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JAKE 2.0
1X08: MIDDLEMAN
ORIGINAL AIR DATE ON UPN: 11/05/2003
TRANSCRIBED FROM UPN
Written by: JESSE STERN
Directed by: MICHAEL GROSSMAN
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Please do not archive this transcript without permission from the
Transcriptionist
RATING: TV-PG-LV
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SUMMARY: The NSA believes that a dangerous polish mercenary has arrived in town
to kidnap someone. Jake and Sarah go out on a date. Oh, and Diane's got a
boyfriend.
JAKE 2.0
1X08: MIDDLEMAN
COLD OPEN:
[VARIOUS CLIPS FROM PREVIOUS EPISODES]
NARRATOR: (v.o.) Jake Foley was an ordinary guy until a freak accident
transformed him into the world's first computer-enhanced man. Millions of
microscopic computers interface with his biochemistry and make him stronger and
faster, able to see and hear farther than normal men. They give him the power
to control technology with his brain. Jake Foley -- America's secret weapon.
He takes on missions no ordinary agent can perform. He is the ultimate human
upgrade.
FADE TO BLACK.
FADE IN.
[EXT. NSA BUILDING (STOCK) - DAY]
[INT. NSA - DAY]
(JAKE is standing in front of someone, his eyes are cold and he looks very
angry.)
JAKE: (threateningly) I gave you a chance to do this the easy way. Now,
sooner or later, you're going to tell me where that bomb is. I'm going to count
to three. (beat) Three.
(JAKE punches the person in front of him in the abdomen a couple of times.)
JAKE: Oh, you think you're tough? Oh, you think you're a bad-ass? Think
again, pal.
(JAKE again sends a series of punches at the abdomen in front of him. Finally,
he pulls his fist back to land a final punch.)
CUE SOUND: ENHANCED STRENGTH
(JAKE'S fist goes right through the dummy's head. He pulls his fist back.)
(Through the gaping hole where the dummy's face used to be, we see KYLE standing
just outside the room watching JAKE. KYLE opens the door and walks into the
practice room.)
KYLE: Remind me never to piss you off.
(KYLE tosses JAKE a towel.)
KYLE: It's time.
JAKE: Already?
KYLE: Yep.
(JAKE stares at the dummy.)
JAKE: Ooh!
(They both leave the room.)
CUT TO:
[INT. NSA - AUDITORIUM - DAY]
(A woman SPEAKER gives a talk on "SEXUAL HARASSMENT IN THE WORKPLACE". She
hands out brochures as she walks around the room talking.)
SPEAKER (WOMAN): This is a very serious matter concerning the personal safety
of all 46,000 NSA employees. This is not your home. There are rules that
govern your behavior ...
(JAKE looks at the brochures.)
KYLE: (impatient) Will you just take one and pass 'em?
JAKE: Oh, but I collect seminar pamphlets.
(JAKE smiles and hands the rest to KYLE.
SPEAKER (WOMAN): Each of us is entitled to a safe and harmonious work
environment.
(The SPEAKER hands some brochures to DIANE. In the back of the room, the door
opens and STEVE CLEMENS walks in.)
SPEAKER (WOMAN): But it is our -- all of our-responsibility to maintain that
balance. Now, if somebody is doing something offensive, you have to speak up.
Be sure to say no. If you smile or act unsure of yourself ...
(STEVE CLEMENS grabs a chair from the side and puts it next to DIANE'S.)
STEVE CLEMENS: Would you feel harassed if I took this seat?
DIANE: Oh, maybe a little.
SPEAKER (WOMAN): ... The harasser may think you're implying a "yes." We'd all
like to be able to joke about it, pretend it isn't a big deal.
STEVE CLEMENS: Please don't sue.
SPEAKER (WOMAN): Practice until you can say, "that behavior offends me."
DIANE: I doubt it's actionable.
SPEAKER (WOMAN): I'm sure you all have places that you would rather be, but if
you just give me your undivided attention for half an hour, I will try to make
this as painless as possible. So, if you could please open your pamphlets to
section number one: "Unwanted advances and lascivious eye contact." Now, as
cited in Title VII, the relevant section civil rights act of 1964, a "person" is
defined as one or more individuals ...
(Since he came in late, STEVE chuckles as he doesn't have a brochure. DIANE
shares hers with him.)
(Bored, JAKE opens his brochure, but concentrates more on listening.)
CUE SOUND: ENHANCED HEARING
(Camera zooms backward through the door and down the hallway and into SAT OPS.)
MAN IN HALLWAY: Yeah, I'll be going for the E6 field promotion.
[IN SAT-OPS]
MAN: (over phone) Yeah, they can say California is theirs all they want. It
still belongs to us.
MAN 2 (over phone): ... Satellite remote. No, honey. The big gray one controls
the tivo ...
MAN 3 ( over phone ): ...Yo quiero mas informaciones acerca de la siete quinze
de diciembre. Me gusta mucho...
CARVER: We've got a problem.
(HART turns around to check on her monitor.)
CARVER: Echelon monitor over Europe's detected a scrambled call.
HART: What are they using?
CARVER: I've never seen it before. Some sort of crystal logarithmic device.
HART: Initialize decryption.
CARVER: It's already running.
HART: Record and process. We'll see if the boys in crypto can make anything of
it.
CARVER: Right away.
HART: What's the source?
CARVER: A mobile phone. Triangulating now ...
CUT TO:
[OUTER SPACE]
(A close up of a satellite floating by.)
CARVER: (v.o.) ... Vienna, Austria.
[INT. HOTEL ROOM IN VIENNA, AUSTRIA]
(Camera pulls back through a window to show us VASILY KORONKIEWICZ talking with
someone on a cell phone.)
MAN: (from phone) {in untranslated Polish}
VASILY: (subtitled) I don't know ... I'm sort of in the middle of
something.
MAN: (from phone) {in untranslated Polish}
VASILY: Hmmm.
MAN: (from phone) {in untranslated Polish}
(VASILY perks up. Whatever was said caught his interest.)
VASILY: (in English) Is that American dollars?
MAN: (from phone) {in untranslated Polish}
VASILY: Give me day to tie up loose ends. I'll be in DC on
Monday.
(VASILY KORONKIEWICZ hangs up his cell phone. He cocks his gun and turns to
address the man cowering on the floor behind the desk.)
VASILY: Mr. Lowenstein ... I'm afraid I have unfortunate news.
I'm not going to be able to do this as thoroughly as I had hoped. I'm deeply
sorry ...
(He lifts his gun and aims.)
VASILY: ... about the rug.
CUT TO:
[EXT. AUSTRIA, VIENNA (STOCK) - DAY]
(Off screen, three gunshots are fired.)
FADE TO
END OF TEASER
ROLL TITLE CREDITS
INTRODUCTION:
That's me. Jake Foley, I'm in Tech Support. Security Clearance: Low. Very
low. Then one day, it all changed. Life just got real interesting.
(COMMERCIAL SET)
FADE IN.
[EXT. VARIOUS WASHINGTON D.C. (STOCK) - DAY]
[INT. NSA - HALLWAY -- DAY]
(STEVE CLEMENS talks with DIANE.)
STEVE CLEMENS: So, want to catch a bite after work?
DIANE: That sounds great.
STEVE CLEMENS: Okay. Well, I'm off to catch the bad guys.
DIANE: Hmm, have fun.
(STEVE CLEMENS leaves. DIANE heads off smiling to her office. Behind her, JAKE
calls out to her.)
JAKE: Good weekend?
(She turns around and waits for JAKE to catch up with her.)
DIANE: Yeah! Very good. You?
JAKE: Oh, pretty uneventful. I laid around on my couch, watched a little
football. Well, a lot. I don't know. I think I may have watched all the
football. What-what'd you do?
DIANE: Oh, I went out to Wolftrap to see Alicia Keys.
JAKE: With who?
DIANE: Uh, well, you haven't met Steve Clemens?
(DIANE turns to look at JAKE and waves to STEVE who is in the elevator at the
end of the hall.)
JAKE: No, no, I haven't had the pleasure.
DIANE: Oh, he's in cryptology. He's ...
(She smiles.)
JAKE: (fills it in) Eccentric? A little bizarre?
DIANE: I was going to say, uh, "nice."
JAKE: Hey, does he wear one of those colanders on his head to keep out the
brainwave scanners?
(Irritated, DIANE turns and walks away.)
