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JAKE 2.0
1X01: THE TECH (PILOT)
ORIGINAL AIR DATE ON UPN: 09/10/2003
TRANSCRIBED FROM UPN

Written by SILVIO HORTA
Directed by ROB LIEBERMAN

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-V

DISCLAIMER: "JAKE 2.0" and other related entities are owned, (TM) and (c) by 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 Entertainment and for Educational 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.

CONDITION OF USE: (1) Do not alter the content of this file. (2) Leave the headers/disclaimers intact because it lists all those who have made this transcript possible for your enjoyment. (3) Provide a link back to the site where this file originated: http://www.webphilia.com/~anthology/wnp.html

Contact the Transcriptionist at (intrepidly002@yahoo.com)

SUMMARY: A lab accident leaves NSA computer technician, Jake Foley, infected with nano-technology that enhances his normal abilities as well as allows him to interface with technology.

JAKE 2.0
1X01: THE TECH (PILOT)

COLD OPEN:

[TITLE SCREEN]

(Scene opens out in space as a satellite circles the earth. Its telemetry beeps. The satellite passes out of camera frame, then the camera focuses on the land mass below that can be seen through the clouds and zooms in for an extreme close up of the country ... the state ... the city ... the community ... the block ... the building ...)

CUT TO:

[EXT. NSA -- DAY]

(JAKE FOLEY walks toward the front of the building with the other workers. He passes the sign and seal outside the building for the NATIONAL SECURITY AGENCY * UNITED STATES OF AMERICA.)

CUT TO:

[INT. NSA -- DAY]

(He pushes the glass door open and walks inside. He walks across the great NSA seal on the lobby floor.)

(JAKE walks through the hallway. He takes his ID badge and scans it into the security pad next to the locked door for the SIGNET OPERATIONS / AUTHORIZED PERSONNEL ONLY. The key pad beeps. JAKE punches in the access code and the door unlocks.)

(He opens the door and walks inside. The door slams shut behind him.)

CUT TO:

[INT. SIGNIT OPERATIONS -- DAY]

(JAKE walks into the room. Inside are various computer stations with a lot of activity going on. Everyone is busy with their assignments that the conversations overlap with each other.)

(JAKE heads over to a particular computer station.)

JAKE FOLEY: What do we got?

USER: Doesn't look good. (frustrated) Damn things been frozen since I booted up this morning and the floppy drive's jammed.

JAKE FOLEY: All right, let me take a look.

(The USER gets out of his seat. JAKE puts his suitcase down on the desk and settles into the chair. He takes his coat off, opens the case and hooks the computer up to his gear.)

JAKE FOLEY: Okay.

(He starts working on fixing the terminal. The USER leans in for a look at the equipment.)

JAKE FOLEY: All right, talk to me, baby.

USER: So?

JAKE FOLEY: Well, it's a 20-minute job. I'll have you up and running in two.

USER: (sighs with relief) Take your time. I'm due for a coffee break.

(The USER leaves.)

JAKE FOLEY: Yeah.

(JAKE gets to work. As he works, he notices the other USERS around him and the work that they're doing.)

MAN: Notify NORAD. Negative telemetry intercept on the missile test over the Sea of Japan.

WOMAN: Per FBI request, the Echelon watch list is being updated with the following list. Ammonia nitrate, cyclonite and the name Ivan Benikov.

(JAKE sits there and absorbs the atmosphere with an envious grin on his face. As he looks around at the different terminals and the important work on them, his grin gets bigger.)

SUPERVISOR: Okay, listen up, everyone.

(JAKE turns around to look at the SUPERVISOR behind him. The room slowly turns silent as everyone gives him their attention.)

SUPERVISOR: (continuous) The CIA station in Kandahar has been tracking Ivan Benikov, a terrorist on our watch list. Now, once we've confirmed Benikov's I.D. with satellite visuals, U.S. Centcom has an unmanned drone standing by to launch a hellfire missile right at him.

(JAKE is carried away by the excitement of the activity and by just being there.)

JAKE FOLEY: (to himself) This is so freaking cool.

(Unfortunately, he says it loud enough for the SUPERVISOR to hear him.)

SUPERVISOR: (to JAKE) Uh, can I help you?

(JAKE slowly turns and realizes that the SUPERVISOR is talking to him.)

JAKE FOLEY: Oh, yeah, uh, act-actually, I'm-I'm helping you.

(JAKE stands up to introduce himself.)

JAKE FOLEY: Uh, uh, I-I'm Jake Foley, tech support. (shows him his badge) I-I was just fixing this computer, but I'm done. It's fixed. No problem-o.

SUPERVISOR: Great, Mr. Foley. Now I'm going to have to ask you to leave.

(JAKE'S smile fades. He turns around and hurriedly packs up his gear.)

JAKE FOLEY: Oh. I'll just leave this behind ...

(JAKE puts a can on the counter in front of the SUPERVISOR.)

JAKE FOLEY: (smiling) ...just in case.

SUPERVISOR: Thanks.

JAKE FOLEY: You're welcome.

(Sad that he has to leave, JAKE turns around and looks at the action going on on the large screen on the wall. JAKE walks out of camera frame.)

CUT TO:

[EXT. WASHINGTON D.C. (STOCK) - NIGHT]

[INT. BAR -- NIGHT]

(JAKE and his roommate, DARIN METCALF are at the local bar. They slowly make their way to the bar and look around at the people inside.)

DARIN METCALF: Come on, buddy, we have talked about this. Trust me, you don't want to be one of those jerks.

JAKE FOLEY: Darin, I would kill to be one of those jerks.

DARIN METCALF: No, we're in the perfect position because we're practically agents, but we're not props.

JAKE FOLEY: What are props?

DARIN METCALF: Yeah, props -- "property of the state" -- guys who actually have clearance. Those guys, they have no lives. See, you and me, we can quit anytime we want and go start a band or open up a restaurant or something because we still have that kind of freedom. (to the bartender) Two tequila shots over here, please? Thank you. (to JAKE) The minute you know any kind of real secrets, like stuff you probably wouldn't want to know if you want to go to sleep tonight anyway, that's when they own you. And they own you for life.

(DARIN takes the tequila shots off of the counter and hands one to JAKE.)

JAKE FOLEY: Darin, you're the only guy I've ever met whose life goal is to keep his options open.

DARIN METCALF: Cheers.

(They clink shot glasses and swallow their drinks.)

DARIN METCALF: God, I hate tequila. Whoo! Dude, 6:00. Pull out your NSA badge.

(They both take out their ID badges around their necks to hang outside their clothes for the women to see.)

JAKE FOLEY: Why?

DARIN METCALF: Because chicks dig spies.

JAKE FOLEY: Yeah, but they don't dig geeks.

(JAKE holds out his badge for emphasis.)

DARIN METCALF: (doesn't care) Voila.

(The two men make their way toward the women.)

DARIN METCALF: Excuse me, ladies. I'm Agent Darin Metcalf. This is Agent Jake Foley.

(DARIN introduces them.)

CASEY: Hi. You guys work for the NSA?

DARIN METCALF: (nods) Yes. JAKE FOLEY: (nods) Yes.

CASEY: That's so sexy. Do you have a license to kill?

DARIN METCALF: Only if you are really bad.

(DARIN chuckles at this own joke. The two women turn toward the bar.)

DARIN: I like that. I like that. That usually works.

JAKE FOLEY: Yeah, that was really good. Um, I'm going to go home. I'll see you later.

DARIN: Oh, hey, hey. The spoils of victory do not always go to those that give up easily, my friend.

JAKE FOLEY: Uh-huh, yeah. I'm going to go ponder that thought at home, and I'll see you later.

(JAKE laughs and turns to make his way out of the bar.)

DARIN METCALF: Hey, leave the door open because, uh, I don't have a key.

JAKE FOLEY: Bye.

(JAKE walks across the room and passes by a blonde-haired woman who does a double take when she glances at him. She recognizes him.)

SARAH CARTER: Hey, stranger.

(JAKE turns around and smiles in recognition.)

JAKE FOLEY: Sarah!

SARAH CARTER: It's been a while.

JAKE FOLEY: Yeah. I read about you in alumni notes. You're working for Senator Thompson. Congratulations.

SARAH CARTER: Thank you. I see you're still at the NSA. (SARAH points to his badge and smiles.) Oh, don't tell me -- this is your way of picking up the ladies?

JAKE FOLEY: No, no. No, no, no.

(JAKE grabs the ID badge from his neck and tries to take it off, only it's caught on his neck and he winds up choking himself awkwardly.)

JAKE FOLEY: This ... I, uh ... just got off work a little late and I didn't even realize that this was even on.

(He laughs and finally manages to get the badge off.)

JAKE FOLEY: So what are you doing for Thompson?

SARAH CARTER: Oh, right now I'm reviewing department of defense budgets. Several of the research divisions have come in under budget. I'm trying to figure out where that money went.

