The Man in the Red Hat

Nobody asked me. Which is fair, I guess, considering in 1983 I was the runt trying to hit his marks and not look like he didn’t know what he was doing. I didn’t, but the last thing I wanted was for the producers to know. That’s how an actor gets fired from an acting job. Because they can’t act.

I’m just saying.

Not that anyone is breaking down my door to read my writing, either. I’ve blogged for a decade and still only have three readers. The New York Times has no idea who I am, let alone considered any of my books for their list. Ha! Nobody has ever uttered the words Nobel or Pulitzer in my company. I thought they did. Once. Turns out is was Christmas.

I heard noel.

My bad.

So…Ok, then. The pity-party is over. Moving right along.

Nobody asked me. But I wrote a script anyway. Mostly as an exercise in writing a script. Partly because I wanted to revisit some old friends, emotionally speaking. In large part because I had an idea and, well, I consider myself a writer. And as I long as I believe it to be true, then…Yea. You get the idea.

Full disclosure, of course, is that I don’t own the rights to several of these characters. The next time you visit my website, you may find that it’s owned by Warner Bros. and has become a museum for small actors who overstepped their boundaries.

Anyway, this is my…What If.

My response, if somebody had asked. You’ll find that it is a little, shall we say, me centric? My script, my rules. Besides, if you haven’t figured out already, I’m small in stature but large in ego. Take a peek at any picture of me and I dare you to not notice the oversized watermelon sitting atop my shoulders. The head is large so it can contain the “me” inside. Again…I’m just saying. It’s my little world, and I’m the king. The head honcho, as it were. It’s like that because, well, nobody asked.

~

The Man in the Red Hat

By
Greg Morton
Characters Created by
Eugenie Ross-Leming & Brad Buckner

~

COLD OPEN

EXT. TANGIER SIDEWALK CAFE – DAY

SCREEN TITLE: TANGIER, MOROCCO

LEE STETSON is sitting at a sidewalk cafe in Tangier. The street is bustling. We see wait staff and patrons. Tourists are walking by. And a man. Lee notices the man watching him from the doorway. He takes a last sip of his tea, rises and casually walks down the street. A small bomb goes off at the cafe. When he arrives at an alleyway, he ducks in begins to run.

CUT TO:

INT. AMANDA KING OFFICE – AGENCY HQ – NIGHT

SCREEN TITLE: WASHINGTON, D.C.

AMANDA KING sits behind a desk with duel computer monitors, a single desk lamp illuminating the room. Her desk is strewn with paperwork and rolls of print outs. She appears distressed, going from page to page. Her assistant, POLLY, enters the room.

POLLY
Ma’am. The death in Alexandria has been confirmed. And we just received word of another death in Barcelona. That makes four dead agents in about 32 hours.

AMANDA
Ok, Polly. Thanks.

POLLY
Oh, and Ma’am?

AMANDA
Yes?

The assistant hesitates.

AMANDA
What is it, Polly?

POLLY
This came in from Tangier.

Polly hands Amanda a print out. It’s not good news.

POLLY
They believe he’s responsible for bombing a cafe there.
Another agent was hurt in the blast.

Amanda is stunned. Silent.

POLLY
Ma’am?

Amanda looks up from the brief.

POLLY
The paperwork says the supervising agent abroad may call in a match.
What does that mean?

AMANDA
(dazed)
Like striking a match. If they call in a match, it means they’re going to hunt down
and kill Lee Stetson.

SMASH CUT TO:

MAIN TITLES

END OF COLD OPEN

ACT ONE

FADE IN:

INT. FRANCINE’S OFFICE – AGENCY HQ

FRANCINE DESMOND, Agency Director, flips through several pages of a briefing in her office. A bank of televisions on the wall air different newscasts from across the globe. A bombing in Tangier, protests in the Middle East, elections in Asia, etc. A knock at the door.

FRANCINE
Yes?

MARGARET, Francine’s assistant pokes her head through the door.

MARGARET
They’re here.

FRANCINE
Send them in.

Several staff members file in, bringing an on-going debate with them. The noise penetrates the room.

PAUL
…What I said was we have to squeeze our assets in Europe and track him down.
I can’t believe we’ve waited this long.

LUCY
Waited? We haven’t waited! I’ve been on the phone all night,
Europe doesn’t know anything. 
If he were in Europe, I’d have known about it.

The argument continues with some agreeing, others disagreeing. Francine let’s them argue so she can finish her brief before interjecting.

FRANCINE
Thank you for choosing to have this discussion in my office.
Is there anything else I can do?
Maybe get everyone coffee?

The room grows silent.

FRANCINE
Europe isn’t going to tell us anything right now because Lucy is right,
they don’t know anything.
They are still looking into Westboro.

LUCY
Marseilles hasn’t ruled out suicide.

FRANCINE
I have. Westboro wasn’t the type.

PAUL
(to Lucy)
It wasn’t suicide.

LUCY
Seriously?

CINDY
Director? What about Stetson?

FRANCINE
Let’s find him. Then I’ll tell you what type he is.

PAUL
The Brits are getting nervous. We have joint ops that could be in jeopardy, but they don’t want to pull their people unless they have to. They have a lot of time and money invested. What do we tell them?

FRANCINE
We ALL have a lot of time and money invested. Tell them to get a crumpet.
We’ll get back to them.
(to all)
Look, nobody evens breaths a word of panic. When we know something… anything,
then we’ll know. Until then, we don’t know anything.

Amanda King appears at the door and quietly slips into the office.

FRANCINE
(continued)
So go out there and find me some answers!

Staff leaves the office. Amanda offers a reassuring smile to each as they pass.

AMANDA
Director.

FRANCINE
That kind of night.
Drink?

AMANDA
Yea, sure.

Francine fixes them each a drink and both take a seat across the desk from each other.  
Collectively they sigh.

FRANCINE
What do we know?

AMANDA
Four agents are dead and Lee Stetson was at the scene of a bombing in Tangier.
Nobody has taken responsibility for the assassinations, but..

FRANCINE
Five agents dead.

AMANDA
Ross?

FRANCINE
Ross.

AMANDA
The bombing doesn’t make sense for two reasons.

FRANCINE
Do bombings ever make sense?

AMANDA
All of the other agents were shot.

FRANCINE
Why escalate the visibility?

AMANDA
Exactly. So far the killings have been a message to us alone. A “we know you’re out there” kind of calling card. Why drag innocent civilians into whatever this is?

FRANCINE
And second?

AMANDA
The bomb came from inside the cafe. It makes me wonder if Agent Ross was even the target.  Ross was tailing Lee. A bomber would not have known where Ross would be
because even he didn’t know.

FRANCINE
You think Lee was the target?

AMANDA
The man in the red hat.

FRANCINE
He’s been following THAT ghost for too long.

AMANDA
It fits if this is Russia.

FRANCINE
Our old friend.

AMANDA
Lee never stopped believing the Agency was compromised.
He never got over losing Guthry.
(beat)
We’re losing agents. Maybe Lee was on to something. I should have never let him retire.

FRANCINE
Amanda, you can’t do that to yourself. You didn’t let him retire. He’s a big boy.
He makes the choices he wants to make. I’m just sorry he chose Guthry.

AMANDA
He didn’t kill Ross.

FRANCINE
I don’t think so.

AMANDA
Does it make sense that bomb was intended for him?

