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JAKE 2.0
1X11: PRINCE AND THE REVOLUTION
ORIGINAL AIR DATE ON UPN: 12/10/2003
TRANSCRIBED FROM UPN
Written by: DAVE JOHNSON
Directed by: JORGE MONTESI
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-SV
DISCLAIMER:
"JAKE 2.0" and other related entities are owned, (TM) and (c) by David Greenwalt
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Matthew S. Scharbo Productions, and Viacom Productions, a Paramount Company.
All Rights Reserved. This transcript was made without their permission,
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SUMMARY: In the wake of the Board of Inquiry's unsuccessful attempt to
discredit the Special Ops Unit, Jake is placed on a special assignment to guard
the crown prince of Kembu, Africa, a political hotspot. In the meantime, Kyle
offers Jake an out from the nanite program, a one-time only chance for a new
life outside and away from the NSA. It's his, if he decides to take it.
JAKE 2.0
1X11: PRINCE AND THE REVOLUTION
COLD OPEN:
[VARIOUS CLIPS FROM PREVIOUS EPISODES]
LOU: (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.
CUT TO:
PREVIOUSLY ON:
[Scene from 1X10: The Spy Who Really Liked Me]
[INT. NSA - BOARD OF INQUIRY -- CONFERENCE ROOM - DAY]
SKERRITT: Could you please identify yourself for the record?
(LOU, KYLE, JAKE and DIANE are standing in front of their chairs facing the
Board of Inquiry.)
[CU: JAKE]
JAKE: Agent Jake Foley, ...
(Cut to: [Scene from 1X05: The Good, The Bad and The Geeky] JAKE is in
DUMONT'S RESIDENCE sitting on his moped and making motorcycle sounds.)
JAKE: (v.o.) ... the human subject ...
(Cut to: [Scene from 1X01: The Tech] JAKE is in the Research Lab being examined
under the xray machine while DIANE, LOU and KYLE standing the back looking at
the monitor.)
JAKE: (v.o.) ... with millions of tiny robots inside.
(Cut to: [X-RAY VIEW] of the nanites along JAKE'S spine.)
(Cut to: Close up of JAKE'S eyes as his site's enhanced.)
(Cut to: [Scene from 1X10: The Spy Who Really Liked Me] CU of JAMES SKERRITT,
then VALERIE WARNER.)
WARNER: Did you see the way he stood up to us
(Various flashes.)
(Cut to: CU: JAKE.)
JAKE: (angry) This isn't about our "field performance", this is about you
finding a scapegoat.
SKERRITT: You're out of line, son.
[Scene from 1X09: Whiskey-Tango-Foxtrot]
(JAKE holds the gun pointed downward and fires.)
WARNER: ... that's a soldier.
(Cut back to: [Scene from 1X10: The Spy Who Really Liked Me] JAMES SKERRITT
turns to look at VALERIE WARNER.)
SKERRITT: You like him.
WARNER: I hate and fear him,
(Cut to: [Scene from 1X09: Whiskey-Tango-Foxtrot] On the barracks, JAKE walks
up to the group dressed in khakis and carrying his duffle over his shoulder.)
WARNER: (v.o.) ... but a man like that bent to your will
(Cut to: [Scene from 1X10: The Spy Who Really Liked Me] CU: VALERIE WARNER.)
WARNER: ... could accomplish anything.
(Cut to: [Scene from 1X08: Middleman] In the TRAINING ROOM, JAKE hits a dummy
while KYLE watches in the back. JAKE swings and his fist goes clear through the
dummy's face.)
(Cut to: [Scene from 1X10: The Spy Who Really Liked Me] CU of JAMES SKERRITT.)
SKERRITT: I don't believe he's bent to anyone's will.
(Cut to: [Scene from 1X09: Whiskey-Tango-Foxtrot] In the Government Office
after the hostage situation, KYLE talks with JAKE.)
KYLE: You follow orders, just like everyone else.
(Cut to: [Scene from 1X10: The Spy Who Really Liked Me] CU: VALERIE WARNER.)
WARNER: ... that's the problem. One I intend to rectify.
FADE TO BLACK
END OF "PREVIOUSLY ON"
[OUTER SPACE]
(Camera pulls back along the top of a moving satellite, beeping and other
telemetry sounds are heard.)
(The satellite moves aside and the camera focuses on the earth below. The
camera pushes forward and downward through the clouds to the earth. Camera
continues to zoom in toward the top view of the NSA building.)
DIANE: (v.o.) All right. So who had the chicken crisp?
JAKE: (v.o.) That's me.
CUT TO:
[INT. NSA -- RESEARCH LAB -- DAY]
(The camera starts at the side of the lab where JAKE stands his back to the
others, looking at the items on the shelf. The camera moves over toward DIANE
at the table facing LOU and KYLE.)
(DIANE clears her throat.)
DIANE: And Deputy Director Beckett? What did you order?
LOU: Vegetable soup. Green salad. Brown rice.
(LOU watches JAKE.)
JAKE: Now we know how she keeps her girlish figure.
(DIANE laughs nervously.)
(The room is filled with tension; their conversation stilted. They speak as if
reading from a carefully crafted script. JAKE continues to scour the walls, his
back to the others as he carefully searches the room for listening devices.)
DIANE: (reads) Oh! Here's my pepperoni pizza with anchovies and artichokes.
The two A's that make a meal worth having.
(DIANE pauses and turns around to look at JAKE.)
DIANE: Mmm. Dig in, guys.
(JAKE motions for them to continue. He turns and heads for the next wall.)
DIANE: Mm-mmm.
CUE SOUND: ENHANCED ABILITY
(JAKE sees something. Camera zooms in through the vent and focuses on a chip
stuck to the wall. The chip sizzles, smokes and short-circuits. Camera pulls
back out of the vent to JAKE.)
JAKE: We're clear.
(DIANE hangs her head down with relief. KYLE turns to her.)
KYLE: (joking) The "two A's that make a meal worth having"?
DIANE: I'm not a spy, okay? You guys are the spies.
JAKE: I thought this war was with our enemies out there, not our superiors in
here.
LOU: Well, get used to it. There are factions upstairs who don't want to see
us succeed. They're threatened by things they can't control, and they can't
control you.
(JAKE looks around and there's a heavy silence in the room that he picks up on.)
JAKE: What?
(KYLE glances around the room.)
KYLE: Lou, Diane and I had a talk.
JAKE: What, you're voting me off the island?
(He chuckles at his own joke. His face falls as he realizes at they're serious
about this.)
KYLE: No, but we can have lives after this program. We can move on. You, on
the other hand, are the program. If it shuts down, Jake ...
(DIANE looks down at the table.)
JAKE: What? You going to put me in a cage five miles underneath the rocky
mountains?
(JAKE glances at LOU who meets his gaze. Realizing that they are completely
serious about this, he groans.)
JAKE: Oh, God.
KYLE: I have a contact, an identity specialist. He creates new lives for
people and erases the old ones. He operates outside normal channels. Now, what
he does is neither legal nor cheap. But he owes me. Big time.
DIANE: If you want it, there's a way out of this war.
(Camera holds on JAKE.)
CUT TO:
[VARIOUS NEWSREEL-LIKE CLIPS]
LEGEND: SOUTH KEMBU, AFRICA
(Top view looking down on city blocks.)
(Cut to: A crowd of people in the street in disarray; military soldiers with
guns stand near the buildings. Men are pushing each other in the streets. A
helicopter flies overhead. Soldiers with their guns sit in tanks and fire at
the crowds alongside the road. The crowd disperses.)
(Cut to: A woman covers her face with a cloth as she cries.)
(Cut to: NWN Television news coverage of the unrest in South Kembu, Africa is
on the monitor. On the bottom of the screen it reads: BREAKING NEWS. The
streaming news at the bottom reads: HEAVY RESISTANCE. MANY CIVILIAN CASUALTIES
HAVE BEEN REPORTED ... INTERNAT--.)
