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JAKE 2.0
1X04: ARMS AND THE GIRL
ORIGINAL AIR DATE ON UPN: 10/01/2003
TRANSCRIBED FROM UPN
Written by: MARK WILDING
Directed by: MILAN CHEYLOV
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-DV
DISCLAIMER:
"JAKE 2.0" and other related entities are owned, (TM) and (c) by Roundtable
Entertainment, David Greenwalt Productions (California LazyDave), Matthew S.
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SUMMARY: Jake's first assignment: Jake is ordered to get close to a known
arm's dealer's daughter in order to find out her father's whereabouts.
JAKE 2.0
1X04: ARMS AND THE GIRL
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]
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.
(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]
[Scene from 1X01: The Tech]
(JAKE is inside the CHEMDYNE RESEARCH FACILITY. Using his enhanced abilities,
he jumps up to the second 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.)
CUT TO:
[Scene from 1X03: Cater Waiter]
JAKE: So what's my cover?
CUT TO:
[INT. CHINESE EMBASSY - NIGHT]
[Scene from 1X03: Cater Waiter]
(JAKE is dressed as a waiter and carries a tray of glasses filled with
champagne.)
(Cut to: SARAH is surprised to see JAKE at the embassy party.)
SARAH: Jake.
(JAKE picks up a glass of champagne off of the tray. He raises it and calls
back to SARAH.)
JAKE: Sarah.
(Cut to: JAKE explains to SARAH exactly what he's doing there.)
JAKE: I'm an undercover agent.
SARAH: (smiles) That's hilarious.
(Rather than fight it, JAKE smiles and laughs.)
FADE TO
END OF PREVIOUSLY ON:
FADE IN.
[EXT. OUTER SPACE]
(CLOSE UP: A satellite clicks and whirls as it passes by.)
(Camera pulls away and backward down toward the earth, clouds speed by.)
CUT TO:
[EXT. ISOLATED AREA - DAY]
LEGEND:
THE PHILIPPINES
MARINDUQUE ISLAND
(Two men in black, the sales representatives, meet two men in white, the buyers,
over a couple of metal cases. ALONZO REED opens the top metal case. In it is a
pack of MORLEY'S cigarettes and a key. He turns around to address the two men
in white.)
ALONZO REED: Mr. Carano has instructed me to ask for $5 million as a good faith
down payment. That will put you in first position to buy some of the micro
semtex. Or ... if you like, all of it.
BUYER 1: For how much?
ALONZO REED: $20 million. Payable upon delivery. Let's say you don't want
anyone to suspect that you're interested in blowing up a particular target.
(ALONZO REED turns around and picks up both the MORLEY'S cigarette pack and the
key and makes his way casually toward the abandoned vehicle.)
ALONZO REED: Say ... you don't want to draw attention to yourself by dropping
off a small package or a backpack, that cries out to any security guard with
half a brain, "I'm a bomb."
(He places the MORLEY'S cigarette box on the floor in the vehicle and heads back
to the BUYERS.)
ALONZO REED: And finally, let's say you don't want to mess with any timers or
faulty wires or an ignition switch that's less than reliable.
(ALONZO REED stops and casually hits the remote. The bomb in the pack of
cigarettes explodes behind him. The explosion is extremely huge for explosives
in something so small. He doesn't flinch.)
ALONZO REED: In that case, this device will prove extremely useful.
FADE TO
END OF TEASER
ROLL TITLE CREDITS
INTRODUCTION:
That's me. Jake Foley, I'm in Tech Support. Security Clearance: Low. Very
low. Then one day, it all changed. Now, I can do things I've never dreamed of.
I've been upgraded. I have these powers. Life just got real interesting.
(COMMERCIAL SET)
FADE IN.
[EXT. OUTER SPACE ]
(CLOSE UP: A satellite moves by the camera. Cue Telemetry sounds - clicking
and whirling.)
(Various flashes of city blocks. Fast forward down to earth below.)
CUT TO:
[EXT. BORDER -- NIGHT]
CLOSE UP on a green road sign that reads: U.S. BORDER / 8 KM.
LEGEND:
GOVENLOCK, CANADA
(Camera moves from the sign to the road behind it to show agents and military
personnel finishing up an operation.)
WOMAN: (radio) Sat ops confirms Agents Foley and Duarte have confiscated
weapons. I say again, Operation Canada Goose is complete.
(A car drives up to the scene. KYLE gets out of the car. He adjusts his jacket
and heads for the truck. As he gets closer, a couple of agents move several
handcuffed men past him.)
(JAKE climbs down from the roof of the truck using the side ladder. He jumps
down to the ground in front of KYLE.)
KYLE: You all right?
JAKE: (exhales) I'll live.
KYLE: Yeah, a whole lot of other people will, too.
(They make their way back to the car, through the activity around them.)
KYLE: How'd you know it was this truck?
JAKE: I interfaced with the driver's cell phone. My Serbo-Croatian's pretty
minimal, but I thought he said something about his mother's cheese gun.
KYLE: Aha.
(They stop. KYLE turns to look at JAKE.)
KYLE: So in our report, we'll just say you heard the word "gun."
JAKE: (nods) Ri-i-ight. Let's go to work.
KYLE: Let's go.
(They both turn and walk out of camera frame. As they leave, we see a couple of
soldiers putting the weapons in a crate.)
CUT TO:
[EXT. WASHINGTON D.C., CITY (STOCK) - NIGHT]
[EXT. JAKE'S APARTMENT (STOCK) - NIGHT]
(Establish.)
[INT. HALLWAY OUTSIDE APT. #19 -- NIGHT]
(Having just come home, JAKE unlocks his front door.)
KAREN: (o.s.) Hey, Jake.
(JAKE turns around and sees his neighbor, KAREN. She's holding a stack of
newspapers in her arms.)
JAKE: Hi, Karen.
(She steps forward toward him. JAKE presses his back against the unlocked
door.)
KAREN: Your newspapers were starting to pile up, so I thought I'd take them in
while you were away.
(JAKE takes the newspapers from KAREN. Instead of leaving, she lingers.)
JAKE: Oh, yeah, I guess I forgot to stop delivery. Thank you. Thanks a lot.
KAREN: So how was the vacation?
JAKE: Good. You know, those cruise ships are great for getting away from it
all.
KAREN: I thought you went to Yellowstone?
JAKE: I did ... by way of Panama.
KAREN: You went to Panama and Yellowstone in six days?
JAKE: There wasn't much to see in Panama. The main thing is it was relaxing,
but I'm pretty tired right now.
(JAKE tries to slip into his apartment, but KAREN steps toward him. At that
close, she can't help but notice the bruise on his face.)
KAREN: Were you in a fight?
JAKE: Uh, no, no ... I was trying to get something out of my carry-on and you
know how they say that you're luggage shifts in flight? Well, they're really
not kidding.
(He laughs a little.)
KAREN: Kind of big for a carry-on.
JAKE: (abruptly) Well ... good night, Karen.
(JAKE slips into his apartment.)
[INT. JAKE'S APARTMENT - NIGHT - CONTINUOUS]
(JAKE puts the stack of newspapers down and walks into his apartment dragging
his suitcase behind him. He walks out of camera frame.
CUT TO:
[EXT. VARIOUS SCENERY (STOCK) - DAY]
[INT. NSA - HALLWAY - DAY]
(JAKE is walking through the hallway. He's on the cell phone.)
JAKE: Hey, Sarah, it's Jake. I guess we're still playing phone tag. But this
time it's my fault. I was on a cruise to Yellow ... uh ... Panama. Yeah,
yellow Panama. It's on the coast. It's a little touristy. But, um ... well,
that's pretty much it. So ... you're it.
