|
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
DISCLAIMER: "JAKE 2.0" and other related entities are owned, (TM) and (c) by David Greenwalt Productions (California LazyDave), Matthew S. Scharbo Productions, and Viacom Productions, a Paramount Company. All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. For Fair Use, For Educational and For Entertainment Purposes Only. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain.
CONDITION OF USE: (1) Do not alter the content of this file. (2) Leave the
headers/disclaimers intact because it lists all those who have made this
transcript possible for your enjoyment. (3) Provide a link back to the site
where this file originated: http://www.webphilia.com/~anthology/wnp.html
Contact the Transcriptionist at (intrepidly002@yahoo.com)
COLD OPEN:
[VARIOUS CLIPS OF PAST EPISODES]
NARRATOR (MAN): (v.o.) Jake Foley was an ordinary guy until a freak accident transformed him into the world's first computer-enhanced man. Millions of microscopic computers interface with his biochemistry and make him stronger and faster, able to see and hear farther than normal men. They give him the power to control technology with his brain. Jake Foley -- America's secret weapon. He takes on missions no ordinary agent can perform. He is the ultimate human upgrade.
FADE OUT.
FADE IN. PREVIOUSLY ON:
NARRATOR: Previously on Jake 2.0
[Scene from 1X13: Blackout]
[CGI ENHANCEMENT]
(The computer virus is trapped and contained.)
TECH AGENT SUSAN CARVER: (v.o.) A Computer virus has invaded our main frame.
[INT. PRISON -- DAY]
(Jake holds out the sheet of code.)
JAKE: I know your code, DuMont.
(Cut to: Dumont looks at the code.)
DUMONT: Somebody stole my virus.
[EXT. PRISON -- DAY]
(Jake and Kyle escort Dumont out of the prison.)
DUMONT: (o.s.) I know all about you, Nanoboy.
[INT. STORAGE WAREHOUSE - NIGHT]
DUMONT: Sweet Dreams.
(Cut to: The Electromagnetic pulse emitter knocks Jake to his knees.)
DUMONT: (v.o.) I erased his memory. He has no idea who he is.
[INT. FARMHOUSE - BEDROOM - DAY]
(Jake looks at the wedding band on his hand. Vanessa walks up to Jake.)
VANESSA CARDOUNEL: You're home.
(She holds him.)
[JAKE]
JAKE: Something's wrong.
[INT. FARMHOUSE - BASEMENT - NIGHT]
DUMONT: What did you tell him.
VANESSA CARDOUNEL: I didn't tell him anything.
(Dumont fires on Jake as he runs out of the basement.)
[EXT. FARMHOUSE - NIGHT]
(Dumont stands on the porch and fires.)
(Jake jumps over the fence and is hit in the back of his leg. He falls to the ground.)
[INT. NSA - SAT OPS - NIGHT]
LOU: I am hereby authorizing the use of deadly force in the apprehension of Jake Foley.
(Cut to: A photo of Jake Foley as seen through a scope with crosshairs.)
[EXT. BRIDGE - NIGHT]
(Kyle reaches out to touch Jake. Jake grabs Kyle's arm and stops him. He squeezes.)
KYLE: I'm here to take you home.
(Jake tosses Kyle back. He lands hard on the bridge.)
LOU: (v.o.) Jake Foley is to be considered a danger to our National Security.
(Jake falls backward and off the side of the bridge.)
(After a long drop, he lands in the river below.)
FADE OUT. END OF PREVIOUSLY ON:
FADE IN.
[EXT. NSA BUILDING (STOCK) - NIGHT]
[INT. NSA - SAT OPS -- NIGHT]
(An All Points Bulletin is on the wall monitor complete with bio and photo. Kyle looks at it for a moment, sighs and turns around toward Lou. He leaves Diane staring at the bio.)
KYLE: Once I get your okay, I'll get this out to every local law enforcement agency in the nation.
(The bio reads: JAKE FOLEY DESCRIPTION PLACE OF BIRTH: AKRON, OHIO HEIGHT: 6'0" WEIGHT: APPROX. 160 LBS. BUILD: LEAN NATIONALITY: AMERICAN SCARS/MARKS: NONE
(Below that reads: CAUTION Foley is considered armed and extremely dangerous. Foley refused to comply with state officials and assaulted a superior Officer. Foley has been party to several armed robberies throughout the state. If you have any information concerning this person. Please contact your local police office or the nearest u.s. embassy or consulate. CONSIDERED ARMED AND DANGEROUS
(Diane reads the Bulletin.)
DIANE: Armed and Dangerous? We're talking about Jake. What are you doing?
LOU: He's trying to get as much manpower as possible to bring Jake in.
DIANE: (outraged) Wha-by-by lying?
KYLE: Yes. The phony rap sheet protects National Security. And it gives the local police maximum motivation to find Jake for us. (He takes a breath.) Gives us an edge.
LOU: Are you sure you want to risk some Barney Fife opening up his .38 on Jake just to get a Federal Collar on his jacket?
KYLE: Lou, I don't like this either, but it's been ten days since he's vanished and our leads are bone dry.
LOU: Put out the APB.
(Diane shakes her head. She can't believe this is happening. She turns and looks back at the photo of Jake on the monitor.)
CUT TO:
[EXT. CITY LIGHTS (STOCK) - NIGHT]
LEGEND: SOMEWHERE OUTSIDE PHILADELPHIA
[EXT. STREET - NIGHT]
(Jake uses his hand and whacks open a parking meter. The coins fall to the ground. Jake opens up a paper package and picks up as many as he can.)
(He hears laughter coming from a passing car. The woman inside the limo standing up and out through the sunroof throws an empty bottle at him. It smashes on the side of the road near him.)
WOMAN: Loser! Get a job, you bum!
(The black car stops in front of a bar. The doors open and the people step out.)
WOMAN: All right! We're here! Let's go!
(Jake watches them for a moment, then heads for the bar.)
CUT TO:
[INT. BAR - NIGHT -- CONTINUOUS]
(Jake steps into the club/bar. He looks around the area and heads for the bar.)
JAKE: Excuse me. I need something to drink.
BARTENDER: It's five bucks.
