[The episode commences with the aftermath of a car accident. There are horns beeping in the background. A man awakens in his vehicle that is flipped on its roof. The man is startled and pants heavily. The windshield is shattered and pieces of glass are falling on him. Smashed grapefruit are strewn on the street. The man is wearing a Kevlar vest and is breathing heavily. He is trying to gain his bearings. In the background there is the sound of a woman screaming. Her screaming continues as he seeks a way to exit his vehicle. The man grunts and groans as he climbs out of the car via the driver side window, accidentally grabbing the pipe from the muffler and burning his right hand. He is wearing a handgun and badge. He is Mark Benford, an FBI agent. There is a body lying in the street against the curb. The sound of car security alarms blare amongst all the cries for help. A woman is kneeling next to the unconscious man and is calling out for help. ]
WOMAN: [sobbing] Please help me! Please! [screaming] Someone! Please! Please!
[Man shouts indistinctly]
MARK: Demetri! Demetri!
[As Mark looks around there is chaos everywhere. The roadway has crashed vehicles everywhere. One vehicle is on top of a convertible sports car and only the driver's left arm of the driver is exposed. A man exits a car, engulfed in flames, and runs amok.]
FLASHFORWARD LOGO
[FOUR HOURS EARLIER]
[The scene begins looking down at a cul-de-sac. The sun is shining. In the background a newscaster is speaking.]
NEWS REPORTER: Good morning Los Angeles. It's 7 o'clock and it looks like it's gonna be another beautiful day. We're looking at light clouds and highs in the mid 70s today. Keep that umbrella handy because we've got a chance of sprinkles later on.
[Mark is opening a safe in his house. It is in eyeshot of the bedroom. He enters the code, a beep is heard and opens the door. There is a Post-It note stuck to the shelf that reads, "You're a crappy husband. I hate you." He chuckles, removes his gun, holster, and badge then walks over to the bed. He leans over the woman who is lying there and whispers in her ear.]
MARK: I hate you too.
[He leans over and kisses her. She smiles and strokes his face with her right hand.]
OLIVIA: Mmm. [chuckles] Mmm, babe, don't forget to look at the garage door. It's acting up again.
MARK: Already forgotten. Bye.
[He gets up and walks to the kitchen. A child is watching a cartoon show while he prepares breakfast. She is laughing.]
CARTOON SQUIRREL: Just because I'm a squirrel, doesn't mean I like acorns.
[The girl sees a figure pop up behind the squirrel on the tv and gasps.]
MARK: Mmm. Smells good. [cartoon dialog continues in the background] Here you go my princess. [puts down plate of pancakes] Mmm .
[He kisses her on her head and walks away. Outside landscapers load their equipment into a pickup truck. One landscaper is hosing down the area. The garage door partially opens then stops to the sound of gears grinding and metal creaking. Mark tosses his attaché, jacket and keys out onto the driveway then crawls out of the garage. The landscaper looks and sees Mark climb out of the garage.
LANDSCAPER 1: Te ayudo.
MARK: [chuckles] Hey Hector.
LANDSCAPER 1: Buenos dias.
[A girl pulls up into the driveway in a yellow VW Bug. The radio is playing Goodie Bag by Miss Eighty 6.]
And it don't take much to get…
MARK: Hey Nicole.
NICOLE: Sorry I'm late.
MARK: Don't worry. Hey Olivia is working the late shift at the hospital tonight, you think you can stay an extra hour or two?
NICOLE: Yah, No problem. I've got studying to do anyway.
MARK: You're a saint.
[Scene switches to Olivia standing outside in a robe. She has a cup in her left hand and a phone to her ear with the right. She gets an answering machine.]
MAN: Hey, this is Bryce. You know what to do. [BEEP]
OLIVIA: Bryce, it's Olivia. You weren't at rounds yesterday.
[Switch to Bryce walking down a pier. There are seagulls on the pier and in the air. People are enjoying a nice day albeit their conversations are indistinct. Olivia's message to Bryce is heard as he walks further along the pier.]
OLIVIA: [in the background] You better have a damn good reason why. Okay, you call me immediately. I'm worried about you.
[Bryce continues walking then stops in an area that juts out from the pier. He looks out over the beach at people surfing. He puts his backpack on the pier and continues to take in the view. He checks his cell phone and sees 3 missed calls from Olivia. He closes the phone and places it on the railing of the pier. He looks at his driver's license and places it next to the cell phone. He reaches into his backpack and retrieves a handgun. The scene switches to a large room with a podium. A man is speaking. Mark is sitting in the audience.]
MAN: My daughter Tracy was 5’ 5”, 118 pounds, but when the Marines shipped her body back from Afghanistan , sorry, her remains, they weighed 37. Only reason I knew it was her at all was because they'd DNA'd what was left. So, [pause] yeah, I took a drink that night.
[Switch to Mark and the man walking outside the building.]
MARK: You call Amanda yet?
MAN: Yeah, we're talking.
MARK: Oh, you're talking? Really? That's kinda weird because she told Olivia she never heard from you.
MAN: Hey, I'm your sponsor. I'm the one who's supposed to be riding you, not the other way around. [pause] Alright, alright. I'm getting around to it.
MARK: Come on, Aaron. Just call. She's cool.
AARON: Nurses freak me out, man.
MARK: It's a date. She's not gonna give you a friggin' enema.
AARON: [getting into a Department of Water and Power truck] How do you know that's not my thing?
[A song begins to play in the background. It is Mos Def's "Quiet Dog." It plays through the next several scenes in the background fading in and out. It starts a verse in. These lyrics are sung during the next several scenes.]
Check a blank to the boogie and up chuck a boogie
To the rhythm of the boogie to be
To the rhythm of the boogie to be
There is go like simple the plainness
The prominent bassness,
Zulu arrangement, rockin' amazement
Fly gold, radiating from heaven to pavement
If only years of placement with nothing to play with
Spent time hating but that ain't changing it
God give it to me no body ain't savin' it
Therefore, moving on the base in stammerment?
Standing in the twilight and watching them get it in
Walls, simmering, the air, simmering
She movin' like more than the airs is glistenin'
Whoa now
[Music fades and lyrics become indistinct. Scene switches to Mark and Olivia's house where Nicole is babysitting Charlie. Once inside the camera pans upstairs. There is a picture on the wall of Mark, Olivia and Charlie. Moving along the camera passes Charlie's bedroom where she is asleep. The view is now at the top of a staircase overlooking Nicole and a young man are partially dressed and exploring each other's body while on the sofa. Nicole stops and looks upstairs.]
YOUNG MAN: What's wrong?
NICOLE: I thought I heard Charlie.
[The young man looks up to the top of the staircase.]
YOUNG MAN: Charlie's asleep.
NICOLE: [brushing her hair back] This is so wrong.
YOUNG MAN: [chuckles] Which is why you love it.
NICOLE: Dude, as soon as we're done you have to get your ass out of here.
YOUNG MAN: Alright, well, stop talking and get to work.
[Nicole starts kissing her fellow. Scene switches to a blonde woman waiting for someone. She is standing next to a metal railing and is looking from side to side. We see the back of a black SUV. It has California license plates showing 8QR722Y. A dark haired man exits the Vehicle. The clicking sound of a camera taking pictures is heard. It is Demetri doing surveillance work with Mark. As Demetri takes pictures, Mark is reading a newspaper.]
