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#111 : Le choix de Simon (1/2)


Mark doit rencontrer un thérapeute, après avoir été suspendu de ses fonctions. Demetri doit faire équipe avec l'agent de la CIA Vogel pour retrouver Lloyd.

Nicole recherche de l'aide afin de comprendre la signifiacation de son flashforward horrifiant ; tandis que Janis est chargée d'accompagner Simon, et révélera certains de ces secrets.

Titre VO
Revelation Zero, part 1

Titre VF
Le choix de Simon (1/2)

Première diffusion

Première diffusion en France


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Sneak Peek#2

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Sneak Peek#3





Plus de détails

Scénaristes: Seth Hoffman ; Marc Guggenheim - Réalisateur: Jon Polson

Guest Stars: Barry Shabaka Henley (Agent Vreede) ; Paula Newsome (Callie Langer) ; Lindsay Crouse (Nicole's mother) ; Gil Bellows (Timothy) ; Ricky Jay (Flosso) ; Neil Jackson (Nicole's Assailant) ; John Prosky (Mr. Dunkirk)

Audiences US : 6,6 millions de téléspectateurs
Audiences FR - Tf1 : 2,4 millions de téléspectateurs


Joseph Fiennes → Mark Benford
John Cho → Demetri Noh
Jack Davenport → Lloyd Simcoe
Zachary Knighton → Dr. Bryce Varley
Peyton List → Nicole Kirby
Dominic Monaghan → Simon Campos
Brian F. O'Byrne → Aaron Stark 
Courtney B. Vance → Stanford Wedeck
Sonya Walger → Dr. Olivia Benford
Christine Woods → Janis Hawk
Barry Shabaka Henley → Agent Shelly Vreede
Paula Newsome → Dr. Callie Langer
Lindsay Crouse → Mrs. Kirby
Gil Bellows → Timothy
Ricky Jay → Ted Flosso
Neil Jackson → Lucas Hellinger
John Prosky → Mr. Dunkirk
Ginifer King → Paige
Marc Menchaca → Wheeler
Karl Herlinger → Quarry
Omid Abtahi → Ed Fiore
Jessica Tuck → Agent Levy
Seana Kofoed → Charlene Collins
Michael Ealy → Marshall Vogel
Cynthia Addai-Robinson → Debbie
Amy Rosoff → Marcie Turoff
Jonathan Levit → Martin Dewey
Ryan Wynott → Dylan Simcoe
Dana Sorman → Agent Galloway
Conroe Brooks → Sergio

RESUME FRANCAIS 1ère partie :

Lloyd Simcoe a été kidnappé. Simon et une équipe du FBI se rendent chez lui pour essayer de trouver des indices. Janis se fait surprendre par des hommes masqués, Simon est enlevé à son tour. Les masques correspondent à ceux présents dans la vision de Mark Benford.

Lloyd et Simon sont interrogés par un mystérieux Mr Flosso, il souhaite connaître des détails sur l'expérience menée au CERN. L'expérience n'a pas causé le Flashforward, il le sait, mais elle a considérablement élargie sa force et sa portée. L'homme souhaite connaître le nombre d'électron-volts générés lors de l'expérience.

L'agent Benford est mis à pied. Mais il continue d'enquêter. Stanford Wedeck l'oblige à consulter une psychologue qui lui suggère d'utiliser une drogue pour se rappeler la partie du Flashforward qu'il oublié. Mark se voit parler au téléphone avec Lloyd Simcoe, ils discutent du prochain blackout.

Mr Flosso poursuit l'interrogatoire de Llyod. Lui et ses hommes surveillent Llyod depuis longtemps, bien avant le blackout mondial. Après avoir coupé un doigt à Simon, il fini par obtenir les informations souhaités. Alors que le matériel du CERN ne peut générer plus de 500 tera d'électron-volts, l'expérience de Lloyd Simcoe a généré un peta d'électron-volts, soit un millier de trilliards d'électron-volts... Et il n'ont pas trouvé la matière noire tachyonique qu'ils recherchaient, mais une conjugaison de charge, une rupture dans la symétrie temporelle.

L'agent Benford continue d'exploiter sa vision enfin complète. Il suit la piste Red Panda, ONG qui finance des écoles à travers le monde qui lui permet de retrouver les deux otages. Après un cours séjour à l'hôpital, Simon part au Canada pour voir sa famille car sa sœur a disparue. La famille organise repas, l'oncle Teddy se joint au groupe. L'oncle Teddy est Mr Flosso...

Simon est le suspect zéro, celui qui était conscient dans le stade de Detroit lors du blackout. Le mystérieux D. Gibbons lui avait donné une bague, seuls les porteurs de cette bague n'ont pas été affecté par le blackout. Simon a collaboré avec ce groupe et a donné la date de l'expérience du CERN à « son oncle », mais il en ignorait la finalité.

Simon n'accepte pas d'avoir perdu en plus un doigt dans l'affaire. Il apprend également que « son oncle » a fait tuer père et qu'il retient désormais sa sœur en otage pour s'assurer sa collaboration sans faille. Simon décide de le tuer. Ainsi, il espère rentrer en contact avec le véritable responsable de l'opération.



Wedeck informs Mark that he must be cleared by a Bureau-mandated therapist before there’s any chance of him being reinstated into the FBI. Olivia is in an adjacent room recounting the details of Lloyd Simcoe’s kidnapping. Marshall Vogel, the CIA agent Mark and Demetri met in Hong Kong, joins the Mosaic Task Force.

"I can see working for the FBI is going to be much more interesting than academia."The imposter paramedics who kidnapped Lloyd ambushed the real EMT’s at an old railroad yard. Vogel and Demetri discover two bodies in a boxcar and track the ambulance to a warehouse. There’s a bomb inside. BOOM! The vehicle explodes. The bad guys were one step ahead of them. Vogel believes they know that Mark and Demetri are at the center of this investigation. They should focus on how they may use that information.

A well-dressed man visits Lloyd Simcoe in the abandoned restaurant where he’s being held. He wants information, but Lloyd isn’t talking. Meanwhile, Janis escorts Simon to Lloyd’s house to break the encryption code on his computer. While there, Janis is knocked unconscious by two men wearing masks resembling the ones on Mark’s board. The bad guys snag Simon and take him to the place where Lloyd is imprisoned.

A man we first saw in Playing Cards With Coyote makes his way into the restaurant. His name is Flosso and he seems to take great pleasure in telling the two scientists that he’s a villain. Some unknown folks are paying him a lot of money to get info out of Lloyd. Flosso wants to know how much collision energy was generated during his experiment. Flosso tells Lloyd that he did not cause the blackout. All he did was amplify it.

Simon tells Lloyd that he was killing a man with his bare hands during his flash forward. To crush a man’s trachea, you need full use of your thumbs. That means Simon could not have been texting Lloyd during his flash forward, as he originally believed. Lloyd writes the words “Help Us” on a Crown Cheese Steak takeout menu. He slips it through a cracked window, but it blows away down the street. "It's a possible future. Anything's or no vision."

At the hospital, Nicole believes she sees the man from her flash forward. This is the guy who held her head underwater until she stopped breathing. Rattled, she visits a discussion group called Sanctuary. It’s headed by Timothy, a former window washer who survived a harrowing blackout incident which led to an epiphany.

Nicole asks Bryce to keep an eye on her as she has a discussion with Timothy in a diner. Timothy says, “Every day, God puts something good in your life.” He says this as Nicole stares fondly at Bryce, who is gathering pennies as she’d requested. They are for Nicole’s slightly odd mother who is creating a wall of pennies in her house. She only uses ones dated 1989, as that’s the year Nicole was born. The wall is a tribute to her.

"Some stranger tells me I'm gonna put three bullets in my friend, I'm not gonna invite her to a tea party."Mark visits the psychiatrist, Dr. Callie Langer, who gives him a drug to help him remember the missing pieces of his flash forward. Several new clues pop up. He sees a picture of a multi-headed serpent monster (a Hydra), a sign for Red Panda Resources and that takeout menu bearing Lloyd’s “Help Us” message. He also recalls that he received a call. He says to the caller, “I just wish you were standing behind the 8 ball when I came crashing through.” The person on the other end of the line: Lloyd Simcoe.