(Jake reaches into his bag and pulls out a handful of change. The bartender puts a bottle of beer on the counter. Jake picks it up and takes a drink.)
(Off to the side, he notices a separate sliding door complete with guard. The door opens and a well-dressed couple walks in. Someone walks out.)
JAKE: Hey, what's in there?
(Without looking up, the bartender answers.)
BARTENDER: Don't worry. Can't afford it.
(Jake overturns the entire bag of loose change onto the counter. He hands the bartender the bag. The bartender motions to the Bouncer on the side to let Jake in.)
(Jake follows the Bouncer leaving the bartender to pick up the coins.)
(The Bouncer opens the door and Jakes walks through. Inside, he hears a crowd cheering.)
FAST FORWARD TO:
[INT. BAR - BACK ROOM - NIGHT - CONTINUOUS]
(In the back room of the bar, there is a fighting ring. Currently, two men are in the make-shift ring fighting. Around them, the betting crowd goes wild.)
(Jake watches the fight quietly. The stronger, more muscular man picks up the smaller man and lifts him over his head. He throws the smaller man out of the ring.)
(Caesar rushes forward and declares the stronger man the winner.)
CAESAR: Champion is down, Ladies and Gentlemen. Want to see some more? Five hundred dollars. Any one can last three minutes will win. Anybody. Do we have any takers? You want entertainment, right? We got entertainment right here. Five hundred dollars. Three minutes will last with me. Anybody got any guts?
(Caesar looks around the ring. Jake steps forward.)
(Caesar looks at Jake.)
CAESAR: We've got ourselves a volunteer. Either a very drunk man or a very brave one. You got a name?
JAKE: You want me to chat or fight?
CAESAR: Hey, whatever sends you.
(Caesar steps out of the ring.)
CAESAR: Three minutes. Big Mick vs. ... (he looks Jake over) ... "The Killer Shrimp". And! Fight!
(And so it begins.)
(Jake holds out his hand to shake hands before the fight starts, but Big Mick grabs Jake's hand and knees him in the groin. Jake falls to his knees. Big Mick hits Jake on the back of his head.)
(He grabs Jake by his hair and pounds it into the ground. Jake groans.)
(Fast forward to: Money exchanges hands around the ring as the crowd places bets. Big Mick has Jake in a head lock. Jake grabs Big Mick and tosses him easily over his shoulder and against the pillar of bags. Big Mick falls to the ring floor with a thud.)
(Jake is on his feet. Big Mick gets to his feet. He punches Jake in the face. Jake falls to his knees. Big Mick takes a step forward toward Jake, but Jake turns and swings punching Big Mick in the stomach with his super strength.)
(Big Mick staggers back from the impact.)
(Then falls to the floor, face-down.)
(The crowd goes wild.)
(Caesar looks down at Big Mick, then glares accusingly at Jake.)
CAESAR: That must be the best money-maker I had in my life.
(Caesar takes a step away from Big Mick toward Jake. He looks at Jake's dirty clothes and scoffs.)
CAESAR: Need a job, boy?
FADE TO END OF TEASER ROLL TITLE CREDITS
FADE IN.
[EXT. BAR -BUILDING (STOCK) - NIGHT]
[INT. BAR - BACK ROOM - NIGHT - CONTINUOUS]
(Jake is fighting with a blonde-haired opponent. The blonde-haired opponent gets in a few jabs. He throws another punch, but Jake catches his fist and squeezes.)
(Jake punches the Opponent in the face, then pushes him up against the pillar. He follows it up with another punch and the Opponent goes down.)
(The Announcer applauds. Jake turns his back to the Opponent who quickly gets to his feet and jumps on Jake's back. He grabs Jake's face.)
JAKE: Ahh!
(Jake grabs ahold of the Opponent and flips him over his shoulder and onto the ring. Using his super strength, Jake kicks the opponent in the chest. The Opponent slides across the ring floor and falls clear off the ring.)
(The audience applauds. Caesar declares Jake the winner.)
WHITE FLASH TO:
[EXT. WASHINGTON D.C. (STOCK) - DAY]
[EXT. NSA BUILDING (STOCK) - DAY]
[INT. NSA - DIANE'S LAB - DAY]]
(Lou and Kyle question Diane, the nano specs are on the monitor.)
LOU: You sure you've tried everything?
(Lou looks at the Jake Palm Pilot.)
DIANE: (sighs) Yes. Yes. I've been unable to receive signals from the nanites, if we could, we might be able to get a location on Jake.
KYLE: Well, maybe he found a way to block them from sending you a carrier signal to keep us away.
(The Jake Palm Pilot reads: NO SIGNAL.)
DIANE: No. No. I can't see Jake doing something like that to us.
KYLE: Diane, I was there. I looked into his eyes. Look, it was pretty clear he didn't want anything to do with us.
LOU: Well, do you have an explanation for his behavior?
DIANE: Yes, I do. I think that he's having some kind of episode. I think that he's in trouble. I mean, the breakdown in the signal is consistent with the simulations that we've been running on the mites exposing them to electromagnetic surges.
KYLE: We didn't have any evidence of a surge.
DIANE: Well, it doesn't mean that it didn't happen.
KYLE: Well, I hope that shouldn't we be following what we do know? He was shot. He jumped into freezing water.
DIANE: And if I can prove that he didn't just go rogue, then there's no need for a Shoot to Kill order, right? No matter how high up it comes from.
LOU: The need is to find Jake and then bring him back before he hurts himself or someone else.
(Diane sighs.)
(Lou and Kyle leave the lab.)
(As soon as they're gone, Fran walks over to Diane. Diane takes out an enhanced Jake Palm Pilot. She flips it on.)
FRAN YOSHIDA: Anything?
DIANE: Yeah. Yeah, we're getting close.
(The Jake Palm Pilot starts beeping. Diane sits down at her laptop ready to get to work.)
FADE OUT.
FADE IN.
[INT. BAR -- DAY]
(Caesar is working at a computer behind the counter when Jake walks up to him.)
CAESAR: I know what you're thinking. What's a guy who runs a cash-only blood sport doing with this high tech thing, right? I've got five more in the back. Just can't move them to save my life.
