JAKE 2.0
1X07: JERRY 2.0
ORIGINAL AIR DATE ON UPN: 10/29/2003
TRANSCRIBED FROM UPN
Written by: DAVE JOHNSON
Directed by: LESLIE LIBMAN
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Please do not archive this transcript without permission from the Transcriptionist
RATING: TV-PG-LV
DISCLAIMER:
"JAKE 2.0" and other related entities are owned, (TM) and (c) by David Greenwalt Productions (California LazyDave), Matthew S. Scharbo 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: Jake's younger brother, Jerry, surprises him with an unannounced visit.
JAKE 2.0 1X07: JERRY 2.0
COLD OPEN:
[VARIOUS CLIPS FROM PREVIOUS EPISODES
NARRATOR: (v.o.) Jake Foley was an ordinary guy until a freak accident transformed him into the world's first computer-enhanced man. Millions of microscopic computers interface with his biochemistry and make him stronger and faster, able to see and hear farther than normal men. They give him the power to control technology with his brain. Jake Foley -- America's secret weapon. He takes on missions no ordinary agent can perform. He is the ultimate human upgrade.
FADE TO BLACK.
FADE IN.
[SUBWAY TRAIN POV]
(The subway travels along the tracks and heads toward the station.)
[INT. SUBWAY TERMINAL]
(The subway slows down at the terminal. People are riding up the escalator.)
(Cut to: JAKE stands in the middle of the walk way while everyone walks around him.)
(Various cuts of the action in the terminal.)
(Cut to: JAKE walks down the middle of the walkway, ear phones in his ears. He looks around and sees a man sitting on the floor holding a sign: SPARE CHANGE. Everyone needs to be scrutinized.)
(JAKE walks right past KYLE without batting an eye.)
KYLE: (over radio) Stay sharp, Jake, could be anyone.
(JAKE passes by a mime.)
TWO: (over radio) Sector one all clear. This is two. Nothing here displacing a ticket counter.
(JAKE turns around and passes by a musician playing a guitar.)
VOICE ON RADIO: Copy that, two.
VOICE ON RADIO: Possible multiple targets in three's location. Moving west to the food court.
VOICE ON RADIO: Give us the word.
VOICE ON RADIO: Check that. It's nothing.
(JAKE sees a man carrying a suitcase in a hurry, nervously glancing around him and rushing forward.)
JAKE: Got a guy with a suitcase. Fits the profile. Mid to late 30s. Possible ex-military.
VOICE ON RADIO: Give us the word. Possible confirmation at Foley's 20.
JAKE: He's opening his bag ...
(The man opens his bag and pulls out a magazine.)
JAKE: False alarm.
VOICE ON RADIO: That's a negative. Standing by.
(JAKE continues to look for the suspect. He sees a MAN IN A BASEBALL CAP and jacket take something out of the locker. The MAN IN A BASEBALL CAP walks over to the trashcan and tosses something inside. He then walks away. JAKE runs over to the trashcan and removes the cover. Inside he sees a metal canister. That's it.)
JAKE: (to radio) Kyle, Kyle! Trash can, north exit.
(JAKE follows the suspect.)
JAKE: (to radio) I'm on the suspect. Guy is white, baseball cap, khakis. He's heading for the escalators.
(The SUSPECT glances behind him, sees JACK and starts to run up the escalator. JAKE takes off after him.)
TWO: (from radio) Roger that, two is moving.
THREE: Three's rolling.
(JAKE concentrates for a moment. The SUSPECT is running up the escalator.)
[CUE SOUND: ENHANCED ABILITY]
(JAKE starts to run at super-speed up the escalator, quickly catching up with the SUSPECT just as he reaches the top. JAKE tackles him off the escalator.)
JAKE: He's down! (shouts firmly) Do not move! Do not move!
(JAKE rolls the SUSPECT over and sees that he's just a kid. They both stare at each other.)
CUT TO:
[EXT. VARIOUS WASHINGTON D.C. (STOCK) - DAY]
[EXT. NSA BUILDING (STOCK) - DAY]
LOU: (v.o.) What do we have?
[INT. NSA - HALLWAY - DAY]
(KYLE looks over the report as he, LOU and JAKE walk through the hallway.)
KYLE: That canister was full of ricin gas. Coagulant fuse. It would have liquefied and released in five minutes. Hundreds could have died. Tokyo all over again.
(They enter SAT OPS.)
JAKE: He doesn't fit the profile. He's just a kid. Why would he do that?
(SKERRIT JIM SKERRIT turns around and answers the question.)
SKERRIT: It's because it's all he knows. (to the room) Both our intel and the viciousness of the attack point to one conclusion: Today's incident was the work of Ethan Fulton's militia.
(On the main screen, a photo of ETHAN FULTON is enlarged.)
SKERRIT: Fulton is an extremely dangerous and driven man. His wife Ann was FBI.
(The photo of ETHAN FULTON reduces and the photo of ANN FULTON enlarges on screen.)
SKERRIT: She was gunned down in a botched raid on Henry Travis' compound near Bozeman in 1994. Fulton blames the government for her death, not without some merit.
JAKE: Who is this guy?
KYLE: SKERRIT Skerrit. Lou's boss.
JAKE: Lou has a boss?
KYLE: Shhh.
SKERRIT: We've been targeting Fulton's militia for years. They are responsible for six domestic terrorist attacks including the near miss on the Supreme Court in April. Now, as you can see, we haven't been able to I.D. many of them. So today's capture is a very important step forward in our investigation. I would like to acknowledge Agent Foley's part in that capture.
JAKE: (proudly) Lou's boss just complimented me.
KYLE: (dryly) I heard.
SKERRIT: We have an I.D. on the assailant?
LOU: No, sir. He's being interrogated right now.
SKERRIT: (to LOU) You keep me posted. Excellent work, all of you.
(SKERRIT heads out the door.)
JAKE: (to the SKERRIT as he walks by) Good-bye, sir. It was very nice to meet ...
(But the SKERRIT continues without acknowledging JAKE.)
LOU: (to the room) Okay, you heard him. Fulton is aware the noose is tightening so watch your backs.
(She glances at JAKE. JAKE turns around. Does she mean him? Camera holds on him.)
CUT TO:
[INT. JAKE'S APARTMENT - HALLWAY OUTSIDE FRONT DOOR -- NIGHT]
(JAKE walks toward his front door. He gets his keys out prepared to unlock the door when the door opens at his touch. JAKE glances around the hallway. This is not good.)
