[The episode commences showing a city skyline.]
THREE YEARS BEFORE THE BLACKOUT
[Marking is putting on his shoes while sitting on a bed in the hospital Emergency Room. Olivia rushes in the room.]
OLIVIA: [to nurse] Thanks. [to Mark] Hey, I'm sorry, I was in surgery.
MARK: Oh, I'm fine, I'm fine.
[Olivia checks his wound.]
OLIVIA: Oh, God, what happened?
MARK: Um, I ran into a bullet.
OLIVIA: Babe, I'm serious, six inches this way, this bullet's in your heart.
MARK: I know.
OLIVIA: I'm not sure I can handle this anymore.
[Mark stands up and grabs his jacket.]
MARK: Livvy, I was an FBI agent when you married me.
OLIVIA: But it is different now. We have a daughter. I mean, if something happens to you, I, I don't wanna...
[Mark exhales deeply.]
OLIVIA: Look, I get that this is who you are. But it's, it's different.
[Olivia helps Mark putting on his jacket.]
OLIVIA: I, I mean, I've got to know that our family comes first. Something's gotta change.
MARK: Wedeck offered me a position on the DHS Counterterrorism Task Force.
OLIVIA: It's an improvement?
MARK: Uh, it's surveillance, two guys in a car eating burritos, listening to phone calls in Farsi. I'll be out of the line of fire. My biggest concerns will be boredom and cholesterol.
OLIVIA: You're gonna hate that.
MARK: Mm, but I can take it. What I can't take is losing you and Charlie. Our family will always come first, I promise.
[Marks kisses Olivia and the scene switches to outside the Bedford residence where Olivia is walking Mark to his car.]
PRESENT DAY
MARK: So, um, if you need anything, I'll be staying at the Wedecks'.
[Thunder rumbles.]
OLIVIA: I'm sorry, I have no idea how to do this.
MARK: Neither do I.
[Olivia and Mark look at his car. Charlie is sitting in her child safety seat the back seat of the car.]
OLIVIA: She's been in there twenty minutes.
MARK: [pauses] I'll call you tonight.
[Mark puts his bag down and gets in the back seat with Charlie.]
MARK: You my new partner? If you are, I insist you change your clothes, can't catch bad guys in pajamas.
CHARLIE: Where are you going?
MARK: I'm just going to the Wedecks' for a little while.
CHARLIE: How long is a little while?
MARK: Well, I [pause] hope it's not very long at all.
[Charlie extends her closed hand to her father.]
MARK: What's this?
CHARLIE: You lost your bracelet.
[Charlie holds a red, blue and green friendship bracelet.
CHARLIE: It'll keep you safe from the bad guys until you come back home. Let me put it back on.
[Charlie puts the bracelet on Mark's wrist as a snippet from his flash-forward wearing the same friendship bracelet, a yellow card on the wall reading Friendship Bracelet Mosaic, followed by Mark writing, "Who else knows," on daily calendar page. Return to real time.]
MARK: Come here.
[Charlie climbs out of her seat and into Mark's arms as they hug.]
MARK: I love you so much, Charlie bear.
[He kisses her head.]
FLASHFORWARD Logo
[The scene switches to Wedeck's office in the FBI building. Wedeck, Demetri and Mark are watching the video that Demetri found in Somalia.]
DYSON FROST: If you're watching this message in 2010, that means the global blackout was successful. That also means we've had a near miss in Pigeon, Utah. How do I know all of this? Because I, myself, have had hundreds of flash-forwards. In nearly all of my futures, I end up dying on March 15th, like you, Demetri. So if you manage to find this tape in Somalia, it would seem our fates are on a collision course and the possible outcomes of the game are rapidly narrowing. As for the endgame, the next move is Mark Benford's.
[Demetri stops the video.]
WEDECK: That's Dyson Frost?
[Demetri nods.]
WEDECK: And it's genuine?
DEMETRI: Yup, it's legit. Degradation rate in the magnetic tape plus the date of production makes it authentic. The only explanation, however implausible, is that Frost flashed-forward from 1991 to our present and saw us in Somalia. Then in 1991, he makes a tape he knows we'd find.
WEDECK: That's a nineteen year flash-forward. And March 15th, the day he dies in his future...
DEMETRI: Is the date I'm supposed to be murdered. Maybe that's the collision course he's talking about.
MARK: Dem, Frost talks about narrowing outcomes, another indication that what people see in their flash-forwards [pause] are only possibilities. Could be warning us.
DEMETRI: Warning us about what?
[Mark looks at Wedeck who nods.]
MARK: There's gonna be another blackout.
DEMETRI: What? How? When?
WEDECK: We have to assume that's Agent Benford's next move, to find out and to prevent it, so let's make it a good one. Find Dyson Frost [pause] yesterday.
[The scene switches to another FBI office where Lloyd is working at a computer station as Simon inspects electric circuit boards.]
SIMON: This is magnificent work. Master circuits built from basic sketches I designed when I was 13.
LLOYD: Well, when you finish patting yourself on the back, can we get back to work?
SIMON: I had to go to a lot of trouble to get all this, not to mention what I had to go through in that basement.
LLOYD: Yes, I now, the missing digit, a terrible loss.
SIMON: You find anything in those documents we got in Somalia?
LLOYD: Yea, a couple of things.
[Lloyd goes through pages in a folder: document, photograph, and a formula.]
LLOYD: There were several references to tachyonic dark matter.
SIMON: In '91? How's that possible?
LLOYD: Well, the theoretical basis existed.