JAKE: Does that thing open any time soon?
CAESAR: Want to give it a shot?
(Caesar tosses the instruction booklet to Jake, but Jake grabs the monitor and turns it toward him. He looks at the instructions, then presses the buttons on the monitor.)
(Caesar chuckles.)
(Jake stares at the computer.)
CUE SOUND: ENHANCED ABILITY
(Camera zooms into the monitor, then back out again.)
(The cash register drawer pops open. Caesar is sufficiently impressed.)
CAESAR: How'd you do that?
(Jake shrugs. Caesar hands Jake his cash. Jake turns, pockets the money and leaves.)
CUT TO:
[EXT. BUILDING (STOCK) - DAY]
[INT. JAKE'S APARTMENT - DAY]
(The door opens. Jake walks into his apartment carrying a bag of groceries and a Pawn Shop plastic bag. He closes the door and puts the grocery bag down on the counter. He takes out a lap top computer from the pawn shop bag and turns it on.)
(Cut to: Jake gets into the National Security Agency site.)
CUE SOUND: ENHANCED HEARING
(Camera zooms into the computer where Jake pulls up his File.)
JAKE: Foley.
(He finds out who he is.)
JAKE: Jake Foley. Jake Foley. Jake Foley.
(He continues to read his file.)
JAKE: (reading) Has been disavowed. Grand Larcey. Armed Robbery. Sold deadly weapons. Aggravated Assault.
CUT TO:
[INT. NSA - SAT OPS - DAY]
(Kyle updates Lou.)
KYLE: I have Philadelphia Metro Police on the line. They already have a unit in the neighborhood. Carver is the trace complete?
(Up on the monitor, they're running a trace on Jake's hack into the system. Diane walks up to the monitor.)
TECH AGENT SUSAN CARVER: Yeah. Helix Boarding House, Richmond Street. Second floor.
KYLE: Control. I have an address.
(She turns around.)
DIANE: Jake's in Philadelphia?
KYLE: The Helix Boarding House, Richmond Street. Second floor. Standing by.
DIANE: Okay, can somebody tell me -
LOU: We think Jake is hacking into the system.
DIANE: What? Are you sure it's Jake?
TECH AGENT SUSAN CARVER: There's a smoothness to the pattern that suggests Jake's neuro interface.
DIANE: Why would he be hacking into his own personnel files.
INTERCUT WITH:
[JAKE]
(Jake continues to read through his files.)
CUE SOUND: ENHANCED HEARING
(Kyle is on the phone.)
KYLE: I have local police on speakers.
LOCAL POLICE (WOMAN): (from speaker) This is control. Units are on the scene.
KYLE: Control. You have the warrant. This man is a Federal Fugitive.
LOCAL POLICE (WOMAN): (from speaker) We got it. Armed and Dangeorus. We'll take him down.
KYLE: And, uh, try not to use excessive force.
LOCAL POLICE (WOMAN): (from speaker) You want this guy or not?
KYLE: Switch over to the field frequency.
POLICE (MAN): (from speaker) Control this is Julius 28. We're going in.
(Over the speaker, they hear the door break in and some people shouting.)
(There's gunfire.)
POLICE: Get down on the floor!
(There's more gunfire. Susan Carver gets to her feet.)
(Suddenly, everything's quiet.)
KYLE: Control. Control. Have you apprehended Jake Foley?
CONTROL (MAN): Negative. Negative.
[JAKE]
(Jake looks out his second story window and sees the police at the next door neighbor's arresting a group of people.)
CONTROL (MAN): (from speaker) We have three men in custody. All Asian. There's drug paraphernalia. Money. And several firearms.
TECH AGENT SUSAN CARVER: He intercepted my trace and bounced it elsewhere.
(Diane looses it completely.)
DIANE: (shouts) This is insane! We should be trying to talk to him. Not track him down like an animal. You are going to get him killed!
(Everyone stops and stares at Diane's outburst.)
(Diane stops and walks away.)
CUT TO:
[INT. NSA - LOU'S OFFICE - DAY]
DIANE: (quietly) I'm sorry for my behavior. There is no excuse. Lou, I think I need a couple of days.
LOU: Or longer.
(Lou walks behind her desk.)
LOU: You're going on leave. Effective immediately. Fran can monitor the nanite activity. If there's any change, you'll be recalled.
DIANE: Well, I hope it's not to do an autopsy.
(Diane turns to leave the office. Kyle stops her.)
KYLE: Diane. Do you really believe we want a bullet in Jake's skull?
(Diane turns and looks at Kyle.)
KYLE: You're not the only person in this room who cares about him.
(Diane doesn't say anything. She leaves the office and heads out the hallway. Upset and crying, Diane bumps into an agent.)
AGENT: Excuse me.
(Diane continues down the hallway. She stops and leans against the wall.)
(She takes a deep breath.)
(She digs into her pocket and takes out the improved Jake Palm Pilot and turns it on. It flashes: LOCATION MATCH.)
(She presses it with the stylus: LOCATION MATCH 100% TRACKING JAEK FOLEY
(Diane sighs. She glances back at Lou's office. She takes a deep breath and heads out.)
CUT TO:
[INT. BAR - NIGHT]
[INT. BAR - BACK RING - NIGHT]
(Jake is fighting with another Opponent. After several fist exchanges, the Opponent goes down. Jake kicks him in the face.)
(The crowd groans.)
(The Opponent gets up and hits Jake in the stomach. He grabs Jake's arm and twists it back. Jake twists his arm and flips the Opponent over. The Opponent hits the ground hard. Jake picks him up and slams him against the pillar, then punches him in the face. The Opponent hits the pillar. Jake slams The Opponent's head back into the pillar, breaking the pillar's surface.)
(The crowd groans.)
(The Opponent falls to the ground.)
(The crowd goes wild. Diane watches in the audience, shocked by what she's seen.)
(Jake grabs his shirt, puts it on and leaves. Diane can't believe it.)
FADE TO:
[EXT. COFFEE SHOP (STOCK) - NIGHT]
[INT. COFFEE SHOP - NIGHT]
(Diane walks into the coffee shop and takes a seat at the table near Jake who is looking through a menu. She clears her throat.)
