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ORIGINAL AIR DATE IN UK: 05/27/2004
TRANSCRIBED FROM SKYONE
Written by: DAVID GREENWALT & SILVIO HORTA
Directed by: STEVE MINER
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Please do not archive this transcript without permission from the
Transcriptionist
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COLD OPEN:
[VARIOUS CLIPS OF PAST EPISODES]
NARRATOR (WOMAN): (v.o.) Jake Foley was an ordinary guy until a freak accident transformed him into the world's first computer-enhanced man. Millions of microscopic computers interface with his biochemistry 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: (v.o.) Previously on Jake 2.0
[Scene from 1X05: The Good, The Bad and The Geeky]
[INT. DUMONT'S RESIDENCE - DAY]
(Dumont sits at his computer monitor.)
DUMONT: Three - two - one.
[INT. FEDERAL RESERVE - SECURITY COMMAND CENTER - DAY]
(The Security Guard sits at the terminal and looks at Kyle.)
SECURITY GUARD: We're being robbed.
(Monitor picture of a cartoon wrestler holding bags of money.)
LOU: (v.o.) What do we know about this Dumont?
(Dumont)
[Scene from 1X13: Blackout]
[EXT. WOODS - NIGHT]
(Jake is hiding behind a tree as Dumont hunts him down.)
DUMONT: Jake!
(Dumont steps out into the woods, holds up his gun at the tree Jake is hiding behind and fires.)
(Using his super strength, Jake rushes out and whacks Dumont across the face with a thick branch.)
[INT. PRISON - DAY]
(Dumont is taking a polygraph test.)
(The voice over is from 1X11: Prince and The Revolution.)
VALERIE WARNER: (v.o.) That man may have what it takes to reclaim his throne.
[Scene from 1X11: Prince and The Revolution]
(Jake turns to look at Valerie Warner.)
JAKE: The real question is, who we going to back?
VALERIE WARNER: The winner, of course.
[Scene from 1X10: The Spy Who Really Liked Me]
[INT. NSA - DIANE'S LAB -- DAY]
(Jake looks at Lou and Kyle.)
JAKE: I thought this war was with our enemies out there. Not our superiors in here.
LOU: Well, get used to it.
[Scene from 1X13: Blackout]
[INT. PRISON HOSPITAL - DUMONT'S ROOM -- NIGHT]
(Valerie Warner looks at Dumont's chart. Dumont is on the bed, his mouth wired shut.)
VALERIE WARNER: Your jaw would have to be wired shut for six to eight weeks. I'd offer you one of those head wounds and a keyboard, but god only knows what kind of trouble a genius like you could get into with that. God only knows.
FADE OUT. END OF PREVIOUSLY ON:
FADE IN.
[EXT. VARIOUS WASHINGTON D.C. (STOCK) - NIGHT]
[EXT. HOTEL SIDEWALK -- NIGHT]
(A group of supporters stands outside the hotel front door. They're holding signs and chanting while waiting for their hero to arrive.)
CROWD: (chanting) Dr. Sang. Dr. Sang. Dr. Sang. Dr. Sang.
(Bill Brummond and Kyle walk along the sidewalk. They're discussing the case.)
BILL BRUMMOND: Nanda Sang is a diplomat. Protection clearly falls under the purview of Diplomatic Security. Not NSA. Kyle, my orders come directly from the Secretary.
KYLE: Mine come directly from the President. He's personally concerned about Dr. Sang's safety while he's in this country. Look, Bill. I'm not trying to step on BDS's toes, here.
BILL BRUMMOND: You're just hear to pull rank.
KYLE: Only if I have to.
(Bill Brummond leaves. Kyle turns around and talks with the radio.)
KYLE: (to radio) You have a handle on the crowd?
(Camera zooms just across the front walkway to Jake. Jake stands in front of the crowd and looks around.)
DIANE: (o.s.) Jake! Excuse me.
(Jake turns around and finds Diane making her way through the crowd to the front where he is.)
DIANE: Sorry! Jake!
JAKE: Diane? What are you doing here?
DIANE: Oh, I'm just here to get a good look at my hero.
JAKE: (smiles) Come on, you see me every day at work.
DIANE: Nanda Sang! (Jake's smile falls and he looks around the area again.) He's like the Nelson Mandela of East Asia. Can you believe it? He's spent eighteen years in prison for his cause. It's just --
(The crowd grows louder.)
DIANE: Oh, my god! There he is.
(Diane grabs Jake and pulls him near her.)
(The crowd cheers as the limo with a police escort arrives in front of the hotel.)
(Diane takes a breath and smiles with excitement.)
(Kyle steps toward the limo to open the door. Bill Brummond reaches out past Kyle.)
BILL BRUMMOND: I got it.
(Kyle turns and lets him open the door.)
BILL BRUMMOND: Welcome to Washington, Dr. Sang. I'm Bill Brummond with the State Department. I think it's best we get you inside immediately -
(Dr. Sang ignore him and walks past Bill Brummond. He bows to the crowd.)
CROWD: Nanda Sang!
(He turns and bows to a different part of the crowd.)
(He walks up to the crowd to meet the people. Diane tries to get his attention.)
DIANE: Excuse me. Dr. Sang. Hi. I'm with the NSA. (She shows him her ID badge.) My friends are here to protect you.
JAKE / KYLE: (both shocked) Diane!
(Nanda Sang bows to Diane.)
DIANE: I-I-I am such a tremendous admirer of yours and-and and everything that you're doing for immortality in your country.
NANDA SANG: Thank you, ... (reads her ID) ... Dr. Diane Hughes. It's only the beginning. Perhaps, while I'm here, we can speak of this further.
(Bill Brummond swoops in and urges Nanda Sang into the hotel.)
BILL BRUMMOND: Sir, I really must insist. Now.
DIANE: Yes! Dr. Hughes of the NSA. You just call me! Okay. (She turns to Jake.) Whoo! Jake. (squeals) Jake!
[CROSSHAIRS VIEW]
(Through the crosshairs of a rifle, we see the back of Nanda Sang's head.)
[RESUME VIEW]
(Diane squeals.)
JAKE: Diane!
(Jake looks around and sees something on the side of the hotel.)
CUE SOUND: ENHANCED ABILITIES
(Jake's eyes zero in on the gunman pointing the gun through the statue's mouth on the side of the building.)
JAKE: Gun!
(The crowd screams.)
(Bill Brummond rushes Nanda Sang into the hotel.)
VOICE: (shouts) Get down!
(The Gunman starts climbing straight up the side of the building wall toward the roof.)
(Jake runs across the street to the building.)
KYLE: (to radio) Sniper spotted! He's on the northwest face of the Greenthrop Building.
(Kyle shakes his head as the sniper continues to climb up the side of the building.)
KYLE: (to radio) All units! He's headed for the roof!
(Kyle runs. Diane looks around. The crowd continues to scream.)
