Written by: GRANT SCARBO and GINA MATTHEWS
Directed by: DAVID BARRETT
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
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RATING: TV-PG-DV
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"JAKE 2.0" and other related entities are owned, (TM) and (c) by Roundtable Entertainment, David Greenwalt Productions (California LazyDave), Matthew S. Scharbo Productions, Silent H. Productions, and Viacom Productions, a Paramount Company. All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. For Fair Use, For Educational and For Entertainment Purposes Only. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain.
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SUMMARY: In an effort to have a normal life, Jake leaves Washington DC to attend his best friend's wedding. Meanwhile, Diane worries when the mouse infected with the same nanites as Jake's gets severely ill and dies.
JAKE 2.0 1X06: LAST MAN STANDING
COLD OPEN:
[PREVIOUS]
[Scene from 1X02: Training Day]
[INT. NSA - RESEARCH LAB - DAY]
DIANE: See this? It's what I use to monitor Jake and track his vitals and stuff like that. It's technology at its best.
CUT TO:
[INT. BAR - NIGHT]
[Scenes from 1X01: The Tech]
(JAKE turns around when he hears his name.)
SARAH: Jake!
JAKE: Sarah!
DARIN METCALF: (v.o.) Who's the girl?
CUT TO:
[INT. NSA - IT -- DAY]
(JAKE and DARIN are in his cubicle at work.)
JAKE: Oh, it's Sarah.
DARIN METCALF: Georgetown Sarah? Lived in the same dorm for four years and never asked her out-- Sarah?
JAKE: That's the one.
CUT TO:
[SECURITY CAMERA VIEW]
(DIANE reviews the security tape of the shoot out and sees JAKE get infected with the nanites when the flask is shot.)
CUT TO:
[INT. NSA - RESEARCH LAB]
(DIANE shows LOU and KYLE the monitor with the x-ray showing JAKE'S spinal column. She points out the nanites on the monitor.)
DIANE: See how the nanites have positioned themselves along his central nervous system? What they're doing is establishing contact with the brain.
CUT TO:
[INT. NSA - RESEARCH LAB]
DIANE: (to JAKE) The lab mice experienced muscle spasms. In rare cases, they rejected the nanites and the result's not good.
JAKE: What is going to happen to me?
CUT TO: END OF PREVIOUSLY ON
[OUTER SPACE]
(A satellite glides across the screen. We hear blips and bleeps of computerized telemetry sounds.)
(Camera pushes forward toward the earth, through the clouds, to the city below.)
MAN'S VOICE: (in Italian) (v.o.) I received your message. I will meet you at the restaurant.
(Camera zooms through the roof of the NSA building, through the various levels and into the research lab.)
CAMERA ZOOMS TO:
[INT. NSA -- RESEARCH LAB - DAY]
(The room is dark. DIANE opens the door and flicks on the light switch. She enters the room.)
DIANE: (an Italian phrase)
(DIANE is wearing a headset and listening to a CD teaching various phrases in Italian.)
RECORDER (WOMAN): {an Italian phrase}
DIANE: (repeats phrase)
RECORDER (MAN): {an Italian phrase}
DIANE: (repeats phrase slowly and carefully)
(DIANE flips on light switches and starts to open the lab up. She opens her laptop and turns it on.)
DIANE: (repeats phrase once more)
(She takes off the head set and groans. She turns around and checks on her mice. She turns the lights to the tanks on.)
DIANE: Hmm.
(She kneels down to the first tank and talks with the mouse.)
DIANE: Buon giŪrno, Lorenzo. Come sta? Bene?
(DIANE moves to the next tank and talks with the second mouse.)
DIANE: Ciao, Maria. {an Italian phrase}
(She kisses the glass-Italian style.)
(DIANE moves to the next set of mouse cages.)
DIANE: Antonio ... {something in Italian} Antonio ... {more Italian}
(DIANE laughs.)
(Then she gets a good look at Antonio, stiff as a board in the cage and unmoving.)
DIANE: Antonio?
(DIANE taps the glass lightly.)
DIANE: Antonio?
(DIANE turns and rushes back to her bag.)
DIANE: (muttering) Why isn't he moving?
(She digs out her palm pilot to check on JAKE even as she glances back at Antonio. She turns the Palm pilot on and doesn't like what she sees.)
DIANE: Oh, my god. Jake.
(DIANE turns back to look at the dead mouse, Antonio. She reaches for her cell phone and dials.)
DIANE: (urgently) Come on. Come on, Jake.
(She hears a busy signal.)
DIANE: Oh!
(DIANE drops her cell phone and runs out of the office. Camera close up of the phone on the counter.)
[INT. JAKE'S APARTMENT - DAY]
(Camera pulls back from the phone and we're now in Jake's Apartment. Camera moves around the apartment to finally rest on JAKE who is out cold, eyes closed on the couch.)
(Camera moves from JAKE to the window. In the distance, we hear the approaching sounds of a car speeding and tires screeching. The car crosses the road divider and screeches to a halt curbside in front of JAKE'S apartment.)
(KYLE, DIANE and another AGENT get out of the car and run toward the apartment. KYLE and the AGENT have their guns drawn.)
(Camera pulls back into JAKE'S apartment and back to JAKE who is still out cold with his eyes closed on the couch.)
(For a moment, all is quiet.)
(The door bursts open. JAKE gets up at the sound. KYLE rushes into the apartment, the AGENT follows him in. DIANE bursts into the apartment.)
(JAKE turns around to look at all of them.)
DIANE: Jake! Wh ... are you okay?
JAKE: Yes, I'm fine. What are you doing here?
DIANE: Well, I was worried about you. I checked your vitals, and they-they showed ...
(DIANE holds up the palm pilot to show him. She looks at it and taps the buttons on the screen.)
DIANE: Oh, no.
JAKE: What?
DIANE: Um ... my screen is frozen.
(DIANE sighs.)
DIANE: Sorry.
(JAKE falls back on the couch.)
JAKE: (panting) Oh, my god.
DIANE: I'm sorry.
(Camera holds on JAKE.)
FADE TO END OF TEASER ROLL TITLE CREDITS
INTRODUCTION: That's me. Jake Foley, I'm in Tech Support. Security Clearance: Low. Very low. Then one day, it all changed. Now, I can do things I've never dreamed of. I've been upgraded. I have these powers. Life just got real interesting.
(COMMERCIAL SET)
FADE IN.
[EXT. VARIOUS WASHINGTON D.C. (STOCK) - DAY]
[NSA SEAL - LOBBY]
[INT. NSA - RESEARCH LAB -- DAY]
(DIANE is looking over the test results run on Antonio who is on a metal pan out on the counter, still unmoving.)
DIANE: Fran, we need to run another diagnostic screen.
(FRAN moves to the counter.)
FRAN: We've just run one.
DIANE: Yeah. Well, his vitals are fading fast, so we need to run another one.
(DIANE looks up and sees LOU standing just outside the lab in the hallway. DIANE stands up to meet with her. She steps out into the hall.)
DIANE: Okay, okay, the screen, I know. It was my fault, but there was more to the story.
LOU: I certainly hope so.
DIANE: Yeah. See that mouse? That's Antonio, who, unfortunately, remains in the same state in which I found him this morning -- that is, paralyzed. Can I show you something?
(DIANE leads LOU to one of the computers.)
DIANE: This particular side effect has occurred on rare occasions in beta versions of the nanites, but never before in this latest version.
LOU: Is that what's in ...
DIANE: Antonio. Yes. It's also what's in Jake. In fact, they're twins.
LOU: Twins?
DIANE: Yeah. They were injected on the same day, which is why ... why I'm concerned.
LOU: Is Jake showing any symptoms?
DIANE: Well ... no, but ...
