1X12: DOUBLE AGENT
ORIGINAL AIR DATE ON UPN: 12/17/2003
TRANSCRIBED FROM UPN
Written by: DAVID GREENWALT and SILVIO HORTA
Directed by: DAVID BARRETT
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SUMMARY: Retired NSA Agent Richard Fox is reinstated to active duty to help the NSA bring in a Cold War enemy agent who has resurfaced after all these years with the intent to carry out her plans to bring down the US.
JAKE 2.0 1X12: DOUBLE AGENT
[VARIOUS CLIPS OF PAST EPISODES]
KYLE: (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 to make him stronger and faster, able to see and hear farther than normal men. They give him the power to control technology with his brain. Jake Foley -- America's secret weapon. He takes on missions no ordinary agent can perform. He is the ultimate human upgrade.
FADE IN. PREVIOUSLY ON:
[Scenes from 1X11: Prince and the Revolution]
([INT. CAMPUS DORM - NIGHT] JAKE runs and tackles the ASSASSIN as he tries to kill MALIK NAMIR.)
JAKE: (v.o.) I thought this war was with our enemies out there, not our superiors in here.
(Cut to: Flashes of VALERIE WARNER and JAMES SKERRITT stand on the second floor SAT OPS landing watching the activity below.)
[Scene from 1X10: The Spy Who Really Liked Me]
(JAKE, LOU, KYLE and DIANE stand in front of the Special Board of Inquiry.)
SKERRITT: Either the board is satisfied with your explanations ...
(Cut to: The group walk down the hallway after the inquiry.)
SKERRITT: ... or we terminate the program.
(Cut to: [Scene from 1X11: Prince and the Revolution] LOU and the group are down in the Research lab.)
LOU: They're threatened by things they can't control, and they can't control you.
(Cut to: [Scene from 1X09: Whiskey-Tango-Foxtrot] JAKE aims and shoots KYLE.)
(Cut to: [Scene from 1X11: Prince and the Revolution] JAKE and DIANE share a rare moment together down in the Research Lab.)
JAKE: I don't know if I can do this anymore, Diane.
(Cut to: KYLE and JAKE walk down the hallway after JAKE makes his decision to leave the NSA.)
(Flashes of various episodes.)
KYLE: I have a contact. He creates new lives for people and erases the old ones.
(Cut to: DIANE asks LOU about JAKE.)
DIANE: I thought that I would find Jake here.
KYLE: You won't.
(Dejected, DIANE leaves SAT OPS. The doors open and JAKE walks in. She raises her head and sees JAKE.)
DIANE: (surprised) Jake ... you're back.
FADE OUT. END OF PREVIOUSLY ON:
[EXT. PARK -- DAY]
(CU: JAKE'S RIGHT EAR.)
KYLE: This is four-one-Baltimore, who has visual on the subject ... ?
(Camera pulls back and we see JAKE standing in the park looking for someone.)
VOICE (MAN 1): I did, but I lost contact.
VOICE (MAN 2): Where?
VOICE (MAN 3): Northeast quadrant.
(JAKE looks around.)
(Cut to: Close up of a WOMAN'S gloved hand holding a car rental key.)
VOICE (MAN 4): Damn it, who has the subject in sight?
(Standing on top of the bridge, JAKE spots her across the street.)
JAKE: I got her. She's heading south, toward the river.
VOICE (MAN): Who's got her? Who said that?
(The WOMAN rushes under the bridge toward her car. JAKE rushes to keep her in his sights.)
JAKE: Me. Uh, Jake ... Six-Two-Denver.
VOICE (MAN): (annoyed) Say your number first.
KYLE: Jake, stay put, we're on our way.
(The WOMAN starts to run under the bridge. JAKE rushes forward to keep her in his sights.)
(JAKE reaches the side of the bridge and looks over in time to see her walk out the other side. He sees her running toward her car.)
JAKE: Okay, she's ... she's heading toward a car. She's going to bolt.
KYLE: (warning) Jake, stay put.
LOU: (interrupting) This is Beckett.
(ELENA DANKOVA turns her car alarm off.)
LOU: Dankova must not get away. Use all necessary force.
JAKE: Is that a shoot to kill?
(ELENA DANKOVA reaches her car, picks up her keys from the road and opens the car door.)
LOU: That is affirmative...
(JAKE reaches for his gun and struggles to pull it out of its holster. The others argue over the radio.)
KYLE: Lou, we need Dankova alive.
LOU: Hold the shoot to kill unless it's the only resort.
MAN: Wait until we get there!
(JAKE puts his gun away.)
KYLE: Don't let her get away, Jake.
(ELENA DANKOVA starts her car engine.)
MAN: Don't do anything until...
JAKE: (frustrated) Oh, would you just shut up!
(JAKE leaps over the bridge railing down to the ground to intercept the car. He makes his way down to the street below just as ELENA DANKOVA shifts her car into gear and takes off.)
(JAKE runs out into the street just in time to see the car, license #EK=4200, headed straight for him. She doesn't stop. JAKE jumps up and over the car.)
(He lands on his feet and turns to see the car speeding away.)
(Behind him, he hears the engine of a second car speeding toward him. JAKE turns, barely has time to register that there's a second car gunning toward him, and jumps out of the way. This time, he lands on his back, groaning and panting at the encounter.)
[EXT. NSA BUILDING (STOCK) - DAY]
[INT. NSA - SAT OPS -- DAY]
(Camera opens on the monitors with information about ELENA DANKOVA on it.)
LOU: Now, how could this happen? How did he let Dankova get away?
(LOU, KYLE and JAKE walk into SAT OPS.)
JAKE: (annoyed, makes quote movements with his fingers) "He" practically got tire marks on his face from trying to prevent it.
(LOU turns angrily to JAKE.)
LOU: Is it so hard for you to do what we tell you?
JAKE: (flatly) Yeah, when you're telling me fifteen different things, yeah.
(She turns to the monitor.)
LOU: Put it up.
JAKE: (mutters) Yeah ... no, the leg's fine. Thanks for asking.
(LOU and KYLE look at JAKE.)
KYLE: Why don't you try and be useful.
(JAKE can't believe this is happening.)
LOU: (to KYLE) All right, all right. (to the room) We had Elena Dankova in our sights and we lost her. ...
(JAKE limps over to the workstation and takes a seat as LOU briefs the team.)
LOU: This woman is a former KGB operative who tried to sabotage our Wilmington nuclear facility in 1986. We narrowly avoided our very own Chernobyl.
(JAKE puts the information about ELENA DANKOVA onto the wall monitor.)
LOU: Now, Dankova is a true believer. She went rogue the day the Berlin wall came down. As far as she's concerned, the cold war never ended. Let's see if we can track her down and see if we can hold on to her this time.
(She turns to look pointedly at JAKE. He grimaces at the slight.)
LOU: And don't be afraid to think outside the box.
(Finished, LOU and KYLE both turn to look at the monitor.)
JAKE: Hey, Lou ... what do you think about bringing in the agent who was point man on Dankova in the eighties?