[EXT. GREENTHROP BUILDING - ROOFTOP - NIGHT - CONTINUOUS]
(The door to the roof bursts open. Jake looks around the roof. At the far end, he sees the sniper running across the roof. Jake heads to intercept him.)
JAKE: You're under arrest!
(Jake tackles the sniper. They both roll on the roof. The sniper jumps back up to his feet. He starts kicking Jake. Jake steps back to avoid being hit.)
(Jake punches the sniper a couple of times. A couple of times he hits him, a couple of times he misses. The sniper kicks Jake several times in the chest.)
(Jake grabs him and pulls his mask off. It's a young asian man. They stare at each other, then continue to fight. Jake rushes toward him. The sniper flips Jake completely over the edge of the building.)
(Jake is holding on by the edge of the rooftop.)
(The sniper waits until Jake has both hands on the edge of the rooftop. He lets go and walks away.)
(Jake looks down the side of the building.)
(Cut to: Kyle and other agents reach the rooftop.)
KYLE: Jake!
(They spread out and search the rooftop.)
KYLE: Where is he? Where'd he go?
JAKE: Kyle?
(Kyle rushes over to the side and finds Jake hanging onto the edge.)
JAKE: (sheepish) A little help?
FADE TO END OF TEASER ROLL TITLE CREDITS
FADE IN.
[EXT. VARIOUS WASHINGTON D.C. (STOCK) - NIGHT]
[INT. HOTEL - ROOM -- NIGHT]
NEWSCASTER: (from tv) An unidentified Federal Agent was left hanging tonight as a result of an attempt on the life of visiting dignitarian peace activist Nanda Sang. (Jake scrunches his face as the news report airs on tv.) Dr. Sang is in Washington to address the international ...
(The agent standing in front of Jake watching the news report turns around.)
AGENT: I guess that guy really kicked your ass. Should have just shot him.
(Jake imitates the agent's words as the agent walks away. Lou and Dr. Nanda Sang walk into the room.)
LOU: This is Agent Foley.
NANDA SANG: You're the young man who chased the assassin off.
JAKE: Uh, yeah. I guess I am.
NANDA SANG: That's quite something.
JAKE: Well, it's all in the line of duty
NANDA SANG: Yeah. Because now I'm being told by your State and National Security that I cannot leave this room while this man is at large.
LOU: This is only for this evening Dr. Sang. We want to make sure that this room and the immediate vicinity are secure. It won't affect your speech for tomorrow.
NANDA SANG: Do you have three million dollars, Agent Foley?
JAKE: (confused) Uh, I -I don't think I -
NANDA SANG: There are two banquets and three parties given in my honor this evening. When people see me, more importantly, when they hear me speak, they are moved.
JAKE: I'm sorry. Do you want me to make a donation?
NANDA SANG: I want you to make me a large glass of vodka with a little bit of ice.
(Jake chuckles thinking that he's joking, but he's not.)
BILL BRUMMOND: Bar's right over there, Foley.
(Jake stops smiling. He looks at them, turns and heads for the bar.)
(The phone rings. Bill Brummond answers it.)
LOU: I'm going to go back to the NSA to continue the investigation. Agent Duarte and his team will be in charge.
NANDA SANG: So, how long before Agent Duarte and his team let me out of here?
BILL BRUMMOND: Uh, Dr. Sang? Telephone call for you. She says she's Oprah Winfrey.
(Nanda Sang walks over to Bill Brummond.)
BILL BRUMMOND: (whispers) It really sounds like Oprah.
NANDA SANG: (to phone) Oprah, how are you.
(Lou's phone rings. She steps to the side to answer it.)
NANDA SANG: (to his phone) Lovely day to you, too. Yeah. (Jake hands Nanda Sang his drink.) Love to.
LOU: (to her phone) Beckett.
VALERIE WARNER: (from phone) Hello, Louise. Valerie Warner. Any progress on the shooter?
LOU: I'm working on it.
INTERCUT WITH:
[INT. PRISON - HALLWAY -- NIGHT]
(Valerie Warner walks through the hallway.)
VALERIE WARNER: Work quickly. Khandi's calling every fifteen minutes.
LOU: I'll keep you posted.
(Valerie Warner hangs up. She walks over to a door.)
[INT. PRISON - INTERVIEW ROOM - NIGHT - CONTINUOUS]
(The guard opens the door; Valerie Warner walks into the room. She looks over at the guard and dismisses him.)
VALERIE WARNER: You can go.
(The door closes. Valerie Warner and Dumont stare at each other.)
VALERIE WARNER: That scar seems to be healing rather unevenly.
DUMONT: What do you want?
VALERIE WARNER: To see how you are. Made some calls when you were brought back, requested you were treated well.
DUMONT: Well, no one's raped me yet. Sounds like a good sign. I get a feeling.
VALERIE WARNER: What's that?
DUMONT: You hate Jake Foley just as much as I do.
VALERIE WARNER: Why would you possibly think such a thing?
DUMONT: Because, you can't control him. And women like you don't like things you can't control.
VALERIE WARNER: By that logic, I must like you very, very much.
DUMONT: You know, you're really quite attractive. You'll probably look good without all that make-up on, too. Shame you've got nothing going on in your life except for your job.
VALERIE WARNER: Don't exhaust yourself. Your mind games won't work on me.
DUMONT: I understand. Tell me. When you lost your baby, did they tell you it was a boy or a girl? It wasn't just Jake's files I was hacking into. His life is so boring, I could barely keep my eyes open, but yours - Yours is fascinating. My favorite part. Right after to the miscarriage, Carl dumps you. It's been twenty years now. Have you even had sex since?
VALERIE WARNER: You're disgusting.
(Valerie Warner opens the door.)
VALERIE WARNER: Guard.
DUMONT: Tell me. What hurt more? Watching Carl's new wife and kids playing in the front yard or realizing that he just didn't care anymore.
VALERIE WARNER: Best of luck in here.
(Dumont nods at her. Valerie Warner leaves. Dumont watches her go.)
FADE OUT.
FADE IN.
[EXT. WASHINGTON D.C. (STOCK) - NIGHT]
[INT. NSA - SAT OPS -- NIGHT]
(Lou briefs the team.)
LOU: We recovered a Steyr-Aug Rifle at the scene. No fingerprints. No serial numbers. Agent Foley was the only one to get a good look at the shooter, he's working up a sketch ID now. We can be reasonably certain who sent him. General Mwong Cho Sang has been trying to assassinate Dr. Sang for years making the next fourteen hours especially critical. Dr. Sang's speech to the IRC tomorrow could finally solidify US support for his movement which would spell the beginning of the end for the good General.
(Finished with her briefing, Lou leaves. Jake continues to work with the sketch artist agent.)
JAKE: Oh, no. He had more hair and bigger cheekbones.
(She makes the adjustments and Jake doesn't like the picture.)
JAKE: I guess you mean smaller cheekbones and his eyes were kinda more almond shaped.
(Lou walks up to them.)
