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ORIGINAL AIR DATE IN UK: 05/06/2004
TRANSCRIBED FROM SKYONE
Written by: JESSE STERN
Directed by: MILAN CHYLOV
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Please do not archive this transcript without permission from the
Transcriptionist
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SUMMARY: A computer virus is set loose in the NSA system and this time, they turn to Dumont for the anti-virus. But Dumont has been planning this for a long time. He knocks Jake out with an EMP emitter effectively removing Jake's memory in the process.
COLD OPEN:
[VARIOUS CLIPS OF PAST EPISODES]
NARRATOR (WOMAN): (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. They give him the power to control technology with his brain. He is the ultimate human upgrade.
FADE OUT.
FADE IN. PREVIOUSLY ON:
NARRATOR: Previously on Jake 2.0
[Scene from 1X05: The Good, The Bad and the Geeky]
[INT. DUMONT'S APARTMENT - DAY]
(Dumont sits at his computer typing.)
[INT. FEDERAL RESERVE BANK - SECRUTIY CAMERA ROOM -- DAY]
COMPUTER: Warning. Three ... Two ... One ...
[INT. FEDERAL RESERVE BANK - SECRUTIY CAMERA ROOM -- DAY]
(The Security Tech at the Federal Reserve turns and reports.)
SECURITY GUARD #1: We're being robbed.
[INT. FBI - LOU'S OFFICE - DAY]
LOU: What do we know about this DuMont.
[INT. DUMONT'S RESIDENCE - DAY]
(The FBI crash through Dumont's place. Dumont calmly removes his dark glasses.)
JAKE: Get away from the desk, DuMont!
(Jake takes a seat at Dumont's computer.)
KYLE: Jake. He's erasing the hard drive.
(Jake stops the computer from erasing the hard drive. The computer monitor flashes: HARD DRIVE ERASE ABORTED.)
DUMONT: How'd he do that?
[INT. NSA - HIGH SECURITY CELL - DAY]
(Jake turns as he leaves.)
DUMONT: Foley, when I get out, my sole mission ...
(Kyle hits Dumont and leaves. Dumont falls to his knees in the cell.)
DUMONT: (v.o.) ... to personally frag your ass ... you're still going to be this loser I see before me.
(Dumont talks with Jake.)
[Scene from 1X11: Prince and the Revolution]
[INT. NSA - HALLWAY - DAY]
(Executive Director Valerie Warner walks through the hallway and sees Jake.)
VALERIE WARNER: Hello, Jake.
JAKE: Hey, uh, hello, Executive Director Warner.
[Scene from 1X10: The Spy Who Really Liked Me]
[INT. NSA - BOARD OF INQUIRY -- CONFERENCE ROOM - DAY]
VALERIE WARNER: Oh, my god, I hate and fear him, but a man like that bent to your will could accomplish anything.
JAMES SKERRITT: I don't believe he's bent to anyone's will.
VALERIE WARNER: No, that's the problem. One I intend to rectify.
FADE OUT. END OF PREVIOUSLY ON:
FADE IN.
[EXT. FARMHOUSE (STOCK) - DAY]
(Camera holds on the house exterior. It zooms up the driveway, in through the front doorway and up the stairs.)
[INT. FARMHOUSE - BEDROOM -- DAY]
(Jake is sleeping in bed. He suddenly opens his eyes, turns and sits up in bed. He finds a strange woman in bed next to him.)
VANESSA CARDOUNEL: Baby? How do you feel?
JAKE: Uh.
(He stares at her confused. He looks around the bedroom and finds a picture of him with the strange woman on his back. Both are smiling at the camera. He turns back to the strange woman.)
(He slides out of bed and falls to the floor with a thud.)
JAKE: Uh. Oh. Oh.
VANESSA CARDOUNEL: (quietly) It's all right. It's all right. Honey?
(She also stands up and tries to calm him down. Jake backs up into the wardrobe where he turns and finds even more framed photos of himself with the strange woman.)
VANESSA CARDOUNEL: Do you know who I am?
(She slowly walks around the bed making her way toward him. He puts up his hand to hold her off ...
JAKE: Uh. Whoa-whoa-whoa.
(... and sees the gold wedding band on his ring finger. This surprises him.)
VANESSA CARDOUNEL: I'm your wife, Jake.
(Jake stops and stares at her.)
VANESSA CARDOUNEL: I'm your wife.
FADE TO END OF TEASER ROLL TITLE CREDITS
FADE IN.
[INT. FARMHOUSE -- DAY]
(Jake and Vanessa are in the bedroom. Jake is still confused.)
JAKE: I-I-I don't' know wha-
VANESSA CARDOUNEL: Shhh. You had an accident. It's all right. You're home. You're home.
(She holds him. He looks confused.)
FLASH BACK TO:
[WHITE SCREEN WITH BLACK SANS SERIF LETTERING]
LEGEND: ONE DAY EALIER
[EXT. NSA BUILDING (STOCK) - DAY]
[INT. NSA - HALLWAY TO DIANE'S LAB -- DAY]
(Diane and Jake walk through the hallway. Diane has the palm pilot open as Jake watches her.)
JAKE: You should get a patent on that thing.
DIANE: What?
(They walk into her office/lab.)
[INT. NSA - DIANE'S LAB - DAY - CONTINUOUS]
(Diane sits down at the counter behind her laptop.)
JAKE: Yeah. Diane, you've single-handedly created a device that can track my vitals in real time, check on the condition of the nanites, you can pinpoint my location in what? three-four feet. It's incredible. Give yourself a little more credit.
DIANE: Uh, thanks. I'm flattered, really. But you know that as long as I work here, anything I "observe, create, discover is the property of Uncle Sam".
JAKE: See, that's what I'm talking about. It's totally unfair.
DIANE: Yeah, I know. Just don't even get me started about all these - just -- Wait a minute.
(Diane studies Jake as if she's just catching onto something.)
JAKE: What?
DIANE: You're just avoiding your appointment.
(busted)
JAKE: No, I'm not.
DIANE: Yes, you are. Jake. Look, every agent has to do it. There's nothing to be ashamed of.
JAKE: I know. It's just that - look, we haven't had much time to talk lately.
DIANE: Okay. Nice try. Out.
(Diane points to the door. Jake takes a couple of steps toward it and turns back to her. Before he can say anything, she interrupts.)
DIANE: Don't make me call Security.
(Diane looks up from the laptop and fakes it as if to lunge at him. Jake turns and high tails it out the door.)
(Diane chuckles.)
CUT TO:
[OFFICE DOOR NAME PLATE]
DR. MARK BENTON
[INT. DR. BENTON'S OFFICE - DAY]
(Jake and Dr. Mark Benton talk.)
DR. MARK BENTON: Oh, how are you feeling today, Jake?
JAKE: Oh, fine. Good. No problems. None to speak of. None that we haven't already spoken of.
(Jake and Dr. Benton stare at each other for a long awkward moment. Jake looks around the room.)
JAKE: Nice lamp.
(Dr. Benton writes something down on his notebook.)
