NIGHT
The Bed and Breakfast has been vacated and travelers are milling around at a safe distance, trying to get a glimpse of what is going on.
Agents Cole and Reimann walk toward Lee and Amanda.
AGENT COLE
You can relax. The bomb squad blew up the package.
(beat)
You killed a toaster.
AGENT REIMANN
You are now safe from renegade wedding gifts.
AMANDA
No one knows we’re here, so no wedding gifts would have been delivered.
LEE
He’s toying with us.
ON AMANDA
In the background, she can see a very agitated Bed and Breakfast manager.
AMANDA
Well, I better go mend some fences.
She exits.
Agent Cole takes out a picture of Alyk Vargas from his coat jacket pocket.
AGENT COLE
Is this the man we are keeping an eye out for?
LEE
Yeah. That picture is from a few years ago, he’s probably put on at least another ten pounds or so, but that’s him.
AGENT REIMANN
Well, you have nothing to worry about. Thomas and I will be parked out front watching the hotel entrance until your colleagues get here. We understand all other access points require a guest key.
(beat)
Let us know if you need anything.
LEE
Okay. Just be careful, Alyk Vargas is ruthless.
AGENT COLE
Appreciate the concern, Scarecrow, but we aren't rookies.
AGENT REIMANN
Good night.
LEE
Yeah, goodnight.
FOLLOW LEE AS HE GOES OFF SEARCHING FOR AMANDA.
CUT TO
EXT. LEISURE INN ENTRANCE – NIGHT
Then PAN OFF TO a parked car.
INT. NONSESCRIPT SEDAN – NIGHT
Agents Cole and Reimann are sitting in the car, continuing their surveillance.
From the shadows WE see a remote-control truck cruising down the parking lot.
EXT. BUSHES – NIGHT
Hiding in the bushes near the hotel entrance is Alyk Vargas. He has a remote-control device in his hand, controlling the truck.
ON TRUCK
As it goes under the sedan.
UNDERCARRIAGE OF THE CAR
Toy truck under the car.
BACK ON THE SEDAN
David Reimann grabs a thermos and pours himself a cup of coffee. The agents are both unaware of the danger.
CLOSE ON ALYK
He pushes a remote detonator, as he smiles.
In the background we see the Agency sedan EXPLODE in a massive fireball that does damage to the Bed and Breakfast entrance, too.
CUT TO
EXT. LEISURE INN PARKING LOT – NIGHT
Guests have been forced to exit the Bed and Breakfast for the second time of the evening. They are milling around outside in the parking lot, dressed in nightgowns, pajamas, and robes, etc.
A firetruck is parked outside the hotel. FIREMEN are putting out the flames of the burning car.
CLOSE ON LEE AND AMANDA
They stand in stunned silence, saddened by the death of their fellow agents.
Lee walks over to talk to the fire CAPTAIN, who grabs his attention.
Standing all alone now, a man approaches Amanda. The man is Alyk Vargas, but Amanda is not aware of this.
ALYK
Excuse me, Agent Stetson.
AMANDA
Yes?
The man flashes some identification.
ALYK
Detective Rodiguez.
AMANDA
What can I do for you, Detective Rodiguez?
ALYK
I need to ask you a few questions.
ON LEE as he walks back to Amanda, HOLD as he stops.
NEW ANGLE
Lees sees that Amanda is talking to someone, but can only see this person from the back. However, instincts tell him something is not right.
FOLLOW Lee as he resumes walking, and removes his gun from his holster.
BACK on ALYK AND AMANDA
Alyk Vargas spins Amanda around, pulling her to him. He holds a knife across Amanda’s neck.
Lee has his gun trained on Vargas.
LEE
Don’t hurt her. It’s me you want.
ALYK
Not really.
(beat)
An eye for an eye, a life for a life. . .
(another beat)
. . . a wife for a wife.
CLOSE ON LEE
Lee’s eyes are cold.
BACK TO ALYK
He smells Amanda’s hair.
ALYK
I’ve been so lonely since I lost my wife, maybe I will spare her and kill you instead.
LEE
Come and get me.
ALYK
Yes, I think I will. But I think I shall make this into a game instead.
(beat)
Drop your gun and kick it away.
Lee does not comply, so Alyk Vargas digs the knife deeper into Amanda’s neck.
CLOSE ON AMANDA
Amanda grimaces.
ON LEE
LEE
Okay, okay.
Lee drops his gun and kicks it away.
ALYK
Very good, Scarecrow.
ON BAG
Alyk Vargas points at a small duffle bag he brought.
BACK TO ALYK
ALYK (continued)
In the front pocket you will find some rope. Tie up your wife to that tree.
He points to a tree, as he shoves Amanda forward. Amanda loses her footing, and she falls to the ground. Lee helps her up. In that brief moment, Vargas has had enough time to pick up Lee’s gun.
FOLLOW LEE AND AMANDA
They walk up to the tree. Lee manages a weak smile, “telling” her it will be all right. He leans her against the tree and ties her wrists behind her. She nods back at him.
ALYK (continued)
Make sure it’s good and tight.
Lee has completed the task.
Alyk Vargas is pointing a gun at Lee.
ALYK (continued)
I think this calls for an old fashioned hunt. The part of the hunter will be played by me. While the part of the prey will be played by you.
(beat)
Not good sportsmanship if I don’t give you a running start, so you have a 60-second head start.
Alyk Vargas checks his watch.
ALYK (continued)
Starting right now.
Lee takes off running.
ALYK
One. . . two. . . three. . . four. . . five. . .
He checks Amanda’s hands and sees she is still tied up tight to the tree.
ALYK
Where was I?
(beat)
Never mind. Here’s where the fun begins.
(another beat; yelling)
Ready or not, here I come.
Alyk Vargas runs toward the direction Lee took off from.
ANOTHER ANGLE
We see Amanda struggling against the ropes. She gets a hand free. No longer tied up, she runs toward Lee and Alyk.
EXT. RIVERFRONT - NIGHT
UP ALONG THE BANKS OF THE NIAGARA RIVER
Lee is running along the river bank. He trips and falls and then gets up and runs again. Alyk Vargas has caught up to him and FIRES off a shot at Lee. It misses widely. He FIRES the gun again.
ON TREE
The bullet hits the tree. SPLINTERS where it made contact.
ON LEE
A bullet wizzes past Lee. Too close for Lee’s confront.
ON ALYK
It’s obvious he’s not a sharp shooter and has now realized it’s hard to hit a moving target. He tries to fire once more, but the gun jams. He throws the gun down in disgust.
Alyk Vargas gains on Lee and then leaps onto Lee and there is a brief struggle.
STRUGGLE
Alyk Vargas loses his footing on the slippery bank, but grabbing onto Lee, the two of them tumble down the bank into the river with a splash.
RIVER
Two heads bob up and down in the SWIFT moving water.
ON AMANDA
She is at the edge of the river and she reaches for Lee. He reaches up with his free hand, for Amanda’s outstretched arm but can’t quite grab it and continues floating down the river.
CLOSE ON AMANDA
AMANDA
(screams)
Lee!
She continues to run down the river bank and sees Lee struggling to get up onto the bank. She pulls him out of the water. Exhausted and freezing as hypothermia has begun to set in, Lee struggles to stay awake.
AMANDA
I’ve got you.
LEE
Rest. Yes, need to rest for just a minute.
AMANDA
No, don’t go to sleep.
In the background, we hear voices.
BILLY (O.C.)
Lee. Amanda.
AMANDA
Over here, Sir.
(to Lee)
Stay with me, you hear.
LEE
Love--
Lee’s eyes close.
DISSOLVE TO
INT. LEE’S CHILDHOOD HOME (LEE’S DREAM) – DAY
Lee finds himself at the bottom of the stairs in the basement of his old childhood home. The scene is in black and white.
ON DOOR
The door opens and MATTHEW STETSON pops his head through the door opening.
MATTHEW
Lee, you know you aren’t supposed to be down there. You know the basement is off limits.
Lee is stunned to find himself in a dream he has had many times before, but this time, instead of a little boy, he’s a grown man.
LEE
(not recognizing his own voice)
I know, it’s supposed to be a secret.
JENNIFER (O.S.)
Lee, where are you?
JENNIFER STETSON is standing next to Matthew.
LEE
Mum!
Matthew and Jennifer smile warmly at Lee.
LEE (continued)
How?
JENNIFER
We’ve always been here; we never left you. We are so proud of you, Lee.
(beat)
Amanda is a very special woman. We are glad you found each other.
Lee climbs the stairs.
MATTHEW
We love you son, and look forward to the day we are reunited.
(beat)
But first, there’s someone here who would like to meet you.
They open the door further and Lee steps through. . .
EXT. TRAIN STATION PLATFORM (DREAM)
This sequence is done all in white, distorted. There is something vaguely familiar about this small Amtrak train station. A crowd of commuters hurriedly rush along the platform toward their trains. Trains arrive and depart.