As he sits in his car outside of a bar, Mark calls Aaron for support. He recounts his newly-remembered flash forward conversation with Lloyd. It sounded like they were working together. They spoke of D. Gibbons, who Lloyd dubs a liar. Then Mark says, “Unless we can stop this, there’s gonna be another blackout.”

After working from home on a makeshift Mosaic board, Mark visits the offices of Red Panda. It’s a humanitarian aid organization that wasn’t around in 1991, a time when a blackout may have happened in Somalia. Mark later visits Crown Cheese Steak to discover the original location was trashed during the blackout.

Flosso returns to show Lloyd that he found his “Help Us” note. To motivate Lloyd into talking, Flosso has one of his thugs cut off Simon’s finger. He then threatens to do worse to his son, Dylan. Lloyd gives Flosso the info he wants, which means he and Simon have outlived their usefulness. Their heads are covered in hoods as they are led up some stairs, presumably to be executed. "Al Gough jumped off a building to save a woman's life...a woman he didn't even know. There's nothing I won't do to save our marriage."

Mark arrives at the exterior of the original Crown Cheese Steak restaurant. Graffiti covers the abandoned storefront. Thinking this is a dead end, Mark drives away. Once again, he recalls his flash forward conversation with Lloyd. He said, “I just wish you were standing behind the 8 ball when I came crashing through.” The graffiti on the front of the storefront was that of a giant 8 ball.

Mark whips the car around to speed back to the restaurant just as Lloyd and Simon are led into the main dining room. CRASH! Mark floors his car into the restaurant. As one of the thugs fires on the car, the other flees into the street. Simon finds his gun, follows him outside and shoots him in the head. Inside, Mark kicks open the car door and subdues the other thug. Simcoe is safe. Now Mark wants him to spill everything.

"There's gonna be another blackout."As Simon is loaded into an ambulance, he discovers someone other than an EMT inside. Flosso is waiting for him to say that he cut off his finger to direct suspicion away from him. It’s obvious these two are in cahoots, though Simon wants out. Flosso threatens to expose Simon as the man who was awake in the Detroit stadium during the blackout. This means Simon Campos is Suspect Zero.

On the day of the blackout, a hired driver forces Simon away from his father’s funeral. He’s taken to Detroit to attend a baseball game. A man we recognize as D. Gibbons speaks to him via his cell phone. He instructs Simon to take his seat and put on a ring. The blackout occurs and everyone in the stadium passes out. Everyone but Simon. In the stadium tunnel, Simon meets up with Flosso, who asks for the ring back.

In present day, Simon skips out of protective custody to go home to Toronto to help his family search for his missing sister, Annabelle. Janis tracks him down and suspects Simon may have other reasons for being there. Janis is right. Simon visits an old professor who confirms that a particle accelerator could have generated a wave that caused human consciousness to flash forward. Simon wants to find a way to protect themselves from the effects of another blackout.

Later, Simon’s mother informs Janis that Uncle Teddy will be joining them for dinner. When Simon opens the front door, we see that Uncle Teddy is actually Flosso. Flashing back to the blackout day, Flosso informs Simon that the experiment he’s been working on for years was associated with the blackout. The ring he wore kept him awake. Simon’s father was killed to create an alibi for him. Flosso tells Simon to make up a story for his flash forward to further the alibi. After realizing the hired driver is the man who murdered his dad, Simon chokes him to death. Now he truly does have a killer story for his flash forward.

In present day, the phone rings. It’s Annabelle. She’s in New York and wants to come home. Flosso assures Simon that his sister will be returned as long as he cooperates. Simon’s professor has been killed. There’s no one else who can help. Simon knows that Flosso is just the middle man. He wants to know who is pulling his strings. Simon pushes him down, applying enough pressure on his chest to cause him to go into cardiac arrest. Flosso is dead. Simon has effectively eliminated the middle man.

[The episode commences with a man speaking in the background as his story is being told in various scenes. The first is the roof of an octagon shaped high rise office building. The conversation in the pictures will be in Italics.]

NARRATOR: I want to tell you a story about a man I know, a window washer in Los Angeles.

October 6th, 2009
The Day of the Blackout

NARRATOR: Nothing special about him, just going about his life living from day to day.

WINDOW WASHER: [tosses line and hook to Window Washer 2] Hook me up.

[Window washer climbs over the edge of the building onto a scaffold.]

NARRATOR: Vague plans, few dreams, and if he had any aspirations, he never spoke of them. Like most of us, he was already unconscious when the blackout hit.

[The two window washers pass out, one on the scaffold and one on the roof. The man on the scaffold hits a lever , the cable snaps one side of the scaffold. It starts lowering with the end gate open. The man on the roof never had the opportunity to secure the end of the line before losing consciousness. Cars on the streets and highways below the scaffold are crashing with tires screeching. The scaffold looks like a slide and the window washer begins to slide off it.]

NARRATOR: Before the blackout, the window washer lived his life ignoring the questions of the future.

[The cable on the roof is pulled by the lowering scaffold. It goes over the edge of the building. The window washer is sliding off the scaffold, feet first.]

NARRATOR: They just weren't important to him so he believed nothing. But the blackout came ...

[The window washer has totally slid off the scaffold and is falling to the ground.]

NARRATOR: ... and this man faced certain death.

[Clouds of black smoke rise around the building from various fires and explosions. Car alarms are being set off, the sound of an airplane get louder, more fires occur. Traffic on the over and underpass of a highway are littered with disabled cars from a bevy of accidents. I bush is on its side. Tractor trailers are jackknifed. A white tractor trailer barrels through the clogged overpass and another massive accident occurs. The window washer is still falling to the ground from the scaffold. The line, which was not hooked up, is still in the hand of his partner and is uncoiling as it follows him falls.]

NARRATOR: Many of us think that when divine intervention happens, it's something big. But it can also be a small thing that seems so inconsequential in the moment.

[The end of the line is being pulled from the roof. It winds through two pieces of metal pipes, off the roof and onto the scaffold. As the man continues to fall, it slides along the scaffold and it hooks onto the edge of the scaffold and the man stops falling.]

NARRATOR:That turns out to be the turning point for your entire life.

[A helicopter loses control and crashes into the octagon shaped building crashing windows and it falls. The Hollywood sign is shown as the scene changes to reveal more fires and explosions occurring over residential areas. The scene switches to the Opera House in Sydney, Australia at night.]

NARRATOR: Big or small, what if that moment affected everyone, everywhere at the exact same time, what would that mean to you?

[The camera pans to reveal more plumes of smoke among many large office buildings. It changes again to show the statue of Christ the Redeemer atop Cordova mountain in Rio De Janeiro, Brazil.]

NARRATOR: Where would you look for answers? The answer is never about just one person.

[The camera pans to show fires in Paris and the Eiffel Tower. Switch back to the window washer dangling from the scaffold, unconscious.]

NARRATOR: Every single person's life was touched by the blackout. None of us are in this alone.

[The dangling window washer regains consciousness and realizes his predicament. He dangles in front of an office window. A man is waking up and trying to stand up and a woman is sitting behind a desk, also regaining consciousness. Shanti Shanti's "Beloved Son" is playing in the background. It starts with a chant and then is followed by lyrics. Other people awakening from the blackout are shown as the song plays. First is Aaron Stark dangling from a utility pole.]


AARON: Help!

[Olivia and the rest of the medical personnel regain consciousness in the OR with a patient on the operating table.]

Stay with me
Remain here with me
Watch and pray

[Bryce is awakes on the pier with the other people on the pier. Nicole awakens on the sofa in her undergarments of the Benford residence while Mark awakens in the upside down car that he and Demetri were in. There are oranges on the pavement.]

Watch and pray

NARRATOR: Each one of us is unique but we are being stitched together to form a tapestry.

[Overheads pictures of the Golden Gate Bridge, The US Capitol building, people waking up in the streets, surrounded by crashed vehicle, other wounded people and people assisting them.]