NEWS ANCHOR (MAN): (from monitor) Three hundred year-old rivalries have flared
up again in Kembu, Africa.
(Cut to: A picture of INIKO BAAKO is on screen. Streaming news at the bottom
reads: ... WEATHER SHOWS HEAVY FLOODING IN EASTERN EUROP--)
NEWS ANCHOR (MAN): (from monitor) A radical paramilitary faction lead by
General Iniko Baako has broken last year's cease fire and is attempting to
overthrow the parliamentary democracy
[INT. NSA -- SAT OPS]
(JAMES SKERRITT and VALERIE WARNER stand on the second floor walk watching the
news report on the large monitor down below.)
(A picture of KING NAMIR is on screen with streaming news on the bottom of the
screen reading: ... EMERGENCY. NEW SPY GEAR ARMS TO THWART ATTACKS. UNITED
NATIONS --- )
NEWS ANCHOR (MAN): (from monitor) ... established by King Namir, the patriarch
of the royal family of Kembu. Namir issued this statement early this morning.
(Video of the interview is on screen. Streaming news on the bottom reads:
UNITED NATIONS SECRETARY GENERAL PLEA FOR IRAQ REBUILD AND US DEFENSE SECRETARY
... )
KING NAMIR: (from monitor) Kembu is a country that is run by its people, and
we will stand our ground before this tyrant Baako, as we always have. And our
allies from around the world will stand with us.
(Cut to: CU: VALERIE WARNER.)
WARNER: His allies are us and the French.
SKERRITT: Well, I guess when it comes to the bleeding, that means us.
WARNER: As long as the oil fields of Kembu produce, it does. What's
the king asking for?
SKERRITT: Very little, but he's worried about his son.
WARNER: The prince.
(The news coverage continues; they turn to watch the monitor on which is video
of MALIK NAMIR and ANNA. Streaming news at the bottom of the monitor reads:
DEFENSE SECRETARY DEFENDS MEMO QUESTIONING ADDITIONAL FORCES ... )
NEWS ANCHOR (MAN): (from tv) There has been no comment yet from Prince Malik
of Kembu who's in attendance at a private university in the Washington, D.C.
Area.
SKERRITT: The unrest in Kembu raises the potential for an assassination
attempt on American soil.
WARNER: Mm-hmm. How credible are the threats?
SKERRITT: Judging from General Baako's bloody track record, I'd say very.
He doesn't just kill his enemies, he kills their families.
(He sighs. VALERIE WARNER looks down at the monitor below.)
SKERRITT: We're talking about putting our own agents in the line of fire.
WARNER: I see.
(She turns to look at SKERRITT.)
WARNER: What's Jake Foley up to?
FADE TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[EXT. NSA BUILDING -- DAY]
(Establish.)
[INT. NSA -- HALLWAY]
(JAKE walks through the hallway. Coming down the other end of the hallway,
going in the opposite direction, is VALERIE WARNER.)
WARNER: Hello, Jake.
JAKE: Hey, uh, hello, Executive Director Warner.
WARNER: (pleasantly) Please, call me Valerie.
(JAKE slows down and turns around at this strange, suspicious exchange.)
CUT TO:
[INT. NSA - LOU'S OFFICE -- DAY]
(JAKE walks into the office, still puzzled by his encounter with the Executive
Director.)
JAKE: I just ran into Warner in the hall. She was pleasant. Now I'm really
scared.
(He looks at LOU who is standing behind her desk leaning forward looking at
something.)
LOU: You should be. She has an assignment for you.
(JAKE steps into the office toward them.)
JAKE: Yeah? What is it?
(KYLE steps close toward the group.)
KYLE: Protecting Prince Malik Namir of Kembu until the unrest in his country
subsides.
JAKE: Bodyguarding a Prince. Doesn't sound so bad. What's the catch?
LOU: It's dangerous. You could end up between the prince and a bullet. And
it's delicate. If the prince gets hurt, Warner blames us. You get hurt ...
JAKE: Warner blames us.
KYLE: You are a good candidate. You're close to the Prince's age and you are
the ultimate human surveillance system.
LOU: We'd have a team of agents working with you. Kyle would head a group
here, profiling VISAs, looking for potential sleeper cells working for General
Baako. So you wouldn't be alone out there. Still, have you given any thought
to what we talked about?
(JAKE nods.)
JAKE: It's about all I've been doing.
LOU: And?
JAKE: And ... I haven't made a decision on that front yet. So, in the
meantime, I guess I wouldn't mind hanging out with this prince guy.
LOU: You sure?
JAKE: Yeah, so, uh, where am I going? To live in a castle somewhere? It'd be
kind of cool to see a moat.
CUT TO:
[EXT. UNIVERSITY CAMPUS -- DAY]
(JAKE walks across the campus looking around at the various students on their
way to their classes.)
(Backpack slung over his shoulder, JAKE walks along the path. A flying red
frizbee hits him on the back of his head.)
KID: Watch out!
JAKE: Ow.
AGENT WILSON: (to the radio) Are you all right?
(JAKE sighs.)
JAKE: Yeah, I'm fine. (He raises his hand up to signal her as he bends over to
retrieve the frizbee.) No need to put that in the reports.
(He picks it up and a passing college student looks at him and smiles.)
COLLEGE STUDENT (WOMAN): Hi.
(JAKE smiles back.)
VOICE: (o.s.) Sorry. Can you throw it here?
(JAKE smiles at the college student and without thinking, throws the frizbee
back. Unfortunately, he's used his enhanced strength and the frizbee cuts clear
across the lawn and drills through the glass window, breaking it.)
JAKE: Sorry!
(He grimaces at the damage, turns and runs in the opposite direction.)
CUT TO:
[INT. COLLEGE DORM - LOBBY -- DAY]
(JAKE walks into the dorm.)
JAKE: Hey, you guys know where I can find Malik?
COLLEGE STUDENT (MAN): Upstairs on the right.
JAKE: Thank you.
(JAKE heads up the stairs. As he walks toward the room, a MAN walks out of the
room and into his path. JAKE looks at him and thinks that he's the Prince.)
JAKE: Oh, your highness. I'm Jake Foley. I was assigned to protect you.
(The MAN doesn't say anything.)
JAKE: Uh, I'm with the NSA.
(The MAN raises an eyebrow at JAKE.)
JAKE: (hesitantly) Jambo?
(Off to the side, a college student approaches them. Laughing lightly at JAKE,
he looks at his bodyguard, TRACEY.)
MALIK: I don't believes he speaks swahili.
TRACEY: (in perfect english) Actually, I grew up in Vermont. There's not a
lot of call for it.
JAKE: Sorry.
MALIK: You're Jake?
JAKE: Yeah.
MALIK: I'm Malik. You bow to me, call me your highness, anything like
that, you're fired. This is Tracey. I know what you're thinking. "Isn't that
a woman's name?"
JAKE: No, no, I wasn't thinking that.
MALIK: Smart man.
JAKE: It's nice to meet you both.
TRACEY: Likewise.
MALIK: So, you're my bodyguard.
JAKE: Yeah.
MALIK: Are they downsizing at the NSA?
(TRACEY chuckles.)
JAKE: Well, didn't you hear? Scrawny's the new big.
(JAKE laughs.)
MALIK: All right, ground rules. I don't like guards cramping my style,
and I can't have some guy following me around campus because that's not suave.
So, you keep your distance, nobody gets hurt.
(Finished, MALIK moves to walk past JAKE, however, JAKE steps to block his
path.)
JAKE: Uh, I'm afraid you might. I was assigned to protect you, so, I'm sorry,
but that's what I'm going to do.
(TRACEY doesn't like it and steps forward.)
TRACEY: Hold on.