(LOU turns to look at JAKE.)
LOU: Are you talking about Richard Fox?
JAKE: Uh, yeah. He has a lot of commendations.
(KYLE walks over toward JAKE, his manner open to the suggestion.)
JAKE: Big deal back in the day?
KYLE: The biggest. He single-handedly captured Mikail "The Shark" Petrovitch. That was the beginning of the end of the KGB.
JAKE: Retired in eighty-eight.
(LOU steps up behind JAKE to look over his shoulder.)
LOU: Where's he living?
(JAKE types in the information.)
JAKE: (reading) Here in D.C. File says he has two addresses.
LOU: Bring him in.
(LOU turns and walks away. KYLE leans in toward JAKE.)
KYLE: You're about to meet a legend.
[EXT. RICHARD FOX'S RESIDENCE -- DAY]
(JAKE and KYLE exit the car, license # B=80042. They head up the stairs to RICHARD FOX'S RESIDENCE. A YOUNG WOMAN exits the building. She puts her briefcase down to put on her coat. She turns around to look back into the house.)
WOMAN: Call me. I mean it. If you don't, I will hunt you down like a dog.
(She picks up her brief case.)
WOMAN: Bye, baby.
(She turns and sees JAKE and KYLE.)
WOMAN: (to the house) You got company. (to JAKE) Excuse me.
(The WOMAN leaves.)
(RICHARD "DICK" FOX appears in the doorway. He's wearing a blue bathrobe, holding a gun in his hand and has a cigar dangling from his mouth.)
FOX: Y'all lawyers or bill collectors?
(KYLE holds out his hands in front of him, then slowly reaches into his breast pocket for his ID. He shows it to DICK. JAKE also reaches for his ID.)
KYLE: NSA. I'm Agent Duarte, this is Agent Foley. Sir, would you please put that away?
(FOX puts the gun into his bathrobe pocket. KYLE nods. It'll do.)
KYLE: We were hoping we could talk to you about Elena Dankova.
(FOX doesn't say anything, although his left eye does twitch at the mention of the name.)
KYLE: You are Richard Fox?
(He removes the cigar from his mouth.)
FOX: Call me Dick.
(He smiles at them.)
FADE OUT. END OF TEASER ROLL TITLE CREDITS
[INT. RICHARD FOX'S RESIDENCE -- DAY]
(KYLE and JAKE sit at the bar.)
FOX: Anybody want a Fresca?
JAKE: No, thanks.
(JAKE gives KYLE a glance. DICK puts the file on the bar.)
FOX: Well ...
(A puff of smoke fills the air; JAKE coughs.)
FOX: Smoke bother you?
JAKE: Uh... no.
(Another cloud of smoke fills the air.)
(JAKE coughs again.)
(FOX ignores JAKE's discomfort and reads through the file.)
FOX: She always was a real bastard. You boys have got a problem, all right.
KYLE: Well, that's why we came to see you.
JAKE: What do you think we should do, Mr. Fox?
FOX: Dick. Well, first I think you should find her and then kill her.
(He slams the file folder shut and looks at them.)
FOX: Good luck.
(He tosses the file onto the bar.)
KYLE: At the risk of sounding corny, your country needs you.
FOX: Oh, shucks, really? I gave 'em thirty years of my life and they gave me this nifty watch and they need me now? Tell you what I'll do -- $80,000 retainer, and I'm all yours.
KYLE: I don't think we can do that.
(JAKE opens a file folder.)
FOX: I was just kidding. Make it fifty.
JAKE: Actually Mr ... Dick, your NSA contract is pretty specific on the matter: You can be recalled to active duty at any time. Failure to comply can result in arrest, confinement and/or cessation of pension.
(FOX looks at KYLE.)
FOX: (to KYLE) I thought you were the smart one.
KYLE: Me, too.
(KYLE glances at JAKE who smiles slightly back at him.)
FOX: Well, I guess I better get gussied up and get some clothes on. But we do this, we do it my way. Is that clear, boys?
KYLE: You can take that up with the boss.
FOX: Oh, I will. What's his name?
[INT. NSA - SAT OPS -- DAY]
(LOU holds out her hand.)
LOU: Deputy Director Louise Beckett.
(FOX shakes her hand and looks her over. He likes what he sees.)
FOX: Well, hot damn. Fill me in.
LOU: All right. We suspect that Elena Dankova slipped into the country four days ago. Since that time, we've had sightings of her in Cincinnati and Chicago. We know for a fact that she was here in D.C. Yesterday.
FOX: How so?
LOU: We had her in our sights and we lost her.
FOX: Who was the pinhead that let that happen?
JAKE: Uh ... I would be that pinhead.
FOX: Oh, The Smart One. Were you sober?
JAKE Yeah. Of course.
FOX: Well, that was your first mistake. And were you doing everything they were telling you to do?
JAKE: (sighs) I was trying.
FOX: Kid, you got a lot to learn.
LOU: Can we could move forward, please?
FOX: (to LOU) Copy that, sir. (louder, to everyone) Listen up -- Chicago, Cincinnati, D.C.-- Run these names: Nicolai Iskanov, alias Nolotov; Liam Petrov, A.K.A. Kovalev; and Max Romanov, alias Petrenko and/or Bulgakov. My guess is Dankova's has contacted sleepers left behind after the collapse of the soviet empire.
FOX: Well, to finish the job that we stopped her from doing in '86.
LOU: Are you saying she's planning another attack on a U.S. Nuclear Facility?
FOX: I'm saying that if it looks, sounds, feels radioactive, I'd park my ass in front of it with an M-16.
(FOX turns to look at the monitor which has a large photo of ELENA DANKOVA on it.)
FOX: (to the monitor) You never gave up, did you? (He sighs.) Cold war ends and you're a relic overnight. Betrayed by your own country. I know how you feel, Lenochka, but you shouldn't have set foot on American soil. Going to have to bring you down. Bring you down hard, baby.
(JAKE'S monitor beeps at one of the searches.)
JAKE: I think I have something. There's a Max Petrenko, living in Atlantic City ... well, he was living there. I don't see any hits on him in the last couple of years, but he has a line of credit at something called "Rudolph's Red." Is that a casino? I never heard of it.
FOX: Russian mob joint. It's off the boardwalk, low-rent, high- rollers. You got a facial?
JAKE: I've got a passport picture.
(FOX steps next to JAKE to look at the photo on the workstation monitor.)
FOX: That's our man -- Romanov. One of the soviet union's top nuclear engineers. I'll bet bucks to beans he's the key to whatever Dankova's got up her sleeve. (to JAKE) Good work, son.
CARVER: I've got a Nicolai Nolotov in Cincinnati.
FOX: Okay, I want teams in the field. One to Cincinnati to pick up Nolotov, one to Chicago. Smart boy and me here will take Atlantic City, if that's all right with you, boss.
LOU: You want to partner with Jake?
FOX: Best man for the job. He let Dankova get away once. I don't think he'll let that happen again.