LOU: Dr. Hughes, because if he is, I ... I need to know about it.
DIANE: Okay.
LOU: I'm quite serious. I can't afford to have Jake being a risk out in the field. Do you understand?
DIANE: Yes. Of course.
LOU: Good. Keep your eye on him.
DIANE: (mutters) Well, that's not going to be easy.
(LOU turns to look at DIANE.)
CUT TO:
[INT. SAT OPS -- DAY]
(JAKE is in front of a workstation talking with SARA on the headset.)
JAKE: (to headset) Departure time?
(cc) SARAH: 9:00 A.M.
JAKE: (to headset) Mm-hmm. What's the flight number?
(cc) SARAH: Flight 10-11.
(As he talks with her, JAKE types in the necessary information into the airline's on-line reservations screen.)
[ON SCREEN]
(For "ENTER FLIGHT #", JAKE types "1011".)
(For "DEPARTURE TIME: , JAKE types "09:00".)
JAKE: (to headset) Hmm, that sounds really familiar.
[ON SCREEN]
(JAKE clicks on the CONFIRM button and gets a confirmation number: ADR- 0009122.)
JAKE: (to headset) Sarah, you're not going to believe this. We are on the exact same flight.
(cc) SARAH: Great.
JAKE: Mm-hmm. Hey, are you staying at that inn -- what's that place called?
(cc) SARAH: No. I'm staying at the Bay Lodge.
JAKE: Yeah. I thought the lodge looked better, too.
(cc) SARAH: We can share a car.
JAKE: Sure. Sure we can share a car. That's a great idea. Okay. Friday at 10:00. See ya.
(LOU walks up to JAKE.)
LOU: Jake.
(JAKE jumps and toggles the screen back to the "official" work screen.)
JAKE: Yes?
LOU: Could I have a word?
JAKE: Sure.
(LOU walks away. JAKE gets up to follow her, then forgets that he's wearing the headset. It pulls him back.)
JAKE: Ow!
(He takes off the headset and rushes to catch up with her.)
CUT TO:
[INT. NSA - LOU'S OFFICE - DAY]
(LOU opens the door. Apparently, we're coming in mid-conversation.)
JAKE: How could this come as a surprise? I put my request in to Human Resources three weeks ago.
LOU: Well, unbeknownst to Human Resources, you have a half billion dollars' worth of research inside of you. Research that many people would like to get their hands on.
JAKE: It's a wedding.
LOU: You're still at risk.
JAKE: From what, drunken bridesmaids? Lou, I woke up this morning with guns in my face. What's next, sidearm chaperones on dates? Permission to go potty?
LOU: It's for your own protection, Jake.
JAKE: And I appreciate that, but I need to have a life outside of this. My friend is getting married. I'm his best man. Please. All I'm asking for here is two days. Two days of a normal life.
(Camera holds on LOU.)
CUT TO:
[EXT. OUTSIDE JAKE'S APARTMENT -- DAY]
(JAKE stands on the side of the curb waiting for SARAH to pick him up. He rehearses what he's going to say to her.)
JAKE: Sarah, hey. Glad this worked out. I, uh ... you know, it's great about Kevin and Jen. I like you.
(Take 2.)
JAKE: Hey, Sarah, hey. Glad this worked out with the car and the whole flight. Maybe we could go out sometime and cut the rug ... it's funny how, you know, they've been friends for so long, and we've been friends for so long -- not that we should get married. I'm not saying that. Definitely not saying that.
(The car pulls up to the side of the curb. JAKE smiles. The door opens and SARAH gets out.)
SARAH: Sorry I'm late.
JAKE: Hey!
(SARAH and JAKE hug.)
SARAH: I just got caught up, and ... anyway.
(They break apart and JAKE picks up his bags.)
JAKE: Don't worry about it -- I'm just glad this whole thing worked out.
(JAKE hands his bags to the driver who puts them in the trunk of the car.)
JAKE: Here you go.
SARAH: Me, too.
JAKE: So, pretty great about Kevin and Jen. Been friends for so long, getting married. It's amazing.
SARAH: Yeah. I knew eventually they'd figure it out.
JAKE: Yeah.
(SARAH hurries JAKE along.)
SARAH: Okay, so we got to go.
JAKE: Oh. Okay. Um, listen ...
(JAKE stops to look at SARAH, then thinks better of it.)
JAKE: We have all day to talk.
SARAH: Yeah.
(JAKE gets into the car. He finds that there's someone already there.)
JAKE: (surprised) Hi.
(SARAH leans into the door and does the introductions.)
SARAH: Oh, uh, Jake, Alex. Alex, Jake.
ALEX: Nice to meet you.
(They shake hands.)
JAKE: Yeah. You, too.
SARAH: Um, let me sit in the middle.
(SARAH and JAKE get out of the car. SARAH gets into the car to sit in the middle; JAKE sits near the door.)
SARAH: (enthused) Oh, you guys, this weekend's going to be so much fun.
JAKE: Yeah, it's going to be great.
SARAH: Okay.
(The car drives off.)
CUT TO:
[EXT. VARIOUS SEATTLE SITES (STOCK) -- DAY]
[EXT. MERCER POINT LODGE - DAY]
(JAKE walks out of the inn. He looks around at the wedding guests and everyone. He walks out onto the yard. Behind him, the groom stands on the stairs looking at JAKE.)
KEVIN: Dude ...
(JAKE turns around. KEVIN rushes forward to greet his friend.)
KEVIN: Hey, man, how's it going?
JAKE: What's up, Kev?
(They laugh and hug warmly.)
KEVIN: Yeah! Whoa! Can't believe you're still wearing the same old ratty jacket.
JAKE: Yeah, yeah. I can't believe you're still losing your hair.
KEVIN: Hey! Let's not hit a guy below the belt on his wedding.
JAKE: So ... finally happened.
KEVIN: Yeah, a lot quicker than I expected, believe me. I thought for sure I was going to be the last one to go.
JAKE: No, no, apparently, that's me. Speaking of which, am I the only single person here?
KEVIN: What happened? I thought you were coming with Sarah.
JAKE: You know, that didn't exactly work out as planned.
KEVIN: Uh-huh. You still haven't told her how you feel.
JAKE: It's all about timing.
KEVIN: Right, yeah, years and years of timing. Come on, buddy, step off the ledge. I mean, look, it happened with Jenny.
JAKE: You stalked her.
KEVIN: Whatever. She said yes. (JAKE laughs.) Hey, oh, listen, um, just go grab yourself a drink, and, um, I'll go find my bride. She's dying to see you. Thanks for coming.
JAKE: Okay, man.
KEVIN: Okay. See you tomorrow.
CUT TO:
[EXT. VARIOUS WASHINGTON D.C. (STOCK - EVENING]
[INT. NSA - RESEARCH LAB]
(DIANE studies the test results on the laptop monitor.)
DIANE: Hey, Fran? Can you do me a favor?
(FRAN walks over to DIANE.)
FRAN: What?
DIANE: If, uh, if we're asked any questions about the mice or Jake ... just let me know first.
FRAN: Yeah.
DIANE: Thanks.
CUT TO:
[EXT. MERCER POINT LODGE - DAY]
(JAKE looks around and sees SARAH. She waves to him. He waves back.)
JAKE: (softly to himself) Yep. Having fun.
(As he looks around, JAKE sees a man standing near the tables watching him.)
(KEVIN and JENNY walk toward JAKE.)
JENNY: Aww, finally, a familiar face. Hey. I swear, I've been meeting relatives I didn't even know existed.
(She hugs JAKE.)
JAKE: Jen, you look beautiful.
JENNY: Thank you.
JAKE: You're much too beautiful for this guy.
JENNY: Well, what can I say? Geeks turn me on.
