[The episode commences at a prison yard.]
15 YEARS AGO
MALE PA VOICE: Visitation rights will be over in five minutes. The scene switches to the visiting area inside the prison.
YOUNG TRACY: Have you been going to meetings?
AARON: Every Tuesday and Thursday.
YOUNG TRACY: And you've been staying out of trouble? You haven't been fighting?
AARON: [lowers head] You know me, Tracy. I keep my head down.
[A buzzer sounds and the clanking of metal doors opening is heard.]
YOUNG TRACY: It's gonna happen, dad. You're gonna get paroled. They just can't say no this time.
MALE PA VOICE: Transfer guard call is to the main gate.
[Aaron puts his hand on Tracy's hand.]
AARON: I'm gonna make this up to you, Trace, if it's the last thing I ever do.
YOUNG TRACY: Just promise you'll smile at the hearing.
AARON: Ear to ear.
[Aaron smiles showing all his teeth ear to ear. They both laugh. A loud buzzer followed by the clank of metal is heard as Aaron kisses Tracy on the forehead.]
MALE PA VOICE: Visiting hours are over.
AARON: Okay, sweetheart.
[Aaron stands up and follows other inmates as Tracy watches. Aaron is stopped by one of the guards.]
MALE PA VOICE: Lockdown in cell "B" will be initiated in 30 minutes.
BALD GUARD: Your girl goes to Gloucester High, right? She's cute. Girls that age [pause] they're in full bloom. Not quite sure what to do with their new curves yet, though.
[Aaron is containing his anger and looks away.]
BALD GUARD: And your daughter, she's got that look in her eye.
[Aaron cannot contain himself and punches the guard in the face, sending him to the floor. Aaron continues to beat the guard as inmates watch.]
AARON: Don't you ever, ever talk about my girl [pause] ugh!
[Another guard hits Aaron in the back with his night stick as two other guards come to restrain Aaron. Guards beat him with night sticks.]
GAURD 2: Get him off! Get him off!
[As Aaron is being restrained, the bald guard punches Aaron in the face.]
FLASHFORWARD Logo
[The scene switches to Lathan's Tavern. As Aaron walks in, Middle Distance Runners' "Brother John" is playing. Lyrics are indistinct.]
THE PRESENT
[Aaron enters the tavern and looks around. He sees Tracy sitting at the bar with a drink in front of her. He walks over to her.]
AARON: [to bartender] I'm good, thanks. [sits] Tracy, what are you doing here?
TRACY: You said I couldn't drink at home.
AARON: I know you don't want to hear this but trust me. I've been sitting exactly where you're sitting right now. I know what you're going through.
TRACY: Please, just spare me the A.A. talk, dad. You have no idea.
[Tracy finishes her drink and signals for another.]
TRACY: And what gives you the right to come in here ...
AARON: [interrupts] We can talk about this as much or as little as you want. But let me just ask you one question before you shut me out again. [whispers] If you're so scared these Jericho guys are after you and I found you by walking into the closest bar, do you really think this a smart move here? Do you?
[Tracy thinks, turns to Aaron, and swirls her fresh drink. The scene switches to Zoey and Demetri's apartment. Zoey is speaking to Demetri and has her arms crossed in front of her chest. She is standing and Demetri is sitting.]
ZOEY: Mark is going to shoot you?
DEMETRI: He is not going to shoot me.
ZOEY: You just said that woman in Hong Kong saw a report ...
DEMETRI: [interrupts] Armed men guard this woman while she eats dinner, all right? Babe, she's shady.
ZOEY: [sarcastically] Yet she still knows the serial number to Mark's gun.
DEMETRI: That doesn't mean he is going to be the one that pulls the trigger.
ZOEY: He's a prime suspect.
DEMETRI: Please, don't, don't, don't get all lawyery on me here, all right.
[Zoey turns her head away indignantly.]
DEMETRI: Mark is the one who went halfway across the world. He risked his life, all to find out who might kill me. Babe, he's not the guy, all right?
[Zoey lowers her head. A snippet of her flash-forward is shown. She is standing on a beach, dressed in white and holding a white rose. Back to the present then back to her flash-forward with her walking along the beach then back to the present.]
ZOEY: It was your memorial. I figured it out, Dem.
[As Zoey speaks more of her flash-forward is shown. Demetri's parents a few other people are sitting on white chairs as others stand behind them. Zoey turns to look at them.]
ZOEY: What was happening on the beach, it wasn't our wedding I saw. Baby, it was your memorial.
DEMETRI: It doesn't matter. I filed the paperwork to destroy the gun. It's already in the evidence locker. Everything is going to be fine. [smiles] Everything is gonna be fine. Come here.
[Demetri kisses Zoey on the forehead.]
DEMETRI: You gotta trust me. Okay?
[Zoey does not reply.]
DEMETRI: I'm gonna marry you. Not getting out of it.
[Demetri turns and leaves the apartment. "Chains, Chains, Chains" by Elvis Perkins plays in the background.]
Whose eyes are those too fair to be but the night in day´s clothes
Speak, speak it I beg if you know it just say it plain
Lorraine´s
What thing is this at my feet at my heart at my wrists
If you know anything I´ll have to insist that you explain
Chains, chains, chains.
[As the song plays the scenes change. Janis is sitting in bed, writing in a calendar book and taking prenatal vitamins. The scene changes to the Benford residence. The doorbell rings, Mark answers the door.]
MARK: Zoey.
[Zoey is dressed in a suit and has her arms crossed in front of her chest.]
ZOEY: [annoyed] We need to talk.
MARK: All right, come on in.
[Zoey is standing by the stairs that lead to the upper level. She is moving her arms to her sides as she speaks. Mark walks away from the stairs and sits at a table.]