(JAKE hangs up.)
JAKE: (to himself) That was lame.
KYLE: (o.s.) Well, cumbersome maybe.
(JAKE turns around and sees KYLE standing behind him. KYLE steps toward JAKE.)
KYLE: Was that Sarah?
JAKE: Her machine. In person I'm even more cumbersome.
(They both start down the hallway.)
KYLE: Hazard of the job. Can't tell them what you really do. They always feel
you have something to hide. Hope you like the single life. It's what most of
us end up with.
(JAKE turns to the left.)
JAKE: That's good to know.
(KYLE grabs JAKE'S arm and pulls him toward the right.)
KYLE: Come on, we got something.
CUT TO:
[INT. SAT OPS -- DAY]
(LOU briefs the team.)
LOU: This morning we received word from Filipino Intelligence that Ruben Carano
is less than 36 hours from completing a multi-million dollar deal with the
terrorist group Soledad, for 100 kilos of compressed Micro Semtex.
JAKE: Soledad-- they're the ones that blew up that nightclub.
KYLE: And two Embassies within the last year.
(LOU looks on the wall monitor filled with information about Micro Semtex.)
LOU: Micro Semtex is ten times more powerful than its namesake. An amount the
size of a nine-volt battery has a fragmentation pattern of 100 yards. It's on
the United States list of banned weapons.
TECH AGENT CARVER: So where's Carano now?
KYLE: We don't know. He's wanted in nine countries for illegal weapons sales.
That includes chemical. This guy will sell anything to anyone. And he's very
shrewd about his movements. He's only been spotted once in the last three years
-- by Interpol in Vienna.
(On the monitor, information and a large photo of RUBEN CARANO fills the board.)
KYLE: Carano stays out of sight and makes the deals with his right-hand man --
Alonzo Reed.
(The picture of RUBEN CARANO reduces and the picture of ALONZO REED enlarges on
the screen.)
KYLE: Reed and the Soledad operatives slipped out of the Philippines after
their meeting. They could be completing this deal anywhere.
TECH AGENT CARVER: What about Carano's family?
KYLE: His wife's deceased. He has two brothers and a daughter -- all
civilians.
(The picture of THERESA CARANO enlarges on the monitor.)
LOU: Let's put our overseas agents on alert. This is an opportunity to get
Carano and the terrorists.
JAKE: Where do you want me on this? I do speak pretty fair Espa&ntidle;ol.
(LOU steps away. KYLE answers JAKE.)
KYLE: Corner of Fourth and Mass.
JAKE: (disappointed) Oh.
KYLE: Carano's daughter has an art studio at Adams Morgan. Her name's Theresa.
On the off chance that her father attempts to contact her, we want somebody
there.
JAKE: It'll be like a stakeout?
(KYLE nods.)
JAKE: You want me to just watch her?
KYLE: Yeah. Think you can handle it?
JAKE: Following a girl around for hours? It'll be just like college.
(JAKE chuckles at his own lame joke. KYLE doesn't smile.)
JAKE: I'm kidding about that. I'm totally kidding.
KYLE: Jake, you can't have any contact with her. Understood?
JAKE: Yes, understood. Absolutely.
KYLE: Good.
(KYLE walks away.)
JAKE: (mutters to himself) No contact. Just like college.
(JAKE walks away. The camera holds on the large photo of THERESA CARANO on the
monitor.)
DISSOLVE TO:
[EXT. CORNER OF FOURTH AND MASS - STREET -- DAY]
(JAKE sits in his car watching THERESA CARANO'S apartment through his car's side
view mirror. A large red whip licorice stick hangs from the corner of his mouth
as he adjusts the side view mirror.)
JAKE: (to comm) Okay. Here we go 0900 hours.
(JAKE looks at the mirror's reflection at the building behind the car. Camera
zooms in for a close up.)
CUE SOUND: ENHANCED ABILITY
(Camera rises to the second floor window and focuses on in THERESA CARANO with a
swab working on a painting. JAKE begins his narrative.)
JAKE: Subject is wearing a white tank top. Looks like she's cleaning a
painting. Looks like water she's using, I don't know. It's kind of behind her.
LOU: (from radio) Jake, just watch her, okay?
JAKE: (to radio) Yeah. Right. Copy ... over.
(JAKE turns his attention to the mirror when movement from the sidewalk catches
his eyes. The METER MAID is making her way toward his car JAKE looks at his own
meter and notices that it's expired.)
JAKE: Oh, damn.
LOU: What now?
(JAKE scrambles to get his things to refill the meter. The METER MAID has just
moved on to his car.)
JAKE: Meter maid.
LOU: So what? Just do that nano thing.
JAKE: I can't. It's mechanical.
(Cut to: Inside the building, THERESA CARANO grabs her bag and jacket. She
heads out of her apartment.)
(Cut to: JAKE gets out of his car. The METER MAID starts to write up his
ticket.)
JAKE: Uh, I'm here.
(JAKE shuts the car door and digs into his pockets for change.)
JAKE: Uh ...
(The METER MAID waits for him. Just at that moment, THERESA CARANO steps out of
her building. She pulls the iron gate closed behind her.)
(JAKE looks in his wallet.)
JAKE: um ... I don't suppose you make change?
(The METER MAID stares at JAKE, not saying anything to him.)
JAKE: Right. Okay, just ... I'm going to be right back.
(With his wallet open in his hands JAKE turns around intending to make some
change and finds himself face to face with THERESA CARANO who is standing in
front of his parking meter.)
THERESA CARANO: I got it.
(She smiles at him and slips the coin into the meter. JAKE is flabbergasted.
Unsure of what to do, JAKE turns to the side, trying to avoid eye contact with
her as he thanks her for the save.)
JAKE: Uh ... thank you very much. Thank you.
(Still trying to avoid eye contact with her, he starts to walk away from her.)
JAKE: That's ... you're very ... good samaritan.
(She turns around and looks at him as he walks away from her.)
THERESA CARANO: You're welcome.
(JAKE stops walking. He closes his eyes and sighs. He's already made contact
with her - how much worse could it get?. He turns around and heads back to her
already reaching for his wallet.)
JAKE: I'm sorry. Here, let me, uh ... let me pay you back.
THERESA CARANO: Don't worry about it. It was 50 cents.
JAKE: No, it was a really nice thing you did. I really feel like I should.
Here.
(JAKE pulls out a bill and holds it out to her. She looks at it.)
THERESA CARANO: That's a twenty.
JAKE: Yeah. Well, the ticket would have been fifty. So I figure you saved me
thirty.
THERESA CARANO: I am not going to take your last twenty.
JAKE: No, no, it's okay, really. You can buy yourself some new paints or
something.
THERESA CARANO: How do you know I paint?
(busted)
JAKE: I ... uh ... well, because the paint all over your shirt there, and I
know there's a lot of art studios around here -- so, you know, put two and two
together, figured you must be an artist.
THERESA CARANO: You're right, sort of. The painting I do is mostly
restorations.
JAKE: (nods) Oh, restorations, restorations. Wow, that's ... that's really
interesting, isn't it?
THERESA CARANO: It is. I mean, when I tell most people what I do, they have no
idea.
JAKE: Well, most people.
(She looks at him and smiles.)
JAKE: (no clue) Yeah, well, restorations are really important, 'cause they
make things ... like new, I'd guess you'd say.
THERESA CARANO: You have no idea what I'm talking about, do you?
JAKE: Not really, no.
THERESA CARANO: (laughs) Would you like me to show you?
