APRIL 29
3:23 AM
[The episode commences with Charlie waking up during the night and Olivia running to see what is wrong.]
CHARLIE: Mommy! Mommy!
[Charlie is crying and Olivia hugs her and tries to comfort her.]
OLIVIA: Oh sweetie. Oh, it's okay, deep breaths.
[Olivia kisses Charlie's head then strokes her hair.]
OLIVIA: You're okay, you're okay.
[Charlie is distraught.]
OLIVIA: What happened?
CHARLIE: I had a bad dream.
OLIVIA: You did? It's okay.
CHARLIE: Today's the day.
OLIVIA: Look, yeah.
[Olivia gets under the blankets with Charlie and holds her close. Charlie is crying.]
OLIVIA: Yeah, but you know what? It's gonna be all right. I'm right here.
CHARLIE: Today's the day daddy's gonna die.
[Olivia remains silent and holds Charlie tight.]
FLASHFORWARD Logo
7:26 AM
[The scene switches to Janis's apartment. Janis and Simon are sitting opposite of each other and talking. Simon has the gun in his hand but is not pointing it at Janis.]
SIMON: You worked with my security detail, so you know what will happen when everyone finds out that the mad scientist was awake when the rest of the world was asleep. I'll be a dead man.
JANIS: What do you want, Simon?
SIMON: I want revenge. I want to destroy the people who are really responsible for the global blackout.
[Janis shakes her head.]
JANIS: Look, they're cornered now. We have Hellinger in custody.
SIMON: You, of all people, must know it goes beyond one person. I want to get back at them.
JANIS: And who are they?
SIMON: I don't know and they had me install a piece of software into the mainframe to make the accelerator fire on October 6th.
JANIS: We've been over that system a thousand times and we didn't find anything.
SIMON: Well, I designed it. I'll find something other people won't.
JANIS: Let me bring you to the bureau, Simon. We can help you.
SIMON: [rolls eyes] I can't do this with the FBI. I can't do this with the CIA contacts. Those people won't let me anywhere near the mainframe again.
[Simon removes the magazine from his handgun, checks the number of rounds and puts it back in the gun handle.]
SIMON: Look, you get me into NLAP, I'll turn myself in.
JANIS: Why did you start working for these people in the first place?
SIMON: [scoffs] I was a kid. Told me I was destined for greatness. I believed them.
8:11 AM
[The scene switches to the Mark and Demetri enjoying a quick bite to eat from the food wagon.]
MARK: That was a marathon night, but we did it. We got Hellinger.
DEMETRI: Yeah, we did it. It's not the end, though. Got a full morning with the digital forensics guys...
MARK: No, you don't. You got a flight to catch.
[Mark takes a CD from his pocket and hands it to Demetri.]
MARK: Here.
DEMETRI: What the hell is this?
MARK: That, my friend, is 15 covers of, "Islands in the Stream."
[Demetri laughs.]
MARK: There's My Morning Jacket, Feist, The Constantines, some band from Croatia...
DEMETRI: When the hell did you make this?
MARK: Yeah, I don't get much sleep.
[Demetri laughs harder.]
MARK: Dem, you're alive. In the future you saw, you weren't. Go to Hawaii. Go be alive.
DEMETRI: Are you kidding me, man? It's D-Day. We need all hands on deck. No.
MARK: The place is packed with CIA, FBI, NSA. We're covered.
DEMETRI: Mark.
MARK: Go. Pick a version you like. Dance with your bride.
[The smile leaves Demetri's face.]
MARK: What's up?
DEMETRI: Nothing.
MARK: Everyone gets cold feet, Dem.
DEMETRI: It's not cold feet.
MARK: Do you love her?
DEMETRI: Come on.
MARK: Do you want to marry her?
DEMETRI: Hell, yes.
MARK: So what's stopping you?
[Demetri does not reply.]
MARK: You know, even with the way everything went down, even though I lost her, marrying Olivia was the best thing I ever did.
[Demetri looks at Mark who nods.]
MARK: Don't be afraid [pause] especially on a day like this.
[Mark walks around the car and Demetri smiles as the scene switches to the Benford residence. Olivia is consoling Charlie at the breakfast bar. Her home phone rings.]
OLIVIA: You'll stay home from school today with me, sweetie.
[Olivia answers the phone.]
OLIVIA: Hello?
LLOYD: Hey, it's me, Lloyd.
The scene switches back and forth from the house to Lloyd at the FBI building.]
OLIVIA: Hey, Lloyd. Can I call you back.
LLOYD: Uh, no, there's no need. I was just, um, I wanted to talk about tonight.
OLIVIA: You know, [i]I really can't think about that right now.[i]
LLOYD: I-Is everything okay?
OLIVIA: Charlie's having a really hard time.
LLOYD: Well, yeah. You know, I'd really like for us to be together.
OLIVIA: You know, can I [pause] I-I'll you back, okay?
[Olivia hangs up the phone and returns to comforting Charlie who now has her head down on the counter, buried in her arms.]
OLIVIA: Sweetie.
[The scene switches back to Lloyd working at the FBI office. As Mark gets off the elevator, various conversations are occurring in the background. Swat team members are in the office. Phones are ringing and there is police radio chatter, also. Vogel is waiting for Mark.]
MARSHALL VOGEL: Where's Demetri?
MARK: He's taking care of something else. What do we got?