[INT. JAKE'S APARTMENT -- CONTINUOUS]
(JAKE opens the door into the darkened room. He walks in cautiously and listens carefully. He hears something.)
(JAKE slowly makes his way to the kitchen, then jumps the figure standing inside.)
(He tackles him to the floor and flips him over.)
JERRY: Hey! Yo, chill! Is that any way to treat your kid brother?!
JAKE: Jerry? Oh ... I could have killed you.
JERRY: Yeah, yeah, right, dude, right.
(JAKE helps JERRY to his feet.)
JAKE: What are you doing here?
JERRY: Came to see you, of course ... also, our nation's great capitol. I hear downtown's strip club-alicious.
(He takes a bite of the bread in his hand. He shakes it at JAKE, then walks out of the kitchen leaving JAKE behind just staring at his back.)
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. Life just got real interesting.
(COMMERCIAL SET)
FADE IN.
[EXT. VARIOUS WASHINGTON D.C. (STOCK) - NIGHT]
[EXT. GEORGETOWNE STATION (BAR) - NIGHT]
[INT. GEORGETOWNE STATION (BAR) - NIGHT]
(The place is crowded and jammed with people. JAKE and JERRY make their way through the bar.)
JERRY: Okay, Ensenada.
JAKE: How could I forget?
JERRY: Booze cruise, bikini twins, discotheque.
JAKE: No. Federales, a pumped stomach and a switchblade fight.
JERRY: No, it was a butterfly knife.
(JAKE points to some seats.)
JERRY: You dug it. Admit it.
JAKE: All right, I will admit that you talked us out of it. I'll give you that.
(JERRY signals for a waitress as they sit down.)
JERRY: Um, hello. Can we get some Servicio, Por Fa-please?
JAKE: Oh, God. So, why aren't you in school?
JERRY: I needed a break. You know, I've been working pretty hard. I got classes every Tuesday and Thursday.
JAKE: Uh-huh.
JERRY: Plus I wanted to hang with my big bro.
JAKE: Mom and dad know you're here?
JERRY: Jake, I keep mom and dad on a strictly need-to-know basis. What happened there?
(JERRY points to the back of JAKE'S wrist. JAKE glances at it.)
JAKE: Um, it's a work-related accident.
JERRY: Oh, what your motherboard cut?
(JERRY laughs at his own joke. JAKE smiles weakly. He glances up at the waitress standing next to their table.)
WAITRESS: What up? You guys ready to order?
JERRY: Uh, beer. Start with a pitcher of draft.
WAITRESS: Can I see your I.D.?
JERRY: Oh, he's 26. He just looks young.
WAITRESS: Your I.D.
JERRY: Oh, me. (He searches his pockets.) Oh, um, because when we left, you were going to drive, so I ... (to the waitress) I left my wallet at the house.
WAITRESS: I'm sorry. I can't serve you then.
JERRY: This is my brother. He'll vouch for me.
JAKE: Oh, right. Yeah, he'll have a red bull. Make that two, please. Thank you.
(The WAITRESS leaves.)
JERRY: You call yourself a big brother?
JAKE: That's right.
JERRY: I'll let you make it up to me. What do you say we shock on our red bulls and hit the strip clubs?
JAKE: Jerry, I can't. I have to be at work tomorrow.
JERRY: Hey, if I can make it through a rigorous day of study with a massive hangover, I think you could, too.
JAKE: I'll do you a favor; if I can get off work tomorrow night, we'll go out and do something fun, okay?
JERRY: Yeah, I can't wait. Anyway, don't worry about me. You won't even know I'm here. I promise.
(JAKE sits back in his chair looking at JERRY.)
JAKE: Hmm.
CUT TO:
[INT. JAKE'S APARTMENT - NIGHT -- LATER]
(JAKE is trying to sleep, but JERRY'S in the kitchen making a racket. JAKE grabs the pillow and covers it over his head trying to block out the noise so he can get some sleep.)
JERRY: Sorry.
(There's more kitchen activity; more pots and pans clanging against each other.)
JERRY: Whoa!
(JERRY runs to the bed and wakes JAKE up.)
JERRY: Jake, wake up.
JAKE: Jerry, I'm trying to sleep.
JERRY: It's kinda important.
JAKE: (groans) Oh, what is it?
JERRY: Promise you won't get all pissed?
JAKE: Oh, just say it.
JERRY: I need a fire extinguisher ...
(JERRY glances back at the small fire on the stove in the kitchen.)
JERRY: ... like, pronto.
(JAKE sits up and looks at the kitchen.)
JAKE: What?
(He gets out of bed and promptly falls on the floor, his feet tangled in the sheets. JAKE runs into the kitchen.)
DISSOLVE TO:
[EXT. VARIOUS WASHINGTON D.C. (STOCK) -- DAY]
[NSA SEAL - ON MONITOR]
[INT. NSA - RESEARCH LAB - DAY]
(JAKE is on the bike, exercising as DIANE monitors him from the side.)
DIANE: Okay, you're done. Your vitals look good. Have you had any lightheadedness or nausea since we had to, you know, reboot the nanites?
JAKE: Since you saved my life?
DIANE: (smiles) Yeah.
JAKE: No, I'm fine.
DIANE: Okay. Any recent glitches, complications, any abnormalities?
(JAKE gets off of his bike.)
JAKE: My little brother's in town. He's a bit of all three.
DIANE: I didn't even know you had a brother.
(JAKE goes to get some water.)
JAKE: Mm-hmm. Hmm. He's checking out Georgetown or burning down my apartment, whichever comes first.
(He takes a drink and puts the bottle on the side.)
DIANE: How old is he?
JAKE: Nineteen ... going on six.
DIANE: A little immature.
JAKE: No, no, he's a lot immature. When I was his age, I was working two part- time jobs was taking eighteen credits at Georgetown.
(DIANE whistles at that declaration.)
DIANE: (smiling) Did you have to walk six miles in the snow every day to get there, too?
JAKE: Funny. I'm serious. I don't get it. He's a smart kid. He could go far. He always screws it up. He has no focus, you know?
DIANE: (scoffs) Who does at 19? Oh, well, except for you and Bill Gates.
(There's a knock at the door. They turn and see KYLE standing outside.)
JAKE: Duty calls.
(JAKE turns and leaves the lab with KYLE.)
DIANE: (mutters) Yeah. Stop by any time.
CUT TO:
[INT. NSA - SAT OPS -- DAY]
(LOU stands in front of the group. Behind her on the wall monitor, there's information about CALEB FULTON.)
