|
JAKE 2.0
1X02: TRAINING DAY
ORIGINAL AIR DATE ON UPN: 09/17/2003
TRANSCRIBED FROM UPN
Written by: DAVID GREENWALT & GRANT SCHARBO Directed by: DAVID GREENWALT
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 in tact 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: Three weeks into the NSA Agent Training Program and Jake's time is running out. He has to prove himself and the viability of the entire nano- techology program, or face becoming a lab rat for the rest of his life.
JAKE 2.0
1X02: TRAINING DAY
COLD OPEN:
NARRATOR: Previously on Jake 2.0
[Scenes from 1X01: The Tech (Pilot)]
[INT. SIGNIT OPERATIONS]
(JAKE stands up from the workstation and grabs his badge to show it to the SUPERVISOR and to introduce himself.)
JAKE: I'm Jake Foley, tech support.
CUT TO:
[INT. BAR - NIGHT]
(Smiles, indicating JAKE'S ID badge.)
SARAH: I see you're still at the NSA.
CUT TO:
[INT. NSA - RESEARCH LAB]
(The SECURITY GUARDS step out, guns firing and hitting DR. GAGE. Glass explodes everywhere.)
CUT TO:
[SECURITY CAMERA VIEW]
(DIANE reviews the security tape of the shoot out and sees JAKE get infected with the nanites when the flask is shot.)
CUT BACK TO:
[INT. NSA - RESEARCH LAB]
DIANE: (v.o.) Oh, my God. We got a problem.
(After the shoot out, the SECURITY GUARD checks on JAKE, then turns away. JAKE looks down at his inner arm where contaminated broken glass from the flask has cut him. The silver-gray liquid moves into and under the cut in his skin.)
CUT TO:
[INT. RESEARCH LAB]
(DIANE shows LOU and KYLE the monitor with the x-ray showing JAKE'S spinal column. She points out the nanites on the monitor.)
DIANE: You see how the nanites have positioned themselves along his central nervous system.
CUT TO:
[INT. HALLWAY OUTSIDE RESEARCH LAB]
DIANE: (v.o.) This guy can interface with technology. He's like a universal remote, and every one of his body functions is enhanced.
(JAKE has his hand positioned above the security key pad.)
(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. End of CGI POV.)
[VARIOUS CLIPS]
* JAKE inside the CHEMDYNE RESEARCH FACILITY. He manipulates the Cryoplant Turbin Control and activates the Turbines. A red WARNING APPROACHING CRITICAL sign flashes on the monitor.
* The pipe bursts and the liquid nitrogen hits ERIC VAUGHN full force in the chest, propelling him backward into the control panel.
* ERIC VAUGHN has his gun on JAKE who jumps up to the second level of the plant's main floor.
CUT TO:
[INT. NSA - DEPUTY DIRECTOR LOUISE BECKETT'S OFFICE]
LOU: (to JAKE) I've just been authorized to create a special ops team with you at its core.
(Realizing that this is his opportunity ... JAKE smiles.)
FADE TO: END OF PREVIOUSLY ON
FADE IN.
[EXT. (STOCK) -- DAY]
(Camera opens on a scenic view of the Capitol with clear blue skies around. Birds are chirping. It's a beautiful day.)
(Camera pulls back to show a rooftop door.)
(Suddenly, the door bursts open. JAKE runs out and onto the roof. He glances behind him. He's wearing a brown suede jacket and carrying a black pouch around his shoulder.)
(He's running as fast as he can across the roof.)
(Camera zooms to a man in the background carrying a really big gun that's held over the shoulder.)
[SLOW MOTION CAMERA]
(JAKE turns around and sees the MAN with the really big missile-launcher-type gun standing on the rooftop of the next building with a clear shot at JAKE.)
(He puts the gun in position and fires. The missile is aimed directly at JAKE. JAKE doesn't waste any time. He turns and tries to out run it.)
(In regular motion, the missile is headed directly toward JAKE.)
(In slow motion, JAKE continues to run. He steps up on the large cement block on the roof just as the missile hits the cement block sending JAKE flying upward and out uncontrollably through the air.)
[RESUME MOTION]
(With his arms outstretched, JAKE goes with the flow and lands on the next rooftop as if it were a jump. He scrambles up on the roof and continues running.)
CUT TO:
[INT. WAREHOUSE - CONTINUOUS]
(Camera opens on the door leading from the roof into the warehouse. The door opens. JAKE walks into the warehouse, gun in his hand. He puts his back to the wall against the door and looks around. He's on the second floor catwalk of the warehouse.)
(He knows he's not alone. He looks around below and sees someone move in the shadows.)
(JAKE runs out. The man in the shadows turns and fires. JAKE jumps over the catwalk railing to the first floor below. He fires several shots.)
(JAKE lets go of the railing and is in mid-air when he fires again.)
(The man in the shadows goes down. JAKE'S feet touches the ground. JAKE turns and checks out the place. He doesn't see anyone, but he's still wary.)
(JAKE heads out across the warehouse floor. As he walks, he does a complete 180.)
(JAKE pauses, then stops completely.)
[CUE SOUND: ENHANCED ABILITIES]
(JAKE turns his head and listens closely.)
(The camera moves from JAKE'S ear over to a second pair of lungs panting almost as heavily as he is. The camera moves across the warehouse, between the tanks, then behind a tank to show the person hiding there.)
(JAKE hears him.)
(Finally, the MAN behind the tank moves. JAKE'S already seen him. He fires.)
(The man goes down.)
(JAKE turns around and slowly continues forward. He looks up in the darkened catwalk. His eyes turn silver to compensate for the darkness and he can suddenly see the man slowly crossing the wooden catwalk.)
(JAKE steps forward and fires.)
(The Man on the catwalk falls.)
(JAKE smiles, pleased.)
(Behind him, a man with a gun steps out.)
THUG: Drop your weapon and hand over the pouch.
(A Second MAN behind the first man also steps out. He has his gun on JAKE also.)
(JAKE pauses a moment, then decides to go for it. He turns around, falls down to one knee and starts firing at the two men. He shoots and shoots and shoots ... then realizes that nothing's happening. The two men in front of him are still standing and firing their weapons at him.)
(JAKE looks at his gun.)
JAKE: What?! No, no, no.
(He takes out the cartridge and realizes that it's empty. JAKE stands up. He's failed.)
JAKE: Oh, man.
(The entire environment around JAKE changes from the warehouse environment back into the training, simulation room.)
KYLE: (o.s.) You're not listening. You've failed the simulator again.
(KYLE walks out of the booth and across the floor toward JAKE.)
KYLE: I keep telling you, always count your shots, Jake. Twelve in the mag, one in the pipe.
JAKE: I know, it's just ... All right, look, I messed up, okay? (but he's still excited about some part of the training) But did you see that jump? I mean, come on. It ...
KYLE: (with hands on his hips) Yeah, yeah. I did; it was impressive, but in the real world, you're dead.
(JAKE doesn't say anything. KYLE holds out his hand for JAKE'S weapon. JAKE hands it to him along with the empty cartridge, a sad, disappointed look on his face.)
(JAKE sighs.)
CUT TO:
[INT. NSA -- LAB]
(Open on the monitor. JAKE is on the treadmill running with a headset on. The camera slowly pans over to show that JAKE is in the lab running on the treadmill just as on the monitors. Outside in the hallway is LOU with two other men, one in a suit and the other in military garb. They're having an indistinct conversation.)
(LOU leaves the men and walks back into the lab area. KYLE opens the door for her and she walks inside to join them.)
KYLE: What do they want?
LOU: (to DIANE) We've got a guy with a half billion dollars' worth of nanotechnology inside of him. They want results.
(DIANE moves from the back of the room to where she can show them the monitors.)