NARRATOR: Something larger that can't be understood until we step back to see the whole thing.

WOMAN: I need help here!

[Shot of a woman standing while in shock. A police car has a man pinned underneath the rear of the vehicle.]

NARRATOR: At some point we all wake up and then we have to choose.

[People are helping people, strangers, wherever possible.]

NARRATOR: Do we walk in hope believing that what God is doing is good or do we stumble around, resigning ourselves to chaos?

[The dangling window washer takes in all he is witnessing. The scene changes to a room where people are listening to a man at a dais speak.]

NARRATOR: The window washer saw a path through the chaos and he saw the good in what he was shown. That window washer [pause] was me.


[The scene pans across various office buildings at night in the background. Sirens are heard.]


NARRATOR: These are the questions people have always struggled with. Only now, they are more powerful than ever.

[On a monitor is footage of Mark and Demetri in a Hong Kong restaurant with Nhadra and her henchmen. The camera pans to Wedeck who has the remote control for the monitor. They are in the FBI building in Los Angeles. Mark is sitting at a table with his back to the monitor.]

WEDECK: Take me through something here. You're in a foreign country against my expressed wishes, and you decide to pull a gun in a public place.

[Video plays of Mark flipping over the dinner table, grabbing Nhadra and pointing a gun at her.]

WEDECK: [points to Mark] Just out of curiosity, what were you thinking?

[Video plays of Mark in the streets of Hong Kong, outside the restaurant with his arm around Nhadra's shoulders and pointing the gun at people coming to Nhadra's aid.]

MARK: Back off! Back off now!

[Mark now has his gun pointing at Nhadra's head.]

MARK: Can I go see my wife? She was just nearly kidnapped.

[Wedeck approaches Mark with his open hand extended to Mark.]

WEDECK: What [pause] were [pause] you thinking? I asked you a question.

[Mark looks across the corridor to see Olivia, her face bruised, being questioned in another office.]

JANIS: Can you try to tell us what you saw?

OLIVIA: Uh, yeah. I was saying good-bye. Dylan Simcoe's been a patient of mine for a while. Um, the paramedics were loading him in.

[There is a flashback of Dylan fighting being put into the ambulance to transfer him to another facility.]

OLIVIA: And that's when I noticed ...

[Return to flashback.]


DYLAN: No ambo!

[Stop flashback.]

OLIVIA: ... something was wrong.

[Return to flashback. EMT John speaks to EMT Reed]

EMT JOHN: We don't have time for this.

[End flashback.]

OLIVIA: Well, they weren't paramedics. I mean, they didn't know what they were doing.

[Return to flashback.]

OLIVIA: [yells to security] Bill, can you get down here?

[Bill walks down a ramp toward Olivia. End flashback.]

JANIS: Who's Bill?

OLIVIA: Oh, the security guard.

[Return to flashback. The two EMTs draw handguns and one shoots Bill.]

OLIVIA: They shot him. They shot him. They just did it. And then they turned the gun at me.

[Return to flashback. Olivia is agape at what she witnessed and now having the guns aimed at her. Lloyd jumps in front of Olivia with his arms out to his sides.

LLOYD: No, No, no! Please, please don't hurt her.

[End flashback.]

OLIVIA: That's when Mark jumped in and got in the middle of it.


OLIVIA: [closes eyes] Lloyd, sorry, tired.

[Vreede nods.]

OLIVIA: Lloyd Simcoe. He told them not to hurt me and that he'd go with them.

[Return to flashback where EMT Reed has a gun to Lloyd's back and pushes him into the back of the ambulance.]

OLIVIA: He saved my life.

[Switch back to Mark and Wedeck in Wedeck's office.]

MARK: Some stranger tells me I'm gonna put three bullets in my friend. I'm not gonna invite her to a tea party.

WEDECK: Are you trying to be cute?

MARK: At least I'm not sitting on my hands. We still haven't gone to Somalia. We can't find D. Gibbons and for some reason we're not using every resource available to us to find out who the hell Suspect Zero is.

WEDECK: [yells] Somalia is a war zone and I'm working to get us in. The Detroit bureau is canvassing Michigan looking for Suspect Zero and we've got Gibbons on the ten most wanted list which is more than a miracle to pull off. So don't you imply that I'm not working with you here.

[Mark scoffs. Switch to the office with Olivia, Janis and Vreede.]

OLIVIA: Are you gonna find Lloyd? This only happened 'cause he came forward, ...

[Flashback to when Lloyd brushed Olivia's hair back from her face prior to the arrival of the EMT. End flashback.]

OLIVIA: ...did the right thing. [pause] Please find him.

[Switch back to Mark and Wedeck.]

WEDECK: Your bureau-mandated therapist, you see her three times a week and when she thinks you're up to it, we'll talk about a reinstatement.

[Wedeck hands Mark a business card with the information about the therapist. The scene switches to Mark entering his office. Radio City featuring Bajka's "The Hop" plays in the background. Mark puts the business card in his shirt pocket, picks up his jacket and just before he exits, he sees his board with the evidence gathered so far about the blackout. He takes out his cell phone and begins to take pictures of the board. He occasionally checks to see if anyone is watching him then continues to take pictures. They are as follows. A melted doll with a Post it that reads D.Gibbons and another that reads Baby Doll Photograph. A card with Mosaic Blue Hand written and a match book pinned to it with The Blue Hand written on the inside. There are three pictures of flying and dead crows and a picture of two masks. There is a picture of a street man and a plastic back with a charred queen chess piece in it. Two aerial pictures of the Somali configuration of pylons are next followed by more snapshots of the board that have already been taken. As Mark leaves his office, he palms the phone and continues to take pictures of items behind him.]

Going in my lap
And I push the cap
And in da back,
Climbing up,
Close my cap
Tango real nice
In the back C.P.
Cause we will roll the top down
It's a fly on the street
It's a fly on the street.

[The melody continues as Mark is about to pass an office where Simon is sitting at a desk with a laptop on. As Simon notices Mark, he taps his pen on the window to get Mark's attention. The music stops.]

SIMON: Excuse me.

[Mark stops at the door to the office as Simon turns around in his chair.]

SIMON: I know America was a country founded by Puritans, but is there really not a single beer in this entire place?

MARK: I think you got us confused with the A.T.F., Dr. Campos. What is it you're doing here?

SIMON: I'm advising the office on all things scientific related to the investigation.

[Mark sees video playing on the laptop of Olivia hugging Dylan, Lloyd holding a wheelchair and the two fake EMTs standing next to a gurney. Olivia walks to put Dylan on the gurney. Mark points to the monitor and enters the office.]

MARK: Very scientific.

[Simon quickly tries to close the laptop.]

SIMON: That is classified.

MARK: Not to me.

[Mark opens the laptop and continues to watch the video of the two EMTs aiming their guns. Next one EMT drags Lloyd, hands raised, to the ambulance as the other aims his gun at Lloyd. The next clip shows an EMT back slapping Olivia to the ground. The two men are interrupted.]


[Mark turns and goes to Olivia. Olivia is relieved and they hug. Janis is behind Olivia. Mark hugs and kisses Olivia. As Mark comforts his wife, she sees the video playing on the laptop monitor. It is the clip of Olivia and Lloyd hugging. Mark slowly turns back to Olivia.]

SIMON: I can see working for the FBI is gonna be much more interesting than academia.

OLIVIA: Mark, it's not what it looks like.

MARK: Shh. Not now. You've been through enough. This can wait till later. [kisses Olivia's forehead] Let's go home.


[Mark puts his arm around Olivia and they leave the office. Simon returns to his work.]

SIMON: [sarcastically] Bye-bye.

[The scene switches back to the FBI building. Wedeck, Janis, Marcie, Demetri and Vreede are walking down a flight of stairs.]

WEDECK: It's been eight hours since Simcoe was kidnapped. Where are we?

MARCIE: We know it was a professional job but there hasn't been any kind of ransom demand.

JANIS: We can only theorize as to why he's been taken, but considering how many people want him dead ...

AGENT VREEDE: Could be anyone.