(He looks at her, wondering how to get out of it. She smiles at him.)
JAKE: Okay.
CUT TO:
[NSA SEAL IN LOBBY OF BUILDING]
(Establish.)
[INT. SAT OPS -- DAY]
(CARVER turns around her in seat. She looks around, then walks up to KYLE.)
TECH AGENT CARVER: I think we've got a problem.
(KYLE follows CARVER back to her station.)
CUT TO:
[INT. HARBOUR BLOCK - THERESA'S APARTMENT - DAY]
(THERESA CARANO shows JAKE her work.)
THERESA CARANO: See how the light plays on the water?
JAKE: Yeah.
THERESA CARANO: The only way to really get that hue is to crush lupine.
Sometimes the most beautiful things are hidden behind years of neglect. You
peel away the layers of dirt and grime, and suddenly, there it is: The artist's
true intention.
(As she talks, JAKE watches her. Finished, she looks at JAKE and smiles.)
THERESA CARANO: So here I am, talking on and on about myself. What do you do?
JAKE: Um ... I-I, actually, I'm ... kind of into restorations, too.
THERESA CARANO: How so?
JAKE: I restore computers.
CUT TO:
[INT. NSA - SAT OPS - DAY -- CONTINUOUS]
(KYLE rolls his eyes.)
KYLE: (repeats) "I restore computers"?
(LOU, KYLE and DIANE listen in on JAKE'S conversation over the radio.)
JAKE: (from radio) I, I, I repair them. I repair, work on them, that kind of
stuff.
LOU: How do you run into the mark after the first hour?
KYLE: (to CARVER) He didn't try to pick her up, did he?
TECH AGENT CARVER: (smiles) Sounds like she picked him up.
JAKE: Mostly bluetooth, network and operability, that sort of thing-- it's not
really creative like this.
[INT. HARBOUR BLOCK - THERESA'S APARTMENT - DAY -- CONTINUOUS]
THERESA CARANO: Well, coming up with answers to problems, that's creative.
JAKE: I never really thought of it like that.
THERESA CARANO: Maybe you should. By the way, I'm Theresa Carano.
(They shake hands.)
JAKE: Oh, I'm ... Alan ... Alan Hergott.
THERESA CARANO: Hergott.
JAKE: Yeah, it's an old family name. My great-grandfather, he actually left
Prussia and ...
(Back at SAT OPS, KYLE has his eyes closed and pinches the bridge of his nose as
he listens.)
JAKE: ... brought the name with him, here to America ...
(Cut back to the apartment.)
JAKE: ... long line of Hergotts.
THERESA CARANO: So you always this nervous around women?
JAKE: Uh... yeah, pretty much.
CUT TO:
[INT. NSA - SAT OPS - DAY -- CONTINUOUS]
DIANE: (looking at the palm pilot) She's making him nervous.
KYLE: I think it's time we got "Alan Hergott" out of there.
CUT TO:
[INT. HARBOUR BLOCK - THERESA'S APARTMENT - DAY -- CONTINUOUS]
(JAKE looks around the room and sees another painting on an easel. He
automatically sticks out a finger to touch the painting.)
JAKE: Oh, wow! Look at this! This is, uh, still wet. Sorry.
(She laughs and joins him at the paining.)
THERESA CARANO: It's okay. It's not quite done.
JAKE: So, did you always know you wanted to do this?
THERESA CARANO: Pretty much. I was a business graduate at Brown first.
International economics. It was so dull.
JAKE: Then you transferred to art?
THERESA CARANO: No, I graduated and then switched to art.
JAKE: Bet that didn't make your family too happy.
THERESA CARANO: My father's a practical guy.
JAKE: Really? How so?
(At the mention of RUBEN CARANO, LOU looks up at his photo on the monitor.)
THERESA: He didn't want me to be like the other women in the family, dependent
on a man.
JAKE: Yeah, my dad didn't want me to be dependent on a man, either. Especially
him.
(JAKE laughs and continues to look around the place. He sees a paining on the
side. It's a painting of the back of a naked woman looking over her shoulder at
the artist.)
JAKE: Oh! Look at that. That looks dry.
THERESA CARANO: It's one of mine. It's a self-portrait.
(The words sink in. JAKE turns around to look at THERESA.)
JAKE: Oh ... then ... I guess that makes you the ...
THERESA CARANO: Self?
JAKE: (awkwardly) Oh ... look at the time.
(JAKE looks at his watch.)
JAKE: Oh, yeah, I totally forgot I have this meeting with the guys over at
TrelCorp. Yeah, they're still trying to get by with Centrino processors, if you
can believe that. Uh ... I guess I better go.
THERESA CARANO: Okay.
JAKE: Okay ... well ... thank you for letting me look at all your work. It's
really amazing.
THERESA CARANO: You're welcome. You know where to find me, Alan Hergott.
(JAKE heads for the door.)
FLASH TO:
[INT. NSA - SAT OPS -- DAY]
(JAKE is back at headquarters.)
KYLE: What did I say, "Alan"?
JAKE: You said no contact. But she put money in my meter. I didn't want to
seem rude!
(In the background, DIANE listens to the conversation.)
KYLE: Rude.
JAKE: She was being so nice. Okay, all right, I understand that manners aren't
my first priority on a mission--
LOU: (interrupts) Kyle ...
(KYLE turns and walks over toward LOU. JAKE glances down at DIANE, sitting in
the chair at the workstation right next to him.)
JAKE: Okay? It just happened.
DIANE: (non-committally) Mm-hmm.
JAKE: What, what, what's that supposed to mean?
DIANE: Nothing. You know, just seems a little aggressive. You're a total
stranger, she gives you money, invites you up to her apartment on the spur of
the moment...
JAKE: Okay, we weren't strangers. We had the whole parking meter thing, we
talked about art restoration ...
DIANE: Uh-huh.
(JAKE leans in close to DIANE.)
JAKE: Diane, is it so impossible for you to believe that this girl might
actually be interested in me?
(DIANE doesn't say anything. Her gaze shifts to the side behind JAKE. LOU and
KYLE walk up to JAKE. He straightens and looks at LOU.)
JAKE: Hi.
LOU: We have an unconfirmed sighting of the terrorists in Colombia, possibly
heading North, and not a single hit from Carano in the last twelve hours.
JAKE: I'm sorry. I screwed up.
LOU: I think Mr. Alan Hergott can help us.
JAKE: (confused) My sixth grade teacher?
(Behind him, DIANE closes her eyes and shakes her head.)
JAKE: (realizing) Oh.
KYLE: Uh, Lou, I don't know if that's such a great idea.
DIANE: No, no, no, no, no. It's a good idea. She likes him.
LOU: Yes. Jake can get her to trust him.
JAKE: I really wouldn't want to use her like that.
(LOU levels him a look.)
JAKE: Uh, unless, of course, you wanted me to.
LOU: Let's get Mr. Hergott a painting.
(LOU walks away. KYLE gives JAKE a look, then he, too, also leaves.)
(JAKE slowly turns to look at DIANE. She gives him a thumb's up sign.)
DIANE: Go, Alan.
(JAKE scrunches his face at DIANE, then leaves.)
LATER:
[INT. NSA - HALLWAY -- DAY]
(JAKE carries a large painting through the hallway. DIANE runs and catches up
with him.)
DIANE: So, Alan, hear you've got a mission.
(JAKE stops walking.)
JAKE: Yeah.
DIANE: What, you're totally not excited?
JAKE: Not excited about lying to this girl.
DIANE: Well, you're not really lying. It's part of the job, right?