[Vogel hands a report, bound by a large black clip at the top, to Mark who reads as he walks.]
MARSHALL VOGEL: Hellinger invested big in the dot-coms in the early '90's then dumped them before the crash. He put those earnings into real estate.
MARK: Got out at the height of the market?
MARSHALL VOGEL: Every transaction, he bought low, sold high.
MARK: Future-casting.
[Vogel stops walking.]
MARSHALL VOGEL: Yeah, listen, they use the flash-forwards to determine the outcome of a particular event, then put money on a sure thing.
MARK: So was this the bigger conspiracy you were talking about in Hong Kong, because it sounds like Econ 101.
MARSHALL VOGEL: Imagine how you could use this technology to manipulate geopolitics.
[Wedeck joins Mark and Vogel.]
WEDECK: NSA just finished up with Hellinger. It's been eight hours and he just said his first six words. [pause] "I'm only speaking to Mark Benford."
[The scene switches to the an office. Hellinger is sitting with his hands clasped and on the edge of the table like a child in school. Mark enters the room. He stands in the corner behind Hellinger.]
HELLINGER: Finally. We need to talk.
MARK: Did you cause the global blackout?
HELLINGER: We actually have something more pressing that has to do with you.
MARK: Did you cause the global blackout?
HELLINGER: Yes, I caused the blackout but that really doesn't matter now. We can't change that.
MARK: How'd you do it?
HELLINGER: [changes subject] I've seen today more times than I can remember and a lot of those days started with me sitting right here, with you.
[Hellinger points to a notebook on Mark's desk.]
HELLINGER: May I?
MARK: This?
HELLINGER: Please.
[Mark slides the notebook and a pencil to Hellinger.]
HELLINGER: Thank you.
[Hellinger opens the notebook and begins drawing a diagram on a blank page.]
HELLINGER: There are so many possibilities, different paths this day could take. I have seen so many different versions of this moment and the next one and the next one.
[Mark sits and watches.]
HELLINGER: But in every version of the future I saw, [slowly turns the notebook toward Mark] I saw this. In this room, you will lose control and then you'll lose everything.
[Mark nods.]
HELLINGER: You're going to attack me, Mark. You're going to attack me because you realize you will never get the answers to your questions. And then, at the end of it all, [pushes the notebook to Mark] you'll be killed in your office.
[The diagram in the notebook shows five paths with the same start and end points but different means at arriving at the end point. These paths are: ]
1. Hellinger at FBI --> Prison --> Escape --> Mark Benford Dead.
2. Hellinger at FBI --> School --> Instruction C --> Mark Benford Dead.
3. Hellinger at FBI --> School --> Enact --> Mark Benford Dead.
4. Hellinger at FBI --> Tachyon Wipe --> Enact --> Mark Benford Dead.
5. Hellinger at FBI --> Free Will --> Evaluate --> Mark Benford Dead.
[Mark reads the various paths and looks at Hellinger.]
MARK: When's the next blackout?
HELLINGER: I've seen how this goes, Mark. If you keep me in custody, you will die.
MARK: I'm sorry, you drew me a picture and now you want me to let you go?
HELLINGER: I know it seems self-serving, but please, you have to believe me. This, this is your life.
[Mark takes a closer look at the diagram.]
MARK: Tell me how you did it and how to stop it from happening again.
HELLINGER: If you're not interested in saving your own life, I don't have much to say to you, Agent Benford.
[Mark looks at the diagram again. A snippet from his flash-forward is shown of Mark standing in front the blue and white schematic of the antikythera mechanism on his board then returns to real time.]
MARK: That's alright You just told me what your next move is. Mind if I take this?
[Mark takes the notebook and pen then stands up.]
9:10 AM
[The scene switches to Lloyd working on a laptop at the FBI building. Mark enters the room.]
MARK: You know we're kicking civilians out at noon, right?
LLOYD: Yeah, I was just packing up my stuff so I can carry on working at home.
[Mark fingers through papers on the desk.]
LLOYD: I'm sorry. Can I help you with something?
MARK: That symbol, what is it?
[Mark points a T with a line parallel to the top stroke of the T, going through the downward stroke.]
LLOYD: The tachyon constant. It's a theoretical number that physicists have been trying to crack for centuries, sort of a Holy Grail thing. It was on these blueprints that Dyson Frost was carrying. It was in the formula in my flash-forward. Well, at 10:00 tonight, I'm supposed to be on the verge of cracking something monumental.
[Lloyd gathers up his papers and stands up.]
LLOYD: That would certainly qualify.
MARK: I don't know if this will help or not, but there it is again.
[Mark shows Lloyd the diagram that Hellinger drew, pointing to the tachyon constant symbol.]
MARK: Lucas Hellinger drew this. He included that symbol as something his side is gonna do today. I want to beat him to the punch. So what the hell is a tachyon wipe?
LLOYD: Nothing, doesn't make any sense. A tachyon is a particle. You can't wipe it. I mean you, literally, can't even touch it.
[The scene switches to Bryce's residence. The doorbell rings, Bryce answers the door to find Nicole.]
NICOLE: Hey.
BRYCE: Hey.
NICOLE: Happy Flash-Forward day.
[Nicole opens a box of cupcakes.]
NICOLE: I know you love these. They're for you.
[Bryce takes the box.]
BRYCE: Wow, thanks. I was just thinking about you.
[Bryce kisses Nicole.]
NICOLE: Liar.