DIANE: Oh, we're getting results, honestly. Just look at what he can do. Here.
(She presses a key on the keyboard, the picks up a palm-pilot sized hand device.)
DIANE: Okay, see this? It's what I use to monitor Jake and track his vitals and stuff like that. Okay, so ... look here.
(DIANE turns the small monitor on and shows JAKE in the simulator training room jumping over the wooden catwalk railing and firing his gun.)
DIANE: His breathing is normal for this level of exertion. His heart rate's 103. Now, here ...
(DIANE changes to another scene of JAKE running on the rooftops.)
DIANE: (laughs): This is when he sees the rocket grenade thing -- whatever you call it -- and his adrenals are up 300% instantly. That is the nanites triggering his adrenal glands. I mean, Jake's muscles are not any different than yours or mine, but you hit him with this much adrenaline, and, I mean, their performance just increases tenfold, and the same for his sight and hearing. I mean, the nanites simply enhance all of his existing functions. It's technology at its best. It's ... it's beautiful.
LOU: It's unpredictable.
(DIANE turns and sighs.)
LOU: Diane, he was dropped to his knees by one of our metal detectors.
DIANE: Yeah, I'm, uh ... I'm working on that, but you have to understand that the nanites are molecular computers, which makes him susceptible to the same kinds of things as, well, your average desktop -- I mean, electromagnetic waves, and power surges, and viruses ... the hacking ...
(DIANE turns from watching JAKE on the monitors and sees LOU looking at her.)
DIANE: ... -- well, technically -- I mean, the chances of that, I think, are really low, and-and I don't even know how an outsider would even know that ...
LOU: Okay, okay. Kyle?
KYLE: Yeah, he's strong; he's fast ... but I'm concerned about his instincts. He has yet to beat the simulator room, and he can barely bring himself to hit someone. I'm afraid that if we put him in the field, he'll be a danger to himself and any other agent he's with.
(KYLE turns to look at JAKE on the treadmill. As if sensing that they're talking about him, JAKE turns to look at them.)
DIANE: No, no, no. All he needs is more time.
LOU: He's had three weeks. They're giving us one more.
DIANE: What?
LOU: Diane, they want to see a demonstration. If we can't prove Jake's a viable use for this technology, they're going to shut us down.
(JAKE turns to look at them. Maybe, he can hear them.)
DIANE: You're going to shut down my program? This is years' worth of research.
LOU: Well, they would continue to study him in a controlled environment.
DIANE: (shocked) What-- they're going to lock him up in a room like a lab rat? Wh ... he's a human being. They-they... they can't do that.
(In the background, through the glass walls, we see JAKE speeding up on the treadmill.)
LOU: Oh, they can, and they will.
(Suddenly, JAKE grunts in pain and stops running. He flies backward hitting the back wall.)
DIANE: Oh, yeah, we're still having some trouble with the cramping, and...
(DIANE sighs.)
FADE TO END OF TEASER
ROLL TITLE CREDITS
INTRODUCTION: That's me. Jake Foley, I'm in Tech Support. Security Clearance: Low. Very low. Then one day, it all changed. Now, I can do things I've never dreamed of. I've been upgraded. I have these powers. Life just got real interesting.
(COMMERCIAL SET)
FADE IN.
[SPACE - ORBIT]
(A satellite floats by across camera frame.)
[EXT. TUNISIA - DIRT ROAD]
LEGEND: TUNISIA
(From above, camera lingers on a vehicle driving across the dirt road as it heads toward the compound. Up on the hill, the shadows of various soldiers run across the camera as it watches the truck.)
(The soldiers go into position, flat on their bellies on the top of the hill, their guns in their hands, their elbows resting on the dirt ground trained on the compound below.)
AGENT NICHOLAS WRIGHT: "Sandstorm" in position.
INTERCUT WITH:
[INT. NSA - SIGNIT OPERATIONS]
(LOU is on the headset monitoring the situation.)
LOU: Copy that, Sandstorm. Look, we're still not able to get a read on that inside heat signature. Please stand by.
AGENT NICHOLAS WRIGHT: Standing by.
(KYLE and JAKE stand on the side watching.)
JAKE: What's going on?
KYLE: It's Al Juhuara -- a terrorist cell in Tunisia. They've gotten their hands on one of our EMPs.
(One of the technicians inside the room has the schematic of the case carrying the EMP on the monitor.)
JAKE: Electromagnetic pulse bomb?
KYLE: That's right. We're going to get it back.
AGENT NICHOLAS WRIGHT: We only got a half an hour of darkness left, and coming home empty-handed is not an option. Request permission to proceed.
LOU: Well, that's not how I'd like to go in, but it is your call, Sandstorm.
AGENT NICHOLAS WRIGHT: Don't worry yourself, Chief.
LOU: No worries here ... and just a reminder, you are authorized for flash and bang only.
AGENT NICHOLAS WRIGHT: (from comm) Copy that.
JAKE: Percussive grenades?
KYLE: Yeah. They want to stun the guards before storming the compound.
JAKE: Oh, that's a good idea.
AGENT NICHOLAS WRIGHT: Okay, boys, let's go wake 'em up.
(The soldiers at the top of the hill get up and move in on the compound below.)
(Back at SIGNIT OPERATIONS, the night strike is on the monitor.)
(Several intercuts between the soldiers in Tunisia and the monitor showing the soldiers converging on the compound. There's a lot of movement sounds and gunfire.)
(Suddenly everything goes hazy. There's no movement on the monitor and all sounds over the comm have gone fuzzy. After a moment, LOU tries to re-establish contact.)
LOU: Come in, Sandstorm.
(The workers in the main room stop and turn around to see what's happening on the monitors. LOU leans forward, closer to the monitor.)
LOU: Sandstorm, come in. Sandstorm, do you copy?
AGENT NICHOLAS WRIGHT: (radio crackling) Yeah, I copy. Sorry. Looks like I got a little sand in my radio.
(Back in TUNISIA, WRIGHT walks out of the tent carrying the EMP metal case.)
LOU: Well, I'll tell you what. You bring it home, and I'll clean it myself.
AGENT NICHOLAS WRIGHT: I'll take you up on that, chief. We got the target in good hands. Request permission to head home.
LOU: Good work.
(LOU turns and walks away from the main monitor.)
JAKE: (awed) How unbelievable.
KYLE: (quietly) Well, that's what real agents do.
(KYLE turns and walks away leaving JAKE standing there watching the monitors. JAKE sighs.)
CUT TO:
[EXT. LUIGI'S DINER - NIGHT]
[INT. JAKE'S NEW APARTMENT -- NIGHT]
(JAKE is lightly pounding a nail into the wall. He gives it a nice couple of soft taps to get the nail through the drywall.)
JAKE: (poor imitation of Kyle) "That's what real agents do, Jake. In the real world, you'd be dead, Jake."
(Then JAKE hits the nail in and manages to put the hammer completely through the drywall, damaging the wall.)
(Frustrated at basically everything, JAKE sighs and leans his forehead against the wall. Poor thing. Just a couple of feet away from the hammer hole in the wall, is another hammer hole in the wall.)
(The phone rings. JAKE straightens and turns to answer it. Unfortunately, everything in his NEW apartment is still in boxes and he has yet to even find the phone.)
(As the phone rings, JAKE walks over to the wastebasket/ bucket/ bin on the stack of boxes nearest to the television set with the extremely bad reception and starts digging through it to find the phone.)
(He picks it up and answers it.)
JAKE: Oh. Hello?
INTERCUT WITH:
[INT. SARAH'S APARTMENT]
SARAH: Okay, I know you're going to think I'm a total idiot, but where is my "C:" Drive?
JAKE: Uh, it's in your computer.