ZOEY: Hypothetically, Mark. [loud and smug] Hypothetically, come on. Even I could come up with a scenario where I'd want to kill Demtri.
MARK: Look, no matter how crazy things get, I'd never hurt Demetri.
ZOEY: But what if Demetri's got a gun to your head? [Zoey becomes more animated] He's about to pull the trigger, to save your own life, do you shoot him?
MARK: Come on.
ZOEY: [angry] Do you kill him, Mark?
MARK: I know you love Demetri, but I think you may want to reel it in there, Zoey.
[Zoey puts her hands on her hips, exhales deeply and shakes her head. She drops her arms to her sides, frustrated.]
ZOEY: [angry] So the question becomes, what could you possibly do where Demetri would want you dead?
[Mark puts his hand to his forehead and he rests his elbow on the table.]
ZOEY: Do you have some deep, dark secret worth killing someone over?
MARK: No.
ZOEY: Then what am I missing here, Mark?
MARK: Well, here's a theory, someone at the bureau's been leaking information putting a lot of us in danger. Now I don't think Demetri's the guy, but if he was ..
ZOEY: Well ...
MARK: [sarcastically] I'm sorry. I thought we were playing outrageous accusations.
[Zoey looks at Mark then turns to walk away, arms still crossed in front of her.]
ZOEY: Go to hell, Mark.
[Zoey walks out and slams the door shut.]
TWO YEARS AGO
[The scene switches to a residence. A book is on the table entitled, "Staying Sober – a Guide for Relapse Recovery" by Terence T. Gorski and Marlene Miller with foreward by Father Martin. There is a square Styrofoam container on the table and a football game is in progress.]
MALE SPORTSCASTER: Second down and 6 for Iowa. Patterson [indistinct] for 69 yards will break the huddle.
[Aaron sits back on his sofa, opens the container with his meal and watches the football game on television. He props his feet on the coffee table.]
MALE SPORTSCASTER: Patterson to work out of the shotgun spread formation, 2 receivers to his right.
[Knock on the door.]
MALE SPORTSCASTER: Takes the snap, drops back..
[Knock on the door.]
MALE SPORTSCASTER: Looking, trying to hook up with Samuels, near side ...
[Aaron answers the door. There are 2 men in Marine uniforms.]
MALE SPORTSCASTER: ...by a good 5 yards on that one.
MARINE: Are you Mr. Aaron Stark?
[Aaron nods]
MARINE: The Commandant of the Marine Corps has entrusted me to express ...
AARON: [interrupts] I was Marine Recon. I know why you're here. When and how?
MARINE: Mr. Stark ...
AARON: [interrupts again] When and how?
MARINE: [pause] 2 days ago, near Kunar Province. Your daughter's unit encountered the enemy.
[Aaron nods and tried to hold back tears.]
MARINE: A rocket-propelled grenade hit her humvee.
AARON: [holds back tears] I know they're gonna send a letter. We're done.
[As Aaron's voice starts to break, he closes the door and stands behind it for a moment. He puts his back against the door and slides down until he is sitting on the floor. He gasps for air still trying not to cry until he finally succumbs to his tears.]
THE PRESENT
[Aaron is cooking at the stove as Tracy enters the kitchen.]
TRACY: Is that what I think it is?
AARON: Grilled peanut butter and banana sandwiches. Best thing in the world for a hangover.
[Aaron brings 2 plates from the stove to the dining room table. Tracy brings 2 coffee mugs.]
TRACY: I always thought you made it because I liked it.
AARON: Two birds, one stone. Tracy, there's something I need to ask you. Does the name James Erskine ring any bells?
TRACY: No, should it?
AARON: I had Mark do some digging. Turns out this Jericho outfit, they've got branches all over the world but they're headquartered out of Santa Monica, Erskine's head of operations.
[Tracy shakes her head.]
AARON: Mark also did a background check on your C.O.
TRACY: Musgrove?
[Aaron nods.]
TRACY: Is he dirty?
AARON: Lieutenant Paul Musgrove was killed in a helicopter crash 2 days after your supposed death.
TRACY: Please tell me you don't think that's a coincidence.
AARON: No, I don't, and I got a buddy at the Pentagon ...
TRACY: [interrupts] Dad, please. I appreciate everything but this is [pause] this is out of control. I should've never listened to Khamir.
AARON: What's he got to do with this?
TRACY: When Jericho started looking for me again after the blackout, I knew that I had to leave, that it wasn't safe for anyone to be around me. A humanitarian relief plane landed near our village. They were headed back to the U.S. and they had room for me on board so they hid me in their cargo hold. Khamir said that it was a sign, it's all part of my destiny that I was supposed to come back here and bring you back to Afghanistan. What an idiot I've been.
AARON: Aren't you being a little hard on yourself here?
TRACY: No! Once I got back here and I actually saw you, the thought of bringing you back to that hellhole, to a place where you could get killed, I couldn't live with myself if anything bad happened to you, dad.
AARON: Don't worry, sweetheart, I'm gonna be okay and so are you. Trust me.
[Aaron leans across the table and kisses Tracy on the forehead.]
AARON: Trust me.
[The scene switches to a conference room in the FBI building in Los Angeles.]
LLOYD: So do you want to explain why you brought me in here again.
MARK: April 29th we were on the phone together. Remember? A lot of things came up on that call, the name D. Gibbons, some initials Q.E.D., oh and the fact that there's gonna be another blackout.
[Lloyd remains silent.]
MARK: You don't have anything to say about any of that? [pause] No? We have a sketch.
[Mark picks up a folder.]