JAKE: Aw, you're writing something down. What does it say?
(Dr. Benton shows what he wrote to Jake: POINTLESS
JAKE: You think I'm pointless?
DR. MARK BENTON: No. I think that you think this is pointless.
JAKE: Yeah, well, it's just that - Look, I understand that every agent has to be evaluated psychologically speaking, but I'm fine. It's not like I'm going to take a gun and shoot up Sat Ops. Uh, cause I won't.
(He realizes what he said and that Dr. Benton is jotting down something on his notebook. Jake's eyes widen.)
JAKE: Because I'm not. Maybe you could just scratch out that last part.
DR. MARK BENTON: I know that you're kidding Jake, but it's clear that you're frustrated here at work. And maybe it's because you didn't choose this life. I mean, it was thrust upon you.
JAKE: Well, I always wanted this life. I just didn't know what I was getting myself into, you know.
DR. MARK BENTON: This isn't what you dreamed of. I mean, you thought that you would get married, you would settle down -
JAKE: I don't really think about that anything about that any more.
DR. MARK BENTON: But, you did.
JAKE: Yeah, yeah. I guess I always thought I'd meet the right girl, get a house, have some kids - I-I just don't see that happening anymore.
DR. MARK BENTON: How does that make you feel?
JAKE: Uh. Crappy.
DR. MARK BENTON: That's good.
JAKE: You're really not an up with people type are you?
DR. MARK BENTON: Jake, feeling crappy - it-it-it means that you're getting in touch with something. It also means that you're ready to answer some of the tough questions. The ones that the NSA would rather that I didn't ask.
JAKE: Like what?
DR. MARK BENTON: Like - is it worth it? Everything that you gave up to be here?
(Before he can answer, Jake's pager beeps. He grabs it and checks it.)
JAKE: I have to go.
(Jake stands up and leaves.)
CUT TO:
[INT. NSA - HALLWAY - DAY]
(Agents are running out through the hallways. Jake looks around as he heads for Sat Ops.)
DIANE: What's going on?
JAKE: I don't know.
[INT. NSA - SATOPS - DAY - CONTINUOUS]
(Lou addresses the group.)
LOU: Computer virus of unknown origin has invaded our main frame. Now somehow it's breeched every firewall, if we don't contain this thing soon, we will be forced to shut down our surveillance and communication grid. Now, I don't need to tell you what a field day our enemies would have with this.
(Jake leans over Tech Agent Susan Carver's workstation. Diane stands behind him.)
JAKE: What's the modus?
TECH AGENT SUSAN CARVER: Memory eaters. Self-Replicating. A billion bits every nanosec. You attack, reads and mirrors your code.
JAKE: And uses it to grow? What about containment?
TECH AGENT SUSAN CARVER: We've been trying, but it's been programmed to accelerate and absorb.
(Jake looks up at the monitor. The monitors all black out. A message appears on screen:
100 million dollars to saint croix account #363-966-07522 THAT WILL KILL THE VIRUS
LOU: (reads) One hundred million dollars to St. Croix account that will kill the virus. They've got to know that we're going to track this account.
(Jake walks around the work stations toward Lou.)
JAKE: (to Lou) They do. It's a ploy to gain another inter-access portal. I wouldn't risk it. What I would risk is going off-line for thirty seconds.
LOU: Going dark?
KYLE: We can't do that.
(Jake turns to Kyle.)
JAKE: Kyle, this virus feeds off speed and volume and it's loose inside the fastest and largest computer system in the world. The only way to contain it is to go off-line.
(Kyle looks at Susan Carver.)
TECH AGENT SUSAN CARVER: We've tried every patch.
JAKE: You haven't tried me.
(Kyle looks at Lou.)
LOU: Do it. Go offline. That's an order.
(The Tech Agents turn to their stations. Susan Carver presses in the necessary commands and all the monitors go black.)
(Jake stares at the wall monitor.)
(Quick CGI through: Camera zooms into the monitor and in through the computer system. It finds, captures and contains the computer virus.)
(Resume to Jake.)
JAKE: Bring it back online.
(Susan Carver presses in the commands and the computer starts up again.)
(When the systems start, something jolts in Jake and he takes a step back. Diane rushes over to him.)
DIANE: Jake, are you all right?
TECH AGENT SUSAN CARVER: System configuration is running. You did it. It's contained.
(Diane checks her palm pilot.)
JAKE: For now. It's just a temporary patch. Eventually, it's going to break out.
LOU: How long do we have?
TECH AGENT SUSAN CARVER: Preliminary estimate: Eleven hours, sixteen minutes.
(She puts a large time clock up on the monitor.)
JAKE: We need a printout of the viral code. See if we can get additional fingerprints and track the source.
KYLE: What about the ransom?
LOU: Check with Director Warner and in the meantime, I want to see if we can catch these bastards.
MONITOR TIMECLOCK: 11:16:34
SHORT TIME CUT TO:
[INT. NSA - SAT OPS - DAY]
MONITOR TIMECLOCK: 09:26:41 09:26:40 09:26:39 09:26:38
(The virus code is printed out on long sheets of paper that covers several work station and some of the floor.)
(Jake is reviewing the code along with several other workers. He leans over at the nearest worker.)
JAKE: Fourteen dash zero zero two.
(He stands up and heads over to find Lou.)
JAKE: Lou. I know who designed this virus, but it doesn't make any sense.
LOU: Why not?
JAKE: Because he's in jail.
(The timeclock behind Jake reads 09:27:14)
CUT TO:
[EXT. PRISON (STOCK) - DAY]
LEGEND: FEDERAL CORRECTIONS INSTITUTE CUMBERLAND, MD
[INT. PRISON - HALLWAY -- DAY]
(Camera zooms down the hallway through the open gate.)
[INT. PRISON - DUMONT'S CELL -- DAY]
(Dumont sits in his cell tapping the palm of his hand with a razor in a rhythmic pattern. He sits still as if meditating. The security guard stops just outside the prison cell. Dumont doesn't turn around.)
DUMONT: Good Morning Gilmore.
GILMORE (PRISON GUARD): You got company.
(Dumont turns around.)
CUT TO:
[INT. PRISON - INTERVIEW ROOM -- DAY]
(Dumont walks into the room where Jake is waiting for him.)
DUMONT: Jake. My favorite government droid. You don't call. You don't write.
JAKE: Thanks.
(The Security Guard leaves. Dumont walks over to the mirror. On the other side of the two-way mirror, Lou and Kyle watch.)
DUMONT: Did you bring mommy and daddy?
JAKE: You know why I'm here.
DUMONT: You forgot my birthday, did you bring ice cream cake?
JAKE: How'd you do it?
DUMONT: Okay, Vanna. Can I get a vowel?
JAKE: You put a virus in the NSA mainframe.
DUMONT: Someone got in and that's awesome.
JAKE: No, not someone. You.
DUMONT: In case you haven't notice, I've been locked up for the last five months without access to phone, computer, even an electric shaver. People don't trust me with appliances and that makes me sad.
(Jake lifts up the code sheets.)