KEVIN: Yeah.
JENNY: Hmm.
(They kiss.)
KEVIN: Ha!
JENNY: So, a lot of people are looking forward to that toast.
KEVIN: Oh, yeah, how is that coming, by the way?
JAKE: Uh, it's, ...
(JAKE glances to the side and sees the MYSTERY MAN watching him. He holds his hand over his heart.)
JAKE: ... um, right in here.
KEVIN: You got nothing.
JAKE: Not a word.
(JENNY'S MOTHER walks over to the group.)
JENNY'S MOTHER: Honey, Aunt Lois wants to see you.
JENNY: Oh, is she sober?
(JENNY throws JAKE a look.)
JENNY'S MOTHER: Uh, for the moment, so now's a good time.
JENNY: Okay.
KEVIN: Good luck.
(JENNY and her mother walk away.)
JAKE: (to KEVIN) Hey, hey, who's that guy over there?
KEVIN: Well, who are you talking about?
JAKE: The guy walking away -- he's been looking at me.
KEVIN: Oh, that's probably my cousin Phil. He's a really weird dude. Hey. He's single. Ha.
JAKE: Ha-ha.
(KEVIN walks away.)
JAKE: Jerk.
CUT TO:
[LUNCH TABLES]
(JAKE looks at the place card settings. He finds his card and sits down. While waiting, he looks at the placecard next to his: SAM.)
JAKE: (groans) Oh, great.
(The woman standing near the table sees her card.)
SAM: That's me.
JAKE: Oh, hi. Um ... Oh, here, you want to, uh ... (JAKE scrambles to his feet and holds out her chair.) ... have a seat.
SAM: Thank you.
JAKE: Sure.
(SAM sits down and takes his seat.)
JAKE: I'm Jake Foley.
SAM: Nice to meet you, Jake Foley.
JAKE: You, too are you bride or groom?
SAM: Bride-- we work together.
JAKE: Ah. Groom-- best man.
(SAM laughs.)
JAKE: So, I, uh, guess they ... meant for us to meet.
(SAM bites her lower lip, a little awkward at the presumption.)
RACHEL: (o.s.) Hey, baby.
(SAM looks just beyond JAKE. JAKE turns around to see an attractive blonde- haired woman holding two drinks.)
SAM: Honey! I'd like you to meet Jake. Jake, this is Rachel, my partner.
(JAKE nods. As SAM and RACHEL gaze at each other, JAKE chuckles uncomfortably.)
LATER:
[INT. MERCER POINT LODGE - HALLWAY]
(Exhausted, JAKE heads back to his room. He sighs and digs into his pockets for his keys. Down the hallway, he hears a familiar laugh.)
(He goes to investigate. He turns the corner and sees SARAH and ALEX head toward the bedroom.)
SARAH: Did you see that one?
ALEX: Yeah.
SARAH: With the beard?
(They both laugh.)
SARAH: I don't know what's going on.
(ALEX gets the door open and they both walk into the room. JAKE leans against the wall for a moment, then heads for his room.)
[INT. MERCER POINT LODGE - JAKE'S ROOM - CONTINUOUS]
(JAKE opens the door and walks into the room. He takes a couple of steps, pauses, then turns and looks at the door.)
CUE SOUND: ENHANCED HEARING
(JAKE hears laughing. He realizes what he's doing, then shakes himself out of it.)
JAKE: What am I doing? No, no, no.
(JAKE turns to the room and takes off his jacket. He sits on the bed for all of an entire second, then stands up and heads back to the center of the room.)
CUE SOUND: ENHANCED HEARING
(Camera zooms from JAKE'S room, out through the keyhole, down through the hallway, turns the corner, turns the corner and stops in front of room #209.)
SARAH: Alex, stop. That tickles. (laughter)
ALEX: Oh, how about this?
SARAH: Oh, that's perfect.
ALEX: How about here?
(Camera zooms back to JAKE'S room.)
JAKE: (mutters) Idiot. Idiot.
SHORT TIME CUT TO:
(JAKE is lying on the bed holding two pillows up against each ear, trying to block out what he's hearing. The phone rings.)
JAKE: All right, all right, all right.
(He answers it.)
JAKE: Hello.
INTERCUT WITH:
[INT. NSA - RESEARCH LAB]
(DIANE'S at the lab, pacing the floor with the palm pilot in her hand.)
DIANE: Jake, hey, it's Diane. What are you doing?
JAKE: Nothing.
DIANE: Really? I just noticed some nanite activity, so ...
JAKE: Diane, you're monitoring me at a wedding.
DIANE: I'm sorry, Jake. It's my job.
JAKE: I know. I know, I know. I'm sorry. It's just ... it's just ...
DIANE: What?
JAKE: Nothing. It's nothing.
DIANE: Jake ...
JAKE: I don't know, I guess I'm just frustrated, you know. I'm here, all my friends are here and they're all moving on with their lives. They're all ... falling in love and they're having families and it's just so clear that I'm going nowhere.
DIANE: Jake, listen, all these things that you're feeling -- they're very common. I mean, just about everybody experiences them at one time or another. I mean, in med school we even coined a term for it.
JAKE: Oh, yeah, what's that?
DIANE: (nods) Yeah, "single syndrome."
(He can't help but chuckle.)
JAKE: Is it fatal?
DIANE: No. It's just mildly depressing. In the meantime, just try and get some sleep, okay?
JAKE: Thanks, Diane.
DIANE: Good night.
JAKE: Good night.
(JAKE hangs up.)
(DIANE hangs up and puts her phone down on the counter. She looks down at Antonio, dead and sealed in the metal pan with a yellow CAUTION! BIO-HAZARD sticker on it. Not good at all.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. SEATTLE SITES (STOCK) - DAY]
[INT MERCER POINT LODGE - JAKE'S ROOM -- DAY]
(JAKE'S sleeping when he hears a knock at the front door.)
JAKE: (groggily) Who is it?
(He gets up to answer it.)
ANGLE ON THE CLOSED DOOR:
(JAKE opens the door.)
DIANE: Hi.
(At first he's still sleeping, then his eyes widen.)
JAKE: Hey.
DIANE: (smiling) You're surprised.
JAKE: A little bit.
DIANE: Well, I checked with an expert on the whole single syndrome thing, and he said you should never go to a wedding without a date. So here I am. I mean, not as your date -- just as a friend posing as your date.
JAKE: Diane, uh, you didn't have to ...
DIANE: No, no, I know. I had all these frequent-flier miles and I kind of always wanted to see Seattle, so ...
JAKE: I can't believe you flew all the way out here.
DIANE: Yeah. So you're buying breakfast.
SHORT TIME CUT TO:
[EXT. MERCER POINT LODGE -- BALCONY -- DAY]
(JAKE and DIANE sit at the table waiting for their breakfast.)
DIANE: (rambling) Oh, so the whole bouquet thing -- it's like why don't you just shine a spotlight down on all the single, desperate women whose entire fate lies in the hands of this bride just blindly throwing flowers over her head. And then you have me. I mean, at my height, do you think I even stand a chance?
(The waiter arrives with the food.)
JAKE: Thanks.
DIANE: Thanks.
JAKE: (looks at his plate) I don't think I can eat this.
DIANE: (startled) What? Why not?
JAKE: (rubbing his stomach & stretching) My stomach's all in knots.
DIANE: Really, since when?
JAKE: Uh, a couple days ago.
DIANE: Okay, well, is it ... ?
(DIANE takes the palm pilot out of her pocket and checks it. JAKE sees her and tries to get her to put it back.)
JAKE: Put it away!
DIANE: Jake, this could be serious.
JAKE: It's not serious. (confesses) It's ... it's the wedding toast, okay? This happens every time I have to speak in public.