[Wedeck and his group enter a conference room with Simon and Marshal Vogel sitting at one end of the table. Vogel tosses his reading material on the table.]

DEMETRI: What's he doing here?

MARSHAL VOGEL: Nice to see you, too, Agent Noh.

WEDECK: Agent Vogel has officially joined the Mosaic Task Force. Embrace it, Demetri. This is now an interagency investigation.

[Vogel smirks. Demetri gives Vogel his back.]

MARSHAL VOGEL: I've asked Dr. Campos to be here. His close association to Simcoe should be able to shed some light on our kidnappers.

[Wedeck's group takes a seat at the table as Wedeck remains standing.]

SIMON: I suggest we cast a wider net, terrorists, anyone interested in future forecasting. If someone were able to master the flash-forwards, they would be effectively printing their own money. I think we can all agree that the mind of Lloyd Simcoe is a priceless resource.

[The scene switches to the interior of an old building where the sound of water is present. A rather large bug crawls on the top of some sort of tank. As more of the area is seen, there are a few lights, a chair and empty metal shelving. There is a man yelling out.]

LLOYD: Help! Help! Can anybody hear me?

[Lloyd is chained to metal pipes and is badly bruised about the face. The creaking of a metal door opening then closing gets Lloyd's attention. A man enters the area.]

MAN: No one can hear you.

[A blonde haired man offers Lloyd a plastic bottle with yellow liquid inside. Lloyd reaches out for it.]

MAN: You're dehydrated. You should replenish your electrolytes.

[The man unlocks the handcuffs holding Lloyd to the pipes then wipes his hands.]

MAN: You tell me what I need to know, and you can walk out of here right now.

LLOYD: Who are you?

MAN: You actually don't want to know the answer to that question.

LLOYD: Go to hell.

MAN: You have no idea what hell is but I guess you're gonna find out.

[The two men look at each other and say nothing. The scene switches back to the room where the window washer is speaking to a group of people.

WINDOW WASHER: From the outside I looked the same after the blackout., but inside, I was different.

[The window washer is speaks as the scenes changes to a residential area. The camera pans inside of one of the houses and continues to a cluttered bedroom where a woman is a pink chenille robe is wearing angel wings is looking for a book.]

WINDOW WASHER: We've lived believing, not knowing the future made life difficult. The truth is that it's vastly more difficult knowing what lies before us.

[She exits the bedroom, carrying a book, and stops to look in the hallway and continues to the kitchen. She reads from the book.]

WOMAN IN ROBE: "But of the tree of the knowledge of good and evil, you shall not eat. For in the day that you eat of it, you shall surely die." Hmm.

[The woman puts down the book, takes out matches, lights one and drops it on the book. The smoke alarm starts beeping. Nicole, calls to her mother.]

NICOLE: Mom? Mom? Mom!

[Nicole grabs a pitcher filled with tea and douses the burning book.]

NICOLE: Why would you do something like that? You could burn the whole house down.

[Nicole grabs a sewing basket and steps on it to turn off the smoke alarm. She then sits next to her mother as her mother takes off her glasses.]

NICOLE: What's gotten into you?

[Her mother says nothing. The scene changes to Nicole leaving the house to go to work just as a car pulls to the curb.]


NICOLE: Whatever. She's had breakfast.

NICOLE'S SISTER: The nanny was late.

NICOLE: You know, when you say you're gonna be here, I need you to be here.

NICOLE'S SISTER: It's not my fault.

NICOLE: She burned the bible this morning.


NICOLE: Might want to search the house again for matches or a lighter. Whatever.

NICOLE'S SISTER: The family bible?

[Nicole continues on her way as her sister walks to the front door of the house.]


[The window washer is heard in the background.]

WINDOW WASHER: The challenge for us is to find the gift in what we saw.

[The camera shows a panoramic view of the residential area.

WINDOW WASHER: We may not recognize it at first but if we pay attention, it will reveal itself.

[Olivia opens a French door and looks at Mark as she stands in the doorway. He has papers strewn about and has a pad in his hand. He is looking at the new board he is building at his house. The pictures he took at his office and yellow string are already on the board.]

MARK: What else am I gonna do? Charlie's at school and it's not like I play any golf.

OLIVIA: We didn't get to talk last night and I don't want to not talk. I was saying good bye to Lloyd. But what you saw on that video tape that was supposed to be an ending. I swear to God, it made me happy to think it was over.

MARK: I'm just glad you're okay.

OLIVIA: [pause] That's the thing, I'm not. I haven't been for a while.

[Olivia sits in the doorway.]

OLIVIA: At work I'm cold and I'm distant and then I come home and you and I, ...

MARK: I haven’t been the easiest guy to come home to. I know. I'm sorry.

OLIVIA: What if we just ran? What if we just upped and moved away?

[Mark chuckles.]

OLIVIA: No, I mean it. I mean, everything bad we saw was here in L.A.

MARK: You're serious about this?

OLIVIA: Al Gough jumped off a building to save a woman's life, a woman he didn't even know. There's nothing I wouldn't do to save our marriage.

[Mark moves closer to Olivia.]

MARK: Come here.

[Mark leans in and kisses Olivia. They embrace. The scene switches to the FBI building. A monitor shows a recording of a 911 call. The filename is 000192.wav. Janis, Vogel, Simon and Demetri are present.]

911 OPERATOR: 9-1-1.

MALE 911 CALLER: There's a homeless man. He's vomiting. He looks like he needs help, 838 Bauchet Street, by the train yards.

911 OPERATOR: Are you with the victim now, sir?

[The call ends.]

DEMETRI: The call's a hoax. Real EMTs responded, bad guys swapped themselves in.

JANIS: The ambulance company supplied us with this, and aside from the videotape, it's the only lead we have on the kidnapping.

MARSHAL VOGEL: Have you found the missing EMTs?

MARCIE: We sent L.A.P.D detectives to that location. Dead end, it's just an empty rail yard south of downtown.

JANIS: And we haven't located the ambulance, either.

MARSHAL VOGEL: You outsourced this to the Los Angeles Police Department?

DEMETRI: It's a local crime.

MARSHAL VOGEL: That involves our investigation.

SIMON: What about Lloyd's laptop?

MARSHAL VOGEL: What about it?

SIMON: Well, I might be able to break through the encryption software, see who he was in contact before he was taken. Could help.

[Vogel stands up and buttons his jacket.]

MARSHAL VOGEL: Janis, take a security team, escort Dr. Campos to the Simcoe house. I want to talk to the detective who canvassed that crime scene. Thank you.

[Vogel leaves the conference room. Simon smirks. Demetri glares. The scene switches to Mark knocking on an office door that he opens. He enters and sees a woman putting on her jacket.He is looking at the business card that Wedeck gave him. It reads:]

Dr. Callie Langer Psychiatrist
77412 Sunset Blvd • Ste. 520 • Los Angeles, CA 90028
cell (323) 555-0194
fax (323) 555-0199
[email protected]

MARK: Uh is this Suite 520?

DR. LANGER: Uh huh and you’re my three o'clock.

MARK: [looks at watch] Then why does it look like you're leaving?

[She grabs her purse and starts to walk out of the office.]

DR. LANGER: 'Cause it's three o'clock and if I don't get an iced latte stat, I'm gonna need therapy.

[The scene changes to a park Dr. Langer and Park are sitting at a park bench.]

DR. LANGER: Agent Benford, for the past twelve years, my job has been to help people cope by helping them explore their past. But since the blackout, that's all changed. The majority of people who are coming to see me are dealing with traumas from their future. So tell me what you saw.

MARK: I saw myself off the wagon with guns pointed at me.

DR. LANGER: What else do you remember?

MARK: That's not enough trauma for you?

DR. LANGER: I've seen your files. You've got a God complex. I believe that you saw something in your flash-forward, something that you might not even be conscious of ...

[Snippet of Mark's flash-forward is shown where he writes, "Who Else Knows," on a calendar page with the date April 29, 2010.]

DR. LANGER: ... that's making you believe that you're the center of the universe and I'm not signing anything until we find out what that is.