LEE COMES INTO FRAME
He is dressed in a white waiter’s uniform and carrying a small red box. Everything is white, except for the box.
EXT. BENCH – DAY
In the foreground, Lee sees a man sitting alone on a bench. Although others are around him, they appear not to pay attention to him, but this man sees him.
FOLLOW as Lee walks over to this man. There is a familiar feel about him.
LEE
I know you, don’t I?
The man holds out his hand, which Lee shakes. The man is CARL WEST, he has brown eyes and thick chestnut brown hair. It’s obvious where Amanda got her looks.
CARL
The name’s Carl Franklin West.
Lee shakes the man’s hand more firmly and friendly.
LEE
Sir.
Carl motions for Lee to walk with him.
FOLLOW LEE AND CARL WALKING DOWN THE TRAIN PLATFORM
CARL
Thanks for taking such good care of my Panda and Dotty and Phillip and Jamie for me.
LEE
It’s been my pleasure, Sir.
CARL
I’m glad you came into their lives when they needed you.
LEE
Don’t take this personally, but you are dead. . .
Carl nods his head.
LEE
. . . and so are my parents. . . then, am I dead, too?
CARL
Think of it more as a space between life and death.
EXT. TRAIN
They reach the train and Carl steps up onto the landing.
LEE
Can I ask you a question?
CARL
(chuckling)
You already did?
They share a smile.
LEE
Is this for real? Or just my imagination? And is this heaven?
CARL
That’s three questions.
(beat)
Does it feel or look like heaven to you?
LEE
No, it looks more like the train station in Arlington, Virginia where I gave the package to Amanda.
(beat)
You didn’t answer the question of is it real or just his imagination.
CARL
(not a question)
Hmm.
(beat)
Well Son, it’s time for me to go.
The train starts to edge forward.
INT. TRAIN – CARL
CARL (continued)
It’s not your time to take that final journey.
Carl disappears into the car.
DISSOLVE TO
INT. HOSPITAL ROOM (LEE'S POINT OF VIEW)- DAY
As the room swirls into focus and then back out of focus again, then snaps into a clear image. Lee's gaze comes to rest on Amanda, smiling at him. She looks exhausted.
LEE
(trying to find his voice)
Hi.
AMANDA
Hi there, yourself.
(beat)
You gave us quite the scare.
LEE
Feels like déjà vu all over again. What is it about our weddings that bring about life threatening situations?
AMANDA
Just lucky, I guess.
LEE
Vargas?
AMANDA
Dead. He went over the falls. They recovered his body this morning.
LEE
Can’t say I will miss him.
AMANDA
Um-mmm.
(beat)
Are you okay?
LEE
Cold. Numb.
AMANDA
Probably just the hypothermia. You’ll feel better in time.
She kisses him tenderly on the lips.
LEE
I don’t know, Amanda, I thought I would feel different once I caught Sean’s killer. . .
(beat)
I don’t think I’ll ever be able to fully let go, but I think I’m okay.
DIFFERENT ANGLE ON HOSPITAL ROOM DOOR
Billy enters the room.
BILLY
Well, well, well, Scarecrow, you appear to be no worse for the wear.
Lee sits up a little straighter, and Amanda fixes his pillow for him and fusses over him.
BILLY (continued)
Amanda’s already told you about Alyk Vargas.
LEE
Yes.
(beat)
I was just telling her I thought I would feel different.
Billy nods his head.
BILLY
Understandable. Glad we finally caught the man who was reasonable for one agent’s death and the attempted murder of another agent, but at what cost? We almost lost you, Scarecrow.
AMANDA
How did Vargas get into the country?
BILLY
A rookie agent let his guard down. The agent who let Alyk Vargas slip through National Airport has an official letter of reprimand in his employment file. He’s lucky I didn’t fire him.
There is a KNOCK on the door.
A DOCTOR in a white lab coat enters the room.
DOTOR
Welcome back, Mr. Stetson.
He walks to the foot of the hospital bed and checks the patient chart.
DOCTOR
Your vitals look good. Let’s say we get you out of here today.
LEE
Sounds good to me.
DOCTOR
Are you up for some more visitors? It’s against hospital policy to have more than two visitors in a room at a time, but there’s a very persistent woman named Dotty that insists on seeing you.
Amanda and Lee share a look.
The door opens and in walks Dotty, Jamie, and Phillip. They all surround Lee’s hospital bed.
DOTTY
Don’t worry about Lee. He's going to receive lots of TLC, just what the doctor ordered.
The doctor exits.
LEE
Please, Dotty, don’t fuss over me.
DOTTY
I’m going to fuss over you, young man, whether you like it or not.
PHIILIP
Hey, Lee. Glad you’re going to be okay.
Lee shakes his hand.
LEE
(to Phillip)
Thanks for coming, Chief.
(to Jamie)
Hey, Sport. You’re awfully quiet.
PHILLIP
That’s because he’s a dork.
LEE
Don't call your brother names.
(back to Jamie)
Are you okay?
Jamie nods his head and then throws his arms around Lee.
LEE
(to Amanda; almost a whisper)
Thanks for sharing your amazing family with me.
AMANDA
Our family.
HOLD on their smiles for a moment. . . FREEZE FRAME.
END OF ACT FOUR
TAG
EXT. ARLINGTON NATIONAL CEMETERY – DAY
Lee and Amanda are standing at Lee’s parent’s gravesite and are looking down at their headstones. There are fresh flowers at their graves.
LEE
I thought for sure I was dead. That I was going to go over the falls like Alyk. But all of a sudden, I felt this force pull me toward the river bank. I can’t explain it, Amanda.
(beat)
I don’t know. It all seemed so surreal. My parents. Your dad.
AMANDA
Maybe your subconscious was telling you to let go of the ghosts from your past. . . your parents, Dorothy. . . Sean.
(beat)
Perhaps it’s time to put the past where it belongs by burying the hatchet.
LEE
(shrugs)
Maybe.
(beat)
Then why would your dad be there?
AMANDA
Maybe it was a glimpse.
LEE
A glimpse of what?
AMANDA
I don’t know.
(beat)
Heaven?
Lee shakes his head.
LEE
No. It couldn’t have been heaven. Because you weren’t there with me. Heaven is right here with you. And there’s no place I rather be.
AMANDA
Awww.
They embrace; and . . . FREEZE FRAME
FADE OUT:
THE END
PROLOGUE
EXT. RIVERFRONT - NIGHT
UP ALONG THE BANKS OF THE RIVER
The scene opens with an exhausted LEE STETSON trying in vain to outrun ALYK VARGAS, a Hispanic man in his early 40s, very physically fit, he is gaining on Lee with every stride. Unsteady on his feet as the terrain is rocky and it’s dark, Lee trips and falls a few times skinning his knees and hands in the process. Alyk leaps onto Lee and there is a brief struggle.
STRUGGLE
Alyk loses his footing on the slippery bank, but grabbing onto Lee, the two of them tumble down the bank into the river with a splash.
RIVER
Two heads bob up and down in the SWIFT moving water.
AMANDA STETSON, who is dirty and covered in scrapes and scratches herself, runs up on the riverbank, as she reaches for Lee. He reaches up with his free hand, for Amanda’s outstretched arm but can’t quite grab it and continues floating down the river.
CLOSE ON AMANDA
AMANDA
(screams)
Lee!
QUICK CUT
ACT ONE
Graphic “48-HOURS EARLIER”
EXT. A STREET – DAY (ESTABLISHING)
We are in a high-end business district. The street is lined with shops. In the middle of the block is Ruby Reds, a nail salon.
INT. RUBY RED’S – DAY
Amanda and FRANCINE DESMOND are sitting at two pedicure stations next to each other. Dressed in robes, they both have their feet soaking in basins and seem to be enjoying their pampering. A Korean woman, RUBY, rolls on a stool in front of Francine and lifts Francine’s leg, placing it on the front of the basin tub and rubs the leg down with a towel. She then massages the leg and foot. A much younger woman, SUN JUNG, rolls up to Amanda and begins to do a manicure on Amanda’s hand. She speaks with a Korean accent. The massage chair massages Amanda’s back. She is in heaven.
AMANDA
Francine, I can’t thank you enough for this amazing gift.
FRANCINE
A bride needs to look her best on her wedding day.
AMANDA
It’s really big of you to forgive us.
FRANCINE
Who said all was forgiven? I am still mad at you two for not inviting me to your first wedding.
AMANDA
Lee and I didn’t even invite the family. We eloped. Remember?
FRANCINE
Details. Details.
AMANDA
I know we didn’t start out as friends, but I now think of you as one of my closest friends and colleagues.
FRANCINE
Quit trying to butter me up.
(beat)
It won’t work.
Amanda reaches down and pulls out a box of DeVaronna chocolate from a bag she has next to her and places it on a small table between the two ladies.