(Surprised at the honor, JAKE gets to his feet.)
LOU: I want you checked out by medical staff.
FOX: Whatever you say, boss.
LOU: (to CARVER) Get me Homeland Security.
(CARVER turns back to her monitor. DICK looks at LOU and smiles.)
LOU: Was there something else?
FOX: (smiles) Sure got real pretty eyes.
(LOU ignores the comment and walks away while DICK watches her leave appreciatively.)
[INT. NSA - RESEARCH LAB]
(DIANE removes the blood pressure cuff from DICK'S arm.)
(As she turns her back to him to put the cuff on the counter, DICK takes out his cigar from his breast pocket. He puts the cigar in his mouth and takes out a lighter to light it up. DIANE turns around and sees him.)
DIANE: No, no, no. Not on my watch.
(She grabs the unlit cigar out of his mouth and puts it aside on the counter.)
FOX: (to JAKE) Oh, pretty and tough.
DIANE: (laughs) I'll be right back. Just take your shirt off.
(DIANE turns to leave the lab.)
FOX: Okay, but I expect you to do likewise.
(She chuckles on her way out the door leaving JAKE alone with DICK.)
FOX: So, you and the doc there -- you got a little thing?
JAKE: No, no, no. We're just colleagues.
FOX: What's that, a fancy word for "friends"?
JAKE: Yeah, I guess.
FOX: You kids nowadays. You know a man and a woman can't be just friends. They got to be lovers or enemies.
JAKE: Like you and Elena Dankova?
FOX: Well, sometimes, it's a little of both.
(The two men share a laugh as DIANE returns to the lab.)
DIANE: And why is your shirt still on?
FOX: Uh ...
DIANE: And if you say, "why is yours?"
FOX: You'll stick a scalpel in me.
DIANE: (smiles) Yes, something like that.
FOX: Look, I'm as fit as I'm going to be. Me and the kid here, we got work to do.
(FOX tries to get up off his seat, but DIANE picks up the order from the table and shows it to him.)
DIANE: Not until you get a full medical work-up. See, I have orders.
(He grabs the orders from her.)
FOX: Let me see that. Yeah, well, you do everything they tell you in this joint, you'll go nuts.
(He rips the orders in half down the middle and gives the pieces of paper back to DIANE.)
DIANE: No, no, no. But, you can't ...
(LOU walks down the hallway and into the lab.)
JAKE: (warning) Hey, Lou.
(Startled, DIANE turns around hiding the torn pieces of paper behind her back. LOU turns to DIANE.)
LOU: Is he ready yet?
DIANE: (hesitates) Uh ...
FOX: (interrupts) A hundred percent. Let's get this show on the road.
(LOU looks at JAKE.)
LOU: Jake, this one's by the book.
JAKE: All right.
(JAKE and DICK leave the room.)
(LOU looks at DIANE who smiles back at her.)
[EXT. CAR LOT -- DAY]
(FOX leads JAKE through a car sales lot.)
FOX: Just wait till you see this. You're not going to believe it. That salesman never saw me coming.
(They stop in front of a yellow Mustang Mach I, license #3A5 830.)
FOX: Vintage Mach I. Only three thousand of these babies left in the states. Sweet. They don't make 'em like this anymore.
JAKE: (upset) You just spent almost every penny in our expense account on a car?! What are we gonna live on in Atlantic City? What am I gonna tell Lou?!
FOX: You always wound this tight? Kid, this car is the mission. It's your ass on the line out there. How you look, how you feel, what you drive can be the difference in coming back alive or in a body bag. The number- crunchers back at headquarters, they'll never understand a thing like that. You want to know the secret to this job?
(He opens the driver-side door and motions.)
FOX: Get in.
(JAKE slips into the passenger seat as DICK closes the door.)
FOX: "Go with your gut." At the end of the day, the only thing that matters is that you get the job done right.
(The car engine roars.)
FOX: Okay, kid, you ready to have a little fun?
(He shifts the car into gear and they're off.)
FOX: Yeah! Ha-ha!
(The car screeches as he drives wildly out of the parking lot.)
[EXT. ATLANTIC CITY (STOCK) - NIGHT]
[INT. RUDOLPH'S RED CASINO -- NIGHT]
(FOX and JAKE walk into the casino.)
FOX: Now, this is what going undercover's all about.
(JAKE looks around the casino's main hall turning his back to DICK for a moment.)
JAKE: Romanov has a big line of credit, so I'm guessing he's a high roller. Maybe we should ...
(JAKE turns back to look at DICK to find that he's not there anymore. He looks around and finds DICK sitting at a blackjack table. JAKE joins him. DICK has his money out.)
JAKE: What are you doing?
FOX: I'm ordering a pizza. What does it look like I'm doing?
JAKE: That's all the money we have left.
FOX: (to the dealer) I'll play these three hands. Four hundred on each and an extra hundred for the dealer.
(FOX gives the dealer the money.)
DEALER: Thank you, sir. Good luck.
FOX: If you want to look like a high roller, you got to act like one.
(He plays the first hand.)
JAKE: You won?
FOX: All right. Double down here.
(The dealer plays the next hand.)
DEALER: Yes, sir.
JAKE: Are you just going to stay here and gamble?
FOX: No, I'm going to stay here and gamble and ... drink.
FOX: (loudly) Cocktails. (to JAKE) Why don't you go look for some big guys in expensive suits? They would be the Russians. (to the waitress) Hey, honey, let me have a double scotch and drinks all around, huh?
(He drops a chip on the waitress's tray.)
FOX: (to the dealer) Hit me here.
(The dealer flips over a card.)
FOX: All right. I'll stand.
(JAKE turns and looks around the casino. He sees a table with some big guys in expensive suits playing cards. Just to be certain, he checks their photos with his cell phone. It's a match.)
(JAKE is pleased.)
(Meanwhile, back at DICK'S blackjack table, he's won again.)
(FOX looks at the waitress standing next to him.)
FOX: Thanks, sweetheart. I was getting thirsty. (He gives her a chip.) There you go, darling.
WAITRESS: Thank you.
(He turns back to his game. JAKE walks up to DICK.)
JAKE: Hey, see that poker table on the other side of the room? The guy at the end -- Is he one of them?
(They look at the players at the poker table.)
FOX: Only one way to be sure.
(FOX reaches for a napkin and writes something down.)
FOX: This will be phonetic Russian, okay? I want you to join the game. Wait for him to make a bet, and when he does, say this to him. If he says "da," finish the hand. We'll wait for him outside.
(FOX hands JAKE the napkin. JAKE hesitates, but DICK turns back to his game.)
JAKE: Uh, maybe I should hold onto...
FOX: I'm in.
(JAKE gets the hint, then turns around to do what DICK suggested.)
JAKE: Or not.
(JAKE leaves. DICK tucks his pen back into his jacket pocket and sighs. He watches JAKE go.)
[EXT. WASHINGTON D.C. (STOCK) - NIGHT]
[INT. NSA - SAT OPS - NIGHT]
(LOU walks into SAT OPS and meets up with KYLE.)