FRANCINE
If it’s Russia. Maybe. We’re looking at all angles.

AMANDA
If it’s Russia.

FRANCINE
I haven’t ruled out terrorists yet, but I’m close. These are assassinations,
not high profile statements. That all of these agents were stationed in port cities concerns me, but I’m thinking this is just the first move on the board. Start with high value targets.

AMANDA
How could he be a high value target? Lee didn’t even have a case log.

FRANCINE
That’s the old Scarecrow…Not big on paperwork. We can’t read into his lack of case log as him not working on anything. That was one of the things that gave Billy ulcers.  
And now I understand. Communication was never his strong suit.

AMANDA
My divorce would agree with you.

The pair clink low-ball glasses and they each down the last of their drinks.

CUT TO:

EXT. MARYLAND BOAT DOCK – NIGHT

SCREEN TITLE: BALTIMORE, MARYLAND

We can hear the sounds of a harbor in the early morning hours as a small boat pulls up to a dock. Lee Stetson disembarks alone, surveys the scene and continues to walk the ramp toward a parking lot and a row of warehouses. He is in and out of shadows as he makes his way toward one of the warehouses, a sign reading “Stewart & Sons Imports” hanging over the entrance to the office. Lee slides a wood panel to the side near the ground to reveal a small safe, dusty from lack of use. He punches in a code, retrieves a key, opens the office door and enters into—

INT. STEWART & SONS OFFICE – CONTINUOUS

Lee fumbles his way to a desk in the office and turns on a small desk lamp that dimly illuminates the office. In the distance, the light reveals an older agent, code named TOOTLES, standing in a trench coat with a gun drawn.

LEE
Tootles?

TOOTLES
Scarecrow. You look horrible.

He does look horrible. And he’s confused. Very confused.

LEE
I, uh..I just got in. I, uh…You’re safe?

TOOTLES
I’ve been stateside-

LEE
I thought I’d lost you.

TOOTLES
What were you working on?

LEE
I thought I’d lost all of you.

TOOTLES
What was your mission?

LEE
I always thought the rumors were true-

TOOTLES
Scarecrow…

LEE
But I never thought we’d really find anything.

TOOTLES
The Lost Boys? Were you working with retired agents?

LEE
How could a mole survive undiscovered over 30 years?

TOOTLES
Scarecrow, sit down.

Lee snaps out of it. Briefly.

LEE
Tootles, what is this? What’s going on?

TOOTLES
I was going to ask you the same thing.

LEE
The Lost Boys? Nibs?

TOOTLES
Scarecrow…

Confused.

LEE
Curly? The Twins.
(pause)
The Twins.

TOOTLES
Lee! What happened? Agents are dead.
What happened in Tangier?

LEE
I…I was in the wrong place at the wrong time, Tootles.
Nobody should have known I was in Tangier. Nobody.

TOOTLES
It’s true. You’re trying to smoke out a mole.

LEE
I was…I.
(beat)
You?

Suspicion.

TOOTLES
Whatever you’re thinking, Scarecrow-

LEE
You?

TOOTLES
Agents are dead and they’re blaming you.

LEE
Have I been looking for you this whole time?

TOOTLES
No. Lee. Are you listening? I didn’t know you were running-

LEE
You found me here.

TOOTLES
I’VE BEEN STATESIDE!
(beat)
Lee…They’re blaming you.

LEE
I can’t trust you.

TOOTLES
Scarecrow-

LEE
I can’t trust anyone.

TOOTLE
I’m not here to kill you.

LEE
There is…There is someone-

TOOTLES
I’m here to bring you in. The Agency called in a match,
but I thought you’d rather see an old friend.

LEE
An old friend.

TOOTLES
Let’s go figure this out together. Like old times.

Lee considers the offer when a hail of gunfire rips through the office. Lee falls immediately. Tootles is hit, but returns the gunfire before succumbing to his wounds in a heap on the floor. We see a pair of shoes walk through the room and stand next to a dying Tootles, then the rest of the room. Lee is gone.

A CLOSE-UP of a thumbnail striking a match.

CUT TO:

EXT. STEWART & SONS WAREHOUSE – CONTINUOUS

As flames begin to engulf the warehouse, we can barely see in the distance as a darkened
figure walks away from us.

CUT TO:

EXT. MASQUERADE PARTY – NIGHT

SCREEN TITLE: WASHINGTON, D.C.

Party-goers mingle at a lavish mansion as music plays in the background, their exquisite masks prevent us from recognizing faces. The men are dressed in black tuxedos or white dinner jackets. The women are dressed in elaborate black or white formal gowns. Except KAITLIN ROOK (Kate). She is dressed in red. She approaches the Frenchman, MICHEL VILLON.

VILLON
Not very subtle.

ROOK
This thing? What better way to hide than in plain sight?

VILLON
Or be a target.
(pause)
As long as they are shooting at you.

Rook kisses Villon on the cheek and pulls him close as they begin to dance. We see her pull a memory card from his dinner jacket and palm it in her hand.

ROOK
(whispering in his ear)
Do you think you are important enough to be shot at?

VILLON
I’m important enough that you needed me. Again.
(pause)
You Americans always think you are better.

ROOK
Sweet Villon.

They continue to dance.

ROOK
You offer yourself out to the highest bidder.
Do you really think you can take the high road?

VILLON
You are not always the highest bidder.
I have given you intel gratis.

ROOK
On moral grounds?

VILLON
On moral grounds.

ROOK
Yes, well…You have your moments.

VILLON
But I don’t have my money!

ROOK
You’re at a party. Relax. Making a scene here won’t get you your money,
but it may get us both killed.

Rook hides the memory card in her dress.

ROOK
Besides, I still have to determine if your little gift includes everything we agreed upon.
You’ve been known to, shall we say, stiff me before.

Villon unbuttons his jacket to reveal a handgun in a holster under his arm.

VILLON
You’ve always taken me for granted, Scarecrow. Ironic, isn’t it?
That you’ve never thought I was as smart as you? Scarecrow!

Two men emerge from the mansion to the veranda, dressed appropriately for the party. They walk purposefully toward Rook and take her by the arm, continuing down the steps into the darkened yard—

EXT. PARTY HOUSE SIDE YARD – CONTINUOUS

ROOK
This is like Deja Vu, isn’t it boys?

The two men walk Rook around the house and into a waiting van, Villon follows. Rook does little to protest.

VILLON
A little respect, Scarecrow. That’s all it would have taken to ensure my loyalty to the Agency. A little respect. Au Revoir!

The door of the van closes as the vehicle speeds off, leaving Villon standing alone. A figure appears behind him, wearing an ornate red masquerade mask, he is ANTOINE TROY. Villon turns, startled.

TROY
Is that true?

VILLON
Uh…huh? True?

TROY
True that a little respect would ensure your loyalty to the Agency?

VILLON
True? Well, no. Unless it was wrapped in money. Lots and lots of money.

From behind Villon we see another figure appear with a handgun and silencer. The person fires two shots into Villon’s back. As Villon falls, the figure steps over the body and fires one more shot to the head.

TROY
Paid in full.

CUT TO:

INT VAN – NIGHT

The men have removed their masks and are sitting quietly with Rook inside the van. Rook seems unfazed by the situation. One of the men’s cell phone rings and he answers.

BAD GUY ONE
Yes?

TROY
(v/o)
Find what she took from Villon, then shoot her.