LOU: How's it going?
JAKE: Oh, I'd say that kinda looks like him. Not really. I-I just see it so clearly up here. It's like a photo.
LOU: Maybe you do. I mean, you're part digital, right?
JAKE: Yeah. Hey, do you mind if I work with Diane on this? I mean, maybe there's a way we could download what I'm seeing.
LOU: Let me know how it goes.
JAKE: Great. (Lou turns and leaves.) (to sketch artist) Thanks.
(Jake rushes out to find Diane.)
CUT TO:
[INT. NSA - DIANE'S LAB - DAY]
(Diane and Jake walk into the lab. He's already shared with her what he wants done.)
DIANE: I mean, it's theoretically possible. You interface with computers. Maybe it's just a matter of digitizing whatever image is in your head. Do you ever see in pixels?
JAKE: Well, not usually, but sometimes if I focus on a picture, I can macro in and see the pixels.
DIANE: Okay, well let's just pull up a photo program and give it a shot.
JAKE: mm-hmm.
(Diane punches up the program on the computer. She sighs.)
DIANE: You know what you did tonight? It was amazing. I mean, you saved a great man's life. Did he talk to you? Did he get a chance to thank you?
JAKE: I made him a drink.
DIANE: (impressed) Wha -- ? You made him a drink? Wow.
(The computer beeps.)
DIANE: Give it a try.
(Jake stares at the computer.)
(Camera zooms in through Jake and down to the nanites where they zap him.)
(As he stares at the computer photo program, a black, fuzzy image appears on the screen.)
(When he's done, the computer beeps. Diane appears surprised that it worked.)
DIANE: Hey! It worked. Sort of.
JAKE: Come on, that's not going to help anyone find him.
DIANE: Well, sure it will. If we're looking for the murkyman.
(Diane chuckles and sees that Jake's not laughing with her.)
DIANE: Cheap joke.
JAKE: It's not working.
DIANE: Well, we'll just keep trying.
JAKE: No, we need results. Now. This guy is going to try again and let me tell you something, he can fight.
DIANE: Yeah, I know. Or you should've shot him.
JAKE: I should have been able to take him, but I couldn't. And I'm the one that has the nanites. So, can you explain that to me?
DIANE: Jake, you're not superman. Just because you have all these enhancements doesn't mean that you're going to win every single fight.
JAKE: I need help here. I need an upgrade.
DIANE: What?
(Diane walks away.)
JAKE: Come on. Every software program gets one usually just when you figure out how to use the thing. Now, come on you have to have been doing research in this area.
(She doesn't answer him immediately.)
DIANE: You don't know that.
(She walks away. Gotcha.)
JAKE: (smiles) I do now.
DIANE: Jake. Come on. You have been extremely lucky with the nanites so far, okay. For me to upgrade them without the proper research first it's just-it's just - way too dangerous. It could overload your synopses, alter your heart fibrilation ...
JAKE: It could make me stronger, faster and better ID this killer.
DIANE: No. no.
(The phone rings. Diane answers it.)
DIANE: (to phone) Yeah. Lab. Yeah. Me? Really? Yeah, okay. Yeah. I can be -Absolutely. I can be there in - I can be there in an hour. Oh. Yeah, okay. Thank you. Thank you. (She hangs up.) I-I have a private audience with Dr. Sang tonight.
JAKE: An Audience?
DIANE: (flustered) Oh, my god. Okay. Ahh! I don't know what to do. Do I get him a present? I-I ...
JAKE: Diane? Just go.
DIANE: Okay. All right. Whoo! Okay. Okay.
(Diane grabs her jacket and bag)
DIANE: (giddy) It's good.
(Jake smiles back at her. Diane turns and rushes out of the lab.)
(Jake turns and looks at Diane's computer with the Nanite Enhancement Project on it. He stares at it. The following message appears: DOWNLOAD BETA CODE? Jake sticks in a memory chip and downloads the program.)
(He smiles.)
CUT TO:
[INT. HOTEL ROOM - NIGHT]
(Nanda Sang is on the phone.)
NANDA SANG: (to phone) That's more than gracious Senator Kennedy. Yes. I'm looking forward to seeing you tomorrow.
(He hangs up the phone. He turns around and stops the bus boy carrying in a breakfast tray.)
NANDA SANG: Excuse me, that's not fresh. Please throw it away.
(His cell phone rings. He answers it.)
NANDA SANG: Hello? W-What's the count? Two eighty two in the house? We need several more votes, dammit. Keep on working on it.
(The housekeeper, a very pretty asian woman, walks into the room carrying a couple of pillows.)
NANDA SANG: Hello? I believe my bed needs to be turned down.
(She turns and heads for the bedroom. Nanda Sang has also noticed how pretty the housekeeper is and starts to follow her toward the bedroom. Kyle stops her and takes the pillows form her.)
KYLE: We'll turn down Dr. Sang's bed.
(The housekeeper leaves.)
NANDA SANG: (not pleased) What do you think you're doing?
KYLE: My job. For your protection.
(Kyle turns and leaves with the stack of pillows.)
CUT TO:
[EXT. JAKE'S APARTMENT BUILDING (STOCK) - NIGHT]
[INT. JAKE'S APARTMENT - NIGHT]
(Jake is going through the information he downloaded from Diane's computer.)
JAKE: Here goes nothing.
(He starts the program. The message box on the monitor reads: INITIALIZING INTERFACE.)
(Jake stares at the modem and connects with the program.)
(Camera zooms into Jake's blood and down to his nanites. They zap and glow.)
(The computer beeps. The message box on the monitor reads: INTERFACE COMPLETE.)
(Done. Jake shrugs. It seems all anticlimactic. He stands up and walks around the room. He does some Jackie Chan moves.)
JAKE: Hiya! Ya-ha!
(Jake looks at the computer and tries the composite again.)
(He stares at the photo program and a clear picture of Diane smiling appears.)
JAKE: What?
(He seems surprised at the ease in which that happens.)
JAKE: All right. (He clears his throat.) Focus.
(He tries the photo of the assassin again. And this time, the picture is very clear.)
JAKE: (pleased) Oh, I'm the man. I'm the man.
(Jake is very pleased.)
JAKE: Let me just e-mail you to my boss. Hoo-yaa!
(He sends the photo e-mail to the NSA. He stands in the center of his living room proud of his accomplishment. Suddenly, he grabs his head in pain.)
(Quick flash of: The nanites zap him.)
(Jake falls to the floor with a thud.)
CUT TO:
[EXT. NSA BUILDING (STOCK) - NIGHT]
[INT. NSA - SAT OPS - NIGHT]
(The photo that they received is on the workstation monitor and running through the known database. Susan Carver reports to Lou.)
TECH AGENT SUSAN CARVER: We've just got an e-mail from Jake. Picture of the assassin.
LOU: What else have you got?
TECH AGENT SUSAN CARVER: We've been running facial ID, but nothing's come up yet.