FRANCINE (continued)
Bribery on the other hand.
They both laugh and share the chocolate.
FRANCINE (continued)
I know I was a bit rough on you at the beginning, especially the first couple years. I thought you had no business being in the spy business.
AMANDA
I’ll say.
(beat; whispers)
Shouldn’t we be more discreet.
FRANCINE
Don’t worry about Ruby. She’s ‘family.’
Francine whispers something to Ruby in Korean. Ruby looks at Amanda and snickers then exits.
FRANCINE (continued)
You know Amanda, it’s probably time you recruited your own eyes and ears. You aren’t always going to be out on assignments with Lee.
AMANDA
We all need people.
FRACNINE
People leave.
AMDANA
I’m sorry about your break-up with Jonathan.
FRANCINE
Que sera, sera.
Sun Jung interrupts, talking to Amanda.
SUN JUNG
Would you like tip?
AMANDA
(confused)
Tip? We aren’t done yet.
SUN JUNG
Yes, for the wedding. French manicure nails with tip are beautiful. You look pretty.
FRANCINE
Yes, go for them, Amanda. Lee will love them.
AMANDA
Okay, sure.
Sun Jung continues to work on Amanda’s nails.
Amanda (continued)
(back to Francine)
There were plenty of months, days, years where I never thought Lee and I would ever get on the same page.
(another beat)
Our timing never seemed right.
(another beat)
And then all the interruptions.
FRANCINE
You mean, “just rehearsing?”
AMANDA
Yeah, among others.
FRANCINE
I guess it shows how far people will go for love.
AMANDA
The right guy is out there for you. You just need to be patient.
(beat)
Bumping into a stranger at a train station may have led to me finding my soulmate, but equally as important to me, it has led to an unexpected friendship.
(another beat)
But you know, Francine, in the beginning you were a real. . .
FRANCINE
You can say it, Amanda.
AMANDA
Witch.
Francine nods and then eats a piece of chocolate.
FRANCINE
But to tell you the truth, I was jealous.
AMANDA
Of me?
FRANCINE
Yes. Happy little homemaker gets paired with one of the top agents in the country, getting cases that I would have killed for, all the while, I was trying to prove myself in a man’s world.
AMANDA
Fran-cine.
FRANCINE
Don’t ‘Francine’ me. I mean, I graduated at the top of my class from Sarah Lawrence, one of the top private schools in New York. Scratched and clawed my way through the Agency, devoting years to building my career, until I became Billy’s assistant and you, although you were plucked from obscurity, you proved to be the better agent.
AMANDA
What?
FRANCINE
You proved you could have it all, family and career. And you picked up things naturally, things they don’t teach in candidate training classes; you are good at reading people, you have a unique outlook on things, and have good instincts that not only Lee has come to rely on, but Billy, and yes, me too.
AMANDA
Wow, Francine, I don’t know what to say.
FRANCINE
Repeat any of that to Lee and I will have to shoot you.
AMANDA
Wouldn’t dream of it.
(beat)
Francine, you are excellent at what you do.
FRANCINE
I know.
(beat)
This doesn’t mean I’m going to give up the barbs.
AMANDA
I wouldn’t have it any other way.
Ruby enters with two glasses of sparkling water.
FRANCINE (continued)
What should we toast to?
Amanda thinks about it for a moment.
AMANDA
How about to burying the hatchet?
AMANDA FRANCINE
(in unison)
To burying the hatchet. To burying the hatchet.
Their glasses clink; we. . .
CUT TO
CLOSE ON AXE blade striking a log. The log splits.
THE CAMERA PULLS BACK to reveal Lee chopping up firewood. He places the axe down and gathers up the kindling, before heading into the house through the back door.
EXT. KING-STETSON HOUSE – DAY
Lee walks through the backdoor.
INT. KING-STETSON HOUSE FAMILY ROOM – DAY
Lee puts the kindling into the wood box near the fireplace. He then walks to the kitchen, where we see DOTTY WEST on the telephone. She looks out of sorts as she hangs up the phone.
INT. KITCHEN
LEE
That should be enough wood to last the week. It’s supposed to be cold, with some snow squalls.
DOTTY
Thank you, Son. It’s so nice to have a man around the house again.
LEE
So, who was on phone?
DOTTY
(frustrated)
That was the florist. They aren’t going to have the flowers ready in time for the wedding. I don’t know what we were thinking having the wedding on the same weekend as Valentine’s Day.
(beat)
Well, I mean, I do know this is the one-year anniversary of yours and Amanda’s wedding, but we just didn’t have enough time to prepare for everything that needed to be done for a proper wedding.
LEE
It will be okay. Maybe we can use fake flowers.
Dotty grimaces.
DOTTY
Tacky.
LEE
Let me make a few calls. I am sure I can find someone who owes me a favor.
DOTTY
By tomorrow?
(beat)
I don’t know, Lee.
LEE
Do you trust me?
DOTTY
Yes, of course, it will be fine, perfectly fine. After all, it’s about two people who love each other sharing their special day with family and friends.
(beat)
At least the wedding invites were sent out on time. Are you sure about the number of people who were invited? It wasn’t very much.
LEE
Yes, Amanda and I are still agents, so we’re keeping it lowkey.
DOTTY
So, no announcement in the newspaper.
Lee shakes his head.
LEE
No.
DOTTY
What about a church bulletin?
(beat)
The Ladies Auxiliary put an announcement in the church bulletin. I only found out about it last night while talking to Edna Gilstrap.
LEE
(shrugs)
Not much we can do about it now. And I’m sure no one reads those things.
DOTTY
What about your uncle?
LEE
I’m not marrying my uncle.
(beat)
Besides, the Colonel is a busy man. I don’t even know where he is at the moment.
DOTTY
Well, I do.
(beat)
He called while you were out chopping wood. He sounded so nice on the phone. Not the monster you make him out to be, Lee. He said to meet him at his club. Do you need the address?
LEE
No, I know where I’m going.
Lee grabs his keys from the counter and exits.
CLOSE ON DOTTY
She shrugs.
DOTTY
Just wait until Lee finds out I invited him to the wedding.
OFF HER EXPRESSION; WE. . .
CUT TO
EXT. A STREET – DAY
Lee’s Corvette is parked against the curb in front of the Officer’s Club.
INT. ARMED FORCES OFFICER’S CLUB – DAY
COLONEL (O.C.)
Skip.
LEE (O.C.)
Hello, Sir.
TRACKING LEE AND THE MAITRE D’
A MAITRE D’ is leading Lee toward a table where COLONEL ROBERT CLAYTON is sitting in the middle of the restaurant. The Colonel is nursing a drink. Lee sits down.
MAITRE D’
(to Lee)
Can I get you anything, Sir?
LEE
I’ll have a Scotch on the rocks, too.
The Maître d’ nods his head and exits.
LEE
What brings you to D.C.?
COLONEL
Amanda’s mother sent me an invite to your wedding.
LEE
That little sneak.
COLONEL
Dotty sounded like a lovely woman on the phone.
LEE
She is, I couldn’t have asked for a better mother-in-law.
The Colonel nods his head.
The Maître d’ returns with Lee’s drink and some bruschetta.
COLONEL
I hope you don’t mind; I ordered an appetizer.
LEE
No, that’s fine. Been chopping wood all day, I built up an appetite.
They drink and eat in silence for a moment.
COLONEL
I know we have a complicated relationship.
LEE
To put it mildly.
COLONEL
Never thought I would see the day.
LEE
See what?
COLONEL
The day that you would settle down. You picked a good woman, Skip.
LEE
Thanks, Sir.
(beat)
Thank goodness she couldn’t find the man in the red hat.
COLONEL
You turned out to be a good man, despite my less than stellar parenting skills.
LEE
You did the best you could. And I know I didn’t always make it easy for you.
COLONEL
You were stubborn as hell.
(beat)
Matthew and Jennifer would be proud of the man you have become and I am proud to call you son.
Lee is stunned and he stammers.
COLONEL
Oh, I got you something.
He slides an envelope toward Lee.
LEE
Sir, you shouldn’t have.
Lee opens the envelope. Inside is a check for an undisclosed about of money.
LEE (continued)
This is too much.
He slides the check back toward his uncle.
COLONEL
No. It’s the least I could do. As you know, I never married or had children myself. Saved up a good-sized nest egg for retirement but have more than enough to live comfortably. I want to share with you and your family. Pay off the mortgage, send the boys to college, whatever you like.
Lee looks at the check again.
LEE
This would more than cover that.
(beat)
You’re going to be at the wedding tomorrow, right?
COLONEL
I wasn’t sure I was invited.
LEE
Amanda. . . and I want you there. After all, you’re family.
Colonel Robert Clayton raises his glass in a toast.
COLONEL
What should we toast to?
LEE
How about to burying the hatchet?