JAKE: I'm not making this stuff up. Those code-breaker guys are weird.
DIANE: Yeah, and do they exhibit classic antisocial behavior like never leaving
their couch all weekend?
(JAKE'S cell phone rings. He takes it out and looks at the caller ID: SARAH
CARTER.)
JAKE: Hey, Sarah, we're finally talking.
INTERCUT WITH:
[INT. BULDING - LOBBY]
SARAH: I know, just when I was starting to develop a relationship with your
voice mail.
JAKE: Yeah, you guys are getting pretty close.
SARAH: We are. He knows just when to beep. Uh, a little predictable, though.
JAKE: Yeah, I'm sorry. Things have been crazy around here, but, uh ... I've
wanted to talk to you.
SARAH: Me, too. Uh ... look, I-I know it's short notice, but my boss gave me
his tickets to the Saint Sebastian's Fund-Raiser tomorrow night. I know it
sounds kinda lame ...
JAKE: No, no, you kidding? I love the Saint ... Sebastian's fund-raiser.
SARAH: So, I'll meet you there, then?
JAKE: Okay, sure. I'll talk to you later. Bye.
(He hangs up just as KYLE walks up to him.)
KYLE: C'mon, I have a job for you, Mr. Roboto.
JAKE: "Mr. Roboto?" You're dating yourself, Kyle.
CUT TO:
[INT. NSA -- SAT OPS]
(Open on a screen full of binary code and ... whale sounds in what looks like
screens out of the matrix.)
(JAKE stares at the monitor and grimaces.)
JAKE: Sounds like a dying hippo.
KYLE: It's actually a next-generation encryption program. So far, it's stymied
any attempt to unscramble with logic software. It's kind of like a lock that
changes shape whenever you put a key in it. We were hoping you could interface
with it, and ...
JAKE: ... Ask it to be a little less difficult?
LOU: Yeah, something like that.
JAKE: I'll give it a shot.
(JAKE concentrates.)
CUE SOUNDS: INTERFACING
(JAKE interfaces with the computer. The screen still shows binary code, but the
audio has straightened out to actual voices.)
JAKE: (sheepishly) Sorry, it's still gibberish.
LOU: No, it's not. It's Polish.
(JAKE turns to look at the screen.)
JAKE: Oh.
CUT TO:
[INT. NSA - SAT OPS]
(LOU addresses the office. Behind her on the monitor is information about
VASILY.)
LOU: His name is Vasily Koronkiewicz. According to the telephone conversations
we've intercepted, it's highly probable he's in the DC area.
KYLE: This man is an efficient, dangerous mercenary who specializes in
abduction. He's been high on Interpol's radar since the disappearance of the
Belgian consul last April.
JAKE: Human trafficking. Nice guy.
LOU: Capturing Vasily is our highest priority. I want his 20 by the end of the
day.
(Meeting over, JAKE'S ready to go.)
JAKE: (to KYLE) So? We gonna go shake down some snitches?
KYLE: Jake, please. I haven't even finished my coffee.
(CARVER hands KYLE a file folder.)
CARVER: Transcription from linguistics.
KYLE: Thank you.
(KYLE opens it and looks through it. The sheet reads:
[ TRANSLATION AND LINGUISTICS
BEGIN TRANSLATION
Vasily: Bella?
Voice #1: Bella old friend. ...
Vasily: Good to hear from you. Am glad ...
Voice #1: Enough with the small talk
Vasily: Depends.
Voice #1: You know we are willing to
Vasily: How much?
Voice #1: Be patient my friend, the job ...
Vasily: Have I failed you in the past?
Voice #1: This call would not be taking place ...
Vasily: I am the best! (laughter)
Voice #1: Well, what do you say.
Vasily: I don't know I'm sort of in the middle of something ...
Voice #1: Would 7 million reasons clear ...
Vasily: Is that American dollars? Give me a day to tie up loose ends.
I'll be in DC Monday.
Voice #1: Go to NARODOWY for installment ...
... information when you land. ]
(JAKE looks at the file over KYLE'S shoulders.)
KYLE: "Narodowy?" There's no translation for this word.
JAKE: Oh, uh, here. Let me.
(JAKE goes to the nearest workstation and hits a couple of keys. He reads the
monitor.)
JAKE: Uh, National Bank of Poland. There's a Branch on Florida Ave. (to AGENT
CARVER) Hey, can you tap into their security cameras?
CARVER: I can if he tells me to.
(JAKE shrugs. He can't believe it. KYLE turns to CARVER.)
KYLE: Run Vasily's photo through facial ID for the past 12 hours.
(JAKE straightens and mimics KYLE behind his back.)
LOU: All right. What are we missing? What haven't we thought of?
KYLE: (sighs) Well ... there's always Lafortunata.
(This has JAKE'S attention.)
JAKE: What's Lafortunata?
LOU: Why don't you show him?
(KYLE turns to look at JAKE and gives him a look that JAKE can't seem to
interpret.)
CUT TO:
[INT. NSA - BASEMENT HALLWAY - DAY]
(KYLE leads JACK down the hallway. JAKE is carrying couple of file boxes.)
KYLE: Speak only in short, terse phrases. Under no circumstance are you to
engage, got it?
JAKE: What is this? The dungeon where you keep the Pig Boy?
(KYLE knocks on the door. Inside, Mulder answers ... oops. Inside, SEYMOUR
LAFORTUNATA is on the phone.)
SEYMOUR LAFORTUNATA: (to phone) Oh, oh, let me call you right back, all right?
I got some company.
(KYLE and JAKE walk into the office.)
SEYMOUR LAFORTUNATA: (to phone) I know. I know. Will wonders ever start? (he
chuckles) Okay. Okay. Keep your chin up.
(SEYMOUR LAFORTUNATA hangs up.)
KYLE: Seymour.
SEYMOUR LAFORTUNATA: Mr. Duarte! Do I hear that clarion call? (He puts a
dramatic hand to his chest.) Oh, my country needs me? (They shake hands, then
turns to JAKE.) Just put that stuff anywhere.
(KYLE shows SEYMOUR the photo.)
KYLE: Vasily Koronkiewicz.
SEYMOUR LAFORTUNATA: Uh-huh, uh-huh, uh-huh. (He recognizes the name or the
face.) He's a heavy, heavy hitter.
KYLE: I was hoping some of your people might know who put him up to bat.
SEYMOUR LAFORTUNATA: Okay. Uh, yeah. Have a seat. Let me make a few hundred
phone calls.
(He starts to laugh. JAKE smiles.)
KYLE: Uh, yeah, we're on kind of a tight schedule, Sy. Whatever you can do?
JAKE: Thanks for your help.
SEYMOUR LAFORTUNATA: Yeah, no need to front-load the gratitude, boys. I
haven't worked my miracles yet. Eastern European crime factions, Asian triads,
the guy on the corner with a pop gun under his jacket. Economic globalization
has turned it into one neat, big web, but the spider feels every little ripple.
KYLE: Uh-huh.
(KYLE turns to leave. He puts a hand on JAKE'S shoulder to signal him to leave,
too, but JAKE'S too interested in this new person.)
JAKE: And ... you're the spider?
SEYMOUR LAFORTUNATA: I could write a book ... if I hadn't signed a foot of
paper promising that I wouldn't. Between you and me, ... (he whispers
confidentially) ... I started anyway.
(JAKE laughs.)
SEYMOUR LAFORTUNATA: You must be Jake.
JAKE: Yeah. How'd you know?
(They shake hands.)
SEYMOUR LAFORTUNATA: Seymour Lafortunata.
(They shake hands enthusiastically. SEYMOUR grabs JAKE'S shoulder with his
hand. JAKE looks down at the hand on his shoulder.)
SEYMOUR LAFORTUNATA: Interpersonal liaising, as I'm sure Mr. Duarte has
informed you.
(JAKE breaks the hand shake.)
SEYMOUR LAFORTUNATA: Apprehension of the unicorn killer, Ted Kaczynski, Mufari
Allis-Khan ... ringing any bells?
JAKE: You helped capture all those guys?
(SEYMOUR glances at KYLE and scoffs.)
SEYMOUR LAFORTUNATA: No, of course not, don't be ridiculous. Wink-wink, nudge-
nudge. Kid's a little green, isn't he? Little slow on the old uptake.
KYLE: You read my mind.
SEYMOUR LAFORTUNATA: (points to KYLE) You see? You see that? You see that,
Jake? That, that is my magic. I read people.