LOU: I have good news and bad news. The young man who put ricin gas in the subway is Caleb Fulton, Ethan Fulton's only son.
(The monitor information changes to include photos and information about ETHAN and CALEB FULTON.)
LOU: Now, Ethan blames the government for the loss of his wife and our capturing his son will not sit well.
(JAKE walks into SAT OPS and joins the meeting.)
LOU: On the other hand, Caleb grew up inside of the militia. He knows it inside and out. And next to capturing his father, he's our best hope in shutting them down.
JAKE: What's he saying?
KYLE: Nothing. Our best interrogators are working on him.
LOU: So let's get back to work. Follow every lead, every scrap of ...
JAKE: Um, do you think maybe I could talk to him?
(LOU glances at JAKE and turns away.)
JAKE: It's just we might have a connection 'cause I was the one that captured him, and we're closer in age than you guys.
(KYLE turns to look at JAKE, waiting for him to finish.)
JAKE: (faltering) Not that you're old or anything. You look great. It's just, uh ... I think he might relate to me better, possibly.
KYLE: (amused) Quit while you're ahead, Jake.
(Behind KYLE, LOU straightens and turns to look at JAKE.)
LOU: (nods) See what you can do.
(JAKE smiles at KYLE, turns and walks out of SAT OPS.)
CUT TO:
[EXT. VARIOUS WASHINGTON D.C. (STOCK) - DAY]
[INT. WAREHOUSE -- DAY]
(ETHAN FULTON looks under the car hood.)
ETHAN FULTON: Well, your pistons are shot, your gas filter's rusted and it looks like you might have a crack in your engine block. But I could have it ready Monday. Say hello to the wife for me.
(They shake hands and he leaves.)
MAN: Thanks, Jimmy. I owe you.
(The MAN leaves. "JIMMY" turns and heads into the back of the warehouse.)
CUT TO:
[BACK ROOM]
(ETHAN FULTON walks past his men and artillery stacked up on the side of the aisle. He heads to the back where he intends to question one of his own men.)
ETHAN FULTON: They knew what we were doing before half our men did. Now, can you explain to me how I let my son walk right into an NSA sting?
MAN IN BLACK: (to the YOUNG MAN) You didn't crypt the final transmission to our people in Virginia.
YOUNG MAN: Ethan ...
ETHAN FULTON: There is no excuse that is going to free my son.
MAN IN BLACK: Sir.
(He pulls ETHAN aside.)
MAN IN BLACK: There's been some concern among the men about Caleb. That they might possibly force him into talking.
ETHAN FULTON: Caleb won't talk.
(ETHAN pulls out his gun, points it at the YOUNG MAN'S forehead and fires.)
ETHAN FULTON: And neither will he.
CUT TO:
[EXT. NSA BUILDING (STOCK) - DAY]
[INT. NSA - HOLDING CELL -- DAY]
(JAKE carries a file and walks toward the cell.)
JAKE: Caleb.
(CALEB FULTON glances behind him.)
JAKE: I'm Jake.
(CALEB turn his back to JAKE.)
JAKE: You're pretty quick. Thought I was chasing Emmitt Smith down there in that subway yesterday. I guess that's appropriate since you were all-league running back in high school.
(CALEB turns around to look at JAKE.)
JAKE: Was it 24 touchdowns you scored your senior year? That's impressive. I can barely score five when I'm playing Madden on my PlayStation.
CALEB FULTON: You should try the rookie setting, it's easier.
JAKE: Yeah, I will. I'll try that. Thank you.
(JAKE looks down at the file in his hand. CALEB takes a couple of steps forward toward JAKE.)
CALEB FULTON: So you read my file?
JAKE: Yeah. Yeah, I did. But this isn't your file. Have you ever seen what ricin gas does to the human body?
(JAKE opens the file and shows CALEB the photos inside.)
JAKE: That little boy right there is three years old. That's his sister. The gas fills your lungs. It feels like fire, but really it's more like drowning because your lungs literally burst. That's why there's so much blood.
(CALEB turns back to walk to the back of the cell.)
JAKE: You almost did that to a lot of innocent people yesterday. But you didn't. It's not too late, you can change your life. I can help.
CALEB FULTON: How?
JAKE: Tell us where your father is.
CALEB FULTON: (shakes his head) I'd rather die than betray my father.
(CALEB once again turns his back to JAKE.)
CUT TO:
[INT. JAKE'S APARTMENT -- DAY]
(Back at home, music blares on the stereo while JERRY'S on the phone with someone.)
JERRY: (to phone) He did not say that. So, what do you look like? What are you going to do tonight? You should totally come over.
(Outside in the hallway, JAKE turns the corner hallway leading to his apartment. From where he stands, he can hear the music blaring. He approaches the door, key in his hand.)
(He opens the door and walks inside.)
[INT. -- CONTINUOUS]
JAKE: Jerry ...
(JAKE grabs the remote off of the side table and walks inside the mess that used to be his living room.)
JERRY: (to phone) Hey, you got to try everything once. And I'm telling you, you haven't lived life until you've tasted my pasta a la Jerry. Now get your buns over here and I'll prove it.
(JAKE turns the music off.)
(He hangs up.)
JERRY: She so wants me.
JAKE: You met a girl already?
JERRY: No. You did. Sarah. She as hot as she sounds?
JAKE: My Sarah? Were you talking to her?
JERRY: No, relax, bro, it's fine. I know we talked forever. She's coming over to see you.
JAKE: Whoa, whoa, tonight?
JERRY: Yeah, man. I'm hooking you up. What's the deal with you two?
JAKE: (shakes his head) Nothing.
(JAKE takes his jacket off.)
JERRY: Oh, I get it. She's a bowser.
JAKE: No.
JERRY: Fat?
JAKE: (offended) She is beautiful and she's intelligent, okay?
JERRY: So ... ?
JAKE: So ... it's complicated. And it's none of your business.
JERRY: (shrugs) Hey, whatever you say, man. Do you mind keeping it down for a while?
(JERRY plops down on the couch and lands on some popcorn.)
JERRY: I'm gonna squeeze in a nap before smackdown. Thanks.
(He pulls the popcorn out from under him and pops it in his mouth.)
(Frustrated, JAKE slams his desk drawer closed.)
CUT TO:
[EXT. WAREHOUSE - NIGHT]
[INT. WAREHOUSE -- NIGHT]
(THE MAN IN BLACK works on the computer while ETHAN FULTON paces the floor.)