DEMETRI: So then we get to the subject of the first dance, right. I'm sorry but Zoe picks one of the corniest songs of all time. [pause] Islands in the Stream.
[As the conversation progresses, Demetri is taking pictures of the blonde woman and the dark haired man shaking hands then entering a building. Marks looks up from his paper at Demetri and goes back to reading the paper.]
DEMETRI: Yea, the old Kenny Rogers and Dolly Parton duet. OK and we used to sing it when we did karaoke . That was when we were like really, really drunk you know. I put up with it because we were dating and that's what you do but my friends are going to be there, my family. Look, I cannot dance to Islands in the Stream. I will never live it down. [to Mark] You don't care about any of this, do you?
MARK: Oh, I do. I do care. I'm riveted. I'm fascinated.
[Demetri turns to Mark and laughs.]
MARK: But, uh, what do you want me to say? Don't marry her? Don't marry her. The odds are against you anyway.
DEMETRI: [laughs] Oh, that's good. Thank you. You're still married.
MARK: I'm surprised Olivia didn't leave me a long time ago.
DEMETRI: Me too, buddy. So what'd you guys dance to?
MARK: I can't even remember.
I manage your mayhem
I'm bright as the A.M.
And you're rocking more like a station
I'm blessed with the fresh from day one
I got it from day done… [FADE]
… Hah
Simmer down, simmer down, simmer down now
You keep up the rock and you don't stop the rock
Maintain the rock and you don't stop the rock
You keep up the rock and you don't stop the rock
Quiet dog, wild hog, let's rock.
[Scenes switch quickly while Mos Def's song continues to play in the background. Switch to Nicole and her friend then switch to Aaron looking at a picture of his daughter in uniform on the backside of his sun visor. He slams it up and gets out to work. He exits his truck, hardhat in hand, and looks up to the top of a power line. Switch to Olivia in the operating room scrubbing up.]
NURSE: He's a holy terror. Terrible twos at 1 year.
OLIVIA: Mmm.
NURSE: [chuckles] You're lucky you have a girl.
OLIVIA: Ugh, are you kidding me? You only have to worry about one penis. I have to worry about all of them.
[The nurse laughs. Switch to Mark and Demetri in the car doing surveillance. The blonde woman and the dark haired man exit the building with another man. Demetri sits up and starts taking pictures again. Lyrics become indistinct. Song stops playing. Score music builds.]
DEMETRI: Here we go.
[Mark stops reading the paper and picks up a 2 way radio and speaks into it.]
MARK: Showtime. Khalid, Omar, unknown female. Going mobile in a black SUV.
[There are 2 men sitting in a van and taking in all the information Mark is transmitting.]
MARK: Bobby, you're on point. They should hit you in 20 seconds. [beep]
[The FBI van starts down the street followed by the black SUV. The 2 vehicles drive away from the building. Switch to the FBI office. A woman answers an incoming call.]
JANIS: FBI, Janis Hawk.
MARK: It's Benford. Get Wedeck. Suspects are on the move.
[Demetri opens a laptop and starts transmitting data back to the FBI office.]
DEMETRI: Three weeks. It's finally about to start to get interesting.
JANIS: Okay Mark, I'm putting you on speaker.
WEDECK: What do you got?
MARK: Khalid, Omar and an unidentified Caucasian woman. We're e-mailing you pictures right now.
WEDECK: Who is she?
MARK: Uh, that's the unidentified part sweetheart.
[Janis smiles as she types on the keyboard.]
WEDECK: Get this to digital forensics and run it by I.C.E.
JANIS: Okay.
[Switch back to Demetri and Mark in the car. Demetri is not wearing a seatbelt. Mark is driving. The SUV starts to turn and speed away on the wrong side of the road.]
DEMETRI: They made us. They're on the move.
[The siren blares as Mark and Demetri chase after the SUV. Mark speeds to catch up to the SUV. As Mark makes a tight, fast turn, the wheels are screeching and Demetri is holding onto anything he can in the car. The SUV is on the wrong side of the highway heading into oncoming traffic without stopping or slowing down for any vehicle causing a taxi to swerve out of its lane and cutting off another car. The SUV doesn't stop driving into oncoming traffic and hits a white pick-up truck head on causing it to soar into the air, flipping over, heading toward Mark and crashing on the roadway.
DEMETRI and MARK: WHOA!
[Demetri turns to look back at the wreckage of the pick-up truck. Horns are blaring and tires are screeching as various vehicles swerve t avoid a collision.]
DEMETRI: Holy! No!
MARK: [yelling at Demetri] Come on! Get some backup! Get some backup now!
DEMETRI: [picks up radio speaker] Alright, alright, alright. Suspects fleeing west on 6th! Black Escalade, license plate 8, queen, robin, 7-2-2, young. We need L.A.P.D and air support now!
[Mark and the Escalade continue to weave through traffic. Demetri is terrified and yelling out.
DEMETRI: No! Truck! Car!
MARK: Calm down.
DEMETRI: Car!
MARK: Shut up!
DEMETRI: No! No!!
[Demetri starts laughing.]
MARK: What are you laughing at?
DEMETRI: [laughing] I don't know. I've never done this before.
[Scenes switch in the background as the car chase continues. The music rises to a crescendo. Bryce cocking the pistol and putting under his chin as he stands on the pier. Nicole and her male friend still on the sofa. Aaron climbing the utility pole. Olivia entering the OR with the nurse. Surfer. Bryce still holding the pistol to his chin and tensing. Escalade collides with another car. Mark still chasing the Escalade. Escalade barely misses colliding with a truck. Bryce at the Pier. The gun having it's trigger slowly pulled back. Nicole and her male friend. Charlie sleeping. Mark still chasing the Escalade. Olivia in the OR. Cars swerving. Brakes screeching. Mark swerves avoiding a tanker. Demetri holds on to the seat belt strap for dear life.]
DEMETRI: Come on! AAAAH!
[The scene begins to fade and Mark's Flash Forward begins.