LEE COLONEL
(in unison)
To burying the hatchet. To burying the hatchet.
ON GLASSES
END OF ACT ONE
ACT TWO
EXT. CHURCH – DAY (ESTABLINSHING)
Cars are lined along the street in front of a small church. The Wagoneer has “Just Married” decorations covering it.
INT. CHURCH RECEPTION HALL – DAY
SIGN ON DOOR leading into the hall
CLOSE ON SIGN
“Please, sit wherever you like, there is no bride side or groom side, just one happy blended family.”
BACK TO SCENE
The reception hall is decorated in red and white balloons and hearts, and flowers. There is a small round table with a guestbook and pen, and another table with gifts for the bride and groom. There is also a long banquet table with food, candy, punch, champagne bottles, and a large wedding cake with a bride and groom on top. Around the hall are round tables where family and friends are sitting. We see EMILY AND JAMES FARNSWORTH, JOE AND CARRIE KING, LEATHERNECK, MAVIS MARSTON, AUNT LILLIAN, AUNT MINNIE, CAPTAIN CURT, JEANIE MELROSE, T.P., HARRY THORNTON, and a few other AGENTS and NEIGHBORS.
There is an aisle with red carpet down the center of the room. At the front of the room is a wedding arch also decorated with flowers. In addition, there is a keyboard off to the side. The pianist is playing traditional wedding tunes. Lee is standing on the right of the arch next to BILLY MELROSE with REVEREND MILLS in front. Lee and Billy are dressed in tuxes.
The first person to walk down the aisle is Dotty with the Colonel. She is dressed in a nice mother-of-the-bride dress, while he is dressed in dress blues.
CLOSE ON LEE
He is all smiles.
Once Dotty and the Colonel reach the front, they split up and sit down at tables closest to the arch. Dotty sits down next to Captain Curt, who has been taking photos of the wedding with Jamie’s camera.
The next person down the aisle is Francine. She is dressed in a black bridesmaid’s dress and carrying a bouquet of flowers.
ON FRANCINE
Walking down the aisle, smiling.
ON LEE
He winks at Francine.
ON CONGREGATION
Then the “Wedding March” begins to play and those in attendance all stand.
CLOSE ON AMANDA
Amanda walks down the aisle with PHILLIP and JAMIE KING on each side of her; they are dressed in tuxes. It’s a picture-perfect moment.
PAN AS THEY COME DOWN THE AISLE
She walks down the aisle toward Lee.
ON LEE
He can’t believe how beautiful she looks all dressed in a traditional white wedding dress.
ON AMANDA
Amanda reaches the front of the wedding arch. Both Phillip and Jamie kiss her cheek. She whispers, “Love you” to the boys and they step back. Amanda hands Francine her wedding bouquet.
ON LEE AND AMANDA
Lee takes both Amanda’s hands as they stand in front of Reverend Mills. They share a look that lingers for a long moment.
LEE
(whispers)
You look beautiful.
Amanda blushes.
ON REVEREND MILLS
REVEREND MILLS
Dearly beloved, we are gathered here today in the presence of these witnesses to join Amanda King and Lee Stetson in holy matrimony. Marriage is not to be entered into lightly, but reverently, passionately, lovingly, and solemnly. Lee and Amanda come now to be joined.
(beat)
Lee, take Amanda’s hands.
(another beat)
Well, I guess we can skip that part.
There is a brief chuckle as everyone sees Lee is already holding Amanda’s hands.
PAN THE CONGERGATION
BACK ON REVEREND MILLS
REVEREND MILLS (continued)
Who gives this woman to be wed?
PHILLIP JAMIE
(in unison)
We do. We do.
They then go to sit with their Grandma. Jamie takes the camera from Curt and starts to take pictures.
REVEREND MILLS
Do you, Lee, take Amanda to be your wife?
LEE
I do.
REVEREND MILLS
Do you, Amanda, take Lee to be your husband?
AMANDA
I sure do.
ON DOTTY AND CAPTAIN CURT
She is dabbing her eyes; Captain Curt squeezes her hand.
REVEREND MILLS
(to Lee)
Repeat after me.
(LEE repeats:)
I, Lee... take thee, Amanda... to be my lawful wedded wife... to have and to hold from this day forward... for better or worse...for richer or poorer... in sickness and in health... to love and to cherish... for all the days of our lives.
Lee and Amanda stare into each other's eyes.
REVEREND MILLS
(to Amanda)
(AMANDA repeats:)
I, Amanda... take thee, Lee... to be my lawful wedded husband... to have and to hold from this day forward... for better or worse... for richer or poorer... in sickness and in health... to love and to cherish... for all the days of our lives.
Amanda holds Lee closer.
REVEREND MILLS (continued)
Now the rings.
Lee takes the rings from Billy.
REVEREND MILLS (continued)
(to Lee)
Put the ring on her finger... say these words: This ring I give thee in token and pledge of my constant faith and devotion.
Lee puts the ring for her on Amanda's finger, saying:
LEE
This ring I give thee in token and pledge of my constant faith and devotion.
REVEREND MILLS
(to Amanda)
Now, give him your ring, saying: This ring I give thee in token and pledge of my constant faith and devotion.
Billy hands Lee the ring, which Lee gives to Amanda. Amanda puts the ring on Lee's finger, saying:
AMANDA
This ring I give thee in token and - pledge of my constant faith and devotion.
REVEREND MILLS
By the power vested in me by the statutes of the Commonwealth of Virginia, I now pronounce you husband and wife.
(smiling)
You may kiss the bride.
CLOSE ON LEE AND AMANDA
They kiss.
The congregation claps.
REVEREND MILLS
I present to you, Mr. and Mrs. Stetson.
Lee and Amanda walk down the aisle hand in hand, and out the front door, to much whoop and holler.
QUICK CUT
INT. RECEPETION HALL
Guests all sitting around, enjoying their time and company. Lee and Amanda milling around thanking those who came to their wedding. Music montage (Carpenters “I Won’t Last A Day Without You”) of scenes from the reception; Jamie taking photos, cutting the cake with Lee smashing cake on Amanda’s face, mouthing, “turnaround is fair play,” Amanda throwing the wedding bouquet with Francine catching it, and Lee and Amanda dancing.
INSERT PHOTO SNAPSHOTS of the wedding party.
BACK TO SCENE
INT. RECEPTION HALL
Dotty is dancing with Lee. Music plays in the background.
DOTTY
Oh, Lee. The flowers were just glorious, absolutely glorious. How did you ever manage it?
LEE
(in a low voice)
I’m a spy, remember? We have our ways.
Dotty hesitates, not sure how to respond and then gives him a big hug.
DOTTY
Love you, Son.
LEE
Thanks. . . Mother. Thanks for putting this all together. You planned a beautiful wedding.
DOTTY
Thanks for trusting me enough to plan this for you and Amanda. It was my gift to you.
LEE
You already gave me the greatest gift I could ever ask for. Thanks for raising such an amazing daughter.
DOTTY
I couldn’t have done it without Carl.
(beat; sighs)
I just wish he could have been here for the wedding. He would have adored you.
LEE
And I wish you could have known my parents.
DOTTY
I am sure they were as wonderful as you.
(beat)
Now, get to work on giving me another grandchild.
Lee’s mouth is agape. Amanda enters the SHOT and sees Lee.
AMANDA
Mother, what did you do? What did you say to him?
DOTTY
Need to know, Dear. Need to know.
She laughs.
ON BILLY
Billy stands up and taps a champagne glass to get the attention of those in the room.
BILLY
Ladies and gentleman, thank you all for coming out today to celebrate the wedding of two people we all know and love, Amanda and Lee!
(beat)
When I first met Amanda, I knew there was something special about her. And that she was the right woman for Lee. Even if it hadn’t dawned on him quite yet. I watched them change from being reluctant partners, to becoming friends, and finally falling in love. . . Lee would deny it until the cows came home, but it was obvious to everyone around just how smitten he was with her. He changed for the better without even realizing it. And we all could see it. They are quite the team, professionally, as well as, personally.
ON AUNT LILLIAN
AUNT LILLIAN
(to herself)
Professionally? Why all the hullabaloo? They’re documentary film producers.
She shakes her head.
ON BILLY
He raises his glass and everyone else in the room raises their glasses.
BILLY (continued)
To Lee and Amanda. I’m glad I thought of putting you two together.
EVERYONE
To Lee and Amanda.
They all drink.
CUT TO
INT. HOTEL ROOM – DAY
Typical small hotel room with not much more than a bed, a dresser with a television set and a table with a couple chairs. On the table we see a copy of a church bulletin, it’s opened to the wedding announcement page.
WE see a masculine hand (Alyk Vargas), holding up a knife. He plunges the knife through the bulletin and into the photo of Lee and Amanda. He speaks with just a hint of a Cuban accent.