DIANE: (embarrassed) Sorry. Can I help at all?
JAKE: No, no, I'm beyond help. It's like watching a train wreck. It's okay. Everyone expects a disaster, and I deliver every time.
(Behind them, there's a commotion. The groom, along with all the men of the wedding group stumble out of the inn.)
KEVIN: Jake. Dude, paint ball.
JAKE: Oh, yeah, yeah.
DIANE: Paint ball?
JAKE: Yeah, it's kind of a tradition. You know, the whole battle before the battle type of thing. You okay?
DIANE: Yeah, yeah, I'm fine.
JAKE: Okay, I'll see you later.
DIANE: Okay.
(JAKE stands up and joins the group.)
KEVIN: Let's go.
JAKE: C'mon.
(DIANE sighs.)
CUT TO:
[EXT. MERCER POINT LODGE -- WOODS -- DAY]
(The group is selecting teams.)
TEAM CAPTAIN 2: David.
GROOMSMAN: Redner.
TEAM CAPTAIN 2: Jesse.
GROOMSMAN: Meeks.
(There are only three people left. The TEAM CAPTAIN looks at the group and picks.)
TEAM CAPTAIN 2: Uh ... Shefflin.
(Now there are only two left, JAKE ... and a kid.)
GROOMSMAN: Spider.
(The kid turns to JAKE.)
SPIDER: Later, Foley.
(JAKE heads for the other team. KEVIN steps in front of the group to explain the game and the rules.)
KEVIN: Okay, guys, listen up. This may very well be the last time I get to see all of you guys ... without permission.
(They laugh.)
KEVIN: But, and despite of the fact that we are all about to go to war, let's not forget we came here to have some fun, okay? So remember, safety first, guys.
(JAKE'S gun fires and he hits his foot.)
JAKE: Ow! Ow! Ow!
(The group laughs while the others on his team looks worriedly at JAKE.)
JAKE: That doesn't count, does it?
(KEVIN smiles.)
KEVIN: That's my best man. Okay, guys, let's do it.
(The group disburses and they pull down their masks. JAKE looks over and sees the MYSTERY MAN smirking at him. JAKE pulls his mask down and rushes to join the group. The MYSTERY MAN pulls his mask down.)
CUT TO:
[INT. MERCER POINT LODGE -- LOBBY -- DAY]
(DIANE walks into the inn. She's on the phone.)
DIANE: Oh, Fran. It's Diane. Anything on Antonio?
FRAN: (from phone) Not yet. I'm still reviewing the backup data.
DIANE: Okay, so you'll let me know?
INTERCUT WITH:
[INT. NSA - RESEARCH LAB - DAY]
FRAN: Yeah. So, how's Jake?
DIANE: Oh, he's fine. I feel kind of silly.
FRAN: Well, it's better that you went anyway.
DIANE: Yeah. So listen, call me when you're done, okay?
FRAN: All right.
(DIANE hangs up. A WOMAN drapes her arm around DIANE'S shoulder and pulls her away.)
JENNY'S MOTHER: Honey. We're right over here. They already started.
DIANE: Okay, started what?
(She leads DIANE to a room past the sign that reads: WELCOME TO THE WEDDING OF KEVIN & JENNY YOUR (sic) INVITED TO ... BRIDAL BEAUTY TIME FOR THE GIRLZ ONLY! )
(They enter the room where various beauty stations are set up. The other women attending the wedding are there.)
DIANE: Oh, no thank you, but this really ...
JENNY'S MOTHER: Honey...
DIANE: This is so not my thing.
JENNY'S MOTHER: Looking glamorous is every woman's thing.
(She pushes DIANE into a chair to get a pedicure. The woman starts on DIANE'S feet as JENNY'S MOTHER puts a drinking glass in DIANE'S hand.)
DIANE: Oh, thank you. Ooh.
[Note: The markings on her right foot are three hiragana characters: Su-Ru- Na.]
CUT TO:
[EXT. MERCER POINT LODGE -- WOODS - DAY]
(JAKE runs in the woods. Exhausted, he pauses and rests behind a large tree. He lifts his mask and takes a drink of water.)
JAKE: (sighs) Okay.
(He caps his bottle and shoves it back in his pocket.)
(He moves.)
(Out from behind a bunker, the kid stands up and fires at JAKE. He misses and JAKE takes cover back behind the tree.)
SPIDER: You're a dead man, Foley!
(The GROOMSMAN joins SPIDER.)
GROOMSMAN: Who've you got?
SPIDER: It's just Foley.
GROOMSMAN: This is going to be easy.
CUE SOUND: ENHANCED HEARING
(Camera zooms from JAKE'S ear toward the bunker.)
GROOMSMAN: Okay, you flank right. I'll go left. He'll have nowhere to run. On three, ready? One... two... three.
(The two stand up and raise their paint guns. JAKE is faster. He turns from the tree and fires hitting both of them square in their chests.)
(They groan as they realize that they're both out of the game.)
(JAKE looks at them, his mask already raised.)
JAKE: (yells) Well, that was easy.
(The TEAM CAPTAIN and the KID both raise their masks.)
GROOMSMAN: (groans) Damn.
(JAKE turns and leaves to continue the game.)
CUT TO:
[INT. MERCER POINT LODGE -- DAY]
(DIANE is in heaven. Her feet are being worked on as she sits on the chair. Her fingertips are soaking in a tray as she leans back, eyes closed just enjoying it all.)
(SARAH sighs and sits in the chair next to DIANE'S. The woman starts to work on SARAH'S nails.)
SARAH: Mani-pedi's one of life's greatest pleasures.
(DIANE opens her eyes and laughs.)
DIANE: I'm a virgin.
(SARAH turns to look strangely at DIANE.)
DIANE: (clarifies) Well, I'm a mani-pedi virgin. (They both laugh.) It's my first time.
SARAH: You're kidding?
DIANE: No. I always thought they were like a big waste of time. And now I see that that's the point.
SARAH: Oh, exactly. I'm Sarah Carter.
DIANE: Oh ...
(She recognizes the name.)
DIANE: Oh, hi.
(DIANE holds out her hand - only it's been soaking in the dish and she splashes all over SARAH.)
DIANE: (gasps) I'm so sorry! I'm Diane Hughes. I'm really sorry.
SARAH: (dabs at her clothes) Don't worry about it. Don't worry.
DIANE: Oh, god.
SARAH: So are you with the bride or the groom?
DIANE: The groom ... I guess. Although I haven't actually met him. I'm with Jake.
SARAH: (surprised) Jake Foley?
DIANE: Yeah.
SARAH: We went to college together.
DIANE: Yeah, I know. He's mentioned you to me before ... once. (mutters) Just once.
SARAH: Oh, uh ... that's so weird, 'cause we rode to the airport together and he never mentioned bringing a date.
DIANE: Well, I'm not actually his date. I'm his doctor. Well, I'm a doctor. I'm a doctor. So it was a last minute thing.
SARAH: I guess so. So how'd you meet?
DIANE: Just at work.
SARAH: So you're a doctor at the NSA?
DIANE: Mm-hmm. Yes, Research.
SARAH: That must be really interesting.
DIANE: (nods) Yeah.
SARAH: What kind of research do you do?
DIANE: Oh, I'm in ... I am not allowed to tell you. It's a ... confidentiality thing.
SARAH: Right.
VALERIE: (o.s.) Sarah!
SARAH: Um ... oh, Valerie's open. It's nice to meet you.
(SARAH stands up.)
DIANE: Yeah.
SARAH: I'll see you later.
DIANE: Okay.
(SARAH heads to the next station.)
CUT TO:
[EXT. MERCER POINT LODGE -- WOODS -- DAY]
(The siege is on. Paint ball guns fire rapidly from the bunker to the ground. On the side, JAKE has a good view of the assault.)