(MALIK turns to TRACEY.)
MALIK: It's cool, it's cool. Is that so?
JAKE: Pretty much.
MALIK: You're not hanging with me, man. At least not in those clothes.
(JAKE glances down at his clothes.)
JAKE: What's wrong with these?
MALIK: Nothing at all, if you're going to a debate. Come on.
CUT TO:
[INT. COLLEGE DORM - ROOM -- DAY]
(MALIK is holding a blue tracksuit with yellow stripes on the side.)
MALIK: Perfect.
JAKE: You want me to wear that?
MALIK: The crown prince of Tajir didn't think it was so bad. He wore it
with pride. Or I tell the NSA you're not cooperating. Can I borrow your cell?
(He holds out his hand and takes a step forward. JAKE takes the tracksuit.)
MALIK: (satisfied) All right. I'll be waiting.
(MALIK heads for the door.)
MALIK: Take your time.
(He walks out and closes the door behind him leaving JAKE holding the tracksuit
in his hand.)
SHORT TIME CUT TO:
[INT. COLLEGE DORM - ROOM/HALLWAY -- DAY]
(Through the door we hear JAKE complaining. The door opens.)
JAKE: All right, I'm coming out, but I look like some kind of muppet reject.
(JAKE is wearing the tracksuit. He looks down the empty hallway
AGENT WILSON: (on radio) Jake, Jake, I have the Prince on the northeast
perimeter. Where are you?
(JAKE runs back into the room to look out the window. He waves to AGENT WILSON
below.)
JAKE: Yeah, I'm on him.
AGENT WILSON: Okay.
(She turns to leave. JAKE turns and heads out of the room only to find TRACEY
standing in the doorway.)
JAKE: Excuse me, Tracey.
(TRACEY glances down at his watch.)
TRACEY: I'll excuse you in five minutes, but until then, my word to Malik and
two C-notes in my pocket is keeping me right here.
JAKE: Tracey, I'm going to give you three seconds to move.
TRACEY: Or what?
(JAKE closes the door and runs back to the window where he sees a car, license
#C=86023 speeding away.)
[EXT. CAMPUS DORM - ALLEYWAY - DAY - CONTINUOUS]
(JAKE exits out the fire escape and rushes down the stairs. About three levels
up, he stops, takes a couple of deep breaths, then jumps down to the alley
below.
JAKE: Where is he?
AGENT WILSON: (from radio) He's going past the science building.
(Putting on a burst of enhanced speed, JAKE runs, catches up with and steps out
in front of the speeding car. The car comes for a screeching halt.)
(JAKE gets into the car and closes the door.)
[INT. CAR - DAY - CONTINUOUS]
MALIK: How'd you do that?
JAKE: 'Cause I'm good at my job. You are never to get into a vehicle unless I
check it first.
MALIK: I'm sorry. So, how much is my freedom going to cost me?
JAKE: You can't bribe me, Malik.
MALIK: Well, that's disappointing.
JAKE: Yeah, well, like it or not, you're stuck with me.
MALIK: Have it your way. Seat belt.
(MALIK shifts the car into gear and speeds away.)
JAKE: What? Whoa...!
MALIK: My last bodyguard, Bobby Dean -- he took two to the head. You
ever seen brain?
(MALIK drives recklessly down the road weaving through the cars.)
JAKE: No.
MALIK: It's nasty.
(JAKE groans as MALIK takes a sharp turn tires screeching loudly.)
MALIK: It's nothing personal, Jake, it's really not. It's just that
bodyguards, they get hurt. Then you got to bring flowers to the hospital, the
grave ...
JAKE: (interrupts) Aren't you worried about getting a ticket?
MALIK: Two words -- diplomatic immunity.
JAKE: Yeah, how about dying?
MALIK: That'll come soon enough. In the meantime, I'm going to enjoy
every moment to the fullest.
(MALIK comes to an intersection but doesn't stop. He runs clear through
traffic, car horns beep as he takes the turn forcing others to stop for him.)
JAKE: Would you watch out?!
MALIK: What? It was yellow.
(The car speeds down the road.)
CUT TO:
[INT. NSA - SAT OPS - DAY]
[NEWS REPORT MONITOR]
(The monitor shows a couple of cars slowly driving through a crowd of people.
The caption reads: KEMBU UPDATE. Streaming news at the bottom of the monitor
reads: THOUSANDS OF RESIDENTS ARE HOMELESS AS THEY FLEE THE CAPITAL CITY ... )
NEWS ANCHOR (MAN): (from tv) General Baako's army swept through the northern
cities of Ujeme and Nyumba in war-torn Kembu today.
(DIANE turns from the monitor and glances at KYLE standing next to her. They
both watch the monitor as LOU stands in the background talking with JAMES
SKERRITT. He turns to leave.)
(Streaming news at the bottom of the monitor reads: BATTLES ARE RAGING OUTSIDE
OF THE CAPITAL CITY.)
NEWS ANCHOR (MAN): (from tv) King Namir responded by deploying troops to the
country's rich oil fields, and, according to unconfirmed reports, Baako now
controls two of the country's four electric plants.
(LOU joins them.)
KYLE: How does the news know that before we do?
DIANE: Well, they said it was unconfirmed.
LOU: Well, it's confirmed now.
(LOU hands a file to KYLE.)
KYLE: Baako has two of the electric plants?
LOU: No. Three.
(She glances at the various clips on the monitors.)
KYLE: The king told us two hours ago he controlled all four.
LOU: Well, he's lying.
DIANE: Well, he's our ally. Why would he lie?
LOU: To appear stronger than he is, and Diane ...
DIANE: (she gets it) What, this doesn't really concern me?
(LOU turns and walks away. DIANE rushes to catch up with LOU.)
DIANE: Well, you know what? Jake does, and if you're going to assign him to
the field, I think I have a right to know what's going on ... ma'am.
LOU: Well, that's part of the problem, Diane. We don't know what's going on.
We need better intel.
KYLE: We have people in the capital.
LOU: Who do we have that's close to the king?
DIANE: Uh, Jake is.
(LOU looks at DIANE.)
DIANE: Well, he's guarding the king's only son.
CUT TO:
[EXT. BASKETBALL COURT -- DAY]
(JAKE stands on the side and watches MALIK NAMIR play basketball on the court.
His phone rings; he answers it.)
JAKE: Hello.
KYLE: (from phone) How's it going with the Prince?
JAKE: I'd say on a scale of one to ten, it's about a two.
KYLE: (from phone) Jake ...
JAKE: No, it's fine. What do you need?
INTERCUT WITH:
[INT. NSA - SAT OPS - DAY]
KYLE: I need you to find out what his father is telling him about the war.
JAKE: Kyle, this guy's not exactly thrilled to have me around. You want me to
spy on him?
KYLE: We're the National Security Agency. It's kind of what we do. Look for
any e-mails or other communications. If the king's going to be honest with
anyone, it'll be with his son and heir.
(JAKE hangs up.)
(He looks down and sees MALIK'S PDA in his gym bag. JAKE maneuvers himself
around the wire fence and sits near the open gym bag.)
(On the court, the pick-up game continues. Someone throws the ball and pushes
LITTLE MIKE down on his back on the court. The game stops before a fight breaks
out.)
HOOPSTER: Hey, hey, hey, hey.
HOOPSTER: Come on, come on, fellas.
(They help LITTLE MIKE up to his feet, but he's out of the game.)
HOOPSTER: You're all right, man, you're all right.
(JAKE turns and concentrates on the PDA. The PDA turns on.)
HOOPSTER: Hey, you.
(JAKE is interrupted. He looks up at the PLAYER on the court.)
JAKE: Hey. I was just, uh...
HOOPSTER: We need someone to fill in for Little Mike. Can you ball?
JAKE: I'm not exactly what the doctors call coordinated.
(JAKE chuckles self-consciously.)