DIANE: Hey. I saw you at the - at the Palace - back room thing -- and it was really interesting. It was my first time there. Kinda makes me wonder how you get a job like that. You know, bludgeoning people. Do you get an education for that, or get recruited?
(Jake doesn't say anything. The waitress puts his plate in front of him.)
JAKE: Thank you.
DIANE: Seems like a good workout. Beats a treadmill.
WAITRESS: What's it going to be?
DIANE: I uh, I'll have the meatloaf.
CUT TO:
[EXT. WASHINGTON D.C. (STOCK) - NIGHT]
[INT. NSA - SAT OPS -- NIGHT]
(Lou and Kyle walk into Sat Ops. Susan Carver hands Lou a file.)
TECH AGENT SUSAN CARVER: We got a hit on the APB. Trucker picked up a hitchhiker matching Jake's description about five days ago.
KYLE: I'll check it out.
(Lou hands the file to Kyle and he leaves.)
LOU: (to Susan Carver) Pull up Diane's itinerary.
(Susan Carver punches some keys on the keyboard.)
TECH AGENT SUSAN CARVER: She's at the Etoil. It's a spa on Berkley Springs.
LOU: Tell me something. Does Diane strike you as the type to go to a spa?
CUT TO:
[INT. COFFEE SHOP - NIGHT]
(Diane has her credit card with the bill on the table.)
WAITRESS: (to Diane) Do you want me to take that up for you?
DIANE: Yeah. Please.
(The Waitress takes the credit card and the bill and starts to leave. Diane realizes that they can trace her through her credit card. She stops the waitress.)
DIANE: Oh, wait! It's probably a bad idea for me to use a credit card and I'm heavily overdrawn and you have a credit card companies are, they ... hunt you down ... So, I will pay cash.
(Diane takes out her wallet and takes out all her cash - including the coins. She looks at the waitress, embarrassed that she doesn't have enough to cover the bill.)
DIANE: Probably going to be more than $2.27.
(Listening to Diane's dilemma, Jake digs into his pockets and takes out a bill. He slides it across the counter toward Diane.)
DIANE: (smiles) Oh.
(Diane takes the bill and hands it to the waitress.)
DIANE: Keep the change.
(Jake finishes up the rest of his drink and stands up as he prepares to leave. He heads for the door walking past Diane. Diane grabs her wallet and shoves it into her bag. She stands up.)
DIANE: Thanks Jake.
(He stops and turns around.)
JAKE: How'd you know my name?
DIANE: From the club?
JAKE: No, you said it like you know me.
DIANE: Well, because I kinda feel like I do. I mean, nothing stalkery or anything like that. Its just that I saw you at the club. And then here. You looked -- You had a look.
JAKE: "Look"?
DIANE: Look kinda like how I feel.
JAKE: How's that?
DIANE: You tell me. Anyway, I will pay you back. For this. I promise. No really because I skipped dessert and if you could buy me some apple pie, I'd be happy to pay for that, too. Uhm. A la mode?
(Jake can't help but smile. Diane smiles, too.)
CUT TO:
[EXT. COFFEE SHOP - NIGHT]
(A car pulls up. The man inside makes a call.)
MAN: Yeah, we've got a beat on him. He's with a brunette. Late 20's.
[INT. COFFEE SHOP - NIGHT]
(Jake and Diane sit in a booth having pie.)
JAKE: So, you're a doctor. Why hang around in this neighborhood?
DIANE: Maybe I'm not very good. Can you keep a secret?
JAKE: Who am I going to tell?
DIANE: (whispers) I'm kinda on the run. I mean, not a fugitive, well - I-I am. Oh, okay. I've been working for this really big, awful HMO. And, uh, there was this patient. This really cool, young guy and he was bright, funny - and you would think that this guy had everything going for him, but he didn't because he was very sick. And, uh, he had this mental condition and I just disagreed with management on how to treat him. You know? And I ended up walking away. And I can not just stand by and watch him destroy his life anymore.
JAKE: So, what'd you do?
DIANE: I went over their heads. And now, they think I helped him escape.
JAKE: Did you?
DIANE: What about you? How long have you been fighting people for money?
JAKE: (avoiding) Not as long as I can remember.
(He takes a sip from his cup.)
DIANE: You get Dental with this?
JAKE: With painful extractions.
(Diane chuckles at the joke.)
JAKE: I don't really think of it as a long-term thing. I think I'm kinda wandering.
DIANE: (nods) Trying to find yourself.
JAKE: Yeah.
DIANE: Find anything?
JAKE: Nothing encouraging.
(In the silence between them, Jake hears something.)
CUE SOUND: ENHANCED HEARING
MAN: (o.s.) They're still talking. No, I think he just met her tonight. Yeah. Okay.
(Jake turns and glances outside. The man in the car is on the phone.)
JAKE: I'm sorry. I have to go.
DIANE: What? No, no. Wait. Wait. I mean ...
(Jake puts some bills on the table.)
DIANE: I liked this. And I want pie. I owe you for pie. (Jake glances out the window.) Anyhow, how about we do this again. Tomorrow? Same time? Same fabulous place? My treat, though.
(Spooked and distracted.)
JAKE: Okay.
(Jake gets up.)
[EXT. COFFEE SHOP - NIGHT]
(From outside, the person sees Jake leave.)
[INT. COFFEE SHOP - NIGHT]
(Diane rubs her forehead. Her bag beeps and she pulls out the palm pilot. She took a CEREBRAL SCAN of Jake while they were talking.)
[EXT. COFFEE SHOP - NIGHT]
(The man in the car watches Diane sitting at the table. Suddenly, Jake breaks the car glass. He grabs the man and pulls him out from the broken window.)
JAKE: (harshly) Who sent you?
CUT TO:
[INT. BAR - BACK ROOM - NIGHT]
(Jake puts the body of the unconscious man on the table. He glares at Caesar.)
JAKE: Why you having me followed?
(Caesar motions to the other security guard.)
CAESAR: Clear the table.
(The Security Guard pulls the other man off the table. He puts a laptop on the counter.)