JAKE: The part I'm not very good at.
(JAKE resumes walking through the hallway.)
DIANE: You're telling me you've never lied to a girl before?
JAKE: (over his shoulder) Never used to.
CUT TO:
[EXT. WASHINGTON (STOCK) - EVENING]
[EXT. HARBOUR BLOCK - NIGHT]
[INT. HARBOUR BLOCK - THERESA'S APARTMENT - NIGHT]
(Someone is knocking on the door. THERESA CARANO answers it. She finds JAKE
standing there carrying the painting.)
THERESA CARANO: Alan.
JAKE (as ALAN HERGOTT): Hey. Hi. Uh, I was wondering if you could help me.
(He lifts up the painting in his arms to show her what he's talking about.)
SHORT TIME CUT TO:
[INT. HARBOUR BLOCK - THERESA'S APARTMENT - NIGHT -- CONTINUOUS]
(The painting is now on an easel. THERESA CARANO is looking at the painting and
narrating.)
THERESA CARANO: The composition's subtle but strong. The palette seems like it
might be good. It looks like it was painted quickly, which isn't necessarily a
bad thing. The plenary painters always strove to get their landscapes done in
one sitting.
(JAKE stares at THERESA. She looks up at him and smiles.)
THERESA CARANO: What?
JAKE: Why'd they want to get them done in one sitting?
THERESA CARANO: They wanted to capture life, the moment. They didn't want to
put it in a glass jar for study.
(She motions to a portion of the painting.)
THERESA CARANO: You see these strokes, how thick the paint is, how bold? Feel
it.
(She motions for JAKE to step up to the painting. JAKE puts his hand on the
canvass. THERESA puts her hand over his, guiding his fingers along the brush
strokes. It's an intimate movement, an intimate moment.)
JAKE: Yeah ... it's bold.
THERESA CARANO: Why did you pick this painting?
JAKE: Uh... well, it's ... I like it 'cause it's open ... and, um... simple.
THERESA CARANO: Right.
JAKE: And that path, I don't know where it goes, it's ... just kind of goes on
forever. And, uh ... and the trees, they're really tall and dense, like you
could get lost in there for hours, you know?
THERESA CARANO: Yeah... I do know. Okay, take off your shirt.
JAKE: (surprised) What?
THERESA CARANO: Yeah! You're going to help me restore it.
JAKE: I am?
THERESA CARANO: I'll be back in a sec. I just got to get some new brushes and
paints.
JAKE: Okay.
(He watches THERESA leave the room. The door closes behind her. JAKE sighs.
He unbuttons his shirt and moves around the room.)
(JAKE steps into the office area. He has his shirt completely off.)
THERESA CARANO: (o.s.) Alan!
JAKE: Uh ... yeah!
THERESA CARANO: (o.s.) There's some beer in the fridge.
JAKE: Okay. You want one?
CUE SOUNDS: ENHANCED ABILITIES
THERESA CARANO: (o.s.) Sure!
JAKE: Okay.
(JAKE looks over at the caller ID and checks it: "CALLER ID EMPTY".)
(He looks around the apartment and sees the desk with mail on it out in the
open. He goes through the mail. He looks up when he hears footsteps nearby.
Seeing nothing, he continues to go through the mail.)
CUT TO:
[EXT. HARBOUR BLOCK - STREET - NIGHT -- CONTINUOUS]
(As JAKE goes through the mail, he doesn't realize that he's standing right next
to the window. Down below, we hear the one-sided conversation of a man on a
cell phone.)
ALONZO REED: (v.o.) I'm watching him now. I'll tell you what he's doing:
He's poking around the desk looking at some mail. He's definitely a wrong
number. Don't worry, Carano, I'll find out who he really is and what he's
really up to.
(The camera moves toward the car's open window and we see that it's ALONZO REED.
He hangs up the phone while keeping his eyes on JAKE.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. WASHINGTON D.C. (STOCK) -- NIGHT]
[INT. HARBOUR BLOCK - THERESA'S APARTMENT - NIGHT]
(JAKE wets the swab. He and THERESA CARANO are working on his painting.)
JAKE: So what exactly am I doing here?
THERESA CARANO: You're cleaning the surface. That way, when you start
painting, you don't seal in the dirt particles.
JAKE: When you start painting ..
THERESA CARANO: No, when we start panting. Don't be afraid to really push.
CUT TO:
[INT. NSA - SAT OPS - NIGHT -- CONTINUOUS]
(KYLE, DIANE and AGENT CARVER sit and listen in on JAKE.)
DIANE: Probably not the first time she said that.
KYLE: (sighing) This is going nowhere.
CUT TO:
[INT. HARBOUR BLOCK - THERESA'S APARTMENT - NIGHT -- CONTINUOUS]
JAKE: So your parents live in DC?
THERESA CARANO: They used to. My father travels a lot. My mom died when I was
ten.
JAKE: Oh, I'm sorry. What does your dad do?
(She takes a deep breath and pauses as she taps the brush on the glass.)
JAKE: I-I don't mean to pry.
THERESA CARANO: No, uh, no. I say he's an importer-exporter.
JAKE: Oh.
THERESA CARANO: My dad's an arms dealer.
CUT TO:
[INT. NSA - SAT OPS - NIGHT -- CONTINUOUS]
(KYLE looks up, surprised.)
KYLE: Lou, I think he might've stumbled onto something.
(On the other side of the office, LOU looks up at KYLE.)
CUT TO:
[INT. HARBOUR BLOCK - THERESA'S APARTMENT - NIGHT -- CONTINUOUS]
JAKE: Uh... an arms dealer?
(THERESA nods.)
JAKE: Wow, that's ... different.
INTERCUT WITH:
[INT. NSA - SAT OPS]
(LOU is on a headset listening in on the conversation.)
THERESA CARANO: Uh ... yeah, pretty different. It's not something I tell most
people.
JAKE: You told me.
(She looks at him.)
THERESA CARANO: You're not most people.
(She continues working on the painting.)
JAKE: I can't imagine what that must've been like growing up.
THERESA: It was something. You know, you get old enough, you read things in
the newspaper. They can say what they want about him, but he never missed my
birthday or a school play or anything else that mattered.
JAKE: So, do you still see a lot of him?
THERESA CARANO: Not as much as I'd like. We talk on the phone. He's out of
the country. I can't keep up with him. He's always in a different time zone.
He sent me these shoes a couple weeks ago.
(She shows him her shoes.)
JAKE: Very nice!
THERESA CARANO: Caracas has the best shoes.
(JAKE laughs.)
CUT TO:
[INT. NSA - SAT OPS - NIGHT -- CONTINUOUS]
(KYLE looks at LOU.)
KYLE: Caracas.
LOU: Let's get our agents over there to circulate Carano's photo.
CUT BACK TO:
(JAKE looks at the painting.)
JAKE: So, we just start painting now or ... ?
THERESA: Nope. You see where these rips were? You have to let the putty dry
overnight.
JAKE: Oh. So then, I guess ...
THERESA CARANO: You have to come back tomorrow.
JAKE: Oh ...
CUT TO:
[EXT. WASHINGTON D.C. PARK (STOCK) - DAY]
[NSA SEAL]
(Establish.)
KYLE: (v.o.) A man fitting Carano's description left a private compound in the
El Posada neighborhood of Caracas three days ago.
[INT. NSA - HALLWAY - DAY]
(LOU, KYLE and JAKE walk through the hallway.)
LOU: Confirmed?
KYLE: Venezuelan Intelligence and Miraflores. That's the presidential palace.
JAKE: I didn't know we had someone in the presidential palace.