ETHAN FULTON: Any progress?
MAN IN BLACK: We know he's NSA.
ETHAN FULTON: We knew that yesterday.
MAN IN BLACK: We know he's local. We believe he works out of Fort Mead.
ETHAN FULTON: I want the name and location of the man who captured my son. And then I want him standing right here in front of me so I can kill him myself.
MAN IN BLACK: Yes, sir.
(ETHAN FULTON turns away.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. JAKE'S APARTMENT BUILDING (STOCK) - NIGHT]
[INT. JAKE'S APARTMENT -- NIGHT]
(Pots and pans clang in the kitchen. JERRY heads out of the kitchen carrying three plates. In the living room, JAKE and SARAH sit on the chairs.)
JERRY: Pasta a la Jerry coming your way!
(As he heads in the room, some of the pasta slips off the plate and lands on the floor at his feet. At that moment, JAKE turns to SARAH.)
JAKE: (whispers) Sarah. Sarah. (SARAH turns to look at JAKE.) Don't eat the food.
JERRY: (mutters to himself) No worries.
(SARAH looks at JAKE.)
JAKE: I'm serious.
JERRY: (mutters again to himself) I'll mop that up later.
(JERRY hands SARAH her plate.)
JERRY: Dinner ... is served.
(He hands a plate to JAKE.)
SARAH: So, uh, what's in this?
JERRY: Uh, pasta, vietnamese hot sauce and selected seasonings. It's a dorm room classic. Dig in, Wedgie.
SARAH: Wedgie?
JERRY: One of Jake's many nicknames.
SARAH: So what do you call him?
JAKE: Oh, no, I'm far too mature to embarrass Jerry like that. Right, Humper?
(JERRY looks down at his plate and finds his food suddenly very interesting.)
SARAH: (laughs) I don't even want to know.
CUT TO:
[OUTER SPACE]
(A satellite flies by.)
[INT. NSA - SAT OPS -- NIGHT]
(AGENT HART picks up something on his computer. He jumps up and heads to inform KYLE.)
AGENT HART: We've just begun picking up some encrypted chatter from Fulton's militia.
KYLE: First time since the ricin incident.
AGENT HART: That's right. We believe there's something going down tonight.
KYLE: How long before we can decode it?
AGENT HART: It's an algorithmic encryption. It's gonna take a while.
KYLE: Get every one of your code breakers on this thing immediately.
(AGENT HART turns to leave.)
CUT TO:
[INT. JAKE'S APARTMENT -- NIGHT]
(JERRY is holding court telling SARAH old "JAKE" stories. JAKE sits in his chair, his head in his hands slowly dying of mortification.)
JERRY: You've got to hear this one. Jake shows up to Cheryl Rhodes' sweet 16 dressed like Gene Simmons. I mean, full KISS makeup, leather codpiece ...
JAKE: They told me it was a costume party. Look at the time.
JERRY: No, no, I've got one more.
(JAKE gets to his feet.)
JAKE: No, no, Jerry, you really don't.
JERRY: Hey, this may be Sarah's only opportunity to know the real you. Right? It's Christmas, and I was, like, seven. And all I'd asked for that year was this kick-ass red huffy bike.
(JAKE stares at JERRY as he listens to his unfamiliar story.)
JERRY: Apparently, "Santa" got the message because Christmas morning, there it was along with a list of rules from my dad. Number one being you always lock the bike.
JAKE: Wha--?
JERRY: So Christmas Day, I'm riding that sucker all over town like it's a Ferrari. I pop into the store for a soda and when I come out, it's gone. Jake finds me two hours later crying my eyes out. We go home and Jake tells my dad he borrowed my bike and forgot to lock it up.
(SARAH'S eating the story up. She turns and looks at JAKE.)
JERRY: Yeah, he got grounded for three weeks just to keep his little brother out of trouble.
SARAH: That is so sweet.
(JAKE smiles weakly at SARAH.)
SARAH: I'll be right back.
(SARAH gets up and leaves the room. JAKE turns to JERRY.)
JERRY: Cool story, huh?
JAKE: None of that ever happened.
JERRY: It's no biggie, she'll never know.
JAKE: That's not the point, Jerry.
JERRY: Hey, I'm helping you seal the deal. You can thank me later.
JAKE: Where are you going?
JERRY: I'm clearing the runway, man. You can't land a plane when your little brother's sleeping on the airstrip.
JAKE: I'm not to trying to land a plane.
(JERRY puts on his jacket.)
JERRY: Hey, that's your own issue. Can I borrow some cash? I'm a little light. You know, from dinner.
JAKE: Yeah, sure. Take whatever you need from my wallet.
(JERRY picks up JAKE'S wallet, opens it as if to remove the cash, but takes the entire wallet instead. JAKE has his back to JERRY as he cleans up the pasta plates, so he has no clue what JERRY just did.)
(SARAH walks back into the room and looks around.)
SARAH: Where's Jerry?
JAKE: Uh, he had to go. You, uh ... pizza?
(SARAH glances down at the pasta.)
SARAH: (smiles) Yeah.
CUT TO:
[INT. NSA - SAT OPS]
(The ops room is busy. LOU sits in front of the monitor watching the camera on CALEB FULTON in his holding cell.)
(Various cuts of CALEB FULTON in his holding cell.)
(The door opens and LOU walks into the room. She's carrying a blanket. The door opens and she walks in.)
LOU: I thought you might be cold. Your father never told you about this part, did he?
CALEB FULTON: I'm prepared to die for my cause.
LOU: Did your daddy teach you that?
(LOU throws the blanket on the floor.)
LOU: Caleb, how many people have to die before you realize your mother's never coming back?
CALEB FULTON: (tears slip down his face) (He glances down at her ringless hand.) I take it you're not married. Got any kids?
LOU: That's none of your business.
CALEB FULTON: No matter, I can tell. In your world, your job comes first. In ours, it's family, it's loyalty to your blood. I feel sorry for you.
(CALEB goes back to sitting in the corner of the holding cell far away from the blanket.)
LOU: The feeling is mutual, Caleb.
(LOU turns and leaves the cell.)
CUT TO:
[EXT. GEORGETOWNE STATION - NIGHT]
[INT. GEORGETOWNE STATION -- NIGHT]
(The place is packed. JERRY walks up to the bar.)
BARTENDER: Hey, can I help you?
JERRY: Uh, scotch, neat, two napkins.
BARTENDER: You got your I.D., kid?
JERRY: I never leave home without it.