JAKE FOLEY: What, you don't trust the government?

SARAH CARTER: I don't trust my therapist, Jake.

(They laugh lightly.)

JAKE FOLEY: (nervously) Hey, listen, what would you think about ... I don't know ...

(Over at the bar, a MAN shouts and waves to SARAH.)

PETER: Sarah!

(She turns and waves back.)

JAKE FOLEY: ... Maybe A ... oh.

(He motions for her. JAKE finally notices.)

PETER: Come on over.

SARAH CARTER: (mutters confidentially) Those are some of the most powerful aides in town. All they want to do is drink martinis and gossip. (JAKE laughs.) Do you want to join us?

JAKE FOLEY: Oh ... um ... well, maybe next time.

SARAH CARTER: I'll see you around, then?

JAKE FOLEY: Yeah.

(SARAH turns to head toward the bar; JAKE turns to leave. SARAH remembers something and turns around. She calls out to JAKE.)

SARAH CARTER: Oh, Jake ... what are you doing Saturday afternoon?

JAKE FOLEY: Saturday? No plans.

SARAH CARTER: Wait.

(SARAH turns around to the man next to her.)

SARAH CARTER: Uh ... can I have one of these?

MAN: Sure.

SARAH CARTER: (to MAN) Thanks.

(SARAH grabs something and heads back toward JAKE. It's a small matchbook and she's writing her number on the cover.)

SARAH CARTER: Um, do you think you could come by my place and check on my computer? Something's not right.

(At the mention of her computer, JAKE'S look freezes.)

SARAH CARTER: Here's my number.

(She hands him the matchbook with her number on it. He takes it.)

JAKE FOLEY: (disappointed) Sure.

SARAH CARTER: Great. See ya.

(She turns and heads back to the bar. JAKE holds the matchbook and mutters ironically to himself.)

JAKE FOLEY: See ya.

CUT TO:

[INT. NSA - COMPUTER SECTION -- DAY]

(DARIN is in JAKE'S cubicle leafing through a magazine and listening to rock music on his headphones while JAKE sits in his chair looking at the matchbook. DARIN looks up and notices JAKE.)

DARIN METCALF: Okay, I know you don't smoke. Who's the girl?

JAKE FOLEY: Oh, it's Sarah. I bumped into her at the bar last night.

DARIN METCALF: Whoa, whoa, whoa. (He turns off the player.) Georgetown Sarah? Lived-in-the-same-dorm-for-four-years-and-never-asked-her-out Sarah?

JAKE FOLEY: That's the one. She wants me to come by her place on Saturday.

DARIN METCALF: That's awesome! Why are you not the least bit excited about this?

JAKE FOLEY: Because she wants me to fix her computer. It's a service call.

DARIN METCALF: Define "service."

(JAKE chuckles.)

DARIN METCALF: (puts magazine aside) I'm serious. This is your chance. If you show up like a tech, then that's all she's going to see.

(As JAKE considers his friend's words, the supervisor in the doorway interrupts.)

SUPERVISOR: I hate to break up the moment, ladies, but we got a server off- line.

(He turns to leave, then notices that neither JAKE nor DARIN moved. He turns back to the doorway.)

SUPERVISOR: (snaps his fingers) That means 'let's go'.

CUT TO:

[INT. NSA -- LAB -- DAY]

(Camera opens on the lab rats in the glass cages on the shelves. The door opens. JAKE and his SUPERVISOR walks into the room.)

SUPERVISOR: (to JAKE) You know, not a lot of people have been within these walls, so consider yourself lucky.

(The SUPERVISOR heads for the server while JAKE lingers by all the fascinating things in the area. He peers at the various tanks on the shelves to watch the mice inside. He lingers and lags behind completely taken with the environment.)

(The SUPERVISOR finds the server and takes a seat. JAKE watches a particular lab mouse in a tank running on the wheel. The mouse has an incredible burst of speed. JAKE stares wide-eyed at the mouse.)

SUPERVISOR: Foley.

JAKE FOLEY: Yeah?

(JAKE stands and heads for the server when he's once again distracted by another sight. He leans forward and sees a flask with some silver-gray liquid inside that produces a white cloudy gas on the top. He blows the smoke away, watches it and smiles. Again, completely fascinated.)

(The SUPERVISOR works on the server.)

SUPERVISOR: Foley!

JAKE FOLEY: Oh. Coming, coming.

(The SUPERVISOR stands up and makes room for JAKE to have a seat.)

JAKE FOLEY: Sorry.

SUPERVISOR: Nobody reads programming code faster than you. What am I looking at here?

JAKE FOLEY: Let me see.

(DR. GAGE appears in the back of the room behind them. The SUPERVISOR turns around and notices him.)

SUPERVISOR: Hey. You guys know you're off-line? Don't worry about it. We'll have you up and running in two minutes.

(As he runs a systems diagnostic on the server, an active message box appears that reads:

FILE TRANSFER ACTIVE
65% COMPLETE
TRANSFER ALL
BIOLOGICAL RESEARCH DATABASE

JAKE FOLEY: Oh, this is weird. It says here that they're uploading all the lab's research into, uh ...

(A gun fires. JAKE jumps at the sound. He turns and sees the SUPERVISOR slump backward and fall to the floor.)

(DR. GAGE holds a gun with a silencer on him.)

(JAKE slowly gets to his feet, his eyes on the dead man beside him.)

JAKE FOLEY: What? What?

(DR. GAGE steps forward toward JAKE.)

JAKE FOLEY: Oh, my God! Oh, my God!

(DR. GAGE looks at JAKE'S ID badge.)

DR. GAGE: Since you're obviously the smarter one, I need you to disengage the diagnostics system so that tech services doesn't send anyone else up here. Do it.

JAKE FOLEY: (nods) Okay. All right.

(JAKE turns around toward the computer. Behind him, DR. GAGE takes out his cell phone and dials.)

DR. GAGE: (to phone) We have a problem. Jake Foley, tech support.

(JAKE works on sending that message.)

(The computer screen in front of him shows that the FILE TRASFER is 100% COMPLETE.)

(A red message box appears on screen:

SECURITY ALERT
SECURITY ALERT
CODE BLACK

JAKE FOLEY: I'm done.

(JAKE turns around.)

DR. GAGE: Nothing personal.

(DR. GAGE raises the gun, JAKE squirms.)

SECURITY GUARDS: (o.s.) Drop it!

(SECURITY GUARDS appear inside the lab. DR. GAGE turns around and fires at the GUARDS. He misses. The SECURITY GUARDS fire back. They hit DR. GAGE and some of the bottles on the counters around them.)

(The lab erupts in gunfire. The silver tank of bubbling liquid explodes sending glass and liquid all over the lab.)

(JAKE manages to get down.)

(When the gunfire stops, the SECURITY GUARD checks up on JAKE.)

SECURITY GUARD: You okay?

(Breathing hard, JAKE glances down at this left arm. One of the glass pieces has cut into his inner arm, silver liquid from the glass has also splashed onto him. It appears that the liquid is moving into the wound and under his skin.)

(Camera slowly rises to JAKE who breathes heavily and is looking sick. JAKE'S eyes roll to the back of his head as he passes out.)

FADE OUT.

(COMMERCIAL SET)

FADE IN.

[INT. NSA - LAB -- DAY]

(The lab is crawling with investigators. DR. GAGE'S body has been loaded onto a gurney as is being rolled out the room. In another part of the lab, DIANE HUGHES checks JAKE FOLEY, giving him a cursory examination to make sure that he's all right. A second person is there to remove the piece of glass from his arm.)

DIANE HUGHES: (removes the blood pressure arm band) 120/80. Good. That means that your blood pressure is normal. Uh ... you okay?

(DIANE notices that JAKE is staring off into space. She waves her hand timidly in front of his face to try to get his attention.)

DIANE HUGHES: Jake?

(He blinks and looks at her.)

JAKE FOLEY: What?

DIANE HUGHES: (worried) I just asked if you were okay, which is an incredibly stupid question when you consider that you just saw that. Um, can I get you anything? Do you want some water or some aspirin or ... valium?

(She smiles nervously at him. He looks at her and then smiles a bit.)

JAKE FOLEY: (quietly) I'll be okay, thanks.

DIANE HUGHES: Sure.

(DEPUTY DIRECTOR LOUISE BECKETT appears in the doorway. She knocks lightly.)

LOUISE BECKETT: Dr. Hughes.

(DIANE turns around, sees her, then turns back to JAKE.)

DIANE HUGHES: Excuse me. (She rushes out the room.) Yeah?

(JAKE watches them, then turns to look at his arm as the paramedic stitches up the wound.)

LOUISE BECKETT: What's the status here?

DIANE HUGHES: Well, everything seems to be fine and Hazmat's got containment, so ...

(They stop in front of the gurney with DR. GAGE'S body on it.)