JAKE: I know your code, Dumont. It's a lot like you. It seems complex at first, but really, it's just flashy, arrogant and a little boring.
DUMONT: Where'd you get this.
JAKE: I told you.
DUMONT: Somebody stole my virus. Did they ask you for money? Is somebody trying to make money off my virus? Son of a bitch!
[OBSERVATION ROOM - CONTINUOUS]
KYLE: Do you believe him?
LOU: No. Put one of our shrinks on him and a lie detector.
[INTERVIEW ROOM]
JAKE: If he didn't do it, who did?
DUMONT: Vanessa. My lying bitch of a girlfriend who was supposed to be watching my stuff. She's too stupid to do this herself. She must've sold it.
JAKE: We cleaned out your loft.
DUMONT: Uh-huh. And did you clear out the eight storage spaces? No, because you didn't know about them. You've got it contained, but you know that it's only a matter of time and you know you can't stop it without my program. Hmmm. That is a conundrum.
JAKE: This is the part where I ask you what you want.
DUMONT: I want a reduced sentence. Put it in writing. I'll take you to the storage space and I'll give you the program. Otherwise, I guess you're on your own.
FADE OUT.
FADE IN.
[INT. NSA - ROOM -- DAY]
(Dumont is hooked up to a polygraph machine.)
DR. MARK BENTON: What is your name?
DUMONT: Kevin Jarrod Flynn.
(The polygraph machine beeps.)
DR. MARK BENTON: Are you also known online as Dumont?
DUMONT: Yes.
(The polygraph machine beeps.)
DR. MARK BENTON: Are you from Berkeley California?
DUMONT: Yes.
(The polygraph machine beeps.)
DR. MARK BENTON: What crime did you commit that caused you to be arrested and incarcerated?
DUMONT: I hacked into the Federal Reserve and I stole two million dollars.
DR. MARK BENTON: Answer the next question yes. Have you ever been abducted by aliens?
DUMONT: Yes.
(The machine reacts differently.)
DR. MARK BENTON: Did you hack into the NSA computer or cause someone else to hack into the NSA computer to plant the virus?
DUMONT: No, I did not.
(The machine beeps clearly.)
CUT TO:
[OBSERVATION ROOM - CONTINUOUS]
(Dr. Mark Benton reports.)
DR. MARK BENTON: I evaluated him once when he was being held at the NSA. He's an extremely bright sociopath. He feels no compunction to obey the normal rules of society, but he's telling the truth about the virus.
LOU: What do you think?
JAKE: I think we don't have a lot of time. This Howdy-Doody there is all we've got.
LOU: You tell him his program successfully removes the virus, we'll negotiate a contract. He is to have no less than four armed agents on him at all times. He tries anything, you shoot him.
KYLE: Gladly.
CUT TO:
[EXT. FEDERAL CORRECTIONS INSTITUTE - DAY]
(Jake and Kyle wait by the gate as Dumont it escorted by several Prison Guards. The Guards open the gate and hands Kyle the clipboard. Kyle signs the papers)
DUMONT: Lord Almighty, free at last.
(Jake takes out handcuffs and puts them on Dumont.)
JAKE: Not that I don't trust you.
(Kyle, Jake and Dumont walk out.)
CUT TO:
[EXT. WASHINGTON D.C. (STOCK) - NIGHT]
[EXT. STREET (STOCK) - NIGHT]
(Sirens wail as police cars travel along the street.)
[INT. CAR (MOVING) -- NIGHT]
(Dumont sits in the back of the car, his hands cuffed and chained to Jake.)
DUMONT: So tell me, Jake. Why does the little caged bird sing?
JAKE: You're the prisoner, why don't you tell me?
DUMONT: Really, is that what you think? It's really sad. At least I can see the bars on my cell.
KYLE: Did we bring a muzzle?
JAKE: You're pretty insane, aren't you? You can tell me.
DUMONT: Ah. You're just saying that because I'm hitting a chord. And by the way, I'm rich. So the correct term is eccentric.
KYLE: I have an idea, why don't you shut up. Or I could punch you in the face ... again.
DUMONT: All right, Agent Pretty Eyes, I'll be good. I promise.
CUT TO:
[INT. NSA - SATOPS -- NIGHT]
(The time clock on the monitor reads: 04:22:21 ... and counting.)
LOU: (to phone) Let me know the moment you get into DuMont's storage facility.
(Executive Director Valerie Warner walks into SatOps.)
VALERIE WARNER: Deputy Director Beckett.
LOU: Director Warner.
VALERIE WARNER: I was just informed that you offered to reduce the sentence of a very dangerous convicted felon.
LOU: Yes, a felon who has the potential to stop this emergency. If you haven't noticed, we're running out of time. Quickly.
VALERIE WARNER: Although your actions may be legitimate, it disturbs me you didn't bother discussing this with your superiors.
LOU: Oh, well. I certainly didn't mean to disturb you.
VALERIE WARNER: I certainly hope for your sake, this works out.
(Valerie Warner leaves. The Timeclock on the monitor in front of the station Diane sits at reads: 04:21:48 ... and counting.)
CUT TO:
[EXT. STORAGE WAREHOUSE -- NIGHT]
(Jake and Kyle escort Dumont to the storage warehouse. They stop in front of the door.)
DUMONT: Oops, forgot my key.
(Kyle motions and an agent steps forward. He cuts the lock off the warehouse door. He lifts the door up, but it gets stuck after about a foot opening.)
DUMONT: I hope one of you guys brought some WD-40.
KYLE: Let's push this up.
(A group of agents step forward. They try, but the door doesn't budge. After a moment, Kyle motions for them to stop.)
KYLE: All right, that's enough.
DUMONT: Why don't you try, Jake. You're strong, aren't you? I can help.
JAKE: There's enough space to crawl under there.
KYLE: Agent Levy. Get your flashlight. You're going in first.
(Agent Levy takes out his flashlight and crawls under the opening.)
KYLE: What do you see?
AGENT LEVY: A bunch of boxes. Computer equipment. Nothing special.
(Kyle looks at Jake. It's obvious that he's hesitant, but he really doesn't have a choice at this point.)
KYLE: Go.
(Dumont turns to Jake.)
DUMONT: What are you waiting for?
(Jake and Dumont crawl under the opening and into the storage warehouse.)
[INT. STORAGE WAREHOUSE - NIGHT - CONTINUOUS]
DUMONT: You might want to turn on the light.
(Jake walks over to the wall and automatically flicks the switch on. Things happen very fast. The lights go on. The warehouse door closes shut isolating Jake, Dumont and the Agent from the others outside.)
KYLE: (o.s.) Hey!
[EXT. STORAGE WAREHOUSE - NIGHT - CONTINUOUS]
(Kyle looks startled that the warehouse door shuts.)
AGENT: Hold that!
[INT. STORAGE WAREHOUSE - NIGHT - CONTINUOUS]
DUMONT: Good work, Jake.
(Jake reaches for his gun.)
DUMONT: I got him.