ON LEE AND AMANDA’S ANNOUCEMENT
Knife through Lee’s head.
ALYK (O.C.)
(In Cuban)
Morir Espantapájaros.
(“Die Scarecrow”)
HOLD ON KNIFE. . .
CUT TO
INT. LEE AND AMANDA’S HOTEL ROOM – DAY
A nice appointed hotel suite; there is a king size bed, small sofa, dressing table, and writing desk. FOCUS ON THE BED. Sunlight filtering through the drapes as the CAMERA finds the couple sleeping in bed. Amanda is in bed on her side, dressed in a red nightie. Her eyes flicker open, she sighs contentedly and stirs. After a beat, Lee rolls over putting his arm around her, he pulls her close. He runs his fingers up and down her arm.
LEE
Good morning, Mrs. Stetson.
AMANDA
Good morning to you too, Mr. Stetson.
She turns to snuggle against him.
They kiss.
LEE
Having a good time?
AMANDA
Mm-hmm. New York was a great idea for our honeymoon. Lots to see, things to do, places to go. . .
(beat; smiling)
Although, we haven’t gone to very many places for some reason.
He smiles back at her.
They kiss.
LEE
Well, we could continue to lay around in bed all day.
He winks.
LEE (continued)
Or, I have planned a day of ice skating at Central Park, a horse drawn carriage ride in the afternoon, dinner at Tavern on the Green, and then a Broadway show.
AMANDA
A Broadway show! Oh Lee. . .which one?
LEE
Phantom of the Opera.
AMANDA
(gasps)
That’s the hottest ticket in town.
(beat)
Oh, Lee, you spoil me. You didn’t have to do all that for me.
LEE
I know, I wanted this honeymoon to be special. To make up for our disastrous first one.
AMANDA
(sighs)
California was not your fault.
Lee is quiet for a moment.
LEE
Thanks for letting me plan the honeymoon, it means a lot that you trusted me with it.
AMANDA
Of course I trust you, Sweetheart.
They kiss.
LEE
We better get going. Do you want to shower first or should I?
He starts to get up, but she holds him back.
LEE (continued)
It’s nearly ten, we’ve got to shower, get some breakfast.
He gives up and falls back into bed.
AMANDA
In about an hour.
They embrace and smile at each other.
AMANDA (continued)
Let’s skip the ice skating.
They throw the comforter over their heads.
CUT TO
Graphic: “48-HOURS EARILER”
EXT. NATIONAL AIRPORT (FLASHBACK) – DAY (STOCK)
A jumbo jet comes in for a landing.
EXT. NATIONAL AIRPORT – DAY (STOCK)
WIDE SHOT of the terminal building.
INT. NATIONAL AIRPORT TERMINAL – DAY
FRANK DUFFY and rookie DENNIS PARK are walking through the airport terminal. A crowd of commuters hurriedly rush to catch their flights. We also see in the background loved ones being reunited and hugs exchanged.
The two men walk along the floor of the busy terminal, HOLD as they stop. FOLLOW as they resume walking.
DENNIS
This assignment bites. Where’s the action? I need some excitement, some adventure. . . maybe a surprise or two.
FRANK
Be careful what you wish for.
(beat)
They can’t all be plum assignments, Agent Parks.
(another beat)
Well, I’ve got to go use the little boys’ room.
(another beat)
Do you think you can handle the surveillance job we have been assigned to do for a few minutes alone?
DENNIS
Pffftttt.
Frank heads toward the restrooms.
ON DENNIS
He is shaking his head. He then notices a beautiful Hispanic woman walking his way.
DENNIS
Hello, Señorita.
She ignores him and keeps walking, so Dennis jogs up to her.
WE see they are talking and flirting shamelessly, but hear no dialogue. In the foreground, stepping off the jetway and through the airport door is Alyk Vargas. Dennis, of course, does not see him.
ON ALYK
Seeing the airport surveillance babysitters are not watching him, he creeps toward the restrooms.
TRACKING Alyk as he walks into the restroom about the same time Frank Duffy comes around the corner of the restroom wall. They just miss each other.
QUICK CUT
EXT. A STREET IN FRONT OF THE MAJESTIC THEATER (REAL TIME) – NIGHT
Broadway, busy New York street scene. Patrons coming out of the theater. On the theater exterior wall is a large “Phantom of the Opera” banner.
Lee and Amanda come out of the theater doors and walk down the street hand in hand. It is lightly snowing.
EXT. COFFEE SHOP – CONTINUOUS ACTION
WE FOLLOW as they walk down the street toward the coffee shop.
LEE
Could I interest you in a cup of coffee before we head back to the hotel?
AMANDA
That would be nice.
LEE
So, what did you think of the show?
AMANDA
Wow. Just wow.
(beat)
The scenery. . . the costumes. . . the music. . . the imagery
. . . did I mention the music?
(another beat)
I don’t think I can find the accurate words to describe it.
LEE
(smirks)
Wow, Amanda Stetson at a loss for words.
Amanda gently slugs him on the arm.
Lee opens the door to the coffee shop, and they enter. We TILT UP to a sign which reads: “Hot Shots Coffee Shop.”
INT. COFFEE SHOP – NIGHT
Lee and Amanda enter the coffee shop, it’s one of those trendy, open all night shops with overpriced coffee. Lee seats Amanda and then sits down. They are sitting at a table by the window. There is a menu stand on the table.
A WAITRESS arrives at their table.
WAITRESS
What can I get for you?
Lee looks at the menu.
LEE
Just a cup of coffee, but I don’t see it here.
WAITRESS
Hot Shots is a specialty coffee shop, Sir, but you can order just a cup of coffee. May I suggest an espresso, it’s the newest rage.
AMANDA
Oh, I heard about those. Caffeine rush, from what I understand. I’d be up all night.
Lee gives Amanda a seductive look.
LEE
Anything wrong with that?
Amanda blushes.
LEE (continued)
The lady will have an espresso and I’ll have a cup of coffee; cream, no sugar.
The waitress exits.
AMANDA
Did you enjoy the show, Sweetheart?
LEE
I too was swept away with the imagery and music, but not too sure about the storyline.
(beat)
I mean, I felt sorry for the phantom, a broken man, being born disfigured, bullied, thrust into hiding, but preying on a young girl like that, leading her to believe he was her guardian, her angel of the music, that her deceased father had sent to her.
AMANDA
Well, it certainly was an interesting love triangle.
(beat)
I guess it just goes to show, how far people will go for love.
Lee nods.
LEE
I could have done without those scenes in the catacombs under the opera house.
AMANDA
Does this mean we’ll have to sleep with the lights on?
LEE
No, I have you to protect me.
Lee and Amanda share a smile.
The camera PANS to the far corner of the coffee shop, we see a man sitting at the table, reading a newspaper. He drops the paper, just far enough that we see it is Alyk Vargas, he has followed Lee and Amanda to New York.
CLOSE ON ALYK VARGAS; WE. . .
CUT TO
EXT. AGENCY – ESTABLINSHING – NIGHT (STOCK)
INT. BULLPEN – NIGHT
A skeleton crew working late at the Agency. A lone MARINE stands guard at the bullpen doors, RAGMOP is mopping the hallway outside the bullpen.
Through the windows we see Francine running down the hallway, almost slipping on the wet floor. She runs over the Billy’s office and opens the door, without even knocking.
INT. BILLY’S OFFICE
Billy is sitting at his desk, working late, reading files. The only light on is a small desk lamp. He is slightly startled by Francine’s entrance.
BILLY
(recovering)
What is it, Francine?
FRANCINE
I don’t know what happened. Someone in airport surveillance really screwed up but look who came into National Airport two days ago.
She hands Billy a photograph.
ON PHOTO
It is a picture of Alyk Vargas.
BACK TO SCENE
BILLY
Damn! Do we at least know his whereabouts now?
FRANCINE
No.
(beat)
What about Lee and Amanda?
BILLY
They’re on their honeymoon.
FRANCINE
I know that!
(beat)
I’m sorry, Billy. I’m just worried about Lee, as well as Amanda.
BILLY
As am I. However, Lee did not give me his itinerary for his honeymoon, and I assume Amanda didn’t tell you either.
Francine shakes her head.
Billy picks up the phone.
BILLY (continued)
Let me give Mrs. West a call. Hopefully, she knows how to reach them.
(beat)
And get me the two agents who were on airport surveillance that day in front of me pronto.
Francine quickly exits.
ON Billy’s grim face. . .
END OF ACT TWO
ACT THREE
EXT. NIAGARA FALLS – ESTABLISHING – DAY
Ariel shots of American Falls, Bridal Veil, and Niagara Falls (STOCK). FULL SHOT Niagara Falls, and then CLOSEUP water falling over the falls.