MYSTERY MAN: (o.s.) Hey, Jake.
(JAKE turns to the side and sees the MYSTERY MAN on the side holding his gun in his hand.)
(JAKE gets to his feet and holds up his arms.)
JAKE: All right, all right, you got me.
(The MYSTERY MAN points his (paint) gun at JAKE. He fires. That's no paint gun. The bullet barely misses JAKE and hits the bark off the tree he's standing next to. JAKE ducks.)
JAKE: Hey, fella ... I think you've got to turn down your pressure a little bit.
MYSTERY MAN: What's the matter, Jake, you afraid?
JAKE: Seriously, man, you're going to hurt somebody.
MYSTERY MAN: Exactly.
(He fires again and misses.)
(JAKE takes off running.)
(The MYSTERY MAN takes off after JAKE. As JAKE runs, the MYSTERY MAN fires as he chases him.)
(CC) MYSTERY MAN: Jake, where you going?
(He fires again.)
(CC) MYSTERY MAN: Hey, Jake, come back. I just want to talk.
(He shoots again. JAKE continues to run.)
(CC) MYSTERY MAN: Hey, Jake, wait up, Jake.
(JAKE runs, then comes to a red fence to mark the boundary. He jumps over the fence. The MYSTERY MAN doesn't follow. JAKE takes off to safety.)
CUT TO:
[INT. MERCER POINT LODGE - DAY]
(DIANE is sitting down drying her nails, her feet up on the table. In front of her, SARAH'S just had her hair done. She looks great.)
JENNY'S MOM: Fantastic. Absolutely beautiful. You've outdone yourself.
(DIANE gets up and walks over to the mirror. She looks at herself and sighs. She takes the empty chair at the hair booth and takes her glasses off.)
DIANE: Hi. I'm all yours.
HAIR DRESSER: Okay.
CUT TO:
[EXT. MERCER POINT LODGE -- WOODS - DAY]
(JAKE angrily walks back toward the group. He rips his mask off.)
KEVIN: Aw, Jake, where you been? I've got this little thing today -- it's called a wedding.
JAKE: Your cousin Phil is out of his freakin' mind.
KEVIN: Yeah, so?
JAKE: Seriously. He was trying to hurt me out there.
KEVIN: With paint balls?
JAKE: Yeah.
(The other guys in the group that overhear start laughing.)
KEVIN: Paint balls?
JAKE: Yes. Yes.
(More guys laugh.)
KEVIN: My cousin, Phil?
(KEVIN turns and indicates one of the guys wearing a mask who's just returned to the group. PHIL takes off his mask.)
JAKE: Yeah ...
(The MAN under the mask isn't the same MAN who's been shooting at JAKE.)
JAKE: That's Phil?
KEVIN: Yeah.
(KEVIN waves to PHIL. PHIL waves back.)
(JAKE looks around amidst the sounds of more laughter.)
CUT TO:
[INT. MERCER POINT LODGE -LOBBY - DAY]
(JAKE enters the inn.)
(Cut to: JAKE walks down the stairs. Someone walks past him. JAKE recognizes him as the MYSTERY MAN and follows him. The MYSTERY MAN walks rapidly round the corner.)
(JAKE turns the corner and sees the MYSTERY MAN.)
JAKE: Hey. I'm Jake. You think maybe you were a little aggressive out there?
MYSTERY MAN: Yeah, there's nothing like a good hunt, huh?
JAKE: Yeah. Fun, fun, man.
MYSTERY MAN: I had you until that jump. Where'd you learn how to do that?
JAKE: Uh... well, it was a lot lower than it looked.
MYSTERY MAN: Yeah, I guess it was.
(The MAN turns and leaves. JAKE follows him.)
JAKE: Hey, I didn't catch your name.
MYSTERY MAN: See you at the wedding.
(The MYSTERY MAN enters his room. JAKE stands there for a moment staring at him. Then checks the room number, 214.)
CUT TO:
[EXT. MERCER POINT LODGE -- YARD -- DAY]
(The nervous groom walks up to his groomsman.)
KEVIN: (whispers) Paul, where's Jake?
PAUL: (whispers) I don't know.
KEVIN: (groans) Oh, man.
(KEVIN rushes off to look for JAKE.)
CUT TO:
[INT. MERCER POINT LODGE - ROOM 214 / HALLWAY - DAY -- CONTINUOUS]
(JAKE opens the door and walks into the room. He freezes at what he sees.)
(On the wall in front of him are pictures and photos of him covering the wall directly in front of him. As he looks at the various surveillance photos, JAKE remembers LOU'S concerns.)
LOU: (v.o.) Well, unbeknownst to human resources you have a half billion dollars worth of research inside of you.
(JAKE stares astonished at the various photos, maps and even a piece of paper
with his address on it:
MR. JAKE FOLEY
1974 BENTON ST. APT. #19
WASHINGTON, D.C. 20007 )
(Various cuts of the MYSTERY MAN:
* At the backyard social mixer soiree
* At the traditional paintball game. )
LOU: (v.o.) Research that a lot of people would like to get their hands on.
(Cut to: The MYSTERY MAN talking to JAKE in the hallway outside room #214.)
MYSTERY MAN: There's nothing like a good hunt, huh?
(JAKE looks around the room and looks down at the open file for JAKE FOLEY on the desk. Camera zooms in close. It reads:
NATIONAL SECURITY AGENCY
SUBJECT PROFILE 70589-9 - FOLEY
NANOBOT PROGRAM
Name: JAKE FOLEY Agent I.D.: NSA412-E5R Age: 24
Address: #??-1765 Benton St. Washington, D.C. 20007
DESCRIPTION
HEIGHT ...
(ON the bottom of the same file, he reads: )
PRINCIPAL OBJECTIVE: EXTRACT NANITES
SUBJECT FOLEY WILL BE AT THE MERCER POINT LODGE
SEATTLE, WASHINGTON
... 19:30 TO SUNDAY 11:00 APPROX.
... PARKS WEDDING AND RECEPTION
... INTERCEPT FOLEY DURING SCHEDULED
EXCURSION SATURDAY
(He pushes the file aside and sees the second file underneath. It reads:
HOST FOLEY ALIVE FOR DURATION OF EXTRACTION
HOST EXPENDABLE
LOU: (v.o.) You are still at risk.
(JAKE looks down at the open gun case with the missing gun.)
LOU: (v.o.) It's for your own safety, Jake.
(JAKE looks around the room, his worst fears realized.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. MERCER POINT LODGE - DAY]
[INT. MERCER POINT LODGE - LOBBY -- DAY]
(JAKE reaches a phone and starts to make the phone call.)
JAKE: Secure line to Deputy Director Louise Beckett. What? Uh, oh, yeah. Uh, Alpha Charlie Tango 4271. No, no, no, listen, this is an emergen- ... hello?
JENNY'S MOM: Hi.
(JAKE turns around.)
JENNY'S MOM: Have you noticed all the activity outside? That's my daughter's wedding beginning.
JAKE: Yeah, I'm sorry. I'll be right there.
(He waits on the phone, then can't wait any longer. He hangs up. On his way out, he heads for the reception desk. The DESK MANAGER behind the desk is on the phone.)
JAKE: I need you to call the police.
DESK MANAGER: Yeah.
JAKE: 'Cause there's a guy in room 214 who's trying to kill me, that's why.
(The DESK MANAGER deliberately hangs the phone up and looks it up on the computer.)
MANAGER: Right. That was 214?
JAKE: Yes. Yes. Room 214.
(KEVIN rushes into the lobby and grabs JAKE. He's in a panic.)
KEVIN: Dude ... Jake ... what is your deal, man? Everyone in there is waiting on you.