SIMON: But the experiment failed.
LLOYD: Because they needed us.
SIMON: Well, clearly you're missing the silver lining, the blackout, we're off the hook. Not our fault, Frost flash-forwarded in '91, using technology that we did not develop.
LLOYD: Simon, Flosso said our N.L.A.P. experiments amplified the blackout. We can't dodge that.
SIMON: Find anything else interesting?
[Lloyd hands Simon a piece of paper.]
LLOYD: I saw this formula in my flash-forward, written on a mirror.
[A snippet of Lloyd's flash-forward is shown where he is standing in front of a full length mirror with a formula written on it with red lipstick. Return to real time.]
LLOYD: It's the exact inverse of some of our early N.L.A.P computations. I don't know, maybe a process to reverse the blackout?
SIMON: You're working on blackout protection in your flash-forward?
LLOYD: I don't know, but it was this formula, and there was [mirror in flash-forward] more of it written on the mirror and the two of them are combined somehow.
SIMON: Well, we need to other formula that you saw on the Bedford's mirror. Go see your girlfriend.
[Lloyd says nothing and looks at Simon.]
SIMON: Tick tock.
[The scene switches to Demetri knocking on Mark's office door. Mark is fiddling with the white queen chess piece in his left hand.]
DEMETRI: Nothing. I ran face recognition software on every available database. Since Frost faked his death in 1990, there is not one record, not one sighting of this guy, nothing.
MARK: He's a thorough guy, likes complex things, like chess. He's also got an arrogant streak, likes people to know when he's winning. I've been looking through membership lists of chess clubs pre '90.
[The document on Mark's monitor reads: Amateur Chess Championship 1987. The column titles are Category and Representative. 7th National Chess Club has the first two lines with M. McNeil and S. Brackenridge. Below that is a list by Rank and Opponent. D. Etherington vs. C. Snowden, J.Tschernitz vs. G. Fogarty, D. Frost vs., I. McKinnon.]
MARK: Frost placed third in an Amateur league in '87 and the guy he beat lives in San Francisco. His name is Ian McKinnon. McKinnon was the reigning champion until Frost beat him in an upset.
[Mark brings up a screen with pictures of both me and it reads: Seamen's Chess Club, Historic Chess Games, Frost, McKinnon, Frost Wins. Another window opens with background information such as driver's license data.]
MARK: So I traced him and then gave him a call. But when I mentioned Frost, he hung up.
DEMETRI: Well, let's travel. We need to get to San Francisco and talk to him, right?
MARK: Yeah, but first, there's something else.
[Mark opens another window on his monitor showing three chessboards, one per game, with a list of moves below each board.]
MARK: This is Frost's final tournament against McKinnon. He uses a very risky play called the Queen Sacrifice.
[An animated video shows the queen moving across a chessboard and knocking a pawn off the board.]
MARK: Looks like a total Hail Mary, but it's one of the most effective plays in the game.
DEMETRI: Okay, so what?
MARK: He knew we would see these games. It's another message from 1991. Tournament game sheets, each of his moves takes either two or four seconds, never more, never less. In the three games he made fifty moves after which he resigned.
DEMETRI: So this is a code of some kind, wait, is this, this is Morse code.
[Mark smiles.]
MARK: 2-second moves are dots and 4 second moves are dashes. There are 50 moves so 50 characters.
DEMETRI: And this is just jumbles of letters here.
MARK: Not letters, numbers in Morse code have five dots or dashes.
DEMETRI: 50 divided by 5 is 10, 10 digits. Is it a phone number?
[Mark presses a key and an analysis is performed and the results displayed. They read:
Current Address: Unknown
Current Phone: Unknown
DMV Search: No Match
ABA Search: No Match
SSI Search: No Match
Source: Cash Transaction]
MARK: Prepaid cell. He really did know the future.
[Mark calls the cell phone number. He reaches Dyson Frost's voicemail message.]
DYSON FROST: Well done. Leave a message.
MARK: Dyson Frost? This is Agent Benford. It's your move.
[Mark closes his cell phone.]
MARK: Now we're traveling.
[The scene switches to a Japanese restaurant. Keiko is sitting at a table reading Kore o Eigo de Iemasuka / Power English (For Japanese-Speakers) by Power English. A bell jungles as the door to the restaurant is opened. Keiko looks up to see a woman enter the restaurant. On the wall behind Keiko is a painting of a large blue fish with yellowy and orange fins and head. A waitress approaches Keiko's table with a pot of tea and refills Keiko's cup.]
WAITRESS: [in Japanese] How about eating something? I never see you eat.
KEIKO: In English, please.
WAITRESS: I know you like Halibut. Some just came in this morning.
KEIKO: No, thank you, I ate [pause] some cereal.
WAITRESS: Oh, that's not enough. You need protein.
KEIKO: You are kind, but I can't. It's [pause] too much money.
WAITRESS: [in Japanese] We're looking for another waitress. They'll pay cash if you don't have a work visa.
KEIKO: [in Japanese] Thank you. But I didn't come all the way to Los Angeles to work in a sushi restaurant. [in English] I want a new beginning.
WAITRESS: A new love.
[A snippet of Bryce and Keiko in a restaurant from her flash-forward is shown.]
BRYCE: [in Japanese] May I.
[Bryce takes Keiko's left hand and turns it palm up to reveal a tattoo on her wrist.]
BRYCE: [in Japanese] Believe
[Return to real time. Keiko smiles at the waitress.]
WAITRESS: Some miso soup, a little rice?