LOUISE BECKETT: You worked with this guy for three years. Did you have any idea?

DIANE HUGHES: (shakes her head) No. No. Dr. Gage was a jerk. I mean, this guy thinks equal opportunity is something you put in your coffee. But a traitor? (sighs) No. Never.

(LOUISE BECKETT turns away and they zip up the body bag with DR. GAGE in it. LOUISE BECKETT issues instructions to the agent with them while DIANE HUGHES follows.)

LOUISE BECKETT: (to the agent) I want to know everywhere Dr. Gage has been in the past few months -- every phone call, every e-mail ... everybody's he's been screwing and everybody who's been screwing him. He was with us for ten years so we know he didn't come cheap. (looks over at JAKE) Is that the guy who made the distress call?

DIANE HUGHES: Yeah, Jake Foley. He's tech support. He's really shaken up right now, though, so I...

LOUISE BECKETT: (interrupts) I want to see him.

DIANE HUGHES: Of course.

(LOUISE BECKETT moves on. DIANE watches them go.)

CUT TO:

[INT. LOUISE BECKETT'S OFFICE -- DAY]

(JAKE sits across the desk from LOUISE BECKETT.)

LOUISE BECKETT: Mr. Foley, I'm Deputy Director Louise Beckett. I understand that you made the distress call. Nice work.

JAKE FOLEY: Thanks ... I-I ... but I was just doing what any good employee would do.

(LOU looks down at the file open on her desk.)

JAKE FOLEY: I'm a go-getter.

LOUISE BECKETT: Yes, so I've been reading. It says here that you applied for intel training.

JAKE FOLEY: Yes. Twice.

LOUISE BECKETT: You've served your agency well today, and I would like to take this opportunity ...

(JAKE smiles hopefully.)

LOUISE BECKETT: ... to reiterate your confidentiality agreement.

(JAKE'S smile freezes on his face, then disappears.)

LOUISE BECKETT: Under no circumstances are you to recount what happened here today ... to anyone ... ever.

JAKE FOLEY: (tiredly) Or what, you'll have to kill me?

(He smiles slightly. She smiles slightly, but her smile fades as their gazes meet.)

(Camera holds on JAKE.)

CUT TO:

[INT. JAKE'S APARTMENT -- NIGHT]

(The door opens. JAKE walks in. He looks awful. It's as if he's coming down with something. He's dragging himself into the apartment. He shuts the door behind him.)

JAKE FOLEY: Darin?

(There's no answer. JAKE looks around the apartment. His vision's blurry and he can barely make things out. He takes off his coat and drops it on the floor. He slowly walks into his room and collapses on the bed.)

(He hugs the pillow as his body wracks with shivers. He breathes hard and his body twitches. He slowly brings his knees to his chest and huddles in a ball on the bed.)

FADE TO WHITE:

[INT. JAKE'S APARTMENT - AFTERNOON - NEXT DAY]

(Camera opens on the bedside clock that reads 1:09 p.m. The radio is on and a light rap song is playing.)

(Camera moves slowly toward the bed. JAKE'S slowly waking up. He looks much better than the night before. He covers his eyes from the sunlight and draws his hand back behind his head as he opens his eyes.)

(He glances over at the bandage on his inner arm just below his elbow. Typically, he peels back the bandage only to find that he's completely healed.)

JAKE FOLEY: (now awake) What?

(Outside a car horn beeps. JAKE glances at the bedside clock and remembers ... )

JAKE FOLEY: Sarah.

(JAKE gets up out of bed.)

CUT TO:

[INT. SARAH'S APARTMENT -- AFTERNOON]

(The door opens and SARAH peers out.)

SARAH CARTER: Jake.

JAKE FOLEY: (holds up the bottle) Hope you like vino.

SARAH CARTER: (surprised) Uh... of course. Yeah. Uh, come in.

(She takes the bottle and opens the door. JAKE walks into the apartment.)

JAKE FOLEY: Okay. Oh, wow. This is a great place.

SARAH CARTER: Rumor has it Bill and Monica had a couple of trysts here.

JAKE FOLEY: Really?

SARAH CARTER: Yeah, I didn't buy it at first, but it kind of has that vibe-- don't you think?

JAKE FOLEY: I feel it.

(SARAH turns and indicates her desk with the computer near the window.)

SARAH CARTER: Oh, so here it is.

JAKE FOLEY: Ah, the offending piece of hardware.

SARAH CARTER: In all its Pentium II outdated glory.

(They share a chuckle.)

SARAH CARTER: Do you want me to open this?

JAKE FOLEY: Oh, yeah, yeah. Let's pop it.

(SARAH turns and heads for the kitchen with the bottle. JAKE can't believe what he just said.)

JAKE FOLEY: "Let's pop it"? Idiot.

CUT TO:

[INT. NSA - SIGNET OPERATIONS -- DAY]

()

( Phone rings )

DR. GAGE: (recording) We have a problem. Jake Foley, tech support.

ERIC VAUGHN: (recording) It sounds like you have a problem. Take care of it.

ERIC VAUGHN: (recording) ... You have a problem ...
ERIC VAUGHN: (recording) ... you have a problem ...
ERIC VAUGHN: (recording) ... you have a problem ...
ERIC VAUGHN: (recording) ... you have a problem ...

(The computer monitor shows the following results:

{various surveillance photos on extreme left, photo on left, info on right}

VAUGHN, ERIC
Gender: Male
Height: 6'1"
Weight: 193
Build: Medium
Hair Color: Brown
Eye Color: Blue
D.O.B.1966/04/

BACKGROUND HISTORY: {unreadable information}

KYLE DUARTE: I know this guy -- Eric Vaughn -- black market arms dealer with ties to the IRA operating out of Belfast. Been on British CTU's wanted list for a year now. He was behind the research theft for the SS-G-20, their next- generation laser-guided missile.

LOUISE BECKETT: Well, our agents in Belfast will have their hands full.

KYLE DUARTE: I'd like your permission to head a team to track him.

LOUISE BECKETT: No, we've discussed this before, Kyle.

KYLE DUARTE: I belong in the field.

LOUISE BECKETT: Your cover was compromised.

KYLE DUARTE: Yeah, through no fault of my own.

LOUISE BECKETT: They never forget a face over there.

KYLE DUARTE: Come on, it's been two years.

LOUISE BECKETT: Listen to me. Listen to me!

KYLE DUARTE: I'm being wasted here.

LOUISE BECKETT: I'll use my agents as I see fit. You want to work for me, you work here.

(Frustrated and feeling un-utilized, KYLE remains quiet. LOU BECKETT walks away. KYLE watches her leave.)

CUT TO:

[INT. SARA'S APARTMENT -- DAY]

(JAKE removes the computer CPU cover to look inside.)

JAKE FOLEY: Well, I can tell you already you need a new mouse. These days, it's all about the wireless.

(SARAH returns carrying a couple of glasses of wine.)

SARAH CARTER: Really?

(He turns around and smiles. She hands him his glass.)

JAKE FOLEY: Uh ... oh. Thanks.

(He takes the glass.)

JAKE FOLEY: Hey, I was wondering: Who are these guys?

(JAKE picks up a framed photo.)

SARAH CARTER: (points) This one's my dad.

JAKE FOLEY: Oh, yeah? Was he in, uh, Desert Storm?

SARAH CARTER: Not technically. He went over to test some classified weapons system.

JAKE FOLEY: Wow, that's really cool.

SARAH CARTER: He never came back.

JAKE FOLEY: (quiet) Oh.

SARAH CARTER: The worst part is they won't even tell my family what happened. He's gone, and all they say is, "that's classified." Just makes me feel so helpless, and I ... I'm sorry. Here you are, coming and doing a favor, and I'm dumping all this baggage on you.

(She puts the photo back down on the desk.)

JAKE FOLEY: No, no-- dump on me.

SARAH CARTER: Um ... yeah.

JAKE FOLEY: Look ... well, it's ... it's like when we were in college, and I'd come and fix your computer all the time, and you were always apologizing, and, well ...

JAKE FOLEY: You probably didn't know, but ... I-I-I didn't mind. I liked helping you. I like helping you. Um ... the-the-the thing is ...

(The phone rings breaking the moment.)

JAKE FOLEY: Uh...

SARAH CARTER: What?

JAKE FOLEY: Uh, you should probably get that.

(SARAH steps away to answer the phone.)

SARAH CARTER: Hello. Oh, hey. (She goes into another room.) How was last night? 4:00 A.M.?

(JAKE sighs. He takes a seat to work on the computer.)

SARAH CARTER: (to phone) So glad I didn't come. Who was there? He was there?

(He looks at the computer board ...

(There's an electronic pulse emitting from him. His eyes widen in surprise. He studies the board carefully, his eyes focusing ... and finding ... the problem.)

(JAKE blinks.)

(There's more electronic pulse sounds emitting from him.)