LOU: Hmm. Yes. The president.
(They walk into SAT OPS.)
[INT. NSA - SAT OPS - DAY - CONTINUOUS]
KYLE: We believe Carano boarded a flight on El Centro air under the name
Eduardo Garcia. That plane went to Costa Rica.
(They look at the map on the wall monitor.)
LOU: Too late for a welcoming committee?
KYLE: Long gone.
(LOU studies the map for a moment.)
LOU: Carano leaves Venezuela for Costa Rica, Soledad is rumored to be heading
north into Colombia. Let's focus our resources here between El Salvador and
Costa Rica. I believe Carano's going to be meeting his buyers somewhere in this
vicinity.
(She draws an electronic circle of the area on the map.)
KYLE: (to JAKE) That's good work.
JAKE: Thanks. You guys can take it from here?
KYLE: Don't you and Carano's daughter have a date tonight?
JAKE: A ... a date? No, no, no. Hey, no, no, it's not a date, it's, um ...
uh, we're supposed to work on the painting around 8:00. I'll cancel.
LOU: No, you won't. In fact, I'd like you to go sooner.
JAKE: Are you sure you need me on this? 'Cause you guys already know they're
in Central America. You have agents all over the place, uh ...
LOU: She talks to her father on the phone. She told you that herself last
night.
KYLE: We've run traces on her cell, land line-- nothing. She's communicating
with him somehow.
JAKE: You want me to find out how.
(KYLE nods. He turns and looks at LOU who also nods. JAKE sighs and closes his
eyes. He's not thrilled about it.)
CUT TO:
[EXT. HARBOUR BLOCK - NIGHT]
(Establish.)
[INT. HARBOUR BLOCK - HALLWAY TO THERESA'S APARTMENT - NIGHT]
(JAKE walks up to THERESA'S door. He pauses for a moment, then knocks.)
(The door opens. THERESA is dressed in a form-fitting black dress. She looks
great and it simply floors JAKE. Whatever greeting he was going to give her is
stuck in his throat. His eyes are wide, his mouth open.)
(THERESA smiles.)
THERESA CARANO: Nice to see you, too.
JAKE: Hi. Sorry. Uh ... it's just, you look... amazing.
THERESA CARANO: Thank you. Come in.
(JAKE walks into the apartment.)
[INT. HARBOUR BLOCK - THERESA'S APARTMENT - NIGHT -- CONTINUOUS]
JAKE: Are you allowed to paint in that dress?
(She closes the door.)
THERESA CARANO: No, we're not painting tonight.
JAKE: We're not?
THERESA CARANO: No.
(She heads over to the table.)
THERESA CARANO: Uh, the painting still has to dry another day. So I figured
that there's not much else to do but eat and enjoy ourselves.
(She picks up two wine glasses and gives one to JAKE.)
THERESA CARANO: I hope you're not upset that I tricked you.
JAKE: No, no. I'm ... delighted.
(The clink glasses and drink.)
JAKE: Something smells really good.
THERESA CARANO: It's the chipotle sauce for dipping. Relax, make yourself at
home.
JAKE: Okay.
(THERESA walks away and heads for the kitchen. JAKE looks around the apartment
trying to figure out how she contacts her father. He sees a PDA in its
recharger on the side table.)
(JAKE glances around, then heads for the PDA. After a couple of steps, THERESA
walks back into the room.)
THERESA CARANO: I expect you to be honest.
(She's carrying the serving dish with the chipotle sauce in it and holds out a
long wooden spoon for him to taste.)
THERESA CARANO: Tell me if it's too spicy.
JAKE: Wow, that's perfect.
THERESA CARANO: Yeah?
JAKE: (nods) Mm.
THERESA CARANO: Good. Let's dance.
(She takes his hand and leads him away. JAKE glances back at the PDA.)
JAKE: No, I don't really ...
(They dance. As they dance, JAKE again glances at the PDA on the table.)
THERESA CARANO: Wow ... you're a natural.
(Their dancing becomes less defined and JAKE just holds THERESA, rocking gently
to the music.)
(JAKE stares intently at the PDA.)
CUE SOUND: ENHANCED ABILITIES
(Camera zooms in toward JAKE'S eyes and to the PDA. JAKE concentrates on the
PDA. Camera zoom in to the PDA, through the monitor ...
... to "Phone Book" ...
... to "Received Calls" ...
... to "--03-27854219 Papa" ...
... then back out and away from the PDA which is now on. JAKE continues to
concentrate on the PDA while dancing with THERESA.)
(The PDA goes through:
... through "Call History" ...
... selects "Received Calls" ...
... scrolls down to "011-503-27854219 Papa" ...
(THERESA pulls away from JAKE and notices him concentrating. JAKE breaks
concentration to look at THERESA.)
THERESA CARANO: You're really cute when you do that.
JAKE: What? Wh-when I do what?
THERESA CARANO: You ... scrunch up your forehead 'cause you're concentrating.
JAKE: I scrunch?
THERESA CARANO: Yeah, you do. Right here.
(She points to his forehead above and between his eyes. They lean toward each
other and kiss.)
VARIOUS CUTS TO:
[NSA SEAL]
[INT. NSA - SAT OPS - NIGHT]
(Sitting at a workstation at a computer, JAKE reports to LOU and KYLE.)
JAKE: He called her twice in the last nine hours. Santa Ana, San Salvador.
KYLE: How do we know it was him?
JAKE: She has a cell phone on her speed dial, so when the calls came in, it
said "Papa." I'm uplinking to the satellite now.
LOU: Put it on the big board.
JAKE: Yeah.
(LOU stands in front of the monitor waiting. JAKE puts the map on the monitor.)
JAKE: The El Cortez hotel, top floor, northeast corner.
LOU: Got him. Put rotating teams on that hotel. When he moves, we move.
(LOU turns and leaves. JAKE looks down at the monitor in front of him.)
CUT TO:
[OUTER SPACE - SATELLITE]
[EXT. SAN SALVADOR - MEETING PLACE -- DAY]
LEGEND:
18 HOURS LATER
SAN SALVADOR,
CENTRAL AMERICA
(AGENTS in cars watch the meeting place, waiting for CARANO to show.)
UPTOWN 1: (to radio) Uptown one's in position.
(The agent in the car lifts the binoculars.)
DOWNTOWN 2: (to radio) Downtown two, approaching at nine o'clock.
(He sees an approaching sedan travel toward the meeting place.)
INTERCUT WITH:
[INT. NSA - SAT OPS]
(LOU watches the monitor with the heat-seeking view of the meeting place.)
DOWNTOWN 2: (from radio) Carano's on the move.
UPTOWN 1: (from radio) Copy that.
KYLE: He left the El Cortez 20 minutes ago.
JAKE: Is he, uh, is this the handoff?
LOU: We'll find out.
CUT BACK TO:
[SAN SALVADOR - MEETING PLACE -- DAY]
DOWNTOWN 2: (to radio) Our guests have arrived.
UPTOWN 1: (to radio) I copy.
(The car turns down the drive nearer to the meeting place.)
UPTOWN 1: (to radio) Looks like the Colombian posse's meeting on a boat.
LOU: You got an I.D. on Carano?
(CARANO steps out of the vehicle.)
AGENT: It's a positive. (The agent snaps a photo.) Our guess is, the semtex
is inside the boat.
LOU: Where are the buyers?
UPTOWN 1: (to radio) So far they're a no-show.
KYLE: Maybe this isn't the handoff. Maybe they're just transferring the
semtex.
(On the monitor, two figures walk onto the boat.)