LOU: What do we have?
KYLE: Liam Petrov. One of the names Fox gave us. A team in Chicago just found him ... dead.
(KYLE hands LOU the folder. She opens it to read the report.)
KYLE: Murdered in his own home. Two bullets right through the eyes.
LOU: Dankova's trademark.
KYLE: Nice lady. My guess is whatever Dankova has planned, Liam wasn't going along.
LOU: Why would he? A hundred and fifty K a year making plumbing equipment, four-bedroom house in the suburbs. Capitalistic imperialism's been very good to him.
KYLE: It gets worse. Nicolai Iskanov was working at the hope creek nuclear reactor under an alias. He hasn't reported to work in a week. Around the same time, one hundred curies of cesium 137 disappeared from their waste depository.
LOU: They're making a dirty bomb.
KYLE: Yeah, that'd be my guess. They're willing to fight FBI, CIA, Homeland Security.
LOU: All right, make sure we're sharing intel as it comes in. Last thing we need is another communication breakdown. Set up around-the-clock feeds. New York City and D.C. Radiation sensors.
KYLE: We're on it.
[INT. RUDOLPH'S RED CASINO - NIGHT]
(Back at the poker table, JAKE sits at the card table staring at the slip of paper with phonetic Russian on it. He turns to the poker player next to him.)
JAKE: (in Russian) T'voya mahts vonyayet kak abyeziana. (Translation) Your mother smells like a monkey.
(JAKE nods. The poker player turns to look at the player on the other side of him.)
BIG RUSSIAN: (mocking) "T'voya mahts vonyayet kak abyeziana." Ya yevo oobyu.
(He turns to look back at JAKE who meets his eyes, smiles and nods. He chuckles as the other players look at him.)
(Finally, the poker player belts JAKE in the face. JAKE falls to the floor.)
(On the other side of the room, DICK speaks with the cocktail waitress as the fight breaks out. He looks up at the disturbance.)
(JAKE gets to his feet and fights back, his punch sending the big Russian flying across the room where he hits the far wall. DICK watches the fight. A second Russian Man grabs JAKE from behind. JAKE immediately shakes him off sending him flying backward across the room.)
FOX: (mutters to the waitress) You wouldn't think that skinny kid could fight that good.
(JAKE continues to beat the Russians one by one as they continue to attack him.)
FOX: (to the waitress) What do you say we get out of here? Grab your money.
(The WAITRESS grabs the wad of bills and stuffs them down the front of her white blouse.)
(Across the room, JAKE knocks the feet out from under a Russian Man standing on the poker table.)
(JAKE turns around and sees DICK and THE WAITRESS leave the casino.)
JAKE: (surprised) What? (sighs) Oh...
(JAKE is prevented from leaving by the Russian Men standing in front of him, blocking his way. He chuckles at them, then pulls his fist back to defend himself.)
[EXT. NSA BUILDING (STOCK) - DUSK]
[INT. NSA - SAT OPS -- DUSK]
(LOU walks toward AGENT CARVER who stands up from her workstation to hand LOU an ear piece. She puts it on.)
CARVER: Director Beckett, I've got Jake.
LOU: (to earpiece) Beckett.
[EXT. ATLANTIC CITY STREETSIDE - NIGHT]
(JAKE angrily walks out of the casino.)
JAKE: (to phone) I need a shoot to kill order.
JAKE: Dick -- your legend -- spent all our money, tried to have me beaten to death by strangers, and then ditched out on the mission with a cocktail waitress.
LOU: Why didn't you notify me earlier?
(JAKE walks across the deserted street.)
JAKE: That's a very good question.
LOU: Look, the Atlantic City field office is tenth and park. Can you get there?
JAKE: Yes. What about Dick?
LOU: Sounds like he's got some issues. At any rate, you're both off the mission. And Jake, I look forward to your report.
(JAKE hangs up just as the yellow Mach I car, tires screeching, turns the corner behind him. JAKE turns around just as the car pulls up along side him. DICK rolls down the window.)
FOX: I've been looking all over for you, son. Come on. Get in.
(JAKE turns away and starts walking. DICK moves the car slowly alongside him.)
FOX: Okay, so you're pissed. I get it. Why don't we go somewhere, grab a couple of beers and talk about it?
JAKE: There's nothing to talk about. We're off the mission. It's over. Finito.
FOX: Sounds like you've been talking to the suits back home.
JAKE: Yeah, I was. And if I were you, I'd turn around and leave me alone.
(FOX pulls out his gun and points it at JAKE.)
FOX: I can't do that, kid. (JAKE sees the gun and stops walking.) Get in. I'm not too proud to beg.
(JAKE walks around the car to get inside.)
SHORT TIME CUT TO:
[INT. CAR - LATER]
(It's raining outside. DICK continues to drive the car to destinations unknown. JAKE takes out his phone, flips it open and dials.)
(FOX sees him.)
FOX: All right, hand it over. Come on. Give it to me.
(JAKE hands over the phone. He glances at the phone.)
FOX: Back in my days, these things were the size of a thermos. So damn heavy, they practically gave you a hernia.
(FOX shuts the phone off.)
FOX: Roll down your window.
(JAKE rolls down his window.)
JAKE: You're making a big mistake.
FOX: Yeah, I've been hearing that all my life. Still doesn't phase me.
(FOX tosses JAKE'S phone out the open window. It falls to the road as they drive off.)
(FOX turns the car around and stops the car. He engages the brake and turns to face JAKE.)
FOX: Apologies for the note. These Russians, they got no sense of humor.
JAKE: You tried to get me killed!
FOX: If I wanted you dead, I would have been a little more creative than that. I was just testing you to see what you're made of. You know, your life's in your partner's hands in this game. You handled yourself well.
JAKE: (flatly) Gee, thanks.
FOX: Maybe a little too well.
JAKE: What do you want?
FOX: I want to know what you are.
JAKE: I don't know what you're talking about.
FOX: Yes, you do. What did those bastards at the NSA do to you, kid?
(JAKE stoically remains silent.)
FOX: You know, you and I may have more in common than you think.
(JAKE turns to look at DICK. DICK puts his gun away.)
FOX: Way back when you were just a tickle in your daddy's pouch, the NSA had these programs. Enhancement programs: Steroids, G-H-B, H-G-H. Those were just the training wheels. They moved up from there.
JAKE: And you were ...
FOX: Quid pro quo. And I asked you first.
(JAKE turns away.)
FOX: (persists) Look, I know it's hard. They can really screw you up. You don't know what you can or can't say, who to listen to, who to trust. Sorry about the gun. It was a little heavy handed, but you wouldn't have gotten back in the car otherwise.
JAKE: They, uh, they did do something. I can't really get into specifics. There was an accident ...
FOX: (dryly) Yeah, there's always an accident.
(JAKE looks at DICK, measuring his words.)
(Suddenly, there's a thump in the back.)
JAKE: What was that?
FOX: What was what?