(KYLE'S pager beeps.)
KYLE: Gonna have to cut this short. Facial ID's got a hit. Vasily was at the
bank.
SEYMOUR LAFORTUNATA: Wow.
JAKE: It was nice to meet you. Really nice to ...
(SEYMOUR motions as if he's going to shake JAKE'S hand again, when KYLE grabs
JAKE by the shoulders and pulls him out the door.)
SEYMOUR LAFORTUNATA: You, too. You, too. Go get 'em.
CUT TO:
[INT. BANK - DAY]
(KYLE and JAKE speak with MR. HARCOURT of the bank.)
KYLE: Maybe this could refresh your memory.
(KYLE puts VASILY'S photo on the desk top.)
MR. HARCOURT: I'm sorry. I can't help you.
KYLE: Tell me, Mr. Harcourt, would you prefer we wait until this guy's already
committed a crime?
MR. HARCOURT: You have reason to believe that the immediate seizure of the
financial records in question is necessary to prevent the death of or serious
bodily injury to a human being?
(KYLE and JAKE look at each other.)
KYLE: We wouldn't be here otherwise.
MR. HARCOURT: Then pursuant to chapter 21a, subchapter 1, Part A of the
unlawful acts section 2000-Double-A, you should have had no trouble obtaining a
subpoena duces tecum. Do you have a subpoena for me?
(Again, JAKE and KYLE share a look.)
JAKE: I left it in the car.
KYLE: You understand these are extraordinary circumstances.
(KYLE glances at JAKE, the message clear. JAKE concentrates on interfacing with
the computer behind MR. HARCOURT.)
KYLE: (to HARCOURT) In the time it would take for us to petition a judge, very
bad things could happen.
(JAKE access the Account Information.)
KYLE: And none of us want that on our heads.
(JAKE then goes through the list of Deposits.)
MR. HARCOURT: In the absence of a subpoena, you can have the IRS issue an
administrative summons vis-ý-vis the bank secrecy act.
(He holds the paper back to KYLE.)
KYLE: How about you just blink once for yes?
(JAKE finds 'VASILY KORONKIEWICZ' name on the list and gets his account number:
1255-5800-5831-48.)
(HARCOURT makes to turn around in his seat. KYLE stops him.)
KYLE: Harcourt?
MR. HARCOURT: What?
(JAKE pulls up the transaction details: Wire transfer deposit amount
$500,000.00.)
KYLE: If I were to open up a checking account here, what would I get, like a
free toaster?
(JAKE glances sideways at KYLE. The computer screen behind HARCOURT is back to
the bank's seal. JAKE turns the computer off.)
MR. HARCOURT: (angry) We're done here.
(HARCOURT gets to his feet. KYLE and JAKE get to their feet.)
KYLE: Yes, we are. Thanks for all your help.
(They step away from the desk.)
KYLE: I knew I brought you along for a reason.
CUT TO:
[NSA SEAL IN LOBBY]
[INT. NSA - SAT OPS]
(The doors open. JAKE and KYLE walk in and head toward LOU.)
KYLE: Vasily received a wire transfer for $500,000 in cash. Thanks to Jake, we
have a routing number. So, we should be able to track it back to the source,
figure out who hired him.
LOU: Well, why would a pro like Vasily risk being paid in cash on American
soil?
KYLE: He needs the money to complete the job.
LOU: I want to know who's footing the bill. I want to know what he's buying.
And most importantly, I want to know where he is.
JAKE: I'm on the routing number. I'm on it now.
(JAKE sits down at a workstation. LOU and KYLE lean in to watch him work. JAKE
types in the account number into the Bank Polski's main page.)
JAKE: I've got your number.
(JAKE types in the routing number: 031313???.)
CUT TO:
[EXT. VARIOUS WASHINGTON D.C. (STOCK) - EVENING]
[INT. NSA - RESEARCH LAB -- EVENING]
(DIANE is packing her bag and clearing up for the day when JAKE drags himself
into her office.)
JAKE: One routing number, seven hours, 153 dead ends. I feel like my eyes are
bleeding. I mean, actually bleeding.
(JAKE sits down on a chair.)
JAKE: (childishly) Are my eyes bleeding?
(DIANE steps up and looks into JAKE'S eyes.)
DIANE: Uh ... no. All systems normal. No complications with the nanites.
JAKE: (disgruntled) Aren't you even going to do your penlight thing?
(DIANE takes her lab coat off.)
DIANE: You don't need an exam, Jake. You gust need to unplug. Do something
without computers before you get permanent rasterburn. Why don't you ... see a
movie?
(DIANE grabs her bag and heads out of the office. JAKE chases after her.)
[HALLWAY -- CONTINUOUS]
(DIANE is rushing through the hallway toward the elevator. JAKE is rushing to
keep up with her.)
JAKE: A movie? You mean one of those big, bright things you sit and stare at
for two hours?
DIANE: Oh, sorry. Bad suggestion. Just do something with a human.
(They step into the elevator and the door closes behind them.)
JAKE: You want to come over and play Boggle? What? You're human.
DIANE: Yeah. Um, I-I would like to, but I ...
(At that moment, the elevator doors open and STEVE CLEMENS is standing there.)
DIANE: Steve. Hi.
STEVE CLEMENS: Hey, Hughes.
(He steps into the elevator along with a group of people. DIANE introduces
them.)
DIANE: Hi. Um, uh, Steve Clemens, this is Jake Foley. Jake ...
STEVE CLEMENS: Hi.
DIANE: ...This is ...
(They shake hands.)
STEVE CLEMENS: How you doing, Foley?
JAKE: Hi. Never better.
STEVE CLEMENS: (to DIANE) So, I'm thinking dinner at Maggie's. What do you
say?
DIANE: Mmm.
(JAKE glances at them.)
STEVE CLEMENS: White pizza. Freakishly white, still tangy.
DIANE: Mmm.
STEVE CLEMENS: Uh, why don't you come, too, Foley? I'll buy the first pitcher.
JAKE: Oh, you know, I had dinner last night. And, uh, the whole novelty's kind
of worn thin.
DIANE: So, you sure?
JAKE: Yeah. Yeah, you guys go ahead. Like I was telling Diane, I just feel
like crashing out.
(The elevator door opens and JAKE steps out.)
JAKE: (mutters to himself) Or working all night.
CUT TO:
[INT. NSA - SAT OPS -- NIGHT]
(JAKE is at the workstation working on the security video from the bank.)
JAKE: Hmm. Where are you hiding, Mr. Vasily?
(He gets a 10% match.)
(Various cuts of JAKE continuing to work -- blinking to clear his eyes, drinking
coffee - and still continuing to work.)
(JAKE'S eyelids start to grow heavy. He jerks himself awake and looks around.)
(8% match. 12% match.)
(JAKE continues to work.
CUT TO:
[EXT. VARIOUS WASHINGTON D.C. (STOCK) - MORNING]
[INT. NSA - SAT OPS - WORKSTATION - DAY]
(JAKE has his head down on the table, his cup of coffee is tipped over, cold
liquid drips onto the floor.)
(The computer chirps.)
(JAKE wakes up and looks at the computer. It's a 78% match.)
JAKE: Oh, hey. Looks like I've got a match.
KYLE: We've already got four teams out chasing possibles. Let's take this one.
JAKE: Corner of 6th and F.
CUT TO:
[INT. CAR (PARKED) - CORNER OF 6TH AND F -- DAY]
(JAKE and KYLE are sitting in the car.)
KYLE: Do you even really need to sleep? I mean, with those nanites and all.
JAKE: No, Kyle. I just plug myself into an electrical outlet for a couple of
minutes, and I'm good to go for the day.
KYLE: Hey, I'm just asking. I have no idea what it's like to have ...
JAKE: (interrupts) Kyle, I'm still human.
KYLE: Okay. I understand. (beat) So when you jog, do you hear that slo-mo
running sound from the six million dollar man? (JAKE chuckles) The one that
goes - do-do-do-do-do ...
(JAKE laughs.)
JAKE: You know ... you're dating yourself again, you know that.
(KYLE chuckles. His face loses the smile as he recognizes the man carrying the
black bag walking across the street.)
KYLE: Hello. What do you think he's got in the bag?
(VASILY glances down at his watch.)
JAKE: $500,000 worth of unmarked nonsequential bills.
(KYLE calls it in.)