(JERRY takes out JAKE'S ID and gives it to the bartender. The bartender checks it.)
BARTENDER: What kind of scotch?
JERRY: Uh, the brown kind. All right.
BARTENDER: Right.
(JERRY turns to the woman next to him.)
JERRY: Hey.
(She turns around to look at JERRY.)
WOMAN AT BAR: Hey. You a secret agent or something?
JERRY: Huh?
WOMAN AT BAR: I snuck a peek at your NSA badge.
JERRY: You naughty little girl, you.
BARTENDER: There you go.
WOMAN AT BAR: So, are you? An agent?
JERRY: I could tell you, but then I'd have to ...
WOMAN AT BAR: ... kill me?
JERRY: I was going to say "sleep with you," but, uh, if that's your thing ... (to the bartender) start a tab.
BARTENDER: You got it.
SHORT TIME CUT LATER:
(JERRY is holding court as a small crowd has gathered to listen to his story.)
JERRY: You got to understand, we were best friends. We went through the Academy together. We had nicknames.
WOMAN AT BAR: So what happened?
JERRY: (dramatically) I looked into his scared dark eyes ... and I asked him one more time. I said, "Are you a double agent?" He took a deep breath ... his hand slowly slipping from mine, and he muttered, "Si, SeŇor ... Si." Then I let go ... and watched him plummet to his death.
WOMAN AT BAR: Wow.
MAN IN CROWD: (disbelievingly) Right. So where'd this all happen?
JERRY: Where did this happen? Can't tell you that, sir. It's classified.
WOMAN AT BAR: Yeah, stupid, it's classified.
BARTENDER: All right, the drinks are on Agent Foley.
(The crowd cheers.)
CROWD CHANTS: Fo-ley! Fo-ley!
CUT TO:
[INT. WAREHOUSE -- NIGHT]
(The MAN IN BLACK continues to work on the computer looking for JAKE. ETHAN FULTON leans forward over the computer.)
ETHAN FULTON: Anything on Foley?
MAN IN BLACK: NSA has him listed as a tech support, but our people in payroll can't confirm this. There's no record of him on file.
ETHAN FULTON: I don't give a damn where he's listed. I want to know where he is.
MAN IN BLACK: We're working on it, sir.
ETHAN FULTON: You check DMV records?
MAN IN BLACK: Came up clear.
ETHAN FULTON: You can't take a piss in this country without someone knowing. You're trying to tell me we can't find this government piece of trash?
MAN IN BLACK: Wait a minute, we got something. Foley just used his credit card in the last ten minutes.
ETHAN FULTON: Where?
MAN IN BLACK: Georgetowne Station. It's a bar on 4th and K street.
ETHAN FULTON: You get on him, now.
(ETHAN FULTON leaves.)
CUT TO:
[INT. JAKE'S APARTMENT -- NIGHT]
(JAKE carries the pizza box to the living room where SARAH is having her drink.)
SARAH: But having no idea where little kids come from, I just put it on my Christmas list: One little sister -- and I was so pissed when I didn't get one. I just wanted someone to take care of, you know, like you and Jerry.
(They start eating.)
JAKE: Oh, Jerry never needed anybody to take care of him.
SARAH: Oh, come on, I heard the bike story.
JAKE: Sarah, uh ... that never happened.
SARAH: What?
JAKE: He made it up, but that's Jerry -- he's just trying to help.
SARAH: To help what?
JAKE: (falters) Uh, I-I guess he thought that-that you and ... and-and me m- ... uh, I guess he just thought that maybe you'd like me better if ...
SARAH: Well, he was wrong.
JAKE: (disappointed) Yeah.
SARAH: I don't need any more reasons to like you, Jake.
(JAKE looks at SARAH smiling at him.)
CUT TO:
[INT. GEORGETOWNE STATION -- NIGHT]
(JERRY'S holding the TAP in his hand and holds it out in front of him as if it were a gun.)
JERRY: You got your standard military grip that's been around since the 1800s. I prefer a more modern approach made popular by rappers and drug dealers. It's, uh, "let's kick back" and ... just plain cooler looking. Come on, people, you with me?
(In the crowd behind him, the MAN IN BLACK is on the phone.)
MAN IN BLACK: (to phone) We found him.
(He hangs up.)
CUT TO:
[INT. JAKE'S APARTMENT -- NIGHT]
(SARAH and JAKE are eating pizza.)
SARAH: Oh, Jake, you have a little, um ...
(She motions to his mouth.)
JERRY: What? Here?
(JERRY tries to wipe it away.)
SARAH: Uh, I-I'll get it.
(SARAH leans in close, then kisses him.)
(The phone rings.)
JAKE: I should ...
SARAH: Answer the phone?
JAKE: Yeah.
(JAKE stands up and answers the phone.)
JAKE: (to phone) Hello? Hello?
JERRY: Uh, Jake?
JAKE: Jerry?
JERRY: Yeah. I'm in big trouble.
(Camera holds on JAKE.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. WASHINGTON D.C. (STOCK) - NIGHT]
[EXT. SIDE OF ROAD -- NIGHT]
(A couple of OFFICER cars are parked on the side of the road. The OFFICER walks back to JERRY and hands him a ticket.)
OFFICER: Okay. This one's for you, and this one's for you.
(He gives a second ticket to JAKE. The OFFICER leaves. JAKE stares at the ticket. He turns and looks at his car's broken right headlight )
JAKE: Let's just say I understand the part where you take my car without asking and accidentally bump into a police car. Let's just say that I understand the part where you threaten to call your friend, Mayor Williams, if they don't let you go. But why would you give them my I.D. and pretend to be me?
JERRY: First of all, you have a much better driving record, and second, you're NSA -- they should've let you walk out of professional courtesy.
JAKE: What is wrong with you?
JERRY: Don't go all parental on me. We got a couple of tickets- - it's no big.
JAKE: Yes, yes, it is big, Jerry, and the amazing thing is, you don't see it. You know what? This has been fun, really, a lot of fun, but I think it's time you go back to school.
JERRY: I can't.
JAKE: Why?
JERRY: Because I dropped out.
JAKE: What?
JERRY: I don't need school.
JAKE: Oh, my god.
JERRY: I know this guy, Randy Marshank, he's making 10k a month with a web cam and a girls' volleyball team.
JAKE: Jerry, even for you, that is the dumbest thing I have ever heard in my life.
JERRY: Why, because I want to do something with my life?
JAKE: No, you don't want to do something with your life. You want to avoid doing anything with your life.