[Bryce points to something inside. He stands back to let Nicole enter and closes the door.]
BRYCE: Um, seriously, check it out.
[Nicole sees Bryce's sketch book on a table and picks it up.. He was sketching Nicole.]
BRYCE: So I haven't planned out everything for tonight but I though maybe we could start with some water polo.
[Nicole goes back and page and sees the sketch of Keiko.]
BRYCE:Uh, we could bob for apples, maybe finish off with some scuba diving. [chuckles]
[Bruce stands up to see what Nicole is looking at.]
BRYCE: Uh, yeah, Keiko.
NICOLE: Are you sure that you're okay with tonight [pause] with us?
BRYCE: So the sweet, sexy woman that brings me cupcakes, worried about a pretend girl who lives half a world away.
[Bryce places the sketchbook on the table.]
BRYCE: Come on.
[Bryce kisses Nicole passionately.]
Immigration Detention Center
IMMIGRATION WOMAN: [in Japanese] Keiko-san, unless you can come up with the bond money, you'll be stuck here until your case is heard.
KEIKO: [in Japanese] How long will that be?
IMMIGRATION WOMAN: You could be detained up to a year.
[Keiko gasps and brings her hand to her forehead. The Immigration Woman points to Keiko's wrist.]
IMMIGRATION WOMAN: [In Japanese] I know it’s hard……but just keep believing.
[The camera focuses on Keiko's wrist where the tattoo of Believe is. The scene switches to Los Angeles Airport. An armed soldier is watching the corridor.]
FEMALE PA VOICE: Attention, travelers. You are not required to give money to solicitors. The airport does not sponsor their activities.
[Demetri walks off the escalator with his luggage bag. He sees Zoey sitting at a table and walks to her.]
DEMETRI: Hi.
[Zoey is elated and gets up from the table and kisses Demetri.]
ZOEY: Oh, baby. I knew you'd come. Oh, my God. So, my parents are already at the hotel and they said that there's a hot tub in the room. [laughs] Do you remember the last time we had a hot tub in the room?
DEMETRI: [smiles] Yeah.
ZOEY: You ready?
DEMETRI: Um, can I talk to you for a minute?
ZOEY: Yeah, okay.
[Zoey and Demetri sit at the table. Demetri clears his throat.]
ZOEY: What's up?
DEMETRI: I love you and, uh, I should've told you this [pause] a long time ago. In Janis' vision, she was [pause] pregnant.
ZOEY: Mm hmm.
DEMETRI: For that to come true, it had to happen while she was in Somalia.
ZOEY: Okay.
DEMETRI: [long pause] I slept with Janis so she could get pregnant.
[The smile leaves Zoey's face.]
ZOEY: What?
DEMETRI: I know that was wrong. I just, [pause] the future was happening, you know, I, my life was ending, another life was beginning. I know it sounds crazy but I thought I was gonna die and it made sense at the time.
[Zoey tries to digest what Demetri has told her.]
ZOEY: Wh, ev-everything that I've been doing, Dem, [pause] all the, all the lines that I've crossed, the, I did everything for you. I did everything I could. I-it was because I-I believed that [exhales deeply] I believed that you were gonna live and that we were gonna spend the rest of our lives together. Obviously, you didn't.
DEMETRI: I am so sorry, so sorry. I just thought that our life together was over on March 15th . That's what I thought. I was wrong. You were right. You believed that we can change the future. But I want to start over. I want to marry you. Please marry me. Please?
[Demetri cups his hands over Zoey's hands. She pulls her hands away.]
ZOEY: Um, [sniffles] I'm gonna, uh, [pause] I'm gonna go to Hawaii with my parents and I don't want you to come, Dem. And, uh, after that [pause] I don't know.
[Zoey gathers her belongings and walks to the departure gate, leaving Demetri at the table. The scene switches to Afghanistan. Aaron is with Tracy and Khamir in an old building.]
AARON: Don't worry, Tracy. We made it. This is where we were in our flash-forward.
TRACY: [weakly] I was in a cave. Jericho brought me here.
AARON: Honey, don't worry. Don't try to talk.
KHAMIR: She needs a hospital. I'm not sure I can care for her here. Her pulse is thready.
TRACY: Cave, Daddy, they made me tell them.
AARON: Tracy, we know what we saw. You're gonna be fine, all right?
[Tracy rolls to her side and begins coughing.]
TRACY: Tracy. Khamir! Tracy.
[Khamir rushes to Tracy's side. She is bleeding from her mouth. Aaron jostles her to keep her awake.]
TRACY: Tracy!
[The scene switches to the FBI building. Mark is looking at a thick document held together with a large black clip.]
MARK: I cross-reference Hellinger's financial documents with the word, "Tachyon."
[Mark drops document on a table and points to it.]
MARK: Tachyon Offsite Information Systems. Their office is in Arcadia.
MARSHALL VOGEL: Do you think that's what Hellinger meant by a Tachyon wipe?
MARK: They warehouse data. Maybe you can't wipe a tachyon, but data's a whole other story. [takes out cell phone] I'm going in with a team.
MARSHALL VOGEL: Whoa, Mark. You sure that's a good idea?
MARK: Going after the bad guys? Yeah.
WEDECK: Think about it. Hellinger helps organize a worldwide blackout. You really believe he'd be sloppy enough to leave you a clue like this?
MARK: Maybe. People make mistakes.