[Another snippet of Mark's flash-forward is shown. He is standing in front of the board in his office then walks away tossing papers on the table and onto the floor. He takes out a flask and drinks from it then puts the flask to his forehead. His right wrist is shown wearing the friendship bracelet Charlie made for him, writing on the calendar page, two masks, 2 red laser site beams, Mark cocking his gun, drawing of a schematic on a piece of paper, men walking around the office in the dark wearing ski caps and masks, Mark standing next to doors and looking at the men, men with lasers sites on their guns. A 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 pinned to the board. Next is a calendar page, on the board, for the month of April followed by April 29 colored in blue on the calendar page with D-Day written on it and finally 2 red laser beams. The snippet comes to an end and Mark is sitting on the park bench with Dr. Langer.]

MARK: Next thing I knew, I was upside down staring at a broken windshield and a bunch of oranges on the one ten.

DR. LANGER: Okay, by my math, that doesn't exactly add up to two minutes and seventeen seconds.

MARK: You're not the first person to point that out.

DR. LANGER: And you were drinking?

[A quick snippet of Mark drinking from a flask in his office during his flash-forward is shown.]

MARK: Can't even remember half of it.

DR. LANGER: Do you want to?

[Mark listens.]

DR. LANGER: 'Cause there has been some success using a modified calcineurin inhibitor to enhance people's memories of their flash-forwards.

MARK: Using a drug to enhance memories. Eh, I don't know. I don't think a magical mystery tour is the best way to go for someone in recovery.

DR. LANGER: What are you afraid of?

MARK: Not much, in case you forgot, I chase down very bad people for a living.

DR. LANGER: Not anymore you don't.

[Mark says nothing and looks away from her.]

DR. LANGER: Call me when you want to continue your treatment. I'd be happy so see you.

[Dr. Langer gets up from the park bench and walks away leaving Mark on the bench, alone. She passes a man wearing a sign that counts the "Days until D-Day." The number of days crossed out are 364, 329, 250, 190, 181, 172 167, and155. The one number that is not crossed out is 140. Mark watches as she walks away. The scene switches to Lloyd's house. Simon sits in front of a laptop and has inserting the hard drive from Lloyd's laptop. Janis and two FBI Security men watch his every move. As the HD boots, a window shows a picture of Lloyd, his wife and Dylan. It prompts for a password. Simon types then waits as the screen shows a black background with the active window color of green. Another small window pops up as the main window scrolls by. The active window banner of the smaller window shows "Telnet.Logs/DIR./msdos.sys." On the window it reads, "Running Password Combinations."]

JANIS: [to one security man] You go to the alley. [to the other security man ] Guard the back door.

[Janis approaches Simon at the desk but stops as he points to her.]

SIMON: Could you get me a beer from the refrigerator, please?

[Simon continues to type without looking at Janis.

JANIS: We're here as your security, Mr. Campos, not your servants.

[Simon stops typing and looks at Janis]

SIMON: I'm trying to brute force an encryption here. I don't have time to get up. I’ve even less time for explicating why said request should be obvious. [smugly] So why don't you toddle off, get me a beer? It'll help me cogitate. That means "think."

JANIS: That's a big word for such a little man.

SIMON: I'm wounded. [pause] But I still want my beer. [Simon smirks.]

[Janis rolls her eyes and gets the beer. As she takes the beer from the refrigerator, two men dressed in black and wearing plastic mask are behind her. The scene changes to show Janis on the kitchen floor unconscious. The refrigerator door is still open. A small movable wire shelving unit is next to Janis with items from the unit on the floor. Demetri is the first to enter the kitchen. He has his gun drawn as he steps over Janis. Vogel is right behind Demetri who is now crouched next to Janis.]


MARSHAL VOGEL: Get her on her side.

DEMETRI: You're all right. You're okay. Take it easy.

[A police car siren is blaring in the background. Janis is sitting up against the stove.]

JANIS: Where's Simon?

DEMETRI: He's gone. You're the only one here. What happened?

JANIS: There were two guys wearing masks ...

[A flashback to Janis seeing the two men as she turns from the refrigerator is shown and then a snippet of the two masks on Mark's board. Janis is rubbing the back of her head.]

JANIS: ...just like the ones are Mark's board.

[A helicopter is heard outside the house. Vogel looks at Demetri. The scene changes to the basement of an industrial building where there are wooden stairs leading down. A loud bang is heard as Simon rolls down the stairs. At the first stop, a man kicks him down the remaining stairs. Simon knocks over a tripod that is holding one of the lights. He rolls over to reveal his face badly bruised and his wrists are handcuffed in front of him. He looks up at Lloyd who is once again chained to the pipes. The sound of dripping water is present.]

SIMON: Good. I found you.

[The scene switches back to the hospital where Dylan is sitting on a chair in a corridor and not saying anything. He looks to his left and listens to a conversation about him.]

BRYCE: But his father's been kidnapped.

HOSPITAL OFFICE WORKER: It's not like he's gonna live on the street. Social Services will take good care of him.

[The conversation also includes Olivia.]

OLIVIA: This is my patient. You can't release him.

HOSPITAL OFFICE WORKER: You signed the forms yesterday. We kept him overnight as a courtesy, but come on. We need the beds.

OLIVIA: Yeah, but he's developed a complication. His clot got worse.

[The office worker looks over at Dylan and back to Olivia.]

HOSPITAL OFFICE WORKER: [sarcastically] I didn't realize you had x-ray vision. Well, guess we can close down radiology.

OLIVIA: Dylan, come here a second.

[Dylan stands up as Olivia walks to him.]

OLIVIA: Dylan? Hey, babe.

[Dylan has his left foot in a immobilizing boot. He moves a wire shelved unit and hides behind it.]

OLIVIA: I'm not gonna hurt you. Dylan, hey, hey. Dylan, sweetie?

[Dylan has his head lowered as Olivia looks at him through the shelving rods. She starts to sing.]

The book hurled and swirled them into Squirrlyworld,
To fight Finnegan the super shark, and live out Tim Tim's words.
Oh, who knows if the stories will go how Tim Tim made 'em go?
I guess we'll just have to watch,
"The Tim Tim and Squirllio Show."

[Dylan comes from behind the shelving to Olivia. He snuggles with her as Bryce and the office worker watch.]

OLIVIA: That's right.

[Dylan and Olivia sing together.]

I guess we'll just have to watch "The Tim Tim and Squirrlio Show.”
"The Tim Tim and Squirrlio Show."

[Olivia takes her stethoscope and puts it to Dylan's chest. Bryce and the office worker approach them. Olivia strokes Dylan's hair as they sing.]

"Tim Tim and Squirrlio Show."

OLIVIA: Yeah, elevated heart rate, shortness of breath and, uh, warm forehead, could be sepsis.

[The office worker does his best and says nothing as he hands Bryce the folder with the transfer papers and walks away.]

DYLAN: Are they gonna find my daddy, Olivia?

OLIVIA: Yeah, of course they are.

[The scene switches to a rail yard. Some trains are moving.]

DEMETRI: Oh, yeah, like we're gonna find an ambulance out here that the L.A.P.D. couldn't find. Good call. This was definitely not a waste of time.

MARSHAL VOGEL: [sarcastically] You know what? I got a better idea. Why don't we, uh, take out our guns and wave 'em around? See what happens?

DEMETRI: Listen, what happened in Hong Kong ...

MARSHAL VOGEL: [interrupts] Should stay in Hong Kong?

DEMETRI: I was following a lead on my own murder.

MARSHAL VOGEL: I know. The thing you and Benford screwed up over there is so much bigger than who might put three bullets in you on March 15th.

DEMETRI: For you, maybe.

MARSHAL VOGEL: Come on. Do you think you're the only one who didn't have a flash-forward? Who saw something, uh, they wish they hadn't? Take some advice. You can cry. You can lie to your fiancée, whatever. But sooner or later you better get it together or else she's gonna be walkin' along that beach getting ready to marry someone else.

[Demetri loses control and swings at Vogel with his right fist. Vogel grabs Demetri's wrist, pushes him to the ground with his left hand on Demetri's shoulder. He then twists Demetri's arm as he speaks to him as Demetri struggles to get free.]