KEIKO: Okay.
WAITRESS: Okay.
[The bell on the door jingles again and Keiko looks at the door. A man walks in and she looks anxiously to see his face. As he passes the screen and looks around the restaurant, she realizes it is not Bryce and shakes her head to the waitress indicating not him.]
WAITRESS: Not today.
[The waitress leaves the table and Keiko returns to reading her book. The scene changes to a hospital room where Bryce is have a chemotherapy treatment intravenously. Nicole sits next to his chair.]
NICOLE: Come here often?
BRYCE: I'm beginning to feel like a regular. Don't you have anything better to do than hang around a chemo ward?
NICOLE: Bryce, you're my friend. You're crazy if you think I'm gonna let you go through this alone.
BRYCE: I appreciate what you're doing but [pause] I don't want you to see me like this.
NICOLE: Is this about your pride?
BRYCE: A little bit, yeah.
NICOLE: Hello, it's me. You've glued pennies to the wall with my lunatic mother. I think we've both seen behind the curtain. Besides, the chemo's gonna make you sick as a dog in 24 hours. So tonight, let's have some fun.
BRYCE: Okay, let's do it but I'm buying dinner.
[The scene switches to an aerial view of the Golden Gate Bridge then to a giant sized chess board laid out above water in a park. A large piece of wood bridges the chess board to the walkway next to the pool. Yellow police tape cordons off the area. Various indistinct conversations are occurring and sirens are heard in the background.]
DEMETRI: You call S.F.P.D.?
MARK: What do you think?
[Two EMTs push a gurney from the chess board to an ambulance. Demetri and Mark approach a detective. Mark shows his FBI Badge.]
DETECTIVE: Help you guys?
MARK: Special Agent Benford, Agent Noh.
DETECTIVE: Detective John Smith, yes, that's my real name. What do you need?
MARK: What happened here?
DETECTIVE: Eh, some guy from the chess club took two in the back of the head.
MARK: Don't tell me [pause] Ian McKinnon?
[The detective looks in the victim's wallet.]
DETECTIVE: Yeah, Ian McKinnon, person of interest?
MARK: [pause] Not any more.
[Mark and Demetri turn and walk away. The scene switches to Mark and Vogel walking on narrow walkway next to a large building.]
MARK: Ian McKinnon was unlucky enough to play a few games of chess back in the '80's and now he's dead. He was our best lead on Frost but our leak turned him into a homicide investigation. San Francisco Bureau is handling the follow-up but I'm not expecting much.
MARSHALL VOGEL: How long between when you first made contact until the time of death?
MARK: Eight hours, tops.
MARSHALL VOGEL: There's only one conclusion.
MARK: The leak we've been tracking, that's compromised the security of the whole MOSAIC investigation, is inside the bureau.
MARSHALL VOGEL: Not just the Bureau.
MARK: No, inside our office.
MARSHALL VOGEL: [exhales deeply] I've been ordered to give full agency support, fresh pair of eyes, all the rest of that crap. [checks watch] You got a play?
MARK: My dad knew a guy who used to go blast fishing. He'd throw a stick of dynamite in the water and watch the fish float to the top. It was ugly but it worked.
MARSHALL VOGEL: Game on. [pause] Just don't forget who your friends are.
MARK: What's unacceptable is that one of them is my enemy.
[Mark walks away from Vogel as the scene switches to Vogel entering the FBI building with a large group of people. Wedeck walks out of his office.]
MAN: I need you to step away from your desk
WEDECK: What the hell is going on here?
MAN: Everyone's requited to assemble in the conference room, sir.
WEDECK: On whose authorization?
MARSHALL VOGEL: Sorry, Assistant Director Wedeck, orders.
WEDECK: Whose orders?
MARSHALL VOGEL: I'm not at liberty to say.
WEDECK: That's not part of the task force agreement.
[Wedeck takes out his cell phone and starts to make a call.]
MARSHALL VOGEL: [clears throat] Uh, no calls and I'll need your cell phone, please.
[Wedeck slaps his cell phone into Vogel's chest and walks away. Vogel looks into Mark's office, nods and walks away. Demetri is escorted down the stairs, by the arm and to the conference room by one of Vogel's men. He wrests his arm from the agent.]
DEMETRI: Don't touch me, all right?
AGENT: Sir, your phone.
[Simon walks by and sees Demetri taking his cell phone out of his jacket pocket and slaps it into the agent's hand.]
SIMON: What's going on? Someone lose their keys?
[The agent looks at a clipboard then back at Simon.]
AGENT: Simon Campos?
SIMON: Yeah?
AGENT: You're in there also, sir.
SIMON: I'm not really an employee. I'm more of a visitor.
[As Simon starts to walk away, the agent blocks his path and points to the conference room.]
SIMON: What is this? I've not even had my coffee yet?
[The agent says nothing and looks at Simon until he walks to the conference room. FBI workers are checking the overhead lights and sweeping over almost everything with metal detectors. Mark watches from his office. Telephone wires and computers are being scanned with various tools of detection. All that need to be gathered are now in the conference room.]
DEMETRI: [to Wedeck] What's this about?
WEDECK: Judging from the way our offices are being torn apart, I'd say an interagency task force has been formed and is looking for a leak.
FBI AGENT: Can't just look for the leak on our own?
JANIS: Yeah.
WEDECK: I think the point is, one of us is a mole.
[Mark walks by the conference room.]
DEMETRI: And Mark?
WEDECK: Apparently, already vetted.
[Switch to Mark's office where another FBI agent is moving a detection device across Mark's phone.]