CAESAR: I've been thinking. Now, this is just me thinking. You've worked some pretty impressive magic on my register. Maybe you ought to take a look at this. Just a little logic puzzle. Want to give it a shot?
(Caesar pushes his jacket aside to reveal a gun tucked in his pants.)
(Jake looks at the computer and works on it.)
CUE SOUND: ENHANCED ABILITIES
(As he types, the puzzle on the computer comes together. He finishes it. Jake turns and leaves.)
CAESAR: Boy can fight like a champ and wrangle a computer. You just sold a simulation of a security control algorithm of a very, high-tech safe. In less than forty-eight hours, that safe is going to be the home of ten million dollars in bearer bonds. With the coupon still attached.
JAKE: You're planning a robbery.
CAESAR: Yeah. I'd like to think of it as "A Liberation of Assets".
JAKE: If you're asking, I'm not interested.
CAESAR: Look, all I'm saying is this. Think about your share. Of course, I won't even have to insult you by suggesting that you share this information with anyone else. I mean it. I know where you work, right?
FADE OUT.
FADE IN.
[INT. NSA - HALLWAY -- DAY]
(Kyle fills Lou in as they walk down the hallway.)
KYLE: The Trucker ID'd Jake's picture. He gave him a lift from Alexandria to Operdarvy(?).
LOU: That's near Philly. What else.
KYLE: Said he thought Jake was a little suspicious.
LOU: How so?
KYLE: Kept to himself, didn't like country music.
LOU: All right. Have you heard from Diane?
KYLE: Isn't she at a spa?
LOU: Well, she checked in, but nobody's seen her. All her contact numbers are down. I think she's up to something. I want to know what.
(Lou leaves.)
CUT TO:
[INT. HOTEL ROOM - BEDROOM -- DAY]
(Diane is on the phone with Fran.)
DIANE: (to phone) No, the brain scans are incomplete. It's like he's had - he's had some kind of memory loss. And-and-and it's Jake. I know it's him. He's in there. He just can't find his way out.
INTERCUT WITH:
[INT. NSA - DIANE'S LAB - DAY]
FRAN YOSHIDA: (to phone) And he's fighting people for money?
DIANE: (to phone) I mean whatever you're picturing for him, I mean, it's a hundred times worse. We really need to get him out of there.
FRAN YOSHIDA: (to phone) Well, he trusts you. You can't just tell him?
DIANE: (chuckles) (to phone) Tell him what? That I'm with the NSA? He jumped off a bridge to get away from us. He's scared. And, uh, I don't want to do anything to make it worse. At least, until I know if I can help him. I think that the best thing we can do is finish these brain scans and figure out a way to give him back his memories.
FRAN YOSHIDA: (to phone) Okay.
DIANE: Check in with you later.
(Diane hangs up. Fran hangs up and leans against the counter.)
LOU: (o.s.) Where is she, Fran?
(Fran turns around and finds Lou and Kyle in the doorway.)
LOU: And don't even think about lying. I want to know where she is, if she's found Jake and what you're doing to help her. Speak.
FRAN YOSHIDA: We fixed Jake's monitoring device. She used it to track him.
KYLE: What's his condition?
FRAN YOSHIDA: He lost his memory. He doesn't know who he is, who we are or what we've done to him. Look, I don't know where she is. She didn't tell me. She knew you'd catch on eventually and she's convinced that Jake's going to wind up dead if you get to him before she does.
LOU: All right. I'm only going to say this once. I am going to bug every phone you ever laid on, Fran, and I'm giving you a direct order to report any information you have on Jake. And if I get so much as an inkling that I don't have your full cooperation ...
(Fran nods.)
CUT TO:
[INT. BAR - BACKROOM - NIGHT]
VOICE: Come on, Jake!
(Jake is in the middle of another fight. The crowd is going wile. The Opponent is sitting on Jake's back with his leg in a lock. Jake kicks out and throws The Opponent off him.)
(Jake slowly gets to his feet. He looks up and sees Diane walking into the back room.)
(Their eyes meet.)
(Distracted, The Opponent punches Jake in the back. Something happens to Jake. He starts hearing voices as he staggers around the ring.)
(Diane watches horrified as The Opponent punches Jake in the face. Jake punches The Opponent back and knocks him to the ground.)
(Right in front of Diane, Jake picks up The Opponent and starts to punch him in the face a couple of times. It's obvious that The Opponent is out.)
(Jake stops and looks directly at Diane.)
(He can't do it.)
(He pushes The Opponent back to the ground and walks away. Jake leaves the ring.)
CAESAR: (shouts) Hey! Don't get soft on me, Jake!
[INT. BAR - NIGHT - CONTINUOUS]
(Jake walks out of the back room into the bar. He grabs his jacket off from the chair and starts to put it on as he leaves. Diane rushes out of the back room intent on following him.)
DIANE: Jake!
JAKE: What are you doing here?
DIANE: Hey, I missed you at the diner. I thought that we had -
JAKE: I had to work.
DIANE: "Had to"?
JAKE: No. No. I wanted to work. Okay? Can you understand that?
(Jake turns and walks out of the bar. After a beat, Diane follows him.)
[EXT. BAR - NIGHT]
(Jake walks out of the bar. Diane follows.)
DIANE: No, I can't.
JAKE: Look, you need to go. You don't belong here.
DIANE: Yeah, neither do you.
JAKE: You're wrong.
DIANE: (shouts) Am I?
[EXT. ALLEYWAY - NIGHT]
(Jake turns the corner and walks into the alleyway. Diane is still on his heels.)
DIANE: AM I? Jake, you are going to get yourself killed. Is that what you want?
JAKE: Yeah. Yeah, maybe that is what I want.
DIANE: You know that is not true.
JAKE: No! I don't'! I don't! I don't know anything. I don't know who I am. I -
DIANE: Jake. Jake, listen. I can help you. Okay? I-I've worked with people like you before. You are not alone. All you have to do is just trust me.
(Jake turns away from her.)
JAKE: I can't. I can't.
DIANE: You can. You can.
(Diane turns and holds him.)
DIANE: (murmuring) Listen to me. You can. It's okay. It's okay. (Jake puts his head on her shoulder and cries.) It's okay. It's okay. Okay.