JERRY: I have a plan.
JAKE: No, you don't. No, you don't. You have a scam. That's all you ever have.
JERRY: You know what? I don't need this. I don't need some nerd who sits at a computer all day telling me how to live my life -- I don't need you.
(JERRY walks past JAKE and down the sidewalk.)
JAKE: Good. Good. 'Cause I don't need some irresponsible child hanging around wrecking my apartment and stealing my stuff!
(JAKE grabs the broken part on his car and walks toward the driver's door. He grabs the handle and it comes off in his hand. He looks at it angrily and throws it into the car through the open window. He opens the door from the inside and gets inside.)
(As JERRY continues to walk down the sidewalk, JAKE starts the car and drives off.)
(JERRY turns the corner and walks past a van with ETHAN FULTON'S two THUGS inside watching him.)
CUT TO:
[INT. JAKE'S APARTMENT - NIGHT]
(CLOSE UP of the pasta on the floor. Using a dustpan and brush, JAKE cleans up the mess.)
(Cut to: JAKE straightens up the mess of CDs and food on his floor. His eyes grow wide as he sees that JERRY had somehow managed to melt several of his CD'S together.)
CUT TO:
[NSA SEAL - ON MONITOR]
[INT. NSA - LOU'S OFFICE -- NIGHT]
(KYLE walks into the office and looks at LOU sitting behind her desk.)
KYLE: Lou?
LOU: Yes? What's wrong?
KYLE: We've decrypted the chatter from Fulton's militia. It's about his next target.
LOU: What is it?
KYLE: Jake Foley.
(LOU stands up and leaves her desk.)
CUT TO:
[EXT. ALLEYWAY -- NIGHT]
(JERRY is walking in the alleyway. The dark van rapidly approaches him from behind. At the last moment, the van screeches to a halt. JERRY turns around.)
MAN IN BLACK: Foley.
(The MAN IN BLACK and the other THUG get out of the car.)
JERRY FOLEY: Oh, whoa, oh, hey, man, you were in the bar, right? And you brought your friend. Oh, is-is this about that girl?
(The THUG grabs JERRY and throws him against the car. JERRY tries to get up, but The THUG pushes him back.)
JERRY FOLEY: I didn't touch her, man. She said she was single. Respect, bro-- I'm all about respect.
(The THUG looks at JERRY, then pulls out a gun. He points it at his head.)
JERRY: Whoa! Whoa, take it easy. It's ... we should all go back to the bar, and I'm buying. Sorry about ...
(Using the gun, The THUG knocks JERRY out. They put him into the van, climb in and leave.)
THUG: Let's go.
CUT TO:
[INT. JAKE'S APARTMENT - NIGHT]
(It's late and JAKE'S cleaning up the place when the phone rings. JAKE answers it thinking it's JERRY again.)
JAKE: What?
LOU: (from phone) Jake, it's Lou. You need to come in right away.
CUT TO:
[INT. WAREHOUSE -- NIGHT]
(JERRY stands in the center of a dark room. The door opens and ETHAN FULTON and a couple of his THUGS walk in. JERRY takes a couple of steps back to stand in the light. ETHAN FULTON closes the door and heads for JERRY.)
ETHAN FULTON: They took my son away from me, Foley.
(He hits JERRY in the stomach. JERRY goes down. The THUGS grab JERRY and stand him up again.)
ETHAN FULTON: And you need to know ...
(He hits JERRY again.)
ETHAN FULTON: That that was a mistake.
JERRY: What? I don't know what you're talking about.
(ETHAN hits JERRY across the face. The THUGS are holding JERRY up on his feet preventing him from falling.)
JERRY: I don't know you. Why are you doing this to me?
ETHAN FULTON: This is the NSA nowadays?
(The THUG grabs a handful of JERRY'S hair and pulls his head back.)
ETHAN FULTON: We're going to win this war. I'm talking about my family, Jake, and how you're going to pay for what you did.
(They drop JERRY to the ground.)
JERRY: I'm ... not Jake.
(ETHAN FULTON looks at the MAN IN BLACK.)
CUT TO:
[OUTER ROOM]
(The door opens; ETHAN and his men walk back into the main room. ETHAN'S looking at the ID.)
MAN IN BLACK: I thought he was a little young. He was at the bar spouting off.
ETHAN FULTON: He said he was Jake Foley?
MAN IN BLACK: Yeah, he had Jake Foley's I.D. And credit card.
ETHAN FULTON: Jerry Foley. Jake's brother.
MAN IN BLACK: (realizes his error) Oh, god. But at the bar ...
ETHAN FULTON: Yes, at the bar he was 'spouting off'. I remember.
MAN IN BLACK: I'm sorry, sir.
(Remembering the consequences of making mistakes, the MAN IN BLACK takes out his gun and puts it on the table in front of ETHAN.)
MAN IN BLACK: I failed you and your son.
(ETHAN nods and pushes the gun back to the MAN IN BLACK.)
ETHAN FULTON: You didn't fail. In fact, you might have saved my son's life.
(ETHAN takes the items and walks away, thinking.)
CUT TO:
[INT. NSA - SAT OPS -- NIGHT]
(JAKE walks into SAT OPS.)
JAKE: What's going on?
SKERRIT: We've had a communication from a man claiming to be ... Ethan Fulton.
JAKE: All right.
(JAKE looks at LOU, but she looking at something on the counter.)
JAKE: Was it about me, or something?
LOU: Yes.
(LOU hands JAKE the parking ticket in an evidence bag:
EVIDENCE
CASE #: XCB-S2557-290
30161X-281368
(JAKE looks at the ticket:
NOTICE TO APPEAR
03/10 02 30
JERRY FOLEY
1705 BENTON ST #19
WASHINGTON DC 90014
RT658985 OH ...
JAKE FOLEY
19-1705 BENTON ST
RECKLESS DRIVING
USING FALSE IDENTIFICATION
DAMAGE TO CITY PROPERTY )
(JAKE looks at LOU.)
JAKE: Where is he?
LOU: We don't know.
JAKE: What do the communications say?
KYLE: That they've got your brother.
SKERRIT: They want an exchange. Him for Fulton's son.
JAKE: And if we refuse?
(JAKE looks at SKERRIT SKERRIT who doesn't answer him.)
JAKE: (louder) What did it say?
KYLE: If we don't release Caleb in one hour ... they're going to kill Jerry.
JAKE: Okay. Okay. So, we have his son. So, we figure out a way to do this. Where do they want to do it?