Bad Guy One disconnects the phone and motions to his partner. Bad Guy Two leans across the van to search Rook. She smiles as he gets closer, then head butts him. Bad Guy Two stumbles. Rook drives her shoulder into Two as One pulls out his handgun. One shoots Two as Rook pushes them both against the wall of the van. Rook tries to stand up straight but hits her head on the top of the van. She loses her balance and falls backward. The barn doors of the van open and Rook falls out–

EXT. STREET – NIGHT – CONTINUOUS

From the middle of the street we see Rook lying in the street, hands bound behind her back. The van in the distance is traveling at a high rate of speed, the barn doors still open. We see the van screech to a halt in the middle of an intersection. As Bad Guy One appears in the back doorway of the van, a large semi-truck collides with the van, sending debris every direction.

Rook stands, then stumbles away into the darkness.

FADE TO BLACK

END OF ACT ONE

ACT TWO

FADE IN:

INT. KING MEDICAL CENTER OFFICE HALLWAY – NIGHT

PHILIP KING is turning off lights in an office building when he hears a door open down a hallway.

PHILIP
Susan? I thought you left already. Did you forget something?

Philip continues toward the noise, opening a door at the end of the hallway—

INT. KING MEDICAL PATIENT ROOM – CONTINUOUS

Philip enters and startles an injured Lee Stetson.

PHILIP
Lee?

LEE
You always did work too much, kid.

Lee collapses,and Philip rushes to his aid, helping him up to the examining bed. Lee has been shot in the side.

PHILIP
Sit, let me take care of this.

Philip begins to tend to Lee’s wounds.

LEE
It’s been a while.

PHILIP
Hold still.

LEE
How’s your mom?

Philip gives Lee a disapproving look.

LEE
I appreciate you taking care of me, kid. It’s good to see you.

PHILIP
I thought you retired.

LEE
Don’t I look retired?

PHILIP
And you got this gunshot wound playing golf?

LEE
It’s kind of a long story.

Philip finishes bandaging Lee’s wounds.

PHILIP
A soft tissue wound. Nothing serious. You got lucky this time.
(pause)
I imagine that luck will run out before too long.

LEE
Listen…I appreciate you patching me up.

PHILIP
I’ve always liked you, Lee. I just don’t need you dragging me into anything.
For old time’s sake.

LEE
About that.

PHILIP
No.

LEE
I just need to see your mom.

PHILIP
So go see her.

LEE
Yeah, well, it isn’t quite that easy.

PHILIP
Let me guess, she won’t see you.

LEE
More like she’s trying to find me.

PHILIP
Find you. Are you on the lamb?

LEE
Nobody talks like that, kid.
(pause)
Let’s just say I need to speak with her “unofficially”.

CUT TO:

INT. AMANDA KING OFFICE – AGENCY HQ – MORNING

Amanda is sitting in her office, sipping coffee. Daylight streams through the window. Her cell phone rings.

AMANDA
This is Amanda-
(pause)
Philip! Hi, honey. How are you?
(pause)
Sure, sure…I can stop by the house today.
(pause)
This morning? Philip honey, are you okay?
(pause)
Ok, I’ll be right over.

CUT TO:

INT. KING HOUSE

We see the interior of the King family home. It is familiar, but with updated decor. Philip now lives here with his family. Amanda opens the front door and enters the living room.

AMANDA
Philip?

Philip is standing in the kitchen drinking coffee. He pours a cup for Amanda. She approaches him and they hug.

PHILIP
Coffee?

AMANDA
What was so urgent?

PHILIP
Maybe we should sit.

Lee appears from upstairs.

LEE
Hello Amanda.

Amanda stares at Lee, then at Philip.

PHILIP
So…This is like old times.

Lee approaches, gingerly, still hurting from his wound.

LEE
I can explain.

Amanda slaps Lee across the face. They stare at each other for a moment before she grabs him and hugs him. They embrace and then separate. Lee smiles at Philip.

LEE
See? All better.

Amanda pokes at Lee, clearly agitated.

PHILIP
Yeah…Just like old times.

AMANDA
Not all better! I’m just glad you’re not dead yet so that I can kill you myself!

LEE
I told you I can explain.

AMANDA
Then you better do that quick, because orders are to bring you in or shoot you on sight,
and I’m leaning toward the latter.

LEE
Someone is targeting the Lost Boys.

AMANDA
The Lost Boys? Those are all retired operatives, Lee.
Someone is targeting active agents. Why?

LEE
To get to me, maybe. I dunno. I think the two are connected.
Amanda…I’m close. I’ve..uh-

AMANDA
Are you alright?

LEE
Amanda.
(BEAT)
People are dying.

AMANDA
Agents, Lee. Our people…We know. You’re close to what?

LEE
The mole.

PHILIP
Do you want me to leave?

Lee and Amanda answer simultaneously.

LEE / AMANDA
No! / Yes!

LEE
Amanda, the kid helped me.

AMANDA
Which has probably put his life in danger.
He doesn’t need you dragging him into anything more.

PHILIP
That’s probably true.

They ignore Philip.

LEE
We’re all in danger.

AMANDA
Russians?

LEE
Maybe. No. I don’t know. This feels different.

AMANDA
How?

LEE
It just does. My gut.

AMANDA
I don’t believe-

LEE
You never did just trust that I knew what I was doing!

AMANDA
You never gave me a reason to trust. Or a reason to distrust.
I never KNEW what you were doing because you never told me!

PHILIP
People in glass houses.

LEE
I’m telling you now. I think I’ve found the real Guthry.

AMANDA
Agent Guthry died thirty years ago, Lee.

LEE
And what if I can prove he didn’t?

CUT TO:

INT. FRANCINE’S OFFICE – AGENCY HQ

Lee sits in a chair across from Francine’s desk, nursing his sore wound. Amanda sits on the credenza while Francine paces the room. Francine’s assistant Margaret opens the door and hands her a small note before slipping out.

FRANCINE
Guthry’s estate was purchased by Troy Industries in 1983.

LEE
Even after we thought we stopped the leak the first time we had a mole in the Agency,
we still had cases where the other side knew what our game plan was.
What did you find out about the missing agents?

AMANDA
We have six on record as either defecting to a hostile nation
or being discovered as double agents. Six in thirty years.

LEE
That’s a lot of disloyalty. And those are the ones you know about.

FRANCINE
How does this tie into Guthry? We saw him in the morgue.
The doctors said he spoke to them before he died. It was Guthry.

LEE
I think it was a double. The Russians had attempted that tactic before. They would develop a twin agent to infiltrate the agency, then try to kill off the American original. It never worked, but my guess is they were able to turn Guthry instead and kill the double.

AMANDA
And you think Guthry has been turning agents ever since?

LEE
The Lost Boys thought so.

FRANCINE
Tell me about that. Amanda said you mentioned someone was targeting the Lost Boys.
Those agents were retired long before you. You were running them?

LEE
They were supposed to just be gathering intel, calling in favors.
I think they got a little overzealous, the Twins especially.
(beat)
You miss the action when you’re retired.

AMANDA
We haven’t gotten any reports about past agents dead or missing.

LEE
Would anyone report a retired agent missing?

FRANCINE
What made them suspicious of Guthry?

LEE
Troy Industries is a name that kept popping up in certain circles.
At one point the Boys discovered the link to the Guthry estate in Maryland.

FRANCINE
What do you know about Troy?