LOU: Put it on the big board.
(Susan Carver puts the photo on the wall monitor.)
LOU: Enlarge it and enhance the right side of his neck.
(The portion of the neck is enhanced and they find a small two-character kanji tattoo.)
LOU: He's Yakuza.
TECH AGENT SUSAN CARVER: The translation for the lettering means, "pure death". But, the markings aren't specific to any of the clans on our watch list.
LOU: Print it out.
(Lou picks up the phone and makes a call.)
LOU: (to phone) Yes, Seymour. I want you to come up to Sat Ops. I've got something to show you.
CUT TO:
[INT. JAKE'S APARTMENT - LIVING ROOM -- DAY]
(Jake regains consciousness. He groans and tries to get up. He blinks and looks around. He looks at the computer and sees the photo of the assassin on the monitor. Behind him, we see shadows moving.)
(Jake remembers what he'd been doing when he passed out.)
JAKE: Ah, yes.
[DIFFERENT ANGLE]
(We see that Jake's not alone in his apartment. He turns and finds the assassin standing in his living room.)
JAKE: What the -- ?
(Jake scrambles to his feet.)
(The assassin draws his sword. Jake jumps up.)
JAKE: What? Ah!
(But, he's been enhanced, so he's not used to his new strength. He jumps higher than usual and hits his head into the ceiling plaster. He falls back to the floor.)
JAKE: Uh!
(The assassin kneels down before Jake and places the sword on the floor perpendicular to him.)
SHINJI MAKITO: You are a man of honor. I am not. I humbly ask you to take my life.
JAKE: (confused) Huh?
CUT TO:
[EXT. HOTEL BUILDING (STOCK) - NIGHT]
[INT. HOTEL - HALLWAY TO NANDA SANG'S ROOM - NIGHT]
DIANE: I'm Diane Hughes, NSA. I was invited by Dr. Sang.
SECURITY GUARD: Proceed.
(Diane walks over to the room. Kyle sees her.)
KYLE: Diane? You are crossing a line. You can't just show up here.
NANDA SANG: (interrupts) Dr. Hughes. I'm so glad you accepted my invitation. Please. Make yourself at home.
DIANE: Thank you.
(Diane takes off her coat and hands it to Kyle as she walks into the living room area.)
CUT TO:
[INT. JAKE'S APARTMENT - LIVING ROOM - NIGHT]
(Jake looks at the Assassin warily. He reaches out and grabs the sword from the floor.)
JAKE: Okay, what's your name?
SHINJI MAKITO: Shinji Makito.
JAKE: I'm Jake. Jake Foley. And I'm not going to kill you, but I am going to arrest you.
(Jake opens his desk drawer looking for something. Probably handcuffs.)
SHINJI MAKITO: I'm sorry, I cannot allow that.
JAKE: You want me to kill you, but you don't want me to arrest you.
SHINJI MAKITO: Yes. (He stands up.) The dishonour would be too great. The only solution would be to take my life.
JAKE: Huh. Okay. (Jake closes the desk drawer.) You need to chill out. I'm going to take you in.
(Jake picks up the phone to make a call. Shinji steps forward and grabs the sword from Jake, twisting his arm so Jake has to let it go.)
JAKE: Aahh!
(Shinji swings and cuts the phone cord. Jake looks at the dangling cord.)
SHINJI MAKITO: No. You are not.
JAKE: Yes. (He tosses the phone to the side.) I am.
(Shinji swings his sword at Jake. Jake picks up a chair and blocks the hits. Shinji hacks bits and pieces off the chair; he swings the sword and charges Jake.)
(Jake continues to block the strokes and dodge the sword swings. He moves backward away from Shinji as he brings his sword down hard on the table.)
(Shinji jumps onto the sofa. Jake throws the chair at him, knocking him back down to the floor.)
(On the small table, Jake sees his gun. He runs for it, but Shinji trips him. Jake falls to the floor as Shinji gets to his feet.)
CUT TO:
[INT. HOTEL -NANDA SANG'S ROOM - NIGHT]
(A cold carafe with a chilled champagne bottle is placed on the side table. Nanda Sang and Diane talk.)
DIANE: In my Poly Sci class in my freshman year in college, I read your autobiography - two, three - well, several times. (chuckles nervously) Um, actually, I still have it and-and-and I thought maybe that you could sign it for me, if that's okay.
NANDA SANG: Of course.
DIANE: Thank you.
(She takes the book out of her bag.)
DIANE: Here's the pen. This is one of my favorite quotes of yours: "The sublime challenge in this life is not merely to do good, but to do better." So inspiring.
NANDA SANG: Are you wearing underwear?
DIANE: Excuse me?
NANDA SANG: I'm not.
(He leans back on the sofa and crosses his legs. Diane's eyes widen and she looks away.)
DIANE: Um, Dr. Sang.
NANDA SANG: Nanda.
DIANE: I think - yeah, I think that you're through with me.
(She stands up and he quickly moves to stop her.)
NANDA SANG: Oh, of course. I apologize. Let me sign the book.
(He reaches for the book, grabs her and pulls her down to the sofa.)
DIANE: Whoa! Oh, Get off of me, you pervert!
(Diane slaps him.)
(She stands up.)
DIANE: You're disgusting. (scolds) You're a Nobel prize winner.
(She grabs her bag off the floor and hits him with it. She storms off to the door. She grabs her coat and passes Kyle on her way out.)
(Kyle puts his hands on his hips and glares at Nanda Sang.)
CUT TO:
[INT. JAKE'S APARTMENT - LIVING ROOM - NIGHT]
(Shinji it thrown cross the kitchen and lands on the counter near the sink. He gets back on his feet and kicks Jake in the face. Jake deflects several punches and manages to hit Shinji as well.)
(The fighting continues.)
(Shinji kicks Jake making him fall against the wall. He heads over to him, but Jake kicks him back throwing him back into the already damaged coffee table. Both men are on their backs, extremely tired from fighting.)
(Shinji crawls toward Jake and punches him in the face. Jake half-heartedly punches Shinji back.)
(Jake groans.)
JAKE: I still don't know if I want to kill you, I'm too tired to try at the moment.
SHINJI MAKITO: And at the moment, I'm too exhausted to die.
JAKE: Back at the hotel, you had a clear shot at Dr. Sang and you didn't take it. Hell, you could've killed me on that roof. I'm beginning to think that you're some kind of crappy assassin. What's up with that?
(Shinji doesn't answer him.)
CUT TO:
[INT. NSA - SAT OPS - NIGHT]
(Seymour Lafortunata stares at the wall monitor with the two-character kanji tattoo enhanced on it.)
SEYMOUR LAFORTUNATA: Whoa. Yeah. This guy's a member of the Junshi clan. Nasty as they come these guys. Makes your standard Yakuza look about as scary as Pokemon anime which, uh, if you go back to the ***, it's pretty scary.
(He laughs.)
LOU: Seymour. Focus.