(With his free hang, Dumont grabs a crowbar and hits Agent Levy in the face knocking him out. Jake gets his gun out just as Dumont raises the crowbar to take a swing at him.)
JAKE: Wait! Don't move! Put it down. JAKE: Drop it!
(Dumont drops the crowbar. It hits the floor with a clang.)
(Jake looks over at Agent Levy on the floor.)
JAKE: (under his breath) Dammit.
[EXT. STORAGE WAREHOUSE - NIGHT - CONTINUOUS]
KYLE: Get this thing open. Now!
(The agents outside work to get the warehouse door opened.)
KYLE: (to phone) Lou, we've got a situation
[INT. NSA - SATOPS - NIGHT]
LOU: (to phone) What do you mean, he locked you out.
[INT. STORAGE WAREHOUSE - NIGHT - CONTINUOUS]
(Inside the warehouse, Jake holds his gun on Dumont.)
JAKE: Open the door, DuMont.
(Attached at the wrists, the two men circle each other.)
DUMONT: You know what's great about the information age? There's no secrets anymore, Jake. I know all about you, Nanoboy.
JAKE: Yeah? You do not want to screw with me.
(Jake pulls Dumont forward to his knees.)
DUMONT: Oh, I've been wanting to screw with you for months, now. And I figured out exactly how.
(Dumont looks past Jake over his shoulder.)
DUMONT: Whenever you're ready Doll.
(Jake turns around and sees the red flashlight security camera light.)
INTERCUT WITH:
(Vanessa Cardounel sits at the computer. On the monitor, she sees inside the warehouse. She presses the ENTER key.)
DUMONT: Sweet Dreams.
(Jake's eyes widen as he sees the electromagnetic pulse emitter transmitting waves of electromagnetic energy.)
(Quick CGI POV of: The camera zooms in through Jake's eyes and down to the nanite level. The pulses between the nanites inside Jake break down. Resume to Jake.)
(Jake gasps and collapses. Dumont grabs Jake as he falls.)
[EXT. STORAGE WAREHOUSE - NIGHT - CONTINUOUS]
(The agents outside continue to work on getting the warehouse door open.)
AGENT: Hurry up! AGENT: C'mon! C'mon!
(Kyle appears very worried.)
[INT. STORAGE WAREHOUSE - NIGHT - CONTINUOUS]
(Dumont removes the handcuffs from his wrist.)
(Agent Levy comes to and tries to get up. Dumont kicks him in the face, knocking him out again.)
[SECURITY MONITOR]
(Dumont looks at the monitor and fixes his jacket.)
DUMONT: It's party time.
[INT. STORAGE WAREHOUSE - NIGHT - CONTINUOUS]
(In control and free, he walks out of camera frame.)
[VANESSA]
(Vanessa picks up a wedding band from the table and slips it on her finger.)
[INT. NSA - SAT OPS - NIGHT]
(Diane rushes into Sat Ops, her Jake Palm Pilot in her hand.)
DIANE: Lou, there's something wrong with Jake. There's a surge in the nanites and then he went off line.
(Lou turns to Tech Agent Susan Carver.)
LOU: What's happening?
(The monitor in front of her shows about two minutes left ... and counting down rapidly.)
TECH AGENT SUSAN CARVER: The virus is accelerating.
LOU: (to phone) Kyle, I need your status.
[EXT. STORAGE WAREHOUSE - NIGHT - CONTINUOUS]
KYLE: (to phone) Almost in.
(The Agents get the door open. They flood into the warehouse, their guns drawn.)
[INT. STORAGE WAREHOUSE - NIGHT - CONTINUOUS]
AGENT: Go! Go! AGENT: Go!
(Kyle also steps into the warehouse, his gun drawn.)
[INT. NSA - SAT OPS - NIGHT - CONTINUOUS]
(Lou waits.)
(The time clock on the monitor is still at two minutes and counting down.)
(The time clock runs down to 30 seconds ... and then to zero.)
(Nothing happens.)
(A small cartoon figure appears on the monitor: NSA NUMB SKULL ASSHOLES.)
(Lou turns to Susan Carver.)
LOU: What's happening?
TECH AGENT SUSAN CARVER: Nothing. Nothing at all. Database was secure. The virus was just a decoy.
LOU: Kyle, Kyle.
[INT. STORAGE WAREHOUSE - NIGHT - CONTINUOUS]
(Inside the warehouse, the agents tend to Agent Levy and look around the place.)
KYLE: (to phone) Jake and Dumont are gone. I repeat, Jake and Dumont are gone.
(Lou closes her eyes.)
[INT. STORAGE WAREHOUSE - NIGHT - CONTINUOUS]
(Inside the warehouse, an agent struggles to get the escape hatch open.)
FLASH TO WHITE:
[EXT. FARMOUSE (STOCK) - DAY]
JAKE: (v.o.) Look. I-I-I don't know, I don't know what-
[INT. FARMHOUSE - BEDROOM -- DAY]
(We pick up where we left off in the teaser. Jake is standing up completely confused about everything.)
VANESSA CARDOUNEL: Shhh- Look. You were in an accident, and it's all right. You're home.
(She puts her arms around Jake.)
(Suddenly, they notice someone standing in the bedroom doorway. It's Dumont.)
JAKE: Who are you?
DUMONT: He still doesn't remember anything.
(Dumont steps forward a little toward Jake. Jake backs away from him.)
DUMONT: What'd they do to you?
JAKE: Wha-wha-wha - I know you.
DUMONT: Of course you do. (Dumont smiles.) I'm your best friend Raoul.
(He hugs Jake.)
(Jake looks even more confused.)
DISSOLVE TO:
[INT. FARMHOUSE - LIVING ROOM - DAY]
(Dumont talks with Jake who sits on the couch next to Vanessa. Jake looks through some photos as Dumont narrates.)
DUMONT: Your name is Jake Foley. We've all been friends for years. Ever since Georgetown. We're all hackers. Brilliant hackers. You were always the best, but you gave it all up after graduation. Because you believed, stupidly, in the goodness of this government.
(Jake looks through the files.)
DUMONT: You became a cubicle slave at the NSA. Always dreamed of moving up the ranks, you signed up for a program you thought would help you do just that. But they sold you out.
(Jake looks at the unfamiliar wedding band on his finger.)
DUMONT: They began experimenting on you. Pumped you full of nanobots, molecular sized computers. Screwed you up so bad, they left you without your memory. We risked our lives to rescue you and now we're all fugitives, hiding here till we can get the hell out of the country.
JAKE: This is-this is crazy. I don't believe it.
VANESSA CARDOUNEL: It's all true, Jake. And we can prove it. Actually, you can.
CUT TO:
[EXT. FARMOUSE - FRONT DRIVE - DAY]
(Jake and Dumont stand outside on the front drive.)
JAKE: You gotta be kidding me.
(Jake puts the car down.)
DUMONT: Now, I want you to close your eyes and listen. (Jake looks at him, confused.) Just listen.
(Jake closes his eyes and listens.)
CUE SOUND: ENHANCED ABILITIES
(He hears the sounds of running water. Jake opens his eyes.)