SARAH: No. It isn't showing up.
JAKE: Uh, oh-oh, um, hit control function 8 all at the same time.
SARAH: There it is. Jake, you're amazing.
JAKE: I try.
SARAH: I miss seeing you.
JAKE: You do?
SARAH: Yeah. Can I take you to lunch? I'd love to catch up.
(JAKE laughs lightly.)
JAKE: Um, okay.
(There's a knock at JAKE'S door.)
SARAH: Are you free tomorrow?
JAKE: Yeah.
(JAKE heads to the door to answer it.)
SARAH: How 'bout, um, 1:00 at Mick's?
JAKE: Yeah, okay, sure. That sounds fine.
(He glances through the peep hole.)
JAKE: All right, uh, I'll see you then. Bye.
(He opens the door to find DIANE standing there.)
JAKE: Hey.
DIANE: Hi. Uh ... I didn't mean to interrupt. I-I just was on my way home, uh ... sort of. I actually live on the other side of the hill, but, uh ... I picked this up on the weekend. (She holds up the house-warming gift.) It's a desk lamp.
(He takes it from her and looks at it.)
JAKE: That's ... really nice. Thanks.
DIANE: Welcome.
JAKE: Do you want to come inside?
DIANE: Yeah.
(DIANE walks into the apartment. JAKE closes the door.)
JAKE: This is going to look great ... well, when I have a desk.
(She laughs a little as he puts the desk lamp off to the side on the box. DIANE looks around the apartment.)
JAKE: Can I get you something to drink?
DIANE: Uh, yeah, just water is fine.
JAKE: Okay.
(He stops and turns around, then realizes that he's missing something.)
JAKE: I haven't unpacked my glasses yet. I've kind of been drinking out of the faucet.
DIANE: Oh, I'm good then.
(She laughs and brushes it aside, but JAKE decides otherwise.)
JAKE: You know what? I'm going to find you one. Hold on.
(JAKE heads over to the stack of boxes on the other side of the room to search for drinking glasses. DIANE looks around the place and notices the four hammer holes in both walls.
DIANE: Guess you can probably kiss the security deposit good-bye, huh?
JAKE: Yeah, I don't really know my own strength anymore.
DIANE: Well, you'll get used to it.
JAKE: Yeah, I was thinking that, but, you know, this whole thing's really weird, 'cause-'cause I come home from work one day, and all my stuff's packed up in boxes, and my roommate's been transferred out of the country, and then I'm forced to come live here, 'cause it's supposedly a more secure location above Luigi's Deli.
(He takes a whiff of air.)
JAKE: You smell that? (she shrugs) I do. Twenty-four hours a day.
(JAKE checks another box.)
DIANE: Well, all things considered, I think that you're handling things pretty well, um ...
(JAKE stops. He sighs.)
JAKE: Diane, you don't have to say that. I saw the way you guys were looking at me today, and it's pretty clear that, uh, even if I wanted to be an agent my entire life, I may just not be cut out for it.
DIANE: (seriously) Jake ... do you know what happens if you don't make it?
JAKE: What?
(They stare at each other.)
DIANE: (rambles) I don't get my Nobel Prize, and I really want my Nobel Prize, you know-- I-I want the-the fame, and I want the money, and I really want the medal ... (JAKE smiles.) ... So this whole "I don't think I can make it" thing -- I think you better lose it, or I'm going to have to kick your nanobot butt, okay?
(JAKE laughs at the thought. DIANE clears her throat and looks at the television set with the really bad reception.)
DIANE: What's the deal with the tv?
JAKE: Oh, yeah, the tv. Well, uh, the cable guy was supposed to come by -- twice-- but, uh, you know how that goes.
DIANE: You know that you could just ... (she motions with her hands) ... fix it yourself.
(No, he hadn't thought about that. JAKE looks from the tv to DIANE.)
JAKE: Wouldn't that be illegal?
DIANE: Uh, shouldn't it be illegal for the cable guy to make you wait around all day and not show up?
JAKE: Good point.
(DIANE glances expectantly from JAKE to the tv.)
(JAKE stares at the machine, concentrating on fixing it.)
[CUE SOUND: ELECTRONIC BEEPING]
(Camera moves in slowly toward the cable box on channel 69.)
(Quick CGI POV: Camera zooms in through the cable box, through the wiring and down to the mother board. End of CGI POV. Resume back to JAKE.)
(JAKE concentrates on fixing the television set and soon the reception clears. JAKE laughs at the accomplishment.)
DIANE: There you go.
(JAKE turns and looks at DIANE.)
JAKE: You want to stick around for a while, watch some tv?
DIANE: (smiles) Yeah. Yeah.
SHORT TIME CUT TO:
(With the lights turned down, JAKE and DIANE watch t.v.)
[EXT. WASHINGTON MONUMENT (STOCK) - DAY]
[EXT. NSA - SEAL (STOCK) - DAY]
[INT. NSA -- DAY]
(KYLE puts his right hand on the security pad. It scans his palm and runs it through the database. The security pad beeps and the door opens. KYLE and JAKE walk inside.)
JAKE: So is, is this the place where you tell me my mission, should I choose to accept it?
(JAKE smiles; KYLE takes a deep breath.)
KYLE: Right.
(KYLE pushes the buttons on a security pad for another door.)
VOICE: Armory access open.
(The door to the vault opens. KYLE walks in while JAKE is simply taken by it all.)
JAKE: (under his breath) Cool. Wow.
(JAKE rushes into the armory to follow KYLE.)
[INT. ARMORY - CONTINUOUS]
(KYLE walks up to the wall and presses the buttons on yet another security pad.)
JAKE: Ah, this is where we get our side arms.
(The door opens.)
KYLE: It's where I get mine.
JAKE: Right.
(KYLE reaches into the compartment and takes out his sidearm. He checks the cartridge, then puts the gun in his holster.)
JAKE: Well, I guess as long as we're together, then, uh, I'm covered.
(KYLE walks past JAKE and out the door. He follows KYLE down the hallway until KYLE puts out an arm to stop him. They stop in front of a large vault that's being filled with heavy-duty containers.)
VOICE: Vault Access Open.
(The security guards move the containers from the cart to the vault.)
JAKE: What's in there?
KYLE: It's the most secure vault in the building: Three feet of lead and steel, impenetrable to any and all types of blasts.
(The cart is driven away and the security guard closes the vault door. As JAKE passes, he gets a good look at the vault.)
JAKE: Cool.
CUT TO:
[HALLWAY - CONTINUOUS]
(JAKES starts rambling to KYLE as they head toward the main room.)
JAKE: I just can't get over that Agent Wright. I mean, the guy is awesome. Hey, you ever think they'll ever send me to Tunisia or someplace like Tunisia, someplace exotic?
KYLE: (stops and turns to look at JAKE) Jake, this is the NSA. We're the largest and most powerful intelligence agency in the world. There are 46,000 people working here, all charged with the awesome responsibility of keeping this nation safe. Not one of them, including myself, is concerned with whether or not you'll be sent someplace "exotic".
(KYLE turns and walks away leaving JAKE standing there.)
JAKE: Right ... no, of course.
(JAKE sighs, then moves to catch up with KYLE.)
CUT TO:
[EXT. - DAY]
(KYLE and JAKE stand at the base of the steps of a building. JAKE looks around the area while KYLE continues up the steps. JAKE rushes to catch up with KYLE.)
JAKE: Hey, so, Kyle, what are we doing here? Is something going down, or ...
KYLE: Look around, Jake. Tell me what you see.
JAKE: (looks around) Okay, uh ... I see, uh, mom pushing a baby in her stroller ... some ... businessmen, probably on lunch break. There's, uh, woman jogging-- she's kind of hot. Not that it matters. Does it? I don't know.