MARK: This office has been swept.
[Vogel starts singing, "You Are the Sunshine of my Life," by Stevie Wonder, as he picks up papers from the desk.]
You are the sunshine of my life,
Girl, forever you'll stay in my heart.
You are the apple...
[As the device is moved over Mark's laptop keyboard, the monitor starts beeping quickly. Mark is surprised. Vogel puts down the paper and walks to the laptop and starts inspecting it. The beeping is almost a solid tone.]
MARSHALL VOGEL: [to FBI worker] Tweezers.
[Vogel starts tapping on the keys as Mark watches. They make the same sound until Vogel hits the letter M. He pulls the key out of the keyboard using the tweezers and turns it over to reveal a white disc.]
MARSHALL VOGEL: There's your leak. [to FBI worker] Get out. [to Mark] It's voice activated. When your office is swept for bugs at 4 A.M. the sweepers don't make any sound. No sound, no transmission.
[Vogel tosses the key and tweezers on the desk.]
MARK: You've vetted the sweepers?
MARSHALL VOGEL: Since the blackout, all techs have been agency contracted, blind assignments. That's how you do security. They just don't know about the singing. So who has access to your office, Mark?
[Mark looks out of his office window to the conference room.]
MARK: Everyone in that room.
MARSHALL VOGEL: Time to light the fuse.
[Vogel and Mark enter the conference room.]
MARSHALL VOGEL: Ladies and gentlemen, as you may have deduced, we're closing in on a leak inside the FBI that is hampering the MOSAIC investigation. Now, [chuckles] anyone want to confess?
[Everyone starts looking at someone else and no one replies.]
MARSHALL VOGEL: No? Then it's the hard road.
[Janis rolls her eyes.]
MARSHALL VOGEL: You'll be first, Agent Noh, as you were part of the failed attempt to contact Ian McKinnon.
DEMETRI: [to Mark] You got anything to say about this?
MARK: We have to do this.
[Demetri gets up and walks past Mark and out of the office. Switch to another conference room.]
DEMETRI: Vogel, you're a son of a bitch, you know that?
MARSHALL VOGEL: True as that may be, I'm working with Agent Benford today.
DEMETRI: I was with you the whole time in San Francisco.
MARK: I don't think you're the mole.
DEMETRI: Who then?
MARK: Someone in that room.
DEMETRI: If you don't think I'm the mole then what the hell am I doing in here?
MARK: I need the mole to think I suspect everyone, even you.
[Switch back to the conference room with the detainees.]
AGENT CURDY: How long are we gonna be stuck in here?
AGENT VREEDE: Good question. They've got their whole procedure to go through, re-vet contact histories, bureau records, computers.
MARCIE: That could take days. They're gonna want to vet all of our personal files.
[A man walks around the table bringing cups of coffee for everyone.]
AGENT CURDY: Not if they don't have passwords.
FBI AGENT 2: You didn't give up your passwords?
AGENT CURDY: Not to my personal files, no.
WEDECK: Something on your computer you don't want people to see?
AGENT CURDY: No, I mean, nothing that's [pause] sensitive. You know, I'm [pause] I'm clean.
SIMON: It's porn, Agent Curdy, downloading naked cheerleaders on FBI time?
AGENT CURDY: It, it's nothing like that. It's, it's, it's, um, [pause] it's just [pause] it's an R.P.G.
SIMON: Oh.
WEDECK: What?
AGENT CURDY: It's, it's an R.P.G.. It's a role playing game. I play "Warlocks of Avalon" online.
[Janis groans.]
AGENT CURDY: I'm a 7th level Druid. My name is "Argothic."
[People start to laugh as Wedeck just looks in amazement.]
SIMON: You have any special powers?
AGENT CURDY: Um, cape of invisibility, lightning hammer, elixir of life, healing.
SIMON: That's impressive.
AGENT CURDY: Yeah, it's cool.
[As Mark enters the conference room, the laughter calms.]
MARK: You're next, Vreede.
AGENT VREEDE: [to Curdy] Can I borrow that cape?
[Vreede gets up and walks out of the room.]
MARCIE: There any reason we can't get back to work, do something useful?
[Mark takes the keyboard letter M key from his jacket pocket.]
MARK: Vogel found a micro-transmitter [tosses key on the table] in that key.
[Simon picks up the key.]
MARK: You want to be useful? Tell me who put that in my office.
[Mark looks around the table.]
MARCIE: You think it was one of us?
MARK: That's the working theory.
SIMON: Hmm, M for Mark, nice touch unless it was you, Marcie.
MARCIE: Can you shut up for like five minutes?
[Marcie takes a sip of her coffee.]
SIMON: Want some sugar?
MARCIE: I don't use sugar. Mark, we're with you, you know that.
MARK: Thanks, but we're close. We'll get him.
SIMON: Good thing the fate of the planet doesn't rely on Mark Benford finding the mole.
[The scene switches to Keiko, carrying her guitar case, walking along a street lined with a chain link fence. "La Victoria es Pa Mi Tropa" by Rey El Vikingo plays in the background. She tries to see where the music is coming from. Men speaking Spanish indistinctly is heard also. She reaches the open gate of the fence. Men are working on and under various cars. Some of the cars bounce up and down to the beat of the music as men and girls dance. Keiko smiles and enters the gate. A man yells from under a car and Keiko bends over to look.]
MECHANIC: Son of a bitch!
KEIKO: Excuse me!
[The man rolls out from under the car.]
MECHANIC: Koreatown's further west.