MALIK: (urging) Come on, Jake. I mean, it's not like we going to pass
you the ball anyway. Come on, man.
HOOPSTER: Give me the ball.
MALIK: Come here.
(JAKE walks over to MALIK.)
MALIK: Basically, you stay out of my way. I'll take care of business,
all right?
(The game starts; the ball is put into play. JAKE gets the ball; JAKE loses the
ball.)
HOOPSTER: Here we go! I'm ope ... ah.
JAKE: Sorry.
MALIK: It's all right.
(Whenever JAKE gets the ball, the other team takes it.)
HOOPSTER: Right here. Ah!
MALIK: Jake!
(The other team scores.)
(Various cuts of the other team scoring again and again and again.)
MALIK: It's all right, Jake.
(The game continues. The ball is in play and JAKE
JAKE: I'm open!
HOOPSTER: Hey!
MALIK: Ow. Hold on a second, guys.
(MALIK stops the game and pulls JAKE aside.)
JAKE: Sorry.
MALIK: Come here, Jake. Come here, man. What did I say about getting in
my way?
JAKE: I'm doing my best.
MALIK: Are you? Cause we're getting blown out right now.
HOOPSTER: (taunting) We're just wondering if Whitney Houston and Kevin Costner
are going to toss it in or keep playing.
MALIK: Shut your mouth, kid. Sit this one out, Foley. I can take care
of it myself.
(MALIK turns back to the game leaving JAKE standing there for a moment.)
MALIK: All right, all right. Our ball.
(JAKE grabs the ball. MALIK steps toward JAKE.)
MALIK: Have you got a concussion, or something?
JAKE: Hey, you know when I said I was doing my best? (beat) I lied.
(From across the court, JAKE aims and shoots. Nothing but net.)
(Various cuts of JAKE turning on the enhanced ability to land basket after
basket.)
HOOPSTER: Whoo!
MALIK: All right, Jake, okay.
(The Other team shoots, JAKE jumps up and grabs the ball away from the basket.
The PLAYER watches in awe at the save.)
HOOPSTER: All right.
(Cut to: MALIK standing on the side while JAKE has the ball.)
MALIK: Game point! Dish it off, Jake! I'm open! I'm open!
(JAKE fakes around the guard and makes the basket. MALIK turns to the other
team PLAYER.)
MALIK: Ooh! You just got schooled by Kevin Costner.
(MALIK and JAKE high five each other.)
MALIK: That's what I'm talking about!
CUT TO:
[EXT. CAMPUS DORM -- EVENING]
MALIK: (v.o.) So, where'd you learn to play like that, Foley?
[INT. CAMPUS DORM - STAIRS -- EVENING]
(MALIK and JAKE walk up the stairs on the way to their room.)
JAKE: Mean streets of Akron, Ohio. You?
MALIK: The guarded royal compounds of Kembu. Where I watched Michael
Jordan, game five at the forum, win the bulls their first NBA finals.
JAKE: Ah, you wanted to be like Mike.
MALIK: No, no, just wanted him to teach me how to play. Dad flew him out
for a week. He showed me his crossover, fadeaway, you know.
JAKE: Yeah. Yeah, I, uh, owned a pair of Air Jordans once. We may have more in
common than you think.
(JAKE chuckles.)
MALIK: You're a good guy, Jake. I don't say that often. My father
raised me to trust no one.
(They reach the dorm room door. MALIK unlocks the door and they enter.)
JAKE: What's he like?
[INT. DORM ROOM]
(MALIK drops his bag on the floor and takes off his jacket. JAKE immediately
starts to search the room.)
MALIK: He's a good man. Good as you can be given his position. He's
done a lot of things he's not proud of. But people have been plotting against
my family for hundreds of years. There's a legacy of bloodshed there. Between
you and me, it's not something I want to become a part of.
(JAKE sees the duffle on the floor.)
JAKE: Who says you have to?
MALIK: It's my destiny. Can't change that. I'm going to crash out. You
know what, Jake? I'd visit you in the hospital. But flowers-- that's where I
draw the line.
(MALIK turns and heads out into the next room. Seeing his opportunity, JAKE
picks up MALIK'S PDA and palms it. He heads for the door.)
JAKE: All right, man, I'll see you later.
MALIK: Jake.
(Almost out the door, MALIK stops him. JAKE turns around and looks back into
the room.)
MALIK: (points) About the outfit.
JAKE: (chuckles) Crown Prince of Tajir never wore anything like this, did he?
MALIK: No. But you can keep it. Or burn it, or whatever.
(MALIK and JAKE share a smile.)
JAKE: Okay. You know where I'll be.
(JAKE leaves the room and shuts the door behind him.)
[HALLWAY]
(JAKE looks at the PDA, pockets it, then leaves.)
CUT TO:
[EXT. CAMPUS DORM -- NIGHT]
(Just outside the dorm hall is a man sitting in a black car. Watching.)
(He slips a disk into the drive and loads up the video.)
BAAKO: (from video) All members of the royal family must be
eradicated to ensure our complete success. The prince is your primary target.
CUT TO:
[INT. CAMPUS DORM - JAKE'S ROOM -- NIGHT]
(JAKE slips in the memory card into the PDA and uploads the data.)
(As he works, he hears something.)
AGENT WILSON: (from radio) Jake. Jake. Jake. Jake.
(JAKE picks up the earpiece and puts it on.)
JAKE: Yeah, I'm here.
AGENT WILSON: Jake, there's a breach in dormitory security. Someone just
entered through an emergency exit, and they're headed your way.
(JAKE takes out his firearm and leaves the room. He walks out into the hallway
and sees someone enter MALIK'S dorm, the door closing behind them.)
(JAKE raises his gun and rushes forward. He kicks the door open and raises his
gun.)
[MALIK'S ROOM]
JAKE: Hands in the air!
(In front of him, he sees MALIK on the bed with a partially dressed WOMAN on top
of him.)
JAKE: Uh... sorry.
(MALIK stares angrily at JAKE.)
JAKE: Uh, as you were.
(JAKE turns and leaves the room, shutting the door behind him.)
FADE OUT
(COMMERCIAL SET)
FADE IN.
[EXT. CAMPUS DORM -- DAY]
[INT. CAMPUS DORM - KITCHEN - DAY]
(ANNA closes a drawer.)
ANNA: Now I'm going to hand Malik some utensils. You're not going to try and
jump me, are you?
(She glares at JAKE standing in the far corner of the kitchen holding a cup of
coffee.)
JAKE: Well, if you try and assassinate him with that spoon, you leave me little
choice.
(MALIK takes out the box of cereal.)
ANNA: Tell me about yourself, Jake. Do you know karate? Jujitsu? Kung-fu?
JAKE: Uh, a little judo. Sixth grade.
ANNA: So what exactly makes you qualified to protect the Prince? I mean, no
offense, but I could probably kick your ass.
MALIK: Anna, he's cool. Leave him alone, babe.
JAKE: No, no. It's okay. It's a valid question. Um, all I can really say is
that it's mostly up here. (He taps his forehead with his index finger.)
Otherwise, it would kind of hard to kill a man with your bare hands.
MALIK: You killed a man with your bare hands?
(JAKE drinks from his cup and doesn't answer the question, although his gaze
remains on MALIK. MALIK chuckles and leans forward, his fist in the air.)
MALIK: I don't know if that's the truth or an ice cold bluff, but I'm
feeling you, Foley.
(They knock fists.)
JAKE: Fo'shizzle?
MALIK: Okay. You don't need to do that.
(JAKE laughs.)
ANNA: Baby, I forgot to invite Ryan tonight.
MALIK: Hmm. Don't worry. I'll see him in class.
ANNA: This party's going to be off the hook.
MALIK: For sure.
JAKE: Whoa, whoa, whoa. Party?
ANNA: It's Malik's 21st birthday.