MARSHALL VOGEL: Forget it.
MARK: What?
MARSHALL VOGEL: You heard me. You're staying. You stay on Hellinger. I'll send a Special Ops unit to check it out.
MARK: No, no, no, no, no, no, you can't do that.
WEDECK: I can. You're staying. I'm not letting you walk into a trap.
[Mark smirks at Vogel. The scene switches back to Afghanistan where Khamir is working frantically to help Tracy.]
KHAMIR: She's barely moving air.
AARON: [upset] Tracy, breathe! Tracy!
KHAMIR: Please! No, no, no, stop. Aaron, please let me work, please.
[Aaron takes a step back and exhales deeply. He turns around and sees the Jericho soldier watching what happens with Tracy. He gets up and walks to the soldier.]
AARON: You. What they hell did you and your Jericho buddies do to her?
[Aaron punches the soldier.]
JERICHO SOLDIER: Aah!
[The Afghan men in the room point their rifles at the soldier as Aaron interrogates him.]
AARON: You're gonna tell me why Jericho came after my daughter.
JERICHO SOLDIER: I'm just an independent contractor.
[Aaron puts his thumb into the gunshot wound on the soldier's shoulder.]
JERICHO SOLDIER: AAH!
[The soldier is writhing in pain and Aaron grabs his and slams him against the wall.]
AARON: She saw you guys killing an entire village.
JERICHO SOLDIER: I don't know what you're talking about.
[Aaron twists his thumb into the wound.]
JERICHO SOLDIER: AAH!
AARON: You're gonna tell me why now.
[Aaron twists his thumb a bit more.]
JERICHO SOLDIER: We weren't killing them. She saw an entire village full of people passed out on the ground. It was an experiment, a test run.
AARON: For what?
[Aaron digs his thumb further into the wound.]
AARON: Keep talking!
JERICHO SOLDIER: The experiment's radius was 1 kilometer. We needed to know why she was awake.
[Aaron grabs the soldier by his collar.]
AARON: Experiment for what?
[Aaron puts pressure on the wound again.]
JERICHO SOLDIER: UHH!
AARON: For what?
JERICHO SOLDIER: For the global blackout.
[Aaron is stunned by the response. The scene changes to Janis's apartment. Simon is packing up his sidearm.]
SIMON: I hope the CIA gives you an expense account. We're gonna have to stop by a hardware store, pick up some supplies on the way to NLAP.
JANIS: Breaking into a linear accelerator, I think we're gonna need a little more than duct tape.
SIMON: Not that kind of hardware.
[Simon opens the door to leave, to find Demetri.]
JANIS: Dem!
[As Simon tries to close the door, Demetri pushes back and they both draw their sidearms.]
DEMETRI: What's going on with you, Janis? What the hell is he doing here?
SIMON: Tell him to put down his weapon.
DEMETRI: What's he doing here, Janis?
JANIS: He's making a deal.
1:34 PM
DEMETRI: You're bringing him to NLAP? You're planning to let him touch that accelerator?
JANIS: He can give us more information than anyone else can.
DEMETRI: In the meantime, you risk him using that machine to put the world to sleep again.
SIMON: Hey, I didn't use it the first time. I'm not gonna use it this time, either.
JANIS: Hey, hey, Dem, this is about nailing the people behind the blackout. This is about getting the job done the best way I know how.
DEMETRI: Janis, come on. You got more to worry about than just doing a good job.
[Janis slowly approaches Demetri and puts herself between the two men.]
JANIS: Okay, Dem, I just need you to pretend like you never came by. Just let me do this.
DEMETRI: No.
[Janis quickly turns around and disarms Simon. In the process, the gun pokes her belly. She has Simon's arm around his back. Demetri keeps his eyes on Simon and he hands Janis handcuffs.]
SIMON: Aah!
[Janis handcuffs Simon. Demetri takes Simon by the arm as Simon turns to Janis.]
SIMON: You're gonna regret this decision for the rest of your life.
[Demetri escorts Simon from Janis' apartment. Janis holds her belly and breathes heavily. The scene switches to the FBI building. Audio plays from a laptop detailing the happenings at the Tachyon Offline Information Systems.]
AGENT: We've secured the Tachyon data center. All we've got is a room full of servers.
MARSHALL VOGEL: Has the data been wiped?
AGENT: No, it's weird. I'm getting nothing, just a blinking cursor.
[A heavy thud is heard.]
MARK: What the hell was that?
AGENT: I don't know. It sounded like it was coming from the storeroom.
MARK: I thought you swept the place.
AGENT: We did. I'm gonna go check it out.
[Hellinger watches Mark in the other office.]
AGENT: We're getting thermal readings back now.
MARK: No. Get out of there. Get out of there, Agent!
AGENT: Whoa! Heads up! Movement on your...
[Multiple gunshots are heard over the laptop.]
AGENT: [i]Watch out! 9:00!
[The gunfire continues. Mark and Vogel listen to the battle at the data center. Gunfire from several weapons is heard. Agents screaming for help is mixed with the gunfire.]
MARK: Get out of there!
[There is squeal from the radio connection and then there is silence. Mark and Vogel both put their hands to their foreheads. They are helpless to the agents at the data center. Hellinger continues to watch Mark. Mark looks up and sees Hellinger watching. In a rage he gets up and goes to his office where Hellinger is.]
MARSHALL VOGEL: Mark, wait.