LEE
Francois Troy, founder of an international shipping empire.
Based in Geneva, Switzerland, the man is rumored to be worth north of 3 billion.
Intelligence suggests he has influenced French politics for years.

AMANDA
He’s French, but turning agents for the Russians?

LEE
Not the Russians, per se. At least, I don’t think so.
That part is a little fuzzy.

FRANCINE
Lee!? If not the Russians, then who?

LEE
Look, I don’t know, alright! All I do know is that by the time I got to Tangier I was being followed. And then the bomb went off in the cafe. I’m not even sure it was meant for me.

Amanda and Francine give each a look.

LEE
(continued)
When I got to the safe house in the States, Tootles was waiting for me.
He said he wasn’t in on it, and that he just wanted to bring me in, but that’s all he said.
And then we were attacked, and I was shot.

FRANCINE
Tootles is dead. I got the report last night. You’ve made a fine mess of things, Lee.

AMANDA
Maybe Scarecrow has learned something.

FRANCINE
Maybe. But there is still no word.

Amanda heads to the desk and picks up the phone.

LEE
Scarecrow? You guys are talking about me like I’m not even in the room.
Hey…I’m here!

FRANCINE
Yes, you are here. And no longer an agent!

AMANDA
(into the phone)
Has Scarecrow reported yet?
Call the Director immediately when you hear from her.

LEE
Her? You’ve reassigned my codename?
To a woman?

CUT TO:

INT. COFFEE SHOP – DUSK

From our POV outside of the coffee shop, we see JAMIE KING sitting at a laptop computer typing away. The coffee shop bustles with activity. Everyone seems to be friendly, and all leave Jamie to his work. It is apparent he is oblivious to the bustle.

From inside the shop we see Jamie drain the last of his coffee, then leave his things at the table to get another drink.

From Jamie’s POV at the counter, we see see his things at the table, but his laptop is now missing. Jamie quickly spots the back of a woman in a red dress quickly exiting the coffee shop. He bolts after her—

EXT. SIDEWALK – NIGHT – CONTINUOUS

Jamie exits the coffee shop and pursues the woman in the red dress. From a distance we see she is carrying his laptop. The woman ducks into an alley as Jamie runs after her—

EXT. ALLEY – NIGHT – CONTINUOUS

The din of a nearby neon sign bathes the alley in red and yellow. Jamie King catches up with Kaitlin Rook, grabbing her arm.

JAMIE
Not so fast, red.

Rook spins in a defensive move and throws a punch to free herself. Jamie dodges the punch and laughs. It is obvious this surprises Rook. She tosses the laptop safely to a nearby trash bag and they begin to spar.

Rook clearly has the advantage in hand to hand combat, landing several blows. Jamie is able to hold his own, and continues to surprise Rook with both defensive and offensive manuevers. Rook is focused and determined, while Jamie appears more entertained by the affair.

Rook lands several successive blows, knocking Jamie to his bottom. His lip begins to bleed, and he is clearly shaken. Rook takes the opportunity to grab the laptop and quickly inserts the memory card into a slot on the laptop.

INSERT: As Rook flips through the computer looking for the right file, she minimizes a screen and sees a 30 year old picture of Amanda King with two young boys.

She looks at Jamie.

ROOK
Who are you?

CUT TO:

INT. COFFEE SHOP – NIGHT

Jamie is holding an iced drink to his face, while Rook looks on. The laptop sits between them, and is a point of distraction for Rook.

ROOK
Your mom has always been an inspiration. When I got recruited,
we heard all of these stories about her. You must be very proud.

JAMIE
Not really.

ROOK
No?

JAMIE
Look, I don’t care that you knocked me on my wallet. Really.
If you need the laptop, just take it or use it or whatever.
Let’s just not have a love-fest about how great my mom is.

Jamie pushes the computer toward Rook, who immediately gets back to looking up the files from the memory card.

ROOK
She’s a strong woman who has helped a lot of other women in this field.
You should be proud.

JAMIE
(to himself)
Yeah, well, if I knew who she was, then maybe I would be.

ROOK
(to herself)
This is big.

ROOK
(to Jamie)
This is big.

JAMIE
Good for you.

ROOK
Yeah…

It is obvious Jamie doesn’t share Rook’s excitement.

ROOK
Hey, I told you who I was, but you really didn’t tell me anything about you.

JAMIE
It’s fine. You’re not that interested.

Rook closes the laptop and pushes it back toward the middle of the table. She gives Jamie her undivided attention.

ROOK
No, really. What do you do?

They sit at the table for a moment, sizing each other up. It was one thing to fight each other. Now, how do they talk to each other? Finally…

JAMIE
I’m a documentary filmmaker.

Genuine interest.

ROOK
Really? What is THAT like?

Genuine interest.

JAMIE
I…love it. Yeah, it takes me all over the world, telling real stories.
Making a real, tangible impact. People can see what I’m doing.

ROOK
What does that mean?

JAMIE
Let’s take what you do for a living.

ROOK
I’m an analyst.

JAMIE
Nice try.
(beat)
Let’s see…You’re athletic, and you work hard at staying athletic.
Beautiful dress, but you’re awkward in it. Dresses aren’t your style.
You have abrasions on your shoulder and arms.

ROOK
Abrasions?

JAMIE
My brother is a doctor.
(continues)
You fight like someone out to prove herself.
And my mom, of all people, is a role model.

ROOK
Why is that a bad thing?

JAMIE
You’re not an analyst. You’re in the field.

Rook looks around to see if anyone is listening to their conversation.

ROOK
And so what if I am?

JAMIE
Hey, if that’s what you want, then good for you. You’re clearly gifted.
(beat)
Beautiful, smart. There’s a lot of good going on in there.

ROOK
Beautiful?

JAMIE
And you’re alone.

ROOK
ALONE?!

JAMIE
Am I right? No Mister Field Agent keeping you warm
at night in your Georgetown Victorian?

ROOK
Well…

JAMIE
It’s hard to have a relationship with anyone when you’re in Brussels one day,
and Tangier the next.

ROOK
Tangier! I have to go!

Kaitlin Rook jumps from the table and exits as we…

CUT TO:

INT. AGENCY WAR ROOM

The Agency War Room looks like a basement: no windows, very little lighting. One wall is covered with a map of the world, one wall is nothing but computer screens, reflecting current operations, news, etc. The table in the middle of the room is the central meeting place for operatives and Agency heads to discuss matters. Rook, Amanda, Lee and Francine are all sitting around the table. Amanda King is poring over print-outs. Kaitlin Rook is in a change of clothes.

ROOK
I can confirm that HAVOC is behind the agent killings.

Rook retrieves the memory card and installs it in a nearby computer. The computer screens on the wall all flicker and change content. One screen in particular shows what appears to be an Agency dossier on HAVOC.

From the table POV:

SCREEN ONE: SURVEILLANCE PICTURE OF ANTOINE TROY

SCREEN TWO: FINANCIAL REPORTS

SCREEN THREE: DOSSIER OF HAVOC (Hostile Agents for Vengeance, Opposition and Counter-intelligence).

LEE
(to Amanda)
HAVOC?

AMANDA
We’ve been out of the game a while.

ROOK
(continuing)
Francois Troy founded Troy Industries, and enjoyed success early. His wealth allowed him to pursue his socio-political interests. He began to get involved with French politics, after having been spurned an opportunity to become a politician himself. His views lean ultra-conservative and weren’t very popular at the time, but he’s never forgotten how the establishment turned him away.