SEYMOUR LAFORTUNATA: Right. Right. Nevermind. Right. Uh, Junshi. Tight- knit organization. Blood relatives mostly. Specialize in assassinations. Archduke Ferdinand. Trotsky. Rabin.
LOU: Are you saying that they were killed by -
SEYMOUR LAFORTUNATA: (interrupts) No. No. Of course, I'm not. Because then you would know that they existed. You see?
LOU: What else.
SEYMOUR LAFORTUNATA: Okay. Uh, Junjiyo family. They have killing in their genes, they're natural-born killers. There's only one way in: You're born. One way out: You die. They're experts in martial arts, sharp-shootings, sword fighting, anything that would give them the edge. No. (He laughs.) No pun intended. Uh -- also, they always finish their kills. Always.
FADE OUT.
FADE IN.
[EXT. JAKE'S APARTMENT BUILDING (STOCK) -- NIGHT]
[INT. JAKE'S APARTMENT - LIVING ROOM - NIGHT]
(The apartment is completely trashed from all the fighting. In the center of the living room leaning against the couch are Jake and Shinji, both exhausted and enjoying a beer together.)
SHINJI MAKITO: I only drank a beer once before. At the airport in Tokyo while coming here. I had two sips, then I stopped myself. Do you have any more?
JAKE: Sure.
(Jake stands up and heads into the kitchen.)
JAKE: So you've never had any alcohol before, huh?
SHINJI MAKITO: No. No alcohol. No drugs. No sex.
JAKE: Really?
(He uncaps the beer bottle and gives it to Shinji. He takes his seat back on the floor.)
SHINJI MAKITO: My life has been about discipline since the day I was born. I have been training. Just like my father and his father before him.
JAKE: Assassin family, huh. T.V. show in there somewhere.
SHINJI MAKITO: I've never killed anyone before. Ever. This was my first assignment and I couldn't do it. Three years ago, when my father was on his deathbed. He said to me, "You're not Junshi". I tried to fight it at every moment. I trained harder. I was faster and stronger than everyone else in the family. (sighs with self-disappointment) And yet, when I was called to duty ... (He takes a sip of beer.) This beer is very good.
(Jake laughs.)
CUT TO:
[INT. NSA - SAT OPS - NIGHT]
(Lou is on the phone.)
LOU: I don't care what he says, Kyle. I want someone on him at all times.
(Lou hangs up. She walks over to Seymour who is in front of the wall monitor studying the photo.)
LOU: Thanks Seymour, we'll take it from here.
SEYMOUR LAFORTUNATA: Well, actually ... sorry. One question. Who took this picture?
LOU: One of our agents. Why?
SEYMOUR LAFORTUNATA: Really. Well, just a note. You might want to beef up protection on him or her for that matter. There's only been a couple of people who have been able to identify Junshi and lived. But they're usually maimed, tortured, you know, eyes cut out, tongue cut out, that kind of thing, but for the most part ... they're all dead.
(Lou stares at Seymour. She heads out of the room.)
CUT TO:
[INT. JAKE'S APARTMENT - LIVING ROOM - NIGHT]
(Shinji Makito is drunk. He stands on the sofa singing a Japanese song. Loudly. Badly.)
SHINJI MAKITO: Oh-ohhh. Hosanakani-sawa!
(He chuckles and falls backward onto the couch.)
SHINJI MAKITO: You don't know this song?
(Jake puts his gun back in its holster.)
JAKE: No. No I don't.
SHINJI MAKITO: It was a very big hit by Yumeka. Japanese Beyonce. Very hot!
JAKE: Yeah. Shinji. We gotta go. Come on.
SHINJI MAKITO: No. Wait. Just a little while. I want to feel this a little longer, this freedom.
JAKE: Yeah, I think what you're feeling is the two-and-a-half beers.
SHINJI MAKITO: Can I tell you something? I haven't told anyone before?
JAKE: Why stop now?
SHINJI MAKITO: The village I grew up in, there was a sushi chef, Akishi. I would sit at the bar - watch him. As he prepare the fish. I was fascinated by the craft. (beat) Does this sound gay to you?
(Jake chuckles.)
JAKE: No.
SHINJI MAKITO: But those moments in a different life, I would like to have been like Akishi.
JAKE: Well, Shinji. It's not too late.
(Just then, agents burst in through the front door. Jake turns around completely surprised; his hands automatically go up in the air.)
AGENTS: Hands in the air!
JAKE: Whoa, whoa, whoa. It's okay. It's okay.
(Lou steps into the apartment.)
LOU: You all right?
JAKE: Yes, I'm fine. Yeah, I know. Look, he came in. He wanted me to kill him. Long story. It's okay, it's under control. He's not a threat to anyone. Dr. Sang is safe.
LOU: No, Dr. Sang is not safe. Someone from his clan is going to come and finish the job.
SHINJI MAKITO: Oh, yes. Someone else will kill him. They always do.
(Jake turns around and looks at Lou.)
CUT TO:
[EXT. HOTEL BUILDING (STOCK) - NIGHT]
[INT. HOTEL PARKING - NIGHT]
(Bill Brummond is walking through the parking garage. The young asian housekeeper from the hotel is walking toward him. He smiles in polite greeting.)
BILL BRUMMOND: Hi.
(She grabs his groin. He doubles over. She kicks him in the head and throws him up against the car hood. She takes out a small knife and cuts his throat.)
(She drops him on the ground and cuts his ID pass key off from around his neck. She leaves.)
FADE OUT.
FADE IN.
[EXT. WASHINGTON D.C. (STOCK) - NIGHT]
[INT. NSA - DIANE'S OFFICE -- NIGHT]
(Diane throws Nanda Sang's thick book into the trash.)
DIANE: (mutters) Stupid.
(She takes her coat off and puts it back on the hanger. She takes her lab coat and sighs. She puts it on, crosses her arms and sighs. She kicks the trash can away from her sight.)
(It hits the hallway and nearly trips Fran Yoshida as she returns to the lab.)
FRAN YOSHIDA: Whoa.
DIANE: Oh, sorry. I'm sorry. I didn't -- even see you there.
FRAN YOSHIDA: So, I take it your audience with Dr. Sang didn't go so well.
DIANE: No, I gushed about what a great man of peace he was and he tried to feel me up.
FRAN YOSHIDA: No.
DIANE: Yes.
FRAN YOSHIDA: Wow. Men. Are they all dogs?
DIANE: Well, I haven't met them all, but ...
(Fran takes her lab coat off as she's preparing to leave.)
FRAN YOSHIDA: Are we in for an all-nighter then?
DIANE: Huh?
FRAN YOSHIDA: Well, some people like to eat when they get upset, you like to work.
DIANE: Yeah. No, you don't have to stay though. I-I ... Jake was asking me about his upgrade research, I thought I'd look at it.
(Fran opens her locker.)
FRAN YOSHIDA: Again? Well, didn't you review those files earlier tonight?