MARK: We don't know who he is. But around the time of the blackout, he was happily cloning credit cards.
[Mark places the open folder on the table in front of Lloyd who looks at the sketch then back at Mark while remaining silent..]
MARK: He assumed the identity of someone named D. Gibbons. Based on our call you seem to know him.
LLOYD: I don't.
MARK: No?
LLOYD: No, I don't.
MARK: Okay, you know what? I don't have the time to play pissy Brit with you. Let's take a walk.
[Mark picks up his suit jacket and attaché and walks out of the conference room. Lloyd gets up and follows him. The scene switches to Zoey walking up to Wedeck and Demetri.]
DEMETRI: Hey.
ZOEY: Hey.
[Zoey hands Demetri a bag.]
DEMETRI: Lunch?
ZOEY: I was in the area. Thought I'd bring you a little something.
[Demetri kisses Zoey on the cheek.]
DEMETRI: Oh, thanks honey. You didn't have to.
WEDECK: Well, she did and such a generous portion. There's no way you're gonna finish that whole thing.
ZOEY: Don't worry, Stan. I brought you something even more delicious.
[Zoey hands Wedeck a folder.]
WEDECK: Hmm?
ZOEY: I filed a Freedom of Information Act request on everything this office has on the Mosaic investigation.
DEMETRI: You did what?
ZOEY: If there's even one word in there that will keep you safe, I have to ...
DEMETRI: [interrupts] This is my office, okay? You just don't come in here and serve my boss papers.
ZOEY: I'm not gonna stop until we are on that beach together.
DEMETRI: We'll talk about this ...
WEDECK: [interrupts] Somebody better start making some sense real soon.
ZOEY: It's pretty simple, actually. I'm going to be reviewing all of you Mosaic related files.
DEMETRI: I'm sorry, Stan. She's going to be leaving right now ...
WEDECK: Is this about Mark's gun? Please tell me that's not what's going on here.
ZOEY: [smugly] Mosaic's the subject of widespread national media attention which is precisely the type of issue which qualifies for expedited processing under F.O.I.A.
WEDECK: Tell somebody who cares. Can I recommend you start with a judge?
[Wedeck hands the folder back to Zoey]
WEDECK: 'Cause that's the only way I'm opening up classified files to you.
[As Wedeck walks away Zoey follows him.]
ZOEY: Yep, we could do it that way, Stan, no problem but going into court, it's public and I'm guessing that public is not going to help your investigation much.
WEDECK: [long pause] Agent Noh will make the files available for you to review.
ZOEY: Thank you.
[Zoey and Demetri look at each other. Zoey looks with smug victory and Demetri looks with annoyance. The scene switches to Mike beeping the horn and getting out of his blue pickup truck. Aaron is up on a scaffold.]
AARON: Mike! How's everything?
MIKE: Can't complain. Like my dad says, if all my problems can be solved with money, I'm doing good, right? How are you holding up?
[Aaron comes down from the scaffold and takes off his hard hat.]
AARON: Couldn't be better.
[Pats Mike on the arm.]
AARON: Could not be better.
MIKE: That's so great to hear. I think I know why.
[Aaron shakes his head.]
MIKE: I got a call last week, it was my birthday. Blocked number, person on the other end of the line doesn't say anything, but they don't hang up either. We just sit on the phone in silence. Suddenly it hits me [whispers] it's Tracy. She's alive, isn't she?
[Aaron looks around.]
AARON: She's at my house right now.
[Mike and Aaron shake hands.]
AARON: [happy] Can you believe that? It's coming true.
MIKE: [flatly] It's coming true.
[The scene switches to the Bedford Residence. Mark and Lloyd enter.]
LLOYD: What are we doing here?
MARK: You're gonna take me through everything you saw.
LLOYD: You've got to be joking.
MARK: And where you saw it.
LLOYD: We were on the phone together. You heard everything I said.
MARK: But I don't know why you said it or what you saw during the rest of your vision, for that matter. So if you want to help me stop another blackout from happening or even if you don't, you're still gonna walk me through it. You got that?
[Mark starts walking up the stairs.]
MARK: So let's move it.
[Lloyd walks up the stairs after Mark. They are now in Mark and Olivia's bedroom.]
LLOYD: This doesn't bother you?
MARK: Start at the beginning.
LLOYD: I got a text message.
[Lloyd's flash-forward is shown as he speaks. He is getting up from the bed and looks at his cell phone. Olivia looks to see where he is going.]
LLOYD: I was getting up from the bed. I was [pause] I'm sorry, are these details really necessary?
MARK: Do you think I want to hear 'em?
[The scene returns to Lloyd's flash-forward. He reads a text message.]
LLOYD: I noticed that I had a text message on my phone. It was from Simon. It was a formula, or part of a formula. I'm not sure.
[In Lloyd's flash-forward he is writing the formula on a mirror in red. Return to the present.]
LLOYD: [points] I had it written out here on the, on the mirror.
[Lloyd points to a full length dressing mirror. A snippet of his flash-forward is shown. He is leaving the bedroom.]
LLOYD: Sorry, I have to make a call.
[The scene switches back to real time with Mark standing in front of the mirror.]
MARK: The mirror?
LLOYD: Uh, yeah, I used lipstick. Look, I had a sense there was a woman in the room but I swear to God I had no idea it was Olivia. Then next thing I did was dial a number. I didn't know it was yours. You said it wasn't a good time. I asked if you had been drinking. You didn't take that very well.
[Snippet of Lloyd's flash-forward is shown of him talking on the phone and walking down the stairs to the living room.]
MARK: [on phone] Go to hell, Lloyd.
LLOYD: We need to talk.