FRANCINE
His views aren’t any more popular today with the people of France, but it isn’t the public that are taking his bribes or being coerced through intimidation.

ROOK
Right, and now we know he isn’t the one holding all of the strings.

LEE
All of my intel suggests he is.

ROOK
I’m sorry. Who are you? We haven’t been introduced.

LEE & ROOK
(shaking hands)
Scarecrow.

LEE
(immediately)
Easy there, young lady. I think somebody’s given you
something that doesn’t belong to them.

AMANDA
Lee, stop it.

LEE
What? I’m not against women agents. I’m all for it. It’s just…she’s no Scarecrow.
(smiling)
There’s only one of me!

FRANCINE
Need I remind you that you are retired, nearly dead by your own actions
and on the verge of being shot in this very room if you don’t shut up?

LEE
(to himself)
I wasn’t THAT nearly dead.

AMANDA
(to Rook)
Ignore him. He’s like your grandmother’s pot, honey. It takes up too much room in the cupboard, but every once in a while it comes in handy when you have a turkey.

LEE
That’s funny.

FRANCINE
Can we stay focused?

AMANDA
Right. Francois Troy isn’t pulling the strings. In fact, he’s at the end of the them. Kate’s file shows Antoine Troy is managing day-to-day operations of the empire.

LEE
Antoine?

ROOK
The son. And not just of the business. Antoine is the mastermind behind HAVOC.
Francois raised his son to be a terrorist.

LEE
That might explain why the Lost Boys couldn’t get any closer than they did. They were chasing down the wrong lead. Who is your source?

ROOK
Villon. But he double crossed me.

AMANDA
It cost him his life.

Confusion.

FRANCINE
Amanda’s right. Villon’s body was discovered at your drop off point from the other night. It looks as though Villon was double crossed.

LEE
The other night? How long have we been sitting on this intel?

FRANCINE
We?

ROOK
It’s complicated. I got tossed out of the back of a moving van.

This interests Lee.

LEE
Oh? One bad guy?

ROOK
Two.

LEE
Not bad. Not bad at all. Back in the day they used to put three on me.
But times have changed, I guess.

AMANDA
Things haven’t changed that much.

ROOK
Anyway, Agent Ross had turned. It looks like he was the target.

She points to Lee.

ROOK
(continues)
The bomb must have detonated early.
Not sure why they were using a bomb this time.

LEE
Changing the game.

ROOK
(to Lee)
One bad guy. I guess they were changing the game on you.

Rook winks at Lee.

LEE
Maybe, but they needed a bomb to get the job done, and they still missed.

FRANCINE
Really? We have dead agents and we still have a threat out there.
Let’s work the problem.

ROOK
What’s the next step?

LEE
If it’s Antoine, it’s Antoine. We go after the son.

AMANDA
It’s not going to be that easy. If Kate isn’t dead herself, then Troy knows we’re on to him.
If he wasn’t paranoid enough already, he will be now.

FRANCINE
Agreed. But that shouldn’t stop us from trying.

LEE
Give me the resources I need and put me back in the field. I’ll handle this.

AMANDA
You’re retired!

LEE
Reinstate me.
(beat)
And my codename.

FRANCINE
I’m still considering having you shot.

ROOK
I have an idea.

Undivided attention.

ROOK
There is a black tie event at the Smith tonight. Troy has donated artifacts from the Persian Empire that were thought stolen to the museum. There is a film archive of the history of the region and artifacts, as well. Troy will present to the museum.
He’s going to be rubbing elbows with a lot of DC’s elite.

AMANDA
You think he’s planning on killing someone there?

ROOK
No, but it might be our chance to at least introduce ourselves.

LEE
And maybe find out what his next move is.

FRANCINE
We’re going to need a ticket.

AMANDA
It’s last minute, but I can probably work something up.

LEE
I’ve still got some contacts, too. I’ll make a few calls.

ROOK
I already have a ticket.

Confusion.

FRANCINE
How?

ROOK
I met someone.

AMANDA
A guy?

ROOK
Your son.

AMANDA
Philip?

ROOK
Jamie.

All eyes are on Amanda as we…

FADE TO:

INT. AMANDA KING OFFICE – AGENCY HQ

LEE sits on the edge of Amanda’s desk without a shirt on. We see Amanda tending to his wound dressing. Amanda is deep in conversation, mostly with herself.

AMANDA
I haven’t spoken with Jamie in years.
You’d think we lived in different countries.

LEE
He travels a lot.

Not listening.

AMANDA
But he travels a lot, so maybe that’s the reason.
(pause)
But that isn’t the reason. I wasn’t a good mother.

LEE
You’re a great mother.

Still not listening.

AMANDA
That’s just not right. I did okay as a mother.
I had a fine example, God rest her soul. Maybe it’s Jamie.

LEE
It’s not Jamie. It’s family.

Amanda tugs, Lee winces.

AMANDA
Sit still.
(pause)
You know, this is just a family thing.
But I could still blame you for all of this!

LEE
ME?

AMANDA
I was doing just fine until you came along, mister.

LEE
I thought we had some good times.

The room slows down.

AMANDA
We did, Lee. We had some good times.

LEE
But?

AMANDA
But we’re different. You were born to be out there.
I had a few good years, but I’m not an agent. I don’t belong.

LEE
You’re still here.

AMANDA
As an analyst.
(pause)
They told us the Cold War was over. I believed it. I know that was tough for you.
That made it tough for us.

LEE
Did we ever have a chance?

Amanda’s look says it all.

AMANDA
I didn’t want this life for my kids.

LEE
Philip has his practice.

AMANDA
But Jamie…

LEE
Jamie has a successful career.

AMANDA
This thing tonight.

LEE
Rook said he hasn’t even agreed to do it yet. She still needs to talk to him.
Besides, it’s a bunch of rich, stuffy blow-hards dressed up like penguins
to pat themselves on the back for being rich, stuffy blow-hards.
Troy isn’t going to do anything stupid. Not tonight.

Amanda continues to lightly handle Lee’s wound dressing. More of a caress at this point. It doesn’t go unnoticed.

LEE
Now, about those good times.

Amanda jumps back to her senses, shoots a look, and pokes Lee’s wound, causing him to double over as we…

CUT TO:

INT. JAMIE KING’S APARTMENT

Jamie’s apartment looks as much like a film studio as it does a domicile. There is equipment everywhere, but also furniture and furnishings. One wall is brick, and on it hangs professional photographs from his adventures around the world. The lighting is moody. Rook is standing in the middle of the room while Jamie rushes in and out of an anterior room, packing gear.

ROOK
But I haven’t even told you what I wanted yet.

JAMIE
(from the other room)
No!

ROOK
Aren’t you even curious?

In the same room.

JAMIE
Nope.

ROOK
How do you know I’m not asking you to dinner?

Jamie stops. Smiles.

JAMIE
Are you asking me to dinner?

ROOK
Well…
(beat)
No.

Frowns.

JAMIE
Of course not.

Jamie is in and out of the other room again. Rook meanders through the main room, making her way to the large oak dining table. She notices his invitation to the Smithsonian event she is trying to go to.

INSERT: Smithsonian Black Tie Event Invitation sitting on the table.

Rook looks to the other room, then to the invitation. Jamie enters the room. The jig is up.

JAMIE
Oh…Of course. Did SHE put you up to this?