(Jake lifts his head and kisses Diane. Diane frames Jake's face with her hands and kisses him back. They continue to kiss each other.)
(Camera pulls a long shot of Jake and Diane both standing in the middle of the dark alley.)
FADE OUT.
FADE IN.
[INT. JAKE'S PLACE -- NIGHT]
(Jake opens his apartment door. He and Diane are kissing in the doorway.)
(He turns on the lights and they step into his apartment. Diane takes off her scarf as Jake closes the door. He walks up behind her and kisses the back of her neck.)
(Cut to: Kissing each other, Diane and Jake fall onto the bed. She helps him take his shirt off. He returns to kiss her. She suddenly stops. Jake feels her stop.)
JAKE: What is it?
DIANE: I can't.
(She reaches up and pulls him to her. She kisses him.)
DIANE: I'm sorry.
JAKE: Hey, it's okay. We don't have to.
(Jake pulls away from her.)
DIANE: I want to. I really do. You know the first time that I met you. Yesterday. I thought that maybe someday something might happen between us, but just ... just not like this.
(Jake considers it and nods.)
JAKE: It's okay.
(He settles on the bed next to her, holding her in his arms.)
JAKE: It's okay.
(He settles behind her and holds her.)
FADE TO WHITE:
FADE IN.
[INT. JAKE'S PLACE - MORNING]
(Diane wakes up. She sits up in bed and finds Jake sitting in the corner chair. He's watching her.)
DIANE: Hey. Did you sleep?
JAKE: First time in weeks.
(He gets up and walks over to her.)
DIANE: Me, too.
(He hands her her glasses.)
DIANE: Thanks. Have you been up long?
JAKE: A while.
(It's obvious he's been thinking. He moves closer to her.)
JAKE: I want to get out of here. I want us to go - I don't know -- someplace. Someplace far away - just to, just to be together.
DIANE: I wish we could.
JAKE: But -
DIANE: (sighs) There are things you need to know about me.
JAKE: Okay.
(Jake looks at Diane. Suddenly he stops and turns looking at the door.)
CUE SOUND: ENHANCED ABILITIES
(Camera zooms to the door and through the peep hole. On the other side, one of Caesar's goons stands in the hallway.)
(Diane notices Jake's strange behavior.)
DIANE: Wha -
JAKE: Shhh--
(Jake answers the door.)
CHEWY: Caesar wants you.
CUT TO:
[INT. BAR - DAY]
(Caesar talks with Jake.)
CAESAR: I know what you're thinking. You came to say no to me.
JAKE: But if you knew I was going to turn you down, why did you send Chewy to come get me.
CAESAR: Because of the last two nights, you've been doing the exact same thing: Come in, kick some ass, get a couple of numbers and hang with that cute little brunette.
JAKE: Hey, you leave her out of this.
CAESAR: Yo. She's off my radar, Hoss. I don't know her. I don't even care to know her. But what I do care about is the welfare of my friends. And what I'm trying to offer you is about as tangible is a spot right here. Like that chair you're sitting in. Solid. (He hits the side of the chair several times and it clangs loudly.) Been around for years. That's what I'm selling. But the question is what's she selling?
JAKE: She's not selling anything.
CAESAR: She's selling something. And I know it ain't redemption. Jake. I'm a man of the world. I've never met a woman, no matter how sweet she is, to wash away the sins of a man.
JAKE: What do you know about my sins?
(Caesar takes a folded sheet of paper out of his pocket. He hands it to the nearest goon sitting next to him.)
CAESAR: A surprising amount.
(The goon unfolds the paper and slides it across the table toward Jake. It's his WANTED poster.)
(Jake looks at it and tosses it back on the table.)
JAKE: It's not me. That's not who I am.
CAESAR: This ain't how I see you. And I know this ain't how you see yourself. But unfortunately, this is how they see you. I don't look at you as a criminal. I look at you as a kindred soul. I don't need your answer right now. I'm going to give you an hour. You know what I want you to do within the hour? I want you to check out that cute little brunette. Let me know if she really got the goods. I'll be here.
CUT TO:
[INT. DIANE'S HOTEL ROOM - DAY]
(Diane is excited about her findings and share them with Fran.)
DIANE: (to phone) The feedback loop in the nanites is disrupting the - the neuropathways to his cerebral cortex and that's what's affecting his recall.
INTERCUT WITH:
[INT. NSA - DIANE'S LAB - DAY]
(Fran is on the phone with Diane.)
DIANE: (from phone) So, what we're going to have to do is send the nanites a message only right now the nanites aren't receiving signals. So, was thinking is that we can introduce a root command to a chemical vector and then, and then have it - hello? Fran? Come on. Are you there?
FRAN YOSHIDA: (nervous) Yeah. I'm sorry. So, you think we could give him back his memory with, uh, an injection?
DIANE: The moment that we have it, we tell Kyle and Lou so that they can -
(Lou and Kyle pick up the phone extensions in the lab.)
LOU: (to phone) Diane, it's Lou and Kyle. Don't hang up. Don't speak. You lied to me. You made me responsible for a massive breech in protocol. Now I know where you are and I'm sending a team and I don't want you to get in the way. Do you understand?
DIANE: Wait. Please. We knew - if-if you've been listening, then you know, you know that we can give him back his memory with a shot.
LOU: A shot with a highly theoretical fluid that you have yet to synthesize. What am I missing?
DIANE: No. Because if-if it works, then he will know exactly where he is going back to and he won't be frightened, and he won't be lost, he won't put up a fight. Please. Please, Lou. Please, I'm begging you. I know that I lied to you, but I just wanted to help Jake. Please, just give us a day to put this together and if it doesn't happen, then fine. Come and get him, bring people, bring guns whatever you want. But, but please trust me right now. I made contact with Jake and I know that he will not try and escape.
(Lou's wary of it, but considers it.)
LOU: Can you have the shot ready in twenty-four hours?
DIANE: Yes.
FRAN YOSHIDA: (interjects) Absolutely.
LOU: Then, do it.
(Lou and Kyle hang up.)
CUT TO:
[PHONE]
(Jake is on the phone.)