MARSHAL VOGEL: Don't be stupid. There are people around you who know things you don't. If you want to avoid being killed you're gonna need a better partner, better than Mark Benford.

[Vogel release Demetri and steps back. As Demetri raises his head a bit, he notices many flies buzzing around one particular train car. As he watches, Vogel looks to the car. The scene jumps to Demetri opening the train car door. There are the bodies of two dead men, one in briefs one in boxers, and a bevy of flies. The stench is overwhelming. Vogel takes out his cell phone and makes a call.]

MARSHAL VOGEL: [smugly] What was that about a waste of time?

[The scene switches to inside the hospital. Nicole is tying the side of her volunteer apron. She smiles as she walks over to Bryce.]


BRYCE: I am so glad to see your shining face.

NICOLE: Really?

[Bryce turns and picks up a folder.]

BRYCE: Yep. Mr. Michalski just woke up from surgery and we need someone to check on him.

[Nicole's smile fades. She wasn't expecting the response from Bryce.]

NICOLE: Happy to.

BRYCE: Thanks.

[Bryce walks away. Nicole notices a man on the outside of a set of double doors. He looks at his face. He is wearing a visitor's pass label. A snippet of her flash-forward is shown of a man holding her under water. The man walks away from the doors and Nicole runs after him.]

NICOLE: Uh, wait! Excuse me. Hey! Hey.

[She grabs a man by the arm and he turns to look at her.]

NICOLE: Oh, I'm, I'm sorry. I thought [pause] thought you were someone else. Sorry.

[The man continues on his way as Nicole looks around the busy corridor. The man she did see in the door window looks at her then exits through a different door. She runs after him and after she turns through the corridor, he is gone. She cannot find him anywhere. The scene changes to the end of a corridor where Nicole is speaking with Olivia. Nurse Deb and Bryce are with them.]

NICOLE: In my flash-forward, I only saw him for a second but I’m sure it was him.

OLIVIA: Well, I gave his description to Security. I really want you to call that detective friend of Mark's.

NICOLE: Detective Liefeld, no, I gave him a description two months ago. I mean, this won't be anything new.

BRYCE: You never know what can help. You should call him.


[Olivia's pager beeps.]

OLIVIA: ER. Okay. Uh, I'll see you later.

BRYCE: Hey, it's gonna be all right. Okay?

[Bryce leaves Nicole with Nurse Deb.]

NICOLE: I keep trying to convince myself that this is a mistake, you know, it's just something I don't understand. But I, I can't keep walking around wondering if this guy's gonna be behind every corner.

NURSE DEB: Have you heard about Sanctuary? Um, let me show you.

[Nurse Deb walks to a bulletin board and takes a paper from it. She gives it to Nicole.]

NURSE DEB: I put these up everywhere. Here.

NICOLE: Yeah, I've seen these.

NURSE DEB: They guy who leads it sees things in a really positive way. You should check it out. He might be able to help.

[The scene switches to the room where the window washer is speaking from a dais.]

WINDOW WASHER: It doesn't matter to me whether you were frightened by what you saw or excited. I'll be the first to admit, I was totally confused by my flash-forward.

[His flash-forward shows him on a stage speaking from a dais at a large venue. He is speaking and has the audience totally engaged. He raises his arms as a preacher would and looks to the sky.]

WINDOW WASHER: I wasn't a religious person, at all.

[In his flash-forward the audience has their hands raises and he has their undivided attention. There is a spotlight on the dais.]

WINDOW WASHER: I didn't know what to do. But a voice said "Just keep moving forward." So I created Sanctuary. A place where we can be safe, where there is no threat, no danger.

[The background scene changes as he speaks,. Simon is battered and bruised standing on the stairs in the basement of an old building with Lloyd. They are looking at each other. Simon starts down the stairs.]

SIMON: What do you think they're after?

LLOYD: It's the experiment at N.L.A.P. It's gotta be. And clearly I didn't consider the repercussions of our announcement.

SIMON: Your announcement, Lloyd.

LLOYD: I shouldn't have implicated you and the rest of the staff.

[Simon reaches the end of the stairs and sits on a crate.]

SIMON: Oh spare me your whinging, Lloyd. I was co-director of the project. And I was on the hook the moment you opened your mouth and as I’ve said repeatedly, I do not think we were responsible for the blackout.

LLOYD: Yeah, well, it would seem our captors would beg to differ.

MYSTERIOUS MAN: Yes, we do beg to differ.

[Simon stares at this man as he walks into the light. Two other men walk down the stairs to join him. They are the two fake EMTs. He addresses Simon and Lloyd. One of the men brings Lloyd a chair. The mysterious man lights a cigar.]

MYSTERIOUS MAN: Sit please. I have emphysema. I contracted it through years of habitual smoking. Disgusting proclivity, isn't it? Only villains smoke. We know this, right?

SIMON: I'm sorry. You are?

[He spits the lit end of the cigar into Simon's eye. Simon grimaces.]


FLOSSO: You may call me Flosso. [To Lloyd] And I'm a villain.

[Flosso is now sitting. He sits down in an upholstered chair, puts his cigar on the arm and speaks.]

FLOSSO: Imagine a basket, the size of Montana. Now imagine said basket is filled with money. That is what my employers are paying me to ask you these questions. So, at 11:00 AM on October 6th, you conducted a proton-driven Plasma-Wakefield experiment. It is my understanding that you were searching for tachyonic dark matter. In the resulting particle collision, how much collision energy was generated?

LLOYD: I, I don't know.

FLOSSO: Are we talking about a billion electron volts?

LLOYD: I don't know.

FLOSSO: How many electron volts were generated?

SIMON: Perhaps I can help you with your inquiry.

[Flosso looks at one of the men standing behind Simon. Suddenly the man punches Simon in the back of the head so forcefully, Simon falls forward out of the chair and onto the floor. Lloyd watches.]

SIMON: [grimacing on the floor] Ugh!

FLOSSO: [to Simon] On October 6th, you were in Toronto burying your father, I believe. I'm asking the man who actually pushed the button. You're here for a different reason. [to Lloyd] So, how many electron volts were generated?

LLOYD: I'd rather die than tell you how to manufacture another blackout.

FLOSSO: You think you caused it?

LLOYD: I did.

FLOSSO: No, Dr. Simcoe. All the you two did was amplify it. So again, how many electron volts?

[The scene switches to the rail yard. Two men in HAZMAT suits carry one of the bodies found in the train car. Sirens are heard in the background. Coroner Dewey removes his rubber gloves and speaks with Demetri.]

DEMETRI: What 'cha got?

CORONER DEWEY: No wound, no ligature marks, so I'm going with a poison of some kind but I won't know more until the toxology comes back. [takes plastic bag from jacket pocket] We found this.

[Demetri turns and shows the plastic bag to Vogel.]

DEMETRI: Might belong to one of the EMTs.

MARSHAL VOGEL: A leather case?

CORONER DEWEY: Fits a Palm Pre, but we didn't find a phone.

MARSHAL VOGEL: If the phone's still in the ambulance, we can triangulate its position from the signal.

DEMETRI: Find the phone, find the ambulance.

MARSHAL VOGEL: Find the ambulance, maybe find the guys who stole it. Find them and they'll get us to Simon and Lloyd.

[The scene switches to Dr. Langer's office. She is filling a syringe with medication.]

DR. LANGER: Just relax. You ever sit in a chair before?

MARK: Not like this one, no.

[Mark is fiddling with his wedding band. He unbuttons his shirt cuff to ready his arm for the injection.]

DR. LANGER: Well, some people who've had difficulty recalling their flash-forwards have had real breakthroughs with this treatment. So how about you tell me what changed your mind?

[Dr. Langer draws the blinds/curtains closed.]

MARK: I'm driving everyone around me, everyone I care about, away [pause] because I can't deal with what my future might be.

DR. LANGER: Was that really so hard to say?

MARK: You got no idea.

[Mark sits back and reclines the chair.]

DR. LANGER: Well, therapy is a lot like A.A. The first step in recovery is admitting you have a problem.