KEIKO: No, I'm not Korean. I'm Japanese.
MECHANIC: Either way, you gotta get on the bus.
[The mechanic rolls himself back under the car.]
KEIKO: You want this car to do that?
MECHANIC: That's the idea.
KEIKO: I look?
[He rolls back from under the car and sits up.]
MECHANIC: You look? You look like you don't belong here and you definitely don't belong under the car.
KEIKO: Hydraulics or nitrogen air bags?
MECHANIC: [smiles] Hydraulics.
KEIKO: Could be fracture in cylinder. I can help. Maybe I surprise you, yes?
MECHANIC: Okay, Ninja girl but if you break my axle, I'm coming after you.
KEIKO: Mm hmm.
[Keiko places down her guitar case, removes her jacket, then takes an adjustable wrench and rolls herself under the car.
KEIKO: Thank you.
[The scene switches back the FBI conference room with Mark and Vogel.]
JANIS: This is really screwing with my trust issues, you know that.
MARK: Yeah, you've been through a lot, Janis.
JANIS: [rolls eyes] I took a bullet, Mark, and I'm seriously a suspect?
MARSHALL VOGEL: You have to admit that getting shot and living makes for a perfect cover.
JANIS: Screw you, Vogel.
MARK: I'm sure there's a reason for this but you've got a number you've got a number of unaccounted personal breaks in the weeks since the blackout, 13 in all.
JANIS: So?
MARK: In the three previous years at the bureau, you've taken precisely [pause] two.
JANIS: Mark, you know what I saw in my flash-forward. I've been going to a fertility clinic.
MARSHALL VOGEL: Yeah, you only had eight visits. We checked.
JANIS: So what? So I went out [pause] to go buy some shoes. Come on, Mark.
MARSHALL VOGEL: [interrupts] Where were you? Hmm?
[Janis pauses and Mark closes a folder.]
MARK: What is it, Janis?
JANIS: Ever since the shooting I've been looking at everyone differently [pause] suspicious. Just checking up.
MARSHALL VOGEL: And you found something.
JANIS: [to Mark] Does he have to be here for this?
[Vogel smirks and stays seated.]
JANIS: Marcie has a brother.
MARSHALL VOGEL: We know about him.
JANIS: There's another one [pause] a half brother. He's very sick. He's dying in Missouri in a full care facility. It's expensive. Marcie didn't name him in any of her applications. Those absences, I went off site to look into some things.
MARSHALL VOGEL: You never mentioned this before.
JANIS: I was waiting.
MARSHALL VOGEL: For what?
JANIS: I was waiting to see if she did something.
MARK: And Marcie's paying for this care?
JANIS: There was a deposit made to an account for $50,000 three months ago [pause] anonymous.
MARK: Okay, Janis, thanks.
JANIS: Mark, I don't know anything for sure. I'm just trying to help.
MARK: You've done the right thing.
JANIS: It doesn't feel like it.
[Janis stands up and Vogel opens the door for her.]
MARSHALL VOGEL: You trust her?
MARK: You know what, Vogel? Being around you makes me not trust anyone anymore.
MARSHALL VOGEL: [sarcastically] Ooh.
[Vogel leaves the conference room as Mark looks over into the conference room with the detainees then tosses the folder on the table. The scene switches to an amusement park as a roller coaster climbs up a steep incline is in the background.]
CHARLIE: It's gonna rain.
OLIVIA: Yup but we're together. We're having a girl's day.
CHARLIE: I don't want to have a girl's day. I want daddy to be here.
OLIVIA: Daddy wants to be here, too.
CHARLIE: Then why isn't he?
[Olivia and Charlie stop walking and Olivia crouches down so she is at eye level with Charlie. There is a man leaning against the railing, eating a cup of ice cream next to Charlie and Olivia.]
OLIVIA: Here's the thing, sweetie. Daddy and I love each other very much but most of all, we love you. We're always gonna be a family. That's never gonna change, I promise.
[Charlie doesn't reply.]
OLIVIA: Come on, let's go for a ride, yeah?
CHARLIE: [smiles] Okay.
OLIVIA: Let's do it.
CHARLIE: Can I ride the Ferris wheel?
[The man watches Olivia and Charlie as they walk away.]
OLIVIA: You want to go on the Ferris wheel?
CHARLIE: Uh huh.
[The scene changes to Olivia holding Charlie tight as they ride on the Ferris wheel. The man is now in the car next to them. The scene switches back to Mark's office at the FBI building. He is working on his board. Demetri enters.]
DEMETRI: Hey. So I went through Marcie's background. She did declare her brother in her initial application.
MARK: Thought Janis said she didn't.
DEMETRI: The original vetting records were at a regional field office. When they were routed to D.C. an entirely separate file was created. It was easy to miss, man.
[Mark throws a folder on the floor, leans against his desk and puts his hand to his eyes.]
DEMETRI: You okay?
MARK: Yeah. No. No.
[Demetri closes the door.]
MARK: I moved out of the house. Yeah. Olivia and me [pause] we're, I don't know. I, I moved out.
DEMETRI: Sorry. This about what you saw in your flash-forward?
MARK: Mm hmm. Partly that, partly what she saw.
DEMETRI: Is there anything I can do?
MARK: No. But Marcie's still a suspect so keep digging.
DEMETRI: All right.
[Demetri leaves Mark's office. Mark picks up the folder and looks over at the conference room where Marcie is pacing back and forth. Switch to the carousel at the amusement park. Charlie is on a horse as Olivia stands next to her. There is music playing, laughter and indistinct conversations occurring simultaneously in the background. The man who was at the railing and on the ferris wheel is now in front of a fortune telling machine.]