DIANE: No.
FRAN YOSHIDA: Well, someone did and they used your password.
DIANE: Really.
(Diane checks her computer and finds that the Nanite Enhancement Project has been accessed and that Download has completed. She sighs.)
DIANE: Jake.
(She picks up the phone.)
DIANE: (to phone) Hi. Hi. Can you get me Susan Carver in Sat Ops?
INTERCUT WITH:
[INT. NSA - SAT OPS]
TECH AGENT SUSAN CARTER: Yeah, the picture he sent us was extremely clear. How'd you guys do that?
DIANE: Miracle of science. Thanks. (She hangs up.) I am going to kill him.
(Diane slams the phone down, stands up and heads out.)
CUT TO:
[INT. HOTEL - LIVING ROOM - NIGHT]
(Nanda Sang is at the desk reviewing a sheet of paper. Behind him, Kyle stares daggers into his back.)
NANDA SANG: Agent Duarte. I get the feeling you'd like nothing better right now than to punch me in the face.
KYLE: Peace Activist and a Mind Reader.
NANDA SANG: You think I'm a hypocrite.
KYLE: That's a milder word than I would use. You know that woman you accosted was a friend of mine. She looked up to you. Believed in you.
(He turns his chair around and looks at Kyle. He sighs.)
NANDA SANG: I'm sorry to have shattered her illusions.
KYLE: Yeah. I'm sure you are.
NANDA SANG: Now, Kennedy was a philandering son of a bootlegger, Churchhill was a depressive alcoholic. Great men aren't always great people. You can't imagine the oppression I was born into. The things I have done to survive and to make myself heard. I may not be a very nice human being, but the world is a better place for it.
KYLE: That speech of yours better shake the pillars of heaven.
NANDA SANG: I expect nothing less.
CUT TO:
[INT. NSA - SAT OPS - NIGHT]
(Lou is on the phone.)
LOU: (to phone) I have reliable intel on the second assassin from the Junshi clan. (She turns around and looks back at Jake with Shinji.) We're stepping up security on all fronts.
SEYMOUR LAFORTUNATA: I don't believe this. I'm actually like standing in the same room as a real live Junshi assassin. This is huge. Do you realize that nobody sees these guys and lives.
SHINJI MAKITO: (dryly) The night is young.
LOU: (to phone) You keep your team on red alert. I'll have a debriefing later when we get better intel.
SHINJI MAKITO: You do not understand the situation.
LOU: Enlighten me.
SHINJI MAKITO: It doesn't matter what kind of alert you guys go to - red, yellow, purple - this is a question of honor. Nanda Sang isn't going to live to make that speech.
JAKE: He will if you help us. Junshi assassins all train together, right Seymour?
SEYMOUR LAFORTUNATA: Sure. I mean, you know, it's all rumor and legend and innuendo, but as far as I can tell.
JAKE: Because whoever they send, you'll be able to identify him. You know his methods, you're the only one who can see him coming.
SHINJI MAKITO: Another betrayal.
JAKE: No, no. It's another act of conscience.
LOU: You're talking to the wrong audience, Jake. What makes you think I'm going to let him within a mile of Nanda Sang?
JAKE: Because he's the only one of his kind with cold feet. No offense. I don't think it's going to happen again in this lifetime.
LOU: Okay, if I go along with this? He's in chains the entire time. He so much looks sideways at Nanda Sang and you put a bullet in his head, understood?
(Jake looks at Shinji and back at Lou. He nods.)
CUT TO:
[EXT. PRISON - NIGHT]
[INT. PRISON - INTERVIEW ROOM - NIGHT]
(The door opens. Dumont is escorted into the room where Valerie Warner waits.)
DUMONT: Run out of ambient?
(Valerie Warner punches Dumont across the face. He falls down to his knees.)
VALERIE WARNER: Worthless piece of garbage.
(She kicks him in the stomach.)
VALERIE WARNER: I want to finish up the job Jake started.
(She kicks him in the face.)
DUMONT: Stop!
(She reaches down and punches him in the face.)
DUMONT: Please! Just stop hurting me. I'm sorry.
(She kicks him down. He looks up at her.)
DUMONT: (deliberately) Stay with me.
VALERIE WARNER: You're pathetic.
(Valerie Warner leaves.)
CUT TO:
[INT. NSA - SAT OPS - NIGHT]
(Lou goes over the plan with her team.)
LOU: We have listening posts on the north and south quadrants. In addition to the plainclothes guards we'll have snipers in the east and west balcony. First sign of trouble, our friends at the Bureau of Diplomatic Security will whisk Nanda Sang into a safe room. Now, the safe room has one entrance out into the auditorium. It has an electronic locking glass door. It also has solid concrete walls which can withstand twenty mega-ton blast and I assume an incursion from a Junshi assassin.
(Diane runs into the room and straight up to Lou.)
DIANE: Lou, I'm sorry to interrupt. I need to run a diagnostic on Jake.
JAKE: But ...
(She grabs Jake and pushes him out of the room.)
CUT TO:
[INT. NSA - HALLWAY - NIGHT]
(Diane is angry.)
DIANE: Are you crazy? Do you have any idea how dangerous this is.
JAKE: I will explain.
DIANE: (shouts) No. You know what? Let me explain. I may be your friend, but I am also your doctor and I am the Senior Researcher on this project, so when I say, "Do Not Mess with the Nanites", then you take it as a word of God.
JAKE: Okay. Fine. I'm sorry, okay? I did it and it worked and I'm fine.
DIANE: Oh, really?
JAKE: Yeah. Well, I had a little pain. (Off her look, he confesses.) Okay. I had blinding pain and I fainted for a few seconds.
(She starts walking down the hallway.)
DIANE: (sighs) Oh, Jake. Your ego is going to turn you into a vegetable. Do you always have to be the absolute biggest and strongest?
JAKE: Yes.
DIANE: Why?
JAKE: Because I don't want to have to kill anyone else. Since I've been an agent, I've killed two people, but I still had to look into their eyes and watch them die.
DIANE: You think that if you make yourself better, you won't have to kill anyone anymore?
JAKE: Yeah, hopefully. Look, there's a kid in there who's trained his entire life to be a murderer and when the time came to pull the trigger, he couldn't do it. And I admire him for that. You see, you see, --
DIANE: He's still innocent.
(Diane understands.)
FADE OUT.
FADE IN.
[EXT. BUIDLING (STOCK) - DAY]
[INT. AUDITORIUM - DAY]
(Nanda Sang is giving his speech to an empty auditorium. Jake and Shinji stand on the back of the stage looking out and around. The other agents mill about the empty auditorium.)
NANDA SANG: Three years ago, my daughter Ronnie insisted on joining me in a protest march. The government attacked us with gas bombs and grenades. In the chaos, we became separated. Ten days later, her body was found with her hands tied behind her back floating in the MeKong River. She had been tortured and executed by the Secret Police. Those who oppress us want us to believe that they have sacrificed their lives for nothing. I want us to believe that the human spirit can and will prevail over brute force. Thank you all for listening.