[Mark is intercepted by Wedeck.]
WEDECK: What's going on?
MARK: They opened fire on three of our guys. You were right. Tachyon was a trap.
[Wedeck grabs Mark by the arm.]
WEDECK: Whoa, cool down.
[Mark tries to pull his arm from Wedeck's grasp.]
MARK: No, I gotta go talk to him!
WEDECK: Cool, cool down.
[Two agents in the corridor look up and watch as Wedeck tries to calm Mark down.]
WEDECK: Don't worry, I got this.
[Mark tries to pull away again.]
WEDECK: [sternly] I got this!
[Charlie is heard in the background. She is with Olivia.]
CHARLIE: Daddy!
[Mark turns around to see Charlie running to him. She runs into his arms and he holds her tight She is crying,]
MARK: Oh, hey, sweetie. [to Olivia] You okay?
OLIVIA: Yeah, hey, Stan. [to Mark] Are you?
[Stan nods and walks away. Vogel has already left. Mark glances and sees Hellinger watch him with Charlie.]
MARK: Yeah. It's been a slow day.
[Olivia nods]
OLIVIA: Babe, you want to go wait in Daddy's office?
[Olivia hands Charlie her tote bag and Charlie goes to Mark's office.]
OLIVIA: Look, I'm really sorry just to bring her here like this. She's scared. I think the reality of today and, you know. Everything that's happened [pause] I think it's really hitting her.
[Mark remains silent.]
OLIVIA: She just needed her dad. I-I really did not know what else to do.
MARK: I'm glad you brought her over.
[Mark walks into his office. Charlie is looking at his board.]
MARK: Hey, Charlie Bear.
[Mark puts his hand on Charlie's shoulder and she turns to him.]
MARK: Charlie. What's up?
CHARLIE: I don't want you to die.
MARK: Come here.
[Mark picks up Charlie and sits her on his desk then sits down, facing her. Olivia is at the door. Mark takes Charlie's hand.]
MARK: I need to ask you to do something for me, something really, really hard.
[Charlie nods.]
MARK: Don't be afraid. I mean, it's okay to be afraid, it is, but that's just what happens at first. After that, you have to tell yourself something, "My daddy loves me, and everything will be okay, no matter what."
CHARLIE: My daddy loves me.
MARK: So much.
CHARLIE: And everything will be okay, no matter what.
[Mark kisses Charlie's hands.]
MARK: It's not easy 'cause things can be scary, bigger than us but we can fight it. That's what I do. I tell myself, "Charlie loves me and everything will be okay no matter what."
CHARLIE: You do?
MARK: I do. I tell myself that and it makes me strong. It makes me brave. 'Cause when I say that [pause] you're always with me.
CHARLIE: And when I say it?
MARK: I'm always with you [pause] always. I love you so much, baby girl. I love you with everything I've got.
[Charlie jumps off the desk and into Mark's arms. She hugs him with all she has.]
MARK: Oh, thanks, honey.
[Mark looks at Olivia sitting outside his office door.]
MARK: Hey, you go and be with mom, okay? You go ahead now.
[Charlie looks at her father then runs to her mom. Olivia hugs Charlie and Mark looks at his board.]
3:37 PM
[The scene switches to outside Janis' apartment. Demetri is putting Simon in the backseat. Janis watches. She is wearing the purple blouse that she was wearing in her flash-forward.]
SIMON: You're making a big mistake.
DEMETRI: Shut up.
DEMETRI: Janis, this guy has been lying to us about everything. He was working for them. He was awake during the blackout. How the hell do you trust this guy?
JANIS: After all the lying, I think I've realized that you just get to a point where you can't do it anymore.
[Demetri looks up then at Janis.]
DEMETRI: You coming with me?
JANIS: To the FBI?
DEMETRI: Yeah.
JANIS: No. Tell 'em where you found him. Don't lie for me.
[Janis turns and walks back to the sidewalk and Demetri gets in his vehicle, starts the engine and drives away. He drives less than a block and backs up to where Janis is standing and opens the passenger window.]
DEMETRI: This NLAP thing is totally insane. You know that, right?
JANIS: Yeah, I know that.
DEMETRI: If I hadn't shown up, you would have gone through with this?
JANIS: Yeah.
DEMETRI: Get in.
[Janis gets in the passenger seat. Simon is in the back seat smiling as Demetri pulls away. The scene switches to Lloyd's residence. He has various papers spread out on the floor. Dylan comes into the room with a sandwich and a glass of milk. He puts them down next to the papers. He plate slightly overlaps a page.]
LLOYD: No, Dylan. Dylan, watch out.
DYLAN: I am watching.
LLOYD: It was a figure of speech.
[Dylan pulls one of the pages closer so he can look at it.]
LLOYD: I mean, be careful 'cause somewhere in here is the answer to a very big question.
[Dylan points to one page.]
DYLAN: Why did the eight die?
LLOYD: What?
[Dylan picks up the page and points to it.]
DYLAN: Why did the eight die?
[Lloyd reaches to take the page from Dylan's hand.]
LLOYD: Oh, no, no. That's, um, that's not an eight. That's infinity.
DYLAN: What's infinity?
LLOYD: Uh, well, infinity means forever. But you're right. It does kind of look like an eight on its side.
[Dylan picks up more pages.]
DYLAN: All the ones with numbers have to be together.
LLOYD: No, Dylan, just please, please just leave those there.