JAKE: (to phone) Hello. Diane. It's Jake. Listen. I need to talk to you about something. Uhm. Can you meet me at the diner? As soon as you can. Great. Thanks.
[INT. DIANE'S HOTEL - HALLWAY - DAY]
(Jake hangs up the phone. He walks out to the hallway and he sees Diane step out of her hotel room. She has her coat partially on as she rushes to go meet Jake.)
(She runs down the hallway, turns around and heads in the opposite direction.)
(As soon as she's gone, Jake rushes to her hotel room and unlocks the door.)
CUE SOUND: ENHANCED ABILITIES
(The door pops open.)
[INT. DIANE'S HOTEL ROOM - DAY - CONTINUOUS]
(Jake slips into Diane's hotel room and starts looking through the drawers. He sees her bags on the chair and looks through those. He finds the files.)
(His files.)
(He goes through them and can't believe what he's found.)
CUT TO:
[INT. DIANE'S HOTEL ROOM - DAY]
(Jake is looking through Diane's laptop when Diane walks into her hotel room. She closes the door behind her.)
DIANE: Jake?
(Jake stands up, angry.)
JAKE: You're not just a doctor. You were my doctor. They send you here to bring me back or put me down? Because if you're here to finish me off, then you might as well do it.
DIANE: No. It's not what I want.
JAKE: No? Then what? What? You going to do more experiments on me? You want to get your-your ... what? (He grabs the files off the table.) Nanites back? Or are you just going to tell them where I am so they can drag me off to jail. Don't tell me you don't want something. Everyone I meet wants something, why should you be any different?
DIANE: Jake. You're not what you think you are. I can give you answers. I can give you back your memories.
JAKE: I wouldn't believe them from you.
DIANE: Okay. Okay, listen, um. I know that you don't remember, but there are people who really want to protect you. Yeah. And we, we've been through a lot together - you and me - and Lou and Kyle.
JAKE: Kyle?
DIANE: Yeah. Yeah, Kyle Duarte.
(Jake closes his eyes as he remembers.)
(Quick flashback to: Kyle's jacket nametag: DUARTE. He sees Kyle.)
KYLE: Careful.
(End of flashback. Resume to present.)
DIANE: You remember him? He trained you. He cares about you.
JAKE: He tried to bring me in.
DIANE: No, he was trying to help you. I mean, he's fighting for you, Jake. We - (Diane takes a step forward. Jake pulls back. Diane stops.) We all are. You are a hero. And if you knew how many people owe their lives to you, including me ...
JAKE: Well, if you owed me so much, why didn't you tell me the truth?
DIANE: I don't know. I guess, I just ... (She sighs and sits down on the bed.) I just knew that you had been through so much already and I didn't want to scare you.
(Diane looks at Jake as he considers it.)
JAKE: I don't believe you.
(Jake starts to walk past Diane. She reaches out to touch him, but he pulls away from her on his way to the door.)
DIANE: Jake. Wait. I know that if you don't want to know who you really are, then I will let you go.
(Jake stops and turns around.)
DIANE: But I really care about you.
(Jake turns and leaves.)
DIANE: Jake?
(The door slams shut behind him. Diane swallows.)
CUT TO:
[INT. BAR - DAY]
(Jake walks up to Caesar. The girls next to Caesar leave.)
JAKE: What's my share?
CAESAR: Two million.
JAKE: I'm in.
(Caesar smiles. They both pick up a shot glass, clink glasses and drink.)
FADE OUT.
FADE IN.
[EXT. NSA BUILDING (STOCK) - DAY]
[INT. NSA - SAT OPS -- DAY]
(Lou and Kyle walk into Sat Ops.)
TECH AGENT SUSAN CARVER: I've got Diane on a secure channel. She says it's urgent.
(Lou picks up the headset.)
LOU: Diane.
INTERCUT WITH:
[INT. DIANE'S HOTEL - ROOM - DAY]
DIANE: (her throat raw from crying) You have to be here. Bring a team. Do whatever you need to do. (She picks up her palm pilot.) I can tell you exactly where he is.
(Lou looks at Kyle.)
KYLE: (softly) Diane, are you all right?
DIANE: No. But Jake. Um, I told him that I could let him go, but I can't. And I need your help.
CUT TO:
[INT. BAR - BACKROOM - NIGHT]
(Caesar goes over the heist's plans with the other members as they stand around the table.)
CAESAR: The entire building is considered a bonded customs area. The bearer bonds came in last night.
(Quick flashback to: [EXT. - ROAD - NIGHT] In black & white. A Guard with a gun stands nearby as a man with a suitcase handcuffed to his wrist steps out of the car.)
CAESAR: (v.o.) A part of a lower payment from a foreign government. They going to be there till tomorrow night. After that, they'll be moved to a federal bank.
(A second man walks over and puts another set of cuffs on the suitcase handle.)
(End of flashback. Resume to present.)
JAKE: How are we getting in?
(Caesar shows them the card key.)
CAESAR: With this security pass.
JAKE: All access?
CAESAR: It'll get us through the back door.
(Quick flash to: [NIGHT] A group of men step out of the black SUV. Jake is among them. The group pulls their ski masks over their faces.)
CAESAR: (v.o.) Grant's the wheel, so you'll stay with transportation. And once we're inside, gotta hustle.
(They walk up to the wire gate and one of them punches in the access code into the keypad.)
CAESAR: (v.o.) We need to get in the building through the main secure area, ...
(End of flashback. Resume to present.)
CAESAR: ... put darts in all the security guards, before they get a chance to initiate a lock down.
(Quick flash to: [NIGHT] The group rushes quietly up to the side entrance door to the building.)
CAESAR: (v.o.) If that happens, no one gets out with out bullets flying. Fortunately, we've got the element of surprise.
(The door opens and a guard steps out. They immediately punch him in the gut with the butt of their guns. He falls down. They enter the building.)
VOICE: Okay. Inside. Inside.
(End of flash. Resume to present.)
[INT. BUILDING - NIGHT]
(The guards are apprehended and lead into another room.)
CAESAR: (v.o.) Once we've got the guards subdued. It's just a matter of using the keys to get into the room holding the safe. And you, Jake, have to open the lock.