LOU: Jake ...
JAKE: I get it. We have to get them to come to us.
LOU: Jake, the National Security Agency doesn't negotiate with terrorists.
JAKE: What? No, we have to ... This isn't a negotiation. We're just figuring out a way to ...
SKERRIT: I realize this is difficult.
JAKE: They have my brother!
SKERRIT: And we are doing everything we can. But we do not negotiate. It only makes it more likely that someone else's brother or sister or father will be taken in the future.
JAKE: We have to help him.
(It's obvious from the looks on their faces that they're not.)
SKERRIT: I'm very sorry.
(JAKE looks from LOU to KYLE.)
(Camera holds on the scene.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. WAREHOUSE - ROOM]
(JERRY'S out on the floor.)
[INT. NSA - HALLWAY -- NIGHT]
(LOU walks out of SAT OPS and into the hallway. JAKE chases after her, desperate to find a way to save his brother.)
JAKE: Lou, we got to figure this out.
LOU: Jake, I need a little time.
JAKE: We don't have a little time -- we don't have any time. This is insane. I'm not going to let them ... He needed me and now they're going ...
(LOU takes a step around JAKE. JAKE grabs her arm to stop her.)
JAKE: Please, please.
LOU: Jake, did you hear Skerrit said? We don't negotiate with terrorists. There's nothing I can do. I ... I can't go down to Caleb's cell and let him out. Do you understand? I can't do that.
(JAKE'S got it. He takes a step forward; LOU stops him for a moment.)
LOU: (quietly) Jake, you have ten minutes, and they're right behind you.
(JAKE runs. LOU turns around just in time to see JAKE walk into the open elevator at the far end of the hallway.)
(LOU closes her eyes for a moment, and then heads down the hallway in the other direction.)
CUT TO:
[INT. WAREHOUSE -- ROOM -- NIGHT]
(JERRY is awake and on the floor. ETHAN kneels down behind him and speaks to his back.)
ETHAN FULTON: Does your brother love you? We're about to find out how much. He's got ... 25 minutes.
(ETHAN stands up and leaves.)
CUT TO:
[INT. NSA - HOLDING CELL -- NIGHT]
(The doors open and JAKE walks in. He approaches the guards at the station. As he walks past, he uses his enhanced vision to see the SECURITY GUARD'S name on his badge: RICHARD JENSEN.)
CUE SOUND: INTERFACING
(JAKE interfaces with the computer and sends the SECURITY GUARD a message:
ALERT
MESSAGE FOR
SECURITY GUARD 4251
RICHARD JENSEN
LEVEL 3 BREACH
PROCEED TO SOUTH
ENTRANCE IMMEDIATELY )
(The SECURITY GUARD sees the message, stands up and leaves his station. JAKE
heads for the cell. As soon as the guard leaves, JAKE turns around and opens
the cell door:
CELL ACCESS
CELL NUMBER: 500/90-A
SECURITY LEVEL: TP-5/YM
FIRST NAME: CALEB
NAME: FULTON
(JAKE enters the override code. He turns and heads for the cell. The door opens. JAKE gives CALEB his jacket.)
JAKE: Put this on.
CALEB FULTON: Why? What's going on?
JAKE: Don't ask me any questions. I'm getting you out of here.
(JAKE looks up at the security camera in the ceiling.)
CUE SOUND: INTERFACING
(JAKE rewinds the security camera back. Once that's done, he leaves with CALEB.)
JAKE: Good. Let's go.
(As they head out the front, the doors start to open. Another SECURITY GUARD is trying to get in.)
CUE SOUND: INTERFACING
(JAKE stops the computer from reading the SECURITY OFFICER'S palm on the scanner. He gets: ACCESS DENIED.)
SECURITY GUARD: Aw, come on.
(The doors close. JAKE pushes CALEB to the stairs.)
JAKE: This way. Go.
[STAIRWELL]
(JAKE pushes CALEB up the stairs.)
CUE SOUND: INTERFACING
(JAKE turns the security camera away from them.)
JAKE: Go. Up the stairs.
(He and CALEB run. As soon as they're gone, the security camera goes back into position. JAKE and CALEB get out at door 4F36.)
CUT TO:
[INT. NSA - SECURITY HOLDING CELL -- NIGHT]
(The TECHNICIAN corrects the palm scanner pad.)
TECHNICIAN: Okay, try it now.
(The doors open.
SECURITY GUARD: (dryly) Isn't technology grand? (to TECHNICIAN) Thanks.
(The SECURITY GUARD takes a couple of steps into the area and realizes that CALEB isn't in his cell. He runs to the station and checks the camera.)
SECURITY GUARD: What the ... ?
(On camera, CALEB is still in his cell. The SECURITY GUARD works at the keyboard, glancing up at the empty cell.)
CUT TO:
[INT. CAR (MOVING) -- NIGHT]
(JAKE'S driving. He hands the cell phone to CALEB.)
JAKE: Call your father.
CALEB FULTON: I told you ...
JAKE: Caleb, he has my brother. He wants you in exchange. Now I figure we've got about two minutes before the NSA figures out that you're gone and I took you. So if you ever want to see your dad again, you call him. Now!
(CALEB takes the phone and dials.)
CUT TO:
[EXT. NSA BUILDING (STOCK) - NIGHT]
[INT. NSA - LOU'S OFFICE -- NIGHT]
(SKERRIT SKERRIT stands in the doorway.)
SKERRIT: Louise, what you know about Caleb Fulton escaping from a supposedly secure lockdown?
(LOU calmly takes a couple of steps forward to her desk.)
LOU: I'm aware of the situation, and I'm on it.
SKERRIT: (nods) Well, you better be.
CUT TO:
[EXT. WAREHOUSE -- NIGHT]
(JAKE is escorted into the warehouse by several of the ETHAN FULTON militia THUGS. They take him and CALEB to ETHAN.)
(They turn the corner into the main room where ETHAN walks forward to meet his son.
ETHAN FULTON: You made it.
CALEB FULTON: I was pretty scared.
ETHAN FULTON: You're my son. You never, ever be afraid of anyone. Not them, understand me?
CALEB FULTON: Yes, sir.
MAN IN BLACK: He came alone and unarmed.
ETHAN FULTON: You're a man of your word.
JAKE: Where's my brother?
ETHAN FULTON: I'm a man of my word, too.
(They turn and the MAN IN BLACK presses the buzzard on the wall, releasing the lock on the door. JAKE runs. He opens the door and rushes inside.)