KYLE: (to radio) This is Agent Duarte. We have target confirmation on Sixth
and F. Requesting backup.
JAKE: He looks anxious.
KYLE: Any sign of the mark?
JAKE: No.
(A truck crosses their view. When the truck leaves, VASILY'S gone. They've
lost him.)
KYLE: Damn.
(KYLE and JAKE get out of the car and run across the street to chase after
VASILY.)
(They turn the corner to the side of the building. KYLE takes out his gun and
motions for JAKE to wait a moment.)
(KYLE goes further along the side of the building and disappears behind the next
building. JAKE stays where he is. He turns around and takes a couple of steps
to the side of the building.)
CUE SOUND: ENHANCED HEARING
(JAKE hears heavy, hollow breathing. He sees the trash bin and heads for it.
JAKE looks up just as VASILY jumps down from the fire escape above. He lands
right on JAKE and pushes him to the ground.)
(He pushes JAKE up against the wall and takes out a knife.)
(KYLE turns the corner and sees JAKE in trouble.)
KYLE: Hey!
(KYLE runs to help JAKE.)
(VASILY turns and sees KYLE. He runs, leaving JAKE standing up against the
wall.)
(VASILY runs out of the alley into the main sidewalk. JAKE doesn't run after
him. KYLE reaches JAKE.)
KYLE: You all right?
JAKE: Yeah.
(JAKE looks down. KYLE looks down and sees the large knife gash across JAKE'S
abdomen.)
KYLE: Oh, man.
JAKE: Oh.
(JAKE puts a hand on the wound. He slowly slides down the side of the wall.)
(Camera holds on JAKE.)
KYLE: (v.o.) Emergency, we have an agent down. Repeat-- we have an agent
down.
FADE TO WHITE
(COMMERCIAL SET)
FADE IN.
[NSA SEAL IN LOBBY]
[INT. NSA - LOBBY -- DAY]
(A man walks through the metal detector. Just as he takes his briefcase from
the security guard, DIANE rushes in from the outside, through the metal
detector, not stopping when it beeps on her. She holds up her ID for the
security guard.)
DIANE: Excuse me.
SECURITY GUARD: Miss, hold on a second!
(She doesn't stop for him.)
DIANE: I'm Dr. Diane Hughes. I got to get to the med lab right away.
SECURITY GUARD: I need to check your bag.
DIANE: Here, keep it.
(DIANE tosses her things on the ground and keeps running.)
CUT TO:
[INT. NSA - RESEARCH LAB -- DAY]
(FRAN explains the spinal x-ray to LOU and KYLE.)
FRAN: The nanites accelerated hemostasis tenfold. Fiberglass are already
proliferated in position for a collagen synthesis.
LOU: That's amazing.
KYLE: (to JAKE) So, what's it feel like?
JAKE: Feels like a freak on parade. It's not the circus, people.
FRAN: You got a lot of guts, Jake. But if it weren't for the nanites, I'd be
stuffing them back inside of you.
(DIANE rushes into the lab and checks on JAKE.)
DIANE: What's the situation? Give me the bullet.
(She picks up her stethoscope from the counter.)
FRAN: Mainly superficial damage. Slashed through the primary derma.
Penetration was minimal. No organs were punctured. An inch deeper, though.
(FRAN puts a dressing on JAKE'S wound.)
LOU: Can he get back to work?
FRAN: If it's nothing too strenuous. He should be as good as new in a day or
two.
LOU: (to JAKE) Glad to hear you're okay.
JAKE: Thanks.
LOU: Sat Ops in 15.
(LOU and KYLE leave the lab.)
DIANE: We need to run a full diagnostic.
FRAN: I did.
(DIANE helps JAKE sit up.)
DIANE: Careful. (to FRAN) Platelets? BP?
FRAN: He checks out.
JAKE: I'm fine, Diane.
DIANE: Jake, I am so sorry that I was not here. It will never happen again.
JAKE: Late night?
DIANE: Kind of, yeah.
(JAKE gingerly gets off of the table and heads to get dressed.)
JAKE: You and Steve?
DIANE: Yeah. We caught a midnight show of the "Long Hot Summer" after dinner.
(JAKE puts his shirt on.)
JAKE: Huh.
DIANE: What?
JAKE: Nothing.
DIANE: What?
JAKE: Well, it's just, you guys are moving kind of fast, aren't you?
(The phone rings. DIANE answers it.)
DIANE: Excuse me. (to phone) Lab. Steve, hi.
JAKE: Maybe not.
DIANE: You've got the accent way wrong. Yeah. Orson Welles was a lot more
mumbly.
JAKE: (mutters to himself) Guess I'm fine then.
DIANE: (to phone) No. I know ...
JAKE: It's not like I was stabbed or anything. More like a slash, really.
Kind of like a big paper cut.
DIANE: (to phone) No. The nose, the nose, the whole fake ...
JAKE: ... except for the knife.
DIANE: (to phone) ... prosthesis thing. No. It was so fake.
CUT TO:
[INT. NSA - HALLWAY - DAY]
(JAKE turns the corner and finds STEVE CLEMENS on the phone with DIANE
continuing the same conversation.)
STEVE CLEMENS: (to phone) It was better than Nicole Kidman's schnoze in 'The
Hours'. Are you kidding? No, no, on. I'm not a Lee Remick man. I'm a Joanne
Woodward man.
(STEVE sees JAKE as they pass each other by.)
STEVE CLEMENS: (to JAKE) Hi. (to phone) Yeah.
(JAKE glances back at STEVE .)
CUT TO:
[INT. NSA - SAT OPS]
(JAKE is checking up on STEVE on the monitor. It reads:
FIRST NAME: STEVE
NAME: CLEMENS
NSA08967-E5R
GENDER: MALE
ETHNIC: CAUCAISAN
MARITAL STATUS: DIVORCED
DATE OF BIRTH: NOV-13-1969
EYES: BLUE
HEIGHT: 5'11"
PLACE OF BIRTH: ALEXANDRIA-VA
HAIR: BROWN
WEIGHT: 187 LBS. )
KYLE: Sweep teams covered a four-block radius, but no further sign of Vasily.
We lost him.
JAKE: Yeah. I sure put the fear of God into him. You should have seen the
blood stain I left on his sleeve. That won't come out, you know.
LOU: Any progress on the wire transfer?
KYLE: We traced it to a corporation in Warsaw, but it's a shell within a shell.
Jake?
(JAKE switches screens.)
JAKE: Oh, yeah. I got it right here. Okay, pay dirt on Corporation Number 156.
Coming up as publicly held, but the only name generated is "Wladimir SticJ".
(The monitor reads:
LIST OF POLISH CORPORATIONS #156
CORPORATION DETAILS
CORPORATION NAME: METRONEK
TYPE OF REGISTRATION: PUBLICLY HELD
SHAREHOLDER: WLADIMIR STICJ )
LOU: Who's that?
JAKE: I don't know. But I'm going to find out.
(JAKE stands up.)
KYLE: Lafortunata?
JAKE: Yeah. Lafortunata.
(JAKE leaves.)
KYLE: Brave man.
CUT TO:
[INT. NSA - BASEMENT -- DAY]
(SEYMOUR LAFORTUNATA sits at his desk looking through the file as JAKE watches.)
SEYMOUR LAFORTUNATA: It's hard work. Novel approach, Jake.
JAKE: I still hit the wall. Yeah.
(JAKE turns to leave, but SEYMOUR stops him.)
SEYMOUR LAFORTUNATA: Yeah, well, I will knock it down for you, my friend, all
right? I admire your tenacity, Jake, but, I ... oh, but, hey, hey, I would
stick as close to home base as you could if I were you. Last guy who got his
hands on Vasily -- Karl Devereaux at MI-5-- ooh.
JAKE: Ooh. What? What about him?
SEYMOUR LAFORTUNATA: Vasily cut off his hands, and sent them to Karl's wife for
Christmas ... along with a nice fruit cake.
JAKE: Yeah. I'll keep that in mind.
(Again, JAKE turns and gets closer to the door.)
SEYMOUR LAFORTUNATA: Hey, you're-you're the field agent, right? Despite your
lack of a shoulder holster. What's-what's up with that? Anyway, Jake ... never
mind. You know what? None of my business. It's fine. I'll find out soon enough
about your guy. Keep your chin up.
(JAKE turns to leave.)
SEYMOUR LAFORTUNATA: Jake. Okay.