Mark's eye. The iris of the eye becomes a swirl. Mark in his office, then leaning over Olivia asleep in bed, holding her had and kissing it. [Black and cobalt blue shot of Mark's office. Faded picture of a man, on a boat, wearing antique diver's suit, including the metal, helmet. Another man is holding the oxygen tubing. Charlie smiling with a man's hands gently reaching for her shoulders. Black and blue frames. Mark's darkened office, a yellow, red and blue bullet reading, NOT TODAY. Aaron standing at a podium Mark's office in the dark. Unidentified woman license showing her name to be Alda Hertzog. A Black swan, black and blue frames. A piece of paper with logo of The Crown Cheese Steak and a crown hanging off of the T. Help us, in read, is written on the paper. A picture of a 7 headed serpent with a bare tree and a pyramid in the upper right corner. Two clown masks. Mark, in his office, taking a drink from a flask. He is wearing a friendship bracelet. A page from a calendar for April 29. 2010. Mark writing "Who Else Knows" on the calendar page. A plastic sheet protector with an identifier of MOASAIC in the outside pocket One clown mask. Two mean slowly walk toward Mark's office. They have guns and they are using red laser sighting pointers. Mark. Mark writing. A masked man. Mark writing. White doors. Marks's office. Mark standing in front of a large board with various post-it notes, pins, string, pictures and newspaper clippings. Mark's hand reaching for the board and touching the Blue Hand note card. Mark leaning against the board. Yellow post-it with BLUE HAND. A piece of paper reading REDPANDA is directly below the post-it. A matchbook cover is pinned to the post-it and another matchbook is pinned above the post-it. A red covered passport for United Kingdom and Great Britain and Northern Ireland. To the left of the passport is the upper corner of a plastic bag and NCE is shown written on the white stripe across the bag. Mark holding a folder in his left hand and looking at the friendship bracelet on his right wrist. A sheet protector with a paper in the outside pocket reading "Owners Markings MOSAIC." Picture of a man and underneath the picture it reads "Sekunaen. Mark examining a card with "BABY DOLL PHOTOGRAPH" written on it, pinned on top of a picture of a doll. Mark examining the board. Mark examining what appears to be an aerial photo sort. A post-it reading "D. Gibbons.. Mark in front of the board, leaning his right hand to it. He is in his darkened office looking at the board while leaning his right shoulder against the board, throwing a piece of paper onto his desk turns around and takes a drink from a metal flask then holds the flask to his forehead. He stops and listens, then writes "Who Else Knows?" on a calendar page. The friendship bracelet on Mark's wrist. A child's hand holding a friendship bracelet. Mark's wrist. Calendar page with "Who Else" on it. The remainder is covered by Mark's right hand, which is sporting a friendship bracelet. Red laser beams across Mark's hands. He stops and raises his head slowly. Two clown masks. View outside of Mark's office with 2 red laser beams aiming for their target. Mark cocks his gun. A picture/schematic on a piece of paper. Men walking around the office in the dark wearing ski caps and masks. Mark being cautious. Men with guns. Mark standing next to doors and looking at the men. Men have lasers sites on their guns.. Mark taking a drink from a flask then looking out the door glass at the 2 men. Man in a mask, with three tattooed stars on his left forearm. Piece of paper on the board with 3 stars. Picture of a baby doll. Map with a post-it reading "Baltimore". A plastic bag with a chess piece (queen). Men with lasers. Picture of a naked man sitting with his left elbow resting on his knee and to the right a picture of a humanoid shape with a long, arcing nose and breasts. A color picture of just the naked man. A calendar page showing April. Mark looking out for the men with guns. A calendar box edged in yellow, shaded in blue, a pushpin and a string in the center. Attached to the string is a piece of paper that reads D-DAY. Men with guns, laser beams fixed. The eye zooming out to Mark hanging in his car upside down and the windshield smashed. Same as the episode opened.
[There are horns beeping in the background. A man awakens in his vehicle that is flipped on its roof. The man is startled and pants heavily. The windshield is shattered and pieces of glass are falling on him. Smashed grapefruit are strewn on the street. The man is wearing a Kevlar vest and is breathing heavily. He is trying to gain his bearings. In the background there is the sound of a woman screaming. Her screaming continues as he seeks a way to exit his vehicle. The man grunts and groans as he climbs out of the car via the driver side window, accidentally grabbing the pipe from the muffler and burning his right hand. He is wearing a handgun and badge. There is a body lying in the street against the curb. The sound of car security alarms blare amongst all the cries for help. A woman is kneeling next to the unconscious man and is calling out for help. ]
WOMAN: [sobbing] Please help me! Please! [screaming] Someone! Please! Please!
[Man shouts indistinctly. Switch to Bryce lying on the pier. In the sky there is a bunch of balloons floating away. The seagulls are cawing and the surf is rolling. Bryce looks to his left. Switch to the OR. Olivia and the OR staff are all on the floor. They awaken to the sound of a monitors beeping and other equipment sounding alarms. Olivia looks around in a dazed state.]
NURSE: Dr. Benford. What happened?
OLIVIA: I don't know. [pause] I lost consciousness. You okay?
NURSE: Yeah.
[Switch to Benford house.]
YOUNG MAN: Nicole?
NICOLE:[Waking up] What happened?
YOUNG MAN: I blacked out.
[Switch to Aaron hanging down from the top of a utility pole. He is strapped to the pole. As he awakens he realizes his predicament. He looks around then realizes he is unable to get himself upright.
AARON: Help!
[Switch to Mark on the bridge with alarms blaring and people shouting for help.]
MARK: Demetri! Demetri!
[As Mark looks around there is chaos everywhere. The roadway has crashed vehicles everywhere. A dog trapped in a smashed car trunk is barking. One vehicle is on top of a convertible sports car and only the driver's left arm of the driver is exposed. An Asian man approached Mark, grabs at him while pointing behind him.]
MARK: Calm down. Relax, man.
[Asian man continues to pull at Mark asking for help.]
MARK: Alright! Try and calm down.
[A man exits a car, engulfed in flames.]
VW DRIVER: AAh! AAh! Get these freaking flames…
[Mark is in the foreground with the tanker is several vehicles behind him. The tanker explodes tossing fireballs in all directions. Everyone drops to the ground. A fireball just passes Mark's head. A car is upside down near the entrance to the subway station. It is hit with a fireball and then flips over down into the subway. Mark goes to the scene and looks down into the subway station. Mark looks then runs while pushing people aside then climbs on top of the roof of a disabled car to get a better look. As he appraises the situation, he realizes that it far more dire than he thought. He puts his hand to his head, rubs his head then turns around to get a 360-degree view. Explosions continue. People are screaming. Horns are blaring. Across the bridge from where Mark is standing, Demetri is seen. He is looking back at Mark.]
DEMETRI: [yells to Mark] Hey! Mark! Over here!
[Mark climbs down off the car and runs toward Demetri.]
MARK: Hey! Are you alright?
DEMETRI: Yeah. Yeah I think so. We were driving, right? I blacked out.
MARK: Me too.
WOMAN: Help me!
[Mark and Demetri run to a car that is crashed into the curb. The driver is trapped inside.]
MARK: Alright! Alright! Move aside!
DEMETRI: Sorry.
MARK: Move aside!
DEMETRI: Excuse me.
[Mark pulls the driver from the car. Demetri assists.]
MARK: Stay calm. We got you.
DEMETRI: Yeah got him.
MARK: Get back! This thing could blow.
DEMETRI: Okay. We gotta call this in! We gotta call 9-1-1.
MARK: Trust me. They know. [pause] Try the office. See if they can tell us what the hell happened.
[A loud explosion distracts Mark and Demetri. Mark and Demetri watch as a helicopter crashes into a tall building with a glass exterior, flips over, and continues to bounce off the building as it crashes to the ground. People are screaming. Switch to the pier. Bryce and the rest of the people who were on the pier are all lying unconscious. Bryce checks his head for blood.] A man's voice is heard in the distance.]
MAN: The water! Somebody! They're not moving! Help! Hey! Hey!
[Bryce stands up and looks down at the ocean. Numerous surfers are floating. The man helping one is waving and yelling for help!]
MAN: Help! Please! Help! I, I need some help! Please, somebody! Help! Hey! Help!
BRYCE: Just hold on! I'm a doctor! I'll be right there!