EXT. NIAGARA FALLS STATE PARK – DAY
CLOSE ON STATE PARK SIGN – ESTABLISHING
Lee and Amanda stand at the observation deck. They are enjoying the view. There is light snow on the ground, a beautiful winter scene. The observation deck is crowded with tourists. A couple, not looking where they are going, almost run into Lee and Amanda. Lee pulls Amanda close to him.
LEE
I’m almost sorry I suggested Niagara Falls for our honeymoon. I didn’t think it would be this busy.
AMANDA
You didn’t take into account, it’s the week after Valentine’s Day.
LEE
I guess not. You aren’t sorry?
AMANDA
No, it was a very romantic idea. After all, it’s the honeymoon capital of the world.
LEE
I should have chosen Pine Top; night skiing, indoor tennis, snowmobiling, snuggling by a roaring fire, drinking hot cider.
AMANDA
You really need to stop doing that.
LEE
I know. I just wanted this week to be perfect.
AMANDA
And it is. I’m having a great time because I’m here with you, isn’t that all that really matters?
LEE
Yeah.
AMANDA
Yeah.
LEE
Tomorrow I figure we’ll go antiquing, do some hiking, visit the winery, a little drinking, a little dining, a little romance.
(he winks; beat)
Maybe we can come back someday when the Maid of the Mist is operating. Bring the boys, I’m sure they would love it.
AMANDA
Did you know Niagara Falls State Park is the oldest state park in America?
LEE
Have you been here before?
AMANDA
Once. I think I was around ten or eleven and was on a road trip with my parents visiting upstate New York.
(beat)
You?
LEE
A handful of times.
AMANDA
(teasingly)
Old girlfriends?
LEE
I probably deserve that, but no. Niagara Falls, with its proximity to the United States and the Canadian border, is a popular destination for defectors.
AMANDA
I should have known, work.
Lee looks lovingly into Amanda’s eyes.
LEE
I promise no work this time.
He pulls Amanda into a hug and they rock back and forth for a few minutes. Something seems off to Amanda.
AMANDA
Lee, is something wrong? Are you okay?
He doesn’t answer right away.
LEE
I have a feeling; I can’t quite put my finger on it. Just a sense of dread.
Amanda pulls back and looks at her husband.
AMANDA
I’m here. I’m right here. I’m not going anywhere.
LEE
I love you.
AMANDA
Good, because I love you, too.
LEE
Did you like our little side trip to Tiffany’s?
Amanda touches the new earrings she is wearing.
AMANDA
They’re beautiful.
LEE
Not half as beautiful as you.
They kiss and then wrap themselves into each other’s arms.
Lee is suddenly distracted by a man he sees in the distance. It’s Alyk Vargas. He blinks for a second, not believing what he is seeing. Amanda looks in the direction Lee is looking in. Alyk is gone, disappeared into the crowd. Lee looks like he has seen a ghost.
We hear Lee’s voice (V.O.) as a distant memory.
LEE (V.O.)
". . . A partner's a guy who laughs at your jokes, loans you his socks, and. . . one day. . . takes a bullet in the head for you."
AMANDA
(concerned)
Lee, answer me.
Lee blinks a couple times and then looks at Amanda.
AMANDA (continued)
What’s wrong?
LEE
Nothing. I thought. . . I thought I saw. . . Never mind.
AMANDA
Don’t you dare shut me out. I’m your wife. . . talk to me.
Lee nods his head.
QUICK CUT
EXT. PARK BENCH – DAY
Lee and Amanda are sitting on a park bench.
AMANDA
Who did you think you saw?
Lee blows out a deep breath.
LEE
The man who killed Sean Rivers.
Amanda looks at him blankly. The name has no recognition for her.
LEE (continued)
Maybe it’s time I told you about my old partner.
AMANDA
Only if you’re ready.
LEE
Yeah, I think I am.
(beat)
Years ago, before I recruited you, I had a partner, Sean Rivers, codename Watchman. We gave Billy nothing but fits.
(another beat; laughs)
Why do you think Billy started taking antacids?
(another beat)
We were very much alike, Sean and I. We both grew up military brats, moving around a lot, both served in Vietnam.
(another beat; clearing his throat)
We both loved the ladies. He had been married and divorced twice, but that didn’t stop him from always searching for the third Mrs. Rivers.
AMANDA
I think I know the type.
LEE
We had a great track record that couldn’t be beat, that was until you came along.
AMANDA
(chuckling)
Are you talking work or the ladies?
(beat)
Go on.
Amanda encourages him to continue.
LEE
Do you remember the D.C. bomber?
AMANDA
You were assigned to that case?
LEE
Well, several law enforcement agencies were involved in the investigation. The Agency got involved once a federal judge was targeted and killed. The bomb was nasty. Blew Justice Watts through his office door, which was torn off its hinges. The bomb squad determined the force of the blast was equal to 1 1/2 to 2 sticks of dynamite.
AMANDA
Oh, my gosh.
LEE
Yeah.
(beat)
Watchman and I received a credible tip, and it panned out.
EXT. ALLEY – FLASHBACK – DAY
An alley in D.C. somewhere. Lee’s memory is in black and white, somewhat distorted. We hear Lee’s voice over the action. We meet SEAN RIVERS, a charismatic black man, who is about the same size and body build as Lee.
INT. AGENCY SEDAN
Lee and Sean are in the car. Sean is in the driver’s seat; Lee is in the passenger seat. Lee is on the CB radio, calling for backup.
LEE (V.O.)
We had him dead to rights pinned in an alley down by the warehouse district. We had called for backup, but Vargas wasn’t going to go down without a fight.
EXT. ALLEY
A firefight breaks out. Sean and Lee use the Agency sedan as cover.
LEE (V.O.)
A firefight broke out, and shots were exchanged. Sean and I were using the Agency sedan as cover.
ANGLE SEDAN AND ALLEY
In the background, we see Alyk Vargas pull his WIFE out of their car and puts her in front of him. She is screaming, terrified.
LEE (V.O.)
Next thing we know, Vargas pulled his wife out of the car and was using her as a human shield.
ANGLE ON DUMPSTER AND ALYK VARGAS AND HIS WIFE
A stray bullet ricochets off a dumpster and she collapses to the ground.
LEE (V.O.)
A stray bullet ricocheted off a dumpster and she was hit. She later died of her injuries. With nothing to lose, Vargas charged after me.
CLOSE ON LEE
WE see Lee dropping the empty clip and trying to reload. Then we see Alyk Vargas raising his gun.
LEE (V.O.)
Unfortunately, my clip was empty, and as I was reloading my gun, he appeared almost on top of me. He fired his weapon at pointblank range. I thought I was dead, when out of nowhere, Sean leaped between Vargas and me, taking the bullet that was meant for me. The bullet went through Sean and hit me too.
PULL BACK TO REVEAL SEAN
Sean mouths “No!” while leaping between Alyk and Lee. Sean recoils after being shot and Lee and Sean both fall to the ground.
DISSOLVE TO
EXT. PARK BENCH – DAY (REAL TIME)
LEE (continued)
Vargas escaped before backup arrived. He flew back to Cuba, where he was hailed a hero and given a hero’s return. Because of the political climate between our two counties, if I were to step foot into Cuba, I would be shot on sight or hung without a trial for being an American spy.
CLOSE ON AMANDA
LEE (O.C.)
Orlando Gravas keeps an eye on him, and I receive reports from time to time. Unfortunately, the bas**** is untouchable.
Amanda takes Lee’s hand and squeezes it. They are both silent for a while.
AMANDA
But why would Vargas risk capture after all these years?
LEE
Revenge.
(beat)
The bullet that ricocheted off the dumpster was fired from my gun.
(another beat)
I killed his wife.
CLOSE ON AMANDA; OFF HER LOOK, WE. . .
EXT. LEISURE INN – ESTABLISHING – DAY
TRACKING, FOLLOWING LEE AND AMANDA as they enter the bed and breakfast hotel. It’s a nice B&B with views of the river rapids.
INT. LEISURE INN LOBBY - DAY
There is a check-in desk in front of them. The Bed and Breakfast manager JEREMY WOODS grabs their attention.
JEREMY WOODS
Mr. Stetson.
LEE
Yes.
JEREMY WOODS
A Mr. Melrose has called here twice looking for you.
He hands Lee the phone messages.
LEE
Thanks.
(beat)
Do you have a payphone?
JEREMY WOODS
Yes, of course, Sir.
The manager points in the direction of the phone, which is in a corner of the lobby.
INT. LOBBY – PAYPHONE
Lee and Amanda walk over to the phone and Lee makes a call.
BILLY (V.O.)
(filtered)
Lee?
LEE
Yeah.
INTERCUT:
INT. BILLY’S OFFICE
BILLY
Thank, God. Is Amanda with you?
LEE
She’s standing right next to me.
BILLY LEE
(in unison)
Alyk Vargas. . . Alyk Vargas. . .
LEE
Damn! Then it was him I saw at the park today.