AUTOMATED FORTUNE TELLER VOICE: Tell your future.
[As the carousel makes another lap, Olivia notices the man looking at her and Charlie.]
AUTOMATED FORTUNE TELLER VOICE: Step up and I...
[As the carousel comes around again, Olivia looks and the man is gone.]
AUTOMATED FORTUNE TELLER VOICE: ...in your future.
[As the ride stops, Olivia helps Charlie down off the horse and grabs her hand.]
CHARLIE: Can we do that again?
OLIVIA: No, my love. Let's go, let's go.
[Olivia looks around for the man. She sees him watching them across the arcade and rushes Charlie out of the building.]
CHARLIE: Can we go again? Can we go again?
OLIVIA: No, sweetie.
[Olivia looks back and starts walking briskly with Charlie in tow. The scene switches to outside the building. Olivia is now running and holding Charlie's and as she runs with her mother. Olivia stops and the man stops running.]
OLIVIA: Why are you following us?
AGENT CROWLEY: Because it's my job. [takes out badge] I'm Special Agent Danforth Crowley. Your husband assigned me to be your security detail. Your safety is his number one priority.
[Olivia and Charlie hug. The scene switches to the inside of a garage where various cars are in different states of repair. The whirring of drills is heard as well as sirens in the background. "Con La Ultima Bela " by Qbanito plays in the background. The other mechanics take notice when Keiko walks into the garage.]
MECHANIC: You don't know much English so I know you don't have a work visa. I can try to get you paid off the books. [points to a car] That's your first job. Client wants more horsepower so we've been trying to remap the E.C.U. My guys only work on carbureted engines so for them it's like Japanese. Keiko chuckles and points to the car.]
KEIKO: German.
MECHANIC: You said you were some big time engineer back in Japan. Maybe you can figure this out.
KEIKO: Yes, it is no problem.
MECHANIC 2: Yo, Emil. You didn't tell us you were hiring a masseuse.
[Everyone laughs.]
EMIL: Listen up. Cut the music, I got something to say.
[The music stops.]
EMIL: This is Keiko.
[Keiko chuckles as she demurely waves to the other workers. Emil approaches the mechanic who made the masseuse remark.]
EMIL: She works here now. That means she is part of the family. Treat her with respect or we're gonna have a problem. Everyone get that?
[There is silence in the garage.]
EMIL: I'll take that as a yes.
[Emil snaps his fingers and circles his hand in the air. The music starts playing and everyone gets back to work.]
EMIL: [to Keiko] All right, get to work.
[Keiko nods and the scene switches to Olivia speaking on her cell phone from the hospital.]
OLIVIA: Hey, it's me. I just wanted to thank you for that security detail. It scared the hell out of me but I guess it helps. Charlie misses you. Um, anyway, I'm at the hospital so call me if you...
[Olivia is interrupted by Lloyd. She closes her cell phone.]
LLOYD: Olivia? We need to talk.
[Olivia and Lloyd walk out of the room and into her office.]
LLOYD: I swear I wouldn't bother you if it wasn't absolutely necessary.
OLIVIA: Wow, you literally have the world's worst timing.
LLOYD: Well, yeah, I've heard that before.
OLIVIA: What do you want, Lloyd?
LLOYD: Okay, I need to know exactly what you saw in your flash-forward. I wrote a formula on your bedroom mirror and I think it relates somehow to the global blackout but what I saw was incomplete. Did you see it?
OLIVIA: Yes, I did, part of it.
[A snippet of Olivia's flash forward is shown. She is lying on her bed with a shirt on as Lloyd gets up and puts on his trousers. As he walks out of the room he looks at his cell phone.]
LLOYD: I have to make a call.
[The flash-forward continues in the background as Olivia describes it in real time.]
OLIVIA: After a while, I got up from the bed.
[Olivia picks up an open tube of red lipstick from the floor in her flash-forward.]
OLIVIA: Then I noticed that something was written on the mirror. It was written in lipstick.
[Olivia stands in front of the mirror in her flash-forward. Return to real time.]
OLIVIA: Most of it was indecipherable, but I did recognize this.
[Olivia writes part of the formula on a piece of paper and shows Lloyd. It reads C2 HBr ClF3]
OLIVIA: Halothane. It's an anesthetic.
LLOYD: Quantum physics and anesthetics [long pause] that's what Mark and I were working on in our flash-forward. I thought Q.E.D. meant Quantum Electrodynamics but we were [pause] building a quantum entanglement device.
OLIVIA: Good, well that clears that up. I have to be getting on with my rounds.
LLOYD: Uh, yes, right, of course. I, I don't want you to think I, I'm harassing you.
[Olivia gathers folders from her desk.]
OLIVIA: No, I know, you're just trying to save the world. Good-bye.
[Olivia leaves her office. The scene switches to Keiko and Emil sitting in the Japanese restaurant.]
EMIL: So you come here every single night just in case this guy shows up?
KEIKO: And during the daytime.
[They chuckle.]
KEIKO: I know. I know, but it's the only way I can find him.
[Keiko sips on some Sake.]
EMIL: All right, I respect that. You saw your fate and now you're doing your thing.
KEIKO: When I saw my future, it was the best day of my life. It was the first day I let myself want what was in my heart. So like you say, I am doing my thing.
[They chuckle.]
KEIKO: Can I ask? What did you see?