CUE SOUND: ENHANCED HEARING
(JAKE hears a muffled voice.)
JAKE: Is there someone in the trunk?
FOX: (laughs) No. You kidding?
(JAKE gets out of the car and stops outside the trunk. He points to it.)
JAKE: Dick, open it up.
FOX: Okay, Mr. Paranoid. Here have a look.
(FOX tosses the trunk keys to JAKE. JAKE bends over to unlock the trunk. While his back is to DICK, DICK knocks him out; JAKE falls to the ground.)
(FOX heads back to the car, gets in and drives off leaving JAKE unconscious on the cold ground.)
[INT. CAR - NIGHT -- CONTINUOUS]
(FOX takes out his phone and dials.)
FOX: (to phone) Shyo gatovah. Davai.
[EXT. - NIGHT]
(The yellow Mach I screeches to a stop in front of a couple of parked cars.)
(A Russian MAN carrying a gun steps forward.)
RUSSIAN MAN: Throw your weapon out of the car, then step out.
(FOX holds out his gun through the open car window and drops it outside the car.)
RUSSIAN MAN: Arms in the air.
(He opens the door and gets out of the car, his hands raised. He steps forward and allows the RUSSIAN MAN to search him.)
(ELENA DANKOVA steps out. Finished, the RUSSIAN MAN steps back.)
FOX: Lenochka, don't you trust me anymore?
DANKOVA: I slept with you many times, but I never trusted you.
FOX: That's no way to build a lasting relationship.
DANKOVA: Do you have it?
FOX: But of course.
(He holds out the car keys, the RUSSIAN MAN raises his gun in case it's a threat. ELENA DANKOVA signals the RUSSIAN MAN.)
DANKOVA: (to DICK) Open it.
(FOX opens the car trunk to reveal the COCKTAIL WAITRESS from the casino bound and gagged in the trunk. DICK motions and steps aside; the RUSSIAN MAN steps forward to assist the WAITRESS out of the trunk.)
(FOX turns to look at ELENA DANKOVA.)
FOX: You know, I don't take rubles.
DANKOVA: Who does anymore?
FOX: Who did ever?
(A second RUSSIAN MAN carrying a briefcase, opens it to reveal the cash inside. He closes the case and gives it to DICK. The WAITRESS is escorted back to DANKOVA'S cars while DICK turns around.)
DANKOVA: It's been a pleasure.
FOX: Call me.
(FOX puts the briefcase of money in the trunk and closes the lid.)
[EXT. WASHINGTON D.C. (STOCK) - DAY]
[EXT. NSA BUILDING (STOCK) - DAY]
[INT. NSA - RESEARCH LAB - DAY]
(DIANE is giving JAKE a check-up. JAKE sits perched on the examining table.)
DIANE: You are so lucky you don't have a concussion. You just have some lacerations and some bruises that should heal in, like ... well, very soon. I hear they got every available agent out there looking for Dick and that car. Between you and me, I thought that guy was kind of a nutcake.
(JAKE doesn't say anything. In fact, he's unusually quiet. DIANE waves her hand in front of his eyes to get his attention.)
(JAKE looks at DIANE and shares what's troubling him with her.)
JAKE: Diane, before the nanite project, were there any other enhancement programs?
DIANE: Um ...
(DIANE cautiously glances behind her. She looks at JAKE.)
DIANE: ... um, I mean, I'm not familiar with any, but I would have to say that there were, yeah. I mean, the NSA has more research money than any other intelligence agency and they have a mandate to stay ahead of the curve, so... why? Do you think they did something to Dick?
JAKE: Uh, it's just ... I'm not sure that guy really is crazy. I have a feeling he knew exactly what he was doing every step of the way.
(The phone rings. DIANE answers it.)
DIANE: Excuse me. (to phone) Lab. (pause) Okay, yes, ma'am, right away. (She hangs up.) Lou says there's something in SAT OPs that we have to see right this instant.
(JAKE slips off the table to leave.)
[INT. NSA - SAT OPS -- DAY]
(JAKE and DIANE walk into SAT OPS. In front of them, RICHARD FOX, dressed in a suit and tie, turns around. JAKE can't believe his eyes.)
FOX: (stilted and precise) My name is Richard. And having armed guards hovering over me like this is not the way to treat someone who bled for this agency for thirty years. I've been in Finland for the past month doing some consulting work. I came as soon as I got your message. Now how can I help you?
(He looks around and we see the confusion on LOU, KYLE, DIANE and JAKE'S faces.)
[INT. NSA - SAT OPS -- DAY]
(RICHARD stands in front of LOU.)
LOU: Look, I don't know what kind of mind game you're running, but you've got some explaining to do.
FOX: Look, you called me. I'm reporting to duty per the activation clause in my contract. And with all due respect, I don't understand how the NSA shared critical mission information without first verifying the identity of an operative.
JAKE: Wait. Hold on. So I just spent thirty-six hours with what? A double? Decoy? Clone?
KYLE: There's no such thing, Jake. You've been watching too many spy movies.
FOX: Don't be too sure. Does this mission have anything to do with Ex-KGB Agents from the former soviet union?
(JAKE turns to look at KYLE.)
LOU: We don't share any information with you until we find out who you are.
FOX: Well, then let me do the sharing then. Classified archive Delta-X-ray-Oscar Niner. The Crimean Project.
(LOU looks at CARVER who takes a seat at the workstation to check the information.)
FOX: A joint operation by the KGB/GRU set up to collect biometric data on American Intelligence assets.
(As he talks, CARVER runs a database search on the "CRIMEAN PROJECT".)
FOX: The goal was to destabilize our intelligence-gathering ability by creating doubles of American agents using plastic surgery, drugs, advanced language and cultural conditioning. I was to be one of the targets. So whoever's doing this must have known I'd be out of the country before activating their plan.
(The results of the search read: "NO RECORD FOUND". CARVER turns to LOU and shakes her head, no.)
LOU: Can't find the archive in the computer, Dick.
FOX: You're not going to find the Crimean Project on a computer. It's on microfiche in the basement. Code named "Double," classified and secured under the 1982 National Security Act. It's only accessible to Deputy Directors and above. And you may refer to me as "Richard" or "Agent Fox."
LOU: Okay, Agent Fox. Let's hope, for your sake, that I come back from the basement with a file.
(He nods at her confidently. LOU turns to the agent standing next to RICHARD.)
LOU: Keep your eyes on this man.
FOX: While I'm waiting, I hope someone's here to take my blood and fingerprints.
(He looks around. DIANE raises her hand and steps forward.)
FOX: That'd be you, little lady?
[INT. NSA - RESEARCH LAB -- LATER]
(DIANE silently draws blood from RICHARD'S arm while JAKE waits patiently in the background.)
FOX: I didn't know they let agents wear their hair that long nowadays.
JAKE: Yeah. I'm a regular old beatnik.
(DIANE finishes. She walks over to the counter to fill out the form.)
FOX: From the looks you're giving me, that impostor must have done quite a job on you. You know, if you'd gone by the book, none of this would've happened.