JAKE: Is there a river near here?
VANESSA CARDOUNEL: Yeah. Two miles away.
(Dumont points.)
DUMONT: There's something in that tree. Try to read it.
JAKE: Aw, man. It's too far.
VANESSA CARDOUNEL: Just focus.
(Jake looks at the tree.)
CUE SOUND: ENHANCED ABILITIES
(Camera zooms toward the tree. The sign on it reads: WELCOME HOME JAKE.)
(Jake smiles. He believes.)
CUT TO:
[INT. NSA - SAT OPS - DAY]
(Susan Carver looks up the map to the warehouse.)
TECH AGENT SUSAN CARVER: The hatch they found in the storage chamber leads right into the sewer tunnel.
LOU: He played us.
VALERIE WARNER: (o.s.) Who exactly do you think played you?
(Lou turns around.)
LOU: Dumont.
VALERIE WARNER: Dumont couldn't have accomplished this on his own. Agent Levy was in the storage room. The last thing he heard before being knocked out was: "Good work, Jake."
(Lou turns and looks at Kyle. Kyle looks appalled.)
KYLE: Are you suggesting that somehow Jake was connected -- ?
VALERIE WARNER: Explain to me how a prisoner with no access to computers was able to hack into our system. Or how someone with Agent Foley's strength was able to be taken by this man. (She turns and looks at Lou.) This little pig pen that we're in is your own doing. I suggest you start cleaning it up.
(Valerie Warner leaves.) )
DIANE: (sighs) I hate her. You guys. You know that there is no way in the world that Jake has anything to do with this.
(Both Lou and Kyle are silent.)
DIANE: Don't you?
LOU: I want teams scouring the tunnels. Get me all files on Dumont - anybody he's spoken to, written to, or looked at since he was incarcerated. Talking to Dr. Benton.
KYLE: About Jake? Or Dumont?
LOU: Both.
(Lou heads out.)
CUT TO:
[EXT. FARMHOUSE (STOCK) - NIGHT]
[INT. FARMHOUSE - DINING ROOM - NIGHT]
(Jake, Vanessa and Dumont sit around the dining room table eating dinner.
VANESSA CARDOUNEL: How is it?
JAKE: It's good. Great. Cous-cous?
VANESSA CARDOUNEL: Hmm. Yeah. That's your favorite.
JAKE: Yeah. Th-that's what I thought. (Jake has a hard time swallowing it.) Um, so we got married in Mexico?
VANESSA CARDOUNEL: Mm-hmm.
JAKE: (to Dumont) And - you were the best man.
DUMONT: You were such a wreck. I remember you getting dressed and said, "I'm so in love with this girl, you know, I'm so scared of not living up to the man she fell in love with." I almost smacked you. I said, "Bro, all she expects you to be is yourself and she'll be there for you and she'll love you no matter what." She has, Jake. Through all of this, we both have.
VANESSA CARDOUNEL: You're my life, sweetheart.
CUT TO:
[EXT. WASHINGTON D.C. (STOCK) - NIGHT]
[EXT. NSA BUILDING (STOCK) - NIGHT]
[INT. NSA - HALLWAY - NIGHT]
(Lou talks with Dr. Mark Benton.)
DR. MARK BENTON: I can't reveal the details of my sessions with Mr. Foley.
LOU: Even if he was a danger to himself or to others?
DR. MARK BENTON: Are you telling me that's the case?
LOU: Absolutely.
DR. MARK BENTON: Well, we spoke about his work at the agency. I'm not entirely sure that he ever opened up to me completely, but I did pick up on a severe feeling of loss over a life he could never have.
(They stop in front of the elevator.)
LOU: Were these feelings intense enough to make him do something illegal?
(The elevator doors open.)
DR. MARK BENTON: When somebody's overwhelmed by their emotions, there's no telling how they might act out.
(Dr. Benton steps into the elevator.)
FADE OUT.
FADE IN.
[EXT. FARMHOUSE - NIGHT]
(Jake, Vanessa and Dumont sit at the Dining room table having an after-dinner drink.)
(They laugh.)
JAKE: You've got to be joking, right?
DUMONT: I couldn't talk you out of it, man. I kept telling you that TRL was for teenaged girls, but you needed to get as close to Brittney Spears as you possibly could, man.
VANESSA CARDOUNEL: I was so jealous. I mean, I just can't- can't compete with those boobs. Real or not.
JAKE: Wait, this was in '99?
VANESSA CARDOUNEL: Mm-hmm.
JAKE: I thought we didn't start dating until the next year.
VANESSA CARDOUNEL: Yeah, we started going out the next year. We were friends. I mean, I always had a big crush on you.
(They laughs. A song starts playing on the radio. Vanessa gasps.)
VANESSA CARDOUNEL: Listen.
JAKE: What?
VANESSA CARDOUNEL: You don't remember? This is our song. When we first - um ... you know.
JAKE: I don't.
VANESSA CARDOUNEL: Come on.
(Vanessa stands up and leads Jake into the next room where they dance. Dumont sits at the table and watches. Vanessa kisses Jake lightly.)
VANESSA CARDOUNEL: Doesn't that feel right?
JAKE: Yeah, it does.
(They kiss as Dumont watches. Under the table, Dumont cuts himself.)
VANESSA CARDOUNEL: Why don't you say we go upstairs and jog those memories of yours.
JAKE: All right.
(Vanessa turns and looks at Dumont.)
VANESSA CARDOUNEL: Good night.
(Dumont continues to cut himself under the table.)
(Vanessa and Jake leave.)
(As soon as they're gone, the side door opens. Dr. Mark Benton walks into the dining room.)
(Dumont wipes his hands and stands up. Dr. Benton sees the blood on the napkin.)
DR. MARK BENTON: (whispers) You really have to work on your self-mutilation issues.
DUMONT: Shh-
(Dumont and Benton leave.)
CUT TO:
[INT. FARMHOUSE - PASSAGEWAY TO WINE CELLAR- NIGHT - CONTINUOUS]
(Dumont opens the basement door.)
DUMONT: That clown wipe can hear for days.
(He closes the door.)
[INT. FARMHOUSE -WINE CELLAR - NIGHT - CONTINUOUS]
(The door opens.)
DUMONT: You were so smart about all this - getting his dream house, dream girl. He's as tame as a puppy. Me, I would've just chopped off his arms, his legs and stuffed him in a box. Your way is much less messy. Would you like a Chianti?
DR. MARK BENTON: No, you know I prefer a Beaujolais.
DUMONT: It's kind of fruity. Mark. Why so tense?
(Dumont massages Benton's shoulders.)
DR. MARK BENSON: I don't know. Maybe its because the NSA is breathing down my neck and I could go to jail for a very long time.
DUMONT: No one's going to jail.
DR. MARK BENSON: But you are close to finishing this.
(They walk into the make-shift lab they have set up.)
DUMONT: This blood's extraordinary. His red blood cell counts are off the charts. (He turns on the laptop.) You want to see something cool? (He puts a slide under the scope. It appears on the laptop.) It's the nanites Jim is stealing from his system. We're just working out the transference issues. The nanites is a part of him, like one of his organs. I just want to make sure they don't reject me. That could get ugly.