[There is another snippet of Mark's flash-forward when he is in his office taking Lloyd's call.]
MARK: About what?
LLOYD: The Q.E.D.
[The scene switches back to the bedroom.]
MARK: On the phone call you said you were close to cracking the Q.E.D.
LLOYD: Yeah, it's Latin. It means ...
MARK: [interrupts] Quod Erat Demonstrandum, "that which was to be demonstrated."
LLOYD: Could be [pause] could be Q.E.D. Quantum Electro Dynamics. Actually, wait, no.
MARK: No?
LLOYD: Well, I said "the Q.E.D." You wouldn't put a definite article in front the Latin meaning or the discipline. But, well, you would put it in front of a formula.
MARK: The one on the mirror?
LLOYD: Absolutely.
[The scene switches to a doctor's office.]
FEMALE DOCTOR: Sorry to keep you waiting, Miss Hawk.
[Janis is paging through a catalog of babies. At the top of each page is "Cubitt Fertility Clinic."]
JANIS: Um, is there anything in here about prior medical histories?
DR. JANE PARKER: We need to discuss a couple of things before we go any further. I have a letter here from your Obstetrician. The injury that you sustained when you were shot makes pregnancy unlikely for you. Your O.B. thinks it's too soon to pursue this, and frankly, I agree.
JANIS: What do you mean, you agree?
DR. JANE PARKER: I think we have a better chance of succeeding if we wait.
JANIS: [exhales deeply] Okay. In my flash-forward I saw that I was pregnant.
[A snippet of Janis having an ultrasound during her flash-forward is shown as she speaks.]
JANIS: I was in my second trimester [real time] which means I have to get pregnant now.
DR. JANE PARKER: I'm worried you're not thinking you're not thinking this whole thing through.
JANIS: Well, you're wrong about that because I can't stop thinking about this. I know that there are risks involved but no amount of research or statistics is gonna change the fact that I want that baby, not a different baby two years from now when I'm more sure about my life or whatever. I want this specific child. This is my baby.
[The scene switches to Demetri carrying a box to his desk at the FBI Building. Zoey is at the desk going through files. Demetri slams the box on the desk and walks away.]
ZOEY: Thank you.
[Demetri walks back to his desk.]
DEMETRI: I told you to drop this.
ZOEY: No, you told me to trust you and I do.
DEMETRI: Then drop it.
ZOEY: I've already found something in Alda Hertzog's deposition that may help us.
DEMETRI: Drop it.
ZOEY: [exhales] What if it were me? What if I didn't see anything? Would you listen if I told you to stop?
DEMETRI: Fine. You want to dig, you keep digging but serving my boss with papers, trying to smear my partner that is way the hell over the line.
ZOEY: I'm going to do whatever I can to prevent your murder.
[A song plays in the background. The scene switches to Aaron's house where Tracy is making a meal.]
You'll know when it's over
You're the only one around
When the time comes
You'll come back here
[Suddenly someone wearing black gloves injects Tracy in the neck. Two men dressed in plastic overalls and hoods are seen. One is dragging Tracy while one puts packing tape on a box. After assembling a large, tall box with First State Movers on it, they pick up Tracy and put her in it. They take off their suits but not their gloves. The box is taped shut, put on a hand truck and they don baseball type caps. They leave the house and the scene ends with seeing water boiling in a blue porcelain pot.]
TWO YEARS AGO
[The scene starts with a bugle playing "Taps" and a man pouring a drink. The glass next to a folded American flag.]
MAN: Present arms!
[The sound of rifles being cocked is heard and we see Aaron wearing a suit and taking a drink.]
MAN: Ready. Aim. Fire!
[Aaron is pouring another drink as the sound of rifles firing is heard in the background.]
MAN: Fire!
[Rifles are being cocked then shot.]
MAN: Fire!
[Rifles are being cocked then shot one at a time. Aaron picks up the bottle and throws it against the wall. He picks up a chair and swings until it is smashed to pieces. He begins to cry, kneels down and puts his hands on the folded flag. He rests his head on the flag. The scene switches to Aaron's house as he arrives home from work.]
[B]PRESENT DAY[B]
AARON: Sweetheart, I'm home. Somethin' burning? Trace?
[As Aaron reaches the kitchen, the smoke alarm beeps and the blue pot on the stove is afire.]
AARON: What?
[Aaron shuts off all the burners and puts a lid on the burning pot. The kitchen is full with smoke.
AARON: Trace? Tracy? Tracy, where are you?
[Aaron searches the house looking for Tracy. He stops in her bedroom then turns around and starts looking around the kitchen. Aaron tries to figure out what happened. His mind flashes to earlier in the day when he met Mike.]
MIKE: She's alive, isn't she?
[Aaron leaves house. The scene switches to Lloyd and Mark at the Benford residence.]
LLOYD: As we spoke, I walked down the stairs. By then I was, uh, standing here. I, I heard a little girl's voice. I presume that was your daughter.
[A snippet of Lloyd's flash-forward is shown where Charlie is speaking to Dylan.]
CHARLIE: Go ahead. It's your house too.
LLOYD: She went into the kitchen with Dylan.
MARK: You started explaining something.
[A snippet of Lloyd and Mark speaking on the phone during their flash-forwards is shown.]
LLOYD: Well, it's only theoretical but I'm close to cracking it.
MARK: You need to hurry. There's gonna be another blackout.
[More of Lloyd's flash-forward is shown. He is sitting on the couch drinking from a long neck bottle of beer.]
LLOYD: I hung up. I sat down on the couch. The last thing I remember was that I heard a voice.
OLIVIA: Hey, honey.
LLOYD: Before I could see who it was, I woke up on the floor at N.L.A.P.