JAKE: You know, I'm not ready to take lessons from you just yet.
FOX: Well, I'm not ready to give them.
(DIANE quietly walks back to RICHARD while JAKE exits the room to join LOU and KYLE out in the hallway.)
(LOU gives the file to KYLE. He opens it and looks through it.)
LOU: (quietly) It's all here. The Crimean Project. Looks like the soviets really were trying to copy our agents using plastic surgery.
JAKE: So he's legit?
LOU: Apparently. (LOU looks at DIANE and RICHARD in the lab.) Now if his fingerprints and blood match our files, we're going to have to give him the benefit of the doubt and debrief him on the mission.
KYLE: What about trusting him?
(LOU again looks at RICHARD in the room.)
LOU: Absolutely not.
JAKE: Good. Any word on the mustang?
LOU: Sat-ops is working with local law enforcement up and down the seaboard. We'll find him. In the meantime, I want your eyes on Richard 24-7.
(LOU leaves. KYLE and JAKE both turn around to look at RICHARD in the room. RICHARD notices them.)
[INT. NSA - HALLWAY - LATER]
(JAKE is looking through the DNA results as DIANE walks beside him.)
JAKE: This is odd.
DIANE: Yeah, but DNA does not lie. This is Richard Fox. And I looked at those Crimean Project files. Everything they were doing to duplicate our agents is medically feasible. I mean, it's dangerous and nuts but it's doable.
(The walk to the hallway just outside LOU'S office and stop.)
JAKE: (thinking) Hey, you remember that cigar that Dick left in your lab?
DIANE: Yeah, you want me to run DNA on it?
(The door opens; DIANE steps aside as LOU, KYLE and RICHARD join them.)
DIANE: Excuse me.
LOU: All right. Agent Fox has been brought up to speed. I want you to give him your full cooperation.
FOX: And we don't have much time. Look, I'm sorry you were duped, son. But the soviet agent that was impersonating me was using you to find out everything the NSA knows about Dankova's plan. And we're three steps behind them. We've got to level the playing field.
JAKE: Seems to me the best way of doing that is by finding the impostor.
FOX: Why don't we take a look at the security tapes from that casino.
(The group leaves.)
[INT. NSA - SAT OPS]
(RICHARD and JAKE are reviewing the security tapes on the monitor.)
FOX: And you thought that was me? Look at the way he carries himself. Did you look at any of the pictures in my file?
(Feeling the barb, JAKE quietly stares at RICHARD.)
FOX: All right, stop frame right there.
(The security tape video stops on a single frame of DICK with the COCKTAIL WAITRESS.)
FOX: What do you see?
JAKE: Dick's flirting with the waitress.
FOX: Look closer.
JAKE: I don't know, he's playing her. He's making like a high roller.
FOX: He distracted you once; don't let him distract you again.
JAKE: Okay. Uh ...
(JAKE takes a good look at the monitor.)
JAKE: The girl?
(He turns to look at RICHARD. RICHARD nods at him. Encouraged, he continues with the observation.)
JAKE: Cute. Fair skin. High cheekbones. Strong chin, possibly ... slavic.
(JAKE turns around to look at CARVER.)
JAKE: Hey, can you pull up that photo of Romanov?
(CARVER puts up a photo of ROMANOV on the screen.)
JAKE: Okay. Okay, now freeze on the waitress and enhance.
(The two photos are side by side.)
JAKE: Romanov's daughter?
FOX: Romanov took his own life two years ago. Couldn't hack it in the new world order. She was a student at The Central Academy for Advanced Physics in Voronezh. When the wall fell she came to Atlantic City with her father.
JAKE: Why is she serving drinks at a casino?
FOX: Our country's full of highly-educated immigrants doing menial jobs. The point is, she has the know-how to put that bomb together.
JAKE: He walked out of there with her, put her in the trunk of his car ...
FOX: and delivered her to Dankova.
JAKE: Right under my nose.
LOU: (o.s.) Clear the board!
(LOU walks out onto the floor carrying a disk.)
LOU: All stations on alert, we have a red ball. This was on its way to a Moscow tv station for broadcast tomorrow.
(She hands the disk to CARVER.)
LOU: We intercepted it from a private courier company.
(ELENA DANKOVA appears on the monitor.)
DANKOVA: (on video) At midnight last night, we cut out the heart of our enemy. After years of humiliation, we stand proud, defiant and soviet to the end.
(The message ends. LOU turns to address the room.)
LOU: This is a code six: We believe these people plan to detonate a dirty bomb in D.C. tonight at midnight. Exactly one hour from now.
KYLE: (to CARVER) Rewind. Kill the audio.
LOU: You see something?
(The video appears on the monitor.)
KYLE: Yeah. That.
(KYLE points to the screen.)
KYLE: Magnify frame 1,000 percent. Shift focus to the window.
(In the background, an airplane is taking off.)
LOU: Can you enhance it further and id the plane?
CARVER: Not without pixelation. It's all we've got.
LOU: They may have shot this in sight of the glide path for Reagan, Dulles or BWI. Get me Homeland Security. I want choppers in the air with radiac detectors now. The rest of you, you have exactly five minutes to find the most likely locations for this device. Kyle, assemble the strike teams.
JAKE: Lou, Agent Fox and I made some progress. I think finding his double's the best way to stop this.
LOU: I don't. I want every available agent trailing this device. Is that understood?
(JAKE disagrees, but doesn't say anything. LOU leaves. JAKE turns to RICHARD looking for some support.)
JAKE: What do you think?
FOX: I think we have our orders, son.
(He doesn't find it. JAKE leaves; RICHARD follows him.)
[EXT. ROAD -- NIGHT]
(A line of cars are riding out, single file.)
(In JAKE'S car, JAKE'S behind the wheel as KYLE and RICHARD check their weapons.)
FOX: Backup clip, check, body armor plate, secure.
LOU: (over radio) Strike team, this is Thunderbird. We're less than ten from the target.
(JAKE'S cell phone rings. He answers it.)
JAKE: Diane, hey.
[INT. NSA - RESEARCH LAB]
DIANE: Jake, I just got the preliminary result on that DNA.
JAKE: (listening) Okay. Thanks.
(JAKE hangs up.)
KYLE: What was that?
JAKE: Hang on to something.
(JAKE turns the car around, tires screeching and starts heading in the opposite direction.)
LOU: Who broke formation?
KYLE: What the hell are you doing?
FOX: You are jeopardizing this mission.
LOU: (over radio) (to JAKE) You turn that car back around. That's an order.
(JAKE pulls the earpiece out of his ear.)
LOU: Kyle, bring him into compliance by any means necessary, now.
KYLE: Damn it, Jake, what are you doing?
JAKE: I'll tell you what I'm not doing. I'm not stopping this car.
FOX: This is a flagrant breach of protocol.
JAKE: Kyle, you're going to have to trust me or shoot me.
(RICHARD reaches for his gun; KYLE stops him.)
(JAKE continues to drive and finally stops outside a residence where the yellow Mach I is parked.)