ROOK
Your mom? No!

JAMIE
Right. Life and death, right?

ROOK
Yes!

JAMIE
I’ve heard it, thanks. The answer is still no.

ROOK
There’s an obligation-

Jamie points his finger in Rook’s face, stopping her mid-sentence.

JAMIE
Do you people even hear yourself when you talk? Obligation to my country, right?
That’s where you were going with that? Spare me the theatrics,
I get enough of that from the Hollywood set.
Everyone has a cause, sweetheart.

ROOK
HEY!

Rook is angry. Jamie is paying attention.

ROOK
You’re right, you know that? You’re absolutely right. Everyone has a cause. Everything is a damn movement. But it’s all talk. How many people are getting involved? How many people are getting their hands dirty with the job of making this world a better place?
  Nobody takes responsibility anymore. They expect someone else to take responsibility. And then all I ever hear or read is that our government is a joke. That public servants…me, your mom…That we are all corrupt. And there are…There are a lot of people taking advantage. Come in late, leave early…get FAT on the taxpayers dime…

A breath in the room.

ROOK
There are some bad people out there, doing bad things. People are dying. People I knew.
We have a chance…Tonight, we have a chance to make a difference.
Not just talk about doing something.
(pause)
But doing something.

Silence.

JAMIE
Your friends, I’m…I’m sorry.

Rook is disarmed. For the first time Jamie notices HER.

JAMIE
(continued)
Hey…How do you know I don’t already have a date?

ROOK
Do you?

Caught. The obvious answer is no, and his face shows it. He disappears into the other room.

ROOK
You know what, you’re right.
It was wrong of me to come here. I just…

Her face. She remembers the way he looked at her. Jamie re-enters the room, holding a
classic three piece tuxedo.

JAMIE
I suppose maybe I should dust off the old monkey suit?

She smiles.

FADE TO BLACK:

END OF ACT TWO

ACT THREE

FADE IN:

INT. SURVELLANCE VAN

The van is large, a mobile command unit. Computers and equipment line the walls. Amanda and Lee are dressed casually, while Rook and Jamie are dressed for the black tie event. Another field agent sits at a computer. Amanda is fussing with Jamie’s tuxedo.

JAMIE
God…I knew this was a bad idea. Can you stop, please?

AMANDA
I just…

JAMIE
You know what, this isn’t going to work.

She stops.

ROOK
It will. You’ll be fine.

LEE
Hang in there, kid. A little champagne, a few hor d’oeuvres. Shake a hand or two.
It’ll all be over soon. Nothing is going to happen tonight.

AMANDA
Don’t say that. He needs to be alert. This could be dangerous.

JAMIE
(to Amanda)
I can handle myself. I’ll be fine.
(to Rook)
I blame you for this.

LEE
Let’s go over the plan again.

ROOK
Thanks, good idea. Though, not much of a plan.
Find Troy.
Approach Troy.
Talk to Troy.
You always need a plan back in your day?

AMANDA
Never. He doesn’t know how.

LEE
I’d argue that, but..

AMANDA
You’d still be wrong.

LEE
I’m learning that.

JAMIE
Good talk.

Jamie opens the van door and exits—

EXT. EVENT CENTER ALLEY – CONTINUOUS

Rook rushes out after Jamie. She adjusts his tie. He does not protest. They head down the street toward the event as Amanda and Lee look on—

EXT. EVENT CENTER – NIGHT – CONTINUOUS

As Rook and Jamie approach, a small crowd is queued in front of the building. A sign indicates event details. “The Garland Center” is the venue.

ROOK
(quietly)
Mic check.

AMANDA
(v/o)
Coming in clear. Good luck you two.

Rook grabs Jamie’s hand, smiles, and they enter the Center—

INT. GARLAND CENTER – NIGHT – CONTINUOUS

Typical black tie event. People mingling, cocktails, wait staff with hor d’oeuvres. Smiles. Hand shakes. It is obvious there is big money.

In our foreground, Rook leads Jaime around the main ballroom, eyes alert. Antoine Troy crosses our POV in the background. Rook and Jamie do not see him.

CUT TO:

INT. SURVEILLANCE VAN

Amanda sits patiently as Lee fidgets. The other field agent manning the surveillance equipment couldn’t care less about Lee.

LEE
Something should have happened by now.

AMANDA
They just walked through the door.

LEE
I’m not used to this.

AMANDA
This?

LEE
The waiting.

AMANDA
It was never your strong suit.

Lee thinks on that.

AMANDA
What happened in Tangier?

LEE
I was in the wrong place and the wrong time.

AMANDA
That’s your strong suit.

Lee laughs. They both do.

LEE
Amanda. I, was…am, sorry to hear about Dottie.

AMANDA
Thanks. She was-

LEE
A class act.

Amanda smiles. Lee looks like he wants to reach out. The room gets awkward.

LEE
Jamie, huh? How about that?

AMANDA
Yeah. I just wish I was seeing him under different circumstances.
(beat)
It’s been years.

LEE
The kid will be alright. After tonight you two will have a chance to talk.
Really talk.

AMANDA
That’s what I’m afraid of. What happened with us?

Lee knew, she had asked herself. For a moment, they stare at each other. Their moment.

LEE
What happened with US?

AMANDA
Wrong place at the wrong time.

CUT TO:

INT. GARLAND CENTER – NIGHT

Rook sees Troy, pointing him out to Jamie. Troy is talking with a dignitary, but notices Rook. He smiles, shakes the hand of the dignitary and begins to walk toward Rook and Jamie.

JAMIE
Isn’t this your guy?

ROOK
Uh, yeah.

JAMIE
He’s walking toward us.

ROOK
I see that.

JAMIE
That can’t be good.

ROOK
I wouldn’t think so.

CUT TO:

INT. SURVEILLANCE VAN

Lee, Amanda and the field agent have audio, but no visuals. This makes Lee nervous.

LEE
Are we getting visuals?

AGENT S
Working on it.
(into microphone)
Dean, this is the Sands. Do you have visuals?

DEAN
(v/o)
Affirm. Setting up a remote camera now.

AGENT S
Can you confirm subject is approaching Scarecrow?

DEAN
(v/o)
Affirm. Marilyn and I have the exits covered. Frank is monitoring the floor.

AGENT S
10-4

LEE
The Rat Pack?

AGENT S
What happens in Vegas, stays in Vegas.

AMANDA
Can we have those visuals?

AGENT S
Yes, ma’am.

Agent S pulls the remote camera up in the surveillance van monitors.

INSERT: We see an HD feed on a monitor from across the ballroom, but doesn’t clearly show Rook and Jamie because of the foot traffic that continues to move in front of the camera.

AMANDA
(into microphone)
Dean, confirm exits are covered.

DEAN
(v/o)
Affirm, ma’am.

MARILYN
(v/o)
Copy that, ma’am. Exits are covered. Frank, do you have a visual on the target?

FRANK
(v/o)
Negative. Target is moving through the crowd. Sands, what is the feed showing?

LEE
I’m telling you, something’s not right.

AMANDA
We don’t have visual on the target, Frank.
Move in and confirm target is secure.

As Amanda monitors the situation, Lee slips out of the van.

CUT TO:

EXT. GARLAND CENTER – NIGHT

Lee approaches the back of the Garland Center, and pulls a crate from a service truck nearby. He falls in line with other workers carrying supplies into the back of the building, but is stopped by a security guard.