CUT TO:
[EXT. VARIOUS WASHINGTON D.C. (STOCK) - NIGHT]
[EXT. ST. SEBASTIAN'S SCHOOL FUND RAISER -- NIGHT]
(The scene opens on a sign: ST. SEBASTIAN'S SCHOOL PRESENTS A NIGHT IN ATLANTIC
CITY.)
(JAKE looks around the crowd for SARAH. He sees her across the way.)
JAKE: Hey, Sarah.
(SARAH smiles.)
SARAH: Jake, you made it.
JAKE: Hey, you look ... What's the word? Fantabulous.
SARAH: Thanks. So do you.
(There's an awkward moment, then they kiss each other on the cheek.)
SARAH: Uh ... So, um, what do you want to do first?
JAKE: Well, uh, let's do the gambling thing? I've got a little money burning a
hole in my ...
(JAKE'S gaze shifts and sees someone on the side.)
JAKE: Diane?
(SARAH turns around and sees DIANE with STEVE CLEMENS. DIANE and STEVE make
their way toward JAKE and SARAH.)
DIANE: Hey. Hi.
SARAH: Hi.
JAKE: What a surprise.
DIANE: Yeah. Hi, Sarah.
SARAH: Hi.
DIANE: Uh, this is Steve Clemens. He's my, um ...
STEVE CLEMENS: Hi.
JAKE: He works with us. And apparently has an uncanny radar for where the fun
is.
(They all laugh.)
DIANE: Steve went to St. Sebastian's. And, um, he was, uh, all city guard and-
and-and high honors, right?
STEVE CLEMENS: I told you that in strict confidence.
(DIANE laughs.)
STEVE CLEMENS: I'm using everything I can to get her to like me.
JAKE: Well ...
DIANE: So ...
STEVE CLEMENS: Anybody for basketball?
DIANE: Yeah, yeah. Let's go.
CUT TO:
[EXT. ST. SEBASTIAN'S SCHOOL FUND RAISER -- NIGHT]
(JAKE and STEVE are playing a basketball game. It's STEVE-8, JAKE-1. SARAH and
DIANE stand on the side watching them.)
(JAKE looses his ball and has to chase after it.)
SARAH: Steve's really good.
DIANE: Thanks. I mean, yeah.
(SARAH turns to look at DIANE. She's got something on her mind.)
DIANE: What? Do I have something in my teeth?
SARAH: Oh, no, no, no. I just ... it's a little embarrassing. I ... when I
first met you, I-I thought there was, uh, something between you and Jake.
DIANE: Really? No. No. We work together, and you know how those things are.
Those worlds -- they don't mix. They collide.
SARAH: Right. Business and ... sorry. Sorry.
(JAKE looses his ball again and has to chase after it in the crowd.)
SARAH: But, uh ... but you and Steve work together?
DIANE: Yeah, but he's in a different division.
SARAH: And you and Jake are in the same division.
DIANE: (nods) Exactly.
SARAH: So, uh, I.T. is in the same division as, uh, medical research?
DIANE: No. No, no. That wouldn't make any sense. Uh, did I say 'division'?
'Cause really in the NSA, it's more like, um, like-like 'wings'.
(SARAH nods. DIANE tilts the bucket of popcorn toward SARAH, offering her
some.)
SARAH: No, thanks.
(The buzzer sounds. Game over. Final Score: Steve-45, Jake-6.)
JAKE: (grudgingly) Nice going.
STEVE CLEMENS: Thanks.
(The BARKER walks around and brings STEVE a huge black and white floppy
plushie.)
DIANE: (o.s.) Ooh, look what Steve won.
CUT TO:
[RING TOSS BOOTH - LATER]
(JAKE and STEVE are playing, yet another game - ring toss on the soda bottle.
SARAH and DIANE watch.)
JAKE: So you and Diane -- pretty sudden.
STEVE CLEMENS: I know. She's great, isn't she? So, you guys are friends. Has
she said anything about me?
JAKE: No, not really.
(JAKE misses the bottle; STEVE gets the ring on the bottle.)
MAN: It's a winner!
(The BARKER gives STEVE another stuffed plushie. They turn and leave the game.
STEVE hands the stuffed animal to DIANE.)
DIANE: (laughs) Thanks. Steve, you can't keep winning everything. I don't
have enough room on my bed.
STEVE CLEMENS: You can make some room.
(As they walk by, another BARKER holds out a mallet for them.)
BARKER: Hey, uh, test your strength, fellows?
STEVE CLEMENS: (brushes him off) No, thanks.
(JAKE takes the challenge.)
JAKE: Come on. Sure. Sure.
(Cut to: High above the fund-raiser, VASILY watches them down below.)
JAKE: (o.s.) Come on, Clemens.
(On the ground, JAKE pays the barker.)
JAKE: I'm buying.
BARKER: Here you go.
(The BARKER gives the mallet to STEVE who takes it and holds it in his hands.)
STEVE CLEMENS: All right.
(STEVE swings and manages to hit the bell.)
BARKER: Now, there's a strong man.
JAKE: Nice.
(DIANE smiles proudly at the
JAKE: Okay. Here goes nothing.
(JAKE pulls back ... )
CUE SOUND: ENHANCED STRENGTH
(... and swings the mallet. The head of the mallet breaks off and the bell
rings loudly.)
DIANE: Oh!
STEVE CLEMENS: Foley! You're a beast.
BARKER: Uh ... winner.
(The BARKER exchanges JAKE'S mallet handle for a stuffed plushie. DIANE walks
over to JAKE.)
DIANE: (concerned) Are you all right?
(JAKE nods.)
DIANE: (whispers) Cheater. (She heads back to STEVE and takes his arm.) Woo!
Churros.
(SARAH laughs and walks over to JAKE. He hands over the roya blue stuffed frog
with red eyes to her.)
SARAH: I'll treasure it always. Um, so what do you want to do next?
(JAKE smiles at SARAH, but something behind her catches his eye. Using his
enhanced vision, JAKE sees VASILY standing high above the fund raiser on a
tower.)
JAKE: Uh ...
(VASILY starts climbing down the tower.)
SARAH: Is something wrong?
JAKE: Uh, Sarah, I have to go. I'll call you.
(Leaving SARAH holding the stuffed animal, JAKE runs to catch VASILY.)
SARAH: Wha--?
(JAKE rushes over to STEVE CLEMENS.)
JAKE: Hey ... hey, Clemens, have you done any field work?
STEVE CLEMENS: Just basic training. Why?
JAKE: You know what a code nine is?
STEVE CLEMENS: Yeah.
JAKE: Call it in right now. Code word, Vasily.
(JAKE runs to intercept VASILY while STEVE goes to call it in. DIANE is left
carrying the stuffed animals.)
DIANE: What's happ ... ?
CUT TO:
[PARKING LOT -- CONTINUOUS]
(In the parking lot, JAKE starts to look for VASILY.)
CUE SOUND: ENHANCED SIGHT
(Using his night vision, JAKE spots VASILY walking in the distance toward his
car. VASILY opens the car door and gets inside.)
(JAKE takes off after him, cautiously approaching the car from behind. Unknown
to JAKE, VASILY is completely aware of him and is watching him in the side-view
mirror.)
(When JAKE gets close enough to the car, VASILY opens the door, slamming JAKE'S
head in through the window, broken glass litters the parking lot. JAKE falls on
his back.)
(VASILY gets out of the car and stands over JAKE. He closes the car door and
opens his switchblade knife.)
(Camera holds on JAKE as he stares up at VASILY over him.)
FADE OUT
(COMMERCIAL SET)
FADE IN.
[EXT. ST. SEBASTIAN'S SCHOOL FUND RAISER - PARKING LOT -- NIGHT]
(We pick up exactly where we left off. JAKE is on the ground looking up at
VASILY who stands over him with the open switchblade knife in his hand.)
(STEVE CLEMENS starts to approach VASILY from the side.)
(VASILY takes a step closer to JAKE. STEVE runs and jumps over the cars and
tackles VASILY from behind. He pushes VASILY up face down against the hood of
the car, then takes out his gun and places it at VASILY'S neck. He starts to
press the trigger, the gun's hammer pulling back.)
JAKE: (interrupts) No! What are you doing?
(JAKE gets to his feet.)
STEVE CLEMENS: I'm saving your ass.
JAKE: (shouts) He's already down, man!