[Switch to Nicole waking up at the Benford residence.]
NICOLE: Oh crap! Charlie! Charlie!
[Nicole, partially dressed, runs up the stairs to Charlie's room. Charlie is sitting in bed.]
NICOLE: [exhales] Sweetheart, are you okay?
CHARLIE: I had a bad dream. I dreamt there are no more good days.
[Nicole just looks at Charlie taking in what she said. Switch back to the bridge. People are still shouting in the background. Mark uses his cell phone. Beep. Call failed. He shuts it.]
MARK: Can't get my family.
[Demetri looks around and notices a crashed black SUV. Mark notices too.]
DEMETRI: That's our SUV.
MARK: That's what I was thinking.
MAN: [in the background] Can’t you hear me?! Hey, go this way! Get up and move it around.
[A woman in the back seat is sobbing. The driver of the SUV is slumped over the airbag and steering wheel. Mark has his gun aimed at the unconscious driver. He directs Demetri to the back door. Mark moves back and opens the driver's side rear door.]
DEMETRI and MARK: Hands up!
DEMETRI: Hands up!
[The blonde headed woman in the back seat is dazed. She starts to exit the SUV with her hands raised. Demetri holsters his gun and pulls the woman out of the SUV. He puts her back against the SUV.]
DEMETRI: I got her. Get out, come on. Get out. Get out! We know you were planning an attack.
[Blonde woman groans. Demetri puts handcuffs on her.]
DEMETRI: What did you do, huh?
BLONDE WOMAN: [groaning] Uhh!
[Demetri grabs the woman by her jacket lapels.]
DEMETRI: Tell me what happened!
MARK: [to Demetri] Take it easy.
DEMETRI: We know about the suitcase. Did you set it off? Answer me!
BLONDE WOMAN: [panting] I blacked out. I was somewhere else. There was a storm. The horses were scared.
DEMETRI: [forcefully] What are you talking about? What are you talking about?
MARK: [to Demetri] Calm down! Does this look like a dirty bomb to you?
[Mark pulls Demetri away from the woman.]
MARK: Does it? We don't know what this is. Maybe they weren't even involved.
[A group of people starts to gather around Mark, Demetri and the woman. As the panicking crowd grows, they are bombarded with questions.]
MAN IN T-SHIRT: Are, are you guys cops?
MARK: F.B.I. It's okay.
WOMAN IN CROWD: What happened?
WOMAN IN CROWD 2: Was it a nuclear attack?
MARK: I don't know.
MAN IN CROWD: It's gotta be the big one. I mean, look. Look at this mess. It’s gotta be.
MAN IN T-SHIRT: When's help getting here?
MARK: Look, until Emergency Services arrives, we need to say calm and help whoever we can, alright?
MAN IN CROWD 2: They ain't comin.
MARK: What?
DEMETRI: What'd you say?
MAN IN CROWD 2: I just heard on my radio. Some guy in San Diego. They're dealing with the same thing. It's more than just L.A., man.
DEMETRI: [to blonde woman] Sit down. You move. I shoot.
[People are shouting indistinctly. Mark is standing next to a bus. He tries his cell phone again. Beeping.]
DEMETRI: I can't get thru to Zoe. What about Olivia?
MARK: No.
DEMETRI: Listen, Zoe is in Seattle right now. But Olivia's close by, right? Hospital's two miles. You can make it on foot.
MARK: Yeah. No. No. I,I,I can't just leave…
DEMETRI: Listen, There's nothing we can do here right now. Okay? Go check on your family. Go!
[Mark pats Demetri on the back and runs to the hospital. Sirens are blaring. Indistinct yelling. Mark happens upon a pool of water in the street and slows down. Corpses are lying face down. A down utility pool sparks near the water.]
WOMAN: Help me!
[Burglar alarms are sounding. People are looting stores and others are shouting to no avail. A taxi, with a man on the hood, is speeding toward the area that Mark is in. It is speeding and swerving trying to dislodge the man.]
MAN: Look out! Move! Aah! Watch out! Look out man!
[Taxi swerves, with tires screeching, tosses the man on the hood off, leaving and almost hits Mark. He goes over to check the injured man.]
MARK: Hey! Son of a …
[Mark goes over to check the injured man. He holsters his gun. Police radio chatter is heard. Helicopters are whirring above. Mark looks up to see two of them. As he continues to walk he encounters a kangaroo standing in the middle of the street and watches it hop away. He comes upon a group of people standing in front of an electronics store. They are watching televisions, each on a different channel. He joins them.]
NEWS REPORTER: There are thousands and thousands of injured people waiting for emergency…
NEWS REPORTER 2: [British accent] All we know for certain is that everyone on the planet seemed to have blacked out at exactly the same time.
[There is a breaking news picture on one television. "World wide devastation. Rescuers, military deployed to manage crisis." ]
NEWS REPORTER 3: …confirming that the blackout was a worldwide phenomenon. Officials…
[Channel CCCV shows. "Disaster Source Unknown. Hundred of thousands may be missing, dead. There is a shot of an airliner downed and floating in the water. Another World news alert. "World capitals in crisis. Fires rage across globe.]
NEWS REPORTER 4: …is unknown. Fire services and police services are completely overwhelmed at this time.
NEWS REPORTER 5: …en este momento
MAN: My God. It's the whole world.
.
NEWS REPORTER 6:…information as to the cause of the blackout.
[Mark watches and listens to the reports on the various televisions. Mark's cell phone rings. He answers and moves away from the crowd quickly.]
MARK: Livvy! Livvy! I'm here!
[Olivia winds her way down the hospital corridor. It is bustling with people. There is a lot of background chatter. Monitors and charts are being checked. People are crying out in pain. A man with a bloodied shirt and face, limps along using crutches. Doctors and nurses are trying to tend to everyone.]
OLIVIA: Oh, thank God I got a hold of you.
MARK: What about Charlie? Is she okay?
OLIVIA: She's fine. Nicole called. She can stay put until one of us gets home.
MARK: Then you're alright.
OLIVIA: Yeah, I'm fine. We were in the middle of surgery and we all lost consciousness. Everyone. Patient died while we were out.
[Olivia tosses her latex gloves in to a trash receptacle and continues to wind her way along the corridor.]
MARK: I'm downtown right now, same thing. So uh, uh, what, everyone there blacked out?
OLIVIA: Yeah, everyone. We thought it was just the hospital but then Cory got a call from her mother in Chicago. Same thing happened there.
MARK: I know. Looks like this thing is global.
OLIVIA: Global? It's impossible. Oh, I love you, but babe I gotta go.
[Olivia sees another patient being brought in on a gurney. She rushes to it. All the ER stalls are full.]
MARK: Alright, I love you, Livvy..
[Mark sees the call has ended before he could finish his sentence. He looks around at all the devastation . Switch back to ER.]
OLIVIA: What've you got?
[She checks the patient with her stethoscope.]
PARAMEDIC: Got and eight year old boy. pede versus car, plowed straight through a fence at an elementary school. Head injury on the right. Abdominal bruising on the left.
[Bryce enters the ER and approaches Olivia while she it tending to the boy.]
BRYCE: Dr. Benford!
OLIVIA: Bryce, where the hell have you been? Go get into your scrubs and meet me in OR. Okay, let's get him into trauma. [to boy] You're gonna be okay honey.