GUARD
Credentials?

LEE
Absolutely. In my front left pocket.

GUARD
Excuse me?

LEE
No problem, man. My credentials are in my front left pocket.
Go ahead and reach in there and grab them.

Lee winks.

LEE
Be careful.

GUARD
I’m not reaching into your pocket.

LEE
Yeah, that’s cool. Hold this, I’ll get them for you.

GUARD
I’m not doing that either.

LEE
Help me out, pal. I’ve got to get these into the party. Do you want to tell the chairman of the subcommittee on congressional security that he couldn’t get his gin and tonic because you were too proud to reach into a guys pocket?

A queue has formed, waiting to get past Lee as he holds up the line. They start complaining. The guard looks back at the queue and waves his hand.

GUARD
Get moving. I want to see your card before you carry another load in here.

LEE
Sure, man. Thanks. No problem.

CUT TO:

INT. GARLAND CENTER – NIGHT
Troy approaches Rook and Jamie. Someone from the wait staff walks by with filled champagne glasses. Rook grabs three glasses quickly. She hands one to Jamie. As Troy nears and stops, Rook surprises him by handing him a glass as well.

ROOK
Santé.

TROY
Santé!

The three clink their glasses and drink. Jamie looks uncomfortable, but plays along.

TROY
To what do I owe this celebration?

ROOK
Good sportsmanship. I figured since you tried to have me killed recently, but failed,
it was appropriate that we drink to my health.

TROY
I tried to have you killed? That does not sound like me.

ROOK
You’re a bad man, Antoine. It sounds exactly like you.

TROY
You seem to know me well, Kaitlin.

His use of her name catches Rook by surprise. She does her best to hide it. Jamie senses the surprise.

ROOK
I know you well enough to know you’ll fail.

JAMIE
Again.

Rook smiles.

TROY
Kaitlin, you have not introduced me to your date.

Jamie extends his hand. Troy accepts.

JAMIE
Don’t mind me, I’m just here for the cocktail weenies. I love those things.

Rook laughs.

TROY
Cute.
(beat)
Good of you to come for the hor d’ouevres. And the champagne.
I hope you enjoy the evening, as there is nothing sinister here, I assure you.

ROOK
That may be. I really just wanted to say hi, and remind you that I’m right behind you.

TROY
Always one step behind, Scarecrow.

ROOK
Ready to pounce.

An aide approaches and whispers in Troy’s ear. He listens, smiles and then waves away the aide.

TROY
It was good to finally meet, Kaitlin. I have admired you from a far.

ROOK
Not too far.

TROY
Maybe one day soon our paths will cross again.

Troy offers his hand. Rook steps close and accepts. Troy raises her hand to his lips for a
gentle kiss. After, he offers his hand to Jamie.

TROY
Enjoy your diminutive weenies.

JAMIE
Yeah, I didn’t really think that through.

Jamie accepts Troy’s hand.

JAMIE
Good luck with that whole world domination thing.

Troy smiles, turns and leaves. Rook and Jamie look at each other, puzzled.

JAMIE
Is that what you were expecting?

ROOK
Not…really.

CUT TO:

INT. GARLAND CENTER – NIGHT

Lee Stetson steps from a closet and puts an ear-wig into his ear. We follow as he begins lurking in the outer rooms of the Garland Center. He is snooping, doing his best not to look like he’s snooping. Passers-by pay him no attention. He is dressed in someone elses ill fitting jacket and tie, which he tugs and fidgets with. He is trying to fit in.

AMANDA
(v/o)
Scarecrow, how was the party?

ROOK
(v/o)
I’m not sure, Sands. But we’re clear. We’ll make our way out.

We continue to follow as he makes his way closer to the crowded main ballroom. He stops.

From our POV over Lee’s shoulder, we see the ballroom full of people, and get glimpses of Rook and Jamie as the crowd moves.

AMANDA
(v/o)
Copy. Be safe.
(beat)
And if anyone has eyes on a retired agent
who is surely playing dress up right now, please report.

Lee smiles. We hear laughter through the communications, and each team confirms. Except Frank.

DEAN
(v/o)
Copy.

MARILYN
(v/o)
10-4 Sands.

ROOK
(v/o)
Copy that.

Silence. Lee begins to move around the perimeter hallway of the ballroom.

AMANDA
(v/o)
Frank, confirm report?

Silence. Lee continues walking. We notice a man is approaching from behind.

AMANDA
(v/o)
Anyone have eyes on Frank?

Lee has stopped in another doorway looking out to the ballroom. He is scanning the room, looking for Frank. The man has stepped right up behind him, still out of focus.

We see a gun raise and press against Lee’s back.

GUTHRY
Scarecrow.

LEE
Guthry.

GUTHRY
Don’t turn around, Scarecrow. Let’s just move down the hallway.

They walk.

LEE
You’re supposed to be dead.

GUTHRY
Did you ever know me to be that easy to catch?

LEE
No. You were always one of the best.
(beat)
So then, why?

GUTHRY
Why fight for my own causes and not be sheep for an Agency
that sends its agents to slaughter?

LEE
But aren’t you the one doing the slaughtering?

They reach a side door. Guthry pushes Lee through—

INT. GARLAND CENTER STORAGE ROOM – CONTINUOUS

Typical storage room. Stuff everywhere. Stacked crates. Dimly lit. Guthry nudges Lee closer to the center of the room and then backs off, allowing Lee to turn. This is where Guthry will kill Lee Stetson.

GUTHRY
Not all the sheep get slaughtered.

LEE
No?

GUTHRY
You were supposed to die that day on the train, all those years ago.

LEE
But I wasn’t on that train.

GUTHRY
Nor was I.

LEE
So, it’s true? The Russian doubles?

GUTHRY
It is true, my friend. The Russians were developing agent doubles, trying to infiltrate the Agency. Mine was sent that day as a test, to see if you’d recognize him.
(beat)
Then he was supposed to kill you.

LEE
You knew of the doubles, how?

GUTHRY
Mine was sent to kill me. But he failed.

LEE
You were never that easy to catch.

GUTHRY
Instead of killing him myself, I used him. And his handlers. I became his handler.

LEE
A double you would be more dangerous if the real you was pulling the strings.
And you wouldn’t have to get your hands dirty.

GUTHRY
Something like that.

LEE
Like a coward.

GUTHRY
Be careful, Lee.

LEE
Did you kill my agent tonight?

GUTHRY
Your man is alive. Unconscious but alive.

LEE
And the Lost Boys?

GUTHRY
It was foolish of you to send old men to find me.

LEE
But I did find you.

GUTHRY
True. You were always very good at your job.

LEE
That’s right. You tipped your hand. Alexandria, Barcelona, Marseilles, Istanbul.
All port cities.

GUTHRY
Yes. Significant targets.

LEE
Significant and easy to access for a shipping magnate.
You had you’re own people killed because they were getting too close.
I was getting too close.

GUTHRY
Not my people. The Russians were always one step ahead of us. They came to my house to kill me. My house. In your Agency I was just a pawn. Expendable. But to the Russians, I was a king maker.

LEE
You’re still a pawn, Guthry. King makers don’t kill pawns in dusty store rooms.
They have other pawns do that.

GUTHRY
Ah, Scarecrow. If only we had more time to reminisce.

Lee stalls.

LEE
How did it start? Your double failed? Then you double crossed him.