JAKE: Well, happy birthday, but I don't think a party's such a good idea right
now.
ANNA: (defiant) We're having a party. I don't care what your bodyguard says.
MALIK: Anna, he is looking out for me. If he doesn't think it's a good
idea, then it's his call.
JAKE: (he sighs) All right, but you stay by my side at all times.
MALIK: Deal. All right, baby. We got to run.
ANNA: All right.
(He kisses her. MALIK puts his bowl down and turns to leave the kitchen. JAKE
follows him out.)
JAKE: It's nice to meet you.
ANNA: Mm-hmm.
CUT TO:
[EXT. CAMPUS -- DAY]
(JAKE and MALIK head for class.)
JAKE: So Anna seems like a pretty nice girl. Once you get to know her.
MALIK: She's really special. It's going to be hard when I have to break
up with her.
JAKE: What are you talking about?
MALIK: Eventually, I have to go back and marry someone whose lineage is
deemed worthy of a queen.
JAKE: You're in an arranged marriage?
MALIK: Yeah. My cousin Shawanda. She's 14 years old. Weighs 350 pounds.
Cute face, though.
(JAKE stares at MALIK.)
JAKE: Okay.
MALIK: I'm messing with you, man. I can marry anyone I want. As long as
she's another royal from Kembu.
JAKE: All right, so you're choice ... well, you don't really have a choice.
MALIK: Exactly.
(JAKE'S phone rings. He answers it.)
JAKE: Hey.
INTERCUT WITH:
[INT. NSA - SAT OPS]
KYLE: Good job with Malik's PDA , but aside from his social activities calendar
for the next six months, there was nothing on it we could use.
JAKE: I see.
KYLE: Jake, we're getting a lot of pressure from above. Kembu's our biggest
oil supplier in the region. You're going to have to dig deeper.
(JAKE watches MALIK who is several steps in front of him.)
JAKE: I'll see what I can do.
(As he walks forward, the camera pauses on a MAN walking past them. He turns
around and we see that it's the ASSASSIN who was sitting in the car.)
CUT TO:
[INT. CLASS -- DAY]
(The instructor writes on the board.)
INSTRUCTOR: Moving on to some familiar calculus, who can tell me how we show
that p-zero-one and this inner product define inner product spaces?
(He puts his chalk down and looks at the class. No one wants to answer.)
INSTRUCTOR: Am I to believe that after a week of going over this, no one knows
the answer?
(JAKE looks around, then raises his hand. MALIK hits JAKE on the arm.)
MALIK: What are you doing?
JAKE: I so know this.
INSTRUCTOR: And a brave warrior raises his hand in the distance. Your name?
JAKE: Alan. Uh, Alan Hergott.
(JAKE gets to his feet.)
INSTRUCTOR: Are you in my class?
JAKE: I'm, uh, auditing.
INSTRUCTOR: Even more impressive. Proceed to dazzle us.
JAKE: Well, since we don't have an intuitive picture of the p-zero-one vector,
we just need to integrate the product of the two factors and evaluate from zero
to one. That'll give us a real number.
INSTRUCTOR: Well, that would be an excellent answer if it wasn't entirely
wrong.
(JAKE'S smile falls.)
INSTRUCTOR: Now, who would like to correct Mr. Hergott? Atone for his failure.
(MALIK raises his hand as JAKE takes his seat. MALIK gets to his feet and makes
his way to the front of the class.)
MALIK: His mistake is in the interpretation of the inner product
definition. We're not interested in the value of the integral, but that it
satisfies the four properties of the definition.
(JAKE sees his opening and sticks a memory card into MALIK'S laptop. He uses
the time to download the information onto the card.)
MALIK: We can apply the properties of the Riemann integral, beginning
with the symmetry condition, and ... there you go.
(The transfer completes and JAKE removes the card.)
MALIK: Similarly, three other conditions can be proven through the
properties of the Riemann Integral.
INSTRUCTOR: Good work, Malik.
(MALIK makes his way back to his seat. JAKE smiles at him.)
INSTRUCTOR: Now we can prove some results from the property spaces.
CUT TO:
[INT. BUILDING - HALLWAY -- DAY]
(JAKE and MALIK exit the class and make their way through the hallway.)
MALIK: Nice brick back there in front of class.
JAKE: Yeah, yeah. It's not like I majored in computer science or anything.
So, what do we got next?
(As they walk through the hallway, JAKE hands off the chip to AGENT WILSON.)
MALIK: Early 19th century Eastern European literature.
JAKE: Great. I was actually looking forward to coming back to college.
(They walk up to ANNA.)
MALIK: Hey, babe.
ANNA: (grimly) Find anything interesting, Agent Foley?
MALIK: What are you talking about?
ANNA: I just saw your bodyguard hand off something to a woman I can only assume
was another NSA Agent. What was it?
JAKE: I don't know what you're talking about.
ANNA: What was it?
MALIK: Jake?
(JAKE turns to look at MALIK.)
JAKE: I can't tell you.
MALIK: You ... you're not protecting me. You're spying on me.
(ANNA looks triumphantly to MALIK.)
ANNA: I told you he was bad news.
MALIK: Nothing personal, right? You know, I was actually starting to
trust you. I should have known better.
(MALIK turns and walks away; ANNA follows him.)
JAKE: Malik ...
MALIK: Stay away from me, Foley.
JAKE: You know I can't do that.
MALIK: You're fired.
JAKE: What?
MALIK: You heard me. Get out of here.
JAKE: You can't fire me!
(MALIK continues to walk down the hallway; ANNA glances back at JAKE.)
JAKE: (under his breath) He fired me.
CUT TO:
[EXT. WASHINGTON D.C. - NIGHT]
[EXT. NSA BUILDING - NIGHT]
[INT. NSA - LOU'S OFFICE -- NIGHT]
(KYLE opens the door and walks into the office. He's carrying a file folder.)
LOU: Anything from Jake?
(He closes the door behind him and makes his way toward LOU sitting behind her
desk.)
KYLE: King Namir sent the Prince an e-mail yesterday.
LOU: And?
KYLE: You tell me.
(He hands her the file, she opens it and reads the message.)
LOU: "The flowers have all faded ... blow if you will, autumn wind."
KYLE: I didn't know the king was a poet.
LOU: He's not. These are the last words of Lord Usagi in Feudal Japan just
before he was beheaded. I think the King is trying to send his son a message.
KYLE: That he's going to lose the war.
LOU: Or his life. If the king is this vulnerable, General Baako will make sure
there's no heir left to assume the throne.
(There's a light knock at the door before it opens. TECH AGENT CARVER appears.)
CARVER: We've just red-flagged three student visas. Possible Baako
sleepers.
LOU: Stream the pictures to Jake. Make sure he stays close to the prince.
CUT TO:
[INT. CAMPUS DORM -- NIGHT]
(There's a long line of students. At the head of the line is JAKE as he tries
to get inside.)
JAKE: Come on, Trace. Let me in.
TRACEY: Hey, the name's Tracey, and you're not on the list.
JAKE: Yes, I am on the list. I see my name. It's right there.
TRACEY: That's right. It says, "Don't let Jake Foley in." Now, get out of
here.
(Someone walks up to TRACEY and we see that it's the ASSASSIN who was sitting in
the car. TRACEY greets him with familiarity and lets him inside.)
ASSASSIN: What's up?
TRACEY: How ya doing?
ASSASSIN: All right. Peace.
TRACEY: Have fun.
(TRACEY turns back to see JAKE still standing there.)
TRACEY: Why are you still here?
JAKE: Look, I can call the NSA and shut this whole thing down.
TRACEY: Go for it.
(JAKE'S phone rings. He steps aside to answer it.)
JAKE: Hello!
INTERCUT WITH:
[INT. NSA - SAT OPS]
KYLE: We've got some hits. Potential sleepers. I'm sending you their pictures
now. Don't lose sight of the prince.