STEVE CLEMENS: Yeah. Okay.
(JAKE waits and watches until STEVE releases the trigger of his gun.)
CUT TO:
[EXT. VARIOUS WASHINGTON D.C. (STOCK) - DAY]
[INT. NSA - HOLDING CELL -- DAY]
(KYLE walks into the prison floor. He heads toward the holding cell.)
KYLE: (to the guard) Open it up.
(The guards open the door.)
KYLE: (to the guards) Why don't you guys go get yourselves some coffee?
(The guards stand and leave the room as the door to the cell opens. KYLE walks
into the cell. The door closes behind him. He takes a sip of coffee as he
walks over to VASILY'S bed.)
KYLE: (unapologetically) I didn't think to bring you any.
VASILY: It's a diuretic.
KYLE: Yeah, that would be problematic given the sparse modern confines of your
new home.
(VASILY sits up on the bed.)
VASILY: I've been in worse.
KYLE: I'm glad you approve. Since twice you've assaulted an agent of the
United States Government, I doubt you'll be seeing the outside world again for
another ten to fifteen years minimum. Oh, now that's got to bother you.
(KYLE sits down near VASILY.)
KYLE: Must be really tough not having any people around to kidnap, huh?
(VASILY stands up and takes a couple of steps toward the wall.)
KYLE: Foreign diplomats, British Intelligence ...
VASILY: Are you going to torture me, or are you just going to talk
me to death?
(KYLE stands up and the two men face each other.)
KYLE: No. We don't torture prisoners in this country, no matter how much we
might like to.
VASILY: That's a shame. I find pain to be the most effective way
... of getting what you want.
KYLE: Is that why you tried to hurt my friend, hmm? To get something from him?
(VASILY doesn't answer KYLE. He walks past KYLE and stares out the glass wall.)
CUT TO:
[INT. NSA - RESEARCH LAB -- DAY]
(DIANE is stitching up JAKE'S abdomen gash as he lies on the table.)
DIANE: I cannot believe you tried to take him down alone. Thank God Steve had
your back.
JAKE: Yeah.
DIANE: This is healing nicely. You know he's getting a commendation. (laughs)
We're going to go out and celebrate tonight. Even talk of making him an active
field agent.
JAKE: Diane, they don't just make anybody agents, okay?
DIANE: Don't be jealous, Jake. There's plenty of room here for two heroes.
(JAKE sits up.)
JAKE: Yeah, and only one of us is paying alimony. Go figure.
DIANE: What are you talking about?
JAKE: Steve's divorced.
(JAKE stands up and goes to get dressed.)
DIANE: Yes, I know. He told me. They married right out of college, and she
ended up loving her job a little ... more than she loved him. Did ... he didn't
tell you this.
(JAKE doesn't say anything as he's on the cusp of being busted. DIANE pieces it
together and stares at JAKE. She can't believe it.)
DIANE: Have you been checking up on him?
JAKE: Oh, please. Come on, like I don't have enough to do? I'm analyzing money
trails. (faltering) I'm pursuing ... dangerous ... mercenaries, uh ... come
on.
(DIANE levels him a look.)
JAKE: Okay, okay, maybe I took a little peek into his personnel file.
DIANE: Oh, I cannot believe you.
(DIANE walks out angrily from the room into the hallway. JAKE chases after
her.)
JAKE: Me? Diane, me? Diane, why is a crypto guy carrying a gun to a carnival?
(DIANE pulls the door to her lab open and walks in.)
DIANE: Oh, Jake, half the people in this building carry guns. Half the people
in this country carry guns.
JAKE: There's something wrong with him.
DIANE: Oh, no, there is something wrong with you. You've lost the ability to
relate on a personal level.
JAKE: Oh ... that is not true.
DIANE: Yes, it is. You don't even leave your house all weekend. You go out,
and you're completely awkward. I saw how you were with Sarah.
(At the mention of Sarah's name, Jake suddenly remembers.)
JAKE: Oh, God ... I ran out on her. I totally forgot.
DIANE: Do you see? What is going on?
JAKE: All right, we kissed, like, a week ago, okay, and-and ... I don't know.
DIANE: Well, isn't that a good thing? I mean, you-you've liked this girl ...
forever.
JAKE: Diane, I have millions of microscopic robots running around inside of me.
Please tell me what the next step in this relationship is, because I have no
clue. I mean, the best I can hope for is that I don't lie to her, because she
can never know the real me. (realizing) Nobody can ever know the real me.
(hard truth) Nobody ... except you.
(JAKE looks down.)
DIANE: (whispers) Jake ... (he looks at her) ... I'm here for you. I'm not
going anywhere ... but you got to stop cutting yourself off from everybody else.
There is life outside this building.
CUT TO:
[INT. NSA - HOLDING CELL -- DAY]
(KYLE walks out of the cell leaving VASILY inside. He walks over to LOU who is
waiting outside the cell for him.)
LOU: Anything?
(The two walk down the hallway away from the cell.)
KYLE: Nothing. I'll keep at it, but I don't think he'll give up his bosses.
No good for the rep.
LOU: Lafortunata called. He says he wants to talk.
KYLE: (sighs) Yeah, and talk, and talk ...
(LOU smiles, amused.)
KYLE: I'm on it.
LOU: I'll go with you.
KYLE: (smiles) Bless you.
(The two walk out of camera frame.)
CUT TO:
[EXT. VARIOUS WASHINGTON D.C. (STOCK) - AFTERNOON TO EVENING]
[EXT. SIDEWALK -- NIGHT]
(JAKE waits for SARAH. Sarah ARRIVES.)
JAKE: Hey.
SARAH: Hi.
JAKE: Sarah, I-I am so sorry about last night. It was work. This thing came
up ...
SARAH: Jake stop. I get it.
JAKE: You do?
SARAH: Look, we kissed ... and it was nice.
JAKE: Yeah, yes, it was.
SARAH: I don't think either of us expected there would be something there, but
there was. I felt it, and I thought you felt it, too ... but you don't have to
keep coming up with these stories to cover the fact that you're ... hesitant.
JAKE: I'm not. I'm not. It's ... I don't want to wreck this.
SARAH: I don't either. But I need to know how you feel, Jake. I need you to
be completely honest with me.
JAKE: You want me to be honest?
SARAH: (nods) Totally.
CUT TO:
[INT. NSA - BASEMENT -- NIGHT]
(SEYMOUR is looking through his shelves for something as he talks with KYLE and
LOU.)
SEYMOUR LAFORTUNATA: Vladimir Sticj. Your boy Jake put me onto him. Not of
any prominence, really.
(He finds it and heads back to his desk.)
SEYMOUR LAFORTUNATA: He, uh... tended bar at the beer hall putsch in 1923,
spent the last 40 years buried in a less than ornate grave at the Bierkel
cemetery.
LOU: (quietly) I don't follow.
KYLE: (softly) Just wait for it.
SEYMOUR LAFORTUNATA: Now, technically, this guy is the sole shareholder of the
same corporation that hired Vasily. One of my fraternity brothers -- Boola-
Boola -- has a-a cousin who opened a transistor factory in Gdansk. Now, he says
that this "corporation" is actually a front for local mafia, mostly, you know,
ex-KBG and whatnot.
LOU: Well, why would a local syndicate send a mercenary to DC?
SEYMOUR LAFORTUNATA: Well, because... because they're-they're obsessed with
cutting edge technology -- most recently, nano-technology. Vasily was
commissioned to retrieve a human subject to get them in the nanotech game.
(LOU glances at KYLE.)
SEYMOUR LAFORTUNATA: (continues) Now, if you guys know anybody, you know, who
fits that bill, now, I would recommend getting him well-protected -- they got
deep, deep pockets. It is not going to end with this Vasily character.
(LOU turns and heads out the office. KYLE follows her.)
SEYMOUR LAFORTUNATA: (calls out) You're welcome, guys. You guys ... stop by
any time.
CUT TO:
[EXT. SIDEWALK -- NIGHT]
(SARAH sits on the bench next to JAKE with a stunned look on her face. She
can't make heads or tails out of what JAKE has just told her.)
SARAH: Wow, uh ... that-that's unbelievable. I ... I don't know what to say.
(She sighs.)
JAKE: There's nothing you can say. I mean, really-- you can't tell this to
anyone ever.
SARAH: So, let me get this straight, um ... you're a secret agent at the NSA,
and ... there-there are these tiny robots...