MARK: Wait, you skipped something. Why were you so adamant when you started talking about D. Gibbons.
[Snippet from Lloyd's flash-forward is shown where he is on the phone with Lloyd.]
LLOYD: The man you call D. Gibbons lied to you.
LLOYD: I don't know. I don't know him.
MARK: I didn't ask if you knew him. I asked why were you so adamant.
LLOYD: I don't know.
[Mark shows the sketch to Lloyd again.]
MARK: You know this man, not in the future, right now.
LLOYD: Well, I don't. I was angry because I was on the phone with some drunk.
MARK: You called me. I was important to what was going on. You're not telling me everything.
LLOYD: I don't know any D. Gibbons.
MARK: You said D. Gibbons was a liar.
LLOYD: He is a liar.
MARK: So you do know him.
[Lloyd remains silent, looks at Mark then lowers his eyes. The scene switches to Mike leaving his home carrying a large duffle bag. Aaron pulls up in a company pick up truck and beeps the horn.]
AARON: Hey, Mike! I've been trying to reach you. What's up? I talked to Jack. He said you were movin'?
MIKE: Yes, sir. My old man got me a job closer to home. Can't say no to family, right?
[Mike opens the trunk to his car and puts in the duffle bag.]
AARON: Good on you, nothing more important than family. I'm glad I caught you. What do you say? Let me buy you a burger before you take off.
[Mike tries to stall.]
AARON: Come on. Come on.
MIKE: All right , a quick bite.
[Mike gets into Aaron's vehicle. It begins to rain. Rock music is playing on the radio.]
AARON: Did you know I went to prison?
MIKE: You serious?
AARON: [nods] Two and a half years. Got into a bar fight, hit a guy a little too hard.
MIKE: Damn! I didn't know that, Aaron.
[Aaron shrugs his shoulders.]
MIKE: Where is this place?
AARON: Tell you one thing, prison, especially where I was, it changes you, makes you a capable man.
MIKE: Capable of what?
AARON: Anything. Everything. You feel like an animal.
MIKE: Guess you do what you gotta do, right?
AARON: Exactly, that's what I think. But the trick, Mike, is leaving that animal inside once they let you out. That animal's got no place in the world. I've worked real hard to keep him locked up.
[Aaron pulls over and stops as his tires screech then turns the engine off.]
AARON: But you know what? Today I'm gonna let him out.
[Mike opens a jackknife next to his right thigh. Ram Jam's "Black Betty" plays in the background. Mike goes to stab Aaron who blocks Mike's arm from connecting the knife. Aaron punches Mike in the face and shoves him out of the pick up truck. Aaron gets out and walks briskly around the truck to Mike.]
Whoa, Black Betty (Bam-ba-Lam)
Whoa, Black Betty (Bam-ba-Lam)
Black Betty had a child (Bam-ba-Lam)
The damn thing gone wild (Bam-ba-Lam)
She said, "I'm worryin' outta mind" (Bam-ba-Lam)
The damn thing gone blind (Bam-ba-Lam)
I said Oh, Black Betty (Bam-ba-Lam)
Whoa, Black Betty (Bam-ba-Lam)
Oh, Black Betty (Bam-ba-Lam)
Whoa, Black Betty (Bam-ba-Lam)
She really gets me high (Bam-ba-Lam)
You know that's no lie (Bam-ba-Lam)
She's so rock steady (Bam-ba-Lam)
And she's always ready (Bam-ba-Lam)
Whoa, Black Betty (Bam-ba-Lam)
Whoa, Black Betty (Bam-ba-Lam)
AARON: Where is she Mike?
[Mike gets up, screams and punches Aaron in the stomach then the face. Aaron punches Mike in the face then stomach and brings both hands down on Mike's back causing him to fall down in the mud. Aaron has his right foot on Mike's head and both hands pinning Mike to the ground.]
AARON: Where's my daughter?
MIKE: I don't know what you're talking about!
[Aaron picks Mike up and throws him against a chain link fence. As Mike is against the fence, Aaron bends Mike's arm behind his back and presses his elbow into Mike's back.]
MIKE: Aah!
AARON: I know you tipped off Jericho!
[Aaron applies more pressure.]
MIKE: Aah!
AARON: Where'd they take her Mike?
MIKE: Dude, I don't aah!
AARON: Where'd they take her Mike?
AARON: You break an arm like this, it never heals right.
MIKE: You're gonna get us both killed!
AARON: You first!
MIKE: [screaming] Aah!
[A crack is heard and the scene ends. The scene switches to Zoey and Demetri's apartment. Janis is there with Demetri who brings them both a bottle of beer.]
DEMETRI: Everything's out of control at work. You know Wedeck's not talking to me.
JANIS: Why not?
DEMETRI: Zoey ambushed him with F.O.I.A. papers. She thinks Alda has some information about my murder.
JANIS: That's crazy. It's like she's acting like she loves you or something.
DEMETRI: [smirks] All right, Janis. Where were you today, by the way?
JANIS: [pause] I was at a fertility clinic.
DEMETRI: [chuckles] Okay.
JANIS: Mm hmm.
DEMETRI: Wow.
JANIS: Yeah I know. I practically had to beg them to take me on as a client.
DEMETRI: Did they?
JANIS: Yeah.
DEMETRI: All right.
JANIS: I pushed pretty hard but I have to conceive this baby next week to match what I saw.
DEMETRI: Next week? Wow, that's great. That's great. [pause] Aren't you, uh aren't you scared, though? The whole mom thing, I mean, with our line of work and all?