DR. MARK BENTON: But-but in the end, you still believe just you'll be able to take his nanites and make yourself -
DUMONT: I believe the word you're looking for is "new". Yes.
DR. MARK BENTON: What if he figures out what we're doing?
DUMONT: Then, we'll rip out his spine take the nanites for real. You know, I do feel like a Beaujolais.
FADE OUT.
FADE IN.
[EXT. FARMHOUSE - FRONT YARD -- DAY]
(Jake chops wood. Vanessa comes outside carrying two cups.)
JAKE: Hey. I thought it would be nice to have a fire tonight.
VANESSA CARDOUNEL: A bonfire?
JAKE: Yeah, I guess I went a little overboard, maybe.
(She gives him a cup.)
VANESSA CARDOUNEL: Here.
JAKE: Thanks.
(He takes a sip.)
JAKE: This is nice.
VANESSA CARDOUNEL: Yeah. It's apple cider. It's good.
JAKE: I meant this. You. This house. Something.
VANESSA CARDOUNEL: Jake, we can't stay here much longer. The NSA -
JAKE: I know. I just. I mean, look at this back yard. The entire forest --
VANESSA CARDOUNEL: Yeah. It's -
JAKE: I'm sorry I don't remember you, Vanessa.
VANESSA CARDOUNEL: Hmm.
JAKE: I'm trying.
VANESSA CARDOUNEL: Honey. You don't remember anything.
JAKE: Yeah. Guys forget their wives' birthday; they don't forget their wives.
VANESSA CARDOUNEL: Yeah. And guys aren't turned into lab rats, either. They should be, I think, but - not you.
(They kiss.)
JAKE: I feel like going for a run.
VANESSA CARDOUNEL: Go for it.
(He heads inside. She stops him and they kiss.)
(From a second floor room window, Dumont watches them.)
CUT TO:
[EXT. ROADWAY - DAY]
(Jake goes for his run. He smiles and takes his outer shirt off.)
JAKE: Whoo!
(Jake takes it up a notch and runs at full speed.)
[BINOCULARS VIEW]
(Dumont watches Jake run.)
[EXT. FARMHOUSE - FRONT YARD - DAY - CONTINUOUS]
(Dumont puts his binoculars down. He stands next to Vanessa.)
DUMONT: What were you and the tall, dark mayonnaise talking about?
VANESSA CARDOUNEL: (chuckles) Nothing important. Mainly just how we plan to kill you and run away to Paris together. I think that's about it.
DUMONT: I just want to make sure that he wants to keep running.
VANESSA CARDOUNEL: He won't. Not just after the night I just gave him.
DUMONT: If that's supposed to make me jealous, it doesn't.
VANESSA CARDOUNEL: I only did what I had to, baby. It's for you. Nobody makes me feel like you do.
(Dumont watches Jake run.)
DUMONT: Look at Superboy go. He must be in love.
VANESSA CARDOUNEL: He is. Baby, when the time comes, can I be the one to kill him?
(He turns and looks her straight in the eye.)
DUMONT: You might have to fight me for that.
CUT TO:
[EXT. FEDERAL PRISON (STOCK) - DAY]
[INT. FEDERAL PRISON - DUMONT'S CELL - DAY]
(A Prison Guard turns Dumont's cell over while Kyle watches. He finds nothing. )
KYLE: Might help if you actually looked inside the mattress.
(The Prison Guard takes out a knife and rips the mattress apart.)
KYLE: You've been here ever since DuMont first arrived?
PRISON GUARD: Yes, sir.
KYLE: You ever saw him do anything unusual, out of the ordinary?
PRISON GUARD: No, sir.
(Kyle notices the Prison Guard's watch.)
KYLE: That's a nice watch.
(The Prison Guard swallows.)
CUT TO:
[INT. NSA - SAT OPS -- DAY]
(Kyle reports back to Lou.)
KYLE: Dumont was operating his own black market for the guards on his cell block. Day Trading. Tax Returns. He even set one guy up with a hedge fund.
LOU: And in return?
KYLE: They let him use their PDAs, cell phones. This guy was calling anywhere, anytime.
LOU: Get a sim data trace and a phone log retrieval.
KYLE: Happening as we speak. What do we got?
TECH AGENT SUSAN CARVER: A bunch of numbers, but this one looks like the most interesting.
KYLE: It's on every guard's phone log.
TECH AGENT SUSAN CARVER: Still tracking the source.
LOU: Don't bother. I know that number.
(Surprised, Susan Carver turns to look at Lou.)
CUT TO:
[INT. FARMHOUSE - BEDROOM - NIGHT]
(Jake stands in the bedroom looking at one of the framed photographs.)
VANESSA CARDOUNEL: (o.s.) I'll be right out.
JAKE: Take your time.
(He sits on the bed. He looks at a photo of Him and Vanessa.)
CUE SOUND: ENHANCED ABILITIES
(Camera zooms in to the photo and we notice that Vanessa's photo is pixilated. Jake's isn't.)
(Vanessa stands in the doorway. For a moment, Jake sees her as fuzzy. He blinks and adjusts his vision. Vanessa smiles and walks over to him. She sits next to him on the bed.)
VANESSA CARDOUNEL: Ooo. Those were the first pictures ever taken of us.
JAKE: Yeah?
VANESSA CARDOUNEL: mm-hmm. It was our first trip together. Chesapeake Bay. That's when I realized I was falling in love with you.
JAKE: It's a nice story.
VANESSA CARDOUNEL: mm-hmm.
JAKE: Too bad it isn't true. (He points to the photo.) The foreground and the background have different resolutions. It's 3000 dpi as opposed to 2200. That's rich. These are different pictures. (Vanessa groans.) Don't even bother.
(Jake puts the photo back up on the cabinet. He walks away.)
JAKE: It's not something you could notice with the naked eye.
VANESSA CARDOUNEL: Jake. I think you're just really, really tired right now.
JAKE: You know? Last night with you was, uh, wow. This house is perfect. Everything's great. And then I started thinking, "maybe it's too good to be true". Cause I'm supposed to love cous cous and I can barely get the stuff down. Now, we've been married three years? And yet, I'm always feeling this damn ring. (He holds his hand up.) Always. This should feel like a button on a shirt. Something you don't even notice. And Dumont is supposed to be my best friend? Well something tells me that I hate that guy. I mean, REALLY hate him.
VANESSA CARDOUNEL: Honey? It's just post-traumatic stress.
JAKE: Really?
VANESSA CARDOUNEL: It is. Trust me.
JAKE: Then what's with the creepy lab in the basement?
CUT TO:
[INT. NSA - DR. BENTON'S OFFICE - DAY]
(Both office doors open. Kyle and several agents burst into the office interrupting Dr. Benton's session.)
DR. MARK BENTON: Gentlemen, I'm in session.
KYLE: Not anymore. Out.
(The Man in the chair stands and leaves.)