KYLE: Let me tell you what I see. Six people on cell phones. Any of them could be ordering a hit. Three backpacks and a baby carriage, each large enough to hold enough C-4 to level a city block.
JAKE: Right.
KYLE: Now, as to the reason we're here. The NSA intercepted a phone call. An unidentified state department official is attempting to sell some information. That exchange is going down here. We have two agents covering the north end. You and I will cover the south.
JAKE: Okay.
KYLE: (seriously) Jake, this may be our only chance at this guy. You understand?
JAKE: Yeah, yes, yes, yes, sir. Absolutely, I'm ready.
KYLE: Good.
(KYLE moves down the step.)
JAKE: Let's go. Let's do this.
CUT TO:
[PARK]
(JAKE stands in the walkway looking around the park area for the person they're looking for. He sees a woman walk across the grass toward the park bench. She sits down.)
(He looks around. He sees a boy riding a skateboard and sees a man walking and smoking a cigarette. At the other end of the path, he sees KYLE also looking around.)
(JAKE turns around and sees the woman get up from the park bench. She starts walking back across the grass. Her bag is left on the park bench. JAKE takes a couple of steps toward the bench, then stops when the woman turns around to get her bag.)
(JAKE continues to look around. He sees the man with the cigarette walk up to another man. It seems awfully suspicious. JAKE whistles to signal KYLE, but KYLE is too far away.)
(JAKE keeps his eyes on the two men.)
(Then something else catches his eyes. Across the way, the hot dog vendor hands a man an envelope.)
HOT DOG VENDOR: Oh, let's do this. Yeah. Take him.
MAN: So this is everything?
HOT DOG VENDOR: It's all there. Nobody can know about this.
MAN: Of course not.
(The man pockets the envelope, then turns away from the vendor. JAKE sees the man leave and he calls out to KYLE.)
JAKE: Kyle.
(The MAN with the envelope is walking around the fountain.)
JAKE: (shouts) Kyle!
(JAKE has his eyes on the man at the far end of the fountain almost near the end of the park. He doesn't see the man on the skates rollerblade around the fountain, head toward him, and hand a large yellow envelope to the WOMAN with the large black bag. She takes the envelope and puts it in her bag as the rollerblader skates by in front of JAKE.)
(JAKE still has his eyes on the MAN at the far end of the fountain. He starts to run toward the MAN.)
JAKE: Kyle ... Kyle!
(KYLE turns around when he hears his name. Now, JAKE is running to intercept the man.)
JAKE: Kyle, I got him! Everybody down! Federal agent!
(Now, various people in the park are turning around to look at JAKE. KYLE turns around. He sees JAKE run and tackle the man, pushing him to the ground. KYLE starts to run toward them.)
MAN: Hey stop!
(JAKE now has a firm hold on the man.)
JAKE: Hand it over!
MAN: What?
JAKE: I'm with the NSA, pal. I saw everything.
(KYLE reaches JAKE.)
KYLE: Jake, what are you doing?
JAKE: I got him Kyle. I got him.
KYLE: Jake, he's not even one of ours.
(JAKE turns around to look down at the man.)
JAKE: One of ours?
SHORT TIME CUT TO:
[PARK - DAY]
(The agents try to explain the situation to the MAN JAKE tackled.)
AGENT: We're running a training operation, sir. It's a case of a mistaken identity.
MAN: Mistaken identity. You're going to hear from my lawyers.
AGENT: We apologize.
MAN: That's what you're going to hear from.
(In the back, KYLE paces the walkway while JAKE stands there in the hot sun with his jacket off.)
KYLE: That's great. That's great. You've managed to catch a hot dog vendor paying off his bookie.
JAKE: Well, it sounded like a drop, okay?
KYLE: Jake, think. Now would a real drop sound like one? Huh? Would it be that obvious?
JAKE: Maybe, I don't know. What do you want from me?
KYLE: I want you to step up. Okay? Dig deeper. Jake, I want you to learn to look beyond the obvious.
(KYLE turns and walks away. Disappointed with himself, JAKE doesn't follow.)
CUT TO:
[EXT. SKY - AIRPLANE (MOVING) - DAY]
AGENT NICHOLAS WRIGHT: (v.o.) SandOps. This is Sandstorm. We're headed home with the device.
WOMAN'S VOICE: (v.o.) (over radio) Copy that.
CUT TO:
[INT. AIRPLANE (MOVING) - DAY]
(Camera opens on the metal briefcase on the seat handcuffed to AGENT WRIGHT. The steward at the back of the cabin offers a drink to the agent sitting down. The agent takes the drink.)
STEWARD: There you go, sir.
(The steward turns and heads for AGENT WRIGHT.)
STEWARD: Agent Wright, would you care for anything else before we land?
AGENT NICHOLAS WRIGHT: No, thank you.
(The STEWARD accidentally drops the tray he's carrying. AGENT WRIGHT moves aside as the STEWARD leans forward to get the tray.)
STEWARD: So sorry about that.
(Instead, the STEWARD reaches into AGENT WRIGHT'S holster and removes his gun. Without hesitation, the STEWARD shoots AGENT WRIGHT, then turns around to kill the other AGENTS in the cabin.)
(He steps out of the cabin to grab a knife. He turns and heads back to AGENT WRIGHT.)
(He grabs AGENT WRIGHT'S right hand, puts it down on the arm rest and bring down the knife in a violent chopping motion.)
HARD CUT TO BLACK.
(COMMERCIAL SET)
FADE IN.
[NSA BUILDING SEAL (STOCK)]
[NSA LOBBY SEAL (STOCK)]
[INT. NSA -- RESEARCH LAB -- DAY]
(JAKE has monitor nodes attacked up his spinal cord on his back to connect and to monitor his progress on the machines. He's also pacing the floor, shirtless, and sweaty from a workout. He's very agitated. DIANE is at the counter behind and writing down notes.)
JAKE: All right, let's go again.
DIANE: You're pretty stressed. I figure we should just take a break.
JAKE: No, I'm fine. Let's go again.
(JAKE goes back to stand in front of a CD player. DIANE picks up her stop watch and starts it.)
DIANE: Go.
(JAKE starts. He stares at the CD player.)
[CUE SOUND: ELECTRONIC BEEPING for his enhance abilities]
(Camera zooms into JAKE'S eyes.)
(Quick CGI POV of: Camera zooms in through JAKE'S eyes, through his blood vessels and to the nanites. The nanites activate and zap his nerve endings.)
(Cut to: The CD player. Quick CGI POV through the electronics in the CD player. End of CGI POV.)
(The CD player activates.)
(JAKE moves to the next item. It's a locked safe.)
[CUE SOUND: ELECTRONIC BEEPING for his enhance abilities]
(He stares at the safe. Quick CGI through the security key pad on the safe door. Cut back to the safe door which reads: -OPENED--)
(The safe door opens. Jake moves to the next item. It's a computer monitor.)
[CUE SOUND: ELECTRONIC BEEPING for his enhance abilities]
(Jake stares at the monitor that shows: PASSWORD ACCESS.)
(Camera zooms in to JAKE'S eyes.)
JAKE: (impatiently) Come on. Come on.
(The code on the monitor moves rapidly across the screen. DIANE steps up toward JAKE, the palm pilot in her hand. She seems concerned by what she's reading.)
DIANE: (quietly) Okay, just breathe. Just take it easy.
JAKE: Come on.
(The code on the monitor continues to move rapidly across the screen. Suddenly it all stops: USER DISCONNECTED.)
JAKE: (frustrated) No, damn it!
DIANE: All right, you know, that's it. That's enough.
JAKE: Why does it keep doing that?!