JANIS: Yeah, I know but that's kind of my point. I don't want my life to be just be about being and FBI agent. If I want that life I have to start living it right now. When I got shot and I was lying there listening for the ambulance, the only thing I could think about was that baby and the possibility I wouldn't get to have her. That I would miss dressing her in pink, that I would never get to brush her hair. It broke my heart.
DEMETRI: Janis, don't get me wrong here, but [pause] she doesn't exist yet.
JANIS: Yes, she does. I know she does. She's out there making her way toward me.
[Demetri chuckles.]
JANIS: I've spent almost every waking moment thinking about who she's gonna be. I can't wait to meet her.
DEMETRI: You're gonna be an awesome mom.
JANIS: Thanks, Dem. We both have to fight for the futures we want. Get rid of that gun.
[The scene switches back to the Benford residence with Mark and Lloyd.]
LLOYD: The man you call D. Gibbons, his real name is Dyson Frost.
MARK: Dyson Frost?
LLOYD: Mm hmm.
MARK: How'd you know him?
LLOYD: I heard him give a lecture on the wave structure of matter once. He was on sabbatical at Oxford. I was doing research on wave mechanics and I had to sit there and listen to him take credit for work I'd done but hadn't published yet.
[Mark pours two cups of coffee for them.]
LLOYD: I mean, it was indisputably mine, but I had no way of proving it, bastard.
MARK: So D. Gibbons is a liar.
LLOYD: Some time after I read his obituary, I remember thinking, good riddance.
MARK: But obviously he's still alive.
LLOYD: And at some point assumed the identity of D. Gibbons.
MARK: Charlie said D. Gibbons is a bad man. I thought maybe [pause] you said it to her in your vision.
LLOYD: No, I didn't. You haven't asked her about it?
MARK: I've tried. She's shut down.
LLOYD: Well, it seems I'm not the only person you need to talk to.
[Lloyd stands up and walks to a window.]
MARK: These men who kidnapped you, did they tell you why they took you? What they wanted? Was it revenge?
[Lloyd remains silent.]
MARK: Okay, so they torture you for 72 hours, cut off your friend's finger yet they never told you why? Made any demands, threatened you in any way?
LLOYD: They didn't threaten me.
MARK: They threatened Dylan. Lying to me won't keep him safe, talking to me will.
LLOYD: I gave them everything, energy levels, equipment settings, monitoring parameters.
MARK: Could they use any of it to cause another blackout?
LLOYD: That's what I'm afraid of, especially after what I said to you in my vision.
[Mark walks over to Lloyd.]
MARK: This guy, Dyson Frost, he's the key. We find him maybe we can stop this thing from happening again. [pause] I need your help, Lloyd.
LLOYD: I'll do whatever I can.
[The scene switches to Wedeck's office.]
MARK: I got some interesting information from Lloyd about Dyson Frost, also known as D. Gibbons. According to Simcoe, Dyson Frost wrote this seminal paper about something called, "The Mirror Test."
WEDECK: What the hell is a mirror test?
MARK: It's a test that determines recognition of consciousness among species, humans, elephants, crows.
WEDECK: Crows [pause] Somalia?
MARK: Everything points to it, Stan. The crow die off in Somalia, we found towers in the satellite photos. We need to be there. I spoke to a team leader at Red Panda. They fly in and out all the time, safely.
WEDECK: Bird watching in Somalia? How am I gonna sell that to Washington?
MARSHAL VOGEL: You don't. It's always better to beg for forgiveness than ask for permission.
MARK: Hmm.
[The scene switches to the answering machine at the Benford residence.]
MARK: [machine message] This is Mark. Leave it here. I'll get back to you. [beep]
[A child's birthday party is shown in the background.]
AARON: Mark, it's me. Some serious stuff has gone down and I need to you to run a background check on that guy James Erskine, the head of Jericho. Get back to me as soon as you can. Thanks buddy. I appreciate it.
[The scene is at the birthday party.]
MRS. ERSKINE: James, is she ready for the cake?
JAMES ERSKINE: We're all set.
[The power goes off at the Erskine residence.]
JAMES ERSKINE: What the hell?
[A pair of men's hands are shown pulling levers at the transformer box near the Erskine residence. It is Aaron. He turns and looks at the house. The scene changes to Erksine running to answer the doorbell.]
AARON: James Erskine?
JAMES ERSKINE: Yes?
AARON: Good afternoon, sir. I'm with the Department of Water and Power. Computer is telling me we've got some surges affecting some houses. Do you mind if I take a look at the main line out back?
JAMES ERSKINE: Take a look. I need you to get it fixed. We need the power turned on. Come on. We're throwing a birthday party here and it's like the Middle Ages.
[As Aaron follows Erskine, he notices a picture on a wall with newspaper article entitled, "Jericho's General." As Aaron follows Erskine again, he tries to control his anger. The scene switches to Alda Hertzog sitting in a conference room, in shackles. Zoey enters the room.]
ZOEY: Good afternoon, Miss Hertzog.
ALDA: Do I know you?
ZOEY: I'm Zoey Andata. You met my fiancé, Demetri Noh.
ALDA: Remind me to send you a condolence card in a couple months.
ZOEY: You can send me a wedding present instead. Nothing's gonna happen to Demetri.
ALDA: All prognostic evidence to the contrary.
ZOEY: Oh, we've already seen that the future can be changed and I think you're gonna help me change it. I've been going over the transcripts of your interrogation and I think you know more than you've told the FBI and I think that what you do know is somehow related to Demetri's death.
ALDA: And you think I'd give up this information to you because I'm a believer in true love?
ZOEY: Ma'am, if you let me represent you, the only thing you need to believe in is attorney client privilege.
ALDA: [laughs] Right. A Fed's girlfriend is going to exonerate me.