[Dylan continues to pick up pages from the floor.]
DYLAN: It all has to be in the right place.
[Lloyd slowly turns and watches Dylan as he moves pages around on the floor.]
LLOYD: What did you say?
DYLAN: It all has to be in the right place.
[Lloyd has a flashback to Gabriel telling him about the numbers.]
GABRIEL: Do the numbers. You do the numbers together and then you're both part of the equation.
[As Lloyd hears Gabriel in his mind he also sees a snippet of his flash-forward where he gets up from Olivia's bed, puts on his pants and answers he cell phone. Return to real time.]
LLOYD: Okay, Dylan, Dylan, Dylan. Go and get your coat. Go now. Go, go, go.
[The scene switches back the office where Hellinger is being held. Mark enters the office.
HELLINGER: I hope your agents are all right. In most futures, they survive.
MARK: When's the next blackout?
HELLINGER: I don't know if you're in a place where you can hear this right now and I don't want to say I told you so, but I gave you a choice, Mark
MARK: I asked you a question. When is the next blackout?
HELLINGER: I gave you a choice and you chose the wrong path. I'm sorry the way this is turning out. I mean it when I say that but there is nothing you can do to turn this back around.
[Mark is losing his patience.]
MARK: Shut up! When is it?
HELLINGER: You're going to die, Mark, and I take no pleasure in that. I really don't. I've had so many conversations with you in this very room. You're a decent man. This is just all over your head.
MARK: When is the next blackout?
HELLINGER: [chuckles] Mark, you work hard. You're passionate about what you do. But don't you see? All of this is just so futile, all of it.
MARK: All of it? We caught you.
HELLINGER: [laughs] Your faith [pause] it's admirable.
[Mark nods.]
HELLINGER: I mean, that board in your office [pause] how much time have you spent on that thing?
[Mark and Hellinger are circling the table.]
HELLINGER: How much time have you spent just looking at it, all on faith. But deep down, you gotta know what that board really is.
MARK: Tell me, what is that board about?
HELLINGER: It's nothing but a scrapbook of your failures.
MARK: Tell me when the next blackout is.
HELLINGER: [chuckles] A freed Nazi, a-a botched mission to Somalia, some monster paintings, dead birds...
MARK: Tell me.
HELLINGER: [taunting] And you keep looking at it. You keep believing and you keep fighting 'cause that's what you do. [raises voice] You and that board, you're Mr. Stick-To it. Don't you see? That's why you're gonna die, Mark. You just don't give up. You just [scoffs] Oh, I swear to God, Mark. I am gonna miss you. [chuckles] Charlie's gonna miss you, too.
[Mark turns and glares at Hellinger.]
HELLINGER: You are gonna die, Mark. You're gonna die but there is an upside and this is gonna sound a lot harsher than it really is.
[Hellinger approaches Mark.]
HELLINGER: Deep down, you know what I mean. You're going to die.
[The men are face to face.]
HELLINGER: But your daughter's going to be better off when you're gone.
[Mark head butts Hellinger, grabs him and slams him into the table. Hellinger falls to the floor. Mark punches Hellinger repeatedly in the stomach. Vogel is outside speaking with a secretary and hears the ruckus. He runs to the office. Mark is screaming as he beats Hellinger unmercifully. Several agents run to Mark's office to separate the two men. Mark is pulled from the office kicking.]
MARK: I'm not finished!
[Vogel smugly watches as Mark is taken out of the office.]
MARK: Aah! Let go of me!
[Vogel looks at Hellinger as he breathes heavily. Hellinger is on his back on the table.]
MARSHALL VOGEL: Clean yourself up, playboy.
[Vogel pats Hellinger on the stomach. Mark is bent over in the corridor. The two agents are still with him. He is out of breath. Wedeck joins Mark and the agents. He looks at Mark. Wedeck speaks to the two agents.]
WEDECK: Get him the hell out of here.
MARK: You gotta be kidding me.
WEDECK: You've been on the brink of losing control all day, all year.
MARK: That crazy son of a bitch...
WEDECK: Out, now. I don't care what day it is.
MARK: No, Stan.
WEDECK: Get him out of here. Get out.
[The two agents drag Mark out of the building.]
MARK: You can't do this to me! You're not gonna do this!
4:17 PM
[The scene switches to Bryce's residence. He is leaving with Nicole carrying a blanket and picnic basket.]
BRYCE: We are gonna have so much fun tonight. I promise.
NICOLE: I was just really looking forward to a picnic.
BRYCE: That's what we're doing. We gotta get there early and stake out some good seats for the fireworks.
NICOLE: Just, there's gonna be 2,000 other people. I wanted to be with you.
[Bryce finished loading his SUV.]
BRYCE: Hey, there's never been a night like tonight. I mean, in four hours, people are literally gonna be deciding whether to make their own futures happen. I want to be witness to that.
NICOLE: Why, 'cause your future didn't happen?
BRYCE: Oh, where'd that come from?
NICOLE: I've just been thinking a lot about the visions lately and I'm [pause] I'm worried mine may have already started.
BRYCE: You'll be with me. No, it won't. It's not.
[Bryce comforts Nicole and kisses her.]
BRYCE: Nothing it gonna happen to you tonight. I promise. Come on. Let's go.
[Nicole is worried.]
NICOLE: You know, it's not the drowning. It's that feeling I had. You know, like I deserved it.
[Bryce shakes his head.]