JAKE: Well, that's going to be kind of difficult 'cause he fired me.
KYLE: He can't fire you.
JAKE: That's what I said.
KYLE: Listen, Jake, you need to fix this. If the brass finds out ...
JAKE: Hey, it was your stupid idea to start spying on him in the first place.
Just hold on. Let me look at these.
(JAKE pulls the phone away from his ear to look at the pictures. The third
picture is a photo of the man who just entered the party.)
(Quick flashback to: The ASSASSIN and TRACEY shake hands. End of flashback.
Resume to present.)
JAKE: Kyle, I saw this guy. He just went into the party.
KYLE: I'm sending backup. Get to the prince ... now.
JAKE: Yeah.
(JAKE heads for the door as he hangs up. TRACEY stops him with a firm hand in
the middle of his chest.)
TRACEY: Foley! It's not going to happen.
JAKE: Sorry, Tracey.
TRACEY: For what?
JAKE: This!
(JAKE grabs TRACEY and using his enhanced ability, throws him into the line of
people behind him.
CROWD: Hey, hey, hey!
(JAKE runs into the party looking for the Prince or the Assassin.)
JAKE: Excuse me, excuse me.
JAKE: Pardon me, excuse me ... sorry.
(JAKE reaches the next room. He stops in the doorway and takes in the loud,
pulsating music, the people crowded into the room, and the strobe lights. After
a moment, he plunges into the room to look for MALIK.)
JAKE: Pardon me ... excuse me.
JAKE: Malik!
PARTY GOER: What's up Daddy?
PARTY GOER: Baby! You're so good!
JAKE: Yeah, so ... I'm in the middle of something.
JAKE: Malik!
(The strobe lights getting to him, JAKE looks up and uses his abilities to shut
them off.)
(The lights come on. The crowd stops dancing and lets out a loud collective
groan.)
CROWD: Aww...
(The ASSASSIN steps forward and raises his gun. JAKE looks around and sees him.
He runs and dives for the ASSASSIN.)
JAKE: Malik ... !
(MALIK turns around just in time to see JAKE tackle the ASSASSIN. JAKE punches
the ASSASSIN and knocks him out. He picks up the gun, gets to his feet and
turns to look at MALIK who has his arms protectively around ANNA.)
JAKE: Are you okay?
MALIK: (shocked) Yeah.
SHORT TIME CUT TO:
[INT. CAMPUS DORM - NIGHT]
(The party has disbanded; officers are there to remove the ASSASSIN. KYLE is on
the phone.)
KYLE: (to phone) Yeah. All right.
(MALIK looks at JAKE.)
MALIK: Thanks. (JAKE nods.) And for the record ... you're rehired.
ANNA: (starts to cry) I can't believe this.
MALIK: It's okay, baby. Everything's going to be all right.
(KYLE motions for JAKE to join him. JAKE steps away from MALIK and joins KYLE.)
KYLE: We just received intel from Kembu.
JAKE: The war over?
KYLE: Yes. The king is dead.
(JAKE absorbs the news, then turns back to MALIK to deliver the bad news. MALIK
sees him.)
MALIK: What is it?
(There's a long pause.)
JAKE: Your father's dead.
(Camera holds on MALIK.)
FADE OUT
(COMMERCIAL SET)
FADE IN.
[EXT. CAMPUS DORM - NIGHT]
[INT. CAMPUS DORM - LOBBY -- NIGHT]
(KYLE is on the phone. )
AGENT: West perimeter. Got it covered.
KYLE: Copy that. Displace to rear parking lot. I say again, rear parking lot.
AGENT WILSON walks down the steps to meet with KYLE; she hangs up her phone.
KYLE: Stairwells?
AGENT WILSON: We're green.
KYLE: I want a man on every rooftop.
AGENT WILSON: Yeah.
(She leaves. KYLE enters the room where everyone is standing around the
television set listening on the latest report.)
NEWS ANCHOR (MAN): King Namir's assassination virtually assures that General
Inako Baako will be Kembu's new ruler. Now, the State Department has not issued
an official response to the rebel coup, except to say that so far, the situation
remains fluid.
(MALIK turns the television set off.)
KYLE: Can I get you anything?
MALIK: I'm fine.
KYLE: (to JAKE) We got to go.
(JAKE walks toward KYLE.)
JAKE: (hesitantly) Kyle ...
KYLE: It's not open for discussion. Lou needs to see you, now.
ANNA: Don't go. We want you here.
MALIK: Anna.
(He interrupts her, shaking his head slightly to stop her from asking for help.)
JAKE: I'm sorry. Look, we're leaving an army here, nothing's going to happen,
I promise. Sorry about your father, Malik.
(MALIK looks as if he's going to start crying. JAKE and KYLE leave.)
DISSOLVE TO:
[EXT. NSA BUILDING - NIGHT]
[INT. NSA - LOU'S OFFICE -- NIGHT]
(JAKE sits at the table across from LOU giving a verbal report to her while KYLE
watches from the side.)
JAKE: ... At which point I used the necessary force to enter the dormitory
where I found the suspect armed and directly threatening Prince Malik. But you
guys already know all this. Why'd you bring me here?
LOU: Jake, your work was exemplary.
JAKE: But you're not sending me back.
(LOU looks over at KYLE. JAKE gets to his feet.)
JAKE: Well, who's protecting him?
KYLE: The prince is going to have to make his own arrangements. We've been
ordered to pull our security detail. That's straight from Director Warner.
JAKE: He's as good as dead without us. He needs us.
LOU: Tomorrow morning, the state department is going to announce the
commencement of diplomatic talks with Baako's new government.
JAKE: We're changing sides. Just like that.
LOU: Whatever happens, Jake, you went in there as ordered, you proved yourself,
you proved our unit. It's a small victory, but we have to take what we can get.
JAKE: We promised to protect the prince.
LOU: Yes, we did.
(Frustrated, JAKE shrugs and turns to leave the office.)
CUT TO:
[INT. NSA -- HALLWAY]
(JAKE walks down the hallway. Walking toward him going in the opposite
direction is Executive Director VALERIE WARNER.)
WARNER: Agent Foley. I'm glad to see you're okay.
JAKE: I'm glad you're glad.
WARNER: Excellent work tonight.
JAKE: Prince Malik won't be so lucky the next time.
WARNER: King Malik. If he can rule a country, he can procure his own
bodyguards.
JAKE: You didn't have to give the order to abandon him.
WARNER: Do you know something I don't? This agency's job is to uphold
the nation's foreign policy. Protecting the enemy of our new ally contradicts
that policy.
JAKE: And you're fine with that?
WARNER: I'm an instrument of our country's will. So is everyone in
this building, including you.
JAKE: An instrument.
WARNER: Word of advice? Leave your politics at home.
JAKE: And my ethics?
WARNER: Not my call. I barely know you.
(She turns and leaves. JAKE stands there for a moment thinking about what she
said. He turns to leave.)
CUT TO:
[INT. CAMPUS DORM -- NIGHT]
(JAKE makes his way slowly up the stairs.)
JAKE: Malik!
(Fast forward to the dorm room: JAKE is in the dorm room. He looks around and
sees that it's empty.)
JAKE: Malik?
(Fast forward to the hallway: JAKE stands in the middle of the hallway and
looks around searching for Malik.)
MALIK: (o.s.) There's nothing more I can do. It's over.
(JAKE rushes up the roof stairs and bursts through the door.)
[ROOF]
MALIK: Don't worry, man. I'm not going to jump. Even if I tried, you'd
probably save me.
(JAKE sighs. MALIK NAMIR and ANNA both stand near the edge of the roof.)
JAKE: Listen, uh ... I have some bad news.
MALIK: The United States has changed its mind. Baako's your man now.