(Kyle leads a light applause at the conclusion of the speech.)
(Lou looks around and sees something up above.)
LOU: Gun! Everybody move!
(Everyone moves into action. The agents run and sweep Nanda Sang off of the stage. Other agents take their guns out and head for the second floor.)
KYLE: Lights! Western Quadrant! Go! Go! Go!
LOU: Secure the perimeter!
VOICE: Okay stop!
[STAIRS TO LIGHT BOOTH]
(Kyle leads several agents to the light booth. He opens the booth door and finds a person standing in front of the opening with a gun in his hand.)
(Kyle reaches out and turns the man around. He falls back, his throat cut.)
KYLE: We've got a dead BDS agent up here. Repeat: Dead BDS agent remain on code red alert!
[BACKSTAGE HALLWAY TO SAFE ROOM]
(Several agents sweep Nanda Sang off to the safe room.)
JAKE: Come on.
(The agents continue to run down the hallway with Nanda Sang.)
VOICE: Hurry!
(The last agent, a woman, turns as she turns the corner. She looks back and makes eye-contact with Shinji. He recognizes her instantly.)
SHINJI MAKITO: It's her.
JAKE: What?
SHINJI MAKITO: The other assassin.
(They both take off after Nanda Sang.)
(They turn the corner just in time to see the agents, Nanda Sang and the Assassin squeeze in through the rapidly closing door.)
JAKE: Wait!
(Jake runs and doesn't make it. The door closes on him.)
[SAFE ROOM - CONTINUOUS]
AGENT: You're safe now, Dr. Sang.
(The Assassin looks back at the closed door. She turns and walks over toward Nanda Sang.)
[BACKSTAGE HALLWAY TO SAFE ROOM -- CONTINUOUS]
(Jake sees the door's control panel. He stares at it.)
CUE SOUND: ENHANCED ABILITIES
(The camera zooms into the control panel. The sockets zap.)
(The door opens.)
(Jake and Shinji walk through the door which closes behind them. Jake grabs Shinji and stops.)
JAKE: Wai--
SHINJI MAKITO: What's wrong?
(Camera zooms into Jake's eyes. The nanites inside him have gone haywire. Jake blinks. His sight gets overbright and overexposed. He turns to look at Shinji and everything goes dark.)
JAKE: I can't see.
(From the other room, an agent screams.)
SHINJI MAKITO: Give me your gun.
JAKE: No.
(Another agent screams.)
SHINJI MAKITO: (shouts) Give it to me!
(Taking a huge risk, Jake gives Shinji his gun. Shinji grabs it and heads into the safe room. Jake follows cautiously.)
[SAFE ROOM -- CONTINUOUS]
(Nanda Sang watches as Yuki Makito, the backup assassin swings her sword and cuts the second agent. He falls to the floor.)
(Shinji steps in front of Nanda Sang. Jake steps into the room behind them.)
YUKI MAKITO: You couldn't kill him. I know you don't have the guts to kill your own sister.
(Shinji raises the gun.)
SHINJI MAKITO: Guess again.
(Jake looks from one to the other.)
FADE OUT.
FADE IN.
[INT. BUILDING - LIGHT CONTROL ROOM -- DAY]
(Open on the dead agent in the Light Control room.)
LOU: (o.s.) All units report. This location is unsecure.
[INT. BUILDING - STAIRS - DAY -- CONTINUOUS
(Lou steps out of the Control Room and into the stairs along with Kyle.)
KYLE: What about Sang?
LOU: BDS has him in a safe room.
KYLE: Is anybody heard from them?
LOU: (to radio) Alpha Team Report.
(Lou doesn't get a response. She gets static.)
[INT. BUILDING - SAFE ROOM - DAY - CONTINUOUS]
(Inside the Safe Room, the radio is on the floor near one of the dead agents.)
LOU: (from radio) Alpha Team.
(Camera zooms up and we continue where we left off. Shinji has the gun pointed at Yuki.)
JAKE: She's your sister?
SHINJI MAKITO: Yes.
YUKI MAKITO: When I heard of your failure, I prayed you were dead. I'm ashamed to share your blood.
SHINJI MAKITO: You're forcing my hand.
YUKI MAKITO: It's you who's forced mine.
[INT. BUILDING - HALLWAY TO SAFE ROOM - DAY - CONTINUOUS]
(Lou, Kyle and a team of agents run down the hallway to the safe room. Lou reaches the closed automatic doors and punches in the code to open it.)
LOU: It's not letting us in. Override this thing.
(She and Kyle step aside. Another agent steps forward.)
AGENT: Yes, ma'am.
(The Agent gets to work on the security pad.)
[INT. BUILDING - SAFE ROOM - DAY - CONTINUOUS]
(Yuki Makito raises her sword. Shinji cocks the gun pointed at Yuki.)
JAKE: (shouts) No!
(Jake stands and listens. He hears two sets of beating hearts: Shinji's heart pounding nervously and Yuki's calm heartbeat. She's more in control than he is.)
(Jake adjusts the angle of his head focusing on the fluorescent lighting.)
(Using his enhanced abilities, he shorts the lights, casting the entire safe room into darkness.)
(There's a scuffle.)
(A gun fires.)
(A sword sparks as it hits something.)
(The safe room door opens. Kyle, his gun raised, steps into the room.)
KYLE: (to radio) Get the back-up power on up in the safe room.
(Kyle, Lou and the agents head into the safe room.)
(Lou, Kyle and the agents reach the inner safe room.)
(The lights go on.)
(Shinji and Nanda Sang stand on the inside of the room. Yuki Makito is up against the wall, her own sword is embedded into her left shoulder pinning her to the wall. Jake has a firm grip on the sword's handle.)
(Kyle puts his gun down.)
NANDA SANG: (echoing) (v.o.) Those who oppress us want us to believe ...
DISSOLVE TO:
[INT. BUILDING - AUDITORIUM - NIGHT]
(Nanda Sang delivers his speech.)
NANDA SANG: ... that they have sacrificed their lives for nothing. I want us to believe that the human spirit can and will prevail over brute force. Thank you all for listening.
(The audience applauds.)
FADE TO WHITE.
[INT. NSA - DIANE'S LAB]
(Diane is checking Jake's eyes with her penlight.)
JAKE: Whew. A-men. I can see the light.
(Diane chuckles.)
DIANE: Good. Well, it will probably take a few days before the inflammation in your optic nerve to fully subside. It's probably going to be some burning and itching, so I suggest -
(Diane hands Jake a small eye drop bottle. He takes it and looks at it.)
JAKE: Eye drops?
DIANE: Super Eye-drops.
JAKE: Really?
DIANE: No. It's just eye drops. Don't do anymore stupid things.
JAKE: Well, I won't if you won't.
(Diane turns around shocked that he said that. Jake jumps down from the exam table and walks over to her.)