(JAKE reaches to the side for a push pin. He stares at the tip of the pin.)

(More electronics pulsating sounds as his eyes zoom in for a close up of the tip of the push pin.)

(JAKE watches in surprise as he puts the tip of the pin in the place where the problem is.)

(He pulls back in surprise, his eyes blinking.)

(The computer reboots.)

(The monitor turns on and SARAH'S desktop appears on screen.)

(SARAH finishes her telephone call and walks over to look over JAKE'S shoulder.)

SARAH CARTER: (pleasantly surprised) Oh, my God. You fixed it. How did you do that?

JAKE FOLEY: Uh ... I, uh... I don't know.

(JAKE drops the push pin onto the CPU.)

SARAH CARTER: (studying his face) Jake, you don't look so good.

(JAKE stops. He stands up and puts his jack on to leave.)

JAKE FOLEY: I, uh ... I think that, um, 24-hour flu is more like, um, a 36, or maybe a 48. Um ... I'm sorry. I-I-I ... I got to go.

(JAKE turns and leaves.)

SARAH CARTER: Uh ...

CUT TO:

[EXT. OUTSIDE -- DAY]

(JAKE walks through the park. As he walks along the sidewalk, he suddenly hears machine gun fire. He immediately ducks and looks around to dodge the bullets.)

(There's nothing there.)

(But JAKE continues to hear more gunfire and runs to take cover behind the nearest parkbench.)

(He looks up and around ... then finally notices a kid with a game machine in his hands.)

(As the kid passes by, the sound reduces back to the normal sound levels.)

(JAKE slowly stands up as the kid walks by. JAKE looks around, then finally continues walking down the path. A football flies out of nowhere and hits him square in the chest, surprising him.)

JAKE FOLEY: Whoa.

(JAKE leans forward and picks the football up from the snow-covered ground.)

KID: Over here, mister.

(JAKE looks up and sees a group of kids nearby. One of the kids, presumably, the one who owns the ball, waves to him.)

JAKE FOLEY: Yeah, here you go.

(JAKE lightly tosses the football to the kid.)

(The football flies out of his hands with a strong force that when it hits the kid in the chest, the kid flies backward several feet and finally stops hard against the large tree.)

(The kid grunts on impact. He slides to the ground. The other kids turn to look at JAKE.)

(Camera zooms into focus on JAKE'S face ... at his surprise. JAKE looks around.)

JAKE FOLEY: Sorry.

KIDS: (to their friend) Hey, you all right, man?

JAKE: (mutters apologetically) Sorry.

KIDS: God.

(The kids surround the other kid against the tree to help him up. JAKE slowly backs away from them, his jaw open at what's happening to him.)

(JAKE turns to leave.)

(He walks out of the park toward the street, his gaze at the park behind him even as he heads for the road in front of him. A bus pulls up with a sign on the side: RUNNING IN CIRCLES. The logo on the sign is a mouse on a wheel. JAKE looks at the logo and it triggers a memory. He looks around, then back at the sign.)

(A camera shutter clicks.)

(Across the street, sitting in a parked car are two men. One has a camera trained on the bus. As the bus moves away, we see the camera is really on JAKE standing just behind the bus.)

(The man is ERIC VAUGHN. He puts the camera down and turns to his companion.)

ERIC VAUGHN: That guy's got some arm.

(The driver puts the car in gear and drives off.)

FADE OUT.

(COMMERCIAL SET)

FADE IN.

[INT. NSA - HALLWAY OUTSIDE LAB -- DAY]

(JAKE turns the corner and puts his badge on the security key pad scanner next to the door. The security pad beeps and reads: UNAUTHORIZED. JAKE tries it again. No change.)

(He looks around, then lifts his hand to punch in some keys. When his hand gets just inches away from the security pad, there's a slight electronics whine and pulsations. Then to his surprise, the numbers on the security pad start to randomly go through the number combination.)

(Quick CGI POV to: Camera zooms in through the number display, in through the wiring and various electronic pulses till it reaches the lock. The metal wires inside the key pad flick up giving the correct combination to unlock the door.)

(The camera zooms back out through the wires and electronic components and out through the number display. End of CGI POV.)

(The display reads: 49140.)

(The door lock unlatches.)

(JAKE blinks his eyes. He reaches for the door knob and opens the door.)

(He breathes heavily in surprise.)

(JAKE enters the lab.)

[INT. NSA - LAB - CONTINUOUS]

(JAKE walks into the lab and nearly closes the door. He doesn't shut it completely. He walks past the mice in their tanks and he heads for the server.)

(He takes out a memory card and plugs it into the computer, then gets to work on accessing the information on the server. He logs into the server, and then saves the information pertaining to the project.)

[CUE SOUND: ENHANCED HEARING]

(There's the light beeping sound of JAKE'S enhanced abilities being used.)

(As JAKE works, he hears voices nearby with his enhanced hearing. He turns around to look at the door.)

LAB TECHNICIAN (WOMAN): There're rumors going around there were problems in your lab. What's going on?

(Quick CGI POV to: As the voices get louder, the camera focuses in on JAKE'S left ear, then zooms in through the ear and dissolves to: Several floors above and away from the lab, DIANE HUGHES is walking through the hallway with another LAB TECHNICIAN who questions her about the shootings.)

DIANE HUGHES: Oh, nothing, really, you know. Some shelves collapsed and some... some of my mice got out, but, you know -- no big deal.

(As he listens, 53% of the files have been transferred. JAKE stares at the monitor, willing it to go faster.)

JAKE: (mutters to himself) Oh, let's go, let's go, let's go.

(The elevator dings and the doors open. DIANE steps into the elevator when the LAB TECHNICIAN stops her.)

LAB TECHNICIAN (WOMAN): You mean, there wasn't any gunfire?

(DIANE laughs.)

DIANE HUGHES: Gunfire? You kidding me? Girl, you need to stop watching so much tv.

(The elevator doors close.)

[BACK AT THE LAB ... ]

(The monitor shows that 99% of the files have been transferred.)

(Done.)

(JAKE packs it up and moves out as fast as he can. He gets up and heads back to the lab door.)

(Cut to: JAKE presses the elevator button. The elevator bell dings and the doors open. He walks into the elevator as a man and DIANE HUGHES are about to walk out. DIANE looks up and sees JAKE. He presses the button.)

DIANE HUGHES: (smiles) Jake.

JAKE FOLEY: (smiles) Hey.

DIANE HUGHES: Hi. Oh, uh, ...

(Thinking that he can't recognize her, she puts her glasses back on and re- introduces herself to him.)

DIANE HUGHES: Diane.

JAKE FOLEY: Yeah, right. Yeah.

DIANE HUGHES: What are you doing down here?

JAKE FOLEY: (stilted) Oh, I just, uh, wanted to follow up and make sure your server's running okay, 'cause that's my job -- to, um, follow up.

DIANE HUGHES: Oh, thanks. Well, yeah, the server's fine.

JAKE FOLEY: Good.

(JAKE turns to hit the elevator door button, but DIANE sees JAKE'S arm. She reaches out and grabs his hand.)

DIANE HUGHES: Who-whoa. So is your arm.

JAKE FOLEY: Yeah. Yeah. I-I-I've got one of those killer immune systems.

(Staring at him, DIANE'S not buying it.)

JAKE FOLEY: I got to go, uh, so I'll see you around. If you have any more problems with the server, just give us a call.

(The elevator door closes. DIANE slowly turns around and heads back to the lab. She shakes her head at that.)

(Cut to: DIANE walks down the hallway toward the lab. She reaches the door and shows her badge to the security pad. The security pad beeps. Nothing happens.)

(She takes a good look at the display and sees the access code: 49140 on it and the light is green. She looks around, then reaches for the door. It opens.)

(Puzzled, DIANE walks into the lab.)

CUT TO:

[INT. JAKE'S APARTMENT -- DAY]

(JAKE bolts the door. He pulls down the window shades, opens a bottle of beer and plugs the memory chip into his computer. He settles back in his chair, takes a sip of beer and waits for the information to come on screen.)

(It's doesn't take long.)

[SCREEN] It reads:

... American Century: A proposal Module ...

"... tests of Nano-Technology suggests 4.02 Nano-Assemblers Functional ... "

DISSOLVES TO NEW SCREEN:

[SCREEN] It reads:

"MACRO-VISION"

(Dissolves back to: JAKE.)

[SCREEN] It reads:

"ENHANCED HEARING"

(Dissolves back to: JAKE.)

[SCREEN] It reads:

"INCREASED STRENGTH"

(Dissolves back to: JAKE.)

(The he finds the schematic to the nano-technology microscopic computer cell itself. He stares at it and visualizes the nano-technology cell ...

(Quick CGI POV: The nano-technology cell is pulsating and floating. It moves toward an individual cell and attaches itself to the cell like a plug, then it completely penetrates the individual cell. Only there is one nano-technology cell for each individual cell. The camera pulls back to show millions of the silver cells.)