JAKE: I'm sorry. Just give me one second.
KEVIN: Jake, dude, you're my best man, okay? I'm kind of freaking out here. I really need you.
DESK MANAGER: He needs you.
JAKE: Okay? You're right. You're right, let's go.
(JAKE hurries out of the lobby with KEVIN.)
JAKE: (over his shoulder) Call them now.
CUT TO:
[EXT. MERCER POINT LODGE - YARD - DAY -- CONTINUOUS]
(The wedding music starts -- Pachelbel's 'Canon in D' for those interested -- and the flower girls walk down the aisle. The first couple after the flower girls are JAKE and SARAH.)
SARAH: I think she's up ahead on the right.
JAKE: What?
SARAH: Diane, your date. We met.
JAKE: Oh, great.
(JAKE scans the audience for the MYSTERY MAN. He sees the MYSTERY MAN stand and walk over to the side as they approach the front.)
SARAH: She seems really, um ... interesting.
JAKE: Yeah. Yes, she is.
SARAH: You keep a good secret, Jake.
JAKE: What?
(SARAH turns to look at DIANE. JAKE looks in the same direction and sees DIANE sitting there. He's floored.)
(As he passes by, he notices the MYSTERY MAN withdrawing to the back of the audience. His eyes are now on the MYSTERY MAN.)
(The rest of the wedding party takes their places.)
SHORT TIME CUT TO:
[WEDDING CEREMONY -- CONTINUOUS]
(KEVIN is saying his vows to JENNY. JAKE stands aside and looks around the audience. It's clear that his attention isn't on the wedding.)
KEVIN: I looked across the room and I thought to myself, "that girl is totally out of my reach." Jenny, being with you has taught me how to love and be loved. Makes realize nothing is beyond my reach.
(As DIANE sits in the audience, she notices JAKE'S behavior.)
(Once KEVIN is through with his vows, there's a pause.)
KEVIN: Jake ... Jake ... ring.
(JAKE reaches into his jacket and takes out the ring.)
JAKE: Oh. Yeah. Sorry. Here you go.
(He gives the ring to KEVIN.)
(JAKE rubs the back of his neck. DIANE notices the movement and is immediately concerned.)
KEVIN: Jenny ... I love you.
(JAKE rubs the back of his neck and groans.)
JAKE: (softly) Oh, man.
(At the untimely interruption, KEVIN and JENNY glance at JAKE.)
JAKE: That was beautiful.
(DIANE'S cell phone rings. She answers it.)
DIANE: (whispers) Fran!
INTERCUT WITH:
[INT. NSA - RESEARCH LAB]
FRAN: Deputy Director Beckett called. She's checking up on Jake. What do I say?
(DIANE looks up at JAKE just as he wipes his sweating brow and mumbles. DIANE is definitely concerned.)
DIANE: Fran, don't tell her where I am. Tell her I'll call her back.
(DIANE hangs up the phone. The PRIEST continues with the ceremony.)
PRIEST: May this beautiful day shine eternally in your lives.
(JAKE sees the MYSTERY MAN standing in the back of the group in the hedges.)
PRIEST: May it add brilliance to every achievement and cast a divine light over any misfortune.
(DIANE glances down at the Palm Pilot. Camera zooms in for a close up of the screen. DIANE looks up at JAKE who seems to want to rush the ceremony.)
JAKE: Come on, come on, come on.
(KEVIN glances at JAKE. DIANE looks from JAKE to the palm pilot. Things aren't looking good. JAKE is very jumpy.)
PRIEST: And ... may all that is virtuous, beautiful and honest remain in your lives. Ladies and gentlemen, it is my honor to introduce you to ... Kevin and Jenny, husband and wife.
(The ceremony is over. JENNY squeals with excitement. The crowd applauds and gets to their feet.)
PRIEST: You may kiss the bride.
(The couple kiss.)
(Seeing the break he needs, JAKE runs down the aisle, straight for the MYSTERY MAN. He runs past DIANE who is surprised to see him take off. She moves to follow him.)
(Back in the hedges, the MYSTERY MAN slides back into cover. KEVIN, JENNY and SARAH are puzzled as they watch JAKE run toward the hedges.)
(JAKE turns the corner and runs up the hill looking for the MYSTERY MAN.)
CUE SOUND:
(JAKE concentrates on using the nanites. The camera zooms through JAKE'S ear, through his blood and muscle to the nanites as they zap his cells.)
(JAKE cringes in pain.)
(JAKE looks around and sees the MYSTERY MAN running away.)
(JAKE concentrates on using his enhanced vision and his vision blurs. He blinks trying to clear his sight, but it's not working. JAKE heads for the place where he last saw the MYSTERY MAN. As he walks, he's seized with intense pain that knocks him off of his feet. He falls to the ground.)
(When he looks up, his blurred and distorted vision sees a pair of feet in front of him. He looks up and sees the MYSTERY MAN.)
MYSTERY MAN: It starts with the muscles. First you think it's just tension.
JAKE: What are you talking about?
MYSTERY MAN: Poison. It's in your water bottle. You were very thirsty. Spreads to the eyes and the ears ... and soon there'll be nothing left. Not even the nanites can help you.
(JAKE swings his fist at the MYSTERY MAN and misses.)
MYSTERY MAN: It's not worth the fight, Jake. You're already dead.
(JAKE looks up and to the side where he sees a couple walking by. The MYSTERY MAN turns to look; JAKE makes a break for it.)
CUT TO:
[INT. MERCER POINT LODGE - LOBBY -- DAY]
(DIANE walks into the lobby. She takes out her phone and dials.)
DIANE: Fran, it's Diane. Do you have anything on Antonio?
INTERCUT WITH:
[INT. NSA - RESEARCH LAB]
FRAN: Yeah, there was an abnormal increase in nanite activity around the interior cortex. But this is where it gets weird. On his brain, Antonio had a massive cluster of nanites in his frontal lobe.
(DIANE realizes what this means for JAKE.)
DIANE: Oh, no. No.
(DIANE takes off to find JAKE.)
CUT TO:
[EXT. MERCER POINT LODGE -- DAY]
(JAKE runs down the path toward the lodge. He glances over his shoulder trying to get away from the MYSTERY MAN.)
(He reaches the lodge door and collapses inside. JAKE falls down the stairs, exhausted and in pain. Still, he gets to his feet and continues to run.)
CUT TO:
[INT. MERCER POINT LODGE - OUTSIDE JAKE'S ROOM -- CONTINUOUS]
(DIANE turns the corner and sees the commotion outside JAKE'S room. She looks at the SECURITY GUARD posted outside the room door.)
DIANE: What happened? Where is he?
(She walks into the room. There are two men inside the room looking through the things on the bed.)
DIANE: Where's Jake?
SECURITY GUARD: You know Jake Foley?
DIANE: Yes. What happened?
SECURITY GUARD: Well, that's what we're trying to find out. Mr. Foley was seen on security camera breaking into one of the rooms.
DIANE: What? Why?
SECURITY GUARD: We have no idea.
(DIANE exhales wondering what the heck is going on.)
CUT TO:
[INT. MERCER POINT LODGE -- CORRIDOR]
(JAKE opens the door and struggles to get away from the MYSTERY MAN. He runs into a darkened room and collapses near the counter.)
(The door opens and the MYSTERY MAN walks inside. JAKE gasps and moves away from the light just as the MYSTERY MAN walks forward, the door closing behind him.)
(JAKE takes off out of the back door.)
[NEXT ROOM]
(JAKE gets into the next room and collapses on the floor. He's crawling one arm over the other, pulling himself along the floor trying to get away from the MYSTERY MAN.)
(Almost reaching the next door, he clutches his stomach in pain. He turns and glances at the door behind him waiting for the MYSTERY MAN to show.)