UPTOWN 1: (to radio) Doesn't look like the folks from Soledad are coming to
the party. No pressure, boss, but these guys aren't going to be around forever.
If we get Carano, maybe the semtex, that's two out of three, and we put a stop
to it for the time being.
LOU: No, let's-let's wait one more minute.
UPTOWN 1: (to radio) I copy.
(The agents watch as CARANO directs his men to carry the crates off the boat.)
UPTOWN 1: They're on the move.
LOU: Okay, Peter, let's draw in the net.
PETER: Copy that. Let's go.
(The agents converge on the meeting place.)
(CARANO'S men see the agents and drop their crates as they reach for their
guns.)
(The agents get out of the car.)
PETER: Let's go.
(There's gunfire as the agents head for the boat. CARANO and his men retreat to
the boat.)
AGENTS: NSA! Drop your weapons. Drop your weapons. Get down! Get down,
Federal Agents!
VOICES: (over radio) Vamonos rapido! Vamonos ra...
VOICES: (over radio) vamonos al bote! Vamonos!
VOICES: (over radio) Vamonos al bote!
LOU: Peter, what's going on?
(Over the radio, they hear more gun fire. On the monitor, they see bodies stop
moving.)
LOU: Peter ... what's happening?
(They hear more gunfire.)
LOU: Peter?
TECH AGENT CARVER: Looks like a lot of bodies.
(KYLE glances at CARVER.)
LOU: (to radio) Peter? Peter?
(Back at the meeting site, the bridge to the boat is littered with bodies.
PETER reports.)
PETER: We've sustained two injuries, both minor.
LOU: And the Colombians?
PETER: Three dead, one wounded.
LOU: And Carano -- what's Carano's status?
PETER: Carano is dead. Repeat: Carano is dead.
(JAKE stares out in front of him.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. VARIOUS WASHINGTON D.C. (STOCK) -- DAY]
[INT. NSA - RESEARCH LAB - DAY]
(Feeling guilty for his role in the recent events, JAKE rants to DIANE about
it.)
DIANE: Jake, it's not your fault.
JAKE: Diane, I put the NSA on to him. I broke into her phone logs. I
pinpointed his location right down to his hotel room.
DIANE: Yeah, because you were doing your job! You had no control over how this
turned out.
JAKE: No, I knew the risks. I knew this might happen. She trusted me, and now
her dad's dead.
(JAKE'S cell phone rings. He answers it.)
JAKE: (to phone) Hello? Theresa.
(JAKE is resigned to just deal with it. DIANE sighs and looks away.)
CUT TO:
[INT. HARBOUR BLOCK - THERESA'S APARTMENT - DAY]
(JAKE tries to comfort THERESA.)
JAKE: Theresa, I'm so sorry.
THERESA CARANO: (crying) I always knew someday something like this would
happen, you know? I just can't believe ... he was shot eleven times. What kind
of people do that? He was shot in the street. I didn't even get to say good-
bye.
(She cries. JAKE puts his hand on her back. She turns and cries into his
shoulder.)
LOU: (v.o.) You went to see her?
CUT TO:
[INT. NSA - LOU'S OFFICE -- DAY]
(JAKE reports to LOU.)
JAKE: Yes.
LOU: Without authorization?
JAKE: Yes.
LOU: And?
JAKE: She's a wreck. The funeral's on Friday. She's burying him here in
Washington next to her mother.
LOU: Well, I'm sorry that a girl's father had to die, but I am not sorry that a
dangerous arms dealer is gone, and you shouldn't be, either.
JAKE: Is there anything else?
LOU: Yes. I want my final report.
(JAKE nods and turns to leave the office.)
CUT TO:
[INT. NSA - SAT OPS - LATE NIGHT]
(JAKE is at his workstation typing out his final report.)
(CARVER walks in and puts a stack of files on the table next to JAKE.)
TECH AGENT CARVER: Everything on Carano for the last six years. Guess you're
going to be here for a while.
(She walks away.)
(JAKE works on his report. As he does, through various voice overs, he
remembers ... )
THERESA CARANO: (v.o.) I'm Theresa Carano. Theresa ...
[ON COMPUTER SCREEN: THE REPORT]
...gathered through the surveilling of Carano ...
... in northwest Washington D.C. I met the ...
... and Carano's only daughter. Her ...
THERESA CARANO: (v.o.) Are you always this nervous around women?
(JAKE continues to type his report.)
THERESA CARANO: (v.o.) My dad travels a lot ...
[ON COMPUTER SCREEN: THE REPORT]
... numbers in Mexico City where her father could be reached.
I felt that, after several prolonged conversations with Theresa that despite his
reputation he was a good father
THERESA CARANO: (v.o.) ... my mom died when I was ten ...
(JAKE types.)
THERESA CARANO: (v.o.) ... my dad's an arms dealer ...
(JAKE grabs the topmost file folder off the pile next to him. He opens it and
starts reading. He lifts up the letter on the top, then drops it down obviously
not finding what he's looking for.)
(Cut to: JAKE continues to type out his report.)
THERESA CARANO: (v.o.) ... I always knew someday something like this would
happen ...
[ON COMPUTER SCREEN: THE REPORT]
I felt that, after several prolonged conversations with Theresa that despite his
reputation he was a good father. I met with Theresa almost ...
... they shot him eleven times.
THERESA CARANO: (v.o.) ... He was shot eleven times.
(Camera zooms in slightly to the following words:
ELEVEN TIMES
THERESA CARANO: (v.o.) ... What kind of people do that?
(Camera pushes in close to JAKE'S eyes as he stares at the words on the screen.
He's stopped typing and just stares at the screen.)
TOP VIEW OF JAKE
(As Jake sits at the table, he covers his eyes with his hands.)
FADE TO BLACK.
FADE IN.
[EXT. WASHINGTON D.C. (STOCK) - DAY]
[INT. NSA - LOU'S OFFICE -- DAY]
(LOU reads through JAKE'S final report as JAKE sits quietly in the seat next to
the window ... waiting for her to finish. He's very quiet.)
(LOU looks through the file. The top sheet is about THERESA CARANO. She lifts
it up to a surveillance photo of RUBEN CARANO.)
LOU: Is this everything?
(JAKE looks up.)
JAKE: Yeah. I'd like permission to see her again.
LOU: (doesn't look up) Permission granted.
(Camera holds on JAKE.)
CUT TO:
[EXT. HARBOUR BLOCK - THERESA'S APARTMENT - DAY]
(JAKE parks his car outside THERESA'S building. He steps out of his car and
gazes at her building. He crosses the street toward her apartment building.)
[INT. HARBOUR BLOCK - THERESA'S APARTMENT - DAY]
(Someone is knocking on the front door. THERESA, dressed in black, walks to the
door and opens it for JAKE.)
THERESA CARANO: Hey, come in.
(She motions him inside. He walks into the apartment.)
THERESA CARANO: You don't have to do this ...
(She closes the door behind her.)
THERESA CARANO: ... keep checking up on me.
JAKE: Theresa ...
THERESA CARANO: I have something for you.
(She walks over to show him the painting.)
THERESA CARANO: I finished it. What do you think?
JAKE: It's beautiful, but you didn't have to do that.
(She takes it off of the easel.)
THERESA CARANO: Yeah, I did. Working on it helped. Helps. Anyway, it's all
yours now. (She hands it to him.) It was the one good thing the last couple of
days. Well, two. You being the other.
(JAKE stares at her. He sighs.)
JAKE: Uh ... Theresa... uh...
(JAKE puts the painting down on the side and walks back to her.)
JAKE: I'm not good, and I'm not who you think I am.