(The camera continues to pull back through the bone and muscle, then out through JAKE'S cut in his arm.)

(The camera pulls back on a single moment in the lab when the flash was shot and shattered, as glass from the flash hurled into the air, as JAKE put his arm up to protect his face from the flying glass.)

(The camera continues to pull back to show the single moment in the lab when the flask was hit by the gunfire and as DR. GAGE also was hit by the bullets.)

(End of Single Moment Frame Freeze. End of CGI POV. Resume to JAKE.)

(JAKE'S mind is so focused on that one moment, that he doesn't realize that he's squeezing the beer bottle in his hand.)

(The beer bottle explodes.)

JAKE: Oh!

(The glass from the beer bottle as well as the beer shatters in his grip. JAKE pushes back his chair a little too strongly from the desk and finds himself hurling backward through and across the room at a top speed headed straight backwards toward his bed.)

JAKE: Whoa!

(JAKE'S chair hits the bed and he falls backward on the edge, partially on the bed, partially on the floor ... and momentarily stunned by everything.)

(He exhales, then raises his head to look at the computer desk clear on the other side of the apartment. He turns and looks at the palm of his hand.)

CUT TO:

[INT. NSA - LAB -- DAY]

(Meanwhile, back at the lab, DIANE HUGHES is doing a little investigating of her own. She sits in front of her computer monitor going over the surveillance security tapes from the shooting in the lab the day before.)

(She plays the exact footage of the flask exploding and JAKE getting infected by the nano-technology.)

(On the monitor, she sees DR. GAGE get shot and fall down, but her attention is on the flask exploding and on JAKE.)

(She plays it a second time a little slower and with emphasis on JAKE.)

(She sees JAKE get infected with the nanites.)

DIANE HUGHES: Oh, my God.

(DIANE sighs.)

CUT TO:

[INT. JAKE'S APARTMENT -- DAY]

(JAKE is standing up in his apartment. He glances down at the desk chair still on it's side on the floor at the base of his bed. He steps out into the living room contemplating the possibilities.)

(He does the HULK pose and cursory growl. He looks up and sees the pipe running across the living room. He can't help it. He looks up, gages how high the pipe is and makes to jump up to reach it.)

[CUE SOUND: ENHANCED ABILITIES (electronic telemetry beeping sound)]

(He jumps up ... and promptly hits his head in the ceiling, damaging the plaster with the force of his jump.)

(JAKE lands back down on the floor on his feet, but falls lower as the plaster from the ceiling falls down on him.)

(JAKE brushes away the plaster dust, then tries it again.)

(He reaches up for the pipe, then lightly jumps up to grab ahold of it. With his grip firmly on the pipe, JAKE starts doing pull ups.)

(Finding this too easy, JAKE stops, then removes his left hand from the pipe. Hanging there by his right hand, JAKE starts doing one armed pull-ups.)

JAKE FOLEY: (amazed and thrilled) Whoo-hoo!

(Unfortunately, the stress is too much for the pipe and it breaks sending JAKE crashing to the floor.)

(The door unlocks and opens.)

DARIN METCALF: What is with these double locks?

(DARIN walks into the apartment. JAKE looks up at him from the floor and laughs.)

DARIN METCALF: Please tell me that there was some really rough sex going on here.

JAKE FOLEY: (excited) Darin, you are not going to believe ...

(His face falls as CASEY walks into the apartment behind DARIN.)

DARIN METCALF: You remember Casey.

JAKE FOLEY: Ah, Yeah. Hi.

CASEY: Hey. I never pictured spies living like really poor college students.

DARIN METCALF: Yeah, that's, uh ... that's exactly our cover.

JAKE FOLEY: Right.

DARIN METCALF: So ... Agent Foley ... don't you have an op to?

JAKE FOLEY: Right.

(JAKE heads out the door.)

DARIN METCALF: (to CASEY) Come on in, come on in. Let me show you our debriefing room.

(DARIN puts his arm around CASEY'S shoulders and faces her toward the bedroom.)

(JAKE puts on his jacket. DARIN glances back at JAKE, gives him a huge smile and a thumbs-up signal behind CASEY'S back.)

(JAKE walks out of the apartment, closing the door behind him.)

CUT TO:

[INT. NSA - LOUISE BECKETT'S OFFICE -- DAY]

(KYLE leans against LOU BECKETT'S desk. LOU moves around the desk.)

LOUISE BECKETT: You wanted to see me.

KYLE DUARTE: Eric Vaughn is in the country.

LOUISE BECKETT: What?

(He turns around to look at her.)

KYLE DUARTE: Probably the east coast. Most likely D.C.

LOUISE BECKETT: How do you know?

(LOU sits down.)

KYLE DUARTE: I called some former assets. I think he's here because he doesn't trust anybody else to pick up whatever he paid gage to steal.

LOUISE BECKETT: Gage failed. We got him before he managed to steal anything.

(The door opens. KYLE turns around to see DIANE HUGHES standing in the doorway.)

DIANE HUGHES: We got a problem.

CUT TO:

[INT. SARAH CARTER'S APARTMENT -- DAY]

(SARAH opens the door and finds JAKE standing outside in the hallway. Too excited, JAKE steps into the apartment.)

JAKE FOLEY: Sarah, look, I am so sorry for barging in like this, but I have got to talk to you.

SARAH CARTER: Jake. What is it?

JAKE FOLEY: This is going to sound insane, but there are these things and ...

PETER: (interrupting) You got to try this.

(JAKE freezes when he sees PETER walking out into the living room holding a wooden spoon.)

PETER: It's the guanciale, makes all the difference.

(He lets her taste the sauce from the spoon.)

SARAH CARTER: Peter, this is Jake. Jake, Peter.

PETER: Hi.

JAKE: Hi.

SARAH CARTER: So what were you saying?

JAKE FOLEY: Oh, uh... oh, it's nothing that can't wait, actually.

SARAH CARTER: Are you sure?

JAKE FOLEY: Yeah, yeah. It was nice to meet you.

PETER: Nice meeting you, Jack.

JAKE FOLEY: (correcting) Jake.

PETER: (ignores JAKE, to SARAH) I am so bad with names. Dinner's ready.

(He turns and heads back into the kitchen.)

JAKE FOLEY: Sorry.

(JAKE turns around and leaves the apartment. SARAH watches him go.)

[HALLWAY / ELEVATOR - CONTINUOUS -- NIGHT]

(The elevator bell rings and the doors open.)

(JAKE steps into the elevator and stops next to another man already there. He presses the elevator door button.)

JAKE FOLEY: Oh. Thanks.

ERIC VAUGHN: Not a problem. If there's one thing I'm good at doing, it's pushing buttons.

(JAKE doesn't say anything.)

ERIC VAUGHN: You didn't think that was very funny, did you?

JAKE FOLEY: Uh ... no, well, yeah, I did.

ERIC VAUGHN: No, you're just being polite. My humor doesn't translate here. Back in Ireland they'd be dying by now.

JAKE FOLEY: I know. Sure.

(The bell dings and the door opens. JAKE steps out of the elevator. ERIC VAUGHN follows him out.)

ERIC VAUGHN: Are you really, Jake?

(JAKE stops and turns around.)

JAKE FOLEY: I'm sorry, how'd you know my name?

ERIC VAUGHN: Let's just say I have an interest in you. Or rather what's inside of you. Don't worry, Jake. I wouldn't hurt you. But my associate might.

(ERIC VAUGHN nods at the man standing a the back of the room. He reaches out to grab JAKE.)

[CUE SOUND: ENHANCED ABILITIES]

(JAKE reacts and instinctively pushes ERIC VAUGHN away. VAUGHN goes flying up and back and straight into his associate. Both men go down.)

(Seeing his chance to get out, JAKE turns and runs out of the lobby.)

(He pushes the door open and runs into the sidewalk. He concrete is icy and he goes sliding into a pedestrian.)

(A black van pulls up along the curb. A couple of AGENTS burst out from the back of the van and grab JAKE from behind. JAKE struggles against the two.)

AGENT: Hey!

AGENT: Use a tazer!

(Someone uses a tazer on JAKE, then they both throw him into the back of the van. They climb in after and the van pulls away.)

FADE OUT.

(COMMERCIAL SET)

FADE IN.

[INT. NSA - LAB -- DAY]

(JACK is on his stomach on the table being x-rayed. In the observation booth, DIANE explains the results on the monitor to LOU BECKETT and KYLE DUARTE.)

KYLE DUARTE: We got to him just in time.

DIANE HUGHES: It's remarkable. You see how the nanites have positioned themselves along his central nervous system? What they're doing is establishing contact with the brain via electrical impulses, but eventually, that link will be seamless. I mean, whatever ... whatever he wants them to do, they'll do.