(JAKE struggles to get away.)
(The back door bursts open and DIANE walks in. She kneels down next to JAKE.)
DIANE: Jake.
JAKE: (gasping) Diane, get out of here. He's after me.
DIANE: Jake, no one is after you.
JAKE: (panicked) No, he's trying to kill me.
(With both hands, DIANE grabs JAKE'S head to force him to look at her and not the door.)
DIANE: Jake ... Jake, listen to me. It's the nanites. The nanites are killing you.
JAKE: What?
(Camera holds on JAKE as he turns to look at the door again.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. MERCER POINT LODGE - DIANE'S ROOM -- DAY]
(The room door opens. DIANE half-carries, half-drags JAKE into the room.)
DIANE: Okay, okay go and lay down, okay?
(She shuts the door behind her.)
DIANE: Okay? Oh ... lay down.
(JAKE collapses on the bed.)
DIANE: Okay, don't worry, Jake. We're going to figure this out, okay?
(She takes the laptop off of the desk and goes back to the bed. JAKE isn't looking good. As she sets the laptop up, JAKE turns and looks at her. Just beyond her, he sees the MYSTERY MAN sitting near the wall watching them.)
JAKE: Diane. Diane.
DIANE: What?
JAKE: Diane.
DIANE: What?
JAKE: Diane ... he's here. He's in the room.
(DIANE turns to look and sees that no one is there.)
DIANE: Jake, Jake, listen to me. What you are seeing is not real.
(Even as she tells him that, JAKE sees the MYSTERY MAN sitting there, smirking at them.)
JAKE: Diane, he's right behind you.
DIANE: No. No, this is all in your mind. The nanites are rejecting you. They are overloading your brain with electrical impulses and making you see things that are not there.
DIANE: Jake, look, I need you to see this.
(JAKE hears her, but he sees the MYSTERY MAN sitting behind her. The MYSTERY MAN leans forward.)
MYSTERY MAN: (whispers) That's got to be uncomfortable.
(DIANE sets the video tape up. She heads back to the bed and helps JAKE sit up.)
DIANE: Okay, up.
(She grunts with exertion.)
DIANE: I got this from hotel security. It's from earlier today. Who are you talking to?
(On the video tape, we see JAKE walking down the hallway, stop, and talk with someone who is not there.)
JAKE: He was there.
DIANE: No. No.
(DIANE helps JAKE lie down.)
DIANE: I know it doesn't make sense to you right now, but you have to trust me.
JAKE: In his room, the pictures of me.
DIANE: The room was empty. This is all in your mind.
(DIANE starts to undress JAKE. JAKE glances to the side and sees the MYSTERY MAN sitting there.)
(Short cut to: The WEDDING RECEPTION.)
(Cut back to: DIANE'S ROOM.)
(DIANE is working on the laptop. JAKE is no longer panting. In fact, he's barely breathing.)
DIANE: (earnestly) There has to be something in the kernel.
JAKE: Diane ...
DIANE: Maybe the code is self-replicating, or there's a memory link.
JAKE: Diane ... Diane, I can't move.
DIANE: Jake, it's in here. The answer is in here somewhere and I will find it.
JAKE: (softly) There's no more time. You got to reboot.
DIANE: No, we can't do that.
JAKE: Why not?
DIANE: Because the nanites are fully integrated into your system. They are part of you. If I shut them down, it will kill you.
JAKE: Maybe just for a second.
DIANE: No. No. We don't know that. There's got to be another way.
(JAKE looks imploringly at DIANE.)
DIANE: Jake, no, I will not be the one to kill you.
(JAKE mouths the word: Please ... )
DIANE: Okay. Okay, okay, I'm setting up the command structure.
(DIANE types: /sbin/user/logout -1)
DIANE: The link is set.
(The computer starts beeping.)
(The MYSTERY MAN stands right next to DIANE.)
MYSTERY MAN: She can't save you, Jake.
DIANE: You're okay. You are okay.
(JAKE watches as the MYSTERY MAN holds a gun directly at DIANE'S neck. Still, she looks at JAKE without batting an eye.)
DIANE: Are you ready?
(She pauses a moment, then nods.)
DIANE: Okay.
(She enters the command. JAKE starts to stiffen. The laptop beeps faster and faster, then it flatlines completely.)
(JAKE is dead.)
(DIANE turns from the computer to JAKE.)
DIANE: Jake!
(She scrambles onto the bed and starts administering CPR. She checks for a pulse. She tilts his head back to do mouth-to-mouth.)
(Cut to: The vital signs on the laptop is turned off.)
(She pumps on his chest and counts.)
DIANE: One, two, three.
(She does mouth to mouth.)
DIANE: Come on, Jake.
(She goes back to his chest.)
DIANE: One, two ...
(She goes back to his mouth, then to his chest. She doesn't let up, she doesn't give up. Various quick cuts of DIANE performing CPR on JAKE.)
DIANE: One ... (shouts) ... come on!
DIANE: ...Two, three.
DIANE: Come on!
DIANE: (screams) Jake!
(She continues to pump on his chest. It's been a while and he still hasn't responded. She starts to cry.)
(She reaches out and tenderly touches his neck. JAKE doesn't move.)
DIANE: (crying) Jake! Jake?
(DIANE collapses on the bed and sobs. The computer's flatline beep is unrelenting and its obvious that her efforts haven't worked. She sits up on the bed next to him. Crying, she picks up his lifeless hand and holds it to her forehead.)
(She presses his hand to her heart and looks down at him.)
DIANE: (sobbing) I'm sorry.
(DIANE bows her head and holds his hand over her eyes.)
(The computer continues to flatline.)
(Suddenly, it chirps.)
(DIANE scrambles over JAKE to look at the laptop screen. She turns the monitor and sees the heartbeat.)
DIANE: Jake!
(JAKE gasps for breath.)
(DIANE watches as JAKE opens his eyes and takes a breath. He blinks.)
(DIANE is overcome. She takes a couple of gasping breaths and rests her head for a moment next to JAKE'S. She pulls away and looks down at JAKE.)
DIANE: Hey!
(JAKE glances from DIANE to the side couch where the MYSTERY MAN was sitting. It's empty; there's no one there.)
(JAKE looks at DIANE.)
JAKE: Who are you?
DIANE: (shocked) What?
(JAKE cracks a smile.)
JAKE: I'm just kidding.
(She whimpers as he laughs his apology. DIANE reaches down and gives JAKE a hug.)
JAKE: I'm sorry. I'm sorry.
(She pulls away and touches his cheek. She picks up his hand. JAKE starts to sit up, but DIANE stops him and pushes him back on the bed.)
DIANE: No, no!
(JAKE reaches for her hand and holds it against his chest.)
JAKE: (gently) Diane, Diane, I'm the best man. Please? I have a toast to give.
(Although she doesn't want to, she's not going to hold him back. He smiles at her concern.)
JAKE: (reassuring) I'm okay. I'm okay.
(JAKE sits up. DIANE helps him.)
DIANE: Okay.
CUT TO:
[INT. MERCER POINT LODGE - WEDDING RECEPTION TENT -- NIGHT]
(The reception continues. JAKE and DIANE walk into the tent.)
DIANE: Give me a second.
(DIANE reaches for her phone and dials.)
DIANE: Director Beckett, Hi. It's Diane. You're asking about Jake?
INTERCUT WITH:
[INT. NSA - LOU'S OFFICE - NIGHT]
LOU: Yeah, have you heard from him?
DIANE: Yeah, I spoke to him this morning and he's fine. I overreacted as usual.
LOU: All right. We'll see you Monday.
DIANE: Okay, bye.
(DIANE hangs up. LOU hangs up.)
(DIANE sighs with relief and heads to take her seat.)