JAKE: Next time an International Peace Activist invites you up to his room, don't go.
DIANE: Oh, oh. Well, you know, Bono's coming to town next weekend. I heard that he has a thing for me.
JAKE: Yeah.
(He chuckles.)
JAKE: I am sorry about what happened with Dr. Sang.
DIANE: Yeah, me too. I saw his speech on t.v. It was extraordinary. I could see how he dazzled Congress into backing his cause. It's a good cause.
JAKE: Yes, it is. Too bad he's such a -
DIANE: Scumbag!
JAKE: That's the word I'm looking for.
DIANE: Well. You know, it's hard to reconcile a great man with the stupid things they sometimes do.
(She looks at Jake.)
JAKE: (agrees) Yeah. - (He stops when he realizes what she just said.) Oh, I see. Now we've subtlety segued back to me.
(Diane chuckles.)
JAKE: All right. I promise not to play with myself - hmm - let me rephrase that. I promise not to play with my nanites anymore.
DIANE: (nods) Mmm. Okay. Even though it's for a really, really good cause like saving lives which you did - without having to take any - which for the record, I think is pretty damn awesome.
JAKE: Thanks.
DIANE: You're welcome.
CUT TO:
[INT. NSA - INTERVIEW ROOM]
(Shinji Makito has his hands cuffed as he sits at the interview table waiting. Jake walks into the room carrying a file folder. He looks over at the guard standing nearby.)
JAKE: You can take those off now.
(Shinji slips the handcuffs off as the guard steps toward him. He hands the cuffs to the guard as Jake walks around the table.)
(Jake watches the exchange and smiles.)
SHINJI MAKITO: You said you was okay.
JAKE: (chuckles) Yeah.
(Jake sits down. He passes the file folder to Shinji.)
JAKE: Open that.
(Shinji opens the file folder. Inside, he finds a whole new identity for himself. He removes his new ID and looks at it.)
SHINJI MAKITO: Is this me?
(Jake nods.)
JAKE: What? It's the new you. Apprentice sushi chef at a hip new restaurant in Spokane Washington. Looks like you, talks like you and dreams of a life of filleting mackerel instead of people.
SHINJI MAKITO: He's a free man?
JAKE: Absolutely. Well, except for the surveillance and you have to check in once a week.
SHINJI MAKITO: Thank you. And my sister?
JAKE: She's in custody. Bureau of Diplomatic Security.
SHINJI MAKITO: I am grateful you have found a path for her that doesn't end in death. (Shinji stands up.) If you ever need it, my life is in your hands.
JAKE: I appreciate that, but I'd rather you keep it.
(They smile and shake hands.)
CUT TO:
[INT. NSA - HALLWAY - NIGHT]
(Valerie Warner walks through the hallway when her phone rings.)
VALERIE WARNER: This is Valerie.
MALE VOICE: (from phone) I'm sorry to disturb you Director, but I thought you'd want to know. Your ex-husband? Something terrible has happened to him.
(She stops walking.)
VALERIE WARNER: (to phone) What?
CUT TO:
[INT. PRISON - INTERVIEW ROOM -- NIGHT]
(Valerie Warner talks with Dumont.)
VALERIE WARNER: My ex-husband Carl was found beaten to death. The brain injuries are so severe, he can barely recognize his own children.
DUMONT: That's a shame. If I had a daddy, it'd make me really sad if he didn't know who I was, but I don't feel bad knowing what he did to you. You shouldn't either.
VALERIE WARNER: I don't.
(Valerie Warner leans forward.)
VALERIE WARNER: How did you do it?
(Dumont notes the move. He leans forward.)
DUMONT: I don't know what you're talking about.
VALERIE WARNER: Tell me. What do you want?
(He leans in closer.)
DUMONT: The same exact thing you do.
(They look at each other. Valerie Warner nods.)
CUT TO:
[INT. NSA - SAT OPS -- NIGHT]
(Lou walks around the command center.)
(Kyle walks into the command center with a grim look on his face. He walks straight to Lou.)
KYLE: That prisoner transport van never made it to State.
LOU: She escaped.
KYLE: Butchered everyone in the van.
LOU: Where's Jake?
CUT TO:
[INT. NSA - PARKING STRUCTURE -- NIGHT]
(Jake is walking to his car when his cell phone rings. He answers it.)
JAKE: (to phone) Hey. It's Jake.
VOICE: (over phone) Jake, I've got Director Beckett on the line.
(Through the car door reflection, Jake sees something orange-ish moving quickly toward him.)
(Behind him, we see Yuki Makito running toward him dressed in prison orange. In her hand she has a small knife.)
(As soon as she gets close enough, Jake turns around and shoots her right between her eyes.)
(She falls down dead.)
(Jake looks at her and takes a deep breath.)
LOU: (from phone) Jake? Are you all right?
(He holsters his gun and returns to the phone conversation.)
JAKE: (to phone) Yes. I'm fine. Situation is resolved. South parking lot by my car. One dead.
(He hangs up and appears a bit in shock.)
(Camera slowly pulls back as Jake leans back against his car waiting for the others to arrive.)
FADE TO BLACK.
THE END
[Captioning sponsored by Viacom Productions and UPN Captioned by Media Access
Group at WGBH Access.Wgbh.Org]
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Contact the Transcriptionist at (intrepidly002@yahoo.com)
Please do not archive this transcript without permission from the
Transcriptionist.
BEGINNING/TITLE CREDITS
JAKE 2.0
1X16: UPGRADE
[UNAIRED IN U.S.]
ORIGINAL AIR DATE IN UK: 05/27/2004
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:
SHIN KOYAMADA as Shinji Makito
Starring:
KIRA CLAVELL as Yuki Makito
TYLER LABINE as Seymour Lafortunata
RACHEL HAYWARD as Valerie Warner
JESSE CADOTTE as Dumont
and
TZI MA as Dr. Nanda Sang
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 & SILVIO HORTA
Directed by: STEVE MINER
END CREDITS
Executive Producer: DAVID GREENWALT
David Greenwalt Productions, California LazyDave
Matthew S. Scharbo Productions, Silent H Productions
Roundtable Entertainment in association with
Viacom Productions, a Paramount Company
Director of Photography: DAVID GEDDES
Production Designer: KATE HATTON-WHYTE
Edited by: ALAN SHEFLAND, 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
Co-Starring
MIRANDA FRIGON as Tech Agent Susan Carver
GRACE PARK as Fran Yoshida
MAR ANDERSONS as Bill Brummond
DAMON TAYLOR as BDS Agent
BENITA HA as Sketch Artist Tech
Set Decorator: SHANNON MURPHY
Costume Designer: CARLA HETLAND
Costumer: HEATHER LEE DOUGLAS
Make-up Artist: BEV WRIGHT
Hair Stylist: JILL CORP
Property Master: TERRY WEAVER
Script Supervisor: 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:10/30/2004~lky
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