ZOEY: Let me ask you a question. In your flash-forward, were you in prison?
[Alda smiles but doesn't reply. The scene switches back to the Erskine residence. Aaron is working with his computer.]
JAMES ERSKINE: So are you gonna fix this thing already, or do I have to call somebody else?
AARON: I'm not here to fix your power.
JAMES ERSKINE: [backs up] What?
AARON: I'm here to get my daughter back.
JAMES ERSKINE: Look, I don't know who you are or what you're talking about.
AARON: Tracy Stark.
[Erskine stops talking.]
AARON: I know you took her now you're gonna give her back.
LITTLE GIRL: Daddy, when are they gonna fix the power?
JAMES ERSKINE: Soon, baby, soon, I'll be right there.
LITTLE GIRL: Okay.
JAMES ERSKINE: I can't give you your daughter back.
AARON: Then we go to war.
JAMES ERSKINE: I can't because I don't know who she is or what the hell you're talking about. And if that means we're at war then we're at war. But if this is your opening salvo, buddy, I'd consider surrendering.
[Aaron walks right up to Erskine's face fearlessly.]
AARON: You know the guys you really gotta be afraid of? The ones who got nothing left to lose.
[Aaron turns walks away and leaves Erskine standing alone. The scene switches to Mark's office in the FBI building. Vogel is present and looking at the board.]
MARK: You're going to Somalia without me? No one knows that case better than me.
MARSHAL VOGEL: I understand but you're staying here. And it isn't because you're irrational, erratic and frequently stupid. It's because you're essential. I don't like you but uh, I need you. Listen, Janis, Demetri, if they don't make it back it's a tragedy but if you don't, it's a catastrophe. The truth is, Mark, our entire investigation hinges on what's in your head. And I'm here to make sure you don't lose it before April 29th.
[Mark continues to work on his laptop as they chat.]
MARK: But in Hong Kong you said Mosaic was bigger than me.
MARSHAL VOGEL: I lied. I'm CIA. I do that.
MARK: And that's why no one trusts you, Vogel.
MARSHAL VOGEL: Yeah, I don't need them to trust me, Mark. I just need them to do what I say.
[Vogel walks out of Mark's office.]
MARK: You're staying here.
[The scene switches to Aaron. He is in his work pick up truck with his laptop open. On the keyboard is a picture of Tracy in uniform. The sound of a phone ringing is heard and shows as spiking on the monitor. Aaron puts on headphones. Erskine is making the call.]
MAN: Yeah?
JAMES ERSKINE: It's me. Just had a visit from the father.
MAN: You're kidding me.
JAMES ERSKINE: I thought your guy [pause] what's his name?
MAN: Willingham, sir.
JAMES ERSKINE: Yeah, Willingham, I thought he was gonna keep an eye on him.
MAN: He was. We ended his surveillance this week. You want the dad taken off the board?
JAMES ERSKINE: The package is secure, right? We need to talk to her so make sure she stays alive.
MAN: Yeah, it arrived in Kandahar this morning.
JAMES ERSKINE: Then get rid of the father.
LITTLE GIRL: Daddy?
JAMES ERSKINE: Gotta go. It's my turn in the bounce house. [shuts phone] Here I come, baby.
[Aaron takes off the headphones.]
AARON: Kandahar.
[Aaron looks at Tracy's picture just as a cell phone rings. He looks at the phone, scoffs and gets out of the truck and walks to the rear tailgate. He moves a tarp to reveal Mike lying in the truck bed, unconscious, restrained and duct tape across his mouth. Aaron shakes Mike to wake him up. He puts his hand on Mike's throat.]
AARON: They're calling you to kill me, Mikey. Too bad you got places to be.
[Aaron presses down on Mike's throat. The scene changes to a conference room at the FBI building. Vogel tosses a folder with a Red Panda logo on the front. Janis and Demetri are seated at the table.]
MARSHAL VOGEL: [smugly]You people with the FBI found out about Somalia. As CIA, I can get us there. That's what being a joint task force is all about. Now, you know the deal, Ganwar Region, 1991, crows fell from the sky. There were anecdotal reports of a mass loss of consciousness.
[The aerial photographs of Somalia and the 5 towers are on the monitor.]
MARSHAL VOGEL: Archived satellite photos show 5 towers running a perimeter around the village in question. One of those towers remains standing. Our goal is to access that tower and determine if and how a blackout occurred.
DEMETRI: Are we using Mark's Red Panda plan?
MARSHAL VOGEL: No, Mark wanted to work with Red Panda, we're going as Red Panda.
JANIS: That violates about a dozen international treaties. Are you sure we want to go down that road?
MARSHAL VOGEL: This is international intelligence, Agent Hawk, CIA jurisdiction, it's my ball to call.
[Simon is at the door.]
SIMON: Great! When do we leave?
MARSHAL VOGEL: When we leave is classified.
SIMON: [smugly] The tower you're investigating is based on my designs [pause] designs that were stolen from me when I was 13 years old.
[Simon puts a sketch of a tower on the table in front of Vogel.]
MARSHAL VOGEL: Our plan is to document the site extensively, for your review.
SIMON: You can't document something you don't understand. You need me on site. You showed me the towers because you didn't know what they were. I was the one who told you.
MARSHAL VOGEL: Do you know anything about Somalia?
SIMON: Mm, a bit dry, gorgeous beaches.
MARSHAL VOGEL: It's a failed state. They haven't had a functioning government since 1991.
SIMON: Oh, I saw "Black Hawk Down." I get it. The fact is, you can't make sense of the tower without me and you know it.
[Vogel smirks then takes one of the Red Panda folders and tosses it to Simon.]
MARSHAL VOGEL: Learn it cover to cover.