JAKE: Hey ... just because we're not offering you asylum doesn't mean somebody
else won't.
MALIK: You see those lights over there?
(He points over the side at the lights in the distance.)
MALIK: That's embassy row. Go over there any night of the week and
somebody's throwing a party. Only tonight, they all must be partying, because
not a single one of them has returned my phone calls.
ANNA: The South African ambassador said he'd call you in the morning.
MALIK: He's going to be busy. He'll be in a meeting.
ANNA: You don't know that.
MALIK: Anna, I grew up watching this dance. I know when it's over.
Thank you, Jake.
(He holds out his hand. JAKE looks at him.)
JAKE: For what? I didn't do anything.
MALIK: You did all you could. It's my destiny.
(JAKE takes the hand and they shake. MALIK turns back to look over the edge of
the roof at the lights below.)
CUT TO:
[INT. NSA - RESEARCH LAB -- NIGHT]
(JAKE sits at the research table, disillusioned by the work. DIANE sits across
him and removes a bottle of liquor from the cabinet. She opens it and pours
them a drink.)
JAKE: People who run this place -- Skerritt, Warner -- they don't even consider
Malik a human being anymore. He's a loose end.
DIANE: Yeah, well, that's how they look at the world. Not going to change.
(She hands JAKE a shot glass, then pours her own.)
DIANE: You didn't think it would, did you?
JAKE: Yeah. Yeah, I guess I did. Go figure.
(They clink glasses and take a sip.)
DIANE: I just, uh ...
JAKE: What?
DIANE: I just think you need to make peace with it, because at the end of the
day, there's nothing you can do about it.
JAKE: I don't know if I can do this anymore, Diane.
DIANE: Jake, if, uh ... if you decide that this life isn't for you, and ... if
I come here tomorrow and you're not here ... I just ... I want you to know that
I would understand.
(Her voice breaks.)
DIANE: And I'd really, really miss you.
(She smiles at him; he smiles back.)
KYLE: (v.o.) Are you sure you want to do this?
DISSOLVE TO:
[INT. NSA - HALLWAY]
(KYLE and JAKE walk side-by-side in the hallway.)
JAKE: I just don't see any other way around it. So, thanks for everything you
taught me.
KYLE: Yeah, well ... I'm sorry it wasn't enough.
(KYLE takes his hand out of his pocket and holds it out to JAKE. It's apparent
that he has something in his hand. JAKE shakes his hand.)
(He looks at KYLE and nods. He looks around, then leaves.)
(He takes a couple of steps, then turns back to look at KYLE. JAKE looks down
at the card KYLE slipped him in his hand, then he looks back at KYLE.)
CUT TO:
[EXT. WASHINGTON D.C. (STOCK) - NIGHT]
(Flashes of: The NSA Seal. VALERIE WARNER.)
[EXT. WAREHOUSE (STOCK) - NIGHT]
[INT. WAREHOUSE - NIGHT]
(JAKE talks with EARL WENK.)
JAKE: Mr. Wenk.
EARL WENK: Oh, call me Earl. Everyone does. Actually, everyone that does ends
up dead to the world.
JAKE: So how do we do this?
EARL WENK: We don't do anything. You give me your car, I.D., credit cards,
kiss them good-bye. Couple of days from now, one of your neighbors notices a
horrible stench. Cops break down the door, find the decomposed remains of a man
your height, weight, color in a tub of maggoty slime. Apparent suicide. I call
that "the bowl of soup." I could also blow you up in your car. That one I call
"The Erik Estrada." Also known as "The Ponch."
JAKE: Where do you get the body?
EARL WENK: The morgue. I only kill people on paper. Anyway, while I'm out
desecrating the dearly departed, you're on a train to sunny Jalisco with a
brand-new identity.
JAKE: The identity, is it bulletproof?
EARL WENK: Kevlar. Let's get this straight. This is a one-time deal. A favor
for your buddy Kyle. After tonight, you're dead to me. More importantly,
you're dead to the world. You don't come back from this one.
CUT TO:
[EXT. WASHINGTON D.C. (STOCK) - MORNING]
[EXT. NSA BUILDING (STOCK) - MORNING]
[INT. NSA - SAT OPS - MORNING]
(DIANE rushes into SAT OPS. On the second floor above them, VALERIE WARNER
watches. DIANE makes her way toward LOU.)
DIANE: Lou ... hey, I thought that I would find Jake here ... maybe.
(KYLE and LOU glance up at the second floor where they see VALERIE WARNER and
JAMES SKERRITT standing on the side watching from above. KYLE turns to DIANE.)
KYLE: You won't.
(LOU looks at KYLE, then turns to look at WARNER and SKERRITT. She nods at
them.)
(Dejected, DIANE turns to leave the area. In front of her, the doors open and
JAKE walks into the room.)
(She looks up, surprised.)
DIANE: Jake. (She laughs nervously, but very pleased none the less.) Hey.
You're late for your morning work-up.
(KYLE turns and sees JAKE.)
CARVER: Director Beckett, Agent Duarte, something you need to see.
(Everyone turns to the monitor where some footage of a car crash is being aired
as BREAKING NEWS. Streaming news at the bottom of the monitor reads: A
SHOOTING AT A CITY BUS STATION KILLED ONE PERSON ... POLICE )
NEWS ANCHOR (MAN): In another tragedy for the royal family of Kembu, Prince
Malik, last remaining heir to the throne, was killed in a car bombing early this
morning.
(KYLE turns to glance at JAKE.)
(A photo of MALIK NAMIR is now on the monitor while streaming news reads:
ISREAL SAYS IT IS EASING TRAVEL RESTRICTIONS ON ... )
NEWS ANCHOR (MAN): Also killed, an unnamed female companion. Now, the deaths
come only hours after the state department announced it's support of the regime
change.
(VALERIE WARNER and JAMES SKERRITT look at each other.)
(KYLE turns to JAKE.)
KYLE: Why don't we take a walk?
CUT TO:
[INT. NSA - HALLWAY]
(KYLE and JAKE walk down the hallway. They enter the elevator. KYLE pushes the
button while JAKE dismantles the camera above them.)
JAKE: We're clear.
(KYLE stops the elevator.)
KYLE: I know what you did. You took The Prince and his girlfriend to see Mr.
Wenk, didn't you? You do realize that was a one-time only deal? You gave Malik
your ticket to a new life.
JAKE: He needed it more.
KYLE: You have a good heart, Jake. I'm not so sure about your timing.
(KYLE hands JAKE a file folder. JAKE opens it and finds a photo of ANNA on the
top.)
KYLE: The guy who was after the prince gave her up. Her real name is Ayana
Karanga. She's a part of General Baako's radical group. She was sent in a year
ago to get close to the Prince.
JAKE: I sent her away with him.
KYLE: I know. And now she's going to kill him.
(Camera holds on JAKE.)
FADE OUT
(COMMERCIAL SET)
FADE IN.
[EXT. WASHINGTON (STOCK) - DAY]
[INT. WAREHOUSE -- DAY]
(EARL WENK turns around and walks up to JAKE.)
EARL WENK: No, no, no, no, no. You and I cannot be seen together.
JAKE: Just tell us where Prince Malik is.
EARL WENK: Never heard of him.
(JAKE turns to look at KYLE who steps forward.)
EARL WENK: You know as well as I do, once they're gone, they're gone.
KYLE: Not this time. The girl he's with is trying to kill him.
EARL WENK: Not my problem.
KYLE: Earl, listen to me very carefully. You're not the only one who knows how
to make people disappear.
EARL WENK: Fine. Fine. But I'm never going to help you again, ever.
KYLE: Where are they?!
CUT TO:
[INT. HOTEL ROOM - DAY]
(ANNA pours out two glasses of wine. She hands one to MALIK.)
ANNA: What's the matter?
MALIK: Nothing. It's great, right? We're finally out.