BOY: I know, Olivia.
[The boy is wheeled out of the ER. He has foam blocks holding his head in a stationary position, cervical collar and oxygen mask over his nose.
OLIVIA: How did you know my name?
[Olivia stops as the gurney is wheeled away. Monitors are beeping and people are bustling about.] Switch to the F.B.I office. Mark is walking with Wedeck.]
MARK: What have we heard from Washington?
WEDECK: We're the same. Everyone's just gathering Intel. C.I.A., Homeland Security. Our various legats offices overseas. In other words, nobody knows anything.
[Switch to OR. The boy is coughing and Olivia is checking his vitals.]
OLIVIA: How's he doing?
BRYCE: He's taking a turn for the worse.
OLIVIA: I got no breath sounds on the left. Possible punctured lung. He needs a left chest tube STAT. We don't release the pressure soon, it's gonna stop his heart from beating.
BRYCE: He's going south. Stats are dropping.
[Monitors beeping. The boy is struggling. Olivia remains calm and concentrated on her young patient. Switch to FBI office.]
MARK: What the hell is this? Worldwide phenomenon?
WEDECK: Near as we can tell.
MARK: People from all corners losing consciousness at exactly the same moment.
WEDECK: And for the same duration --two minutes and seventeen seconds.
MARK: How is that even possible?
[Switch to OR.]
OLIVIA: Where the hell is that chest tube tray? I need it now!
BRYCE: We got no pulse. Blood pressure's 40. What are were going to do?
OLIVIA: Thoracotomy. Come on, sweetie. Hang in there.
[The boy's chest is cut open and has clamps holding it open. He winces as he is being worked on. Monitors are beeping. Olivia is working with a tube that she has inserted into his chest cavity. Red liquid is being drawn out.]
BRYCE: Pulse ox 90. Pulse ox 80.
OLIVIA: Alright.
BRYCE: We're dropping. We're losing him!
OLIVIA: How are we doing?
BRYCE: No pulse. No pulse. Blood pressure's dropping.
[Switch back to the FBI office. Another FBI agent joins Mark and Wedeck. They converse as they walk.
WEDECK: So we've eliminated nuclear launches, EMP's and chemical agents.
MARK: What about natural phenomenon then.
FBI AGENT: NASA's checking into more exotic explanations. Solar flares, gamma bursts, that sort of thing but so far they've come up empty.
WEDECK: What about the Vatican? Has the Pope chimed in yet?
[Switch to OR. An anesthetic mask is being held to the boy's face. Monitor is beeping rapidly.]
OLIVIA: Let's get this chest tube in.
BRYCE: Stats improving. BP's normalizing.
[Monitors are returning to normal beeping.]
NURSE: Pleurovac.
[The sound of the chest tube removing fluid from the chest cavity.]
BRYCE: Doing great buddy. Doing real good.
OLIVIA: Okay, let's get him into the CT Scanner. Check out that head injury. Bryce, you close him up. Nice job but don't think you're off the hook. I still want to know where you were yesterday.
[Bryce looks at Olivia for a second and continues to close up the boy's chest. Switch to the FBI conference room. Mark is leaning against a wall. Wedeck is at the front of the long table where a number of people are seated.]
WEDECK: We need to wrap our heads around the scope of this thing people. It's now been four hours since the blackout. You shut off the consciousness of the entire human race for two minutes, what would the death toll be? How many cars collided? We have planes down at LAX. How many more across the country? Around the world?
AGENT VREEDE: FAA is reporting eight hundred and seventy seven aircraft down in the United States alone. Air force Two was one of them. The VEEP was on board.
WEDECK:Okay. What about hospitals? Operations? Births that were in progress? People probably died walking up a flight of stairs.
AGENT VREEDE: Global projections are pretty staggering.
[Indistinct whispering. Mark recalls parts of his Flash Forward while Wedeck is talking. Writing on a calendar page, "Who else knows?" His back to the conference room. Quick memory again. Man in mask. Writing on the calendar page. Back to the conference. Peeking out of his office door window with his gun at the ready. Writing on calendar page. Walking with his gun looking for the men with laser sites on their guns. The calendar page. Picks up his gun from where he was writing on calendar page. Moving about his office in the dark trying to find the intruders.]
MARK: What about the blackouts themselves, sir?
WEDECK: What about them?
MARK: Well, we've been saying people have been blacking out, but, [pause] it wasn't my experience. For me, it was more like a dream only more vivid than that. One second I was in a car. The next, I was somewhere else.
JANIS: Yeah. The same thing happened to me.
AGENT VREEDE: Me too.
FBI AGENT: During the blackout, people seemed to have experienced some kind of hallucination.
MARK: No, n, no. Except that mine didn't feel like a hallucination.
WEDECK: What's your point, Benford?
MARK: I didn't just lose consciousness. It felt more like my consciousness went somewhere else like I was having a memory only it, it wasn't of the past. It was the future.
[Everyone around the table is taken aback and they all start chatting with each other as Mark speaks.]
MARK: I was in my office. It was night. It was 10 o'clock on the hour. I was looking out into the atrium and I happened to see the date. April 29th, 2010, about a half year from now.
AGENT VREEDE: Hold on, April 29th. I saw the same date. It was on the news.
FBI AGENT: Same for me. April 29th, 10 PM.
ATTENDEE: Me too.
WEDECK:So you're saying what? Everyone's consciousness just jumped forward six months to April 29th?
MARK: Crazy as that sounds, yeah.
[Switch to outside downtown LA. Double rotor helicopters are flying. Plumes of smoke are everywhere. Back inside the FBI building Demetri is quickly walking with the blonde woman. She had trouble keeping the pace. He is tightly holding her left arm. They reach a small seating area.]
DEMETRI: Sit down. Sit down! JT, could you uh, give me a hand? Thanks.
BLONDE WOMAN: We didn't do this.
DEMETRI: Even if you didn't, you were still planning on killing thousands of people so stay still and shut up.
[Mark approaches Demetri. There are indistinct conversations and the sound of telephones ringing in the background.]
MARK: Hey.
DEMETRI: Hey
MARK: You get a hold of Zoe?
DEMETRI: Yeah, she's alright.
AGENT GOUGH: Mark, hey. Got a sec?
MARK: Sure.
AGENT GOUGH: I think there may be a way to corroborate what we were talking about in there.
MARK: What do you mean?
AGENT GOUGH: Well in my flash forward it was April 30th, 6 AM but I was in London which is eight hours ahead of the west coast so it makes sense.
DEMETRI: Wait, flash-forward? What are we talking about here?
MARK: I'll explain later. Tell me what you saw.
AGENT GOUGH: I was having a meeting with our liaison at New Scotland Yard. I remember we were interrupted because this bird just crashed into the window.
[Seeing the bird hit the window and startling Gough and his liaison. Lout thud.]
AGENT GOUGH: The point is, I had a vision of Fiona Banks. Let's see if she had a vision of me.
[Switch to Wedeck's office. Wedeck, Mark, Demetri and Gough are present. Switch to New Scotland Yard. Fiona Banks is walking in an office corridor.]
FIONA BANKS: [answering cell] Inspector Banks.