DIANE: Because interfacing wirelessly, especially when the nanites are operating at this many computations per second, it's very taxing. They have to shut themselves down to keep from overloading.
(DIANE moves to the CD player and shuts it off.)
JAKE: Why don't you increase the threshold?
DIANE: Can't do that.
JAKE: What do you mean you can't?
DIANE: It's new technology.
JAKE: Diane, I need help.
(DIANE turns to look at JAKE.)
DIANE: I don't know how. This was Dr. Gage's project, and I came in early on as his post-doc but I just ... I don't know it like he does, and I can't ask him because he's kind of dead so I'm the best that you got, and I'm telling you, Jake, I am doing everything that I can to help you, but you just, you can't rely on me to make this happen, and you can't rely on the nanites.
JAKE: Hey now, you don't understand. I am messing up out there, and the only reason I'm still here is 'cause of the nanites.
(DIANE stares at JAKE.)
DIANE: You know what? You're an idiot.
(DIANE moves around JAKE and starts to pull off the nodes from his back.)
JAKE: Ow!
(Upset, she moves to the counter and starts putting her things in her jacket pockets.)
JAKE: What, so are we done?
DIANE: I guess we are.
(KYLE pops into the lab room.)
KYLE: You guys done here?
>JAKE/DIANE: Yes.
(DIANE steps up to JAKE and pulls off the remaining node tapes from his back.)
JAKE: Ow! Damn.
(She leaves the room.)
KYLE: We've got something.
(JAKE turns and leaves to get dressed.)
CUT TO:
[INT. NSA - HALLWAY]
(KYLE walks through the hallway carrying a file folder, JAKE rushes to keep up with him.)
JAKE: Are we going somewhere cause I kind of have something.
KYLE: At 1:00. Lunch with Sarah Carter. I'll drive.
JAKE: What do you know about Sarah?
KYLE: She attended Georgetown University, graduated in 1999 with you. Currently the legislative director for Senator Thompson. You have a thing for her. She trusts you. That works in our favor.
JAKE: What?
KYLE: Your friend's been investigating DoD funds that were diverted to us for the nanotechnology project. That's highly classified. Your objective is to stop her investigation.
(KYLE holds out the file folder.)
JAKE: What's this?
KYLE: Your cover.
JAKE: My cover.
(JAKE reads the file.)
JAKE: You want me to lie to my friend?
KYLE: I'll be listening.
(KYLE hands JAKE a comm. device, then turns and leaves. JAKE looks at the device and realizes what it is.)
JAKE: Oh, thanks.
CUT TO:
[EXT. VARIOUS WASHINGTON (STOCK) - DAY]
[EXT. MICK'S -- DAY]
(The waiter serves the drinks.)
JAKE: Oh, thanks.
SARAH: Isn't this great? Just the two of us.
JAKE: Yeah, yeah. (stiffly) Just the two of us.
(JAKE has a smile plastered on his face. Behind SARA, he can see KYLE in the parked car near the curb.)
(Inside the parked car, KYLE listens in on the radio to JAKE'S conversation.)
SARAH: So how are things at work?
JAKE: Oh, same old same old. You know, just trying to keep the nation's computers up and running. How about... how about you? Are you-you still seeing that guy?
SARAH: No. He was, um ... I don't know. I just didn't trust him. How about you?
JAKE: Oh, no. You can ... you can trust me.
SARAH: No. No. I mean, are you seeing anyone?
JAKE: Oh, oh. No. No. I kind of feel like I'm being consumed by my work.
SARAH: That's this town, Jake. That's what it does to you. Do you remember when the most important thing was how to get beer on a Friday night?
KYLE: (from comm.) Jake, get on with it.
JAKE: (automatically) Okay.
SARAH: What?
JAKE: Oh, I-I-I meant, um, yeah, yeah. I remember what that was like back in college with the-the... beer.
(SARAH'S phone rings. She stands up and answers it.)
SARAH: Oh, I'm sorry. I have to get this.
JAKE: That's okay.
(She steps away from the table.)
SARAH: (to phone) Hello. I told you I'd have the stats by friday.
JAKE: (to KYLE) All right, look, you're not helping me. I can do this, but you have to get off my back. Yeah, I know. I know. I am.
(SARAH finishes her conversation and steps back to the table where she sees JAKE talking with himself.)
JAKE: (to KYLE) And just for the record, all this training stuff -- you're not so good at it, okay?
SARAH: Are you okay?
(Startled, JAKE looks up at SARAH.)
JAKE: (stammering) Yeah. Yeah. You know what? You know when you're working on a problem, and you're kind of talking to yourself?
SARAH: No. Uh, not really. So what's the problem?
(SARAH sits down.)
JAKE: Actually, uh ... actually, it was something I wanted to talk to you about.
SARAH: Okay.
JAKE: Um, well, I came... I came across something at work, and, um ... I think it has something to do with those missing funds you were looking into.
SARAH: You did?
JAKE: Yeah. The thing is, it's actually kind of silly. Well-well, the NSA wanted to upgrade some computer systems, but they didn't want the CIA to find out about it, because they-they want the same thing, so ... they hid the funds.
SARAH: I don't believe it.
JAKE: Yeah. Really competitive over there.
SARAH: No. I mean, I don't believe it, Jake. They wouldn't come after me over something like that.
JAKE: That's a good point. But, uh, Sarah, you have to realize that these computers -- they're really big and expensive.
SARAH: No, Jake. It's not true. I know. I have a source.
JAKE: A source? You sure it's someone you can trust? 'Cause, Sarah, the-the Intel that I have is-is really supposed to be really reliable.
SHORT TIME CUT TO:
[INT. CAR (PARKED) - DAY]
(JAKE opens the car door and gets inside.)
JAKE: Great story, Kyle. Worked like a charm.
KYLE: I think it did.
JAKE: (surprised) What?! Were you listening? She's not going to quit. She has a source.
(KYLE turns and looks at JAKE.)
JAKE: (repeats) She has a source.
KYLE: Congratulations. You did good.
(KYLE'S phone rings.)
KYLE: Hello.
LOU: SandStorm has been compromised.
KYLE: Where?
LOU: *** National Park.
KYLE: I'm on my way.
(KYLE starts the car as JAKE puts on his seat belt. Suddenly, everything has gotten very serious.)
CUT TO:
[EXT. ROAD - DAY]
(Car tires screech as it turns the corner.)
[EXT. NATIONAL PARK -- DAY]
(The car stops. JAKE gets out of the car and looks around. KYLE heads for LOU.)
KYLE: (o.s.) What do we know at this point.
LOU: (o.s.) At least five people were killed in the crash.
(JAKE slowly makes his way toward KYLE. He sees various NTSB personnel go through the ruins of the downed jet. He stares aghast at the damaged plane.)
(Cut to: JAKE has stopped directly in front of AGENT WRIGHT'S body.)
(LOU makes an announcement.)
LOU: Alright, listen up, people. Agents Wright, Tishler and Garcia are dead. We believe the person responsible for this took possession of an EMP and parachuted from the plane. I've notified the CIA and the National Security Advisor. This is a code red threat to our nation's capital. Let's get in front of it.
(LOU takes out her cell phone and starts dialing. KYLE leans in close to LOU.)
KYLE: (quietly) You want me to notify their families?
LOU: No. I'll take care of it.
KYLE: Okay.
(She turns away, already making the calls. KYLE sees JAKE and heads toward him.)
LOU: (to phone) Hello, Gwen? This is Lou Beckett. I'm afraid I have some very sad news about Nicholas. It happened at 11:35 ...
JAKE: (quietly) They cut off his hand.
KYLE: Yeah. We got to get this guy.
(KYLE walks away.)
CUT TO:
[INT. NSA - SIGNIT OPERATIONS - DAY]
(The staff is being prepped on the EMP bomb. On the monitor is a computer schematic of the case.)