[Dr. Langer swabs Mark's forearm with alcohol and adjusts a tourniquet. She taps to find a good vein.]

MARK: This gonna hurt?

DR. LANGER: Truth always does, a little.

[She administers the injection to Mark. The scene switches back to the dank basement where Simon and Lloyd are being held.]

SIMON: The man in my flash-forward had a neck like an ox, smelled like a meat locker.

[Snippet from Simon's flash-forward where he is strangling a man on the floor is in the background as he speaks.]

SIMON: Don't know where I was or who the man was. I felt my thumbs on his trachea. I pushed down as hard as I could until I felt something snap, then I let go.

LLOYD: I can't believe you'd be capable of something like that.

SIMON: I guess mine's a little bit more violent than yours.

LLOYD: I'm confused.

[A snippet of Lloyd's flash-forward is shown in the background as he speaks. It starts with Lloyd leaving Olivia's bed to take a call from his cell phone. Next it switches to him looking in a mirror with a physics equation written on a mirror with red lipstick.]

LLOYD: In my flash-forward, I got a text message from you.

LLOYD: Sorry I have to make a call..

[The snippet ends and Simon and Lloyd are still in the basement.]

SIMON: I can't remember that. I mean, obviously I couldn't have sent you a text in the middle of what I was doing. Or maybe I sent you a text earlier, and you just retrieved it then. I don't understand. Why don't our futures match?

[Lloyd stands up and carries a saw horse to a window.]

LLOYD: Because it's a possible future. Clearly you weren't paying any attention to the story about the FBI agent who committed suicide.

[Lloyd stands atop the saw horse and climbs higher to get to a window.]

LLOYD: Anything's possible, vision or no vision.

[Lloyd puts a piece of paper in his mouth as he tries to open the window.]

SIMON: Lloyd, that's pointless. They're wire windows. They've probably nailed them shut anyway.

LLOYD: [muffled] Uh huh.

[Lloyd pushes harder on the window and it opens. He motions as a symphony conductor at the end of a song. Simon sits up.]

SIMON: Touché.

[Lloyd has written, "Help Us" on a tri folded menu from a restaurant. He is trying to secure it between the window and the sill.]

LLOYD: I just need one person to walk by and look down.

[Suddenly a wind gust blows the paper away from the window.]

LLOYD: No, no, no, no! Wait! No, no, no, no, no! Wait! No! Help! Help!

[The paper is carried away by the wind passed pylons and construction saw horses. The scene changes to Dr. Langer's office. Mark is in the reclining chair with his eyes closed.]

DR. LANGER: You should start to feel a tingling sensation in your extremities. This is completely normal, just relax.

[Mark inhales and exhales deeply and slowly.]

DR. LANGER: Let the memories come.

[Mark's flash-forward is shown. In the first memory flash he is looking at the board in his office. We then see Mark in the recliner. This is followed by white light.]

    * Mark kissing Olivia as they lay in bed, blue lights on black background
    * 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
    * More black and cobalt blue lights
    * Charlie smiling with a man's hands gently reaching for her shoulders
    * Black, cobalt and white light
    * Mark standing in front of the board in his office

[A quick return to Mark sitting in the recliner with his eyes closed, then white light, then Mark then more of his flash-forward.]

    * Picture of two elephants
    * Picture of two elephants reversed
    * Two masks

[Another picture of Mark in the recliner]

    * Mark pointing to a picture of a 7 headed serpent with a bare tree and a pyramid in the upper right corner
    * 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 page from a calendar for April 29, 2010 with Mark writing "Who Else Knows" on it
    * Mark, in his office, taking a drink from a flask
    * A picture/schematic on a piece of paper
    * Mark drinking from his flask
    * The schematic again

[Mark is in the recliner, eyes closed and he is smiling.]

    * A matchbook cover pinned to the board with Blue Hand written on it
    * A piece of paper reading RED PANDA is directly below the post-it

[Mark in the recliner.]

    * Mark drinking from his flask
    * Another shot of the Red Panda paper
    * Mark drinking from his flask

[Mark in the recliner.]

    * White light
    * Mark in front of the board
    * Mark looking closely at the board [picture is vivid]
    * Picture of an angel in front of Jesus on the cross in lower left corner
    * Yellow paper with Blue Hand written on it
    * Matchbook cover pinned to the yellow paper
    * Red Panda Resources

    * Paper with La Pensee Du Proat Obscur partially shown
    * artial picture of Mr.Geyer
    * Partial picture of schematic
    * The Crown Steakhouse paper with Help Us written in red
    * 7 headed serpent with a pyramid in the background

[Mark in the recliner.]

    * Mark in his office tossing papers on his desk
    * Mark drinking from his flask

[Mark in the recliner. As he recalls his flash-forward, his office phone rings and he answers it.]

MARK: What? [looks around office] I just wish you were standing behind the eight ball when I came crashing through. [pause] Go to hell, Lloyd.

[Mark is in the recliner and is turning his head from side to side. He suddenly wakes up to find himself in Dr. Langer's office.]

DR. LANGER: What did you see?

MARK: I was on the phone.

[Mark is trying to get himself grounded.]

DR. LANGER: Do you know who you were talking to?

MARK: Lloyd Simcoe.

[The scene switches to the dank basement where Lloyd and Simon are being held. Flosso and his two men walk to Lloyd and Simon and then he sits on a chair. He holds up the The Crown Cheese Steak paper with Help Us written on it. He tosses it at Lloyd.]

FLOSSO: You dropped something. Let's start again from the beginning. You were conducting an experiment in Plasma-Wakefield acceleration. Am I correct in that assumption?

LLOYD: [head lowered] I thought I made it clear I can't tell you.

[Flosso looks at the two men and then each grab one of Simon's arms.]

SIMON: Get the [struggles] Lloyd!

FLOSSO: Were you successful, Dr. Simcoe?

SIMON: Lloyd! [stops struggling] All right! All Right!

FLOSSO: Did your facility detect anything superluminal?

LLOYD: This has nothing to do with Simon. Why?

FLOSSO: Was there any Cherenkov radiation?

[Lloyd watches Simon struggle again. He lowers his head.]

LLOYD: I can't.

[Flosso looks at the men again and they drag Simon away.]

SIMON: Lloyd! Tell them what they want to know, Lloyd!

FLOSSO: Very well then. Let the wild rumpus begin.

[The scene changes to Olivia in street clothes walking in one of the hospital corridors. She stops to check in on Dylan.]

OLIVIA: Hey Kiddo. Go back to sleep, babe. I was just checking in on you.

DYLAN: I can't. Will you sing some more?

OLIVIA: [chuckles] I think I exhausted my repertoire. I have to go home.

[Dylan turns and pulls something from under his pillow.]

DYLAN: I saved you this from my dinner.

OLIVIA: A cookie? You did?

[Olivia takes the cookie from Dylan. It begins to thunder and lightning outside.]

OLIVIA: Thank you.

[The scene switches to Mark sitting in his car during the thunder storm. He makes a call on his cell phone.]

MARK: He, Aaron. It's Mark. I think I could use some help.

[Mark is parked outside a building with a neon sign that reads, "Cocktail Lounge." He sits in his car rubbing his eyes as he waits. He sees a piece of his flash forward where he is holding his flask. The snippet ends and the scene changes back to the hospital where Olivia is singing to Dylan.]

When you wish upon a star,
Makes no difference who you are.

[As Olivia sings, Mark has his eyes closed while in his car and sees part of his flash-forward. There is a seven headed serpent, The Crown Cheese Steak paper with Help Us. He wakes for a moment in the car and his flashes continue. Standing in front of the board in his office, throwing papers on the floor then he awakes for a few moments. Olivia is still singing.]

Anything your hear desires,
Will come to you.

[Mark sees more of his flash-forward. He looks at the Red Panda, Blue Hand matchbook and LA Pensee Du Profi on the board. Mark is in front of the board with his face in his hands. Olivia smiles at Dylan and the scene changes to Aaron getting in Mark's car.]