(They swipe the card key through the lock and the door opens. They lead the guards into the smaller area.)
GUNMAN: Move. move.
GUNMAN: Shut up! Get down!
(They force the security guards to their knees.)
GUNMAN: Do not do anything!
GUNMAN: We won't hurt you unless you give us a reason to. Open the safe!
(Jake sets up a laptop to the safe.)
(One of the guards gets up and tries to run for the door.
GUNMAN: Stop him!
(Caesar runs after the guard. They fight. The security guard pulls of Caesar's mask and gets a good look at him. Caesar holds the gun at the guard's head.)
CAESAR: It doesn't have to be like this!
(Caesar is on the edge and about to shoot the guard. Jake pulls his own mask off.)
JAKE: No. No!
CAESAR: What are you doing? (shouts) Open the damned safe! Now!
(Jake makes a decision. He spots the security keypad behind Caesar and stares at it.)
CUE SOUND: ENHANCED ABILITIES
(Camera zooms into the key pad. Jake activates the alarms.)
(The facility alarms start blaring.)
(Caught completely off guard, Caesar looks around. The other gunmen are momentarily confused. Jake quickly shuts the laptop and swings it at the nearest gunman, knocking him out.)
GUNMAN: What happened? GUNMAN: Stay down! GUNMAN: Get down and stay down!
(Jake punches the next gunman and tosses him into Caesar causing Caesar to drop his gun.)
(Jake runs for it. Caesar takes out another gun and cocks it. He's going after Jake.)
(He looks for Jake, but Jake sneaks up on him and grabs the gun.)
CAESAR: Why?
JAKE: (simply) Because we're not Kindred Souls.
(With his super strength, Jake punches Caesar in the face. Caesar flies high up into the air and lands hard against the far wire fence. He's out cold.)
CUT TO:
[EXT. ROAD - NIGHT]
(Agent cars arrive at the scene.)
(Jake leads the group of gunmen out into the night to meet up with the cars.)
(Kyle and the other agents step out of the cars.)
(Jake sees Kyle and stops.)
KYLE: Put the gun down Jake.
(Behind Kyle, Jake sees Diane near the open car door. Lou is also there on the other side of the car.)
JAKE: Kyle.
KYLE: Do you know who you are?
(Behind the agent cars, the police officer cars just arrive.)
JAKE: Yes. The man you trained.
(Jake holds out the gun.)
(Satisfied, Kyle smiles.)
(Kyle steps forward and takes the gun from Jake.)
(The police officers step forward. The Security Guard who nearly got killed also steps forward.)
POLICE OFFICER: We all right here? Any casualties?
SECURITY GUARD: No. Thanks to him. (He nods over at Jake.) He saved our lives.
POLICE OFFICER: All right. Lets get him out of here.
(The officers step forward and take Caesar and The Gunmen away past Lou and Kyle.)
(Diane steps forward.)
(She and Jake look at each other.)
DISSOLVE TO:
[INT. NSA - DIANE'S LAB]
(Jake is sitting at the table reading through his file.)
JAKE: Stopped hackers from crashing a plane. Bodyguarded the King of K-Kambou.
(Diane is standing at another lab table preparing the syringe.)
DIANE: Uh, he was only a Prince then. But he's a King now, thanks to you.
JAKE: Prevented an EMP attack on this building, lead the recovery of a stolen nuclear weapon.
(She walks over to him. He tosses the file aside.)
DIANE: Yep. You all right?
JAKE: Yeah. I've read all these files, and, uh, I don't know if I can live up to that.
DIANE: (chuckles) You already did. You ready?
JAKE: You said the first time you saw me you thought something could happen between us. Were you talking about him? Or me?
DIANE: (She taps the center of his chest.) I love him, Jake. He's my best friend.
(Jake nods. Diane pushes up his shirt sleeve. He holds it up for her.)
(She injects the light purple liquid into his arm.)
(Quick CGI POV: Camera shows the liquid intermingling with his blood cells all the way through to his nanites. Electrical pulses start up between the nanites and they glow as they zap him back to normal.)
(Various, various quick flashes of a lot of scenes from past episodes. He goes on overload as his memories are restored.)
[JAKE'S EYE]
(Jake blinks and he lets out a gasp.)
[RESUME VIEW]
(He's holding onto Diane, his arm tightly wrapped around her shoulders as she partially holds him upright.)
DIANE: Jake?
(He gasps and looks down at Diane.)
(Their eyes meet. And there's recognition in them.)
(He smiles at her.)
JAKE: Hi.
(She smiles at him.)
DIANE: Hi.
(It worked.)
(They chuckle.)
(Jake still has his arm securely around Diane. He tries to stand and wobbles on his feet. She quickly helps him.)
JAKE: Oh.
DIANE: Easy. Oh, okay!
(She helps him back into the chair.)
(Camera pulls back on the two in her lab. Jake lets out a sigh. Diane kisses him on the cheek. Everything's back to normal.)
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
Contact the Transcriptionist at (intrepidly002@yahoo.com)
Please do not archive this transcript without permission from the
Transcriptionist.
BEGINNING/TITLE CREDITS
JAKE 2.0
1X14: GET FOLEY
[UNAIRED IN U.S.]
ORIGINAL AIR DATE IN UK: 05/13/2004
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:
WES "MAESTRO" WILLIAMS as Caesar
MIRANDA FRIGON as Tech Agent Susan Carver
GRACE PARK as Fran Yoshida
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: JAVIER GRILLO-MARXUACH
Directed by: ADAM DAVISON
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 / DAVID PELLETIER
Production Designer: KATE HATTON-WHYTE
Edited by: ALAN SHEFLAND, A.C.E.
Production Manager: TODD PITTSON
First Assistant Director: KEVIN PARKS
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
KIMANI RAY SMITH as Leo
DAVID FERNANDEZ as Glenn
NIGEL VONAS as Frank
NORM SHERRY as Drunk
JOHN PROWSE as Local Cop
PENNY CARDAS as Waitress
PAUL BITTANTE as Head Police Officer
DEREK MORRISON as Head Guard
STEVE ARCHER as Police Officer
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
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:10/27/2004~lky
http://www.webphilia.com/~anthology/wnp.html
|