KYLE: Close it.
(Kyle opens a file and looks through it.)
KYLE: So, Mark. You only evaluated DuMont once. Yet, you and he spoke on the phone for hours on end. Tell me, do you usually develop such a hands-on relationship with your patients?
(Kyle grabs the notebook from his hands.)
KYLE: You said so yourself, Mark, when people are overwhelmed by their emotions, there's no telling how they might act out.
DR. MARK BENTON: You know what? I want to talk to a lawyer.
(He starts to stand; Kyle pushes him back down to his seat.)
KYLE: Sit down. There's not going to be a lawyer. There's not going to be a trial. You know where my friend is and you're going to tell me.
(Kyle takes out his gun, cocks it and aims it at Dr. Benton's head.)
KYLE: Or I'm going to shoot you in the head. That's how I act out.
CUT TO:
[INT. FARMHOUSE - BASEMENT - DAY]
(Dumont fills the syringe with liquid as the basement door opens.)
DUMONT: (doesn't look up) I've got a nanite prototype ready to test.
(The basement door closes.)
DUMONT: Our saphead finally go to sleep?
(Jake and Vanessa step into the lab.)
JAKE: Not yet.
(At the sound of Jake's voice, Dumont turns around, surprised.)
DUMONT: What did you tell him?
VANESSA CARDOUNEL: I didn't tell him anything.
JAKE: That's true. I prefer to hear the lies from you, Dumont.
DUMONT: Nobody's lying to anyone, Jake. I'm your best friend. We're all in this together.
JAKE: Is that right?
DUMONT: Yeah.
JAKE: Well, if you're my best friend -
(Jake pushes and tosses Dumont up against the wall.)
JAKE: Why did that just feel really good! What are you doing down here with my blood, Dumont?
(Jake picks Dumont up.)
DUMONT: (to Vanessa) I knew you're too stupid to pull this off!
(Jake punches Dumont in the stomach.)
JAKE: I asked you a question!
(While the others are occupied, Vanessa turns and sees something. She goes to get it.)
DUMONT: Okay. Okay, I'll tell you everything.
JAKE: Good.
(We hear Vanessa gasp. Dumont turns and sees Vanessa injecting herself with the nanite prototype.)
DUMONT: Vanessa!
(Vanessa smiles in triumph.)
VANESSA CARDOUNEL: Looks like we've got a winner boys.
(She leans back and closes her eyes.)
VANESSA CARDOUNEL: Wow.
(Camera zooms in on Jake.)
FADE OUT.
FADE IN.
[EXT. NSA BUILDING (STOCK) - NIGHT]
[INT. NSA - SAT OPS -- NIGHT]
(Kyle hands Susan Carver a slip of paper.)
KYLE: Pull up this address. It's a farmhouse in Maryland where the Not-so-Good doctor's been keeping Jake and DuMont.
LOU: Why do you think Benton would risk his career for DuMont?
KYLE: Got a theory.
SUSAN CARVER: Got it. Twenty-eight miles outside the city.
LOU: Put a chopper in the air. I want strike teams at the door.
KYLE: I'm out of here.
(Kyle turns to leave.)
CUT TO:
[EXT. FARMHOUSE (STOCK) - NIGHT]
[INT. FARMHOUSE - BASEMENT - NIGHT]
(Vanessa smiles, giddy. Jake and Dumont watch her warily.)
VANESSA CARDOUNEL: I've never felt such power. It's cold and hot ... it's alive --
(She stretches and brings her hand down on the table smashing it with her newfound strength.)
(Jake watches her. She glances at the table.)
VANESSA CARDOUNEL: Did you see that?
DUMONT: Its impressive. Now what'd that table ever do to you?
(Dumont starts toward Vanessa. She gets to her feet to meet him halfway.)
VANESSA CARDOUNEL: I'm strong now. I'm stronger than any man. Baby.
DUMONT: Take it easy.
(She grabs him, her fist in his stomach's thereabouts. He grunts in pain.)
VANESSA CARDOUNEL: I don't have to do what you or anyone says ever again. See?
DUMONT: Yes.
(Vanessa tosses Dumont to the far wall. He falls to the floor. She turns to look at Jake.)
JAKE: I think a clean break would be the best way to end this relationship.
VANESSA CARDOUNEL: It's not going to be that easy, Jake.
CUE SOUND: ENHANCED ABILITY
(She tries to punch him, but he catches her fist in his hand.)
VANESSA CARDOUNEL: I'm never going out without a fight.
(Something happens to Vanessa and she collapses. Jake catches her.)
VANESSA CARDOUNEL: (gasps) Help me.
(She falls back to the ground. Jake helps her back.)
JAKE: Vanessa.
(Vanessa gasps. Obviously something has gone terribly wrong with the nanites in her system. Vanessa stops moving. Silvery liquid leaks out from her eyes, nose and mouth.)
(Jake stares at her in horror. Behind him, we see Dumont get to his feet. He looks down at Jake and Vanessa.)
(He cocks a gun and points it at Jake.)
DUMONT: Well, that's a setback.
(Jake turns around to find a gun pointed at him.)
DUMONT: We're going to have to keeping working on this, bro. I'm going to need some more blood.
(He shoots Jake in the shoulder. Jake falls back. Dumont takes a step forward, but Jake overturns the work table onto Dumont. As Dumont struggles with the table, Jake runs behind the wine rack and heads for the door. Dumont fires several shots at him.)
CUT TO:
[EXT. FARMHOUSE - NIGHT]
(Jake jumps down and lands on his feet. He immediately feels the pain in his shoulder. He glances back and sees Dumont walking out onto the porch.)
(Jake runs for it.)
(Dumont fires a couple more shots at Jake.)
(Jake jumps over the white picket fence and gets hit in the upper back thigh by a bullet. He lands hard on the ground.)
DUMONT: Once a labrat always a labrat, huh?
(Dumont casually climbs over the porch railing.)
(Jake gets to his feet and limps away.)
DUMONT: I take away the wheel, and you just keep running.
(Dumont pauses to reload. He follows Jake into the woods.)
[EXT. WOODS - NIGHT - CONTINUOUS]
(Jake limps away. Above him, he hears the sounds of a helicopter. We see the search lights flashing on the ground near Jake. Jake continues to run into the woods.)
[INT. FARMHOUSE - LIVING ROOM - NIGHT - CONTINUOUS]
(Kyle and other agents burst into the farmhouse.)
AGENTS: Go! Go!
(They search the farmhouse.)
AGENTS: Got it!
KYLE: Jake!
AGENTS: I got something!
KYLE: Let's go!
[EXT. WOODS - NIGHT - CONTINUOUS]
(Jake continues to limp down the road.)
[INT. FARMHOUSE - BASEMENT - NIGHT - CONTINUOUS]
(Kyle and the other agents search the basement. They find Vanessa on the floor.)
(Outside, they hear gunfire.)
KYLE: (to an agent) Secure the location. Have the Annapolis unit close off a one-mile perimeter. You two with me! Let's find him!
(Kyle and a couple of agents leave the basement.)