JAKE: Oh, Jerry. It's okay. Come on, it's going to be okay.
(JAKE helps JERRY to his feet and out of the room. It's then that he notices all of the equipment packed in crates and that the men are moving it out.)
JAKE: You moving on?
ETHAN FULTON: It's how we survive.
JAKE: What about Caleb?
ETHAN FULTON: What about him?
JAKE: He's just a kid. Why don't you let him have a life?
ETHAN FULTON: Because his life is here with his family-- with me. And I wouldn't overstay my welcome if I were you.
JAKE: (to JERRY) Come on.
(JAKE takes a couple of steps toward the door with JERRY.)
CUE SOUND: ENHANCED HEARING
(JAKE hears the radio chatter of the NSA AGENT outside.)
MAN: Watch your back. There are friendlies in the building! Standing by.
(Through the building windows, we see shadows of the NSA AGENTS surrounding the building.)
MAN 2: (loudly) This is the NSA. Throw down your weapons and come out with your hands up! You are surrounded.
(Gunfire from both sides ensues. JERRY and JAKE tuck their heads and keep low to the ground as ETHAN and his militia fire back.
SHOUTING: Hold your ground.
(More gunfire. Then a canister of tear gas is thrown into the warehouse from the outside through a window. JAKE makes sure that JERRY stays down.)
(One by one, the militia men inside are hit by bullets and are taken out.)
(KYLE enters the building with his gun drawn. Following him are LOU and several agents.)
KYLE: Weapons down! Let me see your hands!
(cc) Target building secure. (cc) Multiple suspects down. (cc) Copy that.
KYLE: Hands!
(KYLE moves forward into the warehouse. LOU signals for the others to move.)
AGENT: (b.g.) Clear!
KYLE: Okay, we're clear.
(LOU steps around the car and sees JAKE and JERRY and ETHAN and CALEB.)
JAKE: You okay?
JERRY: Yeah.
(JAKE sees ETHAN FULTON holding his son's lifeless body.)
ETHAN FULTON: No ETHAN FULTON: (sobbing) Caleb ...
(LOU stands above them and watches as ETHAN gently lays his son back down on the ground as he cries. Sitting nearby, JAKE also watches.)
AGENT: (to JAKE) You okay, sir?
(JAKE motions that he's okay.)
CUT TO:
[EXT. NSA BUILDING (STOCK) - DAY]
[INT. NSA - LOU'S OFFICE -- DAY]
(LOU is in her office sitting at her desk when the door closes. She looks up and sees SKERRIT SKERRIT standing in the doorway. He steps into the office.)
SKERRIT: Well, we had a terrific success last night. We shut down the militia, arrested Fulton and his men. However ... I have people very high up I have to answer to.
LOU: I realize that.
SKERRIT: Do you? And what am I supposed to tell them about our policy of never negotiating with terrorists?
(LOU stands up and looks at SKERRIT directly in the eyes.)
LOU: Tell them we didn't.
(He laughs appreciatively.)
SKERRIT: God almighty, Beckett, you got bigger ones than I do.
LOU: Thank you, sir.
CUT TO:
[INT. JAKE'S APARTMENT -- DAY]
(JERRY stuffs his clothes back into his duffle bag while JAKE sits on the side watching. When he's done, he zips his bag up.)
JAKE: You ready?
JERRY: I think so.
(JERRY puts the bag on his shoulder.)
JAKE: You going to have any trouble re-enrolling?
JERRY: You mean the work studies chick in admissions? (He holds up both hands with his fingers crossed.) Tight.
JAKE: (smiles) Nice.
JERRY: So now, uh, about the parental units?
JAKE: Yeah, you came to check out Georgetown ...
JERRY: ... because you insisted on me having a plan ...
(JAKE stands up.)
JAKE: ... once you get out of junior college.
JERRY: Sweet. Thanks for everything.
(JERRY and JAKE hug.)
JAKE: Yeah.
JERRY: Okay, enough of the Gilmore Girls. Let's roll.
(JERRY heads for the door. JAKE follows him.)
CUT TO:
[INT. HALLWAY OUTSIDE APARTMENT - DAY -- CONTINUOUS]
(JAKE locks the door.)
JERRY: So, can I ask you one question?
JAKE: Sure.
(They turn and head down the hallway.)
JERRY: What exactly do you do at the NSA?
JAKE: I could tell you, but then I'd have to kill you.
(JERRY slows down at that response. JAKE continues walking and turns the corner. The camera holds on JERRY'S stunned look.)
FADE OUT.
THE END
[Captioning sponsored by Viacom Productions and UPN captioned by Media Access Group at WGBH Access.Wgbh.Org]
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Contact the Transcriptionist at (intrepidly002@yahoo.com)
Please do not archive this transcript without permission from the Transcriptionist.
BEGINNING/TITLE CREDITS
JAKE 2.0
1X07: JERRY 2.0
ORIGINAL AIR DATE ON UPN: 10/29/2003
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:
DREW TYLER BELL as Jerry Foley
JIM BYRNES as Skerrit
STEVE MAKAJ as Ethan Fulton
MATT BELLEFLEUR
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: DAVE JOHNSON
Directed by: LESLIE LIBMAN
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: KATE HATTON-WHYTE
Edited by: SHAWN PAPER
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: ANTYA COLLOFF
Canadian Casting by: TRISH ROBINSON
Canadian Casting by: MARY MONTICA POOLE
Co-Starring
KURT EVANS as Tech Agent Hart
ROBERT PARENT as Militia Man #1
JIM FRANCIS as Pete Petrovich
MISSY PEREGRYM as Girl in Bar
HEATHER ROBERTSON as Waitress
NOAH BEGGS as Bartender
HERBERT DUNCANSON as Police Officer
JIM TAI as Skeptical Guy
JERRY HOWSON as Guard #1
DAVID STUART as Terence
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
Script Supervisor: PATTIE ROBERTSON
Production Coordinator: ANITA MEEHAN-TRUELOVE
Production Accountant: GORD SMITH
1st Company Grip: AL CAMPBELL
Stunt Coordinator: SCOTT NICHOLSON
Production Sound Mixer: SHANE CONNELLY
Special Effects Coordinator: GARY PALLER
Transportation Coordinator: JOHN J. O'TOOLE
Construction Coordinator: LYALL HEIGHTON
Casting Assistant: CARRIE LEVIN
Post Production Supervisor: DAN McDONALD
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
Additional Music By: 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:11/22/2003~lky http://www.webphilia.com/~anthology/wnp.html