SIMON: Mm hmm.
MARSHAL VOGEL: And stop by medical and get your shots, cholera, typhus and 10 other bugs you never heard of.
[Demetri and Janis watch the conversation. They look at each other warily.]
MARSHAL VOGEL: Just be warned, we will be off the reservation so if things go sideways, there's no cavalry.
[Vogel walks out of the conference room as he speaks to everyone.]
MARSHAL VOGEL: See you on the tarmac.
[The scene switches to Demtri's cubicle. It is night and the office is dark. Zoey approaches him.]
ZOEY: Hey, came to take you home.
[Demetri turns back to his work.]
ZOEY: It's been a long day.
DEMETRI: Not finished here yet.
ZOEY: Oh you're finished. I say you're finished.
[Zoey leans in and kisses Demetri on the neck.]
ZOEY: Let's go home.
[Demetri stands up and faces Zoey.]
DEMETRI: You, um, you want to tell what that was all about?
ZOEY: It was about doing everything that I can to make sure you're on that beach with me on our wedding day.
[Demetri is angry and says nothing.]
ZOEY: I needed those files because [pause] I'm representing Alda Hertzog.
DEMETRI: You're what?
ZOEY: She has information about your death and I want to know what it is so I made a deal with her.
DEMETRI: Oh, my.
[Demetri closes his eyes and turns away.]
ZOEY: I get her a hearing, she gives me the details.
DEMETRI: [shouts] She is a terrorist, Zoey! She's a terrorist!
ZOEY: [interrupts and points finger] A suspected terrorist, Dem, with information that might save the life of the man that I love, so ...
DEMETRI: [interrupts] I can't believe what you're doing here.
ZOEY: Baby, I would do anything, anything if I thought I could save your life, I'd do it, anything.
[Demetri looks at Zoey with anger in his eyes.]
ZOEY: I'm scared. [pause] I don't want you to die.
[Demetri stays silent.]
ZOEY: Baby, I love you.
[Demetri kisses Zoey.]
DEMETRI: I love you, too.
DEMETRI: Okay. Okay.
[Demetri holds Zoey.]
ZOEY: I love you.
[Demetri stops abruptly.]
DEMETRI: Come with me. There's something we gotta take care of.
[Demetri grabs his suit jacket and they leave the office. The scene switches to a parking lot. Mark's answering machine message is heard.]
MARK: This is Mark. Leave it here. I'll get back to you.
AARON: Mark, just calling to let you know that things have escalated a little bit with Tracy's [pause] friends but it's okay. I'm good. Things are happening just the way they're supposed to.
[Aaron holds up Mike's jackknife. The scene switches to the Erskine residence. James is with his daughter.]
JAMES ERSKINE: [to wife] Whoa, butter cream frosting. Irina, this cake is outstanding.
[His daughter is skipping in the kitchen and looks outside. She screams. Mike's body is hanging in front of the wall of glass. He is wearing his boxers, a birthday hat with his hands tied behind his back and duct tape across his mouth. Happy Birthday is written on his chest and he is swinging side to side. He exerts himself to get out a muffled screams. The scene switches back to Aaron in his truck and leaving Mark a message.]
AARON: I'm gonna be going off the grid for a little while. If you need me [pause] sorry, man.
[The scene switches back to the Erskine kitchen where James pushes his daughter to his wife.]
JAMES ERSKINE: Take her out of here.
AARON: These people went too far and I'm not gonna lay down.
[Mike continues to swing back and forth still screaming while the duct tape is across his mouth. Switch back to Aaron.]
AARON: It's my time to make a move.
[Switch back to Erskine watching Mike swing from side to side.]
AARON: I'm in this thing all the way to the end.
[Switch back to Aaron as he fiddles with the jackknife. A snippet of Aaron's flash-forward is shown. He is in Afghanistan next to Tracy who is on a cot.]
TRACY: How'd you find me?
AARON: I'll always find you, kiddo.
[In the flash-forward Tracy and Aaron hold hands with the jackknife between their hands. Switch back to Aaron in the truck.]
AARON: So long, buddy.
[Aaron closes his cell phone and starts the engine. The scene switches back to the FBI building. Demetri and Zoey are in the Evidence Room area.]
DEMETRI: It's a service weapon, formerly belonging to Agent Mark Benford.
EVIDENCE ROOM AGENT: Serial number A-5-6-1-9-8-4.
DEMETRI: That's the one.
EVIDENCE ROOM AGENT: I'll bring it right out.
DEMETRI: Thanks.
EVIDENCE ROOM AGENT: And, Demetri?
DEMETRI: Yeah?
EVIDENCE ROOM AGENT: I have a blow torch if you want.
DEMETRI: Thanks, man.
EVIDENCE ROOM AGENT: All right.
[The agent goes to retrieve the gun.]
DEMETRI: Figured I'd just rent a boat and throw it out in the middle of the ocean but, uh, the thought of watching it melt [pause] not bad.
ZOEY: I'm sorry. I can be a little [pause] confrontational at times.
DEMETRI: You? No. [chuckles]
ZOEY: It's one of the things you love about me though, right?
DEMETRI: It is. It's right up there with clipping the toenails in bed.
[Zoey pushes Demetri playfully.]
ZOEY: Jerk.
DEMETRI: Come on.
[The agent returns.]
EVIDENCE ROOM AGENT: Demetri.
DEMETRI: Yeah.
EVIDENCE ROOM AGENT: It's gone.
DEMETRI: What are you talking about?
EVIDENCE ROOM AGENT: The box is here. The slip is here. [opens box] But the gun is gone.
[Demetri looks into the box, sans gun.]
[END]
Source