(The agent left behind leans in close to Vanessa. She suddenly takes a deep breath and sits up, surprising the agent.)
CUT TO:
[EXT. WOODS - NIGHT - CONTINUOUS]
(Jake continues to limp through the woods. He falls as he hears gunfire above him. He turns and sees Dumont firing at him. Jake continues on.)
[EXT. FARM HOUSE - NIGHT - CONTINUOUS]
AGENT: (o.s.) This way!
(Kyle and the agents run down the road toward.)
[EXT. WOODS - NIGHT - CONTINUOUS]
(Dumont continues to walk toward Jake.)
DUMONT: Jake!
(Jake hides behind a tree as Dumont gets closer to him.)
DUMONT: I'm your best friend. I just want to help you!
(Dumont walks past the tree Jake hides behind. He smiles, points and fires. Jake steps out and hits Dumont in the face with a piece of wood. Dumont is out. Jake tosses the piece of wood to the ground.)
KYLE: (o.s.) Jake!
(Spooked, Jake turns and runs.)
(Kyle runs into the clearing where Dumont is.)
KYLE: Jake! What did you do with Jake?!
(Dumont's mouth is bleeding. He doesn't say anything. Kyle turns to the agent he's with.)
KYLE: Secure this prisoner. (to the radio) All agents converge on the east end of the woods.
(Dumont turns and looks to the side. Kyle gets to his feet and runs in that direction.)
KYLE: Jake! Jake!
(The Agent is left with Dumont.)
CUT TO:
[RIVER WATER - NIGHT - CONTINUOUS]
(Jake reaches the bridge. He limps onto the bridge and is near the middle when Kyle finds him.)
KYLE: Jake! Jake!
(Jake stops and turns around. He looks at Kyle and doesn't recognize him.)
KYLE: Jake. Where are you going?
JAKE: You tell me.
(Jake sees Kyle's name label: DUARTE.)
JAKE: Duarte.
KYLE: Jake, what's wrong?
(Kyle reholsters his gun. Jake notes the move.)
KYLE: We've got to get you to a doctor.
(Kyle reaches out a hand to Jake. Jake grabs Kyle's wrist to stop him from touching him.)
JAKE: You taking me back to the NSA?
KYLE: That's right. I'm here to take you home.
(Jake keeps a firm hold on Kyle's wrist.)
KYLE: Be careful.
JAKE: But, what if I don't want to go. What then?
KYLE: It doesn't have to come to that.
(On the opposite side of the bridge, agents with flashlights and guns block off his escape.)
JAKE: I won't.
(Jake pushes Kyle away from him. Kyle falls back.)
AGENTS: Jake. Stay where you are!
(The agents slowly advance on Jake. He backs up toward the railing.)
AGENTS: Don't move. AGENTS: Get down!
(Behind Kyle, other agents appear now blocking off both exits.)
AGENTS: On the ground!
(Jake falls backward and over the bridge railing. Kyle's eyes widen as he tries to stop Jake.)
KYLE: Jake. Jake no!
(But it's too late. Jake falls down to the river below. He hits the water with a loud splash.)
AGENTS: Get down there now!
(Kyle leans over the railing and looks down into the water.)
KYLE: (yells) Jake!
(There's no answer. He looks around hoping to find him.)
KYLE: (yells) Jake!
FADE OUT.
FADE IN.
[EXT. NSA BUILDING (STOCK) - NIGHT]
[INT. NSA - SAT OPS - NIGHT]
(Diane sits and listens to Kyle as he reports to Lou.)
KYLE: I've dispatched two additional search teams.
LOU: No indication of a body? We have to widen the net.
(Valerie Warner watches as Lou steps out into the front to make the announcement.)
LOU: Attention everybody. This evening, Jake Foley refused to comply with and then assaulted his immediate superior officer before vanishing into Annandale County, Maryland. He is to be considered a danger to our National Security. I am hereby authorizing the use of deadly force in the apprehension of Jake Foley.
(Kyle turns to l0ook at Diane. Diane turns away, shaking her head.)
(Valerie Warner walks away.)
(Camera moves to the photo of Jake on the large wall screen monitor. In the center of his face is a sharp-shooter's crosshairs.)
DISSOLVE TO:
(Susan Carver works at her workstation. Up above, Lou looks down at the Sat Ops.
DISSOLVE TO:
(Kyle stands in the empty elevator as the doors close on him.)
DISSOLVE TO:
(Diane sits in her lab looking at her laptop. She can't concentrate. She takes her glasses off and rubs the bridge of her nose.)
CUT TO:
[EXT. HOSPITAL (STOCK) - NIGHT]
[INT. HOSPITAL ROOM - NIGHT]
VALERIE WARNER: The Mandibular fracture.
(She puts the medical report forms aside. We see Dumont in bed, his mouth wired shut.)
VALERIE WARNER: Your jaw will have to be wired shut for six to eight weeks. Now that's a tragedy of epic proportions. I'd offer you one of those head wands and a keyboard, but god only knows what kind of trouble a genius like you could get into with that. God only knows what kind of trouble.
CUT TO:
[EXT. WOODS - NIGHT]
(On the side of the river bank, Jake clings to the tree roots. We hear thunder in the distance.)
(He's in pain from the gunshot wound. He pulls his sweater down and we see his wound heal.)
JAKE: Wha -- ?
(In the distance, we hear dogs barking. He looks up, takes a breath and stands up.)
(It's raining and Jake is getting wet. He looks around the woods.)
(Alone and determined, Jake walks out of camera frame.)
FADE TO BLACK.
Courtesy of http://www.webphilia.com/~anthology/wnp.html
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BEGINNING/TITLE CREDITS
JAKE 2.0
1X13: BLACKOUT
[UNAIRED IN U.S.]
ORIGINAL AIR DATE IN UK: 05/06/2004
TRANSCRIBED FROM SKYONE
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
DEEGAN CONNER TRACY as Diane Hughes
Created by: SILVIO HORTA
Guest Starring
TAMARA FELDMAN as Vanessa Cardounel
JESSE CADOTTE as Dumont
RACHEL HAYWARD as Executive Director Valerie Warner
DEREK HAMILTON as Dr. Mark Benton
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: MILAN CHYLOV
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: DEBRA HERST
Music by DONNY MARKOWITZ
Music Supervisor: JASON ALEXANDER
Casting by: AMY McINTYRE BRITT
Casting by: ANYA COLLOFF
Canadian Casting by: TRISH ROBINSON
Canadian Casting by: MARY MONTICA POOLE
Co-Starring
MIRANDA FRIGON as Tech Agent Susan Carver
PHILLIP MITCHELL as Prison Guard Gilmore
GARFIELD WILSON as SWAT Agent #1
Set Decorator: SHANNON MURPHY
Costume Designer: CARLA HETLAND
Costumer: HEATHER LEE DOUGLAS
Make-up Artist: BEV WRIGHT
Hair Stylist: JIL CORP
Property Master: TERRY WEAVER
Script Supervisor: 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
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) 2004 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:10/24/2004~lky
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