ALAN: The missing electromagnetic pulse bomb is a class d portable, similar to larger devices we used in Iraq. Now this one has a blast radius of approximately two miles. Any electronic device within that perimeter will be disabled. Now as you can imagine, detonation almost anywhere in the D.C. Area could be devastating. Now, fortunately for us, we built it, so there are some fail-safes.
LOU: Like what?
ALAN: Well, first, there's an encrypted warning beacon. If he tries to arm it, we'll get a signal.
KYLE: Giving us how much time to find it and shut it down?
ALAN: Twenty minutes.
LOU: What's the other fail-safe?
ALAN: Well, that one might not necessarily work in our favor. In order to shut it down, you need the right codes. Enter the wrong code, it accelerates the timer. And there's no turning it off.
KYLE: Get the codes.
ALAN: Yes, sir.
LOU: Who are we looking for?
TECHNICIAN (WOMAN): We picked up a security cam image in Tunis. We believe it's Abdul Tiranzi, Al Juhuara's chief weapons expert.
(LOU moves to look at the monitor over the Technician's shoulder.)
LOU: Tiranzi. Advanced Engineering Degrees. Helped the Chinese design their long-range missiles. His mother's an American. Why is he listed as "possibly deceased?"
KYLE: The Israelis have targeted him several times, but they've never confirmed his death. They did get his brother last year.
LOU: Was his brother Al Juhuara?
KYLE: No. He was a professor in Gaza. It was a mistake.
LOU: What happened?
KYLE: Bad intel. From us.
LOU: Great. So now he's really pissed. I want Tiranzi's photo out in the field. Maybe we'll get lucky.
(From behind them, there's a loud beeping pulsating sound. KYLE turns around. The AGENT is at the computer terminal.)
ALAN: It's the warning beacon. He just armed it.
(JAKE stares at the blue pulsing light on the monitor map. Camera holds on JAKE.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. NSA - SIGNIT OPERATIONS - DAY]
(Camera opens on the blue pulsating light on the monitor map. KYLE turns to look at LOU.)
LOU: Take whoever you need and get out there.
KYLE: Leland, Carvallo, Wallace -- let's go.
(KYLE and the agents leave the room. JAKE watches them stand and file past him. He looks at the information about ABDUL TIRANZI on the monitor in front of him.)
CUT TO:
[EXT. ROAD -- DAY]
(Car sirens wail as KYLE and his team drive to the bomb beacon location.)
LOU: (from radio) He's turning South on 18th street.
KYLE: Copy that.
(KYLE and the other agents head for the spot.)
CUT TO:
[INT. NSA - RESEARCH LAB - DAY -- CONTINUOUS]
(As DIANE works, the palm pilot starts beeping wildly on the counter next to her. She turns, picks it up and looks at the reading. Concerned, she heads out of the lab.)
CUT TO:
[EXT. ROAD - DAY -- CONTINUOUS]
(The cars continue to speed toward the bomb beacon.)
INTERCUT WITH:
[INT. NSA - SIGNIT OPERATIONS - DAY]
(LOU is on the headset with KYLE.)
LOU: Target's on the northeast corner of 19th and M. You have 12 minutes.
KYLE: Got it. Has Alan got those codes?
ALAN: I need two more minutes.
KYLE: We'll make it.
(JAKE watches the monitor and unconsciously starts pacing the floor. The doors open and DIANE walks in. She heads toward JAKE.)
DIANE: Hey, are you doing okay?
JAKE: Yeah, fine.
DIANE: Well, your blood pressure's a little high.
(DIANE reaches for his wrist; JAKE pulls away from her.)
JAKE: (agitated) Probably 'cause I'm standing around here doing nothing.
DIANE: Well, you're still in training.
JAKE: I could be in training forever. Kyle will never believe I've got what it takes.
DIANE: (scoffs with disbelief) Jake, Kyle fought for you. I mean, when this accident happened and none of us knew what to do with you, he's the one that wanted to make you an agent.
(This is news to JAKE. He turns to look at DIANE.)
DIANE: He knew how badly you wanted this.
(Back at the center of the room, things start heating up again.)
LOU: He's moving.
KYLE: Where?
LOU: South on 19th.
KYLE: We're on it.
LOU: He's making a left on Pennsylvania. He's heading for the White House. You can outflank him at 18th.
KYLE: Copy that. Doing it now.
(KYLE makes a sharp turn and the cars head off in a different direction.)
(JAKE watches the monitors intently.)
JAKE: Come on.
(On the monitor, the pulsing blue light continues straight toward its destination.)
[INT. ROAD - DAY - CONTINUOUS]
(A biker bikes down the sidewalk. The AGENT'S car stops the car close enough to knock him off of his bike. KYLE'S car pulls up in front of the biker to block his path. KYLE comes out of the car, gun drawn.)
KYLE: Hey, on the ground now! On the ground!
BIKER: Dude, chill! It was just a stop sign!
KYLE: Get down! Don't you move! (to the AGENT) Watch him.
(KYLE grabs the metal briefcase out from the BIKER'S backpack. He takes it to the car to check it.
KYLE: We got the case.
(JAKE chuckles with relief.)
(KYLE opens the case, but doesn't see a bomb.)
KYLE: We have a problem. There's no EMP; it's just a transmitter.
(Suddenly, on the monitor map, dozens of pulsing blue lights appear.)
LOU: He's replicating the warning beacon.
ALAN: We got another one at the pentagon. And congress.
LOU: Check them all out. Get every available agent on it now.
(Camera slowly moves in toward the dozens of flashing lights on the monitor. Cut to JAKE and DIANE. Cut to LOU.)
CUT TO:
[EXT. ROAD - DAY]
(A car speeds toward a destination and suddenly screeches to a stop. AN AGENT gets out of the car.)
TECHNICIAN (WOMAN): (from radio) Fifty feet right in front of you.
(He runs toward the spot.)
AGENT: I'm on it.
(He opens the trash bin and removes the metal briefcase. He puts the case down on the ground and opens it to check inside.)
TECHNICIAN (WOMAN): (from radio) What do you have? Do you have anything?
AGENT: No, just another transmitter.
CUT TO:
[EXT. ANOTHER ROAD -- DAY]
(Another AGENT car speeds along the road)
TECHNICIAN (WOMAN): (from radio) Quadrant D.
(Cut to: [INT. SIGNIT OPERATIONS] Camera moves slowly along the monitor map to show the pulsing blue lights.)
AGENT: (from radio) (v.o.) Nothing. Just another transmitter.
(Cut to: Another case being opened to show a transmitter.)
(Cut to: The monitor map with the pulsing blue lights.)
CUT TO:
[EXT. ANOTHER ROAD -- DAY]
(A car heading in one direction makes a sharp U-turn back into another direction.)
LOU: Ortiz, where are you?
AGENT ORTIZ: (from radio) Yo, nothing here.
DISSOLVE TO:
[INT. NSA - SIGNIT OPERATIONS - DAY]
(With all the available agents out of the building, the only remaining people at central operations are JAKE, DIANE and several technicians.)
(The beeping on the monitor continues.)
TECHNICIAN (WOMAN): Another transmitter.
(JAKE scoffs and slowly moves toward the monitor. Something's occurred to him.)
DIANE: What? What's wrong?
JAKE: This guy is drawing all our available agents into the field.
DIANE: And...?
JAKE: And... I-it, it's too obvious. He wants all our attention out there. He wants all of us out there. Why?
(JAKE looks at the monitor map which shows about a dozen or so pulsing blue lights.)
JAKE: (quietly) Because the target's not out there. The target's here, where we're most vulnerable. He detonates that bomb inside the NSA, we lose all our satellite links, all our communications. There's a worldwide security blackout. Al Juhuara has free rein.