NICOLE: I've been keeping a secret from you. It's really stupid now because when I tell you, you're gonna hate me.
BRYCE: Come on, give me some credit.
NICOLE: Keiko. [pause] She's in Los Angeles.
BRYCE: What?
NICOLE: I'm sorry. I should have told you as soon as I found out but I just [pause] I was afraid you'd choose her.
BRYCE: No, just [pause] just tell me where she is.
NICOLE: Some people from the hospital, they went down to this immigration detention center in Lancaster.
BRYCE: She's in [pause] in jail?
NICOLE: No, it's [pause] it's just a holding facility.
BRYCE: [upset] You let her stay in, in jail?
NICOLE: I should have told you, Bryce. I'm sorry.
[The scene switches to the detention center. Keiko is sitting on the lower bed of a bunk bed.
FEMALE IMMIGRATION GUARD: Keiko Arahida?
[The woman opens a cell door. A man is speaking indistinctly over the P.A.]
FEMALE IMMIGRATION GUARD: There's someone here to see you.
[Keiko stands up and goes with the woman. The woman locks the cell and escorts Keiko to another area.]
MALE PA VOICE: I need a transfer guard at the main gate.
[Kekio looks around the room.]
MAN: Es lo que quierres saber. [What do you need to know?]
[Keiko looks and sees her mother who smiles as she sees her daughter. Keiko is unsure of the situation. He mother is elated to see her and extends her arms to her daughter.]
KEIKO'S MOTHER: Keiko. Keiko!
KEIKO: Okasan. [Mother]
KEIKO'S MOTHER: [in Japanese] It's okay, baby. Everything's going to be all right.
KEIKO: [in Japanese] I can't believe you're here.
KEIKO'S MOTHER: [in Japanese] Shh, come on. Let's sign these papers and get you out of this place.
[Keiko is hands a clipboard and a pen and she accepts them.]
KEIKO'S MOTHER: [in Japanese] Don't worry. This will be a memory soon.
[Keiko signs the forms.]
KEIKO'S MOTHER: [in Japanese] You'll be home in time for dinner tomorrow night.
[The guard takes back the clipboard and pen.]
KEIKO'S MOTHER: [in Japanese] Your little sister can't wait to see you.
KEIKO: [in Japanese] When is our flight?
KEIKO'S MOTHER: [in Japanese] Eleven o'clock. We have just enough time to stop at your apartment and get your luggage before we go to the airport.
[Keiko is thinking.]
KEIKO: [in Japanese] At ten o'clock, I need to be at a sushi restaurant.
KEIKO'S MOTHER: [in Japanese] What are you talking about?
KEIKO: [in Japanese] So I can meet the man I saw in my vision.
[Keiko's mother holds Keiko by her arms.]
KEIKO'S MOTHER: [in Japanese] You have to get on the plane, honey. You don't have a choice. And even if you don't want to go...
[Keiko's mother looks at a male guard.]
KEIKO'S MOTHER: [in Japanese] They will make sure you do.
[Keiko silently looks at her mother. The scene switches to Afghanistan where Khamir is tending to Tracy. He is checking her heartbeat with a stethoscope.]
KHAMIR: Aaron! Aaron! Her heart has stopped! I need your help! Come on.
[Aaron rushes back to Tracy's side and holds and kisses her head as Khamir performs CPR.]
AARON: Tracy! Tracy! Trace, no! Trace, breathe. Breathe, breathe! Tracy! Oh, no. Come on, sweetheart. Come on, sweetheart.
KHAMIR: Come on!
AARON: This can't be like this. Tracy, come on back! Come back, Tracy. Come back.
6:38 PM
[The scene switches to Los Angeles. It is dark outside as people gather. They are cheering. A big party is happening in the streets akin to the celebration of Mardi Gras. Mark is walking aimlessly through the crowd. He plays back the fight he has with Hellinger earlier in the day, in his mind.]
HELLINGER: This is just all over your head.
[Mark thinks back to Dyson Frost just as he was shot.]
DYSON FROST: You have no idea.
[Return to real time momentarily. He focuses on Hellinger as he drew his diagram.]
HELLINGER: In every version of the future I saw, I saw this.
[The camera focuses on the top of the diagram which reads, "Mark Benford Dead." Return to real time momentarily then he focuses on Lloyd.]
LLOYD: The forces of the universe are maybe pushing us towards the futures we have seen.
[He focuses on Hellinger.]
HELLINGER: You are gonna die, Mark. But there is an upside. Deep down, you know what I mean.
[A flashback of Charlie speaking with Mark in his office earlier is shown.]
HELLINGER: Your daughter's gonna be better off when you're gone.
[Return to real time. Mark is approached by a reveler in the crowd.]
MAN: Uh, excuse me. Hey, look, I don't mean to bother you. But, uh, in my vision I had just quit drinking and I'd really like to make that happen right now. See, I, I saw you, and you [pause] you look like you could use this. Here.
[The man places a silver flask in Mark's hand. Mark looks at it a few moments.]
MARK: No. It's okay, I don't...
[Mark looks up and the man is gone.]
[The din surrounding Mark is deafening. He takes a long look at the flask, leans against a car, shakes his head, slowly unscrews the cap, cries and takes a drink. He inhales and exhales deeply. He has fallen off the wagon. The scene switches to Demetri driving with Janis and Simon.]
6:46 PM
[Simon is asleep in the back seat.]