THERESA CARANO: What?
JAKE: I just, I ... I think you deserve to know the truth. My real name is
Jake Foley, and I don't repair computers. I'm an agent with the NSA.
THERESA CARANO: The NSA?
JAKE: Yeah, your father, he's been selling some very dangerous explosives to a
terrorist group. We have agents all over the world looking for him, and I was
assigned to follow you.
THERESA CARANO: (shakes her head) Are you joking?
JAKE: I used you to help them track him. Uh ... our agents were the ones who
tried to arrest him ... who killed him.
(She sighs.)
THERESA CARANO: Why are you ... why are you telling me this?
JAKE: 'Cause I care about you. I-I think you deserve better. And ... I
couldn't live with myself if I didn't.
THERESA CARANO: Yeah, well, I'm glad you can live with yourself now.
(She doesn't say anymore, although the look on her face says it all. JAKE
turns, picks up his painting and leaves the apartment.)
(The door shuts behind him.)
(THERESA turns around, her back to the camera. ALONZO REED steps out into the
living room.)
ALONZO REED: Are you all right?
(THERESA turns around and smiles, relieved.)
THERESA CARANO: Yeah. Never better. The NSA bought it. They're out of the
picture. Tell Soledad they can take delivery tomorrow.
(She walks toward him, relaxed and confident that her plan worked.)
ALONZO REED: You are good, Carano.
(She puts a hand on his shoulder.)
THERESA CARANO: You're right. Helps that men are the same everywhere. They
always underestimate the woman.
(She pats his shoulder and walks past him.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. AIR LANDING FIELD -- DAY]
(A plane lands.)
(Nearby, the landing field workers work on the various barrels on the field.)
(Cars pull up and about a half dozen men in black suits walk forward to meet the
plane. THERESA CARANO also walks forward to wait the cargo inside.)
(The plane lands. THERESA CARANO stands in the back and waits.)
(The men unload the box from the back of the plane. They put it on a gurney and
roll it to the back of the open vehicle parked nearby.)
(JAKE walks up to THERESA.)
JAKE: Theresa. I'm sorry. I had to come. I couldn't let you go through this
by yourself. Maybe ... I'll leave if you want me to.
(She looks at him.)
THERESA CARANO: (shakes her head) No.
(She reaches out and takes his hand.)
(Before they load the crate onto the back of the car, they pause. THERESA walks
up to the box. JAKE follows her. THERESA visibly tenses up.)
JAKE: Sorry about what happened to your dad. Two and a half years ago, when he
really died in Belize ...
(THERESA slowly turns to look at JAKE.)
JAKE: One of his private planes changed hands. There was a forged bill of
sale. He didn't sell that plane. It crashed. You covered it up.
(Quick flashback to: JAKE is sitting in his car watching THERESA'S apartment.
He adjusts the mirror. He looks up. The meter maid walks toward his car.)
JAKE: (v.o.) That day we met, thought I was watching you.
(THERESA walks out of her building. JAKE reaches into his pocket for change.
JAKE: (v.o.) Turns out, you were watching me...
(JAKE checks his wallet, turns around and sees THERESA putting in money into his
meter.)
JAKE: (v.o.) ... playing me from the minute you put the quarter in the meter.
THERESA CARANO: Got it.
(Cut to: THERESA and JAKE in her apartment as she shows him her paintings.)
THERESA CARANO: (v.o.) Don't be afraid to push...
(He reaches out to touch the painting. She puts her hand over his.)
(Cut to: She smiles at him.)
THERESA CARANO: Were you always this nervous around women ... ?
(THERESA walks out of the room.)
THERESA CARANO: I'll be back ...
(JAKE starts looking around the apartment.)
JAKE: (v.o.) I'm guessing you told Alonzo to find out who was.
(Cut to: From the street below, ALONZO REED sits in his car watching them and
talking into the phone.)
ALONZO REED: (v.o.) (to phone) Don't worry, Carano.
THERESA CARANO: (softly, b.g.) (v.o.) Why are you telling me this?
JAKE: (v.o.) And that's when you really start to shine.
THERESA CARANO: (v.o.) My dad's an arms dealer...
(Various cuts and flashes of Theresa showing Jake her shoes, the PDA on the side
table, Jake going through the PDA's phone book.)
JAKE: (v.o.) The shoes from Caracas, the PDA out in plain view, all to make us
think dad's still out there, cutting deals.
(End of flashbacks. Resume to present.)
(THERESA looks at JAKE as he summarizes what he knows about her plan for her.)
JAKE: Hey, family business. You make millions running it.
(Quick flashbacks to: The raid at the meeting site in San Salvador.)
JAKE: Your father's enemies chase his ghost, and every once in a while, someone
you hire to keep that ghost alive gets shot.
(Various flashes of Jake typing out his report, the computer monitor and of Jake
comforting Theresa.)
(End of flashback. Resume to present.)
JAKE: Eleven times, to be exact.
(JAKE turns to look at THERESA.)
JAKE: You knew that before we did. Turns out your people were there watching
that little set-up got back to you faster than the coroner got back to us.
(THERESA smiles and looks at JAKE.)
THERESA CARANO: You're very good.
JAKE: You know, I was thinking to myself, if I were you, how would I get that
micro semtex back into the country and still keep my $20 million? I think I'd
take it through customs, right along with dear old dead, fake dad. Am I warm?
(Instead of answering him, THERESA walks away from JAKE. She passes the crate
and walks by her men.)
THERESA CARANO: (in spanish)
(The MEN reach for their weapons. JAKE takes a step back. He takes his hands
out of his pockets and slowly raises them.)
JAKE: Kyle, little help.
(KYLE and the numerous agents backing JAKE up, rush out with their weapons in
their hands. The agents are dressed as airport workers.)
KYLE: Everyone, weapons on the ground, now!
AGENT: Put it down!
KYLE: Hands in the air!
(ALONZO REED puts his gun on the ground. THERESA takes out a small hand-held
remove from her pocket.)
KYLE: Weapons on the ground, now!
(KYLE continues to shout instructions. THERESA puts her hands high in the air.)
KYLE: Hands in the air. Hands in the air.
(JAKE looks at THERESA and sees the small device in her hand. He turns and
shouts to KYLE and the other agents behind him.)
JAKE: Oh, get down, get down, get down!
(THERESA moves. She throws the device high into the air, turns and runs.)
(The tower behind the agents explode, knocking the agents to the ground.)
(There is general chaos and disorder as burning debris litters the runway. JAKE
looks up, searching for KYLE. Behind him, ALONZO REED is taking full advantage
of the situation. He reaches for his gun, stands up and starts firing into the
smoky haze.)
(Inside the haze, agents with automatic weapons fire back.)
(JAKE gets to his feet to look for KYLE.)
JAKE: Kyle! Kyle?
KYLE: I'm all right. Get her!
(JAKE looks around for THERESA.)
CUE SOUND: ENHANCED ABILITY
(Through the smoky haze, JAKE sees THERESA in her car and hears her start the
engine. THERESA drives away, the car tires screeching.)
(JAKE takes off after her.)
(Cut to: As THERESA drives down the runway, JAKE is nearly caught up with the
car.)
(She glances behind her and sees JAKE on her tail. She speeds up.)
(JAKE continues to pursue the car, his feet moving faster than the eye can see.)
(THERESA continues to drive away from JAKE. She turns the car around the parked
planes. JAKE cuts through the planes and heads straight for the car, closer
than ever.)
(JAKE jumps.)
CUE SOUND: ENHANCED ABILITY
(He lands inside the back seat of the car. He grabs the steering wheel and they
struggle for control of the car.)