GUTHRY
The Russians got impatient. When the other me returned from his mission without killing you, they felt he failed and shot him.

LEE
He told our people-
(pause)
My people…He was still alive when the Agency found him.
He told them I wasn’t on the train.

GUTHRY
He was probably in shock. All he knew was that you were supposed to be there.
You killed him, Scarecrow.

Anger.

LEE
I killed him?! No, dammit, this is you, Guthry! You’ve turned. You’ve killed people.
And for what? For the Russians?

GUTHRY
This is bigger than the Russians.

LEE
Who? Antoine Troy?

Guthry laughs.

GUTHRY
Oh, Lee. You really don’t know anything, do you? Troy is just the beginning.

LEE
HAVOC.

Guthry is surprised. Lee knows more than Guthry thinks he does.

GUTHRY
Enough. Time to die.

Guthry pulls the trigger, but the gun jams. Lee jumps forward and grabs Guthry’s hands. They struggle. Guthry pushes Lee and frees himself. He goes to swing, but misses. Lee grabs Guthry’s arm and uses his momentum to throw him into a stack of crates. The crash makes them unstable. The crates fall on Guthry. He lies, dying. Lee rushes to his side.

LEE
Guthry! Guthry. You said Troy was the beginning. What did you mean?

GUTHRY
Scarecrow…

LEE
Guthry, stay with me, dammit!

GUTHRY
Scarecrow. The double cross…
(breath)
Look to the top.

LEE
The top? Of the Agency? The White House? Guthry!

GUTHRY
Domino.

Guthry dies.

CUT TO:

INT. AGENCY WAR ROOM

Amanda, Lee, Rook and Francine gather in the War Room. HAVOC dominates the computer screens, as does a picture of Agent Guthry.

AMANDA
Are you saying Francine is a double agent for HAVOC?

LEE
Of course not.
(to Francine)
Are you?

FRANCINE
If I were, I don’t think I’m supposed to break protocol and actually tell you.

LEE
Good point.

ROOK
Could you tell me, Director?

FRANCINE
We’re clearly not taking this seriously.

AMANDA
I am.

FRANCINE
Amanda.

AMANDA
I mean, I don’t think you’re a double agent either. But it’s a serious accusation.

LEE
I didn’t make an accusation. I’m just repeating what Guthry told me.

FRANCINE
The double cross.

LEE
Look to the top.

ROOK
And then Domino?

LEE
Right.

FRANCINE
Is that a name?

AMANDA
I’m running it through cryptology, to see if they have anything on it.

ROOK
It’s not an agent, is it?

FRANCINE
Not one of ours.
(beat)
What was your take on Troy?

ROOK
Charming. Calm. He wasn’t the least bit surprised to see me there.

LEE
Did he ask you for a date?

ROOK
I had a date.

The words just came out. Rook is embarrassed almost immediately. Amanda continues.

AMANDA
He wasn’t surprised. We intercepted a phone call he made before leaving the venue.
He expected her.

FRANCINE
Who was he talking to?

AMANDA
We don’t know. The call was made to a burn phone, and only lasted long enough for Troy to confirm Rook was there.

FRANCINE
How does Scarecrow play in all of this?

Francine thinks on this.

LEE
We’ll find out soon, I’m sure.

AMANDA
We know this for sure, the bug she managed to slip into Troy’s pocket at the event didn’t last long. After he made his phone call, he ditched his phone, his clothes and his car. We lost him almost immediately after he left.

LEE
So there’s a naked assassin on the loose in D.C.?

FRANCINE
More like a highly trained operative who is planning something big in our own backyard
and knows that we’re one step behind.

AMANDA
Guthry was our assassin.

LEE
But we still have a mole.

The team thinks on this. Francine stands in front of the computer screens and studies Guthry’s photograph.

FRANCINE
Lee, I’m reinstating you.

Lee begins to celebrate.

FRANCINE
As an anaylst. You’ll work with Amanda on a new task-force.

AMANDA
But-

FRANCINE
Amanda, I know. I worked with him for years, trust me I know.

LEE
Hey!

FRANCINE
But right now you three are the only people I can trust.
(to Lee)
You’re an analyst. Work the problem from the desk. You pull another stunt like you did last night-

LEE
You’ll have me shot. I know.

FRANCINE
Work it out. I need you guys.

ROOK
Director?

FRANCINE
Rook, work with Lee and Amanda until we have a lead. You’re the tip of the spear.
You are Scarecrow now. Learn from the best, and when its time, make us proud.

CUT TO:

INT. JAMIE KING’S APARTMENT – DAY

Amanda stands where we last saw Rook, at the large antique table. Jamie is in and out of the room, again.

AMANDA
I’m proud of you, that’s all.

Jamie enters the room and stops.

JAMIE
Thanks.

The room becomes awkward. They shift. Fidget.

AMANDA
Rook tells me you’re a good fighter. Where did you learn to fight?

JAMIE
Iraq. I was embedded with Alpha Company, 144th Infantry when I worked for Top News.
On breaks from missions the guys would teach me how to fight.

AMANDA
Oh.

JAMIE
Sergeant Jeff said hand-to-hand combat might save my life one day.

AMANDA
I didn’t know you were in Iraq.

JAMIE
I didn’t know you were a spy.

AMANDA
Jamie. I never wanted this life. It just…Happened.

Old conversation. Jamie isn’t interested.

JAMIE
Yeah, mom. I know. Look-

AMANDA
I should have never lied to you and Philip.

This is new. Jamie is interested.

AMANDA
I put us all in danger, and you had a right to know.
Especially once your father died.

She stops. They embrace. This is something. A new start. They push back from each other and smile. Jamie tails off into the other room.

AMANDA
A new start?

JAMIE
Yes, I’m heading to Istanbul.

Jamie didn’t understand the question. Amanda recovers.

AMANDA
Oh.

JAMIE
Working on a new project.

AMANDA
Can I take you to the airport?

Jamie walks back into the room. He kisses his mom on the cheek. They quickly embrace once more, then Jamie heads back into the other room. But not before…

JAMIE
I have a ride, thanks.

CUT TO:

EXT. AIRPORT DROP OFF – DAY

SCREEN TITLE: DULLES INTERNATION AIRPORT, DULLES, VA.

Rook pulls to the curb in her new model, white Chevy Corvette. The car rumbles to a stop. Rook exits from the driver side, Jamie from the passenger side. The meet at the curb.

JAMIE
Hey, thanks again for the tip. I’ve been stalled on this story for over a year.

ROOK
Yeah, sure. You don’t mind doing the other thing?

JAMIE
Nope. Won’t take long. I guess it pays to know people in the know.

Rook laughs.

ROOK
Don’t…Uh. If you don’t find anything, no worries.

JAMIE
Oh, no. I’m sure it’s nothing. I’ll check when I get there.

ROOK
Be safe.

JAMIE
Yeah, sure. Thanks again.

Jamie goes to give Rook a hug, but Rook extends her hand. Jamie goes to extend his hand while Rook pulls hers back but looks like she’d move in for a hug. Awkward. The moment passed.

JAMIE
I’ll be seeing ya.

Rook smiles and waves. As Jamie disappears through the glass doors, we see a car pull up a few spaces back from Rook, and a serious looking man gets out. We can tell he is dangerous. He looks at Rook, and then follows Jamie through the doors before we–

CUT TO:

MUSIC

END CREDITS