BILLY
I want you and Amanda to stay where you are. I’ll be sending you a watchdog. Francine and I will be there in a few hours to bring you guys back to D.C.
LEE
We don’t need babysitters.
BILLY
This isn’t open for debate, Scarecrow.
LEE
Yeah, yeah, see you soon.
Lee hangs up the phone.
LEE (continued)
Billy wants us to stay put for now.
CUT TO
INT. WINE BAR – NIGHT
Lee and Amanda are drinking cocktails at a bar. The restaurant has rich mahogany paneling and a roaring wood fire in a stone fireplace. They are sitting at a table, when two gentlemen approach them. The agents are THOMAS COLE AND DAVID REIMANN.
AGENT COLE
Scarecrow?
LEE
Yeah.
Lee stands up and shakes both agents’ hands.
LEE
Lee Stetson, and this is my wife, Amanda.
AGENT REIMANN
Pleased to meet you, although wish it were under better circumstances.
LEE
You got here quick.
AGENT REIMANN
We are associated with the New York office, but stationed at a satellite office in Buffalo.
Lee puts some money down on the table and the four of them walk toward the lobby.
PAN THEM WALKING INTO THE LOBBY
INT. LOBBY – NIGHT
JEREMY WOODS
Oh, Mr. Stetson, this package just arrived for you.
The manager is about to push the package toward them.
ALL
(yelling)
No!! Don’t touch it!!
OFF JERMEY’S SHOCKED EXPRESSION. . .
END OF ACT THREE
ACT FOUR
EXT. LEISURE INN ENTRANCE AND PARKING LOT – NIGHT
The Bed and Breakfast has been vacated and travelers are milling around at a safe distance, trying to get a glimpse of what is going on.
Agents Cole and Reimann walk toward Lee and Amanda.
AGENT COLE
You can relax. The bomb squad blew up the package.
(beat)
You killed a toaster.
AGENT REIMANN
You are now safe from renegade wedding gifts.
AMANDA
No one knows we’re here, so no wedding gifts would have been delivered.
LEE
He’s toying with us.
ON AMANDA
In the background, she can see a very agitated Bed and Breakfast manager.
AMANDA
Well, I better go mend some fences.
She exits.
Agent Cole takes out a picture of Alyk Vargas from his coat jacket pocket.
AGENT COLE
Is this the man we are keeping an eye out for?
LEE
Yeah. That picture is from a few years ago, he’s probably put on at least another ten pounds or so, but that’s him.
AGENT REIMANN
Well, you have nothing to worry about. Thomas and I will be parked out front watching the hotel entrance until your colleagues get here. We understand all other access points require a guest key.
(beat)
Let us know if you need anything.
LEE
Okay. Just be careful, Alyk Vargas is ruthless.
AGENT COLE
Appreciate the concern, Scarecrow, but we aren't rookies.
AGENT REIMANN
Good night.
LEE
Yeah, goodnight.
FOLLOW LEE AS HE GOES OFF SEARCHING FOR AMANDA.
CUT TO
EXT. LEISURE INN ENTRANCE – NIGHT
Then PAN OFF TO a parked car.
INT. NONSESCRIPT SEDAN – NIGHT
Agents Cole and Reimann are sitting in the car, continuing their surveillance.
From the shadows WE see a remote-control truck cruising down the parking lot.
EXT. BUSHES – NIGHT
Hiding in the bushes near the hotel entrance is Alyk Vargas. He has a remote-control device in his hand, controlling the truck.
ON TRUCK
As it goes under the sedan.
UNDERCARRIAGE OF THE CAR
Toy truck under the car.
BACK ON THE SEDAN
David Reimann grabs a thermos and pours himself a cup of coffee. The agents are both unaware of the danger.
CLOSE ON ALYK
He pushes a remote detonator, as he smiles.
In the background we see the Agency sedan EXPLODE in a massive fireball that does damage to the Bed and Breakfast entrance, too.
CUT TO
EXT. LEISURE INN PARKING LOT – NIGHT
Guests have been forced to exit the Bed and Breakfast for the second time of the evening. They are milling around outside in the parking lot, dressed in nightgowns, pajamas, and robes, etc.
A firetruck is parked outside the hotel. FIREMEN are putting out the flames of the burning car.
CLOSE ON LEE AND AMANDA
They stand in stunned silence, saddened by the death of their fellow agents.
Lee walks over to talk to the fire CAPTAIN, who grabs his attention.
Standing all alone now, a man approaches Amanda. The man is Alyk Vargas, but Amanda is not aware of this.
ALYK
Excuse me, Agent Stetson.
AMANDA
Yes?
The man flashes some identification.
ALYK
Detective Rodiguez.
AMANDA
What can I do for you, Detective Rodiguez?
ALYK
I need to ask you a few questions.
ON LEE as he walks back to Amanda, HOLD as he stops.
NEW ANGLE
Lees sees that Amanda is talking to someone, but can only see this person from the back. However, instincts tell him something is not right.
FOLLOW Lee as he resumes walking, and removes his gun from his holster.
BACK on ALYK AND AMANDA
Alyk Vargas spins Amanda around, pulling her to him. He holds a knife across Amanda’s neck.
Lee has his gun trained on Vargas.
LEE
Don’t hurt her. It’s me you want.
ALYK
Not really.
(beat)
An eye for an eye, a life for a life. . .
(another beat)
. . . a wife for a wife.
CLOSE ON LEE
Lee’s eyes are cold.
BACK TO ALYK
He smells Amanda’s hair.
ALYK
I’ve been so lonely since I lost my wife, maybe I will spare her and kill you instead.
LEE
Come and get me.
ALYK
Yes, I think I will. But I think I shall make this into a game instead.
(beat)
Drop your gun and kick it away.
Lee does not comply, so Alyk Vargas digs the knife deeper into Amanda’s neck.
CLOSE ON AMANDA
Amanda grimaces.
ON LEE
LEE
Okay, okay.
Lee drops his gun and kicks it away.
ALYK
Very good, Scarecrow.
ON BAG
Alyk Vargas points at a small duffle bag he brought.
BACK TO ALYK
ALYK (continued)
In the front pocket you will find some rope. Tie up your wife to that tree.
He points to a tree, as he shoves Amanda forward. Amanda loses her footing, and she falls to the ground. Lee helps her up. In that brief moment, Vargas has had enough time to pick up Lee’s gun.
FOLLOW LEE AND AMANDA
They walk up to the tree. Lee manages a weak smile, “telling” her it will be all right. He leans her against the tree and ties her wrists behind her. She nods back at him.
ALYK (continued)
Make sure it’s good and tight.
Lee has completed the task.
Alyk Vargas is pointing a gun at Lee.
ALYK (continued)
I think this calls for an old fashioned hunt. The part of the hunter will be played by me. While the part of the prey will be played by you.
(beat)
Not good sportsmanship if I don’t give you a running start, so you have a 60-second head start.
Alyk Vargas checks his watch.
ALYK (continued)
Starting right now.
Lee takes off running.
ALYK
One. . . two. . . three. . . four. . . five. . .
He checks Amanda’s hands and sees she is still tied up tight to the tree.
ALYK
Where was I?
(beat)
Never mind. Here’s where the fun begins.
(another beat; yelling)
Ready or not, here I come.
Alyk Vargas runs toward the direction Lee took off from.
ANOTHER ANGLE
We see Amanda struggling against the ropes. She gets a hand free. No longer tied up, she runs toward Lee and Alyk.
EXT. RIVERFRONT - NIGHT
UP ALONG THE BANKS OF THE NIAGARA RIVER
Lee is running along the river bank. He trips and falls and then gets up and runs again. Alyk Vargas has caught up to him and FIRES off a shot at Lee. It misses widely. He FIRES the gun again.
ON TREE
The bullet hits the tree. SPLINTERS where it made contact.
ON LEE
A bullet wizzes past Lee. Too close for Lee’s confront.
ON ALYK
It’s obvious he’s not a sharp shooter and has now realized it’s hard to hit a moving target. He tries to fire once more, but the gun jams. He throws the gun down in disgust.
Alyk Vargas gains on Lee and then leaps onto Lee and there is a brief struggle.
STRUGGLE
Alyk Vargas loses his footing on the slippery bank, but grabbing onto Lee, the two of them tumble down the bank into the river with a splash.
RIVER
Two heads bob up and down in the SWIFT moving water.
ON AMANDA
She is at the edge of the river and she reaches for Lee. He reaches up with his free hand, for Amanda’s outstretched arm but can’t quite grab it and continues floating down the river.
CLOSE ON AMANDA
AMANDA
(screams)
Lee!
She continues to run down the river bank and sees Lee struggling to get up onto the bank. She pulls him out of the water. Exhausted and freezing as hypothermia has begun to set in, Lee struggles to stay awake.
AMANDA
I’ve got you.
LEE
Rest. Yes, need to rest for just a minute.