AGENT GOUGH: Fiona, this is Al Gough, FBI. I'm here with my colleagues in LA.
FIONA BANKS: My God. Al, I know why you're calling. You want to know what I saw.
AGENT GOUGH: We all do.
FIONA BANKS: Okay. Uh, we were sitting in my office.
AGENT GOUGH: What was the date?
FIONA BANKS: [nervous] April 30th.
AGENT GOUGH: What time?
FIONA BANKS: Uh, I don't know. Uh, six o'clock in the morning. Don't ask my why it was so early. Something to do with the Rutherford case.
AGENT GOUGH: Yes, yes, and, and something interrupted us.
FIONA BANKS: Yes, a bird. It flew at the window, it broke its neck.
AGENT GOUGH: So our visions were the same.
[Switch to another area of the FBI office building. Mark, Demetri, Janis and Wedeck are watching 5 monitors. The lower left monitor has 2 men talking.. It is a news report. Switch to Olivia in the hospital. She is reading a chart. The news report continues. Olivia watches from the hospital. Switch to Nicole and Charlie watching the same report from the Benford residence.]
MAN ON NEWS: When the worldwide blackout occurred earlier today, people were undergoing brain scans at that exact moment.
NEWS REPORTER: So like MRIs or PET scans. That kind of thing?
MAN ON NEWS: Exactly. And in each of these cases, the hippocampus, that's the memory center of the brain, was actively engaged for the entire two minutes and seventeen seconds. These thought patterns are consistent with a waking experience. People were not asleep. They were not dreaming.
NEWS REPORTER: So then what is it they were experiencing?
[Nicole is crying. Charlie is staring at the television.]
MAN ON NEWS: By all appearances, uh memories of events that haven't happened yet
[Nicole is crying harder. Charlie is still watching.]
NEWS REPORTER: So everyone saw the future?
[The news now shows there is a panel of three men and one woman. The news reporter heads the panel. The background scene switches to Olivia, panel, Bryce, Nicole and Charlie, Olivia, Bryce, Olivia.]
MAN ON NEWS 2: But did they see the same future? I mean are these accounts consistent?
MAN ON NEWS: Well they certainly seem to be.
NEWS REPORTER: Hundreds of thousands of people were watching news broadcast, reading newspapers, the details seem to be the same. Senator Glenway will be facing ethics charges. The DOW will be on an upswing. They'll be food riots in Ghana, and the list goes on.
[Olivia is texting a message to Mark. "Hope I never see you again." Mark's cell vibrates and he checks it. He smiles when he sees the message.]
MAN ON NEWS 3: A remarkably concise series of events are starting to come together from that day. It's like a grand Mosaic is being filled in. Everyone on Earth…..[fades]
[Mark sees a piece of his flash-forward. It is on the board and it reads Mosaic.]
MARK: Mosaic. That was the name of the investigation I was working on in my vision. It had to do with what caused all this.
WEDECK: So did you see anything in your vision that was helpful?
[Switch to an atrium. Mark, Demetri, Wedeck and Janis are present. Mark sees a flash of the board.]
MARK: Photographs, names, people of interest, if this really was the future we all saw, then I guess maybe they will be leads, but none of them make any sense to me now.
[As Mark speaks pieces of his flash-forward are shown in the background. Himself looking at the entire board, profile of Nhadra Udaya, report with AGT Gough's name on it, picture of an older man, three stars, Red Panda.]
WEDECK: Anything else?
MARK: No, no. That, that was it.
WEDECK: [to Demetri] What about you? What did you see?
DEMETRI: [pause] Nothing. I uh, I blacked out like everybody else and woke up on the road. What about our uh person of interest? Do you think she's involved.
[Demetri turns and looks at the blonde woman.]
MARK: She is a dead end if you ask me and clueless as the rest of us.
[Demetri stares at the blonde woman and is paying little attention to the conversation.]
WEDECK: We'll circle back to it anyway. We're all grasping at straws at this point. Janis, you want to share what you saw?
JANIS: [chuckling] Yeah, I was getting a prenatal sonogram. The baby was about seventeen weeks and it was a little girl. It was totally bizarre.
[Janis' flash is shown in the background as she speaks.]
JANIS: But I'm obviously not pregnant. I don't even have a boyfriend.
MARK: What about you sir?
WEDECK: I [pause] uh [pause] was in a meeting [pause] a meeting.
[Wedeck's flash-forward is shown in the background. He is sitting on a commode in them men's room, reading a newspaper and whistling. The flash ends with him flushing the commode.]
WEDECK: I happened to glance down at the paper, sports page. The Rays rallied from three runs down to sweep the Sox at Fenway. And there was another story. Kobe Bryant tore his ligament in his knee. Out for the season.
DEMETRI: You know what? We should start writing these stories down.
JANIS: Yeah.
DEMETRI: I mean, the “Post" has a circulation of what, a million?
WEDECK: A million, yeah.
DEMETRI: How many other people were reading it then too? We gotta start comparing stories.
MARK: Yeah, it's not just the "Post." It's all the other news outlets. Seven billion people caught a glimpse of the future. Maybe just one of them knows why this happened.
DEMETRI: How do we compare seven billion stories?
JANIS: You create a website.
MARK: Right.
JANIS: People can log on and post what they saw and cross reference their visions. We can piggyback on that and search for patterns.
MARK: I think that's what I was already doing.
[As Mark speaks, bits of his flash-forward are shown in the background. Mosaic, running his finger along one of the strings on the board, an aha moment, writing on the calendar page, "Who else knows."]
WEDECK: What do you mean?
MARK: Mosaic. All those leads I was running down. We should start following up on them now.
DEMETRI: Assuming your vision is even accurate, the investigation doesn't exist yet.
MARK: But it could. It will. In my flash-forward I was investigating what caused all of this. I seemed to have an idea why all of this was happening. And those people, the places I saw on the board, they were part of this puzzle. Mosaic. Look, I'm certain of it.
WEDECK: Fine. We'll set up an interagency task force and as far as this office is concerned, you three, you own this.
DEMETRI: This is kind of insane. I mean we're running point on all this because he had a vision of us running point on this? [laughs]
[Wedeck looks at Demetri. Mark and Demetri talk at the same time to each other.]
MARK: What? You, you find that funny? We don't even know… We don't know if…
DEMETRI: Come on. We don't have anything right now.
WEDECK: It works, it works for me! It works for me!
[Demetri and Mark stop talking.]
WEDECK: The whole world's on pins and needles, people. Air traffic's been grounded. People scared to leave their homes, walk across the street. Now we got marshal law across this country. Priority number one, finding out what caused this. Priority number two is figuring out whether or not if it'll happen again. [to Mark] You got it?
MARK: Yes, sir.
WEDECK: Good. I'm out.
[It is nighttime. Two calendar pages, October and November, are on a wall with October 6 shaded in green. A string is tacked to it and is being pinned on an April calendar page by Demetri denoting date of flash and date folks have agreed to have seen in their visions. As Demetri puts the string on April 29th, a bit a Mark's flash is shown. April 29th is filled in with D-Day.]
DEMETRI: Okay my psychic friend, what'd ya got?
MARK: I remember a name, D. Gibbons.
[A bit of Mark touching a yellow piece of paper reading D. Gibbons and under it MOSAIC.]