KYLE DUARTE: So this is what Vaughn's after, some kind of future soldier.

LOUISE BECKETT: Exactly. It began as a research program for DoD. It was intended for soldiers in combat to help repair damaged tissue.

DIANE HUGHES: But we realized pretty early on that when you're dealing with molecular-sized computers, the possibilities are endless. I mean, this guy can interface with technology. He's like a universal remote. And every one of his body functions is enhanced.

LOUISE BECKETT: Meaning what?

DIANE HUGHES: Meaning that ...

JAKE FOLEY: (shouting from the other room) I can hear everything!

(DIANE shrugs in JAKE'S direction.)

LOUISE BECKETT: We're just going to run a few more tests, Nr. Foley. We're going to have you out of here in no time.

(JAKE is on the table with his head turned toward them. LOU steps away from the room.)

CUT TO:

[INT. LAB - SHORT TIME LATER]

(DIANE HUGHES is checking JAKE'S pupil responses.)

JAKE FOLEY: Can I ask you something?

DIANE HUGHES: Yeah.

(DIANE puts the penlight away. She grabs a clipboard to write down the results.)

JAKE FOLEY: How are we going to get these things out of me?

(She stops writing to answer his question.)

DIANE HUGHES: Uh ... well ... the nanites are fully integrated into your system. They're ... they're part of you now. They're not something we can take out of you.

JAKE FOLEY: But I'm going to be fine, right? I mean, it's not like they're going to hurt me or anything ... (chuckles a bit, then stops) ... right?

DIANE HUGHES: There are side effects.

JAKE FOLEY: Like what?

(She sighs.)

DIANE HUGHES: Some of the lab mice experienced muscle spasms ... blindness ... partial or full paralysis. In rare cases, they rejected the nanites and the results... not good. But that doesn't mean that any of these things are going to happen to you, all right?

JAKE FOLEY: What is going to happen to me?

(Camera holds on DIANE. She sighs.)

DIANE HUGHES: Honestly, we just ... we don't know.

(Camera holds on JAKE. He sighs.)

CUT TO:

[INT. NSA - HOLDING CELL - SHORT TIME LATER]

(The door slams shut. JAKE is sitting on a chair in the middle of an empty room. He sighs.)

[CUE SOUND: ENHANCED ABILITIES]

KYLE DUARTE: (o.s.) So how long are you going to hold him?

LOUISE BECKETT: (o.s.) Mr. Foley is none of your concern, Kyle.

INTERCUT WITH:

(Somewhere inside the building, JAKE can hear LOU and KYLE'S conversation.)

KYLE DUARTE: Did you even give him a choice?

LOUISE BECKETT: Choice is a luxury. You know that. I have the agency's interests to consider.

KYLE DUARTE: Oh, the Agency's interests or your own?

(She stops and turns around to look at KYLE.)

LOUISE BECKETT: You're out of line. Look, it was an accident,

(Quick CGI POV of: From where LOU and KYLE are standing, the camera rises and moves rapidly backward through the ceiling vents, in through the ventilation system ...

LOUISE BECKETT: (o.s.) ... and I'm sorry about that, but I am not going to pass up this opportunity.

KYLE DUARTE: (o.s.) Opportunity?

( ... and down and out through the vents in JAKE'S holding cell. End of CGI POV. Resume to present.)

LOUISE BECKETT: Yes, we don't know how long this guy's going to live and we need to learn what we can while we can.

KYLE DUARTE: Unbelievable. Lou, this guy risks his life for us and in exchange, we're going to turn him into a lab rat?

(JAKE doesn't like the sound of that option.)

KYLE DUARTE: (o.s.) I hope it's worth it.

(JAKE stands up and looks for a way to get out of the room. He tries one of the doors and finds it locked. He pounds on it with his fists trying to find a weakness, but the door is sturdy and strong.)

(He looks around and heads for the other door. He tries that door, but it's also locked solid. He pushes against it trying to find a weakness. He pulls back and accesses his enhanced strength.)

[CUE SOUND: ENHANCED ABILITIES]

(He pushes his shoulder against the door. It doesn't budge.)

(Holding his shoulder, JAKE stops and thinks for a moment. Then he gets an idea.)

[DIFFERENT ANGLE]

(The camera slowly pulls upward and away from JAKE. The fire spray system comes into camera view, then refocuses on the spray.)

(JAKE searches his pockets for the match book. He tears off a single match, strikes it, then holds the flame up to the fire system.)

CUT TO:

[HALLWAY]

(Alarms blare all around him as JAKE runs down the hallway. He reaches the end of the hallway, turns the corner and runs down another hallway.)

(Finally, he joins up with other employees getting out of the building. JAKE slows down and simply goes with the employees.)

CUT TO:

[HOLDING CELL]

(The door opens. LOU BECKETT finds nothing but the empty chair in the center of the room. She looks around the room.)

(She turns and leaves.)

CUT TO:

[INT. TAXI CAB (MOVING) -- DAY]

(JAKE is taking a taxi cab to the airport.)

CAB DRIVER: You are a very brave man flying international, very brave. Between the security, the background checks ...

(JAKE'S cell phone rings. He answers it.)

CAB DRIVER: The metal detectors, the national guard standing there with their semi-automatic weapons ...

JAKE FOLEY: Hello?

INTERCUT WITH:

[INT. SARAH'S OFFICE]

SARAH CARTER: Jake?

JAKE FOLEY: Oh, Sarah.

SARAH CARTER: I need to talk to you.

JAKE FOLEY: Well ... now's not really the best time.

SARAH CARTER: Jake, please. I'm really scared and I have no one else to turn to.

(JAKE hangs up the phone.)

CUT TO:

[INT. DINER -- DAY]

(JAKE and SARAH sits in the booth in a diner.)

SARAH CARTER: You remember what I told you about the budget discrepancies at the DoD?

JAKE FOLEY: Yeah, yeah, unused funds or something?

SARAH CARTER: They weren't unused, Jake. They were diverted ... to the NSA.

JAKE FOLEY: What?

SARAH CARTER: Yeah. Nobody knows what it's for, and whoever does wants to make sure I don't find out.

JAKE FOLEY: Sarah ...

SARAH CARTER: No, wait. Maybe I'm being paranoid, but. Remember when you stopped by the other night? Ms. Neilmeyer in 3-C saw two weird guys in the lobby. The next morning, the place was completely trashed. I mean, did you see anything?

JAKE FOLEY: No. No. No. Uh, it was probably just a couple of guys ... kids ... pranks ... it was a prank.

SARAH CARTER: Look, maybe it sounds crazy, but I think I'm being followed.

[CUE SOUND: ENHANCED ABILITIES]

(Suddenly, JAKE can hear the men in the van parked across the street talking with each other.)

AGENT: We've got visual.

(JAKES looks outside and sees the UTILITIES WORKER up on the pole. He sees the white van parked across the street and the man inside.)

AGENT: Target is seated in the window, speaking to a caucasian woman.

(The man in the van gets up and walks outside.)

SARAH CARTER: ... It's like at any minute, someone's going to come for me.

JAKE FOLEY: Sarah, listen to me, I want you to get up, walk straight out of here and get in a cab.

SARAH CARTER: So you believe me?

JAKE FOLEY: Sarah, please. Go back to your office right now.

SARAH CARTER: You're right. Right. We never should've met here. What was I thinking?

(SARAH gets her jacket and bag and slips out of the booth. She hurries out of the diner.)

(After she leaves, JAKE gets up and heads out the back of the diner.)

CUT TO:

[EXT. BACK OF DINER - ALLEYWAY - DAY -- CONTINUOUS]

(JAKE exits the back of the diner and runs out into the alleyway. He turns and sees the white van head toward him. JAKE runs. He stops by a bike chained to the side. He yanks the bike and breaks the chains in the process.)

(He climbs up on the bike and starts pedaling for his life.)

CUT TO:

[EXT. SIDEWALK - DAY -- CONTINUOUS]

(SARAH rushes out of the diner, across the sidewalk and heads for the road where she hails a taxi cab.)

(She absently bumps into a man. The man turns around. It's ERIC VAUGHN.)

ERIC VAUGHN: Oh, I'm sorry. My fault. You all right?

SARAH CARTER: Yeah.

CUT TO:

[EXT. ROAD - DAY -- CONTINUOUS]

(Meanwhile, JAKE tears through the street on the stolen bike and manages to keep ahead of the speeding van. He rides through traffic and still the van keep sup with him.)

[CUE SOUNDS: ENHANCED ABILITIES]

(JAKE kicks it up a notch and uses his enhanced abilities to power up the bike. He starts weaving his way through traffic at a highly accelerated pace. He glances up and sees the red traffic light in front of him.)

[CUE SOUNDS: ENHANCED ABILITIES]

(He looks at the traffic light and it turns green. JAKE passes through the intersection with the right of way.)