AARON: Talk to me, man. What's happened, Mark? Why are you sitting here in your car in front of a bar?

MARK: It's what's gonna happen, right? [pause] My therapist [pause] gave me this drug [pause] to unlock the parts of my flash-forward I couldn't remember because I was drinking.

[Snippets of Mark's flash-forward are shown in the background. Mark holding his flask to his head in his office, putting his hand to his forehead, picking up his flask, drinking from his flask, and his cell phone rings.]

LLOYD: It's me. I need to talk to you.

MARK: [laughs] Eh, well, this isn't a good time.

[Real Time]

MARK: I was on the phone with Lloyd Simcoe.

[Back to Mark's flash-forward.]

LLOYD: Have you been drinking?

MARK: Go to hell, Lloyd.

[Flash-forward ends.]

MARK: I told him I, I didn't want to talk to him.

[Mark's flash-forward phone conversation continues.]

LLOYD: Look, you have every right to hate me, but ...

MARK: Listen, I don't hate you. I just wish you were standing behind the eight ball when I came crashing through.

LLOYD: Fine, but we need to talk about the Q.E.D.

[Real time.]

MARK: Sounded like we were working together.

[Back to flash-forward.]

LLOYD: I'm not sure. It's highly theoretical, but I'm close to cracking it.

MARK: Listen to me, close is not good enough. D. Gibbons told me about ...

LLOYD: [interrupts] The man you call D. Gibbons lied to you.

[Quick shot of Mark and Aaron in Mark's car then back to the flash-forward.]

MARK: You need to hurry. We're running out of time. And unless we can stop this ...

[Real time.]

MARK: And then I told him ...

[Back to flash-back.]

MARK: There's gonna be another blackout.

[Real time. Aaron sits in the car looking straight ahead and stunned by what Mark just told him. Mark is staring blankly ahead. The scene changes to daytime. An overhead shot of the city is shown. Switch to Wedeck's office.]

WEDECK: Are you sure?

MARK: I'm positive. There's gonna be another blackout.

WEDECK: If Simcoe saw the same thing you did, why's he been sitting on this information the whole time? Why hasn't he come forward?

MARK: I don't know. Let's find him and ask him. Let me back in and I can track him.

WEDECK: Look, go home. I'm doing my best to get you reinstated. I promise.

MARK: What am I supposed to do till then?

WEDECK: You said you saw more clues from your vision.

[Clear pictures from Mark's flash-forward shown are Red Panda, seven headed serpent and The Crown Cheese Steak with Help Us on it.]

WEDECK: Work them but be quiet about it.

MARK: All right.

WEDECK: This business about another blackout [lowers voice] keep it to yourself. It we can't tell the world when it's going to happen, that's beyond irresponsible.

[The scene switches to Vogel and another agent walking down a corridor at the FBI building. Demetri follows.]

MARSHAL VOGEL: This is the number for of our missing EMTs. We're hoping the phone might still be in the ambulance. Can you track it for us?

FBI AGENT`: Yeah. If the battery's still got juice, I can capture the signal and triangulate its position.

MARSHAL VOGEL: How close can you get us?

[The FBI Agent sits and a terminal and starts typing.]

FBI AGENT`: To within fifty meters if it's in the city.

DEMETRI: Great, let's do it.

[The scene switches to the Benford residence. Mark is working on the replica of the board in his office. He takes a full color print of the seven headed serpent and pins it to the board. Charlie enters the room with a picture she has drawn.]

CHARLIE: I made it for you, daddy, to cheer you up.

MARK: [smiles] Well, it worked.

[Charlie pins it to the board.]

MARK: Thank you, Charlie. It's beautiful.

CHARLIE: What's all this?

[Mark picks up Charlie and they both sit on a desk in front of the board. Mark has his arm around Charlie's shoulders.]

MARK: It's a giant puzzle. Something I still haven't figured out yet.

CHARLIE: When I do jigsaw puzzles at nana's house, I always feel that way when she dumps the pieces out on the table.

MARK: Yeah?

CHARLIE: Mm hmm. But we always start with the corners and work in. At least you know what they are. Start with the corners, daddy.

MARK: Come here.

[Mark hugs Charlie and she returns the hug. He chuckles then kisses her head.

[The camera focuses on the 7 headed serpent as the window washer speaks in the background, a picture of a humanoid shape with a long, arcing nose and breasts then back to the seven headed serpent. Mark is hugging Charlie.]

WINDOW WASHER: Sometimes we feel God's hand on the back of our neck pushing us toward something.

[Scene is now in the room where the window washer is speaking from a dais.]

WINDOW WASHER: And sometimes we feel totally abandoned. That's normal.

[The camera pans around the room.

WINDOW WASHER: But just because you don't feel something doesn't mean it's not there.

[The scene is of Mark looking at his replica board and taking a 3x5 inch card with a hand drawn crown and CS as the window washer speaks. The Crown Cheese Steak is shown on the board next with Help Us on it then Red Panda Resources on another 3x5 card. A quick flash of Red Panda from the board in Mark's FBI office then back to his home office. He removes the Red Panda card from his home board.

WINDOW WASHER: How many people here have gotten sunburned on a cloudy day? You didn't think it was working on you, but it was. God's love is just like that.

[The scene goes back to the room full of people listening to the window washer's lecture.]

WINDOW WASHER: Working for your good, whether you are aware of it or not.

[As the camera moves it stops on Nicole who is sitting in the audience. The lecture is over and he greets people as they file out of the room.]

WINDOW WASHER: Here you go. Thank you.

NICOLE: Sorry, I just had a question.


NICOLE: What about our responsibility before God? Don't we owe him something?


NICOLE: Obedience? I mean, we need to follow the rules that he sets out.

WINDOW WASHER: And if we don't?

NICOLE: We get punished. I, I just don't see how you can say that the blackout was good. Look at all the people that died. Look at all the trouble it's causing.

WINDOW WASHER: Wow. Clearly, I've upset you.

NICOLE: Well don't you think, in the very least, the flash-forwards were a wake up call for us to get our act together before it's too late?

WINDOW WASHER: I didn't catch your name.

NICOLE: Nicole.

[They shake hands.]

TIMOTHY: My name is Timothy. I'd really like to keep talking with you but if I don't get out of her before my hour's up, I get charged.

NICOLE: Well, thanks.

[Nicole starts to leave the room.]

TIMOTHY: There's a coffee shop I like nearby. If you want to talk about it again later ...

[The scene changes to a car driving down a palm tree lined street. It pulls to the curb and parks. It is Mark. He looks down at a list of items on a piece of paper. The three items that are crossed out are Cheese Steak Menu, 7 headed monster, and Blue prints. The remaining item is Red Panda Logo. He exits the car and enters an office building with the logo and name Red Panda Resources. The building number is 800. The scene switches to inside the building where a woman is giving Mark a tour.]

RED PANDA EMPLOYEE: Red Panda provides humanitarian aid all around the world, everything from micro-investments to education. We've been extremely busy since the blackout as I'm sure you can imagine.

[They walk into another office area.]

MARK: You said you do work all over the world.

RED PANDA EMPLOYEE: Yes. We grew out of D.H.S in the 90's, you know, Demographic and Health Services. We're in South America, the Middle East, the African subcontinent ...

[They are now in her office. She is sitting behind her desk and Mark is sitting in front of her desk.]

MARK: [interrupts] Somalia?

[The woman nods.]

MARK: Was Red Panda there in '91?

RED PANDA EMPLOYEE: There was no Red Panda in 1991. We weren't charted until ‘98.

MARK: And you send it, what, teams of people?

RED PANDA EMPLOYEE: With clean water supplies, mostly. The warlords keep most everyone out, but, you know, humanitarian groups like us can get in.

MARK: Is there anyone I could talk to about maybe [pause] piggybacking on one of Red Panda's trips?

RED PANDA EMPLOYEE: Um, doubt it. [chuckles] Not to be disrespectful, but most of the people working here probably have police records as thick as the bible.

MARK: We're not like that anymore.

RED PANDA EMPLOYEE: Uh huh. Have a nice day, Agent Benford.

[Mark nods.]



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