ANNA: This is what you always wanted, Malik.
(They clink glasses. ANNA takes a sip of hers while MALIK puts his glass down
on the table. He restlessly paces the room, then turns to sit on the edge of
the bed.)
MALIK: So why do I feel like a coward?
ANNA: You're not a coward.
(He looks at her.)
WHITE FLASH TO:
[INT. CAR - DAY]
(KYLE and JAKE rush to get to MALIK.)
JAKE: I take it we're not calling in for backup?
KYLE: We're going to have to handle this ourselves.
CUT TO:
[INT. HOTEL -- DAY]
(ANNA sits on the bed next to MALIK. She puts her glass of wine down on the
floor and unnoticed, she slides a knife out onto the bedspread. With his back
to her, she flicks the switchblade open.)
ANNA: I love you.
MALIK: I love you, too, babe.
ANNA: They told me to get close to you, but I got too close.
MALIK: What?
ANNA: I'm sorry.
(ANNA raises the knife and points it downward. MALIK stands up to stop her.)
MALIK: Anna, stop!
CUT TO:
[EXT. PARKING LOT -- DAY]
(The car turns into the parking lot and comes to a screeching halt in front of
the building. JAKE and KYLE exit the car. KYLE has his weapon out.)
CUE SOUND: ENHANCED HEARING
MALIK: (o.s.) Stop! Don't do this! Anna, stop!
(JAKE looks up at the motel room window. Using his strength, he jumps straight
up toward the third floor fire escape. He grabs ahold of the railing and pulls
himself over. KYLE sees where he's going and rushes into the building.)
[INT. BUILDING]
(JAKE rushes to the closed door and kicks it in only to find MALIK and ANNA
struggling with the knife. ANNA has the knife pointed toward her neck.)
(JAKE rushes into the room to stop the attempt.)
JAKE: Hey!
(JAKE pushes MALIK aside and grabs ANNA'S wrists.)
JAKE: Don't move!
(He tightens his hold on her wrists till she drops the knife.)
JAKE: (to MALIK) Are you okay?
(MALIK gets to his feet to stop JAKE.)
MALIK: Let her go! Let her go! Let her go! She's trying to kill
herself! She couldn't kill me, so she tried to kill herself.
(JAKE releases his grip on ANNA.)
MALIK: Let her go. It's all right.
(ANNA scrambles backward to the head of the bed.)
ANNA: (distraught and crying) It's not all right. It's never going to be all
right! It's been going on for three hundred years!
(MALIK reaches for her.)
MALIK: Shh.
ANNA: We can't escape it.
(KYLE enters the room.)
KYLE: Jake! Are you all right?
(JAKE motions for him to stay back.)
MALIK: It's okay. Come here.
(MALIK holds on to ANNA as she cries. JAKE watches them. MALIK looks at JAKE.)
JAKE: She's right. You can't escape it. But you might be able to change it.
CUT TO:
[EXT. VARIOUS WASHINGTON D.C. (STOCK) - NIGHT]
[EXT. NSA BUILDING (STOCK) - NIGHT]
[INT. NSA - SAT OPS -- NIGHT]
(On the monitor, the news report shows clips of MALIK NAMIR jumping out of a
vehicle.)
NEWS ANCHOR (MAN): In world news, Prince Malik of Kembu, believed dead in a
car bombing earlier this week has re-surfaced in his homeland.
(VALERIE WARNER stands in the back of the room watching the news report. JAKE
comes down the stairs and joins her. On the monitor, the streaming news reports
that: ... SEEKING THREE SUSPECTS FOR QUESTIONING RELA... )
NEWS ANCHOR (MAN): Seen here in a videotape broadcast throughout Africa, the
price has married a former Baako loyalist, and has now marshaled a coalition
army to retake his country.
(The news reports shuts off.)
JAKE: You wanted to see me, ma'am?
WARNER: Yes. Did you know about this, Agent Foley?
JAKE: Yes, I did. I heard about it on the radio. It's an amazing story, isn't
it?
WARNER: Unbelievable. That man may just have what it takes to reclaim
his throne.
JAKE: I don't doubt it. The real question is who are we going to back?
WARNER: The winner, of course. Good night, Jake.
(VALERIE WARNER walks away. JAKE watches her leave for a moment, before turning
and heading out of SAT OPS himself. The doors open and he walks out into the
hallway.)
(The doors close behind him.)
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
1X11: PRINCE AND THE REVOLUTION
ORIGINAL AIR DATE ON ABC: 12/10/2003
TRANSCRIBED FROM UPN
Starring
CHRISTOPHER GORHAM as Jake Foley
PHILIP ANTHONY-RODRIGUEZ as Kyle Duarte
MARINA BLACK as Sarah Carter
JUDITH SCOTT as Deputy Director Louise (Lou) Beckett
KEEGAN CONNOR TRACY as Diane Hughes
Created by: SILVIO HORTA
Guest Starring:
LEE THOMPSON YOUNG as Malik Namir
KANDYSE McCLURE as Anna
JIM BYRNES as Director James Skerritt
RACHEL HAYWARD as Executive Director Valerie Warner
Co-Producer: WILLIAM REDNER
Producer: MARK WILDING
Produced by: BERNARD BOURRET
Supervising Producer: JAVIER GRILLO-MARXUACH
Executive Producer: GINA MATTHEWS
Executive Producer: GRANT SCHARBO
Executive Producer: SILVIO HORTA
Written by: DAVE JOHNSON
Directed by: JORGE MONTESI
END CREDITS
Executive Producer: DAVID GREENWALT
David Greenwalt Productions, California LazyDave
Matthew S. Scharbo Productions, Silent H Productions
Roundtable Entertainment in association with
Viacom Productions, a Paramount Company
Director of Photography: DAVID GEDDES
Production Designer: KATE HATTON-WHYTE
Edited by: SHAWN PAPER
Production Manager: TODD PITTSON
First Assistant Director: MATTHEW BLECHA
Second Assistant Director: KIT MARLATT
Music by DONNY MARKOWITZ
Music Supervisor: JASON ALEXANDER
Casting by: AMY McINTYRE BRITT
Casting by: ANTYA COLLOFF
Canadian Casting by: TRISH ROBINSON
Canadian Casting by: MARY MONTICA POOLE
Co-Starring
MIRANDA FRIGON as Tech Agent Susan Carver
PAUL MCGILLION as Earl Wenk
ENID-RAYE ADAMS as Agent Wilson
MICHAEL RYAN as Professor (Instructor)
KWESI AMEYAW as Tracey
RON SELMOUR as General Baako
RICHARD COHEE as King Namir
MALIK McCALL as Rashid
MARK DOCHERTY as News Anchor
BISKI GUGUSHE as Hoopster
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: TONY WHITESIDE
Stunt Coordinator: SCOTT NICHOLSON
Production Sound Mixer: SHANE CONNELLY
Special Effects Coordinator: GARY PALLER
Transportation Coordinator: JOHN J. O'TOOLE
Construction Coordinator: LYALL HEIGHTON
Casting Assistant: CARRIE LEVIN
Post Production Supervisor: DAN McDONALD
Assistant Editor: DEBRA WEINSTEIN
Sound Supervisor: JON WAKEHAM
Music Editor: MOIRA MARQUIS
Re-Recording Mixers: TIM PHILBEN
Re-Recording Mixers: ALAN DECKER
Additional Music By: RICH McHUGH
Additional Music By: ERIC AMDAHL
Visual Effects by: STARGATE DIGITAL
High Definition Post: MATCHFRAME VIDEO
Film Laboratory: TOYBOX
Off Line Post: THRESHOLD SOUND & VISION
The persons and events in this film are fictitious. Any similarity to actual
persons or events is unintentional.
(c) 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:01/18/2004~lky
http://www.webphilia.com/~anthology/wnp.html
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