EMIL: Something different than you. Let's leave it at that.
KEIKO: You are kind to give me a job.
[Emil exhales deeply, picks up his Sake and they clink their cups in a toast.]
EMIL: We're lucky to have you.
KEIKO: Thank you.
[The scene switches to a street where Bryce is walking with Nicole.]
BRYCE: You ever try sea urchin?
NICOLE: No, is it good?
BRYCE: It's like eating somebody's thyroid.
NICOLE: Oh, well, I'm sure Keiko loves it and if she's the woman you were in love with in your vision, you have to eat it with her.
BRYCE: Wait, this could be a problem. What if sushi's her favorite food and that's all she ever wants to eat?
NICOLE: Okay, suddenly she's a "mogwai." You're being ridiculous.
BRYCE: A, a what?
NICOLE: Never mind.
BRYCE: Wh, what [pause] what's a "mogwai?"
NICOLE: I'm not explaining it to you.
BRYCE: Justify your metaphor, young lady.
NICOLE: God, um, "mogwai." You know, Gizmo, the little furry creatures that turn into gremlins if you don't feed 'em right.
BRYCE: Oh.
NICOLE: They had dietary restrictions, it's [pause] forget it.
BRYCE: Wow.
NICOLE: I know, it's a very nerdy metaphor.
[Nicole puts her hand on Bryce's shoulder so he is facing a restaurant window with the menu displayed.]
NICOLE: Just shut up and read the menu.
BRYCE: Okay. I don't know. I'm just not feeling Sushi tonight.
NICOLE: Well, I am.
BRYCE: Okay, I guess I can have teriyaki.
NICOLE: You're kind of a spoiled brat. I never noticed that about you before.
BRYCE: How dare you? I have cancer.
NICOLE: All right, what do you want to do?
[Bryce looks at Nicole and then leans in and kisses her.]
NICOLE: Bryce.
BRYCE: I'm sorry. Um, I don't know why, why I just did that. I, I know why I did that, but...
NICOLE: It's [pause] you're thinking about another woman. You know, you can't just kiss me in Little Tokyo, no less.
BRYCE: Yeah, I know. I'm, um, sorry. It's just [pause] you're great.
NICOLE: Honest mistake. Hey, just buy me a burger and we'll call it even.
BRYCE: Deal.
[As they walk away from the restaurant, Keiko and Emil are sitting at the table behind the menu, laughing and having a good time. The scene switches back to the garage. Keiko is looking inside of the car she is working on. "Asi You Naci" by Rey El Vikingo is playing in the background. Emil approaches the car with 2 containers of coffee.]
EMIL: Good morning, Keiko.
KEIKO: Morning.
[He hands her the coffee and she accepts.]
KEIKO: Too much sake?
EMIL: Mm.
KEIKO: Next time we have tequila.
EMIL: Mm. How's it going?
KEIKO: Mm. This car will go very fast.
EMIL: You know, we just need a little more horsepower. We're not trying to launch it into space, you know?
[Suddenly a man yells in the garage. Everyone turns to look. I.C.E is raiding the garage. They all have guns drawn.]
ICE AGENT 1: Immigration!
ICE AGENT 2: I.C.E. Nobody move!
[Mechanics start to scurry as the agents rush in. Keiko is not aware of what is happening.]
ICE AGENT 1: Hands behind your heads!
EMIL: [to Keiko] Just do what I do.
[Agents overtake the garage.]
ICE AGENT 1: Hands behind your head!
[Men stop trying to escape and put their hands behind their heads. Keiko cringes as she gets out of the car.]
ICE AGENT 1: Move it! Put your hands up now!
[Agents start pushing men to the ground, make them put their hands behind them then and put plastic ties on their wrists.]
ICE AGENT 2: Now! Do it now!
ICE AGENT 3: Don't move!
[The first ICE agent approaches Emil. As he drops his container of coffee on the floor, another agent puts his hands behind his back and fastens them with plastic ties.]
ICE AGENT 1: You Emil Gutierrez? You're under arrest for employment of undocumented workers.
[Keiko is still standing with her hands behind her head.]
ICE AGENT 1: [to Keiko] What's your name?
KEIKO: Keiko.
ICE AGENT 1: Do you have an I-9?
[Keiko is confused as she looks at the agent and he extends his hand.]
ICE AGENT 1: I-9?
[The agent looks at Emil.]
ICE AGENT 1: Surprise, surprise.
[An agent puts Keiko's hands in front of her and applies the plastic ties.]
ICE AGEN 1T: All right, load 'em into the van. Let's go.
[The agents escort the workers from the garage and put them into a specialized van for transporting prisoners. Keiko is assisted into the van and is followed by Emil. As the doors shut, a frightened Keiko looks on. A man pounds on the back door and then all the ICE vehicles leave the premises. The scene switches to Bryce stopping at a red light. He looks at his cell phone at a picture of Nicole. He calls and leaves a message.]
BRYCE: Hey, it's me. Listen, I, I had a, a great time last night. Uh, and I'm, I'm sorry about kissing you. Um, [pause] you know, actually, I'm, I'm [pause] I'm not. I'm glad so, okay, well, anyway, uh, bye.
[Bryce hears the sirens and notices the ICE vehicles speeding in the opposite direction. The scene switches back to the conference room at the FBI building. Mark enters his office where Demetri is working on Mark's computer.]
MARK: They've been in there 36 hours. Got anything?
DEMETRI: All of Marcie's background has been gone through by Vogel's people already, financials, phone records, background checks up the wazoo. I'm doing surveillance tagging right now.