DIANE: How would he ever get in here?
JAKE: He knows exactly how.
CUT TO:
[INT. NSA - LEVEL FIVE - MAINFRAME - DAY]
(Camera opens on a hand on the security scanner. The hand is being scanned by the pad.)
(The camera pulls back a little to show that the hand isn't attached to a body but is being held against the security pad by another hand.)
(The security scanner reads the palm and returns the owner's clearance results: AGENT NICHOLAS WRIGHT.)
(The pad beeps and the doors open.)
(ABDUL TIRANZI removes the hand and throws it away.)
[INT. - CONTINUOUS]
(The doors open and ABDUL TIRANZI, carrying a metal briefcase, walks into the NSA'S secure lower level area.)
(He walks out of camera frame. The doors close behind him.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. NSA - SIGNIT OPERATIONS - DAY]
(JAKE reads the results off of the monitor.)
JAKE: Level five, the mainframe ... Agent Wright admitted 1723 p.m. He's here. (to DIANE) Call Kyle. Tell him what's going on, and evacuate the building.
(JAKE turns and runs out of the main control room.)
DIANE: Jake! Oh ...
(DIANE stands up to make that call.)
CUT TO:
[INT. NSA - LEVEL FIVE - MAINFRAME - DAY -- CONTINUOUS]
(ABDUL TIRANZI walks confidently through the hallway. He smiles as he passes the security guard.)
SECURITY GUARD: Hello sir.
(As soon as the SECURITY GUARD turns the corner, ABDUL TIRANZI heads for the mainframe. He pushes the door button.)
VOICE: Mainframe Access. Open.
(ABDUL TIRANZI walks toward the center of the room and puts the EMP bomb case down on the floor. He opens the case. Inside is the bomb with the monitor preset for twenty minutes. He starts pressing the access codes: 5-5-5-6-8- ... )
(Cut to: The elevator door opens and JAKE steps out into the hallway. He cautiously and slowly walks through the hallway looking for ABDUL TIRANZI. On both sides of the corridor, there are multiple glass-door rooms. At the first one, JAKE peers around the side of the wall into the room. He sees ABDUL TIRANZI kneeling on the floor working on the EMP bomb.)
(JAKE pulls back a moment, his back flat against the wall.)
(Inside, ABDUL TIRANZI activates the EMP bomb. He presses enter and the countdown begins.)
(JAKE slowly peers around the wall door and finds that ABDUL TIRANZI isn't there anymore, but that the bomb has been activated as it beeps its countdown to detonation.)
(JAKE cautiously steps into the mainframe room. He makes his way toward the bomb. He makes it to the bomb without seeing ABDUL TIRANZI.)
(He glances down. 19:01 minutes left.)
(He stares at the bomb, trying to deactivate it.)
[CUE SOUND: ENHANCED ABILITIES]
(JAKE stares at the bomb. The counter slows down. 18:58 ... 18:57 ... 18:56 ... 18:55 ... )
(The counter stops.)
(JAKE takes a relieved breath.)
(Then the counter resumes ... at double time. It didn't work.)
(Not wasting any time, JAKE picks up the case and heads out of the mainframe room.)
(The building alarms go off.)
VOICE: Please proceed to the nearest exit.
(JAKE steps out into the hallway and heads for the vault. Halfway there, ABDUL TIRANZI steps out from the side and knocks JAKE in the face. JAKE falls down, dropping the case.)
ABDUL TIRANZI Going somewhere with that?
(JAKE is on the ground.)
ABDUL TIRANZI I guess not. I'll have days, maybe weeks ... with nobody watching.
(He kicks JAKE in the side, then grabs him and picks him up.)
ABDUL TIRANZI Your world will never be the same.
(He knees JAKE in the gut and tosses him into one of the rooms.)
ABDUL TIRANZI Don't tell me you're the best they've got.
(ABDUL TIRANZI steps forward toward JAKE. JAKE scrambles to his feet and hits the door to the room shut. A thick metal door slides closed quickly.)
(Right.)
(ABDUL TIRANZI pushes the red button to open the door. The door slides open, but JAKE is ready for him.)
(JAKE catches TIRANZI by surprise. He rushes out and pushes the man back and in through the closed glass door to one of the mainframe rooms. The glass shatters as TIRANZI falls back to the ground.)
VOICE: Mainframe Access Open.
(With time running out, JAKE picks up the EMP bomb and limps toward the vault. He peers in to the glass door and presses the button to open the door leading to the vault.)
VOICE: Vault Access Open.
(Once inside, JAKE puts the EMP bomb down on the ground. Already injured and tired, JAKE puts both his hands flat against the vault to open it.)
(JAKE concentrates.)
[CUE SOUND: ENHANCED ABILITIES]
(The Vault starts to run through number sequences to find the combination to unlock the door.)
(Camera cuts to the EMP bomb with 5:45 left on the timer and counting down rapidly ... four minutes ... three minutes ...)
(JAKE concentrates on unlocking the vault. He's pushing it to his limits. The vault combination starts to appear: 6-0-3 -- ... )
(The EMP bomb is down to three minutes ... two minutes ... one minute ... )
(JAKE continues to work on the vault combination: 6-0-3-4-2-1-7.)
(JAKE pulls the vault door open.)
(The EMP bomb is down to one minute.)
(JAKE kicks the metal case into the vault and starts to close the door. Before he can shut it, the bomb explodes.)
(JAKE gets hit with a force of EMP waves that knocks him back against the room wall.)
(The lights in the room flicker off. JAKE falls down to the ground. The lights in the room flicker back on.)
(Exhausted and panting heavily, JAKE lifts his head up.)
[JAKE'S POV]
(His vision is blurred. He can see clearly in the center of his limited sight, but the peripherals are extremely blurry.)
(JAKE blinks and tries to get up.)
(He slowly manages to get to his feet. He hugs the wall and limps awkwardly back to the elevator.)
(As he passes the mainframe computer room, he looks inside. He sees the broken glass, but there's no sign of ABDUL TIRANZI.)
(JAKE looks around, then continues to head for the elevator.)
(He's almost there, when the SECURITY GUARD appears behind from one of the hallways.)
SECURITY GUARD: Hey, come on. You've got to get out of here.
(ABDUL TIRANZI steps out from behind the SECURITY GUARD. Using the man as a shield, he takes his gun and fires a couple times at JAKE.)
(JAKE runs up the stairs.)
(He tosses the SECURITY GUARD to the ground and goes after JAKE.)
[STAIRWAY]
(Panting, JAKE climbs the stairs. TIRANZI follows.)
(JAKE reaches the next floor and is headed somewhere. He rounds the corner and climbs up another set of stairs.)
(TIRANZI follows.)
(When JAKE reaches the door at the top of the stairs, he pauses and waits for TIRANZI.)
(TIRANZI turns the corner and sees JAKE at the top of the stairs. He raises his gun and fires.)
(JAKE pushes the door open and slips inside as the bullets miss him. TIRANZI follows.)
(TIRANZI approaches the closed door. He pauses, pushes the door open and walks inside.)
CUT TO:
[INT. SIMULATION ROOM - DAY -- CONTINUOUS]
(TIRANZI steps finds himself inside a large warehouse. He does a smooth sweep of the area in front of him as the door closes behind him. He hears a pipe clang. He turns around and instead of seeing the door, he finds a solid column and telephone in its place.)
(TIRANZI stares at it for a moment, then puts his gun up to look for JAKE.)
(He hears movement behind him. JAKE comes running out from the catwalk, his gun out. He jumps over the railing, firing at TIRANZI. TIRANZI fires back.)
(JAKE jumps down to the ground ... and disappears.)