FOX: What are we doing here?
(He sees the car.)
FOX: Mustang Mach I. That's him.
KYLE: (to the radio) Lou, this is Kyle. I think we found Agent Fox's impostor.
FOX: He's here. Son of a bitch. I'm going in.
(RICHARD gets out of the car; KYLE reaches for the door to follow him, but JAKE stops him.)
KYLE: No, wait!
(JAKE shakes his head.)
(After a moment, JAKE gets out of the car.)
[INT. DICK'S RESIDENCE - NIGHT - CONTINUOUS]
(JAKE and KYLE enter the residence with their guns drawn.)
FOX: (o.s.) Down! Hit the floor now.
(They get closer and we see RICHARD with his gun drawn, raised and pointed arms length out in front of him.)
(DICK) FOX: (o.s.) Screw you and get out of my house.
FOX: You want me to shoot, I'll shoot.
(Both KYLE and JAKE lower their guns as they take in the scene in front of them.)
FOX: (to JAKE) Good call, kid. Now I'm going to put an end to you and everything you stand for.
(DICK stands in front of him, unarmed. DICK glances to the side at JAKE and KYLE, then back at RICHARD.)
(DICK) FOX: No, you won't. You know you can't execute someone without an Order.
[RESUME REGULAR POV: ON RICHARD; OFF DICK]
(Camera swings continuously around from RICHARD ... to JAKE and KYLE, both with their weapons pointed down and staring at RICHARD ... then to the empty space in front of RICHARD.)
FOX: In your case, I think I can make an exception.
(JAKE and KYLE look at each other. There in front of them, RICHARD is holding his gun on nobody while holding a one-sided conversation with DICK.)
(Camera holds on JAKE and KYLE.)
[EXT. PLANE LANDING (STOCK) -- NIGHT]
[EXT. JUST OUTSIDE AIRPORT LANDING - NIGHT]
(LOU and her team of agents stand just outside the landing strip, armed and communicating with each other on their radios.)
LOU: (to radio) Lima one, do we have a visual?
MAN: (from radio) Negative on that, Thunderbird.
LOU: (to radio) Proceed to southeast and northwest corners.
MAN: (from radio) Copy that.
LOU: (to radio) SAT Ops, do you have anything on the location?
[INT. NSA - SAT OPS - NIGHT]
CARVER: (to radio) No unusual activity on the radiac sensors. (On the monitor in front of her, she sees the heat signatures of the building they're waiting on.) And thermal imaging shows nothing moving inside the building.
MAN: Thunderbird, again. It's a negative.
LOU: (to her team) We have the wrong location.
CARVER: Reports are coming in from the other teams. Negative on Delta. Negative on Sierra. Negative on Bravo.
LOU: (to radio) Kyle ... did you find him?
[INT. DICK'S RESIDENCE - NIGHT]
KYLE: (hesitant) Sort of.
LOU: (from radio) He may be our only chance.
KYLE: (to radio) We're working on it. (quietly to JAKE) What happened to him?
JAKE: The NSA.
(JAKE looks at RICHARD holding his gun on the empty space where he believes he sees DICK standing.)
JAKE: (softly to KYLE) Thirty years of being pulled every which direction. God knows what else they did to him. Split him in half. (louder) Richard ... I don't think you want to do that.
FOX: This man's an enemy agent.
JAKE: Who can help us find Dankova and the bomb.
(Camera zooms on DICK.)
(DICK) FOX: Kid makes a good point.
FOX: Shut up. (He turns to JAKE.) He screwed you once. He'll screw you again.
JAKE: That's why I need you, Richard. To make sure that he doesn't. I need you, Richard. And Dick. I need you both.
(RICHARD and DICK stare at each other. JAKE turns to look at KYLE. Suddenly, RICHARD slowly lowers his weapon. As he does so, DICK disappears.)
(RICHARD turns to look at JAKE and KYLE.)FOX: All right, kid. Now, let me tell you the plan.
(JAKE breathes a sigh of relief.)
[EXT. JUST OUTSIDE AIRPORT LANDING - NIGHT]
(LOU is on her radio.)
LOU: (to radio) What? (to everyone) We have a location! Let's move out.
VOICE: All right. Let's go!
(They get into their cars.)
FADE TO WHITE:
[INT. WAREHOUSE -- NIGHT]
(STEPHANIE ROMANOV puts the final canister into the bomb. She sets the device to read: ARMED. She stands up and holds the remote.)
STEPHANIE ROMANOV: It's ready.
(ELENA DANKOVA holds her hand out for the remote. STEPHANIE ROMANOV hands it to her.)
DANKOVA: Once we're clear the blast area, we detonate.
[INT. CAR (MOVING) -- NIGHT]
(LOU is on her phone.)
LOU: SAT Ops just confirmed heat signatures for five people inside the location. Stealth is crucial. I want snipers first at the scene and fully deployed before the ground assault. Repeat, stealth is crucial.
(As they drive the car, a yellow Mustang Mach I zooms past them, their lights blinking and picking up speed with every passing moment.)
(LOU puts her phone down as she sees the yellow Mustang Mach I zoom by.)
[INT. WAREHOUSE -- NIGHT]
(ELENA DANKOVA and her group pack up their gear.)
DANKOVA: Open the door. Pack up the van.
(The RUSSIAN MAN puts the large plastic container in the back of the van. He turns around to get more gear. In the background, we hear the faint sounds of a car approaching, tires screeching.)
(The Second RUSSIAN MAN shuts the second van's back door closed.)
(The Mach I races toward the warehouse and crashes into the center coming to a halt in the middle of the area.)
(JAKE exits the car with his gun drawn.)
JAKE: (shouts) Weapons down! Now! Now!
(The RUSSIAN MEN both put their hands up.)
(RICHARD FOX walks casually toward ELENA DANKOVA.)
DANKOVA: Stand back!
(She holds out the remote device in front of her.)FOX: We're getting too old for this, Lenochka.
DANKOVA: Did they offer you more money?FOX: Don't I wish.
(Everyone watches ELENA DANKOVA.)FOX: (to DANKOVA) Go ahead, knock yourself out.
(She holds the remote up in front of her, her thumb lingering over the big red button. JAKE turns to look at RICHARD FOX. STEPHANIE ROMANOV squeezes her eyes shut.)
(For an agonizing moment, everyone waits.)
(ELENA DANKOVA presses the big red button.)
(Nothing happens.)FOX: (mocks) Boom.
(Shocked, ELENA DANKOVA turns to look at the device on the ground behind her. STEPHANIE ROMANOV breathes a sigh of relief. In the background, we hear the sirens of the approaching officer vehicles.)
(ELENA presses the button over and over again desperately hoping that it'll work and knowing that it's not.)
(LOU and the other AGENTS arrive in the warehouse. LOU gets out of the car. KYLE and the other agents get out of their cars.)FOX: Anytime, Agent Foley.
(JAKE puts his gun down and walks up to ELENA DANKOVA to cuff her.)