JAKE: (explaining) Computers, really. Microscopic computers. They're self-
replicating, feed off ...
(SARAH turns and looks at JAKE; he stops trying to explain.)
JAKE: Uh ... yeah, t-tiny robots.
SARAH: And-and they got inside you, and, uh, now you have these, um ...
superhuman abilities.
(She takes a couple of deep breaths.)
SARAH: Okay.
(She stands up and takes a couple of steps away from JAKE. JAKE stands up and
tries to explain it more to her.)
JAKE: I-I know this is a lot to take in, but I felt like ... well, I just ...
I-I needed to be one hundred percent ...
(SARAH turns around and slaps JAKE across the face. JAKE is stunned.)
SARAH: (upset) I just asked you to be honest with me, Jake.
JAKE: Sarah ...
SARAH: You know what? It's been a blast.
(SARAH turns and walks away from him. JAKE stands there a moment and turns
around.)
JAKE: (sighs, softly) At least I didn't lie...
(Behind him, a car turns onto the road and drives up directly behind him. Fast.
It's tires screech to a halt. JAKE is startled and turns around to see KYLE
behind the wheel.)
JAKE: Do you have to be so dramatic?!
KYLE: Get in!
CUT TO:
[EXT. WASHINGTON STREET - NIGHT]
[INT. CAR (MOVING) -- NIGHT]
(KYLE explains what they're discovered.)
KYLE: You got lucky. Vasily was hired to retrieve a human subject linked to
the nano-technology.
JAKE: I don't get it.
KYLE: Jake, he's here for you.
JAKE: What?
(JAKE turns to look out the window, completely confused by the logic.)
JAKE: That doesn't make any sense. He could've had me ... twice. Why didn't
he take me?
KYLE: Let's ask him.
CUT TO:
[INT. NSA - HOLDING CELL -- NIGHT]
(KYLE and JAKE head for VASILY'S holding cell. The security guard opens the
door for them. KYLE and JAKE walk into the cell. KYLE looks down at VASILY
lying on the bed, his back to them.)
KYLE: Okay, wake up, Sleeping Beauty. I got some more questions for you.
(VASILY doesn't move or respond to KYLE. KYLE reaches out and rolls him over
only to find that VASILY'S throat's been slashed, blood pooling on the bed.
He's dead.)
(KYLE walks out of the cell and back to the security guard.)
KYLE: Hey. You got a dead prisoner in there -- you want to tell me what the
hell happened?
(JAKE looks down at VASILY'S dead body and he remembers what happened the night
before.)
SECURITY GUARD: That's impossible.
(Quick flashback to: [EXT. PARKING LOT - NIGHT] CLOSE UP of STEVE'S finger
pulling back on the trigger. JAKE yells to stop him.)
JAKE: No!
(End of flashback. Resume to present.)
SECURITY GUARD: We searched him. No unauthorized personnel has been in there.
(JAKE heads out of the cell.)
KYLE: (angry) Then what authorized person has?
(The SECURITY GUARD leans toward the computer to check the visitor logs.)
SECURITY GUARD: The last visitor was ...
(But JAKE'S already figured it out, the stunned look on his face betraying what
it might mean for DIANE.)
JAKE: (realizing) Steve Clemens.
(KYLE turns to look at JAKE.)
KYLE: What?
JAKE: Diane's new boyfriend. He's a dirty agent. He's working with Vasily.
Once we caught him ... Steve had no choice. He couldn't let him talk.
KYLE: He cut out the middleman.
JAKE: (putting it together) He's going to finish the job, and give them
exactly what they want: An expert on nano-technology: Diane.
(KYLE turns to leave.)
CUT TO:
[EXT. CAR (MOVING) -- NIGHT]
(The car on the road passes by a large sign: VIRGINIA IS FOR LOVERS.)
DIANE: (smiling) So ... you're not going to tell me where we're going?
STEVE CLEMENS: Uh, I told you ... it's a surprise.
DIANE: Okay.
FADE OUT
(COMMERCIAL SET)
FADE IN.
[EXT. NSA BUILDING (STOCK) - NIGHT]
[INT. NSA - SAT OPS -- NIGHT]
(All rank and formalities aside, their purpose is clear: Find Diane and Stop
Steve. JAKE paces the front of the sat ops command floor as he issues orders
one after the other, his mind working to find her. KYLE and LOU are both on the
phone ending their calls.)
JAKE: Bring up the feeds for all metro intersection cameras and toll booths.
(LOU finishes her call as does KYLE.)
LOU: Steve Clemens took the black duffel out of the evidence locker.
KYLE: Diane isn't answering her cell or home phone.
JAKE: Oh, no, she's with him. Cross-check with Steve Clemen's license plate.
CARVER: What's the number?
JAKE: A DC plate, 4BMH359.
(On the monitor, license plates flash rapidly across the screen twelve at a
time. JAKE turns to the monitor waiting impatiently for them to find the car.
KYLE and LOU watch. All they can do is wait and hope that the license plate is
found.)
JAKE: (impatient) Come on!
(License plates continually flash across the screen. Finally, the computer
beeps that the car is located. The license plate enlarges and fills the screen.
JAKE turns around to look at CARVER.)
JAKE: Where?
CARVER: Key Bridge into Virginia.
JAKE: (demanding) When?
CARVER: About fifteen minutes ago.
(JAKE runs out of the room. KYLE runs out after him.)
LOU: Re-task all available eyes in the sky. Start tracking sequences. I want
a pinpoint.
CUT TO:
[OUTER SPACE]
(The satellite crosses the screen across the view of the earth, its telemetry
beeping in its wake.)
(Camera zooms in down to earth.)
CUT TO:
[EXT. PIER -- NIGHT]
(STEVE parks the car near the pier. He and DIANE get out of the car. They head
for the boat, FAIT & BALANCED, at the end of the pier.)
DIANE: (impressed) Oh, my God. Steve.
STEVE CLEMENS: Hope you like boats.
DIANE: I do.
STEVE CLEMENS: A friend of mine chartered one. Turns out he's not going to use
it, so I thought we could take a little pleasure cruise. And I'll cook you
dinner.
DIANE: Ooh.
STEVE CLEMENS: How's that sound?
DIANE: I think it sounds very romantic
STEVE CLEMENS: Oh, I'm glad you think so.
(Taking her hand, STEVE and DIANE step onto the pier and he leads her toward the
boat. In his other hand, STEVE holds the black duffle bag full of cash.)
CUT TO:
[EXT. STREET - NIGHT]
(Multiple cars speed down the darkened, wet road.)
KYLE: (to radio) (v.o.) What's the status on the vehicle.
[INT. CAR (MOVING) -- NIGHT]
CARVER: (over radio) His vehicle is stationary. Two miles east on 60, royal
avenue exit.
KYLE: (to radio) Copy that.
(KYLE hangs up. Through it all, JAKE stares out the front window, his entire
focus on DIANE. KYLE tries to reassure him.)
KYLE: Jake, nothing's going to happen to Diane.
(KYLE waits for a comment and doesn't any from Jake which is very unusual. He
turns and glances at him.)
KYLE: You pissed?
(Camera pulls back and we see a cold determination in JAKE'S eyes, hard as
steel, a look we've never seen before.)
JAKE: (cold) Very.
KYLE: Good.
CUT TO:
[EXT. PIER -- NIGHT]
(The cars stop. KYLE and JAKE get out of the car. KYLE starts to issue order
to the other agents getting out of their cars behind them.)
KYLE: Fan out, fan formation. No one fires unless fired upon.
(With their instructions, the agents run to look for DIANE. JAKE takes a step
forward and listens for her.)
CUE SOUND: ENHANCED HEARING
(He hears her on the boat.)
(Cut to: DIANE walks out of the cabin onto the deck of the boat.)
DIANE: Oh, Steve. This is so fantastic.
(Without a word, JAKE runs toward the boat. KYLE sees him go and calls to the
other agents.)
KYLE: Let's go, let's go!
(His gun drawn, KYLE takes off after JAKE.)
(Meanwhile at the end of the pier, the boat starts to move away from the pier.)
(JAKE runs down the pier, his feet moving faster than the eye can follow as he
races to catch up with the boat as it pulls away from the pier.)
(Reaching the end of the pier, JAKE jumps and even with the nanites barely lands
at the tail end of the boat.)
(JAKE climbs onto the boat.)