[CUE SOUNDS: ENHANCED ABILITIES]

(As soon as he goes through the intersection, he changes the light back to red causing a major jam in the intersection between him and the white van following him.)

(The white van, #6301, stops.)

(JAKE continues to ride through putting more distance between him and the white van. The driver of the white van throws his hands up in frustration.)

(JAKE looks back and smiles in triumph. Unfortunately, when he turns back to look at the road in front of him, he sees too late, the pile of gravel in his way. He hits the pile and flies upward into the sky.)

(JAKE yells. He bike flies high above the construction, then lands on the other side. JAKE stops the bike. He turns around to look down the street. He can't see the white van any more.)

(JAKE is thrilled.)

(JAKE'S cell phone rings. He answers it.)

JAKE FOLEY: (panting with exertion) Sarah, you got to listen to me.

ERIC VAUGHN: No, Jake, you listen to me. Meet me at the Chemdyne Research Facility, midnight, or your friend is dead.

FADE OUT.

(COMMERCIAL SET)

FADE IN.

[EXT. CHEMDYNE RESEARCH FACILITY -- NIGHT]

(JAKE walks along the front of the CHEMDYNE RESEARCH FACILITY. His phone rings. He darts behind a tree to answer it.)

JAKE FOLEY: Hello.

INTERCUT WITH:

[INT. JAKE'S APARTMENT - NIGHT]

DARIN METCALF: Casey dumped me, man. She thought it was too dangerous dating a spy.

JAKE FOLEY: You're not a spy.

DARIN METCALF: Rub it in, man. Rub it in.

JAKE FOLEY: Darin, can we talk about this later?

DARIN METCALF: Uh, okay, whatever.

(While on the phone, the connection gets really bad and static-y.)

JAKE FOLEY: Hello? Darin ... Darin, I'm losing you, man.

KYLE DUARTE: (over phone) Hello, Jake. Chemdyne Research.

JAKE FOLEY: Kyle?

KYLE DUARTE: (over phone) Now, just what the hell do you think you're doing at a cryogenics facility?

(JAKE looks around, then finally looks up at the sky above.)

JAKE FOLEY: What? What? Are you tracking me?

(Cut to: [ORBIT] A satellite slowly moves across the camera frame. It beeps and hums with normal electrical telemetry sounds.)

INTERCUT WITH:

[INT. NSA - SIGNIT OPS - NIGHT]

KYLE DUARTE: That's right. I'm sorry, Jake. I need to bring you in.

JAKE FOLEY: Kyle, you can't. Please, he's got my friend.

KYLE DUARTE: Who has your friend?

JAKE FOLEY: That Irish guy, the one who was coming after me.

KYLE DUARTE: Jake, don't do anything. I'll have a team there in ten minutes.

JAKE FOLEY: No, no, no! Kyle, it's a trade. Me for her or she's dead. I got to go.

KYLE DUARTE: Wait, wait! Jake, now listen to me very carefully. (looking at the monitor) I'm tracking three figures inside the building. One of them is probably your friend.

JAKE FOLEY: How do I get in?

KYLE DUARTE: There's a stairwell on the side of the building leading to the roof. Now, that's your best chance of getting around Vaughn's men at the front entrance.

JAKE FOLEY: Okay, okay. Thanks.

(JAKE hangs up and puts his phone away.)

KYLE DUARTE: Jake? Jake!

(Cut off from JAKE, KYLE sighs.)

(Cut to: JAKE runs to the side of the building. He runs up the stairs that leads to the door. He tries the door and finds that it's locked.)

[CUE SOUNDS: ENHANCED ABILITIES]

(JAKE pulls slowly on the door handle and the metal door slowly bends outward. The frame breaks under the pressure and the door opens. JAKE walks into the facility.)

CUT TO:

[INT. CHEMDYNE RESEARCH FACILITY - NIGHT - CONTINUOUS]

(The exit door opens and JAKE peers into the room. He walks in and shuts the door behind him.)

(Cut to: JAKE walks slowly across the catwalk. He kneels down when a GUARD walks below. He's carrying SARAH and puts her down in the chair. She's bound and gagged and very much unconscious.)

(JAKE stands up and walks out of camera frame. Camera holds for a moment on SARAH.)

(Cut to: JAKE walks through the various large containers. Behind him, a shadow moves across the floor.)

GUARD: Hold it!

(JAKE turns around and looks up.)

[CUE SOUNDS: ENHANCED ABILITIES]

(JAKE jumps onto the second level catwalk above him. The GUARD fires and misses As JAKE runs out.)

(JAKE runs down through the floor as fast as he can. Behind him, the GUARD is following, running and firing intermittently. JAKE ducks here and there to avoid getting hit by the bullets.)

(JAKE runs and stops at the edge of the room where he comes to a very dark corridor. He glances behind him.)

[CUE SOUNDS: ENHANCED ABILITIES]

(JAKE'S eyes compensate for the dark and suddenly he can see in the dark corridor. JAKE starts running. He reaches the bottom of the corridor and keeps on running.)

(The GUARD reaches the doorway leading to the dark corridor. He starts to cautiously follow.)

(JAKE is running in the darkness.)

[CUE SOUNDS: ENHANCED ABILITIES]

(JAKE sees a low pipe running across the aisle. He ducks under the pipe and keeps going.)

JAKE FOLEY: uh-oh.

(The GUARD keeps running, but because he can't see the low pipe, he runs smack into it and falls on the floor unconscious, the gun firing off some bullets. JAKE smiles and keeps running.)

(Cut to: JAKE reaches the main area and slowly makes his way through the various pipes and tanks. When he reaches the clearing, he sees SARAH sitting bound and gagged in the chair just where she was put.)

(There's no sign of ERIC VAUGHN around.)

(JAKE walks up to SARAH to check on her.)

JAKE FOLEY: (softly) Sarah? Sarah? Sarah?

(Behind him, a gun cocks.)

(JAKE stops and slowly straightens up. Behind him some distance away holding a gun is ERIC VAUGHN.)

ERIC VAUGHN: Amazing. Millions of dollars in research and development and the best they can come up with is you.

(JAKE glances down at SARAH next to him.)

ERIC VAUGHN: She'll be fine. Just taking a little nap. Where you're going is far more restful.

(Behind ERIC VAUGHN, JAKE sees a sign on one of the large tanks: DANGER / PRESSURIZED LIQUID NITROGEN.)

JAKE FOLEY: What are you going to do, huh? Freeze me in liquid nitrogen?

ERIC VAUGHN: (laughs) No. First I'm going to put a bullet through your brain. Then I'm going to freeze you in liquid nitrogen.

[CUE SOUNDS: ENHANCED ABILITIES]

(In the control booth, the cryogenics system is turned on. The lights on the main switchboard start blinking and the machines in the main room start whirring.)

JAKE FOLEY: What's the point of that?

(The lights on the switchboard show that the machine components are building up pressure.)

ERIC VAUGHN: Unfortunately, Jake, you've reduced your worth to that of a carry- on case.

JAKE FOLEY: Wait, no, no. Listen. I can do some pretty amazing things, right?

(ERIC VAUGHN listens for a moment. The main switchboard shows the yellow pressure light in the Pressure Expansion Tank building up.)

JAKE FOLEY: (o.s.) Don't you think people would pay more money if they could see it for themselves?

(The yellow light turns red.)

(Cut back to: ERIC VAUGHN scoffs at JAKE.)

ERIC VAUGHN: What are you suggesting, Jake? A little bit of show and tell?

JAKE FOLEY: (getting agitated) Yeah, yeah. I could do some jumping and some cool strength stuff. I can bend some ... or-or I have great vision. I can see to, like, Texas. And I can do stuff you don't even know about.

(The machine boards on the main switchboard goes nuts as the pressure build to unbearable levels.)

JAKE FOLEY: (continues rambling) I can interface with computers, totally wireless.

ERIC VAUGHN: (mocks) And how do we suggest we demonstrate that?

[CUE SOUNDS: ENHANCED ABILITIES]

(JAKE stares at the large closed off pipe facing VAUGHN. The Cryoplant Turbin Control panel flashes a large: "WARNING APPROACHING CRITICAL" red sign on the monitor.)

(The large bolts holding the pipe sealed starts to jitter and shake.)

(Suddenly the alarm goes off.)

(VAUGHN looks around the plant finally realizing that the machines are turned on.)

(The pipe facing him bursts sending high levels of liquid nitrogen gas directly at VAUGHN, the force of which propels him back against the wall of machine components.)

(VAUGHN falls down to the ground. He glances down at his body and we hear the crackling of skin and flesh as he's being frozen alive. He glances up at JAKE, his face frozen with fear of his immediate death.)

(JAKE meets his glance and flinches when VAUGHN falls down to the floor dead.)

JAKE FOLEY: (quietly) Like that.

AGENT: (o.s.) Go, go, go! Go on!