JANIS: What made you change your mind?
DEMETRI: I don't know. I mean, I get why you did it. It worked. We have Hellinger. But, Janis, I was so pissed off at you. [chuckles] Working for the CIA? Since Quantico, I [pause] I felt like I lost my best friend.
[Janis and Demetri look at each other momentarily.]
DEMETRI : It's like I didn't know who the hell you were. [pause] You know, and then I'm driving away. I got Campos in the backseat. I'm looking in the rearview and I'm thinking, going to NLAP? This is, it's so like you. I know you, Janis. Now, I don't know what you were doing. I don't know what the hell we're doing tonight, but I, I do know you.
[There is silence in the vehicle.]
DEMETRI: I told Zoey [pause] about the baby.
JANIS: What? Oh, Dem.
DEMETRI: Ah, there just comes a time when you [pause] you can't lie anymore, right?
[Janis puts her hands on her belly and wonders. The scene switches to Afghanistan where Aaron is performing CPR compression on Tracy.]
KHAMIR: Aaron, we need to stop now.
[Aaron continues.]
AARON: [crying] She's gonna be okay!
KHAMIR: Her brain has been deprived of oxygen too long.
AARON: I know what I saw!
[Aaron continues as Khamir sits back.]
KHAMIR: She's been through enough.
AARON: We were here together.
KHAMIR: Her heart has stopped beating. She's gone. Aaron.
[Aaron breaks down and cries. A man puts his hand on Khamir's shoulder.]
KHAMIR: Let her go.
[Tracy is lying on the cot, her bloodied face is still.]
AARON: I saw you,. Tracy. Tracy. I saw you.
[The scene switches back to a bar. On the news is the report of the revelry in the streets of Los Angeles. Mark is sitting at the bar, drinking shots. "All I Want" by The Woodenelves is playing in the background.]
NEWS REPORTER: Downtown Los Angeles has swelled as thousands begin to party as what has been seen as more reminiscent of a New Year's celebration rather than what was promised as a disaster.
[A man sits next to Mark at the bar. He points to Charlie's friendship bracelet.]
MAN AT BAR: I like the string, buddy.
[Mark looks at his glass and holds it tight.]
MAN AT BAR: The Chinese say red string brings luck.
MARK: The Dutch say leave me alone.
MAN AT BAR: Well, maybe in my vision, you and I were talking to each other. You ever think about that?
MARK: Nope, because that's not what I remember.
[The scene switches to Olivia and Charlie. Olivia is driving while Charlie is asleep in the back seat. Olivia adjusts her headset and answers her cell phone. The scene switches back and forth between Olivia and Lloyd.]
OLIVIA: Lloyd? Hey, I'm sorry. I meant to call.
LLOYD: I'm at your house. Why haven't you been answering your phone.
OLIVIA: Uh, I just needed to get away.
LLOYD: When are you coming back?
OLIVIA: Uh, not for a while.
LLOYD: What are you talking about?
OLIVIA: I just need some space, Lloyd. I need to get away from you and Mark and flash-forwards and all of it. I just, I need to get away.
LLOYD: No, Olivia. Olivia, listen to me. Look, certain conditions have to be met if I [pause] at 10:00 PM, you have to be here with me.
OLIVIA: Don't do this. Don't make this about fate. Don't make this about free will, okay? I have Charlie to think about. So I am not gonna be in that house with you tonight. I'm sorry.
[Olivia ends the call. The scene switches to in front of the Benford residence where Lloyd is with Dylan.]
DYLAN: They're not coming back.
LLOYD: No.
[The scene switches back to the bar. Mark is still drinking. The man is still trying to talk to him as the bartended pours Mark another drink.]
MAN AT BAR: Yeah, no, I'm sure it was you, cheap suit and the bad breath and the droopy eyes. And I kept saying, hey, man, why are the eyes so droopy?
[Mark continues to drink.]
MARK: That's it? Is that the best you can do?
MAN AT BAR: So you're one of those guys.
MARK: Am I?
MAN AT BAR: Yeah, you're fightin' fate. [stands up] And it's so sad, man.
[Mark drinks another shot.]
MAN AT BAR: 'Cause it's so obvious, man, you've already lost.
[Mark gets up and punches the man in the face. . "Purpose For My Time" by Two Hours Traffic, is playing in the background. People start shouting. Another man holds Mark as a third man punches Mark in the abdomen and the face. Mark breaks free and punches a man in the face. Mark is mobbed by multiple men and they continue to throw punches. A brawl ensues. The clock on the wall reads 6:48.]
WOMAN: Fight! Yeah!
[The scene switches to Mark walking into a jail cell. Mark looks at Charlie's bracelet, loosens his tie then sits on the bench in the cell. "More Than Life" by Whitley plays in the background during the final scenes. Mark groans as he sits in the cell then puts his head back against the wall. Demetri driving with Janis, and Simon, Aaron crying over his daughter's dead body, Nicole sitting at Bryce's residence alone and looking at the sketch of Keiko, Keiko and her mother exiting an SUV at the airport, Bryce entering the detention center, Dylan and Lloyd in front of the Benford residence, Olivia and Charlie walking on a beach, Mark in the jail cell.]
A leaf in the breeze,
The smoky morning haze.
To touch something real,
Will help your wounds heal.
Like the sun on your face,
The dreams of starry nights.
And I, I want this more than life.
[END]
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