(KYLE reaches the end of the pier and watches the boat as it moves away
disappearing in the darkness.)
(On the boat, DIANE sits and waits for STEVE. She's startled when JAKE appears
behind her, panting and out of breath. She gets to her feet.)
DIANE: Jake!
JAKE: You okay?
DIANE: What are you doing here?!
(JAKE looks around for STEVE.)
JAKE: Where is he?!
STEVE CLEMENS: (o.s.) I've got the champagne.
(JAKE stands in front of DIANE as STEVE comes out of the cabin. He sees JAKE
and doesn't seem all that surprised.)
STEVE CLEMENS: Foley.
DIANE: It's okay.
(STEVE pulls out a gun and points it at JAKE.)
STEVE CLEMENS: You shouldn't be here.
DIANE: Steve!
JAKE: Why don't you tell her why you really want her, huh?
(DIANE looks from JAKE to STEVE.)
DIANE: What's going on?
STEVE CLEMENS: Sorry, Diane. I really like you, but you can't imagine how much
they're paying me.
(DIANE looks from JAKE to STEVE.)
DIANE: Jake, turn the boat around.
CUE SOUND: INTERFACING
(JAKE'S already on it. Camera zooms into the boats controls where JAKE changes
the active destination.)
(STEVE answers her.)
STEVE CLEMENS: (smugly) Oh, that's not going to happen.
(But it does. JAKE connects with the boat's computer system and the throttle
pulls back. The boat lurches and STEVE jerks back losing his balance.)
(STEVE'S gun points upward. JAKE grabs his wrist and unmercifully bends it
backward. In pain, STEVE finds that he can't get out of JAKE'S hold. He
punches JAKE in the stomach forcing JAKE to let go of his wrist as he takes the
punch in his wound. JAKE grunts in pain, holding his wounded stomach. STEVE
clutches his hurt wrist. From his bent over position, JAKE looks up at STEVE.)
CUE SOUND: ENHANCED STRENGTH
(Pissed, JAKE backhands STEVE knocking him into the side of the boat. STEVE is
out cold.)
(In pain, JAKE clutches his stomach as DIANE steps forward to help him.)
DIANE: Jake! Are you okay?
JAKE: (nods) Yeah.
(Relieved, DIANE rests her head against JAKE'S chest as she stares down at
STEVE.)
CUT TO:
[EXT. JAKE'S APARTMENT -- NIGHT]
DIANE: (v.o.) ... Lousy. Ugly. Lying. ...
[INT. JAKE'S APARTMENT - NIGHT]
(DIANE looks down ... )
DIANE: ... Bastard. Lone. Only.
(... as she reads from her list of words. Camera moves along the table, across
the Boggle Box and over to JAKE who waits patiently for her to finish.)
DIANE: Lonely. Solo. Sadly, badly and madly. That's all I got. It's your
turn.
JAKE: Okay, uh, I have, um ... "tush."
(DIANE glances down at the list, then back up at JAKE.)
DIANE: That's it?
JAKE: Oh, uh, and, um ... "tush-y."
(DIANE chuckles.)
JAKE: I guess you win.
DIANE: Hmm.
JAKE: Again.
(They chuckle.)
DIANE: Whoo-hoo. (she groans) Oh, God, I feel like such an idiot.
JAKE: Hey, could have happened to anybody.
DIANE: Yeah. Not just anyone allows themselves to get wined and dined and sold
into white scientist slavery.
(She takes a sip from her glass of wine.)
JAKE: Well, that just, uh, proves how special you are.
(She nods and puts her glass down.)
DIANE: Yeah. I guess I should have listened to you. You were just trying to
save me from the world's most pathetic breakup.
JAKE: Well, second most pathetic. I win that one, actually.
(He winks at her.)
DIANE: I guess sometimes people, they don't want to see the truth even ... when
it's sitting right in front of them.
(She looks down sadly. JAKE stares at DIANE.)
JAKE: Yeah.
(DIANE puts her chin on her hands and meets his look.)
DIANE: Do you think you can take me?
(For one heart breaking moment, JAKE'S eyes widen as DIANE leans slowly toward
him ...moving in closer and closer toward him ... to pick up the Boggle
container cover. She holds it up to show him, then sits back down to start the
next round.)
JAKE: Oh. Well, I-I don't know if I can compete with your ... brain.
DIANE: Oh, yeah? You weren't even trying.
JAKE: Well, apparently the only word you don't know is "mercy."
DIANE: I didn't see that one.
(He laughs.)
JAKE: Seriously, Diane, y-you have an amazing mind.
DIANE: Yeah. (wistfully) Why can't I find a guy who's just after my body?
(JAKE smiles at her as she sighs.)
(The camera pulls back on the two.)
FADE TO BLACK.
THE END
[Captioning sponsored by Viacom Productions and UPN Captioned by Media Access
Group at wgbh access.Wgbh.Org]
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Contact the Transcriptionist at (intrepidly002@yahoo.com)
Please do not archive this transcript without permission from the
Transcriptionist.
BEGINNING/TITLE CREDITS
JAKE 2.0
1X08: MIDDLEMAN
ORIGINAL AIR DATE ON UPN: 11/05/2003
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:
WARREN CHRISTIE as Steve Clemens
TYLER LABINE as Seymour Lafortunata
DAVID NYKL as Vasily Koronkieqicz
MIRANDA FRIGON as Tech Agent Susan Carver
KURT EVANS as Tech Agent Hart
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: JESSE STERN
Directed by: MICHAEL GROSSMAN
END CREDITS
Executive Producer: DAVID GREENWALT
David Greenwalt Productions, California LazyDave
Matthew S. Scharbo Productions, Silent H Productions
Roundtable Entertainment in association with
Viacom Productions, a Paramount Company
Director of Photography: DAVID GEDDES
Production Designer: KATE HATTON-WHYTE
Edited by: ALAN SHEFLAND
Production Manager: TODD PITTSON
First Assistant Director: KEVIN PARKS
Second Assistant Director: KIT MARLATT
Music by DONNY MARKOWITZ
Music Supervisor: JASON ALEXANDER
Casting by: AMY McINTYRE BRITT
Casting by: ANTYA COLLOFF
Canadian Casting by: TRISH ROBINSON
Canadian Casting by: MARY MONTICA POOLE
Co-Starring
GRACE PARK as Fran
AVERY RASKIN as Mr. Harcourt
BRIAN LINDS as Mr. Lowenstein
FIONA HOGAN as Speaker
RHYS LLOYD as Desk Guard
BRAD DRYBOROUGH as Barker
FRANCIS BOYLE as Desk Guard
Set Decorator: SHANNON MURPHY
Costume Designer: CARLA HETLAND
Costumer: HEATHER LEE DOUGLAS
Make-up Artist: BEV WRIGHT
Hair Stylist: JILL CORP
Property Master: TERRY WEAVER
Script Supervisor: PATTIE ROBERTSON
Production Coordinator: ANITA MEEHAN-TRUELOVE
Production Accountant: GORD SMITH
1st Company Grip: AL CAMPBELL
Stunt Coordinator: SCOTT NICHOLSON
Production Sound Mixer: SHANE CONNELLY
Special Effects Coordinator: GARY PALLER
Transportation Coordinator: JOHN J. O'TOOLE
Construction Coordinator: VANCE CONWAY
Casting Assistant: CARRIE LEVIN
Post Production Supervisor: DAN McDONALD
Assistant Editor: DINO C.C. DeLORENZO
Sound Supervisor: JON WAKEHAM
Music Editor: MOIRA MARQUIS
Re-Recording Mixers: TIM PHILBEN
Re-Recording Mixers: ALAN DECKER
Additional Music By: RICH McHUGH
Additional Music By: ERIC AMDAHL
Visual Effects by: STARGATE DIGITAL
High Definition Post: MATCHFRAME VIDEO
Film Laboratory: TOYBOX
Off Line Post: THRESHOLD SOUND & VISION
The persons and events in this film are fictitious. Any similarity to actual
persons or events is unintentional.
© 2003 Viacom Productions Inc., All Rights Reserved
First Publication USA
Viacom Productions Inc is the author of this program for purposes of article
15(2) of the Berne Convention and all national laws giving effects therein.
This motion picture is protected under the laws of the United States and other
countries. Unauthorized duplications, distribution or exhibition may result in
civil liability and criminal prosecution.
Dated:11/25/2003~lky
http://www.webphilia.com/~anthology/wnp.html
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