(Footsteps of approaching AGENTS are heard in the room.)

(JAKE glances up and sees the group of AGENTS turning the corner, their guns up on their shoulders and flashlights in front of them.)

(JAKE turns around and leans down to check on SARAH who is still unconscious.)

JAKE FOLEY: Sarah? Sarah?

(He reaches up and unties her gag.)

(An AGENT reaches ERIC VAUGHN slumped on the floor and checks him for a pulse.)

AGENT: He's dead, sir.

(JAKE removes the gag and kneels down next to SARAH'S chair.)

JAKE FOLEY: Sarah, are you okay? Sarah?

(An AGENT removes the protective glass on his helmet and walks toward JAKE. He puts a hand on his shoulder. JAKE turns around to look up at him.)

AGENT: We'll take care of her. We've been ordered to bring you in.

(JAKE sighs.)

CUT TO:

[INT. NSA - LOU BECKETT'S OFFICE]

(LOUISE BECKETT, JAKE FOLEY and KYLE DUARTE walk into her office.)

LOUISE BECKETT: Can I offer you a glass of water, a cup of coffee?

(LOU stops by her desk and turns around to look at JAKE who had stopped near the door. KYLE walks into the room until he's next to LOU.)

JAKE FOLEY: Are you joking? I have millions of these little things running around in my body that might kill me at any moment. I have spent the last couple of days running for my life, getting shot at because of these little things that might kill me at any moment. So do I want a cup of coffee? No, I don't want a cup of coffee. You know what I want? I want my life back.

LOUISE BECKETT: I'm afraid we can't do that, Jake.

JAKE FOLEY: Yeah, yeah. Big surprise.

LOUISE BECKETT: What I can do is upgrade your security clearance, effective immediately.

(LOU sits on the edge of her desk. JAKE looks at her, surprised.)

JAKE FOLEY: Ye ... what?

LOUISE BECKETT: I've just been authorized to create a special ops team with you at its core.

(JAKE looks at KYLE who watches him carefully.)

JAKE FOLEY: Whoa, whoa. Hold on. Hold on. I didn't ask for any of this, okay?

LOUISE BECKETT: Yes, you did... twice.

(JAKE stops his complaining and realizes that she's right. KYLE watches JAKE.)

KYLE DUARTE: This is your big chance. Don't waste it.

(LOU has a smile on her face and turns from looking at KYLE, back to JAKE. JAKE also stops and considers the suggestion, a small smile forming on his face.)

(KYLE and LOU smile back at him, too.)

(JAKE let's out a small laugh.)

CUE SOUND: (PRELAP) DOORBELL

CUT TO:

[INT. SARAH'S APARTMENT -- DAY]

(SARAH opens the door. It's JAKE. He holds up a brand new cordless mouse.)

JAKE FOLEY: Hey, bought you a gift.

SARAH CARTER: (smiles) Oh, thank you.

(SARAH reaches out and takes the mouse. She turns around and goes back into the apartment. JAKE follows her inside.)

JAKE FOLEY: I guess you heard about what happened.

SARAH CARTER: Yeah.

JAKE FOLEY: Sarah, I am so sorry.

SARAH CARTER: Sorry? Why? It wasn't your fault. I was the one looking into the missing money.

[Cue song: "Where are you going?", Dave Matthews, Busted Stuff]

JAKE FOLEY: What?

SARAH CARTER: That's why they came for me. Obviously, I was getting too close to something the NSA doesn't want us to know about.

JAKE FOLEY: Sarah, maybe you should consider just leaving that alone.

SARAH CARTER: Look, I know you're trying to protect me and I appreciate it, but I can't let this go.

JAKE FOLEY: You know, you don't have to be a hero.

SARAH CARTER: Oh, I know. There are no heroes, Jake. Not anymore.

JAKE FOLEY: (quietly) Right. Right.

(After a moment ... )

JAKE FOLEY: Look, I just wanted you to know that ...

SARAH CARTER: Yeah?

JAKE FOLEY: Uh, that ... I'm here for you ... uh, in case you need me.

(SARAH takes a step forward and gives JAKE a hug.)

SARAH CARTER: You're the best.

(He hugs her back.)

LYRICS: Where are you going?

SARAH CARTER: Thank you.

LYRICS: Where do you go? / Are you looking for answers

(They break apart. JAKE gives SARAH a smile.)

JAKE FOLEY: um, okay.

(He turns around and heads out of the apartment.)

LYRICS: To questions under the stars? /

CUT TO:

[EXT. SIDEWALK - DAY]

(JAKE walks along the sidewalk. He comes to an intersection where the "don't walk" hand is red.)

(He looks up at the light.)

(It changes from "don't walk" red to "walk" white.)

(JAKE smiles.)

LYRICS: Well, if along the way you are grown weary / you can rest with me until a brighter day / when you're okay /

(JAKE crosses the intersection with the other pedestrians.)

LYRICS: I am no superman /

(The camera zooms back up rapidly from JAKE and backward between the buildings up to the sky.)

(The camera points down at the community below and backs up out from the city block, back up through the city, back up through the state, back up through the country, back up through the clouds.)

LYRICS: I have no answers for you /

(The satellite passes across the camera frame, the sounds of its telemetry beeping are heard. The camera stops and turns as we follow the satellite and watch it continue its orbit around the earth.)

LYRICS: I am no hero, ah, that's for sure /

FADE TO BLACK

LYRICS: but I do know one thing / is where you are is where I belong.

FADE OUT.

THE END

Courtesy of http://www.webphilia.com/~anthology/wnp.html

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BEGINNING/TITLE CREDITS

JAKE 2.0
1X01: THE TECH (PILOT)
ORIGINAL AIR DATE ON UPN: 09/10/2003
TRANSCRIBED FROM UPN

Starring
CHRISTOPHER GORHAM as Jake Foley

PHILIP ANTHONY-RODRIGUEZ as Kyle Duarte
MARINA BLACK as Sarah Carter
JUDITH SCOTT as Louise Beckett

MATTHEW CZUCHRY as Darin Metcalf
KEEGAN CONNOR TRACY as Diane Hughes

Created by: SILVIO HORTA

Guest Starring BOB CRYER

WAYNE WARD
DIEGO FUENTES

LUBOMIR MYKYTIVK LILETTE WIENS
ANDREW MARTIN
MARVIN ISHMAEL

Produced by: JEAN DESORMEAUX

Written by SILVIO HORTA
Directed by ROB LIEBERMAN

END CREDITS

Executive Producer: GINA MATTHEWS
Executive Producer: GRANT SCHARBO
Executive Producer: SILVIO HORTA

Matthew S. Scharbo Productions
Viacom Productions, a Paramount Company

Associate Producer: CRAIG YAHATA
Director of Photography: STEVE DANYLUK
Production Designer: PETER COSCO
Edited by: ALAN SHEFLAND, A.C.E.

Production Manager: BERNARD BOURRET
First Assistant Director: PATRICK TIDY
Second Assistant Director: CATHERINE LEW

Music by: ROBERT J. KRAL
Music Supervisor: RANDY GERSTON

Casting by: RONNIE YESKEL, C.S.A.
Canadian casting by: STEPHANIE GORIN

Co-Starring CHARLES SEMINERIO as (NSOC) Console Operator #1
ANDREA GRANT as (NSOC) Console Operator #2
COLM MAGNER as NSA Security Man
HO OYSTER CHOW as NSA Agent #1
DEVON BOSTICK as Young Kid
LAYTON MORRISON as Vaughn's Operative
DEBORAH TENNANT as Female Technician
DESMOND CAMPBELL as NSA Driver
TREVOR BLACKMAN as NSA Agent
EDIE INKSETTER as Nurse
JODIE DOWDALL as Hot Girl #2

Set Decorator: JOHN SUBOTICH
Costume Designer: ARTHUR ROWSELL
Costumer: IRA DRUMMOND
Make-up Artist: SHONAGH JABOUR
Hair Stylist: PAULA FLEET

Property Master: MARK HARMNA
Script Supervisor: THANA SPILLIOS
Production Coordinator: HEATHER ROSS
Production Accountant: KEVIN McEVEETY

Stunt Coordinator: KEN QUINN
Special Effects Supervisor: MARK RICE
Transportation Coordinator: EVAN SIEGEL
Construction Coordinator: HUMBERTO GARCIA

Production Sound Mixer: DOUG GANTON
Sound Supervisor: MARK FRIEDGEN
Music Editor: STAN JONES
Re-Recording Mixers: RICK ALEXANDER
Re-Recording Mixers: RICHARD ROGER, C.A.S.

Assistant Editor: DINO C.C. DeLORENZO
Visual Effects by: STARGATE DIGITAL
High Definition Post Production: MODERN VIDEOFILM, INC.
Film Laboratory: TOYBOX

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:09/30/2003~lky
http://www.webphilia.com/~anthology/wnp.html


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