[The tape shows Marcie standing outside the building near the fountains, holding a container of coffee.]
DEMETRI: This surveillance tech is good.
[The screen shows the date as 01-04-10, time 16:52:36:21. They watch as Marcie puts a packet of sugar into her coffee.]
MARK: Wait. Go back, go back there.
[Demetri rewinds the video and starts it again.]
MARK: How many times does she have coffee?
DEMETRI: She has coffee most of the time. Why?
MARK: She doesn't use sugar. Okay, give me time stamps for every time she puts sugar in her coffee.
[Demetri runs the query and the results are returned.]
MARK: Each of these time stamps corresponds to a day a key piece of information was leaked.
[Mark and Demetri look at each other then Demetri types again.]
MARK: Look at that. No one knew about the Pigeon, Utah, trip.
[A flashback to the dolls hanging in the doll warehouse and the following explosion is shown.]
MARK: Crap!
MARK: Or the Somali intel that triggered the attack in Washington.
[A flashback of a rocket propelled grenade being shot into Wedeck's car in the parking garage in Washington, D.C. and the explosion is shown]
MARK: Every time she puts sugar in her coffee, she was signaling her handlers.
[Mark looks over into the conference room at Marcie. As Demetri and Mark get up to walk to the conference room, Marcie knows her cover has been blown and runs out of the room grabbing an agent's gun and shoots him in the back. Everybody scrambles.]
AGENT CURDY: Marcie, what are you doing?
[Marcie shoots Agent Curdy in the shoulder. All agents draw their weapons as Marcie continues to run. Chaos ensues as bullets are being fired. A man walks by and is shot by Marcie.]
MAN: Down! Everybody down!
[Mark and Demetri exit Mark's office with weapons drawn.]
MARK: Down, down, down!
[Demetri aims and fires a shot. Marcie stands her ground and continues to fire at everyone. She shots a female agent in a different office then turns and fires at Mark and Demetri. She fires at another man and he goes flying through a pane of glass from the impact of the bullet. She begins to run.]
MAN: Go!
DEMETRI: Cut her off at the stairs!
MARK: Go, go, go!
[Marcie is now in the stairwell. She stops after running down several flights and looks up. She fires at people coming down the stairs after her then continues down the stairs. Mark fires twice at her. Marcie reaches the ground level and exits the building and looks around. A motorcycle speeds around the corner in her direction. She shoots more agents at they try to apprehend her. As she runs, the motorcycle screeches to a stop, she gets on the back seat and the driver speeds away. She continues to shoot at agents behind her as they speed away.]
MARK: Down, down, down!
[Mark runs out from behind a pillar, shooting and yelling.]
MARK: Down! Down!
[The sound of gunfire continues as the motorcycle grazes anyone in its way. Janis comes running out of a different exit of the building with her gun drawn. As the motorcycle approaches, Janis shoots the driver five times before the motorcycle swerves and lands in the pool of water with the fountains. Marcie gets up and tries to run as Janis runs into the water at her. Janis pulls Marcie down from behind into the water. Marcie gets up and swings at Janis' face. Janis punches Marcie in the face, kicks her in the abdomen with her knee then strikes Marcie on the back with her elbow. Janis finishes with a round house kick to Marcie's face, ending the fight. Mark approaches the pool with agents behind him.]
MARK: Hold fire, hold fire.
[Wedeck and Demetri run alongside the pool.]
MARCIE: Aah!
[Janis picks Marcie up, holds her hands behind her back and moves Marcie out of the pool. Vogel approaches them. Mark looks down at Marcie and his pulls her out of the water by her jacket lapels.]
[Mark shoves her to another agent.]
MARK: Marcie. Get her out of here.
[Mark shoves her to another agent. Janis climbs out of the water.]
MARK: It looks like you were right, Janis.
JANIS: I wish I wasn't.
[Sirens wail in the background, the dead motorcycle drive lies face up in the water with his helmet mask still in the down position and various agents gather themselves on the concourse. The scene switches to Mark putting on his jacket and leaving his office. He meets Wedeck in the corridor.
WEDECK: Huh, you could have let me in on it.
MARK: I couldn't say anything, orders.
WEDECK: You told Demetri.
MARK: It was discretionary. I needed people in that room.
WEDECK: So I was manipulated for the greater good. Queen Sacrifice, Frost's play.
MARK: How'd you know about that?
WEDECK: We all have our ways, Mark.
[Mark's cell phone rings and he answers it.]
MARK: Benford.
DYSON FROST: Agent Benford, Dyson Frost. Don't speak, just listen. I haven't come forward since all your leads end up dead but now that your mole problem has been fixed, I look forward to meeting you. I'll be in touch.
[Frost hangs up and Mark closes his cell phone. The scene switches to the parking garage. Janis is walking with Simon.]
SIMON: You were quite the hero today. I like a woman who knows how to handle a firearm. Fancy a drink?
JANIS: I'm not really your type.
SIMON: I think you'd be surprised to learn exactly what my type is.
JANIS: I reviewed your Uncle Teddy's autopsy x-rays. The C.P.R. you gave him was quite aggressive, could've even been the cause of his death.
SIMON: Yeah, I, uh, can be quite a tiger.
JANIS: You murdered him to send a message. Message received.
SIMON: I should have known, a double plant. Two moles in case one is caught. Brilliant and not one person in that office would suspect it's you. Not one.
JANIS: Well, that would be the point now, wouldn't it?
[Janis coyly smiles at Simon.]
[END]
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