(JAKE is at the head table, reaching over and congratulating the couple.)
JAKE: You ready?
KEVIN: Yeah.
(JAKE shakes KEVIN'S hand.)
JAKE: Congratulations.
KEVIN: Thanks, buddy.
(DIANE sits down. JAKE moves to the center of the dance floor and starts to tap his glass with the spoon. The glass cracks into little pieces.)
JAKE: Here we go.
KEVIN: (laughs) Oh ...
JAKE: (to everyone) I know you've all been looking forward to this, so, uh, here goes. Life is, uh, hard, you know?
KEVIN: (teasing) Brace yourself, folks.
(Everyone laughs softly.)
(GROOMSMAN taps JAKE on his arm and gives him another glass.)
JAKE: Thank you.
KEVIN: (urging) Go on, Jake.
(JAKE turns to the couple at the head table.)
JAKE: Okay. Jenny, Kevin may need more professional help than most, but he's a terrific guy, and he loves you more than anything. And, Kevin, science may never discover how it happened, but you won Jenny's heart; and, to me, that's the real miracle here.
(SARAH smiles surprised at JAKE'S speech.)
(JAKE turns around to the audience.)
JAKE: We're lucky if we're able to find someone who's always there for us, who stands by us no matter what.
(DIANE smiles.)
JAKE: (smiles) Makes life easier.
(JAKE turns and walks back to the head table to clink glasses with the couple.)
JAKE: So, to my friends, to our good friends, Kevin and Jenny.
(They toast.)
KEVIN: Thanks, buddy.
DISSOLVE TO:
[LATER]
(The wedding couple dances on the dance floor. SARAH walks over to JAKE.)
SARAH: Hey. Your toast was really beautiful. It seems like you got over your fear.
JAKE: Yeah. Yeah, I guess it was all in my head. So, where's Alex?
(She turns to look at ALEX talking animatedly with another man at the table.)
SARAH: Oh. I think he found somebody more his type.
JAKE: I don't get it.
SARAH: Alex is gay; he's a friend. I just hate coming to these things alone.
JAKE: But I thought I heard ... I thought that Joe ... So you're not ... ?
SARAH: Oh, no, no. No. The closest Alex gets to me is a facial.
JAKE: Oh. (sighs) Well ...
SARAH: So, uh, I guess I'm, I'm dateless.
JAKE: Yeah.
SARAH: Um ... (she glances around) I think we're supposed to dance now.
(JAKE also looks around and sees DIANE sitting at the table.)
JAKE: Yeah. Sarah, I think I need to dance with my date.
(JAKE walks away from SARAH and heads for DIANE.)
(He walks across the dance floor toward DIANE and touches her lightly on her shoulder to get her attention. She turns and looks at him.)
JAKE: Would you like to dance?
DIANE: Aren't you supposed to ... ?
JAKE: Yes.
(DIANE smiles and stands up. JAKE takes her hand and leads her to the dance floor.)
JAKE: I forgot to tell you something.
DIANE: What?
(beat)
JAKE: You look beautiful.
(She smiles shyly and laughs.)
DIANE: Grazi.
(Camera turns upward to the chandelier.)
(White dissolve to: a top view of the city lights below. Camera pulls rapidly back through the sky, through the clouds and slows for a space view of the earth.)
(A satellite glides across the screen.)
FADE TO BLACK.
THE END
[Captioning sponsored by Viacom Productions and UPN Captioned by Media Access Group wgbh access.Wgbh.Org]
Courtesy of http://www.webphilia.com/~anthology/wnp.html
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BEGINNING/TITLE CREDITS
JAKE 2.0
1X06: LAST MAN STANDING
ORIGINAL AIR DATE ON UPN: 10/15/2003
TRANSCRIBED FROM UPN
Starring
CHRISTOPHER GORHAM as Jake Foley
PHILIP ANTHONY-RODRIGUEZ as Kyle Duarte
MARINA BLACK as Sarah Carter
JUDITH SCOTT as Deputy Director Louise (Lou) Beckett
KEEGAN CONNOR TRACY as Diane Hughes
Created by: SILVIO HORTA
Guest Starring:
MARTIN CUMMINS as Mystery Man (Assassin)
MATT HILL as Kevin
GABRIELLE MILLER as Jenny
Co-Producer: WILLIAM REDNER
Producer: MARK WILDING
Produced by: BERNARD BOURRET
Supervising Producer: JAVIER GRILLO-MARXUACH
Executive Producer: GINA MATTHEWS
Executive Producer: GRANT SCHARBO
Executive Producer: SILVIO HORTA
Written by: GRANT SCHARBO and GINA MATTHEWS
Directed by: DAVID BARRETT
END CREDITS
Executive Producer: DAVID GREENWALT
David Greenwalt Productions, California LazyDave
Matthew S. Scharbo Productions
Silent H Productions
Roundtable Entertainment in association with
Viacom Productions, a Paramount Company
Director of Photography: DAVID GEDDES
Production Designer: GRAEME MURRAY
Edited by: MONTY DEGRAFF
Production Manager: TODD PITTSON
First Assistant Director: MATTHEW BLECHA
Second Assistant Director: KIT MARLATT
Music by DONNY MARKOWITZ
Music Supervisor: JASON ALEXANDER
Casting by: AMY McINTYRE BRITT
Casting by: ANYA COLLOFF
Canadian Casting by: TRISH ROBINSON
Canadian Casting by: MARY MONTICA POOLE
Co-Starring
DEBORAH WAKEHAM as Martha
GIANNA PATTON as Rachel
DORON BELL as Groomsman
MICHAEL BUSSWOOD as Minister
NATHANIEL CAMPBELL as Alex
KYLE CASSIE as Cousin Phil
CONAN GRAHAM as Team Captain #1
GRACE PARK as Fran
ANDREW McILROY as Desk Clerk
Set Decorator: SHANNON MURPHY
Costume Designer: CARLA HETLAND
Costumer: HEATHER LEE DOUGLAS
Make-up Artist: BEV WRIGHT
Hair Stylist: JIL CORP
Property Master: TERRY WEAVER
Additional Editing by: SHAWN PAPER
Post Production Supervisor: DAN McDONALD
Script Supervisor: PATTIE ROBERTSON
Production Coordinator: ANITA MEEHAN-TRUELOVE
Production Accountant: GORD SMITH
1st Company Grip: TONY WHITESIDE
Production Sound Mixer: SHANE CONNELLY
Stunt Coordinator: SCOTT NICHOLSON
Special Effects Coordinator: GARY PALLER
Transportation Coordinator: JOHN J. O'TOOLE
Construction Coordinator: VANCE CONWAY
Casting Assistant: CARRIE LEVIN
Assistant Editor: DINO C.C. DeLORENZO
Assistant Editor: DEBRA WEINSTEIN
Sound Supervisor: JON WAKEHAM
Music Editor: MOIRA MARQUIS
Re-Recording Mixers: TIM PHILBEN
Re-Recording Mixers: ALAN DECKER
Additional Music by: RICH McHUGH and ERIC AMDAHL
Visual Effects by: STARGATE DIGITAL
High Definition Post: MATCHFRAME VIDEO
Film Laboratory: TOYBOX
Off Line Post: THRESHOLD SOUND & VISION
The persons and events in this film are fictitious. Any similarity to actual persons or events is unintentional.
© 2003 Viacom Productions Inc., All Rights Reserved
First Publication USA
Viacom Productions Inc is the author of this program for purposes of article
15(2) of the Berne Convention and all national laws giving effects therein.
This motion picture is protected under the laws of the United States and other countries. Unauthorized duplications, distribution or exhibition may result in civil liability and criminal prosecution.
Dated:11/18/2003
http://www.webphilia.com/~anthology/wnp.html