DEMETRI: Gibbons.
MARK: That's right.
[Demetri pins a piece of paper on the board with D. Gibbons on it.]
DEMETRI: Yeah. What else you got?
[Mark touching a yellow piece of paper on the board during his flash that read, "Baby Doll Photographs - MOSAIC then a picture of a burned doll.]
MARK: There was a photograph here of a doll. The doll was burned. The head was melted. There was a bullet casing nearby. Something about Baltimore. A hand.
[Another bit of Mark's flash is seen. Blue Hand on a yellow piece of paper.]
MARK: Baltimore. No, no, no, wait, wait, wait, wait, wait. A, a blue hand. That's what it said.
[Bit of the flash again. Yellow piece of paper with Blue Hand printed backwards and a matchbook cover tacked to it with Blue Hand handwritten on it. The paper is then seen in readable position.]
[Demetri writes Blue Hand on a piece of paper and tacks it to the board.]
DEMETRI: What the hell does that mean?
MARK: I have no idea. Just put it up. No, no, no. Wait, wait, wait, here in the center. This is gonna sound stupid but I was wearing of those, uh, friendship bracelets. You know like kids make. Yeah.
[The flash of a red, blue and green friendship bracelet on Mark's wrist and a piece of paper with Friendship Bracelet written on it.]
DEMETRI: Okay. That's good. What else? What else?
MARK: That's it. Those are all the leads I can remember.
[Quick shots of parts of the flash. Blue hand, friendship bracelet, baby doll photograph, D. Gibbons.
DEMETRI: What about your state of mind? What were you doin'?
[A flash of Mark drinking from a flask.]
MARK: [sighs] I was [pause] chambering a round. I was scared to death.
[A flash of Mark cocking his gun in his office and aware of intruders.]
DEMETRI: You were scared to death in here?
MARK: Yeah.
[Flash of the darkened office and two men in masks walking around.
MARK: The office was empty but someone was coming for me. They were wearing masks.
{Flash of the mask and red laser sites shining.]
MARK: They wanted to kill me because of what I knew. One of them had a tattoo.
[Marks draws three stars. Flash of the stars on the board. Mark tacks three stars he just made on the board. Flash again of the three stars on the board.]
MARK: How many D. Gibbons do you think are in the world?
DEMETRI: Maybe thousands.
MARK: Have Janis compile a list. [sighs] Not a hell of a lot to go on yet.
DEMETRI: At least you remember something.
MARK: What'd ya mean?
DEMETRI: Everybody saw something. Everybody had some kind of a vision. I didn't see a damn thing Mark.
MARK: Maybe it means you'll be sleeping six months from now.
DEMETRI: If I was sleeping, why wasn't I dreaming?
MARK: Look, I never remember my dreams.
DEMETRI: [choking up] Stop, alright? We're both thinking the same thing, so let's just say it. [pause] What if I didn't see anything because six months from now [pause] I'm gonna be dead?
[Switch to inside the Benford residence. It is nighttime and crickets are chirping. Mark is sitting half way up the stairs. which lead to the bedrooms. Nicole is walking down the stairs then sits a few steps above Mark.]
NICOLE: Mr. Benford, are you alright?
MARK: Yeah. How's Charlie?
NICOLE: She's fine. She's sleeping. I was watching the news all day. They say it happened everywhere.
MARK: It's going to be okay.
NICOLE: Is that what they're saying at the FBI? Do you have inside information?
MARK: I wish we did.
NICOLE: So then you don't know if it's going to be okay. I think God did this.
[Nicole is becoming distraught.]
MARK: Why?
NICOLE: To punish us.
[Switch to the hospital.]
OLIVIA: Still no luck finding his parents?
BRYCE: His mother died on the 4-0-5. Father's name is Lloyd Simcoe. He works at Stanford. But, uh, no one's been able to locate him yet.
[Olivia looks over the boy's chart while Bryce is speaking.]
OLIVIA: [whispering] Yeah. So even if the kid pulls through he could still wind up an orphan.
BRYCE: Hey, you saved his life today. You chalk that up as a victory.
[Olivia and Bruce walk away from the boy's bed back into Recovery Room.]
OLIVIA: Yeah, I'm trying, but after a day like today… What about you? How are you staying so Zen through this.?
BRYCE: Who says I am?
[No reply from Olivia.]
BRYCE: You want to know why I wasn't at work yesterday?
OLIVIA: [looks at Bryce] Mmhmm.
[In the background is a shot of Bryce on a pier walking to the left side and taking a handgun from his backpack.]
BRYCE: I've been going through some really heavy things recently. I really don't want to get into it now. But the, the point is, this morning I was out on the Venice Pier and [pause] and I was thinking about committing suicide.
OLIVIA: Oh my God!
BRYCE: It's okay. I'm, I'm okay. I saw a glimpse of my future and I was alive and everything's changed for me now. Whatever I was thinking about doing obviously wasn't meant to happen. It's, it's like a sign from God or something. You know these visions were a gift. Don't you think?
[Scene of Bryce on the pier and seagulls flying above. Back to the hospital. Olivia does not share the same emotion as Bryce. She turns her head from Bryce.]
OLIVIA: A gift? [pause] I don't know. Not for me.
BRYCE: Why? What, what did you see?
OLIVIA: [pauses] I saw the end of my marriage.
[Switch to Mark and Aaron in Mark's kitchen. The only light comes through the window.]
MARK: I was drinking again in my flash-forward. And in my head I [pause] I know it wasn't just a one time thing. I was full-fledged drinking again. All the anxiety. Shame. [lowers voice] It was all back.
AARON: Just because you saw that doesn't mean it's gonna happen. Even if this future stuff is real [pause] maybe it's a blessing in disguise. Maybe because you saw it, you can change it. Ghosts of Christmas future crap.
[Aaron picks a mug and drinks from it.]
MARK: What if we can't?
AARON: People relapse. I did. You pick yourself up again.
MARK: Olivia said she'd, she'd leave me if I slip again. She made that clear.
AARON: Then don't slip. Until you see something that corroborates these visions it's [pause] it's all fantasy. The future's still up in the air.
MARK: You're a terrible sponsor. You know that.
[Marks places his mug on the counter.]
AARON: What do you want me to say, Mark? You're not the only one this, this has happened to. You know? I've got the opposite problem.
[Aaron looks down at the top of the kitchen Island.]
MARK: What do you mean?
AARON: Tracy was killed in Afghanistan and you were at the funeral. Right?
MARK: Right.
AARON: But in my flash-forward, she's alive.
[A picture of a scroll with a woman sitting, a drawing of a helicopter, military picture of Tracy, Tracy lying on a blanket turning her head and looking to the right and smiling at someone or something. Explosions are heard in the distance. A solider walking pass and alcove in the tent with Tracy lying on it and looking up at Aaron. Aaron looking down at her. Aaron looks up and a bright light is coming from behind him.]
MARK: Doesn't make any sense. They ID'd her remains.
AARON: I know. [pause] I can't explain it but it was her. I'm, I'm certain of it and if she's out there somewhere, she needs me. For two years I've, I've been putting her to rest. Now [pause] I don't know what to think. I'm [pause][sigh] I'm confused. I'm hopeful and I'm angry that I'm hopeful. [pause] You're worried [pause] your future's gonna come true. I'm worried mine won't.