STEPHANIE ROMANOV: (to RICHARD FOX) Were you waiting till the last possible moment?
DANKOVA: She was working with you?FOX: Well, I did promise Miss Romanov a little something if she helped us out.
(JAKE takes ELENA DANKOVA away. The other agents arrest the other group members. RICHARD holds out the car keys to STEPHANIE ROMANOV and drops it in her hand.)FOX: It's all yours.
(She looks appreciatively at the yellow Mustang Mach I.)
STEPHANIE ROMANOV: Very nice.FOX: So's the hundred grand in the trunk. Also, my phone number's in the glove box. It comes standard.
(STEPHANIE ROMANOV smiles and winks at RICHARD FOX. She walks up to the car and runs her hand along the tail wing. RICHARD watches her and smiles.)
(KYLE explains their actions to LOU.)
KYLE: The whole time, he was two steps ahead of us. He tracked Romanov at the casino, told her we needed somebody on the inside. Then he paid her to rig the bomb so it wouldn't go off.
(JAKE joins them.)
LOU: (to JAKE) My office 0700 tomorrow morning.
(LOU walks away leaving JAKE staring at her back.)
[EXT. NSA BUILDING (STOCK) -- DAY]
[INT. NSA - LOU'S OFFICE - DAY]
(LOU picks up a "CERTIFICATE OF AWARD" from the "SECRETARY OF DEFENSE" for 'JAKE FOLEY'. She holds it out in front of her as she looks at JAKE.)
LOU: Special commendation from The Secretary of Defense.
(JAKE smiles at the large piece of paper.)
LOU: It's not every day you stop a dirty bomb.
(Taking the paper, she rips it in half. JAKE'S smile falls.)
LOU: We have a problem, Jake, and something's going to have to give. There are people upstairs who don't like the way you do things, and they would love nothing more than to shut us down. Now I do everything in my power to protect you, but there's a limit to what I can do. So at the very least, when I give you an order, you follow it. You don't question it. Just like all my other agents who work for me. Are we clear?
(JAKE'S quiet for a moment as he searches for the right words to say.)
JAKE: Lou, I respect you. And believe me, I appreciate everything that you have done for me. But I'm not like all your other agents. I wake up every morning with millions of nanites inside of me. Now, if you want me to follow every rule and regulation to the letter, then that's what I will try to do, but if you ask me to do that, then one day something is going to give. It'll be me.
(JAKE and LOU look at each other. Camera holds on JAKE.)
[EXT. RICHARD FOX'S RESIDENCE - DAY]
[INT. RICHARD FOX'S RESIDENCE -- DAY]
(JAKE sits at RICHARD FOX'S bar looking through a magazine.)
JAKE: Aston Martin V-12?FOX: No, no, no. Way too small. What did I tell you?
JAKE: If you get a hundred thousand dollar car for a mission, it needs to be fast and comfortable.FOX: That's my boy.
(JAKE flips to the next page of the magazine to look at another car ad.)
JAKE: All right. Bentley Continental GT?
RICAHRD FOX: Please. That thing looks like a hearse. Speaking of hearse.
(RICHARD reaches for the prescription bottle on the counter and opens it.)FOX: By the way ... thank you, son.
JAKE: Yes.FOX: What else you got?
(JAKE looks at yet another ad in the magazine as RICHARD drinks from a glass.)
JAKE: Oh, uh ... Mercedes Benz SLR Coupe.FOX: Oh, give me a break. I can run faster than that heap.
(JAKE laughs, then considers it.)
(RICHARD doesn't answer the question.)FOX: How about another Fresca?
(RICHARD picks up his glass and walks away, a huge smile on his face leaving JAKE staring blankly at his back.)
(Camera pushes in close to JAKE.)
CUE SOUND: THE SIX MILLION DOLLAR MAN ENHANCED ABILITY SOUND (Yeah, that one.)
(Camera zooms out of the residence.)
(Cut to a top view of the city as the camera pulls back through the clouds.)
CUE SOUND: THE SIX MILLION DOLLAR MAN ENHANCED ABILITY SOUND AGAIN ... AND AGAIN ... AND AGAIN ...
(Camera pulls back for a view of the earth.)
(A satellite passes in front of the camera as we turn and follow the satellite.)
FADE TO BLACK.
[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
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1X12: DOUBLE AGENT
ORIGINAL AIR DATE ON UPN: 12/17/2003
TRANSCRIBED FROM UPN
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
LEE MAJORS as Richard (Dick) Fox
BARBARA TYSO as Elena Dankova
ANGELIKA LIBERA as Stephanie Romanov
AMANDA FRIGON as Tech Agent Carver
Co-Producer: WILLIAM REDNER
Producer: MARK WILDING
Produced by: BERNARD BOURRET
Supervising Producer: JAVIER GRILLO-MARXUACH
Executive Producer: GINA MATTHEWS
Executive Producer: GRANT SCHARBO
Executive Producer: SILVIO HORTA
Written by: DAVID GREENWALT and SILVIO HORTA
Directed by: DAVID BARRETT
Executive Producer: DAVID GREENWALT
David Greenwalt Productions, California LazyDave Matthew S. Scharbo Productions, Silent H Productions Roundtable Entertainment in association with Viacom Productions, a Paramount Company
Director of Photography: DAVID GEDDES
Production Designer: KATE HATTON-WHYTE
Edited by: ALAN SHEFLAND, A.C.E.
Production Manager: TODD PITTSON
First Assistant Director: KEVIN PARKS
Second Assistant Director: KIT MARLATT
Music by DONNY MARKOWITZ
Music Supervisor: JASON ALEXANDER
Casting by: AMY McINTYRE BRITT
Casting by: ANYA COLLOFF
Canadian Casting by: TRISH ROBINSON
Canadian Casting by: MARY MONTICA POOLE
ZINAID MEMISEVIC as Nicolai Iskanov
TARAS as Russian Man #1
RAY GALLETTI as Black Jack Dealer
PATTI VIETA as Woman
Set Decorator: SHANNON MURPHY
Costume Designer: CARLA HETLAND
Costumer: HEATHER LEE DOUGLAS
Make-up Artist: BEV WRIGHT
Hair Stylist: JIL CORP
Property Master: TERRY WEAVER
Script Supervisor: NANCY EAGLES
Production Coordinator: ANITA MEEHAN-TRUELOVE
Production Accountant: GORD SMITH
1st Company Grip: AL CAMPBELL
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: DINO C.C. DeLORENZO
Sound Supervisor: JON WAKEHAM
Music Editor: MOIRA MARQUIS
Re-Recording Mixers: TIM PHILBEN
Re-Recording Mixers: ALAN DECKER
Additional Music by: RICH McHUGH
Additional Music by: ERIC AMDAHL
Visual Effects by: STARGATE DIGITAL
High Definition Post: MATCHFRAME VIDEO
Film Laboratory: TOYBOX
Off Line Post: THRESHOLD SOUND & VISION
The persons and events in this film are fictitious. Any similarity to actual persons or events is unintentional.
(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.