(TIRANZI takes a couple of steps forward. He looks around at a possible and unlikely escape route.)
(He hears a clanging sound behind him. He turns and puts his gun out.)
(In the back of the warehouse, he sees JAKE running across the floor. He fires several shots at him, then chases after JAKE. When he reaches there, JAKE'S gone. TIRANZI continues to move, his gun ready and out in front of him.)
(Behind him, JAKE steps out and starts firing at him. TIRANZI turns around and fires back. JAKE'S reception has interference. He smiles, looks at his gun, then disappears.)
(TIRANZI'S eyes widen.)
(Cut to: Up in the control booth, JAKE manipulates the scenario down below. On the monitor, he sends another JAKE likeness toward TIRANZI.)
(Down below, TIRANZI puts his gun up in readiness when he hears a noise.)
(Back in the control booth, JAKE sends another hologram at TIRANZI. It's from the simulation he ran earlier. This JAKE is walking slowly across the catwalk. At the same time, a second JAKE steps out into the warehouse.)
(He stops, turns around toward TIRANZI and shouts.)
JAKE FOLEY (HOLOGRAM): Freeze! Federal Agent!
(TIRANZI fires a couple more shots.)
(The JAKE on the catwalk stops, blurs out a bit, the continues across the catwalk.)
(TIRANZI turns around and puts his gun down. The game is up.)
(Up in the control booth, JAKE shuts down the simulation.)
(The walls of the warehouse turn off and back into its real form.)
(TIRANZI watches as he sees a mostly empty warehouse with some wooden stands, wooden stairs and other things.)
JAKE: Hey.
(He also sees JAKE carrying a pipe in his hand and walking toward him. JAKE stops a safe distance away. TIRANZI raises his gun and shoots.)
(The hammer clicks. His gun is empty.)
(Regardless, he continues to click the hammer.)
JAKE: You should always count your shots. 12 in the mag ...
(With the pipe, JAKE hits TIRANZI across the temple. TIRANZI falls down to the floor. Out cold.)
JAKE: ... One in the pipe.
(JAKE slings the pipe up to rest against his shoulder. He looks down at TIRANZI, then promptly collapses to his knees.)
CUT TO:
[EXT. NSA (STOCK) - DAY]
[INT. RESEARCH LAB -- DAY]
(Cut to the NSA seal on the computer monitors.)
(DIANE is working on the computers about something to do with the nano- technology. JAKE sits at the nearby counter, slumped in his seat and looking quite bummed.)
DIANE: You are so lucky. A slightly larger dose of that EMP, I think would have put you out for good. But as it is now, all we need's a little reprogramming.
JAKE: Thank you.
DIANE: It's nothing. We can take care of it tomorrow.
(JAKE stands up and walks over toward DIANE.)
JAKE: Uh, no. I meant for believing in me ... and ... putting up with me.
DIANE: Well, we're in this together, right?
JAKE: Right.
(The door opens and KYLE walks in.)
KYLE: Lou wants to see you.
(JAKE sighs and heads for the door. DIANE stands up to follow him.)
CUT TO:
[INT. SIGNIT OPERATIONS -- DAY]
(The doors open. KYLE, JAKE and DIANE walk into the room. LOU turns and motions for JAKE to step forward. Dreading the worst, JAKE takes a couple steps toward LOU. She turns around to talk with him.)
LOU: I lost three agents to this operation, Jake. Three very gifted agents.
(beat)
LOU: Fortunately, I found one, too. Congratulations, Agent Foley.
(LOU looks at JAKE, pleased. She holds out her hand. JAKE grasps it.)
JAKE: Thanks.
(LOU steps back to the operations. KYLE moves in front of JAKE.)
KYLE: (proud) You did good.
(They shake hands.)
KYLE: So, how'd you know?
JAKE: Looked beyond the obvious.
(KYLE smiles, turns and walks away. DIANE steps forward.)
DIANE: (she smiles and laughs) Oh. Congratulations.
(She shakes his hands.)
AGENT: Congratulations.
JAKE: Thanks. Thanks.
(One by one, others in the room offer him their congratulations.
JAKE: Thank you. Thank you. VARIOUS: It's good. JAKE: Yeah.
VARIOUS: Oh, hey. Congratulations.
JAKE: Thanks, thanks a lot. Thank you. Thank you.
VARIOUS: Oh, goodness, hi.
JAKE: Thank you. Thanks. Thanks a lot.
JAKE: Thank you, thank you.
JAKE: Oh, thanks.
(The camera rises and pulls away from the moment.)
CUT TO:
[INT. JAKE'S APARTMENT -- DAY]
(The television set is on to some old movie. JAKE is at his desk setting up his lamp. There's a knock on his front door.)
JAKE: Who is it?
CABLE GUY: (o.s.) Cable guy.
JAKE: Uh, just a second.
(JAKE turns around and looks at the television set. Now we hear static. He goes and answers the front door.)
JAKE: (CC) What took you so long?
FADE OUT.
THE END
[Captioning sponsored by Viacom Productions and UPN]
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
1X02: TRAINING DAY
ORIGINAL AIR DATE ON UPN: 09/17/2003
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
Starring:
CHRISTOPHER SHYER
ROBERT MOLONEY
KURT EVANS
MIRANDA FRIGON
Co-Producer: WILLIAM REDNER
Producer: RICHARD DAVIS
Producer: MARK WILDING
Supervising Producer: JAVIER GRILLO-MARXUACH
Executive Producer: GINA MATTHEWS
Executive Producer: GRANT SCHARBO
Executive Producer: SILVIO HORTA
Written by: DAVID GREENWALT & GRANT SCHARBO
Directed by: DAVID GREENWALT
END CREDITS
Executive Producer: DAVID GREENWALT
David Greenwalt Productions, California LazyDave
Matthew S. Scharbo Productions
Viacom Productions, a Paramount Company
Director of Photography: DAVID GEDDES
Production Designer: GRAEME MURRAY
Edited by: WILLIAM FLICKER
Production Manager: LIZ STANIFORTH
First Assistant Director: KEVIN PARKS
Second Assistant Director: KIT MARLATT
Music by DONNY MARKOWITZ
Music Supervisor: RANDY GERSTON
Casting by: AMY McINTYRE BRITT
Casting by: ANTYA COLLOFF
Canadian Casting by: TRISH ROBINSON
Canadian Casting by: MARY MONTICA POOLE
Co-Starring
JESSE WHITEHEAD as Bike Messenger
JAMES RALPH as Man in Park
LOUIS CHIRILLO as Hot Dog Vendor
JANINA DALL as Agent Tishler
DEAN REDMAN as NSA Guard
COLIN CORRIGAN as Assistant
BRENDAN PENNY as Rollerblader
KEN YANKO as Five Star General
MICHAEL CROMIEN as Senior Director
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: NANCY EAGLES
Production Coordinator: ANITA MEEHAN-TRUELOVE
Production Accountant: GORD SMITH
1st Company Grip: AL CAMPBELL
Production Sound Mixer: SHANE CONNELLY
Stunt Coordinator: SCOTT NICHOLSON
Special Effects Coordinator: GARY PALLER
Transportation Coordinator: JOHN J. O'TOOLE
Construction Coordinator: VANCE CONWAY
Casting Assistant: CARRIE LEVIN
Post Production Supervisor: DAN McDONALD
Sound Supervisor: JON WAKEHAM
Music Editor: MOIRA MARQUIS
Re-Recording Mixers: TIM PHILBEN
Re-Recording Mixers: ALAN DECKER
Additional Editing by: SHAWN PAPER
Assistant Editor: DEBRA WEINSTEIN
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:09/30/2003~lky http://www.webphilia.com/~anthology/wnp.html
|