(THERESA stops the car. JAKE lets go of the wheel and falls back. He reaches
for the front when THERESA belts him in the face. She turns around.)
JAKE: Look ... I make it a rule never to ...
(She punches him square in the face.)
(JAKE reaches out and knocks her out.)
JAKE: (panting) ... do that.
(JAKE sighs.)
FADE TO:
[EXT. WASHINGTON D.C. (STOCK) - NIGHT]
[NSA SEAL ON THE MONITOR]
[INT. NSA - PARKING GARAGE - P2 -- NIGHT]
(JAKE is carrying the painting and walking toward his car. DIANE exits the
building and rushes to him.)
DIANE: Jake!
(She clears her throat and runs to catch up with JAKE.)
DIANE: Hi. What, uh ... whatcha ... what are you doing with that?
(She stops next to him and looks down at the painting.)
JAKE: Uh ... evidence cleared it. Taking it home.
DIANE: Oh! It's nice. It'll look nice in your place.
(They both head for the car.)
JAKE: Yeah. Well, it's my reminder I can't trust people anymore. I can't even
trust myself you know?
DIANE: Well, Jake, you can trust people. Wha ... ?
(They stop walking. He looks at her and shrugs.)
JAKE: Sure.
(JAKE resumes walking toward his car. DIANE stops for a beat, then rushes again
to catch up with him.)
DIANE: No, look, wait. Wait, wait, wait. Wait, wait. Jake, just listen.
(She runs in front of him to block his path.)
DIANE: Look, I know for the mission and all that, yeah, you can't trust anyone,
but that's-that's just your job. I mean, you don't have to take that home. You
just ... you gotta find moments with people that you do trust. You know, and-
and people with whom you can be honest, and then it keeps you balanced. (She
chuckles.) You know what I ... mean?
(JAKE looks at DIANE.)
JAKE: Where are you from, anyway?
(He walks around her toward his car. DIANE laughs a bit, embarrassed.)
DIANE: Bar Harbor, Maine. What about you?
(She turns to catch up with him. The two walk off through the garage away from
the camera. Their voices and conversation fades in the distance.)
(Slow blur out.)
JAKE: Akron, Ohio.
DIANE: Akron, Ohio!
JAKE: Yeah.
DIANE: What's there to do in Akron, Ohio?
JAKE: There's an amusement park.
DIANE: Yeah?
JAKE: Yeah.
(They turn the corner.)
CUT TO:
[INT. JAKE'S APARTMENT -- NIGHT]
(JAKE'S at home. The painting from the case is hanging on the wall. We hear
JAKE talking.)
JAKE: (v.o.) Hello, Sarah. It's Jake. A friend of mine got me thinking, and
I need to be honest with you. I've known you all this time, and I've never told
you how I feel, how I really feel about you. I ... I like you.
(Camera moves from the painting down to the floor to follow the phone cord along
the floor toward JAKE'S desk where we find JAKE writing SARAH a letter.)
JAKE: I've always liked you, Sarah, and ... and not just as a friend.
(JAKE sighs and puts his pencil down on the desk. He rests his chin on his
knuckles and looks at the phone.)
FADE OUT.
THE END
[Captioning sponsored by Viacom Productions and UPN Captioned by Media Access
Group wgbh access.Wgbh.Org]
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Contact the Transcriptionist at (intrepidly002@yahoo.com)
Please do not archive this transcript without permission from the
Transcriptionist.
BEGINNING/TITLE CREDITS
JAKE 2.0
1X04: ARMS AND THE GIRL
ORIGINAL AIR DATE ON UPN: 10/01/2003
TRANSCRIBED FROM UPN
Starring
CHRISTOPHER GORHAM as Jake Foley
PHILIP ANTHONY-RODRIGUEZ as Kyle Duarte
MARINA BLACK as Sarah Carter
JUDITH SCOTT as Deputy Director Louise (Lou) Beckett
KEEGAN CONNOR TRACY as Diane Hughes
Created by: SILVIO HORTA
Guest Starring:
EMMANUELLE CHRIQUI as Theresa Carano
MICHAEL ANTHONY RAWLING as Alonzo Reed
MIRANDA FRIGON as Tech Agent Susan Carver
Co-Producer: WILLIAM REDNER
Producer: MARK WILDING
Produced by: BERNARD BOURRET
Supervising Producer: JAVIER GRILLO-MARXUACH
Executive Producer: GINA MATTHEWS
Executive Producer: GRANT SCHARBO
Executive Producer: SILVIO HORTA
Written by: MARK WILDING
Directed by: MILAN CHEYLOV
END CREDITS
Executive Producer: DAVID GREENWALT
David Greenwalt Productions, California LazyDave
Matthew S. Scharbo Productions
Silent H Productions
Roundtable Entertainment in association with Viacom Productions, a Paramount Company
Director of Photography: DAVID GEDDES
Production Designer: GRAEME MURRAY
Edited by: MONTY DEGRAFF
Production Manager: TODD PITTSON
First Assistant Director: MATTHEW BLECHA
Second Assistant Director: KIT MARLATT
Music by DONNY MARKOWITZ
Music Supervisor: JASON ALEXANDER
Casting by: AMY McINTYRE BRITT
Casting by: ANYA COLLOFF
Canadian Casting by: TRISH ROBINSON
Canadian Casting by: MARY MONTICA POOLE
Co-Starring
D. NEIL MARK as Agent Barnes
JOHNNY CANTIVEROS as First Filipino
ERWIN ROSALES as Second Filipino
LESLEY EWEN as Meter Maid
JOSE VARGAS as Ruben Carano
Set Decorator: SHANNON MURPHY
Costume Designer: CARLA HETLAND
Costumer: HEATHER LEE DOUGLAS
Make-up Artist: BEV WRIGHT
Hair Stylist: JIL CORP
Property Master: TERRY WEAVER
Additional Editing by: SHAWN PAPER
Post Production Supervisor: DAN McDONALD
Script Supervisor: PATTIE ROBERTSON
Production Coordinator: ANITA MEEHAN-TRUELOVE
Production Accountant: GORD SMITH
1st Company Grip: TONY WHITESIDE
Production Sound Mixer: SHANE CONNELLY
Stunt Coordinator: SCOTT NICHOLSON
Special Effects Coordinator: GARY PALLER
Transportation Coordinator: JOHN J. O'TOOLE
Construction Coordinator: VANCE CONWAY
Casting Assistant: CARRIE LEVIN
Assistant Editor: DINO C.C. DeLORENZO
Assistant Editor: DEBRA WEINSTEIN
Sound Supervisor: JON WAKEHAM
Music Editor: MOIRA MARQUIS
Re-Recording Mixers: TIM PHILBEN
Re-Recording Mixers: ALAN DECKER
Additional Music by: RICH McHUGH and ERIC AMDAHL
Visual Effects by: STARGATE DIGITAL
High Definition Post: MATCHFRAME VIDEO
Film Laboratory: TOYBOX
Off Line Post: THRESHOLD SOUND & VISION
The persons and events in this film are fictitious. Any similarity to actual
persons or events is unintentional.
© 2003 Viacom Productions Inc., All Rights Reserved
First Publication USA
Viacom Productions Inc is the author of this program for purposes of article
15(2) of the Berne Convention and all national laws giving effects therein.
This motion picture is protected under the laws of the United States and other
countries. Unauthorized duplications, distribution or exhibition may result in
civil liability and criminal prosecution.
Dated: 11/15/2003
http://www.webphilia.com/~anthology/wnp.html
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