AMANDA
No, don’t go to sleep.
In the background, we hear voices.
BILLY (O.C.)
Lee. Amanda.
AMANDA
Over here, Sir.
(to Lee)
Stay with me, you hear.
LEE
Love--
Lee’s eyes close.
DISSOLVE TO
INT. LEE’S CHILDHOOD HOME (LEE’S DREAM) – DAY
Lee finds himself at the bottom of the stairs in the basement of his old childhood home. The scene is in black and white.
ON DOOR
The door opens and MATTHEW STETSON pops his head through the door opening.
MATTHEW
Lee, you know you aren’t supposed to be down there. You know the basement is off limits.
Lee is stunned to find himself in a dream he has had many times before, but this time, instead of a little boy, he’s a grown man.
LEE
(not recognizing his own voice)
I know, it’s supposed to be a secret.
JENNIFER (O.S.)
Lee, where are you?
JENNIFER STETSON is standing next to Matthew.
LEE
Mum!
Matthew and Jennifer smile warmly at Lee.
LEE (continued)
How?
JENNIFER
We’ve always been here; we never left you. We are so proud of you, Lee.
(beat)
Amanda is a very special woman. We are glad you found each other.
Lee climbs the stairs.
MATTHEW
We love you son, and look forward to the day we are reunited.
(beat)
But first, there’s someone here who would like to meet you.
They open the door further and Lee steps through. . .
EXT. TRAIN STATION PLATFORM (DREAM)
This sequence is done all in white, distorted. There is something vaguely familiar about this small Amtrak train station. A crowd of commuters hurriedly rush along the platform toward their trains. Trains arrive and depart.
LEE COMES INTO FRAME
He is dressed in a white waiter’s uniform and carrying a small red box. Everything is white, except for the box.
EXT. BENCH – DAY
In the foreground, Lee sees a man sitting alone on a bench. Although others are around him, they appear not to pay attention to him, but this man sees him.
FOLLOW as Lee walks over to this man. There is a familiar feel about him.
LEE
I know you, don’t I?
The man holds out his hand, which Lee shakes. The man is CARL WEST, he has brown eyes and thick chestnut brown hair. It’s obvious where Amanda got her looks.
CARL
The name’s Carl Franklin West.
Lee shakes the man’s hand more firmly and friendly.
LEE
Sir.
Carl motions for Lee to walk with him.
FOLLOW LEE AND CARL WALKING DOWN THE TRAIN PLATFORM
CARL
Thanks for taking such good care of my Panda and Dotty and Phillip and Jamie for me.
LEE
It’s been my pleasure, Sir.
CARL
I’m glad you came into their lives when they needed you.
LEE
Don’t take this personally, but you are dead. . .
Carl nods his head.
LEE
. . . and so are my parents. . . then, am I dead, too?
CARL
Think of it more as a space between life and death.
EXT. TRAIN
They reach the train and Carl steps up onto the landing.
LEE
Can I ask you a question?
CARL
(chuckling)
You already did?
They share a smile.
LEE
Is this for real? Or just my imagination? And is this heaven?
CARL
That’s three questions.
(beat)
Does it feel or look like heaven to you?
LEE
No, it looks more like the train station in Arlington, Virginia where I gave the package to Amanda.
(beat)
You didn’t answer the question of is it real or just his imagination.
CARL
(not a question)
Hmm.
(beat)
Well Son, it’s time for me to go.
The train starts to edge forward.
INT. TRAIN – CARL
CARL (continued)
It’s not your time to take that final journey.
Carl disappears into the car.
DISSOLVE TO
INT. HOSPITAL ROOM (LEE'S POINT OF VIEW)- DAY
As the room swirls into focus and then back out of focus again, then snaps into a clear image. Lee's gaze comes to rest on Amanda, smiling at him. She looks exhausted.
LEE
(trying to find his voice)
Hi.
AMANDA
Hi there, yourself.
(beat)
You gave us quite the scare.
LEE
Feels like déjà vu all over again. What is it about our weddings that bring about life threatening situations?
AMANDA
Just lucky, I guess.
LEE
Vargas?
AMANDA
Dead. He went over the falls. They recovered his body this morning.
LEE
Can’t say I will miss him.
AMANDA
Um-mmm.
(beat)
Are you okay?
LEE
Cold. Numb.
AMANDA
Probably just the hypothermia. You’ll feel better in time.
She kisses him tenderly on the lips.
LEE
I don’t know, Amanda, I thought I would feel different once I caught Sean’s killer. . .
(beat)
I don’t think I’ll ever be able to fully let go, but I think I’m okay.
DIFFERENT ANGLE ON HOSPITAL ROOM DOOR
Billy enters the room.
BILLY
Well, well, well, Scarecrow, you appear to be no worse for the wear.
Lee sits up a little straighter, and Amanda fixes his pillow for him and fusses over him.
BILLY (continued)
Amanda’s already told you about Alyk Vargas.
LEE
Yes.
(beat)
I was just telling her I thought I would feel different.
Billy nods his head.
BILLY
Understandable. Glad we finally caught the man who was reasonable for one agent’s death and the attempted murder of another agent, but at what cost? We almost lost you, Scarecrow.
AMANDA
How did Vargas get into the country?
BILLY
A rookie agent let his guard down. The agent who let Alyk Vargas slip through National Airport has an official letter of reprimand in his employment file. He’s lucky I didn’t fire him.
There is a KNOCK on the door.
A DOCTOR in a white lab coat enters the room.
DOTOR
Welcome back, Mr. Stetson.
He walks to the foot of the hospital bed and checks the patient chart.
DOCTOR
Your vitals look good. Let’s say we get you out of here today.
LEE
Sounds good to me.
DOCTOR
Are you up for some more visitors? It’s against hospital policy to have more than two visitors in a room at a time, but there’s a very persistent woman named Dotty that insists on seeing you.
Amanda and Lee share a look.
The door opens and in walks Dotty, Jamie, and Phillip. They all surround Lee’s hospital bed.
DOTTY
Don’t worry about Lee. He's going to receive lots of TLC, just what the doctor ordered.
The doctor exits.
LEE
Please, Dotty, don’t fuss over me.
DOTTY
I’m going to fuss over you, young man, whether you like it or not.
PHIILIP
Hey, Lee. Glad you’re going to be okay.
Lee shakes his hand.
LEE
(to Phillip)
Thanks for coming, Chief.
(to Jamie)
Hey, Sport. You’re awfully quiet.
PHILLIP
That’s because he’s a dork.
LEE
Don't call your brother names.
(back to Jamie)
Are you okay?
Jamie nods his head and then throws his arms around Lee.
LEE
(to Amanda; almost a whisper)
Thanks for sharing your amazing family with me.
AMANDA
Our family.
HOLD on their smiles for a moment. . . FREEZE FRAME.
END OF ACT FOUR
TAG
EXT. ARLINGTON NATIONAL CEMETERY – DAY
Lee and Amanda are standing at Lee’s parent’s gravesite and are looking down at their headstones. There are fresh flowers at their graves.
LEE
I thought for sure I was dead. That I was going to go over the falls like Alyk. But all of a sudden, I felt this force pull me toward the river bank. I can’t explain it, Amanda.
(beat)
I don’t know. It all seemed so surreal. My parents. Your dad.
AMANDA
Maybe your subconscious was telling you to let go of the ghosts from your past. . . your parents, Dorothy. . . Sean.
(beat)
Perhaps it’s time to put the past where it belongs by burying the hatchet.
LEE
(shrugs)
Maybe.
(beat)
Then why would your dad be there?
AMANDA
Maybe it was a glimpse.
LEE
A glimpse of what?
AMANDA
I don’t know.
(beat)
Heaven?
Lee shakes his head.
LEE
No. It couldn’t have been heaven. Because you weren’t there with me. Heaven is right here with you. And there’s no place I rather be.
AMANDA
Awww.
They embrace; and . . . FREEZE FRAME
FADE OUT:
THE END
Author’s note: I need to acknowledge the original writers of “Do You Take This Spy?” Robert W. Gilmer, Tom Chehak, George Geiger as I borrowed the dialogue for Lee and Amanda’s wedding vows. I love the vows, so I kept them in. Also, brief references to the following Scarecrow and Mrs. King episodes: “The First Time” by Eugenie Ross-Leming and Brad Buckner, and “Unfinished Business” by Lynne Kelsey. The story is for entertainment purposes only. No infringement is intended.
***I would love to hear thoughts from fans regarding what they would like to see for the final SMK episode. Something missing from this season fans wanted to see? A baddie you would like to see return? A return of a guest star? Leave a comment or shoot me a message.***
***I would love to hear thoughts from fans regarding what they would like to see for the final SMK episode. Something missing from this season fans wanted to see? A baddie you would like to see return? A return of a guest star? Leave a comment or shoot me a message.***