[Switch to outside the Benford residence. It is still dark. Mark is using a screwdriver to repair the garage door opener. Mojave's 3's "All Your Tears" is the background music. The garage door is working again. As it opens, Olivia drives her car in. Mark goes over to the driver's door. Olivia gazes at Mark and strokes the side of his face.]
OLIVIA: You fixed the garage door.
MARK: It was a slow day.
[Switch to Charlie's bedroom. Olivia is kissing Charlie and Mark leans a bit over Olivia.]
[center] Where's the magic that you wear?
That keeps you safe and keeps you feeling free
Whose arms have held you
That you don't know who you are anymore[center]
[Switch to Mark and Olivia lying in bed.]
MARK: Do you remember our song?
OLIVIA: What?
MARK: The one we danced to at our wedding?
OLIVIA: Etta James. "At Last."
MARK: [chuckles] Right.
OLIVIA: What did you see?
MARK: [exhales deeply] I was at the office working on a case. It was, it was this. What caused the flash-forward. I got the sense I was in danger. Then, then it ended.
[Mark drinking from a flask in his flash-forward.]
OLIVIA: Nothing else?
MARK: No that was it.
[There is silence between them. Mark breaks the silence.]
MARK: What about you? [pause] Babe?
OLIVIA: I don't want to talk about it.
MARK: Why?
OLIVIA: 'Cause it was too upsetting.
MARK: I need to hear it, whatever it was.
[Olivia turns onto her left side with her back to Mark.]
OLIVIA: No. No you don't.
MARK: [softens his voice] Come on. What did you see?
[There is a pause then Olivia turns back and sits up in bed.]
OLIVIA: [whispers] You know what? Just let it go.
MARK: [regular voice] Olivia, what did you see?
OLIVIA: [sobbing] I was with another man.
MARK: Who?
OLIVIA: I don't know. I've never seen him before.
[Olivia puts her face in her hands with flash-forward in the background. She is wearing lingerie, lying across the pillows on her bed, looks up, gets out of bed, walks to the top of the top of her staircase, looks down at a shirtless man sitting on the sofa with a bottle of beer in his hand. He has no shoes or socks on and is staring at the fireplace.]
OLIVIA: He was downstairs. I don't know who he was and yet my vision [pause] I had all these intense feelings [cries harder] for him. I…
[Olivia's vision again. Her voice echoes in the flash.]
OLIVIA: [echo] Hey, Honey.
[He is leaning his left arm on the arm of the sofa and has his eyes closed. Flash stops.
OLIVIA: [crying and turns to Mark] I don't understand, Mark. I would never cheat on you. I wouldn't betray you, I wouldn't , I…..
[Marks sits up and caresses Olivia. A quick flash of him drinking from a flask.]
MARK: Shhh. Just because we saw these things doesn't mean they're gonna happen.
[Switch to the hospital. A man is walking toward the room of the boy Olivia operated on. Bryce is sitting with the boy. The man starts to run to Dylan.]
LLOYD: Dylan!
BRYCE: Uh, I'm sorry. You are?
LLOYD: His father, Lloyd Simcoe. How is he?
BRYCE: He'll be fine. His attending physician, Dr. Benford, will be here in the morning. She can fill you in on some of the details.
[Quickly, Lloyd looks at Bryce. Piece of a flash where the man on the sofa looks up at Olivia. He is Lloyd Simcoe.]
LLOYD: Then I'll wait for her.
[Switch to Benford's backyard. It is dark. There is an in-ground swimming pool and a child's swing set. Mark is sitting on a swing and in deep thought. He looks up through a window bedroom to see Olivia rubbing her hands together and walking away from the window. Mark hears a voice.]
CHARLIE: [whispers] Daddy.
[Mark looks at his watch.]
MARK: What are you doing up, sweetie? It's after midnight.
CHARLIE: I had a bad dream.
MARK: Come here. [puts Charlie on his lap] You wanna talk about it?
[Charlie shakes her head no.]
CHARLIE: Why was mommy crying?
MARK: Oh, she was just [pause] scared. It's gonna be okay.
CHARLIE: Are you scared?
MARK: [smiles] No baby, I'm fine. What have you got there. What do you have in your hand?
CHARLIE: Something I made for you.
[Charlie hands him a red, green and blue friendship bracelet. Quick flash of board paper with friendship bracelet written on it and a shot of Mark's arm wearing the bracelet.]
CHARLIE: I want you to have it. Take it daddy.
[Flash of Mark drinking from a flask. Olivia's of her sitting in bed. Back to the flash of Mark and the flask.]
CHARLIE: Do you want me to help you put it on?
[Again, flash of Mark drinking from a flask. Olivia's of her sitting in bed. Back to the flash of Mark and the flask then him tossing the flask away.]
MARK: Sure.
CHARLIE: Okay
[Charlie takes her dad's right wrist and ties the bracelet on.]
CHARLIE: There you go.
[Mark holds Charlie close to his chest, looks at the bracelet then looks up to the sky. A concerned look is coming from his face. Slow pulling away from the camera. Switch to the FBI office.]
DEMETRI: [to Zoe on the phone] I'm still at work, babe.
[Kenny Rogers' and Dolly Parton's Islands in the stream is playing in the background]
Islands in the stream
That is what we are
DEMETRI: Yeah, I'm watching it right now.
No one in between
How can we be wrong?
Sail away with me
To another world
[Demetri is watching Kenny Roger and Dolly Parton perform, "Islands in the Stream."]
DEMETRI: If, uh, this is the song you want, you got it baby [laughs].
And we rely on each other, uh-huh
From one lover to another, uh-huh
DEMETRI: Let's um, talk about the future when you get home.
JANIS: Dem, come here. You have to see this.
That is what we are
DEMETRI: Gotta go.
No one in between
DEMETRI: I love you too.
[Demetri hangs up the phone and walks over to Janis.]
DEMETRI: What's up?
JANIS: Okay, so as far as we know, every single person on the entire planet lost consciousness at the same exact period of time. Right?
DEMETRI: Right.
JANIS: Okay,so I started cycling through a bunch of surveillance cameras for the last five hours [types on keyboard] because I was curious to see what they recorded. I looked at hundreds of them. I checked every major city, even web cams in other countries [types] and they all show the exact same thing. At 11:00 AM, people dropping like flies.
[Various shots of people losing consciousness simultaneously.]
JANIS: Okay and then two minutes and seventeen seconds later, they start to come to. And then I saw this. This was in Detroit.
[A roving camera shows a baseball field from home plate moving back to the bleachers.
DEMETRI: What am I looking at here?
JANIS: Just hang on a second. [pointing] Right there. Look right there.
[As the surveillance camera reached the bleachers, Janis grabs a section of the shot and enlarges it. There is a banner showing that they are watching video from The Oxide Super Stadium. Everyone is unconscious except for one person. This person walks passed unconscious people, stops at an entry/exit corridor.]
DEMETRI: No way.
JANIS: Yeah. Who the hell is that? And why are they awake?
[This person looks around several times then starts to exit, stops then exits the stadium. Janis and Demetri stare at the monitor as the episode fades.]
[END]
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